David depicts the birth of Christ as a scene running continuously across three panels. However, the kneeling donors, introduced by the standing Saints Jerome and Leonard, are kept distinct from the central sacred event. A later owner converted the original couple's donor portraits into Saints Anthon
This close-up composition shows Christ bearing the cross on the road to Calvary, one of the Sorrowful Mysteries of the Rosary. Painted in oil on canvas around 1565 by the Venetian master Titian, it measures 67 by 77 cm and is held in the Museo Nacional del Prado, Madrid.
This painting, made in 1890 by the German painter Hans Thoma, depicts the temptation of Christ in the wilderness. Thoma trained at the Karlsruhe Academy and drew inspiration from early German masters such as Albrecht Altdorfer and Lucas Cranach the Elder.
This is a list of my favorite 12 orders of Catholic nuns and sisters in no particular order. This list includes their history, and images of their habits. What is a Catholic Nun or Sister? In the Roman Catholic tradition, there are many religious institutes of nuns and sisters (the...
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Saint Symeon the Younger was a stylite saint, an early Christian ascetic who fled the world for the desert and, perched on a column, spent his days fasting and praying. The site of Symeon’s column attracted many pilgrims during and after his lifetime. Medallions like this one, showing Symeon atop hi
These four liturgical silver vessels—a paten and three chalices (1950.378–81)—form what is now called the Beth Misona Treasure, named for the village in northern Syria for which the objects were made. While nothing is known about the exact location and circumstances of the treasure's discovery, the
These four liturgical silver vessels—a paten and three chalices (1950.378–81)—form what is now called the Beth Misona Treasure, named for the village in northern Syria for which the objects were made. While nothing is known about the exact location and circumstances of the treasure's discovery, the
Woven from more than 20 colors of woolen thread, this rare tapestry was more expensive than a painting when it was made. The historical price reflected contemporary viewers’ appreciation for the skilled color blending by the weavers. Hung on a wall, this tapestry allowed viewers to venerate (honor)
The motif shown here depicts the Virgin Mary and the angel Gabriel in a repeating sequence. Both figures kneel above a bed of flowers while a dove representing the Holy Ghost hovers above. The ground of this luxury silk, woven with highlights of gold thread, is now a faded blue. Its original purpose
These monumental stone heads are among the substantial known remains of the sculptural program of Thérouanne’s cathedral, which was razed by Emperor Charles V of Spain in June 1553. These heads were found in a wall of rue Ste. Croix in the town of Saint Omer (a short distance to the north) in Januar
This relief once framed a tabernacle—a receptacle above and behind an altar for the safekeeping of the Eucharist. The inscription over the doorway, LOCHVS SANCTVS (Holy Place), and below, LAVS DEO (Praise God), confirm the relief’s intended purpose. Originally, a door at center, perhaps in gilt bron
The chalice and paten—the most important liturgical vessels—are used at the altar by the priest for the consecration of the Eucharistic bread and wine during the celebration of the mass. This chalice survives with its original paten. The form of the chalice evolved over the centuries. Gothic chalice
Designed to facilitate the display and veneration of ten relics, this sumptuous ostensorium (from the Latin ostendere, meaning "to show") is one of the most unusual reliquaries in the Guelph Treasure. Elements of contemporary Gothic architecture in miniature frame an elaborately decorated liturgical
The striking impression of this figure is the vivid representation of suffering. The sculpture captures the moment after Christ’s death: the drooping head on a frail neck is a mask of agony. The eyes are nearly shut, the mouth is ajar, and the forehead crowned by heavy, gouging thorns is drawn with
The word vesperbild is the German word for pietà, the image of the Virgin Mary cradling her dead son on her lap. The theme has no literary source; it originated in Germany during the early 1300s and was more widespread in central Europe than in Italy. These devotional sculptures were used within the
Inscribed on the base are the words ECCE AGNUS DEI (Behold the Lamb of God). Multscher was a prominent and successful sculptor from the Bavaria region who operated a large and prolific workshop with as many as 16 assistants. He worked in many materials and his work reflects a deep knowledge of Flemi
Plaquettes emerged during the Renaissance in connection with the revival of interest in ancient Greek and Roman coins and medallions. This small-scale devotional image provided a personal and private connection between the owner and the religious figures. The two small holes suggest that it may have
With much of Saint Peter’s Basilica obscured by the energetic lines that form the foliage, the building appears integrated into the landscape in this river scene. What stands out is the massive dome jutting from the tree line. Designed by Michelangelo in 1547, the dome was completed in 1590, after h
Scholars now consider this drawing a rare, late work by Rembrandt. Here, Christ meets with Martha and Mary after the death of their brother, Lazarus (John 11:30–36). The composed dignity of Christ's face and his calm compassion contrast with the prostrate figure of Mary and the agitated drawing of t
This image of Madonna with the Christ Child on her lap has been extensively altered by restoration. During the Renaissance, it was important that the Christ Child's genitalia be exposed, for it declared that Christ is the humanization of God, that he experienced temptation, and that in his exposure,
This vividly colored altarpiece was made in Antwerp, the center of religious learning in Catholic Flanders. In the mid-1500s when the Catholic Church mounted a defense against the spread of Protestant reforms, known as the Counter-Reformation, it encouraged the production of religious images that pr
This panel reveals a long history of changes. The initial work was painted on a single slab of wood, with strips left unpainted along the top and bottom. At an unknown time, the panel was probably cut down on the right and left sides, and the two blank strips at the top and bottom were filled in to
Saint Catherine holds the sword with which she was martyred. This painting and another in the collection (1942.633.2) were originally the wings of an altarpiece flanking a central panel, now lost, that may have depicted the Holy Family. The identity of this artist is unknown, but he is named for a p
This painting shows a Carthusian monk kneeling in devotion and prayer before the Crucifixion. It is likely that this panel was intended for the cell of a monk in an unknown monastery. The Carthusians were particularly devoted to the Passion and Crucifixion of Christ, and devotional images were provi
Taken at Holy Spirit Catholic Church in Virginia Beach, Virginia.
Depicting 13 holy men, this diptych (two-panel painting) is sized for an Ethiopian Orthodox Christian church or elite home. It is painted in the bold, colorful style associated with royal court workshops from the early 1600s to the mid-1700s. Painter Wäldä Maryam (or someone he trained) set this sce
The overall style of this painting suggests that it was painted by an artist closely associated with the Netherlandish painter Jan van Eyck. The facial structure of the saint as well as the artist's treatment of his cloak are typical of van Eyck's follower, Petrus Christus. Christus was active in th
Rather than depicting a single moment in time, this gold-ground painting symbolically encapsulates Christ. Seated on a rich throne, the monumental Virgin holds the Christ child. Above, the risen Christ is seen in heaven holding a book, inscribed with the alpha and omega, the first and last letters o
