By Joynel Fernandes –
Tiziano Vecelli (anglicized as Titian) is one of the greatest painters of the Venetian school of High Renaissance art. Born in the Republic of Venice in 1488-90, his vivid application of colour had a profound influence on the artistic world. His imaginative temperament earned him the title of a poet-painter. The fluidity in his painting, the increasing freedom of brushstroke and his deft ability to grasp personality can be well noted in today’s series.
The subject of the painting is the dearly loved St. Anthony of Padua (1195 – 1231).
In 1510 an epidemic broke out in the water logged port city of Venice. The effect was disastrous. The pestilence took away the life of 32 year old Giorgione, one of the city’s most celebrated painters and a close associate of Titian. Escaping the contagion, Titian moved to Padua in 1511. It is here that he received one of his first religious commissions to paint three large frescoes in the main hall of the Scuola del Santo, a confraternity devoted to St. Anthony.
Often regarded as a miracle worker (a patron saint of lost people and things), Saint Anthony in today’s painting is presented primarily as a ‘Saint of the People’ or as Pope Leo XIII says ‘Everyone’s Saint’. The painting illustrates three turbulent tests which through the intercession of St. Anthony turn into a testimony of hope and faith. The frescoes are grouped in a frieze like arrangement with the primary characters in the foreground placed against an atmospheric background that enhances the narrative clarity and the dramatic emphasis.
The first scene recalls the miracle of rescue. The story goes thus: A renowned knight in the city of Tuscany doubted his virtuous wife of adultery. In rage he assaulted her and dragged her by her hair against a cliff. There he eventually stabbed her to death. Realising with regret the result of his beastly behaviour, the knight at once ran to St. Anthony and fervently pleaded for help. The saint, in mercy and compassion, rushed to the house and prayed over the dead wife, asking God to restore her life. Restore He did, and then on St. Anthony came to be regarded as the Patron Saint of Married couples.
Titian presents the scene with robust and awkward realism. He thrust the murder into the foreground, making the viewer a witness to the crime. The latter part of the story is depicted in the background where the repentant husband kneels before the saint begging for forgiveness.
Scene two illustrates the second miracle. A wrathful son kicked his mother in anger. On confessing to the Saint, the friar remarked ‘the foot that strikes mother of father deserves to be cut off.’ Literally reading into the remark, the young boy on returning home took a hatchet and chopped off his foot. Repenting his foolish behaviour, his family rushes him to the Franciscan saint. The boy is laid on the ground, his face distorted in pain with his bleeding foot set before him. Gesturing comfort, St. Anthony stretches out his hand and brings relief to the young man by reattaching his foot. The large oak tree at the centre of the composition serves as a reminder of the absolute fervour and faith of the great saint.
Scene three is set across an architectural background. It presents to us the third miracle in this series of paintings. A nobleman of Ferrara married a woman of remarkable virtues and extra-ordinary beauty. Jealous of her gifts, the husband doubted his wife’s fidelity when she conceived. On accusing her in public, the helpless wife called for the renowned friar. St. Anthony on arrival turned to the new-born and with childlike simplicity asked him, ‘Who is your father, my little one?’
The crowd roared in laughter. ‘Can a new-born speak?’ they acclaimed. However much to their astonishment, the child pointed out to the nobleman and in a clear voice replied, ‘This is my father’. Putting the child into the arms of the delighted parents, St Anthony through his ardent intercession restored peace and joy into their household.
The essence of the painting emerges through various gestures and expressions. While the crowd exchange glances of surprise and bewilderment, the Saint is depicted on his knees, in humility and love. His posture lies in stark contrast to the heroic demeanour of the ruler Trajan hailing the niche of the archaic structure in the background. Trajan (98 – 117AD), the Roman Emperor, is honoured as ‘the best ruler’ for he presided over the greatest military expansion in Roman history. But did winning the world win him his soul? St. Anthony quips, ‘the life of the body is the soul and the life of the soul is God. What we are before God we are and nothing more’
As we gaze at the kneeling posture of the Saint, we are at once reminded of his signature portrayal. St. Anthony is always depicted with Christ Child in his arms. As he lifts the infant towards the parents, he returns to them not only their little babe but also Jesus, the source of true peace and happiness.
Though a great doctor of the Church, St. Anthony in simplicity and humility call us not so much to theological debates, but rather to faith in action and love. He who bears Christ Child lovingly in his arms invites us to a child-like faith and spontaneous surrender to the Saviour!
@ The Archdiocesan Heritage Museum, Mumbai holds the copyrights for this article .
Joynel Fernandes is the Assistant Director of the Archdiocesan Heritage Museum, Mumbai. She is currently pursuing her Masters in History. Researching on Church History and Church art is her passion. She hopes to make its understanding more approachable to the younger generation.
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