Altarpiece dedicated to Saint Anthony and Saint Margaret

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.

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.

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.

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.

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.

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.

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.

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 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.

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.

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.

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.