Who painted St. Nicolas and Sts. Catherine, Lucy, Margaret and Apollonia?

St. Nicolas and Sts. Catherine, Lucy, Margaret and Apollonia was painted by Francesco Botticini in 1482.

Where can I see St. Nicolas and Sts. Catherine, Lucy, Margaret and Apollonia?

St. Nicolas and Sts. Catherine, Lucy, Margaret and Apollonia is held by National Museum of Western Art.

What movement is St. Nicolas and Sts. Catherine, Lucy, Margaret and Apollonia?

St. Nicolas and Sts. Catherine, Lucy, Margaret and Apollonia is associated with Early Renaissance.

Can I buy a print of St. Nicolas and Sts. Catherine, Lucy, Margaret and Apollonia?

Museum-quality prints of St. Nicolas and Sts. Catherine, Lucy, Margaret and Apollonia are available made-to-order from Artifact World Gallery.

Artwork

St. Nicolas and Sts. Catherine, Lucy, Margaret and Apollonia

Francesco Botticini , 1482

St. Nicolas and Sts. Catherine, Lucy, Margaret and Apollonia is an unspecified painting by the Early Renaissance artist Francesco Botticini. It dates from 1482 and is held in the collection of the National Museum of Western Art.

About this work

Overview

Created circa 1482, this panel by Francesco Botticini presents Saint Nicholas seated on an elevated dais, flanked by four female saints—Catherine of Alexandria, Margaret the Virgin, Lucy and Apollonia. The composition is set against a light‑toned wall pierced by classical columns, beneath a clear blue sky, conveying a calm, devotional ambience.

Subject & Meaning

The central figure, Bishop Nicholas, is shown in episcopal vestments, holding his crozier and a book, symbols of his pastoral authority and teaching role. The accompanying women, each identifiable by distinct attributes—a crown, a book, or specific garments—represent virtues associated with their martyrdoms, reinforcing themes of piety, wisdom and intercessory power.

Technique & Style

Botticini employs a balanced spatial arrangement typical of early Florentine Renaissance painting, using linear perspective to suggest depth behind the figures. The palette combines rich reds and whites on the bishop’s robes with softer hues on the saints, while delicate modeling of drapery and subtle chiaroscuro give the forms a gentle three‑dimensionality.

History & Provenance

The work originates from Botticini’s workshop in Florence, where he was active producing altarpieces and smaller devotional panels for local patrons. After changing hands over the centuries, it entered the collection of the National Museum of Western Art, where it remains on display as part of the museum’s Renaissance holdings.

Context

Botticini’s painting reflects the devotional practices of late 15th‑century Italy, when panels featuring multiple saints were commissioned for private chapels or confraternities. The inclusion of Saint Nicholas alongside female virgin‑martyrs aligns with contemporary iconographic programs that sought to invoke a broad spectrum of intercessors for the faithful.