Identifying St Anthony in art

Artistic depictions of the famous saint call people to follow his example, writes Keilah Blohm

Given that St Anthony of Padua has been venerated by Christians since the 13th Century, it is not surprising that he is featured in art from nearly every period since. His popularity is evident from the numerous icons, altarpieces, and frescoes he is featured in throughout the world. In the majority of these images, he is depicted in the traditional Franciscan habit with the infant Jesus, lilies and a book. These defining attributes are essential to St Anthony’s identity in art.

Currently there are over 10,000 saints recognised by the Church, so symbols become imperative in distinguishing one saint from the other. This would be especially true during the Renaissance when saintly devotion was especially high and all paintings were done in an idealised manner.

It would be nearly impossible, to tell the difference between, say, St Anthony and St Francis of Assisi except for the fact each saint is always adorned with symbols that have survived throughout the ages.

The study of attributes and symbols in paintings, called iconography, is essential to identify saints and other individuals in art. St Anthony’s attributes – a book, lilies and the infant Jesus – are more helpful than most to deciphering iconography because they not only mark certain characteristics of the Franciscan saint, but they also bring to life a legend from St Anthony’s life.

Christ Child

While most paintings of St Anthony will include all three attributes, one painting that brings their hierarchy into focus is Giacomo Farelli’s St Anthony of Padua with the Christ Child. The oil on canvas painting, completed in 17th Century Naples, is typical of its period and location. The southern Italians were focused on creating idealised images, with an emphasis on drawing.

While the image is dark around the edges, it serves to highlight the important aspects of the work. When viewing the painting, the eyes are immediately drawn to the centre where St Anthony is holding the infant Jesus. To the left sit two lilies on a closed book.

Of the three attributes, the book is the oldest and in fact, used to serve as the only indication that the person in the painting was St Anthony of Padua.

An early 14th Century icon by Maso di Banco, is evidence of this. This painting on wood would have been typical of Proto-Renaissance art, not only in technique, but also in format. Icons such as this one served to deepen the believer’s prayer and meditation.

The gold background was meant to bring paradise to mind and strengthen devotion to the depicted saint. The book, when shown next to St Anthony, denotes his reputation as a theologian and teacher.

While subtle in Farelli’s painting of St Anthony, the lilies are typically the most prominent attribute in images of the saint. They serve to remind the viewer of St Anthony’s purity and integrity. They are also featured in paintings of other saints including St Dominic, St Cecilia, St Clare and St Joseph. Incidentally, some artists have even designed a narrative in which St Joseph gives his lily to St Anthony.

This is thought-provoking given that St Joseph is also often depicted holding Jesus as an infant. While the two have similar attributes, their clothing will always distinguish them from one another.

Narrative

Although now his most defining attribute, the infant Jesus didn’t start appearing with St Anthony in art until the 16th Century. Even though it became the norm later on, it is the attribute that appears most often with the saint and provides a narrative for what could be a stagnant piece of art.

The story goes that when St Anthony was living in Padua and praying in one of the hermit cells of Count Tiso’s castle, Jesus appeared to him as an infant. On that same evening, the count was walking by and saw a light coming from St Anthony’s cell. When he opened the door he witnessed the saint communicating with the child.

This story has been dramatised by many artists who placed the infant on the book, so as to make it seem that St Anthony was deep in meditation and the child came directly from the scripture itself.

With all this information about iconography and attributes, it is interesting to see what Farelli has done with his painting, St Anthony of Padua. Instead of placing Jesus on a book as most artists would have done, Farelli places him in St Anthony’s arms.

The embrace between the two of them highlights Christ’s humanity, while the halo around his head marks him as the Son of God. Furthermore, the artist has also opted to have the infant face the viewer, instead of St Anthony. This one artistic decision changes the painting from a narrative to be witnessed to a scene to partake in.

Paintings of St Anthony of Padua are readily found in museums and churches around the world.

Through his attributes, these works of art serve to deepen the viewer’s relationship with the saint and call to mind his exemplary traits. Upon deeper consideration of the paintings depicting St Anthony, viewers hopefully feel closer to the saint and more importantly begin to follow his example in his relationship with Jesus Christ.