(swing piano music)
- [Male Narrator] The narrative cycle begins
on the right altar side in the top register.
It introduces Joachim and Anna, the grandparents of Christ.
- [Female Narrator] Mary's parents.
- [Male Narrator] Joachim begins
by being thrown out of the temple.
- [Female Narrator] For his childlessness.
- [Male Narrator] He's grown old without children.
Don't take this too literally, it's not in the Bible.
These are the extra stories
that were added to the biblical narrative
because people wanted to know
what happened in between the events
that really are mentioned in the Bible.
- [Female Narrator] Much of this is from a book
called the "Golden Legend" that filled in that narrative.
- [Male Narrator] Let's focus on
the last scene of the upper register,
which is The Meeting at the Golden Gate.
To get here, what's happened is that
Joachim has prayed to God really wanting a child.
Anna, his wife, has done the same,
and they've both been visited
and been told that there is hope.
Joachim is shown in the wilderness
with his sheep, he's a shepherd.
Anna is shown at home.
And they're shown coming together for the first time
in front of Jerusalem, in front of the golden gate.
- [Female Narrator] Each now with the awareness
that their desire for a child has been fulfilled.
- [Male Narrator] We see their faces together.
It is a kiss, it is incredibly intimate.
It's so personal, their faces come together,
they touch and almost become a single face.
- [Female Narrator] We sense the warmth of their embrace,
the warmth of the figures around them who watch,
and figures who have mass and volume to their bodies,
who exist three-dimensionally in space.
Gone are the elongated, swaying,
ethereal bodies of the Gothic period.
And Giotto gives us figures that are bulky and monumental,
where drapery pulls around their bodies.
And taken together with the emotion in their faces,
it's almost like we have real human beings in art
for the first time in more than 1,000 years.
- [Male Narrator] Giotto, we think, was Cimabue's student,
and learned from that great master
who had begun to experiment with the chiaroscuro,
this light and shadow,
this ability to model volume and form and mass,
but nothing like what Giotto has achieved here.
It is the coming together of both the chiaroscuro,
as well as the emotion, as well as the human interaction
that creates the sense of the importance
of our existence here on Earth.
- [Female Narrator] And I would also add
the clarity of the gestures, and the narrative.
- [Male Narrator] Look at the way in which
the city is not rendered in an accurate way.
We have a schematic view, and yet it's everything we need.
We have the gate of Jerusalem.
Now, of course, Giotto had no idea
what the architecture of Jerusalem looked like.
Yet, from legend, he has created this golden arch
and this medieval-looking fortified city.
- [Female Narrator] But the forms are simplified.
- [Male Narrator] It's a stage set,
and he wants those figures to be front and center.
They are what's most important.
If we move across to the other wall,
the upper register continues the narrative.
Mary is born, she's presented in the temple, she's married,
and then we get back to the altar side of the chapel,
and there we reach the triumphal arch.
And we're back to God the father now,
but below that we have the Annunciation.
- [Female Narrator] In the register below, now,
we see scenes from Christ's childhood, including...
- [Male Narrator] The Circumcision, the Flight into Egypt.
- [Female Narrator] The Massacre of the Innocents.
And then moving to the next wall, we begin the story
of the ministry of Christ and his miracles.
- [Male Narrator] We have Christ
preaching to the doctors in the temple, the Baptism,
and one of my favorites, The Raising of Lazarus.
- [Female Narrator] And then the entry
of Christ into Jerusalem.
- [Male Narrator] As the story unfolds from scene to scene,
Christ is often shown in profile,
which is derived from the Roman tradition of coinage,
which is the most noble way of representing a figure.
And he's shown moving from left to right,
which is the way that we're meant to read the scenes.
- [Female Narrator] So Giotto is helping us
to move through the narrative from one scene to the next.
And here we see Christ on a donkey
with the apostles behind him.
- [Male Narrator] You'll notice that Giotto does not care
to depict every single one of the 12 apostles.
He's really giving us only three or four faces,
and the rest are just like an accumulation of halos.
- [Female Narrator] There's that legacy
of symbolic representation
that we think of as more medieval.
- [Male Narrator] Symbolic representation
is also clearly evident in the way
that the gate of the city of Jerusalem is shown once again.
We last saw it with the kiss in front of the golden gate,
and now we see Christ entering.
And so there's a continuity.
Look at the way in which the figures in the lower right
begin to pull off their outer garment.
One man is pulling his arm out of his sleeve,
the next is taking the garment off his head,
and the final one is placing that garment
at the feet of the donkey in an act of respect.
But it is almost cinemagraphic, that is,
part of the chapel as a whole is about the movement of time.
This is one of the most innovative aspects
of the entire chapel, I think.
- [Female Narrator] We also have a sense of the figures
pouring out of the gate of the city, welcoming Christ,
and a real humanity to their excitement at seeing Christ.
- [Male Narrator] If you look at Christ,
there is a blue garment that's wrapped around his waist,
but the blue is almost entirely missing,
and that's because the Arena Chapel
is painted in buon fresco, true fresco,
that is, pigment is applied to wet plaster.
- [Female Narrator] And when that happens,
the pigment binds to the plaster,
and the paint becomes literally part of the wall.
- [Male Narrator] That's right, the wall is stained.
The problem is that blue was really expensive.
Ultramarine blue came from lapis lazuli,
which was a very expensive semi-precious stone.
And Enrico Scrovegni,
when he drew up the contract with Giotto,
did not want the blue's brilliance
to be diminished by being mixed with the plaster.
So he asked that it be applied as secco fresco.
- [Female Narrator] Dry fresco.
- [Male Narrator] On top of the wall.
- [Female Narrator] It didn't adhere to the wall
as well as the paint that was applied to the wet plaster.
And so sadly, that's been flaked off,
and we have to use our imagination
to fill in a brilliant blue on that drapery.
- [Male Narrator] Let's move on
to the bottom register, to the end of Christ's life.
On the lowest register, the register that's devoted
to the scenes of the Passion,
is the Arrest of Christ, also known as the Kiss of Judas.
- [Female Narrator] So this is the moment
when Judas leads the Romans to Christ,
and they arrest him, and take him away,
and torture him, and ultimately crucify him.
Judas is one of the 12 apostles,
one of those considered closest to Christ.
He betrays him for 30 pieces of silver.
- [Male Narrator] And so it is all the more horrific,
a terrible betrayal,
because this is one of the people that Christ trusted most.
And Judas has betrayed Christ,
not by pointing at him from afar, but with a kiss.
The embrace is really important.
Look at the way that Giotto has
the figure of Judas' arm and cloak
wrapping around him, embracing him,
enveloping him, and importantly, stopping him.
Remember that, in almost every scene,
we have noticed Christ moving from left to right in profile.
But here, Judas is an impediment.
His progress is stopped.
This is literally arresting his movement forward.
- [Female Narrator] If we compare this,
for example, to Duccio's "Betrayal of Christ,"
there, Christ is frontal.
Here, he's in profile.
It makes it so that Judas and Christ look at one another,
look at each other in the eye.
Judas is a little bit shorter, he looks up at Christ,
there's a sense of, to me, determination,
but also maybe a hint
of beginning to be sorry for what he's done.
- [Male Narrator] But still corruption in that face
versus the nobility of Christ's features.
- [Female Narrator] And a sense that Christ knew
that this would happen, right?
At the Last Supper he said, "One of you will betray me."
And an acceptance of his destiny
that we often see in images of Christ.
There's also chaos here.
- [Male Narrator] Giotto has created this sense of violence
by reserving half the painting, the sky,
just for those lances, torches, clubs,
and the way in which they're not held in an orderly way,
but they are helter-skelter, crossing at angles.
They create this violent visual rhythm
that draws our eye down to Christ, down to Judas,
but also feel dangerous.
- [Female Narrator] But there's a sense
of Judas and Christ anchoring the composition down
as that chaos takes place around him.
The most remarkable figure to me, though,
is the figure in that pale purple
who leans his left side of his body and his elbow
out of the composition almost right into our space.
- [Male Narrator] It's amazing,
and it almost prefigures the way that Caravaggio,
who centuries later will master this idea
of breaking the picture plane.
- [Female Narrator] And then we also see another device
that Giotto employees often in the Arena Chapel,
and that is a figure with his back to us.
And that figure seems to be pulling something
that's out of the space of the panel.
But look at his feet, perfectly foreshortened, grounded,
there's that sense of Giottoesque weight
and monumentality to the figures, all of that modeling
as we can follow the forms of the body underneath.
- [Male Narrator] And Giotto is giving us
this full sensory experience.
We have this crowd of figures, the sense of violence.
The crowd has multiplied
because we can see numerous helmets,
which by the way would have originally been silver,
but have oxidized.
- [Female Narrator] And there's a sense
of a crowd pressing in,
of all these faces watching what's going to happen.
- [Male Narrator] And there's one man
blowing on a horn, creating this sense of energy,
this audio that goes with this painting
that finishes the whole scene,
and it's chaos, and it's anger, and it's drama.
- [Female Narrator] Giotto is a master of the dramatic.
(swing piano music)