Saturday, June 12, 2021

Saint Anthony’s Image and When It Got That Way

Willem van Herp the Elder, Saint Anthony Distributing Bread
Flemish, c.1662
London, National Gallery

Happy Feast of Saint Anthony! After completing the article of yesterday regarding the Miracle of the Mule, I became intrigued to find out when it was that the popular image of Saint Anthony, the one with the Infant Jesus, began to drive out the other possible images of the saint.*

From a somewhat cursory review of the iconography of Saint Anthony, it appears that up till about 1600 his iconography was quite varied.







Early Images

The earliest images showed a very serious Saint Anthony, sometimes in company with Saint Francis, as would be appropriate for an early Franciscan saint.  However, there is no agreed upon "portrait".  Different artists saw him at different ages, with different hair styles, sometimes bearded, sometimes clean shaven, etc.  This is not surprising for a period in which the idea of portrait resemblance, such as we know today, was impossible.

(Fascinating details about his life, which I was not aware of for many years, for example, that he was not from the town of Padua and that his name was not Anthony, can be found in my earlier article "The Saint Anthony I Never Knew".)


Saint Francis of Assisi and Saint Anthony of Padua
from Livre d'images de Madame Marie
Belgian (Hainaut), 1285-1290
Paris, Bibliotheque nationale de France
MS Nouvelle acquisition francaise 16251, fol. 94v




Simone Martini, Saint  Anthony of Padua and Saint Francis of Assisi
Italian, 1317
Assisi, Basilica of San Francesco




Sometimes he is accompanied by other Franciscan saints.

Alvise Vivarini, Virgin and Child with Saints Louis of Toulouse, Anthony of Padua, Francis of Assisi and Bernardino of Siena
Italian, 1480
Venice, Galleria dell'Accademia




Moretto, Saint Bonaventure and Saint Anthony of Padua
Italian, c. 1500-1550
Paris, Musée du Louvre




Sometimes he is seen alone or with other non-Franciscan saints or with various donors.


Maso di Banco, Saint Anthony of Padua
Italian, c. 1340
New York, Metropolitan Museum of Art





Tommaso del Mazza, Saints John the Baptist and Anthony of Padua with Donor
Italian, c. 1386
Avignon, Musée du Petit Palais




Benozzo Gozzoli, Saint Anthony of Padua with Angels and Donors
Italian, 1450s
Rome, Santa Maria in Aracoeli



Rather quickly he became a youngish, clean shaven man.  Almost always he is shown carrying a book, an obvious reference to his acclaimed knowledge of the Bible and to his own writings. Sometimes he also carries a burning flame, probably symbolic of his preaching ministry.  Lilies were added later.


Vincenzo Foppa, Saint Anthony of Padua
Italian, c.1495-1500
Washington, National Gallery of Art




Bernardo Zanale, Saint Anthony of Padua
Italian, 1502-1507
Milan, Museo Poldi Pezzoli





In the Sacra Conversazione

From the 15th century he also appears in the genre known as the Sacra ConversazioneIn this kind of picture the Madonna and Child are shown in company with several saints. The 15th century also appears to be the period in which the lily first appears as an attribute in addition to the book. The lily is a traditional symbol of purity. 

Giovanni Mazone, Nativity with Saints Francis and Anthony of Padua introducing Pope Sixtus IV and his nephew, Cardinal Giuliano della Rovere
Known as the Della Rovere Triptych
Italian, c. 1489
Avignon, Musée du Petit Palais

This is not a Sacra Conversazione in the strictest sense, but I include it for the interest in the main characters.  In the left wind, Saint Francis introduces Pope Sixtus IV while, in the right wing, Saint Anthony of Padua introduces the Pope's nephew, Cardinal Giuliano della Rovere.  Giuliano della Rovere followed in his uncle's footsteps, becoming Pope Julius II in 1503.  He was the great patron of the Roman High Renaissance, famously employing Michelangelo on his tomb and on the Sistine Chapel ceiling and Raphael in the Vatican Stanze.  



Titian, Madonna and Child with Saint Anthony of Padua and Saint Roch
Italian, c. 1508
Madrid, Museo Nacional del Prado





Garofalo, Virgin and Child with Saints
Italian, 1517
London, National Gallery




Claudio Coello, The Virgin and Child between the Theological Virtues and Saints
Spanish, 1669
Madrid, Museo Nacional del Prado



Life of Saint Anthony

Other depictions focus on events from Saint Anthony's life and the legends that surrounded him.  Among them are images of his preaching activities.  

Giovanni Antonio Requesta, Saint Anthony Preaching
Italian, c. 1510-1511
Padua, Scuola del Santo, Sala Capitolare



Arnould de Vuez, Saint Anthony Preaching
French, c. 1700-1720
Lille, Musée des Beaux-Arts



Anonymous, Saint Anthony Preaching Before Pope Gregory IX
Peruvian, 18th Century
Philadelphia, Museum of Art


Sermon to the Fish

While artists did depict Anthony preaching to human audiences, more frequently they show the audience to be composed of fish.  These pictures refer to a charming story about his decision to preach to the fish of the Adriatic when the people of the nearby town of Rimini refused to listen.  According to the story, the fish came close to the shore, arranged themselves in orderly rows and stuck their heads out of the water to listen attentively.



Girolamo Tessari, Saint Anthony Preaching to the Fish
Italian, c. 1335-1337
Camposampiero, Santuario del Noce




Simon Bening, Saint Anthony Preaching to the Fish
From the Da Costa Hours
Flemish (Bruges), c. 1510-1520
New York, Pierpont Morgan Library
MS M 399, fol. 308v 



Paolo Veronese, Saint Anthony Preaching to the Fish
Italian, c. 1580
Rome, Galleria Borghese




Attributed to Francisco de Herrera the Elder, Saint Anthony Preaching to the Fish
Spanish, c. 1630
Detroit, Institute of Arts



Juan Carreňo de Miranda, Saint Anthony Preaching to the Fish
Spanish, 1646
Madrid, Museo Nacional del Prado



Gilles Hallet, Saint Anthony Preaching to the Fish
Flemish, Second Half of the 17th Century
Rome, Church of San Isidoro, Cappella di Sant'Antonio



Arnold Böcklin, Saint Anthony Preaching to the Fish
Swiss, 1892
Zürich, Kunsthaus Zürich

Like the Miracle of the Mule, this story reveals that the association of the Franciscan spirit with the natural world has been recognized for centuries.



Miracles of Saint Anthony

Other miracles of Saint Anthony of Padua were also depicted from time to time.  

Among them are:

The dramatic story of Saint Anthony's Miracle of Bilocation to assist his father, who was wrongly accused of murder.  Not only did Anthony bilocate to Portugal, while remaining in Italy, but he also revived the dead man who testified that Anthony's father was not his murderer.

Willem van Herp the Elder, Bilocation of Saint Anthony of Padua
Flemish, c. 1660-1670
Dijon, Musée national Magnin




There are also other scenes of Anthony reviving the dead, including the miracle in which he brought a dead child back to life.

Donatello, Miracle of the Dead Child
Italian, c. 1447-1450
Padua, Basilica de Sant'Antonio, Altar




Piero della Francesca, Saint Anthony Raises a Dead Child
From the Polyptych of Saint Anthony
Italian, c. 1460
Perugia, Galleria Nazionale dell'Umbria




Antonio Lombardo, Miracle of the Dead Child
Italian, c. 1500-1504
Padua, Basilica di Sant'Antonio




Titian, Miracle of the Dead Child
Italian, 1511
Padua, Scuola del Santo



Andrea Sacchi, Saint Anthony Reviving a Dead Man
Italian, c. 1635
Edinburgh, National Galleries of Scotland




Francisco de Goya, Miracle of Saint Francis
Spanish, 1798
Madrid, Church of San Antonio de la Florida




Adeodato Malatesta, Miracle of Saint Anthony
Italian, Second Half of 19th Century
Sassuolo, Palazzo Ducale di Sassuolo

Another famous miracle was the healing of a horrific self-inflicted injury, in which a young man cut off his own foot out of remorse following an argument with his mother. Saint Anthony's prayers and actions healed the terrible injury.

Donatello, Miracle of the Repentent Son
Italian, c. 1447-1450
Padua, Basilica de Sant'Antonio




Antonio Lombardo, Miracle of the Remorseful Son
Italian, c. 1500-1504
Padua, Basilica di Sant'Antonio




Titian, Healing of the Wrathful Son
Italian, 1511
Padua, Scuola del Santo




Sebastiano Ricci, Miracle of the Repentant Son
Italian, c. 1725-1730
Paris, Musée du Louvre


Saint Anthony in Eternity

And, finally, Saint Anthony has been depicted as a saint, doing what saints do in eternity.  That is, they join the angels in offering praise to God and intercede through their prayers for those still in the living world.  



Saint Anthony of Padua Serenaded by Angels
from Heures de Louis de Savoie
French (Savoy), c. 1445-1460
Paris, Bibliotheque nationale de France
MS Latin 9473, fol. 171v




Giovanni Benedetto Castiglione, Immaculate Conception with Saints Francis of Assisi and Anthony of Padua
Italian, c. 1649-1550
Minneapolis, Institute of Art




Follower of Basilio Santa Cruz Pumacallao, Saint Bonaventure and Saint Anthony of Padua
Peruvian, c. 1670-1690
New York, Metropolitan Museum of Art




Donato Creti, Glorification of Saint Anthony of Padua
Italian, c. 1700-1725
Paris, Musée du Louvre




Giovanni Battista Gaulli, Triumph of the Franciscan Order
Italian, 1707
Rome, Church of Santi Apostoli




Giovanni Battista Pittoni, Saints Presenting a Woman Donor to the Virgin and Child
Italian, c. 1720s
Cleveland, Museum of Art



Saint Anthony with the Christ Child --  The Best Known Image

However, the most common depiction of Saint Anthony, the one which most people would recognize immediately falls into none of these modes.  This is the subject of Saint Anthony of Padua with the Infant Jesus.

It is at the end of the fifteenth century when this iconography appears to begin. The image recalls the apparition of the Christ Child that may or may not be a legend.  The event is claimed to have taken place in France (though there is also an Italian location that claims it). According to the story, a bright light was observed in St. Anthony’s room in a house where he was staying overnight. The householder went to investigate this unusual occurrence and saw Saint Anthony holding the Divine Child (from whom the light was emanating) in his arms.  Consequently, the Christ Child began to appear in works of art almost as if it was one of the attributes of the saint, like the lilies or the book.


Workshop of Juan de Carrion, Saint Anthony of Padua
from  Hours of Infante Don Alfonso of Castille
Spanish (Burgos), c. 1465-1480
New York, Pierpont Morgan Library
MS M 854, fol. 196r



Hans Memling, Saint Anthony of Padua
Flemish, c. 1485-1490
Chicago, Art Institute





Gerard David and Workshop, 
Saint Anthony of Padua
From the Saint Anne Altarpiece
Dutch, c. 1500-1520
Washington, National Gallery of Art






Gerard David, Saint Anthony of Padua with a Nun
Dutch, c. 1500
London, Victoria and Albert Museum




Simon Bening, Saint Anthony of Padua
From a Book of Hours
Flemish (Bruges(, 1531
New York, Pierpont Morgan Library
MS M 451, fol. 122v





El Greco, Saint Anthony of Padua
Greco-Spanish, c.1580
Madrid, Museo Nacional del Prado



Attributed to Pedro de Obregon the Younger, Saint Anthony of Padua
Spanish, 17th Century
Madrid, Museo Nacional del Prado


Anthony Van Dyck, Saint Anthony of Padua Adoring the Christ Child
Flemish, c. 1630-1640
Brussels, Musées royaux des Beaux-Arts de Belgique


Francisco de Zurbaran, Saint Anthony of Padua
Spanish, 1635-1650
Madrid, Museo Nacional del Prado

Gaspard de Crayer, Saint Anthony of Padua
Flemish, 1655
Madrid, Museo Nacional del Prado

Antonio de Pereda, Saint Anthony of Padua
Spanish, Second half of the 17th Century
Budapest, Museum of Fine Arts

Guercino, St. Anthony of Padua
Italian, c. 1656
Private Collection


Alonso Cano, Saint Anthony of Padua
From the Capilla de Santa Maria de Jesus, Alcala de Heneres
Spanish, c. 1660
 Madrid, Museo Nacional del Prado

Francisco de Herrera el Mozo, Saint Anthony of Padua
Spanish, c. 1650-1685
Madrid, Museo Nacional del Prado

Bartolome Esteban Murillo, Saint Anthony of Padua
Spanish, 1668
Seville, Museo de Bellas Artes

Claudio Coello, Saint Anthony of Padua
Spanish, Second Half of the 17th Century
Madrid, Museo Nacional del Prado

This became by far the most widely known image of Saint Anthony from the seventeenth century to our own day. Over time, the details of the event (the room, the light) were replaced by a simplified image of Saint Anthony standing, holding the lily, the book and the Holy Child.

Giuseppe Bazzani, Saint Anthony of Padua
Italian, 1740-1750
London, National Gallery

Johann Jakob Zeiller, St. Anthony of Padua
Austrian, c.1762
Ottobeuren, Monastery Church of Saints Theodore and Alexander

Giambattista Tiepolo, Saint Anthony of Padua
Italian, 1767-1769
Madrid, Museo Nacional del Prado

Jean Auguste Dominique Ingres, Saint Anthony of Padua
French, c. 1825-1850
Paris, Musée du Louvre


© M. Duffy, 2011, updated 2017. Revised and updated 2021.

*  This article was originally written ten years ago, in June of 2011.  Those intervening ten years have seen an explosion in the amount of information and images that are available online.  Indeed, this is one area in which the disastrous pandemic caused by the COVID virus has had a beneficial effect.   Museums and libraries were closed and, therefore, had to turn to the internet to keep their presence alive.  Much more information about collections was shared during this past year by some museums than they have shared in the last ten!  

It has been my continual practice to periodically revisit my prior essays so as to incorporate new information or newly available or updated images.  Refinements in the technology of images and the availability of increased bandwidth means that newer images are generally far more detailed and rich than those available in earlier years.  For this reason I am constantly searching for and replacing images.  

This year I found so much new material on Saint Anthony and the miracles he performed, as well as the charming story of his sermon to the fish that I decided to totally revamp the article.  To all intents and purposes it is a new article.