An oil painting on a copper plate in an ornate brownstained wooden frame with carved rosettes and meanders from around 1700 cropped up in the art trade. It shows a young woman in decorative garments reminiscent of Maria Theresa’s portraits. She is wearing a diadem studded with gems and pearls, and holds a palm branch in her right hand with a bracelet of pearls on her wrist. Her charming but self-assured smile evokes a legend. There is a sword stuck into her above her heart – the attribute of her martyrdom. She holds her golden mantle interwoven with blood red in her left hand. As the iconographic marks reveal, the picture represents St Justina of Padua. In the Martyrologium Romanum of great source value compiled by the historian cardinal of the Apostolic Library, Baronius in 1631 during Pope Urban VIII the feast day of St Justina is October 7. In it he notes that Venantius Fortunatus (540-600), the excellent early Christian poet also eulogized her. In Missale Romanum ordered by Saint pope Pius V in 1570 there is one martyred virgin saint from Antioch by this name with the feast day of 26 September, for October 7 was the commemoration day of the victory over the enormous Ottoman army at Lepanto from that year on by the name of S. Maria de Victoria, the Victorious Virgin. In the diocese of Padua, in Venice and in the order of St Benedict St Justina as shown in this picture has been venerated from the Middle Ages. They selected her as their patron saint, minted their coins with her portrait. The grand church of the saint is a Benedictine abbey. Justina came from a high-class family. From her youth she professed her faith bravely and encouraged her fellow believers to do so. Emperor Maximilian arrived in Padua in 307 and had several Christians brought there to pass judgement on them. Hearing it, Justina donned a festive costume and rushed to the help of the captive Christians. When she was interrogated, not even the emperor could get her to denounce her faith and she was sentence to death. Over her tomb the prefect of the city Oppilio had a commemorative chapel and later a church built in the early 5th century. Remains of the latter can still be seen in the huge Renaissance basilica built between 1502 and 1550. The high altar includes the corpse of St Justina and a large statue of her is also on the altar. In terms of art more important is the life-size figure of Justina in the sculptural group created by Donatello for the high altar of the St Anthony Basilica. It is presumable that the votive picture was brought home by a Hungarian student returning from his studies in Padua.