Iconographic Analysis
Saint Anthony Abbott
Saint Anthony Abbot accompanies Antonio (“Anthony”) Petrobelli. Normally shown as an elderly man dressed as a simple monk, Veronese instead chose to portray him as an abbot, identifiable thanks to his clothing and the crozier he carries. Saint Anthony can be recognized by his attributes: the pig and bell. This animal was raised by the Antonites, the religious Order named in the saint’s honour, and the bell was used by them to summon the faithful to give alms. The white "T" seen on Anthony’s cloak (or mozzetta) refers to both the T-shaped crutch he is often shown resting upon, as well as to the Egyptian Tau cross, symbol of immortality.
Saint Jerome
Saint Jerome (“Girolamo” in Italian) is shown with his traditional attributes, the lion and the red robe of a cardinal. The rank is honorary: Saint Jerome was not a cardinal, but is considered one of the four Fathers of the Western Church thanks to his translation of the Bible and his theological writings. The miniature building he cradles in his arm symbolizes the Church itself. Although Saint Jerome’s life was well documented, the apocryphal Golden Legend by Jacopo da Voragine (c.1228-1298) was of greater importance to Renaissance artists. Available in both Latin and local dialects, it established his attributes. According to the text, Saint Jerome pulled out a thorn from the paw of a lion, making it his loyal companion.
Saint Michael
When the lower half of the altarpiece was divided in two, part of the painting was discarded: only the head of Saint Michael survives from this central area. However, this figure can be reconstructed thanks to elements found on the adjacent fragments. Saint Michael – angel, warrior and judge – was shown in triumph over the devil while weighing a soul, symbolized by the small naked figure in the scales. Although a common image, this is Veronese’s sole depiction of the subject. Saint Michael will weigh the souls of the dead at the Last Judgment – an appropriate choice of subject for an altarpiece in a burial chapel. The Petrobelli family also had a special devotion to the saint stemming from their association with the church of San Michele in the Imagna valley.
Antonio Petrobelli
Antonio’s dramatic and eye-catching gesture – his arms open wide – and his prominent placement in the foreground imply that he was considered the senior of the cousins, and effective head of the Petrobelli family. (Their ages are unknown, but Antonio died well before his cousin Girolamo, suggesting he was the elder.) We see him here in the company of his name saint Anthony, who looks down towards him while gesturing towards Saint Michael. Antonio does not return the saint’s gaze, but instead looks up towards the archangel.
Girolamo Petrobelli
Girolamo (“Jerome”) Petrobelli kneels behind his name saint. His hands are joined in prayer, and he looks up towards the saint who returns his gaze, and in turn gestures towards Christ. The two cousins’ reactions provide a guide to the altarpiece. Antonio is directed by his name saint towards Saint Michael, who vanquishes the devil while weighing the souls of the dead; Saint Jerome directs his cousin to reflect on Christ’s sacrifice, the hope for our salvation. As viewers – as it were, standing outside the image – we are privileged to see and understand the whole of the altarpiece at once, and so connect the different experiences of the two men.
Both Girolamo and Antonio Petrobelli are dressed richly, but soberly; they wear black fur-edged mantels. Although wealthy, the Petrobelli were a minor provincial family and the relative simplicity of their clothing is appropriate to their social status.
Dead Christ
The upper part of the altarpiece shows the dead Christ supported by angels, sometimes termed a Pietà. The angels both tenderly support the dead Christ and present him to us for our contemplation. The body of Christ was an important subject of devotion. Christ is both shown within the painting and physically present in the bread and wine of the Eucharist celebrated at the altar below. Through the ritual of the Mass, the Church had a unique role in mediating between God and man.
Angels
A complex hierarchy of angels existed within the Christian faith. Four types are seen here: angels (who support The dead Christ), putti (childlike angels carrying the Instruments of Passion), cherubs (winged heads), and the archangel Michael. The different colours of the angels’ tunics may symbolize the three theological virtues - faith, hope and charity. Angels are generally shown as young; the child angel (in Italian putto, plural putti) first appears in the Renaissance.
Trees with Fruit
The tree – over the course of the seasons dying and then flowering again – signifies rebirth. Grape vines, symbol of the Eucharistic wine and so of Christ’s sacrifice, wrap around the trunk and branches. The peach tree stands for salvation and victory, reinforcing the altarpiece’s central theme: Christ’s sacrifice redeemed mankind.
Architecture
Venetian art of the 16th century was marked by a sustained interest in ancient architecture. Numerous treatises on the subject were published, including works by the architect Andrea Palladio (1508-1580), whom Veronese knew. The architecture seen in the Petrobelli altarpiece reflects Veronese’s sophisticated response to his contemporaries’ work. The ionic columns set in a half-circle both frame the image and form a stage for the scene.
Background Landscape
The mountainous landscape seen in the distance bears little resemblance to Lendinara and the valley of the river Po. Veronese may have intended it to recall the Imagna Valley, the Petrobelli family home and site of the church of San Michele to which they retained strong ties.
Instruments of Passion
The putti carry a flail, the Crown of Thorns, and nails – three of the so-called Instruments of the Passion used to torture Christ, whose body bears their marks. The Instruments were also shown painted or carved on the marble altar itself, the repetition reinforcing their importance. Their presence would have encouraged contemporary viewers to meditate on the Passion and graphically visualize Christ’s suffering, blow by blow.