Who painted St. Apollonia; St. Guillaume; St. Scholastica; St. Saturnin?

St. Apollonia; St. Guillaume; St. Scholastica; St. Saturnin was painted by Jacques Callot in 1634.

Where can I see St. Apollonia; St. Guillaume; St. Scholastica; St. Saturnin?

St. Apollonia; St. Guillaume; St. Scholastica; St. Saturnin is held by National Gallery of Art.

What movement is St. Apollonia; St. Guillaume; St. Scholastica; St. Saturnin?

St. Apollonia; St. Guillaume; St. Scholastica; St. Saturnin is associated with Baroque.

Artwork

St. Apollonia; St. Guillaume; St. Scholastica; St. Saturnin

Jacques Callot , 1634

St. Apollonia; St. Guillaume; St. Scholastica; St. Saturnin is an ink print by the Baroque artist Jacques Callot. It dates from 1634 and is held in the collection of the National Gallery of Art.

About this work

Overview

Callot’s signature appears on the plate, and the composition is uncoloured, emphasizing the linear precision of his drawing.

Around 1634 the French baroque printmaker Jacques Callot produced an etching on laid paper that brings together four distinct saints—Apollonia, Guillaume, Scholastica and Saturnin—in a single sheet. The work consists of four small oval panels, each occupied by a solitary figure rendered in stark black‑and‑white. Callot’s signature appears on the plate, and the composition is uncoloured, emphasizing the linear precision of his drawing.

Subject & Meaning

Each panel presents a different saint identified by accompanying text and a February calendar marker. Saint Apollonia holds a tooth‑related attribute, reflecting her martyrdom; Saint Guillaume is shown in armor, suggesting his military patronage; Saint Scholastica carries a book, alluding to her scholarly devotion; and Saint Saturnin bears a palm branch, a traditional sign of martyrdom. The isolated settings underscore individual veneration rather than a narrative sequence.

Technique & Style

The image was created by drawing directly onto a copper plate with a needle, a process that allows fine, crisp lines characteristic of Callot’s etchings. The laid paper surface retains the texture of the original press, while the sharp contours and detailed rendering of garments and accessories reveal Callot’s meticulous draftsmanship. The absence of colour focuses attention on the intricate line work and the subtle gradations of tone.

History & Provenance

Part of Callot’s extensive oeuvre of more than 1,400 prints, this piece reflects his ongoing interest in religious subjects alongside his well‑known depictions of soldiers and court life. The work has remained in the public domain, circulating through collections of early modern prints. Its consistent attribution to Callot rests on the artist’s signature and stylistic parallels with his other devotional prints.