Free downloadable Catholic paintings which are in the public domain
The Old Testament hero Samson rests his head on his hand in a pensive, even melancholic pose. Objects on the table recall two of his heroic deeds: he killed a lion with his bare hands, and liberated the Israelites by slaughtering a thousand Philistines with a donkey’s jawbone.
In his right hand, the Christ child grasps a stem of roses. The beauty and fragrance of roses symbolize heaven, while their thorny stems allude to the crown of thorns and Christ's suffering. The bird he holds in his left hand symbolizes the human soul.
According to the Gospel of Matthew, three Magi, guided by a star, found the newborn Christ and laid gifts before him.
Sir Thomas More (7 February 1478 – 6 July 1535), venerated in the Catholic Church as Saint Thomas More, was an English lawyer, judge, social philosopher, author, statesman, and noted Renaissance humanist. He also served Henry VIII as Lord High Chancellor of England from October 1529 to May 1532.
This small but opulent panel painting was once joined to another panel with hinges to form a diptych. Given its small size, its original function was for private devotional use. It could be folded like a book when not in use and was highly portable.
The Biblical parable of Lazarus and the Rich Man (Luke 16:19-21) tells of a man who feasted and celebrated every day, while a beggar named Lazarus sat starving nearby. Dogs came to lick the sores on the poor man's body.
Saint Catherine (1347–1380) was the daughter of a prosperous Sienese cloth dyer. At the age of six, she saw a vision of Christ and thereafter dedicated herself to chastity, penance, and good works.
Despite the religious subject, the scale and intricate detail indicate that this painting was not for a church setting. Instead, as an independent work of art, a collector would have admired its artistry and unusual combination of Italian and northern European traditions.
In this painting, the Archangel Gabriel proclaims the Virgin’s destiny as the mother of Christ. The setting is an ordinary house, but simple objects have symbolic meaning.
This central panel from an altarpiece shows the Madonna seated on a throne with the infant Christ, surrounded by kneeling angels and six-winged seraphim. Below is an image of the dead Christ flanked by the Virgin Mary and Saint John.
Jean de Beaumetz became the official court painter to the Burgundian duke, Philip the Bold, in 1376. Between 1389 and 1395 he created devotional paintings for the monks’ cells at the Chartreuse de Champmol, the monastery founded by Philip and his wife Margaret to house the ducal tombs.
It is likely this pair of enamel plaques depicting the apostles Simon with Thaddeus and Thomas with Matthew once formed part of the decoration of a portable altar, a reliquary triptych, or some other kind of liturgical object.
Bernardino di Betto, called Pinturicchio, is said to have acquired his nickname ("little painter") because of his small stature, and used it to sign some of his paintings.
As a Dominican monk, Fra Angelico was not subject to the strict rules of the Florentine painters’ guild. He was thus free to develop a more personal style. This combined strong realism and solid forms with a certain sweetness partly derived from earlier Sienese and Florentine examples.
Bridget of Sweden (c. 1303 – 23 July 1373); born as Birgitta Birgersdotter, was a mystic and saint, and founder of the Bridgettines nuns and monks after the death of her husband of twenty years.
Seated on an elaborate throne, the Madonna’s weighty majesty emphasizes her role as the Queen of Heaven as she gazes at her infant son. The child, in turn, stares at the viewer.
Fundamental to Christian belief, the Holy Trinity refers to the three divine persons in God—God the Father, here depicted wearing a papal tiara, God the Son, crucified on the cross, and the Holy Spirit, represented as a dove.
The artist has set Christ's birth in a ruined stable, witnessed by shepherds and angels. The candle Joseph holds symbolizes the supremacy of Christ's divine radiance over earthly light.
The women's upturned, grasping palms beautifully convey their adoration of Christ, tenderly answered by Christ's gesture. Bartolomeo Rigossi used a brilliant yellow to describe the wispy grass and foliage as well as to create the warm light cascading over the rolling hills.
This initial B, introducing the first psalm, Beatus vir, represents King David who is shown here playing a psaltery, a stringed instrument consisting of a shallow box that is plucked, instead of his more traditional harp. The psaltery was widely popular in Europe during the 14th and 15th centuries.
In the central panel the Glorification of the cross by the Saints, the prophets and the angels is shown. On the right, are the 4 the patriarchs including Moses, Abraham and King David.
This miniature was taken from a choir book and shows two female figures. Their golden halos mark them as saints and the lily scepters as virgins. It is attributed to the Sienese painter Niccolò di ser Sozzo.
The symbolic family tree of Jesus is depicted here. The tree grows from the body of the sleeping Jesse. He was the ancestor of a family of kings that, according to tradition, included Solomon, David, and Jesus. The tree is filled with the kings of Israel, including King David with his harp.
The crestfallen Prophet Jeremiah rests his weary, old head on his hand. He laments Jerusalem going up in flames – in the background – whose destruction he had prophesied. Rembrandt heightened the sense of drama with powerful contrasts of light and dark.
