- 9.1The Virgin Praying in the Temple. BnF, ital. 115, fol. 6v 235
- 9.2The Annunciation: The Virgin’s Response. BnF, ital. 115, fol. 11v 239
- 9.3God Sending Gabriel to Mary. BnF, ital. 115, fol. 9v 242
- 9.4The Annunciation to the Virgin. BnF, ital. 115, fol. 10r 243
- 9.5The Annunciate: The Virgin Thanking God. BnF, ital. 115, fol. 12r 247
- 11.1Cimabue, Madonna and Child Enthroned with St. Francis, Lower Church, Basilica of St. Francis, Assisi 276
- 11.2Cimabue, Madonna and Child Enthroned with Angels, Paris, Louvre (Formerly San Francesco, Pisa) 279
- 11.3View of north east wall of Lower Church transept showing Cimabue’s Madonna and Child with Francis amid frescoes by Giotto and Pietro Lorenzetti 281
- 11.4Basilica of St. Francis in Assisi, Plan of Lower Church transepts and apse 282
- 11.5View of transept facing east, showing mural altarpieces of Crucifixion by Cimabue, Upper Church of the Basilica of St. Francis at Assisi 283
- 11.6Cimabue, Crucifixion, mural altarpiece in south transept, Upper Church of the Basilica of St. Francis, Assisi 285
- 11.7Cimabue, Virgin and Christ Enthroned with Franciscans, apse, Upper Church of the Basilica of St. Francis, Assisi 286
- 11.8Magdalen Master, Madonna and Child Enthroned, Berlin 289
- 11.9Coppo di Marcovaldo, Madonna and Child Enthroned, San Martino dei Servi, Orvieto 290
- 11.10Byzantine artist, Madonna and Child Enthroned, National Gallery, Washington 292
- 11.11Pietro Lorenzetti, Five Early Followers of Saint Francis, Lower Church of St. Francis at Assisi 295
- 11.12Cimabue, Saint Francis, Santa Maria degli Angeli, Porziuncola Museum 297
- 11.13Giunta Pisano, Crucifix, Santa Maria degli Angeli 299
- 12.1The Basilica of San Francesco, from the east. The Basilica is built on a ridge of land that falls away to the west, north and south 304
- 12.2The Basilica of San Francesco, Assisi, Italy photographed from the south. The Basilica faces west with the town of Assisi to the east 304
- 12.3Pietro Lorenzetti, La Madonna dei Tramonti, 1316–1319, fresco, Lower Church, Assisi. The Madonna and Child are flanked by St. Francis on the viewer’s left and St. John the Evangelist on the viewer’s right 306
12.4Ground plan of the Lower Church, Assisi, showing the placement of the frescoes of La Madonna dei Tramonti, the Five Saints, and Madonna and Two Royal Saints 306 - 12.5Pietro Lorenzetti, Crucifixion, 1316–1319, fresco, south transept, Lower Church, Assisi with La Madonna dei Tramonti immediately underneath it 309
- 12.6Pietro Lorenzetti, La Panca Vuoto, 1316–1319, fresco, Lower Church, Assisi. The sedilia is painted on the wall adjacent to La Madonna dei Tramonti, with shadows angled to the left to suggest the sedilia is receiving the only natural light source in this area of the transept coming from a door opposite the fresco at the top of stairs leading to the Great Cloister 311
- 12.7The door opposite the La Madonna dei Tramonti at the top of stairs leading to the Great Cloister with a clear view of sky in a triangular shape to the right of the column and roof 311
- 12.8Simone Martini, Five Saints on the north wall and Madonna and Child with Two Royal Saints (below the Crucifixion) on the east wall, 1317–1319, fresco, north transept, Lower Church, Assisi 317
- 12.9Simone Martini, Madonna and Child with Two Royal Saints, 1317–1319, fresco, north transept, Lower Church, Assisi 317
- 12.10Simone Martini, Five Saints, 1317–1319, fresco, north transept, Lower Church, Assisi 318
- 12.11Giotto’s workshop, Crucifixion, c. 1310, fresco, north transept, Lower Church, San Francesco, Assisi 318
- 12.12View of the three apsidal windows of the Lower Church from the Great Cloister. The most southerly window is the one to the right 321
- 12.13View of the most southerly apsidal window of the Lower Church from the Madonna and Child with Two Royal Saints 321
- 12.14Rays of sunlight from the most southerly apsidal window streaming across the line of five saints along the wall adjacent to the Madonna and Child with Two Royal Saints (18:40 CEST, Tuesday 16 August 2016) 322
- 12.15Sunlight forming a sharp edge as it strikes the Madonna and Child with Two Royal Saints (18:50 CEST, Tuesday 16 August 2016) 322
- 12.16Sunlight having reached a third of the way across the Madonna and Child with Two Royal Saints (Tuesday 16 August 2016) 323
- 12.17At 19:09 CEST on Tuesday 16 August 2016 as the sun lowered in the sky, the sunlight began to move upwards to the base of the Crucifixion fresco above the Madonna and Child with Two Royal Saints 323
- 12.18By 19:17 CEST on Tuesday 16 August 2016 the sunlight had reached the feet of Christ, illuminating the figures to the left of the cross 324
- 12.19The sun on 17 August 2016 had moved further south along the ecliptic and hence the light now shone on John the Evangelist 324
12.20The first rays of sunlight from the door at the top of the stairs opposite La Madonna dei Tramonti shining onto the base of the fresco along the painted predella between St. Francis and the Madonna forming a cone shape with a wide base, reflecting the shape of the aperture created by the door and the cloister roof (19:27 CEST, Wednesday 21 June 2017) 326 - 12.21Rays of sunlight shining through the south apsidal window onto the south side of the entrance to the Magdalene Chapel and missing the Madonna and Child with Two Royal Saints (19:47 CEST, Wednesday 21 June 2017) 326
- 12.22The tip of the cone-shaped sunlight reaches the top edge of the fresco of La Madonna dei Tramonti (19:51 CEST, Wednesday 21 June 2017) 327
- 12.23The Madonna and Child completely enveloped in the cone-shaped sunlight (19:56 CEST, Wednesday 21 June 2017) 327
- 12.24The sunlight begins to move upwards towards the edge of La Madonna dei Tramonti and the Crucifixion fresco above (19:59 CEST, Wednesday 21 June 2017) 328
- 12.25Sunlight touches the Child and the edge of St. John in La Madonna dei Tramonti, as well as the hooves of one of the horses in the corner of the Crucifixion fresco above (20:02 CEST, Wednesday 21 June 2017) 328
- 12.26The sunlight is now situated directly over the face of St. John in the fresco of La Madonna dei Tramonti and the legs of the horse in the corner of the Crucifixion fresco above (20:07 CEST, Wednesday 21 June 2017) 329
- 12.27The sunlight is now focused solely on the buttocks of the horse in the lower right corner of the Crucifixion fresco and begins to illuminate the haloed figure in the lozenge of the border (20:21 CEST, Wednesday 21 June 2017) 329
- 12.28The waning sunlight is now centered on the haloed figure in the lozenge of the border of the Crucifixion fresco (20:24 CEST, Wednesday 21 June 2017) 330
- 12.29A graphic representation of the orientation of the Lower Church aligned to the setting sun at the summer solstice (S3) and the setting sun in the week of the Assumption (S2 followed by S1) showing the lines of illumination cast by the sun onto the two frescoes on the east wall of the crossing 332
- 15.1PrinG 90, fol. 176v. The Figure shows parallel lines in the left-hand margin of the folium marking the start of the German verses, as well as Sintram’s characteristic marginal notation. Johannes Sintram, Sermons, fol. 176v, Robert Garrett Medieval and Renaissance Manuscripts, No. 90, Manuscripts Division 398
- 16.1acap 1: «Ihesus und Maria hilf» 434
- 16.2acap 4: «Ave Maria gratia plena» 434
- 16.3acap 7: «Maria hilf uns» (Mary help us) 434
- 16.4acap 13: «Ave», in the clasp 434
- 16.5acap 30, f. 165r 435