The Triumph of Judith – Luca Giordano (1634-1705)
The Triumph of Judith is just one of many studies Italian artist Luca Giordano produced in preparation for his final decorative masterpiece of the same name on the ceiling of the Treasure Chapel of the Carthusian S Martino in Naples. Known as Luca fa presto (Luca paints quickly) he completed numerous religious paintings in his lifetime.

This particular painting depicts the biblical story of Judith and Holofernes from the deuterocanonical Book of Judith. Holofernes was an Assyrian general who had been dispatched by Nebuchadnezzar to take vengeance on the cities that refused to assist his empire. As a result, Holofernes planned to destroy the city of Bethulia, the home of Judith, a Jewish widow. Judith tricked her way into Holofernes camp, promising him information about the Israelites, however, when Holofernes was lying in his tent one night in a drunken stupor, Judith seized her chance and decapitated him. Without their leader, the Assyrian army dispersed and the city of Bethulia was saved.

Artists have depicted Judith’s triumph in many different ways. In some, she appears innocent and secretive and in others, a temptress and schemer. Giordano, on the other hand, painted Judith holding Holofernes’ head aloft like a warrior, whilst the Assyrian men flee in fright.

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The Nativity – Jacques Stella (1596-1657)
There are several religious paintings at The Bowes Museum, including a painting of the Nativity by French artist Jacques Stella. Although born in France, Stella spent eighteen years in Italy where he became a close friend of Nicolas Poussin (1594-1665) who taught Stella a lot about classicism.

Stella’s religious work, including The Nativity, were mostly produced after he had returned to France in 1634. He became the official painter of Cardinal Richelieu (1585-1642), although later moved into the Louvre when King Louis XIII (1601-43) made him peintre du roi. From then on, Stella produced several paintings on the theme of the childhood of Christ.
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In Stella’s The Nativity, Mary and Joseph are alone with the baby Jesus, enjoying a moment of delight at the birth of Christ. The parents will not be alone for long because, in the background, an angel is announcing the birth to the shepherds. In the foreground, pieces of broken masonry represent the end of pagan religion.

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The Tears of St Peter – El Greco (1541–1614)
Hanging in the Bowes Museum is The Tears of St Peter by the Greek artist Doménikos Theotokópoulos, most widely known as El Greco. His nickname, El Greco, which means “The Greek”, was given to him while working in Toledo, Spain between 1577 and his death in 1614.

El Greco had many patrons in Toledo, many of whom were Catholics, therefore, religious subjects were popular amongst his commissions. The Catholic Church was associated with making confessions of sin, which is why El Greco produced several paintings under the title The Tears of St Peter.

The version of the painting at The Bowes Museum was El Greco’s first painting on the subject, which John Bowes purchased in 1869 for 200 francs (£8). It shows Saint Paul raising his tear-filled eyes to Heaven, praying for forgiveness. Those familiar with the Gospel of Luke will know that before Jesus’ arrest, he said to Peter, “Before the rooster crows, you will deny Me three times.” (Luke 22:61). Peter was adamant that he would never deny Jesus, however, within a few hours he had denied knowing Jesus three times. “So Peter went out and wept bitterly.” (Luke 22:62)

El Greco’s painting appears to be set after Jesus’ death and resurrection rather than the moment Saint Peter realised he had denied his Lord. In the background are an empty tomb and two figures representing Mary and an angel. This alludes to a passage in the Gospel of John, which says:

But Mary stood weeping outside the tomb, and as she wept she stooped to look into the tomb. And she saw two angels in white, sitting where the body of Jesus had lain, one at the head and one at the feet. They said to her, “Woman, why are you weeping?” She said to them, “They have taken away my Lord, and I do not know where they have laid him.” – John 20:11-13

This was followed by Jesus appearing to Mary.

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Supper at Emmaus – Titian (1488-1576)
Tiziano Vecelli, or Titian as he is better known, is one of the most celebrated painters of the Renaissance. His work has inspired many painters and the way he portrayed religious scenes became the principal method for artists for over a century. At the end of the 16th century, Biblical feasts were a key theme for painters and Supper at Emmaus was a close second to The Last Supper in popularity. In the lead up to this meal, Jesus joined two men, possibly disciples Luke and Cleopas, on the road to Emmaus but they did not recognise him. It was only when Jesus “took bread, gave thanks, broke it and began to give it to them” (Luke 24:30) that they realised who he was, at which point Jesus vanished.

Titian’s painting reflects the famous layout in Leonardo da Vinci‘s (1452-1519) The Last Supper with Jesus at the centre of a horizontal table with a view of a landscape behind him. Some critics liken the posture of one of the men to Judas, suggesting he was shocked about Jesus’ return.

Christ in the House of Simon the Pharisee – Philippe de Champaigne (1602-94)
Philippe de Champaigne was a French Baroque painter who founded the Académie Royale de Peinture et de Sculpture, which later became the Académie des Beaux-Arts. Initially inspired by Rubens, De Champaigne’s style became less decorative after working with Nicolas Poussin (1594-1665) who favoured clarity, order and line over colour. Many of De Champaigne’s artworks were based on religious scenes, such as Christ in the House of Simon the Pharisee.

Simon the Pharisee is mentioned in the Gospel of Luke 7:36-50 where he invited Jesus for a meal but fails to show his guest the usual marks of hospitality, for example, washing his feet. During the meal, a sinful woman, sometimes identified as Mary Magdalene, entered the house and anointed Jesus’ feet with a jar of perfume. Outraged at the actions of the woman, Simon protested that the woman was a sinner and unworthy of touching Jesus, however, Jesus contrasted her faith with Simon’s lack of common decency. “Therefore, I tell you, her many sins have been forgiven—as her great love has shown. But whoever has been forgiven little loves little.” (Luke 7:47)