Saint Cornelius In Prayer Before The Crucified Christ Circa 1580/1600 Circle Of Gillis Mostaert

Saint Cornelius in prayer before the crucified Christ around 1580/1600. Circle of Gillis MOSTAERT. This remarkable oil on panel, made by a master of the Flemish school around 1580/1600, depicts Saint Cornelius kneeling in prayer before Christ on the cross. At the bottom of the panel, a phylactery indicates the identity of the Pope: Cornelius, as well as the prayer “Bid Vor Ons”: “Pray for us”. The Pope, identifiable by his tiara placed at the foot of the cross and his richly decorated cope, expresses deep devotion. The landscape in the background, with a fortified city under a dramatic sky, is typical of Flemish compositions of the period, where attention to detail and a sense of perspective give great depth to the scene. The treatment of light and drapery, as well as the finesse of the expressions, testify to high-quality workshop work. The presence of the skull at the foot of the cross recalls Golgotha and reinforces the symbolism of the memento mori, common in religious art of the time. Saint Cornelius was a figure particularly represented by Flemish artists of this period for several historical, religious and cultural reasons. At the end of the 16th century, Europe was marked by the Counter-Reformation, a Catholic movement aimed at reaffirming the faith in the face of Protestantism. Religious art became a powerful tool of devotion and propaganda. Flemish painters, working in a largely Catholic territory under Spanish influence, were encouraged to represent figures of saints as models of piety. Saint Cornelius, as a pope and martyr, is a perfect example of fidelity to the Church. Although Saint Cornelius was a pope of the 3rd century, his cult developed in Flanders, where he was particularly venerated as a protector against nervous diseases, epilepsy and livestock diseases. Many pilgrimages were dedicated to him, notably to Saint-Cornil, near Ghent. This local cult explains why he appears frequently in Flemish iconography. Flemish painters, influenced by the tradition of Pieter Paul Rubens and his contemporaries, favoured theatrical and expressive compositions, depicting religious figures in detailed landscapes. The representation of Saint Cornelius praying before Christ on the cross fits perfectly into this approach: It emphasises his humility and piety. It brings him closer to the sacrifice of Christ, which reinforces his role as martyr and intercessor. The fortified city in the background evokes the heavenly Jerusalem or a contemporary Flemish city, creating a connection between the saint and the faithful of the time. Works depicting Saint Cornelius were often commissioned by churches, brotherhoods or patrons keen to encourage his cult. It was common for these paintings to be offered as ex-voto by families or corporations who had benefited from his protection. The representation of Saint Cornelius by Flemish artists around 1600 therefore testifies to a religious revival, the local roots of his cult and the Flemish taste for narrative and dramatic painting. This work is fully in line with this context, highlighting the spirituality and influence of the saint in Flemish culture. Oil on panel (crack, restorations) 78 x 57 cm. Provenance: Anonymous sale, Versailles, Palais des Congrès, November 19, 1978, lot 76, repr. "Flemish school of the end of the 16th century". To be compared with the crucifixions of Gillis Mostaert. Note that Christ on the cross and part of the landscape are taken from a print by Raphael Sadeler 1 (1560/61-1628/32) after Marten de Vos (1532-1603).