The conservation of the Altar Frontal with Saint George Fighting the Dragon has been sponsored by JoAnne M.K. & E. George Jackson

The renovation and redecoration of the second floor of the Scuola dei Santi Giorgio e Trifone began in 1551, marking the centennial of the confraternity’s founding. Over the course of more than a century, this ambitious campaign transformed the space, encompassing the decoration of the ceiling, the commissioning of twelve paintings for the walls, and the creation of a new altarpiece (all artworks currently being restored by Save Venice). Within this broader effort to enrich the interior, the altar itself assumed a central role. The Scuola commissioned a richly decorated Saint George Fighting the Dragon, conceived as an altar frontal to adorn the stone altar during major moments of the liturgical year. In Venice, such frontals were often made of painted leather—a distinctive local tradition that has largely disappeared due to the fragility of the material. This striking artwork, likely executed in the 17th century, reflects both the devotional identity of the confraternity and its ongoing commitment to embellishing the space with images of strong visual and symbolic impact.

At the center of the painted leather altar frontal unfolds the confraternity’s most iconic image: Saint George mounted on a magnificent white steed, rearing up at the decisive moment of combat. The young soldier drives his spear into the jaws of the dragon, which, though already wounded, thrashes violently—its great wings outstretched, its neck twisted in a final attempt to resist. The tension of the struggle animates the scene, capturing the instant in which good confronts evil. George, resplendent in gleaming armor and wrapped in a vivid red mantle, remains composed and resolute. His calm expression betrays no fear; instead, it conveys unwavering faith, as if assured of divine support in the face of danger. In the distance to the left, the princess watches anxiously, her small figure intensifying the drama of the encounter.

The scene is framed by richly painted decorative motifs and scrolling foliage, enlivened with brilliant roses in shades of blue, red, and pink that add elegance to the composition. Their freshness and decorative vibrancy illuminate the composition, softening the violence of the subject and transforming the altar frontal into an artwork that is at once dramatic and sumptuously ornamental.

Likely made from several pieces of leather stitched together and assembled to achieve the dimensions required to cover the altar front, the painted leather frontal is today obscured by layers of aged varnish and accumulated surface dust, which significantly diminish the brightness and legibility of the decoration. The oxidized coatings have dulled the original chromatic contrasts and flattened the interplay between gilded elements and painted details. In addition, localized areas exhibit abrasion, paint loss, and zones of active lifting. Minor structural tensions within the leather support may also have contributed to cracking and instability in the pictorial layer.

The conservation treatment will begin with a systematic surface cleaning aimed at removing particulate deposits and reducing altered varnish layers through calibrated solvent tests. This phase will be followed by the stabilization of any lifting paint and the consolidation of fragile areas. Where necessary, losses will be addressed through careful inpainting using reversible, water-based conservation pigments.

Unidentified Artist (17th century)
Altar frontal with Saint George Fighting the Dragon
17th century, painted leather
c. 244 x 140 cm

Perocco, Guido. Carpaccio nella Scuola di S. Giorgio degli Schiavoni. Venice: Ferdinando Ongania Editore, 1964, pp. 181-205