1.1 Joannes Bourghesius, S.J., Vitae passionis et mortis Jesu Christi Domini nostri mysteria, piis meditationibus et adspirationibus expressa per Boëtium à Bolswert (Antwerp, Henricus Aertssius: 1622), title-page. By courtesy of The Newberry Library 9
1.2 Boëtius à Bolswert, “The Boy Jesus Prays before the Arma Christi”, from Joannes Bourghesius, S.J., Vitae passionis et mortis Jesu Christi Domini nostri mysteria, piis meditationibus et adspirationibus expressa per Boëtium à Bolswert (Antwerp, Henricus Aertssius: 1622), Fig. 10. By courtesy of The Newberry Library 10
1.3 Boëtius à Bolswert, “The Boy Jesus Prays before the Arma Christi”, from Joannes Bourghesius, S.J., Vitae passionis et mortis Jesu Christi Domini nostri mysteria, piis meditationibus et adspirationibus expressa per Boëtium à Bolswert (Antwerp, Henricus Aertssius: 1622), Fig. 52. By courtesy of The Newberry Library 11
1.4 Jan David, S.J., Duodecim specula Deum aliquando videre desideranti concinnata (Antwerp, Joannes Moretus: 1610), title-page. By courtesy of The Newberry Library 13
1.5 Theodoor Galle, Emblem 11: “Speculum aenigmaticum” (Enigmatic Mirror), from Jan David, S.J., Duodecim specula Deum aliquando videre desideranti concinnata (Antwerp, Joannes Moretus: 1610), 8vo. By courtesy of The Newberry Library 21
1.6 Theodoor Galle, Emblem 12: “Speculum visionis beatificae” (Mirror of Beatific Vision), from Jan David, S.J., Duodecim specula Deum aliquando videre desideranti concinnata (Antwerp, Joannes Moretus: 1610), 8vo. By courtesy of The Newberry Library 22
1.7 Theodoor Galle, Emblem 10: “Speculum exemplar” (Mirror of Example), from Jan David, S.J., Duodecim specula Deum aliquando videre desideranti concinnata (Antwerp, Joannes Moretus: 1610), 8vo. By courtesy of The Newberry Library 28
2.1 The Lehrbüchermeister, miniature prefacing Compline in the Office of the Feast of Corpus Christi in the Siebenhirter Hours: Stockholm, Kungliga Biblioteket, MS A 225, f. 158v (shortly before 1469 CE). Photo courtesy the National Library of Sweden 60
2.2 Miniature introducing the Penitential Psalms in a Venetian Book of Hours: New York, Morgan Library, MS M.1089, f. 118v (c. 1430 CE). Purchased on the Fellows Fund, with special assistance of Mrs. Alexandre P. Rosenberg and Mr. Henry Glazier, in memory of William S. Glazier, 1993. Photo: The Pierpont Morgan Library, New York 75
3.1 Rogier van der Weyden, Altar of the Seven Sacraments (before 1450). Oil on wood, 200 cm × 223 cm. Antwerp, Koninklijk Museum voor Schone Kunsten. Photo: Erich Lessing / Art Resource, NY 82
3.2 Chasuble, cloth of gold with cut-pile Italian velvet, about 1480–1500, split, brick and satin stitches, with couched and applied work, orphrey probably embroidered in Cologne, about 1480–1500. London, Victoria and Albert Museum, Accession no. 8704-1863. © Victoria and Albert Museum, London 99
3.3 Chasuble (1400–1430), silk cloth woven in Italy, embroidered orphrey probably made in England. London, Victoria and Albert Museum, Accession no. T.256 to B-1967. © Victoria and Albert Museum, London 100
3.4 Chasuble, woven silk velvet ground, with orphrey of linen embroidered with silver, silver-gilt and silks (metal threads couched; silks in split stitch; glass). Accession no. 1375-1864. London, Victoria and Albert Museum. © Victoria and Albert Museum, London 101
5.1 Guilielmus Estius, Absolutissima in omnes beati Pauli et septem catholicas apostolorum epistolas commentaria, ed. Jacob Merlo Horstius (Cologne: Peter Henning, 1631). KU Leuven Libraries, Maurits Sabbe Library (GBIB), 279.334.2 ESTI 1631 134
5.2 Cornelius a Lapide, Commentaria In Omnes Divi Pauli Epistolas [...] (Antwerp: Haeredes Martinus Nutius, & Ioannes Meursius, 1614). KU Leuven Libraries, Maurits Sabbe Library (GBIB), Leuven Mu Th cII 37 9 137
5.3 Nicolas Poussin, The Sacrament of Marriage I, 1637–1640. His Grace the Duke of Rutland, Belvoir Castle, & Bridgeman Images 141
5.4 Nicolas Poussin, The Sacrament of Marriage II, 1647–48. National Galleries of Scotland, Edinburgh 143
5.5 Nicolas Poussin, The Sacrament of Marriage II, central part 144
5.6 Nicolas Poussin, The Sacrament of Marriage II, left part 145
5.7 Nicolas Poussin, The Sacrament of Marriage II, right part 147
5.8 Nicolas Poussin, The Sacrament of Marriage II, three compartments 148
6.1 Last Supper Altar (1771). Pfarrkirche Sankt Jakob, Hahnbach. Image © Noria Litaker 155
6.2 Body of Saint Felix, Last Supper Altarpiece (1771). Pfarrkirche Sankt Jakob, Hahnbach. Image © Noria Litaker 156
6.3 Blood ampule of Saint Felix, Last Supper Altarpiece (1771). Pfarrkirche Sankt Jakob, Hahnbach. Image © Noria Litaker 157
6.4 Holy Blood cult statue (1511–1520), chalice and blood (1680). Sankt Salvator pilgrimage church, Ecksberg. Image © Nadja Pentzlin 160
6.5 Blood ampule of Saint Victor with sunburst (1754). Kalvarienbergkirche, Bad Tölz. Image © Noria Litaker 168
6.6 Johann Michael Söckler, Devotional Image of Saint Honoratius, Vilsbiburg (18th c.). Engraving, 15 cm × 11.5 cm. Image © Museum Dingolfing, Inv. Nr. 2566 169
6.7 Johann Michael Söckler, blood vase detail from Devotional Image of Saint Honoratius, Vilsbiburg (18th c.). Engraving, 4 cm × 4.5 cm. Image © Museum Dingolfing, Inv. Nr. 2566 170
6.8 “Model Chalices”, engraved illustration to Jakob Müller, Kirchen-Geschmuck […] (Munich, Adam Berg: 1591) 125. Engraving, 13 cm × 12 cm. Image © Special Collections Research Center, University of Chicago Library 171
6.9 Blood vase of Saint Faustinus (1751). Lorettokapelle, Erbendorf. Image © Noria Litaker 172
6.10 Blood vase of Saint Desiderius (1770). Pfarrkirche Sankt Emmeram, Kollbach. Image © Uta Ludwig 173
6.11 Blood vase of Saint Munditia (1675). Old Saint Peter’s Church, Munich. Image © Uta Ludwig 174
6.12 Michael Wening, “Saint Geminus”, engraved illustration to Bittrich Voll Deß Himmlischen Manna […] (Munich, Johann Lucas Straub: 1721) 188. Detail, central part of engraving, 10 cm × 5 cm. Image © St. Bonaventure Friedsam Memorial Library, Special Collections 175
6.13 Christian Jorhan, Altar-tabernacle with Saint Felix (1752). Felixkapelle, Kloster Gars. Image © Noria Litaker 177
6.14 Ignaz Günther, Altar-tabernacle of Saints Marinus and Anianus (1764–1775). Kloster Rott, Rott am Inn. Image © Bernd Klemmer 178
6.15 Holy Cross of Heiligenstatt (18th c.). Engraving, 6.5 × 10.5 cm. Image © Stadtarchiv München, (HVGS-A-10-04) 179
6.16 Holy Cross Altar with Saint Pius in the Taufkapelle (1740). Kloster Oberalteich, Oberalteich. Image © Noria Litaker 180
6.17 Holy Cross Altar with Saint Mauritius (1728). Pfarrkirche Sankt Laurentius, Königsdorf. Image © Noria Litaker 181
8.1 Anonymous Master, “The Priest’s Preparation for Mass and the Annunciation”, woodcut illustrations to Gerrit van der Goude, Boexken van der missen (Gouda, Collaciebroeders: 1506), 8o. Den Haag, Koninklijke Bibliotheek, 227 G 28, fols 43v–44r. Photo courtesy of Early European Books online/ ProQuest LCC, http://eeb.chadwyck.com
8.2 Anonymous Master, “The Elevation of the Host and the Raising of the Cross”, woodcut illustration to Gerrit van der Goude, Boexken van der missen (Gouda, Collaciebroeders: 1506), 8o. Den Haag, Koninklijke Bibliotheek, 227 G 28, fols 62v–63r. Photo courtesy of Early European Books online/ ProQuest LCC, http://eeb.chadwyck.com 215
8.3 Anonymous Master, “The Priest ‘Empties’ the Chalice, and the Resurrection”, woodcut illustrations to Gerrit van der Goude, Boexken van der missen (Gouda, Collaciebroeders: 1506), 8o. Den Haag, Koninklijke Bibliotheek, 227 G 28, fols 73v–74r. Photo courtesy of Early European Books online/ ProQuest LCC, http://eeb.chadwyck.com 216
8.4 Anonymous Master(s), “The Priest Approaches the Altar, and the Nativity”, woodcut in Verclaringe vander missen (Gouda, Collaciebroeders: [c. 1510?]), 8o. Mettingen, Draiflessen Collection, Liberna, W 788 A II, fols 2v–3r. 218
8.5 Anonymous Master(s), “The Priest Makes the Sign of the Cross over the Chalice, and Crucifixion Scene”, woodcut in Verclaringe vander missen (Gouda, Collaciebroeders: [c. 1510?]), 8o. Mettingen, Draiflessen Collection, Liberna, W 788 A II, fols 20v–21r 219
8.6 Rogier van der Weyden, central panel of The Seven Sacraments (1440 and 1455). Oil on panel, 97 cm × 220 cm. Antwerpen, Koninklijk Museum voor Schone Kunsten. Copyright: Lukas – Art in Flanders VZW, foto Hugo Maertens 220
9.1 Master of Mary of Burgundy, “Mary at her Devotions”, in the Hours of Mary of Burgundy, fol. 19 verso (before 1482). Colors and ink on parchment, 19.1 × 13.3 cm. Vienna Osterreichische Nationalbibliothek MS 1857. Wikimedia Commons: unknown – prometheus.uni-koeln
9.2 Rogier van der Weyden, Seven Sacraments Altarpiece (ca. 1445–1450). Oil on panel, 200 × 223 cm. Koninklijk Museum voor Schone Kunsten, Wikimedia Commons: public domain 229
9.3 Jan van Eyck, Madonna in the Church (ca. 1425–1440). Oil on panel, 31 × 14 cm. Gemäldegalerie, Berlin. Wikimedia Commons 239
9.4 Ground plan after the church in Jan van Eyck’s Virgin in the Church, from Panofsky E., Early Netherlandish Painting: Its Origins and Character (New York: 1971) I 434. Courtesy of Harvard University Press 240
9.5 Master of 1499, Diptych of Abbot Christian de Hondt (ca. 1499). Oil on panel, each panel approximately 37.1 × 20.4 cm. Koninklijk Museum voor Schone Kunsten, Antwerp. Wikimedia Commons 245
9.6 Attributed to Jan Gossaert, Doria-Pamphilj Diptych (ca. 1510–13). Oil on panel, each panel approximately 40 × 22 cm. Galleria Doria Pamphilj, Rome. Detail of the right wing showing Saint Anthony with a donor. Wikimedia Commons: Web Gallery of Art 246
9.7 Jan van Eyck, The Annunciation (ca. 1428–1436). Oil transferred from panel to canvas, 93 × 37 cm. National Gallery of Art, Washington, D.C. Wikimedia Commons 247
9.8 Interior view across the transepts and into the choir of the church of Saint-Quentin of Tournai (c. 1200). Wikimedia Commons: PMRMaeyvaert 249
9.9 Rogier van der Weyden, Columba Triptych (ca. 1455). Oil on panel, 138 × 70 cm., 138 × 153 cm., 138 × 70 cm., respectively. Alte Pinakothek, Munich. Wikimedia Commons: Web Gallery of Art 253
9.10 Pieter Saenredam, Nave and west window of the Mariakerk, Utrecht (1638). Oil on panel, 62.5 × 93.5 cm. Kunsthalle, Hamburg, inv. No. 412. Courtesy of bpk-Bildagentur 255
9.11 Hans Memling, Triptych of the Adoration of the Magi (ca. 1470–1472), Oil on panel, 95 × 271 cm., Prado Museum, Madrid Po1557. Wikimedia Commons 256
9.12 After Hans Memling, Roundel with the Adoration of the Magi (ca. 1500). Uncolored glass, vitreous paint and silver stain, 21.9 cm. The Cloisters Collection, 1983.235. Public Domain Dedication 258
9.13 Hans Memling, The Diptych of Martin Nieuwenhove (1487). Oil on panel, each wing 52 × 41.5 cm. Old Saint John’s Hospital, Bruges. Wikimedia Commons: Web Gallery of Art 259
10.1 Rumilly-les-Vaudes, Church of Saint-Martin, Passion retable. Polychromed and gilded stone (ca. 1533) 262
10.2 Rumilly-les-Vaudes, Church of Saint-Martin, Crucifixion from Passion retable. Polychromed and gilded stone (ca. 1533) 263
10.3 Rumilly-les-Vaudes, Church of Saint-Martin, Resurrection from Passion retable. Polychromed and gilded stone (ca. 1533) 264
10.4 Master of Saint Gilles, Mass of Saint Gilles (ca. 1490–1500). Oil on panel, 62 × 46 cm. National Gallery, London. Image: Erich Lessing 266
10.5 Maître de Sainte-Gudule, Passion retable. Polychromed and gilded wood (ca. 1470). Musée des Arts Décoratifs, Paris (Inv. PE 156). Image: Jean Tholance 269
10.6 Domenico Remps, Cabinet of Curiosities (ca. 1690). Oil on canvas, 99 × 137 cm. Museo dell’ Opificio della Pietre Dure, Florence. Image: Scala/Art Resource 270
10.7 Géraudot, Church of Saints Pierre and Paul, Passion retable. Polychromed stone (ca. 1540) 272
10.8 Géraudot, Church of Saints Pierre and Paul, Way to Calvary from Passion retable. Polychromed stone (ca. 1540) 273
10.9 Géraudot, Church of Saints Pierre and Paul, Crucifixion from Passion retable/ Polychromed stone (ca. 1540) 275
10.10 Géraudot, Church of Saints Pierre and Paul, Resurrection from Passion retable. Polychromed stone (ca. 1540) 276
10.11 Figure of Christ in the guise of a priest. Polychromed stone (16th century). Musée Valuivuisant, Troyes 280
10.12 Ricey-Bas, Church of Saints-Pierre-ès-Liens, Les Riceys, Passion retable. Polychromed and gilded wood (ca. 1520–1525) 283
10.13 Passion retable. Polychromed and gilded wood (16th century). Musée des Beaux-Arts, Dijon (Inv. 2028), Image: François Jay 286
10.14 Passion retable from Champagne. Limestone (ca. 1522). Musée des Arts Décoratifs, Paris, Image: Jean Tholance 287
10.15 Bad Thief from Passion retable from Champagne. Limestone (ca. 1522). Musée des Arts Décoratifs, Paris, Image: Jean Tholance 288
11.1 Francisco López, Ipsi fecit nos et non ipsi nos, illustration to Vicente Carducho, Dialogos de la pintvra: sv defensa, origen, esse[n]cia, definicion, modos y diferencias (Madrid, Francisco Martinez: 1633). Engraving, 20 cm. The Metropolitan Museum of Art, New York. Image in the Public Domain; available courtesy of the Metropolitan Museum of Art 293
11.2 Anonymous, frontispiece to Estefanía de la Encarnación, La vida de Soror Estefanía de la Encarnación, monja profesa en el monasterio de religiosas franciscas de nuestra madre Santa Clara en esta villa de Lerma, 1631, Madrid, Biblioteca Nacional de España, MSS 7459. Pen and ink drawing, 21 × 16 cm. Image reproduced by courtesy of the Biblioteca Nacional de España 297
12.1 Unknown Artist, Medallion with the Face of Christ (ca. 1380–1400). Baltic amber with traces of paint, 8.2 × 3.3 cm. New York, The Metropolitan Museum of Art, Cloisters Collection (inv. no. 2011.503). By courtesy of The Metropolitan Museum of Art, NY. 323
12.1a Unknown Artist, Medallion with the Face of Christ (ca. 1380–1400). Baltic amber with traces of paint, 8.2 × 3.3 cm. New York, The Metropolitan Museum of Art, Cloisters Collection (inv. no. 2011.503). By courtesy of The Metropolitan Museum of Art, NY. 324
12.2 Unknown Artist, Head of Christ (pax) (late 14th century). Amber, silver, gold and enamel, 14.3 × 12.4 cm. London, The Wallace Collection (inv. no. W19). Image © The Wallace Collection, London / Bridgeman Images 325
12.3 Unknown Artist, Head of Christ, (ca. 1380–1400). Baltic amber, silver-gilt, basse-taille enamel, 8.3 × 5.1 × 2.5 cm. Munich, Bayerisches Nationalmuseum (inv. no. MA2478). Image © Bayerisches Nationalmuseum München 326
12.4 Unknown Artist, Trinity with Evangelist Symbols, (ca. 1380–1400). Baltic amber, silver-gilt, basse-taille enamel, 8.3 × 5.1 × 2.5 cm. Munich, Bayerisches Nationalmuseum. Back of Head of Christ pendant (inv. no. MA2478). Image © Bayerisches Nationalmuseum München 328
12.5 Unknown Artist, Pelican Brooch (ca. 1420–1450). Gold, ruby, and diamond, 2.95 × 35.8 × 13.3 cm. London, British Museum (inv. no. AF.2767). Image © Trustees of the British Museum, London 330
12.6 Rogier van der Weyden, Descent from the Cross (ca. 1435–1438). Oil on panel, 204.5 × 261.5 cm. Madrid, Museo del Prado (inv. no. P002825). Image © Museo Nacional del Prado / Art Resource, NY. 331
12.7 Rogier van der Weyden, Crucifixion (ca. 1455). Oil on panel, 323.5 × 192 cm. San Lorenzo de El Escorial, Royal Monastery of San Lorenzo de El Escorial. Detail of Christ’s head (inv. no. 10014602). Image © Patrimonio Nacional 332
12.8 Rogier van der Weyden, Triptych of the Seven Sacraments (ca. 1440–1445). Oil on oak panels, 204 × 99 cm (centre panel), 122.8 × 65.7 cm (side panels). Antwerp, Koninklijk Museum voor Schone Kunsten. Detail of Christ’s feet (inv. no. 393–395). Image © KMSKA. Photo Hugo Maerten 332
12.9 North Netherlandish Master, Christ Bearing the Cross (ca. 1470). Oil on wood, 107.6 × 82.2 cm. New York, The Metropolitan Museum of Art (inv. no. 43.95). By courtesy of The Metropolitan Museum of Art, New York 345
12.9a North Netherlandish Master, Christ Bearing the Cross (ca. 1470). Oil on wood, 107.6 × 82.2 cm. New York, The Metropolitan Museum of Art. Detail of the ensign of the Confraternity of the Holy Blood (inv. no. 43.95). By courtesy of The Metropolitan Museum of Art, New York 346
12.10 Martin Schongauer, Christ Bearing the Cross, (ca. 1480). Engraving, 16.2 × 11.4 cm. Amsterdam, Rijksprentenkabinet (inv. no. RP-POB-1009). By courtesy of the Rijksmuseum, Amsterdam 348
13.1 Anonymous, “Louis XIV Attending Mass”, vignette to François-Timoléon de Choisy’s “Epître” in De l’imitation de Jésus-Christ. Traduction Nouvelle, trans. François-Timoléon de Choisy (Paris, Antoine Dezallier: 1692). © BnF Ms. D-16457, Unpag 357
13.2 Mariette, “The Cross”, frontispiece to De l’imitation de Jésus-Christ. Traduction Nouvelle, trans. François-Timoléon de Choisy (Paris, Antoine Dezallier: 1692). © BnF Ms. D-16459, Unpag 358
13.3 [Mariette], “Saint Arsenius Fleeing Court”, frontispiece to Book I, De l’imitation de Jésus-Christ. Traduction Nouvelle, trans. François-Timoléon de Choisy (Paris, Antoine Dezallier: 1692). © BnF Ms. D-16457, Unpag 359
13.4 Mariette, “Mme de Maintenon in the Church of Saint-Cyr”, frontispiece to Book II, De l’imitation de Jésus-Christ. Traduction Nouvelle, trans. François-Timoléon de Choisy (Paris, Antoine Dezallier: 1692). © BnF Ms. D-16457, p. 70v 361
13.5 Mariette, “Christ in the Home of Mary and Martha”, frontispiece to Book III, in De l’imitation de Jésus-Christ. Traduction Nouvelle, trans. François-Timoléon de Choisy (Paris, Antoine Dezallier: 1692). © BnF Ms. D-16457 (between p. 110 and p. 111) 362
13.6 Mariette, “Saint Louis Receiving the Last Rites”, frontispiece to Book IV, De l’imitation de Jésus-Christ. Traduction Nouvelle, trans. François-Timoléon de Choisy (Paris, Antoine Dezallier: 1692). © BnF Ms. D-16457 (between p. 272 and p. 273) 365
13.7 Le Pautre, “The Church Room at Saint-Cyr”, Heures, prières et offices à l’usage et devotion particulièrement des demoiselles de la Maison Royale de saint Louis à Saint-Cyr (Paris, Jacques Collombat: 1714) © Lars Cyril Nørgaard 382
13.8 Jouvenet, L’Annonciation, painted for the chapel of Saint-Cyr (1687), oil on canvas, 309 × 204 cm. © Photo courtesy of Patrick Buti, Conservator, Musées de Vendée 384
13.9 Jouvenet, L’Annonciation, painted for the chapel of Saint-Cyr (1687), Oil on canvas, 309 × 204 cm. Detail. © Photo courtesy of Patrick Buti, Conservator, Musées de Vendée 387
14.1 Federico Barocci, Christ and Mary Magdalene (1590). Oil on canvas, 259 × 185 cm. Munich, Alte Pinakothek, Bayerische Staatsgemaeldesammlungen. Image © bpk Bildagentur, Alte Pinakothek, Bayerische Staatsgemaeldesammlungen, Art Resource, NY 395
14.2 Federico Barocci, Christ and Mary Magdalene (ca. 1600–1610). Oil on canvas, 122 × 91 cm. Florence, Uffizi. Image © Scala, Ministero per i Beni e le Attività culturali, Art Resource, NY 397
14.3 Luca Ciamberlano, after Barocci, Noli me tangere Christ Appearing to Mary Magdalene as a Gardener after the Resurrection (1609). Engraving, 39.6 × 27.0 cm. Published by Francesco Villamena. Image © British Museum, London 399
14.4 Federico Barocci, The Calling of St. Andrew (1583). Oil on canvas, 321 × 240 cm. Brussels, Musée Royaux des Beaux-Arts. Image © Peter Horree, Alamy Stock Photo 400
14.5 Federico Barocci, Figure study for Noli me tangere. Drawing (Inv.: KdZ 20388) Berlin, Kupferstichkabinett, Staatliche Museen. Image © bpk Bildagentur, Kupferstichkabinett, Staatliche Museen, Jörg P. Anders, Art Resource, NY 402
14.6 Titian, Noli me tangere (ca. 1514). Oil on canvas, 110.5 × 91.9 cm. London, National Gallery. Image © National Gallery, London, Art Resource, NY 407
14.7 Correggio (Antonio Allegri), Noli me tangere. Christ Appears to Mary Magdalen after His Resurrection and Asks Her Not to Touch Him. Oil on canvas, originally on panel, 130 × 103 cm. Madrid, Museo del Prado. Image © Madrid, Museo del Prado, Erich Lessing, Art Resource, NY 408
14.8 Federico Barocci, Christ and Mary Magdalene (ca. 1600–1610). Oil on canvas, 122 × 91 cm. Florence, Uffizi. Detail, centre of painting. Image © Scala, Ministero per i Beni e le Attività culturali, Art Resource, NY 410
14.9 Jacob Cornelisz. van Oostsanen, Christ Appearing to Mary Magdalen as a Gardener (Noli me tangere) (1507). Oil on oak, 54.5 × 38.8 cm. Kassel, Gemäldegalerie Alte Meister, Museumslandschaft Hessen (Inv. GK 29). Image © Scala, Art Resource, NY 413
14.10 Fra Angelico, Noli me tangere (ca. 1440–1445). Fresco. Florence, Museo di S. Marco. Image © Scala, Art Resource, NY 417
14.11 Andrea del Sarto, Noli me tangere (1510). Oil on panel, 176 × 155 cm. Florence, Uffizi. Image © Scala, Art Resource, NY 418
14.12 Andrea del Sarto, Noli me tangere, (1510). Oil on panel, 176 × 155 cm. Florence, Uffizi. Detail, lower right of painting. Image © Scala, Art Resource, NY 419
14.13 Federico Barocci, Christ and Mary Magdalene (ca. 1600–1610). Oil on canvas, 122 × 91 cm. Florence, Uffizi. Detail, right side of painting. Image © Scala, Ministero per i Beni e le Attività culturali, Art Resource, NY 420
14.14 Terracotta Floor Tile, San Vincenzo al Volturno (ca. 800). Image © John Mitchell 421
14.15 Andrea Solario, Crucifixion, 1503. Oil on panel, 110 × 80.5 cm. Paris, Louvre. Image © Erich Lessing, Art Resource, NY 422
14.16 Andrea Solario, Crucifixion, 1503. Oil on panel, 110 × 80.5 cm. Paris, Louvre. Detail, upper right of painting. Image © Erich Lessing, Art Resource, NY 423
15.1 “Last Judgment”, from La Somme le Roi, Paris (1295). Manuscript illumination, 194 × 133 mm. Paris, Bibl. Mazarine, Ms. 870, fol. 44 verso. © Bibliothèque Mazarine 436
15.2 “Last Judgment”, from La Somme le roi, Picardy (1311). Manuscript illumination, 215 × 150 mm. Paris, Bibl. de l’Arsenal, Ms. 6329, fol. 54 verso. © BnF 438
15.3 Incipit, “Eloge de la vertu”, from La Somme le roi, Picardy (1311). Manuscript illumination, 215 × 150 mm. Paris, Bibl. de l’Arsenal, Ms. 6329, fol. 55 recto. © BnF 440
15.4 “Last Rites”, initial to chapter fifteen, Hugh of Saint-Victor, “De Sacrementis”, from Hugh of Saint-Victor, Opera, central France, possibly Vendôme (1140–1150). Manuscript illumination, 75x91 mm. Paris, Bibl. Mazarine, Ms. 729, fol. 180 recto or verso? © Bibliothèque Mazarine 442
15.5 “Extreme Unction”, initial for the office of the unction of the sick, Sens Pontifical, Paris (ca. 1350–1375). Manuscript illumination, 85x81 mm. Arras, Bibl. Mun., Ms. 986, fol. 109 recto. © Institut de recherche et d’histoire des textes – CNRS 442
15.6 “The Temptation of Impatience”, title-page, The boke named the royall, trans. William Caxton (Fleet Street, London, Wynkyn de Worde – Richard Pynson: 1507). Woodcut, 102.5 × 102 mm. Photo by author, taken by permission of the Folger Library, Washington, D.C. 447
15.7 “The Good Death”, frontispiece to the “Eloge de la vertu”, in The boke named the royall (Fleet Street, London, Wynkyn de Worde – Richard Pynson: 1507). Woodcut, 100 × 100 mm. Photo by author, taken by permission of the Folger Library, Washington, D.C. 449
15.8 Frontispiece to The boke named the royall (Fleet Street, London, Wynkyn de Worde – Richard Pynson: 1507), with “Christ Teaching” (above), and “The Five Commandments of the Church” (below). Woodcut, 70 × 100 mm (above), 68 × 100 mm (below). Photo by author, taken by permission of the Folger Library, Washington, D.C. 451
16.1 The Virgin Nursing the Christ Child, German, c. 1450–1460. Colored woodcut, 203 × 140 mm. Berlin, Kupferstichkabinett, Staatliche Museen zu Berlin, Inv.149–1. Photo: bpk Bildagentur / Staatliche Museen zu Berlin / Jörg P. Anders / Art Resource, NY 457
16.2 Mother of Sorrows with Christ Child, German, c. 1470. Colored woodcut, 383 × 264 mm. London, British Museum, 1872,0608.323. © The Trustees of the British Museum / Art Resource, NY 459
16.3 Virgin Mary with Writing Christ Child, German, c. 1405. Sandstone sculpture, 110 × 52 cm. Mainz, Mittelrheinisches Landesmuseum. Photo: Foto Marburg / Art Resource, NY 461
16.4 Christ Child with the Arma Christi, German, c. 1460. Colored woodcut, 191 × 133 mm. Munich, Staatliche Graphische Sammlung, 118288. © Staatliche Graphische Sammlung München 463
16.5 Sleeping Christ Child, Italian, c. 1500. Colored woodcut, 89 × 138 mm. Berlin, Kupferstichkabinett, Staatliche Museen zu Berlin, Inv. 890–301. Photo: bpk Bildagentur / Staatliche Museen zu Berlin / Art Resource, NY 464
16.6 Virgin and the Bleeding Christ Child, French, c. 1490–1500. Colored woodcut, 300 × 190 mm (trimmed). Berlin, Kupferstichkabinett, Staatliche Museen zu Berlin, Inv. 117–1908. Photo: bpk Bildagentur / Staatliche Museen zu Berlin / Volker-H. Schneider / Art Resource, NY 466
16.7 Christ Child with the Veronica Veil, German, c. 1475. Colored woodcut, 129 × 79 mm. Paris, Bibliothèque nationale de France, Res. EA-5-BTE (9). © Bibliothèque nationale de France 468
16.8 Saint Veronica, German, c. 1440–1450. Colored woodcut, 290 × 184 mm. Paris, Bibliothèque nationale de France, Res. EA-5 (8) B.143. © Bibliothèque nationale de France 470
16.9 Virgin Mary in Ährenkleid, German, c. 1490. Colored woodcut, 134 × 89 mm. Weimar, Kunstsammlungen, Inv. DK112/87. Photo: Klassik Stiftung Weimar / Museums 471
16.10 The Nativity, German, c. 1450–1460. Colored woodcut, 260 × 375 mm. Paris, Musée du Louvre, Rothschild Collection, 27LR recto. © RMN-Grand Palais / Philippe Fuzeau / Art Resource, NY 473
16.11 Virgin and Child, Austrian school, c. 1410. Tempera on wood, 47 × 29 cm. Paris, Musée du Louvre, RF2047. © RMN-Grand Palais / Gérard Blot / Art Resource, NY 476
16.12 Master Bertram, Annunciation of the Passion, c. 1400–1410. Tempera on wood, right wing of Buxtehude Altarpiece. Hamburg, Hamburger Kunsthalle. Photo: WikiCommons 479
16.13 Peter de Wale (?), Christ Child in the Sacred Heart, Netherlandish, c. 1480–1500. Colored woodcut, 250 × 167 mm. Berlin, Kupferstichkabinett, Staatliche Museen zu Berlin, Inv. 670–2. Photo: bpk Bildagentur / Staatliche Museen zu Berlin / Volker-H. Schneider / Art Resource, NY 481
16.14 Christ Child in the Sacred Heart, German, 1472. Colored woodcut, 193 × 126 mm. Berlin, Kupferstichkabinett, Staatliche Museen zu Berlin, Inv. 128–1. Photo: bpk Bildagentur / Staatliche Museen zu Berlin / Jörg P. Anders / Art Resource, NY 482
16.15 Christ Child with the Orb of the World, German, c. 1490. Colored woodcut, 103 × 82 mm. Basel, Kunstmuseum, Kupferstichkabinett, Inv. X.1867. Photo: Kunstmuseum Basel, Martin P. Bühler 484
16.16 Christ Child with Chalice, German, c. 1460. Colored woodcut, 275 × 190 mm. Basel, Kunstmuseum, Kupferstichkabinett, Inv. 1930.148. Photo: Kunstmuseum Basel 485
16.17 Caspar (?), Christ in the Wine Press, south German, c. 1460–1470. Colored woodcut, image 384 × 242 mm, sheet 388 × 257 mm. Munich, Bayerische Staatsbibliothek, Rar. 327–1/4#1, front inner cover. Photo: Bayerische Staatsbibliothek München 488
16.18 Hanns Schlaffer (?), The Holy Face on a Cloth (Veronica Veil), German (Ulm?), c. 1475–1500. Colored woodcut, image 257 × 194 mm, sheet 281 × 206 mm. New York, Metropolitan Museum of Art, Harris Brisbane Dick Fund, 1941, 41.47. © The Metropolitan Museum of Art / Image source: Art Resource, NY 491
17.1 Vanden seven sacramenten (Gouda, Leeu: 1484). Penance. On the right side of the woodcut the recurring image of two persons in dialogue (The Hague, Royal Library, 170 E 30, fol.1r) 496
17.2 Tboeck vanden leven ons heren (Woodcut from the edition Gouda, Leeu: 1487 in a copy with only the woodcuts). Lady Scripture and Man (The Hague, Royal Library, 171 D 29, unfoliated) 502
17.3 Tboeck vanden leven ons heren (Delft, Snellaert: 1488). Lady Scripture and Man (The Hague, Royal Library, 170 E 8, fol. A3v) 503
17.4 Tboeck vanden leven ons heren (Delft, Snellaert: 1488). Creation of Adam and Eve (The Hague, Royal Library, 170 E 8, fol. A5v) 515
17.5 Tboeck vanden leven ons heren (Delft, Snellaert: 1488). Adam and Eve in paradise (The Hague, Royal Library, 170 E 8, fol. B1v) 517
17.6 Opening Die spieghel des ewigen levens (The Hague, Royal Library, 169 G 52, fol. A2r) 521
17.7 Dieryck Volckertsz. Coornherts Wercken Vol. I (Amsterdam, Colom: 1630). Van wel bidden onderwijs (Amsterdam, University Library, Cat. Ned. Lett. UBA 195, fol. 199v) 527
18.1 Theodoor Galle (engraver), Title-Page to Jan David, Veridicus Christianus (Antwerp, Ex officina Plantiniana: 1601). Engraving, in-4. Chicago, The Newberry Library 534
18.2 Theodoor Galle (engraver), Emblem 81, “Coemeterii lectio; mundi despectio” (“The lesson of the cemetery is contempt for the world”), in Jan David, Veridicus Christianus (Antwerp, Ex officina Plantiniana: 1601). Engraving, in-4. Chicago, The Newberry Library 540
18.3 Theodoor Galle (engraver), Emblem 82, “Optima philosophia, mortis meditatio” (“The most excellent philosophy, to meditate death”), in Jan David, Veridicus Christianus (Antwerp, Ex officina Plantiniana: 1601). Engraving, in-4. Chicago, The Newberry Library 541
18.4 Theodoor Galle (engraver), Emblem 83, “Praestantissimum hominis pignus, anima” (“Man’s most excellent gage, the soul”), in Jan David, Veridicus Christianus (Antwerp, Ex officina Plantiniana: 1601). Engraving, in-4. Chicago, The Newberry Library 555
18.5 Theodoor Galle (engraver), Emblem 85, “Statutum est hominibus, semel mori. Hebr. 9” (“For men one thing is ordained, but once to die. Hebr. 9”), in Jan David, Veridicus Christianus (Antwerp, Ex officina Plantiniana: 1601). Engraving, in-4. Chicago, The Newberry Library 556
18.6 Theodoor Galle (engraver), Emblem 88, “Mortem timet, quem terret conscientia” (“He whom conscience dismays, fears death”), in Jan David, Veridicus Christianus (Antwerp, Ex officina Plantiniana: 1601). Engraving, in-4. Chicago, The Newberry Library 557
18.7 Theodoor Galle (engraver), Emblem 89, “Optat mori, cui mens est conscia recti” (“He whose heart knows righteousness, desires to die”), in Jan David, Veridicus Christianus (Antwerp, Ex officina Plantiniana: 1601). Engraving, in-4. Chicago, The Newberry Library 560
18.8 Theodoor Galle (engraver), Emblem 90, “Qui in statu gratiae moritur, caelo asseritur” (“He who dies in a state of grace, is claimed by heaven”), in Jan David, Veridicus Christianus (Antwerp, Ex officina Plantiniana: 1601). Engraving, in-4. Chicago, The Newberry Library 566
18.9 Theodoor Galle (engraver), Emblem 92, “Tria sunt asperrima verba” (“Three words are most bitter”), in Jan David, Veridicus Christianus (Antwerp, Ex officina Plantiniana: 1601). Engraving, in-4. Chicago, The Newberry Library 567
18.10 Theodoor Galle (engraver), Emblem 93, “Quo plus acceperis, hoc maior reddenda ratio” (“The more you shall receive, the more you must render account”), in Jan David, Veridicus Christianus (Antwerp, Ex officina Plantiniana: 1601). Engraving, in-4. Chicago, The Newberry Library 569
18.11 Theodoor Galle (engraver), Emblem 98, “Ne tardes converti ad Dominum” (“Lest you delay to turn toward the Lord”), in Jan David, Veridicus Christianus (Antwerp, Ex officina Plantiniana: 1601). Engraving, in-4. Chicago, The Newberry Library 572
18.12 Theodoor Galle (engraver), Emblem 99, “Memorare novissima: nec peccabis” (“Remember the four last things: you shall not sin”), in Jan David, Veridicus Christianus (Antwerp, Ex officina Plantiniana: 1601). Engraving, in-4. Chicago, The Newberry Library 574
18.13 Theodoor Galle (engraver), Emblem 100, “Quatuor hominis novissima” (“Humanity’s four last things”), in Jan David, Veridicus Christianus (Antwerp, Ex officina Plantiniana: 1601). Engraving, in-4. Chicago, The Newberry Library 575
19.1 Nicolas Poussin, Ecstasy of Saint Paul, 1649–1650. Oil on canvas, 148 × 120 cm. Musée du Louvre, Paris, Inv. 7288. © RMN-Grand Palais / Art Resource, NY 581
19.2 Nicolas Poussin, Ecstasy of Saint Paul, 1643. Oil on wood, 41.6 × 30.2 cm. Ringling Museum of Art, Sarasota, SN690 583
19.3 Domenichino, Ecstasy of Saint Paul, ca. 1606–1608. Oil on copper, 50 × 38 cm. Musée du Louvre, Paris, Inv. 792. Photo Credit: Erich Lessing / Art Resource, NY 585
19.4 Raphael, Vision of Ezekiel, 1518. Oil on wood, 40 × 30 cm. Galleria Palatina, Florence. Photo Credit: Scala / Art Resource, NY 586
19.5 Gérard Audran after Charles Le Brun, Triumph of the New Testament over the Old Testament (Cupola of the Château de Sceaux), 1681. Etching and engraving, five plates, 56.8 × 84.4 cm total. Princeton University Library, Princeton, NJ, GA 2012.01256-01260 592
19.6 Gérard Edelinck after Charles Le Brun, Qu’il s’elevoit en s’abaissant ainsy (Saint Louis in Prayer). Engraving, 55.1 × 40.9 cm. British Museum, London, 1917,1208.1334. © Trustees of the British Museum 594
19.7 Charles Le Brun, Crucifixion with Angels (ca. 1660, retouched 1686). Oil on canvas, 174 × 128 cm. Musée du Louvre, Paris, Inv. 2886. © RMN-Grand Palais / Art Resource, NY 595
19.8 Charles Le Brun, Christ in the Desert, ca. 1653. Oil on canvas, 390 × 254 cm. Musée du Louvre, Paris, Inv. 2882. © RMN-Grand Palais / Art Resource, NY 596
19.9 Charles Le Brun, The Sleep of the Infant Jesus (The Silence) (1655). Oil on canvas, 87 × 118 cm. Musée du Louvre, Paris, Inv. 2880. © RMN-Grand Palais / Art Resource, NY 601
20.1 Robert Nanteuil, Léon Bouthillier, comte de Chavigny, ca. 1651. Engraving (Petitjean & Wickert), sheet: 31.6 × 24.8 cm. New York, the Metropolitan Museum, gift of Georgiana W. Sargent, in memory of John Osborne Sargent, 1924 608
20.2 Philippe de Champaigne, L’Annunciation, ca. 1639. Oil on wood, 260 × 210 cm. Notre-Dame-du-Port de Clermont-Ferrand. Photograph by Quentineo (2018). Wikimedia: https://fr.m.wikipedia.org/wiki/Fichier:Annonciation_de_Philippe_de_Champaigne.jpg (CC BY-SA 4.0 international license) 629
20.3 Philippe de Champaigne, L’Annunciation, ca. 1648. Oil on canvas, 334 × 214.5 cm. © The Wallace Collection, London 630
20.4 Philippe de Champaigne, L’Annunciation, ca. 1643. Oil on canvas, 215 × 170 cm. The church of Saint-Jean-Baptiste in Montrésor. Photograph by Alain Crozemarie (2015). Wikimedia: https://commons.wikimedia.org/wiki/File:Annonciation-JC.jpg (CC BY-SA 4.0 international license) 631