Through an examination of the miracles of Anthony of Padua painted by Girolamo da Treviso in the Saraceni Chapel (1525–26), I demonstrate here the complex ways in which monochrome painting would have created meaning for diverse audiences. I argue that the use of grisaille in the chapel, by visually evoking marble relief, did many things at once: it presented both established and lesser-known miracles as reliable evidence of Anthony’s saintly power, ‘carved’ in immutable stone; it conjured the specific thaumaturgical context of the burial shrine, with its elevated marble tombs; and it activated the paragone to produce sensations of both intimacy and distance, and to foster both comprehension and confusion. Taking as a case study visual hagiography – a form of pictorial narrative that addressed multiple audiences and engaged dynamically with both visual and textual precedents, this study sheds new light on the semantic operations of grisaille in Renaissance visual culture.

中文翻译：

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单色的奇迹：视觉圣徒画中的格里赛

通过对吉罗拉莫·达·特雷维索 (Girolamo da Treviso) 在萨拉塞尼教堂 (Saraceni Chapel)（1525-26 年）所绘的帕多瓦的安东尼的奇迹进行研究，我在这里展示了单色绘画为不同观众创造意义的复杂方式。我认为，通过在视觉上唤起大理石浮雕，在教堂中使用 grisaille 可以同时做了很多事情：它同时呈现了既定的和鲜为人知的奇迹，作为安东尼圣人力量的可靠证据，“雕刻”在不变的石头上；它让人联想到墓地的特殊奇术背景，以及高耸的大理石墓葬；它激活了典范，以产生亲密和距离的感觉，并促进理解和困惑。