Golden Legend in the context of "Albunea"

Saint Jerome in His Study (German: Der heilige Hieronymus im Gehäus) is a copper engraving of 1514 by the German artist Albrecht Dürer. Saint Jerome is shown sitting behind his desk, engrossed in work. The table, on the corner of which is a cross, is typical of the Renaissance. An imaginary line from Jerome's head passing through the cross would arrive at the skull on the window ledge, as if contrasting death and the Resurrection. The lion in the foreground is part of the traditional iconography of St. Jerome, and near it is a sleeping dog, an animal found frequently in Dürer's works, symbolizing loyalty. Both creatures are part of Jerome's story in the Golden Legend (c. 1260), which contained fanciful hagiographies of saints.

St. Jerome in His Study is often considered as part of a group of three Dürer engravings (his Meisterstiche), the other two being the well-known Melencolia I (1514) and Knight, Death and the Devil (1513). Together they have been viewed as representing the three spheres of activity recognized in medieval times: Knight, Death, and the Devil belongs to the moral sphere and the "active life"; Melencolia I represents the intellectual; and St. Jerome the theological and contemplative life.

The impenitent thief is a man described in the New Testament account of the crucifixion of Jesus. In the Gospel narrative, two bandits are crucified alongside Jesus. In the first two Gospels (Matthew and Mark), they both join the crowd in mocking him. In the Gospel of Luke, however, one taunts Jesus about not saving himself and them, and the other (known as the penitent thief) asks for mercy.

In apocryphal writings, the impenitent thief is given the name Gestas, which first appears in the Gospel of Nicodemus, while his companion is called Dismas. Christian tradition holds that Gestas was on the cross to the left of Jesus and Dismas was on the cross to the right of Jesus. In Jacobus de Voragine's Golden Legend, the name of the impenitent thief is given as Gesmas. The impenitent thief is sometimes referred to as the "bad thief" in contrast to the good thief.

Saint George and the Dragon is a legend in which Saint George—a soldier venerated in Christianity—defeats a dragon. The story goes that the dragon originally extorted tribute from villagers. When they ran out of livestock and trinkets for the dragon, they started giving up a human tribute once a day. One day, the princess herself was chosen as the next offering. As she was walking toward the dragon's cave, St. George saw her and asked her why she was crying. The princess told the saint about the dragon's atrocities and asked him to flee immediately, in fear that he might be killed too. But the saint refused to flee, slew the dragon, and rescued the princess. The narrative was first set in Cappadocia in the earliest sources of the 11th and 12th centuries, but transferred to Libya in the 13th-century Golden Legend.

The narrative has pre-Christian origins (Jason and Medea, Perseus and Andromeda, Typhon, etc.), and is recorded in various saints' lives prior to its attribution to Saint George specifically. It was particularly attributed to Saint Theodore Tiro in the 9th and 10th centuries, and was first transferred to Saint George in the 11th century. The oldest known record of Saint George slaying a dragon is found in a Georgian text of the 11th century.

The Legend of the True Cross (Italian: Leggenda della Vera Croce) or The History of the True Cross (Storie della Vera Croce) is a sequence of frescoes painted by Piero della Francesca in the Basilica of San Francesco in Arezzo. It is his largest work, and generally considered one of his finest, and an early Renaissance masterpiece.

Its theme, derived from the popular 13th century book on the lives of saints by Jacobus de Voragine, the Golden Legend, is the triumph of the True Cross – the legend of the wood from the Garden of Eden becoming the Cross on which Jesus Christ was crucified. This work demonstrates Piero's advanced knowledge of perspective and colour, his geometric orderliness and skill in pictorial construction.

The Marriage of the Virgin is the subject in Christian art depicting the marriage of the Virgin Mary and Saint Joseph. The wedding ceremony is not mentioned in the canonical Gospels but is covered in several apocryphal sources and in later redactions, notably the 14th-century compilation the Golden Legend. Unlike many other scenes in Life of the Virgin cycles (like the Nativity of Mary and Presentation of Mary), it is not a feast in the church calendar, though it sometimes has been in the past.

In the Eastern Orthodox tradition, essentially the same scene, with very similar iconography, is considered to represent the earlier scene of the "Entrusting of Mary to Joseph", with Joseph being made Mary's guardian by the temple authorities.

The Adoration of the Magi or Adoration of the Kings or Visitation of the Wise Men is the name traditionally given to the subject in the Nativity of Jesus in art in which the three Magi, represented as kings, especially in the West, having found Jesus by following a star, lay before him gifts of gold, frankincense, and myrrh, and worship him. It is related in the Bible by Matthew 2:11: "On entering the house, they saw the child with Mary his mother; and they knelt down and paid him homage. Then, opening their treasure chests, they offered him gifts of gold, frankincense, and myrrh. And having been warned in a dream not to return to Herod, they left for their own country by another path".

Christian iconography considerably expanded the bare account of the Biblical Magi described in the Gospel of Matthew (2:1–22). By the later Middle Ages this drew from non-canonical sources like the Golden Legend by Jacobus de Voragine. Artists used the expanded Christian iconography to reinforce the idea that Jesus was recognized, from his earliest infancy, as king of the earth. The adoration scene was often used to represent the Nativity, one of the most indispensable episodes in cycles of the Life of the Virgin as well as the Life of Christ.

Jacobus de Voragine, OP (c. 1230 – 13/16 July 1298) was an Italian chronicler and archbishop of Genoa. He was the author, or more accurately the compiler, of the Golden Legend, a collection of the legendary lives of the greater saints of the medieval church that was one of the most popular religious works of the Middle Ages.

The Feast of the Circumcision of Christ is a Christian celebration of the circumcision of Jesus in accordance with Jewish tradition, eight days (according to the Semitic and southern European calculation of intervals of days) after his birth, the occasion on which the child was formally given his name.

The circumcision of Jesus has traditionally been seen, as in the popular 14th-century work the Golden Legend, as the first time the blood of Christ was shed, and thus the beginning of the process of the redemption of man, and a demonstration that Christ is fully human, and of his (parents') obedience to Biblical law.