01 Work, Interpretation of the bible, Master of the Legend of Saint Lucy's Saint Margaret of Antioch, with Footnotes - part #223

Attributed to the Master of the Legend of Saint Lucy, circa 1435 - 1506/09 Bruges

Saint Margaret of Antioch and a kneeling donor figure in a Gothic church

Oil on panel, unframed

19⅝ by 9 in.; 49.8 by 22.9 cm.

Private collection

Estimated for 15,000 - 20,000 USD in October 2022

This panel once formed the right wing of a devotional triptych, and it is a recent addition to the corpus of the Master of the Legend of Saint Lucy. More on this work

St. Margaret of Antioch, also called St. Marina, (flourished 3rd or 4th century, Antioch, Syria), a virgin martyr, who was one of the most venerated saints during the Middle Ages. Her story, generally regarded to be fictitious, is substantially that of the Eastern St. Marina of Antioch, and is related to that of St. Pelagia of Antioch, who is also known as Margaret or Marina.

During the reign (284–305) of the Roman emperor Diocletian, Margaret allegedly refused marriage with the prefect Olybrius at Antioch and was consequently beheaded after undergoing extravagant trials and tortures. Her designation as patron saint of expectant mothers (particularly in difficult labour) and her emblem, a dragon, are based on one of her trials: Satan, disguised as a dragon, swallowed Margaret; his stomach, however, soon rejecting her, opened, and let her out unharmed. In 1969 Margaret’s feast day, formerly July 20, was eliminated in the revised calendar of the Roman Catholic Church because it is doubtful whether she ever existed. Nevertheless, during the medieval period she ranked among the most famous saints; her voice was among those attested to have been heard by St. Joan of Arc. More on St. Margaret of Antioch

Master of the Legend of Saint Lucy (fl. 1480–1510) was an unidentified Early Netherlandish painter from Bruges. His name comes from an altarpiece in the church of Saint James in Bruges, dated 1480, depicting three scenes from the life of Saint Lucy. Since then, twenty-five to thirty-five paintings have been attributed to the same hand. He may have trained Spanish students at his studio in Bruges. Many of his paintings are characterized by views of the city of Bruges in the background, and can be dated according to the level of construction of its belfry. He may have trained with Dieric Bouts, and was certainly influenced by Hans Memling.

He has been associated with the Bruges master Fransois vanden Pitte, active in Bruges between 1453 and 1456. More on Master of the Legend of Saint Lucy

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