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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 Sa [+]
This is the central panel of the Altar piece of Saint Dominic, brought -with three other paintings in the Prado (P-609, P-610 and P-615)- from the Convent of Santo Tomás in Ávila, the he [+]
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 (P-611-614). The saint is ident [+]
Falsely accused of witchcraft, the Saint, kneeling and elevated from the floor, complains before the image of Christ about having to suffer for him in spite of being innocent. The crucified Christ rep [+]
In response to Satan’s attacks on the early Dominicans, a procession is established in honour of the Virgin in which the "Salve Regina" is sung. In this panel, which was executed for the altarpiece of [+]
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 [+]
This painter is one of the most outstanding and singular representatives of the early Renaissance in Palencia. While there are no extant documents to prove it, this work must somehow be connected with [+]
This panel and its companion, Saint Ambrose and Saint Augustine (P8124), must have been part of the predella of a mid-sized altarpiece. Like most of the works attributed to Pedro Berruguete, they are [+]
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 hi [+]
Figura de cuerpo entero, con el niño en brazos; un joven donante arrodillado; fondo de paisaje. En el marco, el escudo. Presenta analogías con tablas vallisoletanas influidas por Pedro Berruguete. Día [+]
The scene takes place during a trial presided by Saint Dominic in Milan against a heretic bishop, identified by his mitre. Seated next to the portable pulpit set up in a square, the prelate promises t [+]
In the Middle Ages, the “trial by fire” was used as a means of establishing the truth; miracles thus prevailed over rational arguments. Here, one of Saint Dominic’s books is placed in the fire togethe [+]
The scene of the Adoration of the Magi, which begins with the depiction of the eldest Magus presenting his offering to the Christ Child (P125), is completed with this second one in which the other two [+]
Inside a church, the levitating Saint Dominic raises his right hand to bless Napoleone Orsini, who had died after falling from his horse, visible through the doorway on the left. At the same time, his [+]
This is one of a set of panels (P00611, P00612, P00614 y P00617) from Saint Thomas in Avila, where they were very likely part of an altarpiece dedicated to Saint Peter, the Martyr of Verona. It origin [+]
Esta tabla y su pareja "San Gregorio Magno y san Jerónimo" (P8123) debieron formar parte de la predela de un retablo de tamaño medio. Pese a que no están documentadas, al igual que la mayoría de las o [+]
This composition, together with the one that completes the episode, showing the other two Magi (P126), was painted to cover the doors of an organ, probably the one in the church of Santo Tomás [+]
According to the Golden Legend by Jacopo de Voragine, the lamps hung by the devout next to the saint’s tomb light themselves. The painter represents just one lamp which is miraculously lit by a ray of [+]
