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Miniature Painting "The Mystic Marriage of St. Catherine" After da Correggio

$500List Price

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18th century Antonio Correggio The Mystic Marriage of St Catherine
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Antonio Correggio’s The Mystic Marriage of St. Catherine This stunning 18th-century copy draws inspiration from the masterpiece The Mystic Marriage of Saint Catherine, originally pa...
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18th century Antonio Correggio The Mystic Marriage of St Catherine
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H 18.51 in W 14.97 in D 1.58 in
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17th Century Mystical Marriage of Saint Catherine Painting Oil on Canvas
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17th century Mystical marriage of Saint Catherine Measures: Oil on canvas, 98 x 81 cm - with frame 119 x 102 cm The scene represents the mystical marriage between Catherine of A...
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Late Renaissance portrait painting of St. Catherine of Alexandria
Located in Long Island City, NY
Dressed in Italian robes, Catherine's attributes include a breaking wheel (used in her execution, hence 'St Catherine's Wheel'), a sword, and a palm. She stands in a woodland with a distant river and castle, her delicate halo picked out in gold. Oil on walnut panel, unsigned, in 19th c. replica Italian...
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Very Large Royal Vienna Painted Porcelain Plaque After Correggio
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Very large Royal Vienna painted porcelain plaque after Correggio Austrian, 19th century Measures: Frame: height 77cm, width 74cm, depth 7.5cm Plaque: height 58cm, width 48.5cm, depth 0.5cm. This beautiful and very large painted porcelain plaque was made by the Royal Vienna Porcelain Manufactory, in the 19th century, and shows the Sacred Family...
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17th Century Mystical Marriage of Saint Catherine Oli on Canvas Roman School
Located in Milan, IT
17th century, Roman School Mystical marriage of Saint Catherine of Alexandria Oil on canvas, 32 x 23 cm Frame cm 45 x 36 The saint is depicted in front of the Virgin holding the Child portrayed with the wedding ring in his hand, enriched with a precious stone. According to the Golden Legend, Catherine of Alexandria was a very beautiful young woman, the only daughter of the king of Costa, who had refused to marry the emperor Maxentius because she was a Christian and devoted to Christ. Maxentius, unable to convince her to sacrifice to idols, had sent to call the wisest men and fifty philosophers and orators who presented themselves and tried to divert her from faith in Christ. Catherine, however, played so well that she was able to convert them, arousing the anger of the emperor who condemned them to the stake. Catherine, however, who had criticized Maxentius for the new persecutions against the Christians, was sentenced to prison without food. Abandoned for twelve days, she was fed by a dove sent by God. Maxentius then decided to execute her with the torture of the toothed wheel become her attribute iconographic; but by divine intervention this broke and the young was saved. Finally, she was beheaded and milk flowed from her neck. Catherine’s princely status is witnessed here by her sumptuous dress. The iconography of the mystical marriage was born in the fifteenth century, probably because the traditional iconographic attribute, the wheel, was sometimes so small as to look like a ring, and refers to a vision that will always remain present in the mind and heart of the saint. In Heaven she appeared to her, among the Angels and Saints, Christ the Child, in the arms of the Virgin. He took a precious ring that the Virgin Mary handed to her and put it in her finger, saying "I, your Creator and Saviour, take you in marriage; confident that you will keep you pure until you celebrate your eternal wedding with me, in Paradise" When Catherine was laughing, she found in her finger the same ring that she had seen and had in Heaven, and she considered herself forever the bride of Christ. In this extraordinary episode we can see the heart of Catherine’s religious sense, and of all her spirituality. For her, Christ is like the bridegroom, with whom there is a relationship of intimacy, communion and fidelity; he is the beloved, whom she loves above all...
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Circa 1870s "S. Georgio Maggiore the Dogano" Oil Painting by Jane Vivian
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