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Saint Gregory
Mixed method on panel. Ca. 1500
Nalda, Juan de
Saint Gregory
Mixed method on panel. Ca. 1500
Nalda, Juan de

The painter, of Riojan origin, completed his artistic formation with Jean Changenet in Avignon (doc. 1493). When he returned to Castile he worked in Palencia and Burgos. The simplification of volumes in his work and the importance given to light show the influence of Provencal art. Besides the sculptural image of the bishop and saint, there is a striking contrast between the realist design of the

Saint Bruno Refuses the Archbishopric of Reggio Calabria
Oil on canvas. 1626 - 1632
Carducho, Vicente
Saint Bruno Refuses the Archbishopric of Reggio Calabria
Oil on canvas. 1626 - 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

Christ in Glory with Saints
Oil on canvas. 1660 - 1661
Preti, Mattia
Christ in Glory with Saints
Oil on canvas. 1660 - 1661
Preti, Mattia

A Triumphant Christ appears to a group of saints among whom are Saints Jerome, Francis and Mary Magdalene. It is not known what church this work was painted for, although it is clear that it was meant to be hung at a quite high. Preti was a prolific painter who worked in Rome, Naples and Malta, where he was knighted and where he probably painted this work.

The Burial of the Count of Orgaz
Oil on canvas. Ca. 1625
Anonymous
The Burial of the Count of Orgaz
Oil on canvas. Ca. 1625
Anonymous

This painting is a copy of the lower part of El Greco’s celebrated original on display in the church of Santo Tomé, Toledo. A work of considerable quality, it reveals an interesting variety of pictorial devices: heavily charged brushstrokes in the areas of the chasubles and ruffs, with the pigment dragged and scumbled in other zones such as the Franciscan’s habit. It was formerly in the Jes

Stephen of Châtillon, Bishop of Diè, Preaching to the People
Oil on canvas. 1626 - 1632
Carducho, Vicente
Stephen of Châtillon, Bishop of Diè, Preaching to the People
Oil on canvas. 1626 - 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

Urban II Deliberates with Saint Bruno
Oil on canvas. 1626 - 1632
Carducho, Vicente
Urban II Deliberates with Saint Bruno
Oil on canvas. 1626 - 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

Saint Bernard
Oil on canvas. 1603
el Greco (Domenikos Theotokopoulos)
Saint Bernard
Oil on canvas. 1603
el Greco (Domenikos Theotokopoulos)

Saint Bernard of Siena (1380-1444) was an important figure within the Franciscan Order. Here he carries a staff with the anagram of Christ, while at his feet three mitres symbolise the bishoprics of Siena, Ferrara and Urbino that he turned down. The background includes two well known Toledan buildings: the Franciscan monastery of San Bartolomé de la Vega, which was destroyed during the Peni

Saint Augustine between Christ and the Virgin
Oil on canvas. Ca. 1664
Murillo, Bartolomé Esteban
Saint Augustine between Christ and the Virgin
Oil on canvas. Ca. 1664
Murillo, Bartolomé Esteban

While meditating on which of the two to focus his devotions, Christ on the cross and the Virgin appeared to Saint Augustine. Christ offered him the blood from the wound in his side, while Mary rewarded him with her milk. This canvas was originally in the Sevillian monastery of San Agustín. The upper part with angels was added in the eighteenth century.

Pope Alexander III Consecrates Anthelm of Chignin as Bishop of Belley
Oil on canvas. 1626 - 1632
Carducho, Vicente
Pope Alexander III Consecrates Anthelm of Chignin as Bishop of Belley
Oil on canvas. 1626 - 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

Saint Dominic of Silos enthroned as a Bishop
Oil on panel. 1474 - 1477
Bermejo, Bartolomé
Saint Dominic of Silos enthroned as a Bishop
Oil on panel. 1474 - 1477
Bermejo, Bartolomé

This iconic image was intended as the central panel of the church of Santo Domingo de Silos (Daroca). While the face and bodily posture are dominantly and hypnotically hieratic, the minute rendering of the rich episcopal vestments (pluvial cope, mitre, book and crozier) and the gilded microarchitecture of the monumental throne reflect a pictorial illusionism of Flemish inspiration. This surprising

Musician Angels Appear to Saint Hugo of Lincoln
Oil on canvas. 1632
Carducho, Vicente
Musician Angels Appear to Saint Hugo of Lincoln
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

Saint Nicholas of Bari
Pencil ground, Grey-brown wash, Squared-up, White lead on yellow laid paper. First third of the XVII century
Carducho, Vicente
Saint Nicholas of Bari
Pencil ground, Grey-brown wash, Squared-up, White lead on yellow laid paper. First third of the XVII century
Carducho, Vicente

One of the venerated saints in the city of Madrid was Saint Nicholas of Bari. It is precisely within the devotional context of this saint that this drawing by Vicente Carducho should be studied. In the drawing, Saint Nicholas appears full-length, dressed in pontifical vestments and displaying all the elements of his position as ecclesiastical dignitary: the chasuble, the staff and the mitre. At hi

Saint Julian, Bishop of Cuenca / Young nude figure study
Black chalk, White chalk on grey paper. Second half of the XVII century
Anonymous
Saint Julian, Bishop of Cuenca / Young nude figure study
Black chalk, White chalk on grey paper. Second half of the XVII century
Anonymous

The drawing depicts the bishop seated facing frontally next to a table on which his episcopal mitre and crosier rest and weaving a basket made of reeds. In the background, to the left, a landscape of the city of Cuenca is visible, with the gorge, the bridge and the miraculous apparition of the Virgin to the saint. It is a vibrant and lively copy of Eugenio Cajés’s renowned painting that is

Saint Gregory Giving Alms
Pencil, Pencil ground on laid paper. Late XVII century
Anonymous
Saint Gregory Giving Alms
Pencil, Pencil ground on laid paper. Late XVII century
Anonymous

Saint Gregory is depicted at the top of a staircase against an architectural background. He wears a tiara and holds a patriarchal cross as he gives alms to a beggar and an angel who are kneeling at his feet and are holding out their hands to him. A pageboy holds a tray and the Holy Spirit flies towards the pontiff. A semi-circular border has been sketched in the drawing, as in preparation for an a

Saint Ildefonso receiving the Chasuble
Pencil, Pencil ground, Grey-brown ink, Grey-brown wash on yellow laid paper. XVII century
Schut, Cornelis
Saint Ildefonso receiving the Chasuble
Pencil, Pencil ground, Grey-brown ink, Grey-brown wash on yellow laid paper. XVII century
Schut, Cornelis

Kneeling in profile to the right, the saint receives the chasuble from the Virgin. She is depicted seated on a throne of clouds on the right. In the foreground, two cherubim play with the staff. Behind the saint, another angel holds the mitre. The background comprises an open-air architectural setting; a courtyard or a cloister. Despite the attribution to Murillo, this drawing typifies Cornelis Sc

Saint Anselm
Black chalk, Pencil, Grey-brown wash, Squared-up, White lead on paper attached to canvas, yellow laid paper. 1620 - 1634
Carducho, Vicente
Saint Anselm
Black chalk, Pencil, Grey-brown wash, Squared-up, White lead on paper attached to canvas, yellow laid paper. 1620 - 1634
Carducho, Vicente

Dressed in a cape and adorned with staff and mitre, he holds a book between his hands. Angulo and Pérez Sánchez suggested the possibility that it could be Saint Augustine. However, he more closely resembles the bishop Saint Anselm of Canterbury (1033–1109), who defended the Immaculate Conception of the Virgin in his writings. When compared to the painting by Angelo Nardi Saint Anselm

The Virgin Handing the Cincture to Saint Augustine
Pencil, Grey-brown wash on yellow laid paper. XVIII century
Anonymous
The Virgin Handing the Cincture to Saint Augustine
Pencil, Grey-brown wash on yellow laid paper. XVIII century
Anonymous

This drawing depicts Saint Augustine, kneeling in profile to the right and receiving the cincture from the Virgin. She is seated amongst clouds with the Christ Child standing on her knees and surrounded by angels. At her feet, books, a mitre and crosier are perceptible.It is a copy, probably by a Madrid-born artist from the circle of the González Velázquez family, of a composition kn

Saint Ambrose
Etching, Burin on continuous paper. 1789 - 1795
Salvador Carmona, Juan Antonio; Calcografía Nacional
Saint Ambrose
Etching, Burin on continuous paper. 1789 - 1795
Salvador Carmona, Juan Antonio; Calcografía Nacional

La estampa grabada por Juan Antonio Salvador Carmona forma parte de una serie de 28, dedicada al cardenal Francisco de Lorenzana, arzobispo de Toledo. Título de la serie tomado del Catálogo de estampas del Museo del Prado.Probablemente fue grabada entre 1789, fecha en que se le revalidó el título de Grabador de Cámara de S.M. y 1795, en la que hace referencia a esta serie en su Autobiografía (Rodr

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