Free downloadable Catholic stock photos of the Virgin Mary.
Taken at Our Lady of Perpetual Help Byzantine Catholic Church in Virginia Beach, Virginia, on December 7, 2025. A framed icon of the Theotokos of Kazan, in which Mary holds the Christ Child, sits on a wooden table.
The distinctively Roman Catholic subject of Mary cradling her son, the crucified Christ, suggests this figure was probably made for one of the aristocratic English families forced to practice their Catholicism in secret during the mid-1700s. Because of the laws banning Catholic worship in England, g
This work has been associated with Johann Pieter Wagner, one of the leading Austrian sculptors of the second half of the 18th century. Because of its small size, it was most likely either a model for a larger altarpiece or an object designed for private devotion. Gold serves as celestial decoration
Taken at Holy Spirit Catholic Church in Virginia Beach, Virginia. A painted statue of the Virgin Mary in a blue mantle stands on a cloud and crushes the serpent beneath her feet. She wears a crown of purple and blue flowers and is flanked by two gold lanterns holding candles, with sunflowers beside
Taken at the Church of the Ascension in Virginia Beach, Virginia. A white statue of the Virgin Mary with open hands stands lit at dusk in the church's prayer garden, surrounded by fresh and silk flowers, with benches and a stone path around her.
Both the Virgin and the Christ child are lavishly attired. Their mantle hems are engraved to create the illusion of being fur-lined, and turquoise enamel beads create "pearl"-studded decorative bands on the Virgin’s wrist, knee, and crown and on Christ’s collar. The similarity of their garments emph
The Madonna is seated beneath a Gothic-arched canopy flanked by Saints Catherine and John the Baptist. A rectangular frame encloses the group. Most likely from a Sienese church interior, the work is probably a fragment of a larger sculptural program such as a tomb. An authentic Gothic style in sculp
This sculpture relates stylistically with architrave figures from the facade of Monopoli’s cathedral. It is especially similar to a capital there featuring the prophet Daniel. The figure pouring water on the left probably represents an attendant in the Birth of the Virgin. The remaining figures depi
Twelve public-domain medieval and Renaissance statues of the Virgin Mary and the Christ Child, free to download.
One of the most important and beautiful sculptures that still exist by this artist, this work is believed to be the only sculpture by Andrea Pisano in the US. The attribution to Pisano is based upon a comparison with his bronze reliefs for the Baptistry doors in Florence, fully documented examples o
The Virgin and Child represents one of the most frequent subjects for free-standing sculpture in 14th-century France, motivated by the developing cult of the Virgin and increasing veneration of Mary. Such sculptures were not restricted to churches, but were also found in roadside shrines, entrances
This relief is one of several such painted stucco replicas cast after the marble original of about 1460–65 now in the Pierpont Morgan Library, New York. While this example has suffered old and obvious losses, it still conveys the overall composition and some of the subtlety of modeling of the marble
These figures of the Virgin and Saint John once formed part of a Crucifixion group that would have originally included a figure of Christ on the cross shown at center. Fortunately the original polychromy of the two figures has been preserved, affording the viewer a rare opportunity to appreciate a r
This standing Virgin now lacks the child she once cradled in her left arm. The sculpture may have been damaged in the French Revolution by falling onto its face. It was carved from soft white limestone of a type known to be quarried at Asnières-lès-Dijon, near Champmol. The figure recalls many of th
This pendant was made in the Rhine-Meuse region—now in modern Belgium—renowned for the production of fine metalwork objects, especially enamels. An enamel plaque depicting the enthroned Virgin and Christ child dominates the pendant. Four peripheral enamels depict angelic figures representing virtues
This half-length Madonna represents one of the finest of about 40 surviving variants, all of which display many characteristics of the Florentine bronze sculptor Lorenzo Ghiberti. These features include serene facial types with narrow eyes and thin eyebrows, the careful arrangement of the Madonna an
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
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
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
The Madonna sits upon a throne with the Christ child standing on her knee. He is steadied by his mother, turning delicately to grasp her robe for support. On the left is Saint Francis, identified by his stigmata. On the right, Saint Giovanni Gualberto is identified by his monk's robe and distinctive
This altarpiece was made in the then modern Renaissance style, using the modern material of tin-glazed earthenware. Its inscription records that it was commissioned in 1502 by Sister Catherine, daughter of Tomaso di Salvestro, for the church of Sant'Antonio Abate in Cortona, Italy.
This limestone sculpture with traces of polychromy, made in France around 1300-1330, depicts the Virgin Mary holding the Christ Child. It measures about 48 1/2 x 21 x 14 inches and belongs to the Metropolitan Museum of Art's collection of Medieval Art.
This delicately carved cameo shows the Virgin in an orant pose, with her arms upraised, and a medallion of the Christ Child over her chest. This icon type is often called the Blachernitissa after a famous icon at the Blachernai Monastery in Constantinople. Byzantine agate cameo, probably made in Con
This medallion is one of a group of twelve that once surrounded an icon of the archangel Gabriel. The medallions may have been sent as a gift from the Byzantine court to the neighboring Christian state of Georgia. Byzantine gold, silver, and cloisonné enamel, diameter 8.3 cm.
