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The purpose of the blank scroll in the foreground of the painting is unknown. There is no evidence to suggest it ever contained any lettering. Its original intention may have been to carry the words of Christ to Saint
Eustace or to bear a motto provided by the patron. It has been suggested, however,
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has been extensively repainted and retouched. Originally, the panel was taller (it has been cut at the top). The landscape has darkened because of the black underpaint and the use of malachite. The gold leaf in the tunic and harness has been regilded. Some animals, like the bear, have been entirely
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Saint
Eustace is portrayed as a huntsman dressed in the height of court fashion, wearing a golden tunic and blue headdress. The patron was therefore given the opportunity to appreciate the work as a devotional piece in addition to identifying with the aristocratic pastime of hunting and chivalric
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The hunting scene allowed
Pisanello to demonstrate his considerable skill in depicting animals and birds in a naturalistic but decorative way. Drawings of them from pattern books were undoubtedly used. The animals are portrayed at various scales and scattered around a ‘tipped-up’ landscape not
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in London. The date of the work is unknown and has been assigned by various scholars to different points in
Pisanello's career, but the National Gallery's website currently dates it to "about 1438-1442".
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that the empty scroll is designed to demonstrate the superfluity of words in relation to images and thus refers to a contemporary humanist debate regarding the relative merits of poetry and art.
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161:. The landscape's construction also demonstrates a familiarity with illuminations in manuscript hunting treatises, such as the canonical
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Giotto to Durer: Early
Renaissance Painting in The National Gallery: Early European Painting in the National Gallery
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The painting was bought by the
National Gallery in 1895, catalogued as NG 1436, and is today on display in room 55.
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129:, the identification of the figure as Saint Eustace is based on the fact that Pisanello painted Saint Eustace in
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ideology. The patron for whom the work was painted is, however, unknown. Suggested patrons include the
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for decoration of some details), present in the harness, hunting horn and spurs, is original.
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133:. Saint Hubert's depiction in Italian art during this period is also unlikely.
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before a stag, between the antlers of which is a crucifix, as described in the
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54.5 cm × 65.5 cm (21.5 in × 25.8 in)
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repainted. The saint's hat and face, however, are well preserved and the
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National
Gallery webpage, see external links, accessed January 7, 2012
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157:dissimilar to those visible in Netherlandish
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221:see External links; accessed January 7, 2012
336:Pisanello: Painter to the Renaissance Court
19:For the painting by Annibale Carracci, see
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564:Paintings in the National Gallery, London
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319:. Yale University Press. p. 276.
125:. Although a similar story is told of
21:The Vision of Saint Eustace (Carracci)
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427:Portrait of Sigismund of Luxemburg
176:During the course of its history,
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495:Madonna and Child with Two Saints
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520:Medal of John VIII Palaeologus
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435:Saint George and the Princess
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362:, with good roving zoom view
465:The Vision of Saint Eustace
450:Portrait of Leonello d'Este
178:The Vision of Saint Eustace
99:is a painting by the early
96:The Vision of Saint Eustace
29:The Vision of Saint Eustace
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604:Paintings of Saint Eustace
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338:. Yale University Press.
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594:Rabbits and hares in art
360:National Gallery webpage
334:Gordon, Dillian (2001).
315:Dunkerton, Jill (1991).
584:Paintings of crucifixes
430:(1432–1433; attributed)
559:Paintings by Pisanello
480:Portrait of a Princess
143:Filippo Maria Visconti
16:Painting by Pisanello
412:Madonna of the Quail
101:Italian Renaissance
65:Egg tempera on wood
589:Paintings of dogs
579:Paintings of deer
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345:978-1-85709-932-4
326:978-0-300-05082-0
257:Dunkerton, p. 276
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115:The work depicts
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56:c. 1438–1442
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543:Categories
309:References
159:tapestries
71:Dimensions
404:Paintings
397:Pisanello
184:pastiglia
105:Pisanello
47:Pisanello
147:Leonello
79:Location
139:Gonzaga
103:master
513:Medals
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192:relief
87:London
43:Artist
201:Notes
189:gesso
187:(low
340:ISBN
321:ISBN
149:or
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61:Type
53:Year
165:by
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