The painting, an early work by Garofalo, probably dates from 1500-5. Saint Dominic is identified by the lily & the miraculous star on his chest. Saint Catherine's hands, feet & side are marked with Christ's wounds, known as the stigmata. The tethered ...

The saint to the left of the Virgin is Saint John the Evangelist. To the right is Saint Nicholas of Bari, the 4th-century Archbishop of Myra, with the three golden spheres which he gave to three young women who could not afford a dowry. The Christ Child p ...

The Virgin & Child are seated at the entrance to a walled garden, frequently a symbol of the Virgin's purity. On the right, Saint Catherine of Alexandria &, further off, the seated figure of Saint Agatha with another female saint. Through a distant ar ...

Circular paintings or 'tondi' of this type were especially popular in Florence (see, for example, those by Botticelli & his workshop, also in the Collection). Raffaellino was much influenced by Filippino Lippi in his highly ornamental style & love of ...

The Virgin & Child are shown with Saint Dominic (1170
- 1221), the founder of the Dominican Order of Preachers, who commonly
...

Saint James the Greater is on the left, introducing the donor. Saint George is shown as a knight on horseback. The picture was formerly considered to be by Martino da Udine (Pellegrino da San Daniele), to whom it is still ascribed by some critics. The sty ...

The Virgin is enthroned before a cloth of honour with the Christ Child upon her lap, beneath a mosaic-encrusted dome. The saints from left to right are Saints Gall (on whose crozier the Baptism of Christ & Saint Paul are depicted), John the Baptist, Jame ...

Saint Catherine of Alexandria on the left is identifiable by her attribute of the wheel on which she was tortured, while Saint Catherine of Siena is on the right holding a lily, a symbol of purity. There was formerly a lunette to the picture, showing a ' Pi ...

The central panel is a mystic treatment of the Marriage of Saint Catherine of a type known as ' Virgo inter Virgines'. The edifice in the background may stand for the Gateway into Heaven. Left wing: Saint John the Baptist. Centre background: Saints Agnes & Agatha. Right wing: Saint John Evangelist. The greatest stylistic influence notable is the work of Geertgen tot Sint Jans. ...

The Virgin & Child are enthroned in a walled garden, a probable metaphor for her virginity. On the right Saint Barbara reads a book. Mary Magdalene, seated next to her holding on ointment jar, appears to be turning the pages. To the left Saint Catherine receives a ring from the infant Christ (she refused to marry an emperor on the grounds that she was already married to Christ). The everyday world represented beyond the wall was perhaps painted from contemporary Bruges. David's picture was almost certainly commissioned by the kneeling figure on the left, Richard de Visch van der Capelle, a cantor (senior cleric) of Saint Donatian, Bruges. His identity is recorded in the coat of arms on the greyhound's collar. In 1500 he sought to restore the chapel of Saint Anthony Abbot, who appears in the background behind Saint Barbara. This painting was almost certainly intended for the altar of Saint Catherine there. ...