The work that has come to be known as Sassetta’s painting of St. Anthony Beaten by Demons was once a part of the predella of the Arte della Lana Altarpiece, made at some point from about 1423 to 1426. This is a presentation of the holy figures that held them in important regard. This regard is how the painting can be seen as an expression of the artist’s belief.
When focusing upon one technical issues of the painting, that is, the use of gold in the Anthony panel, it becomes apparent that gold, which is much more visible today because the deteriorated surface of the work, has an important position within the context of the painting itself. This position is regarded as being a sense of appropriation for the artist’s idealization of the figures within. By this, it seems that the artist has attempted to express their consideration of gold within the painting, at least in so much as it relates to St. Anthony.
St. Anthony was originally a wealthy person, born into a rich family. As there are various other works that have been created with him as the subject matter in which he is shown to be giving his money away to those who needed it, and he has also been shown being tempted by gold. In this sense, the relationship that this saint has to gold is important when considering the painting in which he is being tortured.
The question of why the gold is there, ornamenting Satanic figures who represent the opposite of Christian ideals, is an important one as well. It is difficult to determine an accurate answer, as the artist’s original intention died along with them. By taking an in depth look at the context and iconography of the painting it becomes possible to come to an informed understanding of the artist’s intent. The intent was to express the idea of gold as something that is worldly, not divine.
The gold of the devils within the painting represents the particular greed or avarice associated with the devils themselves. These devils represent the negative associations that the individuals have with religious ideals. Through the iconography that Sassetta has associated with the painting, he is able to establish the nature of the devils in regards to that of the holy man that they are beating. In this way, they are a mockery of this divine glimmer.
Not only do these devils possess the fundamental aspects of Christian idealization in regards to their moral corruption, but they capture the affluence of the idealization of gold and adoration of idols. In this way, they are a warning to those who would consider something to be holy or good simply because it has the sparkle of gold glimmering within itself. In this way, the saint’s relationship to wealth and gold, and his ability to overcome these worldly things is expressed within the painting.
The question of whether or not the gold leaf is a surface that was painted on, or, rather, whether it has been applied over the paint in later times, to cover up losses to the painted surface, where the egg tempera has flaked away has been debated by art scholars since the painting was discovered. This difficulty is made even more problematic due to the position that the painting has within the context of the imagery that it represents for the church.
The gold leaf is itself the original surface of the painting. It seems to have been applied during the original creation of the artwork. This presents an interesting idea as to how the painter regarded the importance of how they were displaying this piece of work. Not only does this express an idealization of how they viewed their imagery, but it shows that they had some monetary devotion to the ideas that they were attempting to express within the context of the painting itself.
The question of why gold would be used as a surface for the painting, when it is so expensive is problematic as well. This is something that can be determined by studying the underlying principles that the artist was expressing in the painting and throughout their works. These principles are especially important in understanding the meaning behind the conception of the work. This conception reveals an important aspect of the art that should not be overlooked.
Sassetta was attempting to express a reverence for the saint within this painting. For this reason, the painter relied upon gold to capture the viewer’s interest and imagination. By doing so, they were able to create an expression that more accurately reflected their position on the subject. This has allowed for the painting to keep the interest of many throughout its life. Not only does it provoke attention, but it provides a viewpoint that draws the viewer’s eyes to the specific characters within the painting itself in order to create a certain atmosphere.
Finally, the question of why there are engraved lines pressed or drawn into the gold in some places is an important detail as well. These pressed lines become more apparent as the work is studied in greater detail. While it is difficult to determine the reason for their existence for sure, there has been speculation as to what the function of these aspects of the work are.
These engraved lines were most likely set in order to create an effect that worked with the light. This could help to create more of a depth when the painting is viewed by the observer. Not only can these individuals be drawn to the painting visually, but the lines can help to create a deeper level of perception that helps to further transition the eyes to the focus of the work. This focus is inherently related to the struggle that the saint is having with the demons who are tormenting him. This inner struggle is represented within the properties of the work.
Works Cited
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Heinrich, Theodore Allen. The Lehman Collection. Associate Curator of Paintings. The
Metropolitan Museum of Art. 2013.
Jarves, James Jackson. Descriptive Catologue of Old Masters. Forgotten Books. Yale
Perry, Marilyn. Conservation and Context. Samuel H. Kress Foundation. Archetype
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Henneth, Johnathon. Art in Tuscany. Sassetta. 2013.
