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The Frescoes of the “Scoletta “ of the Carmine Church in Padova Before

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The Frescoes of the “Scoletta “ of the Carmine Church in Padova Before The Frescoes of the “Scoletta “ of the Carmine Church in Padova Before being chosen in 1492 as the sight of the “Brotherhood – fraglia in Italian - of the Holy Virgin of Carmelo” the building of the Scoletta underwent many changes clearly visible in the external walls. This Brotherhood, connected to the church of the Carmelite friars, was formed by a group of lay-people and managed, as others in the town, money for the church and for charity. This group was composed by citizens of every social level, who sort of formed a real “family” living in a full communion of prayer and charity, according to the idea of brotherhood itself (which is implicit in the Italian word fraglia). The frescoes inside the Scoletta are very important not only for their quality but also because they are a kind of anthology of the art of painting in Padova during the 16th century. As a matter of fact, they were painted by four different artists in 60 years. There must have been a unique project since the beginning (about 1500), as we can see from the partition in squares of the painted loggia. The work started at the beginning of the century and it was surely discontinued during the tragic siege of Padova (1509) in the war of Cambrai. Of course, due to the long period of time, the painters’ styles change. Giulio Campagnola is still connected to the Humanistic period and to Mantegna, while Domenico Campagnola and Girolamo del Santo were more influenced by the landscapes and the colours – connected to the Renaissance – of Titian. In the end Stefano dell’Arzere shows his Manneristic style which overtakes the 16th century symmetries. Though the style changes there is no loss of religious inspiration. The Bible stories are described with deep participation to their sacred feelings. The passing of time has not changed the spirit of the fraglia whose brothers offered part of their economic means in order to transmit their message of faith in God and of Christian charity by means of these works of art. (the series of the frescoes starts to the left of the altar) 1 Joachim sent off the temple – Girolamo del Santo, 1530 2 The angel appears to Joachim – Girolamo del Santo, 1530 3 Joachim and Anne meet by the Golden Gate – Domenico Campagnola, 1520 4 The birth of Mary – Giulio Campagnola, 1505/07 5 Mary’s presentation in the Temple – Giulio Campagnola, 1505/07 6 Mary’s life in the Temple – Giulio Campagnola, 1505/07 7 Mary’s wedding – Giulio Campagnola, 1505/07 8-9 The birth of Jesus – Stefano dell’Arzere, 1560 (?) 10 The escape to Egypt – Girolamo del Santo, 1530 11 The family of Nazareth – Girolamo del Santo, 1530 12 Jesus in the Temple, among the Doctors – Girolamo del Santo, 1530 13 The Pentecost – Girolamo del Santo, 1530 14 Holy sleeping – Girolamo del Santo, 1530 15 The three theological virtues –Girolamo del Santo, 1530 16 The assumption of Mary –Girolamo del Santo, 1530 1 Joachim sent off the temple – Girolamo del Santo, 1530 The fresco is heavily damaged by the time. Its architectonic partitions are after Mantegna. Deep sadness can be perceived in the face of Joachim, whose only fault is the fact of not being able to form a family of his own. 2 The angel appears to Joachim – Girolamo del Santo, 1530 The shepherd Joachim is back to work. The architectonic background of the previous scene gives way to a pastoral atmosphere which is inspired by Titian’s frescoes at the Santo Basilica and by Dürer’s engravings. The dark mountain behind Joachim tells us of solitude and sorrow, but the angel is bringing light from high, thus opening the hearts to a future full of hope. 3 Joachim and Anne meet by the Golden Gate – Domenico Campagnola, 1520 The couple will give birth to a child, their hope becomes true. The hug looks very dramatic and shows the harmony of their love, which is finally fruitful. Anne’s girlfriends admire the embrace, the shepherd boy is enchanted, the whole nature – a large alpine landscape - takes part in it. In the foreground an old trunk is sort of hinting at: at first it looks dead, yet it is sprouting. Domenico Campagnola is a painter and an engraver and one of Titian’s pupils. He is the adoptive son of the author of the four following scenes, which were painted before this one. From the frescoes the young Titian had painted at the Santo Basilica, Campagnola finds inspiration for his impetus, his spatial respite, his chromatic sensibility, his brushstrokes, though he has an emphasis which does not come from his master (for example, the fullness of Joachim’s mantle, which is incredibly stretched out). 4 The birth of Mary – Giulio Campagnola, 1505/07 The painter shows the simplicity of everyday life, but he also remarks the importance and the solemnity of a newborn child who will become famous in the history of the Christian Church. Mary’s mother, Anne, is gazing at life and at her daughter, who is an unexpected present to her. Around her there are some family members and some maiden servants. The axial composition is inspired by Mantegna, and the statues over the doors by Carpaccio, but the landscape view on the left, near the client, does not belong to the 15th century, and clearly tells us that Humanism has by now become full Renaissance. 5 Mary’s presentation in the Temple – Giulio Campagnola, 1505/07 The education given at the Temple was a warrant of success in life, therefore the old parents choose this training for their child. They accompany her there showing in the same time a sense of parting and of hope, and they entrust her to the teacher guardians so that they give her the knowledge of the things of God. The accurate drapery of the clothes, the chromatic matches and the architectural scenes are surely after Mantegna’s school, but the landscape is after Dürer. 6 Mary’s life in the Temple – Giulio Campagnola, 1505/07 The life in the Temple follows the time of prayer and of work, according to the age of the pupil. This is shown by the different architectonic parts. Mary works well, and she is looked after by her guardians; people look at her, as if they wanted to understand the mystery hidden in her, because they feel that she is somehow “different”. The fresco shows some classical elements and a landscape taken from Bellini. The deep sense of space underlines the noble composure of the characters, even more than in the previous fresco. We can fully perceive the outward countenance coming from the interior harmony which was the highest achievement of Humanism. 7 Mary’s wedding – Giulio Campagnola, 1505/07 Here again the solemnity of the ceremony is set in a splendid classical architectural frame, once more taken from Mantegna. The scene is very lively. The smartly dressed suitors stand in a crowd to the left, holding their dry sticks. One of them, very angry, breaks the stick on his knee. The chosen bridegroom Joseph is very humble and almost kneeling in front of Maria, since he knows her role and respects her dignity. The following historic characters have been recognized in this fresco: 1. Andrea Mantegna; 2. Giulio Campagnola; 3. Albrecht Dürer; 4. Giovanni Bellini; 5. Vittore Carpaccio; 6. Niccolò Copernico. 8-9 The birth of Jesus – Stefano dell’Arzere, 1560 (?) The scene at the background, though it represents three different moments, may be considered one from a scenographical point of view. The painter divides the central column in eight parts, thus obtaining a modulus useful to build the big golden rectangle inside which he puts the characters and the windows and the door open to the sacristy in the back. The Baby is the central point of every scene: the birth, the worship of the Magi Kings, the presentation to the Temple. He sweetly smiles in the Holy Crab, lively stretches onward in the worship, lies relaxed in Simeon’s arms among the temples columns. Two false niches, symmetric to the central axis, give shelter to the Holy characters who gaze at the Birth, or welcome the powerful who arrive from far away with their gifts. Following the Manneristic movement – which had by then reached the Veneto area - the painter shows monumental figures and large space splitting up. Yet the bombast which belongs to this style does not conceal the deep and sincere participation in the events by every character (the protagonists, but also the shepherds and the clients). 10 The escape to Egypt – Girolamo del Santo, 1530 The figures are moving and Mary sweetly protects the baby, who is lively looking at the people coming through the door into the Scoletta. It is sunset time and the small family is walking through a large landscape to find rest in a small wood inspired by Dürer. Also a certain grotesque hardening of the painting, to be seen particularly in the servant’s face and body, seems to be inspired by the etchings of the German master. 11 The family of Nazareth – Girolamo del Santo, 1530 “And the boy was growing and becoming stronger, and full of wisdom. And the grace of God was with him” (Lucas, 11-39). According to the words of the Gospel, the environment shows a life of calm industry. Everybody is working surrounded by a quiet atmosphere full of light. The wall in the background is broken to let us see outside and let the light come in. This attention to the landscape belongs to the Renaissance painters.
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