Free stock photos of Catholic subjects.
South Netherlandish stained glass panel of a holy man with six suppliants, made of pot metal, white glass, vitreous paint and silver stain. It measures about 77.6 x 57.9 cm.
Musical angels herald the heavenly coronation of the Virgin in this elegant and refined carving. Its original context is uncertain, but it was possibly made as an independent devotional image or as part of an altar decoration.
This sculpture and another example of the same subject preserved in the church at Saint Die are among the finest representatives of the regional style found in Lorraine in the early fourteenth century. It is a statue in polychromed and gilded Paris limestone that measures about 87 x 30.2 x 21.9 cm.
This scene of the Resurrection, along with 11 additional embroideries of the life of Christ, may have formed an altar frontal, a hanging decorating the front of an altar. Originally, expensive gold thread covered the background, but it was removed and probably melted down for its monetary value.
This sculpture reflects the influence of Bon and may have been carved by a follower of his in the third quarter of the century. It is a fine example of Italian Renaissance sculpture that would have held a commanding position in an architectural context.
This scene of the Last Supper clearly shows each disciple, including Judas, who is seen at the lower right clutching his bag of money, a reference to his future betrayal.
Saint John the Evangelist was the disciple of Christ who was next to him at the Last Supper. The portrayal here refers to later accounts according to which John was handed a cup with poisoned wine from which, at his blessing, a serpent arose.
Stained glass panel of colorless glass with vitreous paint and silver stain, made in Cologne, Germany. It measures 37.8 x 17.3 cm (14 7/8 x 6 13/16 in.).
Stained glass panel of colorless glass with vitreous paint and silver stain, made in Cologne, Germany. It measures 39.1 x 34.6 cm (15 3/8 x 13 5/8 in.).
Writing on a long scroll, the youthful saint records divinely inspired revelations. Due to his youthfulness, he probably represents Saint John, who, in addition to his own Gospel, was believed to have written the Apocalypse (Book of Revelation) while living in exile on the Greek Island of Patmos.
Oak wall statue of the risen Christ. It is 69.2 cm (27 1/4 in.) tall.
The donors are Pons de Gontaut and his brother Armand, Bishop of Sarlat, in whose family funerary chapel this sculpture and the Entombment originally stood. Their coats of arms were held by the angels in the Entombment scene.
Represented as Queen of Heaven, the Virgin holds a playful Christ Child who, in turn, has caught a bird in flight. The bird symbolizes the soul and its resurrection. The bird nourishes itself on the blood of Christ, an act that refers to the Eucharist.
The Catalan sculptor, architect, and painter Guillem Seguer was active in the diocese of Lleida and elsewhere in the mid-1300s. This limestone statue with polychromy and gilding measures 132.7 x 41.6 x 32.1 cm (52 1/4 x 16 3/8 x 12 5/8 in.).
Limestone statue with traces of polychromy, made in Troyes, France. It measures 75.9 x 43.8 x 30.5 cm (29 7/8 x 17 1/4 x 12 in.).
Limestone relief statue with traces of polychromy and gilding, made in Lorraine, France. It measures 69.9 x 54.6 x 27.3 cm (27 1/2 x 21 1/2 x 10 3/4 in.).
Glazed terracotta. Dimensions: 67 × 44.5 cm (26 3/8 × 17 1/2 in.)
Painted wood and terracotta with various textiles.
The saint was previously identified as possibly Saint Ignatius of Loyola, but does not resemble portraits of Ignatius Left and above, allegories of the Holy Trinity, with lettering "Tres sunt qui dant testimonium in terra, et hi tres unum sunt" and "Tres sunt qui dant testimonium in coelo, et hi…
French stone statue of the Virgin and Child from the 15th century, about 141.6 cm (55 3/4 in.) tall.
English alabaster carving of the Coronation of the Virgin with polychromy and gilding, made in England in the 15th century. It measures 40 x 27.3 cm.
This sculpture of the crucified Christ reportedly came from a church in Banyoles in northeastern Spain. It was displayed between the choir and the nave, which was the space reserved for the congregation. Originally painted and gilded, it would have provided a dramatic focal point for the faithful.
The close similarity of this fragment to the image of Christ with angels on the Ascension ivory (17.190.46) suggests that ivory carvers carved the same image for more than one patron.
Leaves from a Coptic manuscript dating from the 6th to the 14th century.
