SherbyNet - /page/wikibook/entry.mu

Micron Document

<!DOCTYPE html>

<title>Scrovegni Chapel</title>

<span id="openzim-page-title" class="mw-page-title-main"><span class="mw-page-title-main">Scrovegni Chapel</span></span>

</h1>

</header>

/* start https://en.wikipedia.org/ */

.mw-parser-output .hatnote{font-style:italic}.mw-parser-output div.hatnote{padding-left:1.6em;margin-bottom:0.5em}.mw-parser-output .hatnote i{font-style:normal}.mw-parser-output .hatnote+link+.hatnote{margin-top:-0.5em}@media print{body.ns-0 .mw-parser-output .hatnote{display:none!important}}

/* end https://en.wikipedia.org/ */

</style><div role="note" class="hatnote navigation-not-searchable">"Scrovegni" redirects here. For other uses, see <a href="Enrico_degli_Scrovegni" title="Enrico degli Scrovegni">Enrico degli Scrovegni</a> and <a href="Reginaldo_degli_Scrovegni" title="Reginaldo degli Scrovegni">Reginaldo degli Scrovegni</a>.</div>

/* start https://en.wikipedia.org/ */

.mw-parser-output .ambox{border:1px solid #a2a9b1;border-left:10px solid #36c;background-color:#fbfbfb;box-sizing:border-box}.mw-parser-output .ambox+link+.ambox,.mw-parser-output .ambox+link+style+.ambox,.mw-parser-output .ambox+link+link+.ambox,.mw-parser-output .ambox+.mw-empty-elt+link+.ambox,.mw-parser-output .ambox+.mw-empty-elt+link+style+.ambox,.mw-parser-output .ambox+.mw-empty-elt+link+link+.ambox{margin-top:-1px}html body.mediawiki .mw-parser-output .ambox.mbox-small-left{margin:4px 1em 4px 0;overflow:hidden;width:238px;border-collapse:collapse;font-size:88%;line-height:1.25em}.mw-parser-output .ambox-speedy{border-left:10px solid #b32424;background-color:#fee7e6}.mw-parser-output .ambox-delete{border-left:10px solid #b32424}.mw-parser-output .ambox-content{border-left:10px solid #f28500}.mw-parser-output .ambox-style{border-left:10px solid #fc3}.mw-parser-output .ambox-move{border-left:10px solid #9932cc}.mw-parser-output .ambox-protection{border-left:10px solid #a2a9b1}.mw-parser-output .ambox .mbox-text{border:none;padding:0.25em 0.5em;width:100%}.mw-parser-output .ambox .mbox-image{border:none;padding:2px 0 2px 0.5em;text-align:center}.mw-parser-output .ambox .mbox-imageright{border:none;padding:2px 0.5em 2px 0;text-align:center}.mw-parser-output .ambox .mbox-empty-cell{border:none;padding:0;width:1px}.mw-parser-output .ambox .mbox-image-div{width:52px}@media(min-width:720px){.mw-parser-output .ambox{margin:0 10%}}@media print{body.ns-0 .mw-parser-output .ambox{display:none!important}}

/* end https://en.wikipedia.org/ */

</style>

/* start https://en.wikipedia.org/ */

.mw-parser-output .infobox-subbox{padding:0;border:none;margin:-3px;width:auto;min-width:100%;font-size:100%;clear:none;float:none;background-color:transparent}.mw-parser-output .infobox-3cols-child{margin:auto}.mw-parser-output .infobox .navbar{font-size:100%}@media screen{html.skin-theme-clientpref-night .mw-parser-output .infobox-full-data:not(.notheme)>div:not(.notheme)[style]{background:#1f1f23!important;color:#f8f9fa}}@media screen and (prefers-color-scheme:dark){html.skin-theme-clientpref-os .mw-parser-output .infobox-full-data:not(.notheme)>div:not(.notheme)[style]{background:#1f1f23!important;color:#f8f9fa}}@media(min-width:640px){body.skin--responsive .mw-parser-output .infobox-table{display:table!important}body.skin--responsive .mw-parser-output .infobox-table>caption{display:table-caption!important}body.skin--responsive .mw-parser-output .infobox-table>tbody{display:table-row-group}body.skin--responsive .mw-parser-output .infobox-table th,body.skin--responsive .mw-parser-output .infobox-table td{padding-left:inherit;padding-right:inherit}}

/* end https://en.wikipedia.org/ */

</style><table class="infobox vcard"><caption class="infobox-title category" style="font-size:125%;">Scrovegni Chapel (Cappella degli Scrovegni), Padua</caption><tbody><tr><th colspan="2" class="infobox-above fn org" style="padding:0.2em;background:#87CEEB;font-size:100%;"><a href="UNESCO_World_Heritage_Site" class="mw-redirect" title="UNESCO World Heritage Site">UNESCO World Heritage Site</a></th></tr><tr><td colspan="2" class="infobox-image" style="border-top:1px #aaa solid;padding-top:0.4em;"><div class="infobox-caption"><i>The Last Judgment</i> in the Scrovegni Chapel</div></td></tr><tr class="mergedrow"><th scope="row" class="infobox-label" style="padding-right:0.3em;"><a href="World_Heritage_Sites_by_country" title="World Heritage Sites by country">Location</a></th><td class="infobox-data"><a href="Padua" title="Padua">Padua</a>, <a href="Veneto" title="Veneto">Veneto</a>, Italy</td></tr><tr class="mergedrow"><th scope="row" class="infobox-label" style="padding-right:0.3em;"><a href="World_Heritage_Site#Selection_criteria" title="World Heritage Site">Criteria</a></th><td class="infobox-data category">Cultural: (ii), (iii)</td></tr><tr class="mergedrow"><th scope="row" class="infobox-label" style="padding-right:0.3em;">Reference</th><td class="infobox-data"><a rel="nofollow" class="external text" href="https://whc.unesco.org/en/list/1623">1623</a></td></tr><tr class="mergedrow"><th scope="row" class="infobox-label" style="padding-right:0.3em;">Inscription</th><td class="infobox-data">2021 (44th <a href="World_Heritage_Committee" title="World Heritage Committee">Session</a>)</td></tr><tr><th scope="row" class="infobox-label" style="padding-right:0.3em;">Website</th><td class="infobox-data category"><span class="url"><a rel="nofollow" class="external text" href="http://www.cappelladegliscrovegni.it/index.php/en/">www<wbr>.cappelladegliscrovegni<wbr>.it<wbr>/index<wbr>.php<wbr>/en<wbr>/</a></span></td></tr><tr><th scope="row" class="infobox-label" style="padding-right:0.3em;"><a href="Geographic_coordinate_system" title="Geographic coordinate system">Coordinates</a></th><td class="infobox-data"><span class="geo-inline"><style data-mw-deduplicate="TemplateStyles:r1156832818">

/* start https://en.wikipedia.org/ */

.mw-parser-output .geo-default,.mw-parser-output .geo-dms,.mw-parser-output .geo-dec{display:inline}.mw-parser-output .geo-nondefault,.mw-parser-output .geo-multi-punct,.mw-parser-output .geo-inline-hidden{display:none}.mw-parser-output .longitude,.mw-parser-output .latitude{white-space:nowrap}

/* end https://en.wikipedia.org/ */

</style><span class=" nourlexpansion"><a class="external text" href="geo:45.41184,11.87952"><span class="geo-default"><span class="geo-dms" title="Maps, aerial photos, and other data for this location"><span class="latitude">45°24′43″N</span> <span class="longitude">11°52′46″E</span></span></span><span class="geo-multi-punct"> / </span><span class="geo-nondefault"><span class="geo-dec" title="Maps, aerial photos, and other data for this location">45.41184°N 11.87952°E</span><span style="display:none"> / <span class="geo">45.41184; 11.87952</span></span></span></a></span></span></td></tr><tr><td colspan="2" class="infobox-full-data"><div class="switcher-container"><style data-mw-deduplicate="TemplateStyles:r1291884410">

/* start https://en.wikipedia.org/ */

.mw-parser-output .locmap .od{position:absolute}.mw-parser-output .locmap .id{position:absolute;line-height:0}.mw-parser-output .locmap .l0{font-size:0;position:absolute}.mw-parser-output .locmap .pv{line-height:110%;position:absolute;text-align:center}.mw-parser-output .locmap .pl{line-height:110%;position:absolute;top:-0.75em;text-align:right}.mw-parser-output .locmap .pr{line-height:110%;position:absolute;top:-0.75em;text-align:left}.mw-parser-output .locmap .pv>div{display:inline;padding:1px}.mw-parser-output .locmap .pl>div{display:inline;padding:1px;float:right}.mw-parser-output .locmap .pr>div{display:inline;padding:1px;float:left}@media screen{html.skin-theme-clientpref-night .mw-parser-output .od,html.skin-theme-clientpref-night .mw-parser-output .od .pv>div,html.skin-theme-clientpref-night .mw-parser-output .od .pl>div,html.skin-theme-clientpref-night .mw-parser-output .od .pr>div{background:#fff!important;color:#000!important}html.skin-theme-clientpref-night .mw-parser-output .locmap img{filter:grayscale(0.6)}html.skin-theme-clientpref-night .mw-parser-output .infobox-full-data .locmap div{background:transparent!important}}@media screen and (prefers-color-scheme:dark){html.skin-theme-clientpref-os .mw-parser-output .locmap img{filter:grayscale(0.6)}html.skin-theme-clientpref-os .mw-parser-output .od,html.skin-theme-clientpref-os .mw-parser-output .od .pv>div,html.skin-theme-clientpref-os .mw-parser-output .od .pl>div,html.skin-theme-clientpref-os .mw-parser-output .od .pr>div{background:white!important;color:#000!important}html.skin-theme-clientpref-os .mw-parser-output .infobox-full-data .locmap div{background:transparent!important}}

/* end https://en.wikipedia.org/ */

</style><div class="center"><div class="locmap" style="width:250px;float:none;clear:both;margin-left:auto;margin-right:auto"><div style="width:250px;padding:0"><div style="position:relative;width:250px"><span class="notpageimage noviewer" typeof="mw:File"></span><div class="od notheme" style="top:67.198%;left:51.501%;font-size:91%"><div class="id" style="left:-4px;top:-4px"><span class="notpageimage noviewer" typeof="mw:File"><span title="Scrovegni Chapel"></span></span></div></div></div><div style="padding-top:0.2em"><div style="line-height:1.2em;">Location of Scrovegni Chapel in Veneto</div></div><span class="switcher-label" style="display:none">Show map of Veneto</span></div></div></div><div class="center"><div class="locmap" style="width:250px;float:none;clear:both;margin-left:auto;margin-right:auto"><div style="width:250px;padding:0"><div style="position:relative;width:250px"><span class="notpageimage noviewer" typeof="mw:File"></span><div class="od notheme" style="top:16.431%;left:44.371%;font-size:91%"><div class="id" style="left:-4px;top:-4px"><span class="notpageimage noviewer" typeof="mw:File"><span title="Scrovegni Chapel"></span></span></div></div></div><div style="padding-top:0.2em">Scrovegni Chapel (Italy)</div><span class="switcher-label" style="display:none">Show map of Italy</span></div></div></div></div></td></tr></tbody></table>

<p>The <b>Scrovegni Chapel</b> (<a href="Italian_language" title="Italian language">Italian</a>: <i lang="it"><b>Cappella degli Scrovegni</b></i> <span class="IPA nowrap" lang="it-Latn-fonipa">[kapˈpɛlla<span class="wrap"> </span>deʎʎi<span class="wrap"> </span>skroˈveɲɲi]</span>), also known as the <b>Arena Chapel</b>, is a small church, adjacent to the <a href="Augustinian_order" class="mw-redirect" title="Augustinian order">Augustinian</a> monastery, the <i>Monastero degli Eremitani</i> in <a href="Padua" title="Padua">Padua</a>, region of <a href="Veneto" title="Veneto">Veneto</a>, Italy. The chapel and monastery are now part of the complex of the <a href="Musei_Civici_di_Padova" title="Musei Civici di Padova">Musei Civici di Padova</a>.

</p><p>The chapel contains a <a href="Fresco" title="Fresco">fresco</a> cycle by <a href="Giotto" title="Giotto">Giotto</a>, completed around 1305 and an important masterpiece of <a href="Western_art" class="mw-redirect" title="Western art">Western art</a>. In 2021, the chapel was declared part of the <a href="UNESCO_World_Heritage_Site" class="mw-redirect" title="UNESCO World Heritage Site">UNESCO World Heritage Site</a> of <a href="Padua's_fourteenth-century_fresco_cycles" title="Padua's fourteenth-century fresco cycles">14th-century fresco cycles</a> composed of 8 historical buildings in Padua city centre.<sup id="cite_ref-3" class="reference"><a href="#cite_note-3"><span class="cite-bracket">[</span>2<span class="cite-bracket">]</span></a></sup> The Scrovegni Chapel contains the most important frescoes that marked the beginning of a revolution in <a href="Mural_painting" class="mw-redirect" title="Mural painting">mural painting</a> and influenced fresco technique, style, and content for a whole century.

</p>

<div class="mw-heading mw-heading2"><h2 id="Description">Description</h2></div>

<p>Giotto and his team covered all the internal surfaces of the chapel with frescoes, including the walls and the ceiling. The nave is 20.88 metres long, 8.41 metres wide, and 12.65 metres high. The apse area is composed of a square area (4.49 meters deep and 4.31 meters wide) and a pentagonal area (2.57 meters deep). The largest element is extensive cycles showing the <a href="Life_of_Christ_in_art" title="Life of Christ in art">Life of Christ</a> and the <a href="Life_of_the_Virgin" title="Life of the Virgin">Life of the Virgin</a>. The wall at the rear of the church, through which the chapel is entered, has a large <i>Last Judgement</i>. There are also panels in <a href="Grisaille" title="Grisaille">grisaille</a> (monochrome) showing the Vices and Virtues.

</p><p>The church was dedicated to <i>Santa Maria della Carità</i> at the <a href="Feast_of_the_Annunciation" title="Feast of the Annunciation">Feast of the Annunciation</a>, 1303, and <a href="Consecration" class="mw-redirect" title="Consecration">consecrated</a> in 1305. Much of Giotto's fresco cycle focuses on the life of the <a href="Virgin_Mary" class="mw-redirect" title="Virgin Mary">Virgin Mary</a> and celebrates <a href="Co-Redemptrix" title="Co-Redemptrix">her role</a> in human <a href="Salvation" title="Salvation">salvation</a>. A <a href="Motet" title="Motet">motet</a> by <a href="Marchetto_da_Padova" title="Marchetto da Padova">Marchetto da Padova</a> appears to have been composed for the dedication on 25 March 1305.<sup id="cite_ref-4" class="reference"><a href="#cite_note-4"><span class="cite-bracket">[</span>3<span class="cite-bracket">]</span></a></sup> The chapel is also known as the Arena Chapel because it was built on land purchased by <a href="Enrico_Scrovegni" class="mw-redirect" title="Enrico Scrovegni">Enrico Scrovegni</a> that abutted the site of a <a href="Amphitheatre" title="Amphitheatre">Roman arena</a>. The space was where an open-air <a href="Procession" title="Procession">procession</a> and sacred representation of the Annunciation to the Virgin had been played out for a generation before the chapel was built.<sup id="cite_ref-5" class="reference"><a href="#cite_note-5"><span class="cite-bracket">[</span>4<span class="cite-bracket">]</span></a></sup>

</p>

<div class="mw-heading mw-heading2"><h2 id="History">History</h2></div>

<div class="mw-heading mw-heading3"><h3 id="Building_and_decoration">Building and decoration</h3></div>

<p>The Arena Chapel was commissioned to Giotto by the affluent Paduan banker, <a href="Enrico_degli_Scrovegni" title="Enrico degli Scrovegni">Enrico Scrovegni</a>.<sup id="cite_ref-6" class="reference"><a href="#cite_note-6"><span class="cite-bracket">[</span>5<span class="cite-bracket">]</span></a></sup> In the early 1300s Enrico purchased from Manfredo Dalesmanini the area on which the Roman arena had stood. Here he had his luxurious palace built, as well as a chapel annexed to it. The chapel's project was twofold: to serve as the family's private oratory and as a funerary monument for himself and his wife. Enrico commissioned Giotto, the famous Florentine painter, to decorate his chapel. Giotto had previously worked for the Franciscan friars in <a href="Assisi" title="Assisi">Assisi</a> and <a href="Rimini" title="Rimini">Rimini</a>, and had been in Padua for some time, working for the <a href="Basilica_of_Saint_Anthony_of_Padua" title="Basilica of Saint Anthony of Padua">Basilica of Saint Anthony</a> in the Sala del Capitolo and in the Blessings's Chapel.

</p><p>A number of 14th-century sources (Riccobaldo Ferrarese, <a href="Francesco_da_Barberino" title="Francesco da Barberino">Francesco da Barberino</a>, 1312–1313) testify to Giotto's presence at the Arena Chapel's site. The fresco cycle can be dated with a good approximation to a series of documentary testimonies: the purchase of the land took place on 6 February 1300; the bishop of Padua, Ottobono dei Razzi, authorised the building some time prior to 1302 (the date of his transferral to the Patriarcato of Aquileia); the chapel was first consecrated on 25 March 1303, the feast day of the <a href="Annunciation" title="Annunciation">Annunciation</a>; on 1 March 1304 <a href="Pope_Benedict_XI" title="Pope Benedict XI">Pope Benedict XI</a> granted an <a href="Indulgence" title="Indulgence">indulgence</a> to whoever visited the chapel; one year later on 25 March 1305 the chapel received its definitive consecration. Giotto's work thus falls in the period from 25 March 1303 to 25 March 1305.

</p>

<p>Giotto, who was born around 1267, was 36–38 years old when he worked at Enrico Scrovegni's chapel. He had a team of about 40 collaborators, and they calculated that 625 work days (<i>giornate</i>) were necessary to paint the chapel. A "work day" meant that portion of each fresco that could be painted before the plaster dried and was no longer "fresh" (<i>fresco</i> in Italian ).

</p><p>In January 1305, friars from the nearby <a href="Church_of_the_Eremitani" title="Church of the Eremitani">Church of the Eremitani</a> filed a complaint to the bishop, protesting that Scrovegni had not respected the original agreement. Scrovegni was transforming his private oratory into a church with a bell tower, thus producing unfair competition with the Eremitani's activities. We do not know what happened next, but it is likely that, as a consequence of this complaint, the monumental <a href="Apse" title="Apse">apse</a> and the wide <a href="Transept" title="Transept">transept</a> were demolished. Both are visible on a model of the church painted by Giotto on the counter-façade (the <i>Last Judgement</i>). The apse was the section where Enrico Scrovegni had meant to have his tomb. The presence of frescoes dating to after 1320 supports the demolition hypothesis proposed by <a href="Giuliano_Pisani" title="Giuliano Pisani">Giuliano Pisani</a>. The apse, the most significant area in all churches, is where Enrico and his wife, Jacopina d'Este, were buried.

</p><p>This apse presents a narrowing of the space which gives a sense of its being incomplete and inharmonious. When one observes the lower frame of the <a href="Triumphal_arch" title="Triumphal arch">triumphal arch</a>, right above <a href="Saint_Catherine_of_Alexandria" class="mw-redirect" title="Saint Catherine of Alexandria">Saint Catherine of Alexandria's</a> <a href="Saint_Catherine_of_Alexandria_Polyptych" title="Saint Catherine of Alexandria Polyptych">small altar piece</a>, Giotto's perfect symmetry is altered by a fresco decoration representing two medallions with busts of female saints, a <a href="Lunette" title="Lunette">lunette</a> with Christ in glory, and two episodes from the Passion (the prayer in the <a href="Gethsemane" title="Gethsemane">Garden of Gethsemane</a> and the <a href="Flagellation_of_Christ" title="Flagellation of Christ">Flagellation of Christ</a>, which together give an overall sense of disharmony. The artist who painted these scenes also painted the greater part of the apse, an unknown artist called "The Master of the Scrovegni Choir" who worked at the Chapel about twenty years after Giotto's work was completed. The main focus of the unknown artist's work is constituted by six monumental scenes on the side walls of the <a href="Chancel" title="Chancel">chancel</a> that depict the last period of Mary's earthly life. This choice is in tune with the iconographic program inspired by Alberto da Padova and painted by Giotto.

</p>

<div class="mw-heading mw-heading3"><h3 id="Modern_period">Modern period</h3></div>

<p>The chapel was originally connected with the Scrovegni palace, which was built on what remained of the foundations of the elliptical ancient Roman arena. The palace was demolished in 1827 in order to sell the precious materials it contained and to erect two condominiums in its place. The chapel was purchased by the Municipality of the City of Padua in 1881, a year after the City Council's deliberation of 10 May 1880 leading to a decision to demolish the condominiums and restore the chapel.

</p><p>In June 2001, following a preparation study lasting over 20 years, the <a href="Istituto_Centrale_per_il_Restauro" class="mw-redirect" title="Istituto Centrale per il Restauro">Istituto Centrale per il Restauro</a> (Central Institute for Restoration) of the Ministry for Cultural Activities, in collaboration with Padua's Town Hall in its capacity of owner of the Arena Chapel, started a full-scale restoration of Giotto's frescoes under the late Giuseppe Basile's technical direction. In 2000 the consolidation and restoration of the external surfaces had been completed and the adjacent "Corpo Tecnologico Attrezzato" (CTA) had been installed. In this "equipped technological chamber" visitors wait for fifteen minutes to allow their body humidity to be lowered and any accompanying smog dust to be filtered out. In March 2002 the chapel was reopened to the public in its original splendor. A few problems remain unsolved, such as flooding in the crypt under the nave due to the presence of an underlying aquifer, and the negative effect on the building's stability of the cement inserts that replaced the original wooden ones in the 1960s.

</p>

<div class="mw-heading mw-heading3"><h3 id="Scholarly_debates">Scholarly debates</h3></div>

<p><a href="Giuliano_Pisani" title="Giuliano Pisani">Giuliano Pisani</a>'s studies argued that a number of commonly held beliefs concerning the chapel are groundless, among them, the notion that <a href="Dante" class="mw-redirect" title="Dante">Dante</a> inspired Giotto. However, a posthumous portrait of Dante was included in the Paradise section of the frescoes.<sup id="cite_ref-7" class="reference"><a href="#cite_note-7"><span class="cite-bracket">[</span>6<span class="cite-bracket">]</span></a></sup> Another claim was that the theological program followed by Giotto is based on St <a href="Thomas_Aquinas" title="Thomas Aquinas">Thomas Aquinas</a>, whereas Pisani claims it to be wholly Augustinian. Pisani also argued against the conjecture that the <a href="Order_of_the_Blessed_Virgin_Mary" title="Order of the Blessed Virgin Mary">Frati Gaudenti</a> fraternity, of which Enrico Scrovegni was a member, influenced the content of Giotto's fresco cycle.<sup id="cite_ref-8" class="reference"><a href="#cite_note-8"><span class="cite-bracket">[</span>7<span class="cite-bracket">]</span></a></sup> He also argued against the belief that Enrico Scrovegni required that the iconography program have no emphasis placed on the sin of <a href="Usury" title="Usury">usury</a>. Giuliano Pisani pointed out that Dante's condemnation of Scrovegni's father, Reginaldo, as a usurer in <a href="Canto" title="Canto">Canto</a> 17 of the <i><a href="Inferno_(Dante)" title="Inferno (Dante)">Inferno</a></i> dates to a few years after Giotto's completion of the chapel, so it cannot be regarded as a motive behind any theological anxieties on the part of Enrico Scrovegni. Pisani's arguments have not yet been widely embraced by the scholarly community, and that debates persist regarding the impetus for the chapel's creation and the reasons behind its design.

</p><p>According to Pisani,<sup id="cite_ref-9" class="reference"><a href="#cite_note-9"><span class="cite-bracket">[</span>8<span class="cite-bracket">]</span></a></sup> Giotto painted the chapel's inner surface following a comprehensive iconographic and decorative project devised by the Augustinian theologian, Friar Alberto da Padova. Among the sources utilized by Giotto following Friar Alberto's advice are the Apocryphal Gospels of <a href="Pseudo-Matthew" class="mw-redirect" title="Pseudo-Matthew">Pseudo-Matthew</a> and <a href="Nicodemus" title="Nicodemus">Nicodemus</a>, the <a href="Golden_Legend" title="Golden Legend">Golden Legend</a> (<i>Legenda aurea</i>) by <a href="Jacobus_de_Voragine" title="Jacobus de Voragine">Jacobus de Voragine</a> and, for a few minute iconographic details, <a href="Pseudo-Bonaventure" title="Pseudo-Bonaventure">Pseudo-Bonaventure</a>'s <i><a href="Meditationes_Vitae_Christi" class="mw-redirect" title="Meditationes Vitae Christi">Meditations on the Life of Jesus Christ</a></i>, as well as a number of <a href="Augustinianism" title="Augustinianism">Augustinian</a> texts, such as <i>De doctrina Christiana</i>, <i><a href="De_libero_arbitrio_(Augustine)" class="mw-redirect" title="De libero arbitrio (Augustine)">De libero arbitrio</a></i>, <i>De Genesi contra Manicheos</i>, <i>De quantitate animae</i>, and other texts from the Medieval Christian tradition, among which is the <i>Phisiologus</i>.<sup id="cite_ref-10" class="reference"><a href="#cite_note-10"><span class="cite-bracket">[</span>9<span class="cite-bracket">]</span></a></sup>

</p><p>Most Giotto scholarship believes that Giotto had made a number of theological mistakes. For instance, Giotto placed Hope after Charity in the <a href="Virtue" title="Virtue">Virtues</a> series, and did not include <a href="Greed" title="Greed">Avarice</a> in the <a href="Vice" title="Vice">Vices</a> series, due to the usual representation of Enrico Scrovegni as a usurer. Giuliano Pisani asserts that Giotto followed a careful and deliberate theological programme based on <a href="Augustine_of_Hippo" title="Augustine of Hippo">Saint Augustine</a> and devised by Friar Alberto da Padova. Avarice, far from being "absent" in Giotto's cycle, is portrayed with <a href="Envy" title="Envy">Envy</a>, forming with it a fundamental component of a more comprehensive sin. For this reason Envy is placed facing the virtue of Charity, to indicate that Charity is the exact opposite of Envy, and that in order to cure oneself of the sin of Envy one needs to learn from <a href="Charity_(practice)" title="Charity (practice)">Charity</a>. Charity crushes Envy's money bag under her feet, while on the opposite wall red flames burn under Envy's feet.<sup id="cite_ref-11" class="reference"><a href="#cite_note-11"><span class="cite-bracket">[</span>10<span class="cite-bracket">]</span></a></sup>

</p>

<div class="mw-heading mw-heading3"><h3 id="The_depiction_of_the_sacred_stories,_and_the_message_of_the_vault">The depiction of the sacred stories, and the message of the vault</h3></div>

<p>Giotto frescoed the chapel's whole surface, including the walls and the ceiling. The fresco cycle is organized along four tiers, each of which contains episodes from the stories of the various protagonists of the Sacred History. Each tier is divided into frames, each forming a scene. The chapel is asymmetrical in shape, with six windows on the longer south wall, and this shape determined the layout of the decoration. The first step was choosing to place two frames between each double window set on the south wall; secondly, the width and height of the tiers was fixed in order to calculate the same space on the opposite north wall.

</p><p>Cycles of scenes showing the <a href="Life_of_Christ_in_art" title="Life of Christ in art">Life of Christ</a> and the <a href="Life_of_the_Virgin" title="Life of the Virgin">Life of the Virgin</a> were the grandest form of religious art in the period, and Giotto's cycle is unusually large and comprehensive, showing the ambition of the commission. Allowing for this, the selection and <a href="Iconography" title="Iconography">iconography</a> of the scenes is broadly comparable to other contemporary cycles; Giotto's innovation lies in the monumentality of his forms and the clarity of his compositions.

</p><p>The cycle recounts the story of salvation. It starts from high up on the lunette of the triumphal arch, with the uncommon scene of <a href="God_the_Father" title="God the Father">God the Father</a> instructing the <a href="Archangel_Gabriel" class="mw-redirect" title="Archangel Gabriel">Archangel Gabriel</a> to perform the <a href="Annunciation_to_Mary" class="mw-redirect" title="Annunciation to Mary">Annunciation to Mary</a>.<sup id="cite_ref-12" class="reference"><a href="#cite_note-12"><span class="cite-bracket">[</span>11<span class="cite-bracket">]</span></a></sup> The narrative continues with the stories of Joachim and Anne (first tier from the top, south wall) and the stories of Mary (first tier from the top, north wall). After a return to the triumphal arch, the scenes of the <a href="Annunciation" title="Annunciation">Annunciation</a> and the <a href="Visitation_(Christianity)" title="Visitation (Christianity)">Visitation</a> follow. The stories of Christ were placed on the middle tier of the south and north walls. The scene of Judas receiving the money to betray Jesus is on the triumphal arch. The lower tier of the south and north walls shows the Passion and Resurrection; the last frame on the north wall shows the Pentecost. The fourth tier begins at ground level with the monochromes of the Vices (north wall) and the Virtues (south wall). The west wall (counter-façade) presents the Last Judgment.

</p><p>The scenes depicted are as follows:

</p><p>Sacred stories:

</p><p>Triumphal arch (lunette):

</p>

<ul><li>The <a href="Annunciation_to_Mary" class="mw-redirect" title="Annunciation to Mary">Annunciation to Mary</a>;</li></ul>

<p>Upper tier, south wall:

</p>

<ul><li>The Expulsion of <a href="Joachim" title="Joachim">Joachim</a></li>

<li>Joachim amongst the shepherds</li>

<li>An <a href="Angel" title="Angel">angel</a> comes to <a href="Saint_Anne" title="Saint Anne">Anna</a> in prayer announcing the birth of Mary</li>

<li>Joachim sacrifices a kid goat to the Lord</li>

<li>Joachim's dream</li>

<li>Joachim meets Anna at <a href="Golden_Gate_(Jerusalem)" title="Golden Gate (Jerusalem)">the Golden Gate</a></li></ul>

<p>Upper tier, north wall:

</p>

<ul><li><a href="Nativity_of_Mary" title="Nativity of Mary">Nativity of Mary</a> and her bathing as an infant</li>

<li><a href="Presentation_of_Mary" title="Presentation of Mary">Presentation of Mary</a> at the Temple</li>

<li>The bringing of the branches</li>

<li>Prayer for the blossoming of the branches</li>

<li>The <a href="Marriage_of_the_Virgin" title="Marriage of the Virgin">marriage of the Virgin</a></li>

<li>The nuptial cortege</li></ul>

<p>Triumphal arch:

</p>

<ul><li>The Annunciation</li>

<li><a href="Visitation_(Catholic)" class="mw-redirect" title="Visitation (Catholic)">Visitation</a></li></ul>

<p>Middle tier, south wall:

</p>

<ul><li>The <a href="Nativity_of_Jesus" title="Nativity of Jesus">Nativity of Jesus</a></li>

<li>The <a href="Adoration_of_the_Magi" title="Adoration of the Magi">Adoration of the Magi</a></li>

<li>The <a href="Presentation_of_Jesus_at_the_Temple" class="mw-redirect" title="Presentation of Jesus at the Temple">Presentation of Jesus at the Temple</a></li>

<li>The <a href="Flight_into_Egypt" title="Flight into Egypt">Flight into Egypt</a></li>

<li>The <a href="Massacre_of_the_Innocents" title="Massacre of the Innocents">Massacre of the Innocents</a></li></ul>

<p>Middle tier, north wall:

</p>

<ul><li>The <a href="Finding_in_the_Temple" title="Finding in the Temple">Finding in the Temple</a> (Jesus among the doctors)</li>

<li>The <a href="Baptism_of_Jesus" title="Baptism of Jesus">Baptism of Jesus</a></li>

<li>The <a href="Wedding_at_Cana" title="Wedding at Cana">Wedding at Cana</a></li>

<li>The Resurrection of <a href="Lazarus_of_Bethany" title="Lazarus of Bethany">Lazarus</a></li>

<li><a href="Palm_Sunday" title="Palm Sunday">Christ enters Jerusalem</a></li>

<li><a href="Cleansing_of_the_Temple" title="Cleansing of the Temple">Casting out the money changers</a></li></ul>

<p>Triumphal arch:

</p>

<ul><li><a href="Judas_Iscariot" title="Judas Iscariot">Judas</a>'s betrayal</li></ul>

<p>Lower tier, south wall:

</p>

<ul><li><a href="The_Last_Supper" class="mw-redirect" title="The Last Supper">The Last Supper</a></li>

<li>The washing of the feet</li>

<li><a href="The_Kiss_of_Judas" class="mw-redirect" title="The Kiss of Judas">The Kiss of Judas</a></li>

<li>Jesus before <a href="Caiaphas" title="Caiaphas">Caiaphas</a></li>

<li><a href="Flagellation_of_Christ" title="Flagellation of Christ">Flagellation of Christ</a></li></ul>

<p>Lower tier, north wall;

</p>

<ul><li>The ascent to <a href="Calvary" title="Calvary">Calvary</a></li>

<li><a href="Crucifixion" title="Crucifixion">Crucifixion</a></li>

<li><a href="Lamentation_of_Christ" title="Lamentation of Christ">Lamentation of Christ</a></li>

<li>The <a href="Resurrection_of_Jesus" title="Resurrection of Jesus">Resurrection of Jesus</a> — <i><a href="Noli_me_tangere" title="Noli me tangere">Noli me tangere</a></i></li>

<li><a href="Ascension_of_Jesus_Christ" class="mw-redirect" title="Ascension of Jesus Christ">Ascension</a></li>

<li><a href="Pentecost" title="Pentecost">Pentecost</a></li></ul>

<p>Bottom tier, north wall: Vices:

</p>

<ul><li><i>Stultitia</i></li>

<li><i>Inconstantia</i></li>

<li><i>Iniustitia</i></li>

<li><i>Infidelitas</i></li>

<li><i>Invidia</i></li>

<li><i>Desperatio</i></li></ul>

<p>Bottom tier, south wall: <a href="Seven_virtues" title="Seven virtues">Seven virtues</a>:

</p>

<ul><li><a href="Prudence" title="Prudence">Prudence</a></li>

<li><a href="Courage" title="Courage">Fortitude</a></li>

<li><a href="Temperance_(virtue)" title="Temperance (virtue)">Temperance</a></li>

<li><a href="Justice_(virtue)" title="Justice (virtue)">Justice</a></li>

<li><a href="Faith_in_Christianity" title="Faith in Christianity">Faith</a></li>

<li><a href="Charity_(virtue)" class="mw-redirect" title="Charity (virtue)">Charity</a></li>

<p>Counter-façade:

</p>

<ul><li>The <a href="Last_Judgment" title="Last Judgment">Last Judgment</a></li></ul>

<p>The vault presents the eighth day, the time of eternity, God's time, with eight planets (the tondos which enclose the seven great prophets of the Old Testament plus John the Baptist) and two suns (which show God and the Madonna and Child), while the blue sky is studded with eight-point stars (8, sideways, symbolises infinity).

</p>

<div class="mw-heading mw-heading3"><h3 id="The_monochrome_personifications_of_Vices_and_Virtues">The monochrome personifications of Vices and Virtues</h3></div>

<p>The bottom tiers of the side walls feature 14 <a href="Personification" title="Personification">personifications</a> in <i><a href="Grisaille" title="Grisaille">grisaille</a></i>, representing single figures of Vices on the north wall and Virtues on the south wall. The Vices are <i>Stultitia, Inconstantia, Ira, Iniusticia, Infidelitas, Invidia</i>, and <i>Desperatio</i>. The Virtues are grouped as follows: the <a href="Four_cardinal_virtues" class="mw-redirect" title="Four cardinal virtues">four cardinal virtues</a>: <i>Prudentia, Iustitia, Temperantia, Fortitudo</i>, followed by the three theological ones: <i>Fides, Karitas, Spes</i>. Each virtue and vice is embedded within a mirror-like marble frame. The name of the vice or the virtue is written in Latin on top of each figure, indicating what these figures represent, namely, the seventh day (the time between Jesus's birth and the Final Judgement).

</p><p>According to the controversial theory of <a href="Giuliano_Pisani" title="Giuliano Pisani">Giuliano Pisani</a>, the Vices and Virtues read starting from the altar's side, going towards the counter-façade (Final Judgement), and the sequence is not "Vices first, then Virtues" as was long believed. It rather proceeds from Vice 1 (<i>Stultitia</i>) (north wall, right hand side) to Virtue 1 (<i>Prudencia</i>) (south wall, left hand side), to Vice 2 (<i>Inconstantia</i>) (north wall) to Virtue 2 (<i>Fortitudo</i>) (south side), and so on. Vices and Virtues symbolise humanity's progress toward bliss (heavenly happiness). With the aid of Virtues, humanity can overcome obstacles (Vices). This is the philosophical-theological itinerary designed by Giotto's theologian, a learned theologian who drew his inspiration from Saint Augustine. The Vice-Virtue section of the Arena Chapel illustrates the philosophical-theological message underlying the overall project and is key to clarifying several points previously considered to be either obscure or the result of Giotto's only approximate theological knowledge.<sup id="cite_ref-13" class="reference"><a href="#cite_note-13"><span class="cite-bracket">[</span>12<span class="cite-bracket">]</span></a></sup> For instance, in the Arena Chapel the vices are not the traditional capital vices or deadly sins (Pride, Envy, Wrath, Sloth, Greed, Gluttony and Lust), just like the "corresponding" virtues do not reflect the traditional order, consisting in four "cardinal virtues" (Prudence, Justice, Fortitude and Temperance) and three "theological virtues" (Faith, Hope and Charity).

</p><p>A twofold therapeutic path leading to salvation is presented. The first, composed of four virtues, brings a cure by means of the opposing force provided by the cardinal virtues. The arrival point in this first part of the itinerary is Justice, <i>Iusticia</i>, who makes peace possible and therefore ensures Paradise on earth and earthly happiness. The first Vice in this first section is Stultitia, namely the incapacity to distinguish good and evil. Its cure (opposite wall) is <i>Prudencia</i>, Prudence, which in classical and theological terms is not "cautiousness" but "moral intelligence" or the capacity to distinguish good and evil. The viewer is in the sphere of Knowledge. Next comes the pair <i>Inconstantia</i>, Inconstancy, (north wall) and <i>Fortitudo</i>, Fortitude, (south wall). Fortitude (moral and mental strength) triumphs over Inconstancy's lewd oscillations by means of will. "Inconstancy" is literally "the lack of a stable seat"; it is a mix of light-headedness, volubility, and inconsistency. "Inconstancy" is portrayed as a young woman rolling over a ball, ready to fall, on a motley marble floor signifying the lack of "unity" ("constancy") which characterizes an inconstant mind. Here is the sphere of Will. Wrath, the third vice, is "tempered" by <i>Temperantia</i>, Temperance. According to Saint Augustine, <i>Temperantia</i> is the inner balance which ensures the will's stable dominion over instincts and keeps human desires within the boundaries of honesty. It is the therapy necessary to prevail over passions, which are symbolized by Wrath, because Wrath is the most perilous of all the passions: it is sudden and destructive, even against own's dearest ones, and is therefore the passion that human beings first need to learn how to control. This notion is a tenet of ancient Greek and (in its footprints) Roman philosophy, which Saint Augustine made his own and Giotto's theologian transmitted to him, fusing together a number of Saint Augustine's writings.

</p><p>Prudence, Fortitude and Temperance pertain to each individual's ethical sphere of action and have as their goal the cure of each individual "self". Ethical virtue takes form in practical application, through action and behaviour that pertain both to the personal and the social sphere and affect human relations. The notions of Justice and Injustice, the central "pair" in Giotto's Arena Chapel, emanate from this notion. Justice' perfect centrality is visually emphasized by an architectural "die", a small cube that runs above each of the various personifications in a slightly slanted way, pointing either toward the apse or the counter-façade, everywhere but above the head of Justice (south wall) and Injustice (north wall), where the small die falls in a perpendicular line, marking at the same time the exact physical half of the chapel as well as Justice's curing function from a theological-philosophical viewpoint, without forgetting that Justice is what cures the soul of the sickening effects of Injustice (on the chapel's other side).<sup id="cite_ref-14" class="reference"><a href="#cite_note-14"><span class="cite-bracket">[</span>13<span class="cite-bracket">]</span></a></sup>

</p><p>Those who have successfully progressed in their therapeutic path have attained Justice. Those who have not, have attained Injustice. Those who have attained Justice have practiced a soul's therapy that can be defined as "human" and that led them to earthly happiness. They used as their therapy the "medicina animi", the "soul's medicine" provided by the cardinal virtues (in the sequence Prudence-Fortitude-Temperance-Justice), namely the moral and intellectual virtues with whose "medicine" human beings can be cured of, and are able to prevail over, the opposing vices.

</p><p>Next come the theological virtues. In order to be able to aspire to heavenly Paradise one needs divine teaching, the revelation of truth, with which one overcomes and transcends human reason, and to practice the theological virtues. The "divine therapy" begins with the rejection of false beliefs (<i>Infidelitas</i>) through Faith in God (<i>Fides</i>). Only with the "medicine" of Charity (Karitas) can man overcome Selfishness and Envy (<i>Invidia</i>), which lead him to look with malevolent eyes (Latin <i>in-vidēre</i>) at his neighbour, who is also made by God in His likeness. Finally, with the aid (the medicine), Hope (<i>Spes</i>) can be contrasted with Lack of Hope, or Desperation (<i>Desperatio</i>). Hope is an attitude consisting in actively waiting for God's future blessings which descend from trust in God and in His word, and also consisting in love, through the love of God, of the whole of humankind.

</p><p>The sources of this extraordinary program were identified by Pisani in a number of passages of Saint Augustine's works. Everything finds a perfect correspondence with something else. It is the theme of the "therapy of opposites", the sequential order of the cardinal and theological virtues, and the centrality of Justice.

</p>

<div class="mw-heading mw-heading2"><h2 id="In_literature">In literature</h2></div>

<p>Giotto's painting of Charity is frequently cited in <a href="Remembrance_of_Things_Past" class="mw-redirect" title="Remembrance of Things Past">Remembrance of Things Past</a> by <a href="Marcel_Proust" title="Marcel Proust">Marcel Proust</a>. Mr. Swann likens the kitchen maid to this painting and it becomes something of a joke between him and the narrator.

</p><p>Amongst those artists who derived inspiration from the Chapel, British painter Sir Stanley Spencer (1891-1959) is known to have based the scale and narrative sequence for the Sandham Memorial Chapel at Burghclere, near Newbury, England (1924-32). <sup id="cite_ref-15" class="reference"><a href="#cite_note-15"><span class="cite-bracket">[</span>14<span class="cite-bracket">]</span></a></sup>

</p>

<div class="mw-heading mw-heading2"><h2 id="Images">Images</h2></div>

<th>Image

</th>

<th>Name

</th>

<th>Size (cm)

</th>

<th>Image

</th>

<th>Name

</th>

<th>Size (cm)

</th></tr>

<tr>

<td><i>The Expulsion of Joachim</i></td>

<td><i><a href="Birth_of_the_Virgin_Mary" class="mw-redirect" title="Birth of the Virgin Mary">The Birth of the Virgin</a></i></td>

<td>200x185

</td></tr>

<tr>

<td><i>Joachim among the Shepherds</i></td>

<td><i><a href="Presentation_of_Mary" title="Presentation of Mary">Presentation of Mary at the Temple</a></i></td>

<td>200x185

</td></tr>

<tr>

<td><i>Annunciation to St Anne</i></td>

<td><i>The Bringing of the Rods to the Temple</i></td>

<td>200x185

</td></tr>

<tr>

<td><i>Joachim's Sacrificial Offering</i></td>

<td><i>The Suitors Praying</i></td>

<td>200x185

</td></tr>

<tr>

<td><i>Joachim's dream</i></td>

<td><i><a href="Marriage_of_the_Virgin" title="Marriage of the Virgin">Marriage of the Virgin</a></i></td>

<td>200x185

</td></tr>

<tr>

<td><i><a href="Joachim_and_Anne_Meeting_at_the_Golden_Gate" title="Joachim and Anne Meeting at the Golden Gate">Joachim and Anne Meeting at the Golden Gate</a></i></td>

<td><i>Wedding Procession</i></td>

<td>200x185

</td></tr>

<tr>

<td><i><a href="Annunciation" title="Annunciation">Annunciation</a> – The Angel Gabriel Sent by God</i></td>

<td><i><a href="Annunciation" title="Annunciation">Annunciation</a> – The Virgin Receiving the Message</i></td>

<td>150x195

</td></tr></tbody></table>

<div class="mw-heading mw-heading3"><h3 id="The_life_of_Christ">The life of Christ</h3></div>

<th>Image

</th>

<th>Name

</th>

<th>Size (cm)

</th>

<th>Image

</th>

<th>Name

</th>

<th>Size (cm)

</th></tr>

<tr>

<td><i><a href="Visitation_(Christianity)" title="Visitation (Christianity)">Visitation</a></i></td>

<td><i>Judas' Betrayal</i></td>

<td>150x140

</td></tr>

<tr>

<td><i><a href="Nativity_of_Jesus" title="Nativity of Jesus">Nativity – Birth of Jesus</a></i></td>

<td><i><a href="Last_Supper" title="Last Supper">Last Supper</a></i></td>

<td>200x185

</td></tr>

<tr>

<td><i><a href="Adoration_of_the_Magi" title="Adoration of the Magi">Adoration of the Magi</a></i></td>

<td><i><a href="Maundy_(foot_washing)" title="Maundy (foot washing)">Washing of Feet</a></i></td>

<td>200x185

</td></tr>

<tr>

<td><i><a href="Presentation_of_Jesus_at_the_Temple" class="mw-redirect" title="Presentation of Jesus at the Temple">Presentation of Christ at the Temple</a></i></td>

<td><i><a href="Kiss_of_Judas" title="Kiss of Judas">The Arrest of Christ (Kiss of Judas)</a></i></td>

<td>200x185

</td></tr>

<tr>

<td><i><a href="Flight_into_Egypt" title="Flight into Egypt">Flight into Egypt</a></i></td>

<td><i>Christ before <a href="Caiaphas" title="Caiaphas">Caiaphas</a></i></td>

<td>200x185

</td></tr>

<tr>

<td><i><a href="Massacre_of_the_Innocents" title="Massacre of the Innocents">Massacre of the Innocents</a></i></td>

<td><i><a href="Mocking_of_Jesus" title="Mocking of Jesus">Christ mocked</a></i></td>

<td>200x185

</td></tr>

<tr>

<td><i><a href="Christ_among_the_Doctors" class="mw-redirect" title="Christ among the Doctors">Christ among the Doctors</a></i></td>

<td><i>Road to <a href="Calvary" title="Calvary">Calvary</a></i></td>

<td>200x185

</td></tr>

<tr>

<td><i><a href="Baptism_of_Christ" class="mw-redirect" title="Baptism of Christ">Baptism of Christ</a></i></td>

<td><i><a href="Crucifixion_of_Jesus" title="Crucifixion of Jesus">Crucifixion</a></i></td>

<td>200x185

</td></tr>

<tr>

<td><i><a href="Marriage_at_Cana" class="mw-redirect" title="Marriage at Cana">Marriage at Cana</a></i></td>

<td><i><a href="Lamentation_of_Christ" title="Lamentation of Christ">Lamentation (The Mourning of Christ)</a></i></td>

<td>200x185

</td></tr>

<tr>

<td><i><a href="Raising_of_Lazarus" class="mw-redirect" title="Raising of Lazarus">Raising of Lazarus</a></i></td>

<td><i><a href="Resurrection_of_Jesus" title="Resurrection of Jesus">Resurrection (Noli me tangere)</a></i></td>

<td>200x185

</td></tr>

<tr>

<td><i><a href="Entry_into_Jerusalem" class="mw-redirect" title="Entry into Jerusalem">Entry into Jerusalem</a></i></td>

<td><i><a href="Ascension_of_Jesus" title="Ascension of Jesus">Ascension</a></i></td>

<td>200x185

</td></tr>

<tr>

<td><i><a href="Cleansing_of_the_Temple" title="Cleansing of the Temple">Expulsion of the Money-changers from the Temple</a></i></td>

<td><i><a href="Pentecost" title="Pentecost">Pentecost</a></i></td>

<td>200x185

</td></tr>

<tr>

<td><i>Coretto</i></td>

<td><i>Coretto</i></td>

<td>150x140

</td></tr></tbody></table>

<div class="mw-heading mw-heading3"><h3 id="Vices_and_Virtues">Vices and Virtues</h3></div>

<th>Image

</th>

<th>Name

</th>

<th>Size (cm)

</th>

<th>Image

</th>

<th>Name

</th>

<th>Size (cm)

</th></tr>

<tr>

<td><i><a href="Prudence" title="Prudence">Prudence</a></i></td>

<td><i><a href="Foolishness" title="Foolishness">Foolishness</a></i></td>

<td>120x55

</td></tr>

<tr>

<td><i><a href="Courage" title="Courage">Fortitude</a></i></td>

<td><i>Inconstancy</i></td>

<td>120x55

</td></tr>

<tr>

<td><i><a href="Temperance_(virtue)" title="Temperance (virtue)">Temperance</a></i></td>

<td><i><a href="Wrath" class="mw-redirect" title="Wrath">Wrath</a></i></td>

<td>120x55

</td></tr>

<tr>

<td><i><a href="Justice" title="Justice">Justice</a></i></td>

<td><i><a href="Injustice" title="Injustice">Injustice</a></i></td>

<td>120x60

</td></tr>

<tr>

<td><i><a href="Faith" title="Faith">Faith</a></i></td>

<td><i><a href="Infidelity" title="Infidelity">Infidelity</a></i></td>

<td>120x55

</td></tr>

<tr>

<td><i><a href="Charity_(Christian_virtue)" title="Charity (Christian virtue)">Charity</a></i></td>

<td>120x55

</td></tr>

<tr>

<td><i><a href="Hope_(virtue)" title="Hope (virtue)">Hope (virtue)</a></i></td>

<td><i><a href="Despair" class="mw-redirect" title="Despair">Desperation</a></i></td>

<td>120x60

</td></tr></tbody></table>

<div class="mw-heading mw-heading3"><h3 id="Other">Other</h3></div>

<th>Image

</th>

<th>Name

</th>

<th>Size (cm)

</th></tr>

<tr>

<td>Vault</td>

<td>

</td></tr>

<tr>

<td><i>The <a href="Annunciation_to_Mary" class="mw-redirect" title="Annunciation to Mary">Annunciation to Mary</a></i></td>

<td>230x690

</td></tr>

<tr>

<td><i><a href="Last_Judgment" title="Last Judgment">Last Judgment</a></i></td>

<td>1000x840

</td></tr>

<tr>

<td><a href="Circumcision_of_Jesus" title="Circumcision of Jesus">Circumcision</a></td>

<td>200x40

</td></tr>

<tr>

<td><i><a href="Padua_Crucifix" title="Padua Crucifix">Crucifix</a></i></td>

<td>223x164

</td></tr></tbody></table>

<div class="mw-heading mw-heading2"><h2 id="Footnotes">Footnotes</h2></div>

/* start https://en.wikipedia.org/ */

.mw-parser-output .reflist{margin-bottom:0.5em;list-style-type:decimal}@media screen{.mw-parser-output .reflist{font-size:90%}}.mw-parser-output .reflist .references{font-size:100%;margin-bottom:0;list-style-type:inherit}.mw-parser-output .reflist-columns-2{column-width:30em}.mw-parser-output .reflist-columns-3{column-width:25em}.mw-parser-output .reflist-columns{margin-top:0.3em}.mw-parser-output .reflist-columns ol{margin-top:0}.mw-parser-output .reflist-columns li{page-break-inside:avoid;break-inside:avoid-column}.mw-parser-output .reflist-upper-alpha{list-style-type:upper-alpha}.mw-parser-output .reflist-upper-roman{list-style-type:upper-roman}.mw-parser-output .reflist-lower-alpha{list-style-type:lower-alpha}.mw-parser-output .reflist-lower-greek{list-style-type:lower-greek}.mw-parser-output .reflist-lower-roman{list-style-type:lower-roman}

/* end https://en.wikipedia.org/ */

</style><div class="reflist reflist-lower-alpha">

<li id="cite_note-1"><span class="mw-cite-backlink"><b><a href="#cite_ref-1">^</a></b></span> <span class="reference-text">Giotto's depiction of the chapel in <i>The Last Judgment</i> depicts the building without a portico.</span>

</li>

</ol></div></div>

<div class="mw-heading mw-heading2"><h2 id="Citations">Citations</h2></div>

/* start https://en.wikipedia.org/ */

.mw-parser-output cite.citation{font-style:inherit;word-wrap:break-word}.mw-parser-output .citation q{quotes:"\"""\"""'""'"}.mw-parser-output .citation:target{background-color:rgba(0,127,255,0.133)}.mw-parser-output .id-lock-free.id-lock-free a{background:url("./mw/Lock-green.svg")right 0.1em center/9px no-repeat}.mw-parser-output .id-lock-limited.id-lock-limited a,.mw-parser-output .id-lock-registration.id-lock-registration a{background:url("./mw/Lock-gray-alt-2.svg")right 0.1em center/9px no-repeat}.mw-parser-output .id-lock-subscription.id-lock-subscription a{background:url("./mw/Lock-red-alt-2.svg")right 0.1em center/9px no-repeat}.mw-parser-output .cs1-ws-icon a{background:url("./mw/Wikisource-logo.svg")right 0.1em center/12px no-repeat}body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-free a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-limited a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-registration a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-subscription a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .cs1-ws-icon a{background-size:contain;padding:0 1em 0 0}.mw-parser-output .cs1-code{color:inherit;background:inherit;border:none;padding:inherit}.mw-parser-output .cs1-hidden-error{display:none;color:var(--color-error,#d33)}.mw-parser-output .cs1-visible-error{color:var(--color-error,#d33)}.mw-parser-output .cs1-maint{display:none;color:#085;margin-left:0.3em}.mw-parser-output .cs1-kern-left{padding-left:0.2em}.mw-parser-output .cs1-kern-right{padding-right:0.2em}.mw-parser-output .citation .mw-selflink{font-weight:inherit}@media screen{.mw-parser-output .cs1-format{font-size:95%}html.skin-theme-clientpref-night .mw-parser-output .cs1-maint{color:#18911f}}@media screen and (prefers-color-scheme:dark){html.skin-theme-clientpref-os .mw-parser-output .cs1-maint{color:#18911f}}

/* end https://en.wikipedia.org/ */

</style><cite id="CITEREFEimerl1967" class="citation book cs1">Eimerl, Sarel (1967). <span class="id-lock-registration" title="Free registration required"><a rel="nofollow" class="external text" href="https://archive.org/details/worldofgiottoc100eime"><i>The World of Giotto: c. 1267–1337</i></a></span>. et al. Time-Life Books. p. <a rel="nofollow" class="external text" href="https://archive.org/details/worldofgiottoc100eime/page/109">109</a>. <a href="ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <bdi>0-900658-15-0</bdi>.</cite></span>

</li>

<li id="cite_note-3"><span class="mw-cite-backlink"><b><a href="#cite_ref-3">^</a></b></span> <span class="reference-text"><cite id="CITEREFUNESCO" class="citation web cs1">UNESCO. <a rel="nofollow" class="external text" href="https://whc.unesco.org/en/list/1623">"Padua's fourteenth-century fresco cycles, UNESCO declaration"</a>. <i>UNESCO</i><span class="reference-accessdate">. Retrieved <span class="nowrap">15 August</span> 2021</span>.</cite></span>

</li>

<li id="cite_note-4"><span class="mw-cite-backlink"><b><a href="#cite_ref-4">^</a></b></span> <span class="reference-text">Anne Robertson 'Remembering the Annunciation in Medieval Polyphony' <i>Speculum</i>70 (1995), 275–304</span>

</li>

<li id="cite_note-5"><span class="mw-cite-backlink"><b><a href="#cite_ref-5">^</a></b></span> <span class="reference-text"><cite id="CITEREFSchwarz2010" class="citation journal cs1">Schwarz, Michael Viktor (2010). "Padua, its Arena and the Arena Chapel: A Liturgical Ensemble". <i>Journal of the Warburg and Courtauld Institutes</i>. <b>73</b>: <span class="nowrap">39–</span>64. <a href="Doi_(identifier)" class="mw-redirect" title="Doi (identifier)">doi</a>:<a rel="nofollow" class="external text" href="https://doi.org/10.1086%2FJWCI41418713">10.1086/JWCI41418713</a>. <a href="JSTOR_(identifier)" class="mw-redirect" title="JSTOR (identifier)">JSTOR</a> <a rel="nofollow" class="external text" href="https://www.jstor.org/stable/41418713">41418713</a>. <a href="S2CID_(identifier)" class="mw-redirect" title="S2CID (identifier)">S2CID</a> <a rel="nofollow" class="external text" href="https://api.semanticscholar.org/CorpusID:190076925">190076925</a>.</cite></span>

</li>

<li id="cite_note-6"><span class="mw-cite-backlink"><b><a href="#cite_ref-6">^</a></b></span> <span class="reference-text"><cite id="CITEREFKohl2004" class="citation book cs1">Kohl, Benjamin G. (2004). "Giotto and his Lay Patrons". In Derbes, Anne; Sandona, Mark (eds.). <i>The Cambridge Companion to Giotto</i>. Cambridge: Cambridge University Press. pp. <span class="nowrap">176–</span>193.</cite></span>

</li>

<li id="cite_note-7"><span class="mw-cite-backlink"><b><a href="#cite_ref-7">^</a></b></span> <span class="reference-text"><cite id="CITEREFEimerl1967" class="citation book cs1">Eimerl, Sarel (1967). <span class="id-lock-registration" title="Free registration required"><a rel="nofollow" class="external text" href="https://archive.org/details/worldofgiottoc100eime"><i>The World of Giotto: c. 1267–1337</i></a></span>. et al. Time-Life Books. p. <a rel="nofollow" class="external text" href="https://archive.org/details/worldofgiottoc100eime/page/155">155</a>. <a href="ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <bdi>0-900658-15-0</bdi>.</cite></span>

</li>

<li id="cite_note-8"><span class="mw-cite-backlink"><b><a href="#cite_ref-8">^</a></b></span> <span class="reference-text"><cite id="CITEREFJacobus2008" class="citation book cs1">Jacobus, Laura (2008). <i>Giotto and the Arena Chapel: Art, Architecture and Experience</i>. Harvey Miller.</cite></span>

</li>

<li id="cite_note-9"><span class="mw-cite-backlink"><b><a href="#cite_ref-9">^</a></b></span> <span class="reference-text"><a href="Giuliano_Pisani" title="Giuliano Pisani">Giuliano Pisani</a>, <i>I volti segreti di Giotto. Le rivelazioni della Cappella degli Scrovegni</i> (Rizzoli, 2008)</span>

</li>

<li id="cite_note-10"><span class="mw-cite-backlink"><b><a href="#cite_ref-10">^</a></b></span> <span class="reference-text">Giuliano Pisani, <i>La concezione agostiniana del programma teologico della Cappella degli Scrovegni</i>, in <i>Alberto da Padova e la cultura degli agostiniani</i>, a cura di Francesco Bottin, Padova University Press 2014, pp. 215–268</span>

</li>

<li id="cite_note-11"><span class="mw-cite-backlink"><b><a href="#cite_ref-11">^</a></b></span> <span class="reference-text"><i>Alberto da Padova e la cultura degli agostiniani</i>, a cura di F. Bottin, Padova University Press 2014, pp. 1–322</span>

</li>

<li id="cite_note-12"><span class="mw-cite-backlink"><b><a href="#cite_ref-12">^</a></b></span> <span class="reference-text">Schiller, I, 47</span>

</li>

<li id="cite_note-13"><span class="mw-cite-backlink"><b><a href="#cite_ref-13">^</a></b></span> <span class="reference-text">Giuliano Pisani, <i>I volti segreti di Giotto. Le rivelazioni della Cappella degli Scrovegni</i></span>

</li>

<li id="cite_note-14"><span class="mw-cite-backlink"><b><a href="#cite_ref-14">^</a></b></span> <span class="reference-text">* <cite id="CITEREFBeck2004" class="citation journal cs1">Beck, Eleonora M. (2004). "Justice and Music in Giotto's Scrovegni Chapel Frescoes". <i>Music in Art: International Journal for Music Iconography</i>. <b>29</b> (<span class="nowrap">1–</span>2): <span class="nowrap">38–</span>51. <a href="ISSN_(identifier)" class="mw-redirect" title="ISSN (identifier)">ISSN</a> <a rel="nofollow" class="external text" href="https://search.worldcat.org/issn/1522-7464">1522-7464</a>.</cite></span>

</li>

<li id="cite_note-15"><span class="mw-cite-backlink"><b><a href="#cite_ref-15">^</a></b></span> <span class="reference-text"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://pallantbookshop.com/product/stanley-spencer-journey-to-burghclere/">"Paul Gough Journey to Burghclere"</a>.</cite></span>

</li>

</ol></div></div>

<div class="mw-heading mw-heading3"><h3 id="Bibliography">Bibliography</h3></div>

/* start https://en.wikipedia.org/ */

.mw-parser-output .refbegin{margin-bottom:0.5em}.mw-parser-output .refbegin-hanging-indents>ul{margin-left:0}.mw-parser-output .refbegin-hanging-indents>ul>li{margin-left:0;padding-left:3.2em;text-indent:-3.2em}.mw-parser-output .refbegin-hanging-indents ul,.mw-parser-output .refbegin-hanging-indents ul li{list-style:none}@media(max-width:720px){.mw-parser-output .refbegin-hanging-indents>ul>li{padding-left:1.6em;text-indent:-1.6em}}.mw-parser-output .refbegin-columns{margin-top:0.3em}.mw-parser-output .refbegin-columns ul{margin-top:0}.mw-parser-output .refbegin-columns li{page-break-inside:avoid;break-inside:avoid-column}@media screen{.mw-parser-output .refbegin{font-size:90%}}

/* end https://en.wikipedia.org/ */

</style><div class="refbegin refbegin-columns references-column-width" style="column-width: 30em">

<ul><li><cite id="CITEREFBeck2004" class="citation journal cs1">Beck, Eleonora M. (2004). "Justice and Music in Giotto's Scrovegni Chapel Frescoes". <i>Music in Art: International Journal for Music Iconography</i>. <b>29</b> (<span class="nowrap">1–</span>2): <span class="nowrap">38–</span>51. <a href="ISSN_(identifier)" class="mw-redirect" title="ISSN (identifier)">ISSN</a> <a rel="nofollow" class="external text" href="https://search.worldcat.org/issn/1522-7464">1522-7464</a>.</cite></li>

<li>Bokody, Péter. "Justice, Love and Rape: Giotto's Allegories of Justice and Injustice in the Arena Chapel, Padua." In <i>The Iconology of Law and Order</i>, ed. Anna Kerchy and others, 55–66. Szeged: JATE Press, 2012.</li>

<li><a rel="nofollow" class="external text" href="https://archiv.ub.uni-heidelberg.de/artdok/6166/1/Cordez_Les_marbres_de_Giotto_2013.pdf">Cordez, Philippe. "Les marbres de Giotto. Astrologie et naturalisme à la chapelle Scrovegni". In "Mitteilungen des kunsthistorischen Institutes in Florenz", 45/1 (2013), 8–25</a></li>

<li>Derbes, Anne, and Mark Sandona. <i>The Usurer's Heart: Giotto, Enrico Scrovegni, and the Arena Chapel in Padua</i>. <a href="Pennsylvania_State_University_Press" class="mw-redirect" title="Pennsylvania State University Press">Pennsylvania State University Press</a>, 2008.</li>

<li>Derbes, Anne, and Mark Sandona, eds. <i>The Cambridge Companion to Giotto</i>. Cambridge University Press, 2004.</li>

<li>Frugoni, Chiara <i>L'affare migliore di Enrico: Giotto e la cappella Scrovegni</i> Einaudi, 2008</li>

<li>Jacobus, Laura <i>Giotto and the Arena Chapel: Art, Architecture and Experience</i> Brepols/Harvey Miller Publications, 2008</li>

<li>Ladis, Andrew <i>Giotto's O</i> Pennsylvania State University Press, 2008</li>

<li><a href="Giuliano_Pisani" title="Giuliano Pisani">Giuliano Pisani</a>, <a rel="nofollow" class="external text" href="https://www.academia.edu/4102442/L_ispirazione_filosofico-teologica_nella_sequenza_Vizi-Virt%C3%B9_della_Cappella_degli_Scrovegni"><i>L'ispirazione filosofico-teologica nella sequenza Vizi-Virtù della Cappella degli Scrovegni</i>, «Bollettino del Museo Civico di Padova», XCIII, 2004, Milano 2005, pp. 61–97</a></li>

<li>Giuliano Pisani, <i>Terapia umana e divina nella Cappella degli Scrovegni</i>, in «Il Governo delle cose», dir. Franco Cardini, Firenze, n. 51, anno VI, 2006, pp. 97–106.</li>

<li><a rel="nofollow" class="external text" href="https://www.academia.edu/4162139/Liconologia_di_Cristo_Giudice_nella_Cappella_degli_Scrovegni">Giuliano Pisani, <i>L'iconologia di Cristo Giudice nella Cappella degli Scrovegni di Giotto</i>, in «Bollettino del Museo Civico di Padova», XCV, 2006, pp. 45–65</a></li>

<li>Giuliano Pisani, <i>Le allegorie della sovrapporta laterale d'accesso alla Cappella degli Scrovegni di Giotto</i>, in «Bollettino del Museo Civico di Padova», XCV, 2006, pp. 67–77.</li>

<li>Giuliano Pisani, <i>Il miracolo della Cappella degli Scrovegni di Giotto</i>, in <i>Modernitas</i> – <i>Festival della modernità</i> (Milano 22–25 giugno 2006), Spirali, Milano 2006, pp. 329–57.</li>

<li>Giuliano Pisani, <i>Una nuova interpretazione del ciclo giottesco agli Scrovegni</i>, in «Padova e il suo territorio», XXII, 125, 2007, pp. 4–8.</li>

<li>Giuliano Pisani, <i>I volti segreti di Giotto. Le rivelazioni della Cappella degli Scrovegni</i>, Rizzoli, Milano 2008, pp. 1–366. <a href="ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <bdi>978-88-17-02722-9</bdi>; Editoriale Programma, Treviso, 2015, pp. 1–366 <a href="ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <bdi>978-88-6643-353-8</bdi>.</li>

<li><a rel="nofollow" class="external text" href="https://www.academia.edu/6608705/Giotto._Il_programma_della_Cappella_degli_Scrovegni">Giuliano Pisani, <i>Il programma della Cappella degli Scrovegni</i></a>, in <i>Giotto e il Trecento</i>, catalogo a cura di A. Tomei, <a href="Skira" title="Skira">Skira</a>, Milano 2009, I – I saggi, pp.  113–127</li>

<li><a rel="nofollow" class="external text" href="https://www.academia.edu/5178881/La_fonte_agostiniana_della_figura_allegorica_femminile_sopra_la_porta_palaziale_della_Cappella_degli_Scrovegni">Giuliano Pisani, <i>La fonte agostiniana della figura allegorica femminile sopra la porta palaziale della Cappella degli Scrovegni</i>, in «Bollettino del Museo Civico di Padova», XCIX, 2010 (2014), pp.  35–46</a></li>

<li><a rel="nofollow" class="external text" href="https://www.academia.edu/11613902/La_concezione_agostiniana_del_programma_teologico_della_Cappella_degli_Scrovegni">Giuliano Pisani, <i>La concezione agostiniana del programma teologico della Cappella degli Scrovegni</i>, in <i>Alberto da Padova e la cultura degli Agostiniani,</i> a cura di F. Bottin, Padova University Press, Padova 2014, pp. 215–268</a></li>

<li>Giuliano Pisani, <i>Il capolavoro di Giotto. La Cappella degli Scrovegni</i>, Editoriale Programma, Treviso, 2015, pp. 1–176 <a href="ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <bdi>978-88-6643-350-7</bdi></li>

<li>Giuliano Pisani, <i>Dante e Giotto: la Commedia degli Scrovegni</i>, in <i>Dante fra il settecentocinquantenario della nascita (2015) e il settecentenario della morte (2021)</i>. Atti delle Celebrazioni in Senato, del Forum e del Convegno internazionale di Roma: maggio-ottobre 2015, ed. by E. Malato e A. Mazzucchi, Tomo II, Salerno Editrice, Roma 2016, pp. 799–815.</li>

<li>Giuliano Pisani, <i>Le passioni in Giotto</i>, in <i>El corazón es centro. Narraciones, representaciones y metáforas del corazón en el mundo hispánico</i>, ed. by Antonella Cancellier, Cleup, Padova 2017, pp. 550–592.</li>

<li>Giuliano Pisani, The Scrovegni Chapel, Giotto's Revolution, Translation by Laura Orsi, Philip Harvey and Stefan Mattessich, Skira, Milano 2021, pp. 1-176 (ISBN 978-88-572-4452-5)</li>

<li><a rel="nofollow" class="external text" href="https://www.academia.edu/24989584/Il_capolavoro_di_Giotto._La_Cappella_degli_Scrovegni">Giuliano Pisani, <i>Giotto and Halley's Comet</i>, in <i>From Giotto to Rosetta. 30 Years of Cometary Science from Space and Ground</i>, ed. by Cesare Barbieri and Carlo Giacomo Someda, Accademia Galileiana di Scienze, Lettere ed Arti, Padova 2017, 341–364.</a></li>

<li>Schiller, Gertud, <i>Iconography of Christian Art, Vol. I</i>, 1971 (English trans from German), Lund Humphries, London, <a href="ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <bdi>0853312702</bdi></li>

<li>Stokstad, Marilyn; <i>Art History</i>, 2011, 4th ed., <a href="ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <bdi>0-205-79094-1</bdi></li></ul>

</div>

<div class="mw-heading mw-heading2"><h2 id="Further_reading">Further reading</h2></div>

<ul><li><i>Giotto the Painter. Vol. 1: Life (with a collection of documents and texts up to Vasari and an Appendix of Sources on the Arena Chapel)</i>, by Michael Viktor Schwarz and Pia Theis with Andreas Zajic and Michaela Zöschg; Vol. 2: <i>Works</i>, by Michael Viktor Schwarz; Vol. 3: <i>Survival (Works and Practices up to Michelangelo)</i>, by Michael Viktor Schwarz, Böhlau, Vienna 2023. <a href="ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <bdi>9783205217015</bdi>.</li></ul>

<div class="mw-heading mw-heading2"><h2 id="External_links">External links</h2></div>

<table class="infobox" style="width: 210px; clear: right; float:right;margin:0 0 1.5em 1.5em"><tbody><tr><th colspan="2" class="infobox-above" style="font-size:115%">External videos</th></tr><tr><td colspan="2" class="infobox-full-data" style="text-align: left"><span typeof="mw:File"><span></span></span> <a rel="nofollow" class="external text" href="https://www.khanacademy.org/humanities/ap-art-history/early-europe-and-colonial-americas/medieval-europe-islamic-world/v/giotto-arena-scrovegni-chapel-padua-c-1305-part-1-of-4">Giotto's Arena (Scrovegni) Chapel – Part 1 Overview</a> (4:57)</td></tr><tr><td colspan="2" class="infobox-full-data" style="text-align: left"><span typeof="mw:File"><span></span></span> <a rel="nofollow" class="external text" href="https://www.khanacademy.org/humanities/ap-art-history/early-europe-and-colonial-americas/medieval-europe-islamic-world/v/giotto-arena-scrovegni-chapel-part-2-of-4">Part 2 Narrative Cycle</a> (10:14)</td></tr><tr><td colspan="2" class="infobox-full-data" style="text-align: left"><span typeof="mw:File"><span></span></span> <a rel="nofollow" class="external text" href="https://www.khanacademy.org/humanities/ap-art-history/early-europe-and-colonial-americas/medieval-europe-islamic-world/v/giotto-arena-scrovegni-chapel-part-3-of-4">Part 3 The Lamentation</a> (5:42)</td></tr><tr><td colspan="2" class="infobox-full-data" style="text-align: left"><span typeof="mw:File"><span></span></span> <a rel="nofollow" class="external text" href="https://www.khanacademy.org/humanities/ap-art-history/early-europe-and-colonial-americas/medieval-europe-islamic-world/v/giotto-arena-scrovegni-chapel-part-4-of-4">Part 4 The Last Judgment</a> (6:23)</td></tr></tbody></table>

<ul><li><span class="noviewer" typeof="mw:File"></span> Media related to <a href="https://commons.wikimedia.org/wiki/Category:Cappella_degli_Scrovegni_(Padua)" class="extiw external" title="commons:Category:Cappella degli Scrovegni (Padua)">Cappella degli Scrovegni (Padua)</a> at Wikimedia Commons</li>

<li><span class="official-website"><span class="url"><a rel="nofollow" class="external text" href="https://www.cappelladegliscrovegni.it/">Official website</a></span></span></li>

<li><a rel="nofollow" class="external text" href="http://www.giottoagliscrovegni.it/eng/home.html">Information</a></li>

<li><a rel="nofollow" class="external text" href="http://www.artble.com/artists/giotto_di_bondone/paintings/scrovegni_chapel_frescoes">Scrovegni Chapel Frescoes Analysis and Critical Reception</a></li></ul>

/* start https://en.wikipedia.org/ */

.mw-parser-output .hlist dl,.mw-parser-output .hlist ol,.mw-parser-output .hlist ul{margin:0;padding:0}.mw-parser-output .hlist dd,.mw-parser-output .hlist dt,.mw-parser-output .hlist li{margin:0;display:inline}.mw-parser-output .hlist.inline,.mw-parser-output .hlist.inline dl,.mw-parser-output .hlist.inline ol,.mw-parser-output .hlist.inline ul,.mw-parser-output .hlist dl dl,.mw-parser-output .hlist dl ol,.mw-parser-output .hlist dl ul,.mw-parser-output .hlist ol dl,.mw-parser-output .hlist ol ol,.mw-parser-output .hlist ol ul,.mw-parser-output .hlist ul dl,.mw-parser-output .hlist ul ol,.mw-parser-output .hlist ul ul{display:inline}.mw-parser-output .hlist .mw-empty-li{display:none}.mw-parser-output .hlist dt::after{content:": "}.mw-parser-output .hlist dd::after,.mw-parser-output .hlist li::after{content:" · ";font-weight:bold}.mw-parser-output .hlist dd:last-child::after,.mw-parser-output .hlist dt:last-child::after,.mw-parser-output .hlist li:last-child::after{content:none}.mw-parser-output .hlist dd dd:first-child::before,.mw-parser-output .hlist dd dt:first-child::before,.mw-parser-output .hlist dd li:first-child::before,.mw-parser-output .hlist dt dd:first-child::before,.mw-parser-output .hlist dt dt:first-child::before,.mw-parser-output .hlist dt li:first-child::before,.mw-parser-output .hlist li dd:first-child::before,.mw-parser-output .hlist li dt:first-child::before,.mw-parser-output .hlist li li:first-child::before{content:" (";font-weight:normal}.mw-parser-output .hlist dd dd:last-child::after,.mw-parser-output .hlist dd dt:last-child::after,.mw-parser-output .hlist dd li:last-child::after,.mw-parser-output .hlist dt dd:last-child::after,.mw-parser-output .hlist dt dt:last-child::after,.mw-parser-output .hlist dt li:last-child::after,.mw-parser-output .hlist li dd:last-child::after,.mw-parser-output .hlist li dt:last-child::after,.mw-parser-output .hlist li li:last-child::after{content:")";font-weight:normal}.mw-parser-output .hlist ol{counter-reset:listitem}.mw-parser-output .hlist ol>li{counter-increment:listitem}.mw-parser-output .hlist ol>li::before{content:" "counter(listitem)"\a0 "}.mw-parser-output .hlist dd ol>li:first-child::before,.mw-parser-output .hlist dt ol>li:first-child::before,.mw-parser-output .hlist li ol>li:first-child::before{content:" ("counter(listitem)"\a0 "}

/* end https://en.wikipedia.org/ */

</style><style data-mw-deduplicate="TemplateStyles:r1236075235">

/* start https://en.wikipedia.org/ */

.mw-parser-output .navbox{box-sizing:border-box;border:1px solid #a2a9b1;width:100%;clear:both;font-size:88%;text-align:center;padding:1px;margin:1em auto 0}.mw-parser-output .navbox .navbox{margin-top:0}.mw-parser-output .navbox+.navbox,.mw-parser-output .navbox+.navbox-styles+.navbox{margin-top:-1px}.mw-parser-output .navbox-inner,.mw-parser-output .navbox-subgroup{width:100%}.mw-parser-output .navbox-group,.mw-parser-output .navbox-title,.mw-parser-output .navbox-abovebelow{padding:0.25em 1em;line-height:1.5em;text-align:center}.mw-parser-output .navbox-group{white-space:nowrap;text-align:right}.mw-parser-output .navbox,.mw-parser-output .navbox-subgroup{background-color:#fdfdfd}.mw-parser-output .navbox-list{line-height:1.5em;border-color:#fdfdfd}.mw-parser-output .navbox-list-with-group{text-align:left;border-left-width:2px;border-left-style:solid}.mw-parser-output tr+tr>.navbox-abovebelow,.mw-parser-output tr+tr>.navbox-group,.mw-parser-output tr+tr>.navbox-image,.mw-parser-output tr+tr>.navbox-list{border-top:2px solid #fdfdfd}.mw-parser-output .navbox-title{background-color:#ccf}.mw-parser-output .navbox-abovebelow,.mw-parser-output .navbox-group,.mw-parser-output .navbox-subgroup .navbox-title{background-color:#ddf}.mw-parser-output .navbox-subgroup .navbox-group,.mw-parser-output .navbox-subgroup .navbox-abovebelow{background-color:#e6e6ff}.mw-parser-output .navbox-even{background-color:#f7f7f7}.mw-parser-output .navbox-odd{background-color:transparent}.mw-parser-output .navbox .hlist td dl,.mw-parser-output .navbox .hlist td ol,.mw-parser-output .navbox .hlist td ul,.mw-parser-output .navbox td.hlist dl,.mw-parser-output .navbox td.hlist ol,.mw-parser-output .navbox td.hlist ul{padding:0.125em 0}.mw-parser-output .navbox .navbar{display:block;font-size:100%}.mw-parser-output .navbox-title .navbar{float:left;text-align:left;margin-right:0.5em}body.skin--responsive .mw-parser-output .navbox-image img{max-width:none!important}@media print{body.ns-0 .mw-parser-output .navbox{display:none!important}}

/* end https://en.wikipedia.org/ */

</style></div><div role="navigation" class="navbox" aria-labelledby="Landmarks_of_Veneto23" style="padding:3px"><table class="nowraplinks mw-collapsible mw-collapsed navbox-inner" style="border-spacing:0;background:transparent;color:inherit"><tbody><tr><th scope="col" class="navbox-title" colspan="2"><style data-mw-deduplicate="TemplateStyles:r1239400231">

/* start https://en.wikipedia.org/ */

.mw-parser-output .navbar{display:inline;font-size:88%;font-weight:normal}.mw-parser-output .navbar-collapse{float:left;text-align:left}.mw-parser-output .navbar-boxtext{word-spacing:0}.mw-parser-output .navbar ul{display:inline-block;white-space:nowrap;line-height:inherit}.mw-parser-output .navbar-brackets::before{margin-right:-0.125em;content:"[ "}.mw-parser-output .navbar-brackets::after{margin-left:-0.125em;content:" ]"}.mw-parser-output .navbar li{word-spacing:-0.125em}.mw-parser-output .navbar a>span,.mw-parser-output .navbar a>abbr{text-decoration:inherit}.mw-parser-output .navbar-mini abbr{font-variant:small-caps;border-bottom:none;text-decoration:none;cursor:inherit}.mw-parser-output .navbar-ct-full{font-size:114%;margin:0 7em}.mw-parser-output .navbar-ct-mini{font-size:114%;margin:0 4em}html.skin-theme-clientpref-night .mw-parser-output .navbar li a abbr{color:var(--color-base)!important}@media(prefers-color-scheme:dark){html.skin-theme-clientpref-os .mw-parser-output .navbar li a abbr{color:var(--color-base)!important}}@media print{.mw-parser-output .navbar{display:none!important}}

/* end https://en.wikipedia.org/ */

</style><div id="Landmarks_of_Veneto23" style="font-size:114%;margin:0 4em">Landmarks of <a href="Veneto" title="Veneto">Veneto</a></div></th></tr><tr><td colspan="2" class="navbox-list navbox-odd hlist" style="width:100%;padding:0"><div style="padding:0 0.25em">

<ul><li><a href="Basilica_di_San_Zeno" class="mw-redirect" title="Basilica di San Zeno">Basilica di San Zeno</a></li>

<li><a href="Basilica_of_Saint_Anthony_of_Padua" title="Basilica of Saint Anthony of Padua">Basilica of Saint Anthony of Padua</a></li>

<li><a href="Basilica_Palladiana" title="Basilica Palladiana">Basilica Palladiana</a></li>

<li><a href="Castelvecchio_Bridge" title="Castelvecchio Bridge">Castelvecchio Bridge</a></li>

<li><a href="Dolomiti_Bellunesi_National_Park" title="Dolomiti Bellunesi National Park">Dolomiti Bellunesi National Park</a></li>

<li><a href="Lake_Garda" title="Lake Garda">Lake Garda</a></li>

<li><a href="Orto_botanico_di_Padova" title="Orto botanico di Padova">Orto botanico di Padova</a></li>

<li><a href="Sant'Anastasia_(Verona)" class="mw-redirect" title="Sant'Anastasia (Verona)">Sant'Anastasia</a></li>

<li><a href="Teatro_Olimpico" title="Teatro Olimpico">Teatro Olimpico</a></li>

<li><a href="Verona_Arena" title="Verona Arena">Verona Arena</a></li>

<li><a href="Villa_Barbaro" title="Villa Barbaro">Villa Barbaro</a></li>

<li><a href="Villa_Capra_%22La_Rotonda%22" class="mw-redirect" title="Villa Capra "La Rotonda"">Villa Capra "La Rotonda"</a></li>

<li><a href="Montagnana" title="Montagnana">Walls of Montagnana</a></li></ul>

</div></td></tr></tbody></table></div>

<div class="navbox-styles"></div><div role="navigation" class="navbox" aria-labelledby="Lists_of_World_Heritage_Sites221" style="padding:3px"><table class="nowraplinks hlist mw-collapsible autocollapse navbox-inner" style="border-spacing:0;background:transparent;color:inherit"><tbody><tr><th scope="col" class="navbox-title" colspan="3"><div id="Lists_of_World_Heritage_Sites221" style="font-size:114%;margin:0 4em"><a href="Lists_of_World_Heritage_Sites" title="Lists of World Heritage Sites">Lists</a> of <a href="World_Heritage_Site" title="World Heritage Site">World Heritage Sites</a></div></th></tr><tr><th scope="row" class="navbox-group" style="width:1%">Locations</th><td class="navbox-list-with-group navbox-list navbox-odd" style="width:100%;padding:0"><div style="padding:0 0.25em">

<ul><li><a href="List_of_World_Heritage_Sites_in_Africa" title="List of World Heritage Sites in Africa">Africa</a></li>

<li>Americas

<ul><li><a href="List_of_World_Heritage_Sites_in_North_America" title="List of World Heritage Sites in North America">North America</a></li>

<li><a href="List_of_World_Heritage_Sites_in_Central_America" title="List of World Heritage Sites in Central America">Central America</a></li>

<li><a href="List_of_World_Heritage_Sites_in_the_Caribbean" title="List of World Heritage Sites in the Caribbean">Caribbean</a></li>

<li><a href="List_of_World_Heritage_Sites_in_South_America" title="List of World Heritage Sites in South America">South America</a></li></ul></li>

<li>Asia

<ul><li><a href="List_of_World_Heritage_Sites_in_Eastern_Asia" title="List of World Heritage Sites in Eastern Asia">Eastern</a></li>

<li><a href="List_of_World_Heritage_Sites_in_Northern_and_Central_Asia" class="mw-redirect" title="List of World Heritage Sites in Northern and Central Asia">Northern and Central</a></li>

<li><a href="List_of_World_Heritage_Sites_in_Southeast_Asia" title="List of World Heritage Sites in Southeast Asia">Southeast</a></li>

<li><a href="List_of_World_Heritage_Sites_in_Southern_Asia" title="List of World Heritage Sites in Southern Asia">Southern</a></li>

<li><a href="List_of_World_Heritage_Sites_in_Western_Asia" title="List of World Heritage Sites in Western Asia">Western</a></li></ul></li>

<li>Europe

<ul><li><a href="List_of_World_Heritage_Sites_in_Eastern_Europe" title="List of World Heritage Sites in Eastern Europe">Eastern</a></li>

<li><a href="List_of_World_Heritage_Sites_in_Northern_Europe" title="List of World Heritage Sites in Northern Europe">Northern</a></li>

<li><a href="List_of_World_Heritage_Sites_in_Southern_Europe" title="List of World Heritage Sites in Southern Europe">Southern</a></li>

<li><a href="List_of_World_Heritage_Sites_in_Western_Europe" title="List of World Heritage Sites in Western Europe">Western</a></li></ul></li>

<li><a href="List_of_World_Heritage_Sites_in_Oceania" title="List of World Heritage Sites in Oceania">Oceania</a></li></ul>

</div></td><td class="noviewer navbox-image" rowspan="2" style="width:1px;padding:0 0 0 2px"><div><span typeof="mw:File"></span></div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Related</th><td class="navbox-list-with-group navbox-list navbox-even" style="width:100%;padding:0"><div style="padding:0 0.25em">

<ul><li><a href="List_of_World_Heritage_in_Danger" title="List of World Heritage in Danger">World Heritage in Danger</a></li>

<li><a href="Former_UNESCO_World_Heritage_Sites" title="Former UNESCO World Heritage Sites">Former sites</a></li>

<li><a href="World_Heritage_Sites_by_country" title="World Heritage Sites by country">By country</a></li>

<li><a href="List_of_World_Heritage_Sites_by_year_of_inscription" title="List of World Heritage Sites by year of inscription">By year of inscription</a></li></ul>

</div></td></tr><tr><td class="navbox-abovebelow" colspan="3"><div><b><span class="nowrap"><span class="noviewer" typeof="mw:File"></span> </span><a href="Portal%3AWorld" title="Portal:World">World portal</a></b></div></td></tr></tbody></table></div>

/* start https://en.wikipedia.org/ */

.mw-parser-output .tooltip-dotted{border-bottom:1px dotted;cursor:help}

/* end https://en.wikipedia.org/ */

</style></div><div role="navigation" class="navbox authority-control" aria-labelledby="Authority_control_databases_frameless&#124;text-top&#124;10px&#124;alt=Edit_this_at_Wikidata&#124;link=https&#58;//www.wikidata.org/wiki/Q963954#identifiers&#124;class=noprint&#124;Edit_this_at_Wikidata1272" style="padding:3px"><table class="nowraplinks hlist mw-collapsible autocollapse navbox-inner" style="border-spacing:0;background:transparent;color:inherit"><tbody><tr><th scope="col" class="navbox-title" colspan="2"><div id="Authority_control_databases_frameless&#124;text-top&#124;10px&#124;alt=Edit_this_at_Wikidata&#124;link=https&#58;//www.wikidata.org/wiki/Q963954#identifiers&#124;class=noprint&#124;Edit_this_at_Wikidata1272" style="font-size:114%;margin:0 4em">Authority control databases </div></th></tr><tr><th scope="row" class="navbox-group" style="width:1%">International</th><td class="navbox-list-with-group navbox-list navbox-odd" style="width:100%;padding:0"><div style="padding:0 0.25em"><ul><li><span class="uid"><a rel="nofollow" class="external text" href="https://viaf.org/viaf/124429791">VIAF</a></span></li></ul></div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">National</th><td class="navbox-list-with-group navbox-list navbox-even" style="width:100%;padding:0"><div style="padding:0 0.25em"><ul><li><span class="uid"><a rel="nofollow" class="external text" href="https://d-nb.info/gnd/4075797-3">Germany</a></span></li><li><span class="uid"><a rel="nofollow" class="external text" href="https://id.loc.gov/authorities/n87840423">United States</a></span></li><li><span class="uid"><span class="rt-commentedText tooltip tooltip-dotted" title="Cappella degli Scrovegni nell'Arena (Padova, Itálie)"><a rel="nofollow" class="external text" href="https://aleph.nkp.cz/F/?func=find-c&local_base=aut&ccl_term=ica=ko2017938885&CON_LNG=ENG">Czech Republic</a></span></span></li><li><span class="uid"><a rel="nofollow" class="external text" href="https://www.nli.org.il/en/authorities/987007259293005171">Israel</a></span></li></ul></div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Other</th><td class="navbox-list-with-group navbox-list navbox-odd" style="width:100%;padding:0"><div style="padding:0 0.25em"><ul><li><span class="uid"><a rel="nofollow" class="external text" href="https://www.idref.fr/250212145">IdRef</a></span></li><li><span class="uid"><a rel="nofollow" class="external text" href="https://kulturenvanteri.com/yer/?p=308419">Kulturenvanteri monument</a></span></li><li><span class="uid"><a rel="nofollow" class="external text" href="https://lux.collections.yale.edu/view/group/795e6838-8a88-431b-9ac6-92bf0bf5aaaf">Yale LUX</a></span></li></ul></div></td></tr></tbody></table></div></div><div><div class="zim-footer">

This article is issued from <a class="external text" title="Last edited on 2025-08-02" href="https://en.wikipedia.org/wiki/?title=Scrovegni_Chapel&oldid=1303848697">Wikipedia</a>. The text is available under <a class="external text" href="https://creativecommons.org/licenses/by-sa/4.0/deed.en">Creative Commons Attribution-Share Alike 4.0</a> unless otherwise noted. Additional terms may apply for the media files.

</div>

</div></div>

</div>

</main>

</div>

</body></html>