San Zeno Altarpiece (Mantegna)

The central section of the painting displays the Madonna and Child sitting on a marble throne, surrounded by eight saints.[6] These eight saints are placed on the side panels that flank the central figures of the Madonna and child; this was done according to the patron's preferences: on the left are Saint Peter (in a yellow cloak holding a set of keys); Saint Paul (wearing a light purple cloak); Saint John the Evangelist (in a green cloak shown looking into a book he holds); and Saint Zeno (shown as bishop and wearing a mitre); on the right are Saint Benedict (wearing a dark blue cloak and holding a book); Saint Lawrence (wearing a dark green dalmatic); Saint Gregory (shown as a bishop wearing a mitre, a red cloak, white gloves, holding a book and crozier); and Saint John the Baptist (wearing red, reading a book, and shown in contrapposto).[3] The subjects are shown gathered in a classical temple, adorned with pagan and mythological subjects.[5] This painting illustrates a sacra conversazione (sacred conversation), also translated as "Holy Community".[1] This subject originated in an Italian painting during the Trecento and refers to an assembly of saints from different periods of history, while surrounding the Madonna and child.[1]

Mantegna's depiction of the figures, specifically that of St. John the Baptist, illustrates his use of contrapposto, as seen in the figure of Saint John the Baptist, thereby highlighting the harmony of classical and Christian iconography.[3] The entire composition, which recalls an outdoor loggia, is full of detail referring to classical antiquity: the carved Corinthian engaged columns of the gilded frame (see below: frame) help create the allusion to a classical, pagan temple with a foreground decorated with classical garlands of foliage and fruit tied together with red ribbons.[6][5] In the background of the temple is a continuous decorative frieze that include playful putti holding cornucopia overspilling with fruit.[3][5] Above this frieze is a classic egg-and-dart motif that serves as a border. On the square pilasters surrounding the loggia, there are tondi (circular roundels) that illustrate mythological scenes.[6][5] Likewise, the carved marble throne is reminiscent of an ancient Roman sarcophagus.[6] Surrounding the enthroned Madonna and Child are a group of "Donatellesque" (in the style of Donatello) angels that play musical instruments, specifically the lute, or sing from song books that they hold.[6][7]

On the bottom portion of the altarpiece, three paintings are displayed in the predella of the altarpiece. These paintings portray biblical scenes that occurred in Jerusalem, like the Crucifixion of Jesus and the Agony in the Garden.[5][6] While the altarpiece remains in situ, the three paintings of the predella were stolen by Napoleon and have not been returned; those seen in the altarpiece today are all copies, while the originals remain in two different French museums.[6] The image of the Crucifixion is at the Louvre Museum in Paris, while the scenes of the Resurrection and Agony in the Garden are in Tours at the Musée des Beaux-Arts.[4] Despite being smaller components of this altarpiece, these paintings display Mantegna's attention to detail and precision as an artist in his quest to render a memorable and historical depiction of the Passion of Christ in Italian art.[6][7]

The frame is carved from wood that has been gilded. Four Corinthian columns serve as engaged columns that divide the three scenes of the central panel, as well as the three scenes of the predella.[6] The frame has been described as a portico or façade to the actual painted central scene, which is set in a pagan temple (see above: Central and side panels).[6][7] The frame has a rounded pediment and entablature that recalls the architectural elements of an Ancient Greek temple.[6] Despite the separating the scenes, the painting behind these carved Corinthian columns is continuous.[3] In fact, if looking closely, the real carved Corinthian columns of the frame are placed directly in front of the painted square pilasters that have the Ionic order of column capitals; this superimposition blends together the carving of the frame with the painted illusionism of the pagan temple of the central scene.[3][6] Stylistically, Mantegna's use of a continuous narrative that unfolded behind the carved columns and the painted square pilasters creates a unified pictorial plane.[3] This approach was markedly different than the approach popular during the Trecento, which demarcated individual scenes by these architectural dividers and thus there was not a continuous narrative across the pictorial space.[3] An example of this non-continuous narrative with the use of gold columns that spatially divide the scenes can be found in Giotto's Badia Polyptych from around 1300.[3]

While the frame is original, the decoration that originally ornamented the center of the pediment has been lost.[6]

Hanging above the Madonna and in between the festooned garlands hangs a burning oil lamp with a flame, surmounted by a large ostrich egg, symbolizing the Virgin birth.[6] Ostrich eggs were typically hung over altars that were dedicated to the Virgin Mary and can be found in later Italian Renaissance paintings, including Pierro della Francesca's Brera Madonna(1472) and Giovanni Bellini's San Zaccaria Altarpiece (1505).[6] Below the oil lamp is a strand of red rosary beads.[6]

Mantegna utilized pseudo-Arabic script to portray the holiness of the saints painted in the altarpiece.[9] Pseudo-Arabic script is a kind of writing that has no linguistic or actual meaning, but rather is a kind of script inspired by the Arabic alphabet.[9] This script can be seen in the garments, and haloes surrounding the Madonna and Child, function to further emphasize their greatness and holiness.[9] The incorporation of the pseudo-Arabic script in these specific areas is an idea that is borrowed from the Islamic embroidered textiles, known as tiraz.[9] In addition, the illusionistic portrayal of an oriental carpet in this Renaissance painting, found draped at the foot of the throne on which the Madonna sits, functions as both an expensive and honorific covering, but also allowed Mantegna to show off his skill a painting such a finely crafted object that was produced solely in Islamic lands.[9] Furthermore, the oriental carpet spatially demarcated the space of the Madonna as holy and sacred.[9] A similar Italian Renaissance example can be found in Lorenzzo Lotto's St Antoninus Giving Alms (completed in 1542), which shows two oriental carpets (referred to as Lotto Carpet). [9]

Another technique Mantegna employed in the San Zeno Altarpiece was linear point perspective in order to enhance the continuous image behind the pillars so as to make the image appear more realistic to the external world.[3] The illusionism of the image was further achieved through the real four wooden carved columns of the frame, which are located in the space of the viewer, are unified with the painted garlands that are located in the immediate foreground of the pictorial space.[1][3] Moreover, Mantegna's use of perspective allows the saints and several of the architectural elements and decorations to recede into the space, furthering the illusion of depth.[1][3] Mantenga's convincing spatial depth found in the San Zeno Altarpiece began a stylistic and technical tradition that would continue on through the Cinquecento in other illusionistic altarpieces by Giovanni Bellini, including: San Giobbe Altarpiece (1487); Frari Triptych (1488); San Zaccaria Altarpiece (1505).[6]