IndexLinesLightingColorSpaceShapeTextureComposition (analysis/interpretation)The “Christ handing over the keys of the kingdom to St. Peter” in the Sistine Chapel in the Vatican City, Rome, Italy is a fresco created by Pietro Perugino with a size of 11'5 ½ x 18'8 ½ representing the papacy having authority over the Catholic Church. The painting dates back to the 15th century, precisely to the years 1481-1483, and shows Jesus Christ giving the keys of the kingdom of heaven to Saint Peter, who is apparently invisible and cannot be seen in the eyes of Jesus, the twelve apostles, or the others Renaissance figures, which include philosophers, artists and the public. It also shows the viewer a scene from the daily life of Jesus. Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get Original EssaysWhen you look at the painting, the first thing you notice is that it looks very three-dimensional, as if you could stick your hand all the way in or walk under the arches or between Jesus and St. Peter. Perugino uses several techniques to create this effect. The first is the use of orthogonal lines. Orthogonal lines are diagonal lines that go from one corner to the other. An example of the use of the orthogonal line is seen on the floor behind Jesus, the apostles and Saint Peter. The lines move apart in the central building and converge at the central door. When lines converge like this, they create a point of interest for the viewer. Perugino also used horizontal lines to create dimensionality in this work. The horizontal lines run from left to right or right to left. The horizontal lines in the painting begin in the foreground where Jesus and the other main figures are. The horizontal lines return to the smaller figures in the center and then to the three buildings in the background. Finally, Perugino uses vertical lines in a small detail, painting the key hanging along a vertical axis. Lighting Perugino used lighting suited to the Vatican. The scene appears to be naturally lit with a sense of subtractive light, which is basically light reflected from other subjects. Examples of subtractive light in the work include light reflected from buildings onto the sidewalk and light reflected from the sky into people's clothing. Additionally, the piece also includes saturation, a technique that uses brightness or opacity to create the desired effect. In this case, the dullness of the background creates a foggy effect leaving the viewer to concentrate on the events in the foreground. Color The color scheme sets the tone of the painting. He chose naturalistic shades instead of bright, vibrant colors. Perugino made sure that all primary colors were used for variety. He included colors like red, yellow, and blue and then incorporated complementary pairs as well. For example, St. Peter's drapery is blue and orange, while that of one of the apostles is green and orange. Both of these color pairs are complementary. But I also noticed the repetition of several common colors: blue, green and yellow. Perugino's use of color leads me to believe that he actually wanted the viewer to move their eyes back and forth across the foreground to keep them engaged. Space Perugino's use of space was essential to this work of art. The artist used several techniques to create the desired spatial relationships. First of all, the painting depicts a very spacious, airy and welcoming environment. The overall scenery appears to be large-scale, allowing viewers to distinguish between the foreground figures, the middle ground, and the background. For example, the depth of the painting is created with the larger figures in the foreground and the small figures in the.