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According to Camilo´s contemporaries, he was outstanding at depicting delicate matters. As Palomino put it, his genius was strongly inclined towards the soft and devout. The violent subject of Saint B [+]
The Christ Child looks out at the viewer. The halo behind his head is a cross-shaped prefiguration of his Passion, while the Virgin´s consists of twelve stars that allude to her sorrows. Saint J [+]
This is a very significant example of Camilo´s skill at representing uncommon narrative events. It presents one of the episodes in the story of desecration and offense to a crucifix by a family of Por [+]
Standing in the foreground with a crozier at his feet, Saint Anthony looks to the heavens and orders the lions to leave the grave so that he can bury Saint Paul, who lies on a boulder above at the cen [+]
This is a companion work to The Death of Saint Paul the Hermit (P4751). It passed from the El Paular Charterhouse to the Museo de la Trinidad, where it was listed as anonymous. [+]
Sitting semi-nude on the ground, the saint receives a lashing from two young angels. In the left foreground, a child angel points to the books by Cicerone which the saint enjoyed reading. The angels´ [+]
Until now, this canvas was thought to come from San Felipe el Real in Madrid, as Cruzada Villaamil (1865, no. 544, p. 38) mistakenly registered it. He believed it was one of the canvases mentioned by [+]
While it is not listed in any known inventory, this canvas´s provenience from the convent of Los Carmelitas Descalzos in Toledo is certain, as it was coupled there with Saint Joseph with the Chr [+]
El Arcángel aparece representado armado, con casco emplumado, con la espada flamígera en la mano derecha y sosteniendo una filacteria con su lema (QVIS VT DEVS = Quién como Dios) en la izquierda, mien [+]
A la izquierda, en lo alto de una empinada escalinata por la que sube la Virgen niña, aguarda el sumo sacerdote y su séquito. En primer término, a la derecha, Santa Ana y San Joaquín, señalan hacia el [+]
