지원사업
학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
커뮤니티
연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
이용수
초록· 키워드
오류제보하기
The frescoes of Scrovegni Chapel by Giotto are considered to be the most brilliant works in the late Middle Ages. Why did the layman Enrico construct this chapel and order mural paintings to Giotto, one of the most famous painters atet claimed the heaviest expenses in his age? And how did Giotto carry out this work getting over the limitation of religious dogma and the patron’s demand?
In this paper, I will research the scenes of the chancel arch in association with the process of chapel construction. These are 〈The Annunciation〉 at the top of the both sides, 〈The Pact of Judas〉 and 〈The Visitation〉 of each side in the middle, 〈The architectural space with lamp〉 painted with a illusionistic method. These paintings of the chancel arch are located to the fore in the chapel and considered to be reflecting the patron’s opinion most.
For a long time, it has been supported that Scrovegni family, especially Enrico’s father Rainaldo, had been accused as a usurer and that Enrico had built this chapel to repent the family’s sin. But the recent researches on the Paduan documents of the day reveal that Scrovegni family was not so terrible a usurer and Enrico’s end of chapel construction was a kind of business for his image making rather than for repentance.
Enrico purchased the area of Roman Arena in the northeast of Padua in February, 1300. He got the permission to construct his family chapel in April, 1302. At first, the chapel was planned to be just one altar on a small scale and limited to be used only for his family Mass and the private funeral at that time. But the scale was getting bigger and bigger in the process of construction to be equipped with a bell tower, of which the nearby Eremitani monastery complained.
In March of 1304 Pope Benedict XI who was acquainted with Enrico delivered the bull in which those attending the Mass in Scrovegni Chapel at Marian Feast days (Christmas, 25 of December; the Annunciation, 25 of March; Palm day; Ascension Day of Mary, 15 of August) were allowed to have the indulgence of one year and forty days. This made Scrovegni’s private chapel become a public church.
The Annunciation among 4 Marian Feasts is the most related to Arena. Annunciation Feast was performed at Arena from 1278 in Padua, The outdoor performance was dovetailed more closely with the service of indoor Mass after the construction of Scrovegni Chapel. Giotto’s 〈Annunciation〉 represents this Mass accompanied with the performance of drama.
It seems that the realistic representation of the illusory space, the curtains behind Gabriel and Mary and the gestures of the figures was intended to remind people of this Mass. This might be a demand of Enrico and Giotto might have created the new method of perspective to fulfill the patron’s desire. 〈The architectural space with a lamp〉 at the lowest part of the chancel arch is also very illusionistic. We can suppose that Giotto represented an illusory transept that could not be accomplished due to the complaint of Eremitani monastery.
〈The pact of Judas〉 and 〈The Visitation〉 in the middle of the chancel arch used to be a topic of scholarly debate. There are many figures with a moneybag in this frescoes especially in the hell on the western wall and among vices on the bottom of northern wall. This has been considered to be related to the usury of Rainaldo Scrovegni, since Judas in 〈The Pact of Judas〉 seized a moneybag with his left hand.
Emphasizing the antithesis of virtue and vice, the paradise and the hell, Anne Derbes interpreted 〈The Pact of Judas〉 and 〈The Visitation〉 as contrastive concepts of avarice and charity. And she asserted that this antithesis is Enrico’s intension to restore the honor of his family dismissing the shame of usury from avarice to charity. On the contrary, Chiara Frugoni, a historian in the Middle Ages interpreted this as a kind of a business for image-making rather than true redemption.
Enrico changed his private family chapel to a public church for the public image of his family. He intended to show off this chapel at the Feast of Annunciation which was the citywide festival at Arena. And the painter Giotto represented 〈the Annunciation〉 in unprecedented realistic perspective to remind the general public of the theatrical Annunciation Mass.
How did they feel when they attended the Mass in this chapel? They might have imagined Scrovegni family as moral citizens. And what is the best of all, they are allowed to have indulgence and can appreciate the most splendid paintings of those days. Now Scrovrgni’s family chapel became almost a place of pilgrimage. It seems that Enrico has succeeded in his business, because we, after 700 years later, remember his name only because he had employed Giotto for his chapel.
In this paper, I will research the scenes of the chancel arch in association with the process of chapel construction. These are 〈The Annunciation〉 at the top of the both sides, 〈The Pact of Judas〉 and 〈The Visitation〉 of each side in the middle, 〈The architectural space with lamp〉 painted with a illusionistic method. These paintings of the chancel arch are located to the fore in the chapel and considered to be reflecting the patron’s opinion most.
For a long time, it has been supported that Scrovegni family, especially Enrico’s father Rainaldo, had been accused as a usurer and that Enrico had built this chapel to repent the family’s sin. But the recent researches on the Paduan documents of the day reveal that Scrovegni family was not so terrible a usurer and Enrico’s end of chapel construction was a kind of business for his image making rather than for repentance.
Enrico purchased the area of Roman Arena in the northeast of Padua in February, 1300. He got the permission to construct his family chapel in April, 1302. At first, the chapel was planned to be just one altar on a small scale and limited to be used only for his family Mass and the private funeral at that time. But the scale was getting bigger and bigger in the process of construction to be equipped with a bell tower, of which the nearby Eremitani monastery complained.
In March of 1304 Pope Benedict XI who was acquainted with Enrico delivered the bull in which those attending the Mass in Scrovegni Chapel at Marian Feast days (Christmas, 25 of December; the Annunciation, 25 of March; Palm day; Ascension Day of Mary, 15 of August) were allowed to have the indulgence of one year and forty days. This made Scrovegni’s private chapel become a public church.
The Annunciation among 4 Marian Feasts is the most related to Arena. Annunciation Feast was performed at Arena from 1278 in Padua, The outdoor performance was dovetailed more closely with the service of indoor Mass after the construction of Scrovegni Chapel. Giotto’s 〈Annunciation〉 represents this Mass accompanied with the performance of drama.
It seems that the realistic representation of the illusory space, the curtains behind Gabriel and Mary and the gestures of the figures was intended to remind people of this Mass. This might be a demand of Enrico and Giotto might have created the new method of perspective to fulfill the patron’s desire. 〈The architectural space with a lamp〉 at the lowest part of the chancel arch is also very illusionistic. We can suppose that Giotto represented an illusory transept that could not be accomplished due to the complaint of Eremitani monastery.
〈The pact of Judas〉 and 〈The Visitation〉 in the middle of the chancel arch used to be a topic of scholarly debate. There are many figures with a moneybag in this frescoes especially in the hell on the western wall and among vices on the bottom of northern wall. This has been considered to be related to the usury of Rainaldo Scrovegni, since Judas in 〈The Pact of Judas〉 seized a moneybag with his left hand.
Emphasizing the antithesis of virtue and vice, the paradise and the hell, Anne Derbes interpreted 〈The Pact of Judas〉 and 〈The Visitation〉 as contrastive concepts of avarice and charity. And she asserted that this antithesis is Enrico’s intension to restore the honor of his family dismissing the shame of usury from avarice to charity. On the contrary, Chiara Frugoni, a historian in the Middle Ages interpreted this as a kind of a business for image-making rather than true redemption.
Enrico changed his private family chapel to a public church for the public image of his family. He intended to show off this chapel at the Feast of Annunciation which was the citywide festival at Arena. And the painter Giotto represented 〈the Annunciation〉 in unprecedented realistic perspective to remind the general public of the theatrical Annunciation Mass.
How did they feel when they attended the Mass in this chapel? They might have imagined Scrovegni family as moral citizens. And what is the best of all, they are allowed to have indulgence and can appreciate the most splendid paintings of those days. Now Scrovrgni’s family chapel became almost a place of pilgrimage. It seems that Enrico has succeeded in his business, because we, after 700 years later, remember his name only because he had employed Giotto for his chapel.
목차
Ⅰ. 들어가는 글: 조토의 스크로베니 예배당
Ⅱ. 엔리코와 아레나의 스크로베니 예배당
Ⅲ. 조토의 〈수태고지〉와 수태고지 축일의 전례극
Ⅳ. 〈유다의 계약〉과 〈마리아의 엘리자벳 방문〉
Ⅴ. 〈등이 있는 빈 건축 공간〉
Ⅵ. 나가는 글: 참회인가 또 다른 사업인가
참고문헌
Abstract
참고문헌 (0)
참고문헌 신청함께 읽어보면 좋을 논문
논문 유사도에 따라 DBpia 가 추천하는 논문입니다. 함께 보면 좋을 연관 논문을 확인해보세요!
-
14세기 스크로베니 예배당의 〈최후의 심판〉 도상 연구
미술사논단
2010 .06
-
교회공간 예배실의 위치적 기능에 따른 마감재 적용 연구
한국실내디자인학회 논문집
2015 .02
-
중세 말 지옥의 광경 : 14세기 이탈리아를 중심으로
미술사학
2010 .08
-
성 이냐시오 채플에 나타난 현상학적 건축특성에 관한 연구
한국실내디자인학회 논문집
2012 .08
-
회화작품에 나타난 중세 주택의 실내디자인 특성 : ‘수태고지’ 작품을 중심으로
한국실내디자인학회 학술대회논문집
2009 .10
-
롱샹 성당에서 음악의 생명성 표현에 관한 연구 : 베르그송의 생명철학을 중심으로
한국실내디자인학회 논문집
2012 .10
-
일상의 관점에서 본 조토의 스크로벤니 예배당 벽화
미술사논단
2011 .06
-
르 꼬르뷔제의 재료 질감 사용 및 색채 표현 : 롱샹성당의 입면과 디테일을 중심으로
한국실내디자인학회 논문집
2014 .12
-
14-15세기 피렌체의 가족예배실 벽화 읽기 : 종교사회에서 국가의 개인의 사회로
미술사논단
1998 .09
-
한국 현대 개신교회 대예배실 디자인의 추상적 상징성 표현 분석연구 : 2000년 이후 건축된 개신교회를 중심으로
한국실내디자인학회 논문집
2012 .08
-
지옥의 마왕 루시퍼 : 중세 말 이탈리아를 중심으로
미술사논단
2011 .06
-
미켈란젤로의 〈최후의 심판〉도상 다시 읽기 : 전통의 계승과 혁신을 중심으로
미술사논단
2009 .06
-
장소와 장소성의 다의적 개념에 관한 연구
국토계획
1997 .10
-
강남역 장소성 형성요인에 관한 연구
한국생활환경학회지
2012 .08
-
잠실역 장소성 구조 형성에 관한 연구
도시행정학보
2016 .09
-
장소성의 형성요인과 경제적 가치에 관한 실증분석 : 대학로와 로데오거리 사례를 중심으로
국토계획
2001 .04
-
서울역 장소성 형성의 인과구조 분석
한국지역개발학회지
2013 .09
이 논문의 저자 정보
이 논문과 함께 이용한 논문
최근 본 자료
댓글(0)
0
UCI(KEPA) : I410-ECN-0101-2010-609-002277514