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Saint Anthony of Padua with the Infant Christ
Oil on canvas. 1767 - 1769
Tiepolo, Giovanni Battista
Saint Anthony of Padua with the Infant Christ
Oil on canvas. 1767 - 1769
Tiepolo, Giovanni Battista

Saint Anthony of Padua (1195-1231) wears a Franciscan habit and meditates before a book over which the Christ Child appears. This is one of the miracles of that saint´s tradition. The spray of lilies in the foreground is one of his iconographical symbols, and is accompanied here by the basket that symbolizes the alms on which that saint lived. This work was designed for an altar in the church of S

Saint Francis Preaching to the Birds
Oil on canvas. Ca. 1646
Carreño de Miranda, Juan
Saint Francis Preaching to the Birds
Oil on canvas. Ca. 1646
Carreño de Miranda, Juan

In 1724, Antonio Palomino, who had been Juan Carreño de Miranda’s disciple, included his teacher’s biography in his Parnaso español pintoresco y laureado. Their close relationship makes that text a highly informative source of first-hand information. Palomino wrote: Two other works by his hand (though early) are the paintings on the facing side walls of the church of El Caballero de

Landscape with Saint Benedict of Nursia
Oil on canvas. 1634 - 1639
Swanevelt, Herman Van
Landscape with Saint Benedict of Nursia
Oil on canvas. 1634 - 1639
Swanevelt, Herman Van

This painting entered the Museum`s holdings as Saint Francis in the Brambles by Jan Both. The scene is correctly classified in the catalogue of 1873. A decade later Valdivieso (1973) identifies it as the landscape listed in the Buen Retiro inventory of 1701 and proposes it be attributed to Herman van Swanevelt, albeit with the possible collaboration of Jan Both in the landscape. Luna (1984), Bargh

The Virgin Appears to Juan Fort
Oil on canvas. 1632
Carducho, Vicente
The Virgin Appears to Juan Fort
Oil on canvas. 1632
Carducho, Vicente

On August 29, 1626, King Philip IV’s painter, Vicente Carducho (ca. 1576-1638), signed a contract for the creation of a cycle of paintings to celebrate the founding of the Carthusian Order by Saint Bruno and its leading members. This colossal undertaking sought to visually narrate numerous episodes from the Carthusians’ history and tradition. It was the most complete commission ever dedicated to t

The Consecration of Saint Ambrose as Archbishop
Oil on canvas. Ca. 1673
Valdés Leal, Juan de
The Consecration of Saint Ambrose as Archbishop
Oil on canvas. Ca. 1673
Valdés Leal, Juan de

The episodes from the life of Saint Ambrose were commissioned from Juan de Valdés Leal (1622-1690) by Ambrosio Ignacio Spínola y Guzmán (1632-1684), Archbishop of Seville, for his private oratory. They are markedly specular in nature given that the saint and archbishop share the same name, ecclesiastical rank and connections with northern Italy. The series was conceived by Sp&

Saint Ambrose absolves the Emperor Theodosius
Oil on canvas. Ca. 1673
Valdés Leal, Juan de
Saint Ambrose absolves the Emperor Theodosius
Oil on canvas. Ca. 1673
Valdés Leal, Juan de

The episodes from the life of Saint Ambrose were commissioned from Juan de Valdés Leal (1622-1690) by Ambrosio Ignacio Spínola y Guzmán (1632-1684), Archbishop of Seville, for his private oratory. They are markedly specular in nature given that the saint and archbishop share the same name, ecclesiastical rank and connections with northern Italy. The series was conceived by Sp&

Saint Peter liberated by an Angel
Oil on canvas. 1652 - 1657
Cano, Alonso
Saint Peter liberated by an Angel
Oil on canvas. 1652 - 1657
Cano, Alonso

Saint Peter was sleeping when an angel woke him in order to break his chains and release him from prison. The stone block on which the saint is sleeping and the keys and sandals on the floor are his identifying attributes. The painting’s unusual format reflects its original function as an over-door in the convent of the Ángel Custodio (Guardian Angel) in Granada.

Saint Peter the Martyr praying
Oil on panel. 1491 - 1499
Berruguete, Pedro
Saint Peter the Martyr praying
Oil on panel. 1491 - 1499
Berruguete, Pedro

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

The Holy Family surrounded by Saints
Oil on panel. Ca. 1630
Rubens, Peter Paul
The Holy Family surrounded by Saints
Oil on panel. Ca. 1630
Rubens, Peter Paul

The Virgin sits with the Christ Child in the midst of grandiose classical architecture. She is surrounded by numerous saints in various positions. Above her, some angels prepare to crown her as Queen of Heaven. This work was sometimes thought to be a representation of The Mystical Betrothal of Saint Catherine, because of the strong presence of that saint, who is depicted kneeling before the Christ

Saint Francis Resurrecting a Girl
Oil on canvas. 1788 - 1789
Carnicero, Antonio
Saint Francis Resurrecting a Girl
Oil on canvas. 1788 - 1789
Carnicero, Antonio

The hagiography of Saint Francis has a plethora of passages describing his resurrection of dead children and other similar miracles. As many as five appear in Thomas of Celano´s Treatise on the Miracles, all registered in the 13th century. The scene depicted here could be any one of them, or simply a generic representation in which a group of women bring a dead girl to Saint Francis.

Saint Ambrose denies Theodosius entry to his Church
Oil on canvas. Ca. 1673
Valdés Leal, Juan de
Saint Ambrose denies Theodosius entry to his Church
Oil on canvas. Ca. 1673
Valdés Leal, Juan de

The episodes from the life of Saint Ambrose were commissioned from Juan de Valdés Leal (1622-1690) by Ambrosio Ignacio Spínola y Guzmán (1632-1684), Archbishop of Seville, for his private oratory. They are markedly specular in nature given that the saint and archbishop share the same name, ecclesiastical rank and connections with northern Italy. The series was conceived by Sp&

The Miracle of the Cloud
Oil on panel. 1491 - 1499
Berruguete, Pedro
The Miracle of the Cloud
Oil on panel. 1491 - 1499
Berruguete, Pedro

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

Altarpiece of Saint Michael
Tempera on panel. Ca. 1440
Master Of Arguis
Altarpiece of Saint Michael
Tempera on panel. Ca. 1440
Master Of Arguis

This fragmentary altarpiece comes from the church of San Miguel in Arguis (Huesca). It narrates episodes which evoke the supernatural power of the archangel, especially against the actions of the devil: the victory over the rebel angels, the psychostasia or weighing of souls, and the appearance of the saint on Mount Gargano in the form of a bull. Their artist, a master who remains anonymous, is cl

Saint Clement, Pope
Oil on panel. 1540 - 1545
Correa de Vivar, Juan
Saint Clement, Pope
Oil on panel. 1540 - 1545
Correa de Vivar, Juan

The figure has been identified as Saint Clement, a pope and a martyr from the 1st century (92–101). Originally Jewish, Saint Peter converted him to Christianity. According to tradition, he became a martyr by being thrown into the Black Sea with an anchor around his neck. In 867, Saints Cyril and Methodius transferred his remains to Rome and in so doing catalysed his devotional following. He is alw

Miracles of the Doctor Saints Cosmas and Damian
Oil on panel. Ca. 1510
Rincón, Fernando del
Miracles of the Doctor Saints Cosmas and Damian
Oil on panel. Ca. 1510
Rincón, Fernando del

Rincón worked in Aragon but primarily in Castile where he contributed to introducing the Renaissance style. This large-format panel from Guadalajara combines a Renaissance spatial approach and forms with medieval elements such as the profusion of elaborate brocade fabrics. The panel depicts two of the miracles of Cosmas and Damian, twins who promoted both medicine and Christianity. Through

The Vision of the Blessed Sebastián Aparicio
Oil on canvas. Ca. 1789
Maella, Mariano Salvador
The Vision of the Blessed Sebastián Aparicio
Oil on canvas. Ca. 1789
Maella, Mariano Salvador

Sebastián Aparicio (1502-1600) was born in La Gudiña (Orense) and first worked as an agricultural labourer. In 1533 he went to Mexico where he became a landowner then entered the Franciscan Order in 1574. In 1789 was beatified for his missionary work and various miracles are attributed to him. Maella depicts him at work in the countryside.

The dream of King Ramiro I
Oil on canvas. Ca. 1866
Rocha Icaza, Lorenzo
The dream of King Ramiro I
Oil on canvas. Ca. 1866
Rocha Icaza, Lorenzo

In this history painting, the artist depicts one of the moments preceding the legendary battle of the Reconquista in Campo de la Matanza, in the vicinity of Clavijo (La Rioja) on 23 May 844. On the eve of the battle, Ramiro I (791?–850), King of Asturias (842–850), has a dream suggesting to him that a miraculous intervention by Saint James the Apostle riding a white steed would lead to Christian v

Saint Ambrose appointed Governor of Liguria and Emilia
Oil on canvas. Ca. 1673
Valdés Leal, Juan de
Saint Ambrose appointed Governor of Liguria and Emilia
Oil on canvas. Ca. 1673
Valdés Leal, Juan de

The episodes from the life of Saint Ambrose were commissioned from Juan de Valdés Leal (1622-1690) by Ambrosio Ignacio Spínola y Guzmán (1632-1684), Archbishop of Seville, for his private oratory. They are markedly specular in nature given that the saint and archbishop share the same name, ecclesiastical rank and connections with northern Italy. The series was conceived by Sp&

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