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| red stone (Imperial Rome) |
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| columns used for pulpit; taken from diff ancient Roman monuments |
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| 3 arches, in between representation on Pisa Pulpit |
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| layered and defined with the use of leaves |
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| defining the form (same colors as background-can't be 3D) |
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| "light and dark" use of light to define form |
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mural-type decoration on walls or ceilings
an ancient, labor-intensive technique use to permanently fix images to surfaces |
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| image transfer (large scale drawing of the image) - 2 types of transfer: pouncing and use of a stylist/awl that scratches into the wet paper |
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| the whole process completed while the plaster is still wet (steps 1-6). |
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| "applied on top of" applied on dry plaster |
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| a full day's work (4-6 hours); images in frescoes are divided up-big pieces are less detailed and small ones (faces) very detailed |
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| taking a bag of charcoal and pouncing it on to cartoon (this is a transfer technique) |
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| chapel was dedicated to this |
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| lends money, a.k.a a money shark |
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| Enrico's father, patriarch of the family; responsible for practice of money lending known as usury |
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| reference made to Reginaldo |
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| concerning the paintings on the upper register of the chapel, the emphasis is placed on life of the Virgin Mary |
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| where Marian gospels are found; the collection of non-canonized books NOT seen in the bible (thus not the work of God but provide important insight about sacred individuals-like Mary) |
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| Upper Register of Arena Chapel |
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| Second Register of Arena Chapel |
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| focus is placed on the infancy of Christ, starting with the nativity scene |
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| Bottom Register of Arena Chapel |
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| the Passion of Christ; everything culminated on the westward wall with the LAST JUDGMENT |
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| Virgin Mary's father and an elderly member of the temple/her mother |
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| figures are over-life size |
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| Joachim's expression is hurt, sad, and distressed/confused. |
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| intuitive suggestion, but not completely natural, receding into space |
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| the stubborn Jews-too stubborn to recognize Christ child |
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