Name: Jon Paul Serafico & Caleb Tiam-Lee Subject: ARTS 1

Date: November 19, 2022 Professor: Prof. Bautista

Iconography and Semiotics

For an artist, the creation of a certain masterpiece entails the proper mastery of the art
elements and principles. With this, visual features play a key role, especially in the line quality,
color, composition, shape, volume, texture, perspective, and other elements and principles.
Moreover, the hidden symbols, meanings, and rationale behind the most iconic works of art leave
many of us interested and at awe. As the things placed in a painting are deliberate and often
intentional for the viewer to see, the discipline also allows for people to get to know the artist on
a much deeper level. Inferences on the artist’s worldview and beliefs can be extracted from these
artworks, allowing people today to potentially learn from these people from the paintings

Proper Analysis of Artworks

Delving deeper into the analysis of particular artwork, often involves the proper
identification, description, and interpretation of the content’s images, which include the subjects,
compositions, and specific details which cannot be overlooked. Also known as iconography, an
integrated framework of three levels of analysis was done by Edwin Panofsky to analyze art,
which includes: the primary, secondary, and tertiary levels. At the primary level, all aspects of
the artwork are taken into account, before iconographical analysis is conducted on the secondary
level, seeking the meanings of the signs, symbols, and images presented. And lastly, the relation
of these images to the underlying principles and social, economic, and political context of the
time is done on the tertiary level. Aside from these levels, alternative analyses can involve
another perspective in which to view a particular image or artwork, albeit not mentioned by
Panofsky (Baroncini, 2021).

In connection with iconography, recognizing signs in art plays an integral role in allowing
one to properly analyze a certain work of art. Also known as semiotics, it has become the study
of sign meaning. Composed of an acoustic image (or sound of the word), as well as an idea or
concept, a sign has become a conceptual acoustic image in finding meaning in art.

In addition to this, the principles of organization of a certain artwork contribute to the

mood, feeling, and overall scenery. Apart from the elements of art, there must be proper
repetition, contrast, and variation, which include optimal proportions, balance, rhythm, emphasis,
and harmony.

The Holy Trinity

An iconic teaching and belief of the Catholic faith, the Holy Trinity, defines God as three
coequal, coeternal, consubstantial divine persons: God the Father, God the Son, and God the
Holy Spirit sharing under the same homoousion. And over the Renaissance period, attempts to
exemplify this otherwise abstract idea were taken upon by many artists. But, none of these
paintings was more iconic than Masaccio’s version.
 Figure 1: The Holy Trinity by Masaccio

Regarded as the first true Renaissance artist, the Italian artist’s work of art and impact
was differently felt all throughout the Western world. Reaping the benefits of rich patrons’
enormous funding of the arts during the time that he was alive, Masaccio employed a logical
method that would later come to define the Renaissance Period as a whole. Inspired by Filippo
Brunelleschi’s architecture seemingly forgotten since the Ancient Greco-Roman eras, he was
able to properly integrate lighting and shadows from sculptures in his paintings. Utilizing linear
perspective to give the appearance of depth in a two-dimensional portrayal was something that
he employed in his paintings, his paintings showcased astonishing realism using this
architectural perspective.

And these techniques were no less seen in his version of the ‘Holy Trinity.’ Painted
between 1925 and 1927, the 667-by-317-centimeter fresco painting was one of the artist’s last
before his untimely death. Located in the Dominican Church of Santa Maria Novella in Florence,
Italy, the design originally had a ledge that was utilized as an altar, jutting outwards from a blank
zone between the top and the bottom portions of the painting, adding to the feeling of dimension
and authenticity. Utilizing a chiaroscuro art style, the contrasts of lights and shadows show
volume and contours of the subjects. Throughout the painting, this is reflected upon the shadows
of Christ’s ribs, the abdominal muscles, and the muscles of his arms (Artsapien, 2022).

Apart from this, influences from Roman architecture were clearly seen, with its facing
edge and top surface blending with the fresco’s stairs and arch. Moreover, its sustaining pillars
blend with the shadows cast by the overhanging creating a crypt-like illusion for the tomb
underneath.

Furthermore, the presence of coffers, columns, pilasters, barrel vaults, ionic and
corinthian capitals, and fluting are the influences that were from architecture in his art. Looking
into the features of the painting features a chapel that has been seemingly opened up to the
viewer. Framed by ionic columns and pillars lays a crucified Christ, overlooked by God and the
Holy Spirit, with Mother Mary and John The Baptist at its sides. Massacio uses traditional
images of the Virgin and Saint John The Baptist to compliment the Holy Trinity of Jesus, the
dove (Holy Spirit), and God. It is also faintly noticeable that God is standing on some sort of
structure behind Jesus, seeing that a small part of His foot is seen. At the bottom of the painting
lies a skeleton as a memento mori or remembrance of death, in the shape of a cadaver tomb.

This painting, unlike other Biblical paintings of Jesus Christ, portrays a realistic space of
the different figures. As God (located at the back) seems to be standing on some sort of platform
or structure, it seems like the painting wanted to portray God as somewhat normal, not from
some otherworldly dimension, with the laws of physics seemingly abided throughout the entirety
of the painting. This is quite in contrast to medieval art, where higher beings were often
portrayed in some sort of abstract form, in elements of nature like a sky or a light among other
things. However, this painting reveals a sense of humanism and realism which defined the early
Renaissance period.

But perhaps the most significant aspect of the painting involves the use of a one-point
linear perspective, conveying that the image recedes back in space. On the other hand, the coffers
in the ceiling create the orthogonal lines, with the vanishing point located at the base of the cross.
In addition to this, the use of the trompé–l’œil art style gives depth and meaning to the artwork,
as there seemingly is a hole in the wall in the art. Moreover, the style of painting used in the
Holy Trinity depict the artists’ interest in human anatomy, with the gravitational feel and weight
of the nails symbolizing how Christ is present in flesh and blood, with suffering, sacrifice, and
ultimate death all real and painful (Artsapien, 2022).

Another element that is of significant importance is the presence of the tomb at the
bottom part of the painting. Located slightly below the eye level of the viewer, this recently
uncovered part of the painting is meant to appear as an outward projection. With its inscription
(translated) stating “What you are I once was; what I am, you will be” gives us a view of our
own mortality and death. It somehow gives off the idea that the skeleton is talking to the viewer,
that one day, we would also experience that. However, as the crucifixion gives off the theme of
salvation and eternal life, it symbolizes the key message throughout Catholicism, specifically in
the New Testament. As there is unity in the vanishing point between the tomb and the cross, it
gives a very convincing illusion of space that encapsulates the message of the artwork, implying
freedom from death for those who trust in the Lord (Zucker & Harris, 2019).

In a more historical context, the painting depicts the ideals of the Italian Renaissance
during the time Massacio decided to come up with the painting. During this time, humanism
dominated society, which was still recovering from the fall of the Roman Empire and the
constant wars and pandemics that defined the Dark Ages. With the idea that man was the central
figure in personal power, new ideas and intellectual pursuits occurred during this time period
which include logic, aesthetics, classical principles, the arts, and sciences like mathematics.
Moreover, the resurgence of Greek and Latin architecture from the past led to new approaches in
painting, architecture, and the principles of perspective and beauty (Burke, 2014).

The Isenheim Altarpiece

Christ’s life has been documented extensively in the Bible. Throughout the New
Testament, the Gospels of Matthew, Mark, Luke, and John give readers an insight into the life of
Jesus. Though there may be missing parts such as Jesus’ teenage years, the chronicling of his life
leaves devout Catholics around the world interested and intrigued about His story, with the hope
of emulating his ‘life of service’ for others in one’s life. And throughout His life, key people
around him also played an important role in shaping Jesus in becoming the person that he was in
his three-year ministerial service. From Mary, Joseph, and the Apostles, these people became the
center of one of the largest, but most iconic paintings of Catholicism, the Isenheim Altarpiece.

Figure 2: The Isenheim Altarpiece by Matthias Grünewald and Nikolaus Hagenauer

Depicting the Annunciation, the Virgin and Child with a host of musical angels, and the
Resurrection, the painting details some of the key events that have come to define Christs’ life.
Considered one of the greatest Renaissance paintings of the sixteenth century, the complex
polyptych altarpiece was created by German artist Matthias Grünewald and German sculptor
Nikolaus Hagenauer. Consisting of three carved wooden statues, six wings have been attached
(three on each side), allowing for the changing of the displayed image (Cabello, 2018). Using
Gothic art and powerful expressionism, along with Hieronymus Bosch-type imagery and the
latest Renaissance painting techniques, these intensely realistic imagery and iconography were
inspired by the revelations of St Bridget of Sweden.

In its closed exterior, the artwork depicts the crucifixion of Jesus Christ in Golgotha, with
Saint Anthony and Saint Sebastian on the wings of the artwork. On the predella part of the
altarpiece is an image of the Lamentation. On the extreme left of the painting lies a grieving
Mary dressed in white, while being comforted by John The Baptist. On the other hand, Mary
Magdalene is kneeling and praying right below Jesus, with John The Baptist on the right side of
the painting appearing to say “Illum oportet crescere, me autem minui (John 3:30)” ('He must
become greater, I must become less’). However, the center of the altarpiece depicts Jesus in very
bad shape. Evident was the gruesome torture and pain that he experienced prior to his
crucifixion, as he was horribly twisted and mangled, seen in the lacerations and blood in his
upper torso and chest area.

Throughout the painting, there was an emphasis on the saints and holy figures used,
which shows not only the references to the Bible but also those fitting to the specific site for
which the work was intended. Originally commissioned for the hospital chapel of Saint
Anthony’s Monastery in Isenheim, Alsace (once part of Germany), this was a location where
monks ministered to victims suffering from Saint Anthony’s Fire, a disfiguring skin disease.
Even the depiction of the crucifixion of Jesus shows the sores and scars of plague victims.
Simply put, the painting references the message of Christ; that the physical body is only
temporary. With this, it becomes a reminder for the sick and caregivers that eternal life is free of
pain and suffering for those who keep Christ at the center.

In addition to this, High Renaissance art prior to the Isenheim Altarpiece shows the blood
of Christ in the composition as just another detail, this painting takes it a step further, as Christ’s
blood is the focus of the artwork, exemplified in the symbolic lamb bleeding into a chalice
beneath John The Baptist. All in all, this version of Christ’s crucifixion would want to impart a
different message to the viewer. Beaten, tortured, and already mangled, Grünewald hopes to be
able to impart the idea of suffering and pain. To be more specific, he wants the viewer to see if
they have suffered anything seemingly comparable to what Christ experienced.

Apart from this, a bearded and enthroned Saint Anthony is flanked by standing images of
Saint Jerome and Saint Augustine in the center of Nikolaus Hagenauer's core carved and gilded
ensemble of the altarpiece. These saints also play a key role in spreading the message of the
artwork, as Saint Anthony survived torments by demons and devils, while Saint Sebastian was
miraculously saved after being shot through with arrows. This reinforces the message of healing
and spiritual salvation that can be only obtained through faith.

On the other hand, Grünewald’s painted panels come from a different world; visions of
hell on earth, in which the physical and psychological torments that afflicted Christ and a host of
saints are rendered as visions wrought in dissonant psychedelic color, and played out by distorted
figures—men, women, angels, and demons—lit by streaking strident light and placed in erie
other-worldly landscapes (Hickson, n.d.). Three different ensembles are revealed when the
painted panels are folded out. With this, the middle panels close to reveal a terrifying, nighttime
Crucifixion in its usual, closed configuration. In finding ways to Christ is depicted in a horrific
and deformed form, sprawled out on the cross with his hands writhing in pain and his torso
covered in patches of pox. The emphatic physical suffering was intended to be thaumaturgic
(miracle performing), a point of identification for the inmates of the hospital. The Virgin swoons
into the waiting arms of the young Saint John the Evangelist while John the Baptist, on the other
side (not commonly depicted at the Crucifixion), gestures towards the suffering body at the
center and holds a scroll that reads "He must become greater, I must become less." Due to his
body being punctured by arrows, Saint Sebastian has traditionally been regarded as a plague
saint. The flanking panels have images of Saint Anthony Abbot.

The promise of resurrection is highlighted in the second place. The Annunciation, the
Virgin and Child with a swarm of musical angels, and the Resurrection are all shown in its
panels. The story of Christ's life from left to right is a highlight reel. The sprawling and
horrifyingly perforated dead corpse of Christ is displayed as an invitation to think about
mortality and resurrection in the predella panel's Lamentation. The design by Grünewald
balances the intensity of Christ’s sufferings with the eternality of his glory. The transformation
that occurs is His resurrection to a radiant and beaming son of man is a bigger and better
symbolism to showcase eternal glory (Worley, 2011).

The apostles are sitting, six on each side, in different groups of three, in the carved
predella below. This area is typically covered with a painted panel, and the apostles are depicted
as standing figures. As a result, Hagenau's interior ensemble is symmetrical, logical,
mathematical, and filled with the perfect numbers 1, 3, 4, and 12 (Hickson, n.d.).

Grünewald’s mastery of medieval monstrosity reminds us of Hieronymus Bosch, a

Northern renaissance artist known for creating artworks full of religious symbolism, allegory,
and fantastical elements shown in bustling scenes across expansive compositions. and has
inspired artists ever since. The entire altarpiece is a hymn of praise to human suffering and an
essay on faith and the hope for heaven in the troubled years before the Reformation. Aside from
this, viewers of the piece are reminded of the momentary nature of life’s trials and tribulations,
and seeing the mangled version of Christ is a reminder of facing the challenges and difficulties
that face all of us.

The Galitzin Triptych

Referred to in greek as ‘three folds,’ the term ‘triptych’ is used to describe a painting
consisting of three parts, usually comprising a larger central panel and two wings hinged together
so that the wings fold over the center when closed (Encyclopedia of Fine Art, n.d.). This type of
painting was one of the most popular forms of altarpiece art during the medieval era, wherein
religion and Christianity were their main focus. Along with stained glass art, mosaics, and
illusionist mural painting, it served to inspire and educate Christians with Biblical art from the
Old Testament and the Gospels.

One such example is seen and depicted in some of the most iconic events in the Bible, the
Crucifixion. This event in the New Testament has become the center of Catholic teaching and
faith. Often thought and preached upon in mass as Christs’ ultimate sacrifice and unconditional
love for humankind, the admiration and praise of Jesus to perform such an act in the face of
adversity leave many Catholics in awe.

Figure 3: The Galitzin Triptych by Pietro Perugino

In the context of art, there have been a lot of artworks that aimed to depict and showcase
the Crucifixion, albeit in many different ways. While most paintings have a dark background to
depict the suffering and dread experienced by the key players of the Crucifixion, the Galitzin
Triptych portrays the Crucifixion in a more peaceful and calming light.

Commissioned by Bartolommeo Bartoli, the Bishop of Cagli, the 101-by-116 centimeter

painting was created around 1485. Using early Renaissance styles of art, it was originally in a
chapel of the Dominican monastic church of San Gimignano, and in 1796-97 it was confiscated
by French troops. It was then sold to a certain 'Buzzi,’ who sold it as a work of Raphael to Prince
Alexander Mikhailovich Galitzin, the Imperial Russian ambassador to Rome. His nephew
Mikhailovich Galitzin moved it to Moscow where, in 1865, it was exhibited at the Galitzin
Museum of Western Art. It was sold again in 1886 with the rest of the Galitzin collection, this
time to the Hermitage Museum. In April 1931, it was one of the artworks ceded by Stalin to
Andrew Mellon, US Secretary of State. In 1937, the Mellon collection formed the core of the
new National Gallery of Art.

In the central panel, Christ is on the cross, while on the sides Mary and Saint John the
Evangelist are grieving: the Madonna, on the left, with her face bent down, joins her hand to the
chest as a sign of prayer, and the dark robe, decorated with elegant embroideries that run on the
edges, covers her whole body, including the head as a sign of mourning. On the right side, Saint
John raises his gaze on Jesus, but the beautiful face with delicate features does not betray
suffering. Even the body of Christ, naked and covered only by a white cloth that wraps his hips,
is depicted following the ideal canons of classical statuary and does not express the signs of
suffering and death, despite the fact that it is a crucifixion.

However, it is quite perplexing to see how Christ says to be not in any pain or suffering.
Having been tortured and then nailed to the cross, one might automatically assume that this is a
misrepresentation of some kind. But, perhaps looking into the style and time period would
provide more concrete answers. Simply put, the Greek ideals of male beauty were applied to
Christ, but in order to deliver a Christian message that was continuous with earlier,
first-millennium ways of thinking (Worley, 2011).

Overall, the work does not attempt to depict the actual event or place. Instead, it is a
visual meditation on the theme of the Crucifixion of Jesus Christ. With this, Perugino
emphasizes the theological and intellectual aspects of the Crucifixion, rather than the physical or
emotional.

In terms of the atmosphere, it is serene and invites meditation on the theme, rather than
participating in the suffering of the event. In the two side panels, two saints witness the scene,
both facing the central figure of Christ: Saint Jerome with the lion behind him (on the left) and
Saint Mary Magdalene, whose jar of ointments rests on the rock near her feet (on the right).
Already in old age, Saint Jerome represents wisdom and knowledge while Mary Magdalene
symbolizes Christian devotion, both traits that Jesus wanted to impart on people. The calming
mood and naturalistic setting are reflected in the landscape. It is meticulously detailed in all the
panels: grassy fronds stand in the foreground, while in the background a rocky landscape opens
in the central part and allows a glimpse of small villages; the attention to these small details
recalls paintings of Flemish tradition that were popular in Italy at the time (Washington, 2022).

Apart from their symbolisms, Perugino seems to suggest the saintly paths of Jerome and
Mary Magdalene, wherein the idea of eternal salvation and glory is possible for sinning
Christians. The idea of perfectionism today stems from an immaculate and error-free state, but
this was not the case in sacred scriptures, which see the idea of being ‘perfect’ as implying
completion, maturation, and reaching a final telos. To put things simply, it is the final destination
of our development as a person that determines our ‘perfectness.’ Therefore, the painting
pictures the final place that awaits a faithful and loving follower of Christ, who lives his or her
life for the sake of other people.

Moreover, this mood aims to show that the powers of evil present during Christs’
crucifixion overpowered the forces of good. Through this, Perugino created a comprehensive
arch of Christ in one moment: the Crucifixion and Resurrection (Worley, 2011).

Rather than focusing on the physical and emotional of the people in the painting,
Perugino emphasizes the theological and intellectual aspects of the Crucifixion. The traditional
figures of Mary and Saint John the Evangelist at the foot of the Cross are joined by Saint Jerome,
with his attribute the lion, and Saint Mary Magdalene, with her attribute, the jar of ointment. The
human figures, plants, trees, and other elements of nature are rendered with complete realism,
while the placing of the figures and the design of the landscape are clearly defined and ordered
according to rules of perspective and the use of geometric shapes for composition. It can be
noted that the three figures, the lines of the rocky landscape, and the heads of the saints form a
"V" which converges at the base of the Cross and emphasizes the figure of Christ silhouetted
against the sky (Pietro, n.d.).

In other interpretations of the said artwork, some art historians have posited that the
depiction of Christ as beautiful and perfect signals a God and man who shares very little of
human experience. This, in turn, makes him completely out of reach, making him unavailable,
unapproachable, and unrelatable to the viewers. As a result, this unhealthy form of perfectionism
reinforces the idea of an unattainable reality, abandoning efforts at sanctification in a Christian’s
life (Worley, 2011).

All in all, these three paintings serve to capture the viewer’s attention in different ways.
Though all painted within a few hundred years of one another, the symbols, figures, and styles
used were all drastically different; giving off different perspectives and messages despite all
three artworks depicting the crucifixion.
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