03 Works, Today, January 31st, is Saints Cyrus and John's Day, With Footnotes - 31

Saints Cyrus and John

Saints Cyrus and John (d. ca. 304 AD, or 311) are venerated as martyrs. They are especially venerated by the Coptic Church and surnamed Wonderworking Unmercenaries because they are supposed to have healed the sick free of charge.

Cyrus and John were both Alexandrians; this, however, is contradicted by other documents in which it is said that Cyrus was a native of Alexandria and John of Edessa.

Cyrus practised the art of medicine, and had a workshop. He ministered to the sick gratis and at the same time laboured with all the ardour of an apostle of the Faith, and won many from pagan superstition. This took place under the Emperor Diocletian. Denounced to the prefect of the city he fled to Arabia. There, assumed the monastic habit, he abandoned medicine and began a life of asceticism.

John belonged to the army, in which he held a high rank; the "Synaxarium" cited above adds that he was one of the familiars of the emperor. Hearing of the virtues and wonders of Cyrus, he went to Jerusalem in fulfillment of a vow, and thence passed to Alexandria and then to Arabia where he became the companion of St. Cyrus in the ascetic life.

Saints Cyrus and John with Theoctista, Theodota, Theodossia, and their mother Athanasia

The Menologion of Basil II

Vatican Library

During the persecution of Diocletian three holy virgins, together with their mother Athanasia, were arrested at Canopus and brought to Alexandria. Cyrus and John, fearing lest these girls, on account of their youth, might, in the midst of torments, deny the Faith, resolved to go into the city to comfort them and encourage them in undergoing martyrdom. This fact becoming known they also were arrested and after dire torments they were all beheaded on the 31st of January. More on Saints Cyrus and John

Cyrus and John, Unmercenaries and Miracle-workers; Martyrs Athanasia and her daughters Theoctista, Theodora and Eudoxia in Egypt 

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03 Works, Today, January 30th, is Saint Martina of Rome's Day, With Footnotes - 30

Pietro Berrettini, (called Pietro da (Italy, Cortona, 1596 - 1669)

St. Martina, circa 1635-1640

Oil on canvas

37 1/2 x 30 in. (95.25 x 76.2 cm)

Los Angeles County Museum of Art

Martina of Rome was a Roman martyr under emperor Alexander Severus. A patron saint of Rome, she was martyred in 226.

The daughter of an ex-consul and orphaned at an early age, she was described as a noble and beautiful virgin. She so openly testified to her Christian faith that she could not escape the persecutions under Alexander Severus. Arrested and commanded to return to idolatry, she refused, whereupon she was subjected to various tortures. These tortures according to her vita include being scourged and scaled, was condemned to be devoured by wild beasts in the amphitheater but was miraculously untouched by them. She was then thrown onto a burning pyre, from which she also escaped unhurt, and was finally beheaded.

Pietro Berrettini, (called Pietro da (Italy, Cortona, 1596 - 1669)

Saint Martina, between 1654 and 1660

Oil on canvas

Height: 104 cm (40.9 ″); Width: 86 cm (33.8 ″) 

Princeton University Art Museum

The painting combines allusions to events usually portrayed in narrative cycles. Martina refuses to sacrifice to pagan idols and kneels on the objects employed in attempts to torture her — the pyre and the iron rod used to tear her flesh. Also in the trophy-like pile are the fasces, symbol of the Roman state, and the sword eventually used to behead the saint. A tripod with flames awaits the sacrifice. Suddenly the heavens open, rays of light and cherubim appear, and a pagan idol, at the left, topples back­ward. The saint looks heaven­ward, toward the inspiring vision of paradise; she will go forward confidently to her martyrdom. More on this painting

Her hagiography asserts that some of her executioners also converted to Christianity and were themselves beheaded.


The relics of Martina were discovered on October 25, 1634 by the painter Pietro da Cortona, in a crypt of Santi Luca e Martina, situated near the Mamertine Prison and dedicated to the saint. Pope Urban VIII, who occupied the Holy See at that time, had the church repaired and, it would seem, composed the hymns which are sung at her office. More on Martina of Rome

Pietro Berrettini, (called Pietro da (Italy, Cortona, 1596 - 1669)

Saint Martina, 1655

Bandinelli chapel

Saint Martina, a victim of the persecutions ordered by the emperor Alexander Severus against the Christians; in the picture he sits on the far right. In the foreground, martyrdom is pushed by one of the executioners in the fire, which she survives by a miracle. On the left, a man holds the sword with which the young woman will be decapitated. The painting, made by Pietro da Cortona for the Bandinelli chapel in 1655, has, in the upper part, two putti who stretch the palm and the crown of martyrdom to the Saint. More on this painting

Pietro da Cortona (1 November 1596/7 – 16 May 1669) was born Pietro Berrettini, but is primarily known by the name of his native town of Cortona in Tuscany. He was the leading Italian Baroque painter of his time and, along with his contemporaries and rivals Gian Lorenzo Bernini and Francesco Borromini, was one of the key figures in the emergence of Roman Baroque architecture. He was also an important designer of interior decorations.

Cortona worked mainly in Rome and Florence. He is best known for his frescoed ceilings such as the vault of the salone or main salon of the Palazzo Barberini in Rome and carried out extensive painting and decorative schemes for the Medici family in Florence and for the Oratorian fathers at the church of Santa Maria in Vallicella in Rome. He also painted numerous canvases. Only a limited number of his architectural projects were built but nonetheless they are as distinctive and as inventive as those of his rivals. More on Pietro da Cortona

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04 Works, Today, January 29th, is Saint Francis de Salese's Day, With Footnotes - 29

ST. FRANCIS DE SALES, THE BISHOP WHO "CONVERTED" THE CALVINISTS

Saint Francis de Sales CO OM OFM Cap. (21 August 1567 – 28 December 1622). Francis was ordained to the priesthood in 1593. From 1594 to 1598 he preached to the Protestants of Chablais and effected the return of some 70,000 souls to the Catholic faith. In 1602 he became bishop of Genf. 

Circle of Carlo Maratti, Camerano 1625 - Rome 1713

An Angel appears to Saint Francis of Sales 

Oil on canvas

 63 x 53 cm

Private collection

Carlo Maratta or Maratti (13 May 1625 – 15 December 1713) was an Italian painter, active mostly in Rome, and known principally for his classicizing paintings executed in a Late Baroque Classical manner. Although he is part of the classical tradition stemming from Raphael, he was not exempt from the influence of Baroque painting and particularly in his use of colour.

Pope Alexander VII commissioned many paintings from him including The Visitation (1656) for Santa Maria della Pace and the Nativity in the gallery of the Quirinal Palace. His pictures of the late 1650s exhibit light and movement derived from Roman Baroque painting, combined with classical idealism.

After the death of Bernini in 1680, he became the leading artist in Rome. In 1664, Maratta became the director of the Accademia di San Luca and, concerned with elevating the status of artists, promoted the study and drawing of the art of Classical Antiquity. More on Carlo Maratti

Most widely known is the saint's Introduction to the Devout Life, which, with the Imitation of Christ, is rightly considered the finest outline of Christian perfection. A friendship existed between him and St. Frances de Chantal. In cooperation with her he founded the Visitation Nuns in 1610. 

St. Francis de Sales and St. Jeanne de Chantal

Francis refused opportunities for advancement, including the cardinalate. In recognition of the Introduction and his other writings, Francis has been declared a doctor of the Church.

St. Francis developed a sign language in order to teach a deaf man about God. Because of this, he is the patron saint of the deaf. 

Giuseppe Buffetti, (Verona, 1751-1812)

Madonna con Child and Saints Francis de Sales, Carlo Borromeo and Giovanna Francesca di Chantal

Chiesa dei Filippini, Rome

On December 1622 de Sales was required to travel in the entourage of Charles Emmanuel I, Duke of Savoy, for the Duke's Christmas tour of his domain. Upon arrival in Lyon, he chose to stay in the gardener's hut at the Visitandine monastery in that city. While there he suffered a stroke, from which he died on 28 December 1622. More on St. Francis de Sales

Symbols: Bald man with a long beard wearing a bishop's robes holding a book; heart pierced with thorns or picture of the Virgin.

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05 Works, Today, January 28th, is Saint Agnes of Rome's Day, With Footnotes - 28

The Master of the Saint Bartholomew Altarpiece

Altarpiece, St. Agnes (Detail)

Oil on canvas

Alte Pinakothek Museum, Munich, Germany

The Master of the Saint Bartholomew Altarpiece was an Early Netherlandish painter active in Germany between 1475/1480 and 1510. Despite his anonymity, he is one of the most recognizable artists of the early Renaissance period in German art.

Master of the Saint Bartholomew Altarpiece  (fl. 1470–1510)

Saint Bartholomew Altarpiece: Bartholomew the Apostle, Agnes of Rome, Saint Cecilia, circa 1503

Oil on panel

Alte Pinakothek Museum, Munich, Germany

Agnes is depicted in art with a lamb, evoking her name which is based on the Latin word for "lamb". She is also shown with a martyr's palm.

Almost nothing is known of his life, including his name; nevertheless, his hand is distinctive enough that scholars have found it fairly easy to trace his career. His name is derived from an altarpiece dated to between 1505 and 1510, depicting Saint Bartholomew flanked by Saint Agnes and Saint Cecilia. The painting is known to have hung in the church of Saint Columba in Cologne; the inclusion of a Carthusian monk in the picture indicates a possible connection to the Carthusian monastery in that city. More on The Master of the Saint Bartholomew Altarpiece

Agnes of Rome (c. 291 – c. 304) was a popular saint about whom little is known, Agnes is said to have been a beautiful, wealthy Roman maiden who had, in childhood, dedicated herself to God. 

Circle Simon Vouet

Saint Agnes

Oil on canvas

75.5 by 60.9 cm.; 29 3/4 by 24 in

Private collection

Simon Vouet

Saint Agnes, c.1626

Oil on canvas

37 x 29 in 94 x 75.5 cm

Private collection

Simon Vouet (9 January 1590 – 30 June 1649) was a French painter and draftsman, who today is perhaps best remembered for helping to introduce the Italian Baroque style of painting to France. More on Simon Vouet

Some say that a rejected suitor betrayed her to authorities; others say that she was asked at 13 to sacrifice to the gods and marry, both of which she refused. Legends tell of her being thrown into a brothel, where her purity was miraculously preserved. 

Alessandro Turchi  (1578–1649)

Saint Agnes Protected by an Angel, circa 1620

Oil on marble (polished marble)

Height: 13 ″ (33 cm); Width: 16.7 ″ (42.5 cm)

Los Angeles County Museum of Art

Alessandro Turchi (1578 – 22 January 1649) was an Italian painter of the early Baroque, born and active mainly in Verona, and moving late in life to Rome. He also went by the name Alessandro Veronese or the nickname L'Orbetto.

Turchi initially trained with Felice Riccio (il Brusasorci) in Verona. By 1603, he was working as independent painter. Turchi painted the organ shutters for the Accademia Filarmonica of Verona. When Brusasorci died in 1605, Turchi and Pasquale Ottino completed a series of their deceased master's canvases. On leaving the school of Riccio, he went to Venice, where he worked for a time under Carlo Cagliari.

By 1616, Turchi traveled to Rome and participated in the fresco decoration depicting the Gathering of Manna for the Sala Reggia of the Quirinal Palace. In competition with Andrea Sacchi and Pietro da Cortona, he painted some pictures in the church of Santa Maria della Concezione dei Cappuccini. In 1619, he sent an altarpiece of the 40 martyrs for the Chapel of the Innocents in the church of Santo Stefano, Verona, to hang next to paintings by Pasquale Ottino and Marcantonio Bassetti. He was much employed on cabinet pictures, representing historical subjects, which he frequently painted on black marble. 

In 1637, with the sponsorship of the cardinal Francesco Barberini, he became Principe or director of the Accademia di San Luca. In 1638, he joined the papal guild of artists, called the Pontifical Academy of Fine Arts and Letters of the Virtuosi al Pantheon. He died in Rome. More on Alessandro Turchi

Having escaped that fate, she was martyred. In the IV Century, Constantia, the daughter of Constantine, built a basilica on the site of her tomb. St. Ambrose wrote about Agnes in De virginitate, and Damasus I wrote an epitaph for her. Prudentius composed a hymn in her honor. Her emblem in art is the lamb because of the similarity between her name and the Latin word for lamb, agnus. 

Jusepe de Ribera

St. Agnes in Prison, c. 1641

152 x 203 cm

Private collection

José de Ribera (January 12, 1591 – September 2, 1652) was a Spanish Tenebrist painter and printmaker, better known as Jusepe de Ribera. He also was called Lo Spagnoletto ("the Little Spaniard") by his contemporaries and early writers. Ribera was a leading painter of the Spanish school, although his mature work was all done in Italy. More on José de Ribera

The legend cannot be proven true, and many details of the fifth century Acts of Saint Agnes are open to criticism likely full of elaboration, though substantially the circumstances of her martyrdom are authentic. Archaeological evidence indicates that a young girl of about thirteen years of age, a virgin named Agnes, was martyred in Rome and honoured for her sacrifice. A church was built over her tomb, and her relics venerated.

A beautiful young girl of wealthy family, Agnes had many suitors of high rank, and the young men, slighted by her resolute devotion to religious purity, submitted her name to the authorities as a follower of Christianity. More on Agnes of Rome

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04 Works, RELIGIOUS ART - Today, January 27th, is Saint Polycarp's Day, With Footnotes - 27

St Polycarp, Bishop and Martyr

Polycarp (AD 69 – 155) was a 2nd-century Christian bishop of Smyrna. It is recorded that he had been a disciple of John the Apostle. Saint Jerome wrote that Polycarp was a disciple of John and that John had ordained him bishop of Smyrna. He was reckoned the chief of all the Christians of Asia, because he had been taught by several of the Apostles.

Niccolò Circignani known as Il Pomarancio

Martyrdom of S. Policarpo , about 1583

Basilica di Santo Stefano Rotondo al Celio, 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

In 167, persecution broke out in Smyrna. When Polycarp heard that his pursuers were at the door, he said, "The will of God be done; " and meeting them, he begged to be left alone for a little time, which he spent in prayer. He was brought to Smyrna early on Holy Saturday; and, as he entered, a voice was heard from heaven, "Polycarp, be strong." When the proconsul besought him to curse Christ and go free, Polycarp answered, "Eighty-six years I have served Him, and He never did me wrong; how can I blaspheme my King and Saviour?" When he threatened him with fire, Polycarp told him this fire of his lasted but a little, while the fire prepared for the wicked lasted forever. 

St Polycarp

At the stake he thanked God aloud for letting him drink of Christ's chalice. The fire was lighted, but it did him no hurt; so he was stabbed to the heart, and his dead body was burnt. Polycarp is regarded as a saint and Church Father. His name 'Polycarp' means 'much fruit' in Greek.

With Clement of Rome and Ignatius of Antioch, Polycarp is regarded as one of three chief Apostolic Fathers. The sole surviving work attributed to his authorship is his Letter to the Philippians; it is first recorded by Irenaeus of Lyons. More on Polycarp

Martyrdom of Polycarp

N.B. The persecution was not very severe. Christians were suspected of being disloyal to the state, so they were expected to show their loyalty by making an incense offering to the emperor–who was considered divine.

Many of the magistrates who had to enforce the edict were unhappy doing so and offered the Christians various compromises. One of them was that they could make their offering by proxy–someone else did it on their behalf or they could offer just one tiny grain of incense, and didn’t need to even put it on the fire, but just put it into the container of another person who was offering the incense.

Of course many of the faithful took the compromise. St Polycarp, the Bishop of Smyrna, did not. Dwight Longenecker 

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05 Works, Today, January 26th, is Saint Paula's Day, With Footnotes - 26

André Reinoso, Portuguese painter (active v. 1610 to 1641).

Saint Paula instructs his nuns, c. 1650

Mosteiro dos Jerónimos, in Lisbon, Portugal

André Reinoso, Portuguese (active v. 1610 to 1641). Attributes to him are the nineteen panels of the Life of St. Francis Xavier (Lisbon, sacristy of the Church of St. Roch), whose picturesque composition, the abundance of characters and bizarre details, the wealth of color and chiaroscuro evoke the influence of contemporary Spanish workshops. The Church of Mercy in Obidos preserves intact the painted ensemble including the Visitation and Pentecost (1628) at the high altar and the Mount at Calvary and the Pietà (1630) on the side altars. Stylistic affinities also give him a panel of the Saint-Roch church and a series devoted to the Life of Saint Jerome (Lisbon, sacristy of the Jeronimos Church of Belém). More on André Reinoso

Saint Paula of Rome (AD 347–404) was an ancient Roman saint and early Desert Mother. A member of one of the richest senatorial families of Rome. Paula was married and had four daughters and a son. Paula was widowed at the age of 32. 

André Reinoso, Portuguese painter (active v. 1610 to 1641).

Detail Saint Paula instructs his nuns, c. 1650

Mosteiro dos Jerónimos, in Lisbon, Portugal

She became more interested in religion as time went on. Paula became an enthusiastic member of a semi-monastic group of women. In 382, she met Saint Jerome, who had studied in Rome as a youth and had traveled to Germany and Aquileia, and for some years had lived in the East as an ascetic and scholar.

Giuseppe Bottani (1717 – 1784)

St. Paula of Rome Departs for the Holy Land, c. 1745

Oil on canvas

cm 410 x 231

Braidense National Library, Milan

Giuseppe Bottani (1717 – 1784) was an Italian painter active in the Baroque period. He was born in Cremona. He was sent to study in Florence then Rome. He returned to Cremona after 1745. In 1769, he was named professor of painting and director of the Academy of Fine Arts in Mantua. He was known for painting landscapes in the style of Gaspard Poussin, and figures in the style of Maratta.

He painted a St. Paola taking leave of her Attendants, once in the church of Santi Cosmo e Damiano at Milan.



He trained his brother Giovanni Bottani, active in Pontremoli circa 1720. Another of his pupils was the Brescian Domenico Vantini. Giuseppe died in Mantua. More on Giuseppe Bottani

A year after the death of her husband, Paula pursued a pilgrimage to tour all of the holy sights traveling with daughter Eustochium and Jerome himself. Paula could undertake this voyage due to her widow status which left her a significant fortune allowing her exemption from remarriage. Additionally, having had a male heir and two married daughters provided supplementary financial insurance. Her travels are documented by Jerome in his later writing addressed to Eustochium which discusses how Paula participated in the environments they toured, experiencing visual vividness of biblical events at each locale. In conclusion to her journey, Paula decided to remain in Bethlehem to develop a monastery and spiritual retreat with Jerome. 

Paula and Jerome built a double monastery, one for Paula and her nuns and another for Jerome and his monks. Jerome made explicit in his letter how Paula, through these practices, became a recognized figure in the Christian community. 

Francisco de Zurbarán, (1598–1664)

St. Jerome with St. Paula Romana and her daughter, St. Eustochium, from 1638 until 1640

Oil on canvas

Height: 247 cm (97.2 ″); Width: 174 cm (68.5 ″)

National Gallery of Art, Washington, D.C., 

Francisco de Zurbarán (baptized November 7, 1598 – August 27, 1664) was a Spanish painter. He is known primarily for his religious paintings depicting monks, nuns, and martyrs, and for his still-lifes. Zurbarán gained the nickname Spanish Caravaggio, owing to the forceful, realistic use of chiaroscuro in which he excelled. More on Francisco de Zurbarán

Paula helped Jerome in his translation of the Bible from Hebrew and Greek into Latin. She provided the reference works necessary for the undertaking. Being versed in Hebrew, she edited Jerome's manuscripts. She and her daughter Saint Eustochium copied the work for circulation.

Francesco Botticini (1446-1498)

Saint Jerome in Penitence with Saints and Donors, detail showing Sts. Paula and Eustochium (1490)

London National Gallery

Francesco Botticini, (1446  - Death: 1498), was born Francesco di Giovanni Botticini. His father painted playing cards as an artisan, influencing his son to work independently after his brief training. His studies were under Neri di Bicci and Botticini also studied under another of Bicci’s pupils, Cosimo Rosselli (1439 – 1507) and Andrea del Verrocchio (1435 – 1488). His 1470 piece.


As exampled by his works in the cloistered church in Empoli, Botticini painted in a highly decorative style. Operating his own workshop by 1469, his decorative style was praised much, but still overshadowed by contemporaries such as Filippo Lippi (1457 – 1504) and Sandro Botticelli (1444 – 1510). More on Francesco Botticini

At one point, in traveling to Nitria, she was earnestly received by renowned monks from Egypt and once her death arrived on January 26 404 AD, her funeral was noted as having a significant portion of the Palestine population arrive in her honor. A year after her passing, Paula obtained the title of Saint. 

 André Reinoso, Portuguese painter (active v. 1610 to 1641).

Passage of Saint Paula, mid-17th century

Mosteiro dos Jerónimos, in Lisbon, Portugal

André Reinoso, Portuguese (active v. 1610 to 1641). Attributes to him are the nineteen panels of the Life of St. Francis Xavier (Lisbon, sacristy of the Church of St. Roch), whose picturesque composition, the abundance of characters and bizarre details, the wealth of color and chiaroscuro evoke the influence of contemporary Spanish workshops. The Church of Mercy in Obidos preserves intact the painted ensemble including the Visitation and Pentecost (1628) at the high altar and the Mount at Calvary and the Pietà (1630) on the side altars. Stylistic affinities also give him a panel of the Saint-Roch church and a series devoted to the Life of Saint Jerome (Lisbon, sacristy of the Jeronimos Church of Belém). More on André Reinoso

When Jerome died in late 419 or early 420, he was buried beneath the north aisle of the Church of the Nativity, near the graves of Paula. More on Saint Paula

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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.