Public domain paintings of Catholic male saints.
Saint Nicetas the Goth, in the armor and red cloak of a soldier, seizes the devil by the hair. An icon of the Przemyśl school of icon painting, mid-16th century, from Ilynyk, now in the Andrey Sheptytsky National Museum in Lviv, Ukraine.
Two founders of Kyiv's Monastery of the Caves, Saints Anthony and Theodosius, stand in monastic habits holding scrolls beneath the image of the Virgin. From the iconostasis of the Manyavsky Skete, now in the Andrey Sheptytsky National Museum in Lviv, Ukraine.
Saint George, mounted on a black horse, spears the dragon in the waters below. An icon dated 1466 from the village of Stanyli, now in the Andrey Sheptytsky National Museum in Lviv, Ukraine.
The three great teachers of the Eastern Church, Saints Basil the Great, Gregory the Theologian and John Chrysostom, stand in bishops' vestments. An icon of the Sudova Vyshnia school of icon painting, 1st half of the 17th century, from Lipie, now in the Historical Museum in Sanok, Poland.
Taken at Our Lady of Perpetual Help Byzantine Catholic Church in Virginia Beach, Virginia, on December 7, 2025, the week of the feast of Saint Nicholas. An icon of the bishop and wonderworker Saint Nicholas rests on a cushion on a red cloth, between two red vigil lamps and a standing cross.
An anonymous 16th-century painting of the legend of Saint Christopher, the giant ferryman who carried the Christ Child across a river and felt the weight of the world on his shoulders.
A night scene of the vision of Saint Francis of Assisi. On the left Saint Francis holds the Christ Child in his arms, and on the right stands the Virgin Mary. Medium: Oil on canvas. Measurements: 103 x 102 cm.
These panels depicting Saints Anthony the Abbot and Michael originally flanked a central scene of the Madonna and Child with Angels, now lost, to form a triptych. Giovanni di Cosimo de’ Medici of Florence commissioned the ensemble in 1457 as a diplomatic gift to Alfonso V of Aragon. Fra Filippo Lipp
Noël Nicolas Coypel combined two stories associated with Saint James the Greater, one of the twelve apostles of Christ. In the foreground is the magician Hermogenes, begging forgiveness. Hermogenes had cast a spell on James, but the saint turned the curse back on him. When James offered to protect H
These panels depicting Saints Anthony the Abbot and Michael originally flanked a central scene of the Madonna and Child with Angels, now lost, to form a triptych. Giovanni di Cosimo de’Medici of Florence commissioned the ensemble in 1457 as a gift to Alfonso V of Aragon. Fra Filippo Lippi, a Carmeli
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
The earliest Italian painting in the Lehman Collection, this panel formed part of one of the greatest Italian altarpieces of the third quarter of the thirteenth century. The double-sided altarpiece was probably commissioned for the main altar of the church of San Francesco al Prato in Perugia. This
Because of his simplicity, piety, and devotion to all living creatures, Saint Francis (1181–1226) has remained among the most revered and popular saints. Born to wealthy parents in Assisi, he first lived a life of spendthrift luxury. However, Francis later gave up all worldly goods and embraced an e
Saint Gregory was a late 6th-century pope and one of the fathers of the early Roman Church. This painting depicts the popular legend in which Gregory once overheard an onlooker express doubts about Christ's actual presence at the altar during mass. In response, the saint's immense faith was rewarded
Saint Andrew's efforts to introduce Christianity to Greece in the first century CE were met with hostility from local authorities, and he was sentenced to die on the cross because he refused to acknowledge pagan gods. For two days, Andrew preached from his martyr's station to an increasingly sympath
Saint Lawrence is shown enthroned, his feet resting on the grill on which he was martyred, flanked by Saints Cosmas and Damian, whose cult was closely associated with the powerful Medici family. The imagery reflects the political allegiances of Alessandro Alessandri (1391-1460), who commissioned it
These two scenes from the life of Saint Nicholas of Tolentino, a thirteenth-century Augustinian priest, were part of the base (predella) of an altarpiece in the Muzzarelli chapel of the church of Sant'Andrea in Ferrara. They show two of the saint's miracles: reviving a child who had died before bein
In the top scene, Saint Nicholas, Bishop of Myra (270-343)-the original "Saint Nick"-is shown throwing three balls of gold through a window, providing the dowry of three poverty-stricken maidens. In the other panel he resuscitates three youths who had been pickled by an innkeeper during a famine. Th
This tempera and gold panel depicts the martyrdom of Saint John the Baptist, executed at the order of Herod as recounted in the Gospels. It was painted between 1430 and 1469 by an unidentified Catalan painter and is held in the Metropolitan Museum of Art.
A graceful Saint Michael is poised to deal a fatal blow to his monstrous opponent. Originally part of a larger ensemble, this painting was made in Italy by an artist inspired by the richness and refinement of Valencian art. The painter may have been associated with Gherardo Starnina (ca. 1360-1413),
Jerome and Catherine sit on a grass-covered bench before some rose bushes. The two saints can be identified by their attributes: Jerome with the lion, and Catherine with the sword and the broken wheel of her martyrdom. The painting was made in Bruges or Brussels around 1480-1490.
Saint Jerome, who translated the Bible into Latin in the 4th century, is considered the most learned of the four Church Fathers. Lorenzo Monaco depicted him in the corner of his study, accompanied by the lion that befriended him after he removed a thorn from its paw.
This engraving, made around 1475-1480, shows Saint Christopher carrying the Christ Child across a river. It is by Martin Schongauer, the most important printmaker working north of the Alps before Albrecht Durer, who collected and studied his work.
This panel shows Saint John the Evangelist weeping, likely a fragment from a larger Crucifixion or Lamentation scene. It is by the early Netherlandish painter Colijn de Coter, who worked mainly in Brussels and Antwerp producing altarpieces in the late 15th and early 16th centuries.
