Madonna and Child with Saint Martina and Saint Agnes
The original, as its museum records it
Every line above is reproduced from the holding institution’s own catalogue entry, which is linked. Where their title, date or attribution differs from ours, theirs is the one printed here.
The file this print is made from
Sizes
About this painting
The two saints are cut short on purpose. Monguilot Benzal reads their three-quarter length as illusionism: in the retable they stand behind the altar, not on it; the altar finishes them.
The lamb settles Agnes, since the Middle Ages the sign of her virginal innocence; rivers of ink have run over her companion, whom the lion names Martina.
On the lion's head the Gallery reads delta and theta, the painter's Greek initials, hidden in the beast, in a converso family's chapel. The contract, dated 9 November 1597, gave him until August 1598. He finished in 1599.
Sources: National Gallery of Art, Washington, object record · National Gallery of Art, provenance entry: Capilla de San Jose · Felix Monguilot Benzal, 'Entre lo divino y lo humano: los Grecos de la Capilla de San Jose de Toledo', ATRIO · Web Gallery of Art, 'Altarpieces in the Capilla de San Jose, Toledo (1597-99)' · Catholic Encyclopedia, 'St. Agnes of Rome' · National Gallery of Art, Washington, object record for Saint Martin and the Beggar
Printed on demand. Public-domain masterwork, reproduced from a 11,975 px master of the original. The whole image is printed — never cropped to fit the sheet — so every sheet carries an archival margin, and the dimensions and resolution listed above are the ones you receive.