This work depicts Saint James the Greater, who was Saint John`s brother and one of the Apostles closest to Christ. He witnessed Christ`s Transfiguration on Mount Tabor, accompanied him at the Sermon on the Mount and was present at the Taking of Christ. The saint is shown at more than half length, wearing a green tunic and a yellow robe in a depiction belonging to the rich tradition of paintings and engravings of the Apostles -some were independent, others belonged to apostolates- that sought to strengthen the role of the saints as intermediaries between God and the faithful, in keeping with the dictates of the Counter-Reformation.

Saint James here gazes at heaven, imploring divine intervention with joined hands. The painting has no complex iconographic attributes, and the saint is identifiable only by his pilgrim`s staff, which alludes to his evangelical travels. According to tradition, Saint James visited Spain, and while he did return to Jerusalem, where he was martyred, his body was buried centuries later in Compostela, in north-west Spain. His tomb made Compostela the second most important site of Christian pilgrimage in Europe, after Rome. While documents in the Museo del Prado`s archives show that scholars Bernard Berenson and Hermann Voss were already certain that this work was by Guido Reni, it was not identified as such until 1955, when Cesare Gnudi and Gian Carlo Cavalli confirmed that it was indeed by his hand, and also emphasised its excellent technical qualities.

Reni was a pupil of the Carracci and, following their death, became the pre-eminent exponent of the school of Bologna and a key figure in the dissemination of the Baroque, both in Italy and abroad. This work is a fine example of the artist`s capacity to blend Caravaggio`s naturalism with the Carracci`s monumentality. It also reveals his gift for using colour, and his excellent draughtsmanship. Reni`s figures are simultaneously idealised and realistic, making his works psychologically and emotionally accessible to the viewer. This is indicative of his method of working from life, and his sound knowledge of ancient art and that of Raphael. Among other works by Reni, the Museo del Prado has two further paintings of Apostles: a Saint Peter and a smaller, oval-shaped Saint Paul, that seem to be related to each other, but not to this painting of Saint James. The Museum of Fine Arts in Houston also has a slightly later version of this work, of the same size and format, which differs slightly from the present work, including in respect to the position of the pilgrim`s staff.

This work belonged to Elisabeth Farnese, whose father Edward II was crown prince of the Duchy of Parma and a great lover of the arts. When in 1714 Elisabeth became Philip V`s second wife she moved to Spain with a sizeable collection of works of art that almost certainly included The Apostle James the Greater, 1618-23. That collection continued to expand over the years, thanks to acquisitions, gifts and legacies. The present painting was installed in the Royal Palace of La Granja, San Ildefonso, a royal seat built for Philip V. After 1744 it became a part of the Spanish Royal Collection and was sent to the palace in Aranjuez, where it is listed as hanging in the Prayer Room in 1794. In 1814 the work was in the infant Don Francisco`s quarters at Madrid`s Royal Palace, and from there it was moved to the Museo del Prado.

Pancorbo, A., Guido Reni 'The Apostle Saint James the Greater' En:. Italian masterpieces from Spain's royal court, Museo del Prado, National Gallery of Victoria Thames & Hudson, 2014, p.108