Maps
0.1 Locations mentioned in the volume: general map 47
0.2 Locations mentioned in the volume: map of central Europe 48
0.3 Locations mentioned in the volume: map of the Iberian Peninsula 49
Figures
0.1 Medinaceli Palace, Cogolludo, 1490â1502 1
0.2 Detail of the facade, Medinaceli Palace, Cogolludo 3
0.3 Chimney in the Cuarto Rico, Medinaceli Palace, Cogolludo 4
0.4 Detail of the portal finial, Medinaceli Palace, Cogolludo 5
1.1 Altarpiece of San Jorge del Centenar de la Ploma [Altarpiece of Saint George], c.1400. Tempera and gilt on pine panel, 660 cm à 550 cm. Victoria and Albert Museum, London, inv. 1217â1864 63
1.2 Marçal de Sas, The Incredulity of Saint Thomas, c.1400. Tempera on panel, 114 cm à 74 cm. Museo Catedralicio Diocesano, Valencia 66
1.3 Predella of Saint Dominic, c.1400. Tempera and gilt on pine panel, 88 cm à 172 cm. Museo de Bellas Artes de Valencia, inv. 238 69
1.4 Virgin of Portaceli, c.1325 (restored and remodelled by Pere Nicolau and Marçal de Sas in 1403â1404). Wood carving. Museo Catedralicio Diocesano, Valencia 70
1.5 Marçal de Sas (?), Infant Jesus (detail of the Virgin of Portaceli), 1403â1404. Wood carving. Museo Catedralicio Diocesano, Valencia 71
1.6 Itinerant draughtsman, Saint Michael, c.1400. Ink on paper, 29.4 cm à 21.0 cm. Gabinetto disegni e stampe degli Uffizi, Florence, inv. 2270Fr 74
2.1 Diego de Siloé and Bartolomé Ordóñez, Altar of the Epiphany, c.1516. Marble. Caracciolo di Vico Chapel, San Giovanni a Carbonara, Naples 88
2.2 Pedro Fernández, Vision of the Blessed Amadeo Menez de Sylva, c.1513. Oil on panel, 277 cm à 320 cm. Galleria Nazionale dâArte Antica, Rome, inv. 1446 90
2.3 Lo Spagna (?), Marriage of the Virgin, 1504. Oil on panel, 236 cm à 186 cm. Musée des Beaux-Arts, Caen 97
2.4 Pedro Machuca, The Virgin and the Souls of Purgatory, 1517. Oil on poplar panel, 167 cm à 135 cm. Museo Nacional del Prado, Madrid, inv. P002579 100
3.1 a. Family connections and residencies of the Toribio family. b. Travel routes of Andrés (green) and Hernando (red) Toribio de Alcaraz 113, 114
3.2 The Plaza Mayor of Alcaraz (Albacete), with the tower of La Trinidad (left), the tower of the Tardón (right), and the Lonja de Santo Domingo 115
3.3 Ideal reconstruction of Pátzcuaro Cathedral 118
3.4 a. Plan of Lima [Planta de la Ciudad de los Reyes para el Consejo de Estado de Guerra de su Majestad], 1626. Drawing, 42.4 cm à 58 cm. Archivo General de Indias, Seville, MP-PERU CHILE, 7. b. Plan of La Plata [Plano de la ciudad de La Plata], 1777. Pen-and-ink drawing and watercolour, 57.5 cm à 82.5 cm. Archivo General de Indias, Seville, MP-BUENOS AIRES, 244 122, 123
3.5 Plan of Potosà [âPlanta general de la Villa Imperial de PotosÃâ], in Atlas of Sea Charts, c.1600. Ink on vellum, 28.5 cm à 40 cm. The Hispanic Society of America Museum and Library, New York, inv. K3 127
3.6 Nave of the Church of La Merced, Potosà 129
3.7 Cloister of the Monastery of San Francisco, Potosà 130
3.8 a. Gallery in the cloister of San Francisco, PotosÃ. b. Cloister portal, Church of San Francisco, HellÃn 131, 132
3.9 a. Main portal, Church of San AugustÃn, PotosÃ. b. Detail with sol y luna, main portal, Church of San AugustÃn, Potosà 136
3.10 Main portal of the Church of San Lorenzo, Potosà 137
4.1 Maestro Bartolomé, Christ among the Doctors, c.1480â1488. Oil on panel, 153.5 cm à 109.3 cm. University of Arizona Museum of Art, Tucson, inv. 1961.013.033 146
4.2 MartÃn Bernat and Miguel Jiménez, Christ before Annas, c.1481â1487. Oil on panel, dimensions unknown. Museo de Zaragoza, inv. 10020 147
4.3 Martin Schongauer, Christ before Annas, c.1470â1480. Engraving, 16 cm à 11.2 cm. The Metropolitan Museum of Art, New York, inv. 1984.1201.38 148
4.4 Adriaen Huybrechts I, Agony in the Garden, 1584. Engraving, 16.5 cm à 11.4 cm. Rijksmuseum, Amsterdam, inv. RP-P-1878-A-1070 155
4.5 Martin Schongauer, Resurrection, c.1470â1480. Engraving, 16.4 cm à 11.5 cm. The Metropolitan Museum of Art, New York, inv. 28.26.4 159
4.6 Maestro Bartolomé, Resurrection, c.1480â1488. Oil on panel, 153.5 cm à 109.3 cm. University of Arizona Museum of Art, Tucson, inv. 1961.013.051 160
4.7 Martin Schongauer, Christ before Pilate [Pilate Washing His Hands], c.1470â1480. Engraving, 16.1 Ã 11.3 cm. The Metropolitan Museum of Art, New York, inv. 28.26.3 163
4.8 Marcellus Coffermans, Diptych with the Agony in the Garden and the Crucifixion, 16th century. Oil on panel, 12 cm à 9 cm. Unknown private collection 166
4.9 Martin Schongauer, Rest on the Flight into Egypt, c.1470â1475. Engraving, 25.3 cm à 16.8 cm. The Metropolitan Museum of Art, New York, inv. 29.48.1 171
4.10 Spanish, Miracle of the Palm Tree on the Flight into Egypt, c.1490â1510. Polychromed walnut wood, 126.4 cm à 92.7 cm à 26.7 cm. The Metropolitan Museum of Art, New York, inv. 38.184 172
5.1 A battle scene from Johann Bämlerâs 1474 edition of the Troy story. From Albert Schramm, Der Bilderschmuck der Frühdrucke, iii: Die Drucke von Johann Baemler in Augsburg (Leipzig: 1921), sheet 9, image 34 181
5.2 Hecubaâs dream from Johann Bämlerâs 1474 edition of the Troy story. From Schramm, Der Bilderschmuck der Frühdrucke, iii. sheet 14, image 59 181
5.3 Front page of Hystori von den Syben Weysen Meystern (Augsburg: Johann Bämler, 9 August 1473). From Schramm, Der Bilderschmuck der Frühdrucke, iii. sheet 12, image 55 181
5.4 Jason and Medea in bed, from Johann Bämlerâs 1474 edition of the Troy story. From Schramm, Der Bilderschmuck der Frühdrucke, iii. sheet 15, image 66 181
5.5 Jason and Medea in bed, from Guido de Columnis, Historia destructionis Troiae. Bayerische Staatsbibliothek, Munich, MS. Hss Clm 61, fol. 18r 181
5.6 The lovers Jason and Medea, from Johann Bämlerâs 1474 edition of the Troy story. From Schramm, Der Bilderschmuck der Frühdrucke, iii. sheet 16, Image 72 190
5.7 The lovers Jason and Medea, from Guido de Columnis, Historia destructionis Troiae. Munich, Bayerische Staatsbibliothek, Munich, MS. Hss Clm 61, fol. 18v and 19r 190
5.8 A siege, Baladro del Sabio MerlÃn (Burgos: Juan de Burgos, 10 February 1498), fol. 31v. Biblioteca Universitaria, Oviedo, Fondo Antiguo, 201 190
5.9 A battle scene, Baladro del Sabio MerlÃn (Burgos: Juan de Burgos, 10 February 1498), fol. 27r. Biblioteca Universitaria, Oviedo, Fondo Antiguo, 201 190
5.10 A scene of combat, Baladro del Sabio MerlÃn (Burgos: Juan de Burgos, 10 February 1498), fol. 76r. Biblioteca Universitaria, Oviedo, Fondo Antiguo, 201 190
6.1 Pietro Cavaro, Mater Dolorosa, 1518â1520. Tempera and oil on spruce panel, 171.5 cm à 91 cm. Church of Santa Rosalia, Cagliari 199
6.2 Pietro Cavaro, Deposition of Christ in the Sepulchre, 1518â1520. Tempera and oil on panel, 103 cm à 77 cm. Pinacoteca Nazionale, Cagliari 200
6.3 Quentin Metsys (and workshop), Virgin of Sorrows (from the Church of Madre de Deus, Lisbon), 1509â1511. Oil on oak panel, 171.5 cm à 151 cm. Museu Nacional de Arte Antiga, Lisbon, inv. 1275 Pint 207
6.4 Juan de Flandes, Saints Michael and Francis, c.1505â1509. Oil on wood, golden ground, 89.9 cm à 83.2 cm. The Metropolitan Museum of Art, New York, inv. 58.132 210
6.5 Jan Joest van Calcar, Triptych of the Seven Sorrows of the Virgin (with central section representing the Mater Dolorosa with patron Juan RodrÃguez de Fonseca), 1505. Oil on panel, 200 cm à 140 cm. Palencia Cathedral 213
6.6 Workshop of Quentin Metsys, Triptych of the Virgin of the Seven Sorrows (detail of the central section with frame), 1494. Oil on panel, 80 cm à 54 cm. Lednice Castle 215
6.7 Bernardino di Benedetto di Biagio âIl Pinturicchioâ, Virgen de las Fiebres [Madonna and Child with a Bishop], with coat of arms of the Borgia family, 1495. Oil and gold on panel, 158 cm à 77.3 cm. Museo de Bellas Artes de Valencia, inv. 273 217
6.8 Pietro Cavaro, Pietà , c.1520. Tempera and oil on panel, 32 cm à 28.5 cm. Private collection. Previously unpublished 219
6.9 Bartolomé Bermejo, Pietà of Canon Luis Desplá, c.1490. Tempera on panel, 172 cm à 189 cm. Museu Diocesà de Barcelona 220
6.10 Bertomeu Coscollà (silversmith), Reliquary of the Veronica of the Virgin Mary with Coat of Arms of the Crown of Aragon, 1397. Gold-plated silver, enamels, tempera on parchment. Valencia Cathedral, wardrobe of the relics 221
6.11 Rogier van der Weyden, Miraflores Altarpiece (detail: compartment with the Pietà ), 1442â1445. Oil on oak panel, 71 cm à 43 cm. Gemäldegalerie, Berlin, inv. 534A 222
6.12 Gerard David and followers (attributed), Triptych of the Descent from the Cross, c.1518â1527. Oil on oak panel, 204 cm à 125 cm (central panel), 204 à 55 cm (each side panel). Museu de Arte Sacra, Funchal 224
6.13 CristoÌbal de Villalpando, Virgen de la Soledad de La Victoria de Madrid, c.1670â1680. Oil on canvas. San Pedro Museo de Arte, Puebla 226
6.14 Cristóbal de Villalpando, La Dolorosa, 1680â1689. Oil on canvas, 208.9 cm à 147 cm. Museo Soumaya, Fundación Carlos Slim, Mexico City 226
6.15 Schelte Adamsz. à Bolswert (after Abraham Bloemaert), The Virgin of Sorrows, 1612â1615. Engraving, 39.9 cm à 29.7 cm. Rijksmuseum, Amsterdam, inv. RP-P-BI-2499 228
7.1 Giovanni Bellini, Feast of the Gods, 1514 (with additions by Titian, 1529). Oil on canvas, 170 cm à 188 cm. National Gallery of Art, Washington, DC, inv. 1942.9.1 246
7.2 Cantino Planisphere, Lisbon, 1502. Ink and pigment on vellum, 102 Ã 218 cm. Biblioteca Estense Universitaria, Modena, inv. C.G.A.2 248
7.3 Ewer with armillary sphere (the emblem of King Manuel I), China, Jingdezhen kilns, Zhengde reign (1506â1521), c.1514â1521. Blue and white porcelain, 26.4 cm (H). Museu Medeiros e Almeida, Lisbon 258
7.4 Fragment of dish painted with the Portuguese royal coat of arms, Italy, Montelupo, c.1500â1525. Maiolica, 4.5 cm à 10 cm. Museu de Lisboa, Lisbon 262
7.5 Fragment of dish painted with the Portuguese royal coat of arms, encircled by a garland, Italy, Montelupo, c.1500â1525. Maiolica, 5.8 cm à 35.7 cm. Centro de Arqueologia de Lisboa, Lisbon 263
8.1 Jan Floris, Saint Andrew, 1559. Polychrome tiles, 70 cm à 42 cm. Church of San Pedro, Garrovillas de Alconétar 276
8.2 Frans Andries, Gathering of the Manna, 1558. Polychrome tiles, dimensions unknown. Chapel of the Assumption of the Virgin, Mosque-Cathedral of Cordoba 278
8.3 Joam de Goes, ornament with grotesques, c.1565. Polychrome tiles, dimensions unknown. Church of Nossa Senhora da Graça, Lisbon 280
8.4 Anonymous, The Abduction of Europe, second third of the 16th century. Polychrome tiles, dimensions unknown. Quinta da Bacalhôa, Azeitão 281
8.5 Anonymous, Susanna and the Elders, 1565. Polychrome tiles, 116 cm à 196 cm. Quinta da Bacalhôa, Azeitão 282
8.6 Hernando de Loaysa (?), ornament resembling ironwork, last half the 16th century. Polychrome tiles, dimensions unknown. Church of San Miguel, Valladolid 283
8.7 Hernando de Loaysa, Aritmética, c.1600. Polychrome tiles, 54 cm à 81 cm. Museo Arqueológico Nacional, Madrid, inv. 58349 287
8.8 Hernando de Loaysa, Doe, c.1590. Polychrome tiles, 50 cm à 80 cm. Museo de Artes Decorativas, Madrid, inv. CE12029 288
8.9 Workshop of Talavera de la Reina, altar frontal with punta de diamante, 1577. Polychrome tiles, dimensions unknown. Salamanca Cathedral 292
8.10 Adriaen Collaert, after Hans Collaert, pendant design, 1582. Engraving, 17.2 cm à 12.6 cm. Rijksmuseum, Amsterdam, inv. RP-P-1894-A-18379 293
8.11 Anonymous, pendant shaped as a mermaid, 1572â1600. Gold, enamel, diamonds, and pearls, 7.6 cm à 5.9 cm. Art Institute of Chicago, inv. 1992.535 294
8.12 Hernando de Valladares, Atlantes, first third of the 17th century. Polychrome tiles, dimensions unknown. Convent of San Francisco, Lima 296
9.1 Rodrigo Banha da Silva, âGeneral plan of the archaeological excavation of 1960 and 1999â2001â [Planta geral das intervenções arqueológicas de 1960 e 1999â2001] 313
9.2 âPanoramic view of Lisbonâ [Olissippo quae nunc Lisboa, ciuitas amplÃssima Lisitaniae, ad Tagum, totis orientis et multarum insularum et Aphricaeque et Americae emporium], 1598. Engraving on paper, 36.30 cm à 46.80 cm. From Georg Braun, Civitates Orbis Terrarum, v: Urbium Praecipuarum Mundi Theatrum Quintum, Fig. 2. Biblioteca Nacional de Portugal, Lisbon, CC-381-A 315
9.3 Prospect of Lisbon (detail), c.1540â1550. Pen and washed ink drawing with colour on paper, 75 Ã 245 cm (whole drawing). Leiden University Libraries, COLLBN J29-15-7831-110/30a-q 316
9.4 Master âP.M.P.â, âPrincipal Facade of the All Saints Royal Hospitalâ, early 18th century. Monochromatic tiles, 114 cm à 343 cm. Museo de Lisboa, Lisbon, inv. MC.AZU.0074 331
10.1 Casa del Cordón, Santo Domingo, Dominican Republic, after 1502 345
10.2 Casa del Cordón, Burgos, Spain, c.1482 346
10.3 Casas Reales or Casa de la Contratación, Santo Domingo, after 1507 348
10.4 Cathedral of Santa Maria, Santo Domingo, 1521â1541 351
10.5 Palace of Governor Ovando, Santo Domingo, after 1502 353
10.6 Palace of Francisco Tostado de la Peña, Santo Domingo, after 1502 353
11.1 LluÃs Dalmau, Virgin of the Councillors, 1443â1445. Oil on Baltic oak panel, 272 cm à 276 cm. Museu Nacional dâArt de Catalunya, Barcelona, inv. 015938-000 358
11.2 Stefan Lochner, Altarpiece of the Cityâs Paton Saints, c.1442. Oil on panel, 260 cm à 569 cm. Marienkapelle, Cologne Cathedral 359
11.3 Stefan Lochner, Adoration of the Magi (central panel of the Altarpiece of the Cityâs Paton Saints), c.1442. Oil on panel, 260 cm à 285 cm. Marienkapelle, Cologne Cathedral 361
11.4 LluÃs Dalmau, Virgin of the Councillors (detail), 1443â1445. Oil on Baltic oak panel. Museu Nacional dâArt de Catalunya, Barcelona, inv. 015938-000 362
11.5 Stefan Lochner, Saint Gereon in the Midst of a Host of Soldiers of the Theban Legion (right panel of the Altarpiece of the Cityâs Patron Saints), c.1442. Oil on panel, 260 cm à 142 cm. Marienkapelle, Cologne Cathedral 363
11.6 LluÃs Dalmau, mostra for the altarpiece of the Virgin of the Councillors, 1443. Ink on parchment, 47 cm à 42.5 cm. Arxiu Històric de la Ciutat de Barcelona, Fons Consell de la Ciutat i Ajuntament Modern, CCAM 01/1G-50 373
11.7 LluÃs Dalmau, Virgin of the Councillors (detail), 1443â1445. Oil on Baltic oak panel. Museu Nacional dâArt de Catalunya, Barcelona, inv. 015938-000 374
11.8 Segimon Ribó and Joaquim Furnó, Facade of Barcelona City Hall, c.1871. Engraving on paper, 15 cm à 19 cm. From Mateo Bruguera, Historia del memorable sitio y bloqueo de Barcelona y heroica defensa de los fueros y privilegios de Cataluña en 1713 y 1714 (Barcelona, 1871). Arxiu Històric de la Ciutat de Barcelona, Fons Grà fics, Reg. 04549 375
11.9 LluÃs Dalmau, Virgin of the Councillors (detail), 1443â1445. Oil on Baltic oak panel. Museu Nacional dâArt de Catalunya, Barcelona, inv. 015938-000 377
12.1 Cross-section of the main chapel of the church of the Convent of Jesus, Setúbal, with a reconstruction of the altarpiece 385
12.2 a. Workshop of Quentin Metsys, Apparition of the Angel to Saints Clare, Agnes, and Colette (P1), c.1491â1507. Oil on Baltic oak, 152.7 cm à 97.3 cm. Museu de Setúbal-Convento de Jesus, Setúbal. b. Jorge Afonso, Apparition of the Angel to Saints Clare, Agnes, and Colette (P2), 1525. Oil on Baltic oak, 175.5 cm à 111 cm. From the altarpiece of the church of the Convent of Jesus (Fig. 12.1). Museu de Setúbal-Convento de Jesus, Setúbal. c. Martin Schongauer, Angel of the Annunciation (reversed). Engraving, c.1470â1480, 16.9 à 11.9 cm. The Metropolitan Museum of Art, New York, Harris Brisbane Dick Fund, 1934, inv. 34.94.1 393
12.3 a. Detail by IP technique of Workshop of Quentin Metsys, Apparition of the Angel to Saints Clare, Agnes, and Colette (P1), c.1491â1507 (Fig. 12.2a), revealing the underdrawing of simple lines. b. Detail by IP technique of Jorge Afonso, Apparition of the Angel to Saints Clare, Agnes, and Colette (P2), 1525 (Fig. 12.2b), revealing the marking out of shadows and corrections in the eyes 395
12.4 a. IRR of the underdrawing of the Magus figure in the Adoration of the Magi, from the altarpiece of the church of the Convent of Jesus. Museu de Setúbal-Convento de Jesus, Setúbal. b. Detail by IP technique of the profile of a figure with Jorge Afonsoâs signature on the reverse of Workshop of Quentin Metsys, Apparition of the Angel to Saints Clare, Agnes, and Colette (P1) (Fig. 12.2b). c. Detail by IP technique of Jorge Afonsoâs signature on the reverse of Workshop of Quentin Metsys, The Angel Appearing to Saints Clara, Colette, and Agnes (P1) (Fig. 12.2b). d. Jorge Afonsoâs signature on a contract 396
12.5 a. Detail of the crown and wings of the angel, from Workshop of Quentin Metsys, Apparition of the Angel to Saints Clare, Agnes, and Colette (P1), c.1491â1507 (Fig. 12.2a). b. Detail of the crown and wings of the angel, from Jorge Afonso, Apparition of the Angel to Saints Clare, Agnes, and Colette (P2), 1525 (Fig. 12.2b) 398
12.6 a. Detail of the monstrance, from Workshop of Quentin Metsys, Apparition of the Angel to Saints Clare, Agnes, and Colette (P1), c.1491â1507 (Fig. 12.2a). b. Detail of the monstrance, from Jorge Afonso, Apparition of the Angel to Saints Clare, Agnes, and Colette (P2), 1525 (Fig. 12.2b) 399
13.1 Juan de Flandes, Saint Apollonia and Saint Mary Magdalen, 1507â1508. 39.5 cm à 87.5 cm à 7 cm. University collection, Salamanca 409
13.2 Juan de Flandes (only partially), Female Saint (hyper-restored, made of two original fragments and a modern central section). Chestnut panel, 37.4 cm à 41.5 cm à 7.5 cm. Private collection, Spain 411
13.3 Object shot of Female Saint (Fig. 13.2), showing the assembled structure of the wooden support 414
13.4 a. Right edge of Female Saint (Fig. 13.2). b. Left edge of Juan de Flandes, Saint Apollonia and Saint Mary Magdalen (Fig. 13.1). c. Right edge of Juan de Flandes, Saint Apollonia and Saint Mary Magdalen (Fig. 13.1). d. Left edge of Female Saint (Fig. 13.2) 415
13.5 X-Radiography of Female Saint (Fig. 13.2) 416
13.6 a. MA-XRF scan of Female Saint (Fig. 13.2). The distribution of the element lead (in green, originating from lead white) and zinc (in red, originating from zinc white) clearly show the difference in the use of these white pigments between the central part and the edges of the painted panel. b. MA-XRF scan of Female Saint (Fig. 13.2). The distribution of the elements copper (in blue) and chromium (in purple), as obtained by MA-XRF analyses. A 16th-century pigment based on copper was used in the original green background on the right side of the painting, while in the central part a chromium-based green pigment that was not available before the 19th century has been applied 417, 418
13.7 a. Digital reconstruction of the remains of the predella based on Saint Apollonia and Saint Mary Magdalen (Fig. 13.1) and the original pieces of Female Saint (Fig. 13.2). Private collection, Spain. b. Juan de Flandes, remains of the predella of the altarpiece showing Saints Apollonia and Mary Magdalen flanked by two saints conserved fragmentarily. Photographed in, or before, 1914 420
13.8 Infrared Reflectography (IRR) of Female Saint (Fig. 13.2) 424