The Aranajassa Chapel Altarpiece
Discover the work of Pasqual Calbó i Caldés, Menorca's most prominent neoclassical painter, in this impressive altarpiece
The Aranajassa chapel altarpiece (18th century) by Pasqual Calbó y CaldésAteneu de Maó
The Aranjassa chapel altarpiece by Pasqual Calbó y Caldés (1752-1817), Menorca's most important neoclassical painter, is located on the stately staircase that leads to the Ateneu de Maó. Come and discover its meaning!
Saint John's Day Dance, Giuseppe Chiessa (18th century) by Giuseppe ChiesaAteneu de Maó
Pasqual Calbó y Caldés (1752-1817) came from a modest family but had the opportunity to study at the painting academy of Giuseppe Chiesa, a painter from Livorno who set up in Mahón.
Josefsplatz (1780) by Carl SchützAustrian National Library
At the age of 18, following the advice of his teacher, he travelled to Rome and Venice to continue his education. In 1778, thanks to his patron, Prince Kaunitz Rietberg, he arrived in Vienna. A year later, he was appointed court draughtsman to the Empress Maria Theresa.
Insel Minorc, detail (18th century) by Thomas KitchinAteneu de Maó
The assignment: An altarpiece
In 1780, with a solid humanist and Enlightenment education, he returned to Menorca, where he was commissioned by the owner, the merchant Lorenzo Poly Rigway, to create an altarpiece for the private chapel of the s'Aranjassa estate, in the municipality of Es Mercadal.
The Aranjassa Estate by UnknownAteneu de Maó
Like many important estates on the island, S'Aranjassa had a small chapel attached to the house, where the village priest celebrated mass on Sundays for the people of the estate and the surrounding smaller estates.
The Aranjassa chapel altarpiece, top view (18th century) by Pasqual Calbó y CaldésAteneu de Maó
The design: A false architecture
Calbó designed the altarpiece around a false architecture: the central body has a porticoed exedra with open arcades between composite pilasters depicting five saints, patrons of the client's family.
The Aranajassa chapel altarpiece (18th century) by Pasqual Calbó y CaldésAteneu de Maó
The Archangel Gabriel
On the left-hand arch is the Archangel Gabriel, the patron saint of his son-in-law, Gabriel Seguí Valls, who was married to his eldest daughter, Angela. According to Catholic tradition, he is God's messenger. In his right hand he holds his attribute: the white lily.
Saint Lawrence
In the central arch is Saint Lawrence, patron saint of the client, Lorenzo Poly. The saint is depicted in the dalmatic, the deacon's habit, reading the Gospels. At his feet a cupid carries the attribute of his martyrdom: the grill on which he was burned alive.
Saint Eulalia
Saint Eulalia, the patron saint of the merchant's second wife, Eulalia Taltavull, is at the centre of the composition. She is depicted with the saltire of Saint Andrew, while at her feet two cupids with palms of martyrdom help to hold the cross.
The cherubs or putti are part of the recovery of classical motifs typical of the Renaissance and Baroque periods.
Saint John the Baptist
On the right is Saint John the Baptist, patron saint of the merchant's granddaughter, Juana Seguí (daughter of Margarita Poly). The last prophet and first martyr of Christianity is dressed as an ascetic and holds a long reed cross, a reference to the future martyrdom of Jesus.
The Aranjassa chapel altarpiece, lamb detail (18th century) by Pasqual Calbó y CaldésAteneu de Maó
The lamb
A lamb appears at the feet of St John, referring to the phrase he exclaimed when he first saw Jesus: "This is the Lamb of God who takes away the sin of the world". This animal would become his symbol.
The Aranajassa chapel altarpiece (18th century) by Pasqual Calbó y CaldésAteneu de Maó
Saint Margaret
In the right-hand arch is Saint Margaret, patron saint of the merchant's deceased daughter, Margaret. She is shown defeating the devil, in the form of a dragon, who appeared in her prison to tempt (or devour) her. She was miraculously saved by a cross.
The Virgin of the Angels
In the atrium is the Virgin of the Angels, patron saint of the merchant's eldest daughter, Angela. She is accompanied by angels, cupids and cherubs, hence her name. The tinsel on the spandrels, the cartouches and scrolls and the flowered vases are a composition of the Baroque heritage.
The Aranjassa chapel altarpiece, top view (18th century) by Pasqual Calbó y CaldésAteneu de Maó
Arrival at the Ateneu de Maó
Due to the needs of the estate, the chapel ceased to be used for religious services and was converted into a storeroom. On the 28th of November 1905, Dr. Federico Llansó, a member of the institution, donated the altarpiece to the Athenaeum, where it remains today.
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