Generously sponsored by Arnold M. Bernstein.

Dating to 1587, this altarpiece is the last known work of Paolo Veronese. It originally decorated the high altar of the 16th-century church of San Pantalon, remaining there until the building was renovated between the 17th and 18th centuries. Veronese was commissioned by the parish priest Bartolomeo Borghi, who is portrayed on the left-hand side of the composition holding a deceased boy—a striking inclusion that emphasizes his importance within the painting. At that time, it was quite uncommon for a donor to occupy such a prominent position, especially in an altarpiece placed directly behind the altar where sitter, Borghi, celebrated Mass. Positioned as an assistant to Saint Pantalon, Borghi serves as a crucial link between the divine and the earthly realms, symbolizing a mediator between God, the saints, and his congregation.

Saint Pantalon, a 3rd-century physician from the ancient Greek city of Nicomedia, in northwestern Asia Minor, served as the personal physician to Roman Emperor Galerius. His life took a profound turn after encountering a Christian hermit named Hermolaus. Inspired by him, Pantalon decided to set aside his conventional medical tools and put his faith to the ultimate test. When a boy died from a snake bite, Pantalon miraculously revived him using only the power of prayer. This event led both the boy and Pantalon to convert to Christianity. Following his conversion, Pantalon devoted himself to healing people solely through prayer, embodying the belief that Christ is the true and ultimate healer—both the doctor and the cure. His life and acts served as powerful demonstrations of faith, underscoring the Christian belief in spiritual healing.

Veronese sketched a series of studies in a preparatory drawing, now housed in the Louvre Museum in Paris. This sheet contains multiple sketches that outline the essential groupings present in the finished work. The painter paid special attention to the figure of Borghi holding the deceased boy, exploring this scene from three different angles. The central, most polished study evokes the imagery of the Pietà, highlighting the emotional gravity of the moment. In the completed altarpiece, Pantalon is shown gazing upwards, seeking divine intercession. His young assistant stands nearby, holding the medical tools in a small box, while an angel descends from heaven, bestowing upon the Saint the palm of martyrdom. In the bottom right corner, Veronese introduces a striking element—a serpent depicted as a winged, reptilian creature, reminiscent of a miniature dragon, fleeing from the scene. This transforms the act of revival into an exorcism, symbolizing spiritual healing and the triumph of good over evil. Noteworthy is the fragmentary marble statue painted on the right side of the composition. This statue is believed to represent Asclepius, the son of Apollo and the god of medicine in ancient Greek religion. Scholars speculate that this statue may have been inspired by a fragment Veronese studied from the Grimani collection, known for its extensive array of Greek and Roman sculptures.

The last documented restoration was carried out in 1983, which involved the relining of the supporting canvas and light cleaning of the pre-existing surface varnish. In February 2024, a non-invasive UV fluorescence analysis was carried out to identify condition issues and devise a treatment plan. This analysis revealed several issues: a thick layer of corrosive dust and grime, uneven varnish layers, and glue and altered pictorial integrations from previous interventions. A full conservation will address the various problems, and these disfiguring non-original surface residues will be carefully thinned and removed.

Paolo Veronese (1528 – 1588)
The Conversion of Saint Pantalon
1587, oil on canvas
277 x 160 cm
Church of San Pantalon, Venice

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