Elder Hadji-Georgis
Saint Mamas Martyr of Caesarea
I have no further description of this artwork at this time
The Holy Great Martyr Mamas was born in Paphlagonia, Asia Minor, in the third century of pious and illustrious parents, Theodotus and Rufina. The parents of the saint were arrested by the pagans for their open confession of their faith and locked up in prison in Caesarea in Cappadocia.
Bartolomé Esteban Murillo, (1618-1682
Saint Mamas mother St. Rufina of Caesarea, c. 1665
Oil on canvas
Height: 93 cm (36.6 in); Width: 66 cm (25.9 in)
Meadows Museum, Dallas, Texas
Bartolomé Esteban Murillo (born
late December 1617, baptized January 1, 1618 – April 3, 1682) was a Spanish Baroque painter. Although he
is best known for his religious works, Murillo also produced a considerable
number of paintings of contemporary women and children. These lively, realist
portraits of flower girls, street urchins, and beggars constitute an extensive
and appealing record of the everyday life of his times. More on Bartolomé Esteban Murillo
Elder Hadji-Georgis
Saint Mamas Martyr of Caesarea
I have no further description of this artwork at this time
Elder Hadji-Georgis (1809–1886) was one of the greatest Elders of Mount Athos during the nineteenth century.
In the face of Hadji-Georgis, people saw a divine radiance and they easily opened up their suffering hearts and were healed. Everyone spoke with wonder and reverence about the Elder. Greek and Slav Athonite monks recognized him for his asceticism and the sanctity which he dispersed and radiated on Athos.…
It is not important that our Church still has not declared him a Saint in order to give him a halo. That which is very important is the radiant life of the Elder, his simple and innocent, silent example. He was full of virtues and divine strengths, which he offered together with himself in order to help his fellow man.
He performed miracles, he saw divine visions, and he also had the gift of spiritual perception. He had an abundance of grace from God.… When his holy relics were disinterred, an indescribable fragrance exuded from them.” — Elder Paisios
God heard the dying prayer of Saint Rufina: a rich Christian widow named Ammia reverently buried the bodies of Saints Theodotus and Rufina, and she took the boy into her own home and raised him as her own son. Saint Mamas grew up in the Christian Faith. His foster mother concerned herself with the developing of his natural abilities, and early on she sent him off to study.
The boy learned easily and willingly. He was not of an age of mature judgment but distinguished himself by maturity of mind and of heart. By means of prudent conversations and personal example young Mamas converted many of his own peers to Christianity.
Daniel Voshart
Emperor Aurelian (270-275)
Presumed portrait
The governor, Democritus, was informed of this, and the fifteen-year-old Mamas was arrested and brought to trial. In deference to his illustrious parentage, Democritus decided not to subject him to torture, but instead sent him off to the emperor Aurelian (270-275).
Francesco dei Franceschi, Italian, Venice, documented 1445–1456
Saint Mamas before Aurelian, ca. 1450
Tempera on panel
47.9 × 35.6 × 3 cm (18 7/8 × 14 × 1 3/16 in.)
The Yale University Art Gallery.
Francesco de' Franceschi (fl. 1443 – 1468) was an Italian Renaissance painter. His exact dates of birth and death are not known.
Not much is known about Francesco de' Franceschi's except through his works. He primarily painted religious-themed works for church commissions. His style shows influence from Michele Giambono, and it is possible that he collaborated with Antonio Vivarini in Venice. An altarpiece which was most likely from a church in Padua or Venice and now is in the Museo Civico, Padua (1447) has been attributed to him. Two panels St. Mary Magdalen and St Catherine of Alexandria are located in the Ashmolean Museum. More on Francesco de' Franceschi
The emperor tried at first kindly, but then with threats to turn Saint Mamas back to the pagan faith, but all in vain. The saint bravely confessed himself a Christian and pointed out the madness of the pagans in their worship of lifeless idols.
Fra Filippo Lippi and workshop, 1406; died 1469
Saint Mamas in Prison thrown to the Lions, c. 1455-60
Predella Panel
GroupThe Pistoia Santa Trinità Altarpiece
Egg tempera, tempera grassa and oil on wood
27 x 39.5 cm
The National Gallery, Trafalgar Square, London
This large altarpiece – one of the few in the National Gallery which is almost complete – has had an eventful life. It was commissioned in 1455 from the Florentine painter Francesco Pesellino, and is his only surviving documented work. He died in 1457 and it was finished by Fra Filippo Lippi and his workshop. We know a lot about how and why it was made from the records of the confraternity who commissioned it.
From 1465 it sat on the high altar of the church of the Holy Trinity at Pistoia, but in 1793 the confraternity was suppressed and the altarpiece was taken apart, with the main panel sawn into pieces, and dispersed. Most of it was gradually acquired by the National Gallery and the altarpiece reassembled. More on this work
Fra' Filippo Lippi, O.Carm. (c. 1406 – 8 October
1469), also called Lippo Lippi, was an Italian painter of the
Quattrocento (15th century). He was brought up as an unwanted child in the
Carmelite friary of the Carmine, where he took his vows in 1421. Unlike the
Dominican Fra Angelico, however, Lippi was a reluctant friar and had a scandalous
love affair with a nun. The couple was released from their vows and allowed to
marry, but Lippi still signed himself "Frater Philippus". His
biography is one of the most colourful in Vasari's Lives and has given rise to
the picture of a wordly Renaissance artist, rebelling against the discipline of
the Church.
From about
1440, however, his style changed direction, becoming more linear and
preoccupied with decorative motifs. Lippi is associated with the form of tondi,
a format he was among the first to use. Another formal innovation with which
Lippi is closely associated is the "sacra conversazione" - his
Barbadori Altarpiece is sometimes claimed as the earliest example of the type.
Filippo
Lippi was not dedicated to the study of nature firsthand; instead, he depended
largely upon painted and sculptured prototypes, and his figures are often
inorganic and unanatomical,
Lippi was highly regarded in his day and his influence is
seen in the work of numerous artists, most notably Botticelli, who was probably
his pupil. Four centuries later he was one of the major sources for the second
wave of Pre-Raphaelitism. More Fra'
Filippo Lippi, O.Carm
Infuriated, the emperor subjected the youth to cruel tortures. They tried to drown the saint, but an angel of the Lord saved Saint Mamas and bade him live on a high mountain in the wilderness, not far from Caesarea. Bowing to the will of God, the saint built a small church there and began to lead a life of strict temperance, in exploits of fasting and prayer.
Unknown artist
St. Mamas milking deer to make cheese to feed the poor
I have no further description of this artwork at this time
Soon he received a remarkable power over the forces of nature: wild beasts inhabiting the surrounding wilderness gathered at his abode and listened to the reading of the Holy Gospel. Saint Mamas nourished himself on the milk of wild goats and deer.
The saint did not ignore the needs of his neighbors. Preparing cheese from this milk, he gave it away freely to the poor. Soon the fame of Saint Mamas’s life spread throughout all of Caesarea.
Unknown artist
Saint Mamas, accompanied by a lion
I have no further description of this artwork at this time
The governor sent a detachment of soldiers to arrest him. When they encountered Saint Mamas on the mountain, the soldiers did not recognize him, and mistook him for a simple shepherd. The saint then invited them to his dwelling, gave them a drink of milk and then told them his name, knowing that death for Christ awaited him. The servant of God told the servant of the Emperor to go on ahead of him into Caesaria, promising that he would soon follow. The soldiers waited for him at the gates of the city, and Saint Mamas, accompanied by a lion, met them there.
Unknown artist
St. Mamas being thrown into the flames
I have no further description of this artwork at this time
Unknown artist
The Martyrdom of St. Mamas the Great Martyr
I have no further description of this artwork at this time
Jean Cousin, (1500–1589)
St Mammes and Duke Alexander, c. 1541
(according to the inscription woven into the bottom of the present tapestry; strictly speaking, however, it should be Aurelian)
Tapestry
Height: 440 cm (14.4 ft); Width: 450 cm (14.7 ft)
Louvre Museum
Jean Cousin (1500 – before 1593) was a
French painter, sculptor, etcher, engraver, and geometrician. He is known as
"Jean Cousin the Elder" to distinguish him from his son Jean Cousin
the Younger, also an artist.
Cousin was
born at Soucy, near Sens, and began his career in his native town with the
study of glass-painting under Jean Hympe and Grassot. At the same time, he
studied mathematics and published a successful book on the subject. He also
wrote on geometry in his student days. In 1530 Cousin finished the windows for
Sens Cathedral, the subject chosen being the "Legend of St.
Eutropius". He also painted the windows of many of the noble châteaux in
and around the city.
In Paris
Cousin continued his career as a glass-painter, and created his best-known
work, the windows of the Sainte-Chapelle in Vincennes. He subsequently devoted
himself to painting in oil, and has been claimed as the first Frenchman to use
that new medium.
He was
also an illustrator of books, making many designs for woodcuts and often
executed them himself. The "Bible", published in 1596 by Le Clerc,
and the Metamorphoses and Epistles of Ovid (1566 and 1571 respectively) contain
his most noted work as an illustrator. He also created sculptures. In addition
to his early writings on mathematics, he published, in 1560, a treatise on
perspective, and, in 1571, a work on portrait-painting. During his life Cousin
enjoyed the favour of and worked for four kings of France: Henry II, Francis
II, Charles IX, and Henry III.
He died at Sens, but the date of his death is
uncertain. More Jean
Cousin
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