Monday, August 3, 2020

05 works, Today, August 3rd, is Holy Salome's day, her story thru art #215

Followers of Martin Schongauer
Crucifixion, c. 1495−1500
Salome is one of the two leftmost women with a halo.
Oil on panel
197 cm × 700 cm (78 in × 280 in)
Église Saint-Jean-Baptiste, Buhl, Haut-Rhin

The Buhl Altarpiece (French: Retable de Buhl) is a late 15th-century, Gothic altarpiece of colossal dimensions now kept in the parish church Église Saint-Jean-Baptiste of Buhl in the Haut-Rhin département of France. It was painted by followers of Martin Schongauer, most probably for the convent of the Dominican sisters of Saint Catherine of Colmar, and moved to its present location in the early 19th century. It is classified as a Monument historique by the French Ministry of Culture 

Martin Schongauer (c. 1445, Colmar – 2 February 1491, Breisach), known in Italy as Bel Martino or Martino d'Anversa, was a German engraver and painter. He was the most important German printmaker before Albrecht Dürer.

Schongauer was born in about 1440 in Colmar, Alsace, probably the third of the four sons of Caspar Schongauer, a goldsmith from Augsburg who taught his son the art of engraving. Colmar is now in France but was then part of the Holy Roman Empire. He may well have been trained by Master E. S. The art historian A. Hyatt Mayor saw both their individual styles in different parts of a single engraving, and all the works with Schongauer's M†S monogram show a fully developed style. Schongauer established at Colmar a very important school of engraving, out of which grew the "Little Masters" of the succeeding generation, and a large group of Nuremberg artists. More on Martin Schongauer

Holy Myrrh-bearer Salome was the mother of the Apostles James and John, the wife of Zebedee, and the daughter of Joseph the Betrothed, who was a widower when he became betrothed to the Mother of God. She was a disciple of the Lord and one of the Myrrh-bearing women who first brought tidings of the Resurrection to the world. Salome was a follower of Jesus who appears briefly in the canonical gospels and in apocryphal writings. 

Unknown artist
Nativity with woman Salome (right) bathing child Jesus
Fresco
Dark Church, Open Air Museum, Goreme, Cappadocia
I have no further description of this artwork at this time

Salome is the first, after the midwife, to bear witness to the Miraculous Birth and to recognize Jesus as the Christ, are circumstances that tend to connect her with Salome the disciple. By the High Middle Ages this Salome was often identified with Mary Salome in the West, and therefore regarded as the believing midwife. 

She is one of the women present at the crucifixion who also ministered to Jesus: "There were also women looking on afar off: among whom was Mary Magdalene, and Mary the mother of James the less and of Joses; and Salome who also followed Him and ministered to Him when he was in Galilee. And many other women who followed Him to Jerusalem.

Unknown artist
The Myrrh-Bearing Women
I have no further description of this artwork at this time

When all had abandoned Christ, these women – along with Joseph of Aramathea – went and risked their lives to take Christ from the Cross, to wrap Him in linen, and to lay Him in a new grave. And when all were hidden away in fear of the Jews and of the powers that be, it was this small group of women who risked everything

Mikhail Vasilyevich Nesterov
The Myrrh-bearers. 1901
Oil on board
41 × 31.7 cm
N.A.Mishin, Moscow

Mikhail Vasilyevich Nesterov (May 1862, Ufa – 18 October 1942, Moscow) was a Russian and Soviet painterHe was one of the first exponents of Symbolist art in Russia.

Nestrov,  in 1874, went to Moscow where he enrolled at the Voskresensky Realschule.


In 1877, his counselors suggested that he transfer to the Moscow School of Painting, Sculpture and Architecture. In 1879, he began to participate in the school's exhibitions. Two years later, he entered the Imperial Academy of Fine Arts. He was disappointed at the teaching there and returned to Moscow.

While creating a series of historical paintings, he supported himself doing illustrations for magazines and books, including a collection of fairy tales by Pushkin. In 1885, he was awarded the title "Free Artist". 


His first major success came with his painting, "The Hermit" which was shown at the seventeenth exhibition of the Peredvizhniki in 1889. Nesterov took an extended trip to Austria, Germany, France and Italy. Upon returning, his painting, "The Vision to the Youth Bartholomew", the first in a series of works on the life of Saint Sergius, was shown at the eighteenth Peredvizhniki exhibition and also purchased by Tretyakov. This series would eventually include fifteen large canvases and occupy him for fifty years. More on Mikhail Vasilyevich Nesterov

In the Gospel of Mark, Salome is among the women who went to Jesus' tomb to anoint his body with spices. "And when the sabbath was past, Mary Magdalene, and Mary the mother of James, and Salome, had bought sweet spices, that they might come and anoint him."

In the non-canonical Greek Gospel of the Egyptians (2nd century), Salome appears again as a disciple of Jesus. She asks him how long death would hold sway, and he says to her, "So long as women bring forth, for I come to end the works of the female." To this Salome replies, "Then I have done well in not bringing forth." It would appear from this text that there was an early tradition that Salome the disciple was childless, and possibly unmarried.


Unknown artist
 The two Marys arriving on a stormy day, with Sarah waiting for them
Les Saintes-Maries-de-la-Mer
I have no further description of this artwork at this time

During the early persecution of Christians, around 40 AD, the “three Maries,” were expelled from Jerusalem. They were placed, together with Lazarus, Martha, Maximin and Sidon, on a boat without oars or supplies. Sarah, their servant, was left behind, but Salomé threw her coat onto the waters and the coat became a raft, allowing Sarah to board. The boat eventually landed near Les Saintes-Maries-de-la-Mer in present-day France.

The three Maries settled in Camargue, where they taught the good news of Christ. They peacefully gave up their souls to the Lord, and their grave became a popular place of pilgrimage. More on  Salome






Images are copyright of their respective owners, assignees or others. Some Images may be subject to copyright

I don't own any of these images - credit is always given when due unless it is unknown to me. if I post your images without your permission, please tell me.

I do not sell art, art prints, framed posters or reproductions. Ads are shown only to compensate the hosting expenses.

 If you enjoyed this post, please share with friends and family.

 Thank you for visiting my blog and also for liking its posts and pages.
 Please note that the content of this post primarily consists of articles available from Wikipedia or other free sources online.

Sunday, August 2, 2020

05 works, Today, August 2nd, is Blessed Basil's day, his story thru art #214

Vasily Surikov
Detail; The Boyarin Morozova, c. 1887
Oil on canvas
Height: 304 cm (119.6 in); Width: 587.5 cm (19.2 ft)
State Tretyakov Gallery, Moscow

Vasily Ivanovich Surikov (24 January 1848, Krasnoyarsk – 19 March 1916, Moscow) was a Russian Realist history painter of Siberian origin. Many of his works have become familiar to the general public through their use as illustrations.

In 1859, his father died of tuberculosis so the family were forced to rent the second floor of their house to survive financially. He began drawing while attending the district school and was encouraged by the local art teacher. His first formal work dates from 1862, but his family could not afford to continue his education and he became a clerk in a government office. This brought him into contact with the Governor of Yenisei, who was able to find him a patron.

In 1868, he was unable to qualify for admission to the Imperial Academy of Arts, so he studied at the drawing school of the Imperial Society for the Encouragement of the Arts. 

From 1869 to 1875, he studied with Pavel Chistyakov, Bogdan Willewalde and Pyotr Shamshin, winning several medals. 

In 1877, he received a commission to paint murals at the Cathedral of Christ the Saviour and he moved to Moscow. He chose to remain in Moscow and began the series of historical paintings that would establish his reputation. 


In 1948, on the 100th anniversary of his birth, his estate in Krasnoyarsk became a museum. Two monuments have been erected there, in 1954 and in 2002. More on Vasily Ivanovich Surikov

Blessed Basil the Fool-for-Christ is one of the most well-known fools-for-Christ from Moscow. Russians have always venerated fools-for-Christ – those who rejected outward decorum and pretended to be insane so as to hide their abilities and virtues, and condemned the world for lack of the said virtues. They were entitled to judge the world because of their spiritual prowess and pure heart.


Vitaly Grafov
Moscow wonderworker Blessed Basil

Vitaliy Grafov is an established mid-career contemporary artist. Vitaliy Grafov was born in 1977.

Grafov was predominantly influenced by the 1980s. The 1980s were a tumultuous time culturally, and were marked by growing global capitalism, global mass media, significant discrepancies in wealth, alongside a distinctive sense of music and fashion, epitomised by electronic pop music and hip hop. Artists growing up during this time were heavily influenced by this cultural atmosphere. The 1980s were an important decade in terms of politics, marked by the African Famine and the end of the Cold War, which was signified by the fall of the Berlin Wall in 1989. Neo Geo and The Pictures Generation became leading art movements during the decade, alongside Neo-Expressionism which became well-known in Germany, France and Italy (where it was known as Transavanguardia). Artists such as Anselm Kiefer, Jörg Immendorf, Enzo Cucchi, Francesco Clemente and Julian Schnabel were leading artists of the era, alongside Jean-Michel Basquiat, Keith Haring and Kenny Scharf, who established the street art and graffiti movements. More on Vitaliy Grafov 


Apollinary Vasnetsov, (1856–1933)
Moscow in the era of Ivan the Terrible. Red Square, c. 1902
Watercolor and charcoal on paper mounted on cardboard
Height: 48 cm (18.8 in); Width: 65 cm (25.5 in)
I have no further description of this artwork at this time


Apollinary Mikhaylovich Vasnetsov (August 6, 1856 in the village of Riabovo, Vyatka Governorate – January 23, 1933 in Moscow) was a Russian painter and graphic artist. He specialized in scenes from the medieval history of Moscow.


Vasnetsov did not receive a formal artistic education. He studied under his older brother, Viktor Vasnetsov, the famous Russian painter. From 1883, he and his brother lived and worked in Abramtsevo. In 1898–1899, he travelled across Europe. In addition to epic landscapes of Russian nature, Apollinary Vasnetsov created his own genre of historical landscape reconstruction on the basis of historical and archaeological data. His paintings present a visual picture of medieval Moscow. He was a member of the Association of Travelling Art Exhibitions from 1899, and an academician from 1900. He became one of the founders and supervisors of the Union of Russian Artists. More on Vasnetsov Apollinaris

Saint Basil the Blessed Fool, the Wonderworker of Moscow, used to throw stones at wonderworking icons and argue with Ivan the Terrible, condemning him of shedding innocent blood. The tsar listened to him patiently and didn’t allow anyone to touch the blessed fool-for-Christ.


Andrei Petrovich Ryabushkin,  (1861–1904) 
Ivan the Terrible, c. 1903
Oil on canvas
Tyumen Museum of Fine Arts, Tyumen

Andrei Petrovich Ryabushkin (1861 – 1904) was a Russian painter. His major works were devoted to life of ordinary Russians of the 17th century.

Ryabushkin's father and brother were icon painters, and he started to help them from his early childhood. At 14 years old he became an orphan. A student of Moscow School of Painting, Sculpture and Architecture happened to see the boy’s drawings and was greatly impressed by them. He started to give him lessons and helped him to enter the Moscow School. Ryabushkin was one of the youngest student of the school at all times.

Ryabushkin stayed at the Moscow School for seven years (1875–82). He moved to Saint Petersburg in 1882, and entered the Imperial Academy of Arts . The classes soon disappointed him.


His studies at the academy came to an end in 1892. He did not receive an award for his diploma work, Descent from the Cross, because he did not follow the approved project. But the work was so good that the president of the academy provided Ryabushkin with a stipend for travel and studies abroad from his own means. Ryabushkin chose to make a tour of ancient Russian towns. The inhabitants became his first models and his first critics. 

His paintings were mostly devoted to the 17th century. He also worked on frescoes for Saint Sophia Cathedral and mosaics for the Church of the Savior. 

In 1903 Ryabushkin was diagnosed with tuberculosis. He went to Switzerland for treatment but it did not help. He died in his studio in Didvino on 27 April 1904. He is buried in Lyuban, and his tomb is protected as a cultural monument. More on Andrei Petrovich Ryabushkin

One day, when Ivan the Terrible invited the saint to his palace for a talk, Saint Basil was offered a cup of wine but he poured the wine out three times. The tsar was angry but Basil told him that it was his way of extinguishing the fire of Novgorod. Soon, the king’s messengers confirmed St. Basil’s words. Residents of Novgorod told them that they had seen a naked man with a bucket of water during the fire. The man was pouring water on the fire and made it go away at last. St. Basil’s miraculous extinguishing of the terrible Moscow Fire of 1547 is also well-known.

Blessed Basil was born in the second half of the 15th century in Yelokhovo, a village near Moscow.


Pavel Svedomsky, (1849–1904)
A God's Fool, c. late 19th century
Oil on canvas
Regional Art Museum Kirovograd


Pavel Aleksandrovich Svedomsky (7 June 1849, Saint-Petersburg—27 August 1904, Rome) was a Russian painter and the brother of another artist, Alexander Svedomsky.

In 1870 Pavel entered the Düsseldorf Academy of Arts, but studied there only a few months. The Svedomskys traveled together across Europe until settling in Rome in 1875. He died there in 1904 and is buried with his brother Alexander in the Protestant Cemetery.

Pavel Svedomsky painted in various genres, most notably in historic. The painting Medusa (1882) was bought by Pavel Tretyakov to be displayed in Tretyakov Gallery

Working in the St Volodymyr's Cathedral in Kiev, Svedosmky painted the northern and southern naves of the cathedral, creating six scenes from the life of Jesus. During his later years Svedomsky turned to Russian subjects.


The works of Svedomsky are scattered across various central and regional museums. More on Pavel Aleksandrovich Svedomsky

He worked as a shoemaker when he was young. Some time later, a weird man appeared on the banks of the Moskva River. He was going around naked throughout the year and doing strange things. He would turn over a table with kalatches,  Eastern European bread, or spill a jug of kvass, a traditional fermented Slavic and Baltic beverage commonly made from rye bread. The furious merchants would give the fool-for-Christ a thrashing, while he was happy to accept it with gratitude to God. Later, it would come to light that the kalatches and the kvass were no longer safe to eat. The veneration of Blessed Basil was growing exponentially. People recognized him as a true fool-for-Christ, a man of God who rebuked all untruth.

Saint Basil the Blessed reposed in the Lord on August 2 (O.S.), 1552. More on Blessed Basil






Images are copyright of their respective owners, assignees or others. Some Images may be subject to copyright

I don't own any of these images - credit is always given when due unless it is unknown to me. if I post your images without your permission, please tell me.

I do not sell art, art prints, framed posters or reproductions. Ads are shown only to compensate the hosting expenses.

 If you enjoyed this post, please share with friends and family.

 Thank you for visiting my blog and also for liking its posts and pages.
 Please note that the content of this post primarily consists of articles available from Wikipedia or other free sources online.

Saturday, August 1, 2020

15 works, Today, August 1st, is Sts. Sophia, Faith, Hope and Love's day, their story thru art #213

Unknown artist
Martyrdom of Saints Faith, Hope, and Charity and Their Mother Sophia, c. 17C
Cathedral of Our Lady of Smolensk (the Novodevichy Convent) in Moscow,
Tempura on Wood
The Russian Museum, St. Petersburg

Saints Faith, Hope and Charity are a group of Christian martyred saints, venerated together with their mother, Sophia

Sophia, whose name means wisdom, lived in Rome. She was a Christian, and in accordance with her name, she lived wisely. While living in honorable wedlock, bore three daughters, whom she named after the three great virtues. The first was named Faith, the second Hope, and the third Love.


Josef Winterhalder der Jüngere, (1743–1807)
Faith, Hope and Charity, c. 1780s
Oil on canvas
Height: 64 cm (25.1 in); Width: 43 cm (16.9 in)
Christian Museum, Hungary

Josef Winterhalder the Younger (25 January 1743, Vöhrenbach - 17 January 1807, Znojmo) was a German-Bohemian painter belonging to the fourth generation of painters and sculptors in the Winterhalder family. He worked in Moravia, Lower Austria and Hungary.

He was one of six children born to the sculptor Johann Michael Winterhalder. After his mother's death in 1753, he and two of his siblings were sent to live in Olmütz with their uncle, Josef who formally adopted them. He introduced his nephew to his colleagues, Paul Troger and Franz Anton Maulbertsch and he was an assistant in the latter's workshop from 1763 to 1768. His first mature work in his own style was completed c.1770.

In early 1780s, Emperor Joseph II suppressed the monasteries and ordered a reduction in the ornamentation of churches; part of a general program of religious modernization.

These actions had a serious effect on Winterhalder's livelihood, but he was able to find patronage from the Moravian nobility, decorating several of their mansions with trompe l'oeil ornaments and the like. 

Around 1800, he wrote Moravian artists in Znojmo and the surroundings, a compendium of artworks and artists. He also listed his own works in the order of their importance, and mused about the course of his life. His last known works were in 1805, at a library belonging to the Premonstratensian Order in Geras. More on Josef Winterhalder der Jüngere.

Soon after the birth of her three daughters, Sophia was widowed She reared her three daughters in a manner befitting a wise mother so that they, being the namesakes of virtues, might in truth acquire those traits. As they matured, they increased in virtue, and they learned well the books of the prophets and the apostles. They became accustomed to listen to the words of their teachers and earnestly occupied themselves with spiritual reading, prayer, and household chores. 

George Frederic Watts, (1817–1904)
Faith, Hope and Charity, c. 1900
Oil on canvas
Height: 212.1 cm (83.5 in); Width: 106 cm (41.7 in)
Dublin City Gallery The Hugh Lane

George Frederic Watts OM RA (London 23 February 1817 – 1 July 1904) was a popular English Victorian painter and sculptor associated with the Symbolist movement. He said "I paint ideas, not things." Watts became famous in his lifetime for his allegorical works, such as Hope and Love and Life. These paintings were intended to form part of an epic symbolic cycle called the "House of Life", in which the emotions and aspirations of life would all be represented in a universal symbolic language. More on George Frederic

Moreover, they submitted themselves in all things to their mother. They were successful in all things. As they were exceedingly fair and perfect in wisdom, the eyes of all were soon upon them.

Adèle Kindt, (1804–1884)
Faith, Hope and Charity, c. 1840
Oil on canvas
Height: 126.7 cm (49.8 in); Width: 146.7 cm (57.7 in)
Museum of Fine Arts, Boston

Adèle Kindt (16 December 1804 – 8 May 1893) was a Belgian painter; known primarily for portraits and genre scenes.

Born in Brussels into a family that produced many female artists, Marie-Adélaïde Kindt was trained in drawing by engraver Antoine Cardon. She studied painting under François-Joseph Navez and was encouraged by Jacques-Louis David.

Although trained as a neoclassicist, Kindt produced work informed by Romanticism. Her early works included many historical scenes. After the 1840s, Kindt painted much less ambitious works, largely portraiture and genre scenes. Although she adapted her style to suit the changing tastes of the public, she never recaptured the success of her early career. She died in Brussels. More on Adèle Kindt

Word spread throughout Rome of the wisdom and beauty of the three sisters. Emperor Hadrian, who immediately sent his servants to bring the virgins before him. When the servants arrived at Sophia’s house, they told her that she was to come, together with her daughters, to the Emperor. 

Dmitry Shkolnik 
St. Sophia & her daughters, Faith, Hope & Love
I have no further description of this artwork at this time


Dmitry Shkolnik was born in Moscow, Russia in 1960. While studying in highschool, he developed a keen interest in Russian religious art. Upon graduation, he pursued a higher education in the field of architecture. Concurrently, he cultivated a knowledge of Russian craft art in the form of laquer miniatures and Icon restoration.

In 1979-80, Dmitry began to work for the Russian Patriarchal Workshops. In 1981 he immigrated to the United States with his family. He enrolled in the Theological Seminary at The Holy Trinity Monastery in Jordanville, NY in 1983. In his time there, he apprenticed under the well-known iconographer Archimandrite Ciprian (Pyzhov) for many years. In 1988 Dmitry Shkolnik completed the Seminary with a Bachelors in Theology.


Since 1981 Dmitry Shkolnik has written over 3,000 icons, completed more than 20 iconostasis, and painted numerous church frescos, murals and wall ornamentations. He is an active member of the International Union of Artists. More on Dmitry Shkolnik

All four martyrs, the mother and her daughters, took one another by the hand, forming as it were a plaited garland. When they arrived at the Emperor’s palace, they signed themselves with the sign of the Cross.

Unknown artist
Martyrdom of Saints Faith, Hope, and Charity and Their Mother Sophia, c. 17C
Cathedral of Our Lady of Smolensk (the Novodevichy Convent) in Moscow,
Tempura on Wood
The Russian Museum, St. Petersburg

They were then led before the Emperor, they rendered him fitting honor but stood before him without fear. The Emperor questioned the mother as to their lineage, names, and faith. She answered so sagaciously that all were amazed at her prudence. She added that she had betrothed her daughters to Christ so that they might preserve their chastity for the incorruptible Bridegroom.


Unknown artist
St Sophia Mother of Orphans
Tempera, gold leaf, solid wood panel, varnish
30cm x 20cm x 2cm (11.81″ x 7.87″ x 0.79″)
Private collection


The Emperor, seeing that Sophia was a wise woman, did not wish at that time to speak further with her or pass judgment on her. He laid the matter aside for a time and sent all four martyrs to a certain noblewoman named Palladia, whom he charged to watch over them and to present them on the third day to be judged.

Daniel Voshart
Hadrian, 117–138 (Died aged 62 — Natural causes)


Daniel Voshart holds a Bachelor of Fine Arts from the School of Image Arts at Ryerson University. He worked as a cinematographer. His films have screened at some of the world’s most prestigious film festivals including Berlinale, Locarno, Viennale, Toronto, Edinburgh, MoMA’s New Directors/New Films and Slamdance, and have been honoured with two Canada’s Top Ten selections, a Grand Jury Prize at Slamdance and two Genie Award nominations.


In 2015 Daniel completed a Masters of Architecture at the University of Toronto with a focus on sustainable design and VR. For two years, he worked at Linebox Studio, an architecture firm with offices in Ottawa and Toronto, integrating a VR workflow into both residential and commercial projects. In 2018 he became VR Specialist on Star Trek: Discovery. More on Daniel Voshart

When the third day had come, the saints were brought to judgment before the impious Emperor. He questioned their mother Sophia as to their names and ages. She replied, “My eldest child is named Faith and is twelve years old. The second is Hope, who is ten years of age. My third child’s name is Love, and she is nine years old.”
  
The Emperor began to attempt to force each of them to submit to his impiety, beginning with Faith, the eldest sister, to whom he said, “Sacrifice to the great goddess Artemis!”

But Faith would not agree to submit. Therefore, the Emperor had her stripped naked and ordered that she be beaten severely. The torturers thrashed her mercilessly. She remained silent. Since the tormentor accomplished nothing by flogging her, he had her virginal breasts cut off. 

Niccolò Pomarancio and Antonio Tempesta
The tormentor had her virginal breasts cut off
This is actually a fresco of Saint Cecilia
Santo Stefano Rotondo, Rome


Niccolò Circignani (c. 1517/1524 – after 1596) was an Italian painter of the late-Renaissance or Mannerist period. He was one of three Italian painters called Pomarancio. His first works are documented from the 1560s, where he painted frescos on the Old Testament stories for the Vatican Belvedere and completed altarpieces for Orvieto, Umbertide, Città di Castello as well as Città della Pieve.

He painted frescoes (starting 1574) on mythologic themes including a Judgement of Paris, Stories from the Aenid, and others, in collaboration with Giovanni Antonio Pandolfi in the Palazzo della Corgna in Castiglione del Lago.


From 1579 he returned to Rome to work with Matthijs Bril and decorated the Sala della Meridiana in the Torre dei Venti as well as in the Loggie in the Vatican. He then became one of the artists favored by the Jesuits. Assisted by Matteo da Siena, he began depicting scenes of Jesuit martyrdom. He was further commissioned such works, depicting church martyrs, with help from Antonio Tempesta for the church of Santo Stefano Rotondo. Here he finally completed over thirty graphic scenes of martyrdom, depicting every gruesome method as if it were an advertisement for a torture chamber. More on Niccolò Circignani

Antonio Tempesta (1555 – 5 August 1630) was an Italian painter and engraver, whose art acted as a point of connection between Baroque Rome and the culture of Antwerp.

He was born and trained in Florence and painted in a variety of styles, influenced to some degree by "Counter-Maniera" or Counter-Mannerism. He enrolled in the Florentine Accademia delle Arti del Disegno in 1576. He was a pupil of Santi di Tito, then of the Flemish painter Joannes Stradanus. He was part of the large team of artists working under Giorgio Vasari on the interior decoration of the Palazzo Vecchio in Florence.

His favourite subjects were battles, cavalcades, and processions. He relocated to Rome, where he associated with artists from the Habsburg Netherlands, which may have led to his facility with landscape painting. More Antonio Tempesta

Then a metal gridiron was brought, which was placed on a great fire which had been kindled. When it had been heated red hot, giving forth sparks, the holy martyr Faith was placed upon it. She lay there for two hours but she was not burnt at all, to the astonishment of everyone present. Then she was cast into a cauldron filled with boiling pitch and oil, but there too she remained unharmed. The persecutor, not knowing what else to do, pronounced upon her the sentence of death by the sword.

Unknown artist
Medieval depiction of the martyrdom of St. Faith with a red hot poker
I have no further description of this artwork at this time


Then the impious Emperor had the second sister, Hope, brought before him, “Heed my advice and worship the great Artemis so that you might not perish as your elder sister did" 
  
But Saint Hope replied, “I am ready to follow her path; therefore, do not delay or weary yourself with much speaking, but begin that which you have resolved to do. You will see that I am of the same mind as my sister who has gone before me.”


When the Emperor heard this reply, he handed Hope over to the torturers. His henchmen stripped her as they had Faith, and they beat her so long and mercilessly that they grew weary. But she remained silent as though she suffered no pain. She only gazed upon her mother.

Unknown artist
Detail; Martyrdom of Saints Faith, Hope, and Charity and Their Mother Sophia, c. 17C
Cathedral of Our Lady of Smolensk (the Novodevichy Convent) in Moscow,
Tempura on Wood
The Russian Museum, St. Petersburg

Then the Emperor commanded that Hope be cast into fire, but she remained unharmed. After this, she was suspended and scraped with iron claws. Her flesh was torn off, streams of her blood gushed out, and a wondrous fragrance came forth from her wounds. She mocked the persecutor because he was unable to overcome even a young maiden. 


Niccolo Pomarancio and Antonio Tempesta
The tormentor, who ordered that a cauldron be filled with pitch and oil and heated over a fire and that the saint be cast into it
This is a fresco of Saint Cecilia
Santo Stefano Rotondo in Rome

These words greatly angered the tormentor, who ordered that a cauldron be filled with pitch and oil and heated over a fire and that the saint be cast into it. When the cauldron had come to a boil and the Emperor’s servants were preparing to hurl the saint into it, the kettle suddenly melted down like wax, and the hot pitch and oil poured forth from it upon all who stood nearby.


Unknown artist
Detail; Martyrdom of Saints Faith, Hope, and Charity and Their Mother Sophia, c. 17C
Cathedral of Our Lady of Smolensk (the Novodevichy Convent) in Moscow,
Tempura on Wood
The Russian Museum, St. Petersburg

Thus, seeing himself put to shame by a young maiden and not wishing to bear further humiliation, he condemned the saint to beheading.


The persecutor summoned Love, the third maiden, seeking to entice her to abandon the Crucified One and to worship Artemis, but the deceiver labored in vain. 


Niccolo Pomarancio and Antonio Tempesta
The persecutor ordered that she be stretched out upon a wheel and beaten with rods
Fresco
Santo Stefano Rotondo in Rome
  
The persecutor began her torture by ordering that she be stretched out upon a wheel and beaten with rods. The saint’s young body was stretched in such a way that her members were pulled from their sockets, and she was beaten until she had been dyed as red as scarlet by her blood, which watered the earth like rain.

Unknown artist
Martyrdom of Saints Faith, Hope, and Charity and Their Mother Sophia, c. 17C
Cathedral of Our Lady of Smolensk (the Novodevichy Convent) in Moscow,
Tempura on Wood
The Russian Museum, St. Petersburg

The persecutor ordered those standing nearby to hurl Love into the furnace. The saint did not wait for another to cast her into the furnace, but she hastened to enter it herself. She walked into the furnace but was not burned. And at once fire shot forth from the furnace, consuming the unbelievers standing nearby, burning some to ashes and scorching others. The Emperor himself was singed.


When the furnace was extinguished, the saint, emerged radiant and unharmed. The torturers, in accordance with the Emperor’s command, seized her and bored through her members with drills, but she endured these torments so that she did not die. 


Unknown artist
Martyrdom of Saints Faith, Hope, and Charity and Their Mother Sophia, c. 17C
Cathedral of Our Lady of Smolensk (the Novodevichy Convent) in Moscow,
Tempura on Wood
The Russian Museum, St. Petersburg

Finally, the persecutor, stricken with pain from being burned by the fire, commanded that the saint be beheaded by the sword. 


At that moment Saint Love was beheaded by the sword. Her mother took her body and laid it in a beautiful coffin, together with the corpses of Faith and Hope, adorning their bodies as was fitting. She placed them in a chariot, took them several miles outside the city, and reverently buried her daughters there upon a lofty hill, weeping for joy. She sat by their grave, praying with compunction to God for three days, after which she slept the sleep of death in the Lord and was buried by the faithful in that same place, together with her daughters. More on Sts. Sophia, Faith, Hope and Love


Unknown artist
Martyrdom of Saints Faith, Hope, and Charity and Their Mother Sophia, c. 17C
Cathedral of Our Lady of Smolensk (the Novodevichy Convent) in Moscow,
Tempura on Wood
The Russian Museum, St. Petersburg





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