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Eulalia’s Martyrdom In The History Of Art

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stepnash said:
Eulalia is bought to the cross and given one last chance to renounce her faith,, but she remained steadfast.
She will be stripped naked deflowered and crucified, like the Jesus she followed.
(I am still in the process of trying to create some unsanitised realistic picture stories of this martyrdom, but I really need the help of a skilled renderer)
Eulalia was a very young person when she was put to death, but we have to depict her as being 18.
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Capture_02311.jpg
I've only just seen this - an interesting picture,
looks like a woodcut from some 17th - 18th century book of saints -
though with a more modern saint's face pasted on? But she suits the scene well.
The mountains and walled city give an imaginative impression of the location of Merida
 
Zephyros said:
Emilio Franceschi (1860–90) - San Apollinare Nuovo in Ravenna / Italy: Eulalia hanging from her cross
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I've found a full-length photo of this sculpture,
now exhibited in the National Gallery of Modern Art in Rome:

Eulalia Christiana 1.jpg

A note (translated):
The sculpture depicts Eulalia of Merida, a young Christian of Spanish origin who was martyred at the age of about thirteen under the Emperor Diocletian. The main source for the history of Sant'Eulalia is the third hymn of the Peristephanon Liber (Book of the Crowns), composed by the Latin poet Aurelius Prudentius Clemens (348-405 AD). Emilio Franceschi reinterprets the original story by modifying the typology of martyrdom: he replaces condemnation to the stake with a death by crucifixion. The work was presented in marble at the Turin National Exposition of 1880, where it received the second prize and was bought by the State (Turin, Civic Gallery of Modern Art). In making their choice, the jury found a similarity in the subject with "a similar picture by an artist monk": this was the Crucifixion of Santa Giulia, executed in 1867 by the painter and engraver Gabriel Max (Prague 1840 / Munich 1915), in whose work religious themes and stories of martyrdom are frequently used, interpreted with great spiritual tension. Of the same subject, of great iconographic importance, is the painting by John William Waterhouse, Martyrdom of Saint Eulalia (1885, London, Tate Gallery). In his critique of the Turin Exposition of 1880, Adriano Cecioni made a comparison between Franceschi 's Christian Eulalia and 'Cum Spartacus pugnavit' ('When Spartacus fought') presented by Ettore Ferrari in a plaster cast at the same exhibition. Cecioni used this comparison to accuse Franceschi's work of "lack of truth" in the pose of the dying girl: "even if it was for another end, she could have died in a more graceful attitude"

Of course, a girl-martyr should make sure she dies gracefully! :rolleyes:
 
Eulalia said:
I've found a full-length photo of this sculpture,
now exhibited in the National Gallery of Modern Art in Rome:

View attachment 610158

A note (translated):
The sculpture depicts Eulalia of Merida, a young Christian of Spanish origin who was martyred at the age of about thirteen under the Emperor Diocletian. The main source for the history of Sant'Eulalia is the third hymn of the Peristephanon Liber (Book of the Crowns), composed by the Latin poet Aurelius Prudentius Clemens (348-405 AD). Emilio Franceschi reinterprets the original story by modifying the typology of martyrdom: he replaces condemnation to the stake with a death by crucifixion. The work was presented in marble at the Turin National Exposition of 1880, where it received the second prize and was bought by the State (Turin, Civic Gallery of Modern Art). In making their choice, the jury found a similarity in the subject with "a similar picture by an artist monk": this was the Crucifixion of Santa Giulia, executed in 1867 by the painter and engraver Gabriel Max (Prague 1840 / Munich 1915), in whose work religious themes and stories of martyrdom are frequently used, interpreted with great spiritual tension. Of the same subject, of great iconographic importance, is the painting by John William Waterhouse, Martyrdom of Saint Eulalia (1885, London, Tate Gallery). In his critique of the Turin Exposition of 1880, Adriano Cecioni made a comparison between Franceschi 's Christian Eulalia and 'Cum Spartacus pugnavit' ('When Spartacus fought') presented by Ettore Ferrari in a plaster cast at the same exhibition. Cecioni used this comparison to accuse Franceschi's work of "lack of truth" in the pose of the dying girl: "even if it was for another end, she could have died in a more graceful attitude"

Of course, a girl-martyr should make sure she dies gracefully! :rolleyes:
Click to expand...


Haha, nice comment... "could have died in a more graceful attitude"
What attitude to expect from a girl after having been tortured nude and publicly in multiple ways?
 
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