Table of contentsLinesLightingColorSpaceShapeTextureComposition (analysis/interpretation)“Christ handing over the keys of the kingdom to Saint Peter” in the Chapel Sistine in Vatican City, Rome, Italy is a fresco created by Pietro Perugino with a dimension of 11'5 ½ x 18'8 ½ which depicts the papacy having authority over the Catholic Church. The painting dates from the 15th century, more precisely from the years 1481-1483, and shows Jesus Christ handing over the keys of the heavenly kingdom to Saint Peter, who is apparently invisible and is not seen in the eyes of Jesus, the twelve apostles, or other 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 Custom Essay on “Why Violent Video Games Should Not Be Banned”?Get an original essayLinesWhen you look at the board, the first thing you notice is that it looks very three-dimensional, as if you could put your hand completely inside or stroll 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 extend from corner to corner. An example of the use of orthogonal lines can be seen on the sidewalk behind Jesus, the Apostles and St. Peter. The lines move back into the middle building and converge towards the central door. When lines converge in such a way, they create a point of interest for the viewer. Perugino also used horizontal lines to create dimensionality in this work. Horizontal lines extend from left to right or right to left. The horizontal lines of the painting begin in the foreground, where Jesus and the other main characters are standing. The horizontal lines move up towards the smaller figures in the middle, then towards the three buildings in the background. Finally, Perugino uses vertical lines in a small detail, painting the hanging key along a vertical axis. Lighting Perugino used lighting adapted to the Vatican. The scene appears to be naturally lit with a feeling of subtractive light, which is essentially 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 onto people's clothing. Additionally, the piece also includes saturation, a technique that uses brightness or dullness to create the desired effect. In this case, the dullness of the background creates a blurred effect, leaving the viewer to focus on the events in the foreground. ColorThe color palette sets the tone of the painting. He chose naturalistic hues rather than bright, vibrant colors. Perugino ensured that all primary colors were used for variety. He included colors such as red, yellow, and blue, 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. These two pairs of colors 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 really 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,.