“Return of the Prodigal Son”, Guercino, 1619, Kunsthistorisches Museum, Vienna. When Guercino (1591 -1666) painted this image for the Papal Legate to Ferrara, Cardinal Giacomo Serra, he was only 28. Perhaps, he identified with the subject, as he returns
“Wedding at Cana” , Tintoretto, 1561, Sacristy of Santa Maria della Salute, Venice. This was originally painted for the Confraternity of the Crocifieri, but was moved to the Salute, on their dissolution in 1657. So if you stand looking at
“Salome receives the head of John the Baptist”, Caravaggio, 1609-10, National Gallery London. Caravaggio painted John the Baptist, again and again. There are at least 11 paintings that show John as a young boy or an adolescent posed in
“Christ embracing St Bernard,” Francisco Ribalta, 1625-27, Prado, Madrid. From about 1625 Francisco Ribalta and his son, Juan Ribalta, were in Valencia, where they painted this work for the Carthusian Monastery of Portaceli. Both would die within few years
“Madonna di Loreto”, Caravaggio, 1604-6, Cavalletti Chapel, Church of San’ Augustino, Rome. On a darkened street a rather beautiful woman stands bare foot on a doorstep. She holds a child. An elderly couple are kneeling before her, each holding a
“The Virgin and Child with Saints Jerome and Dominic”, Filippino Lippi, c.1485, National Gallery London (currently not on display). For many years we had an oil painting of St Dominic in our London Priory. It was very dark but
“Christ in the House of Mary and Martha”, 1654-1656, Johannes Vermeer, National Gallery of Scotland. This painting is so different to the small domestic scenes, which we associate with Vermeer. Less than 40 of his paintings exist today and most
“The Good Samaritan”, 1562-3, National Gallery London. The artist, Jacopo da Ponte (1535- 1592), who was known as Jacopo Bassano, was the son of an artist and had four sons, all of whom became artists. They worked alongside their father
“The Assassination of St Peter Martyr”, c.1505-07, Giovanni Bellini. National Gallery London. A road, leading from a walled city, crosses the city moat and descends along the edge of a wide meadow, before it reaches the dense grove of trees,
“Christ on the Sea of Galilee”, circle of Tintoretto, c. 1570, National Gallery of Art, Washington. This haunting and mysterious image appeals greatly to many disciples of Christ today. You can find it on any number of Catholic websites. Nobody
The Catholic Chaplaincy serves the students and staff of the University of Edinburgh, Edinburgh Napier University and Queen Margaret University.
The Catholic Chaplaincy is also a parish of the Archdiocese of St Andrews and Edinburgh (the Parish of St Albert the Great) and all Catholic students and staff are automatically members of this parish.
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St Albert's Catholic Chaplaincy is part of the English Province of the Order of Preachers, a charity registered in England and Wales (231192) and in Scotland (SC039062).