Title

The miracle of the resurrection of a young man. Detail from the altarpiece of Saint Martin

painter

Maestro de Riofrío [attributed to] (Active in Ávila in the last quarter of the fifteenth century and the early sixteenth century)

Generic classification

Object

Date

Century

Cultural context / style

Dimensions

Material

Technique

Iconography / Theme

Provenance

Current location

Inventory Number in Current Collection

Object history

This painting was originally part of an altarpiece consisting of nine panels: Mass of Saint Gregory, Miracle of the Resurrection of a Young Man, Death of Saint Martin, Charity of Saint Martin, Ordination of Saint Martin, Crucifixion, Assumption of the Virgin, a predella featuring Saints Simon, Thomas, James the Less, Matthew, Paul, and Judas, and another predella featuring Saints Philip, James the Greater, Bartholomew, Andrew, John, and Peter. Given the iconography depicted in the works, it seems clear that the altarpiece’s main theme was the life of Saint Martin of Tours.

When Post (1947) saw these panels at the Musée de Cluny (France), he attributed them to the Master of Riofrío:“The general close agreement with the style of the Riofrío panels is self-evident.” This artist, a follower of Pedro Berruguete, was active in the province of Ávila in the late 15th and early 16th centuries. Two works made it possible to identify the master: the Purification and the Annunciation in Ávila Cathedral. Thanks to these paintings, Post was able to determine his style and attribute more pieces to him, such as the nine mentioned here. We consider this hypothesis to be correct.

Although the provenance of these nine panels was unknown, the attribution has made it possible to narrow the search to the province of Ávila. In 1900, Manuel Gómez-Moreno traveled throughout the province studying its monuments; however, by that time the nine panels had already left the country, so he was unable to see them in situ. Nevertheless, in his Catálogo Monumental de la Provincia de Ávila (1983), he refers to two churches dedicated to Saint Martin, the first of which is located in the capital of Ávila, where a painting of Saint Martin on horseback parting his cloak is preserved. Although the panel resembles those of the Master of Riofrío, it is difficult to determine whether the nine panels now in France originate from there. Likewise, Gómez-Moreno also mentions a church of Saint Martin in Arévalo. The complex had several altarpieces whose paintings are no longer preserved; however, we cannot be certain that this is their place of origin either. 

Therefore, although we do not know the exact location where they were, we do believe that the nine panels originate from Ávila. This province was severely affected by the political upheavals of the 19th century. Mendizábal’s confiscation of church property led to the loss of part of the ecclesiastical artistic heritage, and perhaps these nine panels were removed from their original location at that time. In 1876, they arrived at the Musée de Cluny (France) with carved and gilded wooden canopies; however, only the panels remain today. In 2007, they were loaned to the Musée de Goya (Castres, France), although ownership remains with the Musée de Cluny.

We thank the Musée de Goya (Castres) for the information provided.

Description

This painting depicts the miracle of a young man’s resurrection. According to legend, while Saint Martin was away from the Abbey of Saint Martin in Ligugé (France)—a monastery he had founded—a young man died. Upon his return, Saint Martin, who is richly attired in a miter and carrying a crosier, resurrects the young man before a crowd witnessing the miracle.

Locations

• Last quarter of the XV^th c. - XIX^th c.

  province

  Ávila, Ávila (Spain)

• 1876 - 2007

  museum

  Cluny Museum. National Museum of the Middle Ages, Paris (France)

• 2007 - present

  museum

  Goya Museum, Castres, Castres (France)