The Legend of the Four Crowned Martyrs, c. 1515
Oil on panel
52.1 x 268.3 cm.
Dickinson Gallery, London and New York
Rueland Frueauf the Younger (c. 1470 – after 1545) was a German Late-Gothic painter.
Frueauf was born in Salzburg, and later moved to Passau where he lived and worked for the rest his life. He produced primarily paintings, altarpieces, and frescoes for local churches. His father Rueland Frueauf the Elder was also a painter.
Frueauf the Younger died in Passau. More on Rueland Frueauf the Younger
According to the Golden Legend, the names of the members of the first group were not known at the time of their death "but were learned through the Lord’s revelation after many years had passed."
Scourging of the Four Crowned Martyrs, c. 1385-1390
Tempera, silver, and tooled gold on panel with vertical grain
23 13/16 x 17 inches (60.5 x 43.2 cm)
Philadelphia Museum of Art
Niccolò di Pietro Gerini (c. 1340 – 1414) was an Italian painter of the late Gothic period, active mainly in his native Florence. He was not an innovative painter but relied on traditional compositions in which he placed his figures in a stiff and dramatic movement.
In 1368, Niccolò Dipintore is identified as a member of the Arte dei Medici e Speziali Guild, in Florence.
As is typical for Gothic depictions, Gerini's figures have large chins, sloping foreheads, and sharp noses whilst their bodies are squat and frontally displaced.
Gerini collaborated with Jacopo di Cione on a Coronation of the Virgin (Accademia, Florence) in 1372. It was commissioned by the mint of Florence Zecca Vecchia that same year. In 1383 Gerini again worked with Cione on a fresco of the Annunciation in the Palazzo dei Priori, Volterra. This fresco clearly shows the work of two very different artists: Niccolò di Pietro Gerini (design and very fine painting) and Jacopo di Cione (broadly painted saints and side decoration).
Between 1391 and 1392 he worked in Prato where he frescoed Palazzo Datini and the Church of San Francesco with Lorenzo di Niccolò and Agnolo Gaddi. He also frescoed the capitals of the church of San Francesco, Pisa. More Niccolò di Pietro Gerini
According to the Passion of St. Sebastian, the four saints were soldiers who refused to sacrifice to Aesculapius, and therefore were beaten to death by order of Emperor Diocletian (284-305).
Dirk Jacobsz. Vellert, 1511-1547 (active)
The Martyrdom of the Quatuor Coronati; c. 1526-1544
Drawing
Height: 326 millimetres, Width: 187 millimetres
Pen and brown ink, with brown wash, over black chalk
Minneapolis Institute of Art
Man kneeling blindfolded with the executioner to right raising his sword, further executions behind, and beyond to left figures kneeling before an altar and a man holding a crucifix. More on this work
Dirck Vellert (1480, Amsterdam – 1547, Antwerp), was a Flemish Renaissance painter.
According to the RKD he was a draughtsman, glass painter and engraver who made small devotional prints to put in albums. He was a member of the Antwerp Guild of St. Luke in 1511 and served as deacon in 1518 and 1526. He signed works "DV" and with a star. More on Dirck Vellert
After: Michelangelo da Caravaggio
Print by: Pietro Bombelli
Quattro Coronati, c. 1792
Engraving
Height: 316 millimetres, Width: 227 millimetres
British Museum
The four bounds saints, after a painting then thought to be by Caravaggio in the church of SS Andrea e Leonardo in Rome. 1792. More on this work
Lettered below the image: Painting by Michelangelo da Caravaggio existing in Rome in the V. Chiesa de SS. Andrea and Leonardo of the Compagnia de Scarpellini at Tor di mirrors. Alessandro Cartoni Consul and Governor. MDCCXCII "and with producer names" Giuseppe Cades dis. / Pietro Bombelli inc."
Michelangelo Merisi da Caravaggio (29 September 1571 in Caravaggio – 18 July 1610) was an Italian painter active in Rome, Naples, Malta, and Sicily between 1592 and 1610. His paintings, which combine a realistic observation of the human state, both physical and emotional, with a dramatic use of lighting, had a formative influence on Baroque painting.
Caravaggio trained as a painter in Milan under Simone Peterzano who had himself trained under Titian. In his twenties Caravaggio moved to Rome where there was a demand for paintings to fill the many huge new churches and palazzos being built at the time. It was also a period when the Church was searching for a stylistic alternative to Mannerism in religious. Caravaggio's innovation was a radical naturalism that combined close physical observation with a dramatic use of chiaroscuro which came to be known as tenebrism (the shift from light to dark with little intermediate value).
He gained attention in the art scene of Rome in 1600 with the success of his first public commissions, the Martyrdom of Saint Matthew and Calling of Saint Matthew. Thereafter he never lacked commissions or patrons, yet he handled his success poorly. He was jailed on several occasions, vandalized his own apartment, and ultimately had a death sentence pronounced against him by the Pope after killing a young man, possibly unintentionally, on May 29, 1606. He fled from Rome with a price on his head. He was involved in a brawl in Malta in 1608, and another in Naples in 1609. This encounter left him severely injured. A year later, at the age of 38, he died under mysterious circumstances in Porto Ercole in Tuscany, reportedly from a fever while on his way to Rome to receive a pardon.
Famous while he lived, Caravaggio was forgotten almost immediately after his death, and it was only in the 20th century that his importance to the development of Western art was rediscovered. More on Caravaggio
Calvi Lazzaro, (attributed), Genoese school
Martyrdom of the four crowned saints, c. 16th century
Oil on canvas
I have no further description, at this time
Lazzaro Calvi (1512–1587) was an Italian painter of the late-Renaissance period. He was born in Genoa and trained with his father Agostino Calvi and Perin del Vaga. Older sources claim he lived till the improbable age of 105 years.
His elder brother Pantaleone (died 1595) was also a painter. They worked together at Genoa and the different cities of the republic, as well as at Monaco and Naples. Pantaleono acting as the decorator for Luzzato’s works. They painted a façade of the Palazzo Doria (now Palazzo Spinola). They painted a Continence of Scipio for a palace in Genoa. Lazzaro, irritated by the success of some of his contemporaries, prompted him to the commission the poisoning of Giacomo Bargone; and he hired persons to vilify the works of the ablest painters of the time, and to extol his own. While engaged in these schemes, he was engaged to paint the Birth and Life of St. John the Baptist, together with Andrea Semini and Luca Cambiaso, for the chapel of the Nobili Centurioni. Lazzaro was so mortified at this challenge, that he became a mariner, and withdrew himself from painting for twenty years. He returned, however, to his profession, which he continued till he was in his 85th year. His last works were for the church of Santa Cattaprina. More on Lazzaro Calvi
The second group were sculptors from Sirmium, in northern Serbia, who were killed in Pannonia, present-day western Hungary, eastern Austria, northern Croatia, north-western Serbia, northern Slovenia and northern Bosnia and Herzegovina. The four martyrs were not simply sculptors, but stone-cutters and builders of temples.
The four crowned refuse to sculpt a statue of Æsculapius, c. 1650
Venice, Galleria dell'Accademia
Joseph Heintz (or Heinz) the Elder (11 June 1564 – 15 October 1609) was a Swiss painter, draftsman and architect.
Heintz was born in Basle. He appears to have been a pupil of Hans Bock, and to have educated himself by diligent practice in copying the works of Hans Holbein the younger. Between 1585 and 1587 he lived in Rome, registering himself a pupil; to Hans von Aachen. He next settled in Bohemia in 1591, and was at once appointed court painter to Rudolf II, but he remained in Prague for two years only, as in 1593 he was commissioned to make some copies from the antique for the emperor, and for that purpose went to Rome, where he spent some years. In 1604 we hear of him in Augsburg, and from the time we know little of his history, until his decease is recorded in a village near Prague.
Heintz's paintings included religious images, portraits, and, following the emperor's taste, erotic mythological themes. They were at one time in high demand, but later on suffered an eclipse. He was constantly investigating subtle questions of light, and almost all of his landscapes show the interest he took in this technical matter.
He had a son Joseph, who signed with the same name, and who painted a few religious pictures; several of these works hitherto attributed to the son are now believed to be late productions by the father. More on Joseph Heintz
In company with the four blessed martyrs, there worked one Simplicius, who was also a mason, but a heathen. While he was employed in labor near them he wondered to see how much they surpassed in skill and cunning all the other artisans. They succeeded in all that they attempted, while he was unfortunate, and always breaking his working tools. At last he approached Claudius, and said to him: "Strengthen, I beseech thee, my tools, that they may no longer break." Claudius took them in his hands, and said: "In the name of the Lord Jesus Christ be these tools henceforth strong and faithful to their work." From this time, Simplicius did his work well, and succeeded in all that he attempted to do.
They refused to fashion a pagan statue for the Emperor Diocletian or to offer sacrifice to the Roman gods.
Francesco Antonio Giorgioli
Four Crowned Martyrs, c. 1682
Etching
Height: 238 millimetres, Width: 167 millimetres
British Museum
The Four crowned martyrs with angels presenting them the martyr's palms and crowns. More on this work
Francesco Antonio Giorgioli (* 1655 in Meride ; † 1725 there ) was a Swiss Baroque painter .
Giorgioli created ceiling and wall frescoes, occasionally also altarpieces, for churches and castles, especially in cantons of Ticino , Graubünden , Aargau and Lucerne . His works mostly depict scenes from the Bible or from the lives of saints; they are painted in the manner of panel paintings and are characterized by their richness of figures and the uniform, not extremely colorful coloring. Occasionally depictions of saints are supplemented by suitable emblems .
Giorgioli's frescoes fit perfectly into the architecture and stucco of the respective church and thus form part of a Baroque total work of art. The highlights of his work include the ceiling frescoes in the former Benedictine monastery churches of Pfäfers. More on Francesco Antonio Giorgioli
Although they raised no objections to executing such profane images as Victoria, Cupid, and the Chariot of the Sun, they refused to make a statue of Æsculapius for a heathen temple.
Æsculapius was the ancient Roman god of medicine, whose staff with a snake curled around it is commonly used as a symbol of medicine. According to mythology, Aesculapius's children included Hygeia, the goddess of health, and Panaceia, the goddess of healing.
Niccolò di Pietro Gerini (1368–1415)
The Execution of the Four Crowned Martyrs, circa 1385/1390
Tempera on panel
15.8 × 17.5 × 1 in (40.1 × 44.4 × 2.6 cm)
Birmingham Museum
Niccolò di Pietro Gerini (c. 1340 – 1414) was an Italian painter of the late Gothic period, active mainly in his native Florence. He was not an innovative painter but relied on traditional compositions in which he placed his figures in a stiff and dramatic movement.
In 1368, Niccolò Dipintore is identified as a member of the Arte dei Medici e Speziali Guild, in Florence.
As is typical for Gothic depictions, Gerini's figures have large chins, sloping foreheads, and sharp noses whilst their bodies are squat and frontally displaced.
Gerini collaborated with Jacopo di Cione on a Coronation of the Virgin (Accademia, Florence) in 1372. It was commissioned by the mint of Florence Zecca Vecchia that same year. In 1383 Gerini again worked with Cione on a fresco of the Annunciation in the Palazzo dei Priori, Volterra. This fresco clearly shows the work of two very different artists: Niccolò di Pietro Gerini (design and very fine painting) and Jacopo di Cione (broadly painted saints and side decoration).
Between 1391 and 1392 he worked in Prato where he frescoed Palazzo Datini and the Church of San Francesco with Lorenzo di Niccolò and Agnolo Gaddi. He also frescoed the capitals of the church of San Francesco, Pisa. More Niccolò di Pietro Gerini
The Emperor ordered them to be placed alive in lead coffins and thrown into the river in about 287. More on the Four Crowned Martyrs
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