Saint Catherine Chapel in Church of San Clemente

The Saint Catherin Chapel lies inside the 12 th century basilica of San
Clemente. The 12th century basilica was built on top of 2 pre-existing levels. The
most ancient level was initially a 2nd century domus (home/mansion). Inside the
courtyard of the domus a 3rd century Mitreo, temple for the god Mitra, was built.
Eventually the Mitreo became a secret meeting place for Christians. During the
4th century the St. Clement Basilica was built. The basilica was ruined in the 11th
century and a new basilica, the current visible basilica, was built on top of the
pre-existing basilica. The new 12th century basilica was a spolia; materials were
recycled and used during the construction of the basilica. For example the
columns are of different origin resulting in different column lengths, widths and
styles.
Inside St. Clemente basilica is the chapel of St. Catherine. The chapel
was commissioned under the patronage of Cardinal Branda Castiglioni who was
the cardinal titular of San Clemente from 1411 to 1431. There are 4 distinct
frescos within the chapel all of which were frescoed by Masolino da Panicale in
association with Massacio from 1428 to 1432. They are the Annunciation on the
entrance arch, the Crucifixion on the center altar wall, the scenes from St.
Catherine Legend on the left wall and the episodes of St. Ambrose life on the
right wall. All these frescos can be considered artworks from the Early
Renaissance period.

The Crucifixion fresco serves as the backdrop for the altar. The
Annunciation on the entrance arch aids in drawing attention to the Crucifixion
fresco. The vertical alignment of God from the Annunciation and Jesus from the
Crucifixion provides a visual and thematic connection between the two frescos. In
addition the relationship between the Annunciation and Crucifixion is
strengthened by the direction of gazes of God, Mary and Jesus. God looks at
Mary awaiting her reply to angel Gabriels message while Mary gazes downward
at Jesus being crucified on the cross. Jesus on the other hand is also gazing
downward at his mother Mary while she falls into the arms of other women. It is
as if the two are depicted hand in hand to symbolize the beginning
(Annunciation) and the end (Crucifixion). During this early renaissance period,
artists started utilizing scientific perspective to create a sense depth. For example
in the Crucifixion, Christ is painted significantly higher and closer to the top of the
arch compared to the other 2 crucified thieves (one good represented by his soul

as an infant in angels arms and one bad represented by his soul in the mouth of
a dragon) to create the sense that Christ is above all. Unfortunately, there is a
horizontal line across the distant hilly landscape affecting the perceived height of
Jesus and interrupting the sense of distance in the scene. As a result, it disrupts
the sense that the cross of Christ is overhanging the entire world. Another
example of the use of perspective is the strategic positioning of Mary Magdalene
and John the Evangelist. Both are placed in the central vertical axis in line with
the cross of Christ dressed in red (there are no other uses of red throughout the
fresco) not only drawing attention to the crucifixion of Christ but also creates a
sense of reflection of their roles in Christs life.

Scenes from the Legend of St. Catherine of Alexandria are depicted on

the left wall adjoining the Crucifixion. St. Catherine was believed to have lived-in
fourth century and was the daughter of King Costus of Egypt. There is no

evidence of her existence other than the legends recorded of her. The Legend of
St. Catherine of Alexandria depicted in San Clemente is based on those in The
Golden Legend written by Jacobus de Voragine in the 13th century. In all the
scenes of this fresco, Catherine is made the center of focus with the use of depth
and perception. The legend begins with Catherine challenging and refusing
Emperor Maxentiuss order to worship and to offer sacrifices to idols. In this first
scene Catherine can be seen standing in front of the idol gesticulating her
argument to Emperor Maxentius. The rounded dome roof and the placing of the
idol on top a pillar adds depth in the fresco and attracting attention to Catherine
and her hands. Enraged by being outwitted by Catherine, Emperor Maxentius
assembled 50 orators to dispute and refute her arguments offering rewards to
whoever could do so in the scene below. Ironically, Catherine was not only able
to rebut their arguments but was also able to convert the orators. Through the
use of depth and perspective, Catherine can be seen again with the orators are
being burned at stake in the same scene through an opening in the wall.
Catherine was then imprisoned without food or water while Emperor Maxentius
left Alexandra for converting the orators. In the third scene, Empress Faustina
visits Catherine at the prison and was converted by Catherine. Upon returning,
Emperor Maxentius learned of Faustinas conversion and had her beheaded in
the same scene. Soon after Catherine was ordered to be killed by tearing her
body apart between 2 spiked wheels turning in opposite directions. In this scene
Catherine stands ready for her punishment while an angel is seen shooting an
arrow to break the wheels. Here attention is drawn towards Catherine but placing

her in the central view and with the rooms angled in a way that makes the viewer
focus in the center. Enraged by this unsuccessful attempt Emperor Maxentius
orders Catherine be beheaded. In the 5th and final scene, Catherine can be seen
kneeling while the executioner is about to take the fatal blow. In the background
Mount Sinai is visible with angels placing the body of the saint in a tomb on the
submit while yet another angle is seen taking her soul up to heaven. The
mountain in the background aids to add depth to the fresco.