(jazzy piano music) - [Steven] We're in the Arena Chapel, a small private chapel that was connected to a palace that was owned
by the Scrovegni Family. - [Beth] And it was the Scrovegni Family who commissioned Giotto to decorate this chapel with frescoes. - [Steven] It's called the Arena Chapel because it's next to ancient Roman arena. - [Beth] When you're
inside it, as we are now, I have to say that it's
taller than I expected and that feeling of being enclosed by images that happens
when you're in a space entirely covered with fresco. - [Steven] There are
lots of narrative scenes, but even in between those scenes are trompe l'oeil faux marble panels and we get the sense that
there is inlaid stone, but in fact this is all painting. - [Beth] And that extends
even onto the ceiling, where we have a star-studded blue sky with images of Christ and Mary
and other saints and figures. - [Steven] The Arena Chapel is organized in a very strict way. Three registers begin at
the top and move downward. I think of it as a spiral, that is it tells a continuous story. It begins with Christ's grandparents. It goes into the birth
of Mary, her marriage, and then when we get down
to the second register we get to Christ's life or ministry and then the bottom
register is the Passion. These are the events at
the end of Christ's life and immediately after his death. - [Beth] Now all of this is thanks to, strangely it might seem to us today, a sin: the sin of usury that weighed heavily on the
conscious of Enrico Scrovegni, whose palace was next door
and who owned this land and built this chapel and hired Giotto. His father was a usurer. Enrico himself was a usurer. - [Steven] What this means
is he charged interest, just like when you borrow money from a bank you're charged interest, when you put money on a credit
card you're charged interest, and so in a very Catholic environment, being a banker made you a lot of money, but it also, in your belief system, would send you to hell. And Dante, the great late Medieval poet in his most famous
poem, The Divine Comedy, singles out Scrovegni's father for one of the more
treacherous parts of hell. - [Beth] So Enrico was really worried and for this reason he did, in Catholic belief system, a good work. He built this chapel. This was his way of atoning
for the sin of usury, hoping that this would help
his soul to go to heaven. And we see Enrico himself
here in this chapel on the wall over the entrance where Giotto painted the last judgment. We see Enrico kneeling,
handing the chapel over - [Steven] To the three Marys, the Virgin Mary in the middle. - [Beth] Notice where
Enrico has put himself is on the side of the blessed. In the last judgment we
see Christ at the very top and the damned are on Christ's left and the blessed are on Christ's right and that's where we find Enrico. - [Steven] And the impetus
for the entire cycle can be seen at the apex
of the triumphal arch on the opposite wall with God, who calls Gabriel to his side, telling him to go to the Virgin Mary and announce to her that she
will bear humanity's savior, that she will bear Christ. - [Beth] Interestingly,
when Giotto painted God, he inserted a panel painting. So that is not fresco. It's interesting that he chose to paint it in the style that was more conservative, less earthly than the style
that we see in the frescoes. But just to go back to that wall, we begin to see the illusionism that we see throughout the cycles. If we look to Mary and the angel, Giotto has created an architectural
space for each of them. These are not panel paintings with gold backgrounds that
suggest a divine space. These are earthly settings
for Mary and the angel. - [Steven] Two scenes
below the Annunciation are these wonderful empty
architectural spaces, these rooms that have oil lanterns that hang from their ceilings. And there is such a
delicate sense of space, of light and shadow. It is this example of naturalism and it shows Giotto's
interest in the world, the present, the physical
space that humanity occupies. (jazzy piano music)