Other paintings in the Discalced Carmelite monasteries

The fact that the convent of the Descalzos was not abandoned after the execlaustration and was inhabited by the Descalzas during the second half of the 19th century made it possible to conserve numerous paintings that have survived to the present day, many of them of Teresian content and more specifically alluding to their transverberation. Among them is the one that signatureby Díaz Ferreras of Valladolid in 1672 and is kept in the church's Wayside Cross, which suffers from a certain staticism despite the baroque style of topic. In the antechorus of the same convent is another canvas by the same artist topicfrom the last third of the 17th century, which has similarities with the work of the Madrid painter Francisco de Lizona and shows us the saint in a theatrical composition that the painter Vicente Berdusán would make his own, disseminating it in his works. On one of the half-point canvases in the corners of the cloister is another painting from the third quarter of the 17th century, inspired by one of the engravings in the Collaert-Galle series (1613).

Another painting, in this case on copper, is executed with meticulous technique, is small (31 x 25 cm) and must date from the first half of the 17th century. It depicts the saint preparing to write with the spinning spindle at her feet, in a concession of the composition in favour of a passage from everyday life, far removed from the ecstasies, raptures and idealisations so abundant in her iconography. It is a much-publicised version of what Father Jean de la Croix calls "the painting of Anne of Saint Bartholomew and its derivatives", the original of which is in the Carmelites in Beaune (France) and according to registrationwas a piece from which Mother Anne of Saint Bartholomew was never separated. Copies of the painting can be found in the Carmelite nuns of Antwerp, where she died, in Kain (Belgium), Sens (France), the Encarnación in Ávila, Guadalajara and the convents of the Discalced Sisters in Rome. Its diffusion was helped by the fact that the main part of its composition was engraved for the frontispiece of the Ceremonial of the Order in 1616.