Rinuccini Chapel (basilica of Santa Croce) 1370

Editor: Here we see a fresco secco fragment within the Rinuccini Chapel, dated 1370 and attributed to Giovanni da Milano. There’s a sense of serenity to these figures, despite their somewhat confined architectural spaces. What strikes you most about this piece? Curator: I think what's most interesting here is understanding how the Chapel, and consequently this piece, functioned within the socio-political climate of Florence at the time. Wealthy families like the Rinuccini commissioned chapels to display their piety, of course, but also as a clear demonstration of their status and power. The art wasn't just about devotion; it was about broadcasting their family's importance. Notice the prominent display, almost as though each figure is strategically placed as an emblem of family prominence. Does the fresco strike you as particularly innovative for its time? Editor: I can definitely see that ambition in the ordering of figures, their positioning. It seems more calculated than spiritually driven. But how much freedom did the artist even have in that situation? Curator: It's always a negotiation, isn't it? Artists relied on patronage. da Milano likely had parameters set by the Rinuccini family regarding the themes and the overall aesthetic. Think about the very *public* nature of a chapel like this. Everyone who attended mass could view the family's generosity and supposed righteousness. It was carefully constructed social theater. Who are these figures holding scrolls for, ultimately? Editor: Interesting, almost like an early form of PR. I suppose looking at it through a historical lens gives the artwork a different life, connecting devotional imagery with assertions of societal standing. Curator: Precisely. By understanding the dynamics between the patron, the artist, and the intended audience, we start to understand the Rinuccini Chapel wasn’t just decoration but a visual instrument.