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1295:) (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. 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).
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632:(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.
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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).
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500:. 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
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523:, 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
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612:, 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
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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.
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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.
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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
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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
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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
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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
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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
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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
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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
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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
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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,
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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
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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
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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
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According to Pisani, 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
1332:"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.
1272:. 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).
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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,
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fraternity, of which Enrico Scrovegni was a member, influenced the content of Giotto's fresco cycle. He also argued against the belief that Enrico Scrovegni required that the iconography program have no emphasis placed on the sin of
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828:. 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
1279:, 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 (
1360:). 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.
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1307:, 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
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and Pia Theis with Andreas Zajic and Michaela Zöschg; Vol. 2: Works, by Michael Viktor Schwarz; Vol. 3: Survival (Works and Practices up to Michelangelo), by Michael Viktor Schwarz, Böhlau, Vienna 2023.
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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.
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inspired Giotto. However, a posthumous portrait of Dante was included in the Paradise section of the frescoes. Another claim was that the theological program followed by Giotto is based on St
3069:. 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.
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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
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of 14th-century fresco cycles composed of 8 historical buildings in Padua city centre. The Scrovegni Chapel contains the most important frescoes that marked the beginning of a revolution in
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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.
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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.
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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 (
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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)
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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
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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
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582:). 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
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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.
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558:) 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" (
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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.
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appears to have been composed for the dedication on 25 March 1305. The chapel is also known as the Arena Chapel because it was built on land purchased by
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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
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An 1842 engraving (from an earlier watercolor painting) shows the Arena Chapel to the right of an older palace, also bought, and redecorated, by
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Most Giotto scholarship believes that Giotto had made a number of theological mistakes. For instance, Giotto placed Hope after Charity in the
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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), by
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The cycle recounts the story of salvation. It starts from high up on the lunette of the triumphal arch, with the uncommon scene of
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and sacred representation of the Annunciation to the Virgin had been played out for a generation before the chapel was built.
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651:'s studies argued that a number of commonly held beliefs concerning the chapel are groundless, among them, the notion that
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3095:, ed. by Cesare Barbieri and Carlo Giacomo Someda, Accademia Galileiana di Scienze, Lettere ed Arti, Padova 2017, 341–364.
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600:, Giotto's perfect symmetry is altered by a fresco decoration representing two medallions with busts of female saints, a
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1383:. Mr. Swann likens the kitchen maid to this painting and it becomes something of a joke between him and the narrator.
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Bokody, Péter. "Justice, Love and Rape: Giotto's Allegories of Justice and Injustice in the Arena Chapel, Padua." In
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and devised by Friar Alberto da Padova. Avarice, far from being "absent" in Giotto's cycle, is portrayed with
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La fonte agostiniana della figura allegorica femminile sopra la porta palaziale della Cappella degli Scrovegni
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1352:) at his neighbour, who is also made by God in His likeness. Finally, with the aid (the medicine), Hope (
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659:, whereas Pisani claims it to be wholly Augustinian. Pisani also argued against the conjecture that the
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were demolished. Both are visible on a model of the church painted by Giotto on the counter-facade (the
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Dante fra il settecentocinquantenario della nascita (2015) e il settecentenario della morte (2021)
2944:, in «Il Governo delle cose», dir. Franco Cardini, Firenze, n. 51, anno VI, 2006, pp. 97–106.
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El corazón es centro. Narraciones, representaciones y metáforas del corazón en el mundo hispánico
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Schwarz, Michael Viktor (2010). "Padua, its Arena and the Arena Chapel: A Liturgical Ensemble".
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Kohl, Benjamin G. (2004). "Giotto and his Lay Patrons". In Derbes, Anne; Sandona, Mark (eds.).
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L'ispirazione filosofico-teologica nella sequenza Vizi-Virtù della Cappella degli Scrovegni
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Le allegorie della sovrapporta laterale d'accesso alla Cappella degli Scrovegni di Giotto
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1344:). Only with the "medicine" of Charity (Karitas) can man overcome Selfishness and Envy (
416:. The wall at the rear of the church, through which the chapel is entered, has a large
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Beck, Eleonora M. (2004). "Justice and Music in Giotto's Scrovegni Chapel Frescoes".
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Beck, Eleonora M. (2004). "Justice and Music in Giotto's Scrovegni Chapel Frescoes".
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2936:, «Bollettino del Museo Civico di Padova», XCIII, 2004, Milano 2005, pp. 61–97
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La concezione agostiniana del programma teologico della Cappella degli Scrovegni
3030:, in «Bollettino del Museo Civico di Padova», XCIX, 2010 (2014), pp. 35–46
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La concezione agostiniana del programma teologico della Cappella degli Scrovegni
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The Usurer's Heart: Giotto, Enrico Scrovegni, and the Arena Chapel in Padua
735:, and other texts from the Medieval Christian tradition, among which is the
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a cura di F. Bottin, Padova University Press, Padova 2014, pp. 215–268
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with Christ in glory, and two episodes from the Passion (the prayer in the
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The Arena Chapel was commissioned to Giotto by the affluent Paduan banker,
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From Giotto to Rosetta. 30 Years of Cometary Science from Space and Ground
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and influenced fresco technique, style, and content for a whole century.
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I volti segreti di Giotto. Le rivelazioni della Cappella degli Scrovegni
2960:, in «Bollettino del Museo Civico di Padova», XCV, 2006, pp. 67–77.
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I volti segreti di Giotto. Le rivelazioni della Cappella degli Scrovegni
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I volti segreti di Giotto. Le rivelazioni della Cappella degli Scrovegni
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408:(2.57 meters deep). The largest element is extensive cycles showing the
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2952:, in «Bollettino del Museo Civico di Padova», XCV, 2006, pp. 45–65
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L'iconologia di Cristo Giudice nella Cappella degli Scrovegni di Giotto
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In June 2001, following a preparation study lasting over 20 years, the
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Anne Robertson 'Remembering the Annunciation in Medieval Polyphony'
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2975:(Milano 22–25 giugno 2006), Spirali, Milano 2006, pp. 329–57.
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in 1305. Much of Giotto's fresco cycle focuses on the life of the
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The depiction of the sacred stories, and the message of the vault
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Section of the wall, showing the setting of the narrative panels.
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3080:, ed. by Antonella Cancellier, Cleup, Padova 2017, pp. 550–592.
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2881:, ed. Anna Kerchy and others, 55–66. Szeged: JATE Press, 2012.
2793:, a cura di F. Bottin, Padova University Press 2014, pp. 1–322
2611:"Padua's fourteenth-century fresco cycles, UNESCO declaration"
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Stultitia, Inconstantia, Ira, Iniusticia, Infidelitas, Invidia
372:. The chapel and monastery are now part of the complex of the
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Giotto and the Arena Chapel: Art, Architecture and Experience
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Giotto and the Arena Chapel: Art, Architecture and Experience
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3103:, 1971 (English trans from German), Lund Humphries, London,
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Una nuova interpretazione del ciclo giottesco agli Scrovegni
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L'affare migliore di Enrico: Giotto e la cappella Scrovegni
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2695:. Cambridge: Cambridge University Press. pp. 176–193.
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Scrovegni Chapel, Padua's fourteenth-century fresco cycles
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Paintings of the Presentation of the Virgin at the Temple
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Scrovegni Chapel Frescoes Analysis and Critical Reception
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Music in Art: International Journal for Music Iconography
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Music in Art: International Journal for Music Iconography
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that, as a consequence of this complaint, the monumental
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in the Sala del Capitolo and in the Blessings's Chapel.
387:, completed around 1305 and an important masterpiece of
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508:, and had been in Padua for some time, working for the
3051:, Editoriale Programma, Treviso, 2015, pp. 1–176
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1348:), which lead him to look with malevolent eyes (Latin
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Paintings of the Presentation of Christ at the Temple
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14th-century Roman Catholic church buildings in Italy
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Terapia umana e divina nella Cappella degli Scrovegni
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chapel's creation and the reasons behind its design.
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Model of the interior of the chapel, towards entrance
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Il capolavoro di Giotto. La Cappella degli Scrovegni
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Il miracolo della Cappella degli Scrovegni di Giotto
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Giotto's painting of Charity is frequently cited in
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The monochrome personifications of Vices and Virtues
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Giotto's Arena (Scrovegni) Chapel – Part 1 Overview
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3041:Alberto da Padova e la cultura degli Agostiniani,
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2791:Alberto da Padova e la cultura degli agostiniani
2775:Alberto da Padova e la cultura degli agostiniani
16:"Scrovegni" redirects here. For other uses, see
2650:Journal of the Warburg and Courtauld Institutes
2086:Expulsion of the Money-changers from the Temple
932:Expulsion of the money changers from the temple
793:as one of the two suns, and prophets as planets
391:. In 2021, the chapel was declared part of the
1242:The bottom tiers of the side walls feature 14
3266:
3022:, Milano 2009, I – I saggi, pp. 113–127
1283:) (north wall, right hand side) to Virtue 1 (
93:Scrovegni Chapel (Cappella degli Scrovegni),
1319:, Temperance. According to Saint Augustine,
703:and, for a few minute iconographic details,
492:'s effigy of Enrico Scrovegni, in the chapel
424:(monochrome) showing the Vices and Virtues.
3063:Dante e Giotto: la Commedia degli Scrovegni
3011:Il programma della Cappella degli Scrovegni
2781:, Padova University Press 2014, pp. 215–268
1589:Joachim and Anne Meeting at the Golden Gate
1287:) (south wall, left hand side), to Vice 2 (
1266:Prudentia, Iustitia, Temperantia, Fortitudo
325:, one of the panels in the Scrovegni Chapel
3273:
3259:
1268:, followed by the three theological ones:
1260:. The Virtues are grouped as follows: the
479:
312:. The palace had been demolished by 1827.
110:
2925:Pennsylvania State University Press, 2008
1275:According to the controversial theory of
914:Prayer for the blossoming of the branches
882:Joachim sacrifices a kid goat to the Lord
116:The Last Judgment in the Scrovegni Chapel
77:Learn how and when to remove this message
3435:Paintings of the Resurrection of Lazarus
2989:, Rizzoli, Milano 2008, pp. 1–366.
2918:Brepols/Harvey Miller Publications, 2008
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1120:
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565:In January 1305, friars from the nearby
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40:This article includes a list of general
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2555:depicts the building without a portico.
710:Meditations on the Life of Jesus Christ
3372:
2900:Derbes, Anne, and Mark Sandona, eds.
2705:
2575:
1505:The Bringing of the Rods to the Temple
879:in prayer announcing the birth of Mary
253:Location of Scrovegni Chapel in Veneto
3254:
1653:
352:, is a small church, adjacent to the
343:
3101:Iconography of Christian Art, Vol. I
2904:. Cambridge University Press, 2004.
2856:
2824:
2690:
2549:Giotto's depiction of the chapel in
2148:
1995:Lamentation (The Mourning of Christ)
1813:The Arrest of Christ (Kiss of Judas)
1796:Presentation of Christ at the Temple
840:The scenes depicted are as follows:
635:
300:The exterior of the Scrovegni Chapel
26:
2895:Pennsylvania State University Press
968:Presentation of Jesus at the Temple
13:
3299:Basilica of Saint Anthony of Padua
3129:
2714:. et al. Time-Life Books. p.
2608:
2584:. et al. Time-Life Books. p.
1643:– The Virgin Receiving the Message
1472:Presentation of Mary at the Temple
515:A number of 14th-century sources (
467:. The space was where an open-air
345:[kapˈpɛlladeʎʎiskroˈveɲɲi]
46:it lacks sufficient corresponding
14:
3461:
3152:
2902:The Cambridge Companion to Giotto
2889:Derbes, Anne, and Mark Sandona.
2710:The World of Giotto: c. 1267–1337
2693:The Cambridge Companion to Giotto
2580:The World of Giotto: c. 1267–1337
630:Istituto Centrale per il Restauro
3450:Roman Catholic churches in Padua
3314:Dolomiti Bellunesi National Park
3226:Cappella degli Scrovegni (Padua)
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1234:sideways, symbolises infinity).
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3445:Roman Catholic chapels in Italy
3018:, catalogo a cura di A. Tomei,
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1625:– The Angel Gabriel Sent by God
595:Saint Catherine of Alexandria's
2879:The Iconology of Law and Order
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2031:Resurrection (Noli me tangere)
1522:Joachim's Sacrificial Offering
1020:Casting out the money changers
789:The centre of the vault, with
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1:
868:Joachim amongst the shepherds
801:Cycles of scenes showing the
3405:Gothic architecture in Padua
2562:
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1291:) (north wall) to Virtue 2 (
911:The bringing of the branches
902:and her bathing as an infant
746:series, and did not include
427:The church was dedicated to
420:. There are also panels in
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1456:Joachim among the Shepherds
463:that abutted the site of a
10:
3466:
1377:Remembrance of Things Past
846:Triumphal arch (lunette):
729:De Genesi contra Manicheos
550:Towards the apse and altar
474:
393:UNESCO World Heritage Site
141:Cultural: (ii), (iii)
103:UNESCO World Heritage Site
15:
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3203:
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3089:Giotto and Halley's Comet
1869:Massacre of the Innocents
1724:Nativity – Birth of Jesus
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1168:Bottom tier, south wall:
993:(Jesus among the doctors)
985:Middle tier, north wall:
980:Massacre of the Innocents
950:Middle tier, south wall:
713:, as well as a number of
510:Basilica of Saint Anthony
433:Feast of the Annunciation
358:Monastero degli Eremitani
230:
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22:Reginaldo degli Scrovegni
3354:Villa Capra "La Rotonda"
3210:Part 4 The Last Judgment
2973:Festival della modernità
2427:
1905:Christ among the Doctors
1422:The Expulsion of Joachim
1364:centrality of Justice.
1340:) through Faith in God (
1065:Lower tier, north wall;
1036:Lower tier, south wall:
895:Upper tier, north wall:
858:Upper tier, south wall:
429:Santa Maria della Carità
340:Cappella degli Scrovegni
282:Scrovegni Chapel (Italy)
3390:Church frescos in Italy
3324:Orto botanico di Padova
2739:Jacobus, Laura (2008).
1490:Annunciation to St Anne
1438:The Birth of the Virgin
1045:The washing of the feet
1015:Christ enters Jerusalem
567:Church of the Eremitani
480:Building and decoration
175:.cappelladegliscrovegni
61:more precise citations.
3420:Paintings of Pentecost
3197:Part 3 The Lamentation
3184:Part 2 Narrative Cycle
3137:Michael Viktor Schwarz
2706:Eimerl, Sarel (1967).
2576:Eimerl, Sarel (1967).
1570:Marriage of the Virgin
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1128:
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1060:Flagellation of Christ
934:
919:marriage of the Virgin
888:Joachim meets Anna at
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782:
719:De doctrina Christiana
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610:Flagellation of Christ
551:
543:
521:Francesco da Barberino
493:
379:The chapel contains a
374:Musei Civici di Padova
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326:
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18:Enrico degli Scrovegni
3400:God the Father in art
3074:Le passioni in Giotto
1760:Adoration of the Magi
1262:four cardinal virtues
1218:
1124:
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1087:Resurrection of Jesus
1081:Lamentation of Christ
991:Finding in the Temple
962:Adoration of the Magi
930:
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780:Lamentation of Christ
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549:
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348:), also known as the
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299:
215:45.41184°N 11.87952°E
3309:Castelvecchio Bridge
3294:Basilica di San Zeno
3228:at Wikimedia Commons
3016:Giotto e il Trecento
2662:10.1086/JWCI41418713
2470:Annunciation to Mary
2050:Entry into Jerusalem
1270:Fides, Karitas, Spes
1008:The Resurrection of
906:Presentation of Mary
852:Annunciation to Mary
826:Annunciation to Mary
733:De quantitate animae
606:Garden of Gethsemane
517:Riccobaldo Ferrarese
3415:Paintings by Giotto
3359:Walls of Montagnana
3304:Basilica Palladiana
3113:Stokstad, Marilyn;
1537:The Suitors Praying
923:The nuptial cortege
701:Jacobus de Voragine
457:Marchetto da Padova
211: /
97:
3425:Paintings in Padua
3099:Schiller, Gertud,
2638:70 (1995), 275–304
2014:Raising of Lazarus
1654:The life of Christ
1605:Wedding Procession
1223:
1129:
1119:
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807:Life of the Virgin
795:
783:
724:De libero arbitrio
705:Pseudo-Bonaventure
646:
552:
544:
527:; on 1 March 1304
494:
414:Life of the Virgin
327:
314:
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257:Show map of Veneto
220:45.41184; 11.87952
92:
3395:Giotto di Bondone
3367:
3366:
3224:Media related to
3216:
3215:
3117:, 2011, 4th ed.,
3087:Giuliano Pisani,
3072:Giuliano Pisani,
3061:Giuliano Pisani,
3057:978-88-6643-350-7
3047:Giuliano Pisani,
3035:Giuliano Pisani,
3026:Giuliano Pisani,
3009:Giuliano Pisani,
3003:978-88-6643-353-8
2995:978-88-17-02722-9
2985:Giuliano Pisani,
2978:Giuliano Pisani,
2963:Giuliano Pisani,
2956:Giuliano Pisani,
2948:Giuliano Pisani,
2940:Giuliano Pisani,
2811:Giuliano Pisani,
2769:Giuliano Pisani,
2552:The Last Judgment
2534:
2533:
2425:
2424:
2149:Vices and Virtues
2146:
2145:
1942:Baptism of Christ
1832:Flight into Egypt
1651:
1650:
1049:The Kiss of Judas
974:Flight into Egypt
956:Nativity of Jesus
862:The Expulsion of
822:Archangel Gabriel
791:Madonna and Child
778:The scene of the
636:Scholarly debates
598:small altar piece
294:
293:
285:Show map of Italy
87:
86:
79:
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3410:Gothic paintings
3334:Scrovegni Chapel
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3234:Official website
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1212:Counter-façade:
1025:Triumphal arch:
998:Baptism of Jesus
941:The Annunciation
937:Triumphal arch:
900:Nativity of Mary
843:Sacred stories:
820:instructing the
529:Pope Benedict XI
498:Enrico Scrovegni
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3130:Further reading
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2929:Giuliano Pisani
2914:Jacobus, Laura
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1706:Judas' Betrayal
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1554:Joachim's dream
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1277:Giuliano Pisani
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1092:Noli me tangere
1041:The Last Supper
1004:Wedding at Cana
890:the Golden Gate
885:Joachim's dream
824:to perform the
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756:Saint Augustine
717:texts, such as
649:Giuliano Pisani
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580:Last Judgement
562:in Italian ).
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3398:
3396:
3393:
3391:
3388:
3386:
3383:
3381:
3378:
3377:
3375:
3360:
3357:
3355:
3352:
3350:
3349:Villa Barbaro
3347:
3345:
3342:
3340:
3337:
3335:
3332:
3330:
3327:
3325:
3322:
3320:
3317:
3315:
3312:
3310:
3307:
3305:
3302:
3300:
3297:
3295:
3292:
3291:
3288:
3284:
3281:Landmarks of
3276:
3271:
3269:
3264:
3262:
3257:
3256:
3253:
3247:
3244:
3242:
3239:
3235:
3230:
3227:
3222:
3218:
3217:
3211:
3202:
3198:
3189:
3185:
3176:
3172:
3163:
3158:
3147:
3146:9783205217015
3143:
3138:
3134:
3133:
3124:
3123:0-205-79094-1
3120:
3116:
3112:
3110:
3106:
3102:
3098:
3096:
3094:
3090:
3085:
3082:
3079:
3075:
3071:
3068:
3064:
3060:
3058:
3054:
3050:
3046:
3044:
3042:
3038:
3033:
3031:
3029:
3024:
3021:
3017:
3013:
3012:
3007:
3004:
3000:
2996:
2992:
2988:
2984:
2981:
2977:
2974:
2970:
2966:
2962:
2959:
2955:
2953:
2951:
2946:
2943:
2939:
2937:
2935:
2930:
2927:
2924:
2920:
2917:
2913:
2911:Einaudi, 2008
2910:
2906:
2903:
2899:
2896:
2892:
2888:
2886:
2883:
2880:
2876:
2872:
2868:
2864:
2860:
2855:
2854:
2840:
2836:
2832:
2828:
2820:
2814:
2808:
2799:
2792:
2787:
2780:
2776:
2772:
2766:
2759:
2755:
2750:
2742:
2735:
2727:
2725:0-900658-15-0
2721:
2717:
2712:
2711:
2702:
2694:
2687:
2679:
2675:
2671:
2667:
2663:
2659:
2655:
2651:
2644:
2637:
2631:
2616:
2612:
2605:
2597:
2595:0-900658-15-0
2591:
2587:
2582:
2581:
2572:
2568:
2554:
2553:
2546:
2542:
2529:
2527:
2526:
2522:
2519:
2515:
2514:
2510:
2508:
2505:
2502:
2498:
2497:
2493:
2491:
2490:
2489:Last Judgment
2486:
2483:
2479:
2478:
2474:
2472:
2471:
2466:
2463:
2459:
2458:
2455:
2452:
2449:
2445:
2444:
2440:
2437:
2434:
2433:
2420:
2418:
2417:
2413:
2410:
2406:
2403:
2401:
2400:
2399:Hope (virtue)
2396:
2393:
2389:
2388:
2384:
2382:
2381:
2377:
2374:
2370:
2367:
2365:
2364:
2360:
2357:
2353:
2352:
2348:
2346:
2345:
2341:
2338:
2334:
2331:
2329:
2328:
2324:
2321:
2317:
2316:
2312:
2310:
2309:
2305:
2302:
2298:
2295:
2293:
2292:
2288:
2285:
2281:
2280:
2276:
2274:
2273:
2269:
2266:
2262:
2259:
2257:
2256:
2252:
2249:
2245:
2244:
2240:
2238:
2235:
2232:
2228:
2225:
2223:
2222:
2218:
2215:
2211:
2210:
2206:
2204:
2203:
2199:
2196:
2192:
2189:
2187:
2186:
2182:
2179:
2175:
2174:
2170:
2167:
2164:
2161:
2158:
2155:
2154:
2141:
2139:
2136:
2133:
2129:
2126:
2124:
2123:
2119:
2116:
2112:
2111:
2107:
2105:
2104:
2100:
2097:
2093:
2090:
2088:
2087:
2083:
2080:
2076:
2075:
2071:
2069:
2068:
2064:
2061:
2057:
2054:
2052:
2051:
2047:
2044:
2040:
2039:
2035:
2033:
2032:
2028:
2025:
2021:
2018:
2016:
2015:
2011:
2008:
2004:
2003:
1999:
1997:
1996:
1992:
1989:
1985:
1982:
1980:
1979:
1975:
1972:
1968:
1967:
1963:
1961:
1960:
1956:
1953:
1949:
1946:
1944:
1943:
1939:
1936:
1932:
1931:
1927:
1925:
1924:
1919:
1916:
1912:
1909:
1907:
1906:
1902:
1899:
1895:
1894:
1890:
1888:
1887:
1886:Christ mocked
1883:
1880:
1876:
1873:
1871:
1870:
1866:
1863:
1859:
1858:
1854:
1852:
1851:
1846:
1843:
1839:
1836:
1834:
1833:
1829:
1826:
1822:
1821:
1817:
1815:
1814:
1810:
1807:
1803:
1800:
1798:
1797:
1793:
1790:
1786:
1785:
1781:
1779:
1778:
1774:
1771:
1767:
1764:
1762:
1761:
1757:
1754:
1750:
1749:
1745:
1743:
1742:
1738:
1735:
1731:
1728:
1726:
1725:
1721:
1718:
1714:
1713:
1709:
1707:
1704:
1701:
1697:
1694:
1692:
1691:
1687:
1684:
1680:
1679:
1675:
1672:
1669:
1666:
1663:
1660:
1659:
1646:
1644:
1642:
1638:
1635:
1631:
1628:
1626:
1624:
1620:
1617:
1613:
1612:
1608:
1606:
1603:
1600:
1596:
1593:
1591:
1590:
1586:
1583:
1579:
1578:
1574:
1572:
1571:
1567:
1564:
1560:
1557:
1555:
1552:
1549:
1545:
1544:
1540:
1538:
1535:
1532:
1528:
1525:
1523:
1520:
1517:
1513:
1512:
1508:
1506:
1503:
1500:
1496:
1493:
1491:
1488:
1485:
1481:
1480:
1476:
1474:
1473:
1469:
1466:
1462:
1459:
1457:
1454:
1451:
1447:
1446:
1442:
1440:
1439:
1435:
1432:
1428:
1425:
1423:
1420:
1417:
1413:
1412:
1408:
1405:
1402:
1399:
1396:
1393:
1392:
1384:
1382:
1381:Marcel Proust
1378:
1371:In Literature
1368:
1365:
1361:
1359:
1355:
1351:
1347:
1343:
1339:
1333:
1329:
1325:
1322:
1318:
1314:
1310:
1306:
1302:
1296:
1294:
1290:
1286:
1282:
1278:
1273:
1271:
1267:
1263:
1259:
1255:
1251:
1250:
1245:
1235:
1229:
1228:Last Judgment
1225:
1224:
1221:
1220:Last Judgment
1217:
1213:
1208:
1205:
1203:
1200:
1198:
1195:
1193:
1190:
1188:
1185:
1183:
1180:
1178:
1175:
1174:
1173:
1171:
1170:Seven virtues
1164:
1161:
1159:
1156:
1154:
1151:
1149:
1146:
1144:
1141:
1139:
1136:
1134:
1131:
1130:
1127:
1123:
1117:
1113:
1109:
1104:
1101:
1099:
1096:
1094:
1093:
1088:
1084:
1082:
1079:
1077:
1074:
1072:
1068:
1067:
1066:
1061:
1058:
1056:
1053:Jesus before
1052:
1050:
1047:
1044:
1042:
1039:
1038:
1037:
1031:
1028:
1027:
1026:
1021:
1018:
1016:
1013:
1011:
1007:
1005:
1001:
999:
995:
992:
988:
987:
986:
981:
977:
975:
971:
969:
965:
963:
959:
957:
953:
952:
951:
946:
943:
940:
939:
938:
933:
929:
922:
920:
916:
913:
910:
908:at the Temple
907:
904:
901:
898:
897:
896:
891:
887:
884:
881:
878:
874:
870:
867:
865:
861:
860:
859:
853:
849:
848:
847:
844:
841:
838:
835:
831:
827:
823:
819:
814:
812:
808:
804:
799:
792:
787:
781:
776:
767:
765:
761:
757:
753:
749:
745:
740:
738:
734:
730:
726:
725:
720:
716:
712:
711:
706:
702:
698:
697:Legenda aurea
694:
693:Golden Legend
690:
686:
680:
677:
676:
671:
667:
662:
658:
654:
650:
642:
633:
631:
626:
620:Modern period
617:
615:
611:
607:
603:
599:
596:
592:
587:
585:
581:
577:
574:and the wide
573:
568:
563:
561:
557:
548:
540:
536:
534:
530:
526:
522:
518:
513:
511:
507:
503:
499:
491:
486:
472:
470:
466:
462:
458:
454:
450:
446:
442:
438:
434:
430:
425:
423:
419:
415:
411:
400:
398:
394:
390:
386:
382:
377:
375:
371:
367:
363:
359:
355:
351:
346:
342:
341:
336:
332:
324:
323:
322:Kiss of Judas
318:
311:
306:
298:
269:
239:
229:
224:
196:
194:
190:
186:
170:
166:
162:
158:
154:
151:
148:
144:
140:
138:
134:
130:
126:
124:
120:
113:
108:
105:
99:
96:
81:
78:
70:
60:
56:
50:
49:
43:
38:
29:
28:
23:
19:
3344:Verona Arena
3333:
3114:
3100:
3092:
3088:
3077:
3073:
3066:
3062:
3048:
3040:
3036:
3027:
3015:
3010:
2986:
2979:
2972:
2968:
2964:
2957:
2949:
2941:
2933:
2922:
2915:
2908:
2901:
2890:
2878:
2862:
2858:
2850:Bibliography
2830:
2826:
2819:
2812:
2807:
2798:
2790:
2786:
2777:, a cura di
2774:
2770:
2765:
2757:
2749:
2740:
2734:
2709:
2701:
2692:
2686:
2653:
2649:
2643:
2635:
2630:
2618:. Retrieved
2614:
2604:
2579:
2571:
2550:
2545:
2523:
2507:Circumcision
2487:
2467:
2414:
2397:
2378:
2361:
2342:
2325:
2306:
2289:
2270:
2253:
2236:
2219:
2200:
2183:
2137:
2120:
2101:
2084:
2065:
2048:
2029:
2012:
1993:
1976:
1957:
1940:
1920:
1903:
1884:
1867:
1847:
1830:
1811:
1794:
1775:
1758:
1739:
1722:
1705:
1688:
1641:Annunciation
1639:
1623:Annunciation
1621:
1604:
1587:
1568:
1553:
1536:
1521:
1504:
1489:
1470:
1455:
1436:
1421:
1374:
1366:
1362:
1357:
1353:
1349:
1345:
1341:
1337:
1334:
1330:
1326:
1320:
1316:
1312:
1309:Inconstantia
1308:
1304:
1300:
1297:
1292:
1289:Inconstantia
1288:
1284:
1280:
1274:
1269:
1265:
1257:
1253:
1247:
1241:
1232:
1219:
1211:
1167:
1162:
1157:
1152:
1147:
1142:
1138:Inconstantia
1137:
1132:
1125:
1115:
1107:
1090:
1064:
1035:
1024:
984:
949:
936:
931:
894:
857:
845:
842:
839:
830:Annunciation
815:
800:
796:
741:
736:
732:
728:
722:
718:
708:
696:
681:
673:
647:
627:
623:
588:
579:
564:
559:
555:
553:
525:Annunciation
514:
495:
435:, 1303, and
428:
426:
417:
406:
378:
364:, region of
357:
350:Arena Chapel
349:
339:
330:
328:
320:
73:
64:
45:
3241:Information
3115:Art History
2416:Desperation
2237:Inconstancy
2202:Foolishness
1959:Crucifixion
1741:Last Supper
1338:Infidelitas
1321:Temperantia
1317:Temperantia
1153:Infidelitas
1076:Crucifixion
1032:'s betrayal
811:iconography
737:Phisiologus
715:Augustinian
531:granted an
465:Roman arena
441:Virgin Mary
437:consecrated
403:Description
389:Western art
354:Augustinian
218: /
193:Coordinates
159:2021 (44th
156:Inscription
59:introducing
3374:Categories
3319:Lake Garda
3109:0853312702
2969:Modernitas
2923:Giotto's O
2441:Size (cm)
2344:Infidelity
2255:Temperance
2171:Size (cm)
2162:Size (cm)
1690:Visitation
1676:Size (cm)
1667:Size (cm)
1409:Size (cm)
1400:Size (cm)
1358:Desperatio
1258:Desperatio
1187:Temperance
1163:Desperatio
1148:Iniustitia
1116:Infidelity
945:Visitation
834:Visitation
672:17 of the
533:indulgence
469:procession
206:11°52′46″E
203:45°24′43″N
67:April 2020
42:references
2871:1522-7464
2839:1522-7464
2678:190076925
2656:: 39–64.
2620:15 August
2563:Citations
2537:Footnotes
2494:1000x840
2308:Injustice
2221:Fortitude
2103:Pentecost
2067:Ascension
1350:in-vidēre
1313:Fortitudo
1305:Prudencia
1293:Fortitudo
1285:Prudencia
1281:Stultitia
1249:grisaille
1182:Fortitude
1133:Stultitia
1103:Pentecost
1098:Ascension
875:comes to
689:Nicodemus
449:salvation
447:in human
422:grisaille
383:cycle by
146:Reference
2670:41418713
2636:Speculum
2609:UNESCO.
2530:223x164
2525:Crucifix
2475:230x690
2185:Prudence
2142:150x140
2108:200x185
2072:200x185
2036:200x185
2000:200x185
1964:200x185
1928:200x185
1921:Road to
1891:200x185
1855:200x185
1850:Caiaphas
1818:200x185
1782:200x185
1746:200x185
1710:150x140
1647:150x195
1609:200x185
1575:200x185
1541:200x185
1509:200x185
1477:200x185
1443:200x185
1301:Iusticia
1177:Prudence
1055:Caiaphas
832:and the
805:and the
608:and the
576:transept
556:giornate
488:Cast of
445:her role
412:and the
137:Criteria
123:Location
3186:(10:14)
2897:, 2008.
2511:200x40
2421:120x60
2385:120x55
2363:Charity
2349:120x55
2313:120x60
2291:Justice
2277:120x55
2241:120x55
2207:120x55
2138:Coretto
2127:150x140
2122:Coretto
2091:200x185
2055:200x185
2019:200x185
1983:200x185
1947:200x185
1923:Calvary
1910:200x185
1874:200x185
1837:200x185
1801:200x185
1765:200x185
1729:200x185
1695:150x140
1629:150x195
1594:200x185
1558:200x185
1526:200x185
1494:200x185
1460:200x185
1426:200x185
1346:Invidia
1202:Charity
1192:Justice
1158:Invidia
1126:Justice
1071:Calvary
1010:Lazarus
864:Joachim
764:Charity
750:in the
748:Avarice
744:Virtues
675:Inferno
614:chancel
602:lunette
475:History
431:at the
335:Italian
168:Website
161:Session
131:, Italy
127:Padua,
55:improve
3283:Veneto
3212:(6:23)
3199:(5:42)
3173:(4:57)
3144:
3121:
3107:
3055:
3001:
2993:
2869:
2837:
2722:
2676:
2668:
2615:UNESCO
2592:
2435:Image
2404:120x60
2368:120x55
2332:120x55
2296:120x60
2260:120x55
2226:120x55
2190:120x60
2165:Image
2156:Image
1670:Image
1661:Image
1403:Image
1394:Image
1387:Images
1256:, and
691:, the
560:fresco
506:Rimini
502:Assisi
385:Giotto
381:fresco
366:Veneto
179:/index
129:Veneto
44:, but
3091:, in
3076:, in
3065:, in
3039:, in
3020:Skira
3014:, in
2967:, in
2773:, in
2674:S2CID
2666:JSTOR
2453:Vault
2438:Name
2428:Other
2327:Faith
2272:Wrath
2168:Name
2159:Name
1673:Name
1664:Name
1406:Name
1397:Name
1342:Fides
1197:Faith
1030:Judas
873:angel
752:Vices
699:) by
670:Canto
666:usury
653:Dante
453:motet
370:Italy
362:Padua
95:Padua
3142:ISBN
3119:ISBN
3105:ISBN
3053:ISBN
2999:ISBN
2991:ISBN
2867:ISSN
2835:ISSN
2720:ISBN
2622:2021
2590:ISBN
2468:The
2380:Envy
1354:Spes
1226:The
1207:Hope
1085:The
1002:The
996:The
989:The
978:The
972:The
966:The
960:The
954:The
917:The
877:Anna
850:The
760:Envy
687:and
572:apse
504:and
451:. A
329:The
181:.php
150:1623
20:and
2893:.
2716:155
2658:doi
2586:109
1379:by
1246:in
1143:Ira
871:An
707:'s
455:by
360:in
183:/en
177:.it
173:www
3376::
2971:–
2931:,
2863:29
2861:.
2831:29
2829:.
2823:*
2756:,
2718:.
2672:.
2664:.
2654:73
2652:.
2613:.
2588:.
1264::
1172::
1089:—
739:.
731:,
727:,
721:,
519:,
376:.
368:,
337::
3274:e
3267:t
3260:v
3148:.
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