Novo-Hispanic School. 17th century. 'Panoramic View of the Heavenly Glory of Monarch Women, Queens and Empresses' Oil on canvas. Relined. 42 x 54 cm On the reverse, it bears a label from the 'Galleria del Secolo' An intriguing iconographic representation of the Celestial Glory across two levels, filled with monarchal women—queens, empresses, and some who became abbesses—who triumphed by guiding their people through difficult times and understood their royal condition as part of a divine vocation. In their civil rule, they defended the faith with courage, sacrifice, and even martyrdom and death, acts for which the Catholic Church has recognised their sanctity. The artist reflects in this work the biblical expression 'a great cloud of witnesses' from the Letter to the Hebrews 12:1, where the Apostle Paul describes the multitude of believers from the Old Testament (the 'acts of the apostles') who, through their acts of faith, serve as inspiration and example to Christians of all times as they run the race of faith. Very much in the manner of Frans Francken II or his school, and quite comparable and attributable, the work reveals a strong attention to detail, a skill in crafting small historical, allegorical, and biblical portraits, with lighter tones, rich colours, and the elegance proper to royalty. A notable trait of the Flemish painter and engraver, visible here, is his distinctive way of painting the eyes of his figures with black dots on fine noses and faces.  The women are adorned in cloaks and ermine, some already dressed in the habits of nuns, with royal sceptres and crowns, or abbatial croziers. Many are highlighted by scrolls indicating their importance, where we can read their names and deeds, though some are sadly illegible due to paint loss. Below is a description of the inscriptions borne by some of the nuns. Upper level, from left to right (32 figures): - Saint Adela or Adelaide of Italy, empress of the Holy Roman Empire (c. 931–999), a politically important figure and a devout believer. - Saint Aurea of Paris (Abbess), born in the early 7th century. First abbess of the monastery of Saint-Martial in Paris, founded by Saint Eligius. She held this role for 33 years. Died of plague in 666. - Saint Ricarda of Andlau (Lower Lotharingia/Alsace), also known as Richilde (c. 840–895), empress and wife of Charles the Fat. Canonised for her piety. - Saint Waldburgis of Heidenheim, popularly known as Walburga (Wessex, England, 710 – Heidenheim, Germany, 779). An English Benedictine nun, part of the Anglo-Saxon mission, and director of the Heidenheim convent. She is venerated as a saint by both the Catholic and Orthodox Churches. - Saint Theodora of Byzantium, known as Methodia for supporting Saint Methodius of Constantinople. She was the most powerful woman in the history of the Eastern Roman Empire, reigning alongside Justinian I as co-ruler, as depicted in the famous mosaic at San Vitale, Ravenna. - Saint Matilda of Hackeborn or of Helfta, empress of the Holy Roman Empire (978–1025), known for her piety and charitable works. - Saint Praxedes: Her relics are housed in her basilica, located near Santa Maria Maggiore. They lie next to those of her sister Pudentiana, both daughters of Saint Pudens, traditionally considered Saint Paul’s first Roman convert. The two saintly women were martyred for burying early Christian martyrs in defiance of Roman law. The basilica was enlarged and adorned by Pope Paschal I around the year 822. Lower level, from left to right (31 figures): - Saint Ebba of Coldingham (615–683), Anglo-Saxon noblewoman and Catholic abbess, daughter of King Æthelfrith. - Saint Æthelthryth (Ediltrudis) (d. 680), Queen of Northumbria, founder of the monastery of Whitby, and key figure in the development of monastic life in England. - Saint Clotilde (474–545), Queen of the Franks and wife of Clovis I, instrumental in the conversion of the Franks to Christianity. - Saint Balthild (d. 680), Queen of Neustria and the Franks, founder of monasteries and a powerful figure after the death of her husband Clovis II. - Illegible due to paint loss. - Saint Agnes of France (1171–c. 1204), crowned Empress of Byzantium under the name Anna, daughter of Louis VII of France and his third wife Adela of Champagne. - Saint Cunegonde of Luxembourg (c. 980–1033), empress and Queen of Hungary, canonised for her pious life. The present painting was possibly commissioned by a royal patron or intended for the convent of nuns, where many noblewomen of high rank were enclosed. It likely sought to reflect and encourage their devotion and spiritual longing to dedicate their lives to God as consecrated women. The painter's mission, like that of the Apostle Paul, is to encourage Christians to run “the race set before them” with patience and resolve, looking to a multitude of men and women (in this case, women) of faith who have gone before them. The Cloud of Witnesses are not passive spectators but, according to Christian doctrine, those who have triumphed in their race of faith. Their testimonies and examples of obedience and perseverance continue to inspire those who behold this painting and follow the Christian faith.