Painted in the late 1480s, the San Giobbe Altarpiece, formally known as the “Madonna Enthroned with Child and Saints,” radiates a celestial aura. At its center is the Virgin Mary, holding the Christ Child, both elevated on a marble throne. They are surrounded by a retinue of saints: Saint Francis, Saint John the Baptist, Saint Job, Saint Dominic, Saint Sebastian, and Saint Louis.
The backdrop showcases an intricately detailed semi-circular apse, bearing striking similarities to Venetian churches’ architecture. A golden mandorla (an almond-shaped aureole) envelops the primary figures, emphasizing their divine status.
Church of San Giobbe
The Church of San Giobbe, where the altarpiece originally resided, is located in the northern parts of Venice. The church was built in dedication to Saint Job, whose reputed relics were housed there, making it a site of pilgrimage during the Renaissance. The Church of San Giobbe (Saint Job) in Venice began its construction in the latter half of the 15th century and was renowned for its architectural significance, showcasing early Renaissance architectural styles in Venice. The church’s architectural elements, notably its ornate apse, are reflected in Bellini’s painting, making the artwork almost an extension of the church itself.
Relation to Other Altarpieces of the Era
Bellini’s San Giobbe Altarpiece, while distinctive, also shares features with other Venetian altarpieces of the period:
- Sacred Conversation: Much like the San Zaccaria Altarpiece and other Renaissance pieces, this artwork is a depiction of the “Sacra Conversazione” – a harmonious gathering of the Virgin and Child with various saints. This concept was a departure from the compartmentalized panels of earlier altarpieces.
- Realism and Depth: The late 15th century marked a trend towards a heightened sense of realism and depth in art. Bellini’s masterful use of light and shadow, combined with his keen observation of architectural details, aligns with this trend. The marble, drapery, and flesh tones in the San Giobbe Altarpiece are painted with exquisite detail, giving them a tangible quality.
- Architectural Integration: A unique feature of the San Giobbe Altarpiece is its architectural integration. The painted apse mirrors real architectural features of Venetian churches, thereby blurring the lines between the painting and the actual church space. This trait is also seen in works by other Venetian artists, albeit not as prominently.
- Saintly Representations: The choice of saints in the San Giobbe Altarpiece is both devotional and symbolic. Saint Job, for instance, resonates with the church’s dedication. Meanwhile, saints like Francis and Dominic, founders of major monastic orders, emphasize monastic virtues and the Church’s broader role.
The inclusion of specific saints in an altarpiece is often a reflection of the devotional, theological, or historical significance to the context in which the artwork resides. In the San Giobbe Altarpiece by Giovanni Bellini, the presence of the following saints offers layered meanings:
Saint Job (San Giobbe): The most direct connection is the inclusion of Saint Job, for whom the Church of San Giobbe is named. Job, from the Old Testament, is the epitome of patience and steadfastness in the face of suffering. His presence is particularly significant given that the church housed relics associated with him and was a place of pilgrimage. His representation not only ties the painting directly to its original location but also provides a focal point of meditation on endurance and faith amid trials.
Saint Francis: One of the most venerated saints in Christianity, Saint Francis of Assisi embodies humility, poverty, and a profound connection with nature. His inclusion might serve as a reminder of these virtues and the importance of a simple, devout life. Moreover, given the growing importance of the Franciscan order in the Renaissance period, his presence also underscores the broader ecclesiastical landscape of the time.
Saint John the Baptist: A pivotal figure in Christian theology, John the Baptist heralded the coming of Christ and baptized Him. He is often included in artworks featuring the Madonna and Child to emphasize the transition from the Old to the New Testament and the realization of the prophecies regarding Christ’s arrival.
Saint Dominic: The founder of the Dominican order, Saint Dominic’s presence alongside Saint Francis might represent the two major mendicant orders of the period. Their combined presence could symbolize the unity of the Church and the diverse paths of devotion and service within it.
Saint Sebastian: Often depicted as a martyr, pierced with arrows, Saint Sebastian was invoked as a protector against the plague. Considering the periodic outbreaks of plague in Venice and other parts of Europe, his inclusion might offer solace and protection to the believers.
Saint Louis: Saint Louis of Toulouse, a Franciscan bishop and the patron saint of the House of Anjou, symbolizes the harmonious relationship between the Church and the royalty. He serves as an exemplar of a life dedicated to faith and service, despite the allure of worldly power.
Together, these saints not only offer a rich tapestry of Christian virtues, teachings, and history but also provide multiple points of connection, meditation, and intercession for the viewers. Their specific selection by Bellini (or his patrons) for the San Giobbe Altarpiece would have been influenced by both the broader Venetian religious milieu and the more intimate devotional context of the Church of San Giobbe.
The Angels
The depiction of angels is integral to the overall composition, lending the piece its heavenly ambiance and reinforcing its themes of devotion and reverence.
The altarpiece portrays the Virgin Mary and Christ Child seated on a high throne, surrounded by various saints. Above the central figures, Bellini places a semicircular mandorla, or almond-shaped halo, which contains a group of angels.
These angels in the San Giobbe Altarpiece are rendered with exquisite detail and grace:
- Musical Angels: Some of these angels are shown playing musical instruments, underscoring the celestial nature of the scene. Music in Renaissance religious art often symbolized the harmony of heaven, and by portraying angels with instruments, Bellini imbues the artwork with an audible dimension, inviting viewers to imagine the heavenly melodies that would accompany such a divine gathering.
- Adoration: Other angels in the altarpiece appear in poses of adoration, with hands joined in prayer or gestures of reverence directed towards the Virgin and Child. Their demeanor enhances the sacredness of the central figures and echoes the veneration shown by the surrounding saints.
- Appearance: The angels’ features and attire are ethereal and delicate, with flowing robes, soft wings, and gentle expressions that contrast with the more earthly qualities of the saints below. Their luminous presence, rendered with Bellini’s characteristic attention to light and color, brings an otherworldly glow to the entire composition.
In essence, the angels in the San Giobbe Altarpiece serve as a bridge between the terrestrial and the divine, reminding viewers of the heavenly realms beyond the mortal coil. Through their inclusion, Bellini masterfully accentuates the sanctity of the Virgin and Child and elevates the entire scene into a realm of divine splendor.