The Miniscalchi Altarpiece

The Renaissance panel, with its frame of classical derivation, divided into three parts by pillars decorated with candelabra, presents the Sacrifice of Isaac in the central compartment (Genesis, 22) and two full-length donors on the sides: on the left a noblewoman, on the right a gentleman, both belonging to the Miniscalchi family, as indicated by the two coats of arms inserted in the frieze of the broken entablature above the internal pillars. From the exceptional fact that the woman donor appears on the side of honor, we can suppose that she played the most important role for the commissioning of the work, and it may well be that she was the sister of the nobleman. Both Miniscalchi characters show themselves, albeit outside the sacred image, full-length, standing, without the intercession of saints or even as worshippers, almost on the same level as Abraham in the main table. Looking towards the center, the donor, however, seeks contact with the viewer with his eyes and draws attention to the biblical scene with his right hand, towards which his partner is also turned with a rose in her hand. These are the first full-length portraits known in Veronese painting.