Saint Catherine of Alexandria

Definition and stakes

Portrait of J.-K. Huysmans J.-K. Huysmans The Cathedral

Saint Catherine of Alexandria, who, with upturned eyes of a brackish green, is neither as simple nor as innocent as her sisters; she still sees the form of man in Christ; she still is a woman; she is, if one may so, the sin of the work.
Still, all these spiritual degrees clothed in human figures are but the accessories of this picture. They are placed there, in the august assumption of gold and the chaste ascending scale of blue, to lead by a stair of pure joy to the sublime platform whereon we see the group of the Saviour and the Virgin.
Source: Gutenberg

Sir Claude Phillips The Earlier Work of Titian

Francis, the Venetian loveliness of the St. Catherine, the palpitating life of the St. Sebastian. The latter is not much more than a handsome, over-plump young gondolier stripped and painted as he was—contemplating, if anything, himself. The figure is just as Vasari describes it, ritratto dal' vivo e senza artificio niuno. The royal saint of Alexandria is a sister in refined elegance of beauty and costume, as in cunning elaboration of coiffure, to the St. Catherine of the Madonna del Coniglio, and the not dissimilar figure in our own Holy Family with St. Catherine at the National Gallery.
Source: Gutenberg

Portrait of E. M. Forster E. M. Forster Alexandria: A History and a Guide

Left from Boulevard, at end of Rue Averoff, is the church of the Armenian Catholics (p. 213) .
Right from Boulevard, in Rue de l’Eglise Copte, is the Cathedral of the Coptic Orthodox Patriarchate (p. 212) dedicated to St. Mark. Those who have never seen a Coptic Church should look in. It is fatuously ugly. On the screen that divides nave from sanctuary are several pictures—among them St. Damiana with her wheel; she is the native Egyptian Saint who was probably the origin of St. Catherine of Alexandria: round her are the forty maidens who shared her martyrdom.
Source: Gutenberg

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