Saint Casilda
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
Zurbarán paints the disguise, not the miracle. The flowers Casilda shows in her lap, Cécile Vincent-Cassy writes, are what let her carry loaves to Christian prisoners unseen by her Muslim father. The charity is the smallest thing here — roses in a lifted fold, brocade to the floor.
She calls such saints false portraits: built to give the feeling of a likeness, though no figure was copied from life. The clothes are the painter's own century, not the saint's. The workshop repeated them for Andalusia and the Americas; at the New World fairs the painter never knew who was buying.
Sources: Zurbaran y el retrato sacro: las santas, Tiempos Modernos, on C. Vincent-Cassy · Museo Carmen Thyssen Malaga, exhibition 'Zurbaran. Santas' · Museo Nacional Thyssen-Bornemisza, Saint Casilda, inv. 448 (1979.26) · Museo Nacional del Prado, Saint Elisabeth of Portugal (P001239), curatorial entry · Museo Casa Ibáñez, 'Santa Casilda, Zurbarán'
Printed on demand. Public-domain masterwork, reproduced from a 3,292 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.