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The wheel by the figure’s feet, her palm of martyrdom and crown identify her as Saint Catherine who received the wedding ring from the Infant Christ in reward for her virtue. The basket in the foregro [+]
This is the central panel of the altar piece in the archdeacon’s chapel in the cathedral of Zaragoza, built by Bernardo Villalba, archdeacon of this city, and Jaime Hospital, canon and archdeacon of B [+]
This is one of the Spanish Renaissance’s most emblematic depictions of a female figure and the best known of Yáñez de la Almedina’s works. Both considerations are due to the visibility t [+]
This composition retains the structure of traditional triptychs, but the landscape links the three panels together to form a single scene, thus including the pilgrim-donor and Saint Ursula in the Myst [+]
This almost family scene shows the Christ Child and Saint John embracing each other while their respective mothers, Mary and Elizabeth, look on. The moment is witnessed by Saint Catherine, who accompa [+]
This is the central panel of an altar piece from Siguenza Cathedral, part of which is preserved in the sacristy. It was made up of ten panels distributed into five vertical sections and a predella. Th [+]
The panel shows the moment when several angels shatter the spiked wheels on which Catherine of Alexandria was to have been torn into pieces after having rejected the advances of Emperor Maxentius and [+]
This is a rare and particularly fine example of one of Coello’s religious compositions, painted on cork for the Monastery of El Escorial. Accompanied by his mother Mary, the Christ Child appears to Sa [+]
This triptych makes use of a traditional compositional scheme and iconography, with the principal scene in the central panel. However, the volumetric treatment of the figures reflects new Italian infl [+]
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 Xim&eacu [+]
Dibujo en el que se representa a la santa semiarrodillada en primer término. Un ángel niño vuela hacia ella con la corona y la palma. En primer término los restos de la rueda y un alfanje; al fondo, p [+]
The monotonous pen-work indicates this is a copy. The arrangement of the figures and the somber lighting suggest that the prototype may have been a composition by a late sixteenth-century Roman artist [+]
The figure type and pose of the saint indeed suggest an early sixteenth-century Emilian prototype, though this drawing can be no more than a feeble reflection of such a model. In the lower left, the a [+]
This style is a little reminiscent of the drawings of the Modenese painter Ercole Setti but this handling not to be by him. [+]
