1 Anon. (engraver), Title page to Giorgio de Sepi, Romani collegii
Societatis Jesu musaeum celeberrimum (Amsterdam: Johannes
Janssonius van Waesberge, 1678). Engraving, 19 × 34 cm. Image ©
Carl A. Kroch Library, Cornell University, Ithaca,
2 Maurice Jarnoux, Photograph of André Malraux at Work on Le Musée Imaginaire (1954). Image © Getty Images/Paris Match Archive 5
3 Anon. (Old French), God the Architect of the Universe, in Bible moralisée (ca. 1208–1215), fol. iv. Illumination on parchment, 34.4. × 26 cm. Image © Österreichische Nationalbibliothek, Vienna 18
4 Sigmar Polke, Agate Window (Northern Portal) (2009). Agate, lead, and colour, 136 × 274 cm. Image © The Estate of Sigmar Polke, Cologne/Grossmünster Zurich; photo: Lorenz Ehrismann 20
5 Athanasius Kircher, S.J., “Systema Ideale Pyrophylaciorum
Subterraneorum”, in Mundus subterraneus (Amsterdam:
Johannes Janssonius van Waesberge and the Widow of Elizaeus Weyerstraten, 1665),
vol. 1, after page 180. Engraving, 42 × 37 cm. Image © Carl A.
Kroch Library, Cornell University, Ithaca,
6 “The Little Ghost” (undated). Paradoxical agate, 19 × 16 × 1 cm. Image © Muséum national d’histoire naturelle, Paris 23
7 “Crown of Christ” (undated). Septaria from Spain, 9 × 7.5 × 3 cm. Image © Muséum national d’histoire naturelle, Paris 24
1.1 Frans Francken the Younger, A Collector’s Cabinet with Abraham Ortelius and Justus Lipsius (1618). Oil on canvas, transferred from panel, 52.5 × 73.5 cm. Image © Christie’s Images/Bridgeman Images 53
1.2 Frans Francken the Younger, The Cabinet of a Collector (1617). Oil on panel, 76.7 × 119.1 cm. Image © Royal Collection Trust/Her Majesty Queen Elizabeth ii 2017 55
1.3 Detail of Fig. 1.2: Javanese kris 56
1.4 Frans Francken the Younger, The Interior of an Artist’s
Studio, with the Artist Showing His Work in the Background (first
half of the seventeenth century). Oil on panel, 49.5 × 70.5 cm. Image
© Koller Auktionen
1.5 Studio of Frans Francken the Younger, Ulysses Recognizing
Achilles (Disguised as a Woman) among the Daughters of Lycomedes
(late 1620s). Oil on panel, 74 × 105 cm. Image ©
1.6 Detail of Fig. 1.5: Javanese kris 59
1.7 Wolfgang Kilian (engraver), “The Diabolical Idol zemes” in Caspar Plautz, Nova typis transacta navigatio novi orbis Indiae Occidentalis (Linz, no publ.: 1621) plate 8. Engraving, 30.8 × 18.7 cm. Image © Bayerische Staatsbibliothek, Munich 63
1.8 Filippo Ferroverde, ‘A Small Idol from the Indies’, shown from four angles, in Vincenzo Cartari, Seconda novissima editione delle imagini de gli dei delli antichi, ed. Lorenzo Pignoria (Padua, Pietro Paolo Tozzi: 1626) 586–587. Woodcut, 21.5 × 15.8 cm. Image © Universitätsbibliothek Heidelberg 65
1.9 Johann Sibmacher, The Inhabitants of the Island of Java, in Levinus Hulsius, Erste Schiffart (Nuremberg, Levinus Hulsius: 1599), after page 30 (numbered 29). Etching, 13.8 × 14.5 cm. Image © Courtesy of the John Carter Brown Library at Brown University 68
1.10 Detail of Fig. 1.2: The central religious painting 70
2.1 Detail of a chasuble (?) fragment (fourteenth century). Silk and
metal-wrapped thread, 104.1 × 55.9 cm. Image © The Metropolitan
Museum of Art, New York City,
2.2 Detail of a chasuble (?) fragment (fourteenth century). Silk and
metal-wrapped thread. Image © The Metropolitan Museum of Art, New York
City,
2.3 Detail of a chasuble (?) fragment (fourteenth century). Silk and
metal-wrapped thread. Image © The Metropolitan Museum of Art, New York
City,
2.4 Detail of a chasuble (?) fragment (fourteenth century). Silk and
metal-wrapped thread. Image © The Metropolitan Museum of Art, New York
City,
2.5 Detail of a chasuble (?) fragment (fourteenth century). Silk and
metal-wrapped thread. Image © The Metropolitan Museum of Art, New York
City,
2.6 Detail of metal-wrapped thread at 50× magnification of a
chasuble (?) fragment (fourteenth century). Silk and metal-wrapped thread. Image
© The Metropolitan Museum of Art, New York City,
2.7 Microphotograph of silk core fibres of a metal-wrapped thread at
400× magnification of a chasuble (?) fragment (fourteenth century). Silk
and metal-wrapped thread. Image © The Metropolitan Museum of Art, New
York City,
2.8 Detail of a centre of a medallion at 10× magnification of a
chasuble (?) fragment (fourteenth century). Silk and metal-wrapped thread. Image
© The Metropolitan Museum of Art, New York City,
2.9 Detail of the reversed side of a centre of a medallion at 10×
magnification of a chasuble (?) fragment (fourteenth century). Silk and
metal-wrapped thread. Image © The Metropolitan Museum of Art, New York
City,
3.1 Rome, Santa Maria sopra Minerva, Cappella Colonna. Image © Bibliotheca Hertziana – Max-Planck-Institut für Kunstgeschichte, Rome; photo: Enrico Fontolan 108
3.2 Lazzaro Baldi, The Apotheosis of Saint Rose of Lima (1668 and/or 1671). Fresco. Rome, Santa Maria sopra Minerva, Cappella Colonna. Image © Bibliotheca Hertziana – Max-Planck-Institut für Kunstgeschichte, Rome; photo: Enrico Fontolan 109
3.3 Hypothetical reconstruction of the display of Lazzaro Baldi’s Saint Rose of Lima in the apse of the Basilica of Saint Peter’s in 1668 (author’s reconstruction). Photomontage: Tristan Weddigen 111
3.4 Lazzaro Baldi, Saint Rose of Lima with the Child Jesus and Devotees (1668 and/or 1671). Oil on canvas. Rome, Santa Maria sopra Minerva, Cappella Colonna. Image © Bibliotheca Hertziana – Max-Planck-Institut für Kunstgeschichte, Rome; photo: Enrico Fontolan 112
3.5 Lazzaro Baldi, Saint Mary Waking Saint Rose of Lima (1668 and/or 1671). Oil on canvas. Rome, Santa Maria sopra Minerva, Cappella Colonna. Image © Bibliotheca Hertziana – Max-Planck-Institut für Kunstgeschichte, Rome; photo: Enrico Fontolan 116
3.6 Lazzaro Baldi, Christ Appearing to Saint Rose of Lima (1668 and/or 1671). Oil on canvas. Rome, Santa Maria sopra Minerva, Cappella Colonna. Image © Bibliotheca Hertziana – Max-Planck-Institut für Kunstgeschichte, Rome; photo: Enrico Fontolan 117
3.7 Melchiorre Cafà, Blessed Rose of Saint Mary (1665). Marble, 82 × 147 cm. Lima, Convento Máximo de Nuestra Señora del Rosario, also called Convento de Santo Domingo. Photo: Tristan Weddigen 121
3.8 Detail of Fig. 3.7: The angel’s wings and the artist’s signature 122
3.9 Detail of Fig. 3.7: The face of Blessed Rose of Saint Mary 126
3.10 Anon. (sculptor), Wreath of Roses (maybe seventeenth century). Marble. Lima, Convento Máximo de Nuestra Señora del Rosario, also called Convento de Santo Domingo. Photo: Tristan Weddigen 130
3.11 Anon. (artist), The reliquary of the skull of Saint Rose of Lima (seventeenth century with later changes). Lima, Convento Máximo de Nuestra Señora del Rosario, also called Convento de Santo Domingo. Image © Gerardo Zamora 134
3.12 Johann Moritz Rugendas after Melchiorre Cafà, Blessed Rose of Saint Mary (1843). Pencil on paper, 21.2 × 31.5 cm. Image © Staatliche Graphische Sammlung, Munich 136
3.13 Roque Balduc (attributed), Nuestra Señora del Rosario (sixteenth century). Wood. Lima, Convento Máximo de Nuestra Señora del Rosario, also called Convento de Santo Domingo. Photo: Tristan Weddigen 138
3.14 Angelino Medoro (attributed), Dead Rose of Saint Mary (1617). Lima, Santuario de Santa Rosa de Lima. Photo: Tristan Weddigen 140
3.15 Anon. (European sculptor), Christ at the Column (seventeenth century). Marble. Lima, Convento Máximo de Nuestra Señora del Rosario, also called Convento de Santo Domingo. Photo: Tristan Weddigen 141
3.16 Anon. (European sculptor), Madonna and Child (seventeenth century). Marble. Lima, Cathedral. Photo: Tristan Weddigen 142
3.17 Anon. (Peruvian painter), Nuestra Señora del Rosario (mid-seventeenth century). Oil on canvas. Rome, Santa Maria sopra Minerva, Cappella Colonna. Image © Bibliotheca Hertziana – Max-Planck-Institut für Kunstgeschichte, Rome; photo: Enrico Fontolan 145
4.1 Theodoor Galle (engraver), Title page to Jan David, Veridicus
Christianus (Antwerp, Ex officina Plantiniana, apud Ioannem
Moretum: 1601). Engraving, 4°. Image © The Newberry Library,
Chicago,
4.2 Theodoor Galle (engraver), Emblem 1, “Initium Sapientiae Timor
Domini”, in Jan David, Veridicus Christianus (Antwerp,
Ex officina Plantiniana, apud Ioannem Moretum: 1601). Engraving, 4°.
Image © The Newberry Library, Chicago,
4.3 Theodoor Galle (engraver), Emblem 20, “De Charitate, et
Triplice Lege”, in Jan David, Veridicus Christianus
(Antwerp, Ex officina Plantiniana, apud Ioannem Moretum: 1601). Engraving,
4°. Image © The Newberry Library, Chicago,
4.4 Theodoor Galle (engraver), Emblem 60, “Perfectum Patientiae
exemplar, Christus passus”, in Jan David, Veridicus
Christianus (Antwerp, Ex officina Plantiniana, apud Ioannem
Moretum: 1601). Engraving, 4°. Image © The Newberry Library,
Chicago,
4.5 Theodoor Galle (engraver), Emblem 3, “Qui, spreto Deo, diabolo
servit; desipit”, in Jan David, Veridicus Christianus
(Antwerp, Ex officina Plantiniana, apud Ioannem Moretum: 1601). Engraving,
4°. Image © The Newberry Library, Chicago,
4.6 Theodoor Galle (engraver), Emblem 6, “Haeresis, peste
perniciosior”, in Jan David, Veridicus Christianus
(Antwerp, Ex officina Plantiniana, apud Ioannem Moretum: 1601). Engraving,
4°. Image © The Newberry Library, Chicago,
4.7 Theodoor Galle (engraver), Emblem 15, “Hominis vere Christiani
descriptio”, in Jan David, Veridicus Christianus
(Antwerp, Ex officina Plantiniana, apud Ioannem Moretum: 1601). Engraving,
4°. Image © The Newberry Library, Chicago,
4.8 Theodoor Galle (engraver), “Aspicientes in auctorem
fidei”, in Jan David, Orbita probitatis ad Christi imitationem
Veridico Christiano subserviens (Antwerp, Ex officina Plantiniana,
apud Ioannem Moretum: 1601). Engraving, 4°. Image © The Newberry
Library, Chicago,
4.9 Jan David, Facing page to title page of Orbita probitatis ad
Christi imitationem Veridico Christiano subserviens (Antwerp, Ex
officina Plantiniana, apud Ioannem Moretum: 1601). Engraving, 4°. Image
© The Newberry Library, Chicago,
5.1 Anon. (Nahua artist), Medicinal herb (tlantlanquiac), in Bernardino de Sahagún, Códice Florentino, book 11, fol. 166r. Ink and watercolour on paper, 31 × 21 cm. Image © The Biblioteca Medicea Laurenziana, reproduced with permission of MiBACT 190
5.2 Anon. (engraver), Title page to Johannes Herolt, Sermones
Discipuli de tempore et Sanctis quadragesimale elusdem […]
(Lyon, Jean de La Place in aedibus Jean Huguetan: 1514). Woodcut, 17 ×
11.25 cm. Image © California State Library, Sutro Library, San Francisco,
5.3 Anon. (Nahua artist), Detail of Hermita (Shrine) or “Our Lord, His Home” (totecuyo ichan), in Bernardino de Sahagún, Códice Florentino, book 11, fol. 243r. Ink and watercolour on paper, 8 × 5 cm. Image © The Biblioteca Medicea Laurenziana, reproduced with permission of MiBACT 197
5.4 Anon. (Nahua artist), Detail of Roads of Quality: “The Main Road” (uchpantli), in Bernardino de Sahagún, Códice Florentino, book 11, fol. 237r. Ink and watercolour on paper, 9 × 8 cm. Image © The Biblioteca Medicea Laurenziana, reproduced with permission of MiBACT 198
5.5 Hans Weiditz (engraver), Birth of Virgin Mary, in Biblia Veteris Testamenti et Historiae: Novi Testamenti Iesu Christi historia effigiata (Frankfurt am Main, Christian Egenolph Heirs: 1557). Engraving, 7 × 7.5 cm. Image © University of California, Berkeley, The Bancroft Library 202
5.6 Anon. (Nahua artist), Detail of Bathing a new-born Aztec boy, in Bernardino de Sahagún, Códice Florentino, book 6, fol. 170r. Ink and watercolour on paper, 8 × 8.5 cm. Image © The Biblioteca Medicea Laurenziana, reproduced with permission of MiBACT 203
5.7 Anon. (Nahua artist), Detail of a noblewoman born under sign ‘one deer’, in Bernardino de Sahagún, Códice Florentino, book 4, fol. 8v. Ink and watercolour on paper, 8.5 × 8 cm. Image © The Biblioteca Medicea Laurenziana, reproduced with permission of MiBACT 204
5.8 Anon. (engraver), Adoration of the Magi, in Ludolf of
Saxony, Vita Christi Cartuxano, vol. 1 (Sevilla, Jacome
Cromberger: 1543), first printed in 1530. Engraving, 9 × 6.75 cm. Image
© California State Library, Sutro Library, San Francisco,
5.9 Anon. (Nahua artist), Top: Woodcarver making a deity image. Bottom: Venerating the ‘god’ (teotl), in Bernardino de Sahagún, Códice Florentino, book 1, fol. 26r. Ink and watercolour on paper, 11.7 × 8.1 cm. Image © The Biblioteca Medicea Laurenziana, reproduced with permission of MiBACT 207
5.10 Anon. (Nahua artist), Detail of Prayer to Tezcatlipoca, in Bernardino de Sahagún, Códice Florentino, book 6, fol. 8r. Ink and watercolour on paper, 10.5 × 8 cm. Image © The Biblioteca Medicea Laurenziana, reproduced with permission of MiBACT 209
5.11 Anon. (engraver), Assumption of Christ, in Ulrich Pinder, Speculum passionis Domini Nostri Ihesu Christi (Nuremberg, no publ.: 1507). Woodcut, 23.5 × 16.2 cm. Image © University of California, Berkeley, The Bancroft Library 211
6.1 Muhammad Zaman, Sacrifice of Isaak by Abraham (1684–1685). Watercolour on paper, 17.7 × 24.9 cm. Image © Library of the Institute of Oriental Studies, Russian Academy of Sciences, St. Petersburg 217
6.2 Yasuda Raishū after Arnold Houbraken, The Revenge of the Akō Retainers (nineteenth century). Watercolour on paper, 140.5 × 79.5 cm. Image © Homma Art Museum, Yamagata 222
6.3 Arnold Houbraken (engraver), The Adoration of the Shepherds, in Gerard Hoet – Arnold Houbraken – Bernard Picard, Taferelen der voornaamste geschiedenissen van het nieuwe testament (The Hague, Pieter de Hondt: 1728). Engraving, 35.5 × 22.3 cm. Image © Universitätsbibliothek Heidelberg 223
6.4 Ishikawa Tairō, A Scene of the Creation of the Heaven and Earth (1800) after an engraving in Johann Lodewijk Gottfried, Historische Kronyk: […] beschrijvingh der aldergedenckwaerdighste geschiedenissen des weerelds, van den aenvangh der scheppingh tot op ’t jaer Christi 1576 (Leiden, Pieter van der Aa: 1698–1700). Ink on paper, 61.2 × 121.7 cm. Image © Private Collection 225
6.5 Anon. (engraver), Adam and Eve in Paradise, in Johann Lodewijk Gottfried, Historische Kronyk: […] beschrijvingh der aldergedenckwaerdighste geschiedenissen des weerelds, van den aenvangh der scheppingh tot op ’t jaer Christi 1576 (Leiden, Pieter van der Aa: 1698–1700). Engraving and ink on paper. Image © Library of Kyōto University 226
6.6 Shiba Kōkan after Jan Luyken, The Sailor (1785). Ink on silk, 25 × 26.3 cm. Image © Yasaka Shobō, Tōkyō 229
6.7 Jan Luyken, The Sailor, in Jan and Caspar Luyken, Spiegel van ’t Menselyke Bedryf (Amsterdam, Kornelis vander Sys: 1718). Engraving, 7.8 × 8.8 cm. Image © Yoriko Kobayashi-Sato 230
6.8 Shiba Kōkan after Jan Luyken, The Fisherman (ca. 1810). Ink on silk, 24.6 × 22.5 cm. Image © Yasaka Shobō, Tōkyō 232
6.9 Jan Luyken, The Fisherman, in Jan and Caspar Luyken, Spiegel van ’t Menselyke Bedryf (Amsterdam, Kornelis vander Sys: 1718). Engraving, 7.8 × 8.8 cm. Image © Yoriko Kobayashi-Sato 233
6.10 Jan Luyken, The Lawyer, in Jan and Caspar Luyken, Spiegel van ’t Menselyke Bedryf (Amsterdam, Kornelis vander Sys: 1718). Engraving, 9.6 × 15.6 cm. Image © Yoriko Kobayashi-Sato 235
7.1 Melchior Haffner, title page to Wilhelm Gumppenberg, Atlas Marianus (Munich, J. Jaecklin: 1672). Engraving, in-fol. Image © Bayerische Staatsbibliothek, Munich 243
7.2 Anon. (sculptor), Our Lady of Foy (end of the sixteenth century). Terracotta, 22.4 cm (height). Image © Church Notre-Dame de Foy 251
7.3 Anon. (artist), Huron’s wampum with the inscription Virgini Pariturae votum Huronum (1676). Sea shell pearls, 122 × 10 cm. Image © Cathedral Notre-Dame de Chartres 257
7.4 Anon., Photography of Our Lady of Foy in the St. Nicholas Church in Prague. Reproduced in Fries F., Histoire de Notre-Dame de Foy (Namur: 1909) 123. Image © St. Nicholas Church, Prague 261
8.1 Cuzco School, Ecce Homo, Dolorosa and Virgins of the Milk (late seventeenth century). Paint and gold leaf on canvas, 129.5 × 98 cm. Image © Evonne Levy 272
8.2 Detail of Fig. 8.1 273
8.3 Workshop or follower of Gaspar Miguel de Berrío (?), Six religious images (late eighteenth century). Oil on canvas, 123.7 × 75 cm. Image © Colección Museo de Arte Hispanoamericano ‘Isaac Fernández Blanco’, Buenos Aires 274
8.4 Cuzco School, Virgin and Child (eighteenth century). Oil on canvas. Image © Evonne Levy 275
8.5 Anon. (painter), High altarpiece (late seventeenth century). Various materials. S. Francisco de Paula, Uquía, Jujuy. Image © Evonne Levy 277
8.6 Cuzco School, Left: Saint Joseph and the Child. Right: Saint Dominic of Guzmán (seventeenth or eighteenth century). Oil on canvas. Sucre, Convent of Santa Catalina. Image © Evonne Levy 281
8.7 Cuzco School, Flight into Egypt and Return from the Flight into Egypt (first half of the eighteenth century). Oil on canvas. Cuzco, Convent of La Merced. Image © Evonne Levy 282
8.8 Cuzco School, Garden at Gethsemane and Taking of Christ (between the late seventeenth century and the first half of the eighteenth century). Oil on canvas. Cuzco, Convent of the Nazarenos. Image © Evonne Levy 283
8.9 Cuzco School, Annunciation, Nativity, and Adoration of the Magi (between late seventeenth century and first half of the eighteenth century). Oil on canvas. Cuzco, Convent of La Merced. Image © Evonne Levy 284
8.10 Cuzco School, Flight into Egypt and Adoration of the Shepherds (between late seventeenth century and first half of the eighteenth century). Oil on canvas. Cuzco, Convent of the Merced. Image © Evonne Levy 285
9.1 Arnold Lulls, Design for an aigrette (ca. 1603–1620). Pencil, pen and ink, wash, and gold on vellum, 22 × 15.5 cm. Image © Victoria and Albert Museum, London 292
9.2 Nicholas Hilliard, The Heneage Jewel, also called The Armada Jewel, closed (ca. 1595). Pendant jewel with portrait-miniature, enamelled gold, table-cut diamonds, Burmese rubies, rock crystal, 7 × 5 cm. Image © Victoria and Albert Museum, London 295
9.3 Detail of Fig. 9.2: The opened Heneage Jewel 296
9.4 Nicholas Hilliard, The Lyte-Jewel (1610–1611). Pendant jewel with portrait-miniature, enamelled gold, twenty-five square table diamonds, and four rose diamonds, 6.4 (closed without pearl) × 4.8 cm. Image © The British Museum, London 303
9.5 Lawrence Johnson (engraver), Portrait of Tamerlane with the inscription Tamerlanes Tartarorum Imper. Potentiss. ira Dei et Terror Orbis Appellatus obiit Ano 1402, in Richard Knolles, Generall History of the Turkes (London: Adam Islip, 1603). Engraving, 13.5 × 10.4 cm. Image © The British Museum, London 307
9.6 Anon. (artist), Jahangir Holding the Ceremonial Crown of Timur (ca. 1620). Opaque watercolour, gold and ink on paper, 32.5 × 18 cm. Image © The British Museum, London 308
9.7 Anon. (artist), Jahangir Presents Prince Khurram with a Turban Ornament (1656–1657). Opaque watercolour, gold and ink on paper, 18 × 25.3 cm. Image © The Royal Collection Trust/Her Majesty Queen Elizabeth ii 2017 310
9.8 Anon (artist), Portrait of Prince Khurram (ca. 1616). Opaque watercolour, gold and ink on paper, 18 × 25.3 cm. Image © Victoria and Albert Museum, London 312
9.9 Bichitr, Jahangir Preferring a Sufi Shaikh over Kings
from the ‘Saint Petersburg Album’ (ca. 1615–1618). Opaque
watercolour, gold and ink on paper, 18 × 25.3 cm. Image ©
Freer|Sackler, The Smithsonian’s Museums of Asian Art, Washington,
10.1 Crispijn de Passe the Elder, America (early seventeenth century). Engraving, 19.8 × 22.1 cm. Image © Rijksmuseum, Amsterdam 320
10.2 Anon. (artist from New Spain), Mass of Saint Gregory (1539). Feather mosaic, 68 × 56 cm. Image © Musée des Jacobins, Auch; photo: Philippe Fuzeau 322
10.3 Anon. (artist from New Spain), Saint Jerome (third
quarter of the sixteenth century). Feather mosaic, with frame: 32 × 25.5
cm, without frame: 21.5 × 15.5 cm. Image ©
10.4 Anon. (artist from New Spain), Baptismal font (sixteenth century). Stone. Atitalaquia, church of San Miguel. Image © Margit Kern 326
10.5 Anon. (artist from New Spain), “Vitzliputzli” (second half of sixteenth century). Gilded silver and pearls, 7.5 cm (height). Image © Museen der Stadt Nürnberg 328
10.6 Jan van Kessel the Elder, America (1666). Oil on copper, 48.6 × 67.8 cm. Image © Alte Pinakothek, Bayerische Staatsgemäldesammlungen, Munich/bpk Berlin 331
10.7 Detail of Fig. 10.6: Human sacrifice in Ancient Mexico and widow-burning in India 332
10.8 Anon. (artist), Feather mosaic and stuffed bird in the Museo Settala, Milan (seventeenth century). Tempera, watercolour, and pastel on paper. Image © Biblioteca Estense Universitaria, Modena, reproduced with permission of MiBACT 336
11.1 Anon. (artist), Bezoar with gold ring with the inscription “PEDRA . BESOHAR . FINISSIMA . PESA . OCHO . ONCAS” (“Finest Bezoar stone, weighing eight ounces”) (sixteenth century). Bezoar and gold, 9 × 4.5 cm. Image © Kunsthistorisches Museum Wien 345
11.2 Anon. (artists), Several bezoar stones from the treasury of the House of Wittelsbach (undated). Bezoar, precious stones, and gold. Image © Residenz, Munich 352
11.3 Anon. (artist), Goa stone and container (late
seventeenth–early eighteenth century). Goa stone: compound of organic and
inorganic materials, 3 cm (diameter); container: gold, 6.7 × 14.4 cm.
Image © The Metropolitan Museum, New York City,
11.4 Anon. (artist), Bezoar-pendant with the coat of arms of the Duke of Alba (last quarter of the sixteenth century). Bezoar and gold filigree, 16.2 × 3 cm. Image © Kunsthistorisches Museum Wien 357
11.5 Anon. (artist), Vessel with mounted bezoar stone with the inscription “SITIVIT ANIMA MEA AD DEV(M) FONTE(M) VIVV(M) QVANDO VENIAM ET AP(P)AREBO ANTE FACIEM DEI” and stamped “I.T.B.” (second half of the sixteenth century). Coconut, rhinoceros horn, bezoar, and gilded silver, 23.5 × 14.8 cm. Image © Kunsthistorisches Museum Wien 358
11.6 Anon. (engraver), The Throne of the Duke of Alba (1569). Engraving, 22.5 × 28.5 cm. Image © Rijksmuseum, Amsterdam 360
11.7 Anon. (artist), Holy Face of Genoa (before 1380). Colour on textile applied on wood with a gold filigree frame, 29 × 19 cm (icon). Image © Chiesa di San Bartolomeo degli Armeni, Genoa 363
11.8 Anon. (artist), Double-sided icon with the image of the Madonna (1359). Wood and gold filigree. Siena, Hospital Santa Maria della Scala. Image © Scala Image Archive 364
12.1 Anon. (silversmith), Reliquary casket (end of sixteenth century). Silver and tortoiseshell, 13 × 30 × 19 cm. Image © Monasterio de San Lorenzo de El Escorial, Madrid 378
12.2 Anon. (artist) and Federico Zuccari (painter), Reliquary cupboard (1585–1588). Wings: oil on panel, 488 × 144.5 cm, closed cupboard: 488 × 289 cm. Image © Monasterio de San Lorenzo de El Escorial, Madrid 379
12.3 Anon. (silversmith), Reliquary casket (first half of sixteenth century). Tortoiseshell and silver, 13 × 21 × 14 cm. Image © Museu de São Roque, Lisbon 380
12.4 Anon. (artist), Reliquary casket (mid-sixteenth century). Mother-of-pearl, teakwood, lacquer, and copper, 26 × 50 × 32 cm. Image © Monasterio de las Descalzas Reales, Patrimonio Nacional, Madrid 383
12.5 Anon. (artist), Reliquary for the surplice of Saint Francis Xavier (late seventeenth century). Silver relief on wooden structure, 15.5 × 22.5 × 12.5 cm. Image © Basilica of Bom Jesus, Old Goa 388
12.6 Anon. (silversmith), Reliquary containing the head relic of St. Geracina (1552). Silver. Current whereabouts unknown, kept in the Sé Cathedral of Goa until at least 1942 391
12.7 Anon. (artist), Reliquary bust of St. Margaret of Antioch (sixteenth or early seventeenth century). Polychrome and gilded wood, 73 × 34 cm. Image © The Museum of Christian Art (Convent of Santa Monica), Old Goa 394
12.8 Claudio Yenequi, Reliquary bust of Santa Emerenciana (1616). Silver, gilded silver, and precious stones, 69 × 60 cm. Image © Cathedral of St. Mary of Teruel 396
12.9 Photography of a reliquary niche in the Patriarchal Seminary of Rachol, Goa. Image © Dinodia Photos/Alamy Stock Photos 398
13.1 The Master of 1456, The Arrival in Cologne and The Massacre of St. Ursula and Her Companions (1455/60). Paint on wood, 54.5 × 162 cm (each). Image © Wallraf-Richartz-Museum, Cologne 408
13.2 Anon. (artist), Manuscript page from the St. Albans Chronicle with The Massacre of St. Ursula and Her Companions (fifteenth century). Paint on paper, ca. 23 × 15 cm. Image © Lambeth Palace Library, London 409
13.3 The Master of the St. Ursula Legend, The Martyrdom of St. Ursula and the 11,000 Virgins (ca. 1492). Oil on canvas, 163.3 × 232.4 cm. Image © Victoria and Albert Museum, London 410
13.4 Anon. (artist), Reliquary bust of a female Saint originating from the
Southern Netherlands (1520–1530). Painted and gilded oak, 42.4 cm
(height). Image © The Metropolitan Museum of Art, The Cloisters, New York
City,
13.5 Theodor de Bry (engraver), Cannibal feast, in Johann Staden von Homburg, America Tertia Pars: Memorabile provinciæ Brasiliæ historiam contines […] (Frankfurt am Main, Sigmund Feyerabend: 1592). Engraving, 29.36 × 22.55 cm. Image © British Library, London 416
13.6 Anon. (engraver), Massacre of the forty Jesuit Martyrs, in Louis Richeôme, La Peinture spirituelle […] (Lyon, Pierre Rigaud: 1611). Engraving, 23.11 × 30.48 cm. Image © Biblioteca Angelica, Rome 421
13.7 Photograph of a reliquary with two skull relics of Jesuit martyrs. Rome, Il Gesú. Image © Rose Marie San Juan 423
13.8 Photograph of various skulls in the Cabinet of Anatomy, Montpellier. Image © Rose Marie San Juan 423
14.1 Various artists, Imperial Regalia of the Holy Roman Empire, so called “Reichskleinodien” (eighth–twelfth century). Various materials including gold, precious stones, and relics. Vienna, Hofburg, Imperial Treasury. Image © Kunsthistorisches Museum Wien 432
14.2 Anon. (artist), Mirror No. 10 (Naikō-kamon-kyō) excavated from Hirabaru-ruins (early third century). Bronze, diameter: 46.5 cm. Fukuoka, Itonokuni Hakubutsukan. Image © Shinjinbutsuōraisha 435
14.3 Anon. (smith), Sword with sheath excavated from Fujinoki tomb (late sixth century). Iron and gilded bronze, ca. 76 cm. Nara, Kashihara Kōkogaku Kenkyūjo fuzoku Hakubutsukan. Image © Shinjinbutsuōraisha 436
14.4 Sumiyoshi Jyokei, Court ladies with a sword and a casket of jewels from the first roll of the scroll “Nenjyū-gyōji-emaki” (seventeenth century copy of an original from the twelfth century). Colour on paper, 1517.5 × 45.6 cm. Image © Akira Akiyama 441
15.1 Various artists, The tomb of Francis Xavier consisting of a marble pedestal and silver casket with a separate small silver reliquary (seventeenth century). Old Goa, Basilica of Bom Jesus, side chapel. Image © Ines G. Županov 450
15.2 Anon. (artist), Relics with no visible names of the saints as parts of the side altar (seventeenth century). Gilded wood. Old Goa, Basilica of Bom Jesus, side chapel. Image © Ines G. Županov 452
15.3 Anon. (artist), A relic as a part of the side altar with no visible name of the saint (seventeenth century). Gilded wood. Old Goa, Basilica of Bom Jesus. Image © Ines G. Županov 452
15.4 Photograph of a store room with ‘precious’ objects. Old Goa, Basilica of Bom Jesus. Image © Ines G. Županov 453
15.5 Anon. (silversmith), Reliquary with the relic of the Holy Thorn (end of the seventeenth century). Silver, 48.5 cm (height). Image © The Museum of Christian Art (Convent of Santa Monica), Old Goa 456
15.6 Anon. (silversmith), Reliquary with the wood of the Holy Cross (1650–1660). Silver, 52.5 cm (height). Image © The Museum of Christian Art (Convent of Santa Monica), Old Goa 461
15.7 Anon. (silversmith), Left: Two reliquaries with the blood of St. Philomena. Centre: Reliquary with the spear head which killed St. Thomas. Right: Two reliquaries with relics of St. Thomas (all undated). Silver. Chennai, Museum attached to the Cathedral. Image © Ines G. Županov 466
15.8 Anon. (silversmith), Reliquary with relics of St. Thomas on a side wall (undated). Silver. Chennai, Church on Chinna Malai. Image © Ines G. Županov 467
15.9 Anon. (artist), ‘Bleeding Cross’ of the high altar, so-called Sassanid Cross (ca. seventh century), discovered by the Portuguese in 1547. Chennai, Church on Periya Malai. Image © Ines G. Županov 469
16.1 Jost de Negker, The Seven Sorrows of the Virgin
(before 1503). Woodcut, 37.31 × 26.99 cm. Image © Minneapolis
Institute of Arts, Minneapolis,
16.2 Anon. (artist), The Seven Sorrows of the Virgin from the choirbook of Emperor Maximilan I with the mass “De septem doloribus beatae Mariae virginis” composed by Pierre de la Rue (ca. 1513/14). Paint on parchment, 78.5 × 55 cm. Image © Thüringer Universitäts- und Landesbibliothek, Jena 489
16.3 Detail of Fig. 16.2: The Seven Sorrows with text: HOS QUI SEPTEMOS DIDICIT MEMINISS DOLORES, ILLI PEREPTUE GAUDIA LUCIS ERUNT 490
16.4 Anon. (artist), The Seven Sorrows of the Virgin from the Hours of Charles le Clerc (after 1505). Painting on parchment, 11.8 × 7.8 cm. Image © The British Library Board 495
16.5 Bernard van Orley, Triptych with the Seven Sorrows of the Virgin with Jeremiah and Saint Luke on the wings (ca. 1525). Oil on wood, 200 × 142.5 cm. Image © Musée des Beaux-Arts et d’Archéologie, Besançon; photo: Charles Choffet 496
16.6 Conrat Meit, Pietà (1526–1532). Alabaster, 172 × 144 × 72 cm. Image © Alain Lonchampt/Centre des monuments nationaux 498
16.7 Jan Joest van Kalkar, Choir screen with the Triptych with the Seven Sorrows of the Virgin (ca. 1505). Oil on wood, 173 × 152 cm. Palencia, Cathedral St. Antoninus. Image © Javier y Tomás 499
16.8 Detail of Fig. 16.7: Mater Dolorosa with bishop Juan de Fonseca 500
16.9 Nikolaus Glockendon, The Seven Sorrows of the Virgin (1534). Painting on parchment, 16 × 21 cm. Image © Biblioteca Estense Universitaria, reproduced with permission of MiBACT 503
16.10 Anon. (sculptor), Relief on the outside of a corner chapel presenting The Seven Sorrows of the Virgin (ca. 1555). Stone. Puebla, San Andrés Calpan. Image © Wikimedia commons (author: Danielllerandi) 506
17.1 Anon. (silversmith), Navicula (late seventeenth century). Gilded silver, 27 cm (height). Image © Somdet Phra Narai National Museum, Lopburi 514
17.2 Anon. (silversmith), Navicula (fourteenth century). Gilded copper, 96
× 21.5 cm. Paris, Musée de Cluny (inv. no. C. 11157). Image
©
17.3 Anon. (silversmith), Table Nef, so-called ‘Schlüsselfelder Ship’, from Nuremberg, commissioned for Wilhelm Schlüsselfelder (ca. 1502–1503). Silver and gilded silver, 79 cm (height). Image © Germanisches Nationalmuseum, Nuremberg 521
17.4 Anon. (silversmith), Spice Box (before 1618). Silver, 17.6 × 24 cm. Image © Rijksmuseum, Amsterdam 522
17.5 Anon. (silversmith), Naveta (1589). Silver, 15 × 20 cm. Image © Museu de Arte Sacra do Funchal 524
17.6 Gabriel de Villasana, Naveta (1566–1572). Silver. Mexico City, Collection Isaac Backal. Image © Courtesy of Isaac Backal 529
17.7 Anon. (artist), Detail of a mural at the former monastery of San Nicolás de Tolentino in Actopan (ca. 1570). Image © Jeffrey L. Collins 531
17.8 Anon. (silversmith), Naveta (eighteenth century). Silver, 16 × 21 cm. Image © Museu de Arte Sacra da Universidade Federal da Bahia 535
17.9 Anon. (silversmith), Naveta (ca. 1719–1755). Silver, 15
× 25 cm. Porto, Museu Nacional de Soares dos Reis (inv. no. 129 Our
17.10 Pierre Paul Sevin (attributed) and François Jollain
(publisher), The Royal Reception of Ambassadors from the King of Siam by
His Majesty at Versailles on 1 September 1686 (1687). Etching and
engraving, 82 × 52 cm. Paris, Musée du Louvre, Arts graphiques,
coll. Edmond de Rothschild (inv. no. 26985LR). Image © Jean-Gilles
Berizzi/
18.1 Wolfgang Kilian (engraver), title page to Matteo Ricci –
Nicolas Trigault, De Christiana expeditione apud Sinas suscepta ab
Societate Iesu (Augsburg, Christopher Mangius: 1615). Engraving,
21.3 × 17 cm. Image © Getty Research Institute, Los Angeles,
18.2 Matteo Ricci and Li Zhizao (engraver), Complete Map of the
Myriad Countries of the World (Kunyu Wanguo
Quantu) (third edition, 1602). Woodcut on paper, six panels, each 171
× 63.05 cm (total 171 × 414 cm). Minneapolis,
18.3 Hieronymus Wierix (engraver) after Maarten de Vos, Adoration of the Magi, in Jerónimo Nadal, Evangelicae historiae imagines (Antwerp, no publ.: 1593). Engraving, 23.2 × 14.8 cm. Image © Private 562
18.4 Hieronymus Wierix (engraver) after Maarten de Vos, Christian Knight (Spiritvale christiani militis certame). Engraving, 30 × 39 cm. Image © Trustees of the British Museum 564
18.5 Jodocus Hondius, Typus Totius Orbis Terrarum, In Quo et Christiani militis certamen super terram (in pietatis studiosi gratiam) graphice designatur (ca. 1596–1597). Engraving, 37 × 48 cm. Image © British Library, London. 565
18.6 Abraham Ortelius, Peregrinationis divi Pauli typus
corographicus, in Abraham Ortelius, Theatrum orbis
terrarum (Antwerp, Ex officina Plantiniana: 1592). Engraving, 35.2
× 50.2 cm. Houston,
19.1 Anon. (artist), Diu Vijnaptipatra showing a temple with an image of Jain deity Parshavanath, the assembly of a Jain monk and a nun preaching laymen and laywomen, Portuguese merchants, and Diu harbour (1667). Opaque watercolour and ink on paper, 477 × 25 cm. Ahmedabad, private collection of Amit Ambalal. Image © Amit Ambalal 572
19.2 Anon. (artist), Diu Vijnaptipatra showing Portuguese merchants, a Portuguese carrack with small boats in the Diu harbour, and the beginning of a textual letter (1667). Opaque watercolour and ink on paper, 477 × 25 cm. Ahmedabad, private collection of Amit Ambalal. Image © Amit Ambalal 574
19.3 Map representing Portugal’s overseas empire 1498–1598. Reproduced from Black J., The Cambridge Illustrated Atlas of Warfare: Renaissance to Revolution, 1492–1792 (Cambridge: 1996). Map prepared by Map Graphics Ltd. Image © Cambridge University Press 1996 575
19.4 Anon. (artist), Letter of invitation to a monk showing merchants,
buyers, and messenger collecting a scroll in the bazaar
(Vijnaptipatra) (1761). Opaque watercolour and ink on
paper, 246.2 × 24.6 cm. Image © New York Public Library, New York
City,
19.5 Salivahana, Agra Vijnaptipatra with the detail of Emperor Jahangir’s issuing of a proclamation at the request of Jain monks (1610). Opaque watercolour and ink on paper, 284.7 × 32.2 cm. Image © Lalbhai Dalpatbhai Museum, Ahmedabad 582
19.6 Salivahana, Agra Vijnaptipatra with the detail of the receipt of the scroll by Jain Monk Vijaysena Suri (1610). Opaque watercolour and ink on paper, 284.7 × 32.2 cm. Image © Lalbhai Dalpatbhai Museum, Ahmedabad 584
19.7 Partial View and Detail of Anon. (artist), Udaipur Vijnaptipatra showing shops with varied crafts and trades in the bazaar and a procession of the Udaipur king Jawan Singh and British Agent Alexander Cobbe proceeding towards the invited Jain monk’s assembly (1830). Opaque watercolour, ink, and gold on paper, 2194.6 × 27.9 cm. Bikaner, Agarchand Jain Granthalya. Image © Dipti Khera; photo: Jonas Spinoy 586
19.8 Anon. (artist), Invitation letter to a Jain monk
(Vijnaptipatra) with the detail of a Surat fort and a
British East Indies Company ship (1795). Ink and opaque watercolour on paper,
955 × 26 cm. Ahmedabad, Art Gallery of South Australia Foundation, Gift
of Michael Abbott
19.9 Anon. (artist), Diu Vijnaptipatra showing auspicious icons, including a sailing Portuguese carrack painted at the beginning of the letter-scroll (1666). Opaque watercolour and ink on paper, 477 × 25 cm. Ahmedabad, private collection of Amit Ambalal. Image © Amit Ambalal 592
19.10 Anon. (artist), Invitation letter to a Jain monk
(Vijnaptipatra) with the detail of a sailing ship with
British East Indies Company sailors painted along with the standard auspicious
icons (1795). Ink and opaque watercolour on paper, 955 × 26 cm.
Ahmedabad, Art Gallery of South Australia Foundation, Gift of Michael Abbott
19.11 Anon. (scribe), Diu Vijnaptipatra showing the end of the textual letter (1666). Opaque watercolour and ink on paper, 477 × 25 cm. Ahmedabad, private collection of Amit Ambalal. Image © Amit Ambalal 597
19.12 Herman Moll (engraver), A map of the East-Indies and the adjacent countries; […] (ca. 1708). Engraving, 58 × 96 cm. Image © Beinecke Rare Book and Manuscript Library, Yale University 601