Description
“Optics in Italian Paintings from the Middle Ages” Series
This year’s microfiber celebrates the 79th anniversary of Urbano’s entry into eyewear production (Safilo factory, Calalzo di Cadore, October 18, 1946).
Antonio resurrects a dead man and saves his father, believed to be guilty of murder. Painting from 1670 by Francesco Rosa (Genoa c. 1635–Venice 1710), Church of Santa Maria Gloriosa dei Frari, Venice.
The painting depicts one of the 11 miracles performed during his lifetime by Saint Anthony of Padua:
It is said that a young boy was murdered near the home of Martinho de Bulhões, Saint Anthony’s father. The criminals buried him in the courtyard of Martinho’s house without his knowledge. Some time later, the authorities found the body and accused him of killing the young man.
He spent fifteen months in prison. When the day of the trial arrived, it was almost certain that he would be sentenced to hang.
Fra Antonio was mysteriously informed of his father’s trial, asked permission to leave the convent in Padua, and immediately appeared in Lisbon, Portugal. Knowing of his father’s innocence, he went to defend him in court: he tried everything, but failed to convince the judges.
Lacking witnesses to defend his father, Fra Antonio decided to seek the testimony of the victim, namely the deceased. The prosecuting attorney opposed the request, but the judges, after ridiculing him, allowed the deceased to be called as a witness.
Upon arriving at the tomb, the saint ordered it opened and called out to the cold corpse, commanding it in the name of God to tell the judges the truth about his murder. The dead man immediately rose as if alive and responded in a sonorous voice that Martinho de Bulhões was innocent and had not stained himself with his blood. He then asked Brother Anthony to redeem him from the sins he had committed in life, and having obtained this, he threw himself into the tomb. Brother Anthony, after bidding farewell to his father, disappeared from the scene and was once again present in Padua (the theme of bilocation). The judges and others present were astonished by the miracle they had just witnessed.
Anthony’s father was eventually declared innocent and saved from hanging, and subsequently, the real culprits were discovered and arrested.
The painting depicts two optical instruments: a very rare monocular lens with an inpressively long handle—used by the lawyer who observes the scene while concealed behind a column—and what may well be the earliest depiction in Venice of the telescope presented to the Doge by Galileo on August 24, 1609.
