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This painting is among the few known works from Berruguete’s formative years in Florence and Rome, the latter depicted in the background. The bridle bit, the hand on the breast and the laurel wreath allude to the subjugation of the instincts by reason and temperament.
Forma parte de un conjunto de cuatro sargas que procedían probablemente, de la Iglesia de Santo Tomás. Temáticamente distribuidas por parejas, dos de ellas representan a San Pablo (P123) y, ésta de San Pedro, en hornacinas, mientras que las otras dos componen la Adoración de los Reyes. Una con la Virgen y el Niño recibiendo el presente del rey más anciano (P125) y la otra con los dos magos restant
This is the central panel of the Altar piece of Saint Dominic, brought -with three other paintings in the Prado (P609, P610 and P615)- from the Convent of Santo Tomás in Ávila, the headquarters of the Inquisition. As the founder of the Dominican Order, Saint Dominic is shown holding a book and a fleur-de-lis. With his cross, he crushes a demon dog surrounded by flames, a symbol of ev
The painting is the central panel of the altarpiece of Saint Peter Martyr from the Convent of Santo Tomás in Avila, together with four other panels in the Museum (P611, 614). The three altarpieces installed in the chancel of Santo Tomás in Ávila had a similar composition: a central panel with the image of the titular saint flanked by four lateral panels, two on either side, de
The three altarpieces installed in the chancel of Santo Tomás in Ávila had a similar composition: a central panel with the image of the titular saint flanked by four lateral panels, two on either side, depicting episodes from their lives that emphasise each saint’s supernatural powers and their defence of Christian orthodoxy.For the creation of the cycles of images in the altarpieces
This is the central panel of the Altar piece of Saint Dominic, brought -with three other paintings in the Prado (P609, P610, P616)- from the Convent of Santo Tomás in Ávila, the headquarters of the Inquisition. For the creation of the cycles of images in the altarpieces for the monastery of Santo Tomás in Ávila, Tomás de Torquemada probably gave Pedro de Berrugue
This is one of a group of four tempera paintings on canvas twill probably from the church of Santo Tomás in Avila. The four are thematically grouped in two pairs, one with depictions of saints -Saint Peter (P124) and the present Saint Paul- and the other, an Adoration of the First Magus (P125) and Two Magi (P126). The four works have similar compositions, with Renaissance structures and fun
On a portable rostrum, Saint Dominic and six other judges preside over the auto-da-fe in which some Albigensian heretics are being judged, representing a well-known episode in his biography. Beside him, another figure holds the banner with the floral cross, an attribute of Saint Dominic. Some of the accused are already being burned, while two others, in the foreground, await their turn, wearing th
This is one of a set of panels (P612, P613, P614 y P617) from Santo Tomás in Avila, where they were very likely part of an altarpiece dedicated to Saint Peter, the Martyr of Verona. It originally stood beside the transept but was later in the upper cloister of the convent. Saint Peter, the Martyr of Verona (thirteenth century) knew Saint Dominic and became a member of his new order, the Pre
This is a panel of the Altar piece of Saint Dominic, brought -with three other paintings in the Prado (P610, P615, P616)- from the Convent of Santo Tomás in Ávila, the headquarters of the Inquisition. For the creation of the cycles of images in the altarpieces for the monastery of Santo Tomás in Ávila, Tomás de Torquemada probably gave Pedro de Berruguete access
This is the central panel of the Altar piece of Saint Dominic, brought -with three other paintings in the Prado (P609, P615, P616)- from the Convent of Santo Tomás in Ávila, the headquarters of the Inquisition. For the creation of the cycles of images in the altarpieces for the monastery of Santo Tomás in Ávila, Tomás de Torquemada probably gave Pedro de Berrugue
This is one of a set of panels (P00611, P00612, P00614 y P00617) from Santo Tomás in Avila, where they were very likely part of an altarpiece dedicated to Saint Peter, the Martyr of Verona. It originally stood beside the transept but was later in the upper cloister of the convent. Saint Peter, the Martyr of Verona (thirteenth century) knew Saint Dominic and became a member of his new order,
This is one of a set of panels (P611, P612, P613 y P617) from Santo Tomás in Avila, where they were very likely part of an altarpiece dedicated to Saint Peter, the Martyr of Verona. It originally stood beside the transept but was later in the upper cloister of the convent. Saint Peter, the Martyr of Verona (thirteenth century) knew Saint Dominic and became a member of his new order, the Pre
