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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 Bartholomew´s flaying is therefore exceptional in his production and it draws on various compositions by other artists. The overall scheme necessarily recalls Ribera and his well-known print of the sam
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 Joseph holds his flowering rod. The dove of the Holy Ghost hovers above them, and further up, the figure of God the Father is accompanied by various angels and cherubs, thus completing the heavenly Tri
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 Portuguese Jews in Madrid in 1630. The episode was exploited by a political faction opposed to the Count Duke, whom they accused of tolerance toward the Jews. It stirred feelings in Madrid and led to the
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 center of the composition. Paul´s soul is represented by the female figure being transported to Heaven by angels. This is a companion work to The Apostle Saint James, or Saint James the Moor Slayer
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´ neomannerist appearance—elongated body proportions and rather affected postures—make this an excellent example of Camilo´s finest style. His customary cool tonalities, with olive greens and dirty yell
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 Palomino at that Augustine convent: "in a chapel beside the door to the cloisters there is a painting by him of Saint Joachim leading Our Lady as a girl by the hand; and another painting coupled with
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 Christ Child Sleeping in his Arms (P5170), which has the same dimensions, is dated the same year, and presents a complementary subject. The fact that the Virgin appears as a girl dressed in the Carmelite
The Archangel is depicted armed, wearing a feathered helmet and carrying a flaming sword in his right hand. His left hand holds a scroll with the phrase QVIS VT DEVS (Who is like God?) as he tramples the devil. This work is characteristic of the artist’s style as a draughtsman. Until 1936, the artist’s canvas depicting Saint Michael was kept in San José (Madrid) on loan from the Museo del P
The upper register of the drawing depicts Christ with the lightning bolt of the plague in his right hand, surrounded by angels with more darts and flaming swords. The Virgin raises her hands in supplication, and a group of angels show the Cross and the Attributes of the Passion. In the lower register, Saint Charles Borromeo is kneeling with the Holy Nail in the right hand and is surrounded by corp
The Virgin as a child climbs up a steep flight of stairs, where the high priest and his procession are waiting at the top left. In the foreground to the right, Saint Anne and Saint Joachim point towards the priest. To the left, a servant approaches with a ram held by a rope. Despite the attribution to Valdés Leal that is accepted by Lefort, Sánchez Cantón and Trapier, Angulo p
This drawing depicts Saint Teresa kneeling at the feet of the Virgin, who receives a bouquet of flowers from her hand while the child places his left hand on the head of the Saint. Behind the Virgin is a group of Carmelite saints. A group of Carmelite friars appears just behind Saint Teresa. The first of them, who is kneeling, is likely Saint John of the Cross. It is a preliminary drawing with som
