One work about this figure contrasts his desire to defile his sister's friend Ammonaria with his anger towards his nefarious former student Hilarion, who eventually transforms into the spirit of science.
One work about this figure contrasts his desire to defile his sister's friend Ammonaria with his anger towards his nefarious former student Hilarion, who eventually transforms into the spirit of science. Heieronymus Bosch's depiction of this figure centrally shows him sitting on a small ledge between a man with a gigantic nose and a nun with a Krang-like head emerging from her stomach. Vasari claimed that a Martin Schongauer engraving of this figure inspired one of the few panel paintings by Michaelangelo, which uniquely depicted this figure in mid-air. The title character of one opera dresses up like this figure before being offered a Faustian deal by Ursula and Countess Helfenstein after he lulls Regina to sleep in (*) Odenwald forest. That opera centers around the creation of panels depicting this figure, set into wooden frames created by Nicholas Hagenau, and was written by Paul Hindemith. A golden temple sits atop the back of an elephant and a massive white horse rears up as this a nude rendition of this figure thrusts a crucifex at a column of very long-legged animals in a Salvador Dali painting. He is often shown getting the living hell pounded out of him by various demons, most famous in the Isenheim Altarpiece. FTP, identify this Christian saint, whose desert "temptation" was a frequent artistic subject in art.
One work about this figure contrasts his desire to defile his sister's friend Ammonaria with his anger towards his nefarious former student Hilarion, who eventually transforms into the spirit of science.
Saint {Anthony} the Great