Carpaccio's altarpiece masterpiece

Mary with the Child on the throne and Saints Ambrose, Peter, Francis, Anthony of Padua, Clara and George, and the angel musicians

1518 year

oil on canvas, 280 × 210 cm

signature VICTOR CARP [ATHIVS] VENET [VS]/MDXVIII

Church of St Francis of Assisi, Piran

ESD 3879

The painting, which is returning to Piran, was exhibited in 2023 at the Doge's Palace in Venice in Carpaccio's retrospective exhibition entitled Vittore Carpaccio. Dipinti e disegni. The extract we present below is from the exhibition catalogue - Catalogue: Vittore Carpaccio. Dipinti e disegni , edited by Peter Humfrey, published by Marsilio Arte, 352 pages. 

The altarpiece, by the Venetian master Vittore Carpaccio, was originally painted for the main altar of the Franciscan church in Piran. During the Second World War, it was transferred to Italy, where, as a silent witness to the past, it has preserved a precious reminder of the artistic and spiritual heritage of the town.

The picture shows St Francis of Assisi, patron of the Church and of the Order, in the place of honour to the right of the Virgin Mary. Two other important Franciscan saints, Saint Anthony of Padua and Saint Clare of Assisi, stand next to him. Saint George, depicted in armour, was apparently chosen as the patron saint of the town of Piran, which confirms his local veneration. In 1787, the painting was moved from the main altar to an empty altar niche in the left side aisle.

The composition with the Virgin and Child on the throne, set in a monumental architectural loggia and surrounded by symmetrically arranged saints and angels, represents a typical type of altarpiece that had already been established in Venetian painting for four decades before 1518. The work is characterised by a high degree of formal order and iconographic thoughtfulness.

Carpaccio designed the painting with great attention to detail: the steps leading up to the throne of Mary are geometrically precise; the centre of the composition is a classical all'antica vase depicting the Roman Emperor in a medallion; the cloak of Saint Ambrose is richly embroidered and the armour of Saint George is meticulously rendered. Among the angels, a musician stands out, tuning a lute - a motif that preserves the lyricism and charm of the artist's earlier works.

Since the founding of the church in the early 14th century, the Franciscans have enjoyed strong support from the local community, who have contributed many pious gifts. The altarpiece and its stone elements, almost certainly commissioned for the 200th anniversary of the founding of the monastery, were financed by these donations. Archival sources testify that the project began as early as 1502 with the commissioning of the stonework. In the same year, the barber Master George ("Maestro Zorzi") donated the remarkable sum of 121 ducats for the construction of the painted altar - his donation further explains the inclusion of St George among the saints depicted.

The close connection between the composition, the patron saint of the city and the architectural ambience of the church confirms the assumption that Carpaccio visited Piran in person before beginning the work. His painting is not just an art object, but a thoughtfully conceived spatial intervention that combines theological meaning, local identity and masterful execution.

Conservation and restoration activities

The ZVKDS Restoration Centre 2018 participated in selected non-invasive examinations of the altarpiece from the Franciscan Church in Piran. The results of the analyses were presented at a symposium in the same year Carpaccio in Piran presented by Dr Gianluca Poldi, renowned expert in optical methods and collaborator of the Visual Art Centre laboratory at the University of Bergamo. In his lecture entitled Technical specificities and economic reasons? Some reflections on Carpaccio in the light of the analysis of the altarpiece from Piran highlighted the technical characteristics of the work and its broader historical and material background.

In 2025 the technical team of the Restoration Centre will take full responsibility for the expert handling of the artwork and its precise placement in the altar niche. The takeover of the painting and its transfer to the church space, scheduled for the beginning of September, is a demanding logistical task, with coordinated action within the team and precise coordination with external partners. After the temporary installation of the painting in the church, where it will be on display for the local community, the artwork will be transferred to Ljubljana.

A thorough knowledge of the materials used and the historical circumstances of their creation is essential for the long-term conservation, proper preservation and in-depth understanding of Carpaccio's artwork. The painting will be subject to a thorough professional examination, including a series of non-invasive examinations and high-resolution photography. This will involve the use of a range of specialised tools - from microscopes and various light sources to precision measuring instruments. Due to the complexity of the procedures, the examination will be carried out in laboratory conditions where optimal technical and safety standards are ensured.

Based on the peer review, we will prepare Preliminary report on the state of the artwork, which will serve as a central document for planning further activities. The report will be a basic record of the artwork - a database that will allow its condition to be closely monitored over time and serve as a reference source for future generations.

A decorative frame will be transferred to Ljubljana with the painting, which, although not original, will effectively protect the edges of the painting during handling, display and storage. The frame will be conserved and restored. The back of the painting will be protected by a dedicated wooden panel, which will protect the artwork from dust, micro-organisms, dirt from the walls and, to a large extent, from fluctuations in relative humidity, before it is installed in the altar niche.

The painting and the altar niche will be properly prepared before installation. Based on our many years of experience, we will produce customised brackets to be installed in the niche and on the back of the painting. The guidelines for preventive conservation are strictly followed during installation. Particular attention will be paid to ensuring air circulation, which is essential to prevent condensation - this can seriously compromise the materials of which the artwork is composed.