Provenance
Possibly from the monastery of Piedra, near Saragossa [Gudiol 1953, p. 302,]. Charles Deering, Palau “Marycel,” Sitges, near Barcelona, and Chicago, before 1921 [a photograph shows the panels installed at “Marycel”; the paintings and other works from Deering’s collection were placed on loan at the Art Institute in 1921; loan agreement, Nov. 18, 1921, Art Institute Archives].; given to his daughters Mrs. Chauncey McCormick and Mrs. Richard E. Danielson, 1924; Mrs. Chauncey McCormick, in a division of their joint property, 1937 [registrar’s records]; given to the Art Institute, 1962.
Saint Christopher Taking Leave of the King Who Feared Satan; Saint Christopher and His Converts
1480–85
Accession Number
15717
Medium
Tempera with oil glazes on panel
Dimensions
154.5 × 87.4 cm (60 3/4 × 34 3/8 in.)
Classification
Painting
Credit Line
Gift of Mrs. Chauncey McCormick
Background & Context
Background Story
Martin de Soria's Saint Christopher Taking Leave of the King Who Feared Satan; Saint Christopher and His Converts (1480-85) is a companion panel to the previous work, continuing the narrative of Saint Christopher's life. The panel shows two more scenes: Christopher leaving the king and Christopher with his converts. The tempera with oil glazes technique creates luminous colors and precise details.
Cultural Impact
These panels by Martin de Soria are important examples of Spanish Renaissance narrative painting.
Why It Matters
This panel continues the story of Saint Christopher with the same refined technique and narrative clarity.
![Saint Bernard and Saint Catherine of Alexandria with the Virgin of the Annunciation [right panel]](https://api.nga.gov/iiif/e6890364-4d99-4684-a62b-5060ee3c3446/full/400,/0/default.jpg)