1.1 Erhart Küng, Tympanum with Last Judgement, ca. 1470. Central west portal, Minster, Bern. Image © Wikimedia Commons 3
1.2 Hieronymus Wierix (published by Joachim de Buschere), The possible travels of the soul after death, 1563–1619. Engraving, 13.2 × 8.9 cm. Amsterdam, Rijksmuseum, Rijksprentenkabinet, RP-P-1906–1825. Public domain 5
1.3 Boëtius Adamsz. Bolswert, “Utinam saperent et intelligerent ac novissima providerent! Deuteron[omy] 32[:29]” (Oh, that they were wise, that they understood this, that they would consider their latter end!). Engraving, 15.2 × 9.4 cm. From: Hugo Herman, S.J., Pia desideria (Antwerp, Hendrick Aertssens: 1624), before 107, fig. 14. New York, The Metropolitan Museum of Art, Harris Brisbane Dick Fund, 1939, inv. no. 39.33.1. Image © The Metropolitan Museum of Art 13
2.1 Peter Paul Rubens, The Small Last Judgement, ca. 1621/22. Oil on oak panel, 184.5 × 120.4 cm. Munich, Alte Pinakothek, inv. no. 611. Image © Bayerische Staatsgemäldesammlungen (photo: Sibylle Forster) 29
2.2 Peter Paul Rubens, The Fall of the Damned, ca. 1621. Oil on oak panel, 286 × 224 cm. Munich, Alte Pinakothek, inv. no. 320. Image © Bayerische Staatsgemäldesammlungen (photo: Sibylle Forster) 31
2.3 Peter Paul Rubens, The Great Last Judgement, ca. 1617. Oil on canvas, 608.5 × 463.5 cm. Munich, Alte Pinakothek, inv. no. 890. Image © Bayerische Staatsgemäldesammlungen 32
2.4 Peter Paul Rubens, The Fall of the Rebel Angels, 1621/22, oil on canvas, 438 × 291.5 cm. Munich, Alte Pinakothek, inv. no. 306. Image © Bayerische Staatsgemäldesammlungen 33
2.5 Peter Paul Rubens, The Woman of the Apocalypse, ca. 1623–1625, oil on canvas, 554.5 × 370.5 cm. Munich, Alte Pinakothek, inv. no 891. Image © Bayerische Staatsgemäldesammlungen (photo: Andreas Werner) 34
2.6 Peter Paul Rubens, The Fall of the Damned. Detail of Fig. 2.2, showing the middle section of the ‘pool of fire’, painted on an added plank of wood. Image © Bayerische Staatsgemäldesammlungen (photo: Sibylle Forster) 42
2.7 Peter Paul Rubens, Studies for a Lion Hunt and of a large dragon and fighting animals and monsters. Pen and brown ink, on a double sheet with a horizontal fold in the middle, 57.3 × 48.5 cm, recto. London, British Museum, Department of Prints and Drawings, inv. no. 1885-5-9-51. Image © The Trustees of the British Museum 44
2.8 Peter Paul Rubens, The Fall of the Damned. Detail of Fig. 2.2, showing Rubens’s depiction of the final conflagration where some of the areas are touched up with dots. Image © Bayerische Staatsgemäldesammlungen (photo: Sibylle Forster) 46
4.1 Frontispiece of Johannes Kepler, Somnium, seu opus posthumum de astronomia lunari (Frankfurt, Saganus Silesiorum: 1634). Public Domain 102
4.2 Gerardus Mercator, Map of Iceland with Mount Hekla. From: Atlas sive cosmographicae meditationes de fabrica mundi et fabricati figura (Amsterdam, Jodocus Hondius: 1619). Public Domain 104
4.3 Abraham Ortelius, Map of Iceland with Mount Hekla. From: Theatrum orbis terrarum (Antwerp, Plantin Press: 1595). Public Domain 104
4.4 Francis Bacon, Frontispiece of Instauratio magna (London, Joannes Billius: 1620). Public Domain 116
5.1 Raphael, Le Grand Saint Michel, 1518. Oil transferred from wood to canvas, 268 × 160 cm. Paris, Musée du Louvre, inv. no. 610. Image © RMN-Grand Palais (Musée du Louvre), Thierry Ollivier 141
5.2 Marco d’Oggiono, Altarpiece of the Three Archangels, ca. 1516. Oil on wood, 255 × 190 cm. Milan, Pinacoteca di Brera, inv. no. 447. Image © Pinacoteca di Brera 143
5.3 Domenico Beccafumi, The Fall of the Rebel Angels, ca. 1524. Oil on wood, 347 × 227 cm. Siena, Pinacoteca Nazionale. Public Domain. Wikimedia Commons 144
5.4 Domenico Beccafumi, The Fall of the Rebel Angels, ca. 1528. Oil on wood, 347 × 225 cm. Siena, Church of San Niccolò al Carmine. Public Domain. Wikimedia Commons 146
5.5 Giorgio Vasari, Chapel of St. Michael with the vault fresco depicting the Fall of Lucifer and the Rebel Angels, ca. 1571. Vatican City, Vatican Palace. Image © Governorate of the Vatican City State – Directorate of the Vatican Museums 148
5.6 Guido Reni, St. Michael, 1635/36. Oil on canvas, 293 × 202 cm. Rome, Church of Santa Maria della Concezione dei Cappucini. Image © Fototeca Federico Zeri, Bologna 149
5.7 Alessandro Algardi, St. Michael Overcoming the Devil, before 1652. Bronze. Bologna, Museo Civico Medievale. Image © Fototeca Federico Zeri, Bologna 151
5.8 Francesco Bertos, The Fall of the Rebel Angels, 1730s. Marble, 168 × 80 × 81 cm. Vicenza, Gallerie d’Italia. Image © Archivio Patrimonio Artistico Intesa Sanpaolo 153
6.1 The Limbourg Brothers, Hell, ca. 1416. Manuscript illumination, 29 × 21 cm. From: Les Très Riches Heures du duc de Berry, Ms. 65, fol. 108 r. Musée Condé, France. Image © Cliché IRHT-CNRS 164
6.2 The Limbourg Brothers, The Fall of the Rebel Angels, ca. 1416. Manuscript illumination, 29 × 21 cm. From: Les Très Riches Heures du duc de Berry, Ms. 65, fol. 64 v. Musée Condé, France. Image © Cliché IRHT-CNRS 165
7.1 Frontispiece of Athanasius Kircher, Ars magna lucis et umbrae in decem libros digesta (Rome, Sumptibus Hermanni Scheus: 1646). Public Domain. Wikimedia Commons 190
7.2 Jan Brueghel the Elder, Aeneas and the Cumaean Sibyl in the Underworld, ca. 1600–1625. Oil on copper, 26.8 × 35.3 cm. Copenhagen, Thorvaldsens Museum, inv. no. B44. Image © Thorvaldsens Museum 205
7.3 Jan Brueghel the Younger, Aeneas and the Cumaean Sibyl in the Underworld, 1630s. Oil on copper, 26.7 × 35.9 cm. New York, The Metropolitan Museum of Art, inv. no. 1991.444. Image © The Metropolitan Museum of Art 206
7.4 Frontispiece of Athanasius Kircher, Mundus subterraneus in XII libros digestus (Amsterdam, Johannes Janssonius van Waesberge: 1664). Image courtesy of the History of Science Collections, University of Oklahoma Libraries 207
7.5 Frontispiece of Kircher, Mundus subterraneus. Detail of Fig. 7.4, showing the Cartouche with verses from Aeneid, VI, 726–727: ‘Spiritus intus alit totamque infusa per artus / mens agitat molem et magno se corpore miscet’ 208
7.6 Frontispiece of Christoph Scheiner, Rosa Ursina sive Sol ex admirando facularum et macularum suarum phoenomeno varius (Bracciano, Apud Andream Phaeum Typographum Ducalem: 1626–1630). Detail showing the ruffled nature of the sun’s surface and the sunspots. Zurich, ETH-Bibliothek, Rar 10152. Public Domain 212
10.1 Our Lady of Guadalupe, before 1556. Oil and tempera on cloth, 175 × 109 cm. Mexico City, Basílica of Our Lady of Guadalupe. Photo by the author 278
10.2 Baltasar de Echave Orio, The Virgin of Guadalupe, 1606. Oil on canvas, 170 × 111 cm. Mexico City, Private collection. Image: ARCA, arte colonial, https://arcav1.uniandes.edu.co/artworks/2549 284
10.3 Meister E.S., St. Veronica with the Sudarium, 2nd third of the 15th century. Engraving, 9.4 × 6.2 cm. Vienna, Albertina, inv. no. DG1926/774. Image © Albertina, Vienna 285
10.4 Samuel Stradanus, Indulgence for Donation of Alms toward the Building of a Church Dedicated to the Virgin of Guadalupe. Modern facsimile impression of the original engraving of ca. 1613–1615, 33 × 21.3 cm. New York, The Metropolitan Museum of Art, inv. no. 48.70. Image © The Metropolitan Museum of Art. Public Domain 292
10.5 Unknown artist, The Apparition of the Image of Our Lady of Guadalupe of Mexico. Engraving, 16 × 11.2 cm. From: Lasso de la Vega Luis, Huei tlamahuiçoltica (Mexico, Imprenta de Iuan Ruyz: 1649). Imprint owned by the John Carter Brown Library, Providence, RI, inv. no. BA649.L347h. Image courtesy of the John Carter Brown Library at Brown University 300
10.6 Gregorio José de Lara, Vision of St. John on Patmos Tenochtitlan, eighteenth century. Oil on canvas, 120 × 112 cm. Oaxaca, Templo de Coixtlahuaca. Image: PESSCA (Project on the Engraved Sources of Spanish Colonial Art), https://colonialart.org/artworks/3602b 303
11.1 Michelangelo Buonarroti, Last Judgement, 1538–1541. Detail of Christ and the Virgin. Fresco (pre-restoration). Rome, Vatican Palace, Sistine Chapel. Image © Scala / Art Resource, New York 325
11.2 Michelangelo Buonarroti, Tomb of Lorenzo de’ Medici with Dawn and Dusk, 1524–1531. Florence, San Lorenzo, Medici Chapel. Image © Erich Lessing / Art Resource, New York 327
11.3 Michelangelo Buonarroti, Medici Madonna, 1521–1534. Florence, San Lorenzo, Medici Chapel. Image © Alinari Archives (Serge Domingie) 328
11.4 Michelangelo Buonarroti, Madonna della Scala (Madonna of the Stairs), 1489–1492. Marble relief. Florence, Casa Buonarroti. Image © Associazione Metamorfosi, Rome / Photo Scala, Florence / Art Resource, New York 329
12.1 Map of the area where Calvin locates Eden. From: John Calvin, Commentaire sur le premier livre de Moyse, dit Genese (Geneva, Jean Gérard: 1554) 33. Public domain. Archive.org 343
12.2 Île de Cythère. From: Francesco Colonna, Le Songe de Poliphile, trans. Jean Martin (Paris, Jacques Kerver: 1546), fol. Tiii. Public domain. Archive.org 351
12.3 Jacques Androuet du Cerceau, Château de Montargis. Bird’s eye view from the south-east showing the castle at the centre, with formal gardens and two mazes arranged in a semicircle around the moat, ca. 1570. Pen and black ink, with grey wash, on vellum, 512 × 744 mm. London, The British Museum, inv. no. 1972, U.817. Image © The Trustees of the British Museum 354
12.4 Jacques Androuet du Cerceau, Château de Montargis. Map of the area with the castle at the centre, ca. 1570. Pen and black ink, with grey wash, on vellum, 515 × 740 mm. London, The British Museum, inv. no. 1972, U.815. Image © The Trustees of the British Museum 355
12.5 “The City of Truth or Ethics”. Engraving. From: Bartholomeus Delbene, Civitas veri sive morum (Paris, Ambrosius and Hieronymus Drouart: 1609) 28–29. Public domain. Archive.org 356
12.6 Jacques Androuet du Cerceau, Château de Montargis. Map from the south-west depicting the castle with surrounding land, ca. 1570. Pen and black ink, with grey wash, on vellum, 518 × 751 mm. London, The British Museum, inv. no. 1972, U.814. Image © The Trustees of the British Museum 357
12.7 Emblema I. Engraving. From: Théodore de Beze, Icones, id est verae imagines virorum doctrina simul et pietate illustrium (Geneva, Jean Laon: 1580). Public domain. Archive.org 359
12.8 Jacques Androuet du Cerceau, Château de Montargis. Detail with monumental gateway and galleries, ca. 1570. Pen and black ink, with grey wash, on vellum, 512 × 744 mm. London, The British Museum, inv. no. 1972, U.819. Image © The Trustees of the British Museum 360
12.9 “Sed futuram inquirimus”. From: Georgette de Montenay, Emblèmes ou Devises chrestiennes (Zurich, Christoph Froschauer: 1584), fol. 12 r. Public domain. Archive.org 362
12.10 Jacques Androuet du Cerceau, Château de Montargis. Detail with mazes in the garden. Engraving. From: Les Plus excellents bastiments de France (Paris, s.n.: 1607), originally published in 1576. Public Domain. Archive.org 362
13.1. Jan Sanders van Hemessen, The Penitent St. Jerome in the Wilderness, signed and dated 1543. Oil on panel, 102 × 83.5 cm. St. Petersburg, The State Hermitage Museum, inv. no. 451. Image © Wikimedia Commons 373
13.2 Jan Sanders van Hemessen, The Penitent St. Jerome in the Wilderness, signed and dated 1531. Oil on panel, 109 × 148 cm. Lisbon, Museu Nacional de Arte Antiga. Image © Author 374
13.3 Jan Sanders van Hemessen, The Penitent St. Jerome in His Study, signed. Oil on panel, 103 × 81 cm. Antwerp, Snijders&Rockoxhuis, inv. no. 77.3. Image © KBC Bank NV, Antwerpen, Snijders&Rockoxhuis 377
13.4 Jan Sanders van Hemessen, The Penitent St. Jerome in His Study. Detail of Fig. 13.3, showing visionary Last Judgement vignette. Image © KBC Bank NV, Antwerpen, Snijders&Rockoxhuis 378
13.5 Marinus van Reymerswaele, St. Jerome in His Study, signed and dated 1541. Oil on panel, 80 × 108 cm. Madrid, Museo Nacional del Prado, inv. no. P0026553. Image © Photographic Archive Museo Nacional del Prado 379
13.6 Jan Sanders van Hemessen, The Penitent St. Jerome in the Wilderness. Oil on panel, 51 × 80 cm. Genoa, Musei di Strada Nuova (Palazzo Rosso). Image © Musei di Strada Nuova – Palazzo Rosso, Genova, Italy 380
13.7 Joachim Patinir, The Penitence of St. Jerome (open view), ca. 1515. Oil on panel, 117.5 × 81.3 cm (center panel with frame). New York, The Metropolitan Museum of Art, inv. no. 36.14a–c. Image © The Metropolitan Museum of Art 382
13.8 Jan Sanders van Hemessen and the Master of Saints Paul and Barnabas, Prodigal Son in the Brothel, signed and dated 1536. Oil on panel, 140 × 198 cm. Brussels, Musées royaux des Beaux-Arts. Image © Royal Museums of Fine Arts of Belgium, Brussels / Photo J. Geleyns – Art Photography 385
13.9 Jan Sanders van Hemessen, The Penitent St. Jerome in the Wilderness. Detail of Fig. 13.2, showing signature. Image © Author 391
13.10 Jan Sanders van Hemessen, The Penitent St. Jerome in the Wilderness. Detail of Fig. 13.2, showing curve of saint’s body. Image © Author 391
14.1 Theodore Galle, Title-Page of Jan David, S.J., Veridicus Christianus (Antwerp, Ex officina Plantiniana, apud Ioannem Moretum: 1601). Engraving, quarto. The Newberry Library, Chicago 397
14.2 Theodore Galle, Title-Page of Jan David, S.J., Occasio arrepta, neglecta; huius commoda, illius incommoda (Antwerp, Ex officina Plantiniana, apud Ioannem Moretum: 1605). Engraving, quarto. Emory University, Stuart A. Rose Manuscript, Archives, and Rare Book Library 398
14.3 Theodore Galle, Title-Page of Jan David, S.J., Pancarpium Marianum, Septemplici Titulorum serie distinctum: ut in B. Virginis odorem curramus, et Christus formetur in nobis (Antwerp, Ex officina Plantiniana, apud Balthasarem et Ioannem Moretos: 1607; reprint ed., 1618). Engraving, octavo. Emory University, Stuart A. Rose Manuscript, Archives, and Rare Book Library 399
14.4 Jan and/or Hieronymus Wierix, Title-Page of Jerónimo Nadal, Adnotationes et meditationes in Evangelia quae in sacrosancto Missae sacrificio toto anno leguntur (Antwerp, Martinus Nutius: 1595; reprint ed., 1607). Engraving, folio. Emory University, Stuart A. Rose Manuscript, Archives, and Rare Book Library 400
14.5 Jan Wierix after Bernardino Passeri, What Things Shall Presently Precede the Universal Judgement, in Jerónimo Nadal, S.J., Adnotationes et meditationes in Evangelia (Antwerp, Ex Officina Plantiniana, apud Ioannem Moretum: 1607), chapter I, imago 98. Engraving, folio. Emory University, Stuart A. Rose Manuscript, Archives, and Rare Book Library 401
14.6 Jan Wierix after Bernardino Passeri, The Universal Judgement, in Jerónimo Nadal, S.J., Adnotationes et meditationes in Evangelia (Antwerp, Ex Officina Plantiniana, apud Ioannem Moretum: 1607), chapter XXVIII, imago 99. Engraving, folio. Emory University, Stuart A. Rose Manuscript, Archives, and Rare Book Library 402
14.7 Jan Wierix after Bernardino Passeri, From out of Hell, the Reveller Importunes Abraham in Vain, in Jerónimo Nadal, S.J., Adnotationes et meditationes in Evangelia (Antwerp, Ex Officina Plantiniana, apud Ioannem Moretum: 1607), chapter XXXIX, imago 75. Engraving, folio. Emory University, Stuart A. Rose Manuscript, Archives, and Rare Book Library 403
14.8 Antoon II Wierix after Bernardino Passeri, What Christ Accomplished on his Descent into Hell, in Jerónimo Nadal, S.J., Adnotationes et meditationes in Evangelia (Antwerp, Ex Officina Plantiniana, apud Ioannem Moretum: 1607), chapter CIIII, imago 131. Engraving, folio. Emory University, Stuart A. Rose Manuscript, Archives, and Rare Book Library 404
14.9 Theodore Galle, Title-Page of Paradisus Sponsi et Sponsae: in quo Messis myrrhae et aromatum ex instrumentis ac mysteriis Passionis Christi colligenda, et Pancarpium Marianum (Antwerp, Ex Officina Plantiniana apud Ioannem Moretum: 1607; reprint ed., 1618). Emory University, Stuart A. Rose Manuscript, Archives, and Rare Book Library 408
14.10 Hieronymus Wierix after Bernardino Passeri, The Glorious Resurrection of Christ, in Jerónimo Nadal, S.J., Adnotationes et meditationes in Evangelia (Antwerp, Ex Officina Plantiniana, apud Ioannem Moretum: 1607), chapter CVIIJ, imago 134. Engraving, folio. Emory University, Stuart A. Rose Manuscript, Archives, and Rare Book Library 410
14.11 Theodore Galle, Emblem 6: “Haeresis, peste perniciosior” (Heresy, more baleful than the plague), in Jan David, S.J., Veridicus Christianus (The True Christian) (Antwerp, Ex officina Plantiniana, apud Ioannem Moretum: 1601; reprint ed., 1606). Engraving, quarto. Emory University, Stuart A. Rose Manuscript, Archives, and Rare Book Library 414
14.12 Theodore Galle, Emblem 3: “Qui, spreto Deo, diabolo servit, desipit” (He who serves the devil, having scorned God, is void of understanding), in Jan David, S.J., Veridicus Christianus (The True Christian) (Antwerp, Ex officina Plantiniana, apud Ioannem Moretum: 1601; reprint ed., 1606). Engraving, quarto. Emory University, Stuart A. Rose Manuscript, Archives, and Rare Book Library 415
14.13 Theodore Galle, Emblem 10: “Diaboli haereticique lapsus simillimus” (The most similar fall of the devil and the heretic), in Jan David, S.J., Veridicus Christianus (The True Christian) (Antwerp, Ex officina Plantiniana, apud Ioannem Moretum: 1601; reprint ed., 1606). Engraving, quarto. Emory University, Stuart A. Rose Manuscript, Archives, and Rare Book Library 420
14.14 Theodore Galle, Schema 1: “Tempus et Occasio sua explicant munia” (Time and Occasion explain their offices), in Jan David, S.J., Occasio arrepta, neglecta; huius commoda, illius incommoda (Antwerp, Ex officina Plantiniana, apud Ioannem Moretum: 1605). Engraving, quarto. Emory University, Stuart A. Rose Manuscript, Archives, and Rare Book Library 424
14.15 Theodore Galle, Schema 2: “Ad frugem vocat Angelus, avocat Diabolus” ([Guardian] Angel calls to virtue, the Devil away from it), in Jan David, S.J., Occasio arrepta, neglecta; huius commoda, illius incommoda (Antwerp, Ex officina Plantiniana, apud Ioannem Moretum: 1605). Engraving, quarto. Emory University, Stuart A. Rose Manuscript, Archives, and Rare Book Library 425
14.16 Theodore Galle, Schema 11: “Angelus Diabolo praedam extorquet poenitentiam” ([Guardian] Angel wrests away the devil’s prey for the purpose of penitence), in Jan David, S.J., Occasio arrepta, neglecta; huius commoda, illius incommoda (Antwerp, Ex officina Plantiniana, apud Ioannem Moretum: 1605). Engraving, quarto. Emory University, Stuart A. Rose Manuscript, Archives, and Rare Book Library 427
14.17 Theodore Galle, Schema 12: “Captatae, neglectaeque Occasionis dispares exitus” (The disparate ends of Occasion seized and neglected), in Jan David, S.J., Occasio arrepta, neglecta; huius commoda, illius incommoda (Antwerp, Ex officina Plantiniana, apud Ioannem Moretum: 1605). Engraving, quarto. Emory University, Stuart A. Rose Manuscript, Archives, and Rare Book Library 428
14.18 Theodore Galle, Schema 4: “Stimulante Daemone, misere eluditur Occasio” (By the Devil’s urging, Occasion is pitiably mocked), in Jan David, S.J., Occasio arrepta, neglecta; huius commoda, illius incommoda (Antwerp, Ex officina Plantiniana, apud Ioannem Moretum: 1605). Engraving, quarto. Emory University, Stuart A. Rose Manuscript, Archives, and Rare Book Library 438
14.19 “Titulorum quinquaginta partitio, prout in praesenti Tractatu sunt digesti” (Division of the fifty titles, as arranged in the present Treatise), in Jan David, S.J., Pancarpium Marianum, Septemplici Titulorum serie distinctum: ut in B. Virginis odorem curramus, et Christus formetur in nobis (Antwerp, Ex officina Plantiniana, apud Balthasarem et Ioannem Moretos: 1607; reprint ed., 1618), fol. +8v. Engraving, octavo. Emory University, Stuart A. Rose Manuscript, Archives, and Rare Book Library 443
14.20 Theodore Galle, Emblem 18: “Mulier amicta sole” (Woman clothed by the sun), in Jan David, S.J., Pancarpium Marianum, Septemplici Titulorum serie distinctum: ut in B. Virginis odorem curramus, et Christus formetur in nobis (Antwerp, Ex officina Plantiniana, apud Balthasarem et Ioannem Moretos: 1607; reprint ed., 1618). Engraving, octavo. Emory University, Stuart A. Rose Manuscript, Archives, and Rare Book Library 445
14.21 Theodore Galle, Emblem 50: “Regina caeli” (Queen of heaven), in Jan David, S.J., Pancarpium Marianum, Septemplici Titulorum serie distinctum: ut in B. Virginis odorem curramus, et Christus formetur in nobis (Antwerp, Ex officina Plantiniana, apud Balthasarem et Ioannem Moretos: 1607; reprint ed., 1618). Engraving, octavo. Emory University, Stuart A. Rose Manuscript, Archives, and Rare Book Library 446
15.1 Galileo Galilei, Objective Lens, late 1609–early 1610, in Vittorio Crosten, Frame, 1677. Lens: glass, gilt brass; frame: ivory, ebony; lens: 5.8 cm (effective aperture 3.8 cm); frame: 41 × 30 cm. Florence, Museo Galileo/Istituto e Museo di Storia della Scienza, Room VII: Galileo’s New World, inv. no. 2429. Image © Museo Galileo, Firenze (photo: Sabina Bernacchini) 460
15.2 Boetius Bolswert, “Utinam saperent et intelligerent ac novissima providerent! Deuteron[omy] 32[:29]” (Oh, that they were wise, that they understood this, that they would consider their latter end! Deuteronomy 32:29). Engraving, 15.2 × 9.4 cm. From: Hugo Herman, S.J., Pia desideria (Antwerp, Hendrick Aertssens: 1624), before 107, fig. 14. New York, The Metropolitan Museum of Art, Harris Brisbane Dick Fund, 1939, inv. no. 39.33.1. Image © The Metropolitan Museum of Art 462
15.3 Frederick II Bouttats, “[Quia et Christus] passus est [pro nobis], vobis reliquens exemplum, ut sequamini vestigia eius. 1 Pet[er] 2[:21]” (Because Christ suffered for us, leaving you an example, that you should follow in his steps. 1 Peter 2:21). Engraving, 8.3 × 12.7 cm (image). From: St. Ignatius of Loyola, S.J., Geestelycke oeffeninghen vanden H. vader Ignatius van Loyola (Antwerp, Michiel Cnobbaert: 1673), after 208. Brussels, Bibliothèque Royale de Belgique, Rare Books, call no. LP 11.979 A RP. Image © Bibliothèque Royale de Belgique (photo: Harry Coremans) 468
15.4 Pirro Ligorio (designer) and Simone Moschino (sculptor), Hannibal’s Elephant Crushing a Roman Soldier, A Dragon Attacking a Lion and a Lioness, and The Mouth of Hell, ca. 1547–1561, stone. Sacro Bosco, Orsini Castle, Bomarzo, Viterbo, Lazio. Image © Wikimedia Commons (CCO 1.0) (photo: Daderot) 471
15.5 Jesuit Workshop of Japan, The Martyrdom of Leonardo Kimura, S.J. and Fourteen Companions (November 18, 1619), ca. 1619–1650. Oil and ink on paper, later attached to canvas, 135 × 153 cm. Rome, Il Gesù, Casa Professa. Image © Zeno Colantoni 473
15.6 Jesuit Workshop of Japan, The Great Martyrdom of the Fifty-two Martyrs of Nagasaki (1622), ca. 1622–1650. Oil and ink on paper, later attached to canvas, 127 × 170 cm. Rome, Il Gesù, Casa Professa. Image © Zeno Colantoni 474
15.7 Jesuit Workshop of Japan, St. Francis Xavier, S.J., Founder of the Mission to Japan, and the Jesuit Martyrs of Japan, 1617–1632, ca. 1632–1650. Oil and ink on paper, later attached to canvas, 110 × 220 cm. Rome, Il Gesù, Casa Professa. Image © Zeno Colantoni 474
15.8 Melchior Küsel, The Martyrdom of Cornelis Beudin Godínez, S.J. Engraving, 30 × 18 cm. From: Tanner Matthias, S.J., Societas Iesu usque ad sanguinis et vitae profusionem militans: in Europa, Africa, Asia, et America, contra gentiles, Mahometanos, Judaeos, haereticos, impios, pro Deo, fide, Ecclesia, pietate (Prague, Universitas Carolo-Ferdinandea: 1675) 544. Boston, Boston College, John J. Burns Library, call no. BX3755.T3 1675 Jesuitica Oversize. Image © HathiTrust Digital Library (Public Domain) 477
15.9 Jesuit Workshop of Japan, St. Francis Xavier, St. Diogo (Santiago) Kisai, St. Paulo Miki, and St. João (Soan) de Goto. Detail of Fig. 15.7 480
15.10 Monogrammist MP, “Rex gloriose martyrum” (Christ as the glorious king of martyrs), ca. 1580–1630. Engraving, 27.1 × 17.4 cm. Copied after: Cavalieri Giovanni Battista de’, Ecclesiae militantis triumphi (Rome, Bartolomeo Grassi: 1583), pl. 1. London, British Museum, inv. no. 1869,0410.1561, asset no. 786043001. Image © The Trustees of the British Museum 482
15.11 Boetius Bolswert, “Inspice, et imitare virtutis N. exemplar, quod tibi a Domino monstratum est” (Observe and imitate the example of virtue N [i.e., the given virtue] shown to you by the Lord). Engraving, 9.0 × 12.9 cm (image). From: Sucquet Antoine, S.J., Via vitae aeternae, vol. 1 (Antwerp, Martin III Nuyts: 1620), after 452, fig. 21. Brussels, Bibliothèque Royale de Belgique, Rare Books, call no. VB 1.999 A RP. Image © Bibliothèque Royale de Belgique (photo: Harry Coremans) 488
15.12 Boetius Bolswert, “Considera, o homo, finem tuum et vias tuas” (Consider, oh mankind, your end and your paths). Engraving, 9.1 × 13.4 cm (image). From: Sucquet Antoine, S.J., Via vitae aeternae, vol. 1 (Antwerp, Martin III Nuyts: 1620), after 2, fig. 1. Brussels, Bibliothèque Royale de Belgique, Rare Books, call no. VB 1.999 A RP. Image © Bibliothèque Royale de Belgique (photo: Harry Coremans) 490