Altarpiece dedicated to Saint Anthony and Saint Margaret
We enter this wonderful altarpiece by Lluís Borrassà to discover all its secrets
The MEV preserves the most representative collection of works by Lluís Borrassà, through which we can follow the introduction and evolution of international Gothic art in Catalonia. This style was characterized by leaving behind the sober harmony of forms and colors to introduce a naturalistic aesthetic based on the dynamism and movement of figures, as well as the use of very vivid and contrasting color pigments. The altarpiece, which we will analyze below in the side scenes, illustrates this new narrative and pictorial language. Let's see it!
Altarpiece dedicated to Saint Anthony and Saint Margaret (First quarter of the 15th century) by Lluís BorrassàMev, Museu d'Art Medieval
Shared prominence
Multiple devotions were common in the altarpieces of the first international Gothic. In this altarpiece, Saint Anthony, patron saint of cattle, and Saint Margaret, patron saint of midwives, share the presidency, two very popular cults in Catalonia at the time.
The representation of Saint Anthony the Abbot
This saint is depicted as an old man with a white beard, a cap on his head, a prayer staff in one hand, and the book of monastic rules in the other. He is dressed in a habit common to monks: a black suit, a brown scapular indicating poverty, and a cape.
The representation of Saint Margaret
She is usually depicted dressed in the old style (tunic and mantle or cape), crowned for having remained a virgin and holding in her hands the palm of her hand, symbol of martyrdom, and a cross, a sign with which she managed to dominate the diabolical beast.
The Calvary
Many Gothic altarpieces include the scene of Calvary, usually at the top of the central street. From the 11th century, the cross was obligatory on the altar during the celebration of Mass. The presence of the painted Calvary made this symbol present and illustrated its importance.
The temptations of Saint Anthony
Various temptations attacked Saint Anthony while he was alone in the desert (thoughts, desires to sin, inconveniences...). In medieval iconography, they are usually represented as devils of different shapes and colors beating Saint Anthony with sticks.
The devil in the form of a woman, a famous temptation
One of the most famous temptations is that of the Devil transformed into a woman: a seductive woman holds a mirror, a symbol of vanity and pride, and shows black claws coming out from under her skirt, revealing her identity. Fire symbolizes sexual desire or hell.
The Reward of Strength
In this scene we see the apparition of Christ, who appears to Saint Anthony to tell him that he has observed all his sufferings and that he wants to reward him for his strength. In the same compartment, the saint's efforts are rewarded.
St. Margaret, a young shepherdess
The first part of St. Margaret's story is summarized in the upper right scene. In a rocky landscape similar to the desert of San Antonio, Margaret is tending a flock of sheep.
... required by Olimbri
A kneeling servant informs her that Olimbri demands her presence. The evil general, richly dressed, rides along the road accompanied by an assistant; with his hand he gestures in admiration at Margaret's beauty. But she points to heaven: she only wants to give herself to God.
The Martyrdom of St. Margaret
The last scene of the cycle of St. Margaret represents her martyrdom. On the right, Olimbri, seated and surrounded by courtiers, dressed as in the previous scene. On the left, a henchman beheads Margaret in a prayerful posture. The red blood oozes to the ground.
Omission of scenes
In this altarpiece, the story of the saint was summarized only with the beginning and the end, avoiding the capture, the prison, the interrogations, the other torments and, above all, the episode of the dragon, which all the spectators had to imagine.
Gilding, a symbolic pigment
In medieval art, gilding had a symbolic character: bright yellow was considered a metaphor for the light of God and the nobility of metal, a sign of wealth and ostentation. Artists worked on commission, and patrons chose the materials to be used.
The perfection of gilding, using gold
During the Gothic period, artists greatly improved the technique of gilding. First, the gold they acquired was hammered into very thin sheets, called gold leaf, and this was done by the batifullers.
The use of animals in Gothic painting: the rabbit
The gold leaf was applied to certain parts of the altarpiece on a layer of a red bowl. The bowl was a mixture of fine clay from Armenia mixed with rabbit glue tempera.
The use of animals in Gothic painting: the squirrel
Gold leaf was applied to the Armenian bowl using a flat brush with short hair, usually squirrel hair. The red color of the bowl gave the gold a warmer tone and allowed a shiny finish.
The use of animals in Gothic painting: the wolf and the wild boar
Burnishing was done by rubbing the gilded surface with a burnisher made of a hard stone such as agate or a wolf or wild boar tooth. Ornamental decorations were then made using punches and chisels.
Altarpiece dedicated to Saint Anthony and Saint Margaret (First quarter of the 15th century) by Lluís BorrassàMev, Museu d'Art Medieval
That's all for this story, we hope you enjoyed it!
