Barren Metal and the Fruitful Womb: The Program of 's Arena Chapel in Anne Derbes and Mark Sandona

Unde fit quidam panus cum dena1ius ex clenario crcscit. of frc ·coes represen ts a roincidentia oppoJiforum, a confront:a­ (Thu . a kind of birth Lakes place whe11 money grows from ti o 11 of meaningful oppo ites-bt1twha1 arc Ll1e meauing.s or f0L11er] mo ney. )-Thoma Aquinas, fo Vlll lib ms /)o/itiro­ Lhis oppositi on? The vast literatt1re 011 Gio tto's work in Lhe 1 ru111 rxpositio An:ua Chapel has all but overlooked the imerpretive possibil i­ ties or this antithetical pairing. Our i11vcstigatio11 seeks to Quod concepi 'Li panurie ·. (What you ha\'C' conceived, ·ou ground the oppo ' iLion of Judas and larv in a cultural "~ II bear.)-J\Jeditalio11fs Vitae Christi'1 undet ·tanding-the redemptive power of Nlary's womb as counterpoise Lo what w.as then co n s id en.~d the ste1ili ty or A network of meaning surro1111ds the viewer who stands at the ill-gotten gains- and in the comcxt of the Scroveg11i family center of lite Arena Cltapcl. Above the chancel a1·ch. Corl th L· his wry. Father di. patches lo the -the begin­ Giotto's C)'cle, commissioned b)' Enrico crovegni ning of redemption (Fig. I). Behind us, on the we t wall , the early in the fourteenth cenrury, i · surely one of' the most J,aJI Judgment (Fig. 2) brings divine inten tio n to its co mic tl1orou ghl ~1 sturlie rl monumenLs in L11e history of art.4 The closure. Facing the altar, we move clockwise throug h the building was intended Lo be a small priv<1Le chapel, l'or £11 1ico, stories in the nave frc ·coes, their strong narratives imitating " his wire, his mothf'r. and his fami ly," according to an early the medieml conceptio 11 of hi. tory, the moveme11t of Cod \ document; it was al. o 10 be Enrico's btuial place:; Emico wi ll through time. Ahove us in a starry at.urc va ult, eternitv purchased the land for the chapel and LIH: family palace in looks clown on the productions of time. Each wall of tlw I 300; th e chapel was dcdicaterl on the feast or the Ann uncia­ chapel offt:rs the '~ewer a series of paired antithe ti cal images. ti on, March 2.rJ, I ~03.li The Alrn11 nciation hart for some time On th e dado, personificati ons of 0 11 th e south wa ll been a· ·ociatecl wi L11 the locatio n; a n earlier church, known as oppose Vices on the north wall. The monumem.al f.n~I S. faria Annunziala, may have ocrupied tl1c site. and a play of J1ulg111ml on the west wall is i t~e lf a confrontati on of o pposites: Chrisl, radiant a nd loft)'. versus Saran, in the slrnrlowr depths; the Annunciation had been enacted there ar least since 1278. However, the beca111e known as S. Maria below Christ, the elect to his rig ht versus th e damned to his le f'L; the devout! }' kneeling patron, Enrico Scrovegni, ve rsus della Carita: thus Enrico refern~ d Lo it i11 h is will , a did Pope BencdicL XI in a document of 1304.7 the hanged anrl evi cerated traitor Judas. T his pictorial microco ·ru bespeaks a consi te 11cy and sym metry comparable The meaning of th<: chapel's fresco progTam ha~ generat<.:d Lo Dante's OivineComfd_v. much discussion. Many scholars today accept the argument, h is. the n, a ll the more rnrprising whe n, standing in that most fu lly

l Gioun, Chancel wall, Padua, Arena Chapel, ca. 1303-5 (photo: Alina1;; Art Resource, ew York)

in date with the Arena Chapel. states 1h aL the usurer is even generic in and usury is a spcci lk instance or it. 1 ~ r\lL11ough it worse a traitor than .Judas. for the usurer, unlike .Judas, does is impossible to be certain whether the frc~co depicts the not attempt LO make rcstitutio n.11 generally ;waricio11s or the specifically usuriom, .J acque:-; de It may be, too, that the damned who hang from the ·uings \'itry (cl. 1240) clcsc1ibe us11rC'rs in exactly this fa ·hion.11 or moner bags in the Lmt /udgment i11cl11clc:- not merely the Dame, too, describes usurers with money bags around their a\raricio us but also the usurious. for both are typically rcprc­ necks-including a man whose' hag bears a pregnant ·ow, the ·enLed with money bags around 1.heir n ccks. 1 ~ The two are, of emb lem of the crovegni family (111/erno, camu 17, lines course, closelv related: in the category o r sins, avarice is the 43-78)."• 276 ,\RT Ill 11 t::Tl N J l N~ 1~ !18 \'Oll i \! ~ I.A.XX xmrn~R 2

2 G iotto. . Are11a Chapel (photo: Al inari/ An Resource, 1ewYork)

Furlher, Lile argument rhat the Expulsion of lhP MPrrho111s Lo tecun

Reginaldo's death probably caused Enrico consid erable c ho lastics.28 Albenu ~fagn u s is credited with reviving Aristo­ anguish a bo ut hi father's fate a nd about his own. Usure rs telian thought and introducing it into the a rgume m agaimt were viewed with conte mpt by con temporary cle1-ics, who usur y.~' Albe rt's ·tudent T homas Aquinas, in his commentaq· spun horrific talcs of the searing agon ies that hell reserved for on the f'olitirs, follows Aristotle closely, reasserting tha t money 30 these sinnc 1·~. 20 Though these sermon · did not ·top the does not nalllrally bear fruit. Indeed, Aquinas, in glossing practice, we wonder about the impact of such talc · on a man .AristotJe, offers this interesting gloss o n Polilio 1.3: "Tolws, he whose father, a lei-;endary u su rer, had ju t died. Usurers could explains, m eans prir/us (birth).""'11 Aristotle's dictum was escap e 1his fate only by confes ing tlwir sins a nd making echol·cl repea1edly-by. among otJ1crs, Giles of Lessi11es (cl. restituti o n .~ 1 But the year 1300 must have o ffered to 1304), a Dominican a t the Univer~ity or Paris; Aegidius Enrico: it was a Jubilee year, the first such cele bration in the Ro man us (cl. I :~ 16), minister genenil of the Augus tinian s: a nd Weste rn Church, a nd it represen ted an opportunity for Alexander Bonini (cl. 1314), minister o f the Lo mbard pro\'­ repentance o n a grand scale.~'.! The chronicler Cionu1ni ince or tJ1e Franci can order.:12 Though their imerpretations Villani (d. 1348) reports, .. Po pe Boniface VIII ... granted a diffe r, all of tJ1ese writers cite tJ1e natural law argument againsl 3 upremc and great indulgen ce . . . fu ll and comple te pardon usury as the unnatural breeding o rmo ncy. :{ of all sins ... as well as remission or guilt and punishme n1, Alexander Bonini, writing in tJ1e same years that Giotto was prO\~cled the ins were o r would be co nfessed."~~ It is possible, painting Lhe Arena frescoes, begin · to fi ll out the sexual as chlegel propose , tJiat Eniico received absolution fro m implications of the simile: .. l Bv usury] it is u nder wocl that Pope Be nedict X r a nd that the erec1i o n of the c ha pel was one money gen erates money. But mone>'• by means or Lhis craft. of 1he terms of abso lution. ~·1 Whatever the specific circ um­ reproduces it.self as ir by imprcgna 1i on and birth [crescit in stance-, tJ1e chapel must ha\c been e no rmous!)' m eaningful sei/Js11 quasi per prf'gi1ati01m11 fl /J01111111 ].'"'.H Contempora1ie of for Enrico, a nd not only

up Lhe entirety of one's personal wealth. fnhe1;ting a usurer's Live sign-a sign as o tJ1erworldly and paradoxical as the wealth is, then, doubly problematic. In an early thineenth­ Incarnation ir.~e l f. L'sur}' is undone in the pregnancy of the cemury penitential manual (ca. 1205), Robert of Flambor­ Virgin . ough (d . 1224) offers derailed advice to the son ofa usurer. He suggests 1.h a1. th e confessor inquire specifically abo 11l the Love's Increase acquisition of household properties-which were ill-gouen, While usury has been generally accepterl as an important which not. The peniLem son cannot retai n any of Lhc wealth theme of the chapel's program, a related theme, equally 1.ha1. his faLher accumulated by way of usury. 111 an odd sense, insistent. has been ove rlookerl: fertility. It is this theme, the usuriously acquired wealth and lhe son em er into a sibling placed in conjunCLion with our o bservation on usurr. that ri,"alrr-in c:orrigiblc and repemanL offapring of the usw ·er.40 seems to make the program o fL11c chapel both more complex T hese ArisLOtelian, Scholastic, canonical, and homi.lelic and more fo cused thait has been previously imagined. undersLanclings of usury would no doubt have been fa miliar The barrenness of a nd Anna o pens the cycle, in the university town of Padua. Gratian 's D PrrP/11111 , which when Lhc chi Idles Joachim is unceremoniously expelled f'rom incl ud e~ the A1isl0Leli an analysis of usury, was ''~de l y used at th e temple (Fi g. 3); as the f,i,genda AurM tatcs, " it w;is not the University of Padua, a renowned ce::.11ter of legal sludy.41 proper !Or a sterile man ... to s1and among men who begot Aegidius Romanus's commentaries on AristoLl e. which also ·ons. " 48 It i:. only aft.e r Joachim's public humiliation, retreat rest.ate his argume n1 against usury, were probably knowu in to hi · shepherds, a11d subsecp1e nt sac1i fi ce that he and Anna 42 Padua as we ll. IL is highly likely tha t a scholarly cle1ic advised are rewarded with Anna·s miraculous conception. 1\1 The six Giouo in L11e program of tbe chapel. Claudio Bellimni has narrmi ve~ on the opposite wall, from L11 e Birth of the l'irgin to suggested that the aL1lhor of the program was Enrico Scroveg­ the four scene::s that recount her marriage, furtJ1 er deve lop ni ' friend Alcegrado de' Cattanei, professor of law at Bologna tJ1t: theme. All of Llti · is most 11nu ·ual in Italian frc ·co cycles; and th en at Padua and arch priest of the caLhe

3 Gioll<>, Expulsion ofJ oarhi111 . Arena Chapel (photo: Alinari/Art 4 Giouo, Ma rrin gr ofth e Virgin. Arena Chapel (phoLo: Re·ourcc, New York) Alinari/An Resomce, New York)

oppo lllo n of Lhe Par/ of J udas \\;Lh the \!isitation on Lhe chancel willl (Figs. 6, 7). The apparem incongruicy o f Lhis pa i1-ing has been noted orten.54 Neverth ele ·s, GioLto surely intended them to be read togeLher: multiple visual cues link the cwo image . ln each, fou1 figures stand in two pairs, wi th a fiflh figure pre em as well; in each, the central pair ( fary and ElizabeLh,judas and the high pi-ie t) wear red and yellow; and a third flgu 11.: wears pa.le green; in each, a small buildiHg supported b)' columns, \\'iLh arched doorway, flaL roof, and in el relief decoratio n, appears to Lh e r ighL Even the place­ me nL of.Judas·s money bag, a L his abdomen, seems Lo echo the pregnancr of the women iu th e Visitation. But Lhc linking of these two images canno t have been simpl)' Lo provide compositiona.I and coloristic balance. ConLemporary observ­ er would likely have seen t.11 e link as thesis/ antithesis: two men auempling to uncio sal\'alion-two women prodding for it; monctarr profit (toko.1 as financial gai11 )- spiriwal profit (lokosas divine offspring); barre n metal-fruitful womb. The results f'rom the exchanges (culminating on the opposiLe wall's Last )11dg11wnl) arc likewise amiLhetical: Judas's suicide (neath ), Christ's red empLio11 (life).5" Aligning two texts (,·ery familiar to C hri tians of the ) provides an elfccl similar to the o ne in the chancel's 5 Gio tto, N11j>l ial Procession. Arena Chapel (phoLO: Alinari/ Art vi ual juxtapositio n. The fi rst is an imprecation on Judas's Resource, New York) betrayal from the Nleditationrs Vitae Christi, once atu·ibut:cd LO Bo na\'enwrn: .. \.Voe to you. wretch, hardheaned one! v\That vou ha\'e concci\·ed you will bear.. [Sed vr1e tibi, miser: 111 quidem obrluratus, quod conrepisti. parturies]. And Lh en, o ne of the m osL whe n we consider the moment represented in the Paci of frequently reciLed phrases rrom Luke's , the exclama­ .Judas. ln concrast Lo almost a ll other examples of Lhe theme, tion of El it.a beth lo Mary (from the Avr Maria) as.Jo hn move where Judas is shown in t.11 e act o f' receiving the thirty pieces or in ElizabcLh's womb: ' 'Bles~ed are you amo ng women, a nd silver from tJ1c high pi-i ests, here lhe money has already been blessed is the fruit of your womb! " LBenedit"la tu in 111uliPrilms, exchanged .57 By this choice, Gio lto reinforces the visual rt bnmfictus fnict11s vr11t1i~ t 1d.~ (Luke 1:42).56 In word and parallels between the Paci and Lhe Visitation. but, more image we confront two conception ·- 0 11e cursed. o ne blessed . impor tant, he inclicat.es chat the pact has been sealed. As Bo th arc beyond na LUre:.Judas's unnatural, Maq 's supernau1- Moshe Barnsch has argued, the de\'il' acti on, placing his ra1. hands o n Judas's sho ulder, i a legal gesrure signil)fog The passage from Lh e J\ lulitationes is especially inLcresting confirmation of an offer. Intere ting ly, Barasch ~ la.Les as well 280 \ Kl lll'.LLETIN J I 't 1998 \ ' 0 1.l \It L :-..xx :-: 1•\llH'. K ~

6 Gio llo, Visitation. Ar<"na Chapel (photo: Alinad/ An Resource, 7 Giotto, /'art ofJud as. Arena Chapel (photo: Alinari/ An ewYork) Resource, New York)

1hat the gesture was also used in ancie n1 wedding ceremonie duecen10 a nd trccen10 ftaly.1;2 Giouo· choicf' of t11is uncom­ as a bride wa · delivered to h e r groom.:;11 Bo1h com1 otations­ mon icon ography eems quite d e li berate: .Jur erupted" [S11sprns 11s rrrjmil 111edius: plenus rm/ venter; et fulfillme nt of the prophecy in the Atnlitationes: ·'what you ruptm e~ t 11lr1].03 P e udo-Bernard repeats Acts 1: I 8 \'erbaLim have conceived you will bear" [quod co11repisti pnrt111iPs]. ("suspensus cre puit medius'') but, find i11 g a wonderful oppor­ Giotto's depiction of the suicide, like so much here, d<'paris tunity for paradox a nd wordplay, continues with vent(lr and from traditional re pre e ntatiu11s of the 1he111e. The very 11trr i11 ·wad of the biblical viscem. The least complicated inclusiou of_Judas's d eath is unusual in a nd early unders1ancling o f these substinned words woulcl suggest trccen10 images of the Lastjttdg11wn t;~!> significantly, it occurs translaLing them as " belly" and " bag" (rf'ferring to .Judas's in the mosaic in the Baptister y in Flore nce, LO which Giotto evisceration). Bur clearly, the coincidence of vniter (whose was much in d ebted.60 What di ·tinguishes Giotto's versio n prima r y religious connotation wo uld be t11e fnu:lu.1 vn1lris-­ from that in the mosaic is 1he way Judas dies: in Florence, he '·frnitf'ul womb"-of~larr) " ·i1h 11fer (who!>e econda rr mean­ m e rel)' ha ngs, but in Padua, his viscern spill out of his body. ing· is amno micaJ) re nects the aut11or's a u<"mpt lu conflate This gruesome imagr COil nates two biblical passages: Mattl1cw suicide with childbirth. Moreove r, thii. meLaphodcal 111t•r may 27:5, "And throwing clown the pieces of' ·ilver in the temple, also suggest an a nimal-skin money bag-ju5t as Judas·s bag he departed; and he went f tl1e argentis in ff'111plo. reressil: fl abie11s laqueo sr .1mpP11dit], a nd Acts Mrditntio11P.1 brings this starkly into the foreground, complet­ 1:18, " ow Lhis rnan bought a fi e ld wiLh the reward of his ing the birth metaphor: Judas bears what he conceived. T hus, wickedJJeS ·;and falling head long he burst open in 1h e middle the implici1 pregnancy o!Judas o n the c ha ncel wall becomes and all his howeb gushed out" [Et hir q1tirfe111 jJosmlit ngrum de explicit in thi influe ntial 1ext. fi:; uwrcedl' in'iquitati~, Pl smjll'n.rn.1 cripuil medi11s: r t rliffu.m s1111/ AssociaLions of.J udas with a paradoxical, inverse. or unnaLU­ omnia r1i1cmYL 1•itts]. Theologians like Pete r C:omeslor similarly ral p rcgn anC}' do not o riginate wi th the thirteenth century. conflate Lh e two--usually with a resulting explana1 ion that Two early Christian writers, both wide ly read in the later .Judas's spirit exiled pe rforce from his e ntrnil· (not, as ;\!fiddle Ages. curse 1he 1rai1 or in 5imilar terms; both empha­ conventi o n has it, from the mou1h), since his m outh had size the idea of his s1erile 01-igins and the emptiness of hi ki ssed Clnis L. ti 1 offspring. ln Secluliu ', from the fifth ce111urv, we read: '·If only Despite such 1e x 1 ~ and similar images in northe rn Euro­ he, conclec·mned to the womb [ ~ll'rili damnatus uenlrP] had pean an, Judas" e rupting e mrails appea r only ra rely in never known the cla}' of his binh ... ."' f>h Arator. in the sixth I !IE PROGR,\ \I Of C.IOT I 0 ' '> \Rf'.N \ C: ll \Pf I l'I l'.\Dl \ 28 J

8 Giouo, /.(L1t.fudgmenl. detail: Suicide of Judas (pho10: Alinari/ An Resource, New York)

century, describes the appropriateness of.Juda 's evisceratio n entitled "Fructus ve nu·is Beatae Mariae quo rum sit, et qui bu~ and the sterility of the po tter ' field boug h t with h i blood debeatur,'· he d e cribes Lh e metaphoric (one migh t even ay money: mystical) meaning of the womb. Tt involve . he says, more than simply the phys ical conceptio n of the Christ child: "The His burst bowels fe ll out, Lo be buried in no tomb, and his 'fruit' is not simpl)' of th e womb, but of the mind" f Fructus a h e~, disappearing into thin air. fl ed from the world. o r 11 rnnqul' isll' non ~olwn est fnu'fus vmtris, sed efiam mm tis] .1'9 The is this n•,•enge o n .Judas empty; it denies funeral 1·ites and fruit of Ma1-y's womb, it turns o ut, is the fruit of repen tance. It comes thus a acceptable punishment for an unju t in­ i ·, for example, " humility countering p ri de" and "abstinence come: for altho ugh he had lately bought fields ''~th the countering gluttony''; for o u r purpo cs, it i also "gene rosity price of hi death, [and] although the purchased ground countering avarice": with the name of Blood, collocating to mbs for foreign ashc~. makes the earth fruitful by means o f the graves, the 1n th e fifth case, f1iends, let us ee how the fruit of ~la 1-y ii. impiou o ne is denied the fertility of hi own fi eld , and is gencro ·ity countering avarice, and especia lly the generns­ alone excluded from the land which bear sepulchers."7 ity of those who, in the name of Lbi fruit, renounce all

Giotto's image of J udas in the Lt1.1/ j udgment has a near tempo ral things, in accord with this passage from the contemporary equivalent in the Legenda A urea-an impo rtant SongJ~ For that fruit a man gives n thousand /1iffl'S of silvl'I; source for Gio tto in the Joachim and Anna cycle in Padua. .. u-uly by lca,fog everything behind'" say the commentary. J acobus de Voragine uses m uch the same me tapho r, stating And again Lh e gloss says: "For mi/le 'perfectio n,' for that.Judas has ronCf'ivnl: " lt also was fitting that the bowels W{(l'l1f1tm 'all things worldly' are understood."' Therefore, wh ich had conceived the betrayal should burst and spill o ut" lie wh o gives up comple Lel y a ll worldl}' good~ for Chds1\ [Dignum mim era/, uf vi~cl'm, qual' pmdit1011 1'111 co11cl'pl'ra11 t, ru/Jla ake, he is like one who g iYc · up a thou and pieces ofs ilve r cadent nt].«i!I fo r this fruit. But he who refu ~es to give a Lho usand, gi,fog Cros~ing over. then, from Lile vacuit) of'judas's pact to the up everything, lcLhim give al lea t.something for thi fruit, scene of the Visitation is like moving from impe nding doom LO LO help the poor; let him be the fruiL-hea1ing olive tree, the promise of salvatio n. O ne hardly needs to insis1 o n the bearing Lh e fruit of compassion. medieval impo rtance of Mary as ime1cesso r for the si nner; Alas, how for from this fruit of compassion (and how fa r the devotio nal literature of the thinee nth century is particu­ from those who do noL covet earthly things) are the mils larly relc\"a nt in ofar as it relates Mary' intercessory role with of the a\•aticious! ... Of"them it i · said: By tlteanxil'ty, wPalth. Lhe fecundity of he r wo mb: bl'nl'dictus fructus vrnt1is tui. In a and indulgenrl' in this lijl', they Ml' rltohPd; thry bear no fruit. It is lour de force o n this theme, Bonavcnll1r<1 devotes enLire also said in lfrrll'sirl~l e.!>: He who loves wealth, will not grasp it.1 chapters of hi SjJecu/11111 Mariae Beatae Virginal' to the gracio us fruit. Thus, th i~ blessed fruit is of the genero us and of th o~e and alvifi c powers of the Virgin's wom b. In o ne chapter, who re no u nce 1emporal things; and i\fary hcri.clfabove a ll 282 ART lll' LI FT IN J L' t\f 1!1'1~ \'(l l u~n: LX:\:\ 'l/ll ~ lllt R 2

with usury; he, too, evokes 1he word s of Elizabeth 10 Marv at th e Visitatio n. Af1er a lengthy discussio n o f usury a$ ··against nature," Remigio a rgue · that ··ma ny things that a re shown to come into existe nce against nature arc neven.helcss in truth good. For the Virgin Ma r y, remaining a vi rgiu, against nature brought forth he r son. a nd bore fruir, wh ic h was in 1ruth her so n a nd th e blessed fruit of her womb. "71 The o pposition of fertility and usury, implicit o n the ch a ncel wall , recurs elsewhere in the chapel. For instance, a t the dado level, whic h features Vinuei. on the south wall a nd Vice on the no nh wall , the p e rso11i firatio ns of Cha ri1 y and ca n be similarly i11terpre1ed . is sldkingly fecund (Fig. 9). Crown ed with roses, she ho lds a howl lade n with nature'. bo unty: lili e~. rose , pop p it:s. corn, pomegrana tes. and wheat. This c ha racteri.lat.i on ofCha1ity is again somewhat unusual; earlier TtaJia n depictiorn. of th is viru1e do not consiste ntly asso cia te it with fe nility. 72 He r oppo·it.io n to cupidity is explicit, as ·everal scho lar· h ave ohserved: the pile of money bai,TS at he r feel makes h e r conte mpt clear. T he link witJ1 the grnspi ng Envy, dutching a money bag ·i n1ilar to .Judas's, is clear as well. Usury was viewed as si n ttgainsLc1 1a1ity in c holas t.ic Lhouglll/!1 a nd the chapel's dedicatio n Lo Santa Maria della Carita igm1ls the imporLa ucc of this vi rtue for En ri co Sc rovegni. Rellinat.i has arg 11ed tha t many of 1he sain ts on the walls of the cha pel a re also ac;socimed with cha ri1y. 7t Giotto uses othe r narrative SUed in a n unseemly e roticism ; J oachim and Anna, in a tancc th a t conveys muLUality. a re de picted as iflheir 1wo bodie ·and faces had become "one n esh." The archway abovf' Jm1d1i111 and Anna suggests Lheir pcrfert 1111i o n; the weapons in the Belrayal of Christ seem to ·peak of d isarray and impendi ng clestructio u. Integrity a nd disintegra t.i on: the two scen es a re visually connected by way of th e kiss. Significan tly, J oachi111 and Anna's kiss, so farni.lia r 10 an historians, in fact represents a de pa nure from earlier textual and visual acc01 1nts of tJ1 c 9 Giotto, Charity. Arena C h ap~· ! (phoco: Alinari/A ri Ri>so11n:e, Me t>ting at the Go lde n Gate . The f .ege11da Aurra, widely cited New York) as Giotto's so11rce for this portio n of th e fresco c ·d e, ma kes no me n Li o n ofa kiss, ta t.i ng o nly that.Joachim and Anna " met as the a ngel predicted , a nd we re ha ppy Lo see each other. " 76 humanity is the most deservi ng of this fruiL-for sh e is Nor wa~ a n exp licit kis · typ ically d e picted in Weste rn versio ns above all in conte mpt of the temporal, and is the most 77 g-encrous, as testified by blcs ·ed Be rna rd, wh o says: " Any of tJ1 e the me: a d iscreet e mbrace is fa r more commo n. j ust h onor Mary ma) have had a mong peopl e, a ny earthly as the indusion of tJie kiss in 1he Meeting at lhP Goldn1 Gale is unusual, so is the represen tation of the kiss in the Belm)•fll thing she could have had fro m he r fa ther's ho use, all ~ 11 c h possibilities were li ke dung to h e r, f'or she 1uadc profit fro m He rc Giotto de pa rts f'rom oa.d itio nal by d epict­ Christ LC hrist um lurrifacPrl'tl . " 70 ing n o t only Judas but al ·o Ch 1i st in profil e, recall ing the po itions of.J oachim and Anna, and ·uggesting that J11das will This passage, with its promise of salvation fo r the forme rly kiss Christ o n the mouth , as.Joachim ki sses Anna. Had Gion o avadcious through the fruit of Mary's womb, :.11rely would represented Ch1ist in lht' convcnt.ional three-q uar1e1· view, have o fTe red hope to a man like Enrico. Th e theologian seen in virl 11ally eve ry late medieval h a li a n example of the Re migio of Flo rence , writing in a differ en t vein (a treatise o n scene. tht: visu al parall el between the two p. A (.IJ \Pf I. 1:-> l' \llll \ 283

IO Gio 11 0, Betrayal of ChriJt. Arena Chapel (photo: Ali nari/ An Resource, ew York)

11 Giou o, 1\lfrf'ting r1t lhr Goldm Gale. Arena Chapel (photo: Ali nari/ An Resource, New York) 284 . \RTl\1111~ . ll \JU:-.' E 19~x\01n1£1.XX\ 'lllf\l l\l, R 2

th e Baptistery mosaic.80 To the rig ht of Satan's head. a man hand · a bag of m oney w a woman. presu mably in exchange for sexual favors (Fig. 14); m e exchange sugge ts prostitu1ion, which was pecifically as ociated with usury.st The damned in this ·cctio n suffer sexual torments that t1 re especially graphic: near Sat;m 's left hip, a scaly g reen monster gi1aws o n o ne man's peni · (Figs. 12, 15); above Lhe 111 , a black d emon grabs ano m cr man's genitals in pincers (Figs. 14. 16); hanhring to L11e right are four of the damned. two of whom-one male, on e female-are suspended hy U1eir grnitals (Fig. 14). These particular forms of torture-surely visual ve rsio ns of Dantean conlrappns.rn--are especially apL here. Th ey recall Remibrio 's comparison of usury with so

12 Giotto. /,ost jwlgment, detail: Stttan (photo: Alintt ri/An The Flowering Rod: Enrico's Spiritual Increase Resource, New York) AL th is poim we return Lo Enrico Scrovegni to con ·icier more closely the pos·ible meanings oft.h e chapel for Enrico ;:incl h is fam ily. Though Ll1e chapel has beeu righLly understood as a penitemial ofiering, the parallels between Enrico and J oachim bear examining. J oachim is presented here as a rich man shunned by his community for h is percei\'ed sins. His abase­ ment grows wi th every cene: he recoils al the high p1iest's rejection; stands before his sheplwrds wiL11 eyes downcast; crouches o n hands and kn ees lo tend his sacriricial fire; and finally sin ks lo lhe ground Lo sleep. T his prono unced e mpha­ sis o njoach im ' humilir:y appears in no earl ier 11.a lian re pre ·en­ tation of the cycle. Tn a panel in Pisa from Lhe 1280s or 1290s, J oachim i · ·hown fully 11pright i11 almost eYery one of L11 e 1 cigh1 narratives i11 which he ap pt'ars.R Giouo"s Sacrifiri' uf .Joachim. an especially poignant image of a rich man brought low, co ntrasL~ sharply with the Pisan version or the same scene, where he tan d s creel before an altar to present his offering. ln L11 e Arena fresco, L11e acceptance of Joachim· · sac1-ifice, indicated by th e gestu re of t.h e a11 gel and tJ1e hand of God 13 Lost.fudg111 P111, detail: Stttan. Florence, Baptistery, ca. 1270-80 above, ;rnticipatcs the acceptance o f Enrico·s offe ring, d e­ (pho to: AJinari/ An Resource, New York) picted in the f,ast j udg111ent to the left. of 1h e cross. In terest­ ingly. this episode is mentioned nowhere in L11e l..egenda Avrra. the presumed source of1he j oachim cycle.8 1 ing the vi ·ual links between the two to es1.a.blish a11 antiU1etical 1\far) Magdalene, the very e mbodiment of L11 e penitent pair. sinne r, also fi gures signili.eSt ill more po intedly, she is shown greaLl y indebted. Satan 's bloated belly here 5eems a kind of wiping Chiist's feet with her h air, a gesn1re that powerfully perverse evocation of pregn ancy. Still mo re explicit is the evokes her repem anc(' in me h ouse of Levi. Given Lhe close sinner emerging headfi rst from an o ririce between Sa tan's associatio n of usurers and prostiwres, h er cenu"a l ro le here­ legs in an infe rnal parody o[ ch ildbirth; noming like 1his with her redem ptio n assured, her pasl forgiven- mus1 have appears in the Flo rence Bapti ·tcr y o r in o ther maj o r mo nu­ been rea.~s 11 rin g to Enrico. me nts of the late duecento.79 T his parLurielll Satan forcibly Convcr·ion is. in Dante "s words, ''la vi La nuova." a new li fe. recall AJexander Bo nini"s desc1iption of usury: ··mo ne) ... Conception and fertility have lon g had associations wi L11 reproduces itself as if by impregnation and binh." sp ir itual development; binh is the e q11ivalenl of conve rsion. The emphasis o n sexuality in the Arena Lost j udgment, As A.my Neff h a.~ shown, Anthony of Padua crea1es an especially in Lh e far right portio n of the sct> ne ( Fi g~. 1\l, 14, 15, extended metaphor of concep[io n and binh t.o explain the I Ii), also distinguishes [his fresco fro m earlier works, such a.~ process of convcr io n. Anthony describes L11e culminating r11F. l'R()(,l(\~ I O F (.IO I ro ~ \Rf,1\ ( IL\l'F.I I'\ P\l)l•,\ 285

14 Giotto, La.stjudgmn11, dew ii : th e damned

16 Giotto, La.stJ 1ufgmmt, demi I: one or the damncci I 5 Giotto. LastJudg111e11t, d et<1 il: one of the damned

mo ment: ''The hour o r binh for a woman i · the hour o [ 2) , ten nude figllres, facia lly adult but diminutive in form, confes ·io n for the penitent soul in which the soul must be emerge from fissures in the can.h to their new lives in eternity. sorrowful, expressing bitter groans, and a}ing with the Eh.cwhere, lio n whelps in the quatrefoil adjoining the RPsurrPr­ p rophet: ·1 have labored hard in my g1icf.' "8" tion (and, or course, iconographically associated with it) lie in NOL o nly the labor, but its fruit (birt h and infancy) i a a rave which suggests their recem binh. Finally, as Mil lard suiking ly insistent concern in the program. The Birth of the Meiss ob erved. numerous children ar e pre ·ent througho 11t Viq~in m1d tlw 1 ativity are, of co ur~e. logical inclusions in a the fresco program: in addition to tJ1cir necessaq inclu ion in cycle that treats the storv of Joachim and Anna and the the Lwo Infancy cycles (of the Virgin and Chiist), children infancy of Christ. But beyond literal bi rths mandated by the appC'ar in t.he Ministry cycle: in the Exjmlsion of !he Merr:lw11~. narrative, there arc several images that sugge t metaphoric the Raising off ,rarml!>, and Lhe Ei1lr)' inloj eru.salnn. In one case. birth. To the lrft below Enrico· feet in the l.astjudgment (Fig. the Expulsion, 1eis find the presence of children "unprec- 286 ART Ill 11.lllN Jl "N I·. 1'19M \'01.l l \ 1~ L :'l. XX :-. L ' ~ I R~K ~

realistically muted L01H.:s; tl1 f' mourners are overwhelmed by the corpse's ste nch. Even the eyes of Lazarus seem LO be realistically half opened, on the verge of a new consciousness. Bui when we look al the shroud wrappings, mentallyjuxtapos­ ing I.his image wi1h the wad ly de~cribed the m a · "spnbols of I.he e te rnal rest th e> donor hoped 10 gain."88 Their sig-n ifi cance for Enrico may hme been still 17 Gio110. Roi.sing nf I .azaru.s. Arena Chapel (photo: AJ inari/ Ari more poinLf'd. Usurers h ad been denied Christian burial by Reso11rce, New Yo rk) thf' Third Lateran Council ( l 179) ; tlrns, late medieval preach­ c1 told talcs of usurers' bodies moldering, tl1eir bones strippt'd bare by animals.x9 Enrico's decisio ns to build a pri vate chapel a nd to haw these tombs painted may have hef'n prompted, in part, by his ff'ars or •ttffering a similar fate; his anxieties arc palpable i11 his wi ll , wh ich discussf's his final burial placf' al great length. The will is absolute in its insistence 1hat the chapel should be his final re ting p lace.!J11 Though his Lomb is now in a room off tl1c chancel, originally it may have been i11 a niche lo tl1e righ1 o f the arch beneaLl1 the Visitation, as Ire ne llucck h as arguc::d.9 1

A Family in Judgment The Arena Chapel 11ndo ub1 edl)' spoke to more tl1an one a udience. T hough the e piscopal concession a ppa re ntly al­ lowed only fo r a small fanlily oratory, F.nrico clearly had a broadc>r audie nce in mind. As early as 1304, Pope Benedict Xl offered LO those who ·'vi ·it tl1e chapel in the ~p i1i t o f humility ... ha1•ing confessed and being fully penitent. "92 Le s than a year latf'r, Lhe J1eighbo1ing monks of the Eremi­ tani registered their complai nt abom th e scope of Enrico's 18 Giotto, <:mrijixio11. Arena Chapel (photo: Alinari/Ari pn.~jec t , insis1ing tha t "people 011g hL n ot to frf'quenl this Resource, ew York) chui-ch." !13 Scholars h ave generally assumed that a1 least pan of Enrico's inLenLion wa to la under Ll1e family's reputation (and c>dented. " 117 T he u1rnsual emphasis on childre n here-vivid po·sibly his own). In fact. Bernardino Scarcleonc's sixtef'n lh­ reminders of fenili cy-may n' p re .~enl a coumerpoint to the cen111r)' pe rspective o n Enrico demonstrates 1hat the chapel's family profession. cikct on his P

communican ts at nrnss.% The chapel inevitabl}' addresses the the chancel arch's divisio11 of barren metal and 1.he fruitful Scrovegni themselves. Enrico·s family at this po int included womb. his mother. Cappellina, his unnamed wife (the daughter of Tt is possible, then, LO see the women of Ernico's family as Bonifacio cla Carrara), and at least some of his four da11gh­ emble ms of hi · movement rrolll spiritual barrenness LO a lers. Though we do no t know the precise dates, Be1tjamin frui1ful conversion and as i111.ern1ediaries in effecting his own Koh l has estimated that they were bo rn between 1300 and saJvation. Given Enrico's history and lhe understanding of 1310-the decade du1-ing which the chapel was constructed usury i11 late medieval , we suspect that he found great and clecora tccl.\17 comfort in the images in his chapel, and in the knowledge l11 view of the chapel's recurring images of fert.ility, and or 1.hat it would be his final resting place. the central metaphor of (female) fecundity as antido te Lu (male) usury, and the birth of Enrico's own children in th ose years, we wonder about a mo re specilic role for Enrico's wife Anne Derbes is <111 art hisloria11 who worlls 011 narrativr' /1a inti11g in in his redemplion. As Le Goff has shown, wives of usurer medieval art. Alar/: Sando11" i.\ a s/1ednlisl in c0111/1amlive lilemlure bore a heavy b u rde n in late medieval society. Le Goff who~e rrsecirch conr:nns !hf' ico1togra/1hy of moral abstmrtinn in the expresses it succinctly: ·'The wife plays a major role in all R.enais.wmce. TIU')' are conti11 uing lh f'ir mllabomtio11 OTI the Arma matters relating to the usurer's eternal fate. She must strive to Cha/Jel [Art Df'parlmml, Hood Collr'g1'; Engfi..1h Df'j){/rtment, llood persuade him LO renounce this cursed trade and LO relt1rn the Collt'gf', FredPricll, :\Id. 2 170 fl. money that will doom him Lo Hell. "'!.18 He cites numerous exem pla that make the responsibililics of 11surer ·' wives quite clear. Dmiful wives' obligations, moreover, continued even Frequently CiLed Sources after the death of their sinful spouses: through assiduo us

prayer, widows might ensun· their husbands' salvation.UV T he Basi'c. Giusepp<>, (:w11n: l.11 Ct1/1prlln. deKH Srnroegni ( ~Ulan : Ekcia. 1992). recurre nt images of wome n attending to beloved family Bellin.ui, Claudio. /..i1 Cn/1prlla d1 <:wuo al/i \ mw ( / J00-1306) (Padua [n.p.]. 1967). members-in life (the Birlh of!h e Virgin, the Nativity, Lhe Flight Bo11avcnu1m, 0/1n·11 1111111i11, t'11~ '" ,\11d1N1 de/ .\nr/11, 2d visual exempla for Enrico·s wile and family after his own ('rl.. n'v. (Oxlord: C l11rcndou P n:~'· 1980). Hycl(' . .Joh11 1'C'11nc1.h, l'r1dua 111 lhf' ilgt oj /Jani• (.\lancl1t'•tn: l\fancht•stcr death. In particular, the Lamentation depart5 from conven­ llniw1 ily 1'1 t''-'· I 9UG) . tional iconography in that mourning women entirely sur­ .Jacobus de Vo1~ 1gi1u.:, "/11r (;11/dr11 l.rw1ul: Rn11/111g.' on lh1'.\ai111, 1.r.u1~. W. G. Ry. 111. 21·01'. (Prinn·1on: Princt"ton l ' nil'('r,i1y Pre"'· 19\.13). round Christ, displacing Saint.John, who traditionally clasps Kohl, Be1uamin. ·'TI1t· Snon·gni in C.in ; ir.i Pa

Sharon S1ron·hia, a11d (~ll'OI S)1nl's fo1 lh ei1 as~i~l.111ce. We :11t· indcbl<'d lrJ the 208-12; 1lwv note L11a1 Giono did nu1i11cl11dc· 1h<;> 111unC)'<"hanll'ers otkn seen Folgc1 Shak.:~pearc Library and 10 Ll1 c Ncwbe1·1 v Library for allmving us i11 l'crsions or chis scene and suggcs1a"dirninmio n 111 referencc' lo mone,.-· in al'tes. lo Llwir tollcclicms. Finally, 11·c 1h:i11k lhe ano11ym o11;, rl'adt"rs Jor clll' .It/ 1i1•11 of Reginaldo\ inlamy a.< .1 monc:yll'nder (209). On the ocJ1er hanrl, cbcy 8111/~tm; we :i re panicul,1rl) grnleful for che l\'Cner01L~ commt·11 is of the read(-'1 do ac knowlcd~··· che ra rit ~ ofche scene a nrl the prominence ol lhc money bags who indcpe11denlly reached 'i1nila1 n 111d11sion' about rhe program or Llw i11 lh(' Ln11J11d~111C11f and i11 1he perso11illrn1ion of C:h;1 ri1y (209-10). l'>b 11v An:na C hapel. Unlco,s m lwrwise spf'c ified. cr:rnslation;, arc ours. <(hular;. hO\\c1c r, i uLrrp1cL the scene·" .mothrr it•fereun· w the fam ily'' I. Thoma, Aquinas, lu VII/ fil>rm 1'11/itico11"11 f\/J-Osttio, I, lt•t· t. 8. n. 1 !1~. in ""11io11s p:i.<1: -.,e, for ins1a nce, S1ubblrbi11t-, 8 5; Bor, 1875), 127. 1ra11s. in Singlr-1011, r.111110 mu/ thr f(tll~"llflf.[• of (;rs/lU'I', Camh1 id!l'e S1udi1·s in the Historv ot An 18'.l. (Ca111b1iclge: Ca111bridgc Univcrsirv Prrss, 1987). Ei:i. 2. llona1·C' 11111ra. l\lfdil11/t011fj l 'ilm• r:/1mli. in Oj1er11 0111 11111 . .:d . Adolpho 10. llyde, fo1 iii.Lance. sta1 .. , ( l!JO). " F.mi<:o Scrmegni's buildi11g of ll1c \.:11 olo Pclti1· 1, 15 1·0 1 ~. ( Pa1i.~: Ludo\'iC'"' \'i\'es, I Sfi-1-7 I). vol. l 0, 597, trans. in fan1<111> Arena Chapel ... may hal'<: been imc'nded in pan co expiate Llw ~ins of ls:1 Ral\'USa and Rosalie Gree11, flleditntm//j on iltr /,tfi' of Cltri a lso sk<'plical: Pri 11 telon Univf'rsily l'rC"<>s. 1977), :1 1 :~: cho ug h this t1·xt IV'd~ formerly ascribed ", \ltho11gh 'r<'IH's ur commerce ,111d rno1wy and Ll1l' clrpil'1io11 of 111 oru·1• bags tu aim llomll'enlura, ii is loday a11ribu1ed to :1 11 .111onymo us F1~u1dsca11 (in Th,• C/t1111<111g11ftl1e f'l'ln/1k. i11 /71r Pnl't 1fjuda5, and in '/'lw Ltt1tjll(/1f111enl) wri1i11 g toward the encl ol the Lhince11 llr t•entuf)'· appt·.ir in tlw drnpd. they art' >implv pan• of Llie rano nic.11 scqnrn<'e of L1·1c 3. Jhis pa1l in ilar 1~1111all'e po in1 i; u11d c rli 111•d U)' Pie1ro Tocsca. wh., C:h1 i ~ 1i ; 111 d rama withou1. as far .is 0 11 e rn11 see, a111 spt·cilk refNe 11 t·c LO 111ai111.ain~ 1h,11 the 111v< 11·rious "ror<>ui " below 1lr1: chanrd <1n-h dctinr· a co11 11·111po1-ar) m tir). Wh). in am case, wonld Eurico S.-101eJ.,'l1i w:1.111 10 c11ll • lr<1Legic l"Jllln1ion LO thi' dubious famih accivily? "; C.olc. (;io//o: Tlw Srrovrg111 ('JlfljJel. ·I. !'he li1er<1u ire 0 11 1he Arena Chape l i, vast: SN' [~a s i l e forhiblioh'r.iphy. For P11d1111 (New Yo rk: George Br n. I. For sii11ilar d 11uh1.<, ; cc tile rlociunents regarding the chapel, s.:c l3ellina1i; 10 1 English 11;m,J:11ions of Selma Pficffenlwrger, "The lcnnoj.,•Taphv of Giouo'• Vin11e' and Vin·• al ' 0 111c ol the 1HO>l imporca nc doc11mc·r11<, >CC S1uhb1C'hi11c. 10 '.~l I. J>ad11,1," Ph .D. di'>.<. , l~r y11 ~ lawr College, 1966, chap. 2, 2:4. 5. ·1 he phr<.L>e app.:ars in the coinplaim lodged h) Enriro', 11eig hbnrs, the 11 . For R<·migiu. lector .11 S. Maria Non-Il a for morr than for cy yraN a11d ,1 Ercmi1:111i 111 onks, ro tl1t· bishop o l Padu,1 o n Ja 11 11.1r)' \I. 1305: u11happy about po•111d wealth" a1 Ch e site. 1hr 11u111k> q1101e the "th en 1.oa·d ( 19C.!1): 536-662. C::ipitinm clt:n:uios. Se1 kapl'lle," M1ttn/1111gm1 dP.1 K1111.ithi1t111i1rhm ln'" (Thus he I the 11s11rcrl is a of l.l.1silc-. 13: 'cc <1lso nn. 90, 91 below. tr.ti tor, and t·1en worse chanjud,is was. as <'1 il "'am. bcrau of silver. B111 !he 103-1. l'lw cl.i1t· of 11.lc clrdicalion o l the c hurch .1pp,•aretl 011 an insrriprion n.<11rc1, when h C" rornes Lo pc ni1f• 11 ce, does""" want lO mal-c rt'>1iu1tion. bm renirrled by 1lw I ull1-ce11111ry d1ronicler Bernardino Scardrrn1e, Or, \ 111iq11ilt1tr sap;, " l.e11.isj tm disrni"s usurv. lei 1" giw up o th<'r sill\"). Ludolph 11fS;Lxonv 111/111 l'nta.•ii e rlmij rivibw l'atav111is (13a.cl, 15GO). 332-33. We lhanl- 1lw (cl. I :Iii) >i mibrlv wr i1t··s. "Then Juda., ... with ,, rep<:11L111ce whirh was Folgl·r Shakespc:1re I .ibr.1ry for gr.in ting 11s accc" 10 lhis text. unfr11i1ful, lwcausc wi 1hu 111 1ht' hope of fo rgive111.:s.<. 'bro11g ht back Lhe 1hir1.y 7. Shorr, t·sp. 17 1- 7'.i, i111npre1' 1he chapel a.5 bolh S. Maria An 1111111iata and pit·ces nl spcrarion. ' o that hi< rm<:wusncss 8. Srhlegel. 18 2-202. Cesare Folig no, The Story 1!( l'ttdua (London: .f. M. hnn1gl11 him no profic .... And i1 11 1ay be said 1.ha1 those whn will 11111 ;1sk De ni, 1910 ), 27!), had 1•;11lier linked 1lw f1 esto ofj nclas a11d Llw high p ri<:slS I01givt'11css and . sc lf ~l t',ll 11('l i11 n," '/1ie 1/1111 ,... uf 1h, Passion. 'fohm from /hr Lijrtf GltriJI ( London: makmg larg•' donations 10 ch t" Churc h: Sl'<' F. T.. Cala-;si, "B11ying a Passpo n to Burns and Oats, 1887). I 10-43. J lcavC'n: Us 111 )', Rcslitucion, a11d 1.he :i1crcha111.< r, f Medieval GC'noa," ! 1'/igio11 12. For pl·nr instance of "'puused Llw excirpalion o f' usury; nlihough Rong h 's ariicle is problemmic, he a pC"rwnilkation of l ls11ra, in lhe consnlc o r Lhe lilllc l ov<'r 1la· wes1 po11al of ~on eccly rcaJlirmC"d th<: imporranl'f• of u; ury in lhl' p1 oi;111111 or the r hapcl, in the rnchedr;il ol l'iarrrll.a, '"e Adolt Ka t7.C'1H'llcnbogen . . 11/Pgonej of lite I 'irtur; ''F.111ico Scrovcgni. 1ht· C:m•nlieii (;1111drn11, and the Arc-na Chapel in P.1rl11a," find Virl'< in ,\/rd1rl'al ,\1 1}101111-;,119 Clinstittn Tim" 111 tltr T/iirte1•11t!t (,'n/1111') ( l\13!J: A1t /311llrtin 6~. 110. 1 ( 1980): 24-:i 5. Fm son1e of the q1w,1iu11able aspcr1_, <)r repr. M ccl iC"1~1 l :\c;idemy Rc pri111s fur Teaching, ml. 2•1, Toronto: Univ1•1,,.i1) ot Ro ug h\ anicle. >Cc Robin Sim o n ," 1\ '0111... C.:ivalieri Gau rl C'nci," an <1ppendLx Toro1110 P re_., 1989), 5 J n . I. lO his a1lide "Ahars :rnrl Altarpieces at the· Arena Chapel. Padua, .. Apollo I .,1 2 13. See, lor i nsianc~. f ho mas ol Cho hhant, S11m11111 mnfruurum. 50.J. quo1ccl (DC'c. 1995): 2 1-36. esp. 36. Simon righ1ly q11c,1.iom the reliabili1y of C:iOl'CC also Hyde', ritnmy 011d It! 15. " ... bul I oh. I and Jixed 011 che>e they Pre"· IU93); \.. Fablis. " I.a cro11 ar<1 di Giovanni cl,1 Nono," /30//e/lin111/rl,\111sn1 .'W('lll<'d 10 Je,1s1 the ir <'\'<''· . . . I Aud ntOnC"ybag' I asked me: 'Wha1 :ire "111rn· is a late-18th-< emurv his1oria n uf lhe C:11•J licri, Dom<:nicu Fedc1ici. vou doing in 1hi, pit?" camo I 7. linr> !'>'1-57. tH-66. :ilarl- ~lusa , trans .. 71,, who i, clearlv inten:sc c·d i11 ' pro1no1ing llw order's claim 1.0 che ch.rpcl. We n111uir Comdr 111/rn//I (. e11 York: l'cngnin Rooks, 1!)71 ). llhtu rcc-s with largr bag. a 1ouncl with Enrirn: 1hc ver )' name C:11l;'l lic1; C audcmi 11~1s a tcn n o f' derision for" thc i1 n"rks; '<'<' l'ecer l31;C"g<'r. Milh1rd J\lciittinr Comnl)," 13ullingen &1 ic·,, 101. 8 1 ( l'rincrcon: Ct'11tur1', the g-1011p-11hich carried lh <" onidal nanw Ordo ~ t iliuic Uealac Pri11 cC"1o n Uni1wsi1y Pres>, 1%\11. vnl. 2, figs. 19.'ih. 1%b, 197a. c. l\J8a. b. ~ !.1ria,..._hacl alread y .wq11irt:d a rcpu1..~1io11 for hypocrisy. Da111e nwrl.' chem 200b. rnercilcs.5ly in ":11no 23 or the 111/rrno: Singleton. in hi~ ron1mcnrary 0 11 lhe l(l. Fo r cbc 5 th-ccm111·y hirinu, former!' a11ribu1ccl lo Saint John Cl11 ysos­ poem (399-400). "-'plain.: "The nickname Fnui Candemi. which wa., in tom, 'cc Langholm. 19tH. 71 (tlw 'ource of thi• 1rnnsla1io11 ). Thi' text is a comn1un 11•e (as is prmt'd by donnnemarv evidence) within lt"ll )'C'an< of Ll1c ho111ily on ~! bestowed upo n 1lie knigh1.• bcca11s1: o r m crclrnn1s fro111 the temple. 1101 che importan ce of 1he /:.idPllS for b1e 1 the la).it1· o l 1lwi1 1uk ,, which permi11ed lhe rn Lo m ar ry a nd lo lh·e in L11eir con1mentato rs. i;;~·r :\001Mn1 38; he no1<>' ih ·~inu ne nsc infl1w11n::. ·· For the own h u111es, and mt'rd) 1t·t1uircd them co ah>tai11 from the us<" of gold and pas,:ige i11 Remigio. ~l'C' 1 .~ 11 gh o lrn , l!J92. 4fi ~ . The passage, Jrom r hap. 19 of s ilver 1rappi11g,, from aucncli11g ,.,c·ular banqun•. and from e nco11ragi 11g /Jr jJ1w1110 "'""'" read•: "Unck 11w 1;.1dis dixi1 clornin11s i\1 1. X)pd11nc.11 n l:itro m un,' "Capi1.111i (a.> i11 n. 11 ). !Y.12. how c1uickl) thc·y ca•lw d i11 011 1.heir ideal•: " M.< poc:o duro. c hc ><:g11iro al 17. For inaldo pracciced 11sur)', 'cc, for insl;111c·e, Rough (as their action, followed 1he ir 11amC'-1hey we re more co11 re111l·d with a good in 11 . 8). 2 ~ : <.:hade., Harrison, " The Art>na Chapel: l'au·onagc· and .'\n1hor­ ti mC" 1li.111 with .mvthi.ng "1st'), Cronim. VU. 13. ship." in Sil'lln. Norenct 111ul P111/11fl: Ari, Society and l?l'ii1,~ 0 11 12110-l·IOO. '"I. Y. Fo r the F.xjmls11111 of tM J\lntlu111L\. ><:>e LeonetlO Tin tori a 11d \till,rrd ~leis•. llian.i :'\orm.111 ( t>11 llal'en: Yale L'niw·r,.il) Press, l!J'J5), rnl. 2, :\$-105. esp. "01""' '"

Rt>gin.tklo. hv the grace of God.''':!.' "readily led to rcpcn1ancc tor his us111 v" 21-2 :~ . We art· !{• ,;;,11·: L · trar/11/111 pluck 1h e >OU! of the fat.her from the tonncms of purgatory. aJ1d to expiatr hi> dr 11<1•"·' dr maitrr A/P\fr.11drr rl i\ /1•xrr11d1v, ed. 1\.-:"-I. Hamelin ( Lou1~tin: ~att­ [lmhrr'>] sins, he built the bcamifttl 1c111pl<' in \rena" lflir/11/p dut/11" /nu welat·ns. 1962), 181. SeJ? a lso l.;rnglw lm, I 9Y2. -1 :~9. Capiw n i (as in n. 11). 5!>7, m/nmda p1111u r111i11111 1i fl.tge in Dr /1mt1to umrr, Reginaldo surfaces again in the Ulnu de/la 11obtltii di Pru/01ia (188.J ). 36. Dante. l1rfer11n. c,1nto I f, lincs f9-50, in :"-ftt>J (as inn. l!i). whid1 stated that l~nriru had the d1apcl b11il1 "for the soul of Lhi: lat.her. 37. Singlt:1on , I 71-i2. Reginaldo": Gernl:11110 Biscaro. " Dan ie c ii buon Chrrnrdo," Stiuil 1\frd1n•1rl1. 38. For referl'ncc' ro the 1.hre<', see Lr Goff, I !)79. 35: for the pa.sag<' fro111 n.s., I ( 19'.!8): 74-11::1. tHi n. 3J. &e al1.11 <' t · ~ 18. I lyclc, 188. "i11corrigihlc ~pidrual fomifirntion ": Le Corr. I W.JO, 81. Fm rl1oma.• and 19. Though B Rohl'r LofC011 r(on, '""also Langholm, 1992, chap. 2. c<1nnot l)l' corrcn; 1 lyde ( 188) cirl·s documents 1har rcwrd Rchoinaldn's loans 39. See Le Cuff. I !l!)O, esp. chap. 3. "The Thief of Time ... 11. For the sLUd\' uf law ar tht' Uni\'rrsity of Padua. ><'CA. Cat tia }' Garci (<.ambriclg{·: in Chicago, fur gra111 ing us access ro tJ1is Yolu111e. For the later ltjsro11 of the Camhddgc Uni\'cr,i1 y P1·css, l!l92), 388-408. C'J>· 389-90: for G1~nian •'-'a Scrov<·g11i, see Kuhl'' funhcorning ,1urly, l'ad'lln 1111dn the C:mmm. l'i/8-f.105 h.1sit lcg;il rext of meclic\".ll L1nivcrsi1ies, sec: Carcia v G:ircin. 39:~. F9J-a fear that nrny have grippt'd Eniico i11 Pontilirnl lnstitut1· of Mcdicvnl ~luclics, 1973) , 63. state·' that J\ei:,oidiw, 1he w.11..c ol hi< father'< dcarh. Romantt' was "altnosi ccna.inlv" known in Padua. Fo1 Pad11an w1;ters' direct 21. 0..-,pitc all hi' measures w rn.,ire hi, ..:1h•,11ion, fear• ;ilxrnt his l;tti· 1..nm,Jc·dge of r\ri~torlc , sec Hyde, 306. who note' u1at the P.1duan poc1 tontinttecl tO pfag11<' Enrico: his will. wriuen iu 1336. reco1·cJ, considerable r\lhc1 tino Mu-1226, notes (317), "in nu will i~ 1hcre auy Giutw a lla f'..appella Scrovegni dell' Arena di Pado,~1,' " P11d1J1m f II S1111 'frn-it(llw expression which indicate,, Ult' 1t•,1;11or's desire to ..nl-t :t rc•tiuttion uru•u1iou' .J (l!lH\l): 16--21; Basile, 19 n. 20. r\ltegntdo """-'in the papal Curia lrotll 1,rains. e1Tu when clear e•idente that the testator was lending at 11sudous rate~ 1299- 1301 and"~" elected bishop ofVicen1a in l '.104; h<' w~" in Padua frntn exis~ .·· 1301 ro I '.10~ . For ou1c1 suggestion> as 10 the irkntity ol Giouo\ .1d\15or, ~l'e 22. lncleccl, the tempor.il >LrtlClllf'C or Da1111·'> [)111111• C:o111nly (in which f\:i,•ilc. 19 IL 20. convcri.ion is a cc111rnl theme) ha' Easter of rhe )'<'ill' 1300 as 11 s C('1tLcr. •11 . Noonan. 39. 2:1. Villiani. \'Ill, ::6. quoted in Si1t!{klon, 314-15. ~:; . Paolo i\larangon, All<' 01ii..q111 dr//'1111'.1t1Jtr·/1<11w /H1dt1w11111 ( <01.mc here i' Scardt'onc, who claimed that the pope granted (Padn.1: Antcno1e, 1977): Luci Gargan, /.11 j/tulio tniloi..~w P la bw/io/t'f11 ab.c>llllion to Rcgi11 lido; as Sti11ne of ~fediaeval S1 uclie•, 1971). 193. Guel. dedai;ng that it Ml.' nm ptoper for o ne who was suhjnl 10 the L:m '> Whatt'H.' r 1.he prcci>c circumst.tlll'e>. the con;rrnniou ;111d 1·nrlowrncm of 1he cttrs1· Lo of:kr sacrifir<' to the Lord of Lhc L~w. nor for a sterile rn.m, who m .1clc chapel""""· a> Uenjarni 11 Kohl has observed (p<'tsunal corrcspunckncc:), " till' no i11 c1ea$(' to 1J1e pc:ople of God, to stand among 111cn 1vho h..:gol ,ons." central l'\ent in Enrilo's life." 4\J. rlw co11cep1i1111 is u-aditio11allv said 10 ha1c taken place when Jc)Jchi111 2!>. l hts unde1-.t:rncling urtt~llr) pc:rsi>tS ,,·ell inw the Renai'-'·lllCt' and !'VC'll and Anna kissed at the Goldcn Gat!'; on thi, point, •ecjac:qutline 1.afont.iine· into the 20th century. Shakl·,peart'·s Antonio confronts Slnlock with the Do~ogne . "The C)·cle ol the Life of the \'irgi11." in Studir.1 ;,, //r;. Ir/ nfilrr K111iv accusa1iun of breccling barren nwtal (Mrrr/111111 rif \,.11fre, l.3.60-L30): and 01r11111 1111tl it• lntrlln·tw1/ Barkgmuncl. 101. •I. Tlrr K11ny• /Jjf/mi, eel. Patti th ro11gho11L the fir•I sc:1•cmecn so11 nels. Shakci.p('arc rercrs ro tht> nardssistjl l:ndcnvuod (Pdncl'ton: Princeton Univcf'>ity Prf'<~. 197!'1). 173; K:tthlt'en ~oung man of his address ;L<. for ex<1mph:. a ··profltfes' ttsttt'f'r" (·l. i) brcau of the Jo.tchim and Anna Pound clt'\'Otcs an e111irc.: canto to it• interfen·nce wiu11'awre: "L' sura s l:l\eth stor• in earlier lt..1 lian tresco C'\Cle•. I low<:\Cr. rite .\nnunciation 10Joachim" 1hc «hill! in the womb / Ir wiveth the yo11 ng man 's courling I It hath brottghr inrl11dc:d a111011g fo ur scc1ws from the infa11cy of the Virgin, now badl) palsy lCJ lwcl. lyeL11 / between the young bride a nd lwr bridegroom / CONTRA danmged. in 1hl' .1p<1• ol the Upper Church of S. FrancC',Co, As~i'i. The group NATURA.\1," Cf111/1, XLV. For a bro.icier psycholo!{ical and cult.ttral reading of a l, 16. Fuller examplC's or thC' j l>arhim and A11 rrn cycle ocrnr (Lcip1ig: flernard Tauchnil7, 18 7!1-81). \'OI. I. t0I. 171 : "l11ten.lum etia1n occ;"ioually :1ltcr Giono, as in th" frt·•coe• by 1.1dde!o Gaddi in rlw Baroncelli ll!tlll''a(" ar re nequi~s '. rn:.l t·x ip~o auro itunnu 1i.-l'~ciu1r. Scd 11 cc 'acie1a.I\ unqu,1nl. Chapel, S. Croce, Flmcncc: see Andrew Ladi,, litdrl1'11 (;r1rlrli: (.'1it1rrrl Rea/Jlm1L111/ nee fim> aderit cupiclitati. Sed ail: quicl ini11>111m rst, si n1111 llliena 11on mu/ Cntrilf/gi" Rrii,m111r (Columbi.i. Mu.: llni\f'rsity of i'.fis>Ottd Pre~. 1982). inu.1cl,1111, propria diligcuth" 'erucfr 0 inpucl em dinu! Propria dicis" qttct ex 24-:17. Several •n·nc < 11 om the sron arc found on one panel, ,1 hrabled qttihtts rcco11ditis in hunc 111uncl11m clcmlisti? Quando in hanr i11gress11s t:s altmviece bv a latc' rlnC'C'C'nto .Pisan paimer in l'i..;1, Must:o Ci\'ic'o, illus. in Erllo h1n·m, quando clc tt<'nlf'<' m:11ris cxisti . q tti b11~ qucso fac11lr:uihw; q uibusque Carli, l'it1111 fl. 111nli11.111/e p1.1a1111 (Milm1: Aldo ~·f arll'l l o. 1966). pis. 87, 91-~14 (this \trh,,idiis stipau" i11g1 es,us cs?" See also Langhultn, 198.f, 5.f. pand will bt' cli•c1t> :\faniagt· of rhe Virgin in early lt.11ian 28. Set· T. P. i'. ld.:.1ughlin. 'The Teaching of thc C.'!noni'L' ou Csur• (X II, an. "ee Clu;.tiane Kfapisch-Zttlw1, " Z.ll.baria<; or 1hc Ousting of the- F,11lwr: XIII, a11d XJ\' Ct•nLUrics):· .llrrl1nwl 'it11tlii's 1 ( 19:19): 81-147; ~oonru1. 3~!ii; Tbc Rite of M.1n;.1ge in Tmcan) lrom Giouo to the Co111)inc. "~1:\n , .. rrtur11ccl lU her parents' home" (l"ol. 2, 32. Fm Aegidilt' Romanu.;, •ee Noon.m, 58--59: for Gill''• ihid., 62; Im 1531; bttl sec Kfapi,rh-Zubcr ( >l' in n. 50). :\O. who notes 1hat after the Boni11i, ibid .. 63--6-1. For Boni11i (;1J,o 1..nown a> Alt',,111cler of Ales,andria), CC .tis<> Alc:xandc:r <•ra)'. 'f'l1P 0111e/op111mt nfhrmwmir Orirtnnr: . \11 charnnc·i;zcs th<' brnnch as "+...:.\!;Lt: Goff, 1990. pregnancv." 290 \R I IJ CLl.F.Tll\ JI'"- 1 99~ \l)l l \II:: LXXX 'll· \l lll::R 2

52. The Incle" of Ch1isLian An Ii.is no c xamplc:s o l this ~11 I~c:n in ea.rlicr that h e· ki<1 wit crist nrn1 1t, I A.ls ar H'<' had me s.1i." The repetition of a 1111J11umen1.1I Italian art. L.i u ra J acubm, acknowln lg-i n g- tha1 1Iw ,pace was prepositional phrnse beginning ··out or· (iw lici£cd Jbo\'e). along with the [\\(I o.-iginall)' in1cndcd fu1 a window, fl na ll ) m ain1ain< lhM Ciouo " pain1ed a new rt:fercnccs lO hi• "womb.'' mggest> .tn in1t·111iom1I 1isc of birtJ1 imagery. Sec image of " on the pant'I used Lo clme;- ii; J acobus. ''\.io11o's a.Isa tl1<' Nm·1hrr11 Pf1Ss1on ntanuscripL~ (E;1rly English Tl'xt Society. ml. 20, I. Design <> I the Arena C ha pd. Padua," A/1ulili l 42 ( Dl'c. 1905): '.17- 4 2, t·sp. 4 1. 86.I ): ''I Iis woonhe clcdt• thai "'"--' ful seke," " his w-.11nb<' dcfc i11 1wa," " H is 53. TI1c Church in Padua seems Lu haw been p;11 1iu1lnrlv in1rn'll.l as Motlwr: S111dies in rhe Sjmtlualirv oft/IP CahrieJ', onessagc a rl o'c Mt:. releas<·d, a11d rhc rlcaco11 ph1)fog i\lao ) captured HiKh Muid/1•. \g1·' (Bt:rl..t'lev: Uniwt'cttti11g the 111 0 111 1:111 or concrp1ion. Sec K.trl Ye1111 1g-, '/ //~ 66. Scdulius, 0/Jem omnifl, <' d.Jult:11111 I lt1<' tner, i11 (.'01ym.1 Srti/Jlc11t1111 t.all'sfo.,. {)111111<1 nj rile Mnlit'!lnl Chwrh (Oxford : C'Jarcndon Pre.;.,, 1933), vol. 2, 2·18. lirnrum l~ nlit1m11.111, vol. IO (\lic1111a: C. Cerolcli, 1885). II. !il- 68. for the 54. Mich<'I AJpa1o(f, lur instanrr, lrns argued 1h:11 C io uo·< choin· i11 th i< "idesprcnd infl11encc: of 'eclnlhis, •e<" Pierre de Lthriollc, 1-l islnry 11111/ ur.,·atw"t j 11xrnpo,ition '''3' largd)' aesrheLic: ''Tht' p<1intcr "~•• i1ne::rcs1ed no1 " ' much in nf Chrislimut\ fimn. l'ertu//1m1 Ill Burtl1111S, tmns. Hcrheo 1 \\"ilson ( London: K. 1he meaning a_, in the \isual likeness of these two '<' ent· ~. a liken e s_, lu · i ~lnened Paul. Trench, 1 92~). 147; Angdv Oi lkrna rdino, Patmlogy (A1tf:t1Jliuirm b)' color"; Alpn101f, ""lloe Paralleli"n ol Giouo's Padua Frescoes." i11 Swbblc­ f'altiJlic /11.1tit11/P), vol. I (Wcsunins1t·r. Md.: C:hri<1ian Classics. 1988). 321; aod h i11 c, IG4. I le con 1i11ue~ l.iy maimni11i11g- 1hm Giouo ha' ;1c1uall y cl i•pho tt·d the Carl P. J::. Springer. Tilr Gospl'l 11s l':j1ir 111 Late 1\ 11ti~111I}': 'f'lw "Par/111/r r:1m111•11 "of "1 1a111ral narrmivc P•"ition" oftlw Pal't o f Judas man acstheLic end. &·l· also Sl'f/11/i11r (Leiden: F..J. Brill, I!J88), <'it ab nrhe ciuis. "e\il a nd clandcs1ine e 11 rnumer" oppuoitc it; or Col<' (as inn. 10 ). f>ll, who Nnn h:u.:c \'aca1 ulLio l 11th1c I Quac 'L1prc•11ia negat \ioulirl Arth111 Patch ~lcKinla), C11rp11> Saij>lm11111 l:.cdt-.sict1l1r11111111 u11ino11w1, \ol. 72 established 1lw 1heoluh>ical and li1 e1111 y dimcnoions ofh iulical in1crco1111t'tlcd- (Vi1"1111a: l loelda-Pichlt'1•Tcmpsky, 19!i I), Lnms. Richard J. Sdtracler, ,\ wlur's 1u:ss; Anerbarh. " Fi~ut;1 ," in Srm1·~from lh1· Omm11 of " '11rupet111 Utnal1111', lt';tUS. 011 rhe Arri oj lilt 1\fJ11sl/1•s ("Or 1lctib11.1 11/J, Ralph Ylanlwion (Nt'wYork; Mc-ridian, 195!J), l l-7fi. Hc:11ry Magnin· has ntore 198i). Pauk\ngt1>1in flep1uos1 sc~s a d1•;11 C01111C'Clion Iw1ween this "1h{·11w spccificall} cl<"ntOtl.'>Lt"dtc cl 1ha1 antithetical visual juxtapositions foro11 an de Ia stcrilice" and tJw 11l111111t1 >lerili dr111111nt11s ue11trPol ScclttliLt>: Dcproos1, " !., ittoportam pan cifBrum ine ch urch dccor.trion; Ail 11111/ /:,/oqumu m Hyu1111111111 lllOrl de .J ud:L~ clans r /fol11n11 npns111fi({1 cl'Arator (J. lt~102)," Nei.· u~ tlr1 /\Jwles (Prittceron: Pri11ce1on Unh·crsil)' Pre"· Hl81 ), esp. cl1.1p. 3, "i\Jttit hc~i~." For A11g11slit11nwes 3!> (1989): 115. For tJ1c influence of Ara1or, rom parabk 10 1ha1 the Rc nais, "Cot1t1"<1pposio: S1yle and Meaning i11 o l Scduliu,, see Richnrrl J. Seh r.oder. ";\r:ucir: A Reevaluation ," Class1ml /o"()/ifl Rcmiiss;in((• An," Arr B11//ni1159, nn. 3 ( 1977): 336-fil ;.Jo lou I'. i\1 0J:l:i1t , "An :ll. no. I ( 1077): 64-77. Foo 1hc i11fluencc of Sedttlius o n Ar:uno. 'ce Neil Exronplary llumani.~1 Hybrid : Vasali·s 'F1,1ndc' with Rcfcrenr<' w fko n zioo's Wright, "Ara1<>1 ', l •e o f Scd11Ii11,., A Re-examination;' Eranos !Ji (1989): ·sphinx,'" [(e1wissnurr({111irlnly 19. no. !l ( 1996): 303-33. r, 1- 6 I; >utd Ocproos1, 135-50. 56. Boota\'Cttlllri a \ 'oragiow, l.rgr111/a .\ 11rea: l'tdgr, hi•lori11 lomb111dim d1rln. eel. Th. Quota1io1i> arc mken from Tlw l\'nu Ox/on/ A111wl11l't/ Hib/e with t/1P tlfmrrypha. Grncssr ( 11:!90; rcpr. Osnahoitrk: Ouo lrllcr. 19(i;;), 186. q1101ed injarnlms de rd. Hcrbcn .May and lkucr Mc11get (New York: Oxford U11h·ersi11 P ress, Voragi11 c , vol. I. 169. 1977). 69. BQ11r111rrr Hi, nu. I ( l9tl7): 1-1-2~ . rcliei in thc er) pl of the cathedral of Mode11a from Lite c:1rly l :l1 h n·111ur)~ a 70. "Quinto vidcam11,, doaoissimi, quomodn ft nnu~ Mariac s i1 lil1<·1; tliuon, wpe in Lhc cathrdml uf Anagni. trom 1Iw c·11d o f tht' I:Slh or lit<' <'•11 1) 14tJ1 co nu~1 :l\; 1ri1i:11n, el m;cximr illoo u111 libcrnlinm. q ui 111 0 hoc frucllt re n11111i:n1t ccnturv; and D11ccio's p<111cl from tl1 e J\1111.,,11/; fur the la.lona sd10/111 lc sunt talis. Virgo In lt

    cncclk111~ Inte l"' 1e11uis s ui"; : occ C hiara Fo uguui. /'irtm mul .\ 111/m1gw l .om1u11i ( Flor<'nce: Sc:ila Book<, Capitani (a., in 11. 11 ). 632. I !188). 21 , lig. 23. For the iconography o l J uda.•• 'uicide, sec abo Anthonv K 72. On Ciouo's d1:pinio11 ofCha.-i rr. 'e<' l'liefTenbergcr (as inn. 10), r hap. GasseU, " Pier della \'ii.,ma'' Metamot-phosis: Iconography and I lisiorv." i11 5, 5 1-5..J. !)he circs a n11t11lw1 of earlier Ita lian insrann" of Lh e pe rsoniticarion: Dr111 l1•, P1•11arr/I, Bocmrri11: Studies in I/Ir Italian 'frecmln i11 Nmwr of C:harlfS S. <>1tly ucrnsionally docs she hold an alloib ute suggesti ng fco 1ili1v. Fur example, Si11gM1111, t'll. Aldo Bernardo and A111honv L. Pelleglini (Binglt:11tt1un, N.\'.; in 1111' m"'aic a1 S. Marco. Vcnicc. C.h:ro it' holds a cornucopia. bu1 o n the Cc·n1cr foo ~kdii:val a ud Earlv Renaiss~nce Studies, 1983), 31-i6, esp. :iO-f>- BtTm1rd. Mnlitalio i11pr11n d ed i11 wordplay. For ('Xaonplc, we o'P:td 1Ite follml'ing in thc l ' niveo-siLv l'rcss, 1991i) , 35. Couon 111anusclip1 of lhl' C:111wr lH1111tli (Earl)• Engl i.~ h Trxl Society, vol. 6l!, II. 77. As L:.1fo111aine-Dosognc (as in n. 49) 11ote ·, itt Western veosiot1< nf 1his l 6:i05-l 2). 11 urrmdiLed onJ1ograph) , .-111plo;c,is :1dded: " lie brcsL in 11o;i his lheme Anna an1lJm1d1i111 L\·picallv do not ki'-•; slw find' 1he Arena "a nomh k bucls all, / tde at his wum/w tl iai wnn1g, / the sari saul 11/l' llmrhe -;c11 l, wit in l'M'<'Jll in11" ( 173 n. 58). The J... i,>. ltowe,er, docs occur in By1a111i11e an. 1ha1 "" f11I thra11g-. I Ure nl llLS wambPthc ,,1111 it bnist, / al mmh had ii na wai, Ouccenm and 1n·• r11l0 examples in \\hirh 1he p;oir cntbrnce, blll do not kis.•. n n. P RO<:R\\l 01 (;!OTTO., .\RE:\,\ ( II \PlL" Pllll11 291

    include 1hc ,ersio n i11 a Pi,an aharpit·cc of rhc bl!' ducccm o (sec Carli [.ts in pan d :ind o bsn\'t'cl 1ha1 1he muti1 is r:.11 c 1n tlw 11) uj i>flliiu1: Snwo111•1 for t/1' /\"a_1frr C,1rlr. eel. ~ 11 - 12. tor the traditional assorh11.io11 of Liu> profit.• view wilh evil ; for Georg<' :\.larcil (S1. l\01rnvc111ure. N.Y.; Fr:111cisca11 lnstit11tc, 190 I). 157. We .1rc­ rl11cce11w and earl) 1rcct·11LO examples o l the Betr.ival of C l11i s1. st•t· Anne gn1wf\1 I 10 Proft·.,,or :>toi,1 (tlw Pisa pulpit postdates 1he Arena Chapell. illns. 111 Enzo C:1rti. II '"Thi> >On of pl.1g11c upon 111<1nkind shfluld no r teet·ive Cl11is1ian butial, and /111lp1 1n di S1nw ( Berga111 0: Agosto. 19•!3). pis. ~+-92; a 11d Gian Lore n10 mure1s .ire worth) of no 10111b o ther tha11 lh c son h.;'cn 10 donkt')'S." Le Goff Meltini. II /mlflitn di Gio111111 ni f'ivmo fl l'i.mplum told l!y St.cphl'n of Bo urbon abonL a penitl'11t 11s111 c1 11 :1-27. f\ •i111ila1 image appear> in the / .f/11 /11 dg111e11 1 frf'sco at thl' Ca111- who "01dcr,-d that his cad,1w r be thrown i1110 rlrc micl•t of ... snakes.... The po•an10, Pisa. '"hen· S.u~rn appears to be ingesting. then c·xcreting sinners; see s nake·> de\oun·d his body a11cl ldt nOlhing bur whitened bo ne> on the spot" Millard :>leiss·s discussio n in B1iegc·1, Meiss, ;tnd Singleton (as in n. 15), \'OL I. (63 ). 40, and fig. 18. for a detail o r Satan. f:ldrlco di lla1tolo\ rn:sco Smu; uj llfll in 90. Ko hl. 15. ThC' "ill opcm 11i1h a k ngt.hv di on 10 specify r7ormt111' Rr11111ll. .Jc!Tre\ Ch;ipel. and if .cirnc C•compclling ca11sc o r impc•dirm·111·· mal.cs this impos­ Ruda. howewr, clcsc 1ibcs the imag« a• "spewing ll1 e damned from a 111oull1 sibk. his bodv i' c,·cn tuall) lO he m 11 1slc:rrccl 10 the chapel for reburial "as where hi> gt·nitals should be" and imerprcls it as "a complex inversio n of soon ,1, possible." I IC' 1hc 11 di •C'us~es payme nt for thc•f• •cnice,, .tg«1in a l some Chtist's gcncrativ<' powt•r and 1he promise of c' le rnal life through Cl11istia11 lengrh. Other fac 1 or~ probabl\' comdbutrrl to Enrico's repeated asscr1.ion< rt>birtb "; "Uhimare Pcn·t·r.,ions: Read inb'S of S.uan a1 the Aren.1 Chape l and h ere. Perhaps ntOSl impo n alll MLS Endco'• protfrl ab>t!OCC r1o m P.1dua; ht• El•cwhrn·.'' Co/lrge tlrl J\.1rnrintio11 tlb>l•'flrl.\ 19CJ./: tl.bsl1111/.1 of t/1' 82ml r\111111nl lei'! for Venice i11 l:IJ7, whctt· he dic:cl in 1336. Dnring his exile. his t'S llmu111· 16-19. 199'1 (New Yo rk: College An f\•soci:n.ion, including the Art•na Chapel, fe ll in rv the haud' of others. For the d c 1 :1 i l ~ ol 19!J..J), 20. I le· con1in11es, "(Sarnnj is femi11i1 ed bur \\i1h a raise '~igi na lliat Enrirn', exile, sec Simon (as inn. 8). 2 1-26. Sharon Strocchia h:Ls s11gge•1ecl regurgitates wha1 he swallow,"-an in1erpret."ltion consistent \\ith our mn cly Lhat Enticu 1m11 ha\'e aucmptcd 10 "'clann' rhc ,p,lCe as hh own \'ia rhc reading of the image. prc,n 1ce of h i; bod y" (persomtl communkation). We arc l(J';lleful l() Prorcs,,,01 80. In rna11v rned i e,~d Last Jndg mc111.s, a few so11ls among 1lu: da111ncd , Strucchia fo r her ki11dness i11 claril\ing these poinis. 1\,, she h.L, poin1cd o tll pre'lrn1abh the tu... tfnl. a rc sexually tonurcd ; inrnge< of 1.nx utia, for instance. (Dl'tllli rmd R1t11fl l 111 Hnumwnrr Narenrr 11.lahimore: Jolms Hopkin; Uni\'Cr•il) lypically depict her with serpe nL< hiLing hc1 gc.:nit."lh .ind brcasis. llut here. Pres.,, 1992), 9+-93). in the 121h centul\' bmial " intra murm ndesi:u"' \1""-' both the >heer q uamitv of these ,unering S(Hl l" and the griu:1I. In rite H,1p1.is1ery 111nsaic, a linrd threatens to hitc ~)I . l lueck (as in 11 . 5), 282. A n expansion o f tht· prcsb)~CI') in I 317-20 one of the dmnncd be tween tll<' k g> (lo wer le ft l. but 1liis harassmem pales allowed space 1hcrc tor a larger tomb; sec l lueck, 282-Rfi. Ho 11 cvcr, Ll1 e ~1:1111e nci..1 10 rht· >adi'lic- hcl1<1\'io 1 of Liit' demom in the Arena l a.ii j11dg111nil. For of Enrico Scro,·cgni postdate" 1he rcno\';1tion of the presh' ier v: it i'> a11rib1m·d details of the mo'1tic , l 8at1i>ter11 di F11n11:.e, ,·ol. 3, to a Ve nt·tian ovt'. Ill. See l.e Goff, 19i9, 35: see also .\11 drc·w Cowell . " Ft·111i11ine Sem iotics a nd Are na Chapel. Fnrico, \\ho \\":"lS bu1il·d in \ 'cnic~. wa.. ~ 1l·buric-cl iu Padua :-41 chi ~ ~ l :iscu lin e Dt·, ires: ' Courtois d'A1 ras· and the Proper M.1k Rearle1 i11 the time. pre•tnnabl) hy his son l ' goli110; Ena ico's widow <111d ,e,er:.tl 0Ll1er fa mil} members were hurit·d there as well. For 1hese l'\'ellls, ,cc Sim o n (a,, in n. ii). Middle Agcs." -~wnpQ-Ouls suffc1 I.tie' that are prob,1bl) ,1lso cspcdaltv a pl g11111n JJVO/NMJ (\'enice: Alfieri, l!li6). 25-26. tfil-62: chlc·gcl, 1\19-201; p1111is lunen1., fo r their 'it '~ in lifr, a11d >Ollie of ll1e se, 100, suggerzne1. " Cionos Gr:ibmal fitr Enrico Scro\'cgni." 1\ lti.11r/111n"j11/11l111d1 ;exuati11. Fo1 instanu-. next LO tl w c-011ple \lLSpe nckd hy 1hcir genital< is a ""' /1iltln1dm K111111 (1982): 39-6fi. On funeran chape l ~ in the u ecen10. s.:e 1110111an hanh.;ng by her l11xuria n 1 h.1it-pussibly a relercncc to lwr /11x11n11. or Diana Norman , " Those Who Pay, Thow Who Pr inn. Ii), \'OI. 2. 169-91. blarl dc111011 in a s1a11ce suggesring m pe. 92. For tl1c tt'X l ol the papal bull, d.nt'd ~farch I, 130 1. ;.ee Stubblcbine, 83. For the pa nel in Pisa. see Carli (ru; in n . JO). fig. l:!i; for d cwils ol the 105-6. jt)achim sccm·s. se<' ibid .. fig<. 9 1-91. The e iglu narrari ws i11 which .J oachi111 9:1. Ibid.. 106-7. appears :11 t". fro m top le· fl• .Jo:ichim Di.sufouting A.1 111s to th<' Poor, the 9 1. For Scardcunc. seen. (i above. Annunciatio11 to j o ad1i111, the Dre.nu ofjoachim. the :>teeting m ll1c Golden 95. Sf'c above fo1 the significance or 1h1·.J ubilee Ye ar w Eruico. Gme; from 1op ri ~lu . th «' Ex pul ~1011 of Joaclli1n. Llw Sactifice of Joacl.t.im. 91\. For the uSt'S of 1hc chapel. seeJacohus (as inn. 52). esp. 37- 38. J oachim'• Return. Only in the Dream of J oachim. fig. 93, is he ; hown 97. lkqjaniin Kohl. pcrsom1l communirntio n. Afkr Enrico's first "~fc d ied, reclining. he ma1 ried Giacopina d ' Este. who bu1 c lwo son>; ' h t• w:1s na111 l·cl CXt'<'lllOr' of 8-1. Fm 1J1c l.J•gn1tf11 Awra as the source for tbe ncle . •cc, fo1 insta nre, bis wi ll. For a genealogical t.1ble of the Snuvcgni f ~1111i\\•. I lean I l:t., h s Own Tear>." Pseudo-J\·la1thew. 8:'Hl3. 85. Onf' <'adicr example of tht' :\lagclalc ne ac the fool of the no;.s is a llul1igr;1fica t::diuicc. 1929; repr., Rome: named for ll1csc saint, . Ft1r 1hc nam e~ of E111ini's cla11gh11:ri.. 'ce Kohl, •15. Muhigrafica t::clitrict', 1980)) ccrmpilcd cxte nringl)'. a 1lti1 d daug h11·r w·as na ntC'd C:tppclli11 ,1, a-' was E11tico's mother. rlc1,1ils of 1:10 cxampt..' of the Crucifixion in h a l)' from the 8tb 1hro11gh the For a 11 01lwr suggestion about the ide111i1y o r lhl' figure• flanking the Vi r i,~n . 1:.lrh cc1 111n ics;