Rinuccini Chapel (basilica of Santa Croce) 1370

Curator: I am struck by the composition—how the figures are arranged and the interplay of colors. It gives it such an atmosphere. Editor: Well, let’s orient our listeners. This is a section of the fresco cycle within the Rinuccini Chapel of the Basilica di Santa Croce in Florence. The frescos are attributed to Giovanni da Milano and date to around 1370. The material reality is paint directly on the wall, not some precious canvas, a crucial aspect in understanding its purpose. Curator: Yes, precisely. Look at the muted palette and how it contrasts the ochre halo. The way it sets off against the blue creates a kind of vibration of spirituality within that corner. The halos direct us towards understanding the subject. Editor: The frescos weren’t merely decorative; they were didactic tools. Giovanni’s patron intended them to reinforce particular religious messages accessible even to the illiterate. We should consider the materiality of tempera, too, how the fast-drying pigments were layered in short, deliberate strokes. Each material element contributed to the clarity of the visual message, designed to evoke certain desired emotional reactions. Curator: Note also how he uses line. It’s all rather controlled. The figures aren’t dynamic but dignified. See how Mary Magdalene’s posture communicates both humility and a kind of interior grief, while still directing us towards the supposed focus of her piety. Editor: It's worth noting, though, that even the pigment came at a price. Consider ultramarine derived from costly lapis lazuli; a visible signifier of wealth allocated toward the commission. I see here both reverence and also consumption at work. Curator: Yes, the arrangement does command you. The composition itself suggests divine order, and each element works within that rigid harmony. Editor: Ultimately, the fresco cycle, viewed in situ, represented power dynamics, belief systems, economic realities… so much more than just “art.” Curator: Thank you. Now when I revisit this work, I will know to appreciate more, but differently, all its visible, invisible and material levels of the artwork. Editor: I concur. Now you have material for meaningful reflection on what goes into making the visible and invisible artwork.