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293:. It has been consecrated to Saint Erasmus of Formia since 1605, after the relics of the saint were transferred to the site from the old basilica, where the cult of this saint dates back to 1119. It is an altar that is poorly endowed for his worship but which is the subject of fervent worship on the part of the faithful, which no doubt explains its continued existence in the new basilica. The old altarpiece was decorated with a painting known only from an engraving by
312:, by its position, was intended to be viewed mainly from an angle, and Poussin took this into account in its composition. He structured it in obliques starting from the bottom left and the head of the saint to the top right, the statue, along the body of the saint and the arm of the priest. The representation does not insist on the horror of the scene, but on Erasmus's stoic resistance. The
316:(etymologically, the witness), testifies to the sacrifice of Christ and to the strength of his resisting faith. Poussin is marked here by the imprint of the large Venetian altarpieces and by the coloration of
137:(1629). The Fabric required Poussin to adopt the composition of the painting to be replaced, except that the white-robed pagan priest was to be moved to the side of the composition. The Pope first invited
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origin by the name of Thomas Treter, and dated around 1575. However, this attribution and dating is questioned. Treter's painting remained in place in the new basilica between at least 1605 and 1627.
194:. The altarpiece panel is the only work of Poussin's that can be seen in a public building in the city from the time of the painter, and is also the only altarpiece to which he added his signature.
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would have ordered the saint to sacrifice to the gods, and he would have replied that he "refused to sacrifice to the stone gods whom you resemble". Then, once taken to the temple of
265:. The emperor ordered that he be tied to a table and his intestines extracted by a windlass. This is the last torture suffered by the saint before his death, according to legend. The
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The painting represents one of the many tortures suffered by
Erasmus of Formia, Bishop of Antioch, taken by an angel to southern Italy, and pursued by the persecutions of
273:, the statue would have collapsed into dust. The statue here represented at the top right does not represent Jupiter but Hercules, recalling the nickname of the emperor.
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The painting was intended to decorate the altarpiece of the altar located to the left of the north transept. This altar has a decoration that dates back to the time of
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in St. Peter's
Basilica. More precisely, it was to be located to the left of the north transept, near the
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to carry out the commission, but
Poussin was finally chosen thanks to the intervention of his protector,
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in 1627, assuring
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526:, no. 4 (catalogue of an exhibition at the Louvre from March 30 to June 29, 2015)
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The Altar and
Altarpieces of New St. Peter's: Outfitting the Basilica 1621–1666
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320 cm × 186 cm (130 in × 73 in)
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before 1763. It was seized by French troops in 1797 and sent to the
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Valentin de
Boulogne, Martyrdom of St Processo and St Martiniano
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Camillus
Handing the Falerian Schoolmaster over to his Pupils
515:, Malakoff/Paris: Hazan/Louvre éditions, pp. 164–166,
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Two preparatory drawings are known, the first kept in the
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The painting was commissioned on
February 5, 1628, by the
297:. This was attributed to an obscure Mannerist painter of
149:. The latter had previously commissioned him to create
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The
Paintings of Nicolas Poussin. A Critical Catalogue
249:. The torture represented here does not come from the
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658:The Battle between the Israelites and the Amorites
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770:Saint James the Great's Vision of the Virgin Mary
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530:Rosenberg, Pierre; Prat, Louis-Antoine (1994),
553:, Cambridge University Press, pp. 225–232
511:Milovanovic, Nicolas; Szanto, Mickaël (2015),
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197:The painting was finally transferred to the
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978:Blind Orion Searching for the Rising Sun
866:Theseus Rediscovering His Father's Sword
363:Nicolas Poussin, Martyrdom of St Erasmus
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730:The Mystic Marriage of Saint Catherine
666:Joshua's Battle against the Amalekites
102:in 1628–1629, originally displayed in
7:
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342:List of paintings by Nicolas Poussin
962:Landscape with Orpheus and Eurydice
914:Landscape with the Ashes of Phocion
898:Landscape with Saint John on Patmos
130:Saint Processus and Saint Martinian
794:A Bacchanalian Revel Before a Term
563:, Paris: Flammarion, p. 250,
122:, to adorn the altar dedicated to
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994:Landscape with Hercules and Cacus
842:Triumph of Neptune and Amphitrite
682:The Capture of Jerusalem by Titus
486:, London: Phaidon, pp. 66–67
1099:Paintings in the Vatican Museums
802:The Adoration of the Golden Calf
534:, Réunion des musées nationaux,
496:, Paris: Hazan, pp. 48–49,
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722:The Martyrdom of Saint Erasmus
586:The Martyrdom of Saint Erasmus
329:The Martyrdom of Saint Erasmus
310:The Martyrdom of Saint Erasmus
95:The Martyrdom of Saint Erasmus
22:The Martyrdom of Saint Erasmus
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778:The Massacre of the Innocents
454:Milovanovic & Szanto 2015
439:Milovanovic & Szanto 2015
424:Milovanovic & Szanto 2015
407:Milovanovic & Szanto 2015
98:is an altarpiece, painted by
1094:Paintings by Nicolas Poussin
954:Landscape with Three Figures
834:A Dance to the Music of Time
826:The Rape of the Sabine Women
147:Cardinal Francesco Barberini
818:The Crossing of the Red Sea
754:The Inspiration of the Poet
559:Thuillier, Jacques (1994),
16:Painting by Nicolas Poussin
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810:Adoration of the Shepherds
588:at the Pinacoteca Vaticana
239:National Gallery of Canada
188:National Gallery of Canada
182:. Poussin then produced a
29:Le Martyre de saint Érasme
1063:Poussinists and Rubenists
986:Landscape with Two Nymphs
938:Landscape with Polyphemus
762:Sleeping Venus with Cupid
630:
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930:The Judgement of Solomon
890:The Continence of Scipio
698:Venus Weeping for Adonis
151:The Capture of Jerusalem
690:The Death of Germanicus
482:Blunt, Anthony (1966),
160:The Death of Germanicus
906:The Funeral of Phocion
829:(1634–1635, 1637–1638)
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1047:Musée Nicolas Poussin
970:The Flight into Egypt
549:Rice, Louise (1997),
492:Mérot, Alain (2011),
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168:Biblioteca Ambrosiana
120:Fabric of Saint Peter
135:Valentin de Boulogne
104:St. Peter's Basilica
1089:Christian paintings
922:Eliezer and Rebecca
746:Cephalus and Aurora
650:The Death of Chione
441:, pp. 164–165.
263:Jacobus de Voragine
145:, the secretary of
82:Pinacoteca Vaticana
714:Echo and Narcissus
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289:and polychromatic
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143:Cassiano dal Pozzo
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1002:Apollo and Daphne
858:Et in Arcadia ego
633:List of paintings
570:978-2-08-012513-2
541:978-2-7118-3027-5
522:978-2-7541-0826-3
503:978-2-7541-0526-2
389:, Vatican Museums
366:, Vatican Museums
318:Pietro da Cortona
285:, made of gilded
283:Pope Clement VIII
277:Original location
252:Roman Martyrology
247:Maximian Hercules
186:currently in the
139:Pietro da Cortona
124:Erasmus of Formia
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1029:The Four Seasons
1021:Seven Sacraments
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674:Venus and Adonis
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1005:(1661–1664)
973:(1657–1658)
965:(1650–1653)
957:(1645–1650)
925:(1648–1649)
885:(1638–1640)
877:(1638–1639)
837:(1634–1636)
821:(1633–1634)
813:(1633–1634)
805:(1633–1634)
797:(1632–1633)
781:(1625–1632)
765:(1628–1630)
757:(1629–1630)
741:(1628–1630)
733:(1628–1629)
725:(1628–1629)
717:(1627–1628)
709:(1627–1628)
221:Description
1078:Categories
348:References
70:Dimensions
997:(c. 1660)
874:The Manna
861:(1637–38)
845:(c. 1636)
786:Parnassus
669:(c. 1625)
661:(c. 1625)
641:Paintings
466:Rice 1997
393:22 August
370:22 August
331:(c. 1466)
57:1628–1629
574:, no. 69
555:, no. 10
545:, no. 26
507:, no. 91
488:, no. 97
336:See also
305:Analysis
211:Holy See
180:Florence
78:Location
27:French:
1056:Related
1040:Museums
494:Poussin
476:Sources
271:Jupiter
267:emperor
235:Modello
226:Subject
184:modello
114:History
86:Vatican
989:(1659)
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314:martyr
299:Polish
291:marble
287:stucco
203:Louvre
192:Ottawa
176:Uffizi
62:Medium
44:Artist
207:Paris
172:Milan
565:ISBN
536:ISBN
517:ISBN
498:ISBN
395:2021
372:2021
108:Rome
54:Year
261:of
205:in
190:in
178:in
170:in
133:by
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