Rinuccini Chapel (Basilica of Santa Croce) 1370

Editor: Here we have Giovanni da Milano’s Rinuccini Chapel from around 1370. It’s a tempera on panel piece and features what looks like painted figures under arches. It appears to have a traditional religious scene in the middle but I can also make out secular images in the lower registers. How do you interpret this work, considering its place in history? Curator: Looking at the chapel we have to acknowledge it as both a devotional object and a symbol of power within its specific socio-political moment. How does its religious presentation interact with the symbols of wealth and patronage we see? Editor: I hadn't thought about it as symbols of wealth and patronage. The presence of recognizable people must be a marker of class status in a theocratic culture, right? Curator: Precisely! Think about the relationship between the Church, its patrons, and the masses. Does this piece serve to unify, or does it underscore existing social hierarchies? How does the artist use color and composition to guide our eyes and perhaps reinforce a certain power dynamic? Editor: I see what you mean! The hierarchical scale, with holy figures towering above earthly scenes… it reinforces a social structure. Curator: And even beyond, the choices of who to include and how they are depicted speak volumes about the artist's intentions and the patron’s aspirations, doesn't it? Perhaps, it is also making claims about their identity, both for themselves and within the society in which they existed. Considering this intersection of devotion and social signaling, what are some pressing questions we can ask about the Rinuccini Chapel? Editor: Wow, thinking of it this way really expands my understanding. Thanks, I’m walking away thinking about the historical context so much more deeply. Curator: Exactly! Art isn't made in a vacuum. It is made by someone and is about someone. Considering artwork as an expression of power that can give new perspective, it gives us insights into the past.