Illustrations
1.1 Tomb of Philippe of Marigny (â 1316), destroyed. Drawing taken from the Gaignières Collection: Paris, BnF, Est. Res Pe 11a fol. 7â16
1.2 Tomb of Jean of Dainville (â 1376), destroyed. Drawing taken from the Gaignières Collection: Paris, BnF, Est. Res. Pe 11a fol. 129â17
1.3 Tomb of Guillaume of Saulx (â 1307), limestone. Detail of dog. Dijon: Musée archéologique, Inv. nº 994-04-08. Photo by authorâ19
1.4 Tomb of Pierre II of Poitiers (â 1115), destroyed. Drawing taken from the Gaignières Collection: Oxford, Bodleian Library. Ms. Gough Drawings Gaignières 14 fol. 230â21
1.5 Tomb of Ponce of Saulx (â 1307), limestone fragment. Dijon: Musée archéologique, Inv. nº 994-04-09. Photo: Authorâ22
1.6 Tomb of Simone of Arceau (â 1315), Parish Church of Arceau (Côte dâOr). Drawing taken from the Gaignières Collection: Paris, BnF, Ms. Clairambault 942 fol. 47â24
1.7 Tomb of Richard of Jaucourt (â 1340), Abbey Church of Saint-Seine, Saint-Seine-LâAbbaye (Côte dâOr). Drawing taken from Paris, BnF, Ms. Bourgogne 9 fol. 173.â28
1.8 Tomb of Hugues of Bèze (â 1419), Abbey Church of Saint-Seine, Saint-Seine-LâAbbaye (Côte dâOr). Photo by Michel Rosso, Région Bourgogne, Inventaire generalâ29
1.9 Tomb of Guillaume of Vienne (â 1407), destroyed. Drawing taken from Dom Urbain Plancher, Histoire générale et particulière de Bourgogne, t. II, Paris: Ãditions du Palais royal, (1741) 1974, p. 383â31
1.10 Tomb of Jean IV of Blaisy (â 1407), Abbey Church of Saint-Seine, Saint-Seine-LâAbbaye (Côte dâOr). Photo: Authorâ32
2.1 Giotto, Santa Maria della Carità : Dedication Scene with Enrico Scrovegni presenting his Chapel to the Virgin, c. 1304â5. Padua, Cappella degli Scrovegni. Photo: courtesy of the UCB Paradise Memorial Archive & Historical Slide Library, Doe Library, Berkeley, Californiaâ37
2.2 Master of the Scrovegni Statue, Statue of Enrico Scrovegni, c. 1303â5. Padua, Cappella degli Scrovegni, Sacristy. Photo: courtesy of the UCB Paradise Memorial Archive & Historical Slide Library, Doe Library, Berkeley, Californiaâ38
2.3 Master of the Scrovegni Effigy, Tomb Effigy of Enrico Scrovegni, c. 1336. Padua, Cappella degli Scrovegni. Photo: courtesy of the UCB Paradise Memorial Archive & Historical Slide Library, Doe Library, Berkeley, Californiaâ38
2.4 Giotto, Santa Maria della Carità : Interior with Triumphal Arch, c. 1304â5. Padua, Cappella degli Scrovegni. Photo: courtesy of the UCB Paradise Memorial Archive & Historical Slide Library, Doe Library, Berkeley, Californiaâ39
2.5 Giotto, Santa Maria della Carità : Last Judgment, c. 1304â5. Padua, Cappella degli Scrovegni. Photo: courtesy of the UCB Paradise Memorial Archive & Historical Slide Library, Doe Library, Berkeley, Californiaâ40
3.1 Tomb of Philippe Pot, Grand Seneschal of Burgundy, between 1477 and 1483, formerly in the Abbey of Cîteaux. Musée du Louvre, département des Sculptures, RF 795. Photo: © Musée du Louvre, Dist. RMN-Grand Palais / Raphaël Chipaultâ50
3.2 Tomb of Alfonso Ansúrez, formerly in Sahagún, after 1093. Museo Arqueólogico Nacional, Madrid, 1932/115. Photo: © Museo Arqueólogico Nacional/ José Latova Fernández-Lunaâ51
3.3 Tomb of Guillaume de Flandres, after 1109. Musée de lâHôtel Sandelin, St Omerâ51
3.4 Tomb of Pierre de Saine Fontaine, after 1110. Saint-Pierre Abbey, Airvaultâ52
3.5 Tomb of doña Sancha, ca. 1110â1120, formerly in Santa Cruz de la Serós. Real Monasterio de Benedictinas, Jaca. Photo: © Antonio GarcÃa Omedesâ53
3.6 Tomb of doña Blanca de Navarra, after 1156, Santa Maria, Nájera. Photo: © Instituto Cervantes/JoaquÃn Guijarroâ55
3.7 Drawing of the tomb of Thibaut III of Champagne, anonymous drawing, 1786, Bibliothèque municipale de Troyesâ56
3.8 Side from the tomb of Philippe Dagobert, formerly in Royaumont, ca. 1245. Paris, Musée du Louvre, RF 1066. Photo: © RMN-Grand Palais (Musée du Louvre) / Stéphane Maréchalleâ58
3.9 Figure from the foot of the tomb of Louis de France, ca. 1260. Paris, Musée Carnavalet, AP 865. Photo: © Musée Carnavalet-Roger Violletâ59
3.10 Tomb of the heart of Thibaut V, formerly in the Jacobins in Provins, now in the Bibliothèque nationale de France, Centre André-François Poncet, Provinsâ60
4.1 Confessorâs Chapel, Santa Croce, Florence. Maso di Banco, The Particular Judgment, 1330s, fresco, and Taddeo Gaddi, The Entombment with donatress (Tessa dei Bardi), ca. 1335â40, fresco. Tombs of Gualtieri dei Bardi, and Monna Tessa dei Bardi. Photo: Authorâ66
4.2 Tommaso di Stefano (called âGiottinoâ), Lamentation over Christ with donors, ca. 1357â59, tempera on panel, 78 Ã 53 in., 195 Ã 134 cm. Galleria degli Uffizi, Inv 1890, no. 454, Florence. Photo: Soprintendenza Per I Beni Artistici E Storici Per La Provincia Di Firenzeâ67
4.3 Maso di Banco, Particular Judgment, detail (close-up of Judgment). Photo: Authorâ68
4.4 Taddeo Gaddi, Entombment, detail (Monna Tessa and Entombment). Photo: Authorâ70
4.5 Taddeo Gaddi, Entombment, detail (Monna Tessa and holy women). Photo: Authorâ72
4.6 Avelli, Santa Maria Novella, Florence. Photo: Authorâ75
4.7 Giottino, Lamentation, detail (holy women and donatresses)â77
5.1 Stacked bones in the lower story ossuary of St. Michael in Oppenheim. Photo: Authorâ81
5.2 View from the south of the destroyed charnel-house chapel of St. Michael in Rothenburg by Johann Friedrich Schmidt, 1762. Photo: courtesy of the Stadtarchiv Rothenburgâ83
5.3 View of St. Kilian in Wertheim from the south-west. Photo: Authorâ84
5.4 View of St. Michael in Kiedrich from the north-west. Photo: Authorâ85
5.5 Interior view of the upper chapel of St. Michael in Kiedrich from the west. Photo: Authorâ86
5.6 View of the lower ossuary of St. John in Gerolzhofen from the north-west. Photo: Authorâ86
5.7 View of St. Michael in Oppenheim from the south. Photo: Authorâ88
5.8 Woodcut of a man kneeling before a charnel house. Photo: courtesy of the British Museum, © Trustees of the British Museumâ92
5.9 View of St. Sebastian in Gerolzhofen from the north. Photo: Authorâ94
5.10 Tymapnum over the entrance to the lower story ossuary of St. Sebastian in Tauberbischofsheim. Photo: Authorâ95
5.11 Tympanum of the west portal to the upper chapel of St. Michael in Ochsenfurt. Photo: Authorâ96
5.12 Man of Sorrows on a corbel of the west portal to the upper chapel of St. Kilian in Wertheim. Photo: Authorâ97
5.13 Original Werheimer Affe now in the Grafschaftsmuseum Wertheim. Photo: courtesy of Kurt Bauerâ99
5.14 Buttress with a figure gazing off into the distance from St. Sebastian in Tauberbischofsheim. Photo: Authorâ100
5.15 Triumph of Death, Pieter Bruegel the Elder, ca. 1562â67. Photo: Public Domainâ102
6.1 The West Choir from the Platform of the West Screen, Cathedral of St. Peter and St. Paul, Naumburg, ca. 1250. Photo: © Vereinigte Domstifter zu Merseburgund Naumburg und des Kollegiatstifts Zeitz, Bildarchiv Naumburg. Photo: Matthias Rutkowskiâ107
6.2 Placement of Donor Portraits in the West Choir, Cathedral of St. Peter and St. Paul, Naumburg, c. 1250. Drawing Photo: © Janos Stekovicsâ108
6.3 Hermann and Reglindis, the West Choir, Cathedral of St. Peter and St. Paul, Naumburg, c. 1250. Photo: © Janos Stekovics with permission of the Vereinigte Domstifter zu Merseburgund Naumburg und des Kollegiatstifts Zeitzâ109
6.4 Ekkehard and Uta, the West Choir, Cathedral of St. Peter and St. Paul, Naumburg, c. 1250. Photo: © Janos Stekovics with permission of the Vereinigte Domstifter zu Merseburgund Naumburg und des Kollegiatstifts Zeitzâ110
6.5 Wilhelm, the West Choir, Cathedral of St. Peter and St. Paul, Naumburg, c. 1250. Photo: Author with permission of the Vereinigte Domstifter zu Merseburgund Naumburg und des Kollegiatstifts Zeitzâ111
6.6 Tomb of Henry the Lion and Mathilde, Cathedral of St. Blasius, Braunschweig, c. 1230â50. Photo: Daderot; Artwork in the Public Domainâ113
6.7 Figures of St. Adelheid and Otto the Great, Cathedral of St. John and St. Donatus, Meissen, c. 1255â60. © Photo: Vereinigte Domstifter zu Merseburgund Naumburg und des Kollegiatstifts Zeitz, Bildarchiv Naumburg. Photo: Matthias Rutkowskiâ115
6.8 Figures of John the Evangelist and St. Donatus, Cathedral of St. John and St. Donatus, Meissen, c. 1255â60. Photo: © Vereinigte Domstifter zu Merseburgund Naumburg und des Kollegiatstifts Zeitz, Bildarchiv Naumburg. Photo: Matthias Rutkowskiâ116
6.9 The West Choir Screen, Cathedral of St. Peter and St. Paul, Naumburg, ca. 1250. Photo: Author with permission of the Vereinigte Domstifter zu Merseburgund Naumburg und des Kollegiatstifts Zeitzâ118
6.10 Detail of the Face of the Virgin Mary, from The Crucifixion, West Choir Screen, Cathedral of St. Peter and St. Paul, Naumburg, c. 1250. Photo: Author with permission of the Vereinigte Domstifter zu Merseburgund Naumburg und des Kollegiatstifts Zeitzâ119
6.11 Detail of the Face of John the Evangelist, from The Crucifixion, West Choir Screen, Cathedral of St. Peter and St. Paul, Naumburg, c. 1250. Photo: Author with permission of the Vereinigte Domstifter zu Merseburgund Naumburg und des Kollegiatstifts Zeitzâ121
6.12 Detail of the Face of Christ, from The Crucifixion, West Choir Screen, Cathedral of St. Peter and St. Paul, Naumburg, c. 1250. Photo: Author with permission of the Vereinigte Domstifter zu Merseburgund Naumburg und des Kollegiatstifts Zeitzâ122
7.1 The Bohun Psalter and Hours, Essex (c. 1360âc. 1373 and 1380s), British Library Egerton MS 3277, fol. 145v. Photo: © The British Library Boardâ133
7.2 Fitzalan Chapel (1380â87, with its Lady Chapel complete by c. 1421), Church of St Nicholas, Arundel, Sussex. Photo: The Conway Library, Courtauld Institute of Artâ142
7.3 Plan of the Fitzalan Chapel, indicating location of the memorials discussed. Photo: © Matilde Grimaldiâ143
7.4 Monument to Thomas Fitzalan and Beatrice of Portugal (1415âc. 1420), alabaster, length: 253 cm, width: 146 cm, height: 106 cm, Fitzalan Chapel. Photo: Authorâ145
7.5 Detail of miniature priest, monument to Thomas Fitzalan and Beatrice of Portugal, Fitzalan Chapel. Photo: Authorâ147
7.6 Detail of miniature priests, monument to Bishop Henry Burghersh (c. 1345), Angel Choir, Lincoln Cathedral. Photo: The Conway Library, © The Courtauld Institute of Artâ148
7.7 Detail of monument to John Baker (1455), stone and copper-alloy, length of slab: 211 cm, width of slab: 74 cm, length of figure: 89 cm, Fitzalan Chapel. Photo: Authorâ150
7.8 Effigies of Thomas Fitzalan and Beatrice of Portugal, Fitzalan Chapel. Photo: Authorâ151
7.9 Carthusian Miscellany, northern England (c. 1460â70), British Library Additional MS 37049, fol. 32v. Photo: © The British Library Boardâ154
7.10 Transi from the monument to Jean de La Grange (begun before 1394, complete after 1402), limestone, Musée du Petit Palais, Avignon. Photo: © Susie Nashâ156
7.11 Monument to Guillaume Lefranchois (c. 1446), Tournai marble, length: 232 cm, width: 103 cm, height: 32 cm, Musée des Beaux-Arts, Arras. Photo: © Ann Adamsâ157
7.12 Monument to John Fitzalan (c. 1435âc. 1445), alabaster and limestone, length: 252.5 cm, width: 113 cm, height: 121.5 cm, Fitzalan Chapel. Photo: Authorâ159
7.13 John Fitzalanâs cadaver effigy (c. 1435âc. 1445), limestone, length: 181 cm, Fitzalan Chapel. Photo: Authorâ160
8.1 A Carthusian Monk kneeling before a Crucifixus; A disputacion betwyx þe body and wormes, Religious Miscellany, ca. 1460â1470. London, British Library, MS. Add. 37049, fol. 33â166
8.2 The Corpse of a Noblewoman disputes with the Worms The Corpse and the Worms; A disputacion betwyx þe body and wormes, Religious Miscellany, ca. 1460â1470. London, British Library, MS. Add. 37049, fol. 34vâ167
8.3 Death attacking a Man over a decaying Corpse; Office of the Dead, Book of Hours, mid. 15th century Caen, Bibliothèque Municipale, Ms. 0849 (in-4° 320), fol. 117vâ168
8.4 Death holding the Mirror for the Penitent; Office of the Dead, Book of Hours, about 1490. Paris, Bibliothèque Mazarine, Ms. 507, fol. 113â170
8.5 Master of Hugo Jansz. van Woerden Office of the Dead and two praying Souls in Purgatory; Office of the Dead, Book of Hours, 1475â1500. Den Haag, Koninklijke Bibliotheek, Ms. 76 G 13 fol. 85vâ86râ174
8.6 Maître de Rohan: Transi-Portrait of René dâAnjou; Book of Hours, 1435/36. Paris, Bibliothèque Nationale de France, Ms. Lat. 1156 A, fol. 113vâ179
8.7 Corpse kneeling on a Tomb, praying in front of a mirror; Office of the Dead, one Leaf from a Book of Hours, fol. 98, ca. 1484â1500. Sold at Sothebyâs 8th Dec 1975 (Private Owner, Brussels)â184
8.8 Jean Colombe: Louis de Laval at his grave and before Christ the Judge, Book of hours, ca. 1480. Paris, Bibliothèque Nationale de France, Ms. lat. 920 fol. 334vâ335â185
8.9 Corpse, praying at a Prie Dieu, one Leaf from a Book of Hours, ca. 1480â1490. Copyright: Frank Boucquillon FundâBelgiumâ187
9.1 Unknown, Mario Homodei Encounters the Madonna, 1513. Fresco. Tirano (Sondrio), Sanctuary of the Madonna of Tirano. Photo: authorâ189
9.2 Unknown, Detail: Mario Homodei Encounters the Madonna, 1513. Fresco. Tirano (Sondrio), Sanctuary of the Madonna of Tirano. Photo: authorâ189
9.3 Cipriano Valorsa, Baptism of Christian Pfeijssanfâs Son Following his Miraculous Resuscitation, 1576. Tempera and oil on canvas. Tirano, Sanctuary of the Madonna of Tirano. Photo: in the public domainâ191
9.4 Altar of the Apparition. Tirano, Sanctuary of the Madonna of Tirano. Photo: authoreâ192
9.5 Gabriele Longhi, Miracle of Infant Resuscitation, 1801-02, Altar of the Apparition. Marble relief. Tirano, Sanctuary of the Madonna of Tirano. Photo: authorâ192
9.6 Domenico Ghirlandaio, St. Francis Resurrects the Notaryâs Son, 1485. Fresco. Sassetti Chapel, Santa Trinita, Florence. Photo: Alinari/Art Resource, NYâ193
9.7 Simone Martini, detail, Beato Agostino Novello Alaterpiece, ca. 1324. Tempera on panel. Siena, Pinacoteca Nazionale. Photo: Scala/Art Resource, NYâ194
9.8 Gentile da Fabriano, Miracle of the Pilgrims at the Tomb of St. Nicholas, predella panel from the Quaratesi Polyptych, 1425. Tempera on panel. Washington, D.C., National Gallery of Art, Samuel H. Kress Collection. Photo: National Gallery of Art, Washington, D.C. Photo: in the public domainâ198
9.9 Unknown, Promotional Print advocating the efficacy of the Madonna of Tirano. Collezione privata PM, Tirano (Valtellina), Italy. Photo: Collezione privata PM, Tirano (Valtellina)â201
9.10 Ugolino di Prete, Miracle of the Saracens, 1364. Fresco. Orvieto Cathedral, Chapel of the Corporal. Photo: in the public domainâ203
9.11 Overview Sassetti Chapel, 1483-86. Florence, Santa Trinita. Photo: Alinari/ Art Resource, NYâ205
9.12 Martino di Bartolomeo, Substitution of the Infant Saint Stephen with a Changeling by the Devil, ca. 1415. Tempera on panel. Frankfurt am Main, Städelsches Kunstinstitut. Photo: Städel Museum-U. Edelmann-ARTOTHEKâ207
10.1 Guido da Vigevano, The Anatomist Opens the Chest, figure seven from Anothomia Philipi Septimi, 1345. Chantilly, Musée Condé, MS 334, f. 278. Photo: Authorâ214
10.2 Guido da Vigevano, Opening the Abdomen, figure three from Anothomia Philipi Septimi, 1345. Chantilly, Musée Condé, MS 334, f. 275. Photo: Authorâ217
10.3 Guido da Vigevano, The Thoracic Cavity, figure eight from Anothomia Philipi Septimi, 1345. Chantilly, Musée Condé, MS 334, f. 275. Photo: Authorâ219
10.4 Unknown, Artery figure, from Historia incisiones (nine-figure series), 1292. Oxford, Bodleian Library, MS Ashmole 399, f. 18. Photo: Authorâ220
10.5 Unknown, Standing Anatomical Figure, from Chirurgia of Guglielmo da Saliceto, ca. 1350. Venice, Biblioteca Marciana, Cod. 58 membr. lat. VII, 32, f. 40v. Photo: Authorâ223
10.6 Guido da Vigevano, Anatomy of a Living Man, figure one from Anothomia Philipi Septimi, 1345. Chantilly, Musée Condé, MS 334, f. 273. Photo: Authorâ225
10.7 Guido da Vigevano, The Anatomist Opens the Abdomen, figure two from Anothomia Philipi Septimi, 1345. Chantilly, Musée Condé, MS 334, f. 275. Photo: Authorâ226
10.8 Unknown, Anatomia or Bodily Division, from Chirugia magna of Guy de Chauliac. Montpellier, Musée Atger, Bibliothèque de la Faculté de Médicine, MS H. 184, f. 14v. Photo: courtesy of the Musée Atgerâ228
10.9 Jean le Noir and daughter Bourgot, The Three Living and the Three Dead, from the Prayer Book of Bonne of Luxemburg, before 1349. New York, The Metropolitan Museum of Art, Cloisters Collection 1969, acc. no. 69.86, ff. 321vâ322. Photo: courtesy of the Metropolitan Museum of Artâ231
11.1 Tomb of Archbishop Henry Chichele, c. 1425 and 1887â89. Canterbury Cathedral, Kent, United Kingdom. Photo: Angelo Hornak / Alamy Stock Photoâ235
11.2 Tomb of Archbishop Henry Chichele, c. 1425 and 1887â89. Canterbury Cathedral, Kent, United Kingdom. Photo: Chapter of Canterburyâ236
11.3 Tomb of Archbishop Henry Chichele, c. 1425 and 1887â89. Canterbury Cathedral, Kent, United Kingdom. Photo: Authorâ236
11.4 Tomb of Archbishop Henry Chichele, c. 1425 and 1887â89. Canterbury Cathedral, Kent, United Kingdom. Photo: Authorâ237
11.5 Tomb of Archbishop John Stratford, d. 1348. Canterbury Cathedral, Kent, United Kingdom. Photo: Wikimedia/Creative Commonsâ241
11.6 Tomb of Archbishop John Stratford, d. 1348. Canterbury Cathedral, Kent, United Kingdom. Photo: Authorâ242
11.7 Transi tomb sculpture of Guillaume de Harcigny, 1394, Laon, France. Photo: Wikimedia/Creative Commonsâ244
11.8 Fragment of transi from the tomb monument of Cardinal Jean de Lagrange, d. 1402, Musée du Petit Palais à Avignon, Avignon, France. Photo: Wikimedia/Creative Commonsâ245
11.9 Hans Holbein the Younger, The Body of the Dead Christ in the Tomb, 1521â22, Kunstmuseum, Basel, Switzerland. Photo: Wikimedia/Public Domainâ247
11.10 Chapel with Jesus Christ statue, 15th century. Jeruzalemkerk, Bruges, Belgium. Photo: Mauritius Images GmbH / Alamy Stock Photoâ248
11.11 Germain Pilon, Henri II and Catherine de Medici, 1573. Abbey Church of St. Denis, France. Photo: Authorâ250
11.12 Transi of François I de la Sarra, d. 1363. Chapel at La Sarraz, Vaud, Switzerland. Photo: Nicholas Hermanâ251
11.13 The Parable of the Wise and Foolish Virgins, late 13th century, copy of an original. Strasbourg Cathedral (south aisle portal), France. Photo: Wikimedia/Creative Commonsâ252
12.1 The Pope and the Emperor. La danse macabre nouvelle. Illustrated book, printed by Guy Marchant, Paris, 1486. Bibliothèque nationale de France, Rés. Ye. 189â254
12.2 The Archbishop and the Knight, La danse macabre nouvelle, illustrated book, printed by Guy Marchant, Paris, 1486, Bibliothèque nationale de France, Rés. Ye. 189â255
12.3 The Queen and the Duchess, La danse macabre des femmes, illustrated book, printed by Guy Marchant, Paris, 1486, Bibliothèque nationale de France, Rés. Ye. 189â258
12.4 Lart de bien vivre et de bien mourir, illustrated book, printed by André Bocard for Antoine Vérard, Paris, 1493/94. Library of Congress, Rare Book and Special Collections Division, Incun.1494. A75â264
12.5 The Debate Between the Body and the Soul, La danse macabre des femmes, illustrated book, printed by Guy Marchant, Paris, 1486, Bibliothèque nationale de France, Rés. Ye. 189â267
12.6 The Complaint of the Damned Soul, The Debate Between the Body and the Soul, La danse macabre des femmes, illustrated book, printed by Guy Marchant, Paris, 1486, Bibliothèque nationale de France, Rés. Yeâ268
12.7 The Halberdier and the Fool, La danse macabre nouvelle, illustrated book, printed by Guy Marchant, Paris, 1486, Bibliothèque nationale de France, Rés. Ye. 189â269
12.8 The Printers and the Bookseller, La grãt danse macabre des homes y des femes, illustrated book, printed by Mathias Husz, Lyons, 1499/1500, Scheide Document 43.2, Department of Special Collections, Princeton University Libraryâ274
12.9 The Nun, Les simulachres et historiees faces de la mort, designed by Hans Holbein, Lyons, 1538, Bibliothèque nationale de France, Rés.-Z-1990â276
13.1 Hans Holbein and Hans Lützelburger, Skeletons Making Music, from the Simulachres et historiees faces de la mort (Lyon: Melchior and Gaspar Trechsel, 1538), Cii verso [Amsterdam, Rijksmuseum, RP-P-OB-4509C(R)]â279
13.2 Memento mori, hand-colored engraving with manuscript inscription, Netherlands, c. 1500â1530 (Bowdoin College Museum of Art, 2012.3)â282
13.3 Master S(?), engraving, Netherlands, c. 1525â1550 (London, British Museum, 1845, 0809.1756)â284
13.4 Book of Hours, Northern France, c. 1500 (Oxford, Bodleian Library, MS Buchanan e.4, fol. 164v)â286
13.5 Book of Hours, Northern France, early 16th century (San Marino, California, the Huntington Library, MS HM 1165, fol. 105)â289
13.6 Memento mori pendant, Southern Netherlands or Northern France, 1520â1530 (London, Victoria and Albert Museum, 2149-1855)â291
13.7 Memento mori pendant, Southern Netherlands or Northern France, 1520â1530 (London, Victoria and Albert Museum, 2149-1855)â292
13.8 Memento mori pendant, Southern Netherlands or Northern France, 1520â1530 (London, Victoria and Albert Museum, 2149-1855)â293
13.9 Memento mori pendant, Southern Netherlands or Northern France, 1520â1530 (London, Victoria and Albert Museum, 2149-1855)â295
13.10 Chicart Bailly(?), Memento mori pendant, Paris, c. 1500â30 (Detroit, Detroit Institute of Arts, 1990.315)â296
13.11 Chicart Bailly(?), Memento mori pendant, Paris, c. 1500â30 (Detroit, Detroit Institute of Arts, 1990.315)â296
13.12 Chicart Bailly(?), Memento mori, Paris, c. 1530 (Cologne, Museum Schnütgen, B 160)â300
13.13 Chicart Bailly(?), Memento mori, Paris, c. 1530 (Cologne, Museum Schnütgen, B 160)â300
13.14 Final opening of Galen, De ossibus (On Bones), in his Opera omnia (Basel: Andreas Cratander, 1538) (Cambridge, Massachusetts, Harvard University, Houghton Library, Typ 564.38.415) (photo: author)â301
13.15 Initial âomicron,â in Galen, De ossibus (On Bones), in his Opera omnia (Basel: Andreas Cratander, 1538) (Cambridge, Massachusetts, Harvard University, Houghton Library, Typ 564.38.415)â302
13.16 Anatomical Illustration from Le Kalendrier des bergers (The Shepherdsâ Calendar) (Paris: Guy Marchant, 1493) (photo: author)â303
13.17 Hans Holbein and Hans Lützelburger, The Astronomer and Death, from the Simulachres et historiees faces de la mort (Lyon: Melchior and Gaspar Trechsel, 1538), Fi verso [Amsterdam, Rijksmuseum, RP-P-OB-4509N(R)]â305
13.18 Hans Holbein and Hans Lützelburger, The Countess, from the Simulachres et historiees faces de la mort (Lyon: Melchior and Gaspar Trechsel, 1538), G(i) (New York: Metropolitan Museum of Art, 19.57.33, Rogers Fund, 1919)â307
14.1 Theodoor Galle (engraver), Title-Page to Jan David, Veridicus Christianus (Antwerp, Officina Plantiniana apud Ioannem Moretum: 1601). Engraving, in-4. Chicago, The Newberry Libraryâ312
14.2 Theodoor Galle (engraver), Emblem 81, âCoemeterii lectio; mundi despectioâ (âThe lesson of the cemetery is contempt for the worldâ), in Jan David, Veridicus Christianus (Antwerp, Officina Plantiniana apud Ioannem Moretum: 1601). Engraving, in-4. Chicago, The Newberry Libraryâ316
14.3 Theodoor Galle (engraver), Emblem 82, âOptima philosophia, mortis meditatioâ (âThe most excellent philosophy, to meditate deathâ), in Jan David, Veridicus Christianus (Antwerp, Officina Plantiniana apud Ioannem Moretum: 1601). Engraving, in-4. Chicago, The Newberry Libraryâ317
14.4 Theodoor Galle (engraver), Emblem 83, âPraestantissimum hominis pignus, animaâ (âManâs most excellent gage, the soulâ), in Jan David, Veridicus Christianus (Antwerp, Officina Plantiniana apud Ioannem Moretum: 1601). Engraving, in-4. Chicago, The Newberry Libraryâ335
14.5 Theodoor Galle (engraver), Emblem 85, âStatutum est hominibus, semel mori. Hebr. 9â (âFor men one thing is ordained, but once to die. Hebr. 9â), in Jan David, Veridicus Christianus (Antwerp, Officina Plantiniana apud Ioannem Moretum: 1601). Engraving, in-4. Chicago, The Newberry Libraryâ336
14.6 Theodoor Galle (engraver), Emblem 88, âMortem timet, quem terret conscientiaâ (âHe whom conscience dismays, fears deathâ), in Jan David, Veridicus Christianus (Antwerp, Officina Plantiniana apud Ioannem Moretum: 1601). Engraving, in-4. Chicago, The Newberry Libraryâ337
14.7 Theodoor Galle (engraver), Emblem 89, âOptat mori, cui mens est conscia rectiâ (âHe whose heart knows righteousness, desires to dieâ), in Jan David, Veridicus Christianus (Antwerp, Officina Plantiniana apud Ioannem Moretum: 1601). Engraving, in-4. Chicago, The Newberry Libraryâ338
14.8 Theodoor Galle (engraver), Emblem 90, âQui in statu gratiae moritur, caelo asseriturâ (âHe who dies in a state of grace, is claimed by heavenâ), in Jan David, Veridicus Christianus (Antwerp, Officina Plantiniana apud Ioannem Moretum: 1601). Engraving, in-4. Chicago, The Newberry Libraryâ345
14.9 Theodoor Galle (engraver), Emblem 92, âTria sunt asperrima verbaâ (âThree words are most bitterâ), in Jan David, Veridicus Christianus (Antwerp, Officina Plantiniana apud Ioannem Moretum: 1601). Engraving, in-4. Chicago, The Newberry Libraryâ346
14.10 Theodoor Galle (engraver), Emblem 93, âQuo plus acceperis, hoc maior reddenda ratioâ (âThe more you shall receive, the more you must render accountâ), in Jan David, Veridicus Christianus (Antwerp, Officina Plantiniana apud Ioannem Moretum: 1601). Engraving, in-4. Chicago, The Newberry Libraryâ347
14.11 Theodoor Galle (engraver), Emblem 98, âNe tardes converti ad Dominumâ (âLest you delay to turn toward the Lordâ), in Jan David, Veridicus Christianus (Antwerp, Officina Plantiniana apud Ioannem Moretum: 1601). Engraving, in-4. Chicago, The Newberry Libraryâ348
14.12 Theodoor Galle (engraver), Emblem 99, âMemorare novissima: nec peccabisâ (âRemember the four last things: you shall not sinâ), in Jan David, Veridicus Christianus (Antwerp, Officina Plantiniana apud Ioannem Moretum: 1601). Engraving, in-4. Chicago, The Newberry Libraryâ350
14.13 Theodoor Galle (engraver), Emblem 100, âQuatuor hominis novissimaâ (âHumanityâs four last thingsâ), in Jan David, Veridicus Christianus (Antwerp, Officina Plantiniana apud Ioannem Moretum: 1601). Engraving, in-4. Chicago, The Newberry Libraryâ351
15.1 âWrath,â Stephen Bateman, A christall glasse of christian reformation, wherein the godly may behold the coloured abuses used in this our present tyme, D1vâ357
15.2 âChurch Hierarchy: Pope, Archbishop, Cardinal,â woodcut by Tobias Stimmer and L. Fly (second half of the sixteenth century), German History in Documents and Imagesâ358
15.3 âEnvy,â Stephen Bateman, A christall glasse of christian reformation, wherein the godly may behold the coloured abuses used in this our present tyme, H2râ358
15.4 âVeritie,â Stephen Bateman, A christall glasse of christian reformation, wherein the godly may behold the coloured abuses used in this our present tyme, Q2vâ366
15.5 âLove,â Stephen Bateman, A christall glasse of christian reformation, wherein the godly may behold the coloured abuses used in this our present tyme, K1râ367
15.6 âVirgin and Child on a Crescent with a Sceptre and a Starry Crown,â Albrecht Dürer, engraving, 1516â368
15.7 âFaith,â Stephen Bateman, A christall glasse of christian reformation, wherein the godly may behold the coloured abuses used in this our present tyme, M4râ370
15.8 âPurgatory,â Stephen Bateman, A christall glasse of christian reformation, wherein the godly may behold the coloured abuses used in this our present tyme, U3râ373
16.1 Niccolo Circignani and Matteo da Siena, view of the first six panels in the cycle, c. 1581â82, fresco, Church of Santo Stefano Rotondo, Rome. Photo: Authorâ380
16.2 Basilica of San Vitale, Rome: interior view with apse frescoes by Andrea Commodi and Agostino Ciampelli, c. 1598â1603. Photo: Authorâ384
16.3 Basilica of San Vitale, Rome: interior view with nave frescoes by Tarquinio Ligustri or follower of Paul Brill, c. 1603. Photo: Authorâ384
16.4 Giacomo Taurino, Entrance Doors (overall view), c. 1607â15, walnut, Basilica of San Vitale, Rome. Photo: Authorâ386
16.5 Giacomo Taurino, Ignatius of Loyolaâs Vision at La Storta (panel from entrance doors), c. 1607â15, walnut, Basilica of San Vitale, Rome. Photo: Authorâ388
16.6 Giacomo Taurino, Francis Xavier Traveling to Miyako (panel from entrance doors), c. 1607â15, walnut, Basilica of San Vitale, Rome. Photo: Authorâ391
16.7 Pierre Legros, Ignatius of Loyola, 1697â99, silver gilt; Pierre Stephan Monnot, Angel Composing the Name of the Society, 1696â97, marble; Lorenzo Ottone and Bernardo Ludovisi, Trinity, 1726, marble; sculptures from the Altar of St. Ignatius, Church of Il Gesù, Rome. Photo: Authorâ394
16.8 âFrancis Xavier Traveling to Miyako,â engraving from Cultus Sancti Francisci Xaverii Soc. Jesu. Japoniae & Indiarum Apostoli, published in Vienna, c. 1740. Jesuitica Collection of the John J. Burns Library, Boston College. Photo: Authorâ396
16.9 Tomb of St. Francis Xavier, 1636â37, silver gilt, Church of Bom Jesus, Goa. Photo: Authorâ397
16.10 Valérien Regnard, âThe Vision of Ignatius at La Stortaâ engraving from S. Ignatii Loyolæ Soc: Iesv fvndatoris, qvædã miracvla; and âFrancis Xavier Traveling to Miyakoâ engraving from S. Francisci Xaverii: Ind. Apli Societatis Iesv, qvædã miracvla, published together in Rome, c. 1622. Jesuitica Collection of the John J. Burns Library, Boston College. Photo: Authorâ398