Null Padua - Celebrating in the Basilica of St. Anthony the auspicious possessio…

Description

Padua - Celebrating in the Basilica of St. Anthony the auspicious possession taken of the City of Padua by the H.I. Majesty of Francis II Padua, Fratelli Penada, 1798. 4°. Handsome copper-engraved royal coat of arms on frontispiece, with 2 full-page portraits of Francis II and Maria Theresa engraved by Gaetano Zancon, beautiful engraved headpiece, portrait within oval of Archduke Charles Octave, coeval green morocco binding, plates framed by gilt frame, friezes on 5-nerved spine, slight defects.

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Padua - Celebrating in the Basilica of St. Anthony the auspicious possession taken of the City of Padua by the H.I. Majesty of Francis II Padua, Fratelli Penada, 1798. 4°. Handsome copper-engraved royal coat of arms on frontispiece, with 2 full-page portraits of Francis II and Maria Theresa engraved by Gaetano Zancon, beautiful engraved headpiece, portrait within oval of Archduke Charles Octave, coeval green morocco binding, plates framed by gilt frame, friezes on 5-nerved spine, slight defects.

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Estim. 400 - 500 EUR

French school of the 19th century. The Miracle of Saint Anthony of Padua and the Donkey. Oil on canvas. Former element of an altarpiece. Height : 167 cm, width : 62 cm. This miracle occurred in Montpellier: when a man refused to believe that the Lord was present in the Eucharist, Saint Anthony obtained God's permission for the man's donkey to kneel before the Host.

Estim. 800 - 1 400 EUR

Italian Silver Oval Serving Tray, Zaramella Argenti, Padua, 20th Century. Italian Silver Oval Serving Tray, Zaramella Argenti, Padua, 20th Century. Marked. 29x61cm. 1404gr.

Estim. 1 600 - 2 000 EUR

Spanish or Italian school; XVIII century. "San Antonio". Oil on canvas. Relined from the 19th century. It has a XIX century frame with faults. Measurements: 150 x 107 cm; 158 x 114 cm (frame). The present canvas represents St. Anthony of Padua as a young beardless man with wide monastic tonsure, dressed in a long Franciscan habit, kneeling in front of Jesus. The presence of the infant, which alludes to the vision he had in his cell, became the most popular attribute of this Franciscan saint from the sixteenth century, being especially popular in the Baroque art of the Counter-Reformation. St. Anthony of Padua is, after St. Francis of Assisi, the most popular of the Franciscan saints. He was born in Lisbon in 1195 and only spent the last two years of his life in Padua. After studying at the convent of Santa Cruz in Coimbra, in 1220 he entered the Order of Friars Minor, where he changed his first name, Fernando, to Antonio. After teaching theology in Bologna, he traveled through southern and central France, preaching in Arles, Montpellier, Puy, Limoges and Bourges. In 1227 he participated in the general chapter of Assisi. In 1230 he was in charge of the transfer of the remains of St. Francis. He preached in Padua and died there at the age of 36 in 1231. He was canonized only a year after his death, in 1232. Until the end of the 15th century, the cult of St. Anthony remained located in Padua. From the following century he became, at first, the national saint of the Portuguese, who placed under his patronage the churches they built abroad, and then a universal saint. He was invoked for the rescue of shipwrecked sailors and the liberation of prisoners. The Portuguese sailors invoked him to have good wind in the sails, fixing his image on the mast of the ship. Nowadays, he is invoked mainly to recover lost objects. However, there is no trace of this last patronage before the 17th century. It seems to be due to a play on words with his name: he was called Antonio de Pade or de Pave, an abbreviation of Padua (Padova). From there, it was attributed to him the gift of recovering the epaves, that is to say, the lost goods. He is represented as a beardless young man with a large monastic tonsure, dressed in a habit, and usually appears with the Child Jesus, holding him in his arms, in allusion to an apparition he had in his cell. It became the most popular attribute of this saint from the 16th century onwards, being especially popular in the Baroque art of the Counter-Reformation.

Estim. 1 500 - 2 000 EUR

Spanish school ca. 1800. "Saint Anthony of Padua with Child". Carved and polychrome wood. Lilies in silver plated metal. Child's dress on canvas, 19th century. It presents faults in the polychromy and slight xylophagous damage. Measurements: 86 x 42 x 33 cm. Sculpture in wood carved in round bulk representing Saint Anthony of Padua with the Child Jesus in his arms. The Saint wears a Franciscan habit and holds a bunch of lilies in silver metal in his right hand. The Child, on the other hand, looks directly at the Saint, and is dressed in 19th-century embroidered cloth. Saint Anthony of Padua is, after Saint Francis of Assisi, the most popular of the Franciscan saints. He is depicted as a beardless youth with a broad monastic tonsure, dressed in the brown habit of the Franciscans. One of his most frequent attributes is the book, which identifies him as a holy writer. Another distinctive iconographic feature is the branch of lily, an element borrowed from his panegyrist Bernardine of Siena. Saint Anthony is often depicted with the Infant Jesus, alluding to an apparition he had in his cell. It became the most popular attribute of this saint from the 16th century onwards, being especially popular in the Baroque art of the Counter-Reformation. He was born in Lisbon in 1195 and only spent the last two years of his life in Padua. After studying at the convent of Santa Cruz in Coimbra, he entered the Order of Friars Minor in 1220, where he changed his Christian name from Fernando to Antonio. After teaching theology in Bologna, he travelled through southern and central France, preaching in Arles, Montpellier, Puy, Limoges and Bourges. In 1227 he took part in the general chapter at Assisi. In 1230 he was involved in the transfer of the remains of St Francis. He preached in Padua and died there at the age of 36 in 1231. He was canonised only a year after his death, in 1232. Until the end of the 15th century, the cult of St. Anthony remained located in Padua. From the following century onwards, he became, at first, the national saint of the Portuguese, who placed the churches they built abroad under his patronage, and then a universal saint.

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