06 works, Today, September 29th, is Saint Theodota's day, her story illustrated #271

Noël Coypel, (1628–1707)

Apollo Crowned by Victory, between circa 1667 and circa 1668

Oil on canvas

Height: 214 cm (84.2 in); Width: 115 cm (45.2 in)

Louvre Museum, Paris

Towards the end of the reign of Licinius, on a Friday, in September, in the year 318, a persecution was raised at Philippi,  anciently Eumolpias, in Thrace. Agrippa the prefect, on a festival of Apollo, had commanded that the whole city should offer a great sacrifice with him. 

Noël Coypel, (born Dec. 25, 1628, Paris, France—died Dec. 24, 1707, Paris), French Baroque historical painter who was the founding member of a dynasty of painters and designers employed by the French court during the late 17th and 18th centuries.

Made an academician in 1663, Coypel served as director of the French Academy in Rome from 1672 to 1676, and in 1695 he was made director of the Royal Academy in Paris. Although Noël Coypel is primarily known as one of the principal producers of decorative paintings for Louis XIV at the palaces of the Tuileries, the Louvre, and Versailles, he is also renowned for such important ecclesiastical commissions as the well-known painting of The Martyrdom of St. James in Notre Dame, Paris. Stylistically his mature works show the influence of Charles Le Brun; but his earlier paintings were in the manner of Poussin, and for this reason he was sometimes called Coypel le Poussin. More on Noël Coypel

Sir Lawrence Alma Tadema

The Women of Amphissa

Oil on canvas.

121,8 x 182,8 cm
Clark Art Institute, Williamstown

Theodota, who had been formerly a harlot, was accused of refusing to conform, and being called upon by the president, answered him, that she had indeed been a grievous sinner, but could not add sin to sin, nor defile herself with a sacrilegious sacrifice. Her constancy encouraged seven hundred and fifty men to step forth, and, professing themselves Christians, to refuse to join in the sacrifice. 

Sir Lawrence Alma-Tadema, OM, RA (8 January 1836 – 25 June 1912) was a Dutch painter of special British denizenship.

Born in Dronrijp, the Netherlands, and trained at the Royal Academy of Antwerp, Belgium, he settled in England in 1870 and spent the rest of his life there. A classical-subject painter, he became famous for his depictions of the luxury and decadence of the Roman Empire, with languorous figures set in fabulous marbled interiors or against a backdrop of dazzling blue Mediterranean Sea and sky.

Though admired during his lifetime for his draftsmanship and depictions of Classical antiquity, his work fell into disrepute after his death, and only since the 1960s has it been re-evaluated for its importance within nineteenth-century English art. More on Sir Lawrence Alma-Tadema

Antonio Ciseri, (1821–1891)

Theodota was cast into prison

The Martyrdom of the Seven Maccabees, c. 1863

Oil on canvas

Height: 450 cm (14.7 ft); Width: 260 cm (102.3 in)

Florence

Antonio Ciseri (25 October 1821 – 8 March 1891) was a Swiss-Italian painter of religious subjects.

He was born in Ronco sopra Ascona, Switzerland. He went to Florence in 1833 to study drawing with Ernesto Bonaiuti. Within a year, by 1834 he was a pupil of Niccola and Pietro Benvenuti at the Accademia di Belle Arti in Florence; he was later taught by Giuseppe Bezzuoli, who greatly influenced the early part of his career. In 1849, he began offering instruction to young painters, and eventually ran a private art school. Among his earliest students was Silvestro Lega.

Ciseri's religious paintings are Raphaelesque in their compositional outlines and their polished surfaces, but are nearly photographic in effect. He fulfilled many important commissions from churches in Italy and Switzerland. Ciseri also painted a significant number of portraits. He died in Florence on 8 March 1891. Among his other pupils were the painters Oreste Costa, Giuseppe Guzzardi, Alcide Segoni, Andrea Landini, Raffaello Sorbi, Niccolò Cannicci, Emanuele Trionfi, Girolamo Nerli, and Egisto Sarri. More on Antonio Ciseri

Theodota was cast into prison, where she lay twenty days; all which time she employed in continual prayer. Being brought to the bar, as she entered the court she burst into tears, and prayed aloud that Christ would pardon the crimes of her past life, and arm her with strength, that she might be enabled to bear with constancy and patience the cruel torments she was going to suffer. 

In her answers to the judge she confessed that she had been a harlot, but declared that she was become a Christian, though unworthy to bear that sacred name. 

Agrippa commanded her to be cruelly scourged. The pagans that stood near her, ceased not to exhort her to free herself from torments by obeying the president but for one moment. But Theodota remained constant, and under the lashes cried out: “I never will abandon the true God, nor sacrifice to lifeless statues.” 

Unknown artist

The president ordered her to be hoisted upon the rack

I have no further description, at this time

Unknown artist

Her body torn with an iron comb

I have no further description, at this time

The president ordered her to be hoisted upon the rack, and her body to be torn with an iron comb. Under these torments she earnestly prayed to Christ, and said: “I adore you, O Christ, and thank you, because you have made me worthy to suffer this for your name.” The judge, enraged at her resolution and patience, said to the executioner: “Tear her flesh again with the iron comb; then pour vinegar and salt into her wounds.” She said: “So little do I fear your torments, that I entreat you to increase them to the utmost, that I may find mercy and attain to the greater crown.” Agrippa next commanded the executioners to pluck out her teeth, which they violently pulled out one by one with pincers. The judge at length condemned her to be stoned. She was led out of the city, and, during her martyrdom, prayed thus: “O Christ, as you showed favor to Rahab the harlot, and received the good thief, so turn not your mercy from me.” In this manner she died, and her soul ascended triumphant to heaven in the year of the Greeks 642. More on Saint Theodota

Unknown artist

Saint Theodota

I have no further description, at this time

Please visit my other blogs: Art Collector, Mythology, Marine Art, Portrait of a Lady, The Orientalist, Art of the Nude and The Canals of Venice, Middle East Artists, 365 Saints, 365 Days, and Biblical Icons, also visit my Boards on Pinterest

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07 works, Today, September 28th, is Saint Wenceslas' day, his story illustrated #270

Unknown artist

Saint Wenceslas

Czech Institute of Monuments

I have no further description, at this time

Wenceslas I, also called Saint Wenceslas, (born c. 907, Stochov, near Prague—died Sept. 28, 929, Stará Boleslav, Bohemia), prince of Bohemia, martyr, and patron saint of the Czech Republic.

Josef Mathauser

Princess Drahomíra, Prince Václav and Ludmila

Oil on canvas

33.3 x 21.5 cm | 13.1 x 8.5 inches

I have no further description, at this time

Josef Mathauser (24 July 1846 in Staňkov – 10 January 1917 in Prague) was a Czech Romantic painter. He is known for his religious paintings, and for his series of "History of the Czech Nation in Pictures".

Among his religious works are the Stations of the Cross in the Assumption of Mary church in Mariánské Lázně (1886/7) and an altar in the church of St. Peter and Paul, and the restoration of religious scenes at Svatá Hora Monastery near Příbram (1895). More on Josef Mathauser

Wencelas was raised a Christian by his grandmother St. Ludmila, but his ambitious mother, Drahomíra (Dragomir), a pagan, had her murdered and acted as regent herself, until Wenceslas came of age in 924 or 925. Her court intrigues and the wishes of the people to end the conflicts between Christian and non-Christian factions in Bohemia led Wenceslas to take the reins of government. As duke he was pious, reportedly taking a vow of virginity, and encouraged the work of German missionary priests in the Christianization of Bohemia. His zeal in spreading Christianity, however, antagonized his non-Christian opponents.

Unknown artist

Radslav of Kouřim surrenders to St. Wenceslaus after seeing two Angels accompanying him into battle

I have no further description, at this time

According to legend, one Count Radislas rose in rebellion and marched against King Wenceslas. The latter sent a deputation with offers of peace, but Radislas viewed this as a sign of cowardice. The two armies were drawn up opposite each other in battle array, when Wenceslas, to avoid shedding innocent blood, challenged Radislas to single combat. As Radislas advanced toward the king, he saw by Wenceslas' side two angels, who cried: "Stand off!" Thunderstruck, Radislas repented his rebellion, threw himself from his horse at Wenceslas's feet, and asked for pardon. Wenceslas raised him and kindly received him again into favor.

Unknown author

King Henry I, circa 1597-1618

Oil on panel

Height: 58.4 cm (22.9 in); Width: 44.4 cm (17.4 in)

National Portrait Gallery, London

Faced with German invasions in 929, Wenceslas submitted to the German king Henry I the Fowler. His submission provoked some of the nobles to conspire against him, and they prompted his younger brother, Boleslav (Boleslaus), to murder him. 

Unknown artist

Wenceslas is murdered by his brother Boleslaw

I have no further description, at this time

Gumpold of Mantua, Vita of St. Wenzel (Wolfenbüttel, Herzog August Bibliothek, Cod. Guelf. 11.2 Aug. 4 °, fol. 21r, written before 1006). Wenceslas death. From left: Wenceslaus snatches the sword from Boleslav. Boleslav attacks Wenceslas, who takes refuge in the church. A priest closes the door.

Unknown artist

The shrine of the holy king Wenceslas was honored with many miracles

I have no further description, at this time

Waylaid by Boleslav en route to mass, Wenceslas was killed at the church door. Frightened by the reports of miracles occurring at Wenceslas’ tomb, Boleslav had his remains transferred in 932 to the Church of St. Vitus, Prague, which became a great pilgrimage site during the medieval period. Wenceslas was regarded as Bohemia’s patron saint almost immediately after his assassination. His virtues are sung in the Christmas carol (19th century) “Good King Wenceslas.” More on Saint Wenceslas

Unknown artist

 King Wenceslas was crowned martyr

Emma venerates St. Wenceslaus

Vita of St. Wenceslaus

Wolfenbüttel, Herzog

I have no further description, at this time

Emma († 1005/1006) was a Bohemian princess. She lived in Prague Castle as the wife and widow of Boleslav II until 1002. She was also Wenceslaus' sister-in-law.

Please visit my other blogs: Art Collector, Mythology, Marine Art, Portrait of a Lady, The Orientalist, Art of the Nude and The Canals of Venice, Middle East Artists, and 365 Saints, also visit my Boards on Pinterest

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.

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6 works, Today, September 27th, is Saint Sabbatius of Solovkis day, his story illustrated #269

Paolo Uccello, (1397–1475)

The Thébaïde, c. 1460s

Tempera on canvas

Height: 81 cm (31.8 in); Width: 110 cm (43.3 in)

Galleria dell'Accademia, Florence

The subject of this painting is rather unusual. In a rocky landscape with forests and caves populated by animals and monks engaged in a variety of activities. Such a composition does not adhere to any standardized iconography but appears to be a celebration of monasticism in general. 

Paolo Uccello (1397 – 10 December 1475), born Paolo di Dono, was a Florentine painter and mathematician who was notable for his pioneering work on visual perspective in art. Uccello combined an International Gothic figure style and love of decorative effects with a profound interest in linear perspective, characteristic of the Early Renaissance. Both these features of his art are shown particularly clearly in 'The Battle of San Romano'.

Uccello was trained under the sculptor Ghiberti from about 1407 to 1414 and worked in Venice as a designer of mosaics (1425-30). A pioneer of studies in linear perspective, he executed major fresco commissions utilising the technique to different ends. The equestrian 'Sir John Hawkwood' in Florence Cathedral, (1436), manipulates perspective for the sake of illusionism; 'The Flood' in the cloister of Santa Maria Novella, (1447) uses it to enhance expression, probably under the influence of Donatello. His domestic decorations, however, devalue these effects by stressing colour and surface pattern. More on Paolo Uccello 

Unknown artist

Venerable Zosimas and Sabbatius of Solovki

I have no further description, at this time

Saint Sabbatius lived for many years as a monk at the Monastery of St Cyril of White Lake, where his ascetic struggles won him the respect of his brethren. To flee from the admiration of men he moved further north to Valaam Monastery. But he still attracted the good opinion of his community, so he secretly headed still further north, planning to reach the uninhabited Solovki Island in the White Sea (a large bay of the Arctic Ocean). When he reached the coast, everyone who might take him tried to dissuade him from living in such a harsh place. He answered 'My children, I have a Master who has the power to renew the strength of the old and to enfeeble the young if He so wills. He makes the poor rich, clothes the naked, provides for the destitute and satisfies the starving with a measure of food as he fed five thousand men in the desert.'

Lukash Anatoliy

The Boat Of Peter. Solovki, c. 2015

Oil on canvas

 70cm x 80cm 2015
Private collection

Lukash Anatoliy, born February 13 1956 in the village Povsten, Poltava region, Ukraine.

Graduated from Simferopol art school. Graduated from St. Petersburg State Academic Institute for Painting, Sculpture and Architecture. Member of the Russian Artists Union. More on Lukash Anatoliy,

While waiting for seasonable sailing weather he met St Germanus (July 30) who lived nearby as a hermit. Together they found a fishing boat and, casting all their trust on the Lord, made the dangerous two-day voyage and set up a hermitage on the island. 

Unknown artist

Saints Savvaty and Herman build a temple

Linden board, chalk gesso, tempera paints, varnish, 995 gold leaf

I have no further description, at this time

It became known as a holy place, and thenceforth those living in the world knew not to settle on Solovki, or even to set foot there without good reason. After six years, St Germanus departed, and Sabbatius was left alone.

Unknown artist

Sabbatius was left alone

I have no further description, at this time

When he was old, he began to fear that he would die without receiving the life-giving Mysteries, of which he had not partaken since he left Valaam. So he returned to the mainland where he met an abbot Nathanael just as he was taking Holy Communion to a sick man. Sabbatius persuaded the abbot to hear his confession and grant him the priceless gift of Holy Communion. He then settled in a nearby chapel and made ready for his departure from this life. A wealthy merchant from Novgorod visited him to ask for his blessing. The Saint said to him, 'Spend the night here and you will see the grace of God.' The next morning the merchant came to Sabbatius' cell and found that he had reposed during the night; his cell was suffused with a beautiful scent.

Unknown artist

Saints Zosima and Savvatij in a Russian icon from the early 18th century

I have no further description, at this time

The following year, St Germanus, along with St Zosimas (April 17), returned to Solovki island and founded a monastery there, which proved to be the nurturing ground of many Saints. More on Sabbatius of Solovki

Please visit my other blogs: Art Collector, Mythology, Marine Art, Portrait of a Lady, The Orientalist, Art of the Nude and The Canals of Venice, Middle East Artists, and 365 Saints, also visit my Boards on Pinterest

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.

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12 works, Today, September 26th, is Saint John the Evangelist's day, his story illustrated #268

El Greco, (1541–1614)

Opening of the Fifth Seal, The Vision of Saint John, from 1608 until 1614

Oil on canvas

87.5 × 76 in (222.2 × 193 cm); 88.5 × 78.5 in (224.7 × 199.3 cm)

Metropolitan Museum, New York

Doménikos Theotokópoulos (1541 – 7 April 1614), most widely known as El Greco; Spanish for "The Greek", was a painter, sculptor and architect of the Spanish Renaissance. The nickname "El Greco" refers both to his Greek origin and Spanish citizenship. The artist normally signed his paintings with his full birth name in Greek letters.

 

El Greco was born in Crete, which was at that time part of the Republic of Venice, and the center of Post-Byzantine art. He trained and became a master within that tradition before traveling at age 26 to Venice, as other Greek artists had done. In 1570 he moved to Rome, where he opened a workshop and executed a series of works. During his stay in Italy, El Greco enriched his style with elements of Mannerism and of the Venetian Renaissance. In 1577, he moved to Toledo, Spain, where he lived and worked until his death. In Toledo, El Greco received several major commissions and produced his best-known paintings.

 

El Greco's dramatic and expressionistic style was met with puzzlement by his contemporaries but found appreciation in the 20th century. El Greco is regarded as a precursor of both Expressionism and Cubism, while his personality and works were a source of inspiration for poets and writers. El Greco has been characterized by modern scholars as an artist so individual that he belongs to no conventional school. He is best known for tortuously elongated figures and often fantastic or phantasmagorical pigmentation, marrying Byzantine traditions with those of Western painting. More on El Greco

Saint John came from Bethsaida, a poor village in Galilee. He was the son of Zebedee the fisherman and of Salome, the daughter of Joseph, the Betrothed of the Virgin Mary. Joseph had four sons by his first marriage: James, Joses, Jude, and Simon, and three daughters: Esther, Martha, and Salome. Thus, Jesus Christ our Savior was the uncle of Saint John the Theologian, since He was the half-brother of John’s mother Salome.

John and his brother James were helping their father Zebedee with the fishing when the Savior called them to follow Him and become fishers of men. John became the “beloved disciple.

Unknown artist

The last supper, Saint John  leaned on the breast of his beloved Master

I have no further description, at this time

At the Last Supper, the Lord placed him at His side, where he leaned on the breast of his beloved Master. When the Jews laid hold of Jesus, Saint John followed Him into the palace of the high priest. 

Anthony van Dyck, (1599–1641)

Christ Crucified with the Virgin, Saint John and Mary Magdalene, c. between 1617 and 1619

Oil on canvas

Height: 3.3 cm (1.2 in); Width: 2.8 cm (1.1 in)

Louvre Museum , Paris

Sir Anthony van Dyck, ( 22 March 1599 – 9 December 1641) was a Flemish Baroque artist who became the leading court painter in England, after enjoying great success in Italy and Flanders. He is most famous for his portraits of Charles I of England and his family and court, painted with a relaxed elegance that was to be the dominant influence on English portrait-painting for the next 150 years. He also painted biblical and mythological subjects, displayed outstanding facility as a draughtsman, and was an important innovator in watercolour and etching. The Van Dyke beard is named after him. More Sir Anthony van Dyck

He alone remained with the Virgin Mary at the foot of the Cross when the Savior was crucified. Seeing John standing by, Christ said to His mother: “Woman, behold your son!” and to John: “Behold your mother!” From that hour, John took the Virgin Mary into his own home.

Giotto di Bondone, (–1337)

Descent from the cross, c, between 1304 and 1306

Fresco

Height: 200 cm (78.7 in); Width: 185 cm (72.8 in)

Scrovegni Chapel,  Padua, Italy

St. John is wearing a red robe with open hands in the center of the screen

Giotto di Bondone (1266/7 – January 8, 1337), known mononymously as Giotto, and Latinized as Giottus, was an Italian painter and architect from Florence in the late Middle Ages. He is generally considered the first in a line of great artists who contributed to the Renaissance.

In his Lives of the Most Excellent Painters, Sculptors, and Architects, the late-16th century artist and art historian Giorgio Vasari describes Giotto as making a decisive break with the prevalent Byzantine style and as initiating "the great art of painting as we know it today, introducing the technique of drawing accurately from life, which had been neglected for more than two hundred years."

Giotto's masterwork is the decoration of the Scrovegni Chapel in Padua, also known as the Arena Chapel, completed around 1305. This fresco cycle depicts the Life of the Virgin and the Life of Christ. It is regarded as one of the supreme masterpieces of the Early Renaissance.[4] That Giotto painted the Arena Chapel and that he was chosen by the Commune of Florence in 1334 to design the new campanile (bell tower) of Florence's Cathedral are among the few certainties of his biography. Almost every other aspect of it is subject to controversy: his birthdate, his birthplace, his appearance, his apprenticeship, the order in which he created his works, whether or not he painted the famous frescoes in the Upper Basilica of Saint Francis in Assisi, and his burial place. More Giotto di Bondone

He saw Christ after His Resurrection and was commissioned with the other disciples to preach the Gospel throughout the world when. He was present also at the Lord’s Ascension into heaven and received the Holy Spirit. He remained the last of the disciples in Jerusalem, in the company of the Virgin Mary, whom he served until the time of her Dormition.

Peter Paul Rubens, (1577–1640)

Assumption of Mary, c. 1626

Oil on panel

Height: 490 cm (16 ft); Width: 325 cm (10.6 ft)

Cathedral of Our Lady, Antwerp

Sir Peter Paul Rubens (28 June 1577 – 30 May 1640) was a Flemish Baroque painter. A proponent of an extravagant Baroque style that emphasized movement, colour, and sensuality, Rubens is well known for his Counter-Reformation altarpieces, portraits, landscapes, and history paintings of mythological and allegorical subjects.

In addition to running a large studio in Antwerp that produced paintings popular with nobility and art collectors throughout Europe, Rubens was a classically educated humanist scholar and diplomat who was knighted by both Philip IV of Spain and Charles I of England.  More on Sir Peter Paul Rubens

After the Dormition of the Mother of God the Apostle John went to Ephesus and other cities of Asia Minor to preach the Gospel, taking with him his own disciple Prochorus. 

Unknown artist

They boarded a ship, which floundered during a terrible tempest

I have no further description, at this time

They boarded a ship, which floundered during a terrible tempest. All the travellers were cast up upon dry ground, and only the Apostle John remained in the depths of the sea. Prochorus, bereft of his spiritual father and guide, and he went on towards Ephesus alone.

Germán Hernández Amores, (1823–1894)

Travel of the Blessed Virgin and St. John to Ephesus after the death of Savior, c. 1862

The Virgin didn't travel with him to Ephesus!

Oil on canvas

Height: 244 cm (96 in); Width: 390 cm (12.7 ft)

Museo del Prado

Germán Hernández Amores (10 June 1823, Murcia – 16 May 1894, Murcia) was a Spanish painter who specialized in Classical, mythological, and Biblical scenes. He was one of the few artists in Spain to adopt stylistic elements from the German Nazarene movement.

He began by studying drawing with the Italian-born sculptor, Santiago Baglietto (1781-1853), at the Sociedad Económica de los Amigos del País in Murcia. Then, he studied at the Real Academia de Bellas Artes de San Fernando, with José and Federico de Madrazo. During this time, he paid his way by doing book illustrations.

The year 1851 found him in Paris, on a scholarship from the Consejo y Comisaría de Cruzada. Two years later, he received a pension that allowed him to stay at the Academia de España en Roma. He was there until 1857 and made contact with several German painters of the Nazarene movement, which influenced his style.

In 1858, he was awarded a Second Class prize at the National Exhibition of Fine Arts. His depiction of the Virgin Mary and Saint John on their way to Ephesus received a First Class prize at the Exhibition of 1862. He would continue to participate until 1892, but won no further prizes.

Later, he became a Professor at the Escuela Superior de Pintura and, in 1892, was named a member of the Real Academia. More on Germán Hernández Amores

On the fourteenth day of his journey he stood at the shore of the sea and saw that the waves had cast a man ashore. Going up to him, he recognized the Apostle John, whom the Lord had preserved alive for fourteen days in the sea. Teacher and disciple went to Ephesus, where the Apostle John preached incessantly to the pagans about Christ. His preaching was accompanied by such numerous and great miracles, that the number of believers increased with each day.

Alonso Cano, (1601–1667)

Saint John the Evangelist and the Poisoned Cup, c. between 1635 and 1637

Oil on canvas

Height: 53.5 cm (21 in); Width: 35.5 cm (13.9 in)

Louvre Museum, Paris

The chalice held by Saint John alludes to tradition according to which St. John was handed a cup of poisoned wine, from which, at his blessing, the poison fled in the shape of a serpent.

Alonzo Cano or Alonso Cano (19 March 1601 – 3 September 1667) was a Spanish painter, architect and sculptor born in Granada. He learned architecture from his father, Miguel Cano; painting in the academy of Juan del Castillo, and from Francisco Pacheco the teacher of Velázquez; and sculpture from Juan Martínez Montañés. As a sculptor, his most famous works are the Madonna and Child in the church of Lebrija.

He was made first royal architect, painter to Philip IV, and instructor to the prince, Balthasar Charles, Prince of Asturias. The King gave him the church preferment of a canon of the Granada Cathedral, in order to take up a position as chief architect of the cathedral, where his main achievement in architecture was the façade, designed at the end of his life.

After the death of his wife he took Holy Orders. More on Alonzo Cano

During this time there had begun a persecution of Christians under the emperor Nero (56-68). They took the Apostle John for trial at Rome. Saint John was sentenced to death for his confession of faith in the Lord Jesus Christ, but the Lord preserved His chosen one. The apostle drank a cup of deadly poison, but he remained alive. 

Sigmund Gleismüller, (1449-1511)

Saint John on Patmos, c. 1490

Oil on canvas

Germanisches Nationalmuseum,  Nuremberg, Germany

Meister von Mörlbach or Meister des Mörlbacher Marienaltar is the emergency name for a painter of the late 15th century who was under Flemish influence. Björn Statnik identified him in 2009 with the Landshut court painter Sigmund Gleismüller.

The panels of the Annunciation altar in the church of St. Stephan in Mörlbach come from the master of Mörlbach . The panels of the Catherine Altar in the former monastery church of the Attel monastery (now the parish church of St. Michael) are ascribed to him. More on Sigmund Gleismüller

Juan de las Roelas, (Spanish, 1558–1625)Title:

The Martyrdom of Saint John the Evangelist

Oil on Canvas

147 x 105 cm. (57.9 x 41.3 in.)

Private collection

Juan de Roelas, de las Roelas or Ruela (c. 1570, in Flanders – 1625, in Olivares) was a Flemish painter whose entire documented career took place in Spain. He played a major role in the transition from Mannerist to Baroque painting in Spain.

The new findings about the prior mix-up of the biographical details of the painter with those of a Spanish monk and the lack of other documentation have made it difficult to separate and confirm the details of his life.

It is known that in 1598 he worked in Valladolid in the commemorative ceremonies for the death of king Philip II of Spain, contributing to the design of his funerary monument. He remained there until 1604, when he obtained a benefice or favour from the Count-Duke of Olivares. In the village of, Olivares, near Seville, de Roelas made several large paintings to decorate altars in and around Seville. It is reported that he moved to Madrid where he tried to obtain an appointment as painter to the royal court, but that when he failed he returned to Olivares where he died in 1625.

He had many disciples, among whom Francisco Varela from Seville and Pablo Legote from Luxembourg. More on Juan de Roelas

Later, he emerged unharmed from a cauldron of boiling oil into which he had been thrown on orders from the torturer.

After this, they sent the Apostle John off to imprisonment to the island of Patmos, for many years. Proceeding along on his way to the place of exile, Saint John worked many miracles. On the island of Patmos, his preaching and miracles attracted to him all the inhabitants of the island, and he enlightened them with the light of the Gospel. 

Domenichino, (1581–1641)

Saint John the Evangelist, c. between 1624 and 1629

Oil on canvas

Height: 259 cm (101.9 in); Width: 199.4 cm (78.5 in)

National Gallery, London

Domenichino, original name Domenico Zampieri, (born October 1581, Bologna, Papal States —died April 6, 1641, Naples), Italian painter who was a leading practitioner of Baroque classicism in Rome and Bologna.

He was trained in the academy of Lodovico Carracci and in 1602 was in Rome, where he joined the Bolognese artists at work in the decoration of the Farnese Palace. He decorated a room in the Villa Belvedere at Frascati with mythological frescoes and a chapel in the Badia at Grottaferrata...

In 1617–18 Domenichino painted for Cardinal Aldobrandini the celebrated canvas of The Hunt of Diana. This work shows that he was a sensitive colourist, and its idyllic mood departs from the arid classicism of his frescoes. Though Domenichino’s work remained in great demand, there was a reaction against the rigid classicism of his style, and in the last works that he produced in Rome he worked in a broader, less classical style. This closer approximation to the Baroque is also apparent In Naples his style was less acceptable than it had proved in Rome. More on Domenichino

Unknown artist

The Evangelist St. John with his symbol the eagle on Patmos, the devil stealing the ink-well

National Library of the Netherlands

I have no further description, at this time

After his prolonged exile, the Apostle John received his freedom and returned to Ephesus, where he continued with his activity In the year 95, the Apostle John wrote his Gospel at Ephesus. 

When it was time for the departure of the Apostle John, he went out beyond the city limits of Ephesus with the families of his disciples. He bade them prepare for him a cross-shaped grave, in which he lay, telling his disciples that they should cover him over with the soil. The disciples tearfully kissed their beloved teacher, but not wanting to be disobedient, they fulfilled his bidding. They covered the face of the saint with a cloth and filled in the grave. Learning of this, other disciples of Saint John came to the place of his burial. When they opened the grave, they found it empty. More on John the Evangelist

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