08 works, Today, December 31st, is Columba of Sens' day, her story, illustrated #363

Giovanni Baronzio, (–1362)

Stories from the life of St. Columba, 1345-1350 circa

Tempera on wood

Pinacoteca di Brera, Milan , Italy

Giovanni Baronzio, also known as Giovanni da Rimini, (died before 1362), was an Italian painter who was active in Romagna and the Marche region during the second quarter of the 14th century. Giovanni Baronzio was the eminent representative of the second generation of painters of the school of Rimini. More on Giovanni Baronzio

Columba was born to a noble pagan family in Zaragoza, the northwestern region of Spain. Her original name was probably Eporita, and she was a member of a very influential noble family. Her relatives worshiped the old deities and didn't follow the new religion. Members of her family were some of the most important people related to the Roman Empire. 

Columba fled as a child to Vienne, France and was baptized, receiving the name Columba, meaning "dove" in French. She left Spain for France because she had been told it was where "a more beautiful religion flourished" and because she "had an insurmountable horror of idols", and to avoid being denounced as a Christian. Columba continued to Sens, near Paris in north-central France, where she was martyred in 273.

Pellegrino da San Daniele, (1467–1547)

Detail; Santa Colomba

Parish church of Osoppo,  Province of Udine in the Italy

Madonna with Child enthroned among Saints Peter, Colomba, John the Baptist, Ermacora, Magdalene, Giacomo, Stefano, Sebastiano and five musician angels

Pellegrino da San Daniele (1467–1547) was an Italian painter in the late-Quattrocento and Renaissance styles, active in the Friulian region.

Born at San Daniele del Friuli, he is also known as Martino da Udine. He completed frescoes in the church of San Antonio in the town of San Daniele. He later was strongly influenced by Il Pordenone. Among his pupils were Luca Monverde, Girolamo da Udine, and Sebastiano Florigerio. More on Pellegrino da San Daniele

Specialists in the lives of saints suggest that Columba of Sens is the same woman as Columba of Spain, who lived during the 9th century AD. Columba of Spain is known as the patron saint of witches, a curious notion in and of itself. On the one hand, she acts as an intercessor on behalf of witches, while on the other hand, people go to her to defend themselves against witches.

Giovanni Baronzio, (1343 circa - 1362)

Detail; Colomba before the Emperor, c. 1340s

Tempera on wood

Pinacoteca di Brera, Milan , Italy

See above for Giovanni Baronzio

Aurelian, the Roman emperor (270-275), passed through Sens and put all the Christians there to death. "Alone, Columba found favour in his eyes, such was the nobility and the beauty of her features revealing her high origin". He wanted her to marry his son, but she refused, so he locked her up in a brothel in the town amphitheater. 

Giovanni Baronzio, (1343 circa - 1362)

Detail; St Colomba Saved by a Bear, c. 1340s

Tempera on wood

Pinacoteca di Brera, Milan , Italy

See above for Giovanni Baronzio

Jacques Callot,

St Columba watching a guard being attacked by a bear, in an amphitheater, c. 1632-1635
Etching

British Museum

Jacques Callot, (born March–August 1592, Nancy, France—died March 24, 1635, Nancy), French printmaker who was one of the first great artists to practice the graphic arts exclusively. His innovative series of prints documenting the horrors of war greatly influenced the socially conscious artists of the 19th and 20th centuries.

He learned the technique of engraving in Rome. About 1612 he went to Florence. At that time Medici patronage expended itself almost exclusively in feste, quasi-dramatic pageants, sometimes dealing in allegorical subjects, and Callot was employed to make pictorial records of these mannered, sophisticated entertainments. He succeeded in evolving a naturalistic style while preserving the artificiality of the occasion, organizing a composition as if it were a stage setting and reducing the figures to a tiny scale, each one indicated by the fewest possible strokes. This required a very fine etching technique. His breadth of observation, his lively figure style, and his skill in assembling a large, jostling crowd secured for his etchings a lasting popular influence all over Europe.

He illustrated sacred books, made a series of plates of the Apostles, and visited Paris to etch animated maps of the sieges of La Rochelle and the Île de Ré. In his last great series of etchings, the “small” (1632) and the “large” (1633) The Miseries and Misfortunes of War, he brought his documentary genius to bear on the atrocities of the Thirty Years’ War. Callot is also well known for his landscape drawings in line and wash and for his quick figure studies in chalk. More on Jacques Callot

 Antonio Tempesta

Sts Columba and Mustiola, c. 1570-1591
Etching

Height: 73 millimetres, Width: 118 millimetres

British Museum

Sts Columba and Mustiola; St Mustiola at centre hanging from a frame by her hands tied above her head, and with a stone tied to her feet, with a torturer standing to right scourging her; behind to left, St Columba praying with a bear behind her.

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

While Columba was imprisoned, someone tried to rape her, but she was saved by a she-bear. Aurelian was furious and decided to burn the animal and Columba together, but the bear escaped and survived, while a "provincial rain put out the fire". Columba was condemned to death and beheaded near a fountain named d'Azon. Her body was left on the ground after she was killed, but a man named Aubertus, who had prayed to her for the restoration of his sight, took care of her burial.

Giovanni Baronzio, (1343 circa - 1362)

Detail; Beheading of St Colomba c. 1340s

Tempera on wood

Pinacoteca di Brera, Milan , Italy

The Galician version of the legend about the saint says that St Columba was a witch who met Jesus Christ on the road. He told her that she would not enter his kingdom, so she decided to change her life. However, it seems that she remained a witch while being a Christian. This was a common mixture in the early times of Christianity.

Unknown artist

Santa Columba of Spain, Century XVIII

 Arceniega (Álava, Spain)

During the first centuries of Christianity and even medieval times, it was quite common for women who were witches to try to enter safe places like monasteries. These witches weren't what the newly growing religion wanted them to be. They were well educated women, who knew about nature and had skills to help and heal. With the appearance of the new monotheistic religion the tradition of witchcraft lost its place. Many of these women wanted to continue cultivating the ancient wisdom no matter what, so they joined safe places where they could plant their herbs and spend time with books – in the convents of the nuns. More on Columba of Sens

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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06 works, Today, December 30th, is Saint Sabinus of Spoleto's day, his story, illustrated #362

Unknown artist

Saint Sabinus of Spoleto, in the late 12th century

Premonstratensian Abbey of Windberg (near Regensburg), Germany

According to legend, Venustian, governor of Etruria and Umbria, had Saint Sabinus of Spoleto, (died c. 300), a Bishop,  and his deacons, St. Exuperantius, Marcellus, Venustian, and companions, arrested in Assisi. Diocletian's order required all Christians to sacrifice to the gods or be put to death, with their estates seized for the state. 

Unknown artist

Saint Sabinus before the governor Venustian

I have no further description, at this time

Venustian mocked Sabinus's faith, accusing him of leading the people to the worship of a dead man. When Sabinus said that Christ rose on the third day, Venustian invited him to do the same thing. 

Cogrossi Carlo

Saint Sabinus had his hands cut off

Detail; The Martyrdom of San Savino, late eighteenth century

Fresco

Ivrea, Cathedral

Cogrossi Carlo

Saint Sabinus had his hands cut off

The Martyrdom of San Savino, late eighteenth century

Fresco

Ivrea, Cathedral

I have not found any information on Cogrossi Carlo

Unknown artist

Passion of SS Sabinus and Cyprian, c.1100

Fresco

Abbey Church of Saint-Savin-sur-Gartempte

He had Sabinus's hands cut off. The deacons were in great fear, but Sabinus encouraged them to hold to their faith. They were tied to a torture, severely struck, torn with iron hooks, and suffering from hot fire, and then martyred and buried in Assisi.

Hendrick Terbrugghen

Saint Sabinus was tended by a woman named Serena

St. Sebastian Tended by Irene and her Maid, c. 1625

Oil, canvas

119.4 x 149 cm

Allen Memorial Art Museum, Oberlin, OH, US

Hendrick Jansz ter Brugghen (or Terbrugghen) (1588 – 1 November 1629) was a painter at the start of Dutch Golden Age, and a leading member of the Dutch followers of Caravaggio–the so-called Utrecht Caravaggisti. Along with Gerrit van Hondhorst and Dirck van Baburen, Ter Brugghen was one of the most important Dutch painters to have been influenced by Caravaggio. More on Hendrick Jansz ter Brugghen

In prison after the martyrdom of his deacons, he was tended by a woman named Serena. While in prison, he healed a man born blind. Venustian heard of the cure and sought a cure for his own eyes from Sabinus. Sabinus healed the governor and converted him to Christianity. Venustian then sheltered Sabinus. Maximianus Herculius, hearing of this, ordered the tribune Lucius to address the matter. Lucius had Venustian, his wife, and his two sons beheaded at Assisi, and he had Sabinus beaten to death at Spoleto. More on Saint Sabinus of Spoleto

Unknown artist

Vita scene; The martyrdom of St. Sabinus and St. Marcello and St. Exsuperantius of Assisi

Illustration

I have no further description, at this time

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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.

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08 works, Today, December 28th, is The 20,000 Martyrs of Nicomedia's day, their story, illustrated #360

Troganov school
Detail; Saint Cyril, c. 17th C

Russian I con

Church-Archaeological Office of the Moscow Theological Academy.

Stroganov School is a conventional name for the last major Russian icon-painting school, which thrived under the patronage of the rich Stroganov family of merchants in the late 16th and 17th century.

"Stroganov School" owes its name to frequent mentioning of the Stroganovs on the markings on the back of the icons of Yemelyan Moskvitin, Stefan Pakhirya, Prokopy Chirin, Istoma, Nazariy, and Nikifor Saviny. Most of these icon painters, however, did not belong to the Stroganov School. They were icon painters from Moscow and executed commissions by the tsar. Many of their works were eventually acquired by the Stroganovs, who had been known as connoisseurs of sophisticated craftsmanship. 

The works of art of the Stroganov School have quite a few features in common, such as small size, diminutiveness, refined palette, density of paint layers, graphic precision of details, fragile characters' postures and gestures, richness of their vestments, and complicated landscape background. More on the Stroganov School

The 20,000 Martyrs of Nicomedia refers to victims of persecution of Christians in Nicomedia, Bithynia (modern Izmit, Turkey) by the Roman Emperors Diocletian and Maximian in the early 4th century AD.

At this time the bishop of the city of Nicomedia was Saint Cyril, whose preaching had greatly contributed to the spread of the Gospel.

Haround Binous

Emperor Diocletian
Facial Reconstruction

I have no further description, at this time

Haround Binous

Emperor Maximian (284-305)
Facial Reconstruction

I have no further description, at this time

At the turn of the fourth century, the Roman emperor Maximian (284-305) was growing increasingly angry over the spread of Christianity throughout the Empire. Even members of his court had been revealed as secret Christians.

Unknown artist

The church burned in Nicomedia, c. 985

Illustration

Constantinople. 985. Miniature Minology of Vasily II.

Vatican Library, Rome

According to various martyrologies and menologion, the persecution included the burning of a church that held numerous Christians on Christmas Day.

Unknown artist

Triumph of Maximian

Triumph of Titus

Los Angeles County Museum of Art

I have no further description, at this time

This event took place when the emperor Maximian (284-305) returned with victory over Ethiopians in 304 AD. It happened after they had refused to sacrifice to idols during Christmas Mass in order to thank gods for the victory he had acquired. 

Unknown artist

Glycerius of Nicomedia

 Miniature Minology of Vasily II. Constantinople, c. 985

Vatican Library, Rome

Later Maximian and his soldiers entered the church and told the Christians they could escape punishment if they renounced Christ. The Christian priest Glycerius answered that the Christians would never "renounce their faith, even under the threat of torture". 

Unknown artist

The 20,000 Martyrs of Nicomedia

Mural of the 16th century AD.

Holy Monastery of Dionysiou. Mount Athos

Maximian ordered him to be burned to death. Those who had not been burned in the church were captured and tortured to death. The bishop Anthimos who had escaped burning in the church was captured and beheaded.

Unknown artist

Bishop Anthimos was beheaded

Miniature Minology of Vasily II. Constantinople, c. 985

Vatican Library, Rome

The number 20,000 may be apocryphal. However, the martyrs of Nicomedia continue to be honored with feast days: they are commemorated on 28 December in the Eastern Orthodox Church, and by the Byzantine Catholic Churches. In the Roman Martyrology of the Roman Catholic Church, there are separate entries for groups of martyrs of Nicomedia. The martyrdom of Anthimus of Nicomedia and companions is commemorated on 24 April and "the commemoration of many holy martyrs of Nicomedia" on June 23. More on The 20,000 Martyrs of Nicomedia

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.

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06 works, Today, December 27th, is Joseph the Betrothed's day, his story, illustrated #359

Guido Reni, (1575–1642)

St Joseph with Infant Christ in his Arms, c. 1620s 

Oil on canvas

Height: 126 cm (49.6 in); Width: 101 cm (39.7 in)

Hermitage Museum,  Saint Petersburg, Russia

Guido Reni (4 November 1575 – 18 August 1642) was an Italian painter of high-Baroque style. Born in Bologna into a family of musicians, Guido Reni was the son of Daniele Reni and Ginevra de’ Pozzi. As a child of nine, he was apprenticed under the Bolognese studio of Denis Calvaert. When Reni was about twenty years old he migrated to the rising rival studio, named Accademia degli Incamminati (Academy of the "newly embarked", or progressives), led by Lodovico Carracci. He went on to form the nucleus of a prolific and successful school of Bolognese painters who followed Annibale Carracci to Rome. Like many other Bolognese painters, Reni's painting was thematic and eclectic in style. More on Guido Reni

The holy and righteous Joseph the Betrothed, also referred to as Joseph of Nazareth, was the foster-father of Jesus Christ. Not much is known of Joseph except that he was "of the House of David" and lived in the town of Nazareth. His date of death is unknown, though he was still living when Jesus was 12 years old.

Gerard van Honthorst, (1592–1656)

Childhood of Christ, circa 1620

Oil on canvas

Height: 137 cm (53.9 in); Width: 185 cm (72.8 in)

Hermitage Museum, Saint Petersburg, Russia

Gerard van Honthorst (4 November 1592 – 27 April 1656) was a Dutch Golden Age painter who became especially noted for his depiction of artificially lit scenes. Early in his career he visited Rome, where he had great success painting in a style influenced by Caravaggio. Following his return to the Netherlands he became a leading portrait painter. More on Gerard van Honthorst

The canonical gospels clearly that Mary was a virgin when she conceived Jesus, and that Joseph was not his father; yet Joseph's paternity was essential to establish Jesus' Davidic descent. A few centuries later the developing doctrine was that Mary was a virgin not only at the time of the conception and birth of Christ, but throughout her life.

Rosso Fiorentino, (1494–1540)

Betrothal of The Virgin c. 1523

Oil on panel

Height: 325 cm (10.6 ft); Width: 250 cm (98.4 in)

Basilica of Saint Lawrence, Florence, Italy.

Giovanni Battista di Jacopo (8 March 1495 in Gregorian style, or 1494 according to the calculation of times in Florence where the year began on 25 March – 14 November 1540), known as Rosso Fiorentino (meaning "red Florentine" in Italian), or Il Rosso, was an Italian Mannerist painter, in oil and fresco, belonging to the Florentine school.

Born in Florence with the red hair that gave him his nickname, Rosso first trained in the studio of Andrea del Sarto. In late 1523, Rosso moved to Rome, where he was exposed to the works of Michelangelo, Raphael, and other Renaissance artists, resulting in the realignment of his artistic style.

Fleeing Rome after the Sacking of 1527, Rosso eventually went to France where he secured a position at the court of Francis I in 1530, remaining there until his death. Together with Francesco Primaticcio, Rosso was one of the leading artists to work at the Chateau Fontainebleau as part of the "First School of Fontainebleau", spending much of his life there. 

Rosso's reputation, along those of other stylized late Renaissance Florentines, was long out of favour in comparison to other more naturalistic and graceful contemporaries, but has revived considerably in recent decades. That his masterpiece is in a small city, away from the tourist track, was a factor in this, especially before the arrival of photography. His poses are certainly contorted, and his figures often appear haggard and thin, but his work has considerable power. More on Fiorentino Rosso

Joseph was betrothed to the Virgin Mary at the time that Mary conceived Jesus. Luke says that he lived at Nazareth in Galilee. He is called a "just man". He was by trade a carpenter. He is last mentioned in connection with the journey to Jerusalem, when Jesus was twelve years old. It is probable that Joseph died before Jesus entered on his public ministry because only Mary was present at the marriage feast in Cana of Galilee, and he is not described at the crucifixion along with Mary. In addition, St. Joseph of Arimathea asked for the body of Jesus, a duty that would have fallen to St. Joseph had he been alive.

Daniele Crespi, (around 1598/1600 - 1630 Milan)

Dream of St. Joseph, around 1620/1630

Oil on canvas

297 cm × 203 cm

Kunsthistorisches Museum,  Vienna, Austria

Daniele Crespi (1598 – 19 July 1630) was an Italian painter and draughtsman. He is regarded as one of the most original artists working in Milan in the 1620s. He broke away from the exaggerated manner of Lombard Mannerism in favour of an early Baroque style, distinguished by clarity of form and content. A prolific history painter, he was also known for his portraits.

His training is not well documented and he is first recorded in 1619 as working with local painter Guglielmo Caccia on an assignment in a church in Milan.

Crespi was mainly active as painter of religious subjects used as decoration for churches. He was also known for his sensitive portraits. He was an excellent colorist, known for the simplistic beauty of his compositions. His best works include a series of pictures from the life of Saint Bruno (now in the Certosa di Garegnano in Milan) and a depiction of the Stoning of St. Stephen (in Brera).

Another masterpiece is the dark 1628 Supper of St Carlo Borromeo in the church of Santa Maria della Passione in Milan, one of the best-known early 17th-century paintings in northern Italy. Other works by him can be found in Milan and Pavia. More on Daniele Crespi

Following the birth of Jesus in Bethlehem, Joseph is told by an angel in a dream to take the family to Egypt to escape the massacre of the children of Bethlehem planned by Herod, the ruler of the Roman province of Judea.

John Everett Millais, (1829–1896)

Christ in the House of His Parents, c. between 1849 and 1850

Oil on canvas

Height: 86.4 cm (34 in); Width: 139.7 cm (55 in)

Tate Britain

Sir John Everett Millais, 1st Baronet, (8 June 1829 – 13 August 1896) was an English painter and illustrator. he was one of the founders of the Pre-Raphaelite Brotherhood.

 

A child prodigy, at the age of eleven Millais became the youngest student to enter the Royal Academy Schools. The Pre-Raphaelite Brotherhood was founded at his family home in London. Millais became the most famous exponent of the style, his painting Christ in the House of His Parents (1850) generating considerable controversy. By the mid-1850s Millais was moving away from the Pre-Raphaelite style and developing a new and powerful form of realism in his art. His later works were enormously successful, making Millais one of the wealthiest artists of his day. While early 20th-century critics, reading art through the lens of Modernism, viewed much of his later production as wanting, this perspective has changed in recent decades, as his later works have come to be seen in the context of wider changes and advanced tendencies in the broader late-nineteenth-century art world.

 

Millais's personal life has also played a significant role in his reputation. His wife Effie was formerly married to the critic John Ruskin, who had supported Millais's early work. The annulment of the marriage and her wedding to Millais have sometimes been linked to his change of style, but she became a powerful promoter of his work and they worked in concert to secure commissions and expand their social and intellectual circles. More on Sir John Everett Millais

Jesus Christ is described as being the brother of James, Justus, Jude, and Simon, and two sisters, Salome and Mary. A tradition at least as early as the second century, still adopted by the Orthodox Church, explains that these "brothers and sisters" were from Joseph's marriage to Salome who left him a widower before he was betrothed to Mary and so making them step-brothers and step-sisters. He was the older brother to Cleopas, who was also married to a woman named Mary.

James Tissot, (French, 1836-1902)

Jesus commended Mary to the care of John the Evangelist

What Our Lord Saw from the Cross, c. 1886-1894

Opaque watercolor over graphite on gray-green wove paper

9 3/4 x 9 1/16 in. (24.8 x 23 cm)

Brooklyn Museum

Jacques Joseph Tissot (15 October 1836 – 8 August 1902), Anglicized as James Tissot, was a French painter and illustrator. He was a successful painter of Paris society before moving to London in 1871. He became famous as a genre painter of fashionably dressed women shown in various scenes of everyday life. He also painted scenes and characters from the Bible. More on James Tissot

That Jesus commended Mary to the care of John the Evangelist while he was hanging on the cross has been interpreted to also suggest that Joseph had died by that time, and that Joseph and Mary did not have any other children who might care for Mary. More on Joseph the Betrothed

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.

Please note that the content of this post primarily consists of articles available from Wikipedia or other free sources online.

06 works, Today, December 26th, is Saint Eugenia's day, her story, illustrated #358

Attributed to the Master of Dinteville/Bartholomeus Pons

The Legend of Sainte-Eugénie, c. 1535

Saint-Pierre de Varzy church, Nièvre, Burgundy-Franche-Comté

Bartholomeus Pons (known from 1518 to 1541 ), formerly referred to as "  Félix Chrétien", "  Pseudo Félix Chrétien  ", or more neutrally, " Master of Dinteville", is a painter from Harlem active in Burgundy and Champagne in the first half of the 16th  century.

Originally from Haarlem, Bartholomeus Pons is documented in 1518 in the workshop of Grégoire Guérard in Tourn. He is now identified as the Master of Dinteville (author of the altarpiece of the Legend of Saint Eugenie in Varzy).

Pseudo Félix Chrétien, c.1510 - 1579,

The Legend of Sainte-Eugénie, c. 1535

Central panel: The Martyrdom of St Eugenia.

140 x 215 cm.

Church of Saint-Pierre-ès-ties, Varzy, Dép. Nièvre, France

Pseudo Félix Chrétien, c.1510 - 1579,

The Legend of Sainte-Eugénie, c. 1535

Left panel: St Eugenia, being accused of adultery by Melanthia, is exposing her breasts

140 x 108 cm

Church of Saint-Pierre-ès-ties, Varzy, Dép. Nièvre, France

Pseudo Félix Chrétien, c.1510 - 1579,

The Legend of Sainte-Eugénie, c. 1535

Right panel: St Eugenia appears to her mother.

140 x 108 cm

Church of Saint-Pierre-ès-ties, Varzy, Dép. Nièvre, France

Saint Eugenia (died c AD 258) was an early Christian Roman martyr who was converted by and martyred with Protus and Hyacinth, her Chamberlains during the persecution of Valerian. 

Maarten van Heemskerck, (1498–1574)

Pharos of Alexandria, c. 1572

I have no further description, at this time

Maerten van Heemskerck or Marten Jacobsz Heemskerk van Veen (1 June 1498 – 1 October 1574) was a Dutch portrait and religious painter, who spent most of his career in Haarlem. He was a pupil of Jan van Scorel, and adopted his teacher's Italian-influenced style. He spent the years 1532–6 in Italy. He produced many designs for engravers, and is especially known for his depictions of the Wonders of the World.

According to his biography, he began his artistic training with the painter Cornelius Willemsz in Haarlem. He then left for Delft, where he studied under Jan Lucasz, before moving on to Haarlem, where he became a pupil of Jan van Scorel

Heemskerck then went to lodge at the home of the wealthy curate of the Sint-Bavokerk, Pieter Jan Foppesz. The artist painted him in a now famous family portrait. 

Before setting off for Italy on a Grand Tour in 1532, Heemskerck painted a scene of St. Luke painting the Virgin for the altar of St. Luke in the Bavokerk. 

He travelled around the whole of northern and central Italy, stopping at Rome, where he had letters of introduction from van Scorel to the influential Dutch cardinal[4] William of Enckenvoirt.

While in Rome where he made numerous drawings of classical sculpture and architecture. He was to use them as source material throughout the rest of his career.

On his return to the Netherlands in 1536, he settled back at Haarlem, where he became president of the Haarlem Guild of Saint Luke (in 1540),

The alteration in his style, brought about by his experience of Italy was not universally admired. 

He painted large altarpieces. In 1553 he became curate of the Sint-Bavokerk, where he served for 22 years. More on Maarten van Heemskerck

She was born into the family of a noble Rome. Her father Philip Commodus (180-192) was appointed governor of Egypt and moved to Alexandria with his family. Eugenia studied philosophy, spoke in Latin and Greek. Noble youths wooed her, but she did not want to marry. After Eugenia read the Epistles of St. Paul, she believed in Christ, but, fearing the wrath of her parents, she hid her faith. Under the pretext of a walk, she ran away from home and disguised herself as a man. She came to the monastery together with her servants/eunuchs Prot and Iakinf. Helenus, bishop of Heliopolis was in this monastery. It was revealed to him in a dream that Eugenia was a girl. He baptized them and tonsured them as monks.

Eugenia led an ascetic lifestyle for several years and was honored with the gift of miracles. After the death of the hegumen, the brethren unanimously elected Eugenia to replace him. 

After Abraham Bloemaert

The Discovery of Saint Eugenia, c  1807 

Engraving

 Illustration
I have no further description, at this time

Abraham Bloemaert (1564-1651) was a Dutch painter and son of sculptor and architect Cornelis Bloemaert received his education in Utrecht and Paris. In 1597 he registered as a citizen in Amsterdam and was active in Utrecht from 1611 onwards. Bloemaert was a representative of the Flemish school and refined history painting, portrait painting, genre and landscape painting. He greatly influenced Dutch painting, one of his students was Gerrit van Honthorst. Bloemaert's works can be admired at the Fine Arts Museums of San Francisco, at the Louvre in Paris and at the galleries of Berlin. More on Abraham Bloemaert

A certain woman named Melanthia, healed by Eugenia was inflamed with passion for the young abbot and, failing to achieve reciprocity, slandered him before the ruler of Egypt in an attempt at violence. During the trial, her father, the ruler, recognizing his daughter, and set her free together with the brethren and was baptized himself. 

Unknown artist

Septimius Severus and his family, circa 200

Septimius Severus, Julia Domna, Geta Caracalla

Tempera on panel 

Height: 30.5 cm (12 in)

Altes Museum,  Berlin 

Emperors Septimius Sever (193-211) and Antoninus Pius (138-161), in response to Philip's request, allowed Christians to build temples. Eugenia gathered the virgins around her, and together they served God, her mother Claudia built a hospitable home.

Upon learning that Philip converted to Christianity, the emperors appointed a new ruler in his place. Philip was elected bishop of Alexandria. Soon, by order of the new ruler, he was killed. Her mother Claudia moved with her children to Rome, her sons received high positions, and Eugenia continued to instruct the virgins in Christ.

A photorealistic reconstruction of what the Roman emperor Valerian (r. 253-260 CE) may have looked like. Based on contemporary and near contemporary descriptions, as well as archaeological evidence. Pictured alongside the reconstruction is a bust of Valerian from the Ny Carlsberg Glyptotek. Made using Photoshop and Artbreeder, a neural net tool. More on this work

A photorealistic reconstruction of what the Roman emperor Gallienus (r. 253-268 CE) may have looked like. Based on contemporary and near contemporary descriptions, as well as archaeological evidence. Pictured alongside the reconstruction is a bust of Gallienus from the Ny Carlsberg Glyptotek. Made using Photoshop and Artbreeder, a neural net tool. More on this work

Under the emperors Valerian (253-260) and Gallien (260-268) the persecution of Christians resumed. Vasilla, one of the virgins who believed in Christ and were baptized thanks to Eugenia, as well as Protus and Iacinthus were executed by order of Emp. Gallienus for refusing to marry. 2 eunuchs were also beheaded. 

Elana Brownfield

The maiden walked on the water

You Call Me Out Upon the Waters
Digital art

I have no further description, at this time

I did not find any meaningful information on Elana Brownfield

Eugenia was seized and taken to the temple of Artemis (Diana) to offer a sacrifice, but the temple collapsed even before she entered it. Then she was tied with a stone around her neck and thrown into the Tiber, but the stone fell into the water, and the maiden walked on the water as if on dry land. 

Unknown artist

Martyrdom of Evgenia and the victims with her

Miniature from Minology of Vasily II

She was put in an oven, but its edges suddenly cooled and Eugenia emerged unharmed. After that, the martyr was thrown into a ditch for several. days so that they starved; but food was sent to her from heaven. The Savior appeared to Eugenia on the day of her martyrdom. She was executed on the feast of the Nativity of Christ. The saint was buried on the Latin road near Rome. After the death  Eugenia appeared to her mother and predicted her imminent death. More on Saint Eugenia

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