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Comprising three panels, the Nativity, the Adoration of the Magi and the Presentation in the Temple, this painting is earlier than the triptych on the same subject painted by Memling for Jan Floreins in 1479. It is clearly influenced by Van der Weyden, as are other works by the artist. In this work, the unified space represented in the Nativity and the Adoration of the Magi is noteworthy. It was a
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 left panel of the Altar Piece of the Pietà, Saint Michael and Saint Catherine from the church of Santa María in Ejea de los Caballeros (Zaragoza). The painter, originally from Pareja (Guadalajara) and active in Aragon, shows the archangel dressed in armour and a cloak, driving his lance into the head of the demon beneath his feet.Wearing armour and a cloak, the archangel
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
It is extremely likely that these two panels, -The Adoration of the Magi and The Adoration of the Shepherds-, similar in format, measurements and style, belonged to the predella of the same altarpiece, since both have the usual configuration of paintings destined for this type of placement, and the compositional design in each case displays similarities in the size and arrangement of the figures a
The Virgin Mary, with the Christ Child on her lap, is worshiped by the Catholic Kings, Isabel (1451-1504) and Fernando (1452-1516), two of their children, and others. On the right of the composition, accompanying the Queen, are Saint Dominic, one of the Queen´s daughters and a kneeling male figure without a halo. The sword on his chest implies martyrdom, and he has been associated with Pedro de Ar
Francisco Fernández de Córdoba wears a biretta and ecclesiastical robes. He was the son of the second Count of Cabra and of Doña María Hurtado de Mendoza-Luna. He was the Bishop of Oviedo from 1526 and of Palencia from 1536, and died in 1539. Some verses in Latin identify the sitter and the painter who was “inspector” of Ferdinand the Catholic’s painters. The frame is o
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
It is extremely likely that these two panels, -The Adoration of the Shepherds and The Adoration of the Magi-, similar in format, measurements and style, belonged to the predella of the same altarpiece, since both have the usual configuration of paintings destined for this type of placement, and the compositional design in each case displays similarities in the size and arrangement of the figures a
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 the right panel of the Altar Piece of the Pietà, Saint Michael and Saint Catherine from the church of Santa María in Ejea de los Caballeros (Zaragoza). As is the norm in Ximénez’s figures, the Saint, shown with her usual attributes -crown, palm, book, sword and wheel- has less marked yet more expressive features than those of Bernat, an artist he sometimes worked with.
