scene depicting the meeting at the Golden Gate, Giottos magnificent compositional technique shines through the reunited figures of Joachim and St. Anne. They come together to form a beautiful definition of marriage. Our attention is not stolen by any one of the paintings because like colors run throughout the chapel. Golden colored walls guide the eye in contrast to the purple ceiling.The scenes relate to one another to create a linear (most of the time) story of important events surrounding the lives of both Christ and Mary. The chapel becomes a pictorial Bible. Giottos organization and presentation to the viewer is ingenious. Interesting ironies occur when one studies the chapels walls. The format that the rows of images are presented in allows for juxtaposition of scenes that contrast in the story line. For example, the Adoration of the Magi is placed directly on top of the Washing of the Feet. This allows the viewer to witness Christ in opposite roles. We see both sides of Christ, the divine King and the Man. Giotto defines Christ in the juxtaposition. Giotto understood that he controlled what the people would see. This is seen through the organization of certain paintings. He places the pact of Judas out of sequence so that it is directly across the Annunciation. These two scenes are direct opposites. In the Annunciation, the Angel Gabriel contacts Mary sealing her fate as a blessed and venerated being. On the other hand, Judas fate of damnation is shown by his contact with the devil clutching him. A final statement is made in the Scrovegni Chapel on behalf of all the buildings discussed here. God is depicted at the top of the altar dispatching Gabriel. God is placed at the top to honor Him and show His superiority to all that enter the chapel. Mans yearning to glorify God (or gods in the case of the Pantheon) has been the key driving force in the construction of many fabulous buildings. Granted there are those...
