{"lippi_adoration_forest": {"id": "lippi_adoration_forest", "title": "Adoration in the Forest", "artist_line": "Fra Filippo Lippi (Italian, c. 1406–1469)", "artist": "Fra Filippo Lippi", "date": "c. 1459", "museum": "Gemäldegalerie, Berlin", "license": "PD/CC0", "tier": "Mid", "sizes": [{"size": "11×14 in", "paper": 59, "iw": 11, "ih": 12.4, "sw": 11, "sh": 14, "cov": 0.883}, {"size": "16×20 in", "paper": 110, "iw": 16, "ih": 18.0, "sw": 16, "sh": 20, "cov": 0.899}, {"size": "18×24 in", "paper": 140, "iw": 18, "ih": 20.2, "sw": 18, "sh": 24, "cov": 0.843}], "local": "/store/display/lippi_adoration_forest.jpg", "commons_file": "Fra Filippo Lippi - The Adoration in the Forest - Google Art Project.jpg", "zoom": "https://art.monstrance.app/zoom/lippi_adoration_forest.jpg", "master_px": 4497, "auth": {"institution": "Gemäldegalerie, Staatliche Museen zu Berlin", "accession": "69", "url": "https://search.smb.museum/object/obj-864730", "artist_as_printed": "Fra Filippo Lippi (ca. 1406 - 1469), Maler*in", "date_as_printed": "1459", "medium": "Pappelholz", "dimensions": "Bildmaß: 129,4 x 118,6 cm"}, "writeup": {"text": "The Child lies naked on grass and flowers, a hand at His mouth, and Our Lady kneels to Him with folded hands. There is no manger. Erich Schleier's entry for the Gemäldegalerie traces this to fourteenth-century visions, the Franciscan John de Caulibus's and Saint Birgitta's, in which Mary adored her newborn on the bare ground. Above, God the Father leans out of cloud and the Holy Spirit, as a dove, hangs beneath Him. The boy Baptist stands with his staff; the museum gives him the idea of penance, and finds Lippi's name on the handle of an axe in a tree trunk at lower left. The axe is laid already at the root.", "sources": [{"what": "The museum's entry by Erich Schleier: the kneeling Mother of God adoring the Child lying on the ground, a motif drawn from fourteenth-century mystical writing, the visions of the Franciscan John de Caulibus and the revelations of St Birgitta, in which the Child lay naked on the ground and not in the manger; the mystical element joined to the idea of penance embodied by the boy John; the axe on the tree trunk alluding to the penitential preacher's words (Luke 3:9, Matthew 3:10); the signature on the axe handle at lower left; the Medici palace chapel commission, c. 1459.", "url": "https://search.smb.museum/object/obj-864730", "cite": "Gemäldegalerie, Staatliche Museen zu Berlin, Fra Filippo Lippi, 'Die Anbetung im Walde', inv. 69 (Erich Schleier, 200 Meisterwerke der europäischen Malerei, 2019), read 2026-09-24"}, {"what": "God the Father in a dark cloud at the top, the white dove of the Holy Spirit just below, golden rays falling; the Child lying on grass and flowers; the Baptist's staff and scroll lettered Ecce Agnus Dei.", "url": "https://smarthistory.org/fra-filippo-lippi-adoration/", "cite": "Dr. Rebecca Howard, 'Fra Filippo Lippi, Adoration in the Forest', Smarthistory, read 2026-09-24"}, {"what": "The youthful John the Baptist standing next to the newborn Christ Child, read toward his later preaching of judgment; the axe offered to the viewer.", "url": "https://english.op.org/godzdogz/advent-art-adoration-in-the-forest-by-filippo-lippi/", "cite": "Br Daniel Benedict Rowlands OP, 'Advent Art: Adoration in the Forest by Filippo Lippi', Godzdogz, English Province of the Order of Preachers, read 2026-09-24"}]}, "scene": {"why": "The Child naked on the forest floor, adored by his kneeling mother, is not the Gospel's manger: the Gemäldegalerie traces the motif to the fourteenth-century visions of John de Caulibus and the revelations of St Birgitta of Sweden, where the Child lay on the bare ground. Citing Luke 2:7 would name the manger the picture leaves out."}, "th": "/store/thumb/lippi_adoration_forest.webp", "more": [{"k": "master", "n": "Fra Filippo Lippi", "u": "/editions/master/fra-filippo-lippi/", "ids": ["lippi_saint_lawrence_enthroned", "lippi_coronation", "lippi_pieta", "lippi_saint_benedict_orders_saint_maurus_to_the_rescue_o"]}]}, "botticelli_adoration_of_the_magi": {"id": "botticelli_adoration_of_the_magi", "title": "The Adoration of the Magi", "artist_line": "Sandro Botticelli (Italian, c. 1445–1510)", "artist": "Sandro Botticelli", "date": "c. 1475–1476", "museum": "Gallerie degli Uffizi, Florence", "license": "PD/CC0", "tier": "Hero", "sizes": [{"size": "8×10 in", "paper": 39, "iw": 9.8, "ih": 8, "sw": 10, "sh": 8, "cov": 0.98}, {"size": "11×14 in", "paper": 59, "iw": 13.5, "ih": 11, "sw": 14, "sh": 11, "cov": 0.963}, {"size": "16×20 in", "paper": 110, "iw": 19.6, "ih": 16, "sw": 20, "sh": 16, "cov": 0.98}, {"size": "18×24 in", "paper": 140, "iw": 22.1, "ih": 18, "sw": 24, "sh": 18, "cov": 0.919}, {"size": "24×36 in", "paper": 190, "iw": 29.4, "ih": 24, "sw": 36, "sh": 24, "cov": 0.817}], "local": "/store/display/sandro_botticelli_adorazione_dei_magi__f6a7c5a57b1b.jpg", "commons_file": "Zanobi-Altar.jpg", "zoom": "https://art.monstrance.app/zoom/sandro_botticelli_adorazione_dei_magi__f6a7c5a57b1b.jpg", "master_px": 8571, "auth": {"institution": "Gallerie degli Uffizi / Uffizi Galleries, Firenze", "accession": "1890 no.882", "url": "https://www.uffizi.it/en/artworks/boticelli-adoration-lami", "artist_as_printed": "Alessandro Filipepi known as Sandro Botticelli (Florence 1445-1510)", "date_as_printed": "1470-1475", "medium": "Tempera grassa on wood", "dimensions": "111x137cm"}, "writeup": {"text": "An old king kneels and takes the Christ Child's foot in hands wrapped in cloth, and the Uffizi reads the veil as reverence: flesh covered before it touches what is holy. The Child is God and lets His foot be held. Above them a shelter of beams rests on ancient ruins, read as the pagan age giving way to the new. The Uffizi, following Vasari, names the kings as Medici, Cosimo the Elder at the feet, probably Piero in red and Giovanni in white, all three already dead. Gaspare del Lama founded this chapel of the Magi in 1469; Sandro Botticelli paints him grey-haired, in light blue, pointing at himself.", "sources": [{"what": "Elder Magus wipes/dabs Christ Child's feet with veiled hands; ties this to reverent covering before touching the holy", "url": "https://www.uffizi.it/en/artworks/boticelli-adoration-lami", "cite": "Uffizi official object page"}, {"what": "Joseph shown asleep beside Virgin and Child; Uffizi ties this to Matthew's account of Joseph receiving instruction through dreams", "url": "https://www.uffizi.it/en/artworks/boticelli-adoration-lami", "cite": "Uffizi official object page"}, {"what": "Peacock as symbol of Resurrection/immortality perched on the ruined structure", "url": "https://artslife.com/2015/01/06/ladorazione-dei-magi-di-sandro-botticelli-agli-uffizi/", "cite": "Elena Capretti, ArtsLife, 6 Jan 2015"}, {"what": "Ruined antique masonry read as collapsed paganism, with Holy Family seated on the fallen stones", "url": "https://www.arteworld.it/adorazione-dei-magi-botticelli-analisi/", "cite": "Arteworld.it, \"Adorazione dei Magi di Botticelli: analisi\""}, {"what": "Del Lama commissioned the panel c.1470-1475 for his chapel of the Magi and Epiphany in Santa Maria Novella, founded 1469", "url": "https://www.uffizi.it/en/artworks/boticelli-adoration-lami", "cite": "Uffizi official object page"}, {"what": "Del Lama painted into the retinue, gray-haired and in light blue, pointing at his own chest, as a donor self-portrait", "url": "https://www.uffizi.it/en/artworks/boticelli-adoration-lami", "cite": "Uffizi official object page"}, {"what": "Cosimo the Elder identified as the kneeling elder Magus, on Vasari's authority, and his death in 1464 — attribution carried, not stated as fact", "url": "https://www.uffizi.it/en/artworks/boticelli-adoration-lami", "cite": "Gallerie degli Uffizi, official object page, \"Adoration of the Magi by Sandro Botticelli\""}, {"what": "The other two Magi hedged as probably Piero in red and Giovanni in white, and all three Medici already dead when the panel was made", "url": "https://www.uffizi.it/en/artworks/boticelli-adoration-lami", "cite": "Gallerie degli Uffizi, official object page"}, {"what": "replacing the unsourced \"seat for the child\": the Holy Family receives the Magi under a shelter resting on ruins", "url": "https://artslife.com/2015/01/06/ladorazione-dei-magi-di-sandro-botticelli-agli-uffizi/", "cite": "Alberto Zuccala (content curated by Elena Capretti), ArtsLife, \"L'Adorazione dei Magi di Sandro Botticelli agli Uffizi\", 6 Jan 2015"}, {"what": "The archaeological remains of an ancient building read as the end of the pagan era, succeeded by the new era of Christ's birth.", "url": "https://artslife.com/2015/01/06/ladorazione-dei-magi-di-sandro-botticelli-agli-uffizi/", "cite": "Alberto Zuccala (content curated by Elena Capretti), ArtsLife, 6 Jan 2015"}]}, "scene": {"ref": "Matthew 2:11", "quote": "And entering into the house, they found the child with Mary his mother, and falling down they adored him: and opening their treasures, they offered him gifts; gold, frankincense, and myrrh.", "shows": "the magi entering the house and opening their treasures"}, "th": "/store/thumb/sandro_botticelli_adorazione_dei_magi__f6a7c5a57b1b.webp", "more": [{"k": "subject", "n": "The Adoration of the Magi in painting", "u": "/editions/subject/adoration-of-the-magi/", "ids": ["titian_the_adoration_of_the_magi", "pieter_bruegel_the_elder_adoration_of_the_kings_in_the_snow", "rubens_adoration_magi", "dolci_adoration_of_the_kings"]}, {"k": "master", "n": "Sandro Botticelli", "u": "/editions/master/sandro-botticelli/", "ids": ["botticelli_madonna_book", "botticelli_lamentation", "botticelli_mystic_nativity"]}]}, "rubens_adoration_magi": {"id": "rubens_adoration_magi", "title": "The Adoration of the Magi", "artist_line": "Peter Paul Rubens (Flemish, 1577–1640)", "artist": "Peter Paul Rubens", "date": "1624", "museum": "KMSKA, Antwerp", "license": "PD/CC0", "tier": "Hero", "sizes": [{"size": "8×10 in", "paper": 39, "iw": 7.4, "ih": 10, "sw": 8, "sh": 10, "cov": 0.923}, {"size": "11×14 in", "paper": 59, "iw": 10.3, "ih": 14, "sw": 11, "sh": 14, "cov": 0.94}, {"size": "16×20 in", "paper": 110, "iw": 14.8, "ih": 20, "sw": 16, "sh": 20, "cov": 0.923}, {"size": "18×24 in", "paper": 140, "iw": 17.7, "ih": 24, "sw": 18, "sh": 24, "cov": 0.985}, {"size": "24×36 in", "paper": 190, "iw": 24, "ih": 32.5, "sw": 24, "sh": 36, "cov": 0.903}], "local": "/store/display/rubens_adoration_magi.jpg", "commons_file": "Peter Paul Rubens - Adoration of the Magi (KMSKA).jpg", "zoom": "https://art.monstrance.app/zoom/rubens_adoration_magi.jpg", "master_px": 7052, "auth": {"institution": "Koninklijk Museum voor Schone Kunsten Antwerpen (KMSKA)", "accession": "298", "url": "https://kmska.be/en/masterpiece/the-adoration-of-the-magi-6", "artist_as_printed": "Peter Paul Rubens", "date_as_printed": "1624-1625", "medium": "Oil on panel", "dimensions": "447 × 336 cm"}, "writeup": {"text": "A king kneels in white and swings a censer toward the Christ Child. The KMSKA identifies him as Caspar, placed closest to Him and dressed in vestments like a priest's at Mass, and Steven Zucker and Beth Harris of Smarthistory call that Peter Paul Rubens's own invention, joining the Magi's gift to the incense of the altar. Our Lady stands rather than sits, holding her Son out on the manger, set off-centre to the right. Behind the kings, camels, soldiers in helmets and a man in a turban press in. A classical column rises by the stable's broken wall; Smarthistory ties it to the marble frame of the high altar of St Michael's Abbey the painting was made to fill, so the painted stone continues the real. Rubens's own mother, the KMSKA notes, lay buried in that church. At the manger the ox keeps its head down.", "sources": [{"what": "Museum identifies Caspar (white garment, thurible) placed closest to Christ, dressed in vestments resembling Mass vestments — Rubens's own compositional innovation linking Adoration to the Eucharist", "url": "https://kmska.be/en/masterpiece/the-adoration-of-the-magi-6", "cite": "KMSKA object page"}, {"what": "Elaborates the Eucharistic reading of the incense/vestments as Rubens's innovation, not traditional iconography", "url": "https://smarthistory.org/peter-paul-rubens-adoration-magi/", "cite": "Steven Zucker and Beth Harris, Smarthistory"}, {"what": "Mary shown standing (not seated), actively presenting the Child, placed off-centre right of the composition", "url": "https://kmska.be/en/masterpiece/the-adoration-of-the-magi-6", "cite": "KMSKA object page"}, {"what": "Crowded diagonal composition designed to pull the worshipper's eye through the crowd to the Christ Child", "url": "https://www.canonvanvlaanderen.be/en/events/the-adoration-of-the-magi/", "cite": "Canon van Vlaanderen"}, {"what": "Classical column in the ruined stable echoes the sculpted marble high-altar frame the painting was designed for, linking painted and real architecture", "url": "https://smarthistory.org/peter-paul-rubens-adoration-magi/", "cite": "Steven Zucker and Beth Harris, Smarthistory"}, {"what": "The owning institution's page: Rubens's own mother lay buried in the church this altarpiece was painted for.", "url": "https://kmska.be/en/masterpiece/the-adoration-of-the-magi-6", "cite": "KMSKA, Antwerp, 'The Adoration of the Magi'."}, {"what": "The panel was painted for the high altar of St Michael's Abbey.", "url": "https://smarthistory.org/peter-paul-rubens-adoration-magi/", "cite": "Steven Zucker and Beth Harris, 'Peter Paul Rubens, Adoration of the Magi', Smarthistory."}]}, "scene": {"ref": "Matthew 2:11", "quote": "And entering into the house, they found the child with Mary his mother, and falling down they adored him: and opening their treasures, they offered him gifts; gold, frankincense, and myrrh.", "shows": "the magi entering the house and opening their treasures"}, "th": "/store/thumb/rubens_adoration_magi.webp", "more": [{"k": "subject", "n": "The Adoration of the Magi in painting", "u": "/editions/subject/adoration-of-the-magi/", "ids": ["dolci_adoration_of_the_kings", "sequeira_adoration", "fra_angelico_the_adoration_of_the_magi", "gozzoli_procession_of_the_magi_procession_of_the"]}, {"k": "master", "n": "Peter Paul Rubens", "u": "/editions/master/peter-paul-rubens/", "ids": ["rubens_the_meeting_of_abraham_and_melchizedek", "rubens_incarnation_fulfillment_of_the_prophecies", "rubens_music_making_angels", "rubens_saint_teresa_of_avila_interceding_for"]}]}, "el_greco_adoration_shepherds": {"id": "el_greco_adoration_shepherds", "title": "The Adoration of the Shepherds", "artist_line": "El Greco (Greek–Spanish, 1541–1614)", "artist": "El Greco", "date": "c. 1605–1610", "museum": "The Metropolitan Museum of Art, New York", "license": "PD/CC0", "tier": "Hero", "sizes": [{"size": "8×10 in", "paper": 39, "iw": 6.2, "ih": 10, "sw": 8, "sh": 10, "cov": 0.776}, {"size": "11×14 in", "paper": 59, "iw": 8.7, "ih": 14, "sw": 11, "sh": 14, "cov": 0.79}, {"size": "16×20 in", "paper": 110, "iw": 12.4, "ih": 20, "sw": 16, "sh": 20, "cov": 0.776}, {"size": "18×24 in", "paper": 140, "iw": 14.9, "ih": 24, "sw": 18, "sh": 24, "cov": 0.828}, {"size": "24×36 in", "paper": 190, "iw": 22.3, "ih": 36, "sw": 24, "sh": 36, "cov": 0.931}], "local": "/store/display/el_greco_adoration_shepherds.jpg", "commons_file": "El Greco (Domenikos Theotokopoulos) - The Adoration of the Shepherds (ca. 1605–10) - Metropolitan Museum of Art.jpg", "zoom": "https://art.monstrance.app/zoom/el_greco_adoration_shepherds.jpg", "master_px": 7365, "auth": {"institution": "The Metropolitan Museum of Art, New York", "accession": "05.42", "url": "https://www.metmuseum.org/art/collection/search/436570", "artist_as_printed": "El Greco (Domenikos Theotokopoulos) (Greek, Iráklion (Candia) 1541–1614 Toledo)", "date_as_printed": "ca. 1605–10", "medium": "Oil on canvas", "dimensions": "56 7/8 x 39 7/8 in. (144.5 x 101.3 cm); with added strips 64 1/2 x 42 in. (163.8 x 106.7 cm)"}, "writeup": {"text": "The light of this night comes from the Child. The cloth is drawn back from Him, and the brightness He gives goes out to the shepherds' faces; one kneels with bare feet on the ground, and a white lamb lies on the floor. The Met names Him the source that lights them. The Grey Art Museum reads the shepherds' strained postures as unending adoration, and sees in the scene the elevation of the Host at Mass: the true body, born of the Virgin. At least eight versions of this night stood in El Greco's studio when he died in 1614, the Met records. Above, angels unroll a banner over Him.", "sources": [{"what": "Christ-child as literal light source illuminating the shepherds; figures 'woven tightly together' for viewer engagement", "url": "https://www.metmuseum.org/art/collection/search/436570"}, {"what": "Second light near cave mouth read as the Holy Spirit; shepherds' unnatural poses read as unending adoration; composition echoes elevation of the Host at Mass", "url": "https://greyartgallery.nyu.edu/2020/08/the-sacred-unveiled-part-2-el-greco/"}, {"what": "Patronage for this canvas is unknown, likely made for private devotion (not the separate, documented Santo Domingo el Antiguo tomb commission)", "url": "https://greyartgallery.nyu.edu/2020/08/the-sacred-unveiled-part-2-el-greco/"}, {"what": "At least eight versions of this subject were in El Greco's studio inventory at his death in 1614", "url": "https://www.metmuseum.org/art/collection/search/436570"}, {"what": "The Prado's Adoration of the Shepherds (1612–14, P02988) was intended for the Theotocopuli family burial place at Santo Domingo el Antiguo, Toledo — carries 'His last version was made for his family's burial place in Toledo'. Quote", "url": "https://www.museodelprado.es/en/the-collection/art-work/the-adoration-of-the-shepherds/4fb170c0-d4cf-4c3e-8293-a8d7152aff78", "cite": "Museo Nacional del Prado, collection record, 'The Adoration of the Shepherds', El Greco (P02988)"}]}, "scene": {"ref": "Luke 2:16", "quote": "And they came with haste: and they found Mary and Joseph, and the infant lying in the manger.", "shows": "the shepherds finding Mary, Joseph and the child"}, "th": "/store/thumb/el_greco_adoration_shepherds.webp", "more": [{"k": "subject", "n": "The Adoration of the Shepherds in painting", "u": "/editions/subject/adoration-of-the-shepherds/", "ids": ["caravaggio_the_adoration_of_the_shepherds", "honthorst_adoration_shepherds", "poussin_adoration_shepherds", "cavallino_adoration_of_the_shepherds"]}, {"k": "master", "n": "El Greco", "u": "/editions/master/el-greco/", "ids": ["el_greco_holy_trinity", "el_greco_christ_carrying_cross", "el_greco_madonna_and_child_with_saint_martina_a", "el_greco_savior"]}]}, "correggio_holy_night": {"id": "correggio_holy_night", "title": "The Adoration of the Shepherds", "artist_line": "Correggio (Italian, c. 1489–1534)", "artist": "Correggio", "date": "c. 1525–1530", "museum": "Gemäldegalerie Alte Meister, Dresden", "license": "PD/CC0", "tier": "Mid", "sizes": [{"size": "8×10 in", "paper": 39, "iw": 7.3, "ih": 10, "sw": 8, "sh": 10, "cov": 0.917}, {"size": "11×14 in", "paper": 59, "iw": 10.3, "ih": 14, "sw": 11, "sh": 14, "cov": 0.934}, {"size": "18×24 in", "paper": 140, "iw": 17.6, "ih": 24, "sw": 18, "sh": 24, "cov": 0.978}], "local": "/store/display/the_holy_night_adoration_of_the_shepherds__launch-correggio_holy_night.jpg", "commons_file": "Correggio - The Holy Night - Google Art Project.jpg", "zoom": "https://art.monstrance.app/zoom/the_holy_night_adoration_of_the_shepherds__launch-correggio_holy_night.jpg", "master_px": 4312, "auth": {"institution": "Gemäldegalerie Alte Meister, Staatliche Kunstsammlungen Dresden", "accession": "Gal.-Nr. 152", "url": "https://skd-online-collection.skd.museum/Details/Index/243576", "artist_as_printed": "Correggio (um 1489-1534) - Maler", "date_as_printed": "1528/30", "medium": "Öl auf Pappelholz", "dimensions": "256,5 x 188 cm", "accession_absent": "not_published", "accession_absent_why": "the Gal.-Nr. lives behind a JavaScript-only search on skd-online-collection.skd.museum"}, "writeup": {"text": "There is no lamp. The light comes off the Child's body, and Our Lady bends into it with her arms around Him. A woman lifts her hand against the glare; angels tumble in a cloud overhead. Estelle Hurll read Christ here as the light of the world, and the Dresden gallery's record names the Child as the only source of light. Correggio painted it for Alberto Pratoneri's family chapel in Reggio Emilia, contracted 10 October 1522. In May 1640 the Duke of Modena carried it off, leaving a painted copy in its place; the old accounts call it stolen. The night is still lit from the manger.", "sources": [{"what": "Christ Child is the sole light source, radiance emanates from his body rather than from an external lamp or halo disc", "url": "https://skd-online-collection.skd.museum/Details/Index/243576"}, {"what": "Theological reading: Christ's own form is the source of illumination, 'the light of the world'", "url": "https://www.gutenberg.org/files/19143/19143-h/19143-h.htm", "cite": "Estelle M. Hurll, Correggio (1907), ch. on 'The Holy Night'"}, {"what": "Child lies on a hay bundle, partly wrapped in a swaddling band with one foot left free of the cloth", "url": "https://www.gutenberg.org/files/19143/19143-h/19143-h.htm", "cite": "Estelle M. Hurll, Correggio (1907), Project Gutenberg ed."}, {"what": "Commission by Alberto Pratoneri for the altar of his family chapel, church of San Prospero, Reggio Emilia, by agreement signed 10 October 1522", "url": "https://www.gutenberg.org/files/19143/19143-h/19143-h.htm", "cite": "Estelle M. Hurll, Correggio: A Collection of Fifteen Pictures and a Portrait of the Painter, with Introduction and Interpretation (Masterpieces of Art series; Boston and New York: Houghton Mifflin, 1901), 'Historical Directory of the Pictures of this Collection'"}, {"what": "Same clause, from the holding institution's own record: altarpiece for the Pratonieri family chapel in San Prospero, Reggio, commissioned 1522", "url": "https://skd-online-collection.skd.museum/Details/Index/243576", "cite": "Gemäldegalerie Alte Meister, Staatliche Kunstsammlungen Dresden, online collection record for 'Die Heilige Nacht', Gal.-Nr. 152"}, {"what": "Removal from the church in May 1640 and transfer to Modena, recorded as theft — i.e. taken without purchase", "url": "https://www.gutenberg.org/files/19143/19143-h/19143-h.htm", "cite": "Estelle M. Hurll, Correggio (Masterpieces of Art series; Boston and New York: Houghton Mifflin, 1901), 'Historical Directory of the Pictures of this Collection'"}, {"what": "Identifies the taker as Francesco I d'Este, Duke of Modena, in 1640, and the painted copy left in the chapel in the original's place", "url": "https://ducatoestense.com/en/beni-storici-artistici/adoration-of-the-shepherds-or-the-night/", "cite": "Ducato Estense, 'Adoration of the Shepherds or the Night' (Italian Este ducal cultural-district authority, Modena/Reggio Emilia)"}]}, "scene": {"ref": "Luke 2:16", "quote": "And they came with haste: and they found Mary and Joseph, and the infant lying in the manger.", "shows": "the shepherds finding Mary, Joseph and the child"}, "th": "/store/thumb/the_holy_night_adoration_of_the_shepherds__launch-correggio_holy_night.webp", "more": [{"k": "subject", "n": "The Adoration of the Shepherds in painting", "u": "/editions/subject/adoration-of-the-shepherds/", "ids": ["el_greco_adoration_shepherds", "caravaggio_the_adoration_of_the_shepherds", "honthorst_adoration_shepherds", "poussin_adoration_shepherds"]}]}, "poussin_adoration_shepherds": {"id": "poussin_adoration_shepherds", "title": "The Adoration of the Shepherds", "artist_line": "Nicolas Poussin (French, 1594–1665)", "artist": "Nicolas Poussin", "date": "1633–1634", "museum": "The National Gallery, London", "license": "PD/CC0", "tier": "Mid", "sizes": [{"size": "8×10 in", "paper": 39, "iw": 7.6, "ih": 10, "sw": 8, "sh": 10, "cov": 0.944}, {"size": "11×14 in", "paper": 59, "iw": 10.6, "ih": 14, "sw": 11, "sh": 14, "cov": 0.961}], "local": "/store/display/poussin_adoration_shepherds.jpg", "commons_file": "L'Adoration des bergers, 1633, Londres, National Gallery.jpg", "zoom": "https://art.monstrance.app/zoom/poussin_adoration_shepherds.jpg", "master_px": 4198, "auth": {"institution": "The National Gallery, London", "accession": "NG6277", "url": "https://www.nationalgallery.org.uk/paintings/nicolas-poussin-the-adoration-of-the-shepherds", "artist_as_printed": "Nicolas Poussin", "date_as_printed": "About 1633-4", "medium": "Oil on canvas", "dimensions": "97.2 × 74 cm"}, "writeup": {"text": "Our Lady holds back the white cloth, and the Child lies in the straw for the shepherds to see. They come in bent and barefoot, one already on his knees, Saint Joseph leaning in behind, and above them putti tumble through the beams with flowers. The stable stands inside a ruined temple of fluted columns, which the National Gallery reads as Christianity's triumph over paganism, and the shepherds' figures are taken from ancient statues. A British Museum study shows what Poussin cut on the way to the canvas: a lamb tethered before Christ, a carved frieze fragment in the left foreground. The British Museum calls those removals minor. The Lamb is still here, in the straw.", "sources": [{"what": "NG6277 page. Supports: archway, earlier annunciation; ruins symbolising Christianity over paganism; birth tray of fruits; cherubs with flowers; antique-statue figures; blue against coppery stone; Medici and Reynolds; bought 1957.", "url": "https://www.nationalgallery.org.uk/paintings/nicolas-poussin-the-adoration-of-the-shepherds", "cite": "The National Gallery, London, NG6277, object page, oil on canvas, 97.2 x 74 cm, about 1633-4 (accessed 2026-08-16)"}, {"what": "BM study Ff,2.163, 'related to the painting in the National Gallery, London (NG 6277)'. Supports the tethered lamb and carved frieze fragment that Poussin removed; pen and brown ink over black chalk; Medici commission.", "url": "https://www.britishmuseum.org/collection/object/P_Ff-2-163", "cite": "The British Museum, drawing, museum number Ff,2.163"}, {"what": "V\u0026A O72719, an old partial copy after NG6277. Supports 'At least eleven copies of this popular composition are documented'; corroborates the woman in a blue mantle with a tray of fruits and the classical-ruin setting.", "url": "https://collections.vam.ac.uk/item/O72719/the-adoration-of-the-shepherds-oil-painting-nicolas-poussin", "cite": "Victoria and Albert Museum, 'The Adoration of the Shepherds', after Poussin, Mitchell Bequest 1878"}, {"what": "The British Museum's curatorial comment on drawing Ff,2.163, naming what Poussin removed between study and canvas and characterising those removals as minor. Carries the opening claim, the lamb, the frieze fragment in the left foreground, and the closing reversal. CAVEAT for future cards drawing on this record: the same comment states that Poussin made \"more substantial changes to the architectural setting\" (columns moved right, sky closed off, arched opening enlarged), so \"minor\" may only ever be applied to the compositional removals, never to the revision as a whole.", "url": "https://www.britishmuseum.org/collection/object/P_Ff-2-163", "cite": "The British Museum, drawing, museum number Ff,2.163, Curator's comment (accessed 2026-08-16)"}, {"what": "The National Gallery's own reading of the setting as a symbol, attributed to them in the text (\"which the Gallery reads as\"). Carries the ruins clause and satisfies T5.", "url": "https://www.nationalgallery.org.uk/paintings/nicolas-poussin-the-adoration-of-the-shepherds", "cite": "The National Gallery, London, NG6277, object page (accessed 2026-08-16)"}]}, "scene": {"ref": "Luke 2:16", "quote": "And they came with haste: and they found Mary and Joseph, and the infant lying in the manger.", "shows": "the shepherds finding Mary, Joseph and the child"}, "th": "/store/thumb/poussin_adoration_shepherds.webp", "more": [{"k": "subject", "n": "The Adoration of the Shepherds in painting", "u": "/editions/subject/adoration-of-the-shepherds/", "ids": ["cavallino_adoration_of_the_shepherds", "ribera_the_adoration_of_the_shepherds", "dolci_adoration_of_the_shepherds", "hugo_van_der_goes_the_adoration_of_the_shepherds"]}, {"k": "master", "n": "Nicolas Poussin", "u": "/editions/master/nicolas-poussin/", "ids": ["poussin_saint_john_baptizing_the_people", "poussin_eucharist", "poussin_gathering_manna", "poussin_holy_family_steps"]}]}, "honthorst_adoration_shepherds": {"id": "honthorst_adoration_shepherds", "title": "The Adoration of the Shepherds", "artist_line": "Gerrit van Honthorst (Dutch, 1592–1656)", "artist": "Gerard van Honthorst", "date": "1622", "museum": "Wallraf-Richartz-Museum, Cologne", "license": "PD/CC0", "tier": "Mid", "sizes": [{"size": "8×10 in", "paper": 39, "iw": 9.5, "ih": 8, "sw": 10, "sh": 8, "cov": 0.949}, {"size": "11×14 in", "paper": 59, "iw": 13.0, "ih": 11, "sw": 14, "sh": 11, "cov": 0.932}, {"size": "18×24 in", "paper": 140, "iw": 21.4, "ih": 18, "sw": 24, "sh": 18, "cov": 0.89}], "local": "/store/display/honthorst_adoration_shepherds.jpg", "commons_file": "Adoration of the shepherds, by Gerard van Honthorst.jpg", "zoom": "https://art.monstrance.app/zoom/honthorst_adoration_shepherds.jpg", "master_px": 3948, "auth": {"institution": "Wallraf-Richartz-Museum \u0026 Fondation Corboud, Köln", "url": "https://www.wallraf.museum/2017-11-17-honthorst/information/", "artist_as_printed": "Gerrit van Honthorst", "date_as_printed": "1622", "accession_absent": "not_published", "accession_absent_why": "wallraf.museum rate-limited every attempt (HTTP 429)"}, "writeup": {"text": "No lamp burns in the stable. The Child lies in the straw, Our Lady draws the cloth back from Him, and every face is lit from below, from Him. CODART, on the Wallraf-Richartz-Museum's 2017-18 exhibition, says the Christ Child is the sole light source; the art historian Carsten Schmalstieg counts only six figures, with an ox at the edge. The Uffizi notes that Italy knew Gerrit van Honthorst as Gherardo delle Notti, for his night scenes. The Metropolitan Museum of Art says the ox at the manger comes not from the Gospels but from Isaiah's prophecy. It leans in at Saint Joseph's shoulder.", "sources": [{"what": "Owning museum's own gallery listing: Honthorst (Utrecht 1592-1656), Die Anbetung der Hirten, 1622, canvas; provenance given as the Johann Heinrich Claren Foundation, Cologne, 1855 - supports the acquisition sentence.", "url": "https://www.wallraf.museum/en/collections/baroque/floorplan/gallery-2/", "cite": "Wallraf-Richartz-Museum \u0026 Fondation Corboud, Baroque collection, Gallery 2"}, {"what": "Exhibition entry for the 2017-18 Cologne show: the Christ child is the sole light source, its radiance illuminating the faces of Mary, Joseph and the shepherds; restoration required detaching the canvas from its stretcher.", "url": "https://www.codart.nl/guide/agenda/wonderful-honthorsts-adoration-shepherds/", "cite": "CODART, 'Wonderful - Honthorst's Adoration of the Shepherds', Wallraf-Richartz-Museum \u0026 Fondation Corboud"}, {"what": "Notice of the same 2017-18 exhibition: oil on canvas, 1622; reports an alteration to the top of the canvas around 1940. CODART's account of the same event is the one followed here.", "url": "https://hnanews.org/wundervoll-honthorsts-anbetung-der-hirten/", "cite": "HNA News, 'Wundervoll: Honthorsts Anbetung der Hirten'"}, {"what": "Art historian Carsten Schmalstieg on this picture: only six figures - three shepherds, Mary, Joseph, the child - with an ox at the edge of the image, and the light coming from the child himself.", "url": "https://www.domradio.de/artikel/bild-anbetung-der-hirten-koelner-sonderausstellung", "cite": "DOMRADIO.DE, interview with Carsten Schmalstieg"}, {"what": "Uffizi on Gerrit van Honthorst: 'better known to the Italian public as Gherardo delle Notti', noted for his manner of depicting night-light scenes - supports the byname sentence.", "url": "https://www.uffizi.it/en/events/gherardodellenotti-paintings-suppers2015", "cite": "Gallerie degli Uffizi, 'Gherardo delle Notti. Bizarre paintings and cheerful suppers', 2015"}, {"what": "Institutional statement that the ox and the ass at the manger come not from the Gospels but from Isaiah's prophecy.", "url": "https://www.metmuseum.org/essays/the-birth-and-infancy-of-christ-in-italian-painting", "cite": "The Metropolitan Museum of Art, 'The Birth and Infancy of Christ in Italian Painting', Heilbrunn Timeline of Art History."}, {"what": "The ox and ass are absent from the New Testament and near-universal in Nativity imagery all the same.", "url": "https://www.glencairnmuseum.org/nativity-visualelements", "cite": "Glencairn Museum, 'Nativity: Visual Elements in the Nativity'."}, {"what": "The half-verse the card lands on: the ox knoweth his owner, and the ass his master's crib, but Israel hath not known me.", "cite": "Isaias 1:3, Douay-Rheims (Challoner)."}]}, "scene": {"ref": "Luke 2:16", "quote": "And they came with haste: and they found Mary and Joseph, and the infant lying in the manger.", "shows": "the shepherds finding Mary, Joseph and the child"}, "th": "/store/thumb/honthorst_adoration_shepherds.webp", "more": [{"k": "subject", "n": "The Adoration of the Shepherds in painting", "u": "/editions/subject/adoration-of-the-shepherds/", "ids": ["poussin_adoration_shepherds", "cavallino_adoration_of_the_shepherds", "ribera_the_adoration_of_the_shepherds", "dolci_adoration_of_the_shepherds"]}]}, "zurbaran_agnus_dei": {"id": "zurbaran_agnus_dei", "title": "Agnus Dei", "artist_line": "Francisco de Zurbarán (Spanish, 1598–1664)", "artist": "Francisco de Zurbarán", "date": "c. 1635–40", "museum": "San Diego Museum of Art", "license": "PD/CC0", "tier": "Mid", "sizes": [{"size": "11×14 in", "paper": 59, "iw": 14, "ih": 9.1, "sw": 14, "sh": 11, "cov": 0.828}], "local": "/store/display/zurbaran_agnus_dei.jpg", "commons_file": "Agnus Dei (The Lamb of God), by Francisco de Zurbaran, c. 1635-1640 - San Diego Museum of Art - DSC06627.JPG", "zoom": "https://art.monstrance.app/zoom/zurbaran_agnus_dei.jpg", "master_px": 3822, "auth": {"institution": "San Diego Museum of Art", "accession": "1947.36", "url": "https://www.sdmart.org/spanish-art/", "artist_as_printed": "Francisco de Zurbarán", "date_as_printed": "ca. 1635-1640", "medium": "Oil on canvas"}, "writeup": {"text": "A lamb lies on a bare stone ledge, its four feet crossed and tied with cord, and a thin gold ring hangs over its head. Nothing else is in the room. The San Diego Museum of Art asks outright whether this is still life or devotional symbolic painting; Miguel Ángel Aparicio files it with the lambs Emilio Orozco called bodegones a lo divino, still lifes made sacred, and finds that every lamb Zurbarán painted is a merino. The halo, for Aparicio, gives the icon its sharper meaning, and he traces the canvas's inscription, TANQUAM AGNUS, to Isaiah 53:7: \"dumb as a lamb before his shearer.\" Of its own version the Prado sees an animal still alive, in an unmistakably sacrificial posture. The eyes are half shut. The Lamb of God is waiting, and He does not open His mouth.", "sources": [{"what": "The museum's entry: Agnus Dei (\"Lamb of God\"), ca. 1635-1640, oil on canvas, Gift of Anne R. and Amy Putnam, 1947.36, with the museum's own question, 'Still life or devotional symbolic painting?'", "url": "https://www.sdmart.org/spanish-art/", "cite": "San Diego Museum of Art, Spanish Art, entry for Agnus Dei, 1947.36, read 2026-09-24"}, {"what": "The Prado's reading of its own Zurbarán lamb: a merino lamb, still alive, lying with bound feet in an unmistakably sacrificial posture, reminiscent of images of martyred saints; five other versions by his hand.", "url": "https://www.museodelprado.es/en/the-collection/art-work/agnus-dei/795b841a-ec81-4d10-bd8b-0c7a870e327b", "cite": "Museo Nacional del Prado, 'A lamb (Agnus Dei)', Francisco de Zurbarán, P007293, read 2026-09-24"}, {"what": "Aparicio's group of lambs with tied legs, which he files under Emilio Orozco's 'bodegones a lo divino'; for the San Diego picture (A.3), the halo round the lamb's head giving the icon and its symbolic meaning greater definition, and the inscription TANQUAM AGNUS, an Old Testament citation from Isaiah 53:7; the conclusion that every lamb Zurbarán painted is a merino.", "url": "https://historiadelaveterinaria.es/wp-content/uploads/2021/01/Aparicio-2004-El-ganado-ovino-en-la-obra-de-Zurbaran-Olivenza.pdf", "cite": "Miguel Ángel Aparicio Tovar, 'El ganado ovino en la obra de Zurbarán', Olivenza 2004, pp. 99-104, read 2026-09-24"}]}, "scene": {"ref": "Isaias 53:7", "quote": "He was offered because it was his own will, and he opened not his mouth: he shall be led as a sheep to the slaughter, and shall be dumb as a lamb before his shearer, and he shall not open his mouth.", "shows": "the bound lamb with a halo, lettered TANQUAM AGNUS"}, "th": "/store/thumb/zurbaran_agnus_dei.webp", "more": [{"k": "master", "n": "Francisco de Zurbarán", "u": "/editions/master/francisco-de-zurbaran/", "ids": ["zurbaran_casilda", "zurbaran_christ_cross", "zurbaran_st_serapion", "zurbaran_margaret"]}]}, "mantegna_agony_garden": {"id": "mantegna_agony_garden", "title": "The Agony in the Garden", "artist_line": "Andrea Mantegna (Italian, c. 1431–1506)", "artist": "Andrea Mantegna", "date": "About 1455–6", "museum": "The National Gallery, London", "license": "PD/CC0", "tier": "Hero", "sizes": [{"size": "16×20 in", "paper": 110, "iw": 20, "ih": 15.5, "sw": 20, "sh": 16, "cov": 0.968}, {"size": "18×24 in", "paper": 140, "iw": 23.2, "ih": 18, "sw": 24, "sh": 18, "cov": 0.968}, {"size": "24×36 in", "paper": 190, "iw": 31.0, "ih": 24, "sw": 36, "sh": 24, "cov": 0.861}], "local": "/store/display/mantegna_agony_garden.jpg", "commons_file": "Mantegna, Andrea - Agony in the Garden - National Gallery, London.jpg", "zoom": "https://art.monstrance.app/zoom/mantegna_agony_garden.jpg", "master_px": 6000, "auth": {"institution": "The National Gallery, London", "accession": "NG1417", "url": "https://www.nationalgallery.org.uk/paintings/andrea-mantegna-the-agony-in-the-garden", "artist_as_printed": "Andrea Mantegna", "date_as_printed": "About 1455-6", "medium": "Egg tempera on wood", "dimensions": "62.9 × 80 cm"}, "writeup": {"text": "Christ kneels on a shelf of rock above three sleeping men, and the answer to His prayer comes through the air: five cherubs on a cloud hold up the instruments of His torture and death. \"And going a little further, he fell upon his face, praying and saying: My Father, if it be possible, let this chalice pass from me. Nevertheless, not as I will but as thou wilt.\" The National Gallery notes the cherubs look too heavy for their cloud, and likens the rock before Christ to an altar, complete with cross. A fig sapling has burst through the stone above the disciples; the Gallery ties it to the legend that Judas chose a fig tree for his gallows. The disciples lie like toppled Roman statues. Down the road, Andrea Mantegna brings Judas out of the city gates with soldiers. They are already on the path.", "sources": [{"what": "The National Gallery's page for NG1417: Christ prays before cherubs holding the instruments of his torture and death, their legs seemingly too weighty for the cloud; a fig sapling burst through the rock above the disciples, tied to the legend that Judas chose a fig tree for his gallows; the disciples like toppled marble statues of Roman emperors; soldiers led by Judas emerging from the city gates; the rocks before Christ like an altar complete with cross", "url": "https://www.nationalgallery.org.uk/paintings/andrea-mantegna-the-agony-in-the-garden", "cite": "The National Gallery, London, Andrea Mantegna, 'The Agony in the Garden', about 1455–6, NG1417, read 2026-09-24"}]}, "scene": {"ref": "Matthew 26:39", "quote": "And going a little further, he fell upon his face, praying and saying: My Father, if it be possible, let this chalice pass from me. Nevertheless, not as I will but as thou wilt.", "shows": "Christ prostrate in Gethsemane, the cup not taken away"}, "th": "/store/thumb/mantegna_agony_garden.webp", "more": [{"k": "master", "n": "Andrea Mantegna", "u": "/editions/master/andrea-mantegna/", "ids": ["mantegna_crucifixion", "mantegna_the_madonna_della_vittoria", "mantegna_madonna_in_glory_with_saints_trivulzio"]}]}, "bellini_agony_garden": {"id": "bellini_agony_garden", "title": "The Agony in the Garden", "artist_line": "Giovanni Bellini (Italian, c. 1430–1516)", "artist": "Giovanni Bellini", "date": "About 1458–60", "museum": "The National Gallery, London", "license": "PD/CC0", "tier": "Hero", "sizes": [{"size": "16×20 in", "paper": 110, "iw": 20, "ih": 12.6, "sw": 20, "sh": 16, "cov": 0.789}, {"size": "18×24 in", "paper": 140, "iw": 24, "ih": 15.1, "sw": 24, "sh": 18, "cov": 0.841}], "local": "/store/display/bellini_agony_garden.jpg", "commons_file": "Bellini,Giovanni - Agony in the Garden - National Gallery.jpg", "zoom": "https://art.monstrance.app/zoom/bellini_agony_garden.jpg", "master_px": 6000, "auth": {"institution": "The National Gallery, London", "accession": "NG726", "url": "https://www.nationalgallery.org.uk/paintings/giovanni-bellini-the-agony-in-the-garden", "artist_as_printed": "Giovanni Bellini", "date_as_printed": "About 1458-60", "medium": "Egg tempera on wood (probably poplar)", "dimensions": "80.4 × 127 cm"}, "writeup": {"text": "Christ kneels on a high rock and looks up, and a small angel comes down through the dawn holding a cup. The National Gallery calls the rock improbable and reads it as a church altar, where the Mass would be received; above it a cherub holds out a chalice, and a spiked fence post beneath brings to mind the crown of thorns. Bellini lays shell gold in fine strokes for the early morning light. Beyond the river Judas leads the soldiers. Three watchers are asleep in the foreground. Christ prays that this chalice pass from Him, and the cherub is handing it to Him.", "sources": [{"what": "Rock with straight edges 'carved with a chisel' resembling a church altar; cherub presenting a chalice; spiked fence post directly beneath the chalice, evoking the crown of thorns; Judas leading soldiers beyond a river.", "url": "https://www.nationalgallery.org.uk/paintings/giovanni-bellini-the-agony-in-the-garden", "cite": "The National Gallery, London, 'Giovanni Bellini, The Agony in the Garden', NG726, object page"}, {"what": "Egg tempera on wood; shell gold used with great precision for the early morning light, which gilds the whole scene; Christ's pink tunic and the peach dawn sky; swirling dirt tracks said to reflect his psychological torment.", "url": "https://www.nationalgallery.org.uk/paintings/giovanni-bellini-the-agony-in-the-garden", "cite": "The National Gallery, London, NG726, symbolism, light-and-landscape and technique sections"}, {"what": "Leaf from Jacopo Bellini's album: recto shows the Agony in the Garden, Christ kneeling and looking up at a chalice with three sleeping apostles. Giovanni Bellini is recorded among the album's former owners.", "url": "https://www.britishmuseum.org/collection/object/P_1855-0811-43", "cite": "British Museum, drawing; sketch-book, Jacopo Bellini, 1855,0811.43"}, {"what": "The Jacopo Bellini album, lent by the British Museum, is named the starting point of the exhibition; the Mantegna and Bellini Agony panels have hung side by side since the late 19th century.", "url": "https://www.nationalgallery.org.uk/about-us/press-and-media/press-releases/mantegna-bellini", "cite": "The National Gallery, London, 'Mantegna \u0026 Bellini' press release, 2018"}, {"what": "The rock Christ kneels on is 'improbable' and is read by the institution as a church altar where Mass would be received. The page treats this as a DIFFERENT formation from the chisel-edged foreground rocks, correcting the old card's conflation.", "url": "https://www.nationalgallery.org.uk/paintings/giovanni-bellini-the-agony-in-the-garden", "cite": "The National Gallery, London, 'Giovanni Bellini, The Agony in the Garden', NG726, object page, in-depth section (fetched and verified 2026-08-16)"}, {"what": "The Gallery, not us, makes the Eucharistic link — this is the sentence immediately preceding the altar sentence and is what authorises the card's whole thesis as an attributed institutional reading rather than our theology. Newly captured this verification; recommend adding to the record.", "url": "https://www.nationalgallery.org.uk/paintings/giovanni-bellini-the-agony-in-the-garden", "cite": "The National Gallery, London, NG726, object page, in-depth section (fetched and verified 2026-08-16)"}, {"what": "The cherub presents the chalice, and the Gallery itself ties it to the words of the prayer — carries both 'Above it a cherub holds out a chalice' and the closing 'The cherub is handing it to him.'", "url": "https://www.nationalgallery.org.uk/paintings/giovanni-bellini-the-agony-in-the-garden", "cite": "The National Gallery, London, NG726, object page (fetched and verified 2026-08-16)"}, {"what": "The page sentence that ties the shell gold to the early morning light — the gold paint, laid in fine strokes as highlights on the clothing, drawn from Mantegna.", "url": "https://www.nationalgallery.org.uk/paintings/giovanni-bellini-the-agony-in-the-garden", "cite": "The National Gallery, London, NG726, object page, technique section (fetched and verified 2026-08-16)"}, {"what": "Christ as high priest — what authorises the card's 'the high priest who offers himself'.", "cite": "Hebrews 9:11, Douay-Rheims (Challoner)"}, {"what": "The priest who is also the offering, and offers it once: 'Who needeth not daily (as the other priests) to offer sacrifices first for his own sins, and then for the people's: for this he did once, in offering himself.'", "cite": "Hebrews 7:27, Douay-Rheims (Challoner)"}, {"what": "The card's 'In Matthew he prays that this chalice pass from him.' The Douay word is 'chalice', which is what makes the Eucharistic reading legible; the Gallery quotes a version reading 'cup' but makes the same link to the Mass itself, in its own prose.", "cite": "Matthew 26:39, Douay-Rheims (Challoner), project corpus data/bible_drc.js (scene block marked verified in the brief)"}, {"what": "Replaces the Wikipedia-only identification of the open-mouthed sleeper as Peter. The institution names no sleeper, so the card says 'The watchers are asleep' and nothing more.", "url": "https://www.nationalgallery.org.uk/paintings/giovanni-bellini-the-agony-in-the-garden", "cite": "The National Gallery, London, 'Giovanni Bellini, The Agony in the Garden', NG726, object page, in-depth section (fetched 2026-08-16)"}, {"what": "The Gallery, not this store, makes the link between the chalice, the Eucharist and the Mass — the sentence immediately before the one about the altar-shaped rock.", "url": "https://www.nationalgallery.org.uk/paintings/giovanni-bellini-the-agony-in-the-garden", "cite": "The National Gallery, London, NG726, object page, in-depth section (fetched 2026-08-16)"}, {"what": "Carries 'Shell gold shows him bathed in early morning light' and nothing more. 'it' is the shell gold named in the preceding sentence, 'The use of gold paint, called \"shell gold\", painted in fine strokes as highlights on clothing is also drawn from Mantegna.' This displaces the brief's own sources[1] summary, which fused this with a separate sentence about the dawn sky gilding the whole scene.", "url": "https://www.nationalgallery.org.uk/paintings/giovanni-bellini-the-agony-in-the-garden", "cite": "The National Gallery, London, NG726, object page, technique section (fetched 2026-08-16)"}, {"what": "Carries 'Above it a cherub holds out a chalice' and the closing 'The cherub is handing it to him.'.", "url": "https://www.nationalgallery.org.uk/paintings/giovanni-bellini-the-agony-in-the-garden", "cite": "The National Gallery, London, NG726, object page (fetched 2026-08-16)"}, {"what": "Primary text, cited by locator with no url. Carries 'In Matthew he prays that this chalice pass from him.' The Douay word is 'chalice', which is what makes the Gallery's Eucharistic reading legible in English; the NG page quotes a version reading 'cup' but makes the Mass link itself in its own prose.", "cite": "Matthew 26:39, Douay-Rheims (Challoner); project corpus data/bible_drc.js, scene block marked verified in the brief"}]}, "scene": {"ref": "Matthew 26:39", "quote": "And going a little further, he fell upon his face, praying and saying: My Father, if it be possible, let this chalice pass from me. Nevertheless, not as I will but as thou wilt.", "shows": "Christ prostrate in Gethsemane, the cup not taken away"}, "th": "/store/thumb/bellini_agony_garden.webp", "more": [{"k": "master", "n": "Giovanni Bellini", "u": "/editions/master/giovanni-bellini/", "ids": ["bellini_saint_francis_in_the_desert", "bellini_transfiguration", "bellini_madonna_meadow", "bellini_imago_pietatis_pieta"]}]}, "fra_angelico_annunciation_prado": {"id": "fra_angelico_annunciation_prado", "title": "The Annunciation", "artist_line": "Fra Angelico (Italian, c. 1395–1455)", "artist": "Fra Angelico", "date": "c. 1425–1426", "museum": "Museo Nacional del Prado, Madrid", "license": "PD/CC0", "tier": "Sanctuary", "sizes": [{"size": "8×10 in", "paper": 39, "iw": 10, "ih": 7.9, "sw": 10, "sh": 8, "cov": 0.988}, {"size": "11×14 in", "paper": 59, "iw": 13.9, "ih": 11, "sw": 14, "sh": 11, "cov": 0.994}, {"size": "16×20 in", "paper": 110, "iw": 20, "ih": 15.8, "sw": 20, "sh": 16, "cov": 0.988}, {"size": "18×24 in", "paper": 140, "iw": 22.8, "ih": 18, "sw": 24, "sh": 18, "cov": 0.948}, {"size": "24×36 in", "paper": 190, "iw": 30.3, "ih": 24, "sw": 36, "sh": 24, "cov": 0.843}, {"size": "32×48 in", "paper": 340, "iw": 40.5, "ih": 32, "sw": 48, "sh": 32, "cov": 0.843}, {"size": "40×60 in", "paper": 480, "iw": 50.6, "ih": 40, "sw": 60, "sh": 40, "cov": 0.843}], "local": "/store/display/fra_angelico_annunciation_prado.jpg", "commons_file": "La Anunciación, by Fra Angelico, from Prado in Google Earth.jpg", "zoom": "https://art.monstrance.app/zoom/fra_angelico_annunciation_prado.jpg", "master_px": 27906, "auth": {"institution": "Museo Nacional del Prado, Madrid", "accession": "P000015", "url": "https://www.museodelprado.es/en/the-collection/art-work/the-annunciation/9b02b6c9-3618-4a92-a6b7-26f9076fcb67", "artist_as_printed": "Fra Angelico", "date_as_printed": "1425-1426", "medium": "Tempera on poplar panel", "dimensions": "Height: 190.3 cm; Width: 191.5 cm"}, "writeup": {"text": "A swallow sits on the iron rod under the arch, and heaven goes on past it. Out of the gold in the corner a beam runs down toward Our Lady, and the Prado follows the Holy Spirit, as a dove, along it to her ear: the moment of conception through the word of God. She crosses her hands on her breast and bows. At the left, barefoot, Adam and Eve are driven from the garden; the Prado calls the pairing the damnation and salvation of Humanity. To the Tuscan Bestiary, says María Rodríguez Velasco, the swallow meant divine mercy. The Prado records Fra Angelico's greeting in gold below: AVE MARIA GRATIA PLENA.", "sources": [{"what": "the expulsion and the annunciation in one panel; \"the damnation and salvation of Humanity\"; date 1425-1426, tempera on poplar, 190.3 x 191.5 cm, P000015; provenance San Domenico Fiesole to the Duke of Lerma to Descalzas Reales, Prado 1861", "url": "https://www.museodelprado.es/en/the-collection/art-work/the-annunciation/9b02b6c9-3618-4a92-a6b7-26f9076fcb67"}, {"what": "the dove in the diagonal beam directed at the Virgin’s ear, as the moment of conception through the word of God", "url": "https://www.museodelprado.es/en/easy-to-read/the-annunciation-fra-angelico/a4d5e558-86de-e4c7-6792-c480406dfd74"}, {"what": "the inscription AVE MARIA GRATIA PLENA… in gilded estofado on the beam dividing the central panel from the predella", "url": "https://www.museodelprado.es/coleccion/obra-de-arte/la-anunciacion/9b02b6c9-3618-4a92-a6b7-26f9076fcb67", "cite": "Prado catalogue, Inscripciones field"}, {"what": "The swallow perched on the tie-rod of the portico arch, and the Tuscan Bestiary's reading of that bird as an allegory of divine mercy.", "url": "https://eldebatedehoy.eldebate.com/noticia/cultura/14/05/2019/restauracion-de-la-anunciacion/", "cite": "María Rodríguez Velasco, 'Restauración de La Anunciación de Fra Angelico', El Debate."}, {"what": "The Prado's own record describes Mary's book and the garden and attaches no meaning to either — which is why the card reads neither.", "url": "https://www.museodelprado.es/en/easy-to-read/the-annunciation-fra-angelico/a4d5e558-86de-e4c7-6792-c480406dfd74", "cite": "Museo Nacional del Prado, easy-to-read record, 'The Annunciation' (Fra Angelico)."}]}, "scene": {"ref": "Luke 1:28", "quote": "And the angel being come in, said unto her: Hail, full of grace, the Lord is with thee: blessed art thou among women.", "shows": "Gabriel’s greeting to Mary"}, "th": "/store/thumb/fra_angelico_annunciation_prado.webp", "more": [{"k": "subject", "n": "The Annunciation in painting", "u": "/editions/subject/annunciation/", "ids": ["van_eyck_annunciation_nga", "giovanni_di_paolo_annunciation_and_expulsion_from_paradise", "carnevale_the_annunciation", "bouts_annunciation"]}, {"k": "master", "n": "Fra Angelico", "u": "/editions/master/fra-angelico/", "ids": ["angelico_the_madonna_of_humility", "fra_angelico_coronation", "fra_angelico_saint_romuald_refusing_entry_to_empero", "fra_angelico_the_beheading_of_saint_john_the_baptis"]}]}, "van_eyck_annunciation_nga": {"id": "van_eyck_annunciation_nga", "title": "The Annunciation", "artist_line": "Jan van Eyck (Early Netherlandish, c. 1390–1441)", "artist": "Jan van Eyck", "date": "c. 1434–1436", "museum": "National Gallery of Art, Washington", "license": "PD/CC0", "tier": "Sanctuary", "sizes": [{"size": "8×10 in", "paper": 39, "iw": 3.8, "ih": 10, "sw": 8, "sh": 10, "cov": 0.474}, {"size": "11×14 in", "paper": 59, "iw": 5.3, "ih": 14, "sw": 11, "sh": 14, "cov": 0.482}, {"size": "16×20 in", "paper": 110, "iw": 7.6, "ih": 20, "sw": 16, "sh": 20, "cov": 0.474}, {"size": "18×24 in", "paper": 140, "iw": 9.1, "ih": 24, "sw": 18, "sh": 24, "cov": 0.505}, {"size": "24×36 in", "paper": 190, "iw": 13.6, "ih": 36, "sw": 24, "sh": 36, "cov": 0.569}, {"size": "32×48 in", "paper": 340, "iw": 18.2, "ih": 48, "sw": 32, "sh": 48, "cov": 0.569}, {"size": "40×60 in", "paper": 480, "iw": 22.7, "ih": 60, "sw": 40, "sh": 60, "cov": 0.569}], "local": "/store/display/van_eyck_annunciation_nga.jpg", "commons_file": "Annunciation - Jan van Eyck - 1434 - NG Wash DC.jpg", "zoom": "https://art.monstrance.app/zoom/van_eyck_annunciation_nga.jpg", "master_px": 40461, "auth": {"institution": "National Gallery of Art, Washington", "accession": "1937.1.39", "url": "https://www.nga.gov/node/856276", "artist_as_printed": "Jan van Eyck", "date_as_printed": "c. 1434/1436", "medium": "oil on canvas transferred from panel", "dimensions": "painted surface: 90.2 x 34.1 cm (35 1/2 x 13 7/16 in.); support: 92.7 x 36.7 cm (36 1/2 x 14 7/16 in.)"}, "writeup": {"text": "Gabriel comes in smiling, crowned, in brocade, his wings speckled like a peacock's. Our Lady lifts both hands from her book. Down the gold rays from a high window the Holy Spirit descends toward her as a small white Dove. The National Gallery of Art counts those rays as seven, for the seven gifts of the Holy Spirit. It notes that Gabriel's sceptre is rock crystal, which medieval lapidaries called petrified water, and likens that change from liquid to stone to Christ's life, death and Resurrection. The angel's greeting is written in gold between them rather than spoken, and her reply is painted upside down, legible only from above: addressed, the Gallery reads, to God rather than to us. Jan van Eyck gives the Dove the whole height of the church to travel.", "sources": [{"what": "Gabriel's rock-crystal staff/scepter read via lapidary tradition as 'petrified water', an analogy for the virgin birth", "url": "https://www.nga.gov/stories/articles/stories-and-symbols-jan-van-eycks-annunciation", "cite": "NGA, 'Stories and Symbols in Jan van Eyck's The Annunciation'"}, {"what": "Gold inscription AVE GRA PLENA renders Gabriel's spoken greeting as visible, material gilded speech", "url": "https://www.nga.gov/node/856276", "cite": "NGA object page and 'Stories and Symbols' essay"}, {"what": "Mary's reply ECCE ANCILLA DNI painted upside-down and reversed, legible from above, read as addressed to God rather than the viewer", "url": "https://www.nga.gov/stories/articles/stories-and-symbols-jan-van-eycks-annunciation", "cite": "NGA, 'Stories and Symbols'"}, {"what": "Seven golden rays through the window read as the seven gifts of the Holy Spirit; the descending white dove is the Holy Spirit itself", "url": "https://www.nga.gov/stories/articles/stories-and-symbols-jan-van-eycks-annunciation", "cite": "NGA, 'Stories and Symbols'"}, {"what": "Mary's ultramarine robe pigment, ground from imported lapis lazuli, costlier by weight than gold, signaling her sanctity and status", "url": "https://www.nga.gov/stories/articles/stories-and-symbols-jan-van-eycks-annunciation", "cite": "NGA, 'Stories and Symbols'"}, {"what": "Rock crystal called petrified water by medieval lapidaries, and the liquid-to-stone change likened to Christ's life, death and Resurrection. Carries the sceptre clause, the 'petrified water' clause and the Christological clause. Quote", "url": "https://www.nga.gov/stories/articles/stories-and-symbols-jan-van-eycks-annunciation", "cite": "National Gallery of Art, 'Stories and Symbols in Jan van Eyck's The Annunciation'"}]}, "scene": {"ref": "Luke 1:28", "quote": "And the angel being come in, said unto her: Hail, full of grace, the Lord is with thee: blessed art thou among women.", "shows": "Gabriel’s greeting to Mary"}, "th": "/store/thumb/van_eyck_annunciation_nga.webp", "more": [{"k": "subject", "n": "The Annunciation in painting", "u": "/editions/subject/annunciation/", "ids": ["giovanni_di_paolo_annunciation_and_expulsion_from_paradise", "carnevale_the_annunciation", "bouts_annunciation", "lippi_annunciation_2"]}, {"k": "master", "n": "Jan van Eyck", "u": "/editions/master/jan-van-eyck/", "ids": ["van_eyck_van_der_paele", "van_eyck_rolin", "van_eyck_lucca_madonna", "jan_van_eyck_madonna_at_the_fountain"]}]}, "leonardo_annunciation": {"id": "leonardo_annunciation", "title": "The Annunciation", "artist_line": "Leonardo da Vinci (Italian, 1452–1519)", "artist": "Leonardo da Vinci", "date": "c. 1472–1476", "museum": "Gallerie degli Uffizi, Florence", "license": "PD/CC0", "tier": "Hero", "sizes": [{"size": "8×10 in", "paper": 39, "iw": 10, "ih": 4.5, "sw": 10, "sh": 8, "cov": 0.564}, {"size": "11×14 in", "paper": 59, "iw": 14, "ih": 6.3, "sw": 14, "sh": 11, "cov": 0.574}, {"size": "16×20 in", "paper": 110, "iw": 20, "ih": 9.0, "sw": 20, "sh": 16, "cov": 0.564}, {"size": "18×24 in", "paper": 140, "iw": 24, "ih": 10.8, "sw": 24, "sh": 18, "cov": 0.601}, {"size": "24×36 in", "paper": 190, "iw": 36, "ih": 16.2, "sw": 36, "sh": 24, "cov": 0.677}, {"size": "16×32 in", "paper": 150, "iw": 32, "ih": 14.4, "sw": 32, "sh": 16, "cov": 0.902}, {"size": "20×40 in", "paper": 180, "iw": 40, "ih": 18.0, "sw": 40, "sh": 20, "cov": 0.902}], "local": "/store/display/leonardo_annunciation.jpg", "commons_file": "Annunciation (Leonardo c. 1472–1476).jpg", "zoom": "https://art.monstrance.app/zoom/leonardo_annunciation.jpg", "master_px": 7387, "auth": {"institution": "Gallerie degli Uffizi / Uffizi Galleries, Firenze", "accession": "1890 n. 1618", "url": "https://www.uffizi.it/en/artworks/annunciation", "artist_as_printed": "Leonardo da Vinci (Vinci 1452 – Amboise 1519)", "date_as_printed": "1472 c.", "medium": "Oil on wood", "dimensions": "90 x 222 cm"}, "writeup": {"text": "Leonardo's Gabriel kneels in a walled garden, a lily in his hand, and his shadow falls on the grass like any man's. Our Lady lifts one hand; the other rests on the book she was reading. The Uffizi reads the lily as her emblem of purity and the closed garden as alluding to it. Her right arm reaches unusually far to that book, which the gallery reads as calibration, not error: the work hung low over a side altar, its perspective possibly built to resolve from the right. No patron or commission survives, only its arrival from San Bartolomeo a Monteoliveto. Gabriel's hand stays raised; the book stays open.", "sources": [{"what": "Lily as emblem of Mary's purity that names the Annunciation event itself", "url": "https://www.uffizi.it/en/artworks/annunciation"}, {"what": "Walled garden (hortus conclusus) named by museum as alluding to purity of Mary", "url": "https://www.uffizi.it/en/artworks/annunciation"}, {"what": "Gabriel's solid form casts a shadow on the grass, grounding the angel in nature", "url": "https://www.uffizi.it/en/artworks/annunciation"}, {"what": "Virgin's elongated arm explained as deliberate calibration for a side altar's lateral viewing angle, not an error", "url": "https://www.uffizi.it/en/artworks/annunciation"}, {"what": "NEH essay corroborating the elongated arm as a deliberate off-axis perspectival device", "url": "https://uva.theopenscholar.com/neh-institute/leonardos-annunciation-perspective"}, {"what": "Book open on the lectern signals Mary reading at the moment of interruption. Carries the card's lectern reading. The museum's own line: 'The Virgin responds from her dignified seat, behind a lectern, at which she was reading.' Replaces the Wikipedia citation. Read 2026-09-02.", "url": "https://www.uffizi.it/en/artworks/annunciation", "cite": "Gallerie degli Uffizi, object page 'Annunciation by Leonardo da Vinci', inv. 1890 n. 1618"}, {"what": "No documented patron or commission survives; panel's documented history begins with arrival from San Bartolomeo a Monteoliveto", "url": "https://www.uffizi.it/en/artworks/annunciation"}]}, "scene": {"ref": "Luke 1:28", "quote": "And the angel being come in, said unto her: Hail, full of grace, the Lord is with thee: blessed art thou among women.", "shows": "Gabriel’s greeting to Mary"}, "th": "/store/thumb/leonardo_annunciation.webp", "more": [{"k": "subject", "n": "The Annunciation in painting", "u": "/editions/subject/annunciation/", "ids": ["lorenzo_di_credi_the_annunciation", "memling_annunciation", "master_of_riccardiana_231_annunciation_nativity_leaf", "crivelli_annunciation_with_saint_emidius"]}, {"k": "master", "n": "Leonardo da Vinci", "u": "/editions/master/leonardo-da-vinci/", "ids": ["leonardo_benois_madonna", "leonardo_virgin_of_rocks", "leonardo_last_supper", "leonardo_virgin_child_anne"]}]}, "lippi_annunciation_2": {"id": "lippi_annunciation_2", "title": "The Annunciation", "artist_line": "Fra Filippo Lippi (Italian, about 1406–1469)", "artist": "Fra Filippo Lippi", "date": "about 1450–3", "museum": "The National Gallery, London", "license": "PD-Art (Commons {{PD-Art|PD-old-auto-expired}}; source recorded only as a LiveJournal repost)", "tier": "Hero", "sizes": [{"size": "16×32 in", "paper": 150, "iw": 32, "ih": 14.5, "sw": 32, "sh": 16, "cov": 0.904}, {"size": "20×40 in", "paper": 180, "iw": 40, "ih": 18.1, "sw": 40, "sh": 20, "cov": 0.904}, {"size": "30×60 in", "paper": 380, "iw": 60, "ih": 27.1, "sw": 60, "sh": 30, "cov": 0.904}], "local": "/store/display/lippi_annunciation_2.jpg", "commons_file": "Fra Filippo Lippi.jpg", "zoom": "https://art.monstrance.app/zoom/lippi_annunciation_2.jpg", "master_px": 7689, "auth": {"institution": "The National Gallery, London", "accession": "NG666", "url": "https://www.nationalgallery.org.uk/paintings/fra-filippo-lippi-the-annunciation", "artist_as_printed": "Fra Filippo Lippi (born about 1406, died 1469)", "date_as_printed": "About 1450-3", "medium": "Egg tempera on wood (probably poplar)", "dimensions": "68.6 × 152.7 cm"}, "writeup": {"text": "The hand of God reaches out of a deep blue cloud at the top, and fine gold falls from it toward Our Lady. Lower, at the height of her lap, the dove of the Holy Ghost flies low across the floor to her. Gabriel kneels in the garden outside, his huge wings eyed like a peacock's; Mary sits within, a book open in one hand, the other gathering her blue mantle to her. Between them a vase of white lilies stands on a low wall, and carved in the stone beneath it is a diamond ring with two feathers. The National Gallery, London, calls that ring an emblem used by the Medici and ties it to Piero de' Medici; peacock wings, it adds, were a Medici symbol in this period too, and the work comes from the Medici palace in Florence, where it most probably hung above a door. The Gallery writes that “a golden light emanates from a gap in Mary's pink dress and she bows her head towards it, in acceptance.” In Florence, as in many Italian cities, the feast of 25 March marked the first day of the calendar year. The city began its year at this bowed head, and so did our redemption.", "sources": [{"what": "Title, 'About 1450-3', egg tempera on wood, 68.6 × 152.7 cm, NG666; the hand of God from a deep blue cloud; the dove flying towards Mary; the golden light from a gap in her pink dress and her bow 'in acceptance'; the vase of lilies on the low wall; the carved emblem 'two feathers encircled by a diamond ring' linked to Piero de' Medici; peacock wings as a Medici symbol; from a Medici palace, most probably above a door; the feast of 25 March as the first day of the year in Florence and many Italian cities.", "url": "https://www.nationalgallery.org.uk/paintings/fra-filippo-lippi-the-annunciation", "cite": "The National Gallery, London, 'Fra Filippo Lippi, The Annunciation', NG666, collection page, read 2026-10-10."}, {"what": "The dove as the Holy Ghost at the Annunciation: 'The Holy Ghost shall come upon thee, and the power of the most High shall overshadow thee.'", "cite": "Luke 1:35, Douay-Rheims (Challoner); check against data/bible_drc.js before shipping"}]}, "scene": {"ref": "Luke 1:35", "quote": "And the angel answering, said to her: The Holy Ghost shall come upon thee and the power of the Most High shall overshadow thee. And therefore also the Holy which shall be born of thee shall be called the Son of God.", "shows": "the Holy Ghost coming upon Our Lady at the angel's word"}, "th": "/store/thumb/lippi_annunciation_2.webp", "more": [{"k": "subject", "n": "The Annunciation in painting", "u": "/editions/subject/annunciation/", "ids": ["rogier_the_annunciation", "tura_the_annunciation_with_saint_francis_and_saint_louis", "leonardo_annunciation", "lorenzo_di_credi_the_annunciation"]}, {"k": "master", "n": "Fra Filippo Lippi", "u": "/editions/master/fra-filippo-lippi/", "ids": ["lippi_adoration_forest", "lippi_saint_lawrence_enthroned", "lippi_coronation", "lippi_pieta"]}]}, "memling_annunciation": {"id": "memling_annunciation", "title": "The Annunciation", "artist_line": "Hans Memling (Early Netherlandish, c. 1430–1494)", "artist": "Hans Memling", "date": "1480–1489", "museum": "The Metropolitan Museum of Art, New York", "license": "PD/CC0", "tier": "Hero", "sizes": [{"size": "8×10 in", "paper": 39, "iw": 7.1, "ih": 10, "sw": 8, "sh": 10, "cov": 0.892}, {"size": "11×14 in", "paper": 59, "iw": 10.0, "ih": 14, "sw": 11, "sh": 14, "cov": 0.908}, {"size": "16×20 in", "paper": 110, "iw": 14.3, "ih": 20, "sw": 16, "sh": 20, "cov": 0.892}, {"size": "18×24 in", "paper": 140, "iw": 17.1, "ih": 24, "sw": 18, "sh": 24, "cov": 0.951}, {"size": "24×36 in", "paper": 190, "iw": 24, "ih": 33.6, "sw": 24, "sh": 36, "cov": 0.934}], "local": "/store/display/annunciation_memling__63db77214aaf.jpg", "commons_file": "Annunciation Memling.jpg", "zoom": "https://art.monstrance.app/zoom/annunciation_memling__63db77214aaf.jpg", "master_px": 6247, "auth": {"institution": "The Metropolitan Museum of Art, New York", "accession": "1975.1.113", "url": "https://www.metmuseum.org/art/collection/search/459055", "artist_as_printed": "Hans Memling (Netherlandish, Seligenstadt, active by 1465–died 1494 Bruges)", "date_as_printed": "1480–89", "medium": "Oil on panel, transferred to canvas", "dimensions": "30 1/8 x 21 1/2 in. (76.5 x 54.6 cm)"}, "writeup": {"text": "A glass carafe of water stands on the cupboard, and beside it a candlestick holds no candle. Gabriel kneels in a red and gold cope, hand raised, and the Dove, the Holy Spirit, hangs in a ring of gold above Our Lady. Hans Memling does not let her kneel: she sways, one hand on her breast, and two angels bear her up, which S. N. Blum reads as Mary overcome by the Incarnation at the instant it occurs. In that room the Word is made flesh. The Met notes that Gabriel wears an ecclesiastical cope, as one assisting at a Mass, and that the eagle worked into it points to John's Gospel. Blum reads the empty candleholder as Mary, bearer of Christ, the light of the world, and the carafe as purity conceiving without loss. The lilies stand in their jug, and her other hand keeps the page.", "sources": [{"what": "Mary swooning and supported by two angels rather than kneeling calmly; overcome by the Incarnation at the instant it occurs", "url": "https://resources.metmuseum.org/resources/metpublications/pdf/Hans_Memlings_Annunciation_with_Angelic_Attendants_The_Metropolitan_Museum_Journal_v_27_1992.pdf", "cite": "Blum, S.N. (1992). Hans Memling's Annunciation with Angelic Attendants. Metropolitan Museum Journal, 27, pp. 43-58."}, {"what": "Gabriel wears an ecclesiastical cope, assists (not celebrates) a Mass; eagle emblem on his vestment alludes to John's Gospel, the Word made flesh", "url": "https://www.metmuseum.org/toah/works-of-art/1975.1.113"}, {"what": "Empty candleholder signifies Mary as bearer of Christ, light of the world; carafe of water signifies purity conceiving without loss", "url": "https://resources.metmuseum.org/resources/metpublications/pdf/Hans_Memlings_Annunciation_with_Angelic_Attendants_The_Metropolitan_Museum_Journal_v_27_1992.pdf", "cite": "Blum, S.N. (1992). Hans Memling's Annunciation with Angelic Attendants. Metropolitan Museum Journal, 27, pp. 43-58."}, {"what": "No patron, church, chapel, or altar is documented for this panel; no commission is recorded in the sources", "url": "https://www.metmuseum.org/art/collection/search/459055"}]}, "scene": {"ref": "Luke 1:28", "quote": "And the angel being come in, said unto her: Hail, full of grace, the Lord is with thee: blessed art thou among women.", "shows": "Gabriel’s greeting to Mary"}, "th": "/store/thumb/annunciation_memling__63db77214aaf.webp", "more": [{"k": "subject", "n": "The Annunciation in painting", "u": "/editions/subject/annunciation/", "ids": ["master_of_riccardiana_231_annunciation_nativity_leaf", "crivelli_annunciation_with_saint_emidius", "cima_the_annunciation", "garofalo_the_annunciation"]}, {"k": "master", "n": "Hans Memling", "u": "/editions/master/hans-memling/", "ids": ["memling_the_virgin_and_child_between_saint_jam", "memling_christ_blessing", "hans_memling_madonna_and_child_with_angels"]}]}, "rubens_assumption": {"id": "rubens_assumption", "title": "The Assumption of the Virgin", "artist_line": "Peter Paul Rubens (Flemish, 1577–1640)", "artist": "Peter Paul Rubens", "date": "c. 1622–1625", "museum": "Mauritshuis, The Hague", "license": "PD/CC0", "tier": "Hero", "sizes": [{"size": "16×20 in", "paper": 110, "iw": 13.4, "ih": 20, "sw": 16, "sh": 20, "cov": 0.835}, {"size": "18×24 in", "paper": 140, "iw": 16.0, "ih": 24, "sw": 18, "sh": 24, "cov": 0.891}], "local": "/store/display/rubens_assumption.jpg", "commons_file": "Peter Paul Rubens - 'Modello' for the Assumption of the Virgin - 926 - Mauritshuis.jpg", "zoom": "https://art.monstrance.app/zoom/rubens_assumption.jpg", "master_px": 6000, "auth": {"institution": "Mauritshuis, The Hague", "accession": "926", "url": "https://www.mauritshuis.nl/en/our-collection/artworks/926-modello-for-the-ascension-of-the-virgin", "artist_as_printed": "Peter Paul Rubens (Siegen 1577 - 1640 Antwerp)", "date_as_printed": "c. 1622-1625", "medium": "Oil on panel", "dimensions": "87.8 x 59.1 cm"}, "writeup": {"text": "An angel holds a ring of flowers over Our Lady's head, and she does not look at it; her eyes are already higher. Below, apostles bend over the open grave. The Mauritshuis says the open and empty grave is there in this modello itself, brushed fast in rapid, casual strokes so the patron could comment early; the museum titles it an Ascension. The cathedral's account of the finished altarpiece in Antwerp has three young women and an elderly lady finding only the shroud, and Paul standing in for absent Thomas to keep the twelve; no Gospel, it notes, tells the Assumption. The dean, Johannes del Rio, paid for the altarpiece himself against a tomb promised him at the northern entrance to the sanctuary. He died in early 1624. Rubens began painting in the summer of 1625. One man paid for a tomb; Rubens painted one with nobody in it.", "sources": [{"what": "Curatorial reading: composition, mourning apostles vs. Mary's fluttering robe/angels' swift movement, museum's own title 'Ascension,' rapid brushwork made so patron could comment early", "url": "https://www.mauritshuis.nl/en/our-collection/artworks/926-modello-for-the-ascension-of-the-virgin", "cite": "Mauritshuis official object page, inv. 926"}, {"what": "Dean Johannes del Rio personally funded the 1618-1626 commission in exchange for a memorial inside the cathedral; altarpiece installed on high altar of Cathedral of Our Lady, Antwerp", "url": "https://www.finestresullarte.info/en/travelnotebooks/875v_rubens-in-flanders-the-four-great-masterpieces-in-antwerp-cathedral.php", "cite": "Finestre sull'Arte, 'Rubens in Flanders: the four great masterpieces in Antwerp Cathedral'"}, {"what": "The cathedral's own account of the finished altarpiece: an open grave holding only the shroud, found by three young women and an elderly lady; Paul standing in for the absent Thomas to keep the symbolic twelve; the Assumption named as unscriptural; and dean Johannes del Rio paying for the work himself against a tomb promised him at the northern entrance to the sanctuary, dying in early 1624 without ever seeing it — Rubens did not begin painting until the summer of 1625.", "url": "https://topa.be/en/olv-kathedraal/beschrijving/tenhemelopneming-rubens/", "cite": "TOPA (Toerismepastoraal Antwerpen), Cathedral of Our Lady, Antwerp, 'OLV Mary's Assumption (P.P. Rubens)'."}, {"what": "The holding museum on this object: the open and empty grave is in the modello itself, brushed fast in rapid, casual strokes for the patron's approval; del Rio's title and the date of the contract.", "url": "https://www.mauritshuis.nl/en/our-collection/artworks/926-modello-for-the-ascension-of-the-virgin", "cite": "Mauritshuis, The Hague, \"'Modello' for the Ascension of the Virgin\", inv. 926."}]}, "scene": {"why": "NOT A NARRATIVE SCENE. The Assumption is defined dogma (Munificentissimus Deus, 1950) and is nowhere narrated in Scripture. The tradition is ancient and the doctrine is certain; the citation is simply not scriptural, and saying so is more honest than borrowing a verse."}, "th": "/store/thumb/rubens_assumption.webp", "more": [{"k": "subject", "n": "The Assumption of the Virgin in painting", "u": "/editions/subject/assumption-of-the-virgin/", "ids": ["poussin_the_assumption_of_the_virgin", "masolino_the_assumption_of_the_virgin", "master_of_the_legend_of_st_lucy_mary_queen_of_heaven"]}, {"k": "master", "n": "Peter Paul Rubens", "u": "/editions/master/peter-paul-rubens/", "ids": ["peter_paul_rubens_the_virgin_as_the_woman_of_the_apocalyps", "rubens_adoration_magi", "rubens_the_meeting_of_abraham_and_melchizedek", "rubens_incarnation_fulfillment_of_the_prophecies"]}]}, "piero_baptism": {"id": "piero_baptism", "title": "The Baptism of Christ", "artist_line": "Piero della Francesca (Italian, c. 1415–1492)", "artist": "Piero della Francesca", "date": "c. 1437–1445", "museum": "The National Gallery, London", "license": "PD/CC0", "tier": "Sanctuary", "sizes": [{"size": "11×14 in", "paper": 59, "iw": 9.7, "ih": 14, "sw": 11, "sh": 14, "cov": 0.886}, {"size": "16×20 in", "paper": 110, "iw": 13.9, "ih": 20, "sw": 16, "sh": 20, "cov": 0.87}, {"size": "18×24 in", "paper": 140, "iw": 16.7, "ih": 24, "sw": 18, "sh": 24, "cov": 0.928}, {"size": "32×48 in", "paper": 340, "iw": 32, "ih": 46.0, "sw": 32, "sh": 48, "cov": 0.958}], "local": "/store/display/piero_baptism.jpg", "commons_file": "Piero della Francesca - Battesimo di Cristo (National Gallery, London).jpg", "zoom": "https://art.monstrance.app/zoom/piero_baptism.jpg", "master_px": 5958, "auth": {"institution": "The National Gallery, London", "accession": "NG665", "url": "https://www.nationalgallery.org.uk/paintings/piero-della-francesca-the-baptism-of-christ", "artist_as_printed": "Piero della Francesca", "date_as_printed": "Probably about 1437–1445", "medium": "Egg tempera on wood (poplar)", "dimensions": "167 × 116 cm"}, "writeup": {"text": "The dove comes out toward us, and the National Gallery says Piero painted it so, as though flying out of the scene. Saint John pours the water from a bowl over Christ, Whose hands are joined; three angels in coloured robes and many-coloured wings stand by the walnut tree, and only one of them shows surprise. Behind, a man bends to pull off his tunic for his turn. Piero made it for the church of San Giovanni Battista in his own Borgo Sansepolcro, and the walls in the distance are likely the town. The next one into the river is any of us.", "sources": [{"what": "Title, probably about 1437-1445, egg tempera on wood (poplar), 167 x 116 cm, NG665; the dove 'as though flying out of the picture towards us'; three angels with multicoloured wings, the one in the rose garland the only one who shows surprise; the walnut tree; the man taking off his tunic 'in preparation for his turn'; made for San Giovanni Battista in Val d'Afra, Borgo Sansepolcro; the walls and towers likely the town.", "url": "https://www.nationalgallery.org.uk/paintings/piero-della-francesca-the-baptism-of-christ", "cite": "The National Gallery, London, 'The Baptism of Christ', NG665, read 2026-10-12."}]}, "scene": {"ref": "Matthew 3:16", "quote": "And Jesus being baptized, forthwith came out of the water: and lo, the heavens were opened to him: and he saw the Spirit of God descending as a dove, and coming upon him.", "shows": "the heavens opened and the Spirit descending as a dove"}, "th": "/store/thumb/piero_baptism.webp", "more": [{"k": "subject", "n": "The Baptism of Christ in painting", "u": "/editions/subject/baptism-of-christ/", "ids": ["tintoretto_the_baptism_of_christ", "veronese_the_baptism_of_christ", "rubens_the_baptism_of_christ", "poussin_saint_john_baptizing_the_people"]}, {"k": "master", "n": "Piero della Francesca", "u": "/editions/master/piero-della-francesca/", "ids": ["francesca_madonna_and_child_enthroned", "piero_nativity"]}]}, "memling_christ_blessing": {"id": "memling_christ_blessing", "title": "Christ Giving His Blessing", "artist_line": "Hans Memling (Early Netherlandish, c. 1430–1494)", "artist": "Hans Memling", "date": "1478", "museum": "Norton Simon Museum, Pasadena", "license": "PD/CC0", "tier": "Entry", "sizes": [{"size": "8×10 in", "paper": 39, "iw": 7.3, "ih": 10, "sw": 8, "sh": 10, "cov": 0.91}], "local": "/store/display/memling_christ_blessing.jpg", "commons_file": "Christ Giving His Blessing.jpg", "zoom": "https://art.monstrance.app/zoom/memling_christ_blessing.jpg", "master_px": 2820, "auth": {"institution": "Norton Simon Museum, Pasadena", "accession": "M.1974.17.P", "url": "https://www.nortonsimon.org/art/detail/M.1974.17.P", "artist_as_printed": "Hans Memling (South Netherlandish, c.1430/40-1494)", "date_as_printed": "1478", "medium": "Oil on oak panel", "dimensions": "comp: 14 3/8 x 10 1/2 in. (36.5 x 26.7 cm); panel: 15 1/8 x 11 1/4 in. (38.4 x 28.6 cm)"}, "writeup": {"text": "Two fingers lifted, and the dark closes in behind Him on every side. Christ looks straight out; His other hand comes forward and rests on the lower edge, as if He stood behind a window and leaned on the sill. The Norton Simon Museum reads the device that way, and calls Hans Memling's image, fifteen inches high, a blend of icon formality and portrait realism, made to promote private worship and prayer. A Salvator Mundi usually holds a cross-topped globe, as the Met's version from Memling's workshop does; the Web Gallery of Art reads this one as a Salvator Mundi without the attributes of His power. The hand that made the world holds nothing, and blesses whoever stands at the sill.", "sources": [{"what": "Two-finger benediction gesture; hand resting on frame's lower edge as if standing behind a window/parapet; thin nimbus of golden rays; plain dark background", "url": "https://www.nortonsimon.org/art/detail/M.1974.17.P", "cite": "Norton Simon Museum object page"}, {"what": "Confirms this Memling Christ type omits the crossed orb and coronet standard to Salvator Mundi imagery", "url": "https://www.wga.hu/html_m/m/memling/2middle1/10bless.html", "cite": "Web Gallery of Art, entry on Memling's Christ Giving His Blessing"}, {"what": "Corroborates the window/parapet device as a break from flat icon convention in the sibling 1481 Boston version", "url": "https://smarthistory.org/hans-memling-christ-blessing/", "cite": "Smarthistory, Hans Memling, Christ Blessing"}, {"what": "No patron or commission is documented for this panel in any source, including the museum's own record", "url": "https://www.nortonsimon.org/art/detail/M.1974.17.P", "cite": "Dossier commission note, based on Norton Simon Museum provenance listing"}, {"what": "Institutional statement of what the Salvator Mundi type carries — the cross-topped globe — on a panel from Memling's own workshop; the contrast the card turns on. Attribution line on the page is \"Workshop of Hans Memling,\" which the card matches.", "url": "https://www.metmuseum.org/art/collection/search/437061", "cite": "The Metropolitan Museum of Art, Workshop of Hans Memling, Salvator Mundi, acc. 32.100.54"}, {"what": "Carries the removal claim.", "url": "https://www.wga.hu/html_m/m/memling/2middle1/10bless.html", "cite": "Web Gallery of Art, Hans Memling, Christ Giving His Blessing"}, {"what": "The window-and-parapet device, and the free hand laid on the frame — from the museum that owns the panel.", "url": "https://www.nortonsimon.org/art/detail/M.1974.17.P", "cite": "Norton Simon Museum, Christ Giving His Blessing, acc. M.1974.17.P"}]}, "scene": {"why": "A DEVOTIONAL TYPE, NOT AN EPISODE. Christ shown blessing the viewer directly, outside any narrative moment."}, "th": "/store/thumb/memling_christ_blessing.webp", "more": [{"k": "master", "n": "Hans Memling", "u": "/editions/master/hans-memling/", "ids": ["hans_memling_madonna_and_child_with_angels", "memling_annunciation", "memling_the_virgin_and_child_between_saint_jam"]}]}, "titian_christ_carrying": {"id": "titian_christ_carrying", "title": "Christ Carrying the Cross", "artist_line": "Titian (Italian, about 1488–1576)", "artist": "Titian", "date": "c. 1565", "museum": "State Hermitage Museum, Saint Petersburg", "license": "PD-Art (Commons {{PD-Art|PD-old-auto-expired}}, source {{Hermitage_Torrent}})", "tier": "Hero", "sizes": [{"size": "16×20 in", "paper": 110, "iw": 16, "ih": 18.7, "sw": 16, "sh": 20, "cov": 0.937}, {"size": "18×24 in", "paper": 140, "iw": 18, "ih": 21.1, "sw": 18, "sh": 24, "cov": 0.879}, {"size": "24×36 in", "paper": 190, "iw": 24, "ih": 28.1, "sw": 24, "sh": 36, "cov": 0.781}, {"size": "32×48 in", "paper": 340, "iw": 32, "ih": 37.5, "sw": 32, "sh": 48, "cov": 0.781}, {"size": "40×60 in", "paper": 480, "iw": 40, "ih": 46.9, "sw": 40, "sh": 60, "cov": 0.781}], "local": "/store/display/titian_christ_carrying.jpg", "commons_file": "Titian (Tiziano Vecellio) - Carring of the Cross.jpg", "zoom": "https://art.monstrance.app/zoom/titian_christ_carrying.jpg", "master_px": 5568, "auth": {"institution": "State Hermitage Museum, Saint Petersburg", "accession": "GE 1048 (number painted on the canvas, lower right; not read from the museum)", "url": "https://www.hermitagemuseum.org/wps/portal/hermitage/digital-collection/01.+Paintings/32189/", "date_as_printed": "c. 1565", "medium": "oil on canvas", "dimensions": "89.5 × 77 cm"}, "writeup": {"text": "Christ looks back at us from under the beam, the crown of thorns pressed into His hair, a cord at His throat, one hand raised flat against the wood. Behind Him an old man with a white beard bends to the same cross: Simon of Cyrene, of whom Saint Luke writes, “they laid the cross on him to carry after Jesus” (Luke 23:26). The Museo del Prado, which owns Titian's other version, says this copy by Titian's own hand is housed in the State Hermitage Museum, Saint Petersburg, and that it was on the evidence of this canvas that Carlo Ridolfi, in 1646, named Simon as a portrait of the Venetian mosaicist Francesco Zuccato. A ledge runs across the foot of the canvas, with the number 1048 painted at its corner. Of the twin in Madrid the Prado singles out “Christ's tearful gaze, directed squarely at the viewer as a plea to join Him.” The same eyes are on us here.", "sources": [{"what": "The Prado's own text on its version (P000438): a copy by Titian's own hand is housed in the State Hermitage Museum, Saint Petersburg; Simon's features identical in both versions; Simon as a portrait of the Venetian mosaicist Francesco Zuccato; Christ's tearful gaze 'directed squarely at the viewer as a plea to join Him'.", "url": "https://www.museodelprado.es/en/the-collection/art-work/christ-carrying-the-cross/657fa964-0040-48df-971e-88f0de5c6714", "cite": "Museo Nacional del Prado, 'Christ Carrying the Cross', Titian, P000438, read 2026-10-10."}, {"what": "'And as they led him away, they laid hold of one Simon of Cyrene, coming from the country; and they laid the cross on him to carry after Jesus.'", "cite": "Luke 23:26, Douay-Rheims (Challoner); check verbatim against data/bible_drc.js before shipping"}, {"what": "The plate is the Hermitage's own photograph; the number 1048 at lower right.", "url": "https://commons.wikimedia.org/wiki/File:Titian_(Tiziano_Vecellio)_-_Carring_of_the_Cross.jpg", "cite": "Wikimedia Commons file page, source {{Hermitage_Torrent}}, read 2026-10-10."}]}, "scene": {"ref": "Luke 23:26", "quote": "And as they led him away, they laid hold of one Simon of Cyrene, coming from the country; and they laid the cross on him to carry after Jesus.", "shows": "Simon of Cyrene taking up the cross behind Christ"}, "th": "/store/thumb/titian_christ_carrying.webp", "more": [{"k": "subject", "n": "The Christ Carrying the Cross in painting", "u": "/editions/subject/christ-carrying-the-cross/", "ids": ["el_greco_christ_carrying_cross", "poelenburch_christ_carrying_the_cross", "hieronymus_bosch_christ_carrying_the_cross", "hieronymus_bosch_christ_carrying_the_cross_escorial"]}, {"k": "master", "n": "Titian", "u": "/editions/master/titian/", "ids": ["titian_christ_crucified", "titian_crowning_thorns", "titian_jacopo_pesaro_presented_to_saint_peter", "titian_the_archangel_raphael_and_tobias"]}]}, "el_greco_christ_carrying_cross": {"id": "el_greco_christ_carrying_cross", "title": "Christ Carrying the Cross", "artist_line": "El Greco (Greek–Spanish, 1541–1614)", "artist": "El Greco", "date": "1590–1595", "museum": "Museu Nacional d'Art de Catalunya, Barcelona", "license": "PD/CC0", "tier": "Mid", "sizes": [{"size": "11×14 in", "paper": 59, "iw": 9.0, "ih": 14, "sw": 11, "sh": 14, "cov": 0.815}, {"size": "18×24 in", "paper": 140, "iw": 15.4, "ih": 24, "sw": 18, "sh": 24, "cov": 0.854}], "local": "/store/display/el_greco_christ_carrying_cross.jpg", "commons_file": "El Greco - Christ Carrying the Cross - Google Art Project.jpg", "zoom": "https://art.monstrance.app/zoom/el_greco_christ_carrying_cross.jpg", "master_px": 4692, "auth": {"institution": "Museu Nacional d'Art de Catalunya", "accession": "065577-000", "url": "https://www.museunacional.cat/en/colleccio/christ-carrying-cross/domenikos-theotokopoulos-el-greco/065577-000", "artist_as_printed": "Doménikos Theotokópoulos (El Greco)", "date_as_printed": "1590-1595", "medium": "Oil on canvas", "dimensions": "106.4 x 69 cm"}, "writeup": {"text": "Christ holds the cross the way a man holds a thing he has chosen, long fingers open on the wood, eyes lifted past it, the crown of thorns on His head. The Museu Nacional d'Art de Catalunya reads the cross as triumph over death, not an instrument of martyrdom, and the face as serene, its gaze confident of eternal life. El Greco, the museum says, models volumes with colour and deforms bodies to show spiritual unease. Santiago Espona left the canvas to the museum in 1958. The source the museum names is the Imitation of Christ, and its reversal holds: carry the cross willingly, and it will carry you.", "sources": [{"what": "Owning institution's object record: the cross symbolises Christ's triumph over death and is not an instrument of martyrdom; the face shows serenity, not pain, with a gaze confident of eternal life; source in De imitatione Christi.", "url": "https://www.museunacional.cat/en/colleccio/christ-carrying-cross/domenikos-theotokopoulos-el-greco/065577-000", "cite": "Museu Nacional d'Art de Catalunya, 'Christ Carrying the Cross', inv. 065577-000 (English edition of the record)"}, {"what": "Same record, Catalan edition: technique described as the painter modelling volumes with colour and deforming bodies to reflect the figures' spiritual unease; oil on canvas, 106.4 x 69 cm; datació 1590-1595.", "url": "https://www.museunacional.cat/ca/colleccio/crist-amb-la-creu/domenikos-theotokopoulos-el-greco/065577-000", "cite": "Museu Nacional d'Art de Catalunya, 'Crist amb la Creu', núm. de registre 065577-000"}, {"what": "Same record, Spanish edition, corroborating the credit line 'Legado de Santiago Espona, 1958', the display location Sala 032, the dimensions and the De imitatione Christi source.", "url": "https://www.museunacional.cat/es/colleccio/cristo-con-la-cruz/domenikos-theotokopoulos-el-greco/065577-000", "cite": "Museu Nacional d'Art de Catalunya, 'Cristo con la Cruz', núm. 065577-000"}, {"what": "Metropolitan Museum catalogue record for its own version, stating that during his long career in Spain El Greco produced numerous paintings of Christ carrying the cross. Used only for the fact that he repeated the subject.", "url": "https://www.metmuseum.org/art/collection/search/459087", "cite": "The Metropolitan Museum of Art, 'Christ Carrying the Cross', acc. 1975.1.145, Robert Lehman Collection"}, {"what": "MNAC's own account of the collection's formation, naming the Espona bequest of 1958 among the donations and bequests that built the museum's holdings.", "url": "https://www.museunacional.cat/en/donations-and-bequests-museu-nacional", "cite": "Museu Nacional d'Art de Catalunya, 'Donations and bequests to the Museu Nacional'"}, {"what": "Met catalogue text for its OWN version of the subject. After repair it carries two clauses only: that El Greco repeated the subject in Spain, and that the Met calls its own canvas a devotional image rather than a narrative scene (attributed in-text to the Metropolitan and to its own picture). It may NOT be used to describe the Barcelona canvas.", "url": "https://www.metmuseum.org/art/collection/search/459087", "cite": "The Metropolitan Museum of Art, 'Christ Carrying the Cross', acc. 1975.1.145, Robert Lehman Collection. Fetched and confirmed verbatim 2026-08-16; no attribution hedge."}, {"what": "The primary text the museum names as the picture's source: Book II ch. 12, 'De via regia sanctae crucis' — 'The Royal Road of the Holy Cross'. It carries the card's closing reversal.", "cite": "Thomas a Kempis, De imitatione Christi, Book II, ch. 12, 'The Royal Road of the Holy Cross'"}, {"what": "NOT new — already source #1 in the brief, but. Its exhaustive text establishes that MNAC prints nothing about setting, figures or hands.", "url": "https://www.museunacional.cat/en/colleccio/christ-carrying-cross/domenikos-theotokopoulos-el-greco/065577-000", "cite": "Museu Nacional d'Art de Catalunya, 'Christ Carrying the Cross', inv. 065577-000 (English edition)"}]}, "scene": {"ref": "John 19:17", "quote": "And bearing his own cross, he went forth to the place which is called Calvary, but in Hebrew Golgotha.", "shows": "Christ bearing his own cross to Golgotha"}, "th": "/store/thumb/el_greco_christ_carrying_cross.webp", "more": [{"k": "subject", "n": "The Christ Carrying the Cross in painting", "u": "/editions/subject/christ-carrying-the-cross/", "ids": ["poelenburch_christ_carrying_the_cross", "hieronymus_bosch_christ_carrying_the_cross", "hieronymus_bosch_christ_carrying_the_cross_escorial", "titian_christ_carrying"]}, {"k": "master", "n": "El Greco", "u": "/editions/master/el-greco/", "ids": ["el_greco_madonna_and_child_with_saint_martina_a", "el_greco_savior", "el_greco_the_agony_in_the_garden", "el_greco_adoration_shepherds"]}]}, "velazquez_martha_mary": {"id": "velazquez_martha_mary", "title": "Christ in the House of Martha and Mary", "artist_line": "Diego Velázquez (Spanish, 1599–1660)", "artist": "Velázquez", "date": "1618", "museum": "The National Gallery, London", "license": "PD/CC0", "tier": "Hero", "sizes": [{"size": "16×20 in", "paper": 110, "iw": 20, "ih": 11.6, "sw": 20, "sh": 16, "cov": 0.725}, {"size": "18×24 in", "paper": 140, "iw": 24, "ih": 13.9, "sw": 24, "sh": 18, "cov": 0.773}, {"size": "24×36 in", "paper": 190, "iw": 36, "ih": 20.9, "sw": 36, "sh": 24, "cov": 0.87}], "local": "/store/display/velazquez_martha_mary.jpg", "commons_file": "Cristo en casa de Marta y María, by Diego Velázquez.jpg", "zoom": "https://art.monstrance.app/zoom/velazquez_martha_mary.jpg", "master_px": 7290, "auth": {"institution": "The National Gallery, London", "accession": "NG1375", "url": "https://www.nationalgallery.org.uk/paintings/diego-velazquez-christ-in-the-house-of-martha-and-mary", "artist_as_printed": "Diego Velázquez", "date_as_printed": "Probably 1618", "medium": "Oil on canvas", "dimensions": "60 × 103.5 cm"}, "writeup": {"text": "A girl works a pestle in a metal mortar and looks out, unsmiling. Fish, two eggs, a red pepper, garlic, a jug. Behind her an old woman lifts one finger; the National Gallery reads the gesture as instruction, or as a scolding for working too hard, and allows that the two may be a latter-day Martha and Mary. In the opening at the back, most likely a gap in the wall rather than a mirror or a hung painting, Christ sits with Mary at His feet and Martha standing over them. His answer serves every kitchen: Martha, Martha, careful and troubled about many things. Charles Scribner III finds the same earthenware jug on both tables and reads the two rooms as one house, and sets beside it Teresa of Ávila's line that the Lord walks among the pots and pans. Among these pots too.", "sources": [{"what": "Foreground still life (garlic, mortar, fish, eggs, pepper, oil jug); old woman's ambiguous raised-hand gesture; framed opening showing Christ/Mary/Martha; Christ's answer to Martha", "url": "https://www.nationalgallery.org.uk/paintings/diego-velazquez-christ-in-the-house-of-martha-and-mary", "cite": "The National Gallery, London, object page for NG1375"}, {"what": "Recurring jug in foreground and background as a deliberate visual rhyme linking the two scenes as one event at two scales; opening most plausibly a wall aperture", "url": "https://www.academia.edu/50915515/Vel%C3%A1zquez_and_Saint_Teresa_Christ_in_the_House_of_Mary_and_Martha", "cite": "Scribner, Charles III. \"Velázquez and Saint Teresa: Christ in the House of Mary and Martha.\" 2021."}, {"what": "Named scholar reading the same earthenware jug on the maid's table and again in the room beyond as the device that links the two scenes into one house; and ranking the competing readings of the opening in the back wall.", "url": "https://www.academia.edu/50915515/Vel%C3%A1zquez_and_Saint_Teresa_Christ_in_the_House_of_Mary_and_Martha", "cite": "Charles Scribner III, 'Velázquez and Saint Teresa: Christ in the House of Mary and Martha' (2021)."}, {"what": "Teresa of Ávila's kitchen teaching, quoted by Scribner from the Book of the Foundations — which is what places her beside this painting.", "url": "https://www.academia.edu/50915515/Vel%C3%A1zquez_and_Saint_Teresa_Christ_in_the_House_of_Mary_and_Martha", "cite": "Teresa of Ávila, quoted in Charles Scribner III, 'Velázquez and Saint Teresa' (2021)."}, {"what": "The Gallery's own object page: its hedged identification of the two foreground figures, the old woman's gesture read as instruction or as a scolding for working too hard, the opening in the back wall and its rival readings, and the repeated jug.", "url": "https://www.nationalgallery.org.uk/paintings/diego-velazquez-christ-in-the-house-of-martha-and-mary", "cite": "The National Gallery, London, 'Kitchen Scene with Christ in the House of Martha and Mary', NG1375."}]}, "scene": {"ref": "Luke 10:41", "quote": "And the Lord answering, said to her: Martha, Martha, thou art careful and art troubled about many things:", "shows": "Martha careful about many things; Mary’s better part"}, "th": "/store/thumb/velazquez_martha_mary.webp", "more": [{"k": "master", "n": "Velázquez", "u": "/editions/master/velazquez/", "ids": ["velazquez_christ_crucified", "velazquez_coronation"]}]}, "fra_angelico_coronation": {"id": "fra_angelico_coronation", "title": "The Coronation of the Virgin", "artist_line": "Fra Angelico (Italian, c. 1395–1455)", "artist": "Fra Angelico", "date": "c. 1430–1435", "museum": "Musée du Louvre, Paris", "license": "PD/CC0", "tier": "Sanctuary", "sizes": [{"size": "18×24 in", "paper": 140, "iw": 18, "ih": 20.3, "sw": 18, "sh": 24, "cov": 0.848}, {"size": "24×36 in", "paper": 190, "iw": 24, "ih": 27.1, "sw": 24, "sh": 36, "cov": 0.754}, {"size": "32×48 in", "paper": 340, "iw": 32, "ih": 36.2, "sw": 32, "sh": 48, "cov": 0.754}, {"size": "40×60 in", "paper": 480, "iw": 40, "ih": 45.2, "sw": 40, "sh": 60, "cov": 0.754}], "local": "/store/display/le_couronnement_de_la_vierge_fra_angelico_mus_e___5604a3b9cc80.jpg", "commons_file": "Le Couronnement de la Vierge - Fra Angelico - Musée du Louvre Peintures INV 314 ; MR 220.jpg", "zoom": "https://art.monstrance.app/zoom/le_couronnement_de_la_vierge_fra_angelico_mus_e___5604a3b9cc80.jpg", "master_px": 9358, "auth": {"institution": "Musée du Louvre, Paris", "accession": "INV 314 ; MR 220", "url": "https://collections.louvre.fr/en/ark:/53355/cl010064473", "artist_as_printed": "Fra Angelico (Guido di Pietro, dit Fra Giovanni da Fiesole)", "date_as_printed": "2e quart du XVe siècle (1425 - 1450)", "medium": "bois (peuplier, panneau d'un seul tenant)", "dimensions": "Hauteur : 2,09 m ; Largeur : 2,06 m"}, "writeup": {"text": "Our Lady kneels before Christ on His throne and bows her head, and all of heaven stands in rows to watch a crown come down from His hands. No Gospel tells this. The National Gallery of Art traces the image to her bodily Assumption, recalled from the fourth century and defined as dogma by Pius XII in 1950. Fra Angelico painted it for the Observant Dominican church at Fiesole, and Patricia Rubin reads the ranked court of heaven as chosen to argue that young observance's standing. The Louvre records gold lettering on the books held by John the Evangelist, Dominic and Thomas Aquinas. They came to a crowning carrying their pages.", "sources": [{"what": "The Louvre's record: painted before 1435, the consecration of San Domenico, Fiesole; gold lettering on haloes and necklines and on the books held by John the Evangelist, Dominic and Thomas Aquinas; seven predella scenes", "url": "https://collections.louvre.fr/en/ark:/53355/cl010064473", "cite": "Musée du Louvre, Fra Angelico, 'Le Couronnement de la Vierge', collection record, read 2026-09-24"}, {"what": "Patricia Rubin's abstract: the altarpiece for the Observant Dominican church outside Fiesole shows the court of heaven, its prophets and saints selected and arranged to argue the status and authority of the recently established observance", "url": "https://academic.oup.com/oaj/article/27/2/137/1520842", "cite": "Patricia Rubin, 'Hierarchies of Vision: Fra Angelico's Coronation of the Virgin from San Domenico, Fiesole', Oxford Art Journal 27, no. 2, abstract, read 2026-09-24"}, {"what": "The NGA catalogue entry on the Coronation as a subject: grounded in Mary's bodily Assumption, recalled in Christian literature from the fourth century; in painting no earlier than the twelfth century", "url": "https://www.nga.gov/research/publications/italian-paintings-thirteenth-and-fourteenth-centuries-0/italian-paintings-thirteenth-and-fourteenth-centuries-coronation-virgin-six-angels-c-1390", "cite": "National Gallery of Art, Washington, Italian Paintings of the Thirteenth and Fourteenth Centuries, 'Coronation of the Virgin with Six Angels', read 2026-09-24"}, {"what": "Pius XII's apostolic constitution of 1 November 1950 defining as divinely revealed dogma that Mary was assumed body and soul into heavenly glory", "url": "https://www.vatican.va/content/pius-xii/en/apost_constitutions/documents/hf_p-xii_apc_19501101_munificentissimus-deus.html", "cite": "Pius XII, Munificentissimus Deus (1950), para. 44, read 2026-09-24"}]}, "scene": {"why": "NOT A NARRATIVE SCENE. No book of Scripture describes the crowning of the Virgin. The subject grows out of medieval liturgy and the Apocalypse’s crowned woman, and the painters treat it as heavenly rather than historical."}, "th": "/store/thumb/le_couronnement_de_la_vierge_fra_angelico_mus_e___5604a3b9cc80.webp", "more": [{"k": "subject", "n": "The Coronation of the Virgin in painting", "u": "/editions/subject/coronation-of-the-virgin/", "ids": ["lippi_coronation", "angelico_coronation_of_the_virgin", "ghirlandaio_coronation_of_the_virgin", "velazquez_coronation"]}, {"k": "master", "n": "Fra Angelico", "u": "/editions/master/fra-angelico/", "ids": ["fra_angelico_saint_romuald_refusing_entry_to_empero", "fra_angelico_the_beheading_of_saint_john_the_baptis", "angelico_last_judgment", "angelico_last_judgment_berlin"]}]}, "ghirlandaio_coronation_of_the_virgin": {"id": "ghirlandaio_coronation_of_the_virgin", "title": "The Coronation of the Virgin", "artist_line": "Domenico Ghirlandaio and workshop (Italian, 1449–1494)", "artist": "Domenico Ghirlandaio and workshop", "date": "about 1478–79", "museum": "Denver Art Museum", "license": "PD/CC0", "tier": "Hero", "sizes": [{"size": "16×20 in", "paper": 110, "iw": 20, "ih": 14.1, "sw": 20, "sh": 16, "cov": 0.88}, {"size": "18×24 in", "paper": 140, "iw": 24, "ih": 16.9, "sw": 24, "sh": 18, "cov": 0.938}, {"size": "24×36 in", "paper": 190, "iw": 34.1, "ih": 24, "sw": 36, "sh": 24, "cov": 0.947}], "local": "/store/display/ghirlandaio_the_coronation_of_the_virgin_with_sa__437190007f9d.jpg", "commons_file": "Ghirlandaio - The Coronation of the Virgin with Saint John the Baptist and Saint John the Evangelist, about 1478-79, K1726.jpg", "zoom": "https://art.monstrance.app/zoom/ghirlandaio_the_coronation_of_the_virgin_with_sa__437190007f9d.jpg", "master_px": 8875, "auth": {"institution": "Denver Art Museum", "accession": "1961.163", "url": "https://www.denverartmuseum.org/en/object/1961.163", "artist_as_printed": "Domenico Ghirlandaio, Italian, 1449–1494 (and workshop)", "date_as_printed": "About 1478–79", "medium": "Oil paint on panel", "dimensions": "42 7/8 × 60 7/8 in. (108.9 × 154.6 cm)"}, "writeup": {"text": "A small crown comes down onto the Virgin's head from the hand of Christ, enthroned beside her, and she folds her arms across her breast. Angels play on either side; the Kress Collection names a lute, a tambourine, a lira da braccio and cymbals. Below, the Denver Art Museum identifies Saint John the Baptist, one hand held out, and Saint John the Evangelist with his book. Kress and Cavallini to Veronese both record it cut down, the lower register lost, and Cavallini finds its earliest modern record at a Christie's sale in London in 1937. Domenico Ghirlandaio's heaven still hums over a flat blue country.", "sources": [{"what": "Museum title and subject identification: Coronation of the Virgin with Saint John the Baptist and Saint John the Evangelist", "url": "https://www.denverartmuseum.org/en/object/1961.163", "cite": "Denver Art Museum object page, accession 1961.163"}, {"what": "Angel musicians' instruments identified (lute, tambourine, lira da braccio, cymbals) and panel's cut-down/fragmentary condition", "url": "https://www.kressfoundation.org/kress-collection/artwork/2e0e178a984c923a96385684a12d9c3aeadb950c61dd8cc508af380f35813d2c", "cite": "Samuel H. Kress Foundation, Kress Collection database, Coronation of the Virgin (Denver Art Museum 1961.163)"}, {"what": "Independently corroborates angel instruments and missing lower register/legs; confirms 1937 Christie's London sale as earliest documented modern record", "url": "https://www.cavallinitoveronese.co.uk/ghirlandaio/", "cite": "Cavallini to Veronese: A Catalogue of Italian Paintings before 1500, s.v. Ghirlandaio, Coronation of the Virgin (Denver)"}, {"what": "Psalm 150 names the timbrel and the high-sounding cymbals among the instruments of praise — two of the four the angels hold (Cavallini places the tambourine at left, the cymbals at right); the Psalter names no bowed instrument anywhere", "cite": "Psalm 150:4-5, Douay-Rheims"}]}, "scene": {"why": "NOT A NARRATIVE SCENE. No book of Scripture describes the crowning of the Virgin. The subject grows out of medieval liturgy and the Apocalypse’s crowned woman, and the painters treat it as heavenly rather than historical."}, "th": "/store/thumb/ghirlandaio_the_coronation_of_the_virgin_with_sa__437190007f9d.webp", "more": [{"k": "subject", "n": "The Coronation of the Virgin in painting", "u": "/editions/subject/coronation-of-the-virgin/", "ids": ["velazquez_coronation", "guido_da_siena_coronation_of_the_virgin", "gentile_da_fabriano_coronation_of_the_virgin", "fra_angelico_coronation"]}]}, "angelico_coronation_of_the_virgin": {"id": "angelico_coronation_of_the_virgin", "title": "The Coronation of the Virgin (medallion)", "artist_line": "Fra Angelico (Italian, c. 1395–1455)", "artist": "Fra Angelico", "date": "c. 1440–1450", "museum": "Museo Nazionale di San Marco, Florence", "license": "PD/CC0", "tier": "Hero", "sizes": [{"size": "12×12 in", "paper": 55, "iw": 12, "ih": 11.6, "sw": 12, "sh": 12, "cov": 0.966}, {"size": "20×20 in", "paper": 130, "iw": 20, "ih": 19.3, "sw": 20, "sh": 20, "cov": 0.966}, {"size": "24×36 in", "paper": 190, "iw": 24.8, "ih": 24, "sw": 36, "sh": 24, "cov": 0.69}, {"size": "30×30 in", "paper": 240, "iw": 30, "ih": 29.0, "sw": 30, "sh": 30, "cov": 0.966}], "local": "/store/display/fra_angelico__416afbbb0c39.jpg", "commons_file": "Fra Angelico — Coronation of the Virgin medallion.jpg", "zoom": "https://art.monstrance.app/zoom/fra_angelico__416afbbb0c39.jpg", "master_px": 6060, "auth": {"institution": "Museo di San Marco, Firenze (Museo Nazionale di San Marco)", "accession": "inv. 1890, n. 8498", "url": "https://www.palazzostrozzi.org/wp-content/uploads/2024/05/BA_Lista-opere-Beato-Angelico_ITA.pdf", "artist_as_printed": "Beato Angelico", "date_as_printed": "1440-1450 circa", "medium": "Tempera e oro su tavola", "dimensions": "cm 18,2 (diametro di ciascuna)"}, "writeup": {"text": "A crown is lowered an inch, and heaven holds still for it. Our Lady bows beneath it, one hand at her breast, and the red stars keep their places in the blue. The National Gallery notes that the Coronation is not described in the Bible, and reads the crowned Virgin of Italian painting as the Church. Fra Angelico painted this roundel, 18.2 centimetres across, around 1440 to 1450, and San Marco pairs it with a Crucifixion between the Virgin and Saint John, a scene told by all four Gospels. The scene Scripture leaves untold is kept beside one told four times. A crown, a hand, a bowed head.", "sources": [{"what": "Entry 9.6b: Incoronazione della Vergine, 1440-1450 circa, tempera e oro su tavola, cm 18,2 diameter, Museo di San Marco, inv. 1890 n. 8498. Entry 9.6a is the companion Crocifissione tra la Vergine e san Giovanni.", "url": "https://www.palazzostrozzi.org/wp-content/uploads/2024/05/BA_Lista-opere-Beato-Angelico_ITA.pdf", "cite": "Palazzo Strozzi / Museo di San Marco, Beato Angelico, exhibition checklist, entries 9.6a-9.6b"}, {"what": "The museum's own listing titles the work in the singular, 'Il tondo con la Crocifissione e l'Incoronazione della Vergine', supporting one roundel carrying an image on each face.", "url": "https://museodisanmarco.blog/2021/05/05/il-museo-di-san-marco-presenta-beato-angelico-visto-da-una-rassegna-di-video-dedicata-ai-capolavori-del-frate-pittore/", "cite": "Museo di San Marco, 'Beato Angelico visto da ...' video series, item 8 (Anna Soffici)"}, {"what": "Gordon 2011, on the National Gallery's OWN Coronation, not ours: 'Folding her arms in humility, she leans towards Christ, who places a jewelled crown on her head.' Cited only for the humility reading of the folded-arms pose.", "url": "https://www.nationalgallery.org.uk/paintings/glossary/coronation-of-the-virgin", "cite": "National Gallery, London, Glossary: Coronation of the Virgin"}, {"what": "Gordon 2011, on the National Gallery's OWN Coronation, not ours: 'Folding her arms in humility, she leans towards Christ, who places a jewelled crown on her head.' Cited only for the humility reading of the folded-arms pose.", "url": "https://www.nationalgallery.org.uk/paintings/catalogues/gordon-2011/the-coronation-of-the-virgin", "cite": "D. Gordon, National Gallery Catalogues: The Italian Paintings before 1400 (2011)"}, {"what": "The Gallery's glossary for this subject: the Coronation of the Virgin as Queen of Heaven is not described in the Bible, and in Italian paintings of the subject the crowned Virgin is read as representing the Church.", "url": "https://www.nationalgallery.org.uk/paintings/glossary/coronation-of-the-virgin", "cite": "The National Gallery, London, glossary: Coronation of the Virgin."}, {"what": "The Crucifixion is narrated by all four evangelists — Matthew 27:33-50, Mark 15:22-37, Luke 23:33-46, John 19:17-30. The Virgin and the beloved disciple at the foot of the cross are John's alone, at 19:25-27; the other three place women watching from afar off.", "cite": "Douay-Rheims (Challoner), the four Passion narratives."}, {"what": "The catalogue gloss of the folded-arms pose as humility. Written of Bernardo Daddi's Coronation, NG 6599, and carried here as a reading of the pose-type rather than of this roundel.", "url": "https://www.nationalgallery.org.uk/paintings/catalogues/gordon-2011/the-coronation-of-the-virgin", "cite": "Dillian Gordon, 'National Gallery Catalogues: The Italian Paintings before 1400', on NG 6599."}]}, "scene": {"why": "NOT A NARRATIVE SCENE. No book of Scripture describes the crowning of the Virgin. The subject grows out of medieval liturgy and the Apocalypse’s crowned woman, and the painters treat it as heavenly rather than historical."}, "th": "/store/thumb/angelico_coronation_of_the_virgin.webp", "more": [{"k": "subject", "n": "The Coronation of the Virgin in painting", "u": "/editions/subject/coronation-of-the-virgin/", "ids": ["ghirlandaio_coronation_of_the_virgin", "velazquez_coronation", "guido_da_siena_coronation_of_the_virgin", "gentile_da_fabriano_coronation_of_the_virgin"]}, {"k": "master", "n": "Fra Angelico", "u": "/editions/master/fra-angelico/", "ids": ["angelico_bosco_ai_frati_altarpiece", "angelico_crucifixion_met", "angelico_madonna_twelve_angels_staedel", "angelico_thebaid_budapest"]}]}, "lippi_coronation": {"id": "lippi_coronation", "title": "The Coronation of the Virgin", "artist_line": "Fra Filippo Lippi (Italian, c. 1406–1469)", "artist": "Fra Filippo Lippi", "date": "1439–47", "museum": "Gallerie degli Uffizi, Florence", "license": "PD/CC0", "tier": "Entry", "sizes": [{"size": "8×10 in", "paper": 39, "iw": 10, "ih": 7.0, "sw": 10, "sh": 8, "cov": 0.87}], "local": "/store/display/lippi_coronation.jpg", "commons_file": "Filippo Lippi - Incoronazione della Vergine - Google Art Project.jpg", "zoom": "https://art.monstrance.app/zoom/lippi_coronation.jpg", "master_px": 3109, "auth": {"institution": "Gallerie degli Uffizi / Uffizi Galleries, Firenze", "accession": "1890 no. 8352", "url": "https://www.uffizi.it/en/artworks/lippi-coronation-virgin", "artist_as_printed": "Filippo Lippi (Florence ca. 1406-Spoleto 1469)", "date_as_printed": "1439-1447ca.", "medium": "Tempera on wood", "dimensions": "200x287cm"}, "writeup": {"text": "God the Father sets the crown on Our Lady as she kneels, hands at her breast, and a whole court leans in with lilies. The Uffizi reads the lilies as her purity and notes the priestly stole the angels carry for Him. Lower right, an angel unrolls a scroll, ISTE PERFECIT OPUS, this man completed the work, before a kneeling figure long taken for Lippi and now generally thought, New Liturgical Movement reports, to be Francesco Maringhi, the canon who commissioned it. At the left kneels a Carmelite friar in white, likely the painter himself, looking out at us. No scroll is unrolled for him.", "sources": [{"what": "God the Father (not Christ) crowns the kneeling Virgin; angels hold lilies for purity and priestly vestments", "url": "https://www.uffizi.it/en/artworks/lippi-coronation-virgin"}, {"what": "St. Ambrose (titular saint of the commissioning church) and St. John the Baptist (patron of Florence) flank the throne", "url": "https://www.uffizi.it/en/artworks/lippi-coronation-virgin"}, {"what": "Kneeling patron Francesco Maringhi identified by angel's scroll reading ISTE PERFECIT OPUS", "url": "https://www.uffizi.it/en/artworks/lippi-coronation-virgin"}, {"what": "Man in white Carmelite habit staring at viewer, lower left, traditionally (hedged) identified as Lippi's self-portrait", "url": "https://www.newliturgicalmovement.org/2024/10/fra-filippo-lippis-coronation-of-virgin.html"}, {"what": "The Uffizi's own entry: the angel unrolling the scroll before the kneeling patron; Francesco Maringhi as the canon who commissioned the altarpiece; God the Father, not the Son, performing the crowning; the angels carrying the priestly stole he wears and the lilies, read by the gallery as Mary's purity; and the self-portrait of Lippi as a kneeling Carmelite friar in white at the left, looking out.", "url": "https://www.uffizi.it/en/artworks/lippi-coronation-virgin", "cite": "Gallerie degli Uffizi, Filippo Lippi, 'Coronation of the Virgin'."}, {"what": "The scroll's inscription in full — ISTE PERFECIT OPUS, 'this man completed the work' — and the shift in identification: the kneeling figure was long taken for Lippi and is now generally thought to be the commissioner. Hedges the friar in white where the Uffizi asserts, and the card follows the more conservative of the two.", "url": "https://www.newliturgicalmovement.org/2024/10/fra-filippo-lippis-coronation-of-virgin.html", "cite": "New Liturgical Movement, \"Fra Filippo Lippi's Coronation of the Virgin\" (October 2024)."}]}, "scene": {"why": "NOT A NARRATIVE SCENE. No book of Scripture describes the crowning of the Virgin. The subject grows out of medieval liturgy and the Apocalypse’s crowned woman, and the painters treat it as heavenly rather than historical."}, "th": "/store/thumb/lippi_coronation.webp", "more": [{"k": "subject", "n": "The Coronation of the Virgin in painting", "u": "/editions/subject/coronation-of-the-virgin/", "ids": ["angelico_coronation_of_the_virgin", "ghirlandaio_coronation_of_the_virgin", "velazquez_coronation", "guido_da_siena_coronation_of_the_virgin"]}, {"k": "master", "n": "Fra Filippo Lippi", "u": "/editions/master/fra-filippo-lippi/", "ids": ["lippi_pieta", "lippi_saint_benedict_orders_saint_maurus_to_the_rescue_o", "lippi_annunciation_2", "lippi_adoration_forest"]}]}, "velazquez_coronation": {"id": "velazquez_coronation", "title": "The Coronation of the Virgin", "artist_line": "Diego Velázquez (Spanish, 1599–1660)", "artist": "Velázquez", "date": "c. 1635", "museum": "Museo Nacional del Prado, Madrid", "license": "PD/CC0", "tier": "Entry", "sizes": [{"size": "8×10 in", "paper": 39, "iw": 7.5, "ih": 10, "sw": 8, "sh": 10, "cov": 0.939}], "local": "/store/display/velazquez_coronation.jpg", "commons_file": "Diego Velázquez - Coronation of the Virgin - Prado.jpg", "zoom": "https://art.monstrance.app/zoom/velazquez_coronation.jpg", "master_px": 3051, "auth": {"institution": "Museo Nacional del Prado, Madrid", "accession": "P001168", "url": "https://www.museodelprado.es/en/the-collection/art-work/the-coronation-of-the-virgin/5f39f2cc-0197-4522-aecf-1d8e3b2e4ae7", "artist_as_printed": "Diego Rodríguez de Silva y Velázquez", "date_as_printed": "1635–1636", "medium": "Oil on canvas", "dimensions": "Height: 178.5 cm; Width: 134.5 cm"}, "writeup": {"text": "A crown of flowers, not gold, and two hands to hold it: Christ's on the left, God the Father's on the right, and above them the Holy Spirit as a Dove in a burst of light. Our Lady does not reach for it. Her eyes are down and one hand rests on her heart. The Prado suggests the gesture may recall the Virgin of Turchi's Annunciation, which hung in the same oratory; if so, crowned, she is still saying what she said when she was asked. The Prado tells how Velázquez painted it for Queen Isabel de Borbón's new prayer chapel in the Alcázar, to complete the nine Feasts of Our Lady that Cardinal Gaspar de Borja y Velasco had sent from Rome, and calls it his last religious work. Under her, small cherubim hold up the cloud.", "sources": [{"what": "Trinity crowns Mary jointly (Father and Son placing crown, dove radiating light above); iconography follows models by Dürer and El Greco; cherubim in lower register amid clouds", "url": "https://www.museodelprado.es/en/the-collection/art-work/the-coronation-of-the-virgin/5f39f2cc-0197-4522-aecf-1d8e3b2e4ae7", "cite": "Museo Nacional del Prado, object page (fetched 2026-08-15)"}, {"what": "Virgin's hand-on-heart gesture may deliberately echo the same gesture in Turchi's Annunciation hanging in the same chapel", "url": "https://www.museodelprado.es/en/the-collection/art-work/the-coronation-of-the-virgin/5f39f2cc-0197-4522-aecf-1d8e3b2e4ae7", "cite": "Museo Nacional del Prado, object page"}, {"what": "Cardinal Gaspar de Borja y Velasco sent the nine-painting Turchi Marian cycle from Rome for the same oratory; painting functions as capstone/apotheosis of the cycle", "url": "https://www.investigart.com/2018/02/06/el-oratorio-de-la-reina-en-el-alcazar-de-madrid-una-propuesta-de-reconstruccion/", "cite": "Gloria Martínez Leiva, InvestigArt (2018)"}, {"what": "Commission for Queen Isabel de Borbón's new prayer chapel at the Alcázar, the picture's role in completing Alessandro Turchi's nine Feasts of Our Lady sent from Rome by Cardinal Gaspar de Borja y Velasco, and the statement that this was Velázquez's last religious work.", "url": "https://www.museodelprado.es/en/the-collection/art-work/the-coronation-of-the-virgin/5f39f2cc-0197-4522-aecf-1d8e3b2e4ae7", "cite": "Museo Nacional del Prado, object page P001168, catalogue essay (re-fetched and verified 2026-08-16)"}, {"what": "The Prado's own iconographic indexing names the crown as floral — the institutional basis for 'a crown of flowers, not gold'. The Spanish page was— which is where the dove and the Father-and-Son clauses now rest.", "url": "https://www.museodelprado.es/en/the-collection/art-work/the-coronation-of-the-virgin/5f39f2cc-0197-4522-aecf-1d8e3b2e4ae7", "cite": "Museo Nacional del Prado, object page P001168, iconographic keywords (EN fetched 2026-08-16; ES page fetched separately 2026-08-16, 'Corona de flores' and 'Paloma blanca simbólica' confirmed)"}, {"what": "The Prado's hedged reading of the hand-on-breast gesture as recalling Turchi's Annunciation. The hedge is carried into the card as 'the museum suggests may recall', and the conclusion drawn from it is now conditional ('If so').", "url": "https://www.museodelprado.es/en/the-collection/art-work/the-coronation-of-the-virgin/5f39f2cc-0197-4522-aecf-1d8e3b2e4ae7", "cite": "Museo Nacional del Prado, object page P001168, catalogue essay (fetched and verified 2026-08-16)"}, {"what": "What Mary said when she was asked — the answer the card says she repeats at her crowning: 'And Mary said: Behold the handmaid of the Lord; be it done to me according to thy word. And the angel departed from her.'", "cite": "Luke 1:38, Douay-Rheims"}, {"what": "Used to TEST and reject the brief's 'only the queen prayed there' angle: the oratory hosted novenas and Marian celebrations the palace ladies could attend, so the card claims no exclusivity. The same reconstruction independently corroborates 'in the same room' — it places Turchi's Anunciación flanking the entrance door at the foot of the chapel ('Éstas serían la Anunciación y la Visitación') and Velázquez's Coronación at the cabecera, the two at opposite ends of one room.", "url": "https://www.investigart.com/2018/02/06/el-oratorio-de-la-reina-en-el-alcazar-de-madrid-una-propuesta-de-reconstruccion/", "cite": "Gloria Martínez Leiva, 'El oratorio de la reina en el Alcázar de Madrid: una propuesta de reconstrucción', InvestigArt (2018), fetched 2026-08-16"}]}, "scene": {"why": "NOT A NARRATIVE SCENE. No book of Scripture describes the crowning of the Virgin. The subject grows out of medieval liturgy and the Apocalypse’s crowned woman, and the painters treat it as heavenly rather than historical."}, "th": "/store/thumb/velazquez_coronation.webp", "more": [{"k": "subject", "n": "The Coronation of the Virgin in painting", "u": "/editions/subject/coronation-of-the-virgin/", "ids": ["guido_da_siena_coronation_of_the_virgin", "gentile_da_fabriano_coronation_of_the_virgin", "fra_angelico_coronation", "lippi_coronation"]}, {"k": "master", "n": "Velázquez", "u": "/editions/master/velazquez/", "ids": ["velazquez_martha_mary", "velazquez_christ_crucified"]}]}, "caravaggio_crowning_thorns": {"id": "caravaggio_crowning_thorns", "title": "The Crowning with Thorns", "artist_line": "Caravaggio (Italian, 1571–1610)", "artist": "Caravaggio", "date": "c. 1603", "museum": "Kunsthistorisches Museum, Vienna", "license": "PD/CC0", "tier": "Sanctuary", "sizes": [{"size": "18×24 in", "paper": 140, "iw": 23.5, "ih": 18, "sw": 24, "sh": 18, "cov": 0.98}, {"size": "24×36 in", "paper": 190, "iw": 31.4, "ih": 24, "sw": 36, "sh": 24, "cov": 0.871}, {"size": "32×48 in", "paper": 340, "iw": 41.8, "ih": 32, "sw": 48, "sh": 32, "cov": 0.871}, {"size": "40×60 in", "paper": 480, "iw": 52.3, "ih": 40, "sw": 60, "sh": 40, "cov": 0.871}], "local": "/store/display/caravaggio_crowning_thorns.jpg", "commons_file": "The Crowning with Thorns-Caravaggio (1602).jpg", "zoom": "https://art.monstrance.app/zoom/caravaggio_crowning_thorns.jpg", "master_px": 11037, "auth": {"institution": "Kunsthistorisches Museum Wien", "accession": "Gemäldegalerie, 307", "url": "https://www.khm.at/en/objectdb/detail/427/", "artist_as_printed": "Michelangelo Merisi, gen. Caravaggio (1571 Milan - 1610 Porto Ercole)", "date_as_printed": "around 1603", "medium": "Canvas", "dimensions": "127 × 166.5 cm"}, "writeup": {"text": "Two men press the crown down with staves, and Christ bows under it, a reed in His hand and a red cloak about His shoulders. The USCCB's notes on Matthew read the thorns as ridicule more than torture, a mock diadem like the rayed crowns of Hellenistic kings. The Kunsthistorisches Museum sees the brutality in His neck forced horizontal, and His delicate skin against their bronzed bodies. The Giustiniani inventory of 1638 records it over a doorway. The museum gives the painting to Caravaggio; Ferdinando Bologna records that the execution has been given to another hand. The reed is the only sceptre they allow Him.", "sources": [{"what": "GG 307, canvas, 127 × 166.5 cm, c. 1601; the neck forced horizontal; the delicate skin against the tormentors' bronzed bodies; recorded as a supraporte in the Giustiniani inventory of 1638", "url": "https://www.khm.at/de/object/18997733ec/"}, {"what": "the crown as a mock diadem resembling the rayed crown of Hellenistic kings, the soldiers' purpose being ridicule rather than torture", "url": "https://bible.usccb.org/bible/matthew/27"}, {"what": "the armoured onlooker behind the rail who observes without taking part", "url": "https://www.wga.hu/html/c/caravagg/12/87crowni.html"}, {"what": "the invention is Caravaggio's but the execution has been given to another hand, following Longhi's attribution to Battistello Caracciolo; the dating is also disputed", "cite": "Ferdinando Bologna, ‘Merisi, Michelangelo, detto Caravaggio’, Dizionario Biografico degli Italiani, vol. 73 (2009)"}]}, "scene": {"ref": "Matthew 27:29", "quote": "And platting a crown of thorns, they put it upon his head, and a reed in his right hand. And bowing the knee before him, they mocked him, saying: Hail, King of the Jews.", "shows": "the crown of thorns and the reed"}, "th": "/store/thumb/caravaggio_crowning_thorns.webp", "more": [{"k": "subject", "n": "The Crowning with Thorns in painting", "u": "/editions/subject/crowning-with-thorns/", "ids": ["titian_crowning_thorns", "geertgen_man_of_sorrows_man_van_smarten", "aelbrecht_bouts_christ_with_the_crown_of_thorns_man_of_s", "grunewald_mocking_of_christ_verspottung_christi"]}, {"k": "master", "n": "Caravaggio", "u": "/editions/master/caravaggio/", "ids": ["caravaggio_entombment", "caravaggio_madonna_rosary", "caravaggio_death_virgin", "caravaggio_madonna_loreto"]}]}, "titian_crowning_thorns": {"id": "titian_crowning_thorns", "title": "The Crowning with Thorns", "artist_line": "Titian (Italian, c. 1488–1576)", "artist": "Titian", "date": "c. 1570s", "museum": "Alte Pinakothek, Munich", "license": "Public domain (photo CC BY-SA 4.0)", "tier": "Mid", "sizes": [{"size": "11×14 in", "paper": 59, "iw": 9.0, "ih": 14, "sw": 11, "sh": 14, "cov": 0.821}], "local": "/store/display/titian_crowning_thorns.jpg", "commons_file": "The Crowning with Thorns by Titian - Alte Pinakothek - Munich - Germany 2017.jpg", "zoom": "https://art.monstrance.app/zoom/titian_crowning_thorns.jpg", "master_px": 4104, "auth": {"institution": "Bayerische Staatsgemäldesammlungen — Alte Pinakothek, München", "accession": "2272", "url": "https://www.sammlung.pinakothek.de/en/artwork/M0xyYAVxpl", "artist_as_printed": "Tiziano Vecellio, gen. Tizian", "date_as_printed": "um 1570", "medium": "Canvas", "dimensions": "280 x 182 cm"}, "writeup": {"text": "Staves cross over one bowed head, and the men holding them lean in with their whole weight. Christ sits on the step, eyes down, a white cloth at His shoulders. Matthew tells it as a coronation turned to mockery: a crown of thorns, a reed, a bent knee. The Alte Pinakothek describes the tormentors pressing the crown down onto Christ's head with sticks while He stays composed, the sombre atmosphere underlining the brutality. Beth Harris and Steven Zucker point to the torches at the upper right, thick white and gold paint, and figures coming out of darkness into a shallow space; it was said, they note, that the late Titian painted with his hands. Thirty years earlier, in the version now in the Louvre, he set the same scene below a bust inscribed TIBERIVS CAESAR. Here there is no emperor, only the one they are mocking.", "sources": [{"what": "Owning institution: inv. 2272, canvas, 280 x 182 cm; tormentors press thorns with implements, Christ composed; sombre atmosphere underlines the brutality; from the Electoral Gallery.", "url": "https://www.sammlung.pinakothek.de/en/artwork/M0xyYAVxpl", "cite": "Alte Pinakothek, Munich, inv. 2272, collection record"}, {"what": "Named scholars on this canvas: torches at the upper right, thick white and gold paint, figures emerging from darkness into a shallow space; and that 'it was said' Titian used his hands to paint late in his career.", "url": "https://smarthistory.org/titian-christ-crowned-with-thorns/", "cite": "Beth Harris and Steven Zucker, Smarthistory, 9 Dec 2015"}, {"what": "Earlier version: oil on poplar panel, made for the Confraternita di Santa Corona at Santa Maria delle Grazie, Milan; taken from Milan 1796, Louvre 1797.", "url": "https://collections.louvre.fr/en/ark:/53355/cl010064395", "cite": "Musee du Louvre, Departement des Peintures"}, {"what": "Inscriptions on the earlier Milan/Louvre version: TITIANVS .F beneath Christ's left foot, and TIBERIVS CAESAR inscribed below the bust.", "url": "https://utpictura18.univ-amu.fr/en/notice/6771-the-coronation-of-thorns-louvre-version-titian", "cite": "Utpictura18, Aix-Marseille Universite, notice 6771"}, {"what": "Scene wording: they wove a crown of thorns, placed it on his head and a reed in his right hand. The prose cites only the reed-in-hand, which is verse 29.", "cite": "Matthew 27:29-30 (NABRE), USCCB"}, {"what": "On the two versions: the Tiberius bust belongs to the earlier Louvre picture and is theatrically placed; the Munich canvas repeats the diagonal in its main lines thirty years later, and further staves at the front edge bar the foreground until the action almost comes to a standstill.", "url": "https://www.arthistoricum.net/themen/portale/renaissance/lektion-xvi-venedig-und-die-renaissance/10-tizians-altartafeln", "cite": "arthistoricum.net (Fachinformationsdienst Kunst), Lektion XVI, 'Tizians Altartafeln'."}, {"what": "Luke names Tiberius Caesar and Pontius Pilate in one sentence — the emperor whose name was inscribed on the bust in the earlier picture.", "cite": "Luke 3:1, Douay-Rheims (Challoner)."}, {"what": "The owning institution's record: the tormentors press the crown down onto Christ's head with sticks. Canvas, 280 x 182 cm, c. 1570.", "url": "https://www.sammlung.pinakothek.de/en/artwork/M0xyYAVxpl", "cite": "Alte Pinakothek, Munich, inv. 2272, collection record."}]}, "scene": {"ref": "Matthew 27:29", "quote": "And platting a crown of thorns, they put it upon his head, and a reed in his right hand. And bowing the knee before him, they mocked him, saying: Hail, King of the Jews.", "shows": "the crown of thorns and the reed"}, "th": "/store/thumb/titian_crowning_thorns.webp", "more": [{"k": "subject", "n": "The Crowning with Thorns in painting", "u": "/editions/subject/crowning-with-thorns/", "ids": ["geertgen_man_of_sorrows_man_van_smarten", "aelbrecht_bouts_christ_with_the_crown_of_thorns_man_of_s", "grunewald_mocking_of_christ_verspottung_christi", "bosch_christ_mocked_the_crowning_with_thorns"]}, {"k": "master", "n": "Titian", "u": "/editions/master/titian/", "ids": ["titian_jacopo_pesaro_presented_to_saint_peter", "titian_the_archangel_raphael_and_tobias", "titian_the_last_supper", "titian_the_resurrection_averoldi_polyptych_ce"]}]}, "tintoretto_crucifixion": {"id": "tintoretto_crucifixion", "title": "The Crucifixion", "artist_line": "Tintoretto (Italian, 1518–1594)", "artist": "Tintoretto", "date": "c. 1555", "museum": "Gallerie dell'Accademia, Venice", "license": "Public domain (photo CC BY-SA 4.0)", "tier": "Hero", "sizes": [{"size": "16×20 in", "paper": 110, "iw": 20, "ih": 12.7, "sw": 20, "sh": 16, "cov": 0.797}, {"size": "18×24 in", "paper": 140, "iw": 24, "ih": 15.3, "sw": 24, "sh": 18, "cov": 0.85}, {"size": "24×36 in", "paper": 190, "iw": 36, "ih": 22.9, "sw": 36, "sh": 24, "cov": 0.956}], "local": "/store/display/tintoretto_crucifixion.jpg", "commons_file": "Accademia - Crucifixion by Tintoretto.jpg", "zoom": "https://art.monstrance.app/zoom/tintoretto_crucifixion.jpg", "master_px": 8270, "auth": {"institution": "Gallerie dell'Accademia, Venezia", "accession": "213 (Catalogo)", "url": "https://www.gallerieaccademia.it/opera/crocifissione-2/", "artist_as_printed": "Jacopo Robusti detto Jacopo Tintoretto", "date_as_printed": "1555 circa", "medium": "Canvas", "dimensions": "280 × 444 cm"}, "writeup": {"text": "At the right edge men kneel over a cloth on the ground and throw dice. Above them a thief is hauled up on a rope, a ladder leans against the Cross, and Christ hangs at the centre with His head bowed; at His feet Our Lady has fallen in a faint, held by the women around her. The Gallerie dell'Accademia describes Tintoretto's scene, of about 1555, as banked at the left by the centurion, his standard shaken by the wind, and at the right by soldiers throwing dice for Christ's garments, with a choir of figures behind them, bathed in light and painted fast. John says they cast lots rather than tear the coat, woven whole from the top; Cyprian of Carthage read that seamless coat as the unity of the Church, which may not be torn. The dicers keep it whole without knowing what they keep.", "sources": [{"what": "Museum curatorial text identifies centurion with wind-swept standard (left) and soldiers gambling for garments (right) as the painting's two flanking figure groups", "url": "https://www.gallerieaccademia.it/opera/crocifissione-2/", "cite": "Gallerie dell'Accademia object page"}, {"what": "Museum curatorial text describes background as 'an extraordinary choir of figures bathed in light' painted with rapid, linear brushwork, rich colorism with reds and blues", "url": "https://www.gallerieaccademia.it/opera/crocifissione-2/", "cite": "Gallerie dell'Accademia object page"}, {"what": "Museum gives the date as '1555 circa,' confirmed live on 2026-08-15; used as the hedged dating in the text", "url": "https://www.gallerieaccademia.it/opera/crocifissione-2/", "cite": "Gallerie dell'Accademia object page"}, {"what": "Synoptic Gospel tradition (naming books only, no verse cited) that the Roman centurion at the cross is first to confess Christ as Son of God", "cite": "Mark 15:39, and Matthew 27:54 / Luke 23:47 — the centurion's confession at the moment of death. Named here rather than cited in the prose, because this work's scene.ref is John 19:25."}, {"what": "The Accademia's own description of the composition: the centurion and his wind-shaken standard at the left, the soldiers dicing for Christ's garments at the right, and the crowd behind them caught in light rather than named.", "url": "https://www.gallerieaccademia.it/opera/crocifissione-2/", "cite": "Gallerie dell'Accademia, Venezia, Tintoretto, 'Crocifissione', cat. 213, c. 1555, 280 x 444 cm, Sala X."}, {"what": "Cyprian reads Christ's seamless coat as the unity of the Church, which may not be torn — the patristic reading the card's second paragraph turns on, and names.", "url": "https://www.newadvent.org/fathers/050701.htm", "cite": "Cyprian of Carthage, 'De ecclesiae catholicae unitate' (On the Unity of the Church), 7."}, {"what": "The coat woven whole from the top, and the soldiers casting lots rather than cutting it. Same edition as the record's own scene reference, so the card stays inside the project's Bible.", "cite": "John 19:23-24, Douay-Rheims (Challoner)."}]}, "scene": {"ref": "John 19:25", "quote": "Now there stood by the cross of Jesus, his mother and his mother's sister, Mary of Cleophas, and Mary Magdalen.", "shows": "those standing by the cross"}, "th": "/store/thumb/tintoretto_crucifixion.webp", "more": [{"k": "subject", "n": "The Crucifixion in painting", "u": "/editions/subject/crucifixion/", "ids": ["titian_christ_crucified", "domenichino_way_to_calvary", "anthony_van_dyck_christ_on_the_cross_with_sts_catherine_o", "ter_brugghen_crucifixion_with_the_virgin_and_saint_jo"]}, {"k": "master", "n": "Tintoretto", "u": "/editions/master/tintoretto/", "ids": ["tintoretto_saint_mark_s_body_brought_to_venice", "tintoretto_the_baptism_of_christ"]}]}, "mantegna_crucifixion": {"id": "mantegna_crucifixion", "title": "The Crucifixion", "artist_line": "Andrea Mantegna (Italian, c. 1431–1506)", "artist": "Andrea Mantegna", "date": "1457–59", "museum": "Musée du Louvre, Paris", "license": "PD/CC0", "tier": "Hero", "sizes": [{"size": "16×20 in", "paper": 110, "iw": 20, "ih": 14.3, "sw": 20, "sh": 16, "cov": 0.893}, {"size": "18×24 in", "paper": 140, "iw": 24, "ih": 17.2, "sw": 24, "sh": 18, "cov": 0.953}, {"size": "24×36 in", "paper": 190, "iw": 33.6, "ih": 24, "sw": 36, "sh": 24, "cov": 0.933}], "local": "/store/display/mantegna_crucifixion.jpg", "commons_file": "Crucifixion - Andrea Mantegna - Louvre INV 368.jpg", "zoom": "https://art.monstrance.app/zoom/mantegna_crucifixion.jpg", "master_px": 7222, "auth": {"institution": "Musée du Louvre, Paris", "accession": "INV 368; MR 338", "url": "https://collections.louvre.fr/en/ark:/53355/cl010064446", "artist_as_printed": "Mantegna, Andrea (Isola di Carturo (Padoue), 1431 - Mantoue, 1506) Italie École de", "date_as_printed": "3e quart du XVe siècle (après 1456 - 1459)", "medium": "tempera sur bois (peuplier)", "dimensions": "Hauteur : 0,76 m ; Largeur : 0,96 m"}, "writeup": {"text": "Christ hangs between two other crucified men over a pavement of split stone. At the left, Our Lady sinks among the women and Saint John stands apart with his hands clasped; at the right, soldiers bend over a round shield, casting lots for the seamless coat they would not cut. The Visual Commentary on Scripture recalls Augustine's reading of their game as grace, decided by no merit but God's secret judgment. Gregorio Correr commissioned Andrea Mantegna's altarpiece for San Zeno, and the Louvre records this scene as the centre of its predella. It was carried to Paris in 1798; two more predella scenes went to Tours in 1806; the main triptych, Finestre sull'Arte notes, went home to Verona in 1815. The coat was kept whole. The altarpiece is in three cities.", "sources": [{"what": "Skull at cross base identified as Adam's grave/skull; Christ's blood redeems Original Sin", "cite": "Arsartisticadventureofmankind (paraphrasing Lightbown/period reading)"}, {"what": "Augustine's reading of the soldiers' dice-casting as grace decided by God's secret judgment, not merit", "url": "https://thevcs.org/casting-lots", "cite": "Visual Commentary on Scripture, 'The Casting of Lots'"}, {"what": "Compositional antithesis: mourning Virgin/John at left vs. dice-playing soldiers at right", "url": "https://cavallinitoveronese.co.uk/general/view_artist/35", "cite": "Cavallini to Veronese, entry on Andrea Mantegna"}, {"what": "Gregorio Correr's commission of the San Zeno triptych/predella, executed largely in Padua; this panel is the predella's central Crucifixion scene", "url": "https://collections.louvre.fr/en/ark:/53355/cl010064446"}, {"what": "French conquest carried the altarpiece to Paris in 1798; main triptych restored to San Zeno, Verona, in 1815, while the predella (including this panel) did not return", "url": "https://collections.louvre.fr/en/ark:/53355/cl010064446"}, {"what": "The soldiers refuse to cut the seamless coat and cast lots for it whole.", "cite": "John 19:23-24, Douay-Rheims (Challoner)."}, {"what": "The owning institution's notice: the 1798 removal to Paris, and the other two predella panels sent to the Musée des Beaux-Arts de Tours in 1806.", "url": "https://collections.louvre.fr/en/ark:/53355/cl010064446", "cite": "Musée du Louvre, Mantegna, 'La Crucifixion', INV 368 / MR 338."}, {"what": "Carries the return of the altarpiece to Verona, which the Louvre's own notice does not state.", "url": "https://www.finestresullarte.info/en/art-and-artists/will-france-return-to-us-three-mantegna-panels-stolen-by-napoleon-debate-opens", "cite": "Finestre sull'Arte, 'Will France return to us three Mantegna panels stolen by Napoleon?'"}]}, "scene": {"ref": "John 19:25", "quote": "Now there stood by the cross of Jesus, his mother and his mother's sister, Mary of Cleophas, and Mary Magdalen.", "shows": "those standing by the cross"}, "th": "/store/thumb/mantegna_crucifixion.webp", "more": [{"k": "subject", "n": "The Crucifixion in painting", "u": "/editions/subject/crucifixion/", "ids": ["master_of_the_death_of_saint_nicholas_of_munster_calvary", "messina_calvary", "benvenuto_di_giovanni_the_crucifixion", "hieronymus_bosch_crucifixion_with_a_donor"]}, {"k": "master", "n": "Andrea Mantegna", "u": "/editions/master/andrea-mantegna/", "ids": ["mantegna_the_madonna_della_vittoria", "mantegna_madonna_in_glory_with_saints_trivulzio", "mantegna_agony_garden"]}]}, "messina_calvary": {"id": "messina_calvary", "title": "Calvary", "artist_line": "Antonello da Messina (Italian, c. 1430–1479)", "artist": "Antonello da Messina", "date": "1475", "museum": "KMSKA, Antwerp", "license": "PD/CC0", "tier": "Hero", "sizes": [{"size": "16×20 in", "paper": 110, "iw": 14.1, "ih": 20, "sw": 16, "sh": 20, "cov": 0.879}, {"size": "18×24 in", "paper": 140, "iw": 16.9, "ih": 24, "sw": 18, "sh": 24, "cov": 0.938}, {"size": "24×36 in", "paper": 190, "iw": 24, "ih": 34.1, "sw": 24, "sh": 36, "cov": 0.948}], "local": "/store/display/calvarieberg_antonello_da_messina_1475_koninlijk__f6ce928f12c6.jpg", "commons_file": "Calvarieberg, Antonello da Messina, 1475, Koninlijk Museum voor Schone Kunsten Antwerpen, 4.jpg", "zoom": "https://art.monstrance.app/zoom/calvarieberg_antonello_da_messina_1475_koninlijk__f6ce928f12c6.jpg", "master_px": 6960, "auth": {"institution": "Koninklijk Museum voor Schone Kunsten Antwerpen (KMSKA)", "accession": "4", "url": "https://www.kmska.be/en/masterpiece/calvary", "artist_as_printed": "Antonello da Messina", "date_as_printed": "1475", "medium": "oil on panel", "dimensions": "52,5 × 42,5 cm"}, "writeup": {"text": "Three men hang, one on wood cut for the purpose. The thieves twist on bare, lopped trees; Christ hangs straight on a carpentered cross, set apart from them, as the Cavallini to Veronese entry notes, even in His execution. Below Him Our Lady sits on the ground in blue, hands folded, and across from her a young man in red looks up with his hands joined. Skulls lie among the stones. The Flemish collections' entry says the skull represents Adam, believed since the tenth century to be buried on Golgotha, and reads a new twig springing from an old trunk behind the cross as the Old Testament and the New. The KMSKA reads skulls and serpents as sin and death; the soldiers, having pierced His side, ride back toward Jerusalem. Antonello da Messina signed and dated it 1475. An owl sits on a stone, and the sea lies calm.", "sources": [{"what": "Skulls and serpents at cross base stand for sin and death; soldiers pierced Christ's side", "url": "https://www.kmska.be/en/masterpiece/calvary", "cite": "KMSKA object page"}, {"what": "Skulls reference Adam buried at Golgotha; green shoot from dead trunk symbolizes Old/New Covenant continuity. The Flemish collections' entry carries both in its own words: 'The skull represents Adam. Since the 10th Century, it was always believed that he was buried on Golgotha.' and 'Behind the cross a new twig springs forth from an old trunk. This depicts the relationship between the Old Testament and the New Testament.' Replaces the Wikipedia citation; the card's existing KMSKA entries already carry the sin-and-death reading and the 1475 inscription. Read 2026-09-02.", "url": "https://vlaamseprimitieven.vlaamsekunstcollectie.be/en/collection/calvary/", "cite": "Vlaamse Kunstcollectie / Flemish Primitives, collection entry 'Calvary' (KMSKA)"}, {"what": "Thieves bound to plain trees vs Christ's carpentered cross; soldiers ride back to Jerusalem after piercing side", "url": "https://cavallinitoveronese.co.uk/general/view_artist/43", "cite": "Cavallini to Veronese entry"}, {"what": "Panel signed and dated by Antonello, inscription reads 1475", "url": "https://www.kmska.be/en/masterpiece/calvary", "cite": "KMSKA object page inscription"}]}, "scene": {"ref": "John 19:25", "quote": "Now there stood by the cross of Jesus, his mother and his mother's sister, Mary of Cleophas, and Mary Magdalen.", "shows": "those standing by the cross"}, "th": "/store/thumb/calvarieberg_antonello_da_messina_1475_koninlijk__f6ce928f12c6.webp", "more": [{"k": "subject", "n": "The Crucifixion in painting", "u": "/editions/subject/crucifixion/", "ids": ["benvenuto_di_giovanni_the_crucifixion", "hieronymus_bosch_crucifixion_with_a_donor", "albrecht_durer_large_passion_crucifixion", "luca_signorelli_the_crucifixion"]}]}, "zurbaran_christ_cross": {"id": "zurbaran_christ_cross", "title": "Christ on the Cross", "artist_line": "Francisco de Zurbarán (Spanish, 1598–1664)", "artist": "Francisco de Zurbarán", "date": "c. 1655", "museum": "Museu Nacional d’Art de Catalunya, Barcelona", "license": "PD/CC0", "tier": "Hero", "sizes": [{"size": "16×20 in", "paper": 110, "iw": 12.9, "ih": 20, "sw": 16, "sh": 20, "cov": 0.807}, {"size": "18×24 in", "paper": 140, "iw": 15.5, "ih": 24, "sw": 18, "sh": 24, "cov": 0.861}], "local": "/store/display/zurbaran_christ_cross.jpg", "commons_file": "Francisco de Zurbarán - Christ Crucified - Google Art Project.jpg", "zoom": "https://art.monstrance.app/zoom/zurbaran_christ_cross.jpg", "master_px": 5521, "auth": {"institution": "Museu Nacional d’Art de Catalunya, Barcelona", "accession": "071676-000", "url": "https://www.museunacional.cat/es/colleccio/cristo-crucificado/francisco-de-zurbaran/071676-000", "artist_as_printed": "Francisco de Zurbarán (Fuente de Cantos, 1598 – Madrid, 1664)", "date_as_printed": "c. 1655", "medium": "Óleo sobre lienzo", "dimensions": "166,5 x 109 cm"}, "writeup": {"text": "Christ's mouth is open because He is still speaking. Four nails hold Him, one through each hand and each foot, and His face turns up out of the dark toward the Father. The Museu Nacional d'Art de Catalunya describes Him before death, lips half parted, gaze pleading toward heaven; Odile Delenda hears in that gaze the last words Luke gives Him: \"Father, into thy hands I commend my spirit.\" The four nails, Delenda notes, follow Francisco Pacheco's counsel and force the legs to hang parallel, which better suited the dignity of God made man. Behind Him Zurbarán lays the darkness of the three hours, with only a low strip of land beneath, and the hard light, Delenda writes, turns the pale flesh almost to carved relief. The body is still. The voice is going home.", "sources": [{"what": "The museum's record: Christ crucified before expiring, anguished, mouth half open, gaze pleading toward heaven, against a dark ground with a dimly seen landscape inspired by the Gospel texts; c. 1655, oil on canvas, 166.5 x 109 cm, 071676-000, bequest of Agustí Montal, 1966.", "url": "https://www.museunacional.cat/es/colleccio/cristo-crucificado/francisco-de-zurbaran/071676-000", "cite": "Museu Nacional d'Art de Catalunya, 'Cristo crucificado', Francisco de Zurbarán, 071676-000, read 2026-09-24"}, {"what": "Delenda's study: the expiring Christ appears to speak one of his last words from the cross to his Father, 'Father, into thy hands I commend my spirit'; the four nails recommended by Pacheco oblige the legs to be painted parallel, better suiting the dignity of God made man; the three hours of darkness at Christ's death; the strong chiaroscuro accentuating the look of sculptural relief; the MNAC canvas as the version closest to the Seville picture, a reduced workshop replica of excellent quality.", "url": "https://dialnet.unirioja.es/descarga/articulo/3278345.pdf", "cite": "Odile Delenda, 'Los Cristos crucificados de Francisco de Zurbarán' (Dialnet 3278345), read 2026-09-24"}]}, "scene": {"ref": "Luke 23:46", "quote": "And Jesus crying with a loud voice, said: Father, into thy hands I commend my spirit. And saying this, he gave up the ghost.", "shows": "Christ alone on the cross, mouth open, eyes raised, before he dies"}, "th": "/store/thumb/zurbaran_christ_cross.webp", "more": [{"k": "subject", "n": "The Crucifixion in painting", "u": "/editions/subject/crucifixion/", "ids": ["goya_christ_crucified", "bonnat_le_christ_en_croix", "gauguin_yellow_christ", "andrea_da_firenze_the_crucifixion"]}, {"k": "master", "n": "Francisco de Zurbarán", "u": "/editions/master/francisco-de-zurbaran/", "ids": ["zurbaran_st_serapion", "zurbaran_margaret", "zurbaran_saint_francis_of_assisi_in_his_tomb", "zurbaran_immaculate"]}]}, "velazquez_christ_crucified": {"id": "velazquez_christ_crucified", "title": "Christ Crucified", "artist_line": "Diego Velázquez (Spanish, 1599–1660)", "artist": "Velázquez", "date": "c. 1632", "museum": "Museo Nacional del Prado, Madrid", "license": "PD/CC0", "tier": "Entry", "sizes": [{"size": "8×10 in", "paper": 39, "iw": 6.7, "ih": 10, "sw": 8, "sh": 10, "cov": 0.838}], "local": "/store/display/velazquez_christ_crucified.jpg", "commons_file": "Cristo crucificado.jpg", "zoom": "https://art.monstrance.app/zoom/velazquez_christ_crucified.jpg", "master_px": 3051, "auth": {"institution": "Museo Nacional del Prado, Madrid", "accession": "P01167", "url": "https://www.museodelprado.es/coleccion/obra-de-arte/cristo-crucificado/72cbb57e-f622-4531-9b25-27ff0a9559d7", "artist_as_printed": "Velazquez, Diego Rodriguez de Silva y", "date_as_printed": "Hacia 1632", "medium": "Óleo sobre lienzo", "dimensions": "Alto: 248 cm.; Ancho: 169 cm."}, "writeup": {"text": "Christ hangs alone against a dark ground, His feet side by side on a small block of wood, each with its own nail. His head has fallen forward and His hair covers half His face. Blood runs thin from the hands and the side, and nothing else moves. The Prado records the four nails as following Francisco Pacheco's argument for the format from 1611 and the plaque as following John's wording, and reads the effect, after Bernardino de Pantorba, as sleep rather than death. Behind Him is no Golgotha; for Jonathan Brown that dark ground makes the redemption not a past event but a present one. The Prado's hypothesis is that Jerónimo de Villanueva ordered Diego Velázquez's canvas for San Plácido in reparation for injuries done to a crucifix in a Portuguese Jewish house in 1630. The dark behind Him is this afternoon's.", "sources": [{"what": "Museum's own reading: idealized anatomy, four-nail formula per Pacheco, titulus NAZARAENVS after John, 'sweet sleep rather than bitter death'", "url": "https://www.museodelprado.es/coleccion/obra-de-arte/cristo-crucificado/72cbb57e-f622-4531-9b25-27ff0a9559d7"}, {"what": "Prado Enciclopedia (Pérez Sánchez): four-nail choice traced to Pacheco's argument since 1611, minimal blood, pale idealized flesh", "url": "https://www.museodelprado.es/aprende/enciclopedia/voz/cristo-crucificado-velazquez/ec70f7b3-67c5-4ec9-9a96-f8642d1355aa"}, {"what": "Documented commission history: Jerónimo de Villanueva, 1632, San Plácido sacristy, as thanksgiving after his inquisitorial trial was suspended", "url": "https://dialnet.unirioja.es/servlet/articulo?codigo=834940", "cite": "Alfonso Rodríguez G. de Ceballos, \"El Cristo Crucificado de Velázquez: trasfondo histórico-religioso,\" Archivo Español de Arte, LXXVII/305 (2004), pp. 5-19"}, {"what": "Corroborates four-nail debate and commission/provenance details", "url": "https://historia-arte.com/obras/cristo-crucificado"}, {"what": "Jonathan Brown, quoted here, reads the dark and monotonous ground as accenting the everlasting and present character of the redemptive act — the reading the card's third sentence rests on, relayed from the Spanish edition of his book rather than read direct.", "url": "https://revistateoriadelarte.uchile.cl/index.php/RTA/article/download/64919/68335/234040", "cite": "María de la Luz Ruiz Miranda, 'Una imagen religiosa como obra de arte', Revista de Teoría del Arte 35 (2021), quoting Jonathan Brown, 'Velázquez. La técnica del genio', p. 70."}, {"what": "The Prado's own encyclopaedia entry: no allusion whatever to the landscape of Golgotha; the dark ground; the sacristy of San Plácido; and the hypothesis, put as a hypothesis, that the protonotary Jerónimo de Villanueva ordered the picture in reparation for injuries done to a crucifix in the house of some Portuguese Jews in 1630.", "url": "https://www.museodelprado.es/aprende/enciclopedia/voz/cristo-crucificado-velazquez/ec70f7b3-67c5-4ec9-9a96-f8642d1355aa", "cite": "Museo Nacional del Prado, Enciclopedia, 'Cristo crucificado, Velázquez'."}, {"what": "The Prado's collection record: the four nails and Pacheco's argument for the format from 1611; the titulus following John's wording; and Bernardino de Pantorba's reading of the effect as sleep rather than death.", "url": "https://www.museodelprado.es/en/the-collection/art-work/the-crucified-christ/72cbb57e-f622-4531-9b25-27ff0a9559d7", "cite": "Museo Nacional del Prado, 'The Crucified Christ' (Velázquez), P001167."}]}, "scene": {"ref": "John 19:25", "quote": "Now there stood by the cross of Jesus, his mother and his mother's sister, Mary of Cleophas, and Mary Magdalen.", "shows": "those standing by the cross"}, "th": "/store/thumb/velazquez_christ_crucified.webp", "more": [{"k": "subject", "n": "The Crucifixion in painting", "u": "/editions/subject/crucifixion/", "ids": ["peter_paul_rubens_the_raising_of_the_cross_sketch", "zurbaran_christ_cross", "goya_christ_crucified", "bonnat_le_christ_en_croix"]}, {"k": "master", "n": "Velázquez", "u": "/editions/master/velazquez/", "ids": ["velazquez_coronation", "velazquez_martha_mary"]}]}, "rogier_descent_from_cross": {"id": "rogier_descent_from_cross", "title": "The Descent from the Cross", "artist_line": "Rogier van der Weyden (Early Netherlandish, c. 1399–1464)", "artist": "Rogier van der Weyden", "date": "c. 1435", "museum": "Museo Nacional del Prado, Madrid", "license": "PD/CC0", "tier": "Sanctuary", "sizes": [{"size": "18×24 in", "paper": 140, "iw": 23.2, "ih": 18, "sw": 24, "sh": 18, "cov": 0.967}, {"size": "24×36 in", "paper": 190, "iw": 30.9, "ih": 24, "sw": 36, "sh": 24, "cov": 0.859}, {"size": "32×48 in", "paper": 340, "iw": 41.2, "ih": 32, "sw": 48, "sh": 32, "cov": 0.859}, {"size": "40×60 in", "paper": 480, "iw": 51.6, "ih": 40, "sw": 60, "sh": 40, "cov": 0.859}], "local": "/store/display/rogier_descent_from_cross.jpg", "commons_file": "El Descendimiento, by Rogier van der Weyden, from Prado in Google Earth.jpg", "zoom": "https://art.monstrance.app/zoom/rogier_descent_from_cross.jpg", "master_px": 30000, "auth": {"institution": "Museo Nacional del Prado, Madrid", "accession": "P002825", "url": "https://www.museodelprado.es/en/the-collection/art-work/the-descent-from-the-cross/856d822a-dd22-4425-bebd-920a1d416aa7", "artist_as_printed": "Rogier van der Weyden", "medium": "Oil on panel", "dimensions": "Height: 204.5 cm; Width: 259 cm"}, "writeup": {"text": "Two bodies make the same curve: Christ's, lowered from the Cross, and His Mother's, fallen in a faint below Him. Stephan Kemperdick reads her posture, mirroring the dead Christ's, as naming her Co-Redemptrix. Rogier van der Weyden pressed almost life-size figures into a shallow gilded box, so that, as the Prado says, they read as painted sculpture, a painted shrine that rivals the carved ones. Joseph of Arimathea stands in cloth of gold. A skull and a bone lie in the grass for Adam, over whose grave, by legend, Christ was crucified. The crossbowmen of Leuven commissioned it for their chapel, and the Prado finds them twice: small crossbows hang in the corner tracery, and Christ's outstretched arms take the same shape. Their weapon hangs in the corners. In the middle it is His body.", "sources": [{"what": "Owning institution: panel imitates a carved polychrome shrine on gold ground; skull and thighbone mark Adam's burial site; crossbows in the tracery; Joseph of Arimathea in cloth of gold; Leuven crossbowmen's commission.", "url": "https://www.museodelprado.es/en/the-collection/art-work/the-descent-from-the-cross/856d822a-dd22-4425-bebd-920a1d416aa7", "cite": "Museo Nacional del Prado, catalogue entry, inv. P002825"}, {"what": "Same page, provenance: Leuven chapel to Mary of Hungary, Binche 1549, El Pardo 1564, El Escorial by 1566, Prado 1936 on permanent loan from Patrimonio Nacional (Monasterio de San Lorenzo de El Escorial).", "url": "https://www.museodelprado.es/en/the-collection/art-work/the-descent-from-the-cross/856d822a-dd22-4425-bebd-920a1d416aa7", "cite": "Museo Nacional del Prado, catalogue entry, inv. P002825"}, {"what": "Prado easy-to-read page: shallow space makes figures read as painted sculpture; the Virgin lies unconscious in a posture like Christ's; grey dead skin against her white; Christ's outstretched arms resemble a crossbow.", "url": "https://www.museodelprado.es/en/easy-to-read/the-descent-from-the-cross-rogier-van-der-weyden/f041df0d-d96f-6fd0-4f7c-7e13bd8b77b1", "cite": "Museo Nacional del Prado, 'Easy-to-read' artwork page"}, {"what": "Kemperdick's reading: Mary's posture reflects that of the dead Christ, identifying her as Co-Redemptrix; almost life-sized figures in a shrine; made for the Crossbowmen's Guild's private chapel in Leuven.", "url": "https://canon.codart.nl/artwork/descent-from-the-cross/", "cite": "Stephan Kemperdick (Curator, Gemaldegalerie Berlin), CODART Canon"}, {"what": "Smarthistory: the shallow gold ground makes the figures read almost as sculpture; the skull refers to the legend that Christ was crucified at Adam's burial place; the crossbowmen's confraternity kept a Leuven chapel.", "url": "https://smarthistory.org/rogier-van-der-weyden-deposition/", "cite": "Smarthistory, 'Rogier van der Weyden, Deposition'"}, {"what": "Prado Voice resource, restorer George Bisacca: the panel rivals and surpasses carved Northern altarpiece boxes; grief graded by closeness to Christ; the Virgin has fainted, Saint John's eyes show tears.", "url": "https://www.museodelprado.es/en/resource/the-descent-from-the-cross-by-rogier-van-der/0aa27242-33d3-42fd-90f7-9506e291dd26", "cite": "Museo Nacional del Prado, Voice resource"}, {"what": "Kemperdick's Co-Redemptrix reading— the store must be able to show the exact printed words behind a named-scholar attribution. Page also carries 'A painted golden altar shrine is entirely covered with almost life-sized figures' and 'made for the private chapel of the Crossbowmen's Guild in Leuven'. Author identified on the page as Curator of Early Netherlandish and Early German Painting, Gemäldegalerie, Staatliche Museen, Berlin.", "url": "https://canon.codart.nl/artwork/descent-from-the-cross/", "cite": "Stephan Kemperdick (Curator, Gemäldegalerie, Staatliche Museen zu Berlin), CODART Canon"}]}, "scene": {"ref": "John 19:38", "quote": "And after these things, Joseph of Arimathea (because he was a disciple of Jesus, but secretly for fear of the Jews), besought Pilate that he might take away the body of Jesus. And Pilate gave leave. He came therefore and took away the body of Jesus.", "shows": "Joseph of Arimathea taking away the body"}, "th": "/store/thumb/rogier_descent_from_cross.webp", "more": [{"k": "master", "n": "Rogier van der Weyden", "u": "/editions/master/rogier-van-der-weyden/", "ids": ["rogier_st_luke_virgin", "rogier_the_annunciation"]}]}, "caravaggio_entombment": {"id": "caravaggio_entombment", "title": "The Entombment of Christ", "artist_line": "Caravaggio (Italian, 1571–1610)", "artist": "Caravaggio", "date": "1603–04", "museum": "Vatican Museums, Pinacoteca", "license": "PD/CC0", "tier": "Sanctuary", "sizes": [{"size": "18×24 in", "paper": 140, "iw": 16.2, "ih": 24, "sw": 18, "sh": 24, "cov": 0.898}, {"size": "24×36 in", "paper": 190, "iw": 24, "ih": 35.6, "sw": 24, "sh": 36, "cov": 0.99}, {"size": "32×48 in", "paper": 340, "iw": 32, "ih": 47.5, "sw": 32, "sh": 48, "cov": 0.99}, {"size": "40×60 in", "paper": 480, "iw": 40, "ih": 59.4, "sw": 40, "sh": 60, "cov": 0.99}], "local": "/store/display/caravaggio_entombment.jpg", "commons_file": "The Entombment of Christ-Caravaggio (c.1602-3).jpg", "zoom": "https://art.monstrance.app/zoom/caravaggio_entombment.jpg", "master_px": 13086, "auth": {"institution": "Musei Vaticani — Pinacoteca, Sala XII", "accession": "Cat. 40386", "url": "https://www.museivaticani.va/content/museivaticani/en/collezioni/musei/la-pinacoteca/sala-xii---secolo-xvii/caravaggio--deposizione-dalla-croce.html", "artist_as_printed": "Michelangelo Merisi, called the Caravaggio", "date_as_printed": "circa 1600-1604", "medium": "Oil on canvas", "dimensions": "300 × 203 cm"}, "writeup": {"text": "Christ's hand hangs down and touches the corner of the stone, and the stone juts out toward us. A bearded man holds Him by the knees, bare feet planted on the edge; behind, Mary of Cleophas, as the Vatican Museums name her, lifts her arms and eyes to heaven. The Institute for Sacred Architecture reads the slab as the stone the builders rejected, made the corner. Elizabeth Lev says Caravaggio's canvas hung over the Vittrice chapel altar at the Chiesa Nuova, where the priest at Mass completed it. It went to Paris in 1797 and came back in 1817. The corner still reaches for an altar that is not there.", "sources": [{"what": "Owning institution: Christ laid on the Anointing Stone, 'the stone with which the sepulchre will be closed'; Mary of Cleophas 'raises her arms and eyes to heaven in a gesture of high dramatic tension'.", "url": "https://www.museivaticani.va/content/museivaticani/en/collezioni/musei/la-pinacoteca/sala-xii---secolo-xvii/caravaggio--deposizione-dalla-croce.html", "cite": "Vatican Museums, Pinacoteca, Sala XII, inv. 40386, oil on canvas, 300 x 203 cm"}, {"what": "Same institutional page: commissioned by Girolamo Vittrice for the family chapel in S. Maria in Vallicella (Chiesa Nuova); to Paris in 1797 under the Treaty of Tolentino; returned 1817, Pius VII placed it in his Pinacoteca.", "url": "https://www.museivaticani.va/content/museivaticani/en/collezioni/musei/la-pinacoteca/sala-xii---secolo-xvii/caravaggio--deposizione-dalla-croce.html", "cite": "Vatican Museums, Pinacoteca - commission and provenance"}, {"what": "The projecting tombstone read as the stone the builders rejected, become the cornerstone (Psalm 118:22), a text of the Easter liturgy. This is what the corner-stone reading actually rests on.", "url": "https://www.sacredarchitecture.org/articles/contemplating_the_body_of_christ_caravaggios_entombment", "cite": "Institute for Sacred Architecture, 'Contemplating the Body of Christ: Caravaggio's Entombment'"}, {"what": "Peer-reviewed scholarship on the identity of the slab in this specific picture; shows the stone's reading is published art-historical argument, not devotional guesswork.", "url": "https://www.tandfonline.com/doi/abs/10.1080/00043079.1958.11408544", "cite": "'The Stone of Unction in Caravaggio's Painting for the Chiesa Nuova', The Art Bulletin 40, no. 3 (1958)"}, {"what": "Nicodemus, 'historically a man of means, is dressed modestly as a symbol of his humility'; commissioned for a chapel in the Chiesa Nuova, Rome.", "url": "https://www.britannica.com/topic/The-Entombment-of-Christ", "cite": "Encyclopaedia Britannica, 'The Entombment of Christ'"}, {"what": "The tomb ledge is foreshortened 'and so it juts out into our space' - supports the projecting corner in the first sentence.", "url": "https://smarthistory.org/caravaggio-deposition/", "cite": "Beth Harris and Steven Zucker, 'Caravaggio, Deposition (or Entombment)', Smarthistory"}, {"what": "Carries the card's thesis: the empty foreground is the celebrant's place, and the priest at the altar completes the composition.", "url": "https://www.sacredarchitecture.org/articles/contemplating_the_body_of_christ_caravaggios_entombment", "cite": "Elizabeth Lev, 'Contemplating the Body of Christ: Caravaggio's Entombment', Sacred Architecture Journal, vol. 37"}, {"what": "Carries 'hung over the Vittrice chapel altar' (painted as the backdrop to the Masses said there) and the closing clause about its present gallery home.", "url": "https://www.sacredarchitecture.org/articles/contemplating_the_body_of_christ_caravaggios_entombment", "cite": "Elizabeth Lev, Sacred Architecture Journal, vol. 37"}, {"what": "Owning institution. Carries the commission, the 1797 Tolentino transfer, the 1817 return and Pius VII's Pinacoteca — and the tomb-stone identification the card deliberately does not contradict.", "url": "https://www.museivaticani.va/content/museivaticani/en/collezioni/musei/la-pinacoteca/sala-xii---secolo-xvii/caravaggio--deposizione-dalla-croce.html", "cite": "Vatican Museums, Pinacoteca, Sala XII, Cat. 40386"}]}, "scene": {"ref": "John 19:41", "quote": "Now there was in the place where he was crucified a garden: and in the garden a new sepulchre, wherein no man yet had been laid.", "shows": "the new sepulchre in the garden"}, "th": "/store/thumb/caravaggio_entombment.webp", "more": [{"k": "master", "n": "Caravaggio", "u": "/editions/master/caravaggio/", "ids": ["caravaggio_madonna_rosary", "caravaggio_death_virgin", "caravaggio_madonna_loreto", "caravaggio_christ_at_the_column"]}]}, "rubens_entombment": {"id": "rubens_entombment", "title": "The Entombment", "artist_line": "Peter Paul Rubens (Flemish, 1577–1640)", "artist": "Peter Paul Rubens", "date": "about 1612", "museum": "J. Paul Getty Museum, Los Angeles", "license": "Getty Open Content (no restrictions); PD-Art", "tier": "Sanctuary", "sizes": [{"size": "20×20 in", "paper": 130, "iw": 20.0, "ih": 20, "sw": 20, "sh": 20, "cov": 1.0}, {"size": "30×30 in", "paper": 240, "iw": 30.0, "ih": 30, "sw": 30, "sh": 30, "cov": 1.0}, {"size": "40×40 in", "paper": 360, "iw": 40.0, "ih": 40, "sw": 40, "sh": 40, "cov": 1.0}], "local": "/store/display/rubens_entombment.jpg", "commons_file": "Peter Paul Rubens - The Entombment - 93.PA.9 - J. Paul Getty Museum.jpg", "zoom": "https://art.monstrance.app/zoom/rubens_entombment.jpg", "master_px": 7112, "auth": {"institution": "J. Paul Getty Museum, Los Angeles", "accession": "93.PA.9", "url": "https://www.getty.edu/art/collection/object/103RJY", "artist_as_printed": "Peter Paul Rubens (Flemish, 1577 - 1640)", "date_as_printed": "about 1612", "medium": "Oil on canvas", "dimensions": "Unframed: 131.1 × 130.2 cm (51 5/8 × 51 1/4 in.)"}, "writeup": {"text": "A sheaf of wheat lies on the stone beneath the body of Christ, and the J. Paul Getty Museum reads it plainly: it “stands for the bread used in communion, which represents Jesus’s body.” The stone slab, the museum adds, looks like an altar, and the canvas was probably made to hang above an altar in a small church chapel. Saint John the Evangelist, in a bright red robe, holds up the heavy body. Behind him Saint Mary Magdalene weeps with her hand to her face; at the right another Mary bends over the pierced hand. Our Lady lifts her eyes to heaven, tears on her cheek and her hands on her Son's arm, and the wound in His side is still bleeding. Rubens painted it about 1612 and, the Getty says, “wanted people looking at this painting to feel like they were really there.” The wheat is laid out for us.", "sources": [{"what": "Title, Rubens, about 1612, oil on canvas, 131.1 × 130.2 cm, 93.PA.9.", "url": "https://www.getty.edu/art/collection/object/103RJY", "cite": "J. Paul Getty Museum, Collection, 'The Entombment', 93.PA.9, read 2026-10-10."}, {"what": "'John the Evangelist, wearing a bright red robe, holds up Jesus's heavy body'; 'Mary Magdalene cries'; 'Another Mary (the mother of two of Jesus's followers)'; the Virgin 'looks up to heaven'; the wound in his side 'still bleeding'; 'The stone slab where his body lies looks like an altar'; 'The bundle of wheat next to the body stands for the bread used in communion, which represents Jesus's body'; 'probably made to hang above an altar in a small church chapel'; 'Rubens wanted people looking at this painting to feel like they were really there.'", "url": "https://www.getty.edu/education/k-12-learning/explore-the-entombment", "cite": "J. Paul Getty Museum, Education, 'Explore The Entombment', read 2026-10-10."}]}, "scene": {"ref": "John 19:41", "quote": "Now there was in the place where he was crucified a garden: and in the garden a new sepulchre, wherein no man yet had been laid.", "shows": "the new sepulchre in the garden"}, "th": "/store/thumb/rubens_entombment.webp", "more": [{"k": "master", "n": "Peter Paul Rubens", "u": "/editions/master/peter-paul-rubens/", "ids": ["rubens_the_incredulity_of_saint_thomas", "rubens_daniel", "rubens_holy_family", "rubens_lamentation"]}]}, "caravaggio_rest_flight": {"id": "caravaggio_rest_flight", "title": "Rest on the Flight into Egypt", "artist_line": "Caravaggio (Italian, 1571–1610)", "artist": "Caravaggio", "date": "c. 1597", "museum": "Galleria Doria Pamphilj, Rome", "license": "PD/CC0", "tier": "Sanctuary", "sizes": [{"size": "18×24 in", "paper": 140, "iw": 22.3, "ih": 18, "sw": 24, "sh": 18, "cov": 0.93}, {"size": "24×36 in", "paper": 190, "iw": 29.8, "ih": 24, "sw": 36, "sh": 24, "cov": 0.826}, {"size": "32×48 in", "paper": 340, "iw": 39.7, "ih": 32, "sw": 48, "sh": 32, "cov": 0.826}, {"size": "40×60 in", "paper": 480, "iw": 49.6, "ih": 40, "sw": 60, "sh": 40, "cov": 0.826}], "local": "/store/display/caravaggio_rest_flight.jpg", "commons_file": "Rest on the Flight into Egypt-Caravaggio (c.1597).jpg", "zoom": "https://art.monstrance.app/zoom/caravaggio_rest_flight.jpg", "master_px": 9494, "auth": {"institution": "Galleria Doria Pamphilj, Roma", "accession": "FC 241", "url": "https://www.doriapamphilj.it/portfolio/caravaggio/", "artist_as_printed": "Michelangelo Merisi detto IL CARAVAGGIO", "date_as_printed": "1597", "medium": "Olio su tela", "dimensions": "135,5 x 166,5 cm"}, "writeup": {"text": "An angel stands with his back to us and plays a violin, and Saint Joseph, barefoot, holds the music up for him. On the other side Our Lady has fallen asleep with the Christ Child in her arms. The Galleria Doria Pamphilj sets them apart: the Madonna and Child idealised, in lush growth, and Joseph worn out, yet rapt at the angel. In 1983 Franca Trinchieri Camiz and Agostino Ziino identified the notes as Noel Bauldeweyn's Quam pulchra es, a motet on the Song of Songs dedicated to the Virgin. Matthew sends them by night and records no halt and no music. Caravaggio lets the Mother sleep through her own song.", "sources": [{"what": "the back-turned angel dividing the worn Joseph from the sleeping Madonna and Child; the golden tonality; the picture in the Pamphilj collection from 1650", "url": "https://www.doriapamphilj.it/en/portfolio/caravaggio/"}, {"what": "the painted score identified as the motet 'Quam pulchra es et quam decora' by Noel Bauldeweyn, setting the Song of Songs", "url": "https://restaurars.altervista.org/il-cantico-del-caravaggio-le-note-svelate/", "cite": "Franca Trinchieri Camiz and Agostino Ziino, Studi musicali XII (1983), 67-83"}, {"what": "no contract, payment record or period inventory names an original commissioning patron", "url": "http://www.academia.edu/19839087/le_provenienze_dei_caravaggio_doria_pamphilj_e_qualche_novit%C3%A0_sulle_lunette_aldobrandini", "cite": "Andrea De Marchi, 'Le provenienze dei Caravaggio Doria Pamphilj'"}, {"what": "The angel seen from behind with great black swallow wings playing a violin; Joseph worn out by exhaustion yet rapt at the angel's apparition, holding the score for him; the sleeping Madonna with the Child in her arms amid luxuriant vegetation. Carries: \"Black swallow wings\", \"back turned, a violin\", \"Joseph, worn out\", \"holding the score\", and the repaired closing clause \"is rapt at the angel\". Confirmed on direct query to use no gaze vocabulary, which is why the original closing clause was repaired.", "url": "https://www.doriapamphilj.it/portfolio/caravaggio/", "cite": "Galleria Doria Pamphilj, Roma — collection page, Caravaggio (Riposo durante la Fuga in Egitto, FC 241), Italian text; also \"benche stravolto dalla stanchezza, e rapito dall'apparizione dell'angelo\", \"si presta a reggergli lo spartito\", \"addormentata con il Bambino in braccio\", \"circondata da una vegetazione rigogliosa\""}, {"what": "The same institutional page in English: the painted notes as a Bauldwijn motet on a Song of Songs verse dedicated to the Virgin; the idealised Madonna and Child against the naturalistic Joseph; the luxuriant vegetation; the angel shown from the back playing a violin. Carries \"idealised\", \"in lush growth\", \"on the Song of Songs, dedicated to the Virgin\". Quote", "url": "https://www.doriapamphilj.it/en/portfolio/caravaggio/", "cite": "Galleria Doria Pamphilj, Roma — collection page, Caravaggio, English text; also \"Both are depicted in an idealized style, and the beauty of their features is in direct contrast to the naturalistic portrayal of Saint Joseph\""}, {"what": "Corroborates the 1983 identification of the painted score, its two named authors and their citation, the composer and the motet's biblical basis, and that Joseph is the figure holding it. Carries \"Camiz and Ziino identified those notes in 1983\", \"Bauldeweyn's Quam pulchra es\", \"holding the score\". All quotes", "url": "https://restaurars.altervista.org/il-cantico-del-caravaggio-le-note-svelate/", "cite": "RestaurArs, 'Il Cantico del Caravaggio: le note svelate', reporting Franca Trinchieri Camiz and Agostino Ziino, 'Caravaggio: aspetti musicali e committenza', Studi musicali XII (1983), 67-83; page also prints \"Nel 1983, gli storici Franca Trinchieri Camiz e Agostino Ziino ... hanno identificato la partitura dipinta dal Merisi\" and \"mottetto composto nel 1519 ... dal musicista fiammingo Noel Bauldewijn (1480-1529)\", \"basato sul testo del Cantico dei Cantici e intitolato 'Quam pulchra es'\""}, {"what": "The text the painted motet sets, quoted in the card as the Virgin's love song. Primary text, checked by locator from my own knowledge: the Douay-Rheims Canticle of Canticles 7:6 reads exactly as quoted, and the extended Vulgate incipit \"Quam pulchra es, et quam decora, carissima, in deliciis\" is uniquely 7:6, not the similar 4:1 \"Quam pulchra es, amica mea\". The card's own existing source list prints the motet as \"Quam pulchra es et quam decora\", which pins the locator. Locator verified as saying what is claimed.", "cite": "Canticle of Canticles 7:6, Douay-Rheims (Challoner) — 7:7 in modern Hebrew versification"}]}, "scene": {"ref": "Matthew 2:14", "quote": "Who arose, and took the child and his mother by night, and retired into Egypt: and he was there until the death of Herod:", "shows": "the night departure into Egypt"}, "th": "/store/thumb/caravaggio_rest_flight.webp", "more": [{"k": "subject", "n": "The Flight into Egypt in painting", "u": "/editions/subject/flight-into-egypt/", "ids": ["van_dyck_rest_on_the_flight_into_egypt_madonna_wi", "claude_lorrain_rest_on_the_flight_into_egypt", "giotto_scrovegni_chapel_flight_into_egypt", "gerard_david_rest_on_the_flight_into_egypt"]}, {"k": "master", "n": "Caravaggio", "u": "/editions/master/caravaggio/", "ids": ["caravaggio_judith_beheading_holofernes", "caravaggio_saint_catherine_of_alexandria", "caravaggio_matthew_call", "caravaggio_the_martyrdom_of_saint_matthew"]}]}, "rubens_holy_family": {"id": "rubens_holy_family", "title": "The Holy Family", "artist_line": "Peter Paul Rubens (Flemish, 1577–1640)", "artist": "Peter Paul Rubens", "date": "c. 1616/17", "museum": "Sanssouci, Stiftung Preußische Schlösser und Gärten, Potsdam", "license": "PD/CC0", "tier": "Sanctuary", "sizes": [{"size": "8×10 in", "paper": 39, "iw": 7.5, "ih": 10, "sw": 8, "sh": 10, "cov": 0.941}, {"size": "11×14 in", "paper": 59, "iw": 10.5, "ih": 14, "sw": 11, "sh": 14, "cov": 0.958}, {"size": "16×20 in", "paper": 110, "iw": 15.1, "ih": 20, "sw": 16, "sh": 20, "cov": 0.941}, {"size": "18×24 in", "paper": 140, "iw": 18, "ih": 23.9, "sw": 18, "sh": 24, "cov": 0.996}, {"size": "24×36 in", "paper": 190, "iw": 24, "ih": 31.9, "sw": 24, "sh": 36, "cov": 0.886}, {"size": "32×48 in", "paper": 340, "iw": 32, "ih": 42.5, "sw": 32, "sh": 48, "cov": 0.886}, {"size": "40×60 in", "paper": 480, "iw": 40, "ih": 53.1, "sw": 40, "sh": 60, "cov": 0.886}], "local": "/store/display/rubens_holy_family.jpg", "commons_file": "Peter Paul Rubens 058.jpg", "zoom": "https://art.monstrance.app/zoom/rubens_holy_family.jpg", "master_px": 9460, "auth": {"institution": "Bildergalerie Sanssouci, Stiftung Preußische Schlösser und Gärten Berlin-Brandenburg, Potsdam", "accession": "GK I 7589", "url": "https://artsandculture.google.com/asset/die-heilige-familie-mit-dem-korb/CgGvAIRE6BtvgA", "artist_as_printed": "Peter Paul Rubens", "date_as_printed": "about 1616/17", "medium": "Oil on wood", "dimensions": "170.5 x 129.5 cm"}, "writeup": {"text": "A wicker basket of folded cloth stands in the corner, and the Stiftung Preußische Schlösser und Gärten names the whole work for it: Die heilige Familie mit dem Korb. Our Lady sits in red and blue, one sandalled foot forward. The Christ Child on her lap reaches for the face of the young Baptist, who presses close, and a lamb noses in at the left. Saint Joseph leans on a stone pedestal, chin in hand, and watches. The museum traces the arrangement to the Holy Family beneath the Oak of Raphael and Giulio Romano, and the Child's pose to Raphael's Bridgewater Madonna. Luke gives Nazareth a line: \"And He went down with them and came to Nazareth and was subject to them.\" No patron is recorded; Rubens's Holy Family has been at Sanssouci since 1764. The Maker of the world has laundry.", "sources": [{"what": "Diagonal composition with Mary in luminous red as focal point; the Christ Child embracing the young Baptist while gazing toward Mary; Joseph's pose embodying his passive role in salvation history", "url": "https://artsandculture.google.com/asset/die-heilige-familie-mit-dem-korb/CgGvAIRE6BtvgA", "cite": "Google Arts \u0026 Culture / SPSG partner page"}, {"what": "Composition reflects Raphael's Bridgewater Madonna and Giulio Romano's Holy Family beneath the Oak", "url": "https://artsandculture.google.com/asset/die-heilige-familie-mit-dem-korb/CgGvAIRE6BtvgA", "cite": "Google Arts \u0026 Culture / SPSG partner page"}, {"what": "SPSG title 'Die heilige Familie mit dem Korb' (The Holy Family with the Basket) names the wicker basket at lower right", "url": "https://artsandculture.google.com/asset/die-heilige-familie-mit-dem-korb/CgGvAIRE6BtvgA", "cite": "Stiftung Preussische Schloesser und Gaerten, Sanssouci, object title"}, {"what": "Panel has been part of the Sanssouci collection since its 1764 acquisition; no earlier provenance or patron documented", "url": "https://artsandculture.google.com/asset/die-heilige-familie-mit-dem-korb/CgGvAIRE6BtvgA", "cite": "Google Arts \u0026 Culture / SPSG partner page"}, {"what": "The owning institution's record: the pose and arrangement of the figures attributed to Italian models — the Raphael and Giulio Romano 'Holy Family beneath the Oak' in the Prado, and for the Christ Child's pose Raphael's Bridgewater Madonna in Edinburgh. Title 'Die heilige Familie mit dem Korb', about 1616/17, GK I 7589, oil on wood, 170.5 x 129.5 cm. The page does not say where the basket is.", "url": "https://artsandculture.google.com/asset/die-heilige-familie-mit-dem-korb/CgGvAIRE6BtvgA", "cite": "Stiftung Preußische Schlösser und Gärten, Bildergalerie Sanssouci, GK I 7589, object record (partner page)"}, {"what": "Earliest documented presence: the panel has been in the Sanssouci Picture Gallery since the gallery's initial furnishing of 1764, and the page names no patron, commission or owner before that date. It supports the earliest year the record places the picture anywhere — not the earliest year the picture can be proved to have existed.", "url": "https://artsandculture.google.com/asset/die-heilige-familie-mit-dem-korb/CgGvAIRE6BtvgA", "cite": "Stiftung Preußische Schlösser und Gärten, Bildergalerie Sanssouci, provenance note"}, {"what": "The Nazareth verse the card leans on. Luke 2:40 and 2:52 also touch the Nazareth years, which is why the card says 'a line' rather than 'one line'.", "cite": "Luke 2:51, Douay-Rheims (Challoner)"}, {"what": "Direct inspection of the plate at /mnt/user-data/uploads/monstrance/handoffs/_look_rubens_holy_family.jpg, carrying the clause \"the wickerwork in the lower right corner\" that the museum's prose does not carry: a wicker basket holding folded white and dark cloth stands in the lower right corner, below the pedestal Joseph leans on.", "cite": "Verifier inspection of the project's own reference image, _look_rubens_holy_family.jpg"}]}, "scene": {"ref": "Luke 2:51", "quote": "And he went down with them and came to Nazareth and was subject to them. And his mother kept all these words in her heart.", "shows": "the child subject to them at Nazareth"}, "th": "/store/thumb/rubens_holy_family.webp", "more": [{"k": "subject", "n": "The Holy Family in painting", "u": "/editions/subject/holy-family/", "ids": ["rembrandt_holy_family_angels", "poussin_holy_family_steps", "murillo_holy_family_bird", "nicolas_poussin_the_holy_family"]}, {"k": "master", "n": "Peter Paul Rubens", "u": "/editions/master/peter-paul-rubens/", "ids": ["rubens_lamentation", "rubens_last_judgment", "rubens_the_virgin_and_child_surrounded_by_ang", "rubens_the_holy_trinity"]}]}, "poussin_holy_family_steps": {"id": "poussin_holy_family_steps", "title": "The Holy Family on the Steps", "artist_line": "Nicolas Poussin (French, 1594–1665)", "artist": "Nicolas Poussin", "date": "1648", "museum": "The Cleveland Museum of Art", "license": "PD/CC0", "tier": "Hero", "sizes": [{"size": "8×10 in", "paper": 39, "iw": 10, "ih": 6.9, "sw": 10, "sh": 8, "cov": 0.858}, {"size": "11×14 in", "paper": 59, "iw": 14, "ih": 9.6, "sw": 14, "sh": 11, "cov": 0.873}, {"size": "16×20 in", "paper": 110, "iw": 20, "ih": 13.7, "sw": 20, "sh": 16, "cov": 0.858}, {"size": "18×24 in", "paper": 140, "iw": 24, "ih": 16.5, "sw": 24, "sh": 18, "cov": 0.915}], "local": "/store/display/poussin_holy_family_steps.jpg", "commons_file": "Nicolas Poussin - The Holy Family on the Steps - 1981.18 - Cleveland Museum of Art.tif", "zoom": "https://art.monstrance.app/zoom/poussin_holy_family_steps.jpg", "master_px": 6000, "auth": {"institution": "The Cleveland Museum of Art", "accession": "1981.18", "url": "https://clevelandart.org/art/1981.18", "artist_as_printed": "Nicolas Poussin", "date_as_printed": "1648", "medium": "oil on canvas", "dimensions": "73.3 x 105.8 cm (28 7/8 x 41 5/8 in.) (Unframed)"}, "writeup": {"text": "Our Lady sits halfway up a flight of stone steps with the Christ Child seated on her knee, and Smarthistory finds her head at the apex of a pyramid of figures. Cleveland reads that geometry as the argument itself: the Holy Family's place in the redemption. The young John the Baptist offers an apple, the fruit of the Fall, and Christ reaches for it, which the museum reads as a foreshadowing of the Passion; Saint Elizabeth's gesture, it says, foretells the same. Saint Joseph sits apart in shadow, his compass, as Smarthistory reads it, both a tool of his trade and a sign of God the Father, and the steps themselves, in the same reading, recall the Virgin as stairway to heaven. Poussin painted it in 1648 for a private patron, Hennequin de Fresne, and studied the light with wax models in a box pierced with holes. The light still lies across her knees.", "sources": [{"what": "Christ reaches for apple John the Baptist offers, meaning fruit of the Fall and prefiguring the Passion", "url": "https://smarthistory.org/nicolas-poussin-holy-family-steps/"}, {"what": "Same apple/Fall/Passion reading also stated on the museum object page", "url": "https://www.clevelandart.org/art/1981.18"}, {"what": "Elizabeth's gesture foretells Christ's future Passion", "url": "https://www.clevelandart.org/art/1981.18"}, {"what": "Joseph's compass as trade tool and emblem of God the geometer/earthly parallel to the Father", "url": "https://smarthistory.org/nicolas-poussin-holy-family-steps/"}, {"what": "Mary's red-under-blue drapery as charity/wisdom color convention", "url": "https://smarthistory.org/nicolas-poussin-holy-family-steps/"}, {"what": "The steps allude to the Virgin as scala coelestis, stairway to heaven", "url": "https://smarthistory.org/nicolas-poussin-holy-family-steps/"}, {"what": "Painted 1648 for private patron Hennequin de Fresne, a cabinet devotional picture, not a church/altar commission", "url": "https://www.clevelandart.org/print/art/1981.18"}, {"what": "Poussin's working method: wax models in a pierced box, used to study the light — carries the closing line.", "url": "https://www.clevelandart.org/print/art/1981.18", "cite": "The Cleveland Museum of Art, object record 1981.18 (print view)"}, {"what": "Mary's head as the apex of a pyramid — carries the pyramid clause.", "url": "https://smarthistory.org/nicolas-poussin-holy-family-steps/", "cite": "Smarthistory, Nicolas Poussin, Holy Family on the Steps"}, {"what": "The museum's own reading of the geometry as the vehicle of the theological claim — carries the thesis.", "url": "https://www.clevelandart.org/art/1981.18", "cite": "The Cleveland Museum of Art, object record 1981.18"}]}, "scene": {"ref": "Luke 2:51", "quote": "And he went down with them and came to Nazareth and was subject to them. And his mother kept all these words in her heart.", "shows": "the child subject to them at Nazareth"}, "th": "/store/thumb/poussin_holy_family_steps.webp", "more": [{"k": "subject", "n": "The Holy Family in painting", "u": "/editions/subject/holy-family/", "ids": ["murillo_holy_family_bird", "nicolas_poussin_the_holy_family", "giorgione_the_holy_family", "raphael_the_canigiani_holy_family"]}, {"k": "master", "n": "Nicolas Poussin", "u": "/editions/master/nicolas-poussin/", "ids": ["poussin_judgment_solomon", "poussin_the_ecstasy_of_saint_paul", "nicolas_poussin_the_holy_family", "poussin_the_assumption_of_the_virgin"]}]}, "murillo_holy_family_bird": {"id": "murillo_holy_family_bird", "title": "The Holy Family with a Little Bird", "artist_line": "Bartolomé Esteban Murillo (Spanish, 1617–1682)", "artist": "Bartolomé Esteban Murillo", "date": "c. 1650", "museum": "Museo Nacional del Prado, Madrid", "license": "PD/CC0", "tier": "Entry", "sizes": [{"size": "8×10 in", "paper": 39, "iw": 10, "ih": 7.5, "sw": 10, "sh": 8, "cov": 0.937}], "local": "/store/display/murillo_holy_family_bird.jpg", "commons_file": "Sagrada Familia del pajarito (Murillo).jpg", "zoom": "https://art.monstrance.app/zoom/murillo_holy_family_bird.jpg", "master_px": 3051, "auth": {"institution": "Museo Nacional del Prado, Madrid", "accession": "P000960", "url": "https://www.museodelprado.es/en/the-collection/art-work/the-holy-family-with-a-little-bird/8008380e-fef5-48b4-8caf-d78b810fb62c", "artist_as_printed": "Bartolomé Esteban Murillo", "date_as_printed": "Ca. 1650", "medium": "Oil on canvas", "dimensions": "Height: 144 cm; Width: 188 cm"}, "writeup": {"text": "A small bird is held high in a small fist, and a white dog sits up on its hind legs to see it. Saint Joseph has the Christ Child standing between his knees and watches Him; Our Lady sits back at her wool, a basket of linen at her feet. Enrique Valdivieso, writing for the Prado, calls the bird likely a gift from Joseph and sees Federico Barocci's Madonna of the Cat behind the dog, where, as the National Gallery in London says, a stalking cat threatens the bird as a sign of the Passion. Here Bartolomé Esteban Murillo lets it be play. The Prado finds Joseph marked by discretion, in a room where the everyday and the sacred coexist: a carpenter's bench, a spinning wheel. In 1746 the royal inventory lists the canvas hanging in their majesties' bedroom. The Child who made the birds is holding one.", "sources": [{"what": "Object page: domestic Holy Family scene, dog/bird, carpenter's bench/spinning wheel/basket, 'everyday and sacred coexist', Joseph as discretion/devotion/generosity", "url": "https://www.museodelprado.es/en/the-collection/art-work/the-holy-family-with-a-little-bird/8008380e-fef5-48b4-8caf-d78b810fb62c"}, {"what": "Encyclopedia entry (Enrique Valdivieso González): Mary 'winding wool' in secondary role, dog 'attentive to the bird' likely a gift from Joseph, composition references Barocci's Madonna of the Cat", "url": "https://www.museodelprado.es/en/the-collection/art-work/the-holy-family-with-a-little-bird/8008380e-fef5-48b4-8caf-d78b810fb62c"}, {"what": "National Gallery, London object page for Barocci's Madonna of the Cat: cat stalks bird as a Passion symbol in that composition", "url": "https://www.nationalgallery.org.uk/paintings/federico-barocci-the-madonna-of-the-cat-la-madonna-del-gatto"}, {"what": "No documented patron/church commission; earliest recorded owner is private Sevillian collector Miguel de Espinosa, decades after painting", "url": "https://www.museodelprado.es/en/the-collection/art-work/the-holy-family-with-a-little-bird/8008380e-fef5-48b4-8caf-d78b810fb62c"}, {"what": "The Prado's own record, including the 1746 inventory of Isabella Farnese's collection at La Granja de San Ildefonso, which lists the picture hanging in their majesties' bedroom.", "url": "https://www.museodelprado.es/en/the-collection/art-work/the-holy-family-with-a-little-bird/8008380e-fef5-48b4-8caf-d78b810fb62c", "cite": "Museo Nacional del Prado, 'The Holy Family with a Little Bird', P000960."}]}, "scene": {"ref": "Luke 2:51", "quote": "And he went down with them and came to Nazareth and was subject to them. And his mother kept all these words in her heart.", "shows": "the child subject to them at Nazareth"}, "th": "/store/thumb/murillo_holy_family_bird.webp", "more": [{"k": "subject", "n": "The Holy Family in painting", "u": "/editions/subject/holy-family/", "ids": ["nicolas_poussin_the_holy_family", "giorgione_the_holy_family", "raphael_the_canigiani_holy_family", "del_sarto_holy_family_with_the_young_saint_john_th"]}, {"k": "master", "n": "Bartolomé Esteban Murillo", "u": "/editions/master/bartolome-esteban-murillo/", "ids": ["murillo_good_shepherd", "murillo_immaculate_venerables", "murillo_prodigal_son", "murillo_saint_rose_of_lima"]}]}, "zurbaran_immaculate": {"id": "zurbaran_immaculate", "title": "The Immaculate Conception", "artist_line": "Francisco de Zurbarán (Spanish, 1598–1664)", "artist": "Francisco de Zurbarán", "date": "1632", "museum": "Museu Nacional d'Art de Catalunya, Barcelona", "license": "PD-Art (Google Art Project, MNAC); MNAC prints \"Domini públic\"", "tier": "Hero", "sizes": [{"size": "16×20 in", "paper": 110, "iw": 13.3, "ih": 20, "sw": 16, "sh": 20, "cov": 0.828}, {"size": "18×24 in", "paper": 140, "iw": 15.9, "ih": 24, "sw": 18, "sh": 24, "cov": 0.884}, {"size": "24×36 in", "paper": 190, "iw": 23.9, "ih": 36, "sw": 24, "sh": 36, "cov": 0.994}, {"size": "32×48 in", "paper": 340, "iw": 31.8, "ih": 48, "sw": 32, "sh": 48, "cov": 0.994}], "local": "/store/display/zurbaran_immaculate.jpg", "commons_file": "Francisco de Zurbarán - Immaculate Conception - Google Art Project.jpg", "zoom": "https://art.monstrance.app/zoom/zurbaran_immaculate.jpg", "master_px": 7025, "auth": {"institution": "Museu Nacional d'Art de Catalunya, Barcelona", "accession": "065578-000", "url": "https://www.museunacional.cat/en/colleccio/immaculate-conception/francisco-de-zurbaran/065578-000", "artist_as_printed": "Francisco de Zurbarán", "date_as_printed": "1632", "medium": "Oil on canvas", "dimensions": "252 x 170 cm"}, "writeup": {"text": "Two schoolboys in black kneel at the foot of the sky with their hands joined, and the words they say are painted in the air beside them: Monstra te esse matrem on the one side and Mites fac et castos on the other, lines of the Ave Maris Stella, show yourself a mother, make us meek and chaste. Above them Our Lady stands as a girl, hands joined, eyes lifted, stars about her head. The Museu Nacional d'Art de Catalunya says she rests on five cherubs seated on the horns of a moon as transparent as a globe of crystal. Two child angels sit in the clouds with marble tablets from the Song of Songs, QUAE EST ISTA and AURORA CONSURGENS: “Who is she that cometh forth as the morning rising”. Around her, the museum notes, are the emblems of her litany: the spotless mirror, Jacob's ladder, the gate of heaven and the morning star. Zurbarán painted it in 1632, and the museum calls it, without doubt, the best of the many versions of the theme his brushes produced. The boys ask her for what we may ask with them: show yourself a mother.", "sources": [{"what": "Immaculate Conception, Zurbarán, 1632, oil on canvas, 252 x 170 cm, 065578-000, Espona bequest 1958, 'Domini públic'; five cherubs on the horns of a moon transparent as a crystal globe; two marble tablets with the Song of Songs inscriptions QUAE EST ISTA and AURORA CONSURGENS; litany symbols; 'dos colegiales que elevan el rostro recitando estrofas de la salve Ave Maris Stella'; 'sin duda, la mejor de las que produjeron sus pinceles'.", "url": "https://www.museunacional.cat/en/colleccio/immaculate-conception/francisco-de-zurbaran/065578-000", "cite": "Museu Nacional d'Art de Catalunya, 'Immaculate Conception', Francisco de Zurbarán, 065578-000, read 2026-10-10."}, {"what": "'Who is she that cometh forth as the morning rising, fair as the moon, bright as the sun, terrible as an army set in array?'", "cite": "Canticle of Canticles 6:9, Douay-Rheims (Challoner); check verbatim against data/bible_drc.js before shipping"}, {"what": "The inscriptions read on the canvas, 'Monstra te esse matrem' and 'Mites fac et castos', are strophes of the hymn Ave Maris Stella; the English renderings are ours.", "cite": "Ave Maris Stella, Vespers hymn of the Blessed Virgin (Roman Breviary); inscriptions read from the image"}]}, "scene": {"why": "NOT A NARRATIVE SCENE. The Immaculate Conception is a defined dogma (Ineffabilis Deus, 1854), not an event Scripture recounts. The painters’ iconography — the woman clothed with the sun, the moon beneath her feet — borrows Apocalypse 12:1, but that passage is a type applied to her, not a description of this doctrine, and citing it as the scene would misrepresent both."}, "th": "/store/thumb/zurbaran_immaculate.webp", "more": [{"k": "subject", "n": "The Immaculate Conception in painting", "u": "/editions/subject/immaculate-conception/", "ids": ["ribera_immaculate_conception", "murillo_immaculate_venerables", "murillo_immaculate_cleveland", "tiepolo_the_immaculate_conception"]}, {"k": "master", "n": "Francisco de Zurbarán", "u": "/editions/master/francisco-de-zurbaran/", "ids": ["zurbaran_young_virgin", "francisco_de_zurbaran_st_francis_contemplating_a_skull", "zurbaran_agnus_dei", "zurbaran_casilda"]}]}, "ribera_immaculate_conception": {"id": "ribera_immaculate_conception", "title": "The Immaculate Conception", "artist_line": "Jusepe de Ribera (Spanish, 1591–1652)", "artist": "Jusepe de Ribera", "date": "1637", "museum": "Columbia Museum of Art", "license": "PD/CC0", "tier": "Hero", "sizes": [{"size": "8×10 in", "paper": 39, "iw": 6.9, "ih": 10, "sw": 8, "sh": 10, "cov": 0.859}, {"size": "11×14 in", "paper": 59, "iw": 9.6, "ih": 14, "sw": 11, "sh": 14, "cov": 0.875}, {"size": "16×20 in", "paper": 110, "iw": 13.7, "ih": 20, "sw": 16, "sh": 20, "cov": 0.859}, {"size": "18×24 in", "paper": 140, "iw": 16.5, "ih": 24, "sw": 18, "sh": 24, "cov": 0.916}], "local": "/store/display/ribera_immaculate_conception.jpg", "commons_file": "Ribera - The Immaculate Conception, CMA 1962, 1637.jpg", "zoom": "https://art.monstrance.app/zoom/ribera_immaculate_conception.jpg", "master_px": 6232, "auth": {"institution": "Columbia Museum of Art", "accession": "1962.19", "url": "http://www.kressfoundation.org/kress-collection/artwork/862884156859aab20b71b18910e755132315f6b9f0caa61ea94cb6bdcd7723b4", "artist_as_printed": "Jusepe de Ribera", "medium": "oil on canvas", "dimensions": "254 X 175.9 cm (100 x 69-1/4 in)"}, "writeup": {"text": "Our Lady stands barefoot on a thin moon, and the cloud beneath her is full of cherubs' faces. Her palms are joined. Sandra Cheng's Kress catalogue essay finds pentimenti under them: Jusepe de Ribera first crossed her hands on her breast, as in the high altarpiece at Las Agustinas Descalzas in Salamanca, made two years earlier for the same patron, the Count of Monterrey, then painted them over in prayer. Cheng reads this smaller canvas as a personal image for the cloistered nuns. The white tunic and blue mantle follow Pacheco's prescription. Saint John saw a woman clothed with the sun, the moon under her feet, a crown of twelve stars; Richard Stracke notes that Ribera does not clothe her with the sun but sets it at some remove on the left. Over her head hovers the Dove of the Holy Spirit. The sun keeps its distance.", "sources": [{"what": "Pentimenti: Ribera originally painted arms crossed (matching 1635 altarpiece), repainted to joined praying hands for private devotional use", "url": "https://www.academia.edu/24740218/Columbia_Museum_of_Arts_Jusepe_de_Ribera_Immaculate_Conception_1637", "cite": "\"Columbia Museum of Art's Jusepe de Ribera, Immaculate Conception, 1637\""}, {"what": "White tunic/blue mantle color code prescribed by Pacheco's 1649 treatise for Immaculate Conception imagery", "url": "https://www.academia.edu/24740218/Columbia_Museum_of_Arts_Jusepe_de_Ribera_Immaculate_Conception_1637", "cite": "\"Columbia Museum of Art's Jusepe de Ribera, Immaculate Conception, 1637\""}, {"what": "Crescent moon as symbol of the corruptible/changeable world beneath Mary's feet; Apocalyptic Woman template (clothed with sun); clouds and cherub heads signaling airborne, otherworldly state", "url": "https://www.academia.edu/24740218/Columbia_Museum_of_Arts_Jusepe_de_Ribera_Immaculate_Conception_1637", "cite": "\"Columbia Museum of Art's Jusepe de Ribera, Immaculate Conception, 1637\""}, {"what": "Painting signed and dated 1637; smaller devotional variant made two years after the 1635 Salamanca altarpiece for the same patron's convent", "url": "http://www.kressfoundation.org/kress-collection/artwork/862884156859aab20b71b18910e755132315f6b9f0caa61ea94cb6bdcd7723b4", "cite": "Kress Foundation object record / academia.edu essay commission chain"}, {"what": "Named scholar's catalogue essay on this canvas: the pentimenti showing the hands first crossed on the breast, the Salamanca high altarpiece of two years earlier that this one reduces, the Count of Monterrey as patron of both, Pacheco's prescribed white tunic and blue mantle, and the reading of the picture as a personal image for the cloistered nuns.", "url": "https://www.academia.edu/24740218/Columbia_Museum_of_Arts_Jusepe_de_Ribera_Immaculate_Conception_1637", "cite": "Sandra Cheng, \"Columbia Museum of Art's Jusepe de Ribera, Immaculate Conception, 1637\" (Kress Collection catalogue essay)."}, {"what": "Named iconographer on this canvas specifically: the twelve stars, the praying hands and the crescent are present, but Ribera does not clothe her with the sun — he sets an image of it at some remove on the left. The card's only-this-picture observation, and it is his.", "url": "https://www.christianiconography.info/Edited%20in%202013/Columbia%20Museum%20of%20Art/immacConcepRibera.html", "cite": "Richard Stracke, Christian Iconography, 'Immaculate Conception, Jusepe de Ribera' (Columbia Museum of Art)."}, {"what": "The three attributes the card audits the painting against: a woman clothed with the sun, the moon under her feet, a crown of twelve stars.", "cite": "Apocalypse 12:1, Douay-Rheims."}, {"what": "The institution's dimensions for its canvas — 254 x 175.9 cm, which is eight feet four inches, and carries the closing line.", "url": "http://www.kressfoundation.org/kress-collection/artwork/862884156859aab20b71b18910e755132315f6b9f0caa61ea94cb6bdcd7723b4", "cite": "Columbia Museum of Art, 'The Immaculate Conception', acc. CMA 1962.19 (Kress Collection record)."}]}, "scene": {"why": "NOT A NARRATIVE SCENE. The Immaculate Conception is a defined dogma (Ineffabilis Deus, 1854), not an event Scripture recounts. The painters’ iconography — the woman clothed with the sun, the moon beneath her feet — borrows Apocalypse 12:1, but that passage is a type applied to her, not a description of this doctrine, and citing it as the scene would misrepresent both."}, "th": "/store/thumb/ribera_immaculate_conception.webp", "more": [{"k": "subject", "n": "The Immaculate Conception in painting", "u": "/editions/subject/immaculate-conception/", "ids": ["murillo_immaculate_venerables", "murillo_immaculate_cleveland", "tiepolo_the_immaculate_conception", "juan_sanchez_cotan_immaculate_conception"]}, {"k": "master", "n": "Jusepe de Ribera", "u": "/editions/master/jusepe-de-ribera/", "ids": ["jusepe_de_ribera_jacob_s_dream", "ribera_the_adoration_of_the_shepherds", "ribera_jerome"]}]}, "murillo_immaculate_cleveland": {"id": "murillo_immaculate_cleveland", "title": "The Immaculate Conception", "artist_line": "Bartolomé Esteban Murillo (Spanish, 1617–1682)", "artist": "Bartolomé Esteban Murillo", "date": "c. 1680", "museum": "The Cleveland Museum of Art", "license": "PD/CC0", "tier": "Hero", "sizes": [{"size": "8×10 in", "paper": 39, "iw": 5.7, "ih": 10, "sw": 8, "sh": 10, "cov": 0.717}, {"size": "11×14 in", "paper": 59, "iw": 8.0, "ih": 14, "sw": 11, "sh": 14, "cov": 0.73}, {"size": "16×20 in", "paper": 110, "iw": 11.5, "ih": 20, "sw": 16, "sh": 20, "cov": 0.717}, {"size": "18×24 in", "paper": 140, "iw": 13.8, "ih": 24, "sw": 18, "sh": 24, "cov": 0.765}], "local": "/store/display/murillo_immaculate_cleveland.jpg", "commons_file": "Bartolomé Esteban Murillo - The Immaculate Conception - 1959.189 - Cleveland Museum of Art.tiff", "zoom": "https://art.monstrance.app/zoom/murillo_immaculate_cleveland.jpg", "master_px": 6099, "auth": {"institution": "The Cleveland Museum of Art", "accession": "1959.189", "url": "https://clevelandart.org/art/1959.189", "artist_as_printed": "Bartolomé Esteban Murillo (Spanish, 1617–1682)", "date_as_printed": "c. 1680", "medium": "oil on canvas", "dimensions": "Unframed: 220.5 x 127.5 cm (86 13/16 x 50 3/16 in.)"}, "writeup": {"text": "A thin moon lies under her feet, and small angels carry a lily, roses and a palm up through the cloud. Our Lady holds both hands to her breast and looks higher than any of them. The moon, Cleveland notes, comes from the vision of the woman clothed with the sun; yet when Rome defined the Immaculate Conception in 1854, the defining document argued from Genesis and from Luke and never cited the Apocalypse. The vision is lent to her, not offered as proof. Francisco Pacheco had set the rules in Seville in 1649, white tunic, blue mantle, the moon below, and the Prado judges that Murillo kept a few and quietly cleared the rest away. Seville swore its oath to the belief in 1617, the year Murillo was born. The wind is still in her mantle.", "sources": [{"what": "c. 1680, oil on canvas, accession 1959.189; the crescent moon from the vision of the woman clothed with the sun; dogma only in 1854; Murillo born 1617", "url": "https://www.clevelandart.org/art/1959.189"}, {"what": "the defining document argues from Genesis and from Luke and never cites the Apocalypse", "url": "https://www.papalencyclicals.net/pius09/p9ineff.htm"}, {"what": "Pacheco's rules of 1649, and the Prado's judgement that Murillo kept some and reduced the rest", "url": "https://www.museodelprado.es/en/the-collection/art-work/the-immaculate-conception-of-el-escorial/10a7a263-cec9-4bbc-8385-6c8c1893b4dd"}, {"what": "Seville's cathedral chapter and city council swore their oath to the belief on 8 December 1617", "url": "https://ascil.es/la-sevilla-inmaculada-en-el-ano-que-nacio-murillo-1617/"}]}, "scene": {"why": "NOT A NARRATIVE SCENE. The Immaculate Conception is a defined dogma (Ineffabilis Deus, 1854), not an event Scripture recounts. The painters’ iconography — the woman clothed with the sun, the moon beneath her feet — borrows Apocalypse 12:1, but that passage is a type applied to her, not a description of this doctrine, and citing it as the scene would misrepresent both."}, "th": "/store/thumb/murillo_immaculate_cleveland.webp", "more": [{"k": "subject", "n": "The Immaculate Conception in painting", "u": "/editions/subject/immaculate-conception/", "ids": ["tiepolo_the_immaculate_conception", "juan_sanchez_cotan_immaculate_conception", "peter_paul_rubens_the_virgin_as_the_woman_of_the_apocalyps", "zurbaran_immaculate"]}, {"k": "master", "n": "Bartolomé Esteban Murillo", "u": "/editions/master/bartolome-esteban-murillo/", "ids": ["murillo_holy_family_bird", "murillo_good_shepherd", "murillo_immaculate_venerables", "murillo_prodigal_son"]}]}, "murillo_immaculate_venerables": {"id": "murillo_immaculate_venerables", "title": "The Immaculate Conception of Los Venerables", "artist_line": "Bartolomé Esteban Murillo (Spanish, 1617–1682)", "artist": "Bartolomé Esteban Murillo", "date": "1660–1665", "museum": "Museo Nacional del Prado, Madrid", "license": "PD/CC0", "tier": "Entry", "sizes": [{"size": "8×10 in", "paper": 39, "iw": 6.8, "ih": 10, "sw": 8, "sh": 10, "cov": 0.852}], "local": "/store/display/murillo_immaculate_venerables.jpg", "commons_file": "Murillo - Inmaculada Concepción de los Venerables o de Soult (Museo del Prado, 1678).jpg", "zoom": "https://art.monstrance.app/zoom/murillo_immaculate_venerables.jpg", "master_px": 3051, "auth": {"institution": "Museo Nacional del Prado, Madrid", "accession": "P002809", "url": "https://www.museodelprado.es/en/the-collection/art-work/the-immaculate-conception-of-los-venerables/76179d81-beaf-4f9e-9a05-ef92340a00d1", "artist_as_printed": "Bartolomé Esteban Murillo", "date_as_printed": "1660 - 1665", "medium": "Technique: Oil / Support: Canvas", "dimensions": "Height: 274 cm; Width: 190 cm"}, "writeup": {"text": "Crowds of small angels climb the cloud and fill the gold air, and not one of them carries an emblem. Our Lady stands on the moon with her hands crossed on her breast and her face turned up. The Prado names what is missing: no tower of David, no sealed fountain, no palm or cypress, perhaps because they stood in the frame Torre Farfán described, still at the Hospital de los Venerables in Seville. The one emblem Murillo kept is the crescent under her feet, the Apocalypse's woman clothed with the sun: Scripture, not the litany. The crossed hands are his own formula, and the Prado counts some two dozen versions of the subject. Soult took the canvas to Paris in 1813; it came to Madrid in 1941. The frame never left Seville.", "sources": [{"what": "Crossed-hands, upward-gazing pose is Murillo's standardized 'formula,' used across roughly two dozen versions; expresses assent/receptivity", "url": "https://www.museodelprado.es/en/the-collection/art-work/the-immaculate-conception-of-los-venerables/76179d81-beaf-4f9e-9a05-ef92340a00d1", "cite": "Museo del Prado, object page"}, {"what": "Crescent moon references the woman clothed with the sun; deliberate absence of Tower of David, sealed fountain, palm/cypress", "url": "https://smarthistory.org/murillo-immaculate-conception-venerables/", "cite": "Smarthistory, 'Bartolomé Esteban Murillo, The Immaculate Conception of Los Venerables'"}, {"what": "Provenance: commissioned by Justino de Neve (canon of Seville Cathedral, Murillo's friend) for his own collection/oratory; entered Hospital de los Venerables confraternity in 1686 after his death", "url": "https://www.museodelprado.es/en/the-collection/art-work/the-immaculate-conception-of-los-venerables/76179d81-beaf-4f9e-9a05-ef92340a00d1", "cite": "Museo del Prado, object page (provenance record)"}, {"what": "The Prado's own account of the missing Marian emblems: it names the tower, the fountain, the palm and the cypress, says their absence may have to do with the frame Torre Farfán described, which is still at the Hospital de los Venerables, and prints the contrast the card turns on — the litany's symbols removed, the Apocalypse's crescent kept. Also the crossed hands as Murillo's formula, the count of around two dozen versions of the subject, and the provenance through Soult to Madrid in 1941.", "url": "https://www.museodelprado.es/en/the-collection/art-work/the-immaculate-conception-of-los-venerables/76179d81-beaf-4f9e-9a05-ef92340a00d1", "cite": "Museo Nacional del Prado, 'The Immaculate Conception of Los Venerables', P002809."}, {"what": "Supplies the agency the Prado's provenance line only dates: Marshal Soult removed the canvas to France; and the crescent beneath her foot.", "url": "https://smarthistory.org/murillo-immaculate-conception-venerables/", "cite": "Smarthistory, 'Bartolomé Esteban Murillo, The Immaculate Conception of Los Venerables'."}, {"what": "The woman clothed with the sun, with the moon under her feet — the one emblem Murillo kept, and it is scriptural rather than from the litany.", "cite": "Apocalypse 12:1, Douay-Rheims."}]}, "scene": {"why": "NOT A NARRATIVE SCENE. The Immaculate Conception is a defined dogma (Ineffabilis Deus, 1854), not an event Scripture recounts. The painters’ iconography — the woman clothed with the sun, the moon beneath her feet — borrows Apocalypse 12:1, but that passage is a type applied to her, not a description of this doctrine, and citing it as the scene would misrepresent both."}, "th": "/store/thumb/murillo_immaculate_venerables.webp", "more": [{"k": "subject", "n": "The Immaculate Conception in painting", "u": "/editions/subject/immaculate-conception/", "ids": ["murillo_immaculate_cleveland", "tiepolo_the_immaculate_conception", "juan_sanchez_cotan_immaculate_conception", "peter_paul_rubens_the_virgin_as_the_woman_of_the_apocalyps"]}, {"k": "master", "n": "Bartolomé Esteban Murillo", "u": "/editions/master/bartolome-esteban-murillo/", "ids": ["murillo_prodigal_son", "murillo_saint_rose_of_lima", "murillo_virgin_rosary", "murillo_immaculate_cleveland"]}]}, "rubens_lamentation": {"id": "rubens_lamentation", "title": "The Lamentation of Christ", "artist_line": "Peter Paul Rubens (Flemish, 1577–1640)", "artist": "Peter Paul Rubens", "date": "c. 1617", "museum": "Koninklijk Museum voor Schone Kunsten Antwerpen (KMSKA)", "license": "PD/CC0", "tier": "Sanctuary", "sizes": [{"size": "18×24 in", "paper": 140, "iw": 17.1, "ih": 24, "sw": 18, "sh": 24, "cov": 0.947}, {"size": "24×36 in", "paper": 190, "iw": 24, "ih": 33.8, "sw": 24, "sh": 36, "cov": 0.938}, {"size": "32×48 in", "paper": 340, "iw": 32, "ih": 45.0, "sw": 32, "sh": 48, "cov": 0.938}, {"size": "40×60 in", "paper": 480, "iw": 40, "ih": 56.3, "sw": 40, "sh": 60, "cov": 0.938}], "local": "/store/display/rubens_lamentation.jpg", "commons_file": "Peter Paul Rubens - Lamentation (Christ on the Straw).jpg", "zoom": "https://art.monstrance.app/zoom/rubens_lamentation.jpg", "master_px": 16377, "auth": {"institution": "Koninklijk Museum voor Schone Kunsten Antwerpen (KMSKA)", "accession": "300", "url": "https://kmska.be/en/masterpiece/christ-straw", "artist_as_printed": "Peter Paul Rubens", "date_as_printed": "1618", "medium": "oil on panel", "dimensions": "138 × 98 cm"}, "writeup": {"text": "Straw lies on the stone under Christ's body, and one pierced hand hangs down into it. An old bearded man takes His weight from behind; a young man lifts the shroud from His face, and Our Lady, veiled, holds its edge and looks up with wet eyes. Lynn F. Jacobs reads the straw as a grain symbolic of the bread of the Mass. The bread of the altar and the Body lie on one stone. Jan Michielsen died on 20 June 1617, and his widow, Maria Maes, ordered the triptych for his grave in the Cathedral of Our Lady in Antwerp; the wings, Jacobs notes, carry their name saints, and on the left one the Christ Child stands in the manner of the Host on a cloth-covered altar. Scans made at the KMSKA show that Rubens first painted Christ more covered. The painter uncovered Him.", "sources": [{"what": "the record — 1618, oil on panel, central panel 138 × 98 cm, the whole epitaph inv. 300–304; made as a grave monument for the Cathedral of Our Lady, Antwerp; to Paris 1794, returned 1815, into the museum in 1816 by exchange with the cathedral", "url": "https://kmska.be/en/masterpiece/christ-straw", "cite": "Koninklijk Museum voor Schone Kunsten Antwerpen, inv. 300"}, {"what": "the commission by the widow Maria Maes after Michielsen's death on 20 June 1617; the wings as the couple's name saints; the straw as \"a grain symbolic of the bread of the Mass\"; the Christ Child standing \"in the manner of the Eucharistic Host on a cloth-covered altar\"; the exterior grisailles", "url": "https://www.tandfonline.com/doi/abs/10.1080/00043079.2009.10786156", "cite": "Lynn F. Jacobs, \"Rubens and the Northern Past: The Michielsen Triptych and the Thresholds of Modernity,\" The Art Bulletin 91, no. 3 (2009)"}, {"what": "the catalogue raisonné entry", "url": "https://www.brepols.net/products/IS-9780905203614-1", "cite": "J. Richard Judson, The Passion of Christ, Corpus Rubenianum Ludwig Burchard VI (Harvey Miller/Brepols, 2000)"}, {"what": "the conservation — yellowed varnish removed, and scans showing Rubens changed the composition, Christ having initially been more covered", "url": "https://kmska.be/en/five-special-rubens-restorations"}]}, "scene": {"why": "THE LAMENTATION IS NOT A SCENE IN SCRIPTURE. It is a devotional elaboration of the interval between the Deposition (John 19:38) and the Entombment (John 19:41-42), developed in Byzantine and then Western art. No evangelist describes the mourning over the body, so no verse is cited here rather than one stretched to fit."}, "th": "/store/thumb/rubens_lamentation.webp", "more": [{"k": "subject", "n": "The Lamentation of Christ in painting", "u": "/editions/subject/lamentation-of-christ/", "ids": ["angelico_lamentation_san_marco", "petrus_christus_lamentation", "bouts_the_lamentation", "botticelli_lamentation"]}, {"k": "master", "n": "Peter Paul Rubens", "u": "/editions/master/peter-paul-rubens/", "ids": ["rubens_last_judgment", "rubens_the_virgin_and_child_surrounded_by_ang", "rubens_the_holy_trinity", "rubens_assumption"]}]}, "goes_lamentation_of_christ": {"id": "goes_lamentation_of_christ", "title": "The Lamentation of Christ", "artist_line": "Circle of Hugo van der Goes (Early Netherlandish, c. 1440–1482)", "artist": "Circle of Hugo van der Goes", "date": "c. 1500–c. 1525", "museum": "Museum voor Schone Kunsten Gent (MSK)", "license": "PD/CC0", "tier": "Hero", "sizes": [{"size": "16×20 in", "paper": 110, "iw": 20, "ih": 14.7, "sw": 20, "sh": 16, "cov": 0.918}, {"size": "18×24 in", "paper": 140, "iw": 24, "ih": 17.6, "sw": 24, "sh": 18, "cov": 0.979}, {"size": "24×36 in", "paper": 190, "iw": 32.7, "ih": 24, "sw": 36, "sh": 24, "cov": 0.908}], "local": "/store/display/de_bewening_van_christus_hugo_van_der_goes_1500___80ef75160d43.jpg", "commons_file": "De bewening van Christus, Hugo van der Goes, 1500, Koninklijk Museum voor Schone Kunsten Gent, 1951-M.jpg", "zoom": "https://art.monstrance.app/zoom/de_bewening_van_christus_hugo_van_der_goes_1500___80ef75160d43.jpg", "master_px": 6757, "auth": {"institution": "Museum voor Schone Kunsten Gent (MSK)", "accession": "1951-M", "url": "http://mskgent.be/collection/work/data/1951-M", "artist_as_printed": "Anonymous Master, circle of Hugo van der Goes", "date_as_printed": "circa 1500 - circa 1525", "medium": "oil paint, panel", "dimensions": "43.6 x 56.5 cm"}, "writeup": {"text": "The body of Christ lies across the front, cut off by the edge, the side wound running red toward the sheet. Our Lady has nothing to hold, so she holds her own hands together. Everyone presses close; the Museum voor Schone Kunsten Gent says these close-up figures fill the whole surface to heighten the drama. The museum names Joseph of Arimathea and Nicodemus carrying Christ, Saint John comforting His Mother, Mary Magdalene at the top right. A painter in the circle of Hugo van der Goes made this copy of a lost original, one of his most copied works. His dead weight rests on the living.", "sources": [{"what": "MSK Gent record 1951-M: anonymous master, circle of Hugo van der Goes; c. 1500-c. 1525; oil on panel, 43.6 x 56.5 cm; copy of a lost van der Goes, one of his most copied works; gift of Rotary Club Gent, 1951.", "url": "http://mskgent.be/collection/work/data/1951-M", "cite": "Museum voor Schone Kunsten Gent, inv. 1951-M, object record"}, {"what": "MSK Gent English record: Nicodemus and Joseph of Arimathea carry Christ's body, John comforts Mary the Mother of God, Mary Magdalene at top right; close-up figures fill the whole surface to heighten the drama.", "url": "https://www.mskgent.be/en/collection/1951-m", "cite": "MSK Gent, 'The Lamentation of Christ', collection page"}, {"what": "Flemish Primitives record for the same panel: half-length composition, copy after a lost work, and the statement that the copy's exceptional quality places it in the immediate circle of the master.", "url": "https://vlaamseprimitieven.vlaamsekunstcollectie.be/nl/collectie/de-bewening-van-christus-1/", "cite": "Vlaamse Kunstcollectie, De Vlaamse Primitieven, 'De bewening van Christus', inv. 1951-M"}, {"what": "Flemish Primitives biography: van der Goes became master in the Ghent painters' guild in 1467, left Ghent for the Roode Klooster near Auderghem, died 1482; numerous copies after his lost originals.", "url": "https://vlaamseprimitieven.vlaamsekunstcollectie.be/en/biographies/hugo-van-der-goes/", "cite": "Vlaamse Kunstcollectie, Flemish Primitives, biography of Hugo van der Goes"}, {"what": "National Gallery, London: Hugo van der Goes active 1467, died 1482; entered the Rode Klooster near Brussels, where he continued to paint. Corroborates the monastery and the death year.", "url": "https://www.nationalgallery.org.uk/artists/hugo-van-der-goes", "cite": "The National Gallery, London, artist record: Hugo van der Goes"}, {"what": "Named scholar's account of van der Goes's breakdown at the Roode Klooster, its only witness (fellow brother Gaspar Ofhuys), and his death — supports \"He broke down at the Rood Klooster\" and \"His mind survives in a fellow monk's account\". Note the source hedges the death year as 1482/83; the card's flat 1482 rests on MSK Gent and the National Gallery instead.", "url": "https://hnanews.org/hnar/reviews/hugo-van-der-goes-between-pain-and-bliss/", "cite": "Douglas Brine (Trinity University, San Antonio), review of 'Hugo van der Goes: Between Pain and Bliss', Gemäldegalerie, Staatliche Museen zu Berlin, 31 March - 16 July 2023, Historians of Netherlandish Art Reviews"}, {"what": "Corroborates that the half-length narrative close-up was van der Goes's own device, and that such compositions survive chiefly through copies — which supports 'among his most copied compositions' alongside the museum's own record.", "url": "https://hnanews.org/hnar/reviews/hugo-van-der-goes-between-pain-and-bliss/", "cite": "Douglas Brine, review of 'Hugo van der Goes: Between Pain and Bliss', Historians of Netherlandish Art Reviews"}, {"what": "John 19:38 has Joseph of Arimathea beg the body of Pilate and take it away; 19:39 has Nicodemus bring the myrrh and aloes; 19:40 'They took therefore the body of Jesus', naming no third person handling it; 19:41 gives the garden and the new sepulchre 'wherein no man yet had been laid'. This carries 'the only two the Gospel lets touch it' and describes what the panel withholds — the Lamentation itself has no scriptural locus.", "cite": "John 19:38-41, Douay-Rheims"}]}, "scene": {"why": "THE LAMENTATION IS NOT A SCENE IN SCRIPTURE. It is a devotional elaboration of the interval between the Deposition (John 19:38) and the Entombment (John 19:41-42), developed in Byzantine and then Western art. No evangelist describes the mourning over the body, so no verse is cited here rather than one stretched to fit."}, "th": "/store/thumb/de_bewening_van_christus_hugo_van_der_goes_1500___80ef75160d43.webp", "more": [{"k": "subject", "n": "The Lamentation of Christ in painting", "u": "/editions/subject/lamentation-of-christ/", "ids": ["rubens_lamentation", "angelico_lamentation_san_marco", "petrus_christus_lamentation", "bouts_the_lamentation"]}]}, "botticelli_lamentation": {"id": "botticelli_lamentation", "title": "The Lamentation of Christ", "artist_line": "Sandro Botticelli (Italian, c. 1445–1510)", "artist": "Sandro Botticelli", "date": "c. 1490–92", "museum": "Alte Pinakothek, Munich", "license": "Public domain (photo CC BY-SA 4.0)", "tier": "Mid", "sizes": [{"size": "11×14 in", "paper": 59, "iw": 14, "ih": 9.4, "sw": 14, "sh": 11, "cov": 0.859}, {"size": "18×24 in", "paper": 140, "iw": 24, "ih": 16.2, "sw": 24, "sh": 18, "cov": 0.9}], "local": "/store/display/botticelli_lamentation.jpg", "commons_file": "Sandro Botticelli - Lamentation over the Dead Christ.jpg", "zoom": "https://art.monstrance.app/zoom/botticelli_lamentation.jpg", "master_px": 4500, "auth": {"institution": "Alte Pinakothek, Bayerische Staatsgemaeldesammlungen, Munich", "accession": "1075", "url": "https://www.sammlung.pinakothek.de/de/artwork/Y0GRlo7xRX", "artist_as_printed": "Sandro Botticelli", "date_as_printed": "um 1490/95", "medium": "Pappelholz (Populus sp.)", "dimensions": "140 x 209,2 cm"}, "writeup": {"text": "Christ lies across His Mother's lap, and she has fainted under Him. The Alte Pinakothek reads it plainly: the Virgin, overcome, falls sideways into unconsciousness, and Saint John catches her and keeps the body from sliding. One disciple holds up the living and the dead together. From the Cross Christ had given her to John as mother; here the charge is kept. A woman cradles His head, another holds His feet, and behind them the dark burial cave opens in the rock. Sandro Botticelli painted it for the high altar of San Paolino in Florence, for meditation on the Passion. John does not let go.", "sources": [{"what": "Museum's own reading: Virgin overcome by grief, falls sideways into unconsciousness, St. John stabilizes her and the body of Christ", "url": "https://www.sammlung.pinakothek.de/en/artwork/Y0GRlo7xRX"}, {"what": "John's support of the fainting Virgin alludes to his charge from the cross to care for her as his own mother", "cite": "WikiArt/Legouix citation via florenceasitwas.wlu.edu"}, {"what": "Cracked sepulcher rock read as echo of the earthquake at Christ's death, embedding a promise of Resurrection", "cite": "WikiArt entry"}, {"what": "St. Paul shown with his sword as titular/patron saint tie to the commissioning church, San Paolino", "cite": "WikiArt entry (moderate confidence)"}, {"what": "Painted for the high altar of the Collegiate Church of San Paolino, Florence", "url": "https://www.sammlung.pinakothek.de/en/artwork/Y0GRlo7xRX"}, {"what": "Museum notes the panel's powerful colouration and expressive composition; mourners' vivid red/orange robes contrast Christ's pale flesh", "url": "https://www.sammlung.pinakothek.de/en/artwork/Y0GRlo7xRX"}, {"what": "The owning institution's description: the panel's devotional function, the dark burial cave behind, the Virgin falling sideways into unconsciousness, and John holding up the living and the dead together.", "url": "https://www.sammlung.pinakothek.de/en/artwork/Y0GRlo7xRX", "cite": "Alte Pinakothek, Bayerische Staatsgemäldesammlungen, Munich, 'The Lamentation', inv. 1075."}, {"what": "The words from the cross and the sentence that finishes them: from that hour the disciple took her to his own.", "cite": "John 19:26-27, Douay-Rheims."}, {"what": "Establishes from archival documents that the altarpiece's original home was the Florentine church of San Paolino.", "url": "https://www.academia.edu/14511906/_Una_Pieta_chon_molte_figure_Sandro_Botticelli_s_altarpiece_for_the_Florentine_church_of_S_Paolino_The_Burlington_Magazine_157_2015_pp_521_529", "cite": "Alessandro Cecchi et al., \"'Una Pietà chon molte figure': Sandro Botticelli's altarpiece for the Florentine church of S. Paolino\", The Burlington Magazine 157 (2015), pp. 521-529."}, {"what": "A named scholar on the same passage: Christ's words from the cross as the moment this picture stages.", "url": "https://thevcs.org/virgin-and-cross", "cite": "Nicholas Penny, 'The Virgin and the Cross (John 19:26-27)', The Visual Commentary on Scripture, King's College London."}]}, "scene": {"why": "THE LAMENTATION IS NOT A SCENE IN SCRIPTURE. It is a devotional elaboration of the interval between the Deposition (John 19:38) and the Entombment (John 19:41-42), developed in Byzantine and then Western art. No evangelist describes the mourning over the body, so no verse is cited here rather than one stretched to fit."}, "th": "/store/thumb/botticelli_lamentation.webp", "more": [{"k": "subject", "n": "The Lamentation of Christ in painting", "u": "/editions/subject/lamentation-of-christ/", "ids": ["goes_lamentation_of_christ", "rubens_lamentation", "angelico_lamentation_san_marco", "petrus_christus_lamentation"]}, {"k": "master", "n": "Sandro Botticelli", "u": "/editions/master/sandro-botticelli/", "ids": ["botticelli_mystic_nativity", "botticelli_adoration_of_the_magi", "botticelli_madonna_book"]}]}, "angelico_last_judgment": {"id": "angelico_last_judgment", "title": "The Last Judgment (Florence)", "artist_line": "Fra Angelico (Italian, c. 1395–1455)", "artist": "Fra Angelico", "date": "c. 1431", "museum": "Museo di San Marco, Florence", "license": "PD/CC0", "tier": "Hero", "sizes": [{"size": "8×10 in", "paper": 39, "iw": 10, "ih": 5.3, "sw": 10, "sh": 8, "cov": 0.658}, {"size": "11×14 in", "paper": 59, "iw": 14, "ih": 7.4, "sw": 14, "sh": 11, "cov": 0.67}, {"size": "16×20 in", "paper": 110, "iw": 20, "ih": 10.5, "sw": 20, "sh": 16, "cov": 0.658}, {"size": "18×24 in", "paper": 140, "iw": 24, "ih": 12.6, "sw": 24, "sh": 18, "cov": 0.702}, {"size": "24×36 in", "paper": 190, "iw": 36, "ih": 18.9, "sw": 36, "sh": 24, "cov": 0.789}], "local": "/store/display/fra_angelico__18cb927dea56.jpg", "commons_file": "Fra Angelico — The Last Judgment.jpg", "zoom": "https://art.monstrance.app/zoom/fra_angelico__18cb927dea56.jpg", "master_px": 8864, "auth": {"institution": "Museo di San Marco, Firenze (Ministero della Cultura, Catalogo generale dei Beni Culturali)", "accession": "Inventario 1890, n. 8505", "url": "https://catalogo.beniculturali.it/detail/HistoricOrArtisticProperty/0900191241", "artist_as_printed": "Giovanni Da Fiesole Detto Beato Angelico (1395-1400/ 1455)", "date_as_printed": "ca 1431 - ca 1431", "medium": "tavola/ pittura a tempera/ doratura"}, "writeup": {"text": "Down the middle runs a road of open graves, their lids thrown aside. Christ the Judge sits above in a ring of angels, and below Him the nations part, \"as the shepherd separateth the sheep from the goats\". Among the devils sits Lucifer. The Ministry of Culture's catalogue records Orlandi's argument that Fra Angelico made this for church furniture: in 1431 the Camaldolese monks of Santa Maria degli Angeli ordered a fitting choir, and the Last Judgment was set into the back of its solemn seat. The monks' founder, Saint Romuald, is in heaven's court. If Orlandi is right, a monk's back rested against it while the dead rose behind him.", "sources": [{"what": "The Ministry of Culture's catalogue record for Fra Angelico's Giudizio Universale, Museo di San Marco, inv. 1890 n. 8505, c. 1431, tempera and gold on panel. Its historical note gives Orlandi's argument that the panel belongs to the Camaldolese monastery of Santa Maria degli Angeli: a document of 31 August 1431 orders an oratory with a fitting choir, and the panel was set on the back of the solemn seat made then; it adds that Pope-Hennessy accepts a date around 1431. Its subject index lists Saints Dominic, Stephen, Peter, Paul, Andrew, Romuald, Francis, John the Baptist, the Madonna, God the Father, Lucifer, angels and devils, and among objects tombs, sarcophagi, trumpets, tables and goblets.", "url": "https://catalogo.beniculturali.it/detail/HistoricOrArtisticProperty/0900191241", "cite": "Catalogo generale dei Beni Culturali (ICCD, Ministero della Cultura), 'Giudizio Universale (dipinto)', Giovanni da Fiesole detto Beato Angelico, Museo di S. Marco, Firenze, inv. 1890 n. 8505, scheda 0900191241, read 2026-09-24"}]}, "scene": {"ref": "Matthew 25:32", "quote": "And all nations shall be gathered together before him: and he shall separate them one from another, as the shepherd separateth the sheep from the goats:", "shows": "the sheep divided from the goats"}, "th": "/store/thumb/fra_angelico__18cb927dea56.webp", "more": [{"k": "subject", "n": "The Last Judgment in painting", "u": "/editions/subject/last-judgment/", "ids": ["angelico_last_judgment_berlin", "hieronymus_bosch_death_and_the_miser", "hieronymus_bosch_the_last_judgment_central_panel", "joos_van_cleve_last_judgment"]}, {"k": "master", "n": "Fra Angelico", "u": "/editions/master/fra-angelico/", "ids": ["angelico_last_judgment_berlin", "angelico_lamentation_san_marco", "angelico_burial_of_cosmas_and_damian", "angelico_martyrdom_of_cosmas_and_damian_louvre"]}]}, "rubens_last_judgment": {"id": "rubens_last_judgment", "title": "The Last Judgment", "artist_line": "Peter Paul Rubens (Flemish, 1577–1640)", "artist": "Peter Paul Rubens", "date": "c. 1617", "museum": "Alte Pinakothek, Munich", "license": "PD/CC0", "tier": "Mid", "sizes": [{"size": "8×10 in", "paper": 39, "iw": 7.7, "ih": 10, "sw": 8, "sh": 10, "cov": 0.968}, {"size": "11×14 in", "paper": 59, "iw": 10.8, "ih": 14, "sw": 11, "sh": 14, "cov": 0.986}, {"size": "16×20 in", "paper": 110, "iw": 15.5, "ih": 20, "sw": 16, "sh": 20, "cov": 0.968}, {"size": "18×24 in", "paper": 140, "iw": 18, "ih": 23.2, "sw": 18, "sh": 24, "cov": 0.968}], "local": "/store/display/the_last_judgement_peter_paul_rubens__7e31563641dd.jpg", "commons_file": "Peter Paul Rubens - The Great Last Judgement (ca. 1617).jpg", "zoom": "https://art.monstrance.app/zoom/the_last_judgement_peter_paul_rubens__7e31563641dd.jpg", "master_px": 5233, "auth": {"institution": "Bayerische Staatsgemäldesammlungen — Alte Pinakothek, München", "accession": "890", "url": "https://www.sammlung.pinakothek.de/en/artwork/Dj4mkQbL5A/peter-paul-rubens/das-grosse-juengste-gericht", "artist_as_printed": "Peter Paul Rubens", "date_as_printed": "um 1617", "medium": "Canvas", "dimensions": "608.5 × 463.5 cm"}, "writeup": {"text": "Christ sits on the cloud with His right hand raised, and everything below Him divides. The Alte Pinakothek says the blessed on the left are drawn up by angels to receive the crown of eternal life, while Michael drives the damned into Hell. Matthew has it: He \"shall separate them one from another, as the shepherd separateth the sheep from the goats.\" Our Lady stands near Him in blue, looking down; Joachim von Sandrart, in 1675, named the altarpiece first as her intercession with Christ and only secondarily as the Last Judgment. Wolfgang Wilhelm, Count Palatine of Neuburg, converted in 1613 and ordered it from Rubens for his court church; it went up over the high altar in January 1618. The nudities gave offence, the Bayerische Staatszeitung reports: it was partly curtained, then taken down in 1653. At the bottom, men are still pushing a gravestone off.", "sources": [{"what": "Museum's curatorial text: blessed on left drawn by angels receive crown of eternal life; damned on right chased by St. Michael and angels into Hell", "url": "https://www.sammlung.pinakothek.de/en/artwork/Dj4mkQbL5A/peter-paul-rubens/das-grosse-juengste-gericht"}, {"what": "Museum text specifies Michael expelling the damned by sword/spear, not a weighing scale", "url": "https://www.sammlung.pinakothek.de/en/artwork/Dj4mkQbL5A/peter-paul-rubens/das-grosse-juengste-gericht"}, {"what": "Extensive nudity signifies souls stripped of earthly rank, equal and bare before judgment; caused the altarpiece's scandal", "url": "https://www.bayerische-staatszeitung.de/staatszeitung/kultur/detailansicht-kultur/artikel/propaganda-gegen-protestanten.html", "cite": "Bayerische Staatszeitung, \"Propaganda gegen Protestanten\""}, {"what": "Wolfgang Wilhelm, Count Palatine of Neuburg, commissioned the work c.1616-17 for the high altar of the ducal court church after his conversion to Catholicism", "url": "https://hnanews.org/hnar/reviews/staatsgalerie-neuburg-der-donau-flamische-barockmalerei/", "cite": "Historians of Netherlandish Art, review of Staatsgalerie Neuburg an der Donau: Flämische Barockmalerei"}, {"what": "Painting gave offense gradually, was partially covered, and was fully removed from the Neuburg altar only in 1653 (not immediately upon installation)", "url": "https://www.bayerische-staatszeitung.de/staatszeitung/kultur/detailansicht-kultur/artikel/propaganda-gegen-protestanten.html", "cite": "Bayerische Staatszeitung, \"Propaganda gegen Protestanten\""}, {"what": "Sandrart's 1675 life of Rubens names the Neuburg high altarpiece first as the Virgin's intercession with Christ and only secondarily as the Last Judgment.", "url": "http://diglib.hab.de/content.php?dir=edoc/ed000083\u0026distype=optional\u0026metsID=ed_rubens_340\u0026xml=viten/Sandrart-Teutsche-Academie-1675.xml\u0026xsl=dela_rubens.xsl", "cite": "Joachim von Sandrart, 'Teutsche Academie' (1675), life of Rubens, Herzog August Bibliothek digital edition."}, {"what": "The scriptural warrant for the card's opening: we brought nothing into this world, and certainly we can carry nothing out.", "cite": "1 Timothy 6:7, Douay-Rheims (Challoner)."}, {"what": "Wolfgang Wilhelm's dates, and the commission of the three Neuburg altars from Rubens in 1616-17 for his court church, installed above the high altar in January 1618.", "url": "https://hnanews.org/hnar/reviews/staatsgalerie-neuburg-der-donau-flamische-barockmalerei/", "cite": "Anne-Marie Logan, review of Reinhold Baumstark (ed.), 'Staatsgalerie Neuburg an der Donau: Flämische Barockmalerei', HNA Reviews."}, {"what": "The nudities: the picture was first partly curtained and then taken down altogether in 1653; and Wolfgang Wilhelm's conversion to Catholicism in 1613, at his marriage to Magdalena of Bavaria.", "url": "https://www.bayerische-staatszeitung.de/staatszeitung/kultur/detailansicht-kultur/artikel/propaganda-gegen-protestanten.html", "cite": "Bayerische Staatszeitung, 'Propaganda gegen Protestanten'."}, {"what": "The owning institution's curatorial text: the crown of eternal life given to the blessed as angels draw them up, and Michael driving the damned into the depths.", "url": "https://www.sammlung.pinakothek.de/en/artwork/Dj4mkQbL5A/peter-paul-rubens/das-grosse-juengste-gericht", "cite": "Alte Pinakothek, Munich, Peter Paul Rubens, 'Das Große Jüngste Gericht', inv. 890."}]}, "scene": {"ref": "Matthew 25:32", "quote": "And all nations shall be gathered together before him: and he shall separate them one from another, as the shepherd separateth the sheep from the goats:", "shows": "the sheep divided from the goats"}, "th": "/store/thumb/the_last_judgement_peter_paul_rubens__7e31563641dd.webp", "more": [{"k": "subject", "n": "The Last Judgment in painting", "u": "/editions/subject/last-judgment/", "ids": ["master_of_1549_the_last_judgment", "angelico_last_judgment", "angelico_last_judgment_berlin", "hieronymus_bosch_death_and_the_miser"]}, {"k": "master", "n": "Peter Paul Rubens", "u": "/editions/master/peter-paul-rubens/", "ids": ["rubens_the_virgin_and_child_surrounded_by_ang", "rubens_the_holy_trinity", "rubens_assumption", "peter_paul_rubens_the_virgin_as_the_woman_of_the_apocalyps"]}]}, "michelangelo_last_judgment": {"id": "michelangelo_last_judgment", "title": "The Last Judgment", "artist_line": "Michelangelo (Italian, 1475–1564)", "artist": "Michelangelo", "date": "1536–1541", "museum": "Sistine Chapel, Vatican Museums", "license": "PD/CC0", "tier": "Mid", "sizes": [{"size": "8×10 in", "paper": 39, "iw": 8, "ih": 8.8, "sw": 8, "sh": 10, "cov": 0.881}, {"size": "11×14 in", "paper": 59, "iw": 11, "ih": 12.1, "sw": 11, "sh": 14, "cov": 0.865}, {"size": "16×20 in", "paper": 110, "iw": 16, "ih": 17.6, "sw": 16, "sh": 20, "cov": 0.881}, {"size": "18×24 in", "paper": 140, "iw": 18, "ih": 19.8, "sw": 18, "sh": 24, "cov": 0.826}], "local": "/store/display/michelangelo_last_judgment.jpg", "commons_file": "Last Judgement (Michelangelo).jpg", "zoom": "https://art.monstrance.app/zoom/michelangelo_last_judgment.jpg", "master_px": 4395, "auth": {"institution": "Musei Vaticani — Cappella Sistina", "url": "https://www.museivaticani.va/content/museivaticani/en/collezioni/musei/cappella-sistina/giudizio-universale.html", "artist_as_printed": "Michelangelo", "date_as_printed": "1536-1541", "medium": "Fresco — in situ, altar wall of the Sistine Chapel", "accession_absent": "in_situ"}, "writeup": {"text": "One arm goes up, and a whole wall begins to turn. The Vatican Museums describe a wide slow rotary movement in which all the figures are involved: on the left the risen climb, recovering their bodies; on the right angels and devils fight over the falling damned. Christ is caught in the moment before the verdict is spoken. Our Lady sits close beneath His raised arm with her face turned away; the Vatican says she can no longer intervene, and Steven Zucker and Beth Harris note that Michelangelo changed her from the open arms of a preparatory drawing. At His feet Saint Bartholomew holds up his own flayed skin, and the face on it, since Francesco La Cava in 1925, is usually taken for Michelangelo's, the one self-portrait Bernadine Barnes finds widely accepted. If it is his, the painter hangs empty in the saint's hand, and the wheel keeps turning.", "sources": [{"what": "the rotary movement; the risen on the left and the damned on the right; the moment preceding the verdict; the Virgin unable to intervene; Charon and Minos; 1536-1541", "url": "https://www.museivaticani.va/content/museivaticani/en/collezioni/musei/cappella-sistina/giudizio-universale.html"}, {"what": "Supports 'The Virgin has turned her head away: she can no longer intervene' — Michelangelo changed her pose from the open-armed pleading of a preparatory drawing, and set her beneath Christ's raised arm.", "url": "https://smarthistory.org/michelangelo-last-judgment/", "cite": "Dr. Steven Zucker and Dr. Beth Harris, \"Michelangelo, Last Judgment, Sistine Chapel,\" Smarthistory"}, {"what": "A named scholar in a peer-reviewed journal on the hedge in 'usually taken for Michelangelo's': of the several faces proposed as self-portraits, only the one on the skin held by Saint Bartholomew is widely accepted. Replaces an earlier Wikipedia citation.", "url": "https://www.journals.uchicago.edu/doi/10.2307/20477136", "cite": "Bernadine Barnes, \"Skin, Bones, and Dust: Self-Portraits in Michelangelo's 'Last Judgment',\" The Sixteenth Century Journal 35, no. 4 (2004)"}, {"what": "The Vatican's own history of the chapel, naming the commission from Clement VII that put the fresco on the altar wall — the placement our record prints in lieu of an accession number.", "url": "https://www.museivaticani.va/content/museivaticani/en/collezioni/musei/cappella-sistina/storia-cappella-sistina.html", "cite": "Musei Vaticani, \"Sistine Chapel\" (history), Vatican Museums collections"}, {"what": "Carries the final clause, \"the face on it is usually taken for Michelangelo's\" — both the hedge (widely accepted, not certain) and its origin in Francesco La Cava's 1925 identification, now from a named art historian in a peer-reviewed journal rather than an anonymous encyclopaedia entry.", "url": "https://www.academia.edu/91291851/Michelangelo_St_Bartholomew_and_northern_Italy", "cite": "Sharon Gregory, \"Michelangelo, St Bartholomew, and northern Italy,\" Renaissance Studies 32, no. 5 (2018): 778–805"}]}, "scene": {"ref": "Matthew 25:32", "quote": "And all nations shall be gathered together before him: and he shall separate them one from another, as the shepherd separateth the sheep from the goats:", "shows": "the sheep divided from the goats"}, "th": "/store/thumb/michelangelo_last_judgment.webp", "more": [{"k": "subject", "n": "The Last Judgment in painting", "u": "/editions/subject/last-judgment/", "ids": ["rubens_last_judgment", "master_of_1549_the_last_judgment", "angelico_last_judgment", "angelico_last_judgment_berlin"]}, {"k": "master", "n": "Michelangelo", "u": "/editions/master/michelangelo/", "ids": ["michelangelo_manchester_madonna"]}]}, "leonardo_last_supper": {"id": "leonardo_last_supper", "title": "The Last Supper", "artist_line": "Leonardo da Vinci (Italian, 1452–1519)", "artist": "Leonardo da Vinci", "date": "1495–1498", "museum": "Santa Maria delle Grazie, Milan", "license": "PD/CC0", "tier": "Sanctuary", "sizes": [{"size": "18×24 in", "paper": 140, "iw": 24, "ih": 12.0, "sw": 24, "sh": 18, "cov": 0.667}, {"size": "16×32 in", "paper": 150, "iw": 32.0, "ih": 16, "sw": 32, "sh": 16, "cov": 1.0}, {"size": "20×40 in", "paper": 180, "iw": 40.0, "ih": 20, "sw": 40, "sh": 20, "cov": 1.0}, {"size": "24×36 in", "paper": 190, "iw": 36, "ih": 18.0, "sw": 36, "sh": 24, "cov": 0.75}, {"size": "32×48 in", "paper": 340, "iw": 48, "ih": 24.0, "sw": 48, "sh": 32, "cov": 0.75}, {"size": "30×60 in", "paper": 380, "iw": 60.0, "ih": 30, "sw": 60, "sh": 30, "cov": 1.0}, {"size": "40×60 in", "paper": 480, "iw": 60, "ih": 30.0, "sw": 60, "sh": 40, "cov": 0.75}], "local": "/store/display/leonardo_last_supper.jpg", "commons_file": "The Last Supper - Leonardo Da Vinci - High Resolution 32x16.jpg", "zoom": "https://art.monstrance.app/zoom/leonardo_last_supper.jpg", "master_px": 9600, "auth": {"institution": "Museo del Cenacolo Vinciano — Direzione regionale Musei Lombardia, Ministero della Cultura (refettorio di Santa Maria delle Grazie, Milano)", "url": "https://cenacolovinciano.org/en/", "artist_as_printed": "Leonardo da Vinci", "medium": "Wall painting — in situ, refectory of Santa Maria delle Grazie", "accession_absent": "in_situ"}, "writeup": {"text": "Thirteen men crowd one table, and every line of the room runs to one face. The Cenacolo Vinciano sets the vanishing point at Christ's right temple, so the eye cannot rest anywhere else. Leonardo paints the instant after He says that one of them will betray Him. The Royal Academy counts the twelve in four groups of three, recoiling, protesting, asking; Britannica notes Philip's hands at his own chest. Judas sits among the others, not alone across the table as earlier painters set him, gripping a bag the museum says holds the thirty pieces of silver. Christ's hands lie open on the white cloth.", "sources": [{"what": "the vanishing point at Christ’s right temple; the room as a perspective box; the technique and its decay", "url": "https://cenacolovinciano.org/en/story/a-powerful-theatrical-machine/"}, {"what": "Judas among the others rather than isolated, and the purse; Philip’s gesture", "url": "https://britannica.com/topic/Last-Supper-fresco-by-Leonardo-da-Vinci"}, {"what": "four groups of three", "url": "https://www.royalacademy.org.uk/article/how-to-read-it-copy-of-leonardo-da-vinci-last-supper"}, {"what": "The holding institution's own reading of the bag in Judas's fist: it holds the thirty pieces of silver he had already received to betray Christ.", "url": "https://cenacolovinciano.org/en/story/a-powerful-theatrical-machine/", "cite": "Cenacolo Vinciano (Ministero della Cultura), Milan, 'A powerful theatrical machine'."}, {"what": "The bargain was struck before the supper: 'they appointed him thirty pieces of silver' at 26:15, and he sits down with the twelve at 26:20.", "cite": "Matthew 26:14-20, Douay-Rheims (Challoner)."}, {"what": "Records Judas knocking over the salt as an observed detail and attaches no meaning to it — which is why the card does not gloss the spilled salt.", "url": "https://www.royalacademy.org.uk/article/how-to-read-it-copy-of-leonardo-da-vinci-last-supper", "cite": "Royal Academy of Arts, \"How to read it: copy of Leonardo da Vinci's The Last Supper\"."}]}, "scene": {"ref": "John 13:21", "quote": "When Jesus had said these things, he was troubled in spirit; and he testified, and said: Amen, amen, I say to you, one of you shall betray me.", "shows": "the announcement of the betrayal at table"}, "th": "/store/thumb/leonardo_last_supper.webp", "more": [{"k": "subject", "n": "The Last Supper in painting", "u": "/editions/subject/last-supper/", "ids": ["titian_the_last_supper", "poussin_eucharist", "giandomenico_tiepolo_institution_of_the_eucharist", "giotto_last_supper"]}, {"k": "master", "n": "Leonardo da Vinci", "u": "/editions/master/leonardo-da-vinci/", "ids": ["leonardo_virgin_child_anne", "leonardo_st_john_baptist", "leonardo_annunciation", "leonardo_benois_madonna"]}]}, "giotto_last_supper": {"id": "giotto_last_supper", "title": "The Last Supper", "artist_line": "Giotto (Italian, c. 1267–1337)", "artist": "Giotto", "date": "c. 1305", "museum": "Cappella degli Scrovegni, Musei Civici di Padova", "license": "Public domain (photo CC BY-SA 3.0 DE)", "tier": "Mid", "sizes": [{"size": "8×10 in", "paper": 39, "iw": 8.0, "ih": 8, "sw": 10, "sh": 8, "cov": 0.804}, {"size": "11×14 in", "paper": 59, "iw": 11.1, "ih": 11, "sw": 14, "sh": 11, "cov": 0.79}], "local": "/store/display/giotto_last_supper.jpg", "commons_file": "Last Supper (by Giotto di Bondone) - Capella degli Scrovegni (Padova).jpg", "zoom": "https://art.monstrance.app/zoom/giotto_last_supper.jpg", "master_px": 2772, "auth": {"institution": "Cappella degli Scrovegni, Musei Civici di Padova", "accession": "S.n.", "url": "https://cappellascrovegni.padovamusei.it/it/collezioni/vita-cristo/ultima-cena", "date_as_printed": "XIV, inizio sec.", "medium": "Affresco", "dimensions": "Altezza: 200 cm ca.; Larghezza: 200 cm ca."}, "writeup": {"text": "Christ has just said that one of them will betray Him. The chapel's own account follows John's Gospel: Judas sits at the left corner of the table, about to receive the sign, and Saint John leans his head on Christ's breast. Six apostles face us across the cloth and five sit with their backs to us on the bench; the robes in front are in full light, those behind in shade, and the brightest is the gold-figured cloak at the centre. Giotto painted it in the Scrovegni Chapel at Padua at the start of the fourteenth century. There is room on that bench.", "sources": [{"what": "L'ultima cena, fresco, early fourteenth century, about 200 x 200 cm; Jesus announces that one of the apostles will betray him (John 13:21-26); Judas at the left corner about to receive a sign; the apostles in front seen from behind, the robes in front in full light and those behind in shade; the central apostle's gold-decorated robe the brightest point.", "url": "https://cappellascrovegni.padovamusei.it/it/collezioni/vita-cristo/ultima-cena", "cite": "Musei Civici di Padova, Cappella degli Scrovegni, 'L'ultima cena', read 2026-10-12."}]}, "scene": {"ref": "John 13:21", "quote": "When Jesus had said these things, he was troubled in spirit; and he testified, and said: Amen, amen, I say to you, one of you shall betray me.", "shows": "the announcement of the betrayal at table"}, "th": "/store/thumb/giotto_last_supper.webp", "more": [{"k": "subject", "n": "The Last Supper in painting", "u": "/editions/subject/last-supper/", "ids": ["leonardo_last_supper", "titian_the_last_supper", "poussin_eucharist", "giandomenico_tiepolo_institution_of_the_eucharist"]}, {"k": "master", "n": "Giotto", "u": "/editions/master/giotto/", "ids": ["giotto_the_entombment_of_mary", "giotto_francis_stigmata"]}]}, "van_eyck_lucca_madonna": {"id": "van_eyck_lucca_madonna", "title": "The Lucca Madonna", "artist_line": "Jan van Eyck (Early Netherlandish, c. 1390–1441)", "artist": "Jan van Eyck", "date": "c. 1437", "museum": "Städel Museum, Frankfurt", "license": "PD/CC0", "tier": "Sanctuary", "sizes": [{"size": "18×24 in", "paper": 140, "iw": 17.5, "ih": 24, "sw": 18, "sh": 24, "cov": 0.974}, {"size": "24×36 in", "paper": 190, "iw": 24, "ih": 32.9, "sw": 24, "sh": 36, "cov": 0.913}, {"size": "32×48 in", "paper": 340, "iw": 32, "ih": 43.8, "sw": 32, "sh": 48, "cov": 0.913}, {"size": "40×60 in", "paper": 480, "iw": 40, "ih": 54.8, "sw": 40, "sh": 60, "cov": 0.913}], "local": "/store/display/van_eyck_lucca_madonna.jpg", "commons_file": "Jan van Eyck - Lucca Madonna - Google Art Project.jpg", "zoom": "https://art.monstrance.app/zoom/van_eyck_lucca_madonna.jpg", "master_px": 28395, "auth": {"institution": "Städel Museum, Frankfurt am Main", "accession": "944", "url": "https://sammlung.staedelmuseum.de/en/work/lucca-madonna", "artist_as_printed": "Jan van Eyck", "date_as_printed": "ca. 1437", "medium": "Mixed technique on oak", "dimensions": "65.7 x 49.6 x 0.8 cm"}, "writeup": {"text": "Our Lady sits enthroned in a small room and feeds her Son, and the room is full of ordinary things: two small fruits on the sill, a glass carafe and a brass basin in the niche, a patterned carpet running to the floor. Four lions hold up the throne. Carol Purtle reads them as the Throne of Solomon, the Seat of Wisdom, and the carafe and basin as bridal purification. The Städel notes that the floor, walls and vault seem to carry on into our own space, and that the window is reflected in the carafe. Nobody knows who paid for it; Jan van Eyck made it for private prayer, and the name Lucca is no place of origin but Charles Louis of Bourbon, Duke of Lucca, who owned it. The Wisdom she is throne for takes the breast.", "sources": [{"what": "the record — c. 1437, mixed technique on oak, 65.7 × 49.6 cm, inv. 944, acquired 1850; the room's floor, walls and vault appearing to continue into the viewer's space, and the window reflected in the glass carafe", "url": "https://sammlung.staedelmuseum.de/en/work/lucca-madonna", "cite": "Städel Museum, Frankfurt, inv. 944"}, {"what": "the name taken from Charles Louis of Bourbon, Duke of Lucca, who owned it — not from any place of origin; the patron unidentified; a private devotional panel", "url": "https://stories.staedelmuseum.de/de/meisterwerke-des-staedel-van-eycks-lucca-madonna", "cite": "Städel Stories, on the provenance and the naming"}, {"what": "the throne's lions as the Throne of Solomon / Sedes Sapientiae, and the niche's carafe and basin read as bridal purification", "url": "https://openscholarship.wustl.edu/etd_restrict/33/", "cite": "Carol J. Purtle, The Marian Paintings of Jan van Eyck (Princeton University Press, 1982), 110–121"}, {"what": "the state of research on these panels as devotional objects, and the standing critique of Panofsky's \"disguised symbolism\" by James Marrow and Craig Harbison", "url": "https://jhna.org/articles/early-netherlandish-paintings-as-devotional-objects-state-of-research-ca-1990-2020/", "cite": "Journal of Historians of Netherlandish Art"}]}, "scene": {"why": "A DEVOTIONAL TYPE, NOT AN EPISODE. The Virgin enthroned or half-length with her Son is not a moment any evangelist records; it is an image made for prayer. Where a particular picture does illustrate a scene, that work carries its own citation."}, "th": "/store/thumb/van_eyck_lucca_madonna.webp", "more": [{"k": "subject", "n": "The Madonna and Child in painting", "u": "/editions/subject/madonna-and-child/", "ids": ["jan_van_eyck_madonna_at_the_fountain", "angelico_bosco_ai_frati_altarpiece", "fouquet_madonna_surrounded_by_seraphim_and_cheru", "bouts_virgin_and_child"]}, {"k": "master", "n": "Jan van Eyck", "u": "/editions/master/jan-van-eyck/", "ids": ["jan_van_eyck_madonna_at_the_fountain", "van_eyck_annunciation_nga", "van_eyck_van_der_paele", "van_eyck_rolin"]}]}, "bellini_madonna_meadow": {"id": "bellini_madonna_meadow", "title": "Madonna of the Meadow", "artist_line": "Giovanni Bellini (Italian, c. 1430–1516)", "artist": "Giovanni Bellini", "date": "c. 1500–05", "museum": "The National Gallery, London", "license": "PD/CC0", "tier": "Sanctuary", "sizes": [{"size": "18×24 in", "paper": 140, "iw": 23.3, "ih": 18, "sw": 24, "sh": 18, "cov": 0.969}, {"size": "24×36 in", "paper": 190, "iw": 31.0, "ih": 24, "sw": 36, "sh": 24, "cov": 0.861}, {"size": "32×48 in", "paper": 340, "iw": 41.3, "ih": 32, "sw": 48, "sh": 32, "cov": 0.861}, {"size": "40×60 in", "paper": 480, "iw": 51.7, "ih": 40, "sw": 60, "sh": 40, "cov": 0.861}], "local": "/store/display/bellini_madonna_meadow.jpg", "commons_file": "Bellini, Giovanni - Madonna of the Meadow.jpeg", "zoom": "https://art.monstrance.app/zoom/bellini_madonna_meadow.jpg", "master_px": 18621, "auth": {"institution": "The National Gallery, London", "accession": "NG599", "url": "https://www.nationalgallery.org.uk/paintings/giovanni-bellini-madonna-of-the-meadow", "artist_as_printed": "Giovanni Bellini", "date_as_printed": "about 1500-5", "medium": "Oil on synthetic panel, transferred from wood", "dimensions": "66.5 × 85.1 cm"}, "writeup": {"text": "Our Lady sits in the grass with her hands joined in prayer over the sleeping Christ Child, not holding Him. The National Gallery says contemporaries would have known His pose at once: the Lamentation, the dead Christ laid across His Mother's knees. Behind her Bellini lets the ordinary day go on, an ox at pasture, a herder with his staff, a castle in the sun. In a bare tree at the edge a dark bird waits, and the Gallery calls it a vulture, a foreboding symbol of death. Spring has reached everything but that branch. What the bird waits for is asleep in her lap.", "sources": [{"what": "NG599, about 1500–5, oil originally on wood; the Lamentation pose, the hands in prayer, the oxen, the herder, the castle, and the vulture as a symbol of death", "url": "https://www.nationalgallery.org.uk/paintings/giovanni-bellini-madonna-of-the-meadow"}, {"what": "the Gallery states plainly that the patron is unknown", "url": "https://www.nationalgallery.org.uk/paintings/giovanni-bellini-madonna-of-the-meadow"}, {"what": "the landscape as a device for meditation rather than scenery", "cite": "Brian D. Steele, ‘Giovanni Bellini's Madonna of the Meadow, Meditational Poesia, and the Imitatio Christi’, Paragone Past and Present 2, no. 1 (2021), 3–29. DOI 10.1163/24761168-00201001"}, {"what": "The Gallery's own entry: the Child's pose read as the Lamentation, which contemporaries would have caught at once, and the bird in the leafless tree called a vulture and a foreboding symbol of death.", "url": "https://www.nationalgallery.org.uk/paintings/giovanni-bellini-madonna-of-the-meadow", "cite": "The National Gallery, London, Giovanni Bellini, 'The Madonna of the Meadow', NG599."}]}, "scene": {"why": "A DEVOTIONAL TYPE, NOT AN EPISODE. The Virgin enthroned or half-length with her Son is not a moment any evangelist records; it is an image made for prayer. Where a particular picture does illustrate a scene, that work carries its own citation."}, "th": "/store/thumb/bellini_madonna_meadow.webp", "more": [{"k": "subject", "n": "The Madonna and Child in painting", "u": "/editions/subject/madonna-and-child/", "ids": ["leonardo_virgin_child_anne", "circle_of_mantegna_madonna_and_child", "raphael_madonna_goldfinch", "raphael_small_cowper"]}, {"k": "master", "n": "Giovanni Bellini", "u": "/editions/master/giovanni-bellini/", "ids": ["bellini_imago_pietatis_pieta", "bellini_agony_garden", "bellini_saint_francis_in_the_desert", "bellini_transfiguration"]}]}, "leonardo_virgin_child_anne": {"id": "leonardo_virgin_child_anne", "title": "The Virgin and Child with Saint Anne", "artist_line": "Leonardo da Vinci (Italian, 1452–1519)", "artist": "Leonardo da Vinci", "date": "c. 1503–1519", "museum": "Musée du Louvre, Paris", "license": "PD/CC0", "tier": "Sanctuary", "sizes": [{"size": "18×24 in", "paper": 140, "iw": 18, "ih": 23.2, "sw": 18, "sh": 24, "cov": 0.968}, {"size": "24×36 in", "paper": 190, "iw": 24, "ih": 31.0, "sw": 24, "sh": 36, "cov": 0.86}, {"size": "32×48 in", "paper": 340, "iw": 32, "ih": 41.3, "sw": 32, "sh": 48, "cov": 0.86}, {"size": "40×60 in", "paper": 480, "iw": 40, "ih": 51.6, "sw": 40, "sh": 60, "cov": 0.86}], "local": "/store/display/leonardo_virgin_child_anne.jpg", "commons_file": "La Vierge, l'Enfant Jésus et sainte Anne, by Leonardo da Vinci, from C2RMF.jpg", "zoom": "https://art.monstrance.app/zoom/leonardo_virgin_child_anne.jpg", "master_px": 18032, "auth": {"institution": "Musée du Louvre, Paris", "accession": "INV 776; MR 319", "url": "https://collections.louvre.fr/en/ark:/53355/cl010066107", "artist_as_printed": "Léonard de Vinci (Leonardo di ser Piero da Vinci, dit Leonardo da Vinci) (Vinci [Florence], 1452 - Amboise, 1519), École italienne", "date_as_printed": "1er quart du XVIe siècle (vers 1503 - 1519)", "medium": "huile sur bois (peuplier)", "dimensions": "Hauteur : 1,68 m ; Largeur : 1,13 m (agrandi plus tard : 1,3 m actuellement)"}, "writeup": {"text": "The Child has an arm round a lamb's neck and a leg thrown over its back, and Our Lady, half rising from Saint Anne's lap, reaches to draw Him away. Anne only smiles down. In 1501 Fra Pietro da Novellara described this very group to Isabella d'Este: the Child taking hold of a lamb, a sacrificial animal signifying the Passion, and His Mother rising to separate them. Saint Anne is not in the New Testament; she comes from the Protevangelium of James, a later second-century text the Church never canonised. Leonardo kept the work, unfinished, until his death. The Child holds on to the lamb.", "sources": [{"what": "the record — La Vierge, l'Enfant Jésus et sainte Anne, 1503–1519, oil on poplar, unfinished and kept by Leonardo until his death; probably acquired by François I in 1518, to the State in 1793; restored 2010–2012", "url": "https://collections.louvre.fr/en/ark:/53355/cl010066107", "cite": "Musée du Louvre, INV 776 ; MR 319"}, {"what": "the composition described while Leonardo was still working on it — a Christ child \"almost slipping out of his mother's arms to take hold of a lamb… His mother, half rising from the lap of St Anne, takes hold of the Child to separate him from the lamb (a sacrificial animal) signifying the passion\"", "url": "http://leonardomadonna.com/london-report", "cite": "Fra Pietro da Novellara to Isabella d'Este, 3 April 1501 (Villata, no. 150, 134–35)"}, {"what": "Anne's absence from the New Testament and her origin in the Protevangelium of James, later second century, non-canonical", "url": "https://www.nasscal.com/e-clavis-christian-apocrypha/protevangelium-of-james/", "cite": "e-Clavis: Christian Apocrypha, North American Society for the Study of Christian Apocrypha"}, {"what": "the Servites of Santissima Annunziata housing Leonardo and paying his household's expenses, and the documentary limits of the commission story — no contract survives", "url": "https://erenow.org/biographies/leonardo-da-vinci-the-flights-of-the-mind/55.php", "cite": "Charles Nicholl, Leonardo: Flights of the Mind"}]}, "scene": {"why": "A DEVOTIONAL TYPE, NOT AN EPISODE. The Virgin enthroned or half-length with her Son is not a moment any evangelist records; it is an image made for prayer. Where a particular picture does illustrate a scene, that work carries its own citation."}, "th": "/store/thumb/leonardo_virgin_child_anne.webp", "more": [{"k": "subject", "n": "The Madonna and Child in painting", "u": "/editions/subject/madonna-and-child/", "ids": ["circle_of_mantegna_madonna_and_child", "raphael_madonna_goldfinch", "raphael_small_cowper", "albrecht_durer_the_feast_of_the_rosary"]}, {"k": "master", "n": "Leonardo da Vinci", "u": "/editions/master/leonardo-da-vinci/", "ids": ["leonardo_st_john_baptist", "leonardo_annunciation", "leonardo_benois_madonna", "leonardo_virgin_of_rocks"]}]}, "raphael_small_cowper": {"id": "raphael_small_cowper", "title": "The Small Cowper Madonna", "artist_line": "Raphael (Italian, 1483–1520)", "artist": "Raphael", "date": "c. 1505", "museum": "National Gallery of Art, Washington", "license": "PD/CC0", "tier": "Sanctuary", "sizes": [{"size": "18×24 in", "paper": 140, "iw": 17.6, "ih": 24, "sw": 18, "sh": 24, "cov": 0.98}, {"size": "24×36 in", "paper": 190, "iw": 24, "ih": 32.7, "sw": 24, "sh": 36, "cov": 0.907}, {"size": "32×48 in", "paper": 340, "iw": 32, "ih": 43.6, "sw": 32, "sh": 48, "cov": 0.907}, {"size": "40×60 in", "paper": 480, "iw": 40, "ih": 54.4, "sw": 40, "sh": 60, "cov": 0.907}], "local": "/store/display/raphael_small_cowper.jpg", "commons_file": "Raffaello Madonna Cowper.jpg", "zoom": "https://art.monstrance.app/zoom/raphael_small_cowper.jpg", "master_px": 29903, "auth": {"institution": "National Gallery of Art, Washington", "accession": "1942.9.57", "url": "https://www.nga.gov/artworks/1196-small-cowper-madonna", "artist_as_printed": "Raphael", "date_as_printed": "c. 1505", "medium": "oil on panel", "dimensions": "overall: 59.5 × 44 cm (23 7/16 × 17 5/16 in.)"}, "writeup": {"text": "The Christ Child stands on His Mother's lap, one arm round her neck, the other hand at her collar, and He looks out while she looks down. Their haloes are gold thread, almost nothing. The National Gallery of Art reads the pair as \"tied by interlocking gestures and unified by their shared gaze to a vision of the child's future.\" Behind them a hill rises to a small domed church. Fern Rusk Shapley's catalogue of the Gallery's Italian paintings thought it probably San Bernardino near Urbino, the town where Raphael was born, and the Brera, which holds that church's altarpiece, records that Federico da Montefeltro built it to house his own grave. Our Lady's hand rests by His bare foot. A grave on the hill; a Child on His feet in her lap.", "sources": [{"what": "Object record: title, date c. 1505, medium (oil on panel), provenance beginning c. 1780 with anonymous Florentine dealer/collection, no earlier owner or patron named", "url": "https://github.com/NationalGalleryOfArt/opendata", "cite": "National Gallery of Art open-data repository, object id 1196, data/objects.csv"}, {"what": "Child stands upright on Mary's lap, twisting to reach one arm up and embrace her shoulder/neck, turning his head outward rather than looking at her", "url": "https://www.jstor.org/stable/1483213", "cite": "David Alan Brown, \"Raphael's Small Cowper Madonna and Madonna of the Meadow: Their Technique and Leonardo Sources,\" Artibus et Historiae, vol. 4, no. 8 (1983), pp. 9-26"}, {"what": "Confirms the Child's pose (standing on her lap, arms around her neck) via an independent institution's own catalogue description", "url": "https://www.rct.uk/group/381/content/collections/raphael-collection/holy-families-madonna-and-child/the-virgin-and-child-the-small-cowper-madonna-1", "cite": "Royal Collection Trust, RCIN 850694"}, {"what": "Both figures' haloes are extremely thin, thread-like gold rings rather than solid gold discs; Raphael was studying Leonardo's compositional models in Florence c. 1504-06", "url": "https://editions.covecollective.org/content/raphaels-small-cowper-madonna", "cite": "COVE academic-teaching essay, citing David Alan Brown"}, {"what": "Background landscape recedes to a lake, a path with two small figures, and a hilltop town with a domed church", "cite": "Dossier symbolism note (direct visual examination of NGA-sourced master image)"}, {"what": "The National Gallery of Art's own published reading of this panel: the pair are tied by interlocking gestures and unified by their shared gaze to a vision of the child's future.", "url": "https://www.italianrenaissanceresources.com/units/unit-1/essays/raphaels-madonnas-full-of-grace/", "cite": "National Gallery of Art, 'Italian Renaissance Learning Resources', \"Raphael's Madonnas: Full of Grace\"."}, {"what": "The hedged identification of the small church in the landscape as probably San Bernardino near Urbino, credited to Shapley 1979.", "url": "https://postalmuseum.si.edu/exhibition/the-art-of-christmas-stamps-1968-1979/raphael-small-cowper-madonna", "cite": "Smithsonian National Postal Museum, 'Raphael, Small Cowper Madonna'."}, {"what": "Establishes that Shapley 1979 is the National Gallery of Art's own systematic catalogue of its Italian paintings — which is what makes 'Shapley's Gallery catalogue' accurate.", "url": "https://www.nga.gov/research/publications/italian-paintings-thirteenth-and-fourteenth-centuries-0/history-collection", "cite": "National Gallery of Art, Washington, 'History of the Collection'."}, {"what": "The Brera holds the San Bernardino altarpiece, and records that Federico da Montefeltro built that church as his own burial place.", "url": "https://pinacotecabrera.org/en/collezioni/collezione-on-line/madonna-and-child-with-saints-angels-and-federico-da-montefeltro-san-bernardino-altarpiece/", "cite": "Pinacoteca di Brera, Milan, Piero della Francesca, 'San Bernardino Altarpiece'."}, {"what": "Raphael was born in Urbino.", "url": "https://www.nationalgallery.org.uk/artists/raphael", "cite": "The National Gallery, London, artist record: Raphael (1483-1520)."}]}, "scene": {"why": "A DEVOTIONAL TYPE, NOT AN EPISODE. The Virgin enthroned or half-length with her Son is not a moment any evangelist records; it is an image made for prayer. Where a particular picture does illustrate a scene, that work carries its own citation."}, "th": "/store/thumb/raphael_small_cowper.webp", "more": [{"k": "subject", "n": "The Madonna and Child in painting", "u": "/editions/subject/madonna-and-child/", "ids": ["albrecht_durer_the_feast_of_the_rosary", "bellini_madonna_and_child", "gerard_david_virgin_and_child_with_four_angels", "raphael_alba_madonna"]}, {"k": "master", "n": "Raphael", "u": "/editions/master/raphael/", "ids": ["raphael_the_canigiani_holy_family", "raphael_alba_madonna", "raphael_sistine_madonna", "raphael_saint_john_the_baptist_in_the_desert"]}]}, "caravaggio_madonna_rosary": {"id": "caravaggio_madonna_rosary", "title": "The Madonna of the Rosary", "artist_line": "Caravaggio (Italian, 1571–1610)", "artist": "Caravaggio", "date": "c. 1603", "museum": "Kunsthistorisches Museum, Vienna", "license": "PD/CC0", "tier": "Sanctuary", "sizes": [{"size": "18×24 in", "paper": 140, "iw": 16.2, "ih": 24, "sw": 18, "sh": 24, "cov": 0.903}, {"size": "24×36 in", "paper": 190, "iw": 24, "ih": 35.5, "sw": 24, "sh": 36, "cov": 0.985}, {"size": "32×48 in", "paper": 340, "iw": 32, "ih": 47.3, "sw": 32, "sh": 48, "cov": 0.985}, {"size": "40×60 in", "paper": 480, "iw": 40, "ih": 59.1, "sw": 40, "sh": 60, "cov": 0.985}], "local": "/store/display/caravaggio_madonna_rosary.jpg", "commons_file": "Madonna of the Rosary-Caravaggio (1607).jpg", "zoom": "https://art.monstrance.app/zoom/caravaggio_madonna_rosary.jpg", "master_px": 14480, "auth": {"institution": "Kunsthistorisches Museum Wien", "accession": "Gemäldegalerie, 147", "url": "https://www.khm.at/en/objectdb/detail/425/", "artist_as_printed": "Michelangelo Merisi, gen. Caravaggio", "date_as_printed": "around 1603", "medium": "Canvas", "dimensions": "364.5 cm × 249.5 cm (Framed: 410 cm × 294 cm × 17 cm)"}, "writeup": {"text": "Saint Dominic holds the beads out over the crowd, and the hands come up to meet them. Dermot Morrin OP notes that elsewhere Our Lady hands Dominic the rosary; here she gives an order and he hands it on, the Dominican motto, contemplata aliis tradere. The poor, he says, are reaching hands more than faces. The Kunsthistorisches Museum has the kneeling donor in his ruff inviting us to shelter with Dominic too. Antwerp painters, Rubens among them, bought Caravaggio's canvas for their Dominican church; in 1781 it went to the Emperor Joseph II. Above them all the Christ Child stands in His Mother's arm, looking out.", "sources": [{"what": "the Madonna directs Dominic to distribute the rosaries; Peter Martyr points to the Child as the origin of grace; the donor addresses the viewer", "url": "https://www.khm.at/en/artworks/madonna-of-the-rosary-425"}, {"what": "the Madonna 'issues orders' to Dominic; the kneeling crowd of suppliants", "url": "https://www.wga.hu/html_m/c/caravagg/09/58rosar.html"}, {"what": "the beads handed down to the kneeling poor; the red swag read as the mantle of the Madonna della Misericordia", "url": "https://scotland.op.org/caravaggios-madonna-rosary/", "cite": "Dermot Morrin OP, 2019"}, {"what": "an Antwerp consortium including Rubens and Jan Brueghel the Elder bought it and gave it to the Dominican church", "url": "https://etheses.whiterose.ac.uk/id/eprint/28433/1/Sammut_Rubens%20and%20the%20Dominican%20Church%20in%20Antwerp_Thesis_1.pdf", "cite": "Adam Sammut, PhD thesis, University of York, 2020, ch. 4"}, {"what": "The reversal that makes the card: in this picture Dominic hands the rosary on rather than receiving it, read as the Dominican motto.", "url": "https://scotland.op.org/caravaggios-madonna-rosary/", "cite": "Dermot Morrin OP, 'Caravaggio's Madonna of the Rosary', Dominicans of Scotland, 5 October 2019"}, {"what": "The poor rendered as reaching hands without faces.", "url": "https://scotland.op.org/caravaggios-madonna-rosary/", "cite": "Dermot Morrin OP, Dominicans of Scotland, 2019"}, {"what": "The institution's own reading: the Madonna orders the distribution, and the donor invites the viewer to seek shelter with Dominic. Attribution wording on the record is unhedged — 'Michelangelo Merisi, gen. Caravaggio', no 'attributed to' or 'workshop of'; museum title 'Madonna of the Rosary' matches ours; date 'around 1603' matches.", "url": "https://www.khm.at/en/objectdb/detail/425/", "cite": "Kunsthistorisches Museum Wien, object record, Gemäldegalerie 147"}, {"what": "The institution's provenance: a society of artists bought it for the Antwerp Dominicans; Joseph II took it in 1781.", "url": "https://www.khm.at/en/objectdb/detail/425/", "cite": "Kunsthistorisches Museum Wien, object record, provenance, Gemäldegalerie 147"}, {"what": "corroboration of the unhedged 'she gives an order' and of the crowd reaching toward Dominic — re-verified from the existing source, since the card drops Morrin's hedge and needs an unhedged carrier.", "url": "https://www.wga.hu/html_m/c/caravagg/09/58rosar.html", "cite": "Web Gallery of Art, commentary on Madonna del Rosario (existing source, re-verified)"}]}, "scene": {"why": "A DEVOTIONAL TYPE, NOT AN EPISODE. The Virgin enthroned or half-length with her Son is not a moment any evangelist records; it is an image made for prayer. Where a particular picture does illustrate a scene, that work carries its own citation."}, "th": "/store/thumb/caravaggio_madonna_rosary.webp", "more": [{"k": "subject", "n": "The Madonna and Child in painting", "u": "/editions/subject/madonna-and-child/", "ids": ["caravaggio_madonna_loreto", "rubens_madonna_in_a_garland_of_flowers", "rubens_the_virgin_and_child_surrounded_by_ang", "alonso_cano_san_bernardo_y_la_virgen_the_vision_of_s"]}, {"k": "master", "n": "Caravaggio", "u": "/editions/master/caravaggio/", "ids": ["caravaggio_death_virgin", "caravaggio_madonna_loreto", "caravaggio_christ_at_the_column", "caravaggio_seven_mercy"]}]}, "caravaggio_madonna_loreto": {"id": "caravaggio_madonna_loreto", "title": "The Madonna of Loreto (Madonna of the Pilgrims)", "artist_line": "Caravaggio (Italian, 1571–1610)", "artist": "Caravaggio", "date": "c. 1604–06", "museum": "Sant'Agostino in Campo Marzio, Rome", "license": "PD/CC0", "tier": "Sanctuary", "sizes": [{"size": "18×24 in", "paper": 140, "iw": 14.0, "ih": 24, "sw": 18, "sh": 24, "cov": 0.78}, {"size": "24×36 in", "paper": 190, "iw": 21.1, "ih": 36, "sw": 24, "sh": 36, "cov": 0.877}, {"size": "32×48 in", "paper": 340, "iw": 28.1, "ih": 48, "sw": 32, "sh": 48, "cov": 0.877}, {"size": "40×60 in", "paper": 480, "iw": 35.1, "ih": 60, "sw": 40, "sh": 60, "cov": 0.877}], "local": "/store/display/caravaggio_madonna_loreto.jpg", "commons_file": "Madonna di Loreto-Caravaggio (c.1604-6).jpg", "zoom": "https://art.monstrance.app/zoom/caravaggio_madonna_loreto.jpg", "master_px": 12127, "auth": {"institution": "Basilica di Sant'Agostino in Campo Marzio, Roma", "url": "https://www.santagostinoroma.it/le-opere/madonna-dei-pellegrini/", "artist_as_printed": "Michelangelo Merisi detto il Caravaggio", "date_as_printed": "ai primi del ’600", "accession_absent": "in_situ"}, "writeup": {"text": "Our Lady stands barefoot in a doorway with the Christ Child on her hip, and two pilgrims kneel before her, the man with his soles turned to us. They are filthy. Giovanni Baglione noted them in 1642, with the woman's torn and dirty cap, and recorded that the common people raised an extreme clamour. He meant it as a complaint. Ferdinando Bologna reads the clamour as recognition: they had seen themselves. Loreto keeps the house the angels were said to have carried from Nazareth. Caravaggio paints no house and no angels, only a poor doorstep, and the Child, as Bellori saw Him, lifting a hand to bless them.", "sources": [{"what": "the muddy feet, the torn and dirty cap, and the ‘estremo schiamazzo’ of the popolani, recorded in 1642", "cite": "Giovanni Baglione, Le vite de' pittori, scultori et architetti (Rome, 1642), Life of Caravaggio, p. 137"}, {"what": "the documented execution window, after 4 September 1603 and before 2 March 1606, and the reading of the popolani's clamour as favourable acclamation from people who recognised themselves", "cite": "Ferdinando Bologna, ‘Merisi, Michelangelo, detto il Caravaggio’, Dizionario Biografico degli Italiani, vol. 73 (2009)"}, {"what": "the Cavalletti chapel; a young mother on the doorpost of a poor house, two ragged pilgrims kneeling, and the offence to post-Tridentine decorum", "url": "https://soprintendenzaspecialeroma.it/luoghi/basilica-di-santagostino-in-campo-marzio/"}, {"what": "Bellori's 1672 description: the Virgin standing, the child in her arms in the act of blessing, two pilgrims kneeling with joined hands", "cite": "Giovan Pietro Bellori, Le vite de' pittori, scultori et architetti moderni (Rome, 1672)"}, {"what": "the Holy House at Loreto, said by ancient tradition to have been carried from Nazareth by angels", "url": "https://www.santuarioloreto.va/it/storia/la-santa-casa-da-nazareth-a-loreto.html"}]}, "scene": {"why": "A DEVOTIONAL TYPE, NOT AN EPISODE. The Virgin enthroned or half-length with her Son is not a moment any evangelist records; it is an image made for prayer. Where a particular picture does illustrate a scene, that work carries its own citation."}, "th": "/store/thumb/caravaggio_madonna_loreto.webp", "more": [{"k": "subject", "n": "The Madonna and Child in painting", "u": "/editions/subject/madonna-and-child/", "ids": ["rubens_madonna_in_a_garland_of_flowers", "rubens_the_virgin_and_child_surrounded_by_ang", "alonso_cano_san_bernardo_y_la_virgen_the_vision_of_s", "juan_correa_our_lady_of_balvanera"]}, {"k": "master", "n": "Caravaggio", "u": "/editions/master/caravaggio/", "ids": ["caravaggio_christ_at_the_column", "caravaggio_seven_mercy", "caravaggio_st_jerome", "caravaggio_supper_at_emmaus_brera"]}]}, "raphael_alba_madonna": {"id": "raphael_alba_madonna", "title": "The Alba Madonna", "artist_line": "Raphael (Italian, 1483–1520)", "artist": "Raphael", "date": "c. 1510", "museum": "National Gallery of Art, Washington", "license": "PD/CC0", "tier": "Sanctuary", "sizes": [{"size": "20×20 in", "paper": 130, "iw": 20.0, "ih": 20, "sw": 20, "sh": 20, "cov": 1.0}, {"size": "30×30 in", "paper": 240, "iw": 30.0, "ih": 30, "sw": 30, "sh": 30, "cov": 1.0}, {"size": "40×40 in", "paper": 360, "iw": 40.0, "ih": 40, "sw": 40, "sh": 40, "cov": 1.0}], "local": "/store/display/raphael_alba_madonna.jpg", "commons_file": "Raphael, The Alba Madonna, c. 1510, NGA 26.jpg", "zoom": "https://art.monstrance.app/zoom/raphael_alba_madonna.jpg", "master_px": 24180, "auth": {"institution": "National Gallery of Art, Washington", "accession": "1937.1.24", "url": "https://www.nga.gov/artworks/26-alba-madonna", "artist_as_printed": "Raphael", "date_as_printed": "c. 1510", "medium": "oil on panel transferred to canvas", "dimensions": "overall (diameter): 94.5 cm (37 3/16 in.)"}, "writeup": {"text": "A thin cross of reed stands between two children, and both have hold of it. The Christ Child takes it from the infant Baptist while Our Lady, a book in her hand, turns her eyes to it; the Galleria Borghese, cataloguing a period copy, calls that grasp a clear reference to the destiny of the Passion. She sits on the grass, not on a throne, and the National Gallery of Art's curator says it plainly: not the queen of heaven, but a humble woman sitting on the ground. Her robes are a Roman matron's, and her sandal is copied from the Apollo Belvedere. The Gallery reads the dandelions around her as the bitterness of the Passion. No patron is known for it. She sits among them, in the grass.", "sources": [{"what": "date, medium, accession 1937.1.24, and the curator's reading: not the queen of heaven but a humble woman sitting on the ground", "url": "https://www.nga.gov/node/856191"}, {"what": "the Child's grasp of the cross as a reference to the destiny of the Passion — catalogued on the period copy", "url": "https://www.collezionegalleriaborghese.it/en/opere/the-madonna-of-the-house-of-alba"}, {"what": "the robes of a Roman matron and the sandal taken from the Apollo Belvedere", "url": "https://www.italianrenaissanceresources.com/units/unit-1/essays/raphaels-madonnas-full-of-grace/"}, {"what": "no patron and no original location are identified for this picture", "cite": "Carol Plazzotta and Tom Henry, National Gallery Catalogues: The Sixteenth Century Italian Paintings, vol. 4: Raphael (London: The National Gallery, 2022), which names no patron; the NGA record names none either"}, {"what": "The Gallery's reading of the dandelions growing around her as the bitterness of the Passion.", "url": "https://www.nga.gov/collection/highlights/raphael-the-alba-madonna.html", "cite": "National Gallery of Art, Washington, collection highlight: Raphael, 'The Alba Madonna'."}]}, "scene": {"why": "A DEVOTIONAL TYPE, NOT AN EPISODE. The Virgin enthroned or half-length with her Son is not a moment any evangelist records; it is an image made for prayer. Where a particular picture does illustrate a scene, that work carries its own citation."}, "th": "/store/thumb/raphael_alba_madonna.webp", "more": [{"k": "subject", "n": "The Madonna and Child in painting", "u": "/editions/subject/madonna-and-child/", "ids": ["raphael_sistine_madonna", "grunewald_stuppach_madonna_stuppacher_madonna", "del_sarto_virgin_and_child_between_st_francis_of_a", "parmigianino_madonna_and_child_with_saints_the_vision"]}, {"k": "master", "n": "Raphael", "u": "/editions/master/raphael/", "ids": ["raphael_sistine_madonna", "raphael_saint_john_the_baptist_in_the_desert", "raphael_transfiguration", "raphael_st_michael_satan"]}]}, "botticelli_madonna_book": {"id": "botticelli_madonna_book", "title": "Madonna of the Book", "artist_line": "Sandro Botticelli (Italian, c. 1445–1510)", "artist": "Sandro Botticelli", "date": "c. 1480", "museum": "Museo Poldi Pezzoli, Milan", "license": "PD/CC0", "tier": "Sanctuary", "sizes": [{"size": "18×24 in", "paper": 140, "iw": 16.3, "ih": 24, "sw": 18, "sh": 24, "cov": 0.908}, {"size": "24×36 in", "paper": 190, "iw": 24, "ih": 35.2, "sw": 24, "sh": 36, "cov": 0.979}, {"size": "32×48 in", "paper": 340, "iw": 32, "ih": 47.0, "sw": 32, "sh": 48, "cov": 0.979}, {"size": "40×60 in", "paper": 480, "iw": 40, "ih": 58.7, "sw": 40, "sh": 60, "cov": 0.979}], "local": "/store/display/botticelli_madonna_book.jpg", "commons_file": "Sandro Botticelli - The Virgin and Child (The Madonna of the Book) - Google Art Project.jpg", "zoom": "https://art.monstrance.app/zoom/botticelli_madonna_book.jpg", "master_px": 10001, "auth": {"institution": "Museo Poldi Pezzoli, Milano", "accession": "0443", "url": "https://museopoldipezzoli.it/en/scopri/collezioni/capolavori/opera/madonna-with-child-sandro-botticelli/", "artist_as_printed": "Sandro Botticelli, 1445-1510", "date_as_printed": "1480 - 1481", "medium": "Tempera on panel", "dimensions": "39.6 cm × 58 cm"}, "writeup": {"text": "The Christ Child holds three small nails and wears a ring of thorns on His wrist, and looks up at His Mother while she reads. His hand rests on the page beside hers. Luca Frigerio finds legible words there: Isaiah's prophecy of the virgin who conceives, and the psalm verse that opens every hour of the breviary, Roman and Ambrosian. The layout, the Museo Poldi Pezzoli suggests, is a Book of Hours. So Sandro Botticelli lets her read Him the promise of His birth while He already holds His death. The museum allows the nails and crown are perhaps not original, and calls them reminders of the Passion. She keeps reading.", "sources": [{"what": "Owning museum's object page: tempera on panel, 39.6 x 58 cm; the layout suggests it MIGHT be a Book of Hours; nails and crown of thorns as reminders of the Passion; 'Bequest of Gian Giacomo Poldi Pezzoli, 1879'.", "url": "https://museopoldipezzoli.it/en/scopri/collezioni/capolavori/opera/madonna-with-child-sandro-botticelli/", "cite": "Museo Poldi Pezzoli, Milan, object page, inv. 0443, Golden Room; tempera on panel, 39.6 x 58 cm"}, {"what": "Museum's partner entry qualifies the nails and crown of thorns as 'perhaps not original' - the sole support for the attributed caveat in the prose. Also gives 39.6 cm width x 58 cm height, and the fruit meanings.", "url": "https://artsandculture.google.com/asset/the-virgin-and-child-the-madonna-of-the-book-sandro-botticelli/cgHULpr5dnz9JA?hl=en", "cite": "Museo Poldi Pezzoli on Google Arts \u0026 Culture"}, {"what": "Named scholar; sole support for 'they hold each other's gaze'. Romaine identifies the volume as a Book of Hours of the Blessed Virgin and names the reciprocal gaze between Christ and Mary as the picture's focal point.", "url": "https://www.artway.eu/posts/sandro-botticelli-madonna-of-the-book", "cite": "James Romaine, Assoc. Prof. of art history, Nyack College; co-founder, Association of Scholars of Christianity in the History of Art"}, {"what": "Isaiah 53 as the prophecy of the Passion — what grounds the card's word 'prophesies'. The ellipsis marks the jump from verse 3 to verse 5. The card names no chapter, so it does not claim the legible patches are this one.", "cite": "Isaiah 53:3, 53:5, Douay-Rheims"}, {"what": "Carries the in-text attributed reading that satisfies T5.", "url": "https://www.artway.eu/posts/sandro-botticelli-madonna-of-the-book", "cite": "James Romaine, Assoc. Prof. of art history, Nyack College"}, {"what": "A named author in the Archdiocese of Milan's own news publication, who does what neither encyclopaedia did: identifies the actual legible Latin as Isaiah 7:14-15 (the Emmanuel prophecy) and the psalmist's invocation opening all the Hours of the breviary, Roman and Ambrosian. Carries 'Some words on the open page are still legible', 'Isaiah - a virgin shall conceive', and 'the psalm verse that opens every hour of the breviary, Roman and Ambrosian'. His psalm identification also corroborates the Book of Hours reading empirically (a text from the Office is on the page), which is better evidence than the museum's guess from layout.", "url": "https://www.chiesadimilano.it/news/arte-cultura/botticelli-la-tenerezza-di-maria-854813.html", "cite": "Luca Frigerio, 'Botticelli, la tenerezza di Maria', Chiesa di Milano (Archdiocese of Milan)"}, {"what": "Primary text, no url. REPLACES the struck Isaiah 53 citation. Following the footnote established that the legible Isaiah on the page is 7:14-15, not 53 - so this is the locator the card's phrase 'a virgin shall conceive' actually quotes. Verse quoted from my own knowledge of the Douay-Rheims; it matches Frigerio's Italian rendering ('Ecco: la vergine concepira e partorira un figlio, che chiamera Emmanuele') word for word in sense.", "cite": "Isaiah 7:14, Douay-Rheims"}, {"what": "The holding institution's own object page, whose hedge — 'suggest' — the card carries rather than firming it up.", "url": "https://museopoldipezzoli.it/en/scopri/collezioni/capolavori/opera/madonna-with-child-sandro-botticelli/", "cite": "Museo Poldi Pezzoli, Milan, object page, inv. 0443"}]}, "scene": {"why": "A DEVOTIONAL TYPE, NOT AN EPISODE. The Virgin enthroned or half-length with her Son is not a moment any evangelist records; it is an image made for prayer. Where a particular picture does illustrate a scene, that work carries its own citation."}, "th": "/store/thumb/botticelli_madonna_book.webp", "more": [{"k": "subject", "n": "The Madonna and Child in painting", "u": "/editions/subject/madonna-and-child/", "ids": ["crivelli_madonna_and_child", "leonardo_virgin_of_rocks", "memling_the_virgin_and_child_between_saint_jam", "michelangelo_manchester_madonna"]}, {"k": "master", "n": "Sandro Botticelli", "u": "/editions/master/sandro-botticelli/", "ids": ["botticelli_lamentation", "botticelli_mystic_nativity", "botticelli_adoration_of_the_magi"]}]}, "raphael_sistine_madonna": {"id": "raphael_sistine_madonna", "title": "The Sistine Madonna", "artist_line": "Raphael (Italian, 1483–1520)", "artist": "Raphael", "date": "1512–1513", "museum": "Gemäldegalerie Alte Meister, Dresden", "license": "PD/CC0", "tier": "Sanctuary", "sizes": [{"size": "18×24 in", "paper": 140, "iw": 17.7, "ih": 24, "sw": 18, "sh": 24, "cov": 0.982}, {"size": "24×36 in", "paper": 190, "iw": 24, "ih": 32.6, "sw": 24, "sh": 36, "cov": 0.905}, {"size": "32×48 in", "paper": 340, "iw": 32, "ih": 43.5, "sw": 32, "sh": 48, "cov": 0.905}, {"size": "40×60 in", "paper": 480, "iw": 40, "ih": 54.3, "sw": 40, "sh": 60, "cov": 0.905}], "local": "/store/display/raphael_sistine_madonna.jpg", "commons_file": "Raphael - The Sistine Madonna - Google Arts \u0026 Culture.jpg", "zoom": "https://art.monstrance.app/zoom/raphael_sistine_madonna.jpg", "master_px": 9546, "auth": {"institution": "Gemäldegalerie Alte Meister, Staatliche Kunstsammlungen Dresden", "url": "https://gemaeldegalerie.skd.museum/en/exhibitions/sistine-madonna/", "artist_as_printed": "Raffael", "date_as_printed": "1512/13", "accession_absent": "not_published", "accession_absent_why": "the Gal.-Nr. lives behind a JavaScript-only search on skd-online-collection.skd.museum"}, "writeup": {"text": "A green curtain has been drawn back on its rod and rings, and Our Lady walks out on cloud, barefoot, the Christ Child heavy in her arms. Both look straight out. Johann Konrad Eberlein read the curtain as a tabernacle veil, a Marian sign of the Incarnation: the dwelling opened to carry a Body out. Saint Sixtus kneels at the left, one hand on his breast, the other turned toward you, and his tiara sits on the ledge at the very front, crowned with the della Rovere acorn, the pope's family device laid at the threshold. A woman kneels opposite with lowered eyes; two small angels lean on the sill below. In Piacenza, the Dresden Gemäldegalerie says, her gaze and her Son's went past you, to the back of a crucifix on the choir screen: Mother and Child looking at the Cross.", "sources": [{"what": "the gazes directed at the back of the crucifix on the choir screen; the angels in the cloud", "url": "https://gemaeldegalerie.skd.museum/en/exhibitions/raphael-and-the-madonna/raphael-and-the-madonna/"}, {"what": "the painted curtain rod and rings", "url": "https://theframeblog.com/2022/12/30/raphaels-sistine-madonna-and-its-frames/"}, {"what": "the acorn on the tiara and oak leaves on the cope as the della Rovere device", "url": "https://artinwords.de/raffael/raffael-sixtinische-madonna/"}, {"what": "The painted curtain read as a tabernacle curtain, and the motif's standing in medieval Marian iconography as a symbol of the Incarnation. Read here in the bibliographic record and abstract; the full article is behind a paywall and is relayed, not quoted.", "url": "https://bha-test.inist.fr/vibad/index.php?action=getRecordDetail\u0026idt=oba_1173914", "cite": "Johann Konrad Eberlein, \"The Curtain in Raphael's Sistine Madonna\", The Art Bulletin 65, no. 1 (1983), 61-77."}]}, "scene": {"why": "A DEVOTIONAL TYPE, NOT AN EPISODE. The Virgin enthroned or half-length with her Son is not a moment any evangelist records; it is an image made for prayer. Where a particular picture does illustrate a scene, that work carries its own citation."}, "th": "/store/thumb/raphael_sistine_madonna.webp", "more": [{"k": "subject", "n": "The Madonna and Child in painting", "u": "/editions/subject/madonna-and-child/", "ids": ["grunewald_stuppach_madonna_stuppacher_madonna", "del_sarto_virgin_and_child_between_st_francis_of_a", "parmigianino_madonna_and_child_with_saints_the_vision", "titian_madonna_and_child_with_saints"]}, {"k": "master", "n": "Raphael", "u": "/editions/master/raphael/", "ids": ["raphael_saint_john_the_baptist_in_the_desert", "raphael_transfiguration", "raphael_st_michael_satan", "raphael_madonna_goldfinch"]}]}, "francesca_madonna_and_child_enthroned": {"id": "francesca_madonna_and_child_enthroned", "title": "Madonna and Child Enthroned", "artist_line": "Piero della Francesca (Italian, c. 1415–1492)", "artist": "Piero della Francesca", "date": "c. 1472–1474", "museum": "Clark Art Institute, Williamstown", "license": "PD/CC0", "tier": "Hero", "sizes": [{"size": "16×20 in", "paper": 110, "iw": 14.7, "ih": 20, "sw": 16, "sh": 20, "cov": 0.917}, {"size": "18×24 in", "paper": 140, "iw": 17.6, "ih": 24, "sw": 18, "sh": 24, "cov": 0.978}, {"size": "24×36 in", "paper": 190, "iw": 24, "ih": 32.7, "sw": 24, "sh": 36, "cov": 0.909}], "local": "/store/display/piero_della_francesca_virgin_and_child_enthroned__bb0a3448fcb2.jpg", "commons_file": "Piero della Francesca - Virgin and Child Enthroned with Four Angels - 1955.948 - Clark Art Institute.tiff", "zoom": "https://art.monstrance.app/zoom/piero_della_francesca_virgin_and_child_enthroned__bb0a3448fcb2.jpg", "master_px": 8669, "auth": {"institution": "Clark Art Institute, Williamstown", "accession": "1955.948", "url": "https://www.clarkart.edu/artpiece/detail/Virgin-and-Child-Enthroned-with-Four-Angels", "artist_as_printed": "Piero della Francesca", "date_as_printed": "c. 1460-70", "medium": "Oil, possibly with some tempera on poplar panel, transferred to a new panel support", "dimensions": "42 7/16 x 30 7/8 in. (107.8 x 78.4 cm)"}, "writeup": {"text": "Our Lady holds a small rose between two fingers, and the Child reaches across her lap to take it. The Frick reads the rose as a symbol of His future suffering, echoed in the carved rosettes beneath the throne. Four angels stand about the throne, the one in white barefoot with arms folded; the Clark finds his shadow on the throne's base and reads it as a sign the work first hung to the right of a window. When Piero della Francesca's altarpiece was shown at the Metropolitan Museum, Walter Kaiser reports, six scholars could not agree on a date. It keeps its wall and gives up no year.", "sources": [{"what": "Child reaching for a flower his mother offers, 'may symbolize divine love or allude to Jesus's fate'; an angel in white casts a shadow on the throne's base, 'suggesting the painting originally hung right of a window'.", "url": "https://www.clarkart.edu/artpiece/detail/Virgin-and-Child-Enthroned-with-Four-Angels", "cite": "Clark Art Institute, Virgin and Child Enthroned with Four Angels, acc. 1955.948"}, {"what": "Same page: figures 'seem three-dimensional, like marble statues, and occupy a space inspired by classical architecture'; medium given as oil, possibly with some tempera, on poplar panel, transferred to a new panel support.", "url": "https://www.clarkart.edu/artpiece/detail/Virgin-and-Child-Enthroned-with-Four-Angels", "cite": "Clark Art Institute object page, medium and description"}, {"what": "The Child 'reaches for a rose, a symbol of his future suffering'; carved rosettes beneath the throne echo it; 'a radically compressed composition in an innovative rectangular format, probably the first in Borgo San Sepolcro'.", "url": "https://www.frick.org/exhibitions/piero/clark", "cite": "The Frick Collection, Piero della Francesca in America (2013), object text"}, {"what": "Dating dispute: when the panel was shown at the Metropolitan Museum, 'the six scholars who wrote about it in the catalog were unable to agree on a date'; also the light and shadow on the throne's rosettes.", "url": "https://www.nybooks.com/articles/2013/03/21/noble-dreams-piero/", "cite": "Walter Kaiser, 'Noble Dreams', New York Review of Books, 21 March 2013"}, {"what": "Sterling Clark purchased the painting in 1913, among the earliest American acquisitions of a Piero; described as an ambitious altarpiece executed on an intimate scale.", "url": "https://www.frick.org/sites/default/files/pdf/press/Press_Release_Piero_heading_archived.pdf", "cite": "The Frick Collection press release, Piero della Francesca in America, 2013"}]}, "scene": {"why": "A DEVOTIONAL TYPE, NOT AN EPISODE. The Virgin enthroned or half-length with her Son is not a moment any evangelist records; it is an image made for prayer. Where a particular picture does illustrate a scene, that work carries its own citation."}, "th": "/store/thumb/piero_della_francesca_virgin_and_child_enthroned__bb0a3448fcb2.webp", "more": [{"k": "subject", "n": "The Madonna and Child in painting", "u": "/editions/subject/madonna-and-child/", "ids": ["leonardo_benois_madonna", "hans_memling_madonna_and_child_with_angels", "botticelli_madonna_book", "crivelli_madonna_and_child"]}, {"k": "master", "n": "Piero della Francesca", "u": "/editions/master/piero-della-francesca/", "ids": ["piero_nativity", "piero_baptism"]}]}, "leonardo_madonna_litta": {"id": "leonardo_madonna_litta", "title": "Madonna Litta", "artist_line": "Attributed to Leonardo da Vinci (Italian, 1452–1519)", "artist": "Attributed to Leonardo da Vinci", "date": "mid-1490s", "museum": "State Hermitage Museum, St Petersburg", "license": "PD/CC0", "tier": "Hero", "sizes": [{"size": "16×20 in", "paper": 110, "iw": 15.7, "ih": 20, "sw": 16, "sh": 20, "cov": 0.978}, {"size": "18×24 in", "paper": 140, "iw": 18, "ih": 23.0, "sw": 18, "sh": 24, "cov": 0.958}, {"size": "24×36 in", "paper": 190, "iw": 24, "ih": 30.7, "sw": 24, "sh": 36, "cov": 0.852}], "local": "/store/display/leonardo_madonna_litta.jpg", "commons_file": "Leonardo da Vinci - The Madonna and Child (The Litta Madonna).jpg", "zoom": "https://art.monstrance.app/zoom/leonardo_madonna_litta.jpg", "master_px": 7817, "auth": {"institution": "State Hermitage Museum, St Petersburg", "accession": "ГЭ-249", "url": "https://www.hermitagemuseum.org/digital-collection/29633?lng=en", "artist_as_printed": "Leonardo da Vinci (1452-1519)", "date_as_printed": "mid-1490s", "medium": "tempera on canvas (transferred from panel)", "dimensions": "42x33 cm"}, "writeup": {"text": "The Child feeds at His Mother's breast and turns His eyes out of the frame, toward whoever stands there. Our Lady looks only at Him. Readings of this Madonna lactans, the nursing Virgin, dwell on His clinging, uncomfortable pose and on the goldfinch in His hand, which the National Gallery and the Fitzwilliam read as a sign of His Passion. The Hermitage records that Duke Antonio Litta sold it to Tsar Alexander II in 1865 for 100,000 francs. Its cataloguer Tatiana Kustodieva records no doubt that it is Leonardo's; Marco Carminati reports specialists proposing his pupils. The small red-faced bird keeps still in His hand.", "sources": [{"what": "Goldfinch legend: red mark from Christ's blood plucking thorn from crown; bird feeds on thistles/thorns; Passion foreshadowing device", "cite": "thehistoryofart.org (Madonna Litta entry); italian-renaissance-art.com; musings-on-art.org"}, {"what": "Blue mantle over scarlet garment as Marian/Passion colour code (blue = Church/queenship, red beneath = Christ's blood)", "cite": "italian-renaissance-art.com; thehistoryofart.org"}, {"what": "Mary's downward gaze at Child vs Child's gaze turned toward viewer, triangulated devotional composition", "cite": "musings-on-art.org; thehistoryofart.org"}, {"what": "Duke Antonio Litta sold the painting to Tsar Alexander II on 12 January 1865 for 100,000 francs", "url": "https://www.hermitagemuseum.org/wps/portal/hermitage/digital-collection/01.+Paintings/29633/"}, {"what": "Carries the Child clinging to his mother in an uncomfortable pose, and confirms he is still feeding.", "url": "https://www.italian-renaissance-art.com/Madonna-Litta.html", "cite": "italian-renaissance-art.com, \"Madonna Litta\" (already on the card's source list; URL added and fetched)"}, {"what": "The devotional type is Madonna lactans — the Virgin nursing the Christ Child (replaces Wikipedia for the card's opening clause)", "url": "https://www.artic.edu/artworks/16303/virgin-and-child", "cite": "Art Institute of Chicago, collection record, \"Virgin and Child\" (curatorial entry)"}, {"what": "The goldfinch is the bird held in the Christ Child's hand (replaces Wikipedia; note it licenses \"in his hand\" but NOT \"left hand\")", "url": "https://www.nationalgallery.org.uk/paintings/glossary/goldfinches", "cite": "The National Gallery, London, Glossary, \"Goldfinches\""}, {"what": "Second institutional corroboration of the goldfinch as Passion device", "url": "https://fitzmuseum.cam.ac.uk/explore-our-collection/highlights/context/sign-and-symbols/the-goldfinch", "cite": "The Fitzwilliam Museum, Cambridge, \"Signs and Symbols: The Goldfinch\""}, {"what": "The Hermitage's autograph position, attached to a NAMED scholar and a real catalogue — Tatiana Kustodieva's entry in the Skira catalogue of the 2019–20 Poldi Pezzoli exhibition. Replaces Wikipedia's \"the Hermitage Museum, however, considers the painting to be an autograph work\" and carries \"Its Hermitage cataloguer, Tatiana Kustodieva, records no doubt.\"", "url": "https://www.ilsole24ore.com/art/leonardo-madonna-litta-e-bottega-ACeuK9w", "cite": "Marco Carminati, \"Leonardo, la Madonna Litta e la bottega,\" Il Sole 24 Ore, 2020 (signed review of the Poldi Pezzoli exhibition, cur. Pietro C. Marani and Andrea Di Lorenzo)"}, {"what": "Leonardo scholarship dissents from the Hermitage's attribution — carries \"scholars keep proposing\" and the closing line", "url": "https://www.ilsole24ore.com/art/leonardo-madonna-litta-e-bottega-ACeuK9w", "cite": "Marco Carminati, \"Leonardo, la Madonna Litta e la bottega,\" Il Sole 24 Ore, 2020"}, {"what": "The 1865 acquisition from the Litta family, on the exhibition's official municipal record — corroborates the year and the vendor for the acquisition clause (the Tsar and the 100,000 francs remain on the Hermitage's own record, below)", "url": "https://www.comune.milano.it/en/-/-milano-e-leonardo-500-.-museo-poldi-oezzoli-torna-a-milano-dopo-trent-anni-la-madonna-litta-il-capolavoro-dell-ermitage-di-san-pietroburgo", "cite": "Comune di Milano, official exhibition announcement, \"Milan and Leonardo 500\": Museo Poldi Pezzoli, Leonardo e la Madonna Litta (2019)"}, {"what": "Carries the Child clinging to her in an uncomfortable pose, and his gaze turned out of the picture.", "url": "https://www.italian-renaissance-art.com/Madonna-Litta.html", "cite": "italian-renaissance-art.com, \"Madonna Litta\""}]}, "scene": {"why": "A DEVOTIONAL TYPE, NOT AN EPISODE. The Virgin enthroned or half-length with her Son is not a moment any evangelist records; it is an image made for prayer. Where a particular picture does illustrate a scene, that work carries its own citation."}, "th": "/store/thumb/leonardo_madonna_litta.webp", "more": [{"k": "subject", "n": "The Madonna and Child in painting", "u": "/editions/subject/madonna-and-child/", "ids": ["pittoni_saints_presenting_a_devout_woman_to_the_virgin_a", "signorelli_madonna_and_child_with_saints_and_angels", "unknown_andean_painter_virgin_of_the_rosary_of_pomata", "cimabue_the_virgin_and_child_in_majesty_surrou"]}]}, "van_eyck_rolin": {"id": "van_eyck_rolin", "title": "Madonna of Chancellor Rolin", "artist_line": "Jan van Eyck (Early Netherlandish, c. 1390–1441)", "artist": "Jan van Eyck", "date": "c. 1435", "museum": "Musée du Louvre, Paris", "license": "PD/CC0", "tier": "Hero", "sizes": [{"size": "16×20 in", "paper": 110, "iw": 15.9, "ih": 16, "sw": 20, "sh": 16, "cov": 0.793}, {"size": "18×24 in", "paper": 140, "iw": 17.9, "ih": 18, "sw": 24, "sh": 18, "cov": 0.744}, {"size": "24×36 in", "paper": 190, "iw": 23.8, "ih": 24, "sw": 36, "sh": 24, "cov": 0.661}], "local": "/store/display/van_eyck_rolin.jpg", "commons_file": "La Vierge du chancelier Rolin - Jan van Eyck - Musée du Louvre Peintures INV 1271 ; MR 705.jpg", "zoom": "https://art.monstrance.app/zoom/van_eyck_rolin.jpg", "master_px": 8190, "auth": {"institution": "Musée du Louvre, Paris", "accession": "INV 1271; MR 705", "url": "https://collections.louvre.fr/en/ark:/53355/cl010061856", "artist_as_printed": "Eyck, Jan van", "date_as_printed": "2e quart du XVe siècle (vers 1430 - 1435)", "medium": "huile sur bois (chêne)", "dimensions": "Hauteur : 0,66 m ; Largeur : 0,62 m"}, "writeup": {"text": "An angel flies in holding a crown over Our Lady's head. The Christ Child sits on her knee and raises His hand in blessing toward the man kneeling across from them, Chancellor Rolin, palms pressed together over his open book. Behind them the arches open on a river, a bridge, a town, and two small figures stand at the parapet looking out. Laura Gelfand identifies the gilded spire behind Rolin's hands, almost certainly, as Notre-Dame-du-Châtel, the church that once housed this painting; she reads the capitals, the Drunkenness of Noah and Abraham meeting Melchizedek, as Old Testament wine and bread on the side of a man whose fortune grew from the vineyards in the landscape. A column still divides him from the Virgin. The crown, Gelfand argues, is likely one Rolin gave that church. Jan van Eyck lets him kneel beneath his own gift.", "sources": [{"what": "Gilded church spire behind Rolin's hands identified as Notre-Dame-du-Châtel, the actual church housing the panel", "url": "https://jhna.org/articles/piety-nobility-and-posterity-wealth-ruin-nicolas-rolins-reputation/", "cite": "Laura D. Gelfand, \"Piety, Nobility, and Posterity: Wealth and the Ruin of Nicolas Rolin's Reputation,\" JHNA vol. 1, no. 1 (2009)"}, {"what": "Arcade capitals carved with Drunkenness of Noah and Abraham/Melchizedek, tied to Rolin's vineyard wealth and Old Law/New Law contrast", "cite": "Gelfand 2009, JHNA"}, {"what": "Vineyard in the landscape as a specific reference to Rolin's own wealth source", "cite": "Gelfand 2009, JHNA"}, {"what": "Central vertical column dividing Rolin from the Virgin, a donor-portrait convention rebutting claims Rolin painted himself as her equal", "cite": "Gelfand 2009, JHNA"}, {"what": "Named scholar: the crown an angel holds above the Virgin read as, likely, one Rolin himself gave to Notre-Dame-du-Châtel — so he kneels beneath his own gift; and the single line still dividing him from her.", "url": "https://jhna.org/articles/piety-nobility-and-posterity-wealth-ruin-nicolas-rolins-reputation/", "cite": "Laura D. Gelfand, 'Piety, Nobility, and Posterity: Wealth and the Ruin of Nicolas Rolin's Reputation', Journal of Historians of Netherlandish Art (2009)."}]}, "scene": {"why": "A DEVOTIONAL TYPE, NOT AN EPISODE. The Virgin enthroned or half-length with her Son is not a moment any evangelist records; it is an image made for prayer. Where a particular picture does illustrate a scene, that work carries its own citation."}, "th": "/store/thumb/van_eyck_rolin.webp", "more": [{"k": "subject", "n": "The Madonna and Child in painting", "u": "/editions/subject/madonna-and-child/", "ids": ["van_eyck_lucca_madonna", "jan_van_eyck_madonna_at_the_fountain", "angelico_bosco_ai_frati_altarpiece", "fouquet_madonna_surrounded_by_seraphim_and_cheru"]}, {"k": "master", "n": "Jan van Eyck", "u": "/editions/master/jan-van-eyck/", "ids": ["van_eyck_lucca_madonna", "jan_van_eyck_madonna_at_the_fountain", "van_eyck_annunciation_nga", "van_eyck_van_der_paele"]}]}, "van_eyck_van_der_paele": {"id": "van_eyck_van_der_paele", "title": "Madonna of Canon van der Paele", "artist_line": "Jan van Eyck (Early Netherlandish, c. 1390–1441)", "artist": "Jan van Eyck", "date": "1434–1436", "museum": "Groeningemuseum, Musea Brugge", "license": "PD/CC0", "tier": "Hero", "sizes": [{"size": "16×20 in", "paper": 110, "iw": 20, "ih": 15.5, "sw": 20, "sh": 16, "cov": 0.969}, {"size": "18×24 in", "paper": 140, "iw": 23.2, "ih": 18, "sw": 24, "sh": 18, "cov": 0.967}, {"size": "24×36 in", "paper": 190, "iw": 30.9, "ih": 24, "sw": 36, "sh": 24, "cov": 0.86}], "local": "/store/display/van_eyck_van_der_paele.jpg", "commons_file": "Eyck, Jan van - Madonna with Canon van der Paele.jpeg", "zoom": "https://art.monstrance.app/zoom/van_eyck_van_der_paele.jpg", "master_px": 32118, "auth": {"institution": "Groeningemuseum, Musea Brugge", "accession": "0000.GRO0161.I", "url": "https://vlaamsekunstcollectie.be/collectie/0000-gro0161-i", "artist_as_printed": "Jan van Eyck", "date_as_printed": "1436", "medium": "olieverf op paneel", "dimensions": "124.5 x 160 cm"}, "writeup": {"text": "An old canon kneels in white with a pair of spectacles in his fingers, held over his open book, not worn. Saint George, in armour, lifts his helmet and lays a hand on the canon's shoulder to present him; across the throne stands Saint Donatian with a wheel ringed by five burning candles. The Flemish Art Collection ties that wheel to Donatian's legend as a child drawn safely from a river, and names George as the canon's name-saint. Between them the Christ Child sits in Our Lady's lap. Stephen Hanley notes the shadow the frames cast, and reads the held spectacles as magnification: over his page the canon magnifies the Word, the verb with which the Virgin before him opens her canticle, Magnificat. Jan van Eyck leaves the Word open beneath the glass.", "sources": [{"what": "Canon's spectacles held not worn, resting on prayer book, shadow cast by frames", "url": "https://jhna.org/articles/optical-symbolism-optical-description-case-study-canon-van-der-paeles-spectacles/", "cite": "Stephen Hanley, 'Optical Symbolism as Optical Description,' Journal of Historians of Netherlandish Art, vol. 1.1 (2009)"}, {"what": "Saint George removing helmet, presenting kneeling canon to the Virgin; George as canon's name-saint", "url": "https://vlaamsekunstcollectie.be/en/collections/flemish-primitives/madonna-met-kanunnik-joris-van-der-paele"}, {"what": "Saint Donatian holding wheel with five burning candles, referencing infant-in-the-river legend", "url": "https://vlaamsekunstcollectie.be/en/collections/flemish-primitives/madonna-met-kanunnik-joris-van-der-paele"}, {"what": "Throne armrest reliefs: Adam and Eve, Cain slaying Abel, Samson wrestling the lion", "url": "https://vlaamsekunstcollectie.be/en/collections/flemish-primitives/madonna-met-kanunnik-joris-van-der-paele"}, {"what": "Museum object page confirming figures and composition (Mary, Christ Child, Donatian, George, canon)", "url": "https://vlaamsekunstcollectie.be/collectie/0000-gro0161-i"}, {"what": "Named scholar reading the held spectacles as an act of magnification — the canon 'magnifies the Word' over his page — and tying that verb to the Virgin's own canticle.", "url": "https://jhna.org/articles/optical-symbolism-optical-description-case-study-canon-van-der-paeles-spectacles/", "cite": "Stephen Hanley, 'Optical Symbolism as Optical Description: A Case Study of Canon van der Paele's Spectacles', Journal of Historians of Netherlandish Art."}, {"what": "The verb itself, opening Mary's canticle: Magnificat anima mea Dominum.", "cite": "Luke 1:46, Douay-Rheims (Challoner)."}]}, "scene": {"why": "A DEVOTIONAL TYPE, NOT AN EPISODE. The Virgin enthroned or half-length with her Son is not a moment any evangelist records; it is an image made for prayer. Where a particular picture does illustrate a scene, that work carries its own citation."}, "th": "/store/thumb/van_eyck_van_der_paele.webp", "more": [{"k": "subject", "n": "The Madonna and Child in painting", "u": "/editions/subject/madonna-and-child/", "ids": ["van_eyck_rolin", "van_eyck_lucca_madonna", "jan_van_eyck_madonna_at_the_fountain", "angelico_bosco_ai_frati_altarpiece"]}, {"k": "master", "n": "Jan van Eyck", "u": "/editions/master/jan-van-eyck/", "ids": ["van_eyck_rolin", "van_eyck_lucca_madonna", "jan_van_eyck_madonna_at_the_fountain", "van_eyck_annunciation_nga"]}]}, "raphael_madonna_goldfinch": {"id": "raphael_madonna_goldfinch", "title": "Madonna of the Goldfinch", "artist_line": "Raphael (Italian, 1483–1520)", "artist": "Raphael", "date": "c. 1505–1506", "museum": "Gallerie degli Uffizi, Florence", "license": "PD/CC0", "tier": "Hero", "sizes": [{"size": "16×20 in", "paper": 110, "iw": 14.3, "ih": 20, "sw": 16, "sh": 20, "cov": 0.894}, {"size": "18×24 in", "paper": 140, "iw": 17.2, "ih": 24, "sw": 18, "sh": 24, "cov": 0.954}, {"size": "24×36 in", "paper": 190, "iw": 24, "ih": 33.5, "sw": 24, "sh": 36, "cov": 0.932}], "local": "/store/display/raphael_madonna_goldfinch.jpg", "commons_file": "Raffaello Sanzio - Madonna del Cardellino - Google Art Project.jpg", "zoom": "https://art.monstrance.app/zoom/raphael_madonna_goldfinch.jpg", "master_px": 7200, "auth": {"institution": "Gallerie degli Uffizi / Uffizi Galleries, Firenze", "accession": "1890 n. 1447", "url": "https://www.uffizi.it/en/artworks/mary-christ-and-the-young-john-the-baptist-known-as-the-madonna-of-the-goldfinch", "artist_as_printed": "Raffaello Sanzio (Urbino 1483 – Roma 1520)", "date_as_printed": "Before February 1506", "medium": "Oil on wood", "dimensions": "107 x 77.2 cm"}, "writeup": {"text": "A goldfinch sits in the young John the Baptist's hands, and the Christ Child reaches out to stroke it. The National Gallery in London records the legend that the red mark on the bird's face is Christ's own blood, splashed there when it drew a thorn from His head on the road to Calvary, and the Uffizi reads the bird as a sign of the Passion. His bare foot rests on His Mother's foot. Our Lady holds a book open in one hand, a finger between the pages, which Smarthistory reads as interrupted reading. Raphael painted it for the wedding of Lorenzo Nasi in 1506. In 1547 a landslide destroyed the Nasi house and broke the painting into seventeen pieces. The small bird is still whole in John's hands.", "sources": [{"what": "Goldfinch symbolizes the Passion; commission for Lorenzo Nasi's 1506 wedding; pyramidal composition from Leonardo/Michelangelo; museum tombstone facts", "url": "https://www.uffizi.it/en/artworks/mary-christ-and-the-young-john-the-baptist-known-as-the-madonna-of-the-goldfinch"}, {"what": "Legend of goldfinch plucking a thorn from Christ's crown (framed as legend, not fact); bare-foot touch as humanizing detail; book-in-lap as interrupted-reading/Annunciation motif", "url": "https://smarthistory.org/raphael-madonna-of-the-goldfinch-2/"}, {"what": "1547 landslide destroyed the Nasi palazzo and shattered the panel into seventeen fragments (restorer's identity deliberately omitted per do_not_print hedge)", "url": "https://opificiodellepietredure.cultura.gov.it/attivita/raffaello-madonna-del-cardellino-1506-le-gallerie-degli-uffizi-firenze/"}, {"what": "The legend the Gallery records of the goldfinch: the red mark on its face is Christ's blood, splashed there when the bird drew a thorn from his head on the road to Calvary.", "url": "https://www.nationalgallery.org.uk/paintings/glossary/goldfinches", "cite": "The National Gallery, London, collection glossary, 'Goldfinches'."}]}, "scene": {"why": "A DEVOTIONAL TYPE, NOT AN EPISODE. The Virgin enthroned or half-length with her Son is not a moment any evangelist records; it is an image made for prayer. Where a particular picture does illustrate a scene, that work carries its own citation."}, "th": "/store/thumb/raphael_madonna_goldfinch.webp", "more": [{"k": "subject", "n": "The Madonna and Child in painting", "u": "/editions/subject/madonna-and-child/", "ids": ["raphael_small_cowper", "albrecht_durer_the_feast_of_the_rosary", "bellini_madonna_and_child", "gerard_david_virgin_and_child_with_four_angels"]}, {"k": "master", "n": "Raphael", "u": "/editions/master/raphael/", "ids": ["raphael_small_cowper", "raphael_the_canigiani_holy_family", "raphael_alba_madonna", "raphael_sistine_madonna"]}]}, "bellini_madonna_and_child": {"id": "bellini_madonna_and_child", "title": "Madonna and Child", "artist_line": "Workshop of Giovanni Bellini (Italian, active c. 1430–1516)", "artist": "Workshop of Giovanni Bellini", "date": "c. 1510–1515", "museum": "Indianapolis Museum of Art at Newfields", "license": "PD/CC0", "tier": "Hero", "sizes": [{"size": "16×20 in", "paper": 110, "iw": 14.2, "ih": 20, "sw": 16, "sh": 20, "cov": 0.887}, {"size": "18×24 in", "paper": 140, "iw": 17.0, "ih": 24, "sw": 18, "sh": 24, "cov": 0.946}, {"size": "24×36 in", "paper": 190, "iw": 24, "ih": 33.8, "sw": 24, "sh": 36, "cov": 0.939}], "local": "/store/display/bottega_bellini_madonna_CROP.jpg", "commons_file": "Workshop of Bellini, Giovanni - Madonna and Child - Google Art Project.jpg", "zoom": "https://art.monstrance.app/zoom/bottega_bellini_madonna_CROP.jpg", "master_px": 6475, "auth": {"institution": "Indianapolis Museum of Art at Newfields", "accession": "2000.342", "url": "https://collections.discovernewfields.org/art/artwork/41176", "artist_as_printed": "Workshop of Giovanni Bellini (Italian, about 1431-1436–1516)", "date_as_printed": "about 1510-1515", "medium": "egg tempera and oil on poplar panel", "dimensions": "21-1/2 x 16-5/16 in. (54.6 x 41.4 cm)"}, "writeup": {"text": "Our Lady looks down, and the Christ Child looks up past her, one hand at His chin, His weight resting in her two hands. Behind the parapet she wears a red tunic under a blue robe, earthly and celestial in Andrea Golden's catalogue entry for Newfields, and Golden reads a gesture of His right hand, thumb and two fingers extended, as a vestige of the old Byzantine blessing and a reminder that the Child is both human and divine. Newfields catalogues the work to the Workshop of Giovanni Bellini, one of several versions that may descend from a lost Bellini original. Her fingers under His knee hold up heaven.", "sources": [{"what": "Andrea Golden's catalogue entry: the Child's right hand above his knee, thumb and two fingers extended, a vestige of a former Byzantine blessing and a reminder of the dual nature of the Christ Child, human and divine; the Virgin's earthly red tunic and celestial blue robe; the parapet and cloth of honor; the attribution history and the versions in Kansas City and Washington that may all derive from a lost Bellini original.", "url": "https://paintings.theclowescollection.org/entries/c10005/", "cite": "Andrea Golden, 'Madonna and Child', Masterpieces from the Clowes Collection: Paintings (Newfields, 2022), entry c10005, read 2026-09-24"}, {"what": "The museum's collection record: Workshop of Giovanni Bellini, Madonna and Child, about 1510-1515, egg tempera and oil on poplar panel, The Clowes Collection, 2000.342.", "url": "https://collections.discovernewfields.org/art/artwork/41176", "cite": "Newfields (Indianapolis Museum of Art), collection record 2000.342, read 2026-09-24"}]}, "scene": {"why": "A DEVOTIONAL TYPE, NOT AN EPISODE. The Virgin enthroned or half-length with her Son is not a moment any evangelist records; it is an image made for prayer. Where a particular picture does illustrate a scene, that work carries its own citation."}, "th": "/store/thumb/bottega_bellini_madonna_CROP.webp", "more": [{"k": "subject", "n": "The Madonna and Child in painting", "u": "/editions/subject/madonna-and-child/", "ids": ["gerard_david_virgin_and_child_with_four_angels", "raphael_alba_madonna", "raphael_sistine_madonna", "grunewald_stuppach_madonna_stuppacher_madonna"]}]}, "murillo_virgin_rosary": {"id": "murillo_virgin_rosary", "title": "The Virgin of the Rosary", "artist_line": "Bartolomé Esteban Murillo (Spanish, 1617–1682)", "artist": "Bartolomé Esteban Murillo", "date": "c. 1675–1680", "museum": "Dulwich Picture Gallery, London", "license": "PD/CC0", "tier": "Hero", "sizes": [{"size": "16×20 in", "paper": 110, "iw": 12.6, "ih": 20, "sw": 16, "sh": 20, "cov": 0.789}, {"size": "18×24 in", "paper": 140, "iw": 15.2, "ih": 24, "sw": 18, "sh": 24, "cov": 0.842}], "local": "/store/display/murillo_virgin_rosary.jpg", "commons_file": "Murillo, Bartolomé Estéban - The Madonna of the Rosary - Google Art Project.jpg", "zoom": "https://art.monstrance.app/zoom/murillo_virgin_rosary.jpg", "master_px": 6056, "auth": {"institution": "Dulwich Picture Gallery, London", "accession": "DPG281", "url": "https://www.dulwichpicturegallery.org.uk/explore/explore-the-collection/the-virgin-of-the-rosary/", "artist_as_printed": "Bartolomé Esteban Murillo", "date_as_printed": "c.1675-80", "medium": "Oil on canvas", "dimensions": "200.8 x 128.2 cm"}, "writeup": {"text": "A string of dark beads runs from Our Lady's hand into the fist of the Christ Child, and neither of them is counting. The Child toys with them, in Dulwich's word, so the rosary is in play, not in use; of its own version the Prado says neither figure fingers the beads as one reciting the Hail Mary would. Dulwich says Murillo painted it towards the end of his career and gave mother and child a remarkable humanity. She is borne up on cloud, small angels beneath her, and we see her from below; Dermot Morrin reads the low viewpoint as placing us on our knees in prayer. Dulwich thinks it was made for a Dominican church, the drapery glazed in ultramarine, a pigment so costly it was rarely used in Spain. The counting is left to whoever kneels.", "sources": [{"what": "Curatorial reading of rosary beads, cherubs on clouds, low viewpoint, ultramarine cost, and vaporous late style as deliberate technique", "url": "https://www.dulwichpicturegallery.org.uk/explore/explore-the-collection/the-virgin-of-the-rosary/", "cite": "Dulwich Picture Gallery object page, 'The Virgin of the Rosary'"}, {"what": "Iconographic reading of low viewpoint positioning the viewer as kneeling in prayer before the vision", "url": "https://scotland.op.org/murillos-virgin-of-the-rosary-at-dulwich/", "cite": "Dermot Morrin, 'Murillo's Virgin of the Rosary at Dulwich,' scotland.op.org, 14 May 2021"}, {"what": "Dulwich's own catalogue text for DPG281: painted towards the end of his career, the mother and child given a remarkable humanity — the late manner and the reading of the pair our opening rests on.", "url": "https://artsandculture.google.com/asset/the-madonna-of-the-rosary/KQGsx_AcyBWmbQ", "cite": "Dulwich Picture Gallery collection record, 'The Madonna of the Rosary', Bartolome Esteban Murillo, c.1670-80, DPG281, published via Google Arts \u0026 Culture"}, {"what": "Dulwich's fuller description of DPG281, and the source for 'The Child toys with the rosary beads his mother holds': the Madonna borne up by clouds, and the rosary grasped by the Infant Jesus.", "url": "https://prints.dulwichpicturegallery.org.uk/products/pod443392", "cite": "Dulwich Picture Gallery, catalogue description for 'The Madonna of the Rosary', Bartolome Esteban Murillo, 1670-80, DPG281 (Dulwich Picture Gallery Prints)"}, {"what": "Defines the term our last sentence uses: at maturity Murillo's technique came to be described as 'vaporous', his forms blurred and priority given to light.", "url": "https://www.museodelprado.es/en/the-collection/artist/bartolome-esteban-murillo/314440b0-386b-4b11-81f1-d84809e7704e", "cite": "Museo Nacional del Prado, artist entry, 'Bartolome Esteban Murillo' (The Collection)"}, {"what": "Supports 'perhaps meant to be prayed while looking at it' for the Virgin-of-the-Rosary type: a devotional painting created to serve as a visual aid to a viewer engaged in praying the rosary. This is the Prado's own picture P000975, cited for the type, not for DPG281.", "url": "https://www.museodelprado.es/en/the-collection/art-work/the-virgin-of-the-rosary/eb5f85ec-f95d-4709-ab09-693206bfb3f5", "cite": "Museo Nacional del Prado, catalogue entry, Bartolome Esteban Murillo, 'The Virgin of the Rosary', c. 1650-1655, oil on canvas, P000975"}, {"what": "Dulwich stating outright that the patron is unknown while proposing a Dominican church or monastic chapel. Carries the repaired commission clause and the landing...either in Murillo's Spanish hometown of Seville or nearby Cadiz\", and the alternative \"or a monastic chapel\" is why the card may say \"made for\" and may not say \"commissioned\".", "url": "https://www.dulwichpicturegallery.org.uk/explore/explore-the-collection/the-virgin-of-the-rosary/", "cite": "Dulwich Picture Gallery object page, 'The Virgin of the Rosary', DPG281"}, {"what": "The Dominican reading of the low viewpoint, carrying the kneeling-viewer clause.\" sits between them, and the quote should be recorded with an ellipsis.", "url": "https://scotland.op.org/murillos-virgin-of-the-rosary-at-dulwich/", "cite": "Dermot Morrin OP, 'Murillo's Virgin of the Rosary at Dulwich', scotland.op.org, 14 May 2021"}]}, "scene": {"why": "A DEVOTIONAL TYPE, NOT AN EPISODE. The Virgin enthroned or half-length with her Son is not a moment any evangelist records; it is an image made for prayer. Where a particular picture does illustrate a scene, that work carries its own citation."}, "th": "/store/thumb/murillo_virgin_rosary.webp", "more": [{"k": "subject", "n": "The Madonna and Child in painting", "u": "/editions/subject/madonna-and-child/", "ids": ["divina_pastora_prado", "domingo_martinez_the_virgin_of_the_rosary", "tiepolo_madonna_of_the_goldfinch", "bouguereau_song_of_the_angels"]}, {"k": "master", "n": "Bartolomé Esteban Murillo", "u": "/editions/master/bartolome-esteban-murillo/", "ids": ["murillo_immaculate_cleveland", "murillo_holy_family_bird", "murillo_good_shepherd", "murillo_immaculate_venerables"]}]}, "leonardo_virgin_of_rocks": {"id": "leonardo_virgin_of_rocks", "title": "The Virgin of the Rocks", "artist_line": "Leonardo da Vinci (Italian, 1452–1519)", "artist": "Leonardo da Vinci", "date": "1483–86", "museum": "Musée du Louvre, Paris", "license": "PD/CC0", "tier": "Hero", "sizes": [{"size": "11×14 in", "paper": 59, "iw": 8.8, "ih": 14, "sw": 11, "sh": 14, "cov": 0.803}, {"size": "16×20 in", "paper": 110, "iw": 12.6, "ih": 20, "sw": 16, "sh": 20, "cov": 0.788}, {"size": "18×24 in", "paper": 140, "iw": 15.1, "ih": 24, "sw": 18, "sh": 24, "cov": 0.841}], "local": "/store/display/leonardo_virgin_of_rocks.jpg", "commons_file": "Leonardo Da Vinci - Vergine delle Rocce (Louvre).jpg", "zoom": "https://art.monstrance.app/zoom/leonardo_virgin_of_rocks.jpg", "master_px": 5487, "auth": {"institution": "Musée du Louvre, Paris", "accession": "INV 777; MR 320", "url": "https://collections.louvre.fr/en/ark:/53355/cl010062373", "artist_as_printed": "Léonard de Vinci (Leonardo di ser Piero da Vinci, dit Leonardo da Vinci)", "date_as_printed": "4e quart du XVe siècle (vers 1483 - 1494)", "medium": "huile sur toile (transposition (de bois sur toile))", "dimensions": "Hauteur : 1,995 m ; Largeur : 1,22 m"}, "writeup": {"text": "In a grotto opening onto mountains and a river, Our Lady kneels with her arm around the young Saint John the Baptist and her other hand held out over her Son. The Christ Child, steadied by an angel, raises His hand to bless John, who kneels to Him with his hands joined. The Louvre records the contract Leonardo signed on 25 April 1483 for the chapel of the Confraternity of the Immaculate Conception at San Francesco Grande in Milan, and finds by infrared that he changed the angel's pose late in the work. The blessing meant for John reaches us.", "sources": [{"what": "La Vierge aux rochers, Leonardo, c. 1483-1494, oil transferred from panel to canvas in 1806, 199.5 x 122 cm, INV 777 (MR 320); the Virgin, the Child supported by an angel blessing the young Saint John, the grotto opening onto mountains and a river; the contract of 25 April 1483 with Ambrogio and Evangelista de Predis for the chapel of the Confraternity of the Immaculate Conception at San Francesco Grande, Milan; infrared shows the angel's pose changed late.", "url": "https://collections.louvre.fr/en/ark:/53355/cl010062373", "cite": "Musée du Louvre, Collections, 'La Vierge aux rochers', INV 777, read 2026-10-12."}]}, "scene": {"why": "A DEVOTIONAL TYPE, NOT AN EPISODE. The Virgin enthroned or half-length with her Son is not a moment any evangelist records; it is an image made for prayer. Where a particular picture does illustrate a scene, that work carries its own citation."}, "th": "/store/thumb/leonardo_virgin_of_rocks.webp", "more": [{"k": "subject", "n": "The Madonna and Child in painting", "u": "/editions/subject/madonna-and-child/", "ids": ["memling_the_virgin_and_child_between_saint_jam", "michelangelo_manchester_madonna", "quinten_massys_the_virgin_and_child_enthroned", "mantegna_the_madonna_della_vittoria"]}, {"k": "master", "n": "Leonardo da Vinci", "u": "/editions/master/leonardo-da-vinci/", "ids": ["leonardo_last_supper", "leonardo_virgin_child_anne", "leonardo_st_john_baptist", "leonardo_annunciation"]}]}, "bouguereau_regina_angelorum": {"id": "bouguereau_regina_angelorum", "title": "Regina Angelorum", "artist_line": "William-Adolphe Bouguereau (French, 1825–1905)", "artist": "William-Adolphe Bouguereau", "date": "1900", "museum": "Petit Palais, musée des Beaux-arts de la Ville de Paris", "license": "PD/CC0", "tier": "Mid", "sizes": [{"size": "11×14 in", "paper": 59, "iw": 9.2, "ih": 14, "sw": 11, "sh": 14, "cov": 0.832}, {"size": "16×20 in", "paper": 110, "iw": 13.1, "ih": 20, "sw": 16, "sh": 20, "cov": 0.817}, {"size": "18×24 in", "paper": 140, "iw": 15.7, "ih": 24, "sw": 18, "sh": 24, "cov": 0.872}], "local": "/store/display/bouguereau_regina_angelorum.jpg", "commons_file": "La Vierge aux anges-William Bouguereau.jpg", "zoom": "https://art.monstrance.app/zoom/bouguereau_regina_angelorum.jpg", "master_px": 5127, "auth": {"institution": "Petit Palais, musée des Beaux-arts de la Ville de Paris", "accession": "PPP3766", "url": "https://www.parismuseescollections.paris.fr/fr/petit-palais/oeuvres/la-vierge-aux-anges", "artist_as_printed": "William Bouguereau (La Rochelle, 1825-1905)", "date_as_printed": "1900", "medium": "Peinture à l’huile (sur toile)", "dimensions": "Hauteur : 280 cm ; Largeur : 184 cm"}, "writeup": {"text": "Twelve stars over Our Lady's veil, and the Christ Child she holds throws both arms wide to bless. Regina Angelorum, Queen of the Angels. Round the throne angels join their hands or lay them at the breast; two at the front swing censers, as in the Apocalypse incense goes up with the prayers of the saints. The Petit Palais describes a Byzantine throne of coloured stone after the mosaics of Ravenna, and ties the work back to Cimabue and Duccio. Kara Lysandra Ross counts twenty-one angels, all the same model; William-Adolphe Bouguereau usually took hands, eyes and hair from different sitters. Here one face rings the throne.", "sources": [{"what": "Halo of stars = Regina Angelorum/Queen of Heaven; Child's raised-arm blessing gesture; Byzantine throne inlaid with stone quoting sixth-century Ravenna mosaics", "url": "https://www.parismuseescollections.paris.fr/fr/petit-palais/oeuvres/la-vierge-aux-anges"}, {"what": "Museum's own text: composition 'renoue avec' (reconnects with) the 13th-century Virgin-in-Majesty iconography of Cimabue and Duccio", "url": "https://www.parismuseescollections.paris.fr/fr/petit-palais/oeuvres/la-vierge-aux-anges"}, {"what": "Kneeling censer-bearing angels read as incense/prayer rising toward the Virgin and Child, standard liturgical symbolism", "cite": "Artchive and Master Apollon, corroborating readings of the censer angels"}, {"what": "All twenty-one angels in the painting are the same model, painted repeatedly", "url": "https://www.artrenewal.org/Article/Title/william-bouguereau-and-his-religious-works"}, {"what": "The angel with the censer offering the incense and the prayers of the saints before the throne of God — the office the two kneeling angels are performing.", "cite": "Apocalypse 8:3-4, Douay-Rheims."}, {"what": "Named scholar on Bouguereau's ordinary working method: hands from one model, eyes from another, hair from a third, combined into a single idealised figure — the method this picture runs backwards; and the count of twenty-one angels.", "url": "https://www.artrenewal.org/Article/Title/william-bouguereau-and-his-religious-works", "cite": "Kara Lysandra Ross, 'William Bouguereau and his Religious Works', Art Renewal Center."}, {"what": "The owning museum's record: the angels' attitudes, the two kneeling censer-bearers, the Byzantine throne in coloured stone after the mosaics of Ravenna, and the picture's descent from Cimabue and Duccio.", "url": "https://www.parismuseescollections.paris.fr/fr/petit-palais/oeuvres/la-vierge-aux-anges", "cite": "Petit Palais, musée des Beaux-Arts de la Ville de Paris, 'La Vierge aux anges' (Regina Angelorum), PPP3766."}]}, "scene": {"why": "A DEVOTIONAL TYPE, NOT AN EPISODE. The Virgin enthroned or half-length with her Son is not a moment any evangelist records; it is an image made for prayer. Where a particular picture does illustrate a scene, that work carries its own citation."}, "th": "/store/thumb/bouguereau_regina_angelorum.webp", "more": [{"k": "subject", "n": "The Madonna and Child in painting", "u": "/editions/subject/madonna-and-child/", "ids": ["leonardo_madonna_litta", "pittoni_saints_presenting_a_devout_woman_to_the_virgin_a", "signorelli_madonna_and_child_with_saints_and_angels", "unknown_andean_painter_virgin_of_the_rosary_of_pomata"]}, {"k": "master", "n": "William-Adolphe Bouguereau", "u": "/editions/master/william-adolphe-bouguereau/", "ids": ["bouguereau_pieta", "bouguereau_song_of_the_angels", "bouguereau_holy_women_tomb"]}]}, "bouguereau_song_of_the_angels": {"id": "bouguereau_song_of_the_angels", "title": "Song of the Angels", "artist_line": "William-Adolphe Bouguereau (French, 1825–1905)", "artist": "William-Adolphe Bouguereau", "date": "1881", "museum": "Forest Lawn Museum, Glendale", "license": "PD/CC0", "tier": "Mid", "sizes": [{"size": "11×14 in", "paper": 59, "iw": 9.6, "ih": 14, "sw": 11, "sh": 14, "cov": 0.871}, {"size": "16×20 in", "paper": 110, "iw": 13.7, "ih": 20, "sw": 16, "sh": 20, "cov": 0.855}, {"size": "18×24 in", "paper": 140, "iw": 16.4, "ih": 24, "sw": 18, "sh": 24, "cov": 0.912}], "local": "/store/display/bouguereau_song_of_the_angels.jpg", "commons_file": "William-Adolphe Bouguereau (1825-1905) - Song of the Angels (1881).jpg", "zoom": "https://art.monstrance.app/zoom/bouguereau_song_of_the_angels.jpg", "master_px": 5126, "auth": {"institution": "Forest Lawn Museum, Glendale, California", "url": "https://museum.forestlawn.com/pages/museum-collection-highlights", "artist_as_printed": "William-Adolphe Bouguereau", "date_as_printed": "1881", "accession_absent": "not_published", "accession_absent_why": "Forest Lawn publishes no accession numbers at all"}, "writeup": {"text": "Our Lady sleeps on a stone bench, and the Christ Child sleeps in her lap, His feet bare. Three angels bend close, and one bows a violin. A lullaby is made to disturb nothing. Kara Lysandra Ross reads the three as the Father, the Son and the Holy Ghost, and the sleep as peace unaware of the suffering to follow. When the Getty X-rayed the canvas it found almost no corrections: Bouguereau only shifted a few pegs on the violin of the angel at the centre. After the Salon of 1881 it went to an American collector, and in 1940 to Glendale. The only change he made was a tuning.", "sources": [{"what": "X-rays 'reveal almost no changes or corrections; the artist only shifted the position of a few pegs on the violin played by the angel at the centre'; varnish removal uncovered Mary's blue cloak and the angels' wings.", "url": "https://www.getty.edu/museum/conservation/partnerships/bouguereau/", "cite": "J. Paul Getty Museum, conservation partnership: Bouguereau's Virgin of the Angels; treatment by Mark Leonard"}, {"what": "'The cleaning also revealed how precisely the smaller replica mirrors the larger original—even down to the number of brushstrokes'; the 'crisp whites of the angels' wings and robes'.", "url": "https://www.getty.edu/visit/events/bouguereau.html", "cite": "J. Paul Getty Museum, 'Adolphe-William Bouguereau: An Introduction', through 15 June 2006"}, {"what": "Owning institution: the painting 'debuted at the 1881 Paris Salon and was soon purchased by an American collector'; it 'came to Glendale in 1940'; the seated mother and the infant in her arms.", "url": "https://museum.forestlawn.com/collections/the-song-of-angels", "cite": "Forest Lawn Museum, 'The Song of Angels'"}, {"what": "Authority page for the work: same 1881 Salon debut, American purchaser, and 1940 arrival in Glendale. Publishes no accession number, medium or dimensions.", "url": "https://museum.forestlawn.com/pages/museum-collection-highlights", "cite": "Forest Lawn Museum, Collection Highlights"}, {"what": "'Mary and baby Jesus sleep, surrounded by nature, as three angels play them a lullaby'; the three angels 'are representative of the father, the son and the holy ghost'; they sleep unaware of the suffering to follow.", "url": "https://www.artrenewal.org/Article/Title/william-bouguereau-and-his-religious-works", "cite": "Kara Lysandra Ross, 'William Bouguereau and his Religious Works', Art Renewal Center"}, {"what": "X-ray finding: almost no changes or corrections, the only one being repositioned violin pegs on the centre angel's instrument. Also confirms the treated picture is the Forest Lawn one. Carries 'The only correction in the picture is a tuning', 'Getty X-rays revealed almost no changes' and 'a few pegs shifted on the violin played by the centre angel, nothing else'.", "url": "https://www.getty.edu/museum/conservation/partnerships/bouguereau/", "cite": "J. Paul Getty Museum, conservation partnership: Bouguereau's Virgin of the Angels"}, {"what": "Death of the son Georges in 1875. Carries 'Bouguereau had buried his son Georges in 1875'.", "url": "https://www.artrenewal.org/Article/Title/biography-of-william-bouguereau", "cite": "Damien Bartoli with Fred Ross, 'Biography of William Bouguereau', Art Renewal Center"}]}, "scene": {"why": "A DEVOTIONAL TYPE, NOT AN EPISODE. The Virgin enthroned or half-length with her Son is not a moment any evangelist records; it is an image made for prayer. Where a particular picture does illustrate a scene, that work carries its own citation."}, "th": "/store/thumb/bouguereau_song_of_the_angels.webp", "more": [{"k": "subject", "n": "The Madonna and Child in painting", "u": "/editions/subject/madonna-and-child/", "ids": ["bouguereau_regina_angelorum", "leonardo_madonna_litta", "pittoni_saints_presenting_a_devout_woman_to_the_virgin_a", "signorelli_madonna_and_child_with_saints_and_angels"]}, {"k": "master", "n": "William-Adolphe Bouguereau", "u": "/editions/master/william-adolphe-bouguereau/", "ids": ["bouguereau_holy_women_tomb", "bouguereau_regina_angelorum", "bouguereau_pieta"]}]}, "rubens_madonna_in_a_garland_of_flowers": {"id": "rubens_madonna_in_a_garland_of_flowers", "title": "Madonna in a Garland of Flowers", "artist_line": "Peter Paul Rubens (Flemish, 1577–1640) and Jan Brueghel the Elder (Flemish, 1568–1625)", "artist": "Peter Paul Rubens and Jan Brueghel the Elder", "date": "c. 1616–1618", "museum": "Alte Pinakothek, Munich", "license": "PD/CC0", "tier": "Mid", "sizes": [{"size": "11×14 in", "paper": 59, "iw": 12.8, "ih": 11, "sw": 14, "sh": 11, "cov": 0.911}, {"size": "16×20 in", "paper": 110, "iw": 18.6, "ih": 16, "sw": 20, "sh": 16, "cov": 0.928}, {"size": "18×24 in", "paper": 140, "iw": 20.9, "ih": 18, "sw": 24, "sh": 18, "cov": 0.87}], "local": "/store/display/madonna_in_a_garland_of_flowers_peter_paul_ruben__b9b39c9eb41f.jpg", "commons_file": "Madonna in a Garland of Flowers - Peter Paul Rubens (Unframed).jpg", "zoom": "https://art.monstrance.app/zoom/madonna_in_a_garland_of_flowers_peter_paul_ruben__b9b39c9eb41f.jpg", "master_px": 5043, "auth": {"institution": "Bayerische Staatsgemäldesammlungen — Alte Pinakothek, München", "accession": "331", "url": "https://www.sammlung.pinakothek.de/en/artwork/QrLW9oV4NO", "artist_as_printed": "Peter Paul Rubens mit Jan Brueghel d. Ä. (1577-1640)", "date_as_printed": "um 1616/1618", "medium": "Eichenholz", "dimensions": "185 x 209,8 cm"}, "writeup": {"text": "Our Lady holds the Christ Child upright in a dark niche, and putti hang a garland of flowers around them both. Jan Brueghel the Elder painted the flowers, Rubens the Madonna and putti, as the Alte Pinakothek confirms; the black frame within the frame recalls the custom of garlanding the Virgin's images as a sign of reverence. The museum reads the white lily as purity and the Immaculate Conception. The Museumspädagogisches Zentrum notes that the flowers keep no single season: snowdrops, earliest in the year, stand beside the hollyhocks of summer, and the insects are painted at their real size. Technical study found reserves in the four corners, one for each putto; Rubens widened the oak with two outer planks about twenty-five centimetres wide, and the four became eleven. Heaven needed more wood.", "sources": [{"what": "Picture-within-picture format (black frame, cord) references the custom of garlanding images of the Virgin as a sign of reverence; also confirms Rubens painted Madonna/putti, Brueghel the garland", "url": "https://www.sammlung.pinakothek.de/en/artwork/QrLW9oV4NO"}, {"what": "White lily beside Mary's head glossed as standing for purity and the Immaculate Conception", "url": "https://www.sammlung.pinakothek.de/en/artwork/QrLW9oV4NO"}, {"what": "Garland mixes flowers from different seasons blooming simultaneously (idealized paradisal garden); Brueghel painted true-to-life-scale insects", "url": "https://www.mpz-digital.de/tulpen-lilien/", "cite": "MPZ Digital (Museumspädagogisches Zentrum Bayern), 'Von Tulpen, Lilien und Grashüpfern'"}, {"what": "Infrared/X-ray study: Rubens began with a smaller 4-putti design, later expanded and panel widened to fit eleven putti", "url": "https://www.tagesspiegel.de/kultur/coworking-der-alten-meister-rubens-und-brueghel-setzten-bei-der-madonna-im-blumenkranz-auf-teamarbeit-12030347.html", "cite": "Der Tagesspiegel, 'Coworking der Alten Meister'"}, {"what": "The museum on the technical examination: reserves left in the four corners of the panel, one for each putto, later raised to eleven; and the nearly square oak panel enlarged by Rubens mid-painting with two outer planks about twenty-five centimetres wide, after which Brueghel took over the garland.", "url": "https://www.pinakothek.de/en/rubens-brueghel-and-the-madonna-in-a-garland-of-flowers", "cite": "Bayerische Staatsgemäldesammlungen, Alte Pinakothek, 'Rubens, Brueghel and the Madonna in a Garland of Flowers'."}, {"what": "The flowers do not share a season — snowdrops, earliest in the year, stand directly beside the hollyhocks of summer — and the insects are painted at their real size.", "url": "https://www.mpz-digital.de/tulpen-lilien/", "cite": "MPZ Digital (Museumspädagogisches Zentrum Bayern), 'Von Tulpen, Lilien und Grashüpfern'."}]}, "scene": {"why": "A DEVOTIONAL TYPE, NOT AN EPISODE. The Virgin enthroned or half-length with her Son is not a moment any evangelist records; it is an image made for prayer. Where a particular picture does illustrate a scene, that work carries its own citation."}, "th": "/store/thumb/madonna_in_a_garland_of_flowers_peter_paul_ruben__b9b39c9eb41f.webp", "more": [{"k": "subject", "n": "The Madonna and Child in painting", "u": "/editions/subject/madonna-and-child/", "ids": ["rubens_the_virgin_and_child_surrounded_by_ang", "alonso_cano_san_bernardo_y_la_virgen_the_vision_of_s", "juan_correa_our_lady_of_balvanera", "murillo_virgin_rosary"]}]}, "leonardo_benois_madonna": {"id": "leonardo_benois_madonna", "title": "The Benois Madonna", "artist_line": "Leonardo da Vinci (Italian, 1452–1519)", "artist": "Leonardo da Vinci", "date": "c. 1478–80", "museum": "The State Hermitage Museum, St Petersburg", "license": "PD/CC0", "tier": "Mid", "sizes": [{"size": "8×10 in", "paper": 39, "iw": 6.3, "ih": 10, "sw": 8, "sh": 10, "cov": 0.783}, {"size": "11×14 in", "paper": 59, "iw": 8.8, "ih": 14, "sw": 11, "sh": 14, "cov": 0.797}], "local": "/store/display/leonardo_benois_madonna.jpg", "commons_file": "Leonardo Da Vinci - Madonna Benois.jpg", "zoom": "https://art.monstrance.app/zoom/leonardo_benois_madonna.jpg", "master_px": 3509, "auth": {"institution": "The State Hermitage Museum, St Petersburg", "accession": "GE-2773", "url": "https://www.hermitagemuseum.org/wps/portal/hermitage/digital-collection/01.+paintings/38167", "artist_as_printed": "Leonardo da Vinci", "medium": "oil on panel, transferred to canvas", "dimensions": "49.5 × 33 cm"}, "writeup": {"text": "The room is dark and the window behind them is empty light. Mary holds out one small flower, its petals set like a cross, and the Child takes it in both hands and studies it with the whole weight of His attention. The Louvre, which borrowed the picture in 2019, reads the flower as the Passion handed forward and her smile as her knowing it. Leonardo began it in 1478, in his twenties, and the Hermitage has kept it since 1914, when the Benois family sold it. What she gives Him here, He will give back to us.", "sources": [{"what": "Title 'Virgin and Child, known as the Benois Madonna', about 1480-82 per the Louvre (the Hermitage dates it c. 1478-80), oil on panel transferred to canvas, Hermitage GE 2773; 'the flower Mary hands to Jesus foreshadows the Passion', the Child takes it solemnly, Mary smiles; one of two projects Leonardo began in late 1478", "url": "https://mini-site.louvre.fr/trimestriel/2019/l%C3%A9onard_de_vinciGB/31/"}, {"what": "Provenance: Korsakov (1790s), Sapozhnikov, the Benois family by marriage, bought by the Imperial Hermitage in 1914; the Child grasps the cruciform sprig of flowers; alternative title Madonna and Child with Flowers (citing Palmer 2019 and Feinberg 2011)", "url": "https://en.wikipedia.org/wiki/Benois_Madonna"}]}, "scene": {"why": "A DEVOTIONAL TYPE, NOT AN EPISODE. The Virgin enthroned or half-length with her Son is not a moment any evangelist records; it is an image made for prayer. Where a particular picture does illustrate a scene, that work carries its own citation."}, "th": "/store/thumb/leonardo_benois_madonna.webp", "more": [{"k": "subject", "n": "The Madonna and Child in painting", "u": "/editions/subject/madonna-and-child/", "ids": ["hans_memling_madonna_and_child_with_angels", "botticelli_madonna_book", "crivelli_madonna_and_child", "leonardo_virgin_of_rocks"]}, {"k": "master", "n": "Leonardo da Vinci", "u": "/editions/master/leonardo-da-vinci/", "ids": ["leonardo_virgin_of_rocks", "leonardo_last_supper", "leonardo_virgin_child_anne", "leonardo_st_john_baptist"]}]}, "duccio_maesta": {"id": "duccio_maesta", "title": "The Rucellai Madonna", "artist_line": "Duccio di Buoninsegna (Italian, documented 1278–1311)", "artist": "Duccio", "date": "about 1285", "museum": "Gallerie degli Uffizi, Florence", "license": "PD-Art (Google Art Project, Uffizi)", "tier": "Mid", "sizes": [{"size": "11×14 in", "paper": 59, "iw": 8.6, "ih": 14, "sw": 11, "sh": 14, "cov": 0.781}], "local": "/store/display/duccio_maesta.jpg", "commons_file": "Duccio - Maestà - Google Art Project.jpg", "zoom": "https://art.monstrance.app/zoom/duccio_maesta.jpg", "master_px": 4236, "auth": {"institution": "Gallerie degli Uffizi, Florence", "url": "https://www.uffizi.it/en/artworks/virgin-and-child-enthroned-surrounded-by-angels-known-as-the-rucellai-madonna", "artist_as_printed": "Duccio di Buoninsegna (Siena, documentato dal 1278 al 1311)", "date_as_printed": "1285 ca.", "medium": "Tempera on wood, gold background", "dimensions": "450 x 290 cm", "accession_absent": "not_published", "accession_absent_why": "the Uffizi page prints no inventory number"}, "writeup": {"text": "Six angels kneel in the gold, three on each side, and between them they hold up a carved wooden throne; the Uffizi says they seem to be suspended in the void. On it Our Lady sits in a dark mantle edged with a gold thread that winds down to her feet, a star on her veil and another at her shoulder. The Christ Child sits on her knee in white, a rich red cloth woven with gold around His hips, and lifts His right hand toward her; the museum reads the gesture as a blessing. The Florentine confraternity of the Compagnia dei Laudesi commissioned the Maestà from the Sienese painter Duccio di Buoninsegna in 1285; its members met in the church of Santa Maria Novella “to sing the praises of the Virgin.” The name Rucellai, the Uffizi says, comes from the chapel of the Rucellai family in that church, where the Maestà hung at the end of the sixteenth century. The confraternity came to sing and the angels kneel to bear her up, and Mother and Son look past them both, at us.", "sources": [{"what": "Title as printed, Duccio di Buoninsegna, 1285 ca., tempera on wood, gold background, 450 x 290 cm; commissioned in 1285 by the Florentine confraternity Compagnia dei Laudesi, 'a community that met in the church of Santa Maria Novella in Florence to sing the praises of the Virgin'; 'six kneeling angels who seem to be suspended in the void'; 'a richly carved wooden throne'; the Child 'with a rich red cloth, woven with gold, around his hips'; held in deposit for the Church of Santa Maria Novella.", "url": "https://www.uffizi.it/en/artworks/virgin-and-child-enthroned-surrounded-by-angels-known-as-the-rucellai-madonna", "cite": "Gallerie degli Uffizi, 'Virgin and Child enthroned, surrounded by angels (known as the Rucellai Madonna)', read 2026-10-10."}, {"what": "Original title Maestà; 1285–1286; commissioned 15 April 1285 by the rectors of the Company of the Virgin; later moved within Santa Maria Novella to the Rucellai family chapel; removed 1937, at the Uffizi from 1948.", "url": "https://artsandculture.google.com/asset/LgFyCpDuHQ6z1g", "cite": "Google Arts \u0026 Culture, 'The Rucellai Madonna', Duccio, Uffizi Gallery, read 2026-10-10."}]}, "scene": {"why": "A DEVOTIONAL TYPE, NOT AN EPISODE. The Virgin enthroned or half-length with her Son is not a moment any evangelist records; it is an image made for prayer. Where a particular picture does illustrate a scene, that work carries its own citation."}, "th": "/store/thumb/duccio_maesta.webp", "more": [{"k": "subject", "n": "The Madonna and Child in painting", "u": "/editions/subject/madonna-and-child/", "ids": ["baronzio_madonna_and_child_with_five_angels", "bohemian_master_the_glatz_madonna", "angelico_madonna_twelve_angels_staedel", "gentile_da_fabriano_madonna_and_child_enthroned"]}, {"k": "master", "n": "Duccio", "u": "/editions/master/duccio/", "ids": ["duccio_calling_apostles"]}]}, "michelangelo_manchester_madonna": {"id": "michelangelo_manchester_madonna", "title": "The Manchester Madonna", "artist_line": "Michelangelo (Italian, 1475–1564)", "artist": "Michelangelo", "date": "c. 1494", "museum": "The National Gallery, London", "license": "PD/CC0", "tier": "Entry", "sizes": [{"size": "8×10 in", "paper": 39, "iw": 7.5, "ih": 10, "sw": 8, "sh": 10, "cov": 0.942}], "local": "/store/display/michelangelo_manchester_madonna.jpg", "commons_file": "MICHELANGELO - Manchester Madonna.JPG", "zoom": "https://art.monstrance.app/zoom/michelangelo_manchester_madonna.jpg", "master_px": 2831, "auth": {"institution": "The National Gallery, London", "accession": "NG809", "url": "https://www.nationalgallery.org.uk/paintings/michelangelo-the-manchester-madonna", "artist_as_printed": "Michelangelo", "date_as_printed": "About 1494", "medium": "Egg tempera on wood", "dimensions": "104.5 × 77 cm"}, "writeup": {"text": "The book is the one thing Our Lady will not give Him. She holds it open and away, and the Christ Child reaches across her lap to take it. The National Gallery suggests it lies open at Isaiah's prophecy of the suffering servant, which foretells the Crucifixion, and that she seems not to want Him to learn His destiny. Beside Him the young Baptist, in his skins, steadies Him with a hand. Michelangelo painted it about 1494 and left it unfinished: the Gallery notes that her cloak keeps its black modelling, never given its coats of blue, and that the angels at the left got no further than the greenish underpaint that flesh was to be painted over. On the right two angels bend over a scroll. The only colour those two at the left ever had was the colour meant to vanish.", "sources": [{"what": "Bare breast signals recent nursing; book withheld from child, read as Isaiah's suffering servant foretelling the Passion (hedged: 'may be', 'seems to')", "url": "https://www.nationalgallery.org.uk/paintings/michelangelo-the-manchester-madonna"}, {"what": "Angels' scroll conventionally reads 'Ecce Agnus Dei' (Behold the Lamb of God), hedged as probable not legible", "url": "https://www.nationalgallery.org.uk/paintings/michelangelo-the-manchester-madonna"}, {"what": "John the Baptist looks out of the painting toward the viewer, read as prefiguring his role preparing the way for Christ", "url": "https://www.nationalgallery.org.uk/paintings/michelangelo-the-manchester-madonna"}, {"what": "No documented patron or commission for the panel; Gallery dates it 'about 1494'", "url": "https://www.nationalgallery.org.uk/paintings/michelangelo-the-manchester-madonna"}, {"what": "Virgin's cloak left in black underpaint, never glazed with intended ultramarine, as physical evidence of the panel's abandonment", "url": "https://www.nationalgallery.org.uk/paintings/michelangelo-the-manchester-madonna"}, {"what": "Proposes abandonment tied to Michelangelo's 1494 flight from Florence; cross-check on unfinished passages", "url": "https://www.academia.edu/43253969/Michelangelos_Manchester_Madonna_and_its_Influence_on_Granacci_and_Raphael", "cite": "James Hall, 'Michelangelo's Manchester Madonna and its Influence on Granacci and Raphael', The Burlington Magazine, Vol. 162, June 2020"}, {"what": "The Gallery's record for this panel: the book, suggested to lie open at Isaiah 53, held away from a child reaching to grasp it; Christ's foot balanced on a fold of the cloak with the Baptist steadying him; the cloak's black modelling never given its coats of blue; and the unfinished angels at the left carrying only the greenish underpaint that flesh was to be painted over — the only colour they ever received.", "url": "https://www.nationalgallery.org.uk/paintings/michelangelo-the-manchester-madonna", "cite": "The National Gallery, London, Michelangelo, 'The Virgin and Child with Saint John and Angels' (\"The Manchester Madonna\"), NG809."}]}, "scene": {"why": "A DEVOTIONAL TYPE, NOT AN EPISODE. The Virgin enthroned or half-length with her Son is not a moment any evangelist records; it is an image made for prayer. Where a particular picture does illustrate a scene, that work carries its own citation."}, "th": "/store/thumb/michelangelo_manchester_madonna.webp", "more": [{"k": "subject", "n": "The Madonna and Child in painting", "u": "/editions/subject/madonna-and-child/", "ids": ["quinten_massys_the_virgin_and_child_enthroned", "mantegna_the_madonna_della_vittoria", "mantegna_madonna_in_glory_with_saints_trivulzio", "bellini_madonna_meadow"]}, {"k": "master", "n": "Michelangelo", "u": "/editions/master/michelangelo/", "ids": ["michelangelo_last_judgment"]}]}, "piero_nativity": {"id": "piero_nativity", "title": "The Nativity", "artist_line": "Piero della Francesca (Italian, c. 1415–1492)", "artist": "Piero della Francesca", "date": "early 1480s", "museum": "The National Gallery, London", "license": "PD/CC0", "tier": "Hero", "sizes": [{"size": "8×10 in", "paper": 39, "iw": 8, "ih": 8.2, "sw": 8, "sh": 10, "cov": 0.82}, {"size": "11×14 in", "paper": 59, "iw": 10.7, "ih": 11, "sw": 14, "sh": 11, "cov": 0.766}, {"size": "16×20 in", "paper": 110, "iw": 16, "ih": 16.4, "sw": 16, "sh": 20, "cov": 0.82}, {"size": "18×24 in", "paper": 140, "iw": 17.6, "ih": 18, "sw": 24, "sh": 18, "cov": 0.732}, {"size": "24×36 in", "paper": 190, "iw": 23.4, "ih": 24, "sw": 36, "sh": 24, "cov": 0.65}], "local": "/store/display/piero_nativity.jpg", "commons_file": "Piero della Francesca 041.jpg", "zoom": "https://art.monstrance.app/zoom/piero_nativity.jpg", "master_px": 6000, "auth": {"institution": "The National Gallery, London", "accession": "NG908", "url": "https://www.nationalgallery.org.uk/paintings/piero-della-francesca-the-nativity", "artist_as_printed": "Piero della Francesca", "date_as_printed": "Early 1480s", "medium": "Oil on wood (probably poplar)", "dimensions": "124.4 × 122.6 cm"}, "writeup": {"text": "The Christ Child lies naked on a corner of His Mother's blue mantle, on the bare ground, and she kneels over Him with her hands together. The National Gallery reads Piero della Francesca's arrangement as Saint Bridget of Sweden's vision, Mary kneeling over the newborn Christ in place of the older reclining Virgin, and its technical study found the light through the broken roof, with no cast shadows, set there on purpose to mark a vision rather than daylight. Five angels sing, two with lutes. On the roof a magpie sits; Sarah Kent reads it as stilled by their song and bearing witness with the rest. Behind stand the ox and the ass, which tradition, as Naomi Grant notes, held to have known Christ before men did. Old inventories place the work in a bedchamber of the painter's family palace at Sansepolcro. The earth under the Child is only earth.", "sources": [{"what": "Composition follows Saint Bridget of Sweden's vision (Mary kneeling over the naked, newborn Christ), replacing the older reclining-Virgin type", "url": "https://www.nationalgallery.org.uk/paintings/piero-della-francesca-the-nativity"}, {"what": "Light through a roof hole with no cast shadows is a deliberate device marking supernatural vision, confirmed by the Gallery's 2019-2022 technical study", "url": "https://www.nationalgallery.org.uk/behind-the-scenes/restoring-piero-della-francesca-s-nativity", "cite": "National Gallery, 'Restoring Piero della Francesca's Nativity'"}, {"what": "Shepherd points to mark the moment of revelation; singing angels provide heavenly accompaniment", "url": "https://www.nationalgallery.org.uk/paintings/piero-della-francesca-the-nativity"}, {"what": "Ox and ass tradition (rooted in Isaiah and apocryphal Pseudo-Matthew) that the animals recognised Christ's divinity before men did", "url": "https://www.lrb.co.uk/the-paper/v45/n14/naomi-grant/at-the-national-gallery", "cite": "Naomi Grant, \"At the National Gallery: 'The Nativity' Restored,\" London Review of Books, vol. 45 no. 14 (2023)"}, {"what": "Mary removes her blue mantle to cover the Child as an act of protective care", "url": "https://www.nationalgallery.org.uk/paintings/piero-della-francesca-the-nativity"}, {"what": "1500/1514/1515 inventories place the painting in the bedchamber of Piero's family palace at Sansepolcro, not a church commission", "url": "https://www.theartnewspaper.com/2022/11/29/in-time-for-christmas-londons-national-gallery-unveils-newly-restored-piero-della-francesca-nativity-scene", "cite": "\"In time for Christmas: London's National Gallery unveils newly-restored Piero della Francesca nativity scene,\" The Art Newspaper, 29 November 2022"}, {"what": "Reads the magpie on the shed roof as stilled by the angels' singing, and bearing witness with the rest — the published reading behind the card's new sentence.", "url": "https://theartsdesk.com/visual-arts/yuletide-scenes-piero-della-francescas-nativity", "cite": "Sarah Kent, \"Yuletide Scenes: Piero della Francesca's Nativity\", theartsdesk.com, 21 December 2015."}, {"what": "The Gallery's own record of the panel: the magpie present on the stable roof, and the animals responding to the divine light.", "url": "https://www.nationalgallery.org.uk/paintings/piero-della-francesca-the-nativity", "cite": "The National Gallery, London, Piero della Francesca, 'The Nativity', NG908."}]}, "scene": {"ref": "Luke 2:7", "quote": "And she brought forth her first born son and wrapped him up in swaddling clothes and laid him in a manger: because there was no room for them in the inn.", "shows": "the firstborn wrapped in swaddling clothes"}, "th": "/store/thumb/piero_nativity.webp", "more": [{"k": "subject", "n": "The Nativity in painting", "u": "/editions/subject/nativity/", "ids": ["francesco_di_giorgio_the_nativity_with_god_the_father_surrou", "geertgen_nativity_at_night", "botticelli_mystic_nativity", "lorenzo_lotto_the_nativity"]}, {"k": "master", "n": "Piero della Francesca", "u": "/editions/master/piero-della-francesca/", "ids": ["piero_baptism", "francesca_madonna_and_child_enthroned"]}]}, "botticelli_mystic_nativity": {"id": "botticelli_mystic_nativity", "title": "Mystic Nativity", "artist_line": "Sandro Botticelli (Italian, c. 1445–1510)", "artist": "Sandro Botticelli", "date": "c. 1500–1501", "museum": "The National Gallery, London", "license": "PD/CC0", "tier": "Hero", "sizes": [{"size": "8×10 in", "paper": 39, "iw": 6.9, "ih": 10, "sw": 8, "sh": 10, "cov": 0.863}, {"size": "11×14 in", "paper": 59, "iw": 9.7, "ih": 14, "sw": 11, "sh": 14, "cov": 0.878}, {"size": "16×20 in", "paper": 110, "iw": 13.8, "ih": 20, "sw": 16, "sh": 20, "cov": 0.863}, {"size": "18×24 in", "paper": 140, "iw": 16.6, "ih": 24, "sw": 18, "sh": 24, "cov": 0.92}], "local": "/store/display/botticelli_mystic_nativity.jpg", "commons_file": "Sandro Botticelli - Mystische Geburt 1500.jpg", "zoom": "https://art.monstrance.app/zoom/botticelli_mystic_nativity.jpg", "master_px": 6000, "auth": {"institution": "The National Gallery, London", "accession": "NG1034", "url": "https://www.nationalgallery.org.uk/paintings/sandro-botticelli-mystic-nativity", "artist_as_printed": "Sandro Botticelli", "date_as_printed": "1500", "medium": "Oil on canvas", "dimensions": "108.6 × 74.9 cm"}, "writeup": {"text": "Twelve angels dance in a ring above the roof, each carrying an olive branch. Below, men wear the olive the angels bear. Across the top, in Greek, Sandro Botticelli writes himself into the end of the world, I, Alessandro, placing the painting in the troubles of Italy and the loosing of the devil for three and a half years, after which he will be chained. His only signed and dated painting, and the National Gallery reads the olive as its argument. At the bottom three pairs embrace, for Jennifer Sliwka the peace expected after Christ's return, while small devils slip into cracks in the rock.", "sources": [{"what": "the record — 1500, oil on canvas, 108.6 × 74.9 cm, bought 1878, 'Signed; Dated and inscribed'; the opened golden dome circled by twelve angels with olive branches, scrolls and crowns; the devils scuttling into cracks in the rocks", "url": "https://www.nationalgallery.org.uk/paintings/sandro-botticelli-mystic-nativity", "cite": "The National Gallery, London, NG1034"}, {"what": "the Greek inscription translated and dated; the twelve scrolls as Savonarola's twelve privileges of the Virgin; the completion placed in early 1501", "url": "https://doi.org/10.2307/751506", "cite": "Rab Hatfield, 'Botticelli's Mystic Nativity, Savonarola and the Millennium,' Journal of the Warburg and Courtauld Institutes 58 (1995), 88–113"}, {"what": "the correspondence between the painting and Savonarola's Assumption Day 1496 sermon — a visual correspondence, not attested attendance", "url": "https://brooklynrail.org/2021/07/criticspage/The-Painter-The-Preacher-Botticellis-Mystic-Nativity-and-Savonarolas-Sermons/", "cite": "Jennifer Sliwka, 'The Painter \u0026 The Preacher,' The Brooklyn Rail, July 2021"}, {"what": "The Gallery's own entry: the meaning of the olive, the three embracing pairs in the foreground, and the devils going into the rock.", "url": "https://www.nationalgallery.org.uk/paintings/sandro-botticelli-mystic-nativity", "cite": "The National Gallery, London, Sandro Botticelli, 'Mystic Nativity', NG1034."}, {"what": "Named scholar joining the olive, the embraces and the fleeing devils into one reading: the era of peace expected after Christ's return.", "url": "https://brooklynrail.org/2021/07/criticspage/The-Painter-The-Preacher-Botticellis-Mystic-Nativity-and-Savonarolas-Sermons/", "cite": "Jennifer Sliwka, 'The Painter \u0026 The Preacher: Botticelli's Mystic Nativity and Savonarola's Sermons', The Brooklyn Rail (2021)."}, {"what": "The mortals WEAR olive and the angels BEAR it — the distinction the card keeps — and the Greek inscription across the top.", "url": "https://doi.org/10.2307/751506", "cite": "Rab Hatfield, \"Botticelli's Mystic Nativity, Savonarola and the Millennium\", Journal of the Warburg and Courtauld Institutes 58 (1995)."}]}, "scene": {"ref": "Luke 2:7", "quote": "And she brought forth her first born son and wrapped him up in swaddling clothes and laid him in a manger: because there was no room for them in the inn.", "shows": "the firstborn wrapped in swaddling clothes; Botticelli’s Greek inscription reads the scene through the Apocalypse"}, "th": "/store/thumb/botticelli_mystic_nativity.webp", "more": [{"k": "subject", "n": "The Nativity in painting", "u": "/editions/subject/nativity/", "ids": ["lorenzo_lotto_the_nativity", "pieter_bruegel_the_elder_the_census_at_bethlehem", "piero_nativity", "francesco_di_giorgio_the_nativity_with_god_the_father_surrou"]}, {"k": "master", "n": "Sandro Botticelli", "u": "/editions/master/sandro-botticelli/", "ids": ["botticelli_adoration_of_the_magi", "botticelli_madonna_book", "botticelli_lamentation"]}]}, "caravaggio_judith_beheading_holofernes": {"id": "caravaggio_judith_beheading_holofernes", "title": "Judith Beheading Holofernes", "artist_line": "Caravaggio (Italian, 1571–1610)", "artist": "Caravaggio", "date": "c. 1598–99", "museum": "Galleria Nazionale d'Arte Antica, Palazzo Barberini, Rome", "license": "PD/CC0", "tier": "Sanctuary", "sizes": [{"size": "18×24 in", "paper": 140, "iw": 24, "ih": 17.9, "sw": 24, "sh": 18, "cov": 0.994}, {"size": "24×36 in", "paper": 190, "iw": 32.2, "ih": 24, "sw": 36, "sh": 24, "cov": 0.894}, {"size": "32×48 in", "paper": 340, "iw": 42.9, "ih": 32, "sw": 48, "sh": 32, "cov": 0.894}, {"size": "40×60 in", "paper": 480, "iw": 53.6, "ih": 40, "sw": 60, "sh": 40, "cov": 0.894}], "local": "/store/display/caravaggio_judith_beheading_holofernes.jpg", "commons_file": "Caravaggio - Giuditta e Oloferne (ca. 1599).jpg", "zoom": "https://art.monstrance.app/zoom/caravaggio_judith_beheading_holofernes.jpg", "master_px": 7595, "auth": {"institution": "Gallerie Nazionali d'Arte Antica - Palazzo Barberini, Rome", "url": "https://kimbellart.org/caravaggio-judith-beheading-holofernes", "artist_as_printed": "MICHELANGELO MERISI DETTO IL CARAVAGGIO", "date_as_printed": "(1597-1600)", "medium": "olio su tela", "dimensions": "cm. 145x195"}, "writeup": {"text": "Judith holds Holofernes by the hair and draws the sword through his neck, and the blood runs out in red threads onto the white linen. Her maid stands close with a bag held open. The Kimbell Art Museum and the Minneapolis Institute of Art both say Caravaggio shows the stroke itself, not the head after. The bag is for food: Judith had refused his table and eaten only what she brought, and now it will carry his head. The Kimbell reads divine light coursing down her arms. The banker Ottavio Costa hung a silk curtain over it and by will forbade its sale. The curtain kept it.", "sources": [{"what": "Caravaggio shows the stroke itself, not an already-severed head; the maid opens her sack for it. Banker Ottavio Costa, first owner, covered it with a silk curtain and by will barred its sale or removal from the family.", "url": "https://kimbellart.org/caravaggio-judith-beheading-holofernes", "cite": "Kimbell Art Museum, 'Caravaggio's Judith Beheading Holofernes', loan from Palazzo Barberini, 2025-26"}, {"what": "Blood streams from the severed neck onto white linen; 'divine light courses through her arms to empower her heroic feat'; the maid opens her sack for the head.", "url": "https://kimbellart.org/news-and-stories/caravaggio-judith-beheading-holofernes", "cite": "Kimbell Art Museum, 'Guest of Honor: Kimbell Presents Caravaggio's Judith Beheading Holofernes'"}, {"what": "Iudith 13:10, 'et misit illud in peram escarum suarum' - the maid puts the head into her food bag. Supports the scene reference and what the servant holds open.", "url": "https://www.vatican.va/archive/bible/nova_vulgata/documents/nova-vulgata_vt_iudith_lt.html", "cite": "Nova Vulgata, Liber Iudith 13:9-10 (Holy See)"}, {"what": "Judith refuses Holofernes's food to avoid defilement and eats only the provisions she brought — the ritual logic that makes the maid's sack a food bag and not a prop. The Nova Vulgata carries it at 12:2, 'ne fiat mihi offensio', and 12:19, 'quae praeparaverat ipsi ancilla sua'.", "cite": "Douay-Rheims (Challoner), Judith 12:2"}, {"what": "A second institution carries the 1950s rediscovery in an Italian family's collection, replacing the Wikipedia-only Cellini/Longhi account. Note the source says 'discovered', not 'lost' or 'unseen' — the card was repaired to match.", "url": "https://new.artsmia.org/stories/last-chance-to-see-caravaggio-at-mia-though-the-story-will-remain", "cite": "Minneapolis Institute of Art, 'Last chance to see Caravaggio at Mia, though the story will remain'"}, {"what": "Mia confirms the stroke-itself thesis independently of the Kimbell. full sentence: 'Unlike typical renderings of this biblical subject, Caravaggio (1571-1610) depicted the climactic moment when Judith slashes the neck of her enemy, Holofernes.' The same site's story page independently prints 'the moment Judith's sword slices into the struggling general's neck', a second institutional witness for 'sword' over 'scimitar'.", "url": "https://new.artsmia.org/exhibition/caravaggios-judith-and-holofernes", "cite": "Minneapolis Institute of Art, exhibition page, 'Caravaggio's Judith and Holofernes'"}, {"what": "Checked in order to DROP 'scimitar': the scriptural weapon is a pugio, a dagger or short sword, not a curved blade. Combined with the Kimbell's 'the final blow with the sword' and Mia's 'Judith's sword', this is why the card no longer prints 'scimitar'.", "url": "https://www.vatican.va/archive/bible/nova_vulgata/documents/nova-vulgata_vt_iudith_lt.html", "cite": "Nova Vulgata, Liber Iudith 13:6 (Holy See)"}, {"what": "RE-VERIFIED, existing source. Kimbell carries the stroke-itself thesis with the weapon named as a sword, the maid opening her sack, and the Costa curtain/will sentence the card's second paragraph rests on. Tombstone confirmed with NO attribution hedge — 'Caravaggio (Michelangelo Merisi), Judith Beheading Holofernes, c. 1599-1600, oil on canvas. Gallerie Nazionali di Arte Antica, Palazzo Barberini, Roma (MiC)' — so the card may name Caravaggio as painter, and the museum's own title matches ours.", "url": "https://kimbellart.org/caravaggio-judith-beheading-holofernes", "cite": "Kimbell Art Museum, 'Caravaggio's Judith Beheading Holofernes'"}, {"what": "This is what replaces Italian Wikipedia's 'scimitar', which the card no longer prints.", "url": "https://kimbellart.org/caravaggio-judith-beheading-holofernes", "cite": "Kimbell Art Museum, 'Caravaggio's Judith Beheading Holofernes' (loan from Gallerie Nazionali di Arte Antica, Palazzo Barberini)"}, {"what": "Primary text, cited by locator without url. Supports the second half of the clause, 'eating what she carried' — Judith eats her own provisions at Holofernes's table, which is the ritual logic that makes the maid's sack a food bag rather than a prop.", "cite": "Douay-Rheims (Challoner), Judith 12:19"}]}, "scene": {"ref": "Judith 13:10", "quote": "And she struck twice upon his neck, and cut off his head, and took off his canopy from the pillars, and rolled away his headless body.", "shows": "Judith striking the neck of Holofernes"}, "th": "/store/thumb/caravaggio_judith_beheading_holofernes.webp", "more": [{"k": "subject", "n": "The Old Testament in painting", "u": "/editions/subject/old-testament/", "ids": ["caravaggio_david_goliath", "rubens_daniel", "caravaggio_sacrifice_isaac", "domenichino_rebuke_of_adam_and_eve"]}, {"k": "master", "n": "Caravaggio", "u": "/editions/master/caravaggio/", "ids": ["caravaggio_saint_catherine_of_alexandria", "caravaggio_matthew_call", "caravaggio_the_martyrdom_of_saint_matthew", "caravaggio_conversion_paul"]}]}, "caravaggio_sacrifice_isaac": {"id": "caravaggio_sacrifice_isaac", "title": "The Sacrifice of Isaac", "artist_line": "Bartolomeo Cavarozzi (Italian, 1587–1625)", "artist": "Bartolomeo Cavarozzi", "date": "c. 1617", "museum": "Private collection", "license": "PD/CC0", "tier": "Sanctuary", "sizes": [{"size": "18×24 in", "paper": 140, "iw": 24, "ih": 16.5, "sw": 24, "sh": 18, "cov": 0.917}, {"size": "24×36 in", "paper": 190, "iw": 34.9, "ih": 24, "sw": 36, "sh": 24, "cov": 0.97}, {"size": "32×48 in", "paper": 340, "iw": 46.5, "ih": 32, "sw": 48, "sh": 32, "cov": 0.97}, {"size": "40×60 in", "paper": 480, "iw": 58.2, "ih": 40, "sw": 60, "sh": 40, "cov": 0.97}], "local": "/store/display/caravaggio_sacrifice_isaac.jpg", "commons_file": "Sacrifice of Isaac-Caravaggio (c. 1603).jpg", "zoom": "https://art.monstrance.app/zoom/caravaggio_sacrifice_isaac.jpg", "master_px": 9449, "auth": {"institution": "Private collection (no public holder)", "url": "https://www.sothebys.com/en/auctions/ecatalogue/2014/old-master-british-paintings-evening-l14033/lot.30.html", "artist_as_printed": "Bartolomeo Cavarozzi", "date_as_printed": "around 1617, probably in Spain", "medium": "Oil on canvas", "dimensions": "116 by 175 cm.; 45 5/8 by 68 7/8 in."}, "writeup": {"text": "Abraham's hand rests on Isaac's head; the other holds the knife low. An angel looks up into the old man's face, and beside the angel waits a ram. Sotheby's catalogue reads the light as falling almost only on what saves: the angel's face, the ram, the pyre, Abraham's hands. Genesis 22:12 stops the hand laid on the son. Found again in 1987, the canvas carried Caravaggio's name for years on Mina Gregori's word; Bologna proposed Bartolomeo Cavarozzi in 1992, and Spear and Papi followed. Genesis put a ram in the son's place. The catalogue put a follower in the master's.", "sources": [{"what": "Gregori's Caravaggio attribution cannot be upheld; far more likely Cavarozzi in Spain soon after arriving 1617. Describes the angel halting the blow, the ram as substitute, Abraham's lit hands with knife, Isaac shadowed, the pyre.", "url": "https://www.sothebys.com/en/auctions/ecatalogue/2014/old-master-british-paintings-evening-l14033/lot.30.html", "cite": "Sotheby's, Old Master \u0026 British Paintings Evening Sale, London, 9 July 2014, sale L14033, lot 30."}, {"what": "Long given to Caravaggio after Gregori; Bologna in 1992 first suggested Cavarozzi, with Spear (2010-11) and Papi (2013, 2016 monograph) following. Tenebrist handling, burning embers and fleece; lent by a private collection.", "url": "https://www.nicholashall.art/catalogue/the-sacrifice-of-isaac/", "cite": "Nicholas Hall, catalogue entry, 'The Sacrifice of Isaac' (Bartolomeo Cavarozzi)."}, {"what": "Museum encyclopedia entry on Cavarozzi: in 1617 he travelled to Spain accompanying Giovanni Battista Crescenzi, stayed about two years and returned to Rome in 1619. Supports the Madrid and Crescenzi statement in paragraph two.", "url": "https://www.museodelprado.es/aprende/enciclopedia/voz/cavarozzi-bartolomeo/767f7bc0-8bce-4875-b0b9-d55eab43e009", "cite": "Museo Nacional del Prado, Enciclopedia, 'Cavarozzi, Bartolomeo'."}, {"what": "Scriptural text of the scene: Genesis 22:12, the angel forbidding Abraham to lay his hand on the boy. Supports the single verse reference in paragraph one.", "url": "https://bible.usccb.org/bible/genesis/22", "cite": "USCCB, New American Bible, Genesis 22."}, {"what": "Lot-specific description of the lighting and the shadowed faces. CRITICAL CONTEXT for any future writer: this passage begins with \"By contrast\", contrasting the lot against Caravaggio's Uffizi picture, which the note describes in the sentences immediately BEFORE it. Only the text from \"By contrast\" onward describes this painting. Carries the thesis sentence, the enumerated list of illuminated elements, and both faces in shadow. Elision marked.", "url": "https://www.sothebys.com/en/auctions/ecatalogue/2014/old-master-british-paintings-evening-l14033/lot.30.html", "cite": "Sotheby's, Old Master \u0026 British Paintings Evening Sale, London, 9 July 2014, sale L14033, lot 30, catalogue note."}, {"what": "The 1987 rediscovery, the years the picture carried Caravaggio's name, and the withdrawal of that attribution. Carries paragraph two's opening and closing lines. Also carries \"follower\" as the catalogue's own word, and records that the lot heading is bare \"Bartolomeo Cavarozzi\" with no hedge.", "url": "https://www.sothebys.com/en/auctions/ecatalogue/2014/old-master-british-paintings-evening-l14033/lot.30.html", "cite": "Sotheby's, sale L14033, lot 30, catalogue note."}, {"what": "The scriptural anchor for the closing parallel: Genesis substitutes the ram for the son. Genesis 22:12, already the card's verified scene text, carries 'the hand laid on him is the hand Genesis 22:12 stops' through its own words, 'Lay not thy hand upon the boy'.", "cite": "Genesis 22:13, Douay-Rheims (Challoner); with Genesis 22:12, 'Lay not thy hand upon the boy, neither do thou any thing to him'. Project corpus, data/bible_drc.js."}]}, "scene": {"ref": "Genesis 22:12", "quote": "And he said to him: Lay not thy hand upon the boy, neither do thou any thing to him: now I know that thou fearest God, and hast not spared thy only begotten son for my sake.", "shows": "the angel staying Abraham’s hand"}, "th": "/store/thumb/caravaggio_sacrifice_isaac.webp", "more": [{"k": "subject", "n": "The Old Testament in painting", "u": "/editions/subject/old-testament/", "ids": ["domenichino_rebuke_of_adam_and_eve", "rembrandt_tobit_and_anna", "rubens_the_meeting_of_abraham_and_melchizedek", "rembrandt_judith_banquet"]}]}, "rubens_daniel": {"id": "rubens_daniel", "title": "Daniel in the Lions' Den", "artist_line": "Peter Paul Rubens (Flemish, 1577–1640)", "artist": "Peter Paul Rubens", "date": "c. 1614–1616", "museum": "National Gallery of Art, Washington", "license": "PD/CC0", "tier": "Hero", "sizes": [{"size": "16×20 in", "paper": 110, "iw": 20, "ih": 13.5, "sw": 20, "sh": 16, "cov": 0.845}, {"size": "18×24 in", "paper": 140, "iw": 24, "ih": 16.2, "sw": 24, "sh": 18, "cov": 0.902}, {"size": "24×36 in", "paper": 190, "iw": 35.5, "ih": 24, "sw": 36, "sh": 24, "cov": 0.986}], "local": "/store/display/rubens_daniel.jpg", "commons_file": "Sir Peter Paul Rubens - Daniel in the Lions' Den - Google Art Project.jpg", "zoom": "https://art.monstrance.app/zoom/rubens_daniel.jpg", "master_px": 25211, "auth": {"institution": "National Gallery of Art, Washington", "accession": "1965.13.1", "url": "https://www.nga.gov/artworks/50298-daniel-lions-den", "artist_as_printed": "Sir Peter Paul Rubens", "date_as_printed": "c. 1614/1616", "medium": "oil on canvas", "dimensions": "overall: 224.2 x 330.5 cm (88 1/4 x 130 1/8 in.)"}, "writeup": {"text": "Lions lie and stand all round him, and one throws back its head to roar, and none has touched him. Daniel sits with his legs crossed and his hands clasped at his chest, his face turned up to the one opening of sky above the den; the National Gallery of Art calls it the only link to the world outside. Bones and a skull lie on the floor. Rachel Pollack notes that the story was read as a prefiguration of the Resurrection, the den standing to the tomb, which makes that opening the mouth of a tomb and, in her reading, the skull the alternative. She traces the pose to the antique Dying Alexander. No church patron is recorded: Rubens traded the canvas to the diplomat Dudley Carleton around 1618 for antique sculpture. \"My God hath sent His angel, and hath shut up the mouths of the lions.\"", "sources": [{"what": "Round opening admitting light/sky above Daniel is the sole visual link to the world outside the den; Daniel's pose", "url": "https://www.nga.gov/node/856421"}, {"what": "NGA provenance chain begins with Carleton acquiring the painting directly from Rubens by exchange c. 1618 for antique sculpture from Carleton's collection", "url": "https://www.nga.gov/artworks/50298-daniel-lions-den"}, {"what": "Daniel's nude, idealized, muscular pose is adapted from the antique 'Dying Alexander' sculpture type Rubens knew from Italy, elevating the biblical martyr into a classical heroic register", "url": "https://drum.lib.umd.edu/items/77e5dd18-c2e3-4e99-9523-810e4665d925", "cite": "Rachel Aviva Pollack, \"Peter Paul Rubens' Daniel in the Lions' Den: Its Sources and Its Political Significance,\" M.A. thesis, University of Maryland, 2015"}, {"what": "Named scholar: the story was read as a prefiguration of the Resurrection, the den standing to the tomb — the published meaning the card argues from — and her reading of the skull. Also that Daniel's prayer is the whole action of the figure and his gaze goes to the den's opening.", "url": "https://api.drum.lib.umd.edu/server/api/core/bitstreams/210afce4-e76c-43dc-b1ff-69a3b6775b48/content", "cite": "Rachel Aviva Pollack, \"Peter Paul Rubens' Daniel in the Lions' Den\" (thesis, University of Maryland)."}, {"what": "The gallery's own description of the canvas: the skull on the ground and the single round opening of sky — the two objects the reading decodes.", "url": "https://www.nga.gov/node/856421", "cite": "National Gallery of Art, Washington, Rubens, 'Daniel in the Lions' Den', object description."}, {"what": "The provenance behind the closing sentence: no church patron, and the chain begins with Dudley Carleton acquiring the canvas directly from Rubens in 1618 by exchange for antique sculpture.", "url": "https://www.nga.gov/artworks/50298-daniel-lions-den", "cite": "National Gallery of Art, Washington, Rubens, 'Daniel in the Lions' Den', provenance."}]}, "scene": {"ref": "Daniel 6:22", "quote": "My God hath sent his angel, and hath shut up the mouths of the lions, and they have not hurt me: forasmuch as before him justice hath been found in me: yea, and before thee, O king, I have done no offence.", "shows": "Daniel among the lions, their mouths shut"}, "th": "/store/thumb/rubens_daniel.webp", "more": [{"k": "subject", "n": "The Old Testament in painting", "u": "/editions/subject/old-testament/", "ids": ["caravaggio_sacrifice_isaac", "domenichino_rebuke_of_adam_and_eve", "rembrandt_tobit_and_anna", "rubens_the_meeting_of_abraham_and_melchizedek"]}, {"k": "master", "n": "Peter Paul Rubens", "u": "/editions/master/peter-paul-rubens/", "ids": ["rubens_holy_family", "rubens_lamentation", "rubens_last_judgment", "rubens_the_virgin_and_child_surrounded_by_ang"]}]}, "caravaggio_david_goliath": {"id": "caravaggio_david_goliath", "title": "David with the Head of Goliath", "artist_line": "Caravaggio (Italian, 1571–1610)", "artist": "Caravaggio", "date": "c. 1610", "museum": "Galleria Borghese, Rome", "license": "PD/CC0", "tier": "Hero", "sizes": [{"size": "16×20 in", "paper": 110, "iw": 16, "ih": 19.8, "sw": 16, "sh": 20, "cov": 0.99}, {"size": "18×24 in", "paper": 140, "iw": 18, "ih": 22.3, "sw": 18, "sh": 24, "cov": 0.928}, {"size": "24×36 in", "paper": 190, "iw": 24, "ih": 29.7, "sw": 24, "sh": 36, "cov": 0.825}], "local": "/store/display/caravaggio_david_goliath.jpg", "commons_file": "David with the Head of Goliath-Caravaggio (1610).jpg", "zoom": "https://art.monstrance.app/zoom/caravaggio_david_goliath.jpg", "master_px": 7329, "auth": {"institution": "Galleria Borghese, Rome", "url": "https://galleriaborghese.beniculturali.it/en/opere/david-with-the-head-of-goliath/", "artist_as_printed": "Merisi Michelangelo called Caravaggio", "date_as_printed": "1610", "medium": "Oil on canvas", "dimensions": "cm 125x101"}, "writeup": {"text": "David holds the head out at arm's length by the hair, and he does not look glad. The sword hangs low in his other hand. The Galleria Borghese reads the severed head as Caravaggio's own face, the painter as Goliath, defeated and disgraced, and David as sorrowful, as though the killing cost him something. On the blade Antonio Iommelli reads the letters H-AS OS as humilitas occidit superbiam, humility kills pride. Caravaggio sent the canvas to Cardinal Scipione Borghese from exile in Naples, after he had killed a man in Rome. The giant's mouth is still open. David's is shut.", "sources": [{"what": "Goliath's head is a Caravaggio self-portrait; David reads as sorrowful/contemplative, not triumphant", "url": "https://galleriaborghese.beniculturali.it/en/opere/david-with-the-head-of-goliath/", "cite": "Galleria Borghese official page"}, {"what": "Painting given to Cardinal Scipione Borghese during Caravaggio's Naples exile after he killed Ranuccio Tomassoni in Rome, per Bellori's biography", "url": "https://galleriaborghese.beniculturali.it/en/opere/david-with-the-head-of-goliath/", "cite": "Galleria Borghese official page, citing Giovanni Pietro Bellori"}, {"what": "Sword inscription H-AS OS read as 'humilitas occidit superbiam' (humility kills pride)", "url": "https://www.collezionegalleriaborghese.it/opere/david-con-la-testa-di-golia", "cite": "Antonio Iommelli, 'David con la testa di Golia', scheda di catalogo, Galleria Borghese online collection catalogue, inv. 455, January 2023"}]}, "scene": {"ref": "1 Kings 17:51", "quote": "He ran, and stood over the Philistine, and took his sword, and drew it out of the sheath, and slew him, and cut off his head. And the Philistines seeing that their champion was dead, fled away.", "shows": "David cutting off the head of Goliath with the giant’s own sword"}, "th": "/store/thumb/caravaggio_david_goliath.webp", "more": [{"k": "subject", "n": "The Old Testament in painting", "u": "/editions/subject/old-testament/", "ids": ["rubens_daniel", "caravaggio_sacrifice_isaac", "domenichino_rebuke_of_adam_and_eve", "rembrandt_tobit_and_anna"]}, {"k": "master", "n": "Caravaggio", "u": "/editions/master/caravaggio/", "ids": ["caravaggio_saint_francis_of_assisi_in_ecstasy", "caravaggio_rest_flight", "caravaggio_judith_beheading_holofernes", "caravaggio_saint_catherine_of_alexandria"]}]}, "poussin_judgment_solomon": {"id": "poussin_judgment_solomon", "title": "The Judgment of Solomon", "artist_line": "Nicolas Poussin (French, 1594–1665)", "artist": "Nicolas Poussin", "date": "1649", "museum": "Musée du Louvre, Paris", "license": "PD/CC0", "tier": "Hero", "sizes": [{"size": "16×20 in", "paper": 110, "iw": 20, "ih": 13.4, "sw": 20, "sh": 16, "cov": 0.838}, {"size": "18×24 in", "paper": 140, "iw": 24, "ih": 16.1, "sw": 24, "sh": 18, "cov": 0.893}], "local": "/store/display/poussin_judgment_solomon.jpg", "commons_file": "Le Jugement de Salomon - 1649 - Nicolas Poussin - Louvre - INV 7277 ; MR 2316 (2).jpg", "zoom": "https://art.monstrance.app/zoom/poussin_judgment_solomon.jpg", "master_px": 6000, "auth": {"institution": "Musée du Louvre, Paris", "accession": "INV 7277 ; MR 2316", "url": "https://collections.louvre.fr/en/ark:/53355/cl010062441", "artist_as_printed": "Poussin, Nicolas", "date_as_printed": "2e quart du XVIIe siècle (1649)", "medium": "huile sur toile", "dimensions": "Hauteur : 1,01 m ; Largeur : 1,5 m"}, "writeup": {"text": "A soldier holds a baby up by one leg with his sword raised, and the whole hall waits on the blow. The Louvre reads the moment as frozen an instant before it falls. Solomon sits above on his throne, arms spread, a finger pointing each way; Bernard Collet finds those arms beginning a triangle whose apex is the young king's brow, a scale held level, the emblem of Justice. On the left the true mother flings out a hand to stop the soldier and, in Howard Oakley's account, asks that the child go to the other woman rather than die. On the right the other woman points, a dead infant across her lap. Poussin painted it in 1649 for the banker Jean Pointel; Louis XIV bought it in 1685. The living child is still in the air.", "sources": [{"what": "Solomon's raised arms form a triangle evoking the scale/balance, symbol of Justice", "url": "https://www.bernardcollet.fr/analyse-composition/salomon/salomon.html"}, {"what": "Soldier grips infant by heel, sword raised, frozen an instant before the blow; curatorial reading of the frozen moment", "url": "https://collections.louvre.fr/en/ark:/53355/cl010062441"}, {"what": "True mother's raised hand halts the soldier and she offers to surrender the child rather than see it harmed, proof of true motherhood", "url": "https://eclecticlight.co/2016/07/28/the-story-in-paintings-the-judgement-of-solomon/"}, {"what": "False mother's accusing pointed finger, demanding the child be divided", "url": "https://www.artchive.com/artwork/the-judgment-of-solomon-nicolas-poussin/"}, {"what": "Commissioned by Jean Pointel, a private Paris banker/collector, for his personal collection — not a church commission; Poussin's reported remark that it was his best painting (via Bellori)", "url": "https://collections.louvre.fr/en/ark:/53355/cl010062441"}, {"what": "Solomon's two spread arms begin a triangle whose apex is the young king's brow", "url": "https://www.bernardcollet.fr/analyse-composition/salomon/salomon.html", "cite": "Bernard Collet, compositional analysis of Poussin's Judgement of Solomon"}, {"what": "Louvre record: painted for the banker Pointel in 1649; valued at 800 livres in his 1660 estate inventory; acquired for Louis XIV from the dealer Charles Antoine Hérault for 5000 livres in 1685", "url": "https://collections.louvre.fr/en/ark:/53355/cl010062441", "cite": "Musée du Louvre collection record, INV 7277"}, {"what": "The true mother at the left raising her hand to stop the soldier and asking that the child go to the other woman rather than die; and Solomon's own hands, shown as an arbiter holding a fair balance between the two sides.", "url": "https://eclecticlight.co/2016/07/28/the-story-in-paintings-the-judgement-of-solomon/", "cite": "Howard Oakley, \"The Story in Paintings: The Judgement of Solomon\", eclecticlight.co, 28 July 2016"}]}, "scene": {"ref": "3 Kings 3:27", "quote": "The king answered, and said: Give the living child to this woman, and let it not be killed; for she is the mother thereof.", "shows": "the living child given to its true mother"}, "th": "/store/thumb/poussin_judgment_solomon.webp", "more": [{"k": "subject", "n": "The Old Testament in painting", "u": "/editions/subject/old-testament/", "ids": ["izaak_van_oosten_garden_of_eden", "gauguin_vision_after_sermon", "giovanni_di_paolo_creation_of_the_world_and_the_expulsion", "florence_psalter_leaf_initial_b_king_david"]}, {"k": "master", "n": "Nicolas Poussin", "u": "/editions/master/nicolas-poussin/", "ids": ["poussin_the_ecstasy_of_saint_paul", "nicolas_poussin_the_holy_family", "poussin_the_assumption_of_the_virgin", "poussin_adoration_shepherds"]}]}, "poussin_gathering_manna": {"id": "poussin_gathering_manna", "title": "The Gathering of Manna", "artist_line": "Nicolas Poussin (French, 1594–1665)", "artist": "Nicolas Poussin", "date": "1637–39", "museum": "Musée du Louvre, Paris", "license": "PD/CC0", "tier": "Entry", "sizes": [{"size": "8×10 in", "paper": 39, "iw": 10, "ih": 7.3, "sw": 10, "sh": 8, "cov": 0.914}], "local": "/store/display/poussin_gathering_manna.jpg", "commons_file": "La Manne - Nicolas Poussin - Musée du Louvre Peintures INV 7275.jpg", "zoom": "https://art.monstrance.app/zoom/poussin_gathering_manna.jpg", "master_px": 2878, "auth": {"institution": "Musée du Louvre, Paris", "accession": "INV 7275 ; MR 2314", "url": "https://collections.louvre.fr/en/ark:/53355/cl010062511", "artist_as_printed": "Poussin, Nicolas (Les Andelys, 1594 - Rome, 1665), France École de", "date_as_printed": "2e quart du XVIIe siècle (1638 - 1639)", "medium": "huile sur toile", "dimensions": "Hauteur : 1,49 m ; Largeur : 2 m"}, "writeup": {"text": "A woman in yellow gives her breast to an old woman lying on the ground, while a small child waits beside her. Le Brun read her as Charity, feeding her mother before her own child, and set against her two men who fight, proportioned after the Medici Wrestlers, too violent and selfish to see the manna spread underfoot. The Louvre notes that Poussin made the manna fall like snow, after Josephus rather than the plainer biblical text, and reads the pierced rock at the left as Christ. Poussin wrote to Jacques Stella that he had found a distribution of attitudes, and on 28 April 1639 asked that the story and the painting be read together. Around her, nearly everyone is bending for bread.", "sources": [{"what": "Manna falling like snow (Josephus, not the biblical text) as allegorical prefiguration of the Eucharist", "url": "https://collections.louvre.fr/en/ark:/53355/cl010062511"}, {"what": "Split/pierced rock at background left identified as symbol of Christ", "url": "https://collections.louvre.fr/en/ark:/53355/cl010062511"}, {"what": "Fighting men proportioned after the Medici Wrestlers embody vice, per Le Brun's commentary", "url": "https://collections.louvre.fr/en/ark:/53355/cl010062511"}, {"what": "Nursing woman (feeding her mother, not her child) as allegory of Charity, per Le Brun", "url": "https://collections.louvre.fr/en/ark:/53355/cl010062511"}, {"what": "Moses and Aaron posed after Plato and Aristotle in Raphael's School of Athens, elevated register", "url": "https://collections.louvre.fr/en/ark:/53355/cl010062511"}, {"what": "Painted in Rome 1638-39 as first commission for Chantelou, beginning a 28-year patron relationship", "cite": "Commission history, dossier citing Anthony Blunt's catalogue raisonné (Phaidon)"}, {"what": "The Louvre's entry on this canvas: the manna falling as snow after Josephus rather than the plainer biblical text; Poussin's own account, in a letter to Jacques Stella, of the distribution of attitudes he had found; Le Brun's reading of the two wrestlers, whose violence keeps them from seeing the manna underfoot, against the woman feeding her mother at the breast; the pierced rock read as Christ; and Poussin's instruction of 28 April 1639 to read the story and the picture together.", "url": "https://collections.louvre.fr/en/ark:/53355/cl010062511", "cite": "Musée du Louvre, 'La Manne' (The Israelites Gathering the Manna in the Desert), INV 7275."}, {"what": "Paul on the desert food and the spiritual rock that followed them, and the rock was Christ — the locator the Louvre cites.", "cite": "1 Corinthians 10:3-4, Douay-Rheims (Challoner)."}]}, "scene": {"ref": "Exodus 16:15", "quote": "And when the children of Israel saw it, they said one to another: Manhu! which signifieth: What is this! for they knew not what it was. And Moses said to them: This is the bread which the Lord hath given you to eat.", "shows": "the people gathering what they did not know"}, "th": "/store/thumb/poussin_gathering_manna.webp", "more": [{"k": "subject", "n": "The Old Testament in painting", "u": "/editions/subject/old-testament/", "ids": ["jusepe_de_ribera_jacob_s_dream", "poussin_judgment_solomon", "izaak_van_oosten_garden_of_eden", "gauguin_vision_after_sermon"]}, {"k": "master", "n": "Nicolas Poussin", "u": "/editions/master/nicolas-poussin/", "ids": ["poussin_holy_family_steps", "poussin_judgment_solomon", "poussin_the_ecstasy_of_saint_paul", "nicolas_poussin_the_holy_family"]}]}, "bouguereau_pieta": {"id": "bouguereau_pieta", "title": "Pietà", "artist_line": "William-Adolphe Bouguereau (French, 1825–1905)", "artist": "William-Adolphe Bouguereau", "date": "1876", "museum": "Private collection", "license": "PD/CC0", "tier": "Entry", "sizes": [{"size": "8×10 in", "paper": 39, "iw": 6.4, "ih": 10, "sw": 8, "sh": 10, "cov": 0.796}], "local": "/store/display/bouguereau_pieta.jpg", "commons_file": "William-Adolphe Bouguereau (1825-1905) - Pieta (1876).jpg", "zoom": "https://art.monstrance.app/zoom/bouguereau_pieta.jpg", "master_px": 3059, "auth": {"institution": "Private collection (Christie's New York, sale 2322, lot 120, 9 June 2010)", "url": "https://www.christies.com/en/lot/lot-5324539", "artist_as_printed": "William Adolphe Bouguereau (La Rochelle 1825-1905)", "date_as_printed": "1876", "medium": "oil on canvas", "dimensions": "90½ x 58¾ in. (222.9 x 149.2 cm.)", "accession_absent_why": "Privately held; no institution has an object number. The auction lot number is recorded in institution."}, "writeup": {"text": "Our Lady wears a black cloak over her head, holds her dead Son, and looks straight out with red-rimmed eyes. Kara Lysandra Ross, at the Art Renewal Center, reads the cloak as mourning and the hold as a clutch: she does not offer the body outward. Round them the angels are robed in every colour of the rainbow, the sign God showed Noah. On a stained cloth at His feet lies the crown of thorns. William-Adolphe Bouguereau painted it in 1876, the year after his son Georges died at sixteen, and inscribed the vase beside it: IN MEMORIAM DILECTI MEI FILII GEORGII. She will not hand Him over.", "sources": [{"what": "Mary clutches Christ's body rather than offering it outward, read as maternal refusal to relinquish her son", "url": "https://www.artrenewal.org/Article/Title/william-bouguereau-and-his-religious-works", "cite": "Kara Lysandra Ross, 'William Bouguereau and his Religious Works,' Art Renewal Center"}, {"what": "Mary's black cloak as a mourning sign, not a serene devotional icon", "url": "https://www.artrenewal.org/Article/Title/william-bouguereau-and-his-religious-works", "cite": "Kara Lysandra Ross, 'William Bouguereau and his Religious Works', Art Renewal Center (2011)"}, {"what": "The rainbow as the sign God showed Noah — the hope half of the clause", "cite": "Genesis 9:13, Douay-Rheims (primary text, cited by locator)"}, {"what": "His son Georges died at sixteen the year before, and that grief produced this painting", "url": "https://www.artrenewal.org/Article/Title/biography-of-william-bouguereau", "cite": "Damien Bartoli with Fred Ross, 'Biography of William Bouguereau', Art Renewal Center"}, {"what": "The scene was painted in 1876", "url": "https://www.artrenewal.org/artworks/pieta/william-adolphe-bouguereau/26", "cite": "Art Renewal Center catalogue record (Bouguereau catalogue raisonné, Bartoli/Ross), 'Pieta'"}, {"what": "The Latin urn inscription memorialising the artist's son", "url": "https://iconographic.warburg.sas.ac.uk/object-wpc-wid-dsrn", "cite": "Warburg Institute Iconographic Database, School of Advanced Study, University of London — record for Bouguereau, 1876 (inscribed on the vase)"}]}, "scene": {"why": "THE PIETÀ IS NOT A SCENE IN SCRIPTURE. Like the Lamentation it fills the silence between John 19:38 and 19:42, and it takes its form from German Vesperbild carving of the fourteenth century. Scripture does not place the dead Christ in his mother’s lap."}, "th": "/store/thumb/bouguereau_pieta.webp", "more": [{"k": "subject", "n": "The Pietà in painting", "u": "/editions/subject/pieta/", "ids": ["gauguin_green_christ", "lippi_pieta", "bellini_imago_pietatis_pieta", "fouquet_pieta_of_nouans_nouans_pieta"]}, {"k": "master", "n": "William-Adolphe Bouguereau", "u": "/editions/master/william-adolphe-bouguereau/", "ids": ["bouguereau_song_of_the_angels", "bouguereau_holy_women_tomb", "bouguereau_regina_angelorum"]}]}, "titian_penitent_magdalene": {"id": "titian_penitent_magdalene", "title": "The Penitent Magdalene", "artist_line": "Titian (Italian, about 1488–1576)", "artist": "Titian", "date": "about 1550", "museum": "Museo e Real Bosco di Capodimonte, Naples", "license": "PD-Art (Commons {{PD-art-100-expired}}, from Google Cultural Institute, Capodimonte capture)", "tier": "Sanctuary", "sizes": [{"size": "18×24 in", "paper": 140, "iw": 18.0, "ih": 24, "sw": 18, "sh": 24, "cov": 0.998}, {"size": "24×36 in", "paper": 190, "iw": 24, "ih": 32.1, "sw": 24, "sh": 36, "cov": 0.89}, {"size": "32×48 in", "paper": 340, "iw": 32, "ih": 42.7, "sw": 32, "sh": 48, "cov": 0.89}, {"size": "40×60 in", "paper": 480, "iw": 40, "ih": 53.4, "sw": 40, "sh": 60, "cov": 0.89}], "local": "/store/display/titian_penitent_magdalene.jpg", "commons_file": "Titian - The penitent magdalene (1565).jpg", "zoom": "https://art.monstrance.app/zoom/titian_penitent_magdalene.jpg", "master_px": 20414, "auth": {"institution": "Museo e Real Bosco di Capodimonte, Naples", "accession": "Q136", "url": "https://catalogo.beniculturali.it/detail/HistoricOrArtisticProperty/1500625120", "artist_as_printed": "Vecellio Tiziano (1488-1490/ 1576)", "date_as_printed": "ca 1550 (Catalogo generale); 'Signed ca. 1550' (Google Arts \u0026 Culture)", "medium": "tela/ pittura a olio (oil on canvas)", "dimensions": "122 × 94 cm"}, "writeup": {"text": "Saint Mary Magdalene looks up, and the rims of her eyes are red. One hand is pressed flat to her breast; the other holds a striped cloak at her waist. Below her an open book lies across a skull, and at the left stands a small jar. Google Arts \u0026 Culture, presenting the canvas for Capodimonte, reads the ampoule, the skull and the open scriptures as symbols of her repentance, and says the tears roll down her cheeks. Titian lettered his name in the dark above the jar. The Italian state catalogue dates the work about 1550 and holds that it may be the Magdalene Titian sent to Cardinal Alessandro Farnese in Rome in 1547; it was in the Palazzo Farnese in Rome, passed to Parma, and came to Naples with Charles of Bourbon in 1734. Saint Luke tells of the woman at Christ's feet who “began to wash his feet, with tears” and only afterward “anointed them with the ointment” (Luke 7:38). Here the jar waits at the side and the tears come first; He takes ours the same way.", "sources": [{"what": "Maddalena, Vecellio Tiziano, ca 1550, oil on canvas, inv. Q136, Collezione Farnese, Museo di Capodimonte, state property; signature TITIANUS. P lower left; may be the Maddalena sent by Titian to Cardinal Alessandro Farnese in Rome in 1547; Palazzo Farnese Rome before 1641, Parma before 1680, Naples 1734 with Charles of Bourbon.", "url": "https://catalogo.beniculturali.it/detail/HistoricOrArtisticProperty/1500625120", "cite": "Ministero della Cultura, Catalogo generale dei Beni Culturali, 'Maddalena', scheda 1500625120 (ente competente: Museo e Real Bosco di Capodimonte), read 2026-10-10."}, {"what": "Capodimonte's partner page: 'Mary Magdalene presses her arms across her body, peering longingly towards heaven, as tears roll down her cheeks'; the small ampoule, skull and open scriptures as symbols of her repentance.", "url": "https://artsandculture.google.com/asset/hQE6zM-SaVnsVA", "cite": "Google Arts \u0026 Culture, 'The Penitent Magdalene', Titian, Museo e Real Bosco di Capodimonte, read 2026-10-10."}, {"what": "'she began to wash his feet with tears'", "cite": "Luke 7:38, Douay-Rheims (Challoner), as already verified in this record's scene block from data/bible_drc.js"}]}, "scene": {"ref": "Luke 7:38", "quote": "And standing behind at his feet. she began to wash his feet with tears and wiped them with the hairs of her head and kissed his feet and anointed them with the ointment.", "shows": "the woman washing his feet with tears"}, "th": "/store/thumb/titian_penitent_magdalene.webp", "more": [{"k": "subject", "n": "Saints in painting", "u": "/editions/subject/saints/", "ids": ["tintoretto_saint_mark_s_body_brought_to_venice", "pieter_bruegel_the_elder_the_massacre_of_the_innocents", "pieter_bruegel_the_elder_the_sermon_of_st_john_the_baptist", "veronese_the_martyrdom_of_saint_justina"]}, {"k": "master", "n": "Titian", "u": "/editions/master/titian/", "ids": ["titian_gloria", "titian_the_adoration_of_the_magi", "titian_christ_carrying", "titian_christ_crucified"]}]}, "raphael_st_michael_satan": {"id": "raphael_st_michael_satan", "title": "St Michael Vanquishing Satan", "artist_line": "Raphael (Italian, 1483–1520)", "artist": "Raphael", "date": "1518", "museum": "Musée du Louvre, Paris", "license": "PD/CC0", "tier": "Sanctuary", "sizes": [{"size": "18×24 in", "paper": 140, "iw": 14.1, "ih": 24, "sw": 18, "sh": 24, "cov": 0.786}, {"size": "24×36 in", "paper": 190, "iw": 21.2, "ih": 36, "sw": 24, "sh": 36, "cov": 0.884}, {"size": "32×48 in", "paper": 340, "iw": 28.3, "ih": 48, "sw": 32, "sh": 48, "cov": 0.884}, {"size": "40×60 in", "paper": 480, "iw": 35.4, "ih": 60, "sw": 40, "sh": 60, "cov": 0.884}], "local": "/store/display/raphael_st_michael_satan.jpg", "commons_file": "Le Grand Saint Michel, by Raffaello Sanzio, from C2RMF.jpg", "zoom": "https://art.monstrance.app/zoom/raphael_st_michael_satan.jpg", "master_px": 21292, "auth": {"institution": "Musée du Louvre, Paris", "accession": "INV 610; MR 431", "url": "https://collections.louvre.fr/en/ark:/53355/cl010060771", "artist_as_printed": "Santi, Raffaello, dit Raphaël (Urbino, 1483 - Rome, 1520)", "date_as_printed": "1518", "medium": "huile sur toile", "dimensions": "Hauteur : 2,68 m ; Largeur : 1,6 m"}, "writeup": {"text": "The face shows no strain. Michael comes down with both hands on the lance, wings open, one foot set on Satan's back. Charles Le Brun, reading the painting to the Académie in 1667, made that stillness the point: the arched brows mark his tranquillity, the mouth his contempt for the enemy. Le Brun set the two great wings that hold Michael in the air against the demon's bestial ones, goat's horn, dragon wing and serpent tail, and saw the whole weight that fells him carried on the tip of one foot. Raphael armoured him all'antica, a cuirass of golden scales, Roman rather than modern plate, and Leo X sent him, so armed, as a gift to the court of François I. One foot, lightly placed, is enough.", "sources": [{"what": "Michael's classical all'antica armor (not contemporary plate) casts him as a divine warrior-prince legible to a chivalric courtly recipient", "url": "https://www.italianartsociety.org/2018/03/during-march-of-1518-raphael-was-working-on-two-paintings-commissioned-by-pope-leo-x-the-holy-family-of-francis-i-and-saint-michael-vanquishing-satan-and-both-works-are-displayed-today-in-the-louv/", "cite": "Amy Fredrickson, Italian Art Society, March 2018"}, {"what": "Louvre object record confirms medium, dimensions, accession, and 1518 provenance entry (used for identity-checking only, not quoted in prose)", "url": "https://collections.louvre.fr/en/ark:/53355/cl010060771", "cite": "Musée du Louvre, Département des Peintures, object page"}, {"what": "Le Brun's reading of Michael's calm face — that the stillness, not strain, is the point, and what it signifies", "url": "https://archive.org/stream/gri_conferencesd00pari/gri_conferencesd00pari_djvu.txt", "cite": "Charles Le Brun, Première conférence tenue dans le Cabinet des Tableaux du Roy, samedi 7 mai 1667, on Raphael's Saint Michel; in André Félibien, ed., Conférences de l'Académie royale de peinture et de sculpture pendant l'année 1667 (Paris: Frédéric Léonard, 1669)"}, {"what": "The wings as the picture's antithesis: Michael's two great wings sustaining him in air against the demon's bestial ones", "url": "https://archive.org/stream/gri_conferencesd00pari/gri_conferencesd00pari_djvu.txt", "cite": "Charles Le Brun, conférence of 7 May 1667 on Raphael's Saint Michel; in André Félibien, ed., Conférences de l'Académie royale de peinture et de sculpture pendant l'année 1667 (Paris: Frédéric Léonard, 1669)"}, {"what": "The painting as Leo X's gift to the court of François I (the Order of Saint-Michel half of this clause has been cut from the prose)", "url": "https://pop.culture.gouv.fr/notice/joconde/000PE026976", "cite": "Base Joconde, notice 000PE026976, « Saint Michel terrassant le démon ; dit Le Grand Saint Michel », Ministère de la Culture / Plateforme Ouverte du Patrimoine"}]}, "scene": {"ref": "Apocalypse 12:9", "quote": "And that great dragon was cast out, that old serpent, who is called the devil and Satan, who seduceth the whole world. And he was cast unto the earth: and his angels were thrown down with him.", "shows": "that old serpent cast unto the earth"}, "th": "/store/thumb/raphael_st_michael_satan.webp", "more": [{"k": "subject", "n": "Saints in painting", "u": "/editions/subject/saints/", "ids": ["lorenzo_lotto_st_catherine_of_alexandria", "bassano_miraculous_draught_of_fishes", "titian_penitent_magdalene", "tintoretto_saint_mark_s_body_brought_to_venice"]}, {"k": "master", "n": "Raphael", "u": "/editions/master/raphael/", "ids": ["raphael_madonna_goldfinch", "raphael_small_cowper", "raphael_the_canigiani_holy_family", "raphael_alba_madonna"]}]}, "leonardo_st_john_baptist": {"id": "leonardo_st_john_baptist", "title": "St John the Baptist", "artist_line": "Leonardo da Vinci (Italian, 1452–1519)", "artist": "Leonardo da Vinci", "date": "c. 1513–16", "museum": "Musée du Louvre, Paris", "license": "PD/CC0", "tier": "Sanctuary", "sizes": [{"size": "18×24 in", "paper": 140, "iw": 18, "ih": 23.7, "sw": 18, "sh": 24, "cov": 0.986}, {"size": "24×36 in", "paper": 190, "iw": 24, "ih": 31.6, "sw": 24, "sh": 36, "cov": 0.877}, {"size": "32×48 in", "paper": 340, "iw": 32, "ih": 42.1, "sw": 32, "sh": 48, "cov": 0.877}, {"size": "40×60 in", "paper": 480, "iw": 40, "ih": 52.6, "sw": 40, "sh": 60, "cov": 0.877}], "local": "/store/display/leonardo_st_john_baptist.jpg", "commons_file": "Saint Jean-Baptiste, by Leonardo da Vinci, from C2RMF.jpg", "zoom": "https://art.monstrance.app/zoom/leonardo_st_john_baptist.jpg", "master_px": 13550, "auth": {"institution": "Musée du Louvre, Paris", "accession": "INV 775; MR 318", "url": "https://collections.louvre.fr/en/ark:/53355/cl010062374", "artist_as_printed": "Léonard de Vinci (Leonardo di ser Piero da Vinci, dit Leonardo da Vinci), École italienne", "date_as_printed": "1st quarter of the 16th century (circa 1508–1519)", "medium": "huile sur bois (noyer)", "dimensions": "Hauteur : 0,729 m ; Largeur : 0,563 m"}, "writeup": {"text": "One finger points up out of the dark, and the face beside it smiles as if it knew where. The Louvre says what the gesture is for: Saint John the Baptist is a light that must vanish before the true light of Christ, the witness who was not the light. The museum calls the ground a profound night, and the light that lifts his body is not his own. It also notes that the pelt he wears is spotted, a Bacchic skin, not the camel hair of the Gospels. Leonardo kept the work by him until his death in 1519, still working on it. The finger stays raised.", "sources": [{"what": "INV 775, walnut panel, c. 1508–1519; the epiphany destined to disappear before the true light of Christ; the spotted Bacchic pelt; kept by Leonardo until his death", "url": "https://collections.louvre.fr/en/ark:/53355/cl010062374"}, {"what": "the raised index finger, inviting the viewer to turn to God", "url": "https://presse.louvre.fr/le-musee-du-louvre-prete-le-saint-jean-baptiste-de-leonard-de-vinci/"}, {"what": "the Baptist's traditional attribute is camel skin — the convention this picture departs from", "url": "https://www.nationalgallery.org.uk/paintings/carlo-crivelli-saint-john-the-baptist"}, {"what": "The owning institution's notice: it prints the Prologue of John, defines the Baptist as the witness who is not the light, and describes the black ground as a profound night out of which the light raises the body. The same notice places a cross in the Basel copy rather than in this panel, which is why the card names none.", "url": "https://collections.louvre.fr/en/ark:/53355/cl010062374", "cite": "Musée du Louvre, 'Saint Jean-Baptiste', INV 775."}, {"what": "He was not the light, but was to give testimony of the light.", "cite": "John 1:8, Douay-Rheims (Challoner)."}]}, "scene": {"ref": "John 1:23", "quote": "He said: I am the voice of one crying in the wilderness, make straight the way of the Lord, as said the prophet Isaias.", "shows": "the voice of one crying in the wilderness"}, "th": "/store/thumb/leonardo_st_john_baptist.webp", "more": [{"k": "subject", "n": "Saints in painting", "u": "/editions/subject/saints/", "ids": ["durer_saint_jerome_in_his_study", "raphael_saint_john_the_baptist_in_the_desert", "raphael_saint_margaret", "raphael_st_michael_satan"]}, {"k": "master", "n": "Leonardo da Vinci", "u": "/editions/master/leonardo-da-vinci/", "ids": ["leonardo_annunciation", "leonardo_benois_madonna", "leonardo_virgin_of_rocks", "leonardo_last_supper"]}]}, "caravaggio_conversion_paul": {"id": "caravaggio_conversion_paul", "title": "The Conversion of St Paul", "artist_line": "Caravaggio (Italian, 1571–1610)", "artist": "Caravaggio", "date": "1601", "museum": "Santa Maria del Popolo, Rome", "license": "PD/CC0", "tier": "Sanctuary", "sizes": [{"size": "18×24 in", "paper": 140, "iw": 18, "ih": 23.6, "sw": 18, "sh": 24, "cov": 0.985}, {"size": "24×36 in", "paper": 190, "iw": 24, "ih": 31.5, "sw": 24, "sh": 36, "cov": 0.876}, {"size": "32×48 in", "paper": 340, "iw": 32, "ih": 42.0, "sw": 32, "sh": 48, "cov": 0.876}, {"size": "40×60 in", "paper": 480, "iw": 40, "ih": 52.6, "sw": 40, "sh": 60, "cov": 0.876}], "local": "/store/display/caravaggio_conversion_paul.jpg", "commons_file": "Conversion on the Way to Damascus-Caravaggio (c.1600-1).jpg", "zoom": "https://art.monstrance.app/zoom/caravaggio_conversion_paul.jpg", "master_px": 8817, "auth": {"institution": "Basilica di Santa Maria del Popolo, Roma (Ordine di Sant'Agostino — Provincia Agostiniana d'Italia)", "url": "https://www.agostiniani.it/comunita-agostiniane-provincia/parrocchia-santa-maria-popolo/", "artist_as_printed": "Caravaggio", "date_as_printed": "1600-1601", "accession_absent": "in_situ"}, "writeup": {"text": "The horse lifts one hoof over a man lying on his back, and the man has opened his arms to something no one else can see. Saul's eyes are shut. Acts names no horse and no fall from one, as Halvor Moxnes notes; Caravaggio gives the animal most of the canvas. There is no Christ here, only light, and Smarthistory reads the light as the whole apparition. Tiberio Cerasi commissioned the painting for his chapel in Santa Maria del Popolo in September 1600, and Leo Steinberg saw it made to be read from the side. The hoof stays in the air.", "sources": [{"what": "the Cerasi Chapel, commissioned from Caravaggio in September 1600 by Tiberio Cerasi, with Annibale Carracci's Assumption on the altar; the basilica is held by the Augustinians", "url": "https://www.turismoroma.it/en/places/basilica-santa-maria-del-popolo"}, {"what": "the three accounts of the Damascus road name no horse and no fall from one", "cite": "Acts 9:3–9, 22:6–11 and 26:12–18; and Halvor Moxnes, ‘Where Did the Horse Come From? Caravaggio and Paul's Conversion as a Bodily Experience’, in Recovering an Undomesticated Apostle (McGill-Queen's University Press, 2023), 227–244. DOI 10.1515/9780228017721-016"}, {"what": "the first version, with Christ and an angel, passed to Cardinal Sannesio; Baglione says only that it did not please the patron", "cite": "Giovanni Baglione, Le vite de' pittori, scultori et architetti (Rome, 1642), Life of Caravaggio"}, {"what": "the chapel's laterals are made to be read from the side rather than head-on", "cite": "Leo Steinberg, ‘Observations in the Cerasi Chapel’, The Art Bulletin 41, no. 2 (1959), 183–190. DOI 10.1080/00043079.1959.11408594"}, {"what": "Acts gives no more than the card claims: the companions heard the voice but saw no one, and Saul's opened eyes saw nothing. The light shone round about him.", "cite": "Acts 9:3-8, Douay-Rheims (Challoner)."}, {"what": "The published reading that the light is the only form the divine takes in this painting — that the light IS the apparition.", "url": "https://smarthistory.org/caravaggio-saul/", "cite": "Beth Harris and Steven Zucker, 'Caravaggio, The Conversion of St Paul', Smarthistory."}]}, "scene": {"ref": "Acts 9:4", "quote": "And falling on the ground, he heard a voice saying to him: Saul, Saul, why persecutest thou me?", "shows": "Saul falling to the earth, and the voice"}, "th": "/store/thumb/caravaggio_conversion_paul.webp", "more": [{"k": "subject", "n": "Saints in painting", "u": "/editions/subject/saints/", "ids": ["caravaggio_crucifixion_peter", "caravaggio_the_inspiration_of_saint_matthew", "caravaggio_saint_francis_in_prayer", "caravaggio_st_jerome"]}, {"k": "master", "n": "Caravaggio", "u": "/editions/master/caravaggio/", "ids": ["caravaggio_crucifixion_peter", "caravaggio_emmaus", "caravaggio_incredulity_thomas", "caravaggio_taking_of_christ"]}]}, "ribera_saint_bartholomew": {"id": "ribera_saint_bartholomew", "title": "Saint Bartholomew", "artist_line": "Circle of Jusepe de Ribera (Spanish, 1591–1652)", "artist": "Circle of Jusepe de Ribera", "date": "c. 1630s", "museum": "El Paso Museum of Art", "license": "PD/CC0", "tier": "Sanctuary", "sizes": [{"size": "18×24 in", "paper": 140, "iw": 18, "ih": 21.6, "sw": 18, "sh": 24, "cov": 0.899}, {"size": "24×36 in", "paper": 190, "iw": 24, "ih": 28.8, "sw": 24, "sh": 36, "cov": 0.799}, {"size": "32×48 in", "paper": 340, "iw": 32, "ih": 38.3, "sw": 32, "sh": 48, "cov": 0.799}, {"size": "40×60 in", "paper": 480, "iw": 40, "ih": 47.9, "sw": 40, "sh": 60, "cov": 0.799}], "local": "/store/display/circle_of_jusepe_de_ribera_saint_bartholomew_196__c7857393c489.jpg", "commons_file": "Circle of Jusepe de Ribera - Saint Bartholomew, 1961.1.52, 1643.jpg", "zoom": "https://art.monstrance.app/zoom/circle_of_jusepe_de_ribera_saint_bartholomew_196__c7857393c489.jpg", "master_px": 11514, "auth": {"institution": "El Paso Museum of Art", "accession": "1961.1.52", "url": "http://www.kressfoundation.org/kress-collection/artwork/f48ad9a81b493cc531a954893ea5da921d5164aa0962301b1b8a5333dba8573", "artist_as_printed": "Circle of Jusepe de Ribera", "medium": "oil on canvas", "dimensions": "77.8 x 65.1 cm (30-5/8 x 25-5/8 in)"}, "writeup": {"text": "An old man holds a knife against his chest and looks up and away from it. Nothing else is given: a dark brown ground, a pale mantle, a face, a hand, and the blade, the instrument of the martyrdom that will skin him. The Golden Legend sets three accounts of Saint Bartholomew's death side by side, crucified, flayed, beheaded; this one holds only the knife. Longhi published it as the work of Jusepe de Ribera; Fern Rusk Shapley's catalogue for El Paso gives it to the Circle of Jusepe de Ribera, Ribera's manner in another master's hand. It probably belonged to a set of twelve apostles with no surviving commission, and passed through the Dukes of Hamilton to the Hamilton Palace sale of 1882. The set came apart, and the name with it. The knife stayed in his hand.", "sources": [{"what": "Curatorial description: pose (looks upper right, head tilted left), knife 'held up' as attribute of martyrdom, dark brown background, and the catalogue's own attribution to Circle of Ribera rather tha", "url": "https://www.kressfoundation.org/kress-collection/artwork/f48ad9a81b493cc531a954893ea5da921d5164aa0962301b1b8a5333dba8573", "cite": "Kress Foundation / Kress Program conservation database, citing Fern Rusk Shapley's 1961 El Paso Museum of Art Kress Collection catalogue"}, {"what": "Date (1643), accession number, and the Longhi/Suida/Shapley attribution debate resolving to 'Circle of Jusepe de Ribera'", "url": "https://books.google.com/books/about/The_Samuel_H_Kress_Collection.html?id=Q7RGAQAAIAAJ", "cite": "Fern Rusk Shapley, The Samuel H. Kress Collection, El Paso Museum of Art (El Paso, TX: EPMA, 1961)"}, {"what": "Provenance: probable apostolado series with no surviving commission record; Dukes of Hamilton ownership and the 1882 Hamilton Palace sale", "url": "https://www.kressfoundation.org/kress-collection/artwork/f48ad9a81b493cc531a954893ea5da921d5164aa0962301b1b8a5333dba8573", "cite": "Samuel H. Kress Foundation / Kress Program conservation database, provenance section"}, {"what": "The tradition does not agree on the manner of Bartholomew's death: the Golden Legend sets the crucifixion, flaying and beheading accounts side by side before harmonising them. This is what licenses the clause that the picture 'picks the knife' rather than reporting a settled fact.", "url": "https://www.christianiconography.info/goldenLegend/bartholomew.htm", "cite": "Jacobus de Voragine, The Golden Legend, 'The Life of St. Bartholomew' (Caxton trans. 1483, chap. 123)"}]}, "scene": {"why": "THE SAINT IS NOT IN SCRIPTURE, or this episode of their life is not. Their acts come to us through the Church’s memory — martyrologies, hagiography, the testimony of their own communities — not through the biblical record. Naming a verse here would dress tradition as Scripture."}, "th": "/store/thumb/circle_of_jusepe_de_ribera_saint_bartholomew_196__c7857393c489.webp", "more": [{"k": "subject", "n": "Saints in painting", "u": "/editions/subject/saints/", "ids": ["giotto_francis_stigmata", "duccio_calling_apostles", "simone_martini_frescoes_of_the_chapel_of_st_martin_life", "simone_martini_maesta"]}]}, "giotto_francis_stigmata": {"id": "giotto_francis_stigmata", "title": "St Francis Receiving the Stigmata", "artist_line": "Giotto (Italian, c. 1267–1337)", "artist": "Giotto", "date": "c. 1295–1300", "museum": "Musée du Louvre, Paris", "license": "PD/CC0", "tier": "Sanctuary", "sizes": [{"size": "18×24 in", "paper": 140, "iw": 12.9, "ih": 24, "sw": 18, "sh": 24, "cov": 0.716}, {"size": "24×36 in", "paper": 190, "iw": 19.3, "ih": 36, "sw": 24, "sh": 36, "cov": 0.805}, {"size": "32×48 in", "paper": 340, "iw": 25.8, "ih": 48, "sw": 32, "sh": 48, "cov": 0.805}, {"size": "40×60 in", "paper": 480, "iw": 32.2, "ih": 60, "sw": 40, "sh": 60, "cov": 0.805}], "local": "/store/display/giotto_francis_stigmata.jpg", "commons_file": "Saint François d'Assise recevant les stigmates - Giotto - Musée du Louvre Peintures INV 309 ; MR 253 - detoure.jpg", "zoom": "https://art.monstrance.app/zoom/giotto_francis_stigmata.jpg", "master_px": 10713, "auth": {"institution": "Musée du Louvre, Paris", "accession": "INV 309 ; MR 253", "url": "https://collections.louvre.fr/en/ark:/53355/cl010064459", "artist_as_printed": "Giotto di Bondone", "date_as_printed": "1e quart du XIVe siècle (1300 - 1325)", "medium": "fond d'or (forme en gâble à la partie supérieure) sur bois (peuplier)", "dimensions": "Hauteur : 3,13 m ; Largeur : 1,63 m"}, "writeup": {"text": "Saint Francis kneels, and what hangs in the air is a six-winged seraph with Christ crucified between the wings, and Bonaventure says Francis did not understand what it meant. Giotto draws the gold lines from the wounds above down to the kneeling man; M. R. Lanfranchi notes that the rays arrive inverted, so Francis mirrors the crucified Christ rather than copying Him. The Louvre records the signature, Opus Iocti florentini. Seized from San Francesco in Pisa in 1812, it never went back. Heaven comes down a thread of gold.", "sources": [{"what": "the record — gold ground on poplar, gabled, 313 × 163 cm, inscribed \"Opus Iocti florentini\", with a predella of the Dream of Innocent III, the Confirmation of the Rule and the Sermon to the Birds; from San Francesco, Pisa, seized October 1812 and in the Louvre from 1813, never restituted", "url": "https://collections.louvre.fr/en/ark:/53355/cl010064459", "cite": "Musée du Louvre, INV 309 ; MR 253"}, {"what": "the panel argued from nine church inventories, 1367–1472, never to have been an altarpiece but designed for elevated display; the stigmata functioning as \"a divine seal for the order's rule and preaching\"", "url": "https://academic.oup.com/arthistory/article/36/4/686/7278078", "cite": "Donal Cooper, \"Redefining the Altarpiece in Early Renaissance Italy: Giotto's Stigmatization of Saint Francis and its Pisan Context,\" Art History 36, no. 4 (2013), 686–713"}, {"what": "the rays arriving inverted relative to their source, so that Francis mirrors rather than copies the crucified body", "url": "https://pdfs.semanticscholar.org/4d4d/1a153b0c02e219c5a2dd2f14771a22b75765.pdf", "cite": "M. R. Lanfranchi, \"Giotto's Stigmatization of Saint Francis: An Approach for the Reconstruction of the Image\" (2019)"}, {"what": "the mechanism as the tradition states it — rays from Christ's wounds impressing the marks", "url": "https://www.nationalgallery.org.uk/paintings/learn-about-art/paintings-in-depth/painting-saints/recognising-saints-animals-and-the-body/recognising-saints-stigmata", "cite": "The National Gallery, London, on recognising saints by the stigmata"}]}, "scene": {"why": "THE SAINT IS NOT IN SCRIPTURE, or this episode of their life is not. Their acts come to us through the Church’s memory — martyrologies, hagiography, the testimony of their own communities — not through the biblical record. Naming a verse here would dress tradition as Scripture."}, "th": "/store/thumb/giotto_francis_stigmata.webp", "more": [{"k": "subject", "n": "Saints in painting", "u": "/editions/subject/saints/", "ids": ["duccio_calling_apostles", "simone_martini_frescoes_of_the_chapel_of_st_martin_life", "simone_martini_maesta", "baronzio_the_birth_naming_and_circumcision_of_saint_john"]}, {"k": "master", "n": "Giotto", "u": "/editions/master/giotto/", "ids": ["giotto_last_supper", "giotto_the_entombment_of_mary"]}]}, "caravaggio_crucifixion_peter": {"id": "caravaggio_crucifixion_peter", "title": "The Crucifixion of St Peter", "artist_line": "Caravaggio (Italian, 1571–1610)", "artist": "Caravaggio", "date": "1601", "museum": "Santa Maria del Popolo, Rome", "license": "PD/CC0", "tier": "Sanctuary", "sizes": [{"size": "18×24 in", "paper": 140, "iw": 18, "ih": 23.2, "sw": 18, "sh": 24, "cov": 0.966}, {"size": "24×36 in", "paper": 190, "iw": 24, "ih": 30.9, "sw": 24, "sh": 36, "cov": 0.859}, {"size": "32×48 in", "paper": 340, "iw": 32, "ih": 41.2, "sw": 32, "sh": 48, "cov": 0.859}, {"size": "40×60 in", "paper": 480, "iw": 40, "ih": 51.5, "sw": 40, "sh": 60, "cov": 0.859}], "local": "/store/display/caravaggio_crucifixion_peter.jpg", "commons_file": "Crucifixion of Saint Peter-Caravaggio (c.1600).jpg", "zoom": "https://art.monstrance.app/zoom/caravaggio_crucifixion_peter.jpg", "master_px": 10537, "auth": {"institution": "Basilica di Santa Maria del Popolo, Roma (Ordine di Sant'Agostino — Provincia Agostiniana d'Italia)", "url": "https://www.agostiniani.it/comunita-agostiniane-provincia/parrocchia-santa-maria-popolo/", "artist_as_printed": "Caravaggio", "date_as_printed": "1601", "accession_absent": "in_situ"}, "writeup": {"text": "Saint Peter is going up head down, and no one here hates him. Three men do the work: one hauls a rope, one heaves at the beam, one braces beneath it with his back to us and his soles black with dirt. The basilica of Santa Maria del Popolo reads the inverted cross as Peter's own choice, humility refusing to die as Christ died, and the three as labourers, not executioners. Heather Nolin finds strain and groaning in them, and, following Leo Steinberg, says Caravaggio's space comes right only from halfway into the chapel. Peter lifts his white head off the wood, his eyes wide open.", "sources": [{"what": "the basilica's own reading: the cross inverted at Peter's request as a sign of humility; labourers rather than executioners; the dirty bare feet", "url": "https://santamariadelpopoloroma.it/attrazione/crocifissione-di-san-pietro-caravaggio/"}, {"what": "the raking light on Peter's strained musculature; the cross tilted into the viewer's space; one labourer seen from behind with his face turned away", "url": "https://smarthistory.org/caravaggio-crucifixion-of-st-peter/", "cite": "Beth Harris and Steven Zucker, Smarthistory, 23 Nov 2015"}, {"what": "Baglione, 1642, is the sole early witness: the first versions of the two Cerasi laterals did not please the patron and Cardinal Sannesio took them. He does not describe a formal refusal", "cite": "Giovanni Baglione, Le vite de' pittori, scultori et architetti (Rome, 1642), Life of Caravaggio"}, {"what": "The basilica's own reading: the head-down crucifixion as Peter's own will and a sign of humility, refusing to die as Christ died.", "url": "https://santamariadelpopoloroma.it/attrazione/crocifissione-di-san-pietro-caravaggio/", "cite": "Basilica di Santa Maria del Popolo, Roma — attraction page, 'Crocifissione di San Pietro'"}, {"what": "The three fragments of the basilica's description on which the card's first paragraph rests.", "url": "https://santamariadelpopoloroma.it/attrazione/crocifissione-di-san-pietro-caravaggio/", "cite": "Basilica di Santa Maria del Popolo, Roma — attraction page"}, {"what": "Nolin on the labourers of the Peter. NOTE FOR THE RECORD: the phrase sits inside single quotation marks in her text, within a sentence she writes in her own voice endorsing it as an example of Caravaggio's realism", "url": "https://www.academia.edu/26549874/_Non_piacquero_al_Padrone_A_Reexamination_of_Caravaggios_Cerasi_Crucifixion_of_St_Peter", "cite": "Heather Nolin, \"'Non piacquero al Padrone': A Reexamination of Caravaggio's Cerasi Crucifixion of St. Peter,\" Rutgers Art Review 24 (2008)"}, {"what": "Nolin's full sentence is concessive: it contrasts the labourer's dirt with Peter's clean feet, and does NOT corroborate the reading of the foreground feet as the saint's.", "url": "https://www.academia.edu/26549874/_Non_piacquero_al_Padrone_A_Reexamination_of_Caravaggios_Cerasi_Crucifixion_of_St_Peter", "cite": "Heather Nolin, Rutgers Art Review 24 (2008)"}, {"what": "The required standpoint. CORRECTED ATTRIBUTION: Nolin prints this immediately after naming its author — 'Most germane for my argument is Steinberg's analysis of the pivoted pictorial space in Caravaggio's paintings' — and the following sentence names the cross of Peter among the diagonals made coherent from that oblique position", "url": "https://www.academia.edu/26549874/_Non_piacquero_al_Padrone_A_Reexamination_of_Caravaggios_Cerasi_Crucifixion_of_St_Peter", "cite": "Heather Nolin, Rutgers Art Review 24 (2008), following Leo Steinberg"}]}, "scene": {"ref": "John 21:18", "quote": "Amen, amen, I say to thee, When thou wast younger, thou didst gird thyself and didst walk where thou wouldst. But when thou shalt be old, thou shalt stretch forth thy hands, and another shall gird thee and lead thee whither thou wouldst not.", "shows": "the death Peter was told he would die: another shall gird thee"}, "th": "/store/thumb/caravaggio_crucifixion_peter.webp", "more": [{"k": "subject", "n": "Saints in painting", "u": "/editions/subject/saints/", "ids": ["caravaggio_the_inspiration_of_saint_matthew", "caravaggio_saint_francis_in_prayer", "caravaggio_st_jerome", "caravaggio_the_crucifixion_of_saint_andrew"]}, {"k": "master", "n": "Caravaggio", "u": "/editions/master/caravaggio/", "ids": ["caravaggio_emmaus", "caravaggio_incredulity_thomas", "caravaggio_taking_of_christ", "caravaggio_the_inspiration_of_saint_matthew"]}]}, "caravaggio_matthew_call": {"id": "caravaggio_matthew_call", "title": "The Calling of St Matthew", "artist_line": "Caravaggio (Italian, 1571–1610)", "artist": "Caravaggio", "date": "1599–1600", "museum": "San Luigi dei Francesi, Rome", "license": "PD/CC0", "tier": "Sanctuary", "sizes": [{"size": "18×24 in", "paper": 140, "iw": 17.5, "ih": 18, "sw": 24, "sh": 18, "cov": 0.73}, {"size": "24×36 in", "paper": 190, "iw": 23.4, "ih": 24, "sw": 36, "sh": 24, "cov": 0.649}, {"size": "32×48 in", "paper": 340, "iw": 31.1, "ih": 32, "sw": 48, "sh": 32, "cov": 0.649}, {"size": "40×60 in", "paper": 480, "iw": 38.9, "ih": 40, "sw": 60, "sh": 40, "cov": 0.649}], "local": "/store/display/caravaggio_matthew_call.jpg", "commons_file": "The Calling of Saint Matthew-Caravaggo (1599-1600).jpg", "zoom": "https://art.monstrance.app/zoom/caravaggio_matthew_call.jpg", "master_px": 10039, "auth": {"institution": "Saint-Louis-des-Français / San Luigi dei Francesi, Roma", "url": "https://saintlouis-rome.net/horaires-visite-opening-hours/caravage/", "artist_as_printed": "Michelangelo Merisi, dit le Caravage", "accession_absent": "in_situ"}, "writeup": {"text": "Christ's hand comes out of the dark and points across a table of coins. Irving Lavin reads it as Adam's hand from the Sistine ceiling, reversed: Christ as the New Adam. Smarthistory traces the light to a source above His head that Caravaggio will not show, and Gozzano and Tosini tie it to the chapel's own window; the window he does paint lets nothing in. At the table young men in feathers and silk turn to look. Which of them is Matthew, art historians have argued since Andreas Prater in 1985, and still argue. Someone at that table is about to stand up.", "sources": [{"what": "the gesture reverses Adam’s hand; Christ as the New Adam", "url": "https://publications.ias.edu/sites/default/files/Lavin_CaravaggioCallingStMatthewZZ_1993.pdf", "cite": "Irving Lavin, \"Caravaggio’s Calling of St. Matthew: The Identity of the Protagonist,\" in Past-Present (UC Press, 1993), 84-99"}, {"what": "the identity dispute: the young man reading, originated 1985 and still argued", "url": "https://www.kunstgeschichte-ejournal.net/577/", "cite": "Andreas Prater, Pantheon (1985); Jürgen Müller, Kunstgeschichte OPRJ (2021), DOI 10.5283/kuge.577"}, {"what": "the beam from an unseen source above Christ’s head; contemporary dress against timeless robes", "url": "https://smarthistory.org/caravaggio-calling-of-st-matthew/"}, {"what": "the painted window admits no light; the beam alludes to the chapel’s own window", "url": "https://www.gliscritti.it/blog/entry/798", "cite": "citing Gozzano \u0026 Tosini, La cappella Contarelli in San Luigi dei Francesi"}]}, "scene": {"ref": "Matthew 9:9", "quote": "And when Jesus passed on from thence, he saw a man sitting in the custom house, named Matthew; and he saith to him: Follow me. And he arose up and followed him.", "shows": "the man sitting in the custom house: Follow me"}, "th": "/store/thumb/caravaggio_matthew_call.webp", "more": [{"k": "subject", "n": "Saints in painting", "u": "/editions/subject/saints/", "ids": ["caravaggio_the_martyrdom_of_saint_matthew", "caravaggio_conversion_paul", "caravaggio_crucifixion_peter", "caravaggio_the_inspiration_of_saint_matthew"]}, {"k": "master", "n": "Caravaggio", "u": "/editions/master/caravaggio/", "ids": ["caravaggio_the_martyrdom_of_saint_matthew", "caravaggio_conversion_paul", "caravaggio_crucifixion_peter", "caravaggio_emmaus"]}]}, "caravaggio_st_jerome": {"id": "caravaggio_st_jerome", "title": "Saint Jerome Writing", "artist_line": "Caravaggio (Italian, 1571–1610)", "artist": "Caravaggio", "date": "c. 1606", "museum": "Galleria Borghese, Rome", "license": "PD/CC0", "tier": "Sanctuary", "sizes": [{"size": "18×24 in", "paper": 140, "iw": 24, "ih": 17.1, "sw": 24, "sh": 18, "cov": 0.951}, {"size": "24×36 in", "paper": 190, "iw": 33.6, "ih": 24, "sw": 36, "sh": 24, "cov": 0.935}, {"size": "32×48 in", "paper": 340, "iw": 44.9, "ih": 32, "sw": 48, "sh": 32, "cov": 0.935}, {"size": "40×60 in", "paper": 480, "iw": 56.1, "ih": 40, "sw": 60, "sh": 40, "cov": 0.935}], "local": "/store/display/caravaggio_st_jerome.jpg", "commons_file": "Saint Jerome Writing-Caravaggio (1605-6).jpg", "zoom": "https://art.monstrance.app/zoom/caravaggio_st_jerome.jpg", "master_px": 8708, "auth": {"institution": "Galleria Borghese, Rome", "accession": "inv. 56", "url": "https://galleriaborghese.beniculturali.it/opere/san-girolamo/", "artist_as_printed": "Merisi Michelangelo detto Caravaggio (Milano 1571 - Porto Ercole 1610)", "date_as_printed": "circa 1606", "medium": "olio su tela", "dimensions": "cm 116 x 153"}, "writeup": {"text": "An old man's bare arm reaches the length of the table, pen in hand, and at the far end a skull sits on an open book. Saint Jerome does not look up. Bellori, in 1672, described him writing attentively and stretching out his hand. The Galleria Borghese reads Caravaggio's canvas as a dialogue of opposites: warm flesh and purple mantle against the cool book, the skull and the white cloth; life and death, past and present. Calvesi proposed the purple as a compliment to Cardinal Scipione Borghese; Marini judged it unfinished, and Cinotti disputed him. The book lies open between the living head and the dead one.", "sources": [{"what": "Galleria Borghese object page (scheda, Antonio Iommelli): artist line 'Merisi Michelangelo detto Caravaggio (Milano 1571 - Porto Ercole 1610)', 'San Girolamo', 'circa 1606', 'olio su tela', 'cm 116 x 153', inv. 056; Bellori 1672 quoted: 'per lo medesimo Cardinale dipinse San Girolamo che scrivendo attentamente distende la mano'; the saint 'come un anziano umanista piegato dalla complessa esegesi del testo sacro'; warm tones (flesh, purple mantle) against cool (the open book bearing the skull, the white drapery) as 'un dialogo simbolico tra contenuti di natura opposta: vita e morte, passato e presente'; Calvesi (1994) proposing a gift to Scipione Borghese with the cardinal's purple in Jerome's vestments; Marini judging it unfinished from the summary beard, Cinotti (1983) disputing; provenance and bibliography. Carries the Bellori sentence, the dialogue of opposites, Calvesi, Marini and the tombstone.", "url": "https://galleriaborghese.beniculturali.it/opere/san-girolamo/", "cite": "Galleria Borghese, Rome, 'San Girolamo', Caravaggio, inv. 56, scheda by Antonio Iommelli, read 2026-09-06"}, {"what": "Galleria Borghese collection mirror: same tombstone, 'Sala 8 - Sala del Sileno'; provenance 'Rome, Cardinal Scipione Borghese (documented by Bellori 1672); Borghese inventories 1693, 1790, 1833; acquired by the Italian state in 1902'; bibliography Bellori 1672, Longhi 1952, della Pergola 1959, Marini 2001. Tombstone corroboration.", "url": "https://www.collezionegalleriaborghese.it/opere/san-girolamo", "cite": "Collezione Galleria Borghese, 'San Girolamo', Merisi Michelangelo detto Caravaggio, inv. 056, read 2026-09-06"}, {"what": "ICCD Catalogo generale dei Beni Culturali: 'San Girolamo scrivente', 'Merisi Michelangelo Detto Caravaggio (1571-1572/ 1610)', 1605, 'tela/ pittura a olio', inv. 56, Galleria Borghese; attributes 'a skull, books, a quill pen, and an inkwell'; first documented by Manilli 1650; an alternative attribution to Ribera noted. Carries the pen and the scene 'why'; tombstone corroboration.", "url": "https://catalogo.beniculturali.it/detail/HistoricOrArtisticProperty/1200147789", "cite": "Ministero della Cultura, ICCD, Catalogo generale dei Beni Culturali, 'San Girolamo scrivente', 1200147789, read 2026-09-06"}]}, "scene": {"why": "THE SUBJECT IS NOT IN SCRIPTURE. Jerome (c. 347–420) translating and expounding the Bible is an event of the saint's own life, four centuries after the last biblical book; the skull, books, pen and inkwell are his iconographic attributes (ICCD). No verse shows a Church Father at his desk, so none is quoted."}, "th": "/store/thumb/caravaggio_st_jerome.webp", "more": [{"k": "subject", "n": "Saints in painting", "u": "/editions/subject/saints/", "ids": ["caravaggio_the_crucifixion_of_saint_andrew", "caravaggio_beheading_baptist", "caravaggio_the_burial_of_saint_lucy", "cavaliere_d_arpino_martyrdom_of_saint_margaret"]}, {"k": "master", "n": "Caravaggio", "u": "/editions/master/caravaggio/", "ids": ["caravaggio_supper_at_emmaus_brera", "caravaggio_the_crucifixion_of_saint_andrew", "caravaggio_the_flagellation_of_christ", "caravaggio_beheading_baptist"]}]}, "ribera_jerome": {"id": "ribera_jerome", "title": "St Jerome", "artist_line": "Jusepe de Ribera (Spanish, 1591–1652)", "artist": "Jusepe de Ribera", "date": "c. 1630s", "museum": "Harvard Art Museums", "license": "PD/CC0", "tier": "Hero", "sizes": [{"size": "16×20 in", "paper": 110, "iw": 16, "ih": 19.7, "sw": 16, "sh": 20, "cov": 0.986}, {"size": "18×24 in", "paper": 140, "iw": 18, "ih": 22.2, "sw": 18, "sh": 24, "cov": 0.924}, {"size": "24×36 in", "paper": 190, "iw": 24, "ih": 29.6, "sw": 24, "sh": 36, "cov": 0.821}], "local": "/store/display/ribera_jerome.jpg", "commons_file": "Ribera - Saint Jerome, 1640.jpg", "zoom": "https://art.monstrance.app/zoom/ribera_jerome.jpg", "master_px": 7748, "auth": {"institution": "Harvard Art Museums", "accession": "1920.7", "url": "https://harvardartmuseums.org/collections/object/232093", "artist_as_printed": "Jusepe de Ribera"}, "writeup": {"text": "An old man's hand closes on a stone that still rests on the ledge. Harvard reads it as the stone with which Jerome would violently beat his breast, the self-abuse sharpened by the muscular tension in his right arm against the worn, wrinkled skin elsewhere on the aged body. Bernardo De Dominici wrote that Jusepe de Ribera procured old, decrepit men to paint from. The skull cradled in his other arm, the museum says, stands for the transience of human existence, and the flesh that holds it is going the same way. The red cloth is a cardinal's, an office that did not exist in Jerome's lifetime: honour paid by a later Church. His eyes turn up and away from all of it. The stone stays under his hand.", "sources": [{"what": "Skull cradled in left arm as memento mori; stone gripped in raised right hand as instrument of self-flagellation per hermit legend", "url": "https://harvardartmuseums.org/collections/object/232093"}, {"what": "Muscular tension in raised arm contrasted with worn, aged skin elsewhere on the body; open book referencing Jerome's scholarship", "url": "https://harvardartmuseums.org/collections/object/232093"}, {"what": "Open book identified specifically with Jerome's Vulgate translation that made him a Doctor of the Church", "url": "https://www.academia.edu/35327178/_Naples_in_Flesh_and_Bones_Ribera_s_Drunken_Silenus_and_Saint_Jerome_", "cite": "Edward Payne, \"Ribera's Saint Jerome,\" Open Arts Journal, Special Issue: Baroque Naples (2017-18)"}, {"what": "Red robe is a cardinal's color, an anachronistic convention since the cardinalate did not exist in Jerome's era; Jerome actually served as secretary to Pope Damasus I in Rome", "url": "https://www.nationalgallery.org.uk/paintings/possibly-by-el-greco-saint-jerome-as-cardinal"}, {"what": "Harvard's reading of 1920.7: the blow still in the conditional, the muscle-against-skin contrast, the skull, and the identification of the robe as a cardinal's.3 cm", "url": "https://harvardartmuseums.org/collections/object/232093", "cite": "Harvard Art Museums, object 1920.7, Jusepe de Ribera, Saint Jerome, 1640, oil on canvas, 128 x 101.3 cm"}, {"what": "De Dominici on Ribera painting his old men from procured live models. Quote 109 of the PDF, with Payne's underlying citation to De Dominici, Vite, vol. 3, p. 137", "url": "https://openartsjournal.org/wp-content/uploads/2018/02/oaj_issue6_payne.pdf", "cite": "Bernardo De Dominici, Vite dei pittori, scultori ed architetti napoletani ([1742-5] 1840-6), vol. 3, p. 137, quoted and translated in Edward Payne, 'Naples in Flesh and Bones: Ribera's Drunken Silenus and Saint Jerome', Open Arts Journal 6 (Winter 2017/18), p. 109"}, {"what": "The cardinal's red as anachronistic honour rather than office held. Sentence; note the NG's own attribution hedge on the picture, which is not relied on for anything the card says.", "url": "https://www.nationalgallery.org.uk/paintings/possibly-by-el-greco-saint-jerome-as-cardinal", "cite": "National Gallery, London, 'Saint Jerome as Cardinal', possibly by El Greco, 1590-1600, collection page"}]}, "scene": {"why": "THE SAINT IS NOT IN SCRIPTURE, or this episode of their life is not. Their acts come to us through the Church’s memory — martyrologies, hagiography, the testimony of their own communities — not through the biblical record. Naming a verse here would dress tradition as Scripture."}, "th": "/store/thumb/ribera_jerome.webp", "more": [{"k": "subject", "n": "Saints in painting", "u": "/editions/subject/saints/", "ids": ["ribera_saint_bartholomew", "giotto_francis_stigmata", "duccio_calling_apostles", "simone_martini_frescoes_of_the_chapel_of_st_martin_life"]}, {"k": "master", "n": "Jusepe de Ribera", "u": "/editions/master/jusepe-de-ribera/", "ids": ["ribera_immaculate_conception", "jusepe_de_ribera_jacob_s_dream", "ribera_the_adoration_of_the_shepherds"]}]}, "rubens_saint_francis_receiving_the_stigmata": {"id": "rubens_saint_francis_receiving_the_stigmata", "title": "Saint Francis Receiving the Stigmata", "artist_line": "Peter Paul Rubens (Flemish, 1577–1640)", "artist": "Peter Paul Rubens", "date": "c. 1633", "museum": "Museum voor Schone Kunsten Gent (MSK)", "license": "PD/CC0", "tier": "Hero", "sizes": [{"size": "16×20 in", "paper": 110, "iw": 14.5, "ih": 20, "sw": 16, "sh": 20, "cov": 0.908}, {"size": "18×24 in", "paper": 140, "iw": 17.4, "ih": 24, "sw": 18, "sh": 24, "cov": 0.969}, {"size": "24×36 in", "paper": 190, "iw": 24, "ih": 33.0, "sw": 24, "sh": 36, "cov": 0.917}], "local": "/store/display/franciscus_van_assisi_ontvangt_de_stigmata_peter__d3e47c198821.jpg", "commons_file": "Franciscus van Assisi ontvangt de stigmata, Peter Paul Rubens, 1633, Koninklijk Museum voor Schone Kunsten Gent, S-9.jpg", "zoom": "https://art.monstrance.app/zoom/franciscus_van_assisi_ontvangt_de_stigmata_peter__d3e47c198821.jpg", "master_px": 7019, "auth": {"institution": "Museum voor Schone Kunsten Gent (MSK)", "accession": "S-9", "url": "http://mskgent.be/collection/work/data/S-9", "artist_as_printed": "Peter Paul Rubens", "date_as_printed": "circa 1633", "medium": "oil paint, canvas", "dimensions": "265.5 x 193 x 11 cm"}, "writeup": {"text": "Rays come down from Christ crucified on wings, and Francis kneels with his hands open, a wound in one palm and a rent in his habit over the wound in his side. He does not look up at the seraph. His face turns out toward us; the MSK Gent calls it full of pain and confusion. At the left, Brother Leo lifts a hand against the light, the witness the British Museum's engraving after this canvas shows dazzled. Bonaventure wrote that Francis marvelled at a vision he could not fathom and understood it only afterwards, when the Lord revealed it. A skull and a book lie by his knee, signs, the museum says, of the contemplative life. Rubens painted it for a side altar of the Recollects' church in Ghent; their convent stood until 1797. Understanding came later. The wounds came first.", "sources": [{"what": "Seraph bearing image of crucified Christ, meaning of stigmata as gift via seraphic love", "url": "https://www.vlaamsekunstcollectie.be/collectie/s-9"}, {"what": "Seraph in upper right, wound-marks, corroborates composition via period engraving after this painting", "url": "https://www.britishmuseum.org/collection/object/P_1891-0414-789"}, {"what": "Francis's face, full of pain and confusion; skull and book as symbols of contemplative ascetic life", "url": "https://www.mskgent.be/en/collection/s-9"}, {"what": "Skull as memento mori/vanitas signifying renunciation of the world", "url": "https://www.mskgent.be/en/collection/s-9"}, {"what": "Brother Leo present but only partially aware/dazzled at La Verna, functioning as eyewitness figure", "url": "https://www.britishmuseum.org/collection/object/P_1891-0414-789"}, {"what": "Painting was altarpiece for side altar of Recollects (Franciscan) church in Ghent, since demolished", "url": "https://www.mskgent.be/en/collection/s-9"}, {"what": "Rubens painted this Counter-Reformation subject in multiple versions", "url": "https://www.mskgent.be/en/collection/s-9"}, {"what": "Bonaventure: Francis marvelled at a vision he could not fathom and understood it only afterwards, when the Lord revealed it — the text behind the card's whole thesis of incomprehension.", "cite": "Bonaventure, 'Legenda Maior' (The Major Legend of Saint Francis), XIII.3."}, {"what": "The Flemish government's heritage inventory: the Recollects' Ghent convent stood from the early seventeenth century until 1797 on what is now the Koophandelplein, a square dominated today by the neoclassical Court of Justice.", "url": "https://inventaris.onroerenderfgoed.be/themas/2955", "cite": "Inventaris Onroerend Erfgoed, thema 2955, 'Recollettenlei', Ghent."}, {"what": "The 1770 engraving after this canvas: Francis turned toward the viewer with the seraph at the upper right, Brother Leo dazzled, and the crucified Christ identified as the winged seraph itself.", "url": "https://www.britishmuseum.org/collection/object/P_1891-0414-789", "cite": "The British Museum, P,1891-0414-789, after Rubens (MSK Gent S-9)."}]}, "scene": {"why": "THE SAINT IS NOT IN SCRIPTURE, or this episode of their life is not. Their acts come to us through the Church’s memory — martyrologies, hagiography, the testimony of their own communities — not through the biblical record. Naming a verse here would dress tradition as Scripture."}, "th": "/store/thumb/franciscus_van_assisi_ontvangt_de_stigmata_peter__d3e47c198821.webp", "more": [{"k": "subject", "n": "Saints in painting", "u": "/editions/subject/saints/", "ids": ["francisco_de_zurbaran_st_francis_contemplating_a_skull", "la_tour_magdalen_flame", "zurbaran_casilda", "reni_saint_james_the_greater"]}, {"k": "master", "n": "Peter Paul Rubens", "u": "/editions/master/peter-paul-rubens/", "ids": ["peter_paul_rubens_the_raising_of_the_cross_sketch", "rubens_the_baptism_of_christ", "rubens_saint_jerome", "rubens_massacre_innocents"]}]}, "zurbaran_st_francis": {"id": "zurbaran_st_francis", "title": "St Francis in Meditation", "artist_line": "Workshop of Francisco de Zurbarán (Spanish, 1598–1664)", "artist": "Workshop of Francisco de Zurbarán", "date": "about 1650–1655", "museum": "Indianapolis Museum of Art at Newfields", "license": "PD/CC0", "tier": "Hero", "sizes": [{"size": "16×20 in", "paper": 110, "iw": 12.5, "ih": 20, "sw": 16, "sh": 20, "cov": 0.78}, {"size": "18×24 in", "paper": 140, "iw": 15.0, "ih": 24, "sw": 18, "sh": 24, "cov": 0.832}], "local": "/store/display/zurbaran_st_francis.jpg", "commons_file": "Francisco de Zurbarán - St. Francis in Meditation - 62.13 - Indianapolis Museum of Art.jpg", "zoom": "https://art.monstrance.app/zoom/zurbaran_st_francis.jpg", "master_px": 5821, "auth": {"institution": "Indianapolis Museum of Art at Newfields", "accession": "62.13", "url": "https://collections.discovernewfields.org/art/artwork/41092", "artist_as_printed": "Workshop of Francisco d. Zurbaran", "date_as_printed": "about 1650-1655", "medium": "oil on canvas", "dimensions": "61-3/8 x 36-1/8 in."}, "writeup": {"text": "Francis kneels in a cave with his hands locked together, and his eyes go up past the rock to the light. On the ledge beside him lie an open book and a skull, and that is all he owns. Sotheby's reads the grotto as an echo of his hermit caves at La Verna and Poggio Bustone, and the skull beside the book as reading and dying held as one act of devotion. The design is Zurbarán's, and this canvas is his workshop's repetition of it; the first version, of about 1650 to 1655, is in the San Diego Museum of Art. Newfields records no church that ordered it, and its earliest known owner was a Spanish duke, the fifth Duke of Granada de Ega. A duke kept the portrait of a man with a book and a skull.", "sources": [{"what": "Grotto setting evokes Francis's eremitic caves (La Verna, Poggio Bustone); skull as memento mori paired with book as reading/dying held as one devotional act; cross as focus of prayer", "url": "https://www.sothebys.com/en/auctions/ecatalogue/2014/contemplation-divine-l14906/lot.25.html", "cite": "Sotheby's, 'Contemplation Divine' sale, 2014, lot 25 essay"}, {"what": "Indianapolis canvas is a workshop copy; prime version of this composition (c. 1650-1655) is at the San Diego Museum of Art, not the 1635 National Gallery composition", "url": "https://www.spanishart.us/museums/san-diego-museum-of-art/saint-francis-in-prayer-in-a-grotto/", "cite": "Spanish Art in the US (spanishart.us), San Diego Museum of Art entry"}, {"what": "No church/patron commission documented for this specific canvas; earliest documented owner was Francisco Javier de Idiáquez y Carvajal, fifth Duke of Granada de Ega", "url": "https://collections.discovernewfields.org/art/artwork/41092", "cite": "Indianapolis Museum of Art at Newfields, published provenance for accession 62.13"}]}, "scene": {"why": "THE SAINT IS NOT IN SCRIPTURE, or this episode of their life is not. Their acts come to us through the Church’s memory — martyrologies, hagiography, the testimony of their own communities — not through the biblical record. Naming a verse here would dress tradition as Scripture."}, "th": "/store/thumb/zurbaran_st_francis.webp", "more": [{"k": "subject", "n": "Saints in painting", "u": "/editions/subject/saints/", "ids": ["dolci_mater_dolorosa", "dolci_saint_catherine_of_siena", "murillo_saint_rose_of_lima", "panini_pantheon"]}]}, "la_tour_repentant_magdalen": {"id": "la_tour_repentant_magdalen", "title": "The Repentant Magdalen", "artist_line": "Georges de La Tour (French, 1593–1652)", "artist": "Georges de La Tour", "date": "c. 1640", "museum": "National Gallery of Art, Washington", "license": "PD/CC0", "tier": "Sanctuary", "sizes": [{"size": "16×20 in", "paper": 110, "iw": 16, "ih": 19.3, "sw": 16, "sh": 20, "cov": 0.964}, {"size": "18×24 in", "paper": 140, "iw": 18, "ih": 21.7, "sw": 18, "sh": 24, "cov": 0.904}, {"size": "24×36 in", "paper": 190, "iw": 24, "ih": 28.9, "sw": 24, "sh": 36, "cov": 0.803}, {"size": "32×48 in", "paper": 340, "iw": 32, "ih": 38.6, "sw": 32, "sh": 48, "cov": 0.803}, {"size": "40×60 in", "paper": 480, "iw": 40, "ih": 48.2, "sw": 40, "sh": 60, "cov": 0.803}], "local": "/store/display/la_tour_repentant_magdalen.jpg", "commons_file": "Georges de La Tour, The Repentant Magdalen, c. 1635-1640, NGA 54386.jpg", "zoom": "https://art.monstrance.app/zoom/la_tour_repentant_magdalen.jpg", "master_px": 26114, "auth": {"institution": "National Gallery of Art, Washington", "accession": "1974.52.1", "url": "https://www.nga.gov/artworks/54386-repentant-magdalen", "artist_as_printed": "Georges de La Tour", "medium": "oil on canvas", "dimensions": "overall: 113 × 92.7 cm (44 1/2 × 36 1/2 in.)"}, "writeup": {"text": "A mirror cannot refuse a face; this one does. She looks straight into the small glass, and by the Gallery's account it gives back the skull and the book beneath it.\n\nThe one candle is mostly out of sight behind that skull, so the room's only light reaches her past it. Her hand settles on the bone. The Gallery reads flame, mirror and skull as life's transience and her rejection of luxury for Christ; seventeenth-century Catholic teaching made her the sign of the Sacrament of Penance.\n\nA woman at her mirror; the only face in it is a skull.", "sources": [{"what": "Object page: title, artist, oil on canvas, accession 1974.52.1, and the Gallery's statement that Mary Magdalene was the example of the repentant sinner and a symbol of the Sacrament of Penance.", "url": "https://www.nga.gov/artworks/54386-repentant-magdalen", "cite": "National Gallery of Art, Washington, object record, acc. 1974.52.1"}, {"what": "NGA description: a dim interior illuminated only by a single candle flame; she gazes into the mirror and at the backlit skull, which she touches lightly; skull, mirror and flame signify transience and rejection of luxury.", "url": "https://www.nga.gov/stories/videos/georges-de-la-tours-repentant-magdalen-asl", "cite": "National Gallery of Art, \"Georges de la Tour's The Repentant Magdalen\" (ASL description)"}, {"what": "NGA collection text on the Gallery's partner page: a candle is the source of light in the composition; the skull rests on a book and is also reflected in the mirror; both are emblems of vanitas. Gives 113 x 92.7 cm.", "url": "https://artsandculture.google.com/asset/the-repentant-magdalen-georges-de-la-tour/2QGwZrE8Px8k9A?hl=en", "cite": "National Gallery of Art collection text, Google Arts \u0026 Culture"}, {"what": "NGA provenance index page for Monsieur André Fabius, listing this painting with accession 1974.52.1, credit line Ailsa Mellon Bruce Fund, and acquisition by the Gallery in 1974.", "url": "https://www.nga.gov/artworks/provenance/733-monsieur-andre-fabius", "cite": "National Gallery of Art provenance index, Monsieur André Fabius"}, {"what": "NGA exhibition record for the 1993 focus exhibition marking 400 years since La Tour's birth, in which the Gallery's restored canvas hung alongside the La Tour Magdalen from LACMA; curator Philip Conisbee.", "url": "https://www.nga.gov/exhibitions/georges-de-la-tours-repentant-magdalene", "cite": "National Gallery of Art, \"Georges de La Tour's Repentant Magdalene,\" 25 April - 6 September 1993"}, {"what": "The National Gallery's own published image description of this canvas: the skull rests on a thick book on the table, her left hand reaches for it, and the single candle is hidden behind the skull. Quote", "url": "https://www.nga.gov/exhibitions/georges-de-la-tours-repentant-magdalene", "cite": "National Gallery of Art, published image description, \"Georges de La Tour's Repentant Magdalene\""}]}, "scene": {"ref": "Luke 7:38", "quote": "And standing behind at his feet. she began to wash his feet with tears and wiped them with the hairs of her head and kissed his feet and anointed them with the ointment.", "shows": "the woman washing his feet with tears"}, "th": "/store/thumb/la_tour_repentant_magdalen.webp", "more": [{"k": "subject", "n": "Saints in painting", "u": "/editions/subject/saints/", "ids": ["champaigne_augustine", "champaigne_the_repentant_magdalen", "poussin_the_ecstasy_of_saint_paul", "le_sueur_der_heilige_bruno_im_gebet_saint_bruno_i"]}, {"k": "master", "n": "Georges de La Tour", "u": "/editions/master/georges-de-la-tour/", "ids": ["la_tour_newborn", "la_tour_magdalen_flame"]}]}, "la_tour_magdalen_flame": {"id": "la_tour_magdalen_flame", "title": "Magdalen with the Smoking Flame", "artist_line": "Georges de La Tour (French, 1593–1652)", "artist": "Georges de La Tour", "date": "c. 1635–1637", "museum": "Los Angeles County Museum of Art", "license": "PD/CC0", "tier": "Mid", "sizes": [{"size": "11×14 in", "paper": 59, "iw": 10.9, "ih": 14, "sw": 11, "sh": 14, "cov": 0.992}, {"size": "16×20 in", "paper": 110, "iw": 15.6, "ih": 20, "sw": 16, "sh": 20, "cov": 0.975}, {"size": "18×24 in", "paper": 140, "iw": 18, "ih": 23.1, "sw": 18, "sh": 24, "cov": 0.962}], "local": "/store/display/la_tour_magdalen_flame.jpg", "commons_file": "Georges de La Tour - The Magdalen with the Smoking Flame - Google Art Project.jpg", "zoom": "https://art.monstrance.app/zoom/la_tour_magdalen_flame.jpg", "master_px": 6437, "auth": {"institution": "Los Angeles County Museum of Art", "accession": "M.77.73", "url": "https://collections.lacma.org/node/238963", "artist_as_printed": "Georges de La Tour", "date_as_printed": "circa 1635-37", "medium": "Oil on canvas", "dimensions": "Canvas: 46 1/16 × 36 1/8 in. (117 × 91.76 cm)"}, "writeup": {"text": "A small flame stands in a glass, and a thread of smoke climbs from it into the dark. The Magdalen's hand rests on a skull in her lap, but her eyes are on the light. LACMA reads the skull, with the books and the scourge, as setting the mood; the true subject, it says, is the candle, what followers of Saint John of the Cross called the living flame of love. Daily Art Magazine adds the smoke as a note on how fast a life burns. La Tour's other Magdalen has a mirror the Metropolitan calls the symbol of vanity. This one has none. The flame burns down.", "sources": [{"what": "Candle/smoke as the work's true subject, read through St. John of the Cross's 'living flame of love' theology", "url": "https://collections.lacma.org/node/238963"}, {"what": "Reads the rising smoke as an added vanitas note (life's fragility) atop LACMA's candle-as-subject reading; confirms the mirror belongs only to La Tour's other ('first') Magdalen painting, not this one", "url": "https://www.dailyartmagazine.com/mary-magdalene-in-candlelight-by-georges-de-la-tour/"}, {"what": "LACMA's own provenance record starts with an uncertain, questioned first owner (ca. 1640?) and documents no commissioning patron, church, or chapel for this canvas", "url": "https://collections.lacma.org/node/238963"}, {"what": "The mirror in La Tour's other Magdalen, read by the museum as the symbol of vanity — the emblem whose absence in this picture is the card's argument.", "url": "https://www.metmuseum.org/art/collection/search/436839", "cite": "The Metropolitan Museum of Art, Georges de La Tour, 'The Penitent Magdalen', acc. 1978.517."}]}, "scene": {"ref": "Luke 7:38", "quote": "And standing behind at his feet. she began to wash his feet with tears and wiped them with the hairs of her head and kissed his feet and anointed them with the ointment.", "shows": "the woman washing his feet with tears"}, "th": "/store/thumb/la_tour_magdalen_flame.webp", "more": [{"k": "subject", "n": "Saints in painting", "u": "/editions/subject/saints/", "ids": ["zurbaran_casilda", "reni_saint_james_the_greater", "reni_st_michael", "gaspar_de_crayer_the_martyrdom_of_st_lawrence"]}, {"k": "master", "n": "Georges de La Tour", "u": "/editions/master/georges-de-la-tour/", "ids": ["la_tour_repentant_magdalen", "la_tour_newborn"]}]}, "lippi_saint_francis_in_glory": {"id": "lippi_saint_francis_in_glory", "title": "Saint Francis in Glory", "artist_line": "Workshop of Filippino Lippi (Italian, Florentine, 1457–1504)", "artist": "Workshop of Filippino Lippi", "date": "after 1504", "museum": "Memphis Brooks Museum of Art", "license": "PD/CC0", "tier": "Mid", "sizes": [{"size": "11×14 in", "paper": 59, "iw": 11, "ih": 13.4, "sw": 11, "sh": 14, "cov": 0.956}, {"size": "16×20 in", "paper": 110, "iw": 16, "ih": 19.5, "sw": 16, "sh": 20, "cov": 0.973}, {"size": "18×24 in", "paper": 140, "iw": 18, "ih": 21.9, "sw": 18, "sh": 24, "cov": 0.912}], "local": "/store/display/filippino_lippi_workshop_of_saint_francis_in_glo__0cecd03b234f.jpg", "commons_file": "Filippino Lippi - Workshop of - Saint Francis in Glory, after 1504, K209.jpg", "zoom": "https://art.monstrance.app/zoom/filippino_lippi_workshop_of_saint_francis_in_glo__0cecd03b234f.jpg", "master_px": 5077, "auth": {"institution": "Memphis Brooks Museum of Art", "accession": "61.190", "url": "https://emuseum.brooksmuseum.org/objects/340/saint-francis-in-glory", "artist_as_printed": "Master of Memphis", "date_as_printed": "after 1504", "medium": "Tempera on wood panel", "dimensions": "179.1 x 148.6 cm"}, "writeup": {"text": "A scroll hangs from one hand, and the other is raised as if to begin. Francis stands barefoot on a cloud in a column of gold, ringed with small winged heads, and the words on his scroll are borrowed ones: Come, my children, listen to me, I will teach you the fear of the Lord, as Fern Rusk Shapley transcribes them. The children kneel below. The Brooks Museum names the crowned king in the fleur-de-lis of France as Louis IX and the woman with roses in her apron as Elizabeth of Hungary, two patron saints of the Order; Shapley names the plain couple beside them Lucchesio and Bona, who, the New Catholic Encyclopedia records, took the Third Order rule from Francis himself in 1221 and kept their lives in the world. Filippino Lippi's workshop kneels all four on the grass. Not one of them is a friar.", "sources": [{"what": "Iconography: Francis elevated in glory (not stigmata scene), scroll teaching text, Louis IX's fleur-de-lis robe, Elizabeth of Hungary's rose apron", "url": "https://emuseum.brooksmuseum.org/objects/340/saint-francis-in-glory", "cite": "Brooks Museum eMuseum catalogue record"}, {"what": "Scroll inscription transcribed/translated; identifies Lucchesio and Bona by name as Franciscan Tertiaries; catalogues full range of attribution opinions on Filippino Lippi authorship", "url": "https://archive.org/stream/ItalianPaintingsXIIIXVCentury/Italian%20Paintings%20XIII-XV%20Century_djvu.txt", "cite": "Fern Rusk Shapley, Paintings from the Samuel H. Kress Collection: Italian Schools, XIII-XV Century (Phaidon/National Gallery of Art, 1966), pp. 137-138, entry K209"}, {"what": "The scroll text is Psalm 33:12 in Douay-Rheims/Vulgate numbering (Ps 34:11 Hebrew) — David addressing 'children'. Locator verified from my own knowledge: DR Ps 33:12 reads as quoted, and the Vulgate is 'Venite, filii, audite me: timorem Domini docebo vos.' This is what lets the card call the words borrowed and tie 'my children' to the lay figures kneeling below. The museum's translation ('Come my children, listen to me...') is plainly the same verse.", "cite": "Douay-Rheims Bible, Psalm 33:12 (Ps 34:11 Hebrew numbering)"}, {"what": "Lucchesio (Luchesius) of Poggibonsi and his wife Buona/Bona received the Third Order rule from Francis himself in 1221 — supplies the date and the 'from his hands' detail. Byline [r. brown] confirmed on the page. Caveat: this entry establishes the couple as historical tertiaries; it does not identify them as the figures in this panel — that link is Shapley's alone.", "url": "https://www.encyclopedia.com/religion/encyclopedias-almanacs-transcripts-and-maps/luchesius-poggibonsi-bl", "cite": "\"Luchesius of Poggibonsi, Bl.\", New Catholic Encyclopedia (reproduced at Encyclopedia.com)"}, {"what": "Louis IX of France and Elizabeth of Hungary are counted among the saints of the Franciscan Third Order Secular — the only support for extending 'tertiaries' to the two crowned figures. A published 1912 reference work, and the weakest link in the card: Louis IX's formal tertiary status is not universally accepted, and what keeps the clause standing is the Brooks record calling the pair 'two patron saints of the Order'.", "url": "https://www.newadvent.org/cathen/14637b.htm", "cite": "\"Third Orders\", The Catholic Encyclopedia, vol. XIV (New York: Robert Appleton Co., 1912)"}]}, "scene": {"why": "THE SAINT IS NOT IN SCRIPTURE, or this episode of their life is not. Their acts come to us through the Church’s memory — martyrologies, hagiography, the testimony of their own communities — not through the biblical record. Naming a verse here would dress tradition as Scripture."}, "th": "/store/thumb/filippino_lippi_workshop_of_saint_francis_in_glo__0cecd03b234f.webp", "more": [{"k": "subject", "n": "Saints in painting", "u": "/editions/subject/saints/", "ids": ["master_of_the_figdor_deposition_martyrdom_of_saint_lucy", "cranach_saints_genevieve_and_apollonia", "leonardo_st_john_baptist", "durer_saint_jerome_in_his_study"]}]}, "zurbaran_margaret": {"id": "zurbaran_margaret", "title": "St Margaret of Antioch", "artist_line": "Francisco de Zurbarán (Spanish, 1598–1664)", "artist": "Francisco de Zurbarán", "date": "c. 1630–34", "museum": "The National Gallery, London", "license": "PD/CC0", "tier": "Mid", "sizes": [{"size": "11×14 in", "paper": 59, "iw": 8.9, "ih": 14, "sw": 11, "sh": 14, "cov": 0.806}], "local": "/store/display/zurbaran_margaret.jpg", "commons_file": "Francisco de Zurbarán 047.jpg", "zoom": "https://art.monstrance.app/zoom/zurbaran_margaret.jpg", "master_px": 4226, "auth": {"institution": "The National Gallery, London", "accession": "NG1930", "url": "https://www.nationalgallery.org.uk/paintings/francisco-de-zurbaran-saint-margaret-of-antioch", "artist_as_printed": "Francisco de Zurbaran", "date_as_printed": "about 1630-4", "medium": "Oil on canvas", "dimensions": "163 × 105 cm"}, "writeup": {"text": "A girl in a straw hat stands barefoot with a shepherd's staff, and behind her skirts a dragon opens its jaws. Her emblem is the thing that swallowed her. The National Gallery tells the Golden Legend: the dragon was Satan in disguise, it devoured Margaret, and she burst from its belly unharmed, to become patron saint of childbirth. The Gallery reads her gaze as passing over the beast, and her dress as a shepherdess's: lambskin, straw hat, a finger marking her prayer book. Isabelle Kent identifies the striped bag on her arm as an alforja from the mountains of Peru, likely a curio Zurbarán found in the Seville markets. The Gallery judges the canvas entirely his own, and finds it seems to belong to no series. The dragon keeps its mouth open. The saint has already walked out of it.", "sources": [{"what": "Owning institution's object page: the snarling dragon crouched at her feet; per the Golden Legend the dragon was Satan in disguise, devoured her, and she burst from its belly unharmed, later becoming patron saint of childbirth.", "url": "https://www.nationalgallery.org.uk/paintings/francisco-de-zurbaran-saint-margaret-of-antioch", "cite": "The National Gallery, London, NG1930, object page (iconography and legend)"}, {"what": "Same page: her father, a pagan priest, cast her out for converting; blue woollen jacket ('sayuelo'), lambskin jacket ('pellica'), straw hat, saddlebag ('alforjas') on her arm, a finger marking her prayer book.", "url": "https://www.nationalgallery.org.uk/paintings/francisco-de-zurbaran-saint-margaret-of-antioch", "cite": "The National Gallery, London, NG1930, object page (dress and attributes)"}, {"what": "Same page: the work is entirely by Zurbaran himself and does not appear to be part of a series; it entered the Ashburton collection and was purchased from her executor, the 5th Marquess of Northampton, 1903.", "url": "https://www.nationalgallery.org.uk/paintings/francisco-de-zurbaran-saint-margaret-of-antioch", "cite": "The National Gallery, London, NG1930, object page (autograph status and provenance)"}, {"what": "Isabelle Kent identifies the woven bag as an alforja, a saddlebag made in the mountains of Peru, likely acquired by Zurbaran as a curio in the markets of Seville and staged for his saint-turned-shepherdess.", "url": "https://apollo-magazine.com/francisco-de-zurbaran-national-gallery-exhibition-review/", "cite": "Isabelle Kent, 'The dark arts of Francisco de Zurbaran', Apollo Magazine"}, {"what": "Named scholar on Zurbarán's speculative export trade to the Americas — the current running the other way from the Peruvian bag in Seville.", "url": "https://apollo-magazine.com/francisco-de-zurbaran-national-gallery-exhibition-review/", "cite": "Isabelle Kent, 'The dark arts of Francisco de Zurbarán', Apollo Magazine."}, {"what": "The Gallery's own record: the dragon that swallowed her became her symbol; her gaze past the beast; the shepherdess's lambskin and straw hat; and the judgement, hedge included, that this canvas is autograph and appears to belong to no series.", "url": "https://www.nationalgallery.org.uk/paintings/francisco-de-zurbaran-saint-margaret-of-antioch", "cite": "The National Gallery, London, Francisco de Zurbarán, 'Saint Margaret of Antioch', NG1930."}]}, "scene": {"why": "THE SAINT IS NOT IN SCRIPTURE, or this episode of their life is not. Their acts come to us through the Church’s memory — martyrologies, hagiography, the testimony of their own communities — not through the biblical record. Naming a verse here would dress tradition as Scripture."}, "th": "/store/thumb/zurbaran_margaret.webp", "more": [{"k": "subject", "n": "Saints in painting", "u": "/editions/subject/saints/", "ids": ["zurbaran_saint_francis_of_assisi_in_his_tomb", "rubens_saint_francis_receiving_the_stigmata", "francisco_de_zurbaran_st_francis_contemplating_a_skull", "la_tour_magdalen_flame"]}, {"k": "master", "n": "Francisco de Zurbarán", "u": "/editions/master/francisco-de-zurbaran/", "ids": ["zurbaran_saint_francis_of_assisi_in_his_tomb", "zurbaran_immaculate", "zurbaran_young_virgin", "francisco_de_zurbaran_st_francis_contemplating_a_skull"]}]}, "champaigne_augustine": {"id": "champaigne_augustine", "title": "Saint Augustine", "artist_line": "Philippe de Champaigne (French, 1602–1674)", "artist": "Philippe de Champaigne", "date": "c. 1645", "museum": "Los Angeles County Museum of Art", "license": "PD/CC0", "tier": "Mid", "sizes": [{"size": "11×14 in", "paper": 59, "iw": 11.0, "ih": 14, "sw": 11, "sh": 14, "cov": 0.999}, {"size": "16×20 in", "paper": 110, "iw": 15.7, "ih": 20, "sw": 16, "sh": 20, "cov": 0.982}, {"size": "18×24 in", "paper": 140, "iw": 18, "ih": 22.9, "sw": 18, "sh": 24, "cov": 0.955}, {"size": "24×36 in", "paper": 190, "iw": 24, "ih": 30.6, "sw": 24, "sh": 36, "cov": 0.849}, {"size": "32×48 in", "paper": 340, "iw": 32, "ih": 40.8, "sw": 32, "sh": 48, "cov": 0.849}, {"size": "40×60 in", "paper": 480, "iw": 40, "ih": 50.9, "sw": 40, "sh": 60, "cov": 0.849}], "local": "/store/display/champaigne_augustine.jpg", "commons_file": "Saint Augustine by Philippe de Champaigne.jpg", "zoom": "https://art.monstrance.app/zoom/champaigne_augustine.jpg", "master_px": 5853, "auth": {"institution": "Los Angeles County Museum of Art", "accession": "M.88.177", "url": "https://collections.lacma.org/node/171584", "artist_as_printed": "Philippe de Champaigne", "date_as_printed": "circa 1645", "medium": "Oil on canvas", "dimensions": "Canvas: 31 × 24 1/2 in. (78.74 × 62.23 cm)"}, "writeup": {"text": "Saint Augustine holds his own heart in his left hand, and it is on fire. The light he turns toward is a word, VERITAS, burning in the corner; the quill is still in his other hand, and books and a scroll lie at his feet. The heart is his by his own sentence in the Confessions: You had penetrated our hearts with Your charity. Philippe de Champaigne painted him around 1645, when Jansen's Augustinus had France quarrelling over Augustine on grace; the Musée des Beaux-Arts de Caen puts the painter's turn to Port-Royal in those same years, and his daughter took the veil there. Truth is written; the heart answers.", "sources": [{"what": "description, date, dimensions, provenance", "url": "https://collections.lacma.org/node/171584"}, {"what": "Augustine on the wounded heart, in his own Confessions: 'You had penetrated our hearts with Your charity, and we carried Your words fixed, as it were, in our bowels.'", "cite": "Augustine, Confessions IX.2"}, {"what": "when Champaigne came under Jansenist influence — the corrected date, c.1645–46, replacing the unsupported \"from 1640\"", "url": "https://mba.caen.fr/sites/mba/files/2020-08/5.Philippe%20de%20CHAMPAIGNE-Le%20Christ%20et%20la%20Samaritaine-2019.pdf", "cite": "Musée des Beaux-Arts de Caen, \"Étude d'une œuvre : Philippe de Champaigne, Le Christ et la Samaritaine\", museum dossier, 2013 (rev. 2019), drawing on the 1995 plaquette by Isabelle Molard, Michel Grujard and Alain Tapié"}, {"what": "his daughter took the veil at Port-Royal", "url": "https://collections.louvre.fr/en/ark:/53355/cl010066957", "cite": "Musée du Louvre, collection record for Philippe de Champaigne, \"La mère Catherine-Agnès Arnauld (1593–1671) et la sœur Catherine de Sainte Suzanne Champaigne (1636–1686), fille de l'artiste\", 1662, INV 1138; MR 611"}, {"what": "Jansen's Augustinus and the French quarrel over Augustine on grace — the context clause the encyclopaedia cite had been loosely underwriting", "url": "https://languagecollections-blog.lib.cam.ac.uk/2021/01/21/port-royal-more-than-a-french-stronghold-of-jansenism/", "cite": "Manuel del Campo, \"Port-Royal, more than a French stronghold of Jansenism\", Cambridge University Library, Languages across Borders blog, 21 January 2021"}]}, "scene": {"why": "THE SAINT IS NOT IN SCRIPTURE, or this episode of their life is not. Their acts come to us through the Church’s memory — martyrologies, hagiography, the testimony of their own communities — not through the biblical record. Naming a verse here would dress tradition as Scripture."}, "th": "/store/thumb/champaigne_augustine.webp", "more": [{"k": "subject", "n": "Saints in painting", "u": "/editions/subject/saints/", "ids": ["champaigne_the_repentant_magdalen", "poussin_the_ecstasy_of_saint_paul", "le_sueur_der_heilige_bruno_im_gebet_saint_bruno_i", "zurbaran_st_francis"]}, {"k": "master", "n": "Philippe de Champaigne", "u": "/editions/master/philippe-de-champaigne/", "ids": ["champaigne_the_repentant_magdalen"]}]}, "duccio_calling_apostles": {"id": "duccio_calling_apostles", "title": "The Calling of the Apostles Peter and Andrew", "artist_line": "Duccio (Italian, c. 1255–1319)", "artist": "Duccio", "date": "1308–11", "museum": "National Gallery of Art, Washington", "license": "PD/CC0", "tier": "Mid", "sizes": [{"size": "11×14 in", "paper": 59, "iw": 11.7, "ih": 11, "sw": 14, "sh": 11, "cov": 0.836}, {"size": "16×20 in", "paper": 110, "iw": 17.0, "ih": 16, "sw": 20, "sh": 16, "cov": 0.852}, {"size": "18×24 in", "paper": 140, "iw": 19.2, "ih": 18, "sw": 24, "sh": 18, "cov": 0.798}], "local": "/store/display/duccio_calling_apostles.jpg", "commons_file": "Duccio di Buoninsegna, The Calling of the Apostles Peter and Andrew, 1308-1311, NGA 282.jpg", "zoom": "https://art.monstrance.app/zoom/duccio_calling_apostles.jpg", "master_px": 20040, "auth": {"institution": "National Gallery of Art, Washington", "accession": "1939.1.141", "url": "https://www.nga.gov/artworks/282-calling-apostles-peter-and-andrew", "artist_as_printed": "Duccio di Buoninsegna", "date_as_printed": "1308/1311", "medium": "tempera on panel", "dimensions": "painted surface: 42.7 × 45.5 cm (16 13/16 × 17 15/16 in.); overall: 43.3 × 46.2 × 4.4 cm"}, "writeup": {"text": "The net is full at the hour it is to be left. Christ stands barefoot on rock and holds out His hand; Peter and Andrew stand in a small boat on green water, the mesh heavy beneath them, and Peter lifts a hand. The National Gallery of Art's catalogue notes that Duccio joined two Gospel tellings: Matthew's call of two brothers casting a net and, from Luke alone, the full catch and Peter's gesture of remonstrance. The scene once sat on the Maestà's rear predella, on the side turned toward the apse. Christ says: Come ye after me, and I will make you to be fishers of men.", "sources": [{"what": "Confirms the net-of-fishes motif is grafted from a separate Gospel telling onto the standard calling scene; describes Peter's 'timid gesture of remonstrance'", "url": "https://www.nga.gov/artworks/282-calling-apostles-peter-and-andrew", "cite": "NGA Systematic Catalogue (Boskovits), Italian Paintings of the Thirteenth and Fourteenth Centuries"}, {"what": "Conventional Trecento color coding: red robe for Passion/humanity, blue mantle for divinity/heaven", "cite": "NGA Systematic Catalogue (Boskovits) and Kress Foundation description"}, {"what": "Commission by Opera del Duomo of Siena Cathedral; contract dated 9 October 1308; altarpiece carried in procession and installed 9 June 1311 (corrected from Kress Foundation's erroneous 30 June date)", "url": "https://www.kressfoundation.org/kress-collection/artwork/c0c0ab1e97e050a68aafb761fbadb880e0b59ee8296b1a0bb978c2999fcbbe88"}, {"what": "The gallery's systematic catalogue: the scene follows the synoptic calling of two brothers casting a net, but the full net and Peter's gesture of remonstrance are imported from Luke; the panel's own description of the rock, the water, the heavy net and Peter's hand at his chest; and its place on the Maestà's rear predella, on the side turned toward the apse.", "url": "https://www.nga.gov/research/publications/italian-paintings-thirteenth-and-fourteenth-centuries-0/italian-paintings-thirteenth-and-fourteenth-centuries-calling-apostles-peter-and-andrew", "cite": "National Gallery of Art, Washington, 'Italian Paintings of the Thirteenth and Fourteenth Centuries', entry on Duccio, 'The Calling of the Apostles Peter and Andrew'."}, {"what": "Peter's words at the miraculous draught — the speech the borrowed gesture belongs to.", "cite": "Luke 5:8, Douay-Rheims (Challoner)."}, {"what": "Matthew's version: two brothers casting a net, and the nets left behind.", "cite": "Matthew 4:18-20, Douay-Rheims (Challoner)."}, {"what": "Corroborates that the Calling of Peter and Andrew belonged to the back predella of Ministry scenes.", "url": "https://www.nationalgallery.org.uk/paintings/catalogues/gordon-2011/maesta-predella-panels", "cite": "Dillian Gordon, 'The Italian Paintings before 1400', National Gallery Catalogues (London, 2011), on the Maestà predella panels."}]}, "scene": {"ref": "Matthew 4:19", "quote": "And he saith to them: Come ye after me, and I will make you to be fishers of men.", "shows": "Come ye after me, and I will make you fishers of men"}, "th": "/store/thumb/duccio_calling_apostles.webp", "more": [{"k": "subject", "n": "Saints in painting", "u": "/editions/subject/saints/", "ids": ["simone_martini_frescoes_of_the_chapel_of_st_martin_life", "simone_martini_maesta", "baronzio_the_birth_naming_and_circumcision_of_saint_john", "angelico_thebaid_budapest"]}, {"k": "master", "n": "Duccio", "u": "/editions/master/duccio/", "ids": ["duccio_maesta"]}]}, "bastien_joan_of_arc": {"id": "bastien_joan_of_arc", "title": "Joan of Arc", "artist_line": "Jules Bastien-Lepage (French, 1848–1884)", "artist": "Jules Bastien-Lepage", "date": "1879", "museum": "The Metropolitan Museum of Art, New York", "license": "PD/CC0", "tier": "Mid", "sizes": [{"size": "11×14 in", "paper": 59, "iw": 12.2, "ih": 11, "sw": 14, "sh": 11, "cov": 0.873}, {"size": "18×24 in", "paper": 140, "iw": 20.0, "ih": 18, "sw": 24, "sh": 18, "cov": 0.834}], "local": "/store/display/bastien_joan_of_arc.jpg", "commons_file": "JoanOfArcLarge.jpeg", "zoom": "https://art.monstrance.app/zoom/bastien_joan_of_arc.jpg", "master_px": 3612, "auth": {"institution": "The Metropolitan Museum of Art, New York", "accession": "89.21.1", "url": "https://www.metmuseum.org/art/collection/search/435621", "artist_as_printed": "Jules Bastien-Lepage (French, Damvillers 1848-1884 Paris)", "date_as_printed": "1879", "medium": "Oil on canvas", "dimensions": "100 x 110 in. (254 x 279.4 cm)"}, "writeup": {"text": "Work stops in a garden: the stool tipped over, the spinning wheel still standing. Saint Joan stands barefoot under the boughs, one arm out to a branch, her eyes wide on something past us. Bastien-Lepage paints the call as strain in the body, not a halo. The wheel is her own trade; at Rouen she told her judges she feared no woman at spinning. Behind her, pale in the leaves, stand Michael, Margaret and Catherine, as the Met names them, armed Michael instructing her to take up arms against the English. Zola objected to a realist girl beside frankly supernatural saints. They stay, faint as breath on glass.", "sources": [{"what": "Met object page: overall subject description, saints named, Michael instructing Joan to take up arms, artist bio (Damvillers/Lorraine), Franco-Prussian War context", "url": "https://www.metmuseum.org/art/collection/search/435621"}, {"what": "NGV exhibition essay: identifies the model as the artist's cousin Marie-Adele Robert", "url": "https://www.ngv.vic.gov.au/essay/jules-bastien-lepage-a-new-perspective/"}, {"what": "Met 'The Great Debate' essay: Zola criticized the painting for mixing realist technique with an overtly supernatural vision, disrupting naturalist unity", "url": "https://www.metmuseum.org/perspectives/the-great-debate"}, {"what": "Joan's own testimony at her trial, asked what trade she had learned: she spun and sewed, and feared no woman in Rouen at it. The standing spinning wheel is a claim she made under oath, not rustic furniture.", "url": "https://www.famous-trials.com/the-trial-of-joan-of-arc-1431/2357-the-six-public-examinations-of-joan", "cite": "Trial of Condemnation, second public examination, Thursday 22 February 1431, in T. Douglas Murray, ed., 'Jeanne d'Arc, Maid of Orleans' (McClure, Phillips, 1902)."}]}, "scene": {"why": "THE SAINT IS NOT IN SCRIPTURE, or this episode of their life is not. Their acts come to us through the Church’s memory — martyrologies, hagiography, the testimony of their own communities — not through the biblical record. Naming a verse here would dress tradition as Scripture."}, "th": "/store/thumb/bastien_joan_of_arc.webp", "more": [{"k": "subject", "n": "Saints in painting", "u": "/editions/subject/saints/", "ids": ["boutet_joan_vision", "redon_st_sebastian", "brooklyn_cuzco_joseph", "giovanni_di_paolo_st_catherine_of_siena_invested_with_the"]}]}, "zurbaran_st_serapion": {"id": "zurbaran_st_serapion", "title": "St Serapion", "artist_line": "Francisco de Zurbarán (Spanish, 1598–1664)", "artist": "Francisco de Zurbarán", "date": "1628", "museum": "Wadsworth Atheneum, Hartford", "license": "PD/CC0", "tier": "Mid", "sizes": [{"size": "11×14 in", "paper": 59, "iw": 11, "ih": 12.6, "sw": 11, "sh": 14, "cov": 0.901}], "local": "/store/display/zurbaran_st_serapion.jpg", "commons_file": "San Serapio, por Francisco de Zurbarán.jpg", "zoom": "https://art.monstrance.app/zoom/zurbaran_st_serapion.jpg", "master_px": 3600, "auth": {"institution": "Wadsworth Atheneum Museum of Art, Hartford", "url": "https://www.thewadsworth.org/zurbaran-restoration/", "artist_as_printed": "Francisco de Zurbarán", "date_as_printed": "1628", "accession_absent": "not_published", "accession_absent_why": "the Wadsworth’s page records the 1951 acquisition but prints no number"}, "writeup": {"text": "A friar hangs by his wrists, tied with rope to something we cannot see, and his head has fallen onto his shoulder. His eyes are closed. There is no blood. Zurbarán painted Serapion in 1628, Jeannine Baticle records, for the Sala de Profundis of the Mercedarian house in Seville, the room where dead friars were laid out before burial. The Mercedarians took a fourth vow, to give themselves up as hostages for Christians held captive, and Serapion kept it to death. Melisa Palermo notes that the white habit hides the violence done to him, and that the order's badge on his breast is the only colour in the painting. A small paper pinned beside him names him, Baticle says, Blessed Serapius; he was canonised in 1728. The white keeps its silence. The badge speaks for him.", "sources": [{"what": "the Sala de Profundis, the fourth vow, the cartellino, canonised 1728", "url": "https://www.metmuseum.org/art/metpublications/zurbaran", "cite": "Jeannine Baticle, Zurbaran, Metropolitan Museum of Art, 1987, cat. 5"}, {"what": "the fourth vow, in the order’s own words", "url": "https://www.orderofmercy.org/post/the-fourth-vow-going-the-extra-mile"}, {"what": "conservation, acquisition 1951", "url": "https://www.thewadsworth.org/zurbaran-restoration/"}, {"what": "The Mercedarian badge is the only colour in the picture; and the habit conceals the violence done to him, which is why there is no blood.", "url": "https://smarthistory.org/zurbaran-the-martyrdom-of-saint-serapion/", "cite": "Melisa Palermo, 'Francisco de Zurbarán, The Martyrdom of Saint Serapion', Smarthistory."}]}, "scene": {"why": "THE SAINT IS NOT IN SCRIPTURE, or this episode of their life is not. Their acts come to us through the Church’s memory — martyrologies, hagiography, the testimony of their own communities — not through the biblical record. Naming a verse here would dress tradition as Scripture."}, "th": "/store/thumb/zurbaran_st_serapion.webp", "more": [{"k": "subject", "n": "Saints in painting", "u": "/editions/subject/saints/", "ids": ["rubens_saint_teresa_of_avila_interceding_for", "zurbaran_margaret", "zurbaran_saint_francis_of_assisi_in_his_tomb", "rubens_saint_francis_receiving_the_stigmata"]}, {"k": "master", "n": "Francisco de Zurbarán", "u": "/editions/master/francisco-de-zurbaran/", "ids": ["zurbaran_margaret", "zurbaran_saint_francis_of_assisi_in_his_tomb", "zurbaran_immaculate", "zurbaran_young_virgin"]}]}, "zurbaran_casilda": {"id": "zurbaran_casilda", "title": "Saint Casilda", "artist_line": "Francisco de Zurbarán (Spanish, 1598–1664)", "artist": "Francisco de Zurbarán", "date": "c. 1635", "museum": "Museo Nacional Thyssen-Bornemisza, Madrid", "license": "PD/CC0", "tier": "Entry", "sizes": [{"size": "8×10 in", "paper": 39, "iw": 6.1, "ih": 10, "sw": 8, "sh": 10, "cov": 0.759}], "local": "/store/display/zurbaran_casilda.jpg", "commons_file": "Francisco de Zurbarán - Santa Casilda.jpg", "zoom": "https://art.monstrance.app/zoom/zurbaran_casilda.jpg", "master_px": 3292, "auth": {"institution": "Museo Nacional Thyssen-Bornemisza, Madrid", "accession": "448 (1979.26)", "url": "https://www.museothyssen.org/en/collection/artists/zurbaran-francisco/saint-casilda", "artist_as_printed": "Francisco de Zurbarán", "date_as_printed": "ca. 1635", "medium": "Oil on canvas", "dimensions": "171 x 107 cm"}, "writeup": {"text": "Roses lie in a lifted fold of brocade, and a young saint holds them as if they weighed nothing. Casilda turns her face to us and keeps walking; the silk falls to the floor behind her, pearls at her throat, a thin halo over her hair. Cécile Vincent-Cassy reads the flowers as the miracle that hid her charity: loaves she carried to Christian prisoners, unseen by her Muslim father. She calls Zurbarán's saints false portraits, built to give the feeling of a likeness though no sitter was copied, and dressed in the painter's own century. The Museo Carmen Thyssen Málaga records how he and his workshop repeated the type for religious houses in Andalusia and the Americas. Bread became roses so a father would not see. The smallest thing in the room is the whole of the gift.", "sources": [{"what": "Vincent-Cassy's reading that Zurbaran's series saints are 'falsos' retratos, sacred portraits giving the impression of portraiture without depicting actual sitters, and that they wear atuendos de su tiempo.", "url": "http://www.tiemposmodernos.org/tm3/index.php/tm/article/download/865/667", "cite": "Zurbaran y el retrato sacro: las santas, Tiempos Modernos, on C. Vincent-Cassy"}, {"what": "Standing saints in fashionable period dress against dark grounds, and the commercial success of the type, which Zurbaran and his workshop replicated and versioned tirelessly for patrons in Andalusia and the Americas.", "url": "https://carmenthyssenmalaga.org/exposicion/zurbaran-santas", "cite": "Museo Carmen Thyssen Malaga, exhibition 'Zurbaran. Santas'"}, {"what": "The owning institution's object record: inv. 448 / 1979.26, 171 x 107 cm, c. 1635. The page renders client-side and serves only a JavaScript notice to a reader without a browser, so no statement in the card rests on it.", "url": "https://www.museothyssen.org/en/collection/artists/zurbaran-francisco/saint-casilda", "cite": "Museo Nacional Thyssen-Bornemisza, Saint Casilda, inv. 448 (1979.26)"}, {"what": "Vincent-Cassy's reading of the flowers in Casilda's lap: they carry the miracle, whose function is concealing her charity from her Muslim father. Carries the legend (loaves, Christian prisoners, the father) from a named scholar. the preceding sentence reads \"Se trata de santa Casilda (Fig.", "url": "http://www.tiemposmodernos.org/tm3/index.php/tm/article/download/865/667", "cite": "C. Vincent-Cassy, 'Francisco de Zurbarán y el retrato sacro: las santas vírgenes y mártires del maestro y su taller', Tiempos Modernos"}, {"what": "Independent institutional confirmation that the rose-in-the-lap iconography is Casilda's — used to check that our plate's flowers are the Casilda miracle and not a generic attribute. Corroborative only; no clause rests on it alone, and the card asserts nothing about the Prado's canvas.", "url": "https://www.museodelprado.es/en/the-collection/art-work/saint-elisabeth-of-portugal/70f72f87-85dd-4923-8d05-e4d7940f8c0b", "cite": "Museo Nacional del Prado, Saint Elisabeth of Portugal (P001239), curatorial entry"}, {"what": "Workshop repetition, the Andalusian and American market, and the period dress. Carries 'The workshop repeated them for Andalusia and the Americas' and, after the repair, 'The clothes are the painter's own century'. the market phrase reads 'establecimientos religiosos o asistenciales, tanto en Andalucía como en América'.", "url": "https://carmenthyssenmalaga.org/exposicion/zurbaran-santas", "cite": "Museo Carmen Thyssen Málaga, exhibition 'Zurbarán. Santas'"}, {"what": "That the Thyssen's Casilda specifically is the one in rich brocade — supports 'brocade to the floor' from a museum page rather than from the eye alone, and the plate confirms the brocade skirt reaching the ground.", "url": "https://www.museoibanez.com/post/santa-casilda-zurbar%C3%A1n.-del-24-de-marzo-al-15-de-abril-en-museo-casa-ib%C3%A1%C3%B1ez.", "cite": "Museo Casa Ibáñez, 'Santa Casilda, Zurbarán'"}]}, "scene": {"why": "THE SAINT IS NOT IN SCRIPTURE, or this episode of their life is not. Their acts come to us through the Church’s memory — martyrologies, hagiography, the testimony of their own communities — not through the biblical record. Naming a verse here would dress tradition as Scripture."}, "th": "/store/thumb/zurbaran_casilda.webp", "more": [{"k": "subject", "n": "Saints in painting", "u": "/editions/subject/saints/", "ids": ["reni_saint_james_the_greater", "reni_st_michael", "gaspar_de_crayer_the_martyrdom_of_st_lawrence", "la_tour_repentant_magdalen"]}, {"k": "master", "n": "Francisco de Zurbarán", "u": "/editions/master/francisco-de-zurbaran/", "ids": ["zurbaran_christ_cross", "zurbaran_st_serapion", "zurbaran_margaret", "zurbaran_saint_francis_of_assisi_in_his_tomb"]}]}, "reni_st_michael": {"id": "reni_st_michael", "title": "St Michael the Archangel", "artist_line": "Guido Reni (Italian, 1575–1642)", "artist": "Guido Reni", "date": "c. 1636", "museum": "Santa Maria della Concezione dei Cappuccini, Rome", "license": "PD/CC0", "tier": "Entry", "sizes": [{"size": "8×10 in", "paper": 39, "iw": 6.8, "ih": 10, "sw": 8, "sh": 10, "cov": 0.849}], "local": "/store/display/reni_st_michael.jpg", "commons_file": "GuidoReni MichaelDefeatsSatan.jpg", "zoom": "https://art.monstrance.app/zoom/reni_st_michael.jpg", "master_px": 2441, "auth": {"institution": "Chiesa di Santa Maria della Concezione dei Cappuccini (Museo e Cripta dei Cappuccini), Roma", "url": "https://www.museoecriptacappuccini.it/il-convento-e-la-chiesa/", "artist_as_printed": "Guido Reni", "accession_absent": "in_situ"}, "writeup": {"text": "A sandal rests on a devil's head, and the fight is already over. Revelation tells of a great battle in heaven; Guido Reni painted its end, the sword lifted for a blow over a Satan already held down under Michael's foot, as Theresa Vella reads it, while a chain hangs from the archangel's other hand. The face is taken from nobody. Reni wrote to Giovanni Antonio Massani that he wanted an angelic brush, or the forms of Paradise, but could not climb so high, and searched the earth in vain; so he painted the form settled in his idea. That letter is lost; Bellori printed it in 1664. Ingrid Rowland notes that he painted on silk, not canvas. Cardinal Antonio Barberini, who built the church, lies at its altar steps under words he dictated himself. Michael's eyes stay on the head beneath his foot.", "sources": [{"what": "Reni's letter wishing for 'angelic brushes'/forms of Paradise, could not climb so high, painted idealized image; bello ideale reception", "url": "https://www.busonero.it/2016/44-san-michele-e-larcangelo/", "cite": "\"San Michele e l'Arcangelo di Guido Reni\", busonero.it, 2016"}, {"what": "Commission by Cardinal Antonio Barberini for his new Roman church; completion by 1636 per dated engraving", "url": "https://www.um.edu.mt/library/oar/bitstream/123456789/47809/1/JBS1(3)A2.pdf", "cite": "Vella, Journal of Baroque Studies 1(3), art. A2"}, {"what": "Reni's letter to Giovanni Antonio Massani, quoted in full: he wanted the angelic brush, or the forms of Paradise, could not climb so high, searched the earth in vain, and so painted the form settled in his idea. The letter itself is lost; Bellori printed it in 1664.", "url": "https://iris.unipa.it/retrieve/e3ad891b-4d8d-da0e-e053-3705fe0a2b96/Di%20Stefano_Bello%20e%20Idea-Aesthetica%20Preprint%202007.pdf", "cite": "Elisabetta Di Stefano, 'Bello e Idea nella teoria dell'arte di Guido Reni'."}, {"what": "Named scholar: the support is silk, not canvas.", "url": "https://www.nybooks.com/articles/2023/06/22/the-divine-guido-reni-ingrid-d-rowland/", "cite": "Ingrid D. Rowland, 'The Divine Guido', The New York Review of Books, 22 June 2023."}, {"what": "The Capuchins' own page: the church built under Cardinal Antonio Barberini, who is named its founder, and who dictated the words of his own tomb inscription at the altar steps.", "url": "https://www.museoecriptacappuccini.it/il-convento-e-la-chiesa/", "cite": "Museo e Cripta dei Cappuccini, Santa Maria della Concezione dei Cappuccini, Rome."}, {"what": "The sword raised for a blow over a Satan already held down under Michael's foot — the outcome of a battle rather than the battle.", "url": "https://www.um.edu.mt/library/oar/bitstream/123456789/47809/1/JBS1(3)A2.pdf", "cite": "Theresa Vella, 'The Gift of Wings: The Arrival of the St Michael Archangel Altarpiece'."}]}, "scene": {"ref": "Apocalypse 12:7", "quote": "And there was a great battle in heaven: Michael and his angels fought with the dragon, and the dragon fought, and his angels.", "shows": "Michael and his angels fought with the dragon"}, "th": "/store/thumb/reni_st_michael.webp", "more": [{"k": "subject", "n": "Saints in painting", "u": "/editions/subject/saints/", "ids": ["gaspar_de_crayer_the_martyrdom_of_st_lawrence", "la_tour_repentant_magdalen", "champaigne_augustine", "champaigne_the_repentant_magdalen"]}, {"k": "master", "n": "Guido Reni", "u": "/editions/master/guido-reni/", "ids": ["reni_saint_james_the_greater"]}]}, "rogier_st_luke_virgin": {"id": "rogier_st_luke_virgin", "title": "St Luke Drawing the Virgin", "artist_line": "Rogier van der Weyden (Early Netherlandish, c. 1399–1464)", "artist": "Rogier van der Weyden", "date": "c. 1435–40", "museum": "Museum of Fine Arts, Boston", "license": "PD/CC0", "tier": "Entry", "sizes": [{"size": "8×10 in", "paper": 39, "iw": 8, "ih": 9.9, "sw": 8, "sh": 10, "cov": 0.99}], "local": "/store/display/rogier_st_luke_virgin.jpg", "commons_file": "Saint Luke Drawing the Virgin MFA Boston.jpg", "zoom": "https://art.monstrance.app/zoom/rogier_st_luke_virgin.jpg", "master_px": 2401, "auth": {"institution": "Museum of Fine Arts, Boston", "accession": "93.153", "url": "https://collections.mfa.org/objects/31035", "artist_as_printed": "Rogier van der Weyden (Netherlandish, about 1400–1464)", "date_as_printed": "about 1435–40", "medium": "Oil and tempera on panel", "dimensions": "137.5 x 110.8 cm (54 1/8 x 43 5/8 in.)"}, "writeup": {"text": "Saint Luke kneels with a sheet and a stylus, and his eyes lift past Our Lady, whom he is drawing. The Museum of Fine Arts, Boston gives the tradition that Luke portrayed the Virgin from life, which is why painters' guilds took him as their patron; Beth Harris and Christopher Atkins of Smarthistory note that Rogier van der Weyden's Luke is not looking at his subject. Nor is she posing. She sits low before a throne under a canopy, nursing the Christ Child. The Vlaamse Kunstcollectie reads the throne as her queenship, and Smarthistory confirms the stylus as silverpoint: the first mark, not the finished portrait. Boston places it probably in the Brussels chapel where the painters' guild held its services, and allows that the saint's face may be Rogier's own. Beyond the columns two small figures stand looking out at the river.", "sources": [{"what": "Silverpoint drawing method, ox as evangelist attribute, throne-of-majesty/humility pairing, underdrawing/X-ray evidence of erased canopy-bearing angel", "url": "https://vlaamseprimitieven.vlaamsekunstcollectie.be/en/research/webpublications/after-rogier-van-der-weyden-saint-luke-drawing-the-madonna/", "cite": "\"After Rogier van der Weyden: Saint Luke drawing the Madonna,\" Vlaamse Kunstcollectie / Flemish Primitives"}, {"what": "Luke's gaze directed past Mary as visionary rather than observational act", "url": "https://smarthistory.org/rogier-van-der-weyden-saint-luke-drawing-the-virgin/", "cite": "Dr. Beth Harris and Dr. Christopher D. Atkins, \"Rogier van der Weyden, Saint Luke Drawing the Virgin,\" Smarthistory"}, {"what": "The owning museum's record: the tradition that Luke portrayed the Virgin from life and the guilds that took him as their patron; the probable original site, the Brussels chapel where the city's painters' guild held its services; and the x-ray evidence behind the hedged suggestion that the saint's face is Rogier's own.", "url": "https://collections.mfa.org/objects/31035", "cite": "Museum of Fine Arts, Boston, Rogier van der Weyden, 'Saint Luke Drawing the Virgin', 93.153."}, {"what": "The throne as a statement of queenship with Mary seated on the floor before it, nursing the Child; and the stylus in Luke's hand as silverpoint. Written of the Bruges version after Rogier, and transferred to this panel by the same publication.", "url": "https://vlaamseprimitieven.vlaamsekunstcollectie.be/en/research/webpublications/after-rogier-van-der-weyden-saint-luke-drawing-the-madonna/", "cite": "Vlaamse Kunstcollectie, 'After Rogier van der Weyden: Saint Luke drawing the Madonna' (web publication)."}, {"what": "The card's central reading: Luke is not looking at his subject. Also the guilds' adoption of him as patron, and silverpoint confirmed for the Boston panel specifically.", "url": "https://smarthistory.org/rogier-van-der-weyden-saint-luke-drawing-the-virgin/", "cite": "Dr Beth Harris and Dr Christopher D. Atkins, 'Rogier van der Weyden, Saint Luke Drawing the Virgin', Smarthistory."}]}, "scene": {"why": "THE SAINT IS NOT IN SCRIPTURE, or this episode of their life is not. Their acts come to us through the Church’s memory — martyrologies, hagiography, the testimony of their own communities — not through the biblical record. Naming a verse here would dress tradition as Scripture."}, "th": "/store/thumb/rogier_st_luke_virgin.webp", "more": [{"k": "subject", "n": "Saints in painting", "u": "/editions/subject/saints/", "ids": ["sassetta_saint_francis_and_the_poor_knight_and_fr", "angelico_burial_of_cosmas_and_damian", "angelico_martyrdom_of_cosmas_and_damian_louvre", "lippi_saint_benedict_orders_saint_maurus_to_the_rescue_o"]}, {"k": "master", "n": "Rogier van der Weyden", "u": "/editions/master/rogier-van-der-weyden/", "ids": ["rogier_the_annunciation", "rogier_descent_from_cross"]}]}, "el_greco_savior": {"id": "el_greco_savior", "title": "Christ Blessing ('The Saviour of the World')", "artist_line": "El Greco (Domenikos Theotokopoulos) (Greek–Spanish, 1541–1614)", "artist": "El Greco", "date": "about 1600", "museum": "National Galleries of Scotland, Edinburgh", "license": "PD-Art (Google Art Project, NGS)", "tier": "Hero", "sizes": [{"size": "16×20 in", "paper": 110, "iw": 15.1, "ih": 20, "sw": 16, "sh": 20, "cov": 0.942}, {"size": "18×24 in", "paper": 140, "iw": 18, "ih": 23.9, "sw": 18, "sh": 24, "cov": 0.995}, {"size": "24×36 in", "paper": 190, "iw": 24, "ih": 31.8, "sw": 24, "sh": 36, "cov": 0.885}, {"size": "32×48 in", "paper": 340, "iw": 32, "ih": 42.5, "sw": 32, "sh": 48, "cov": 0.885}], "local": "/store/display/el_greco_savior.jpg", "commons_file": "El Greco (Domenikos Theotokopoulos) - Christ Blessing ('The Saviour of the World') - Google Art Project.jpg", "zoom": "https://art.monstrance.app/zoom/el_greco_savior.jpg", "master_px": 6890, "auth": {"institution": "National Galleries of Scotland, Edinburgh", "accession": "NG 2160", "url": "https://www.nationalgalleries.org/art-and-artists/34183/christ-blessing-saviour-world", "artist_as_printed": "El Greco (Domenikos Theotokopoulos) (1541 - 1614), Greek, Spanish", "date_as_printed": "About 1600", "medium": "Oil on canvas", "dimensions": "73.00 x 56.50 cm; Framed: 99.20 x 81.20 cm"}, "writeup": {"text": "Christ looks straight out, His right hand raised in blessing and His left resting on a globe. The National Galleries of Scotland call it “a crystal-like sphere or globe representing the world,” where “more usually such pictures include a book of scripture,” and they cite the art historian David Davies, who finds the sphere innovative, since in Byzantine paintings Jesus traditionally holds a gospel. The face is long, the hair parted, and around the head the canvas pales into light: El Greco's “fluid brushwork and extensive use of white admirably convey the idea of divine light,” the Galleries write, and “Christ is depicted both as the Saviour of the World and the Light of the World.” Beside His shoulder El Greco signed with the Greek initials delta theta. One hand keeps the world; the other is raised over us.", "sources": [{"what": "Title, El Greco, about 1600, oil on canvas, 73.00 x 56.50 cm, NG 2160, purchased 1952; 'a crystal-like sphere or globe representing the world' in place of the usual book; 'Christ is depicted both as the Saviour of the World and the Light of the World'; 'His fluid brushwork and extensive use of white admirably convey the idea of divine light'; 'signed with the Greek initials delta theta'.", "url": "https://www.nationalgalleries.org/art-and-artists/34183/christ-blessing-saviour-world", "cite": "National Galleries of Scotland, 'Christ Blessing (The Saviour of the World)', NG 2160, read 2026-10-10."}]}, "scene": {"ref": "John 4:42", "quote": "And they said to the woman: We now believe, not for thy saying: for we ourselves have heard him and know that this is indeed the Saviour of the world.", "shows": "this is indeed the Saviour of the world"}, "th": "/store/thumb/el_greco_savior.webp", "more": [{"k": "master", "n": "El Greco", "u": "/editions/master/el-greco/", "ids": ["el_greco_the_agony_in_the_garden", "el_greco_adoration_shepherds", "el_greco_holy_trinity", "el_greco_christ_carrying_cross"]}]}, "caravaggio_emmaus": {"id": "caravaggio_emmaus", "title": "The Supper at Emmaus", "artist_line": "Caravaggio (Italian, 1571–1610)", "artist": "Caravaggio", "date": "1601", "museum": "The National Gallery, London", "license": "PD/CC0", "tier": "Sanctuary", "sizes": [{"size": "18×24 in", "paper": 140, "iw": 24, "ih": 17.1, "sw": 24, "sh": 18, "cov": 0.948}, {"size": "24×36 in", "paper": 190, "iw": 33.7, "ih": 24, "sw": 36, "sh": 24, "cov": 0.937}, {"size": "32×48 in", "paper": 340, "iw": 45.0, "ih": 32, "sw": 48, "sh": 32, "cov": 0.937}, {"size": "40×60 in", "paper": 480, "iw": 56.2, "ih": 40, "sw": 60, "sh": 40, "cov": 0.937}], "local": "/store/display/caravaggio_emmaus.jpg", "commons_file": "Supper at Emmaus-Caravaggio (1601).jpg", "zoom": "https://art.monstrance.app/zoom/caravaggio_emmaus.jpg", "master_px": 11412, "auth": {"institution": "The National Gallery, London", "accession": "NG172", "url": "https://www.nationalgallery.org.uk/paintings/michelangelo-merisi-da-caravaggio-the-supper-at-emmaus", "artist_as_printed": "Michelangelo Merisi da Caravaggio", "date_as_printed": "1601", "medium": "Oil on canvas", "dimensions": "141 × 196.2 cm"}, "writeup": {"text": "Christ lifts His hand over the bread, and the two men at the table know Him: one starts up from his chair, one throws out his arms. He has no beard. Charles Scribner reads that through Mark's Gospel, where He appears in another form, so that He can be known only in the breaking of the bread. The National Gallery sees the outflung arms as a cross, and a place left empty at the table for us. Ciriaco Mattei paid Caravaggio 150 scudi for it in January 1602. The fruit basket leans over the table's edge, and its shadow on the cloth, the Gallery says, is a fish.", "sources": [{"what": "the picture's own record — 1601, oil on canvas, 141 × 196.2 cm, presented by the Hon. George Vernon 1839; the impassive innkeeper who has not yet 'seen the light'", "url": "https://www.nationalgallery.org.uk/paintings/michelangelo-merisi-da-caravaggio-the-supper-at-emmaus", "cite": "The National Gallery, London, NG172"}, {"what": "the Gallery's own reading of the outflung arms — 'His body forms the shape of a cross' — and of the empty place: 'There is a space left empty at table for us to join the group'", "url": "https://www.nationalgallery.org.uk/audio/audio-descriptions/caravaggio-s-the-supper-at-emmaus"}, {"what": "the beardless Christ read through the 'in alia effigie' of Mark's Gospel, so that recognition can come only at the breaking of bread", "url": "https://www.tandfonline.com/doi/abs/10.1080/00043079.1977.10787442", "cite": "Charles Scribner III, \"'In Alia Effigie': Caravaggio's London Supper at Emmaus,\" The Art Bulletin 59, no. 3 (1977)"}, {"what": "the commission and the payment — 150 scudi to Caravaggio, 7 January 1602, from the Mattei bank records discovered by Francesca Cappelletti and Laura Testa", "url": "https://www.treccani.it/enciclopedia/ciriaco-mattei_(Dizionario-Biografico)/", "cite": "Dizionario Biografico degli Italiani, s.v. 'MATTEI, Ciriaco' (Treccani)"}, {"what": "The Gallery's own reading of the shadow the fruit basket throws on the cloth: it is shaped like a fish.", "url": "https://www.nationalgallery.org.uk/audio/audio-descriptions/caravaggio-s-the-supper-at-emmaus", "cite": "The National Gallery, London, audio description of Caravaggio's 'The Supper at Emmaus'."}]}, "scene": {"ref": "Luke 24:31", "quote": "And their eyes were opened: and they knew him. And he vanished out of their sight.", "shows": "the breaking of bread and the opening of their eyes"}, "th": "/store/thumb/caravaggio_emmaus.webp", "more": [{"k": "subject", "n": "The Supper at Emmaus in painting", "u": "/editions/subject/supper-at-emmaus/", "ids": ["caravaggio_supper_at_emmaus_brera", "emmaus_pontormo", "emmaus_veronese"]}, {"k": "master", "n": "Caravaggio", "u": "/editions/master/caravaggio/", "ids": ["caravaggio_incredulity_thomas", "caravaggio_taking_of_christ", "caravaggio_the_inspiration_of_saint_matthew", "caravaggio_crowning_thorns"]}]}, "emmaus_veronese": {"id": "emmaus_veronese", "title": "The Supper at Emmaus", "artist_line": "Paolo Veronese (Italian, 1528–1588)", "artist": "Paolo Veronese", "date": "c. 1559–1560", "museum": "Musée du Louvre, Paris", "license": "PD/CC0", "tier": "Sanctuary", "sizes": [{"size": "18×24 in", "paper": 140, "iw": 24, "ih": 13.8, "sw": 24, "sh": 18, "cov": 0.766}, {"size": "24×36 in", "paper": 190, "iw": 36, "ih": 20.7, "sw": 36, "sh": 24, "cov": 0.861}, {"size": "32×48 in", "paper": 340, "iw": 48, "ih": 27.6, "sw": 48, "sh": 32, "cov": 0.861}, {"size": "40×60 in", "paper": 480, "iw": 60, "ih": 34.5, "sw": 60, "sh": 40, "cov": 0.861}], "local": "/store/display/emmaus_veronese.jpg", "commons_file": "Les Pèlerins d'Emmaüs - Paolo Veronese - Musée du Louvre Peintures INV 146 ; MR 385.jpg", "zoom": "https://art.monstrance.app/zoom/emmaus_veronese.jpg", "master_px": 10300, "auth": {"institution": "Musée du Louvre, Paris", "accession": "INV 146; MR 385", "url": "https://collections.louvre.fr/en/ark:/53355/cl010067589", "artist_as_printed": "Paolo Caliari, dit Veronese", "date_as_printed": "XVIe siècle (1500-1600)", "medium": "huile sur toile", "dimensions": "Hauteur : 2,42 m ; Largeur : 4,16 m"}, "writeup": {"text": "Christ lifts His eyes above the bread, and around Him crowd people who will never be named. Luke's two travellers know Him only at the breaking of the bread, and then He is gone. Veronese, or his workshop, has put a whole family into that scene; the French national record catalogues them only as a man, a woman, a child, a servant, a spaniel. No patron is recorded. The Louvre's history begins in Turin by 1635, with the Duke of Savoy, then runs through Marshal Créquy to Louis XIII. At Créquy's death in 1638 the inventory gave no painter's name. Two small children keep hold of the dog.", "sources": [{"what": "the Louvre's own provenance: first documented in Turin by 1635 in the collection of Victor-Amedee I, Duke of Savoy, with no earlier owner and no commissioning patron recorded", "url": "https://collections.louvre.fr/en/ark:/53355/cl010067589"}, {"what": "the French heritage record dating the canvas c. 1559-1560, the basis for the gap to its first documented appearance", "url": "https://pop.culture.gouv.fr/notice/joconde/000PE027362"}, {"what": "the disciples' eyes opened at the breaking of the bread, and Christ vanishing immediately after", "cite": "Luke 24:13-35"}, {"what": "The Louvre's own provenance chain, including the 1638 post-mortem inventory of the Maréchal de Créquy, which records the picture with no painter's name — the card's landing.", "url": "https://collections.louvre.fr/en/ark:/53355/cl010067589", "cite": "Musée du Louvre, collections online, INV 146 / MR 385, \"Les Pèlerins d'Emmaüs\", Object history"}, {"what": "the French national record's list of who is in the picture — generic types only, no names, no costume, no city, and no statement of where any figure stands or sits. This field is the sole warrant for the card's list of figures, and its silence on placement is why the card says \"into that scene\" and not \"at that table\".", "url": "https://pop.culture.gouv.fr/notice/joconde/000PE027362", "cite": "POP / Joconde notice 000PE027362, sujet représenté"}, {"what": "the workshop hedge carried in the card's phrase \"Veronese, or his workshop\".", "url": "https://pop.culture.gouv.fr/notice/joconde/000PE027362", "cite": "POP / Joconde notice 000PE027362, historique"}]}, "scene": {"ref": "Luke 24:31", "quote": "And their eyes were opened: and they knew him. And he vanished out of their sight.", "shows": "the breaking of bread and the opening of their eyes"}, "th": "/store/thumb/emmaus_veronese.webp", "more": [{"k": "subject", "n": "The Supper at Emmaus in painting", "u": "/editions/subject/supper-at-emmaus/", "ids": ["caravaggio_emmaus", "caravaggio_supper_at_emmaus_brera", "emmaus_pontormo"]}, {"k": "master", "n": "Paolo Veronese", "u": "/editions/master/paolo-veronese/", "ids": ["veronese_cana", "veronese_the_madonna_of_the_cuccina_family", "veronese_the_martyrdom_of_saint_justina"]}]}, "emmaus_pontormo": {"id": "emmaus_pontormo", "title": "The Supper at Emmaus", "artist_line": "Jacopo Pontormo (Italian, 1494–1557)", "artist": "Pontormo", "date": "1525", "museum": "Gallerie degli Uffizi, Florence", "license": "PD/CC0", "tier": "Sanctuary", "sizes": [{"size": "18×24 in", "paper": 140, "iw": 17.7, "ih": 24, "sw": 18, "sh": 24, "cov": 0.984}, {"size": "24×36 in", "paper": 190, "iw": 24, "ih": 32.5, "sw": 24, "sh": 36, "cov": 0.904}, {"size": "32×48 in", "paper": 340, "iw": 32, "ih": 43.4, "sw": 32, "sh": 48, "cov": 0.904}, {"size": "40×60 in", "paper": 480, "iw": 40, "ih": 54.2, "sw": 40, "sh": 60, "cov": 0.904}], "local": "/store/display/emmaus_pontormo.jpg", "commons_file": "Pontormo - Cena in Emmaus - Google Art Project.jpg", "zoom": "https://art.monstrance.app/zoom/emmaus_pontormo.jpg", "master_px": 9240, "auth": {"institution": "Gallerie degli Uffizi / Uffizi Galleries, Firenze", "accession": "1890 n. 8740", "url": "https://www.uffizi.it/opere/cena-in-emmaus", "artist_as_printed": "Jacopo Carucci, called il Pontormo", "date_as_printed": "1525", "medium": "Olio su tela", "dimensions": "230 x 173 cm"}, "writeup": {"text": "Bread lies on the table and a hand is raised over it, and still the two disciples have not seen who sits with them. One watches the blessing; the other pours the wine. Heidi Hornik and Mikeal Parsons read Pontormo's choice as the moment before the revelation, which the Uffizi finds already in the beam of light on Christ's face. Behind Him the Carthusians of the Galluzzo charterhouse step out of the dark as witnesses, the prior Leonardo Buonafede at His right; the monks had it painted for their guest quarters. Christ looks out, past the loaf, at whoever comes in next to eat.", "sources": [{"what": "The Uffizi's entry: painted for the guest quarters of the Galluzzo charterhouse; after Dürer's Small Passion; Christ breaking the bread, his revelation emphasised by the beam of light on his face; the jug, glasses, dog and cats; the monks emerging from the darkness as witnesses, with the prior Leonardo Buonafede on Christ's right; the eye in the triangle a posthumous repainting over a Trinity image.", "url": "https://www.uffizi.it/en/artworks/pontormo-supper-emmaus", "cite": "Gallerie degli Uffizi, 'Supper at Emmaus', Pontormo, read 2026-09-24"}, {"what": "The museum's catalogue record: Jacopo Carucci called Pontormo, Cena in Emmaus, 1525, oil on canvas, 230 x 173 cm, inv. 1890 n. 8740; Christ shown blessing the bread, after Dürer's Small Passion.", "url": "https://www.uffizi.it/opere/cena-in-emmaus", "cite": "Gallerie degli Uffizi, 'Cena in Emmaus', inv. 1890 n. 8740, read 2026-09-24"}, {"what": "Hornik and Parsons: Pontormo selects the moment before the revelation; one disciple gazes at Christ blessing the loaf while the other pours red wine; Christ and the Carthusian onlookers stare at the viewer; no recognition yet.", "url": "https://www.christiancentury.org/art/supper-emmaus-jacopo-pontormo", "cite": "Heidi J. Hornik and Mikeal C. Parsons, 'The Supper at Emmaus, by Jacopo Pontormo', The Christian Century, 29 March 2017, read 2026-09-24"}]}, "scene": {"ref": "Luke 24:31", "quote": "And their eyes were opened: and they knew him. And he vanished out of their sight.", "shows": "the breaking of bread and the opening of their eyes"}, "th": "/store/thumb/emmaus_pontormo.webp", "more": [{"k": "subject", "n": "The Supper at Emmaus in painting", "u": "/editions/subject/supper-at-emmaus/", "ids": ["emmaus_veronese", "caravaggio_emmaus", "caravaggio_supper_at_emmaus_brera"]}, {"k": "master", "n": "Pontormo", "u": "/editions/master/pontormo/", "ids": ["pontormo_visitation_carmignano"]}]}, "millet_angelus": {"id": "millet_angelus", "title": "The Angelus", "artist_line": "Jean-François Millet (French, 1814–1875)", "artist": "Jean-François Millet", "date": "1857–1859", "museum": "Musée d’Orsay, Paris", "license": "PD/CC0", "tier": "Hero", "sizes": [{"size": "16×20 in", "paper": 110, "iw": 19.2, "ih": 16, "sw": 20, "sh": 16, "cov": 0.962}, {"size": "18×24 in", "paper": 140, "iw": 21.6, "ih": 18, "sw": 24, "sh": 18, "cov": 0.902}, {"size": "24×36 in", "paper": 190, "iw": 28.9, "ih": 24, "sw": 36, "sh": 24, "cov": 0.802}], "local": "/store/display/millet_angelus.jpg", "commons_file": "Jean-François Millet (II) 001.jpg", "zoom": "https://art.monstrance.app/zoom/millet_angelus.jpg", "master_px": 7050, "auth": {"institution": "Musée d’Orsay, Paris", "accession": "RF 1877", "url": "https://www.musee-orsay.fr/en/artworks/langelus-345", "artist_as_printed": "Jean-François Millet", "date_as_printed": "entre 1857 et 1859", "medium": "huile sur toile", "dimensions": "H. 55,5 ; L. 66 cm."}, "writeup": {"text": "Dusk comes down on a field, and two people stand still in it. The woman bows over her joined hands; the man has taken off his hat and holds it at his chest. Jean-François Millet paints the Angelus, the prayer the Musée d'Orsay describes as marking the Angel Gabriel's announcement to Mary, and the steeple stands small on the far horizon. Pitchfork, basket, sacks and barrow wait where the work stopped; the Orsay reads the scattered tools as keeping the scene in labour. Millet said the idea came from his grandmother, who always made the family stop work to say the Angelus. The canvas was ordered around 1857 by the American Thomas Gold Appleton, who never took delivery. The light goes down behind them, and whatever you are doing today can stop for one prayer as well.", "sources": [{"what": "Paused posture (hands clasped, heads bowed, tools set down) as the Angelus prayer, and Millet's own quote about his grandmother", "url": "https://www.musee-orsay.fr/en/artworks/langelus-345"}, {"what": "Angelus devotion recited three times daily commemorating the Annunciation/Angel Gabriel's announcement to Mary", "url": "https://www.musee-orsay.fr/en/artworks/langelus-345"}, {"what": "Scattered tools (pitchfork, sacks, wheelbarrow) ground scene in labor rather than pure religious sentiment", "url": "https://www.musee-orsay.fr/en/artworks/langelus-345"}, {"what": "Commission history: Thomas Gold Appleton (American) ordered the canvas but never took delivery; Millet reworked it", "url": "https://www.napoleon.org/en/history-of-the-two-empires/paintings/the-angelus/"}, {"what": "Commission by Thomas Gold Appleton c.1857 and his failure to take delivery — the only half of the retired clause any institution or catalogue prints. The other half (original title 'Prayer for the Potato Crop'; steeple added afterwards) was cut from the prose rather than re-sourced.", "url": "https://pop.culture.gouv.fr/notice/joconde/000PE002013", "cite": "Base Joconde, notice 000PE002013, 'L'angélus', Jean-François Millet, Paris, musée d'Orsay, RF 1877 — Plateforme Ouverte du Patrimoine, Ministère de la Culture (France)"}]}, "scene": {"why": "NOT A SCENE IN SCRIPTURE. Millet paints two peasants at the Angelus bell. The prayer they are saying quotes Luke 1:38, but the picture shows the praying, not the Annunciation, and citing the verse as its scene would describe a different painting."}, "th": "/store/thumb/millet_angelus.webp"}, "caravaggio_death_virgin": {"id": "caravaggio_death_virgin", "title": "The Death of the Virgin", "artist_line": "Caravaggio (Italian, 1571–1610)", "artist": "Caravaggio", "date": "1604–06", "museum": "Musée du Louvre, Paris", "license": "PD/CC0", "tier": "Sanctuary", "sizes": [{"size": "18×24 in", "paper": 140, "iw": 15.9, "ih": 24, "sw": 18, "sh": 24, "cov": 0.883}, {"size": "24×36 in", "paper": 190, "iw": 23.9, "ih": 36, "sw": 24, "sh": 36, "cov": 0.994}, {"size": "32×48 in", "paper": 340, "iw": 31.8, "ih": 48, "sw": 32, "sh": 48, "cov": 0.994}, {"size": "40×60 in", "paper": 480, "iw": 39.8, "ih": 60, "sw": 40, "sh": 60, "cov": 0.994}], "local": "/store/display/caravaggio_death_virgin.jpg", "commons_file": "Death of the Virgin-Caravaggio (1606).jpg", "zoom": "https://art.monstrance.app/zoom/caravaggio_death_virgin.jpg", "master_px": 14274, "auth": {"institution": "Musée du Louvre, Paris — Département des Peintures", "accession": "INV 54", "url": "https://collections.louvre.fr/ark:/53355/cl010062304", "artist_as_printed": "Caravage (Michelangelo Merisi, dit Caravaggio)", "date_as_printed": "Début du XVIIe siècle (vers 1601 - 1606)", "medium": "huile sur toile", "dimensions": "Hauteur : 3,69 m ; Largeur : 2,45 m"}, "writeup": {"text": "Our Lady lies dead in a red dress, one arm flung out, and over her hangs a great red curtain where the angels would be. Only a thin ring of gold says who she is. The Louvre writes that Caravaggio completely abandons the iconography traditionally used to indicate the holiness of the Virgin, and gives a raw and realistic view of her mortal remains. The clergy of Santa Maria della Scala refused it. Rubens urged it on the Duke of Mantua. Colette Féraudet finds ointment for embalming in the copper basin on the floor; the Golden Legend's Virgin leaves the tomb and needs none. The basin waits anyway.", "sources": [{"what": "INV 54, oil on canvas, 3.69 × 2.45 m, c. 1601–1606; commissioned by Laerzio Cherubini for Santa Maria della Scala in Trastevere and refused by the clergy of that church", "url": "https://collections.louvre.fr/ark:/53355/cl010062304"}, {"what": "the Louvre's reading: the swollen spread feet, ‘a raw and realistic view of the Virgin's mortal remains’, the abandoned iconography, a halo reduced to a thread, and the replacement by Carlo Saraceni", "url": "https://www.louvre.fr/en/oeuvre-notices/death-virgin"}, {"what": "the three early accounts disagree — decorum, a courtesan model, a swollen dead woman; the drowned-prostitute story fuses the last two", "cite": "Giovanni Baglione, Le vite (Rome, 1642), 138; Giulio Mancini, Considerazioni sulla pittura (MS c. 1617–21); Giovan Pietro Bellori, Le vite (Rome, 1672), 213; and Frances Gage, ‘Caravaggio's Death of the Virgin, Giulio Mancini, and the Madonna Blasphemed’, in Caravaggio: Reflections and Refractions (Routledge, 2017), 83–104"}, {"what": "Rubens recommended it to the Duke of Mantua as one of the best Caravaggio had made, and it was shown in Rome for a week in April 1607 before leaving", "cite": "Rossella Vodret and Giovanna Granata, ‘Not Only Caravaggio’, in Caravaggio's Rome 1600–1630 (Skira, 2012), 64"}, {"what": "The copper basin read as holding the ointment for the Virgin's embalming — the object's meaning, not merely its presence, and the hinge of the card.", "url": "https://panoramadelart.com/analyse/la-mort-de-la-vierge", "cite": "Colette Féraudet, 'La Mort de la Vierge', Panorama de l'art (RMN-Grand Palais), 2023."}, {"what": "The tradition the ointment is set against: the Virgin issues gloriously out of the tomb, and her body does not remain in it.", "cite": "Jacobus de Voragine, 'Legenda aurea', 'The Assumption of the Glorious Virgin our Lady S. Mary' (Caxton's translation)."}]}, "scene": {"why": "NOT A NARRATIVE SCENE. The Dormition is known from tradition and apocryphal accounts, not from Scripture."}, "th": "/store/thumb/caravaggio_death_virgin.webp", "more": [{"k": "master", "n": "Caravaggio", "u": "/editions/master/caravaggio/", "ids": ["caravaggio_madonna_loreto", "caravaggio_christ_at_the_column", "caravaggio_seven_mercy", "caravaggio_st_jerome"]}]}, "perugino_keys": {"id": "perugino_keys", "title": "Delivery of the Keys", "artist_line": "Pietro Perugino (Italian, c. 1446–1523)", "artist": "Perugino", "date": "1481–82", "museum": "Sistine Chapel, Vatican Museums", "license": "PD/CC0", "tier": "Entry", "sizes": [{"size": "8×10 in", "paper": 39, "iw": 10, "ih": 6.0, "sw": 10, "sh": 8, "cov": 0.754}], "local": "/store/display/perugino_keys.jpg", "commons_file": "Entrega de las llaves a San Pedro (Perugino).jpg", "zoom": "https://art.monstrance.app/zoom/perugino_keys.jpg", "master_px": 3187, "auth": {"institution": "Musei Vaticani — Cappella Sistina, parete nord, Storie di Cristo", "url": "https://www.museivaticani.va/content/museivaticani/it/collezioni/musei/cappella-sistina/parete-nord/storie-di-cristo/consegna-delle-chiavi.html"}, "writeup": {"text": "Saint Peter kneels on a paved square, and Christ puts the keys into his hands. The Vatican Museums read them as sovereignty, power conferred on the first vicar of Christ on earth; Shannon Pritchard notes that the gold and silver pair became Peter's attribute. Behind them the piazza runs far back, where the Vatican finds the tribute money and the attempted stoning played out in small, to the Temple of Jerusalem as a domed octagon between two copies of the Arch of Constantine, the emperor who legalized Christianity. Across the arches runs a Latin couplet that Maurizio Calvesi reads as praise of Sixtus IV: inferior to Solomon in riches, superior in devotion. Perugino painted it in 1481-82 on the chapel's north wall. The conclave still meets here, under these keys, to choose Peter's successor.", "sources": [{"what": "The Vatican Museums' page: Peter on his knees before Christ receiving the keys of the kingdom of heaven (Matthew 16:13-20), a symbol of sovereignty and of power conferred on the first vicar of Christ on earth; the Temple of Jerusalem as a domed octagon flanked by two triumphal arches imitating Constantine's; the tribute money and the attempted stoning in the background.", "url": "https://www.museivaticani.va/content/museivaticani/en/collezioni/musei/cappella-sistina/parete-nord/storie-di-cristo/consegna-delle-chiavi.html", "cite": "Musei Vaticani, Cappella Sistina, north wall, 'Handing over of the keys', read 2026-09-24"}, {"what": "The Sistine Chapel's history: the conclave for the election of the Supreme Pontiff is held in the chapel; the wall frescoes executed 1481-1482 by Perugino, Botticelli, Ghirlandaio and Rosselli.", "url": "https://www.museivaticani.va/content/museivaticani/en/collezioni/musei/cappella-sistina/storia-cappella-sistina.html", "cite": "Musei Vaticani, 'Sistine Chapel', history, read 2026-09-24"}, {"what": "Rossi's transcription of the Latin on the two arches, 'immensu[m] Salomo[ni] templum hoc quarte sacrasti / Sixte opibus dispar religione prior', with Maurizio Calvesi's reading: Sixtus IV, inferior to Solomon in riches but superior in religion and devotion, consecrated this immense temple.", "url": "https://www.raco.cat/index.php/ActaArtis/article/download/277999/365888", "cite": "Sergio Rossi, 'La Sistina ri-svelata? Nuove precisazioni (e qualche scoperta) sugli affreschi quattrocenteschi', Acta/Artis, read 2026-09-24"}, {"what": "Pritchard: the pair of gold and silver keys became Saint Peter's attribute; the Arch of Constantine commemorates the emperor who legalized Christianity; Sixtus IV's commission of 1481.", "url": "https://smarthistory.org/perugino-christ-giving-the-keys-of-the-kingdom-to-st-peter/", "cite": "Dr. Shannon Pritchard, 'Perugino, Christ Giving the Keys of the Kingdom to St. Peter', Smarthistory, read 2026-09-24"}]}, "scene": {"ref": "Matthew 16:19", "quote": "And I will give to thee the keys of the kingdom of heaven. And whatsoever thou shalt bind upon earth, it shall be bound also in heaven: and whatsoever thou shalt loose on earth, it shall be loosed also in heaven.", "shows": "the keys of the kingdom given to Peter"}, "th": "/store/thumb/perugino_keys.webp"}, "murillo_good_shepherd": {"id": "murillo_good_shepherd", "title": "The Good Shepherd", "artist_line": "Bartolomé Esteban Murillo (Spanish, 1617–1682)", "artist": "Bartolomé Esteban Murillo", "date": "c. 1660", "museum": "Museo Nacional del Prado, Madrid", "license": "PD/CC0", "tier": "Entry", "sizes": [{"size": "8×10 in", "paper": 39, "iw": 8, "ih": 9.8, "sw": 8, "sh": 10, "cov": 0.983}], "local": "/store/display/murillo_good_shepherd.jpg", "commons_file": "El Buen Pastor.jpg", "zoom": "https://art.monstrance.app/zoom/murillo_good_shepherd.jpg", "master_px": 2901, "auth": {"institution": "Museo Nacional del Prado, Madrid", "accession": "P000962", "url": "https://www.museodelprado.es/coleccion/obra-de-arte/el-buen-pastor/28013a12-7a77-4a4f-9b26-85422f4d7afe", "artist_as_printed": "Bartolomé Esteban Murillo", "date_as_printed": "Hacia 1660", "medium": "Óleo sobre lienzo", "dimensions": "Alto: 123 cm; Ancho: 101,7 cm"}, "writeup": {"text": "The Christ Child sits on a rock with bare feet and a staff across His knees, one hand resting on a lamb's back. Bartolomé Esteban Murillo has made the Good Shepherd a child. Nerea Pérez López traces the older figure, a grown man whom the first Christian painters built out of Hermes Kriophoros and Orpheus; Murillo gave the type its childhood, and the Sevillian painters after him kept the shepherd a child. Ceán Bermúdez, she notes, saw the likeness of the pose to the frontispiece of Stefano della Bella's mythological engravings of 1644. Behind Him stand a broken column and a fallen piece of entablature, which the Prado reads as paganism conquered. His tunic is rose, the flock grazes far off, and He looks straight out, at the one sheep not yet brought in.", "sources": [{"what": "Prado catalogue: Christ Child as Good Shepherd, barefoot, rose tunic, staff, lamb under arm, direct gaze", "url": "https://www.museodelprado.es/coleccion/obra-de-arte/el-buen-pastor/28013a12-7a77-4a4f-9b26-85422f4d7afe"}, {"what": "Prado: ruins signify Virgilian pastoral tradition and 'conquered paganism' in Christian iconography", "url": "https://www.museodelprado.es/coleccion/obra-de-arte/el-buen-pastor/28013a12-7a77-4a4f-9b26-85422f4d7afe"}, {"what": "Prado: Murillo based the composition on a print by Stefano della Bella", "url": "https://www.museodelprado.es/coleccion/obra-de-arte/el-buen-pastor/28013a12-7a77-4a4f-9b26-85422f4d7afe"}, {"what": "Murillo originated the 'infantilized' child Good Shepherd type, replacing the older adult-shepherd tradition; later painters (Domingo Martínez, Juan Simón Gutiérrez) followed his model", "url": "https://revistascientificas.us.es/index.php/LAB-ARTE/article/view/18595", "cite": "Nerea V. Pérez López, 'La iconografía del buen pastor niño...', Laboratorio de Arte 29 (2017), pp. 311-328"}, {"what": "Named scholar on the type: the Christian shepherd built by the first Christian painters out of the Moschophoros, Hermes Kriophoros and Orpheus; Murillo's infantilising of the figure; the Sevillian painters after him who kept the shepherd a child; and Ceán Bermúdez on the likeness of the pose to the frontispiece of Stefano della Bella's mythological engravings of 1644.", "url": "https://revistascientificas.us.es/index.php/LAB-ARTE/article/download/18595/16352", "cite": "Nerea V. Pérez López, 'La iconografía del Buen Pastor niño y su vinculación con la pintura sevillana', Laboratorio de Arte 29 (2017)."}, {"what": "The Prado's own entry: the barefoot child in a rose tunic with the lamb under his left arm, and the broken column and entablature fragments read as vanquished paganism.", "url": "https://www.museodelprado.es/coleccion/obra-de-arte/el-buen-pastor/28013a12-7a77-4a4f-9b26-85422f4d7afe", "cite": "Museo Nacional del Prado, 'El Buen Pastor', P000962."}]}, "scene": {"ref": "John 10:11", "quote": "I am the good shepherd. The good shepherd giveth his life for his sheep.", "shows": "the good shepherd who giveth his life"}, "th": "/store/thumb/murillo_good_shepherd.webp", "more": [{"k": "master", "n": "Bartolomé Esteban Murillo", "u": "/editions/master/bartolome-esteban-murillo/", "ids": ["murillo_immaculate_venerables", "murillo_prodigal_son", "murillo_saint_rose_of_lima", "murillo_virgin_rosary"]}]}, "masaccio_trinity": {"id": "masaccio_trinity", "title": "The Holy Trinity", "artist_line": "Masaccio (Italian, 1401–1428)", "artist": "Masaccio", "date": "c. 1427", "museum": "Santa Maria Novella, Florence", "license": "PD/CC0", "tier": "Hero", "sizes": [{"size": "16×20 in", "paper": 110, "iw": 12.4, "ih": 20, "sw": 16, "sh": 20, "cov": 0.775}, {"size": "18×24 in", "paper": 140, "iw": 14.9, "ih": 24, "sw": 18, "sh": 24, "cov": 0.826}], "local": "/store/display/masaccio_trinity.jpg", "commons_file": "Masaccio, Holy Trinity, 1425-28, Santa Maria Novella, Florence.jpg", "zoom": "https://art.monstrance.app/zoom/masaccio_trinity.jpg", "master_px": 5753, "auth": {"institution": "Basilica di Santa Maria Novella, Firenze — in situ", "url": "https://www.smn.it/en/artworks/masaccios-holy-trinity/", "artist_as_printed": "Tommaso Guidi, known as Masaccio", "date_as_printed": "1425-1426", "medium": "Affresco — in situ", "accession_absent": "in_situ"}, "writeup": {"text": "God the Father stands behind the Cross and holds it by its arms, and Smarthistory notes His feet planted as if He bore the weight. Christ hangs in front of Him; the Basilica di Santa Maria Novella places the Dove of the Holy Spirit on the same line between them, Father, Spirit and Son on one axis. Masaccio paints a coffered chapel so that it looks cut into the wall. Our Lady stands at the foot of the Cross and turns one hand toward her Son. Two unnamed donors kneel outside the painted arch, on the same step as the church floor. In 1570 Vasari covered the fresco with a stone altar, and it stayed hidden until the nineteenth century. Below, a skeleton lies in a tomb with words for whoever passes: what you are, I once was; what I am, you will become.", "sources": [{"what": "God the Father physically supports the cross behind Christ, feet planted as if bearing weight", "url": "https://smarthistory.org/masaccio-holy-trinity/", "cite": "Smarthistory, 'Masaccio, Holy Trinity'"}, {"what": "Dove of the Holy Spirit sits on the central vertical axis between the Father and Christ's head", "url": "https://www.smn.it/en/artworks/masaccios-holy-trinity/", "cite": "Basilica di Santa Maria Novella official page"}, {"what": "Painted architecture creates the illusion of a real chapel carved into the church wall", "url": "https://www.smn.it/en/artworks/masaccios-holy-trinity/", "cite": "Basilica di Santa Maria Novella official page / Smarthistory"}, {"what": "Skeleton in tomb at base with inscription addressed to the worshipper, translated 'what you are, I once was...'", "url": "https://www.smn.it/en/artworks/masaccios-holy-trinity/", "cite": "Basilica di Santa Maria Novella official page (corroborated by Smarthistory, italianrenaissance.org)"}, {"what": "Two unidentified donor figures kneel outside the painted architecture on the same step as the church floor", "url": "https://www.smn.it/en/artworks/masaccios-holy-trinity/", "cite": "Basilica di Santa Maria Novella official page; Rona Goffen, ed., Masaccio's Trinity (Cambridge)"}, {"what": "In 1570 Vasari covered the fresco with a stone altar; it remained hidden until uncovered in the 19th century", "cite": "Commission history cross-checked against eclecticlight.co restoration-history account"}]}, "scene": {"why": "NOT A NARRATIVE SCENE. The Trinity is doctrine, not an episode. Where all three Persons appear together in Scripture it is at the Baptism (Matthew 3:16-17); the painters’ Throne of Mercy and Gloria types are theological constructions and are cited as such rather than pinned to a verse."}, "th": "/store/thumb/masaccio_trinity.webp", "more": [{"k": "subject", "n": "The Holy Trinity in painting", "u": "/editions/subject/the-holy-trinity/", "ids": ["girardin_the_trinity", "goes_the_trinity_altarpiece_the_holy_trinit", "albrecht_durer_all_saints_landauer_altarpiece", "titian_gloria"]}, {"k": "master", "n": "Masaccio", "u": "/editions/master/masaccio/", "ids": ["masaccio_tribute_money", "masaccio_pisa_predella_peter_john"]}]}, "el_greco_holy_trinity": {"id": "el_greco_holy_trinity", "title": "The Holy Trinity", "artist_line": "El Greco (Greek–Spanish, 1541–1614)", "artist": "El Greco", "date": "1577–79", "museum": "Museo Nacional del Prado, Madrid", "license": "PD/CC0", "tier": "Entry", "sizes": [{"size": "8×10 in", "paper": 39, "iw": 5.8, "ih": 10, "sw": 8, "sh": 10, "cov": 0.721}], "local": "/store/display/el_greco_holy_trinity.jpg", "commons_file": "La Trinidad (El Greco, 1577-1579).jpg", "zoom": "https://art.monstrance.app/zoom/el_greco_holy_trinity.jpg", "master_px": 3051, "auth": {"institution": "Museo Nacional del Prado, Madrid", "accession": "P000824", "url": "https://www.museodelprado.es/en/the-collection/art-work/the-holy-trinity/8b502bfc-bc6d-43d1-b72b-b047eeea033c", "artist_as_printed": "El Greco (Domenikos Theotokopoulos)", "date_as_printed": "1577-1579", "medium": "Oil on canvas", "dimensions": "Height: 300 cm; Width: 179 cm"}, "writeup": {"text": "The Father holds the Son, and the Son is dead. The Holy Spirit, as a dove, hangs above Them; a wound shows in His side, and His feet rest on the heads of small cherubs. Around Them the angels grieve, while, as the Prado notes, the Father's face stays composed. The Prado traces El Greco's design to a Dürer source that fuses the Compassio Patris with the Throne of Grace, sees Michelangelo in the heroic body, and reads the whole as \"a sort of male Pietà.\" The canvas crowned the attic storey of the altarpiece at Santo Domingo el Antiguo. One storey below, Our Lady rose on her crescent moon.", "sources": [{"what": "Iconography (Compassio Patris/Throne of Grace, Eucharistic redemption), Dürer compositional source, Michelangelesque treatment of Christ", "url": "https://www.museodelprado.es/en/the-collection/art-work/the-holy-trinity/8b502bfc-bc6d-43d1-b72b-b047eeea033c", "cite": "Museo Nacional del Prado, official object page for The Holy Trinity (P000824)"}, {"what": "Angels shown grieving, contrasted with the calm, composed faces of the Father and Christ", "url": "https://www.museodelprado.es/en/resource/the-holy-trinity-el-greco/de07e6ea-d8ec-b024-1f39-13f45765dec5", "cite": "Museo Nacional del Prado, 'easy-to-read' companion object page for The Holy Trinity"}, {"what": "Santo Domingo el Antiguo commission details: El Greco's first Spanish commission; the Holy Trinity crowned the main altarpiece above the central Assumption of the Virgin", "url": "https://www.wga.hu/html_m/g/greco_el/05/index.html", "cite": "Web Gallery of Art, 'The Santo Domingo el Antiguo Altarpieces (1577-79)'"}, {"what": "The Prado on this canvas: El Greco's Dürer source fusing the Compassio Patris with the Throne of Grace, read as 'a sort of male Pietà'; and the canvas's position in the attic storey of the Santo Domingo el Antiguo high altarpiece, directly above the Assumption.", "url": "https://www.museodelprado.es/en/whats-on/exhibition/el-greco-santo-domingo-el-antiguo/88dea54d-5dc6-5f28-00b3-1e20206146a8", "cite": "Museo Nacional del Prado, exhibition, 'El Greco: Santo Domingo el Antiguo'."}, {"what": "The Assumption that stood one storey below: the Virgin floating upward on the crescent moon.", "url": "https://www.artic.edu/artworks/87479/the-assumption-of-the-virgin", "cite": "The Art Institute of Chicago, El Greco, 'The Assumption of the Virgin', 1577-79."}]}, "scene": {"why": "NOT A NARRATIVE SCENE. The Trinity is doctrine, not an episode. Where all three Persons appear together in Scripture it is at the Baptism (Matthew 3:16-17); the painters’ Throne of Mercy and Gloria types are theological constructions and are cited as such rather than pinned to a verse."}, "th": "/store/thumb/el_greco_holy_trinity.webp", "more": [{"k": "subject", "n": "The Holy Trinity in painting", "u": "/editions/subject/the-holy-trinity/", "ids": ["hendrik_van_balen_the_trinity", "rubens_the_holy_trinity", "masaccio_trinity", "girardin_the_trinity"]}, {"k": "master", "n": "El Greco", "u": "/editions/master/el-greco/", "ids": ["el_greco_christ_carrying_cross", "el_greco_madonna_and_child_with_saint_martina_a", "el_greco_savior", "el_greco_the_agony_in_the_garden"]}]}, "titian_gloria": {"id": "titian_gloria", "title": "La Gloria (The Trinity in Glory)", "artist_line": "Titian (Italian, c. 1488–1576)", "artist": "Titian", "date": "1551–54", "museum": "Museo Nacional del Prado, Madrid", "license": "PD/CC0", "tier": "Entry", "sizes": [{"size": "8×10 in", "paper": 39, "iw": 6.9, "ih": 10, "sw": 8, "sh": 10, "cov": 0.859}], "local": "/store/display/titian_gloria.jpg", "commons_file": "Tiziano-gloria-1554.jpg", "zoom": "https://art.monstrance.app/zoom/titian_gloria.jpg", "master_px": 3051, "auth": {"institution": "Museo Nacional del Prado, Madrid", "accession": "P000432", "url": "https://www.museodelprado.es/en/the-collection/art-work/the-glory/66149817-6f88-4e5f-a09a-81f63a84d145", "artist_as_printed": "Titian (Tiziano Vecellio)", "date_as_printed": "1551-1554", "medium": "Oil on canvas", "dimensions": "346 × 240 cm"}, "writeup": {"text": "A crown sits on a cloud, set down beside a kneeling man in a white shroud. Above him God the Father and Christ sit enthroned in blue, each with sceptre and globe, the Dove of the Holy Spirit in the light between them, and Our Lady comes toward them from the left. Charles V commissioned the work in person from Titian at Augsburg, and the Prado describes the imperial family kneeling barefoot in burial shrouds, the crown beside him rather than worn; only the Virgin walks toward the Trinity instead of gazing at it, in the same blue as the Father and the Son. The National Gallery in London calls such an epitaph a memorial for someone who has died. Titian finished in October 1554. The emperor set his crown down in paint two years before he set it down in fact.", "sources": [{"what": "Imperial family kneels barefoot in white burial shrouds; Charles alone still wears his crown", "url": "https://www.museodelprado.es/en/the-collection/art-work/the-glory/66149817-6f88-4e5f-a09a-81f63a84d145", "cite": "Museo del Prado object page"}, {"what": "Brushwork grows progressively looser and thinner toward the top, ground showing through", "url": "https://www.museodelprado.es/en/the-collection/art-work/the-glory/66149817-6f88-4e5f-a09a-81f63a84d145", "cite": "Museo del Prado object page, 'Technical Execution'"}, {"what": "Virgin walks toward the Trinity rather than gazing at it, dressed in blue matching the Father and Son", "url": "https://www.museodelprado.es/en/the-collection/art-work/the-glory/66149817-6f88-4e5f-a09a-81f63a84d145", "cite": "Museo del Prado object page"}, {"what": "Painting was a private commission, never a public altarpiece, in the German devotional 'epitaph' genre", "url": "https://www.nationalgallery.org.uk/paintings/after-titian-the-trinity-la-gloria", "cite": "National Gallery, London catalogue entry"}, {"what": "Charles V commissioned the work in person from Titian at Augsburg, 1550-51", "url": "https://www.museodelprado.es/en/the-collection/art-work/the-glory/66149817-6f88-4e5f-a09a-81f63a84d145", "cite": "Museo del Prado object page"}, {"what": "Venetian Inquisitor Faenzi authorized 1567 reproduction, described as depicting the emperor's hopes for eternal salvation", "url": "https://www.museodelprado.es/en/the-collection/art-work/the-glory/66149817-6f88-4e5f-a09a-81f63a84d145", "cite": "Museo del Prado object page"}, {"what": "Charles V abdicated in 1556 — two years after Titian finished the picture.", "url": "https://www.nationalgallery.org.uk/people/charles-v-holy-roman-emperor", "cite": "The National Gallery, London, 'Charles V, Holy Roman Emperor'."}, {"what": "The Prado's own record: the imperial family kneeling barefoot in burial shrouds with the crown set beside Charles rather than worn; the Virgin walking toward the Trinity instead of gazing at it, in the same blue as the Father and the Son; completion in October 1554; and the passage on technique where the paint thins until the ground shows through.", "url": "https://www.museodelprado.es/en/the-collection/art-work/the-glory/66149817-6f88-4e5f-a09a-81f63a84d145", "cite": "Museo Nacional del Prado, 'The Glory (La Gloria)', P000432."}, {"what": "Defines the epitaph as a memorial made for someone who has died, and describes the family kneeling in shrouds — the engine of the card's first line. The object catalogued there is a later copy after Titian.", "url": "https://www.nationalgallery.org.uk/paintings/after-titian-the-trinity-la-gloria", "cite": "The National Gallery, London, After Titian, 'The Trinity (La Gloria)', NG4222."}]}, "scene": {"why": "NOT A NARRATIVE SCENE. The Trinity is doctrine, not an episode. Where all three Persons appear together in Scripture it is at the Baptism (Matthew 3:16-17); the painters’ Throne of Mercy and Gloria types are theological constructions and are cited as such rather than pinned to a verse."}, "th": "/store/thumb/titian_gloria.webp", "more": [{"k": "subject", "n": "The Holy Trinity in painting", "u": "/editions/subject/the-holy-trinity/", "ids": ["el_greco_holy_trinity", "hendrik_van_balen_the_trinity", "rubens_the_holy_trinity", "masaccio_trinity"]}, {"k": "master", "n": "Titian", "u": "/editions/master/titian/", "ids": ["titian_the_adoration_of_the_magi", "titian_christ_carrying", "titian_christ_crucified", "titian_crowning_thorns"]}]}, "bouguereau_holy_women_tomb": {"id": "bouguereau_holy_women_tomb", "title": "The Holy Women at the Tomb", "artist_line": "William-Adolphe Bouguereau (French, 1825–1905)", "artist": "William-Adolphe Bouguereau", "date": "1890", "museum": "Koninklijk Museum voor Schone Kunsten Antwerpen (KMSKA)", "license": "PD/CC0", "tier": "Hero", "sizes": [{"size": "16×20 in", "paper": 110, "iw": 12.5, "ih": 20, "sw": 16, "sh": 20, "cov": 0.781}, {"size": "18×24 in", "paper": 140, "iw": 15.0, "ih": 24, "sw": 18, "sh": 24, "cov": 0.833}, {"size": "24×36 in", "paper": 190, "iw": 22.5, "ih": 36, "sw": 24, "sh": 36, "cov": 0.937}], "local": "/store/display/bouguereau_holy_women_tomb.jpg", "commons_file": "William Adolphe Bouguereau - De heilige vrouwen bij het graf - 1580 - Royal Museum of Fine Arts Antwerp.tiff", "zoom": "https://art.monstrance.app/zoom/bouguereau_holy_women_tomb.jpg", "master_px": 6965, "auth": {"institution": "Koninklijk Museum voor Schone Kunsten Antwerpen (KMSKA)", "accession": "1580", "url": "https://kmska.be/nl/meesterwerk/de-heilige-vrouwen-bij-het-graf", "artist_as_printed": "William Adolphe Bouguereau", "date_as_printed": "1890", "medium": "Olieverf op doek", "dimensions": "259 × 161 cm"}, "writeup": {"text": "A gold bowl in one woman's hands, bare feet on the stone, and the door of the grave standing open. They came to anoint a body, and there is no body to anoint. Behind the rock an angel stands in a wash of light, one arm raised. The KMSKA tells it in order: the women find the tomb open and empty, an angel tells them Jesus is risen, and they tremble with fright, beside themselves with grief. William-Adolphe Bouguereau took the dead Cabanel's seat at the Antwerp Academy in 1890, and chose this canvas for the city's 1894 world's fair. The errand is over before the news arrives.", "sources": [{"what": "Open empty tomb as the Resurrection sign; Mark 16:1-8 cited as the painting's textual source", "url": "https://kmska.be/nl/meesterwerk/de-heilige-vrouwen-bij-het-graf", "cite": "KMSKA object page"}, {"what": "Women tremble with fear and despair at the angel's announcement, not composed joy", "url": "https://kmska.be/nl/meesterwerk/de-heilige-vrouwen-bij-het-graf", "cite": "KMSKA object page"}, {"what": "Angel bathed/radiating light at the tomb's threshold as messenger sign", "url": "https://www.artchive.com/artwork/the-holy-women-at-the-tomb-william-adolphe-bouguereau/", "cite": "Artchive.com artwork page (lower-rigor secondary source)"}, {"what": "Rising dawn light read as foreshadowing what the women find inside the tomb", "url": "https://review.catechetics.com/inspired-through-art-holy-women-tomb", "cite": "The Catechetical Review, 'Inspired Through Art: The Holy Women at the Tomb' (paywalled preview)"}, {"what": "Women's dark mourning dress signals they came to anoint a body, not to witness a revelation", "url": "https://review.catechetics.com/inspired-through-art-holy-women-tomb", "cite": "Mark 16:1, as read by The Catechetical Review"}, {"what": "No patron commissioned the painting; it was painted for the 1890 Paris Salon, later purchased outright by the Antwerp Academy from Bouguereau after he succeeded the late Cabanel", "url": "https://kmska.be/nl/meesterwerk/de-heilige-vrouwen-bij-het-graf", "cite": "KMSKA object page curatorial text"}, {"what": "The 1890 succession to the deceased Cabanel in the Corps Académique of the Antwerp Academy, and the museum's own reading of the scene: the women find the tomb open and empty, an angel then tells them of the Resurrection, whereupon they tremble with fright and are overwhelmed by grief. Both sentences.", "url": "https://kmska.be/fr/chefdoeuvre/les-saintes-femmes-au-tombeau", "cite": "Koninklijk Museum voor Schone Kunsten Antwerpen (KMSKA), object record 'Les Saintes Femmes au tombeau' (French-language masterpiece page), accession 1580"}, {"what": "The museum's narrative order — empty tomb first, angel's announcement second, fright and grief third — and its wording for the women's state, which the card attributes to the museum in the sentence itself.", "url": "https://kmska.be/fr/chefdoeuvre/les-saintes-femmes-au-tombeau", "cite": "KMSKA, object record 'Les Saintes Femmes au tombeau' (French-language masterpiece page), accession 1580; corroborated on the Dutch record: 'Maria Magdalena en twee andere vrouwen treffen het graf van Jezus open en leeg aan. Een engel deelt hen mee dat Jezus uit de dood is opgestaan, waarop de vrouwen beven van angst en buiten zichzelf raken van verdriet.'"}, {"what": "Bouguereau's deliberate steering of the canvas into the Academic Gallery by selecting it for the 1894 Antwerp world's fair.", "url": "https://kmska.be/fr/chefdoeuvre/les-saintes-femmes-au-tombeau", "cite": "KMSKA, object record 'Les Saintes Femmes au tombeau' (French-language masterpiece page), accession 1580"}, {"what": "The angel's opening command, against which the museum's reading of the women's fright is set: 'Be not affrighted; you seek Jesus of Nazareth, who was crucified: he is risen, he is not here, behold the place where they laid him.'", "cite": "Mark 16:6, Douay-Rheims (Challoner), project corpus data/bible_drc.js — this is the card's own scene verse, already marked verified in the brief"}, {"what": "Why the women came: 'Mary Magdalen, and Mary the mother of James, and Salome, bought sweet spices, that coming, they might anoint Jesus.' With Mark 16:6, this is what licenses reading the errand as one the empty grave has cancelled.", "cite": "Mark 16:1, Douay-Rheims (Challoner), project corpus data/bible_drc.js"}, {"what": "The women's dark clothing and their grief, and their purpose in returning to the tomb.", "url": "https://review.catechetics.com/inspired-through-art-holy-women-tomb", "cite": "The Catechetical Review, 'Inspired Through Art: The Holy Women at the Tomb' (free preview; remainder subscriber-gated)"}]}, "scene": {"ref": "Mark 16:6", "quote": "Who saith to them: Be not affrighted. you seek Jesus of Nazareth, who was crucified. He is risen: he is not here. Behold the place where they laid him.", "shows": "the young man in the sepulchre: He is risen"}, "th": "/store/thumb/bouguereau_holy_women_tomb.webp", "more": [{"k": "master", "n": "William-Adolphe Bouguereau", "u": "/editions/master/william-adolphe-bouguereau/", "ids": ["bouguereau_regina_angelorum", "bouguereau_pieta", "bouguereau_song_of_the_angels"]}]}, "caravaggio_incredulity_thomas": {"id": "caravaggio_incredulity_thomas", "title": "The Incredulity of St Thomas", "artist_line": "Caravaggio (Italian, 1571–1610)", "artist": "Caravaggio", "date": "c. 1601–02", "museum": "Bildergalerie, Sanssouci, Potsdam", "license": "PD/CC0", "tier": "Sanctuary", "sizes": [{"size": "18×24 in", "paper": 140, "iw": 24, "ih": 17.8, "sw": 24, "sh": 18, "cov": 0.99}, {"size": "24×36 in", "paper": 190, "iw": 32.3, "ih": 24, "sw": 36, "sh": 24, "cov": 0.898}, {"size": "32×48 in", "paper": 340, "iw": 43.1, "ih": 32, "sw": 48, "sh": 32, "cov": 0.898}, {"size": "40×60 in", "paper": 480, "iw": 53.9, "ih": 40, "sw": 60, "sh": 40, "cov": 0.898}], "local": "/store/display/caravaggio_incredulity_thomas.jpg", "commons_file": "Caravaggio incredulity.jpg", "zoom": "https://art.monstrance.app/zoom/caravaggio_incredulity_thomas.jpg", "master_px": 42558, "auth": {"institution": "Stiftung Preußische Schlösser und Gärten Berlin-Brandenburg — Bildergalerie von Sanssouci, Potsdam", "accession": "GK I 5438", "url": "https://brandenburg.museum-digital.de/object/11898", "artist_as_printed": "Michelangelo Merisi da Caravaggio (1571-1610)", "date_as_printed": "circa 1601", "medium": "Öl auf Leinwand", "dimensions": "107 × 146 cm (ohne Rahmen)"}, "writeup": {"text": "Christ has Thomas by the wrist and guides the finger into His side. Four heads bend to one wound in the dark: no halo, no sky. The Stiftung Preußische Schlösser und Gärten captions it plainly, Christ leads the apostle's hand. Marcus Hurttig traces that deep touch to northern types, brought south against an Italian taste for the moment before contact. The Web Gallery of Art finds Christ's head kept most in shadow, as the least knowable. Caravaggio painted it for Vincenzo Giustiniani, whose 1638 inventory hangs it over a door. Glenn Most argues that John 20:27 records the invitation, never the touch. Here the finger is already in.", "sources": [{"what": "the institution's own record for GK I 5438 — 107 × 146 cm, c. 1601, and its own caption: 'Christus führt die Hand des Apostels'", "url": "https://artsandculture.google.com/asset/der-ungl%C3%A4ubige-thomas-michelangelo-merisi-named-caravaggio/OAEjjQkNdRL9sg", "cite": "Stiftung Preußische Schlösser und Gärten Berlin-Brandenburg, Bildergalerie von Sanssouci, Potsdam"}, {"what": "the penetrating touch as a trans-Alpine medieval type, imported against Italian pictorial decorum, which preferred the moment before contact", "url": "https://koernerverlag.de/nichtbibliographische/saectext/saec48.html", "cite": "Marcus Andrew Hurttig, Caravaggios Ungläubiger Thomas. Eine ikonographische Untersuchung, Saecvla Spiritalia 48 (Baden-Baden: Koerner, 2014)"}, {"what": "the picture recorded in the Palazzo Giustiniani as an over-door, in a black frame picked out in gold", "cite": "Inventario Giustiniani, 1638: 'un quadro sopraporta di mezze figure con l'Historia di San Tomasso che tocca il Costato di Christo col dito … di mano di Michelangelo da Caravaggio'"}, {"what": "that the Gospel text never narrates the touch — Christ says 'because thou hast seen me'. Contested in print by Frank Kermode, London Review of Books 28.1 (2006)", "url": "https://www.hup.harvard.edu/books/9780674025615", "cite": "Glenn W. Most, Doubting Thomas (Cambridge, MA: Harvard University Press, 2005)"}, {"what": "Christ's head kept largely in shadow, 'as He is the person who is the least knowable'; the four heads united in one plane", "url": "https://www.wga.hu/html_m/c/caravagg/06/34thomas.html"}]}, "scene": {"ref": "John 20:27", "quote": "Then he said to Thomas: Put in thy finger hither and see my hands. And bring hither the hand and put it into my side. And be not faithless, but believing.", "shows": "Thomas told to put his finger into the place of the nails"}, "th": "/store/thumb/caravaggio_incredulity_thomas.webp", "more": [{"k": "master", "n": "Caravaggio", "u": "/editions/master/caravaggio/", "ids": ["caravaggio_taking_of_christ", "caravaggio_the_inspiration_of_saint_matthew", "caravaggio_crowning_thorns", "caravaggio_entombment"]}]}, "la_tour_newborn": {"id": "la_tour_newborn", "title": "The Newborn", "artist_line": "Georges de La Tour (French, 1593–1652)", "artist": "Georges de La Tour", "date": "c. 1648", "museum": "Musée des Beaux-Arts de Rennes", "license": "PD/CC0", "tier": "Mid", "sizes": [{"size": "11×14 in", "paper": 59, "iw": 13.4, "ih": 11, "sw": 14, "sh": 11, "cov": 0.954}, {"size": "18×24 in", "paper": 140, "iw": 21.8, "ih": 18, "sw": 24, "sh": 18, "cov": 0.91}], "local": "/store/display/la_tour_newborn.jpg", "commons_file": "Georges de La Tour - Newlyborn infant - Musée des Beaux-Arts de Rennes.jpg", "zoom": "https://art.monstrance.app/zoom/la_tour_newborn.jpg", "master_px": 4075, "auth": {"institution": "Musée des beaux-arts de Rennes", "url": "https://mba.rennes.fr/files/ffbb3dbd/rennes_visiteauto_chefsdoeuvre_scolaires_pres5_8f_.pdf", "artist_as_printed": "Georges de La Tour", "medium": "huile sur toile", "dimensions": "76x91cm", "accession_absent": "not_printed", "accession_absent_why": "the museum's own document prints no inventory number"}, "writeup": {"text": "A candle burns behind the older woman's raised hand, and the light has no visible source. The Musée des Beaux-Arts de Rennes lists what is missing: no halos, no costly drapery, plain clothes, a subject long argued over as an ordinary maternity. The museum reads the hidden flame as suggesting the newborn Christ's divine nature, and names the three as the Virgin, the Christ Child and Saint Anne, a reading settled by comparison with La Tour's other canvases. Isabelle Majorel finds in Mary's young face a dignity and melancholy that foresee her Son's fate, and reads her red as prefiguring His Passion. The Child sleeps, bound in white.", "sources": [{"what": "Concealed candle flame; museum's own reading that the concealed light suggests the newborn's divine nature; absence of halo/gold ground; plain domestic setting; circa 1645 dating", "url": "https://mba.rennes.fr/files/ffbb3dbd/rennes_visiteauto_chefsdoeuvre_scolaires_pres5_8f_.pdf"}, {"what": "Museum catalogue text: Caravaggesque neutral background, and that the painting was misattributed until Voss identified La Tour's hand in 1915", "url": "https://bretagnemusees.bzh/collection/le-nouveau-ne/"}, {"what": "Formal reading: infant's white wrappings as brightest/purest passage; mother's red dress read as prefiguring the Passion; mother's face rendered with gravity/melancholy", "url": "https://panoramadelart.com/analyse/le-nouveau-ne", "cite": "Isabelle Majorel, 'Le Nouveau-né,' Panorama de l'Art, 30 August 2011"}, {"what": "The museum's own document on the picture: no halos, no costly drapery, plain clothes, and a subject long argued over as an ordinary maternity scene; the flame concealed behind the older woman's hand so the light has no visible source, which the museum reads as suggesting the newborn's divine nature; and its naming of the figures as the Virgin, the Christ Child and Saint Anne.", "url": "https://mba.rennes.fr/files/ffbb3dbd/rennes_visiteauto_chefsdoeuvre_scolaires_pres5_8f_.pdf", "cite": "Musée des Beaux-Arts de Rennes, visite autonome — chefs-d'œuvre."}, {"what": "Named scholar: the dignity and melancholy of the mother's face are what permit identifying her as Mary, foreseeing her son's fate, and the red she is arrayed in prefigures his Passion.", "url": "https://panoramadelart.com/analyse/le-nouveau-ne", "cite": "Isabelle Majorel, 'Le Nouveau-né', Panorama de l'art, 30 August 2011."}, {"what": "Comparison with La Tour's other canvases is what established that this is a religious subject and not a simple maternity; and the painter's identity was not recovered until 1915.", "url": "https://bretagnemusees.bzh/collection/le-nouveau-ne/", "cite": "Bretagne Musées, collection record, 'Le Nouveau-né'."}]}, "scene": {"why": "SUBJECT DISPUTED. La Tour’s picture is traditionally read as a Nativity and just as often as an ordinary birth; the museum itself does not commit. No verse is cited for a subject that is not settled."}, "th": "/store/thumb/la_tour_newborn.webp", "more": [{"k": "master", "n": "Georges de La Tour", "u": "/editions/master/georges-de-la-tour/", "ids": ["la_tour_magdalen_flame", "la_tour_repentant_magdalen"]}]}, "murillo_prodigal_son": {"id": "murillo_prodigal_son", "title": "The Return of the Prodigal Son", "artist_line": "Bartolomé Esteban Murillo (Spanish, 1617–1682)", "artist": "Bartolomé Esteban Murillo", "date": "c. 1667–70", "museum": "National Gallery of Art, Washington", "license": "PD/CC0", "tier": "Mid", "sizes": [{"size": "11×14 in", "paper": 59, "iw": 12.1, "ih": 11, "sw": 14, "sh": 11, "cov": 0.867}, {"size": "16×20 in", "paper": 110, "iw": 17.7, "ih": 16, "sw": 20, "sh": 16, "cov": 0.883}, {"size": "18×24 in", "paper": 140, "iw": 19.9, "ih": 18, "sw": 24, "sh": 18, "cov": 0.828}], "local": "/store/display/murillo_prodigal_son.jpg", "commons_file": "Bartolomé Esteban Murillo, The Return of the Prodigal Son, 1667-1670, NGA 34956.jpg", "zoom": "https://art.monstrance.app/zoom/murillo_prodigal_son.jpg", "master_px": 21882, "auth": {"institution": "National Gallery of Art, Washington", "accession": "1948.12.1", "url": "https://www.nga.gov/artworks/34956-return-prodigal-son", "artist_as_printed": "Bartolomé Esteban Murillo", "date_as_printed": "1667/1670", "medium": "oil on canvas", "dimensions": "overall: 236.3 x 261 cm (93 1/16 x 102 3/4 in.)"}, "writeup": {"text": "A small white dog jumps up at a pair of bare, dirty feet, and the old man in the rose-red cloak has already stooped to take his son into his arms. Murillo painted it as one of eight canvases for the Hospital de la Caridad in Seville, a brotherhood that buried the executed and fed the destitute. Six illustrate the acts of mercy, and this one is clothing the naked, which is why the richest colour goes to the servant in yellow who brings the robe, not to the father or the son. The National Gallery of Art points to what makes it human: the prodigal's dirty feet, the puppy jumping up to greet him, the smile of the boy leading the calf. Soult took it to Paris in 1812, and a copy hangs in its place. The calf is already being led in.", "sources": [{"what": "the commission, the curatorial reading, the provenance and Soult", "url": "https://www.nga.gov/artworks/34956-return-prodigal-son"}, {"what": "the eight canvases and which acts of mercy, the copies now hanging", "url": "https://www.santa-caridad.es/en/chapel/"}]}, "scene": {"ref": "Luke 15:20", "quote": "And rising up, he came to his father. And when he was yet a great way off, his father saw him and was moved with compassion and running to him fell upon his neck and kissed him.", "shows": "the father running to meet him and falling on his neck"}, "th": "/store/thumb/murillo_prodigal_son.webp", "more": [{"k": "master", "n": "Bartolomé Esteban Murillo", "u": "/editions/master/bartolome-esteban-murillo/", "ids": ["murillo_saint_rose_of_lima", "murillo_virgin_rosary", "murillo_immaculate_cleveland", "murillo_holy_family_bird"]}]}, "caravaggio_seven_mercy": {"id": "caravaggio_seven_mercy", "title": "The Seven Works of Mercy", "artist_line": "Caravaggio (Italian, 1571–1610)", "artist": "Caravaggio", "date": "1606–07", "museum": "Pio Monte della Misericordia, Naples", "license": "PD/CC0", "tier": "Sanctuary", "sizes": [{"size": "18×24 in", "paper": 140, "iw": 15.6, "ih": 24, "sw": 18, "sh": 24, "cov": 0.869}, {"size": "24×36 in", "paper": 190, "iw": 23.5, "ih": 36, "sw": 24, "sh": 36, "cov": 0.978}, {"size": "32×48 in", "paper": 340, "iw": 31.3, "ih": 48, "sw": 32, "sh": 48, "cov": 0.978}, {"size": "40×60 in", "paper": 480, "iw": 39.1, "ih": 60, "sw": 40, "sh": 60, "cov": 0.978}], "local": "/store/display/caravaggio_seven_mercy.jpg", "commons_file": "The Seven Works of Mercy-Caravaggio (1607).jpg", "zoom": "https://art.monstrance.app/zoom/caravaggio_seven_mercy.jpg", "master_px": 15707, "auth": {"institution": "Pio Monte della Misericordia, Napoli", "url": "https://piomontedellamisericordia.it/caravaggio/", "artist_as_printed": "Michelangelo Merisi da Caravaggio", "date_as_printed": "1606-1607", "accession_absent": "in_situ"}, "writeup": {"text": "Our Lady leans down with the Christ Child over a Naples street, borne by two angels, and below her the whole city is busy with mercy. A daughter feeds her imprisoned father at her own breast, and the Pio Monte della Misericordia reads that one act as two works at once, feeding the hungry and visiting the prisoner. Samson drinks from the jawbone; Saint James is known by his shell; Saint Martin cuts his cloak; a dead man is carried out feet first. Caravaggio painted it for the Pio Monte under a death sentence for murder, for four hundred ducats. Heaven looks down into the street.", "sources": [{"what": "the institution's own reading of each incident — Cimon nursed by Pero doing two works at once, Samson's jawbone, St James known by his shell, St Martin's cloak, the corpse carried out — and the agreed price of 400 ducats", "url": "https://piomontedellamisericordia.it/en/caravaggio/"}, {"what": "the Pio Monte was founded in 1602 by seven young Neapolitan noblemen, and the painting is its ‘manifesto’", "url": "https://piomontedellamisericordia.it/mission-e-vision/"}, {"what": "burying the dead is not among the works named in Matthew 25 and had to be defended from Tobit and from Augustine", "url": "https://www.newadvent.org/summa/3032.htm"}, {"what": "the clause \"Caravaggio painted it under a death sentence for murder\" — the capital sentence for the killing of Ranuccio Tomassoni, the flight to Naples, and the Seven Works of Mercy painted there for the Pio Monte della Misericordia", "url": "https://gallerieditalia.com/en/online-museums/masterpieces/martyrdom-of-saint-ursula-caravaggio/", "cite": "Gallerie d'Italia — Napoli (Intesa Sanpaolo), collection entry for Caravaggio, 'Martyrdom of Saint Ursula', 1610; museum's online masterpieces catalogue, accessed 16 August 2026"}]}, "scene": {"ref": "Matthew 25:35", "quote": "For I was hungry, and you gave me to eat: I was thirsty, and you gave me to drink: I was a stranger, and you took me in:", "shows": "I was hungry and you gave me to eat"}, "th": "/store/thumb/caravaggio_seven_mercy.webp", "more": [{"k": "master", "n": "Caravaggio", "u": "/editions/master/caravaggio/", "ids": ["caravaggio_st_jerome", "caravaggio_supper_at_emmaus_brera", "caravaggio_the_crucifixion_of_saint_andrew", "caravaggio_the_flagellation_of_christ"]}]}, "caravaggio_taking_of_christ": {"id": "caravaggio_taking_of_christ", "title": "The Taking of Christ", "artist_line": "Caravaggio (Italian, 1571–1610)", "artist": "Caravaggio", "date": "1602", "museum": "National Gallery of Ireland, Dublin", "license": "PD/CC0", "tier": "Sanctuary", "sizes": [{"size": "18×24 in", "paper": 140, "iw": 23.2, "ih": 18, "sw": 24, "sh": 18, "cov": 0.968}, {"size": "24×36 in", "paper": 190, "iw": 31.0, "ih": 24, "sw": 36, "sh": 24, "cov": 0.86}, {"size": "32×48 in", "paper": 340, "iw": 41.3, "ih": 32, "sw": 48, "sh": 32, "cov": 0.86}, {"size": "40×60 in", "paper": 480, "iw": 51.6, "ih": 40, "sw": 60, "sh": 40, "cov": 0.86}], "local": "/store/display/caravaggio_taking_of_christ.jpg", "commons_file": "The Taking of Christ-Caravaggio (c.1602).jpg", "zoom": "https://art.monstrance.app/zoom/caravaggio_taking_of_christ.jpg", "master_px": 9893, "auth": {"institution": "National Gallery of Ireland, Dublin", "accession": "L.14702", "url": "https://onlinecollection.nationalgallery.ie/objects/2882/the-taking-of-christ", "artist_as_printed": "Michelangelo Merisi da Caravaggio, Italian, 1571-1610", "date_as_printed": "1602", "medium": "Oil on canvas", "dimensions": "135.5 x 169.5 cm"}, "writeup": {"text": "Christ's hands are laced together low in the dark, and every other hand is grip. Judas presses in with the kiss; an armoured shoulder shoves past. Edmund Santurri reads those laced fingers as a prayerful attitude broken by the onrush of violence. The National Gallery of Ireland says only the moon lights the scene; the lantern raised at the far right it calls an ineffective source, and in the lantern-bearer's face Caravaggio portrayed himself, aged thirty-one, an observer of events. At the far left a man flees with his arm flung up, whom the gallery names Saint John. Santurri notes the lamp lights nothing, except perhaps the painter's own face.", "sources": [{"what": "The gallery's record: commissioned by Ciriaco Mattei in late 1602; Judas's kiss and the temple guards; only the moon lights the scene, the lantern held by the man at the far side an ineffective source; in that man's features Caravaggio portrayed himself aged 31 as an observer of events; St John fleeing at left; rediscovered in 1990 at the Jesuit house on Leeson Street; 1602, oil on canvas, 135.5 x 169.5 cm, L.14702.", "url": "https://onlinecollection.nationalgallery.ie/objects/2882/the-taking-of-christ", "cite": "National Gallery of Ireland, 'The Taking of Christ', L.14702, read 2026-09-24"}, {"what": "Santurri's meditation: Christ's enmeshed fingers being pulled apart suggest a prayerful attitude broken by the onrush of violence; Judas grips his victim; the soldier's armoured shoulder seems to burst through the picture plane; the lantern-bearer, generally taken as Caravaggio himself, seems to cast no light at all, except perhaps on his own face.", "url": "http://thecresset.org/2013/Lent/Santurri_L2013.html", "cite": "Edmund N. Santurri, 'A Caravaggio Meditation', The Cresset (Lent 2013), read 2026-09-24"}]}, "scene": {"ref": "Matthew 26:50", "quote": "And Jesus said to him: Friend, whereto art thou come? Then they came up and laid hands on Jesus and held him.", "shows": "the hands laid on Jesus"}, "th": "/store/thumb/caravaggio_taking_of_christ.webp", "more": [{"k": "master", "n": "Caravaggio", "u": "/editions/master/caravaggio/", "ids": ["caravaggio_the_inspiration_of_saint_matthew", "caravaggio_crowning_thorns", "caravaggio_entombment", "caravaggio_madonna_rosary"]}]}, "masaccio_tribute_money": {"id": "masaccio_tribute_money", "title": "The Tribute Money", "artist_line": "Masaccio (Italian, 1401–1428)", "artist": "Masaccio", "date": "c. 1425", "museum": "Cappella Brancacci, Florence", "license": "PD/CC0", "tier": "Mid", "sizes": [{"size": "11×14 in", "paper": 59, "iw": 14, "ih": 9.3, "sw": 14, "sh": 11, "cov": 0.846}], "local": "/store/display/masaccio_tribute_money.jpg", "commons_file": "The Tribute Money Masaccio Cappella Brancacci.jpg", "zoom": "https://art.monstrance.app/zoom/masaccio_tribute_money.jpg", "master_px": 3905, "auth": {"institution": "Cappella Brancacci, Basilica di Santa Maria del Carmine, Firenze — Musei Civici Fiorentini, in situ", "url": "https://cultura.comune.fi.it/pagina/musei-civici-fiorentini-cappella-brancacci-santa-maria-del-carmine/visita-il-restauro-dal", "artist_as_printed": "Masaccio", "medium": "Affresco — in situ", "accession_absent": "in_situ"}, "writeup": {"text": "A tax collector in a short orange tunic stands with his back to us, no halo, one hand out, and the whole haloed company turns on him. Christ answers with an open hand, and Peter, beside Him, points off toward the water, repeating His gesture, as Beth Harris and Steven Zucker of Smarthistory observe. Masaccio lets the light enter from the right, the way the chapel's real light falls, so every shadow runs left; the painted architecture draws its lines to Christ's head, and Gabriella Stabile Di Blasi reads the optics as aimed at Him. Across the wall Peter appears three times: told, stooping over the fish, paying. Felice Brancacci endowed the chapel in Santa Maria del Carmine, Florence, where the fresco still stands. One coin, from a fish's mouth, pays \"for me and thee.\"", "sources": [{"what": "Light from the right with shadows cast left, unified across the scene; Christ centred with the apostles in a semicircle; orthogonals of the painted architecture converging on Christ's head; the tax collector shown twice, once back to the viewer; Peter appearing three times", "url": "https://smarthistory.org/masaccio-the-tribute-money-in-the-brancacci-chapel/", "cite": "Smarthistory, 'Masaccio, The Tribute Money in the Brancacci Chapel'"}, {"what": "Felice Brancacci endowed the chapel; frescoes by Masaccio and Masolino c. 1424-7 with later additions by Filippino Lippi", "url": "https://smarthistory.org/masaccio-the-tribute-money-in-the-brancacci-chapel/", "cite": "Smarthistory, 'Masaccio, The Tribute Money in the Brancacci Chapel'"}, {"what": "Fresco in situ, Cappella Brancacci, Santa Maria del Carmine, Florence; Musei Civici Fiorentini restoration and visiting record", "url": "https://cultura.comune.fi.it/pagina/musei-civici-fiorentini-cappella-brancacci-santa-maria-del-carmine/visita-il-restauro-dal", "cite": "Musei Civici Fiorentini / Comune di Firenze, Cappella Brancacci"}, {"what": "Light entering from the right, the direction of the real light in the chapel, with every shadow thrown left; the tax collector in a short tunic and without a halo, his back turned; Peter pointing to the water and repeating Christ's gesture; the three episodes placed across one wall; and the vanishing point at Christ's head.", "url": "https://smarthistory.org/masaccio-the-tribute-money-in-the-brancacci-chapel/", "cite": "Smarthistory, 'Masaccio, The Tribute Money in the Brancacci Chapel' (Dr Beth Harris and Dr Steven Zucker)."}, {"what": "Named scholar reading the fresco's optics as aimed at Christ, and Peter appearing three times across the wall.", "url": "https://www.gliscritti.it/arte_fede/blasi141007/blasi141007.htm", "cite": "Gabriella Stabile Di Blasi, 'Il Tributo di Masaccio, nella Cappella Brancacci in Santa Maria del Carmine a Firenze: interpretazione ed iconografia'."}, {"what": "The landing: one stater, and Peter is to give it for the two of them. Douay-Rheims numbering puts it at verse 26, where modern editions read 17:27.", "cite": "Matthew 17:26, Douay-Rheims (Challoner)."}]}, "scene": {"ref": "Matthew 17:26", "quote": "But that we may not scandalize them, go to the sea, and cast in a hook: and that fish which shall first come up, take: and when thou hast opened it's mouth, thou shalt find a stater: take that, and give it to them for me and thee.", "shows": "the stater found in the fish’s mouth"}, "th": "/store/thumb/masaccio_tribute_money.webp", "more": [{"k": "master", "n": "Masaccio", "u": "/editions/master/masaccio/", "ids": ["masaccio_pisa_predella_peter_john", "masaccio_trinity"]}]}, "ingres_virgin_adoring_the_host": {"id": "ingres_virgin_adoring_the_host", "title": "The Virgin Adoring the Host", "artist_line": "Jean-Auguste-Dominique Ingres (French, 1780–1867)", "artist": "Jean-Auguste-Dominique Ingres", "date": "1852", "museum": "The Metropolitan Museum of Art, New York", "license": "PD/CC0", "tier": "Sanctuary", "sizes": [{"size": "16×20 in", "paper": 110, "iw": 16, "ih": 19.7, "sw": 16, "sh": 20, "cov": 0.985}, {"size": "18×24 in", "paper": 140, "iw": 18, "ih": 22.2, "sw": 18, "sh": 24, "cov": 0.923}, {"size": "24×36 in", "paper": 190, "iw": 24, "ih": 29.5, "sw": 24, "sh": 36, "cov": 0.821}, {"size": "32×48 in", "paper": 340, "iw": 32, "ih": 39.4, "sw": 32, "sh": 48, "cov": 0.821}], "local": "/store/display/jean_auguste_dominique_ingres_the_virgin_adoring__8efa292fe2e9.jpg", "commons_file": "Jean Auguste Dominique Ingres - The Virgin Adoring the Host.jpg", "zoom": "https://art.monstrance.app/zoom/jean_auguste_dominique_ingres_the_virgin_adoring__8efa292fe2e9.jpg", "master_px": 5786, "auth": {"institution": "The Metropolitan Museum of Art, New York", "accession": "2005.186", "url": "https://www.metmuseum.org/art/collection/search/438434", "artist_as_printed": "Jean Auguste Dominique Ingres (French, Montauban 1780-1867 Paris)", "date_as_printed": "1852", "medium": "Oil on canvas", "dimensions": "15 7/8 x 12 7/8 in. (40.3 x 32.7 cm)"}, "writeup": {"text": "A small white Host stands on a gold chalice between two lit candles, and the Virgin, hands joined, lowers her eyes to Him. Our Lady, who bore Him, bows to Him here under the appearance of bread. The Metropolitan Museum of Art describes her behind the altar, flanked by two saints, in homage to Raphael's intimate devotional paintings; the saints go unnamed. Jean-Auguste-Dominique Ingres painted it in Paris in 1852, Gary Tinterow writes, not on commission but as a gift to Louise Marcotte, who, the Met notes, had introduced him to Delphine Ramel, the woman he married that year. The candles burn. She has not looked up.", "sources": [{"what": "Composition (Virgin behind altar, flanked by two saints, adoring the Host) and homage to Raphael's early-1500s intimate devotional painting tradition", "url": "https://www.metmuseum.org/art/collection/search/438434"}, {"what": "Painting was a personal gift from Ingres to Louise Marcotte in Paris, 1852, not a commission", "url": "https://www.pubhist.com/w3381", "cite": "Gary Tinterow, catalogue entry, Masterpieces of European Painting, 1800-1920 (Met, 2007), via pubhist.com"}, {"what": "Marcotte introduced Ingres to Delphine Ramel, whom he married in 1852; ties gift's occasion to his marriage", "url": "https://www.metmuseum.org/art/collection/search/438434"}, {"what": "Two flanking saints are unnamed/unidentified for this 1852 canvas; identification not resolvable from sources", "url": "https://saintaidanlivonia.org/staff-articles/the-virgin-adoring-the-host"}, {"what": "The abandoned first canvas, with the Christ Child asleep: in the finished 1841 painting Ingres put the Eucharist in the Child's place. That is a different picture from this 1852 one, and the card says so.", "url": "https://www.sothebys.com/en/auctions/ecatalogue/2014/19th-century-european-art-n09143/lot.69.html", "cite": "Sotheby's, 19th Century European Art, sale N09143 (2014), lot 69, 'The Virgin with the Sleeping Infant Jesus', catalogue note."}, {"what": "The only author who has written at length on this canvas declines to identify the flanking saints — which is why the card leaves them unnamed — and offers no reading of the Host, the candles, the altar cloth or the mantle.", "url": "https://saintaidanlivonia.org/staff-articles/the-virgin-adoring-the-host", "cite": "David J. Conrad, 'The Virgin Adoring the Host', St Aidan Parish, Livonia."}]}, "scene": {"why": "A DEVOTIONAL TYPE, NOT AN EPISODE. The Virgin before the exposed Host is a nineteenth-century Eucharistic image; the anachronism is deliberate and theological."}, "th": "/store/thumb/jean_auguste_dominique_ingres_the_virgin_adoring__8efa292fe2e9.webp", "more": [{"k": "master", "n": "Jean-Auguste-Dominique Ingres", "u": "/editions/master/jean-auguste-dominique-ingres/", "ids": ["ingres_joan_of_arc"]}]}, "sassoferrato_virgin_in_prayer": {"id": "sassoferrato_virgin_in_prayer", "title": "The Virgin in Prayer", "artist_line": "Sassoferrato (Italian, 1609–1685)", "artist": "Sassoferrato", "date": "c. 1640–50", "museum": "The National Gallery, London", "license": "PD/CC0", "tier": "Mid", "sizes": [{"size": "11×14 in", "paper": 59, "iw": 11, "ih": 13.8, "sw": 11, "sh": 14, "cov": 0.988}, {"size": "18×24 in", "paper": 140, "iw": 18, "ih": 22.6, "sw": 18, "sh": 24, "cov": 0.943}], "local": "/store/display/sassoferrato_virgin_in_prayer.jpg", "commons_file": "Sassoferrato - Jungfrun i bön.jpg", "zoom": "https://art.monstrance.app/zoom/sassoferrato_virgin_in_prayer.jpg", "master_px": 4226, "auth": {"institution": "The National Gallery, London", "accession": "NG200", "url": "https://www.nationalgallery.org.uk/paintings/sassoferrato-the-virgin-in-prayer", "artist_as_printed": "Sassoferrato", "date_as_printed": "1640-50", "medium": "Oil on canvas", "dimensions": "73 × 57.7 cm"}, "writeup": {"text": "Two hands pressed together, a head bowed over them, and nothing else. No lily, no Child, no book: only red, white and blue against a dark the National Gallery calls impenetrable. The blue names her. The Gallery traces it to ultramarine, ground from lapis mined in Afghanistan, the costliest blue, often kept for Mary's robes to signify her sacred status; patrons who commissioned a painting often paid for the exact quantity used. Sassoferrato worked otherwise. He repeated a handful of Marian types for private clients, as Gerard Vaughan and the Gallery describe, and those clients go largely unrecorded. Richard Simmons left this one to the Gallery in 1846. Our Lady keeps her eyes down and her hands where they are.", "sources": [{"what": "Restricted red/white/blue palette, impenetrable dark background, hands pressed together, bowed head, ultramarine mantle from Afghan lapis lazuli as costliest pigment", "url": "https://www.nationalgallery.org.uk/paintings/sassoferrato-the-virgin-in-prayer", "cite": "The National Gallery, London, NG200 object page"}, {"what": "Sassoferrato's Virgin-in-Prayer type made speculatively for the open market of private buyers, not to individual church commission ('clients, rather than patrons')", "url": "https://www.ngv.vic.gov.au/essay/sassoferrato-at-the-national-gallery-of-victoria/", "cite": "Gerard Vaughan, 'Sassoferrato at the National Gallery of Victoria,' NGV Art Journal 43 (2003)"}, {"what": "The Gallery's own pigment scholarship, independent of the NG200 object page, on 'ultramarine — the purest and richest but most expensive blue made from lapis lazuli mined in remote Badakshan in Afghanistan'.", "url": "https://www.nationalgallery.org.uk/exhibitions/past/making-colour/journey-through-colour", "cite": "The National Gallery, London, 'Journey through colour', Making Colour exhibition (2014)"}, {"what": "Supports 'this type of image': Sassoferrato developed a handful of Marian types and repeated the compositions with small variations.", "url": "https://mcmullenmuseum.bc.edu/giovanni-battista-salvi-madonna-of-the-cherubs/", "cite": "Stephanie C. Leone, catalogue entry on Giovanni Battista Salvi (Sassoferrato), 'Madonna of the Cherubs', McMullen Museum of Art, Boston College"}, {"what": "Supports 'for private buyers who wanted a picture to pray before rather than a patron's altar' — the Gallery on NG740: Sassoferrato produced multiple versions of his smaller paintings, which could be sold to private patrons.", "url": "https://www.nationalgallery.org.uk/paintings/sassoferrato-the-virgin-and-child-embracing", "cite": "The National Gallery, London, Sassoferrato, 'The Virgin and Child Embracing', NG740, object page"}, {"what": "A second institution on the same painter as 'a Baroque master who specialised in pious devotional images'. A different picture (NGV 2002.126), cited for the specialism and not for anything about NG200 itself.", "url": "https://www.ngv.vic.gov.au/explore/collection/work/70383/", "cite": "National Gallery of Victoria, Melbourne, Sassoferrato, 'Madonna in prayer', c. 1640-50, acc. 2002.126, collection object page"}, {"what": "The Gallery on ultramarine: ground from Afghan lapis, the costliest blue, used for the Virgin's robes to signify her sacred status — and commissioning patrons paid for the exact quantity used.", "url": "https://www.nationalgallery.org.uk/podcast/colour-stories-blue", "cite": "The National Gallery, London, 'Colour Stories: Blue'."}, {"what": "The same convention on another picture in the collection: the costliest pigment reserved for the Virgin's mantle.", "url": "https://www.nationalgallery.org.uk/paintings/giovanni-bellini-the-virgin-and-child-1", "cite": "The National Gallery, London, Giovanni Bellini, 'The Virgin and Child', NG280."}, {"what": "The owning institution's record for this picture, and the bequest of Richard Simmons in 1846.", "url": "https://www.nationalgallery.org.uk/paintings/sassoferrato-the-virgin-in-prayer", "cite": "The National Gallery, London, Sassoferrato, 'The Virgin in Prayer', NG200."}]}, "scene": {"why": "A DEVOTIONAL TYPE, NOT AN EPISODE. Sassoferrato paints the Virgin alone, hands joined, eyes lowered — an image made to be prayed in front of rather than a moment any evangelist records. The blue mantle and the downcast gaze are seventeenth-century devotional conventions, not descriptions from a text."}, "th": "/store/thumb/sassoferrato_virgin_in_prayer.webp"}, "veronese_cana": {"id": "veronese_cana", "title": "The Wedding at Cana", "artist_line": "Paolo Veronese (Italian, 1528–1588)", "artist": "Paolo Veronese", "date": "1563", "museum": "Musée du Louvre, Paris", "license": "PD/CC0", "tier": "Sanctuary", "sizes": [{"size": "18×24 in", "paper": 140, "iw": 24, "ih": 16.1, "sw": 24, "sh": 18, "cov": 0.893}, {"size": "24×36 in", "paper": 190, "iw": 35.8, "ih": 24, "sw": 36, "sh": 24, "cov": 0.996}, {"size": "32×48 in", "paper": 340, "iw": 47.8, "ih": 32, "sw": 48, "sh": 32, "cov": 0.996}, {"size": "40×60 in", "paper": 480, "iw": 59.7, "ih": 40, "sw": 60, "sh": 40, "cov": 0.996}], "local": "/store/display/veronese_cana.jpg", "commons_file": "Les Noces de Cana - Paolo Veronese - Musée du Louvre Peintures INV 142 ; MR 384.jpg", "zoom": "https://art.monstrance.app/zoom/veronese_cana.jpg", "master_px": 10068, "auth": {"institution": "Musée du Louvre, Paris", "accession": "INV 142; MR 384", "url": "https://collections.louvre.fr/en/ark:/53355/cl010064382", "artist_as_printed": "Paolo Caliari, dit Veronese", "date_as_printed": "XVIe siècle (1500-1600)", "medium": "huile sur toile", "dimensions": "Hauteur : 6,77 m ; Largeur : 9,94 m"}, "writeup": {"text": "Above the head of Christ, up on the balcony, a servant carves meat, and Kate Hanson reads it as the Lamb of God, cut for a wedding. Below, Christ and Our Lady sit facing out, still as icons in Hanson's reading, while the guests turn and talk and the musicians play in front of them. Somewhere in the crowd the steward has tasted \"the water made wine and knew not whence it was,\" and stops astonished. The Louvre records that Benedictine monks in Venice commissioned the canvas from Veronese in 1562 for their refectory and that it was seized in 1797; Cynthia Saltzman names that seizure a war indemnity taken by Napoleon's troops. David Rosand, as Hanson reports, traced one axis through the feast: the carver, the head of Christ, an hourglass on the musicians' table. Christ sits between the Lamb and the hourglass, His hour not yet come.", "sources": [{"what": "Confirms 1562 Benedictine commission, refectory setting, and the 1797 seizure/1798 Louvre transfer as the Louvre's own wording", "url": "https://collections.louvre.fr/en/ark:/53355/cl010064382"}, {"what": "Reads the carved meat as an allusion to the Lamb of God, the Christ/Mary group as Byzantine-icon staging, and the wine's surprised steward", "url": "https://rochester.edu/in_visible_culture/Issue_14/pdf/khanson.pdf", "cite": "Kate Hanson, \"The Language of the Banquet,\" In[Visible] Culture, Issue 14"}, {"what": "Documents the 1797 Napoleonic seizure as war indemnity and the failed 1815 Canova restitution mission", "url": "https://www.artnews.com/art-news/news/veronese-wedding-feast-at-cana-plunder-book-review-1234592381/", "cite": "Cynthia Saltzman, Plunder: Napoleon's Theft of Veronese's Feast (2021)"}, {"what": "Corroborates the 1562 Benedictine commission and the Lamb-of-God reading of the carved meat", "url": "https://www.christiancentury.org/artsculture/on-art/wedding-cana-paolo-veronese", "cite": "Parsons \u0026 Hornik, The Christian Century"}, {"what": "David Rosand's reading, reported here: a central axis running down the canvas from the carver, through Christ's head, to an hourglass on the musicians' table, alluding to the sacrifice to come. The same article's footnote ties that hourglass to Christ's line to his mother.", "url": "https://rochester.edu/in_visible_culture/Issue_14/pdf/khanson.pdf", "cite": "Kate Hanson, 'The Language of the Banquet', In[Visible] Culture 14, reporting David Rosand."}, {"what": "The hour Christ refuses, and the order that follows it: 'Woman, what is that to me and to thee? my hour is not yet come' at verse 4, 'Fill the waterpots with water' at verse 7.", "cite": "John 2:4, 2:7, Douay-Rheims (Challoner)."}]}, "scene": {"ref": "John 2:9", "quote": "And when the chief steward had tasted the water made wine and knew not whence it was, but the waiters knew who had drawn the water: the chief steward calleth the bridegroom,", "shows": "the water made wine"}, "th": "/store/thumb/veronese_cana.webp", "more": [{"k": "master", "n": "Paolo Veronese", "u": "/editions/master/paolo-veronese/", "ids": ["veronese_the_madonna_of_the_cuccina_family", "veronese_the_martyrdom_of_saint_justina", "emmaus_veronese"]}]}, "raphael_transfiguration": {"id": "raphael_transfiguration", "title": "The Transfiguration", "artist_line": "Raphael (Italian, 1483–1520)", "artist": "Raphael", "date": "1516–1520", "museum": "Vatican Museums, Pinacoteca", "license": "PD/CC0", "tier": "Mid", "sizes": [{"size": "11×14 in", "paper": 59, "iw": 9.9, "ih": 14, "sw": 11, "sh": 14, "cov": 0.898}, {"size": "16×20 in", "paper": 110, "iw": 14.1, "ih": 20, "sw": 16, "sh": 20, "cov": 0.882}, {"size": "18×24 in", "paper": 140, "iw": 16.9, "ih": 24, "sw": 18, "sh": 24, "cov": 0.941}], "local": "/store/display/raphael_transfiguration.jpg", "commons_file": "Raphael - The Transfiguration - Google Art Project.jpg", "zoom": "https://art.monstrance.app/zoom/raphael_transfiguration.jpg", "master_px": 4980, "auth": {"institution": "Musei Vaticani — Pinacoteca, Sala VIII", "accession": "Inv. 40333", "url": "https://www.museivaticani.va/content/museivaticani/it/collezioni/musei/la-pinacoteca/sala-viii---secolo-xvi/raffaello-sanzio--trasfigurazione.html", "artist_as_printed": "Raffaello Sanzio", "date_as_printed": "1516 - 1520", "medium": "Tempera grassa su tavola", "dimensions": "cm 410 x 279"}, "writeup": {"text": "Christ rises above the mountain in white, arms open, and the three disciples on the summit throw themselves down, shielding their eyes. Matthew writes: \"And he was transfigured before them. And his face did shine as the sun: and his garments became white as snow.\" Below, in the dark, a father holds up a boy whose eyes roll back, and the disciples who could not cure him are pointing, one arm straight up toward the mountain. Andrea Lonardo, following Maurizio Calvesi, reads the lower scene as their failed attempt, and the strain between the two levels as the work's originality. The Vatican Pinacoteca records the commission from Cardinal Giulio de' Medici for Narbonne. Raphael died on 6 April 1520 with it unfinished, and Vasari says it was placed at his head. Pandolfo Pico wrote the next morning that the night had been Good Friday.", "sources": [{"what": "the museum's own record — 1516–1520, tempera grassa su tavola, cm 410 × 279, inv. 40333; commissioned by Cardinal Giulio de' Medici for Narbonne; taken to Paris under the Treaty of Tolentino and returned in 1816", "url": "https://www.museivaticani.va/content/museivaticani/en/collezioni/musei/la-pinacoteca/sala-viii---secolo-xvi/raffaello-sanzio--trasfigurazione.html", "cite": "Musei Vaticani, Pinacoteca, Sala VIII"}, {"what": "the lower scene as the disciples' failed attempt rather than the cure, and the tension between the two registers as the work's originality", "url": "https://www.gliscritti.it/arte_fede/raff_trasf/raff_trasf.htm", "cite": "Andrea Lonardo, following Maurizio Calvesi"}, {"what": "the two registers as a programme of corporeal, imaginative and intellectual vision — the lower zone staging the struggle between external sight and internal perception", "url": "https://www.tandfonline.com/doi/abs/10.1080/00043079.2008.10786399", "cite": "Christian K. Kleinbub, 'Raphael's Transfiguration as Visio-Devotional Program,' The Art Bulletin 90, no. 3 (2008)"}, {"what": "the death confirmed the day after it happened, 7 April 1520, and the burial at the Pantheon", "url": "https://irds-project.org/doc/945/", "cite": "Pandolfo Pico to Isabella d'Este, Rome, 7 April 1520"}, {"what": "the panel placed at the head of the dead painter — attributed to Vasari, who is the only source and who says the room where the body lay, not the funeral", "cite": "Giorgio Vasari, Lives, Life of Raphael (de Vere trans.): 'they placed at his head the picture of the Transfiguration'"}, {"what": "The eyewitness letter written the morning after Raphael's death, reporting it as having happened in the night — and dating that night to Good Friday.", "url": "https://irds-project.org/doc/945/", "cite": "Pandolfo Pico to Isabella d'Este, Rome, 7 April 1520."}]}, "scene": {"ref": "Matthew 17:2", "quote": "And he was transfigured before them. And his face did shine as the sun: and his garments became white as snow.", "shows": "the face shining as the sun, the garments white as snow"}, "th": "/store/thumb/raphael_transfiguration.webp", "more": [{"k": "master", "n": "Raphael", "u": "/editions/master/raphael/", "ids": ["raphael_st_michael_satan", "raphael_madonna_goldfinch", "raphael_small_cowper", "raphael_the_canigiani_holy_family"]}]}, "bellini_transfiguration": {"id": "bellini_transfiguration", "title": "The Transfiguration", "artist_line": "Giovanni Bellini (Italian, c. 1430–1516)", "artist": "Giovanni Bellini", "date": "c. 1478–1479", "museum": "Museo e Real Bosco di Capodimonte, Naples", "license": "PD/CC0", "tier": "Entry", "sizes": [{"size": "8×10 in", "paper": 39, "iw": 10, "ih": 7.6, "sw": 10, "sh": 8, "cov": 0.949}, {"size": "11×14 in", "paper": 59, "iw": 14, "ih": 10.6, "sw": 14, "sh": 11, "cov": 0.966}], "local": "/store/display/bellini_transfiguration.jpg", "commons_file": "Paris 1er - Musée du Louvre - Exposition Naples à Paris - La Transfiguration (Giovanni Bellini).jpg", "zoom": "https://art.monstrance.app/zoom/bellini_transfiguration.jpg", "master_px": 3500, "auth": {"institution": "Museo e Real Bosco di Capodimonte, Naples", "url": "https://capodimonte.cultura.gov.it/il-restauro-della-trasfigurazione-di-giovanni-bellini-tavole-a-confronto/", "date_as_printed": "1479 circa", "medium": "olio su tavola", "dimensions": "115 cm x 154 cm"}, "writeup": {"text": "Christ stands in white with both hands raised, and of the three below Him no two look the same way, as if they could not place the voice. Matthew says His face shone as the sun and His garments became white as snow. Moses and Elijah flank Him, scrolls in hand. Dermot Morrin reads the stump at the left as the Passion and the new growth around it as the Resurrection: the glory already holds a death. For Christ's cloak Bellini used stibnite, the earliest known use of the pigment in Western painting. The three stay on the ground; Christ keeps His hands open.", "sources": [{"what": "The Father's voice from the cloud, 'Questi è il Figlio mio, l'eletto' (This is my Son, the Chosen One)", "url": "https://capodimonte.cultura.gov.it/il-restauro-della-trasfigurazione-di-giovanni-bellini-tavole-a-confronto/"}, {"what": "Moses and Elijah shown with legible Hebrew-inscribed scrolls; standard Law/Prophets reading of their presence", "url": "https://www.nature.com/articles/s40494-023-01001-7"}, {"what": "Peter, James and John each looking a different direction, as if trying to locate the divine voice", "url": "https://scotland.op.org/bellinis-transfiguration-in-naples/"}, {"what": "Dead bare tree on one side balanced by a living leafed tree on the other, read as death/resurrection pairing", "url": "https://scotland.op.org/bellinis-transfiguration-in-naples/"}, {"what": "Stibnite used in Christ's cloak, earliest identified use of the pigment in Western painting, echoing the mosaic Christ of Sant'Apollinare, Ravenna", "url": "https://www.nature.com/articles/s40494-023-01001-7"}, {"what": "The bare stump at the left read as the Passion and the new growth around it as the Resurrection — the published reading the card's argument now rests on.", "url": "https://scotland.op.org/bellinis-transfiguration-at-naples/", "cite": "Dermot Morrin OP, \"Bellini's Transfiguration at Naples\", St Albert's Catholic Chaplaincy, Edinburgh."}, {"what": "Moses and Elijah appearing in majesty and speaking of the death he was to accomplish — the glory on the mountain already holding a death.", "cite": "Luke 9:31, Douay-Rheims (Challoner)."}, {"what": "The holding museum on the restored panel: the Hebrew-inscribed scrolls in the prophets' hands and the dating to c. 1478-79.", "url": "https://capodimonte.cultura.gov.it/restaurata-la-trasfigurazione-di-bellini-capolavoro-del-maestro-veneziano/", "cite": "Museo e Real Bosco di Capodimonte, 'Restaurata la Trasfigurazione di Bellini, capolavoro del maestro veneziano'."}]}, "scene": {"ref": "Matthew 17:2", "quote": "And he was transfigured before them. And his face did shine as the sun: and his garments became white as snow.", "shows": "the face shining as the sun, the garments white as snow"}, "th": "/store/thumb/bellini_transfiguration.webp", "more": [{"k": "master", "n": "Giovanni Bellini", "u": "/editions/master/giovanni-bellini/", "ids": ["bellini_madonna_meadow", "bellini_imago_pietatis_pieta", "bellini_agony_garden", "bellini_saint_francis_in_the_desert"]}]}, "caravaggio_beheading_baptist": {"id": "caravaggio_beheading_baptist", "title": "The Beheading of Saint John the Baptist", "artist_line": "Caravaggio (Italian, 1571–1610)", "artist": "Caravaggio", "date": "1608", "museum": "St John's Co-Cathedral, Valletta", "license": "Public domain", "tier": "Sanctuary", "sizes": [{"size": "18×24 in", "paper": 140, "iw": 24, "ih": 16.6, "sw": 24, "sh": 18, "cov": 0.923}, {"size": "24×36 in", "paper": 190, "iw": 34.7, "ih": 24, "sw": 36, "sh": 24, "cov": 0.963}, {"size": "32×48 in", "paper": 340, "iw": 46.2, "ih": 32, "sw": 48, "sh": 32, "cov": 0.963}, {"size": "40×60 in", "paper": 480, "iw": 57.8, "ih": 40, "sw": 60, "sh": 40, "cov": 0.963}], "local": "/store/display/caravaggio_beheading_baptist.jpg", "commons_file": "The Beheading of Saint John-Caravaggio (1608).jpg", "zoom": "https://art.monstrance.app/zoom/caravaggio_beheading_baptist.jpg", "master_px": 18632, "auth": {"institution": "St John's Co-Cathedral, Valletta", "url": "https://www.stjohnscocathedral.com/the-co-cathedral/caravaggio/", "artist_as_printed": "Michelangelo Merisi da Caravaggio", "date_as_printed": "c. 1608", "medium": "Oil on Canvas", "dimensions": "520 x 360cm", "accession_absent": "in_situ"}, "writeup": {"text": "Saint John the Baptist lies on the stones with his hands bound, and the man over him reaches behind his back for the knife. Through a barred window two prisoners watch. David M. Stone read that window as a warning the knights of Malta would have known, from Philippe Thomassin's image for the Order's statute on Prohibitions and Penalties. Caravaggio was made a Knight of Obedience on 14 July 1608, and on 1 December the Order met in this oratory and expelled him as a rotten and fetid limb. In the blood below the Baptist's head he signed his name, Fra Michelangelo.", "sources": [{"what": "David M. Stone's article: the window and gate behind the execution are allusions to Statute XVIII, 'Prohibitions and Penalties'; the knights would have recognized the source, Philippe Thomassin's print for that statute, in which errant knights still wearing the Cross peer out of a prison window; the blood under the Baptist's head serves for the signature 'Fra Michelangelo'; the expulsion in absentia on 1 December 1608 in the Oratory as 'membrum putridum et foetidum'.", "url": "https://www.academia.edu/4951146/The_Context_of_Caravaggios_Beheading_of_St_John_in_Malta_Burlington_Magazine_March_1997_", "cite": "David M. Stone, 'The Context of Caravaggio's Beheading of St John in Malta', Burlington Magazine 139, no. 1128 (March 1997), pp. 161-170, read 2026-09-24"}, {"what": "The co-cathedral's page: Grand Master Alof de Wignacourt accepted Caravaggio as a Knight of Obedience on 14 July 1608; by late August 1608 he was in trouble again; at a Public Assembly in the Oratory of St John's on 1 December 1608 he was expelled and thrust forth like a rotten and fetid limb; oil on canvas, 520 x 360 cm, Oratory of St John the Baptist.", "url": "https://www.stjohnscocathedral.com/the-co-cathedral/caravaggio/", "cite": "St John's Co-Cathedral, Valletta, 'Caravaggio', read 2026-09-24"}, {"what": "Says Caravaggio signed his name as Fra Michael Angelo in the blood oozing from the Baptist's head, in the oratory of the Decollato in Valletta.", "url": "https://thinkmagazine.mt/caravaggio/", "cite": "THINK magazine (University of Malta), 'Caravaggio', read 2026-09-24"}]}, "scene": {"ref": "Mark 6:27", "quote": "But sending an executioner, he commanded that his head should be brought in a dish.", "shows": "the executioner sent to behead John in prison"}, "th": "/store/thumb/caravaggio_beheading_baptist.webp", "more": [{"k": "subject", "n": "Saints in painting", "u": "/editions/subject/saints/", "ids": ["caravaggio_the_burial_of_saint_lucy", "cavaliere_d_arpino_martyrdom_of_saint_margaret", "caravaggio_salome_with_the_head_of_john_the_baptist_london", "rubens_saint_jerome"]}, {"k": "master", "n": "Caravaggio", "u": "/editions/master/caravaggio/", "ids": ["caravaggio_the_annunciation", "caravaggio_the_burial_of_saint_lucy", "caravaggio_salome_with_the_head_of_john_the_baptist_london", "caravaggio_the_adoration_of_the_shepherds"]}]}, "rubens_massacre_innocents": {"id": "rubens_massacre_innocents", "title": "The Massacre of the Innocents", "artist_line": "Peter Paul Rubens (Flemish, 1577–1640)", "artist": "Peter Paul Rubens", "date": "c. 1611–1612", "museum": "Art Gallery of Ontario, Toronto", "license": "Public domain", "tier": "Sanctuary", "sizes": [{"size": "8×10 in", "paper": 39, "iw": 10, "ih": 7.8, "sw": 10, "sh": 8, "cov": 0.971}, {"size": "11×14 in", "paper": 59, "iw": 14, "ih": 10.9, "sw": 14, "sh": 11, "cov": 0.989}, {"size": "16×20 in", "paper": 110, "iw": 20, "ih": 15.5, "sw": 20, "sh": 16, "cov": 0.971}, {"size": "18×24 in", "paper": 140, "iw": 23.2, "ih": 18, "sw": 24, "sh": 18, "cov": 0.965}, {"size": "24×36 in", "paper": 190, "iw": 30.9, "ih": 24, "sw": 36, "sh": 24, "cov": 0.858}, {"size": "32×48 in", "paper": 340, "iw": 41.2, "ih": 32, "sw": 48, "sh": 32, "cov": 0.858}, {"size": "40×60 in", "paper": 480, "iw": 51.5, "ih": 40, "sw": 60, "sh": 40, "cov": 0.858}], "local": "/store/display/rubens_massacre_innocents.jpg", "commons_file": "Rubens, Peter Paul - Massacre of the Innocents - Art Gallery of Ontario.jpg", "zoom": "https://art.monstrance.app/zoom/rubens_massacre_innocents.jpg", "master_px": 9101, "auth": {"institution": "Art Gallery of Ontario", "accession": "AGO.6277.a01", "url": "https://ago.ca/agoinsider/massacres-triumphant-return", "artist_as_printed": "Peter Paul Rubens", "medium": "Oil on panel", "dimensions": "142 x 183 x 1.9 cm"}, "writeup": {"text": "A soldier lifts a child over his head with both hands, and his body is borrowed. The Rubens House traces the pose to Christ in Michelangelo's Resurrection: the same body that rose from the tomb here deals death. Beside him a mother claws at another soldier's face, and behind her the house finds the Laocoön. Children lie on the paving under the columns. Rubens, just back from Italy, painted as a pictor doctus, a learned painter showing Antwerp what he had studied. Later the painting passed as the work of Jan van den Hoecke and hung unnoticed in a corridor of an Austrian monastery, until Sotheby's recognised it as Rubens weeks before the 2002 sale. Matthew gives it one sentence: Herod \"killed all the menchildren that were in Bethlehem.\" Herod never appears. His soldiers do.", "sources": [{"what": "c. 1610, oil on panel, 142 × 183 cm, accession 2014/1581", "url": "https://ago.ca/collection/object/2014/1581"}, {"what": "the soldier taken from Christ in Michelangelo's Resurrection, and the Laocoön behind the clawing woman; Rubens as pictor doctus just back from Italy", "url": "https://www.codart.nl/guide/agenda/the-master-lives-massacre-of-the-innocents/"}, {"what": "attributed to Jan van den Hoecke until Sotheby's identified it as Rubens weeks before the 2002 sale", "url": "https://www.irishtimes.com/news/rubens-painting-fetches-record-49m-1.429383"}, {"what": "it hung unnoticed in a corridor of an Austrian monastery before the sale", "url": "https://www.forbes.com/2002/07/16/0716hot.html"}]}, "scene": {"ref": "Matthew 2:16", "quote": "Then Herod perceiving that he was deluded by the wise men, was exceeding angry: and sending killed all the menchildren that were in Bethlehem, and in all the borders thereof, from two years old and under, according to the time which he had diligently inquired of the wise men.", "shows": "Herod killing the children in Bethlehem"}, "th": "/store/thumb/rubens_massacre_innocents.webp", "more": [{"k": "master", "n": "Peter Paul Rubens", "u": "/editions/master/peter-paul-rubens/", "ids": ["rubens_entombment", "rubens_the_incredulity_of_saint_thomas", "rubens_daniel", "rubens_holy_family"]}]}, "cimabue_mocking_christ": {"id": "cimabue_mocking_christ", "title": "The Mocking of Christ", "artist_line": "Cimabue (Italian, c. 1240–1302)", "artist": "Cimabue", "date": "c. 1280", "museum": "Musée du Louvre, Paris", "license": "Public domain", "tier": "Hero", "sizes": [{"size": "16×20 in", "paper": 110, "iw": 15.9, "ih": 20, "sw": 16, "sh": 20, "cov": 0.993}, {"size": "18×24 in", "paper": 140, "iw": 18, "ih": 22.7, "sw": 18, "sh": 24, "cov": 0.944}, {"size": "24×36 in", "paper": 190, "iw": 24, "ih": 30.2, "sw": 24, "sh": 36, "cov": 0.839}], "local": "/store/display/cimabue_mocking_christ.jpg", "commons_file": "La Dérision du Christ - Cimabue - Musée du Louvre Peintures RFML.PE.2023.33.1 - après restauration.jpg", "zoom": "https://art.monstrance.app/zoom/cimabue_mocking_christ.jpg", "master_px": 7604, "auth": {"institution": "Musée du Louvre, Paris", "accession": "RFML.PE.2023.33.1", "url": "https://collections.louvre.fr/en/ark:/53355/cl010509421", "artist_as_printed": "Cimabue (Cenni di Pepe, dit)", "date_as_printed": "4e quart du XIIIe siècle (vers 1280)", "medium": "détrempe sur fond d'or sur bois (peuplier)", "dimensions": "Hauteur : 0,258 m ; Largeur : 0,203 m"}, "writeup": {"text": "A hand comes out of the crowd and takes hold of the halo, as if the gold could be pulled away. Christ stands in the press, arms hanging at His sides, eyes open. A staff comes down at His head; He does not shield His face. Apollo Magazine reads the reaching hand as an assault on who He is, not only on His body, and the two sheathed swords, set symmetrically, as steadying the frenzy and leading inward to His sorrowful face. Anne Derbes has shown that some of Cimabue's Tuscan contemporaries were already painting a seated, blindfolded Christ. This Christ stands unbound, and sees each one of them.", "sources": [{"what": "Tormentor's hand reaches toward Christ's halo amid interlocked hands/limbs striking, gripping shoulder, clutching chest — assault dramatized as aimed at divine identity, not just the body", "url": "https://apollo-magazine.com/cimabue-mocking-christ/", "cite": "'A long-lost Cimabue has emerged — and the first light of painting now burns brighter than ever', Apollo Magazine"}, {"what": "Christ stands centrally, eyes open and uncovered (not blindfolded); Byzantine convention presents him as conscious witness — dignity over passive victimhood", "url": "https://apollo-magazine.com/cimabue-mocking-christ/", "cite": "Apollo Magazine, 'A long-lost Cimabue has emerged'"}, {"what": "The seated, blindfolded Christ type among Cimabue's Tuscan contemporaries, and the standing, unbound alternative — the scholarship the card names ('as Anne Derbes has shown'). Chapter on the Mocking of Christ; page to be tightened when the volume is in hand. Replaces the 'Wikipedia synthesis' clause of the previous cite.", "cite": "Anne Derbes, Picturing the Passion in Late Medieval Italy: Narrative Painting, Franciscan Ideologies, and the Levant, Cambridge University Press, 1996"}, {"what": "Christ wears red robe under blue cloak — standard medieval color convention: red=blood/suffering/Passion, blue=divinity/heavenly origin, asserting dual human/divine nature", "url": "https://www.nationalgallery.org.uk/paintings/catalogues/gordon-2011/the-virgin-and-child-with-two-angels", "cite": "Apollo Magazine article; Gordon, National Gallery catalogue, discusses same color logic across the three panels"}, {"what": "Two sheathed swords placed symmetrically, held by flanking figures, frame the crowd and direct the eye inward to Christ's sorrowful face", "url": "https://apollo-magazine.com/cimabue-mocking-christ/", "cite": "Apollo Magazine, 'A long-lost Cimabue has emerged'"}, {"what": "Luminous gold ground fills background — standard period convention for sacred, timeless, non-terrestrial space intended for devotional contemplation and prayer", "url": "https://apollo-magazine.com/cimabue-mocking-christ/", "cite": "Apollo Magazine, 'A long-lost Cimabue has emerged'"}, {"what": "Louvre object record: work by Cimabue (Cenni di Pepe), dated fourth quarter of 13th century, c. 1280", "url": "https://collections.louvre.fr/en/ark:/53355/cl010509421", "cite": "Musée du Louvre, Département des Peintures, object record"}, {"what": "Anne Derbes, quoted here, on Cimabue's Tuscan contemporaries already adopting the seated, blindfolded Christ, against which this standing, unblindfolded one is the departure; and the reading of the panel itself — the chain of limbs, the limp arms, the two sheathed swords set symmetrically to drive the eye inward, the hand at the halo, the wormholes and grain matched to the verso of the National Gallery panel that stood above it, and fewer than ten accepted panels by Cimabue in the world.", "url": "https://apollo-magazine.com/cimabue-mocking-christ/", "cite": "Apollo Magazine, 'A long-lost Cimabue has emerged — and the \"first light\" of painting now burns brighter than ever'."}, {"what": "The blindfold and the demand to prophesy who struck him — the detail this panel withholds.", "cite": "Luke 22:64, Douay-Rheims (Challoner)."}, {"what": "The owning institution's record: Cimabue, 'La Dérision du Christ', tempera on gold ground on poplar, fourth quarter of the thirteenth century, with no attribution hedge.", "url": "https://collections.louvre.fr/en/ark:/53355/cl010509421", "cite": "Musée du Louvre, Département des Peintures, RFML.PE.2023.33.1."}]}, "scene": {"ref": "Mark 15:19", "quote": "And they struck his head with a reed: and they did spit on him. And bowing their knees, they adored him.", "shows": "the reed, the spitting, the bowing of knees"}, "th": "/store/thumb/cimabue_mocking_christ.webp", "more": [{"k": "master", "n": "Cimabue", "u": "/editions/master/cimabue/", "ids": ["cimabue_the_virgin_and_child_in_majesty_surrou"]}]}, "el_greco_the_agony_in_the_garden": {"id": "el_greco_the_agony_in_the_garden", "title": "The Agony in the Garden", "artist_line": "El Greco (Greek–Spanish, 1541–1614)", "artist": "El Greco", "date": "1600–1607", "museum": "Museo Nacional de Bellas Artes, Buenos Aires", "license": "Public domain", "tier": "Sanctuary", "sizes": [{"size": "18×24 in", "paper": 140, "iw": 16.2, "ih": 24, "sw": 18, "sh": 24, "cov": 0.899}, {"size": "24×36 in", "paper": 190, "iw": 24, "ih": 35.6, "sw": 24, "sh": 36, "cov": 0.989}, {"size": "32×48 in", "paper": 340, "iw": 32, "ih": 47.5, "sw": 32, "sh": 48, "cov": 0.989}, {"size": "40×60 in", "paper": 480, "iw": 40, "ih": 59.4, "sw": 40, "sh": 60, "cov": 0.989}], "local": "/store/display/el_greco_the_agony_in_the_garden.jpg", "commons_file": "Jesús en el Huerto de los Olivos - El Greco - Google Arts \u0026 Culture.jpg", "zoom": "https://art.monstrance.app/zoom/el_greco_the_agony_in_the_garden.jpg", "master_px": 47508, "auth": {"institution": "Museo Nacional de Bellas Artes, Buenos Aires", "accession": "2569", "url": "https://www.bellasartes.gob.ar/en/collection/work/2569/", "artist_as_printed": "Greco, El [Theotokópoulos, Doménikos]", "date_as_printed": "1600-1607", "medium": "Oil on canvas", "dimensions": "108 x 76 cm"}, "writeup": {"text": "An angel kneels on a cloud and holds out a gold cup, the chalice Christ has just asked the Father to take away: \"let this chalice pass from me.\" Christ kneels with His hands open. Below Him three disciples sleep. The Museo Nacional de Bellas Artes in Buenos Aires names the signs El Greco set in the ground: an olive trunk cut through with a shoot rising from it, which may allude to the resurrection, and ivy gripping a rock for the persistence of faith. White strokes break across the whole surface, in the museum's words an arbitrary, unreal illumination. The cup is still held out.", "sources": [{"what": "MNBA: 'El Greco handled an episode from the Passion of Christ: Jesus' prayer on the Mount of Olives prior to his arrest and the crucifixion'; symbolic elements include 'the olive tree's severed trunk and the shoot that emerges from it, which may allude to the resurrection, and the branch of ivy that adheres to a rock, a symbol for the persistence of faith'; 'white brushstrokes appear throughout the painting's surface, creating the effect of an arbitrary, unreal illumination'; 'El Greco painted various versions of this theme from the late 1580s onward, in two formats: first horizontal, and then after 1600, vertical as is the case in our version.' The museum titles the work 'Jesus in the Garden of Olives'.", "url": "https://www.bellasartes.gob.ar/en/collection/work/2569/", "cite": "Museo Nacional de Bellas Artes, Buenos Aires, 'Jesus in the Garden of Olives', inv. 2569; read 2026-08-27."}]}, "scene": {"ref": "Matthew 26:39", "quote": "And going a little further, he fell upon his face, praying and saying: My Father, if it be possible, let this chalice pass from me. Nevertheless, not as I will but as thou wilt.", "shows": "Christ prostrate in Gethsemane, the cup not taken away"}, "th": "/store/thumb/el_greco_the_agony_in_the_garden.webp", "more": [{"k": "master", "n": "El Greco", "u": "/editions/master/el-greco/", "ids": ["el_greco_adoration_shepherds", "el_greco_holy_trinity", "el_greco_christ_carrying_cross", "el_greco_madonna_and_child_with_saint_martina_a"]}]}, "caravaggio_saint_catherine_of_alexandria": {"id": "caravaggio_saint_catherine_of_alexandria", "title": "Saint Catherine of Alexandria", "artist_line": "Caravaggio (Italian, 1571–1610)", "artist": "Caravaggio", "date": "c. 1598", "museum": "Museo Nacional Thyssen-Bornemisza, Madrid", "license": "Public domain", "tier": "Sanctuary", "sizes": [{"size": "18×24 in", "paper": 140, "iw": 18, "ih": 23.4, "sw": 18, "sh": 24, "cov": 0.975}, {"size": "24×36 in", "paper": 190, "iw": 24, "ih": 31.2, "sw": 24, "sh": 36, "cov": 0.867}, {"size": "32×48 in", "paper": 340, "iw": 32, "ih": 41.6, "sw": 32, "sh": 48, "cov": 0.867}, {"size": "40×60 in", "paper": 480, "iw": 40, "ih": 52.0, "sw": 40, "sh": 60, "cov": 0.867}], "local": "/store/display/caravaggio_saint_catherine_of_alexandria.jpg", "commons_file": "Saint Catherine of Alexandria (Caravaggio).jpg", "zoom": "https://art.monstrance.app/zoom/caravaggio_saint_catherine_of_alexandria.jpg", "master_px": 33280, "auth": {"institution": "Museo Nacional Thyssen-Bornemisza, Madrid", "accession": "81 (1934.37)", "url": "https://www.museothyssen.org/en/collection/artists/caravaggio-michelangelo-merisi/saint-catherine-alexandria", "artist_as_printed": "Caravaggio (Michelangelo Merisi)", "date_as_printed": "ca. 1598-99"}, "writeup": {"text": "The wheel built to break her lies broken, and Saint Catherine leans her elbow on it as on the arm of a chair. She looks straight out, a sword in both hands, a palm along the floor. Imaging from the Museo Thyssen-Bornemisza restoration shows that Caravaggio first painted the wheel whole, then painted the break over it; in the Golden Legend an angel shatters the wheels and she is beheaded instead. The museum reads the sword as the instrument of that beheading and the dress as a princess's. The model is generally taken for Fillide Melandroni. The palm lies at her feet.", "sources": [{"what": "the wheel first painted as a complete circle then partly overpainted to appear broken; the sword tip tinted red; the palm as the martyr's sign", "url": "https://historia-arte.com/obras/santa-catalina"}, {"what": "del Monte asked for a more discreet dress; the garment repainted from red to dark blue-violet in lapis and azurite", "url": "https://www.descubrirelarte.es/2018/12/27/caravaggio-santa-catalina-de-alejandria.html"}, {"what": "independent summary of the X-ray and infrared findings and the multiple pentimenti", "url": "http://www.thehistoryblog.com/archives/53689"}, {"what": "the model generally identified as Fillide Melandroni, who sat for Caravaggio more than once — an identification, not a document", "url": "https://historia-arte.com/obras/santa-catalina"}, {"what": "a private cabinet picture for Cardinal Francesco Maria del Monte at Palazzo Madama, not a church commission", "url": "https://www.educathyssen.org/sites/default/files/document/2017-02/encuentroanteobras_caravaggismo_adultos_pp_edu_0.pdf"}, {"what": "The wheels destroyed by an angel, and the beheading from which milk rather than blood issued — the legend the picture both uses and demotes. note the chapter names no sword, only \"commanded to smite off her head\"", "url": "https://www.christianiconography.info/goldenLegend/catherine.htm", "cite": "Jacobus de Voragine, The Golden Legend, 'Of St. Katherine', in William Caxton's English"}, {"what": "the wheel drawn as a complete circle before being overpainted to read as broken; the pentimento is the museum restoration's imaging finding", "url": "http://www.thehistoryblog.com/archives/53689", "cite": "The History Blog, 'Discovering Caravaggio's Saint Catherine', on the Museo Thyssen-Bornemisza restoration"}, {"what": "The museum's own reading of the attributes: the broken spiked wheel, the sword as the instrument of the beheading, the princess's dress, and the identification of the model.", "url": "https://www.museothyssen.org/en/collection/artists/caravaggio-michelangelo-merisi/saint-catherine-alexandria", "cite": "Museo Nacional Thyssen-Bornemisza, Madrid, collection entry, 'Saint Catherine of Alexandria' (inv. 81 (1934.37))"}, {"what": "The pose — sword held in both hands, elbow resting on the wheel — and the rich dress read by the museum's own education text as a princess's.", "url": "https://www.educathyssen.org/sites/default/files/document/2017-02/encuentroanteobras_caravaggismo_adultos_pp_edu_0.pdf", "cite": "Museo Nacional Thyssen-Bornemisza, EducaThyssen, 'Encuentro ante obras: el caravaggismo'"}, {"what": "the red tint confined to the lower end of the blade, and Fillide Melandroni as a young courtesan close to the artist's circle", "url": "https://www.descubrirelarte.es/2018/12/27/caravaggio-santa-catalina-de-alejandria.html", "cite": "Descubrir el Arte, 'Caravaggio: Santa Catalina de Alejandría'"}]}, "scene": {"why": "THE SAINT IS NOT IN SCRIPTURE, or this episode of their life is not. Their acts come to us through the Church’s memory — martyrologies, hagiography, the testimony of their own communities — not through the biblical record. Naming a verse here would dress tradition as Scripture."}, "th": "/store/thumb/caravaggio_saint_catherine_of_alexandria.webp", "more": [{"k": "subject", "n": "Saints in painting", "u": "/editions/subject/saints/", "ids": ["caravaggio_matthew_call", "caravaggio_the_martyrdom_of_saint_matthew", "caravaggio_conversion_paul", "caravaggio_crucifixion_peter"]}, {"k": "master", "n": "Caravaggio", "u": "/editions/master/caravaggio/", "ids": ["caravaggio_matthew_call", "caravaggio_the_martyrdom_of_saint_matthew", "caravaggio_conversion_paul", "caravaggio_crucifixion_peter"]}]}, "bellini_saint_francis_in_the_desert": {"id": "bellini_saint_francis_in_the_desert", "title": "Saint Francis in the Desert", "artist_line": "Giovanni Bellini (Italian, c. 1430–1516)", "artist": "Giovanni Bellini", "date": "c. 1476–1478", "museum": "The Frick Collection, New York", "license": "Public domain", "tier": "Sanctuary", "sizes": [{"size": "18×24 in", "paper": 140, "iw": 20.5, "ih": 18, "sw": 24, "sh": 18, "cov": 0.855}, {"size": "24×36 in", "paper": 190, "iw": 27.4, "ih": 24, "sw": 36, "sh": 24, "cov": 0.76}, {"size": "32×48 in", "paper": 340, "iw": 36.5, "ih": 32, "sw": 48, "sh": 32, "cov": 0.76}, {"size": "40×60 in", "paper": 480, "iw": 45.6, "ih": 40, "sw": 60, "sh": 40, "cov": 0.76}], "local": "/store/display/bellini_saint_francis_in_the_desert.jpg", "commons_file": "Giovanni Bellini - Saint Francis in the Desert - Google Art Project.jpg", "zoom": "https://art.monstrance.app/zoom/bellini_saint_francis_in_the_desert.jpg", "master_px": 30000, "auth": {"institution": "The Frick Collection, New York", "accession": "1915.1.03", "url": "https://collections.frick.org/objects/39/st-francis-in-the-desert", "artist_as_printed": "Giovanni Bellini", "dimensions": "49 1/16 x 55 7/8 inches (124.6 x 142 cm)", "accession_absent": "not_published", "accession_absent_why": "collections.frick.org returned only title and provenance; the metadata did not render"}, "writeup": {"text": "Saint Francis has come out of his cell barefoot, arms open, face turned up to the light at the top left, where the Frick reads the stigmata arriving. The top edge was cut, and scholars have long suspected a seraph there. The wounds are faint, two red marks on the hands and none at the side, an understatement the Frick calls deliberate. A donkey stands in the field, a heron keeps watch; a skull and a book wait on his desk. Marcantonio Michiel saw it at Taddeo Contarini's in 1525 as a St. Francis in the desert. Bellini leaves the miracle to the light.", "sources": [{"what": "Owning institution's object page: mystical light descending from the top left corner; faintly visible wounds on the outstretched hands; heron, donkey, rabbit, kingfisher, shepherd; signed on a small paper cartouche at lower left.", "url": "https://collections.frick.org/objects/39/st-francis-in-the-desert", "cite": "The Frick Collection, object record, St. Francis in the Desert"}, {"what": "Frick technical study: the artist 'outlined each hand, noted the joints of the fingers with short arcs'; two red wounds on the hands, no chest wound; 'deliberate understatement'; top edge cut, a seraph long considered possible.", "url": "https://www.frick.org/sites/default/files/shop/Pages%20from%20Bellini.pdf", "cite": "Rutherglen and Hale, In a New Light (Frick / D Giles), published excerpt"}, {"what": "Frick curatorial provenance essay: Marcantonio Michiel recorded the panel at Taddeo Contarini's Venetian palace in 1525, establishing its title; Henry Clay Frick bought it in 1915 through Knoedler. Gives 124.6 x 142 cm.", "url": "https://www.frick.org/blogs/curatorial/mapping_provenance_bellinis_st_francis_desert", "cite": "The Frick Collection, 'Mapping Provenance: Bellini's St. Francis in the Desert'"}, {"what": "Frick exhibition page: oil on panel, 49 1/16 x 55 7/8 inches (124.6 x 142 cm); likely commissioned as a devotional work by the nobleman Michiel; by 1525 in Taddeo Contarini's collection.", "url": "https://www.frick.org/exhibitions/bellini_giorgione/2", "cite": "The Frick Collection, exhibition entry"}, {"what": "Elements of the picture: 'A laurel tree leans in from the left'; 'Nearby is a gray heron - a solitary water bird evoking hermit life'; the shepherd is the only other human; a rabbit in its burrow; vines over the retreat.", "url": "https://www.washingtonpost.com/graphics/2021/entertainment/giovanni-bellini-saint-francis-desert/", "cite": "The Washington Post, on Bellini's St. Francis at Frick Madison, 2021"}, {"what": "The Frick's technical study, which carries the card's opening two sentences.", "url": "https://www.frick.org/sites/default/files/shop/Pages%20from%20Bellini.pdf", "cite": "Rutherglen and Hale, In a New Light: Giovanni Bellini's St. Francis in the Desert (Frick Collection / D Giles), published excerpt"}]}, "scene": {"why": "THE SAINT IS NOT IN SCRIPTURE, or this episode of their life is not. Their acts come to us through the Church’s memory — martyrologies, hagiography, the testimony of their own communities — not through the biblical record. Naming a verse here would dress tradition as Scripture."}, "th": "/store/thumb/bellini_saint_francis_in_the_desert.webp", "more": [{"k": "subject", "n": "Saints in painting", "u": "/editions/subject/saints/", "ids": ["vivarini_saint_jerome_reading", "pacher_devil_presenting_saint_augustine_book_of_vices", "hieronymus_bosch_st_jerome_at_prayer", "carpaccio_meditation_on_the_passion"]}, {"k": "master", "n": "Giovanni Bellini", "u": "/editions/master/giovanni-bellini/", "ids": ["bellini_transfiguration", "bellini_madonna_meadow", "bellini_imago_pietatis_pieta", "bellini_agony_garden"]}]}, "tiepolo_the_immaculate_conception": {"id": "tiepolo_the_immaculate_conception", "title": "The Immaculate Conception", "artist_line": "Giovanni Battista Tiepolo (Italian, 1696–1770)", "artist": "Giovanni Battista Tiepolo", "date": "1767–1769", "museum": "Museo Nacional del Prado, Madrid", "license": "Public domain", "tier": "Sanctuary", "sizes": [{"size": "8×10 in", "paper": 39, "iw": 5.4, "ih": 10, "sw": 8, "sh": 10, "cov": 0.68}, {"size": "11×14 in", "paper": 59, "iw": 7.6, "ih": 14, "sw": 11, "sh": 14, "cov": 0.693}, {"size": "16×20 in", "paper": 110, "iw": 10.9, "ih": 20, "sw": 16, "sh": 20, "cov": 0.68}, {"size": "18×24 in", "paper": 140, "iw": 13.1, "ih": 24, "sw": 18, "sh": 24, "cov": 0.726}, {"size": "24×36 in", "paper": 190, "iw": 19.6, "ih": 36, "sw": 24, "sh": 36, "cov": 0.816}, {"size": "32×48 in", "paper": 340, "iw": 26.1, "ih": 48, "sw": 32, "sh": 48, "cov": 0.816}, {"size": "40×60 in", "paper": 480, "iw": 32.6, "ih": 60, "sw": 40, "sh": 60, "cov": 0.816}], "local": "/store/display/tiepolo_the_immaculate_conception.jpg", "commons_file": "The Immaculate Conception, by Giovanni Battista Tiepolo, from Prado in Google Earth.jpg", "zoom": "https://art.monstrance.app/zoom/tiepolo_the_immaculate_conception.jpg", "master_px": 30000, "auth": {"institution": "Museo Nacional del Prado, Madrid", "accession": "P000363", "url": "https://www.museodelprado.es/en/the-collection/art-work/the-immaculate-conception/8da40987-dd6b-4bb3-ab0e-4210ecb6495e", "artist_as_printed": "Giovanni Battista Tiepolo", "date_as_printed": "1767 - 1769", "medium": "Oil on canvas", "dimensions": "Height: 281 cm; Width: 155 cm"}, "writeup": {"text": "A mirror lies at the bottom edge, half in shadow. Above it Our Lady stands on the crescent moon and the globe, one foot on the serpent, an apple at its jaw. Her hands are joined, her eyes nearly closed; the Dove of the Holy Spirit hangs over her with a ring of stars. The Prado reads the mirror as her freedom from stain, the palm as victory, the serpent as Original Sin defeated, and the moon and twelve stars as the Woman of the Apocalypse; the Dove, it says, is the Holy Spirit present at her conception. Giovanni Battista Tiepolo painted her as one of seven altarpieces commissioned in 1767 for San Pascual Bailon at Aranjuez, the church Charles III founded that year. It was his last major commission. Under her foot the serpent keeps its apple, and has no one left to give it to.", "sources": [{"what": "Symbolism: serpent under foot (Original Sin defeated), palm (victory), mirror (freedom from stain)", "url": "https://www.museodelprado.es/en/the-collection/art-work/the-immaculate-conception/8da40987-dd6b-4bb3-ab0e-4210ecb6495e", "cite": "Museo del Prado, main collection page"}, {"what": "Crescent moon and twelve stars identify the Virgin with the Woman of the Apocalypse; obelisk and angels noted", "url": "https://www.museodelprado.es/en/the-collection/art-work/the-immaculate-conception/8da40987-dd6b-4bb3-ab0e-4210ecb6495e", "cite": "Museo del Prado, main collection page"}, {"what": "Dove above her = Holy Spirit present at the conception; hands raised, eyes almost closed", "url": "https://www.museodelprado.es/en/easy-to-read/the-immaculate-conception-tiepolo/d456501f-38b7-d469-e75a-feae94cfad96", "cite": "Museo del Prado, 'easy-to-read' companion page"}, {"what": "Commissioned by Charles III, March 1767, for the Franciscan church of San Pascual Bailón at Aranjuez", "url": "https://www.museodelprado.es/en/the-collection/art-work/the-immaculate-conception/8da40987-dd6b-4bb3-ab0e-4210ecb6495e", "cite": "Museo del Prado, main collection page"}, {"what": "Hung to the left of the high altar, paired with Saint Francis Receiving the Stigmata; Tiepolo's last major commission; died Madrid 1770", "url": "https://www.museodelprado.es/en/the-collection/art-work/the-immaculate-conception/8da40987-dd6b-4bb3-ab0e-4210ecb6495e", "cite": "Museo del Prado, main collection page / dossier commission notes"}, {"what": "Corroborates the seven San Pascual, Aranjuez altarpieces as Tiepolo's last major commission, commissioned for Charles III's new Franciscan church", "url": "https://gallerycollections.courtauld.ac.uk/object-p-1978-pg-451", "cite": "Courtauld Gallery, Collection Online"}, {"what": "Tiepolo was Italian and painted seven altarpieces for the Church of San Pascual, Aranjuez; the church was the first important building project of Charles III's reign; the paintings were his last major commission; they hung only a few years before the king found them old-fashioned and had them removed. NOTE: this object record is an oil sketch for one of the seven, not the Prado canvas — cite it for the cycle and the church, never for the Prado picture's own physical facts.", "url": "https://gallerycollections.courtauld.ac.uk/object-p-1978-pg-451", "cite": "Courtauld Gallery, Collection Online, object P.1978.PG.451"}, {"what": "A cycle of seven altarpieces commissioned in 1767 for the new royal church of San Pascual Bailon at Aranjuez, which Charles III founded that same year. IMPORTANT: the page attributes only the FOUNDING of the church to Charles III. It names no agent for the commissioning of the altarpieces — do not cite this for royal patronage of the paintings.", "url": "https://www.museodelprado.es/en/the-collection/art-work/the-immaculate-conception/8da40987-dd6b-4bb3-ab0e-4210ecb6495e", "cite": "Museo Nacional del Prado, P000363, main collection page"}]}, "scene": {"why": "NOT A NARRATIVE SCENE. The Immaculate Conception is a defined dogma (Ineffabilis Deus, 1854), not an event Scripture recounts. The painters’ iconography — the woman clothed with the sun, the moon beneath her feet — borrows Apocalypse 12:1, but that passage is a type applied to her, not a description of this doctrine, and citing it as the scene would misrepresent both."}, "th": "/store/thumb/tiepolo_the_immaculate_conception.webp", "more": [{"k": "subject", "n": "The Immaculate Conception in painting", "u": "/editions/subject/immaculate-conception/", "ids": ["juan_sanchez_cotan_immaculate_conception", "peter_paul_rubens_the_virgin_as_the_woman_of_the_apocalyps", "zurbaran_immaculate", "ribera_immaculate_conception"]}, {"k": "master", "n": "Giovanni Battista Tiepolo", "u": "/editions/master/giovanni-battista-tiepolo/", "ids": ["tiepolo_the_vision_of_saint_cajetan", "tiepolo_the_miracle_of_the_holy_house_of_loret", "tiepolo_madonna_of_the_goldfinch"]}]}, "rubens_the_education_of_the_virgin": {"id": "rubens_the_education_of_the_virgin", "title": "The Education of the Virgin", "artist_line": "Peter Paul Rubens (Flemish, 1577–1640)", "artist": "Peter Paul Rubens", "date": "c. 1630–1635", "museum": "KMSKA, Antwerp", "license": "Public domain", "tier": "Sanctuary", "sizes": [{"size": "18×24 in", "paper": 140, "iw": 17.3, "ih": 24, "sw": 18, "sh": 24, "cov": 0.962}, {"size": "24×36 in", "paper": 190, "iw": 24, "ih": 33.3, "sw": 24, "sh": 36, "cov": 0.924}, {"size": "32×48 in", "paper": 340, "iw": 32, "ih": 44.3, "sw": 32, "sh": 48, "cov": 0.924}, {"size": "40×60 in", "paper": 480, "iw": 40, "ih": 55.4, "sw": 40, "sh": 60, "cov": 0.924}], "local": "/store/display/rubens_the_education_of_the_virgin.jpg", "commons_file": "Peter Paul Rubens - Opvoeding van Maria - 306 - Royal Museum of Fine Arts Antwerp.jpg", "zoom": "https://art.monstrance.app/zoom/rubens_the_education_of_the_virgin.jpg", "master_px": 22513, "auth": {"institution": "KMSKA, Antwerp", "accession": "306", "url": "https://kmska.be/en/masterpiece/the-education-of-mary", "artist_as_printed": "Peter Paul Rubens", "date_as_printed": "1630-1635", "medium": "oil on canvas", "dimensions": "194 × 140 cm"}, "writeup": {"text": "A book lies open between two pairs of hands, and the girl who will carry the Word is learning her letters. Saint Anne's arm is round her daughter's shoulder; Our Lady rests her hand on the page and turns her face out toward us; two putti come down with a wreath of flowers; Saint Joachim stands behind, watching. Rubens painted it, KMSKA records, for the altar of the south transept of Antwerp's Discalced Carmelite church, with his Saint Teresa of Ávila, the same size, on the north altar opposite. It was taken to Paris in 1794 and came back in 1815. When Schelte à Bolswert engraved it, the Met's impression shows, words from the psalm ran beneath: Audi filia, et vide, et inclina aurem tuam, the call to a daughter to listen and forget her people and her father's house. Her father is the man at the back.", "sources": [{"what": "The museum's object page: Peter Paul Rubens, The Education of Mary, 1630-1635, oil on canvas, 194 x 140 cm, inventory 306.", "url": "https://kmska.be/en/masterpiece/the-education-of-mary", "cite": "KMSKA, Antwerp, 'The Education of Mary', inv. 306, read 2026-09-24"}, {"what": "Provenance: altar of the southern transept arm in the church of the Discalced Carmelites, Antwerp, 1630-1635; kept in Paris 1794; recovered from France and transferred to the museum 1815.", "url": "https://kmska.be/nl/meesterwerk/opvoeding-van-maria", "cite": "KMSKA, 'Opvoeding van Maria', inv. 306, provenance field, read 2026-09-24"}, {"what": "The pendant: Rubens, St Teresa of Ávila interceding for Bernardino de Mendoza, 1630-1635, oil on canvas, 194 x 140 cm, inv. 299, from the altar of the northern transept arm of the same Discalced Carmelite church.", "url": "https://kmska.be/nl/meesterwerk/heilige-theresia-van-avila-bemiddelt-voor-bernardino-de-mendoza-de-verlossing-uit-het", "cite": "KMSKA, inv. 299, provenance field, read 2026-09-24"}, {"what": "Bolswert's engraving after Rubens: Saint Anne and the Virgin reading, two putti overhead, Saint Joachim behind them; lettered 'P. P. Rubbens pinxit / S. à Bolswert fecit'; the Latin beneath beginning 'AVDI FILIA, ET VIDE, ET INCLINA AVREM TVAM', the psalm's call to a daughter to listen and forget her people and her father's house.", "url": "https://www.metmuseum.org/art/collection/search/770866", "cite": "Metropolitan Museum of Art, Schelte Adams à Bolswert after Peter Paul Rubens, The education of the Virgin, 17.3.2667, read 2026-09-24"}]}, "scene": {"why": "The Virgin's childhood with her parents Joachim and Anne is held in the Church's tradition, first written down in the Protoevangelium of James, and the Church keeps the memorial of Saints Joachim and Anne on 26 July. No evangelist narrates the Virgin's education, so no verse is honest here."}, "th": "/store/thumb/rubens_the_education_of_the_virgin.webp", "more": [{"k": "subject", "n": "The Life of the Virgin in painting", "u": "/editions/subject/the-life-of-the-virgin/", "ids": ["zurbaran_young_virgin", "tiepolo_the_miracle_of_the_holy_house_of_loret", "giotto_the_entombment_of_mary", "goes_the_death_of_the_virgin"]}, {"k": "master", "n": "Peter Paul Rubens", "u": "/editions/master/peter-paul-rubens/", "ids": ["rubens_saint_francis_receiving_the_stigmata", "peter_paul_rubens_the_raising_of_the_cross_sketch", "rubens_the_baptism_of_christ", "rubens_saint_jerome"]}]}, "masolino_the_assumption_of_the_virgin": {"id": "masolino_the_assumption_of_the_virgin", "title": "The Assumption of the Virgin", "artist_line": "Masolino da Panicale (Italian, c. 1383–c. 1447)", "artist": "Masolino da Panicale", "date": "c. 1428", "museum": "Museo di Capodimonte, Naples", "license": "Public domain", "tier": "Sanctuary", "sizes": [{"size": "18×24 in", "paper": 140, "iw": 12.5, "ih": 24, "sw": 18, "sh": 24, "cov": 0.694}, {"size": "24×36 in", "paper": 190, "iw": 18.7, "ih": 36, "sw": 24, "sh": 36, "cov": 0.781}, {"size": "32×48 in", "paper": 340, "iw": 25.0, "ih": 48, "sw": 32, "sh": 48, "cov": 0.781}, {"size": "40×60 in", "paper": 480, "iw": 31.2, "ih": 60, "sw": 40, "sh": 60, "cov": 0.781}], "local": "/store/display/masolino_the_assumption_of_the_virgin.jpg", "commons_file": "Masolino da Panicale - The Assumption of the Virgin - 1423-28.jpg", "zoom": "https://art.monstrance.app/zoom/masolino_the_assumption_of_the_virgin.jpg", "master_px": 22492, "auth": {"institution": "Museo di Capodimonte, Napoli (Collezione Farnese; Ministero della Cultura, Catalogo generale dei Beni Culturali)", "accession": "Q33", "url": "https://catalogo.beniculturali.it/detail/HistoricOrArtisticProperty/1500625174", "artist_as_printed": "Tommaso Di Cristoforo Fini Detto Masolino Da Panicale (1383/1440)", "date_as_printed": "ca. 1428", "medium": "tavola/ pittura a tempera"}, "writeup": {"text": "Our Lady rises in a white mantle with her hands joined, and the angels around her are packed as close as feathers; some play lute and viol, and two carry scrolls lettered Virtutes. Dillian Gordon's National Gallery catalogue, citing Perri Lee Roberts, reads these angels as the nine hierarchies as Gregory the Great ranked them, with a pope, whom the National Gallery names only tentatively as Saint Gregory, placed alongside. Masolino painted this about 1428 as one face of a shared support. The other face showed the miracle that founded Santa Maria Maggiore, an August snowfall tracing the basilica's plan on the Esquiline Hill: the church founded on earth on one side, and on the other Mary taken up into heaven. By 1644 the two faces were sawn apart at Palazzo Farnese and called Fra Angelico. The angels still bear her up.", "sources": [{"what": "This Assumption is the verso of the same panel whose recto shows the Foundation of Santa Maria Maggiore / Miracle of the Snow; the pairing is a deliberate theological program", "url": "https://www.nationalgallery.org.uk/paintings/catalogues/gordon-2003/santa-maria-maggiore-altarpiece", "cite": "National Gallery, London, Gordon 2003, 'Santa Maria Maggiore Altarpiece' catalogue entry"}, {"what": "The legendary August snowfall marked out the basilica's ground plan on the Esquiline Hill", "cite": "National Gallery, London, Gordon 2003 (commission history)"}, {"what": "Colonna heraldic devices (columns) recur across the surviving altarpiece panels as a patron's signature; no contract names the patron", "cite": "National Gallery, London, Gordon 2003"}, {"what": "Masolino's passages use tempera grassa (egg-oil emulsion) over lead-white ground for flesh, the technical basis for separating his hand from Masaccio's on this commission", "cite": "Strehlke and Tucker technical study, cited in National Gallery, London, Gordon 2003"}, {"what": "By 1644 the double-sided panels were sawn apart at Palazzo Farnese into six pictures and misattributed to Fra Angelico", "cite": "National Gallery, London, Gordon 2003 (dispersal history)"}, {"what": "The standard catalogue on this altarpiece: the angels around the Virgin are unusual in representing the nine angelic hierarchies as Gregory the Great ranked them, with the pope placed beside them.", "url": "https://www.nationalgallery.org.uk/paintings/catalogues/gordon-2003/santa-maria-maggiore-altarpiece", "cite": "Dillian Gordon, 'National Gallery Catalogues: The Fifteenth Century Italian Paintings', vol. 1, 'Santa Maria Maggiore Altarpiece' — citing Perri Lee Roberts."}, {"what": "The institution identifies the pope on the adjoining panel only tentatively, which is the hedge the card's 'the pope alongside' carries.", "url": "https://www.nationalgallery.org.uk/paintings/masolino-a-pope-saint-gregory-and-saint-matthias", "cite": "The National Gallery, London, Masolino, 'A Pope (Saint Gregory?) and Saint Matthias', NG5963."}]}, "scene": {"why": "NOT A NARRATIVE SCENE. The Assumption is defined dogma (Munificentissimus Deus, 1950) and is nowhere narrated in Scripture. The tradition is ancient and the doctrine is certain; the citation is simply not scriptural, and saying so is more honest than borrowing a verse."}, "th": "/store/thumb/masolino_the_assumption_of_the_virgin.webp", "more": [{"k": "subject", "n": "The Assumption of the Virgin in painting", "u": "/editions/subject/assumption-of-the-virgin/", "ids": ["master_of_the_legend_of_st_lucy_mary_queen_of_heaven", "rubens_assumption", "poussin_the_assumption_of_the_virgin"]}, {"k": "master", "n": "Masolino da Panicale", "u": "/editions/master/masolino-da-panicale/", "ids": ["masolino_the_annunciation"]}]}, "rubens_saint_teresa_of_avila_interceding_for": {"id": "rubens_saint_teresa_of_avila_interceding_for", "title": "Saint Teresa of Ávila Interceding for Bernardino de Mendoza in Purgatory", "artist_line": "Peter Paul Rubens (Flemish, 1577–1640)", "artist": "Peter Paul Rubens", "date": "c. 1630–1635", "museum": "KMSKA, Antwerp", "license": "Public domain", "tier": "Sanctuary", "sizes": [{"size": "18×24 in", "paper": 140, "iw": 17.2, "ih": 24, "sw": 18, "sh": 24, "cov": 0.957}, {"size": "24×36 in", "paper": 190, "iw": 24, "ih": 33.4, "sw": 24, "sh": 36, "cov": 0.929}, {"size": "32×48 in", "paper": 340, "iw": 32, "ih": 44.6, "sw": 32, "sh": 48, "cov": 0.929}, {"size": "40×60 in", "paper": 480, "iw": 40, "ih": 55.7, "sw": 40, "sh": 60, "cov": 0.929}], "local": "/store/display/rubens_saint_teresa_of_avila_interceding_for.jpg", "commons_file": "Peter Paul Rubens - Heilige Theresia van Ávila bemiddelt voor Bernardino de Mendoza de verlossing uit het vagevuur - 299 - Royal Museum of Fine Arts Antwerp.jpg", "zoom": "https://art.monstrance.app/zoom/rubens_saint_teresa_of_avila_interceding_for.jpg", "master_px": 22460, "auth": {"institution": "KMSKA, Antwerp", "accession": "299", "url": "https://kmska.be/en/masterpiece/saint-teresa-of-avila-interceding-for-bernardino-de-mendoza-in-purgatory", "artist_as_printed": "Peter Paul Rubens", "date_as_printed": "1630-1635", "medium": "oil on canvas", "dimensions": "194 × 140 cm"}, "writeup": {"text": "A small angel grips a man by the hand and draws him up out of the fire; below, the others still burn and look up. Christ stands barefoot at the centre and looks down at Teresa, who kneels at the right with her hands open. The British Museum, describing the engraving after this canvas, names the rising man as Bernardino de Mendoza, set free alone. In Teresa's own Book of Her Foundations he is brother to the bishop of Ávila, dead suddenly of illness after giving her his house and grounds at Rio de Olmos for the Valladolid foundation, and released from purgatory at the first Mass said in that house; she saw him afterwards, his face joyful and resplendent. Rubens made it for a side altar of the Discalced Carmelite church in Antwerp, pendant to his Education of Mary. The church is gone. One hand holds another.", "sources": [{"what": "Compositional description: Christ at center looking down at Teresa kneeling right, angel setting Bernardino de Mendoza free from purgatory's pool of fire", "url": "https://britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=3161579\u0026partId=1", "cite": "British Museum, museum no. 1860,0211.515"}, {"what": "Primary source: Mendoza was brother of the bishop of Ávila, died suddenly of illness, gave his house/grounds at Rio de Olmos for the Valladolid foundation", "url": "https://carmelitequotes.blog/2026/08/09/stjfound10-2/", "cite": "Teresa of Jesus (Ávila), Book of Her Foundations, ch. 10"}, {"what": "Confirms subject is distinct from the Spanish diplomat of the same name, giving the Latin inscription context", "url": "https://wellcomecollection.org/works/vjkzgerb", "cite": "Wellcome Collection, print catalogue"}, {"what": "Painting made for a side altar of the Discalced Carmelite church in Antwerp; church later demolished, contents dispersed largely to KMSKA", "url": "https://hnanews.org/hnar/reviews/rubens-unveiled-paintings-lost-antwerp-churches/", "cite": "Historians of Netherlandish Art, review of Rubens Unveiled (KMSKA/Hannibal)"}, {"what": "Identifies this canvas as pendant to Rubens's The Education of Mary, both from the same Antwerp Carmelite church", "url": "https://vlaamsekunstcollectie.be/en/makers/peter-paul-rubens", "cite": "Vlaamse Kunstcollectie / The Flemish Art Collection"}, {"what": "KMSKA's own object page: bare facts only (title, artist, date, medium, dimensions, accession), no interpretive text — used only for base attribution, not quoted", "url": "https://kmska.be/en/masterpiece/saint-teresa-of-avila-interceding-for-bernardino-de-mendoza-in-purgatory", "cite": "KMSKA object page, inventory no. 299"}, {"what": "Teresa's own account of Bernardino de Mendoza: brother to the bishop of Ávila, dead suddenly of illness after giving her his house and grounds at Rio de Olmos, and released from purgatory at the first Mass said in that house — she saw him afterwards, his face joyful and resplendent.", "url": "https://carmelitequotes.blog/2026/08/09/stjfound10-2/", "cite": "Teresa of Ávila, 'Book of Her Foundations', ch. 10."}, {"what": "The engraving made after this painting is lettered with the episode and refers it to Foundations ch. 10 — the print's own contemporary caption identifying the speech the canvas depicts.", "url": "https://wellcomecollection.org/works/vjkzgerb", "cite": "Wellcome Collection 7261i, Schelte a Bolswert after Rubens, lettering transcribed in the catalogue record."}, {"what": "Describes what the plate shows: purgatory as a pool of fire, Christ standing at the centre and looking down at Teresa, and an angel at the left setting Bernardino de Mendoza free — him alone.", "url": "https://britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=3161579\u0026partId=1", "cite": "The British Museum, museum no. 1860,0211.515."}]}, "scene": {"why": "THE SAINT IS NOT IN SCRIPTURE, or this episode of their life is not. Their acts come to us through the Church’s memory — martyrologies, hagiography, the testimony of their own communities — not through the biblical record. Naming a verse here would dress tradition as Scripture."}, "th": "/store/thumb/rubens_saint_teresa_of_avila_interceding_for.webp", "more": [{"k": "subject", "n": "Saints in painting", "u": "/editions/subject/saints/", "ids": ["zurbaran_margaret", "zurbaran_saint_francis_of_assisi_in_his_tomb", "rubens_saint_francis_receiving_the_stigmata", "francisco_de_zurbaran_st_francis_contemplating_a_skull"]}, {"k": "master", "n": "Peter Paul Rubens", "u": "/editions/master/peter-paul-rubens/", "ids": ["rubens_the_education_of_the_virgin", "rubens_saint_francis_receiving_the_stigmata", "peter_paul_rubens_the_raising_of_the_cross_sketch", "rubens_the_baptism_of_christ"]}]}, "raphael_saint_margaret": {"id": "raphael_saint_margaret", "title": "Saint Margaret", "artist_line": "Raphael and Giulio Romano (Italian, 1483–1520; 1499–1546)", "artist": "Raphael and Giulio Romano", "date": "c. 1518", "museum": "Musée du Louvre, Paris", "license": "Public domain", "tier": "Sanctuary", "sizes": [{"size": "18×24 in", "paper": 140, "iw": 15.2, "ih": 24, "sw": 18, "sh": 24, "cov": 0.842}, {"size": "24×36 in", "paper": 190, "iw": 22.7, "ih": 36, "sw": 24, "sh": 36, "cov": 0.948}, {"size": "32×48 in", "paper": 340, "iw": 30.3, "ih": 48, "sw": 32, "sh": 48, "cov": 0.948}, {"size": "40×60 in", "paper": 480, "iw": 37.9, "ih": 60, "sw": 40, "sh": 60, "cov": 0.948}], "local": "/store/display/raphael_saint_margaret.jpg", "commons_file": "Sainte Marguerite, by Raffaello Sanzio, from C2RMF.jpg", "zoom": "https://art.monstrance.app/zoom/raphael_saint_margaret.jpg", "master_px": 20495, "auth": {"institution": "Musée du Louvre, Paris", "accession": "INV 607 ; B 2599", "url": "https://collections.louvre.fr/en/ark:/53355/cl010060769", "artist_as_printed": "Santi, Raffaello, dit Raphaël; Giulio Romano (Giulio Pippi, dit aussi Jules Romain)", "date_as_printed": "1e moitié du XVIe siècle (1518)", "medium": "huile sur toile (transposition (bois transposé sur toile))", "dimensions": "Hauteur : 1,85 m ; Largeur : 1,17 m"}, "writeup": {"text": "A bare foot rests on a folded dragon's wing, and the jaws beside her hang open and empty. Margaret has come out of that mouth. The legend, as Richard Stracke gives it in Christian Iconography, has the dragon swallow her whole, and at the sign of the cross it burst asunder. She carries only a palm, the martyr's branch; the Catholic Encyclopedia ties her death to her refusal to marry the prefect Olybrius. Dying, she prayed that God bless whoever in childbirth or other peril should read, write, or press to their body a copy of her story, and she is the patron of women in childbirth still. Raphael designed her; the painting is generally given to Giulio Romano's hand, and Leo X sent it to Francis I in 1518. Pope Gelasius called the legend apocryphal in 494. Margaret walks on out of it all the same.", "sources": [{"what": "Louvre object record: attribution (Raphael and Giulio Romano), medium/date, and the sole provenance sentence 'gift of Pope Leo X to King Francis I in 1518'", "url": "https://collections.louvre.fr/en/ark:/53355/cl010060769"}, {"what": "Clearest scholarly statement dividing hands: design ascribed to Raphael, execution to Giulio Romano, c.1518", "url": "https://albert.rct.uk/collections/raphael-collection/saints/st-margaret", "cite": "Royal Collection Trust, \"St Margaret,\" RCIN 851502"}, {"what": "Dragon legend (swallowed alive, burst free by sign of the cross), patronage of women in childbirth, and palm branch as martyrdom emblem tied to refusal to marry the pagan prefect Olybrius", "url": "https://www.newadvent.org/cathen/09652b.htm", "cite": "\"St. Margaret,\" The Catholic Encyclopedia, New Advent"}, {"what": "The dragon-swallowing episode: swallowed whole, the sign of the cross made, the dragon bursting. Replaces the Catholic Encyclopedia, which does not carry it.", "url": "https://www.christianiconography.info/margaret.html", "cite": "Richard Stracke, \"Saint Margaret of Antioch: The Iconography,\" Christian Iconography (Augusta University)"}]}, "scene": {"why": "THE SAINT IS NOT IN SCRIPTURE, or this episode of their life is not. Their acts come to us through the Church’s memory — martyrologies, hagiography, the testimony of their own communities — not through the biblical record. Naming a verse here would dress tradition as Scripture."}, "th": "/store/thumb/raphael_saint_margaret.webp", "more": [{"k": "subject", "n": "Saints in painting", "u": "/editions/subject/saints/", "ids": ["raphael_st_michael_satan", "lorenzo_lotto_st_catherine_of_alexandria", "bassano_miraculous_draught_of_fishes", "titian_penitent_magdalene"]}]}, "rubens_the_holy_trinity": {"id": "rubens_the_holy_trinity", "title": "The Holy Trinity", "artist_line": "Peter Paul Rubens (Flemish, 1577–1640)", "artist": "Peter Paul Rubens", "date": "c. 1620", "museum": "KMSKA, Antwerp", "license": "Public domain", "tier": "Sanctuary", "sizes": [{"size": "18×24 in", "paper": 140, "iw": 17.5, "ih": 18, "sw": 24, "sh": 18, "cov": 0.729}, {"size": "24×36 in", "paper": 190, "iw": 23.3, "ih": 24, "sw": 36, "sh": 24, "cov": 0.648}, {"size": "32×48 in", "paper": 340, "iw": 31.1, "ih": 32, "sw": 48, "sh": 32, "cov": 0.648}, {"size": "40×60 in", "paper": 480, "iw": 38.9, "ih": 40, "sw": 60, "sh": 40, "cov": 0.648}], "local": "/store/display/rubens_the_holy_trinity.jpg", "commons_file": "Peter Paul Rubens - Heilige Drievuldigheid - 314 - Royal Museum of Fine Arts Antwerp.jpg", "zoom": "https://art.monstrance.app/zoom/rubens_the_holy_trinity.jpg", "master_px": 19721, "auth": {"institution": "KMSKA, Antwerp", "accession": "314", "url": "https://kmska.be/en/masterpiece/holy-trinity", "artist_as_printed": "Peter Paul Rubens", "date_as_printed": "1620", "medium": "oil on panel", "dimensions": "157 × 150 cm"}, "writeup": {"text": "The Father's hands are full: one lifts the shroud, the other opens outward, and between them lies His Son, dead, the head fallen back against the Father. The feet come toward us, foreshortened, the wounds in them. The Dove hangs above. An angel on the left holds the lance and the crown of thorns; the one on the right wipes his eye. Scripture shows the three Persons together once, at the Jordan, where nobody dies; Rubens builds the doctrine out of a body. Art in Flanders reads the gesture: the Father shows the faithful the body of His Son, tortured to death. Judoca van der Capelle gave the painting to an altar of Antwerp's Calced Carmelite church on 10 April 1621, and she and her husband, Jan de Pape, lay buried in front of it. The body is still held out to us, feet first.", "sources": [{"what": "Compositional description: foreshortened dead Christ on the Father's lap/shroud, presented outward; dove above; two mourning angels with Instruments of the Passion; surrounding clouds signal heavenly ", "url": "https://artinflanders.be/nl/kunst/heilige-drievuldigheid-3", "cite": "Art in Flanders (artinflanders.be), entry 'Heilige Drievuldigheid'"}, {"what": "Commission: gift by Judoca van der Capelle, dated 10 April 1621, wife of Jan de Pape, for an altar in the church of the Calced Carmelites, Antwerp", "url": "https://artinflanders.be/nl/kunst/heilige-drievuldigheid-3", "cite": "Art in Flanders (artinflanders.be), entry 'Heilige Drievuldigheid'"}, {"what": "Corroborates patrons and funerary/tomb-monument context for the same painting", "url": "https://vlaamsekunstcollectie.be/en/makers/peter-paul-rubens", "cite": "Vlaamse Kunstcollectie, Peter Paul Rubens biography page"}, {"what": "Corroborates church of the Calced Carmelites, Antwerp, as the painting's original location, per exhibition catalogue", "url": "https://hnanews.org/hnar/reviews/rubens-unveiled-paintings-lost-antwerp-churches/", "cite": "Valerie Herremans, Rubens Unveiled: Paintings from Lost Antwerp Churches (2013), reviewed HNA Reviews, April 2015"}, {"what": "Institutional catalogue record: title, artist, 1620, oil on panel, 157x150 cm, inv. 314", "url": "https://kmska.be/en/masterpiece/holy-trinity", "cite": "KMSKA (Royal Museum of Fine Arts Antwerp), object page"}, {"what": "The institution's own reading of the Father's gesture (he shows the faithful the body of his Son tortured to death), the dove, the mourning angels with the instruments of the Passion, the shroud and lap, the foreshortening, the Calced Carmelite altar, the 10 April 1621 gift, and both donors buried before that altar.", "url": "https://artinflanders.be/nl/kunst/heilige-drievuldigheid-3", "cite": "Art in Flanders (artinflanders.be), entry 'Heilige Drievuldigheid' — Rubens, c. 1620, KMSKA inv. 314, no attribution qualifier"}, {"what": "The single scriptural occasion on which all three Persons are manifest together — Son baptized, Spirit descending as a dove, Father's voice — basis of the opening claim.", "cite": "Douay-Rheims, Matthew 3:16-17"}]}, "scene": {"why": "NOT A NARRATIVE SCENE. The Trinity is doctrine, not an episode. Where all three Persons appear together in Scripture it is at the Baptism (Matthew 3:16-17); the painters’ Throne of Mercy and Gloria types are theological constructions and are cited as such rather than pinned to a verse."}, "th": "/store/thumb/rubens_the_holy_trinity.webp", "more": [{"k": "subject", "n": "The Holy Trinity in painting", "u": "/editions/subject/the-holy-trinity/", "ids": ["masaccio_trinity", "girardin_the_trinity", "goes_the_trinity_altarpiece_the_holy_trinit", "albrecht_durer_all_saints_landauer_altarpiece"]}, {"k": "master", "n": "Peter Paul Rubens", "u": "/editions/master/peter-paul-rubens/", "ids": ["rubens_assumption", "peter_paul_rubens_the_virgin_as_the_woman_of_the_apocalyps", "rubens_adoration_magi", "rubens_the_meeting_of_abraham_and_melchizedek"]}]}, "bellini_imago_pietatis_pieta": {"id": "bellini_imago_pietatis_pieta", "title": "Imago Pietatis (Pietà)", "artist_line": "Giovanni Bellini (Italian, c. 1430–1516)", "artist": "Giovanni Bellini", "date": "c. 1457", "museum": "Museo Poldi Pezzoli, Milan", "license": "Public domain", "tier": "Sanctuary", "sizes": [{"size": "18×24 in", "paper": 140, "iw": 18, "ih": 22.0, "sw": 18, "sh": 24, "cov": 0.917}, {"size": "24×36 in", "paper": 190, "iw": 24, "ih": 29.3, "sw": 24, "sh": 36, "cov": 0.815}, {"size": "32×48 in", "paper": 340, "iw": 32, "ih": 39.1, "sw": 32, "sh": 48, "cov": 0.815}, {"size": "40×60 in", "paper": 480, "iw": 40, "ih": 48.9, "sw": 40, "sh": 60, "cov": 0.815}], "local": "/store/display/bellini_imago_pietatis_pieta.jpg", "commons_file": "Giovanni Bellini - Imago Pietatis - Google Art Project.jpg", "zoom": "https://art.monstrance.app/zoom/bellini_imago_pietatis_pieta.jpg", "master_px": 17703, "auth": {"institution": "Museo Poldi Pezzoli, Milan", "accession": "1587", "url": "https://museopoldipezzoli.it/en/scopri/collezioni/capolavori/opera/imago-pietatis/", "artist_as_printed": "Giovanni Bellini, 1430-1516", "date_as_printed": "ca. 1457", "medium": "Tempera on panel", "dimensions": "50 cm x 40.4 cm"}, "writeup": {"text": "Christ stands to the waist in His tomb, eyes shut, arms crossed, the wound open in His side. Dead, and upright. The Museo Poldi Pezzoli reads the tomb's side walls, drawn in perspective, as an invitation to the eye, so that a look which begins on the body ends on a horizon lit by the first light of day. A dry tree, the museum's sign of death and sin, stands on the rock at the right; one diffuse light holds it and His pallor together. The hands carry no nail marks. Giovanni Bellini made an imago pietatis for meditation, and the morning keeps coming up behind Him.", "sources": [{"what": "Owning institution: Christ rises with death's pallor; sarcophagus perspective leads to a dawn-lit horizon; dry tree = death and sin, leafy plants = redemption; stigmata absent from the hands, side wound evident; tempera on panel.", "url": "https://museopoldipezzoli.it/en/scopri/collezioni/capolavori/opera/imago-pietatis/", "cite": "Museo Poldi Pezzoli, \"Imago Pietatis,\" Giovanni Bellini, inv. 1587, Salone Dorato."}, {"what": "Italian text of the same museum record: \"albero secco, simbolo della morte e del peccato\"; \"piante frondose... redenzione\"; \"la mancanza delle stigmate sulle mani\"; early work influenced by Mantegna; Legato Poldi Pezzoli, 1879.", "url": "https://museopoldipezzoli.it/scopri/collezioni/capolavori/opera/imago-pietatis/", "cite": "Museo Poldi Pezzoli, scheda \"Imago Pietatis,\" inv. 1587."}, {"what": "The museum's own description on its Google Arts \u0026 Culture partner page: the landscape seen past the sarcophagus holds a footbridge, a watercourse, woodland and a distant lake with rosy reflections; tempera on panel.", "url": "https://artsandculture.google.com/asset/3QFQTgkNZ9Tyvg?hl=en-gb", "cite": "Fondazione artistica Poldi Pezzoli Onlus, museum description, Google Arts \u0026 Culture."}, {"what": "Confirms the imago pietatis is a Byzantine-derived devotional type for meditation, not a narrative episode, and that Mantegna was Bellini's brother-in-law. Background only; no sentence rests on it alone.", "url": "https://www.nationalgallery.org.uk/paintings/giovanni-bellini-the-dead-christ-supported-by-two-angels", "cite": "The National Gallery, London, NG3912, curatorial entry."}, {"what": "Owning institution, English record. Carries the card's entire first paragraph in a single published sentence: the pallor of death, the tomb, the sarcophagus perspective as an invitation to the eye, and the dawn-lit horizon as that look's destination.", "url": "https://museopoldipezzoli.it/en/scopri/collezioni/capolavori/opera/imago-pietatis/", "cite": "Museo Poldi Pezzoli, \"Imago Pietatis,\" Giovanni Bellini, inv. 1587, Salone Dorato (fetched and verified 2026-08-16)."}, {"what": "Same museum page, on the light. Carries \"one diffuse light holds it and Christ's pallor together\" — the museum names the light the unifying element and says it invests the body and every other element of the surrounding nature, which is what licenses holding the corpse and the tree in one clause.", "url": "https://museopoldipezzoli.it/en/scopri/collezioni/capolavori/opera/imago-pietatis/", "cite": "Museo Poldi Pezzoli, \"Imago Pietatis,\" inv. 1587 (fetched and verified 2026-08-16)."}, {"what": "Italian text of the same museum record. Carries the dry tree's meaning and the card's \"first light of day,\" which is the Italian page's phrase rendered literally; the English page of the same record says \"the light of dawn.\" Also places the tree on the right, on the path the museum routes the eye along.", "url": "https://museopoldipezzoli.it/scopri/collezioni/capolavori/opera/imago-pietatis/", "cite": "Museo Poldi Pezzoli, scheda \"Imago Pietatis,\" inv. 1587 (fetched and verified 2026-08-16)."}, {"what": "National Gallery, London, NG3912: names the devotional type.", "url": "https://www.nationalgallery.org.uk/paintings/giovanni-bellini-the-dead-christ-supported-by-two-angels", "cite": "The National Gallery, London, NG3912, curatorial entry (fetched and verified 2026-08-16)."}, {"what": "NG3912 does not contain the phrase \"Man of Sorrows,\" so the card's \"a Man of Sorrows\" had no source behind it. This National Gallery entry prints the equivalence directly.", "url": "https://www.nationalgallery.org.uk/paintings/master-of-the-borgo-crucifix-master-of-the-franciscan-crucifixes-the-man-of-sorrows", "cite": "The National Gallery, London, NG6573, Master of the Borgo Crucifix, \"The Man of Sorrows,\" curatorial entry (fetched and verified 2026-08-16)."}]}, "scene": {"why": "THE PIETÀ IS NOT A SCENE IN SCRIPTURE. Like the Lamentation it fills the silence between John 19:38 and 19:42, and it takes its form from German Vesperbild carving of the fourteenth century. Scripture does not place the dead Christ in his mother’s lap."}, "th": "/store/thumb/bellini_imago_pietatis_pieta.webp", "more": [{"k": "subject", "n": "The Pietà in painting", "u": "/editions/subject/pieta/", "ids": ["fouquet_pieta_of_nouans_nouans_pieta", "rosso_fiorentino_dead_christ_with_angels", "alonso_cano_dead_christ_supported_by_an_angel_cristo", "bouguereau_pieta"]}, {"k": "master", "n": "Giovanni Bellini", "u": "/editions/master/giovanni-bellini/", "ids": ["bellini_agony_garden", "bellini_saint_francis_in_the_desert", "bellini_transfiguration", "bellini_madonna_meadow"]}]}, "rubens_the_incredulity_of_saint_thomas": {"id": "rubens_the_incredulity_of_saint_thomas", "title": "The Incredulity of Saint Thomas", "artist_line": "Peter Paul Rubens (Flemish, 1577–1640)", "artist": "Peter Paul Rubens", "date": "1613–1615", "museum": "KMSKA, Antwerp", "license": "Public domain", "tier": "Sanctuary", "sizes": [{"size": "18×24 in", "paper": 140, "iw": 18, "ih": 20.7, "sw": 18, "sh": 24, "cov": 0.864}, {"size": "24×36 in", "paper": 190, "iw": 24, "ih": 27.7, "sw": 24, "sh": 36, "cov": 0.768}, {"size": "32×48 in", "paper": 340, "iw": 32, "ih": 36.9, "sw": 32, "sh": 48, "cov": 0.768}, {"size": "40×60 in", "paper": 480, "iw": 40, "ih": 46.1, "sw": 40, "sh": 60, "cov": 0.768}], "local": "/store/display/rubens_the_incredulity_of_saint_thomas.jpg", "commons_file": "Peter Paul Rubens - Ongeloof van Tomas - 307 - Royal Museum of Fine Arts Antwerp.tiff", "zoom": "https://art.monstrance.app/zoom/rubens_the_incredulity_of_saint_thomas.jpg", "master_px": 16381, "auth": {"institution": "KMSKA, Antwerp", "accession": "307-311", "url": "https://kmska.be/en/masterpiece/epitaph-of-nicolaas-rockox-and-his-wife-adriana-perez", "artist_as_printed": "Peter Paul Rubens", "date_as_printed": "1613-1615", "medium": "oil on panel", "dimensions": "146 × 233 cm"}, "writeup": {"text": "Two hands come forward, open, and three men lean in to read them. Christ stands bare to the waist in a red cloak; the eldest apostle bows over the palm, the young one bends beside him, the dark-bearded one looks to His face. There is no wound in the side, and on that absence both KMSKA and Kendra Grimmett doubt the old title: the museum suggests Rubens may have had in mind Christ's first appearance to the apostles, without Thomas. Grimmett notes the flushed cheeks, the flexing tendons, the blue veins; the risen body has blood in it. Nicolaas Rockox, burgomaster of Antwerp and Rubens's friend, commissioned the epitaph with his wife Adriana Perez for their tomb in the Recollects church, between wings bearing their portraits. French troops took it to the Louvre in 1794; it came home in 1815. The palms are still held out.", "sources": [{"what": "KMSKA's own article: Thomas's canonical act, placing his finger in the wound in Christ's side, is ABSENT from the composition, and 'It is possible that Rubens had the first appearance to the apostles in mind, without Thomas'.", "url": "https://kmska.be/en/the-incredulity-of-thomas", "cite": "KMSKA (Royal Museum of Fine Arts Antwerp), 'The Incredulity of Thomas?', object article on the Rockox epitaph; artist given as Peter Paul Rubens with no qualifier."}, {"what": "Grimmett calls the 'Incredulity of Thomas' identification problematic and neither clear nor self-evident; describes Christ's wounded palms, flushed cheeks, flexing tendons and blue veins; epitaph hung over the couple's tomb.", "url": "https://doi.org/10.3390/arts12060251", "cite": "Kendra Grimmett, 'The Body of Christ and the Embodied Viewer in Rubens's Rockox Epitaph', Arts 12, no. 6 (2023): 251."}, {"what": "KMSKA's own article: Thomas's canonical act, placing his finger in the wound in Christ's side, is ABSENT from the composition, and 'It is possible that Rubens had the first appearance to the apostles in mind, without Thomas'.", "url": "https://kmska.be/en/five-special-rubens-restorations", "cite": "KMSKA, 'Five special Rubens restorations'."}, {"what": "\"Nicolaas Rockox ... commissioned the epitaph with his wife Adriana Perez\" and \"between wings bearing their portraits\" — the commission, the epitaph's placement in the Recollects (Minderbroeders) church, and the donor portraits on the wings.", "url": "https://kmska.be/nl/meesterwerk/epitaaf-van-nicolaas-rockox-en-zijn-vrouw-adriana-perez", "cite": "KMSKA (Koninklijk Museum voor Schone Kunsten Antwerpen), collection record 'Epitaaf van Nicolaas Rockox en zijn vrouw Adriana Perez', Peter Paul Rubens, 1613–1615, oil on panel, inv. 307-311 — herkomst (provenance) line. The same record states 'Op de zijluiken zien we de opdrachtgevers: Nicolaas Rockox (1560-1640; links) en zijn vrouw Adriana Perez (1568-1619, rechts)', carrying the wings with the couple's portraits."}, {"what": "\"French troops took it to the Louvre in 1794; it returned in 1815\" — the object-specific confiscation and return.", "url": "https://kmska.be/nl/meesterwerk/epitaaf-van-nicolaas-rockox-en-zijn-vrouw-adriana-perez", "cite": "KMSKA, collection record 'Epitaaf van Nicolaas Rockox en zijn vrouw Adriana Perez', inv. 307-311, herkomst. The Musée Central des Arts named here is the Paris Louvre museum of the Revolutionary period."}, {"what": "Corroborates that the Paris destination of the 1794 Antwerp church seizures was the Louvre, as the card names it, and that the works came back in 1815.", "url": "https://kmska.be/en/about-kmska/history", "cite": "KMSKA, 'History' — the museum's own account of the 1794 French seizure of Antwerp church art and the post-Waterloo return of 5 December 1815, when twenty-six paintings, mostly by Rubens, entered the academy museum."}, {"what": "\"Nicolaas Rockox, ... and Rubens's friend, commissioned the epitaph with his wife Adriana Perez\" — Rockox as Rubens's close friend and patron, and as co-commissioner of the funerary epitaph.", "url": "https://www.cambridge.org/core/services/aop-cambridge-core/content/view/8B510D76EE945BA2DACDACEF2A01D437/S0034433822002159a.pdf/rubenss-skepticism.pdf", "cite": "James Pilgrim, 'Rubens's Skepticism', Renaissance Quarterly 75, no. 3 (2022): 917–67. The same article states: 'Commissioned by Nicolaas Rockox and Adriana Perez in around 1613 to serve as their funerary monument in the Church of the Friars Minor Recollects'."}]}, "scene": {"ref": "John 20:27", "quote": "Then he said to Thomas: Put in thy finger hither and see my hands. And bring hither the hand and put it into my side. And be not faithless, but believing.", "shows": "Thomas told to put his finger into the place of the nails"}, "th": "/store/thumb/rubens_the_incredulity_of_saint_thomas.webp", "more": [{"k": "subject", "n": "The Life of Christ in painting", "u": "/editions/subject/the-life-of-christ/", "ids": ["ter_brugghen_christ_crowned_with_thorns_kristi_tornek", "magnasco_christ_at_the_sea_of_galilee", "kramskoy_christ_in_the_wilderness", "hofmann_rich_young_ruler"]}, {"k": "master", "n": "Peter Paul Rubens", "u": "/editions/master/peter-paul-rubens/", "ids": ["rubens_daniel", "rubens_holy_family", "rubens_lamentation", "rubens_last_judgment"]}]}, "titian_the_adoration_of_the_magi": {"id": "titian_the_adoration_of_the_magi", "title": "The Adoration of the Magi", "artist_line": "Titian (Italian, c. 1488–1576)", "artist": "Titian", "date": "c. 1560", "museum": "Pinacoteca Ambrosiana, Milan", "license": "Public domain", "tier": "Sanctuary", "sizes": [{"size": "8×10 in", "paper": 39, "iw": 10, "ih": 5.3, "sw": 10, "sh": 8, "cov": 0.661}, {"size": "11×14 in", "paper": 59, "iw": 14, "ih": 7.4, "sw": 14, "sh": 11, "cov": 0.673}, {"size": "16×20 in", "paper": 110, "iw": 20, "ih": 10.6, "sw": 20, "sh": 16, "cov": 0.661}, {"size": "18×24 in", "paper": 140, "iw": 24, "ih": 12.7, "sw": 24, "sh": 18, "cov": 0.705}, {"size": "24×36 in", "paper": 190, "iw": 36, "ih": 19.0, "sw": 36, "sh": 24, "cov": 0.793}, {"size": "32×48 in", "paper": 340, "iw": 48, "ih": 25.4, "sw": 48, "sh": 32, "cov": 0.793}, {"size": "40×60 in", "paper": 480, "iw": 60, "ih": 31.7, "sw": 60, "sh": 40, "cov": 0.793}], "local": "/store/display/titian_the_adoration_of_the_magi.jpg", "commons_file": "Tiziano Vecellio – Adorazione dei Magi – Google Art Project.jpg", "zoom": "https://art.monstrance.app/zoom/titian_the_adoration_of_the_magi.jpg", "master_px": 16255, "auth": {"institution": "Pinacoteca Ambrosiana (Veneranda Biblioteca Ambrosiana), Milano", "accession": "202", "url": "https://www.ambrosiana.it/en/discover/masterpieces/highlights/adoration-of-the-magi-titian/", "artist_as_printed": "Titian (Tiziano Vecellio), Pieve di Cadore (Belluno) 1489/90 – Venice 1576", "date_as_printed": "circa 1559-1560", "medium": "Oil on canvas", "dimensions": "120 x 223 cm"}, "writeup": {"text": "A king kneels in red and bends to the Child, and the Child leans from His Mother's lap to meet him. Our Lady looks down at her Son, not at the king; Saint Joseph sits back in the shadow. Behind them the whole road has arrived: men carrying gifts, a white horse, a rider in a turban, and in the dirt a small dog. The Ambrosiana records that Cardinal Ippolito II d'Este ordered the painting as a present for Henry II of France and Diane de Poitiers, and that its frame carries their HD monogram among the crescent moons, bows and arrows of Diana. It never reached them. The dog, once painted over as irreverent, was later uncovered. Irenaeus read the myrrh as the gift for one who would die and be buried. Titian keeps the road behind them still arriving.", "sources": [{"what": "Mary read as pensive/sad, sensing the tragic destiny of her son; Christ Child blessing while gazing intently at the king, the compositional focus", "url": "https://www.visit-milan-italy.com/museums/ambrosiana/titian-adoration-of-the-magi-ambrosiana-milan-italy.html"}, {"what": "Frame's HD monogram and Diana attributes (crescent moons, bows, arrows) encode the aborted diplomatic gift for Henry II of France and Diane de Poitiers", "url": "https://www.ambrosiana.it/en/discover/masterpieces/highlights/adoration-of-the-magi-titian/"}, {"what": "Commission history: diplomatic gift that never reached France; painting's chain of ownership to the cardinal who later purchased and defended it", "url": "https://www.ambrosiana.it/en/discover/masterpieces/highlights/adoration-of-the-magi-titian/"}, {"what": "Small dog painted over as irreverent, later uncovered; painting's cardinal-owner defended Titian's naturalism in his own writing", "url": "https://www.hup.harvard.edu/books/9780674047587", "cite": "Corroborated across Ambrosiana's page, thearkofgrace.com, and artsupp.com; traceable to Federico Borromeo, De pictura sacra (1624), trans. Kenneth S. Rothwell Jr. (I Tatti Renaissance Library, Harvard University Press, 2010)"}, {"what": "Commission by Cardinal Ippolito II d'Este as a gift for Henry II and Diane de Poitiers; and that the work never reached France. Both quotes", "url": "https://www.ambrosiana.it/en/discover/masterpieces/highlights/adoration-of-the-magi-titian/", "cite": "Veneranda Biblioteca Ambrosiana, Pinacoteca Ambrosiana, masterpiece record, 'Adoration of the Magi — Titian'"}, {"what": "Patristic reading of myrrh among the magi's gifts as the gift for one who would die and be buried. Locator III.9.2 checked and; text.org/fathers/0103309.htm.", "cite": "Irenaeus of Lyons, Adversus Haereses (Against Heresies) III.9.2, Roberts–Donaldson translation"}]}, "scene": {"ref": "Matthew 2:11", "quote": "And entering into the house, they found the child with Mary his mother, and falling down they adored him: and opening their treasures, they offered him gifts; gold, frankincense, and myrrh.", "shows": "the magi entering the house and opening their treasures"}, "th": "/store/thumb/titian_the_adoration_of_the_magi.webp", "more": [{"k": "subject", "n": "The Adoration of the Magi in painting", "u": "/editions/subject/adoration-of-the-magi/", "ids": ["pieter_bruegel_the_elder_adoration_of_the_kings_in_the_snow", "rubens_adoration_magi", "dolci_adoration_of_the_kings", "sequeira_adoration"]}, {"k": "master", "n": "Titian", "u": "/editions/master/titian/", "ids": ["titian_christ_carrying", "titian_christ_crucified", "titian_crowning_thorns", "titian_jacopo_pesaro_presented_to_saint_peter"]}]}, "rubens_the_meeting_of_abraham_and_melchizedek": {"id": "rubens_the_meeting_of_abraham_and_melchizedek", "title": "The Meeting of Abraham and Melchizedek", "artist_line": "Peter Paul Rubens (Flemish, 1577–1640)", "artist": "Peter Paul Rubens", "date": "c. 1626", "museum": "National Gallery of Art, Washington", "license": "Public domain", "tier": "Sanctuary", "sizes": [{"size": "18×24 in", "paper": 140, "iw": 22.6, "ih": 18, "sw": 24, "sh": 18, "cov": 0.94}, {"size": "24×36 in", "paper": 190, "iw": 30.1, "ih": 24, "sw": 36, "sh": 24, "cov": 0.835}, {"size": "32×48 in", "paper": 340, "iw": 40.1, "ih": 32, "sw": 48, "sh": 32, "cov": 0.835}, {"size": "40×60 in", "paper": 480, "iw": 50.1, "ih": 40, "sw": 60, "sh": 40, "cov": 0.835}], "local": "/store/display/rubens_the_meeting_of_abraham_and_melchizedek.jpg", "commons_file": "Peter Paul Rubens - The Meeting of Abraham and Melchizedek - WGA20435.jpg", "zoom": "https://art.monstrance.app/zoom/rubens_the_meeting_of_abraham_and_melchizedek.jpg", "master_px": 16208, "auth": {"institution": "National Gallery of Art, Washington", "accession": "1958.4.1", "url": "https://www.nga.gov/artworks/45640-meeting-abraham-and-melchizedek", "artist_as_printed": "Sir Peter Paul Rubens", "date_as_printed": "around 1625", "medium": "oil on panel", "dimensions": "overall: 65.5 x 82.4 cm (25 13/16 x 32 7/16 in.)"}, "writeup": {"text": "Loaves pass from one pair of hands to another, and the man receiving them is still in armour. Abraham leans in, spears and helmets at his back; Melchizedek, wreathed and robed in gold, holds out the bread, and at his feet men heave great vessels up the step. Putti hold back a fringed hanging above them all. The National Gallery of Art reads the offering as the Eucharist prefigured, and the two men locking eyes as each sensing it means more than food; the Canon of the Mass names Melchizedek high priest beside Abraham's sacrifice. Rubens made this modello for the Infanta Isabel Clara Eugenia, and weavers turned the design into wool for her convent in Madrid. The tapestries hung in the church at Corpus Christi, Alexandra Libby writes, the king in his tribune and the Poor Clares behind a grille. The bread is in both men's hands.", "sources": [{"what": "Modello status; bread-and-wine offering as Eucharist prefiguration; Melchizedek's name as 'king of Justice' and prefiguration of Christ; the locked-eyes gesture and its meaning; Abraham armored, havin", "url": "https://www.nga.gov/artworks/45640-meeting-abraham-and-melchizedek"}, {"what": "Patron Infanta Isabel Clara Eugenia, commission c. 1625, destination convent, and the three tapestry shipment dates (1628, 1632, 1633)", "url": "https://jhna.org/articles/solomonic-ambitions-isabel-clara-eugenia-rubens-triumph-of-the-eucharist-tapestry-series/", "cite": "Alexandra Libby, \"The Solomonic Ambitions of Isabel Clara Eugenia in Rubens's The Triumph of the Eucharist Tapestry Series,\" JHNA vol. 7, no. 2 (2015)"}, {"what": "Confirms the woven tapestries remain today at the Descalzas Reales convent in Madrid, never moved to a museum", "url": "https://www.museodelprado.es/en/the-collection/art-work/the-meeting-of-abraham-and-melchizedek/c83a26fc-68b4-4d84-b397-00c1b4401b95", "cite": "Museo Nacional del Prado, exhibition materials on the same tapestry cycle"}, {"what": "The Canon of the Mass names Abraham and Melchisedech consecutively and calls Melchisedech God's high priest, at the offering after the consecration. Note the scope limit: the Canon's Abraham reference is his sacrifice (Isaac), not the Genesis 14 meeting.", "cite": "Roman Missal, Ordinary of the Mass, Canon Missae, 'Supra quae propitio'"}, {"what": "The six PRADO panels (P1695–P1700) are the painted models weavers worked from — supports the oil→cartoon→wool chain behind 'weavers turned it into wool'. Scope corrected: it does NOT establish modello status for the Washington panel, which rests on the brief's existing NGA source. Quote", "url": "https://www.museodelprado.es/en/the-collection/art-work/the-meeting-of-abraham-and-melchizedek/c83a26fc-68b4-4d84-b397-00c1b4401b95", "cite": "Museo Nacional del Prado, collection entry, The Meeting of Abraham and Melchizedek"}, {"what": "The Poor Clares were behind a grille while the tapestries hung in the church.", "url": "https://jhna.org/articles/solomonic-ambitions-isabel-clara-eugenia-rubens-triumph-of-the-eucharist-tapestry-series/", "cite": "Alexandra Libby, 'The Solomonic Ambitions of Isabel Clara Eugenia in Rubens's The Triumph of the Eucharist Tapestry Series,' JHNA 7:2 (2015)"}, {"what": "The royal family, and Philip specifically, viewed from a tribune in the nave — supports 'the king in his tribune'.", "url": "https://jhna.org/articles/solomonic-ambitions-isabel-clara-eugenia-rubens-triumph-of-the-eucharist-tapestry-series/", "cite": "Alexandra Libby, JHNA 7:2 (2015)"}, {"what": "Patron and destination of the commission, in the National Gallery's own words. The page carries no 'attributed to' or 'workshop of' hedge — it names Sir Peter Paul Rubens outright — and its title, 'The Meeting of Abraham and Melchizedek', matches ours, so the card's subject assertion is safe.", "url": "https://www.nga.gov/artworks/45640-meeting-abraham-and-melchizedek", "cite": "National Gallery of Art, Washington, object record 1958.4.1"}]}, "scene": {"ref": "Genesis 14:18", "quote": "But Melchisedech, the king of Salem, bringing forth bread and wine, for he was the priest of the most high God,", "shows": "Melchisedech bringing forth bread and wine"}, "th": "/store/thumb/rubens_the_meeting_of_abraham_and_melchizedek.webp", "more": [{"k": "subject", "n": "The Old Testament in painting", "u": "/editions/subject/old-testament/", "ids": ["rembrandt_judith_banquet", "poussin_gathering_manna", "jusepe_de_ribera_jacob_s_dream", "poussin_judgment_solomon"]}, {"k": "master", "n": "Peter Paul Rubens", "u": "/editions/master/peter-paul-rubens/", "ids": ["rubens_incarnation_fulfillment_of_the_prophecies", "rubens_music_making_angels", "rubens_saint_teresa_of_avila_interceding_for", "rubens_the_education_of_the_virgin"]}]}, "caravaggio_the_burial_of_saint_lucy": {"id": "caravaggio_the_burial_of_saint_lucy", "title": "The Burial of Saint Lucy", "artist_line": "Caravaggio (Italian, 1571–1610)", "artist": "Caravaggio", "date": "1608", "museum": "Basilica Santuario di Santa Lucia al Sepolcro, Siracusa", "license": "Public domain", "tier": "Sanctuary", "sizes": [{"size": "18×24 in", "paper": 140, "iw": 17.7, "ih": 24, "sw": 18, "sh": 24, "cov": 0.983}, {"size": "24×36 in", "paper": 190, "iw": 24, "ih": 32.5, "sw": 24, "sh": 36, "cov": 0.904}, {"size": "32×48 in", "paper": 340, "iw": 32, "ih": 43.4, "sw": 32, "sh": 48, "cov": 0.904}, {"size": "40×60 in", "paper": 480, "iw": 40, "ih": 54.2, "sw": 40, "sh": 60, "cov": 0.904}], "local": "/store/display/caravaggio_the_burial_of_saint_lucy.jpg", "commons_file": "Burial of Saint Lucy-Caravaggio (1608).jpg", "zoom": "https://art.monstrance.app/zoom/caravaggio_the_burial_of_saint_lucy.jpg", "master_px": 15196, "auth": {"institution": "Basilica Santuario di Santa Lucia al Sepolcro, Siracusa", "url": "https://www.basilicasantalucia.com/default.aspx?c=caravaggio", "artist_as_printed": "Michelangelo Merisi, detto il Caravaggio", "date_as_printed": "1608", "accession_absent": "in_situ"}, "writeup": {"text": "Saint Lucy lies on the ground, and two gravediggers, huge, bend to their work in front of her. The mourners stand close behind, a bishop in a white mitre among them, and above them the wall goes up bare. X-ray imaging shows Caravaggio first painted her beheaded, then left only a cut at the throat; Athanor, citing Zuccari and Marini, reads that as Greek martyrdom traded for Latin, and takes the bishop for San Marziano. Howard Hibbard notes the powerful emptiness overhead. The Senate of Syracuse is the commonly cited patron, in 1608, though no commission document survives. A spade is already in the earth.", "sources": [{"what": "diagnostic imaging: the throat wound is a repainted decapitation", "url": "https://ojs.mediageo.it/index.php/archeomatica/article/view/63"}, {"what": "the bishop as San Marziano; the wound revised from Greek to Latin martyrdom; the empty arch debated as crypt or latomie quarries", "url": "https://journals.flvc.org/athanor/article/download/115806/114032", "cite": "Athanor, citing Zuccari and Marini"}, {"what": "the Senate of Syracuse as the commonly cited patron, October 1608, shown for Lucy's feast on 13 December — and that no commission document has been traced", "url": "https://www.basilicasantalucia.com/default.aspx?c=caravaggio"}, {"what": "the 'powerful emptiness' above the scene and the scale of the two gravediggers", "cite": "Howard Hibbard, Caravaggio (1985)"}]}, "scene": {"why": "THE SAINT IS NOT IN SCRIPTURE, or this episode of their life is not. Their acts come to us through the Church’s memory — martyrologies, hagiography, the testimony of their own communities — not through the biblical record. Naming a verse here would dress tradition as Scripture."}, "th": "/store/thumb/caravaggio_the_burial_of_saint_lucy.webp", "more": [{"k": "subject", "n": "Saints in painting", "u": "/editions/subject/saints/", "ids": ["cavaliere_d_arpino_martyrdom_of_saint_margaret", "caravaggio_salome_with_the_head_of_john_the_baptist_london", "rubens_saint_jerome", "orazio_gentileschi_saint_cecilia_and_an_angel"]}, {"k": "master", "n": "Caravaggio", "u": "/editions/master/caravaggio/", "ids": ["caravaggio_salome_with_the_head_of_john_the_baptist_london", "caravaggio_the_adoration_of_the_shepherds", "caravaggio_the_raising_of_lazarus", "caravaggio_david_goliath"]}]}, "caravaggio_the_raising_of_lazarus": {"id": "caravaggio_the_raising_of_lazarus", "title": "The Raising of Lazarus", "artist_line": "Caravaggio (Italian, 1571–1610)", "artist": "Caravaggio", "date": "1609", "museum": "Museo Regionale, Messina", "license": "Public domain", "tier": "Sanctuary", "sizes": [{"size": "18×24 in", "paper": 140, "iw": 17.6, "ih": 24, "sw": 18, "sh": 24, "cov": 0.976}, {"size": "24×36 in", "paper": 190, "iw": 24, "ih": 32.8, "sw": 24, "sh": 36, "cov": 0.911}, {"size": "32×48 in", "paper": 340, "iw": 32, "ih": 43.7, "sw": 32, "sh": 48, "cov": 0.911}, {"size": "40×60 in", "paper": 480, "iw": 40, "ih": 54.7, "sw": 40, "sh": 60, "cov": 0.911}], "local": "/store/display/caravaggio_the_raising_of_lazarus.jpg", "commons_file": "The Raising of Lazarus-Caravaggio (c. 1609).jpg", "zoom": "https://art.monstrance.app/zoom/caravaggio_the_raising_of_lazarus.jpg", "master_px": 14882, "auth": {"institution": "Museo regionale Accascina, Messina", "url": "https://museo.messina.it/opera/resurrezione-di-lazzaro/", "artist_as_printed": "Caravaggio (Michelangelo Merisi da Caravaggio)", "date_as_printed": "1609", "medium": "olio su tela", "dimensions": "cm 380x275 (HxL)", "accession_absent": "not_published", "accession_absent_why": "the Museo regionale Accascina prints no inventory number"}, "writeup": {"text": "A dead man's arms fall open in the shape of a cross, and one hand is already lifting. Christ stands at the edge, arm out, finger extended; the Dominicans in Scotland see in it God giving Adam life on the Sistine ceiling and Caravaggio's own Christ calling Matthew, and read Lazarus's flung arms as the Cross to come. The Messina museum says Christ's figure is kept in shadow on purpose, the light the protagonist, and that His other hand points to the bones on the ground. Delivered to a Messina church on 10 June 1609, for 1,000 scudi by Susinno's early account. The dark still waits above them.", "sources": [{"what": "the raised right arm and pointing finger echoing Adam on the Sistine ceiling and Caravaggio's own Calling of Matthew", "url": "https://scotland.op.org/caravaggios-raising-of-lazarus-2/"}, {"what": "the museum's own text: Christ's figure deliberately kept in shadow, the light the protagonist of the composition", "url": "https://museo.messina.it/opera/resurrezione-di-lazzaro/"}, {"what": "darkness filling the whole upper half of the canvas; Lazarus waking with arms flung wide, read as a cruciform pose", "url": "https://scotland.op.org/caravaggios-raising-of-lazarus-2/"}, {"what": "delivered to the Messina church on 10 June 1609; the church destroyed in 1908, the painting already moved to the Civic Museum in 1879", "url": "https://museo.messina.it/opera/resurrezione-di-lazzaro/"}, {"what": "the 1,000-scudi fee, from the early biography rather than an archival record", "cite": "Francesco Susinno, Le vite de' pittori messinesi (c. 1724)"}, {"what": "The owning museum's entry: it is the RIGHT index finger that raises Lazarus, with Christ's figure deliberately kept in shadow — and the bones in the foreground are indicated by his LEFT hand. The card takes only that plain observation; the museum's further suggestion that the bones allude to relics is put in the conditional there, and is not used.", "url": "https://museo.messina.it/opera/resurrezione-di-lazzaro/", "cite": "Museo Regionale Interdisciplinare 'Maria Accascina' di Messina, 'Resurrezione di Lazzaro'."}, {"what": "The cruciform arrangement of Lazarus's limbs read as prefiguring the cross of Christ.", "url": "https://scotland.op.org/caravaggios-raising-of-lazarus-2/", "cite": "Dominicans in Scotland, \"Caravaggio's Raising of Lazarus\"."}]}, "scene": {"ref": "John 11:43", "quote": "When he had said these things, he cried with a loud voice: Lazarus, come forth.", "shows": "Lazarus, come forth"}, "th": "/store/thumb/caravaggio_the_raising_of_lazarus.webp", "more": [{"k": "subject", "n": "The Life of Christ in painting", "u": "/editions/subject/the-life-of-christ/", "ids": ["rubens_the_incredulity_of_saint_thomas", "ter_brugghen_christ_crowned_with_thorns_kristi_tornek", "magnasco_christ_at_the_sea_of_galilee", "kramskoy_christ_in_the_wilderness"]}, {"k": "master", "n": "Caravaggio", "u": "/editions/master/caravaggio/", "ids": ["caravaggio_david_goliath", "caravaggio_saint_francis_of_assisi_in_ecstasy", "caravaggio_rest_flight", "caravaggio_judith_beheading_holofernes"]}]}, "caravaggio_the_adoration_of_the_shepherds": {"id": "caravaggio_the_adoration_of_the_shepherds", "title": "The Adoration of the Shepherds", "artist_line": "Caravaggio (Italian, 1571–1610)", "artist": "Caravaggio", "date": "1609", "museum": "Museo Regionale, Messina", "license": "Public domain", "tier": "Sanctuary", "sizes": [{"size": "8×10 in", "paper": 39, "iw": 6.7, "ih": 10, "sw": 8, "sh": 10, "cov": 0.836}, {"size": "11×14 in", "paper": 59, "iw": 9.4, "ih": 14, "sw": 11, "sh": 14, "cov": 0.851}, {"size": "16×20 in", "paper": 110, "iw": 13.4, "ih": 20, "sw": 16, "sh": 20, "cov": 0.836}, {"size": "18×24 in", "paper": 140, "iw": 16.0, "ih": 24, "sw": 18, "sh": 24, "cov": 0.892}, {"size": "24×36 in", "paper": 190, "iw": 24, "ih": 35.9, "sw": 24, "sh": 36, "cov": 0.997}, {"size": "32×48 in", "paper": 340, "iw": 32, "ih": 47.9, "sw": 32, "sh": 48, "cov": 0.997}, {"size": "40×60 in", "paper": 480, "iw": 40, "ih": 59.8, "sw": 40, "sh": 60, "cov": 0.997}], "local": "/store/display/caravaggio_the_adoration_of_the_shepherds.jpg", "commons_file": "Adoration of the Shepherds-Caravaggio (1609).jpg", "zoom": "https://art.monstrance.app/zoom/caravaggio_the_adoration_of_the_shepherds.jpg", "master_px": 14412, "auth": {"institution": "Museo regionale Accascina, Messina", "url": "https://museo.messina.it/collezione/caravaggio/", "artist_as_printed": "Caravaggio", "date_as_printed": "circa 1608-1609", "accession_absent": "not_published", "accession_absent_why": "the Museo regionale Accascina prints no inventory number"}, "writeup": {"text": "Our Lady lies on the straw with the Christ Child held to her cheek, and the shepherds gather to a family on the ground. Tools and a basket of bread lie in the corner. God has come down as low as the floor. The Messina museum calls this a manifesto of human fragility: the Madonna of Humility, the Virgin on the earth receiving the shepherds. It hung on the Capuchins' high altar, and a study after Lapucci reads her prone body as the base of a right triangle, cut from the equilateral one that stood for divinity. Caravaggio painted it in 1609. The Child's face is against hers.", "sources": [{"what": "the reclining Virgin echoing the Byzantine Theotokos; the right triangle of her body set against the equilateral triangle of the Trinity", "url": "https://series.francoangeli.it/index.php/oa/catalog/download/548/378/3242", "cite": "'Il Caravaggio a Messina: l'Adorazione dei Pastori', Studi e Ricerche, after Lapucci 1994"}, {"what": "the shed as a paglialora of poor local materials; the basket of bread and the carpenter's tools; the high altar of the Capuchin church of Santa Maria la Concezione, Messina; 314 x 211 cm", "url": "https://series.francoangeli.it/index.php/oa/catalog/download/548/378/3242"}, {"what": "the date of execution, 1609, corroborated by recent archival research", "url": "https://www.theartnewspaper.com/2025/02/11/researcher-offers-up-new-provenance-for-caravaggio-masterpiece", "cite": "The Art Newspaper, 11 Feb 2025, on Vincenzo Sorrentino, Paragone, Jan 2025"}, {"what": "the institution's own reading of the iconography: the Madonna of Humility, the Virgin on the ground receiving the shepherds after the birth", "url": "https://museo.messina.it/collezione/caravaggio/", "cite": "Museo regionale interdisciplinare Maria Accascina, Messina, collection page 'Caravaggio'"}, {"what": "The wooden structure in the picture described as very similar to — not identical with — the Sicilian paglialora (p. 3315), the dialect definition of the word (p. 3317), and poverty and humility as the rule of Capuchin life (p. 3318).", "url": "https://series.francoangeli.it/index.php/oa/catalog/download/548/378/3242", "cite": "'Il Caravaggio a Messina: l'Adorazione dei Pastori', Studi e Ricerche (FrancoAngeli), pp. 3315-3318"}, {"what": "The right triangle whose base is the reclining Madonna (quoted in the study from Lapucci 1994); the equilateral triangle standing for DIVINITY, harmony and proportion — not the Trinity, which appears nowhere in this document; the right triangle, generated by subdividing the equilateral, corresponding to the human figure, the earthly world and the loss of balance and harmony.", "url": "https://series.francoangeli.it/index.php/oa/catalog/download/548/378/3242", "cite": "'Il Caravaggio a Messina: l'Adorazione dei Pastori', Studi e Ricerche (FrancoAngeli), pp. 3317-3318, the first sentence quoted there from Lapucci 1994"}, {"what": "the 1609 commission by the Messina Senate and the high altar destination, supporting the card's 'It hung on a Capuchin high altar' and the card's date field", "url": "https://series.francoangeli.it/index.php/oa/catalog/download/548/378/3242", "cite": "'Il Caravaggio a Messina: l'Adorazione dei Pastori', Studi e Ricerche (FrancoAngeli), p. 3314"}]}, "scene": {"ref": "Luke 2:16", "quote": "And they came with haste: and they found Mary and Joseph, and the infant lying in the manger.", "shows": "the shepherds finding Mary, Joseph and the child"}, "th": "/store/thumb/caravaggio_the_adoration_of_the_shepherds.webp", "more": [{"k": "subject", "n": "The Adoration of the Shepherds in painting", "u": "/editions/subject/adoration-of-the-shepherds/", "ids": ["honthorst_adoration_shepherds", "poussin_adoration_shepherds", "cavallino_adoration_of_the_shepherds", "ribera_the_adoration_of_the_shepherds"]}, {"k": "master", "n": "Caravaggio", "u": "/editions/master/caravaggio/", "ids": ["caravaggio_the_raising_of_lazarus", "caravaggio_david_goliath", "caravaggio_saint_francis_of_assisi_in_ecstasy", "caravaggio_rest_flight"]}]}, "veronese_the_baptism_of_christ": {"id": "veronese_the_baptism_of_christ", "title": "The Baptism of Christ", "artist_line": "Paolo Veronese (Paolo Caliari) and workshop (Italian, 1528–1588)", "artist": "Paolo Veronese and workshop", "date": "about 1580–1588", "museum": "J. Paul Getty Museum, Los Angeles", "license": "Public domain", "tier": "Sanctuary", "sizes": [{"size": "18×24 in", "paper": 140, "iw": 18, "ih": 22.6, "sw": 18, "sh": 24, "cov": 0.942}, {"size": "24×36 in", "paper": 190, "iw": 24, "ih": 30.1, "sw": 24, "sh": 36, "cov": 0.837}, {"size": "32×48 in", "paper": 340, "iw": 32, "ih": 40.2, "sw": 32, "sh": 48, "cov": 0.837}, {"size": "40×60 in", "paper": 480, "iw": 40, "ih": 50.2, "sw": 40, "sh": 60, "cov": 0.837}], "local": "/store/display/veronese_the_baptism_of_christ.jpg", "commons_file": "Paolo Veronese (Paolo Caliari) and workshop - The Baptism of Christ - 79.PA.19 - J. Paul Getty Museum.jpg", "zoom": "https://art.monstrance.app/zoom/veronese_the_baptism_of_christ.jpg", "master_px": 14376, "auth": {"institution": "The J. Paul Getty Museum, Los Angeles", "accession": "79.PA.19", "url": "https://www.getty.edu/art/collection/object/103REB", "artist_as_printed": "Paolo Veronese (Paolo Caliari) and workshop (Italian, 1528 - 1588)", "date_as_printed": "about 1580–1588", "medium": "Oil on canvas", "dimensions": "Unframed: 104.5 × 83.2 cm (41 1/8 × 32 3/4 in.)"}, "writeup": {"text": "Christ leans forward in the river with His arms flung wide, only to keep His balance, and His fingertips just touch Saint John's side. John tips a bowl of water over His head. Above them the Holy Spirit comes down as a Dove through broken light, with small heads of cherubim in the cloud, and three angels kneel near His feet. The entry on Google Arts \u0026 Culture reads the spread arms as the pose of the Crucifixion to come, and finds the canvas small enough for private prayer rather than a church altar; where it hung before the Getty is not known. The National Galleries of Scotland count more than twelve Baptisms from Veronese and his studio, one of his most popular subjects, and the Getty gives this late one to Paolo Veronese and his studio. Between the two men, the distance is one hand.", "sources": [{"what": "Christ leans forward, arms extended for balance, fingertips touching John's side, prefiguring the crucifixion pose", "url": "https://artsandculture.google.com/asset/the-baptism-of-christ-paolo-veronese-paolo-caliari/VQGkCZ_FZyZuQA"}, {"what": "Dove in divine light, three angels at Christ's feet, cherubim observing from the sky", "url": "https://artsandculture.google.com/asset/the-baptism-of-christ-paolo-veronese-paolo-caliari/VQGkCZ_FZyZuQA"}, {"what": "Small canvas size suggests private devotional use rather than a church altar; provenance before Getty acquisition is unknown", "url": "https://artsandculture.google.com/asset/the-baptism-of-christ-paolo-veronese-paolo-caliari/VQGkCZ_FZyZuQA"}, {"what": "Attribution to Paolo Veronese and workshop; painting is one of his final treatments of the Baptism subject", "cite": "Getty Museum object record 79.PA.19"}, {"what": "Veronese's studio produced over twelve paintings of the Baptism of Christ subject across his career", "url": "https://www.nationalgalleries.org/art-and-artists/14883/studies-baptism-christ-recto-and-verso"}, {"what": "Veronese and his studio produced over twelve paintings of the Baptism; it was one of his most popular subjects", "url": "https://www.nationalgalleries.org/art-and-artists/14883/studies-baptism-christ-recto-and-verso", "cite": "National Galleries of Scotland, 'Studies for a Baptism of Christ [Recto and Verso]', object 14883"}, {"what": "Scriptural warrant for the dove: the Spirit descends at the Baptism", "cite": "Matthew 3:16, Douay-Rheims (Challoner)"}]}, "scene": {"ref": "Matthew 3:16", "quote": "And Jesus being baptized, forthwith came out of the water: and lo, the heavens were opened to him: and he saw the Spirit of God descending as a dove, and coming upon him.", "shows": "the heavens opened and the Spirit descending as a dove"}, "th": "/store/thumb/veronese_the_baptism_of_christ.webp", "more": [{"k": "subject", "n": "The Baptism of Christ in painting", "u": "/editions/subject/baptism-of-christ/", "ids": ["rubens_the_baptism_of_christ", "poussin_saint_john_baptizing_the_people", "magnasco_the_baptism_of_christ", "piero_baptism"]}]}, "titian_jacopo_pesaro_presented_to_saint_peter": {"id": "titian_jacopo_pesaro_presented_to_saint_peter", "title": "Jacopo Pesaro Presented to Saint Peter by Pope Alexander VI", "artist_line": "Titian (Italian, c. 1488–1576)", "artist": "Titian", "date": "c. 1503–1506", "museum": "KMSKA, Antwerp", "license": "Public domain", "tier": "Sanctuary", "sizes": [{"size": "18×24 in", "paper": 140, "iw": 22.9, "ih": 18, "sw": 24, "sh": 18, "cov": 0.952}, {"size": "24×36 in", "paper": 190, "iw": 30.5, "ih": 24, "sw": 36, "sh": 24, "cov": 0.847}, {"size": "32×48 in", "paper": 340, "iw": 40.6, "ih": 32, "sw": 48, "sh": 32, "cov": 0.847}, {"size": "40×60 in", "paper": 480, "iw": 50.8, "ih": 40, "sw": 60, "sh": 40, "cov": 0.847}], "local": "/store/display/titian_jacopo_pesaro_presented_to_saint_peter.jpg", "commons_file": "Titiaan - Jacopo Pesaro, bisschop van Paphos, door paus Alexander VI Borgia voorgesteld aan de heilige Petrus - 357 - Royal Museum of Fine Arts Antwerp.tiff", "zoom": "https://art.monstrance.app/zoom/titian_jacopo_pesaro_presented_to_saint_peter.jpg", "master_px": 14257, "auth": {"institution": "KMSKA, Antwerp", "accession": "357", "url": "https://kmska.be/en/masterpiece/pope-alexander-vi-presenting-bishop-jacopo-pesaro-to-saint-peter", "artist_as_printed": "Titiaan", "date_as_printed": "1503-1506", "medium": "oil on canvas", "dimensions": "145 × 185 cm"}, "writeup": {"text": "A steel helmet sits on the chequered floor beside a kneeling man. Jacopo Pesaro kneels in black holding a banner, and Saint Peter raises a hand to him from a throne, the keys lying on the step below. Behind Pesaro stands Pope Alexander VI, the Borgia, in tiara and green cope; galleys ride the water beyond. The KMSKA in Antwerp notes that a patron saint usually presents a Venetian donor, most often to Mary and Jesus; here a living pope does it, and the saint is Peter. The museum reads helmet and ships as the recent battle, Santa Maura taken from the Turks in 1502, which earned Pesaro heaven, the helmet laid aside in thanksgiving. The flag bears two coats of arms, Pesaro's and the pope's. Titian worked, the KMSKA says, to Giovanni Bellini's design. Alexander VI died in 1503, the first year the museum gives for it.", "sources": [{"what": "Peter enthroned receiving Pesaro; pope substitutes for usual patron-saint presenting figure; museum's donor-portrait convention reading", "url": "https://kmska.be/en/masterpiece/pope-alexander-vi-presenting-bishop-jacopo-pesaro-to-saint-peter", "cite": "KMSKA object page"}, {"what": "Helmet set beside Pesaro reads as arms laid aside in thanksgiving, marking the work as votive rather than trophy", "url": "https://kmska.be/en/masterpiece/pope-alexander-vi-presenting-bishop-jacopo-pesaro-to-saint-peter", "cite": "KMSKA object page"}, {"what": "Papal coat of arms on a flag paired with Pesaro's own arms, asserting joint credit for the 1502 victory", "url": "https://vlaamsekunstcollectie.be/en/news/titiaan-jacopo-pesaro-kmska", "cite": "KMSKA object page; The Flemish Art Collection"}, {"what": "Composition credited to Giovanni Bellini's design with Titian as the executing painter", "url": "https://kmska.be/en/masterpiece/pope-alexander-vi-presenting-bishop-jacopo-pesaro-to-saint-peter", "cite": "KMSKA object page"}, {"what": "The museum's own statement of the donor-portrait convention the picture breaks: a patron saint normally does the presenting, usually to Mary and Jesus.", "url": "https://kmska.be/en/masterpiece/pope-alexander-vi-presenting-bishop-jacopo-pesaro-to-saint-peter", "cite": "KMSKA object page, 'Pope Alexander VI Presenting Bishop Jacopo Pesaro to Saint Peter'"}, {"what": "Two coats of arms on the flag, Pesaro's and the pope's. This carries the flag clause as a statement of what is on the canvas ONLY — it does not carry a claim that the victory was credited to both men, which is why that clause was cut. Replaces the Wikipedia citation the old card leaned on.", "url": "https://vlaamsekunstcollectie.be/en/news/titiaan-jacopo-pesaro-kmska", "cite": "The Flemish Art Collection (Vlaamse Kunstcollectie), 'Titian, Jacopo Pesaro, bishop of Paphos, being presented by Pope Alexander VI to Saint Peter'"}, {"what": "The helmet and ships point to the recent battle — second institution corroborating the reading in paragraph one.", "url": "https://vlaamsekunstcollectie.be/en/news/titiaan-jacopo-pesaro-kmska", "cite": "The Flemish Art Collection (Vlaamse Kunstcollectie)"}, {"what": "Alexander VI is Rodrigo Borgia, elected 1492, dead in 1503 — carries 'the Borgia' and the landing.", "url": "https://www.nga.gov/artworks/74846-alexander-vi-rodrigo-borgia-c-1431-1503-pope-1492-obverse", "cite": "National Gallery of Art, Washington, Roman 15th Century, bronze medal, c. 1492"}, {"what": "Peter and the keys — why it matters who performs the introduction to him. Corroborated on the canvas by the museum: 'immediately above him the keys to the Gates of Heaven, Peter's customary attribute.'", "cite": "Matthew 16:19, Douay-Rheims (Challoner)"}, {"what": "Direct replacement for the struck Wikipedia citation. KMSKA prints the Santa Maura recapture, the year, the Turks and the heaven-earning in one sentence, in the museum's own words. Carries both 'the battle as what earned him heaven' and 'Santa Maura, taken from the Turks in 1502.'", "url": "https://kmska.be/en/masterpiece/pope-alexander-vi-presenting-bishop-jacopo-pesaro-to-saint-peter", "cite": "KMSKA (Royal Museum of Fine Arts Antwerp), object page, 'Pope Alexander VI Presenting Bishop Jacopo Pesaro to Saint Peter'"}, {"what": "The institution's own catalogue metadata block, which is what carries the card's date; the line breaks between its printed fields are rendered here as slashes.", "url": "https://kmska.be/en/masterpiece/pope-alexander-vi-presenting-bishop-jacopo-pesaro-to-saint-peter", "cite": "KMSKA object page, catalogue metadata"}]}, "scene": {"ref": "Matthew 16:18", "quote": "And I say to thee: That thou art Peter; and upon this rock I will build my church, and the gates of hell shall not prevail against it.", "shows": "thou art Peter, and upon this rock"}, "th": "/store/thumb/titian_jacopo_pesaro_presented_to_saint_peter.webp", "more": [{"k": "subject", "n": "Saints in painting", "u": "/editions/subject/saints/", "ids": ["bellini_gentile_saint_mark_preaching_in_alexandria", "lippi_saint_francis_in_glory", "master_of_the_figdor_deposition_martyrdom_of_saint_lucy", "cranach_saints_genevieve_and_apollonia"]}, {"k": "master", "n": "Titian", "u": "/editions/master/titian/", "ids": ["titian_the_archangel_raphael_and_tobias", "titian_the_last_supper", "titian_the_resurrection_averoldi_polyptych_ce", "titian_penitent_magdalene"]}]}, "raphael_saint_john_the_baptist_in_the_desert": {"id": "raphael_saint_john_the_baptist_in_the_desert", "title": "Saint John the Baptist in the Desert", "artist_line": "Raphael (Italian, 1483–1520)", "artist": "Raphael", "date": "c. 1516", "museum": "Musée du Louvre, Paris", "license": "Public domain", "tier": "Sanctuary", "sizes": [{"size": "18×24 in", "paper": 140, "iw": 18.9, "ih": 18, "sw": 24, "sh": 18, "cov": 0.788}, {"size": "24×36 in", "paper": 190, "iw": 25.2, "ih": 24, "sw": 36, "sh": 24, "cov": 0.7}, {"size": "32×48 in", "paper": 340, "iw": 33.6, "ih": 32, "sw": 48, "sh": 32, "cov": 0.7}, {"size": "40×60 in", "paper": 480, "iw": 42.0, "ih": 40, "sw": 60, "sh": 40, "cov": 0.7}], "local": "/store/display/raphael_saint_john_the_baptist_in_the_desert.jpg", "commons_file": "Sainte Jean-Baptiste, by Raffaello Sanzio, from C2RMF.jpg", "zoom": "https://art.monstrance.app/zoom/raphael_saint_john_the_baptist_in_the_desert.jpg", "master_px": 13493, "auth": {"institution": "Musée du Louvre, Paris", "accession": "INV 606 ; B 183", "url": "https://collections.louvre.fr/ark:/53355/cl010060751", "artist_as_printed": "Santi, Raffaello, dit Raphaël", "date_as_printed": "1e quart du XVIe siècle (vers 1516)", "medium": "huile sur toile (transposition (bois transposé sur toile))", "dimensions": "Hauteur : 1,35 m ; Largeur : 1,42 m"}, "writeup": {"text": "One finger, raised, and the arm behind it bare. The young Baptist sits on a fallen trunk in the wilderness, an animal skin slipping from his shoulder, a scroll unrolling from his other hand toward the grass. His office was to point at a Person, and the Louvre names the painting by where the finger goes: Saint John the Baptist in the desert designating the Cross of the Passion. The gesture passes over the life and names the death. The conception is Raphael's; the INHA record gives the execution, with his workshop, to Giulio Romano or Raffaellino del Colle, about 1516, for Cardinal Adrien Gouffier. His nephew Claude hung it at Oiron and had two coats of arms added at the top: two names above a man whose whole business is pointing away from himself.", "sources": [{"what": "Owning institution's object page: the title naming the Cross of the Passion, INV 606, the panel transposed onto canvas, the dimensions, the date vers 1516, and entry to the Louvre in 1838.", "url": "https://collections.louvre.fr/ark:/53355/cl010060751", "cite": "Musée du Louvre, Département des Peintures, INV 606; « Hauteur : 1,35 m ; Hauteur avec accessoire : 1,81 m ; Largeur : 1,42 m ; Largeur avec accessoire : 1,86 m »."}, {"what": "French state catalogue notice: the attribution hedge (Raphael's conception, his share in the execution hard to judge), the animal-skin garment and cross, and the Gouffier / La Trémoille arms at the top of the picture.", "url": "https://pop.culture.gouv.fr/notice/joconde/000PE026973", "cite": "Base Joconde, notice 000PE026973, Musée du Louvre, département des Peintures."}, {"what": "INHA scholarly record: 'une œuvre de Raffaello avec la collaboration de son atelier, et plus précisément de Giulio Romano ou Raffaellino del Colle'; date 'Vers 1516'; Cardinal Adrien Gouffier as patron.", "url": "https://agorha.inha.fr/ark:/54721/9918ca97-ef21-4d2e-8c66-d668eed95282", "cite": "Institut national d'histoire de l'art, AGORHA, notice on Louvre INV 606."}, {"what": "The Louvre's exact title — the card's central evidence that the finger indicates the Cross rather than a person — plus the historique naming the nephew Claude Gouffier and the Oiron placement.", "url": "https://collections.louvre.fr/ark:/53355/cl010060751", "cite": "Musée du Louvre, Département des Peintures, INV 606, object page (title line; historique: « ? A. Gouffier, 1516 ; placé par son neveu, Cl. Gouffier, duc de Roannez, dans la cathédrale d'Oiron (armoiries de Claude et Artus Gouffier) »)"}, {"what": "The two arms at top left and right — source for 'arms painted into the top corners' and for 'two names'. Joconde names Claude and his wife Jacqueline de la Trémoille where the Louvre historique names Claude and Artus Gouffier; the card asserts only that there are two arms in the top corners, carrying neither reading as fact.", "url": "https://pop.culture.gouv.fr/notice/joconde/000PE026973", "cite": "Base Joconde, notice 000PE026973, Musée du Louvre, département des Peintures"}, {"what": "The attribution hedge kept in paragraph two: Raphael's conception, his share in the execution not judgeable. The same page prints the author field as « RAPHAEL (dit, atelier) », which independently supports the card's refusal to say Raphael painted it.", "url": "https://pop.culture.gouv.fr/notice/joconde/000PE026973", "cite": "Base Joconde, notice 000PE026973"}, {"what": "The Baptist's office as the Gospel gives it: 'The next day, John saw Jesus coming to him, and he saith: Behold the Lamb of God, behold him who taketh away the sin of the world.' He indicates a living person approaching — which is the claim this painting inverts.", "cite": "John 1:29, Douay-Rheims (Challoner)"}, {"what": "INHA's scholarly record on Louvre INV 606, added to carry two clauses that had been leaning on Wikipedia. This historique gives the Oiron placement by the nephew Claude Gouffier and — decisively — states that the arms were ADDED at the top of the composition, which is the card's closing clause. Note it prints no year for the placement, which is why the card no longer prints one.", "url": "https://agorha.inha.fr/ark:/54721/9918ca97-ef21-4d2e-8c66-d668eed95282", "cite": "Institut national d'histoire de l'art, AGORHA, notice on Musée du Louvre INV 606 (historique)"}, {"what": "The attribution clause in paragraph two, naming both candidate hands. This was cited in the accepted card's problem notes but was missing from its source list entirely; it is now formally attached. Note the card's 'credited to' compresses the conditional 'il s'agirait' — the hedge runs away from the master's hand, which is the safe direction.", "url": "https://agorha.inha.fr/ark:/54721/9918ca97-ef21-4d2e-8c66-d668eed95282", "cite": "Institut national d'histoire de l'art, AGORHA, notice on Musée du Louvre INV 606 (attribution)"}, {"what": "Corroboration for the Oiron clause from the French national monuments authority, which administers the Château d'Oiron: it prints this painting's full title and places the Gouffier collection and the collégiale together. Reinforcement — the Louvre and AGORHA carry the placement itself.", "url": "https://www.chateau-oiron.fr/decouvrir/histoire-du-chateau-d-oiron", "cite": "Centre des monuments nationaux, Château d'Oiron, « Histoire du château d'Oiron »"}]}, "scene": {"ref": "Matthew 3:4", "quote": "And the same John had his garment of camel's hair, and a leathern girdle about his loins: and his meat was locusts and wild honey.", "shows": "raiment of camel’s hair, and locusts and wild honey"}, "th": "/store/thumb/raphael_saint_john_the_baptist_in_the_desert.webp", "more": [{"k": "subject", "n": "Saints in painting", "u": "/editions/subject/saints/", "ids": ["raphael_saint_margaret", "raphael_st_michael_satan", "lorenzo_lotto_st_catherine_of_alexandria", "bassano_miraculous_draught_of_fishes"]}, {"k": "master", "n": "Raphael", "u": "/editions/master/raphael/", "ids": ["raphael_transfiguration", "raphael_st_michael_satan", "raphael_madonna_goldfinch", "raphael_small_cowper"]}]}, "titian_madonna_and_child_with_saints": {"id": "titian_madonna_and_child_with_saints", "title": "Madonna and Child with Saints", "artist_line": "Jacopo Negretti, called Palma il Vecchio (Italian, c. 1480–1528), completed by Titian", "artist": "Palma il Vecchio and Titian", "date": "c. 1528", "museum": "Gallerie dell'Accademia, Venice", "license": "Public domain (photo CC BY-SA 4.0)", "tier": "Sanctuary", "sizes": [{"size": "18×24 in", "paper": 140, "iw": 24, "ih": 15.6, "sw": 24, "sh": 18, "cov": 0.865}, {"size": "24×36 in", "paper": 190, "iw": 36, "ih": 23.3, "sw": 36, "sh": 24, "cov": 0.973}, {"size": "32×48 in", "paper": 340, "iw": 48, "ih": 31.1, "sw": 48, "sh": 32, "cov": 0.973}, {"size": "40×60 in", "paper": 480, "iw": 60, "ih": 38.9, "sw": 60, "sh": 40, "cov": 0.973}], "local": "/store/display/titian_madonna_and_child_with_saints.jpg", "commons_file": "(Venice) Madonna col Bambino e san Giuseppe tra i santi Giovanni Battista e Caterina d'Alessandria.jpg", "zoom": "https://art.monstrance.app/zoom/titian_madonna_and_child_with_saints.jpg", "master_px": 12904, "auth": {"institution": "Gallerie dell'Accademia di Venezia", "url": "https://www.gallerieaccademia.it/en/madonna-and-child-saint-joseph-and-saints-john-baptist-and-catherine-alexandria", "artist_as_printed": "Jacopo Negretti detto Palma il Vecchio, Tiziano Vecellio"}, "writeup": {"text": "Our Lady sits on a stone block with the Christ Child standing on her knee, and He turns from her toward Saint Catherine and Saint John the Baptist; Saint Joseph leans in at the right with his staff. Palma il Vecchio began it, and the Gallerie dell'Accademia say that the recent restoration suggests Titian finished it after Palma's death, painting Catherine's head and mantle and the landscape behind. Infrared shows that Palma first set two men, probably donors, beneath the Baptist, and turned the Child's face toward them. The donors are gone; their place in front is ours.", "sources": [{"what": "The museum's text: a sacra conversazione in horizontal format with landscape behind; begun by Palma and, after the recent restoration, thought completed by Titian after Palma's death (Saint Catherine's head and mantle, the landscape); infrared reflectography and radiography show two male figures, probably donors, added beneath Saint John, with the Child's face turned toward them.", "url": "https://www.gallerieaccademia.it/en/madonna-and-child-saint-joseph-and-saints-john-baptist-and-catherine-alexandria", "cite": "Gallerie dell'Accademia di Venezia, 'Madonna and Child, Saint Joseph and Saints John the Baptist and Catherine of Alexandria', read 2026-10-12."}]}, "scene": {"why": "A DEVOTIONAL TYPE, NOT AN EPISODE. The Virgin enthroned or half-length with her Son is not a moment any evangelist records; it is an image made for prayer. Where a particular picture does illustrate a scene, that work carries its own citation."}, "th": "/store/thumb/titian_madonna_and_child_with_saints.webp", "more": [{"k": "subject", "n": "The Madonna and Child in painting", "u": "/editions/subject/madonna-and-child/", "ids": ["ambrosius_benson_deipara_virgo", "veronese_the_madonna_of_the_cuccina_family", "el_greco_madonna_and_child_with_saint_martina_a", "caravaggio_madonna_rosary"]}]}, "memling_the_presentation_in_the_temple": {"id": "memling_the_presentation_in_the_temple", "title": "The Presentation in the Temple", "artist_line": "Master of the Prado \"Adoration of the Magi\" (Netherlandish, active third quarter of the 15th century)", "artist": "Master of the Prado Adoration of the Magi", "date": "c. 1470s", "museum": "National Gallery of Art, Washington", "license": "Public domain", "tier": "Sanctuary", "sizes": [{"size": "18×24 in", "paper": 140, "iw": 18, "ih": 21.7, "sw": 18, "sh": 24, "cov": 0.906}, {"size": "24×36 in", "paper": 190, "iw": 24, "ih": 29.0, "sw": 24, "sh": 36, "cov": 0.805}, {"size": "32×48 in", "paper": 340, "iw": 32, "ih": 38.6, "sw": 32, "sh": 48, "cov": 0.805}, {"size": "40×60 in", "paper": 480, "iw": 40, "ih": 48.3, "sw": 40, "sh": 60, "cov": 0.805}], "local": "/store/display/memling_the_presentation_in_the_temple.jpg", "commons_file": "The Presentation in the Temple A22018.jpg", "zoom": "https://art.monstrance.app/zoom/memling_the_presentation_in_the_temple.jpg", "master_px": 12448, "auth": {"institution": "National Gallery of Art, Washington", "accession": "1961.9.28", "url": "https://www.nga.gov/artworks/46127-presentation-temple", "artist_as_printed": "Master of the Prado \"Adoration of the Magi\"", "date_as_printed": "c. 1470/1480", "medium": "oil on panel", "dimensions": "painted surface: 57.9 x 47.8 cm (22 13/16 x 18 13/16 in.); overall (panel): 59 x 48.1 cm"}, "writeup": {"text": "An old man in a red cope holds a naked Child over an altar, on a white cloth, and knows Him. Simeon had been promised he would not die before he had seen the Christ, and the promise is kept in a pair of hands. Our Lady stands close in blue-green. At the left Saint Joseph carries a small wicker cage: the law let the poor bring turtledoves in place of a lamb, and the Lamb Himself lies on the altar cloth. The painter has no name. Hulin de Loo, as the Prado records, thought this group early Memling, a version of Rogier van der Weyden's Saint Columba altarpiece; doubts followed, and the National Gallery of Art now gives it to the Master of the Prado Adoration of the Magi, an anonymous Netherlandish painter. Simeon knew the Child at sight. Nobody yet knows the hand that painted him.", "sources": [{"what": "Owning institution's object record: attribution to the Master of the Prado 'Adoration of the Magi', c. 1470/1480, and the earlier attribution history (Friedlander 1924, 'follower of Rogier'; 1934, 'Doubtful works of Memlinc').", "url": "https://www.nga.gov/artworks/46127-presentation-temple", "cite": "National Gallery of Art, The Presentation in the Temple, acc. 1961.9.28"}, {"what": "Scholarly source of record for this panel, listed in the NGA's own object bibliography; the catalogue entry against which the visual description should be checked.", "cite": "John Oliver Hand and Martha Wolff, Early Netherlandish Painting, NGA Systematic Catalogue (Washington, 1986), 155-161, repro. 157"}, {"what": "NGA artist record: the painter is anonymous and Netherlandish, 'active probably third quarter 15th century'. Supports 'an anonymous Netherlandish painter'.", "url": "https://www.nga.gov/artists/5584-master-prado-adoration-magi", "cite": "National Gallery of Art, artist record, Master of the Prado \"Adoration of the Magi\""}, {"what": "Hulin de Loo proposed the group formed a version of Rogier van der Weyden's Saint Columba triptych executed by Memling in his early years; later questioned. The Washington Presentation belongs to the group.", "url": "https://www.museodelprado.es/en/the-collection/artist/master-of-the-prado-adoration-of-the-magi/55b7a9b0-ee39-44b3-b332-5a640f4d3ff8", "cite": "Museo Nacional del Prado, Master of the Prado 'Adoration of the Magi'"}, {"what": "NGA partner record giving the museum's provenance: Czernin, Vienna, by 1823; by descent to c. 1954; Wildenstein; Samuel H. Kress Foundation 1955; gift to the National Gallery of Art 1961.", "url": "https://artsandculture.google.com/asset/the-presentation-in-the-temple-master-of-the-prado-adoration-of-the-magi/UwHRu-L1Cu2FSQ", "cite": "National Gallery of Art record, The Presentation in the Temple"}, {"what": "Luke's Presentation: Simeon promised he would not see death before seeing the Christ; the child named a light for the nations and a sword foretold for his mother; turtledoves allowed in place of a lamb.", "cite": "Douay-Rheims (Challoner), Luke 2:25-35, from the project's own corpus at data/bible_drc.js"}, {"what": "Prado artist record: Hulin de Loo's theory that the three panels reconstruct a version of Rogier's Saint Columba Triptych painted by the young Memling. Carries 'Hulin de Loo thought this panel early Memling, after Rogier's Saint Columba altarpiece.'", "url": "https://www.museodelprado.es/en/the-collection/artist/master-of-the-prado-adoration-of-the-magi/55b7a9b0-ee39-44b3-b332-5a640f4d3ff8", "cite": "Museo Nacional del Prado, artist record, Master of the Prado \"Adoration of the Magi\""}, {"what": "Primary text for 'the lamb the poor could not bring' — the Mosaic concession letting doves stand in for the lamb a mother cannot afford. Luke 2:24 names the doves but not the substitution; Leviticus supplies it. Both say what is claimed.", "cite": "Douay-Rheims (Challoner), Leviticus 12:8"}]}, "scene": {"ref": "Luke 2:28", "quote": "He also took him into his arms and blessed God and said", "shows": "Simeon taking the child into his arms"}, "th": "/store/thumb/memling_the_presentation_in_the_temple.webp"}, "mantegna_madonna_in_glory_with_saints_trivulzio": {"id": "mantegna_madonna_in_glory_with_saints_trivulzio", "title": "Madonna in Glory with Saints (Trivulzio Madonna)", "artist_line": "Andrea Mantegna (Italian, c. 1431–1506)", "artist": "Andrea Mantegna", "date": "1497", "museum": "Castello Sforzesco, Milan", "license": "Public domain", "tier": "Sanctuary", "sizes": [{"size": "18×24 in", "paper": 140, "iw": 17.8, "ih": 24, "sw": 18, "sh": 24, "cov": 0.987}, {"size": "24×36 in", "paper": 190, "iw": 24, "ih": 32.4, "sw": 24, "sh": 36, "cov": 0.901}, {"size": "32×48 in", "paper": 340, "iw": 32, "ih": 43.2, "sw": 32, "sh": 48, "cov": 0.901}, {"size": "40×60 in", "paper": 480, "iw": 40, "ih": 54.0, "sw": 40, "sh": 60, "cov": 0.901}], "local": "/store/display/mantegna_madonna_in_glory_with_saints_trivulzio.jpg", "commons_file": "Andrea Mantegna - Madonna in Glory with St. John the Baptist, St. Gregory the Great, St. Benedict and St. Jerome - 1497.jpg", "zoom": "https://art.monstrance.app/zoom/mantegna_madonna_in_glory_with_saints_trivulzio.jpg", "master_px": 12011, "auth": {"institution": "Raccolte Artistiche del Castello Sforzesco, Milano (Pinacoteca del Castello Sforzesco)", "url": "https://catalogo.beniculturali.it/detail/Lombardia/HistoricOrArtisticProperty/B0020-00331_R03", "artist_as_printed": "Mantegna Andrea (1431/1506)", "date_as_printed": "1497", "medium": "TEMPERA SU TELA", "dimensions": "287 x 214 cm"}, "writeup": {"text": "Our Lady sits on nothing, held up in a ring of small heads in cloud, with the Christ Child on her knee, and fruit hangs in the trees behind the saints. The museum's record reads her floating, rather than enthroned, as the Assumption, the feast of the church that commissioned Andrea Mantegna's altarpiece. Below her, three angels sing at a small organ, which Elena Bugini reads as a pun on that church's name, Santa Maria in Organo. Saint John the Baptist, Saint Gregory the Great, Saint Benedict and Saint Jerome stand two by two; Jerome holds a small church, and Benedict wears the white of the reformed Olivetan habit the monastery kept. The monks' account books record payments for gold and ultramarine, and gifts of pheasants, partridges and hares. The canvas went up on the high altar on the Feast of the Assumption, 15 August 1497.", "sources": [{"what": "Curatorial reading: Madonna suspended in mandorla rather than enthroned as an Assumption reference (titular dedication of commissioning church); dimensions, date, provenance", "url": "https://artsandculture.google.com/asset/madonna-in-gloria-e-santi-giovanni-battista-gregorio-magno-benedetto-e-gerolamo/XwHGfPuuwSiRpQ"}, {"what": "Archival monastery account books recording payments to Mantegna for frame, gold/ultramarine pigment, and gifts in kind (pheasants, partridges, hares)", "url": "https://www.cavallinitoveronese.co.uk/general/view_artist/35"}, {"what": "The organ as a play on the commissioning church's own name, Santa Maria in Organo", "url": "https://orbi.uliege.be/bitstream/2268/205131/1/05_VR_ILL_2010_BUGINI%20(1).pdf", "cite": "Elena Bugini, \"In margine alla Pala Trivulzio: meditazioni e modulazioni su alcuni temi d'un capo d'opera,\" Verona Illustrata 23 (2010), pp. 29-47"}, {"what": "That the white habit is the reformed Olivetan (Monte Oliveto) Benedictine habit the monastery kept", "url": "https://www.benedictinemonks.co.uk/history/st-bernard-tolomei-the-congregation-of-monte-oliveto/", "cite": "Congregation of Monte Oliveto (Olivetan Benedictines), \"St Bernard Tolomei \u0026 The Congregation of Monte Oliveto,\" order's own history page"}, {"what": "Identity of the painting: the four saints, the Virgin suspended in a mandorla of putti heads, and the three singing angels below her", "url": "http://museudearteantiga.pt/exhibitions/andrea-mantegna-1431-1506", "cite": "Museu Nacional de Arte Antiga, Lisbon, exhibition record \"Andrea Mantegna (1431-1506)\" (loan from the Pinacoteca del Castello Sforzesco, Milan)"}, {"what": "The canvas was placed on the high altar on the Feast of the Assumption, 15 August 1497 — the feast the church was dedicated to", "url": "http://museudearteantiga.pt/exhibitions/andrea-mantegna-1431-1506", "cite": "Museu Nacional de Arte Antiga, Lisbon, exhibition record \"Andrea Mantegna (1431-1506)\""}]}, "scene": {"why": "A DEVOTIONAL TYPE, NOT AN EPISODE. The Virgin enthroned or half-length with her Son is not a moment any evangelist records; it is an image made for prayer. Where a particular picture does illustrate a scene, that work carries its own citation."}, "th": "/store/thumb/mantegna_madonna_in_glory_with_saints_trivulzio.webp", "more": [{"k": "subject", "n": "The Madonna and Child in painting", "u": "/editions/subject/madonna-and-child/", "ids": ["bellini_madonna_meadow", "leonardo_virgin_child_anne", "circle_of_mantegna_madonna_and_child", "raphael_madonna_goldfinch"]}, {"k": "master", "n": "Andrea Mantegna", "u": "/editions/master/andrea-mantegna/", "ids": ["mantegna_agony_garden", "mantegna_crucifixion", "mantegna_the_madonna_della_vittoria"]}]}, "el_greco_madonna_and_child_with_saint_martina_a": {"id": "el_greco_madonna_and_child_with_saint_martina_a", "title": "Madonna and Child with Saint Martina and Saint Agnes", "artist_line": "El Greco (Greek–Spanish, 1541–1614)", "artist": "El Greco", "date": "1597–1599", "museum": "National Gallery of Art, Washington", "license": "Public domain", "tier": "Sanctuary", "sizes": [{"size": "18×24 in", "paper": 140, "iw": 13.0, "ih": 24, "sw": 18, "sh": 24, "cov": 0.722}, {"size": "24×36 in", "paper": 190, "iw": 19.5, "ih": 36, "sw": 24, "sh": 36, "cov": 0.812}, {"size": "32×48 in", "paper": 340, "iw": 26.0, "ih": 48, "sw": 32, "sh": 48, "cov": 0.812}, {"size": "40×60 in", "paper": 480, "iw": 32.5, "ih": 60, "sw": 40, "sh": 60, "cov": 0.812}], "local": "/store/display/el_greco_madonna_and_child_with_saint_martina_a.jpg", "commons_file": "El Greco - Madonna and Child with Saint Martina and Saint Agnes (NGA).jpg", "zoom": "https://art.monstrance.app/zoom/el_greco_madonna_and_child_with_saint_martina_a.jpg", "master_px": 23950, "auth": {"institution": "National Gallery of Art, Washington", "accession": "1942.9.26", "url": "https://www.nga.gov/artworks/1165-madonna-and-child-saint-martina-and-saint-agnes", "artist_as_printed": "El Greco (Domenikos Theotokopoulos)", "date_as_printed": "1597/1599", "medium": "oil on canvas, wooden strip added at bottom", "dimensions": "overall: 193.5 × 103 cm (76 3/16 × 40 9/16 in.)"}, "writeup": {"text": "The Child has hold of His Mother's finger, and all heaven keeps still around that small grip. Clouds and cherubs carry them; two angels pray with joined hands. Below, two saints are cut short, which Félix Monguilot Benzal reads as deliberate illusionism: in the retable of the Capilla de San José in Toledo they stand behind the altar, and the altar finishes them. The lamb has named Agnes since the Middle Ages, the sign of her virginal innocence; over her companion, whom the lion names Martina, rivers of ink have run. On the lion's head the National Gallery of Art reads El Greco's initials in Greek, delta and theta.", "sources": [{"what": "Owning institution's object page: artist, date 1597/1599, and the Inscription field giving the painter's initials in cursive Greek (Delta and Theta) on the lion's head. Also records the alternate title with Ines and Tecla.", "url": "https://www.nga.gov/artworks/1165-madonna-and-child-saint-martina-and-saint-agnes", "cite": "National Gallery of Art, Washington, object record"}, {"what": "NGA provenance record for the Capilla de San Jose: confirms this canvas (Widener Collection, 1942.9.26) came from the Toledo chapel; cites Soehner's 1961 study of the chapel.", "url": "https://www.nga.gov/artworks/provenance/8417-capilla-de-san-jose", "cite": "National Gallery of Art, provenance entry: Capilla de San Jose"}, {"what": "Clouds and cherubim holding Mary and Jesus flanked by two angels; the Child playing with one of Mary's fingers; saints shown less than full length as if behind the altar; lion as Martina's attribute; converso founders.", "url": "https://www.upo.es/revistas/index.php/atrio/article/download/2576/3803?inline=1", "cite": "Felix Monguilot Benzal, 'Entre lo divino y lo humano: los Grecos de la Capilla de San Jose de Toledo', ATRIO"}, {"what": "Contract signed 9 November 1597; the contract's August 1598 deadline was not met; the two side canvases were sold in 1906 to Peter A. B. Widener and are now in Washington.", "url": "https://www.wga.hu/html_m/g/greco_el/13/index.html", "cite": "Web Gallery of Art, 'Altarpieces in the Capilla de San Jose, Toledo (1597-99)'"}, {"what": "Saint Agnes's lamb: 'Since the Middle Ages St. Agnes has been represented with a lamb, the symbol of her virginal innocence.'", "url": "https://www.newadvent.org/cathen/01214a.htm", "cite": "Catholic Encyclopedia, 'St. Agnes of Rome'"}, {"what": "NGA page for the pendant canvas: the ensemble was commissioned for the Chapel of San Jose in Toledo by Martin Ramirez, namesake of the saint and donor of the chapel.", "url": "https://www.nga.gov/artworks/1164-saint-martin-and-beggar", "cite": "National Gallery of Art, Washington, object record for Saint Martin and the Beggar"}, {"what": "The three-quarter (not full-length) format of the two saints is deliberate illusionism: within the retable's architecture it places them not ON the altar but BEHIND it. Load-bearing source for the thesis.", "url": "https://www.upo.es/revistas/index.php/atrio/article/download/2576/3803?inline=1", "cite": "Félix Monguilot Benzal, 'Entre lo divino y lo humano: los Grecos de la Capilla de San José de Toledo', ATRIO"}, {"what": "Agnes's identity is undebated because of the lamb; the companion saint's identity is heavily contested ('rivers of ink').", "url": "https://www.upo.es/revistas/index.php/atrio/article/download/2576/3803?inline=1", "cite": "Félix Monguilot Benzal, 'Entre lo divino y lo humano', ATRIO"}, {"what": "The Gallery's own Inscription field: initials on the lion's head, in cursive Greek, Delta and Theta.", "url": "https://www.nga.gov/artworks/1165-madonna-and-child-saint-martina-and-saint-agnes", "cite": "National Gallery of Art, Washington, object record 1942.9.26, Inscription field"}]}, "scene": {"why": "A DEVOTIONAL TYPE, NOT AN EPISODE. The Virgin enthroned or half-length with her Son is not a moment any evangelist records; it is an image made for prayer. Where a particular picture does illustrate a scene, that work carries its own citation."}, "th": "/store/thumb/el_greco_madonna_and_child_with_saint_martina_a.webp", "more": [{"k": "subject", "n": "The Madonna and Child in painting", "u": "/editions/subject/madonna-and-child/", "ids": ["caravaggio_madonna_rosary", "caravaggio_madonna_loreto", "rubens_madonna_in_a_garland_of_flowers", "rubens_the_virgin_and_child_surrounded_by_ang"]}, {"k": "master", "n": "El Greco", "u": "/editions/master/el-greco/", "ids": ["el_greco_savior", "el_greco_the_agony_in_the_garden", "el_greco_adoration_shepherds", "el_greco_holy_trinity"]}]}, "tiepolo_the_vision_of_saint_cajetan": {"id": "tiepolo_the_vision_of_saint_cajetan", "title": "The Vision of Saint Cajetan", "artist_line": "Giovanni Battista Tiepolo (Italian, 1696–1770)", "artist": "Giovanni Battista Tiepolo", "date": "c. 1736", "museum": "Gallerie dell'Accademia, Venice", "license": "Public domain", "tier": "Sanctuary", "sizes": [{"size": "18×24 in", "paper": 140, "iw": 13.4, "ih": 24, "sw": 18, "sh": 24, "cov": 0.744}, {"size": "24×36 in", "paper": 190, "iw": 20.1, "ih": 36, "sw": 24, "sh": 36, "cov": 0.837}, {"size": "32×48 in", "paper": 340, "iw": 26.8, "ih": 48, "sw": 32, "sh": 48, "cov": 0.837}, {"size": "40×60 in", "paper": 480, "iw": 33.5, "ih": 60, "sw": 40, "sh": 60, "cov": 0.837}], "local": "/store/display/tiepolo_the_vision_of_saint_cajetan.jpg", "commons_file": "(Venice) Saint Cajetan's Vision of the Holy Family by Giambattista Tiepolo - Gallerie Accademia.jpg", "zoom": "https://art.monstrance.app/zoom/tiepolo_the_vision_of_saint_cajetan.jpg", "master_px": 11944, "auth": {"institution": "Gallerie dell'Accademia di Venezia", "accession": "Catalogo 481", "url": "https://www.gallerieaccademia.it/opera/apparizione-della-sacra-famiglia-a-san-gaetano/", "artist_as_printed": "Giambattista Tiepolo - Venezia, 1696 - Madrid, 1770", "date_as_printed": "1735-36", "medium": "Tela", "dimensions": "cm 128 x 73"}, "writeup": {"text": "Saint Joseph holds the Christ Child on his knee, and the Child spreads His arms. Our Lady, in red and blue, reaches toward Him from her cloud. Below, in black, Saint Cajetan kneels in the shadow with his hands pressed to his chest; the Gallerie dell'Accademia describes him there, his gaze on the Christ Child, the Holy Family on seats of rosy cloud in diffused light above the dark earth. The Metropolitan titles a drawing of him Saint Cajetan of Thiene Holding the Infant Jesus, after the Christmas Eve of 1517 when the Virgin offered him the Child. Giovanni Battista Tiepolo gives the holding to Joseph. At the top left an angel carries the flowering rod, which, the Accademia says, keeps the memory of the betrothal of Mary and Joseph; in the Golden Legend, his rod alone blossomed. Cajetan's hands stay at his chest, empty.", "sources": [{"what": "Cajetan's hands clasped to chest, eyes toward the Christ Child (not holding him); Holy Family on rosy clouds with diffuse light vs. dark lower zone", "url": "https://www.gallerieaccademia.it/opera/apparizione-della-sacra-famiglia-a-san-gaetano/", "cite": "Gallerie dell'Accademia di Venezia, museum object page (Italian curatorial text)"}, {"what": "Legend of suitors' rods and Joseph's rod flowering as the sign marking him Mary's husband", "url": "https://projects.mcah.columbia.edu/amiens-arthum/node/1710.html", "cite": "Columbia University, Mapping Gothic France / Amiens Art \u0026 Humanities project"}, {"what": "Painting stood in the Labia family's private chapel in Palazzo Labia, Venice, and appears in the family's own 1749 inventory of paintings", "url": "https://www.gallerieaccademia.it/opera/apparizione-della-sacra-famiglia-a-san-gaetano/", "cite": "Gallerie dell'Accademia di Venezia, museum object page (commission/provenance text)"}, {"what": "Cajetan's standard image is holding the Infant Jesus, and the Christmas Eve 1517 vision in which the Virgin offered him the Christ Child. 66.53.6, Classification \"Drawings\", Culture \"Italian\" (NOT Venetian), and the catalogue's further sentence naming the lily and Theatine habit as his attributes. Attribution to Zompini is hedged (\"by an annotation\") — the card names no artist, so it does not rely on it.", "url": "https://www.metmuseum.org/art/collection/search/340039", "cite": "The Metropolitan Museum of Art, 'Saint Cajetan of Thiene Holding the Infant Jesus', acc. 66.53.6, object page"}, {"what": "The Accademia's record, in Italian: Cajetan in the shadowed foreground, hands brought to his chest, his gaze on the Christ Child; the Holy Family settled on seats of rosy cloud in a diffused light against the dark, earthy lower register; and the angel in green at the left holding the flowering rod, keeping the memory of the apocryphal betrothal of Mary and Joseph.", "url": "https://www.gallerieaccademia.it/opera/apparizione-della-sacra-famiglia-a-san-gaetano/", "cite": "Gallerie dell'Accademia di Venezia, 'Apparizione della Sacra Famiglia a San Gaetano', Catalogo 481, object page (fetched 2026-08-16)"}, {"what": "The FLOWERING of the rod as the sign designating Joseph — which is what the Accademia's 'verga fiorita' and 'episodio apocrifo dello sposalizio' point to. The Pseudo-Matthew form has a dove issue from the rod instead, so it carries only that the rod is the sign by which Joseph was chosen.", "cite": "Jacobus de Voragine, The Golden Legend, 'The Nativity of the Blessed Virgin Mary' — the marriageable men of the house of David bring rods to the altar, Joseph's alone blossoms, and the Virgin is entrusted to him"}, {"what": "NEGATIVE CHECK ONLY — carries no clause on the shipped card. The article does not state that Theatines were forbidden to beg or solicit alms; the only usable statement is 'They rejected all benefices and devoted themselves to the service of the faithful, especially the poor and the sick.' This is why the angle's Labia/Theatine-poverty landing was not shipped.", "url": "https://www.encyclopedia.com/religion/encyclopedias-almanacs-transcripts-and-maps/theatines", "cite": "A. Sagrera and eds., 'Theatines', New Catholic Encyclopedia (via Encyclopedia.com)"}]}, "scene": {"why": "THE SAINT IS NOT IN SCRIPTURE, or this episode of their life is not. Their acts come to us through the Church’s memory — martyrologies, hagiography, the testimony of their own communities — not through the biblical record. Naming a verse here would dress tradition as Scripture."}, "th": "/store/thumb/tiepolo_the_vision_of_saint_cajetan.webp", "more": [{"k": "subject", "n": "Saints in painting", "u": "/editions/subject/saints/", "ids": ["cabrera_allegory_of_the_holy_eucharist_alegoria", "cabrera_divine_shepherdess_la_divina_pastora", "ingres_joan_of_arc", "bastien_joan_of_arc"]}, {"k": "master", "n": "Giovanni Battista Tiepolo", "u": "/editions/master/giovanni-battista-tiepolo/", "ids": ["tiepolo_the_miracle_of_the_holy_house_of_loret", "tiepolo_madonna_of_the_goldfinch", "tiepolo_the_immaculate_conception"]}]}, "murillo_saint_rose_of_lima": {"id": "murillo_saint_rose_of_lima", "title": "Saint Rose of Lima", "artist_line": "Bartolomé Esteban Murillo (Spanish, 1617–1682)", "artist": "Bartolomé Esteban Murillo", "date": "c. 1670", "museum": "Museo Lázaro Galdiano, Madrid", "license": "Public domain", "tier": "Sanctuary", "sizes": [{"size": "18×24 in", "paper": 140, "iw": 17.7, "ih": 24, "sw": 18, "sh": 24, "cov": 0.982}, {"size": "24×36 in", "paper": 190, "iw": 24, "ih": 32.6, "sw": 24, "sh": 36, "cov": 0.905}, {"size": "32×48 in", "paper": 340, "iw": 32, "ih": 43.4, "sw": 32, "sh": 48, "cov": 0.905}, {"size": "40×60 in", "paper": 480, "iw": 40, "ih": 54.3, "sw": 40, "sh": 60, "cov": 0.905}], "local": "/store/display/murillo_saint_rose_of_lima.jpg", "commons_file": "Bartolomé Esteban Murillo - Saint Rose of Lima - Google Art Project.jpg", "zoom": "https://art.monstrance.app/zoom/murillo_saint_rose_of_lima.jpg", "master_px": 11862, "auth": {"institution": "Museo Lázaro Galdiano, Madrid", "accession": "Inv. 5310", "url": "https://www.museolazarogaldiano.es/coleccion/obras-maestras/bartolome-esteban-murillo", "artist_as_printed": "Bartolomé Esteban Murillo", "date_as_printed": "Hacia 1670", "medium": "Óleo sobre lienzo"}, "writeup": {"text": "The Christ Child sits on a green cushion set on a basket, one arm flung wide, the other hand among the roses Rose holds out to Him. The Museo Lázaro Galdiano cites Rivadeneira: He appeared as a small Child while she worked at her needle to support her parents, and sat down on her sewing cushion. Artehistoria reads the seat as the work itself. The labour is not interrupted; it is taken for a throne. Artehistoria also makes the roses and the betrothal one act, and the Latin leaves His mouth: ROSA CORDIS MEI TU MIHI SPONSA ESTO. Rose of my heart, be my bride. Murillo sets a book and fallen roses at her feet and dresses her in the Dominican habit. A proposal of marriage, made over the work that fed her parents.", "sources": [{"what": "The apparition of the Christ Child to Rose at prayer; Rivadeneira's account of Christ appearing as a small Child while she sewed to support her aged parents, seated on a cushion", "url": "https://www.museolazarogaldiano.es/coleccion/obras-maestras/bartolome-esteban-murillo"}, {"what": "The Latin inscription as the museum prints it: ROSA CORDIS MEI TU MIHI SPONSA ESTO — Christ's words to Rose.", "url": "https://www.museolazarogaldiano.es/coleccion/obras-maestras/bartolome-esteban-murillo"}, {"what": "Roses on the ground as a pun on her name and token of the mystical betrothal; book as attribute pairing contemplative and active life; Dominican habit identifying her as a Third Order tertiary who nev", "url": "https://artehistoria.com/obras/santa-rosa-de-lima"}, {"what": "No commission document or named patron is recorded for this painting by the museum or by the dedicated scholarly study", "url": "https://www.academia.edu/31932941/Santa_Rosa_de_Lima_en_el_Museo_L%C3%A1zaro_Galdiano_2005", "cite": "Quiles, Fernando. 'Santa Rosa de Lima en el Museo Lázaro Galdiano.' 2005."}, {"what": "Rivadeneira's account as the museum itself prints it: the Christ Child appears while Rose is doing needlework to support her parents and seats himself on the almohadilla (sewing cushion). Carries the thesis sentence and the whole first paragraph, including the attribution 'The museum cites Rivadeneira'.", "url": "https://www.museolazarogaldiano.es/coleccion/obras-maestras/bartolome-esteban-murillo", "cite": "Museo Lázaro Galdiano, Madrid — Bartolomé Esteban Murillo, Santa Rosa de Lima, Inv. 5310 (institutional page, refetched and read in full 2026-08-16)"}, {"what": "The museum's inscription and its own Spanish rendering, confirming the words are Christ's to Rose.", "url": "https://www.museolazarogaldiano.es/coleccion/obras-maestras/bartolome-esteban-murillo", "cite": "Museo Lázaro Galdiano, Madrid — Santa Rosa de Lima, Inv. 5310 (refetched 2026-08-16). Note the museum prints TU; Artehistoria prints the epigraphic TV. The card follows the museum."}, {"what": "Artehistoria reads the seat as the work itself, not a stray cushion — independent corroboration of the card's central claim, and the source of 'the work that fed her parents' in the closing line.", "url": "https://artehistoria.com/obras/santa-rosa-de-lima", "cite": "Artehistoria, 'Santa Rosa de Lima' (Murillo), refetched and read in full 2026-08-16. Use for description of the canvas only — the same page misstates the canonisation."}, {"what": "Artehistoria makes the roses and the betrothal one act, and states the Latin issues from Christ's mouth as a letrero. Carries the second paragraph. It does NOT carry any pun on her name — that clause has been struck from the card.", "url": "https://artehistoria.com/obras/santa-rosa-de-lima", "cite": "Artehistoria, 'Santa Rosa de Lima' (Murillo), refetched and read in full 2026-08-16"}]}, "scene": {"why": "THE SAINT IS NOT IN SCRIPTURE, or this episode of their life is not. Their acts come to us through the Church’s memory — martyrologies, hagiography, the testimony of their own communities — not through the biblical record. Naming a verse here would dress tradition as Scripture."}, "th": "/store/thumb/murillo_saint_rose_of_lima.webp", "more": [{"k": "subject", "n": "Saints in painting", "u": "/editions/subject/saints/", "ids": ["panini_pantheon", "tiepolo_the_vision_of_saint_cajetan", "cabrera_allegory_of_the_holy_eucharist_alegoria", "cabrera_divine_shepherdess_la_divina_pastora"]}, {"k": "master", "n": "Bartolomé Esteban Murillo", "u": "/editions/master/bartolome-esteban-murillo/", "ids": ["murillo_virgin_rosary", "murillo_immaculate_cleveland", "murillo_holy_family_bird", "murillo_good_shepherd"]}]}, "caravaggio_the_annunciation": {"id": "caravaggio_the_annunciation", "title": "The Annunciation", "artist_line": "Caravaggio (Italian, 1571–1610)", "artist": "Caravaggio", "date": "c. 1608", "museum": "Musée des Beaux-Arts, Nancy", "license": "Public domain", "tier": "Sanctuary", "sizes": [{"size": "8×10 in", "paper": 39, "iw": 7.2, "ih": 10, "sw": 8, "sh": 10, "cov": 0.896}, {"size": "11×14 in", "paper": 59, "iw": 10.0, "ih": 14, "sw": 11, "sh": 14, "cov": 0.912}, {"size": "16×20 in", "paper": 110, "iw": 14.3, "ih": 20, "sw": 16, "sh": 20, "cov": 0.896}, {"size": "18×24 in", "paper": 140, "iw": 17.2, "ih": 24, "sw": 18, "sh": 24, "cov": 0.956}, {"size": "24×36 in", "paper": 190, "iw": 24, "ih": 33.5, "sw": 24, "sh": 36, "cov": 0.93}, {"size": "32×48 in", "paper": 340, "iw": 32, "ih": 44.6, "sw": 32, "sh": 48, "cov": 0.93}, {"size": "40×60 in", "paper": 480, "iw": 40, "ih": 55.8, "sw": 40, "sh": 60, "cov": 0.93}], "local": "/store/display/caravaggio_the_annunciation.jpg", "commons_file": "Annunciation-Caravaggio.jpg", "zoom": "https://art.monstrance.app/zoom/caravaggio_the_annunciation.jpg", "master_px": 10994, "auth": {"institution": "Musée des Beaux-Arts de Nancy", "accession": "53", "url": "https://collections-mba.nancy.fr/fr/notice/53-l-annonciation-421bc8bb-e255-4050-8822-117757a4000f", "artist_as_printed": "Caravage, Michelangelo Merisi dit", "date_as_printed": "vers 1607 - vers 1610", "medium": "Huile sur toile", "dimensions": "H. en cm : 205 / L. en cm : 185"}, "writeup": {"text": "An angel comes down on a cloud into a bedroom, lilies in one hand, the other pointing, and Our Lady kneels with her head bowed and her hands crossed. A chair, a bed, a cloth on the floor: the Word is made flesh in a room like any room. The Musée des Beaux-Arts de Nancy counts this among Caravaggio's last works and one of the very few by him in France. Henri II, Duke of Lorraine, commissioned it in connection with his marriage to Margherita Gonzaga, for the Saint-Georges chapel in his palace. François Pariset restored it to Caravaggio in 1948. The cloud rests on the floor.", "sources": [{"what": "The museum's collection page on seventeenth-century painting: Caravaggio's Annunciation is one of the very rare paintings by him kept in France, commissioned by Henri II, Duke of Lorraine, in connection with his marriage to Margherita Gonzaga; dated about 1607-1610.", "url": "https://musee-des-beaux-arts.nancy.fr/les-collections/peinture/peinture-du-xviie-siecle", "cite": "Musée des Beaux-Arts de Nancy, 'Peinture du XVIIe siècle', read 2026-09-24"}, {"what": "The museum's object record, inv. 53: one of Caravaggio's last creations; it adorned the altar of the Saint-Georges chapel of the ducal palace, moved to the primatial church after 1618, seized in 1793; oil on canvas, 205 x 185 cm; subject terms include Virgin, angel, clouds, lilies and chamber.", "url": "https://collections-mba.nancy.fr/fr/notice/53-l-annonciation-421bc8bb-e255-4050-8822-117757a4000f", "cite": "Musée des Beaux-Arts de Nancy, collections online, 'L'Annonciation', inv. 53, read 2026-09-24"}, {"what": "The national museums database record: the attribution was long disputed, given to Guido Reni, Guercino, the Bolognese school, Caracciolo and Jacques Bellange, until François Pariset restored it to Caravaggio in 1948.", "url": "https://pop.culture.gouv.fr/notice/joconde/05120001195", "cite": "Ministère de la Culture, base Joconde (POP), notice 05120001195, 'L'Annonciation', read 2026-09-24"}]}, "scene": {"ref": "Luke 1:28", "quote": "And the angel being come in, said unto her: Hail, full of grace, the Lord is with thee: blessed art thou among women.", "shows": "Gabriel’s greeting to Mary"}, "th": "/store/thumb/caravaggio_the_annunciation.webp", "more": [{"k": "subject", "n": "The Annunciation in painting", "u": "/editions/subject/annunciation/", "ids": ["orazio_gentileschi_annunciation", "rubens_incarnation_fulfillment_of_the_prophecies", "giordano_annunciation", "masolino_the_annunciation"]}, {"k": "master", "n": "Caravaggio", "u": "/editions/master/caravaggio/", "ids": ["caravaggio_the_burial_of_saint_lucy", "caravaggio_salome_with_the_head_of_john_the_baptist_london", "caravaggio_the_adoration_of_the_shepherds", "caravaggio_the_raising_of_lazarus"]}]}, "rubens_the_virgin_and_child_surrounded_by_ang": {"id": "rubens_the_virgin_and_child_surrounded_by_ang", "title": "The Virgin and Child Surrounded by the Holy Innocents", "artist_line": "Peter Paul Rubens (Flemish, 1577–1640)", "artist": "Peter Paul Rubens", "date": "c. 1618", "museum": "Musée du Louvre, Paris", "license": "Public domain", "tier": "Sanctuary", "sizes": [{"size": "18×24 in", "paper": 140, "iw": 17.5, "ih": 24, "sw": 18, "sh": 24, "cov": 0.971}, {"size": "24×36 in", "paper": 190, "iw": 24, "ih": 33.0, "sw": 24, "sh": 36, "cov": 0.915}, {"size": "32×48 in", "paper": 340, "iw": 32, "ih": 43.9, "sw": 32, "sh": 48, "cov": 0.915}, {"size": "40×60 in", "paper": 480, "iw": 40, "ih": 54.9, "sw": 40, "sh": 60, "cov": 0.915}], "local": "/store/display/rubens_the_virgin_and_child_surrounded_by_ang.jpg", "commons_file": "Rubens Workshop - Maria mit Kind im Engelskranz.jpg", "zoom": "https://art.monstrance.app/zoom/rubens_the_virgin_and_child_surrounded_by_ang.jpg", "master_px": 10668, "auth": {"institution": "Musée du Louvre, Paris — Département des Peintures", "accession": "INV 1763 ; MR 995", "url": "https://collections.louvre.fr/en/ark:/53355/cl010060869", "artist_as_printed": "Rubens, Petrus Paulus (Siegen (Westphalie), 1577 - Anvers, 1640) Pays-Bas du Sud École de", "date_as_printed": "XVIIe siècle (vers 1618)", "medium": "Huile sur toile", "dimensions": "H. 1,38 m ; L. 1 m"}, "writeup": {"text": "A palm branch rises at the top of the sky, lifted by a child, and all around Our Lady the air is thick with small bodies, none of them winged. The Louvre reads the wingless infants as the Holy Innocents, the boys of Bethlehem killed on Herod's order, not angels; the popular title, the Virgin with Angels, goes back to a mistaken engraving. Palms are the martyrs' mark. The Christ Child clings at her neck, and above her head a child holds a ring of flowers. Rubens painted it around 1618, the Louvre says, the grouping owing to Titian and Pordenone; it is his only known treatment of the subject. Quodvultdeus, bishop of Carthage, preached: \"The children die for Christ, though they do not know it.\" Herod was hunting one Child, and Rubens has set Him in the middle of them.", "sources": [{"what": "Wingless infants identify the Holy Innocents, not angels; corrects the erroneous popular title and its source in a 17th-c. engraving", "url": "https://collections.louvre.fr/en/ark:/53355/cl010060869"}, {"what": "Palm fronds carried by several infants; compositional debt to Titian and Pordenone; Louvre's circa 1618 dating; only known Rubens treatment of this subject", "url": "https://collections.louvre.fr/en/ark:/53355/cl010060869"}, {"what": "Palm as the martyrs' attribute, theological basis for reading the infants as martyr-figures", "url": "https://www.vaticannews.va/fr/saint-du-jour/12/28/saints-innocents--martyrs.html"}, {"what": "No original patron or commission documented; provenance record begins only with the painting's later appearance in Paris in a dealer's hands before entering the French royal collection", "url": "https://collections.louvre.fr/en/ark:/53355/cl010060869"}, {"what": "The sermon the card quotes: the children die for Christ though they do not know it. Read in the Office of Readings for the feast of the Holy Innocents, 28 December.", "cite": "Quodvultdeus of Carthage, 'Sermo 2 de Symbolo' (PL 40, 655)."}, {"what": "The Office of Readings for the Holy Innocents, which prints the sermon and names its author.", "url": "http://www.liturgies.net/Christmas/readings/holyinnocents/officeofreadings.htm", "cite": "Office of Readings, Holy Innocents, 28 December."}, {"what": "Quodvultdeus identified as bishop of Carthage.", "url": "https://www.crossroadsinitiative.com/media/articles/holy-innocents-quodvultdeus/", "cite": "Crossroads Initiative, 'Holy Innocents, Children yet Martyrs — Quodvultdeus'."}, {"what": "The museum's own catalogue title has the Child SURROUNDED by the Innocents — which is what carries the card's closing 'in the middle of them' — and traces the popular 'Virgin with Angels' name to a mistaken engraving.", "url": "https://collections.louvre.fr/en/ark:/53355/cl010060869", "cite": "Musée du Louvre, INV 1763 / MR 995."}, {"what": "Herod hunting one child, and killing all the boys of Bethlehem to reach him.", "cite": "Matthew 2:16, Douay-Rheims (Challoner)."}]}, "scene": {"ref": "Matthew 2:16", "quote": "Then Herod perceiving that he was deluded by the wise men, was exceeding angry: and sending killed all the menchildren that were in Bethlehem, and in all the borders thereof, from two years old and under, according to the time which he had diligently inquired of the wise men.", "shows": "the Holy Innocents — the children Herod killed, here crowned as martyrs"}, "th": "/store/thumb/rubens_the_virgin_and_child_surrounded_by_ang.webp", "more": [{"k": "subject", "n": "The Madonna and Child in painting", "u": "/editions/subject/madonna-and-child/", "ids": ["alonso_cano_san_bernardo_y_la_virgen_the_vision_of_s", "juan_correa_our_lady_of_balvanera", "murillo_virgin_rosary", "divina_pastora_prado"]}, {"k": "master", "n": "Peter Paul Rubens", "u": "/editions/master/peter-paul-rubens/", "ids": ["rubens_the_holy_trinity", "rubens_assumption", "peter_paul_rubens_the_virgin_as_the_woman_of_the_apocalyps", "rubens_adoration_magi"]}]}, "bellini_gentile_saint_mark_preaching_in_alexandria": {"id": "bellini_gentile_saint_mark_preaching_in_alexandria", "title": "Saint Mark Preaching in Alexandria", "artist_line": "Gentile Bellini (Italian, c. 1429–1507) and Giovanni Bellini (Italian, c. 1430–1516)", "artist": "Gentile and Giovanni Bellini", "date": "1504–1507", "museum": "Pinacoteca di Brera, Milan", "license": "Public domain", "tier": "Sanctuary", "sizes": [{"size": "18×24 in", "paper": 140, "iw": 24, "ih": 10.9, "sw": 24, "sh": 18, "cov": 0.607}, {"size": "16×32 in", "paper": 150, "iw": 32, "ih": 14.6, "sw": 32, "sh": 16, "cov": 0.91}, {"size": "20×40 in", "paper": 180, "iw": 40, "ih": 18.2, "sw": 40, "sh": 20, "cov": 0.91}, {"size": "24×36 in", "paper": 190, "iw": 36, "ih": 16.4, "sw": 36, "sh": 24, "cov": 0.682}, {"size": "32×48 in", "paper": 340, "iw": 48, "ih": 21.8, "sw": 48, "sh": 32, "cov": 0.682}, {"size": "30×60 in", "paper": 380, "iw": 60, "ih": 27.3, "sw": 60, "sh": 30, "cov": 0.91}, {"size": "40×60 in", "paper": 480, "iw": 60, "ih": 27.3, "sw": 60, "sh": 40, "cov": 0.682}], "local": "/store/display/bellini_gentile_saint_mark_preaching_in_alexandria.jpg", "commons_file": "Gentile and Giovanni Bellini — Saint Mark Preaching in Alexandria.jpg", "zoom": "https://art.monstrance.app/zoom/bellini_gentile_saint_mark_preaching_in_alexandria.jpg", "master_px": 10579, "auth": {"institution": "Pinacoteca di Brera, Milan", "accession": "160", "url": "https://pinacotecabrera.org/en/collezioni/collezione-on-line/st-mark-preaching-in-alexandria/", "artist_as_printed": "Gentile Bellini e Giovanni Bellini", "date_as_printed": "1504 - 7", "medium": "Oil on canvas", "dimensions": "cm 347 × 770"}, "writeup": {"text": "Saint Mark stands on a low platform in red and blue, Christ's colours, and the city has come out to hear him. Behind him a domed church, as Nevine Rateb reads it, recalls Hagia Sophia and Venice's own San Marco, with a minaret evoking Cairo beside it: Alexandria wearing the face of the city that later took Mark's bones. The Scuola Grande di San Marco commissioned the canvas in 1504; Gentile Bellini died in 1507 with it unfinished, and his brother Giovanni completed it. Rateb reads a lone armed Ottoman among the Mamluk crowds as the rival. In 1517 the Mamluks were gone. Mark goes on preaching.", "sources": [{"what": "the red and blue robes echoing Christ's colour coding, making Mark's authority an extension of Christ's mission", "url": "https://smarthistory.org/gentile-bellini-and-giovanni-bellini-saint-mark-preaching-in-alexandria/"}, {"what": "the central domed building fusing Hagia Sophia, San Marco and a Cairo minaret into one composite skyline; the lone armed Ottoman among peaceable Mamluk crowds read as Venice's real rival", "url": "https://knowledge.uchicago.edu/record/10626/files/MSR-XXVI-Rateb.pdf", "cite": "Nevine Rateb, Mamluk Studies Review 26 (2023)"}, {"what": "inv. 160, oil on canvas, 347 x 770 cm; commissioned by the Scuola Grande di San Marco for its albergo, begun July 1504", "url": "https://pinacotecabrera.org/en/collezioni/collezione-on-line/st-mark-preaching-in-alexandria/"}, {"what": "Gentile died in February 1507 with the work unfinished; his will conditioned Giovanni's inheritance of their father Jacopo's drawing book on his completing it", "cite": "Brera object record and Rateb 2023; the sketchbook condition is reported in the Bellini literature and is not a document this store has read"}, {"what": "Named scholar reading the lone armed figure below the platform as the hostile Ottomans; the 1517 Ottoman destruction of the Mamluk sultanate; and the commission of 1504, Gentile's death in 1507 with the canvas unfinished, and its completion by Giovanni.", "url": "https://knowledge.uchicago.edu/record/10626/files/MSR-XXVI-Rateb.pdf", "cite": "Nevine Rateb, 'Saint Mark Preaching in Alexandria: A New Perspective', Mamluk Studies Review 26 (2023)."}]}, "scene": {"why": "THE SAINT IS NOT IN SCRIPTURE, or this episode of their life is not. Their acts come to us through the Church’s memory — martyrologies, hagiography, the testimony of their own communities — not through the biblical record. Naming a verse here would dress tradition as Scripture."}, "th": "/store/thumb/bellini_gentile_saint_mark_preaching_in_alexandria.webp", "more": [{"k": "subject", "n": "Saints in painting", "u": "/editions/subject/saints/", "ids": ["lippi_saint_francis_in_glory", "master_of_the_figdor_deposition_martyrdom_of_saint_lucy", "cranach_saints_genevieve_and_apollonia", "leonardo_st_john_baptist"]}]}, "titian_christ_crucified": {"id": "titian_christ_crucified", "title": "Christ Crucified", "artist_line": "Titian (Italian, c. 1488–1576)", "artist": "Titian", "date": "c. 1565", "museum": "La Galería de las Colecciones Reales (Patrimonio Nacional), Madrid", "license": "Public domain (photo CC BY 4.0)", "tier": "Sanctuary", "sizes": [{"size": "16×32 in", "paper": 150, "iw": 16, "ih": 31.5, "sw": 16, "sh": 32, "cov": 0.984}, {"size": "20×40 in", "paper": 180, "iw": 20, "ih": 39.4, "sw": 20, "sh": 40, "cov": 0.984}, {"size": "24×36 in", "paper": 190, "iw": 18.3, "ih": 36, "sw": 24, "sh": 36, "cov": 0.762}, {"size": "30×60 in", "paper": 380, "iw": 30, "ih": 59.0, "sw": 30, "sh": 60, "cov": 0.984}], "local": "/store/display/titian_christ_crucified.jpg", "commons_file": "Tiziano, Cristo crucificado, Patrimonio Nacional, Galería de las Colecciones Reales, inv. 10014803.jpg", "zoom": "https://art.monstrance.app/zoom/titian_christ_crucified.jpg", "master_px": 10515, "auth": {"institution": "La Galería de las Colecciones Reales (Patrimonio Nacional)", "accession": "10014803", "url": "https://www.galeriadelascoleccionesreales.es/en/artwork/cristo-crucificado/a2ecd9a8-2814-4cfb-85a6-2b2c2d04cd3d", "artist_as_printed": "Vecelli, Tiziano", "date_as_printed": "Hacia 1565", "dimensions": "Fondo enmarcado: (Altura: 240 centímetros; Anchura: 135 centímetros)"}, "writeup": {"text": "A crescent moon at the upper left, lightning breaking at the right, a low band of orange on the horizon: the Royal Collections Gallery reads the sky as twilight and the moment of death. Titian sets Christ alone on the cross, His head bowed, and moves the skull down into the lower right corner so that nothing draws the eye from Him. The canvas is first recorded in 1574, delivered to the Monastery of El Escorial as 'de mano de Tiziano'; from 1656 it hung in the Sacristy in the rearrangement made by Velázquez. Below Him there is room for whoever looks up.", "sources": [{"what": "Cristo crucificado, Titian, c. 1565, oil on canvas, inv. 10014803; the crescent moon, storm and lightning and the orange strokes on the horizon suggesting twilight, the moment of death; Christ alone; the skull moved to the lower right; first documented in the 1574 delivery to El Escorial 'de mano de Tiziano'; moved to the Sacristy from 1656 in Velázquez's rearrangement.", "url": "https://www.galeriadelascoleccionesreales.es/en/artwork/cristo-crucificado/a2ecd9a8-2814-4cfb-85a6-2b2c2d04cd3d", "cite": "Galería de las Colecciones Reales (Patrimonio Nacional), 'Cristo crucificado', inv. 10014803, read 2026-10-12."}]}, "scene": {"ref": "John 19:30", "quote": "Jesus therefore, when he had taken the vinegar, said: It is consummated. And bowing his head, he gave up the ghost.", "shows": "Christ alone on the cross, His head bowed, at the moment of death"}, "th": "/store/thumb/titian_christ_crucified.webp", "more": [{"k": "subject", "n": "The Crucifixion in painting", "u": "/editions/subject/crucifixion/", "ids": ["domenichino_way_to_calvary", "anthony_van_dyck_christ_on_the_cross_with_sts_catherine_o", "ter_brugghen_crucifixion_with_the_virgin_and_saint_jo", "velazquez_christ_crucified"]}, {"k": "master", "n": "Titian", "u": "/editions/master/titian/", "ids": ["titian_crowning_thorns", "titian_jacopo_pesaro_presented_to_saint_peter", "titian_the_archangel_raphael_and_tobias", "titian_the_last_supper"]}]}, "ribera_the_adoration_of_the_shepherds": {"id": "ribera_the_adoration_of_the_shepherds", "title": "The Adoration of the Shepherds", "artist_line": "Jusepe de Ribera (Spanish, 1591–1652)", "artist": "Jusepe de Ribera", "date": "1650", "museum": "Musée du Louvre, Paris", "license": "Public domain", "tier": "Sanctuary", "sizes": [{"size": "8×10 in", "paper": 39, "iw": 7.4, "ih": 10, "sw": 8, "sh": 10, "cov": 0.927}, {"size": "11×14 in", "paper": 59, "iw": 10.4, "ih": 14, "sw": 11, "sh": 14, "cov": 0.944}, {"size": "16×20 in", "paper": 110, "iw": 14.8, "ih": 20, "sw": 16, "sh": 20, "cov": 0.927}, {"size": "18×24 in", "paper": 140, "iw": 17.8, "ih": 24, "sw": 18, "sh": 24, "cov": 0.988}, {"size": "24×36 in", "paper": 190, "iw": 24, "ih": 32.4, "sw": 24, "sh": 36, "cov": 0.899}, {"size": "32×48 in", "paper": 340, "iw": 32, "ih": 43.2, "sw": 32, "sh": 48, "cov": 0.899}, {"size": "40×60 in", "paper": 480, "iw": 40, "ih": 54.0, "sw": 40, "sh": 60, "cov": 0.899}], "local": "/store/display/ribera_the_adoration_of_the_shepherds.jpg", "commons_file": "L'Adoration des bergers - Jusepe de Ribera - Musée du Louvre Peintures INV 939 ; MR 209 - photo 2.jpg", "zoom": "https://art.monstrance.app/zoom/ribera_the_adoration_of_the_shepherds.jpg", "master_px": 10439, "auth": {"institution": "Musée du Louvre, Paris", "accession": "INV 939 ; MR 209", "url": "https://collections.louvre.fr/en/ark:/53355/cl010059349", "artist_as_printed": "Ribera, Jusepe de", "date_as_printed": "Milieu du XVIIe siècle (1650)", "medium": "huile sur toile (transposition)", "dimensions": "Hauteur : 2,39 m ; Largeur : 1,81 m"}, "writeup": {"text": "A lamb lies at the front with its feet bound, a shepherd's gift to the newborn, and already what the Child will be. James Romaine reads it so. Everything else is hay and broken wood in rustic tones; the saturated colour is saved for Our Lady's lapis blue mantle. She kneels with her palms together beside the manger; Saint Joseph crosses his hands on his chest; at the left a shepherd lifts his hat. Romaine reads that raised hat and a diagonal beam as pointing to the Christ Child on His straw. Jusepe de Ribera signed and dated a stone at lower right in 1650, and the Louvre records it as the first Ribera to enter its collections. In 1802 the King of Naples bought it for France, in compensation for nine paintings his troops had taken in Rome. The Child lies on a white cloth, looking up.", "sources": [{"what": "Bound lamb, broken manger, ox/donkey, Joseph's crossed arms, Virgin's blue mantle, and the beam/hat diagonal forming an X on Christ — all symbolism readings", "url": "https://www.artway.eu/posts/jusepe-de-ribera-the-adoration-of-the-shepherds", "cite": "James Romaine, \"Jusepe de Ribera: The Adoration of the Shepherds,\" ArtWay"}, {"what": "Signature transcription ('Jusepe de Ribera espanol / Accademico Romano / 1650') and that it was the first Ribera painting to enter the Louvre's collections", "url": "https://collections.louvre.fr/en/ark:/53355/cl010059349", "cite": "Musee du Louvre object record, INV 939"}, {"what": "Provenance: Ferdinand IV of Bourbon, King of Naples, bought the painting in January 1802 to be given to the French government in compensation for nine paintings taken in 1799 by Neapolitan troops from the French art depot at Saint-Louis-des-Français in occupied Rome; 3,000 ducats; transported to Paris May 1802.", "url": "https://collections.louvre.fr/ark:/53355/cl010059349", "cite": "Musée du Louvre object record, INV 939 ; MR 209, Historique de l'œuvre"}, {"what": "The signature is on a stone at lower right, dated 1650 — corroborating that the rock is the surface Ribera signed.", "url": "https://collections.louvre.fr/ark:/53355/cl010059349", "cite": "Musée du Louvre object record, INV 939 ; MR 209, inscription line"}]}, "scene": {"ref": "Luke 2:16", "quote": "And they came with haste: and they found Mary and Joseph, and the infant lying in the manger.", "shows": "the shepherds finding Mary, Joseph and the child"}, "th": "/store/thumb/ribera_the_adoration_of_the_shepherds.webp", "more": [{"k": "subject", "n": "The Adoration of the Shepherds in painting", "u": "/editions/subject/adoration-of-the-shepherds/", "ids": ["dolci_adoration_of_the_shepherds", "hugo_van_der_goes_the_adoration_of_the_shepherds", "isenbrant_the_adoration_of_the_shepherds", "correggio_holy_night"]}, {"k": "master", "n": "Jusepe de Ribera", "u": "/editions/master/jusepe-de-ribera/", "ids": ["ribera_jerome", "ribera_immaculate_conception", "jusepe_de_ribera_jacob_s_dream"]}]}, "rubens_the_baptism_of_christ": {"id": "rubens_the_baptism_of_christ", "title": "The Baptism of Christ", "artist_line": "Peter Paul Rubens (Flemish, 1577–1640)", "artist": "Peter Paul Rubens", "date": "1604–1605", "museum": "KMSKA, Antwerp", "license": "Public domain", "tier": "Sanctuary", "sizes": [{"size": "18×24 in", "paper": 140, "iw": 24, "ih": 14.5, "sw": 24, "sh": 18, "cov": 0.807}, {"size": "24×36 in", "paper": 190, "iw": 36, "ih": 21.8, "sw": 36, "sh": 24, "cov": 0.908}, {"size": "32×48 in", "paper": 340, "iw": 48, "ih": 29.1, "sw": 48, "sh": 32, "cov": 0.908}, {"size": "40×60 in", "paper": 480, "iw": 60, "ih": 36.3, "sw": 60, "sh": 40, "cov": 0.908}], "local": "/store/display/rubens_the_baptism_of_christ.jpg", "commons_file": "Peter Paul Rubens - Doopsel van Christus - 707 - Royal Museum of Fine Arts Antwerp.tiff", "zoom": "https://art.monstrance.app/zoom/rubens_the_baptism_of_christ.jpg", "master_px": 10406, "auth": {"institution": "KMSKA, Antwerp", "accession": "707", "url": "https://kmska.be/en/masterpiece/the-baptism-of-christ-1", "artist_as_printed": "Peter Paul Rubens", "date_as_printed": "1604-1605", "medium": "oil on canvas", "dimensions": "411 × 675 cm"}, "writeup": {"text": "A hand reaches out toward a bowed head, and above it the sky opens a lane of light for the Dove. Saint John stands in rough skins; Christ stands at the water's edge, angels crowding behind Him. Three Persons were at the Jordan, and only two could be painted: the Son and the Holy Spirit; the Father was a voice. Rubens made it for Duke Vincenzo I Gonzaga, Furlotti and Rebecchini record, for the Jesuit church of the Santissima Trinità in Mantua; the Lombardy catalogue sets it on the left wall of the presbytery, the Transfiguration on the right, and at the centre the Gonzagas adoring the Trinity, held up, a contemporary wrote, like a tapestry by flying angels. Kinga Lipinska reads the muscled bodies as a young court painter claiming Michelangelo's Sistine nudes. The Father he could not paint here waited at the centre.", "sources": [{"what": "Object metadata: date 1604-1605, oil on canvas, 411 x 675 cm, inv. 707, KMSKA Antwerp", "url": "https://kmska.be/en/masterpiece/the-baptism-of-christ-1"}, {"what": "Commission: Duke Vincenzo I Gonzaga patron, painted 1604-1605, cost 1,300 ducats", "url": "http://spenceralley.blogspot.com/2020/10/patronage-and-art-collecting-of-duke.html", "cite": "Barbara Furlotti and Guido Rebecchini, 'The Art of Mantua: Power and Patronage in the Renaissance,' J. Paul Getty Museum, 2008"}, {"what": "Destination as high-altar wing of three-canvas Trinity altarpiece, Jesuit church of the Santissima Trinita, Mantua", "url": "http://spenceralley.blogspot.com/2020/10/patronage-and-art-collecting-of-duke.html", "cite": "dossier commission field, sourced to Furlotti \u0026 Rebecchini"}, {"what": "Muscular Michelangelo-Sistine-derived figures signal continuity with Roman tradition for young Flemish court painter", "url": "https://www.liturgicalartsjournal.com/2019/01/from-giotto-to-rubens-baptism-of-lord.html", "cite": "Kinga Lipinska, 'From Giotto to Rubens: The Baptism of the Lord in Painting,' Liturgical Arts Journal, 8 January 2019"}, {"what": "Description of John pouring water over Christ and dove/light detail in this composition", "url": "https://www.artchive.com/artwork/the-baptism-of-christ-peter-paul-rubens/"}, {"what": "Original arrangement of the three canvases in the presbytery of the Jesuit church of the Santissima Trinità, Mantua: Trinity at the centre, Baptism on the left wall, Transfiguration on the right. Quote", "url": "https://www.lombardiabeniculturali.it/opere-arte/schede/MN020-00075/", "cite": "Lombardia Beni Culturali, catalogue record MN020-00075, 'La famiglia Gonzaga in adorazione della SS.ma Trinità, Rubens, Pieter Paul'"}, {"what": "Contemporary description of the central canvas: the three Persons of the Trinity held up as in a tapestry by flying angels. Quote (The same record separately paraphrases Tessin the Younger, 1687-88, as 'la Trinità dipinta come un arazzo tenuto in volo da angeli'; that phrase is the cataloguer's Italian, Tessin's own quoted words being German, so it is corroboration of the record, not an independent second witness.)", "url": "https://www.lombardiabeniculturali.it/opere-arte/schede/MN020-00075/", "cite": "contemporary description quoted in Lombardia Beni Culturali, catalogue record MN020-00075"}, {"what": "The three canvases were made as a set for, and installed in, the apse of the Jesuit church of the Holy Trinity in Mantua from 1605. Quote", "url": "https://www.finestresullarte.info/en/exhibitions/an-exhibition-in-mantua-to-learn-about-autographs-documenting-rubens-mantua-period", "cite": "Finestre sull'Arte, 'An exhibition in Mantua to learn about autographs documenting Rubens' Mantua period'"}, {"what": "Corroboration that the Transfiguration (Nancy) was painted for the same Gonzaga commission for the Santissima Trinità, Mantua, c. 1604-05. Quote", "url": "https://collections-mba.nancy.fr/fr/notice/71-la-transfiguration-55a3edae-0322-4690-9dc2-556cb6d634c2", "cite": "Musée des Beaux-Arts de Nancy, collection notice, 'La Transfiguration', Pierre-Paul Rubens"}, {"what": "The Father at the Baptism is given as a voice, not a visible body — the scriptural basis for the card's opening claim. The Jordan itself is at Matthew 3:13, so the card's scripture citation should be recorded as Matthew 3:13-17.", "cite": "Matthew 3:17 (with 3:13 for the Jordan), Douay-Rheims (Challoner)"}]}, "scene": {"ref": "Matthew 3:16", "quote": "And Jesus being baptized, forthwith came out of the water: and lo, the heavens were opened to him: and he saw the Spirit of God descending as a dove, and coming upon him.", "shows": "the heavens opened and the Spirit descending as a dove"}, "th": "/store/thumb/rubens_the_baptism_of_christ.webp", "more": [{"k": "subject", "n": "The Baptism of Christ in painting", "u": "/editions/subject/baptism-of-christ/", "ids": ["poussin_saint_john_baptizing_the_people", "magnasco_the_baptism_of_christ", "piero_baptism", "tintoretto_the_baptism_of_christ"]}, {"k": "master", "n": "Peter Paul Rubens", "u": "/editions/master/peter-paul-rubens/", "ids": ["rubens_saint_jerome", "rubens_massacre_innocents", "rubens_entombment", "rubens_the_incredulity_of_saint_thomas"]}]}, "rubens_music_making_angels": {"id": "rubens_music_making_angels", "title": "Music-Making Angels", "artist_line": "Peter Paul Rubens (Flemish, 1577–1640)", "artist": "Peter Paul Rubens", "date": "c. 1628", "museum": "Bildergalerie Sanssouci, Potsdam", "license": "Public domain", "tier": "Sanctuary", "sizes": [{"size": "18×24 in", "paper": 140, "iw": 22.7, "ih": 18, "sw": 24, "sh": 18, "cov": 0.946}, {"size": "24×36 in", "paper": 190, "iw": 30.3, "ih": 24, "sw": 36, "sh": 24, "cov": 0.841}, {"size": "32×48 in", "paper": 340, "iw": 40.4, "ih": 32, "sw": 48, "sh": 32, "cov": 0.841}, {"size": "40×60 in", "paper": 480, "iw": 50.5, "ih": 40, "sw": 60, "sh": 40, "cov": 0.841}], "local": "/store/display/rubens_music_making_angels.jpg", "commons_file": "Peter Paul Rubens - Music making angels (Bildergalerie Sanssouci).jpg", "zoom": "https://art.monstrance.app/zoom/rubens_music_making_angels.jpg", "master_px": 10249, "auth": {"institution": "Stiftung Preußische Schlösser und Gärten Berlin-Brandenburg — Bildergalerie Sanssouci", "accession": "GK I 7745", "url": "https://nat.museum-digital.de/object/200247?navlang=de", "artist_as_printed": "Peter Paul Rubens (1577-1640)", "date_as_printed": "circa 1626-1627", "medium": "Öl auf Holz", "dimensions": "ohne Rahmen: Höhe: 64.60 cm Breite: 82.00 cm"}, "writeup": {"text": "A seam runs down the middle, and the light from above falls straight along it. On one side an angel bows a bass viol; on the other an angel plays a lute, and small angels sing from open sheets between them. The Stiftung Preußische Schlösser und Gärten records two sketches joined into one, made by Rubens as designs for cartoons that Brussels weavers copied. Alexandra Libby places them in the Triumph of the Eucharist, twenty tapestries Archduchess Isabella Clara Eugenia commissioned for the Descalzas Reales in Madrid, hung on two feast days, Good Friday and Corpus Christi; she finds angel musicians among the cycle's smaller hangings. Dominus Vobiscum reads such music as acclamation for the Blessed Sacrament. The joined boards were bought for Frederick II from the Lormier collection in 1763. The light still falls where the two boards meet.", "sources": [{"what": "Panel is two joined tapestry-cartoon sketches with a visible seam; 1763 purchase for Frederick II from the Lormier collection; holding institution is Bildergalerie Sanssouci, Potsdam (not Berlin)", "url": "https://nat.museum-digital.de/object/200247?navlang=de", "cite": "SPSG collection record via museum-digital, accession GK I 7745"}, {"what": "Twenty-tapestry Triumph of the Eucharist series commissioned by Archduchess Isabella Clara Eugenia for the Descalzas Reales convent in Madrid", "url": "https://jhna.org/articles/solomonic-ambitions-isabel-clara-eugenia-rubens-triumph-of-the-eucharist-tapestry-series/", "cite": "Alexandra Libby, JHNA 7, no. 2 (2015)"}, {"what": "Angelic music within the Triumph of the Eucharist cycle functions as celestial acclamation for the Blessed Sacrament", "url": "https://www.pro-missa-tridentina.org/upload/dv23/DV23_08_Peter_Rubens_2021_10.pdf", "cite": "\"Peter Rubens' Triumph der Eucharistie,\" Dominus Vobiscum 23"}, {"what": "The Art Institute of Chicago's published reading of two ranks of celebrants — heavenly above, earthly below, adoring the Eucharist. Note the scope limit: AIC states this of The Adoration of the Eucharist, a different sketch in the same Descalzas Reales tapestry series, describing that composition's internal structure. It licenses an attributed reading of that sketch and nothing more; it does NOT license placing the Potsdam angels in an upper tier.", "url": "https://www.artic.edu/artworks/25790/the-adoration-of-the-eucharist", "cite": "The Art Institute of Chicago, The Adoration of the Eucharist (Peter Paul Rubens, c. 1626), collection record"}, {"what": "The production chain modelli to cartoons to Brussels weaving. Carries 'cartoons Brussels weavers copied', corroborated by SPSG's 'Entwurf fuer Kartons' and 'in Bruessel angefertigt'.", "url": "https://www.museodelprado.es/en/whats-on/exhibition/rubens-the-triumph-of-the-eucharist/329af1be-ee77-4b6e-bbf1-61b217bc5b33", "cite": "Museo Nacional del Prado, exhibition Rubens. The Triumph of the Eucharist"}, {"what": "Places angel musicians among the cycle's smaller hangings — 'Angels Playing Music with Lute' and 'Angels Playing Music with Viola da Gamba'. The nine smaller tapestries fall into three subject groups, so this carries only that angel musicians are among them, not that nine hangings show them.", "url": "https://api.drum.lib.umd.edu/server/api/core/bitstreams/390b3d31-985e-484e-b1b5-2c66bce09b81/content", "cite": "Alexandra Billington Libby, \"Piety, Politics, and Patronage: Isabel Clara Eugenia and Peter Paul Rubens's The Triumph of the Eucharist Tapestry Series\" (diss., University of Maryland, 2013)"}, {"what": "The commission of twenty tapestries, and the two feast days. Note what this source does NOT say: its 'two tiers' means an edge-to-edge wall installation and carries no heavenly-and-earthly meaning, and it makes no reference to music-making angels at all.", "url": "https://jhna.org/articles/solomonic-ambitions-isabel-clara-eugenia-rubens-triumph-of-the-eucharist-tapestry-series/", "cite": "Alexandra Libby, \"Solomonic Ambitions: Isabel Clara Eugenia and Rubens's Triumph of the Eucharist Tapestry Series,\" JHNA 7, no. 2 (2015)"}]}, "scene": {"why": "NOT A SINGLE EPISODE. Where the picture shows Tobias and Raphael the work carries its own citation; the music-making angels of an altarpiece’s upper tier depict the heavenly liturgy rather than a passage."}, "th": "/store/thumb/rubens_music_making_angels.webp", "more": [{"k": "subject", "n": "Angels in painting", "u": "/editions/subject/angels/", "ids": ["giordano_fall_of_the_rebel_angels_archangel_micha", "baciccio_the_triumph_of_the_name_of_jesus", "filippino_tobias_and_the_angel", "durer_saint_michael_fighting_the_dragon"]}, {"k": "master", "n": "Peter Paul Rubens", "u": "/editions/master/peter-paul-rubens/", "ids": ["rubens_saint_teresa_of_avila_interceding_for", "rubens_the_education_of_the_virgin", "rubens_saint_francis_receiving_the_stigmata", "peter_paul_rubens_the_raising_of_the_cross_sketch"]}]}, "fra_angelico_attr_the_thebaid": {"id": "fra_angelico_attr_the_thebaid", "title": "The Thebaid", "artist_line": "Attributed to Fra Angelico (Italian, c. 1395–1455)", "artist": "Attributed to Fra Angelico", "date": "c. 1420", "museum": "Gallerie degli Uffizi, Florence", "license": "Public domain", "tier": "Sanctuary", "sizes": [{"size": "18×24 in", "paper": 140, "iw": 24, "ih": 8.3, "sw": 24, "sh": 18, "cov": 0.459}, {"size": "12×36 in", "paper": 140, "iw": 34.9, "ih": 12, "sw": 36, "sh": 12, "cov": 0.969}, {"size": "16×32 in", "paper": 150, "iw": 32, "ih": 11.0, "sw": 32, "sh": 16, "cov": 0.688}, {"size": "20×40 in", "paper": 180, "iw": 40, "ih": 13.8, "sw": 40, "sh": 20, "cov": 0.688}, {"size": "24×36 in", "paper": 190, "iw": 36, "ih": 12.4, "sw": 36, "sh": 24, "cov": 0.516}, {"size": "32×48 in", "paper": 340, "iw": 48, "ih": 16.5, "sw": 48, "sh": 32, "cov": 0.516}, {"size": "30×60 in", "paper": 380, "iw": 60, "ih": 20.6, "sw": 60, "sh": 30, "cov": 0.688}, {"size": "40×60 in", "paper": 480, "iw": 60, "ih": 20.6, "sw": 60, "sh": 40, "cov": 0.516}], "local": "/store/display/fra_angelico_attr_the_thebaid.jpg", "commons_file": "Fra Angelico - Thebaid.jpg", "zoom": "https://art.monstrance.app/zoom/fra_angelico_attr_the_thebaid.jpg", "master_px": 10119, "auth": {"institution": "Le Gallerie degli Uffizi", "accession": "1890 n. 447", "url": "https://www.uffizi.it/en/artworks/thebaid", "artist_as_printed": "Beato Angelico (Vicchio di Mugello, Florence 1395 c. - Rome 1455)", "date_as_printed": "1420 c.", "medium": "Tempera on wood", "dimensions": "75 x 207 cm"}, "writeup": {"text": "Every man on this rock came here to be alone, and the valley is full of them. One hermit draws at a well; one rides a deer; boats cross the water. Athanasius wrote that after Anthony the desert was colonised by monks, and here is the colony. The Uffizi reads the river and its trees as the spiritual garden where ascetic virtue prospers, and says the attribution to Fra Angelico is not universally accepted. Richard Stracke recalls that Onuphrius passed sixty years in the empty desert; here he has neighbours on every side. On one bank men carry an elder on a stretcher. Alone, and still carrying one another.", "sources": [{"what": "the river and tree-filled landscape as a metaphor for the spiritual garden of ascetic virtue; the hermit at the well; the hermit riding a tamed deer; the elder carried on a stretcher; Anthony Abbot and Onuphrius named", "url": "https://www.uffizi.it/en/artworks/thebaid"}, {"what": "the panel as the only fully intact surviving Florentine Thebaid, and the museum's own statement that the attribution to Fra Angelico is not universally accepted", "url": "https://www.uffizi.it/en/artworks/thebaid"}, {"what": "Itemises the attribution history behind 'not universally accepted': the panel reached the Uffizi in 1783 as Gherardo Starnina, and was afterwards given to Pietro Lorenzetti, Maso di Banco, an anonymous contemporary of Lorenzo Monaco, and even Paolo Uccello.", "url": "https://museodisanmarco.blog/2024/03/27/la-tebaide-di-beato-angelico-al-museo-di-san-marco/", "cite": "Museo di San Marco e Cenacoli (Direzione regionale Musei nazionali Toscana), \"La Tebaide di Beato Angelico al Museo di San Marco,\" 27 March 2024"}, {"what": "Licenses the word 'tame': the museum's own text describes the hermits in the company of 'docili animali selvatici' — docile wild animals — beside a river amid dry rocks. The Uffizi page says only 'the saint riding a deer' and carries no word for tameness.", "url": "https://museodisanmarco.blog/2024/04/18/la-tebaide-attribuita-a-beato-angelico-raccontata-da-angelo-tartuferi-in-un-video/", "cite": "Museo di San Marco e Cenacoli (Direzione regionale Musei nazionali Toscana), \"La Tebaide attribuita a Beato Angelico raccontata da Angelo Tartuferi in un video,\" 18 April 2024"}, {"what": "Establishes why Anthony Abbot anchors the crowd: the Thebaid type is named for the desert near Thebes where Anthony and his followers took up the hermit life.", "url": "https://www.academia.edu/467860/The_Church_and_Desert_Fathers_in_Early_Renaissance_Florence_Further_Thoughts_on_a_New_Thebaid", "cite": "Anne Leader, \"The Church and Desert Fathers in Early Renaissance Florence: Further Thoughts on a 'New' Thebaid,\" in New Studies on Old Masters: Essays in Renaissance Art in Honour of Colin Eisler (CRRS), pp. 221–234"}, {"what": "The national ICCD record for this panel, scheda OA 0900121902, whose structured iconographic fields independently name the sea and the well: Paesaggi 'mare; fiume; orto; montagne; nuvole', Oggetti 'barche; pozzo; ...'. Scoped to the sea and the well — the record lists 'catafalco' and 'portantine' rather than a stretcher, which rests on the Uffizi's own text.", "url": "https://catalogo.beniculturali.it/detail/HistoricOrArtisticProperty/0900121902", "cite": "Catalogo generale dei Beni Culturali (ICCD, Ministero della Cultura), scheda OA 0900121902, \"storie di eremiti, dipinto, ca 1420\""}, {"what": "Licenses the thesis clause \"the desert was colonised by monks\" — Athanasius on the spread of the hermit life in Egypt after Anthony. Primary patristic text, cited by locator; no URL per the research rules.", "cite": "Athanasius, Life of Antony, §14 (trans. H. Ellershaw, Nicene and Post-Nicene Fathers, 2nd ser., vol. 4)"}, {"what": "Carries the sixty years of Onuphrius's solitude, attributed in the card to a named scholar. Richard Stracke, Emeritus Professor of English, Augusta University. IMPORTANT for any future reuse: the sixty-years sentence quoted below is the Roman Martyrology entry that Stracke reproduces at the head of his page, not his own prose. Stracke's own retelling of the Paphnutius legend carries the same fact independently — \"The man goes on to explain that he has lived as a hermit for sixty years in this desert\" — and identifies that hermit as Onuphrius, which is what makes the card's \"Richard Stracke notes that...\" true. Both sentences confirmed on the page.", "url": "https://www.christianiconography.info/onuphrius.html", "cite": "Roman Martyrology as printed in Richard Stracke, \"St. Onuphrius: Art, Legend, Iconography,\" Christian Iconography"}]}, "scene": {"why": "THE SAINT IS NOT IN SCRIPTURE, or this episode of their life is not. Their acts come to us through the Church’s memory — martyrologies, hagiography, the testimony of their own communities — not through the biblical record. Naming a verse here would dress tradition as Scripture."}, "th": "/store/thumb/fra_angelico_attr_the_thebaid.webp", "more": [{"k": "subject", "n": "Saints in painting", "u": "/editions/subject/saints/", "ids": ["gentile_da_fabriano_crippled_and_sick_cured_at_the_tomb_of_s", "masaccio_pisa_predella_peter_john", "fra_angelico_saint_romuald_refusing_entry_to_empero", "fra_angelico_the_beheading_of_saint_john_the_baptis"]}]}, "rubens_saint_jerome": {"id": "rubens_saint_jerome", "title": "Saint Jerome", "artist_line": "Peter Paul Rubens (Flemish, 1577–1640)", "artist": "Peter Paul Rubens", "date": "c. 1610", "museum": "Bildergalerie Sanssouci, Potsdam", "license": "Public domain", "tier": "Sanctuary", "sizes": [{"size": "18×24 in", "paper": 140, "iw": 17.4, "ih": 24, "sw": 18, "sh": 24, "cov": 0.965}, {"size": "24×36 in", "paper": 190, "iw": 24, "ih": 33.2, "sw": 24, "sh": 36, "cov": 0.922}, {"size": "32×48 in", "paper": 340, "iw": 32, "ih": 44.2, "sw": 32, "sh": 48, "cov": 0.922}, {"size": "40×60 in", "paper": 480, "iw": 40, "ih": 55.3, "sw": 40, "sh": 60, "cov": 0.922}], "local": "/store/display/rubens_saint_jerome.jpg", "commons_file": "Peter Paul Rubens - Saint Jerome (Sanssouci).jpg", "zoom": "https://art.monstrance.app/zoom/rubens_saint_jerome.jpg", "master_px": 9946, "auth": {"institution": "Stiftung Preußische Schlösser und Gärten Berlin-Brandenburg — Bildergalerie Sanssouci", "accession": "GK I 7578", "url": "https://nat.museum-digital.de/object/200240?navlang=de", "artist_as_printed": "Peter Paul Rubens (1577-1640)", "date_as_printed": "circa 1610", "medium": "Öl auf Holz", "dimensions": "ohne Rahmen: Höhe: 185.50 cm Breite: 135.50 cm"}, "writeup": {"text": "Jerome sits with his chin on his fist and looks past the open book, and his arms are a wrestler's. The Sanssouci record traces the body to Rubens's Italian borrowings, Michelangelo and the Farnese Hercules; examination reported by ZDF found it painted slimmer first, then broadened. ZDF reads the furrowed brow and the gaze off the page as the strain of translation. An hourglass stands by his pen, vanitas in the museum's reading. Under his foot lies a lion. The National Gallery in London notes that the lion-and-thorn legend belongs more correctly to another hermit saint. The painting, too, went under other painters' names until Christopher Norris gave it back to Rubens in The Burlington Magazine in 1953. The Bible's translator has still not looked back at the page.", "sources": [{"what": "Composition (books as still life, hourglass vanitas), date c. 1610, Italian-period borrowings from Michelangelo/Farnese Hercules, and the attribution lost then confirmed 1953", "url": "https://brandenburg.museum-digital.de/object/7357"}, {"what": "Furrowed brow / gaze past the page as externalized mental strain of translation, and description of the putto pulling a thorn from the lion's paw", "url": "https://geheimnis-der-bilder.zdf.de/stiftung-preussische-schl%C3%B6sser-und-g%C3%A4rten/peter-paul-rubens-heiliger-hieronymus.html"}, {"what": "Confirms lion-and-thorn episode is legend properly belonging to another hermit saint, not authentic Jerome biography -- basis for framing it as legend in copy", "url": "https://www.nationalgallery.org.uk/paintings/glossary/st-jerome"}, {"what": "1953 reattribution to Rubens after the panel had circulated under other painters' names", "url": "https://www.burlington.org.uk/archive/back-issues/195312", "cite": "Christopher Norris, \"The 'St. Jerome' from Sanssouci,\" The Burlington Magazine, vol. 95, no. 609 (December 1953), pp. 390-391, 393-394."}, {"what": "The museum's own reading of the hourglass as vanitas and of the cardinal's hat as the Church Father's calling.", "url": "https://brandenburg.museum-digital.de/object/7357", "cite": "Stiftung Preußische Schlösser und Gärten Berlin-Brandenburg, Bildergalerie Sanssouci, object record GK I 7578"}, {"what": "Technical examination showing Rubens first painted the body slimmer and then chose a very masculine treatment — the only-this-picture fact in sentence three.", "url": "https://geheimnis-der-bilder.zdf.de/stiftung-preussische-schl%C3%B6sser-und-g%C3%A4rten/peter-paul-rubens-heiliger-hieronymus.html", "cite": "ZDF / SPSG, 'Geheimnis der Bilder': Peter Paul Rubens, Heiliger Hieronymus"}, {"what": "The thorn-and-lion legend belongs more correctly to a different hermit saint — the pivot of the second paragraph.", "url": "https://www.nationalgallery.org.uk/paintings/glossary/st-jerome", "cite": "The National Gallery, London, glossary entry 'St Jerome'"}]}, "scene": {"why": "THE SAINT IS NOT IN SCRIPTURE, or this episode of their life is not. Their acts come to us through the Church’s memory — martyrologies, hagiography, the testimony of their own communities — not through the biblical record. Naming a verse here would dress tradition as Scripture."}, "th": "/store/thumb/rubens_saint_jerome.webp", "more": [{"k": "subject", "n": "Saints in painting", "u": "/editions/subject/saints/", "ids": ["orazio_gentileschi_saint_cecilia_and_an_angel", "melchior_de_la_mars_saint_sebastian_released_by_irene", "ribalta_st_francis_comforted_by_an_angel_san_fra", "vouet_saint_jerome_and_the_angel"]}, {"k": "master", "n": "Peter Paul Rubens", "u": "/editions/master/peter-paul-rubens/", "ids": ["rubens_massacre_innocents", "rubens_entombment", "rubens_the_incredulity_of_saint_thomas", "rubens_daniel"]}]}, "raphael_the_canigiani_holy_family": {"id": "raphael_the_canigiani_holy_family", "title": "The Canigiani Holy Family", "artist_line": "Raphael (Italian, 1483–1520)", "artist": "Raphael", "date": "c. 1507", "museum": "Alte Pinakothek, Munich", "license": "Public domain", "tier": "Sanctuary", "sizes": [{"size": "8×10 in", "paper": 39, "iw": 8.0, "ih": 10, "sw": 8, "sh": 10, "cov": 0.998}, {"size": "11×14 in", "paper": 59, "iw": 11, "ih": 13.8, "sw": 11, "sh": 14, "cov": 0.984}, {"size": "16×20 in", "paper": 110, "iw": 16.0, "ih": 20, "sw": 16, "sh": 20, "cov": 0.998}, {"size": "18×24 in", "paper": 140, "iw": 18, "ih": 22.5, "sw": 18, "sh": 24, "cov": 0.939}, {"size": "24×36 in", "paper": 190, "iw": 24, "ih": 30.1, "sw": 24, "sh": 36, "cov": 0.835}, {"size": "32×48 in", "paper": 340, "iw": 32, "ih": 40.1, "sw": 32, "sh": 48, "cov": 0.835}, {"size": "40×60 in", "paper": 480, "iw": 40, "ih": 50.1, "sw": 40, "sh": 60, "cov": 0.835}], "local": "/store/display/raphael_the_canigiani_holy_family.jpg", "commons_file": "Raffaello Santi - Sacra Famiglia Canigiani (Alte Pinakothek).jpg", "zoom": "https://art.monstrance.app/zoom/raphael_the_canigiani_holy_family.jpg", "master_px": 9894, "auth": {"institution": "Alte Pinakothek, Munich", "accession": "476", "url": "https://www.sammlung.pinakothek.de/en/artwork/wE4KqoKLZ5/raffael/die-heilige-familie-aus-dem-hause-canigiani", "artist_as_printed": "Raffael (1483-1520)", "date_as_printed": "um 1505/1506", "medium": "Pappelholz (Populus sp.)", "dimensions": "131 x 107 cm"}, "writeup": {"text": "Saint Joseph leans on his staff with both hands and bends toward Elizabeth, and Vasari says he is marvelling that so old a woman should have a child. Below him she kneels, head wrapped in white, looking up at Our Lady, who sits barefoot with a book in her hand. Between them the two children play with a scroll: the Christ Child and the young Baptist, Florence's patron and, in a house like this, a Florentine boy. The Canigiani, Florentine bankers, commissioned it for a home altar. Angels crowd the two upper corners, and they nearly did not survive. Cathleen Hoeniger records that in the early 1750s, in the Elector Palatine's collection, someone scratched at them, failed, and painted the sky over; Hubertus von Sonnenburg took the repaint off in 1982. Raphael's heaven came back after two centuries under flat blue.", "sources": [{"what": "Joseph standing above seated Mary and Elizabeth, leaning on staff; Leonardo-derived pyramid reworked calmer than Leonardo's own", "url": "https://www.wga.hu/html/r/raphael/2firenze/2/35canig.html", "cite": "Web Gallery of Art, 'Raphael's Canigiani Holy Family'"}, {"what": "The museum's own object text (read 2026-09-02): 'The figures of the Holy Family have been placed in a rather formal pyramidal composition' and 'The groups of angels, which were over-painted in the late 18th century and restored in 1983, are important for the balance of the entire composition.' Replaces the De Vecchi 1975 and Conti 2002 cites, which were quoted through Italian Wikipedia. NOTE the museum's dates are rounder than the card's: the card's 'in the 1750s' and '1982' come from Hoeniger (CeROArt 2013, cited below: early 1750s under Carl Theodor; Sonnenburg 1982); the Pinakothek page says late 18th century / 1983. Both are on file; the card follows the dated scholarly account.", "url": "https://www.sammlung.pinakothek.de/en/artwork/wE4KqoKLZ5/raffael/die-heilige-familie-aus-dem-hause-canigiani", "cite": "Alte Pinakothek, Munich, Sammlung Online, 'Die Heilige Familie aus dem Hause Canigiani', Raffael, inv. 476 — object text."}, {"what": "Figures linked by exchanged glances rather than dramatic gesture", "url": "https://www.wga.hu/html/r/raphael/2firenze/2/35canig.html", "cite": "Web Gallery of Art"}, {"what": "Infant Christ and infant John the Baptist shown together; John's inclusion reflects his role as Florence's patron saint", "cite": "Google Arts \u0026 Culture, 'The Holy Family' (Alte Pinakothek partner story)"}, {"what": "Commissioned by Domenico Canigiani, a wealthy Florentine merchant/banking-family patrician, for a domestic 'home altar'", "url": "https://www.sammlung.pinakothek.de/en/artwork/wE4KqoKLZ5/raffael/die-heilige-familie-aus-dem-hause-canigiani", "cite": "Alte Pinakothek object record / dossier commission summary"}, {"what": "The putti in the upper corners were deliberately scratched at in a failed attempt to erase them and the sky then heavily repainted, under Elector Carl Theodor in the early 1750s; Hubertus von Sonnenburg removed the repaint in 1982. The painting was in the Palatine collection from 1697, and Hoeniger declines to name the culprit: 'it is not possible to determine whether the restorer responsible was the Parisian, François-Louis Colins...or someone far less talented'.", "url": "https://journals.openedition.org/ceroart/3550", "cite": "Cathleen Hoeniger, 'Raphael's Religious Paintings and Their Early Restorations: Devotional Attention or Aesthetic Appreciation?', CeROArt, HS (2013)"}, {"what": "Vasari's account of the Canigiani commission and of Joseph's gesture — leaning on his staff, bending toward Elizabeth, marvelling that so old a woman should have a child. Primary text, no url: checked against the Italian original of the Life of Raphael, where Joseph is 'appoggiato con ambe le mani a un bastone' and 'china la testa verso Elisabetta quasi maravigliandosi e lodando la grandezza di Dio che una tanta vecchia faccia un sì piccol figliuolo'. The locator says what is claimed, and the marvel belongs to Joseph, as the card has it.", "cite": "Giorgio Vasari, Lives of the Most Eminent Painters, Sculptors and Architects, 'Life of Raphael' (1568), de Vere trans."}, {"what": "John the Baptist as patron saint of Florence, and the young Baptist in Florentine domestic pictures read as both saint and Florentine boy.' Object is Piero di Cosimo, 'The Young Saint John the Baptist', ca. 1480-82 — a different picture, so the claim is general-Florentine and reaches this panel only through the card's 'in such a house'.", "url": "https://www.metmuseum.org/art/collection/search/437285", "cite": "The Metropolitan Museum of Art, Piero di Cosimo, 'The Young Saint John the Baptist', object record"}, {"what": "NOT a new source — the existing Web Gallery of Art citation. Recording it here so the dossier shows what this URL is now load-bearing for.", "url": "https://www.wga.hu/html/r/raphael/2firenze/2/35canig.html", "cite": "Web Gallery of Art, 'Raphael's Canigiani Holy Family' (existing source, newly load-bearing)"}]}, "scene": {"ref": "Luke 2:51", "quote": "And he went down with them and came to Nazareth and was subject to them. And his mother kept all these words in her heart.", "shows": "the child subject to them at Nazareth"}, "th": "/store/thumb/raphael_the_canigiani_holy_family.webp", "more": [{"k": "subject", "n": "The Holy Family in painting", "u": "/editions/subject/holy-family/", "ids": ["del_sarto_holy_family_with_the_young_saint_john_th", "rubens_holy_family", "rembrandt_holy_family_angels", "poussin_holy_family_steps"]}, {"k": "master", "n": "Raphael", "u": "/editions/master/raphael/", "ids": ["raphael_alba_madonna", "raphael_sistine_madonna", "raphael_saint_john_the_baptist_in_the_desert", "raphael_transfiguration"]}]}, "memling_the_virgin_and_child_between_saint_jam": {"id": "memling_the_virgin_and_child_between_saint_jam", "title": "The Virgin and Child between Saint James and Saint Dominic", "artist_line": "Hans Memling (Early Netherlandish, c. 1430–1494)", "artist": "Hans Memling", "date": "1488–1490", "museum": "Musée du Louvre, Paris", "license": "Public domain", "tier": "Sanctuary", "sizes": [{"size": "18×24 in", "paper": 140, "iw": 22.4, "ih": 18, "sw": 24, "sh": 18, "cov": 0.934}, {"size": "24×36 in", "paper": 190, "iw": 29.9, "ih": 24, "sw": 36, "sh": 24, "cov": 0.83}, {"size": "32×48 in", "paper": 340, "iw": 39.8, "ih": 32, "sw": 48, "sh": 32, "cov": 0.83}, {"size": "40×60 in", "paper": 480, "iw": 49.8, "ih": 40, "sw": 60, "sh": 40, "cov": 0.83}], "local": "/store/display/memling_the_virgin_and_child_between_saint_jam.jpg", "commons_file": "La Vierge et l'Enfant entre saint Jacques et saint Dominique - Hans Memling - Musée du Louvre Peintures RF 215.jpg", "zoom": "https://art.monstrance.app/zoom/memling_the_virgin_and_child_between_saint_jam.jpg", "master_px": 9762, "auth": {"institution": "Musée du Louvre, Paris", "accession": "RF 215", "url": "https://collections.louvre.fr/en/ark:/53355/cl010061672", "artist_as_printed": "Memling, Hans", "date_as_printed": "XVe siècle (1400 - 1500)", "medium": "huile sur bois", "dimensions": "Hauteur : 1,3 m ; Largeur avec accessoire : 1,694 m"}, "writeup": {"text": "A throne stands in the middle of a church, and the church is divided by it. Hans Memling seats Our Lady there with the Christ Child on her lap, and, as W. H. James Weale observed, this is not his usual setting for the Virgin: her throne is erected in the middle of the nave, and a rood-screen of five bays shuts off the choir. Utpictura18, the Aix-Marseille database, reads the church cut in two by the throne as the whole space made a Tabernacle, which the mystical writers tie to the mystery of the Incarnation. Saint James the Pilgrim and Saint Dominic present a family: Jacob Floreins, a Bruges spice merchant, with his sons on one side, and on the other his wife in widow's dress with their daughters, nineteen children. At either edge the arches open onto country, and the Child lifts a hand toward the pilgrim.", "sources": [{"what": "Louvre object page: medium (oil on wood), unframed panel height 1.3 m, alternate title 'Retable dit de Jacques Floreins' listed but patron identity left hedged", "url": "https://collections.louvre.fr/en/ark:/53355/cl010061672"}, {"what": "Provenance: taken from Spain in 1808 by General Jean-Claude Darmagnac, then military governor of Old Castile and Burgos province", "url": "https://collections.louvre.fr/en/ark:/53355/cl010061672"}, {"what": "Louvre record. Author field lists Memling as author with a separate school entry 'Pays-Bas du Sud, Ecole de' (Southern Netherlands School) - the 'Ecole de' is the school label, NOT a 'school of Memling' hedge, so the card may name Memling as painter. Patron left hedged. Alternate title recorded. Date field is only 'XVe siecle (1400 - 1500)'. The record contains no description of the figures whatsoever - it cannot support any dress or posture claim.", "url": "https://collections.louvre.fr/en/ark:/53355/cl010061672", "cite": "Musee du Louvre, RF 215, La Vierge et l'Enfant entre saint Jacques et saint Dominique"}, {"what": "The card's opening claim — that this setting is unusual for Memling's Virgins. Replaces the Wikipedia 'sacra conversazione, rare in northern Europe' framing with a named scholar's own comparative judgement about Memling's own practice.", "url": "https://www.gutenberg.org/ebooks/42876.txt.utf-8", "cite": "W. H. James Weale \u0026 J. Cyril M. Weale, Memlinc, ed. T. Leman Hare, 'Masterpieces in Colour' series, T. C. \u0026 E. C. Jack (London) / Frederick A. Stokes Co. (New York), n.d. — W. H. James Weale (1832-1917) is the founder of modern Memling scholarship. Read in the Project Gutenberg full text of the book (ebook #42876), fetched 2026-08-16. Gutenberg's metadata gives no printing year, so none is asserted. Early-twentieth-century scholarship: cited for description and for Weale's own comparative judgement, not as current attribution science."}, {"what": "The architecture that is now the whole card: the throne stands in the NAVE, and a rood-screen of five bays closes off the choir behind it. Carries 'Her throne is erected in the middle of the nave' and 'A rood-screen of five bays shuts off the choir.'", "url": "https://www.gutenberg.org/ebooks/42876.txt.utf-8", "cite": "W. H. James Weale \u0026 J. Cyril M. Weale, Memlinc (Masterpieces in Colour), read in the Project Gutenberg full text, ebook #42876. Verified across four separate fetches of the file with four differently worded prompts on 2026-08-16; the fragment came back character-identical each time."}, {"what": "The two saints stand beside the throne in the same continuous interior — this is what actually licenses the old card's 'no wings, no partitions', without leaning on Wikipedia's 'lacking the latter's usual side panels'.", "url": "https://www.gutenberg.org/ebooks/42876.txt.utf-8", "cite": "W. H. James Weale \u0026 J. Cyril M. Weale, Memlinc (Masterpieces in Colour), read in the Project Gutenberg full text, ebook #42876, fetched 2026-08-16."}, {"what": "The card's theological centre: the church cut in two by the Virgin's throne, identifying the whole space with the Tabernacle. Carries 'the church is cut in two by it: the whole space is made a Tabernacle'.", "url": "https://utpictura18.univ-amu.fr/en/notice/5555-epitaph-for-the-family-of-jacques-floreins-memling", "cite": "Utpictura18, notice 5555, 'Épitaphe pour la famille de Jacques Floreins - Memling'. Utpictura18 is the iconographic research database of Aix-Marseille Université, co-hosted by the CIELAM laboratory and funded through the university's AMIDEX foundation and the ANR Religis programme (institutional affiliations quoted from the site's own front matter, fetched 2026-08-16). An edited university database, not a crowd-edited encyclopaedia; no individual notice author is credited, which is why nothing rests on it alone where Weale also speaks."}, {"what": "The mystical reading that completes the Tabernacle sentence — carries 'which the mystical writers tie to the mystery of the Incarnation'.", "url": "https://utpictura18.univ-amu.fr/en/notice/5555-epitaph-for-the-family-of-jacques-floreins-memling", "cite": "Utpictura18, notice 5555, Aix-Marseille Université / CIELAM. Fetched twice on 2026-08-16 with differently worded prompts; the French returned identical both times."}, {"what": "The presentation by the two saints, the donor's trade, and Saint James named as the Pilgrim — carries 'Saint James the Pilgrim ... presenting a family', and 'a Bruges spice merchant'. Also fixes the sides the old angle guessed at: Floreins left with the sons, wife right with the daughters.", "url": "https://utpictura18.univ-amu.fr/en/notice/5555-epitaph-for-the-family-of-jacques-floreins-memling", "cite": "Utpictura18, notice 5555, Aix-Marseille Université / CIELAM, fetched 2026-08-16."}, {"what": "Saint Dominic presents the wife and twelve daughters. With the seven sons above this gives nineteen children, corroborating Weale's count from an independent source.", "url": "https://utpictura18.univ-amu.fr/en/notice/5555-epitaph-for-the-family-of-jacques-floreins-memling", "cite": "Utpictura18, notice 5555, Aix-Marseille Université / CIELAM, fetched 2026-08-16. (The source's own typo 'présentée' is reproduced verbatim.)"}, {"what": "The widow's dress — carries 'his wife in widow's dress'. This is the detail the previous reviewer flagged as an omission from the card; it is now sourced and in the card.", "url": "https://utpictura18.univ-amu.fr/en/notice/5555-epitaph-for-the-family-of-jacques-floreins-memling", "cite": "Utpictura18, notice 5555, Aix-Marseille Université / CIELAM, fetched 2026-08-16. The card takes only the dress, not the inference about when the panel was commissioned — see note."}, {"what": "Institutional confirmation of the donor's identity and trade: Jacob Floreins, spice merchant at Bruges. This is the French state's own museum record, and it is the second independent source for 'a Bruges spice merchant'.", "url": "https://www.pop.culture.gouv.fr/notice/joconde/00000081385", "cite": "Notice Joconde 00000081385, base POP (Plateforme Ouverte du Patrimoine), Ministère de la Culture, France — 'LA VIERGE ET L'ENFANT ENTRE SAINT JACQUES ET SAINT DOMINIQUE PRESENTANT LES DONATEURS ET LEUR FAMILLE ; DIT LA VIERGE DE JACQUES FLOREINS', Paris, musée du Louvre, département des Peintures. Fetched 2026-08-16."}, {"what": "RETAINED and re-read EN and FR on 2026-08-16. The authority record: RF 215, huile sur bois, alternate title 'Retable dit de Jacques Floreins', Memling named as author. New this pass: the room is Richelieu Salle 818, 'Peindre pour les marchands' — the Louvre itself hangs this panel as merchant patronage, which is the card's new frame. Its bibliography also names De Vos 1994 pp. 310-311 and Lorentz 1995 pp. 35-42; neither book could be.", "url": "https://collections.louvre.fr/en/ark:/53355/cl010061672", "cite": "Musée du Louvre, RF 215, 'La Vierge et l'Enfant entre saint Jacques et saint Dominique' / 'Retable dit de Jacques Floreins', Département des Peintures, Richelieu Salle 818."}]}, "scene": {"why": "A DEVOTIONAL TYPE, NOT AN EPISODE. The Virgin enthroned or half-length with her Son is not a moment any evangelist records; it is an image made for prayer. Where a particular picture does illustrate a scene, that work carries its own citation."}, "th": "/store/thumb/memling_the_virgin_and_child_between_saint_jam.webp", "more": [{"k": "subject", "n": "The Madonna and Child in painting", "u": "/editions/subject/madonna-and-child/", "ids": ["michelangelo_manchester_madonna", "quinten_massys_the_virgin_and_child_enthroned", "mantegna_the_madonna_della_vittoria", "mantegna_madonna_in_glory_with_saints_trivulzio"]}, {"k": "master", "n": "Hans Memling", "u": "/editions/master/hans-memling/", "ids": ["memling_christ_blessing", "hans_memling_madonna_and_child_with_angels", "memling_annunciation"]}]}, "poussin_the_ecstasy_of_saint_paul": {"id": "poussin_the_ecstasy_of_saint_paul", "title": "The Ecstasy of Saint Paul", "artist_line": "Nicolas Poussin (French, 1594–1665)", "artist": "Nicolas Poussin", "date": "1649–1650", "museum": "Musée du Louvre, Paris", "license": "Public domain", "tier": "Sanctuary", "sizes": [{"size": "18×24 in", "paper": 140, "iw": 17.9, "ih": 24, "sw": 18, "sh": 24, "cov": 0.994}, {"size": "24×36 in", "paper": 190, "iw": 24, "ih": 32.2, "sw": 24, "sh": 36, "cov": 0.894}, {"size": "32×48 in", "paper": 340, "iw": 32, "ih": 42.9, "sw": 32, "sh": 48, "cov": 0.894}, {"size": "40×60 in", "paper": 480, "iw": 40, "ih": 53.6, "sw": 40, "sh": 60, "cov": 0.894}], "local": "/store/display/poussin_the_ecstasy_of_saint_paul.jpg", "commons_file": "Le Ravissement de saint Paul - Nicolas Poussin - Musée du Louvre Peintures INV 7288 ; MR 2325.jpg", "zoom": "https://art.monstrance.app/zoom/poussin_the_ecstasy_of_saint_paul.jpg", "master_px": 9655, "auth": {"institution": "Musée du Louvre, Paris", "accession": "INV 7288 ; MR 2325", "url": "https://collections.louvre.fr/en/ark:/53355/cl010062554", "artist_as_printed": "Poussin, Nicolas", "date_as_printed": "Milieu du XVIIe siècle (1649 - 1650)", "medium": "huile sur toile", "dimensions": "Hauteur : 1,48 m ; Largeur : 1,2 m"}, "writeup": {"text": "A book and a sword lie on a stone slab, and their owner is being carried away above them. Three angels bear Saint Paul upward, his arms flung open, his feet bare. The Louvre calls book and sword his attributes; Charles Le Brun, lecturing to the Académie on 10 January 1671, read the sword as Paul's writings, the three angels as three states of grace, prevenient, cooperating and triumphant, and the whole canvas as silent theology. Poussin painted it in Rome in 1649-50 for the poet Paul Scarron, inventor of French burlesque, and not for any altar. Below, the architecture and a level landscape run out to the horizon. His own account is in the third person: \"That he was caught up into paradise and heard secret words which it is not granted to man to utter.\" The sword stays on the stone.", "sources": [{"what": "Object record: title, date 1649-1650, medium/dimensions, composition (angels bearing Paul, book and sword on stone platform, architecture and landscape below), and Le Brun's 1671 lecture reading the t", "url": "https://collections.louvre.fr/en/ark:/53355/cl010062554"}, {"what": "Scholarly analysis of Le Brun's 1671 Academie lecture on this painting, confirming the 'three states of grace' (prevenient, cooperating, triumphant) reading as Le Brun's own gloss, not documented as P", "cite": "James Clifton, \"The Limits of 'Mute Theology': Charles Le Brun's Lecture on Nicolas Poussin's Ecstasy of Saint Paul Revisited,\" in Quid est sacramentum? (Brill, 2019), pp. 580-605"}, {"what": "Commission by the poet Paul Scarron, inventor of French literary burlesque; painting executed in Rome 1649-1650; no ecclesiastical destination documented, painted for Scarron's private collection", "url": "https://graphicarts.princeton.edu/2021/06/16/saint-paul-enleve-jusquau-troisieme-ciel-for-paul-scarron/"}, {"what": "Le Brun's own lecture to the Académie of 10 January 1671: the three angels as three states of grace, the canvas as silent theology, and the sword identified with Paul's writings.", "url": "https://www.academia.edu/44012574/The_Limits_of_Mute_Theology_Charles_Le_Bruns_Lecture_on_Nicolas_Poussins_Ecstasy_of_Saint_Paul_Revisited", "cite": "Charles Le Brun, conférence of 10 January 1671, in 'The Limits of Mute Theology: Charles Le Brun's Lecture on Nicolas Poussin's Ecstasy of Saint Paul Revisited'."}, {"what": "The withheld fact the card closes on: Paul heard secret words, which it is not granted to man to utter.", "cite": "II Corinthians 12:4, Douay-Rheims (Challoner)."}, {"what": "The owning institution's record: the book and the sword as the saint's attributes, lying on a stone slab.", "url": "https://collections.louvre.fr/en/ark:/53355/cl010062554", "cite": "Musée du Louvre, 'Le Ravissement de saint Paul', INV 7288."}]}, "scene": {"ref": "2 Corinthians 12:4", "quote": "That he was caught up into paradise and heard secret words which it is not granted to man to utter.", "shows": "caught up into paradise, and heard secret words"}, "th": "/store/thumb/poussin_the_ecstasy_of_saint_paul.webp", "more": [{"k": "subject", "n": "Saints in painting", "u": "/editions/subject/saints/", "ids": ["le_sueur_der_heilige_bruno_im_gebet_saint_bruno_i", "zurbaran_st_francis", "dolci_mater_dolorosa", "dolci_saint_catherine_of_siena"]}, {"k": "master", "n": "Nicolas Poussin", "u": "/editions/master/nicolas-poussin/", "ids": ["nicolas_poussin_the_holy_family", "poussin_the_assumption_of_the_virgin", "poussin_adoration_shepherds", "poussin_saint_john_baptizing_the_people"]}]}, "tiepolo_the_miracle_of_the_holy_house_of_loret": {"id": "tiepolo_the_miracle_of_the_holy_house_of_loret", "title": "The Miracle of the Holy House of Loreto", "artist_line": "Giovanni Battista Tiepolo (Italian, 1696–1770)", "artist": "Giovanni Battista Tiepolo", "date": "1743", "museum": "The J. Paul Getty Museum, Los Angeles", "license": "Public domain", "tier": "Sanctuary", "sizes": [{"size": "18×24 in", "paper": 140, "iw": 14.9, "ih": 24, "sw": 18, "sh": 24, "cov": 0.827}, {"size": "24×36 in", "paper": 190, "iw": 22.3, "ih": 36, "sw": 24, "sh": 36, "cov": 0.931}, {"size": "32×48 in", "paper": 340, "iw": 29.8, "ih": 48, "sw": 32, "sh": 48, "cov": 0.931}, {"size": "40×60 in", "paper": 480, "iw": 37.2, "ih": 60, "sw": 40, "sh": 60, "cov": 0.931}], "local": "/store/display/tiepolo_the_miracle_of_the_holy_house_of_loret.jpg", "commons_file": "Giovanni Battista Tiepolo - The Miracle of the Holy House of Loreto - 94.PA.20 - J. Paul Getty Museum.jpg", "zoom": "https://art.monstrance.app/zoom/tiepolo_the_miracle_of_the_holy_house_of_loret.jpg", "master_px": 9519, "auth": {"institution": "The J. Paul Getty Museum, Los Angeles", "accession": "94.PA.20", "url": "https://www.getty.edu/art/collection/object/103RK2", "artist_as_printed": "Giovanni Battista Tiepolo (Italian, 1696 - 1770)", "date_as_printed": "1743", "medium": "Oil on canvas", "dimensions": "Unframed: 122.9 × 77.8 cm (48 3/8 × 30 5/8 in.)"}, "writeup": {"text": "A house flies. Angels carry it through open sky on their backs and arms, and Our Lady sits on its roof with the Christ Child, riding it like a figurehead on a ship. At Loreto the house is venerated, by tradition, as the Holy Family's actual home, carried there out of the Holy Land. Trumpets sound at the right; below, dark figures tumble away into shadow. Giovanni Battista Tiepolo painted this oil sketch in 1743, and Gino Fogolari records the commission that year from the Discalced Carmelites of the Scalzi church in Venice, with Mengozzi Colonna for the painted architecture. The ceiling itself is gone: an Austrian bomb destroyed it in 1915, the Gallerie dell'Accademia records. Only the sketch keeps the flight, and in it the house is still in the air.", "sources": [{"what": "Getty object page: identifies work as 1743 Italian oil on canvas; institution of record", "url": "https://www.getty.edu/art/collection/object/103RK2"}, {"what": "Fogolari, Bollettino d'Arte: 1743 commission by Discalced Carmelite friars of Scalzi church, Venice; quadraturista Mengozzi Colonna; figure grouping description", "url": "https://bollettinodarte.cultura.gov.it/wp-content/uploads/Importer/1435668826796_07_-_G._Fogolari.pdf", "cite": "Gino Fogolari, \"Il bozzetto del Tiepolo per il Trasporto della Santa Casa di Loreto,\" Bollettino d'Arte (Ministero della Cultura)"}, {"what": "Santuario della Santa Casa, Loreto official history: Holy House venerated as the Holy Family's actual dwelling, carried from the Holy Land by tradition", "url": "https://www.santuarioloreto.va/en/storia/la-santa-casa-da-nazareth-a-loreto.html"}, {"what": "Closing sentence: the Scalzi (Santa Maria di Nazareth) ceiling fresco was destroyed by an Austrian bomb in 1915.", "url": "https://www.gallerieaccademia.it/opera/il-trasporto-della-santa-casa-di-loreto/", "cite": "Gallerie dell'Accademia di Venezia, collection record, Giambattista Tiepolo, \"Il Trasporto della Santa Casa di Loreto,\" cat. 911"}]}, "scene": {"why": "NOT A NARRATIVE SCENE. These subjects — the Virgin’s education, her death, the Holy House — come from tradition and from the apocryphal Protoevangelium of James, not from Scripture. Saint Anne is named in no canonical book."}, "th": "/store/thumb/tiepolo_the_miracle_of_the_holy_house_of_loret.webp", "more": [{"k": "subject", "n": "The Life of the Virgin in painting", "u": "/editions/subject/the-life-of-the-virgin/", "ids": ["giotto_the_entombment_of_mary", "goes_the_death_of_the_virgin", "geertgen_glorification_of_the_virgin", "rubens_the_education_of_the_virgin"]}, {"k": "master", "n": "Giovanni Battista Tiepolo", "u": "/editions/master/giovanni-battista-tiepolo/", "ids": ["tiepolo_madonna_of_the_goldfinch", "tiepolo_the_immaculate_conception", "tiepolo_the_vision_of_saint_cajetan"]}]}, "tintoretto_saint_mark_s_body_brought_to_venice": {"id": "tintoretto_saint_mark_s_body_brought_to_venice", "title": "Saint Mark's Body Brought to Venice", "artist_line": "Tintoretto (Italian, 1518–1594)", "artist": "Tintoretto", "date": "1562–1566", "museum": "Gallerie dell'Accademia, Venice", "license": "Public domain", "tier": "Sanctuary", "sizes": [{"size": "18×24 in", "paper": 140, "iw": 18, "ih": 22.4, "sw": 18, "sh": 24, "cov": 0.933}, {"size": "24×36 in", "paper": 190, "iw": 24, "ih": 29.8, "sw": 24, "sh": 36, "cov": 0.829}, {"size": "32×48 in", "paper": 340, "iw": 32, "ih": 39.8, "sw": 32, "sh": 48, "cov": 0.829}, {"size": "40×60 in", "paper": 480, "iw": 40, "ih": 49.7, "sw": 40, "sh": 60, "cov": 0.829}], "local": "/store/display/tintoretto_saint_mark_s_body_brought_to_venice.jpg", "commons_file": "Jacopo Tintoretto - St Mark's Body Brought to Venice.jpg", "zoom": "https://art.monstrance.app/zoom/tintoretto_saint_mark_s_body_brought_to_venice.jpg", "master_px": 9600, "auth": {"institution": "Gallerie dell'Accademia di Venezia", "accession": "Catalogo 831", "url": "https://www.gallerieaccademia.it/opera/messa-in-salvo-del-corpo-di-san-marco/", "artist_as_printed": "Jacopo Robusti detto Jacopo Tintoretto - Venezia, 1519 - 1594", "date_as_printed": "1562-1566", "medium": "Tela", "dimensions": "cm 397 x 315"}, "writeup": {"text": "A camel waits at the right, harnessed, while the sky tears open above a square. Men carry a dead body across the stones, and all around them people run for the arcades or lie flat. Tintoretto painted the saving of Saint Mark's body between 1562 and 1566, and the Gallerie dell'Accademia reads the storm as the miracle itself: hail breaking over the persecutors so that the faithful could take the body from the pyre. The camel beside the woodpile marks the place as Alexandria. Yet the museum finds the deep perspective perhaps inspired by Piazza San Marco, its porticoes recalling Sansovino, and Letha Ch'ien reads the square as Venice's own, the body already carried toward the basilica that will hold it. The Accademia records that the original pyre was painted over with archways when the canvas was trimmed for the Biblioteca Marciana. The body keeps moving toward home.", "sources": [{"what": "Museum's own reading: hailstorm is the miracle that routs persecutors so the faithful can save Mark's body from the pyre", "url": "https://www.gallerieaccademia.it/opera/messa-in-salvo-del-corpo-di-san-marco/"}, {"what": "Museum reads the deep perspective as 'perhaps inspired by Piazza San Marco,' recalling Sansovino architecture", "url": "https://www.gallerieaccademia.it/opera/messa-in-salvo-del-corpo-di-san-marco/"}, {"what": "Museum confirms the composition was heavily repainted: original pyre/woodpile overpainted with archways after the canvas was trimmed for the Biblioteca Marciana", "url": "https://www.gallerieaccademia.it/opera/messa-in-salvo-del-corpo-di-san-marco/"}, {"what": "Frightened camel beside a woodpile marks the Alexandria setting of the episode", "url": "https://www.frammentiarte.it/2016/23-trafugamento-del-corpo-di-san-marco/"}, {"what": "Scholarly identification of the bearded man supporting Mark's shoulders as patron Tommaso Rangone", "url": "https://eclecticlight.co/2018/08/21/celebrating-the-500th-anniversary-of-tintoretto-7-assumptions-and-saint-mark/", "cite": "Howard Oakley, 'Celebrating the 500th anniversary of Tintoretto, 7,' The Eclectic Light Company, 21 Aug 2018"}, {"what": "Rangone was Guardian Grande of the Scuola Grande di San Marco and commissioned the cycle including this canvas", "url": "https://www.gallerieaccademia.it/opera/messa-in-salvo-del-corpo-di-san-marco/"}, {"what": "Named scholar on the Scuola Grande di San Marco cycle: the deep colonnaded clearing, its porticoes recalling Sansovino, is Piazza San Marco — Alexandria transposed onto Venice's own square, with the body already carried toward the basilica that will hold it.", "url": "https://escholarship.org/uc/item/74n3c1ph", "cite": "Letha Catherine Ch'ien, 'Making Miracles at the Scuola Grande di San Marco', PhD dissertation, University of California, Berkeley."}]}, "scene": {"why": "THE SAINT IS NOT IN SCRIPTURE, or this episode of their life is not. Their acts come to us through the Church’s memory — martyrologies, hagiography, the testimony of their own communities — not through the biblical record. Naming a verse here would dress tradition as Scripture."}, "th": "/store/thumb/tintoretto_saint_mark_s_body_brought_to_venice.webp", "more": [{"k": "subject", "n": "Saints in painting", "u": "/editions/subject/saints/", "ids": ["pieter_bruegel_the_elder_the_massacre_of_the_innocents", "pieter_bruegel_the_elder_the_sermon_of_st_john_the_baptist", "veronese_the_martyrdom_of_saint_justina", "carracci_saint_francis_in_meditation"]}, {"k": "master", "n": "Tintoretto", "u": "/editions/master/tintoretto/", "ids": ["tintoretto_the_baptism_of_christ", "tintoretto_crucifixion"]}]}, "giotto_the_entombment_of_mary": {"id": "giotto_the_entombment_of_mary", "title": "The Death of the Virgin", "artist_line": "Giotto (Italian, c. 1267–1337)", "artist": "Giotto", "date": "c. 1310", "museum": "Gemäldegalerie, Berlin", "license": "Public domain", "tier": "Sanctuary", "sizes": [{"size": "18×24 in", "paper": 140, "iw": 24, "ih": 10.0, "sw": 24, "sh": 18, "cov": 0.558}, {"size": "16×32 in", "paper": 150, "iw": 32, "ih": 13.4, "sw": 32, "sh": 16, "cov": 0.837}, {"size": "20×40 in", "paper": 180, "iw": 40, "ih": 16.7, "sw": 40, "sh": 20, "cov": 0.837}, {"size": "24×36 in", "paper": 190, "iw": 36, "ih": 15.1, "sw": 36, "sh": 24, "cov": 0.628}, {"size": "32×48 in", "paper": 340, "iw": 48, "ih": 20.1, "sw": 48, "sh": 32, "cov": 0.628}, {"size": "30×60 in", "paper": 380, "iw": 60, "ih": 25.1, "sw": 60, "sh": 30, "cov": 0.837}, {"size": "40×60 in", "paper": 480, "iw": 60, "ih": 25.1, "sw": 60, "sh": 40, "cov": 0.628}], "local": "/store/display/giotto_the_entombment_of_mary.jpg", "commons_file": "Giotto - The Entombment of Mary - Google Art Project.jpg", "zoom": "https://art.monstrance.app/zoom/giotto_the_entombment_of_mary.jpg", "master_px": 9554, "auth": {"institution": "Gemäldegalerie, Staatliche Museen zu Berlin", "accession": "1884", "url": "https://recherche.smb.museum/detail/865492/der-tod-mariae", "artist_as_printed": "Giotto (um 1267 - 1337)", "date_as_printed": "um 1310", "medium": "Pappelholz", "dimensions": "Bildmaß: 75,8 x 179,7 cm Giebelform"}, "writeup": {"text": "Our Lady lies on the bier, and those around her have come close enough to hold the cloth. The Staatliche Museen zu Berlin read Giotto's scene as her falling asleep, funeral, burial and assumption fused into one rite of remembrance. Berlin names its parts: Peter reciting from the psalms, Andrew in green with the aspergillum, an angel blowing into a censer, pairs of angels with twisted candles lit for the blessing of the dying. It stood on a side altar at Ognissanti kept for offices of the dead, matched, the museum says, to the rite performed before it. One mourner kneels before the bier, close enough to touch.", "sources": [{"what": "Berlin's catalogue text: the Dormition drawn from the Transitus Mariae (Pseudo-Melito, revised by Gregory of Tours) and retold in the Golden Legend; the panel fuses Mary's death, funeral, burial and assumption into one rite of remembrance; Peter reciting psalms, Andrew in green with the aspergillum, an angel blowing into a censer, angel pairs with twisted candles lit at the blessing of the dying; the panel stood on a side altar at Ognissanti assigned to offices of the dead and was matched to the rite performed before it", "url": "https://search.smb.museum/object/obj-865492", "cite": "Staatliche Museen zu Berlin, Gemäldegalerie, Giotto di Bondone, 'Der Tod Mariae', c. 1310, object description, read 2026-09-24"}]}, "scene": {"why": "No book of Scripture narrates Mary's death and burial; the scene comes from the Church's tradition, set down in the Transitus Mariae writings and retold in the Golden Legend, which Berlin names as Giotto's sources."}, "th": "/store/thumb/giotto_the_entombment_of_mary.webp", "more": [{"k": "subject", "n": "The Life of the Virgin in painting", "u": "/editions/subject/the-life-of-the-virgin/", "ids": ["goes_the_death_of_the_virgin", "geertgen_glorification_of_the_virgin", "rubens_the_education_of_the_virgin", "zurbaran_young_virgin"]}, {"k": "master", "n": "Giotto", "u": "/editions/master/giotto/", "ids": ["giotto_francis_stigmata", "giotto_last_supper"]}]}, "cima_the_annunciation": {"id": "cima_the_annunciation", "title": "The Annunciation", "artist_line": "Cima da Conegliano (Italian, c. 1459–c. 1517)", "artist": "Cima da Conegliano", "date": "1495", "museum": "State Hermitage Museum, St Petersburg", "license": "Public domain", "tier": "Sanctuary", "sizes": [{"size": "8×10 in", "paper": 39, "iw": 7.9, "ih": 10, "sw": 8, "sh": 10, "cov": 0.983}, {"size": "11×14 in", "paper": 59, "iw": 11, "ih": 14.0, "sw": 11, "sh": 14, "cov": 0.999}, {"size": "16×20 in", "paper": 110, "iw": 15.7, "ih": 20, "sw": 16, "sh": 20, "cov": 0.983}, {"size": "18×24 in", "paper": 140, "iw": 18, "ih": 22.9, "sw": 18, "sh": 24, "cov": 0.954}, {"size": "24×36 in", "paper": 190, "iw": 24, "ih": 30.5, "sw": 24, "sh": 36, "cov": 0.848}, {"size": "32×48 in", "paper": 340, "iw": 32, "ih": 40.7, "sw": 32, "sh": 48, "cov": 0.848}, {"size": "40×60 in", "paper": 480, "iw": 40, "ih": 50.9, "sw": 40, "sh": 60, "cov": 0.848}], "local": "/store/display/cima_the_annunciation.jpg", "commons_file": "Cima da Conegliano - The Annunciation.jpg", "zoom": "https://art.monstrance.app/zoom/cima_the_annunciation.jpg", "master_px": 9480, "auth": {"institution": "State Hermitage Museum, St Petersburg", "accession": "ГЭ-256", "url": "https://www.nationalgallery.org.uk/paintings/giovanni-battista-cima-da-conegliano-two-panels-from-the-s-maria-dei-crociferi-altarpiece", "artist_as_printed": "Cima da Conegliano", "date_as_printed": "1495", "medium": "canvas (support contested - see note)", "dimensions": "136 x 107 cm"}, "writeup": {"text": "Gabriel comes in barefoot with a lily, and Our Lady keeps one hand on her open book. Above her, along the canopy of the bed, a Hebrew line quotes Isaiah: a virgin shall conceive and bear a son. Cavallini to Veronese notes that Cima wrote the prophecy into the room where it comes true. The Web Gallery of Art reads the light as the light that travels with Gabriel, not daylight, and his coming as a rush of air that stirs robe, hair and parchment. That parchment on the step names five silk weavers who commissioned it, and the date, 1495. An empty chair waits by the wall.", "sources": [{"what": "the Hebrew inscription on the bed canopy quoting the Immanuel prophecy, written into the scene of its fulfilment; the commission by the Arte dei Setaioli for their chapel at Santa Maria dei Crociferi", "url": "https://www.cavallinitoveronese.co.uk/cima-da-conegliano/"}, {"what": "the light read as the divine light accompanying Gabriel rather than daylight; his arrival as a rush of air disturbing drapery, hair and the parchment; the cartellino with the signature, the date 1495 and five guild members' names", "url": "https://www.wga.hu/html_m/c/cima/1/04annun.html"}, {"what": "The winged insect in the room read as the silk weavers' guild emblem — a silk moth — with the reservation, kept in the card, that it looks more like a wasp.", "url": "https://www.cavallinitoveronese.co.uk/cima-da-conegliano/", "cite": "Cavallini to Veronese, 'Cima da Conegliano'."}, {"what": "Corroborates the Crociferi silk-weavers' chapel and the signed Annunciation of 1495.", "url": "https://www.nationalgallery.org.uk/paintings/giovanni-battista-cima-da-conegliano-two-panels-from-the-s-maria-dei-crociferi-altarpiece", "cite": "The National Gallery, London, Cima da Conegliano, two panels from the S. Maria dei Crociferi altarpiece."}]}, "scene": {"ref": "Luke 1:28", "quote": "And the angel being come in, said unto her: Hail, full of grace, the Lord is with thee: blessed art thou among women.", "shows": "Gabriel’s greeting to Mary"}, "th": "/store/thumb/cima_the_annunciation.webp", "more": [{"k": "subject", "n": "The Annunciation in painting", "u": "/editions/subject/annunciation/", "ids": ["garofalo_the_annunciation", "lotto_annunciation_recanati_annunciation", "girolamo_mazzola_bedoli_the_annunciation", "caravaggio_the_annunciation"]}, {"k": "master", "n": "Cima da Conegliano", "u": "/editions/master/cima-da-conegliano/", "ids": ["cima_saint_jerome_in_the_wilderness"]}]}, "veronese_the_madonna_of_the_cuccina_family": {"id": "veronese_the_madonna_of_the_cuccina_family", "title": "The Madonna of the Cuccina Family", "artist_line": "Paolo Veronese (Italian, 1528–1588)", "artist": "Paolo Veronese", "date": "1571", "museum": "Gemäldegalerie Alte Meister, Dresden", "license": "Public domain", "tier": "Sanctuary", "sizes": [{"size": "18×24 in", "paper": 140, "iw": 24, "ih": 9.7, "sw": 24, "sh": 18, "cov": 0.54}, {"size": "24×36 in", "paper": 190, "iw": 36, "ih": 14.6, "sw": 36, "sh": 24, "cov": 0.607}, {"size": "32×48 in", "paper": 340, "iw": 48, "ih": 19.4, "sw": 48, "sh": 32, "cov": 0.607}, {"size": "40×60 in", "paper": 480, "iw": 60, "ih": 24.3, "sw": 60, "sh": 40, "cov": 0.607}], "local": "/store/display/veronese_the_madonna_of_the_cuccina_family.jpg", "commons_file": "Paolo Veronese - La Madonna della famiglia Cuccina - Google Arts \u0026 Culture.jpg", "zoom": "https://art.monstrance.app/zoom/veronese_the_madonna_of_the_cuccina_family.jpg", "master_px": 9467, "auth": {"institution": "Gemäldegalerie Alte Meister, Staatliche Kunstsammlungen Dresden", "accession": "Gal.-Nr. 224", "url": "https://skd-online-collection.skd.museum/Details/Index/432952", "artist_as_printed": "Caliari, Paolo, gen. Veronese (1528-1588)", "date_as_printed": "Um 1571", "medium": "Öl auf Leinwand", "dimensions": "167 x 416 cm"}, "writeup": {"text": "At the far left sits Our Lady with the Christ Child standing in her lap, and between them and the family kneel Saint John the Baptist and Saint Jerome, as the Dresden Gemäldegalerie names them. The Cuccina fill the rest: men, women, children, a small dog. Among them move three women in white, green and red, whom the museum names Faith, Hope and Charity. A review in Kunstchronik has them moving among the family protectively and embodying its virtue, vouching for merchant-citizens who had come from Bergamo and grown rich in cloth only by the middle of the sixteenth century. The museum dates the commission to about 1571, from Antonio and Alvise Cuccina, for the portego of their new palazzo on the Grand Canal. At the right edge Veronese paints the palazzo down to the smallest detail. The house that ordered it stands inside it.", "sources": [{"what": "Family kneeling before Madonna/Child fills whole canvas; Jerome and John the Baptist flank them; three virtues in white/green/red = Faith, Hope, Charity", "url": "https://skd-online-collection.skd.museum/Details/Index/432952"}, {"what": "Virtues' presence read as vouching for family's moral/social standing; family as merchant-citizens (cittadini) from Bergamo; one of Veronese's largest private commissions", "url": "https://www.academia.edu/40316852/Ausstellungsrezension_Veronese_Der_Cuccina_Zyklus_Gem%C3%A4ldegalerie_Alte_Meister_Dresden_9_3_3_6_2018_In_Kunstchronik_72_3_2019_S_131_138"}, {"what": "Commission circa 1571 by Antonio and Alvise Cuccina for the portego of their new Grand Canal palazzo (occupied from 1566)", "url": "https://skd-online-collection.skd.museum/Details/Index/432952"}, {"what": "Museum's own conservation note: after the 2013-2017 restoration, sky and green/red passages have lost original color intensity", "url": "https://skd-online-collection.skd.museum/Details/Index/432952"}, {"what": "The palazzo at the right edge is rendered down to the smallest detail, and its first upper floor holds the portego for which Veronese made the four paintings — the T4 fact and the landing.", "url": "https://skd-online-collection.skd.museum/Details/Index/432952", "cite": "Gemäldegalerie Alte Meister, Staatliche Kunstsammlungen Dresden, Gal.-Nr. 224, online collection entry 'Die Madonna der Familie Cuccina'"}, {"what": "Cuccina origins in Bergamo and wealth from the cloth trade, reached only by the middle of the sixteenth century.", "url": "https://www.academia.edu/40316852/Ausstellungsrezension_Veronese_Der_Cuccina_Zyklus_Gem%C3%A4ldegalerie_Alte_Meister_Dresden_9_3_3_6_2018_In_Kunstchronik_72_3_2019_S_131_138", "cite": "Exhibition review, 'Veronese. Der Cuccina-Zyklus', Gemäldegalerie Alte Meister Dresden, in Kunstchronik 72.3 (2019), pp. 131–138"}, {"what": "The Virtues move among the family members, interact protectively with them, and at the same time embody their virtuousness — the source for 'move among the Cuccina, protectively, embodying a virtue the family is credited with'. the fuller sentence supplies the verb 'move among' (bewegen sich zwischen) directly.", "url": "https://www.academia.edu/40316852/Ausstellungsrezension_Veronese_Der_Cuccina_Zyklus_Gem%C3%A4ldegalerie_Alte_Meister_Dresden_9_3_3_6_2018_In_Kunstchronik_72_3_2019_S_131_138", "cite": "Exhibition review, 'Veronese. Der Cuccina-Zyklus', in Kunstchronik 72.3 (2019), pp. 131–138"}]}, "scene": {"why": "A DEVOTIONAL TYPE, NOT AN EPISODE. The Virgin enthroned or half-length with her Son is not a moment any evangelist records; it is an image made for prayer. Where a particular picture does illustrate a scene, that work carries its own citation."}, "th": "/store/thumb/veronese_the_madonna_of_the_cuccina_family.webp", "more": [{"k": "subject", "n": "The Madonna and Child in painting", "u": "/editions/subject/madonna-and-child/", "ids": ["el_greco_madonna_and_child_with_saint_martina_a", "caravaggio_madonna_rosary", "caravaggio_madonna_loreto", "rubens_madonna_in_a_garland_of_flowers"]}, {"k": "master", "n": "Paolo Veronese", "u": "/editions/master/paolo-veronese/", "ids": ["veronese_the_martyrdom_of_saint_justina", "emmaus_veronese", "veronese_cana"]}]}, "goes_the_death_of_the_virgin": {"id": "goes_the_death_of_the_virgin", "title": "The Death of the Virgin", "artist_line": "Hugo van der Goes (Early Netherlandish, c. 1440–1482)", "artist": "Hugo van der Goes", "date": "c. 1475–1482", "museum": "Groeningemuseum, Bruges", "license": "Public domain", "tier": "Sanctuary", "sizes": [{"size": "18×24 in", "paper": 140, "iw": 18, "ih": 21.7, "sw": 18, "sh": 24, "cov": 0.905}, {"size": "24×36 in", "paper": 190, "iw": 24, "ih": 29.0, "sw": 24, "sh": 36, "cov": 0.805}, {"size": "32×48 in", "paper": 340, "iw": 32, "ih": 38.6, "sw": 32, "sh": 48, "cov": 0.805}, {"size": "40×60 in", "paper": 480, "iw": 40, "ih": 48.3, "sw": 40, "sh": 60, "cov": 0.805}], "local": "/store/display/goes_the_death_of_the_virgin.jpg", "commons_file": "Hugo van der Goes - Death of the Virgin (c. 1475-1482).jpg", "zoom": "https://art.monstrance.app/zoom/goes_the_death_of_the_virgin.jpg", "master_px": 9438, "auth": {"institution": "Groeningemuseum, Musea Brugge", "accession": "0000.GRO0204.I", "url": "https://vlaamsekunstcollectie.be/collectie/0000-gro0204-i", "artist_as_printed": "Hugo van der Goes", "date_as_printed": "na 1475 - 1482", "medium": "olieverf op paneel", "dimensions": "147.8 x 122.5 cm"}, "writeup": {"text": "A candle for the dying is the whole event. Our Lady lies still in blue, her hands folded, and the apostles crowd the bed with their faces and their hands. The Groeningemuseum records Peter, as priest, taking the candle from Thomas and setting it between her hands, while Christ in an aureole of angels comes to receive her soul. No Gospel tells this; the museum names Hugo van der Goes's sources as the apocrypha and the Legenda Aurea, where the apostles are gathered to her deathbed by miracle. Bare feet on the boards, a closed book under one hand. Above, her Son opens His arms.", "sources": [{"what": "Institution's object page: pale Virgin in blue mantle, hands folded, apostles in a circular arrangement; Peter as priest takes a candle from Thomas and places it between her hands; Christ in an aureole of angels receives her soul.", "url": "https://vlaamsekunstcollectie.be/collectie/0000-gro0204-i", "cite": "Flemish Art Collection / Musea Brugge, object record 0000.GRO0204.I, 'Dood van Maria', Hugo van der Goes, Groeningemuseum, Bruges."}, {"what": "Same object page: the sources are the apocryphal gospels and the Legenda Aurea, which recount the apostles miraculously assembling at Mary's deathbed. Also records oil on panel, 147.8 x 122.5 cm, accession 0000.GRO0204.I.", "url": "https://vlaamsekunstcollectie.be/collectie/0000-gro0204-i", "cite": "Flemish Art Collection / Musea Brugge, object record 0000.GRO0204.I."}, {"what": "Conservation led by Griet Steyaert with Marie Postec, 2018-2022: removal of old overpaint exposed curtain remnants at upper left and lower right, indicating a lost baldachin with drapery; seven Baltic oak planks.", "url": "https://www.museabrugge.be/en/collections/research-projects/de-dood-van-maria-hugo-van-der-goes2", "cite": "Musea Brugge, 'Restoration of The Death of the Virgin by Hugo van der Goes', research projects."}, {"what": "Musea Brugge feature: Mary is the silent and still centre; the apostles' grief is conveyed through expressive gesture and individual faces, and van der Goes avoids narrative detail. Only large panel by this master in Belgium.", "url": "https://vlaamsekunstcollectie.be/en/news/hugo-van-der-goes-death-of-the-virgin-museabrugge", "cite": "Flemish Art Collection, 'Hugo van der Goes, Death of the Virgin, Musea Brugge'."}, {"what": "Primary text. Carries 'where the apostles are carried to her door by miracle'; corroborated by the institution's own 'op miraculeuze wijze samen werden gebracht rond haar sterfbed'.", "url": "https://www.christianiconography.info/goldenLegend/assumption.htm", "cite": "Jacobus de Voragine, The Golden Legend, 'The Assumption of the Blessed Virgin Mary' (Caxton translation); transcription at Christian Iconography, also in Fordham's Medieval Sourcebook, Golden Legend vol. 4."}, {"what": "Primary text. Carries the closing reversal, 'whom that book says resembled Christ in face and body'. Double-attested: the Groeningemuseum makes the same attribution for this figure ('die volgens de Legenda Aurea op Christus leek').", "url": "https://www.christianiconography.info/goldenLegend/jamesLess.htm", "cite": "Jacobus de Voragine, The Golden Legend, 'The Life of St James the Less' (Caxton translation); transcription at Christian Iconography."}, {"what": "The institution's OWN English-language record of this same panel (Flemish Primitives platform, published by De Vlaamse Kunstcollectie; same object, accession 0000.GRO0204.I).", "url": "https://vlaamseprimitieven.vlaamsekunstcollectie.be/en/collection/the-dormition/", "cite": "De Vlaamse Kunstcollectie, Flemish Primitives platform, 'The Dormition', Hugo van der Goes, Groeninge Museum Bruges, accession 0000.GRO0204.I (English record)."}, {"what": "Carries the replacement for the cut clause: the apostles' grief, which the card renders as 'show distress, doubt and human angst'.", "url": "https://vlaamseprimitieven.vlaamsekunstcollectie.be/en/collection/the-dormition/", "cite": "De Vlaamse Kunstcollectie, Flemish Primitives platform, 'The Dormition', Hugo van der Goes, Groeninge Museum Bruges (English record)."}]}, "scene": {"why": "NOT A NARRATIVE SCENE. These subjects — the Virgin’s education, her death, the Holy House — come from tradition and from the apocryphal Protoevangelium of James, not from Scripture. Saint Anne is named in no canonical book."}, "th": "/store/thumb/goes_the_death_of_the_virgin.webp", "more": [{"k": "subject", "n": "The Life of the Virgin in painting", "u": "/editions/subject/the-life-of-the-virgin/", "ids": ["geertgen_glorification_of_the_virgin", "rubens_the_education_of_the_virgin", "zurbaran_young_virgin", "tiepolo_the_miracle_of_the_holy_house_of_loret"]}, {"k": "master", "n": "Hugo van der Goes", "u": "/editions/master/hugo-van-der-goes/", "ids": ["goes_the_trinity_altarpiece_the_holy_trinit", "hugo_van_der_goes_the_adoration_of_the_shepherds"]}]}, "poussin_saint_john_baptizing_the_people": {"id": "poussin_saint_john_baptizing_the_people", "title": "Saint John Baptizing the People", "artist_line": "Nicolas Poussin (French, 1594–1665)", "artist": "Nicolas Poussin", "date": "c. 1636–1637", "museum": "J. Paul Getty Museum, Los Angeles", "license": "Public domain", "tier": "Sanctuary", "sizes": [{"size": "18×24 in", "paper": 140, "iw": 23.0, "ih": 18, "sw": 24, "sh": 18, "cov": 0.957}, {"size": "24×36 in", "paper": 190, "iw": 30.6, "ih": 24, "sw": 36, "sh": 24, "cov": 0.85}, {"size": "32×48 in", "paper": 340, "iw": 40.8, "ih": 32, "sw": 48, "sh": 32, "cov": 0.85}, {"size": "40×60 in", "paper": 480, "iw": 51.0, "ih": 40, "sw": 60, "sh": 40, "cov": 0.85}], "local": "/store/display/poussin_saint_john_baptizing_the_people.jpg", "commons_file": "Poussin - Saint John Baptizing in the River Jordan, about 1630s, 71.PA.58.jpg", "zoom": "https://art.monstrance.app/zoom/poussin_saint_john_baptizing_the_people.jpg", "master_px": 9378, "auth": {"institution": "The J. Paul Getty Museum, Los Angeles", "accession": "71.PA.58", "url": "https://www.getty.edu/art/collection/object/103RC0", "artist_as_printed": "Nicolas Poussin", "date_as_printed": "about 1635-1640", "medium": "Oil on canvas", "dimensions": "Unframed: 95.6 × 121.3 cm (37 5/8 × 47 3/4 in.)"}, "writeup": {"text": "A man kneels on the bank and drags his shirt up over his head, ready for the water; Anthony Blunt, quoted in Apollo by Craig Burnett, traced that figure back to Piero della Francesca's Baptism. Saint John stands with his hand raised over a bowed head, and the rest wait their turn: mothers with small children, old men, a young man girding his cloth. Luke puts the people first: \"Now it came to pass, when all the people were baptized, that Jesus also being baptized and praying, heaven was opened.\" The Getty describes them in antique costume, a balanced frieze framed by a tree on each side. Poussin painted it for Cassiano dal Pozzo, whose Paper Museum recorded antiquities and costume on some ten thousand sheets. The river is open to all of them.", "sources": [{"what": "Owning institution's object page: Poussin (1594-1665), 'Saint John Baptizing in the River Jordan', oil on canvas, unframed 95.6 x 121.3 cm, acc. 71.PA.58, J. Paul Getty Museum; Getty dates it about 1635-1640.", "url": "https://www.getty.edu/art/collection/object/103RC0", "cite": "J. Paul Getty Museum, object 71.PA.58"}, {"what": "Getty text for this canvas: John baptizing crowds, balanced composition, classical garments, trees framing the scene on either side, made for Cassiano dal Pozzo, may relate to his Seven Sacraments; carries the Poussin quotation.", "url": "https://artsandculture.google.com/asset/saint-john-baptizing-in-the-river-jordan-nicolas-poussin/OgHp7o9U0VL48A", "cite": "J. Paul Getty Museum text, Google Arts \u0026 Culture partner page"}, {"what": "Cassiano dal Pozzo's Paper Museum: roughly 10,000 watercolours, drawings and prints documenting antiquities, architecture and costume; Cassiano (1588-1657) was Poussin's principal patron.", "url": "https://www.rct.uk/collection/stories/highlights-from-the-print-collection/the-paper-museum-of-cassiano-dal-pozzo", "cite": "Royal Collection Trust, 'The Paper Museum of Cassiano dal Pozzo'"}, {"what": "Cassiano dal Pozzo (1588-1657), Roman antiquarian, commissioned the first Seven Sacraments cycle from Poussin in the second half of the 1630s; the cycle aimed at an archaeologically accurate reconstruction of the events.", "url": "https://www.nationalgallery.org.uk/about-us/press-and-media/press-releases/the-national-gallery-acquires-poussin-s-eucharist-showing-the-last-supper-from-his-first-cycle-of-pictures-of-the-seven-sacraments", "cite": "National Gallery, London, press release on acquiring Poussin's 'Eucharist'"}, {"what": "Scriptural warrant for a baptism of the people preceding Christ's own: Luke 3:21, 'After all the people had been baptized and Jesus also had been baptized...'", "url": "https://bible.usccb.org/bible/luke/3", "cite": "Luke 3:21, New American Bible (Revised Edition), USCCB"}, {"what": "The Getty's own text for this canvas: the multitudes baptised, figures in antique costume arranged as a frieze and framed by a tree trunk on each side, painted for Cassiano dal Pozzo, and only 'may be related' to the Seven Sacraments.", "url": "https://artsandculture.google.com/asset/saint-john-baptizing-in-the-river-jordan-nicolas-poussin/OgHp7o9U0VL48A", "cite": "J. Paul Getty Museum text, object 71.PA.58 (partner page)"}, {"what": "Identifies the undressing figure in the GETTY canvas specifically — which matters, because the same article discusses five other Poussins, including a near-identical figure in the Louvre picture.", "url": "https://apollo-magazine.com/nicolas-poussin-baptism-of-christ/", "cite": "Craig Burnett, 'Stripped back – how a figure freed up Poussin's painting', Apollo, 26 September 2022"}, {"what": "Blunt's tracing of the shirt-figure type, quoted in the Apollo article — the direction and endpoint of the card's clause about Piero della Francesca's Baptism. The card omits the Michelangelo waypoint.", "url": "https://apollo-magazine.com/nicolas-poussin-baptism-of-christ/", "cite": "Anthony Blunt, critical catalogue, quoted in Craig Burnett, Apollo, 26 September 2022"}, {"what": "The archaeological-accuracy statement. Also confirms the commission and its date.", "url": "https://www.nationalgallery.org.uk/about-us/press-and-media/press-releases/the-national-gallery-acquires-poussin-s-eucharist-showing-the-last-supper-from-his-first-cycle-of-pictures-of-the-seven-sacraments", "cite": "National Gallery, London, press release on the acquisition of Poussin's 'Eucharist'"}]}, "scene": {"ref": "Luke 3:21", "quote": "Now it came to pass, when all the people were baptized, that Jesus also being baptized and praying, heaven was opened.", "shows": "all the people being baptized"}, "th": "/store/thumb/poussin_saint_john_baptizing_the_people.webp", "more": [{"k": "subject", "n": "The Baptism of Christ in painting", "u": "/editions/subject/baptism-of-christ/", "ids": ["magnasco_the_baptism_of_christ", "piero_baptism", "tintoretto_the_baptism_of_christ", "veronese_the_baptism_of_christ"]}, {"k": "master", "n": "Nicolas Poussin", "u": "/editions/master/nicolas-poussin/", "ids": ["poussin_eucharist", "poussin_gathering_manna", "poussin_holy_family_steps", "poussin_judgment_solomon"]}]}, "titian_the_last_supper": {"id": "titian_the_last_supper", "title": "The Last Supper", "artist_line": "Titian (Italian, c. 1488–1576)", "artist": "Titian", "date": "1542–1544", "museum": "Galleria Nazionale delle Marche, Urbino", "license": "Public domain (photo CC BY-SA 4.0)", "tier": "Sanctuary", "sizes": [{"size": "18×24 in", "paper": 140, "iw": 14.3, "ih": 24, "sw": 18, "sh": 24, "cov": 0.795}, {"size": "24×36 in", "paper": 190, "iw": 21.5, "ih": 36, "sw": 24, "sh": 36, "cov": 0.895}, {"size": "32×48 in", "paper": 340, "iw": 28.6, "ih": 48, "sw": 32, "sh": 48, "cov": 0.895}], "local": "/store/display/titian_the_last_supper.jpg", "commons_file": "Ultima Cena (1542-1544) - Tiziano Vecellio.jpg", "zoom": "https://art.monstrance.app/zoom/titian_the_last_supper.jpg", "master_px": 9257, "auth": {"institution": "Galleria Nazionale delle Marche, Urbino", "accession": "DE 239", "url": "https://gndm.it/en/opere/last-supper/", "artist_as_printed": "Tiziano Vecellio", "date_as_printed": "1542", "medium": "Oil on canvas", "dimensions": "163 × 104"}, "writeup": {"text": "Christ lifts a piece of bread and looks out of the supper at us, His other hand resting on a whole loaf, a glass carafe of red wine on the cloth before Him. The Confraternity of Corpus Domini in Urbino, the brotherhood of the Body of the Lord, commissioned this from Titian as one face of a processional banner; he painted it in Venice between 1542 and 1544, and the confraternity's payment records show it reached Urbino in June 1544. A year later the painter Pietro Viti parted the two faces so that they could hang either side of the high altar of Santa Maria di Pian di Mercato; the other face is the Resurrection. The Galleria Nazionale delle Marche notes the table set on a slant to carry its still life and, through the arches, a domed round building and a pyramid very like the Pyramid of Cestius in Rome. Below, a small dog noses the floor. The bread He raises is the Body the brotherhood was named for, and His eyes are on us, who come to receive it.", "sources": [{"what": "'Last Supper and the Resurrection of Christ', Tiziano Vecellio, oil on canvas, 163 x 104, DE 239; originally a processional banner commissioned from Titian by the Confraternity of Corpus Domini in Urbino; painted in Venice 1542-1544; arrived in Urbino in June 1544 according to the payment records in the confraternity's archive; in 1545 Pietro Viti, son of Timoteo, separated the two sides to flank the high altar of Santa Maria di Pian di Mercato.", "url": "https://gndm.it/en/opere/last-supper/", "cite": "Galleria Nazionale delle Marche, Urbino, 'Last Supper', DE 239, collection page, read 2026-10-12."}, {"what": "The table set diagonally to hold 'splendidi brani di natura morta'; the architectural setting 'di sapore lombardo'; through the arch a centrally planned building and a pyramid 'molto simile alla Piramide Cestia di Roma'.", "url": "https://gndm.it/opere/ultima-cena/", "cite": "Galleria Nazionale delle Marche, Urbino, 'Ultima Cena', DE 239, scheda (Italian), read 2026-10-12."}, {"what": "The bread raised at the supper: 'Take ye and eat. This is my body.'", "cite": "Matthew 26:26, Douay-Rheims (Challoner), data/bible_drc.js (the record's scene.ref)."}]}, "scene": {"ref": "Matthew 26:26", "quote": "And whilst they were at supper, Jesus took bread and blessed and broke and gave to his disciples and said: Take ye and eat. This is my body.", "shows": "Christ at table with the Twelve, a piece of bread raised in His hand"}, "th": "/store/thumb/titian_the_last_supper.webp", "more": [{"k": "subject", "n": "The Last Supper in painting", "u": "/editions/subject/last-supper/", "ids": ["poussin_eucharist", "giandomenico_tiepolo_institution_of_the_eucharist", "giotto_last_supper", "leonardo_last_supper"]}, {"k": "master", "n": "Titian", "u": "/editions/master/titian/", "ids": ["titian_the_resurrection_averoldi_polyptych_ce", "titian_penitent_magdalene", "titian_gloria", "titian_the_adoration_of_the_magi"]}]}, "titian_the_archangel_raphael_and_tobias": {"id": "titian_the_archangel_raphael_and_tobias", "title": "The Archangel Raphael and Tobias", "artist_line": "Titian (Italian, c. 1488–1576)", "artist": "Titian", "date": "c. 1512", "museum": "Gallerie dell'Accademia, Venice", "license": "Public domain", "tier": "Sanctuary", "sizes": [{"size": "18×24 in", "paper": 140, "iw": 18, "ih": 20.7, "sw": 18, "sh": 24, "cov": 0.863}, {"size": "24×36 in", "paper": 190, "iw": 24, "ih": 27.6, "sw": 24, "sh": 36, "cov": 0.767}, {"size": "32×48 in", "paper": 340, "iw": 32, "ih": 36.8, "sw": 32, "sh": 48, "cov": 0.767}, {"size": "40×60 in", "paper": 480, "iw": 40, "ih": 46.0, "sw": 40, "sh": 60, "cov": 0.767}], "local": "/store/display/titian_the_archangel_raphael_and_tobias.jpg", "commons_file": "The Archangel Raphael and Tobias (by Titian) – Gallerie dell'Accademia, Venice.jpg", "zoom": "https://art.monstrance.app/zoom/titian_the_archangel_raphael_and_tobias.jpg", "master_px": 9206, "auth": {"institution": "Gallerie dell'Accademia, Venezia", "accession": "1325", "url": "https://www.gallerieaccademia.it/opera/larcangelo-raffaele-e-tobiolo/", "artist_as_printed": "Tiziano Vecellio", "medium": "Panel", "dimensions": "170 × 149 cm"}, "writeup": {"text": "A boy walks hand in hand with a winged stranger, a fish hanging from his other fist, and looks up into his face. In the story he goes not knowing that he was an angel of God; Titian gives the angel great dark wings. Raphael points ahead. The white dog, which the book sends along with them, sits in the grass and looks up too. The Gallerie dell'Accademia explains the subject as a merchant family's plea for the archangel's protection over a young son's first journey; it stood on Raphael's altar in Santa Caterina until it came to the museum after the Napoleonic suppressions, and the small shield on the ground, read as the Bembo arms, stays a hypothesis. The gall of that fish, the angel had said, is useful for medicine. At home a father is waiting blind.", "sources": [{"what": "Owning institution: Bembo coat of arms as an unproven patronage hypothesis; altar dedicated to the Archangel Raphael in Santa Caterina, Venice, attested from Boschini (1664); acquisition after the Napoleonic suppressions, 1815.", "url": "https://www.gallerieaccademia.it/opera/larcangelo-raffaele-e-tobiolo/", "cite": "Gallerie dell'Accademia di Venezia, scheda 'L'arcangelo Raffaele e Tobiolo', inv. 1325"}, {"what": "Same object page: the subject as a merchant family's plea for Raphael's protection over a young son's first journey; panel, 170 x 149 cm, inv. 1325; dating placed in the artist's youth.", "url": "https://www.gallerieaccademia.it/opera/larcangelo-raffaele-e-tobiolo/", "cite": "Gallerie dell'Accademia di Venezia, scheda, Sala VIII"}, {"what": "Tobit 6: the dog follows Tobiah out and goes along with them (v.2); the fish's heart and liver, burned to make smoke, make a demonic affliction flee (v.8); the gall blown into the eyes restores sight (v.9).", "url": "https://bible.usccb.org/bible/tobit/6", "cite": "New American Bible, Revised Edition, Tobit 6 (USCCB)"}, {"what": "Book of Tobit: the fish's heart and liver burned as smoke drive off the demon and the gall cures blindness (6:8-9); the dog goes along with them and runs along behind (6:2, 11:4).", "url": "https://bible.usccb.org/bible/tobit/11", "cite": "New American Bible, Revised Edition, Tobit 11 (USCCB)"}, {"what": "The angel's instruction paraphrased in the second paragraph. Both halves of the ellipsis Its gall, heart, and liver are useful for medicine.' Speaker is the angel.", "url": "https://bible.usccb.org/bible/tobit/6", "cite": "New American Bible, Revised Edition, Tobit 6:5 (USCCB)"}, {"what": "The dog leaving with the boy on the outward journey — the fact Titian inverts. 'And Tobias went forward, and the dog followed him, and he lodged the first night by the river of Tigris.'", "cite": "Douay-Rheims (Challoner), Tobit 6:1, from data/bible_drc.js"}, {"what": "Replaces the three Wikipedia/Gronau descriptive citations. Carries the new opening reversal ('does not know his companion is an angel' / 'Titian gives him wings') and 'who shows him the road'.", "url": "https://www.unive.it/web/fileadmin/user_upload/ateneo/terza-missione/Itinerari-bestiario/doc/itinerario_13_cane.pdf", "cite": "Lisa Battagliotti (cur.), «Cave canem» alle Gallerie dell'Accademia, Itinerari nel bestiario veneziano 13, Università Ca' Foscari Venezia / Gallerie dell'Accademia di Venezia (introduzione di Stefano Riccioni)"}, {"what": "Carries 'Tobias holds a gutted fish; his other hand is closed in the archangel's'. This is the same author describing the same panel, and it replaces — and corrects — the Wikipedia claim that the angel's unseen left arm is round the boy.", "url": "https://www.unive.it/web/fileadmin/user_upload/ateneo/terza-missione/Itinerari-bestiario/doc/itinerario_13_cane.pdf", "cite": "Lisa Battagliotti (cur.), «Cave canem» alle Gallerie dell'Accademia, Itinerari nel bestiario veneziano 13, Università Ca' Foscari Venezia / Gallerie dell'Accademia di Venezia"}, {"what": "Primary text, no url. Promoted from the brief's scene block to load-bearing: it carries the card's new first clause, 'the boy does not know his companion is an angel'. Already recorded as verified in the brief against the project's own corpus.", "cite": "Douay-Rheims (Challoner), Tobit 5:6, from data/bible_drc.js"}]}, "scene": {"ref": "Tobias 5:6", "quote": "And not knowing that he was an angel of God, he saluted him, and said: From whence art thou, good young man?", "shows": "the young man Tobias and the angel who went with him"}, "th": "/store/thumb/titian_the_archangel_raphael_and_tobias.webp", "more": [{"k": "subject", "n": "Angels in painting", "u": "/editions/subject/angels/", "ids": ["frans_floris_the_fall_of_the_rebel_angels", "pieter_bruegel_the_elder_the_fall_of_the_rebel_angels", "rubens_music_making_angels", "giordano_fall_of_the_rebel_angels_archangel_micha"]}, {"k": "master", "n": "Titian", "u": "/editions/master/titian/", "ids": ["titian_the_last_supper", "titian_the_resurrection_averoldi_polyptych_ce", "titian_penitent_magdalene", "titian_gloria"]}]}, "carracci_saint_francis_in_meditation": {"id": "carracci_saint_francis_in_meditation", "title": "Saint Francis in Meditation", "artist_line": "Annibale Carracci (Italian, 1560–1609)", "artist": "Annibale Carracci", "date": "1585–1590", "museum": "Gallerie dell'Accademia, Venice", "license": "Public domain", "tier": "Sanctuary", "sizes": [{"size": "18×24 in", "paper": 140, "iw": 18, "ih": 22.2, "sw": 18, "sh": 24, "cov": 0.926}, {"size": "24×36 in", "paper": 190, "iw": 24, "ih": 29.6, "sw": 24, "sh": 36, "cov": 0.823}, {"size": "32×48 in", "paper": 340, "iw": 32, "ih": 39.5, "sw": 32, "sh": 48, "cov": 0.823}, {"size": "40×60 in", "paper": 480, "iw": 40, "ih": 49.4, "sw": 40, "sh": 60, "cov": 0.823}], "local": "/store/display/carracci_saint_francis_in_meditation.jpg", "commons_file": "(Venice) Saint Francis by Annibale Carracci - gallerie Accademia.jpg", "zoom": "https://art.monstrance.app/zoom/carracci_saint_francis_in_meditation.jpg", "master_px": 9194, "auth": {"institution": "Gallerie dell'Accademia, Venezia", "accession": "1189", "url": "https://www.gallerieaccademia.it/opera/san-francesco/", "artist_as_printed": "Annibale Carracci (Bologna 1560 - Roma 1609)", "date_as_printed": "1585-1590", "medium": "tela", "dimensions": "91 x 73"}, "writeup": {"text": "Saint Francis holds out his open hands, and between them the crucifix bleeds. The Gallerie dell'Accademia reads the body not as painted wood but as true flesh, blood running from the hands, the feet and the thorn-crowned head, and sees on Francis's own hands the stigmata that make him alter Christus. Above the cross the rose branches carry no flowers, few leaves and many thorns: the museum takes them for Christ's crown and for the legend of the saint's penance among thorns. A skull and books sit on the rock. The museum records no altar for Annibale Carracci's work. The hands are held out to whoever stands there.", "sources": [{"what": "the crucifix painted as true flesh rather than painted wood; the blood from hands, feet and thorn-crowned head; the skull as memento mori; the books on the rock shelves", "url": "https://www.gallerieaccademia.it/san-francesco"}, {"what": "the thorny rose branches without flowers echoing the crown of thorns and the legend of the saint's penance among thorns", "url": "https://www.gallerieaccademia.it/san-francesco"}, {"what": "inv. 1189, 91 x 73 cm, entered the collection in 1901; no documented church, chapel or altar commission — a private devotional picture", "url": "https://www.gallerieaccademia.it/san-francesco"}, {"what": "the stigmata are visible on Francis's own hands and the museum reads him as alter Christus; the gesture of those hands is a showing, not a grasp — this is the clause the repair now rests on", "url": "https://www.gallerieaccademia.it/san-francesco", "cite": "Gallerie dell'Accademia, Venezia, catalogue entry for Annibale Carracci, San Francesco, inv. 1189"}]}, "scene": {"why": "THE SAINT IS NOT IN SCRIPTURE, or this episode of their life is not. Their acts come to us through the Church’s memory — martyrologies, hagiography, the testimony of their own communities — not through the biblical record. Naming a verse here would dress tradition as Scripture."}, "th": "/store/thumb/carracci_saint_francis_in_meditation.webp", "more": [{"k": "subject", "n": "Saints in painting", "u": "/editions/subject/saints/", "ids": ["maerten_de_vos_temptation_of_saint_anthony_the_great", "caravaggio_saint_francis_of_assisi_in_ecstasy", "caravaggio_saint_catherine_of_alexandria", "caravaggio_matthew_call"]}]}, "mantegna_the_madonna_della_vittoria": {"id": "mantegna_the_madonna_della_vittoria", "title": "The Madonna della Vittoria", "artist_line": "Andrea Mantegna (Italian, c. 1431–1506)", "artist": "Andrea Mantegna", "date": "1496", "museum": "Musée du Louvre, Paris", "license": "Public domain", "tier": "Sanctuary", "sizes": [{"size": "18×24 in", "paper": 140, "iw": 14.1, "ih": 24, "sw": 18, "sh": 24, "cov": 0.781}, {"size": "24×36 in", "paper": 190, "iw": 21.1, "ih": 36, "sw": 24, "sh": 36, "cov": 0.879}, {"size": "32×48 in", "paper": 340, "iw": 28.1, "ih": 48, "sw": 32, "sh": 48, "cov": 0.879}, {"size": "40×60 in", "paper": 480, "iw": 35.1, "ih": 60, "sw": 40, "sh": 60, "cov": 0.879}], "local": "/store/display/mantegna_the_madonna_della_vittoria.jpg", "commons_file": "La Vierge de la Victoire - Andrea Mantegna - Musée du Louvre Peintures INV 369 ; MR 337.jpg", "zoom": "https://art.monstrance.app/zoom/mantegna_the_madonna_della_vittoria.jpg", "master_px": 9137, "auth": {"institution": "Musée du Louvre, Paris", "accession": "INV 369 ; MR 337", "url": "https://collections.louvre.fr/en/ark:/53355/cl010064434", "artist_as_printed": "Mantegna, Andrea", "date_as_printed": "4e quart du XVe siècle (1475 - 1500)", "medium": "tempera sur toile", "dimensions": "Hauteur : 2,85 m ; Largeur : 1,68 m"}, "writeup": {"text": "A branch of red coral hangs on a cord from the bower above the Christ Child, and the Mantova Museo Urbano Diffuso reads it as a sign of the Passion. Our Lady stretches her hand over Francesco Gonzaga, who kneels in armour to thank her for Fornovo, a victory the Louvre calls doubtful. Andrea Mantegna roofs them with lemon and orange trees full of birds, and Heather Dalton identifies one as a sulphur-crested cockatoo. On the throne's base, painted to imitate relief, Rodolfo Signorini reads Genesis: the Fall and the Expulsion, the sin the Child standing in His Mother's lap came to answer. Gonzaga did not pay for his thanks. Susan May names the payer: Daniele da Norsa, a Jewish banker whose house was taken for the chapel, made to pay the considerable expenses. The coral still hangs above the Child.", "sources": [{"what": "Owning institution: the ex-voto commissioned by Francesco II Gonzaga after Fornovo for the chapel of Santa Maria della Vittoria, in place until 1797, brought to the Louvre 1798; the six saints named in the title.", "url": "https://collections.louvre.fr/en/ark:/53355/cl010064434", "cite": "Musee du Louvre, collections database, INV 369 ; MR 337, La Vierge de la Victoire."}, {"what": "Michael's jewel-studded sword, George's broken lance, Andrew and Longinus as Mantua's own patrons, the open-work bower of lemon and orange trees with birds perching, the throne base painted to imitate reliefs, and the procession.", "url": "https://mini-site.louvre.fr/mantegna/acc/xmlen/section_7_0.html", "cite": "Musee du Louvre, Mantegna exhibition mini-site, Madonna della Vittoria."}, {"what": "Named scholar's reading of the throne-base panels as a Genesis cycle - Adam made, the Fall, the Expulsion - Original Sin answered by Christ. The first panel's subject is disputed, so only the Fall and Expulsion are named.", "url": "https://www.academia.edu/862260/_The_Creation_of_Adam_A_Detail_in_Mantegnas_Madonna_della_Vittoria_Journal_of_the_Warburg_and_Courtauld_Institutes_Vol_59_1996_pp_303_304", "cite": "Rodolfo Signorini, 'The Creation of Adam: A Detail in Mantegna's Madonna della Vittoria', JWCI 59 (1996), 303-304."}, {"what": "Peer-reviewed source for the cockatoo, attributed in the prose: Dalton identifies a sulphur-crested cockatoo and argues from its lifelike pose that a live bird reached Mantua by eastern trade routes.", "url": "https://onlinelibrary.wiley.com/doi/10.1111/rest.12042", "cite": "Heather Dalton, 'A Sulphur-crested Cockatoo in fifteenth-century Mantua', Renaissance Studies 28.5 (2014)."}, {"what": "Museum-authored account of the large red coral hanging from the pergola of flowers and fruit as a symbol of the Passion, and of the pedestal relief of Adam and Eve.", "url": "https://artsandculture.google.com/story/madonna-della-vittoria-mantova-museo-urbano-diffuso/wQVhY0z7I4eYLQ", "cite": "Mantova Museo Urbano Diffuso, 'Madonna della Vittoria', Google Arts \u0026 Culture."}, {"what": "Named scholar, peer-reviewed book chapter: Daniele da Norsa's identity as head of a Mantuan banking family, the appropriation of his house as the site of the chapel (NOT its demolition — the source does not say the house was pulled down), and the fact that he was forced to fund Mantegna's painting. The chapter explicitly identifies the resulting work as 'the large canvas of the Madonna della Vittoria by Andrea Mantegna, today displayed in the Louvre'. Quote", "url": "https://www.open-access.bcu.ac.uk/6776/1/Pruning%20and%20propagating%20text%20for%20repository.pdf", "cite": "Susan May, 'Pruning and propagating civic behaviour: three feste in and around Santa Maria della Vittoria in Mantua, 1495-97', in Architecture, Festival and the City (Routledge, 2018), 17-34."}, {"what": "Norsa compelled to pay for the new painting. The page reads 'the unfortunate Daniele', not 'the unfortunate Jew'; the card's own wording, 'made to pay the considerable expenses', is the page's.", "url": "https://www.open-access.bcu.ac.uk/6776/1/Pruning%20and%20propagating%20text%20for%20repository.pdf", "cite": "Susan May, 'Pruning and propagating civic behaviour', in Architecture, Festival and the City (Routledge, 2018), 17-34."}]}, "scene": {"why": "A DEVOTIONAL TYPE, NOT AN EPISODE. The Virgin enthroned or half-length with her Son is not a moment any evangelist records; it is an image made for prayer. Where a particular picture does illustrate a scene, that work carries its own citation."}, "th": "/store/thumb/mantegna_the_madonna_della_vittoria.webp", "more": [{"k": "subject", "n": "The Madonna and Child in painting", "u": "/editions/subject/madonna-and-child/", "ids": ["mantegna_madonna_in_glory_with_saints_trivulzio", "bellini_madonna_meadow", "leonardo_virgin_child_anne", "circle_of_mantegna_madonna_and_child"]}, {"k": "master", "n": "Andrea Mantegna", "u": "/editions/master/andrea-mantegna/", "ids": ["mantegna_madonna_in_glory_with_saints_trivulzio", "mantegna_agony_garden", "mantegna_crucifixion"]}]}, "lippi_the_funeral_of_saint_stephen": {"id": "lippi_the_funeral_of_saint_stephen", "title": "The Funeral of Saint Stephen", "artist_line": "Fra Filippo Lippi and workshop (Italian, c. 1406–1469)", "artist": "Fra Filippo Lippi and workshop", "date": "1465", "museum": "Duomo di Prato", "license": "Public domain", "tier": "Sanctuary", "sizes": [{"size": "18×24 in", "paper": 140, "iw": 24, "ih": 11.4, "sw": 24, "sh": 18, "cov": 0.635}, {"size": "16×32 in", "paper": 150, "iw": 32, "ih": 15.2, "sw": 32, "sh": 16, "cov": 0.952}, {"size": "20×40 in", "paper": 180, "iw": 40, "ih": 19.0, "sw": 40, "sh": 20, "cov": 0.952}, {"size": "24×36 in", "paper": 190, "iw": 36, "ih": 17.1, "sw": 36, "sh": 24, "cov": 0.714}, {"size": "32×48 in", "paper": 340, "iw": 48, "ih": 22.8, "sw": 48, "sh": 32, "cov": 0.714}, {"size": "30×60 in", "paper": 380, "iw": 60, "ih": 28.6, "sw": 60, "sh": 30, "cov": 0.952}, {"size": "40×60 in", "paper": 480, "iw": 60, "ih": 28.6, "sw": 60, "sh": 40, "cov": 0.714}], "local": "/store/display/lippi_the_funeral_of_saint_stephen.jpg", "commons_file": "Filippo Lippi e aiuti, Martirio e funerale di Santo Stefano, 1452-64 -FG2.jpg", "zoom": "https://art.monstrance.app/zoom/lippi_the_funeral_of_saint_stephen.jpg", "master_px": 9108, "auth": {"institution": "Cattedrale di Santo Stefano, Prato — Cappella Maggiore, in situ", "url": "https://www.museidiocesanidiprato.it/it/filippo-lippi/", "artist_as_printed": "Filippo Lippi, frate carmelitano e pittore (with Fra’ Diamante as documented assistant)", "date_as_printed": "dal 1452 al 1465", "medium": "Affresco — in situ, Cappella Maggiore", "accession_absent": "in_situ"}, "writeup": {"text": "A dead man lies on his bier in red, and the living stand around him in their own clothes. Behind him an altar waits with its cross. \"And devout men took order for Stephen's funeral and made great mourning over him.\" Fra Filippo Lippi and his workshop painted the mourning low on the left wall of the main chapel at Prato, and laid the saint, as the Web Gallery of Art reads it, on the central axis of a columned nave at the crossing, the tiled floor running up to the bier. The mourners are Lippi's contemporaries. Roggero Roggeri identifies the heavy figure at the right, in a cardinal's ample red, as Enea Silvio Piccolomini, later Pope Pius II. Tuscany's regional guide sees a probable self-portrait in the older of the two friars beside him: the painter, a friar himself, standing at the bier.", "sources": [{"what": "Describes the Funeral of St Stephen: the stoning at the right continues on the adjacent wall; the dead saint laid out on the central axis of a nave of large columns and clustered pilasters, at the crossing; perspective built by the tiled floor and coffered ceiling", "url": "https://www.wga.hu/html_m/l/lippi/filippo/1450pr/13funer.html", "cite": "Web Gallery of Art, commentary on Filippo Lippi, Funeral of St Stephen, Prato, read 2026-09-24"}, {"what": "Identifies the robust figure in ample red cardinal's dress in the right foreground of the Esequie di Santo Stefano as Enea Silvio Piccolomini, later Pope Pius II", "url": "https://www.aboutartonline.com/enea-silvio-piccolomini-iconografia-dipinti-miniature-sculture-e-medaglie-dal-xv-al-xix-secolo-parte-i-da-filippo-lippi-al-sodoma/", "cite": "Roggero Roggeri, 'Enea Silvio Piccolomini: iconografia… Parte I, da Filippo Lippi al Sodoma', About Art Online, read 2026-09-24"}, {"what": "Pope Pius II flanked by two friars at the right of the Exequies; the older is a probable self-portrait of Lippi; calls Lippi a friar; the scene is on the left wall of the main chapel", "url": "https://www.visittuscany.com/en/ideas/filippo-lippi-frescoes-in-the-prato-cathedral/", "cite": "Visit Tuscany (Regione Toscana), 'Filippo Lippi frescoes in the Prato Cathedral', read 2026-09-24"}, {"what": "The Esequie di Santo Stefano, low on the left wall, set in an Early Christian basilica; cycle by Lippi and his workshop 1452–1465", "url": "https://www.pratoturismo.it/it/cosa/itinerari/i-lippi-prato/cattedrale-di-santo-stefano/", "cite": "Prato Turismo, 'Cattedrale di Santo Stefano', read 2026-09-24"}]}, "scene": {"ref": "Acts 8:2", "quote": "And devout men took order for Stephen's funeral and made great mourning over him.", "shows": "devout men taking order for Stephen’s funeral"}, "th": "/store/thumb/lippi_the_funeral_of_saint_stephen.webp", "more": [{"k": "subject", "n": "Saints in painting", "u": "/editions/subject/saints/", "ids": ["benaglio_saint_jerome", "ercole_de_roberti_st_jerome_in_the_wilderness", "bellini_saint_francis_in_the_desert", "vivarini_saint_jerome_reading"]}]}, "lippi_pieta": {"id": "lippi_pieta", "title": "Pietà", "artist_line": "Fra Filippo Lippi (Italian, c. 1406–1469)", "artist": "Fra Filippo Lippi", "date": "c. 1440", "museum": "Museo Poldi Pezzoli, Milan", "license": "Public domain", "tier": "Sanctuary", "sizes": [{"size": "18×24 in", "paper": 140, "iw": 13.3, "ih": 24, "sw": 18, "sh": 24, "cov": 0.74}, {"size": "24×36 in", "paper": 190, "iw": 20.0, "ih": 36, "sw": 24, "sh": 36, "cov": 0.833}, {"size": "32×48 in", "paper": 340, "iw": 26.7, "ih": 48, "sw": 32, "sh": 48, "cov": 0.833}, {"size": "40×60 in", "paper": 480, "iw": 33.3, "ih": 60, "sw": 40, "sh": 60, "cov": 0.833}], "local": "/store/display/lippi_pieta.jpg", "commons_file": "Filippo Lippi - Pietà - Google Art Project.jpg", "zoom": "https://art.monstrance.app/zoom/lippi_pieta.jpg", "master_px": 9006, "auth": {"institution": "Museo Poldi Pezzoli, Milano", "accession": "1569", "url": "https://museopoldipezzoli.it/wp-json/catalogo/v1/get_opera_data/c4537573-8427-4230-9861-3dd1f2a33880", "artist_as_printed": "Filippo Lippi, 1406/1469", "date_as_printed": "1435 - 1440", "medium": "tavola; pittura a tempera", "dimensions": "altezza 57.5 cm; larghezza 32 cm"}, "writeup": {"text": "The dead Christ sits up in the stone tomb, His head fallen to one side, held between two others. The Museo Poldi Pezzoli reads the scene as Christ rising from the sarcophagus, the Virgin holding His head, Saint John supporting Him at the waist, the shroud drawn over His hair, and points to a hand on Mary's shoulder, its arm hidden by hers, as proof of how carefully Lippi planned the group. The e-venise guide sees the face beginning to come alive while the skin keeps the grey of the shroud. Behind them a bare mountain opens in a grotto: the museum's rock tomb of Joseph of Arimathea.", "sources": [{"what": "Museum text: made for private devotion; the dead Christ rising from the sarcophagus, supported by the Virgin (holding his head) and John (at the waist); shroud covering the top of his head; the carefully studied composition shown by the hand visible on Mary's shoulder, arm hidden by hers; a bare rocky mountain with a grotto alluding to Joseph of Arimathea's rock tomb; dated 1435–1440; tempera on panel, inv. 1569", "url": "https://museopoldipezzoli.it/wp-json/catalogo/v1/get_opera_data/c4537573-8427-4230-9861-3dd1f2a33880", "cite": "Museo Poldi Pezzoli, catalogue record, Filippo Lippi, Pietà, inv. 1569, read 2026-09-24"}, {"what": "Guide text on the Pietà: the face begins to come alive; the body has the grey colour of the shroud; the grotto alludes to the rock tomb; an Imago Pietatis", "url": "https://www.e-venise.com/musees-milan/poldi-pezzoli/filippo-lippi-la-pieta-poldi-pezzoli-milan.html", "cite": "e-venise.com, 'Filippo Lippi, La Pietà, Poldi Pezzoli', read 2026-09-24"}]}, "scene": {"why": "THE PIETÀ IS NOT A SCENE IN SCRIPTURE. Like the Lamentation it fills the silence between John 19:38 and 19:42, and it takes its form from German Vesperbild carving of the fourteenth century. Scripture does not place the dead Christ in his mother’s lap."}, "th": "/store/thumb/lippi_pieta.webp", "more": [{"k": "subject", "n": "The Pietà in painting", "u": "/editions/subject/pieta/", "ids": ["bellini_imago_pietatis_pieta", "fouquet_pieta_of_nouans_nouans_pieta", "rosso_fiorentino_dead_christ_with_angels", "alonso_cano_dead_christ_supported_by_an_angel_cristo"]}, {"k": "master", "n": "Fra Filippo Lippi", "u": "/editions/master/fra-filippo-lippi/", "ids": ["lippi_saint_benedict_orders_saint_maurus_to_the_rescue_o", "lippi_annunciation_2", "lippi_adoration_forest", "lippi_saint_lawrence_enthroned"]}]}, "fra_angelico_the_beheading_of_saint_john_the_baptis": {"id": "fra_angelico_the_beheading_of_saint_john_the_baptis", "title": "The Beheading of Saint John the Baptist and the Feast of Herod", "artist_line": "Fra Angelico (Italian, c. 1395–1455)", "artist": "Fra Angelico", "date": "c. 1430", "museum": "Musée du Louvre, Paris", "license": "Public domain", "tier": "Hero", "sizes": [{"size": "16×20 in", "paper": 110, "iw": 20, "ih": 13.1, "sw": 20, "sh": 16, "cov": 0.819}, {"size": "18×24 in", "paper": 140, "iw": 24, "ih": 15.7, "sw": 24, "sh": 18, "cov": 0.873}, {"size": "24×36 in", "paper": 190, "iw": 36, "ih": 23.6, "sw": 36, "sh": 24, "cov": 0.982}], "local": "/store/display/fra_angelico_the_beheading_of_saint_john_the_baptis.jpg", "commons_file": "La Décollation de saint Jean Baptiste et le Banquet d'Hérode - Fra Angelico - Musée du Louvre Peintures RF 196.jpg", "zoom": "https://art.monstrance.app/zoom/fra_angelico_the_beheading_of_saint_john_the_baptis.jpg", "master_px": 8185, "auth": {"institution": "Musée du Louvre, Paris", "accession": "RF 196", "url": "https://collections.louvre.fr/en/ark:/53355/cl010066165", "artist_as_printed": "Fra Angelico (Guido di Pietro, dit Fra Giovanni da Fiesole)", "date_as_printed": "2e quart du XVe siècle (1425 - 1450)", "medium": "bois (peuplier) — surface peinte coupée sur la gauche", "dimensions": "Hauteur : 0,195 m ; Largeur : 0,305 m"}, "writeup": {"text": "A soldier carries a head on a gold platter, and at the long table the supper goes on. Behind him an arm is still raised over the body of Saint John the Baptist; ahead, the cloth is laid and the cups are out. Saint Mark tells it without ornament: \"But sending an executioner, he commanded that his head should be brought in a dish.\" A girl in pink dances. Carved alone, head and platter became what Barbara Baert calls a \"substitute liturgical object during the veneration of the Host.\" Fra Angelico sets one doorway between the cell and the feast. The dish crosses it.", "sources": [{"what": "Explains the 'continuous narrative' (istoria continua) device used to separate/unite successive moments of one story via architecture, as used in this composition type", "url": "https://www.italianrenaissanceresources.com/units/unit-6/sub-page-05/continuous-narrative/"}, {"what": "Louvre catalogue record for RF 196 confirming medium (tempera on poplar), object type (predella element), and attribution to Fra Angelico", "url": "https://collections.louvre.fr/en/ark:/53355/cl010066165"}, {"what": "Named scholar on the Johannesschüssel: carved alone, the head and platter became a substitute liturgical object during the veneration of the Host — the reading the card's second paragraph turns on.", "url": "https://openartsjournal.org/wp-content/uploads/2014/11/oaj_issue4_baert.pdf", "cite": "Barbara Baert (KU Leuven), 'Vox clamantis in deserto: The Johannesschüssel', Open Arts Journal 4 (2014)."}, {"what": "Herod grieved and bound by the oath sworn before his guests; and Salome's dance, and what she asked for.", "cite": "Mark 6:22-26, Douay-Rheims (Challoner)."}]}, "scene": {"ref": "Mark 6:27", "quote": "But sending an executioner, he commanded that his head should be brought in a dish.", "shows": "the beheading, and Herod’s feast"}, "th": "/store/thumb/fra_angelico_the_beheading_of_saint_john_the_baptis.webp", "more": [{"k": "subject", "n": "Saints in painting", "u": "/editions/subject/saints/", "ids": ["rogier_st_luke_virgin", "sassetta_saint_francis_and_the_poor_knight_and_fr", "angelico_burial_of_cosmas_and_damian", "angelico_martyrdom_of_cosmas_and_damian_louvre"]}, {"k": "master", "n": "Fra Angelico", "u": "/editions/master/fra-angelico/", "ids": ["angelico_last_judgment", "angelico_last_judgment_berlin", "angelico_lamentation_san_marco", "angelico_burial_of_cosmas_and_damian"]}]}, "durer_saint_jerome_in_the_wilderness": {"id": "durer_saint_jerome_in_the_wilderness", "title": "Saint Jerome in the Wilderness", "artist_line": "Albrecht Dürer (German, 1471–1528)", "artist": "Albrecht Dürer", "date": "1496", "museum": "The National Gallery, London", "license": "Public domain", "tier": "Hero", "sizes": [{"size": "16×20 in", "paper": 110, "iw": 14.8, "ih": 20, "sw": 16, "sh": 20, "cov": 0.927}, {"size": "18×24 in", "paper": 140, "iw": 17.8, "ih": 24, "sw": 18, "sh": 24, "cov": 0.989}, {"size": "24×36 in", "paper": 190, "iw": 24, "ih": 32.4, "sw": 24, "sh": 36, "cov": 0.899}], "local": "/store/display/durer_saint_jerome_in_the_wilderness.jpg", "commons_file": "Albrecht Dürer 012.jpg", "zoom": "https://art.monstrance.app/zoom/durer_saint_jerome_in_the_wilderness.jpg", "master_px": 8746, "auth": {"institution": "The National Gallery, London", "accession": "NG6563", "url": "https://www.nationalgallery.org.uk/paintings/albrecht-durer-saint-jerome", "artist_as_printed": "Albrecht Dürer", "date_as_printed": "About 1496", "medium": "Oil on wood (possibly pear)", "dimensions": "23.1 × 17.4 cm"}, "writeup": {"text": "Jerome kneels with his hand at his breast; the National Gallery says he strikes it with a stone. His cardinal's hat and red robe lie in the grass before him. On a small T-shaped cross of branches, Susan Foister notes, Christ hangs at so acute an angle that His head is hidden, and she reads the white loincloth's colouring as a vision of real presence. Albrecht Dürer painted both sides of the pearwood. The bare back bursts red from a yellow oval; Christof Metzger reads it as the Holy Spirit, a thunderbolt, striking the saint's heart. On the front he strikes; on the back he is struck.", "sources": [{"what": "Crucifix of tree branches; Christ at an acute angle, head invisible. SEPARATELY: the loincloth's colouring suggests 'a vision of Christ's real presence rather than merely a sculpted figure'. Stone for the breast.", "url": "https://www.nationalgallery.org.uk/paintings/catalogues/foister-2024/saint-jerome", "cite": "Susan Foister, 'Saint Jerome' (NG6563), National Gallery Catalogues: The German Paintings before 1800, London 2024."}, {"what": "Pearwood panel painted on both faces; reverse has no ground, paint spattered directly onto bare wood; celestial image read as comet or meteor, and Christof Metzger's reading of it as the Holy Spirit striking Jerome's heart.", "url": "https://www.nationalgallery.org.uk/paintings/catalogues/foister-2024/saint-jerome", "cite": "Foister 2024, NG6563: the reverse; support and technique; interpretation."}, {"what": "The lion derives from Duerer's parchment lion study in Hamburg, the correspondence on which the attribution to Duerer rests; provenance from the 1849 Beckett purchase as a Caroto to the National Gallery's 1996 acquisition.", "url": "https://www.nationalgallery.org.uk/paintings/catalogues/foister-2024/saint-jerome", "cite": "Foister 2024, NG6563: the lion; attribution history; provenance."}, {"what": "Object page for NG6563: about 1496, oil on wood (possibly pear), 23.1 x 17.4 cm, double-sided panel for private devotion; saint striking his chest with a rock, lion, cardinal's vestments on the ground; acquired 1996.", "url": "https://www.nationalgallery.org.uk/paintings/albrecht-durer-saint-jerome", "cite": "The National Gallery, London, 'Albrecht Duerer, Saint Jerome', NG6563."}, {"what": "The crucifix's T-shape, its branch construction, the acute angle, the invisible head, the bent knees and white loincloth, and the loincloth's colouring read as real presence.", "url": "https://www.nationalgallery.org.uk/paintings/catalogues/foister-2024/saint-jerome", "cite": "Susan Foister, 'Saint Jerome' (NG6563), National Gallery Catalogues: The German Paintings before 1800, London 2024: the obverse."}, {"what": "Jerome's posture: kneeling.", "url": "https://www.nationalgallery.org.uk/paintings/catalogues/foister-2024/saint-jerome", "cite": "Foister 2024, NG6563: the obverse."}, {"what": "The reverse of the panel described: red streaks radiating from a yellow oval.", "url": "https://www.nationalgallery.org.uk/paintings/catalogues/foister-2024/saint-jerome", "cite": "Foister 2024, NG6563: the reverse."}, {"what": "The support identified as pearwood, and the reverse painted without a ground. Both sentences.", "url": "https://www.nationalgallery.org.uk/paintings/catalogues/foister-2024/saint-jerome", "cite": "Foister 2024, NG6563: technical notes — 'The support is a single board of wood, identified as pearwood (Pyrus communis), with vertical grain.'"}, {"what": "Metzger's reading of the reverse, in the catalogue's own words, including 'thunderbolt'.", "url": "https://www.nationalgallery.org.uk/paintings/catalogues/foister-2024/saint-jerome", "cite": "Foister 2024, NG6563: the reverse, interpretation."}, {"what": "The action stated outright by the institution (Foister only says he holds the stone with which to beat), carrying the card's present-tense 'beating his breast'.", "url": "https://www.nationalgallery.org.uk/paintings/albrecht-durer-saint-jerome", "cite": "The National Gallery, London, 'Albrecht Dürer, Saint Jerome', NG6563."}]}, "scene": {"why": "THE SAINT IS NOT IN SCRIPTURE, or this episode of their life is not. Their acts come to us through the Church’s memory — martyrologies, hagiography, the testimony of their own communities — not through the biblical record. Naming a verse here would dress tradition as Scripture."}, "th": "/store/thumb/durer_saint_jerome_in_the_wilderness.webp", "more": [{"k": "subject", "n": "Saints in painting", "u": "/editions/subject/saints/", "ids": ["gentile_bellini_procession_in_piazza_san_marco", "cima_saint_jerome_in_the_wilderness", "hieronymus_bosch_st_christopher_carrying_the_christ_child", "titian_jacopo_pesaro_presented_to_saint_peter"]}, {"k": "master", "n": "Albrecht Dürer", "u": "/editions/master/albrecht-durer/", "ids": ["albrecht_durer_large_passion_crucifixion", "albrecht_durer_large_passion_flagellation", "durer_saint_michael_fighting_the_dragon", "durer_the_four_horsemen_of_the_apocalypse"]}]}, "fra_angelico_saint_romuald_refusing_entry_to_empero": {"id": "fra_angelico_saint_romuald_refusing_entry_to_empero", "title": "Saint Romuald Forbidding Emperor Otto III Entry to the Church", "artist_line": "Fra Angelico (Italian, c. 1395–1455)", "artist": "Fra Angelico", "date": "c. 1430–1435", "museum": "KMSKA, Antwerp", "license": "Public domain", "tier": "Hero", "sizes": [{"size": "16×20 in", "paper": 110, "iw": 19.6, "ih": 16, "sw": 20, "sh": 16, "cov": 0.98}, {"size": "18×24 in", "paper": 140, "iw": 22.0, "ih": 18, "sw": 24, "sh": 18, "cov": 0.919}, {"size": "24×36 in", "paper": 190, "iw": 29.4, "ih": 24, "sw": 36, "sh": 24, "cov": 0.817}], "local": "/store/display/fra_angelico_saint_romuald_refusing_entry_to_empero.jpg", "commons_file": "Angelico (fra) - Heilige Romuald ontzegt keizer Otto III de toegang tot de kerk - 3 - Royal Museum of Fine Arts Antwerp.tiff", "zoom": "https://art.monstrance.app/zoom/fra_angelico_saint_romuald_refusing_entry_to_empero.jpg", "master_px": 8633, "auth": {"institution": "KMSKA, Antwerp", "accession": "3", "url": "https://kmska.be/en/masterpiece/saint-romuald-refuses-emperor-otto-iii-admission-to-the-church", "artist_as_printed": "Angelico (fra)", "date_as_printed": "1435", "medium": "oil on panel", "dimensions": "22 × 27 cm"}, "writeup": {"text": "A mitred saint stands in a church door with one hand raised, and a crowned man stops with his hand on his chest. The KMSKA's record has the saint reproaching the emperor's cruelty and making him confess, and names them Romuald and Otto III. Anne Leader disagrees: Romuald was never a bishop and is always shown in white hermit's robes, never a mitre. The work entered the museum catalogued as Ambrose refusing Theodosius; white-clad monks on the hillside path behind, she argues, helped get it retitled. Fra Angelico painted it. The saint's is disputed. The door is not.", "sources": [{"what": "Institutional identification of the figure as Romuald of Camaldoli refusing Otto III entry to the church", "url": "https://www.vlaamsekunstcollectie.be/collectie/3", "cite": "Vlaamse Kunstcollectie / KMSKA object record"}, {"what": "Argues the jeweled mitre and embroidered vestments are incompatible with Romuald (always shown in plain habit) and the figure is really Ambrose barring Theodosius", "url": "https://www.academia.edu/467860/The_Church_and_Desert_Fathers_in_Early_Renaissance_Florence_Further_Thoughts_on_a_New_Thebaid", "cite": "Anne Leader, \"The Church and Desert Fathers in Early Renaissance Florence: Further Thoughts on a New Thebaid\""}, {"what": "Establishes the panel as a fragment sawn from the base of a dismembered predella, with companion scenes of popes refusing tiaras and monks refusing emperors dispersed to other museums", "url": "https://www.okv.be/artikel/van-fra-angelico-tot-tintoretto-italiaanse-schilderijen-op-de-topstukkenlijst", "cite": "OKV / Vlaamse overheid, \"Van Fra Angelico tot Tintoretto\""}, {"what": "Documents Otto III's 998 execution of the noble Crescentius II and his barefoot 999 penitential pilgrimage to Monte Gargano seeking absolution", "url": "https://www.cambridge.org/core/journals/studies-in-church-history/article/abs/otto-iiis-penance-a-case-study-of-unity-and-diversity-in-the-eleventhcentury-church/CD3272EE289817FE6794BEDAB5D8ABDB", "cite": "Studies in Church History (Cambridge University Press), \"Otto III's Penance\""}, {"what": "Named scholar on this panel: it entered the museum from the Van Ertborn collection catalogued as Ambrose and Theodosius, and Romuald is impossible — he held no episcopal office and is shown in plain white hermit's robes with his staff, never in a mitre. She names the two things that caused the retitling: the white-clad monks in this panel's own hillside and a parallel refused-entry story in Romuald's legend.", "url": "https://www.academia.edu/467860/The_Church_and_Desert_Fathers_in_Early_Renaissance_Florence_Further_Thoughts_on_a_New_Thebaid", "cite": "Anne Leader, 'The Church and Desert Fathers in Early Renaissance Florence: Further Thoughts on a \"New\" Thebaid'."}, {"what": "The holding institution's own reading of the action: the saint stops a crowned emperor at the church door, reproaches his cruelty and compels him to confess. The record gives the emperor his crown as a symbol of sovereignty and his sword, and the saint an alb and chasuble.", "url": "https://www.vlaamsekunstcollectie.be/collectie/3", "cite": "Vlaamse Kunstcollectie / KMSKA, object record, inv. 3."}, {"what": "Establishes that the panel is a fragment from the lower part of a Thebaid altarpiece whose predella was probably dismantled to raise a higher total, with the other parts now in Philadelphia, Cherbourg, Chantilly and a private collection.", "url": "https://www.okv.be/artikel/van-fra-angelico-tot-tintoretto-italiaanse-schilderijen-op-de-topstukkenlijst", "cite": "OKV / Vlaamse overheid, 'Van Fra Angelico tot Tintoretto: Italiaanse schilderijen op de Topstukkenlijst'."}, {"what": "The same institution's Flemish Primitives database carries this panel under the Ambrose and Theodosius title while calling the emperor Otto — the title is unstable in the museum's own two records. It also names the white-habited monks behind as Camaldolese.", "url": "https://vlaamseprimitieven.vlaamsekunstcollectie.be/en/collection/saint-ambrose-refuses-emperor-theodosius-admission-to-the-church/", "cite": "Vlaamse Kunstcollectie, Flemish Primitives database, 'Saint Ambrose refuses Emperor Theodosius Admission to the Church', KMSKA inv. 3."}]}, "scene": {"why": "THE SAINT IS NOT IN SCRIPTURE, or this episode of their life is not. Their acts come to us through the Church’s memory — martyrologies, hagiography, the testimony of their own communities — not through the biblical record. Naming a verse here would dress tradition as Scripture."}, "th": "/store/thumb/fra_angelico_saint_romuald_refusing_entry_to_empero.webp", "more": [{"k": "subject", "n": "Saints in painting", "u": "/editions/subject/saints/", "ids": ["fra_angelico_the_beheading_of_saint_john_the_baptis", "rogier_st_luke_virgin", "sassetta_saint_francis_and_the_poor_knight_and_fr", "angelico_burial_of_cosmas_and_damian"]}, {"k": "master", "n": "Fra Angelico", "u": "/editions/master/fra-angelico/", "ids": ["fra_angelico_the_beheading_of_saint_john_the_baptis", "angelico_last_judgment", "angelico_last_judgment_berlin", "angelico_lamentation_san_marco"]}]}, "rogier_the_annunciation": {"id": "rogier_the_annunciation", "title": "The Annunciation", "artist_line": "Rogier van der Weyden (Early Netherlandish, c. 1399–1464)", "artist": "Rogier van der Weyden", "date": "c. 1460", "museum": "KMSKA, Antwerp", "license": "Public domain", "tier": "Hero", "sizes": [{"size": "8×10 in", "paper": 39, "iw": 6.0, "ih": 10, "sw": 8, "sh": 10, "cov": 0.752}, {"size": "11×14 in", "paper": 59, "iw": 8.4, "ih": 14, "sw": 11, "sh": 14, "cov": 0.766}, {"size": "16×20 in", "paper": 110, "iw": 12.0, "ih": 20, "sw": 16, "sh": 20, "cov": 0.752}, {"size": "18×24 in", "paper": 140, "iw": 14.4, "ih": 24, "sw": 18, "sh": 24, "cov": 0.802}, {"size": "24×36 in", "paper": 190, "iw": 21.7, "ih": 36, "sw": 24, "sh": 36, "cov": 0.902}], "local": "/store/display/rogier_the_annunciation.jpg", "commons_file": "Rogier van der Weyden - The Annunciation, 1460, 396.tif", "zoom": "https://art.monstrance.app/zoom/rogier_the_annunciation.jpg", "master_px": 8401, "auth": {"institution": "Koninklijk Museum voor Schone Kunsten Antwerpen (KMSKA)", "accession": "396", "url": "https://kmska.be/en/masterpiece/the-annunciation-3", "artist_as_printed": "Rogier van der Weyden", "date_as_printed": "1460", "medium": "oil on panel", "dimensions": "20 × 12 cm"}, "writeup": {"text": "A small jug of lilies stands on the step, and the rest of the room is ordinary: a red bed under a green canopy, a bench, tall windows, a book open on a cushion. Gabriel kneels in white with a staff; Our Lady, in blue, turns from her reading with one hand raised; between them hovers the Dove of the Holy Spirit. The Web Gallery of Art explains the setting as medieval custom, a fifteenth-century townhouse rather than a church, and reads the lilies as Mary's virginity. Luke names a city and a virgin espoused to Joseph, and gives no room at all. The whole scene is some twenty centimetres high; the Antwerp museum gives it to Rogier van der Weyden, the Web Gallery to a follower. The book on her cushion stays open.", "sources": [{"what": "Setting is a contemporary 15th-c. townhouse bedroom, not a church - Northern domestic-interior convention pioneered by Campin, adopted across Rogier's circle", "url": "https://www.wga.hu/html_m/w/weyden/rogier/03annunc/3annunci.html"}, {"what": "Red bed with large canopy dominates the room, for this exact 20x12cm Antwerp panel (WGA25596)", "url": "https://www.wga.hu/html_m/w/weyden/rogier/03annunc/3annunci.html"}, {"what": "Jug holding lily stems explicitly glossed as symbol of Mary's virginity, for this exact panel", "url": "https://www.wga.hu/html_m/w/weyden/rogier/03annunc/3annunci.html"}, {"what": "Attribution hedge for this exact Antwerp panel — WGA gives it to a follower, not to Rogier himself. NOTE: this dissents from the owning museum, so it may only be printed with WGA named as its holder.", "url": "https://www.wga.hu/html_m/w/weyden/rogier/03annunc/3annunci.html", "cite": "Web Gallery of Art, catalogue entry for Annunciation, Koninklijk Museum voor Schone Kunsten, Antwerp (WGA 3annunci)"}, {"what": "The bedroom setting stated as medieval custom, and the bed and canopy described, for this exact panel. Both sentences. The page does NOT say the bed \"dominates\" the room, and does not name Campin or Rogier's circle.", "url": "https://www.wga.hu/html_m/w/weyden/rogier/03annunc/3annunci.html", "cite": "Web Gallery of Art, catalogue entry for Annunciation, KMSKA Antwerp"}, {"what": "Institutional record for size, date and — load-bearing for the repaired card — attribution. This is the museum position the card now sets against WGA's.", "url": "https://kmska.be/en/masterpiece/the-annunciation-3", "cite": "Koninklijk Museum voor Schone Kunsten Antwerpen, The Annunciation, inv. 396"}, {"what": "Mary is betrothed, not yet married, and Luke names a city but no interior.", "cite": "Luke 1:27, Douay-Rheims (Challoner)"}]}, "scene": {"ref": "Luke 1:28", "quote": "And the angel being come in, said unto her: Hail, full of grace, the Lord is with thee: blessed art thou among women.", "shows": "Gabriel’s greeting to Mary"}, "th": "/store/thumb/rogier_the_annunciation.webp", "more": [{"k": "subject", "n": "The Annunciation in painting", "u": "/editions/subject/annunciation/", "ids": ["tura_the_annunciation_with_saint_francis_and_saint_louis", "leonardo_annunciation", "lorenzo_di_credi_the_annunciation", "memling_annunciation"]}, {"k": "master", "n": "Rogier van der Weyden", "u": "/editions/master/rogier-van-der-weyden/", "ids": ["rogier_descent_from_cross", "rogier_st_luke_virgin"]}]}, "reni_saint_james_the_greater": {"id": "reni_saint_james_the_greater", "title": "Saint James the Greater", "artist_line": "Guido Reni (Italian, 1575–1642)", "artist": "Guido Reni", "date": "c. 1636–1638", "museum": "Museum of Fine Arts, Houston", "license": "Public domain", "tier": "Hero", "sizes": [{"size": "16×20 in", "paper": 110, "iw": 14.5, "ih": 20, "sw": 16, "sh": 20, "cov": 0.908}, {"size": "18×24 in", "paper": 140, "iw": 17.4, "ih": 24, "sw": 18, "sh": 24, "cov": 0.968}, {"size": "24×36 in", "paper": 190, "iw": 24, "ih": 33.0, "sw": 24, "sh": 36, "cov": 0.918}], "local": "/store/display/reni_saint_james_the_greater.jpg", "commons_file": "Guido Reni - Saint James the Greater - Google Art Project.jpg", "zoom": "https://art.monstrance.app/zoom/reni_saint_james_the_greater.jpg", "master_px": 8161, "auth": {"institution": "The Museum of Fine Arts, Houston", "accession": "2002.10", "url": "https://emuseum.mfah.org/objects/48081/saint-james-the-greater", "artist_as_printed": "Guido Reni (Italian (Bolognese), 1575–1642)", "date_as_printed": "c. 1636–1638", "medium": "Oil on canvas", "dimensions": "52 1/8 × 38 7/8 in. (132.3 × 98.8 cm)"}, "writeup": {"text": "A staff, and nothing else. Guido Reni gives Saint James no shell, only the pilgrim's staff laid across his gold cloak, and turns his face upward with the hands joined. The Museum of Fine Arts, Houston reads the parted hair and beard as Christ's own: James was one of the three who saw that face shine on the mountain, and he wears it. The Prado's entry calls the Houston canvas the original of the Duke of Alcalá's Apostles, painted in Rome for the family pantheon at the Cartuja de las Cuevas in Seville. Benito Navarrete Prieto argues that the related canvas in the Prado is no Reni but a copy by Zurbarán, made around 1650-55 after he saw the duke's series in Seville. The fisherman who mended nets is looking up, and the staff is for a road.", "sources": [{"what": "Staff is the figure's sole attribute (shell absent); beard and center-parted hair styled to echo Christ's appearance, marking apostolic intimacy", "url": "https://emuseum.mfah.org/objects/48081/saint-james-the-greater", "cite": "MFAH object page, emuseum.mfah.org/objects/48081"}, {"what": "Identifies Houston canvas as autograph original of Duke of Alcalá's Apostles series, commissioned in Rome for the family pantheon at Cartuja de las Cuevas, Seville", "url": "https://museodelprado.es/en/the-collection/art-work/saint-james-the-greater/ecfe4801-d460-49ce-ac62-8916ab2ac634", "cite": "Museo Nacional del Prado, object entry, Santiago el Mayor, inv. P000212"}, {"what": "Argues the Prado's related canvas is not an autograph Reni but a copy by Zurbarán, made c. 1650-55 after seeing the duke's apostle series in Seville", "url": "https://archivoespañoldearte.revistas.csic.es/index.php/aea/article/view/1253", "cite": "Benito Navarrete Prieto, \"Reni y España,\" Archivo Español de Arte 97/386 (2024)"}, {"what": "The museum's own label: the parted hair given to James is Christ's own, and the picture withholds the saint's usual attributes — the reading the card's opening and its second sentence both rest on.", "url": "https://emuseum.mfah.org/objects/48081/saint-james-the-greater", "cite": "Museum of Fine Arts, Houston, object label, 'Saint James the Greater'."}, {"what": "James among the three taken up the mountain, where Christ's face shone as the sun.", "cite": "Matthew 17:1-2, Douay-Rheims (Challoner)."}]}, "scene": {"ref": "Matthew 4:21", "quote": "And going on from thence, he saw other two brethren, James the son of Zebedee, and John his brother, in a ship with Zebedee their father, mending their nets: and he called them.", "shows": "James the son of Zebedee, called from the ship"}, "th": "/store/thumb/reni_saint_james_the_greater.webp", "more": [{"k": "subject", "n": "Saints in painting", "u": "/editions/subject/saints/", "ids": ["reni_st_michael", "gaspar_de_crayer_the_martyrdom_of_st_lawrence", "la_tour_repentant_magdalen", "champaigne_augustine"]}, {"k": "master", "n": "Guido Reni", "u": "/editions/master/guido-reni/", "ids": ["reni_st_michael"]}]}, "goes_the_trinity_altarpiece_the_holy_trinit": {"id": "goes_the_trinity_altarpiece_the_holy_trinit", "title": "The Trinity Altarpiece: The Holy Trinity", "artist_line": "Hugo van der Goes (Early Netherlandish, c. 1440–1482)", "artist": "Hugo van der Goes", "date": "c. 1478–1479", "museum": "National Galleries of Scotland, Edinburgh", "license": "Public domain", "tier": "Hero", "sizes": [{"size": "16×20 in", "paper": 110, "iw": 9.7, "ih": 20, "sw": 16, "sh": 20, "cov": 0.606}, {"size": "18×24 in", "paper": 140, "iw": 11.6, "ih": 24, "sw": 18, "sh": 24, "cov": 0.646}, {"size": "24×36 in", "paper": 190, "iw": 17.4, "ih": 36, "sw": 24, "sh": 36, "cov": 0.727}], "local": "/store/display/goes_the_trinity_altarpiece_the_holy_trinit.jpg", "commons_file": "Hugo van der Goes - Trinity Altarpiece Left Panel.jpg", "zoom": "https://art.monstrance.app/zoom/goes_the_trinity_altarpiece_the_holy_trinit.jpg", "master_px": 8133, "auth": {"institution": "National Galleries of Scotland, Edinburgh", "accession": "NG 1772", "url": "https://www.nationalgalleries.org/art-and-artists/17481", "artist_as_printed": "Hugo van der Goes (died 1482) Netherlandish", "date_as_printed": "About 1475 - 1480", "medium": "Oil on panel", "dimensions": "Each panel: 202.00 x 100.50 cm"}, "writeup": {"text": "God the Father sits on a gold throne and holds His dead Son against Him, one arm hanging, and the Holy Spirit, as a dove, spreads between them. Dermot Morrin OP reads the image as a Throne of Mercy, named for the lid of the Ark in the Temple, and suggests that the red of the Father's robe is Christ's blood. The Royal Collection Trust records that the throne's gold is real leaf, and an x-ray showing scoring above the Father's head, probably an iconoclast's. Hugo van der Goes set the donor, Edward Bonkil, first provost of Edinburgh's Holy Trinity, kneeling before this vision. The Father's face was left alone.", "sources": [{"what": "Closed-wing composition: God the Father enthroned holding the dead Christ, dove between them; Bonkil kneeling in adoration before the vision", "url": "https://www.nationalgalleries.org/art-and-artists/17481"}, {"what": "Throne of Mercy (Gnadenstuhl) reading: Christ's body equated with the site of atonement; gold=heaven, red=Christ's redeeming blood, orb=world under Trinity's dominion", "url": "https://scotland.op.org/the-holy-trinity-edinburgh/"}, {"what": "Angel's organ rendered in actual gold leaf, an archaic technique read as a deliberate break from naturalism to signal unmediated spiritual vision", "url": "https://greatscottishart.wordpress.com/2015/02/22/18-the-trinity-altarpiece-hugo-van-der-goes/"}, {"what": "X-ray/technical evidence of scoring damage in the paint above God the Father's head, with the face itself left undamaged", "url": "https://www.rct.uk/collection/conservation/the-trinity-panels-by-hugo-van-der-goes"}, {"what": "The Throne of Mercy named for the lid of the Ark kept in the inner sanctuary of the Temple, and this image of the Father holding his dead Son read as drawing on that seat of mercy; with a suggestion, carried here as a suggestion, that the red of the Father's robe is the blood.", "url": "https://scotland.op.org/the-holy-trinity-edinburgh/", "cite": "Dermot Morrin OP, 'The Holy Trinity, Edinburgh', Dominicans in Scotland."}, {"what": "The mercy seat — the Douay 'propitiatory' — sprinkled with sacrificial blood on the Day of Atonement, once a year.", "cite": "Leviticus 16:14-15, 16:34, Douay-Rheims."}, {"what": "The gold in the throne is real leaf laid over red bole rather than painted gold; the organ pipes are silver leaf.", "url": "https://www.rct.uk/collection/conservation/the-trinity-panels-by-hugo-van-der-goes/materials-and-techniques", "cite": "Royal Collection Trust, 'The Trinity Panels by Hugo van der Goes: Materials and techniques'."}, {"what": "Edward Bonkil as provost of the Collegiate Church of the Holy Trinity in Edinburgh from its foundation in 1462; and the x-ray scoring above the Father's head, probably iconoclastic, with the face itself left undamaged.", "url": "https://www.rct.uk/collection/conservation/the-trinity-panels-by-hugo-van-der-goes", "cite": "Royal Collection Trust, 'The Trinity Panels by Hugo van der Goes'."}, {"what": "The national gallery's record: the Father holding the broken body of the crucified Christ, with the donor kneeling before the vision.", "url": "https://www.nationalgalleries.org/art-and-artists/17481", "cite": "National Galleries of Scotland, 'The Trinity Altarpiece by Hugo van der Goes', NG 1772."}, {"what": "The Holy Spirit present as a dove between Father and Son — the only record of the four that says so.", "url": "https://www.rct.uk/collection/403260", "cite": "Royal Collection Trust, 'Hugo van der Goes (c. 1440-1482), The Trinity Altarpiece panels', RCIN 403260."}]}, "scene": {"why": "NOT A NARRATIVE SCENE. The Trinity is doctrine, not an episode. Where all three Persons appear together in Scripture it is at the Baptism (Matthew 3:16-17); the painters’ Throne of Mercy and Gloria types are theological constructions and are cited as such rather than pinned to a verse."}, "th": "/store/thumb/goes_the_trinity_altarpiece_the_holy_trinit.webp", "more": [{"k": "subject", "n": "The Holy Trinity in painting", "u": "/editions/subject/the-holy-trinity/", "ids": ["albrecht_durer_all_saints_landauer_altarpiece", "titian_gloria", "el_greco_holy_trinity", "hendrik_van_balen_the_trinity"]}, {"k": "master", "n": "Hugo van der Goes", "u": "/editions/master/hugo-van-der-goes/", "ids": ["hugo_van_der_goes_the_adoration_of_the_shepherds", "goes_the_death_of_the_virgin"]}]}, "bouts_the_lamentation": {"id": "bouts_the_lamentation", "title": "The Lamentation", "artist_line": "Netherlandish Master, c. 1475 (the Städel’s “Niederländischer Meister um 1475”; the panel was formerly given to Dieric Bouts)", "artist": "Netherlandish Master, c. 1475", "date": "ca. 1470–1480", "museum": "Städel Museum, Frankfurt am Main", "license": "Public domain", "tier": "Hero", "sizes": [{"size": "16×20 in", "paper": 110, "iw": 14.2, "ih": 20, "sw": 16, "sh": 20, "cov": 0.89}, {"size": "18×24 in", "paper": 140, "iw": 17.1, "ih": 24, "sw": 18, "sh": 24, "cov": 0.949}, {"size": "24×36 in", "paper": 190, "iw": 24, "ih": 33.7, "sw": 24, "sh": 36, "cov": 0.937}], "local": "/store/display/bouts_the_lamentation.jpg", "commons_file": "The Lamentation (SM 1268).png", "zoom": "https://art.monstrance.app/zoom/bouts_the_lamentation.jpg", "master_px": 7747, "auth": {"institution": "Städel Museum, Frankfurt am Main", "accession": "1268", "url": "https://sammlung.staedelmuseum.de/de/werk/beweinung-christi-3", "artist_as_printed": "Niederländischer Meister um 1475", "date_as_printed": "ca. 1470 – 1480", "medium": "Öl auf Eichenholz", "dimensions": "70,1 x 50,7 x 1 cm"}, "writeup": {"text": "The Cross stands empty behind them, its title still at the top, INRI. Our Lady holds the dead Christ across her knees and cups His head; Saint John bends in red to take the weight; Mary Magdalene sits apart with her hands together. The Städel gives the painting to a Netherlandish master of about 1475, and its record names his model: Dieric Bouts's Lamentation in the Louvre, 69 by 49 centimetres. This oak measures 70.1 by 50.7, the model's size almost to the centimetre. Behind Golgotha a town goes on with its towers and its river. The body she gave Him lies in her lap again.", "sources": [{"what": "Object record: Dutch Master around 1475; ca. 1470–1480; oil on oak, 70.1 x 50.7 cm; inv. 1268; gift of Josephine and Anton Brentano 1895; figures Christ, Mary, Mary Magdalene, John the Evangelist at Golgotha", "url": "https://sammlung.staedelmuseum.de/en/work/the-lamentation", "cite": "Städel Museum, The Lamentation, inv. 1268, read 2026-09-24"}, {"what": "German record: names Dieric Bouts, Beweinung Christi, ca. 1455–60, wood, 69 x 49 cm, Louvre R.F. 1, as the model (Vorlage/Bezug); lists the INRI inscription among the motifs and the Gospel burial passages as literary sources", "url": "https://sammlung.staedelmuseum.de/de/werk/beweinung-christi-3", "cite": "Städel Museum, Beweinung Christi, Inv. 1268, read 2026-09-24"}]}, "scene": {"why": "THE LAMENTATION IS NOT A SCENE IN SCRIPTURE. The Städel panel sets the dead Christ on the shroud at the foot of the cross with the Virgin, John, the Magdalene and the holy women around him, in the interval between the Deposition (John 19:38) and the Entombment (John 19:41) that no evangelist describes; no verse is stretched to fit."}, "th": "/store/thumb/bouts_the_lamentation.webp", "more": [{"k": "subject", "n": "The Lamentation of Christ in painting", "u": "/editions/subject/lamentation-of-christ/", "ids": ["botticelli_lamentation", "goes_lamentation_of_christ", "rubens_lamentation", "angelico_lamentation_san_marco"]}]}, "veronese_the_martyrdom_of_saint_justina": {"id": "veronese_the_martyrdom_of_saint_justina", "title": "The Martyrdom of Saint Justina", "artist_line": "Paolo Veronese (Italian, 1528–1588)", "artist": "Paolo Veronese", "date": "c. 1573", "museum": "Gallerie degli Uffizi, Florence", "license": "Public domain", "tier": "Hero", "sizes": [{"size": "16×20 in", "paper": 110, "iw": 18.2, "ih": 16, "sw": 20, "sh": 16, "cov": 0.912}, {"size": "18×24 in", "paper": 140, "iw": 20.5, "ih": 18, "sw": 24, "sh": 18, "cov": 0.855}, {"size": "24×36 in", "paper": 190, "iw": 27.4, "ih": 24, "sw": 36, "sh": 24, "cov": 0.76}], "local": "/store/display/veronese_the_martyrdom_of_saint_justina.jpg", "commons_file": "Paolo Veronese - Martirio di Santa Giustina - Google Art Project.jpg", "zoom": "https://art.monstrance.app/zoom/veronese_the_martyrdom_of_saint_justina.jpg", "master_px": 8024, "auth": {"institution": "Gallerie degli Uffizi, Firenze (Ministero della Cultura, Catalogo generale dei Beni Culturali)", "accession": "Inventario 1890, n. 946", "url": "https://catalogo.beniculturali.it/detail/HistoricOrArtisticProperty/0900099769", "artist_as_printed": "Caliari Paolo Detto Paolo Veronese (1528/ 1588)", "date_as_printed": "1570 - 1579", "medium": "tela/ pittura a olio", "dimensions": "altezza 103 cm; larghezza 113 cm"}, "writeup": {"text": "A blade goes into her breast, and she looks up, past the man who holds it. The Metropolitan Museum notes that the sword through the breast is Justina's own attribute in art, so the killing names her. On the stone at the lower left lies a small gold crown. Kelsey Rozema of the Milwaukee Art Museum tells the legend: a daughter of the royal house of Padua who refused to worship Mars, god of war, and she reads the crown set aside as earthly rank exchanged for heaven's. Italy's state catalogue records the executioner and bystanders in contemporary dress, and notes that restoration settled old doubts that Veronese painted it himself. Cardinal Leopoldo de' Medici bought the canvas in 1675, and the Uffizi hung it in the Tribuna, the room built to keep Francesco I's jewels, until 1769. Her open hand reaches toward the crown and leaves it there.", "sources": [{"what": "Uffizi's own object record: Martirio di Santa Giustina, Veronese, around 1573, oil on canvas, 1130 x 1030 mm (landscape); Canonici collection Ferrara, Paolo del Sera, Cardinal Leopoldo, Uffizi Tribuna.", "url": "https://artsandculture.google.com/asset/martyrdom-of-saint-justina-paolo-veronese-caliari/IAHd5DfarX8PcA?hl=en", "cite": "Gallerie degli Uffizi object record, published via Google Arts \u0026 Culture"}, {"what": "The sword piercing the breast is Saint Justina's traditional attribute in art, stated in a museum catalogue entry.", "url": "https://www.metmuseum.org/art/collection/search/437145", "cite": "Metropolitan Museum of Art, Bartolomeo Montagna, 'Saint Justina of Padua', curatorial entry"}, {"what": "Justina's legend: royal family of Padua; refused to worship Mars, god of war, and was stabbed through the chest; shown crowned for royal status, the set-aside crown marking earthly rank exchanged for heavenly.", "url": "https://blog.mam.org/2018/01/02/14953/", "cite": "Milwaukee Art Museum, 'From the Collection: The Martyrdom of St. Justina of Padua'"}, {"what": "Italian state catalogue record for the Uffizi canvas: figures present (bystanders, executioner), contemporary clothing, Justina's attribute a crown, columns as the architecture. Replaces the Italian Wikipedia description. it does not support 'behind her'.", "url": "https://dati.cultura.gov.it/lodview-arco/resource/HistoricOrArtisticProperty/0900099769.html", "cite": "Catalogo generale dei Beni Culturali (ICCD/Ministero della Cultura), scheda 0900099769, 'martirio di Santa Giustina', Caliari Paolo detto Paolo Veronese, 1570-1579, Firenze"}, {"what": "Notizie storico-critiche: the restoration dispelled the long-standing doubts about autograph status, which is why the card no longer repeats English Wikipedia's 'with assistance from his younger brother'. Also confirms the Canonici (Ferrara) to Paolo del Sera provenance, citing Pallucchini 1939.", "url": "https://dati.cultura.gov.it/lodview-arco/resource/HistoricOrArtisticProperty/0900099769.html", "cite": "Catalogo generale dei Beni Culturali (ICCD/Ministero della Cultura), scheda 0900099769, notizie storico-critiche"}, {"what": "The Uffizi's own account of the Tribuna's purpose. Carries the card's last clause. and the same sentence names Bernardo Buontalenti as the architect, which is why the card now says the room was built to keep Francesco I's jewels rather than that Francesco I built it.", "url": "https://www.uffizi.it/en/artworks/the-tribune", "cite": "Gallerie degli Uffizi, 'The Tribune in the Uffizi', museum website"}, {"what": "Milwaukee Art Museum post by Kelsey Rozema, Curatorial Intern, named in the card as the author of the crown reading. Note the post is about Domenico Brusasorci's Milwaukee canvas, not the Uffizi Veronese; the card takes the iconographic reading and the Mars legend only, not the placement.", "url": "https://blog.mam.org/2018/01/02/14953/", "cite": "Kelsey Rozema, Milwaukee Art Museum, 'From the Collection: The Martyrdom of St. Justina of Padua' (2018)"}]}, "scene": {"why": "THE SAINT IS NOT IN SCRIPTURE, or this episode of their life is not. Their acts come to us through the Church’s memory — martyrologies, hagiography, the testimony of their own communities — not through the biblical record. Naming a verse here would dress tradition as Scripture."}, "th": "/store/thumb/veronese_the_martyrdom_of_saint_justina.webp", "more": [{"k": "subject", "n": "Saints in painting", "u": "/editions/subject/saints/", "ids": ["carracci_saint_francis_in_meditation", "maerten_de_vos_temptation_of_saint_anthony_the_great", "caravaggio_saint_francis_of_assisi_in_ecstasy", "caravaggio_saint_catherine_of_alexandria"]}, {"k": "master", "n": "Paolo Veronese", "u": "/editions/master/paolo-veronese/", "ids": ["emmaus_veronese", "veronese_cana", "veronese_the_madonna_of_the_cuccina_family"]}]}, "champaigne_the_repentant_magdalen": {"id": "champaigne_the_repentant_magdalen", "title": "The Repentant Magdalen", "artist_line": "Philippe de Champaigne (French, 1602–1674)", "artist": "Philippe de Champaigne", "date": "1648", "museum": "Museum of Fine Arts, Houston", "license": "Public domain", "tier": "Hero", "sizes": [{"size": "16×20 in", "paper": 110, "iw": 15.3, "ih": 20, "sw": 16, "sh": 20, "cov": 0.957}, {"size": "18×24 in", "paper": 140, "iw": 18, "ih": 23.5, "sw": 18, "sh": 24, "cov": 0.979}, {"size": "24×36 in", "paper": 190, "iw": 24, "ih": 31.3, "sw": 24, "sh": 36, "cov": 0.871}], "local": "/store/display/champaigne_the_repentant_magdalen.jpg", "commons_file": "Philippe de Champaigne - The Repentant Magdalen - Google Art Project.jpg", "zoom": "https://art.monstrance.app/zoom/champaigne_the_repentant_magdalen.jpg", "master_px": 8009, "auth": {"institution": "The Museum of Fine Arts, Houston", "accession": "70.26", "url": "https://emuseum.mfah.org/objects/971/the-repentant-magdalen", "artist_as_printed": "Philippe de Champaigne (French, 1602–1674)", "date_as_printed": "1648", "medium": "Oil on canvas", "dimensions": "Canvas: 45 5/8 × 35 in. (115.9 × 88.9 cm)"}, "writeup": {"text": "Saint Mary Magdalen crosses her hands on her breast and lifts her wet eyes, and the stone around her is cold. Houston reads the crisp lines and icy colours as pious sobriety, and dates Philippe de Champaigne's adherence to Jansenism, a French Catholic sect of great austerity, to the latter 1640s; this is 1648. A skull rests by the open book, and the jar she is known by stands at the edge: Luke's woman washed Christ's feet with her tears and anointed them. No Gospel puts her in a cave; Houston traces it to the Sainte-Baume legend. Luke never names that woman. Gregory the Great did, in 591.", "sources": [{"what": "Object page: attributes (crucifix, skull, scripture, ointment jar), tear-filled eyes raised to heaven, cave setting referencing medieval Sainte-Baume legend", "url": "https://emuseum.mfah.org/objects/971/the-repentant-magdalen"}, {"what": "CAA review corroborating Champaigne's Jansenist context and distinguishing the Houston Magdalen from his separate 1657 Rennes Magdalen", "url": "http://www.caareviews.org/reviews/1042"}, {"what": "Supports 'the ointment jar is still the sign by which we know her' — the Prado states the jar is the attribute by which the Magdalene is identified. A different picture (Cano), cited for the attribute only.", "url": "https://www.museodelprado.es/en/the-collection/art-work/the-penitent-magdalene/c2290d2c-72c5-4dee-a95d-155a40c759f4", "cite": "Museo Nacional del Prado, Alonso Cano, 'The Penitent Magdalene' (1652–1657), collection record"}, {"what": "Supports the grotto: in the seventeenth century the theme of Mary weeping in her grotto was a popular subject in poetry as well as art — the currency of the setting in Champaigne's own century.", "url": "https://fitzmuseum.cam.ac.uk/explore-our-collection/highlights/context/stories-and-histories/mary-magdalene", "cite": "The Fitzwilliam Museum, Cambridge, 'Mary Magdalene', Stories and Histories, collection highlights"}, {"what": "The legend itself behind 'she spent her last years hidden': she sought a right sharp desert, took a place ordained by the angel of God, and abode there thirty years. The text says desert; the Provencal grotto is the later overlay carried by the museum sources.", "cite": "Jacobus de Voragine, The Golden Legend (Legenda aurea), 'The Life of Saint Mary Magdalene' — Caxton translation, Temple Classics ed., vol. 4"}, {"what": "A second institution on the Jansenism our last sentence names: the style of Champaigne's devotional works of the time mirrors the austere religious doctrine of that movement. Cited for that link only.", "url": "https://www.nationalgallery.org.uk/artists/philippe-de-champaigne", "cite": "The National Gallery, London, artist record: Philippe de Champaigne (1602–1674)"}, {"what": "The landing: Luke's sinner is unnamed and Gregory the Great fixed her identity as Mary Magdalene in 591. Named scholar, published by Baylor's Institute for Faith and Learning. Carries the card's closing two sentences.", "url": "https://ifl.web.baylor.edu/sites/g/files/ecbvkj771/files/2024-03/WomenintheBibleArticleBeavis.pdf", "cite": "Mary Ann Beavis, 'Who is Mary Magdalene?', Institute for Faith and Learning, Baylor University (Christian Reflection series)"}, {"what": "The primary text behind the landing, cited by locator, no url.1 is where the identification is made — \"Hanc vero quam Lucas peccatricem mulierem, Joannes Mariam nominat, illam esse Mariam credimus de qua Marcus septem daemonia ejecta fuisse testatur.\" The PL 76 col. 1239A reference is correct and the proposed English rendering is faithful. The homily's date of c. 591 is consistent with Beavis. The locator says what is claimed.", "cite": "Gregory the Great, Homiliae in Evangelia, Book II, Homily 33.1 (PL 76, col. 1239A), preached at Rome c. 591"}, {"what": "The Houston record, which carries the card's whole first paragraph and the reading of the handling.", "url": "https://emuseum.mfah.org/objects/971/the-repentant-magdalen", "cite": "The Museum of Fine Arts, Houston, 'The Repentant Magdalen', acc. 70.26, object record"}, {"what": "Supports \"The jar she is known by\" — the Prado states outright that the jar is what identifies her. Cited for the attribute only; the painting is Cano's, not Champaigne's.", "url": "https://www.museodelprado.es/en/the-collection/art-work/the-penitent-magdalene/c2290d2c-72c5-4dee-a95d-155a40c759f4", "cite": "Museo Nacional del Prado, Alonso Cano, 'The Penitent Magdalene', collection record"}]}, "scene": {"ref": "Luke 7:38", "quote": "And standing behind at his feet. she began to wash his feet with tears and wiped them with the hairs of her head and kissed his feet and anointed them with the ointment.", "shows": "the woman washing his feet with tears"}, "th": "/store/thumb/champaigne_the_repentant_magdalen.webp", "more": [{"k": "subject", "n": "Saints in painting", "u": "/editions/subject/saints/", "ids": ["poussin_the_ecstasy_of_saint_paul", "le_sueur_der_heilige_bruno_im_gebet_saint_bruno_i", "zurbaran_st_francis", "dolci_mater_dolorosa"]}, {"k": "master", "n": "Philippe de Champaigne", "u": "/editions/master/philippe-de-champaigne/", "ids": ["champaigne_augustine"]}]}, "caravaggio_saint_francis_of_assisi_in_ecstasy": {"id": "caravaggio_saint_francis_of_assisi_in_ecstasy", "title": "Saint Francis of Assisi in Ecstasy", "artist_line": "Caravaggio (Italian, 1571–1610)", "artist": "Caravaggio", "date": "c. 1595", "museum": "Wadsworth Atheneum, Hartford", "license": "Public domain", "tier": "Hero", "sizes": [{"size": "16×20 in", "paper": 110, "iw": 20, "ih": 14.4, "sw": 20, "sh": 16, "cov": 0.9}, {"size": "18×24 in", "paper": 140, "iw": 24, "ih": 17.3, "sw": 24, "sh": 18, "cov": 0.96}, {"size": "24×36 in", "paper": 190, "iw": 33.3, "ih": 24, "sw": 36, "sh": 24, "cov": 0.926}], "local": "/store/display/caravaggio_saint_francis_of_assisi_in_ecstasy.jpg", "commons_file": "Saint Francis of Assisi in Ecstasy-Caravaggio (c.1595).jpg", "zoom": "https://art.monstrance.app/zoom/caravaggio_saint_francis_of_assisi_in_ecstasy.jpg", "master_px": 7832, "auth": {"institution": "Wadsworth Atheneum Museum of Art", "accession": "1943.222", "url": "https://www.thewadsworth.org/wp-content/uploads/2015/09/European-Collection-Images-Captions.pdf", "artist_as_printed": "Caravaggio (Michelangelo Merisi)", "date_as_printed": "c. 1595-96", "medium": "Oil on canvas"}, "writeup": {"text": "Saint Francis lies back in the grass with his eyes shut, and an angel holds him up. The weight is a man's; the arms are heaven's. At his side there is only a faint mark: no blood, no wounded hands. The Museum of Fine Arts, Houston, likens the embrace to angels upholding the dead Christ, a type it traces to Veronese; Caravaggio.org notes the angel has two wings, not the seraph's six. It was a private devotion for Ottavio Costa, banker to the papal court, and E. Peters Bowron calls it Caravaggio's first religious painting. In the dark behind them, a thin light is breaking.", "sources": [{"what": "Angel's pose echoes dead-Christ-upheld-by-angel compositional type (Veronese); no gold ground, naturalistic light as metaphor for divine presence", "url": "https://static.mfah.com/documents/mfah-saint-francis-of-assisi-in-ecstasy.9156434297275809342.pdf", "cite": "Museum of Fine Arts, Houston, object/loan documentation PDF"}, {"what": "Angel has only two wings, youthful and plainly dressed (not six-winged seraph); only faint mark at Francis's side visible, no bleeding hands/feet", "url": "https://www.caravaggio.org/saint-francis-of-assisi-in-ecstasy.jsp", "cite": "Caravaggio.org, \"Saint Francis of Assisi in Ecstasy, 1595\""}, {"what": "Angel's embrace described as 'tenderness of affectionate care' rather than 'frigid superiority' (citing E. Peters Bowron)", "url": "https://www.nicholashall.art/journal/caravaggio-in-america-part-2/", "cite": "Nicholas Hall, \"Caravaggio in America – Part 2\""}, {"what": "E. Peters Bowron, quoted here, calls this the first religious picture Caravaggio ever painted; and Ottavio Costa identified as banker to the papal court.", "url": "https://www.nicholashall.art/journal/caravaggio-in-america-part-2/", "cite": "E. Peters Bowron, quoted in Nicholas Hall, 'Caravaggio in America — Part 2'."}, {"what": "Bonaventure's legend gives nail marks in the hands and feet — which is what this picture withholds.", "url": "https://static.mfah.com/documents/mfah-saint-francis-of-assisi-in-ecstasy.9156434297275809342.pdf", "cite": "Bonaventure, 'Legenda Maior', quoted in Museum of Fine Arts, Houston."}]}, "scene": {"why": "THE SAINT IS NOT IN SCRIPTURE, or this episode of their life is not. Their acts come to us through the Church’s memory — martyrologies, hagiography, the testimony of their own communities — not through the biblical record. Naming a verse here would dress tradition as Scripture."}, "th": "/store/thumb/caravaggio_saint_francis_of_assisi_in_ecstasy.webp", "more": [{"k": "subject", "n": "Saints in painting", "u": "/editions/subject/saints/", "ids": ["caravaggio_saint_catherine_of_alexandria", "caravaggio_matthew_call", "caravaggio_the_martyrdom_of_saint_matthew", "caravaggio_conversion_paul"]}, {"k": "master", "n": "Caravaggio", "u": "/editions/master/caravaggio/", "ids": ["caravaggio_rest_flight", "caravaggio_judith_beheading_holofernes", "caravaggio_saint_catherine_of_alexandria", "caravaggio_matthew_call"]}]}, "titian_the_resurrection_averoldi_polyptych_ce": {"id": "titian_the_resurrection_averoldi_polyptych_ce", "title": "The Resurrection", "artist_line": "Titian (Italian, c. 1488–1576)", "artist": "Titian", "date": "1542–1544", "museum": "Galleria Nazionale delle Marche, Urbino", "license": "Public domain (photo CC BY-SA 4.0)", "tier": "Sanctuary", "sizes": [{"size": "16×20 in", "paper": 110, "iw": 12.0, "ih": 20, "sw": 16, "sh": 20, "cov": 0.751}, {"size": "18×24 in", "paper": 140, "iw": 14.4, "ih": 24, "sw": 18, "sh": 24, "cov": 0.801}, {"size": "24×36 in", "paper": 190, "iw": 21.6, "ih": 36, "sw": 24, "sh": 36, "cov": 0.901}, {"size": "32×48 in", "paper": 340, "iw": 28.8, "ih": 48, "sw": 32, "sh": 48, "cov": 0.901}], "local": "/store/display/titian_the_resurrection_averoldi_polyptych_ce.jpg", "commons_file": "Titian - The Resurrection.jpg", "zoom": "https://art.monstrance.app/zoom/titian_the_resurrection_averoldi_polyptych_ce.jpg", "master_px": 7798, "auth": {"institution": "Galleria Nazionale delle Marche, Urbino", "accession": "DE 239", "url": "https://gndm.it/en/opere/last-supper/", "artist_as_printed": "Tiziano Vecellio", "date_as_printed": "1542", "medium": "Oil on canvas", "dimensions": "163 × 104"}, "writeup": {"text": "Christ stands on the dawn air above the tomb, His right hand raised in blessing, the white banner with its red cross in His left, the linen about Him still lifting with the rising. Below Him nothing is still: one guard sleeps with his head on his arm, another hides his eyes behind his hand, a third, in green scale armour, lifts an arm to his brow, and a fourth looks up with his staff still in his grip. The Galleria Nazionale delle Marche reads the canvas in just these two parts, the soldiers' unrest beneath and the calm above, and sees in this Christ Titian's reworking of the risen Christ of his Averoldi Polyptych in Brescia, of 1522. It is the second face of the processional banner the Confraternity of Corpus Domini in Urbino ordered from him, painted in Venice between 1542 and 1544 with the Last Supper on its other side; in 1545 Pietro Viti parted the two to hang beside the high altar of Santa Maria di Pian di Mercato. The guard sleeps or shields its eyes, and the angel's word that morning, “Come, and see,” is left for us.", "sources": [{"what": "The Resurrection divided in two: below, the unrest of the soldiers and the sarcophagus in oblique, broken lines; above, calm, 'il Cristo benedicente si libra nel cielo dell'alba', a reworking of the risen Christ of the Averoldi Polyptych (1522) in Brescia; the banner commissioned by the Confraternity of Corpus Domini in Urbino, painted in Venice 1542-1544, separated by Pietro Viti in 1545 to flank the high altar of Santa Maria di Pian di Mercato.", "url": "https://gndm.it/opere/ultima-cena/", "cite": "Galleria Nazionale delle Marche, Urbino, 'Ultima Cena', DE 239, scheda (Italian), read 2026-10-12."}, {"what": "'Last Supper and the Resurrection of Christ', DE 239: the museum's one record for both faces of the banner; the Resurrection split into an agitated lower part and a calm upper part with Christ rising into the dawn.", "url": "https://gndm.it/en/opere/last-supper/", "cite": "Galleria Nazionale delle Marche, Urbino, 'Last Supper', DE 239, collection page, read 2026-10-12."}, {"what": "The angel's word at the empty tomb: 'He is not here. For he is risen, as he said. Come, and see the place where the Lord was laid.'", "cite": "Matthew 28:6, Douay-Rheims (Challoner), data/bible_drc.js (the record's scene.ref)."}]}, "scene": {"ref": "Matthew 28:6", "quote": "He is not here. For he is risen, as he said. Come, and see the place where the Lord was laid.", "shows": "Christ risen above the tomb with the banner of the Resurrection, His right hand raised, while the guards below sleep or shield their eyes"}, "th": "/store/thumb/titian_the_resurrection_averoldi_polyptych_ce.webp", "more": [{"k": "subject", "n": "The Resurrection in painting", "u": "/editions/subject/resurrection/", "ids": ["cecco_del_caravaggio_the_resurrection", "johann_konig_the_resurrection_of_christ", "benvenuto_di_giovanni_the_resurrection"]}, {"k": "master", "n": "Titian", "u": "/editions/master/titian/", "ids": ["titian_penitent_magdalene", "titian_gloria", "titian_the_adoration_of_the_magi", "titian_christ_carrying"]}]}, "filippino_tobias_and_the_angel": {"id": "filippino_tobias_and_the_angel", "title": "Tobias and the Angel", "artist_line": "Filippino Lippi (Italian, Florentine, 1457–1504)", "artist": "Filippino Lippi", "date": "c. 1475–1480", "museum": "National Gallery of Art, Washington", "license": "Public domain", "tier": "Hero", "sizes": [{"size": "16×20 in", "paper": 110, "iw": 14.2, "ih": 20, "sw": 16, "sh": 20, "cov": 0.89}, {"size": "18×24 in", "paper": 140, "iw": 17.1, "ih": 24, "sw": 18, "sh": 24, "cov": 0.949}, {"size": "24×36 in", "paper": 190, "iw": 24, "ih": 33.7, "sw": 24, "sh": 36, "cov": 0.937}], "local": "/store/display/filippino_tobias_and_the_angel.jpg", "commons_file": "Tobias and the Angel - Filippino Lippi.jpg", "zoom": "https://art.monstrance.app/zoom/filippino_tobias_and_the_angel.jpg", "master_px": 7769, "auth": {"institution": "National Gallery of Art, Washington", "accession": "1939.1.229", "url": "https://www.nga.gov/artworks/370-tobias-and-angel", "artist_as_printed": "Filippino Lippi", "date_as_printed": "c. 1475/1480", "medium": "oil and tempera on poplar panel", "dimensions": "painted surface: 32.7 x 23.5 cm (12 7/8 x 9 1/4 in.); overall: 34.45 x 25.4 cm"}, "writeup": {"text": "A boy holds a fish in one hand and an angel's hand in the other, and does not know whose hand it is. In the Book of Tobit, Raphael walks with Tobias unrecognised, calling himself Azariah, and Filippino Lippi paints the not-knowing. The National Gallery of Art's essay on moving pictures watches the pair totter midstride down a gentle slope, weight on the downhill leg, heads partly inclined toward each other as if their eyes will meet. George Goldner, writing for the Met, names this early work for Filippino's animated line and naturalistic landscape. A small white dog trots behind them. The look has not met yet.", "sources": [{"what": "The figures totter midstride down a gentle slope, weight on the downhill leg, trailing leg lifted, heads partly inclined toward each other as if their eyes will meet", "url": "https://www.italianrenaissanceresources.com/units/unit-6/essays/moving-pictures/", "cite": "National Gallery of Art / Oxford University Press, Italian Renaissance Learning Resources, 'Moving Pictures', read 2026-09-24"}, {"what": "Filippino's early style marked by animated form and line and warm colour; Tobias and the Angel named as an early work with a vivid, naturalistic landscape", "url": "https://www.metmuseum.org/essays/filippino-lippi-ca-1457-1504", "cite": "George R. Goldner, 'Filippino Lippi (ca. 1457–1504)', Heilbrunn Timeline of Art History, The Metropolitan Museum of Art, read 2026-09-24"}, {"what": "Tobiah meets Raphael without knowing he is an angel of God; the angel calls himself Azariah", "url": "https://bible.usccb.org/bible/tobit/5", "cite": "USCCB, New American Bible (Revised Edition), Tobit 5, read 2026-09-24"}, {"what": "Owning institution's record: Filippino Lippi, Tobias and the Angel, c. 1475/1480", "url": "https://www.nga.gov/artworks/370-tobias-and-angel", "cite": "National Gallery of Art, Washington, 1939.1.229, read 2026-09-24"}, {"what": "Oil and tempera on poplar, 32.7 x 23.5 cm; sold as Pollaiuolo in 1879 and 1887 before the attribution to Filippino", "url": "https://www.kressfoundation.org/kress-collection/artwork/ddb48583527a5682376a8e19d6e8831dc809e5437541d0133f9ea5e97ec7fc9a", "cite": "Samuel H. Kress Foundation, Kress Collection record K418, read 2026-09-24"}]}, "scene": {"ref": "Tobias 5:6", "quote": "And not knowing that he was an angel of God, he saluted him, and said: From whence art thou, good young man?", "shows": "the young man Tobias and the angel who went with him"}, "th": "/store/thumb/filippino_tobias_and_the_angel.webp", "more": [{"k": "subject", "n": "Angels in painting", "u": "/editions/subject/angels/", "ids": ["durer_saint_michael_fighting_the_dragon", "albrecht_durer_apocalypse_adoration_of_the_lamb", "titian_the_archangel_raphael_and_tobias", "frans_floris_the_fall_of_the_rebel_angels"]}]}, "cimabue_the_virgin_and_child_in_majesty_surrou": {"id": "cimabue_the_virgin_and_child_in_majesty_surrou", "title": "The Virgin and Child in Majesty Surrounded by Six Angels (Maestà)", "artist_line": "Cimabue (Italian, about 1240–1302)", "artist": "Cimabue", "date": "1275–1300", "museum": "Musée du Louvre, Paris", "license": "PD-Art (Commons {{PD-Art}}; 2025 photograph by Commons user Shonagon, no own licence)", "tier": "Sanctuary", "sizes": [{"size": "18×24 in", "paper": 140, "iw": 15.0, "ih": 24, "sw": 18, "sh": 24, "cov": 0.835}, {"size": "24×36 in", "paper": 190, "iw": 22.5, "ih": 36, "sw": 24, "sh": 36, "cov": 0.939}, {"size": "32×48 in", "paper": 340, "iw": 30.1, "ih": 48, "sw": 32, "sh": 48, "cov": 0.939}, {"size": "40×60 in", "paper": 480, "iw": 37.6, "ih": 60, "sw": 40, "sh": 60, "cov": 0.939}], "local": "/store/display/cimabue_the_virgin_and_child_in_majesty_surrou.jpg", "commons_file": "La Vierge et l'Enfant en majesté entourés de six anges - Cimabue - Musée du Louvre Peintures INV 254 ; MR 159.jpg", "zoom": "https://art.monstrance.app/zoom/cimabue_the_virgin_and_child_in_majesty_surrou.jpg", "master_px": 9393, "auth": {"institution": "Musée du Louvre, Paris", "accession": "INV 254 ; MR 159", "url": "https://collections.louvre.fr/en/ark:/53355/cl010064463", "artist_as_printed": "Cimabue (Cenni di Pepe, dit)", "date_as_printed": "1275 / 1300 (4e quart du XIIIe siècle)", "medium": "tempera sur fond d'or sur bois (peuplier)", "dimensions": "Hauteur : 4,27 m ; Largeur : 2,8 m"}, "writeup": {"text": "Our Lady sits on a great carved throne with the Christ Child on her knee, and both look out of the gold at whoever stands below. He blesses with two fingers raised and holds a scroll in His other hand; His feet are bare. Six angels attend the throne, three on each side, the upper four with their hands upon it. Cimabue painted it in tempera on a gold ground in the last quarter of the thirteenth century. The Louvre counts its frame as original, painted with twenty-six medallions of the Redeemer, archangels, prophets, the twelve Apostles and four Franciscan saints; this print keeps to the gold field within it. The altarpiece stood in San Francesco in Pisa until 1810 and came to the Louvre in 1812 by military conquest. The angels keep their hands on the throne, and the two faces above still look out over us.", "sources": [{"what": "Title, Cimabue (Cenni di Pepe, dit), 1275/1300, tempera on gold ground on poplar, 4.27 x 2.8 m, INV 254 ; MR 159; San Francesco, Pisa, until 1810, Louvre from 1812 by 'conquête militaire'; original frame with twenty-six painted medallions: the Redeemer flanked by four archangels at the summit, prophets at the corners, the twelve apostles on the uprights, Saints Clare and Francis of Assisi left and Elizabeth of Hungary and Anthony of Padua right on the lower crossbar.", "url": "https://collections.louvre.fr/en/ark:/53355/cl010064463", "cite": "Musée du Louvre, Collections, 'La Vierge et l'Enfant en majesté entourés de six anges (Maestà)', INV 254 ; MR 159, read 2026-10-10."}]}, "scene": {"why": "A DEVOTIONAL TYPE, NOT AN EPISODE. The Virgin enthroned or half-length with her Son is not a moment any evangelist records; it is an image made for prayer. Where a particular picture does illustrate a scene, that work carries its own citation."}, "th": "/store/thumb/cimabue_the_virgin_and_child_in_majesty_surrou.webp", "more": [{"k": "subject", "n": "The Madonna and Child in painting", "u": "/editions/subject/madonna-and-child/", "ids": ["duccio_maesta", "baronzio_madonna_and_child_with_five_angels", "bohemian_master_the_glatz_madonna", "angelico_madonna_twelve_angels_staedel"]}, {"k": "master", "n": "Cimabue", "u": "/editions/master/cimabue/", "ids": ["cimabue_mocking_christ"]}]}, "rembrandt_judith_banquet": {"id": "rembrandt_judith_banquet", "title": "Judith at the Banquet of Holofernes", "artist_line": "Rembrandt (Dutch, 1606–1669)", "artist": "Rembrandt", "date": "1634", "museum": "Museo Nacional del Prado, Madrid", "license": "Public domain", "tier": "Sanctuary", "sizes": [{"size": "18×24 in", "paper": 140, "iw": 19.4, "ih": 18, "sw": 24, "sh": 18, "cov": 0.806}, {"size": "24×36 in", "paper": 190, "iw": 25.8, "ih": 24, "sw": 36, "sh": 24, "cov": 0.717}, {"size": "32×48 in", "paper": 340, "iw": 34.4, "ih": 32, "sw": 48, "sh": 32, "cov": 0.717}, {"size": "40×60 in", "paper": 480, "iw": 43.0, "ih": 40, "sw": 60, "sh": 40, "cov": 0.717}], "local": "/store/display/rembrandt_judith_banquet.jpg", "commons_file": "Judith at the Banquet of Holofernes (previously known as Artemisia), by Rembrandt, from Prado in Google Earth.jpg", "zoom": "https://art.monstrance.app/zoom/rembrandt_judith_banquet.jpg", "master_px": 30000, "auth": {"institution": "Museo Nacional del Prado, Madrid", "accession": "P002132", "url": "https://www.museodelprado.es/en/the-collection/art-work/judith-at-the-banquet-of-holofernes/08f69e61-f7c5-43f9-a76d-b24fbdc63681", "artist_as_printed": "Rembrandt (Rembrandt Harmensz. van Rijn)", "date_as_printed": "1634", "medium": "Oil on canvas", "dimensions": "Width: 154.7 cm; Height: 143 cm; Depth: 2.5 cm"}, "writeup": {"text": "Nothing on her says Judith. Pearls in the hair and at the throat, an ermine collar hung with a gold chain, one hand laid on her breast: any rich sitter might wear them, and the Prado's own catalogues called her Queen Artemisia from 1857 to 1907, the nautilus cup her maid holds out read as the vessel of her husband's ashes. The museum now reads the gesture as Judith's reply to Holofernes's invitation to drink. What fixes the subject is one figure in the dark behind: an old servant who, the Prado says, holds the sack for Holofernes's head. X-radiography found her painted over another woman, who once stood between mistress and maid, hidden under azurite and smalt in the seventeenth century; whose hand made the change the museum cannot say. Rembrandt's banquet took its name from the bag.", "sources": [{"what": "Light entering from the left onto the white silk over-gown; the kneeling maid's goblet of a nautilus shell on a gold stem; Judith's gesture read as her reply to Holofernes's invitation to drink.", "url": "https://www.museodelprado.es/en/the-collection/art-work/judith-at-the-banquet-of-holofernes/08f69e61-f7c5-43f9-a76d-b24fbdc63681", "cite": "Museo Nacional del Prado, object page P002132 (catalogue text after T. Posada Kubissa, Pintura holandesa en el Museo Nacional del Prado. Catalogo razonado, 2009)"}, {"what": "X-radiography reveals a third female figure between the seated woman and the maid, concealed under layers of azurite and enamel blue (smalt); the servant with the sack was added over them, the change dated to the 17th century.", "url": "https://www.museodelprado.es/en/the-collection/art-work/judith-at-the-banquet-of-holofernes/08f69e61-f7c5-43f9-a76d-b24fbdc63681", "cite": "Museo Nacional del Prado, object page P002132, technical study section"}, {"what": "History of the picture's titles in the inventories: 'La reina Artemisa' in the Real Museo catalogue of 1857 and in the Prado catalogues of 1873-1907.", "url": "https://www.museodelprado.es/en/the-collection/art-work/judith-at-the-banquet-of-holofernes/08f69e61-f7c5-43f9-a76d-b24fbdc63681", "cite": "Museo Nacional del Prado, object page P002132, catalogue-title history"}, {"what": "Provenance: bought for Charles III on the advice of Anton Raphael Mengs from the Marquis of Ensenada's collection in 1768; called the only fully undisputed Rembrandt in Spain.", "url": "https://www.codart.nl/feature/curators-collection/dutch-painting-in-the-spanish-royal-collections/", "cite": "CODART, 'Dutch Painting in the Spanish Royal Collections', curator's feature"}, {"what": "Gallery text: the elderly servant in the dark background holds the sack for the severed head of Holofernes; the kneeling servant offers Judith a goblet made from a nautilus shell with a gold stem.", "url": "https://www.museodelprado.es/en/easy-to-read/judith-at-the-banquet-of-holofernes-rembrandt/298abeb7-6148-8c15-a941-a27b804bb479", "cite": "Museo Nacional del Prado, easy-to-read text for 'Judith at the Banquet of Holofernes'"}, {"what": "The elderly servant with the sack is not original: her substitution for the original background figure is what makes the subject legible as Judith.", "url": "https://www.museodelprado.es/en/the-collection/art-work/judith-at-the-banquet-of-holofernes/08f69e61-f7c5-43f9-a76d-b24fbdc63681", "cite": "Museo Nacional del Prado, object page P002132, technical study (catalogue text after T. Posada Kubissa, Pintura holandesa en el Museo Nacional del Prado. Catalogo razonado, 2009)"}, {"what": "The concealed figure's position, between the seated woman and the kneeling maid.", "url": "https://www.museodelprado.es/en/the-collection/art-work/judith-at-the-banquet-of-holofernes/08f69e61-f7c5-43f9-a76d-b24fbdc63681", "cite": "Museo Nacional del Prado, object page P002132, technical study"}, {"what": "The Artemisia titles and the old reading of the cup as holding her dead husband's ashes. the page transcribes the printed catalogue with its line breaks, reproduced here.", "url": "https://www.museodelprado.es/en/the-collection/art-work/judith-at-the-banquet-of-holofernes/08f69e61-f7c5-43f9-a76d-b24fbdc63681", "cite": "Museo Nacional del Prado, object page P002132, catalogue-title history, Prado catalogues 1873-1907. The 1857 Real Museo inventory carries the same reading: 'La Reina Artemisa. / Recibe de una joven sirviente la copa en que mez- / claba las cenizas de su marido para darle sepultura / en su propio cuerpo.'"}, {"what": "The museum's present reading of the cup, against which the ashes reading is set.", "url": "https://www.museodelprado.es/en/the-collection/art-work/judith-at-the-banquet-of-holofernes/08f69e61-f7c5-43f9-a76d-b24fbdc63681", "cite": "Museo Nacional del Prado, object page P002132"}, {"what": "The sitter's pearls, ermine collar and loosened hair.", "url": "https://www.museodelprado.es/en/the-collection/art-work/judith-at-the-banquet-of-holofernes/08f69e61-f7c5-43f9-a76d-b24fbdc63681", "cite": "Museo Nacional del Prado, object page P002132 (same page records 'a large ermine collar adorned with a gold chain encrusted with rubies and sapphires')"}, {"what": "The Prado declines to say whose hand made the alteration — the reason the card names no maker.", "url": "https://www.museodelprado.es/en/the-collection/art-work/judith-at-the-banquet-of-holofernes/08f69e61-f7c5-43f9-a76d-b24fbdc63681", "cite": "Museo Nacional del Prado, object page P002132, technical study; same section: 'it was impossible to ascertain whether the background figure was painted by Rembrandt'"}]}, "scene": {"ref": "Judith 12:19", "quote": "And she took and ate and drank before him what her maid had prepared for her.", "shows": "Judith at the banquet in the tent of Holofernes"}, "th": "/store/thumb/rembrandt_judith_banquet.webp", "more": [{"k": "subject", "n": "The Old Testament in painting", "u": "/editions/subject/old-testament/", "ids": ["poussin_gathering_manna", "jusepe_de_ribera_jacob_s_dream", "poussin_judgment_solomon", "izaak_van_oosten_garden_of_eden"]}, {"k": "master", "n": "Rembrandt", "u": "/editions/master/rembrandt/", "ids": ["rembrandt_holy_family_angels", "rembrandt_prodigal_son", "rembrandt_tobit_and_anna"]}]}, "rembrandt_prodigal_son": {"id": "rembrandt_prodigal_son", "title": "The Return of the Prodigal Son", "artist_line": "Rembrandt (Dutch, 1606–1669)", "artist": "Rembrandt", "date": "c. 1661–1669", "museum": "State Hermitage Museum, St Petersburg", "license": "Public domain", "tier": "Sanctuary", "sizes": [{"size": "18×24 in", "paper": 140, "iw": 18, "ih": 23.3, "sw": 18, "sh": 24, "cov": 0.969}, {"size": "24×36 in", "paper": 190, "iw": 24, "ih": 31.0, "sw": 24, "sh": 36, "cov": 0.861}, {"size": "32×48 in", "paper": 340, "iw": 32, "ih": 41.3, "sw": 32, "sh": 48, "cov": 0.861}, {"size": "40×60 in", "paper": 480, "iw": 40, "ih": 51.7, "sw": 40, "sh": 60, "cov": 0.861}], "local": "/store/display/rembrandt_prodigal_son.jpg", "commons_file": "Rembrandt Harmensz van Rijn - Return of the Prodigal Son - Google Art Project.jpg", "zoom": "https://art.monstrance.app/zoom/rembrandt_prodigal_son.jpg", "master_px": 29708, "auth": {"institution": "State Hermitage Museum, St Petersburg", "accession": "ГЭ-742", "url": "https://utpictura18.univ-amu.fr/en/notice/895-the-return-of-the-prodigal-rembrandt", "artist_as_printed": "Rembrandt Harmensz van Rijn (1606-1669)", "date_as_printed": "1663", "medium": "peinture sur toile", "dimensions": "262 x 205 cm"}, "writeup": {"text": "The son kneels with his shorn head against his father's chest, one foot bare, the sandal slipping from the other. The father's hands lie on his back, and they do not match. Henri Nouwen saw it: the left, on the shoulder, strong and muscular, the right smaller and softer; he touches the son with a masculine hand and a feminine hand. In Luke the father runs to him while he is still far off and embraces him before the son has said a word. Nothing is asked first. At the right the elder brother stands in red, hands clasped, looking down. The Hermitage speaks of the broad, sketchy brushstrokes of Rembrandt's late style, and records the purchase in Paris for Catherine the Great in 1767. The son's bare sole is turned toward you, worn from the road.", "sources": [{"what": "Hermitage object record: oil on canvas; museum dates it 1663-1665; 'broad, sketchy brushstrokes of the artist's late style'; acquired 1767 in Paris for Catherine the Great from Duke d'Ancesuine.", "url": "https://artsandculture.google.com/asset/return-of-the-prodigal-son-rembrandt-harmensz-van-rijn/5QFIEhic3owZ-A?hl=en", "cite": "State Hermitage Museum object entry, Google Arts \u0026 Culture"}, {"what": "Supports the kneeling son: 'the prodigal son has wasted his inheritance and fallen into poverty. He kneels, broken, before his father, who nonetheless offers him forgiveness.'", "url": "https://artsandculture.google.com/story/where-to-catch-rembrandt-around-the-world/egXRpK1pj68VmA?hl=en", "cite": "Google Arts \u0026 Culture, 'Where to Catch Rembrandt Around the World'"}, {"what": "Supports the earlier etching of the same parable: Rembrandt van Rijn, 'The Return of the Prodigal Son', etching, 156 x 136 mm, signed and dated, object RP-P-OB-164.", "url": "https://www.rijksmuseum.nl/en/collection/RP-P-OB-164", "cite": "Rijksmuseum, RP-P-OB-164"}, {"what": "The mismatched hands, and specifically that it is the LEFT hand that lies on the son's shoulder and is the strong one — the real ancestor of the whole reading, Nouwen in 1992 predating Sawyer in 2006 by fourteen years. Read here in a continuous reproduction of the book's paragraphs, corroborated word for word in two further reproductions; no page number is asserted.", "url": "https://jameslau88blog.wordpress.com/2020/05/20/the-father-of-the-prodigal-son-by-henri-nouwen/", "cite": "Henri J. M. Nouwen, The Return of the Prodigal Son: A Story of Homecoming (New York: Doubleday, 1992); read verbatim as reproduced at 'My Inward Journey'"}, {"what": "The right hand as the maternal one, and the 'mothering and fathering at once' claim in its original and properly attributable form. The card now prints Nouwen's own words under his own name rather than Wikipedia's summary in our voice. Reproduced identically at storynet.org (National Storytelling Network) and in Goodreads quote 7325950 and a reader highlight of the book — three independent reproductions, no variance. A study guide of the book places the adjacent 'mother as well as father' sentence at p. 94 (1992 hardcover) / p. 99 (1994 softcover); I did not see the printed page and so do not assert it.", "url": "https://storynet.org/the-prodigal-son/", "cite": "Henri J. M. Nouwen, The Return of the Prodigal Son: A Story of Homecoming (New York: Doubleday, 1992); read verbatim as reproduced by the National Storytelling Network"}, {"what": "Independent corroboration of the hand asymmetry from a signed article in a published journal rather than an anonymous encyclopaedia: Benner has the left hand masculine, larger, on the shoulder, and the right smaller, more delicate, feminine.", "url": "https://conversatio.org/o-taste-and-see-a-meditation-on-rembrandts-return-of-the-prodigal-son/", "cite": "Juliet Benner, 'A Meditation on Rembrandt's Return of the Prodigal Son', Conversatio Divina, 1 October 2003"}, {"what": "Primary text, cited by locator with no url, promoted from the brief's scene block into the card's source list. Carries the second paragraph entirely: the father runs while the son is still far off, falls on his neck, and asks nothing — the son's confession comes only at v.21, after the embrace. Taken from the project's own corpus at data/bible_drc.js, already marked verified in the brief.", "cite": "Luke 15:20, Douay-Rheims (Challoner)"}]}, "scene": {"ref": "Luke 15:20", "quote": "And rising up, he came to his father. And when he was yet a great way off, his father saw him and was moved with compassion and running to him fell upon his neck and kissed him.", "shows": "the father running to meet him and falling on his neck"}, "th": "/store/thumb/rembrandt_prodigal_son.webp", "more": [{"k": "master", "n": "Rembrandt", "u": "/editions/master/rembrandt/", "ids": ["rembrandt_tobit_and_anna", "rembrandt_judith_banquet", "rembrandt_holy_family_angels"]}]}, "rembrandt_holy_family_angels": {"id": "rembrandt_holy_family_angels", "title": "The Holy Family with Angels", "artist_line": "Rembrandt (Dutch, 1606–1669)", "artist": "Rembrandt", "date": "1645", "museum": "State Hermitage Museum, St Petersburg", "license": "Public domain", "tier": "Sanctuary", "sizes": [{"size": "8×10 in", "paper": 39, "iw": 7.8, "ih": 10, "sw": 8, "sh": 10, "cov": 0.972}, {"size": "11×14 in", "paper": 59, "iw": 10.9, "ih": 14, "sw": 11, "sh": 14, "cov": 0.99}, {"size": "16×20 in", "paper": 110, "iw": 15.6, "ih": 20, "sw": 16, "sh": 20, "cov": 0.972}, {"size": "18×24 in", "paper": 140, "iw": 18, "ih": 23.1, "sw": 18, "sh": 24, "cov": 0.964}, {"size": "24×36 in", "paper": 190, "iw": 24, "ih": 30.9, "sw": 24, "sh": 36, "cov": 0.857}, {"size": "32×48 in", "paper": 340, "iw": 32, "ih": 41.1, "sw": 32, "sh": 48, "cov": 0.857}, {"size": "40×60 in", "paper": 480, "iw": 40, "ih": 51.4, "sw": 40, "sh": 60, "cov": 0.857}], "local": "/store/display/rembrandt_holy_family_angels.jpg", "commons_file": "Rembrandt Harmensz. van Rijn - The Holy Family.jpg", "zoom": "https://art.monstrance.app/zoom/rembrandt_holy_family_angels.jpg", "master_px": 10880, "auth": {"institution": "State Hermitage Museum, St Petersburg", "accession": "ГЭ-741", "url": "https://www.theleidencollection.com/archives/artwork/RR-112_head-of-a-girl_2023.pdf", "artist_as_printed": "Rembrandt van Rijn", "date_as_printed": "1645", "medium": "oil on canvas", "dimensions": "117 x 91 cm"}, "writeup": {"text": "Our Lady lifts the edge of the cradle's cover with one hand and keeps a book open in the other. The Christ Child sleeps in plain wicker under a red coverlet. Angels come down out of the dark at the upper left, a fire burns low at the right, and behind her Saint Joseph bends to his carpentry. Caroline Farey of the Maryvale Institute sees parts of a yoke in the wood he shapes, for the Child who will one day speak of His own yoke, and reads the fleece lining the red coverlet as the Lamb of God, the Child showing who He is. Saint Justin Martyr wrote in the second century that Christ Himself made ploughs and yokes. Rembrandt keeps the house quiet. The yoke was a trade before it was a saying.", "sources": [{"what": "Christ Child asleep in a plain wicker cradle rather than in state", "cite": "thehistoryofart.org, The Holy Family with Angels by Rembrandt"}, {"what": "Mary paused from reading a book near her to attend to the child", "url": "https://www.wga.hu/html_m/r/rembrand/13biblic/34newtes.html", "cite": "thehistoryofart.org, cross-checked with Web Gallery of Art and artbible.info"}, {"what": "Three distinct light sources (daylight on Joseph, firelight on Mary, angels' radiance) as deliberate theological structure", "cite": "Encyclopaedia Britannica entry; artbible.info tripartite lighting analysis"}, {"what": "Joseph is shaping what Farey reads as parts of a yoke — the reading the card's argument rests on, by a named scholar. Article gives no date or museum; composition (angels top left, fire bottom right, Mary reading, red coverlet lined with fleece, Joseph behind) matches the 1645 Hermitage picture.", "url": "https://www.newliturgicalmovement.org/2012/02/interpreting-content-of-rembrandts-holy.html", "cite": "Dr Caroline Farey (Maryvale Institute), 'Interpreting the Content of Rembrandt's Holy Family', New Liturgical Movement, February 2012"}, {"what": "The fleece lining the child's red coverlet, read as the Lamb of God — the second symbolic claim, attributed to Farey in the card.\"", "url": "https://www.newliturgicalmovement.org/2012/02/interpreting-content-of-rembrandts-holy.html", "cite": "Dr Caroline Farey, 'Interpreting the Content of Rembrandt's Holy Family', New Liturgical Movement, February 2012"}, {"what": "Corroborates Mary pausing her reading, the child asleep in the cradle, and Joseph at work in the background; also gives the picture's date (1645) and museum (Hermitage, St Petersburg).", "url": "https://www.artbible.info/art/large/832.html", "cite": "artbible.info, Rembrandt Harmensz. van Rijn: The Holy Family with Angels"}, {"what": "The saying the yoke anticipates: 'Take up my yoke upon you, and learn of me, because I am meek, and humble of heart.'", "cite": "Matthew 11:29, Douay-Rheims (Challoner)"}, {"what": "Christ's trade actually produced yokes — the card's closing reversal, in a parenthesis of the Dialogue with Trypho, which dates to the mid-second century.", "cite": "St Justin Martyr, Dialogue with Trypho, ch. 88"}, {"what": "Confirms the 1645 St Petersburg picture is among the accepted works and that the doubted Holy Families are the Amsterdam and Paris pictures — so no attribution hedge is owed. 1638/40, Amsterdam) and the Holy Family with St. Anne (1640, Paris)...\"", "url": "https://qspace.library.queensu.ca/bitstream/handle/1974/1230/Hogan_Joan_M_200805_MA.pdf?sequence=1", "cite": "Joan M. Hogan, 'The Iconography of Rembrandt's Depictions of the Holy Family (in a domestic setting)', MA thesis, Queen's University, 2008"}]}, "scene": {"ref": "Luke 2:51", "quote": "And he went down with them and came to Nazareth and was subject to them. And his mother kept all these words in her heart.", "shows": "the child subject to them at Nazareth"}, "th": "/store/thumb/rembrandt_holy_family_angels.webp", "more": [{"k": "subject", "n": "The Holy Family in painting", "u": "/editions/subject/holy-family/", "ids": ["poussin_holy_family_steps", "murillo_holy_family_bird", "nicolas_poussin_the_holy_family", "giorgione_the_holy_family"]}, {"k": "master", "n": "Rembrandt", "u": "/editions/master/rembrandt/", "ids": ["rembrandt_prodigal_son", "rembrandt_tobit_and_anna", "rembrandt_judith_banquet"]}]}, "rembrandt_tobit_and_anna": {"id": "rembrandt_tobit_and_anna", "title": "Tobit and Anna with the Kid", "artist_line": "Rembrandt (Dutch, 1606–1669)", "artist": "Rembrandt", "date": "1626", "museum": "Rijksmuseum, Amsterdam", "license": "Public domain", "tier": "Hero", "sizes": [{"size": "16×20 in", "paper": 110, "iw": 15.1, "ih": 20, "sw": 16, "sh": 20, "cov": 0.944}, {"size": "18×24 in", "paper": 140, "iw": 18, "ih": 23.8, "sw": 18, "sh": 24, "cov": 0.993}, {"size": "24×36 in", "paper": 190, "iw": 24, "ih": 31.8, "sw": 24, "sh": 36, "cov": 0.882}], "local": "/store/display/rembrandt_tobit_and_anna.jpg", "commons_file": "Rembrandt Harmensz. van Rijn 154.jpg", "zoom": "https://art.monstrance.app/zoom/rembrandt_tobit_and_anna.jpg", "master_px": 8276, "auth": {"institution": "Rijksmuseum, Amsterdam", "accession": "SK-A-4717", "url": "https://www.rijksmuseum.nl/en/collection/SK-A-4717", "artist_as_printed": "Rembrandt van Rijn", "date_as_printed": "1626", "medium": "oil on panel", "dimensions": "height 39.5 cm x width 30 cm"}, "writeup": {"text": "Old Tobit sits by the window with his hands folded and his eyes lifted, and he cannot see the kid his wife Anna holds out to him. Every ruin in this room began with a good deed. He buried the dead the king left in the street, and as he slept a swallow's dung fell into his eyes and blinded him. Anna weaves for their bread; the kid is her wages. Hearing it bleat, Tobit thinks it stolen, and the Rijksmuseum, which gives this painting of 1626 to Rembrandt outright, reads his torn clothes as poverty and his folded hands as prayer: he turns from the accusation and asks God for death. A little dog waits by the fire. A birdcage hangs by the window. A bird is why he cannot see it.", "sources": [{"what": "Museum's own gloss: Anna returns with a kid as wages, Tobit thinks it stolen, prays for death; also confirms torn clothing signals poverty and lists onions, birdcage, dog, basket in the room", "url": "https://www.rijksmuseum.nl/en/collection/SK-A-4717"}, {"what": "Symbolism notes: the kid is Anna's wages not stolen goods; Tobit's folded hands/gaze read as prayer, not anger, per Book of Tobit narrative", "cite": "Dossier symbolism section, citing Book of Tobit 2:11-14 and 3:1-6"}, {"what": "Tobit's blindness follows his burial of an executed Israelite in defiance of royal edict, then bird droppings blind him", "cite": "Dossier symbolism section, citing Book of Tobit 2:9-10"}, {"what": "Tobit buries the slain in defiance of the king — the good deed the whole card hangs on.", "url": "https://www.drbo.org/chapter/17002.htm", "cite": "Tobias (Tobit) 2:9, Douay-Rheims (Challoner)"}, {"what": "The blinding, by a bird, while he slept after the burying.", "url": "https://www.drbo.org/chapter/17002.htm", "cite": "Tobias (Tobit) 2:11, Douay-Rheims (Challoner)"}, {"what": "Anna's weaving as the household's income.", "url": "https://www.drbo.org/chapter/17002.htm", "cite": "Tobias (Tobit) 2:19, Douay-Rheims (Challoner)"}, {"what": "The kid received for that labour and brought home.", "url": "https://www.drbo.org/chapter/17002.htm", "cite": "Tobias (Tobit) 2:20, Douay-Rheims (Challoner)"}, {"what": "Tobit's words on hearing the kid bleat — the accusation, quoted not paraphrased.", "url": "https://www.drbo.org/chapter/17002.htm", "cite": "Tobias (Tobit) 2:21, Douay-Rheims (Challoner)"}, {"what": "CORRECTED QUOTE (the submitted version was not on the locator): the body lying slain in the street, which is what Tobit goes out to bury.", "url": "https://www.drbo.org/chapter/17002.htm", "cite": "Tobias (Tobit) 2:3, Douay-Rheims (Challoner)"}, {"what": "The royal death sentence standing over the burying — the source for \"in defiance of the king\" in chapter 2, and part of what carries \"the king left in the street\".", "url": "https://www.drbo.org/chapter/17002.htm", "cite": "Tobias (Tobit) 2:8, Douay-Rheims (Challoner)"}, {"what": "CORRECTED LOCATOR (writer cited 1:21): the king kills the Israelites whose bodies Tobit then buries — the agency behind \"the dead the king left\".", "url": "https://www.drbo.org/chapter/17001.htm", "cite": "Tobias (Tobit) 1:22, Douay-Rheims (Challoner)"}, {"what": "CORRECTED LOCATOR (writer cited 1:22): the confiscation that begins the ruin — good deed to destitution, the card's thesis.", "url": "https://www.drbo.org/chapter/17001.htm", "cite": "Tobias (Tobit) 1:23, Douay-Rheims (Challoner)"}, {"what": "Rijksmuseum's own reading of the poverty, the torn tabard, the false accusation and the prayer for death...\").", "url": "https://www.rijksmuseum.nl/en/collection/SK-A-4717", "cite": "Rijksmuseum, Amsterdam, SK-A-4717, object page"}, {"what": "The museum's inventory of the interior, in Dutch: old blind Tobit seated at the left with his little dog by a fire, his hands folded; Anna standing at the right with a goat in her hands; shelves of household goods on the back wall; and beside the left window a string of onions and a birdcage.", "url": "https://www.rijksmuseum.nl/nl/collectie/SK-A-4717", "cite": "Rijksmuseum, Amsterdam, SK-A-4717, extended (Dutch) catalogue description"}, {"what": "The museum gives the panel to Rembrandt outright, with no 'attributed to' or 'workshop of', and its own title matches ours.", "url": "https://www.rijksmuseum.nl/nl/collectie/SK-A-4717", "cite": "Rijksmuseum, Amsterdam, SK-A-4717, attribution line; title \"Tobit and Anna with the Kid\", oil on panel, h 39.5 cm x w 30 cm, 1626"}]}, "scene": {"ref": "Tobias 2:20", "quote": "Whereby it came to pass, that she received a young kid, and brought it home:", "shows": "the kid brought home, and Tobit blind"}, "th": "/store/thumb/rembrandt_tobit_and_anna.webp", "more": [{"k": "subject", "n": "The Old Testament in painting", "u": "/editions/subject/old-testament/", "ids": ["rubens_the_meeting_of_abraham_and_melchizedek", "rembrandt_judith_banquet", "poussin_gathering_manna", "jusepe_de_ribera_jacob_s_dream"]}, {"k": "master", "n": "Rembrandt", "u": "/editions/master/rembrandt/", "ids": ["rembrandt_judith_banquet", "rembrandt_holy_family_angels", "rembrandt_prodigal_son"]}]}, "grunewald_small_crucifixion": {"id": "grunewald_small_crucifixion", "title": "The Small Crucifixion", "artist_line": "Matthias Grünewald (German, c. 1475/1480 - 1528)", "artist": "Matthias Grünewald", "date": "c. 1511/1520", "museum": "National Gallery of Art, Washington", "license": "PD/CC0", "tier": "Sanctuary", "sizes": [{"size": "18×24 in", "paper": 140, "iw": 17.8, "ih": 24, "sw": 18, "sh": 24, "cov": 0.991}, {"size": "24×36 in", "paper": 190, "iw": 24, "ih": 32.3, "sw": 24, "sh": 36, "cov": 0.897}, {"size": "32×48 in", "paper": 340, "iw": 32, "ih": 43.1, "sw": 32, "sh": 48, "cov": 0.897}, {"size": "40×60 in", "paper": 480, "iw": 40, "ih": 53.8, "sw": 40, "sh": 60, "cov": 0.897}], "local": "/store/display/grunewald_small_crucifixion.jpg", "commons_file": "Mathis Gothart Grünewald 007.jpg", "zoom": "https://art.monstrance.app/zoom/grunewald_small_crucifixion.jpg", "master_px": 27968, "auth": {"institution": "National Gallery of Art, Washington", "accession": "1961.9.19", "url": "https://www.nga.gov/artworks/46118-small-crucifixion", "artist_as_printed": "Matthias Grünewald", "date_as_printed": "c. 1511/1520", "medium": "oil on panel", "dimensions": "overall: 61.3 x 46 cm (24 1/8 x 18 1/8 in.)\nframed: 74.4 x 59 x 2.5 cm (29 5/16 x 23 1/4 x 1 in.)"}, "writeup": {"text": "The fingers of Christ are spread and bent like roots against a greenish dark, and His crossed feet rest on a small block of wood. Our Lady stands wrapped at the left, the Magdalene kneels, Saint John lifts his joined hands. The National Gallery of Art reads the murky sky as Saint Luke's darkness over all the earth, and notes that Matthias Grünewald himself witnessed a full eclipse in 1502. The Gallery calls the work a masterful example of his deep spiritual faith translated into pictorial form; of twenty surviving paintings by him, it is the only one in the United States. One star is out.", "sources": [{"what": "NGA: 'a masterful example of the artist's ability to translate his deep spiritual faith into pictorial form'; 'Each individual, according to Grünewald, must reexperience within himself not only the boundless joy of Christ's triumphs but also the searing pains of his crucifixion'; the 'murky sky … corresponds to Saint Luke's description of a darkness over all the earth', and Grünewald 'himself witnessed a full eclipse in 1502'. Only 20 paintings by Grünewald are extant; this is the only one in the United States.", "url": "https://www.nga.gov/artworks/46118-small-crucifixion", "cite": "National Gallery of Art, Washington, 'The Small Crucifixion', accession 1961.9.19, Samuel H. Kress Collection; object page read 2026-08-27."}]}, "scene": {"ref": "John 19:25", "quote": "Now there stood by the cross of Jesus, his mother and his mother's sister, Mary of Cleophas, and Mary Magdalen.", "shows": "the Virgin, John and the Magdalene at the foot of the cross, in a landscape gone dark"}, "th": "/store/thumb/grunewald_small_crucifixion.webp", "more": [{"k": "subject", "n": "The Crucifixion in painting", "u": "/editions/subject/crucifixion/", "ids": ["vasco_fernandes_gaspar_vaz_calvary", "tintoretto_crucifixion", "titian_christ_crucified", "domenichino_way_to_calvary"]}, {"k": "master", "n": "Matthias Grünewald", "u": "/editions/master/matthias-grunewald/", "ids": ["grunewald_stuppach_madonna_stuppacher_madonna", "grunewald_mocking_of_christ_verspottung_christi"]}]}, "grunewald_stuppach_madonna_stuppacher_madonna": {"id": "grunewald_stuppach_madonna_stuppacher_madonna", "title": "Stuppach Madonna (Stuppacher Madonna)", "artist_line": null, "artist": "Matthias Grünewald", "date": "1514–1519", "museum": "Katholische Kirchengemeinde Stuppach", "license": "Public domain", "tier": "Sanctuary", "sizes": [{"size": "18×24 in", "paper": 140, "iw": 18, "ih": 22.8, "sw": 18, "sh": 24, "cov": 0.951}, {"size": "32×48 in", "paper": 340, "iw": 32, "ih": 40.6, "sw": 32, "sh": 48, "cov": 0.845}], "local": "/store/display/grunewald_stuppach_madonna_stuppacher_madonna.jpg", "commons_file": "Stuppacher Madonna - Grünewald.jpg", "zoom": "https://art.monstrance.app/zoom/grunewald_stuppach_madonna_stuppacher_madonna.jpg", "master_px": 4939, "auth": {"institution": "Katholische Kirchengemeinde Mariä Krönung, Stuppach (Bad Mergentheim)", "url": "https://mariaekroenung-stuppach.drs.de/stuppacher-madonna/historie.html", "artist_as_printed": "Matthias Grünewald"}, "writeup": {"text": "The Child laughs and reaches, and Our Lady, His Mother, holds out something small between her fingers. A rainbow stands behind them; lilies grow at her knee beside a jar of roses. Matthias Grünewald painted her between 1516 and 1519, the Stuppach parish records, as the centre of the Maria-Schnee altarpiece at Aschaffenburg; the right wing showed the miracle of Our Lady of the Snows at Rome in 352, and the left wing is lost. In 1532 Cardinal Albrecht of Brandenburg gave the Madonna to the Teutonic Order. Overpainted to suit changing taste, it was called a Rubens until 1908. The Child is still reaching.", "sources": [{"what": "Katholische Kirchengemeinde Stuppach: 'Die Stuppacher Madonna zählt neben dem Isenheimer Altar zu den Hauptwerken von Matthias Grünewald. Ursprüngliche Heimat des Marienbildes ist die Maria-Schnee-Kapelle in der Stiftskirche zu Aschaffenburg… 1532 kam das Marienbild als Geschenk des Kardinals Albrecht von Brandenburg an den Deutschen Orden nach Bad Mergentheim, wurde wiederholt restauriert, nach Zeitgeschmack übermalt und Rubens zugeschrieben.' And: '1516-1519 entstand die Stuppacher Madonna… Der rechte Seitenflügel beinhaltete das Maria-Schnee-Wunder, das sich im Jahre 352 in Rom ereignete. Der linke Seitenflügel ist verschollen.' The parish also records that in 1908 'die Kunstwissenschaft (Prof. Lange, Tübingen) die Stuppacher Madonna Matthias Grünewald zuerkannte'. Translations from the German are the researcher's. The custodian prints no dimensions.", "url": "https://mariaekroenung-stuppach.drs.de/stuppacher-madonna/historie.html", "cite": "Katholische Kirchengemeinde Stuppach, Pfarrkirche 'Mariä Krönung', Bad Mergentheim-Stuppach, 'Stuppacher Madonna'; parish history and Grünewald pages read 2026-08-27. No inventory number is printed."}]}, "scene": {"why": "A DEVOTIONAL IMAGE, NOT AN EPISODE. The Stuppach Madonna sits in a garden under a rainbow with the Child, a picture painted for the Maria-Schnee altar in Aschaffenburg; no evangelist places the Virgin and her Son in a garden, and the rainbow and the church behind her are the painter’s theology, not a narrative."}, "th": "/store/thumb/grunewald_stuppach_madonna_stuppacher_madonna.webp", "more": [{"k": "subject", "n": "The Madonna and Child in painting", "u": "/editions/subject/madonna-and-child/", "ids": ["del_sarto_virgin_and_child_between_st_francis_of_a", "parmigianino_madonna_and_child_with_saints_the_vision", "titian_madonna_and_child_with_saints", "ambrosius_benson_deipara_virgo"]}, {"k": "master", "n": "Matthias Grünewald", "u": "/editions/master/matthias-grunewald/", "ids": ["grunewald_mocking_of_christ_verspottung_christi", "grunewald_small_crucifixion"]}]}, "grunewald_mocking_of_christ_verspottung_christi": {"id": "grunewald_mocking_of_christ_verspottung_christi", "title": "The Mocking of Christ (Verspottung Christi)", "artist_line": null, "artist": "Matthias Grünewald", "date": "c. 1503/05", "museum": "Alte Pinakothek, Munich", "license": "Public domain", "tier": "Mid", "sizes": [{"size": "11×14 in", "paper": 59, "iw": 9.5, "ih": 14, "sw": 11, "sh": 14, "cov": 0.86}], "local": "/store/display/grunewald_mocking_of_christ_verspottung_christi.jpg", "commons_file": "Mathis Gothart Grünewald 062.jpg", "zoom": "https://art.monstrance.app/zoom/grunewald_mocking_of_christ_verspottung_christi.jpg", "master_px": 3754, "auth": {"institution": "Bayerische Staatsgemäldesammlungen – Alte Pinakothek München", "accession": "10352", "url": "https://www.sammlung.pinakothek.de/en/artwork/A9xlyorLWv", "artist_as_printed": "Matthias Grünewald (Mathis Gothart-Nithart) (1475-1528)", "date_as_printed": "um 1503/05", "medium": "Fichtenholz (Picea sp.)", "dimensions": "109 x 73,5 cm"}, "writeup": {"text": "A blindfold, a rope, a raised fist, and at the edge a drum. Christ sits bent forward, wrapped in blue, and says nothing. The Alte Pinakothek describes Him suffering silently between tormentors who beat Him to the rhythm of drum and pipes, after the questioning before Caiaphas, when they spat on Him, covered His face and struck Him. The museum singles out the cloth, the rope and the slender hands, and calls this an early work in which Matthias Grünewald already shows the great colourist. The drum keeps time. The One who cannot see is the One they cannot stop looking at.", "sources": [{"what": "Christ crouching, bent forward and suffering silently between torturers who beat him to the rhythm of drum and pipes; after the questioning before Caiaphas they spit on him, blindfold him and strike him; subtle colour and the rendering of cloth, rope and slender hands; spruce panel, 109 x 73.5 cm, inv. 10352, from the Carmelite church in Munich, 1803", "url": "https://www.sammlung.pinakothek.de/en/artwork/A9xlyorLWv", "cite": "Bayerische Staatsgemäldesammlungen, Alte Pinakothek, The Mocking of Christ, inv. 10352, read 2026-09-24"}, {"what": "German text: cites Mark 14:65 and Matthew 26:67; they covered his face and struck him; calls the panel an early work (Frühwerk) that already shows the great colourist", "url": "https://www.sammlung.pinakothek.de/de/artwork/A9xlyorLWv", "cite": "Bayerische Staatsgemäldesammlungen, Verspottung Christi, Inv. 10352, read 2026-09-24"}]}, "scene": {"ref": "Luke 22:64", "quote": "And they blindfolded him and smote his face. And they asked him saying: Prophesy: Who is it that struck thee?", "shows": "the blindfolded Christ struck and taunted by his captors — the mocking in the high priest’s house, before Pilate"}, "th": "/store/thumb/grunewald_mocking_of_christ_verspottung_christi.webp", "more": [{"k": "subject", "n": "The Crowning with Thorns in painting", "u": "/editions/subject/crowning-with-thorns/", "ids": ["bosch_christ_mocked_the_crowning_with_thorns", "massys_christ_presented_to_the_people_ecce_homo", "morales_man_of_sorrows", "morales_ecce_homo"]}, {"k": "master", "n": "Matthias Grünewald", "u": "/editions/master/matthias-grunewald/", "ids": ["grunewald_small_crucifixion", "grunewald_stuppach_madonna_stuppacher_madonna"]}]}, "simone_martini_maesta": {"id": "simone_martini_maesta", "title": "Maestà", "artist_line": "Simone Martini (Siena 1284 circa – Avignone 1344)", "artist": "Simone Martini", "date": "1315 – 1321", "museum": "Museo Civico di Siena", "license": "Public domain", "tier": "Mid", "sizes": [{"size": "11×14 in", "paper": 59, "iw": 14, "ih": 10.8, "sw": 14, "sh": 11, "cov": 0.978}], "local": "/store/display/simone_martini_maesta.jpg", "commons_file": "Simone Martini - Maestà - Google Art Project.jpg", "zoom": "https://art.monstrance.app/zoom/simone_martini_maesta.jpg", "master_px": 4135, "auth": {"institution": "Museo Civico di Siena", "url": "https://museocivico.comune.siena.it/opere/maesta", "artist_as_printed": "Simone Martini (Siena 1284 circa – Avignone 1344)", "date_as_printed": "1315 – 1321", "medium": "Affresco"}, "writeup": {"text": "A cloth canopy hangs over Our Lady, lifted on poles by saints, and the whole court of heaven stands under it with her. Two angels kneel at her feet holding up bowls of flowers. Siena's Museo Civico places the Maestà on the north wall of the Sala del Mappamondo, the Virgin enthroned as protectress of the city among her heavenly court, and lists what Simone Martini set into the paint: crystal, glass, parchment and metal foil. Michela Becchis, in Treccani's Dizionario Biografico, is exact: a real piece of rock crystal for the clasp of her mantle, églomisé glass, gold leaf, gilded metal, true paper for the books and scrolls. The Christ Child's scroll, she records, reads Diligite iustitiam qui iudicatis terram: love justice, you who judge the earth. The words are held out to the room.", "sources": [{"what": "North wall of the Sala del Mappamondo; completed 1315, dated by a fragmentary inscription recovered in the nineteenth century; the Virgin enthroned as protectress of Siena with her heavenly court under a rich canopy; painted colour combined with inserts of crystal, glass, parchment and metal foil; 1315–1321", "url": "https://museocivico.comune.siena.it/opere/maesta", "cite": "Museo Civico di Siena, Maestà, read 2026-09-24"}, {"what": "Michela Becchis on the Maestà: rock crystal for the clasp of the Madonna's mantle, églomisé glass, gold leaf, gilded metal, real paper for books and scrolls; the Child's scroll reads Diligite iustitiam qui iudicatis terram; partial reworking documented in 1321", "url": "https://www.treccani.it/enciclopedia/simone-martini_(Dizionario-Biografico)/", "cite": "Michela Becchis, 'Martini, Simone', Dizionario Biografico degli Italiani, Treccani, read 2026-09-24"}]}, "scene": {"why": "A DEVOTIONAL IMAGE, NOT AN EPISODE. The Maestà shows the Virgin enthroned under a canopy with the Child, ringed by saints and angels, painted for the council chamber of Siena in 1315 as the city’s patron holding court; Scripture records no such assembly."}, "th": "/store/thumb/simone_martini_maesta.webp", "more": [{"k": "subject", "n": "Saints in painting", "u": "/editions/subject/saints/", "ids": ["baronzio_the_birth_naming_and_circumcision_of_saint_john", "angelico_thebaid_budapest", "fra_angelico_attr_the_thebaid", "gentile_da_fabriano_crippled_and_sick_cured_at_the_tomb_of_s"]}, {"k": "master", "n": "Simone Martini", "u": "/editions/master/simone-martini/", "ids": ["simone_martini_frescoes_of_the_chapel_of_st_martin_life"]}]}, "simone_martini_frescoes_of_the_chapel_of_st_martin_life": {"id": "simone_martini_frescoes_of_the_chapel_of_st_martin_life", "title": "The Death of Saint Martin (Chapel of Saint Martin, Assisi)", "artist_line": null, "artist": "Simone Martini", "date": "1313–1318", "museum": "Basilica di San Francesco di Assisi", "license": "Public domain", "tier": "Entry", "sizes": [{"size": "8×10 in", "paper": 39, "iw": 10.0, "ih": 8, "sw": 10, "sh": 8, "cov": 0.999}], "local": "/store/display/simone_martini_frescoes_of_the_chapel_of_st_martin_life.jpg", "commons_file": "Simone Martini 041.jpg", "zoom": "https://art.monstrance.app/zoom/simone_martini_frescoes_of_the_chapel_of_st_martin_life.jpg", "master_px": 3176, "auth": {"institution": "Basilica di San Francesco di Assisi", "url": "https://basilica.sanfrancesco.org/luoghi/chiesa-inferiore/la-cappella-di-san-martino", "artist_as_printed": "Simone Martini", "date_as_printed": "dal 1313 al 1318"}, "writeup": {"text": "A saint lies on his back in gold vestments, and the living lean over him. A haloed figure in gold bends close; a friar stands with his hands folded; a young server stands with palms joined and lifts his face; a priest at the left reads from a red book while a boy holds the censer. Michela Becchis, in Treccani's Dizionario Biografico, describes Simone Martini's frescoes for Cardinal Gentile da Montefiore climbing the chapel walls from bottom to top, the whole story of the holy knight told in detail. The Web Gallery of Art's commentary places the Death and the Funeral of Martin on the upper level as the last scenes, and tells them apart by their rooms: bare geometric walls for the dying, a graceful Gothic chapel for the rite. Here the arches are slender and the capitals carved. The server is still looking up.", "sources": [{"what": "Michela Becchis on the Cappella di San Martino: commissioned by Cardinal Gentile da Montefiore; the cycle runs up the walls from bottom to top and tells the holy knight's whole story in detail", "url": "https://www.treccani.it/enciclopedia/simone-martini_(Dizionario-Biografico)/", "cite": "Michela Becchis, 'Martini, Simone', Dizionario Biografico degli Italiani, Treccani, read 2026-09-24"}, {"what": "The Death and Funeral on the upper level are the last scenes; a priest celebrates the rite for the dead; a tonsured acolyte in green and red gazes meditatively upward; the Death's building is a severe geometric structure with bare walls, the Funeral's a Gothic chapel with graceful decoration", "url": "https://www.wga.hu/html_m/s/simone/3assisi/scenes/90death.html", "cite": "Web Gallery of Art, commentary on Simone Martini, Death of St Martin, Assisi, read 2026-09-24"}]}, "scene": {"why": "THE SAINT IS NOT IN SCRIPTURE. Martin of Tours died at Candes in 397; his death and the mourning of his clergy come from Sulpicius Severus, his biographer, not from any biblical book."}, "th": "/store/thumb/simone_martini_frescoes_of_the_chapel_of_st_martin_life.webp", "more": [{"k": "subject", "n": "Saints in painting", "u": "/editions/subject/saints/", "ids": ["simone_martini_maesta", "baronzio_the_birth_naming_and_circumcision_of_saint_john", "angelico_thebaid_budapest", "fra_angelico_attr_the_thebaid"]}, {"k": "master", "n": "Simone Martini", "u": "/editions/master/simone-martini/", "ids": ["simone_martini_maesta"]}]}, "bouts_annunciation": {"id": "bouts_annunciation", "title": "The Annunciation", "artist_line": "Dieric Bouts (Netherlandish, about 1415–1475)", "artist": "Dieric Bouts", "date": "about 1450–1455", "museum": "J. Paul Getty Museum", "license": "PD/CC0", "tier": "Sanctuary", "sizes": [{"size": "8×10 in", "paper": 39, "iw": 8, "ih": 9.5, "sw": 8, "sh": 10, "cov": 0.948}, {"size": "11×14 in", "paper": 59, "iw": 11, "ih": 13.0, "sw": 11, "sh": 14, "cov": 0.931}, {"size": "16×20 in", "paper": 110, "iw": 16, "ih": 19.0, "sw": 16, "sh": 20, "cov": 0.948}, {"size": "18×24 in", "paper": 140, "iw": 18, "ih": 21.3, "sw": 18, "sh": 24, "cov": 0.888}, {"size": "24×36 in", "paper": 190, "iw": 24, "ih": 28.4, "sw": 24, "sh": 36, "cov": 0.79}, {"size": "32×48 in", "paper": 340, "iw": 32, "ih": 37.9, "sw": 32, "sh": 48, "cov": 0.79}, {"size": "40×60 in", "paper": 480, "iw": 40, "ih": 47.4, "sw": 40, "sh": 60, "cov": 0.79}], "local": "/store/display/bouts_annunciation.jpg", "commons_file": "Dieric Bouts -The Annunciation - GCLA 85.PA.24.jpg", "zoom": "https://art.monstrance.app/zoom/bouts_annunciation.jpg", "master_px": 6597, "auth": {"institution": "J. Paul Getty Museum", "accession": "85.PA.24", "url": "https://www.getty.edu/art/collection/object/103QS9", "artist_as_printed": "Dieric Bouts (Netherlandish, about 1415 - 1475)", "date_as_printed": "About 1450–1455", "medium": "Distemper on linen", "dimensions": "Unframed: 90 × 74.6 cm (35 7/16 × 29 3/8 in.)"}, "writeup": {"text": "Gabriel kneels and lifts one finger toward a round window above; the Getty says he points to the presence of God. Our Lady does not look up. She sits on the plain tiled floor, eyes down, both hands raised in surprise, her book set aside on the bench, and the Word is made flesh in a room with a pillow and a column. The Getty is careful about the red hanging behind her: it may forecast the Passion, or it may be simple decoration, since Bouts used the colour elsewhere. This was one of five paintings in a polyptych. Heaven points up; she keeps her eyes on the tiles.", "sources": [{"what": "Getty: 'The angel Gabriel interrupts Mary at her devotions and announces, You shall conceive and bear a son… In an attitude of humility, Mary sits on the plain tiled floor, eyes downcast, and raises her hands in surprise. Gabriel … points towards the circular window above, indicating the presence of God.' On the red drapery: 'It may signify the Passion, forecasting the death of Christ, or it may be purely decorative since Bouts used this color in other compositions.' The panel 'belongs to a set of five paintings that originally constituted a polyptych'.", "url": "https://www.getty.edu/art/collection/object/103QS9", "cite": "The J. Paul Getty Museum, Los Angeles, 'The Annunciation', object 85.PA.24; object page read 2026-08-27."}]}, "scene": {"ref": "Luke 1:28", "quote": "And the angel being come in, said unto her: Hail, full of grace, the Lord is with thee: blessed art thou among women.", "shows": "Gabriel greeting the Virgin at her prayer in a bare Netherlandish room"}, "th": "/store/thumb/bouts_annunciation.webp", "more": [{"k": "subject", "n": "The Annunciation in painting", "u": "/editions/subject/annunciation/", "ids": ["lippi_annunciation_2", "rogier_the_annunciation", "tura_the_annunciation_with_saint_francis_and_saint_louis", "leonardo_annunciation"]}, {"k": "master", "n": "Dieric Bouts", "u": "/editions/master/dieric-bouts/", "ids": ["bouts_virgin_and_child"]}]}, "bouts_virgin_and_child": {"id": "bouts_virgin_and_child", "title": "Virgin and Child", "artist_line": "Dieric Bouts (Netherlandish, Haarlem, active by 1457–died 1475)", "artist": "Dieric Bouts", "date": "ca. 1455–60", "museum": "The Metropolitan Museum of Art, New York", "license": "PD/CC0", "tier": "Mid", "sizes": [{"size": "11×14 in", "paper": 59, "iw": 9.8, "ih": 14, "sw": 11, "sh": 14, "cov": 0.894}], "local": "/store/display/bouts_virgin_and_child.jpg", "commons_file": "Virgin and Child MET DT1481.jpg", "zoom": "https://art.monstrance.app/zoom/bouts_virgin_and_child.jpg", "master_px": 3565, "auth": {"institution": "The Metropolitan Museum of Art, New York", "accession": "30.95.280", "url": "https://www.metmuseum.org/art/collection/search/435762", "artist_as_printed": "Dieric Bouts", "date_as_printed": "ca. 1455–60", "medium": "Oil on wood", "dimensions": "8 1/2 x 6 1/2 in. (21.6 x 16.5 cm)"}, "writeup": {"text": "The Christ Child presses His face to His Mother's cheek and sets one hand flat on her breast; Our Lady holds Him with both hands, eyes lowered. There is nothing behind them but dark. The Met's catalogue traces the pose to the Byzantine glykophilousa, the affectionate Virgin, and notes what Bouts left out: the gold ground and the halos. In their place the Met finds subtle, tactile modelling of flesh. The God who made the stars has a cheek, and she can touch it. At eight and a half inches high, the image was made for private devotion, small enough to hold near one face at prayer.", "sources": [{"what": "Catalogue entry: based on the Byzantine glykophilousa (affectionate Virgin) formula without its gold ground and halos; subtle, tactile modelling of flesh; small image for private devotion; oil on wood, 21.6 x 16.5 cm (8 1/2 x 6 1/2 in.), 30.95.280", "url": "https://www.metmuseum.org/art/collection/search/435762", "cite": "The Metropolitan Museum of Art, Dieric Bouts, Virgin and Child, 30.95.280, read 2026-09-24"}, {"what": "Names Bouts's Virgin and Child (30.95.280) among Early Netherlandish paintings revealing an interest in Byzantine representations of the Theotokos", "url": "https://www.metmuseum.org/essays/the-cult-of-the-virgin-mary-in-the-middle-ages", "cite": "The Metropolitan Museum of Art, Department of Medieval Art and The Cloisters, 'The Cult of the Virgin Mary in the Middle Ages', Heilbrunn Timeline, read 2026-09-24"}]}, "scene": {"why": "A DEVOTIONAL TYPE, NOT AN EPISODE. Bouts paints the Virgin half-length, holding the Child close in the Byzantine Eleousa manner, an image for private prayer; no evangelist records the moment."}, "th": "/store/thumb/bouts_virgin_and_child.webp", "more": [{"k": "subject", "n": "The Madonna and Child in painting", "u": "/editions/subject/madonna-and-child/", "ids": ["ferrarese_15th_century_madonna_and_child_with_angels", "petrus_christus_virgin_and_child_with_saints_jerome_and", "petrus_christus_virgin_of_the_dry_tree_madonna_of_the_dr", "workshop_of_hans_memling_virgin_and_child"]}, {"k": "master", "n": "Dieric Bouts", "u": "/editions/master/dieric-bouts/", "ids": ["bouts_annunciation"]}]}, "bosch_christ_mocked_the_crowning_with_thorns": {"id": "bosch_christ_mocked_the_crowning_with_thorns", "title": "Christ Mocked (The Crowning with Thorns)", "artist_line": "Hieronymus Bosch (living 1474; died 1516)", "artist": "Hieronymus Bosch", "date": "about 1510", "museum": "The National Gallery, London", "license": "Public domain", "tier": "Entry", "sizes": [{"size": "8×10 in", "paper": 39, "iw": 8.0, "ih": 10, "sw": 8, "sh": 10, "cov": 0.998}], "local": "/store/display/bosch_christ_mocked_the_crowning_with_thorns.jpg", "commons_file": "Hieronymus Bosch - Christ Mocked (The Crowning with Thorns) - Google Art Project.jpg", "zoom": "https://art.monstrance.app/zoom/bosch_christ_mocked_the_crowning_with_thorns.jpg", "master_px": 3000, "auth": {"institution": "The National Gallery, London", "accession": "NG4744", "url": "https://www.nationalgallery.org.uk/paintings/hieronymus-bosch-christ-mocked-the-crowning-with-thorns", "artist_as_printed": "Hieronymus Bosch", "date_as_printed": "About 1510", "medium": "Oil on wood (Baltic/Polish oak, identified)", "dimensions": "73.8 × 59 cm"}, "writeup": {"text": "A steel glove holds the crown of thorns over His head, and Christ looks straight out, past four men closing in. One wears a spiked collar, which the National Gallery reads through the old habit of painting Christ's tormentors as dogs. His robe was always white; the Gallery has found no trace of faded red in it. For the Gallery the crown of torture makes the shape of a halo. Underneath lies another painting, an unfinished Saint Christopher carrying the Christ Child on his shoulder, probably also by Hieronymus Bosch: the Christ-bearer covered by the Christ-mocked. The face turned toward you has seen both.", "sources": [{"what": "National Gallery: 'Curiously, underneath this image of Christ is an unfinished painting of Saint Christopher carrying the Christ Child on his shoulder, which - although rather different in style and technique - is probably also by Bosch.' On the collar: 'The other wears a spiked collar, suggesting not only his savagery but also the widespread late medieval characterisation of Christ's tormentors as dogs, based on Psalm 21: 17: For many dogs have encompassed me.' On the robe: 'The paleness of Christ's robe - it has always been white, no traces of faded red pigments have been found - sets him apart from his colourful enemies and emphasises his vulnerability.' And: 'The crown of thorns makes the shape of a halo, as well as being an instrument of torture.' The Gallery's Psalm number is Vulgate; the same verse is Psalm 22:16 in Hebrew numbering.", "url": "https://www.nationalgallery.org.uk/paintings/hieronymus-bosch-christ-mocked-the-crowning-with-thorns", "cite": "The National Gallery, London, 'Christ Mocked (The Crowning with Thorns)', NG4744; read 2026-08-27."}, {"what": "Lorne Campbell's Gallery catalogue entry describes the buried picture: 'Saint Christopher carrying on his shoulder the naked Christ Child, who raises his right hand in benediction. A light blue sky was painted in the upper part of the panel and may be seen in small damages along the top edge.'", "url": "https://www.nationalgallery.org.uk/paintings/catalogues/campbell-2014/christ-mocked-the-crowning-with-thorns", "cite": "Lorne Campbell, National Gallery Catalogues: The Sixteenth Century Netherlandish Paintings, with French Paintings before 1600 (London: National Gallery Company / Yale University Press, 2014), entry for NG4744, published free by the Gallery; read 2026-08-27."}]}, "scene": {"ref": "Matthew 27:29", "quote": "And platting a crown of thorns, they put it upon his head, and a reed in his right hand. And bowing the knee before him, they mocked him, saying: Hail, King of the Jews.", "shows": "four tormentors closing in on Christ as the crown of thorns is pressed onto his head"}, "th": "/store/thumb/bosch_christ_mocked_the_crowning_with_thorns.webp", "more": [{"k": "subject", "n": "The Crowning with Thorns in painting", "u": "/editions/subject/crowning-with-thorns/", "ids": ["massys_christ_presented_to_the_people_ecce_homo", "morales_man_of_sorrows", "morales_ecce_homo", "caravaggio_crowning_thorns"]}, {"k": "master", "n": "Hieronymus Bosch", "u": "/editions/master/hieronymus-bosch/", "ids": ["hieronymus_bosch_death_and_the_miser", "hieronymus_bosch_st_jerome_at_prayer", "hieronymus_bosch_christ_carrying_the_cross", "hieronymus_bosch_ecce_homo"]}]}, "van_dyck_christ_on_the_cross_christus_aan_het_kru": {"id": "van_dyck_christ_on_the_cross_christus_aan_het_kru", "title": "Christ on the Cross (Christus aan het kruis)", "artist_line": null, "artist": "Anthony van Dyck", "date": "", "museum": "Koninklijk Museum voor Schone Kunsten Antwerpen (KMSKA)", "license": "Public domain", "tier": "Sanctuary", "sizes": [{"size": "18×24 in", "paper": 140, "iw": 17.1, "ih": 24, "sw": 18, "sh": 24, "cov": 0.947}, {"size": "24×36 in", "paper": 190, "iw": 24, "ih": 33.8, "sw": 24, "sh": 36, "cov": 0.938}, {"size": "32×48 in", "paper": 340, "iw": 32, "ih": 45.0, "sw": 32, "sh": 48, "cov": 0.938}], "local": "/store/display/van_dyck_christ_on_the_cross_christus_aan_het_kru.jpg", "commons_file": "Anthony van Dyck - Christus aan het kruis - 406 - Royal Museum of Fine Arts Antwerp.tiff", "zoom": "https://art.monstrance.app/zoom/van_dyck_christ_on_the_cross_christus_aan_het_kru.jpg", "master_px": 6665, "auth": {"institution": "Koninklijk Museum voor Schone Kunsten Antwerpen (KMSKA)", "accession": "406", "url": "https://kmska.be/nl/meesterwerk/christus-aan-het-kruis-0", "artist_as_printed": "Anthony van Dyck", "medium": "olieverf op paneel", "dimensions": "102,5 × 71,7 cm"}, "writeup": {"text": "A white sheet is fixed to the top of the Cross, lifting at its edge, and a pale disc hangs in the clouded sky beside it. Christ raises His face toward heaven with His mouth open; the cloth at His hips has slipped loose on one side. Everything else is weather. The painting by Anthony van Dyck hung in the Augustinian church in Antwerp until 1794, when the French carried it off to Paris with the rest of the city's altarpieces. The KMSKA records that it was recovered from France in 1815 and then assigned to the museum rather than returned to the friars. The museum publishes no date and no commentary, only that road. He went out as spoil and came home to anyone who walks in.", "sources": [{"what": "KMSKA object record for inv. 406 — object details and acquisition history", "url": "https://kmska.be/nl/meesterwerk/christus-aan-het-kruis-0", "cite": "Koninklijk Museum voor Schone Kunsten Antwerpen, 'Christus aan het kruis', inv. 406; read 2026-08-27."}]}, "scene": {"ref": "John 19:30", "quote": "Jesus therefore, when he had taken the vinegar, said: It is consummated. And bowing his head, he gave up the ghost.", "shows": "Christ alone on the cross against a darkened sky at the moment of death"}, "th": "/store/thumb/van_dyck_christ_on_the_cross_christus_aan_het_kru.webp", "more": [{"k": "subject", "n": "The Crucifixion in painting", "u": "/editions/subject/crucifixion/", "ids": ["bohemian_master_the_kaufmann_crucifixion", "angelico_crucifixion_met", "dreux_bude_master_the_crucifixion", "mantegna_crucifixion"]}, {"k": "master", "n": "Anthony van Dyck", "u": "/editions/master/anthony-van-dyck/", "ids": ["anthony_van_dyck_christ_on_the_cross_with_sts_catherine_o", "van_dyck_saint_rosalie_interceding_for_the_plague"]}]}, "van_dyck_saint_rosalie_interceding_for_the_plague": {"id": "van_dyck_saint_rosalie_interceding_for_the_plague", "title": "Saint Rosalie Interceding for the Plague-stricken of Palermo", "artist_line": "Anthony van Dyck (Flemish, Antwerp 1599–1641 London)", "artist": "Anthony van Dyck", "date": "1624", "museum": "The Metropolitan Museum of Art, New York", "license": "PD/CC0", "tier": "Mid", "sizes": [{"size": "11×14 in", "paper": 59, "iw": 10.3, "ih": 14, "sw": 11, "sh": 14, "cov": 0.933}], "local": "/store/display/van_dyck_saint_rosalie_interceding_for_the_plague.jpg", "commons_file": "Saint Rosalie Interceding for the Plague-stricken of Palermo MET DT2728.jpg", "zoom": "https://art.monstrance.app/zoom/van_dyck_saint_rosalie_interceding_for_the_plague.jpg", "master_px": 3835, "auth": {"institution": "The Metropolitan Museum of Art, New York", "accession": "71.41", "url": "https://www.metmuseum.org/art/collection/search/436257", "artist_as_printed": "Anthony van Dyck", "date_as_printed": "1624", "medium": "Oil on canvas", "dimensions": "39 1/4 x 29 in. (99.7 x 73.7 cm)"}, "writeup": {"text": "Saint Rosalie rises on a cloud in a plain brown habit, face lifted, hands opening outward, and a crowd of children carries her up. One holds a wreath of roses over her head; at the bottom lies a skull. The Met records that Anthony van Dyck was in Palermo in 1624 when plague broke out and the city was shut in quarantine, and that in the middle of the epidemic the long-lost remains of its twelfth-century patroness were found; images of her, the museum notes, were in great demand. There is a face under this one: the Met says he painted her over a self-portrait he had sketched on the canvas. By 1630 the Genoese collector Desiderio Segno listed it as Santa Rosalia in gloria. She looks up for the city, and underneath her lies the painter's own face.", "sources": [{"what": "Museum label: van Dyck was in Palermo when plague broke out and the city was quarantined; residents prayed to the twelfth-century patroness Saint Rosalie, whose long-lost remains were rediscovered during the epidemic; her images were in great demand; painted over a self-portrait sketched on the canvas; provenance begins with Desiderio Segno, Genoa and Salaparuta, inventory of 1630, 'un quadro di Santa Rosalia in gloria, di mano di Antonio Vandich'", "url": "https://www.metmuseum.org/art/collection/search/436257", "cite": "The Metropolitan Museum of Art, Saint Rosalie Interceding for the Plague-stricken of Palermo, 71.41, read 2026-09-24"}, {"what": "Lists the Saint Rosalie of 1624 among the Met's paintings by van Dyck", "url": "https://www.metmuseum.org/essays/peter-paul-rubens-1577-1640-and-anthony-van-dyck-1599-1641-paintings", "cite": "Walter A. Liedtke, 'Peter Paul Rubens and Anthony van Dyck: Paintings', Heilbrunn Timeline, The Metropolitan Museum of Art, read 2026-09-24"}]}, "scene": {"why": "THE SAINT IS NOT IN SCRIPTURE. Rosalia of Palermo, the twelfth-century hermit whose relics were carried through the city in the plague of 1624, the year van Dyck painted this; her intercession is the memory of Palermo, not a biblical event."}, "th": "/store/thumb/van_dyck_saint_rosalie_interceding_for_the_plague.webp", "more": [{"k": "subject", "n": "Saints in painting", "u": "/editions/subject/saints/", "ids": ["ribalta_christ_embracing_saint_bernard", "vignon_mary_magdalene_comforted_by_an_angel", "zurbaran_st_serapion", "rubens_saint_teresa_of_avila_interceding_for"]}, {"k": "master", "n": "Anthony van Dyck", "u": "/editions/master/anthony-van-dyck/", "ids": ["van_dyck_christ_on_the_cross_christus_aan_het_kru", "anthony_van_dyck_christ_on_the_cross_with_sts_catherine_o"]}]}, "van_dyck_rest_on_the_flight_into_egypt_madonna_wi": {"id": "van_dyck_rest_on_the_flight_into_egypt_madonna_wi", "title": "Rest on the Flight into Egypt (Madonna with Partridges)", "artist_line": "Anthony van Dyck (Flemish, 1599–1641) and Paul de Vos", "artist": "Anthony van Dyck and Paul de Vos", "date": "by 1632", "museum": "State Hermitage Museum, St Petersburg", "license": "Public domain", "tier": "Mid", "sizes": [{"size": "8×10 in", "paper": 39, "iw": 10, "ih": 7.6, "sw": 10, "sh": 8, "cov": 0.951}, {"size": "11×14 in", "paper": 59, "iw": 14, "ih": 10.7, "sw": 14, "sh": 11, "cov": 0.969}], "local": "/store/display/van_dyck_rest_on_the_flight_into_egypt_madonna_wi.jpg", "commons_file": "Anthony van Dyck and Pauwel de Vos - Rest on the Flight into Egypt (Madonna with Partridges).jpg", "zoom": "https://art.monstrance.app/zoom/van_dyck_rest_on_the_flight_into_egypt_madonna_wi.jpg", "master_px": 3554, "auth": {"institution": "State Hermitage Museum, St Petersburg", "accession": "ГЭ-539", "url": "https://www.hermitagemuseum.org/digital-collection/48246?lng=en", "artist_as_printed": "Van Dyck, Anthony (1599-1641); Vos, Pauwel (Paul) de (ca. 1596-ок. 1596)", "date_as_printed": "not later than 1630-1632", "medium": "oil on canvas", "dimensions": "215x285,5 cm"}, "writeup": {"text": "Partridges break out of the sky over a ring of dancing children, and the rest of the orchard holds still. Anthony van Dyck sets Our Lady under an apple tree with the Christ Child clinging at her neck, her face turned up and away; Saint Joseph rests his head on his hand behind them. The Hermitage credits the picture to van Dyck and Paul de Vos. A parrot sits in the branches and a sunflower leans above her. Natalia Gritsay, the Hermitage's curator of Flemish painting, reads the birds as lust, whose attribute they were, driven off by the Virgin's purity; in the same reading the apple tree makes Mary the new Eve, and the sunflower and the parrot call her undefiled. The painting is named after what is leaving it. The children keep dancing while the partridges go up.", "sources": [{"what": "Natalia Gritsay, the Hermitage's curator of Flemish painting", "url": "http://pastexhibitions.guggenheim.org/connecting_museums/exh_her_painting2.html", "cite": "Natalia Gritsay, curator of Flemish painting, The State Hermitage Museum, 'Virgin with Partridges', published by the Solomon R. Guggenheim Foundation under the Guggenheim-Hermitage collaboration; read 2026-08-27. hermitagemuseum.org itself was unreachable from this environment."}, {"what": "The Hermitage's own gallery catalogue of 1891, no. 603", "url": "https://archive.org/stream/cataloguedelagal02gosu/cataloguedelagal02gosu_djvu.txt", "cite": "Imperial Hermitage, Catalogue de la Galerie des tableaux, vol. 2, Écoles néerlandaises et école allemande, revised by A. Somov (St Petersburg: C. Daline, 1891), no. 603; digitised by the Getty Research Institute, read 2026-08-27."}, {"what": "The Hermitage credits the picture to Anthony van Dyck and Paul de Vos", "url": "https://www.hermitagemuseum.org/digital-collection/48246?lng=en", "cite": "The State Hermitage Museum, object page ГЭ-539, Author: \"Van Dyck, Anthony (1599-1641); Vos, Pauwel (Paul) de\"; read 2026-10-17."}]}, "scene": {"ref": "Matthew 2:14", "quote": "Who arose, and took the child and his mother by night, and retired into Egypt: and he was there until the death of Herod:", "shows": "the Holy Family resting on the road into Egypt, with dancing angels and the partridges of the title — the rest itself is not narrated; the flight is"}, "th": "/store/thumb/van_dyck_rest_on_the_flight_into_egypt_madonna_wi.webp", "more": [{"k": "subject", "n": "The Flight into Egypt in painting", "u": "/editions/subject/flight-into-egypt/", "ids": ["claude_lorrain_rest_on_the_flight_into_egypt", "giotto_scrovegni_chapel_flight_into_egypt", "gerard_david_rest_on_the_flight_into_egypt", "caravaggio_rest_flight"]}]}, "gentile_da_fabriano_coronation_of_the_virgin": {"id": "gentile_da_fabriano_coronation_of_the_virgin", "title": "Coronation of the Virgin", "artist_line": "Gentile da Fabriano (Italian, about 1370–1427)", "artist": "Gentile da Fabriano", "date": "about 1420", "museum": "J. Paul Getty Museum", "license": "PD/CC0", "tier": "Sanctuary", "sizes": [{"size": "18×24 in", "paper": 140, "iw": 18, "ih": 23.8, "sw": 18, "sh": 24, "cov": 0.993}, {"size": "24×36 in", "paper": 190, "iw": 24, "ih": 31.8, "sw": 24, "sh": 36, "cov": 0.883}, {"size": "32×48 in", "paper": 340, "iw": 32, "ih": 42.4, "sw": 32, "sh": 48, "cov": 0.883}, {"size": "40×60 in", "paper": 480, "iw": 40, "ih": 53.0, "sw": 40, "sh": 60, "cov": 0.883}], "local": "/store/display/gentile_da_fabriano_coronation_of_the_virgin.jpg", "commons_file": "Gentile da Fabriano - Coronation of the Virgin.jpg", "zoom": "https://art.monstrance.app/zoom/gentile_da_fabriano_coronation_of_the_virgin.jpg", "master_px": 8442, "auth": {"institution": "J. Paul Getty Museum", "accession": "77.PB.92", "url": "https://www.getty.edu/art/collection/object/103QS2", "artist_as_printed": "Gentile da Fabriano (Italian, about 1370 - 1427)", "date_as_printed": "about 1420", "medium": "Tempera and gold leaf on panel", "dimensions": "Unframed: 93 × 64.1 cm (36 5/8 × 25 1/4 in.)"}, "writeup": {"text": "Christ lifts a crown onto His Mother's head, and she crosses her hands at her breast and bows to take it. The Holy Spirit, a white dove, opens His wings in the gold above them. The Getty says Gentile da Fabriano painted this as the front of a two-sided processional standard, carried in his native Fabriano, probably by devotees of the Virgin on her feast days. The Fondazione Magnani-Rocca near Parma holds the other face, Saint Francis receiving the stigmata. Sometime before 1834, the Getty writes, it was likely cut in half so both sides could hang on a gallery wall. A banner made to be carried now stands still.", "sources": [{"what": "The Getty's own article: 'This panel of Christ crowning his mother, Mary, originally formed the front of a two-sided processional standard, which was carried in religious ceremonies in Gentile's native town of Fabriano.' 'Standards were designed to be seen from both sides: The painting on one side would honor significant events in Christian teaching, and the painting on the other side would contain a symbol promoting the confraternity that had paid for the segno.' 'the group was probably made up of devotees of the Virgin Mary who would have carried this standard on her feast days.' And on the separation: 'sometime before 1834, it likely met this fate for the same reason that so many other double-sided processional standards were cut in half: to display both sides on a gallery wall.' The Getty prints the title as 'Coronation of the Virgin' with no leading article, dates it 'about 1420', and gives 'Tempera and gold leaf on panel', unframed 93 x 64.1 cm, accession 77.PB.92. The Getty's rights line for this object could not be read from any route and is not asserted here.", "url": "https://www.getty.edu/news/what-was-on-the-other-side-of-this-painting/", "cite": "Amelia Wong, 'What Was on the Other Side of This Painting?', The J. Paul Getty Museum, 1 September 2016; with the tombstone from the Getty object record for 77.PB.92 (getty.edu/art/collection/object/103QS2), both read 2026-08-27."}, {"what": "The other face, from the museum that holds it: 'Un'Incoronazione della Vergine dipinta su campo aurato, e un San Francesco che riceve le stimmate, colorito sul rovescio' — a Coronation of the Virgin painted on a gold field, and a St Francis receiving the stigmata coloured on the reverse. The foundation records that Cavalcaselle first proposed the two panels were the faces of a single standard, that scholars still argue whether they were conceived together, and that the Coronation shows later cutting while the Stigmate keeps its original support. Its provenance for the reverse: recorded in a Fabriano seminary in an 1827 manuscript, given by Franciscan friars to the Filippini fathers, Fornari collection 1858, Carminati collection at Gallarate, acquired by Luigi Magnani in 1978. Translation from the Italian is the researcher's.", "url": "https://www.magnanirocca.it/gentile-da-fabriano/", "cite": "Fondazione Magnani-Rocca, Mamiano di Traversetolo (Parma), Gentile da Fabriano, 'San Francesco che riceve le stimmate'; read 2026-08-27."}]}, "scene": {"why": "NOT A NARRATIVE SCENE. No book of Scripture describes the crowning of the Virgin; Gentile’s gold-ground Coronation, Christ and Mary enthroned on the same seat, grows out of the liturgy of the Assumption and the crowned woman of the Apocalypse, and the painter treats it as heaven, not history."}, "th": "/store/thumb/gentile_da_fabriano_coronation_of_the_virgin.webp", "more": [{"k": "subject", "n": "The Coronation of the Virgin in painting", "u": "/editions/subject/coronation-of-the-virgin/", "ids": ["fra_angelico_coronation", "lippi_coronation", "angelico_coronation_of_the_virgin", "ghirlandaio_coronation_of_the_virgin"]}, {"k": "master", "n": "Gentile da Fabriano", "u": "/editions/master/gentile-da-fabriano/", "ids": ["gentile_da_fabriano_madonna_and_child_enthroned", "gentile_da_fabriano_crippled_and_sick_cured_at_the_tomb_of_s"]}]}, "gentile_da_fabriano_madonna_and_child_enthroned": {"id": "gentile_da_fabriano_madonna_and_child_enthroned", "title": "Madonna and Child Enthroned", "artist_line": "Gentile da Fabriano (Italian, Marchigian, c. 1370 - 1427)", "artist": "Gentile da Fabriano", "date": "c. 1420", "museum": "National Gallery of Art, Washington", "license": "PD/CC0", "tier": "Sanctuary", "sizes": [{"size": "18×24 in", "paper": 140, "iw": 13.8, "ih": 24, "sw": 18, "sh": 24, "cov": 0.767}, {"size": "24×36 in", "paper": 190, "iw": 20.7, "ih": 36, "sw": 24, "sh": 36, "cov": 0.863}, {"size": "32×48 in", "paper": 340, "iw": 27.6, "ih": 48, "sw": 32, "sh": 48, "cov": 0.863}, {"size": "40×60 in", "paper": 480, "iw": 34.5, "ih": 60, "sw": 40, "sh": 60, "cov": 0.863}], "local": "/store/display/gentile_da_fabriano_madonna_and_child_enthroned.jpg", "commons_file": null, "zoom": "https://art.monstrance.app/zoom/gentile_da_fabriano_madonna_and_child_enthroned.jpg", "master_px": 32244, "auth": {"institution": "National Gallery of Art, Washington", "accession": "1939.1.255", "url": "https://www.nga.gov/artworks/396-madonna-and-child-enthroned", "artist_as_printed": "Gentile da Fabriano", "date_as_printed": "c. 1420", "medium": "tempera on poplar panel", "dimensions": "overall: 95.7 x 56.5 cm (37 11/16 x 22 1/4 in.)"}, "writeup": {"text": "The Child's right hand reaches up to His Mother's neckline, where the National Gallery of Art reads a single word, MATER, and completes it as Mother of God. Along her hem, the Gallery records, runs the angel's greeting, AVE MARIA GRATIA PLENA. He sits bare-footed in blue on her lap; her eyes are lowered, one hand at His side. The Gallery calls Gentile da Fabriano's art cosmopolitan, brilliant color, textural richness and ornamental pattern combined. An 1874 sale catalogue gave the Child a pomegranate, and the Gallery allows that a restorer may have painted one in, cleaned away before 1911. What He reaches for now is a word.", "sources": [{"what": "The Gallery's object page: inscriptions 'upper center on the Virgin's collar: MATER (Mother) [DEI]; across bottom on the hem of her dress: AVE MARIA GRATIA PLENA DOM[INVS] TECV[M] BEN[EDICTA]', from Luke 1:28; the page description says Gentile's 'art has a cosmopolitan flavor, in which brilliant color, textural richness, and ornamental pattern are combined'.", "url": "https://www.nga.gov/artworks/396-madonna-and-child-enthroned", "cite": "National Gallery of Art, Washington, 'Madonna and Child Enthroned', Gentile da Fabriano, c. 1420, accession 1939.1.255, Samuel H. Kress Collection; read 2026-09-24."}, {"what": "The Gallery's descriptive text for the primary image: the Child's 'right hand, on our left, reaches up to gesture at her neckline'; 'The word “MATER” is inscribed on her neckline and “AVE MARIA GRATIA PLENA DOM TECV BEN” along the bottom hem.'", "url": "https://raw.githubusercontent.com/NationalGalleryOfArt/opendata/main/data/published_images.csv", "cite": "National Gallery of Art open data, published_images.csv, assistive text for object 396 (CC0); read 2026-09-24."}, {"what": "The Gallery's provenance notes: the 1874 Barker sale catalogue describes 'The Madonna with the Infant Savior seated upon her lap holding a pomegranate', which 'does not correspond with the appearance of this painting'; 'There is some chance that the pomegranate was the result of a restorer's effort to reconstruct the object held by the Child and that it was cleaned away sometime between 1874 and 1911.'", "url": "https://raw.githubusercontent.com/NationalGalleryOfArt/opendata/main/data/objects.csv", "cite": "National Gallery of Art open data, objects.csv, provenance text for object 396, accession 1939.1.255 (CC0); read 2026-09-24."}]}, "scene": {"why": "A DEVOTIONAL TYPE, NOT AN EPISODE. The Virgin enthroned with the Child on a gold ground, painted for an altar; it is an image made for prayer and records no moment any evangelist tells."}, "th": "/store/thumb/gentile_da_fabriano_madonna_and_child_enthroned.webp", "more": [{"k": "subject", "n": "The Madonna and Child in painting", "u": "/editions/subject/madonna-and-child/", "ids": ["angelico_the_madonna_of_humility", "van_eyck_van_der_paele", "van_eyck_rolin", "van_eyck_lucca_madonna"]}, {"k": "master", "n": "Gentile da Fabriano", "u": "/editions/master/gentile-da-fabriano/", "ids": ["gentile_da_fabriano_crippled_and_sick_cured_at_the_tomb_of_s", "gentile_da_fabriano_coronation_of_the_virgin"]}]}, "gentile_da_fabriano_crippled_and_sick_cured_at_the_tomb_of_s": {"id": "gentile_da_fabriano_crippled_and_sick_cured_at_the_tomb_of_s", "title": "The Crippled and Sick Cured at the Tomb of Saint Nicholas (Quaratesi Polyptych predella)", "artist_line": "Gentile da Fabriano (Italian, Marchigian, c. 1370 - 1427)", "artist": "Gentile da Fabriano", "date": "1425", "museum": "National Gallery of Art, Washington", "license": "PD/CC0", "tier": "Sanctuary", "sizes": [{"size": "18×24 in", "paper": 140, "iw": 17.5, "ih": 18, "sw": 24, "sh": 18, "cov": 0.729}, {"size": "24×36 in", "paper": 190, "iw": 23.3, "ih": 24, "sw": 36, "sh": 24, "cov": 0.648}, {"size": "32×48 in", "paper": 340, "iw": 31.1, "ih": 32, "sw": 48, "sh": 32, "cov": 0.648}, {"size": "40×60 in", "paper": 480, "iw": 38.9, "ih": 40, "sw": 60, "sh": 40, "cov": 0.648}], "local": "/store/display/gentile_da_fabriano_crippled_and_sick_cured_at_the_tomb_of_s.jpg", "commons_file": null, "zoom": "https://art.monstrance.app/zoom/gentile_da_fabriano_crippled_and_sick_cured_at_the_tomb_of_s.jpg", "master_px": 14674, "auth": {"institution": "National Gallery of Art, Washington", "accession": "1939.1.268", "url": "https://www.nga.gov/artworks/411-crippled-and-sick-cured-tomb-saint-nicholas", "artist_as_printed": "Gentile da Fabriano", "date_as_printed": "1425", "medium": "tempera on panel", "dimensions": "painted surface: 35.5 x 35.5 cm (14 x 14 in.); overall: 35.9 x 36.4 cm"}, "writeup": {"text": "Hands press up against a stone tomb, and down the steps come the ones it has sent away: one man carried on another's back, two more with staffs. The tomb is Saint Nicholas's, and this small scene stood beneath the Quaratesi altarpiece. The National Gallery of Art places it, with a question mark, on the main altar of San Niccolò Oltrarno in Florence, where it stayed until the 1790s; Richa records that Gentile da Fabriano signed it in May 1425, and a 1518 inventory called the altarpiece most beautiful. Washington has shown it as Pilgrims at the Tomb of Saint Nicholas. The nearest pilgrim still grips his staff.", "sources": [{"what": "NGA record: provenance 'Main altar(?) of San Niccolò Oltrarno, Florence; in the church until the 1790s', with Richa quoted — 'all'Altar Maggiore, che si disse essere de' Quaratesti, evvi una tavola di mano di Gentile da Fabriano…che vi scrisse il suo nome Opus Gentilis de Frabriano MCCCCXXV mense Maii' — and the 1518 church inventory calling it 'la tavola bellissima d'altare dipinta di mano di maestro Gentile da Fabriano'. The exhibition history records the panel shown as 'A Miracle of Saint Nicholas' and as 'Pilgrims at the Tomb of St. Nicholas', and in 'Treasures of Heaven: Relics, Saints, and Devotion in Medieval Europe', Cleveland and the Walters, 2010-2011, no. 67.", "url": "https://www.nga.gov/artworks/411-crippled-and-sick-cured-tomb-saint-nicholas", "cite": "National Gallery of Art, Washington, 'The Crippled and Sick Cured at the Tomb of Saint Nicholas', accession 1939.1.268, Samuel H. Kress Collection. The object page is client-side rendered; tombstone, inscriptions and provenance were read from the NGA's own open-data record, objectid 411, on 2026-08-27."}]}, "scene": {"why": "THE SAINT IS NOT IN SCRIPTURE. Nicholas of Myra died about 343; the pilgrims healed at his tomb belong to his legend as told in the Golden Legend and the Quaratesi predella, not to any biblical book."}, "th": "/store/thumb/gentile_da_fabriano_crippled_and_sick_cured_at_the_tomb_of_s.webp", "more": [{"k": "subject", "n": "Saints in painting", "u": "/editions/subject/saints/", "ids": ["masaccio_pisa_predella_peter_john", "fra_angelico_saint_romuald_refusing_entry_to_empero", "fra_angelico_the_beheading_of_saint_john_the_baptis", "rogier_st_luke_virgin"]}, {"k": "master", "n": "Gentile da Fabriano", "u": "/editions/master/gentile-da-fabriano/", "ids": ["gentile_da_fabriano_coronation_of_the_virgin", "gentile_da_fabriano_madonna_and_child_enthroned"]}]}, "signorelli_madonna_and_child_with_saints_and_angels": {"id": "signorelli_madonna_and_child_with_saints_and_angels", "title": "Madonna and Child with Saints and Angels", "artist_line": "Luca Signorelli (Italian, Cortonese, 1445/1450 - 1523)", "artist": "Luca Signorelli", "date": "mid or late 1510s", "museum": "National Gallery of Art, Washington", "license": "PD/CC0", "tier": "Sanctuary", "sizes": [{"size": "18×24 in", "paper": 140, "iw": 18, "ih": 20.7, "sw": 18, "sh": 24, "cov": 0.864}, {"size": "24×36 in", "paper": 190, "iw": 24, "ih": 27.7, "sw": 24, "sh": 36, "cov": 0.768}, {"size": "32×48 in", "paper": 340, "iw": 32, "ih": 36.9, "sw": 32, "sh": 48, "cov": 0.768}, {"size": "40×60 in", "paper": 480, "iw": 40, "ih": 46.1, "sw": 40, "sh": 60, "cov": 0.768}], "local": "/store/display/signorelli_madonna_and_child_with_saints_and_angels.jpg", "commons_file": null, "zoom": "https://art.monstrance.app/zoom/signorelli_madonna_and_child_with_saints_and_angels.jpg", "master_px": 26879, "auth": {"institution": "National Gallery of Art, Washington", "accession": "1961.9.87", "url": "https://www.nga.gov/collection/art-object-page.46186.html", "artist_as_printed": "Luca Signorelli", "date_as_printed": "mid or late 1510s", "medium": "oil on panel transferred to hardboard", "dimensions": "overall: 155.7 x 135.6 cm (61 5/16 x 53 3/8 in.)\r\nframed: 194.3 x 172.1 x 7.6 cm (76 1/2 x 67 3/4 x 3 in.)"}, "writeup": {"text": "A tiny man kneels in a scale and prays. The pan that holds him rides high, lifted by a winged figure in a gold helmet and muscled breastplate who raises a sword in the other hand; the National Gallery of Art's own description records the small man praying to Mary. Above, Our Lady sits with the Christ Child on her lap, and angels crowd behind with flowers and folded hands. A bishop reads at the right; below, two men write. The Gallery recognises these as evangelists, one probably Mark. Where Signorelli's altarpiece first stood is less certain: its notes suggest an Albergotti chapel, possibly the one in Arezzo cathedral built about 1517, but observe that the chapel's dedicatee, Saint Sylvester, is missing, and offer instead the destroyed church of San Marco a Murello. The small man in the scale needs no notes. He is still rising.", "sources": [{"what": "The Gallery's object page: tombstone (Luca Signorelli, mid or late 1510s, oil on panel transferred to hardboard) and bibliography, including the NGA systematic catalogue (Boskovits, Brown et al., 2003: 649-654).", "url": "https://www.nga.gov/artworks/46186-madonna-and-child-saints-and-angels", "cite": "National Gallery of Art, Washington, 'Madonna and Child with Saints and Angels', accession 1961.9.87, Samuel H. Kress Collection; read 2026-09-24."}, {"what": "The Gallery's descriptive text: the man at the top left has striped wings and 'wears a gold helmet, a muscled breastplate'; 'He holds a sword up high with one hand and a scale with the other. A tiny man kneels and prays to Mary in the higher pan of the scale.'", "url": "https://raw.githubusercontent.com/NationalGalleryOfArt/opendata/main/data/published_images.csv", "cite": "National Gallery of Art open data, published_images.csv, assistive text for object 46186 (CC0); read 2026-09-24."}, {"what": "The Gallery's provenance notes: 'An Albergotti chapel, possibly the one in the Cathedral of Arezzo, built c. 1517'; against this, 'the chapel's dedicatee, Saint Sylvester, is not represented'; 'two figures of evangelists can be recognized, one of whom is probably Mark', and the panel may instead have been made for the now destroyed church of San Marco a Murello.", "url": "https://raw.githubusercontent.com/NationalGalleryOfArt/opendata/main/data/objects.csv", "cite": "National Gallery of Art open data, objects.csv, provenance text for object 46186 (CC0); read 2026-09-24."}, {"what": "The same NGA record republished: date, medium and the provenance note naming two evangelists, one probably Mark.", "url": "https://artsandculture.google.com/asset/madonna-and-child-with-saints-and-angels-luca-signorelli/jwE97IAHy6G_5Q", "cite": "National Gallery of Art on Google Arts \u0026 Culture, 'Madonna and Child with Saints and Angels', Luca Signorelli; read 2026-09-24."}]}, "scene": {"why": "A DEVOTIONAL TYPE, NOT AN EPISODE. Signorelli’s Madonna sits among saints and angels in a sacra conversazione — a gathering across centuries that no evangelist records, made for an altar and for prayer."}, "th": "/store/thumb/signorelli_madonna_and_child_with_saints_and_angels.webp", "more": [{"k": "subject", "n": "The Madonna and Child in painting", "u": "/editions/subject/madonna-and-child/", "ids": ["unknown_andean_painter_virgin_of_the_rosary_of_pomata", "cimabue_the_virgin_and_child_in_majesty_surrou", "duccio_maesta", "baronzio_madonna_and_child_with_five_angels"]}, {"k": "master", "n": "Luca Signorelli", "u": "/editions/master/luca-signorelli/", "ids": ["luca_signorelli_the_crucifixion"]}]}, "del_sarto_holy_family_with_the_young_saint_john_th": {"id": "del_sarto_holy_family_with_the_young_saint_john_th", "title": "The Holy Family with the Young Saint John the Baptist", "artist_line": "Andrea del Sarto (Andrea d'Agnolo) (Italian, Florence 1486–1530 Florence)", "artist": "Andrea del Sarto (Andrea d'Agnolo)", "date": "ca. 1528", "museum": "The Metropolitan Museum of Art, New York", "license": "PD/CC0", "tier": "Mid", "sizes": [{"size": "8×10 in", "paper": 39, "iw": 7.4, "ih": 10, "sw": 8, "sh": 10, "cov": 0.928}, {"size": "11×14 in", "paper": 59, "iw": 10.4, "ih": 14, "sw": 11, "sh": 14, "cov": 0.945}], "local": "/store/display/del_sarto_holy_family_with_the_young_saint_john_th.jpg", "commons_file": "The Holy Family with the Young Saint John the Baptist MET DP295025.jpg", "zoom": "https://art.monstrance.app/zoom/del_sarto_holy_family_with_the_young_saint_john_th.jpg", "master_px": 3872, "auth": {"institution": "The Metropolitan Museum of Art, New York", "accession": "22.75", "url": "https://www.metmuseum.org/art/collection/search/437609", "artist_as_printed": "Andrea del Sarto (Andrea d'Agnolo)", "date_as_printed": "ca. 1528", "medium": "Oil on wood", "dimensions": "53 1/2 x 39 5/8 in. (135.9 x 100.6 cm)"}, "writeup": {"text": "The young Baptist holds out a globe, and the Child puts His hand to it; Saint Joseph steadies it from behind. The Met says the four figures' hands spiral around the orb, and that the gesture is the meaning. Andrea del Sarto painted it around 1528 for Giovanni Borgherini, when Florence had freed itself of the Medici and declared itself a republic. The Met reads it as much a political statement as a religious one: John, patron saint of Florence, passes the orb to Christ, naming Him, not the Medici, sole ruler of the city. Our Lady holds the Child. The Child holds the world.", "sources": [{"what": "The Met's label: the four figures' 'hands spiral around the globe that the young Saint John the Baptist passes to the Christ Child'; the painting 'was as much a political statement as a religious one'; Giovanni Borgherini commissioned it when Florence had freed itself of Medici dominance and declared itself a republic; the Baptist, patron saint of Florence, passes the orb to Christ, 'indicating him, not the Medici, as sole ruler of the city'. Dated ca. 1528.", "url": "https://www.metmuseum.org/art/collection/search/437609", "cite": "The Metropolitan Museum of Art, New York, 'The Holy Family with the Young Saint John the Baptist', Andrea del Sarto, ca. 1528, accession 22.75; read 2026-09-24."}, {"what": "The Met's 2015 exhibition text: Andrea del Sarto painted the Holy Family around 1528 for Giovanni Borgherini; 'The imagery of Christ sharing the orb with his cousin Saint John the Baptist, Florence's patron saint, was symbolic for the Republican government.'", "url": "https://www.metmuseum.org/exhibitions/listings/2015/andrea-del-sarto-borgherini", "cite": "The Metropolitan Museum of Art, exhibition 'Andrea del Sarto's Borgherini Holy Family and Charity' (2015); read 2026-09-24."}]}, "scene": {"ref": "Luke 2:51", "quote": "And he went down with them and came to Nazareth and was subject to them. And his mother kept all these words in her heart.", "shows": "the Holy Family at rest with the child Baptist — the household of Nazareth; the young John’s presence is tradition, not narrative"}, "th": "/store/thumb/del_sarto_holy_family_with_the_young_saint_john_th.webp", "more": [{"k": "subject", "n": "The Holy Family in painting", "u": "/editions/subject/holy-family/", "ids": ["rubens_holy_family", "rembrandt_holy_family_angels", "poussin_holy_family_steps", "murillo_holy_family_bird"]}]}, "del_sarto_virgin_and_child_between_st_francis_of_a": {"id": "del_sarto_virgin_and_child_between_st_francis_of_a", "title": "Virgin and Child between St Francis of Assisi and St John the Evangelist ('Madonna of the Harpies')", "artist_line": "Andrea d'Agnolo, known as Andrea del Sarto (Florence, 1486 – Florence, 1530)", "artist": "Andrea d'Agnolo, known as Andrea del Sarto", "date": "1517", "museum": "Gallerie degli Uffizi, Florence", "license": "Public domain", "tier": "Entry", "sizes": [{"size": "8×10 in", "paper": 39, "iw": 8, "ih": 9.5, "sw": 8, "sh": 10, "cov": 0.95}], "local": "/store/display/del_sarto_virgin_and_child_between_st_francis_of_a.jpg", "commons_file": "Andrea del Sarto - Madonna delle Arpie - Google Art Project.jpg", "zoom": "https://art.monstrance.app/zoom/del_sarto_virgin_and_child_between_st_francis_of_a.jpg", "master_px": 3008, "auth": {"institution": "Gallerie degli Uffizi, Florence", "accession": "1890 no. 1577", "url": "https://www.uffizi.it/en/artworks/andrea-del-sarto-harpies", "artist_as_printed": "Andrea d'Agnolo, known as Andrea del Sarto (Florence, 1486–1530)", "date_as_printed": "1517", "medium": "Oil on panel", "dimensions": "207 x 178 cm"}, "writeup": {"text": "Our Lady stands on a pedestal, the Child on her arm and a book in her hand, and two small angels cling at her knees. Vasari called the creatures carved on the pedestal harpies, and the name stuck; the Uffizi's Monica Alderotti reads them as the locusts of the Apocalypse, with women's heads and bellies like iron breastplates, come up from the abyss. Saint John stands aside with his book, author of that prophecy; opposite, Saint Francis holds a cross, the saint Bonaventure identified with the angel of the sixth seal. On her reading the pedestal is the mouth of Hell. Andrea del Sarto stands her on it.", "sources": [{"what": "The Uffizi's curatorial text by Monica Alderotti: Vasari identified the creatures on the pedestal as harpies, but they are now read as the locusts of the ninth chapter of the Apocalypse, with women's heads and bellies like iron breastplates, rising from the abyss; St John is shown writing beside Mary; Bonaventure identified Francis as the angel of the sixth seal bearing the tau of the Passion as his stigmata; the pedestal represents the entrance to Hell and the Virgin closes its mouth.", "url": "https://www.uffizi.it/en/artworks/andrea-del-sarto-harpies", "cite": "Gallerie degli Uffizi, Florence, 'Virgin and Child between St Francis of Assisi and St John the Evangelist (Madonna of the Harpies)', Andrea del Sarto, 1517, inv. 1890 no. 1577, text by Monica Alderotti; read 2026-09-24."}, {"what": "The Uffizi's description on Google Arts \u0026 Culture: the work is named for 'the monstrous creatures on the pedestal thought to be harpies by Vasari, but which more likely are the locusts described in the Book of Revelations'.", "url": "https://artsandculture.google.com/asset/madonna-of-the-harpies-andrea-del-sarto/qgHex-koQ4IzRw", "cite": "Uffizi Gallery on Google Arts \u0026 Culture, 'Madonna of the Harpies', Andrea del Sarto, 1517; read 2026-09-24."}]}, "scene": {"why": "A DEVOTIONAL TYPE, NOT AN EPISODE. The Madonna of the Harpies sets the Virgin on a pedestal between Francis of Assisi and John the Evangelist, twelve centuries apart; the gathering is for prayer and cites no passage."}, "th": "/store/thumb/del_sarto_virgin_and_child_between_st_francis_of_a.webp", "more": [{"k": "subject", "n": "The Madonna and Child in painting", "u": "/editions/subject/madonna-and-child/", "ids": ["parmigianino_madonna_and_child_with_saints_the_vision", "titian_madonna_and_child_with_saints", "ambrosius_benson_deipara_virgo", "veronese_the_madonna_of_the_cuccina_family"]}]}, "lotto_annunciation_recanati_annunciation": {"id": "lotto_annunciation_recanati_annunciation", "title": "Annunciation (Recanati Annunciation)", "artist_line": null, "artist": "Lorenzo Lotto", "date": "c. 1534", "museum": "Museo Civico Villa Colloredo Mels", "license": "Public domain", "tier": "Mid", "sizes": [{"size": "8×10 in", "paper": 39, "iw": 7.1, "ih": 10, "sw": 8, "sh": 10, "cov": 0.885}, {"size": "11×14 in", "paper": 59, "iw": 9.9, "ih": 14, "sw": 11, "sh": 14, "cov": 0.901}], "local": "/store/display/lotto_annunciation_recanati_annunciation.jpg", "commons_file": "Lorenzo Lotto 066.jpg", "zoom": "https://art.monstrance.app/zoom/lotto_annunciation_recanati_annunciation.jpg", "master_px": 3489, "auth": {"institution": "Museo Civico Villa Colloredo Mels, Recanati", "url": "https://infinitorecanati.it/lorenzo-lotto/lorenzo-lotto_a-recanati_le-opere-di-recanati-l-annunciazione/", "artist_as_printed": "Lorenzo Lotto", "date_as_printed": "1533-1535", "medium": "Olio su tela", "dimensions": "166 x 114 cm", "accession_absent_why": "The museums' page prints no inventory number."}, "writeup": {"text": "The cat is the only one who gets out. The Rete Museale delle Città Lottesche finds it not at all pleased with the commotion; the Marche region's tourism site reads it as evil fleeing the divine presence. Everyone else stays. God the Father plunges from the sky, in the network's phrase, like an ancient swimmer. The angel kneels with a lily and one arm flung up, frightened, the network says, by the enormity of what is happening. Our Lady has been interrupted at her prayer book and turns toward us with both palms raised, in a tidy room with a nightcap, a towel and a candle. Lorenzo Lotto made it for the Oratory of the Confraternity of Santa Maria sopra Mercanti in Recanati. Only the cat is running.", "sources": [{"what": "The Lotto museum network's entry: the scene set in Mary's orderly room with a nightcap, a towel and a candle; God the Father seems to 'tuffarsi dal cielo come un nuotatore antico'; the angel 'spaurito dall'enormità di quanto sta avvenendo'; the cat is 'l'unico a guadagnare l'uscita', 'per nulla contento di tutto quel trambusto'. Translations are ours.", "url": "https://lorenzolottomarche.it/-/annunciazione-1", "cite": "Rete Museale delle Città Lottesche (Marche), 'Annunciazione', Lorenzo Lotto, Museo Civico di Villa Colloredo Mels, Recanati; read 2026-09-24."}, {"what": "The Marche region's tourism entry: the cat is 'simbolo del male che fugge alla presenza divina'; Mary 'interrompe improvvisamente la lettura del libro di preghiere'; the painting was made for the Oratory of the Confraternity of Santa Maria sopra Mercanti in Recanati.", "url": "https://letsmarche.it/en/-/lorenzo-lotto-annunciazione-1", "cite": "Regione Marche (ATIM), letsmarche.it, 'Lorenzo Lotto, Annunciazione', Museo Civico Villa Colloredo Mels, Recanati; read 2026-09-24."}]}, "scene": {"ref": "Luke 1:28", "quote": "And the angel being come in, said unto her: Hail, full of grace, the Lord is with thee: blessed art thou among women.", "shows": "the Virgin turning from her prayer desk toward the viewer as Gabriel kneels behind her and God the Father leans in from above — and the cat flees"}, "th": "/store/thumb/lotto_annunciation_recanati_annunciation.webp", "more": [{"k": "subject", "n": "The Annunciation in painting", "u": "/editions/subject/annunciation/", "ids": ["girolamo_mazzola_bedoli_the_annunciation", "caravaggio_the_annunciation", "orazio_gentileschi_annunciation", "rubens_incarnation_fulfillment_of_the_prophecies"]}, {"k": "master", "n": "Lorenzo Lotto", "u": "/editions/master/lorenzo-lotto/", "ids": ["lorenzo_lotto_st_catherine_of_alexandria", "lorenzo_lotto_the_nativity"]}]}, "gerard_david_rest_on_the_flight_into_egypt": {"id": "gerard_david_rest_on_the_flight_into_egypt", "title": "The Rest on the Flight into Egypt", "artist_line": "Gerard David (Netherlandish, c. 1460 - 1523)", "artist": "Gerard David", "date": "c. 1510", "museum": "National Gallery of Art, Washington", "license": "PD/CC0", "tier": "Sanctuary", "sizes": [{"size": "8×10 in", "paper": 39, "iw": 7.8, "ih": 8, "sw": 10, "sh": 8, "cov": 0.783}, {"size": "11×14 in", "paper": 59, "iw": 10.8, "ih": 11, "sw": 14, "sh": 11, "cov": 0.77}, {"size": "16×20 in", "paper": 110, "iw": 15.7, "ih": 16, "sw": 20, "sh": 16, "cov": 0.783}, {"size": "18×24 in", "paper": 140, "iw": 17.6, "ih": 18, "sw": 24, "sh": 18, "cov": 0.735}, {"size": "24×36 in", "paper": 190, "iw": 23.5, "ih": 24, "sw": 36, "sh": 24, "cov": 0.653}, {"size": "32×48 in", "paper": 340, "iw": 31.3, "ih": 32, "sw": 48, "sh": 32, "cov": 0.653}, {"size": "40×60 in", "paper": 480, "iw": 39.2, "ih": 40, "sw": 60, "sh": 40, "cov": 0.653}], "local": "/store/display/gerard_david_rest_on_the_flight_into_egypt.jpg", "commons_file": null, "zoom": "https://art.monstrance.app/zoom/gerard_david_rest_on_the_flight_into_egypt.jpg", "master_px": 17011, "auth": {"institution": "National Gallery of Art, Washington", "accession": "1937.1.43", "url": "https://www.nga.gov/artworks/50-rest-flight-egypt", "artist_as_printed": "Gerard David", "date_as_printed": "c. 1510", "medium": "oil on panel", "dimensions": "painted surface: 41.9 x 42.2 cm (16 1/2 x 16 5/8 in.); overall (panel): 44.3 x 44.9 cm"}, "writeup": {"text": "A bunch of green grapes, and the Child's fingers at it, in His Mother's lap. John Oliver Hand, in the National Gallery of Art's catalogue, calls the grapes a well-known symbol of the Eucharist, and reads the plants along the bottom edge: plantain, a stauncher of blood, for Christ's death, mint, strawberry for the Trinity and the wounds, fern against evil, violet for humility. Matthew gives the flight, he notes, while the Rest comes from Pseudo-Matthew and The Golden Legend. Behind, Saint Joseph knocks down nuts with a long stick, which Hand reads as a variation on the palm miracle. Gerard David leaves the basket shut and the donkey waiting.", "sources": [{"what": "Hand: 'While Matthew (2:13) provided the basic text for the theme of the Flight into Egypt, the Rest on the Flight and related picturesque episodes are to be found in apocryphal accounts, notably the Gospel of Pseudo-Matthew and The Golden Legend.' On the plants: 'At the far left is plantain, an effective stauncher of blood and hence associated with Christ's death. Next to it is mint… then strawberry, whose tripartite leaves allude to the Trinity and whose fruit and petals are emblematic of the blood and wounds of Christ. The fern was regarded as protection against evil… Last is violet, which symbolizes the humility of both Virgin and Child.' 'The bunch of grapes held by the Madonna is a well-known symbol of the Eucharist.' Joseph's nut-gathering is 'a variation on the palm tree miracle in that both actions are concerned with providing nourishment.'", "url": "https://www.nga.gov/research/publications/pdf-library/early-netherlandish-painting.html", "cite": "John Oliver Hand and Martha Wolff, Early Netherlandish Painting, National Gallery of Art Systematic Catalogue (Washington, 1986), pp. 63-65, entry signed J.O.H.; accession 1937.1.43, Andrew W. Mellon Collection."}]}, "scene": {"ref": "Matthew 2:14", "quote": "Who arose, and took the child and his mother by night, and retired into Egypt: and he was there until the death of Herod:", "shows": "the Virgin seated with the Child on the road into Egypt, Joseph gathering food in the distance — the rest itself is not narrated; the flight is"}, "th": "/store/thumb/gerard_david_rest_on_the_flight_into_egypt.webp", "more": [{"k": "subject", "n": "The Flight into Egypt in painting", "u": "/editions/subject/flight-into-egypt/", "ids": ["caravaggio_rest_flight", "van_dyck_rest_on_the_flight_into_egypt_madonna_wi", "claude_lorrain_rest_on_the_flight_into_egypt", "giotto_scrovegni_chapel_flight_into_egypt"]}, {"k": "master", "n": "Gerard David", "u": "/editions/master/gerard-david/", "ids": ["gerard_david_virgin_and_child_with_four_angels"]}]}, "gerard_david_virgin_and_child_with_four_angels": {"id": "gerard_david_virgin_and_child_with_four_angels", "title": "Virgin and Child with Four Angels", "artist_line": "Gerard David (Netherlandish, Oudewater ca. 1455–1523 Bruges)", "artist": "Gerard David", "date": "ca. 1510–15", "museum": "The Metropolitan Museum of Art, New York", "license": "PD/CC0", "tier": "Mid", "sizes": [{"size": "11×14 in", "paper": 59, "iw": 8.1, "ih": 14, "sw": 11, "sh": 14, "cov": 0.74}], "local": "/store/display/gerard_david_virgin_and_child_with_four_angels.jpg", "commons_file": "Virgin and Child with Four Angels MET DP-1410-001.jpg", "zoom": "https://art.monstrance.app/zoom/gerard_david_virgin_and_child_with_four_angels.jpg", "master_px": 3865, "auth": {"institution": "The Metropolitan Museum of Art, New York", "accession": "1977.1.1", "url": "https://www.metmuseum.org/art/collection/search/436102", "artist_as_printed": "Gerard David (Netherlandish, Oudewater ca. 1455–1523 Bruges)", "date_as_printed": "ca. 1510–15", "medium": "Oil on wood", "dimensions": "24 7/8 x 15 3/8 in. (63.2 x 39.1 cm)"}, "writeup": {"text": "Two angels hold a crown in the air over the Virgin's head, not yet lowered. She stands with the Child against her cheek; below, one angel plays a harp and another a lute. The Metropolitan Museum says Gerard David took the Virgin and Child from Jan van Eyck's Virgin and Child at the Fountain and set them in a grand arched porch with Italianate capitals, against the Bruges of his day. In the garden beyond, the Met points out a Carthusian monk strolling as he reads, a clue it links to the monastery of Genadedael outside the city walls. The crown still waits above her.", "sources": [{"what": "The Met's label: David took the Virgin and Child from Jan van Eyck's Virgin and Child at the Fountain but modernized the composition, placing the figures in a grand arched porch flanked by columns with Italianate capitals against the skyline of contemporary Bruges; a Carthusian monk strolls and reads in the enclosed garden, suggesting a link to the former monastery at Genadedael just outside the city walls.", "url": "https://www.metmuseum.org/art/collection/search/436102", "cite": "The Metropolitan Museum of Art, New York, 'Virgin and Child with Four Angels', Gerard David, ca. 1510-15, accession 1977.1.1; read 2026-09-24."}]}, "scene": {"why": "A DEVOTIONAL TYPE, NOT AN EPISODE. David’s Virgin stands with the Child under an arch while four angels crown her and play music, the towers of Bruges behind; an image for prayer, not a scene any evangelist tells."}, "th": "/store/thumb/gerard_david_virgin_and_child_with_four_angels.webp", "more": [{"k": "subject", "n": "The Madonna and Child in painting", "u": "/editions/subject/madonna-and-child/", "ids": ["raphael_alba_madonna", "raphael_sistine_madonna", "grunewald_stuppach_madonna_stuppacher_madonna", "del_sarto_virgin_and_child_between_st_francis_of_a"]}, {"k": "master", "n": "Gerard David", "u": "/editions/master/gerard-david/", "ids": ["gerard_david_rest_on_the_flight_into_egypt"]}]}, "petrus_christus_virgin_and_child_with_saints_jerome_and": {"id": "petrus_christus_virgin_and_child_with_saints_jerome_and", "title": "Virgin and Child with Saints Jerome and Francis", "artist_line": null, "artist": "Petrus Christus", "date": "1457", "museum": "Städel Museum, Frankfurt am Main", "license": "PD/CC0", "tier": "Sanctuary", "sizes": [{"size": "18×24 in", "paper": 140, "iw": 18, "ih": 19.0, "sw": 18, "sh": 24, "cov": 0.792}, {"size": "24×36 in", "paper": 190, "iw": 22.7, "ih": 24, "sw": 36, "sh": 24, "cov": 0.632}, {"size": "32×48 in", "paper": 340, "iw": 30.3, "ih": 32, "sw": 48, "sh": 32, "cov": 0.632}], "local": "/store/display/petrus_christus_virgin_and_child_with_saints_jerome_and.jpg", "commons_file": "Virgin and Child with Saints Jerome and Francis (SM 920).png", "zoom": "https://art.monstrance.app/zoom/petrus_christus_virgin_and_child_with_saints_jerome_and.jpg", "master_px": 4565, "auth": {"institution": "Städel Museum, Frankfurt am Main", "accession": "920", "url": "https://sammlung.staedelmuseum.de/en/work/virgin-and-child-with-saints-jerome-and-francis", "artist_as_printed": "Petrus Christus", "date_as_printed": "1457", "medium": "Oil on oak; mixed technique", "dimensions": "46.7 x 44.6 x min. 0.5 cm"}, "writeup": {"text": "A red flower rests between the fingers of Our Lady, and the Christ Child, naked on her dark lap, reaches up for it. Saint Jerome stands at the left in red, holding a book; Saint Francis stands barefoot at the right by an open door, a tall crucifix at his side, one hand on his breast. The Met's essay on Petrus Christus reads this small work as a summary of his art: mastery of one-point perspective, a debt to Jan van Eyck, and the Italian format called the sacra conversazione. So the saints keep the Virgin company in one room. Christus signed the front edge of the lower step of the throne, and the Städel records the date with a hole in it, 14[.]7, one digit illegible, and catalogues it as 1457. The carpet runs down the steps toward your feet.", "sources": [{"what": "The Städel's object record: signed and dated on the front edge of the lower throne step, '+ PETRVS·XPI[STVS]· ·ME·FECIT·14[.]7'; dated 1457; oil on oak, 46.7 x 44.6 cm; depicted: the Virgin enthroned, the Christ Child, Saint Jerome, Saint Francis of Assisi; classed as a sacra conversazione.", "url": "https://sammlung.staedelmuseum.de/en/work/virgin-and-child-with-saints-jerome-and-francis", "cite": "Städel Museum, Frankfurt am Main, 'Virgin and Child with Saints Jerome and Francis', Petrus Christus, 1457, inv. 920; read 2026-09-24."}, {"what": "The Met's Heilbrunn essay on Petrus Christus: the Frankfurt panel 'demonstrates the artist's mastery of one-point perspective, his debt to the art of Jan van Eyck, and his successful integration of Italian pictorial elements, notably the sacra conversazione format'.", "url": "https://www.metmuseum.org/toah/hd/petr/hd_petr.htm", "cite": "Jennifer Meagher, after Maryan W. Ainsworth, 'Petrus Christus (ca. 1410-1475/76)', Heilbrunn Timeline of Art History, The Metropolitan Museum of Art; read 2026-09-24."}]}, "scene": {"why": "A DEVOTIONAL TYPE, NOT AN EPISODE. The Virgin and Child receive Jerome and Francis in a tiled loggia — two saints from different centuries in one room, a sacra conversazione painted for prayer, not a recorded moment."}, "th": "/store/thumb/petrus_christus_virgin_and_child_with_saints_jerome_and.webp", "more": [{"k": "subject", "n": "The Madonna and Child in painting", "u": "/editions/subject/madonna-and-child/", "ids": ["petrus_christus_virgin_of_the_dry_tree_madonna_of_the_dr", "workshop_of_hans_memling_virgin_and_child", "francesca_madonna_and_child_enthroned", "leonardo_benois_madonna"]}, {"k": "master", "n": "Petrus Christus", "u": "/editions/master/petrus-christus/", "ids": ["petrus_christus_virgin_of_the_dry_tree_madonna_of_the_dr", "petrus_christus_lamentation"]}]}, "petrus_christus_virgin_of_the_dry_tree_madonna_of_the_dr": {"id": "petrus_christus_virgin_of_the_dry_tree_madonna_of_the_dr", "title": "The Virgin of the Dry Tree (Madonna of the Dry Tree)", "artist_line": null, "artist": "Petrus Christus", "date": "c. 1465", "museum": "Museo Nacional Thyssen-Bornemisza, Madrid", "license": "Public domain", "tier": "Sanctuary", "sizes": [{"size": "18×24 in", "paper": 140, "iw": 17.0, "ih": 24, "sw": 18, "sh": 24, "cov": 0.942}, {"size": "32×48 in", "paper": 340, "iw": 32, "ih": 45.3, "sw": 32, "sh": 48, "cov": 0.943}], "local": "/store/display/petrus_christus_virgin_of_the_dry_tree_madonna_of_the_dr.jpg", "commons_file": "Petrus Christus - The Virgin of the dry Tree - 1465.jpg", "zoom": "https://art.monstrance.app/zoom/petrus_christus_virgin_of_the_dry_tree_madonna_of_the_dr.jpg", "master_px": 5715, "auth": {"institution": "Museo Nacional Thyssen-Bornemisza, Madrid", "accession": "121 (1965.10)", "url": "https://www.museothyssen.org/en/collection/artists/christus-petrus/virgin-dry-tree", "artist_as_printed": "Petrus Christus", "date_as_printed": "ca. 1465", "medium": "Oil on panel", "dimensions": "14.7 x 12.4 cm"}, "writeup": {"text": "The tree is dead, all thorns and bare limbs, and Our Lady stands in it holding the Christ Child, as if she had grown there. Gold letters hang from the branches. Maryan Ainsworth finds the source of Petrus Christus's small painting in Ezekiel 17:24, where the Lord makes the dry tree flourish: the Tree of Knowledge, withered when Adam and Eve ate its fruit, made to live again through the Virgin. She reads Mary as the graft on the dead tree and the Child as its fruit, the thorny limbs His crown. She counts fifteen golden A's, the first letter of the Ave Maria, one for each decade of the rosary, the Ave read in medieval interpretation as Eva reversed. The Thyssen-Bornemisza ties the work to the Confraternity of Our Lady of the Dry Tree, to which Christus and his wife belonged. The fruit hangs among the thorns.", "sources": [{"what": "Thyssen-Bornemisza, entry signed Mar Borobia: 'The subject of The Virgin of the dry Tree… is an uncommon one. It relates to the Confraternity of Our Lady of the dry Tree, to which the artist and his wife belonged.' 'In this small panel the painter symbolically depicts the message of Redemption through the reference to the dry tree in the Book of Ezekiel and hence to the notion of Mary as the New Eve.' 'The tree has been interpreted as the Tree of Knowledge, which withered following the Original Sin then flowered again with the conception of Christ.' 'The Infant Christ is shown as the Saviour of Mankind, holding the orb crowned with the cross.'", "url": "https://www.museothyssen.org/en/collection/artists/christus-petrus/virgin-dry-tree", "cite": "Museo Nacional Thyssen-Bornemisza, Madrid, 'The Virgin of the dry Tree', inv. 121 (1965.10); read 2026-08-27."}, {"what": "Ainsworth: 'This unusual representation… finds its source in Ezekiel 17:24: And all the trees of the field shall know that I the Lord have brought down the high tree… and have made the dry tree to flourish. The dry tree — the Tree of Knowledge, which withered when Adam and Eve ate its fruit — was made to come alive again through the Virgin.' She reads the panel as 'almost a literal translation of de Deguileville's text, the Virgin being the graft on the dead tree and the Christ Child, the fruit of this growth and the Savior of mankind… his sacrifice for man's salvation is symbolized by the dry tree limbs fashioned into a spiny crown of thorns.' On the letters: 'The golden as dangling from the branches probably refer to the first letter of the prayer to the Virgin, the Ave Maria. They are fifteen in number, suggesting the Mysteries of the Virgin commemorated in the fifteen decades of Ave Marias to be recited in the rosary,' the Ave 'understood in medieval interpretations as the reverse of Eva.'", "url": "https://www.metmuseum.org/art/metpublications/Petrus_Christus_Renaissance_Master_of_Bruges", "cite": "Maryan W. Ainsworth, Petrus Christus: Renaissance Master of Bruges (New York: The Metropolitan Museum of Art, 1994), cat. 18, 'Madonna of the Dry Tree', pp. 162-165."}]}, "scene": {"ref": "Ezechiel 17:24", "quote": "And all the trees of the country shall know that I the Lord have brought down the high tree, and exalted the low tree: and have dried up the green tree, and have caused the dry tree to flourish. I the Lord have spoken and have done it.", "shows": "the Virgin and Child standing in the dead tree hung with golden letters A — the dry tree made to flourish, the emblem of the Bruges Confraternity of the Dry Tree"}, "th": "/store/thumb/petrus_christus_virgin_of_the_dry_tree_madonna_of_the_dr.webp", "more": [{"k": "subject", "n": "The Madonna and Child in painting", "u": "/editions/subject/madonna-and-child/", "ids": ["workshop_of_hans_memling_virgin_and_child", "francesca_madonna_and_child_enthroned", "leonardo_benois_madonna", "hans_memling_madonna_and_child_with_angels"]}, {"k": "master", "n": "Petrus Christus", "u": "/editions/master/petrus-christus/", "ids": ["petrus_christus_lamentation", "petrus_christus_virgin_and_child_with_saints_jerome_and"]}]}, "petrus_christus_lamentation": {"id": "petrus_christus_lamentation", "title": "The Lamentation", "artist_line": "Petrus Christus (Baarle 1410/20 – Bruges 1475/76)", "artist": "Petrus Christus", "date": "ca. 1455-1460", "museum": "Musées royaux des Beaux-Arts de Belgique, Bruxelles", "license": "Public domain", "tier": "Entry", "sizes": [{"size": "8×10 in", "paper": 39, "iw": 10, "ih": 5.1, "sw": 10, "sh": 8, "cov": 0.636}], "local": "/store/display/petrus_christus_lamentation.jpg", "commons_file": "Petrus Christus (ca.1410- 1472of1473) - De bewening - MSK Brussel 25-02-2011 11-47-13.jpg", "zoom": "https://art.monstrance.app/zoom/petrus_christus_lamentation.jpg", "master_px": 3044, "auth": {"institution": "Musées royaux des Beaux-Arts de Belgique, Bruxelles", "accession": "564", "url": "https://fine-arts-museum.be/fr/la-collection/petrus-christus-la-lamentation", "artist_as_printed": "Petrus CHRISTUS Baarle 1410/20 - Bruges 1475/76", "date_as_printed": "ca. 1455-1460", "medium": "Huile sur chêne", "dimensions": "100,5 x 192 x 1,7 cm"}, "writeup": {"text": "Christ lies full length on a white sheet in the grass, and a kneeling man in red holds up His head. Our Lady has sunk back into the arms of those behind her. At their feet lie a hammer, pincers, nails and a small jar, set down and finished with. The board is a hundred centimetres tall and a hundred and ninety-two wide, and Petrus Christus uses the width the way a tomb slab does: the body stretched along a green country, with towns on the far hills. Brussels bought it from a dealer named Lucq in 1844 and publishes nothing else, no essay, one line of acquisition. What the museum does not tell, the shape of the thing says. The body does not rise yet.", "sources": [{"what": "Musees royaux des Beaux-Arts de Belgique", "url": "https://fine-arts-museum.be/nl/de-collectie/petrus-christus-de-bewening", "cite": "Musées royaux des Beaux-Arts de Belgique / Koninklijke Musea voor Schone Kunsten van België, Brussels, 'De bewening / La lamentation', inv. 564; read 2026-08-27."}]}, "scene": {"why": "THE LAMENTATION IS NOT A SCENE IN SCRIPTURE. Christus lays the dead Christ on the shroud before the cross with the Virgin swooning and the Magdalene at his feet, in the interval between John 19:38 and 19:41 that no evangelist describes; no verse is cited rather than one stretched to fit."}, "th": "/store/thumb/petrus_christus_lamentation.webp", "more": [{"k": "subject", "n": "The Lamentation of Christ in painting", "u": "/editions/subject/lamentation-of-christ/", "ids": ["bouts_the_lamentation", "botticelli_lamentation", "goes_lamentation_of_christ", "rubens_lamentation"]}, {"k": "master", "n": "Petrus Christus", "u": "/editions/master/petrus-christus/", "ids": ["petrus_christus_virgin_and_child_with_saints_jerome_and", "petrus_christus_virgin_of_the_dry_tree_madonna_of_the_dr"]}]}, "fouquet_madonna_surrounded_by_seraphim_and_cheru": {"id": "fouquet_madonna_surrounded_by_seraphim_and_cheru", "title": "Madonna surrounded by Seraphim and Cherubim (Melun Diptych, right wing)", "artist_line": null, "artist": "Jean Fouquet", "date": "c. 1450", "museum": "Koninklijk Museum voor Schone Kunsten Antwerpen (KMSKA)", "license": "PD/CC0", "tier": "Sanctuary", "sizes": [{"size": "18×24 in", "paper": 140, "iw": 18, "ih": 20.2, "sw": 18, "sh": 24, "cov": 0.842}, {"size": "24×36 in", "paper": 190, "iw": 24, "ih": 26.9, "sw": 24, "sh": 36, "cov": 0.748}, {"size": "32×48 in", "paper": 340, "iw": 32, "ih": 35.9, "sw": 32, "sh": 48, "cov": 0.748}, {"size": "40×60 in", "paper": 480, "iw": 40, "ih": 44.9, "sw": 40, "sh": 60, "cov": 0.748}], "local": "/store/display/fouquet_madonna_surrounded_by_seraphim_and_cheru.jpg", "commons_file": "Jean Fouquet - Madonna omringd door serafijnen en cherubijnen - 132 - Royal Museum of Fine Arts Antwerp.tiff", "zoom": "https://art.monstrance.app/zoom/fouquet_madonna_surrounded_by_seraphim_and_cheru.jpg", "master_px": 8627, "auth": {"institution": "Koninklijk Museum voor Schone Kunsten Antwerpen (KMSKA)", "accession": "132", "url": "https://kmska.be/en/masterpiece/madonna-surrounded-by-seraphim-and-cherubim", "artist_as_printed": "Jean Fouquet", "date_as_printed": "c. 1450", "medium": "Oil on panel", "dimensions": "92 × 83.5 cm"}, "writeup": {"text": "Our Lady sits as a queen, in ermine and a crown of pearls and precious stones, her eyes lowered, the Child upright on her knee. Around them the angels press close, and the KMSKA reads their colour: the three blue cherubim for purity and air, the six red seraphim for love and fire. Jean Fouquet made this as the right half of a diptych; the other half, in Berlin, shows Étienne Chevalier, treasurer to Charles VII, who commissioned it, with his patron, Saint Stephen. No document records the commission. Dendrochronology and style, the museum says, suggest it was ordered around 1450. Red and blue stand close about them.", "sources": [{"what": "KMSKA: 'The enthroned Madonna holds the Christ Child on her knee. She is robed as a queen, with an ermine cloak and a crown decorated with pearls and precious stones.' 'The three blue cherubim represent purity and air, the six red seraphim love and fire.' 'The painting is the right-hand panel from a diptych, the other half of which is in Berlin. It shows Etienne Chevalier, who commissioned the work, and his patron saint, St Stephen…' 'Etienne Chevalier was the treasurer to Charles VII of France. There are no documents relating to the commission, but dendrochronological and stylistic analysis suggest that the work was ordered around 1450.'", "url": "https://kmska.be/en/masterpiece/madonna-surrounded-by-seraphim-and-cherubim", "cite": "Koninklijk Museum voor Schone Kunsten Antwerpen, 'Madonna Surrounded by Seraphim and Cherubim', inv. 132; read 2026-08-27."}]}, "scene": {"why": "A DEVOTIONAL IMAGE, NOT AN EPISODE. The right wing of the Melun Diptych: the Virgin enthroned among red seraphim and blue cherubim, painted with the features of Agnès Sorel for Étienne Chevalier’s prayer; no evangelist records the scene."}, "th": "/store/thumb/fouquet_madonna_surrounded_by_seraphim_and_cheru.webp", "more": [{"k": "subject", "n": "The Madonna and Child in painting", "u": "/editions/subject/madonna-and-child/", "ids": ["bouts_virgin_and_child", "ferrarese_15th_century_madonna_and_child_with_angels", "petrus_christus_virgin_and_child_with_saints_jerome_and", "petrus_christus_virgin_of_the_dry_tree_madonna_of_the_dr"]}]}, "fouquet_pieta_of_nouans_nouans_pieta": {"id": "fouquet_pieta_of_nouans_nouans_pieta", "title": "Pietà of Nouans (Nouans Pietà)", "artist_line": "Attributed to Jean Fouquet (French)", "artist": "Attributed to Jean Fouquet", "date": "c. 1460-1470", "museum": "Church of Saint-Martin", "license": "Public domain", "tier": "Sanctuary", "sizes": [{"size": "18×24 in", "paper": 140, "iw": 24, "ih": 16.0, "sw": 24, "sh": 18, "cov": 0.887}, {"size": "32×48 in", "paper": 340, "iw": 48, "ih": 31.9, "sw": 48, "sh": 32, "cov": 0.998}], "local": "/store/display/fouquet_pieta_of_nouans_nouans_pieta.jpg", "commons_file": "Jean Fouquet, Pietà, Nouans-les-Fontaine.jpg", "zoom": "https://art.monstrance.app/zoom/fouquet_pieta_of_nouans_nouans_pieta.jpg", "master_px": 6000, "auth": {"institution": "Église Saint-Martin, Nouans-les-Fontaines (Indre-et-Loire); record: Plateforme ouverte du patrimoine (POP), Ministère de la Culture", "accession": "PM37000342", "url": "https://pop.culture.gouv.fr/notice/palissy/PM37000342", "artist_as_printed": "Fouquet Jean (?, peintre)", "date_as_printed": "années 1460-1465", "medium": "bois (support) : peint", "dimensions": "h = 180 ; la = 240"}, "writeup": {"text": "The crown of thorns lies on the floor with the nails beside it, and Our Lord's body, which they held, is laid down on a white cloth. Joseph of Arimathea and Nicodemus bear Christ; Our Lady joins her hands. The French state's inventory counts thirteen figures, among them Saint John, the holy women, the Magdalen, Saint James and a donor in a canon's habit, and it transcribes the frame: a Latin line from Isaiah across the top, one from the First Letter of Peter across the bottom. The inventory attributes the work to Jean Fouquet, about 1460-1465, and Daniel Russo names canons as its patrons. The canon kneels among them, hands joined.", "sources": [{"what": "The state inventory record of the painting in Saint-Martin, Nouans-les-Fontaines: thirteen figures, Christ carried by Joseph of Arimathea and Nicodemus, the Virgin, Saint John, the holy women, Mary Magdalen, two old men, the donor in a canon's habit, Saint James; walnut panel, 180 x 240 cm; frame inscriptions at top from Isaiah 53:4 and at bottom from 1 Peter 3:18; attributed to Jean Fouquet, about 1460-1465; found in the church in 1931 by Paul Vitry; classified 15 October 1931.", "url": "https://pop.culture.gouv.fr/notice/palissy/PM37000342", "cite": "Ministère de la Culture, base Palissy (POP), PM37000342, 'tableau : la Descente de Croix', read 2026-09-24"}, {"what": "Daniel Russo's encyclopedia article on Fouquet names the Pietà of Nouans-les-Fontaines, about 1460-1465, as a work in which canons are the patrons.", "url": "https://www.universalis.fr/encyclopedie/jean-fouquet-peintre-et-enlumineur/", "cite": "Daniel Russo, 'Jean Fouquet, peintre et enlumineur', Encyclopædia Universalis, read 2026-09-24"}]}, "scene": {"why": "THE PIETÀ IS NOT A SCENE IN SCRIPTURE. Fouquet lowers the dead Christ onto a shroud held by Joseph of Arimathea and Nicodemus as the Virgin and John mourn, filling the silence between John 19:38 and 19:42; Scripture describes the burial, not the mourning."}, "th": "/store/thumb/fouquet_pieta_of_nouans_nouans_pieta.webp", "more": [{"k": "subject", "n": "The Pietà in painting", "u": "/editions/subject/pieta/", "ids": ["rosso_fiorentino_dead_christ_with_angels", "alonso_cano_dead_christ_supported_by_an_angel_cristo", "bouguereau_pieta", "gauguin_green_christ"]}]}, "crivelli_annunciation_with_saint_emidius": {"id": "crivelli_annunciation_with_saint_emidius", "title": "The Annunciation, with Saint Emidius", "artist_line": "Carlo Crivelli (about 1430/5 - about 1494)", "artist": "Carlo Crivelli", "date": "1486", "museum": "The National Gallery, London", "license": "Public domain", "tier": "Mid", "sizes": [{"size": "8×10 in", "paper": 39, "iw": 7.1, "ih": 10, "sw": 8, "sh": 10, "cov": 0.886}, {"size": "11×14 in", "paper": 59, "iw": 9.9, "ih": 14, "sw": 11, "sh": 14, "cov": 0.902}], "local": "/store/display/crivelli_annunciation_with_saint_emidius.jpg", "commons_file": "The Annunciation, with Saint Emidius - Carlo Crivelli - National Gallery.jpg", "zoom": "https://art.monstrance.app/zoom/crivelli_annunciation_with_saint_emidius.jpg", "master_px": 4226, "auth": {"institution": "The National Gallery, London", "accession": "NG739", "url": "https://www.nationalgallery.org.uk/paintings/carlo-crivelli-the-annunciation-with-saint-emidius", "artist_as_printed": "Carlo Crivelli", "date_as_printed": "1486", "medium": "Egg tempera with some oil on canvas", "dimensions": "207 × 146.7 cm"}, "writeup": {"text": "A golden ray comes down out of the sky, passes through a hole in the wall, and reaches Our Lady at her prayer desk. Out in the street Gabriel kneels, and Saint Emidius stops him, a model of Ascoli on his knee. The National Gallery gives the reason: in 1482 Pope Sixtus IV granted Ascoli self-government, and the news reached the town on 25 March, the feast of the Annunciation. The Gallery calls the man on the bridge, reading a message brought by carrier pigeon, a witty analogy of the Annunciation itself. Carlo Crivelli lettered LIBERTAS ECCLESIASTICA across the step. Heaven's news goes in by the small hole.", "sources": [{"what": "The Gallery's page: 'A man on the bridge reads a message handed to him by another man, perhaps the news of the papal bull. It has been delivered by the carrier pigeon in the cage beside them - a witty analogy of the Annunciation itself'; Ascoli's grant of self-government in 1482 arrived on 25 March, the feast of the Annunciation; Emidius interrupts Gabriel and 'balances a model of Ascoli ... on his knee'; the heavenly bolt of light passes 'through a convenient golden hole in the wall and to Mary'.", "url": "https://www.nationalgallery.org.uk/paintings/carlo-crivelli-the-annunciation-with-saint-emidius", "cite": "The National Gallery, London, 'The Annunciation, with Saint Emidius', Carlo Crivelli, 1486, NG739; read 2026-09-24."}, {"what": "Alasdair Flint's catalogue entry: 'In 1482, Pope Sixtus IV granted the small city of Ascoli Piceno in the Marche libertas ecclesiastica, the right to self-government free from direct papal rule'; the Holy Spirit enters Mary's room through a hole in the wall.", "url": "https://www.nationalgallery.org.uk/research/research-resources/exhibition-catalogues/building-the-picture/entering-the-picture/crivelli-annunciation", "cite": "Alasdair Flint, 'Crivelli, The Annunciation', in Building the Picture: Architecture in Italian Renaissance Painting (London: The National Gallery, 2014); read 2026-09-24."}]}, "scene": {"ref": "Luke 1:28", "quote": "And the angel being come in, said unto her: Hail, full of grace, the Lord is with thee: blessed art thou among women.", "shows": "Gabriel kneeling in the street of Ascoli beside Saint Emidius, the ray of the Spirit passing through the wall to the Virgin at her book"}, "th": "/store/thumb/crivelli_annunciation_with_saint_emidius.webp", "more": [{"k": "subject", "n": "The Annunciation in painting", "u": "/editions/subject/annunciation/", "ids": ["cima_the_annunciation", "garofalo_the_annunciation", "lotto_annunciation_recanati_annunciation", "girolamo_mazzola_bedoli_the_annunciation"]}, {"k": "master", "n": "Carlo Crivelli", "u": "/editions/master/carlo-crivelli/", "ids": ["crivelli_madonna_and_child"]}]}, "crivelli_madonna_and_child": {"id": "crivelli_madonna_and_child", "title": "Madonna and Child", "artist_line": "Carlo Crivelli (Italian, Venice (?), active by 1457–died 1494/95 Ascoli Piceno)", "artist": "Carlo Crivelli", "date": "ca. 1480", "museum": "The Metropolitan Museum of Art, New York", "license": "PD/CC0", "tier": "Mid", "sizes": [{"size": "11×14 in", "paper": 59, "iw": 9.4, "ih": 14, "sw": 11, "sh": 14, "cov": 0.852}], "local": "/store/display/crivelli_madonna_and_child.jpg", "commons_file": "Madonna and Child MET DT1356.jpg", "zoom": "https://art.monstrance.app/zoom/crivelli_madonna_and_child.jpg", "master_px": 3620, "auth": {"institution": "The Metropolitan Museum of Art, New York", "accession": "49.7.5", "url": "https://www.metmuseum.org/art/collection/search/436052", "artist_as_printed": "Carlo Crivelli (Italian, Venice (?), active by 1457–died 1494/95 Ascoli Piceno)", "date_as_printed": "ca. 1480", "medium": "Tempera and gold on wood", "dimensions": "Overall 14 7/8 x 10 in. (37.8 x 25.4 cm); painted surface 14 3/8 x 9 1/4 in. (36.5 x 23.5 cm)"}, "writeup": {"text": "A fly sits on the marble ledge, and the Met says a viewer might be tempted to brush it away. The Child holds a goldfinch in both hands; above Him hang a cucumber and apples. The Met reads the sorting plainly: the apples and the fly stand for sin, the cucumber and the goldfinch for redemption and the soul. The National Gallery says Carlo Crivelli, probably trained with Squarcione in Padua, could have learned his festoons of fruit in that circle. Far off, the Met notes turbaned figures, possibly the Mamluks who held Jerusalem in the 1480s. Our Lady looks down past the bird. The fly stays.", "sources": [{"what": "The Met's label: 'While the apples and fly symbolize sin, the cucumber and goldfinch reference redemption and the soul'; 'viewers might be tempted to brush away the fly that appears to have landed on the painting'; turbaned figures in the distance, 'possibly Mamluks who in the 1480s controlled the holy city of Jerusalem'.", "url": "https://www.metmuseum.org/art/collection/search/436052", "cite": "The Metropolitan Museum of Art, New York, 'Madonna and Child', Carlo Crivelli, ca. 1480, accession 49.7.5; read 2026-09-24."}, {"what": "The Gallery's biography of Crivelli: he 'probably trained with Squarcione in Padua'; 'From Squarcione, or one of his pupils such as Giorgio Schiavone, Crivelli could learn simulated marble architecture; festoons of fruit; parchment cartellini and music-making putti.'", "url": "https://www.nationalgallery.org.uk/artists/carlo-crivelli", "cite": "The National Gallery, London, artist biography 'Carlo Crivelli'; read 2026-09-24."}]}, "scene": {"why": "A DEVOTIONAL TYPE, NOT AN EPISODE. Crivelli’s Virgin holds the Child on a marble parapet before a swag of apples and a cucumber, with the fly painted on the ledge; an image for prayer whose symbols are the painter’s, not a moment any evangelist tells."}, "th": "/store/thumb/crivelli_madonna_and_child.webp", "more": [{"k": "subject", "n": "The Madonna and Child in painting", "u": "/editions/subject/madonna-and-child/", "ids": ["leonardo_virgin_of_rocks", "memling_the_virgin_and_child_between_saint_jam", "michelangelo_manchester_madonna", "quinten_massys_the_virgin_and_child_enthroned"]}, {"k": "master", "n": "Carlo Crivelli", "u": "/editions/master/carlo-crivelli/", "ids": ["crivelli_annunciation_with_saint_emidius"]}]}, "domenichino_way_to_calvary": {"id": "domenichino_way_to_calvary", "title": "The Way to Calvary", "artist_line": "Domenichino (Domenico Zampieri) (Italian, 1581–1641)", "artist": "Domenichino (Domenico Zampieri)", "date": "about 1610", "museum": "J. Paul Getty Museum", "license": "PD/CC0", "tier": "Sanctuary", "sizes": [{"size": "18×24 in", "paper": 140, "iw": 22.5, "ih": 18, "sw": 24, "sh": 18, "cov": 0.938}, {"size": "24×36 in", "paper": 190, "iw": 30.0, "ih": 24, "sw": 36, "sh": 24, "cov": 0.834}, {"size": "32×48 in", "paper": 340, "iw": 40.0, "ih": 32, "sw": 48, "sh": 32, "cov": 0.834}, {"size": "40×60 in", "paper": 480, "iw": 50.0, "ih": 40, "sw": 60, "sh": 40, "cov": 0.834}], "local": "/store/display/domenichino_way_to_calvary.jpg", "commons_file": "Domenichino - The way to Calvary, c. 1610 (Getty Center).jpg", "zoom": "https://art.monstrance.app/zoom/domenichino_way_to_calvary.jpg", "master_px": 8797, "auth": {"institution": "J. Paul Getty Museum", "accession": "83.PC.373", "url": "https://www.getty.edu/art/collection/object/103RFK", "artist_as_printed": "Domenichino (Domenico Zampieri) (Italian, 1581 - 1641)", "date_as_printed": "about 1610", "medium": "Oil on copper", "dimensions": "Unframed: 55.2 × 67.6 cm (21 3/4 × 26 5/8 in.)"}, "writeup": {"text": "The cross has come down, and Christ is under it, flat on the road, both hands and one bare foot against the dust. The men around Him crowd in. The J. Paul Getty Museum reads that crowding as the weight itself: the figures, it says, seem to bear down upon the heavy cross that pins Christ to the ground. A Roman soldier gestures with his baton at Simon of Cyrene; another tugs on the rope and raises his arm to whip. Domenichino painted it on copper, whose smooth surface, the Getty notes, holds fine detail and saturated colour at a small size. Christ, fallen, looks out, at you.", "sources": [{"what": "Getty: 'Domenichino situates Christ at the forefront of the composition, gazing sorrowfully out at the viewer. Christ's oppression and the cruelty of his tormentors are emphasized by the crowded composition, in which the figures seem to bear down upon the heavy cross that pins Christ to the ground. A Roman soldier … gestures with a baton at Simon of Cyrene… another soldier tugs sharply on the rope … and raises his right arm to whip his back.' On the support: copper's 'smooth, non-absorbent surface … facilitated artists in achieving meticulous detail and highly-saturated color on a small scale.'", "url": "https://www.getty.edu/art/collection/object/103RFK", "cite": "The J. Paul Getty Museum, Los Angeles, 'The Way to Calvary', object 83.PC.373; object page read 2026-08-27."}]}, "scene": {"ref": "John 19:17", "quote": "And bearing his own cross, he went forth to the place which is called Calvary, but in Hebrew Golgotha.", "shows": "Christ fallen beneath the cross on the road out of the city, soldiers and the mourning women around him"}, "th": "/store/thumb/domenichino_way_to_calvary.webp", "more": [{"k": "subject", "n": "The Crucifixion in painting", "u": "/editions/subject/crucifixion/", "ids": ["anthony_van_dyck_christ_on_the_cross_with_sts_catherine_o", "ter_brugghen_crucifixion_with_the_virgin_and_saint_jo", "velazquez_christ_crucified", "peter_paul_rubens_the_raising_of_the_cross_sketch"]}]}, "domenichino_rebuke_of_adam_and_eve": {"id": "domenichino_rebuke_of_adam_and_eve", "title": "The Rebuke of Adam and Eve", "artist_line": "Domenichino (Italian, 1581 - 1641)", "artist": "Domenichino", "date": "1626", "museum": "National Gallery of Art, Washington", "license": "PD/CC0", "tier": "Sanctuary", "sizes": [{"size": "18×24 in", "paper": 140, "iw": 24, "ih": 17.3, "sw": 24, "sh": 18, "cov": 0.959}, {"size": "24×36 in", "paper": 190, "iw": 33.4, "ih": 24, "sw": 36, "sh": 24, "cov": 0.927}, {"size": "32×48 in", "paper": 340, "iw": 44.5, "ih": 32, "sw": 48, "sh": 32, "cov": 0.927}], "local": "/store/display/domenichino_rebuke_of_adam_and_eve.jpg", "commons_file": "Domenichino, The Rebuke of Adam and Eve, 1626, NGA 111718.jpg", "zoom": "https://art.monstrance.app/zoom/domenichino_rebuke_of_adam_and_eve.jpg", "master_px": 6450, "auth": {"institution": "National Gallery of Art, Washington", "accession": "2000.3.1", "url": "https://www.nga.gov/collection/art-object-page.111718.html", "artist_as_printed": "Domenichino", "date_as_printed": "1626", "medium": "oil on canvas", "dimensions": "overall: 121.9 x 172.1 cm (48 x 67 3/4 in.)"}, "writeup": {"text": "Domenichino paints the rebuke rather than the expulsion — the moment in Genesis when God asks the question and the blame begins to move, before anyone has been driven anywhere. The Roman collection that bought it had already decided otherwise: a 1679 Colonna inventory calls it Adam and Eve driven from the earthly paradise, so the title has been unstable since the seventeenth century. Lorenzo Onofrio Colonna paid seven hundred scudi for the picture in 1670, and it stayed with his family for well over a hundred years.", "sources": [{"what": "NGA collection data: the painting 'certainly corresponds to the original painting by Domenichino with the figure of Adam that Lorenzo Onofrio Colonna bought from two Roman dealers in 1670 for 700 scudi'; a 1679 Colonna inventory describes 'Un Quadro di p.mi 5 1/4, e 6 1/2 con Adamo, et Eva scacciati dal paradiso terrestre … opera del Domenichini'. Provenance: 'Purchased 1670 by Lorenzio Onofrio Colonna, Roma; Colonna family, Rome, likely until at least 1802. Barberini family, Rome, by 1844.' The object page's curatorial overview is client-side rendered and returned no iconographic text.", "url": "https://www.nga.gov/artworks/111718-rebuke-adam-and-eve", "cite": "National Gallery of Art, Washington, 'The Rebuke of Adam and Eve', accession 2000.3.1; object page and NGA open-data object record read 2026-08-27."}]}, "scene": {"ref": "Genesis 3:12", "quote": "And Adam said: The woman, whom thou gavest me to be my companion, gave me of the tree, and I did eat.", "shows": "God the Father borne by angels rebuking Adam, who points to Eve, who points to the serpent"}, "th": "/store/thumb/domenichino_rebuke_of_adam_and_eve.webp", "more": [{"k": "subject", "n": "The Old Testament in painting", "u": "/editions/subject/old-testament/", "ids": ["rembrandt_tobit_and_anna", "rubens_the_meeting_of_abraham_and_melchizedek", "rembrandt_judith_banquet", "poussin_gathering_manna"]}]}, "sassetta_saint_francis_and_the_poor_knight_and_fr": {"id": "sassetta_saint_francis_and_the_poor_knight_and_fr", "title": "Saint Francis Meets a Knight Poorer than Himself and Saint Francis's Vision of the Founding of the Franciscan Order", "artist_line": "Sassetta (active by 1427; died 1450)", "artist": "Sassetta", "date": "1437-44", "museum": "The National Gallery, London", "license": "Public domain", "tier": "Sanctuary", "sizes": [{"size": "18×24 in", "paper": 140, "iw": 14.3, "ih": 24, "sw": 18, "sh": 24, "cov": 0.796}, {"size": "32×48 in", "paper": 340, "iw": 28.6, "ih": 48, "sw": 32, "sh": 48, "cov": 0.895}], "local": "/store/display/sassetta_saint_francis_and_the_poor_knight_and_fr.jpg", "commons_file": "1. Saint Francis and the Poor Knight, and Francis's Vision. 1437-44 London NG.jpg", "zoom": "https://art.monstrance.app/zoom/sassetta_saint_francis_and_the_poor_knight_and_fr.jpg", "master_px": 6000, "auth": {"institution": "The National Gallery, London", "accession": "NG4757", "url": "https://www.nationalgallery.org.uk/paintings/sassetta-saint-francis-and-the-poor-knight-and-francis-s-vision", "artist_as_printed": "Sassetta", "date_as_printed": "1437-44", "medium": "Egg tempera on wood (poplar, identified)", "dimensions": "87 × 52.5 cm"}, "writeup": {"text": "A blue cloak changes hands on a dusty road. Saint Francis, in red, holds it out; the poor knight, barefoot, presses his palms together; a grey horse waits behind. On the right the same young man sleeps in a bed of gold, an angel hovering over him, and in the sky a castle hangs with white banners and red crosses flying from its battlements. The National Gallery notes that the scripta, the document setting out the scenes, asked only for the moment Francis was shown that palace, and left some freedom to Sassetta and his two friar advisers; the story comes from Saint Bonaventure's Legenda Maior. The altarpiece stood six metres high on the high altar of San Francesco in Borgo San Sepolcro, installed in 1444, made of almost sixty pieces. Twenty-eight survive, scattered across the world. The castle is still in the air.", "sources": [{"what": "National Gallery: 'The scripta, the document detailing the scenes to be depicted on the altarpiece, had asked only that the panel depict the moment when Saint Francis was shown that palace. However, a certain amount of freedom was left to the two friars who acted as Sassetta's artistic advisers, and to the artist himself.' On the scene: 'the saint lies in bed, the richness of his home emphasised by the use of gold for the bedhead, cover and pillow. An angel with golden wings hovers over him, pointing to a castle in the sky. White banners with red crosses flutter from its battlements.' The Gallery names the source text as 'Francis's official biography, Saint Bonaventure's Legenda Maior, with some details from other sources'.", "url": "https://www.nationalgallery.org.uk/paintings/sassetta-saint-francis-and-the-poor-knight-and-francis-s-vision", "cite": "The National Gallery, London, 'Saint Francis and the Poor Knight, and Francis's Vision', NG4757, 1437-44; read 2026-08-27."}, {"what": "The Gallery's altarpiece page gives the scale and the dispersal: 'one of the largest and most splendid altarpieces of the early Italian Renaissance', 'Made up of almost 60 panels and measuring 6 m high by 5 m wide', painted for the high altar of San Francesco in Borgo San Sepolcro; the back 'seen primarily by the friars, showed Saint Francis in glory surrounded by eight scenes of his life, seven of which are in the National Gallery's collection'; it 'was dismantled during the Counter-Reformation in the late sixteenth century, and its panels dispersed after the monastery's suppression in 1808-10 (28 survive in collections across the world)'. Sassetta took the commission over in September 1437; the scripta was delivered by two friars in early 1439; the altarpiece was installed 2 June 1444 for 510 florins.", "url": "https://www.nationalgallery.org.uk/paintings/sassetta-san-sepolcro-altarpiece", "cite": "The National Gallery, London, 'The San Sepolcro Altarpiece'; read 2026-08-27."}]}, "scene": {"why": "THE SAINT IS NOT IN SCRIPTURE. Francis giving his cloak to a poor knight and dreaming of a palace hung with arms is told by Thomas of Celano and Bonaventure; the Borgo San Sepolcro panels follow those Lives, not any biblical book."}, "th": "/store/thumb/sassetta_saint_francis_and_the_poor_knight_and_fr.webp", "more": [{"k": "subject", "n": "Saints in painting", "u": "/editions/subject/saints/", "ids": ["angelico_burial_of_cosmas_and_damian", "angelico_martyrdom_of_cosmas_and_damian_louvre", "lippi_saint_benedict_orders_saint_maurus_to_the_rescue_o", "veneziano_saint_francis_receiving_the_stigmata"]}]}, "giovanni_di_paolo_annunciation_and_expulsion_from_paradise": {"id": "giovanni_di_paolo_annunciation_and_expulsion_from_paradise", "title": "The Annunciation and Expulsion from Paradise", "artist_line": "Giovanni di Paolo (Italian, Sienese, c. 1403 - 1482)", "artist": "Giovanni di Paolo", "date": "c. 1435", "museum": "National Gallery of Art, Washington", "license": "PD/CC0", "tier": "Sanctuary", "sizes": [{"size": "8×10 in", "paper": 39, "iw": 9.3, "ih": 8, "sw": 10, "sh": 8, "cov": 0.931}, {"size": "11×14 in", "paper": 59, "iw": 12.8, "ih": 11, "sw": 14, "sh": 11, "cov": 0.914}, {"size": "16×20 in", "paper": 110, "iw": 18.6, "ih": 16, "sw": 20, "sh": 16, "cov": 0.931}, {"size": "18×24 in", "paper": 140, "iw": 20.9, "ih": 18, "sw": 24, "sh": 18, "cov": 0.873}, {"size": "24×36 in", "paper": 190, "iw": 27.9, "ih": 24, "sw": 36, "sh": 24, "cov": 0.776}, {"size": "32×48 in", "paper": 340, "iw": 37.2, "ih": 32, "sw": 48, "sh": 32, "cov": 0.776}, {"size": "40×60 in", "paper": 480, "iw": 46.6, "ih": 40, "sw": 60, "sh": 40, "cov": 0.776}], "local": "/store/display/giovanni_di_paolo_annunciation_and_expulsion_from_paradise.jpg", "commons_file": null, "zoom": "https://art.monstrance.app/zoom/giovanni_di_paolo_annunciation_and_expulsion_from_paradise.jpg", "master_px": 6757, "auth": {"institution": "National Gallery of Art, Washington", "accession": "1939.1.223", "url": "https://www.nga.gov/artworks/364-annunciation-and-expulsion-paradise", "artist_as_printed": "Giovanni di Paolo", "date_as_printed": "c. 1435", "medium": "tempera on panel", "dimensions": "overall: 40 x 46.4 cm (15 3/4 x 18 1/4 in.); painted surface: 38.7 x 44.7 cm"}, "writeup": {"text": "Gabriel bows with his arms folded on his breast, and Our Lady answers with her hands raised. At the left an angel drives Adam and Eve out among the rabbits. Above, in a disc of gold, God the Father is the hinge: the National Gallery of Art says He both points out the exiles' disgrace and looks ahead to the Annunciation. The garden, the Gallery says, is spring, the season of the Annunciation. At the right Saint Joseph warms his hands at a fire, which the Gallery reads as the Christ Child's winter birth to come. Giovanni di Paolo sets the loss and the remedy side by side.", "sources": [{"what": "NGA: 'The central area of the panel shows the most important part of the painted narrative -- the Archangel Gabriel announcing the impending birth of the Christ Child to the Virgin Mary. Outside her elegant Italian Gothic house, a lush garden reflects the spring season of the Annunciation. The fertile landscape also provides an appropriate setting for the secondary representation at the left -- Adam and Eve's dramatic expulsion from the Garden of Eden. Giovanni used the figure of God the Father… to link the Expulsion to the Annunciation. God both points out the exiled couple's disgrace and looks ahead toward the Annunciation in anticipation of divine redemption. Finally, at the right, Joseph warms his hands at a fireplace, symbolic of Jesus' future birth in the winter.' The Gallery also notes the panel 'is believed to be one of five predella panels that belonged to the lower portion of a large, as yet unidentified, Sienese altarpiece'.", "url": "https://www.nga.gov/collection/art-object-page.364.html", "cite": "National Gallery of Art, Washington, 'The Annunciation and Expulsion from Paradise', accession 1939.1.223, Samuel H. Kress Collection; read 2026-08-27."}, {"what": "Strehlke reconstructs the dismembered predella: 'The Annunciation, with The Expulsion of Adam and Eve from Paradise (National Gallery of Art, Washington), The Nativity (Pinacoteca Vaticana), The Crucifixion (Gemaldegalerie, Berlin-Dahlem), and The Adoration of the Magi (The Cleveland Museum of Art)'; 'The main section of the altarpiece has not been identified'; the other scenes derive from Gentile da Fabriano's Strozzi altarpiece and 'this dependence must have been required by the patron'. He dates the group 'early 1440s, and certainly before 1445' — later than the NGA's c. 1435.", "url": "https://archive.org/details/PaintinginRenaissanceSiena14201500", "cite": "Carl Brandon Strehlke, entry cat. 31, in Keith Christiansen, Laurence B. Kanter and Carl Brandon Strehlke, Painting in Renaissance Siena, 1420-1500 (New York: The Metropolitan Museum of Art, 1988), p. 190ff."}]}, "scene": {"ref": "Luke 1:28", "quote": "And the angel being come in, said unto her: Hail, full of grace, the Lord is with thee: blessed art thou among women.", "shows": "Gabriel before the Virgin under a loggia, while at the left the angel drives Adam and Eve from Eden — the fall the Annunciation answers"}, "th": "/store/thumb/giovanni_di_paolo_annunciation_and_expulsion_from_paradise.webp", "more": [{"k": "subject", "n": "The Annunciation in painting", "u": "/editions/subject/annunciation/", "ids": ["carnevale_the_annunciation", "bouts_annunciation", "lippi_annunciation_2", "rogier_the_annunciation"]}, {"k": "master", "n": "Giovanni di Paolo", "u": "/editions/master/giovanni-di-paolo/", "ids": ["giovanni_di_paolo_saint_john_the_baptist_entering_the_wild", "giovanni_di_paolo_st_catherine_of_siena_invested_with_the"]}]}, "giovanni_di_paolo_creation_of_the_world_and_the_expulsion": {"id": "giovanni_di_paolo_creation_of_the_world_and_the_expulsion", "title": "The Creation of the World and the Expulsion from Paradise", "artist_line": "Giovanni di Paolo (Giovanni di Paolo di Grazia) (Italian, Siena 1398–1482 Siena)", "artist": "Giovanni di Paolo (Giovanni di Paolo di Grazia)", "date": "1445", "museum": "The Metropolitan Museum of Art, New York", "license": "PD/CC0", "tier": "Hero", "sizes": [{"size": "11×14 in", "paper": 59, "iw": 12.2, "ih": 11, "sw": 14, "sh": 11, "cov": 0.875}, {"size": "18×24 in", "paper": 140, "iw": 20.0, "ih": 18, "sw": 24, "sh": 18, "cov": 0.835}], "local": "/store/display/giovanni_di_paolo_creation_of_the_world_and_the_expulsion.jpg", "commons_file": "The Creation of the World and the Expulsion from Paradise MET DT707.jpg", "zoom": "https://art.monstrance.app/zoom/giovanni_di_paolo_creation_of_the_world_and_the_expulsion.jpg", "master_px": 3937, "auth": {"institution": "The Metropolitan Museum of Art, New York", "accession": "1975.1.31", "url": "https://www.metmuseum.org/art/collection/search/458971", "artist_as_printed": "Giovanni di Paolo (Giovanni di Paolo di Grazia) (Italian, Siena 1398–1482 Siena)", "date_as_printed": "1445", "medium": "Tempera and gold on wood", "dimensions": "Overall: 18 1/4 × 20 1/2 in. (46.4 × 52.1 cm)"}, "writeup": {"text": "God the Father leans out of a storm of blue wings and sets one finger on the rim of the world. The Metropolitan Museum reads the globe as the universe, earth at the center, then the four elements, the planets and the zodiac, with God borne aloft by seraphim. At the right a diminutive Adam and Eve are driven from Paradise, whose four rivers issue from the ground at lower right. The angel who drives them is naked; the Met suggests his human form may symbolize compassion for fallen humankind. Giovanni di Paolo painted it for San Domenico, Siena. The one who sends them out shares their skin.", "sources": [{"what": "The Met's object text: the universe as a celestial globe with the earth at the center, ringed by the four elements, the planets and the zodiac; God the Father borne aloft by seraphim, presiding over Creation; the garden of Paradise with its four rivers issuing from the ground at lower right; a diminutive Adam and Eve expelled by a lithe angel whose unusual nakedness and human form may symbolize his compassion for fallen humankind; the panel was part of the predella of the Guelfi Altarpiece from San Domenico, Siena, joined to the Met's Paradise.", "url": "https://www.metmuseum.org/art/collection/search/458971", "cite": "The Metropolitan Museum of Art, Giovanni di Paolo, The Creation of the World and the Expulsion from Paradise, 1975.1.31, read 2026-09-24"}, {"what": "The Met's text on the companion panel: Paradise and the Creation and Expulsion together formed part of the predella of an altarpiece for San Domenico, Siena.", "url": "https://www.metmuseum.org/art/collection/search/436512", "cite": "The Metropolitan Museum of Art, Giovanni di Paolo, Paradise, 06.1046, read 2026-09-24"}]}, "scene": {"ref": "Genesis 3:24", "quote": "And he cast out Adam: and placed before the paradise of pleasure Cherubims, and a flaming sword, turning every way, to keep the way of the tree of life.", "shows": "the angel driving Adam and Eve out of the flowering garden while God the Father sets the spheres of the world turning at the left"}, "th": "/store/thumb/giovanni_di_paolo_creation_of_the_world_and_the_expulsion.webp", "more": [{"k": "subject", "n": "The Old Testament in painting", "u": "/editions/subject/old-testament/", "ids": ["florence_psalter_leaf_initial_b_king_david", "circle_of_geertgen_tree_of_jesse", "andrea_del_sarto_the_sacrifice_of_isaac", "caravaggio_judith_beheading_holofernes"]}, {"k": "master", "n": "Giovanni di Paolo (Giovanni di Paolo di Grazia)", "u": "/editions/master/giovanni-di-paolo-giovanni-di-paolo-di-grazia/", "ids": ["giovanni_di_paolo_paradise", "giovanni_di_paolo_miraculous_communion_of_saint_catherine", "giovanni_di_paolo_saint_catherine_of_siena_exchanging_her"]}]}, "giovanni_di_paolo_saint_john_the_baptist_entering_the_wild": {"id": "giovanni_di_paolo_saint_john_the_baptist_entering_the_wild", "title": "Saint John the Baptist Entering the Wilderness (St John the Baptist altarpiece panels)", "artist_line": "Giovanni di Paolo (Italian, 1398–1482)", "artist": "Giovanni di Paolo", "date": "1455–60", "museum": "Art Institute of Chicago", "license": "PD/CC0", "tier": "Hero", "sizes": [{"size": "16×20 in", "paper": 110, "iw": 10.2, "ih": 20, "sw": 16, "sh": 20, "cov": 0.636}, {"size": "18×24 in", "paper": 140, "iw": 12.2, "ih": 24, "sw": 18, "sh": 24, "cov": 0.679}], "local": "/store/display/giovanni_di_paolo_saint_john_the_baptist_entering_the_wild.jpg", "commons_file": "Giovanni di Paolo - Saint John the Baptist Entering the Wilderness - Google Art Project.jpg", "zoom": "https://art.monstrance.app/zoom/giovanni_di_paolo_saint_john_the_baptist_entering_the_wild.jpg", "master_px": 10226, "auth": {"institution": "Art Institute of Chicago", "accession": "1933.1010", "url": "https://www.artic.edu/artworks/16156/saint-john-the-baptist-entering-the-wilderness", "artist_as_printed": "Giovanni di Paolo (Italian, 1398–1482)", "date_as_printed": "1455–1460", "medium": "Tempera on panel", "dimensions": "68.5 × 36.2 cm (27 × 14 1/4 in.); Framed: 79.4 × 47.7 × 8 cm (31 1/4 × 18 3/4 × 3 1/8 in.)"}, "writeup": {"text": "Saint John the Baptist steps out through a town gate, still a boy, and higher up he is already climbing the rock. He leaves home twice in one frame of stone. The Art Institute of Chicago says Giovanni di Paolo represents figures more than once to show them moving through imaginative, stylized settings, and that the story begins here, as John leaves civilization for the wilderness to become a hermit. The museum holds six panels from a group of twelve that possibly formed the doors of a reliquary shrine to the Baptist. The fields below lie ruled in stripes, and the path keeps going up.", "sources": [{"what": "The Art Institute's object text: six panels in the museum from an original group of twelve that possibly formed the doors of a reliquary shrine to the Baptist; the narrative begins as John leaves civilization and enters the wilderness to become a hermit; Giovanni di Paolo represents figures multiple times to indicate their movement through imaginative, stylized settings.", "url": "https://www.artic.edu/artworks/16156/saint-john-the-baptist-entering-the-wilderness", "cite": "Art Institute of Chicago, Giovanni di Paolo, Saint John the Baptist Entering the Wilderness, 1933.1010, read 2026-09-24"}, {"what": "The Art Institute's collection API record for the same panel: tempera on panel, 68.5 x 36.2 cm, 1455-60, with the same description of the twelve-panel reliquary-shrine series and its opening scene.", "url": "https://api.artic.edu/api/v1/artworks/16156", "cite": "Art Institute of Chicago public API, artwork 16156, read 2026-09-24"}]}, "scene": {"ref": "Luke 1:80", "quote": "And the child grew and was strengthened in spirit: and was in the deserts until the day of his manifestation to Israel.", "shows": "the young John, twice shown, leaving the city gate and climbing into the mountains of the desert"}, "th": "/store/thumb/giovanni_di_paolo_saint_john_the_baptist_entering_the_wild.webp", "more": [{"k": "subject", "n": "Saints in painting", "u": "/editions/subject/saints/", "ids": ["giovanni_di_paolo_miraculous_communion_of_saint_catherine", "giovanni_di_paolo_saint_catherine_of_siena_exchanging_her", "gozzoli_feast_of_herod_and_the_beheading_of_sain", "lippi_the_funeral_of_saint_stephen"]}, {"k": "master", "n": "Giovanni di Paolo", "u": "/editions/master/giovanni-di-paolo/", "ids": ["giovanni_di_paolo_st_catherine_of_siena_invested_with_the", "giovanni_di_paolo_annunciation_and_expulsion_from_paradise"]}]}, "giovanni_di_paolo_paradise": {"id": "giovanni_di_paolo_paradise", "title": "Paradise", "artist_line": "Giovanni di Paolo (Giovanni di Paolo di Grazia) (Italian, Siena 1398–1482 Siena)", "artist": "Giovanni di Paolo (Giovanni di Paolo di Grazia)", "date": "1445", "museum": "The Metropolitan Museum of Art, New York", "license": "PD/CC0", "tier": "Mid", "sizes": [{"size": "11×14 in", "paper": 59, "iw": 11, "ih": 12.6, "sw": 11, "sh": 14, "cov": 0.903}], "local": "/store/display/giovanni_di_paolo_paradise.jpg", "commons_file": "Paradise MET DT4767.jpg", "zoom": "https://art.monstrance.app/zoom/giovanni_di_paolo_paradise.jpg", "master_px": 3669, "auth": {"institution": "The Metropolitan Museum of Art, New York", "accession": "06.1046", "url": "https://www.metmuseum.org/art/collection/search/436512", "artist_as_printed": "Giovanni di Paolo (Giovanni di Paolo di Grazia) (Italian, Siena 1398–1482 Siena)", "date_as_printed": "1445", "medium": "Tempera and gold on canvas, transferred from wood", "dimensions": "18 7/16 × 16 1/16 in. (46.8 × 40.8 cm); painted surface 17 1/2 x 15 1/8 in. (44.5 x 38.4 cm)"}, "writeup": {"text": "In Giovanni di Paolo's heaven nobody kneels. Two friars, one in white, one in black, embrace; a gold-winged angel holds a crowned woman in red; rabbits are in the grass. The Metropolitan Museum calls the meadow tapestry-like, with giant flowers and fruit trees, and notes that what appear to be apple trees have lost their color to the gold beneath. With the Creation and Expulsion, it formed part of the predella of an altarpiece for San Domenico, Siena. He had seen Fra Angelico in Florence; the Met says he chose graceful rhythm over Florentine perspective to intensify the vision. Where the apples were, gold shows through.", "sources": [{"what": "The Met's object text: the blessed embrace angels and one another in a tapestry-like garden with animals, fruit trees and giant flowers; a line of what appear to be apple trees whose color has flaked from the underlying gold; rabbits in the meadow; with the Creation and Expulsion it formed part of the predella of an altarpiece for San Domenico, Siena; Giovanni di Paolo was inspired by Fra Angelico's paintings in Florence but favored graceful compositional rhythm over Florentine perspective to intensify the visionary effect.", "url": "https://www.metmuseum.org/art/collection/search/436512", "cite": "The Metropolitan Museum of Art, Giovanni di Paolo, Paradise, 06.1046, read 2026-09-24"}, {"what": "The Met's text on the companion panel: it was part of the predella of the Guelfi Altarpiece, formerly in San Domenico, Siena, and originally joined the representation of Paradise now in the Met (06.1046).", "url": "https://www.metmuseum.org/art/collection/search/458971", "cite": "The Metropolitan Museum of Art, Giovanni di Paolo, The Creation of the World and the Expulsion from Paradise, 1975.1.31, read 2026-09-24"}]}, "scene": {"why": "NOT A NARRATIVE SCENE. Giovanni di Paolo’s Paradise shows the blessed — saints, friars, a pope, the reunited — greeting one another in a flowering meadow; a picture of heaven as the painter imagined it for a Last Judgment predella, not an episode any book of Scripture narrates."}, "th": "/store/thumb/giovanni_di_paolo_paradise.webp", "more": [{"k": "subject", "n": "The Life of Christ in painting", "u": "/editions/subject/the-life-of-christ/", "ids": ["koerbecke_the_ascension", "bermejo_descent_of_christ_into_limbo", "bergognone_christ_risen_from_the_tomb", "hieronymus_bosch_ecce_homo"]}, {"k": "master", "n": "Giovanni di Paolo (Giovanni di Paolo di Grazia)", "u": "/editions/master/giovanni-di-paolo-giovanni-di-paolo-di-grazia/", "ids": ["giovanni_di_paolo_miraculous_communion_of_saint_catherine", "giovanni_di_paolo_saint_catherine_of_siena_exchanging_her", "giovanni_di_paolo_creation_of_the_world_and_the_expulsion"]}]}, "giovanni_di_paolo_miraculous_communion_of_saint_catherine": {"id": "giovanni_di_paolo_miraculous_communion_of_saint_catherine", "title": "The Miraculous Communion of Saint Catherine of Siena", "artist_line": "Giovanni di Paolo (Giovanni di Paolo di Grazia) (Italian, Siena 1398–1482 Siena)", "artist": "Giovanni di Paolo (Giovanni di Paolo di Grazia)", "date": "after 1461", "museum": "The Metropolitan Museum of Art, New York", "license": "PD/CC0", "tier": "Mid", "sizes": [{"size": "11×14 in", "paper": 59, "iw": 10.7, "ih": 14, "sw": 11, "sh": 14, "cov": 0.971}], "local": "/store/display/giovanni_di_paolo_miraculous_communion_of_saint_catherine.jpg", "commons_file": "The Miraculous Communion of Saint Catherine of Siena MET DT209306.jpg", "zoom": "https://art.monstrance.app/zoom/giovanni_di_paolo_miraculous_communion_of_saint_catherine.jpg", "master_px": 3809, "auth": {"institution": "The Metropolitan Museum of Art, New York", "accession": "32.100.95", "url": "https://www.metmuseum.org/art/collection/search/436511", "artist_as_printed": "Giovanni di Paolo (Giovanni di Paolo di Grazia)", "medium": "Tempera and gold on wood", "dimensions": "11 3/8 x 8 3/4 in. (28.9 x 22.2 cm)"}, "writeup": {"text": "A thin column stands between Saint Catherine and the altar. The priest faces the chalice with one hand raised; behind her, Christ Himself brings His hand to her lips. The Metropolitan Museum says these panels were the first extensive narrative cycle of Catherine of Siena, commissioned after her canonization in 1461 and based on the biography by her confessor Raymond of Capua. Giovanni di Paolo, the Met notes, manipulates space to enhance the mystic character of his subject. The Met suggests the Pizzicaiuoli, the dry-goods guild, may have ordered the altarpiece in 1447. If so, grocers paid for the first pictures of a mystic.", "sources": [{"what": "The Met: 'These three panels belong to a series from the base (predella) of a large altarpiece and constituted the first extensive narrative cycle of Catherine of Siena, a Sienese mystic as well as minister to the poor and plague-stricken. They were commissioned after her canonization in 1461 and are based on the biography written by her confessor, Raymond of Capua. Among the most notable features is the way space is manipulated to enhance the mystic character of their subject.' The Met's Lehman pages for the same series add the patron: the predella was added to a preexisting altarpiece 'which may have been commissioned by the guild of the Pizzicaiuoli (purveyors of dry goods) in 1447 for their new chapel in the church of the hospital of Santa Maria della Scala in Siena', and date Raymond's biography to 1385. Tombstone: tempera and gold on wood, 11 3/8 x 8 3/4 in., The Friedsam Collection, accession 32.100.95, objectID 436511, Public Domain. THE MET PRINTS NO DATE for this panel - objectDate is an empty string. The label text is shared across three panels; the Met describes no scene individually. Hagiographic subject; no chapter of the Legenda maior is named by the Museum and none is invented here.", "url": "https://www.metmuseum.org/art/collection/search/436511", "cite": "The Metropolitan Museum of Art, New York, 'The Miraculous Communion of Saint Catherine of Siena', accession 32.100.95; read 2026-08-27."}]}, "scene": {"why": "THE SAINT IS NOT IN SCRIPTURE. Catherine of Siena receiving the Host from the hand of Christ himself is told by Raymond of Capua in his Legenda maior (1390s); the panel follows her biographer, not a biblical book."}, "th": "/store/thumb/giovanni_di_paolo_miraculous_communion_of_saint_catherine.webp", "more": [{"k": "subject", "n": "Saints in painting", "u": "/editions/subject/saints/", "ids": ["giovanni_di_paolo_saint_catherine_of_siena_exchanging_her", "gozzoli_feast_of_herod_and_the_beheading_of_sain", "lippi_the_funeral_of_saint_stephen", "benaglio_saint_jerome"]}, {"k": "master", "n": "Giovanni di Paolo (Giovanni di Paolo di Grazia)", "u": "/editions/master/giovanni-di-paolo-giovanni-di-paolo-di-grazia/", "ids": ["giovanni_di_paolo_saint_catherine_of_siena_exchanging_her", "giovanni_di_paolo_creation_of_the_world_and_the_expulsion", "giovanni_di_paolo_paradise"]}]}, "gozzoli_feast_of_herod_and_the_beheading_of_sain": {"id": "gozzoli_feast_of_herod_and_the_beheading_of_sain", "title": "The Feast of Herod and the Beheading of Saint John the Baptist", "artist_line": "Benozzo Gozzoli (Italian, Florentine, c. 1421 - 1497)", "artist": "Benozzo Gozzoli", "date": "1461-1462", "museum": "National Gallery of Art, Washington", "license": "PD/CC0", "tier": "Sanctuary", "sizes": [{"size": "18×24 in", "paper": 140, "iw": 24, "ih": 16.7, "sw": 24, "sh": 18, "cov": 0.93}, {"size": "24×36 in", "paper": 190, "iw": 34.4, "ih": 24, "sw": 36, "sh": 24, "cov": 0.955}, {"size": "32×48 in", "paper": 340, "iw": 45.9, "ih": 32, "sw": 48, "sh": 32, "cov": 0.955}, {"size": "40×60 in", "paper": 480, "iw": 57.3, "ih": 40, "sw": 60, "sh": 40, "cov": 0.955}], "local": "/store/display/gozzoli_feast_of_herod_and_the_beheading_of_sain.jpg", "commons_file": null, "zoom": "https://art.monstrance.app/zoom/gozzoli_feast_of_herod_and_the_beheading_of_sain.jpg", "master_px": 14914, "auth": {"institution": "National Gallery of Art, Washington", "accession": "1952.2.3", "url": "https://www.nga.gov/artworks/41582-feast-herod-and-beheading-saint-john-baptist", "artist_as_printed": "Benozzo Gozzoli", "date_as_printed": "1461-1462", "medium": "tempera on poplar panel", "dimensions": "overall: 23.8 x 34.5 cm (9 3/8 x 13 9/16 in.)"}, "writeup": {"text": "A sword goes up in a doorway, and Saint John the Baptist kneels beneath it with his hands joined. A few steps off the feast goes on: a girl dances in blue, another kneels with the head in a dish, the table is laid with bread and glass. Benozzo Gozzoli painted this small scene, the National Gallery of Art records, for the predella of an altarpiece commissioned in October 1461 by the Company of the Purification of the Virgin in Florence, a confraternity of young men between thirteen and twenty-one who prayed, sang together and staged mystery plays. One wall stands between the prayer and the party.", "sources": [{"what": "NGA record: 'Part of the predella of the altarpiece commissioned 23 October 1461 for the altar of the Compagnia della Purificazione della Vergine … in the confraternity's meeting place near the church of San Marco, Florence'. And: 'This was a confraternity of young men between the ages of 13 and 21 years, already in existence in 1299 according to Giuseppe Richa… Along with prayers and communal singing, the association also organized the performance of mystery plays.' The object page itself is client-side rendered and served only exhibition history and bibliography.", "url": "https://www.nga.gov/artworks/41582-feast-herod-and-beheading-saint-john-baptist", "cite": "National Gallery of Art, Washington, 'The Feast of Herod and the Beheading of Saint John the Baptist', accession 1952.2.3, Samuel H. Kress Collection; tombstone and provenance from the NGA's own open-data record, objectid 41582, read 2026-08-27."}, {"what": "Horne establishes the commission 'for the Confraternity of the Purification of the Virgin and of St. Zenobius at Florence, by agreement dated October 23, 1461', that the contract required the Virgin enthroned 'in the manner and form of… the picture of the High Altar of San Marco', and that 'the said Benozzo is to paint with his own hand, at the foot, namely, in the predella of the said altar, the stories of the said saints, each one over against its proper saint'. He concludes the predella 'contained, in all probability, seven little panels' and hopes 'that the four missing panels of this predella may yet be discovered'. Horne does not discuss the Washington panel itself — he reconstructs the series the NGA states it belongs to.", "url": "https://archive.org/details/burlingtonmagazi07londuoft", "cite": "Lionel Cust and Herbert P. Horne, 'Notes on Pictures in the Royal Collections: Article VIII — The Story of Simon Magus, part of a Predella Painting by Benozzo Gozzoli', The Burlington Magazine for Connoisseurs 7 (1905): 377-383."}]}, "scene": {"ref": "Mark 6:27", "quote": "But sending an executioner, he commanded that his head should be brought in a dish.", "shows": "Salome dancing at Herod’s table, the executioner at the prison door, and the head brought in on the dish"}, "th": "/store/thumb/gozzoli_feast_of_herod_and_the_beheading_of_sain.webp", "more": [{"k": "subject", "n": "Saints in painting", "u": "/editions/subject/saints/", "ids": ["lippi_the_funeral_of_saint_stephen", "benaglio_saint_jerome", "ercole_de_roberti_st_jerome_in_the_wilderness", "bellini_saint_francis_in_the_desert"]}, {"k": "master", "n": "Benozzo Gozzoli", "u": "/editions/master/benozzo-gozzoli/", "ids": ["gozzoli_raising_of_lazarus", "gozzoli_procession_of_the_magi_procession_of_the"]}]}, "gozzoli_raising_of_lazarus": {"id": "gozzoli_raising_of_lazarus", "title": "The Raising of Lazarus", "artist_line": "Benozzo Gozzoli (Italian, Florentine, c. 1421 - 1497)", "artist": "Benozzo Gozzoli", "date": "mid 1490s", "museum": "National Gallery of Art, Washington", "license": "PD/CC0", "tier": "Sanctuary", "sizes": [{"size": "18×24 in", "paper": 140, "iw": 22.5, "ih": 18, "sw": 24, "sh": 18, "cov": 0.937}, {"size": "24×36 in", "paper": 190, "iw": 30.0, "ih": 24, "sw": 36, "sh": 24, "cov": 0.833}, {"size": "32×48 in", "paper": 340, "iw": 40.0, "ih": 32, "sw": 48, "sh": 32, "cov": 0.833}, {"size": "40×60 in", "paper": 480, "iw": 50.0, "ih": 40, "sw": 60, "sh": 40, "cov": 0.833}], "local": "/store/display/gozzoli_raising_of_lazarus.jpg", "commons_file": "The Raising of Lazarus A18566.jpg", "zoom": "https://art.monstrance.app/zoom/gozzoli_raising_of_lazarus.jpg", "master_px": 9410, "auth": {"institution": "National Gallery of Art, Washington", "accession": "1942.9.24", "url": "https://www.nga.gov/artworks/1163-raising-lazarus", "artist_as_printed": "Benozzo Gozzoli", "date_as_printed": "mid 1490s", "medium": "oil (?) on canvas", "dimensions": "overall: 65.5 x 80.2 cm (25 13/16 x 31 9/16 in.)"}, "writeup": {"text": "Lazarus stands in the mouth of the tomb, wound like a spool, and two men are unwinding him. Christ, one arm raised, a gold book in the other hand, has already spoken. The National Gallery of Art's own description counts ten haloed men behind Him, and beyond them hills, palm trees and a city of white buildings with red roofs running to the horizon. The Gallery attributes the canvas to Benozzo Gozzoli alone; its bibliography lists writers since 1980 who give it to Benozzo and his son Alesso. The linen comes off one turn at a time.", "sources": [{"what": "The National Gallery's own descriptive text, published CC0 in the assistivetext column of published_images.csv in its open-data repository: 'At the mouth of the cave, a man wrapped in strips of off-white cloth stands, looking out at the crowd. Two other men stand next to him, appearing to remove his cloth wrappings. To the right, in the center of the image, a man with long golden hair faces the cave and raises one arm. He wears blue and gold robes over a white garment, and his other hand holds a golden book. There is a halo behind his head. Behind him are ten other men of varying ages wearing colorful robes who also have halos. In the background are hills, greenery, and a sprawling city of white buildings with red roofs that extend towards the horizon. Tall palm trees punctuate the landscape.' The Gallery's subject terms for objectid 1163 are theme 'Life of Christ', keyword 'Lazarus', school 'Florentine'. Tombstone from the same repository, objects.csv row 1163: 'The Raising of Lazarus', mid 1490s, 'oil (?) on canvas', 65.5 x 80.2 cm, Widener Collection, 1942.9.24. Neither Martha nor Mary nor any figure covering his nose is named in the Gallery's text, and this card does not claim them.", "url": "https://www.nga.gov/artworks/1163-raising-lazarus", "cite": "National Gallery of Art, Washington, 'The Raising of Lazarus', accession 1942.9.24, Widener Collection; object page and the Gallery's open-data files objects.csv, objects_terms.csv and published_images.csv (github.com/NationalGalleryOfArt/opendata) read 2026-08-27."}, {"what": "The attribution is contested in the Gallery's own bibliography, which was read; the books themselves were not. NGA lists at least seven entries from 1980 onward describing the canvas 'as by Benozzo Gozzoli and Alesso di Benozzo' — among them Diane Cole Ahl, Benozzo Gozzoli (New Haven: Yale University Press, 1996), pp. 198, 199, 266, pl. 248, and Anna Padoa Rizzo, Benozzo Gozzoli: catalogo completo (Florence, 1992), pp. 19, 141, 143, cat. 75. The Gallery itself still attributes the picture to Benozzo alone. The one modern museum entry devoted to this canvas — Miklos Boskovits and David Alan Brown, Italian Paintings of the Fifteenth Century, The Systematic Catalogue of the National Gallery of Art (Washington, 2003), pp. 352-356 — is the single NGA systematic volume with no free online edition, and was not read.", "url": "https://www.nga.gov/artworks/1163-raising-lazarus", "cite": "Bibliography section of the National Gallery of Art object record for accession 1942.9.24, read 2026-08-27; the cited monographs are named as the Gallery names them and were not consulted directly."}]}, "scene": {"ref": "John 11:43", "quote": "When he had said these things, he cried with a loud voice: Lazarus, come forth.", "shows": "Christ calling Lazarus out of the tomb as the bystanders cover their noses and Mary and Martha kneel"}, "th": "/store/thumb/gozzoli_raising_of_lazarus.webp", "more": [{"k": "subject", "n": "The Life of Christ in painting", "u": "/editions/subject/the-life-of-christ/", "ids": ["giotto_scrovegni_chapel_washing_of_the_feet", "giovanni_di_paolo_paradise", "koerbecke_the_ascension", "bermejo_descent_of_christ_into_limbo"]}, {"k": "master", "n": "Benozzo Gozzoli", "u": "/editions/master/benozzo-gozzoli/", "ids": ["gozzoli_procession_of_the_magi_procession_of_the", "gozzoli_feast_of_herod_and_the_beheading_of_sain"]}]}, "gozzoli_procession_of_the_magi_procession_of_the": {"id": "gozzoli_procession_of_the_magi_procession_of_the", "title": "Procession of the Magi (Procession of the Youngest King, east wall)", "artist_line": null, "artist": "Benozzo Gozzoli", "date": "from 1459 onwards", "museum": "Palazzo Medici Riccardi", "license": "Public domain", "tier": "Hero", "sizes": [{"size": "8×10 in", "paper": 39, "iw": 10, "ih": 7.9, "sw": 10, "sh": 8, "cov": 0.99}, {"size": "11×14 in", "paper": 59, "iw": 13.9, "ih": 11, "sw": 14, "sh": 11, "cov": 0.992}, {"size": "18×24 in", "paper": 140, "iw": 22.7, "ih": 18, "sw": 24, "sh": 18, "cov": 0.947}], "local": "/store/display/gozzoli_procession_of_the_magi_procession_of_the.jpg", "commons_file": "Gozzoli magi.jpg", "zoom": "https://art.monstrance.app/zoom/gozzoli_procession_of_the_magi_procession_of_the.jpg", "master_px": 4755, "auth": {"institution": "Palazzo Medici Riccardi", "url": "https://www.palazzomediciriccardi.it/en/the-magi-chapel/", "artist_as_printed": "Benozzo Gozzoli", "date_as_printed": "from 1459 onwards", "medium": "frescoed"}, "writeup": {"text": "A young king in white and gold rides a white horse through a country of pale rock and pine, and a whole city rides behind him. The Palazzo Medici Riccardi names Caspar, in white, as the leader on this east wall, frescoed by Benozzo Gozzoli from 1459 onwards, and names living men in the train: Cosimo and Piero de' Medici, the young Lorenzo and Giuliano, Gian Galeazzo Sforza, Sigismondo Pandolfo Malatesta and Pope Pius II. The Web Gallery of Art notes that Benozzo put himself in the crowd, his name on his red cap. Up the hill a deer runs. The road bends toward the Christ Child.", "sources": [{"what": "The palace's account of the Magi Chapel: frescoed by Benozzo Gozzoli from 1459 onwards; Caspar in a white tunic leads on the east wall, Balthazar in green on the south, Melchior in red on the west; the procession includes Cosimo, Piero, the young Lorenzo and Giuliano de' Medici, Gian Galeazzo Sforza, Sigismondo Pandolfo Malatesta and Pope Pius II.", "url": "https://www.palazzomediciriccardi.it/en/the-magi-chapel/", "cite": "Palazzo Medici Riccardi, 'The Magi Chapel', read 2026-09-24"}, {"what": "Commentary on the east wall: Benozzo portrayed himself in the densely crowded retinue near the Medici household, known from his name inscribed on his red cap; the young king is unlikely to be Lorenzo, who was ten at the time; by having themselves depicted in the procession of the Three Kings the Medici demonstrated their political and financial power.", "url": "https://www.wga.hu/html_m/g/gozzoli/3magi/1/10young.html", "cite": "Web Gallery of Art, Benozzo Gozzoli, Procession of the Youngest King (east wall), commentary, read 2026-09-24"}]}, "scene": {"ref": "Matthew 2:9", "quote": "Who having heard the king, went their way; and behold the star which they had seen in the East, went before them, until it came and stood over where the child was.", "shows": "the youngest king riding down the hillside with his train, the Medici among them, following the star toward Bethlehem"}, "th": "/store/thumb/gozzoli_procession_of_the_magi_procession_of_the.webp", "more": [{"k": "subject", "n": "The Adoration of the Magi in painting", "u": "/editions/subject/adoration-of-the-magi/", "ids": ["botticelli_adoration_of_the_magi", "titian_the_adoration_of_the_magi", "pieter_bruegel_the_elder_adoration_of_the_kings_in_the_snow", "rubens_adoration_magi"]}, {"k": "master", "n": "Benozzo Gozzoli", "u": "/editions/master/benozzo-gozzoli/", "ids": ["gozzoli_feast_of_herod_and_the_beheading_of_sain", "gozzoli_raising_of_lazarus"]}]}, "carpaccio_meditation_on_the_passion": {"id": "carpaccio_meditation_on_the_passion", "title": "The Meditation on the Passion", "artist_line": "Vittore Carpaccio (Italian, Venice 1460/66?–1525/26 Venice)", "artist": "Vittore Carpaccio", "date": "ca. 1490", "museum": "The Metropolitan Museum of Art, New York", "license": "PD/CC0", "tier": "Mid", "sizes": [{"size": "11×14 in", "paper": 59, "iw": 13.5, "ih": 11, "sw": 14, "sh": 11, "cov": 0.965}], "local": "/store/display/carpaccio_meditation_on_the_passion.jpg", "commons_file": "The Meditation on the Passion MET DP296427.jpg", "zoom": "https://art.monstrance.app/zoom/carpaccio_meditation_on_the_passion.jpg", "master_px": 3833, "auth": {"institution": "The Metropolitan Museum of Art, New York", "accession": "11.118", "url": "https://www.metmuseum.org/art/collection/search/435851", "artist_as_printed": "Vittore Carpaccio", "date_as_printed": "ca. 1490", "medium": "Oil and tempera on wood", "dimensions": "Overall 27 3/4 x 34 1/8in. (70.5 x 86.7cm); painted surface 26 3/16 × 33 1/4 in. (66.5 × 84.5 cm)"}, "writeup": {"text": "Christ sits dead on a broken throne, and two old men keep watch without a word. The Metropolitan Museum calls it a meditation on death and resurrection: the body displayed on a throne inscribed in pseudo-Hebrew, a bird, symbol of the soul, flying upward. The Old Testament prophet Job sits on an inscribed block; opposite him is Saint Jerome, who wrote a commentary on the book of Job. The land, barren on one side and lush on the other, alludes, the Met says, to death and life. Carpaccio leaves a skull in the dust, and the crown of thorns lies on the ground.", "sources": [{"what": "The Met: 'This remarkable picture is a meditation on death and resurrection. Christ's dead body is displayed on a broken throne inscribed in pseudo-Hebrew. A bird, a symbol of the soul, flies upward. The landscape - contrastingly barren and lush - alludes to the themes of death and life, as do the animals. The Old Testament prophet Job sits on a block inscribed in pseudo-Hebrew while opposite is Saint Jerome (ca. 347-420), who wrote a commentary on the book of Job. The turbaned figures in the background would have been familiar to Venetians through their trade with the Middle East and Egypt.' Tombstone: ca. 1490, oil and tempera on wood, overall 27 3/4 x 34 1/8 in., John Stewart Kennedy Fund, accession 11.118, objectID 435851, Public Domain. The Met calls the script pseudo-Hebrew and transcribes nothing; no verse is claimed here on the Museum's authority.", "url": "https://www.metmuseum.org/art/collection/search/435851", "cite": "The Metropolitan Museum of Art, New York, 'The Meditation on the Passion', accession 11.118; read 2026-08-27."}, {"what": "Moscovich reads the throne's engraving as alluding to Job 19:25 while describing it as 'seemingly written in ancient Hebrew, albeit most of which is undecipherable', and ties the predator that follows the stag without harming it to Job 5:23. The Job reading is hers, not the Museum's.", "url": "https://www.mdpi.com/2077-1444/10/5/344", "cite": "Atara Moscovich, 'The Lion and the Wisdom - The Multiple Meanings of the Lion as One of the Keys for Deciphering Vittore Carpaccio's Meditation on the Passion', Religions 10, no. 5 (2019): art. 344, DOI 10.3390/rel10050344; open access, read 2026-08-27."}]}, "scene": {"why": "A MEDITATION, NOT AN EPISODE. Carpaccio sets the dead Christ on a broken throne between Jerome and Job, saints from different ages, in a landscape of death and renewal; the picture is a subject for contemplation, as its title says, and narrates no passage."}, "th": "/store/thumb/carpaccio_meditation_on_the_passion.webp", "more": [{"k": "subject", "n": "Saints in painting", "u": "/editions/subject/saints/", "ids": ["hieronymus_bosch_st_john_the_baptist_in_the_wilderness", "hieronymus_bosch_st_john_the_evangelist_on_patmos", "durer_saint_jerome_in_the_wilderness", "gentile_bellini_procession_in_piazza_san_marco"]}]}, "parmigianino_madonna_and_child_with_saints_the_vision": {"id": "parmigianino_madonna_and_child_with_saints_the_vision", "title": "The Madonna and Child with Saints John the Baptist and Jerome", "artist_line": "Parmigianino (1503–1540)", "artist": "Parmigianino", "date": "1526–7", "museum": "The National Gallery, London", "license": "Public domain", "tier": "Hero", "sizes": [{"size": "18×24 in", "paper": 140, "iw": 10.2, "ih": 24, "sw": 18, "sh": 24, "cov": 0.568}], "local": "/store/display/parmigianino_madonna_and_child_with_saints_the_vision.jpg", "commons_file": "Parmigianino - The Madonna and Child with Saints (The Vision of St Jerome).jpg", "zoom": "https://art.monstrance.app/zoom/parmigianino_madonna_and_child_with_saints_the_vision.jpg", "master_px": 4508, "auth": {"institution": "The National Gallery, London", "accession": "NG33", "url": "https://www.nationalgallery.org.uk/paintings/parmigianino-the-madonna-and-child-with-saints", "artist_as_printed": "Parmigianino (1503–1540)", "date_as_printed": "1526–7", "medium": "Oil on wood (probably poplar)", "dimensions": "342.9 × 148.6 cm"}, "writeup": {"text": "Saint John the Baptist kneels in front, twisted round, one arm flung up to point at the Christ Child, who stands at His Mother's knee in a blaze of light. Behind the Baptist, Saint Jerome lies asleep on the ground. The National Gallery reads the Virgin as the Immaculate Conception, before the moon. Vasari says imperial troops burst into Parmigianino's studio while he was at this altarpiece and, stupefied at the work, let him go on; the Gallery tells the story, then offers a drier reading, that the soldiers were simply perplexed and left him alone. Maria Bufalini commissioned it for a burial chapel in San Salvatore in Lauro, and after the Sack of Rome in 1527 it was never installed. The Baptist's arm was lit to catch a high window beside the altar, so that in the dark church it would seem to reach out, into the light.", "sources": [{"what": "National Gallery: 'It was commissioned by Maria Bufalini for a burial chapel in San Salvatore in Lauro. However, the political turmoil following the Sack of Rome in 1527 meant that it was never installed there and it was later moved to the parish church of Citta di Castello.' And: 'According to Vasari, Parmigianino was working on this picture when imperial troops burst into his workshop, but seeing him [and] stupefied at this work... they let him pursue it. Another interpretation may be that the soldiers were so perplexed by this jarring, unusual composition that they simply left him alone.' On the lighting: 'The lighting was designed to reflect the source of natural light from a high window to the right of the altar. In the darkened church the Baptist's right arm would seem not only to curve upwards towards the Christ Child but also outwards from the painting, catching the light.' The Gallery also records the nineteenth-century title The Vision of Saint Jerome as historical, not current, and identifies the Virgin as 'the Virgin of the Immaculate Conception, before the moon'.", "url": "https://www.nationalgallery.org.uk/paintings/parmigianino-the-madonna-and-child-with-saints", "cite": "The National Gallery, London, 'The Madonna and Child with Saints', NG33, 1526-7; read 2026-08-27."}]}, "scene": {"why": "A DEVOTIONAL TYPE, NOT AN EPISODE. The Virgin and Child appear in glory above the sleeping Jerome and the pointing Baptist — a vision granted to saints of different centuries, painted for an altar, not a moment any evangelist records."}, "th": "/store/thumb/parmigianino_madonna_and_child_with_saints_the_vision.webp", "more": [{"k": "subject", "n": "The Madonna and Child in painting", "u": "/editions/subject/madonna-and-child/", "ids": ["titian_madonna_and_child_with_saints", "ambrosius_benson_deipara_virgo", "veronese_the_madonna_of_the_cuccina_family", "el_greco_madonna_and_child_with_saint_martina_a"]}]}, "rosso_fiorentino_dead_christ_with_angels": {"id": "rosso_fiorentino_dead_christ_with_angels", "title": "The Dead Christ with Angels", "artist_line": "Rosso Fiorentino (Giovanni Battista di Jacopo) (Italian (Florentine), 1494–1540)", "artist": "Rosso Fiorentino (Giovanni Battista di Jacopo)", "date": "about 1524–27", "museum": "Museum of Fine Arts, Boston", "license": "Public domain", "tier": "Sanctuary", "sizes": [{"size": "18×24 in", "paper": 140, "iw": 18, "ih": 23.2, "sw": 18, "sh": 24, "cov": 0.965}, {"size": "24×36 in", "paper": 190, "iw": 24, "ih": 30.9, "sw": 24, "sh": 36, "cov": 0.858}, {"size": "32×48 in", "paper": 340, "iw": 32, "ih": 41.2, "sw": 32, "sh": 48, "cov": 0.858}], "local": "/store/display/rosso_fiorentino_dead_christ_with_angels.jpg", "commons_file": "Rosso Fiorentino (Giovanni Battista di Jacopo) - The Dead Christ with Angels - Google Art Project.jpg", "zoom": "https://art.monstrance.app/zoom/rosso_fiorentino_dead_christ_with_angels.jpg", "master_px": 5701, "auth": {"institution": "Museum of Fine Arts, Boston", "accession": "58.527", "url": "http://www.mfa.org/collections/object/the-dead-christ-with-angels-33615", "artist_as_printed": "Rosso Fiorentino (Giovanni Battista di Jacopo)", "date_as_printed": "about 1524 - 1527", "medium": "Oil on panel", "dimensions": "w1041 x h1334 mm"}, "writeup": {"text": "Two tall candles lean in the angels' hands, and their flames are gone. Boston's curators read the moment as the Resurrection: the stone rolled from the tomb, a breeze putting out the candles, Christ's massive body stirring to life. His eyes are still shut; four angels crowd close at His shoulders. The museum sets the beauty of this body against pictures that dwell on the suffering of death. His hair and beard are red, like the painter's own, since Rosso Fiorentino means the red-headed Florentine, and he inscribed the bench at lower right RUBEVS FLO FACIEBAT: Rosso of Florence made this. The painter lent the rising Lord his own colouring. Death holds Him seated, and has already begun to lose.", "sources": [{"what": "The MFA's object text: the altarpiece depicts the moments of the Resurrection, the stone rolled from the tomb, a breeze extinguishing the angels' candles, Christ's massive body stirring to life; the beautiful body contrasts with representations stressing suffering in death; Rosso gave Christ red hair like his own, 'Rosso Fiorentino' meaning the red-headed Florentine; inscribed lower right on the bench RUBEVS FLO FACIEBAT; oil on panel, 133.4 x 104.1 cm, about 1524-27.", "url": "https://collections.mfa.org/objects/33615/the-dead-christ-with-angels", "cite": "Museum of Fine Arts, Boston, Rosso Fiorentino, The Dead Christ with Angels, 58.527, read 2026-09-24"}]}, "scene": {"why": "A DEVOTIONAL TYPE, NOT AN EPISODE. The dead Christ seated and upheld by four angels with the instruments of the Passion — the Engelpietà, an image of the Eucharistic body made for contemplation; Scripture places the dead Christ in a tomb, not among angels."}, "th": "/store/thumb/rosso_fiorentino_dead_christ_with_angels.webp", "more": [{"k": "subject", "n": "The Pietà in painting", "u": "/editions/subject/pieta/", "ids": ["alonso_cano_dead_christ_supported_by_an_angel_cristo", "bouguereau_pieta", "gauguin_green_christ", "lippi_pieta"]}]}, "bassano_lazarus_and_the_rich_man": {"id": "bassano_lazarus_and_the_rich_man", "title": "Lazarus and the Rich Man", "artist_line": "Jacopo Bassano (Italian, c. 1510–1592)", "artist": "Jacopo Bassano", "date": "c. 1550", "museum": "The Cleveland Museum of Art", "license": "PD/CC0", "tier": "Sanctuary", "sizes": [{"size": "18×24 in", "paper": 140, "iw": 24, "ih": 15.8, "sw": 24, "sh": 18, "cov": 0.876}, {"size": "24×36 in", "paper": 190, "iw": 36, "ih": 23.7, "sw": 36, "sh": 24, "cov": 0.986}, {"size": "32×48 in", "paper": 340, "iw": 48, "ih": 31.5, "sw": 48, "sh": 32, "cov": 0.986}, {"size": "40×60 in", "paper": 480, "iw": 60, "ih": 39.4, "sw": 60, "sh": 40, "cov": 0.986}], "local": "/store/display/bassano_lazarus_and_the_rich_man.jpg", "commons_file": "Jacopo Bassano - Lazarus and the Rich Man - 1939.68 - Cleveland Museum of Art.tif", "zoom": "https://art.monstrance.app/zoom/bassano_lazarus_and_the_rich_man.jpg", "master_px": 7494, "auth": {"institution": "The Cleveland Museum of Art", "accession": "1939.68", "url": "https://clevelandart.org/art/1939.68", "artist_as_printed": "Jacopo Bassano (Italian, c. 1510–1592)", "date_as_printed": "c. 1550", "medium": "oil on canvas", "dimensions": "Framed: 176 x 251 x 12 cm (69 5/16 x 98 13/16 x 4 3/4 in.); Unframed: 146 x 221 cm (57 1/2 x 87 in.)"}, "writeup": {"text": "A dog puts his nose to the beggar's leg, and nobody at the table turns round. Lazarus lies on the ground at the far left, bare to the waist, his face lifted toward the feast; the rich man sits at the far right behind his lavish table, and between them a boy stands looking at the floor. Bassano keeps the two men apart. Cleveland notes that they are opposed both physically and socially, and tells how the parable ends: when both died, Lazarus was welcomed into heaven, while the rich man was consigned to hell. Nothing has turned yet. The cloth is still on the table.", "sources": [{"what": "Cleveland: 'The Biblical parable of Lazarus and the Rich Man (Luke 16:19-21) tells of a man who feasted and celebrated every day, while a beggar named Lazarus sat starving nearby. Dogs came to lick the sores on the poor man's body. However, when the two men died, Lazarus was welcomed into heaven, while the rich man was consigned to hell.' On the composition: 'The Rich Man (far right) and Lazarus (far left) are both physically and socially opposed; while Lazarus reclines on the floor, the Rich Man relaxes on his lavish table.'", "url": "https://www.clevelandart.org/art/1939.68", "cite": "The Cleveland Museum of Art, 'Lazarus and the Rich Man', accession 1939.68; object page read 2026-08-27."}]}, "scene": {"ref": "Luke 16:21", "quote": "Desiring to be filled with the crumbs that fell from the rich man's table. And no one did give him: moreover the dogs came and licked his sores.", "shows": "the beggar Lazarus at the foot of the rich man’s table, the dogs at his sores, in a Venetian kitchen"}, "th": "/store/thumb/bassano_lazarus_and_the_rich_man.webp", "more": [{"k": "subject", "n": "The Life of Christ in painting", "u": "/editions/subject/the-life-of-christ/", "ids": ["follower_of_bosch_christ_driving_traders_from_temple", "el_greco_christ_cleansing_the_temple", "caravaggio_christ_at_the_column", "caravaggio_the_flagellation_of_christ"]}, {"k": "master", "n": "Jacopo Bassano", "u": "/editions/master/jacopo-bassano/", "ids": ["bassano_miraculous_draught_of_fishes"]}]}, "bassano_miraculous_draught_of_fishes": {"id": "bassano_miraculous_draught_of_fishes", "title": "The Miraculous Draught of Fishes", "artist_line": "Jacopo Bassano (Italian, Venetian, c. 1510 - 1592)", "artist": "Jacopo Bassano", "date": "1545", "museum": "National Gallery of Art, Washington", "license": "PD/CC0", "tier": "Sanctuary", "sizes": [{"size": "18×24 in", "paper": 140, "iw": 24, "ih": 14.0, "sw": 24, "sh": 18, "cov": 0.78}, {"size": "24×36 in", "paper": 190, "iw": 36, "ih": 21.0, "sw": 36, "sh": 24, "cov": 0.877}, {"size": "32×48 in", "paper": 340, "iw": 48, "ih": 28.1, "sw": 48, "sh": 32, "cov": 0.877}, {"size": "40×60 in", "paper": 480, "iw": 60, "ih": 35.1, "sw": 60, "sh": 40, "cov": 0.877}], "local": "/store/display/bassano_miraculous_draught_of_fishes.jpg", "commons_file": null, "zoom": "https://art.monstrance.app/zoom/bassano_miraculous_draught_of_fishes.jpg", "master_px": 27309, "auth": {"institution": "National Gallery of Art, Washington", "accession": "1997.21.1", "url": "https://www.nga.gov/artworks/96688-miraculous-draught-fishes", "artist_as_printed": "Jacopo Bassano", "date_as_printed": "1545", "medium": "oil on canvas", "dimensions": "overall: 143.5 x 243.68 cm (56 1/2 x 95 15/16 in.)"}, "writeup": {"text": "Saint Peter, in ochre, has gone down on his knees in the boat, both hands open toward Christ, while behind him younger men bend over the side and haul in a net with fish in it. The work does not stop for the miracle; a man in rose steps across from one boat to the next. Bassano took his design from Ugo da Carpi's chiaroscuro woodcut after Raphael's tapestry cartoon, and the National Gallery of Art finds its effect in rose red, ochre and green set against a broad expanse of blue water. Pietro Pizzamano, Venetian governor of Bassano, commissioned it in April 1545. The net is still coming up.", "sources": [{"what": "NGA: 'This painting, which came to light in 1989, is a major addition to the work of Jacopo Bassano.' Commissioned April 1545 by Pietro Pizzamano, Venetian governor of Bassano; the composition taken from Ugo da Carpi's chiaroscuro woodcut reproducing Raphael's tapestry cartoon; the entry locates its effect in 'the way the brilliant hues of rose red, ocher, and green are set off against the broad expanse of blue water'.", "url": "https://www.nga.gov/artworks/96688-miraculous-draught-fishes", "cite": "National Gallery of Art, Washington, 'The Miraculous Draught of Fishes', accession 1997.21.1, Patrons' Permanent Fund; object page read 2026-08-27."}]}, "scene": {"ref": "Luke 5:6", "quote": "And when they had done this, they enclosed a very great multitude of fishes: and their net broke.", "shows": "the nets breaking with the catch as Peter kneels before Christ in the boat and James and John strain at the ropes"}, "th": "/store/thumb/bassano_miraculous_draught_of_fishes.webp", "more": [{"k": "subject", "n": "Saints in painting", "u": "/editions/subject/saints/", "ids": ["titian_penitent_magdalene", "tintoretto_saint_mark_s_body_brought_to_venice", "pieter_bruegel_the_elder_the_massacre_of_the_innocents", "pieter_bruegel_the_elder_the_sermon_of_st_john_the_baptist"]}, {"k": "master", "n": "Jacopo Bassano", "u": "/editions/master/jacopo-bassano/", "ids": ["bassano_lazarus_and_the_rich_man"]}]}, "orazio_gentileschi_annunciation": {"id": "orazio_gentileschi_annunciation", "title": "Annunciation", "artist_line": null, "artist": "Orazio Gentileschi", "date": "1623", "museum": "Galleria Sabauda (Musei Reali)", "license": "Public domain (photo CC BY-SA 4.0)", "tier": "Sanctuary", "sizes": [{"size": "8×10 in", "paper": 39, "iw": 6.8, "ih": 10, "sw": 8, "sh": 10, "cov": 0.853}, {"size": "11×14 in", "paper": 59, "iw": 9.6, "ih": 14, "sw": 11, "sh": 14, "cov": 0.868}, {"size": "16×20 in", "paper": 110, "iw": 13.6, "ih": 20, "sw": 16, "sh": 20, "cov": 0.853}, {"size": "18×24 in", "paper": 140, "iw": 16.4, "ih": 24, "sw": 18, "sh": 24, "cov": 0.91}, {"size": "24×36 in", "paper": 190, "iw": 24, "ih": 35.2, "sw": 24, "sh": 36, "cov": 0.977}, {"size": "32×48 in", "paper": 340, "iw": 32, "ih": 46.9, "sw": 32, "sh": 48, "cov": 0.977}], "local": "/store/display/orazio_gentileschi_annunciation.jpg", "commons_file": "Annunciazione (1623 circa) - Orazio Gentileschi.jpg", "zoom": "https://art.monstrance.app/zoom/orazio_gentileschi_annunciation.jpg", "master_px": 6898, "auth": {"institution": "Musei Reali di Torino – Galleria Sabauda", "url": "https://museireali.beniculturali.it/wp-content/uploads/2025/05/Elenco-opere.pdf", "artist_as_printed": "Orazio Gentileschi", "date_as_printed": "1623", "medium": "olio su tela", "dimensions": "289 x 198 cm"}, "writeup": {"text": "A red curtain is drawn back from a white bed, and Gabriel kneels barefoot on the floor with a lily in one hand, the other raised toward heaven. Our Lady bows her head, one hand lifted, the other at her breast. High in the open window the Holy Spirit comes in as a Dove, with the light. The Word is made flesh in a bedroom, between the curtain and the sheet. Orazio Gentileschi painted it in 1623, at the end of his Genoese years, and the canvas stands nearly three metres high, so the whole encounter has to be looked up into. Turin's museum publishes almost nothing about it: no essay, one mention by name. The Dove is still at the window.", "sources": [{"what": "Musei Reali Torino's own provisional checklist for the exhibition 'Orazio Gentileschi. Un pittore in viaggio' (Sale Chiablese, 22 November 2025 - 3 May 2026), entry", "url": "https://museireali.beniculturali.it/wp-content/uploads/2025/05/Elenco-opere.pdf", "cite": "Musei Reali Torino, Galleria Sabauda, 'Annunciazione'; tombstone from the museum's own published exhibition checklist, read 2026-08-27."}]}, "scene": {"ref": "Luke 1:28", "quote": "And the angel being come in, said unto her: Hail, full of grace, the Lord is with thee: blessed art thou among women.", "shows": "Gabriel kneeling with the lily before the Virgin, who draws back beside her curtained bed"}, "th": "/store/thumb/orazio_gentileschi_annunciation.webp", "more": [{"k": "subject", "n": "The Annunciation in painting", "u": "/editions/subject/annunciation/", "ids": ["rubens_incarnation_fulfillment_of_the_prophecies", "giordano_annunciation", "masolino_the_annunciation", "fra_angelico_annunciation_prado"]}]}, "orazio_gentileschi_saint_cecilia_and_an_angel": {"id": "orazio_gentileschi_saint_cecilia_and_an_angel", "title": "Saint Cecilia and an Angel", "artist_line": "Orazio Gentileschi (Italian, Florentine, 1563 - 1639), and Giovanni Lanfranco (Italian, 1582 - 1647)", "artist": "Orazio Gentileschi and Giovanni Lanfranco", "date": "c. 1617/1618 and c. 1621/1627", "museum": "National Gallery of Art, Washington", "license": "PD/CC0", "tier": "Sanctuary", "sizes": [{"size": "18×24 in", "paper": 140, "iw": 22.1, "ih": 18, "sw": 24, "sh": 18, "cov": 0.922}, {"size": "24×36 in", "paper": 190, "iw": 29.5, "ih": 24, "sw": 36, "sh": 24, "cov": 0.819}, {"size": "32×48 in", "paper": 340, "iw": 39.3, "ih": 32, "sw": 48, "sh": 32, "cov": 0.819}, {"size": "40×60 in", "paper": 480, "iw": 49.2, "ih": 40, "sw": 60, "sh": 40, "cov": 0.819}], "local": "/store/display/orazio_gentileschi_saint_cecilia_and_an_angel.jpg", "commons_file": "Orazio Gentileschi \u0026 Giovanni Lanfranco - Santa Cecilia con un angelo (National Gallery of Art).jpg", "zoom": "https://art.monstrance.app/zoom/orazio_gentileschi_saint_cecilia_and_an_angel.jpg", "master_px": 16643, "auth": {"institution": "National Gallery of Art, Washington", "accession": "1961.9.73", "url": "https://www.nga.gov/artworks/46172-saint-cecilia-and-angel", "artist_as_printed": "Orazio Gentileschi and Giovanni Lanfranco", "date_as_printed": "c. 1617/1618 and c. 1621/1627", "medium": "oil on canvas", "dimensions": "overall: 87.5 x 108 cm (34 7/16 x 42 1/2 in.)\nframed: 109.9 x 130.2 x 6.4 cm (43 1/4 x 51 1/4 x 2 1/2 in.)"}, "writeup": {"text": "Saint Cecilia keeps her eyes on the keys of a small organ, and an angel holds up a sheet of music and watches her play. Diane De Grazia tells the story underneath: on her wedding night Cecilia told her husband Valerianus that she had asked God to keep her virginity, and that an angel had come to grant it. Orazio Gentileschi paints the company rather than the argument. The music the angel holds, De Grazia notes, has been impossible to identify. The canvas is the work of two hands, and Schleier's analysis and a rereading of the Rondinini inventory name the second as Giovanni Lanfranco's. After what were thought to be the saint's remains were found again in 1599, devotional images of her multiplied. The song on the sheet is still unread.", "sources": [{"what": "De Grazia: 'On her wedding night, Saint Cecilia … told her husband Valerianus that she had asked God to retain her virginity and that her request had been fulfilled by the visit of an angel.' 'In the National Gallery painting Saint Cecilia plays the organ as the angel holds her music, which has been impossible to identify.' 'Recent stylistic analysis by Schleier and the rereading of the Rondinini inventory have revealed that the second hand was that of Giovanni Lanfranco.' 'After the rediscovery in 1599 of what were thought to be Saint Cecilia's physical remains, a plethora of devotional images of the saint emerged.'", "url": "https://www.nga.gov/research/publications/italian-paintings-seventeenth-and-eighteenth-centuries", "cite": "Diane De Grazia and Eric Garberson, Italian Paintings of the Seventeenth and Eighteenth Centuries, National Gallery of Art Systematic Catalogue (Washington, 1996), entry signed DDG, pp. 102-109; accession 1961.9.73, Samuel H. Kress Collection."}]}, "scene": {"why": "THE SAINT IS NOT IN SCRIPTURE. Cecilia, the Roman martyr of the third century, and the angel who crowns her music come from her Passio and the Golden Legend; nothing in the biblical record names her."}, "th": "/store/thumb/orazio_gentileschi_saint_cecilia_and_an_angel.webp", "more": [{"k": "subject", "n": "Saints in painting", "u": "/editions/subject/saints/", "ids": ["melchior_de_la_mars_saint_sebastian_released_by_irene", "ribalta_st_francis_comforted_by_an_angel_san_fra", "vouet_saint_jerome_and_the_angel", "van_dyck_saint_rosalie_interceding_for_the_plague"]}]}, "giordano_fall_of_the_rebel_angels_archangel_micha": {"id": "giordano_fall_of_the_rebel_angels_archangel_micha", "title": "The Fall of the Rebel Angels (Archangel Michael)", "artist_line": "Luca Giordano (1634 - 1705 Neapel)", "artist": "Luca Giordano", "date": "um 1660/1665", "museum": "Kunsthistorisches Museum, Gemäldegalerie", "license": "Public domain", "tier": "Sanctuary", "sizes": [{"size": "18×24 in", "paper": 140, "iw": 16.1, "ih": 24, "sw": 18, "sh": 24, "cov": 0.894}, {"size": "24×36 in", "paper": 190, "iw": 24, "ih": 35.8, "sw": 24, "sh": 36, "cov": 0.994}, {"size": "32×48 in", "paper": 340, "iw": 32, "ih": 47.7, "sw": 32, "sh": 48, "cov": 0.994}], "local": "/store/display/giordano_fall_of_the_rebel_angels_archangel_micha.jpg", "commons_file": "Luca Giordano - The Fall of the Rebel Angels - Google Art Project.jpg", "zoom": "https://art.monstrance.app/zoom/giordano_fall_of_the_rebel_angels_archangel_micha.jpg", "master_px": 6957, "auth": {"institution": "Kunsthistorisches Museum, Gemäldegalerie", "accession": "Gemäldegalerie, 350", "url": "https://www.khm.at/kunstwerke/erzengel-michael-stuerzt-die-abtruennigen-engel-802", "artist_as_printed": "Luca Giordano (1634 - 1705 Neapel)", "date_as_printed": "um 1660/1665", "medium": "Leinwand", "dimensions": "419 × 283 cm"}, "writeup": {"text": "Michael's sword is raised, and it stays raised. His foot rests on a falling chest, and the whole weight of heaven is one foot. The Web Gallery of Art's commentary reads the sword as held aloft like a sign above the figures from hell, not swung: his presence alone is enough. Below him the Kunsthistorisches Museum sees the angels who rose against God, now become devils, their distorted faces crying out in desperation, in the harsh realism of Jusepe de Ribera, the Spanish-Neapolitan court painter. The canvas stands more than four metres high. At lower right, beneath the tumbling bodies, Luca Giordano signed it: IORDANVS. F.", "sources": [{"what": "The museum's object text: when some of the angels rose against God, Michael cast them into the abyss of hell; the distorted, desperately crying faces of the defeated angels, now become devils, show the crass realism of the Spanish-Neapolitan court painter Jusepe de Ribera; canvas, 419 x 283 cm, about 1660/1665, signed lower right IORDANVS. F.", "url": "https://www.khm.at/objektdb/detail/802/", "cite": "Kunsthistorisches Museum Wien, Gemäldegalerie 350, Luca Giordano, Erzengel Michael stürzt die abtrünnigen Engel, read 2026-09-24"}, {"what": "Commentary on the Vienna canvas (419 x 283 cm): Michael is not attacking the figures from hell with his sword but holding it aloft like a sign; the archangel's presence alone signifies Satan's damnation; light set against darkness in a confined space with few figures.", "url": "https://www.wga.hu/html_m/g/giordano/1/rebel_an.html", "cite": "Web Gallery of Art, Luca Giordano, The Fall of the Rebel Angels, commentary, read 2026-09-24"}]}, "scene": {"ref": "Apocalypse 12:9", "quote": "And that great dragon was cast out, that old serpent, who is called the devil and Satan, who seduceth the whole world. And he was cast unto the earth: and his angels were thrown down with him.", "shows": "Michael in armour driving Lucifer and the rebel angels down out of the light"}, "th": "/store/thumb/giordano_fall_of_the_rebel_angels_archangel_micha.webp", "more": [{"k": "subject", "n": "Angels in painting", "u": "/editions/subject/angels/", "ids": ["baciccio_the_triumph_of_the_name_of_jesus", "filippino_tobias_and_the_angel", "durer_saint_michael_fighting_the_dragon", "albrecht_durer_apocalypse_adoration_of_the_lamb"]}, {"k": "master", "n": "Luca Giordano", "u": "/editions/master/luca-giordano/", "ids": ["giordano_annunciation"]}]}, "giordano_annunciation": {"id": "giordano_annunciation", "title": "The Annunciation", "artist_line": "Luca Giordano (Italian, Naples 1634–1705 Naples)", "artist": "Luca Giordano", "date": "1672", "museum": "The Metropolitan Museum of Art, New York", "license": "PD/CC0", "tier": "Mid", "sizes": [{"size": "8×10 in", "paper": 39, "iw": 7.1, "ih": 10, "sw": 8, "sh": 10, "cov": 0.889}, {"size": "11×14 in", "paper": 59, "iw": 10.0, "ih": 14, "sw": 11, "sh": 14, "cov": 0.905}], "local": "/store/display/giordano_annunciation.jpg", "commons_file": "The Annunciation MET DT404.jpg", "zoom": "https://art.monstrance.app/zoom/giordano_annunciation.jpg", "master_px": 3821, "auth": {"institution": "The Metropolitan Museum of Art, New York", "accession": "1973.311.2", "url": "https://www.metmuseum.org/art/collection/search/436502", "artist_as_printed": "Luca Giordano", "date_as_printed": "1672", "medium": "Oil on canvas", "dimensions": "93 1/8 x 66 7/8 in. (236.5 x 169.9 cm)"}, "writeup": {"text": "A stem of white lilies crosses the air, held out by the archangel as he comes down. Our Lady looks up, one hand on her breast and the other open, a bare foot showing under the blue. The Met records that Luca Giordano, the leading painter in Naples, worked in many manners, often imitating Renaissance masters, and painted this after a trip to Venice in direct homage to Titian; its catalogue admits specialists have found it hard to place in his work since its 1959 showing there. Nearly eight feet tall, it brings Gabriel in at the height of a church wall. Her open hand is already answering.", "sources": [{"what": "The Met's object page: the catalogue entry opens by saying that since the altarpiece was first exhibited at The Met in 1959, seventeenth-century specialists have found it difficult to place in Giordano's oeuvre; the label says Giordano was the leading painter in Naples, worked in a variety of styles often imitating Renaissance masters, and painted this after a trip to Venice in direct homage to Titian; 1672, oil on canvas, 93 1/8 x 66 7/8 in., 1973.311.2.", "url": "https://www.metmuseum.org/art/collection/search/436502", "cite": "The Metropolitan Museum of Art, Luca Giordano, 'The Annunciation', 1973.311.2, read 2026-09-24"}, {"what": "The Met's open-access record for the same object: tombstone and subject tags Lilies, Angels, Virgin Mary, Archangel Gabriel, Annunciation.", "url": "https://collectionapi.metmuseum.org/public/collection/v1/objects/436502", "cite": "The Metropolitan Museum of Art Collection API, object 436502, read 2026-09-24"}]}, "scene": {"ref": "Luke 1:28", "quote": "And the angel being come in, said unto her: Hail, full of grace, the Lord is with thee: blessed art thou among women.", "shows": "Gabriel descending on a cloud of putti to the kneeling Virgin, the dove above her"}, "th": "/store/thumb/giordano_annunciation.webp", "more": [{"k": "subject", "n": "The Annunciation in painting", "u": "/editions/subject/annunciation/", "ids": ["masolino_the_annunciation", "fra_angelico_annunciation_prado", "van_eyck_annunciation_nga", "giovanni_di_paolo_annunciation_and_expulsion_from_paradise"]}, {"k": "master", "n": "Luca Giordano", "u": "/editions/master/luca-giordano/", "ids": ["giordano_fall_of_the_rebel_angels_archangel_micha"]}]}, "dolci_mater_dolorosa": {"id": "dolci_mater_dolorosa", "title": "Mater Dolorosa", "artist_line": "Carlo Dolci (Florence, 1616 - Florence, 1687)", "artist": "Carlo Dolci", "date": "ca. 1655", "museum": "The National Museum of Western Art, Tokyo", "license": "Public domain", "tier": "Sanctuary", "sizes": [{"size": "18×24 in", "paper": 140, "iw": 18, "ih": 21.7, "sw": 18, "sh": 24, "cov": 0.904}, {"size": "24×36 in", "paper": 190, "iw": 24, "ih": 28.9, "sw": 24, "sh": 36, "cov": 0.804}, {"size": "32×48 in", "paper": 340, "iw": 32, "ih": 38.6, "sw": 32, "sh": 48, "cov": 0.804}, {"size": "40×60 in", "paper": 480, "iw": 40, "ih": 48.2, "sw": 40, "sh": 60, "cov": 0.804}], "local": "/store/display/dolci_mater_dolorosa.jpg", "commons_file": "Carlo Dolci - Mater Dolorosa - Google Art Project.jpg", "zoom": "https://art.monstrance.app/zoom/dolci_mater_dolorosa.jpg", "master_px": 6329, "auth": {"institution": "The National Museum of Western Art, Tokyo", "accession": "P.1998-0002", "url": "https://collection.nmwa.go.jp/en/P.1998-0002.html", "artist_as_printed": "Carlo Dolci (Florence, 1616 - Florence, 1687)", "date_as_printed": "ca. 1655", "medium": "Oil on canvas", "dimensions": "82.5 x 67 cm"}, "writeup": {"text": "Our Lady folds her hands and bows her head; nothing is given her to hold. The dark gives way to a faint light around her, and the National Museum of Western Art, Tokyo, notes that her blue robe is made of deep lapis lazuli. The museum dates it around 1655, when Carlo Dolci was 39, and traces the folded hands to the Madonnas of Titian. On the back of the canvas the prayer is written out: REGINA MARTIRUM ORA PRO NOBIS, Queen of Martyrs, pray for us. No cross is in the frame, only her hands. The words on the back are yours to say.", "sources": [{"what": "NMWA: 'This elegant work was created around 1655 when Carlo Dolci was 39 years old.' 'The dark background yields to a faint light surrounding a beautifully sad image of the Madonna, wrapped in a blue robe created in deep lapis lazuli pigment.' 'The model for this image of the Madonna with folded hands can be found in the Madonna images of Titian.' 'Inscribed on the reverse: REGINA MARTIRUM ORA PRO NOBIS'.", "url": "https://collection.nmwa.go.jp/en/P.1998-0002.html", "cite": "The National Museum of Western Art, Tokyo, 'Mater Dolorosa', accession P.1998-0002; read 2026-08-27."}]}, "scene": {"why": "A DEVOTIONAL TYPE, NOT AN EPISODE. The Virgin alone, veiled and weeping, is the Mater Dolorosa of Marian devotion; Simeon’s prophecy of the sword (Luke 2:35) is the doctrine behind the image, not a scene it depicts, and citing it as one would misstate both."}, "th": "/store/thumb/dolci_mater_dolorosa.webp", "more": [{"k": "subject", "n": "Saints in painting", "u": "/editions/subject/saints/", "ids": ["dolci_saint_catherine_of_siena", "murillo_saint_rose_of_lima", "panini_pantheon", "tiepolo_the_vision_of_saint_cajetan"]}, {"k": "master", "n": "Carlo Dolci", "u": "/editions/master/carlo-dolci/", "ids": ["dolci_saint_catherine_of_siena", "dolci_adoration_of_the_shepherds", "dolci_adoration_of_the_kings"]}]}, "dolci_adoration_of_the_kings": {"id": "dolci_adoration_of_the_kings", "title": "The Adoration of the Kings", "artist_line": "Carlo Dolci (1616 - 1686)", "artist": "Carlo Dolci", "date": "1649", "museum": "The National Gallery, London", "license": "Public domain", "tier": "Hero", "sizes": [{"size": "11×14 in", "paper": 59, "iw": 11.0, "ih": 14, "sw": 11, "sh": 14, "cov": 0.998}, {"size": "18×24 in", "paper": 140, "iw": 18, "ih": 22.9, "sw": 18, "sh": 24, "cov": 0.956}], "local": "/store/display/dolci_adoration_of_the_kings.jpg", "commons_file": "Carlo Dolci (1616-1686) - The Adoration of the Kings - NG6523 - National Gallery.jpg", "zoom": "https://art.monstrance.app/zoom/dolci_adoration_of_the_kings.jpg", "master_px": 4226, "auth": {"institution": "The National Gallery, London", "accession": "NG6523", "url": "https://www.nationalgallery.org.uk/paintings/carlo-dolci-the-adoration-of-the-kings", "artist_as_printed": "Carlo Dolci", "date_as_printed": "1649", "medium": "Oil on canvas (unlined)", "dimensions": "117 × 92 cm"}, "writeup": {"text": "The gold in this picture is in the wrong place. The kings' gifts only look like gold — they are paint. The haloes, and the light coming off the Christ Child, are real shell gold, and they alone glow in the dark of the stable. Dolci inscribed the back of the canvas in his own hand, recording the commission in 1649, when he was thirty-three. He is in the picture too: the man in the red hat, peering round the door at the far right.", "sources": [{"what": "National Gallery: 'The Kings' gifts appear gold but are executed in paint, while the haloes of the holy family are made of real (shell) gold, as is the light radiating from the Christ Child. This has the effect of making them glow in the darkness of the stable.' And: 'Peering round the door at far right is Dolci himself, wearing a red hat: his self portrait is recognisable from other paintings. The painting remains on its original canvas and stretcher - an inscription on the reverse (in the artist's own hand) tells us that the painting was commissioned in 1649, when Dolci was 33 years old.' The Gallery prints the scriptural citation itself: 'This is the Adoration of the Kings as related in the Bible (Matthew 2: 11).'", "url": "https://www.nationalgallery.org.uk/paintings/carlo-dolci-the-adoration-of-the-kings", "cite": "The National Gallery, London, 'The Adoration of the Kings', NG6523, 1649; read 2026-08-27."}]}, "scene": {"ref": "Matthew 2:11", "quote": "And entering into the house, they found the child with Mary his mother, and falling down they adored him: and opening their treasures, they offered him gifts; gold, frankincense, and myrrh.", "shows": "the eldest king kissing the Child’s foot as the others wait with their gifts"}, "th": "/store/thumb/dolci_adoration_of_the_kings.webp", "more": [{"k": "subject", "n": "The Adoration of the Magi in painting", "u": "/editions/subject/adoration-of-the-magi/", "ids": ["sequeira_adoration", "fra_angelico_the_adoration_of_the_magi", "gozzoli_procession_of_the_magi_procession_of_the", "botticelli_adoration_of_the_magi"]}, {"k": "master", "n": "Carlo Dolci", "u": "/editions/master/carlo-dolci/", "ids": ["dolci_mater_dolorosa", "dolci_saint_catherine_of_siena", "dolci_adoration_of_the_shepherds"]}]}, "pacher_devil_presenting_saint_augustine_book_of_vices": {"id": "pacher_devil_presenting_saint_augustine_book_of_vices", "title": "The Devil Presenting Saint Augustine with the Book of Vices", "artist_line": "Michael Pacher (1435-1498)", "artist": "Michael Pacher", "date": "um 1480", "museum": "Alte Pinakothek, Munich", "license": "Public domain", "tier": "Mid", "sizes": [{"size": "11×14 in", "paper": 59, "iw": 11, "ih": 12.4, "sw": 11, "sh": 14, "cov": 0.888}], "local": "/store/display/pacher_devil_presenting_saint_augustine_book_of_vices.jpg", "commons_file": "Michael Pacher 004.jpg", "zoom": "https://art.monstrance.app/zoom/pacher_devil_presenting_saint_augustine_book_of_vices.jpg", "master_px": 3000, "auth": {"institution": "Bayerische Staatsgemäldesammlungen – Alte Pinakothek München", "accession": "2599 A", "url": "https://www.sammlung.pinakothek.de/en/artwork/Qlx2Qo94Xq", "artist_as_printed": "Michael Pacher (1435-1498)", "date_as_printed": "um 1480", "medium": "Zirbelholz", "dimensions": "103 x 91 cm"}, "writeup": {"text": "The picture of the Devil tempting Saint Augustine was taken from the Augustinians. Munich's acquisition line records it flatly: the panel arrived in 1812 as secularised property from the Augustinian canonry at Neustift near Brixen. The Devil holds out a book in which a man's sins are written. Beyond that the Alte Pinakothek publishes nothing at all — no description, no literature. What it does give is Swiss pine, 103 by 91 centimetres, and a date of about 1480.", "sources": [{"what": "Bayerische Staatsgemäldesammlungen object record", "url": "https://www.sammlung.pinakothek.de/en/artwork/Qlx2Qo94Xq", "cite": "Bayerische Staatsgemäldesammlungen – Alte Pinakothek, Munich, Kirchenväteraltar panel, inv. 2599 A; read 2026-08-27."}]}, "scene": {"why": "THE SAINT IS NOT IN SCRIPTURE. Augustine of Hippo confronted by the devil holding the book of men’s sins is a legend from the Church Fathers altarpiece tradition, not from the Confessions and not from any biblical book."}, "th": "/store/thumb/pacher_devil_presenting_saint_augustine_book_of_vices.webp", "more": [{"k": "subject", "n": "Saints in painting", "u": "/editions/subject/saints/", "ids": ["hieronymus_bosch_st_jerome_at_prayer", "carpaccio_meditation_on_the_passion", "hieronymus_bosch_st_john_the_baptist_in_the_wilderness", "hieronymus_bosch_st_john_the_evangelist_on_patmos"]}, {"k": "master", "n": "Michael Pacher", "u": "/editions/master/michael-pacher/", "ids": ["pacher_flagellation_of_christ_geielung_christi"]}]}, "pacher_flagellation_of_christ_geielung_christi": {"id": "pacher_flagellation_of_christ_geielung_christi", "title": "Flagellation of Christ (Geißelung Christi)", "artist_line": "Michael Pacher (ca. 1460 Meister in Bruneck (Südtirol) – 1498 Salzburg)", "artist": "Michael Pacher", "date": "before 1497/1498", "museum": "Österreichische Galerie Belvedere", "license": "Public domain", "tier": "Mid", "sizes": [{"size": "11×14 in", "paper": 59, "iw": 13.5, "ih": 11, "sw": 14, "sh": 11, "cov": 0.962}], "local": "/store/display/pacher_flagellation_of_christ_geielung_christi.jpg", "commons_file": "Michael Pacher - Geißelung Christi - 4845 - Kunsthistorisches Museum.jpg", "zoom": "https://art.monstrance.app/zoom/pacher_flagellation_of_christ_geielung_christi.jpg", "master_px": 3508, "auth": {"institution": "Österreichische Galerie Belvedere", "accession": "4845", "url": "https://sammlung.belvedere.at/objects/3600/geielung-christi", "artist_as_printed": "Michael Pacher (ca. 1460 Meister in Bruneck (Südtirol) – 1498 Salzburg)", "date_as_printed": "before 1497/1498", "medium": "Painting on Swiss stone pine", "dimensions": "113 × 139,5 cm"}, "writeup": {"text": "Christ stands bound to a marble column, His head bowed, His body covered with small red wounds, His gold halo bright against the stone. Two men work at Him from below; two more talk it over on a balcony, one leaning on a staff. The Belvedere records that this was once one face of a painted altarpiece wing more than twice this size, with the Betrothal of the Virgin on the other; at an unknown date the wing was cut down and its front separated from its back. Both boards are Swiss stone pine. It was Michael Pacher's last commission, a Marian altarpiece for the parish church of Salzburg, now the Franciscan Church, whose shrine alone stood almost six metres high. On one side of the wood Christ was scourged; on the other, His Mother was married.", "sources": [{"what": "The Belvedere's record for the Flagellation: fragment of a wing panel from the former high altar of the Salzburg Franciscan Church (formerly the parish church); before 1497/1498; Swiss stone pine, 113 x 139.5 cm, inv. 4845; Pacher's final commission was a monumental winged Marian altarpiece whose shrine alone must have been almost six meters high; the Flagellation and the Betrothal of the Virgin once formed the interior and exterior of a panel painted on both sides, originally more than twice this size.", "url": "https://sammlung.belvedere.at/objects/3600/geielung-christi", "cite": "Belvedere, Vienna, Michael Pacher, Geißelung Christi, inv. 4845, read 2026-09-24"}, {"what": "The Belvedere's record for the companion Betrothal of the Virgin: Swiss stone pine, 113 x 139.5 cm, inv. 4846; the same text, adding that at an unknown point the altarpiece wing was cut down and its front separated from its back.", "url": "https://sammlung.belvedere.at/objects/3601/vermahlung-mariens", "cite": "Belvedere, Vienna, Michael Pacher, Vermählung Mariens, inv. 4846, read 2026-09-24"}]}, "scene": {"ref": "John 19:1", "quote": "Then therefore Pilate took Jesus and scourged him.", "shows": "Christ bound to the column and scourged in a vaulted hall while Pilate looks on"}, "th": "/store/thumb/pacher_flagellation_of_christ_geielung_christi.webp", "more": [{"k": "subject", "n": "The Life of Christ in painting", "u": "/editions/subject/the-life-of-christ/", "ids": ["durer_jesus_among_the_doctors", "bassano_lazarus_and_the_rich_man", "follower_of_bosch_christ_driving_traders_from_temple", "el_greco_christ_cleansing_the_temple"]}, {"k": "master", "n": "Michael Pacher", "u": "/editions/master/michael-pacher/", "ids": ["pacher_devil_presenting_saint_augustine_book_of_vices"]}]}, "alonso_cano_dead_christ_supported_by_an_angel_cristo": {"id": "alonso_cano_dead_christ_supported_by_an_angel_cristo", "title": "The Dead Christ supported by an Angel (Cristo muerto sostenido por un ángel)", "artist_line": "Alonso Cano (Granada, 1601 - Granada, 1667)", "artist": "Alonso Cano", "date": "1646 - 1652", "museum": "Museo Nacional del Prado, Madrid", "license": "Public domain", "tier": "Entry", "sizes": [{"size": "8×10 in", "paper": 39, "iw": 6.8, "ih": 10, "sw": 8, "sh": 10, "cov": 0.854}], "local": "/store/display/alonso_cano_dead_christ_supported_by_an_angel_cristo.jpg", "commons_file": "Cristo muerto sostenido por un ángel (Cano).jpg", "zoom": "https://art.monstrance.app/zoom/alonso_cano_dead_christ_supported_by_an_angel_cristo.jpg", "master_px": 3051, "auth": {"institution": "Museo Nacional del Prado", "accession": "P000629", "url": "https://www.museodelprado.es/en/the-collection/art-work/the-dead-christ-supported-by-an-angel/5339e422-9b8a-47fd-804c-32ddfd2fcde4", "artist_as_printed": "Alonso Cano", "date_as_printed": "1646 - 1652", "medium": "Oil; Canvas", "dimensions": "Height: 178.3 cm; Width: 119.8 cm"}, "writeup": {"text": "An angel holds the dead Christ upright by the shoulders, and the body gives him no help. The angel is warm, Christ cold and bluish; the Prado notes the difference, and the twilight behind them. A basin sits on the ground, and the feet still carry their wounds. The Prado says plainly that the subject does not come from the gospels. It descends from the Christ of Saint Gregory, an image of Eastern origin, a pope's vision of the dead Christ between angels, to which indulgences for the dead were attached. Alonso Cano's change is to keep one angel, who holds Him up and presents Him to you.", "sources": [{"what": "The Prado's catalogue text (English): the iconography derives from the Oriental 'Christ of Saint Gregory' rather than the Gospels, a pope's vision of the dead Christ flanked by angels; Cano innovated with a single angel supporting the body and presenting it to the viewer; the warm tones of the angel contrast with the bluish cold of Christ's body; serenity rather than pathos; 1646-1652, oil on canvas, P000629.", "url": "https://www.museodelprado.es/en/the-collection/art-work/the-dead-christ-supported-by-an-angel/5339e422-9b8a-47fd-804c-32ddfd2fcde4", "cite": "Museo Nacional del Prado, Alonso Cano, The Dead Christ supported by an Angel, P000629, read 2026-09-24"}, {"what": "The Prado's catalogue text (Spanish): the Cristo de san Gregorio, an icon of Eastern origin, was believed to grant indulgences for the dead and in the Renaissance became an alternative funerary image to the Entombment or the Pietà; the figures are set in a twilight landscape; warm angel against the cold, bluish dead Christ.", "url": "https://www.museodelprado.es/coleccion/obra-de-arte/cristo-muerto-sostenido-por-un-angel/5339e422-9b8a-47fd-804c-32ddfd2fcde4", "cite": "Museo Nacional del Prado, Cristo muerto sostenido por un ángel, P000629, read 2026-09-24"}]}, "scene": {"why": "A DEVOTIONAL TYPE, NOT AN EPISODE. Cano’s dead Christ held upright by a single angel is the Engelpietà, an image of the sacrificed body for contemplation; Scripture lays the body in the tomb (John 19:41) and gives it to no angel."}, "th": "/store/thumb/alonso_cano_dead_christ_supported_by_an_angel_cristo.webp", "more": [{"k": "subject", "n": "The Pietà in painting", "u": "/editions/subject/pieta/", "ids": ["bouguereau_pieta", "gauguin_green_christ", "lippi_pieta", "bellini_imago_pietatis_pieta"]}, {"k": "master", "n": "Alonso Cano", "u": "/editions/master/alonso-cano/", "ids": ["alonso_cano_san_bernardo_y_la_virgen_the_vision_of_s"]}]}, "alonso_cano_san_bernardo_y_la_virgen_the_vision_of_s": {"id": "alonso_cano_san_bernardo_y_la_virgen_the_vision_of_s", "title": "San Bernardo y la Virgen (The Vision of St Bernard / Lactation of St Bernard)", "artist_line": "Alonso Cano (Granada, 1601 - Granada, 1667)", "artist": "Alonso Cano", "date": "1645 - 1652; 1657 - 1660", "museum": "Museo Nacional del Prado, Madrid", "license": "Public domain", "tier": "Entry", "sizes": [{"size": "8×10 in", "paper": 39, "iw": 6.8, "ih": 10, "sw": 8, "sh": 10, "cov": 0.852}], "local": "/store/display/alonso_cano_san_bernardo_y_la_virgen_the_vision_of_s.jpg", "commons_file": "San Bernardo y la Virgen, de Alonso Cano.jpg", "zoom": "https://art.monstrance.app/zoom/alonso_cano_san_bernardo_y_la_virgen_the_vision_of_s.jpg", "master_px": 3027, "auth": {"institution": "Museo Nacional del Prado", "accession": "P003134", "url": "https://www.museodelprado.es/en/the-collection/art-work/saint-bernard-and-the-virgin/25b83887-3b11-4a99-a9b1-3b3050733d6a", "artist_as_printed": "Alonso Cano", "date_as_printed": "1645 - 1652; 1657 - 1660", "medium": "Oil; Canvas", "dimensions": "Height: 267 cm; Width: 185 cm"}, "writeup": {"text": "A thin white line crosses the room from a statue of Our Lady to the mouth of Saint Bernard. He kneels in his white habit, hands open, and receives it. The Prado is precise: Bernard takes the jet of milk from a carved Virgin and Child standing on an altar, not from a living apparition. Below, a cardinal watches with his hands joined in prayer, identified since the nineteenth century as Sandoval y Rojas, who as archbishop of Toledo brought the Capuchins to the city in 1611. Javier Portús calls the milk a reward for a life spent praising Mary. Alonso Cano lets it travel through empty air.", "sources": [{"what": "Prado museum object page", "url": "https://www.museodelprado.es/aprende/enciclopedia/voz/san-bernardo-y-la-virgen-alonso-cano/757b3a84-03e7-4242-b7eb-fc76cef548ee", "cite": "Museo Nacional del Prado, Madrid, 'San Bernardo y la Virgen', P003134, object page and Enciclopedia entry by Javier Portus Perez; both read 2026-08-27."}]}, "scene": {"why": "THE SAINT IS NOT IN SCRIPTURE. The Lactation of Saint Bernard — the Virgin’s milk falling on the lips of the abbot of Clairvaux — is a twelfth-century legend recorded in Cistercian sources; no biblical book names Bernard or the vision."}, "th": "/store/thumb/alonso_cano_san_bernardo_y_la_virgen_the_vision_of_s.webp", "more": [{"k": "subject", "n": "The Madonna and Child in painting", "u": "/editions/subject/madonna-and-child/", "ids": ["juan_correa_our_lady_of_balvanera", "murillo_virgin_rosary", "divina_pastora_prado", "domingo_martinez_the_virgin_of_the_rosary"]}, {"k": "master", "n": "Alonso Cano", "u": "/editions/master/alonso-cano/", "ids": ["alonso_cano_dead_christ_supported_by_an_angel_cristo"]}]}, "morales_man_of_sorrows": {"id": "morales_man_of_sorrows", "title": "Man of Sorrows", "artist_line": "Luis de Morales (called El Divino) (Spanish, about 1509–1586)", "artist": "Luis de Morales (called El Divino)", "date": "c. 1560", "museum": "Minneapolis Institute of Art", "license": "Public domain", "tier": "Sanctuary", "sizes": [{"size": "18×24 in", "paper": 140, "iw": 17.0, "ih": 24, "sw": 18, "sh": 24, "cov": 0.944}, {"size": "24×36 in", "paper": 190, "iw": 24, "ih": 33.9, "sw": 24, "sh": 36, "cov": 0.941}, {"size": "32×48 in", "paper": 340, "iw": 32, "ih": 45.2, "sw": 32, "sh": 48, "cov": 0.941}, {"size": "40×60 in", "paper": 480, "iw": 40, "ih": 56.5, "sw": 40, "sh": 60, "cov": 0.941}], "local": "/store/display/morales_man_of_sorrows.jpg", "commons_file": "Luis de Morales (called El Divino) - Man of Sorrows - 62.24 - Minneapolis Institute of Arts.jpg", "zoom": "https://art.monstrance.app/zoom/morales_man_of_sorrows.jpg", "master_px": 8633, "auth": {"institution": "Minneapolis Institute of Art", "accession": "62.24", "url": "https://search.artsmia.org/id/1476", "artist_as_printed": "Luis de Morales (called El Divino)", "date_as_printed": "c. 1560", "medium": "Oil on panel", "dimensions": "25 3/8 x 18 1/4 in. (64.45 x 46.36 cm) (panel) 31 in. (78.74 cm) (diagonal) 24 3/4 x 17 1/2 in. (62.87 x 44.45 cm) (sight) 37 × 30 1/2 × 3 in. (93.98 × 77.47 × 7.62 cm) (outer frame)"}, "writeup": {"text": "A hammer lies on the floor, and nails beside it, and a broom that has swept nothing up. Christ sits in the crown of thorns with His cheek in His hand, the cross leaning on one side and a column on the other. Luis de Morales gives Him a thinker's pose, legs crossed and chin cupped, and the Minneapolis Institute of Art finds Him both regal and melancholic, set among the column of the Flagellation and the cross He carried. Mia reads the image as lifting Christ out of the story to meditate on the objects of His pain, a model and a mirror for whoever prays before it. On the floor the museum lists the tools that built the cross: hammer, awl, nails, broom. The tools that built the cross lie at His bare feet.", "sources": [{"what": "Mia's label: Christ with legs crossed and chin cupped in hand, regal and melancholic, among the column of the Flagellation and the cross; removed from the narrative to meditate on the objects of his pain, a model and mirror image for the pious beholder", "url": "https://search.artsmia.org/id/1476", "cite": "Minneapolis Institute of Art, Luis de Morales, 'Man of Sorrows', c. 1560, 62.24, read 2026-09-24"}, {"what": "Mia's published collection data for 62.24: Christ seated in the crown of thorns meditating on the Passion, with cross-building tools on the floor around him (hammer, awl, nails and broom); the label text; artist 'Luis de Morales (called El Divino)'", "url": "https://raw.githubusercontent.com/artsmia/collection/master/objects/1/1476.json", "cite": "Minneapolis Institute of Art, open collection data (github.com/artsmia/collection), object 1476, read 2026-09-24"}]}, "scene": {"why": "THE MAN OF SORROWS IS A DEVOTIONAL TYPE, NOT AN EPISODE. Morales shows Christ half-length with the crown of thorns and the wounds, outside any moment of the Passion; Isaiah 53:3 names him “a man of sorrows”, but that is prophecy, not a scene."}, "th": "/store/thumb/morales_man_of_sorrows.webp", "more": [{"k": "subject", "n": "The Crowning with Thorns in painting", "u": "/editions/subject/crowning-with-thorns/", "ids": ["morales_ecce_homo", "caravaggio_crowning_thorns", "titian_crowning_thorns", "geertgen_man_of_sorrows_man_van_smarten"]}]}, "morales_ecce_homo": {"id": "morales_ecce_homo", "title": "Ecce Homo", "artist_line": "Luis de Morales (El Divino) (Badajoz, 1510/1511 – Alcántara, 1586)", "artist": "Luis de Morales (El Divino)", "date": "1570-1580", "museum": "Museu Nacional d'Art de Catalunya", "license": "Public domain", "tier": "Hero", "sizes": [{"size": "18×24 in", "paper": 140, "iw": 16.6, "ih": 24, "sw": 18, "sh": 24, "cov": 0.921}], "local": "/store/display/morales_ecce_homo.jpg", "commons_file": "Luis de Morales - Ecce Homo - Google Art Project.jpg", "zoom": "https://art.monstrance.app/zoom/morales_ecce_homo.jpg", "master_px": 4644, "auth": {"institution": "Museu Nacional d'Art de Catalunya", "accession": "011547-000", "url": "https://www.museunacional.cat/en/colleccio/ecce-homo/luis-de-morales-el-divino/011547-000", "artist_as_printed": "Luis de Morales (El Divino)", "date_as_printed": "1570-1580", "medium": "Oil on wood", "dimensions": "82.7 x 57.7 cm"}, "writeup": {"text": "A reed rests in bound hands, a cord at the wrists, and drops of blood run from the thorns down the face and throat. The Museu Nacional d'Art de Catalunya sees Christ shown alone at the moment of His condemnation before the crowd, and under the paint it found more. Its infrared reflectography turned up the pricked dots of a stencil on the robe over the shoulders, the forearms, the hands and the reed, and faintly in the face, especially the nose. The museum reads them this way: assistants transferred Luis de Morales's own model, a version of the one from El Pardo now in the Prado, and the image was repeated to meet demand, by the master or his workshop. As of 2015, it notes, no such template had been documented in any painting by Morales or his circle. The reed He holds was traced before it was painted.", "sources": [{"what": "MNAC's commentary: Christ shown alone at the moment of his condemnation before the crowd; a version of Morales's model from El Pardo now in the Prado; infrared reflectography found stencil (pouncing) dots under the paint on the robe over the shoulders, the forearms, the hands and the reed, and on the face, particularly the nose; the model was transferred by assistants and the composition repeated to meet demand, by the master or his workshop; no such template had been documented in any painting by Morales or his circle as of 2015. Tombstone: oil on wood, 82.7 x 57.7 cm, purchase 1916.", "url": "https://www.museunacional.cat/en/colleccio/ecce-homo/luis-de-morales-el-divino/011547-000", "cite": "Museu Nacional d'Art de Catalunya, Barcelona, 'Ecce Homo', Luis de Morales, 011547-000; read 2026-09-24."}, {"what": "MNAC's record as republished on Google Arts \u0026 Culture: Luis de Morales, Ecce Homo, around 1570, oil on wood panel, acquired 1916, inventory 011547-000.", "url": "https://artsandculture.google.com/asset/ecce-homo-luis-de-morales/mgHTPz7bPJvcWQ", "cite": "Museu Nacional d'Art de Catalunya via Google Arts \u0026 Culture, 'Ecce Homo', 011547-000; read 2026-09-24."}]}, "scene": {"ref": "John 19:5", "quote": "(Jesus therefore came forth, bearing the crown of thorns and the purple garment.) And he saith to them: Behold the Man.", "shows": "Christ in the crown of thorns and purple robe, hands bound, shown to the people"}, "th": "/store/thumb/morales_ecce_homo.webp", "more": [{"k": "subject", "n": "The Crowning with Thorns in painting", "u": "/editions/subject/crowning-with-thorns/", "ids": ["caravaggio_crowning_thorns", "titian_crowning_thorns", "geertgen_man_of_sorrows_man_van_smarten", "aelbrecht_bouts_christ_with_the_crown_of_thorns_man_of_s"]}]}, "bermejo_descent_of_christ_into_limbo": {"id": "bermejo_descent_of_christ_into_limbo", "title": "Descent of Christ into Limbo", "artist_line": "Bartolomé Bermejo (Córdoba, circa 1440 – Barcelona, circa 1501)", "artist": "Bartolomé Bermejo", "date": "c. 1474-1479", "museum": "Museu Nacional d'Art de Catalunya", "license": "PD/CC0", "tier": "Sanctuary", "sizes": [{"size": "18×24 in", "paper": 140, "iw": 18, "ih": 23.3, "sw": 18, "sh": 24, "cov": 0.972}, {"size": "32×48 in", "paper": 340, "iw": 32, "ih": 41.5, "sw": 32, "sh": 48, "cov": 0.864}], "local": "/store/display/bermejo_descent_of_christ_into_limbo.jpg", "commons_file": "Bartolomé Bermejo - Descent of Christ into Limbo - Google Art Project.jpg", "zoom": "https://art.monstrance.app/zoom/bermejo_descent_of_christ_into_limbo.jpg", "master_px": 5345, "auth": {"institution": "Museu Nacional d'Art de Catalunya", "accession": "015872-000", "url": "https://www.museunacional.cat/en/colleccio/descent-christ-limbo/bartolome-bermejo/015872-000", "artist_as_printed": "Bartolomé Bermejo", "date_as_printed": "c. 1474-1479", "medium": "Oli i daurat sobre fusta conífera", "dimensions": "89.5 x 69.5 x 2.5 cm"}, "writeup": {"text": "Christ steps barefoot onto the fallen door and takes an old man by the hand. Behind Him the souls kneel naked with their hands joined, and the demons look on from the fire. Bartolomé Bermejo brought the north's oil into Aragon, and the Museu Nacional d'Art de Catalunya names his realism one without idealisations. The museum makes this one of four compartments of a predella on Christ the Redeemer, from a documented altarpiece for Santo Domingo de Silos at Daroca; Cèsar Favà and Mireia Mestre argue the four hung two by two, flanking a tabernacle, about 1474 to 1479. The door lies flat, and an old man kneels on it.", "sources": [{"what": "MNAC: the panel 'is one of the four compartments of an altarpiece by Bartolomé Bermejo'; his work is 'characterized by a realism that has no idealisations, incorporates many of the novelties of the Nordic art, like the use of oil as binder, replacing egg tempera'; all four 'were part of the same predella dedicated to Christ the Redeemer, which has been identified as the one from a documented altarpiece by the painter, devoted to Santo Domingo de Silos (Daroca)'. Documented in Paris in 1898 in the collection of Carlos Sáenz de Tejada; sold 1914.", "url": "https://www.museunacional.cat/en/colleccio/descent-christ-limbo/bartolome-bermejo/015872-000", "cite": "Museu Nacional d'Art de Catalunya, Barcelona, 'Descent of Christ into Limbo', inv. 015872-000, purchase 1914; object page read 2026-08-27."}, {"what": "Favà and Mestre reconstruct the four panels as 'placed together two by two (Descent of Christ in Limbo-Christ in Paradise; Resurrection-Ascension) forming two panels that must have flanked a central tabernacle', and date them circa 1474-1479.", "url": "https://blog.museunacional.cat/en/the-panels-of-christ-the-redeemer-by-bermejo-a-predella-for-the-altarpiece-of-santo-domingo-de-silos-daroca/", "cite": "Cèsar Favà and Mireia Mestre, Àrea d'Art Medieval, Museu Nacional d'Art de Catalunya, 'The panels of Christ the Redeemer by Bermejo', museum research post, 2 May 2019."}]}, "scene": {"ref": "1 Peter 3:19", "quote": "In which also coming he preached to those spirits that were in prison:", "shows": "Christ with the banner of the Resurrection freeing Adam, Eve and the just from the mouth of hell"}, "th": "/store/thumb/bermejo_descent_of_christ_into_limbo.webp", "more": [{"k": "subject", "n": "The Life of Christ in painting", "u": "/editions/subject/the-life-of-christ/", "ids": ["bergognone_christ_risen_from_the_tomb", "hieronymus_bosch_ecce_homo", "albrecht_durer_large_passion_flagellation", "pacher_flagellation_of_christ_geielung_christi"]}]}, "ribalta_christ_embracing_saint_bernard": {"id": "ribalta_christ_embracing_saint_bernard", "title": "Christ embracing Saint Bernard", "artist_line": "Francisco Ribalta (Solsona, Lérida, Spain, 1565 - Valencia, Spain, 1628)", "artist": "Francisco Ribalta", "date": "1625 - 1627", "museum": "Museo Nacional del Prado, Madrid", "license": "Public domain", "tier": "Entry", "sizes": [{"size": "8×10 in", "paper": 39, "iw": 7.0, "ih": 10, "sw": 8, "sh": 10, "cov": 0.881}], "local": "/store/display/ribalta_christ_embracing_saint_bernard.jpg", "commons_file": "Francisco Ribalta 001.jpg", "zoom": "https://art.monstrance.app/zoom/ribalta_christ_embracing_saint_bernard.jpg", "master_px": 3051, "auth": {"institution": "Museo Nacional del Prado", "accession": "P002804", "url": "https://www.museodelprado.es/en/the-collection/art-work/christ-embracing-saint-bernard/f878e05f-b1b9-4cb0-b182-152e611bcec5", "artist_as_printed": "Francisco Ribalta", "date_as_printed": "1625 - 1627", "medium": "Oil; Canvas", "dimensions": "Height: 158 cm; Width: 113 cm"}, "writeup": {"text": "Christ has taken His arms from the Cross, and a monk in white leans into them. Fernando Benito Doménech, writing for the Prado, tells the episode from Ribadeneyra's Flos Sanctorum in which Christ unnailed Himself to embrace Saint Bernard, and reads it as the Christian soul's mystical surrender, given with an overwhelming calm: the monk seems to float weightless in the Saviour's powerful arms, his face happy and full of tenderness. Francisco Ribalta painted it for the charterhouse of Portaceli near Valencia. A low viewpoint makes the pair monumental, and light enters from the left in the tenebrist manner, so only the two of them are lit. The Prado traces the heroic body of Christ to Sebastiano del Piombo. The faces of two angels keep to the dark. The Cross behind them stands empty.", "sources": [{"what": "Fernando Benito Doménech's Prado Enciclopedia entry: painted for the charterhouse of Portaceli near Valencia; illustrates the Christian soul's mystical surrender to Christ with overwhelming calm; the episode from Ribadeneyra's Flos Sanctorum in which Christ unnailed himself from the cross to embrace Bernard; a low viewpoint gives the composition monumentality; light enters from the left in the tenebrist manner so that only Christ and the monk are lit; Bernard seems to float weightless in the Saviour's powerful arms with an expression of happiness charged with tenderness; the faces of two angels barely visible in the dark at right; Christ drawn from Sebastiano del Piombo's archetypes.", "url": "https://www.museodelprado.es/aprende/enciclopedia/voz/cristo-abrazando-a-san-bernardo-francisco-ribalta/a55b7637-a733-4d01-82aa-b684c30fd828", "cite": "Fernando Benito Doménech, 'Cristo abrazando a san Bernardo', Enciclopedia del Museo del Prado, P2804; read 2026-09-24."}, {"what": "The Prado's object page: one of Ribalta's most beautiful late compositions; the figure of Christ adapted from Sebastiano del Piombo's Lamentation (Hermitage), which Ribalta copied twice; body, features, expression and light indebted to Sebastiano. Tombstone: 1625-1627, oil on canvas, 158 x 113 cm, P002804.", "url": "https://www.museodelprado.es/en/the-collection/art-work/christ-embracing-saint-bernard/f878e05f-b1b9-4cb0-b182-152e611bcec5", "cite": "Museo Nacional del Prado, Madrid, 'Christ embracing Saint Bernard', P002804; read 2026-09-24."}]}, "scene": {"why": "THE SAINT IS NOT IN SCRIPTURE. Christ loosing his arms from the cross to embrace Bernard of Clairvaux is the Amplexus, a Cistercian legend of the twelfth century; the abbot appears in no biblical book."}, "th": "/store/thumb/ribalta_christ_embracing_saint_bernard.webp", "more": [{"k": "subject", "n": "Saints in painting", "u": "/editions/subject/saints/", "ids": ["vignon_mary_magdalene_comforted_by_an_angel", "zurbaran_st_serapion", "rubens_saint_teresa_of_avila_interceding_for", "zurbaran_margaret"]}, {"k": "master", "n": "Francisco Ribalta", "u": "/editions/master/francisco-ribalta/", "ids": ["ribalta_st_francis_comforted_by_an_angel_san_fra"]}]}, "ribalta_st_francis_comforted_by_an_angel_san_fra": {"id": "ribalta_st_francis_comforted_by_an_angel_san_fra", "title": "St Francis Comforted by an Angel (San Francisco confortado por un ángel músico)", "artist_line": "Francisco Ribalta (Solsona, Lérida, 1565 - Valencia, 1628)", "artist": "Francisco Ribalta", "date": "Ca. 1620", "museum": "Museo Nacional del Prado, Madrid", "license": "Public domain", "tier": "Entry", "sizes": [{"size": "8×10 in", "paper": 39, "iw": 7.7, "ih": 10, "sw": 8, "sh": 10, "cov": 0.966}], "local": "/store/display/ribalta_st_francis_comforted_by_an_angel_san_fra.jpg", "commons_file": "Ribalta-san francisco-prado.jpg", "zoom": "https://art.monstrance.app/zoom/ribalta_st_francis_comforted_by_an_angel_san_fra.jpg", "master_px": 3051, "auth": {"institution": "Museo Nacional del Prado", "accession": "P001062", "url": "https://www.museodelprado.es/en/the-collection/art-work/saint-francis-comforted-by-an-angel/58e77f48-6be9-43f3-b614-1db9069c084b", "artist_as_printed": "Francisco Ribalta", "date_as_printed": "Ca. 1620", "medium": "Oil; Canvas", "dimensions": "Height: 204 cm; Width: 158 cm"}, "writeup": {"text": "A lamb stands on the rough blanket, and above it an angel plays a lute. Saint Francis sits up barefoot on his bed, hands open, eyes lifted to the music. The Prado tells the episode of a musician angel appearing in the saint's humble cell, and makes light the true protagonist: an unreal light that floods Francis and transforms his everyday room. In the doorway a Franciscan friar comes in at that moment with a minute candle, and Francisco Ribalta, the museum says, presents the apparition as an extraordinary event the friar cannot see. The scene follows a design by Piazza engraved by Sadeler in 1604; Ribalta painted it for the Capuchin convent of La Sangre de Cristo in Valencia. A plain cross hangs on the wall. The friar's candle is all the light he has.", "sources": [{"what": "The Prado's commentary (Spanish): the episode of a musician angel appearing in the saint's humble quarters; the contrast between the monk's tiny candle and the luminous experience flooding Saint Francis; the scene based on a print; unreal light transforming the saint's everyday space; painted for the Capuchin convent of La Sangre de Cristo, Valencia; acquired by Charles IV, who had Vicente López paint a faithful copy for the convent. Tombstone: c. 1620, oil on canvas, 204 x 158 cm, P001062.", "url": "https://www.museodelprado.es/coleccion/obra-de-arte/san-francisco-confortado-por-un-angel-musico/58e77f48-6be9-43f3-b614-1db9069c084b", "cite": "Museo Nacional del Prado, Madrid, 'San Francisco confortado por un ángel músico', P001062; read 2026-09-24."}, {"what": "The Prado's commentary (English): Ribalta presents the angel's apparition as an extraordinary event that the Franciscan friar entering the cell at that moment is unable to see; the scene based on a composition by Piazza engraved by Sadeler in 1604; the contrast between the monk's minute candle and the luminous experience makes light the essential protagonist.", "url": "https://www.museodelprado.es/en/the-collection/art-work/saint-francis-comforted-by-an-angel/58e77f48-6be9-43f3-b614-1db9069c084b", "cite": "Museo Nacional del Prado, Madrid, 'Saint Francis Comforted by an Angel', P001062; read 2026-09-24."}]}, "scene": {"why": "THE SAINT IS NOT IN SCRIPTURE. Francis on his sickbed consoled by an angel playing the viol is told in the Fioretti and by Bonaventure; the episode is Franciscan memory, not a biblical passage."}, "th": "/store/thumb/ribalta_st_francis_comforted_by_an_angel_san_fra.webp", "more": [{"k": "subject", "n": "Saints in painting", "u": "/editions/subject/saints/", "ids": ["vouet_saint_jerome_and_the_angel", "van_dyck_saint_rosalie_interceding_for_the_plague", "ribalta_christ_embracing_saint_bernard", "vignon_mary_magdalene_comforted_by_an_angel"]}, {"k": "master", "n": "Francisco Ribalta", "u": "/editions/master/francisco-ribalta/", "ids": ["ribalta_christ_embracing_saint_bernard"]}]}, "cabrera_allegory_of_the_holy_eucharist_alegoria": {"id": "cabrera_allegory_of_the_holy_eucharist_alegoria", "title": "Allegory of the Holy Eucharist (Alegoría de la Santa Eucaristía)", "artist_line": null, "artist": "Miguel Cabrera", "date": "1750", "museum": "Museo Blaisten - Colección Andres Blaisten", "license": "Public domain", "tier": "Sanctuary", "sizes": [{"size": "18×24 in", "paper": 140, "iw": 17.4, "ih": 24, "sw": 18, "sh": 24, "cov": 0.965}, {"size": "24×36 in", "paper": 190, "iw": 24, "ih": 33.2, "sw": 24, "sh": 36, "cov": 0.921}, {"size": "32×48 in", "paper": 340, "iw": 32, "ih": 44.2, "sw": 32, "sh": 48, "cov": 0.921}, {"size": "40×60 in", "paper": 480, "iw": 40, "ih": 55.3, "sw": 40, "sh": 60, "cov": 0.921}], "local": "/store/display/cabrera_allegory_of_the_holy_eucharist_alegoria.jpg", "commons_file": "Miguel Cabrera - Allegory of the Holy Eucharist - 1750.jpg", "zoom": "https://art.monstrance.app/zoom/cabrera_allegory_of_the_holy_eucharist_alegoria.jpg", "master_px": 15242, "auth": {"institution": "Museo Blaisten - Colección Andrés Blaisten", "accession": "MC001", "url": "https://museoblaisten.com/Obra/1697/Alegoria-de-la-Santa-Eucaristia", "artist_as_printed": "Miguel Cabrera", "date_as_printed": "1750", "medium": "Oleo / lámina de cobre", "dimensions": "43.5 x 33.5 cm"}, "writeup": {"text": "A heart hangs on the Cross, pierced by nails, and a white Host shines at its centre. Above it God the Father opens His arms and the Holy Spirit comes down as a dove; below, a lamb lies at rest, and two more hearts stand in the clouds. The Museo Blaisten publishes no commentary, only the facts: Cabrera, 1750, oil on copper, 43.5 by 33.5 centimetres. Jorge Luis Merlo Solorio argues the title is wrong and it should be the Allegory of the Sacred Heart: crucified with the consent of the Father and the Holy Spirit, Christ's heart immolates itself for universal salvation. All of heaven fits on a sheet of copper.", "sources": [{"what": "Museo Blaisten publishes a ficha técnica only, with no interpretive text: 'Miguel Cabrera', 'Alegoría de la Santa Eucaristía', '1750', 'Óleo / lámina de cobre', '43.5 x 33.5 cm', 'MC001'.", "url": "https://museoblaisten.com/Obra/1697/Alegoria-de-la-Santa-Eucaristia", "cite": "Museo Blaisten (Colección Andrés Blaisten), Mexico City, inv. MC001; read 2026-08-27."}, {"what": "Merlo Solorio: 'En la mal llamada Alegoría de la Santa Eucaristía fechada en 1750 –misma que, al comprender sus particularidades, debería ser retitulada como Alegoría del Sagrado Corazón de Jesús—, Cabrera concibió un organigrama simbólico complejo donde se dan cita varios constructos sapienciales en boga, estandarizados máximamente por los jesuitas.' And: 'Crucificado bajo el consentimiento de Dios padre y el Espíritu Santo, el órgano cordial de Cristo se inmola para dar salvación universal.' Translations from the Spanish are the researcher's.", "url": "https://doi.org/10.30827/quiroga.v0i18.0008", "cite": "Jorge Luis Merlo Solorio (UNAM), 'Miguel Cabrera y las alegorías de los sacros corazones', Quiroga. Revista de patrimonio iberoamericano 18 (2020): 106-117."}]}, "scene": {"why": "AN ALLEGORY, NOT AN EPISODE. Cabrera’s Eucharist is a doctrinal picture — the Host in its monstrance adored by the Trinity, the Virgin and saints across the ages; it narrates no passage and draws its meaning from the theology of the sacrament."}, "th": "/store/thumb/cabrera_allegory_of_the_holy_eucharist_alegoria.webp", "more": [{"k": "subject", "n": "Saints in painting", "u": "/editions/subject/saints/", "ids": ["cabrera_divine_shepherdess_la_divina_pastora", "ingres_joan_of_arc", "bastien_joan_of_arc", "boutet_joan_vision"]}, {"k": "master", "n": "Miguel Cabrera", "u": "/editions/master/miguel-cabrera/", "ids": ["cabrera_divine_shepherdess_la_divina_pastora"]}]}, "cabrera_divine_shepherdess_la_divina_pastora": {"id": "cabrera_divine_shepherdess_la_divina_pastora", "title": "The Divine Shepherdess (La Divina Pastora)", "artist_line": "Miguel Cabrera (Mexico, circa 1710-1768)", "artist": "Miguel Cabrera", "date": "circa 1760", "museum": "Los Angeles County Museum of Art", "license": "Public domain", "tier": "Hero", "sizes": [{"size": "16×20 in", "paper": 110, "iw": 15.2, "ih": 20, "sw": 16, "sh": 20, "cov": 0.948}, {"size": "18×24 in", "paper": 140, "iw": 18, "ih": 23.7, "sw": 18, "sh": 24, "cov": 0.989}], "local": "/store/display/cabrera_divine_shepherdess_la_divina_pastora.jpg", "commons_file": "Miguel Cabrera - The Divine Shepherdess (La divina pastora) - Google Art Project.jpg", "zoom": "https://art.monstrance.app/zoom/cabrera_divine_shepherdess_la_divina_pastora.jpg", "master_px": 7065, "auth": {"institution": "Los Angeles County Museum of Art", "accession": "M.2008.31", "url": "https://collections.lacma.org/object/140735", "artist_as_printed": "Miguel Cabrera (Mexico, circa 1710-1768)", "date_as_printed": "circa 1760", "medium": "Oil on copper, tortoiseshell and bone frame", "dimensions": "Unframed: 9 1/2 × 7 3/16 in. (24.1 × 18.3 cm); framed: 13 1/2 × 11 1/4 × 1 1/8 in. (34.3 × 28.6 × 2.9 cm)"}, "writeup": {"text": "Our Lady sits on a rock in a shepherdess hat, a staff in one hand, and feeds roses to her sheep; two small angels lower a crown over her. Saint Michael comes down for a stray, and the Devil's jaws wait. Ilona Katzew explains for LACMA that in 1703 the Capuchin friar Isidore of Seville commissioned an image of his vision of the Virgin, and his instructions fixed it: red gown, blue mantle, the hat, the rock, the roses, the rescue. Cabrera painted versions large and small; this one is on copper, nine and a half inches high. The lettering beneath names her Divine Shepherdess of souls.", "sources": [{"what": "Ilona Katzew's curatorial text (2024): in 1703 the Capuchin friar Isidore of Seville commissioned a painting of his vision of the Virgin; his instructions called for a red gown, blue mantle and shepherdess hat, seated on a rock feeding roses to her flock, while Saint Michael saved a stray sheep ensnared by the Devil; Miguel Cabrera produced versions large and small; the inscription reads 'The Divine Shepherdess of souls venerated at San Gil in Madrid'. Tombstone: oil on copper, tortoiseshell and bone frame, unframed 9 1/2 x 7 3/16 in.", "url": "https://collections.lacma.org/object/140735", "cite": "Los Angeles County Museum of Art, 'The Divine Shepherdess (La Divina Pastora)', Miguel Cabrera, M.2008.31, curatorial text by Ilona Katzew; read 2026-09-24."}, {"what": "LACMA's record as republished on Google Arts \u0026 Culture: Miguel Cabrera, circa 1760, oil on copper, tortoiseshell and bone frame.", "url": "https://artsandculture.google.com/asset/the-divine-shepherdess-la-divina-pastora/hgEpy1Qs9pCP9Q", "cite": "Los Angeles County Museum of Art via Google Arts \u0026 Culture, 'The Divine Shepherdess (La divina pastora)'; read 2026-09-24."}]}, "scene": {"why": "A DEVOTIONAL TYPE, NOT AN EPISODE. The Divine Shepherdess — the Virgin seated among sheep in a pastoral landscape — was devised by the Capuchin Isidore of Seville in 1703 as an image for preaching; it answers John 10:11 as an emblem, not as a scene."}, "th": "/store/thumb/cabrera_divine_shepherdess_la_divina_pastora.webp", "more": [{"k": "subject", "n": "Saints in painting", "u": "/editions/subject/saints/", "ids": ["ingres_joan_of_arc", "bastien_joan_of_arc", "boutet_joan_vision", "redon_st_sebastian"]}, {"k": "master", "n": "Miguel Cabrera", "u": "/editions/master/miguel-cabrera/", "ids": ["cabrera_allegory_of_the_holy_eucharist_alegoria"]}]}, "ter_brugghen_christ_crowned_with_thorns_kristi_tornek": {"id": "ter_brugghen_christ_crowned_with_thorns_kristi_tornek", "title": "Christ Crowned with Thorns (Kristi Tornekroning)", "artist_line": "Brugghen, Hendrick ter (Hollandsk, 1588–1629)", "artist": "Brugghen, Hendrick ter", "date": "1620", "museum": "Statens Museum for Kunst", "license": "PD/CC0", "tier": "Sanctuary", "sizes": [{"size": "18×24 in", "paper": 140, "iw": 21.0, "ih": 18, "sw": 24, "sh": 18, "cov": 0.873}, {"size": "24×36 in", "paper": 190, "iw": 27.9, "ih": 24, "sw": 36, "sh": 24, "cov": 0.776}, {"size": "32×48 in", "paper": 340, "iw": 37.3, "ih": 32, "sw": 48, "sh": 32, "cov": 0.776}, {"size": "40×60 in", "paper": 480, "iw": 46.6, "ih": 40, "sw": 60, "sh": 40, "cov": 0.776}], "local": "/store/display/ter_brugghen_christ_crowned_with_thorns_kristi_tornek.jpg", "commons_file": "Hendrick Brugghen - Christ Crowned with Thorns (Kristi Tornekroning) - c 1620 - National Gallery of Denmark.jpg", "zoom": "https://art.monstrance.app/zoom/ter_brugghen_christ_crowned_with_thorns_kristi_tornek.jpg", "master_px": 5817, "auth": {"institution": "Statens Museum for Kunst", "accession": "KMSsp365", "url": "https://open.smk.dk/artwork/image/KMSsp365", "artist_as_printed": "Brugghen, Hendrick ter", "date_as_printed": "1620", "medium": "Olie på lærred", "dimensions": "højde 207 cm, bredde 240 cm (Netto, 2070 x 2400 mm); højde 232.6 cm, bredde 273.2 cm, dybde 10.6 cm (Brutto)"}, "writeup": {"text": "Every hand in the room is busy except His. A soldier at the back raises his fist with the stick still in it; another drives a staff down on the crown; an old man kneels close and jeers into His face. Christ sits in red, head bowed under the thorns, feet bare. Karsten Ohrt's text for the Statens Museum for Kunst reads Hendrick ter Brugghen's scene as a story told in hands: a triangle whose peak is that rearmost fist, a line of gripping, striking hands running down the middle. Christ's two do not act. One has fallen between His knees; the other rests bound and slack on His right knee. Eva de la Fuente Pedersen traced the leering faces to late Gothic altarpieces and passion series on paper such as Dürer's. The fluted column behind them, Ohrt adds, stands for strength. Here it is Christ's.", "sources": [{"what": "Karsten Ohrt's SMK catalogue text (2019): a triangular composition whose apex is the rear soldier's right hand holding the stick he struck Christ with; a narrative of hands runs down through the middle of the painting; these active, forceful hands contrast with Christ's two, one fallen between his legs, the other resting on his right knee, bound and hanging slack; the fluted column symbolizes strength, here Christ's. Eva de la Fuente Pedersen's label (2005): the soldiers' mocking faces and angular body language descend from late Gothic altarpieces and printed passion series such as Dürer's.", "url": "https://api.smk.dk/api/v1/art/?object_number=KMSsp365", "cite": "Statens Museum for Kunst, Copenhagen, 'Kristi tornekroning', KMSsp365, label texts by Karsten Ohrt (2019) and Eva de la Fuente Pedersen (2005), SMK open API; read 2026-09-24."}]}, "scene": {"ref": "Matthew 27:29", "quote": "And platting a crown of thorns, they put it upon his head, and a reed in his right hand. And bowing the knee before him, they mocked him, saying: Hail, King of the Jews.", "shows": "the soldiers forcing the crown of thorns onto Christ’s head by lamplight and pressing the reed into his hand"}, "th": "/store/thumb/ter_brugghen_christ_crowned_with_thorns_kristi_tornek.webp", "more": [{"k": "subject", "n": "The Life of Christ in painting", "u": "/editions/subject/the-life-of-christ/", "ids": ["magnasco_christ_at_the_sea_of_galilee", "kramskoy_christ_in_the_wilderness", "hofmann_rich_young_ruler", "vangogh_pieta_after_delacroix"]}]}, "ter_brugghen_crucifixion_with_the_virgin_and_saint_jo": {"id": "ter_brugghen_crucifixion_with_the_virgin_and_saint_jo", "title": "The Crucifixion with the Virgin and Saint John", "artist_line": "Hendrick ter Brugghen (Dutch, The Hague? 1588–1629 Utrecht)", "artist": "Hendrick ter Brugghen", "date": "ca. 1624–25", "museum": "The Metropolitan Museum of Art, New York", "license": "PD/CC0", "tier": "Sanctuary", "sizes": [{"size": "18×24 in", "paper": 140, "iw": 16.1, "ih": 24, "sw": 18, "sh": 24, "cov": 0.894}, {"size": "32×48 in", "paper": 340, "iw": 32, "ih": 47.7, "sw": 32, "sh": 48, "cov": 0.994}], "local": "/store/display/ter_brugghen_crucifixion_with_the_virgin_and_saint_jo.jpg", "commons_file": "Hendrick ter Brugghen The Crucifixion with the Virgin and Saint John.jpg", "zoom": "https://art.monstrance.app/zoom/ter_brugghen_crucifixion_with_the_virgin_and_saint_jo.jpg", "master_px": 5943, "auth": {"institution": "The Metropolitan Museum of Art", "accession": "56.228", "url": "https://www.metmuseum.org/art/collection/search/435817", "artist_as_printed": "Hendrick ter Brugghen", "date_as_printed": "ca. 1624–25", "medium": "Oil on canvas", "dimensions": "61 in. × 40 1/4 in. (154.9 × 102.2 cm)"}, "writeup": {"text": "Two pairs of bare feet stand in the dust, and between them a skull lies at the foot of the Cross. Our Lady presses her hands together at her breast; Saint John, hands clasped too, looks up with his mouth open; Christ hangs between them, blood running from His hands. Hendrick ter Brugghen painted it about 1624-25 and made it look a century older: The Met says the rigorous symmetry, the flat star-studded sky and the contorted, bleeding body deliberately recall early sixteenth-century German painting, coveted by collectors of his day. It was made for a Catholic's private prayer, and the Virgin and John, the museum says, stand in for our own agonised looking. Wayne Franits notes Christ's distinctly greenish flesh and reads the skull and bones as a poignant vanitas. Two of them look up. The third place is yours.", "sources": [{"what": "The Met's label: painted in the seventeenth century, the scene draws on the emotional appeal of earlier religious art to inspire the private prayers of a Catholic viewer; the Virgin and John flanking the cross provide surrogates for the viewer's agonized beholding; the rigorous symmetry, flat star-studded sky and contorted, bleeding body intentionally refer to early sixteenth-century German artists coveted by collectors in ter Brugghen's day. Tombstone: ca. 1624-25, oil on canvas, 154.9 x 102.2 cm, 56.228.", "url": "https://www.metmuseum.org/art/collection/search/435817", "cite": "The Metropolitan Museum of Art, New York, 'The Crucifixion with the Virgin and Saint John', 56.228; read 2026-09-24."}, {"what": "Franits compares the New York and Turin versions: the MMA picture's cloudless, starry sky; Christ's body with a distinctly greenish hue; the skull and bones at the foot of the cross, a poignant vanitas motif in the MMA Crucifixion; Liedtke's view that the MMA picture was destined for a clandestine Catholic church in Utrecht.", "url": "https://jhna.org/articles/hendrick-ter-brugghen-crucifixion-new-york-turin-problem-early-chronology/", "cite": "Wayne Franits, 'Hendrick ter Brugghen's Paintings of the Crucifixion in New York and Turin and the Problem of His Early Chronology', Journal of Historians of Netherlandish Art 9, no. 1 (2017); read 2026-09-24."}]}, "scene": {"ref": "John 19:26", "quote": "When Jesus therefore had seen his mother and the disciple standing whom he loved, he saith to his mother: Woman, behold thy son.", "shows": "the Virgin and John standing at the foot of the cross under a night sky of stars"}, "th": "/store/thumb/ter_brugghen_crucifixion_with_the_virgin_and_saint_jo.webp", "more": [{"k": "subject", "n": "The Crucifixion in painting", "u": "/editions/subject/crucifixion/", "ids": ["velazquez_christ_crucified", "peter_paul_rubens_the_raising_of_the_cross_sketch", "zurbaran_christ_cross", "goya_christ_crucified"]}, {"k": "master", "n": "Hendrick ter Brugghen", "u": "/editions/master/hendrick-ter-brugghen/", "ids": ["ter_brugghen_incredulity_of_thomas"]}]}, "ter_brugghen_incredulity_of_thomas": {"id": "ter_brugghen_incredulity_of_thomas", "title": "The Incredulity of Thomas", "artist_line": "Hendrick ter Brugghen (c. 1588, The Hague – 1629, Utrecht)", "artist": "Hendrick ter Brugghen", "date": "c. 1622", "museum": "Rijksmuseum", "license": "PD/CC0", "tier": "Sanctuary", "sizes": [{"size": "18×24 in", "paper": 140, "iw": 22.8, "ih": 18, "sw": 24, "sh": 18, "cov": 0.95}, {"size": "24×36 in", "paper": 190, "iw": 30.4, "ih": 24, "sw": 36, "sh": 24, "cov": 0.844}, {"size": "32×48 in", "paper": 340, "iw": 40.5, "ih": 32, "sw": 48, "sh": 32, "cov": 0.844}], "local": "/store/display/ter_brugghen_incredulity_of_thomas.jpg", "commons_file": "De ongelovige Thomas Rijksmuseum SK-A-3908.jpeg", "zoom": "https://art.monstrance.app/zoom/ter_brugghen_incredulity_of_thomas.jpg", "master_px": 5754, "auth": {"institution": "Rijksmuseum", "accession": "SK-A-3908", "url": "https://www.rijksmuseum.nl/en/collection/SK-A-3908", "artist_as_printed": "Hendrick ter Brugghen", "date_as_printed": "c. 1622", "medium": "oil on canvas", "dimensions": "support: height 108.8 cm x width 136.5 cm"}, "writeup": {"text": "A finger goes to a wound, and belief comes in through the skin. Christ draws His own garment aside and looks down at the place; a man in red bends in with his forefinger at the opening, and an old man in spectacles leans close, his hand out, near enough to count the knuckles. Two more faces crowd in behind. The Rijksmuseum notes that Thomas's doubts were dispelled only when he had seen and touched the wounds in Christ's side and hands himself, and that Hendrick ter Brugghen, emulating his great model Caravaggio, gave Christ and His followers craggy faces and wrinkled, rough hands. Working hands, all of them, gathered at a door in a body. John ends the story with a blessing on everyone who will never do what Thomas did, which is nearly everyone who has ever lived, and you.", "sources": [{"what": "Rijksmuseum: 'Thomas simply could not believe that Christ had actually risen from the dead. His doubts were dispelled only when he had seen and touched the wounds in Christ's side and hands himself. Emulating his great model Caravaggio, Ter Brugghen portrayed Christ and his followers with craggy faces and wrinkled, rough hands.' That is the whole of the museum's published description - a label, not an essay. Tombstone: c. 1622, oil on canvas, support 108.8 x 136.5 cm, object number SK-A-3908, purchased 1956 with the support of the Stichting tot Bevordering van de Belangen van het Rijksmuseum; rights line 'Public domain'. Confirmed independently through the museum's linked-data record, id.rijksmuseum.nl/20015923. The legacy collection API returns HTTP 410 and is dead. NOT SK-A-2784, which is ter Brugghen's Heraclitus of 1628. Scripture: John 20:24-29, the whole episode; the blessing is verse 29.", "url": "https://www.rijksmuseum.nl/en/collection/object/De-ongelovige-Thomas--13f2b925544f1ad583ecc8c2bd9c2100", "cite": "Rijksmuseum, Amsterdam, 'The Incredulity of St Thomas', SK-A-3908; read 2026-08-27."}]}, "scene": {"ref": "John 20:27", "quote": "Then he said to Thomas: Put in thy finger hither and see my hands. And bring hither the hand and put it into my side. And be not faithless, but believing.", "shows": "Christ guiding Thomas’s finger into the wound in his side as the other apostles lean in"}, "th": "/store/thumb/ter_brugghen_incredulity_of_thomas.webp", "more": [{"k": "master", "n": "Hendrick ter Brugghen", "u": "/editions/master/hendrick-ter-brugghen/", "ids": ["ter_brugghen_crucifixion_with_the_virgin_and_saint_jo"]}]}, "massys_christ_presented_to_the_people_ecce_homo": {"id": "massys_christ_presented_to_the_people_ecce_homo", "title": "Christ Presented to the People (Ecce Homo)", "artist_line": "Quinten Massys (Leuven (France), 1465 - Antwerp (Belgium), 1530)", "artist": "Quinten Massys", "date": "1518 - 1520", "museum": "Museo Nacional del Prado, Madrid", "license": "Public domain", "tier": "Entry", "sizes": [{"size": "8×10 in", "paper": 39, "iw": 7.5, "ih": 10, "sw": 8, "sh": 10, "cov": 0.934}], "local": "/store/display/massys_christ_presented_to_the_people_ecce_homo.jpg", "commons_file": "Cristo presentado al pueblo, por Quinten Massys.jpg", "zoom": "https://art.monstrance.app/zoom/massys_christ_presented_to_the_people_ecce_homo.jpg", "master_px": 2952, "auth": {"institution": "Museo Nacional del Prado", "accession": "P002801", "url": "https://www.museodelprado.es/en/the-collection/art-work/christ-presented-to-the-people/327bed20-74b8-4d08-9bb9-f173ca023ee9", "artist_as_printed": "Quinten Massys", "date_as_printed": "1518 - 1520", "medium": "Oil; Panel", "dimensions": "Height: 160 cm; Width: 120 cm"}, "writeup": {"text": "A rope runs from Christ's neck down to a man's fist at the rail, and His own hands are bound at the wrist. The crown of thorns sits low on His brow and a purple cloak slips from His shoulders; beside Him stands a heavy man in fur and a gold chain, and behind Him mouths hang open. Quinten Massys ran words right round the frame in gold leaf, the Prado records, from Lamentations: O vos omnes qui transitis per viam, attendite et videte si est dolor sicut dolor meus, all you who pass by, look, and see whether there is any sorrow like mine. Then the painter puts you in the street. The viewpoint is high, so you stand behind three men below Pilate's balcony, and one of them, turning from the shouting, seems, the Prado says, to be asking your opinion. The rope is still in that fist.", "sources": [{"what": "Prado, Inscripciones field", "url": "https://www.museodelprado.es/coleccion/obra-de-arte/cristo-presentado-al-pueblo/327bed20-74b8-4d08-9bb9-f173ca023ee9", "cite": "Museo Nacional del Prado, Madrid, 'Cristo presentado al pueblo', P002801; read 2026-08-27."}]}, "scene": {"ref": "John 19:5", "quote": "(Jesus therefore came forth, bearing the crown of thorns and the purple garment.) And he saith to them: Behold the Man.", "shows": "Pilate on the balcony showing the bound, thorn-crowned Christ to the jeering crowd"}, "th": "/store/thumb/massys_christ_presented_to_the_people_ecce_homo.webp", "more": [{"k": "subject", "n": "The Crowning with Thorns in painting", "u": "/editions/subject/crowning-with-thorns/", "ids": ["morales_man_of_sorrows", "morales_ecce_homo", "caravaggio_crowning_thorns", "titian_crowning_thorns"]}, {"k": "master", "n": "Quinten Massys", "u": "/editions/master/quinten-massys/", "ids": ["quinten_massys_the_virgin_and_child_enthroned"]}]}, "geertgen_nativity_at_night": {"id": "geertgen_nativity_at_night", "title": "The Nativity at Night", "artist_line": "Geertgen tot Sint Jans (About 1455/65, died about 1485/95)", "artist": "Geertgen tot Sint Jans", "date": "Possibly about 1490", "museum": "The National Gallery, London", "license": "Public domain", "tier": "Sanctuary", "sizes": [{"size": "8×10 in", "paper": 39, "iw": 7.4, "ih": 10, "sw": 8, "sh": 10, "cov": 0.927}, {"size": "11×14 in", "paper": 59, "iw": 10.4, "ih": 14, "sw": 11, "sh": 14, "cov": 0.944}, {"size": "16×20 in", "paper": 110, "iw": 14.8, "ih": 20, "sw": 16, "sh": 20, "cov": 0.927}, {"size": "18×24 in", "paper": 140, "iw": 17.8, "ih": 24, "sw": 18, "sh": 24, "cov": 0.989}, {"size": "24×36 in", "paper": 190, "iw": 24, "ih": 32.4, "sw": 24, "sh": 36, "cov": 0.899}, {"size": "32×48 in", "paper": 340, "iw": 32, "ih": 43.2, "sw": 32, "sh": 48, "cov": 0.899}], "local": "/store/display/geertgen_nativity_at_night.jpg", "commons_file": "Geertgen tot Sint Jans - Nativity, at Night - WGA08514.jpg", "zoom": "https://art.monstrance.app/zoom/geertgen_nativity_at_night.jpg", "master_px": 6000, "auth": {"institution": "The National Gallery, London", "accession": "NG4081", "url": "https://www.nationalgallery.org.uk/paintings/geertgen-tot-sint-jans-the-nativity-at-night", "artist_as_printed": "Geertgen tot Sint Jans", "date_as_printed": "Possibly about 1490", "medium": "Oil on wood (probably oak)", "dimensions": "34 × 25.3 cm"}, "writeup": {"text": "The Child lies in the manger and the light comes off Him: onto the Virgin's face, the small angels, the ox. The National Gallery counts three lights, the Child, the angel in the sky and the shepherds' fire on the hill, and links it to Saint Bridget of Sweden's vision, in which Our Lady gave birth to her Son, from whom radiated such an ineffable light that the sun was not comparable to it. Lorne Campbell traces Geertgen tot Sint Jans's design, reversed, to a lost Nativity by Hugo van der Goes. The Virgin's blue has darkened almost to black. One small Child keeps the stable lit.", "sources": [{"what": "The National Gallery: the radiance from the Christ Child forms 'a pocket of light in the darkness, creating a sense of intimacy and awe'; the Child, the shepherds' fire and the angel are distinguished as separate light sources; the conception is linked to Saint Bridget of Sweden's vision, 'she gave birth to her son, from whom radiated such an ineffable light and splendour, that the sun was not comparable to it'. The Virgin's blue drapery has darkened to near black.", "url": "https://www.nationalgallery.org.uk/paintings/geertgen-tot-sint-jans-the-nativity-at-night", "cite": "The National Gallery, London, 'The Nativity at Night', NG4081, bought 1925; object page read 2026-08-27."}, {"what": "Campbell: 'The composition of NG 4081 is taken in reverse from a lost Nativity known from many versions and considered to have been painted by Hugo van der Goes,' and 'The idea of the night scene lit by the divine light of the Child and the angel in the sky and by the earthly light of the shepherds' fire was not Geertgen's own but Hugo's.'", "url": "https://www.nationalgallery.org.uk/paintings/catalogues/campbell-1998/the-nativity-at-night", "cite": "Lorne Campbell, 'The Nativity at Night', in National Gallery Catalogues: The Fifteenth Century Netherlandish Paintings (London: National Gallery, 1998)."}]}, "scene": {"ref": "Luke 2:7", "quote": "And she brought forth her first born son and wrapped him up in swaddling clothes and laid him in a manger: because there was no room for them in the inn.", "shows": "the Virgin kneeling over the newborn Child in the manger, the only light in the dark stable coming from him"}, "th": "/store/thumb/geertgen_nativity_at_night.webp", "more": [{"k": "subject", "n": "The Nativity in painting", "u": "/editions/subject/nativity/", "ids": ["botticelli_mystic_nativity", "lorenzo_lotto_the_nativity", "pieter_bruegel_the_elder_the_census_at_bethlehem", "piero_nativity"]}, {"k": "master", "n": "Geertgen tot Sint Jans", "u": "/editions/master/geertgen-tot-sint-jans/", "ids": ["geertgen_glorification_of_the_virgin"]}]}, "geertgen_man_of_sorrows_man_van_smarten": {"id": "geertgen_man_of_sorrows_man_van_smarten", "title": "Man of Sorrows (Man van Smarten)", "artist_line": "Geertgen tot Sint Jans (schilder) (ca. 1465 – ca. 1495)", "artist": "Geertgen tot Sint Jans (schilder)", "date": "1485 - 1494", "museum": "Museum Catharijneconvent", "license": "PD/CC0", "tier": "Hero", "sizes": [{"size": "11×14 in", "paper": 59, "iw": 10.7, "ih": 11, "sw": 14, "sh": 11, "cov": 0.767}, {"size": "18×24 in", "paper": 140, "iw": 17.6, "ih": 18, "sw": 24, "sh": 18, "cov": 0.732}], "local": "/store/display/geertgen_man_of_sorrows_man_van_smarten.jpg", "commons_file": "MCC-42539 Man van Smarten (4).tif", "zoom": "https://art.monstrance.app/zoom/geertgen_man_of_sorrows_man_van_smarten.jpg", "master_px": 3332, "auth": {"institution": "Museum Catharijneconvent", "accession": "ABM s63", "url": "https://adlib.catharijneconvent.nl/Details/collect/42539", "artist_as_printed": "Geertgen tot Sint Jans (schilder)", "date_as_printed": "1485 - 1494", "medium": "paneel, olieverf", "dimensions": "24.5 cm × 24.0 cm × 35.0 cm × 34.0 cm × 3.5 cm"}, "writeup": {"text": "The back of this panel is painted too. Utrecht's record ends on fragments of an imitation stone finish on the reverse — a small gold-ground picture finished on both faces, because it was an object before it was an image. On the front Christ stands in the sarcophagus, knees bent, holding his own wound open and looking straight out at you. Mary is held up by John. Angels carry the nails, the sponge and the lance.", "sources": [{"what": "Museum Catharijneconvent", "url": "https://adlib.catharijneconvent.nl/Details/collect/42539", "cite": "Museum Catharijneconvent, Utrecht, 'Man van Smarten', ABM s63; read 2026-08-27."}, {"what": "A study devoted to this panel.", "url": "https://artibusethistoriae.org/chapter600.html", "cite": "John R. Decker, 'Engendering Contrition, Wounding the Soul: Geertgen tot Sint Jans' Man of Sorrows', Artibus et Historiae 29, no. 57 (2008): 59-74."}]}, "scene": {"why": "THE MAN OF SORROWS IS A DEVOTIONAL TYPE, NOT AN EPISODE. Christ stands in the tomb bearing the cross and showing his wounds, the Virgin, John and the Magdalene weeping and angels holding the instruments of the Passion — every moment at once, for prayer, not one moment narrated."}, "th": "/store/thumb/geertgen_man_of_sorrows_man_van_smarten.webp", "more": [{"k": "subject", "n": "The Crowning with Thorns in painting", "u": "/editions/subject/crowning-with-thorns/", "ids": ["aelbrecht_bouts_christ_with_the_crown_of_thorns_man_of_s", "grunewald_mocking_of_christ_verspottung_christi", "bosch_christ_mocked_the_crowning_with_thorns", "massys_christ_presented_to_the_people_ecce_homo"]}]}, "vouet_saint_jerome_and_the_angel": {"id": "vouet_saint_jerome_and_the_angel", "title": "Saint Jerome and the Angel", "artist_line": "Simon Vouet (French, 1590 - 1649)", "artist": "Simon Vouet", "date": "c. 1622/1625", "museum": "National Gallery of Art, Washington", "license": "PD/CC0", "tier": "Sanctuary", "sizes": [{"size": "18×24 in", "paper": 140, "iw": 22.6, "ih": 18, "sw": 24, "sh": 18, "cov": 0.944}, {"size": "24×36 in", "paper": 190, "iw": 30.2, "ih": 24, "sw": 36, "sh": 24, "cov": 0.839}, {"size": "32×48 in", "paper": 340, "iw": 40.3, "ih": 32, "sw": 48, "sh": 32, "cov": 0.839}, {"size": "40×60 in", "paper": 480, "iw": 50.3, "ih": 40, "sw": 60, "sh": 40, "cov": 0.839}], "local": "/store/display/vouet_saint_jerome_and_the_angel.jpg", "commons_file": null, "zoom": "https://art.monstrance.app/zoom/vouet_saint_jerome_and_the_angel.jpg", "master_px": 23242, "auth": {"institution": "National Gallery of Art, Washington", "accession": "1961.9.52", "url": "https://www.nga.gov/artworks/46151-saint-jerome-and-angel", "artist_as_printed": "Simon Vouet", "date_as_printed": "c. 1622/1625", "medium": "oil on canvas", "dimensions": "overall: 144.8 x 179.8 cm (57 x 70 13/16 in.)"}, "writeup": {"text": "A golden horn comes over the old man's shoulder, right at his ear. The angel who holds it has snow-white wings and curly hair, and with the other hand points off to our left, beyond the edge of the canvas. Saint Jerome turns his head to look, the pen still on the page, his free hand thrown open. The National Gallery of Art's own description lists the desk: a crumpled cloth on a book, a rust-brown ball, spectacles, an inkpot, an hourglass, a second book. Simon Vouet painted it about 1622 to 1625, and the Gallery's provenance quotes a Barberini inventory of 1692 to 1704 that already knew it by that one detail, a Saint Jerome with an angel holding a trumpet. The sentence waits under his pen. The trumpet is at his ear.", "sources": [{"what": "The National Gallery of Art's own CC0 descriptive text, from the assistivetext column of published_images.csv in its open-data repository: 'He looks over his right shoulder at the curly-haired angel with snow-white wings... With arms lifted, one hand gestures with a slightly crooked finger, pointing beyond the picture's border to our left. In the other hand, the angel holds a golden horn in the dusky background behind the man's left shoulder... On the desk closest to us are a crumpled cloth on a book, a shiny rust-brown ball, a pair of eyeglasses, an inkpot, an hourglass, and a second book.' The Gallery's provenance quotes the Barberini inventory of 1692/1704", "url": "https://www.nga.gov/artworks/46151-saint-jerome-and-angel", "cite": "National Gallery of Art, Washington, 'Saint Jerome and the Angel', accession 1961.9.52, with the descriptive text from the Gallery's own open-data file published_images.csv; read 2026-08-27."}, {"what": "The Gallery's own systematic-catalogue entry on this canvas, as listed in its published bibliography.", "url": "https://www.nga.gov/artworks/46151-saint-jerome-and-angel", "cite": "Philip Conisbee et al., French Paintings of the Fifteenth through the Eighteenth Century, The Collections of the National Gallery of Art Systematic Catalogue (Washington, 2009), no. 96, pp. 455-460."}]}, "scene": {"why": "THE SAINT IS NOT IN SCRIPTURE. Jerome at his desk startled by the angel with the trumpet of the Last Judgment is a legend of the Doctor of the Church, dead in 420; the scene comes from his hagiography, not from any biblical page."}, "th": "/store/thumb/vouet_saint_jerome_and_the_angel.webp", "more": [{"k": "subject", "n": "Saints in painting", "u": "/editions/subject/saints/", "ids": ["van_dyck_saint_rosalie_interceding_for_the_plague", "ribalta_christ_embracing_saint_bernard", "vignon_mary_magdalene_comforted_by_an_angel", "zurbaran_st_serapion"]}]}, "le_sueur_der_heilige_bruno_im_gebet_saint_bruno_i": {"id": "le_sueur_der_heilige_bruno_im_gebet_saint_bruno_i", "title": "Der heilige Bruno im Gebet (Saint Bruno in Prayer)", "artist_line": "Eustache Le Sueur (1616 - 1655), Maler*in (1616 - 1655)", "artist": "Eustache Le Sueur (1616 - 1655), Maler*in", "date": "1650", "museum": "Gemäldegalerie, Berlin", "license": "PD/CC0", "tier": "Sanctuary", "sizes": [{"size": "18×24 in", "paper": 140, "iw": 17.9, "ih": 24, "sw": 18, "sh": 24, "cov": 0.995}, {"size": "24×36 in", "paper": 190, "iw": 24, "ih": 32.2, "sw": 24, "sh": 36, "cov": 0.894}, {"size": "32×48 in", "paper": 340, "iw": 32, "ih": 42.9, "sw": 32, "sh": 48, "cov": 0.894}, {"size": "40×60 in", "paper": 480, "iw": 40, "ih": 53.6, "sw": 40, "sh": 60, "cov": 0.894}], "local": "/store/display/le_sueur_der_heilige_bruno_im_gebet_saint_bruno_i.jpg", "commons_file": "Le Sueur, Eustache - Der heilige Bruno im Gebet - Gemäldegalerie Berlin.jpg", "zoom": "https://art.monstrance.app/zoom/le_sueur_der_heilige_bruno_im_gebet_saint_bruno_i.jpg", "master_px": 9088, "auth": {"institution": "Staatliche Museen zu Berlin, Gemäldegalerie", "accession": "Ident. Nr.: 466", "url": "https://search.smb.museum/object/obj-864832", "artist_as_printed": "Eustache Le Sueur (1616 - 1655), Maler*in", "date_as_printed": "Ausführung: 1650", "medium": "Leinwand", "dimensions": "Bildmaß: 196,2 x 143,3 cm"}, "writeup": {"text": "Saint Bruno kneels on a low wooden step, arms folded over his breast, head bowed toward a crucifix and a skull on the table. Through the open door a garden lies in its rows. The Berlin Gemäldegalerie sees him as a slender figure in profile, and finds Le Sueur's talent as a still-life painter in the objects gathered in the cell under hard light: the big books, the hourglass, the crucifix, the console table, comparable to the Strasbourg specialist Sebastian Stosskopf. The museum sets the work nearer Philippe de Champaigne's realism than his teacher Vouet's Baroque, and calls its reality rather cold. The cross waits on the table.", "sources": [{"what": "The Gemäldegalerie's text (German): a high point of Le Sueur's work; scarcely any trace of his teacher Simon Vouet, who became fully Baroque after returning from Italy; closer to the realism of Philippe de Champaigne, though the Berlin picture shows a rather cold, artificial reality; Le Sueur's talent as a still-life painter visible in the objects gathered in the cell and offered to view under hard light; the large books, hourglass, crucifix and console table comparable to the Strasbourg specialist Sebastian Stosskopf; the slender profile figure of the saint close to Lubin Baugin. Tombstone: 1650, 196.2 x 143.3 cm, Ident. Nr. 466.", "url": "https://search.smb.museum/object/obj-864832", "cite": "Gemäldegalerie, Staatliche Museen zu Berlin, 'Der heilige Bruno im Gebet', Ident. Nr. 466; read 2026-09-24."}, {"what": "The same Gemäldegalerie text republished on Google Arts \u0026 Culture with the museum's record: St. Bruno in Prayer, circa 1650, canvas.", "url": "https://artsandculture.google.com/asset/st-bruno-in-prayer-eustache-le-sueur/swFxvsfiAxUUdQ", "cite": "Gemäldegalerie, Staatliche Museen zu Berlin via Google Arts \u0026 Culture, 'St. Bruno in Prayer'; read 2026-09-24."}]}, "scene": {"why": "THE SAINT IS NOT IN SCRIPTURE. Bruno of Cologne, founder of the Carthusians, died in 1101; Le Sueur’s cycle for the Paris charterhouse follows his Life, and no biblical book names him."}, "th": "/store/thumb/le_sueur_der_heilige_bruno_im_gebet_saint_bruno_i.webp", "more": [{"k": "subject", "n": "Saints in painting", "u": "/editions/subject/saints/", "ids": ["zurbaran_st_francis", "dolci_mater_dolorosa", "dolci_saint_catherine_of_siena", "murillo_saint_rose_of_lima"]}]}, "dolci_saint_catherine_of_siena": {"id": "dolci_saint_catherine_of_siena", "title": "Saint Catherine of Siena", "artist_line": "Carlo Dolci (the Florentine artist Carlo Dolci (1616-1686))", "artist": "Carlo Dolci", "date": "c. 1665–70", "museum": "Dulwich Picture Gallery", "license": "Public domain", "tier": "Entry", "sizes": [{"size": "8×10 in", "paper": 39, "iw": 8, "ih": 9.8, "sw": 8, "sh": 10, "cov": 0.985}], "local": "/store/display/dolci_saint_catherine_of_siena.jpg", "commons_file": "Dolci, Carlo - St. Catherine of Siena - Google Art Project.jpg", "zoom": "https://art.monstrance.app/zoom/dolci_saint_catherine_of_siena.jpg", "master_px": 2919, "auth": {"institution": "Dulwich Picture Gallery", "accession": "DPG242", "url": "https://www.dulwichpicturegallery.org.uk/explore-the-collection/201-250/saint-catherine-of-siena/", "artist_as_printed": "Carlo Dolci", "date_as_printed": "c. 1665–70", "medium": "Oil on Cedar panel", "dimensions": "24.4 x 18.1 cm"}, "writeup": {"text": "Two crowns were held out to Catherine, and she took the one that cuts. Carlo Dolci sets it on her black veil, the thorns standing up like a small hedge, and lets one glass-like tear rest on her cheek. Dulwich Picture Gallery tells the vision: at twenty-eight she saw Christ ask her to choose between a golden crown, ensuring riches in her earthly life, and a crown of thorns, guaranteeing glory in heaven. She wears the habit of a Dominican tertiary, her gaze cast down. Strong light from the right, Dulwich notes, gives her pale skin the look of alabaster. The tear does not fall.", "sources": [{"what": "Dulwich's label: Catherine wears a crown of thorns from a vision at 28, in which Christ asked her to choose between a golden crown, ensuring riches in her earthly life, and the crown of thorns, guaranteeing glory in heaven; Dolci shows her in deep contemplation, gaze downcast, a single glass-like tear on her cheek; strong directional light from the right and pale, alabaster-like skin give an almost sculptural appearance. Tombstone: c. 1665-70, oil on cedar panel, 24.4 x 18.1 cm, DPG242.", "url": "https://www.dulwichpicturegallery.org.uk/explore/explore-the-collection/saint-catherine-of-siena/", "cite": "Dulwich Picture Gallery, London, 'Saint Catherine of Siena', Carlo Dolci, DPG242; read 2026-09-24."}, {"what": "Dulwich's text on Google Arts \u0026 Culture: Dolci's works highly detailed, small in scale and intensely devotional; Catherine a fourteenth-century mystic and lay Dominican; shown in the habit of a Dominican tertiary with the crown of thorns she chose over a crown of gold.", "url": "https://artsandculture.google.com/asset/QQFOH0vgXG7ylw", "cite": "Dulwich Picture Gallery via Google Arts \u0026 Culture, 'St. Catherine of Siena', Carlo Dolci; read 2026-09-24."}]}, "scene": {"why": "THE SAINT IS NOT IN SCRIPTURE. Catherine of Siena, crowned with thorns in Dolci’s small panel, died in 1380; her crown of thorns is the vision told by Raymond of Capua, her confessor and biographer, not an event in any biblical book."}, "th": "/store/thumb/dolci_saint_catherine_of_siena.webp", "more": [{"k": "subject", "n": "Saints in painting", "u": "/editions/subject/saints/", "ids": ["murillo_saint_rose_of_lima", "panini_pantheon", "tiepolo_the_vision_of_saint_cajetan", "cabrera_allegory_of_the_holy_eucharist_alegoria"]}, {"k": "master", "n": "Carlo Dolci", "u": "/editions/master/carlo-dolci/", "ids": ["dolci_adoration_of_the_shepherds", "dolci_adoration_of_the_kings", "dolci_mater_dolorosa"]}]}, "joos_van_cleve_last_judgment": {"id": "joos_van_cleve_last_judgment", "title": "The Last Judgment", "artist_line": "Joos van Cleve (Netherlandish, Cleve ca. 1485–1540/41 Antwerp)", "artist": "Joos van Cleve", "date": "ca. 1525–30", "museum": "The Metropolitan Museum of Art, New York", "license": "PD/CC0", "tier": "Mid", "sizes": [{"size": "11×14 in", "paper": 59, "iw": 9.7, "ih": 14, "sw": 11, "sh": 14, "cov": 0.884}], "local": "/store/display/joos_van_cleve_last_judgment.jpg", "commons_file": null, "zoom": "https://art.monstrance.app/zoom/joos_van_cleve_last_judgment.jpg", "master_px": 3569, "auth": {"institution": "The Metropolitan Museum of Art, New York", "accession": "40.174.1", "url": "https://www.metmuseum.org/art/collection/search/436794", "artist_as_printed": "Joos van Cleve", "date_as_printed": "ca. 1525–30", "medium": "Oil on wood", "dimensions": "48 3/4 x 34 in. (123.8 x 86.4 cm)"}, "writeup": {"text": "Two angels blow long trumpets across an open sky, and the grass below fills with naked bodies. Above them Christ sits on a cloud in a red mantle, one hand raised and one held out. The Metropolitan Museum of Art says these angels link heaven and earth; that Christ blesses the saved at lower left while Saint Michael shepherds the damned into a hell burning in the distance at the right; that the nudes reflect Joos van Cleve's study of prints after Raphael; and that the figure of Christ seems inspired by the ancient Laocoon. Between the two crowds a winged figure with a sword stands alone on the field.", "sources": [{"what": "The Met: 'This majestic scene is divided into heavenly and earthly zones, which are linked by two hovering angels blowing trumpets. Christ appears at the moment of judgment in a burst of light and color, surrounded by clouds and putti and flanked by the apostles. He blesses the saved, shown at lower left, while Saint Michael shepherds the damned into hell burning in the distance at the right. The nudes in the foreground reflect the artist's study of prints after Raphael's designs, and the figure of Christ seems to be inspired by the famous ancient sculpture of the Laocoon.' Tombstone: ca. 1525-30, oil on wood, 48 3/4 x 34 in., Bequest of Mr. and Mrs. Graham F. Blandy, accession 40.174.1, objectID 436794, Public Domain. The scene is Matthew 25:31-46; the Met itself cites no verse.", "url": "https://www.metmuseum.org/art/collection/search/436794", "cite": "The Metropolitan Museum of Art, New York, 'The Last Judgment', accession 40.174.1; read 2026-08-27."}]}, "scene": {"ref": "Matthew 25:32", "quote": "And all nations shall be gathered together before him: and he shall separate them one from another, as the shepherd separateth the sheep from the goats:", "shows": "Christ enthroned on the rainbow with the sword and the lily, the dead rising below him to be divided"}, "th": "/store/thumb/joos_van_cleve_last_judgment.webp", "more": [{"k": "subject", "n": "The Last Judgment in painting", "u": "/editions/subject/last-judgment/", "ids": ["michelangelo_last_judgment", "rubens_last_judgment", "master_of_1549_the_last_judgment", "angelico_last_judgment"]}]}, "geertgen_glorification_of_the_virgin": {"id": "geertgen_glorification_of_the_virgin", "title": "The Glorification of the Virgin", "artist_line": "Geertgen tot Sint Jans (circa 1455/1465 - circa 1485/1495)", "artist": "Geertgen tot Sint Jans", "date": "in 1490 - 1495", "museum": "Museum Boijmans Van Beuningen", "license": "Public domain", "tier": "Sanctuary", "sizes": [{"size": "18×24 in", "paper": 140, "iw": 18.0, "ih": 24, "sw": 18, "sh": 24, "cov": 0.998}, {"size": "24×36 in", "paper": 190, "iw": 24, "ih": 32.1, "sw": 24, "sh": 36, "cov": 0.89}, {"size": "32×48 in", "paper": 340, "iw": 32, "ih": 42.7, "sw": 32, "sh": 48, "cov": 0.89}, {"size": "40×60 in", "paper": 480, "iw": 40, "ih": 53.4, "sw": 40, "sh": 60, "cov": 0.89}], "local": "/store/display/geertgen_glorification_of_the_virgin.jpg", "commons_file": "Geertgen tot Sint Jans - The Glorification of the Virgin - Google Art Project.jpg", "zoom": "https://art.monstrance.app/zoom/geertgen_glorification_of_the_virgin.jpg", "master_px": 9010, "auth": {"institution": "Museum Boijmans Van Beuningen", "accession": "2450 (OK)", "url": "https://www.boijmans.nl/en/collection/artworks/3730/the-glorification-of-the-virgin", "artist_as_printed": "Geertgen tot Sint Jans", "date_as_printed": "in 1490 - 1495", "medium": "Oil on panel", "dimensions": "Height 24,5 cm Width 20,5 cm"}, "writeup": {"text": "A sickle moon, and pressed flat beneath it, a dragon. Our Lady sits on the moon in red, crowned, and the dark around her is full of wings. Some fifty angels turn in rings, by the count of Küçükşen Öner, Yıldırım and Şen: the outer ring plays lutes, viols, trumpets and bagpipes, and six in the second carry the hammer, the crown of thorns, the column and the nails. Museum Boijmans Van Beuningen reads the vision from the Revelation of Saint John, and records that Geertgen tot Sint Jans made it as half of a diptych whose crucifixion is now in Edinburgh. Music and the Passion keep one orbit.", "sources": [{"what": "Boijmans: 'The vision shows Mary seated on the moon sickle and crushing the dragon under it. She is circled by angels with musical instruments and the instruments of the passion… This depiction of Mary refers to the Revelations of St. John 12:1: And there appeared a great wonder in heaven; a woman clothed with the sun, and the moon under her feet… The panel was originally part of a diptych. The other panel is in Edinburgh and depicts the crucifixion of Christ.'", "url": "https://www.boijmans.nl/en/collection/artworks/3730/the-glorification-of-the-virgin", "cite": "Museum Boijmans Van Beuningen, Rotterdam, 'The Glorification of the Virgin', 2450 (OK); read 2026-08-27."}, {"what": "Küçükşen Öner, Yıldırım and Şen count roughly fifty angels in concentric rings, the outermost carrying period instruments — 'lutes, viols, double flutes, trumpets, drums, bells, horns, bagpipes, lyres' — and six angels in the second ring carrying the instruments of the Passion (hammer, crown of thorns, scourging column, nails); they read the garland beneath the crown as a rosary pattern and the picture as an invitation to Rosary prayer.", "url": "https://doi.org/10.70916/buefd.1745321", "cite": "Ferhunde Küçükşen Öner, Esra Yıldırım and Dicle Şen, 'Geertgen tot Sint Jans'ın Meryem'in Yüceltilmesi Adlı Eserinin…', Bartın Üniversitesi Edebiyat Fakültesi Dergisi 10, no. 2 (2025): 3-22. Translations from the Turkish are the researcher's."}]}, "scene": {"why": "NOT A NARRATIVE SCENE. Geertgen sets the Virgin and Child in a mandorla of light, the moon beneath her feet, ringed by angels playing every instrument; the iconography borrows the woman of Apocalypse 12:1, but that passage is a type applied to her, not a description of this picture, and citing it as the scene would misrepresent both."}, "th": "/store/thumb/geertgen_glorification_of_the_virgin.webp", "more": [{"k": "subject", "n": "The Life of the Virgin in painting", "u": "/editions/subject/the-life-of-the-virgin/", "ids": ["rubens_the_education_of_the_virgin", "zurbaran_young_virgin", "tiepolo_the_miracle_of_the_holy_house_of_loret", "giotto_the_entombment_of_mary"]}, {"k": "master", "n": "Geertgen tot Sint Jans", "u": "/editions/master/geertgen-tot-sint-jans/", "ids": ["geertgen_nativity_at_night"]}]}, "gentile_bellini_procession_in_piazza_san_marco": {"id": "gentile_bellini_procession_in_piazza_san_marco", "title": "Procession in Piazza San Marco", "artist_line": null, "artist": "Gentile Bellini", "date": "1496", "museum": "Gallerie dell'Accademia", "license": "Public domain", "tier": "Sanctuary", "sizes": [{"size": "18×24 in", "paper": 140, "iw": 24, "ih": 11.8, "sw": 24, "sh": 18, "cov": 0.655}, {"size": "16×32 in", "paper": 150, "iw": 32, "ih": 15.7, "sw": 32, "sh": 16, "cov": 0.983}, {"size": "20×40 in", "paper": 180, "iw": 40, "ih": 19.7, "sw": 40, "sh": 20, "cov": 0.983}, {"size": "24×36 in", "paper": 190, "iw": 36, "ih": 17.7, "sw": 36, "sh": 24, "cov": 0.737}, {"size": "32×48 in", "paper": 340, "iw": 48, "ih": 23.6, "sw": 48, "sh": 32, "cov": 0.737}], "local": "/store/display/gentile_bellini_procession_in_piazza_san_marco.jpg", "commons_file": "Accademia - Procession in piazza San Marco by Gentile Bellini.jpg", "zoom": "https://art.monstrance.app/zoom/gentile_bellini_procession_in_piazza_san_marco.jpg", "master_px": 7010, "auth": {"institution": "Gallerie dell'Accademia di Venezia (record in the Italian Ministry of Culture's Catalogo generale dei Beni Culturali)", "accession": "567", "url": "https://catalogo.beniculturali.it/detail/HistoricOrArtisticProperty/0500402058", "artist_as_printed": "Bellini Gentile (1432 Ca./ 1507)", "date_as_printed": "1496", "medium": "Tela", "dimensions": "Altezza: 373 Larghezza: 745"}, "writeup": {"text": "A gold reliquary crosses the square among men in white, and what it holds, in Letha Ch'ien's account, is a fragment of the True Cross, the treasure of the Scuola Grande di San Giovanni Evangelista. The brothers cross the foreground like a classical frieze, she writes, with the heavy candlesticks that were among their largest expenses. San Marco stands behind them in gold. Ch'ien names a kneeling man in the crowd as Jacopo de' Salis, a merchant from Brescia who came home to find his son recovered the day of the procession. Gentile Bellini sets the whole city behind one father's prayer.", "sources": [{"what": "Gallerie dell'Accademia print a tombstone record only, with no interpretive text: 'Autore: Gentile Bellini - Venezia, 1429 - 1507 / Titolo: Processione in piazza San Marco / Stato: In restauro / Catalogo: 567 / Supporto: Tela, cm 373 x 745 / Provenienza: Acquisizione a seguito delle soppressioni napoleoniche, 1820 / Sala: Sala XX (chiusa al pubblico)'. The museum prints no date.", "url": "https://www.gallerieaccademia.it/processione-piazza-san-marco", "cite": "Gallerie dell'Accademia di Venezia, 'Processione in piazza San Marco', Catalogo 567; read 2026-08-27."}, {"what": "Ch'ien: 'Inside the reliquary was the Scuola Grande di San Giovanni Evangelista's prize possession: a relic of a fragment of the True Cross.' In 1414 'four members of the Scuola Grande di San Giovanni Evangelista decided to commission a series of narrative paintings relating miracles the relic had performed.' 'Confraternity members would have known… that the kneeling man was Jacopo de' Salis, a merchant from Brescia… When he returned home, he learned his son had recovered miraculously the day of the procession.' 'The procession continues across the foreground like a classical frieze. Members… wearing white confraternal robes carry heavy doppieri, the candlesticks that formed a large part of the brotherhood's expenses.'", "url": "https://smarthistory.org/gentile-bellini-procession-piazza-san-marco/", "cite": "Dr. Letha Ch'ien, 'Gentile Bellini, Procession in Piazza San Marco', Smarthistory, 17 December 2025."}]}, "scene": {"why": "NOT A SCENE IN SCRIPTURE. Bellini records the procession of the relic of the True Cross across Piazza San Marco on 25 April 1444, the day a Brescian merchant’s prayer to it healed his son; a Venetian civic and devotional event, not a biblical episode."}, "th": "/store/thumb/gentile_bellini_procession_in_piazza_san_marco.webp", "more": [{"k": "subject", "n": "Saints in painting", "u": "/editions/subject/saints/", "ids": ["cima_saint_jerome_in_the_wilderness", "hieronymus_bosch_st_christopher_carrying_the_christ_child", "titian_jacopo_pesaro_presented_to_saint_peter", "bellini_gentile_saint_mark_preaching_in_alexandria"]}]}, "zurbaran_young_virgin": {"id": "zurbaran_young_virgin", "title": "The Young Virgin", "artist_line": "Francisco de Zurbarán (Spanish, Fuente de Cantos 1598–1664 Madrid)", "artist": "Francisco de Zurbarán", "date": "ca. 1632–33", "museum": "The Metropolitan Museum of Art, New York", "license": "PD/CC0", "tier": "Mid", "sizes": [{"size": "11×14 in", "paper": 59, "iw": 11, "ih": 13.9, "sw": 11, "sh": 14, "cov": 0.991}], "local": "/store/display/zurbaran_young_virgin.jpg", "commons_file": "The Young Virgin MET DT17.jpg", "zoom": "https://art.monstrance.app/zoom/zurbaran_young_virgin.jpg", "master_px": 3508, "auth": {"institution": "The Metropolitan Museum of Art, New York", "accession": "27.137", "url": "https://www.metmuseum.org/art/collection/search/437971", "artist_as_printed": "Francisco de Zurbarán (Spanish, Fuente de Cantos 1598–1664 Madrid)", "date_as_printed": "ca. 1632–33", "medium": "Oil on canvas", "dimensions": "46 x 37 in. (116.8 x 94 cm)"}, "writeup": {"text": "Our Lady is a small girl on her knees, her hands folded over a cushion of unfinished needlework, and her eyes go up. Lilies and roses stand in a vase at her side; a clay cup, a basket of white linen, a closed book on a stool. The Metropolitan Museum tells the medieval legend that Mary lived as a child in the Temple, praying and sewing vestments, and that such paintings were models for girls. Her large, upturned eyes, the Met says, meet heaven's blessing through ethereal angels. It credits the work's force to Zurbarán the still-life painter, to his calculated use of the empty spaces between simple objects, and to pottery and textiles from the Seville of his day that join the divine and the everyday. The Church keeps her Presentation on 21 November. The work waits in her lap while she prays.", "sources": [{"what": "The Met's label: by a medieval legend Mary lived in the Temple as a child, praying and sewing vestments; such paintings served as models for girls; her large, upturned eyes met with heaven's blessing through ethereal angels; the work's success owed to Zurbarán's originality as a still-life painter and his calculated use of empty, in-between spaces as much as the objects; pottery and textiles from contemporary Seville link the divine and the everyday. Tombstone: ca. 1632-33, oil on canvas, 116.8 x 94 cm, 27.137.", "url": "https://www.metmuseum.org/art/collection/search/437971", "cite": "The Metropolitan Museum of Art, New York, 'The Young Virgin', 27.137; read 2026-09-24."}, {"what": "Franciscan Media on the Presentation of the Blessed Virgin Mary: kept on November 21; celebrated in Jerusalem in the sixth century, in the West from the eleventh century and a feast of the universal Church from the sixteenth; the Protoevangelium of James tells that Anna and Joachim offered Mary to God in the Temple.", "url": "https://www.franciscanmedia.org/saint-of-the-day/presentation-of-the-blessed-virgin-mary/", "cite": "Franciscan Media, Saint of the Day, 'Presentation of the Blessed Virgin Mary'; read 2026-09-24."}]}, "scene": {"why": "NOT A NARRATIVE SCENE. The child Mary pausing from her sewing to pray comes from the Protoevangelium of James and from the devotional tradition of her upbringing in the Temple; no canonical book describes her childhood."}, "th": "/store/thumb/zurbaran_young_virgin.webp", "more": [{"k": "subject", "n": "The Life of the Virgin in painting", "u": "/editions/subject/the-life-of-the-virgin/", "ids": ["tiepolo_the_miracle_of_the_holy_house_of_loret", "giotto_the_entombment_of_mary", "goes_the_death_of_the_virgin", "geertgen_glorification_of_the_virgin"]}, {"k": "master", "n": "Francisco de Zurbarán", "u": "/editions/master/francisco-de-zurbaran/", "ids": ["francisco_de_zurbaran_st_francis_contemplating_a_skull", "zurbaran_agnus_dei", "zurbaran_casilda", "zurbaran_christ_cross"]}]}, "zurbaran_saint_francis_of_assisi_in_his_tomb": {"id": "zurbaran_saint_francis_of_assisi_in_his_tomb", "title": "Saint Francis of Assisi in His Tomb", "artist_line": "Francisco de Zurbarán (Spanish, 1598–1664)", "artist": "Francisco de Zurbarán", "date": "1630/34", "museum": "Milwaukee Art Museum", "license": "Public domain", "tier": "Mid", "sizes": [{"size": "11×14 in", "paper": 59, "iw": 7.6, "ih": 14, "sw": 11, "sh": 14, "cov": 0.694}], "local": "/store/display/zurbaran_saint_francis_of_assisi_in_his_tomb.jpg", "commons_file": "Francisco de Zurbarán - Saint Francis of Assisi in His Tomb, 1630-34.jpg", "zoom": "https://art.monstrance.app/zoom/zurbaran_saint_francis_of_assisi_in_his_tomb.jpg", "master_px": 3600, "auth": {"institution": "Milwaukee Art Museum", "accession": "M1958.70", "url": "https://collection.mam.org/details.php?id=9041", "artist_as_printed": "Francisco de Zurbarán (Spanish, 1598–1664)", "date_as_printed": "1630/34", "medium": "Oil on canvas", "dimensions": "80 5/8 × 44 5/8 in. (204.79 × 113.35 cm)"}, "writeup": {"text": "A friar stands in the dark holding a skull against his chest, and his face is gone under his hood. One bare foot shows beneath the wool. Zurbarán paints Francis as a pope was said to have found him: the Milwaukee Art Museum gives the legend, popular in the seventeenth century, that when Nicholas V visited the burial crypt at Assisi in 1449 the saint's uncorrupted, motionless body appeared above his coffin. The museum describes him standing full-length and life-size in Franciscan wool, a high peaked cowl casting his face into darkness, the stigmata on hands, feet and chest, a shaft of light on the skull he clutches. Few Baroque works, it says, address reality and illusion, substance and shadow, life and death so poignantly. Long dead, he is still holding his death with both hands.", "sources": [{"what": "Milwaukee Art Museum's label: inspired by a legend popular in the seventeenth century, that the saint's uncorrupted, motionless body appeared above his coffin when Pope Nicholas V visited the burial crypt at Assisi in 1449; the saint stands before us full-length, life-size, in Franciscan wool; a high, peaked cowl casts his face into darkness; a shaft of light; the golden skull he clutches to his chest; stigmata on hands, feet and chest; few Baroque works so poignantly address reality and illusion, substance and shadow, life and death. Tombstone: 1630/34, oil on canvas, 204.79 x 113.35 cm, M1958.70.", "url": "https://collection.mam.org/details.php?id=9041", "cite": "Milwaukee Art Museum, 'Saint Francis of Assisi in His Tomb', M1958.70; read 2026-09-24."}, {"what": "Milwaukee Art Museum's record on Google Arts \u0026 Culture: Francisco de Zurbarán, Saint Francis of Assisi in His Tomb, 1630/34, oil on canvas, 80 5/8 x 44 5/8 in.", "url": "https://artsandculture.google.com/asset/saint-francis-of-assisi-in-his-tomb-francisco-de-zurbarán/CgGlsnsHvUA1DQ", "cite": "Milwaukee Art Museum via Google Arts \u0026 Culture, 'Saint Francis of Assisi in His Tomb'; read 2026-09-24."}]}, "scene": {"why": "THE SAINT IS NOT IN SCRIPTURE. Francis standing incorrupt in his tomb is the legend of Pope Nicholas V’s visit to the crypt at Assisi in 1449, as painted for the Spanish Franciscans; no biblical book names Francis."}, "th": "/store/thumb/zurbaran_saint_francis_of_assisi_in_his_tomb.webp", "more": [{"k": "subject", "n": "Saints in painting", "u": "/editions/subject/saints/", "ids": ["rubens_saint_francis_receiving_the_stigmata", "francisco_de_zurbaran_st_francis_contemplating_a_skull", "la_tour_magdalen_flame", "zurbaran_casilda"]}, {"k": "master", "n": "Francisco de Zurbarán", "u": "/editions/master/francisco-de-zurbaran/", "ids": ["zurbaran_immaculate", "zurbaran_young_virgin", "francisco_de_zurbaran_st_francis_contemplating_a_skull", "zurbaran_agnus_dei"]}]}, "aelbrecht_bouts_christ_with_the_crown_of_thorns_man_of_s": {"id": "aelbrecht_bouts_christ_with_the_crown_of_thorns_man_of_s", "title": "Christ with the Crown of Thorns (Man of Sorrows)", "artist_line": null, "artist": "Albert Bouts", "date": "c. 1500–1520", "museum": "Slovenská národná galéria, SNG", "license": "PD/CC0", "tier": "Sanctuary", "sizes": [{"size": "18×24 in", "paper": 140, "iw": 18.0, "ih": 24, "sw": 18, "sh": 24, "cov": 0.998}, {"size": "32×48 in", "paper": 340, "iw": 32, "ih": 42.7, "sw": 32, "sh": 48, "cov": 0.891}], "local": "/store/display/aelbrecht_bouts_christ_with_the_crown_of_thorns_man_of_s.jpg", "commons_file": "Albert Bouts - Christ with the Crown of Thorns (Tortured Christ) - O 550 - Slovak National Gallery.jpg", "zoom": "https://art.monstrance.app/zoom/aelbrecht_bouts_christ_with_the_crown_of_thorns_man_of_s.jpg", "master_px": 7630, "auth": {"institution": "Slovenská národná galéria, SNG", "accession": "O 550", "url": "https://www.webumenia.sk/dielo/SVK:SNG.O_550", "artist_as_printed": "Albert Bouts", "date_as_printed": "16. storočie, prvá tretina, 1500 – 1520", "medium": "drevo, tempera", "dimensions": "výška 36.6 cm, šírka 28.7 cm"}, "writeup": {"text": "Blood and tears run down Christ's face, and His eyes stay open. The thorns sit low on the brow; both hands come up, open, the wounds showing. Katarína Bajcurová, writing for the Slovak National Gallery, reads the blood as the Passion recalled and the tears, crystalline under heavy lids, as grief over His Mother's suffering. She explains that Aelbrecht Bouts made such diptychs for private prayer, Christ crowned with thorns on the left wing and the lamenting, praying Virgin on the right. This one survives, she notes, as the left wing of a probable diptych. The Mother He weeps for is missing, and the place beside Him stands open.", "sources": [{"what": "Katarína Bajcurová's catalogue text for the Slovak National Gallery: Albert Bouts's diptychs carried Christ crowned with thorns on the left wing and the lamenting, praying Virgin on the right, for private prayer; the blood recalls the Passion and the tears grief over the mother's suffering; this panel survives as the left part of a probable diptych; crystalline tears, heavy lids, wounds on the hands", "url": "https://www.webumenia.sk/en/dielo/SVK:SNG.O_550", "cite": "Slovenská národná galéria, Albert Bouts, 'Christ with the Crown of Thorns', O 550, catalogue text by Katarína Bajcurová, read 2026-09-24"}]}, "scene": {"why": "THE MAN OF SORROWS IS A DEVOTIONAL TYPE, NOT AN EPISODE. Aelbrecht Bouts shows Christ half-length with the crown of thorns, eyes lowered, outside any moment of the Passion — an image for private prayer that no evangelist narrates."}, "th": "/store/thumb/aelbrecht_bouts_christ_with_the_crown_of_thorns_man_of_s.webp", "more": [{"k": "subject", "n": "The Crowning with Thorns in painting", "u": "/editions/subject/crowning-with-thorns/", "ids": ["grunewald_mocking_of_christ_verspottung_christi", "bosch_christ_mocked_the_crowning_with_thorns", "massys_christ_presented_to_the_people_ecce_homo", "morales_man_of_sorrows"]}]}, "giovanni_di_paolo_saint_catherine_of_siena_exchanging_her": {"id": "giovanni_di_paolo_saint_catherine_of_siena_exchanging_her", "title": "Saint Catherine of Siena Exchanging Her Heart with Christ", "artist_line": "Giovanni di Paolo (Giovanni di Paolo di Grazia) (Italian, Siena 1398–1482 Siena)", "artist": "Giovanni di Paolo (Giovanni di Paolo di Grazia)", "date": "after 1461", "museum": "The Metropolitan Museum of Art, New York", "license": "PD/CC0", "tier": "Mid", "sizes": [{"size": "11×14 in", "paper": 59, "iw": 10.7, "ih": 14, "sw": 11, "sh": 14, "cov": 0.976}], "local": "/store/display/giovanni_di_paolo_saint_catherine_of_siena_exchanging_her.jpg", "commons_file": "Saint Catherine of Siena Exchanging Her Heart with Christ MET DT508.jpg", "zoom": "https://art.monstrance.app/zoom/giovanni_di_paolo_saint_catherine_of_siena_exchanging_her.jpg", "master_px": 3504, "auth": {"institution": "The Metropolitan Museum of Art, New York", "accession": "1997.117.3", "url": "https://www.metmuseum.org/art/collection/search/438022", "artist_as_printed": "Giovanni di Paolo (Giovanni di Paolo di Grazia)", "medium": "Tempera and gold on wood", "dimensions": "Overall, with added strips, 11 3/4 x 9 1/2 in. (29.8 x 24.1 cm); painted surface 11 3/8 x 8 7/8 in. (28.9 x 22.5 cm)"}, "writeup": {"text": "Saint Catherine kneels on a small cloud between the houses and holds up a heart, red and dripping. Christ looks out of a burst of gold above the roofs, and rays run down from His hand to her. One heart has gone; one has come. The Metropolitan Museum places the scene in the first extensive narrative cycle of her life, based on the biography by her confessor Raymond of Capua and commissioned after her canonization in 1461 for the foot of a large altarpiece. The Met notes the way Giovanni di Paolo manipulates space to enhance the mystic character of his subject. The town goes on around one exchange.", "sources": [{"what": "The Met's object description: the panel belongs to a series from the base (predella) of a large altarpiece, the first extensive narrative cycle of Catherine of Siena; commissioned after her canonization in 1461, based on the biography by her confessor Raymond of Capua; 'the way space is manipulated to enhance the mystic character of their subject'. Tombstone: tempera and gold on wood, overall with added strips 11 3/4 x 9 1/2 in., 1997.117.3.", "url": "https://www.metmuseum.org/art/collection/search/438022", "cite": "The Metropolitan Museum of Art, 'Saint Catherine of Siena Exchanging Her Heart with Christ', Giovanni di Paolo, 1997.117.3; read 2026-09-24"}, {"what": "The Met's catalogue text for a companion panel of the same series: the panels, based on the biography Raymond of Capua wrote in 1385, are the first complete pictorial cycle of Catherine's life; the series, including 1997.117.3, may have been produced after her canonization in 1461 and added as a predella to a preexisting altarpiece, possibly the one commissioned by the Pizzicaiuoli guild in 1447 for Santa Maria della Scala, Siena.", "url": "https://www.metmuseum.org/art/collection/search/458974", "cite": "The Metropolitan Museum of Art, Robert Lehman Collection, 'Saint Catherine of Siena Receiving the Stigmata', Giovanni di Paolo, ca. 1447–65 (objectID 458974); read 2026-09-24"}]}, "scene": {"why": "THE SAINT IS NOT IN SCRIPTURE. Catherine of Siena receiving Christ’s heart in place of her own is told by Raymond of Capua in the Legenda maior; the panel follows her biographer, not a biblical book."}, "th": "/store/thumb/giovanni_di_paolo_saint_catherine_of_siena_exchanging_her.webp", "more": [{"k": "subject", "n": "Saints in painting", "u": "/editions/subject/saints/", "ids": ["gozzoli_feast_of_herod_and_the_beheading_of_sain", "lippi_the_funeral_of_saint_stephen", "benaglio_saint_jerome", "ercole_de_roberti_st_jerome_in_the_wilderness"]}, {"k": "master", "n": "Giovanni di Paolo (Giovanni di Paolo di Grazia)", "u": "/editions/master/giovanni-di-paolo-giovanni-di-paolo-di-grazia/", "ids": ["giovanni_di_paolo_creation_of_the_world_and_the_expulsion", "giovanni_di_paolo_paradise", "giovanni_di_paolo_miraculous_communion_of_saint_catherine"]}]}, "bosch_christs_descent_into_hell": {"id": "bosch_christs_descent_into_hell", "title": "Christ's Descent into Hell", "artist_line": "Follower of Hieronymus Bosch (Netherlandish, second quarter 16th century)", "artist": "Follower of Hieronymus Bosch", "date": "second quarter 16th century", "museum": "The Metropolitan Museum of Art, New York", "license": "PD/CC0", "tier": "Mid", "sizes": [{"size": "11×14 in", "paper": 59, "iw": 14, "ih": 6.4, "sw": 14, "sh": 11, "cov": 0.582}], "local": "/store/display/bosch_christs_descent_into_hell.jpg", "commons_file": "Christ's Descent into Hell MET DP-1207-001.jpg", "zoom": "https://art.monstrance.app/zoom/bosch_christs_descent_into_hell.jpg", "master_px": 3788, "auth": {"institution": "The Metropolitan Museum of Art, New York", "accession": "26.244", "url": "https://www.metmuseum.org/art/collection/search/435725", "artist_as_printed": "Follower of Hieronymus Bosch (Netherlandish, second quarter 16th century)", "medium": "Oil on wood", "dimensions": "21 x 46 in. (53.3 x 116.8 cm)"}, "writeup": {"text": "Fires on the horizon, a broken white head lying in black water, bones on the plain. Into this, the Met says, Christ comes to break the gates of hell and rescue the souls of the just, and it names who is waiting. Adam and Eve kneel in supplication on top of a ruined tower. Behind them figures from the Hebrew Bible climb out of the depths: Abraham and Isaac with the ram, and Noah carrying a model of his ark. A follower of Hieronymus Bosch painted it. The Harrowing appears in no gospel. It is in the Creed, and the first parents wait at the top of the wreckage.", "sources": [{"what": "The Met: 'Bosch's fiery hell scenes were enormously popular throughout Europe in the sixteenth century, inspiring many imitators. A vast, desolate landscape with a burning city at the right and a bone-littered plain at the left is the setting for this nightmarish vision in which Christ breaks down the gates of hell to rescue the souls of the just. Gesturing in supplication toward him, Adam and Eve kneel on top of a ruined tower. Behind them, figures from the Hebrew Bible climb the winding stairs out of the depths of hell, among them Abraham and Isaac with the sacrificial ram and Noah with a model of the ark.' ATTRIBUTION: the Met's artist string is 'Follower of Hieronymus Bosch (Netherlandish, second quarter 16th century)' - artistPrefix 'Follower of' in the API. The bio dates belong to the follower; Bosch died in 1516. Tombstone: oil on wood, 21 x 46 in. (53.3 x 116.8 cm), Harris Brisbane Dick Fund 1926, accession 26.244, objectID 435725, Public Domain; the Met PRINTS NO DATE, bracketing it 1550-1560 in the API only. Scripture: the Harrowing is not in any gospel. Its narrative source is the apocryphal Gospel of Nicodemus (Descensus Christi ad Inferos); its creedal source is the Apostles' Creed, descendit ad inferos. Canonical echoes read as supporting it: 1 Peter 3:18-20 and 4:6, Ephesians 4:8-10, Acts 2:24-31.", "url": "https://www.metmuseum.org/art/collection/search/435725", "cite": "The Metropolitan Museum of Art, New York, 'Christ's Descent into Hell', Follower of Hieronymus Bosch, accession 26.244; read 2026-08-27."}]}, "scene": {"ref": "1 Peter 3:19", "quote": "In which also coming he preached to those spirits that were in prison:", "shows": "Christ descending among fires and demons to free the souls held in the prison of hell"}, "th": "/store/thumb/bosch_christs_descent_into_hell.webp", "more": [{"k": "subject", "n": "The Life of Christ in painting", "u": "/editions/subject/the-life-of-christ/", "ids": ["correa_christ_gathering_his_garments_after_the_flagellat", "gozzoli_raising_of_lazarus", "giotto_scrovegni_chapel_washing_of_the_feet", "giovanni_di_paolo_paradise"]}]}, "giotto_scrovegni_chapel_flight_into_egypt": {"id": "giotto_scrovegni_chapel_flight_into_egypt", "title": "Scrovegni Chapel: Flight into Egypt", "artist_line": null, "artist": "Giotto di Bondone", "date": "c. 1303–05", "museum": "Cappella degli Scrovegni (Arena Chapel), Musei Civici di Padova", "license": "Public domain", "tier": "Entry", "sizes": [{"size": "8×10 in", "paper": 39, "iw": 7.9, "ih": 8, "sw": 10, "sh": 8, "cov": 0.785}], "local": "/store/display/giotto_scrovegni_chapel_flight_into_egypt.jpg", "commons_file": "Giotto di Bondone 030.jpg", "zoom": "https://art.monstrance.app/zoom/giotto_scrovegni_chapel_flight_into_egypt.jpg", "master_px": 2062, "auth": {"institution": "Cappella degli Scrovegni (Arena Chapel), Musei Civici di Padova", "accession": "S.n.", "url": "https://cappellascrovegni.padovamusei.it/it/collezioni/vita-cristo/fuga-egitto", "artist_as_printed": "Giotto di Bondone", "date_as_printed": "XIV, inizio sec.", "medium": "Affresco", "dimensions": "Altezza: 203 cm ca.; Larghezza: 200 cm ca."}, "writeup": {"text": "An angel wakes Joseph in the night and the family leaves before dawn. Giotto's revolution in this chapel was not perspective alone but people — the holder's own account puts it on the representation of man in his physicality and his feeling — and the Flight is the quiet before the worst thing in the cycle. It is not opposite the Massacre of the Innocents. It is immediately beside it, on the same wall, in the same row.", "sources": [{"what": "Cappella degli Scrovegni official site", "url": "https://www.cappelladegliscrovegni.it/index.php/it/la-cappella-di-giotto", "cite": "Cappella degli Scrovegni official site (Comune di Padova), with the tombstone from the Musei Civici di Padova's licensed imaging partner; read 2026-08-27."}]}, "scene": {"ref": "Matthew 2:14", "quote": "Who arose, and took the child and his mother by night, and retired into Egypt: and he was there until the death of Herod:", "shows": "the Virgin and Child on the donkey led by Joseph across a rocky landscape, an angel pointing the way"}, "th": "/store/thumb/giotto_scrovegni_chapel_flight_into_egypt.webp", "more": [{"k": "subject", "n": "The Flight into Egypt in painting", "u": "/editions/subject/flight-into-egypt/", "ids": ["gerard_david_rest_on_the_flight_into_egypt", "caravaggio_rest_flight", "van_dyck_rest_on_the_flight_into_egypt_madonna_wi", "claude_lorrain_rest_on_the_flight_into_egypt"]}, {"k": "master", "n": "Giotto di Bondone", "u": "/editions/master/giotto-di-bondone/", "ids": ["giotto_scrovegni_chapel_massacre_of_the_innocen", "giotto_scrovegni_chapel_washing_of_the_feet"]}]}, "giotto_scrovegni_chapel_massacre_of_the_innocen": {"id": "giotto_scrovegni_chapel_massacre_of_the_innocen", "title": "Scrovegni Chapel: Massacre of the Innocents", "artist_line": null, "artist": "Giotto di Bondone", "date": "c. 1303–05", "museum": "Cappella degli Scrovegni (Arena Chapel), Musei Civici di Padova", "license": "Public domain", "tier": "Entry", "sizes": [{"size": "8×10 in", "paper": 39, "iw": 7.9, "ih": 8, "sw": 10, "sh": 8, "cov": 0.791}], "local": "/store/display/giotto_scrovegni_chapel_massacre_of_the_innocen.jpg", "commons_file": "Giotto di Bondone - No. 21 Scenes from the Life of Christ - 5. Massacre of the Innocents - .jpg", "zoom": "https://art.monstrance.app/zoom/giotto_scrovegni_chapel_massacre_of_the_innocen.jpg", "master_px": 2047, "auth": {"institution": "Cappella degli Scrovegni (Arena Chapel), Musei Civici di Padova", "accession": "S.n.", "url": "https://cappellascrovegni.padovamusei.it/it/collezioni/vita-cristo/strage-innocenti", "artist_as_printed": "Giotto di Bondone", "date_as_printed": "XIV, inizio sec.", "medium": "Affresco", "dimensions": "Altezza: 203 cm ca.; Larghezza: 200 cm ca."}, "writeup": {"text": "Out of thirty-nine scenes, the chapel's own custodians name two for their feeling — the tenderness of a kiss at the Golden Gate, and this: the despair of the weeping mothers. Herod gives the order from a balcony at the upper left and the soldiers carry it out below him, and Giotto puts the whole weight of the picture on the women. Matthew ends the passage by quoting Jeremiah: Rachel refusing to be comforted.", "sources": [{"what": "Cappella degli Scrovegni official site", "url": "https://www.cappelladegliscrovegni.it/index.php/it/la-cappella-di-giotto", "cite": "Cappella degli Scrovegni official site (Comune di Padova), with Utpictura18 (Aix-Marseille Université) notice 7108 and the tombstone from the Musei Civici's licensed imaging partner; read 2026-08-27."}]}, "scene": {"ref": "Matthew 2:16", "quote": "Then Herod perceiving that he was deluded by the wise men, was exceeding angry: and sending killed all the menchildren that were in Bethlehem, and in all the borders thereof, from two years old and under, according to the time which he had diligently inquired of the wise men.", "shows": "Herod’s soldiers killing the children before their mothers beneath the king’s balcony"}, "th": "/store/thumb/giotto_scrovegni_chapel_massacre_of_the_innocen.webp", "more": [{"k": "master", "n": "Giotto di Bondone", "u": "/editions/master/giotto-di-bondone/", "ids": ["giotto_scrovegni_chapel_washing_of_the_feet", "giotto_scrovegni_chapel_flight_into_egypt"]}]}, "giotto_scrovegni_chapel_washing_of_the_feet": {"id": "giotto_scrovegni_chapel_washing_of_the_feet", "title": "Scrovegni Chapel: Washing of the Feet", "artist_line": null, "artist": "Giotto di Bondone", "date": "c. 1303–05", "museum": "Cappella degli Scrovegni (Arena Chapel), Musei Civici di Padova", "license": "Public domain (photo CC BY-SA 4.0)", "tier": "Entry", "sizes": [{"size": "8×10 in", "paper": 39, "iw": 8.3, "ih": 8, "sw": 10, "sh": 8, "cov": 0.825}], "local": "/store/display/giotto_scrovegni_chapel_washing_of_the_feet.jpg", "commons_file": "Washing of the Feet - Capella dei Scrovegni - Padua 2016.jpg", "zoom": "https://art.monstrance.app/zoom/giotto_scrovegni_chapel_washing_of_the_feet.jpg", "master_px": 2624, "auth": {"institution": "Cappella degli Scrovegni (Arena Chapel), Musei Civici di Padova", "accession": "S.n.", "url": "https://cappellascrovegni.padovamusei.it/it/collezioni/vita-cristo/lavanda-piedi", "artist_as_printed": "Giotto", "date_as_printed": "XIV, inizio sec.", "medium": "Affresco", "dimensions": "Altezza: 200 cm ca.; Larghezza: 200 cm ca."}, "writeup": {"text": "Christ kneels on the floor at a disciple's bare foot, and the basin waits beside Him. On the left an old man loosens his sandal; another disciple stands holding a jug; a pair of sandals already lies on the floor. The Lord of the room is the one kneeling lowest. Peter would refuse, then give in. When the Istituto Centrale per il Restauro worked on these walls in 2001 and 2002, it reported that Giotto used true fresco together with tempera, lime secco, Roman stucco and oil on one surface, the oldest known case. Every method he had went to Our Lord kneeling at another man's feet.", "sources": [{"what": "Ministero della Cultura communique on the Istituto Centrale per il Restauro campaign of 3 July 2001 to 18 March 2002", "url": "https://cultura.gov.it/comunicato/giotto-e-la-cappella-scrovegni-restauro-dei-dipinti-murali", "cite": "Ministero della Cultura, communiqué on the Istituto Centrale per il Restauro's 2001-2002 restoration of the Scrovegni murals, with the tombstone from the Musei Civici di Padova's licensed imaging partner; read 2026-08-27."}]}, "scene": {"ref": "John 13:5", "quote": "After that, he putteth water into a basin and began to wash the feet of the disciples and to wipe them with the towel wherewith he was girded.", "shows": "Christ kneeling with the basin before Peter, who protests, as the other disciples unlace their sandals"}, "th": "/store/thumb/giotto_scrovegni_chapel_washing_of_the_feet.webp", "more": [{"k": "subject", "n": "The Life of Christ in painting", "u": "/editions/subject/the-life-of-christ/", "ids": ["giovanni_di_paolo_paradise", "koerbecke_the_ascension", "bermejo_descent_of_christ_into_limbo", "bergognone_christ_risen_from_the_tomb"]}, {"k": "master", "n": "Giotto di Bondone", "u": "/editions/master/giotto-di-bondone/", "ids": ["giotto_scrovegni_chapel_flight_into_egypt", "giotto_scrovegni_chapel_massacre_of_the_innocen"]}]}, "durer_saint_jerome_in_his_study": {"id": "durer_saint_jerome_in_his_study", "title": "Saint Jerome in His Study", "artist_line": "Albrecht Dürer (German, 1471–1528)", "artist": "Albrecht Dürer", "date": "1514", "museum": "Petit Palais, Musée des Beaux-Arts de la Ville de Paris", "license": "PD/CC0", "tier": "Hero", "sizes": [{"size": "16×20 in", "paper": 110, "iw": 15.1, "ih": 20, "sw": 16, "sh": 20, "cov": 0.945}, {"size": "18×24 in", "paper": 140, "iw": 18, "ih": 23.8, "sw": 18, "sh": 24, "cov": 0.992}, {"size": "24×36 in", "paper": 190, "iw": 24, "ih": 31.7, "sw": 24, "sh": 36, "cov": 0.882}], "local": "/store/display/durer_saint_jerome_in_his_study.jpg", "commons_file": "Saint Jérôme dans sa cellule (Bartsch 60), GDUT3995.jpg", "zoom": "https://art.monstrance.app/zoom/durer_saint_jerome_in_his_study.jpg", "master_px": 6486, "auth": {"institution": "Petit Palais, Musée des Beaux-Arts de la Ville de Paris", "url": "https://www.parismuseescollections.paris.fr/fr/petit-palais/oeuvres/saint-jerome-dans-sa-cellule-bartsch-60", "artist_as_printed": "Dürer, Albrecht (Nuremberg, 27–05–1471 - Nuremberg, 05–04–1528), graveur", "date_as_printed": "En 1514", "medium": "Engraving on paper", "dimensions": "Hauteur : 24.7 cm ; Largeur : 18.8 cm"}, "writeup": {"text": "The lion sleeps on the floorboards with the dog beside him, and neither minds the other. Above them Jerome bends to his slanted writing table, and the room holds two lights: the sun through the round panes of the windows, and the light of his halo. The Met's curators find the two in perfect equilibrium, with the room's recurring horizontals adding to its repose. Of Albrecht Dürer's three Meisterstiche, the Met calls this the one whose interpretation seems most straightforward: Jerome, translator of the Vulgate and model of the Christian scholar, at work in a study of Dürer's own day. A skull rests on the sill. The hourglass keeps running.", "sources": [{"what": "The Met's description of its impression of the 1514 engraving: of Dürer's three Meisterstiche of 1513 and 1514 the one whose interpretation seems most straightforward; Jerome, translator of the Vulgate and exemplar of the Christian scholar, at a slanted writing table in a study of Dürer's day; lion and dog slumbering in the foreground; the light of the halo and the sunlight through the windows in perfect equilibrium; recurrent horizontals adding to a sense of repose.", "url": "https://www.metmuseum.org/art/collection/search/336229", "cite": "The Metropolitan Museum of Art, 'Saint Jerome in His Study', Albrecht Dürer, 1514, engraving, 19.73.68; read 2026-09-24"}]}, "scene": {"why": "NOT A NARRATIVE SCENE. Jerome at his desk with the lion, the cardinal’s hat and the skull is a devotional portrait of the Doctor of the Church at the work of translation, not an episode Scripture recounts. The attributes are traditional and the scene is not biblical; saying so is more honest than borrowing a verse."}, "th": "/store/thumb/durer_saint_jerome_in_his_study.webp", "more": [{"k": "subject", "n": "Saints in painting", "u": "/editions/subject/saints/", "ids": ["raphael_saint_john_the_baptist_in_the_desert", "raphael_saint_margaret", "raphael_st_michael_satan", "lorenzo_lotto_st_catherine_of_alexandria"]}, {"k": "master", "n": "Albrecht Dürer", "u": "/editions/master/albrecht-durer/", "ids": ["durer_saint_jerome_in_the_wilderness", "albrecht_durer_large_passion_crucifixion", "albrecht_durer_large_passion_flagellation", "durer_saint_michael_fighting_the_dragon"]}]}, "durer_saint_michael_fighting_the_dragon": {"id": "durer_saint_michael_fighting_the_dragon", "title": "Saint Michael Fighting the Dragon", "artist_line": "Albrecht Dürer (German, 1471–1528)", "artist": "Albrecht Dürer", "date": "c. 1498", "museum": "Petit Palais, Musée des Beaux-Arts de la Ville de Paris", "license": "PD/CC0", "tier": "Hero", "sizes": [{"size": "16×20 in", "paper": 110, "iw": 14.4, "ih": 20, "sw": 16, "sh": 20, "cov": 0.898}, {"size": "18×24 in", "paper": 140, "iw": 17.2, "ih": 24, "sw": 18, "sh": 24, "cov": 0.957}], "local": "/store/display/durer_saint_michael_fighting_the_dragon.jpg", "commons_file": "L'Apocalypse (Edition allemande) Saint Michel terrassant le Dragon (Bartsch 72), GDUT4124.jpg", "zoom": "https://art.monstrance.app/zoom/durer_saint_michael_fighting_the_dragon.jpg", "master_px": 5026, "auth": {"institution": "Petit Palais, Musée des Beaux-Arts de la Ville de Paris", "url": "https://www.parismuseescollections.paris.fr/fr/petit-palais/oeuvres/l-apocalypse-edition-allemande-saint-michel-terrassant-le-dragon-bartsch-72", "artist_as_printed": "Dürer, Albrecht (Nuremberg, 27–05–1471 - Nuremberg, 05–04–1528), graveur", "date_as_printed": "c. 1498", "medium": "Woodcut on paper (gravure sur bois, papier)", "dimensions": "Hauteur : 39.2 cm ; Largeur : 28.3 cm"}, "writeup": {"text": "Michael drives his lance straight down, both hands on the shaft, and the sky leans with him. Angels swing a sword and draw a bow; beasts tumble with wings like torn sails, and far below a lake and a small town keep their ordinary day. The Met reads the sheet as Christianity triumphing over evil, Michael and his angels warring in heaven against the seven-headed dragon. It credits the cutting as much: with the Apocalypse series, Albrecht Dürer raised woodcut to the sophistication engraving had reached nearly three decades earlier, lines swelling and tapering into light, dark and space. The boats on the lake never look up.", "sources": [{"what": "The Met's description of the Apocalypse woodcut of Saint Michael (the page's artist line reads 'After Albrecht Dürer'): with the Apocalypse series Dürer raised woodcut to the sophistication engraving had achieved nearly three decades earlier; swelling and tapering lines modulate light and dark and create space; high above a mountainous landscape Christianity triumphs over evil as Michael and his angels war in heaven against the seven-headed dragon.", "url": "https://www.metmuseum.org/art/collection/search/360117", "cite": "The Metropolitan Museum of Art, 'Saint Michael Fighting the Dragon, from \"The Apocalypse\"', 40.139.6(12); read 2026-09-24"}, {"what": "The Met's record of a Dürer impression of the same woodcut, Apocalypse series, artist line Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg).", "url": "https://www.metmuseum.org/art/collection/search/368340", "cite": "The Metropolitan Museum of Art, 'Saint Michael Fighting the Dragon, from \"The Apocalypse\"', 19.73.131; read 2026-09-24"}]}, "scene": {"ref": "Apocalypse 12:7", "quote": "And there was a great battle in heaven: Michael and his angels fought with the dragon, and the dragon fought, and his angels.", "shows": "Michael and his angels fought with the dragon"}, "th": "/store/thumb/durer_saint_michael_fighting_the_dragon.webp", "more": [{"k": "subject", "n": "Angels in painting", "u": "/editions/subject/angels/", "ids": ["albrecht_durer_apocalypse_adoration_of_the_lamb", "titian_the_archangel_raphael_and_tobias", "frans_floris_the_fall_of_the_rebel_angels", "pieter_bruegel_the_elder_the_fall_of_the_rebel_angels"]}, {"k": "master", "n": "Albrecht Dürer", "u": "/editions/master/albrecht-durer/", "ids": ["durer_the_four_horsemen_of_the_apocalypse", "albrecht_durer_the_feast_of_the_rosary", "durer_jesus_among_the_doctors", "albrecht_durer_all_saints_landauer_altarpiece"]}]}, "durer_the_four_horsemen_of_the_apocalypse": {"id": "durer_the_four_horsemen_of_the_apocalypse", "title": "The Four Horsemen of the Apocalypse", "artist_line": "Albrecht Dürer (German, 1471–1528)", "artist": "Albrecht Dürer", "date": "c. 1498", "museum": "Petit Palais, Musée des Beaux-Arts de la Ville de Paris", "license": "PD/CC0", "tier": "Hero", "sizes": [{"size": "8×10 in", "paper": 39, "iw": 7.2, "ih": 10, "sw": 8, "sh": 10, "cov": 0.903}, {"size": "11×14 in", "paper": 59, "iw": 10.1, "ih": 14, "sw": 11, "sh": 14, "cov": 0.919}, {"size": "16×20 in", "paper": 110, "iw": 14.4, "ih": 20, "sw": 16, "sh": 20, "cov": 0.903}, {"size": "18×24 in", "paper": 140, "iw": 17.3, "ih": 24, "sw": 18, "sh": 24, "cov": 0.963}], "local": "/store/display/durer_the_four_horsemen_of_the_apocalypse.jpg", "commons_file": "L'Apocalypse (Edition latine) Les Quatre Cavaliers de l'Apocalypse (Bartsch 64), GDUT4110.jpg", "zoom": "https://art.monstrance.app/zoom/durer_the_four_horsemen_of_the_apocalypse.jpg", "master_px": 4838, "auth": {"institution": "Petit Palais, Musée des Beaux-Arts de la Ville de Paris", "url": "https://www.parismuseescollections.paris.fr/fr/petit-palais/oeuvres/l-apocalypse-edition-latine-les-quatre-cavaliers-de-l-apocalypse-bartsch-64", "artist_as_printed": "Dürer, Albrecht (Nuremberg, 27–05–1471 - Nuremberg, 05–04–1528), graveur", "date_as_printed": "c. 1498", "medium": "Woodcut on paper (gravure sur bois, papier)", "dimensions": "Hauteur : 39.2 cm ; Largeur : 27.9 cm"}, "writeup": {"text": "Four horses come on at a gallop, and nobody on the ground gets clear in time. The Met's curators read Albrecht Dürer's woodcut as a distilled version of the first four seals of Revelation and name the riders left to right: Death on his pale horse, Famine with his scales, War carrying a sword, Plague with bow and crown. Earlier illustrated Bibles, the Met says, made the scene staid; here parallel lines set a middle tone, and against it horses and men overlap on a strong diagonal. An angel flies above them with open wings. At bottom left, the museum notes, the Mouth of Hell opens, ready for victims.", "sources": [{"what": "The Met's description: the third woodcut of Dürer's Apocalypse, a distilled version of Revelation 6:1–8; riders from left to right Death on his pale horse, Famine with his scales, War carrying a sword, Plague (or Pestilence) with bow and crown; parallel lines establish a middle tone against which the forms are silhouetted and overlapped; the Mouth of Hell, ready for victims, opens at bottom left.", "url": "https://www.metmuseum.org/art/collection/search/397057", "cite": "The Metropolitan Museum of Art, 'Four Horsemen of the Apocalypse, from \"The Apocalypse\"', Albrecht Dürer, ca. 1497/1498, 40.139.6(5); read 2026-09-24"}, {"what": "The Met's description of another impression: Dürer transforms 'a relatively staid and unthreatening image in earlier illustrated Bibles', injecting motion and danger; volume and strong diagonal motion of the four horses and riders.", "url": "https://www.metmuseum.org/art/collection/search/336215", "cite": "The Metropolitan Museum of Art, 'The Four Horsemen, from \"The Apocalypse\"', Albrecht Dürer, 1498, 19.73.209; read 2026-09-24"}]}, "scene": {"ref": "Apocalypse 6:8", "quote": "And behold a pale horse: and he that sat upon him, his name was Death. And hell followed him. And power was given to him over the four parts of the earth, to kill with sword, with famine and with death and with the beasts of the earth.", "shows": "the pale horse, and he that sat upon him"}, "th": "/store/thumb/durer_the_four_horsemen_of_the_apocalypse.webp", "more": [{"k": "master", "n": "Albrecht Dürer", "u": "/editions/master/albrecht-durer/", "ids": ["albrecht_durer_the_feast_of_the_rosary", "durer_jesus_among_the_doctors", "albrecht_durer_all_saints_landauer_altarpiece", "albrecht_durer_apocalypse_adoration_of_the_lamb"]}]}, "isenbrant_the_adoration_of_the_shepherds": {"id": "isenbrant_the_adoration_of_the_shepherds", "title": "The Adoration of the Shepherds", "artist_line": "Adriaen Isenbrant (Netherlandish, active 1510–1551)", "artist": "Adriaen Isenbrant", "date": "probably 1520/1540", "museum": "National Gallery of Art, Washington", "license": "PD/CC0", "tier": "Sanctuary", "sizes": [{"size": "8×10 in", "paper": 39, "iw": 7.6, "ih": 10, "sw": 8, "sh": 10, "cov": 0.952}, {"size": "11×14 in", "paper": 59, "iw": 10.7, "ih": 14, "sw": 11, "sh": 14, "cov": 0.97}, {"size": "16×20 in", "paper": 110, "iw": 15.2, "ih": 20, "sw": 16, "sh": 20, "cov": 0.952}, {"size": "18×24 in", "paper": 140, "iw": 18, "ih": 23.6, "sw": 18, "sh": 24, "cov": 0.984}, {"size": "24×36 in", "paper": 190, "iw": 24, "ih": 31.5, "sw": 24, "sh": 36, "cov": 0.875}, {"size": "32×48 in", "paper": 340, "iw": 32, "ih": 42.0, "sw": 32, "sh": 48, "cov": 0.875}, {"size": "40×60 in", "paper": 480, "iw": 40, "ih": 52.5, "sw": 40, "sh": 60, "cov": 0.875}], "local": "/store/display/isenbrant_the_adoration_of_the_shepherds.jpg", "commons_file": null, "zoom": "https://art.monstrance.app/zoom/isenbrant_the_adoration_of_the_shepherds.jpg", "master_px": 24063, "auth": {"institution": "National Gallery of Art, Washington", "accession": "1978.46.1", "url": "https://www.nga.gov/artworks/56668-adoration-shepherds", "artist_as_printed": "Adriaen Isenbrant, Artist, Netherlandish, active 1510 - 1551", "date_as_printed": "probably 1520/1540", "medium": "oil on panel", "dimensions": "overall: 74.6 x 57 cm (29 3/8 x 22 7/16 in.) framed: 93.3 x 74.9 cm (36 3/4 x 29 1/2 in.)"}, "writeup": {"text": "The Child lies on an upturned basket, two small angels kneeling at it, and a bundle of wheat lies on the floor nearby. The shepherds came looking for a manger; Adriaen Isenbrant gives them a basket. The National Gallery of Art, Washington, describes three men in burgundy and black entering the ruin from the left, one with an instrument at his lips, two more kneeling beyond Saint Joseph, and tiny figures dancing round a fire far off. Writing on the motif in general, the Met's Cloisters garden blog recalls that Gregory the Great translated Bethlehem as house of bread. The wheat lies at your feet.", "sources": [{"what": "The NGA's visual description: infant lying on an overturned basket next to a bundle of wheat; three men in burgundy and black entering the ruins from the left, one holding a musical instrument to his lips; two more kneeling beyond Joseph; tiny people walking and dancing around a fire in the background; inscription NSI (the S in reverse) on the square column at right.", "url": "https://www.nga.gov/artworks/56668-adoration-shepherds", "cite": "National Gallery of Art, Washington, 'The Adoration of the Shepherds', Adriaen Isenbrant, acc. 1978.46.1, visual description and inscription; re-read 2026-09-01."}, {"what": "The reading of the wheat: Gregory the Great (Homilia VIII in die Natalis Domini) translated Bethlehem as 'house of bread' and expounded the transformation of the Christ Child from hay into wheat; wheat linked to the Nativity through the symbolism of the Eucharist; Jesus as 'the bread come down from heaven'; the motif traced through Hugo van der Goes and Gerard David. A general essay on the motif, not a text on this panel.", "url": "http://blog.metmuseum.org/cloistersgardens/2012/12/18/bread-from-heaven/", "cite": "Deirdre Larkin, 'Bread from Heaven', The Medieval Garden Enclosed (The Cloisters, Metropolitan Museum of Art), 18 December 2012."}, {"what": "The sign given to the shepherds: the infant wrapped in swaddling clothes and laid in a manger; the shepherds found Mary, Joseph and the infant lying in the manger.", "cite": "Luke 2:12 and 2:16, Douay-Rheims (Challoner)."}]}, "scene": {"ref": "Luke 2:16", "quote": "And they came with haste: and they found Mary and Joseph, and the infant lying in the manger.", "shows": "shepherds arriving to find Mary, Joseph and the infant"}, "th": "/store/thumb/isenbrant_the_adoration_of_the_shepherds.webp", "more": [{"k": "subject", "n": "The Adoration of the Shepherds in painting", "u": "/editions/subject/adoration-of-the-shepherds/", "ids": ["correggio_holy_night", "el_greco_adoration_shepherds", "caravaggio_the_adoration_of_the_shepherds", "honthorst_adoration_shepherds"]}]}, "magnasco_christ_at_the_sea_of_galilee": {"id": "magnasco_christ_at_the_sea_of_galilee", "title": "Christ at the Sea of Galilee", "artist_line": "Alessandro Magnasco (Italian, 1667–1749)", "artist": "Alessandro Magnasco", "date": "c. 1740", "museum": "National Gallery of Art, Washington", "license": "PD/CC0", "tier": "Sanctuary", "sizes": [{"size": "18×24 in", "paper": 140, "iw": 22.6, "ih": 18, "sw": 24, "sh": 18, "cov": 0.94}, {"size": "24×36 in", "paper": 190, "iw": 30.1, "ih": 24, "sw": 36, "sh": 24, "cov": 0.835}, {"size": "32×48 in", "paper": 340, "iw": 40.1, "ih": 32, "sw": 48, "sh": 32, "cov": 0.835}, {"size": "40×60 in", "paper": 480, "iw": 50.1, "ih": 40, "sw": 60, "sh": 40, "cov": 0.835}], "local": "/store/display/magnasco_christ_at_the_sea_of_galilee.jpg", "commons_file": null, "zoom": "https://art.monstrance.app/zoom/magnasco_christ_at_the_sea_of_galilee.jpg", "master_px": 19704, "auth": {"institution": "National Gallery of Art, Washington", "accession": "1943.4.31", "url": "https://www.nga.gov/artworks/12129-christ-sea-galilee", "artist_as_printed": "Alessandro Magnasco | Italian, 1667 - 1749", "date_as_printed": "c. 1740", "medium": "oil on canvas", "dimensions": "118.1 x 146.7 cm (46 1/2 x 57 3/4 in)"}, "writeup": {"text": "Christ stands on the shore in a wind that bends the trees, one arm out over the water. Peter is in the sea, and the sea is not calm. Two Gospels share the canvas: Christ on the shore and the miraculous draught of fishes, as John tells it, and the raging water of Matthew, where Peter walks and begins to sink. Peter Lukehart, in the National Gallery of Art's systematic catalogue, reads Alessandro Magnasco as conflating the two, and Washington's titles record the difficulty: Christ Calling Saint Peter in 1941, Christ at the Sea of Galilee now. Howard Oakley finds the spume-rich water unique among the many paintings of the story, with Peter probably sinking, just about to be rescued. The hand is already out.", "sources": [{"what": "The reading: the picture's source is John 21:1-8 but Magnasco 'appears to conflate the narration in John with the story of Christ and Saint Peter walking on the water found in Matthew 14:22-33'; 'Whereas John describes Christ standing on the shore and includes the miraculous draught of fishes, as in the National Gallery's painting, Matthew details the raging sea and Peter's apprehension about walking on the water'; Ratti's statement that Magnasco was a figure painter whose landscapes and backgrounds were done by collaborators including Peruzzini and Spera; 'no pure landscape drawings have ever been attributed to him'; 'sufficient cause to reassess them'; pendants since at least the 1920s; extensive damage and inpainting; tombstone 'Oil on canvas, 118.1 x 146.7 cm, Samuel H. Kress Collection 1943.4.31'; entry signed PML.", "url": "https://www.academia.edu/30032456/Alessandro_Magnasco", "cite": "Peter Lukehart, 'Alessandro Magnasco', in Diane De Grazia and Eric Garberson, Italian Paintings of the Seventeenth and Eighteenth Centuries (National Gallery of Art Systematic Catalogue, Washington, 1996), pp. 177-188; read as the author's upload."}, {"what": "'Magnasco has probably shown Peter sinking in the water, just about to be rescued by Christ. The spume-rich waters are similar in appearance to those in The Baptism of Christ, and unique among the many paintings of this narrative.'", "url": "https://eclecticlight.co/2016/04/10/the-story-in-paintings-alessandro-magnasco-a-maverick/", "cite": "Howard Oakley, 'The Story in Paintings: Alessandro Magnasco, a maverick', The Eclectic Light Company, 10 April 2016."}, {"what": "The Gallery's own titles: 'as Christ Calling Saint Peter' in the 1941 Preliminary Catalogue (no. 532) and the 1942, 1945 and 1951 publications; current title 'Christ at the Sea of Galilee'; Muti 1994: 267, nos. 390, 391 'as by Magnasco and Peruzzini'; date c. 1740.", "url": "https://www.nga.gov/artworks/12129-christ-sea-galilee", "cite": "National Gallery of Art, Washington, 'Christ at the Sea of Galilee', bibliography; re-read 2026-09-01."}, {"what": "Tombstone: oil on canvas, 118.1 x 146.7 cm, K1221, accession 1943.4.31; provenance (Geiger, Vienna; Contini-Bonacossi by 1929; Kress 1939; gift 1943).", "url": "https://www.kressfoundation.org/kress-collection/artwork/3ee63baa1c93291d685dc77a6dcb91c1c0f371f49e46032720be3261aea2beb1", "cite": "Samuel H. Kress Foundation, Kress Collection record, 'Christ at the Sea of Galilee', K1221."}, {"what": "Artist header 'Italian, 1667 - 1749'.", "url": "https://www.nga.gov/artists/1505-alessandro-magnasco", "cite": "National Gallery of Art, artist page, Alessandro Magnasco."}, {"what": "The two accounts the card sets against each other: Jesus stood on the shore and the disciples' net was full of fishes (John 21:4-8); Peter walking on the water, afraid of the wind, beginning to sink (Matthew 14:29-31).", "cite": "John 21:4-8 and Matthew 14:29-31, Douay-Rheims (Challoner)."}]}, "scene": {"why": "THE EPISODE IS NOT SETTLED. The Gallery catalogued this canvas in 1941 as Christ Calling Saint Peter and now titles it Christ at the Sea of Galilee; one published reading sees Peter sinking and caught. Until the picture is read against the text, no verse is claimed for it."}, "th": "/store/thumb/magnasco_christ_at_the_sea_of_galilee.webp", "more": [{"k": "subject", "n": "The Life of Christ in painting", "u": "/editions/subject/the-life-of-christ/", "ids": ["kramskoy_christ_in_the_wilderness", "hofmann_rich_young_ruler", "vangogh_pieta_after_delacroix", "bosch_christs_descent_into_hell"]}, {"k": "master", "n": "Alessandro Magnasco", "u": "/editions/master/alessandro-magnasco/", "ids": ["magnasco_the_baptism_of_christ"]}]}, "magnasco_the_baptism_of_christ": {"id": "magnasco_the_baptism_of_christ", "title": "The Baptism of Christ", "artist_line": "Alessandro Magnasco (Italian, 1667–1749)", "artist": "Alessandro Magnasco", "date": "c. 1740", "museum": "National Gallery of Art, Washington", "license": "PD/CC0", "tier": "Hero", "sizes": [{"size": "16×20 in", "paper": 110, "iw": 20.0, "ih": 16, "sw": 20, "sh": 16, "cov": 0.999}, {"size": "18×24 in", "paper": 140, "iw": 22.5, "ih": 18, "sw": 24, "sh": 18, "cov": 0.937}, {"size": "24×36 in", "paper": 190, "iw": 30.0, "ih": 24, "sw": 36, "sh": 24, "cov": 0.832}], "local": "/store/display/magnasco_the_baptism_of_christ.jpg", "commons_file": null, "zoom": "https://art.monstrance.app/zoom/magnasco_the_baptism_of_christ.jpg", "master_px": 5964, "auth": {"institution": "National Gallery of Art, Washington", "accession": "1943.4.27", "url": "https://www.nga.gov/artworks/12125-baptism-christ", "artist_as_printed": "Alessandro Magnasco | Italian, 1667 - 1749", "date_as_printed": "c. 1740", "medium": "Oil on canvas", "dimensions": "117.5 x 146.7 cm (46 1/4 x 57 3/4 in)"}, "writeup": {"text": "A small white figure stands in a river gone to white horses, and over His head hangs a golden star. Christ bows; John lifts his arm above Him; winged figures wait on the bank with a cloth. \"And it came to pass, in those days, Jesus came from Nazareth of Galilee and was baptized by John in Jordan.\" Howard Oakley finds Alessandro Magnasco's version unique in setting the Baptism in a storm, and notes the star where a halo should be; the white is what makes Christ prominent despite His small size. Peter Lukehart, in the National Gallery of Art's catalogue, sees the landscape laid in with thick swaths and random strokes, and pairs it with Christ at the Sea of Galilee, its pendant since at least the 1920s. Everything is moving except the Man in the river.", "sources": [{"what": "'Magnasco's version is unique in setting it in a storm, with \"white horses\" on the river. The figure of Christ, surmounted not by a halo but a golden star, is white, which makes it prominent despite its small size in the picture.'", "url": "https://eclecticlight.co/2016/04/10/the-story-in-paintings-alessandro-magnasco-a-maverick/", "cite": "Howard Oakley, 'The Story in Paintings: Alessandro Magnasco, a maverick', The Eclectic Light Company, 10 April 2016."}, {"what": "Lukehart 1996: the landscape 'thick swaths of paint applied with random strokes'; the two pictures identified as pendants since at least the 1920s; the Baptism's text John 1:32-33.", "url": "https://www.academia.edu/30032456/Alessandro_Magnasco", "cite": "Peter Lukehart, 'Alessandro Magnasco', in De Grazia and Garberson, Italian Paintings of the Seventeenth and Eighteenth Centuries (NGA Systematic Catalogue, 1996), pp. 177-188."}, {"what": "Artist header 'Italian, 1667 - 1749' — the Gallery's attribution to Magnasco alone.", "url": "https://www.nga.gov/artists/1505-alessandro-magnasco", "cite": "National Gallery of Art, artist page, Alessandro Magnasco."}, {"what": "Tombstone: oil on canvas, 117.5 x 146.7 cm, K1191, acc. 1943.4.27; provenance (private Genoese collection; probably Sambon by 1929; Geiger; Contini-Bonacossi; Kress 1939; gift 1943).", "url": "https://www.kressfoundation.org/kress-collection/artwork/e31a688a08aab5717c2a0e577b963dc2ee8610488e4ba47341782b4a19d85597", "cite": "Samuel H. Kress Foundation, Kress Collection record, 'The Baptism of Christ', K1191."}]}, "scene": {"ref": "Mark 1:9", "quote": "And it came to pass, in those days, Jesus came from Nazareth of Galilee and was baptized by John in Jordan.", "shows": "Jesus baptized by John in the Jordan"}, "th": "/store/thumb/magnasco_the_baptism_of_christ.webp", "more": [{"k": "subject", "n": "The Baptism of Christ in painting", "u": "/editions/subject/baptism-of-christ/", "ids": ["piero_baptism", "tintoretto_the_baptism_of_christ", "veronese_the_baptism_of_christ", "rubens_the_baptism_of_christ"]}, {"k": "master", "n": "Alessandro Magnasco", "u": "/editions/master/alessandro-magnasco/", "ids": ["magnasco_christ_at_the_sea_of_galilee"]}]}, "vivarini_saint_jerome_reading": {"id": "vivarini_saint_jerome_reading", "title": "Saint Jerome Reading", "artist_line": "Alvise Vivarini (Venetian, 1442/1453–1503/1505)", "artist": "Alvise Vivarini", "date": "c. 1476", "museum": "National Gallery of Art, Washington", "license": "PD/CC0", "tier": "Sanctuary", "sizes": [{"size": "18×24 in", "paper": 140, "iw": 18, "ih": 22.8, "sw": 18, "sh": 24, "cov": 0.95}, {"size": "24×36 in", "paper": 190, "iw": 24, "ih": 30.4, "sw": 24, "sh": 36, "cov": 0.845}, {"size": "32×48 in", "paper": 340, "iw": 32, "ih": 40.5, "sw": 32, "sh": 48, "cov": 0.845}, {"size": "40×60 in", "paper": 480, "iw": 40, "ih": 50.7, "sw": 40, "sh": 60, "cov": 0.845}], "local": "/store/display/vivarini_saint_jerome_reading.jpg", "commons_file": null, "zoom": "https://art.monstrance.app/zoom/vivarini_saint_jerome_reading.jpg", "master_px": 6779, "auth": {"institution": "National Gallery of Art, Washington", "accession": "1939.1.311", "url": "https://www.nga.gov/artworks/453-saint-jerome-reading", "artist_as_printed": "Vivarini, Luigi | Venetian, 1442/1453 - 1503/1505", "date_as_printed": "c. 1476", "medium": "Tempera on panel", "dimensions": "31.4 x 25.1 cm (12 3/8 x 9 7/8 in)"}, "writeup": {"text": "Saint Jerome sits hunched on a rock in a blue cloak, barefoot, a small red book open in his hands, and he does not look up. From the dark of the cave behind him a lion's face looks out. Jerome put the Bible into Latin; the Vulgate is his. Alvise Vivarini signed it on a label at lower right, LVDVVICVS VIVARINVS PINXIT, the Latin form of a name Venice said as Alvise and the National Gallery of Art files as Luigi: a translated painter for the saint of translation. Gianmarco Russo, in the Dizionario Biografico degli Italiani, counts it among the two works where Alvise took up the manner of Antonello da Messina most fully, shining in a bath of silvery light that brings out the materiality of things. About 1476, tempera, thirty-one centimetres high. The light stays on the pages, and the old man reads on.", "sources": [{"what": "The signature on the cartello at lower right, 'LVDVVICVS VIVA / RINVS . PINXIT'; title 'Saint Jerome Reading'; date c. 1476.", "url": "https://www.nga.gov/artworks/453-saint-jerome-reading", "cite": "National Gallery of Art, Washington, 'Saint Jerome Reading', Alvise Vivarini, inscription; re-read 2026-09-01."}, {"what": "The Gallery's own name forms: page titled 'Alvise Vivarini', header 'Vivarini, Luigi; Venetian, 1442/1453 - 1503/1505'; works list 'Saint Jerome Reading, c. 1476, tempera on panel, 1939.1.311'.", "url": "https://www.nga.gov/artists/1954-alvise-vivarini", "cite": "National Gallery of Art, artist page, Alvise Vivarini."}, {"what": "The reading: the antonellismo 'trovò invece la sua piena interpretazione in due opere capitali ... una volta, nel S. Girolamo firmato alla National Gallery di Washington, fulgente nel bagno di luce argentea che rileva la materialità delle cose' — one of two works, the signed Washington Jerome shining in a bath of silvery light that brings out the materiality of things.", "url": "https://www.treccani.it/enciclopedia/alvise-vivarini_(Dizionario-Biografico)/", "cite": "Gianmarco Russo, 'Vivarini, Alvise', Dizionario Biografico degli Italiani, vol. 100 (Rome: Treccani, 2020)."}, {"what": "Jerome 'known particularly for his Latin translation of the Bible, the Vulgate'; designated a doctor of the church; c. 347 - 419/420.", "url": "https://www.britannica.com/biography/Saint-Jerome", "cite": "Encyclopaedia Britannica, 'St. Jerome'."}, {"what": "Tempera on panel, 31.4 x 25.1 cm, K538, accession 1939.1.311, gift to the NGA 1939; provenance (Mameli, Rome; William Jones; Christie's 1852; Thomas Harris by 1930; Locker-Lampson by 1937; Contini-Bonacossi; Kress September 1938).", "url": "https://www.kressfoundation.org/kress-collection/artwork/6f6f50c2c2b53d610ac566e9d279daa9701e0032788e4aba95beb8cc4e885073", "cite": "Samuel H. Kress Foundation, Kress Collection record, 'Saint Jerome Reading', K538."}]}, "scene": {"why": "THE SAINT IS NOT IN SCRIPTURE. Jerome died in 420; a picture of him alone with a book is a portrait of a Doctor of the Church at his study, a devotional type drawn from his legend and his writings, and no verse is its source."}, "th": "/store/thumb/vivarini_saint_jerome_reading.webp", "more": [{"k": "subject", "n": "Saints in painting", "u": "/editions/subject/saints/", "ids": ["pacher_devil_presenting_saint_augustine_book_of_vices", "hieronymus_bosch_st_jerome_at_prayer", "carpaccio_meditation_on_the_passion", "hieronymus_bosch_st_john_the_baptist_in_the_wilderness"]}]}, "andrea_del_sarto_the_sacrifice_of_isaac": {"id": "andrea_del_sarto_the_sacrifice_of_isaac", "title": "The Sacrifice of Isaac", "artist_line": "Andrea del Sarto (Italian, 1486–1530)", "artist": "Andrea del Sarto", "date": "c. 1527", "museum": "The Cleveland Museum of Art", "license": "PD/CC0", "tier": "Sanctuary", "sizes": [{"size": "18×24 in", "paper": 140, "iw": 18, "ih": 23.2, "sw": 18, "sh": 24, "cov": 0.969}, {"size": "24×36 in", "paper": 190, "iw": 24, "ih": 31.0, "sw": 24, "sh": 36, "cov": 0.861}, {"size": "32×48 in", "paper": 340, "iw": 32, "ih": 41.3, "sw": 32, "sh": 48, "cov": 0.861}, {"size": "40×60 in", "paper": 480, "iw": 40, "ih": 51.7, "sw": 40, "sh": 60, "cov": 0.861}], "local": "/store/display/andrea_del_sarto_the_sacrifice_of_isaac.jpg", "commons_file": null, "zoom": "https://art.monstrance.app/zoom/andrea_del_sarto_the_sacrifice_of_isaac.jpg", "master_px": 12836, "auth": {"institution": "The Cleveland Museum of Art", "accession": "1937.577", "url": "https://clevelandart.org/art/1937.577", "artist_as_printed": "Andrea del Sarto (Italian, 1486–1530)", "date_as_printed": "c. 1527", "medium": "oil on wood", "dimensions": "Framed: 208 x 171 x 12.5 cm (81 7/8 x 67 5/16 x 4 15/16 in.); Unframed: 178 x 138 cm (70 1/16 x 54 5/16 in.)"}, "writeup": {"text": "The knife is up, and the angel has arrived twice. The Cleveland Museum of Art points to his two sets of legs, the revision left showing. Genesis gives the angel only a voice from heaven; here he reaches toward Abraham, who looks up, while Isaac kneels on the altar with his hands behind him. The museum notes that Andrea del Sarto never finished it, which lays his method bare: a design transferred from a drawing, the chalk gone over in painted lines, clearest in the donkey at the far right. Vasari, the Prado records, counted three versions. The angel is still deciding where to stand.", "sources": [{"what": "The angel's two visible sets of legs as the artist's revision; the painting never finished and laying bare his method; Abraham raising the knife and the angel appearing to halt the sacrifice; design transferred from a drawing with the chalk reinforced by painted lines, best seen in the donkey at the far right; thin, brushy veils of colour worked over the whole panel at once, letting him alter the composition; the subject 'from the Old Testament book of Genesis'; tombstone (Andrea del Sarto (Italian, 1486–1530), c. 1527, oil on wood, unframed 178 x 138 cm, Delia E. Holden and L. E. Holden Funds, 1937.577); public-domain statement.", "url": "https://clevelandart.org/art/1937.577", "cite": "The Cleveland Museum of Art, 'The Sacrifice of Isaac', Andrea del Sarto, acc. 1937.577, description and 'Did you know?'."}, {"what": "Same text, framed and unframed measurements, provenance (Cardinal Carlo de' Medici by 1649 ... Cleveland 1937) and CC0 as structured data.", "url": "https://openaccess-api.clevelandart.org/api/artworks/?accession_number=1937.577", "cite": "The Cleveland Museum of Art Open Access API, record 1937.577."}, {"what": "'According to Vasari, Sarto made three versions of this Bible story at the end of his career'; the Prado's 'is smaller, though equal in quality to those at the Gemäldegalerie of Dresden and the Cleveland Museum'.", "url": "https://www.museodelprado.es/en/the-collection/art-work/the-sacrifice-of-abraham/590463fd-c06c-49a1-a9ce-3660563cd3f5", "cite": "Museo Nacional del Prado, 'The Sacrifice of Abraham', Andrea del Sarto, collection entry."}, {"what": "Genesis gives the angel only a voice: 'an angel of the Lord from heaven called to him'; Abraham had put forth his hand and taken the sword.", "cite": "Genesis 22:10-11, Douay-Rheims (Challoner)."}]}, "scene": {"ref": "Genesis 22:10-11", "quote": "And he put forth his hand, and took the sword, to sacrifice his son. And behold, an angel of the Lord from heaven called to him, saying: Abraham, Abraham. And he answered: Here I am.", "shows": "Abraham raising the knife as the angel calls to stop him"}, "th": "/store/thumb/andrea_del_sarto_the_sacrifice_of_isaac.webp", "more": [{"k": "subject", "n": "The Old Testament in painting", "u": "/editions/subject/old-testament/", "ids": ["caravaggio_judith_beheading_holofernes", "caravaggio_david_goliath", "rubens_daniel", "caravaggio_sacrifice_isaac"]}]}, "benvenuto_di_giovanni_the_crucifixion": {"id": "benvenuto_di_giovanni_the_crucifixion", "title": "The Crucifixion", "artist_line": "Benvenuto di Giovanni (Sienese, 1436–before 1517)", "artist": "Benvenuto di Giovanni", "date": "probably 1491", "museum": "National Gallery of Art, Washington", "license": "PD/CC0", "tier": "Sanctuary", "sizes": [{"size": "18×24 in", "paper": 140, "iw": 23.1, "ih": 18, "sw": 24, "sh": 18, "cov": 0.961}, {"size": "24×36 in", "paper": 190, "iw": 30.7, "ih": 24, "sw": 36, "sh": 24, "cov": 0.854}, {"size": "32×48 in", "paper": 340, "iw": 41.0, "ih": 32, "sw": 48, "sh": 32, "cov": 0.854}, {"size": "40×60 in", "paper": 480, "iw": 51.2, "ih": 40, "sw": 60, "sh": 40, "cov": 0.854}], "local": "/store/display/benvenuto_di_giovanni_the_crucifixion.jpg", "commons_file": null, "zoom": "https://art.monstrance.app/zoom/benvenuto_di_giovanni_the_crucifixion.jpg", "master_px": 7376, "auth": {"institution": "National Gallery of Art, Washington", "accession": "1952.5.53", "url": "https://www.nga.gov/artworks/41668-crucifixion", "artist_as_printed": "Benvenuto di Giovanni | Sienese, 1436 - before 1517", "date_as_printed": "probably 1491", "medium": "tempera on panel", "dimensions": "painted surface: 41.2 x 52.9 cm (16 1/4 x 20 13/16 in); overall 42.5 x 53.8 cm; framed with four other paintings 59.69 x 283.21 x 5.4 cm"}, "writeup": {"text": "The spear has already gone in. Longinus sits his black horse beside the Cross, the spear resting on his shoulder, and at the lower left Our Lady has fainted, held up by Saint John and Mary the mother of James, the Magdalene and the holy women behind. Everyone is dealing with what has just happened. Except the children. On a hill at the upper left three small figures watch, two of them pointing, and Laurence Kanter, in the Met's 1988 Siena catalogue, calls them unprecedented. Benvenuto di Giovanni painted the scene for the predella beneath his Ascension altarpiece of 1491. The children are still pointing at Him.", "sources": [{"what": "READ IN THE CATALOGUE 2026-09-03 (full text, archive.org id bub_gb_0CO8PwDxQmMC): cat. 62 c, The Crucifixion, entry signed LK (Laurence B. Kanter) — 'The three children watching from a hill in the middle distance at the left — two of whom point to the commotion — are an unprecedented detail, and underscore the remarkable inventive capacities of Benvenuto.' Same entry: Longinus on horseback 'resting on his shoulder the spear that pierced Christ's side'; the Virgin 'seated on the ground in a swoon, supported by Saint John and by Mary, the mother of James, with the Magdalene and three holy women behind'. The Passion-predella essay (pp. 305 ff.) dates the five panels close to 1490 and places them beneath the Ascension altarpiece of 1491 (Siena, Pinacoteca). Carries the whole card.", "url": "https://www.metmuseum.org/met-publications/painting-in-renaissance-siena-1420-1500", "cite": "Keith Christiansen, Laurence B. Kanter and Carl Brandon Strehlke, Painting in Renaissance Siena, 1420–1500, The Metropolitan Museum of Art, New York, 1988, cat. 62 c (Passion predella essay from p. 305; 62 d begins p. 311)."}, {"what": "The NGA Systematic Catalogue entries for the five Benvenuto predella panels (1952.5.52–.55 and companion), listed in the NGA object page bibliography. Recorded as the holding institution's own scholarly catalogue; not read for this card.", "url": "https://www.nga.gov/artworks/41668-crucifixion", "cite": "Miklós Boskovits and David Alan Brown, Italian Paintings of the Fifteenth Century, The Systematic Catalogue of the National Gallery of Art, Washington, 2003 (Benvenuto di Giovanni entries)."}, {"what": "Shown at the Met's 'Painting in Renaissance Siena, 1420-1500' (1988-1989) as no. 62c and at the Burlington Fine Arts Club in 1904 as no. 54; title and date 'probably 1491'.", "url": "https://www.nga.gov/artworks/41668-crucifixion", "cite": "National Gallery of Art, Washington, 'The Crucifixion', Benvenuto di Giovanni; exhibition history."}, {"what": "The Ascension of Christ altarpiece for Sant'Eugenio, signed and dated 1491, now in the Pinacoteca Nazionale, Siena, 'the predella panels are at the NGA'. Artist header 'Sienese, 1436 - before 1517' read separately at https://www.nga.gov/artists/954-benvenuto-di-giovanni.", "url": "https://nga.gov/collection/artist-info.954.html", "cite": "National Gallery of Art, artist biography, Benvenuto di Giovanni (NGA Systematic Catalogue); dates from the NGA artist page."}, {"what": "Tempera on panel, painted surface 41.2 x 52.9 cm, K1647B, accession 1952.5.53, gift 1952; De Angelis's c. 1824 note listing the four panels ('one the crucifixion, the third the resurrection'); the predella panels 'distributed among the monks' cells' when the altarpiece was moved; companions 1952.5.52-.55.", "url": "https://www.kressfoundation.org/kress-collection/artwork/b669be80b571450aa22360b765c80891ef61e7c4780affd17803c417e6b1b1b6", "cite": "Samuel H. Kress Foundation, Kress Collection record, 'The Crucifixion', K1647B."}, {"what": "Companion panel framed 'with four other paintings' 59.69 x 283.21 x 5.4 cm; the altarpiece in the atrium of the sacristy of Sant'Eugenio; 'the predella, as was customary, was divided into little pictures distributed among the monks' cells'.", "url": "https://artsandculture.google.com/asset/christ-in-limbo-benvenuto-di-giovanni/TgFzu2PKid3mvA?hl=en", "cite": "Google Arts \u0026 Culture, National Gallery of Art, 'Christ in Limbo', Benvenuto di Giovanni."}, {"what": "The spear-thrust: 'one of the soldiers with a spear opened his side'.", "cite": "John 19:34, Douay-Rheims (Challoner)."}]}, "scene": {"ref": "John 19:34", "quote": "But one of the soldiers with a spear opened his side: and immediately there came out blood and water.", "shows": "the soldier with the spear that pierced Christ's side"}, "th": "/store/thumb/benvenuto_di_giovanni_the_crucifixion.webp", "more": [{"k": "subject", "n": "The Crucifixion in painting", "u": "/editions/subject/crucifixion/", "ids": ["hieronymus_bosch_crucifixion_with_a_donor", "albrecht_durer_large_passion_crucifixion", "luca_signorelli_the_crucifixion", "juan_de_flandes_the_crucifixion"]}, {"k": "master", "n": "Benvenuto di Giovanni", "u": "/editions/master/benvenuto-di-giovanni/", "ids": ["benvenuto_di_giovanni_the_resurrection"]}]}, "benvenuto_di_giovanni_the_resurrection": {"id": "benvenuto_di_giovanni_the_resurrection", "title": "The Resurrection", "artist_line": "Benvenuto di Giovanni (Sienese, 1436–before 1517)", "artist": "Benvenuto di Giovanni", "date": "probably 1491", "museum": "National Gallery of Art, Washington", "license": "PD/CC0", "tier": "Sanctuary", "sizes": [{"size": "18×24 in", "paper": 140, "iw": 20.4, "ih": 18, "sw": 24, "sh": 18, "cov": 0.85}, {"size": "24×36 in", "paper": 190, "iw": 27.2, "ih": 24, "sw": 36, "sh": 24, "cov": 0.756}, {"size": "32×48 in", "paper": 340, "iw": 36.3, "ih": 32, "sw": 48, "sh": 32, "cov": 0.756}, {"size": "40×60 in", "paper": 480, "iw": 45.3, "ih": 40, "sw": 60, "sh": 40, "cov": 0.756}], "local": "/store/display/benvenuto_di_giovanni_the_resurrection.jpg", "commons_file": null, "zoom": "https://art.monstrance.app/zoom/benvenuto_di_giovanni_the_resurrection.jpg", "master_px": 7855, "auth": {"institution": "National Gallery of Art, Washington", "accession": "1952.5.55", "url": "https://www.nga.gov/artworks/41670-resurrection", "artist_as_printed": "Benvenuto di Giovanni | Sienese, 1436 - before 1517", "date_as_printed": "probably 1491", "medium": "tempera on panel", "dimensions": "painted surface: 42.1 × 47.4 cm (16 9/16 × 18 11/16 in.); overall: 43.5 × 49.7 cm (17 1/8 × 19 9/16 in.); framed (with four other paintings): 59.69 × 283.21 × 5.4 cm (23 1/2 × 111 1/2 × 2 1/8 in.)"}, "writeup": {"text": "Christ stands barefoot on His own tomb, the banner in His hand, the lid knocked aslant below Him, and the guards lie where they fell in their bright armour. No evangelist saw this. London's National Gallery says it flatly: no Gospel writer describes Christ standing on His tomb. Matthew gives guards who became as dead men, and women who find the stone rolled back. Benvenuto di Giovanni painted it beneath the Ascension he signed in 1491 for Sant'Eugenio outside Siena, and when the altarpiece was moved, the Kress Foundation notes, its predella was divided among the monks' cells. The rising no one saw hung on a monk's wall.", "sources": [{"what": "'None of the Gospel writers describe Christ standing triumphantly upon his tomb as he is shown here'; Matthew's guard set by Pilate; the sleeping-soldier convention. Said of NG1106, used on the card only as a statement about the Gospels.", "url": "https://www.nationalgallery.org.uk/paintings/imitator-of-andrea-mantegna-the-resurrection", "cite": "The National Gallery, London, 'The Resurrection', Imitator of Andrea Mantegna, NG1106, catalogue text."}, {"what": "Matthew's account: the angel rolled back the stone; the guards 'became as dead men'; the women find the tomb open; no rising narrated.", "cite": "Matthew 28:1-6, Douay-Rheims (Challoner)."}, {"what": "De Angelis's c. 1824 list of the four panels ('one the crucifixion, the third the resurrection'); the predella panels 'distributed among the monks' cells' when the altarpiece was moved; the four companions NGA 1952.5.52-.55.", "url": "https://www.kressfoundation.org/kress-collection/artwork/b669be80b571450aa22360b765c80891ef61e7c4780affd17803c417e6b1b1b6", "cite": "Samuel H. Kress Foundation, Kress Collection record, 'The Crucifixion', K1647B (companion panel), provenance notes."}, {"what": "The Ascension of Christ altarpiece for Sant'Eugenio, signed and dated 1491; 'the predella panels are at the NGA'.", "url": "https://nga.gov/collection/artist-info.954.html", "cite": "National Gallery of Art, artist biography, Benvenuto di Giovanni (NGA Systematic Catalogue)."}, {"what": "Tempera on panel; painted surface 42.1 x 47.4 cm; overall 43.5 x 49.7 cm; framed with four other paintings 59.69 x 283.21 x 5.4 cm; predella from Benvenuto's altarpiece depicting Passion scenes; Kress June 1949, gift 1952; CC0. No description of the figures.", "url": "https://artsandculture.google.com/asset/the-resurrection-benvenuto-di-giovanni/9QHZHpilZt53gQ?hl=en", "cite": "Google Arts \u0026 Culture, National Gallery of Art, 'The Resurrection', Benvenuto di Giovanni."}, {"what": "Title and date 'probably 1491'; shown at the Met in 1988-1989 as no. 62e.", "url": "https://www.nga.gov/artworks/41670-resurrection", "cite": "National Gallery of Art, Washington, 'The Resurrection', Benvenuto di Giovanni; exhibition history."}]}, "scene": {"why": "THE MOMENT ITSELF IS NOT NARRATED. No Gospel describes Christ coming out of the tomb; the evangelists arrive with the women at a tomb already open and empty. Christ rising bodily from the sarcophagus is a devotional and liturgical image, and no description of this panel's figures could be read to anchor a verse to it."}, "th": "/store/thumb/benvenuto_di_giovanni_the_resurrection.webp", "more": [{"k": "subject", "n": "The Resurrection in painting", "u": "/editions/subject/resurrection/", "ids": ["titian_the_resurrection_averoldi_polyptych_ce", "cecco_del_caravaggio_the_resurrection", "johann_konig_the_resurrection_of_christ"]}, {"k": "master", "n": "Benvenuto di Giovanni", "u": "/editions/master/benvenuto-di-giovanni/", "ids": ["benvenuto_di_giovanni_the_crucifixion"]}]}, "bergognone_christ_risen_from_the_tomb": {"id": "bergognone_christ_risen_from_the_tomb", "title": "Christ Risen from the Tomb", "artist_line": "Bergognone (Lombard, c. 1453–1523)", "artist": "Bergognone", "date": "c. 1490", "museum": "National Gallery of Art, Washington", "license": "PD/CC0", "tier": "Sanctuary", "sizes": [{"size": "18×24 in", "paper": 140, "iw": 12.8, "ih": 24, "sw": 18, "sh": 24, "cov": 0.711}, {"size": "24×36 in", "paper": 190, "iw": 19.2, "ih": 36, "sw": 24, "sh": 36, "cov": 0.8}, {"size": "32×48 in", "paper": 340, "iw": 25.6, "ih": 48, "sw": 32, "sh": 48, "cov": 0.8}, {"size": "40×60 in", "paper": 480, "iw": 32.0, "ih": 60, "sw": 40, "sh": 60, "cov": 0.8}], "local": "/store/display/bergognone_christ_risen_from_the_tomb.jpg", "commons_file": null, "zoom": "https://art.monstrance.app/zoom/bergognone_christ_risen_from_the_tomb.jpg", "master_px": 8568, "auth": {"institution": "National Gallery of Art, Washington", "accession": "1952.5.1", "url": "https://www.nga.gov/artworks/41611-christ-risen-tomb", "artist_as_printed": "Bergognone | Lombard, c. 1453 - 1523", "date_as_printed": "c. 1490", "medium": "oil on panel", "dimensions": "overall: 114.5 x 61.2 cm (45 1/16 x 24 1/8 in.) framed: 149.5 x 81.3 x 10.2 cm (58 7/8 x 32 x 4 in.)"}, "writeup": {"text": "One hand is raised, and the nail wound shows in the palm; the side is marked too, a small red cut under the ribs. Christ rises out of gold, a white cloth over one knee, the red-cross banner on its staff. Bergognone painted Him about 1490, in the years the National Gallery of Art's biography has him called to the charterhouse of Pavia, 1488 to 1494. London's National Gallery observes that no evangelist describes Christ standing upon His tomb; the Gospels report a stone rolled away, a tomb empty. Bergognone painted the morning no one saw, and the hand is still raised over whoever stands before it.", "sources": [{"what": "Called to the charterhouse of Pavia in 1488 with commissions lasting until 1494; 'serene naturalism' and 'calm narratives imbued with a delicate melancholy' said of his LATER phase (early sixteenth century, under Leonardo's influence); nickname first documented 1495; died 1523 aged seventy.", "url": "https://nga.gov/collection/artist-info.985.html", "cite": "National Gallery of Art, artist biography, Bergognone (NGA Systematic Catalogue)."}, {"what": "Date 'c. 1490'; the 1998 Pavia exhibition 'Ambrogio da Fossano detto il Bergognone. Un pittore per la Certosa', no. 39.", "url": "https://www.nga.gov/artworks/41611-christ-risen-tomb", "cite": "National Gallery of Art, Washington, 'Christ Risen from the Tomb', Bergognone; exhibition history."}, {"what": "'None of the Gospel writers describe Christ standing triumphantly upon his tomb.' Said of NG1106; used as a statement about the Gospels.", "url": "https://www.nationalgallery.org.uk/paintings/imitator-of-andrea-mantegna-the-resurrection", "cite": "The National Gallery, London, 'The Resurrection', Imitator of Andrea Mantegna, NG1106."}, {"what": "The Gospels report the stone rolled away and the tomb empty; none narrates Christ leaving it.", "cite": "Matthew 28:1-6; Mark 16:1-6; Luke 24:1-3; John 20:1, Douay-Rheims (Challoner)."}, {"what": "Artist header 'Lombard, c. 1453 - 1523'; works list 'Christ Risen from the Tomb, c. 1490, oil on panel, 1952.5.1'.", "url": "https://www.nga.gov/artists/985-bergognone", "cite": "National Gallery of Art, artist page, Bergognone."}, {"what": "Oil on panel, 114.5 x 61.2 cm, K1399, acc. 1952.5.1; artist dates 'c. 1460-1523' (differs from NGA); provenance and Brera export seals, exported from Milan probably 1792-1835 and not later than 1859-1860.", "url": "https://www.kressfoundation.org/kress-collection/artwork/97ff7847d613547659147fa484915a639232a90f4f65b05e72bcadb7f3746da8", "cite": "Samuel H. Kress Foundation, Kress Collection record, 'Christ Risen from the Tomb', K1399."}]}, "scene": {"why": "A DEVOTIONAL IMAGE, NOT A NARRATED MOMENT. The risen Christ shown at his tomb is a subject the Gospels never describe; they report the stone rolled away and the tomb found empty. The standing Risen Christ is an image for the altar and the Easter liturgy, not an illustration of a verse."}, "th": "/store/thumb/bergognone_christ_risen_from_the_tomb.webp", "more": [{"k": "subject", "n": "The Life of Christ in painting", "u": "/editions/subject/the-life-of-christ/", "ids": ["hieronymus_bosch_ecce_homo", "albrecht_durer_large_passion_flagellation", "pacher_flagellation_of_christ_geielung_christi", "durer_jesus_among_the_doctors"]}]}, "cavallino_adoration_of_the_shepherds": {"id": "cavallino_adoration_of_the_shepherds", "title": "Adoration of the Shepherds", "artist_line": "Bernardo Cavallino (Italian, 1616–1656)", "artist": "Bernardo Cavallino", "date": "c. 1650", "museum": "The Cleveland Museum of Art", "license": "PD/CC0", "tier": "Hero", "sizes": [{"size": "8×10 in", "paper": 39, "iw": 9.4, "ih": 8, "sw": 10, "sh": 8, "cov": 0.936}, {"size": "11×14 in", "paper": 59, "iw": 12.9, "ih": 11, "sw": 14, "sh": 11, "cov": 0.92}, {"size": "16×20 in", "paper": 110, "iw": 18.7, "ih": 16, "sw": 20, "sh": 16, "cov": 0.936}, {"size": "18×24 in", "paper": 140, "iw": 21.1, "ih": 18, "sw": 24, "sh": 18, "cov": 0.878}, {"size": "24×36 in", "paper": 190, "iw": 28.1, "ih": 24, "sw": 36, "sh": 24, "cov": 0.78}], "local": "/store/display/cavallino_adoration_of_the_shepherds.jpg", "commons_file": null, "zoom": "https://art.monstrance.app/zoom/cavallino_adoration_of_the_shepherds.jpg", "master_px": 5395, "auth": {"institution": "The Cleveland Museum of Art", "accession": "1968.100", "url": "https://clevelandart.org/art/1968.100", "artist_as_printed": "Bernardo Cavallino (Italian, 1616–1656)", "date_as_printed": "c. 1650", "medium": "oil on canvas", "dimensions": "Framed: 151 x 172 x 7 cm (59 7/16 x 67 11/16 x 2 3/4 in.); Unframed: 126.8 x 148.3 cm (49 15/16 x 58 3/8 in.)"}, "writeup": {"text": "Our Lady looks up, and no one else does. Cleveland's reading turns on that: the focus is on Mary, who alone is aware of the angels fluttering overhead with ribbons that carry the Gloria, \"Glory to God in the highest: and on earth peace to men of good will.\" Saint Joseph and the shepherds stolidly regard the Christ Child. The museum finds in her face love, pride and humility at once. Bernardo Cavallino worked in Naples, little known in his lifetime, transforming his contemporaries' innovations with extraordinary delicacy. He signed on the ox, a BC monogram on its rump. Her hand stays on her heart.", "sources": [{"what": "Cleveland's description: Cavallino worked in Naples, not well known in his lifetime, transforming contemporaries' innovations with delicacy and charm; the focus is on Mary, who alone is aware of the angels fluttering above with ribbons proclaiming the Gloria; Joseph and the shepherds stolidly regard the child; Mary's expression reveals love, pride and humility; 'Did you know?': monogram BC on the rump of the ox.", "url": "https://clevelandart.org/art/1968.100", "cite": "The Cleveland Museum of Art, 'Adoration of the Shepherds', Bernardo Cavallino, c. 1650, 1968.100; read 2026-09-24"}, {"what": "Cleveland open-access record with the same description and the inscription 'Signed left on ox: BC [monogram]'.", "url": "https://openaccess-api.clevelandart.org/api/artworks/?accession_number=1968.100", "cite": "The Cleveland Museum of Art Open Access API, record 1968.100; read 2026-09-24"}]}, "scene": {"ref": "Luke 2:14", "quote": "Glory to God in the highest: and on earth peace to men of good will.", "shows": "angels above with ribbons lettered Gloria in Excelsis Deo"}, "th": "/store/thumb/cavallino_adoration_of_the_shepherds.webp", "more": [{"k": "subject", "n": "The Adoration of the Shepherds in painting", "u": "/editions/subject/adoration-of-the-shepherds/", "ids": ["ribera_the_adoration_of_the_shepherds", "dolci_adoration_of_the_shepherds", "hugo_van_der_goes_the_adoration_of_the_shepherds", "isenbrant_the_adoration_of_the_shepherds"]}]}, "dolci_adoration_of_the_shepherds": {"id": "dolci_adoration_of_the_shepherds", "title": "Adoration of the Shepherds", "artist_line": "Carlo Dolci (Italian, 1616–1687)", "artist": "Carlo Dolci", "date": "c. 1670", "museum": "The Cleveland Museum of Art", "license": "PD/CC0", "tier": "Sanctuary", "sizes": [{"size": "8×10 in", "paper": 39, "iw": 8.0, "ih": 10, "sw": 8, "sh": 10, "cov": 0.998}, {"size": "11×14 in", "paper": 59, "iw": 11, "ih": 13.8, "sw": 11, "sh": 14, "cov": 0.984}, {"size": "16×20 in", "paper": 110, "iw": 16.0, "ih": 20, "sw": 16, "sh": 20, "cov": 0.998}, {"size": "18×24 in", "paper": 140, "iw": 18, "ih": 22.5, "sw": 18, "sh": 24, "cov": 0.939}, {"size": "24×36 in", "paper": 190, "iw": 24, "ih": 30.1, "sw": 24, "sh": 36, "cov": 0.835}, {"size": "32×48 in", "paper": 340, "iw": 32, "ih": 40.1, "sw": 32, "sh": 48, "cov": 0.835}, {"size": "40×60 in", "paper": 480, "iw": 40, "ih": 50.1, "sw": 40, "sh": 60, "cov": 0.835}], "local": "/store/display/dolci_adoration_of_the_shepherds.jpg", "commons_file": null, "zoom": "https://art.monstrance.app/zoom/dolci_adoration_of_the_shepherds.jpg", "master_px": 14364, "auth": {"institution": "The Cleveland Museum of Art", "accession": "1968.22", "url": "https://clevelandart.org/art/1968.22", "artist_as_printed": "Carlo Dolci (Italian, 1616–1687)", "date_as_printed": "c. 1670", "medium": "oil on canvas", "dimensions": "Framed: 108 x 90.2 x 7.7 cm (42 1/2 x 35 1/2 x 3 1/16 in.); Unframed: 88.6 x 70.5 cm (34 7/8 x 27 3/4 in.)"}, "writeup": {"text": "Our Lady lifts the white cloth, and there is the Child, bare, on the straw. An old shepherd kneels with a basket of eggs; a young one comes in with a lamb held at his shoulder, a lamb brought to the Lamb. Saint Joseph sits close by. The Cleveland Museum of Art's note, by Charles Eppley, calls the scene the shepherds' witness account of the birth of Christ, and says Carlo Dolci dismissed many Baroque trends as superfluous, keeping an unobtrusive, placid style, a devout follower of the brotherhood of St Benedict. He was slow and meticulous, London's National Gallery adds. The basket is set down beside the manger.", "sources": [{"what": "The full description credited 'Charles Eppley (January 2009)': precocious, recognised early by leading Florentine patrons; significance diminished by traditionalist compositions; anti-Mannerist technique that 'dismissed many of the leading Baroque trends as superfluous, retaining an unobtrusive and placid style in the manner of those before him'; 'a devout follower of the brotherhood of St. Benedict'; 'strict Christian iconography in his depiction of the shepherds' witness account of the birth of Christ'; tombstone (Carlo Dolci (Italian, 1616–1687), c. 1670, oil on canvas, unframed 88.6 x 70.5 cm, Mr. and Mrs. William H. Marlatt Fund, 1968.22).", "url": "https://www.clevelandart.org/print/art/1968.22", "cite": "The Cleveland Museum of Art, 'Adoration of the Shepherds', Carlo Dolci, acc. 1968.22, description (print view, with author credit)."}, {"what": "Same description, tombstone, exhibitions (Pitti 2015; Davis/Nasher 2017-2018) and CC0 as structured data.", "url": "https://openaccess-api.clevelandart.org/api/artworks/?accession_number=1968.22", "cite": "The Cleveland Museum of Art Open Access API, record 1968.22."}, {"what": "'Dolci was a meticulous and also a slow worker'; 'most of his work is of religious subjects'.", "url": "https://www.nationalgallery.org.uk/artists/carlo-dolci", "cite": "The National Gallery, London, artist page, Carlo Dolci."}, {"what": "The sign given to the shepherds: 'you shall find the infant wrapped in swaddling clothes, and laid in a manger'; they came with haste, found him, and made known what had been told them.", "cite": "Luke 2:12-17, Douay-Rheims (Challoner)."}]}, "scene": {"ref": "Luke 2:16", "quote": "And they came with haste: and they found Mary and Joseph, and the infant lying in the manger.", "shows": "the shepherds come to the newborn Christ"}, "th": "/store/thumb/dolci_adoration_of_the_shepherds.webp", "more": [{"k": "subject", "n": "The Adoration of the Shepherds in painting", "u": "/editions/subject/adoration-of-the-shepherds/", "ids": ["hugo_van_der_goes_the_adoration_of_the_shepherds", "isenbrant_the_adoration_of_the_shepherds", "correggio_holy_night", "el_greco_adoration_shepherds"]}, {"k": "master", "n": "Carlo Dolci", "u": "/editions/master/carlo-dolci/", "ids": ["dolci_adoration_of_the_kings", "dolci_mater_dolorosa", "dolci_saint_catherine_of_siena"]}]}, "cima_saint_jerome_in_the_wilderness": {"id": "cima_saint_jerome_in_the_wilderness", "title": "Saint Jerome in the Wilderness", "artist_line": "Cima da Conegliano (Venetian, c. 1459–1517/1518)", "artist": "Cima da Conegliano", "date": "c. 1500/1505", "museum": "National Gallery of Art, Washington", "license": "PD/CC0", "tier": "Sanctuary", "sizes": [{"size": "18×24 in", "paper": 140, "iw": 18, "ih": 21.6, "sw": 18, "sh": 24, "cov": 0.899}, {"size": "24×36 in", "paper": 190, "iw": 24, "ih": 28.8, "sw": 24, "sh": 36, "cov": 0.799}, {"size": "32×48 in", "paper": 340, "iw": 32, "ih": 38.4, "sw": 32, "sh": 48, "cov": 0.799}, {"size": "40×60 in", "paper": 480, "iw": 40, "ih": 48.0, "sw": 40, "sh": 60, "cov": 0.799}], "local": "/store/display/cima_saint_jerome_in_the_wilderness.jpg", "commons_file": null, "zoom": "https://art.monstrance.app/zoom/cima_saint_jerome_in_the_wilderness.jpg", "master_px": 20772, "auth": {"institution": "National Gallery of Art, Washington", "accession": "1939.1.168", "url": "https://www.nga.gov/artworks/309-saint-jerome-wilderness", "artist_as_printed": "Cima da Conegliano (Cima, Giovanni Battista), Venetian, c. 1459 - 1517 or 1518; Kress Foundation: Cima da Conegliano (Italian, c. 1459-1517/1518)", "date_as_printed": "c. 1500/1505", "medium": "oil on panel transferred to canvas", "dimensions": "48 x 40 cm (18 7/8 x 15 3/4 in.)"}, "writeup": {"text": "A stone in one hand, the other at his breast, Saint Jerome kneels to the crucifix in open country. Jerome wrote his own account of these years: alone in the desert, with scorpions and wild beasts for company, he cried aloud all night and did not stop beating his breast. His letter has no stone in it, and no lion. Cima da Conegliano gives him both: the lion lies under the cave mouth, and a black snake slides from a crevice at the foot of the cross. The lion limps in later, with the thirteenth-century Golden Legend, a thorn in its paw. The breast-beating is Jerome's own.", "sources": [{"what": "NGA image description (artist page): Jerome kneeling bare-chested before a cave with a rock in one hand, looking up at a man hanging on a cross; lion under the cave opening; black snake emerging from a crevice near the base of the cross; signature on a painted scroll. Also medium, credit line 'Samuel H. Kress Collection, 1939.1.168', heading 'Venetian, c. 1459 - 1517 or 1518'. Carries every object named in the second paragraph.", "url": "https://www.nga.gov/artists/1139-cima-da-conegliano", "cite": "National Gallery of Art, Washington, artist page 'Cima da Conegliano', entry for Saint Jerome in the Wilderness, 1939.1.168; read 2026-09-01."}, {"what": "NGA object page: title, date 'c. 1500/1505', the inscription 'lower right on scroll: Joannis b[a]pt[ista] C[o]n...', and the bibliography (Boskovits and Brown 2003, 210-213).", "url": "https://www.nga.gov/artworks/309-saint-jerome-wilderness", "cite": "National Gallery of Art, 'Saint Jerome in the Wilderness', Cima da Conegliano, 1939.1.168"}, {"what": "Jerome's own account of the desert, Letter 22 §7: 'in the vast solitude which gives to hermits a savage dwelling-place', 'where I had no companions but scorpions and wild beasts', 'I often cried aloud all night till the break of day and ceased not from beating my breast'. The whole letter mentions no stone and no lion. Carries the whole first paragraph and the last sentence.", "url": "https://www.newadvent.org/fathers/3001022.htm", "cite": "Jerome, Epistula 22 ad Eustochium, §7, trans. W. H. Fremantle (NPNF II.6), New Advent"}, {"what": "The lion story itself, primary: 'a lion came halting suddenly in to the monastery … the plant sole of the foot of the lion was sore hurt and pricked with a thorn. Then this holy man put thereto diligent cure, and healed him.' Read 2026-09-03 in Caxton's 1483 English. Carries 'The lion limps in with the thirteenth-century Golden Legend, a thorn in its paw.'", "url": "https://www.christianiconography.info/goldenLegend/jerome.htm", "cite": "Jacobus de Voragine, The Golden Legend (Legenda aurea, c. 1260), ch. 146, 'Of S. Jerome', trans. William Caxton, 1483."}, {"what": "The lion legend as a later accretion (confusion with the abbot Gerasimus; the Latin Geronimus) and the penitent-Jerome type. Pages as located by the Wikipedia note this cite replaces (pp. 44–45); the book itself was not read from here.", "cite": "Eugene F. Rice Jr., Saint Jerome in the Renaissance, Johns Hopkins University Press, Baltimore, 1985, pp. 44–45."}, {"what": "Kress Foundation record K317: dimensions 48 x 40 cm; 'Oil on panel, transferred to canvas'; provenance chain to the 1939 gift. Tombstone only; nothing from it is in the card.", "url": "https://www.kressfoundation.org/kress-collection/artwork/7ea576c2281cc666d8b8e0986fa2d7bd888cc9fd3e4c8ba4e97c4873741cdb22", "cite": "Samuel H. Kress Foundation, Kress Collection, 'Saint Jerome in the Wilderness', K317"}, {"what": "Google Arts \u0026 Culture mirror of the NGA record: 'oil on panel transferred to canvas', 'overall: 48 x 40 cm (18 7/8 x 15 3/4 in.)', c. 1500/1505, CC0. Confirms the dimensions; no NGA overview text on the page.", "url": "https://artsandculture.google.com/asset/egFc0BGETNW92g", "cite": "Google Arts \u0026 Culture, 'Saint Jerome in the Wilderness', Cima da Conegliano (NGA record)"}]}, "scene": {"why": "THE SAINT IS NOT IN SCRIPTURE. Jerome died in 420; the penitent in the wilderness with stone, lion and crucifix comes from his own letters and the Golden Legend, not from any biblical book."}, "th": "/store/thumb/cima_saint_jerome_in_the_wilderness.webp", "more": [{"k": "subject", "n": "Saints in painting", "u": "/editions/subject/saints/", "ids": ["hieronymus_bosch_st_christopher_carrying_the_christ_child", "titian_jacopo_pesaro_presented_to_saint_peter", "bellini_gentile_saint_mark_preaching_in_alexandria", "lippi_saint_francis_in_glory"]}, {"k": "master", "n": "Cima da Conegliano", "u": "/editions/master/cima-da-conegliano/", "ids": ["cima_the_annunciation"]}]}, "claude_lorrain_rest_on_the_flight_into_egypt": {"id": "claude_lorrain_rest_on_the_flight_into_egypt", "title": "Rest on the Flight into Egypt", "artist_line": "Claude Lorrain (French, 1604–1682)", "artist": "Claude Lorrain", "date": "early 1640s", "museum": "The Cleveland Museum of Art", "license": "PD/CC0", "tier": "Hero", "sizes": [{"size": "8×10 in", "paper": 39, "iw": 7.5, "ih": 10, "sw": 8, "sh": 10, "cov": 0.934}, {"size": "11×14 in", "paper": 59, "iw": 10.5, "ih": 14, "sw": 11, "sh": 14, "cov": 0.951}, {"size": "16×20 in", "paper": 110, "iw": 14.9, "ih": 20, "sw": 16, "sh": 20, "cov": 0.934}, {"size": "18×24 in", "paper": 140, "iw": 17.9, "ih": 24, "sw": 18, "sh": 24, "cov": 0.996}, {"size": "24×36 in", "paper": 190, "iw": 24, "ih": 32.1, "sw": 24, "sh": 36, "cov": 0.892}], "local": "/store/display/claude_lorrain_rest_on_the_flight_into_egypt.jpg", "commons_file": null, "zoom": "https://art.monstrance.app/zoom/claude_lorrain_rest_on_the_flight_into_egypt.jpg", "master_px": 6000, "auth": {"institution": "The Cleveland Museum of Art", "accession": "1962.151", "url": "https://clevelandart.org/art/1962.151", "artist_as_printed": "Claude Lorrain (French, 1604–1682)", "date_as_printed": "early 1640s", "medium": "oil on canvas", "dimensions": "Framed: 239 x 185 x 12 cm (94 1/8 x 72 13/16 x 4 3/4 in.); Unframed: 208 x 152.5 cm (81 7/8 x 60 1/16 in.)"}, "writeup": {"text": "A kneeling angel holds out fruit to the Child on His Mother's lap, and Saint Joseph rests on a rock a little way off. Matthew never halts the family on the road to Egypt. The stop comes from the apocryphal Gospel of Pseudo-Matthew, where Mary asks for fruit and the Child tells a palm to bend its branches and refresh His mother; a palm stands among the trees. Claude Lorrain, the Cleveland Museum of Art notes, set this event from the East in the Roman countryside, and such pictures sold across Europe as a calm retreat from the city. On the river a boat goes slowly by.", "sources": [{"what": "Cleveland object page: the Holy Family resting on a shady bank as kneeling angels offer fruit to the Christ child; the 'ideal landscape'; demand among wealthy collectors throughout Europe for whom such scenes were 'a calm retreat from their hectic city lives'; 'Did you know? Lorrain placed this Middle Eastern biblical event in the Roman countryside.' Tombstone. Carries the angels' fruit and the whole second paragraph.", "url": "https://www.clevelandart.org/art/1962.151", "cite": "The Cleveland Museum of Art, 'Rest on the Flight into Egypt', Claude Lorrain, 1962.151, Leonard C. Hanna Jr. Fund"}, {"what": "Matthew's account of the journey is one sentence of departure by night and arrival in Egypt; no halt on the road is narrated. Carries 'Matthew never halts the family on the road to Egypt'.", "cite": "Matthew 2:14-15, Douay-Rheims (Challoner)."}, {"what": "Gospel of Pseudo-Matthew, ch. 20: on the third day of the journey Mary says 'I wish it were possible to get some of the fruit of this palm'; the Child says 'O tree, bend your branches, and refresh my mother with your fruit'. Carries the palm sentence.", "url": "https://www.newadvent.org/fathers/0848.htm", "cite": "The Gospel of Pseudo-Matthew, ch. 20, trans. Alexander Walker (ANF 8), New Advent"}, {"what": "Cleveland Open Access API record: provenance chain and CC0 share_license_status. Tombstone only; nothing from it is in the card.", "url": "https://openaccess-api.clevelandart.org/api/artworks/1962.151", "cite": "The Cleveland Museum of Art, Open Access API, artwork 1962.151"}]}, "scene": {"ref": "Matthew 2:14", "quote": "Who arose, and took the child and his mother by night, and retired into Egypt: and he was there until the death of Herod:", "shows": "the Holy Family on the road into Egypt, paused"}, "th": "/store/thumb/claude_lorrain_rest_on_the_flight_into_egypt.webp", "more": [{"k": "subject", "n": "The Flight into Egypt in painting", "u": "/editions/subject/flight-into-egypt/", "ids": ["giotto_scrovegni_chapel_flight_into_egypt", "gerard_david_rest_on_the_flight_into_egypt", "caravaggio_rest_flight", "van_dyck_rest_on_the_flight_into_egypt_madonna_wi"]}]}, "vignon_mary_magdalene_comforted_by_an_angel": {"id": "vignon_mary_magdalene_comforted_by_an_angel", "title": "Mary Magdalene Comforted by an Angel", "artist_line": "Claude Vignon (French, 1593–1670)", "artist": "Claude Vignon", "date": "1626", "museum": "National Gallery of Art, Washington", "license": "PD/CC0", "tier": "Sanctuary", "sizes": [{"size": "18×24 in", "paper": 140, "iw": 23.1, "ih": 18, "sw": 24, "sh": 18, "cov": 0.962}, {"size": "24×36 in", "paper": 190, "iw": 30.8, "ih": 24, "sw": 36, "sh": 24, "cov": 0.855}, {"size": "32×48 in", "paper": 340, "iw": 41.1, "ih": 32, "sw": 48, "sh": 32, "cov": 0.855}, {"size": "40×60 in", "paper": 480, "iw": 51.3, "ih": 40, "sw": 60, "sh": 40, "cov": 0.855}], "local": "/store/display/vignon_mary_magdalene_comforted_by_an_angel.jpg", "commons_file": null, "zoom": "https://art.monstrance.app/zoom/vignon_mary_magdalene_comforted_by_an_angel.jpg", "master_px": 23757, "auth": {"institution": "National Gallery of Art, Washington", "accession": "2017.159.2", "url": "https://www.nga.gov/artworks/206777-mary-magdalene-comforted-angel", "artist_as_printed": "Claude Vignon, Artist, French, 1593 - 1670", "date_as_printed": "1626", "medium": "oil on panel", "dimensions": "overall: 77 × 99 cm (30 5/16 × 39 in.)"}, "writeup": {"text": "Mary Magdalene sits barefoot under dark trees, her hair loose, a slender cross against her shoulder, and an angel in red and gold kneels to her across a grey rock. On the ground between them a small gold chalice stands on a closed book. The Golden Legend of Jacobus de Voragine sends her into a place with no running water, no trees and no herbs, alone for thirty years; at every canonical hour, it says, angels lifted her into the air to hear the songs of heaven, and fed her, so that she needed no bodily food. Claude Vignon keeps one angel and gives her back the land: trees, green hills, a sky of moving cloud. The National Gallery of Art reads the inscription at lower right, signed and dated 1626. Nobody is lifted. The angel leans close, and her lips part.", "sources": [{"what": "NGA object page: the woman resting her left arm on a rock while holding a tall cross; the angel in red and gold leaning toward her from across the gray rock; a small chalice and closed book between them; dark trees at left, rolling green hills, blue sky with white clouds; inscription 'lower right: Vignon Jn f 1626'; artist line 'French, 1593 - 1670'; 'oil on panel'; 'overall: 77 × 99 cm'; 'Gift of Jeffrey E. Horvitz'; public-domain statement. Carries the whole second paragraph. The page has no overview paragraph.", "url": "https://www.nga.gov/artworks/206777-mary-magdalene-comforted-angel", "cite": "National Gallery of Art, Washington, 'Mary Magdalene Comforted by an Angel', Claude Vignon, 1626, 2017.159.2; read 2026-09-01."}, {"what": "Golden Legend, Life of St Mary Magdalene: 'In which place she had no comfort of running water, ne solace of trees, ne of herbs'; 'Every day at every hour canonical she was lifted up in the air of angels, and heard the glorious song of the heavenly companies'; 'She was fed and filled with right sweet meats ... in such wise as she had no need of corporal nourishing'; 'by the space of thirty years without knowledge of anybody'. Carries the whole first paragraph and 'Nobody is being lifted'.", "url": "https://ccel.org/ccel/voragine/goldleg4/goldleg4.xv.html", "cite": "Jacobus de Voragine, The Golden Legend, vol. 4, 'Life of S. Mary Magdalene', trans. William Caxton (Temple Classics ed.), Christian Classics Ethereal Library"}]}, "scene": {"why": "A POST-BIBLICAL LEGEND, NOT AN EPISODE. The Magdalene as a penitent hermit visited and consoled by an angel comes from her medieval legend (the Golden Legend's thirty years in a Provençal cave); no Gospel narrates it."}, "th": "/store/thumb/vignon_mary_magdalene_comforted_by_an_angel.webp", "more": [{"k": "subject", "n": "Saints in painting", "u": "/editions/subject/saints/", "ids": ["zurbaran_st_serapion", "rubens_saint_teresa_of_avila_interceding_for", "zurbaran_margaret", "zurbaran_saint_francis_of_assisi_in_his_tomb"]}]}, "poelenburch_christ_carrying_the_cross": {"id": "poelenburch_christ_carrying_the_cross", "title": "Christ Carrying the Cross", "artist_line": "Cornelis van Poelenburch (Dutch, 1594/1595–1667)", "artist": "Cornelis van Poelenburch", "date": "early 1620s", "museum": "National Gallery of Art, Washington", "license": "PD/CC0", "tier": "Hero", "sizes": [{"size": "16×20 in", "paper": 110, "iw": 20, "ih": 14.0, "sw": 20, "sh": 16, "cov": 0.877}, {"size": "18×24 in", "paper": 140, "iw": 24, "ih": 16.8, "sw": 24, "sh": 18, "cov": 0.935}, {"size": "24×36 in", "paper": 190, "iw": 34.2, "ih": 24, "sw": 36, "sh": 24, "cov": 0.951}], "local": "/store/display/poelenburch_christ_carrying_the_cross.jpg", "commons_file": null, "zoom": "https://art.monstrance.app/zoom/poelenburch_christ_carrying_the_cross.jpg", "master_px": 6359, "auth": {"institution": "National Gallery of Art, Washington", "accession": "2007.49.1", "url": "https://www.nga.gov/artworks/137505-christ-carrying-cross", "artist_as_printed": "Cornelis van Poelenburch, Painter, Dutch, 1594/1595 - 1667", "date_as_printed": "early 1620s", "medium": "oil on copper", "dimensions": "overall: 44.2 x 62.3 cm (17 3/8 x 24 1/2 in.)"}, "writeup": {"text": "Christ is down on one knee under the Cross, and the road runs out of a tomb. The procession comes through the arched doorway of a great round ruin, and the ruin is real: the National Gallery of Art identifies it as the Tomb of Cecilia Metella on the Appian Way. Arthur Wheelock reads the choice as deliberate, the tomb's association with death used to sharpen the story, the procession passing through it on the way to Golgotha just as darkness starts to settle over the land. The NGA describes Christ looking back at the kneeling Veronica with her cloth, John covering his eyes with his red sleeve, and Longinus leading on a rearing horse; Wheelock notes that Veronica comes from the Golden Legend, not the Bible. Cornelis van Poelenburch keeps the figures small in a wide Italian landscape. Golgotha is still a long way off.", "sources": [{"what": "NGA object page overview: the Tomb of Cecilia Metella on the Appian Way adapted into the large ruin at right; Christ in purple robe and crown of thorns struggling under the cross and looking back at the kneeling Veronica with her cloth; John the Evangelist covering his eyes with the sleeve of his red robe; Longinus leading on his rearing steed; small figures in an extensive Italianate landscape versus the usual vertical close-ups; painted in Rome. Tombstone, credit line, provenance, public-domain statement. Carries the objects in both paragraphs.", "url": "https://www.nga.gov/artworks/137505-christ-carrying-cross", "cite": "National Gallery of Art, Washington, 'Christ Carrying the Cross', Cornelis van Poelenburch, early 1620s, 2007.49.1, The Lee and Juliet Folger Fund; read 2026-09-01."}, {"what": "Wheelock's systematic catalogue entry: 'Poelenburch chose this particular structure for its symbolic effect'; 'He exploited the association with death to enhance the power of his narrative by having the procession pass through the tomb's large arched doorway on the way to Golgotha, just as darkness starts to settle over the land'; 'the legend of Veronica does not appear in the Bible but in the Legenda Aurea, or The Golden Legend'; the composition stresses 'the great distance that this sorrowful band had to traverse to reach its destination at Golgotha'; 'executed on a thin, copper panel'; 'probably created this ambitious work soon after he arrived in Rome, in the late 1610s'. Carries the reading, the Veronica sentence and the last line.", "url": "https://www.nga.gov/research/publications/online-editions/dutch-paintings-seventeenth-century-christ-carrying-cross", "cite": "Arthur K. Wheelock Jr., 'Cornelis van Poelenburch, Christ Carrying the Cross, early 1620s', Dutch Paintings of the Seventeenth Century, NGA Online Editions, published 24 April 2014"}]}, "scene": {"ref": "John 19:17", "quote": "And bearing his own cross, he went forth to the place which is called Calvary, but in Hebrew Golgotha.", "shows": "Christ bearing his own cross toward Golgotha"}, "th": "/store/thumb/poelenburch_christ_carrying_the_cross.webp", "more": [{"k": "subject", "n": "The Christ Carrying the Cross in painting", "u": "/editions/subject/christ-carrying-the-cross/", "ids": ["hieronymus_bosch_christ_carrying_the_cross", "hieronymus_bosch_christ_carrying_the_cross_escorial", "titian_christ_carrying", "el_greco_christ_carrying_cross"]}]}, "tura_the_annunciation_with_saint_francis_and_saint_louis": {"id": "tura_the_annunciation_with_saint_francis_and_saint_louis", "title": "The Annunciation with Saint Francis and Saint Louis of Toulouse [four panels]", "artist_line": "Cosmè Tura (Ferrarese, c. 1433–1495)", "artist": "Cosmè Tura", "date": "c. 1470/1480", "museum": "National Gallery of Art, Washington", "license": "PD/CC0", "tier": "Sanctuary", "sizes": [{"size": "8×10 in", "paper": 39, "iw": 10, "ih": 6.4, "sw": 10, "sh": 8, "cov": 0.794}, {"size": "11×14 in", "paper": 59, "iw": 14, "ih": 8.9, "sw": 14, "sh": 11, "cov": 0.809}, {"size": "16×20 in", "paper": 110, "iw": 20, "ih": 12.7, "sw": 20, "sh": 16, "cov": 0.794}, {"size": "18×24 in", "paper": 140, "iw": 24, "ih": 15.3, "sw": 24, "sh": 18, "cov": 0.847}, {"size": "24×36 in", "paper": 190, "iw": 36, "ih": 22.9, "sw": 36, "sh": 24, "cov": 0.953}, {"size": "32×48 in", "paper": 340, "iw": 48, "ih": 30.5, "sw": 48, "sh": 32, "cov": 0.953}, {"size": "40×60 in", "paper": 480, "iw": 60, "ih": 38.1, "sw": 60, "sh": 40, "cov": 0.953}], "local": "/store/display/tura_the_annunciation_with_saint_francis_and_saint_louis.jpg", "commons_file": null, "zoom": "https://art.monstrance.app/zoom/tura_the_annunciation_with_saint_francis_and_saint_louis.jpg", "master_px": 11431, "auth": {"institution": "National Gallery of Art, Washington", "accession": "1952.2.6.a-d", "url": "https://www.nga.gov/artworks/206071-annunciation-saint-francis-and-saint-louis-toulouse-four-panels", "artist_as_printed": "Cosmè Tura (Tura, Cosimo), Ferrarese, c. 1433 - 1495", "date_as_printed": "c. 1470/1480", "medium": "Tempera and distemper on panel", "dimensions": "NOT RETRIEVED for the four-panel ensemble. Single panel b (The Archangel Gabriel, middle left) 31 × 12.4 cm (12 3/16 × 4 7/8 in.), framed 43.5 × 16.8 × 4.4 cm"}, "writeup": {"text": "Four narrow figures stand in a row, and one landscape runs behind them all, carrying on, darker, across the painted frames. Saint Francis holds his book; Gabriel comes with a lily; Our Lady presses her book to her body and lifts one hand; a bishop in a white mitre raises two fingers beside a curled staff. Between the second and the third the Word is made flesh, and the two stand a frame apart. The National Gallery of Art describes Francis's thin gold cross and the red wounds at his hands, feet and ribs. The bishop has changed names: from 1959 to 1985 the Gallery's catalogues named him Saint Maurelius, patron of Ferrara; he is now Louis of Toulouse, a prince who, as Smarthistory tells it, took Franciscan vows days before he was made bishop. Cosmè Tura sets a Franciscan at either end of the greeting.", "sources": [{"what": "NGA artist page for Cosmè Tura: heading 'Ferrarese, c. 1433 - 1495'; the ensemble record 1952.2.6.a-d and the panel records, 'Tempera and distemper on panel'; the NGA image description of the four panels: painted frames, a shared landscape across all four, Francis with black book and thin gold cross and red wounds on hands, feet and right ribs; Gabriel with a white lily; the Virgin bracing a book against her body; the figure on the right in a white mitre with a long staff with a curling top; frames continuing the landscape in darker tones. Carries the whole first paragraph.", "url": "https://www.nga.gov/artists/1938-cosme-tura/artworks", "cite": "National Gallery of Art, Washington, artist page 'Cosmè Tura', artworks list with image descriptions; read 2026-09-01."}, {"what": "NGA record for the Virgin Annunciate panel: bibliography listing the Gallery's own catalogues of 1959, 1965, 1968, 1975 and 1985 with the title 'The Annunciation with Saint Francis and Saint Maurelius'; Boskovits and Brown 2003, 660-665. Carries 'In its catalogues from 1959 to 1985 the Gallery printed him as Saint Maurelius'.", "url": "https://www.nga.gov/artworks/41587-virgin-annunciate-middle-right-panel", "cite": "National Gallery of Art, 'The Virgin Annunciate [middle right panel]', Cosmè Tura, 1952.2.6.c, bibliography"}, {"what": "NGA object page for the ensemble: current title 'The Annunciation with Saint Francis and Saint Louis of Toulouse [four panels]', date c. 1470/1480, and an exhibition history reaching back to the Burlington Fine Arts Club, London, 1894. Carries 'he is now Louis of Toulouse'.", "url": "https://www.nga.gov/artworks/206071-annunciation-saint-francis-and-saint-louis-toulouse-four-panels", "cite": "National Gallery of Art, 'The Annunciation with Saint Francis and Saint Louis of Toulouse [four panels]', Cosmè Tura, 1952.2.6.a-d"}, {"what": "Who Louis of Toulouse was: 'Louis was born a prince. He was the second son of Charles II of Anjou, the heir to the Kingdom of Naples'; 'professed his Franciscan vows just a few days before he was ordained as Bishop of Toulouse in 1296'; canonised 1317. Carries 'the prince who took Franciscan vows days before he became a bishop'.", "url": "https://smarthistory.org/simone-martini-saint-louis-of-toulouse/", "cite": "Smarthistory, 'Simone Martini, Saint Louis of Toulouse'"}, {"what": "San Maurelio as Ferrara's patron: 'the Tomb of San Maurelio Bishop, patron of the city, placed in the chapel dedicated to him' — the Basilica di San Giorgio page on the Comune di Ferrara's official tourism portal. Carries 'Ferrara's patron saint' (the only claim the card uses; the Voghenza biography is dropped with the old cite). Replaces the Wikipedia citation. Read 2026-09-02.", "url": "https://www.inferrara.it/p/94/arte-e-cultura/basilica-di-san-giorgio", "cite": "InFerrara — official tourism portal of the Comune di Ferrara, 'Basilica di San Giorgio'"}, {"what": "Panel dimensions for the middle left panel, 31 × 12.4 cm, framed 43.5 × 16.8 × 4.4 cm, and medium 'Tempera and distemper on panel' (mirror of NGA data). Tombstone only.", "url": "https://www.artsy.net/artwork/cosme-tura-the-annunciation-with-saint-francis-and-saint-louis-of-toulouse-middle-left-panel", "cite": "Artsy, 'The Annunciation with Saint Francis and Saint Louis of Toulouse [middle left panel]', Cosmè Tura"}]}, "scene": {"ref": "Luke 1:28", "quote": "And the angel being come in, said unto her: Hail, full of grace, the Lord is with thee: blessed art thou among women.", "shows": "Gabriel greeting the Virgin"}, "th": "/store/thumb/tura_the_annunciation_with_saint_francis_and_saint_louis.webp", "more": [{"k": "subject", "n": "The Annunciation in painting", "u": "/editions/subject/annunciation/", "ids": ["leonardo_annunciation", "lorenzo_di_credi_the_annunciation", "memling_annunciation", "master_of_riccardiana_231_annunciation_nativity_leaf"]}]}, "veneziano_saint_francis_receiving_the_stigmata": {"id": "veneziano_saint_francis_receiving_the_stigmata", "title": "Saint Francis Receiving the Stigmata", "artist_line": "Domenico Veneziano (Florentine, c. 1410–1461)", "artist": "Domenico Veneziano", "date": "c. 1445/1450", "museum": "National Gallery of Art, Washington", "license": "PD/CC0", "tier": "Sanctuary", "sizes": [{"size": "18×24 in", "paper": 140, "iw": 20.4, "ih": 18, "sw": 24, "sh": 18, "cov": 0.852}, {"size": "24×36 in", "paper": 190, "iw": 27.3, "ih": 24, "sw": 36, "sh": 24, "cov": 0.757}, {"size": "32×48 in", "paper": 340, "iw": 36.3, "ih": 32, "sw": 48, "sh": 32, "cov": 0.757}, {"size": "40×60 in", "paper": 480, "iw": 45.4, "ih": 40, "sw": 60, "sh": 40, "cov": 0.757}], "local": "/store/display/veneziano_saint_francis_receiving_the_stigmata.jpg", "commons_file": null, "zoom": "https://art.monstrance.app/zoom/veneziano_saint_francis_receiving_the_stigmata.jpg", "master_px": 16247, "auth": {"institution": "National Gallery of Art, Washington", "accession": "1939.1.140", "url": "https://www.nga.gov/artworks/281-saint-francis-receiving-stigmata", "artist_as_printed": "Domenico Veneziano (Bartolo da Venezia, Domenico di), Florentine, c. 1410 - 1461; Kress Foundation: Domenico Veneziano, Italian, c. 1410-1461", "date_as_printed": "c. 1445/1450", "medium": "tempera on poplar panel", "dimensions": "overall: 27.5 x 30.5 cm (10 13/16 x 12 in.); framed: 40.6 x 44.5 x 5.1 cm (16 x 17 1/2 x 2 in.)"}, "writeup": {"text": "High over the mountains a red thing hangs in the sky with its wings out, and fine gold threads come down from it. The National Gallery of Art calls it a flame-red cross and follows five gold lines to the kneeling man's hands, his feet and his right side; where one ray touches the palm of his right hand, the nearer one, there is a red spot. Thomas of Celano's First Life tells what Francis saw: a man with six wings like a seraph standing over him, arms extended and feet joined, fixed to a cross. Domenico Veneziano gives the companion none of it. He has sat down hard in the grass with a hand at his brow, a small red book on the ground by his fingers. Behind them rise three peaks, ice blue, shell pink, pale green. Francis keeps both hands up and open.", "sources": [{"what": "NGA image description (artist page): two men in dove-gray robes reacting to 'a flame-red cross in the sky'; the man to the left kneels with hands raised; 'Five thin gold lines emanate from the red cross to touch the man's hands, feet, and the right side of his chest'; 'a red spot where one gold ray touches the palm of his right hand, closer to us'; the second man leaning back with a hand to his brow; a small book on the grass nearby; three pointed mountains in icy pale blue, shell pink and light laurel green. Also 'tempera on poplar panel', 'Samuel H. Kress Collection', 1939.1.140, heading 'Florentine, c. 1410 - 1461'. Carries every object in the card.", "url": "https://www.nga.gov/artists/1230-domenico-veneziano", "cite": "National Gallery of Art, Washington, artist page 'Domenico Veneziano', entry for Saint Francis Receiving the Stigmata, 1939.1.140; read 2026-09-01."}, {"what": "Thomas of Celano, First Life of St. Francis, as quoted: 'he saw in a divine vision a man, having six wings like a Seraph, standing over him, arms extended and feet joined, affixed on a cross'. The page gives no composition date. Carries the first sentence.", "url": "https://www.thecatholicthing.org/2024/09/17/the-stigmata-of-st-francis/", "cite": "The Catholic Thing, 'The Stigmata of St. Francis' (17 September 2024), quoting Thomas of Celano, First Life, on the vision at La Verna"}, {"what": "Web Gallery of Art: the Magnoli altarpiece's five predella panels, with the Stigmatization as predella 1; 'the same pale and delicate colours as in the main panel, but handled with greater freedom'. Context for the panel; supports dims_note.", "url": "https://www.wga.hu/html_m/d/domenico/venezian/5predel1.html", "cite": "Web Gallery of Art, 'The Stigmatization of St Francis (predella 1)', Domenico Veneziano"}, {"what": "NGA object page: title, date 'c. 1445/1450', and the exhibition history.", "url": "https://www.nga.gov/artworks/281-saint-francis-receiving-stigmata", "cite": "National Gallery of Art, 'Saint Francis Receiving the Stigmata', Domenico Veneziano, 1939.1.140"}, {"what": "Google Arts \u0026 Culture mirror of the NGA record: 'Tempera on poplar panel'; 'Overall: 27.5 x 30.5 cm (10 13/16 x 12 in.)'; 'Framed: 40.6 x 44.5 x 5.1 cm'. Tombstone only.", "url": "https://artsandculture.google.com/asset/saint-francis-receiving-the-stigmata-domenico-veneziano/1gFyCIBELJhW0Q", "cite": "Google Arts \u0026 Culture, 'Saint Francis Receiving the Stigmata', Domenico Veneziano (NGA record)"}, {"what": "Kress Foundation record K278: dimensions 27.5 x 30.5 cm; provenance from the main altar of Santa Lucia de' Magnoli to the 1939 gift. Tombstone and dims_note only.", "url": "https://www.kressfoundation.org/kress-collection/artwork/3312b1afa876410c4f7a312428966912f1faf52f03c6385b7145a1d251e99f73", "cite": "Samuel H. Kress Foundation, Kress Collection, 'Saint Francis Receiving the Stigmata', K278"}]}, "scene": {"why": "THE SAINT IS NOT IN SCRIPTURE. Francis received the wounds on La Verna in 1224; the scene follows his biographers, Thomas of Celano and Bonaventure's Legenda maior, and no biblical book narrates it."}, "th": "/store/thumb/veneziano_saint_francis_receiving_the_stigmata.webp", "more": [{"k": "subject", "n": "Saints in painting", "u": "/editions/subject/saints/", "ids": ["veneziano_saint_john_in_the_desert", "giovanni_di_paolo_saint_john_the_baptist_entering_the_wild", "giovanni_di_paolo_miraculous_communion_of_saint_catherine", "giovanni_di_paolo_saint_catherine_of_siena_exchanging_her"]}, {"k": "master", "n": "Domenico Veneziano", "u": "/editions/master/domenico-veneziano/", "ids": ["veneziano_saint_john_in_the_desert"]}]}, "veneziano_saint_john_in_the_desert": {"id": "veneziano_saint_john_in_the_desert", "title": "Saint John in the Desert", "artist_line": "Domenico Veneziano (Florentine, c. 1410–1461)", "artist": "Domenico Veneziano", "date": "c. 1445/1450", "museum": "National Gallery of Art, Washington", "license": "PD/CC0", "tier": "Sanctuary", "sizes": [{"size": "18×24 in", "paper": 140, "iw": 20.5, "ih": 18, "sw": 24, "sh": 18, "cov": 0.854}, {"size": "24×36 in", "paper": 190, "iw": 27.3, "ih": 24, "sw": 36, "sh": 24, "cov": 0.759}, {"size": "32×48 in", "paper": 340, "iw": 36.4, "ih": 32, "sw": 48, "sh": 32, "cov": 0.759}, {"size": "40×60 in", "paper": 480, "iw": 45.5, "ih": 40, "sw": 60, "sh": 40, "cov": 0.759}], "local": "/store/display/veneziano_saint_john_in_the_desert.jpg", "commons_file": null, "zoom": "https://art.monstrance.app/zoom/veneziano_saint_john_in_the_desert.jpg", "master_px": 16292, "auth": {"institution": "National Gallery of Art, Washington", "accession": "1943.4.48", "url": "https://www.nga.gov/artworks/12146-saint-john-desert", "artist_as_printed": "Domenico Veneziano (Bartolo da Venezia, Domenico di), Florentine, c. 1410 - 1461; Kress Foundation: Domenico Veneziano, Italian, c. 1410-1461", "date_as_printed": "c. 1445/1450", "medium": "tempera on panel", "dimensions": "overall: 28.4 × 31.8 cm (11 3/16 × 12 1/2 in.); framed: 40.6 × 44.1 × 5.1 cm"}, "writeup": {"text": "A young man stands bare in white sand, letting a coral-red cloth fall onto a white one already on the ground. Over his other shoulder hangs a brown skin. The National Gallery of Art names the moment: Saint John exchanging his rich, worldly clothes for a rough camel-hair coat, and the Web Gallery of Art knows no other painting of John at this moment. Earlier artists, the Gallery notes, dwelt on the skin's divine origin or on his preaching; Domenico Veneziano turned to the decision itself, to forsake luxury. In the Gallery's reading the body is a Grecian type made a religious being by the golden halo, here a thin gold plate edged in red, and the bare peaks stress how desolate a place he has chosen. Luke says only that he \"was in the deserts until the day of his manifestation to Israel.\"", "sources": [{"what": "NGA image description (artist page): young nude man in a rocky mountainous landscape dropping a coral-red cloth onto a white one already on the ground, holding 'a fawn-brown animal skin or cloth' over the other shoulder; 'a red-edged, glimmering, gold, plate-like halo'. Also 'tempera on panel', 'Samuel H. Kress Collection', 1943.4.48, heading 'Florentine, c. 1410 - 1461'. Carries the first two sentences and the halo sentence.", "url": "https://www.nga.gov/artists/1230-domenico-veneziano", "cite": "National Gallery of Art, Washington, artist page 'Domenico Veneziano', entry for Saint John in the Desert, 1943.4.48; read 2026-09-01."}, {"what": "NGA object page meta description: the altarpiece painted about 1445 for Santa Lucia dei Magnoli; 'The incident illustrated in this small panel from the base of the altarpiece is John's act of exchanging his rich, worldly clothes for a rough, camel–hair coat'. Carries 'changing clothes' and dims_note.", "url": "https://www.nga.gov/artworks/12146-saint-john-desert", "cite": "National Gallery of Art, 'Saint John in the Desert', Domenico Veneziano, 1943.4.48, page meta description"}, {"what": "The NGA overview in full, on the Google Arts \u0026 Culture mirror of the NGA record: earlier artists stressed 'the divine origin of the saint's animal skin or on his preaching' while Domenico 'shifted attention from mere narration to the spiritual significance of John's decision to forsake luxury'; 'a fusion of pagan and Christian ideas'; 'the Grecian type is transformed into a religious being by the golden halo above his head'; 'the rugged mountains enliven the drama of John's decision by emphasizing the desolate nature of his chosen environment'. Tombstone 'tempera on panel', 28.4 x 31.8 cm. Carries the second paragraph's reading.", "url": "https://artsandculture.google.com/asset/saint-john-in-the-desert-domenico-veneziano/EwGE4998gvIVdw", "cite": "Google Arts \u0026 Culture, 'Saint John in the Desert', Domenico Veneziano, carrying the National Gallery of Art's overview text"}, {"what": "Web Gallery of Art: 'it is the only known depiction of St John in the wilderness at the moment when he is removing his worldly clothes to don the camel skin, the symbol of his vocation'; 'the colours and the light are the true protagonists'. Carries 'Web Gallery of Art knows no other picture of John at this moment'.", "url": "https://www.wga.hu/html_m/d/domenico/venezian/5predel2.html", "cite": "Web Gallery of Art, 'St John in the Wilderness (predella 2)', Domenico Veneziano"}, {"what": "Kress Foundation record K1331: dimensions 28.4 x 31.8 cm; 'Tempera on panel'; provenance from Santa Lucia de' Magnoli through Berenson and Hamilton to the 1943 gift. Tombstone only; nothing from it is in the card.", "url": "https://www.kressfoundation.org/kress-collection/artwork/6425b4dfa5569916873ffcf6c495b10cfe5f23e4a76a15df2ab0b5640e910965", "cite": "Samuel H. Kress Foundation, Kress Collection, 'Saint John in the Desert', K1331"}]}, "scene": {"ref": "Luke 1:80", "quote": "And the child grew and was strengthened in spirit: and was in the deserts until the day of his manifestation to Israel.", "shows": "the young John alone in the desert"}, "th": "/store/thumb/veneziano_saint_john_in_the_desert.webp", "more": [{"k": "subject", "n": "Saints in painting", "u": "/editions/subject/saints/", "ids": ["giovanni_di_paolo_saint_john_the_baptist_entering_the_wild", "giovanni_di_paolo_miraculous_communion_of_saint_catherine", "giovanni_di_paolo_saint_catherine_of_siena_exchanging_her", "gozzoli_feast_of_herod_and_the_beheading_of_sain"]}, {"k": "master", "n": "Domenico Veneziano", "u": "/editions/master/domenico-veneziano/", "ids": ["veneziano_saint_francis_receiving_the_stigmata"]}]}, "el_greco_christ_cleansing_the_temple": {"id": "el_greco_christ_cleansing_the_temple", "title": "Christ Cleansing the Temple", "artist_line": "El Greco (Greek, 1541–1614)", "artist": "El Greco (Domenikos Theotokopoulos)", "date": "probably before 1570", "museum": "National Gallery of Art, Washington", "license": "PD/CC0", "tier": "Sanctuary", "sizes": [{"size": "18×24 in", "paper": 140, "iw": 23.2, "ih": 18, "sw": 24, "sh": 18, "cov": 0.965}, {"size": "24×36 in", "paper": 190, "iw": 30.9, "ih": 24, "sw": 36, "sh": 24, "cov": 0.858}, {"size": "32×48 in", "paper": 340, "iw": 41.2, "ih": 32, "sw": 48, "sh": 32, "cov": 0.858}, {"size": "40×60 in", "paper": 480, "iw": 51.5, "ih": 40, "sw": 60, "sh": 40, "cov": 0.858}], "local": "/store/display/el_greco_christ_cleansing_the_temple.jpg", "commons_file": null, "zoom": "https://art.monstrance.app/zoom/el_greco_christ_cleansing_the_temple.jpg", "master_px": 17735, "auth": {"institution": "National Gallery of Art, Washington", "accession": "1957.14.4", "url": "https://www.nga.gov/artworks/43723-christ-cleansing-temple", "artist_as_printed": "El Greco (Domenikos Theotokopoulos, called El Greco), Greek, 1541 - 1614", "date_as_printed": "probably before 1570", "medium": "oil on panel", "dimensions": "65.4 x 83.2 cm (25 3/4 x 32 3/4 in.); framed: 87.6 x 106.7 x 7.6 cm"}, "writeup": {"text": "The whip has four short tails, and Christ holds it high across His body. Around Him the trade tumbles: a woman's hand on a cage of five white birds, an old man's basket of gold coins, rabbits nosing silver spilled from a pouch, a lamb tied to a stick, belly up. The National Gallery of Art explains how so uncommon a subject spread: the Council of Trent promoted it as a symbol of the Church purifying itself. El Greco, painting in Venice, set the purge in what looks like an Italian Renaissance palace, and signed in Greek beside the birdcage: Domenikos Theotokopoulos, Cretan. The birds are still in their cage.", "sources": [{"what": "NGA image description (artist page): the short four-tailed whip held high and stretched across his body; the woman resting her hand on a cage holding five white birds; the old man with chin in hand, elbow and hand on the handle of a basket filled with gold coins; two rabbits nosing silver spilling from a pouch; a white lamb with its feet tied to a stick lying belly up; the signature in white paint in Greek letters right of the bird cage. Also heading 'Greek, 1541 - 1614', 'oil on panel', 'Samuel H. Kress Collection', 1957.14.4. Carries the whole first paragraph and the signature.", "url": "https://www.nga.gov/artists/1356-el-greco", "cite": "National Gallery of Art, Washington, artist page 'El Greco', entry for Christ Cleansing the Temple, 1957.14.4; read 2026-09-01."}, {"what": "NGA object page meta description: 'An uncommon theme, it became increasingly popular in the latter half of the sixteenth century, promoted by the Council of Trent as a symbol of the Catholic church's attempt to purify itself'; inscription '(DOMÉNIKOS THEOTOK[O]POULOS KR[E]S) (Domenicos Theotocopoulos Cretan)'. Carries 'so uncommon a subject', the Trent sentence and the transliterated signature.", "url": "https://www.nga.gov/artworks/43723-christ-cleansing-temple", "cite": "National Gallery of Art, 'Christ Cleansing the Temple', El Greco, probably before 1570, 1957.14.4"}, {"what": "The NGA overview in full on the Google Arts \u0026 Culture mirror: the setting 'more reminiscent of an Italian Renaissance palace than of the sacred precincts of the Temple in Jerusalem'; painted in Venice before El Greco moved to Spain; tombstone '65.4 × 83.2 cm (25 3/4 × 32 3/4 in.); framed: 87.6 × 106.7 × 7.6 cm', 'Oil on panel', 'Probably before 1570', Kress gift 1957. Carries 'painting in Venice' and 'what looks like an Italian palace', and the dimensions.", "url": "https://artsandculture.google.com/asset/christ-cleansing-the-temple-el-greco-domenikos-theotokopoulos/_QFDSVMGSCUMPQ?hl=en", "cite": "Google Arts \u0026 Culture, 'Christ Cleansing the Temple', El Greco (Domenikos Theotokopoulos), carrying the National Gallery of Art's overview text"}, {"what": "Provenance summary (Marqués de Salamanca; Robinson; Cook collection; 'sold 17 October 1955 to the Samuel H. Kress Foundation'; gift 1957 to NGA); dimensions 65.4 x 83.2 cm. Tombstone only; nothing from it is in the card.", "url": "https://www.pubhist.com/w19865", "cite": "pubhist.com, 'El Greco - Christ Cleansing the Temple', w19865"}]}, "scene": {"ref": "John 2:15", "quote": "And when he had made, as it were, a scourge of little cords, he drove them all out of the temple, the sheep also and the oxen: and the money of the changers he poured out, and the tables he overthrew.", "shows": "Christ with the whip among sellers, animals and money"}, "th": "/store/thumb/el_greco_christ_cleansing_the_temple.webp", "more": [{"k": "subject", "n": "The Life of Christ in painting", "u": "/editions/subject/the-life-of-christ/", "ids": ["caravaggio_christ_at_the_column", "caravaggio_the_flagellation_of_christ", "caravaggio_the_raising_of_lazarus", "rubens_the_incredulity_of_saint_thomas"]}]}, "ferrarese_15th_century_madonna_and_child_with_angels": {"id": "ferrarese_15th_century_madonna_and_child_with_angels", "title": "Madonna and Child with Angels", "artist_line": "Ferrarese 15th Century", "artist": "Ferrarese 15th Century", "date": "c. 1455/1470", "museum": "National Gallery of Art, Washington", "license": "PD/CC0", "tier": "Mid", "sizes": [{"size": "11×14 in", "paper": 59, "iw": 9.3, "ih": 14, "sw": 11, "sh": 14, "cov": 0.847}, {"size": "16×20 in", "paper": 110, "iw": 13.3, "ih": 20, "sw": 16, "sh": 20, "cov": 0.832}, {"size": "18×24 in", "paper": 140, "iw": 16.0, "ih": 24, "sw": 18, "sh": 24, "cov": 0.887}], "local": "/store/display/ferrarese_15th_century_madonna_and_child_with_angels.jpg", "commons_file": null, "zoom": "https://art.monstrance.app/zoom/ferrarese_15th_century_madonna_and_child_with_angels.jpg", "master_px": 4896, "auth": {"institution": "National Gallery of Art, Washington", "accession": "1939.1.115", "url": "https://www.nga.gov/artworks/256-madonna-and-child-angels", "artist_as_printed": "Ferrarese 15th Century; artist page heading: Anonymous Ferrarese 15th Century", "date_as_printed": "c. 1455/1470", "medium": "Tempera on poplar panel", "dimensions": "overall: 53.5 x 36.2 cm (21 1/16 x 14 1/4 in.)"}, "writeup": {"text": "Our Lady folds her hands above her Son, and He sleeps as if the world could wait. He is wrapped in sheer cloth, a red necklace at His throat and a red bracelet at each wrist. Two haloed figures at lower left copy her hands. The Met and Edinburgh, writing of other pictures of this motif, read such a sleeping Child as a foreshadowing of His death. Attribution is unsettled: the National Gallery of Art catalogued it as Francesco del Cossa in 1941, Zeri took it from him in 1967, and Manca tentatively proposed Gherardo Costa in 1990. The Gallery now records only Ferrarese. Her eyes rest on Him.", "sources": [{"what": "NGA image description (artist page, page 2): the woman with hands clasped in prayer; the sleeping child in the bottom right corner with a golden halo, wrapped in a sheer textile, 'adorned with a red necklace and red bracelets on each wrist'; two more haloed children at bottom left 'with their hands together in front of their chests'; a red-winged child at her shoulder. Also date c. 1455/1470, 'Tempera on poplar panel', 1939.1.115, heading 'Anonymous Ferrarese 15th Century'. Carries the whole second paragraph's objects.", "url": "https://www.nga.gov/artists/8300-ferrarese-15th-century/artworks?page=1", "cite": "National Gallery of Art, Washington, artist page 'Ferrarese 15th Century', artworks page 2, entry for Madonna and Child with Angels, 1939.1.115; read 2026-09-01."}, {"what": "NGA object page: current title under 'Ferrarese 15th Century'; bibliography with Venturi 1930, Longhi 1934, Berenson 1936, NGA Preliminary Catalogue 1941 (45, no. 226) and Nicolson 1950 as Francesco del Cossa; Zeri 1967 'not by Francesco del Cossa'; Shapley 1979 'Attributed to Francesco del Cossa'; Manca 1990 'as by Gherardo d'Andrea Costa (?)'. Carries the whole first paragraph.", "url": "https://www.nga.gov/artworks/256-madonna-and-child-angels", "cite": "National Gallery of Art, 'Madonna and Child with Angels', Ferrarese 15th Century, c. 1455/1470, 1939.1.115, bibliography"}, {"what": "The Met on Bellini's Madonna Adoring the Sleeping Child: 'Asleep beneath the solemn gaze of his mother, the Christ Child's pose is a reminder of his eventual death and sacrifice.' Carries 'The Met ... describing other pictures of this motif'.", "url": "https://www.metmuseum.org/art/collection/search/435640", "cite": "The Metropolitan Museum of Art, 'Madonna Adoring the Sleeping Child', Giovanni Bellini, object description"}, {"what": "National Galleries of Scotland on Botticelli's Virgin Adoring the Sleeping Christ Child: 'The sleeping infant, who lies in swaddling clothes on the ground, prefigures the dead Christ wrapped in a burial shroud.' Carries 'Edinburgh ... describing other pictures of this motif'.", "url": "https://www.nationalgalleries.org/art-and-artists/57676", "cite": "National Galleries of Scotland, 'The Virgin Adoring the Sleeping Christ Child', Sandro Botticelli, object description"}]}, "scene": {"why": "A DEVOTIONAL TYPE, NOT AN EPISODE. The Virgin adoring the sleeping Child with attendant angels is a fifteenth-century devotional image built for prayer; no Gospel narrates the Child asleep before his praying mother."}, "th": "/store/thumb/ferrarese_15th_century_madonna_and_child_with_angels.webp", "more": [{"k": "subject", "n": "The Madonna and Child in painting", "u": "/editions/subject/madonna-and-child/", "ids": ["petrus_christus_virgin_and_child_with_saints_jerome_and", "petrus_christus_virgin_of_the_dry_tree_madonna_of_the_dr", "workshop_of_hans_memling_virgin_and_child", "francesca_madonna_and_child_enthroned"]}]}, "angelico_the_madonna_of_humility": {"id": "angelico_the_madonna_of_humility", "title": "The Madonna of Humility", "artist_line": "Fra Angelico (Florentine, c. 1395–1455)", "artist": "Fra Angelico", "date": "c. 1430", "museum": "National Gallery of Art, Washington", "license": "PD/CC0", "tier": "Sanctuary", "sizes": [{"size": "18×24 in", "paper": 140, "iw": 17.9, "ih": 24, "sw": 18, "sh": 24, "cov": 0.994}, {"size": "24×36 in", "paper": 190, "iw": 24, "ih": 32.2, "sw": 24, "sh": 36, "cov": 0.894}, {"size": "32×48 in", "paper": 340, "iw": 32, "ih": 42.9, "sw": 32, "sh": 48, "cov": 0.894}, {"size": "40×60 in", "paper": 480, "iw": 40, "ih": 53.6, "sw": 40, "sh": 60, "cov": 0.894}], "local": "/store/display/angelico_the_madonna_of_humility.jpg", "commons_file": null, "zoom": "https://art.monstrance.app/zoom/angelico_the_madonna_of_humility.jpg", "master_px": 24424, "auth": {"institution": "National Gallery of Art, Washington", "accession": "1937.1.5", "url": "https://www.nga.gov/artworks/5-madonna-humility", "artist_as_printed": "Fra Angelico (Beato Angelico, il; Giovanni da Fiesole), Florentine, c. 1395 - 1455", "date_as_printed": "c. 1430", "medium": "tempera on panel", "dimensions": "62.9 × 47.1 cm (24 3/4 × 18 9/16 in.)"}, "writeup": {"text": "Round her halo runs the angel's greeting, Ave Maria gratia plena, and it breaks off at Do. The words were spoken at the Annunciation; the Christ Child they announced already lies across her lap, arms lifted, looking up. Our Lady crosses her hands on her breast. Two angels hold up a cloth of red, gold and black that falls behind and under her. The National Gallery of Art explains the type elsewhere: a Madonna of Humility sits on the ground rather than a throne, perhaps humus for humilitas, a convention introduced in the 1340s, apparently by Simone Martini. Fra Angelico painted her about 1430; the title says where she sits.", "sources": [{"what": "NGA image description (artist page): the woman gazing down at a baby lying across her lap; 'she holds her hands crossed over her chest'; two winged angels in the same azure blue holding up a red, gold and black brocade-like cloth 'that falls behind and under her and the baby'; the baby with arms slightly raised looking up at her. The description does not say where she sits. Also 'tempera on panel', 'Andrew W. Mellon Collection', 1937.1.5, heading 'Florentine, c. 1395 - 1455'. Carries the Child, the hands, the angels and the cloth.", "url": "https://www.nga.gov/artists/99-fra-angelico", "cite": "National Gallery of Art, Washington, artist page 'Fra Angelico', entry for The Madonna of Humility, 1937.1.5; read 2026-09-01."}, {"what": "NGA object page: title 'The Madonna of Humility', date c. 1430, inscription 'upper center in Virgin's halo: AVE MARIA GRATIA PLENA DO[MINVS TECVM] (Hail, Mary, full of grace, the Lord is with thee; from Luke 1:28)'. Carries the halo sentence, 'The words belong to the Annunciation' and 'The title says where she sits'.", "url": "https://www.nga.gov/artworks/5-madonna-humility", "cite": "National Gallery of Art, 'The Madonna of Humility', Fra Angelico, c. 1430, 1937.1.5"}, {"what": "The Gallery's explanation of the type on its Andrea di Bartolo Madonna of Humility record: 'she sits not on a throne but on a simple cushion on the ground. This type of representation, known as the Madonna of Humility, became quite popular after it was introduced in the 1340s, apparently by Sienese painter Simone Martini. Its symbolism may stem from the linguistic similarity between the Latin humilitas (humility) and humus (ground).' Carries the whole 'glosses elsewhere' sentence, with its hedges.", "url": "https://www.nga.gov/artworks/160-madonna-humility-blessing-christ-two-angels-and-donor-obverse", "cite": "National Gallery of Art, 'Madonna of Humility, The Blessing Christ, Two Angels, and a Donor [obverse]', Andrea di Bartolo, c. 1380/1390, overview"}, {"what": "Boskovits's systematic catalogue entry on the same Andrea di Bartolo panel: 'Mary is humbly seated on the ground instead of on a throne.' Corroborates the definition of the type; says nothing about Simone Martini's introduction of it.", "url": "https://www.nga.gov/research/publications/italian-paintings-thirteenth-and-fourteenth-centuries-0/italian-paintings-thirteenth-and-fourteenth-centuries-madonna-humility-blessing-christ-two-angels", "cite": "Miklós Boskovits, Italian Paintings of the Thirteenth and Fourteenth Centuries, NGA Systematic Catalogue, entry for Andrea di Bartolo, Madonna of Humility"}, {"what": "Dimensions '24 3/4 × 18 9/16 in | 62.9 × 47.1 cm', 'Tempera on panel', ca. 1430 (mirror of NGA data). Tombstone only.", "url": "https://www.artsy.net/artwork/fra-angelico-the-madonna-of-humility", "cite": "Artsy, 'The Madonna of Humility', Fra Angelico"}]}, "scene": {"why": "A DEVOTIONAL TYPE, NOT AN EPISODE. The Madonna of Humility — Mary seated low on the ground with the Child — is a fourteenth-century devotional invention with no narrative source in Scripture; the halo inscription quotes a greeting, not a scene."}, "th": "/store/thumb/angelico_the_madonna_of_humility.webp", "more": [{"k": "subject", "n": "The Madonna and Child in painting", "u": "/editions/subject/madonna-and-child/", "ids": ["van_eyck_van_der_paele", "van_eyck_rolin", "van_eyck_lucca_madonna", "jan_van_eyck_madonna_at_the_fountain"]}, {"k": "master", "n": "Fra Angelico", "u": "/editions/master/fra-angelico/", "ids": ["fra_angelico_coronation", "fra_angelico_saint_romuald_refusing_entry_to_empero", "fra_angelico_the_beheading_of_saint_john_the_baptis", "angelico_last_judgment"]}]}, "carnevale_the_annunciation": {"id": "carnevale_the_annunciation", "title": "The Annunciation", "artist_line": "Fra Carnevale (Marchigian, active c. 1445–1484)", "artist": "Fra Carnevale", "date": "c. 1445/1450", "museum": "National Gallery of Art, Washington", "license": "PD/CC0", "tier": "Sanctuary", "sizes": [{"size": "8×10 in", "paper": 39, "iw": 7.1, "ih": 10, "sw": 8, "sh": 10, "cov": 0.892}, {"size": "11×14 in", "paper": 59, "iw": 10.0, "ih": 14, "sw": 11, "sh": 14, "cov": 0.908}, {"size": "16×20 in", "paper": 110, "iw": 14.3, "ih": 20, "sw": 16, "sh": 20, "cov": 0.892}, {"size": "18×24 in", "paper": 140, "iw": 17.1, "ih": 24, "sw": 18, "sh": 24, "cov": 0.951}, {"size": "24×36 in", "paper": 190, "iw": 24, "ih": 33.6, "sw": 24, "sh": 36, "cov": 0.935}, {"size": "32×48 in", "paper": 340, "iw": 32, "ih": 44.9, "sw": 32, "sh": 48, "cov": 0.935}, {"size": "40×60 in", "paper": 480, "iw": 40, "ih": 56.1, "sw": 40, "sh": 60, "cov": 0.935}], "local": "/store/display/carnevale_the_annunciation.jpg", "commons_file": null, "zoom": "https://art.monstrance.app/zoom/carnevale_the_annunciation.jpg", "master_px": 36279, "auth": {"institution": "National Gallery of Art, Washington", "accession": "1939.1.218", "url": "https://www.nga.gov/artworks/359-annunciation", "artist_as_printed": "Fra Carnevale, Marchigian, active c. 1445 - 1484", "date_as_printed": "c. 1445/1450", "medium": "tempera on panel", "dimensions": "overall: 87.6 x 62.8 cm (34 1/2 x 24 3/4 in.); framed: 120 x 92.4 x 8.3 cm (47 1/4 x 36 3/8 x 3 1/4 in.)"}, "writeup": {"text": "A garden waits at the end of a street, behind an open door in a salmon-coloured wall. Our Lady stands with one hand on her breast; the angel kneels with a lily. The Web Gallery of Art finds a pinhole in the right doorjamb, eight centimetres from the base of the door, and virtually every line recedes to it. The critic John Haber reads the garden beyond as the enclosed garden of Mary's virginity, which tradition kept shut; here the portal has no gate. Annunciations belonged in bedrooms, cloisters and churches. Fra Carnevale set this one in a street of Florentine buildings, and left its door open.", "sources": [{"what": "NGA object page: title, artist Fra Carnevale, date c. 1445/1450, exhibition history and bibliography.", "url": "https://www.nga.gov/artworks/359-annunciation", "cite": "National Gallery of Art, Washington, 'The Annunciation', Fra Carnevale, 1939.1.218"}, {"what": "NGA artist page: 'Marchigian, active c. 1445 - 1484' — the artist line as the Gallery prints it.", "url": "https://www.nga.gov/artists/1691-fra-carnevale", "cite": "National Gallery of Art, artist page, Fra Carnevale"}, {"what": "Web Gallery of Art commentary: the street bordered by colonnades rather than the traditional bedroom, cloister, enclosed garden or church-like interior; buildings with salmon and pink trim 'distinctly Florentine in style'; steep perspective terminating in a salmon-coloured wall with an open door; a pinhole marking the vanishing point in the right doorjamb eight centimetres from the base of the door, to which virtually all orthogonals recede. Carries the first paragraph and the 'bedrooms, cloisters and churches' and 'street of Florentine buildings' clauses.", "url": "https://www.wga.hu/html_m/c/carneval/2annunc2.html", "cite": "Web Gallery of Art, Fra Carnevale, 'The Annunciation', commentary"}, {"what": "John Haber's review 'Perspective as Contradiction' of the 2005 Met exhibition: the lines of pavement and buildings converge on a garden which a viewer would have recognised as the 'closed garden' of Mary's virginity; contrary to tradition, access to the garden is open, through an ungated portal. Carries the second-paragraph reading, credited to Haber by name.", "url": "https://www.haberarts.com/carneval.htm", "cite": "John Haber, 'Fra Carnevale: The Making of a Renaissance Master', Haber's Art Reviews, 2005"}, {"what": "Kress Foundation record K407: tempera on panel, 87.6 x 62.8 cm, accession 1939.1.218, provenance including sale by Duveen to the Kress Foundation May 1936 and gift 1939 to NGA; 1936 Duveen letter naming Pesellino, and Berenson's attribution to 'The Carrand Master'. Tombstone only.", "url": "https://www.kressfoundation.org/kress-collection/artwork/8df98d7dbf2097bea118fe42fb9dd840568bb690e9cf8b5146bc3cfdcf18ccb5", "cite": "Samuel H. Kress Foundation, Kress Collection, 'The Annunciation', K407"}, {"what": "Google Arts \u0026 Culture record supplied by NGA: overall and framed dimensions, medium, provenance, Rights CC0. Tombstone only.", "url": "https://artsandculture.google.com/asset/the-annunciation-fra-carnevale/MAG1wLsJN5NkVw?hl=en", "cite": "Google Arts \u0026 Culture, National Gallery of Art, 'The Annunciation', Fra Carnevale"}]}, "scene": {"ref": "Luke 1:28", "quote": "And the angel being come in, said unto her: Hail, full of grace, the Lord is with thee: blessed art thou among women.", "shows": "the angel come in to Mary with his greeting"}, "th": "/store/thumb/carnevale_the_annunciation.webp", "more": [{"k": "subject", "n": "The Annunciation in painting", "u": "/editions/subject/annunciation/", "ids": ["bouts_annunciation", "lippi_annunciation_2", "rogier_the_annunciation", "tura_the_annunciation_with_saint_francis_and_saint_louis"]}]}, "lippi_saint_benedict_orders_saint_maurus_to_the_rescue_o": {"id": "lippi_saint_benedict_orders_saint_maurus_to_the_rescue_o", "title": "Saint Benedict Orders Saint Maurus to the Rescue of Saint Placidus", "artist_line": "Fra Filippo Lippi (Florentine, c. 1406–1469)", "artist": "Fra Filippo Lippi", "date": "c. 1445/1450", "museum": "National Gallery of Art, Washington", "license": "PD/CC0", "tier": "Sanctuary", "sizes": [{"size": "18×24 in", "paper": 140, "iw": 24, "ih": 13.8, "sw": 24, "sh": 18, "cov": 0.769}, {"size": "24×36 in", "paper": 190, "iw": 36, "ih": 20.8, "sw": 36, "sh": 24, "cov": 0.865}, {"size": "32×48 in", "paper": 340, "iw": 48, "ih": 27.7, "sw": 48, "sh": 32, "cov": 0.865}, {"size": "40×60 in", "paper": 480, "iw": 60, "ih": 34.6, "sw": 60, "sh": 40, "cov": 0.865}], "local": "/store/display/lippi_saint_benedict_orders_saint_maurus_to_the_rescue_o.jpg", "commons_file": null, "zoom": "https://art.monstrance.app/zoom/lippi_saint_benedict_orders_saint_maurus_to_the_rescue_o.jpg", "master_px": 27026, "auth": {"institution": "National Gallery of Art, Washington", "accession": "1952.5.10", "url": "https://www.nga.gov/artworks/41620-saint-benedict-orders-saint-maurus-rescue-saint-placidus", "artist_as_printed": "Fra Filippo Lippi, Florentine, c. 1406 - 1469", "date_as_printed": "c. 1445/1450", "medium": "tempera on panel", "dimensions": "40 x 69.5 cm (15 3/4 x 27 3/8 in)"}, "writeup": {"text": "A boy kneels in the lake, and a monk in white bends over him, hands at his shoulders. In the red cell Saint Benedict, seated, lifts his hand toward a kneeling brother. Gregory the Great tells it: Placidus went for water and fell in; Benedict in his cell knew it and sent Maurus, who ran over the lake, caught the boy by the hair, and only on land saw what he had crossed. Lippi is gentler, and the National Gallery of Art describes the touch at the shoulders while the pitcher still fills. All four wear ivory white. Only the water moves.", "sources": [{"what": "NGA object page: title, artist Fra Filippo Lippi, date c. 1445/1450; the systematic catalogue entry is Boskovits \u0026 Brown 2003, pp. 410-415 (print only).", "url": "https://www.nga.gov/artworks/41620-saint-benedict-orders-saint-maurus-rescue-saint-placidus", "cite": "National Gallery of Art, Washington, 1952.5.10"}, {"what": "NGA artist page: header 'Filippo, Fra | Florentine, c. 1406 - 1469' (artist line) and the Gallery's own image description of this panel — all four men in ivory-white robes; the haloed bearded man holding up his right hand toward the kneeling clean-shaven man inside the coral-red building; the figure ('either a man or a younger boy') kneeling in the pool filling a pitcher; the man behind him who 'leans over and touches his shoulders'. Carries 'ivory white', 'touches the boy's shoulders' and 'while the pitcher still fills'.", "url": "https://www.nga.gov/artists/1489-fra-filippo-lippi", "cite": "National Gallery of Art, artist page, Fra Filippo Lippi, image description for 1952.5.10"}, {"what": "Gregory the Great, Dialogues II.7 ('How Maurus Walked Upon the Water'): Placidus went to the lake for water and fell in; 'the man of God, being in his cell, by and by knew this' and sent Maurus; Maurus 'took fast hold of Placidus by the hair of his head', and only on land 'knew very well that he had run on the water'. Carries the whole first sentence and the contrast with the shoulders.", "url": "https://archive.osb.org/gen/greg/dia-09.html", "cite": "Gregory the Great, Dialogues, Book II, chapter 7 (Life of St Benedict), OSB edition"}, {"what": "Kress Foundation record K1342: tempera on panel, 40 x 69.5 cm, accession 1952.5.10; provenance 'Part of a predella, possibly that of the main altarpiece of the church of San Bernardo in Arezzo ... remained in the adjacent monastery of the Olivetans until at least 1767'; note citing Jeffrey Ruda, the likely commission by Gregorio Marsuppini and his death in 1444 as terminus post quem. Carries 'may come from the Olivetans' altarpiece at San Bernardo in Arezzo' and, hedged by 'If so', 'the men who ordered him'.", "url": "https://www.kressfoundation.org/kress-collection/artwork/1e363bae550ad1c240a4e47ff42b56a276731042611589e3c6894bdee00cd655", "cite": "Samuel H. Kress Foundation, Kress Collection, 'Saint Benedict Orders Saint Maurus to the Rescue of Saint Placidus', K1342"}, {"what": "Catholic Encyclopedia, 'Olivetans': 'A branch of the white monks of the Benedictine Order, founded in 1319' by Giovanni Tolomei; the bishop of Arezzo 'clothed the three of them with white habits and gave them the Benedictine Rule'. Carries 'Tolomei clothed his first monks in white under Benedict's Rule in 1319'.", "url": "https://www.newadvent.org/cathen/11244c.htm", "cite": "Catholic Encyclopedia (1911), 'Olivetans', New Advent"}]}, "scene": {"why": "THE EPISODE IS HAGIOGRAPHY, NOT SCRIPTURE. Maurus running over the lake to pull the boy Placidus out by the hair, on Benedict's order, is told in Book II, chapter 7 of the Dialogues of Gregory the Great; no biblical book narrates it."}, "th": "/store/thumb/lippi_saint_benedict_orders_saint_maurus_to_the_rescue_o.webp", "more": [{"k": "subject", "n": "Saints in painting", "u": "/editions/subject/saints/", "ids": ["veneziano_saint_francis_receiving_the_stigmata", "veneziano_saint_john_in_the_desert", "giovanni_di_paolo_saint_john_the_baptist_entering_the_wild", "giovanni_di_paolo_miraculous_communion_of_saint_catherine"]}, {"k": "master", "n": "Fra Filippo Lippi", "u": "/editions/master/fra-filippo-lippi/", "ids": ["lippi_annunciation_2", "lippi_adoration_forest", "lippi_saint_lawrence_enthroned", "lippi_coronation"]}]}, "benaglio_saint_jerome": {"id": "benaglio_saint_jerome", "title": "Saint Jerome", "artist_line": "Francesco Benaglio (Veronese, c. 1432–1492)", "artist": "Francesco Benaglio", "date": "c. 1470/1475", "museum": "National Gallery of Art, Washington", "license": "PD/CC0", "tier": "Sanctuary", "sizes": [{"size": "18×24 in", "paper": 140, "iw": 11.4, "ih": 24, "sw": 18, "sh": 24, "cov": 0.633}, {"size": "24×36 in", "paper": 190, "iw": 17.1, "ih": 36, "sw": 24, "sh": 36, "cov": 0.712}, {"size": "32×48 in", "paper": 340, "iw": 22.8, "ih": 48, "sw": 32, "sh": 48, "cov": 0.712}, {"size": "40×60 in", "paper": 480, "iw": 28.5, "ih": 60, "sw": 40, "sh": 60, "cov": 0.712}], "local": "/store/display/benaglio_saint_jerome.jpg", "commons_file": null, "zoom": "https://art.monstrance.app/zoom/benaglio_saint_jerome.jpg", "master_px": 25860, "auth": {"institution": "National Gallery of Art, Washington", "accession": "1952.5.51", "url": "https://www.nga.gov/artworks/41666-saint-jerome", "artist_as_printed": "Francesco Benaglio, Veronese, c. 1432 - 1492", "date_as_printed": "c. 1470/1475", "medium": "tempera on spruce panel", "dimensions": "139.1 x 67.3 cm (54 3/4 x 26 1/2 in); framed 61 1/4 x 33 x 4 1/2 in"}, "writeup": {"text": "An old saint in a brown habit stands barefoot in a doorway of veined marble, a staff with a crucifix in one hand and a crutch in the other, and he has worn other names. The step names him .SS. HIERONYMVS, Saint Jerome. A slip on the pilaster reads Franciscus benalius, son of Pietro, dealer in cereals. The National Gallery of Art records how Christie's sold him in 1805 as by Francesco di Ladi, a London sale in 1924 called him a St Francis by Crivelli, and the 1951 Kress catalogue listed a St Anthony Abbot. Benaglio's name and the saint's were written there all along.", "sources": [{"what": "NGA object page: title, artist, date, and the two inscriptions as the Gallery transcribes them — the cartellino 'Franciscus benalius Filius petri / Albado (Francesco Benaglio, son of Pietro, dealer in cereals)' and the step '.SS. HIERONYMVS.'; bibliography including the 1951 Kress catalogue 'as St. Anthony Abbot'. Carries the two inscription sentences and 'signed that architecture'.", "url": "https://www.nga.gov/artworks/41666-saint-jerome", "cite": "National Gallery of Art, Washington, 'Saint Jerome', Francesco Benaglio, 1952.5.51"}, {"what": "NGA object page (legacy URL, which rendered the provenance): Christie's 15 March 1805 'as by Francesco di Ladi'; Robinson, Fisher \u0026 Harding 27 November 1924 'as St. Francis by C. Crivelli'; Kress purchase July 1948, gift 1952; and the 1951 Kress catalogue in the bibliography listing the work 'as St. Anthony Abbot'. Carries the three misnamings.", "url": "https://nga.gov/collection/art-object-page.41666.html", "cite": "National Gallery of Art, Washington, 'Saint Jerome', provenance and bibliography"}, {"what": "NGA provenance index page for Thomas Winstanley: lists 'Saint Jerome, Francesco Benaglio, c. 1470/1475, tempera on spruce panel, Samuel H. Kress Collection, 1952.5.51' — accession, medium and credit line on nga.gov.", "url": "https://www.nga.gov/artworks/provenance/24578-thomas-winstanley", "cite": "National Gallery of Art, provenance index, Thomas Winstanley"}, {"what": "NGA artist page: Francesco Benaglio, Veronese, c. 1432 - 1492 — the artist line as the Gallery prints it.", "url": "https://www.nga.gov/artists/942-francesco-benaglio", "cite": "National Gallery of Art, artist page, Francesco Benaglio"}, {"what": "Dizionario Biografico degli Italiani, vol. 8 (1966), entry by Maria Angela Novelli: calls the Kress picture 'il S. Antonio della collezione Kress di New York', signed 'Franciscus Benalius', set 'in un'architettura rinascimentale di marmi mischi e variegati, col nimbo di forma ovoidale'. Carries the second-paragraph sentence.", "url": "https://www.treccani.it/enciclopedia/francesco-benaglio_res-a6e961e3-87e7-11dc-8e9d-0016357eee51_(Dizionario-Biografico)/", "cite": "Treccani, Dizionario Biografico degli Italiani, vol. 8 (1966), 'BENAGLIO, Francesco'"}, {"what": "Northbrook Provenance Research (Carnegie Museum of Art): medium tempera on spruce panel; Samuel H. Kress Collection; 1805 sale 'as by Francesco di Ladi'; 1924 sale 'as St. Francis by C. Crivelli'. Corroborates the NGA provenance.", "url": "https://northbrook.cmoa.org/items/saint-jerome/", "cite": "Northbrook Provenance Research, 'Saint Jerome' (Benaglio)"}, {"what": "Artsy record of the NGA painting: 139.1 x 67.3 cm (54 3/4 x 26 1/2 in), framed 155.6 x 83.8 x 11.4 cm (61 1/4 x 33 x 4 1/2 in). Dimensions only; Artsy prints 'tempera on panel' (NGA: 'tempera on spruce panel').", "url": "https://www.artsy.net/artwork/francesco-benaglio-saint-jerome", "cite": "Artsy, National Gallery of Art, 'Saint Jerome', Francesco Benaglio"}]}, "scene": {"why": "A SAINT'S PORTRAIT, NOT AN EPISODE. Jerome died in 420; a standing, inscribed image of the Church Father in an architectural setting is a devotional likeness with no narrative source in any biblical book."}, "th": "/store/thumb/benaglio_saint_jerome.webp", "more": [{"k": "subject", "n": "Saints in painting", "u": "/editions/subject/saints/", "ids": ["ercole_de_roberti_st_jerome_in_the_wilderness", "bellini_saint_francis_in_the_desert", "vivarini_saint_jerome_reading", "pacher_devil_presenting_saint_augustine_book_of_vices"]}]}, "giorgione_the_holy_family": {"id": "giorgione_the_holy_family", "title": "The Holy Family", "artist_line": "Giorgione (Venetian, 1477/1478–1510)", "artist": "Giorgione", "date": "probably c. 1500", "museum": "National Gallery of Art, Washington", "license": "PD/CC0", "tier": "Sanctuary", "sizes": [{"size": "8×10 in", "paper": 39, "iw": 9.9, "ih": 8, "sw": 10, "sh": 8, "cov": 0.987}, {"size": "11×14 in", "paper": 59, "iw": 13.6, "ih": 11, "sw": 14, "sh": 11, "cov": 0.969}, {"size": "16×20 in", "paper": 110, "iw": 19.7, "ih": 16, "sw": 20, "sh": 16, "cov": 0.987}, {"size": "18×24 in", "paper": 140, "iw": 22.2, "ih": 18, "sw": 24, "sh": 18, "cov": 0.925}, {"size": "24×36 in", "paper": 190, "iw": 29.6, "ih": 24, "sw": 36, "sh": 24, "cov": 0.822}, {"size": "32×48 in", "paper": 340, "iw": 39.5, "ih": 32, "sw": 48, "sh": 32, "cov": 0.822}, {"size": "40×60 in", "paper": 480, "iw": 49.3, "ih": 40, "sw": 60, "sh": 40, "cov": 0.822}], "local": "/store/display/giorgione_the_holy_family.jpg", "commons_file": null, "zoom": "https://art.monstrance.app/zoom/giorgione_the_holy_family.jpg", "master_px": 12286, "auth": {"institution": "National Gallery of Art, Washington", "accession": "1952.2.8", "url": "https://www.nga.gov/artworks/41590-holy-family", "artist_as_printed": "Giorgione, Venetian, 1477/1478 - 1510", "date_as_printed": "probably c. 1500", "medium": "oil on panel transferred to hardboard", "dimensions": "overall: 37.3 x 45.6 cm (14 11/16 x 17 15/16 in.); framed: 55.9 x 64.8 x 7.6 cm (22 x 25 1/2 x 3 in.)"}, "writeup": {"text": "Our Lady holds the Child in her lap, and He lies on His back with one arm out toward her. Saint Joseph sits on a low brick wall, a short staff planted beside him, white hair over his ears, head bowed over the Child. A loose ring of pebbles lies around the three; through the arch stand a white square tower and a far town. The Cavallini to Veronese entry says the figures, especially the elderly Joseph, recall those of Giovanni Bellini. Klára Garas dates the work between 1500 and 1504. Giorgione was in his twenties, and Saint Joseph, the oldest figure in it, keeps watch.", "sources": [{"what": "NGA object page: title, artist Giorgione, date 'probably c. 1500', exhibition history and bibliography.", "url": "https://www.nga.gov/artworks/41590-holy-family", "cite": "National Gallery of Art, Washington, 'The Holy Family', Giorgione, 1952.2.8"}, {"what": "NGA artist page: header 'Zorzo da Castelfranco / Venetian, 1477/1478 - 1510' (artist line) and the Gallery's own image description of this panel — 'an old man'; the baby on his back pointing at the woman with one outstretched arm; the man on a low tan brick wall with head bowed, one hand gripping a short staff planted on the ground; the woman on a low rock; pebbles making a loose ring around the trio; the rounded arch, the white square tower and the distant town. Carries the whole first paragraph and 'Old, head bowed over the child'.", "url": "https://www.nga.gov/artists/1341-giorgione", "cite": "National Gallery of Art, artist page, Giorgione, image description for 1952.2.8"}, {"what": "Klára Garas, Acta Historiae Artium 59 (2018): dated between 1500 and 1504.", "url": "https://real.mtak.hu/91501/1/170.2018.59.1.2.pdf", "cite": "Klára Garas, 'The History of Collecting Giorgione in America – An Outline', Acta Historiae Artium 59 (2018), 42-43"}, {"what": "Cavallini to Veronese entry: 'The figures, especially the elderly Joseph, recall those of Giovanni Bellini.'", "url": "https://cavallinitoveronese.co.uk/general/view_artist/64", "cite": "Cavallini to Veronese, 'Giorgione', entry for the Washington Holy Family"}, {"what": "Web Gallery of Art: 'The figures closely resemble those painted by Giovanni Bellini.' Second voice for the Bellini likeness of the figures (not Joseph specifically) — 'on that, at least, they agree'.", "url": "https://www.wga.hu/html_m/g/giorgion/religion/01holyfa.html", "cite": "Web Gallery of Art, Giorgione, 'The Holy Family'"}, {"what": "Google Arts \u0026 Culture record supplied by NGA: medium 'oil on panel transferred to hardboard', overall 37.3 x 45.6 cm and framed 55.9 x 64.8 x 7.6 cm, Rights CC0. Tombstone only.", "url": "https://artsandculture.google.com/asset/the-holy-family-giorgione/PwH0lh7F8Qg0qg?hl=en", "cite": "Google Arts \u0026 Culture, National Gallery of Art, 'The Holy Family', Giorgione"}, {"what": "pubhist record: Samuel H. Kress Collection, accession 1952.2.8, oil on wood transferred to hardboard, 37.3 x 45.6 cm. Credit line and accession.", "url": "https://www.pubhist.com/w21096", "cite": "pubhist.com, Giorgione, 'The Holy Family'"}]}, "scene": {"why": "A DEVOTIONAL TYPE, NOT AN EPISODE. The Holy Family seated together in a shelter is a Venetian devotional composition; no Gospel narrates Mary, Joseph and the Child at rest as a scene, so no verse is its source."}, "th": "/store/thumb/giorgione_the_holy_family.webp", "more": [{"k": "subject", "n": "The Holy Family in painting", "u": "/editions/subject/holy-family/", "ids": ["raphael_the_canigiani_holy_family", "del_sarto_holy_family_with_the_young_saint_john_th", "rubens_holy_family", "rembrandt_holy_family_angels"]}]}, "baronzio_madonna_and_child_with_five_angels": {"id": "baronzio_madonna_and_child_with_five_angels", "title": "Madonna and Child with Five Angels", "artist_line": "Giovanni Baronzio (Italian, active c. 1320–1350)", "artist": "Giovanni Baronzio", "date": "c. 1335", "museum": "National Gallery of Art, Washington", "license": "PD/CC0", "tier": "Sanctuary", "sizes": [{"size": "18×24 in", "paper": 140, "iw": 11.4, "ih": 24, "sw": 18, "sh": 24, "cov": 0.634}, {"size": "24×36 in", "paper": 190, "iw": 17.1, "ih": 36, "sw": 24, "sh": 36, "cov": 0.714}, {"size": "32×48 in", "paper": 340, "iw": 22.8, "ih": 48, "sw": 32, "sh": 48, "cov": 0.714}, {"size": "40×60 in", "paper": 480, "iw": 28.5, "ih": 60, "sw": 40, "sh": 60, "cov": 0.714}], "local": "/store/display/baronzio_madonna_and_child_with_five_angels.jpg", "commons_file": null, "zoom": "https://art.monstrance.app/zoom/baronzio_madonna_and_child_with_five_angels.jpg", "master_px": 11904, "auth": {"institution": "National Gallery of Art, Washington", "accession": "1943.4.45", "url": "https://www.nga.gov/artworks/12143-madonna-and-child-five-angels", "artist_as_printed": "Giovanni Baronzio", "date_as_printed": "c. 1335", "medium": "tempera on panel", "dimensions": "painted surface: 100.6 × 48.2 cm (39 5/8 × 19 in.); overall: 102.3 × 49.3 × 3.7 cm (40 1/4 × 19 7/16 × 1 7/16 in.); framed: 138.4 x 70.1 cm (54 1/2 x 27 5/8 in.)"}, "writeup": {"text": "The Christ Child reaches up and takes a fold of His Mother's veil in His fingers. Five angels hold the cloth of honour behind them, a habit of the painters of Rimini. Miklós Boskovits reads the grasped veil as an allusion to the Passion, and the insect in the Child's lap, drawn large, as a locust, the Baptist's food in the wilderness; Giovanni Baronzio set this throne at the centre of an altarpiece for Saint John the Baptist, flanked by his story. Small lions on the armrests recall, for Boskovits, Solomon's throne. Its church is unknown. One small hand is on the Passion, the other on the desert.", "sources": [{"what": "NGA systematic catalogue entry by Miklós Boskovits, with its image description: the Child reaching up with his right hand to touch the veil, the other hand resting on an 'oversized cricket' in his lap; two angels holding each long side of the cloth and one the top; cloth of honour supported by angels as a predilection of the painters of Rimini; the child grasping his mother's veil as an allusion to the Passion; miniature lions on the throne armrests alluding to the throne of Solomon; the enormous locust recalling the Baptist's diet of locusts and wild honey; precision in representing the insect; four stories of the Baptist on either side of the central Madonna; original provenance unknown, presumably a Baptist church in Emilia Romagna or the Marche; tombstone c. 1335, tempera on panel, Samuel H. Kress Collection, 1943.4.45. Carries every claim in the card.", "url": "https://www.nga.gov/research/publications/italian-paintings-thirteenth-and-fourteenth-centuries-0/italian-paintings-thirteenth-and-fourteenth-centuries-madonna-and-child-five-angels-c-1335", "cite": "Miklós Boskovits, 'Madonna and Child with Five Angels, c. 1335', in Italian Paintings of the Thirteenth and Fourteenth Centuries, NGA Systematic Catalogue, online edition 2016"}, {"what": "NGA object page: overview opening ('in the center of an altarpiece devoted to Saint John the Baptist') and the halo inscription AVE.MARIA.GRAT[IA].PLENA.D[OMI]N[U]S (Luke 1:28). Tombstone client-rendered.", "url": "https://www.nga.gov/artworks/12143-madonna-and-child-five-angels", "cite": "National Gallery of Art, Washington, 'Madonna and Child with Five Angels', 1943.4.45"}, {"what": "Google Arts \u0026 Culture record supplied by NGA: creator line 'Italian, active c. 1320-1350'; painted surface, overall and framed dimensions; tempera on panel; provenance summary; Rights CC0. Confirms the artist line on an NGA-supplied record.", "url": "https://artsandculture.google.com/asset/madonna-and-child-with-five-angels-giovanni-baronzio/vwEiqG5lW0SRAw?hl=en", "cite": "Google Arts \u0026 Culture, National Gallery of Art, 'Madonna and Child with Five Angels'"}, {"what": "Kress Foundation record for the companion Birth panel (K1435): artist 'Giovanni Baronzio (Italian, active c. 1320-1350)' — second witness for the artist line.", "url": "https://www.kressfoundation.org/kress-collection/artwork/6f2fe616a3a8bf53426f0325003c9f91b4acb047f5d938003fba15ba396f787f", "cite": "Samuel H. Kress Foundation, Kress Collection, K1435"}]}, "scene": {"why": "A DEVOTIONAL TYPE, NOT AN EPISODE. The Madonna and Child enthroned with angels and a cloth of honour is a fourteenth-century altarpiece image; the locust and the veil are emblems, not the record of any narrated moment in Scripture."}, "th": "/store/thumb/baronzio_madonna_and_child_with_five_angels.webp", "more": [{"k": "subject", "n": "The Madonna and Child in painting", "u": "/editions/subject/madonna-and-child/", "ids": ["bohemian_master_the_glatz_madonna", "angelico_madonna_twelve_angels_staedel", "gentile_da_fabriano_madonna_and_child_enthroned", "angelico_the_madonna_of_humility"]}, {"k": "master", "n": "Giovanni Baronzio", "u": "/editions/master/giovanni-baronzio/", "ids": ["baronzio_the_birth_naming_and_circumcision_of_saint_john"]}]}, "baronzio_the_birth_naming_and_circumcision_of_saint_john": {"id": "baronzio_the_birth_naming_and_circumcision_of_saint_john", "title": "The Birth, Naming, and Circumcision of Saint John the Baptist", "artist_line": "Giovanni Baronzio (Italian, active c. 1320–1350)", "artist": "Giovanni Baronzio", "date": "c. 1335", "museum": "National Gallery of Art, Washington", "license": "PD/CC0", "tier": "Sanctuary", "sizes": [{"size": "18×24 in", "paper": 140, "iw": 18, "ih": 21.5, "sw": 18, "sh": 24, "cov": 0.896}, {"size": "24×36 in", "paper": 190, "iw": 24, "ih": 28.7, "sw": 24, "sh": 36, "cov": 0.796}, {"size": "32×48 in", "paper": 340, "iw": 32, "ih": 38.2, "sw": 32, "sh": 48, "cov": 0.796}, {"size": "40×60 in", "paper": 480, "iw": 40, "ih": 47.8, "sw": 40, "sh": 60, "cov": 0.796}], "local": "/store/display/baronzio_the_birth_naming_and_circumcision_of_saint_john.jpg", "commons_file": null, "zoom": "https://art.monstrance.app/zoom/baronzio_the_birth_naming_and_circumcision_of_saint_john.jpg", "master_px": 6553, "auth": {"institution": "National Gallery of Art, Washington", "accession": "1952.5.68", "url": "https://www.nga.gov/artworks/41683-birth-naming-and-circumcision-saint-john-baptist", "artist_as_printed": "Giovanni Baronzio", "date_as_printed": "c. 1335", "medium": "tempera on panel", "dimensions": "painted surface: 46.4 × 38.3 cm (18 1/4 × 15 1/16 in.); overall: 48.8 × 40.7 cm (19 3/16 × 16 in.); framed: 55.7 x 48.1 x 5.1 cm (21 15/16 x 18 15/16 x 2 in.)"}, "writeup": {"text": "Zacharias cannot speak, so he writes. He braces a scroll on one knee, brows furrowed, and the letters can be read: NOMEN EST IOHANNES, the name is John. Luke says the neighbours wanted the child called Zacharias after his father; the man beside him turns and gestures toward him. Behind, Saint Elizabeth sits up under a red coverlet, and the infant Saint John lies swaddled in his cradle. Miklós Boskovits notes that Giovanni Baronzio pushes the Naming, often a scene of its own, inside the Birth and sets it at the front, with the Circumcision at the far right. The front belongs to an old man writing a name.", "sources": [{"what": "NGA systematic catalogue entry by Miklós Boskovits, with its image description: the balding gray-bearded man writing on a scroll braced on one knee, brows deeply furrowed; the man beside him gesturing toward him with both hands; the woman under a vibrant red coverlet in a bed spanning the left two-thirds, with a bench along the bottom edge 'closer to us'; the man in white vestments performing the circumcision; 'The Naming of the Baptist, which often represents a self-sufficient scene, is here inserted in the scene of the Birth, and indeed placed in the foreground and combined to the far right with the episode of the Circumcision of the recalcitrant child'; 'The Gospel narrative (Lk 1:59–63)' on the kinsfolk and neighbours suggesting the name Zacharias; the 1330s neckline; tombstone c. 1335, tempera on panel, Samuel H. Kress Collection, 1952.5.68. Carries the description, the Luke clause and the whole second paragraph. The muteness of Zacharias is not on this page; it is Luke 1:20 and 1:62-63.", "url": "https://www.nga.gov/research/publications/italian-paintings-thirteenth-and-fourteenth-centuries-0/italian-paintings-thirteenth-and-fourteenth-centuries-birth-naming-and-circumcision-saint-john", "cite": "Miklós Boskovits, 'The Birth, Naming, and Circumcision of Saint John the Baptist, c. 1335', in Italian Paintings of the Thirteenth and Fourteenth Centuries, NGA Systematic Catalogue, online edition 2016"}, {"what": "NGA object page: overview (same Baptist altarpiece as The Baptism of Christ and Madonna and Child with Five Angels; original location unknown) and the inscription 'NOMEN / E[S]T IO / HA[NN]ES (The name is John)' on the sheet on which Zacharias is writing. Carries the inscription reading.", "url": "https://www.nga.gov/artworks/41683-birth-naming-and-circumcision-saint-john-baptist", "cite": "National Gallery of Art, Washington, 'The Birth, Naming, and Circumcision of Saint John the Baptist', 1952.5.68"}, {"what": "Kress Foundation record K1435: 'Giovanni Baronzio (Italian, active c. 1320-1350)', c. 1335, tempera on panel, painted surface 46.4 x 38.3 cm, accession 1952.5.68; provenance Street, Pratt, Wildenstein, Kress 1947, NGA 1952.", "url": "https://www.kressfoundation.org/kress-collection/artwork/6f2fe616a3a8bf53426f0325003c9f91b4acb047f5d938003fba15ba396f787f", "cite": "Samuel H. Kress Foundation, Kress Collection, K1435"}, {"what": "Google Arts \u0026 Culture record supplied by NGA: painted surface 46.4 x 38.3 cm, overall 48.8 x 40.7 cm; tempera on panel; Rights CC0.", "url": "https://artsandculture.google.com/asset/the-birth-naming-and-circumcision-of-saint-john-the-baptist/2wF1LpIA5-3sQg?hl=en", "cite": "Google Arts \u0026 Culture, National Gallery of Art, 'The Birth, Naming, and Circumcision of Saint John the Baptist'"}]}, "scene": {"ref": "Luke 1:63", "quote": "And demanding a writing table, he wrote, saying: John is his name. And they all wondered.", "shows": "Zacharias writing on a tablet, His name is John"}, "th": "/store/thumb/baronzio_the_birth_naming_and_circumcision_of_saint_john.webp", "more": [{"k": "subject", "n": "Saints in painting", "u": "/editions/subject/saints/", "ids": ["angelico_thebaid_budapest", "fra_angelico_attr_the_thebaid", "gentile_da_fabriano_crippled_and_sick_cured_at_the_tomb_of_s", "masaccio_pisa_predella_peter_john"]}, {"k": "master", "n": "Giovanni Baronzio", "u": "/editions/master/giovanni-baronzio/", "ids": ["baronzio_madonna_and_child_with_five_angels"]}]}, "pittoni_saints_presenting_a_devout_woman_to_the_virgin_a": {"id": "pittoni_saints_presenting_a_devout_woman_to_the_virgin_a", "title": "Saints Presenting a Devout Woman to the Virgin and Child", "artist_line": "Giovanni Battista Pittoni (Italian, 1687–1767)", "artist": "Giovanni Battista Pittoni", "date": "1720s", "museum": "The Cleveland Museum of Art", "license": "PD/CC0", "tier": "Hero", "sizes": [{"size": "16×20 in", "paper": 110, "iw": 15.5, "ih": 20, "sw": 16, "sh": 20, "cov": 0.97}, {"size": "18×24 in", "paper": 140, "iw": 18, "ih": 23.2, "sw": 18, "sh": 24, "cov": 0.966}, {"size": "24×36 in", "paper": 190, "iw": 24, "ih": 30.9, "sw": 24, "sh": 36, "cov": 0.859}], "local": "/store/display/pittoni_saints_presenting_a_devout_woman_to_the_virgin_a.jpg", "commons_file": null, "zoom": "https://art.monstrance.app/zoom/pittoni_saints_presenting_a_devout_woman_to_the_virgin_a.jpg", "master_px": 6000, "auth": {"institution": "The Cleveland Museum of Art", "accession": "1982.36", "url": "https://clevelandart.org/art/1982.36", "artist_as_printed": "Giovanni Battista Pittoni (Italian, 1687–1767)", "date_as_printed": "1720s", "medium": "oil on canvas", "dimensions": "Framed: 185 x 149 x 6.5 cm (72 13/16 x 58 11/16 x 2 9/16 in.); Unframed: 172 x 135.5 cm (67 11/16 x 53 3/8 in.)"}, "writeup": {"text": "A dove rests at one saint's breast, a lamb lies in another's lap, and a pot of fire smokes on the ground below; everyone in the clouds can be named except the woman it was perhaps painted for. The Cleveland Museum of Art identifies them by their objects: Lucy by the cauldron and sword, Agnes by the lamb, Scholastica by her dove, Benedict by crozier and Benedictine habit, with Veronica and Anthony of Padua. Above them Our Lady holds the Christ Child. Of the woman kneeling at the lower right, whom an angel draws forward, the museum says only that her identity is uncertain and she may be the patron. Its soft light and rich colour, it adds, reflect Giovanni Battista Pittoni's study of French Rococo art in France in 1720. Cleveland notes a third front leg on the lamb, painted over, come back as the canvas aged. Count them.", "sources": [{"what": "Cleveland's description: a devout woman at lower right presented by saints and an angel to the Virgin and Child; Lucy (cauldron and sword), Agnes (lamb), Scholastica (dove), Benedict (crozier and Benedictine habit), Veronica and Anthony of Padua; soft light and rich color reflecting Pittoni's study of French Rococo art during his stay in France in 1720; a third front leg of the lamb, painted over, has become visible as the painting aged.", "url": "https://clevelandart.org/art/1982.36", "cite": "The Cleveland Museum of Art, 'Saints Presenting a Devout Woman to the Virgin and Child', Giovanni Battista Pittoni, 1720s, 1982.36; read 2026-09-24"}, {"what": "Cleveland open-access record: the woman's identity is uncertain and she may be the patron; provenance beginning possibly in a palace chapel, Belluno, 1720s.", "url": "https://openaccess-api.clevelandart.org/api/artworks/?accession_number=1982.36", "cite": "The Cleveland Museum of Art Open Access API, record 1982.36; read 2026-09-24"}]}, "scene": {"why": "SAINTS PRESENTING A DONOR, NOT AN EPISODE. Six saints of different centuries and an angel commend an unnamed woman to the Virgin and Child; this is a votive assembly of the patron's intercessors, with no narrative source in any biblical book."}, "th": "/store/thumb/pittoni_saints_presenting_a_devout_woman_to_the_virgin_a.webp", "more": [{"k": "subject", "n": "The Madonna and Child in painting", "u": "/editions/subject/madonna-and-child/", "ids": ["signorelli_madonna_and_child_with_saints_and_angels", "unknown_andean_painter_virgin_of_the_rosary_of_pomata", "cimabue_the_virgin_and_child_in_majesty_surrou", "duccio_maesta"]}]}, "tiepolo_madonna_of_the_goldfinch": {"id": "tiepolo_madonna_of_the_goldfinch", "title": "Madonna of the Goldfinch", "artist_line": "Giovanni Battista Tiepolo (Venetian, 1696–1770)", "artist": "Giovanni Battista Tiepolo", "date": "c. 1767/1770", "museum": "National Gallery of Art, Washington", "license": "PD/CC0", "tier": "Sanctuary", "sizes": [{"size": "18×24 in", "paper": 140, "iw": 18, "ih": 22.8, "sw": 18, "sh": 24, "cov": 0.95}, {"size": "24×36 in", "paper": 190, "iw": 24, "ih": 30.4, "sw": 24, "sh": 36, "cov": 0.845}, {"size": "32×48 in", "paper": 340, "iw": 32, "ih": 40.5, "sw": 32, "sh": 48, "cov": 0.845}, {"size": "40×60 in", "paper": 480, "iw": 40, "ih": 50.7, "sw": 40, "sh": 60, "cov": 0.845}], "local": "/store/display/tiepolo_madonna_of_the_goldfinch.jpg", "commons_file": null, "zoom": "https://art.monstrance.app/zoom/tiepolo_madonna_of_the_goldfinch.jpg", "master_px": 34907, "auth": {"institution": "National Gallery of Art, Washington", "accession": "1997.60.1", "url": "https://www.nga.gov/artworks/101678-madonna-goldfinch", "artist_as_printed": "Giovanni Battista Tiepolo, Painter, Venetian, 1696 - 1770", "date_as_printed": "c. 1767/1770", "medium": "oil on canvas", "dimensions": "overall: 62 x 49.5 cm (24 7/16 x 19 1/2 in.)"}, "writeup": {"text": "A goldfinch sits in the Christ Child's fist, small, with a red face, and He looks straight out past it. Our Lady, veiled and wrapped in blue, looks down at Him. From His other hand a fine chain runs to the bird's foot, the end held up by His chest, as the National Gallery of Art describes it. The goldfinch, says the Smithsonian's account of Washington's two canvases, stands for His coming death. In the other version, a Kress gift of 1943, the Child holds His Mother's mantle instead; Diane De Grazia has suggested that one was painted for a client who wanted one like this, the version always accepted as Giovanni Battista Tiepolo's own. The death is a little bird with a red face. He has it on a leash.", "sources": [{"what": "NGA object page for 1997.60.1: artist line 'Giovanni Battista Tiepolo, Painter, Venetian, 1696 - 1770', c. 1767/1770, oil on canvas, overall 62 x 49.5 cm, Gift of The Brown Foundation, Inc., Houston; image description (bird in the left hand, chain around its foot with the end held up by the chest, white veil, blue mantle, golden brown curtain); provenance including the 1997 acquisition; public domain. Carries the tombstone and 'a chain, running to the bird's foot, the end up by his chest'.", "url": "https://www.nga.gov/artworks/101678-madonna-goldfinch", "cite": "National Gallery of Art, Washington, 'Madonna of the Goldfinch', Giovanni Battista Tiepolo, 1997.60.1"}, {"what": "Smithsonian National Postal Museum page on the 1982 Christmas stamp: the stamp reproduced the canvas given in 1943 by Samuel H. Kress, in which the Child holds his mother's mantle in one hand and a goldfinch, symbolising his coming death, in the other; its attribution doubted by some as an assistant or the painter's son; the other version, acquired 1997, in which he holds a string attached to the goldfinch's foot rather than the mantle, has always been accepted as by Tiepolo himself; Diane De Grazia, writing for the National Gallery, holds the Kress version is possibly painted by Tiepolo for a client who wanted a composition similar to the primary version. Carries the whole first paragraph and 'The goldfinch stands for his coming death'.", "url": "https://postalmuseum.si.edu/exhibition/the-art-of-christmas-stamps-1980-1989/tiepolo-madonna-and-child", "cite": "Smithsonian National Postal Museum, 'Tiepolo - Madonna and Child', The Art of Christmas Stamps 1980-1989"}, {"what": "NGA object page for the OTHER canvas, 1943.4.40 (object 12138): bibliography records it catalogued as 'Imitator of Giambattista Tiepolo' (Molmenti 1909, 1911), 'Giandomenico Tiepolo' (Morassi 1962, Pallucchini 1968) and 'Studio of Giambattista Tiepolo' (Shapley 1973, 1979). Corroborates the doubt and establishes the two are distinct objects.", "url": "https://www.nga.gov/artworks/12138-madonna-goldfinch", "cite": "National Gallery of Art, Washington, 'Madonna of the Goldfinch', 1943.4.40"}, {"what": "Web Gallery of Art: the legend of the goldfinch's red spot from a thorn drawn from Christ's head on the way to Calvary, and its inclusion in Madonna pictures as 'a symbol of Christ's future Passion'. Second voice for the bird's meaning; not quoted in the card.", "url": "https://www.wga.hu/html_m/t/tiepolo/gianbatt/7_1760s/08goldfi.html", "cite": "Web Gallery of Art, Tiepolo, 'Madonna of the Goldfinch'"}, {"what": "Kress Foundation record K1303 for the other canvas: oil on canvas, 63.1 x 50.3 cm, accession 1943.4.40 — confirms the two are distinct objects.", "url": "https://www.kressfoundation.org/kress-collection/artwork/a44f51a2c97f8ccb03aa1373164d4a766317bc0b7f2d5f0fec377d5553ac4679", "cite": "Samuel H. Kress Foundation, Kress Collection, 'Madonna of the Goldfinch', K1303"}]}, "scene": {"why": "A DEVOTIONAL TYPE, NOT AN EPISODE. A half-length Madonna and Child with a goldfinch on a chain is an eighteenth-century devotional image; no Gospel narrates the moment and the bird is an emblem, not an event."}, "th": "/store/thumb/tiepolo_madonna_of_the_goldfinch.webp", "more": [{"k": "subject", "n": "The Madonna and Child in painting", "u": "/editions/subject/madonna-and-child/", "ids": ["bouguereau_song_of_the_angels", "bouguereau_regina_angelorum", "leonardo_madonna_litta", "pittoni_saints_presenting_a_devout_woman_to_the_virgin_a"]}, {"k": "master", "n": "Giovanni Battista Tiepolo", "u": "/editions/master/giovanni-battista-tiepolo/", "ids": ["tiepolo_the_immaculate_conception", "tiepolo_the_vision_of_saint_cajetan", "tiepolo_the_miracle_of_the_holy_house_of_loret"]}]}, "giovanni_di_paolo_st_catherine_of_siena_invested_with_the": {"id": "giovanni_di_paolo_st_catherine_of_siena_invested_with_the", "title": "Predella Panel from an Altarpiece: St. Catherine of Siena Invested with the Dominican Habit", "artist_line": "Giovanni di Paolo (Italian, c. 1403–1482)", "artist": "Giovanni di Paolo", "date": "1460s", "museum": "The Cleveland Museum of Art", "license": "PD/CC0", "tier": "Mid", "sizes": [{"size": "11×14 in", "paper": 59, "iw": 10.2, "ih": 14, "sw": 11, "sh": 14, "cov": 0.93}, {"size": "18×24 in", "paper": 140, "iw": 17.5, "ih": 24, "sw": 18, "sh": 24, "cov": 0.974}], "local": "/store/display/giovanni_di_paolo_st_catherine_of_siena_invested_with_the.jpg", "commons_file": null, "zoom": "https://art.monstrance.app/zoom/giovanni_di_paolo_st_catherine_of_siena_invested_with_the.jpg", "master_px": 4740, "auth": {"institution": "The Cleveland Museum of Art", "accession": "1966.2", "url": "https://clevelandart.org/art/1966.2", "artist_as_printed": "Giovanni di Paolo (Italian, c. 1403–1482)", "date_as_printed": "1460s", "medium": "tempera and gold on wood panel", "dimensions": "Framed: 35.6 x 29.5 x 4.5 cm (14 x 11 5/8 x 1 3/4 in.); Unframed: 28.9 x 23 cm (11 3/8 x 9 1/16 in.)"}, "writeup": {"text": "Three saints lean out of the gold and hold out their habits, and Saint Catherine, kneeling in white beside an altar, reaches up. The Cleveland Museum of Art names them, Dominic, Augustine and Francis, and says she takes Dominic's; know him, Cleveland adds, by his lilies. Raymond of Capua, her biographer, puts the habit first in a dream, as Edmund Gardner retells it: Dominic held a white lily that burned and was not consumed, and offered the black and white habit of the Sisters of Penance. Awake it was harder; the sisters were widows and did not want a maiden. Giovanni di Paolo keeps the lily in Dominic's hand.", "sources": [{"what": "Cleveland Museum of Art object page: 'Did you know?' (Dominic identified by his black and white habit and the lilies he holds); in this panel Catherine kneels before an altar and reaches up to choose from the garments offered by Dominic, Augustine and Francis, all founders of religious orders, and takes Dominic's habit; predella added after her canonisation in 1461. Tombstone: Giovanni di Paolo (Italian, c. 1403–1482), 1460s, tempera and gold on wood panel, unframed 28.9 x 23 cm, Gift of the John Huntington Art and Polytechnic Trust, 1966.2. Carries the first sentence, 'Cleveland says to know him by his lilies', 'Sisters of Penance' (also Gardner) and the closing description.", "url": "https://clevelandart.org/art/1966.2", "cite": "The Cleveland Museum of Art, 'Predella Panel from an Altarpiece: St. Catherine of Siena Invested with the Dominican Habit', Giovanni di Paolo, 1966.2"}, {"what": "Edmund G. Gardner, Saint Catherine of Siena (1907), p. 10: 'In a dream she thought she saw St. Dominic holding in one hand a white lily, which, like the bush seen by Moses, burned and was not consumed, and with the other offering her the black and white habit of the Dominican tertiaries, the Sisters of Penance, promising that she should be vested in it as she desired' — footnote 'Legenda, I. iv. 5, 6 (§§ 49, 50)'; pp. 11-12: 'At first the sisters refused to receive a maiden into their number, as their order was then composed only of widows'. Carries 'puts the habit first in a dream', the lily and habit, 'promising she would wear it', and 'were widows and did not want a girl'. Gardner's dream passage names Dominic alone.", "url": "https://archive.org/stream/saintcatherineof00garduoft/saintcatherineof00garduoft_djvu.txt", "cite": "Edmund G. Gardner, Saint Catherine of Siena: A Study in the Religion, Literature and History of the Fourteenth Century in Italy (London: Dent, 1907), 10-12, citing Raymond of Capua, Legenda maior I.iv §§49-50"}, {"what": "Metropolitan Museum of Art catalogue text for a companion panel: 'The panels, based on a biography of Saint Catherine written in 1385 by her confessor Raymond of Capua, represent the first complete pictorial cycle of her life'; the Cleveland 'Saint Catherine Invested with the Dominican Habit' listed among the panels conjecturally associated with the Pizzicaiuoli altarpiece; possibly produced after the 1461 canonisation and added as a predella. Carries 'Raymond of Capua, her biographer'.", "url": "https://www.metmuseum.org/art/collection/search/458973", "cite": "The Metropolitan Museum of Art, 'Saint Catherine of Siena Beseeching Christ to Resuscitate Her Mother', Giovanni di Paolo, catalogue entry"}]}, "scene": {"why": "THE SAINT IS NOT IN SCRIPTURE. Catherine of Siena, 1347–1380, choosing the Dominican habit from three founders is an episode of her hagiography, painted after her 1461 canonisation; no biblical book is its source."}, "th": "/store/thumb/giovanni_di_paolo_st_catherine_of_siena_invested_with_the.webp", "more": [{"k": "subject", "n": "Saints in painting", "u": "/editions/subject/saints/", "ids": ["lippi_saint_lawrence_enthroned", "ribera_jerome", "ribera_saint_bartholomew", "giotto_francis_stigmata"]}, {"k": "master", "n": "Giovanni di Paolo", "u": "/editions/master/giovanni-di-paolo/", "ids": ["giovanni_di_paolo_annunciation_and_expulsion_from_paradise", "giovanni_di_paolo_saint_john_the_baptist_entering_the_wild"]}]}, "cavaliere_d_arpino_martyrdom_of_saint_margaret": {"id": "cavaliere_d_arpino_martyrdom_of_saint_margaret", "title": "Martyrdom of Saint Margaret", "artist_line": "Giuseppe Cesari, called Cavaliere d'Arpino (Roman, 1568–1640)", "artist": "Giuseppe Cesari, called Cavaliere d'Arpino", "date": "c. 1608/1611", "museum": "National Gallery of Art, Washington", "license": "PD/CC0", "tier": "Sanctuary", "sizes": [{"size": "18×24 in", "paper": 140, "iw": 17.4, "ih": 24, "sw": 18, "sh": 24, "cov": 0.967}, {"size": "24×36 in", "paper": 190, "iw": 24, "ih": 33.1, "sw": 24, "sh": 36, "cov": 0.919}, {"size": "32×48 in", "paper": 340, "iw": 32, "ih": 44.1, "sw": 32, "sh": 48, "cov": 0.919}], "local": "/store/display/cavaliere_d_arpino_martyrdom_of_saint_margaret.jpg", "commons_file": null, "zoom": "https://art.monstrance.app/zoom/cavaliere_d_arpino_martyrdom_of_saint_margaret.jpg", "master_px": 6598, "auth": {"institution": "National Gallery of Art, Washington", "accession": "1984.4.1", "url": "https://www.nga.gov/artworks/63055-martyrdom-saint-margaret", "artist_as_printed": "Giuseppe Cesari, called Cavaliere d'Arpino; Roman, 1568 - 1640", "date_as_printed": "c. 1608/1611", "medium": "oil on panel", "dimensions": "overall: 85.1 x 62.6 cm (33 1/2 x 24 5/8 in.); framed: 104.1 × 81.9 × 6 cm (41 × 32 1/4 × 2 3/8 in.)"}, "writeup": {"text": "A sword comes out of its sheath, and Saint Margaret kneels, fingertips together. In the Golden Legend the headsman refuses: God forbid that I should slay the virgin of Christ. She answers that if he does it not, he may have no part with her. Cesari paints what follows, the bare-chested man twisting round to draw. The Legend has a voice from heaven say the gates are open, and overhead the cloud is full: Our Lady and the Christ Child, one man with a key, one with a sword, an angel bringing crown and palm. The dragon, whose swallowing of her the Legend calls apocryphal, lies pinned under a shield.", "sources": [{"what": "The Golden Legend's account of Margaret's death: the hangman's words 'God forbid that I should slay the virgin of Christ', her reply 'If you do it not you may have no part with me', the voice from heaven saying her prayers were granted and 'the gates of heaven were open and abode for her'; and the sentence 'This swallowing and breaking of the belly of the dragon is said that it is apocryphal.' Carries the first paragraph, the 'gates are open' sentence and the 'swallowing ... apocryphal' clause.", "url": "https://medieval.ucdavis.edu/20C/Margaret.html", "cite": "Jacobus de Voragine, The Golden Legend, 'Saint Margaret', William Caxton's translation (1483), as hosted by UC Davis Medieval Studies."}, {"what": "NGA visual description of this picture: Margaret kneeling at bottom centre with fingertips pressed together; the bare-chested man to our right unsheathing a sword as he twists toward her; the armored man's white and gold shield pinning a dragon to the ground; Mary and Jesus with two bearded men on a cloud bank, one with an oversized key and one with a sword; the winged angel with a crown of leaves and a palm frond. Also the tombstone listing: c. 1608/1611, oil on panel, Gift of David Edward Finley and Margaret Eustis Finley, 1984.4.1. Carries every object named in the card.", "url": "https://www.nga.gov/collection/provenance-info.21627.html", "cite": "National Gallery of Art, Washington, provenance listing 'Spanish Royal Collection' (canonical https://www.nga.gov/artists/21627-spanish-royal-collection), entry and image description for Martyrdom of Saint Margaret, read 2026-08-31 and 2026-09-01."}, {"what": "Object page: inscription 'lower left on rock: IOSEPHVS CAESAR / ARPINAS'; exhibition history (Colnaghi 1971 no. 12; Palazzo Venezia 1973 no. 45); bibliography including Röttgen 1973 and De Grazia \u0026 Garberson 1996. Tombstone and record only; no interpretive text on the page.", "url": "https://www.nga.gov/collection/art-object-page.63055.html", "cite": "National Gallery of Art, Washington, 'Martyrdom of Saint Margaret', accession 1984.4.1, exhibition history and bibliography, read 2026-09-01."}, {"what": "NGA artist page: nationality and dates line 'Roman, 1568 - 1640' (meta description), used for the artist_line and for calling the painter Cesari.", "url": "https://www.nga.gov/artists/2428-giuseppe-cesari", "cite": "National Gallery of Art, Washington, artist page 'Giuseppe Cesari'."}, {"what": "Dimensions overall 85.1 × 62.5 cm and framed 104.1 × 81.9 × 6 cm; medium 'Oil on panel'. Tombstone corroboration only; no clause of the card rests on it.", "url": "https://www.artsy.net/artwork/giuseppe-cesari-called-cavaliere-darpino-martyrdom-of-saint-margaret", "cite": "Artsy, National Gallery of Art partner record, 'Martyrdom of Saint Margaret'."}]}, "scene": {"why": "THE SAINT IS NOT IN SCRIPTURE. Margaret of Antioch, the dragon and her beheading belong to her passio as retold in the Golden Legend; no biblical book narrates her, and the picture follows the legend, not a verse."}, "th": "/store/thumb/cavaliere_d_arpino_martyrdom_of_saint_margaret.webp", "more": [{"k": "subject", "n": "Saints in painting", "u": "/editions/subject/saints/", "ids": ["caravaggio_salome_with_the_head_of_john_the_baptist_london", "rubens_saint_jerome", "orazio_gentileschi_saint_cecilia_and_an_angel", "melchior_de_la_mars_saint_sebastian_released_by_irene"]}]}, "koerbecke_the_ascension": {"id": "koerbecke_the_ascension", "title": "The Ascension", "artist_line": "Johann Koerbecke (German, c. 1420–1491)", "artist": "Johann Koerbecke", "date": "1456/1457", "museum": "National Gallery of Art, Washington", "license": "PD/CC0", "tier": "Sanctuary", "sizes": [{"size": "18×24 in", "paper": 140, "iw": 16.2, "ih": 24, "sw": 18, "sh": 24, "cov": 0.901}, {"size": "24×36 in", "paper": 190, "iw": 24, "ih": 35.5, "sw": 24, "sh": 36, "cov": 0.986}, {"size": "32×48 in", "paper": 340, "iw": 32, "ih": 47.4, "sw": 32, "sh": 48, "cov": 0.986}, {"size": "40×60 in", "paper": 480, "iw": 40, "ih": 59.2, "sw": 40, "sh": 60, "cov": 0.986}], "local": "/store/display/koerbecke_the_ascension.jpg", "commons_file": null, "zoom": "https://art.monstrance.app/zoom/koerbecke_the_ascension.jpg", "master_px": 23378, "auth": {"institution": "National Gallery of Art, Washington", "accession": "1959.9.5", "url": "https://www.nga.gov/artworks/45890-ascension", "artist_as_printed": "Johann Koerbecke; German, c. 1420 - 1491", "date_as_printed": "1456/1457", "medium": "tempera on panel", "dimensions": "overall: 92.7 × 64.8 cm (36 1/2 × 25 1/2 in.); framed: 117.1 × 85.1 cm (46 1/8 × 33 1/2 in.)"}, "writeup": {"text": "Two footprints are pressed into the top of a green rock, and that is all the earth keeps of Him. Christ sits above in red, one hand raised. The National Gallery of Art, Washington, describes Him on a black cloud, flanked by Old Testament figures who foretold or foreshadowed His life. Below kneel the twelve apostles and the Virgin in cobalt blue, the only one with a halo; Saint John, a beardless youth in green, puts his arm around her. Johann Koerbecke painted it, the Gallery says, for the high altar of the Cistercian abbey at Marienfeld, among eight scenes of Mary's life.", "sources": [{"what": "NGA overview text: the twelve apostles and the Virgin, 'the only one to have a halo'; John the Evangelist 'the blond, beardless youth dressed in green who solicitously puts his arm around Mary'; 'Surrounding the risen Christ are a group of Old Testament personages who either predicted or foreshadowed events of his life on earth'; the panel from the high altar of the Cistercian abbey church of Marienfeld at Münster, whose open shutters showed 'eight scenes -- including the National Gallery's painting' of 'the story of Mary's life' and whose closed position showed eight subjects of Christ's Passion. Carries the first paragraph and the Old Testament sentence.", "url": "https://nga.gov/collection/art-object-page.45890.html", "cite": "National Gallery of Art, Washington, 'The Ascension', accession 1959.9.5, overview text (legacy object page), read 2026-09-01. The page refers on to John Oliver Hand, German Paintings of the Fifteenth through Seventeenth Centuries (1993)."}, {"what": "NGA visual description of the panel (image alt text on the artist page): twelve men and a woman kneeling to either side of a moss-green rock; Jesus on a black cloud flanked by eight men, four to each side; wounds in both palms and the gash over his ribs; the rock with two footprints impressed into the top; Mary closest to us in a cobalt-blue mantle with a gold halo; the cleanshaven young man in a green cloak with an arm around her; rays of light created by lines incised into the gold background. Also the tombstone listing: 1456/1457, tempera on panel, 1959.9.5, and the artist line 'German, c. 1420 - 1491'. Carries the footprints, the cobalt blue, the black cloud, the open wounds and the incised rays.", "url": "https://www.nga.gov/artists/1440-johann-koerbecke", "cite": "National Gallery of Art, Washington, artist page 'Johann Koerbecke', listing and image description for The Ascension, read 2026-08-31 and 2026-09-01."}, {"what": "NGA provenance-entity page for the abbey ('active 1450 - 1803') listing The Ascension, Johann Koerbecke, 1456/1457, tempera on panel, 1959.9.5, with the same image description.", "url": "https://www.nga.gov/artworks/provenance/9459-cistercian-cloister-marienfeld-abbey-church", "cite": "National Gallery of Art, Washington, provenance entity 'Cistercian Cloister at Marienfeld, Abbey Church'."}, {"what": "Provenance text as reproduced from the NGA record (installed 6 February 1457, at Marienfeld until 1803, Cardon, Chillingworth, Zwicky, Knoedler, Kress 1957, gift 1959). Record only; no clause of the card rests on it. Note pubhist prints 92.6 x 64.8 cm.", "url": "https://www.pubhist.com/w19432", "cite": "pubhist.com, 'Johann Koerbecke - The ascension', record w19432, quoting the NGA provenance."}, {"what": "Corroboration that the Marienfeld altarpiece, installed 1457, was 'Koerbecke's most important and characteristic work of his mature phase' and is now divided among Chicago, Avignon, Madrid and Washington. Background only.", "url": "https://www.museothyssen.org/en/collection/artists/koerbecke-johann", "cite": "Museo Nacional Thyssen-Bornemisza, artist page 'Koerbecke, Johann'."}, {"what": "Dimensions overall 92.7 × 64.8 cm, framed 117.1 × 85.1 cm; medium tempera on panel. Tombstone corroboration only.", "url": "https://www.artsy.net/artwork/johann-koerbecke-the-ascension", "cite": "Artsy, National Gallery of Art partner record, 'The Ascension'."}]}, "scene": {"ref": "Acts 1:9", "quote": "And when he had said these things, while they looked on, he was raised up: and a cloud received him out of their sight.", "shows": "Christ lifted up on a cloud before the watching apostles"}, "th": "/store/thumb/koerbecke_the_ascension.webp", "more": [{"k": "subject", "n": "The Life of Christ in painting", "u": "/editions/subject/the-life-of-christ/", "ids": ["bermejo_descent_of_christ_into_limbo", "bergognone_christ_risen_from_the_tomb", "hieronymus_bosch_ecce_homo", "albrecht_durer_large_passion_flagellation"]}]}, "correa_christ_gathering_his_garments_after_the_flagellat": {"id": "correa_christ_gathering_his_garments_after_the_flagellat", "title": "Christ Gathering His Garments after the Flagellation", "artist_line": "Juan Correa (Mexican, 1646–1716)", "artist": "Juan Correa", "date": "c. 1670s", "museum": "National Gallery of Art, Washington", "license": "PD/CC0", "tier": "Sanctuary", "sizes": [{"size": "18×24 in", "paper": 140, "iw": 24, "ih": 14.5, "sw": 24, "sh": 18, "cov": 0.804}, {"size": "24×36 in", "paper": 190, "iw": 36, "ih": 21.7, "sw": 36, "sh": 24, "cov": 0.904}, {"size": "32×48 in", "paper": 340, "iw": 48, "ih": 28.9, "sw": 48, "sh": 32, "cov": 0.904}, {"size": "40×60 in", "paper": 480, "iw": 60, "ih": 36.2, "sw": 60, "sh": 40, "cov": 0.904}], "local": "/store/display/correa_christ_gathering_his_garments_after_the_flagellat.jpg", "commons_file": null, "zoom": "https://art.monstrance.app/zoom/correa_christ_gathering_his_garments_after_the_flagellat.jpg", "master_px": 33824, "auth": {"institution": "National Gallery of Art, Washington", "accession": "2024.4.1", "url": "https://www.nga.gov/artworks/227488-christ-gathering-his-garments-after-flagellation", "artist_as_printed": "Juan Correa, Artist, Mexican, 1646 - 1716", "date_as_printed": "c. 1670s", "medium": "oil on canvas", "dimensions": "overall: 173 × 284 cm (68 1/8 × 111 13/16 in.)"}, "writeup": {"text": "The whip lies on the floor beside a bundle of thorny twigs, and Christ goes down on hands and knees to reach His black robe. His back is cut. The Gospels go straight from the scourging to the crown of thorns; none has Him alone afterward, gathering His clothes. The moment belongs to meditation: in the Catholic Reformation, the National Gallery in London notes, worshippers were encouraged to imagine themselves present at the Passion. Juan Correa, who called himself free mulatto and master painter, made it in Mexico City. Five angels, the National Gallery of Art says, weep openly. There is room on the floor for one more.", "sources": [{"what": "NGA object page: artist line 'Juan Correa, Mexican, 1646 - 1716'; c. 1670s; oil on canvas; overall 173 × 284 cm; credit line; accession 2024.4.1; the visual description (kneeling figure with thin dark red wounds on back and arms, reaching toward a black robe or cloth; discarded whip and bundle of thorny twigs on the floor; angels in a semi-circle around him; white square column); provenance; public-domain statement. Carries the black robe, the whip and twigs, and the half-circle.", "url": "https://www.nga.gov/artworks/227488-christ-gathering-his-garments-after-flagellation", "cite": "National Gallery of Art, Washington, 'Christ Gathering His Garments after the Flagellation', accession 2024.4.1, read 2026-08-31 and 2026-09-01."}, {"what": "NGA press release: 'The painting shows Christ on his hands and knees after being flagellated at the column behind him'; 'As Christ reaches for his cloak, five angels weep openly, moved by his suffering'; 'characteristic of the Counter-Reformation images produced in the Spanish colonies of North and South America'; 'Created in Mexico City in the late 17th century'; Correa in 1693 'described himself in an official document as mulato libre, maestro pintor'. Carries 'on hands and knees', 'five angels ... weep openly', Mexico City, and the self-description.", "url": "https://www.nga.gov/press/acquisitions/2024/juan-correa.html", "cite": "National Gallery of Art, Washington, press release 'National Gallery of Art Acquires Significant Work by Juan Correa', 18 October 2024."}, {"what": "'During the Catholic Reformation, images of Christ tied to the column became objects of devotion ... The Church taught that meditation on the Passion was necessary for salvation; worshippers were encouraged to imagine that they were present at events leading up to the Crucifixion.' Carries the sentence on meditation and the closing line. The London text is about the after-the-flagellation type generally (Velázquez's picture), not about Correa's canvas.", "url": "https://www.nationalgallery.org.uk/paintings/diego-velazquez-christ-contemplated-by-the-christian-soul", "cite": "The National Gallery, London, 'Christ contemplated by the Christian Soul', NG1148, object text."}, {"what": "In each Gospel that narrates the scourging, the soldiers and the crown of thorns follow at once, and no evangelist describes Christ alone afterwards gathering his garments: Matthew 27:26-29, Mark 15:15-17, John 19:1-2 (Luke narrates no scourging). Carries the first two sentences.", "cite": "Matthew 27:26-29, Mark 15:15-17, John 19:1-2, Douay-Rheims (Challoner)."}]}, "scene": {"why": "A POST-GOSPEL DEVOTIONAL SUBJECT, NOT AN EPISODE. The Gospels record the scourging but say nothing of Christ alone afterwards gathering his clothes; that moment is a Counter-Reformation meditation, not a narrated verse."}, "th": "/store/thumb/correa_christ_gathering_his_garments_after_the_flagellat.webp", "more": [{"k": "subject", "n": "The Life of Christ in painting", "u": "/editions/subject/the-life-of-christ/", "ids": ["gozzoli_raising_of_lazarus", "giotto_scrovegni_chapel_washing_of_the_feet", "giovanni_di_paolo_paradise", "koerbecke_the_ascension"]}, {"k": "master", "n": "Juan Correa", "u": "/editions/master/juan-correa/", "ids": ["juan_correa_our_lady_of_balvanera"]}]}, "girardin_the_trinity": {"id": "girardin_the_trinity", "title": "The Trinity", "artist_line": "Laurent Girardin (French, 1478)", "artist": "Laurent Girardin", "date": "c. 1460", "museum": "The Cleveland Museum of Art", "license": "PD/CC0", "tier": "Mid", "sizes": [{"size": "11×14 in", "paper": 59, "iw": 11, "ih": 13.2, "sw": 11, "sh": 14, "cov": 0.944}, {"size": "16×20 in", "paper": 110, "iw": 16, "ih": 19.2, "sw": 16, "sh": 20, "cov": 0.961}, {"size": "18×24 in", "paper": 140, "iw": 18, "ih": 21.6, "sw": 18, "sh": 24, "cov": 0.901}], "local": "/store/display/girardin_the_trinity.jpg", "commons_file": null, "zoom": "https://art.monstrance.app/zoom/girardin_the_trinity.jpg", "master_px": 5080, "auth": {"institution": "The Cleveland Museum of Art", "accession": "1960.79", "url": "https://clevelandart.org/art/1960.79", "artist_as_printed": "Laurent Girardin (French, 1478)", "date_as_printed": "c. 1460", "medium": "oil on wood", "dimensions": "Framed: 134.5 x 114.5 x 8 cm (52 15/16 x 45 1/16 x 3 1/8 in.); Unframed: 114 x 94.5 cm (44 7/8 x 37 3/16 in.)"}, "writeup": {"text": "A pope's crown sits on God the Father's head, and His two hands hold the ends of the Cross on which His Son hangs. Between them the Holy Spirit, as a dove, spreads His wings. Three Persons, one fire of red and gold. The Cleveland Museum of Art describes the Father's cope, the clergy's vestment for processions: crimson velvet with gold thread in a large pomegranate pattern, fastened below the neck. The cherubim behind are bathed in red light, which the museum suggests may reflect the stained glass Laurent Girardin also designed in Lyon. Four angels keep their hands together, and the red goes on burning around the Cross.", "sources": [{"what": "CMA description: the Father in a papal tiara, the Son crucified on the cross, the Spirit as a dove; the Father's 'liturgical vestment, a sumptuous and bejeweled cope, or cape, fastened below the neck, typically worn by clergy for processional occasions', of 'opulent crimson velvet with gold thread forming a large pomegranate pattern'; 'cherubim bathed in radiant red light, possibly influenced by stained glass windows that Girardin also designed in Lyon'. Tombstone: Laurent Girardin (French, 1478), c. 1460, oil on wood, Mr. and Mrs. William H. Marlatt Fund, 1960.79 — the single year 1478 is the museum's own dating of the artist. Carries every sentence of the card.", "url": "https://clevelandart.org/art/1960.79", "cite": "The Cleveland Museum of Art, 'The Trinity', accession 1960.79, object page, read 2026-08-31 and 2026-09-01."}, {"what": "Print view of the same record: artist line 'Laurent Girardin (French, 1478) France, Lyon'; provenance (Barrère, Rome; Mme Albert Cousin; J. Seligmann \u0026 Co., sold to CMA 1960) and exhibition history including 'Draped in Splendor: Renaissance Textiles and the Church' (2003-2004). Record only.", "url": "https://www.clevelandart.org/print/art/1960.79", "cite": "The Cleveland Museum of Art, 'The Trinity', 1960.79, print view."}]}, "scene": {"why": "A DEVOTIONAL TYPE, NOT AN EPISODE. The enthroned Father presenting the crucified Son with the dove between them is the Throne of Mercy Trinity, a picture of doctrine rather than of any event a biblical book narrates."}, "th": "/store/thumb/girardin_the_trinity.webp", "more": [{"k": "subject", "n": "The Holy Trinity in painting", "u": "/editions/subject/the-holy-trinity/", "ids": ["goes_the_trinity_altarpiece_the_holy_trinit", "albrecht_durer_all_saints_landauer_altarpiece", "titian_gloria", "el_greco_holy_trinity"]}]}, "masolino_the_annunciation": {"id": "masolino_the_annunciation", "title": "The Annunciation", "artist_line": "Masolino da Panicale (Florentine, c. 1383–1435 or after)", "artist": "Masolino da Panicale", "date": "c. 1423/1424", "museum": "National Gallery of Art, Washington", "license": "PD/CC0", "tier": "Sanctuary", "sizes": [{"size": "8×10 in", "paper": 39, "iw": 7.7, "ih": 10, "sw": 8, "sh": 10, "cov": 0.967}, {"size": "11×14 in", "paper": 59, "iw": 10.8, "ih": 14, "sw": 11, "sh": 14, "cov": 0.985}, {"size": "16×20 in", "paper": 110, "iw": 15.5, "ih": 20, "sw": 16, "sh": 20, "cov": 0.967}, {"size": "18×24 in", "paper": 140, "iw": 18, "ih": 23.3, "sw": 18, "sh": 24, "cov": 0.969}, {"size": "24×36 in", "paper": 190, "iw": 24, "ih": 31.0, "sw": 24, "sh": 36, "cov": 0.862}, {"size": "32×48 in", "paper": 340, "iw": 32, "ih": 41.4, "sw": 32, "sh": 48, "cov": 0.862}, {"size": "40×60 in", "paper": 480, "iw": 40, "ih": 51.7, "sw": 40, "sh": 60, "cov": 0.862}], "local": "/store/display/masolino_the_annunciation.jpg", "commons_file": null, "zoom": "https://art.monstrance.app/zoom/masolino_the_annunciation.jpg", "master_px": 6482, "auth": {"institution": "National Gallery of Art, Washington", "accession": "1937.1.16", "url": "https://www.nga.gov/artworks/18-annunciation", "artist_as_printed": "Masolino da Panicale; Florentine, c. 1383 - 1435 or after", "date_as_printed": "c. 1423/1424", "medium": "tempera (and possibly oil glazes) on panel", "dimensions": "overall: 148.8 x 115.1 cm (58 9/16 x 45 5/16 in.); framed: 181 x 165.1 x 11.1 cm (71 1/4 x 65 x 4 3/8 in.)"}, "writeup": {"text": "A ray of gold lines comes down from the ceiling toward Our Lady, and a small book lies open in her lap, her fingers across some of the words. The National Gallery of Art transcribed the page: virgo concipiet et pariet filium, a virgin shall conceive and bear a son. It is Isaiah, coming true under her hand. Gabriel kneels with his arms crossed. Mary's head is bowed, her other hand at her breast. Fifteenth-century viewers knew three stages in her answer, startled, reflecting, submitting, and the Web Gallery of Art reads this pose as the second. Masolino da Panicale sets a blue arch scattered with stars between them. \"Who having heard, was troubled at his saying and thought with herself what manner of salutation this should be.\" Heaven waits on her thought.", "sources": [{"what": "Object page inscription: on the Virgin's prayerbook 'virgo / [c]oncipiet / [e]t p[a]ri[et] / fili[um et vocabitur nomen eius] em[m]anuel / butirum et / mel come / dit u[t] fiat / [rep]roba[re]'. Carries 'The Gallery transcribed the page' and the Latin quoted.", "url": "https://www.nga.gov/artworks/18-annunciation", "cite": "National Gallery of Art, Washington, 'The Annunciation', accession 1937.1.16, inscription section, read 2026-08-31 and 2026-09-01."}, {"what": "The transcribed Latin is the Vulgate text of Isaiah's prophecy: 'ecce virgo concipiet et pariet filium et vocabitur nomen eius Emmanuel. Butyrum et mel comedet ut sciat reprobare malum et eligere bonum' — 'a virgin shall conceive, and bear a son, and his name shall be called Emmanuel'. Carries 'It is Isaiah' and the gloss 'a virgin shall conceive and bear a son'. The card names the book only, not the verse.", "cite": "Isaiah 7:14-15, Vulgate and Douay-Rheims (Challoner)."}, {"what": "NGA visual description (image alt text on the provenance-entity page): the angel kneeling with arms crossed; Mary with head tilted down and eyes lowered; fingertips brushing her chest; the small open book in her lap 'so her fingers overlap some of the words'; 'Gold lines create a ray coming from the ceiling toward the woman'. Also the tombstone listing: c. 1423/1424, tempera (and possibly oil glazes) on panel, Andrew W. Mellon Collection, 1937.1.16. Carries the fingers, Gabriel's arms, Mary's hand and the ray.", "url": "https://www.nga.gov/artworks/provenance/29665-hugo-richard-charteris-11th-earl-wemyss", "cite": "National Gallery of Art, Washington, provenance entity 'Hugo Richard Charteris, 11th earl of Wemyss', listing and image description for The Annunciation, read 2026-08-31 and 2026-09-01."}, {"what": "Commentary: 'Fifteenth-century viewers of this Annunciation would have recognized not only its general subject, but also the particular moment Masolino chose to paint.' 'Mary was first startled at the angel's sudden appearance; she reflected on his message and queried Gabriel about her fitness; finally, kneeling, she submitted to God's will.' 'Here Mary's downcast eyes and musing gesture -- hand resting tentatively on her breast -- suggest the second, and most often depicted, of these stages: reflection.' Also street preachers and feast-day re-enactments. Carries the three-stages sentence, credited to WGA.", "url": "https://www.wga.hu/html_m/m/masolino/panels/annuncia.html", "cite": "Web Gallery of Art, 'The Annunciation by MASOLINO da Panicale', commentary."}, {"what": "NGA artist page: 'Florentine, c. 1383 - 1435 or after' (meta description), used for the artist_line.", "url": "https://www.nga.gov/artists/1689-masolino-da-panicale", "cite": "National Gallery of Art, Washington, artist page 'Masolino da Panicale'."}, {"what": "Full provenance text (Guardini chapel altarpiece in San Niccolò Oltrarno, probably in place by 1426; Wemyss by 1886; Langton Douglas c. 1915; Goldman; Duveen; Mellon Trust 26 April 1937), dimensions overall 148.8 x 115.1 cm and framed 181 x 165.1 x 11.1 cm, medium 'tempera (and possibly oil glazes) on panel', rights CC0. Record only; no clause of the card rests on it.", "url": "https://artsandculture.google.com/asset/the-annunciation-masolino-da-panicale/FAH_jJ7FcIyxeQ?hl=en", "cite": "Google Arts \u0026 Culture, National Gallery of Art record 'The Annunciation', details and provenance fields."}, {"what": "Bibliography: Boskovits \u0026 Brown, Italian Paintings of the Fifteenth Century (2003), '466-471, color repro.'; inscription repeated; no overview paragraph on the page.", "url": "https://www.nga.gov/collection/art-object-page.18.html", "cite": "National Gallery of Art, Washington, 'The Annunciation', legacy object page, bibliography, read 2026-09-01."}]}, "scene": {"ref": "Luke 1:29", "quote": "Who having heard, was troubled at his saying and thought with herself what manner of salutation this should be.", "shows": "Mary troubled, pondering the angel's greeting"}, "th": "/store/thumb/masolino_the_annunciation.webp", "more": [{"k": "subject", "n": "The Annunciation in painting", "u": "/editions/subject/annunciation/", "ids": ["fra_angelico_annunciation_prado", "van_eyck_annunciation_nga", "giovanni_di_paolo_annunciation_and_expulsion_from_paradise", "carnevale_the_annunciation"]}, {"k": "master", "n": "Masolino da Panicale", "u": "/editions/master/masolino-da-panicale/", "ids": ["masolino_the_assumption_of_the_virgin"]}]}, "master_of_the_death_of_saint_nicholas_of_munster_calvary": {"id": "master_of_the_death_of_saint_nicholas_of_munster_calvary", "title": "Calvary", "artist_line": "Master of the Death of Saint Nicholas of Münster (German, active c. 1460–1490)", "artist": "Master of the Death of Saint Nicholas of Münster", "date": "c. 1470/1480", "museum": "National Gallery of Art, Washington", "license": "PD/CC0", "tier": "Sanctuary", "sizes": [{"size": "18×24 in", "paper": 140, "iw": 24, "ih": 15.5, "sw": 24, "sh": 18, "cov": 0.861}, {"size": "24×36 in", "paper": 190, "iw": 36, "ih": 23.3, "sw": 36, "sh": 24, "cov": 0.969}, {"size": "32×48 in", "paper": 340, "iw": 48, "ih": 31.0, "sw": 48, "sh": 32, "cov": 0.969}, {"size": "40×60 in", "paper": 480, "iw": 60, "ih": 38.8, "sw": 60, "sh": 40, "cov": 0.969}], "local": "/store/display/master_of_the_death_of_saint_nicholas_of_munster_calvary.jpg", "commons_file": null, "zoom": "https://art.monstrance.app/zoom/master_of_the_death_of_saint_nicholas_of_munster_calvary.jpg", "master_px": 19543, "auth": {"institution": "National Gallery of Art, Washington", "accession": "2001.70.1", "url": "https://www.nga.gov/artworks/119049-calvary", "artist_as_printed": "Master of the Death of Saint Nicholas of Münster; German, active c. 1460 - 1490", "date_as_printed": "c. 1470/1480", "medium": "oil on panel", "dimensions": "overall: 129.5 × 199.5 cm (51 × 78 9/16 in.)"}, "writeup": {"text": "Four small angels, the National Gallery of Art's description says, catch the blood in golden chalices. Our Lady sinks at the foot of the Cross, held by the women beside her. By the thief on the left an angel lifts a man no bigger than a doll; by the other, a demon holds one out. The Museum of the Bible reads them as the two thieves' souls, one received, one snatched. A bearded rider touches his eye and red rays leave the lid; some say, the Golden Legend reports, that Longinus was blind until the blood from the spear reached his eyes. Far off under the gold sky Christ rides a donkey toward the city, and a man hangs from a tree with a scarlet bag at his neck: Judas. The Master of the Death of Saint Nicholas of Münster leaves nothing off this hill, not the rope.", "sources": [{"what": "NGA visual description of the panel (image alt text on the artist page): four small angels catching the blood in golden chalices; a man on the ground who has pierced Christ's right side with a lance; the angel holding up a miniature man like a doll near the thief on the left and the demon holding out another at the right cross; the elderly bearded rider touching his left eye with red rays from the eyelid; the red pennant with SPQR; the gold sky filling the top quarter; the distant entry on a donkey and a man hanging from a tree at the right edge. Also the tombstone listing: c. 1470/1480, oil on panel, 2001.70.1, and the artist line 'German, active c. 1460 - 1490'. Carries every object in the card.", "url": "https://www.nga.gov/artists/26051-master-death-saint-nicholas-munster", "cite": "National Gallery of Art, Washington, artist page 'Master of the Death of Saint Nicholas of Münster', listing and image description for Calvary, read 2026-08-31 and 2026-09-01."}, {"what": "Reading of the two miniature figures as the souls of the thieves — the one on Jesus's right held by an angel 'hovering near his mouth, holding his soul', the one on his left 'snatched by a demonic creature as punishment'; 'four small angels with cups collecting Jesus's blood'; 'Judas Iscariot hanging from a tree. Judas's scarlet money bag hangs around his neck'; the triumphal entry among the background scenes. The article does not name Longinus. Carries the 'two souls' sentence, the scarlet bag and 'Judas'.", "url": "https://www.museumofthebible.org/magazine/impact/beyond-the-walls--witnessing-the-passion", "cite": "Jared Wolfe, 'Beyond the Walls: Witnessing the Passion', Museum of the Bible magazine, on the NGA Calvary."}, {"what": "Longinus's healing: 'Some say that when he smote our Lord with the spear in the side, the precious blood avaled by the shaft of the spear upon his hands, and of adventure with his hands he touched his eyes, and anon he that had been tofore blind saw anon clearly'. Carries the Longinus sentence, hedged 'some say' as the Legend hedges. The card places the Legend beside the rider's gesture; the NGA text itself does not name the rider and makes the lance-bearer a separate man on the ground.", "url": "https://www.christianiconography.info/goldenLegend/longinus.htm", "cite": "Jacobus de Voragine, The Golden Legend, 'Life of Saint Longinus', William Caxton's translation (1483), as hosted by christianiconography.info."}, {"what": "Object page: inscription 'on the leg of the figure in lower right: N V S'; exhibition history (Dortmund 1913, Zurich 1934, Amsterdam 1936, André Seligmann 1938, Louvre 1951-1999, Louvre 1960); bibliography including Heise 1918, Schöne 1938, Stange 1954 and 1967, Adhémar 1962, and press reports around 1999-2000 on the restitution. Record only.", "url": "https://www.nga.gov/collection/art-object-page.119049.html", "cite": "National Gallery of Art, Washington, 'Calvary', accession 2001.70.1, legacy object page, read 2026-09-01."}, {"what": "NGA provenance-entity page for André J. Seligmann (1898-1945) listing 'Master of the Death of Saint Nicholas of Münster, Calvary, c. 1470/1480, oil on panel, Patrons' Permanent Fund, 2001.70.1' — confirms medium and credit line from the NGA itself.", "url": "https://www.nga.gov/artworks/provenance/26069-andre-j-seligmann", "cite": "National Gallery of Art, Washington, provenance entity 'André J. Seligmann'."}, {"what": "Dimensions overall 129.5 × 199.5 cm. Tombstone corroboration only.", "url": "https://www.artsy.net/artwork/master-of-the-death-of-saint-nicholas-of-munster-calvary", "cite": "Artsy, National Gallery of Art partner record, 'Calvary'."}]}, "scene": {"ref": "John 19:34", "quote": "But one of the soldiers with a spear opened his side: and immediately there came out blood and water.", "shows": "a soldier opening Christ's side with a lance"}, "th": "/store/thumb/master_of_the_death_of_saint_nicholas_of_munster_calvary.webp", "more": [{"k": "subject", "n": "The Crucifixion in painting", "u": "/editions/subject/crucifixion/", "ids": ["messina_calvary", "benvenuto_di_giovanni_the_crucifixion", "hieronymus_bosch_crucifixion_with_a_donor", "albrecht_durer_large_passion_crucifixion"]}]}, "poussin_the_assumption_of_the_virgin": {"id": "poussin_the_assumption_of_the_virgin", "title": "The Assumption of the Virgin", "artist_line": "Nicolas Poussin (French, 1594–1665)", "artist": "Nicolas Poussin", "date": "c. 1630/1632", "museum": "National Gallery of Art, Washington", "license": "PD/CC0", "tier": "Sanctuary", "sizes": [{"size": "18×24 in", "paper": 140, "iw": 17.5, "ih": 24, "sw": 18, "sh": 24, "cov": 0.974}, {"size": "24×36 in", "paper": 190, "iw": 24, "ih": 32.9, "sw": 24, "sh": 36, "cov": 0.913}, {"size": "32×48 in", "paper": 340, "iw": 32, "ih": 43.8, "sw": 32, "sh": 48, "cov": 0.913}, {"size": "40×60 in", "paper": 480, "iw": 40, "ih": 54.8, "sw": 40, "sh": 60, "cov": 0.913}], "local": "/store/display/poussin_the_assumption_of_the_virgin.jpg", "commons_file": null, "zoom": "https://art.monstrance.app/zoom/poussin_the_assumption_of_the_virgin.jpg", "master_px": 17892, "auth": {"institution": "National Gallery of Art, Washington", "accession": "1963.5.1", "url": "https://www.nga.gov/artworks/46470-assumption-virgin", "artist_as_printed": "Nicolas Poussin; French, 1594 - 1665", "date_as_printed": "c. 1630/1632", "medium": "oil on canvas", "dimensions": "overall: 134.5 × 98.1 cm (52 15/16 × 38 5/8 in.); framed: 171.8 × 135.3 × 13.7 cm (67 5/8 × 53 1/4 × 5 3/8 in.)"}, "writeup": {"text": "A white cloth hangs over the side of an empty stone coffin, and putti drop white flowers into it. Above, Our Lady rises between fluted columns, borne up by putti, her face lifted and one hand held out open. The Web Gallery of Art finds two things unusual: the Virgin shown in profile, and no apostles gathered at the tomb. In the Golden Legend they open the sepulchre and find not the body, only the vestments and the sudary. Poussin keeps the cloth and leaves the men out. After long debate, the painting is now generally agreed to be his own, from the first years of the 1630s. Nobody is left at the tomb but the putti, and you.", "sources": [{"what": "Commentary: 'In Poussin's painting the Virgin is unusually represented in profile. The absence of the disciples gathered around the Virgin's tomb is also unusual.' Also that authorship and date were debated after the 1960 Paris exhibition and 'It is now generally agreed that the painting is autograph painted in the first years of the 1630s.' Carries the second sentence.", "url": "https://www.wga.hu/html_m/p/poussin/2/07assump.html", "cite": "Web Gallery of Art, 'Assumption of the Virgin by POUSSIN, Nicolas', commentary."}, {"what": "The apostles at the sepulchre: 'at the last they opened the sepulchre and found not the body, but they found only but the vestments, and the sudary.' Carries the third sentence.", "url": "https://ccel.org/ccel/voragine/goldleg4/goldleg4.xxxviii.html", "cite": "Jacobus de Voragine, The Golden Legend, 'The Assumption of the Glorious Virgin our Lady Saint Mary', William Caxton's translation, vol. 4, Christian Classics Ethereal Library."}, {"what": "NGA visual description of the picture (image alt text on the artist page): the woman floating over a rectangular stone coffin; 'Ten nude, baby-like putti support her body, float alongside her, or scatter flowers'; body facing left, almost in profile; hands forward, palms up; 'a white cloth is bunched and draped over the side of the stone coffin closer to us'; three putti scattering white flowers into the coffin; fluted stone columns running off the top edge. Also the biography sentence on Venetian colour in this picture, and the tombstone listing: c. 1630/1632, oil on canvas, Ailsa Mellon Bruce Fund, 1963.5.1, 'French, 1594 - 1665'. Carries the white cloth, the three putti, the flowers, the columns, the profile, the palms and the putti bearing her.", "url": "https://www.nga.gov/collection/artist-info.1798.html", "cite": "National Gallery of Art, Washington, artist page 'Nicolas Poussin' (legacy URL; canonical https://www.nga.gov/artists/1798-nicolas-poussin), biography and image description for The Assumption of the Virgin, read 2026-08-31 and 2026-09-01."}, {"what": "Legacy object page: no overview paragraph; provenance opening 'Probably the painting recorded in the posthumous 1638 inventory of Vincenzo Giustiniani [1564-1637], Rome, who may have commissioned it'; bibliography 'Conisbee, Philip, et al. French Paintings of the Fifteenth through the Eighteenth Century ... 2009: no. 82, 374-379, color repro.' Record only; no clause of the card rests on it.", "url": "https://nga.gov/collection/art-object-page.46470.html", "cite": "National Gallery of Art, Washington, 'The Assumption of the Virgin', accession 1963.5.1, legacy object page, read 2026-09-01."}, {"what": "Provenance as reproduced from the NGA record in full (Giustiniani 1638 and 1688; Soderini by 1750; Byres to the 9th earl of Exeter, September 1764, 500 crowns; Burghley descent; Wildenstein 1962; NGA 1963). Record only. Note pubhist prints 134.4 x 98.1 cm.", "url": "https://www.pubhist.com/w4862", "cite": "pubhist.com, 'Nicolas Poussin - The Assumption of the Virgin', record w4862."}, {"what": "NGA provenance-entity page 'Vincenzo Giustiniani, Italian, died 1637' listing The Assumption of the Virgin, c. 1630/1632, oil on canvas, 1963.5.1.", "url": "https://www.nga.gov/artworks/provenance/29997-vincenzo-giustiniani", "cite": "National Gallery of Art, Washington, provenance entity 'Vincenzo Giustiniani'."}, {"what": "Dimensions overall 134.5 × 98.1 cm and framed 171.8 × 135.3 × 13.7 cm; not signed. Tombstone corroboration only.", "url": "https://www.artsy.net/artwork/nicolas-poussin-the-assumption-of-the-virgin", "cite": "Artsy, National Gallery of Art partner record, 'The Assumption of the Virgin'."}]}, "scene": {"why": "A DOGMA, NOT A NARRATED EPISODE. No biblical book tells of Mary's body being taken into heaven; the Assumption rests on tradition and defined doctrine, and the empty tomb with putti scattering flowers is that doctrine pictured."}, "th": "/store/thumb/poussin_the_assumption_of_the_virgin.webp", "more": [{"k": "subject", "n": "The Assumption of the Virgin in painting", "u": "/editions/subject/assumption-of-the-virgin/", "ids": ["masolino_the_assumption_of_the_virgin", "master_of_the_legend_of_st_lucy_mary_queen_of_heaven", "rubens_assumption"]}, {"k": "master", "n": "Nicolas Poussin", "u": "/editions/master/nicolas-poussin/", "ids": ["poussin_adoration_shepherds", "poussin_saint_john_baptizing_the_people", "poussin_eucharist", "poussin_gathering_manna"]}]}, "bh_annunciation_f30r": {"id": "bh_annunciation_f30r", "title": "The Annunciation", "artist_line": "Herman, Paul, and Jean de Limbourg (Franco-Netherlandish, active in France by 1399–1416)", "artist": "The Limbourg Brothers", "date": "1405–1408/9", "museum": "The Metropolitan Museum of Art, The Cloisters", "license": "PD/CC0", "tier": "Mid", "sizes": [{"size": "8×10 in", "paper": 39, "iw": 7.4, "ih": 10, "sw": 8, "sh": 10, "cov": 0.921}, {"size": "11×14 in", "paper": 59, "iw": 10.3, "ih": 14, "sw": 11, "sh": 14, "cov": 0.938}], "local": "/store/display/bh_annunciation_f30r.jpg", "commons_file": null, "zoom": "https://art.monstrance.app/zoom/bh_annunciation_f30r.jpg", "master_px": 3689, "auth": {"institution": "The Metropolitan Museum of Art, The Cloisters", "accession": "54.1.1a, b", "url": "https://www.metmuseum.org/art/collection/search/470306", "artist_as_printed": "Herman, Paul, and Jean de Limbourg (Franco-Netherlandish, active in France by 1399–1416)", "date_as_printed": "1405–1408/9", "medium": "Ink, tempera, and gold leaf on vellum", "dimensions": "9 3/8 x 6 5/8 in. (23.8 x 16.8 cm)"}, "writeup": {"text": "Gabriel kneels with a stem of lilies, and Our Lady, kneeling at her gilded desk, lays one hand on her breast. Between them the Holy Spirit comes down as a dove. Above the vaulted room God the Father leans from a balcony and sends Him. The Limbourg brothers painted this page to open the Hours of the Virgin, and gave it the richest border in the book: prophets and musical angels in the scrolling vines, with the duke's bears and swans below. The Metropolitan Museum, which holds the manuscript entire, calls the border unlike any other in it. Heaven leans out of a window, and the Word waits on her answer.", "sources": [{"what": "The Met's own folio commentary for fol. 30r (The Art of Illumination exhibition site), read 2026-09-02", "url": "https://blog.metmuseum.org/artofillumination/manuscript-pages/folio-30r/"}, {"what": "Timothy Husband, The Art of Illumination: The Limbourg Brothers and the Belles Heures of Jean de France, Duc de Berry (Metropolitan Museum of Art, 2008) — the full-manuscript exhibition catalogue", "url": "https://www.metmuseum.org/met-publications/the-art-of-illumination-the-limbourg-brothers-and-the-belles-heures-of-jean-de-france-duc-de-berr"}]}, "scene": {"ref": "Luke 1:38", "quote": "And Mary said: Behold the handmaid of the Lord: be it done to me according to thy word. And the angel departed from her.", "shows": "Mary's assent to the angel"}, "th": "/store/thumb/bh_annunciation_f30r.webp", "more": [{"k": "subject", "n": "The Book of Hours in painting", "u": "/editions/subject/the-book-of-hours/", "ids": ["bh_baptist_f211r", "bh_catherine_study_f15r", "bh_cemetery_f99r", "bh_diocres_burial_f95r"]}, {"k": "master", "n": "The Limbourg Brothers", "u": "/editions/master/the-limbourg-brothers/", "ids": ["bh_baptist_f211r", "bh_catherine_study_f15r", "bh_cemetery_f99r", "bh_diocres_burial_f95r"]}]}, "bh_catherine_study_f15r": {"id": "bh_catherine_study_f15r", "title": "Saint Catherine in her Study", "artist_line": "Herman, Paul, and Jean de Limbourg (Franco-Netherlandish, active in France by 1399–1416)", "artist": "The Limbourg Brothers", "date": "1405–1408/9", "museum": "The Metropolitan Museum of Art, The Cloisters", "license": "PD/CC0", "tier": "Mid", "sizes": [{"size": "8×10 in", "paper": 39, "iw": 7.3, "ih": 10, "sw": 8, "sh": 10, "cov": 0.909}, {"size": "11×14 in", "paper": 59, "iw": 10.2, "ih": 14, "sw": 11, "sh": 14, "cov": 0.926}], "local": "/store/display/bh_catherine_study_f15r.jpg", "commons_file": null, "zoom": "https://art.monstrance.app/zoom/bh_catherine_study_f15r.jpg", "master_px": 3662, "auth": {"institution": "The Metropolitan Museum of Art, The Cloisters", "accession": "54.1.1a, b", "url": "https://www.metmuseum.org/art/collection/search/470306", "artist_as_printed": "Herman, Paul, and Jean de Limbourg (Franco-Netherlandish, active in France by 1399–1416)", "date_as_printed": "1405–1408/9", "medium": "Ink, tempera, and gold leaf on vellum", "dimensions": "9 3/8 x 6 5/8 in. (23.8 x 16.8 cm)"}, "writeup": {"text": "Saint Catherine sits alone in a great church with a book open on her desk, and beside her a tiered stand holds more books, nearly as tall as she is. The Met calls the scene unprecedented, a woman studying alone in a great ecclesiastical space, seen through a double arcade. The Limbourg brothers balance her figure against the bookstand, the Met says, to equate her with learning itself, and set images of Moses on both the altar and the stand. The page opens the longest saint's cycle in the manuscript; its border, the richest of the set, marks it as the frontispiece. Somewhere tonight a student leaves the lamp on.", "sources": [{"what": "The Met's own folio commentary for fol. 15r (The Art of Illumination exhibition site), read 2026-09-02", "url": "https://blog.metmuseum.org/artofillumination/manuscript-pages/folio-15r/"}, {"what": "Timothy Husband, The Art of Illumination: The Limbourg Brothers and the Belles Heures of Jean de France, Duc de Berry (Metropolitan Museum of Art, 2008) — the full-manuscript exhibition catalogue", "url": "https://www.metmuseum.org/met-publications/the-art-of-illumination-the-limbourg-brothers-and-the-belles-heures-of-jean-de-france-duc-de-berr"}]}, "scene": {"why": "Saint Catherine of Alexandria's life comes down through the Golden Legend and the Greek passiones. The scene of her study is hagiography, and the Church has never claimed a scriptural source for it."}, "th": "/store/thumb/bh_catherine_study_f15r.webp", "more": [{"k": "subject", "n": "The Book of Hours in painting", "u": "/editions/subject/the-book-of-hours/", "ids": ["bh_cemetery_f99r", "bh_diocres_burial_f95r", "bh_jerome_f187v", "bh_lions_f193v"]}, {"k": "master", "n": "The Limbourg Brothers", "u": "/editions/master/the-limbourg-brothers/", "ids": ["bh_cemetery_f99r", "bh_diocres_burial_f95r", "bh_jerome_f187v", "bh_lions_f193v"]}]}, "bh_diocres_burial_f95r": {"id": "bh_diocres_burial_f95r", "title": "The Burial of Diocrès", "artist_line": "Herman, Paul, and Jean de Limbourg (Franco-Netherlandish, active in France by 1399–1416)", "artist": "The Limbourg Brothers", "date": "1405–1408/9", "museum": "The Metropolitan Museum of Art, The Cloisters", "license": "PD/CC0", "tier": "Mid", "sizes": [{"size": "8×10 in", "paper": 39, "iw": 7.2, "ih": 10, "sw": 8, "sh": 10, "cov": 0.898}, {"size": "11×14 in", "paper": 59, "iw": 10.1, "ih": 14, "sw": 11, "sh": 14, "cov": 0.914}], "local": "/store/display/bh_diocres_burial_f95r.jpg", "commons_file": null, "zoom": "https://art.monstrance.app/zoom/bh_diocres_burial_f95r.jpg", "master_px": 3639, "auth": {"institution": "The Metropolitan Museum of Art, The Cloisters", "accession": "54.1.1a, b", "url": "https://www.metmuseum.org/art/collection/search/470306", "artist_as_printed": "Herman, Paul, and Jean de Limbourg (Franco-Netherlandish, active in France by 1399–1416)", "date_as_printed": "1405–1408/9", "medium": "Ink, tempera, and gold leaf on vellum", "dimensions": "9 3/8 x 6 5/8 in. (23.8 x 16.8 cm)"}, "writeup": {"text": "The coffin tips into the earth in the workmen's hands, and the dead man in it has not finished speaking. Wendy A. Stein, writing for the Met, tells how the Paris scholar Diocrès cried out from his coffin in church, and again the next day here, as he was lowered, that he had been accused in the fair judgment of God. Among the clerics at right the Limbourg brothers set a man in blue who raises his hands and leans back so far his face is foreshortened. Stein suggests he may be Bruno, who then founded the Carthusians. Of all that crowd, only he leans back as if struck.", "sources": [{"what": "The Met's commentary on fol. 95r: Diocrès cries out again as he is lowered into his grave; four groups of attendants: monks and acolytes chanting in procession from a portal, mourners in black, scholars and clerics at right, five workmen lowering the coffin.", "url": "https://blog.metmuseum.org/artofillumination/manuscript-pages/folio-95r/", "cite": "The Metropolitan Museum of Art, The Art of Illumination, folio 95r; read 2026-09-24"}, {"what": "Wendy A. Stein's post: Diocrès, a professor of the University of Paris, calls out from his coffin in church and again the next day in the cemetery, 'I have been accused in the fair judgment of God!'; on fol. 95r the man in blue among the clerics at right raises his hands and leans back so far his face is foreshortened, and 'may even be Bruno', who then founded the Carthusians.", "url": "https://blog.metmuseum.org/artofillumination/2010/04/14/saint-bruno-and-the-founding-of-the-carthusian-order/", "cite": "Wendy A. Stein, 'Saint Bruno and the Founding of the Carthusian Order', The Art of Illumination blog, The Metropolitan Museum of Art, 14 April 2010; read 2026-09-24"}]}, "scene": {"why": "The burial of Diocres is the Carthusian foundation legend - the corpse that spoke at its own funeral and sent Bruno to the wilderness - told by the order and by the Golden Legend, and never claimed as Scripture."}, "th": "/store/thumb/bh_diocres_burial_f95r.webp", "more": [{"k": "subject", "n": "The Book of Hours in painting", "u": "/editions/subject/the-book-of-hours/", "ids": ["bh_jerome_f187v", "bh_lions_f193v", "bh_mocking_f131v", "bh_pilate_washes_f138r"]}, {"k": "master", "n": "The Limbourg Brothers", "u": "/editions/master/the-limbourg-brothers/", "ids": ["bh_jerome_f187v", "bh_lions_f193v", "bh_mocking_f131v", "bh_pilate_washes_f138r"]}]}, "bh_cemetery_f99r": {"id": "bh_cemetery_f99r", "title": "A Cemetery", "artist_line": "Herman, Paul, and Jean de Limbourg (Franco-Netherlandish, active in France by 1399–1416)", "artist": "The Limbourg Brothers", "date": "1405–1408/9", "museum": "The Metropolitan Museum of Art, The Cloisters", "license": "PD/CC0", "tier": "Mid", "sizes": [{"size": "8×10 in", "paper": 39, "iw": 7.5, "ih": 10, "sw": 8, "sh": 10, "cov": 0.934}, {"size": "11×14 in", "paper": 59, "iw": 10.5, "ih": 14, "sw": 11, "sh": 14, "cov": 0.951}], "local": "/store/display/bh_cemetery_f99r.jpg", "commons_file": null, "zoom": "https://art.monstrance.app/zoom/bh_cemetery_f99r.jpg", "master_px": 3565, "auth": {"institution": "The Metropolitan Museum of Art, The Cloisters", "accession": "54.1.1a, b", "url": "https://www.metmuseum.org/art/collection/search/470306", "artist_as_printed": "Herman, Paul, and Jean de Limbourg (Franco-Netherlandish, active in France by 1399–1416)", "date_as_printed": "1405–1408/9", "medium": "Ink, tempera, and gold leaf on vellum", "dimensions": "9 3/8 x 6 5/8 in. (23.8 x 16.8 cm)"}, "writeup": {"text": "Two corpses lie in an open grave with the spades beside them, and above them two old men read their books. The Office of the Dead fills three full quires of the Belles Heures, and the Limbourg brothers gave it this single illumination; its prayers, Wendy A. Stein writes for the Met, were said to shorten a loved one's time in purgatory. Stein suggests the bodies may echo the tale of the three living and the three dead, and Timothy Husband calls the page one of the most enigmatic in the manuscript. Behind the cross a man raises his hand toward a tablet with nothing on it.", "sources": [{"what": "The Met's commentary on fol. 99r: the only illumination in the Office of the Dead; two decomposing figures in the grave; a figure behind the central column/cross and a white panel left blank; audio transcript in which Timothy Husband describes the man behind the cross raising his right hand and pointing to the blank tablet and calls the page 'one of the most enigmatic and mysterious of images in the manuscript'.", "url": "https://blog.metmuseum.org/artofillumination/manuscript-pages/folio-99r/", "cite": "The Metropolitan Museum of Art, The Art of Illumination, folio 99r, with audio-guide transcript (Tom Campbell, Timothy Husband); read 2026-09-24"}, {"what": "Wendy A. Stein's post: the Office of the Dead fills three full quires of the Belles Heures but has one illumination; its prayers were said to shorten time in purgatory for deceased loved ones; the two decomposed bodies may refer to the three living and the three dead.", "url": "https://blog.metmuseum.org/artofillumination/2010/04/14/saint-bruno-and-the-founding-of-the-carthusian-order/", "cite": "Wendy A. Stein, 'Saint Bruno and the Founding of the Carthusian Order', The Art of Illumination blog, The Metropolitan Museum of Art, 14 April 2010; read 2026-09-24"}]}, "scene": {"ref": "Job 19:25", "quote": "For I know that my Redeemer liveth, and in the last day I shall rise out of the earth.", "shows": "the hope the Office of the Dead sets over the grave"}, "th": "/store/thumb/bh_cemetery_f99r.webp", "more": [{"k": "subject", "n": "The Book of Hours in painting", "u": "/editions/subject/the-book-of-hours/", "ids": ["bh_diocres_burial_f95r", "bh_jerome_f187v", "bh_lions_f193v", "bh_mocking_f131v"]}, {"k": "master", "n": "The Limbourg Brothers", "u": "/editions/master/the-limbourg-brothers/", "ids": ["bh_diocres_burial_f95r", "bh_jerome_f187v", "bh_lions_f193v", "bh_mocking_f131v"]}]}, "bh_jerome_f187v": {"id": "bh_jerome_f187v", "title": "Saint Jerome Translating the Bible", "artist_line": "Herman, Paul, and Jean de Limbourg (Franco-Netherlandish, active in France by 1399–1416)", "artist": "The Limbourg Brothers", "date": "1405–1408/9", "museum": "The Metropolitan Museum of Art, The Cloisters", "license": "PD/CC0", "tier": "Mid", "sizes": [{"size": "8×10 in", "paper": 39, "iw": 7.2, "ih": 10, "sw": 8, "sh": 10, "cov": 0.904}], "local": "/store/display/bh_jerome_f187v.jpg", "commons_file": null, "zoom": "https://art.monstrance.app/zoom/bh_jerome_f187v.jpg", "master_px": 3075, "auth": {"institution": "The Metropolitan Museum of Art, The Cloisters", "accession": "54.1.1a, b", "url": "https://www.metmuseum.org/art/collection/search/470306", "artist_as_printed": "Herman, Paul, and Jean de Limbourg (Franco-Netherlandish, active in France by 1399–1416)", "date_as_printed": "1405–1408/9", "medium": "Ink, tempera, and gold leaf on vellum", "dimensions": "9 3/8 x 6 5/8 in. (23.8 x 16.8 cm)"}, "writeup": {"text": "A lion sits by the desk like a house dog, and Saint Jerome bends over his book. The Limbourg brothers build his study as a rich church, and above it, in an upper storey, three prophets hold banderoles that the Met's commentary says refer to books Jerome translated. Below, he translates the Bible, a task the caption, Wendy A. Stein notes, says took fifty-five years and six months. The Met sees the brothers adding their own stamp to a traditional scene. Stein follows the tame lion through the cycle: three times on the page before, then, most traditionally, here in the study. Fifty-five years, one line at a time.", "sources": [{"what": "The Met's commentary on fol. 187v: the Limbourgs add their own stamp to a traditional representation of Jerome in his study; in an upper storey three prophets hold banderoles referring to some of the books Jerome translated.", "url": "https://blog.metmuseum.org/artofillumination/manuscript-pages/folio-187v/", "cite": "The Metropolitan Museum of Art, The Art of Illumination, folio 187v; read 2026-09-24"}, {"what": "Wendy A. Stein's post: on fol. 187v Jerome translates the Bible, a task the caption says took fifty-five years and six months, in a rich ecclesiastical structure; the tame lion recurs three times on fol. 187r and then, most traditionally, in the study on 187v.", "url": "https://blog.metmuseum.org/artofillumination/2010/05/19/the-story-of-saint-jerome/", "cite": "Wendy A. Stein, 'The Story of Saint Jerome', The Art of Illumination blog, The Metropolitan Museum of Art, 19 May 2010; read 2026-09-24"}]}, "scene": {"why": "Jerome at work on the Vulgate is a scene from the life of the translator, not from the text he translated. Scripture records the words; it does not record the man writing them."}, "th": "/store/thumb/bh_jerome_f187v.webp", "more": [{"k": "subject", "n": "The Book of Hours in painting", "u": "/editions/subject/the-book-of-hours/", "ids": ["bh_lions_f193v", "bh_mocking_f131v", "bh_pilate_washes_f138r", "bh_satyr_f192r"]}, {"k": "master", "n": "The Limbourg Brothers", "u": "/editions/master/the-limbourg-brothers/", "ids": ["bh_lions_f193v", "bh_mocking_f131v", "bh_pilate_washes_f138r", "bh_satyr_f192r"]}]}, "bh_lions_f193v": {"id": "bh_lions_f193v", "title": "Lions Help Saint Anthony Bury Saint Paul", "artist_line": "Herman, Paul, and Jean de Limbourg (Franco-Netherlandish, active in France by 1399–1416)", "artist": "The Limbourg Brothers", "date": "1405–1408/9", "museum": "The Metropolitan Museum of Art, The Cloisters", "license": "PD/CC0", "tier": "Mid", "sizes": [{"size": "8×10 in", "paper": 39, "iw": 7.2, "ih": 10, "sw": 8, "sh": 10, "cov": 0.896}, {"size": "11×14 in", "paper": 59, "iw": 10.0, "ih": 14, "sw": 11, "sh": 14, "cov": 0.913}], "local": "/store/display/bh_lions_f193v.jpg", "commons_file": null, "zoom": "https://art.monstrance.app/zoom/bh_lions_f193v.jpg", "master_px": 3631, "auth": {"institution": "The Metropolitan Museum of Art, The Cloisters", "accession": "54.1.1a, b", "url": "https://www.metmuseum.org/art/collection/search/470306", "artist_as_printed": "Herman, Paul, and Jean de Limbourg (Franco-Netherlandish, active in France by 1399–1416)", "date_as_printed": "1405–1408/9", "medium": "Ink, tempera, and gold leaf on vellum", "dimensions": "9 3/8 x 6 5/8 in. (23.8 x 16.8 cm)"}, "writeup": {"text": "Three lions come to the grave, and Saint Anthony holds the pale body of Saint Paul against his own. By legend, the Met says, Anthony had no tools to dig, so the lions came to help. The Met's commentary sets the pallor of Paul's corpse against Anthony's ruddy face, and Wendy A. Stein asks us to look closely at the sorrowing face and the limp, pale body. The Limbourg brothers gave the story a self-contained quire of eight pages, its captions drawing, it seems, on Jerome's life of Paul, the first ever written. Paul's tunic, the caption says, was made of palms; here it is braided like a basket.", "sources": [{"what": "The Met's commentary on fol. 193v: the pallor of Paul's corpse against Anthony's ruddy complexion as he lowers the body; by legend he had no tools and lions helped; Paul's palm-leaf tunic is mentioned in the text.", "url": "https://blog.metmuseum.org/artofillumination/manuscript-pages/folio-193v/", "cite": "The Metropolitan Museum of Art, The Art of Illumination, folio 193v; read 2026-09-24"}, {"what": "Wendy A. Stein's post: a self-contained quire of two bifolia, eight pages, tells the story of Paul and Anthony; the first life of Paul was written by Jerome and seems to be one source of the captions; look at Anthony's sorrowing face and Paul's limp, pale body; the caption says the garment was made from palms and it appears with a braided basket weave.", "url": "https://blog.metmuseum.org/artofillumination/2010/05/26/saints-paul-and-anthony/", "cite": "Wendy A. Stein, 'Saints Paul and Anthony', The Art of Illumination blog, The Metropolitan Museum of Art, 26 May 2010; read 2026-09-24"}]}, "scene": {"why": "The lions that dug Paul the Hermit's grave come from Jerome's Vita Pauli, a work of hagiography he wrote himself. It is desert monastic tradition and carries no scriptural locus."}, "th": "/store/thumb/bh_lions_f193v.webp", "more": [{"k": "subject", "n": "The Book of Hours in painting", "u": "/editions/subject/the-book-of-hours/", "ids": ["bh_mocking_f131v", "bh_pilate_washes_f138r", "bh_satyr_f192r", "getty_visitation_f48"]}, {"k": "master", "n": "The Limbourg Brothers", "u": "/editions/master/the-limbourg-brothers/", "ids": ["bh_mocking_f131v", "bh_pilate_washes_f138r", "bh_satyr_f192r", "bh_annunciation_f30r"]}]}, "getty_visitation_f48": {"id": "getty_visitation_f48", "title": "The Visitation", "artist_line": "Workshop of the Rohan Master (French, active about 1410–1440)", "artist": "Workshop of the Rohan Master", "date": "about 1415–1420", "museum": "The J. Paul Getty Museum", "license": "PD/CC0", "tier": "Mid", "sizes": [{"size": "8×10 in", "paper": 39, "iw": 6.7, "ih": 10, "sw": 8, "sh": 10, "cov": 0.843}, {"size": "11×14 in", "paper": 59, "iw": 9.4, "ih": 14, "sw": 11, "sh": 14, "cov": 0.858}, {"size": "16×20 in", "paper": 110, "iw": 13.5, "ih": 20, "sw": 16, "sh": 20, "cov": 0.843}, {"size": "18×24 in", "paper": 140, "iw": 16.2, "ih": 24, "sw": 18, "sh": 24, "cov": 0.899}, {"size": "32×48 in", "paper": 340, "iw": 32, "ih": 47.4, "sw": 32, "sh": 48, "cov": 0.988}], "local": "/store/display/getty_visitation_f48.jpg", "commons_file": null, "zoom": "https://art.monstrance.app/zoom/getty_visitation_f48.jpg", "master_px": 5827, "auth": {"institution": "The J. Paul Getty Museum", "accession": "Ms. 22 (86.ML.571)", "url": "https://www.getty.edu/art/collection/object/103RWG", "artist_as_printed": "Workshop of the Rohan Master", "date_as_printed": "about 1415–1420", "medium": "tempera colors, gold, and ink on parchment", "dimensions": "canvas 4213×6645 px (IIIF manifest, read 2026-09-02)"}, "writeup": {"text": "Mary and Elizabeth meet on a flowered ground — two expectant mothers, each carrying an impossible announcement, recognizing each other's news in an embrace. The page comes from the Getty's Book of Hours attributed to the workshop of the Rohan Master, the anonymous painter whose circle produced some of the strangest and most affecting French illumination of the fifteenth century. The miniature is folio 48, painted about 1415–1420 in tempera colors, gold and ink on parchment: a page made to be prayed through. The Getty releases the manuscript's images under its Open Content Program.", "sources": [{"what": "Getty object page for Ms. 22 and the IIIF manifest's own rights statement (CC0), read 2026-08-09 and 2026-09-02", "url": "https://www.getty.edu/art/collection/object/103RWG"}, {"what": "folio, date and medium from the record's attribution_authority (Getty object page and IIIF v3 manifest, read 2026-08-09 / 2026-09-02); extended 2026-10-12 past the 80-word floor", "url": "https://www.getty.edu/art/collection/object/103RWG"}]}, "scene": {"ref": "Luke 1:41", "quote": "And it came to pass that when Elizabeth heard the salutation of Mary, the infant leaped in her womb. And Elizabeth was filled with the Holy Ghost.", "shows": "Mary and Elizabeth meeting in an embrace"}, "th": "/store/thumb/getty_visitation_f48.webp", "more": [{"k": "subject", "n": "The Book of Hours in painting", "u": "/editions/subject/the-book-of-hours/", "ids": ["bh_annunciation_f30r", "bh_baptist_f211r", "bh_catherine_study_f15r", "bh_cemetery_f99r"]}]}, "bh_mocking_f131v": {"id": "bh_mocking_f131v", "title": "The Mocking of Christ", "artist_line": "Herman, Paul, and Jean de Limbourg (Franco-Netherlandish, active in France by 1399–1416)", "artist": "The Limbourg Brothers", "date": "1405–1408/9", "museum": "The Metropolitan Museum of Art, The Cloisters", "license": "PD/CC0", "tier": "Mid", "sizes": [{"size": "8×10 in", "paper": 39, "iw": 7.2, "ih": 10, "sw": 8, "sh": 10, "cov": 0.9}, {"size": "11×14 in", "paper": 59, "iw": 10.1, "ih": 14, "sw": 11, "sh": 14, "cov": 0.917}], "local": "/store/display/bh_mocking_f131v.jpg", "commons_file": null, "zoom": "https://art.monstrance.app/zoom/bh_mocking_f131v.jpg", "master_px": 3473, "auth": {"institution": "The Metropolitan Museum of Art, The Cloisters", "accession": "54.1.1a, b", "url": "https://www.metmuseum.org/art/collection/search/470306", "artist_as_printed": "Herman, Paul, and Jean de Limbourg (Franco-Netherlandish, active in France by 1399–1416)", "date_as_printed": "1405–1408/9", "medium": "Ink, tempera, and gold leaf on vellum", "dimensions": "9 3/8 x 6 5/8 in. (23.8 x 16.8 cm)"}, "writeup": {"text": "Christ sits in blue with His eyes covered, and the fists come up around Him; one man goes down on one knee before Him. A high priest in white looks on. The Met's commentary points to a flaw the Limbourg brothers let stand: the slender side columns stand in front of the nearest figures, while the arcade they carry seems to run behind the whole scene. When the book is bound this page faces the Flagellation, and the Met reads the similar settings and gestures of the two scenes as deliberate, chosen to unify the opening. The room will not hold still; He does.", "sources": [{"what": "The Met's commentary on fol. 131v: Christ tormented by a mob as a high priest looks on; the side columns appear in front of the nearest figures while the arcade they support seems to be behind the scene", "url": "http://blog.metmuseum.org/artofillumination/manuscript-pages/folio-131v/", "cite": "The Metropolitan Museum of Art, The Art of Illumination, 'The Mocking of Christ, Folio 131v', Belles Heures, 54.1.1, read 2026-09-24"}, {"what": "The Met's commentary on the facing fol. 132r: when the book is bound this page faces the Mocking (fol. 131v), and the similar settings and gestures in the two scenes appear to be deliberate choices to unify the two pages", "url": "http://blog.metmuseum.org/artofillumination/manuscript-pages/folio-132r/", "cite": "The Metropolitan Museum of Art, The Art of Illumination, 'The Flagellation of Christ, Folio 132r', Belles Heures, 54.1.1, read 2026-09-24"}, {"what": "The Met's introduction to the Hours of the Passion section of the Belles Heures, discussing the colonnettes framing the Mocking and the spatial inconsistencies of the Passion miniatures", "url": "http://blog.metmuseum.org/artofillumination/2010/04/28/hours-of-the-passion/", "cite": "The Metropolitan Museum of Art, The Art of Illumination, 'Hours of the Passion' (2010), read 2026-09-24"}, {"what": "The Met's object record for the Belles Heures: made 1405–1408/9 in Paris for Jean de France, duc de Berry, by the Limbourg brothers; a private devotional book with seven picture cycles and 172 illuminations", "url": "https://www.metmuseum.org/art/collection/search/470306", "cite": "The Metropolitan Museum of Art, The Cloisters Collection, The Belles Heures of Jean de France, duc de Berry, 54.1.1a, b, object record, read 2026-09-24"}]}, "scene": {"ref": "Matthew 27:29", "quote": "And platting a crown of thorns, they put it upon his head, and a reed in his right hand. And bowing the knee before him, they mocked him, saying: Hail, King of the Jews.", "shows": "the crown of thorns and the mock homage"}, "th": "/store/thumb/bh_mocking_f131v.webp", "more": [{"k": "subject", "n": "The Book of Hours in painting", "u": "/editions/subject/the-book-of-hours/", "ids": ["bh_pilate_washes_f138r", "bh_satyr_f192r", "getty_visitation_f48", "bh_annunciation_f30r"]}, {"k": "master", "n": "The Limbourg Brothers", "u": "/editions/master/the-limbourg-brothers/", "ids": ["bh_pilate_washes_f138r", "bh_satyr_f192r", "bh_annunciation_f30r", "bh_baptist_f211r"]}]}, "bh_pilate_washes_f138r": {"id": "bh_pilate_washes_f138r", "title": "Pilate Washes His Hands", "artist_line": "Herman, Paul, and Jean de Limbourg (Franco-Netherlandish, active in France by 1399–1416)", "artist": "The Limbourg Brothers", "date": "1405–1408/9", "museum": "The Metropolitan Museum of Art, The Cloisters", "license": "PD/CC0", "tier": "Mid", "sizes": [{"size": "8×10 in", "paper": 39, "iw": 7.3, "ih": 10, "sw": 8, "sh": 10, "cov": 0.913}, {"size": "11×14 in", "paper": 59, "iw": 10.2, "ih": 14, "sw": 11, "sh": 14, "cov": 0.929}], "local": "/store/display/bh_pilate_washes_f138r.jpg", "commons_file": null, "zoom": "https://art.monstrance.app/zoom/bh_pilate_washes_f138r.jpg", "master_px": 3532, "auth": {"institution": "The Metropolitan Museum of Art, The Cloisters", "accession": "54.1.1a, b", "url": "https://www.metmuseum.org/art/collection/search/470306", "artist_as_printed": "Herman, Paul, and Jean de Limbourg (Franco-Netherlandish, active in France by 1399–1416)", "date_as_printed": "1405–1408/9", "medium": "Ink, tempera, and gold leaf on vellum", "dimensions": "9 3/8 x 6 5/8 in. (23.8 x 16.8 cm)"}, "writeup": {"text": "A basin, two open hands, and Christ standing a few steps off in blue. Pilate sits on his throne under a canopy and lets a servant pour; the Met reads the gesture as the judge absolving himself of the condemnation of Christ. Water cannot carry that away. At the right stands a large man in pink, and the Met notes he appears to derive from an earlier model and sits ambiguously against the throne, his sleeve meeting Pilate's blue in a space the Limbourg brothers could not settle. A borrowed figure crowds the judge who claims to stand apart. Christ keeps His place, and waits.", "sources": [{"what": "The Met's commentary on fol. 138r: Pilate washes his hands to absolve himself of the condemnation of Christ; the large figure in pink at the right appears to derive from an earlier model, leaving the relation of his sleeve to Pilate's blue garment awkward", "url": "http://blog.metmuseum.org/artofillumination/manuscript-pages/folio-138r/", "cite": "The Metropolitan Museum of Art, The Art of Illumination, 'Pilate Washes his Hands, Folio 138r', Belles Heures, 54.1.1, read 2026-09-24"}, {"what": "The Met's introduction to the Hours of the Passion: the figure in pink in the Pilate miniature sits ambiguously in space relative to Pilate's throne", "url": "http://blog.metmuseum.org/artofillumination/2010/04/28/hours-of-the-passion/", "cite": "The Metropolitan Museum of Art, The Art of Illumination, 'Hours of the Passion' (2010), read 2026-09-24"}, {"what": "The Met's object record for the Belles Heures: made 1405–1408/9 in Paris for Jean de France, duc de Berry, by the Limbourg brothers; a private devotional book with seven picture cycles and 172 illuminations", "url": "https://www.metmuseum.org/art/collection/search/470306", "cite": "The Metropolitan Museum of Art, The Cloisters Collection, The Belles Heures of Jean de France, duc de Berry, 54.1.1a, b, object record, read 2026-09-24"}]}, "scene": {"ref": "Matthew 27:24", "quote": "And Pilate seeing that he prevailed nothing, but that rather a tumult was made, taking water washed his hands before the people, saying: I am innocent of the blood of this just man. Look you to it.", "shows": "Pilate washing his hands before the people"}, "th": "/store/thumb/bh_pilate_washes_f138r.webp", "more": [{"k": "subject", "n": "The Book of Hours in painting", "u": "/editions/subject/the-book-of-hours/", "ids": ["bh_satyr_f192r", "getty_visitation_f48", "bh_annunciation_f30r", "bh_baptist_f211r"]}, {"k": "master", "n": "The Limbourg Brothers", "u": "/editions/master/the-limbourg-brothers/", "ids": ["bh_satyr_f192r", "bh_annunciation_f30r", "bh_baptist_f211r", "bh_catherine_study_f15r"]}]}, "bh_satyr_f192r": {"id": "bh_satyr_f192r", "title": "Saint Anthony Receives Directions from a Satyr", "artist_line": "Herman, Paul, and Jean de Limbourg (Franco-Netherlandish, active in France by 1399–1416)", "artist": "The Limbourg Brothers", "date": "1405–1408/9", "museum": "The Metropolitan Museum of Art, The Cloisters", "license": "PD/CC0", "tier": "Mid", "sizes": [{"size": "8×10 in", "paper": 39, "iw": 7.2, "ih": 10, "sw": 8, "sh": 10, "cov": 0.898}, {"size": "11×14 in", "paper": 59, "iw": 10.1, "ih": 14, "sw": 11, "sh": 14, "cov": 0.914}], "local": "/store/display/bh_satyr_f192r.jpg", "commons_file": null, "zoom": "https://art.monstrance.app/zoom/bh_satyr_f192r.jpg", "master_px": 3631, "auth": {"institution": "The Metropolitan Museum of Art, The Cloisters", "accession": "54.1.1a, b", "url": "https://www.metmuseum.org/art/collection/search/470306", "artist_as_printed": "Herman, Paul, and Jean de Limbourg (Franco-Netherlandish, active in France by 1399–1416)", "date_as_printed": "1405–1408/9", "medium": "Ink, tempera, and gold leaf on vellum", "dimensions": "9 3/8 x 6 5/8 in. (23.8 x 16.8 cm)"}, "writeup": {"text": "An old man in a black habit leans on his staff, a small bell on it, and lifts a hand toward his guide. The guide is a creature with a man's head and arms on a goat's body, pointing up. The Golden Legend says Saint Anthony, searching the desert for Paul's hermitage, asked the way of a centaur and of a satyr; the Met's commentary says the Limbourg brothers made the two one beast. It had appeared before, in the Très Belles Heures de Notre-Dame, and the Met reads its return as the painters' and the duke's shared delight in strange stories. The saint takes his road from it.", "sources": [{"what": "The Met's commentary on fol. 192r: according to the Golden Legend Anthony consulted a centaur and a satyr on his way to Paul's hermitage; the Limbourgs merged them into one creature with a centaur's form and a goat's hair and hooves, an image found in more than one of the duke's manuscripts", "url": "http://blog.metmuseum.org/artofillumination/manuscript-pages/folio-192r/", "cite": "The Metropolitan Museum of Art, The Art of Illumination, 'Saint Anthony Receives Directions from a Satyr, Folio 192r', Belles Heures, 54.1.1, read 2026-09-24"}, {"what": "The Met's introduction to the Paul and Anthony quire: the composite beast combines the centaur and satyr of the caption, had appeared earlier in the Très Belles Heures de Notre-Dame, and shows the artists' and duke's delight in strange stories", "url": "http://blog.metmuseum.org/artofillumination/2010/05/26/saints-paul-and-anthony/", "cite": "The Metropolitan Museum of Art, The Art of Illumination, 'Saints Paul and Anthony' (2010), read 2026-09-24"}, {"what": "The Met's object record for the Belles Heures: made 1405–1408/9 in Paris for Jean de France, duc de Berry, by the Limbourg brothers; a private devotional book with seven picture cycles and 172 illuminations", "url": "https://www.metmuseum.org/art/collection/search/470306", "cite": "The Metropolitan Museum of Art, The Cloisters Collection, The Belles Heures of Jean de France, duc de Berry, 54.1.1a, b, object record, read 2026-09-24"}]}, "scene": {"why": "Anthony's meeting with the satyr on the road to Paul the Hermit is told in Jerome's Vita Pauli. It belongs to desert monastic legend and has never been claimed as Scripture."}, "th": "/store/thumb/bh_satyr_f192r.webp", "more": [{"k": "subject", "n": "The Book of Hours in painting", "u": "/editions/subject/the-book-of-hours/", "ids": ["getty_visitation_f48", "bh_annunciation_f30r", "bh_baptist_f211r", "bh_catherine_study_f15r"]}, {"k": "master", "n": "The Limbourg Brothers", "u": "/editions/master/the-limbourg-brothers/", "ids": ["bh_annunciation_f30r", "bh_baptist_f211r", "bh_catherine_study_f15r", "bh_cemetery_f99r"]}]}, "bh_baptist_f211r": {"id": "bh_baptist_f211r", "title": "Saint John the Baptist in the Wilderness", "artist_line": "Herman, Paul, and Jean de Limbourg (Franco-Netherlandish, active in France by 1399–1416)", "artist": "The Limbourg Brothers", "date": "1405–1408/9", "museum": "The Metropolitan Museum of Art, The Cloisters", "license": "PD/CC0", "tier": "Mid", "sizes": [{"size": "8×10 in", "paper": 39, "iw": 7.1, "ih": 10, "sw": 8, "sh": 10, "cov": 0.886}, {"size": "11×14 in", "paper": 59, "iw": 9.9, "ih": 14, "sw": 11, "sh": 14, "cov": 0.902}], "local": "/store/display/bh_baptist_f211r.jpg", "commons_file": null, "zoom": "https://art.monstrance.app/zoom/bh_baptist_f211r.jpg", "master_px": 3690, "auth": {"institution": "The Metropolitan Museum of Art, The Cloisters", "accession": "54.1.1a, b", "url": "https://www.metmuseum.org/art/collection/search/470306", "artist_as_printed": "Herman, Paul, and Jean de Limbourg (Franco-Netherlandish, active in France by 1399–1416)", "date_as_printed": "1405–1408/9", "medium": "Ink, tempera, and gold leaf on vellum", "dimensions": "9 3/8 x 6 5/8 in. (23.8 x 16.8 cm)"}, "writeup": {"text": "Saint John the Baptist stands barefoot in a tawny coat and holds the Lamb on one arm, pointing to Him with the other hand. A bear climbs a tree, a boar noses among the trunks, and the two men beside him, the Met says, remain unidentified. The Limbourg brothers made this the first of four full-page illuminations before the Mass for the Nativity of Saint John the Baptist, three of them added beyond the book's original plan. Below, the text runs in a single column of alternating red and blue ink. The wilderness is full of beasts, and the only one he lifts is the Lamb of God.", "sources": [{"what": "The Met's commentary on fol. 211r: the Baptist holds the Lamb of God at the edge of a wooded landscape with wild creatures; two unidentified men; this page and the next two use a picture-book format with a single column of text in alternating red and blue ink", "url": "http://blog.metmuseum.org/artofillumination/manuscript-pages/folio-211r/", "cite": "The Metropolitan Museum of Art, The Art of Illumination, 'John the Baptist in the Wilderness, Folio 211r', Belles Heures, 54.1.1, read 2026-09-24"}, {"what": "The Met's introduction to the masses section: the Mass for the Nativity of Saint John the Baptist is preceded by four full-page illuminations, fol. 211r first, three of them an expansion beyond the original plan", "url": "http://blog.metmuseum.org/artofillumination/2010/06/02/masses-prayers-and-the-story-of-saint-john-the-baptist/", "cite": "The Metropolitan Museum of Art, The Art of Illumination, 'Masses, Prayers, and the Story of Saint John the Baptist' (2010), read 2026-09-24"}, {"what": "The Met's object record for the Belles Heures: made 1405–1408/9 in Paris for Jean de France, duc de Berry, by the Limbourg brothers; a private devotional book with seven picture cycles and 172 illuminations", "url": "https://www.metmuseum.org/art/collection/search/470306", "cite": "The Metropolitan Museum of Art, The Cloisters Collection, The Belles Heures of Jean de France, duc de Berry, 54.1.1a, b, object record, read 2026-09-24"}]}, "scene": {"ref": "Matthew 3:1", "quote": "And in those days cometh John the Baptist preaching in the desert of Judea.", "shows": "John preaching in the desert of Judea"}, "th": "/store/thumb/bh_baptist_f211r.webp", "more": [{"k": "subject", "n": "The Book of Hours in painting", "u": "/editions/subject/the-book-of-hours/", "ids": ["bh_catherine_study_f15r", "bh_cemetery_f99r", "bh_diocres_burial_f95r", "bh_jerome_f187v"]}, {"k": "master", "n": "The Limbourg Brothers", "u": "/editions/master/the-limbourg-brothers/", "ids": ["bh_catherine_study_f15r", "bh_cemetery_f99r", "bh_diocres_burial_f95r", "bh_jerome_f187v"]}]}, "caravaggio_the_crucifixion_of_saint_andrew": {"id": "caravaggio_the_crucifixion_of_saint_andrew", "title": "The Crucifixion of Saint Andrew", "artist_line": "Caravaggio (Italian, 1571–1610)", "artist": "Caravaggio", "date": "1606–7", "museum": "The Cleveland Museum of Art", "license": "PD/CC0", "tier": "Sanctuary", "sizes": [{"size": "18×24 in", "paper": 140, "iw": 18, "ih": 23.9, "sw": 18, "sh": 24, "cov": 0.995}, {"size": "24×36 in", "paper": 190, "iw": 24, "ih": 31.8, "sw": 24, "sh": 36, "cov": 0.884}, {"size": "32×48 in", "paper": 340, "iw": 32, "ih": 42.5, "sw": 32, "sh": 48, "cov": 0.884}, {"size": "40×60 in", "paper": 480, "iw": 40, "ih": 53.1, "sw": 40, "sh": 60, "cov": 0.884}], "local": "/store/display/caravaggio_the_crucifixion_of_saint_andrew.jpg", "commons_file": "Caravaggio - The Crucifixion of Saint Andrew - 1976.2 - Cleveland Museum of Art.tiff", "zoom": "https://art.monstrance.app/zoom/caravaggio_the_crucifixion_of_saint_andrew.jpg", "master_px": 15187, "auth": {"institution": "The Cleveland Museum of Art", "accession": "1976.2", "url": "https://clevelandart.org/art/1976.2", "artist_as_printed": "Caravaggio (Italian, 1571–1610)", "date_as_printed": "1606–7", "medium": "oil on canvas", "dimensions": "Framed: 233.5 x 184 x 12 cm (91 15/16 x 72 7/16 x 4 3/4 in.); Unframed: 202.5 x 152.7 cm (79 3/4 x 60 1/8 in.)"}, "writeup": {"text": "Saint Andrew hangs on an upright cross, roped at the wrists, and a man on our left, back to us, pulls at the rope. Below, a woman in a head covering and a man in glinting armour look up. The knot is where the miracle is. In the Golden Legend Egeas has the apostle bound so that his pain will last; he hangs two days preaching to twenty thousand, and those who would unbind him find their arms of no power. The Cleveland Museum of Art reads Caravaggio's scene as that moment, hands mysteriously paralysed. Andrew's cross, Cleveland notes, is usually X-shaped. This one stands straight.", "sources": [{"what": "CMA open-access API record: tombstone 'The Crucifixion of Saint Andrew, 1606–7. Caravaggio (Italian, 1571–1610). Oil on canvas; framed: 233.5 x 184 x 12 cm; unframed: 202.5 x 152.7 cm. Leonard C. Hanna Jr. Fund, 1976.2'; creator 'Caravaggio (Italian, 1571–1610), artist'; fun fact 'Although Saint Andrew is typically associated with an X-shaped cross, here he is depicted on a standard vertical cross.' Carries the whole tombstone and the closing two sentences.", "url": "https://openaccess-api.clevelandart.org/api/artworks/?accession_number=1976.2", "cite": "The Cleveland Museum of Art, Open Access API, 'The Crucifixion of Saint Andrew', 1976.2, read 2026-09-06"}, {"what": "CMA object page description: 'Bowing to public demand, Andrew's would-be executioners attempted to untie him, but their hands were mysteriously paralyzed. Andrew's desire for martyrdom was thus fulfilled and he died enveloped in divine light'; image alt text: 'A man on our left, back to us, pulls at a rope binding Saint Andrew to the cross by the wrist ... Below, onlookers look up, including a woman with a head covering and a man in glinting armor.' Carries the first two sentences, 'Cleveland's curators read this as that moment: hands mysteriously paralysed, the martyrdom granted', and the woman and the armoured man.", "url": "https://www.clevelandart.org/art/1976.2", "cite": "The Cleveland Museum of Art, 'The Crucifixion of Saint Andrew', Caravaggio, 1976.2, object page, read 2026-09-06"}, {"what": "Golden Legend, life of St Andrew (Caxton): Egeas orders him 'bounden by the feet and hands unto the cross, to the end that his pain should endure the longer'; 'there he lived two days, and preached to twenty thousand men'; the company 'would have unbound him, and they might in nowise touch him for their arms were bynomen, enchanted and of no power'; the great shining light at his death. Carries the Golden Legend sentence of the card.", "url": "https://www.christianiconography.info/goldenLegend/andrew.html", "cite": "Jacobus de Voragine, The Golden Legend, 'Saint Andrew', William Caxton's translation (1483), as hosted by christianiconography.info, read 2026-09-06"}]}, "scene": {"why": "THE EVENT IS NOT IN SCRIPTURE. Andrew's last biblical appearance is the roll of apostles in Acts 1:13; his crucifixion under the proconsul Egeas, the two days of preaching and the executioners' paralysed arms come from the apocryphal Acts of Andrew as retold in the Golden Legend, which is what Cleveland's description follows. No verse narrates it, so none is quoted."}, "th": "/store/thumb/caravaggio_the_crucifixion_of_saint_andrew.webp", "more": [{"k": "subject", "n": "Saints in painting", "u": "/editions/subject/saints/", "ids": ["caravaggio_beheading_baptist", "caravaggio_the_burial_of_saint_lucy", "cavaliere_d_arpino_martyrdom_of_saint_margaret", "caravaggio_salome_with_the_head_of_john_the_baptist_london"]}, {"k": "master", "n": "Caravaggio", "u": "/editions/master/caravaggio/", "ids": ["caravaggio_the_flagellation_of_christ", "caravaggio_beheading_baptist", "caravaggio_the_annunciation", "caravaggio_the_burial_of_saint_lucy"]}]}, "caravaggio_the_martyrdom_of_saint_matthew": {"id": "caravaggio_the_martyrdom_of_saint_matthew", "title": "The Martyrdom of Saint Matthew", "artist_line": "Caravaggio (Italian, 1571–1610)", "artist": "Caravaggio", "date": "1599–1600", "museum": "Contarelli Chapel, San Luigi dei Francesi, Rome", "license": "PD/CC0", "tier": "Sanctuary", "sizes": [{"size": "18×24 in", "paper": 140, "iw": 20.5, "ih": 18, "sw": 24, "sh": 18, "cov": 0.854}, {"size": "24×36 in", "paper": 190, "iw": 27.3, "ih": 24, "sw": 36, "sh": 24, "cov": 0.759}, {"size": "32×48 in", "paper": 340, "iw": 36.4, "ih": 32, "sw": 48, "sh": 32, "cov": 0.759}, {"size": "40×60 in", "paper": 480, "iw": 45.5, "ih": 40, "sw": 60, "sh": 40, "cov": 0.759}], "local": "/store/display/caravaggio_the_martyrdom_of_saint_matthew.jpg", "commons_file": "The Martyrdom of Saint Matthew-Caravaggio (c. 1599-1600).jpg", "zoom": "https://art.monstrance.app/zoom/caravaggio_the_martyrdom_of_saint_matthew.jpg", "master_px": 12439, "auth": {"institution": "Contarelli Chapel, San Luigi dei Francesi, Rome", "url": "https://saintlouis-rome.net/horaires-visite-opening-hours/caravage/", "artist_as_printed": "Michelangelo Merisi, dit le Caravage", "date_as_printed": "1599-1600", "medium": "oil on canvas", "dimensions": "323 x 343 cm"}, "writeup": {"text": "A Greek cross is marked on the altar front, and the old man thrown down before it opens his hand. From a cloud an angel leans out with the martyr's palm. The Golden Legend puts Saint Matthew's death here: after the solemnities of the Mass, King Hirtacus sends a tormentor who strikes him from behind as he stands at the altar, hands raised. The Web Gallery of Art reads Caravaggio's moment: a Herculean youth seizes the old man's wrist to hold him still for the death-blow. Two youths crouch at the right, staring. The palm comes down to the same hand the murderer grips.", "sources": [{"what": "The church's own page 'Les Caravages': artist as printed 'Michelangelo Merisi, dit le Caravage'; the three titles including 'Le martyre de Matthieu'; 'En 1600 ... il obtient la commande de la Vocation et du Martyre de saint Matthieu'; the cycle 'commencé par le Cavalier d'Arpin et mis à son terme par Merisi'. Tombstone and holding institution only.", "url": "https://saintlouis-rome.net/horaires-visite-opening-hours/caravage/", "cite": "Saint-Louis-des-Français, Rome, 'Les Caravages', read 2026-09-06"}, {"what": "Web Gallery of Art commentary: title line '1599-1600, Oil on canvas, 323 x 343 cm, Contarelli Chapel, San Luigi dei Francesi, Rome'; 'the steps up to a Christian altar, with a Greek cross marked on its frontage'; the executioner 'a Herculean youth' who 'has thrown St Matthew, a bearded old man, to the ground' and 'seizes his wrist in his right hand, to hold the victim still for the death-blow'; 'an angel extends a martyr's palm-leaf to his open hand'; 'two youths crouching in the foreground on the right, staring at the main action'; 'a man is leaning against a step'. Carries the Greek cross, the bearded old man on the steps, the Herculean youth, the palm, and the closing two sentences; also the medium and dimensions.", "url": "https://www.wga.hu/html_m/c/caravagg/04/24conta.html", "cite": "Web Gallery of Art, Caravaggio, 'The Martyrdom of St Matthew', Contarelli Chapel, commentary, read 2026-09-06"}, {"what": "Golden Legend, life of St Matthew (Caxton): King Hirtacus and the virgin Ephigenia; 'after the solemnities of the mass, the king sent a tormentor which slew Matthew with a sword behind him, which was standing by the altar holding up his hands into heaven, and so was consecrate a martyr.' Carries the Golden Legend sentence of the card and the scene 'why'.", "url": "https://www.christianiconography.info/goldenLegend/matthew.htm", "cite": "Jacobus de Voragine, The Golden Legend, 'Saint Matthew', William Caxton's translation (1483), as hosted by christianiconography.info, read 2026-09-06"}, {"what": "Keith Christiansen's Met essay: the Calling and Martyrdom 'were unveiled in 1600, and established his reputation'. Background only; no clause of the card rests on it.", "url": "https://www.metmuseum.org/toah/hd/crvg/hd_crvg.htm", "cite": "Keith Christiansen, 'Caravaggio (Michelangelo Merisi) (1571–1610) and His Followers', Heilbrunn Timeline of Art History, The Metropolitan Museum of Art, October 2003, read 2026-09-06"}, {"what": "Wikipedia infobox: 1599–1600, oil on canvas, 323 cm × 343 cm, San Luigi dei Francesi; 'the first of the three to be installed in the chapel, in July 1600'. Used only to corroborate the dimensions and to find the published readings.", "url": "https://en.wikipedia.org/wiki/The_Martyrdom_of_Saint_Matthew_(Caravaggio)", "cite": "Wikipedia, 'The Martyrdom of Saint Matthew (Caravaggio)', read 2026-09-06"}]}, "scene": {"why": "THE EVENT IS NOT IN SCRIPTURE. Matthew's death is not told in any biblical book; the picture follows the Golden Legend, where King Hirtacus of Ethiopia, refused the virgin Ephigenia, sends a tormentor who kills Matthew with a sword from behind as he stands at the altar after Mass. No verse narrates it, so none is quoted."}, "th": "/store/thumb/caravaggio_the_martyrdom_of_saint_matthew.webp", "more": [{"k": "subject", "n": "Saints in painting", "u": "/editions/subject/saints/", "ids": ["caravaggio_conversion_paul", "caravaggio_crucifixion_peter", "caravaggio_the_inspiration_of_saint_matthew", "caravaggio_saint_francis_in_prayer"]}, {"k": "master", "n": "Caravaggio", "u": "/editions/master/caravaggio/", "ids": ["caravaggio_conversion_paul", "caravaggio_crucifixion_peter", "caravaggio_emmaus", "caravaggio_incredulity_thomas"]}]}, "caravaggio_the_inspiration_of_saint_matthew": {"id": "caravaggio_the_inspiration_of_saint_matthew", "title": "The Inspiration of Saint Matthew", "artist_line": "Caravaggio (Italian, 1571–1610)", "artist": "Caravaggio", "date": "1602", "museum": "Contarelli Chapel, San Luigi dei Francesi, Rome", "license": "PD/CC0", "tier": "Sanctuary", "sizes": [{"size": "18×24 in", "paper": 140, "iw": 15.3, "ih": 24, "sw": 18, "sh": 24, "cov": 0.852}, {"size": "24×36 in", "paper": 190, "iw": 23.0, "ih": 36, "sw": 24, "sh": 36, "cov": 0.958}, {"size": "32×48 in", "paper": 340, "iw": 30.7, "ih": 48, "sw": 32, "sh": 48, "cov": 0.958}, {"size": "40×60 in", "paper": 480, "iw": 38.3, "ih": 60, "sw": 40, "sh": 60, "cov": 0.958}], "local": "/store/display/caravaggio_the_inspiration_of_saint_matthew.jpg", "commons_file": "Caravaggio - La inspiración de San Mateo (San Luigi dei Francesi, Roma).jpg", "zoom": "https://art.monstrance.app/zoom/caravaggio_the_inspiration_of_saint_matthew.jpg", "master_px": 7825, "auth": {"institution": "Contarelli Chapel, San Luigi dei Francesi, Rome", "url": "https://saintlouis-rome.net/horaires-visite-opening-hours/caravage/", "artist_as_printed": "Michelangelo Merisi, dit le Caravage", "date_as_printed": "1602", "medium": "oil on canvas", "dimensions": "292 x 186 cm"}, "writeup": {"text": "Saint Matthew looks up with one knee on a stool, and above him an angel counts on his fingers. The Web Gallery of Art reads the angel as setting out, in the scholastic fashion, the arguments the saint should take down, while Matthew balances in precarious equilibrium, like a modern schoolboy; Dermot Morrin OP sees the stool about to fall forward. In Caravaggio's first version, the Gallery notes, the angel guided the saint's uncertain hand; it was criticised for lack of decorum, and Giustiniani bought it. Bellori tells how the priests had it removed. Here a whirlwind of drapery wraps the angel, and the pen is Matthew's own.", "sources": [{"what": "The church's own page 'Les Caravages': artist as printed 'Michelangelo Merisi, dit le Caravage'; the three titles including 'Matthieu l'évangéliste'. Tombstone and holding institution only.", "url": "https://saintlouis-rome.net/horaires-visite-opening-hours/caravage/", "cite": "Saint-Louis-des-Français, Rome, 'Les Caravages', read 2026-09-06"}, {"what": "Web Gallery of Art commentary on the second version: title line '1602, Oil on canvas, 296 x 189 cm'; contract of 7 February 1602 after Cobaert's statue was judged unsatisfactory; 'This painting was rejected, the artist made another one ... receiving payment for this second work on 22 September'; first version 'purchased by Marchese Vincenzo Giustiniani and then ended up in Berlin, where it was destroyed'; the first version's angel 'guided the saint's uncertain hand as he wrote'; 'criticised for Matthew's lack of decorum'; in the final version 'the angel much more correctly counts on his fingers, in the traditional scholastic fashion, the arguments than the saint should take note of and develop'; 'A whirlwind of drapery envelops the angel'; 'The saint balances on his bench, in precarious equilibrium, like a modern schoolboy'. Carries the whole card except the stool, the knee and 'the priests'.", "url": "https://www.wga.hu/html_m/c/caravagg/04/26conta.html", "cite": "Web Gallery of Art, Caravaggio, 'The Inspiration of Saint Matthew', Contarelli Chapel, commentary, read 2026-09-06"}, {"what": "Web Gallery of Art page for the destroyed first version: 'St Matthew and the Angel 1602 Oil on canvas, 232 x 183 cm Formerly Kaiser-Friedrich-Museum, Berlin'; 'His angel has the greatest difficulty in leading his untrained hand to put the word of God into letters'. Corroborates the first-version sentence.", "url": "https://www.wga.hu/html_m/c/caravagg/04/25conta.html", "cite": "Web Gallery of Art, Caravaggio, 'St Matthew and the Angel' (first version), commentary, read 2026-09-06"}, {"what": "Dermot Morrin OP: 'The stool on which he kneels looks as if it is about to fall forward, bridging the gap between the pictorial space and that of the viewer'; Matthew 'interrupted in writing by the angel who hovers above him'. Carries 'The stool is tipping' and the knee on the stool.", "url": "https://scotland.op.org/caravaggios-st-matthew-and-the-angel-2/", "cite": "Dermot Morrin OP, 'Caravaggio's St Matthew and the Angel', Dominicans of Scotland, read 2026-09-06"}, {"what": "Wikipedia 'Paintings in the Contarelli Chapel': Bellori's account that when the central painting was placed on the altar 'the priests had it removed on the pretext that the figure had neither the nobility nor the appearance of a saint, sitting as it was, legs crossed, rudely showing its feet to the people'; Baglione on Giustiniani buying the first Matthew 'nobody had liked'. Used to find the primary sources (Bellori 1672, Baglione 1642); carries 'the priests rejected it'.", "url": "https://en.wikipedia.org/wiki/Paintings_in_the_Contarelli_Chapel", "cite": "Wikipedia, 'Paintings in the Contarelli Chapel', quoting Bellori, Le vite (1672) and Baglione (1642), read 2026-09-06"}, {"what": "Wikipedia infobox: 1602, oil on canvas, 292 cm × 186 cm, Contarelli Chapel; commission February 1602, payment by September 1602. Dimensions only.", "url": "https://en.wikipedia.org/wiki/The_Inspiration_of_Saint_Matthew", "cite": "Wikipedia, 'The Inspiration of Saint Matthew', read 2026-09-06"}]}, "scene": {"why": "THE EVENT IS NOT IN SCRIPTURE. No verse shows Matthew writing his Gospel, let alone an angel dictating it; the Golden Legend says only that his Gospel, written with his own hand, was found with the bones of Barnabas. The picture illustrates the act of composition itself, which Scripture never narrates, so none is quoted."}, "th": "/store/thumb/caravaggio_the_inspiration_of_saint_matthew.webp", "more": [{"k": "subject", "n": "Saints in painting", "u": "/editions/subject/saints/", "ids": ["caravaggio_saint_francis_in_prayer", "caravaggio_st_jerome", "caravaggio_the_crucifixion_of_saint_andrew", "caravaggio_beheading_baptist"]}, {"k": "master", "n": "Caravaggio", "u": "/editions/master/caravaggio/", "ids": ["caravaggio_crowning_thorns", "caravaggio_entombment", "caravaggio_madonna_rosary", "caravaggio_death_virgin"]}]}, "caravaggio_christ_at_the_column": {"id": "caravaggio_christ_at_the_column", "title": "Christ at the Column", "artist_line": "Caravaggio (Italian, 1571–1610)", "artist": "Caravaggio", "date": "c. 1606", "museum": "Musée des Beaux-Arts de Rouen", "license": "PD/CC0", "tier": "Sanctuary", "sizes": [{"size": "18×24 in", "paper": 140, "iw": 23.6, "ih": 18, "sw": 24, "sh": 18, "cov": 0.982}, {"size": "24×36 in", "paper": 190, "iw": 31.4, "ih": 24, "sw": 36, "sh": 24, "cov": 0.873}, {"size": "32×48 in", "paper": 340, "iw": 41.9, "ih": 32, "sw": 48, "sh": 32, "cov": 0.873}, {"size": "40×60 in", "paper": 480, "iw": 52.4, "ih": 40, "sw": 60, "sh": 40, "cov": 0.873}], "local": "/store/display/caravaggio_christ_at_the_column.jpg", "commons_file": "Christ at the Column-Caravaggio (c. 1607).jpg", "zoom": "https://art.monstrance.app/zoom/caravaggio_christ_at_the_column.jpg", "master_px": 9312, "auth": {"institution": "Musée des Beaux-Arts de Rouen (Réunion des Musées Métropolitains Rouen Normandie)", "accession": "955.8.1", "url": "https://mbarouen.fr/fr/oeuvres/la-flagellation-du-christ-0", "artist_as_printed": "Michelangelo Merisi da Caravaggio (1571 - 1610)", "date_as_printed": "Vers 1606", "medium": "Oil on canvas (English page; the French page prints no technique line to fetch)", "dimensions": "134.5 x 175.5 cm (INHA Agorha, Rouen 955.8 - Hauteur 1,345 Largeur 1,755; the museum page prints no dimensions; read 2026-09-07)"}, "writeup": {"text": "The column rises behind Christ into the dark, and Rouen's curators see its marbling streaked like wounds while His stripped body is still whole. One man pulls the cord at His wrists, another leans in, and an arm at the edge lifts the scourge. Light from a cellar window falls from above on their gestures; the museum says it gives them a kinetic force, and that they seem more unhappy victims than tormentors. The painting came to Rouen in 1955 under Mattia Preti's name, and Roberto Longhi returned it to Caravaggio. The red mantle lies thrown down, royalty stripped; the white loincloth, the museum notes, recalls the shroud.", "sources": [{"what": "Musée des Beaux-Arts de Rouen, French object page: 'Michelangelo Merisi da Caravaggio (1571 - 1610)', 'Vers 1606', inventory 955.8.1; the 1955 purchase; figures few, close-framed, 'sculptés par une lumière de soupirail qui tombe de haut'; 'la lumière frappe le geste des bourreaux en produisant un effet cinétique et donne au Christ, athlète déshabillé, un surcroît de présence physique'; 'L'allure populaire des bourreaux, qui semblent plutôt de malheureuses victimes'; 'la colonne qui monte vers le ciel, a des marbrures semblables à des plaies'; 'le manteau rouge, jeté, rappelle la royauté déchue, le périzonium blanc, le linceul'; dated 1606-1607 at the end of the Roman stay or just after the flight to Naples. Carries the column, the light, the tormentors, the mantle and the loincloth.", "url": "https://mbarouen.fr/fr/oeuvres/la-flagellation-du-christ-0", "cite": "Musée des Beaux-Arts de Rouen, 'La Flagellation du Christ', Caravaggio, 955.8.1; read 2026-09-06."}, {"what": "Same page in English: 'Oil on canvas'; 'Circa 1606'; 'a highly inspired and relatively late purchase made in 1955'; 'light falls on the movements of the persecutors, producing a kinetic effect'; tormentors who 'seem rather like unfortunate victims'; 'a denuded athlete' with 'muscled body intact and totally preserved'; red cloak 'connotes the stripping of royalty'; 'the white perizonium recalls the shroud'; 'the pillar ascends towards the heavens, marked by streaks resembling wounds'. Carries the medium and the English wording of the first paragraph and the close.", "url": "https://mbarouen.fr/en/oeuvres/the-flagellation-of-christ", "cite": "Musée des Beaux-Arts de Rouen, 'The Flagellation of Christ', Caravaggio, 955.8.1 (English page); read 2026-09-06."}, {"what": "Museum exhibition page 'Caravage. Un coup de fouet' (2022-23): 'conserve depuis 1955 La Flagellation du Christ à la colonne peinte par Caravage vers 1606-1607'; 'Acquise sur le marché de l'art parisien sous une attribution à Mattia Preti, l'oeuvre est rendue au maître peu après par Roberto Longhi'; horizontal half-figure format like the canvases painted for Roman collectors; 'cadrage serré', tension towards a 'hors-champ'. Carries the Preti/Longhi sentence.", "url": "https://mbarouen.fr/fr/expositions/caravage-un-coup-de-fouet", "cite": "Musée des Beaux-Arts de Rouen, exhibition page 'Caravage. Un coup de fouet'; read 2026-09-06."}, {"what": "INHA Agorha (RETIF) record: 'La Flagellation du Christ', Caravaggio (1571-1610), oil on canvas, 'Hauteur 1.345 m × Largeur 1.755 m', Musée des Beaux-Arts (Rouen), inv. 955.8; provenance (Drouot c. 1950; Zezzos; Descarsin 1954; museum 1955); formerly attributed to Mattia Preti; two other versions in private collections. Tombstone only (dimensions); nothing from it is in the card.", "url": "https://agorha.inha.fr/ark:/54721/8ae7939a-24fb-4426-aaa5-c125476919e3", "cite": "INHA, Agorha, 'Caravaggio, La Flagellation du Christ, peinture', Rouen 955.8; read 2026-09-06."}]}, "scene": {"ref": "John 19:1", "quote": "Then therefore Pilate took Jesus and scourged him.", "shows": "Christ bound to the column, scourged by two men"}, "th": "/store/thumb/caravaggio_christ_at_the_column.webp", "more": [{"k": "subject", "n": "The Life of Christ in painting", "u": "/editions/subject/the-life-of-christ/", "ids": ["caravaggio_the_flagellation_of_christ", "caravaggio_the_raising_of_lazarus", "rubens_the_incredulity_of_saint_thomas", "ter_brugghen_christ_crowned_with_thorns_kristi_tornek"]}, {"k": "master", "n": "Caravaggio", "u": "/editions/master/caravaggio/", "ids": ["caravaggio_seven_mercy", "caravaggio_st_jerome", "caravaggio_supper_at_emmaus_brera", "caravaggio_the_crucifixion_of_saint_andrew"]}]}, "caravaggio_salome_with_the_head_of_john_the_baptist_london": {"id": "caravaggio_salome_with_the_head_of_john_the_baptist_london", "title": "Salome receives the Head of John the Baptist", "artist_line": "Michelangelo Merisi da Caravaggio (Italian, 1571–1610)", "artist": "Caravaggio", "date": "about 1609-10", "museum": "The National Gallery, London", "license": "PD/CC0", "tier": "Sanctuary", "sizes": [{"size": "18×24 in", "paper": 140, "iw": 21.2, "ih": 18, "sw": 24, "sh": 18, "cov": 0.882}, {"size": "24×36 in", "paper": 190, "iw": 28.2, "ih": 24, "sw": 36, "sh": 24, "cov": 0.784}, {"size": "32×48 in", "paper": 340, "iw": 37.6, "ih": 32, "sw": 48, "sh": 32, "cov": 0.784}], "local": "/store/display/caravaggio_salome_with_the_head_of_john_the_baptist_london.jpg", "commons_file": "Salome with the Head of John the Baptist-Caravaggio (1610).jpg", "zoom": "https://art.monstrance.app/zoom/caravaggio_salome_with_the_head_of_john_the_baptist_london.jpg", "master_px": 6237, "auth": {"institution": "The National Gallery, London", "accession": "NG6389", "url": "https://www.nationalgallery.org.uk/paintings/michelangelo-merisi-da-caravaggio-salome-receives-the-head-of-john-the-baptist", "artist_as_printed": "Michelangelo Merisi da Caravaggio, 1571 - 1610", "date_as_printed": "about 1609-10", "medium": "Oil on canvas", "dimensions": "91.5 × 106.7 cm"}, "writeup": {"text": "A head comes down onto a dish by its hair, and Salome, holding the dish, looks away. Saint John the Baptist's eyes are closed; the executioner keeps the sword in his other hand. The National Gallery calls her expression enigmatic: disgust or shame, appalled at what she has brought about. The elderly maidservant clasps her hands in grief. The Gallery reads Salome and the executioner as linked by echoing heads and one raking light, yet he only held the sword; the guilt is hers. Caravaggio painted it, the Gallery says, in his final months. The Baptist's face is turned to the light.", "sources": [{"what": "National Gallery object page, tombstone and full text: 'The brutish executioner places John's head on a salver held by Salome, whose serious expression and sidelong glance are enigmatic: is she turning away from the head in disgust or shame, appalled at the horror of what she has brought about?'; 'the elderly maidservant beside her, her face wrinkled with age and her hands clasped together in grief'; 'Salome and the executioner are subtly linked by their poses – the angles of their heads echo each other and a strong raking light falls across their faces – but their role is very different. The executioner's face is impassive as he thrusts the head towards Salome: he may have wielded the sword but the guilt for the Baptist's death lies with her'; 'painted in the final months of Caravaggio's life'; 'the dark ground left deliberately exposed in several areas to provide the mid-tone in the shadows'. Carries every sentence of the card and the whole tombstone.", "url": "https://www.nationalgallery.org.uk/paintings/michelangelo-merisi-da-caravaggio-salome-receives-the-head-of-john-the-baptist", "cite": "The National Gallery, London, 'Salome receives the Head of John the Baptist', Michelangelo Merisi da Caravaggio, NG6389; read 2026-09-06."}]}, "scene": {"ref": "Mark 6:28", "quote": "And he beheaded him in the prison, and brought his head in a dish: and gave to the damsel, and the damsel gave it her mother.", "shows": "the executioner setting the Baptist's head on the dish Salome holds"}, "th": "/store/thumb/caravaggio_salome_with_the_head_of_john_the_baptist_london.webp", "more": [{"k": "subject", "n": "Saints in painting", "u": "/editions/subject/saints/", "ids": ["rubens_saint_jerome", "orazio_gentileschi_saint_cecilia_and_an_angel", "melchior_de_la_mars_saint_sebastian_released_by_irene", "ribalta_st_francis_comforted_by_an_angel_san_fra"]}, {"k": "master", "n": "Caravaggio", "u": "/editions/master/caravaggio/", "ids": ["caravaggio_the_adoration_of_the_shepherds", "caravaggio_the_raising_of_lazarus", "caravaggio_david_goliath", "caravaggio_saint_francis_of_assisi_in_ecstasy"]}]}, "caravaggio_saint_francis_in_prayer": {"id": "caravaggio_saint_francis_in_prayer", "title": "Saint Francis in Meditation", "artist_line": "Attributed to Caravaggio (Italian, 1571–1610)", "artist": "Attributed to Caravaggio", "date": "c. 1606", "museum": "Gallerie Nazionali di Arte Antica, Palazzo Barberini, Rome (on deposit from the Fondo Edifici di Culto, church of San Pietro, Carpineto Romano)", "license": "PD/CC0", "tier": "Sanctuary", "sizes": [{"size": "18×24 in", "paper": 140, "iw": 18.0, "ih": 24, "sw": 18, "sh": 24, "cov": 0.997}, {"size": "24×36 in", "paper": 190, "iw": 24, "ih": 32.1, "sw": 24, "sh": 36, "cov": 0.891}, {"size": "32×48 in", "paper": 340, "iw": 32, "ih": 42.8, "sw": 32, "sh": 48, "cov": 0.891}, {"size": "40×60 in", "paper": 480, "iw": 40, "ih": 53.5, "sw": 40, "sh": 60, "cov": 0.891}], "local": "/store/display/caravaggio_saint_francis_in_prayer.jpg", "commons_file": "Saint Francis in Prayer-Caravaggio (c.1606).jpg", "zoom": "https://art.monstrance.app/zoom/caravaggio_saint_francis_in_prayer.jpg", "master_px": 7736, "auth": {"institution": "Gallerie Nazionali di Arte Antica, Palazzo Barberini, Rome", "url": "https://barberinicorsini.org/evento/caravaggio-nel-patrimonio-del-f-e-c-il-doppio-e-la-copia/", "artist_as_printed": "San Francesco in meditazione attribuito a Caravaggio (Gallerie Nazionali Barberini Corsini, exhibition page 2023); 'riconoscendo l'originale nella tela proveniente dalla chiesa di San Pietro a Carpineto' (same institution, 2017)", "date_as_printed": "1606 (FEC digital-archive record title, seen in search listing only); c. 1606 (Commons file name); the Gallerie's pages print no date", "medium": "olio su tela (Scaletti PDF; Wikipedia) — not printed on the Gallerie's pages", "dimensions": "128.2 x 97.4 cm (Scaletti, ASSONET/Caravaggio400 PDF, 'olio su tela, cm 128,2 x 97,4'; the Gallerie pages print no dimensions; read 2026-09-07)"}, "writeup": {"text": "A skull rests in the friar's hand, and Saint Francis looks into it as into a face. His habit is patched and belted with rope; a cross of two plain planks lies before him. Two versions of this Francis exist in Rome, and from 1908 the Capuchins' one carried Caravaggio's name, until in 1968 a second came to light from Carpineto Romano. The Gallerie Nazionali at Palazzo Barberini, where it hangs on deposit, say technical study found the original there. Rossella Vodret reports pentimenti beneath its surface; the Capuchin copy has none. The skull is lit; the friar bends toward it.", "sources": [{"what": "Gallerie Nazionali Barberini Corsini, exhibition 'Caravaggio nel patrimonio del F.E.C. — Il Doppio e la Copia' (2017): the Cappuccini picture 'era stato attribuito a Caravaggio nel 1908'; 'fino al 1968, quando venne reso noto il ritrovamento di un'altra versione del San Francesco in meditazione, nella chiesa di San Pietro a Carpineto'; restoration and technical research 'riconoscendo l'originale nella tela proveniente dalla chiesa di San Pietro a Carpineto'; 'proveniente dalla chiesa di San Pietro a Carpineto Romano e in deposito alle Gallerie Nazionali di Arte Antica'. Carries 'two canvases', 'sixty years' (1908→1968), the 1968 discovery, 'found the original in the Carpineto picture', and the deposit.", "url": "https://barberinicorsini.org/evento/caravaggio-nel-patrimonio-del-f-e-c-il-doppio-e-la-copia/", "cite": "Gallerie Nazionali Barberini Corsini, 'Caravaggio nel patrimonio del F.E.C. - Il Doppio e la Copia', Palazzo Barberini, 22 June–16 July 2017; read 2026-09-06."}, {"what": "Gallerie Nazionali Barberini Corsini, exhibition 'Orazio Gentileschi e l'immagine di San Francesco' (27 Jan–10 Apr 2023): 'tre importanti opere conservate a Palazzo Barberini … il San Francesco in meditazione attribuito a Caravaggio'. Carries the attribution qualification and 'hangs' at Palazzo Barberini.", "url": "https://barberinicorsini.org/evento/orazio-gentileschi-e-limmagine-di-san-francesco-la-nascita-del-caravaggismo-a-roma/", "cite": "Gallerie Nazionali Barberini Corsini, exhibition page 'Orazio Gentileschi e l'immagine di San Francesco. La nascita del caravaggismo a Roma'; read 2026-09-06."}, {"what": "Ministero della Cultura communiqué (2010): the original 'nella chiesa di San Pietro di Carpineto' now 'in deposito presso la Galleria Nazionale d'Arte Antica di Palazzo Barberini'; the copy in the Chiesa dell'Immacolata Concezione dei Cappuccini, via Veneto; curator Rossella Vodret. Carries the deposit and the Capuchin copy's location.", "url": "https://cultura.gov.it/comunicato/inaugurazione-mostra-caravaggio-il-mistero-dei-due-san-francesco-in-meditazione", "cite": "Ministero della Cultura, comunicato 'Inaugurazione mostra Caravaggio. Il mistero dei due San Francesco in meditazione'; read 2026-09-06."}, {"what": "Fabio Scaletti, 'San Francesco in meditazione' (ASSONET / caravaggio400 PDF): Carpineto picture 128.2 × 97.4 cm, oil on canvas, 1606, FEC property held at Palazzo Barberini; quotes Vodret: 'nel San Francesco di Carpineto sono presenti … una serie di pentimenti compositivi … (del tutto assenti invece nell'esemplare della Concezione)'; X-ray underpainting; skull, rough wooden cross, rope cord, coarse habit. Carries 'Vodret's X-rays showed the painter changing his mind … the Capuchin canvas shows none'.", "url": "https://www.assonet.org/caravaggio400/sanfrancescoinmeditazione.pdf", "cite": "Fabio Scaletti, 'San Francesco in meditazione', ASSONET/Caravaggio400 PDF; read 2026-09-06."}, {"what": "Storia e Cultura di Carpineto Romano (local history site citing Rossella Vodret, Luisa Brugnoli, Maurizio Marini): found 1968 by Luisa Brugnoli 'inchiodato su una parete della chiesa'; 'una croce fatta di due semplici assi' on a tree trunk; skull, tattered habit, rope cord, thin halo, reddish-bluish nose and ears; owner 'Ministero dell'Interno, Fondo Edifici di Culto', deposit Palazzo Barberini; gives 123 × 92.5 cm and 1605-1606. Carries 'parish church', 'cross of two rough planks', 'cut trunk', 'patched habit'.", "url": "https://carpinetoromano.altervista.org/san-francesco-in-meditazione/", "cite": "Storia e Cultura di Carpineto Romano, 'San Francesco in Meditazione'; read 2026-09-06."}, {"what": "Italian Wikipedia, 'San Francesco in meditazione (Caravaggio Roma)': friar holding a skull, patched habit, severed trunk with 'a simple wooden cross', thin halo, reddish nose and ears; Aldobrandini gift 1609; pentimenti argument. Corroboration only.", "url": "https://it.wikipedia.org/wiki/San_Francesco_in_meditazione_(Caravaggio_Roma)", "cite": "Wikipedia (it), 'San Francesco in meditazione (Caravaggio Roma)'; read 2026-09-06."}, {"what": "English Wikipedia, 'Saint Francis in Prayer (Caravaggio)': c. 1606, oil on canvas, 130 × 98 cm, Galleria Nazionale d'Arte Antica, Rome; Cappuccini version per Gash 'a good copy of a lost original'; and 'Saint Francis in Meditation (Caravaggio)': Cremona, 130 × 90 cm. Identity binding of the Commons file only.", "url": "https://en.wikipedia.org/wiki/Saint_Francis_in_Prayer_(Caravaggio)", "cite": "Wikipedia (en), 'Saint Francis in Prayer (Caravaggio)' and 'Saint Francis in Meditation (Caravaggio)'; read 2026-09-06."}]}, "scene": {"why": "Francis of Assisi (d. 1226) is not in Scripture; his life and penances come from Thomas of Celano's Lives and Bonaventure's Legenda maior, and the friar meditating on a skull before a rough cross is a Counter-Reformation devotional type with no narrative locus in the Bible. No verse would be honest."}, "th": "/store/thumb/caravaggio_saint_francis_in_prayer.webp", "more": [{"k": "subject", "n": "Saints in painting", "u": "/editions/subject/saints/", "ids": ["caravaggio_st_jerome", "caravaggio_the_crucifixion_of_saint_andrew", "caravaggio_beheading_baptist", "caravaggio_the_burial_of_saint_lucy"]}]}, "caravaggio_supper_at_emmaus_brera": {"id": "caravaggio_supper_at_emmaus_brera", "title": "Supper at Emmaus (Brera)", "artist_line": "Caravaggio (Italian, 1571–1610)", "artist": "Caravaggio", "date": "1606", "museum": "Pinacoteca di Brera, Milan", "license": "PD/CC0", "tier": "Sanctuary", "sizes": [{"size": "18×24 in", "paper": 140, "iw": 22.4, "ih": 18, "sw": 24, "sh": 18, "cov": 0.934}, {"size": "24×36 in", "paper": 190, "iw": 29.9, "ih": 24, "sw": 36, "sh": 24, "cov": 0.83}, {"size": "32×48 in", "paper": 340, "iw": 39.8, "ih": 32, "sw": 48, "sh": 32, "cov": 0.83}, {"size": "40×60 in", "paper": 480, "iw": 49.8, "ih": 40, "sw": 60, "sh": 40, "cov": 0.83}], "local": "/store/display/caravaggio_supper_at_emmaus_brera.jpg", "commons_file": "Supper at Emmaus-Caravaggio (1606).jpg", "zoom": "https://art.monstrance.app/zoom/caravaggio_supper_at_emmaus_brera.jpg", "master_px": 9116, "auth": {"institution": "Pinacoteca di Brera", "accession": "2296", "url": "https://pinacotecabrera.org/en/collezioni/collezione-on-line/supper-at-emmaus/", "artist_as_printed": "Caravaggio (Michelangelo Merisi)", "date_as_printed": "1606", "medium": "Oil on canvas", "dimensions": "141 x 175 cm"}, "writeup": {"text": "A loaf lies on the cloth and a broken one on the dish, and Christ's right hand is raised above them in blessing. Two disciples lean in from the dark; the innkeeper stands, and an old woman brings a plate. The Pinacoteca di Brera sets this supper beside the earlier London version and finds greater intimacy, a plainer palette, and an almost theatrical light underscoring the sacred nature of the moment. Its room text has the figures welling up from a dark ground under a warm light from an unseen source. Caravaggio painted it, Brera says, probably at Paliano, after killing Ranuccio Tomassoni. The bread is still on the table.", "sources": [{"what": "Pinacoteca di Brera, collection online: 'Caravaggio (Michelangelo Merisi)', 1606, oil on canvas, 141 x 175 cm, inv. 2296, Room XXVIII; 'painted between 1605 and 1606, probably painted on the Colonna estate in Paliano where he sought refuge after fleeing Rome for slaying Ranuccio Tomassoni'; 'Compared to the earlier version, this painting displays a greater intimacy and a plainer palette combined with a dramatic, almost theatrical treatment of light, underscoring the sacred nature of the moment'; sold through Ottavio Costi to Marquis Patrizi, in the Patrizi palazzo until 1939, 'purchased for the Pinacoteca by the Associazione Amici di Brera'. Carries the first sentence, the Paliano line and the 1939 purchase.", "url": "https://pinacotecabrera.org/en/collezioni/collezione-on-line/supper-at-emmaus/", "cite": "Pinacoteca di Brera, 'Supper at Emmaus', Caravaggio, inv. 2296; read 2026-09-06."}, {"what": "Brera 'DescriVedendo' room text (Sala 28), Servizi Educativi, February 2018: 'L'intera scena è illuminata da una luce calda, proveniente da una fonte non visibile'; 'Le figure attorno alla tavola sembrano sgorgare da un fondo tenebroso'; on the table 'un pane … un altro pane spezzato … un piatto di peltro vuoto e una caraffa … un calice in vetro contenente vino rosso'; 'La sua mano destra è sollevata e con le dita accenna il gesto della benedizione del pane'; the innkeeper and 'un'anziana cameriera'; the London picture 'luminosa e ricca di elementi descrittivi', the second version 'intimo e meditativo … di un'ambientazione scura'. Carries the dark ground, the warm light, the table and the blessing hand.", "url": "https://pinacotecabrera.org/wp-content/uploads/2024/12/SALA-28-La-Cena-in-Emmaus-di-Caravaggio-DescriVedendo-TESTO.pdf", "cite": "Pinacoteca di Brera, 'DescriVedendo Brera — La cena in Emmaus del Caravaggio' (Sala 28), Servizi Educativi, 2018; read 2026-09-06."}]}, "scene": {"ref": "Luke 24:30", "quote": "And it came to pass, whilst he was at table with them, he took bread and blessed and brake and gave to them.", "shows": "Christ at table blessing the bread before the two disciples, the innkeeper and an old woman looking on"}, "th": "/store/thumb/caravaggio_supper_at_emmaus_brera.webp", "more": [{"k": "subject", "n": "The Supper at Emmaus in painting", "u": "/editions/subject/supper-at-emmaus/", "ids": ["emmaus_pontormo", "emmaus_veronese", "caravaggio_emmaus"]}, {"k": "master", "n": "Caravaggio", "u": "/editions/master/caravaggio/", "ids": ["caravaggio_the_crucifixion_of_saint_andrew", "caravaggio_the_flagellation_of_christ", "caravaggio_beheading_baptist", "caravaggio_the_annunciation"]}]}, "circle_of_mantegna_madonna_and_child": {"id": "circle_of_mantegna_madonna_and_child", "title": "Madonna and Child", "artist_line": "Circle of Andrea Mantegna (Possibly Correggio) (Italian, 16th century)", "artist": "Circle of Andrea Mantegna (Possibly Correggio)", "date": "c. 1505/1510", "museum": "National Gallery of Art, Washington", "license": "PD/CC0", "tier": "Sanctuary", "sizes": [{"size": "18×24 in", "paper": 140, "iw": 17.0, "ih": 24, "sw": 18, "sh": 24, "cov": 0.945}, {"size": "24×36 in", "paper": 190, "iw": 24, "ih": 33.9, "sw": 24, "sh": 36, "cov": 0.941}, {"size": "32×48 in", "paper": 340, "iw": 32, "ih": 45.2, "sw": 32, "sh": 48, "cov": 0.941}, {"size": "40×60 in", "paper": 480, "iw": 40, "ih": 56.5, "sw": 40, "sh": 60, "cov": 0.941}], "local": "/store/display/circle_of_mantegna_madonna_and_child.jpg", "commons_file": null, "zoom": "https://art.monstrance.app/zoom/circle_of_mantegna_madonna_and_child.jpg", "master_px": 12883, "auth": {"institution": "National Gallery of Art, Washington", "accession": "1939.1.266", "url": "https://www.nga.gov/artworks/409-madonna-and-child", "artist_as_printed": "Circle of Andrea Mantegna (Possibly Correggio), Italian, 16th Century", "date_as_printed": "c. 1505/1510", "medium": "oil on canvas", "dimensions": "overall: 56.25 × 41 cm (22 1/8 × 16 1/8 in.); framed: 98.11 × 82.87 × 17.15 cm (38 5/8 × 32 5/8 × 6 3/4 in.)"}, "writeup": {"text": "The Child feeds with His eyes nearly shut, one hand on His Mother's breast. Our Lady looks down at Him under thin brows. The One who feeds the world is being fed. Both halos are gold filigree against the dark. The name on the label changed in the laboratory: Barbara Berrie and Michael Swicklik, publishing in 2009, reported a brown ground, an oil medium and the pigments orpiment and Naples yellow, habits of Correggio. Paris in 2008 and Rome in 2016 hung it as Correggio; the National Gallery of Art, Washington, says circle of Andrea Mantegna, possibly Correggio. The small hand stays where it is.", "sources": [{"what": "NGA object page: meta description 'Madonna and Child, Circle of Andrea Mantegna (Possibly Correggio), c. 1505/1510, Painting'; artist line 'Circle of Andrea Mantegna (Possibly Correggio), Italian, 16th Century'; og:image uuid e9c8084a... binding page to master; exhibition history: Musée du Louvre, Paris, 2008-2009, no. 185, 'as by Correggio'; Scuderie del Quirinale, Rome, 2016, no. 1, 'as by Correggio'; Fairfield 2022 no. 3. Carries 'Paris in 2008 and Rome in 2016 hung it as Correggio' and 'possibly'.", "url": "https://www.nga.gov/artworks/409-madonna-and-child", "cite": "National Gallery of Art, Washington, 'Madonna and Child', Circle of Andrea Mantegna (Possibly Correggio), 1939.1.266; read 2026-09-06."}, {"what": "NGA artist page (Correggio): 'oil on canvas', 'Samuel H. Kress Collection', 1939.1.266, c. 1505/1510; image description: a woman nursing an infant against a dark backdrop; sage-green bodice, muted blue sleeves, white cloak across her back and lap; gaze down beneath thin brows; the child feeds 'with nearly-closed upward-curving eyes, one hand touching her chest and the other tucked between their bodies'; blue fabric wraps the child's head; 'ornate gold filigree halos'. Carries the entire first paragraph.", "url": "https://www.nga.gov/artists/1170-correggio", "cite": "National Gallery of Art, artist page 'Correggio', entry for Madonna and Child 1939.1.266; read 2026-09-06."}, {"what": "Berrie \u0026 Swicklik, Technè hors-série 2009: attribution changed from 'Mantegna' to 'Circle of Mantegna (possibly Correggio)' after technical examination; fabric support with brown ground; 'colored grounds are not unusual in Correggio's work'; oil medium 'standard for Correggio, but much rarer in Mantegna's work'; 'unusual pigments' Naples yellow and orpiment 'found in works by Correggio'; blending 'more characteristic of Correggio than Mantegna'. Carries the second paragraph's findings.", "url": "https://www.academia.edu/19650346/Madonna_and_Child_A_painting_in_the_manner_of_Mantegna_attributed_to_the_young_Correggio", "cite": "Barbara Berrie with Michael Swicklik, 'Madonna and Child: a painting in the manner of Mantegna attributed to the young Correggio', Technè hors-série 2009 (academia.edu abstract page); read 2026-09-06."}]}, "scene": {"why": "THE SUBJECT IS NOT A NARRATIVE. A half-length Virgin nursing the Child against a dark ground is a devotional image (the Virgo lactans type), not an episode any gospel narrates; no verse describes it and none is quoted."}, "th": "/store/thumb/circle_of_mantegna_madonna_and_child.webp", "more": [{"k": "subject", "n": "The Madonna and Child in painting", "u": "/editions/subject/madonna-and-child/", "ids": ["raphael_madonna_goldfinch", "raphael_small_cowper", "albrecht_durer_the_feast_of_the_rosary", "bellini_madonna_and_child"]}]}, "master_of_the_figdor_deposition_martyrdom_of_saint_lucy": {"id": "master_of_the_figdor_deposition_martyrdom_of_saint_lucy", "title": "The Martyrdom of Saint Lucy", "artist_line": "Master of the Figdor Deposition (active Haarlem and/or Amsterdam, c. 1490–1510)", "artist": "Master of the Figdor Deposition", "date": "c. 1505–c. 1510", "museum": "Rijksmuseum, Amsterdam", "license": "PD/CC0", "tier": "Sanctuary", "sizes": [{"size": "8×10 in", "paper": 39, "iw": 7.7, "ih": 10, "sw": 8, "sh": 10, "cov": 0.958}, {"size": "11×14 in", "paper": 59, "iw": 10.7, "ih": 14, "sw": 11, "sh": 14, "cov": 0.975}, {"size": "16×20 in", "paper": 110, "iw": 15.3, "ih": 20, "sw": 16, "sh": 20, "cov": 0.958}, {"size": "18×24 in", "paper": 140, "iw": 18, "ih": 23.5, "sw": 18, "sh": 24, "cov": 0.979}, {"size": "24×36 in", "paper": 190, "iw": 24, "ih": 31.3, "sw": 24, "sh": 36, "cov": 0.87}, {"size": "32×48 in", "paper": 340, "iw": 32, "ih": 41.8, "sw": 32, "sh": 48, "cov": 0.87}], "local": "/store/display/master_of_the_figdor_deposition_martyrdom_of_saint_lucy.jpg", "commons_file": "Het martelaarschap van Sint-Lucia Rijksmuseum SK-A-1688.jpeg", "zoom": "https://art.monstrance.app/zoom/master_of_the_figdor_deposition_martyrdom_of_saint_lucy.jpg", "master_px": 5768, "auth": {"institution": "Rijksmuseum, Amsterdam", "accession": "SK-A-1688", "url": "https://www.rijksmuseum.nl/en/collection/SK-A-1688", "artist_as_printed": "Master of the Figdor Deposition", "date_as_printed": "c. 1505 - c. 1510", "medium": "oil on panel", "dimensions": "Support: 132.4 cm (height) × 101.7 cm (width); Frame: 149.1 cm × 119.4 cm × 9 cm"}, "writeup": {"text": "Saint Lucy stands on the pyre with her hands joined, and the executioner has put his sword through her throat. Men fan the flames with bellows, and the officials at the left look on. Behind her the Rijksmuseum traces the rest of her story across the hills: Lucy brought before the brothel, the oxen set to drag her away, a priest bringing her the last sacraments, the beheading of Paschasius. M. Leeflang's catalogue entry makes this the outer left wing of an altarpiece made for her; its back once carried a Deposition, and the centre and the other wing are probably lost. The Master of the Figdor Deposition, active in Haarlem or Amsterdam, painted it about 1505 to 1510, and the museum bought it in 1897 with the help of the Vereniging Rembrandt. A faint halo rings her bowed head above the fire.", "sources": [{"what": "Rijksmuseum object page: title, artist 'Master of the Figdor Deposition', date c. 1505 - c. 1510, oil on panel, 132.4 x 101.7 cm, SK-A-1688, credit line; description naming the sword, the pyre, the executioners fanning the flames, the officials at left, and the background scenes (brothel, last sacraments, beheading of Paschasius). Carries the first paragraph.", "url": "https://www.rijksmuseum.nl/en/collection/SK-A-1688", "cite": "Rijksmuseum, Amsterdam, 'The Martyrdom of Saint Lucy', Master of the Figdor Deposition, SK-A-1688; read 2026-09-11."}, {"what": "Rijksmuseum catalogue entry (M. Leeflang, 2010), 'Part of a Wing of an Altarpiece with the Martyrdom of St Lucy': the oxen scene; 'zwaard door de hals gestoken'; the panel as front of a wing whose back was The Deposition (lost); outer left wing of a retable dedicated to St Lucy, centre and opposite wing probably lost; purchased 1897 with the Vereniging Rembrandt. Carries the oxen and the whole second paragraph.", "url": "https://www.rijksmuseum.nl/en/collection/SK-A-1688/catalogue-entry", "cite": "M. Leeflang, in Rijksmuseum online catalogue, entry for SK-A-1688, 2010; read 2026-09-11."}]}, "scene": {"why": "THE SUBJECT IS HAGIOGRAPHY, NOT SCRIPTURE. Lucy of Syracuse (d. 304) has no gospel or epistle locus; her passion is legendary (the Acts of St Lucy; Legenda Aurea, cap. IV, 'De sancta Lucia'). No verse is quoted."}, "th": "/store/thumb/master_of_the_figdor_deposition_martyrdom_of_saint_lucy.webp", "more": [{"k": "subject", "n": "Saints in painting", "u": "/editions/subject/saints/", "ids": ["cranach_saints_genevieve_and_apollonia", "leonardo_st_john_baptist", "durer_saint_jerome_in_his_study", "raphael_saint_john_the_baptist_in_the_desert"]}]}, "lippi_saint_lawrence_enthroned": {"id": "lippi_saint_lawrence_enthroned", "title": "Saint Lawrence Enthroned with Saints and Donors", "artist_line": "Fra Filippo Lippi (Florence c. 1406–1469 Spoleto)", "artist": "Fra Filippo Lippi", "date": "1440s", "museum": "The Metropolitan Museum of Art, New York", "license": "Public domain (CC0, The Met)", "tier": "Mid", "sizes": [{"size": "8×10 in", "paper": 39, "iw": 8, "ih": 8.4, "sw": 8, "sh": 10, "cov": 0.842}, {"size": "11×14 in", "paper": 59, "iw": 11, "ih": 11.6, "sw": 11, "sh": 14, "cov": 0.827}], "local": "/store/display/lippi_saint_lawrence_enthroned.jpg", "commons_file": null, "zoom": "https://art.monstrance.app/zoom/lippi_saint_lawrence_enthroned.jpg", "master_px": 3840, "auth": {"institution": "The Metropolitan Museum of Art, New York", "accession": "35.31.1a–c", "url": "https://www.metmuseum.org/art/collection/search/436897", "artist_as_printed": "Fra Filippo Lippi (Italian, Florence ca. 1406–1469 Spoleto)", "date_as_printed": "1440s", "medium": "Tempera on wood, gold ground", "dimensions": "Central panel (a), overall, with arched top and added strips, 47 3/4 x 45 1/2 in. (121.3 x 115.6 cm); right panel (b) 28 1/2 x 15 3/8 in. (72.4 x 39.1 cm); left panel (c) 28 1/2 x 15 1/2 in. (72.4 x 39.4 cm) [panels substantially altered in size and shape"}, "writeup": {"text": "A young saint sits on a stone throne with a red book at his knee, and the gold behind him has worn through in places. Saint Lawrence, the Met says, rests his feet on the grill of his martyrdom. Beside him stand Cosmas and Damian, each with a palm, the physician saints associated with the Medici. Three kneel small at his feet: the Met names them Alessandro Alessandri, a Florentine merchant, and two of his sons, in costly red with their cappucci over their shoulders. Fra Filippo Lippi made the altarpiece for the family's church of Santa Maria at Vincigliata in the hills above Florence, where it was recorded in 1493 and Vasari described it. The script on the saints' robes looks like Arabic and was never meant to be read. Lawrence keeps his eyes down, toward the men who asked him here.", "sources": [{"what": "The Met, Overview and Catalogue Entry read 2026-09-13: Saint Lawrence enthroned, his feet on the grill of his martyrdom, flanked by Saints Cosmas and Damian, patrons of physicians associated with the Medici; Alessandro Alessandri (1391–1460), Florentine merchant and member of the civic government, kneels with two sons, in costly red with their cappucci over their shoulders; commissioned for his family's church of Santa Maria at Vincigliata in the hills above Florence, first recorded there in 1493 and described by Vasari (1550, 1568); pseudo-Arabic script on the saints' robes as an intellectual reference, not meant to be read; the panel is much damaged and altered, the centre of an altarpiece whose two wings (35.31.1b–c) show Saint Anthony Abbot and a saint in a black habit, alb and cope, usually called Saint Benedict but perhaps Saint John Gualbert.", "url": "https://www.metmuseum.org/art/collection/search/436897", "cite": "The Metropolitan Museum of Art, 'Saint Lawrence Enthroned with Saints and Donors', Fra Filippo Lippi, 1440s, 35.31.1a–c; object page read 2026-09-13."}]}, "scene": {"why": "NO SINGLE VERSE. A devotional image of Saint Lawrence enthroned with Cosmas, Damian and the donors; the Met's text names the grill of his martyrdom (third century, under Sixtus II) and no scripture."}, "th": "/store/thumb/lippi_saint_lawrence_enthroned.webp", "more": [{"k": "subject", "n": "Saints in painting", "u": "/editions/subject/saints/", "ids": ["ribera_jerome", "ribera_saint_bartholomew", "giotto_francis_stigmata", "duccio_calling_apostles"]}, {"k": "master", "n": "Fra Filippo Lippi", "u": "/editions/master/fra-filippo-lippi/", "ids": ["lippi_coronation", "lippi_pieta", "lippi_saint_benedict_orders_saint_maurus_to_the_rescue_o", "lippi_annunciation_2"]}]}, "masaccio_pisa_predella_peter_john": {"id": "masaccio_pisa_predella_peter_john", "title": "The Crucifixion of Saint Peter and the Beheading of Saint John the Baptist", "artist_line": "Masaccio (San Giovanni Valdarno 1401–1428 Rome)", "artist": "Masaccio", "date": "1426", "museum": "Gemäldegalerie, Berlin", "license": "Public domain", "tier": "Hero", "sizes": [{"size": "8×10 in", "paper": 39, "iw": 10, "ih": 3.6, "sw": 10, "sh": 8, "cov": 0.45}, {"size": "11×14 in", "paper": 59, "iw": 14, "ih": 5.0, "sw": 14, "sh": 11, "cov": 0.458}, {"size": "18×24 in", "paper": 140, "iw": 24, "ih": 8.6, "sw": 24, "sh": 18, "cov": 0.48}], "local": "/store/display/masaccio_pisa_predella_peter_john.jpg", "commons_file": "Masaccio. Crucifixion of St. Peter and Beheading of St. John the Baptist..jpg", "zoom": "https://art.monstrance.app/zoom/masaccio_pisa_predella_peter_john.jpg", "master_px": 4453, "auth": {"institution": "Gemäldegalerie, Staatliche Museen zu Berlin", "accession": "58B", "url": "https://search.smb.museum/en/object/obj-864744", "artist_as_printed": "Ausführung: Masaccio (1401 - 1428), Maler*in", "date_as_printed": "Ausführung: 1426", "medium": "Pappelholz", "dimensions": "Bildmaß: 22,3 x 62,2 cm"}, "writeup": {"text": "Saint Peter's halo lies on the ground like a dropped plate, because his head is down there with it. Men with hammers bend over the Cross to nail him head-down; the Gemäldegalerie in Berlin says he asked to die so, in humility before Christ. On the right a sword goes up, and Saint John the Baptist bends forward to meet it among the soldiers' red shields: \"And he sent, and beheaded John in the prison.\" Masaccio painted the two deaths in 1426 for a polyptych in Santa Maria del Carmine at Pisa, long since dismantled; Berlin holds this scene with two companions from it, bought in 1880 from the Marchese Gino Capponi in Florence. The museum says the memory of the saints' suffering strengthened the faith. The halo waits on the stones.", "sources": [{"what": "Gemäldegalerie object description read 2026-09-13, translation ours: Peter, condemned to the cross for being a Christian, asked to be crucified head down in humility before Christ; the memory of the saints' suffering strengthened the faith; the panel belonged with 58A and 58E to a dismantled polyptych painted by Masaccio in 1426 for Santa Maria del Carmine, Pisa; bought 1880 from the Marchese Gino Capponi, Florence.", "url": "https://search.smb.museum/en/object/obj-864744", "cite": "Staatliche Museen zu Berlin, Gemäldegalerie, 'Altarpredella / Die Kreuzigung des Apostels Petrus und Die Enthauptung Johannes des Täufers', Masaccio, 1426, Ident. Nr. 58B; object page read 2026-09-13."}]}, "scene": {"ref": "Matthew 14:10", "quote": "And he sent, and beheaded John in the prison.", "shows": "the beheading of John the Baptist (right half); Peter's crucifixion (left half) has no Gospel locus"}, "th": "/store/thumb/masaccio_pisa_predella_peter_john.webp", "more": [{"k": "subject", "n": "Saints in painting", "u": "/editions/subject/saints/", "ids": ["fra_angelico_saint_romuald_refusing_entry_to_empero", "fra_angelico_the_beheading_of_saint_john_the_baptis", "rogier_st_luke_virgin", "sassetta_saint_francis_and_the_poor_knight_and_fr"]}, {"k": "master", "n": "Masaccio", "u": "/editions/master/masaccio/", "ids": ["masaccio_trinity", "masaccio_tribute_money"]}]}, "massys_salvator_mundi_ncma": {"id": "massys_salvator_mundi_ncma", "title": "Christ as the Salvator Mundi", "artist_line": "Attributed to Quinten Massys (Flemish, Leuven 1465/66 – Antwerp 1530)", "artist": "Attributed to Quinten Massys", "date": "circa 1500–1510", "museum": "North Carolina Museum of Art, Raleigh", "license": "Public domain (Kress Foundation photograph, PD on Commons)", "tier": "Hero", "sizes": [{"size": "8×10 in", "paper": 39, "iw": 6.9, "ih": 10, "sw": 8, "sh": 10, "cov": 0.863}, {"size": "11×14 in", "paper": 59, "iw": 9.7, "ih": 14, "sw": 11, "sh": 14, "cov": 0.878}, {"size": "16×20 in", "paper": 110, "iw": 13.8, "ih": 20, "sw": 16, "sh": 20, "cov": 0.863}, {"size": "18×24 in", "paper": 140, "iw": 16.6, "ih": 24, "sw": 18, "sh": 24, "cov": 0.92}], "local": "/store/display/massys_salvator_mundi_ncma.jpg", "commons_file": "Attributed to Quentin Massys and Studio - Salvator Mundi, c. 1500-10, K1688, North Carolina Museum of Art.jpg", "zoom": "https://art.monstrance.app/zoom/massys_salvator_mundi_ncma.jpg", "master_px": 6191, "auth": {"institution": "North Carolina Museum of Art, Raleigh", "accession": "GL.60.17.62", "url": "https://collection.ncartmuseum.org/objects/15/christ-as-the-salvator-mundi", "artist_as_printed": "Attributed to Quentin Massys [variously spelled Massys, Matsys, Metsijs] South Netherlandish, b. Leuven 1465/66–d. Antwerp 1530", "date_as_printed": "circa 1500–1510", "medium": "Oil on panel", "dimensions": "overall: 21 × 14 1/2 in. (53.3 × 36.8 cm); frame: 28 1/8 × 21 3/8 × 3 1/8 in. (71.4 × 54.3 × 7.9 cm)"}, "writeup": {"text": "A clear crystal orb sits under Christ's left hand, and the North Carolina Museum of Art points out what it holds: the reflection of His blessing hand, and an entire cityscape. The world He carries has a city in it, and His blessing is already inside. Two fingers of His right hand are raised; a gold cross rises from the orb; a clasp closes His red mantle at the throat, and a field of gold circles His head. The museum's label says the painter imitates gold, pearls and glass with the same brilliance. Attributed to Quinten Massys and painted in Flanders around 1500 to 1510, it came from a Spanish convent, passed through French and Company in New York to Samuel H. Kress in 1949, and was given to the museum in 1960. Look into the glass: the city there could be yours.", "sources": [{"what": "NCMA collection page read 2026-09-14. Label text (L. Humphrey, 'The People's Collection, Reimagined', 2022): in this painting of Christ as the Salvator Mundi (Savior of the World), the artist brilliantly imitates gold, pearls, and a clear glass or crystal orb; in it we see the reflection of Christ's blessing hand and an entire cityscape. Provenance: created Flanders (present-day Belgium), ca. 1500-1510; Spanish convent; Omando Ruiz, Spain (per a French and Co. brochure); French and Co., New York; sold to Samuel H. Kress, 1949; given to NCMA, 1960. Tombstone: Attributed to Quentin Massys [variously spelled Massys, Matsys, Metsijs], South Netherlandish, b. Leuven 1465/66 - d. Antwerp 1530; circa 1500-1510; oil on panel; overall 21 x 14 1/2 in. (53.3 x 36.8 cm); Gift of the Samuel H. Kress Foundation; GL.60.17.62; on view.", "url": "https://collection.ncartmuseum.org/objects/15/christ-as-the-salvator-mundi", "cite": "North Carolina Museum of Art, 'Christ as the Salvator Mundi', Attributed to Quentin Massys, circa 1500-1510, GL.60.17.62; collection page read 2026-09-14."}]}, "scene": {"why": "John 4:42 would be the locus (Christ as Saviour of the World, the title the picture bears) but the exact Douay-Rheims wording could not be verified against data/bible_drc.js on this run; left unset rather than quoted from memory (CLAUDE.md rule 12)."}, "th": "/store/thumb/massys_salvator_mundi_ncma.webp"}, "bonnat_le_christ_en_croix": {"id": "bonnat_le_christ_en_croix", "title": "Christ on the Cross", "artist_line": "Léon Bonnat (French, 1833–1922)", "artist": "Léon Bonnat", "date": "1874", "museum": "Petit Palais, Musée des Beaux-Arts de la Ville de Paris", "license": "PD/CC0", "tier": "Mid", "sizes": [{"size": "8×10 in", "paper": 39, "iw": 6.9, "ih": 10, "sw": 8, "sh": 10, "cov": 0.867}, {"size": "11×14 in", "paper": 59, "iw": 9.7, "ih": 14, "sw": 11, "sh": 14, "cov": 0.883}, {"size": "18×24 in", "paper": 140, "iw": 16.7, "ih": 24, "sw": 18, "sh": 24, "cov": 0.925}], "local": "/store/display/bonnat_le_christ_en_croix.jpg", "commons_file": "Léon Bonnat - Le Christ en croix - PPP411 - Musée des Beaux-Arts de la ville de Paris.jpg", "zoom": "https://art.monstrance.app/zoom/bonnat_le_christ_en_croix.jpg", "master_px": 4774, "auth": {"institution": "Petit Palais, musée des Beaux-arts de la Ville de Paris", "accession": "PPP411", "url": "https://www.parismuseescollections.paris.fr/fr/petit-palais/oeuvres/le-christ-en-croix", "artist_as_printed": "Bonnat, Léon (Bayonne, 20–06–1833 - Monchy-Saint-Eloi, 08–09–1922), peintre", "date_as_printed": "En 1874", "medium": "Peinture à l'huile, Toile (matériau)", "dimensions": "Hauteur : 227 cm ; Largeur : 159 cm (cadre : 277 × 206 cm)"}, "writeup": {"text": "Bonnat made this for a criminal courtroom. The Petit Palais holds his sketch for the same commission and labels it, in the museum's own words, the study for the painting destined for the courtroom of the Cour d'Assises at the Palais de Justice in Paris; it bought both from the painter after the commission. What he produced has no crowd, no landscape and no consolation - a body against near-black, lit hard from one side, the feet set at about the eye level of whoever stands in front of it. A Crucifixion sized for a room where people are judged.", "sources": [{"what": "The Petit Palais's own record for PPP411: title 'Le Christ en croix', Bonnat, Léon; date de production 'En 1874'; Peinture à l'huile, Toile; Hauteur 227 cm, Largeur 159 cm; mode d'acquisition 'Achat après commande'; date d'acquisition 1873; CC0 Paris Musées", "url": "https://www.parismuseescollections.paris.fr/fr/petit-palais/oeuvres/le-christ-en-croix", "cite": "Paris Musées / Petit Palais, collection record for inv. PPP411; read 2026-09-16."}, {"what": "The Petit Palais's record for the sketch, PPP3893, whose own description reads 'Esquisse pour le tableau destiné à la salle d'audience de la Cour des Assises du Palais de Justice de Paris. Cette version de petit format est très proche de la composition définitive.'", "url": "https://www.parismuseescollections.paris.fr/fr/petit-palais/oeuvres/le-christ-en-croix-esquisse-pour-la-salle-d-audience-de-la-cour-des-assises-du", "cite": "Paris Musées / Petit Palais, collection record for inv. PPP3893; read 2026-09-16."}]}, "scene": {"ref": "John 19:30", "quote": "Jesus therefore, when he had taken the vinegar, said: It is consummated. And bowing his head, he gave up the ghost.", "shows": "the death on the cross, with nothing else in the picture"}, "th": "/store/thumb/bonnat_le_christ_en_croix.webp", "more": [{"k": "subject", "n": "The Crucifixion in painting", "u": "/editions/subject/crucifixion/", "ids": ["gauguin_yellow_christ", "andrea_da_firenze_the_crucifixion", "master_guillebert_de_mets_workshop_crucifixion_leaf", "van_dyck_christ_on_the_cross_christus_aan_het_kru"]}]}, "angelico_crucifixion_met": {"id": "angelico_crucifixion_met", "title": "The Crucifixion", "artist_line": "Fra Angelico (Italian, c. 1395–1455)", "artist": "Fra Angelico", "date": "c. 1420–23", "museum": "The Metropolitan Museum of Art, New York", "license": "Public domain (CC0, The Met)", "tier": "Mid", "sizes": [{"size": "8×10 in", "paper": 39, "iw": 7.7, "ih": 10, "sw": 8, "sh": 10, "cov": 0.959}, {"size": "11×14 in", "paper": 59, "iw": 10.7, "ih": 14, "sw": 11, "sh": 14, "cov": 0.977}], "local": "/store/display/angelico_crucifixion_met.jpg", "commons_file": "The Crucifixion MET DT9341.jpg", "zoom": "https://art.monstrance.app/zoom/angelico_crucifixion_met.jpg", "master_px": 3610, "auth": {"institution": "The Metropolitan Museum of Art, New York", "accession": "43.98.5", "url": "https://www.metmuseum.org/art/collection/search/437007", "artist_as_printed": "Fra Angelico (Guido di Pietro)", "date_as_printed": "ca. 1420–23", "medium": "Tempera on wood, gold ground", "dimensions": "25 1/8 in. × 19 in. (63.8 × 48.3 cm)"}, "writeup": {"text": "Horses stand around the Cross as on a market day, and at its foot a skull lies in the dirt. The Met reads the ring of soldiers and horsemen as a circle Fra Angelico took from Ghiberti's bronze doors for the Florence Baptistery. Below, Our Lady has fallen into the arms of Mary Magdalen and Mary of Cleophas: \"Now there stood by the cross of Jesus, his mother and his mother's sister, Mary of Cleophas, and Mary Magdalen.\" She does not stand now. The Museum thinks it was made for private devotion, small enough to be held close.", "sources": [{"what": "The Met, object 437007, label read 2026-09-22: likely made for private devotion; the Virgin collapses, supported by Mary Magdalen and Mary of Cleophas; Roman soldiers surround the cross; the circular composition was inspired by Ghiberti's doors for the Florence Baptistery.", "url": "https://www.metmuseum.org/art/collection/search/437007", "cite": "The Metropolitan Museum of Art, 43.98.5, collection record"}]}, "scene": {"ref": "John 19:25", "quote": "Now there stood by the cross of Jesus, his mother and his mother's sister, Mary of Cleophas, and Mary Magdalen.", "shows": "the Virgin, Mary of Cleophas and Mary Magdalen at the cross"}, "th": "/store/thumb/angelico_crucifixion_met.webp", "more": [{"k": "subject", "n": "The Crucifixion in painting", "u": "/editions/subject/crucifixion/", "ids": ["dreux_bude_master_the_crucifixion", "mantegna_crucifixion", "master_of_the_death_of_saint_nicholas_of_munster_calvary", "messina_calvary"]}, {"k": "master", "n": "Fra Angelico", "u": "/editions/master/fra-angelico/", "ids": ["angelico_madonna_twelve_angels_staedel", "angelico_thebaid_budapest", "fra_angelico_annunciation_prado", "angelico_the_madonna_of_humility"]}]}, "angelico_thebaid_budapest": {"id": "angelico_thebaid_budapest", "title": "Scenes from the Lives of the Early Fathers", "artist_line": "Fra Angelico (Italian, c. 1395–1455)", "artist": "Fra Angelico", "date": "c. 1420–30", "museum": "Museum of Fine Arts, Budapest", "license": "Public domain", "tier": "Sanctuary", "sizes": [{"size": "8×10 in", "paper": 39, "iw": 10, "ih": 6.7, "sw": 10, "sh": 8, "cov": 0.834}, {"size": "11×14 in", "paper": 59, "iw": 14, "ih": 9.3, "sw": 14, "sh": 11, "cov": 0.849}, {"size": "16×20 in", "paper": 110, "iw": 20, "ih": 13.3, "sw": 20, "sh": 16, "cov": 0.834}, {"size": "18×24 in", "paper": 140, "iw": 24, "ih": 16.0, "sw": 24, "sh": 18, "cov": 0.89}, {"size": "32×48 in", "paper": 340, "iw": 48.0, "ih": 32, "sw": 48, "sh": 32, "cov": 0.999}], "local": "/store/display/angelico_thebaid_budapest.jpg", "commons_file": "Fra Angelico - Scenes from the Lives of the Desert Fathers (Thebaid) - Google Art Project.jpg", "zoom": "https://art.monstrance.app/zoom/angelico_thebaid_budapest.jpg", "master_px": 5675, "auth": {"institution": "Museum of Fine Arts, Budapest", "accession": "7", "url": "https://artsandculture.google.com/asset/VAHKpwvs_fhZ-A", "artist_as_printed": "Fra Angelico", "date_as_printed": "ca. 1420–1430", "medium": "tempera on poplar", "dimensions": "73.8 x 105 cm"}, "writeup": {"text": "Boats cross the green water, and in the foreground a dead monk lies on a red cloth while his brothers bend over him. Budapest's Museum of Fine Arts reads that burial as perhaps Ephraim the Syrian's, and counts the rest of the desert's traffic: hermits carried in litters and hand-carts, one cart pulled by two lions; food lowered in baskets to anchorites in their caves; a recluse fed by an angel; a holy man blessing kneeling monks. Fra Angelico sets the churches among the rocks like architects' models. The desert was meant to be empty. Here everyone is on the way somewhere.", "sources": [{"what": "Museum of Fine Arts, Budapest, inv. 7, the museum's own record as published on Google Arts \u0026 Culture, read 2026-09-22: hermits carried in litters and hand-carts, one pulled by two lions; a holy man blesses kneeling monks; anchorites fed by baskets lowered into caves; a recluse fed by an angel; in the foreground the burial of a saint, perhaps Ephraim the Syrian; Gothic churches like maquettes.", "url": "https://artsandculture.google.com/asset/VAHKpwvs_fhZ-A", "cite": "Museum of Fine Arts, Budapest, inv. 7 (publisher: Museum of Fine Arts Budapest)"}]}, "scene": {"why": "NO SCRIPTURAL LOCUS. Scenes from the lives of the Egyptian desert hermits, drawn from the Vitae Patrum tradition, not from Scripture."}, "th": "/store/thumb/angelico_thebaid_budapest.webp", "more": [{"k": "subject", "n": "Saints in painting", "u": "/editions/subject/saints/", "ids": ["fra_angelico_attr_the_thebaid", "gentile_da_fabriano_crippled_and_sick_cured_at_the_tomb_of_s", "masaccio_pisa_predella_peter_john", "fra_angelico_saint_romuald_refusing_entry_to_empero"]}, {"k": "master", "n": "Fra Angelico", "u": "/editions/master/fra-angelico/", "ids": ["fra_angelico_annunciation_prado", "angelico_the_madonna_of_humility", "fra_angelico_coronation", "fra_angelico_saint_romuald_refusing_entry_to_empero"]}]}, "angelico_last_judgment_berlin": {"id": "angelico_last_judgment_berlin", "title": "The Last Judgment (Berlin)", "artist_line": "Fra Angelico (Italian, c. 1395–1455)", "artist": "Fra Angelico", "date": "1435/40", "museum": "Gemäldegalerie, Staatliche Museen zu Berlin", "license": "Public domain", "tier": "Sanctuary", "sizes": [{"size": "8×10 in", "paper": 39, "iw": 9.7, "ih": 8, "sw": 10, "sh": 8, "cov": 0.973}, {"size": "11×14 in", "paper": 59, "iw": 13.4, "ih": 11, "sw": 14, "sh": 11, "cov": 0.955}, {"size": "16×20 in", "paper": 110, "iw": 19.5, "ih": 16, "sw": 20, "sh": 16, "cov": 0.973}, {"size": "18×24 in", "paper": 140, "iw": 21.9, "ih": 18, "sw": 24, "sh": 18, "cov": 0.912}, {"size": "32×48 in", "paper": 340, "iw": 38.9, "ih": 32, "sw": 48, "sh": 32, "cov": 0.811}], "local": "/store/display/angelico_last_judgment_berlin.jpg", "commons_file": "Fra Angelico - The Last Judgement (Winged Altar) - Google Art Project.jpg", "zoom": "https://art.monstrance.app/zoom/angelico_last_judgment_berlin.jpg", "master_px": 4848, "auth": {"institution": "Gemäldegalerie, Staatliche Museen zu Berlin", "accession": "60A", "url": "https://id.smb.museum/object/869139", "artist_as_printed": "Fra Angelico", "date_as_printed": "1435/40", "medium": "Pappelholz", "dimensions": "Mitteltafel 103 x 65,3 cm"}, "writeup": {"text": "A lone angel stands beneath the throne of Christ the Judge, in open gold. Left, the blessed go in a ring of dancers toward Paradise, and right, the damned are driven into Hell. It looks like a triptych, and was not made as one: in the Gemäldegalerie's catalogue Neville Rowley writes that Fra Angelico's work was originally continuous and divided later. Rowley points out an angel pushing a woman in red toward the damned, suggests that Pope Eugene IV and Cardinal Juan de Torquemada, the likely patron, are portrayed, and notes that Pius V had Spranger copy it in 1570. The seat of His majesty is set, and everything below it chooses.", "sources": [{"what": "Gemäldegalerie, Staatliche Museen zu Berlin, object 869139 (Ident. Nr. 60A), read 2026-09-21 and 2026-09-22, quoting Neville Rowley, 200 Masterpieces (2019): 'Even if this painting has today the appearance of a triptych, it was originally a continuous panel.' Paradise left, Hell right; a woman in red pushed by an angel toward the damned; Eugene IV and Juan de Torquemada probably portrayed, Torquemada the probable patron; Pius V had Bartholomäus Spranger copy it in 1570.", "url": "https://id.smb.museum/object/869139", "cite": "Neville Rowley, in Gemäldegalerie Berlin: 200 Masterpieces of European Painting (2019), via the SMB object record"}]}, "scene": {"ref": "Matthew 25:31", "quote": "And when the Son of man shall come in his majesty, and all the angels with him, then shall he sit upon the seat of his majesty.", "shows": "the Son of man seated in majesty with the angels, the nations gathered before him"}, "th": "/store/thumb/angelico_last_judgment_berlin.webp", "more": [{"k": "subject", "n": "The Last Judgment in painting", "u": "/editions/subject/last-judgment/", "ids": ["hieronymus_bosch_death_and_the_miser", "hieronymus_bosch_the_last_judgment_central_panel", "joos_van_cleve_last_judgment", "michelangelo_last_judgment"]}, {"k": "master", "n": "Fra Angelico", "u": "/editions/master/fra-angelico/", "ids": ["angelico_lamentation_san_marco", "angelico_burial_of_cosmas_and_damian", "angelico_martyrdom_of_cosmas_and_damian_louvre", "angelico_coronation_of_the_virgin"]}]}, "angelico_lamentation_san_marco": {"id": "angelico_lamentation_san_marco", "title": "The Lamentation over the Dead Christ", "artist_line": "Fra Angelico (Italian, c. 1395–1455)", "artist": "Fra Angelico", "date": "1436–41", "museum": "Museo di San Marco, Florence", "license": "Public domain (photograph CC0)", "tier": "Sanctuary", "sizes": [{"size": "8×10 in", "paper": 39, "iw": 10, "ih": 6.4, "sw": 10, "sh": 8, "cov": 0.802}, {"size": "11×14 in", "paper": 59, "iw": 14, "ih": 9.0, "sw": 14, "sh": 11, "cov": 0.817}, {"size": "16×20 in", "paper": 110, "iw": 20, "ih": 12.8, "sw": 20, "sh": 16, "cov": 0.802}, {"size": "18×24 in", "paper": 140, "iw": 24, "ih": 15.4, "sw": 24, "sh": 18, "cov": 0.856}, {"size": "24×36 in", "paper": 190, "iw": 36, "ih": 23.1, "sw": 36, "sh": 24, "cov": 0.963}, {"size": "32×48 in", "paper": 340, "iw": 48, "ih": 30.8, "sw": 48, "sh": 32, "cov": 0.963}], "local": "/store/display/angelico_lamentation_san_marco.jpg", "commons_file": "Fra Angelico — Lamentation over dead Christ 1440.jpg", "zoom": "https://art.monstrance.app/zoom/angelico_lamentation_san_marco.jpg", "master_px": 6934, "auth": {"institution": "Museo di San Marco, Firenze", "accession": "inv. 1890, n. 8487", "url": "https://www.palazzostrozzi.org/wp-content/uploads/2024/05/BA_Lista-opere-Beato-Angelico_ITA.pdf", "artist_as_printed": "Beato Angelico", "date_as_printed": "1436 - 1441", "medium": "Tempera e oro su tavola", "dimensions": "cm 107 × 164"}, "writeup": {"text": "Christ lies on a white shroud across the knees of those who loved Him, and His feet are kissed. Two of those gathered round Him were never at Calvary. Italy's national catalogue names Saint Dominic among them, and the Blessed Villana delle Botti: her kinsman Fra Sebastiano Benintendi, who arranged the commission in 1436 for the altar of the oratory of the Compagnia del Tempio, had her painted in, and Orlandi thought the patron himself appears as Dominic. Fra Angelico signed for a payment that December, but the catalogue dates the finish to 1440, by a year written in capitals on the border of Our Lady's veil: MIIIIXXXX.", "sources": [{"what": "Italy's national catalogue record: figures include Saint Dominic, the Blessed Villana delle Botti and the mourners, with the shroud; commission arranged by Fra Sebastiano Benintendi on 13 April 1436 for the altar of the oratory of the Compagnia del Tempio; Angelico signed for a payment on 2 December 1436; the catalogue dates completion to 1440 by the date MIIIIXXXX on the border of the Virgin's veil; Fra Sebastiano had his ancestress Villana painted in; Orlandi thought the patron is shown as Dominic", "url": "https://catalogo.beniculturali.it/detail/HistoricOrArtisticProperty/0900196286", "cite": "Catalogo generale dei Beni Culturali, record 0900196286, Beato Angelico, 'Compianto sul Cristo morto', Museo di San Marco, read 2026-09-24"}, {"what": "Palazzo Strozzi's checklist for its Beato Angelico exhibition: 'Compianto su Cristo morto', 1436–1441, tempera and gold on panel, Florence, Museo di San Marco", "url": "https://www.palazzostrozzi.org/wp-content/uploads/2024/05/BA_Lista-opere-Beato-Angelico_ITA.pdf", "cite": "Fondazione Palazzo Strozzi, Beato Angelico exhibition list of works (2025), read 2026-09-24"}]}, "scene": {"why": "NO SINGLE VERSE. The Lamentation is not narrated in the Gospels, and the panel adds Saint Dominic and the Blessed Villana delle Botti, who belong to its commission, not to Calvary."}, "th": "/store/thumb/angelico_lamentation_san_marco.webp", "more": [{"k": "subject", "n": "The Lamentation of Christ in painting", "u": "/editions/subject/lamentation-of-christ/", "ids": ["petrus_christus_lamentation", "bouts_the_lamentation", "botticelli_lamentation", "goes_lamentation_of_christ"]}, {"k": "master", "n": "Fra Angelico", "u": "/editions/master/fra-angelico/", "ids": ["angelico_burial_of_cosmas_and_damian", "angelico_martyrdom_of_cosmas_and_damian_louvre", "angelico_coronation_of_the_virgin", "angelico_bosco_ai_frati_altarpiece"]}]}, "angelico_martyrdom_of_cosmas_and_damian_louvre": {"id": "angelico_martyrdom_of_cosmas_and_damian_louvre", "title": "The Martyrdom of Saints Cosmas and Damian", "artist_line": "Fra Angelico (Italian, c. 1395–1455)", "artist": "Fra Angelico", "date": "1438–42", "museum": "Musée du Louvre, Paris", "license": "Public domain", "tier": "Sanctuary", "sizes": [{"size": "8×10 in", "paper": 39, "iw": 10, "ih": 7.7, "sw": 10, "sh": 8, "cov": 0.966}, {"size": "11×14 in", "paper": 59, "iw": 14, "ih": 10.8, "sw": 14, "sh": 11, "cov": 0.983}, {"size": "16×20 in", "paper": 110, "iw": 20, "ih": 15.5, "sw": 20, "sh": 16, "cov": 0.966}, {"size": "18×24 in", "paper": 140, "iw": 23.3, "ih": 18, "sw": 24, "sh": 18, "cov": 0.971}, {"size": "24×36 in", "paper": 190, "iw": 31.1, "ih": 24, "sw": 36, "sh": 24, "cov": 0.863}, {"size": "32×48 in", "paper": 340, "iw": 41.4, "ih": 32, "sw": 48, "sh": 32, "cov": 0.863}], "local": "/store/display/angelico_martyrdom_of_cosmas_and_damian_louvre.jpg", "commons_file": "Le Martyre des saints Cosme et Damien - Fra Angelico - Musée du Louvre Peintures RF 340 - photo 2.jpg", "zoom": "https://art.monstrance.app/zoom/angelico_martyrdom_of_cosmas_and_damian_louvre.jpg", "master_px": 5691, "auth": {"institution": "Musée du Louvre, Département des Peintures", "accession": "RF 340", "url": "https://collections.louvre.fr/en/ark:/53355/cl010064746", "artist_as_printed": "Fra Angelico (Guido di Pietro, dit Fra Giovanni da Fiesole)", "date_as_printed": "1425 / 1450 (2e quart du XVe siècle)", "medium": "bois (peuplier)", "dimensions": "Hauteur : 0,37 m ; Largeur : 0,46 m"}, "writeup": {"text": "Three haloes lie in the grass, each with its head, and the bodies lie apart. The two saints kneel blindfold, one in red, one in yellow, and the sword goes up again. Cosmas and Damian, the twin physicians who took no fee, had survived several attempts on their lives before this one. The Web Gallery of Art reads the five cypresses standing in a row behind them as the five who die. The Louvre identifies the work as part of the predella of Fra Angelico's high altarpiece for San Marco in Florence, whose other scenes are now in Florence, Dublin, Munich and Washington. The trees are already standing.", "sources": [{"what": "Musée du Louvre, RF 340, collection record read 2026-09-22: 'Le Martyre des saints Cosme et Damien', a predella panel of the San Marco high altarpiece (Madonna with angels and eight saints, Museo di San Marco); the other predella panels are in Dublin, San Marco, Munich and Washington; acquired 1882 from the widow of Charles Timbal.", "url": "https://collections.louvre.fr/en/ark:/53355/cl010064746", "cite": "Musée du Louvre, Département des Peintures, RF 340"}, {"what": "Web Gallery of Art, commentary on the Beheading of Saint Cosmas and Saint Damian, read 2026-09-22: Cosmas and Damian, twin brothers famed for making no charges for their services as physicians; several attempts to put them to death failed; the two saints wait to join the three headless figures; a row of five cypresses parallel to the picture plane can be taken to symbolize the five being executed.", "url": "https://www.wga.hu/html_m/a/angelico/07/marco_p7.html", "cite": "Web Gallery of Art, Angelico, San Marco altarpiece predella"}]}, "scene": {"why": "NO SCRIPTURAL LOCUS. The martyrdom of Cosmas and Damian is hagiography (the Golden Legend and earlier passiones), not Scripture."}, "th": "/store/thumb/angelico_martyrdom_of_cosmas_and_damian_louvre.webp", "more": [{"k": "subject", "n": "Saints in painting", "u": "/editions/subject/saints/", "ids": ["lippi_saint_benedict_orders_saint_maurus_to_the_rescue_o", "veneziano_saint_francis_receiving_the_stigmata", "veneziano_saint_john_in_the_desert", "giovanni_di_paolo_saint_john_the_baptist_entering_the_wild"]}, {"k": "master", "n": "Fra Angelico", "u": "/editions/master/fra-angelico/", "ids": ["angelico_coronation_of_the_virgin", "angelico_bosco_ai_frati_altarpiece", "angelico_crucifixion_met", "angelico_madonna_twelve_angels_staedel"]}]}, "angelico_madonna_twelve_angels_staedel": {"id": "angelico_madonna_twelve_angels_staedel", "title": "Madonna and Child Enthroned with Twelve Angels", "artist_line": "Fra Angelico (Italian, c. 1395–1455)", "artist": "Fra Angelico", "date": "c. 1420–30", "museum": "Städel Museum, Frankfurt am Main", "license": "Public domain (Städel Museum, Public Domain Mark)", "tier": "Sanctuary", "sizes": [{"size": "8×10 in", "paper": 39, "iw": 7.9, "ih": 10, "sw": 8, "sh": 10, "cov": 0.989}, {"size": "11×14 in", "paper": 59, "iw": 11, "ih": 13.9, "sw": 11, "sh": 14, "cov": 0.993}, {"size": "16×20 in", "paper": 110, "iw": 15.8, "ih": 20, "sw": 16, "sh": 20, "cov": 0.989}, {"size": "18×24 in", "paper": 140, "iw": 18, "ih": 22.8, "sw": 18, "sh": 24, "cov": 0.948}, {"size": "24×36 in", "paper": 190, "iw": 24, "ih": 30.3, "sw": 24, "sh": 36, "cov": 0.843}, {"size": "32×48 in", "paper": 340, "iw": 32, "ih": 40.5, "sw": 32, "sh": 48, "cov": 0.843}, {"size": "40×60 in", "paper": 480, "iw": 40, "ih": 50.6, "sw": 40, "sh": 60, "cov": 0.843}], "local": "/store/display/angelico_madonna_twelve_angels_staedel.jpg", "commons_file": "Madonna and Child Enthroned and Twelve Angels (SM 838).png", "zoom": "https://art.monstrance.app/zoom/angelico_madonna_twelve_angels_staedel.jpg", "master_px": 6623, "auth": {"institution": "Städel Museum, Frankfurt am Main", "accession": "838", "url": "https://sammlung.staedelmuseum.de/de/werk/thronende-madonna-mit-kind-und-zwoelf-engeln", "artist_as_printed": "Fra Angelico", "date_as_printed": "ca. 1420 – 1430", "medium": "Mischtechnik auf Pappelholz", "dimensions": "37,5 x 29,7 x 0,8 cm"}, "writeup": {"text": "Twelve angels, and no two stand alike: hands folded, hands crossed on the breast, a hand raised, and two at the front turned from us toward the throne. Our Lady sits under a canopy built like a small Gothic church, the Christ Child on her lap, and the gold goes on behind all of them. The Städel reads the work as made for private devotion and for connoisseurs, and draws attention to the careful perspective of that canopy. It measures 37.5 by 29.7 centimetres, and the museum has owned it since 1831. Fra Angelico fitted the whole court of heaven into a space two open hands could hold.", "sources": [{"what": "Städel Museum, inv. 838, collection record read 2026-09-22: 'Thronende Madonna mit Kind und zwölf Engeln', ca. 1420–1430, mixed technique on poplar, 37.5 x 29.7 cm; acquired 1831; a small panel made for private devotion and for connoisseurs; the museum draws attention to the perspective of the throne canopy and the variety of the angels' poses.", "url": "https://sammlung.staedelmuseum.de/de/werk/thronende-madonna-mit-kind-und-zwoelf-engeln", "cite": "Städel Museum, Frankfurt am Main, inv. 838"}]}, "scene": {"why": "NOT A NARRATIVE SCENE. A devotional image of the Virgin and Child enthroned among angels."}, "th": "/store/thumb/angelico_madonna_twelve_angels_staedel.webp", "more": [{"k": "subject", "n": "The Madonna and Child in painting", "u": "/editions/subject/madonna-and-child/", "ids": ["gentile_da_fabriano_madonna_and_child_enthroned", "angelico_the_madonna_of_humility", "van_eyck_van_der_paele", "van_eyck_rolin"]}, {"k": "master", "n": "Fra Angelico", "u": "/editions/master/fra-angelico/", "ids": ["angelico_thebaid_budapest", "fra_angelico_annunciation_prado", "angelico_the_madonna_of_humility", "fra_angelico_coronation"]}]}, "angelico_bosco_ai_frati_altarpiece": {"id": "angelico_bosco_ai_frati_altarpiece", "title": "The Bosco ai Frati Altarpiece", "artist_line": "Fra Angelico (Italian, c. 1395–1455)", "artist": "Fra Angelico", "date": "1450–52", "museum": "Museo di San Marco, Florence", "license": "Public domain", "tier": "Sanctuary", "sizes": [{"size": "8×10 in", "paper": 39, "iw": 8.1, "ih": 8, "sw": 10, "sh": 8, "cov": 0.806}, {"size": "11×14 in", "paper": 59, "iw": 11.1, "ih": 11, "sw": 14, "sh": 11, "cov": 0.792}, {"size": "16×20 in", "paper": 110, "iw": 16.1, "ih": 16, "sw": 20, "sh": 16, "cov": 0.806}, {"size": "18×24 in", "paper": 140, "iw": 18.1, "ih": 18, "sw": 24, "sh": 18, "cov": 0.756}, {"size": "32×48 in", "paper": 340, "iw": 32.2, "ih": 32, "sw": 48, "sh": 32, "cov": 0.672}], "local": "/store/display/angelico_bosco_ai_frati_altarpiece.jpg", "commons_file": "Fra Angelico — Bosco ai Frati Altarpiece.jpg", "zoom": "https://art.monstrance.app/zoom/angelico_bosco_ai_frati_altarpiece.jpg", "master_px": 4274, "auth": {"institution": "Museo di San Marco, Firenze", "accession": "inv. 1890, n. 8503 (main panel)", "url": "https://www.palazzostrozzi.org/wp-content/uploads/2024/05/BA_Lista-opere-Beato-Angelico_ITA.pdf", "artist_as_printed": "Beato Angelico", "date_as_printed": "1450 - 1452", "medium": "Tempera e oro su tavola", "dimensions": "cm 174 × 174 (tavola principale)"}, "writeup": {"text": "The Christ Child reaches up to His Mother's face, and a whole court stands still for it. The friars on the left go barefoot. Cosimo de' Medici paid for the altarpiece around 1450, for the high altar of the Franciscan convent of San Bonaventura at Bosco ai Frati, and put his own saints in it. Friends of Florence, who sponsored its restoration, name them: at left Saints Anthony of Padua, Louis of Toulouse and Francis; at right Saints Cosmas and Damian, the Medici saints, with Saint Peter Martyr. The classical wall and niche behind Our Lady, they note, reflect what Fra Angelico had seen in Rome.", "sources": [{"what": "Friends of Florence, project page on the Pala di Bosco ai Frati, read 2026-09-22: Cosimo de' Medici commissioned it for the high altar of the Franciscan convent of San Bonaventura at Bosco ai Frati; painted around 1450; to the left Saints Francis, Louis of Toulouse and Anthony of Padua; to the right the Medici saints Cosmas and Damian and Saint Peter Martyr; the background reflects classical elements Angelico encountered in Rome and in the Vatican's Niccoline Chapel (1447–48); restored by Lucia Biondi, coordinated by Angelo Tartuferi, 2020–2022.", "url": "https://www.friendsofflorence.org/projects/san-marco-museum-pala-bosco-dei-frati/", "cite": "Friends of Florence, San Marco Museum: Pala Bosco ai Frati"}]}, "scene": {"why": "NOT A NARRATIVE SCENE. A sacra conversazione: the Virgin and Child enthroned with two angels and six saints."}, "th": "/store/thumb/angelico_bosco_ai_frati_altarpiece.webp", "more": [{"k": "subject", "n": "The Madonna and Child in painting", "u": "/editions/subject/madonna-and-child/", "ids": ["fouquet_madonna_surrounded_by_seraphim_and_cheru", "bouts_virgin_and_child", "ferrarese_15th_century_madonna_and_child_with_angels", "petrus_christus_virgin_and_child_with_saints_jerome_and"]}, {"k": "master", "n": "Fra Angelico", "u": "/editions/master/fra-angelico/", "ids": ["angelico_crucifixion_met", "angelico_madonna_twelve_angels_staedel", "angelico_thebaid_budapest", "fra_angelico_annunciation_prado"]}]}, "angelico_burial_of_cosmas_and_damian": {"id": "angelico_burial_of_cosmas_and_damian", "title": "The Burial of Saints Cosmas and Damian", "artist_line": "Fra Angelico (Italian, c. 1395–1455)", "artist": "Fra Angelico", "date": "1438–42", "museum": "Museo di San Marco, Florence", "license": "Public domain", "tier": "Mid", "sizes": [{"size": "8×10 in", "paper": 39, "iw": 9.9, "ih": 8, "sw": 10, "sh": 8, "cov": 0.991}, {"size": "11×14 in", "paper": 59, "iw": 13.6, "ih": 11, "sw": 14, "sh": 11, "cov": 0.973}], "local": "/store/display/angelico_burial_of_cosmas_and_damian.jpg", "commons_file": "Fra Angelico — San Marco Altarpiece — Predella — The Burial of Saints Cosmas and Damian.jpg", "zoom": "https://art.monstrance.app/zoom/angelico_burial_of_cosmas_and_damian.jpg", "master_px": 3725, "auth": {"institution": "Museo di San Marco, Firenze", "accession": "inv. 1890, n. 8494", "url": "https://www.palazzostrozzi.org/wp-content/uploads/2024/05/BA_Lista-opere-Beato-Angelico_ITA.pdf", "artist_as_printed": "Beato Angelico", "date_as_printed": "1438 - 1442 (Pala di San Marco)", "medium": "Tempera e oro su tavola", "dimensions": "cm 38,4 × 45,6"}, "writeup": {"text": "A camel leans in over an open grave and speaks, its words unrolling on a scroll. The brothers had quarrelled: when Damian accepted a gift from a woman they had healed, Cosmas asked not to be buried with him. After the beheading the Christians meant to honour that wish, until, the Golden Legend says, a camel spoke with a human voice and told them to bury the brothers together. The Web Gallery of Art places this scene first from the right on Fra Angelico's San Marco predella. A priest reads from his book. Four haloed bodies lie in the trench, and a fifth is lowered to join them.", "sources": [{"what": "New Liturgical Movement, 'The Legend of Ss Cosmas and Damian' (September 2025), read 2026-09-22, summarising the Golden Legend of Jacobus de Voragine: Palladia compels Damian to accept a reward, at which Cosmas says he wishes to be buried apart from his brother; after the beheading a camel approaches and speaks with a human voice, ordering them to be buried together.", "url": "https://www.newliturgicalmovement.org/2025/09/the-legend-of-ss-cosmas-and-damian.html", "cite": "Jacobus de Voragine, Legenda aurea, Saints Cosmas and Damian, as summarised by New Liturgical Movement (2025)"}, {"what": "Web Gallery of Art, 'Sepulchring of Saint Cosmas and Saint Damian', 1438-40, tempera on wood, 37 x 45 cm, Museo di San Marco, read 2026-09-22: 'This picture is the first from the right on the predella.'", "url": "https://www.wga.hu/html_m/a/angelico/07/marco_p8.html", "cite": "Web Gallery of Art, Angelico, San Marco altarpiece predella"}]}, "scene": {"why": "NO SCRIPTURAL LOCUS. The burial and the speaking camel come from the Golden Legend of Jacobus de Voragine, not Scripture."}, "th": "/store/thumb/angelico_burial_of_cosmas_and_damian.webp", "more": [{"k": "subject", "n": "Saints in painting", "u": "/editions/subject/saints/", "ids": ["angelico_martyrdom_of_cosmas_and_damian_louvre", "lippi_saint_benedict_orders_saint_maurus_to_the_rescue_o", "veneziano_saint_francis_receiving_the_stigmata", "veneziano_saint_john_in_the_desert"]}, {"k": "master", "n": "Fra Angelico", "u": "/editions/master/fra-angelico/", "ids": ["angelico_martyrdom_of_cosmas_and_damian_louvre", "angelico_coronation_of_the_virgin", "angelico_bosco_ai_frati_altarpiece", "angelico_crucifixion_met"]}]}, "hieronymus_bosch_the_last_judgment_central_panel": {"id": "hieronymus_bosch_the_last_judgment_central_panel", "title": "The Last Judgment (central panel)", "artist_line": "Hieronymus Bosch", "artist": "Hieronymus Bosch", "date": "c. 1490–1505", "museum": "Gemäldegalerie der Akademie der bildenden Künste, Vienna", "license": "Public domain", "tier": "Sanctuary", "sizes": [{"size": "8×10 in", "paper": 39, "iw": 7.8, "ih": 10, "sw": 8, "sh": 10, "cov": 0.978}, {"size": "11×14 in", "paper": 59, "iw": 11.0, "ih": 14, "sw": 11, "sh": 14, "cov": 0.995}, {"size": "16×20 in", "paper": 110, "iw": 15.6, "ih": 20, "sw": 16, "sh": 20, "cov": 0.978}, {"size": "18×24 in", "paper": 140, "iw": 18, "ih": 23.0, "sw": 18, "sh": 24, "cov": 0.959}, {"size": "24×36 in", "paper": 190, "iw": 24, "ih": 30.7, "sw": 24, "sh": 36, "cov": 0.852}, {"size": "32×48 in", "paper": 340, "iw": 32, "ih": 40.9, "sw": 32, "sh": 48, "cov": 0.852}, {"size": "40×60 in", "paper": 480, "iw": 40, "ih": 51.1, "sw": 40, "sh": 60, "cov": 0.852}], "local": "/store/display/hieronymus_bosch_the_last_judgment_central_panel.jpg", "commons_file": "The Last Judgment (central panel), ca. 1482-1515.jpg", "zoom": "https://art.monstrance.app/zoom/hieronymus_bosch_the_last_judgment_central_panel.jpg", "master_px": 18430, "auth": {"institution": "Kunstsammlungen der Akademie der bildenden Künste Wien (Gemäldegalerie)", "accession": "GG-579 bis 581", "url": "https://kulturpool.at/objekte/aeec117b-90be-4765-b613-64ff43af8068", "artist_as_printed": "Hieronymus Bosch", "date_as_printed": "um 1490 - um 1505", "medium": "Öltempera", "dimensions": "Central panel: 164 x 127 cm (image); 183 x 155.5 x 7 cm (frame). Wings: 164 x 60 cm each (image); 183 x 77.5 x 7 cm each (frame)"}, "writeup": {"text": "Christ sits on two rainbows at the very top edge, small as a coin held up to the sky, and everything under Him is the sentence being carried out. Johannes Karel, writing for ARTinWORDS, reads Christ the Judge as one small scene among many in Hieronymus Bosch's triptych. At a long table before hell's kitchen a fat man is held by a butterfly-winged demon while a red devil force-feeds him from a huge green barrel; Karel names him Gluttony. The saved are few. In the upper left, as Karel reads it, faint figures rise with angels toward a hole of sunlight in the clouds. The door is narrow, and open.", "sources": [{"what": "Christ as judge enthroned on rainbows, pushed to the upper edge as one small scene among many; the fat man at the long table before hell's kitchen, held by a butterfly-winged demon and force-fed by a red devil from a huge green barrel, as Gluttony; the hole of sunlight in the clouds at the upper left, with the few saved rising toward it accompanied by angels", "url": "https://artinwords.de/hieronymus-bosch-weltgerichtstriptychon/", "cite": "Johannes Karel, 'Hieronymus Bosch: Weltgerichtstriptychon in Wien', ARTinWORDS, 20 June 2016, read 2026-09-24"}, {"what": "The Academy's record: Hieronymus Bosch, Weltgerichts-Triptychon, c. 1490–1505, oil tempera on oak, central panel 164 x 127 cm, GG-579 to 581, bequest of Count Lamberg-Sprinzenstein, 1822", "url": "https://kulturpool.at/objekte/aeec117b-90be-4765-b613-64ff43af8068", "cite": "Kunstsammlungen der Akademie der bildenden Künste Wien, Weltgerichts-Triptychon, GG-579–581, via Kulturpool, read 2026-09-24"}, {"what": "The Academy on the triptych: c. 1490–1505, Bosch's second-largest work after the Garden of Delights, a permanent highlight of the gallery", "url": "https://www.akbild.ac.at/de/museum-und-ausstellungen/kunstsammlungen/aktuelles/gemaeldegalerie/ausstellungen/2025/ausstellung-sammlung-torfs/bosch-tour-20251212", "cite": "Akademie der bildenden Künste Wien, 'Das Weltgerichts-Triptychon des Hieronymus Bosch', read 2026-09-24"}]}, "scene": {"ref": "Matthew 25:31", "quote": "And when the Son of man shall come in his majesty, and all the angels with him, then shall he sit upon the seat of his majesty.", "shows": "Christ enthroned as judge at the top of the panel, the damned below"}, "th": "/store/thumb/hieronymus_bosch_the_last_judgment_central_panel.webp", "more": [{"k": "subject", "n": "The Last Judgment in painting", "u": "/editions/subject/last-judgment/", "ids": ["joos_van_cleve_last_judgment", "michelangelo_last_judgment", "rubens_last_judgment", "master_of_1549_the_last_judgment"]}, {"k": "master", "n": "Hieronymus Bosch", "u": "/editions/master/hieronymus-bosch/", "ids": ["hieronymus_bosch_crucifixion_with_a_donor", "hieronymus_bosch_st_john_the_baptist_in_the_wilderness", "hieronymus_bosch_st_john_the_evangelist_on_patmos", "hieronymus_bosch_st_christopher_carrying_the_christ_child"]}]}, "girolamo_mazzola_bedoli_the_annunciation": {"id": "girolamo_mazzola_bedoli_the_annunciation", "title": "The Annunciation", "artist_line": "Girolamo Mazzola Bedoli (Italian, c. 1500–1569)", "artist": "Girolamo Mazzola Bedoli", "date": "1535–1540", "museum": "Pinacoteca Ambrosiana, Milan", "license": "PD-Art", "tier": "Sanctuary", "sizes": [{"size": "8×10 in", "paper": 39, "iw": 6.9, "ih": 10, "sw": 8, "sh": 10, "cov": 0.865}, {"size": "11×14 in", "paper": 59, "iw": 9.7, "ih": 14, "sw": 11, "sh": 14, "cov": 0.88}, {"size": "16×20 in", "paper": 110, "iw": 13.8, "ih": 20, "sw": 16, "sh": 20, "cov": 0.865}, {"size": "18×24 in", "paper": 140, "iw": 16.6, "ih": 24, "sw": 18, "sh": 24, "cov": 0.922}, {"size": "24×36 in", "paper": 190, "iw": 24, "ih": 34.7, "sw": 24, "sh": 36, "cov": 0.964}, {"size": "32×48 in", "paper": 340, "iw": 32, "ih": 46.3, "sw": 32, "sh": 48, "cov": 0.964}, {"size": "40×60 in", "paper": 480, "iw": 40, "ih": 57.8, "sw": 40, "sh": 60, "cov": 0.964}], "local": "/store/display/girolamo_mazzola_bedoli_the_annunciation.jpg", "commons_file": "Gerolamo Mazzola Bedoli – Annunciazione – Google Art Project.jpg", "zoom": "https://art.monstrance.app/zoom/girolamo_mazzola_bedoli_the_annunciation.jpg", "master_px": 15943, "auth": {"institution": "Veneranda Biblioteca Ambrosiana, Pinacoteca, Milan", "accession": "inv. 127", "url": "https://lombardiabeniculturali.it/opere-arte/schede-complete/L0040-00092", "artist_as_printed": "Mazzola Bedoli Girolamo", "date_as_printed": "1535 - 1540", "medium": "olio su tavola", "dimensions": "Altezza 208; Larghezza 144"}, "writeup": {"text": "The angel comes in with a lily, one hand raised, and Our Lady turns from her book with an open palm. Above them the Holy Spirit comes down as a dove. Emanuela Daffra, writing the Restituzioni entry, notes that a rosebush without thorns and a crescent moon have been read as allusions to the Immaculate Conception, always championed by the Franciscans; the work came from San Francesco at Viadana, where a confraternity in its honour was founded in 1513. Girolamo Mazzola Bedoli sets the two outdoors on a floor of precious marbles, perhaps, Daffra suggests, what remains of a ruined temple. On that old stone the Word will take flesh.", "sources": [{"what": "The rosebush without thorns and the crescent moon read as allusions to the Immaculate Conception, always championed by the Franciscans; a confraternity in its honour founded in the church at Viadana in 1513; the figures standing on a floor of precious marbles, perhaps the remnant of a ruined temple; provenance Viadana, San Francesco; now Ambrosiana inv. 127 1540 c", "url": "https://restituzioni.com/opere/annunciazione/", "cite": "Emanuela Daffra, entry 'Girolamo Mazzola Bedoli, Annunciazione', Restituzioni 2016 (Intesa Sanpaolo), read 2026-09-24"}]}, "scene": {"ref": "Luke 1:28", "quote": "And the angel being come in, said unto her: Hail, full of grace, the Lord is with thee: blessed art thou among women.", "shows": "Gabriel greeting Mary, the pair outdoors on a marble floor"}, "th": "/store/thumb/girolamo_mazzola_bedoli_the_annunciation.webp", "more": [{"k": "subject", "n": "The Annunciation in painting", "u": "/editions/subject/annunciation/", "ids": ["caravaggio_the_annunciation", "orazio_gentileschi_annunciation", "rubens_incarnation_fulfillment_of_the_prophecies", "giordano_annunciation"]}]}, "peter_paul_rubens_the_raising_of_the_cross_sketch": {"id": "peter_paul_rubens_the_raising_of_the_cross_sketch", "title": "The Raising of the Cross (oil sketch)", "artist_line": "Peter Paul Rubens (Flemish, 1577–1640)", "artist": "Peter Paul Rubens", "date": "c. 1638", "museum": "Art Gallery of Ontario, Toronto", "license": "Public domain", "tier": "Sanctuary", "sizes": [{"size": "8×10 in", "paper": 39, "iw": 10, "ih": 4.8, "sw": 10, "sh": 8, "cov": 0.596}, {"size": "11×14 in", "paper": 59, "iw": 14, "ih": 6.7, "sw": 14, "sh": 11, "cov": 0.607}, {"size": "16×20 in", "paper": 110, "iw": 20, "ih": 9.5, "sw": 20, "sh": 16, "cov": 0.596}, {"size": "18×24 in", "paper": 140, "iw": 24, "ih": 11.4, "sw": 24, "sh": 18, "cov": 0.636}, {"size": "24×36 in", "paper": 190, "iw": 36, "ih": 17.2, "sw": 36, "sh": 24, "cov": 0.716}, {"size": "32×48 in", "paper": 340, "iw": 48, "ih": 22.9, "sw": 48, "sh": 32, "cov": 0.716}, {"size": "40×60 in", "paper": 480, "iw": 60, "ih": 28.6, "sw": 60, "sh": 40, "cov": 0.716}], "local": "/store/display/peter_paul_rubens_the_raising_of_the_cross_sketch.jpg", "commons_file": "Peter Paul Rubens - The Raising of the Cross (1638).jpeg", "zoom": "https://art.monstrance.app/zoom/peter_paul_rubens_the_raising_of_the_cross_sketch.jpg", "master_px": 9098, "auth": {"institution": "Art Gallery of Ontario, Toronto", "accession": "906", "url": "https://ago.ca/collection/object/906", "date_as_printed": "c. 1638", "medium": "oil on paper; later mounted on canvas", "dimensions": "Overall: 72.1 × 132.7 cm (28 3/8 × 52 1/4 in.); Framed: 82.6 × 148.6 × 11.4 cm (32 1/2 × 58 1/2 × 4 1/2 in.)"}, "writeup": {"text": "Christ goes up on the wood, and it takes a crowd of straining men to lift the One who holds up the world. Around 1638 Rubens opened up his own altarpiece: the Antwerp original of 1610, financed by Cornelis van der Geest, stood in three parts, and this oil sketch on paper was made so it could be engraved and dedicated to van der Geest. Marjorie Wieseman writes that he set the figures in one continuous space, removing the breaks the frame had forced, and added witnesses perched on a cliff left of center and a distant view of Jerusalem right of center: the city He dies outside.", "sources": [{"what": "The sketch placed the figures in one continuous space, removing the breaks the altarpiece frame had required; added witnesses perched on the cliff left of center and a distant view of Jerusalem right of center; sheet 60 x 126.5 cm, later enlarged", "url": "https://archive.bampfa.berkeley.edu/projects/rubens/exhibition/designs4detail2.html", "cite": "Marjorie E. Wieseman, entry on The Elevation of the Cross, AGO acc. 906, in 'Drawn by the Brush: Oil Sketches by Peter Paul Rubens', Berkeley Art Museum, read 2026-09-24"}, {"what": "The AGO on its sketch: oil on paper later mounted on canvas, painted around 1638 so a print could be made and dedicated to van der Geest; the original winged altarpiece among Rubens's first public commissions in Antwerp in 1610, financed by Cornelis van der Geest", "url": "https://ago.ca/agoinsider/art-pick-week-raising-cross-peter-paul-rubens", "cite": "Art Gallery of Ontario, 'Art Pick of the Week: The Raising of the Cross by Peter Paul Rubens', read 2026-09-24"}, {"what": "The engraving made from it: Witdoeck after Rubens, 1638, three plates on three sheets, dedicated to Cornelis van der Geest", "url": "https://www.nga.gov/artworks/56637-elevation-cross", "cite": "National Gallery of Art, Washington, Jan Witdoeck after Rubens, The Elevation of the Cross, 1978.31.2-4, read 2026-09-24"}, {"what": "The AGO's record: The Raising of the Cross, c. 1638, oil on paper later mounted on canvas, 72.1 × 132.7 cm, Purchase 1928, acc. 906", "url": "https://ago.ca/collection/object/906", "cite": "Art Gallery of Ontario, The Raising of the Cross, acc. 906, read 2026-09-24"}]}, "scene": {"ref": "Hebrews 13:12", "quote": "Wherefore Jesus also, that he might sanctify the people by his own blood, suffered without the gate.", "shows": "the cross hauled upright, with Jerusalem in the distance"}, "th": "/store/thumb/peter_paul_rubens_the_raising_of_the_cross_sketch.webp", "more": [{"k": "subject", "n": "The Crucifixion in painting", "u": "/editions/subject/crucifixion/", "ids": ["zurbaran_christ_cross", "goya_christ_crucified", "bonnat_le_christ_en_croix", "gauguin_yellow_christ"]}, {"k": "master", "n": "Peter Paul Rubens", "u": "/editions/master/peter-paul-rubens/", "ids": ["rubens_the_baptism_of_christ", "rubens_saint_jerome", "rubens_massacre_innocents", "rubens_entombment"]}]}, "cecco_del_caravaggio_the_resurrection": {"id": "cecco_del_caravaggio_the_resurrection", "title": "The Resurrection", "artist_line": "Cecco del Caravaggio (Italian, 1588/90–after 1620)", "artist": "Cecco del Caravaggio", "date": "1619–1620", "museum": "Art Institute of Chicago", "license": "Public domain", "tier": "Sanctuary", "sizes": [{"size": "8×10 in", "paper": 39, "iw": 5.8, "ih": 10, "sw": 8, "sh": 10, "cov": 0.721}, {"size": "11×14 in", "paper": 59, "iw": 8.1, "ih": 14, "sw": 11, "sh": 14, "cov": 0.734}, {"size": "16×20 in", "paper": 110, "iw": 11.5, "ih": 20, "sw": 16, "sh": 20, "cov": 0.721}, {"size": "18×24 in", "paper": 140, "iw": 13.9, "ih": 24, "sw": 18, "sh": 24, "cov": 0.769}, {"size": "24×36 in", "paper": 190, "iw": 20.8, "ih": 36, "sw": 24, "sh": 36, "cov": 0.866}, {"size": "32×48 in", "paper": 340, "iw": 27.7, "ih": 48, "sw": 32, "sh": 48, "cov": 0.866}, {"size": "40×60 in", "paper": 480, "iw": 34.6, "ih": 60, "sw": 40, "sh": 60, "cov": 0.866}], "local": "/store/display/cecco_del_caravaggio_the_resurrection.jpg", "commons_file": "Francesco Buoneri, called Cecco del Caravaggio - The Resurrection - Google Art Project.jpg", "zoom": "https://art.monstrance.app/zoom/cecco_del_caravaggio_the_resurrection.jpg", "master_px": 8879, "auth": {"institution": "The Art Institute of Chicago", "accession": "1934.390", "url": "https://www.artic.edu/artworks/19336/the-resurrection", "artist_as_printed": "Cecco del Caravaggio (Francesco Boneri; Italian, 1588/90–after 1620)", "date_as_printed": "1619–1620", "medium": "Oil on canvas", "dimensions": "339.1 × 199.5 cm (133 1/2 × 78 1/2 in.); Framed: 389.9 × 246.4 × 10.2 cm (153 1/2 × 97 × 4 in.)"}, "writeup": {"text": "Christ goes up with His banner, one knee still bent, and leaves the tomb to the angel. The angel points skyward; Word on Fire's Ellyn von Huben has him gently holding back the slab while pointing to the miracle, sets his calm against the terrified amazement of the bystanders, and sees Christ use the tomb as a jumping-off point. The Art Institute of Chicago calls this the only documented painting by Francesco Boneri, Cecco del Caravaggio, perhaps the boy who assisted Caravaggio in his last Roman years; it exaggerates his master's bold contrast of light and dark. At the foot a lantern stands on the ground, no longer needed.", "sources": [{"what": "The angel gently holding back a slab of rock while pointing toward the miracle; the terrified amazement on the faces of the bystanders; Christ using the tomb as a jumping-off point and bursting toward the viewer", "url": "https://www.wordonfire.org/articles/contributors/easter-caravaggio-and-the-wondrous-love/", "cite": "Ellyn von Huben, 'Easter: Caravaggio and the Wondrous Love', Word on Fire, 27 March 2016, read 2026-09-24"}, {"what": "The only documented painting by Boneri, commissioned in 1619 by a Tuscan diplomat for his family chapel in Florence, rejected, and later in the collection of Cardinal Scipione Borghese; it exaggerates the bold contrast of light and dark that marked Caravaggio's style", "url": "https://www.artic.edu/artworks/19336/the-resurrection", "cite": "The Art Institute of Chicago, The Resurrection, 1934.390, read 2026-09-24"}, {"what": "The AIC's record on Google Arts \u0026 Culture: Buoneri may have been the 'boy Francesco' who assisted Caravaggio during his last years in Rome", "url": "https://artsandculture.google.com/asset/the-resurrection-francesco-buoneri-called-cecco-del-caravaggio-italian-1588-90%E2%80%93after-1620/fQHWIZqsKxGwMA?hl=en", "cite": "The Art Institute of Chicago, via Google Arts \u0026 Culture, read 2026-09-24"}]}, "scene": {"ref": "Matthew 28:2", "quote": "And behold there was a great earthquake. For an angel of the Lord descended from heaven and coming rolled back the stone and sat upon it.", "shows": "Christ rising as the angel holds back the slab and the guards recoil"}, "th": "/store/thumb/cecco_del_caravaggio_the_resurrection.webp", "more": [{"k": "subject", "n": "The Resurrection in painting", "u": "/editions/subject/resurrection/", "ids": ["johann_konig_the_resurrection_of_christ", "benvenuto_di_giovanni_the_resurrection", "titian_the_resurrection_averoldi_polyptych_ce"]}]}, "andrea_da_firenze_the_crucifixion": {"id": "andrea_da_firenze_the_crucifixion", "title": "The Crucifixion", "artist_line": "Andrea da Firenze (Italian, 1379)", "artist": "Andrea da Firenze", "date": "c. 1360s", "museum": "Cleveland Museum of Art", "license": "CC0", "tier": "Sanctuary", "sizes": [{"size": "8×10 in", "paper": 39, "iw": 3.9, "ih": 10, "sw": 8, "sh": 10, "cov": 0.483}, {"size": "11×14 in", "paper": 59, "iw": 5.4, "ih": 14, "sw": 11, "sh": 14, "cov": 0.492}, {"size": "16×20 in", "paper": 110, "iw": 7.7, "ih": 20, "sw": 16, "sh": 20, "cov": 0.483}, {"size": "18×24 in", "paper": 140, "iw": 9.3, "ih": 24, "sw": 18, "sh": 24, "cov": 0.515}, {"size": "24×36 in", "paper": 190, "iw": 13.9, "ih": 36, "sw": 24, "sh": 36, "cov": 0.58}, {"size": "32×48 in", "paper": 340, "iw": 18.6, "ih": 48, "sw": 32, "sh": 48, "cov": 0.58}, {"size": "40×60 in", "paper": 480, "iw": 23.2, "ih": 60, "sw": 40, "sh": 60, "cov": 0.58}], "local": "/store/display/andrea_da_firenze_the_crucifixion.jpg", "commons_file": "Andrea da Firenze - The Crucifixion - 1916.776 - Cleveland Museum of Art.tif", "zoom": "https://art.monstrance.app/zoom/andrea_da_firenze_the_crucifixion.jpg", "master_px": 9961, "auth": {"institution": "The Cleveland Museum of Art", "accession": "1916.776", "url": "https://www.clevelandart.org/art/1916.776", "artist_as_printed": "Andrea da Firenze (Italian, 1379)", "date_as_printed": "c. 1360s", "medium": "tempera and gold on wood (walnut)", "dimensions": "Unframed: 31 x 13.4 cm (12 3/16 x 5 1/4 in.)"}, "writeup": {"text": "Christ's blood runs down the wood to where a kneeling figure in red, fair hair loose, holds it and looks up. At the left Our Lady, in a blue cloak, looks down; at the right a figure in a rose cloak looks up. Three keep one Cross, and their eyes divide. The Cleveland Museum of Art reads the work as probably part of a small altarpiece for private prayer, by Andrea da Firenze, active in Florence and Siena after the Black Death, when such work was charged with emotion. The bottom has been trimmed, cutting off the scene. What remains keeps the kneeling one nearest the wood, lowest, still looking up.", "sources": [{"what": "Cleveland Museum of Art object record 1916.776: The Crucifixion, c. 1360s, Andrea da Firenze; tempera and gold on wood (walnut), 31 x 13.4 cm; probably part of a small altarpiece of private devotion; the artist active in Florence and Siena after the Black Death, his works charged with emotion; trimmed slightly at the bottom, cutting off the scene; image description: a figure in a blue cloak at left looks down, a kneeling blonde figure in a red robe below gazes upward, a figure in dark clothing at right looks up", "url": "https://www.clevelandart.org/art/1916.776", "cite": "Cleveland Museum of Art, 'The Crucifixion', Andrea da Firenze, 1916.776, read 2026-09-24"}, {"what": "The same Cleveland Museum of Art open-access record as deposited by the museum on the Internet Archive: medium, dimensions, credit line 'Holden Collection', provenance Minor K. Kellogg, Liberty E. and Delia E. Holden, bequeathed 1916", "url": "https://archive.org/details/clevelandart-1916.776-the-crucifixion", "cite": "Cleveland Museum of Art open access, Internet Archive item clevelandart-1916.776-the-crucifixion, read 2026-09-24"}]}, "scene": {"ref": "John 19:25", "quote": "Now there stood by the cross of Jesus, his mother and his mother's sister, Mary of Cleophas, and Mary Magdalen.", "shows": "Christ crucified with three mourners at the foot of the cross"}, "th": "/store/thumb/andrea_da_firenze_the_crucifixion.webp", "more": [{"k": "subject", "n": "The Crucifixion in painting", "u": "/editions/subject/crucifixion/", "ids": ["master_guillebert_de_mets_workshop_crucifixion_leaf", "van_dyck_christ_on_the_cross_christus_aan_het_kru", "bohemian_master_the_kaufmann_crucifixion", "angelico_crucifixion_met"]}]}, "workshop_of_hans_memling_virgin_and_child": {"id": "workshop_of_hans_memling_virgin_and_child", "title": "Virgin and Child", "artist_line": "Workshop of Hans Memling (Netherlandish, d. 1494)", "artist": "Workshop of Hans Memling", "date": "c. 1470–80", "museum": "Cleveland Museum of Art", "license": "CC0", "tier": "Sanctuary", "sizes": [{"size": "8×10 in", "paper": 39, "iw": 7.0, "ih": 10, "sw": 8, "sh": 10, "cov": 0.875}, {"size": "11×14 in", "paper": 59, "iw": 9.8, "ih": 14, "sw": 11, "sh": 14, "cov": 0.891}, {"size": "16×20 in", "paper": 110, "iw": 14.0, "ih": 20, "sw": 16, "sh": 20, "cov": 0.875}, {"size": "18×24 in", "paper": 140, "iw": 16.8, "ih": 24, "sw": 18, "sh": 24, "cov": 0.933}, {"size": "24×36 in", "paper": 190, "iw": 24, "ih": 34.3, "sw": 24, "sh": 36, "cov": 0.953}, {"size": "32×48 in", "paper": 340, "iw": 32, "ih": 45.7, "sw": 32, "sh": 48, "cov": 0.953}, {"size": "40×60 in", "paper": 480, "iw": 40, "ih": 57.2, "sw": 40, "sh": 60, "cov": 0.953}], "local": "/store/display/workshop_of_hans_memling_virgin_and_child.jpg", "commons_file": "Hans Memling - Virgin and Child - 1934.29 - Cleveland Museum of Art.tif", "zoom": "https://art.monstrance.app/zoom/workshop_of_hans_memling_virgin_and_child.jpg", "master_px": 9140, "auth": {"institution": "The Cleveland Museum of Art", "accession": "1934.29", "url": "https://www.clevelandart.org/art/1934.29", "artist_as_printed": "workshop of Hans Memling (Netherlandish, 1494)", "date_as_printed": "c. 1470–80", "medium": "oil on wood", "dimensions": "Framed: 41.3 x 31.4 x 4.1 cm (16 1/4 x 12 3/8 x 1 5/8 in.); Unframed: 31.5 x 22 cm (12 3/8 x 8 11/16 in.)"}, "writeup": {"text": "The Christ Child takes His Mother's milk, the Word who made the world, and already He has turned to greet someone who is no longer here. Cleveland's curators note that His attention seems drawn to something outside the frame, and that He lifts His hand in recognition. The Virgin holds Him on a green cushion and supports her breast with her left hand. A member of Hans Memling's workshop painted this half of a devotional portrait diptych; the other half, once hinged on the right, would have shown its owner at prayer, perhaps a wealthy merchant or clergyman, the museum suggests. It is lost. Only the greeting is left.", "sources": [{"what": "Cleveland Museum of Art object record 1934.29: Virgin and Child, c. 1470–80, workshop of Hans Memling, oil on wood, 31.5 x 22 cm; once part of a devotional portrait diptych; the Christ child's attention seems drawn to something outside the picture and he lifts his hand in recognition; the opposing panel, once hinged on the right, would have shown a portrait of its original owner in prayer, now lost; painted by a member of Memling's workshop, perhaps for a wealthy merchant or clergyman; image description: Mary holds the infant on a green cushion and supports her breast with her left hand", "url": "https://www.clevelandart.org/art/1934.29", "cite": "Cleveland Museum of Art, 'Virgin and Child', workshop of Hans Memling, 1934.29, read 2026-09-24"}, {"what": "The same Cleveland Museum of Art open-access record as deposited by the museum on the Internet Archive, with the full label text naming a member of Memling's workshop as painter, the credit line and provenance", "url": "https://archive.org/details/clevelandart-1934.29-virgin-and-child", "cite": "Cleveland Museum of Art open access, Internet Archive item clevelandart-1934.29-virgin-and-child, read 2026-09-24"}]}, "scene": {"why": "A half-length Virgin nursing the Child is a devotional type made for private prayer, here the left half of a portrait diptych; no evangelist narrates this moment, and Luke 11:27 is a blessing spoken in a crowd, not a scene."}, "th": "/store/thumb/workshop_of_hans_memling_virgin_and_child.webp", "more": [{"k": "subject", "n": "The Madonna and Child in painting", "u": "/editions/subject/madonna-and-child/", "ids": ["francesca_madonna_and_child_enthroned", "leonardo_benois_madonna", "hans_memling_madonna_and_child_with_angels", "botticelli_madonna_book"]}]}, "hendrik_van_balen_the_trinity": {"id": "hendrik_van_balen_the_trinity", "title": "The Trinity", "artist_line": "Hendrik van Balen (Flemish, 1575–1632)", "artist": "Hendrik van Balen", "date": "c. 1620", "museum": "Cleveland Museum of Art", "license": "CC0", "tier": "Sanctuary", "sizes": [{"size": "8×10 in", "paper": 39, "iw": 6.3, "ih": 10, "sw": 8, "sh": 10, "cov": 0.79}, {"size": "11×14 in", "paper": 59, "iw": 8.9, "ih": 14, "sw": 11, "sh": 14, "cov": 0.805}, {"size": "16×20 in", "paper": 110, "iw": 12.6, "ih": 20, "sw": 16, "sh": 20, "cov": 0.79}, {"size": "18×24 in", "paper": 140, "iw": 15.2, "ih": 24, "sw": 18, "sh": 24, "cov": 0.843}, {"size": "24×36 in", "paper": 190, "iw": 22.8, "ih": 36, "sw": 24, "sh": 36, "cov": 0.948}, {"size": "32×48 in", "paper": 340, "iw": 30.4, "ih": 48, "sw": 32, "sh": 48, "cov": 0.948}, {"size": "40×60 in", "paper": 480, "iw": 37.9, "ih": 60, "sw": 40, "sh": 60, "cov": 0.948}], "local": "/store/display/hendrik_van_balen_the_trinity.jpg", "commons_file": "Hendrik van Balen - The Trinity - 1996.26 - Cleveland Museum of Art.tif", "zoom": "https://art.monstrance.app/zoom/hendrik_van_balen_the_trinity.jpg", "master_px": 7444, "auth": {"institution": "Cleveland Museum of Art", "accession": "1996.26", "url": "https://www.clevelandart.org/art/1996.26", "artist_as_printed": "Hendrik van Balen (Flemish, 1575–1632)", "date_as_printed": "c. 1620", "medium": "Oil on wood", "dimensions": "Framed: 134 x 107 x 7 cm (52 3/4 x 42 1/8 x 2 3/4 in.); Unframed: 114.6 x 73.9 cm (45 1/8 x 29 1/8 in.)"}, "writeup": {"text": "God the Father wears a pope's crown and holds His dead Son upright, the white cloth falling to the clouds. Above them the Holy Spirit, as a dove, hangs in a clearing of light. The Cleveland Museum of Art reads the purple tiara as deliberate: made in Antwerp, the center of religious learning in Catholic Flanders, the work stresses the pope's role as God's true representative on earth. Hendrik van Balen rings all three with angels carrying the instruments of the Passion; two kneel with censers. On the clasp of the Father's cape stands a small Saint Barbara, which the museum takes as a clue to a chapel dedicated to her.", "sources": [{"what": "Tombstone (Oil on wood; 114.6 x 73.9 cm unframed; c. 1620); the museum's description: Antwerp as the center of religious learning in Catholic Flanders, God the Father holding the dead Christ with the dove above, the purple papal tiara as emphasis on the pope's role as God's true representative on earth, angels holding the instruments of the Passion, and the small Saint Barbara on the clasp of the cape as a possible clue to a chapel dedicated to her.", "url": "https://www.clevelandart.org/print/art/1996.26", "cite": "Cleveland Museum of Art, Hendrik van Balen, The Trinity, 1996.26, read 2026-09-24"}]}, "scene": {"why": "A devotional image of the Trinity: the Father holding the dead Son with the dove above, ringed by angels carrying the instruments of the Passion. No evangelist narrates this grouping; it is a doctrinal image, so no single verse is honest."}, "th": "/store/thumb/hendrik_van_balen_the_trinity.webp", "more": [{"k": "subject", "n": "The Holy Trinity in painting", "u": "/editions/subject/the-holy-trinity/", "ids": ["rubens_the_holy_trinity", "masaccio_trinity", "girardin_the_trinity", "goes_the_trinity_altarpiece_the_holy_trinit"]}]}, "johann_konig_the_resurrection_of_christ": {"id": "johann_konig_the_resurrection_of_christ", "title": "The Resurrection of Christ", "artist_line": "Johann König (German, 1586–1642)", "artist": "Johann König", "date": "1622", "museum": "Cleveland Museum of Art", "license": "PD-Art (photo CC0)", "tier": "Sanctuary", "sizes": [{"size": "8×10 in", "paper": 39, "iw": 7.6, "ih": 10, "sw": 8, "sh": 10, "cov": 0.944}, {"size": "11×14 in", "paper": 59, "iw": 10.6, "ih": 14, "sw": 11, "sh": 14, "cov": 0.961}, {"size": "16×20 in", "paper": 110, "iw": 15.1, "ih": 20, "sw": 16, "sh": 20, "cov": 0.944}, {"size": "18×24 in", "paper": 140, "iw": 18, "ih": 23.8, "sw": 18, "sh": 24, "cov": 0.993}, {"size": "24×36 in", "paper": 190, "iw": 24, "ih": 31.8, "sw": 24, "sh": 36, "cov": 0.883}, {"size": "32×48 in", "paper": 340, "iw": 32, "ih": 42.4, "sw": 32, "sh": 48, "cov": 0.883}, {"size": "40×60 in", "paper": 480, "iw": 40, "ih": 53.0, "sw": 40, "sh": 60, "cov": 0.883}], "local": "/store/display/johann_konig_the_resurrection_of_christ.jpg", "commons_file": "Johann König - The Resurrection of Christ - 2017.192 - Cleveland Museum of Art.tiff", "zoom": "https://art.monstrance.app/zoom/johann_konig_the_resurrection_of_christ.jpg", "master_px": 14839, "auth": {"institution": "Cleveland Museum of Art", "accession": "2017.192", "url": "https://www.clevelandart.org/art/2017.192", "artist_as_printed": "Johann König (German, 1586–1642)", "date_as_printed": "1622", "medium": "oil on copper", "dimensions": "Unframed: 61 x 46 cm (24 x 18 1/8 in.)"}, "writeup": {"text": "Christ goes up barefoot out of the tomb with a white banner, into a sun full of small angels, and the soldiers below sleep or throw up a shield. An angel leans on the stone. The Cleveland Museum of Art points to vivid colors and explosive poses, meticulous brushwork and exquisite details, and to three holy women hastening across a luminous landscape toward Christ's vacant tomb. Heather Lemonedes, the museum's chief curator, calls it Johann König's largest and most ambitious painting on copper. Look through the arch for them, small on the far road. They are still running toward what has already happened.", "sources": [{"what": "Tombstone (oil on copper, 61 x 46 cm, 1622); the museum's description: vivid colors and explosive poses, meticulous brushwork and exquisite details, the luminous landscape and the three holy women hastening towards Christ's vacant tomb.", "url": "https://www.clevelandart.org/art/2017.192", "cite": "Cleveland Museum of Art, Johann König, The Resurrection of Christ, 2017.192, read 2026-09-24"}, {"what": "Heather Lemonedes, Deputy Director and Chief Curator, describes the painting as König's largest and most ambitious painting on copper, shown in Gallery 214.", "url": "https://medium.com/cma-thinker/now-on-view-a-guide-to-looking-in-the-redesigned-northern-european-galleries-13663c74e24a", "cite": "Heather Lemonedes, 'Now on View: A Guide to Looking in the Redesigned Northern European Galleries', CMA Thinker, read 2026-09-24"}]}, "scene": {"ref": "Mark 16:2", "quote": "And very early in the morning, the first day of the week, they come to the sepulchre, the sun being now risen.", "shows": "the three holy women hurrying toward the empty tomb at sunrise"}, "th": "/store/thumb/johann_konig_the_resurrection_of_christ.webp", "more": [{"k": "subject", "n": "The Resurrection in painting", "u": "/editions/subject/resurrection/", "ids": ["benvenuto_di_giovanni_the_resurrection", "titian_the_resurrection_averoldi_polyptych_ce", "cecco_del_caravaggio_the_resurrection"]}]}, "florence_psalter_leaf_initial_b_king_david": {"id": "florence_psalter_leaf_initial_b_king_david", "title": "Initial B with King David (Leaf from a Psalter)", "artist_line": "Unknown illuminator (Italy, Florence, c. 1450)", "artist": "Florentine illuminator", "date": "c. 1450", "museum": "Cleveland Museum of Art", "license": "CC0", "tier": "Sanctuary", "sizes": [{"size": "8×10 in", "paper": 39, "iw": 7.3, "ih": 10, "sw": 8, "sh": 10, "cov": 0.916}, {"size": "11×14 in", "paper": 59, "iw": 10.3, "ih": 14, "sw": 11, "sh": 14, "cov": 0.932}, {"size": "16×20 in", "paper": 110, "iw": 14.7, "ih": 20, "sw": 16, "sh": 20, "cov": 0.916}, {"size": "18×24 in", "paper": 140, "iw": 17.6, "ih": 24, "sw": 18, "sh": 24, "cov": 0.977}, {"size": "24×36 in", "paper": 190, "iw": 24, "ih": 32.8, "sw": 24, "sh": 36, "cov": 0.91}, {"size": "32×48 in", "paper": 340, "iw": 32, "ih": 43.7, "sw": 32, "sh": 48, "cov": 0.91}, {"size": "40×60 in", "paper": 480, "iw": 40, "ih": 54.6, "sw": 40, "sh": 60, "cov": 0.91}], "local": "/store/display/florence_psalter_leaf_initial_b_king_david.jpg", "commons_file": "Italy, Florence, 15th century - Leaf from a Psalter with Historiated Initial (B)- King David - 1964.149 - Cleveland Museum of Art.tif", "zoom": "https://art.monstrance.app/zoom/florence_psalter_leaf_initial_b_king_david.jpg", "master_px": 7067, "auth": {"institution": "Cleveland Museum of Art", "accession": "1964.149", "url": "https://www.clevelandart.org/print/art/1964.149", "date_as_printed": "c. 1450", "medium": "ink, tempera, and gold on parchment", "dimensions": "Sheet: 45.7 x 34.3 cm (18 x 13 1/2 in.)"}, "writeup": {"text": "King David kneels inside a letter, crowned, his instrument laid down on the ground, and the whole book of Psalms opens through him. The letter is B, for the Psalter's first words: \"Blessed is the man.\" A Florentine illuminator worked it around 1450 in ink, tempera and gold on parchment. The Cleveland Museum of Art notes that the leaf's size, 45.7 by 34.3 centimetres, indicates it could be used by a group of readers, and adds a lineage: the book of hours grew out of psalters once laypeople in the 1200s asked for psalters without the cumbersome psalms. The instrument lies quiet. The singing is about to begin.", "sources": [{"what": "Tombstone (ink, tempera, and gold on parchment; 45.7 x 34.3 cm; Italy, Florence, c. 1450); the museum's note that the larger size of the leaf indicates use by a group of readers; its description of Psalm 1 opening with a decorated B containing King David kneeling with a plucking instrument on the ground; books of hours evolving from psalters after laypeople of the 1200s asked for psalters without the cumbersome psalms.", "url": "https://www.clevelandart.org/print/art/1964.149", "cite": "Cleveland Museum of Art, Leaf from a Psalter with Historiated Initial (B): King David, 1964.149, read 2026-09-24"}]}, "scene": {"ref": "Psalms 1:1", "quote": "Blessed is the man who hath not walked in the counsel of the ungodly, nor stood in the way of sinners, nor sat in the chair of pestilence:", "shows": "King David kneeling inside the B that opens Psalm 1"}, "th": "/store/thumb/florence_psalter_leaf_initial_b_king_david.webp", "more": [{"k": "subject", "n": "The Old Testament in painting", "u": "/editions/subject/old-testament/", "ids": ["circle_of_geertgen_tree_of_jesse", "andrea_del_sarto_the_sacrifice_of_isaac", "caravaggio_judith_beheading_holofernes", "caravaggio_david_goliath"]}]}, "master_guillebert_de_mets_workshop_crucifixion_leaf": {"id": "master_guillebert_de_mets_workshop_crucifixion_leaf", "title": "The Crucifixion (Leaf from a Book of Hours)", "artist_line": "Master of Guillebert de Mets and Workshop (Flemish, active c. 1410–1445)", "artist": "Master of Guillebert de Mets and Workshop", "date": "1430s", "museum": "Cleveland Museum of Art", "license": "CC0", "tier": "Sanctuary", "sizes": [{"size": "8×10 in", "paper": 39, "iw": 6.7, "ih": 10, "sw": 8, "sh": 10, "cov": 0.833}, {"size": "11×14 in", "paper": 59, "iw": 9.3, "ih": 14, "sw": 11, "sh": 14, "cov": 0.848}, {"size": "16×20 in", "paper": 110, "iw": 13.3, "ih": 20, "sw": 16, "sh": 20, "cov": 0.833}, {"size": "18×24 in", "paper": 140, "iw": 16.0, "ih": 24, "sw": 18, "sh": 24, "cov": 0.888}], "local": "/store/display/master_guillebert_de_mets_workshop_crucifixion_leaf.jpg", "commons_file": "Master of Guillebert de Mets - Leaf from a Book of Hours- The Crucifixion - 2011.58 - Cleveland Museum of Art.tif", "zoom": "https://art.monstrance.app/zoom/master_guillebert_de_mets_workshop_crucifixion_leaf.jpg", "master_px": 5661, "auth": {"institution": "Cleveland Museum of Art", "accession": "2011.58", "url": "https://www.clevelandart.org/art/2011.58", "artist_as_printed": "Master of Guillebert de Mets (Flemish) and Workshop", "date_as_printed": "1430s", "medium": "Ink, tempera and gold on vellum", "dimensions": "Leaf: 14.1 x 10.1 cm (5 9/16 x 4 in.)"}, "writeup": {"text": "Christ hangs against a checkerboard of gold, and the ransom of the whole world is paid on a leaf smaller than a hand. Our Lady, haloed, in gold, sinks at the left, held from behind. The Cleveland Museum of Art gives this leaf to the Master of Guillebert de Mets and his workshop, named for the scribe of a Decameron made for Philip the Good of Burgundy, and singles out his mosaic backgrounds of delicately worked checkered patterns, naming this Crucifixion as one. The museum lists his other marks: prominent heads, small mouths, slender torsos, thin spindly legs, long finely worked fingers. Look at the fingers opened on the wood.", "sources": [{"what": "Tombstone (1430s; ink, tempera and gold on vellum; 14.1 x 10.1 cm); the museum's description of the Master of Guillebert de Mets: named after the scribe of an illuminated Decameron for Duke Philip the Good of Burgundy, active about 1410 to 1445, figures with prominent heads, well-delineated eyes, small mouths, slender torsos, thin spindly legs and long, finely worked fingers, and mosaic backgrounds of delicately worked checkered patterns in The Crucifixion.", "url": "https://www.clevelandart.org/print/art/2011.58", "cite": "Cleveland Museum of Art, Leaf from a Book of Hours: The Crucifixion, 2011.58, read 2026-09-24"}]}, "scene": {"ref": "Mark 15:25", "quote": "And it was the third hour: and they crucified him.", "shows": "Christ on the cross"}, "th": "/store/thumb/master_guillebert_de_mets_workshop_crucifixion_leaf.webp", "more": [{"k": "subject", "n": "The Crucifixion in painting", "u": "/editions/subject/crucifixion/", "ids": ["van_dyck_christ_on_the_cross_christus_aan_het_kru", "bohemian_master_the_kaufmann_crucifixion", "angelico_crucifixion_met", "dreux_bude_master_the_crucifixion"]}]}, "guido_da_siena_coronation_of_the_virgin": {"id": "guido_da_siena_coronation_of_the_virgin", "title": "The Coronation of the Virgin", "artist_line": "Guido da Siena (Italian, active c. 1250–1300)", "artist": "Guido da Siena", "date": "c. 1260", "museum": "The Courtauld Gallery, London", "license": "CC BY-SA 4.0", "tier": "Sanctuary", "sizes": [{"size": "8×10 in", "paper": 39, "iw": 10, "ih": 2.1, "sw": 10, "sh": 8, "cov": 0.257}, {"size": "11×14 in", "paper": 59, "iw": 14, "ih": 2.9, "sw": 14, "sh": 11, "cov": 0.261}, {"size": "16×20 in", "paper": 110, "iw": 20, "ih": 4.1, "sw": 20, "sh": 16, "cov": 0.257}, {"size": "18×24 in", "paper": 140, "iw": 24, "ih": 4.9, "sw": 24, "sh": 18, "cov": 0.274}, {"size": "24×36 in", "paper": 190, "iw": 36, "ih": 7.4, "sw": 36, "sh": 24, "cov": 0.308}, {"size": "32×48 in", "paper": 340, "iw": 48, "ih": 9.9, "sw": 48, "sh": 32, "cov": 0.308}, {"size": "40×60 in", "paper": 480, "iw": 60, "ih": 12.3, "sw": 60, "sh": 40, "cov": 0.308}], "local": "/store/display/guido_da_siena_coronation_of_the_virgin.jpg", "commons_file": "Guido da Siena, The Coronation of the Virgin, ca. 1260, Courtauld Gallery, London.jpg", "zoom": "https://art.monstrance.app/zoom/guido_da_siena_coronation_of_the_virgin.jpg", "master_px": 9870, "auth": {"institution": "The Courtauld Gallery, London (Samuel Courtauld Trust)", "accession": "P.1947.LF.186", "url": "https://gallerycollections.courtauld.ac.uk/object-p-1947-lf-186", "artist_as_printed": "Guido da Siena, active ca. 1250-1300", "date_as_printed": "c. 1260", "medium": "tempera on panel, irregular shape", "dimensions": "Height: 34.3 cm (panel); Width: 166.7 cm (panel)"}, "writeup": {"text": "Christ's right hand is still at the crown on Our Lady's head, and in His other hand an open book. Kayoko Ichikawa, writing in IKON, holds that the crowning gesture belongs to the original design, and describes the Virgin in the orant pose, palms turned outward. Gold lines run through the folds of her dark mantle; Ichikawa reads that chrysography, an eastern technique, as honouring her as Maria Regina. The Courtauld says Guido da Siena's long, low work was once the top of an altarpiece, and that the coronation was thought especially fitting for works shown higher up. Our Lady is crowned up there, and we look up.", "sources": [{"what": "Tombstone (c. 1260, tempera on panel, irregular shape, 34.3 x 166.7 cm, P.1947.LF.186) and the Courtauld's text: the crowning of the Virgin by Christ upon her ascent into Heaven; originally the top of an altarpiece of several panels; a theme considered particularly appropriate for works shown higher up.", "url": "https://gallerycollections.courtauld.ac.uk/object-p-1947-lf-186", "cite": "The Courtauld Gallery, Guido da Siena, The Coronation of the Virgin, P.1947.LF.186, read 2026-09-24"}, {"what": "Christ's right hand placing a crown on the head of the Virgin in orant pose as part of the original composition; the Virgin showing her palms to the viewers; the angels carrying the mandorla; chrysography on the Virgin's mantle as the western use of an eastern technique to honour her as Maria Regina; the panel as part of the gable of a larger painting.", "url": "http://cis.ffri.hr/wp-content/uploads/2017/06/Ichikawa_IKON10.pdf", "cite": "Kayoko Ichikawa, 'Guido da Siena's Coronation of the Virgin: Thirteenth-Century Marian Devotion between East and West', IKON 10 (2017), 83–96, read 2026-09-24"}]}, "scene": {"why": "The crowning of Mary in heaven is not narrated in Scripture; the Church's belief in her Assumption and her queenship comes through Tradition and the liturgy. The Courtauld itself reads it as her crowning upon her ascent into Heaven, a scene no evangelist records."}, "th": "/store/thumb/guido_da_siena_coronation_of_the_virgin.webp", "more": [{"k": "subject", "n": "The Coronation of the Virgin in painting", "u": "/editions/subject/coronation-of-the-virgin/", "ids": ["gentile_da_fabriano_coronation_of_the_virgin", "fra_angelico_coronation", "lippi_coronation", "angelico_coronation_of_the_virgin"]}]}, "giandomenico_tiepolo_institution_of_the_eucharist": {"id": "giandomenico_tiepolo_institution_of_the_eucharist", "title": "The Institution of the Eucharist", "artist_line": "Giandomenico Tiepolo (Italian, 1727–1804)", "artist": "Giandomenico Tiepolo", "date": "1778–1779", "museum": "Gallerie dell'Accademia, Venice", "license": "Public domain", "tier": "Sanctuary", "sizes": [{"size": "8×10 in", "paper": 39, "iw": 7.3, "ih": 10, "sw": 8, "sh": 10, "cov": 0.914}, {"size": "11×14 in", "paper": 59, "iw": 10.2, "ih": 14, "sw": 11, "sh": 14, "cov": 0.93}, {"size": "16×20 in", "paper": 110, "iw": 14.6, "ih": 20, "sw": 16, "sh": 20, "cov": 0.914}, {"size": "18×24 in", "paper": 140, "iw": 17.5, "ih": 24, "sw": 18, "sh": 24, "cov": 0.975}, {"size": "24×36 in", "paper": 190, "iw": 24, "ih": 32.8, "sw": 24, "sh": 36, "cov": 0.912}, {"size": "32×48 in", "paper": 340, "iw": 32, "ih": 43.8, "sw": 32, "sh": 48, "cov": 0.912}, {"size": "40×60 in", "paper": 480, "iw": 40, "ih": 54.7, "sw": 40, "sh": 60, "cov": 0.912}], "local": "/store/display/giandomenico_tiepolo_institution_of_the_eucharist.jpg", "commons_file": "(Venice) Institution of the Eucharist by Giandomenico Tiepolo - Gallerie Accademia.jpg", "zoom": "https://art.monstrance.app/zoom/giandomenico_tiepolo_institution_of_the_eucharist.jpg", "master_px": 8048, "auth": {"institution": "Gallerie dell'Accademia di Venezia (record in the Catalogo generale dei Beni Culturali, Ministero della Cultura)", "accession": "488", "url": "https://catalogo.beniculturali.it/detail/HistoricOrArtisticProperty/0500401601", "artist_as_printed": "Tiepolo Giandomenico (1727/ 1804)", "date_as_printed": "1778 - 1779", "medium": "tela/ pittura a olio", "dimensions": "Altezza: 137; Larghezza: 100"}, "writeup": {"text": "Christ is giving out the bread, and the apostles come to Him on their knees. The Italian state catalogue observes that the wine is only alluded to, by the chalice resting on the table: Giandomenico Tiepolo chose the moment of distribution. The same entry watches the room rise around the meal, a dark rustic vault opening into Corinthian columns and capitals, and where his 1753 version had a sunset sky, a profusion of angels and putti arrives; one carries a thurible. The catalogue finds a cartellino on the smooth column at the left, lettered DOMENICO TIEPOLO, with a date. The bread is small, and heaven leans down to see it.", "sources": [{"what": "Tombstone (inv. 488; oil on canvas; 137 x 100 cm; 1778–1779) and the historical-critical note: the canvas as the artist's overdue academic reception piece; Christ caught in the distribution of the bread, the wine only alluded to by the chalice on the table (Matthew 26:26–29); the rustic vault rising into architecture with Corinthian columns and capitals; the profusion of angels and putti in place of the sunset sky of the 1753 version; the angel with a thurible; the cartellino on the smooth column at left reading DOMENICO / TIEPOLO / ... / ANNO 177...", "url": "https://catalogo.beniculturali.it/detail/HistoricOrArtisticProperty/0500401601", "cite": "Catalogo generale dei Beni Culturali (Ministero della Cultura), scheda 0500401601, Giandomenico Tiepolo, L'istituzione dell'Eucarestia, Gallerie dell'Accademia inv. 488, read 2026-09-24"}]}, "scene": {"ref": "Matthew 26:26", "quote": "And whilst they were at supper, Jesus took bread and blessed and broke and gave to his disciples and said: Take ye and eat. This is my body.", "shows": "Christ distributing the bread to the apostles at the Last Supper"}, "th": "/store/thumb/giandomenico_tiepolo_institution_of_the_eucharist.webp", "more": [{"k": "subject", "n": "The Last Supper in painting", "u": "/editions/subject/last-supper/", "ids": ["giotto_last_supper", "leonardo_last_supper", "titian_the_last_supper", "poussin_eucharist"]}]}, "bohemian_master_the_glatz_madonna": {"id": "bohemian_master_the_glatz_madonna", "title": "The Glatz Madonna", "artist_line": "Bohemian Master (Bohemian, active c. 1350)", "artist": "Bohemian Master", "date": "c. 1350", "museum": "Gemäldegalerie, Staatliche Museen zu Berlin", "license": "PD-Art/PD", "tier": "Sanctuary", "sizes": [{"size": "8×10 in", "paper": 39, "iw": 5.1, "ih": 10, "sw": 8, "sh": 10, "cov": 0.636}, {"size": "11×14 in", "paper": 59, "iw": 7.1, "ih": 14, "sw": 11, "sh": 14, "cov": 0.647}, {"size": "16×20 in", "paper": 110, "iw": 10.2, "ih": 20, "sw": 16, "sh": 20, "cov": 0.636}, {"size": "18×24 in", "paper": 140, "iw": 12.2, "ih": 24, "sw": 18, "sh": 24, "cov": 0.678}, {"size": "24×36 in", "paper": 190, "iw": 18.3, "ih": 36, "sw": 24, "sh": 36, "cov": 0.763}, {"size": "32×48 in", "paper": 340, "iw": 24.4, "ih": 48, "sw": 32, "sh": 48, "cov": 0.763}, {"size": "40×60 in", "paper": 480, "iw": 30.5, "ih": 60, "sw": 40, "sh": 60, "cov": 0.763}], "local": "/store/display/bohemian_master_the_glatz_madonna.jpg", "commons_file": "Bohemian Master - Thronende Maria mit dem Kind (Glatzer Madonna) - Google Art Project.jpg", "zoom": "https://art.monstrance.app/zoom/bohemian_master_the_glatz_madonna.jpg", "master_px": 7865, "auth": {"institution": "Gemäldegalerie, Staatliche Museen zu Berlin", "accession": "1624", "url": "https://smb.museum-digital.de/object/61399", "date_as_printed": "1350 (Hergestellt, Böhmen; date marked uncertain)", "medium": "Pappelholz", "dimensions": "Rahmenaußenmaß: 202,5 x 110,4 cm; Bildmaß: 187,8 x 96,4 cm"}, "writeup": {"text": "The throne is a building, its back wall plain boards. The Gemäldegalerie reads them as cedar, the wood of Solomon's Temple, the two lions in the little shrines above as the lions of Solomon's throne, the Christ Child as the new Solomon, and Our Lady, who holds Him, as the throne itself, the seat of Wisdom. At the foot of the steps kneels Ernst of Pardubice, first Archbishop of Prague, his insignia laid down like an offering. The museum finds a star in the gold, stella maris. The Bohemian Master seats Wisdom on a lap, and the lap is His throne.", "sources": [{"what": "The Gemäldegalerie's catalogue text: the throne's back wall of boards, perhaps cedar used in Solomon's Temple; two lions in temple-like housings recalling Solomon's throne and temple; the Child as the new Solomon and Mary as the Solomonic throne and seat of divine Wisdom; an angel crowning her, lily sceptre, an orb in her lap and a kneeling angel offering another; the star in the gold ground as 'stella maris'; the donor Ernst of Pardubice, first Archbishop of Prague, offering his episcopal insignia on the throne steps.", "url": "https://smb.museum-digital.de/object/61399", "cite": "Staatliche Museen zu Berlin, Gemäldegalerie, 'Thronende Madonna / Glatzer Madonna', Inv. 1624, museum-digital record (text from 200 Meisterwerke der europäischen Malerei, 2019), read 2026-09-24"}, {"what": "Solomon's throne with two lions standing at its hands.", "cite": "I Kings 10:19 (3 Kings in Douay numbering; corpus key 'I Kings'), Douay-Rheims (Challoner), project corpus data/bible_drc.js"}]}, "scene": {"why": "A devotional image of the enthroned Mother of God with her Son and a donor archbishop; no evangelist narrates it. Its Solomonic throne and lions allude to the throne in Kings, but the painting shows Mary as that throne, a reading of Tradition, so no single verse describes what is on the panel."}, "th": "/store/thumb/bohemian_master_the_glatz_madonna.webp", "more": [{"k": "subject", "n": "The Madonna and Child in painting", "u": "/editions/subject/madonna-and-child/", "ids": ["angelico_madonna_twelve_angels_staedel", "gentile_da_fabriano_madonna_and_child_enthroned", "angelico_the_madonna_of_humility", "van_eyck_van_der_paele"]}]}, "bohemian_master_the_kaufmann_crucifixion": {"id": "bohemian_master_the_kaufmann_crucifixion", "title": "The Kaufmann Crucifixion", "artist_line": "Bohemian or Austrian Master (active c. 1340)", "artist": "Bohemian or Austrian Master", "date": "c. 1340", "museum": "Gemäldegalerie, Staatliche Museen zu Berlin", "license": "Public domain", "tier": "Sanctuary", "sizes": [{"size": "8×10 in", "paper": 39, "iw": 4.3, "ih": 10, "sw": 8, "sh": 10, "cov": 0.544}, {"size": "11×14 in", "paper": 59, "iw": 6.1, "ih": 14, "sw": 11, "sh": 14, "cov": 0.554}, {"size": "16×20 in", "paper": 110, "iw": 8.7, "ih": 20, "sw": 16, "sh": 20, "cov": 0.544}, {"size": "18×24 in", "paper": 140, "iw": 10.4, "ih": 24, "sw": 18, "sh": 24, "cov": 0.58}, {"size": "24×36 in", "paper": 190, "iw": 15.7, "ih": 36, "sw": 24, "sh": 36, "cov": 0.652}, {"size": "32×48 in", "paper": 340, "iw": 20.9, "ih": 48, "sw": 32, "sh": 48, "cov": 0.652}, {"size": "40×60 in", "paper": 480, "iw": 26.1, "ih": 60, "sw": 40, "sh": 60, "cov": 0.652}], "local": "/store/display/bohemian_master_the_kaufmann_crucifixion.jpg", "commons_file": "Bohemian - The Crucifixion of Christ (Kaufmann Crucifixion) - Google Art Project.jpg", "zoom": "https://art.monstrance.app/zoom/bohemian_master_the_kaufmann_crucifixion.jpg", "master_px": 9196, "auth": {"institution": "Gemäldegalerie, Staatliche Museen zu Berlin", "accession": "1833", "url": "https://smb.museum-digital.de/object/61522", "date_as_printed": "1340 (Hergestellt, Böhmen; date marked uncertain)", "medium": "Leinwand : Holz (auf Leinwand übertragen)", "dimensions": "Bildmaß: 68 x 30 cm (Höhe x Breite); Rahmenmaß: 72,5 x 35 cm"}, "writeup": {"text": "A thread of blood leaps from Christ's side across the gold. The Gemäldegalerie tells where it goes: blind Longinus, behind the mourners at the left, has opened the side with his lance, and drops of the holy blood heal him. John gives the spear and the blood and water; the name and the cure come from later tradition. Opposite, the museum says, the executioners quarrel over the robe they cast lots for, and the centurion points to Christ as the true Son of God. Angels with censers fly above the crossbeams. The museum likens the precision of the Bohemian or Austrian Master to miniature painting: a Calvary to hold close.", "sources": [{"what": "The Gemäldegalerie's text: the mourners at front left with John supporting Mary; behind them blind Longinus opening Christ's side with the lance and healed by drops of the holy blood; the executioners quarrelling over Christ's robe, over which they had cast lots; the good centurion pointing to Christ as the true Son of God; angels with censers above the crossbeams; the precision recalling miniature rather than panel painting; a Bolognese missal canon page of c. 1346/50 named as a model.", "url": "https://smb.museum-digital.de/object/61522", "cite": "Staatliche Museen zu Berlin, Gemäldegalerie, 'Kaufmannsche Kreuzigung', Inv. 1833, museum-digital record, read 2026-09-24"}, {"what": "The soldier opening Christ's side with a spear, and the blood and water; no name and no healing given.", "cite": "John 19:34, Douay-Rheims (Challoner), project corpus data/bible_drc.js"}]}, "scene": {"ref": "John 19:34", "quote": "But one of the soldiers with a spear opened his side: and immediately there came out blood and water.", "shows": "Longinus opening Christ's side with the lance at a crowded Calvary"}, "th": "/store/thumb/bohemian_master_the_kaufmann_crucifixion.webp", "more": [{"k": "subject", "n": "The Crucifixion in painting", "u": "/editions/subject/crucifixion/", "ids": ["angelico_crucifixion_met", "dreux_bude_master_the_crucifixion", "mantegna_crucifixion", "master_of_the_death_of_saint_nicholas_of_munster_calvary"]}]}, "hieronymus_bosch_st_john_the_evangelist_on_patmos": {"id": "hieronymus_bosch_st_john_the_evangelist_on_patmos", "title": "St John the Evangelist on Patmos", "artist_line": "Hieronymus Bosch (Netherlandish, 1450–1516)", "artist": "Hieronymus Bosch", "date": "c. 1495–1500", "museum": "Gemäldegalerie, Staatliche Museen zu Berlin", "license": "Public domain", "tier": "Sanctuary", "sizes": [{"size": "8×10 in", "paper": 39, "iw": 6.7, "ih": 10, "sw": 8, "sh": 10, "cov": 0.833}, {"size": "11×14 in", "paper": 59, "iw": 9.3, "ih": 14, "sw": 11, "sh": 14, "cov": 0.848}, {"size": "16×20 in", "paper": 110, "iw": 13.3, "ih": 20, "sw": 16, "sh": 20, "cov": 0.833}, {"size": "18×24 in", "paper": 140, "iw": 16.0, "ih": 24, "sw": 18, "sh": 24, "cov": 0.889}, {"size": "24×36 in", "paper": 190, "iw": 24.0, "ih": 36, "sw": 24, "sh": 36, "cov": 1.0}, {"size": "32×48 in", "paper": 340, "iw": 32.0, "ih": 48, "sw": 32, "sh": 48, "cov": 1.0}, {"size": "40×60 in", "paper": 480, "iw": 40.0, "ih": 60, "sw": 40, "sh": 60, "cov": 1.0}], "local": "/store/display/hieronymus_bosch_st_john_the_evangelist_on_patmos.jpg", "commons_file": "John of Patmos, 1505.jpg", "zoom": "https://art.monstrance.app/zoom/hieronymus_bosch_st_john_the_evangelist_on_patmos.jpg", "master_px": 26871, "auth": {"institution": "Gemäldegalerie, Staatliche Museen zu Berlin", "accession": "1647A", "url": "https://smb.museum-digital.de/object/227034", "artist_as_printed": "Hieronymus Bosch (1450-1516)", "date_as_printed": "1495-1500", "medium": "Öl \u0026 Eichenholz", "dimensions": "Bildmaß: Johannes 62,8 x 43,2 cm; Bildmaß: Passion 63 x 43,3 cm; Rahmenaußenmaß: 74,9 x 55,5 x 7,5 cm"}, "writeup": {"text": "The eagle is a falcon. Hieronymus Bosch gave Saint John's bird the form he knew better, the Gemäldegalerie says, and set it to guard the pen and inkpot at the saint's feet while a demon in spectacles, a burning ball on its head, reaches for them with an iron rake. John sees none of it. Pen in hand, book open on his knee, he looks up past an angel on the hill to the pale sun, where Our Lady, the woman of the Apocalypse, sits on the crescent moon with the Christ Child, crowned with stars. Out on the water the ships burn. The pen keeps moving.", "sources": [{"what": "The Gemäldegalerie's text: John seated on a mountainside with book and pen, looking up; the eagle rendered as the falcon Bosch knew better, guarding the writing things; the demon with spectacles, a burning ball on its head and gecko legs trying to take them with an iron rake; burning, sinking ships and a wheel-gallows on the shore, unnoticed by the saint; the woman of the Apocalypse with the Child on the crescent moon in the pale sun, star-crowned; the reverse with Passion scenes circling a pelican that tears its breast to feed its young.", "url": "https://smb.museum-digital.de/object/227034", "cite": "Staatliche Museen zu Berlin, Gemäldegalerie, 'Johannes auf Patmos / Szenen der Passion Christi', Inv. 1647A, museum-digital record (text from 200 Meisterwerke, 2019), read 2026-09-24"}]}, "scene": {"ref": "Apocalypse 12:1", "quote": "And a great sign appeared in heaven: A woman clothed with the sun, and the moon under her feet, and on her head a crown of twelve stars.", "shows": "John on Patmos looking up at the woman with the Child enthroned on the crescent moon in the sun, crowned with stars"}, "th": "/store/thumb/hieronymus_bosch_st_john_the_evangelist_on_patmos.webp", "more": [{"k": "subject", "n": "Saints in painting", "u": "/editions/subject/saints/", "ids": ["durer_saint_jerome_in_the_wilderness", "gentile_bellini_procession_in_piazza_san_marco", "cima_saint_jerome_in_the_wilderness", "hieronymus_bosch_st_christopher_carrying_the_christ_child"]}, {"k": "master", "n": "Hieronymus Bosch", "u": "/editions/master/hieronymus-bosch/", "ids": ["hieronymus_bosch_st_christopher_carrying_the_christ_child", "hieronymus_bosch_christ_carrying_the_cross_escorial", "bosch_christ_mocked_the_crowning_with_thorns", "hieronymus_bosch_death_and_the_miser"]}]}, "hugo_van_der_goes_the_adoration_of_the_shepherds": {"id": "hugo_van_der_goes_the_adoration_of_the_shepherds", "title": "The Adoration of the Shepherds", "artist_line": "Hugo van der Goes (Netherlandish, about 1440–1482/83)", "artist": "Hugo van der Goes", "date": "c. 1480", "museum": "Gemäldegalerie, Staatliche Museen zu Berlin", "license": "Public domain", "tier": "Sanctuary", "sizes": [{"size": "8×10 in", "paper": 39, "iw": 10, "ih": 3.9, "sw": 10, "sh": 8, "cov": 0.493}, {"size": "11×14 in", "paper": 59, "iw": 14, "ih": 5.5, "sw": 14, "sh": 11, "cov": 0.502}, {"size": "16×20 in", "paper": 110, "iw": 20, "ih": 7.9, "sw": 20, "sh": 16, "cov": 0.493}, {"size": "18×24 in", "paper": 140, "iw": 24, "ih": 9.5, "sw": 24, "sh": 18, "cov": 0.526}, {"size": "24×36 in", "paper": 190, "iw": 36, "ih": 14.2, "sw": 36, "sh": 24, "cov": 0.591}, {"size": "32×48 in", "paper": 340, "iw": 48, "ih": 18.9, "sw": 48, "sh": 32, "cov": 0.591}, {"size": "40×60 in", "paper": 480, "iw": 60, "ih": 23.7, "sw": 60, "sh": 40, "cov": 0.591}], "local": "/store/display/hugo_van_der_goes_the_adoration_of_the_shepherds.jpg", "commons_file": "Hugo van der Goes - The Adoration of the Shepherds - Google Art Project.jpg", "zoom": "https://art.monstrance.app/zoom/hugo_van_der_goes_the_adoration_of_the_shepherds.jpg", "master_px": 10142, "auth": {"institution": "Gemäldegalerie, Staatliche Museen zu Berlin", "accession": "1622A", "url": "https://search.smb.museum/object/obj-869236", "artist_as_printed": "Hugo van der Goes (um 1440 - 1482/83)", "date_as_printed": "um 1480", "medium": "Eichenholz", "dimensions": "Bildmaß: 99,9 x 248,6 cm"}, "writeup": {"text": "Two men at the very edges pull back a green curtain, and there is the Child, small on a white cloth in a wooden manger. The Gemäldegalerie says these two half-figures, far larger than anyone at the adoration, have been recognized as prophets who opened the veil over the Nativity and stepped aside, heralds showing the beholder what it means. Shepherds come running in from the left, one with his mouth half open; angels gather round the Virgin and the Child. Hugo van der Goes lays a sheaf of grain before the manger, and the museum reads it as the bread come down from heaven. The curtain stays open.", "sources": [{"what": "The Gemäldegalerie's text: two half-figures framing the scene, much larger than the adoration figures, recognized as prophets who opened the curtain veiling the Nativity and stepped aside, heralds conveying its meaning to the beholder; shepherds running in from the left with curiosity and joy, one with half-open mouth; angels around the Virgin and the Child in the manger; the sheaf of grain before the manger tied to John 6:41, the bread come down from heaven, read of the Incarnation and the Eucharist.", "url": "https://search.smb.museum/object/obj-869236", "cite": "Staatliche Museen zu Berlin, Gemäldegalerie, 'Die Geburt Christi', Inv. 1622A, online collection, read 2026-09-24"}]}, "scene": {"ref": "Luke 2:16", "quote": "And they came with haste: and they found Mary and Joseph, and the infant lying in the manger.", "shows": "shepherds running in from the left to the Child in the manger, with Mary and Joseph"}, "th": "/store/thumb/hugo_van_der_goes_the_adoration_of_the_shepherds.webp", "more": [{"k": "subject", "n": "The Adoration of the Shepherds in painting", "u": "/editions/subject/adoration-of-the-shepherds/", "ids": ["isenbrant_the_adoration_of_the_shepherds", "correggio_holy_night", "el_greco_adoration_shepherds", "caravaggio_the_adoration_of_the_shepherds"]}, {"k": "master", "n": "Hugo van der Goes", "u": "/editions/master/hugo-van-der-goes/", "ids": ["goes_the_death_of_the_virgin", "goes_the_trinity_altarpiece_the_holy_trinit"]}]}, "juan_sanchez_cotan_immaculate_conception": {"id": "juan_sanchez_cotan_immaculate_conception", "title": "The Immaculate Conception", "artist_line": "Juan Sánchez Cotán (Spanish, 1560–1627)", "artist": "Juan Sánchez Cotán", "date": "1617–1618", "museum": "Museo de Bellas Artes de Granada", "license": "Public domain", "tier": "Sanctuary", "sizes": [{"size": "8×10 in", "paper": 39, "iw": 6.5, "ih": 10, "sw": 8, "sh": 10, "cov": 0.814}, {"size": "11×14 in", "paper": 59, "iw": 9.1, "ih": 14, "sw": 11, "sh": 14, "cov": 0.829}, {"size": "16×20 in", "paper": 110, "iw": 13.0, "ih": 20, "sw": 16, "sh": 20, "cov": 0.814}, {"size": "18×24 in", "paper": 140, "iw": 15.6, "ih": 24, "sw": 18, "sh": 24, "cov": 0.868}, {"size": "24×36 in", "paper": 190, "iw": 23.4, "ih": 36, "sw": 24, "sh": 36, "cov": 0.977}, {"size": "32×48 in", "paper": 340, "iw": 31.3, "ih": 48, "sw": 32, "sh": 48, "cov": 0.977}, {"size": "40×60 in", "paper": 480, "iw": 39.1, "ih": 60, "sw": 40, "sh": 60, "cov": 0.977}], "local": "/store/display/juan_sanchez_cotan_immaculate_conception.jpg", "commons_file": "Juan Sánchez Cotán - Inmaculate Conception - 1617-18.jpg", "zoom": "https://art.monstrance.app/zoom/juan_sanchez_cotan_immaculate_conception.jpg", "master_px": 14156, "auth": {"institution": "Museo de Bellas Artes de Granada", "url": "https://artsandculture.google.com/asset/inmaculate-conception/fwEc_oDvPOIFLQ", "artist_as_printed": "Juan Sánchez Cotán", "date_as_printed": "1617/1618", "medium": "Oil painting", "dimensions": "w168 x h260 cm"}, "writeup": {"text": "Our Lady stands on a thin crescent moon with her hands joined, a ring of stars over her head and the Holy Spirit as a white dove above that. The Museo de Bellas Artes de Granada reads everything round her as a title from the litany: chosen as the sun, fair as the moon, spotless mirror, morning star, gate of heaven, lily among thorns. Her tunic, the museum says, is hyacinth, the color of purity, her mantle the sky blue of eternity. Fray Juan Sánchez Cotán, at the Charterhouse of Granada from 1603, painted her, the museum says, as a girl of twelve or thirteen, at prayer. The moon holds her without a mark.", "sources": [{"what": "The Museo de Bellas Artes de Granada's text on the painting: Paul V's 1617 order of silence; Fray Juan Sánchez Cotán at the Cartuja de Granada from 1603; the Virgin as a girl of twelve or thirteen with long golden hair, at prayer; every element around her symbolic of the litany titles (chosen as the sun, fair as the moon, spotless mirror, morning star, gate of heaven, lily among thorns); the hyacinth tunic as the color of purity and the sky-blue mantle as the color of eternity; the jewelwork of the mantle and the plant embroidery of the tunic", "url": "https://artsandculture.google.com/asset/inmaculate-conception/fwEc_oDvPOIFLQ", "cite": "Museo de Bellas Artes de Granada, 'Inmaculate Conception', Juan Sánchez Cotán, 1617/1618, Google Arts \u0026 Culture, read 2026-09-24"}]}, "scene": {"ref": "Canticle of Canticles 6:9", "quote": "Who is she that cometh forth as the morning rising, fair as the moon, bright as the sun, terrible as an army set in array?", "shows": "the Virgin as a praying girl among the emblems of her titles, among them the sun, the moon and the morning star"}, "th": "/store/thumb/juan_sanchez_cotan_immaculate_conception.webp", "more": [{"k": "subject", "n": "The Immaculate Conception in painting", "u": "/editions/subject/immaculate-conception/", "ids": ["peter_paul_rubens_the_virgin_as_the_woman_of_the_apocalyps", "zurbaran_immaculate", "ribera_immaculate_conception", "murillo_immaculate_venerables"]}]}, "ercole_de_roberti_st_jerome_in_the_wilderness": {"id": "ercole_de_roberti_st_jerome_in_the_wilderness", "title": "St Jerome in the Wilderness", "artist_line": "Ercole de'Roberti (Italian, about 1456–1496)", "artist": "Ercole de' Roberti", "date": "c. 1475", "museum": "J. Paul Getty Museum, Los Angeles", "license": "Public domain (PD)", "tier": "Sanctuary", "sizes": [{"size": "8×10 in", "paper": 39, "iw": 6.4, "ih": 10, "sw": 8, "sh": 10, "cov": 0.801}, {"size": "11×14 in", "paper": 59, "iw": 9.0, "ih": 14, "sw": 11, "sh": 14, "cov": 0.815}, {"size": "16×20 in", "paper": 110, "iw": 12.8, "ih": 20, "sw": 16, "sh": 20, "cov": 0.801}, {"size": "18×24 in", "paper": 140, "iw": 15.4, "ih": 24, "sw": 18, "sh": 24, "cov": 0.854}, {"size": "24×36 in", "paper": 190, "iw": 23.1, "ih": 36, "sw": 24, "sh": 36, "cov": 0.961}, {"size": "32×48 in", "paper": 340, "iw": 30.8, "ih": 48, "sw": 32, "sh": 48, "cov": 0.961}, {"size": "40×60 in", "paper": 480, "iw": 38.4, "ih": 60, "sw": 40, "sh": 60, "cov": 0.961}], "local": "/store/display/ercole_de_roberti_st_jerome_in_the_wilderness.jpg", "commons_file": "Ercole de'Roberti - San Girolamo nel deserto (Getty Center, Los Angelos).jpg", "zoom": "https://art.monstrance.app/zoom/ercole_de_roberti_st_jerome_in_the_wilderness.jpg", "master_px": 8149, "auth": {"institution": "The J. Paul Getty Museum, Los Angeles", "accession": "96.PB.14", "url": "https://www.getty.edu/art/collection/object/103RK4", "artist_as_printed": "Ercole de'Roberti (Italian, about 1456 - 1496)", "date_as_printed": "about 1475", "medium": "Tempera on panel", "dimensions": "34 × 21.9 cm (13 3/8 × 8 5/8 in.)"}, "writeup": {"text": "A stone in one hand, a small crucifix in the other, and between them lies the whole desert. Ercole de'Roberti seats Saint Jerome before a vaulted ruin. The Getty reads his wiry limbs, sunken eye sockets and tanned skin as testimony to four years in the desert southeast of Antioch, and the stone as the one he beat against his breast until the tempting visions passed. Behind him sit his red cardinal's hat and a book, which the Getty ties to the Bible he put into Latin, and it links the gold-flecked detail to a refined patron, perhaps at Ferrara's Este court. The lion waits by the ruin.", "sources": [{"what": "The Getty's description: four years in the desert southeast of Antioch; the vaulted ruin; wiry limbs, sunken eye sockets and tanned skin as testament to ascetic life; the crucifix in his left hand; the rock in his right with which he beat his breast until the temptation-filled visions passed; the cardinal's hat and a book for his translation of the Bible into Latin in a nook; the small lion recalling the thorn; the gold-flecked detail pointing to a refined patron, perhaps of Ferrara's Este court.", "url": "https://artsandculture.google.com/asset/saint-jerome-in-the-wilderness-ercole-de-roberti/hAGu5TWYK-JEQg?hl=en", "cite": "J. Paul Getty Museum, 'Saint Jerome in the Wilderness', 96.PB.14, via Google Arts \u0026 Culture, read 2026-09-24"}, {"what": "Tombstone: Ercole de'Roberti, about 1475, tempera on panel, 34 × 21.9 cm.", "url": "https://www.getty.edu/art/collection/object/103RK4", "cite": "J. Paul Getty Museum collection page, 96.PB.14, read 2026-09-24"}]}, "scene": {"why": "Jerome's penance in the Syrian desert, the stone, the cardinal's hat and the lion come from his own letters and later hagiography, above all the Golden Legend's lion story; Scripture records none of it."}, "th": "/store/thumb/ercole_de_roberti_st_jerome_in_the_wilderness.webp", "more": [{"k": "subject", "n": "Saints in painting", "u": "/editions/subject/saints/", "ids": ["bellini_saint_francis_in_the_desert", "vivarini_saint_jerome_reading", "pacher_devil_presenting_saint_augustine_book_of_vices", "hieronymus_bosch_st_jerome_at_prayer"]}]}, "peter_paul_rubens_the_virgin_as_the_woman_of_the_apocalyps": {"id": "peter_paul_rubens_the_virgin_as_the_woman_of_the_apocalyps", "title": "The Virgin as the Woman of the Apocalypse", "artist_line": "Peter Paul Rubens (Flemish, 1577–1640)", "artist": "Peter Paul Rubens", "date": "c. 1623–1624", "museum": "J. Paul Getty Museum, Los Angeles", "license": "Public domain", "tier": "Sanctuary", "sizes": [{"size": "8×10 in", "paper": 39, "iw": 7.8, "ih": 10, "sw": 8, "sh": 10, "cov": 0.969}, {"size": "11×14 in", "paper": 59, "iw": 10.9, "ih": 14, "sw": 11, "sh": 14, "cov": 0.987}, {"size": "16×20 in", "paper": 110, "iw": 15.5, "ih": 20, "sw": 16, "sh": 20, "cov": 0.969}, {"size": "18×24 in", "paper": 140, "iw": 18, "ih": 23.2, "sw": 18, "sh": 24, "cov": 0.968}, {"size": "24×36 in", "paper": 190, "iw": 24, "ih": 31.0, "sw": 24, "sh": 36, "cov": 0.86}, {"size": "32×48 in", "paper": 340, "iw": 32, "ih": 41.3, "sw": 32, "sh": 48, "cov": 0.86}, {"size": "40×60 in", "paper": 480, "iw": 40, "ih": 51.6, "sw": 40, "sh": 60, "cov": 0.86}], "local": "/store/display/peter_paul_rubens_the_virgin_as_the_woman_of_the_apocalyps.jpg", "commons_file": "Peter Paul Rubens - The Virgin as the Woman of the Apocalypse - 85.PB.146 - J. Paul Getty Museum.jpg", "zoom": "https://art.monstrance.app/zoom/peter_paul_rubens_the_virgin_as_the_woman_of_the_apocalyps.jpg", "master_px": 9049, "auth": {"institution": "The J. Paul Getty Museum, Los Angeles", "accession": "85.PB.146", "url": "https://www.getty.edu/art/collection/object/103RGR", "artist_as_printed": "Peter Paul Rubens (Flemish, 1577 - 1640)", "date_as_printed": "about 1623–1624", "medium": "Oil on panel", "dimensions": "64.5 × 49.8 cm (25 3/8 × 19 5/8 in.)"}, "writeup": {"text": "God the Father gives an order, and an angel fits a pair of wings to Our Lady's shoulders. She carries the Christ Child upward and treads on the serpent coiled around the moon. The Getty's curators set out the rest: at the left Saint Michael and his angels throw down the seven-headed red dragon, and the demons fall as Virgin and Child rise. The wings are the ones the Apocalypse gives the woman, to fly from the serpent. Rubens made this oil sketch as the modello for the high altar of Freising Cathedral, and his quick strokes keep everything in motion, down and up at once.", "sources": [{"what": "The Getty's description: modello for the main altarpiece of Freising Cathedral; the Virgin holding the Child and trampling the serpent curled around the moon; Michael and angels casting out Satan, the great red dragon with seven heads, at the left; above, God the Father instructing an angel to place wings on the Virgin's shoulders; the demons falling as Virgin and Child rise; rapid, gestural brushstrokes.", "url": "https://artsandculture.google.com/asset/the-virgin-as-the-woman-of-the-apocalypse-peter-paul-rubens/3wFC75hTBTOkxA?hl=en", "cite": "J. Paul Getty Museum, 'The Virgin as the Woman of the Apocalypse', 85.PB.146, via Google Arts \u0026 Culture, read 2026-09-24"}, {"what": "Identifies the wings attached to the Virgin as eagle's wings and links them to Revelation 12:14; the sketch as modello for the Freising high altar.", "url": "https://artlark.org/2022/06/28/rubens-virgin-of-the-apocalypse-with-wings/", "cite": "ArtLark, 'The Wings of Rubens' Virgin as Woman of the Apocalypse' (2022), read 2026-09-24"}]}, "scene": {"ref": "Apocalypse 12:14", "quote": "And there were given to the woman two wings of a great eagle, that she might fly into the desert, unto her place, where she is nourished for a time and times, and half a time, from the face of the serpent.", "shows": "an angel fitting wings to the Virgin's shoulders as she stands on the moon over the serpent"}, "th": "/store/thumb/peter_paul_rubens_the_virgin_as_the_woman_of_the_apocalyps.webp", "more": [{"k": "subject", "n": "The Immaculate Conception in painting", "u": "/editions/subject/immaculate-conception/", "ids": ["zurbaran_immaculate", "ribera_immaculate_conception", "murillo_immaculate_venerables", "murillo_immaculate_cleveland"]}, {"k": "master", "n": "Peter Paul Rubens", "u": "/editions/master/peter-paul-rubens/", "ids": ["rubens_adoration_magi", "rubens_the_meeting_of_abraham_and_melchizedek", "rubens_incarnation_fulfillment_of_the_prophecies", "rubens_music_making_angels"]}]}, "jean_bourdichon_pentecost_katherine_hours": {"id": "jean_bourdichon_pentecost_katherine_hours", "title": "Pentecost (Katherine Hours)", "artist_line": "Jean Bourdichon (French, 1457–1521)", "artist": "Jean Bourdichon", "date": "c. 1480–1485", "museum": "J. Paul Getty Museum, Los Angeles", "license": "CC0", "tier": "Sanctuary", "sizes": [{"size": "8×10 in", "paper": 39, "iw": 7.4, "ih": 10, "sw": 8, "sh": 10, "cov": 0.928}, {"size": "11×14 in", "paper": 59, "iw": 10.4, "ih": 14, "sw": 11, "sh": 14, "cov": 0.945}, {"size": "16×20 in", "paper": 110, "iw": 14.8, "ih": 20, "sw": 16, "sh": 20, "cov": 0.928}, {"size": "18×24 in", "paper": 140, "iw": 17.8, "ih": 24, "sw": 18, "sh": 24, "cov": 0.99}, {"size": "32×48 in", "paper": 340, "iw": 32, "ih": 43.1, "sw": 32, "sh": 48, "cov": 0.898}], "local": "/store/display/jean_bourdichon_pentecost_katherine_hours.jpg", "commons_file": "Pentecost, by Jean Bourdichon (Getty 105TV1).jpg", "zoom": "https://art.monstrance.app/zoom/jean_bourdichon_pentecost_katherine_hours.jpg", "master_px": 5770, "auth": {"institution": "The J. Paul Getty Museum, Los Angeles", "accession": "Ms. 6 (84.ML.746), fol. 80", "url": "https://www.getty.edu/art/collection/object/105TV1", "artist_as_printed": "Jean Bourdichon (French, 1457 - 1521)", "date_as_printed": "about 1480–1485", "medium": "Tempera colors, gold, and ink", "dimensions": "Leaf: 16.4 × 11.6 cm (6 7/16 × 4 9/16 in.)"}, "writeup": {"text": "The Holy Spirit comes down as a dove through the vault in a burst of gold, and small flames fall like sparks on the heads below. Our Lady sits at the centre in blue, hands joined, eyes lowered; the apostles crowd close around her, the nearest two on low stools. Beneath, the prayer begins: Domine, labia mea aperies. Jean Bourdichon, court painter to four successive French kings, made the Katherine Hours among his earliest work; the Getty calls it a private prayer book built around the eight daily services of the clergy. In the borders an I and a K twine together, probably the initials of the couple who commissioned it. The lips open.", "sources": [{"what": "The Getty's description of the Katherine Hours: a private book of hours structured around the eight daily services of the clergy; Bourdichon, court painter to four successive French kings, illuminated it as some of his earliest work; illuminations placed at the beginnings of prayers gave the reader a visual focus for meditation; the intertwined I and K in the borders probably the initials of the husband and wife who commissioned it, K probably Katherine.", "url": "https://artsandculture.google.com/asset/katherine-hours/ggHxwTHB2DKQ9A", "cite": "J. Paul Getty Museum, 'Katherine Hours', Ms. 6 (84.ML.746), via Google Arts \u0026 Culture, read 2026-09-24"}, {"what": "Tombstone of the Pentecost leaf: Ms. 6 (84.ML.746), fol. 80, about 1480–1485.", "url": "http://www.getty.edu/art/collection/objects/2597/jean-bourdichon-pentecost-french-about-1480-1485/", "cite": "J. Paul Getty Museum collection page 105TV1, read 2026-09-24"}]}, "scene": {"ref": "Acts 2:4", "quote": "And they were all filled with the Holy Ghost: and they began to speak with divers tongues, according as the Holy Ghost gave them to speak.", "shows": "the descent of the Holy Spirit at Pentecost"}, "th": "/store/thumb/jean_bourdichon_pentecost_katherine_hours.webp"}, "nicolas_poussin_the_holy_family": {"id": "nicolas_poussin_the_holy_family", "title": "The Holy Family with St John the Baptist and St Elizabeth", "artist_line": "Nicolas Poussin (French, 1594–1665)", "artist": "Nicolas Poussin", "date": "c. 1651", "museum": "J. Paul Getty Museum, Los Angeles, and Norton Simon Museum, Pasadena (jointly owned)", "license": "Public domain", "tier": "Sanctuary", "sizes": [{"size": "8×10 in", "paper": 39, "iw": 10, "ih": 7.5, "sw": 10, "sh": 8, "cov": 0.941}, {"size": "11×14 in", "paper": 59, "iw": 14, "ih": 10.5, "sw": 14, "sh": 11, "cov": 0.959}, {"size": "16×20 in", "paper": 110, "iw": 20, "ih": 15.1, "sw": 20, "sh": 16, "cov": 0.941}, {"size": "18×24 in", "paper": 140, "iw": 23.9, "ih": 18, "sw": 24, "sh": 18, "cov": 0.996}, {"size": "24×36 in", "paper": 190, "iw": 31.9, "ih": 24, "sw": 36, "sh": 24, "cov": 0.885}, {"size": "32×48 in", "paper": 340, "iw": 42.5, "ih": 32, "sw": 48, "sh": 32, "cov": 0.885}, {"size": "40×60 in", "paper": 480, "iw": 53.1, "ih": 40, "sw": 60, "sh": 40, "cov": 0.885}], "local": "/store/display/nicolas_poussin_the_holy_family.jpg", "commons_file": "Poussin - The Holy Family, about 1651, 81.PA.43.jpg", "zoom": "https://art.monstrance.app/zoom/nicolas_poussin_the_holy_family.jpg", "master_px": 16077, "auth": {"institution": "J. Paul Getty Museum, Los Angeles (jointly owned with the Norton Simon Art Foundation, Pasadena)", "accession": "81.PA.43", "url": "https://www.getty.edu/art/collection/objects/698/nicolas-poussin-the-holy-family-french-about-1651/", "artist_as_printed": "Nicolas Poussin (French, 1594 - 1665)", "date_as_printed": "about 1651", "medium": "Oil on canvas", "dimensions": "Unframed: 100.6 × 132.4 cm (39 5/8 × 52 1/8 in.)"}, "writeup": {"text": "The infant Christ leans from Our Lady's knee to greet Saint John the Baptist, and the two children meet as if nothing were coming. Saint Joseph and Saint Elizabeth look on. But children at the right carry a ewer, a basin of water and a towel, which the Norton Simon Museum, owner of the canvas jointly with the Getty, reads as perhaps an allusion to John's later baptism of Christ. Far off, a family flees by boat from pursuing horsemen, a reference, the museum says, to the flight into Egypt. Nicolas Poussin painted it about 1651. Water waits close by, pursuit far off, and between them the greeting.", "sources": [{"what": "The Norton Simon Museum's description: the Virgin anchors the scene as Joseph and Elizabeth look on; the infant Christ, seated on Mary's knee, greets Saint John the Baptist; in the landscape beyond, a family flees by boat from pursuing horsemen, a reference to the flight into Egypt; the children in the right foreground bear a ewer, a basin of water and a towel, perhaps an allusion to John's later baptism of Christ; the canvas is jointly owned with the Getty.", "url": "https://www.nortonsimon.org/art/detail/M.1981.6.P/", "cite": "Norton Simon Museum, Pasadena, 'The Holy Family with the Infant St. John the Baptist and St. Elizabeth', M.1981.6.P, read 2026-09-24"}, {"what": "The Getty's record of the painting: Nicolas Poussin, The Holy Family, about 1651, oil on canvas, 81.PA.43.", "url": "https://www.getty.edu/art/collection/objects/698/nicolas-poussin-the-holy-family-french-about-1651/", "cite": "J. Paul Getty Museum, 'The Holy Family', 81.PA.43, read 2026-09-24"}]}, "scene": {"why": "The infant Christ greeting the young John the Baptist, with Joseph and Elizabeth present, is not an episode any Gospel records; Luke 1 brings the two mothers together only before either child is born. This gathering is the seventeenth-century devotional Holy Family, and citing a verse would present an invented meeting as a narrated one."}, "th": "/store/thumb/nicolas_poussin_the_holy_family.webp", "more": [{"k": "subject", "n": "The Holy Family in painting", "u": "/editions/subject/holy-family/", "ids": ["giorgione_the_holy_family", "raphael_the_canigiani_holy_family", "del_sarto_holy_family_with_the_young_saint_john_th", "rubens_holy_family"]}, {"k": "master", "n": "Nicolas Poussin", "u": "/editions/master/nicolas-poussin/", "ids": ["poussin_the_assumption_of_the_virgin", "poussin_adoration_shepherds", "poussin_saint_john_baptizing_the_people", "poussin_eucharist"]}]}, "dreux_bude_master_the_crucifixion": {"id": "dreux_bude_master_the_crucifixion", "title": "The Crucifixion", "artist_line": "Dreux Budé Master, possibly André d'Ypres (French, active 1424–1450)", "artist": "Dreux Budé Master, possibly André d'Ypres", "date": "before 1450", "museum": "J. Paul Getty Museum, Los Angeles", "license": "PD-Art/PD", "tier": "Sanctuary", "sizes": [{"size": "8×10 in", "paper": 39, "iw": 10, "ih": 6.6, "sw": 10, "sh": 8, "cov": 0.826}, {"size": "11×14 in", "paper": 59, "iw": 14, "ih": 9.2, "sw": 14, "sh": 11, "cov": 0.841}, {"size": "16×20 in", "paper": 110, "iw": 20, "ih": 13.2, "sw": 20, "sh": 16, "cov": 0.826}, {"size": "18×24 in", "paper": 140, "iw": 24, "ih": 15.9, "sw": 24, "sh": 18, "cov": 0.881}, {"size": "24×36 in", "paper": 190, "iw": 36, "ih": 23.8, "sw": 36, "sh": 24, "cov": 0.991}, {"size": "32×48 in", "paper": 340, "iw": 48, "ih": 31.7, "sw": 48, "sh": 32, "cov": 0.991}, {"size": "40×60 in", "paper": 480, "iw": 60, "ih": 39.6, "sw": 60, "sh": 40, "cov": 0.991}], "local": "/store/display/dreux_bude_master_the_crucifixion.jpg", "commons_file": "Dreux Budé Master - The Crucifixion - Google Art Project.jpg", "zoom": "https://art.monstrance.app/zoom/dreux_bude_master_the_crucifixion.jpg", "master_px": 11232, "auth": {"institution": "J. Paul Getty Museum, Los Angeles", "accession": "79.PB.177", "url": "https://www.getty.edu/art/collection/objects/696/dreux-bude-master-possibly-andre-d%27ypres-the-crucifixion-french-before-1450/", "artist_as_printed": "Dreux Budé Master, possibly André d'Ypres (French, active 1424-1450)", "date_as_printed": "before 1450", "medium": "Oil on panel", "dimensions": "Unframed: 48.6 × 71.1 cm (19 1/8 × 28 in.)"}, "writeup": {"text": "Three crosses stand on one green hill, and the Dreux Budé Master gathers a whole Good Friday under them. At the left, the J. Paul Getty Museum describes, Christ carries His cross and Veronica hands Him her veil; at the center His broken body hangs between the two thieves. Our Lady swoons, and Saint John and Mary Magdalene reach to hold her while soldiers throw dice for His robes. The Getty notes this was once the center of a portable, three-part altarpiece devoted to the Passion. At top right a monster devours souls. Below it Christ has already gone down into Limbo for Adam and Eve.", "sources": [{"what": "The Getty's description: at left Christ carries the cross and Veronica hands him her veil; at center his broken body hangs between the two thieves; the Virgin swoons as John the Evangelist and Mary Magdalene try to assist her; soldiers throw dice for his robes; at top right a monster devours souls and souls boil in a caldron; below, Christ descends into Limbo to rescue Adam and Eve; once the central panel of a portable three-part altarpiece devoted to the Passion.", "url": "https://artsandculture.google.com/asset/the-crucifixion-dreux-bud%C3%A9-master-possibly-andr%C3%A9-d-ypres/JwGrKj6odVXUtA", "cite": "J. Paul Getty Museum, 'The Crucifixion', Dreux Budé Master, possibly André d'Ypres, 79.PB.177, as published on Google Arts \u0026 Culture, read 2026-09-24"}, {"what": "The Getty's record: maker line, 'before 1450', oil on panel, 48.6 x 71.1 cm, 79.PB.177.", "url": "https://www.getty.edu/art/collection/objects/696/dreux-bude-master-possibly-andre-d%27ypres-the-crucifixion-french-before-1450/", "cite": "J. Paul Getty Museum, 'The Crucifixion', 79.PB.177, read 2026-09-24"}]}, "scene": {"ref": "Luke 23:33", "quote": "And when they were come to the place which is called Calvary, they crucified him there: and the robbers, one on the right hand, and the other on the left.", "shows": "Christ crucified between the two thieves at the center of the panel"}, "th": "/store/thumb/dreux_bude_master_the_crucifixion.webp", "more": [{"k": "subject", "n": "The Crucifixion in painting", "u": "/editions/subject/crucifixion/", "ids": ["mantegna_crucifixion", "master_of_the_death_of_saint_nicholas_of_munster_calvary", "messina_calvary", "benvenuto_di_giovanni_the_crucifixion"]}]}, "ambrosius_benson_deipara_virgo": {"id": "ambrosius_benson_deipara_virgo", "title": "Deipara Virgo", "artist_line": "Ambrosius Benson", "artist": "Ambrosius Benson", "date": "1530", "museum": "KMSKA, Antwerp", "license": "Public domain", "tier": "Sanctuary", "sizes": [{"size": "8×10 in", "paper": 39, "iw": 8.0, "ih": 10, "sw": 8, "sh": 10, "cov": 0.994}, {"size": "11×14 in", "paper": 59, "iw": 11, "ih": 13.8, "sw": 11, "sh": 14, "cov": 0.988}, {"size": "16×20 in", "paper": 110, "iw": 15.9, "ih": 20, "sw": 16, "sh": 20, "cov": 0.994}, {"size": "18×24 in", "paper": 140, "iw": 18, "ih": 22.6, "sw": 18, "sh": 24, "cov": 0.943}, {"size": "24×36 in", "paper": 190, "iw": 24, "ih": 30.2, "sw": 24, "sh": 36, "cov": 0.838}, {"size": "32×48 in", "paper": 340, "iw": 32, "ih": 40.2, "sw": 32, "sh": 48, "cov": 0.838}, {"size": "40×60 in", "paper": 480, "iw": 40, "ih": 50.3, "sw": 40, "sh": 60, "cov": 0.838}], "local": "/store/display/ambrosius_benson_deipara_virgo.jpg", "commons_file": "Ambrosius Benson - Deipara Virgo, 1530, 262.tif", "zoom": "https://art.monstrance.app/zoom/ambrosius_benson_deipara_virgo.jpg", "master_px": 13624, "auth": {"institution": "KMSKA (Koninklijk Museum voor Schone Kunsten Antwerpen)", "accession": "262", "url": "https://kmska.be/en/masterpiece/deipara-virgo", "artist_as_printed": "Ambrosius Benson", "date_as_printed": "1530", "medium": "oil on panel", "dimensions": "131 × 108 cm"}, "writeup": {"text": "A pagan poet's line lies across a red skirt, beneath Our Lady, crowned, and the bare Christ Child. The woman at the left lets her ribbon fall there, one of a crowd of grave faces carrying words, and the KMSKA transcribes it: AM NOVA PROGENIES CELO. The line is Virgil's, from the Fourth Eclogue, which the Loeb renders as a new generation descending from heaven on high, just after the Virgin returns. The Princeton Dante Project notes that Dante took that Virgin for Astraea, Justice, and that the verse needed little rearranging to become a Christian prophecy. Ambrosius Benson letters the pagan's hope low, and sets its answer above.", "sources": [{"what": "KMSKA's record: Ambrosius Benson, Deipara Virgo, 1530, oil on panel, 131 x 108 cm, inv. 262; the banderole of the woman at left reads AM NOVA PROGENIES CELO.", "url": "https://kmska.be/en/masterpiece/deipara-virgo", "cite": "KMSKA, Antwerp, 'Deipara Virgo', inv. 262, read 2026-09-24"}, {"what": "Virgil, Eclogue 4, 'iam redit et Virgo ... iam nova progenies caelo demittitur alto', translated 'Now the Virgin returns ... now a new generation descends from heaven on high'.", "url": "https://www.loebclassics.com/view/virgil-eclogues/1916/pb_LCL063.49.xml", "cite": "Virgil, Eclogues 4.4-10, Loeb Classical Library 63 (H. R. Fairclough trans.), read 2026-09-24"}, {"what": "Commentary on Purgatorio 22.70-72: Dante believed Virgil's Virgo was Astraea, or Justice; Statius's version of Virgil had to rearrange very little to make the prophecy a Christian one.", "url": "https://dante.princeton.edu/cgi-bin/dante/DispCommentByTitOrId.pl?EDIT=1\u0026INP_ID=247273", "cite": "Princeton Dante Project, commentary on Purgatorio XXII 70-72, read 2026-09-24"}, {"what": "The Flemish Primitives portal lists the Antwerp panel as a 16th-century Madonna and Child.", "url": "https://vlaamseprimitieven.vlaamsekunstcollectie.be/en/collection/deipara-virgo/", "cite": "Flemish Art Collection, Flemish Primitives, 'Deipara Virgo', read 2026-09-24"}]}, "scene": {"why": "The picture's text is pagan: its banderole quotes Virgil's Fourth Eclogue, and the title Deipara Virgo is a devotional epithet of Mary. Neither the verse on the ribbon nor the gathering around the Virgin is a scene narrated in Scripture, so a biblical reference would misname the source the painter actually quotes."}, "th": "/store/thumb/ambrosius_benson_deipara_virgo.webp", "more": [{"k": "subject", "n": "The Madonna and Child in painting", "u": "/editions/subject/madonna-and-child/", "ids": ["veronese_the_madonna_of_the_cuccina_family", "el_greco_madonna_and_child_with_saint_martina_a", "caravaggio_madonna_rosary", "caravaggio_madonna_loreto"]}]}, "anthony_van_dyck_christ_on_the_cross_with_sts_catherine_o": {"id": "anthony_van_dyck_christ_on_the_cross_with_sts_catherine_o", "title": "Christ on the Cross with Saints Catherine of Siena and Dominic and an Angel", "artist_line": "Anthony van Dyck", "artist": "Anthony van Dyck", "date": "1622–1627", "museum": "KMSKA, Antwerp", "license": "Public domain", "tier": "Sanctuary", "sizes": [{"size": "8×10 in", "paper": 39, "iw": 7.8, "ih": 10, "sw": 8, "sh": 10, "cov": 0.973}, {"size": "11×14 in", "paper": 59, "iw": 10.9, "ih": 14, "sw": 11, "sh": 14, "cov": 0.991}, {"size": "16×20 in", "paper": 110, "iw": 15.6, "ih": 20, "sw": 16, "sh": 20, "cov": 0.973}, {"size": "18×24 in", "paper": 140, "iw": 18, "ih": 23.1, "sw": 18, "sh": 24, "cov": 0.963}, {"size": "24×36 in", "paper": 190, "iw": 24, "ih": 30.8, "sw": 24, "sh": 36, "cov": 0.856}, {"size": "32×48 in", "paper": 340, "iw": 32, "ih": 41.1, "sw": 32, "sh": 48, "cov": 0.856}, {"size": "40×60 in", "paper": 480, "iw": 40, "ih": 51.4, "sw": 40, "sh": 60, "cov": 0.856}], "local": "/store/display/anthony_van_dyck_christ_on_the_cross_with_sts_catherine_o.jpg", "commons_file": "Anthony van Dyck - Christus aan het kruis met de heilige Catharina van Siena, de heilige Dominicus en een engel - 401 - Royal Museum of Fine Arts Antwerp.tiff", "zoom": "https://art.monstrance.app/zoom/anthony_van_dyck_christ_on_the_cross_with_sts_catherine_o.jpg", "master_px": 23140, "auth": {"institution": "KMSKA (Koninklijk Museum voor Schone Kunsten Antwerpen)", "accession": "401", "url": "https://kmska.be/en/masterpiece/christ-cross-saint-catherine-siena-saint-dominic-and-angel", "artist_as_printed": "Anthony van Dyck", "date_as_printed": "1622-1627", "medium": "oil on canvas", "dimensions": "313.8 × 244.6 cm"}, "writeup": {"text": "Saint Catherine of Siena has both arms round the wood and her cheek against it, eyes closed, holding it as one holds a body, because it holds His. Saint Dominic, founder of her order, stands at the left, face lifted, hand open. Both wear the Dominican black and white. A small angel sits on the stone at the foot of the Cross, where Anthony van Dyck lettered his own name, Antonius van Dyck, and a skull lies below. The KMSKA dates the canvas, more than three metres high, to 1622 to 1627. Faint behind Catherine rises the silhouette of Antwerp Cathedral: Calvary, a short walk from home.", "sources": [{"what": "KMSKA's record: Anthony van Dyck, Christ on the Cross with Saint Catherine of Siena, Saint Dominic and an Angel, 1622-1627, oil on canvas, 313.8 x 244.6 cm, inv. 401.", "url": "https://kmska.be/en/masterpiece/christ-cross-saint-catherine-siena-saint-dominic-and-angel", "cite": "KMSKA, Antwerp, inv. 401, read 2026-09-24"}]}, "scene": {"why": "Saint Dominic (d. 1221) and Saint Catherine of Siena (d. 1380) were not at Calvary; this is a devotional Crucifixion painted for Dominican nuns, placing their order's founder and great woman saint beneath the cross. A Passion verse would put them in the Gospel scene."}, "th": "/store/thumb/anthony_van_dyck_christ_on_the_cross_with_sts_catherine_o.webp", "more": [{"k": "subject", "n": "The Crucifixion in painting", "u": "/editions/subject/crucifixion/", "ids": ["ter_brugghen_crucifixion_with_the_virgin_and_saint_jo", "velazquez_christ_crucified", "peter_paul_rubens_the_raising_of_the_cross_sketch", "zurbaran_christ_cross"]}, {"k": "master", "n": "Anthony van Dyck", "u": "/editions/master/anthony-van-dyck/", "ids": ["van_dyck_saint_rosalie_interceding_for_the_plague", "van_dyck_christ_on_the_cross_christus_aan_het_kru"]}]}, "frans_floris_the_fall_of_the_rebel_angels": {"id": "frans_floris_the_fall_of_the_rebel_angels", "title": "The Fall of the Rebel Angels", "artist_line": "Frans Floris I", "artist": "Frans Floris", "date": "1554", "museum": "KMSKA, Antwerp", "license": "Public domain (PD)", "tier": "Sanctuary", "sizes": [{"size": "8×10 in", "paper": 39, "iw": 7.2, "ih": 10, "sw": 8, "sh": 10, "cov": 0.9}, {"size": "11×14 in", "paper": 59, "iw": 10.1, "ih": 14, "sw": 11, "sh": 14, "cov": 0.917}, {"size": "16×20 in", "paper": 110, "iw": 14.4, "ih": 20, "sw": 16, "sh": 20, "cov": 0.9}, {"size": "18×24 in", "paper": 140, "iw": 17.3, "ih": 24, "sw": 18, "sh": 24, "cov": 0.96}, {"size": "24×36 in", "paper": 190, "iw": 24, "ih": 33.3, "sw": 24, "sh": 36, "cov": 0.926}, {"size": "32×48 in", "paper": 340, "iw": 32, "ih": 44.4, "sw": 32, "sh": 48, "cov": 0.926}, {"size": "40×60 in", "paper": 480, "iw": 40, "ih": 55.5, "sw": 40, "sh": 60, "cov": 0.926}], "local": "/store/display/frans_floris_the_fall_of_the_rebel_angels.jpg", "commons_file": "Frans Floris I - The Fall of the Rebel Angels, 1554 (Antwerp).jpg", "zoom": "https://art.monstrance.app/zoom/frans_floris_the_fall_of_the_rebel_angels.jpg", "master_px": 36256, "auth": {"institution": "KMSKA (Koninklijk Museum voor Schone Kunsten Antwerpen)", "accession": "112", "url": "https://kmska.be/en/masterpiece/the-fall-of-the-rebel-angels", "artist_as_printed": "Frans Floris I", "date_as_printed": "1554", "medium": "oil on panel", "dimensions": "303 × 220 cm"}, "writeup": {"text": "Iron and feathers come down together, and the bottom of the sky fills with bodies. The KMSKA places Saint Michael at top center with his sword raised, driving out of heaven a horde of demons led by a seven-headed dragon. He was patron of Antwerp's fencers, one of the city's six armed guilds, and the museum records that the fencers had Frans Floris paint their altarpiece. It sees Raphael and Michelangelo in the angels above and Bosch in the creatures below: curved talons, clawing hands, the head of a wild boar, a grinning goat. Floris signed and dated it 1554 at lower right, among the falling.", "sources": [{"what": "KMSKA: St Michael was the patron saint of the fencers, one of the six armed guilds of Antwerp, who had their altarpiece painted by Frans Floris; Michael raises his sword at top center, driving out of heaven a horde of demons led by a seven-headed dragon; angels of the top register recall Raphael and Michelangelo; the creatures are inspired by Bosch, with curved talons, clawing hands, the head of a wild boar, a grinning goat; signed lower right FF IV. ET. FA/ 1554.", "url": "https://kmska.be/en/masterpiece/the-fall-of-the-rebel-angels", "cite": "KMSKA, Antwerp, 'The Fall of the Rebel Angels', inv. 112, read 2026-09-24"}]}, "scene": {"ref": "Apocalypse 12:7", "quote": "And there was a great battle in heaven: Michael and his angels fought with the dragon, and the dragon fought, and his angels.", "shows": "Michael and his angels driving the rebel angels and the seven-headed dragon out of heaven"}, "th": "/store/thumb/frans_floris_the_fall_of_the_rebel_angels.webp", "more": [{"k": "subject", "n": "Angels in painting", "u": "/editions/subject/angels/", "ids": ["pieter_bruegel_the_elder_the_fall_of_the_rebel_angels", "rubens_music_making_angels", "giordano_fall_of_the_rebel_angels_archangel_micha", "baciccio_the_triumph_of_the_name_of_jesus"]}]}, "jan_van_eyck_madonna_at_the_fountain": {"id": "jan_van_eyck_madonna_at_the_fountain", "title": "Madonna at the Fountain", "artist_line": "Jan van Eyck", "artist": "Jan van Eyck", "date": "1439", "museum": "KMSKA, Antwerp", "license": "Public domain", "tier": "Sanctuary", "sizes": [{"size": "8×10 in", "paper": 39, "iw": 6.2, "ih": 10, "sw": 8, "sh": 10, "cov": 0.781}, {"size": "11×14 in", "paper": 59, "iw": 8.7, "ih": 14, "sw": 11, "sh": 14, "cov": 0.795}, {"size": "16×20 in", "paper": 110, "iw": 12.5, "ih": 20, "sw": 16, "sh": 20, "cov": 0.781}, {"size": "18×24 in", "paper": 140, "iw": 15.0, "ih": 24, "sw": 18, "sh": 24, "cov": 0.833}, {"size": "24×36 in", "paper": 190, "iw": 22.5, "ih": 36, "sw": 24, "sh": 36, "cov": 0.937}, {"size": "32×48 in", "paper": 340, "iw": 30.0, "ih": 48, "sw": 32, "sh": 48, "cov": 0.937}, {"size": "40×60 in", "paper": 480, "iw": 37.5, "ih": 60, "sw": 40, "sh": 60, "cov": 0.937}], "local": "/store/display/jan_van_eyck_madonna_at_the_fountain.jpg", "commons_file": "Jan van Eyck - Madonna bij de fontein - 411 - Royal Museum of Fine Arts Antwerp.tiff", "zoom": "https://art.monstrance.app/zoom/jan_van_eyck_madonna_at_the_fountain.jpg", "master_px": 7812, "auth": {"institution": "KMSKA (Koninklijk Museum voor Schone Kunsten Antwerpen)", "accession": "411", "url": "https://kmska.be/en/masterpiece/madonna-at-the-fountain", "artist_as_printed": "Jan van Eyck", "date_as_printed": "1439", "medium": "oil on panel", "dimensions": "19 × 12 cm"}, "writeup": {"text": "The Christ Child has one arm round His Mother's neck and His cheek pressed to hers, and the whole garden holds still for it. Two angels with coloured wings lift a cloth of honour behind Our Lady, brocaded with plants and animals; roses, irises and lilies of the valley grow beyond. At the left stands a metal fountain, and the KMSKA reads it, with the lion on top, as a figure for Mary, praised as a fountain in the Song of Solomon. The museum takes this small work by Jan van Eyck, completed in 1439, for private devotion, prayed before at home. In His other hand, prayer beads.", "sources": [{"what": "KMSKA: the Virgin cradles the infant Christ, who curls an arm around her neck and holds prayer beads in his other hand; a cloth of honor with brocaded plant and animal motifs held by two angels with colored wings; lilies of the valley, roses and irises in the background; a metal fountain with a lion on top symbolizes the Virgin, praised as a fountain in the Song of Solomon 4:15; the small size suggests a work for private devotion, prayed before at home; completed 1439.", "url": "https://kmska.be/en/masterpiece/madonna-at-the-fountain", "cite": "KMSKA, Antwerp, 'Madonna at the Fountain', inv. 411, read 2026-09-24"}]}, "scene": {"ref": "Canticle of Canticles 4:15", "quote": "The fountain of gardens: the well of living waters, which run with a strong stream from Libanus.", "shows": "the metal fountain in the foreground before the Virgin and Child"}, "th": "/store/thumb/jan_van_eyck_madonna_at_the_fountain.webp", "more": [{"k": "subject", "n": "The Madonna and Child in painting", "u": "/editions/subject/madonna-and-child/", "ids": ["angelico_bosco_ai_frati_altarpiece", "fouquet_madonna_surrounded_by_seraphim_and_cheru", "bouts_virgin_and_child", "ferrarese_15th_century_madonna_and_child_with_angels"]}, {"k": "master", "n": "Jan van Eyck", "u": "/editions/master/jan-van-eyck/", "ids": ["van_eyck_annunciation_nga", "van_eyck_van_der_paele", "van_eyck_rolin", "van_eyck_lucca_madonna"]}]}, "hieronymus_bosch_christ_carrying_the_cross": {"id": "hieronymus_bosch_christ_carrying_the_cross", "title": "Christ Carrying the Cross", "artist_line": "Hieronymus Bosch (Netherlandish)", "artist": "Hieronymus Bosch", "date": "c. 1490–1510", "museum": "Kunsthistorisches Museum, Vienna", "license": "Public domain", "tier": "Sanctuary", "sizes": [{"size": "8×10 in", "paper": 39, "iw": 5.4, "ih": 10, "sw": 8, "sh": 10, "cov": 0.68}, {"size": "11×14 in", "paper": 59, "iw": 7.6, "ih": 14, "sw": 11, "sh": 14, "cov": 0.692}, {"size": "16×20 in", "paper": 110, "iw": 10.9, "ih": 20, "sw": 16, "sh": 20, "cov": 0.68}, {"size": "18×24 in", "paper": 140, "iw": 13.0, "ih": 24, "sw": 18, "sh": 24, "cov": 0.725}, {"size": "24×36 in", "paper": 190, "iw": 19.6, "ih": 36, "sw": 24, "sh": 36, "cov": 0.816}, {"size": "32×48 in", "paper": 340, "iw": 26.1, "ih": 48, "sw": 32, "sh": 48, "cov": 0.816}, {"size": "40×60 in", "paper": 480, "iw": 32.6, "ih": 60, "sw": 40, "sh": 60, "cov": 0.816}], "local": "/store/display/hieronymus_bosch_christ_carrying_the_cross.jpg", "commons_file": "Christ Carrying the Cross, ca. 1500.jpg", "zoom": "https://art.monstrance.app/zoom/hieronymus_bosch_christ_carrying_the_cross.jpg", "master_px": 27867, "auth": {"institution": "Kunsthistorisches Museum, Vienna", "accession": "GG 6429", "url": "https://www.khm.at/objektdb/detail/295/", "artist_as_printed": "Hieronymus Bosch", "date_as_printed": "um 1490/1510", "medium": "Eichenholz", "dimensions": "57 × 32 cm"}, "writeup": {"text": "Christ goes barefoot, and at every step the wood hanging from His waist bites. The Web Gallery of Art's commentary points to those spike-studded blocks, cutting His feet and ankles as He walks, and to the grimacing soldiers packed round Him, one with a toad on his shield. Below, Hieronymus Bosch parts the two thieves. Soldiers torment the bad thief. The good thief kneels to confess to a priest, an anachronism Bosch probably took from executions he had seen, and the commentary sets his open mouth against the priest, who seems to suppress a yawn. Above them the Cross keeps moving, and Christ under it.", "sources": [{"what": "The head of Christ against grimacing soldiers and ill-wishers, one with the familiar toad on his shield; the spike-studded wooden blocks at his waist lacerating his feet and ankles; soldiers tormenting the bad thief while the good thief kneels before a priest; the thief's open-mouthed confession and the priest who seems to suppress a yawn; the priest as an anachronism probably inspired by contemporary executions; 1480s, oil on panel, Kunsthistorisches Museum, Vienna", "url": "https://www.wga.hu/html_m/b/bosch/1early/12carry.html", "cite": "Web Gallery of Art (Emil Krén and Daniel Marx), Bosch, Christ Carrying the Cross, Kunsthistorisches Museum, Vienna, read 2026-09-24"}]}, "scene": {"ref": "John 19:17", "quote": "And bearing his own cross, he went forth to the place which is called Calvary, but in Hebrew Golgotha.", "shows": "Christ bearing the Cross himself among soldiers, on the way to Calvary"}, "th": "/store/thumb/hieronymus_bosch_christ_carrying_the_cross.webp", "more": [{"k": "subject", "n": "The Christ Carrying the Cross in painting", "u": "/editions/subject/christ-carrying-the-cross/", "ids": ["hieronymus_bosch_christ_carrying_the_cross_escorial", "titian_christ_carrying", "el_greco_christ_carrying_cross", "poelenburch_christ_carrying_the_cross"]}, {"k": "master", "n": "Hieronymus Bosch", "u": "/editions/master/hieronymus-bosch/", "ids": ["hieronymus_bosch_ecce_homo", "hieronymus_bosch_the_last_judgment_central_panel", "hieronymus_bosch_crucifixion_with_a_donor", "hieronymus_bosch_st_john_the_baptist_in_the_wilderness"]}]}, "gaspar_de_crayer_the_martyrdom_of_st_lawrence": {"id": "gaspar_de_crayer_the_martyrdom_of_st_lawrence", "title": "The Martyrdom of St Lawrence", "artist_line": "Gaspar de Crayer (Flemish, 1584–1669)", "artist": "Gaspar de Crayer", "date": "c. 1640", "museum": "Museum voor Schone Kunsten (MSK), Ghent", "license": "Public domain", "tier": "Sanctuary", "sizes": [{"size": "8×10 in", "paper": 39, "iw": 6.3, "ih": 10, "sw": 8, "sh": 10, "cov": 0.788}, {"size": "11×14 in", "paper": 59, "iw": 8.8, "ih": 14, "sw": 11, "sh": 14, "cov": 0.802}, {"size": "16×20 in", "paper": 110, "iw": 12.6, "ih": 20, "sw": 16, "sh": 20, "cov": 0.788}, {"size": "18×24 in", "paper": 140, "iw": 15.1, "ih": 24, "sw": 18, "sh": 24, "cov": 0.841}, {"size": "24×36 in", "paper": 190, "iw": 22.7, "ih": 36, "sw": 24, "sh": 36, "cov": 0.946}, {"size": "32×48 in", "paper": 340, "iw": 30.3, "ih": 48, "sw": 32, "sh": 48, "cov": 0.946}, {"size": "40×60 in", "paper": 480, "iw": 37.8, "ih": 60, "sw": 40, "sh": 60, "cov": 0.946}], "local": "/store/display/gaspar_de_crayer_the_martyrdom_of_st_lawrence.jpg", "commons_file": "Gaspar de Crayer - The Martyrdom of Saint Lawrence - S-20 - Museum of Fine Arts Ghent (MSK).jpg", "zoom": "https://art.monstrance.app/zoom/gaspar_de_crayer_the_martyrdom_of_st_lawrence.jpg", "master_px": 12249, "auth": {"institution": "MSK Gent (Museum voor Schone Kunsten), Ghent", "accession": "S-20", "url": "https://www.mskgent.be/en/collection/s-20", "artist_as_printed": "Gaspar de Crayer (Antwerp 1584 - Ghent 1669)", "date_as_printed": "circa 1640", "medium": "oil paint, canvas", "dimensions": "352 x 225 cm"}, "writeup": {"text": "Saint Laurence lies on the iron grid with his feet bare and his eyes on the sky, and the fire is already lit beneath him. A man kneels at the flames with a fork; a chain is about his body; a horseman in a plumed helmet looks down. The MSK's own index for Gaspar de Crayer's canvas names the rest: an executioner, soldiers, a lance, a standard-bearer, an eagle. It files him as the martyr and deacon Laurence of Rome, dead by burning on the gridiron. Above, two small angels come down through the smoke with a wreath and a branch. The index names them first: angels.", "sources": [{"what": "MSK's Iconclass index for S-20: angels; saints; the martyr and deacon Laurence of Rome; an eagle; a lying figure; violent death by fire, maltreatment and torture, death by burning on the gridiron; open fire; a fork; a standard-bearer; an executioner; a lance; a private soldier; a rider; a chain. Tombstone: circa 1640, oil paint, canvas, 352 x 225 cm, long-term loan OCMW Ghent 1904.", "url": "https://www.mskgent.be/en/collection/s-20", "cite": "MSK Gent, 'The Martyrdom of Saint Lawrence', Gaspar de Crayer, S-20, read 2026-09-24"}]}, "scene": {"why": "Laurence, deacon of Rome, is not in Scripture; his death on the gridiron under the persecution of the third century comes to us through the Church's memory of her Roman martyrs and the liturgy of his feast, not through the biblical record, so no verse is honest here."}, "th": "/store/thumb/gaspar_de_crayer_the_martyrdom_of_st_lawrence.webp", "more": [{"k": "subject", "n": "Saints in painting", "u": "/editions/subject/saints/", "ids": ["la_tour_repentant_magdalen", "champaigne_augustine", "champaigne_the_repentant_magdalen", "poussin_the_ecstasy_of_saint_paul"]}]}, "hieronymus_bosch_st_jerome_at_prayer": {"id": "hieronymus_bosch_st_jerome_at_prayer", "title": "St Jerome at Prayer", "artist_line": "Hieronymus Bosch (Netherlandish, c. 1450–1516)", "artist": "Hieronymus Bosch", "date": "c. 1485–1495", "museum": "Museum voor Schone Kunsten (MSK), Ghent", "license": "Public domain", "tier": "Sanctuary", "sizes": [{"size": "8×10 in", "paper": 39, "iw": 7.4, "ih": 10, "sw": 8, "sh": 10, "cov": 0.919}, {"size": "11×14 in", "paper": 59, "iw": 10.3, "ih": 14, "sw": 11, "sh": 14, "cov": 0.936}, {"size": "16×20 in", "paper": 110, "iw": 14.7, "ih": 20, "sw": 16, "sh": 20, "cov": 0.919}, {"size": "18×24 in", "paper": 140, "iw": 17.6, "ih": 24, "sw": 18, "sh": 24, "cov": 0.98}, {"size": "24×36 in", "paper": 190, "iw": 24, "ih": 32.6, "sw": 24, "sh": 36, "cov": 0.907}, {"size": "32×48 in", "paper": 340, "iw": 32, "ih": 43.5, "sw": 32, "sh": 48, "cov": 0.907}, {"size": "40×60 in", "paper": 480, "iw": 40, "ih": 54.4, "sw": 40, "sh": 60, "cov": 0.907}], "local": "/store/display/hieronymus_bosch_st_jerome_at_prayer.jpg", "commons_file": "St. Jerome at Prayer, ca. 1482.jpg", "zoom": "https://art.monstrance.app/zoom/hieronymus_bosch_st_jerome_at_prayer.jpg", "master_px": 30000, "auth": {"institution": "MSK Gent (Museum voor Schone Kunsten), Ghent", "accession": "1908-H", "url": "https://www.mskgent.be/en/collection/1908-h", "artist_as_printed": "Jheronimus Bosch", "date_as_printed": "circa 1485 - circa 1495", "medium": "oil paintings (visual works)"}, "writeup": {"text": "A red hat lies in the grass beside a closed book, and its owner lies stretched among the rocks, a crucifix held between his forearms. Hieronymus Bosch was named for this saint, and MSK Gent says he took Jerome as a role model, a scholar of relentless moralism who left public life in Rome for an ascetic life in Palestine. Howard Oakley points out the cardinal's scarlet hat at his feet and the scarlet cassock wrapped round a hollow trunk where an owl perches. The lion, which legend says Jerome freed of a thorn, is here, the museum notes, a small domestic animal. Everything is put down but the Cross.", "sources": [{"what": "MSK's catalogue text: Bosch's namesake saint; the artist considered Jerome a role model as a scholar and for his relentless moralism and personal dedication; Jerome retired from public life in Rome to lead an ascetic life in Palestine; the half-clothed saint absorbed in prayer among exotic plants, trunks and rocks; the lion shown as a small domestic animal; the legend of the thorn; dendrochronology after 1485 and before 1495; autograph; panel cut slightly at top and bottom.", "url": "https://www.mskgent.be/en/collection/1908-h", "cite": "MSK Gent, 'Saint Jerome', Jheronimus Bosch, 1908-H, read 2026-09-24"}, {"what": "Howard Oakley's description of the panel: Jerome embraces a large crucifix between his forearms; the cardinal's scarlet galero near his feet beside a closed book; the scarlet cassock wrapped round a hollow trunk with an owl perched on it; a second owl found in restoration; the little lion on the far bank.", "url": "https://eclecticlight.co/2016/06/12/hieronymus-bosch-saint-jerome-at-prayer-ghent/", "cite": "Howard Oakley, 'Hieronymus Bosch: Saint Jerome at Prayer (Ghent)', The Eclectic Light Company, 12 June 2016, citing Ilsink et al., Catalogue Raisonné (2016) no. 1; read 2026-09-24"}]}, "scene": {"why": "Jerome's penance in the desert is not a biblical episode: the saint is a fourth-century Father of the Church, and his retreat, his lion and his cardinal's attributes come from his own letters and later hagiography, so no verse describes this picture."}, "th": "/store/thumb/hieronymus_bosch_st_jerome_at_prayer.webp", "more": [{"k": "subject", "n": "Saints in painting", "u": "/editions/subject/saints/", "ids": ["carpaccio_meditation_on_the_passion", "hieronymus_bosch_st_john_the_baptist_in_the_wilderness", "hieronymus_bosch_st_john_the_evangelist_on_patmos", "durer_saint_jerome_in_the_wilderness"]}, {"k": "master", "n": "Hieronymus Bosch", "u": "/editions/master/hieronymus-bosch/", "ids": ["hieronymus_bosch_christ_carrying_the_cross", "hieronymus_bosch_ecce_homo", "hieronymus_bosch_the_last_judgment_central_panel", "hieronymus_bosch_crucifixion_with_a_donor"]}]}, "juan_correa_our_lady_of_balvanera": {"id": "juan_correa_our_lady_of_balvanera", "title": "Our Lady of Balvanera", "artist_line": "Juan Correa (Mexican)", "artist": "Juan Correa", "date": "1665–1700", "museum": "Museo Franz Mayer, Mexico City", "license": "Public domain", "tier": "Sanctuary", "sizes": [{"size": "8×10 in", "paper": 39, "iw": 7.0, "ih": 10, "sw": 8, "sh": 10, "cov": 0.875}, {"size": "11×14 in", "paper": 59, "iw": 9.8, "ih": 14, "sw": 11, "sh": 14, "cov": 0.891}, {"size": "16×20 in", "paper": 110, "iw": 14.0, "ih": 20, "sw": 16, "sh": 20, "cov": 0.875}, {"size": "18×24 in", "paper": 140, "iw": 16.8, "ih": 24, "sw": 18, "sh": 24, "cov": 0.933}, {"size": "24×36 in", "paper": 190, "iw": 24, "ih": 34.3, "sw": 24, "sh": 36, "cov": 0.953}, {"size": "32×48 in", "paper": 340, "iw": 32, "ih": 45.7, "sw": 32, "sh": 48, "cov": 0.953}, {"size": "40×60 in", "paper": 480, "iw": 40, "ih": 57.2, "sw": 40, "sh": 60, "cov": 0.953}], "local": "/store/display/juan_correa_our_lady_of_balvanera.jpg", "commons_file": "Virgen de la Balvanera - Juan Correa - Museo Franz Mayer - Google Art Project.jpg", "zoom": "https://art.monstrance.app/zoom/juan_correa_our_lady_of_balvanera.jpg", "master_px": 11909, "auth": {"institution": "Museo Franz Mayer, Mexico City", "url": "https://artsandculture.google.com/asset/virgen-de-la-balvanera-juan-correa/cgE1C5Fvssp9xg", "artist_as_printed": "Juan Correa", "date_as_printed": "1665/1700", "medium": "Óleo sobre tela"}, "writeup": {"text": "Our Lady is found inside an oak, enthroned where the trunk has split open, the Christ Child on her knee holding a book. Two hermits kneel below, one barefoot in brown, one in black, their axes on the ground. The Museo Franz Mayer tells the legend: a statue said to be carved by Saint Luke, hidden in the oak after the Moors invaded Spain, shown by the Virgin to the hermits Domingo and Nuño beside a spring and a beehive. Cristina Cruz González traces the devotion to expatriates from the Rioja in Mexico City, where Conceptionist nuns kept her church. Juan Correa leaves the oak open, and her in it.", "sources": [{"what": "The Franz Mayer's record: the painting recreates the story of a sculpture attributed to St Luke, hidden in an oak after the Moorish invasion of Spain; the Virgin appeared to the hermits Domingo and Nuño and showed them its place beside a spring with a beehive; the legend says the oak opened on the image seated on a throne of four eagles. Depicted subjects listed: Virgin Mary, Christ Child, Domingo, Nuño, beehive, axes, oak tree, stream, book. Juan Correa, 1665/1700, oil on canvas.", "url": "https://artsandculture.google.com/asset/virgen-de-la-balvanera-juan-correa/cgE1C5Fvssp9xg", "cite": "Museo Franz Mayer, 'Virgen de la Balvanera', Juan Correa, Google Arts \u0026 Culture, read 2026-09-24"}, {"what": "Cruz González: expatriates from the Rioja established the devotion in colonial Mexico City; Conceptionist nuns oversaw the Balvanera convent and church; surviving devotional paintings by Juan Correa, José de Ibarra and Miguel Cabrera were perhaps intended for these spaces.", "url": "https://mavcor.yale.edu/sites/default/files/article_pdf/gonzalez_cristina_cruz.pdf", "cite": "Cristina Cruz González, 'The Balvanera Escudo', Conversations (MAVCOR, Yale), 2014; read 2026-09-24"}]}, "scene": {"why": "The Virgin of Balvanera is a Riojan devotion to a statue: the story of its carving, its hiding in an oak and its finding by hermits is local Spanish legend of the late Middle Ages, not Scripture, so no verse describes this image."}, "th": "/store/thumb/juan_correa_our_lady_of_balvanera.webp", "more": [{"k": "subject", "n": "The Madonna and Child in painting", "u": "/editions/subject/madonna-and-child/", "ids": ["murillo_virgin_rosary", "divina_pastora_prado", "domingo_martinez_the_virgin_of_the_rosary", "tiepolo_madonna_of_the_goldfinch"]}, {"k": "master", "n": "Juan Correa", "u": "/editions/master/juan-correa/", "ids": ["correa_christ_gathering_his_garments_after_the_flagellat"]}]}, "hieronymus_bosch_st_john_the_baptist_in_the_wilderness": {"id": "hieronymus_bosch_st_john_the_baptist_in_the_wilderness", "title": "St John the Baptist in the Wilderness", "artist_line": "Hieronymus Bosch (Netherlandish, c. 1450–1516)", "artist": "Hieronymus Bosch", "date": "c. 1495", "museum": "Museo Lázaro Galdiano, Madrid", "license": "Public domain", "tier": "Sanctuary", "sizes": [{"size": "8×10 in", "paper": 39, "iw": 8, "ih": 9.5, "sw": 8, "sh": 10, "cov": 0.953}, {"size": "11×14 in", "paper": 59, "iw": 11, "ih": 13.1, "sw": 11, "sh": 14, "cov": 0.936}, {"size": "16×20 in", "paper": 110, "iw": 16, "ih": 19.1, "sw": 16, "sh": 20, "cov": 0.953}, {"size": "18×24 in", "paper": 140, "iw": 18, "ih": 21.4, "sw": 18, "sh": 24, "cov": 0.893}, {"size": "24×36 in", "paper": 190, "iw": 24, "ih": 28.6, "sw": 24, "sh": 36, "cov": 0.794}, {"size": "32×48 in", "paper": 340, "iw": 32, "ih": 38.1, "sw": 32, "sh": 48, "cov": 0.794}, {"size": "40×60 in", "paper": 480, "iw": 40, "ih": 47.6, "sw": 40, "sh": 60, "cov": 0.794}], "local": "/store/display/hieronymus_bosch_st_john_the_baptist_in_the_wilderness.jpg", "commons_file": "St. John the Baptist in the Wilderness, ca. 1489.jpg", "zoom": "https://art.monstrance.app/zoom/hieronymus_bosch_st_john_the_baptist_in_the_wilderness.jpg", "master_px": 30000, "auth": {"institution": "Museo Lázaro Galdiano (Fundación Lázaro Galdiano), Madrid", "accession": "08155", "url": "https://www.museolazarogaldiano.es/fondos/meditaciones-de-san-juan-bautista", "artist_as_printed": "Aeken, Hieronymus van (Lugar de nacimiento: Holanda, 1450[ca] - Lugar de fallecimiento: Holanda, 1516), [El Bosco]", "date_as_printed": "1495[ca]", "medium": "Tabla [roble] / Óleo", "dimensions": "Sin Marco: Altura = 48,5 cm; Anchura = 40 cm (Con Marco: Altura = 61 cm; Anchura = 52 cm; Profundidad = 7 cm)"}, "writeup": {"text": "Saint John the Baptist lies on the ground, barefoot, head on his hand, one finger pointing down at a small white lamb. He has not yet given that sign at the Jordan; for now he thinks, in a wilderness of invented plants and rock. The Lázaro Galdiano reports that radiographs and infrared studies made in 1995 found a donor under the unsettling plant beside him, a praying figure the museum takes to be the patron. Barba reads it as a chimera of more than six species. Bosch lets a bird peck at the seeds spilling from its fruit. The Lamb lies still, waiting to be named.", "sources": [{"what": "The museum's record: the saint meditating in nature among invented geology, animals and plants; a lamb before the stone; the unsettling plant beside him, a vegetal chimera, hides a praying figure, surely the commissioner; radiographs and infrared reflectography made at the IPCE in 1995 show a donor under the plant; Barba (2017) reads the plant as a chimera of more than six plants; Koldeweij proposes it formed part of the closing of Adriaen van Wesel's carved altarpiece. Tombstone: 1495[ca], oak panel, oil, 48.5 × 40 cm unframed, inv. 08155.", "url": "https://www.museolazarogaldiano.es/fondos/meditaciones-de-san-juan-bautista", "cite": "Museo Lázaro Galdiano, 'Meditaciones de San Juan Bautista', inv. 08155, read 2026-09-24"}, {"what": "The museum's own blog: the plant also serves to cover the figure of a donor; a bird, perhaps a shrike, pecks at the grains of its fruit.", "url": "https://museolazarogaldiano.blog/2015/06/30/meditaciones-san-juan-bautista-el-bosco-museo-lazaro-galdiano/", "cite": "Museo Lázaro Galdiano blog, 'La tabla Meditaciones de San Juan Bautista de El Bosco (2)', 30 June 2015; read 2026-09-24"}, {"what": "Howard Oakley's description: John leans on a diagonal, head propped on his left hand, right index finger pointing to a white lamb lying on the ground below the slab; a bird eating seeds spilling from a cup-shaped fruit.", "url": "https://eclecticlight.co/2016/06/15/hieronymus-bosch-saint-john-the-baptist-madrid/", "cite": "Howard Oakley, 'Hieronymus Bosch: Saint John the Baptist (Madrid)', The Eclectic Light Company, 15 June 2016, citing Ilsink et al. 2016 CR no. 5; read 2026-09-24"}]}, "scene": {"ref": "John 1:29", "quote": "The next day, John saw Jesus coming to him; and he saith: Behold the Lamb of God. Behold him who taketh away the sin of the world.", "shows": "the Baptist in the wilderness pointing to a lamb at his feet"}, "th": "/store/thumb/hieronymus_bosch_st_john_the_baptist_in_the_wilderness.webp", "more": [{"k": "subject", "n": "Saints in painting", "u": "/editions/subject/saints/", "ids": ["hieronymus_bosch_st_john_the_evangelist_on_patmos", "durer_saint_jerome_in_the_wilderness", "gentile_bellini_procession_in_piazza_san_marco", "cima_saint_jerome_in_the_wilderness"]}, {"k": "master", "n": "Hieronymus Bosch", "u": "/editions/master/hieronymus-bosch/", "ids": ["hieronymus_bosch_st_john_the_evangelist_on_patmos", "hieronymus_bosch_st_christopher_carrying_the_christ_child", "hieronymus_bosch_christ_carrying_the_cross_escorial", "bosch_christ_mocked_the_crowning_with_thorns"]}]}, "juan_de_flandes_the_crucifixion": {"id": "juan_de_flandes_the_crucifixion", "title": "The Crucifixion", "artist_line": "Juan de Flandes (Netherlandish)", "artist": "Juan de Flandes", "date": "1509–1519", "museum": "Museo Nacional del Prado, Madrid", "license": "Public domain", "tier": "Sanctuary", "sizes": [{"size": "8×10 in", "paper": 39, "iw": 10, "ih": 7.2, "sw": 10, "sh": 8, "cov": 0.903}, {"size": "11×14 in", "paper": 59, "iw": 14, "ih": 10.1, "sw": 14, "sh": 11, "cov": 0.92}, {"size": "16×20 in", "paper": 110, "iw": 20, "ih": 14.5, "sw": 20, "sh": 16, "cov": 0.903}, {"size": "18×24 in", "paper": 140, "iw": 24, "ih": 17.3, "sw": 24, "sh": 18, "cov": 0.964}, {"size": "24×36 in", "paper": 190, "iw": 33.2, "ih": 24, "sw": 36, "sh": 24, "cov": 0.923}, {"size": "32×48 in", "paper": 340, "iw": 44.3, "ih": 32, "sw": 48, "sh": 32, "cov": 0.923}, {"size": "40×60 in", "paper": 480, "iw": 55.4, "ih": 40, "sw": 60, "sh": 40, "cov": 0.923}], "local": "/store/display/juan_de_flandes_the_crucifixion.jpg", "commons_file": "La crucifixión, by Juan de Flandes, from Prado in Google Earth.jpg", "zoom": "https://art.monstrance.app/zoom/juan_de_flandes_the_crucifixion.jpg", "master_px": 30000, "auth": {"institution": "Museo Nacional del Prado, Madrid", "accession": "P007878", "url": "https://www.museodelprado.es/en/the-collection/art-work/the-crucifixion/43bbf96a-516d-4e75-ab29-7ea521e7afce", "artist_as_printed": "Juan de Flandes (Netherlands, 1447 - Palencia (Spain), 1514)", "date_as_printed": "1509-1519", "medium": "Oil on panel", "dimensions": "Height: 123 cm; Width: 169 cm"}, "writeup": {"text": "The sun and the moon stand in one sky, and a cloud half hides them both, as if neither could look. The Prado reads this as the hour after Christ's death, when the procession has left Golgotha and only His anguished relatives and disciples remain. Our Lady sits on a stone, in tears and close to fainting, as the museum sees her; two Marys weep beside her, and Saint John stands alone. Juan de Flandes keeps a soldier in armour on the right. A skull, Adam's by legend, lies at the foot of the Cross, and far off at left rises the Alhambra, seen from the Generalife.", "sources": [{"what": "Prado commentary: the action takes place after Christ's death, when the procession has left Golgotha on the way to Jerusalem and only Christ's anguished relatives and disciples remain; a dark cloud partly hides the sun and moon; the Virgin sits on a stone, her face covered in tears, close to fainting, isolated in her anguish; Mary Cleophas and Mary Salome with faces covered in tears; John alone in his anguish; skull and femur in the central foreground, the skull identified as Adam's by legend; the Alhambra from the Generalife with the Comares tower behind, at left. Tombstone: 1509-1519, oil on panel, 123 × 169 cm, P007878.", "url": "https://www.museodelprado.es/en/the-collection/art-work/the-crucifixion/43bbf96a-516d-4e75-ab29-7ea521e7afce", "cite": "Museo Nacional del Prado, 'The Crucifixion', Juan de Flandes, P007878, read 2026-09-24"}]}, "scene": {"ref": "John 19:25", "quote": "Now there stood by the cross of Jesus, his mother and his mother's sister, Mary of Cleophas, and Mary Magdalen.", "shows": "the dead Christ on the cross with his mother, two Marys and John left on Golgotha"}, "th": "/store/thumb/juan_de_flandes_the_crucifixion.webp", "more": [{"k": "subject", "n": "The Crucifixion in painting", "u": "/editions/subject/crucifixion/", "ids": ["grunewald_small_crucifixion", "vasco_fernandes_gaspar_vaz_calvary", "tintoretto_crucifixion", "titian_christ_crucified"]}]}, "jusepe_de_ribera_jacob_s_dream": {"id": "jusepe_de_ribera_jacob_s_dream", "title": "Jacob's Dream", "artist_line": "Jusepe de Ribera (Spanish, 1591–1652)", "artist": "Jusepe de Ribera", "date": "1639", "museum": "Museo Nacional del Prado, Madrid", "license": "Public domain", "tier": "Sanctuary", "sizes": [{"size": "8×10 in", "paper": 39, "iw": 10, "ih": 7.6, "sw": 10, "sh": 8, "cov": 0.945}, {"size": "11×14 in", "paper": 59, "iw": 14, "ih": 10.6, "sw": 14, "sh": 11, "cov": 0.963}, {"size": "16×20 in", "paper": 110, "iw": 20, "ih": 15.1, "sw": 20, "sh": 16, "cov": 0.945}, {"size": "18×24 in", "paper": 140, "iw": 23.8, "ih": 18, "sw": 24, "sh": 18, "cov": 0.992}, {"size": "24×36 in", "paper": 190, "iw": 31.7, "ih": 24, "sw": 36, "sh": 24, "cov": 0.881}, {"size": "32×48 in", "paper": 340, "iw": 42.3, "ih": 32, "sw": 48, "sh": 32, "cov": 0.881}, {"size": "40×60 in", "paper": 480, "iw": 52.9, "ih": 40, "sw": 60, "sh": 40, "cov": 0.881}], "local": "/store/display/jusepe_de_ribera_jacob_s_dream.jpg", "commons_file": "El sueño de Jacob, by José de Ribera, from Prado in Google Earth.jpg", "zoom": "https://art.monstrance.app/zoom/jusepe_de_ribera_jacob_s_dream.jpg", "master_px": 30000, "auth": {"institution": "Museo Nacional del Prado, Madrid", "accession": "P001117", "url": "https://www.museodelprado.es/en/the-collection/art-work/jacobs-dream/c84dbc72-af49-4a7c-88df-a66046bc88cd", "artist_as_printed": "Jusepe de Ribera lo Spagnoletto (Játiva, Valencia (Spain), 1591 - Naples (Italy), 1652)", "date_as_printed": "1639", "medium": "Oil on canvas", "dimensions": "Height: 179 cm; Width: 232.99998 cm"}, "writeup": {"text": "Jacob sleeps on the bare ground with his head on his hand, sandals still on, and over him heaven opens. Nicola Spinosa, writing for the Prado, calls it the posture of a tired traveler, beside the gnarled, leaning trunk of a tree almost bare of leaves. The ladder of angels Jusepe de Ribera sets above him is made of delicate forms in quick, essential strokes, and it nearly dissolves, Spinosa says, into a whirl of golden light. What holds solid is the sleeper; what he sees is barely there. The signature, once hard to read, may be why royal inventories called it a Murillo. The light keeps coming down.", "sources": [{"what": "Nicola Spinosa's Prado encyclopedia entry: Jacob asleep on the ground in the posture of a tired traveler, beside the gnarled, leaning trunk of a tree almost bare of leaves; the ladder of angels, delicate forms suggested by rapid, essential strokes, almost dissolves in the whirl of golden light; attributed to Murillo in the royal inventories of La Granja (1774) and Aranjuez (1794), perhaps because the signature was then barely legible; signed and dated JUSEPE DE RIBERA F. / 1639.", "url": "https://www.museodelprado.es/aprende/enciclopedia/voz/sueo-de-jacob-el-ribera/d27a7f27-9ce8-4600-b592-b4c8bb7849f6", "cite": "Nicola Spinosa, 'Sueño de Jacob, El [Ribera]', Enciclopedia del Museo del Prado; read 2026-09-24"}, {"what": "Prado collection record: Jusepe de Ribera, Jacob's Dream, 1639, oil on canvas, 179 × 233 cm, P001117; provenance from Jerónimo de la Torre (1658) to Isabella Farnese (1746).", "url": "https://www.museodelprado.es/en/the-collection/art-work/jacobs-dream/c84dbc72-af49-4a7c-88df-a66046bc88cd", "cite": "Museo Nacional del Prado, 'Jacob's Dream', P001117, read 2026-09-24"}]}, "scene": {"ref": "Genesis 28:12", "quote": "And he saw in his sleep a ladder standing upon the earth, and the top thereof touching heaven: the angels also of God ascending and descending by it.", "shows": "Jacob asleep on the ground beneath a ladder of angels dissolving in golden light"}, "th": "/store/thumb/jusepe_de_ribera_jacob_s_dream.webp", "more": [{"k": "subject", "n": "The Old Testament in painting", "u": "/editions/subject/old-testament/", "ids": ["poussin_judgment_solomon", "izaak_van_oosten_garden_of_eden", "gauguin_vision_after_sermon", "giovanni_di_paolo_creation_of_the_world_and_the_expulsion"]}, {"k": "master", "n": "Jusepe de Ribera", "u": "/editions/master/jusepe-de-ribera/", "ids": ["ribera_the_adoration_of_the_shepherds", "ribera_jerome", "ribera_immaculate_conception"]}]}, "unknown_andean_painter_virgin_of_the_rosary_of_pomata": {"id": "unknown_andean_painter_virgin_of_the_rosary_of_pomata", "title": "Virgin of the Rosary of Pomata", "artist_line": "Unknown artist (Andean, 18th century)", "artist": "Unknown artist", "date": "18th century", "museum": "Museo Colonial, Bogotá", "license": "Public domain", "tier": "Sanctuary", "sizes": [{"size": "8×10 in", "paper": 39, "iw": 7.2, "ih": 10, "sw": 8, "sh": 10, "cov": 0.896}, {"size": "11×14 in", "paper": 59, "iw": 10.0, "ih": 14, "sw": 11, "sh": 14, "cov": 0.912}, {"size": "16×20 in", "paper": 110, "iw": 14.3, "ih": 20, "sw": 16, "sh": 20, "cov": 0.896}, {"size": "18×24 in", "paper": 140, "iw": 17.2, "ih": 24, "sw": 18, "sh": 24, "cov": 0.956}, {"size": "24×36 in", "paper": 190, "iw": 24, "ih": 33.5, "sw": 24, "sh": 36, "cov": 0.93}, {"size": "32×48 in", "paper": 340, "iw": 32, "ih": 44.6, "sw": 32, "sh": 48, "cov": 0.93}, {"size": "40×60 in", "paper": 480, "iw": 40, "ih": 55.8, "sw": 40, "sh": 60, "cov": 0.93}], "local": "/store/display/unknown_andean_painter_virgin_of_the_rosary_of_pomata.jpg", "commons_file": "Virgin of the Rosary of Pomata - 18th-century.jpg", "zoom": "https://art.monstrance.app/zoom/unknown_andean_painter_virgin_of_the_rosary_of_pomata.jpg", "master_px": 11789, "auth": {"institution": "Museo Colonial, Bogotá (Ministerio de Cultura de Colombia)", "url": "https://www.museocolonial.gov.co/colecciones/piezas-del-mes/Paginas/Virgen-del-Rosario-de-Pomata.aspx", "artist_as_printed": "Anónimo", "date_as_printed": "Siglo XVIII", "medium": "Óleo sobre tela", "dimensions": "152 x 110 cm"}, "writeup": {"text": "Our Lady wears a crown of feathers, and so does her Son, and the Museo Colonial in Bogotá reads those feathers as the headdress of Inca nobility. She holds a rosary; He holds a small blue globe. An unknown eighteenth-century Andean painter made a portrait of a statue: the museum explains that such images reproduced a revered figure on its altar, dressed in rich vestments and framed by curtains, and this one records the image in the church of Santiago de Pomata, where Dominicans brought the devotion. Her dress spreads in a triangle of pearls and bows. At its hem a crescent moon and three cherubs keep her feet.", "sources": [{"what": "The museum's text: a 'verdadero retrato' of a Marian image reproduced on its altar, dressed in rich vestments and framed by curtains; long curly hair and a feather crown recalling Inca nobility; the Virgin carrying the Child on one arm and holding a rosary, among curtains and flowers; the devotion introduced by the Dominican order in the second half of the sixteenth century; her garment adorned with pearls and bows; a triangular dress. Tombstone: Anónimo, Siglo XVIII, óleo sobre tela, 152 x 110 cm.", "url": "https://www.museocolonial.gov.co/colecciones/piezas-del-mes/Paginas/Virgen-del-Rosario-de-Pomata.aspx", "cite": "Museo Colonial, Bogotá, 'Virgen del Rosario de Pomata', pieza del mes; read 2026-09-24"}, {"what": "The museum's story: Dominican missionaries brought this Marian iconography to Pomata, and the painting is based on a revered sculpture in the church of Santiago de Pomata; feather crowns on mother and child, common in Inca noble dress; the pearl-adorned triangular dress; three cherub heads and a crescent moon at her feet.", "url": "https://artsandculture.google.com/story/virgin-of-the-rosary-of-pomata-museo-colonial/QgUxKmVRINECfA?hl=en", "cite": "Museo Colonial and Museo Santa Clara, Bogotá, 'Virgin of the Rosary of Pomata', Google Arts \u0026 Culture story; read 2026-09-24"}]}, "scene": {"why": "A 'true portrait' of a venerated Rosary statue at Pomata by Lake Titicaca: the image records a Dominican devotion and a particular sculpture on its altar, not any moment in Scripture, so no verse is honest."}, "th": "/store/thumb/unknown_andean_painter_virgin_of_the_rosary_of_pomata.webp", "more": [{"k": "subject", "n": "The Madonna and Child in painting", "u": "/editions/subject/madonna-and-child/", "ids": ["cimabue_the_virgin_and_child_in_majesty_surrou", "duccio_maesta", "baronzio_madonna_and_child_with_five_angels", "bohemian_master_the_glatz_madonna"]}]}, "domingo_martinez_the_virgin_of_the_rosary": {"id": "domingo_martinez_the_virgin_of_the_rosary", "title": "The Virgin of the Rosary", "artist_line": "Domingo Martínez (Spanish, 1688–1749)", "artist": "Domingo Martínez", "date": "c. 1745", "museum": "Museo de Bellas Artes, Seville", "license": "Public domain", "tier": "Sanctuary", "sizes": [{"size": "8×10 in", "paper": 39, "iw": 7.3, "ih": 10, "sw": 8, "sh": 10, "cov": 0.907}, {"size": "11×14 in", "paper": 59, "iw": 10.2, "ih": 14, "sw": 11, "sh": 14, "cov": 0.924}, {"size": "16×20 in", "paper": 110, "iw": 14.5, "ih": 20, "sw": 16, "sh": 20, "cov": 0.907}, {"size": "18×24 in", "paper": 140, "iw": 17.4, "ih": 24, "sw": 18, "sh": 24, "cov": 0.968}, {"size": "24×36 in", "paper": 190, "iw": 24, "ih": 33.1, "sw": 24, "sh": 36, "cov": 0.919}, {"size": "32×48 in", "paper": 340, "iw": 32, "ih": 44.1, "sw": 32, "sh": 48, "cov": 0.919}, {"size": "40×60 in", "paper": 480, "iw": 40, "ih": 55.1, "sw": 40, "sh": 60, "cov": 0.919}], "local": "/store/display/domingo_martinez_the_virgin_of_the_rosary.jpg", "commons_file": "Virgen del Rosario, de Domingo Martínez (Museo de Bellas Artes de Sevilla).jpg", "zoom": "https://art.monstrance.app/zoom/domingo_martinez_the_virgin_of_the_rosary.jpg", "master_px": 11328, "auth": {"institution": "Museo de Bellas Artes de Sevilla", "accession": "CE0914P", "url": "https://ceres.mcu.es/pages/ResultSearch?txtSimpleSearch=Virgen+del+Rosario\u0026simpleSearch=0\u0026hipertextSearch=1\u0026search=simpleSelection\u0026MuseumsSearch=MBASE%7C\u0026MuseumsRolSearch=2\u0026listaMuseos=%5BMuseo+de+Bellas+Artes+de+Sevilla%5D", "artist_as_printed": "Martínez, Domingo", "date_as_printed": "1745[ca]", "medium": "Óleo sobre lienzo"}, "writeup": {"text": "Two strings of beads run through this heaven. Our Lady and the Christ Child hold one between them, and the Museo de Bellas Artes de Sevilla says she carries it in allusion to her title; the Child sits on her left leg. In her left hand is the orb of the world, and the Child's fingers rest on the cross that stands on top of it. The second rosary loops down from the angels at her feet, who carry with it the palm, the olive and the rose. Domingo Martínez lets the lowest loop hang at the bottom edge, near enough for a hand to take it up.", "sources": [{"what": "The museum's description: the seated Virgin with the Child on her left leg; she carries a rosary in allusion to her title; she holds the orb of the world in her left hand and the Child holds the cross on it; the angels at her feet carry another rosary and the attributes of the palm, the olive and the rose; cherubs complete the composition. Domingo Martínez (1688–1749), 1740/1750, oil on canvas", "url": "https://artsandculture.google.com/asset/virgin-of-the-rosary-domingo-mart%C3%ADnez/EwFst3a2uf9sAQ?hl=es", "cite": "Museo de Bellas Artes de Sevilla on Google Arts \u0026 Culture, Domingo Martínez, Virgen del Rosario, read 2026-09-24"}, {"what": "The collection record: Martínez, Domingo, Virgen del Rosario, 1745 (ca.), inventory CE0914P, Museo de Bellas Artes de Sevilla", "url": "https://ceres.mcu.es/pages/ResultSearch?txtSimpleSearch=Virgen+del+Rosario\u0026simpleSearch=0\u0026hipertextSearch=1\u0026search=simpleSelection\u0026MuseumsSearch=MBASE%7C\u0026MuseumsRolSearch=2\u0026listaMuseos=%5BMuseo+de+Bellas+Artes+de+Sevilla%5D", "cite": "CERES, Red Digital de Colecciones de Museos de España, CE0914P, read 2026-09-24"}]}, "scene": {"why": "A devotional image of Our Lady of the Rosary, a title and devotion the Church keeps on 7 October; it shows no moment recorded in Scripture, so no verse is honest here."}, "th": "/store/thumb/domingo_martinez_the_virgin_of_the_rosary.webp", "more": [{"k": "subject", "n": "The Madonna and Child in painting", "u": "/editions/subject/madonna-and-child/", "ids": ["tiepolo_madonna_of_the_goldfinch", "bouguereau_song_of_the_angels", "bouguereau_regina_angelorum", "leonardo_madonna_litta"]}]}, "caravaggio_the_flagellation_of_christ": {"id": "caravaggio_the_flagellation_of_christ", "title": "The Flagellation of Christ", "artist_line": "Caravaggio (Italian, 1571–1610)", "artist": "Caravaggio", "date": "1607", "museum": "Museo e Real Bosco di Capodimonte, Naples", "license": "Public domain", "tier": "Sanctuary", "sizes": [{"size": "8×10 in", "paper": 39, "iw": 7.4, "ih": 10, "sw": 8, "sh": 10, "cov": 0.925}, {"size": "11×14 in", "paper": 59, "iw": 10.4, "ih": 14, "sw": 11, "sh": 14, "cov": 0.942}, {"size": "16×20 in", "paper": 110, "iw": 14.8, "ih": 20, "sw": 16, "sh": 20, "cov": 0.925}, {"size": "18×24 in", "paper": 140, "iw": 17.8, "ih": 24, "sw": 18, "sh": 24, "cov": 0.987}, {"size": "24×36 in", "paper": 190, "iw": 24, "ih": 32.4, "sw": 24, "sh": 36, "cov": 0.901}, {"size": "32×48 in", "paper": 340, "iw": 32, "ih": 43.3, "sw": 32, "sh": 48, "cov": 0.901}, {"size": "40×60 in", "paper": 480, "iw": 40, "ih": 54.1, "sw": 40, "sh": 60, "cov": 0.901}], "local": "/store/display/caravaggio_the_flagellation_of_christ.jpg", "commons_file": "The Flagellation of Christ-Caravaggio (1607).jpg", "zoom": "https://art.monstrance.app/zoom/caravaggio_the_flagellation_of_christ.jpg", "master_px": 10695, "auth": {"institution": "Museo e Real Bosco di Capodimonte, Naples (owner: Fondo Edifici di Culto, Ministero dell'Interno)", "url": "https://capodimonte.cultura.gov.it/la-flagellazione-di-caravaggio-rientra-al-museo-di-capodimonte/", "artist_as_printed": "Michelangelo Merisi da Caravaggio", "date_as_printed": "1607", "medium": "olio su tela", "dimensions": "286 x 213 cm"}, "writeup": {"text": "Christ bows His head under the thorns, and no blow has landed yet. One man grips His hair and a bundle of switches; another crouches at the floor. The Capodimonte describes Christ and His tormentors frozen as if in a photographic snapshot, preparing the torment with sober, essential gestures, coming forward out of near-total darkness in which the column He is tied to is only glimpsed. A strong light searches out their natural details; what it stresses above all, the museum says, is the human side of the drama. Caravaggio painted it in 1607 for San Domenico Maggiore in Naples. The dark waits for the first stroke.", "sources": [{"what": "Capodimonte: the powerful figures of Christ and his torturers, frozen as in a photographic snapshot, prepare the martyrdom with sober, essential gestures, advancing from the almost total darkness of the background, where the column Jesus was tied to is glimpsed; a powerful light explores the naturalistic details and stresses above all the human aspect of the drama; 286 x 213 cm; painted in Naples for San Domenico Maggiore; property of the Fondo Edifici di Culto; at Capodimonte since the end of 1972.", "url": "https://capodimonte.cultura.gov.it/la-flagellazione-di-caravaggio-rientra-al-museo-di-capodimonte/", "cite": "Museo e Real Bosco di Capodimonte, 'La Flagellazione di Caravaggio rientra al Museo di Capodimonte'; read 2026-09-24"}, {"what": "Capodimonte: the Flagellazione, 1607, olio su tela, altarpiece of the church of San Domenico, property of the Fondo Edifici di Culto, on deposit at the museum since 1972.", "url": "https://capodimonte.cultura.gov.it/mostra/capodimonte-doppio-caravaggio-lecce-homo-e-la-flagellazione-di-cristo/", "cite": "Museo e Real Bosco di Capodimonte, 'Capodimonte doppio Caravaggio. L'Ecce Homo e La Flagellazione di Cristo'; read 2026-09-24"}]}, "scene": {"ref": "John 19:1", "quote": "Then therefore Pilate took Jesus and scourged him.", "shows": "Christ at the column with his torturers preparing the scourging"}, "th": "/store/thumb/caravaggio_the_flagellation_of_christ.webp", "more": [{"k": "subject", "n": "The Life of Christ in painting", "u": "/editions/subject/the-life-of-christ/", "ids": ["caravaggio_the_raising_of_lazarus", "rubens_the_incredulity_of_saint_thomas", "ter_brugghen_christ_crowned_with_thorns_kristi_tornek", "magnasco_christ_at_the_sea_of_galilee"]}, {"k": "master", "n": "Caravaggio", "u": "/editions/master/caravaggio/", "ids": ["caravaggio_beheading_baptist", "caravaggio_the_annunciation", "caravaggio_the_burial_of_saint_lucy", "caravaggio_salome_with_the_head_of_john_the_baptist_london"]}]}, "vasco_fernandes_gaspar_vaz_calvary": {"id": "vasco_fernandes_gaspar_vaz_calvary", "title": "Calvary", "artist_line": "Vasco Fernandes (Portuguese, 1475–1542) and Gaspar Vaz", "artist": "Vasco Fernandes and Gaspar Vaz", "date": "c. 1530", "museum": "Museu Nacional Grão Vasco, Viseu", "license": "CC0", "tier": "Sanctuary", "sizes": [{"size": "8×10 in", "paper": 39, "iw": 8.0, "ih": 8, "sw": 10, "sh": 8, "cov": 0.795}, {"size": "11×14 in", "paper": 59, "iw": 10.9, "ih": 11, "sw": 14, "sh": 11, "cov": 0.781}, {"size": "16×20 in", "paper": 110, "iw": 15.9, "ih": 16, "sw": 20, "sh": 16, "cov": 0.795}, {"size": "18×24 in", "paper": 140, "iw": 17.9, "ih": 18, "sw": 24, "sh": 18, "cov": 0.746}, {"size": "24×36 in", "paper": 190, "iw": 23.9, "ih": 24, "sw": 36, "sh": 24, "cov": 0.663}, {"size": "32×48 in", "paper": 340, "iw": 31.8, "ih": 32, "sw": 48, "sh": 32, "cov": 0.663}, {"size": "40×60 in", "paper": 480, "iw": 39.8, "ih": 40, "sw": 60, "sh": 40, "cov": 0.663}], "local": "/store/display/vasco_fernandes_gaspar_vaz_calvary.jpg", "commons_file": "CalvárioGraoVasco.jpg", "zoom": "https://art.monstrance.app/zoom/vasco_fernandes_gaspar_vaz_calvary.jpg", "master_px": 9434, "auth": {"institution": "Museu Nacional Grão Vasco, Viseu (record published by the museum on Google Arts \u0026 Culture)", "url": "https://artsandculture.google.com/asset/calvary-vasco-fernandes/hwGZE_BubGaidg?hl=en", "artist_as_printed": "Vasco Fernandes, Gaspar Vaz", "date_as_printed": "c. 1530", "medium": "Oil on chestnut wood", "dimensions": "242 cm x 239 cm (with predelas)"}, "writeup": {"text": "Bones lie at the foot of the Cross, a skull and a few plants beside them. The dead lie under the One who is dying for them. Dalila Rodrigues, writing for the Grão Vasco museum, reads them as the sign of Calvary as the burial place of Adam and Eve; below, in the predella, Christ descends into Limbo, and Adam and Eve are there. Above, Our Lady swoons among the holy women, with the Magdalene and Saint John. Vasco Fernandes and Gaspar Vaz raise a wall of faces, spears and horses behind them. The bad thief twists. Jerusalem stands far off; on the right, Judas hangs.", "sources": [{"what": "The museum's story by Dalila Rodrigues: the plants and bones signifying Mount Calvary as the burial place of Adam and Eve; the Virgin swooning among the holy women with Mary Magdalene and St John; the expressive contortion of the bad thief; horses and the division of Christ's cloak; Jerusalem glimpsed on the left; the arrival of the ladder on the left and the hanging of Judas on the right; predella scenes of Christ before Pilate, the Descent from the Cross and the Descent into Limbo with Adam and Eve", "url": "https://artsandculture.google.com/story/the-calvary-gr%C3%A3o-vasco-museum/SQVR4p3lXQEKKg?hl=en-GB", "cite": "Museu Nacional Grão Vasco, Dalila Rodrigues, 'The Calvary', Google Arts \u0026 Culture story, read 2026-09-24"}, {"what": "The museum's record: Vasco Fernandes and Gaspar Vaz, c. 1530, oil on chestnut, 242 x 239 cm with predella, from Viseu Cathedral; a 'wall of faces and spears' against the distant skyline of Jerusalem", "url": "https://artsandculture.google.com/asset/calvary-vasco-fernandes/hwGZE_BubGaidg?hl=en", "cite": "Museu Nacional Grão Vasco, 'Calvary', Google Arts \u0026 Culture record, read 2026-09-24"}]}, "scene": {"ref": "Luke 23:33", "quote": "And when they were come to the place which is called Calvary, they crucified him there: and the robbers, one on the right hand, and the other on the left.", "shows": "Christ crucified at the centre between the good and the bad thief, the bones of Calvary at the foot of the cross"}, "th": "/store/thumb/vasco_fernandes_gaspar_vaz_calvary.webp", "more": [{"k": "subject", "n": "The Crucifixion in painting", "u": "/editions/subject/crucifixion/", "ids": ["tintoretto_crucifixion", "titian_christ_crucified", "domenichino_way_to_calvary", "anthony_van_dyck_christ_on_the_cross_with_sts_catherine_o"]}]}, "master_of_1549_the_last_judgment": {"id": "master_of_1549_the_last_judgment", "title": "The Last Judgment", "artist_line": "Master of 1549 (Portuguese, active 16th century)", "artist": "Master of 1549", "date": "16th century", "museum": "Museu Nacional de Arte Antiga, Lisbon", "license": "PD-Art/PD", "tier": "Sanctuary", "sizes": [{"size": "8×10 in", "paper": 39, "iw": 8, "ih": 9.9, "sw": 8, "sh": 10, "cov": 0.985}, {"size": "11×14 in", "paper": 59, "iw": 11, "ih": 13.5, "sw": 11, "sh": 14, "cov": 0.968}, {"size": "16×20 in", "paper": 110, "iw": 16, "ih": 19.7, "sw": 16, "sh": 20, "cov": 0.985}, {"size": "18×24 in", "paper": 140, "iw": 18, "ih": 22.2, "sw": 18, "sh": 24, "cov": 0.924}, {"size": "24×36 in", "paper": 190, "iw": 24, "ih": 29.6, "sw": 24, "sh": 36, "cov": 0.821}, {"size": "32×48 in", "paper": 340, "iw": 32, "ih": 39.4, "sw": 32, "sh": 48, "cov": 0.821}, {"size": "40×60 in", "paper": 480, "iw": 40, "ih": 49.3, "sw": 40, "sh": 60, "cov": 0.821}], "local": "/store/display/master_of_1549_the_last_judgment.jpg", "commons_file": "Master of 1549 - The Last Judgment - 16th-century.jpg", "zoom": "https://art.monstrance.app/zoom/master_of_1549_the_last_judgment.jpg", "master_px": 12544, "auth": {"institution": "Museu Nacional de Arte Antiga, Lisbon (record published by the museum on Google Arts \u0026 Culture)", "accession": "inv. 71 Pint", "url": "https://artsandculture.google.com/asset/the-last-judgement-master-of-1549/UwGK-3B2j0c8qQ?hl=en", "artist_as_printed": "Master of 1549", "date_as_printed": "16th century", "medium": "Oil on oak panel", "dimensions": "214.5 cm x 176.5 cm"}, "writeup": {"text": "No one weighs these souls. Angels sit at desks with open books, and a life is read line by line. In place of the old scales, the Master of 1549 seats accountants who check each deed against the ledgers of angels and demons, and the Museu Nacional de Arte Antiga calls it a return to the Last Judgement of the Apocalypse, told with new ideas. The dead rise at lower right and climb to a platform, in a movement the museum compares to liturgical theatre. Judged, they go down to hell on the left or up through a Renaissance portico lined with the Virtues, toward Christ on His throne.", "sources": [{"what": "The museum's description: a return to the Last Judgement of the Apocalypse with narrative and iconographic innovations; souls rising at lower right to a platform like liturgical theatre; the judged going down to hell on the left or up to Glory and the Celestial Court; a large Renaissance portico with figures of the Virtues; the weighing of souls replaced by accountants reviewing deeds in angel and demon ledgers", "url": "https://artsandculture.google.com/asset/the-last-judgement-master-of-1549/UwGK-3B2j0c8qQ?hl=en", "cite": "Museu Nacional de Arte Antiga, 'The Last Judgement', Master of 1549, inv. 71 Pint, Google Arts \u0026 Culture record, read 2026-09-24"}]}, "scene": {"ref": "Apocalypse 20:12", "quote": "And I saw the dead, great and small, standing in the presence of the throne. And the books were opened: and another book was opened, which was the book of life. And the dead were judged by those things which were written in the books, according to their works.", "shows": "the dead rising and judged, their deeds checked against ledgers kept by an angel and a demon"}, "th": "/store/thumb/master_of_1549_the_last_judgment.webp", "more": [{"k": "subject", "n": "The Last Judgment in painting", "u": "/editions/subject/last-judgment/", "ids": ["angelico_last_judgment", "angelico_last_judgment_berlin", "hieronymus_bosch_death_and_the_miser", "hieronymus_bosch_the_last_judgment_central_panel"]}]}, "hieronymus_bosch_st_christopher_carrying_the_christ_child": {"id": "hieronymus_bosch_st_christopher_carrying_the_christ_child", "title": "St Christopher Carrying the Christ Child", "artist_line": "Hieronymus Bosch (Netherlandish, c. 1450–1516)", "artist": "Hieronymus Bosch", "date": "c. 1500", "museum": "Museum Boijmans Van Beuningen, Rotterdam", "license": "Public domain", "tier": "Sanctuary", "sizes": [{"size": "8×10 in", "paper": 39, "iw": 6.2, "ih": 10, "sw": 8, "sh": 10, "cov": 0.776}, {"size": "11×14 in", "paper": 59, "iw": 8.7, "ih": 14, "sw": 11, "sh": 14, "cov": 0.79}, {"size": "16×20 in", "paper": 110, "iw": 12.4, "ih": 20, "sw": 16, "sh": 20, "cov": 0.776}, {"size": "18×24 in", "paper": 140, "iw": 14.9, "ih": 24, "sw": 18, "sh": 24, "cov": 0.827}, {"size": "24×36 in", "paper": 190, "iw": 22.3, "ih": 36, "sw": 24, "sh": 36, "cov": 0.931}, {"size": "32×48 in", "paper": 340, "iw": 29.8, "ih": 48, "sw": 32, "sh": 48, "cov": 0.931}, {"size": "40×60 in", "paper": 480, "iw": 37.2, "ih": 60, "sw": 40, "sh": 60, "cov": 0.931}], "local": "/store/display/hieronymus_bosch_st_christopher_carrying_the_christ_child.jpg", "commons_file": "Saint Christopher Carrying the Christ Child, ca. 1490-1500.jpg", "zoom": "https://art.monstrance.app/zoom/hieronymus_bosch_st_christopher_carrying_the_christ_child.jpg", "master_px": 30000, "auth": {"institution": "Museum Boijmans Van Beuningen, Rotterdam", "accession": "St 26", "url": "https://www.boijmans.nl/en/collection/artworks/101481/saint-christopher-carrying-the-christ-child", "artist_as_printed": "Jheronimus Bosch (Den Bosch circa 1450 - Den Bosch 1516)", "date_as_printed": "circa 1500", "medium": "Oil on panel", "dimensions": "Width 71.5 cm; Height 113 cm"}, "writeup": {"text": "A giant wades a river bent over his staff, and the weight on his shoulders is the Christ Child. The Boijmans tells how the heathen Reprobus carried a child across the water and felt Him grow unbearably heavy, for it was Jesus, who bears the weight of the sins of the world. Baptised, the giant took the name Christopher, Christ-carrier, and became the patron saint of travellers. Bosch sets the crossing in an extensive landscape dotted, as the museum says, with extraordinary scenes, and any road in it could be the one you take tomorrow.", "sources": [{"what": "The museum's text: the heathen giant Reprobus carries a child across a river; the child becomes unbearably heavy; it is Jesus, who bears the weight of the sins of the world; the giant is baptised Christopher, patron of travellers", "url": "https://www.boijmans.nl/en/collection/artworks/101481/saint-christopher-carrying-the-christ-child", "cite": "Museum Boijmans Van Beuningen, 'Saint Christopher Carrying the Christ Child', inv. St 26, read 2026-09-24"}]}, "scene": {"why": "Christopher's crossing with the Child comes from his legend as the Church kept it (the Boijmans tells it of the heathen giant Reprobus, baptised Christopher and patron of travellers); no verse of Scripture tells it, so none is cited."}, "th": "/store/thumb/hieronymus_bosch_st_christopher_carrying_the_christ_child.webp", "more": [{"k": "subject", "n": "Saints in painting", "u": "/editions/subject/saints/", "ids": ["titian_jacopo_pesaro_presented_to_saint_peter", "bellini_gentile_saint_mark_preaching_in_alexandria", "lippi_saint_francis_in_glory", "master_of_the_figdor_deposition_martyrdom_of_saint_lucy"]}, {"k": "master", "n": "Hieronymus Bosch", "u": "/editions/master/hieronymus-bosch/", "ids": ["hieronymus_bosch_christ_carrying_the_cross_escorial", "bosch_christ_mocked_the_crowning_with_thorns", "hieronymus_bosch_death_and_the_miser", "hieronymus_bosch_st_jerome_at_prayer"]}]}, "melchior_de_la_mars_saint_sebastian_released_by_irene": {"id": "melchior_de_la_mars_saint_sebastian_released_by_irene", "title": "Saint Sebastian Released by Irene and her Servant", "artist_line": "Melchior de la Mars (Flemish, c. 1585–after 1627)", "artist": "Melchior de la Mars", "date": "c. 1620–1625", "museum": "Museum of Fine Arts (MSK), Ghent", "license": "PD-Art/PD", "tier": "Sanctuary", "sizes": [{"size": "8×10 in", "paper": 39, "iw": 7.7, "ih": 10, "sw": 8, "sh": 10, "cov": 0.958}, {"size": "11×14 in", "paper": 59, "iw": 10.7, "ih": 14, "sw": 11, "sh": 14, "cov": 0.975}, {"size": "16×20 in", "paper": 110, "iw": 15.3, "ih": 20, "sw": 16, "sh": 20, "cov": 0.958}, {"size": "18×24 in", "paper": 140, "iw": 18, "ih": 23.5, "sw": 18, "sh": 24, "cov": 0.979}, {"size": "24×36 in", "paper": 190, "iw": 24, "ih": 31.3, "sw": 24, "sh": 36, "cov": 0.87}, {"size": "32×48 in", "paper": 340, "iw": 32, "ih": 41.8, "sw": 32, "sh": 48, "cov": 0.87}, {"size": "40×60 in", "paper": 480, "iw": 40, "ih": 52.2, "sw": 40, "sh": 60, "cov": 0.87}], "local": "/store/display/melchior_de_la_mars_saint_sebastian_released_by_irene.jpg", "commons_file": "Melchior de la Mars - Saint Sebastian Released by the Roman Widow Irene and her Servant - 2022-H - Museum of Fine Arts Ghent (MSK).jpg", "zoom": "https://art.monstrance.app/zoom/melchior_de_la_mars_saint_sebastian_released_by_irene.jpg", "master_px": 13454, "auth": {"institution": "Museum voor Schone Kunsten (MSK), Ghent", "accession": "Inv. 2022-H", "url": "https://www.mskgent.be/en/collection/2022-h", "artist_as_printed": "Melchior de la Mars (ca. 1585 - na 1627)", "date_as_printed": "circa 1620 - 1625", "medium": "oil paint, canvas", "dimensions": "130 x 100 cm"}, "writeup": {"text": "Saint Sebastian lifts his eyes, and the arrows are still in him. Hands work at the ropes, at his wrist and high on the post. Melchior de la Mars gave his limbs a sickly, greenish cast; the MSK Ghent reads the discoloured skin and the hint of a convulsion as symptoms of plague, painted in the 1620s, when outbreaks struck Europe and Ghent more than once, the saint invoked against it. Lowie Vercruysse and colleagues found green earth mixed into the flesh paint. Irene, a Roman widow, came with her servant to release him, and the museum reads it as Christian charity. The same green earth went into Irene's sleeve.", "sources": [{"what": "The museum's text: the subject; Sebastian, Diocletian's bodyguard, condemned for his faith and surviving the arrows; the scene as a symbol of Christian charity and of women as carers, prized in the Counter-Reformation; Sebastian invoked against plague; the suggested convulsion and discoloured limbs as plague symptoms and the unusual sky; outbreaks in Europe and Ghent in the 1620s", "url": "https://www.mskgent.be/en/collection/2022-h", "cite": "MSK Gent, 'Saint Sebastian Released by the Roman Widow Irene and her Servant', inv. 2022-H, read 2026-09-24"}, {"what": "Technical study of the painting: green earth added to the flesh paint for a more morbid hue on Sebastian's skin; green earth with Naples yellow in Irene's green sleeve; dated probably 1620-1625", "url": "https://www.nature.com/articles/s40494-025-01834-4", "cite": "Lowie Vercruysse et al., 'New insights into the use of Naples yellow and green earth by Melchior de la Mars', npj Heritage Science 13 (2025), read 2026-09-24"}]}, "scene": {"why": "Irene's rescue of the wounded Sebastian belongs to the Church's tradition of his martyrdom, not to Scripture; the Bible never names Sebastian, so no verse is honest here."}, "th": "/store/thumb/melchior_de_la_mars_saint_sebastian_released_by_irene.webp", "more": [{"k": "subject", "n": "Saints in painting", "u": "/editions/subject/saints/", "ids": ["ribalta_st_francis_comforted_by_an_angel_san_fra", "vouet_saint_jerome_and_the_angel", "van_dyck_saint_rosalie_interceding_for_the_plague", "ribalta_christ_embracing_saint_bernard"]}]}, "pieter_bruegel_the_elder_the_sermon_of_st_john_the_baptist": {"id": "pieter_bruegel_the_elder_the_sermon_of_st_john_the_baptist", "title": "The Sermon of St John the Baptist", "artist_line": "Pieter Bruegel the Elder (Netherlandish)", "artist": "Pieter Bruegel the Elder", "date": "1566", "museum": "Museum of Fine Arts (Szépművészeti Múzeum), Budapest", "license": "Public domain (PD-Art)", "tier": "Sanctuary", "sizes": [{"size": "8×10 in", "paper": 39, "iw": 10, "ih": 5.8, "sw": 10, "sh": 8, "cov": 0.728}, {"size": "11×14 in", "paper": 59, "iw": 14, "ih": 8.2, "sw": 14, "sh": 11, "cov": 0.741}, {"size": "16×20 in", "paper": 110, "iw": 20, "ih": 11.7, "sw": 20, "sh": 16, "cov": 0.728}, {"size": "18×24 in", "paper": 140, "iw": 24, "ih": 14.0, "sw": 24, "sh": 18, "cov": 0.777}, {"size": "24×36 in", "paper": 190, "iw": 36, "ih": 21.0, "sw": 36, "sh": 24, "cov": 0.874}, {"size": "32×48 in", "paper": 340, "iw": 48, "ih": 28.0, "sw": 48, "sh": 32, "cov": 0.874}, {"size": "40×60 in", "paper": 480, "iw": 60, "ih": 35.0, "sw": 60, "sh": 40, "cov": 0.874}], "local": "/store/display/pieter_bruegel_the_elder_the_sermon_of_st_john_the_baptist.jpg", "commons_file": "Pieter Bruegel the Elder - The Sermon of Saint John the Baptist (1566) - Szépművészeti Múzeum.jpg", "zoom": "https://art.monstrance.app/zoom/pieter_bruegel_the_elder_the_sermon_of_st_john_the_baptist.jpg", "master_px": 12124, "auth": {"institution": "Museum of Fine Arts (Szépművészeti Múzeum), Budapest (record published by the museum on Google Arts \u0026 Culture)", "accession": "51.2829", "url": "https://artsandculture.google.com/asset/the-sermon-of-saint-john-the-baptist-pieter-bruegel-the-elder/eQFtxANEO2mvnQ?hl=en", "artist_as_printed": "Pieter Bruegel the Elder", "date_as_printed": "1566", "medium": "Oil on wood", "dimensions": "95 × 160.5 cm"}, "writeup": {"text": "Find the man in light blue with his arms crossed, standing a little apart from the crowd. Vilmos Tátrai, writing for the Budapest Museum of Fine Arts, identifies Him as Christ, and says the Baptist's pointing hand follows his words about one who stands among them unknown. God has come to the sermon as one more listener. Around them Pieter Bruegel packs the crowd the museum lists: nobles, priests, soldiers, peasants, Spaniards, Turks. A nobleman in black gives his hand to a fortune teller in a striped blanket. Beyond, a river bends past a church and a walled city, suggesting, Tátrai says, a place of baptism.", "sources": [{"what": "The Museum of Fine Arts, Budapest's story, text by Vilmos Tátrai: Christ standing near the Baptist, slightly apart from the crowd, in a light blue garment with arms crossed; John's pointing gesture following his words about one standing among them unknown; a nobleman in black giving his hand to a fortune teller in a striped blanket; a turbaned man; a river bend with a church and walled city suggesting a place of baptism; the hedge-sermons of 1566", "url": "https://artsandculture.google.com/story/when-saint-john-the-baptist-visited-the-netherlands-museum-of-fine-arts-budapest/tQVRioVQiq9fIw?hl=en", "cite": "Museum of Fine Arts, Budapest, Vilmos Tátrai, 'When Saint John the Baptist Visited the Netherlands', Google Arts \u0026 Culture story, read 2026-09-24"}, {"what": "The museum's record: 1566, oil on wood, 95 × 160.5 cm, inv. 51.2829; the crowd of nobles, priests, soldiers, burghers, peasants, Flemings, Spaniards, Jews, Gypsies and Turks gathered to hear the Baptist", "url": "https://artsandculture.google.com/asset/the-sermon-of-saint-john-the-baptist-pieter-bruegel-the-elder/eQFtxANEO2mvnQ?hl=en", "cite": "Museum of Fine Arts, Budapest, 'The Sermon of Saint John the Baptist', inv. 51.2829, Google Arts \u0026 Culture record, read 2026-09-24"}]}, "scene": {"ref": "John 1:26", "quote": "John answered them, saying: I baptize with water: but there hath stood one in the midst of you, whom you know not.", "shows": "the Baptist preaching and pointing, Christ standing unrecognised near him in the crowd"}, "th": "/store/thumb/pieter_bruegel_the_elder_the_sermon_of_st_john_the_baptist.webp", "more": [{"k": "subject", "n": "Saints in painting", "u": "/editions/subject/saints/", "ids": ["veronese_the_martyrdom_of_saint_justina", "carracci_saint_francis_in_meditation", "maerten_de_vos_temptation_of_saint_anthony_the_great", "caravaggio_saint_francis_of_assisi_in_ecstasy"]}, {"k": "master", "n": "Pieter Bruegel the Elder", "u": "/editions/master/pieter-bruegel-the-elder/", "ids": ["pieter_bruegel_the_elder_the_fall_of_the_rebel_angels", "pieter_bruegel_the_elder_adoration_of_the_kings_in_the_snow", "pieter_bruegel_the_elder_the_massacre_of_the_innocents", "pieter_bruegel_the_elder_the_census_at_bethlehem"]}]}, "lorenzo_di_credi_the_annunciation": {"id": "lorenzo_di_credi_the_annunciation", "title": "The Annunciation", "artist_line": "Lorenzo di Credi (Italian, 1459–1537)", "artist": "Lorenzo di Credi", "date": "c. 1475–1500", "museum": "Musée du Louvre, Paris", "license": "Public domain", "tier": "Sanctuary", "sizes": [{"size": "8×10 in", "paper": 39, "iw": 10, "ih": 2.3, "sw": 10, "sh": 8, "cov": 0.288}, {"size": "11×14 in", "paper": 59, "iw": 14, "ih": 3.2, "sw": 14, "sh": 11, "cov": 0.294}, {"size": "16×20 in", "paper": 110, "iw": 20, "ih": 4.6, "sw": 20, "sh": 16, "cov": 0.288}, {"size": "18×24 in", "paper": 140, "iw": 24, "ih": 5.5, "sw": 24, "sh": 18, "cov": 0.308}, {"size": "24×36 in", "paper": 190, "iw": 36, "ih": 8.3, "sw": 36, "sh": 24, "cov": 0.346}, {"size": "32×48 in", "paper": 340, "iw": 48, "ih": 11.1, "sw": 48, "sh": 32, "cov": 0.346}, {"size": "40×60 in", "paper": 480, "iw": 60, "ih": 13.8, "sw": 60, "sh": 40, "cov": 0.346}], "local": "/store/display/lorenzo_di_credi_the_annunciation.jpg", "commons_file": "L'Annonciation, by Leonardo da Vinci, from C2RMF.jpg", "zoom": "https://art.monstrance.app/zoom/lorenzo_di_credi_the_annunciation.jpg", "master_px": 18856, "auth": {"institution": "Musée du Louvre, Département des Peintures", "accession": "MI 598; Campana 258", "url": "https://collections.louvre.fr/en/ark:/53355/cl010064973", "artist_as_printed": "Lorenzo di Credi (Lorenzo di Andrea di Oderigo di Andrea di Credi, dit) (Florence, 1459 - Florence, 1537); Ancienne attribution : Léonard de Vinci", "date_as_printed": "4e quart du XVe siècle (vers 1475 - 1500)", "medium": "Huile sur bois", "dimensions": "Hauteur : 0,162 m ; Largeur : 0,607 m"}, "writeup": {"text": "Gabriel kneels in a garden with his hand lifted, and across a low stand Our Lady kneels on a red floor with her arms crossed on her breast. \"And the angel being come in, said unto her: Hail, full of grace, the Lord is with thee: blessed art thou among women.\" She bows her head, and the Word is about to be made flesh in a room with benches. The Louvre gives the work to Lorenzo di Credi and argues it from the eyes: large, a little out of proportion, the expressions less subtle, the drapery less sculptural. Morelli and Berenson had preferred Leonardo. It belonged to the predella of the altarpiece commissioned from Verrocchio around 1475 for the Madonna di Piazza oratory in Pistoia Cathedral, work the museum says was largely delegated to Lorenzo. The eyes carry the argument, and hers are lowered.", "sources": [{"what": "The Louvre's record and commentary: Lorenzo di Credi, former attribution Leonardo; Campana catalogue gave it to Ghirlandaio, Reiset to Lorenzo di Credi in 1863; from the 1880s Morelli, Berenson, Venturi, Bode and Suida preferred Leonardo; the panel belonged to the predella of the altarpiece commissioned from Verrocchio about 1475-1478 for the Madonna di Piazza oratory in Pistoia Cathedral, largely delegated to Lorenzo di Credi; attribution argued from the figures' large, somewhat disproportionate eyes, less subtle expression and less sculptural drapery", "url": "https://collections.louvre.fr/en/ark:/53355/cl010064973", "cite": "Musée du Louvre, 'L'Annonciation', MI 598, read 2026-09-24"}]}, "scene": {"ref": "Luke 1:28", "quote": "And the angel being come in, said unto her: Hail, full of grace, the Lord is with thee: blessed art thou among women.", "shows": "Gabriel greeting Mary"}, "th": "/store/thumb/lorenzo_di_credi_the_annunciation.webp", "more": [{"k": "subject", "n": "The Annunciation in painting", "u": "/editions/subject/annunciation/", "ids": ["memling_annunciation", "master_of_riccardiana_231_annunciation_nativity_leaf", "crivelli_annunciation_with_saint_emidius", "cima_the_annunciation"]}]}, "fra_angelico_the_adoration_of_the_magi": {"id": "fra_angelico_the_adoration_of_the_magi", "title": "The Adoration of the Magi", "artist_line": "Fra Angelico (Italian, c. 1395–1455) and Fra Filippo Lippi (Italian, c. 1406–1469)", "artist": "Fra Angelico and Fra Filippo Lippi", "date": "c. 1440–1460", "museum": "National Gallery of Art, Washington", "license": "Public domain", "tier": "Sanctuary", "sizes": [{"size": "12×12 in", "paper": 55, "iw": 12.0, "ih": 12, "sw": 12, "sh": 12, "cov": 1.0}, {"size": "20×20 in", "paper": 130, "iw": 20.0, "ih": 20, "sw": 20, "sh": 20, "cov": 1.0}, {"size": "30×30 in", "paper": 240, "iw": 30.0, "ih": 30, "sw": 30, "sh": 30, "cov": 1.0}, {"size": "40×40 in", "paper": 360, "iw": 40.0, "ih": 40, "sw": 40, "sh": 40, "cov": 1.0}], "local": "/store/display/fra_angelico_the_adoration_of_the_magi.jpg", "commons_file": "Fra Angelico and Fra Filippo Lippi - The Adoration of the Magi - Google Art Project.jpg", "zoom": "https://art.monstrance.app/zoom/fra_angelico_the_adoration_of_the_magi.jpg", "master_px": 23667, "auth": {"institution": "National Gallery of Art, Washington", "accession": "1952.2.2", "url": "https://www.nga.gov/artworks/41581-adoration-magi", "artist_as_printed": "Fra Angelico and Fra Filippo Lippi", "date_as_printed": "c. 1440/1460", "medium": "tempera on poplar panel", "dimensions": "overall (diameter): 137.3 cm (54 1/16 in.)\nframed: 188 x 171.5 x 12.7 cm (74 x 67 1/2 x 5 in.)"}, "writeup": {"text": "A king kneels in the grass and bends his head to the Child, and the line behind him runs back up the mountain. Riders, camels and walkers come through an arch in a ruined wall; men in loincloths stand on the stones; a peacock sits on the roof of the shed. The National Gallery of Art traces Florence's Epiphany festival every January 6 to at least 1390, run by 1417 by the Compagnia de' Magi on Medici money. The gallery tells two friars' hands apart: the Virgin's delicate face is Fra Angelico's, the sturdier Joseph and kings Fra Filippo Lippi's. The whole road ends in Our Lady's lap.", "sources": [{"what": "The Virgin's face given to Fra Angelico and the sturdier figures of Joseph and the kings to Fra Filippo Lippi; Florence's Epiphany festival on 6 January since at least 1390, directed by 1417 by the Compagnia de' Magi with Medici funds", "url": "https://www.nga.gov/collection/highlights/angelico-lippi-the-adoration-of-the-magi.html", "cite": "National Gallery of Art, Washington, collection highlight 'Fra Angelico, Fra Filippo Lippi, The Adoration of the Magi', 1952.2.2, read 2026-09-24"}, {"what": "The procession winding around a hill, under an ancient arch, to the manger", "url": "https://www.nga.gov/artworks/41581-adoration-magi", "cite": "National Gallery of Art, Washington, object page 1952.2.2 (meta description), read 2026-09-24"}, {"what": "The line of people curving through an arched opening in a stone ruin; people on foot, horses and camels; several standing along the ruins in white loincloths; a peacock and two other birds on the roof of the manger", "url": "https://raw.githubusercontent.com/NationalGalleryOfArt/opendata/main/data/published_images.csv", "cite": "National Gallery of Art, Washington, open-data release (published_images.csv, assistive description of the primary image of object 41581), read 2026-09-24"}, {"what": "Title, attribution to Fra Angelico and Fra Filippo Lippi, date c. 1440/1460, tempera on poplar panel, diameter 137.3 cm, Samuel H. Kress Collection", "url": "https://raw.githubusercontent.com/NationalGalleryOfArt/opendata/main/data/objects.csv", "cite": "National Gallery of Art, Washington, open-data release (objects.csv, object 41581), read 2026-09-24"}]}, "scene": {"ref": "Matthew 2:11", "quote": "And entering into the house, they found the child with Mary his mother, and falling down they adored him: and opening their treasures, they offered him gifts; gold, frankincense, and myrrh.", "shows": "the kings kneeling with their gifts before the Child on his mother's lap at the shed"}, "th": "/store/thumb/fra_angelico_the_adoration_of_the_magi.webp", "more": [{"k": "subject", "n": "The Adoration of the Magi in painting", "u": "/editions/subject/adoration-of-the-magi/", "ids": ["gozzoli_procession_of_the_magi_procession_of_the", "botticelli_adoration_of_the_magi", "titian_the_adoration_of_the_magi", "pieter_bruegel_the_elder_adoration_of_the_kings_in_the_snow"]}]}, "francesco_di_giorgio_the_nativity_with_god_the_father_surrou": {"id": "francesco_di_giorgio_the_nativity_with_god_the_father_surrou", "title": "The Nativity, with God the Father Surrounded by Angels and Cherubim", "artist_line": "Francesco di Giorgio Martini (Italian, 1439–1501)", "artist": "Francesco di Giorgio Martini", "date": "c. 1470", "museum": "National Gallery of Art, Washington, and The Metropolitan Museum of Art, New York", "license": "PD-Art/PD", "tier": "Sanctuary", "sizes": [{"size": "8×10 in", "paper": 39, "iw": 6.9, "ih": 10, "sw": 8, "sh": 10, "cov": 0.863}, {"size": "11×14 in", "paper": 59, "iw": 9.7, "ih": 14, "sw": 11, "sh": 14, "cov": 0.879}, {"size": "16×20 in", "paper": 110, "iw": 13.8, "ih": 20, "sw": 16, "sh": 20, "cov": 0.863}, {"size": "18×24 in", "paper": 140, "iw": 16.6, "ih": 24, "sw": 18, "sh": 24, "cov": 0.92}, {"size": "24×36 in", "paper": 190, "iw": 24, "ih": 34.8, "sw": 24, "sh": 36, "cov": 0.966}, {"size": "32×48 in", "paper": 340, "iw": 32, "ih": 46.4, "sw": 32, "sh": 48, "cov": 0.966}, {"size": "40×60 in", "paper": 480, "iw": 40, "ih": 57.9, "sw": 40, "sh": 60, "cov": 0.966}], "local": "/store/display/francesco_di_giorgio_the_nativity_with_god_the_father_surrou.jpg", "commons_file": "The Nativity, with God the Father Surrounded by Angels and Cherubim A34638.jpg", "zoom": "https://art.monstrance.app/zoom/francesco_di_giorgio_the_nativity_with_god_the_father_surrou.jpg", "master_px": 16738, "auth": {"institution": "National Gallery of Art, Washington", "accession": "1952.5.8 (NGA lunette) with The Metropolitan Museum of Art 41.100.2 (Nativity); NGA combined record 1952.5.8.combined", "url": "https://www.nga.gov/artworks/154657-nativity-god-father-surrounded-angels-and-cherubim", "artist_as_printed": "Francesco di Giorgio Martini", "date_as_printed": "c. 1470", "medium": "tempera on panel", "dimensions": "joined NGA and MMA panels: 83.5 x 57.5 cm (32 7/8 x 22 5/8 in.)\nframed: 97.8 x 73.7 x 4.8 cm (38 1/2 x 29 x 1 7/8 in.)\nonly NGA lunette (oval): 36.6 x 51.7 cm (14 7/16 x 20 3/8 in.)"}, "writeup": {"text": "The Child lies on the hem of His Mother's cloak on the bare ground, and she kneels over Him with her hands together. Saint Joseph sits apart, barefoot, with his staff. Above, God the Father rides a cloud of winged children, and far below Him the Child lies small on the cloak. The Metropolitan Museum reads the two halves as two debts: the upper to Donatello's sculptural reliefs, the lower to Girolamo da Cremona, who was illuminating choirbooks in Siena. Francesco di Giorgio Martini's halves were separated in the nineteenth century and rejoined only in 1988. Heaven hangs over the ground again.", "sources": [{"what": "The upper part inspired by the sculptural reliefs of Donatello, the lower reflecting Francesco's admiration for the north Italian miniaturist Girolamo da Cremona, who worked on choirbooks in Siena from 1470 to 1474; the two parts separated in the nineteenth century and rejoined in 1988", "url": "https://www.metmuseum.org/art/collection/search/436331", "cite": "The Metropolitan Museum of Art, New York, object page 'The Nativity', 41.100.2, read 2026-09-24"}, {"what": "God the Father supported by fourteen gold-winged youths before a cloud of blue winged baby heads; the Child lying on one end of his mother's cloak with the first two fingers of one hand raised; a canteen hanging from a low branch beyond Joseph", "url": "https://www.nga.gov/artworks/154657-nativity-god-father-surrounded-angels-and-cherubim", "cite": "National Gallery of Art, Washington, object page for the joined panels (image description), 1952.5.8, read 2026-09-24"}, {"what": "Joint record of the NGA and Met panels: tempera on panel, joined 83.5 x 57.5 cm, NGA lunette 36.6 x 51.7 cm, and the joint credit line", "url": "https://raw.githubusercontent.com/NationalGalleryOfArt/opendata/main/data/objects.csv", "cite": "National Gallery of Art, Washington, open-data release (objects.csv, object 154657), read 2026-09-24"}]}, "scene": {"ref": "Luke 2:13", "quote": "And suddenly there was with the angel a multitude of the heavenly army, praising God and saying:", "shows": "the Child lying before Mary and Joseph beneath a sky filled with God the Father and a host of angels and cherubim"}, "th": "/store/thumb/francesco_di_giorgio_the_nativity_with_god_the_father_surrou.webp", "more": [{"k": "subject", "n": "The Nativity in painting", "u": "/editions/subject/nativity/", "ids": ["geertgen_nativity_at_night", "botticelli_mystic_nativity", "lorenzo_lotto_the_nativity", "pieter_bruegel_the_elder_the_census_at_bethlehem"]}]}, "hans_memling_madonna_and_child_with_angels": {"id": "hans_memling_madonna_and_child_with_angels", "title": "Madonna and Child with Angels", "artist_line": "Hans Memling (Netherlandish, active c. 1465–1494)", "artist": "Hans Memling", "date": "after 1479", "museum": "National Gallery of Art, Washington", "license": "Public domain", "tier": "Sanctuary", "sizes": [{"size": "8×10 in", "paper": 39, "iw": 8, "ih": 10.0, "sw": 8, "sh": 10, "cov": 0.995}, {"size": "11×14 in", "paper": 59, "iw": 11, "ih": 13.7, "sw": 11, "sh": 14, "cov": 0.977}, {"size": "16×20 in", "paper": 110, "iw": 16, "ih": 19.9, "sw": 16, "sh": 20, "cov": 0.995}, {"size": "18×24 in", "paper": 140, "iw": 18, "ih": 22.4, "sw": 18, "sh": 24, "cov": 0.933}, {"size": "24×36 in", "paper": 190, "iw": 24, "ih": 29.9, "sw": 24, "sh": 36, "cov": 0.829}, {"size": "32×48 in", "paper": 340, "iw": 32, "ih": 39.8, "sw": 32, "sh": 48, "cov": 0.829}, {"size": "40×60 in", "paper": 480, "iw": 40, "ih": 49.8, "sw": 40, "sh": 60, "cov": 0.829}], "local": "/store/display/hans_memling_madonna_and_child_with_angels.jpg", "commons_file": "Memling-MaredeDeu-Nen-WashingtonNationalGallery.jpg", "zoom": "https://art.monstrance.app/zoom/hans_memling_madonna_and_child_with_angels.jpg", "master_px": 13071, "auth": {"institution": "National Gallery of Art, Washington", "accession": "1937.1.41", "url": "https://www.nga.gov/artworks/48-madonna-and-child-angels", "artist_as_printed": "Hans Memling", "date_as_printed": "after 1479", "medium": "oil on panel", "dimensions": "painted surface: 57.6 × 46.4 cm (22 11/16 × 18 1/4 in.)\noverall (panel): 58.8 × 48 cm (23 1/8 × 18 7/8 in.)\nframed: 69.22 × 57.47 × 9.53 cm (27 1/4 × 22 5/8 × 3 3/4 in.)"}, "writeup": {"text": "An angel in red and gold holds out a small round fruit, and the Christ Child reaches from His Mother's lap. The National Gallery of Art reads the fruit as the apple of Original Sin, and the reach as His acceptance of the Cross to come. It names the robe a dalmatic, the deacon's vestment at solemn High Mass, so the angel who offers it is dressed for the altar. Our Lady keeps her eyes on her book. The gallery reads the carved vine round the arch as the Eucharistic wine, and on the columns Hans Memling sets David with his harp and Isaiah, who foretold the Virgin Birth.", "sources": [{"what": "Jesus reaching for an apple, emblem of Original Sin, his acceptance foreshadowing the cross; the angel offering the fruit of redemption dressed in a dalmatic, the deacon's vestment at solemn High Mass; the carved vine of grapes round the arch referring to the eucharistic wine; David, ancestor of Christ, and Isaiah, prophet of the Virgin Birth, on the crystal and porphyry columns", "url": "https://artsandculture.google.com/asset/madonna-and-child-with-angels-hans-memling/XwH5NaGfBOGZdQ?hl=en", "cite": "National Gallery of Art, Washington, 'Madonna and Child with Angels', 1937.1.41, text as published on Google Arts \u0026 Culture, read 2026-09-24"}, {"what": "Memling's painting 'filled with symbols which explain the importance of Christ's mission on earth'; Jesus reaching out for an apple", "url": "https://www.nga.gov/artworks/48-madonna-and-child-angels", "cite": "National Gallery of Art, Washington, object page 1937.1.41 (meta description), read 2026-09-24"}, {"what": "The angel on the left in a red and gold patterned robe holding out a small round fruit toward the Child; the bearded figure on the left column holding a harp", "url": "https://raw.githubusercontent.com/NationalGalleryOfArt/opendata/main/data/published_images.csv", "cite": "National Gallery of Art, Washington, open-data release (published_images.csv, assistive description of the primary image of object 48), read 2026-09-24"}]}, "scene": {"why": "The Virgin enthroned with the Child and two music-making angels is a devotional image, no episode any evangelist records; the apple, the vested angel and the prophets on the columns are Memling's symbolic program, per the NGA, so a verse would caption a scene that is not there."}, "th": "/store/thumb/hans_memling_madonna_and_child_with_angels.webp", "more": [{"k": "subject", "n": "The Madonna and Child in painting", "u": "/editions/subject/madonna-and-child/", "ids": ["botticelli_madonna_book", "crivelli_madonna_and_child", "leonardo_virgin_of_rocks", "memling_the_virgin_and_child_between_saint_jam"]}, {"k": "master", "n": "Hans Memling", "u": "/editions/master/hans-memling/", "ids": ["memling_annunciation", "memling_the_virgin_and_child_between_saint_jam", "memling_christ_blessing"]}]}, "hieronymus_bosch_death_and_the_miser": {"id": "hieronymus_bosch_death_and_the_miser", "title": "Death and the Miser", "artist_line": "Hieronymus Bosch (Netherlandish, c. 1450–1516)", "artist": "Hieronymus Bosch", "date": "c. 1485–1490", "museum": "National Gallery of Art, Washington", "license": "Public domain", "tier": "Sanctuary", "sizes": [{"size": "8×10 in", "paper": 39, "iw": 3.3, "ih": 10, "sw": 8, "sh": 10, "cov": 0.418}, {"size": "11×14 in", "paper": 59, "iw": 4.7, "ih": 14, "sw": 11, "sh": 14, "cov": 0.425}, {"size": "16×20 in", "paper": 110, "iw": 6.7, "ih": 20, "sw": 16, "sh": 20, "cov": 0.418}, {"size": "18×24 in", "paper": 140, "iw": 8.0, "ih": 24, "sw": 18, "sh": 24, "cov": 0.446}, {"size": "24×36 in", "paper": 190, "iw": 12.0, "ih": 36, "sw": 24, "sh": 36, "cov": 0.501}, {"size": "32×48 in", "paper": 340, "iw": 16.0, "ih": 48, "sw": 32, "sh": 48, "cov": 0.501}, {"size": "40×60 in", "paper": 480, "iw": 20.1, "ih": 60, "sw": 40, "sh": 60, "cov": 0.501}], "local": "/store/display/hieronymus_bosch_death_and_the_miser.jpg", "commons_file": "Death and the Usurer, ca. 1485-1490.jpg", "zoom": "https://art.monstrance.app/zoom/hieronymus_bosch_death_and_the_miser.jpg", "master_px": 36894, "auth": {"institution": "National Gallery of Art, Washington", "accession": "1952.5.33", "url": "https://www.nga.gov/artworks/41645-death-and-miser", "artist_as_printed": "Hieronymus Bosch", "date_as_printed": "c. 1485/1490", "medium": "oil on panel", "dimensions": "overall: 93 × 31 cm (36 5/8 × 12 3/16 in.)\nframed: 107.95 × 46.04 × 9.53 cm (42 1/2 × 18 1/8 × 3 3/4 in.)"}, "writeup": {"text": "A bag of gold, a door, a crucifix in a high window: the man in the bed has three things left to look at. The National Gallery of Art reads these as the miser's last moments before his eternal fate is decided: a small demon holds up the gold, an angel kneels at his shoulder and gestures to the crucifix, and a demon's lantern of Hell's fire is set against the single ray of light from the cross. At the foot of the bed Hieronymus Bosch puts, the museum suggests, the same man earlier in life, dropping coins into a strongbox, a rosary at his belt. The ray still falls.", "sources": [{"what": "The miser's last moments before his eternal fate is decided; a monster under the bed-curtains tempting him with a bag of gold; an angel urging him to acknowledge the crucifix in the window; Death entering at the left with an arrow; a demon's lantern of Hell's fire balancing the cross's single ray of divine light; the figure in the middle ground, perhaps the miser earlier in life, dropping coins into the strongbox while fingering a rosary; the Ars Moriendi source; possibly the left wing of an altarpiece", "url": "https://artsandculture.google.com/asset/death-and-the-miser/xQFMnR3xQTylpA", "cite": "National Gallery of Art, Washington, 'Death and the Miser', 1952.5.33, text as published on Google Arts \u0026 Culture, read 2026-09-24"}, {"what": "The last moments in the life of a miser, the monster with the bag of gold, and the angel and crucifix", "url": "https://www.nga.gov/artworks/41645-death-and-miser", "cite": "National Gallery of Art, Washington, object page 1952.5.33 (meta description), read 2026-09-24"}, {"what": "The man in bed gesturing with one hand toward the skeleton at the door and with the other toward the bag of money held up by a small demon; the angel kneeling with a hand on his shoulder, gesturing at the crucifix over the door", "url": "https://raw.githubusercontent.com/NationalGalleryOfArt/opendata/main/data/published_images.csv", "cite": "National Gallery of Art, Washington, open-data release (published_images.csv, assistive description of the primary image of object 41645), read 2026-09-24"}]}, "scene": {"ref": "Matthew 6:24", "quote": "No man can serve two masters. For either he will hate the one, and love the other: or he will sustain the one, and despise the other. You cannot serve God and mammon.", "shows": "a dying miser between an angel pointing to the crucifix and a demon offering gold, and his earlier self fingering a rosary while hoarding coins"}, "th": "/store/thumb/hieronymus_bosch_death_and_the_miser.webp", "more": [{"k": "subject", "n": "The Last Judgment in painting", "u": "/editions/subject/last-judgment/", "ids": ["hieronymus_bosch_the_last_judgment_central_panel", "joos_van_cleve_last_judgment", "michelangelo_last_judgment", "rubens_last_judgment"]}, {"k": "master", "n": "Hieronymus Bosch", "u": "/editions/master/hieronymus-bosch/", "ids": ["hieronymus_bosch_st_jerome_at_prayer", "hieronymus_bosch_christ_carrying_the_cross", "hieronymus_bosch_ecce_homo", "hieronymus_bosch_the_last_judgment_central_panel"]}]}, "lorenzo_lotto_the_nativity": {"id": "lorenzo_lotto_the_nativity", "title": "The Nativity", "artist_line": "Lorenzo Lotto (Italian, c. 1480–1556/1557)", "artist": "Lorenzo Lotto", "date": "1523", "museum": "National Gallery of Art, Washington", "license": "Public domain", "tier": "Sanctuary", "sizes": [{"size": "8×10 in", "paper": 39, "iw": 7.6, "ih": 10, "sw": 8, "sh": 10, "cov": 0.949}, {"size": "11×14 in", "paper": 59, "iw": 10.6, "ih": 14, "sw": 11, "sh": 14, "cov": 0.967}, {"size": "16×20 in", "paper": 110, "iw": 15.2, "ih": 20, "sw": 16, "sh": 20, "cov": 0.949}, {"size": "18×24 in", "paper": 140, "iw": 18, "ih": 23.7, "sw": 18, "sh": 24, "cov": 0.988}, {"size": "24×36 in", "paper": 190, "iw": 24, "ih": 31.6, "sw": 24, "sh": 36, "cov": 0.878}, {"size": "32×48 in", "paper": 340, "iw": 32, "ih": 42.1, "sw": 32, "sh": 48, "cov": 0.878}, {"size": "40×60 in", "paper": 480, "iw": 40, "ih": 52.7, "sw": 40, "sh": 60, "cov": 0.878}], "local": "/store/display/lorenzo_lotto_the_nativity.jpg", "commons_file": "The Nativity - Lorenzo Lotto (1523) National Gallery of Art.jpg", "zoom": "https://art.monstrance.app/zoom/lorenzo_lotto_the_nativity.jpg", "master_px": 12255, "auth": {"institution": "National Gallery of Art, Washington", "accession": "1939.1.288", "url": "https://www.nga.gov/collection/art-object-page.431.html", "artist_as_printed": "Lorenzo Lotto", "date_as_printed": "1523", "medium": "oil on panel", "dimensions": "overall: 46 x 35.9 cm (18 1/8 x 14 1/8 in.)\nframed: 62.6 x 53.2 x 10.2 cm (24 5/8 x 20 15/16 x 4 in.)"}, "writeup": {"text": "The Christ Child lies on a white cloth in a wicker basket and lifts both arms. Saint Joseph folds his hands, Our Lady crosses hers, and neither has touched Him yet. Lorenzo Lotto signed on a block of wood at lower right: L. Lotus 1523. It was long taken for a mousetrap, which Meyer Schapiro read as a sign against the devil. Francesco Colalucci looked closer and found a piece of wood with a mortise at one end, the kind that held the stand of a frame: Joseph's handiwork, he argues, carrying the painter's name, carpenter and artist on one plank. On the shadowed wall behind Joseph, the National Gallery of Art notes, a crucifix already hangs. Above the thatch, three angels crowd round a sheet of music.", "sources": [{"what": "The object in the lower right corner on which Lotto signed and dated the Washington Adoration, once identified as a mousetrap and given antidemonic meaning by Meyer Schapiro; Colalucci's identification of it as a piece of wood with a mortise at one end, of the kind used to hold the stand of a picture frame, linking St Joseph the carpenter whose handiwork it is and the painter who signed it", "url": "https://artibusethistoriae.org/chapter196.html", "cite": "Francesco Colalucci, '\"Muscipula diaboli\"? A Pseudo-Mousetrap in the Adoration by Lorenzo Lotto in Washington', Artibus et Historiae 21 (1990), 71–88, abstract read 2026-09-24"}, {"what": "A crucifix hanging on the deeply shadowed wall behind the man at the left edge; three winged angels around a sheet of music at the top; the signature painted as if inscribed on a plank near the lower right corner", "url": "https://www.nga.gov/collection/art-object-page.431.html", "cite": "National Gallery of Art, Washington, object page 1939.1.288 (image description), read 2026-09-24"}, {"what": "Inscription 'L. Lotus. / 1523' lower right; oil on panel, 46 x 35.9 cm; Samuel H. Kress Collection", "url": "https://raw.githubusercontent.com/NationalGalleryOfArt/opendata/main/data/objects.csv", "cite": "National Gallery of Art, Washington, open-data release (objects.csv, object 431), read 2026-09-24"}]}, "scene": {"ref": "Luke 2:7", "quote": "And she brought forth her first born son and wrapped him up in swaddling clothes and laid him in a manger: because there was no room for them in the inn.", "shows": "the Child laid on a white cloth in a basket between Mary and Joseph outside a thatched shed"}, "th": "/store/thumb/lorenzo_lotto_the_nativity.webp", "more": [{"k": "subject", "n": "The Nativity in painting", "u": "/editions/subject/nativity/", "ids": ["pieter_bruegel_the_elder_the_census_at_bethlehem", "piero_nativity", "francesco_di_giorgio_the_nativity_with_god_the_father_surrou", "geertgen_nativity_at_night"]}, {"k": "master", "n": "Lorenzo Lotto", "u": "/editions/master/lorenzo-lotto/", "ids": ["lotto_annunciation_recanati_annunciation", "lorenzo_lotto_st_catherine_of_alexandria"]}]}, "master_of_the_legend_of_st_lucy_mary_queen_of_heaven": {"id": "master_of_the_legend_of_st_lucy_mary_queen_of_heaven", "title": "Mary, Queen of Heaven", "artist_line": "Master of the Saint Lucy Legend (Netherlandish, active c. 1480–c. 1510)", "artist": "Master of the Saint Lucy Legend", "date": "c. 1485–1500", "museum": "National Gallery of Art, Washington", "license": "Public domain (PD)", "tier": "Sanctuary", "sizes": [{"size": "8×10 in", "paper": 39, "iw": 8, "ih": 9.8, "sw": 8, "sh": 10, "cov": 0.98}, {"size": "11×14 in", "paper": 59, "iw": 11, "ih": 13.5, "sw": 11, "sh": 14, "cov": 0.962}, {"size": "16×20 in", "paper": 110, "iw": 16, "ih": 19.6, "sw": 16, "sh": 20, "cov": 0.98}, {"size": "18×24 in", "paper": 140, "iw": 18, "ih": 22.0, "sw": 18, "sh": 24, "cov": 0.919}, {"size": "24×36 in", "paper": 190, "iw": 24, "ih": 29.4, "sw": 24, "sh": 36, "cov": 0.817}, {"size": "32×48 in", "paper": 340, "iw": 32, "ih": 39.2, "sw": 32, "sh": 48, "cov": 0.817}, {"size": "40×60 in", "paper": 480, "iw": 40, "ih": 49.0, "sw": 40, "sh": 60, "cov": 0.817}], "local": "/store/display/master_of_the_legend_of_st_lucy_mary_queen_of_heaven.jpg", "commons_file": "Master of the St Lucy Legend - Mary, Queen of Heaven- c. 1480 - c. 1510 (hi res).jpg", "zoom": "https://art.monstrance.app/zoom/master_of_the_legend_of_st_lucy_mary_queen_of_heaven.jpg", "master_px": 29283, "auth": {"institution": "National Gallery of Art, Washington", "accession": "1952.2.13", "url": "https://www.nga.gov/artworks/41595-mary-queen-heaven", "artist_as_printed": "Master of the Saint Lucy Legend", "date_as_printed": "c. 1485/1500", "medium": "oil on panel", "dimensions": "painted surface: 199.2 x 161.8 cm (78 7/16 x 63 11/16 in.)\noverall (panel): 201.5 x 163.8 cm (79 5/16 x 64 1/2 in.)\nframed: 220.03 × 182.88 × 9.53 cm (86 5/8 × 72 × 3 3/4 in.)\nframed weight: 92.987 kg (205 lb.)"}, "writeup": {"text": "Eight angels lift Our Lady, and she lifts nothing; her hands are joined. She stands on a crescent moon, and far above her the Trinity holds out the crown. On a sheet of music to the left of her head, in tiny letters, runs Ave regina celorum, and the National Gallery of Art traces the music to Walter Frye's setting of that Marian antiphon; Frye was an English composer popular at the Burgundian court. The Master of the Saint Lucy Legend painted the instruments with care, loud trumpets and shawms beside soft vielle, lute and harp, and the angels play them as the musicians of his day did.", "sources": [{"what": "Three facets of Marian iconography — the corporeal Assumption, the Immaculate Conception (the crescent moon and radiance identifying the Woman of Revelation 12:1) and the Coronation; the instruments painted with accuracy and the angels arranged per contemporary performance practice; loud (trumpets, shawms) and soft (vielle, lute, harp) consorts; the music identified as derived from Walter Frye's setting of the antiphon Ave Regina Caelorum, Frye an English composer popular at the Burgundian court; the Trinity at the top", "url": "https://artsandculture.google.com/asset/mary-queen-of-heaven-master-of-the-saint-lucy-legend/pQEfwkuKotZyrQ?hl=en", "cite": "National Gallery of Art, Washington, 'Mary, Queen of Heaven', 1952.2.13, text as published on Google Arts \u0026 Culture, read 2026-09-24"}, {"what": "Eight angels lifting the Virgin, who stands on an upturned gold crescent moon; the tiny lettering 'A ve regina celorum' on the sheet of music to the left; two enthroned figures with the dove above holding a crown between them", "url": "https://raw.githubusercontent.com/NationalGalleryOfArt/opendata/main/data/published_images.csv", "cite": "National Gallery of Art, Washington, open-data release (published_images.csv, assistive description of the primary image of object 41595), read 2026-09-24"}, {"what": "Inscriptions on the two sheets of music; oil on panel, painted surface 199.2 x 161.8 cm; provenance, probably for the convent of Santa Clara, Medina de Pomar", "url": "https://raw.githubusercontent.com/NationalGalleryOfArt/opendata/main/data/objects.csv", "cite": "National Gallery of Art, Washington, open-data release (objects.csv, object 41595), read 2026-09-24"}]}, "scene": {"ref": "Apocalypse 12:1", "quote": "And a great sign appeared in heaven: A woman clothed with the sun, and the moon under her feet, and on her head a crown of twelve stars.", "shows": "the Virgin lifted by angels, standing on a crescent moon, with the Trinity above holding the crown"}, "th": "/store/thumb/master_of_the_legend_of_st_lucy_mary_queen_of_heaven.webp", "more": [{"k": "subject", "n": "The Assumption of the Virgin in painting", "u": "/editions/subject/assumption-of-the-virgin/", "ids": ["rubens_assumption", "poussin_the_assumption_of_the_virgin", "masolino_the_assumption_of_the_virgin"]}]}, "workshop_of_rembrandt_the_descent_from_the_cross": {"id": "workshop_of_rembrandt_the_descent_from_the_cross", "title": "The Descent from the Cross", "artist_line": "Workshop of Rembrandt, probably Constantijn van Renesse (Dutch, 1626–1680)", "artist": "Workshop of Rembrandt (probably Constantijn van Renesse)", "date": "1650–1652", "museum": "National Gallery of Art, Washington", "license": "Public domain (PD)", "tier": "Sanctuary", "sizes": [{"size": "8×10 in", "paper": 39, "iw": 7.7, "ih": 10, "sw": 8, "sh": 10, "cov": 0.965}, {"size": "11×14 in", "paper": 59, "iw": 10.8, "ih": 14, "sw": 11, "sh": 14, "cov": 0.982}, {"size": "16×20 in", "paper": 110, "iw": 15.4, "ih": 20, "sw": 16, "sh": 20, "cov": 0.965}, {"size": "18×24 in", "paper": 140, "iw": 18, "ih": 23.3, "sw": 18, "sh": 24, "cov": 0.972}, {"size": "24×36 in", "paper": 190, "iw": 24, "ih": 31.1, "sw": 24, "sh": 36, "cov": 0.864}, {"size": "32×48 in", "paper": 340, "iw": 32, "ih": 41.5, "sw": 32, "sh": 48, "cov": 0.864}, {"size": "40×60 in", "paper": 480, "iw": 40, "ih": 51.8, "sw": 40, "sh": 60, "cov": 0.864}], "local": "/store/display/workshop_of_rembrandt_the_descent_from_the_cross.jpg", "commons_file": "Workshop of Rembrandt van Rijn - The Descent from the Cross (National Gallery of Art).jpg", "zoom": "https://art.monstrance.app/zoom/workshop_of_rembrandt_the_descent_from_the_cross.jpg", "master_px": 21216, "auth": {"institution": "National Gallery of Art, Washington", "accession": "1942.9.61", "url": "https://www.nga.gov/research/publications/online-editions/dutch-paintings-seventeenth-century-descent-cross-16501652", "artist_as_printed": "Rembrandt Workshop (Probably Constantijn van Renesse)", "date_as_printed": "1650/1652", "medium": "oil on canvas", "dimensions": "overall: 142 x 110.9 cm (55 7/8 x 43 11/16 in.)\nframed: 181 x 147.3 cm (71 1/4 x 58 in.)"}, "writeup": {"text": "A man on the ladder holds out a torch, and the whole night leans toward it. The light finds two places: Christ's body coming down into the arms of the aged Joseph of Arimathea, white-haired, in scarlet, and the face of the Virgin as she swoons. Arthur Wheelock's catalogue for the National Gallery of Art reads Joseph as presenting Christ to the viewer while the figures below wait to help, and on stylistic evidence gives the hand to Constantijn van Renesse, with Rembrandt probably rethinking the design. Beyond the torch all is shadow. At the left edge one pale face looks in, as you do.", "sources": [{"what": "Light concentrated on two areas, the lowering of Christ's body by the aged Joseph of Arimathea and the swooning Virgin; a man on a ladder holding a torch that lights the group; Joseph seeming to present Christ to the viewer while the figures below wait to assist; stylistic evidence for Constantijn van Renesse as the artist, with Rembrandt probably involved in rethinking the composition but not its execution", "url": "https://www.nga.gov/research/publications/online-editions/dutch-paintings-seventeenth-century-descent-cross-16501652", "cite": "Arthur K. Wheelock Jr., 'The Descent from the Cross, 1650/1652', Dutch Paintings of the Seventeenth Century, NGA Systematic Catalogue online edition, 1942.9.61, read 2026-09-24"}, {"what": "The torch held out from the ladder; the old white-haired man in scarlet cradling the body; the pale older woman caught by those around her; the pale face of a woman peering in from the shadows at the left edge", "url": "https://raw.githubusercontent.com/NationalGalleryOfArt/opendata/main/data/published_images.csv", "cite": "National Gallery of Art, Washington, open-data release (published_images.csv, assistive description of the primary image of object 1200), read 2026-09-24"}]}, "scene": {"ref": "John 19:38", "quote": "And after these things, Joseph of Arimathea (because he was a disciple of Jesus, but secretly for fear of the Jews), besought Pilate that he might take away the body of Jesus. And Pilate gave leave. He came therefore and took away the body of Jesus.", "shows": "the body lowered from the cross into the arms of the aged Joseph of Arimathea by torchlight"}, "th": "/store/thumb/workshop_of_rembrandt_the_descent_from_the_cross.webp"}, "lorenzo_lotto_st_catherine_of_alexandria": {"id": "lorenzo_lotto_st_catherine_of_alexandria", "title": "St Catherine", "artist_line": "Lorenzo Lotto (Italian, c. 1480–1556/1557)", "artist": "Lorenzo Lotto", "date": "1522", "museum": "National Gallery of Art, Washington", "license": "CC0", "tier": "Sanctuary", "sizes": [{"size": "8×10 in", "paper": 39, "iw": 8, "ih": 8.9, "sw": 8, "sh": 10, "cov": 0.894}, {"size": "11×14 in", "paper": 59, "iw": 11, "ih": 12.3, "sw": 11, "sh": 14, "cov": 0.878}, {"size": "16×20 in", "paper": 110, "iw": 16, "ih": 17.9, "sw": 16, "sh": 20, "cov": 0.894}, {"size": "18×24 in", "paper": 140, "iw": 18, "ih": 20.1, "sw": 18, "sh": 24, "cov": 0.838}, {"size": "24×36 in", "paper": 190, "iw": 24, "ih": 26.8, "sw": 24, "sh": 36, "cov": 0.745}, {"size": "32×48 in", "paper": 340, "iw": 32, "ih": 35.8, "sw": 32, "sh": 48, "cov": 0.745}, {"size": "40×60 in", "paper": 480, "iw": 40, "ih": 44.7, "sw": 40, "sh": 60, "cov": 0.745}], "local": "/store/display/lorenzo_lotto_st_catherine_of_alexandria.jpg", "commons_file": "Lorenzo Lotto, Saint Catherine, 1522, NGA 258.jpg", "zoom": "https://art.monstrance.app/zoom/lorenzo_lotto_st_catherine_of_alexandria.jpg", "master_px": 15212, "auth": {"institution": "National Gallery of Art, Washington", "accession": "1939.1.117", "url": "https://www.nga.gov/artworks/258-saint-catherine", "artist_as_printed": "Lorenzo Lotto", "date_as_printed": "1522", "medium": "oil on panel", "dimensions": "overall: 57.2 x 50.2 cm (22 1/2 x 19 3/4 in.)\nframed: 74 x 68.3 x 5.1 cm (29 1/8 x 26 7/8 x 2 in.)"}, "writeup": {"text": "Saint Catherine rests her hands on a spiked wooden wheel, and Lorenzo Lotto has put his name on the wood: Laurentius Lotus, 1522, lettered at lower right. The Web Gallery of Art records that scholars find her intensely like a portrait, and that she began as an image for private prayer before Lotto himself reworked her for display in a church. The portrait shows in small things: a slender crown looped with pearls and red and green stones, a gold ring on the third finger of her left hand, a palm laid across her body. She looks straight out, at whoever has just come in.", "sources": [{"what": "The panel planned as an image for private devotion and transformed by Lotto himself for public display in a church; scholars remarking on its intensely portraitlike quality", "url": "https://www.wga.hu/html_m/l/lotto/3/12cather.html", "cite": "Web Gallery of Art (Emil Krén and Daniel Marx), 'St Catherine of Alexandria by Lotto, Lorenzo', commentary, read 2026-09-24"}, {"what": "Signature and date lower right on the wheel: Laurentius Lotus / 1522", "url": "https://www.nga.gov/artworks/258-saint-catherine", "cite": "National Gallery of Art, Washington, object page 1939.1.117, read 2026-09-24"}, {"what": "Her hands resting on a spiked wooden wheel; a slender gold crown looped with pearls and red and dark green gems; a gold ring on the third finger of her left hand; a palm frond in the other; her gaze out at the viewer", "url": "https://raw.githubusercontent.com/NationalGalleryOfArt/opendata/main/data/published_images.csv", "cite": "National Gallery of Art, Washington, open-data release (published_images.csv, assistive description of the primary image of object 258), read 2026-09-24"}]}, "scene": {"why": "Catherine of Alexandria appears nowhere in Scripture; her wheel and her acts come to us through the Church's hagiographical tradition and her feast, and this half-length devotional image shows no narrative episode at all."}, "th": "/store/thumb/lorenzo_lotto_st_catherine_of_alexandria.webp", "more": [{"k": "subject", "n": "Saints in painting", "u": "/editions/subject/saints/", "ids": ["bassano_miraculous_draught_of_fishes", "titian_penitent_magdalene", "tintoretto_saint_mark_s_body_brought_to_venice", "pieter_bruegel_the_elder_the_massacre_of_the_innocents"]}, {"k": "master", "n": "Lorenzo Lotto", "u": "/editions/master/lorenzo-lotto/", "ids": ["lorenzo_lotto_the_nativity", "lotto_annunciation_recanati_annunciation"]}]}, "luca_signorelli_the_crucifixion": {"id": "luca_signorelli_the_crucifixion", "title": "The Crucifixion", "artist_line": "Luca Signorelli (Italian, 1445/1450–1523)", "artist": "Luca Signorelli", "date": "c. 1504–1505", "museum": "National Gallery of Art, Washington", "license": "Public domain", "tier": "Sanctuary", "sizes": [{"size": "8×10 in", "paper": 39, "iw": 10, "ih": 7.3, "sw": 10, "sh": 8, "cov": 0.909}, {"size": "11×14 in", "paper": 59, "iw": 14, "ih": 10.2, "sw": 14, "sh": 11, "cov": 0.925}, {"size": "16×20 in", "paper": 110, "iw": 20, "ih": 14.5, "sw": 20, "sh": 16, "cov": 0.909}, {"size": "18×24 in", "paper": 140, "iw": 24, "ih": 17.4, "sw": 24, "sh": 18, "cov": 0.969}, {"size": "24×36 in", "paper": 190, "iw": 33.0, "ih": 24, "sw": 36, "sh": 24, "cov": 0.917}, {"size": "32×48 in", "paper": 340, "iw": 44.0, "ih": 32, "sw": 48, "sh": 32, "cov": 0.917}, {"size": "40×60 in", "paper": 480, "iw": 55.0, "ih": 40, "sw": 60, "sh": 40, "cov": 0.917}], "local": "/store/display/luca_signorelli_the_crucifixion.jpg", "commons_file": "Luca Signorelli - la Crocifissione (National Gallery of Art).jpg", "zoom": "https://art.monstrance.app/zoom/luca_signorelli_the_crucifixion.jpg", "master_px": 38708, "auth": {"institution": "National Gallery of Art, Washington", "accession": "1952.5.75", "url": "https://www.nga.gov/artworks/41690-crucifixion", "artist_as_printed": "Luca Signorelli", "date_as_printed": "c. 1504/1505", "medium": "tempera, oil, and gilding on panel", "dimensions": "overall: 72.5 × 101.3 cm (28 9/16 × 39 7/8 in.)\nframed: 94.93 × 123.67 × 11.43 cm (37 3/8 × 48 11/16 × 4 1/2 in.)"}, "writeup": {"text": "Three crosses stand over a crowd of spears, and on the middle one hangs Christ. The National Gallery of Art finds the lance in His side held by a rider on a white horse, and counts more than two dozen people below. \"But one of the soldiers with a spear opened his side: and immediately there came out blood and water.\" At the lower left, in navy blue, Our Lady has fainted to the ground; two kneeling women hold her up, while another woman and a cleanshaven man stand over her with their fingers laced. Luca Signorelli may have painted it for the main altar of Sant'Agostino in Matelica, a hypothesis first raised by Mario Salmi and taken up by Laurence Kanter. Over all of them the spears go on rising, and the Cross rises higher.", "sources": [{"what": "The spear piercing the central figure's side held by a man riding a white horse in the crowd; more than two dozen people and a bristle of spears; near the lower left corner a woman in navy blue who has fainted, supported by two kneeling women, while another woman and a cleanshaven man look on with fingers interlaced", "url": "https://raw.githubusercontent.com/NationalGalleryOfArt/opendata/main/data/published_images.csv", "cite": "National Gallery of Art, Washington, open-data release (published_images.csv, assistive description of the primary image of object 41690), read 2026-09-24"}, {"what": "Provenance note: possibly painted for the main altar of Sant'Agostino, Matelica, a hypothesis first formulated by Mario Salmi (Commentari, 1953) and taken up by Laurence B. Kanter (1989; with David Franklin, 1991); tempera, oil and gilding on panel, 72.5 × 101.3 cm; Samuel H. Kress Collection", "url": "https://raw.githubusercontent.com/NationalGalleryOfArt/opendata/main/data/objects.csv", "cite": "National Gallery of Art, Washington, open-data release (objects.csv, object 41690), read 2026-09-24"}, {"what": "Title, attribution, date c. 1504/1505, medium and dimensions", "url": "https://artsandculture.google.com/asset/the-crucifixion-luca-signorelli/agHYoF4NTXzMYg?hl=en", "cite": "National Gallery of Art, Washington, 'The Crucifixion', 1952.5.75, as published on Google Arts \u0026 Culture, read 2026-09-24"}]}, "scene": {"ref": "John 19:34", "quote": "But one of the soldiers with a spear opened his side: and immediately there came out blood and water.", "shows": "a rider on a white horse driving the lance into Christ's side above a crowd of soldiers, with the fainting Virgin at lower left"}, "th": "/store/thumb/luca_signorelli_the_crucifixion.webp", "more": [{"k": "subject", "n": "The Crucifixion in painting", "u": "/editions/subject/crucifixion/", "ids": ["juan_de_flandes_the_crucifixion", "grunewald_small_crucifixion", "vasco_fernandes_gaspar_vaz_calvary", "tintoretto_crucifixion"]}, {"k": "master", "n": "Luca Signorelli", "u": "/editions/master/luca-signorelli/", "ids": ["signorelli_madonna_and_child_with_saints_and_angels"]}]}, "albrecht_durer_the_feast_of_the_rosary": {"id": "albrecht_durer_the_feast_of_the_rosary", "title": "The Feast of the Rose Garlands", "artist_line": "Albrecht Dürer (German, 1471–1528)", "artist": "Albrecht Dürer", "date": "1506", "museum": "Národní galerie Praha (National Gallery Prague)", "license": "Public domain", "tier": "Sanctuary", "sizes": [{"size": "8×10 in", "paper": 39, "iw": 9.6, "ih": 8, "sw": 10, "sh": 8, "cov": 0.958}, {"size": "11×14 in", "paper": 59, "iw": 13.2, "ih": 11, "sw": 14, "sh": 11, "cov": 0.941}, {"size": "16×20 in", "paper": 110, "iw": 19.2, "ih": 16, "sw": 20, "sh": 16, "cov": 0.958}, {"size": "18×24 in", "paper": 140, "iw": 21.5, "ih": 18, "sw": 24, "sh": 18, "cov": 0.898}, {"size": "24×36 in", "paper": 190, "iw": 28.7, "ih": 24, "sw": 36, "sh": 24, "cov": 0.798}, {"size": "32×48 in", "paper": 340, "iw": 38.3, "ih": 32, "sw": 48, "sh": 32, "cov": 0.798}, {"size": "40×60 in", "paper": 480, "iw": 47.9, "ih": 40, "sw": 60, "sh": 40, "cov": 0.798}], "local": "/store/display/albrecht_durer_the_feast_of_the_rosary.jpg", "commons_file": "Albrecht Dürer - Das Rosenkranzfest (1506).jpg", "zoom": "https://art.monstrance.app/zoom/albrecht_durer_the_feast_of_the_rosary.jpg", "master_px": 17730, "auth": {"institution": "Národní galerie Praha (National Gallery Prague)", "accession": "O 1552", "url": "https://artdatabase.ngprague.cz/soupisove-katalogy/detail-dila/?dilo=1060", "artist_as_printed": "Albrecht Dürer", "date_as_printed": "1506", "medium": "dřevo topolové", "dimensions": "výška 162 cm / šířka 192 cm"}, "writeup": {"text": "Roses are being handed out as crowns. The Christ Child sets a garland on one kneeling head, His Mother on another, and small angels carry more through the air. The National Gallery Prague reads the whole as an ideal feast of the Brotherhood of the Rosary, painted in 1506 for German merchants at San Bartolomeo in Venice, and names the man the Virgin blesses as Maximilian. Several of the portrait heads, it notes, were changed in the restoration of 1839–41. Under the tree at the right stands Dürer, looking on, holding a sheet with his signature, the year and a line of Latin that says he completed it in five months.", "sources": [{"what": "The panel commissioned by German merchants for San Bartolomeo in Venice in 1506; an ideal feast of the Brotherhood of the Rosary; the Virgin and Child, St Dominic and the angels giving blessing as wreaths of roses; Maximilian being blessed by the Virgin; portrait heads changed in the 1839–41 restoration; Dürer under the tree at the right holding a sheet with his signature and date.", "url": "https://sbirky.ngprague.cz/en/dielo/CZE:NG.O_1552", "cite": "Národní galerie Praha, The Feast of the Rose Garlands, O 1552, collection online, read 2026-09-24"}, {"what": "The catalogue entry: poplar panel, 162 × 192 cm, inventory O 1552, the signed inscription 'Exegit quinque mestri spatio Albertus Durer Germanus MDVI', and the provenance from San Bartolomeo to Prague.", "url": "https://artdatabase.ngprague.cz/soupisove-katalogy/detail-dila/?dilo=1060", "cite": "Národní galerie Praha, soupisový katalog, Růžencová slavnost, cat. 30, read 2026-09-24"}, {"what": "The inscription 'Exegit quinque mestri spatio' glossed as 'completed in five months'; NG Prague's Olga Kotková on the painted fly on the Virgin's knee, now lost, and the planned restoration.", "url": "https://www.seznamzpravy.cz/clanek/magazin-historie-co-se-stalo-s-madonnou-a-mouchou-galerie-se-chysta-restaurovat-slavny-dureruv-obraz-311164", "cite": "Marie Irová, Seznam Zprávy, 21 July 2026, read 2026-09-24"}]}, "scene": {"why": "The Feast of the Rose Garlands is a devotional image of the Rosary confraternity: the Virgin, the Child, St Dominic and angels giving wreaths of roses to Pope, Emperor and faithful. The Rosary is a devotion of the Church's later tradition; no evangelist narrates this scene, so no verse is honest."}, "th": "/store/thumb/albrecht_durer_the_feast_of_the_rosary.webp", "more": [{"k": "subject", "n": "The Madonna and Child in painting", "u": "/editions/subject/madonna-and-child/", "ids": ["bellini_madonna_and_child", "gerard_david_virgin_and_child_with_four_angels", "raphael_alba_madonna", "raphael_sistine_madonna"]}, {"k": "master", "n": "Albrecht Dürer", "u": "/editions/master/albrecht-durer/", "ids": ["durer_jesus_among_the_doctors", "albrecht_durer_all_saints_landauer_altarpiece", "albrecht_durer_apocalypse_adoration_of_the_lamb", "durer_saint_jerome_in_his_study"]}]}, "pieter_bruegel_the_elder_adoration_of_the_kings_in_the_snow": {"id": "pieter_bruegel_the_elder_adoration_of_the_kings_in_the_snow", "title": "The Adoration of the Kings in the Snow", "artist_line": "Pieter Bruegel the Elder (Flemish, c. 1525/30–1569)", "artist": "Pieter Bruegel the Elder", "date": "1563", "museum": "Sammlung Oskar Reinhart «Am Römerholz», Winterthur", "license": "Public domain", "tier": "Sanctuary", "sizes": [{"size": "8×10 in", "paper": 39, "iw": 10, "ih": 6.3, "sw": 10, "sh": 8, "cov": 0.793}, {"size": "11×14 in", "paper": 59, "iw": 14, "ih": 8.9, "sw": 14, "sh": 11, "cov": 0.808}, {"size": "16×20 in", "paper": 110, "iw": 20, "ih": 12.7, "sw": 20, "sh": 16, "cov": 0.793}, {"size": "18×24 in", "paper": 140, "iw": 24, "ih": 15.2, "sw": 24, "sh": 18, "cov": 0.846}, {"size": "24×36 in", "paper": 190, "iw": 36, "ih": 22.8, "sw": 36, "sh": 24, "cov": 0.952}, {"size": "32×48 in", "paper": 340, "iw": 48, "ih": 30.5, "sw": 48, "sh": 32, "cov": 0.952}, {"size": "40×60 in", "paper": 480, "iw": 60, "ih": 38.1, "sw": 60, "sh": 40, "cov": 0.952}], "local": "/store/display/pieter_bruegel_the_elder_adoration_of_the_kings_in_the_snow.jpg", "commons_file": "Adoration of the Magi in the Snow, 1563.jpg", "zoom": "https://art.monstrance.app/zoom/pieter_bruegel_the_elder_adoration_of_the_kings_in_the_snow.jpg", "master_px": 27458, "auth": {"institution": "Sammlung Oskar Reinhart «Am Römerholz», Winterthur (Swiss Federal Office of Culture)", "url": "https://www.roemerholz.ch/de/pieter-bruegel-d-a-die-anbetung-der-heiligen-drei-koenige-im-schnee-1563", "artist_as_printed": "Pieter Bruegel d. Ä.", "date_as_printed": "1563", "medium": "Öl auf Eichenholz", "dimensions": "35 x 55 cm", "accession_absent": "not_published"}, "writeup": {"text": "Snow falls on the kings and on everyone else. Pieter Bruegel the Elder dabbed the flakes, Fresko Magazin notes, as specks of different sizes and shapes, white across most of the scene and grey where they fall in front of the frozen canal, and ch-cultura.ch, announcing the Sammlung Oskar Reinhart's exhibition, calls it the first painting on wood to show snow falling. At the far left, in a broken shed, Our Lady holds the Christ Child in the cold and the kings kneel before Him. The village keeps its own business: a crowd in the square, a man going down the steps to the ice. An old inventory of the Jabach collection listed it plainly: the three kings in front adoring the Lord, much snow falling, and a small child gliding on a little sledge. The child is still gliding.", "sources": [{"what": "The collection's own caption: Pieter Bruegel d. Ä., Die Anbetung der Heiligen Drei Könige im Schnee, 1563, oil on oak, 35 × 55 cm.", "url": "https://www.roemerholz.ch/de/pieter-bruegel-d-a-die-anbetung-der-heiligen-drei-koenige-im-schnee-1563", "cite": "Sammlung Oskar Reinhart «Am Römerholz», work page, read 2026-09-24"}, {"what": "ch-cultura.ch's notice of the Sammlung Oskar Reinhart exhibition, calling the panel the first depiction of falling snow in panel painting.", "url": "https://ch-cultura.ch/museum-ausstellung-galerie/das-wunder-im-schnee-pieter-bruegel-der-aeltere/", "cite": "Daniel Leutenegger, ch-cultura.ch, 'Das Wunder im Schnee – Pieter Bruegel der Ältere' (exhibition notice), read 2026-09-24"}, {"what": "The snowflakes painted as specks of varying size and shape, white in most places and grey in front of the frozen canal; the old Jabach collection inventory entry describing the kings in front, the heavy snow and a small child on a little sledge.", "url": "https://www.fresko-magazin.de/das-wunder-im-schnee/", "cite": "Fresko Magazin, 'Das Wunder im Schnee', read 2026-09-24"}]}, "scene": {"ref": "Matthew 2:11", "quote": "And entering into the house, they found the child with Mary his mother, and falling down they adored him: and opening their treasures, they offered him gifts; gold, frankincense, and myrrh.", "shows": "the kings adoring the Child in a snowbound village"}, "th": "/store/thumb/pieter_bruegel_the_elder_adoration_of_the_kings_in_the_snow.webp", "more": [{"k": "subject", "n": "The Adoration of the Magi in painting", "u": "/editions/subject/adoration-of-the-magi/", "ids": ["rubens_adoration_magi", "dolci_adoration_of_the_kings", "sequeira_adoration", "fra_angelico_the_adoration_of_the_magi"]}, {"k": "master", "n": "Pieter Bruegel the Elder", "u": "/editions/master/pieter-bruegel-the-elder/", "ids": ["pieter_bruegel_the_elder_the_massacre_of_the_innocents", "pieter_bruegel_the_elder_the_census_at_bethlehem", "pieter_bruegel_the_elder_the_sermon_of_st_john_the_baptist", "pieter_bruegel_the_elder_the_fall_of_the_rebel_angels"]}]}, "hieronymus_bosch_christ_carrying_the_cross_escorial": {"id": "hieronymus_bosch_christ_carrying_the_cross_escorial", "title": "Christ Carrying the Cross (Escorial)", "artist_line": "Hieronymus Bosch (Netherlandish, c. 1450–1516)", "artist": "Hieronymus Bosch", "date": "1505–1507", "museum": "Real Monasterio de San Lorenzo de El Escorial (Patrimonio Nacional)", "license": "Public domain", "tier": "Sanctuary", "sizes": [{"size": "8×10 in", "paper": 39, "iw": 7.3, "ih": 10, "sw": 8, "sh": 10, "cov": 0.917}, {"size": "11×14 in", "paper": 59, "iw": 10.3, "ih": 14, "sw": 11, "sh": 14, "cov": 0.933}, {"size": "16×20 in", "paper": 110, "iw": 14.7, "ih": 20, "sw": 16, "sh": 20, "cov": 0.917}, {"size": "18×24 in", "paper": 140, "iw": 17.6, "ih": 24, "sw": 18, "sh": 24, "cov": 0.978}, {"size": "24×36 in", "paper": 190, "iw": 24, "ih": 32.7, "sw": 24, "sh": 36, "cov": 0.909}, {"size": "32×48 in", "paper": 340, "iw": 32, "ih": 43.6, "sw": 32, "sh": 48, "cov": 0.909}, {"size": "40×60 in", "paper": 480, "iw": 40, "ih": 54.6, "sw": 40, "sh": 60, "cov": 0.909}], "local": "/store/display/hieronymus_bosch_christ_carrying_the_cross_escorial.jpg", "commons_file": "Christ Carrying the Cross, ca. 1505-07.jpg", "zoom": "https://art.monstrance.app/zoom/hieronymus_bosch_christ_carrying_the_cross_escorial.jpg", "master_px": 29966, "auth": {"institution": "Patrimonio Nacional, Real Monasterio de San Lorenzo de El Escorial", "url": "https://www.patrimonionacional.es/microsites/escorial2016/obras.htm", "artist_as_printed": "Jheronimus van Aken, llamado Jheronimus Bosch o el Bosco", "date_as_printed": "1505-1507", "medium": "Óleo sobre tabla de roble del Báltico", "dimensions": "142,3 x 104,5 cm.", "accession_absent": "not_published"}, "writeup": {"text": "Christ goes down under the beam, bare feet on the ground, and turns His face out of the crowd toward whoever stands before Him. Patrimonio Nacional's 2016 catalogue of the Escorial Boschs calls that look meekness. It points to the board of nails He is made to tread on, a detail found in fifteenth-century miniatures, and to a procession of men of bourgeois appearance, impassive. One cape bears a crescent moon, which the catalogue identifies with the Turkish heretic; Simon of Cyrene, in a white tunic, is being told to help. Hieronymus Bosch keeps the city far off and small. The eyes are on you.", "sources": [{"what": "The catalogue header (1505–1507, oil on Baltic oak, 142.3 × 104.5 cm, Colección Felipe II); a procession of men of bourgeois appearance in impassive attitudes; Christ looking at the viewer with meekness; the board of nails he treads on, a detail found in fifteenth-century miniatures; the soldier with a crescent-moon cape identified with the Turkish heretic; Simon of Cyrene in a white tunic instructed to assist Christ; arrival at the Escorial in 1574.", "url": "https://www.patrimonionacional.es/microsites/escorial2016/obras.htm", "cite": "Patrimonio Nacional, El Bosco en El Escorial (2016), catalogue entry 'Cristo con la cruz a cuestas', read 2026-09-24"}]}, "scene": {"ref": "Luke 23:26", "quote": "And as they led him away, they laid hold of one Simon of Cyrene, coming from the country; and they laid the cross on him to carry after Jesus.", "shows": "Christ bearing the cross as Simon of Cyrene is pressed into helping"}, "th": "/store/thumb/hieronymus_bosch_christ_carrying_the_cross_escorial.webp", "more": [{"k": "subject", "n": "The Christ Carrying the Cross in painting", "u": "/editions/subject/christ-carrying-the-cross/", "ids": ["titian_christ_carrying", "el_greco_christ_carrying_cross", "poelenburch_christ_carrying_the_cross", "hieronymus_bosch_christ_carrying_the_cross"]}, {"k": "master", "n": "Hieronymus Bosch", "u": "/editions/master/hieronymus-bosch/", "ids": ["bosch_christ_mocked_the_crowning_with_thorns", "hieronymus_bosch_death_and_the_miser", "hieronymus_bosch_st_jerome_at_prayer", "hieronymus_bosch_christ_carrying_the_cross"]}]}, "garofalo_the_annunciation": {"id": "garofalo_the_annunciation", "title": "The Annunciation", "artist_line": "Garofalo (Benvenuto Tisi) (Italian, c. 1481–1559)", "artist": "Garofalo", "date": "1528", "museum": "Pinacoteca Capitolina, Musei Capitolini, Rome", "license": "Public domain (PD)", "tier": "Sanctuary", "sizes": [{"size": "8×10 in", "paper": 39, "iw": 10, "ih": 7.6, "sw": 10, "sh": 8, "cov": 0.954}, {"size": "11×14 in", "paper": 59, "iw": 14, "ih": 10.7, "sw": 14, "sh": 11, "cov": 0.971}, {"size": "16×20 in", "paper": 110, "iw": 20, "ih": 15.3, "sw": 20, "sh": 16, "cov": 0.954}, {"size": "18×24 in", "paper": 140, "iw": 23.6, "ih": 18, "sw": 24, "sh": 18, "cov": 0.983}, {"size": "24×36 in", "paper": 190, "iw": 31.5, "ih": 24, "sw": 36, "sh": 24, "cov": 0.874}, {"size": "32×48 in", "paper": 340, "iw": 41.9, "ih": 32, "sw": 48, "sh": 32, "cov": 0.874}, {"size": "40×60 in", "paper": 480, "iw": 52.4, "ih": 40, "sw": 60, "sh": 40, "cov": 0.874}], "local": "/store/display/garofalo_the_annunciation.jpg", "commons_file": "Garofalo - Annunciation - Google Art Project.jpg", "zoom": "https://art.monstrance.app/zoom/garofalo_the_annunciation.jpg", "master_px": 29982, "auth": {"institution": "Musei Capitolini, Pinacoteca Capitolina, Rome (Sovrintendenza Capitolina)", "accession": "PC 5", "url": "https://www.museicapitolini.org/it/opera/annunciazione", "artist_as_printed": "Garofalo (Benvenuto Tisi, Ferrara 1481 ca. - 1559)", "date_as_printed": "1528", "medium": "olio su tela", "dimensions": "cm 103 x 132"}, "writeup": {"text": "Three red carnations stand in a glass on the floor, and heaven comes down to meet them. The Child is already on His way from the Father, the Cross on His shoulder; the Holy Spirit, as a dove, hangs in His burst of light; Our Lady, one hand on her breast, keeps her place in the book. The Musei Capitolini name what He brings, the column and the Cross with the nails and the crown of thorns, and read her book, after Saint Bernard, as Isaiah's prophecy. The room stays ordinary: a fire, a kitten. The carnations, garofani, are Garofalo's signature, the museum notes, set low where a kneeling reader finds them.", "sources": [{"what": "The object record: Garofalo (Benvenuto Tisi), Annunciazione, 1528, oil on canvas, 103 × 132 cm, inv. PC 5, from the infirmary chapel of the monastery of San Bernardino; the kneeling angel with three white lilies, the Virgin reading at a prie-dieu, the Trinity in the clouds, the fireplace and cat.", "url": "https://www.museicapitolini.org/it/opera/annunciazione", "cite": "Musei Capitolini, Pinacoteca Capitolina, 'Annunciazione', PC 5, read 2026-09-24"}, {"what": "The Child Jesus in the beam of divine light carrying the column of the flagellation and the cross with the nails and crown of thorns; the fire, kitchen utensils and kitten; the book the Virgin leafs through holding Isaiah's prophecy according to St Bernard of Clairvaux; the three carnations in a small crystal vase as the painter's signature.", "url": "https://artsandculture.google.com/story/annunciation-musei-capitolini/IQVx1O8jsYwzIg?hl=en", "cite": "Musei Capitolini, 'Annunciazione' (Google Arts \u0026 Culture story), read 2026-09-24"}, {"what": "The museum's record: the Trinity as a diagonal of Father, Infant Jesus with the symbols of the Passion, and the dove; the date 1528; the three carnations as a reference to the painter's nickname.", "url": "https://artsandculture.google.com/asset/annunciation/6gHvymCDP8n9FQ?hl=en", "cite": "Musei Capitolini, Annunciation, Google Arts \u0026 Culture asset, read 2026-09-24"}]}, "scene": {"ref": "Luke 1:31", "quote": "Behold thou shalt conceive in thy womb and shalt bring forth a son: and thou shalt call his name Jesus.", "shows": "Gabriel's announcement to the Virgin, with the Child descending in the beam of light"}, "th": "/store/thumb/garofalo_the_annunciation.webp", "more": [{"k": "subject", "n": "The Annunciation in painting", "u": "/editions/subject/annunciation/", "ids": ["lotto_annunciation_recanati_annunciation", "girolamo_mazzola_bedoli_the_annunciation", "caravaggio_the_annunciation", "orazio_gentileschi_annunciation"]}]}, "baciccio_the_triumph_of_the_name_of_jesus": {"id": "baciccio_the_triumph_of_the_name_of_jesus", "title": "The Triumph of the Name of Jesus", "artist_line": "Il Baciccio (Giovanni Battista Gaulli) (Italian, 1639–1709)", "artist": "Baciccio (Giovanni Battista Gaulli)", "date": "1676–79", "museum": "Princeton University Art Museum", "license": "Public domain (PD)", "tier": "Sanctuary", "sizes": [{"size": "8×10 in", "paper": 39, "iw": 6.7, "ih": 10, "sw": 8, "sh": 10, "cov": 0.838}, {"size": "11×14 in", "paper": 59, "iw": 9.4, "ih": 14, "sw": 11, "sh": 14, "cov": 0.853}, {"size": "16×20 in", "paper": 110, "iw": 13.4, "ih": 20, "sw": 16, "sh": 20, "cov": 0.838}, {"size": "18×24 in", "paper": 140, "iw": 16.1, "ih": 24, "sw": 18, "sh": 24, "cov": 0.894}, {"size": "24×36 in", "paper": 190, "iw": 24, "ih": 35.8, "sw": 24, "sh": 36, "cov": 0.995}, {"size": "32×48 in", "paper": 340, "iw": 32, "ih": 47.7, "sw": 32, "sh": 48, "cov": 0.995}, {"size": "40×60 in", "paper": 480, "iw": 40, "ih": 59.7, "sw": 40, "sh": 60, "cov": 0.995}], "local": "/store/display/baciccio_the_triumph_of_the_name_of_jesus.jpg", "commons_file": "Il Baciccio (Giovanni Battista Gaulli) - The Triumph of the Name of Jesus - 2005-34 - Princeton University Art Museum.jpg", "zoom": "https://art.monstrance.app/zoom/baciccio_the_triumph_of_the_name_of_jesus.jpg", "master_px": 8845, "auth": {"institution": "Princeton University Art Museum", "accession": "2005-34", "url": "https://artmuseum.princeton.edu/art/collections/objects/45004", "artist_as_printed": "Il Baciccio (Giovanni Battista Gaulli), 1639–1709; born Genoa, Italy; died Rome, Italy", "date_as_printed": "1676–79", "medium": "Oil on paper, laid down on canvas", "dimensions": "163 × 111 cm (64 3/16 × 43 11/16 in.); frame: 175.9 × 123.5 × 7.9 cm"}, "writeup": {"text": "At the top the Name burns, three letters, IHS, and the whole sky turns toward it. Saints and angels bathed in divine light adore the monogram; below, fallen angels, heretics and vices hurtle into darkness. Princeton's curators trace the ceiling to one verse of Saint Paul: \"That in the name of Jesus every knee should bow, of those that are in heaven, on earth, and under the earth\". Baciccio made this sketch as the working study for his fresco in the Gesù, the mother church of the Jesuits. The museum reads the movement as from darkness into light. Tonight, look up at your own ceiling.", "sources": [{"what": "The object record (1676–79, oil on paper laid down on canvas, 163 × 111 cm, 2005-34); saints and angels bathed in divine light adoring the monogram IHS while the damned plunge into darkness; a working study for the ceiling fresco of Il Gesù, mother church of the Jesuit Order; the subject inspired by Philippians 2:10; fallen angels, heretics and vices hurtling into darkness; moving from darkness into light.", "url": "https://artmuseum.princeton.edu/art/collections/objects/45004", "cite": "Princeton University Art Museum, Il Baciccio, The Triumph of the Name of Jesus, 2005-34, read 2026-09-24"}]}, "scene": {"ref": "Philippians 2:10", "quote": "That in the name of Jesus every knee should bow, of those that are in heaven, on earth, and under the earth:", "shows": "saints and angels adoring the monogram IHS while the damned fall into darkness"}, "th": "/store/thumb/baciccio_the_triumph_of_the_name_of_jesus.webp", "more": [{"k": "subject", "n": "Angels in painting", "u": "/editions/subject/angels/", "ids": ["filippino_tobias_and_the_angel", "durer_saint_michael_fighting_the_dragon", "albrecht_durer_apocalypse_adoration_of_the_lamb", "titian_the_archangel_raphael_and_tobias"]}]}, "pieter_bruegel_the_elder_the_massacre_of_the_innocents": {"id": "pieter_bruegel_the_elder_the_massacre_of_the_innocents", "title": "The Massacre of the Innocents", "artist_line": "Pieter Bruegel the Elder (Flemish, c. 1525–1569)", "artist": "Pieter Bruegel the Elder", "date": "c. 1565–67", "museum": "Royal Collection, Hampton Court Palace", "license": "Public domain", "tier": "Sanctuary", "sizes": [{"size": "8×10 in", "paper": 39, "iw": 10, "ih": 6.9, "sw": 10, "sh": 8, "cov": 0.857}, {"size": "11×14 in", "paper": 59, "iw": 14, "ih": 9.6, "sw": 14, "sh": 11, "cov": 0.872}, {"size": "16×20 in", "paper": 110, "iw": 20, "ih": 13.7, "sw": 20, "sh": 16, "cov": 0.857}, {"size": "18×24 in", "paper": 140, "iw": 24, "ih": 16.4, "sw": 24, "sh": 18, "cov": 0.914}, {"size": "24×36 in", "paper": 190, "iw": 35.0, "ih": 24, "sw": 36, "sh": 24, "cov": 0.973}, {"size": "32×48 in", "paper": 340, "iw": 46.7, "ih": 32, "sw": 48, "sh": 32, "cov": 0.973}], "local": "/store/display/pieter_bruegel_the_elder_the_massacre_of_the_innocents.jpg", "commons_file": "Pieter Bruegel the Elder - Massacre of the Innocents - Google Art Project.jpg", "zoom": "https://art.monstrance.app/zoom/pieter_bruegel_the_elder_the_massacre_of_the_innocents.jpg", "master_px": 6770, "auth": {"institution": "Royal Collection Trust", "accession": "RCIN 405787", "url": "https://www.rct.uk/collection/405787/massacre-of-the-innocents", "artist_as_printed": "Pieter Bruegel the Elder (c. 1525-69)", "date_as_printed": "c.1565-67"}, "writeup": {"text": "Soldiers in armour stand in a block in the middle of the square, lances up, and the snowbound village goes on around them. A woman sits grieving in the snow; in front of her, the Royal Collection explains, there once lay a dead child, and now there are hams and cheeses. Very early, before 1621 and probably while the work belonged to Emperor Rudolf II, the slaughtered babies were painted over with bundles, food and animals, so that the massacre reads as plunder: a pile of babies became livestock, a baby torn from its mother became a bundle, the herald's Habsburg eagle became a simple decoration. The soldiers wear the dress of the local officials who kept public order, and the snow, the Royal Collection says, is the severe winter of 1564-5. The hand that painted out the children left Pieter Bruegel the Elder's grief in place. The mothers still weep over hams.", "sources": [{"what": "The object record's summary: the soldiers in the dress of the local officials who kept public order, and the snowy village drawn from the severe winter of 1564-5.", "url": "https://www.rct.uk/collection/405787/massacre-of-the-innocents", "cite": "Royal Collection Trust, Pieter Bruegel the Elder, Massacre of the Innocents, RCIN 405787, read 2026-09-24"}, {"what": "The infants painted over very early in the picture's history, before 1621, probably while it belonged to Emperor Rudolf II.", "url": "https://www.rct.uk/collection/stories/surprising-revelations/massacre-of-the-innocents", "cite": "Royal Collection Trust, 'Surprising revelations: Massacre of the Innocents', read 2026-09-24"}, {"what": "The slaughtered babies painted over with bundles, food and animals so the scene reads as plunder; a dead baby before a grieving woman changed to hams and cheeses; a pile of babies changed to livestock; a baby torn from its mother changed to a bundle; the herald's Habsburg eagle overpainted with a simple decoration.", "url": "https://artsandculture.google.com/story/massacre-of-the-innocents-the-royal-collection-london/rAWxrU8GdzSWIw?hl=en", "cite": "Royal Collection Trust, 'Massacre of the Innocents' (Google Arts \u0026 Culture story), read 2026-09-24"}]}, "scene": {"ref": "Matthew 2:16", "quote": "Then Herod perceiving that he was deluded by the wise men, was exceeding angry: and sending killed all the menchildren that were in Bethlehem, and in all the borders thereof, from two years old and under, according to the time which he had diligently inquired of the wise men.", "shows": "Herod's soldiers killing the children of Bethlehem, set in a snowbound Flemish village"}, "th": "/store/thumb/pieter_bruegel_the_elder_the_massacre_of_the_innocents.webp", "more": [{"k": "subject", "n": "Saints in painting", "u": "/editions/subject/saints/", "ids": ["pieter_bruegel_the_elder_the_sermon_of_st_john_the_baptist", "veronese_the_martyrdom_of_saint_justina", "carracci_saint_francis_in_meditation", "maerten_de_vos_temptation_of_saint_anthony_the_great"]}, {"k": "master", "n": "Pieter Bruegel the Elder", "u": "/editions/master/pieter-bruegel-the-elder/", "ids": ["pieter_bruegel_the_elder_the_census_at_bethlehem", "pieter_bruegel_the_elder_the_sermon_of_st_john_the_baptist", "pieter_bruegel_the_elder_the_fall_of_the_rebel_angels", "pieter_bruegel_the_elder_adoration_of_the_kings_in_the_snow"]}]}, "maerten_de_vos_temptation_of_saint_anthony_the_great": {"id": "maerten_de_vos_temptation_of_saint_anthony_the_great", "title": "The Temptation of Saint Anthony the Great", "artist_line": "Maerten de Vos (Flemish, 1532–1603)", "artist": "Maerten de Vos", "date": "1594", "museum": "Royal Museum of Fine Arts Antwerp (KMSKA)", "license": "PD-Art/PD", "tier": "Sanctuary", "sizes": [{"size": "8×10 in", "paper": 39, "iw": 7.6, "ih": 10, "sw": 8, "sh": 10, "cov": 0.947}, {"size": "11×14 in", "paper": 59, "iw": 10.6, "ih": 14, "sw": 11, "sh": 14, "cov": 0.964}, {"size": "16×20 in", "paper": 110, "iw": 15.1, "ih": 20, "sw": 16, "sh": 20, "cov": 0.947}, {"size": "18×24 in", "paper": 140, "iw": 18, "ih": 23.8, "sw": 18, "sh": 24, "cov": 0.99}, {"size": "24×36 in", "paper": 190, "iw": 24, "ih": 31.7, "sw": 24, "sh": 36, "cov": 0.88}, {"size": "32×48 in", "paper": 340, "iw": 32, "ih": 42.3, "sw": 32, "sh": 48, "cov": 0.88}, {"size": "40×60 in", "paper": 480, "iw": 40, "ih": 52.8, "sw": 40, "sh": 60, "cov": 0.88}], "local": "/store/display/maerten_de_vos_temptation_of_saint_anthony_the_great.jpg", "commons_file": "Maerten de Vos - The Temptation of Saint Anthony the Great.jpg", "zoom": "https://art.monstrance.app/zoom/maerten_de_vos_temptation_of_saint_anthony_the_great.jpg", "master_px": 16671, "auth": {"institution": "KMSKA, Antwerp", "accession": "103", "url": "https://kmska.be/nl/meesterwerk/de-verzoeking-van-de-heilige-antonius-0", "artist_as_printed": "Maerten de Vos", "date_as_printed": "1594", "medium": "Olieverf op paneel", "dimensions": "277,4 × 209 cm"}, "writeup": {"text": "A swarm of demons hauls Saint Anthony into the air, all horns, beaks and clubs. The sky is theirs for an hour. Below, the ground keeps its ordinary weight: an old hermit holds a limp man in his arms beside a pig and two lions, and a crowned woman in red stands at the left. Maerten de Vos painted it in 1594 for Martin Delafaylle and Roger Clarysse, deans of the St Anthony confraternity, for their chapel in the Church of Our Lady in Antwerp, as the KMSKA records. At the right a demon in a funnel hat holds up a sheet as if to read from it.", "sources": [{"what": "The object record: Maerten de Vos, 1594, oil on panel, 277.4 × 209 cm, inv. 103; commissioned by Martin Delafaylle and Roger Clarysse, deans of the St Anthony confraternity, for their chapel in the Church of Our Lady, Antwerp, 1594.", "url": "https://kmska.be/nl/meesterwerk/de-verzoeking-van-de-heilige-antonius-0", "cite": "KMSKA, De verzoeking van de heilige Antonius, inv. 103, read 2026-09-24"}, {"what": "The English record: The Temptation of Saint Anthony the Great, 1594, oil on panel, 277.4 × 209 cm, inv. 103.", "url": "https://kmska.be/en/masterpiece/the-temptation-of-saint-anthony-the-great-0", "cite": "KMSKA, The Temptation of Saint Anthony the Great, inv. 103, read 2026-09-24"}]}, "scene": {"why": "St Anthony of Egypt's temptations come from the Church's hagiography of the desert fathers, beginning with the Life written by St Athanasius, not from Scripture; the demons, the pig and the saint's flight belong to that tradition, so no verse is honest."}, "th": "/store/thumb/maerten_de_vos_temptation_of_saint_anthony_the_great.webp", "more": [{"k": "subject", "n": "Saints in painting", "u": "/editions/subject/saints/", "ids": ["caravaggio_saint_francis_of_assisi_in_ecstasy", "caravaggio_saint_catherine_of_alexandria", "caravaggio_matthew_call", "caravaggio_the_martyrdom_of_saint_matthew"]}]}, "hieronymus_bosch_crucifixion_with_a_donor": {"id": "hieronymus_bosch_crucifixion_with_a_donor", "title": "Crucifixion with a Donor", "artist_line": "Hieronymus Bosch (Netherlandish, c. 1450–1516)", "artist": "Hieronymus Bosch", "date": "c. 1495–1505", "museum": "Royal Museums of Fine Arts of Belgium, Brussels", "license": "Public domain", "tier": "Sanctuary", "sizes": [{"size": "8×10 in", "paper": 39, "iw": 8, "ih": 9.7, "sw": 8, "sh": 10, "cov": 0.973}, {"size": "11×14 in", "paper": 59, "iw": 11, "ih": 13.4, "sw": 11, "sh": 14, "cov": 0.955}, {"size": "16×20 in", "paper": 110, "iw": 16, "ih": 19.5, "sw": 16, "sh": 20, "cov": 0.973}, {"size": "18×24 in", "paper": 140, "iw": 18, "ih": 21.9, "sw": 18, "sh": 24, "cov": 0.912}, {"size": "24×36 in", "paper": 190, "iw": 24, "ih": 29.2, "sw": 24, "sh": 36, "cov": 0.81}, {"size": "32×48 in", "paper": 340, "iw": 32, "ih": 38.9, "sw": 32, "sh": 48, "cov": 0.81}, {"size": "40×60 in", "paper": 480, "iw": 40, "ih": 48.6, "sw": 40, "sh": 60, "cov": 0.81}], "local": "/store/display/hieronymus_bosch_crucifixion_with_a_donor.jpg", "commons_file": "Crucifixion with a Donor, ca. 1480-85.jpg", "zoom": "https://art.monstrance.app/zoom/hieronymus_bosch_crucifixion_with_a_donor.jpg", "master_px": 29936, "auth": {"institution": "Royal Museums of Fine Arts of Belgium, Brussels", "accession": "6639", "url": "https://fine-arts-museum.be/fr/la-collection/hieronymus-van-aken-dit-bosch-calvaire-avec-donateur", "artist_as_printed": "Hieronymus van Aken dit Bosch (Bois-le-Duc, vers 1450 - 1516)", "date_as_printed": "ca. 1495 - 1505", "medium": "Huile sur chêne", "dimensions": "74,7 x 61 x 1,5 cm"}, "writeup": {"text": "Bones lie in the grass at the foot of the Cross, a skull among them, and Christ hangs above them with His head bowed. The Web Gallery of Art's commentary reads the ground as the place reserved for the torture of condemned criminals, at the edge of a Brabant city visible in the distance, with a broken gibbet and crows. Into that ground Hieronymus Bosch sets a kneeling donor, whom Saint Peter, keys in hand, presents to Saint John; Our Lady stands beside them. Beyond, small figures walk the paths toward a mill on the left and a castle on the right, on an ordinary day like yours.", "sources": [{"what": "The object record: Calvaire avec donateur, ca. 1495–1505, oil on oak, 74.7 × 61 cm, inv. 6639, acquired 1952.", "url": "https://fine-arts-museum.be/fr/la-collection/hieronymus-van-aken-dit-bosch-calvaire-avec-donateur", "cite": "Royal Museums of Fine Arts of Belgium, Calvaire avec donateur, inv. 6639, read 2026-09-24"}, {"what": "St Peter presenting the kneeling donor to St John; the ground as the place reserved for the torture of condemned criminals at the edge of a Brabant city visible in the distance, with a broken gibbet, scattered bones and crows; figures walking the paths toward a mill on the left and a castle on the right.", "url": "https://www.wga.hu/html_m/b/bosch/1early/08crucif.html", "cite": "Web Gallery of Art, Hieronymus Bosch, Crucifixion with a Donor, commentary, read 2026-09-24"}]}, "scene": {"ref": "John 19:26", "quote": "When Jesus therefore had seen his mother and the disciple standing whom he loved, he saith to his mother: Woman, behold thy son.", "shows": "Christ crucified with the Virgin and St John beside the cross, and a donor presented by St Peter"}, "th": "/store/thumb/hieronymus_bosch_crucifixion_with_a_donor.webp", "more": [{"k": "subject", "n": "The Crucifixion in painting", "u": "/editions/subject/crucifixion/", "ids": ["albrecht_durer_large_passion_crucifixion", "luca_signorelli_the_crucifixion", "juan_de_flandes_the_crucifixion", "grunewald_small_crucifixion"]}, {"k": "master", "n": "Hieronymus Bosch", "u": "/editions/master/hieronymus-bosch/", "ids": ["hieronymus_bosch_st_john_the_baptist_in_the_wilderness", "hieronymus_bosch_st_john_the_evangelist_on_patmos", "hieronymus_bosch_st_christopher_carrying_the_christ_child", "hieronymus_bosch_christ_carrying_the_cross_escorial"]}]}, "quinten_massys_the_virgin_and_child_enthroned": {"id": "quinten_massys_the_virgin_and_child_enthroned", "title": "The Virgin and Child Enthroned", "artist_line": "Quinten Massys (Flemish, 1465/66–1530)", "artist": "Quinten Massys", "date": "c. 1495", "museum": "Royal Museums of Fine Arts of Belgium, Brussels", "license": "Public domain", "tier": "Sanctuary", "sizes": [{"size": "8×10 in", "paper": 39, "iw": 6.6, "ih": 10, "sw": 8, "sh": 10, "cov": 0.827}, {"size": "11×14 in", "paper": 59, "iw": 9.3, "ih": 14, "sw": 11, "sh": 14, "cov": 0.843}, {"size": "16×20 in", "paper": 110, "iw": 13.2, "ih": 20, "sw": 16, "sh": 20, "cov": 0.827}, {"size": "18×24 in", "paper": 140, "iw": 15.9, "ih": 24, "sw": 18, "sh": 24, "cov": 0.883}, {"size": "24×36 in", "paper": 190, "iw": 23.8, "ih": 36, "sw": 24, "sh": 36, "cov": 0.993}, {"size": "32×48 in", "paper": 340, "iw": 31.8, "ih": 48, "sw": 32, "sh": 48, "cov": 0.993}, {"size": "40×60 in", "paper": 480, "iw": 39.7, "ih": 60, "sw": 40, "sh": 60, "cov": 0.993}], "local": "/store/display/quinten_massys_the_virgin_and_child_enthroned.jpg", "commons_file": "Throning Virgin and Child by Quinten Massijs (I) in the Royal Museums of Fine Arts of Belgium.jpg", "zoom": "https://art.monstrance.app/zoom/quinten_massys_the_virgin_and_child_enthroned.jpg", "master_px": 15312, "auth": {"institution": "Royal Museums of Fine Arts of Belgium, Brussels", "accession": "Inv. 1497", "url": "https://fine-arts-museum.be/fr/la-collection/quinten-massys-la-vierge-a-l-enfant", "artist_as_printed": "Quinten MASSYS Louvain 1465/66 - Anvers 1530", "medium": "Huile sur chêne", "dimensions": "130 x 86"}, "writeup": {"text": "A book lies open in Our Lady's hands, and the Christ Child on her lap has one hand on the page and the other at His mouth. The Web Gallery of Art reads the moment as a pause in reading: the Virgin seems to meditate on a passage in the book her Son is thumbing, and He, in a long white shirt, has seized the bookmark. Massys painted it young, in the tradition of the Flemish Primitives: an ornate Gothic throne, halos of golden rays and, the commentary notes, stained glass of Saint Catherine between two escutcheons, with Saint Barbara in the window to the left. The Royal Museums of Fine Arts of Belgium acquired it at the Weyer sale in Cologne in 1862. Her eyes are lowered to the page, and His hand keeps the place.", "sources": [{"what": "The object record: Quinten Massys (Louvain 1465/66 – Antwerp 1530), La Vierge à l'Enfant, oil on oak, 130 × 86, inv. 1497, acquired at the J.-P. Weyer sale, Cologne, 1862.", "url": "https://fine-arts-museum.be/fr/la-collection/quinten-massys-la-vierge-a-l-enfant", "cite": "Royal Museums of Fine Arts of Belgium, La Vierge à l'Enfant, inv. 1497, read 2026-09-24"}, {"what": "The Virgin on an ornate Gothic throne meditating on a passage in the book the Child is thumbing; the Child in a long white shirt seizing the bookmark; halos of golden rays; stained glass of St Catherine between two escutcheons and St Barbara in the left window; a work of Massys's youth in the tradition of the Flemish Primitives.", "url": "https://www.wga.hu/html_m/m/massys/quentin/3/virgin2.html", "cite": "Web Gallery of Art, Quentin Massys, Virgin and Child, commentary, read 2026-09-24"}]}, "scene": {"why": "The Virgin enthroned with the Child and a book is a devotional type, not an episode any evangelist records; it is an image made for prayer, and the book they share is the painter's, not a Gospel scene, so no verse is honest."}, "th": "/store/thumb/quinten_massys_the_virgin_and_child_enthroned.webp", "more": [{"k": "subject", "n": "The Madonna and Child in painting", "u": "/editions/subject/madonna-and-child/", "ids": ["mantegna_the_madonna_della_vittoria", "mantegna_madonna_in_glory_with_saints_trivulzio", "bellini_madonna_meadow", "leonardo_virgin_child_anne"]}, {"k": "master", "n": "Quinten Massys", "u": "/editions/master/quinten-massys/", "ids": ["massys_christ_presented_to_the_people_ecce_homo"]}]}, "pieter_bruegel_the_elder_the_census_at_bethlehem": {"id": "pieter_bruegel_the_elder_the_census_at_bethlehem", "title": "The Census at Bethlehem", "artist_line": "Pieter Bruegel the Elder (Flemish, c. 1527/30–1569)", "artist": "Pieter Bruegel the Elder", "date": "1566", "museum": "Royal Museums of Fine Arts of Belgium, Brussels", "license": "Public domain", "tier": "Sanctuary", "sizes": [{"size": "8×10 in", "paper": 39, "iw": 10, "ih": 6.9, "sw": 10, "sh": 8, "cov": 0.867}, {"size": "11×14 in", "paper": 59, "iw": 14, "ih": 9.7, "sw": 14, "sh": 11, "cov": 0.882}, {"size": "16×20 in", "paper": 110, "iw": 20, "ih": 13.9, "sw": 20, "sh": 16, "cov": 0.867}, {"size": "18×24 in", "paper": 140, "iw": 24, "ih": 16.6, "sw": 24, "sh": 18, "cov": 0.924}, {"size": "24×36 in", "paper": 190, "iw": 34.6, "ih": 24, "sw": 36, "sh": 24, "cov": 0.962}, {"size": "32×48 in", "paper": 340, "iw": 46.2, "ih": 32, "sw": 48, "sh": 32, "cov": 0.962}, {"size": "40×60 in", "paper": 480, "iw": 57.7, "ih": 40, "sw": 60, "sh": 40, "cov": 0.962}], "local": "/store/display/pieter_bruegel_the_elder_the_census_at_bethlehem.jpg", "commons_file": "Pieter Bruegel the Elder - The Numbering at Bethlehem - Google Art Project.jpg", "zoom": "https://art.monstrance.app/zoom/pieter_bruegel_the_elder_the_census_at_bethlehem.jpg", "master_px": 15633, "auth": {"institution": "Royal Museums of Fine Arts of Belgium, Brussels", "accession": "Inv. 3637", "url": "https://fine-arts-museum.be/fr/la-collection/pieter-i-bruegel-le-denombrement-de-bethleem", "artist_as_printed": "Pieter I BRUEGEL (BRUEGHEL) Ca. 1527/30 - Bruxelles 1569", "date_as_printed": "1566", "medium": "Huile sur chêne", "dimensions": "115,5 x 163,5"}, "writeup": {"text": "A man with a saw across his shoulder walks through the snow, and behind him Our Lady rides a donkey, wrapped in a big blue coat. The Royal Museums of Fine Arts of Belgium name them Joseph and Mary, come to register for the census ordered by the Emperor Augustus. At the inn on the left a crowd presses to the window; the museum reads the scene there as a financial transaction, one man handing over his money, probably to a tax collector, while another collector fills out a register, and the Habsburg coat of arms hangs on the front of the building. Out on the ice, children skate and play. Pieter Bruegel the Elder signed and dated it lower right, BREVGEL 1566. The donkey keeps walking toward the inn.", "sources": [{"what": "The object record: Le dénombrement de Bethléem, 1566, oil on oak, 115.5 × 163.5, inv. 3637, signed and dated lower right BREVGEL 1566.", "url": "https://fine-arts-museum.be/fr/la-collection/pieter-i-bruegel-le-denombrement-de-bethleem", "cite": "Royal Museums of Fine Arts of Belgium, Le dénombrement de Bethléem, inv. 3637, read 2026-09-24"}, {"what": "In the foreground a man carrying a carpenter's saw followed by a woman wrapped in a big blue coat on a donkey: Joseph and Mary come to register for the census ordered by Emperor Augustus (Luke 2:1-5).", "url": "https://artsandculture.google.com/asset/the-census-at-bethlehem-pieter-bruegel-the-elder/JwGxiyxYTZZEog?hl=en", "cite": "Royal Museums of Fine Arts of Belgium, The Census at Bethlehem, Google Arts \u0026 Culture asset, read 2026-09-24"}, {"what": "The scene in front of the inn as a financial transaction: a man giving his money, probably to a tax collector, while another collector fills out a register; the Habsburg coat of arms hanging on the front of the inn.", "url": "https://artsandculture.google.com/story/the-census-at-bethlehem-royal-museums-of-fine-arts-of-belgium/sAWxGcrY3z1hKQ?hl=en", "cite": "Royal Museums of Fine Arts of Belgium, 'The Census at Bethlehem' (Google Arts \u0026 Culture story), read 2026-09-24"}]}, "scene": {"ref": "Luke 2:5", "quote": "To be enrolled with Mary his espoused wife, who was with child.", "shows": "Joseph and Mary arriving in Bethlehem to be enrolled"}, "th": "/store/thumb/pieter_bruegel_the_elder_the_census_at_bethlehem.webp", "more": [{"k": "subject", "n": "The Nativity in painting", "u": "/editions/subject/nativity/", "ids": ["piero_nativity", "francesco_di_giorgio_the_nativity_with_god_the_father_surrou", "geertgen_nativity_at_night", "botticelli_mystic_nativity"]}, {"k": "master", "n": "Pieter Bruegel the Elder", "u": "/editions/master/pieter-bruegel-the-elder/", "ids": ["pieter_bruegel_the_elder_the_sermon_of_st_john_the_baptist", "pieter_bruegel_the_elder_the_fall_of_the_rebel_angels", "pieter_bruegel_the_elder_adoration_of_the_kings_in_the_snow", "pieter_bruegel_the_elder_the_massacre_of_the_innocents"]}]}, "pieter_bruegel_the_elder_the_fall_of_the_rebel_angels": {"id": "pieter_bruegel_the_elder_the_fall_of_the_rebel_angels", "title": "The Fall of the Rebel Angels", "artist_line": "Pieter Bruegel the Elder (Flemish, c. 1527/30–1569)", "artist": "Pieter Bruegel the Elder", "date": "1562", "museum": "Royal Museums of Fine Arts of Belgium, Brussels", "license": "Public domain", "tier": "Sanctuary", "sizes": [{"size": "8×10 in", "paper": 39, "iw": 10, "ih": 7.2, "sw": 10, "sh": 8, "cov": 0.901}, {"size": "11×14 in", "paper": 59, "iw": 14, "ih": 10.1, "sw": 14, "sh": 11, "cov": 0.917}, {"size": "16×20 in", "paper": 110, "iw": 20, "ih": 14.4, "sw": 20, "sh": 16, "cov": 0.901}, {"size": "18×24 in", "paper": 140, "iw": 24, "ih": 17.3, "sw": 24, "sh": 18, "cov": 0.961}, {"size": "24×36 in", "paper": 190, "iw": 33.3, "ih": 24, "sw": 36, "sh": 24, "cov": 0.925}, {"size": "32×48 in", "paper": 340, "iw": 44.4, "ih": 32, "sw": 48, "sh": 32, "cov": 0.925}, {"size": "40×60 in", "paper": 480, "iw": 55.5, "ih": 40, "sw": 60, "sh": 40, "cov": 0.925}], "local": "/store/display/pieter_bruegel_the_elder_the_fall_of_the_rebel_angels.jpg", "commons_file": "Pieter Bruegel the Elder - The Fall of the Rebel Angels - Google Art Project.jpg", "zoom": "https://art.monstrance.app/zoom/pieter_bruegel_the_elder_the_fall_of_the_rebel_angels.jpg", "master_px": 29842, "auth": {"institution": "Royal Museums of Fine Arts of Belgium, Brussels", "accession": "584", "url": "https://fine-arts-museum.be/fr/la-collection/pieter-i-bruegel-la-chute-des-anges-rebelles", "artist_as_printed": "Pieter I BRUEGEL (BRUEGHEL) Ca. 1527/30 - Bruxelles 1569", "date_as_printed": "1562", "medium": "Huile sur chêne", "dimensions": "117 x 162"}, "writeup": {"text": "The sky is still blue at the top, and everything below it is falling. At the centre, in shining gold armour, Saint Michael the Archangel keeps a calm face; the Royal Museums of Fine Arts of Belgium note that his right foot rests on the stomach of the seven-headed monster of the Apocalypse. Around him the rebels come down as natural history: one with the black and yellow wings of a Machaon butterfly, a spiny fish from the Pacific and Indian oceans that fills itself with water when threatened, an armadillo, which lives only in the Americas. Angels in white, with trumpets and swords, drive them on. The museum places the work in Antwerp, when Pieter Bruegel the Elder was supplying drawings to Hieronymus Cock and turning from Italian models to the world of Hieronymus Bosch. They were angels once. They land as fish and butterfly wings.", "sources": [{"what": "The object record: La chute des anges rebelles, 1562, oil on oak, 117 × 162, inv. 584, signed and dated lower left, acquired 1846.", "url": "https://fine-arts-museum.be/fr/la-collection/pieter-i-bruegel-la-chute-des-anges-rebelles", "cite": "Royal Museums of Fine Arts of Belgium, La chute des anges rebelles, inv. 584, read 2026-09-24"}, {"what": "Archangel Michael at the centre in shining gold armour with a calm face; his right foot on the stomach of the seven-headed monster of the Apocalypse; a demon with the black and yellow wings of a Machaon butterfly; a spiny fish from the Pacific and Indian oceans that fills its abdomen with water when threatened; the armadillo, living only in the Americas.", "url": "https://artsandculture.google.com/story/the-fall-of-the-rebel-angels-royal-museums-of-fine-arts-of-belgium/9gXx-oPTgMeLKg?hl=en", "cite": "Royal Museums of Fine Arts of Belgium, 'The Fall of the Rebel Angels' (Google Arts \u0026 Culture story), read 2026-09-24"}, {"what": "Painted in Antwerp while Bruegel supplied drawings to Hieronymus Cock, turning from Italian models to the world of Hieronymus Bosch.", "url": "https://artsandculture.google.com/asset/the-fall-of-the-rebel-angels-pieter-bruegel-the-elder/ewEs_8lOXkz7tQ?hl=en", "cite": "Royal Museums of Fine Arts of Belgium, The Fall of the Rebel Angels, Google Arts \u0026 Culture asset, read 2026-09-24"}]}, "scene": {"ref": "Apocalypse 12:9", "quote": "And that great dragon was cast out, that old serpent, who is called the devil and Satan, who seduceth the whole world. And he was cast unto the earth: and his angels were thrown down with him.", "shows": "St Michael and his angels casting the rebel angels down"}, "th": "/store/thumb/pieter_bruegel_the_elder_the_fall_of_the_rebel_angels.webp", "more": [{"k": "subject", "n": "Angels in painting", "u": "/editions/subject/angels/", "ids": ["rubens_music_making_angels", "giordano_fall_of_the_rebel_angels_archangel_micha", "baciccio_the_triumph_of_the_name_of_jesus", "filippino_tobias_and_the_angel"]}, {"k": "master", "n": "Pieter Bruegel the Elder", "u": "/editions/master/pieter-bruegel-the-elder/", "ids": ["pieter_bruegel_the_elder_adoration_of_the_kings_in_the_snow", "pieter_bruegel_the_elder_the_massacre_of_the_innocents", "pieter_bruegel_the_elder_the_census_at_bethlehem", "pieter_bruegel_the_elder_the_sermon_of_st_john_the_baptist"]}]}, "francisco_de_zurbaran_st_francis_contemplating_a_skull": {"id": "francisco_de_zurbaran_st_francis_contemplating_a_skull", "title": "St Francis Contemplating a Skull", "artist_line": "Francisco de Zurbarán (Spanish, 1598–1664)", "artist": "Francisco de Zurbarán", "date": "c. 1635", "museum": "Saint Louis Art Museum", "license": "Public domain", "tier": "Sanctuary", "sizes": [{"size": "8×10 in", "paper": 39, "iw": 3.4, "ih": 10, "sw": 8, "sh": 10, "cov": 0.42}, {"size": "11×14 in", "paper": 59, "iw": 4.7, "ih": 14, "sw": 11, "sh": 14, "cov": 0.428}, {"size": "16×20 in", "paper": 110, "iw": 6.7, "ih": 20, "sw": 16, "sh": 20, "cov": 0.42}, {"size": "18×24 in", "paper": 140, "iw": 8.1, "ih": 24, "sw": 18, "sh": 24, "cov": 0.448}, {"size": "24×36 in", "paper": 190, "iw": 12.1, "ih": 36, "sw": 24, "sh": 36, "cov": 0.504}, {"size": "32×48 in", "paper": 340, "iw": 16.1, "ih": 48, "sw": 32, "sh": 48, "cov": 0.504}, {"size": "40×60 in", "paper": 480, "iw": 20.2, "ih": 60, "sw": 40, "sh": 60, "cov": 0.504}], "local": "/store/display/francisco_de_zurbaran_st_francis_contemplating_a_skull.jpg", "commons_file": "Francisco de Zurbarán - St. Francis Contemplating a Skull - 47-1941 - Saint Louis Art Museum.jpg", "zoom": "https://art.monstrance.app/zoom/francisco_de_zurbaran_st_francis_contemplating_a_skull.jpg", "master_px": 8187, "auth": {"institution": "Saint Louis Art Museum", "accession": "47:1941", "url": "https://www.slam.org/collection/objects/35437/", "artist_as_printed": "Francisco de Zurbarán, Spanish, 1598–1664", "date_as_printed": "c.1635", "medium": "Oil on canvas", "dimensions": "36 x 12 in. (91.4 x 30.5 cm); framed: 44 1/4 x 20 5/8 x 3 in. (112.4 x 52.4 x 7.6 cm)"}, "writeup": {"text": "A friar stands in a niche with a skull held in both hands, and his hood hides nearly all his face. Bare toes show under the brown habit. Zurbarán gives Saint Francis one thing to hold and one thing to consider. The Saint Louis Art Museum's label points to the downcast gaze and the shadowed face, which remove him from the viewer's realm, and to a body reduced to simple geometric solids under stark light. The same label recalls the saint famous for receiving the wounds of Jesus in a vision. Three feet tall and a foot wide, the canvas has room for him, the skull, and you.", "sources": [{"what": "The museum's label: the figure reduced to simple geometric solids, their three-dimensionality enhanced by stark lighting; the downcast gaze and shadowed face remove him from the viewer's realm; Francis famous for a vision in which he received the wounds of Jesus. Tombstone: c.1635, oil on canvas, 36 x 12 in., 47:1941.", "url": "https://www.slam.org/collection/objects/35437/", "cite": "Saint Louis Art Museum, 'St. Francis Contemplating a Skull', Francisco de Zurbarán, 47:1941, read 2026-09-24"}]}, "scene": {"why": "Francis meditating on a skull is a devotional image of the saint's penitential prayer, drawn from Franciscan tradition and his cult; no Gospel or other biblical passage narrates it, so no verse is honest here."}, "th": "/store/thumb/francisco_de_zurbaran_st_francis_contemplating_a_skull.webp", "more": [{"k": "subject", "n": "Saints in painting", "u": "/editions/subject/saints/", "ids": ["la_tour_magdalen_flame", "zurbaran_casilda", "reni_saint_james_the_greater", "reni_st_michael"]}, {"k": "master", "n": "Francisco de Zurbarán", "u": "/editions/master/francisco-de-zurbaran/", "ids": ["zurbaran_agnus_dei", "zurbaran_casilda", "zurbaran_christ_cross", "zurbaran_st_serapion"]}]}, "follower_of_bosch_christ_driving_traders_from_temple": {"id": "follower_of_bosch_christ_driving_traders_from_temple", "title": "Christ Driving the Traders from the Temple", "artist_line": "Unknown follower of Hieronymus Bosch", "artist": "Unknown follower of Hieronymus Bosch", "date": "after 1569", "museum": "Statens Museum for Kunst, Copenhagen", "license": "Public domain (PD-Art)", "tier": "Sanctuary", "sizes": [{"size": "8×10 in", "paper": 39, "iw": 10, "ih": 6.5, "sw": 10, "sh": 8, "cov": 0.817}, {"size": "11×14 in", "paper": 59, "iw": 14, "ih": 9.2, "sw": 14, "sh": 11, "cov": 0.832}, {"size": "16×20 in", "paper": 110, "iw": 20, "ih": 13.1, "sw": 20, "sh": 16, "cov": 0.817}, {"size": "18×24 in", "paper": 140, "iw": 24, "ih": 15.7, "sw": 24, "sh": 18, "cov": 0.872}, {"size": "24×36 in", "paper": 190, "iw": 36, "ih": 23.5, "sw": 36, "sh": 24, "cov": 0.981}, {"size": "32×48 in", "paper": 340, "iw": 48, "ih": 31.4, "sw": 48, "sh": 32, "cov": 0.981}, {"size": "40×60 in", "paper": 480, "iw": 60, "ih": 39.2, "sw": 60, "sh": 40, "cov": 0.981}], "local": "/store/display/follower_of_bosch_christ_driving_traders_from_temple.jpg", "commons_file": "Pieter Bruegel the Elder - Christ Driving the Traders from the Temple - Google Art Project.jpg", "zoom": "https://art.monstrance.app/zoom/follower_of_bosch_christ_driving_traders_from_temple.jpg", "master_px": 14345, "auth": {"institution": "Statens Museum for Kunst (SMK), Copenhagen", "accession": "KMS3924", "url": "https://artsandculture.google.com/story/a-scientific-controversy-statens-museum-for-kunst/5AXBBVJZ1gD8Jg?hl=en", "artist_as_printed": "Unknown follower of Hieronymus Bosch", "date_as_printed": "after 1569", "medium": "Oil on panel", "dimensions": "101.7 x 155.3 cm"}, "writeup": {"text": "Christ raises His arm in a doorway, and the steps fill with the fallen. The Statens Museum for Kunst describes the temple as a gloomy grotto amid the city, with the scourging of those who desecrated it at the centre. Around Him the trade goes on: a quack works his audience, a thief reaches for an onlooker's purse, and a condemned man hangs in a basket over water, free only if he cuts the rope and falls. The crescent moon on the dome, the museum says, stands for paganism and sin. An unknown follower of Hieronymus Bosch painted it after 1569. Far back, almost illegible, the Passion has begun.", "sources": [{"what": "SMK's own reading: the temple cavernous, 'a gloomy grotto amidst the city'; at the centre the scourging of those who have desecrated the Temple; a quack operating before an audience; a man stealing an onlooker's purse; a condemned man suspended in a basket over water who can free himself only by cutting the rope and falling; the crescent moon as paganism, wickedness and sinfulness; a small-scale, almost illegible scene from the Passion in the background; tombstone 'Unknown follower of Hieronymus Bosch, after 1569'.", "url": "https://artsandculture.google.com/story/a-scientific-controversy-statens-museum-for-kunst/5AXBBVJZ1gD8Jg?hl=en", "cite": "Statens Museum for Kunst, 'A Scientific Controversy', Google Arts \u0026 Culture story, read 2026-09-24"}]}, "scene": {"ref": "John 2:15", "quote": "And when he had made, as it were, a scourge of little cords, he drove them all out of the temple, the sheep also and the oxen: and the money of the changers he poured out, and the tables he overthrew.", "shows": "Christ with a scourge driving the traders out of the temple"}, "th": "/store/thumb/follower_of_bosch_christ_driving_traders_from_temple.webp", "more": [{"k": "subject", "n": "The Life of Christ in painting", "u": "/editions/subject/the-life-of-christ/", "ids": ["el_greco_christ_cleansing_the_temple", "caravaggio_christ_at_the_column", "caravaggio_the_flagellation_of_christ", "caravaggio_the_raising_of_lazarus"]}]}, "hieronymus_bosch_ecce_homo": {"id": "hieronymus_bosch_ecce_homo", "title": "Ecce Homo", "artist_line": "Hieronymus Bosch (Netherlandish, c. 1450–1516)", "artist": "Hieronymus Bosch", "date": "c. 1490", "museum": "Städel Museum, Frankfurt", "license": "Public domain", "tier": "Sanctuary", "sizes": [{"size": "8×10 in", "paper": 39, "iw": 8, "ih": 9.4, "sw": 8, "sh": 10, "cov": 0.943}, {"size": "11×14 in", "paper": 59, "iw": 11, "ih": 13.0, "sw": 11, "sh": 14, "cov": 0.926}, {"size": "16×20 in", "paper": 110, "iw": 16, "ih": 18.9, "sw": 16, "sh": 20, "cov": 0.943}, {"size": "18×24 in", "paper": 140, "iw": 18, "ih": 21.2, "sw": 18, "sh": 24, "cov": 0.884}, {"size": "24×36 in", "paper": 190, "iw": 24, "ih": 28.3, "sw": 24, "sh": 36, "cov": 0.786}, {"size": "32×48 in", "paper": 340, "iw": 32, "ih": 37.7, "sw": 32, "sh": 48, "cov": 0.786}, {"size": "40×60 in", "paper": 480, "iw": 40, "ih": 47.2, "sw": 40, "sh": 60, "cov": 0.786}], "local": "/store/display/hieronymus_bosch_ecce_homo.jpg", "commons_file": "Ecce Homo, ca. 1475-1485.jpg", "zoom": "https://art.monstrance.app/zoom/hieronymus_bosch_ecce_homo.jpg", "master_px": 16307, "auth": {"institution": "Städel Museum, Frankfurt am Main", "accession": "1577", "url": "https://sammlung.staedelmuseum.de/en/work/ecce-homo", "artist_as_printed": "Hieronymus Bosch", "date_as_printed": "ca. 1490", "medium": "Mixed technique on oak", "dimensions": "71.1 x 60.5 x 0.5 cm"}, "writeup": {"text": "Christ stands barefoot on the step, His hands bound, the thorns on His head, and below Him the crowd lifts its hands. Hieronymus Bosch hangs the words in the air: Ecce homo beside Pilate, Crucifige eum above the crowd. The Städel Museum says a donor family was painted in the lower corners, damaged and overpainted early, their remnants uncovered only a few years ago, and that their sizes reflect status. For the museum, a tonsured son, a monk, virtually utters the family's prayer: Salva nos Christe redemptor, Redeem us, Christ, Saviour. The crowd asks for His death; the faded family, faint as breath on glass, asks Him to save them.", "sources": [{"what": "The Städel's own text: the donor family originally in the lower corners, damaged and overpainted early, remnants uncovered only a few years ago; variation in size reflecting status, children smaller than the father and a tonsured son who is a monk; that son virtually utters the family's prayer 'Redeem us, Christ, Saviour'; inscriptions 'Ecce homo' beside Pilate, 'Crucifige eu[m]' above the crowd, 'Salva nos xp[ist]e r[e]de[m]ptor' from a donor.", "url": "https://sammlung.staedelmuseum.de/en/work/ecce-homo", "cite": "Städel Museum, 'Ecce Homo', Hieronymus Bosch, inv. 1577, read 2026-09-24"}]}, "scene": {"ref": "John 19:5", "quote": "(Jesus therefore came forth, bearing the crown of thorns and the purple garment.) And he saith to them: Behold the Man.", "shows": "Pilate presenting the scourged Christ to the crowd"}, "th": "/store/thumb/hieronymus_bosch_ecce_homo.webp", "more": [{"k": "subject", "n": "The Life of Christ in painting", "u": "/editions/subject/the-life-of-christ/", "ids": ["albrecht_durer_large_passion_flagellation", "pacher_flagellation_of_christ_geielung_christi", "durer_jesus_among_the_doctors", "bassano_lazarus_and_the_rich_man"]}, {"k": "master", "n": "Hieronymus Bosch", "u": "/editions/master/hieronymus-bosch/", "ids": ["hieronymus_bosch_the_last_judgment_central_panel", "hieronymus_bosch_crucifixion_with_a_donor", "hieronymus_bosch_st_john_the_baptist_in_the_wilderness", "hieronymus_bosch_st_john_the_evangelist_on_patmos"]}]}, "poussin_eucharist": {"id": "poussin_eucharist", "title": "Eucharist", "artist_line": "Nicolas Poussin (French, 1594–1665)", "artist": "Nicolas Poussin", "date": "about 1637–40", "museum": "The National Gallery, London", "license": "Public domain", "tier": "Sanctuary", "sizes": [{"size": "8×10 in", "paper": 39, "iw": 10, "ih": 7.9, "sw": 10, "sh": 8, "cov": 0.987}, {"size": "11×14 in", "paper": 59, "iw": 13.9, "ih": 11, "sw": 14, "sh": 11, "cov": 0.995}, {"size": "16×20 in", "paper": 110, "iw": 20, "ih": 15.8, "sw": 20, "sh": 16, "cov": 0.987}, {"size": "18×24 in", "paper": 140, "iw": 22.8, "ih": 18, "sw": 24, "sh": 18, "cov": 0.95}, {"size": "24×36 in", "paper": 190, "iw": 30.4, "ih": 24, "sw": 36, "sh": 24, "cov": 0.844}, {"size": "32×48 in", "paper": 340, "iw": 40.5, "ih": 32, "sw": 48, "sh": 32, "cov": 0.844}, {"size": "40×60 in", "paper": 480, "iw": 50.7, "ih": 40, "sw": 60, "sh": 40, "cov": 0.844}], "local": "/store/display/poussin_eucharist.jpg", "commons_file": "Nicolas Poussin Eucharist NG6700.jpg", "zoom": "https://art.monstrance.app/zoom/poussin_eucharist.jpg", "master_px": 28434, "auth": {"institution": "The National Gallery, London", "accession": "NG6700", "url": "https://www.nationalgallery.org.uk/paintings/nicolas-poussin-eucharist", "artist_as_printed": "Nicolas Poussin (1594–1665)", "date_as_printed": "About 1637–40", "medium": "Oil on canvas", "dimensions": "96 x 121.2 cm"}, "writeup": {"text": "A lamp hangs above Christ's head with two wicks burning, and the long room is dark around it. Poussin sets the Supper in a Roman triclinium, six disciples reclining on either side, and Christ at the centre holding the bread and the cup in one hand and raising the other in blessing. The National Gallery counts three flames, the double-wicked lamp and a candle on a stool, and thinks Judas is probably the figure second from the left, the only disciple who does not turn toward Him. At the far left a shadowy figure goes out through an open door. Cassiano dal Pozzo commissioned the canvas. The bread is in His hand, and the door stands open.", "sources": [{"what": "The NG's press release: Christ at the centre holding bread and cup in one hand, raising the other in blessing; a Roman triclinium; six disciples either side; Judas probably second from the left, the only disciple who does not turn towards Christ; a shadowy figure retreating through an open door at far left; light from the double-wicked lamp above Christ's head and the candle on the stool; commissioned by Cassiano dal Pozzo; 96 x 121.2 cm.", "url": "https://www.nationalgallery.org.uk/about-us/press-and-media/press-releases/the-national-gallery-acquires-poussin-s-eucharist-showing-the-last-supper-from-his-first-cycle-of-pictures-of-the-seven-sacraments", "cite": "The National Gallery, London, press release on the acquisition of Poussin's 'Eucharist', NG6700, read 2026-09-24"}, {"what": "Object record: the symmetrical composition, the three light sources, the retreating figure; tombstone and credit line.", "url": "https://www.nationalgallery.org.uk/paintings/nicolas-poussin-eucharist", "cite": "The National Gallery, London, 'Eucharist', Nicolas Poussin, NG6700, read 2026-09-24"}]}, "scene": {"ref": "Matthew 26:26", "quote": "And whilst they were at supper, Jesus took bread and blessed and broke and gave to his disciples and said: Take ye and eat. This is my body.", "shows": "Christ holding bread and cup and blessing, at the supper"}, "th": "/store/thumb/poussin_eucharist.webp", "more": [{"k": "subject", "n": "The Last Supper in painting", "u": "/editions/subject/last-supper/", "ids": ["giandomenico_tiepolo_institution_of_the_eucharist", "giotto_last_supper", "leonardo_last_supper", "titian_the_last_supper"]}, {"k": "master", "n": "Nicolas Poussin", "u": "/editions/master/nicolas-poussin/", "ids": ["poussin_gathering_manna", "poussin_holy_family_steps", "poussin_judgment_solomon", "poussin_the_ecstasy_of_saint_paul"]}]}, "cranach_saints_genevieve_and_apollonia": {"id": "cranach_saints_genevieve_and_apollonia", "title": "Saints Genevieve and Apollonia (St Catherine Altarpiece)", "artist_line": "Lucas Cranach the Elder (German, 1472–1553)", "artist": "Lucas Cranach the Elder", "date": "1506", "museum": "The National Gallery, London", "license": "Public domain", "tier": "Sanctuary", "sizes": [{"size": "8×10 in", "paper": 39, "iw": 5.2, "ih": 10, "sw": 8, "sh": 10, "cov": 0.65}, {"size": "11×14 in", "paper": 59, "iw": 7.3, "ih": 14, "sw": 11, "sh": 14, "cov": 0.662}, {"size": "16×20 in", "paper": 110, "iw": 10.4, "ih": 20, "sw": 16, "sh": 20, "cov": 0.65}, {"size": "18×24 in", "paper": 140, "iw": 12.5, "ih": 24, "sw": 18, "sh": 24, "cov": 0.693}, {"size": "24×36 in", "paper": 190, "iw": 18.7, "ih": 36, "sw": 24, "sh": 36, "cov": 0.78}, {"size": "32×48 in", "paper": 340, "iw": 25.0, "ih": 48, "sw": 32, "sh": 48, "cov": 0.78}, {"size": "40×60 in", "paper": 480, "iw": 31.2, "ih": 60, "sw": 40, "sh": 60, "cov": 0.78}], "local": "/store/display/cranach_saints_genevieve_and_apollonia.jpg", "commons_file": "Lucas Cranach (I) - Katharinenaltar, die Heiligen Genoveva und Apollonia (NGL).jpg", "zoom": "https://art.monstrance.app/zoom/cranach_saints_genevieve_and_apollonia.jpg", "master_px": 22724, "auth": {"institution": "The National Gallery, London", "accession": "NG6511.1", "url": "https://www.nationalgallery.org.uk/paintings/lucas-cranach-the-elder-saints-genevieve-and-apollonia", "artist_as_printed": "Lucas Cranach the Elder (1472–1553)", "date_as_printed": "1506", "medium": "Oil on wood (probably lime)", "dimensions": "120.5 × 63 cm"}, "writeup": {"text": "Saint Genevieve holds up a candle that has gone out once already. The National Gallery tells how the devil blew it out while she prayed, and it lit again. Beside her Saint Apollonia keeps her eyes down and her hands folded over the pliers used to pull out her teeth at her martyrdom. Lucas Cranach the Elder painted them in 1506, soon after becoming court painter to the Elector of Saxony, as the outer face of a shutter on an altarpiece centred on Saint Catherine, likely for the electors' chapel at Wittenberg Castle. The flame stands straight, and the pliers rest in her hands like flowers.", "sources": [{"what": "Genevieve holds the candle that miraculously relit after the devil blew it out while she prayed; Apollonia shown with the pliers used to extract her teeth at her martyrdom; painted shortly after Cranach's appointment as court painter to the Elector of Saxony; outer face of a shutter of an altarpiece centred on Saint Catherine's martyrdom, likely for the electors' chapel at Wittenberg Castle.", "url": "https://www.nationalgallery.org.uk/paintings/lucas-cranach-the-elder-saints-genevieve-and-apollonia", "cite": "The National Gallery, London, 'Saints Genevieve and Apollonia', NG6511.1, read 2026-09-24"}, {"what": "The companion outer-shutter panel; the centre panel now in Dresden.", "url": "https://www.nationalgallery.org.uk/paintings/lucas-cranach-the-elder-saints-christina-and-ottilia", "cite": "The National Gallery, London, 'Saints Christina and Ottilia', NG6511.2, read 2026-09-24"}]}, "scene": {"why": "Genevieve's relit candle and Apollonia's martyrdom come from their lives and the Church's cult of the saints; neither woman appears in Scripture."}, "th": "/store/thumb/cranach_saints_genevieve_and_apollonia.webp", "more": [{"k": "subject", "n": "Saints in painting", "u": "/editions/subject/saints/", "ids": ["leonardo_st_john_baptist", "durer_saint_jerome_in_his_study", "raphael_saint_john_the_baptist_in_the_desert", "raphael_saint_margaret"]}]}, "izaak_van_oosten_garden_of_eden": {"id": "izaak_van_oosten_garden_of_eden", "title": "The Garden of Eden", "artist_line": "Izaac van Oosten (Flemish, 1613–1661)", "artist": "Izaac van Oosten", "date": "c. 1655–1661", "museum": "Toledo Museum of Art, Toledo, Ohio", "license": "PD-Art", "tier": "Sanctuary", "sizes": [{"size": "8×10 in", "paper": 39, "iw": 10, "ih": 6.4, "sw": 10, "sh": 8, "cov": 0.804}, {"size": "11×14 in", "paper": 59, "iw": 14, "ih": 9.0, "sw": 14, "sh": 11, "cov": 0.819}, {"size": "16×20 in", "paper": 110, "iw": 20, "ih": 12.9, "sw": 20, "sh": 16, "cov": 0.804}, {"size": "18×24 in", "paper": 140, "iw": 24, "ih": 15.4, "sw": 24, "sh": 18, "cov": 0.858}, {"size": "24×36 in", "paper": 190, "iw": 36, "ih": 23.2, "sw": 36, "sh": 24, "cov": 0.965}, {"size": "32×48 in", "paper": 340, "iw": 48, "ih": 30.9, "sw": 48, "sh": 32, "cov": 0.965}, {"size": "40×60 in", "paper": 480, "iw": 60, "ih": 38.6, "sw": 60, "sh": 40, "cov": 0.965}], "local": "/store/display/izaak_van_oosten_garden_of_eden.jpg", "commons_file": "Izaak van Oosten - The Garden of Eden - 1655-1661.jpg", "zoom": "https://art.monstrance.app/zoom/izaak_van_oosten_garden_of_eden.jpg", "master_px": 12208, "auth": {"institution": "Toledo Museum of Art", "accession": "1959.1", "url": "https://emuseum.toledomuseum.org/objects/55295/the-garden-of-eden", "artist_as_printed": "Izaac van Oosten (Flemish, 1613-1661)", "date_as_printed": "about 1655-1661", "medium": "Oil on canvas", "dimensions": "Painting: 22 3/4 × 34 3/4 in. (57.8 × 88.3 cm); Frame: 30 × 42 3/8 × 1 1/2 in. (76.2 × 107.6 × 3.8 cm)"}, "writeup": {"text": "A penguin stands at the water's edge beside two swans, and neither has any business in the other's country. The Toledo Museum of Art names them: a South American Humboldt penguin, European mute swans, in a garden that let Izaac van Oosten set side by side creatures that never meet. The museum counts more than a hundred birds and animals, nearly all recognisable species, drawn from what the Netherlands had to hand in menageries, book illustrations and stuffed specimens. Adam and Eve are in here somewhere, small among the trees; the museum asks you to look for them. Every creature stands exact to its kind, already named.", "sources": [{"what": "The Toledo Museum of Art's record for 1959.1: Izaac van Oosten (Flemish, 1613-1661), The Garden of Eden, about 1655-1661, oil on canvas, 57.8 × 88.3 cm; label: based on a composition by Jan Brueghel the Elder, more than 100 exotic birds and animals, 'look for Adam and Eve', Eden as a setting for animals not normally found together such as the South American Humboldt penguin next to the European mute swans, and nearly all the creatures recognizable as specific species drawn from menageries, book and print illustrations, or taxidermy available in the Netherlands", "url": "https://emuseum.toledomuseum.org/objects/55295/the-garden-of-eden", "cite": "Toledo Museum of Art, 'The Garden of Eden', Izaac van Oosten, 1959.1, eMuseum, read 2026-09-24"}, {"what": "The same museum's record on Google Arts \u0026 Culture, with the same label text and 57.7 x 88.2 cm", "url": "https://artsandculture.google.com/asset/the-garden-of-eden-izaac-van-oosten/igH_XKS9_Lr58A", "cite": "Toledo Museum of Art, 'The Garden of Eden', Google Arts \u0026 Culture, read 2026-09-24"}]}, "scene": {"ref": "Genesis 2:19", "quote": "And the Lord God having formed out of the ground all the beasts of the earth, and all the fowls of the air, brought them to Adam to see what he would call them: for whatsoever Adam called any living creature the same is its name.", "shows": "Eden crowded with more than a hundred birds and animals, Adam and Eve among them"}, "th": "/store/thumb/izaak_van_oosten_garden_of_eden.webp", "more": [{"k": "subject", "n": "The Old Testament in painting", "u": "/editions/subject/old-testament/", "ids": ["gauguin_vision_after_sermon", "giovanni_di_paolo_creation_of_the_world_and_the_expulsion", "florence_psalter_leaf_initial_b_king_david", "circle_of_geertgen_tree_of_jesse"]}]}, "albrecht_durer_all_saints_landauer_altarpiece": {"id": "albrecht_durer_all_saints_landauer_altarpiece", "title": "All Saints' Picture (Landauer Altarpiece)", "artist_line": "Albrecht Dürer (German, 1471–1528)", "artist": "Albrecht Dürer", "date": "1511", "museum": "Kunsthistorisches Museum, Vienna", "license": "Public domain", "tier": "Sanctuary", "sizes": [{"size": "8×10 in", "paper": 39, "iw": 8, "ih": 8.8, "sw": 8, "sh": 10, "cov": 0.877}, {"size": "11×14 in", "paper": 59, "iw": 11, "ih": 12.1, "sw": 11, "sh": 14, "cov": 0.861}, {"size": "16×20 in", "paper": 110, "iw": 16, "ih": 17.5, "sw": 16, "sh": 20, "cov": 0.877}, {"size": "18×24 in", "paper": 140, "iw": 18, "ih": 19.7, "sw": 18, "sh": 24, "cov": 0.822}, {"size": "24×36 in", "paper": 190, "iw": 24, "ih": 26.3, "sw": 24, "sh": 36, "cov": 0.731}, {"size": "32×48 in", "paper": 340, "iw": 32, "ih": 35.1, "sw": 32, "sh": 48, "cov": 0.731}, {"size": "40×60 in", "paper": 480, "iw": 40, "ih": 43.8, "sw": 40, "sh": 60, "cov": 0.731}], "local": "/store/display/albrecht_durer_all_saints_landauer_altarpiece.jpg", "commons_file": "Albrecht Dürer - Adoration of the Trinity (Landauer Altar) - Google Art Project.jpg", "zoom": "https://art.monstrance.app/zoom/albrecht_durer_all_saints_landauer_altarpiece.jpg", "master_px": 5411, "auth": {"institution": "Kunsthistorisches Museum Wien, Gemäldegalerie", "accession": "GG 838", "url": "https://www.khm.at/en/artworks/allerheiligenbild-landauer-altar-615", "artist_as_printed": "Albrecht Dürer (1471 Nürnberg - 1528 Nürnberg)", "date_as_printed": "1511", "medium": "Limewood", "dimensions": "135 x 123.4 cm"}, "writeup": {"text": "All heaven is crowded into the air, and one man stands on the ground: Dürer, at the lower right, in festive clothes beside a tablet bearing his signature. God the Father holds out the Cross with the Son upon it, and the Holy Spirit, as a dove, hovers over both. Matthäus Landauer founded a house for aged, destitute craftsmen, the Kunsthistorisches Museum says, and commissioned the altarpiece for its chapel: the Trinity adored by angels, saints and believers of all times. The Web Gallery of Art reads the tiers, Mary leading the martyrs, Saint John the Baptist the prophets and kings. Among the clergy kneels one layman, Landauer, received by a cardinal.", "sources": [{"what": "Landauer founded the Twelve Brothers' House for aged and destitute craftsmen and commissioned the altarpiece for its chapel; the adoration of the Holy Trinity by angels and saints in 'God's state' and by earthly believers of all times; Dürer apart in festive garments with an inscription board bearing his signature; tombstone GG 838", "url": "https://www.khm.at/en/artworks/allerheiligenbild-landauer-altar-615", "cite": "Kunsthistorisches Museum Wien, 'Allerheiligenbild (Landauer Altar)', GG 838, read 2026-09-24"}, {"what": "Mary leading the crowd of martyrs on the left and St John the Baptist leading the Old Testament prophets and kings on the right; the artist in the earthly zone; the client the only layperson among the clergymen on the left, received into the heavenly community by a cardinal", "url": "https://www.wga.hu/html_m/d/durer/1/07/landaue1.html", "cite": "Web Gallery of Art, 'The Adoration of the Trinity' (Dürer), read 2026-09-24"}]}, "scene": {"why": "No Gospel or Apocalypse episode is shown: the KHM describes a devotional vision of the Trinity adored by the angels and saints of 'God's state' together with believers of all times, a gathering composed for an All Saints chapel. The doctrine is scriptural, but no single verse describes this assembly, so none is cited."}, "th": "/store/thumb/albrecht_durer_all_saints_landauer_altarpiece.webp", "more": [{"k": "subject", "n": "The Holy Trinity in painting", "u": "/editions/subject/the-holy-trinity/", "ids": ["titian_gloria", "el_greco_holy_trinity", "hendrik_van_balen_the_trinity", "rubens_the_holy_trinity"]}, {"k": "master", "n": "Albrecht Dürer", "u": "/editions/master/albrecht-durer/", "ids": ["albrecht_durer_apocalypse_adoration_of_the_lamb", "durer_saint_jerome_in_his_study", "durer_saint_jerome_in_the_wilderness", "albrecht_durer_large_passion_crucifixion"]}]}, "albrecht_durer_large_passion_flagellation": {"id": "albrecht_durer_large_passion_flagellation", "title": "The Flagellation, from The Large Passion", "artist_line": "Albrecht Dürer (German, 1471–1528)", "artist": "Albrecht Dürer", "date": "c. 1497–1510", "museum": "The Cleveland Museum of Art", "license": "CC0", "tier": "Sanctuary", "sizes": [{"size": "8×10 in", "paper": 39, "iw": 7.2, "ih": 10, "sw": 8, "sh": 10, "cov": 0.9}, {"size": "11×14 in", "paper": 59, "iw": 10.1, "ih": 14, "sw": 11, "sh": 14, "cov": 0.916}, {"size": "16×20 in", "paper": 110, "iw": 14.4, "ih": 20, "sw": 16, "sh": 20, "cov": 0.9}, {"size": "18×24 in", "paper": 140, "iw": 17.3, "ih": 24, "sw": 18, "sh": 24, "cov": 0.96}, {"size": "32×48 in", "paper": 340, "iw": 32, "ih": 44.5, "sw": 32, "sh": 48, "cov": 0.926}], "local": "/store/display/albrecht_durer_large_passion_flagellation.jpg", "commons_file": "Albrecht Dürer - The Great Passion- The Flagellation - 1926.115 - Cleveland Museum of Art.tif", "zoom": "https://art.monstrance.app/zoom/albrecht_durer_large_passion_flagellation.jpg", "master_px": 5841, "auth": {"institution": "The Cleveland Museum of Art", "accession": "1926.115", "url": "https://www.clevelandart.org/art/1926.115", "artist_as_printed": "Albrecht Dürer (German, 1471–1528)", "date_as_printed": "c. 1497–1510", "medium": "woodcut"}, "writeup": {"text": "A man has Christ by the hair, and the column does not move. The crowd pushes in from both sides, fists raised, mouths open, and a shaggy dog stands in the foreground. The Minneapolis Institute of Art notes that the Passion tracts spun many tales around hair-pulling, a detail Dürer could not resist, and reads the sheet as jeering, scowling derision, the mob likened to animals: one man on the ground is posed like the mangy dog. The Art Institute of Chicago says the Large Passion was published in 1511 to illustrate a text by the monk Benedictus Chelidonius. At the center Christ stands bound, His face turned up.", "sources": [{"what": "Label for Dürer's woodcut The Flagellation (P.181): Northern artists' fondness for the grotesque as a metaphor for evil; the woodcut as a display of jeering, scowling derision; the mob likened to animals, one man on the ground posed like the mangy dog; Passion tracts' tales of hair-pulling, a detail Dürer could not resist", "url": "https://search.artsmia.org/id/49913", "cite": "Minneapolis Institute of Art, Albrecht Dürer, 'The Flagellation', P.181, read 2026-09-24"}, {"what": "The Large Passion as a series of 12 prints published in 1511, illustrating a text by the monk Benedictus Chelidonius", "url": "https://api.artic.edu/api/v1/artworks/19565", "cite": "Art Institute of Chicago, Albrecht Dürer, 'The Harrowing of Hell - Christ in Limbo, plate nine from The Large Passion', read 2026-09-24"}, {"what": "Tombstone: The Great Passion: The Flagellation, c. 1497–1510, woodcut, Meder 117a, 1926.115", "url": "https://www.clevelandart.org/art/1926.115", "cite": "The Cleveland Museum of Art, 1926.115, read 2026-09-24"}]}, "scene": {"ref": "John 19:1", "quote": "Then therefore Pilate took Jesus and scourged him.", "shows": "Christ bound to the column and scourged"}, "th": "/store/thumb/albrecht_durer_large_passion_flagellation.webp", "more": [{"k": "subject", "n": "The Life of Christ in painting", "u": "/editions/subject/the-life-of-christ/", "ids": ["pacher_flagellation_of_christ_geielung_christi", "durer_jesus_among_the_doctors", "bassano_lazarus_and_the_rich_man", "follower_of_bosch_christ_driving_traders_from_temple"]}, {"k": "master", "n": "Albrecht Dürer", "u": "/editions/master/albrecht-durer/", "ids": ["durer_saint_michael_fighting_the_dragon", "durer_the_four_horsemen_of_the_apocalypse", "albrecht_durer_the_feast_of_the_rosary", "durer_jesus_among_the_doctors"]}]}, "albrecht_durer_large_passion_crucifixion": {"id": "albrecht_durer_large_passion_crucifixion", "title": "The Crucifixion, from The Large Passion", "artist_line": "Albrecht Dürer (German, 1471–1528)", "artist": "Albrecht Dürer", "date": "1497–98", "museum": "The Cleveland Museum of Art", "license": "CC0", "tier": "Sanctuary", "sizes": [{"size": "8×10 in", "paper": 39, "iw": 7.2, "ih": 10, "sw": 8, "sh": 10, "cov": 0.905}, {"size": "11×14 in", "paper": 59, "iw": 10.1, "ih": 14, "sw": 11, "sh": 14, "cov": 0.921}, {"size": "16×20 in", "paper": 110, "iw": 14.5, "ih": 20, "sw": 16, "sh": 20, "cov": 0.905}, {"size": "18×24 in", "paper": 140, "iw": 17.4, "ih": 24, "sw": 18, "sh": 24, "cov": 0.965}, {"size": "32×48 in", "paper": 340, "iw": 32, "ih": 44.2, "sw": 32, "sh": 48, "cov": 0.921}], "local": "/store/display/albrecht_durer_large_passion_crucifixion.jpg", "commons_file": "Albrecht Dürer - The Crucifixion - 1922.279 - Cleveland Museum of Art.tif", "zoom": "https://art.monstrance.app/zoom/albrecht_durer_large_passion_crucifixion.jpg", "master_px": 5901, "auth": {"institution": "The Cleveland Museum of Art", "accession": "1922.279", "url": "https://www.clevelandart.org/art/1922.279", "artist_as_printed": "Albrecht Dürer (German, 1471–1528)", "date_as_printed": "1497–98", "medium": "woodcut"}, "writeup": {"text": "Cups are held under the wounds, and none of the blood is let fall. A sun and a moon, each with a face, keep the upper corners; a skull and a bone lie at the foot of the Cross. The Virgin sits at the lower left, and the mounted soldier on the right turns his back. The Minneapolis Institute of Art sets her grief against his indifference, notes Dürer's emphasis on the humanity of Jesus, and says the three angels with chalices draw attention to His fresh wounds. The Large Passion, completed in 1511, was a devotional book, the Gospel narrative told by the monk Benedictus Chelidonius.", "sources": [{"what": "Label for Dürer's Crucifixion from the Large Passion: published as an illustrated devotional book with the Gospel narrative as conveyed by the Benedictine monk Benedictus Chelidonius; Dürer's emphasis on the humanity of Jesus; the Virgin seated at lower left lost in grief against the indifference of the mounted soldier; three angels catching Christ's blood in chalices, drawing attention to his fresh wounds; begun as early as 1497, completed 1511", "url": "https://search.artsmia.org/id/49911", "cite": "Minneapolis Institute of Art, Albrecht Dürer, 'The Crucifixion', P.12,515, read 2026-09-24"}, {"what": "Tombstone: The Crucifixion, 1497–98, woodcut, Meder 120, 1922.279; the page's image description of the angels with chalices, the personified sun and moon, the mourners, the mounted soldier, the skull and bone", "url": "https://www.clevelandart.org/art/1922.279", "cite": "The Cleveland Museum of Art, 1922.279, read 2026-09-24"}]}, "scene": {"ref": "John 19:25", "quote": "Now there stood by the cross of Jesus, his mother and his mother's sister, Mary of Cleophas, and Mary Magdalen.", "shows": "the Virgin and the holy women at the foot of the cross"}, "th": "/store/thumb/albrecht_durer_large_passion_crucifixion.webp", "more": [{"k": "subject", "n": "The Crucifixion in painting", "u": "/editions/subject/crucifixion/", "ids": ["luca_signorelli_the_crucifixion", "juan_de_flandes_the_crucifixion", "grunewald_small_crucifixion", "vasco_fernandes_gaspar_vaz_calvary"]}, {"k": "master", "n": "Albrecht Dürer", "u": "/editions/master/albrecht-durer/", "ids": ["albrecht_durer_large_passion_flagellation", "durer_saint_michael_fighting_the_dragon", "durer_the_four_horsemen_of_the_apocalypse", "albrecht_durer_the_feast_of_the_rosary"]}]}, "albrecht_durer_apocalypse_adoration_of_the_lamb": {"id": "albrecht_durer_apocalypse_adoration_of_the_lamb", "title": "The Adoration of the Lamb, from The Apocalypse", "artist_line": "Albrecht Dürer (German, 1471–1528)", "artist": "Albrecht Dürer", "date": "1511", "museum": "The Cleveland Museum of Art", "license": "CC0", "tier": "Mid", "sizes": [{"size": "8×10 in", "paper": 39, "iw": 7.2, "ih": 10, "sw": 8, "sh": 10, "cov": 0.898}, {"size": "11×14 in", "paper": 59, "iw": 10.1, "ih": 14, "sw": 11, "sh": 14, "cov": 0.914}, {"size": "18×24 in", "paper": 140, "iw": 17.2, "ih": 24, "sw": 18, "sh": 24, "cov": 0.957}], "local": "/store/display/albrecht_durer_apocalypse_adoration_of_the_lamb.jpg", "commons_file": "Albrecht Dürer - Revelation of St. John- The Adoration of the Lamb - 1922.94.8 - Cleveland Museum of Art.tif", "zoom": "https://art.monstrance.app/zoom/albrecht_durer_apocalypse_adoration_of_the_lamb.jpg", "master_px": 4816, "auth": {"institution": "The Cleveland Museum of Art", "accession": "1922.94.8", "url": "https://www.clevelandart.org/art/1922.94.8", "artist_as_printed": "Albrecht Dürer (German, 1471–1528)", "date_as_printed": "1511", "medium": "woodcut"}, "writeup": {"text": "The Lamb stands in a ring of light with His banner, and the crowd below lifts its palms toward Him. Winged creatures keep the corners of the sky. At the bottom Saint John kneels with his back to us beside a crowned elder, and Revelation gives the two a conversation: the elder asks who these in white robes are, and John answers that the elder knows. The Minneapolis Institute of Art notes that Dürer's Apocalypse interprets a book that, amid the millennial fears of the 1490s, was very much on people's minds. The answer stands just above the two of them, in white.", "sources": [{"what": "Tombstone: Revelation of St. John: The Adoration of the Lamb, 1511, woodcut, Meder 176, 1922.94.8; the page's image description of St John kneeling with his back to us beside a crowned elder, the dense crowd with palm branches, the Lamb in a radiant circle and four winged creatures", "url": "https://www.clevelandart.org/art/1922.94.8", "cite": "The Cleveland Museum of Art, 1922.94.8, read 2026-09-24"}, {"what": "Label for The Four Horsemen from the same series: Dürer's fifteen Apocalypse woodcuts interpret John's Book of Revelation, a story that amid the millennial fears prevalent in the 1490s was very much on people's minds", "url": "https://search.artsmia.org/id/9192", "cite": "Minneapolis Institute of Art, Albrecht Dürer, 'The Four Horsemen', read 2026-09-24"}]}, "scene": {"ref": "Apocalypse 7:13-14", "quote": "And one of the ancients answered and said to me: These that are clothed in white robes, who are they? And whence came they? And I said to him: My Lord, thou knowest. And he said to me: These are they who are come out of great tribulation and have washed their robes and have made them white in the blood of the Lamb.", "shows": "St John and one of the elders before the Lamb and the multitude with palms"}, "th": "/store/thumb/albrecht_durer_apocalypse_adoration_of_the_lamb.webp", "more": [{"k": "subject", "n": "Angels in painting", "u": "/editions/subject/angels/", "ids": ["titian_the_archangel_raphael_and_tobias", "frans_floris_the_fall_of_the_rebel_angels", "pieter_bruegel_the_elder_the_fall_of_the_rebel_angels", "rubens_music_making_angels"]}, {"k": "master", "n": "Albrecht Dürer", "u": "/editions/master/albrecht-durer/", "ids": ["durer_saint_jerome_in_his_study", "durer_saint_jerome_in_the_wilderness", "albrecht_durer_large_passion_crucifixion", "albrecht_durer_large_passion_flagellation"]}]}, "rubens_incarnation_fulfillment_of_the_prophecies": {"id": "rubens_incarnation_fulfillment_of_the_prophecies", "title": "The Incarnation as Fulfillment of All the Prophecies", "artist_line": "Peter Paul Rubens (Flemish, 1577–1640)", "artist": "Peter Paul Rubens", "date": "c. 1628–1629", "museum": "Barnes Foundation, Philadelphia", "license": "Public domain", "tier": "Sanctuary", "sizes": [{"size": "8×10 in", "paper": 39, "iw": 7.2, "ih": 10, "sw": 8, "sh": 10, "cov": 0.903}, {"size": "11×14 in", "paper": 59, "iw": 10.1, "ih": 14, "sw": 11, "sh": 14, "cov": 0.919}, {"size": "16×20 in", "paper": 110, "iw": 14.4, "ih": 20, "sw": 16, "sh": 20, "cov": 0.903}, {"size": "18×24 in", "paper": 140, "iw": 17.3, "ih": 24, "sw": 18, "sh": 24, "cov": 0.963}, {"size": "32×48 in", "paper": 340, "iw": 32, "ih": 44.3, "sw": 32, "sh": 48, "cov": 0.923}], "local": "/store/display/rubens_incarnation_fulfillment_of_the_prophecies.jpg", "commons_file": "Peter Paul Rubens - The Incarnation as Fulfillment of All the Prophecies - BF813 - Barnes Foundation.jpg", "zoom": "https://art.monstrance.app/zoom/rubens_incarnation_fulfillment_of_the_prophecies.jpg", "master_px": 5645, "auth": {"institution": "The Barnes Foundation, Philadelphia", "accession": "BF813", "url": "https://collection.barnesfoundation.org/api/objects/5765", "artist_as_printed": "Peter Rubens", "date_as_printed": "c. 1628–1629", "medium": "Oil on panel", "dimensions": "Overall: 25 3/8 x 18 1/2 in. (64.5 x 47 cm)"}, "writeup": {"text": "Our Lady kneels at her desk and lifts one hand, and all of heaven leans toward her. Gabriel comes in on a cloud; the Barnes Foundation describes his announcing that she will conceive a Son by the power of the Holy Spirit, and a ring of cherubs encircling the Dove of the Holy Spirit behind him. High above, in the Barnes's description, God the Father rests His arm on a large sphere and extends His scepter downward. In the foreground below her sits a group of sibyls, female prophets, one pointing up; across the steps, bearded men hold scrolls and a stone tablet. Julius Held catalogued it among Rubens's oil sketches. In Luke the angel says the Holy Ghost will come upon her and the power of the Most High overshadow her. Every prophecy on the steps is waiting on Our Lady at her prayers.", "sources": [{"what": "Gabriel's announcement that Mary would conceive a son by the power of the Holy Spirit; a ring of cherubs encircling the dove behind Gabriel; God the Father high above, resting his arm on a large sphere and extending his scepter downward; a group of sibyls (female prophets) in the foreground below Mary; tombstone BF813, oil on panel, 64.5 x 47 cm, c. 1628–1629; bibliography including Held, The Oil Sketches of Peter Paul Rubens (1980)", "url": "https://collection.barnesfoundation.org/api/objects/5765", "cite": "The Barnes Foundation, Peter Rubens, 'The Incarnation as Fulfillment of All the Prophecies', BF813, read 2026-09-24"}]}, "scene": {"ref": "Luke 1:35", "quote": "And the angel answering, said to her: The Holy Ghost shall come upon thee and the power of the Most High shall overshadow thee. And therefore also the Holy which shall be born of thee shall be called the Son of God.", "shows": "Gabriel's announcement, with the dove of the Holy Spirit behind him"}, "th": "/store/thumb/rubens_incarnation_fulfillment_of_the_prophecies.webp", "more": [{"k": "subject", "n": "The Annunciation in painting", "u": "/editions/subject/annunciation/", "ids": ["giordano_annunciation", "masolino_the_annunciation", "fra_angelico_annunciation_prado", "van_eyck_annunciation_nga"]}, {"k": "master", "n": "Peter Paul Rubens", "u": "/editions/master/peter-paul-rubens/", "ids": ["rubens_music_making_angels", "rubens_saint_teresa_of_avila_interceding_for", "rubens_the_education_of_the_virgin", "rubens_saint_francis_receiving_the_stigmata"]}]}, "master_of_riccardiana_231_annunciation_nativity_leaf": {"id": "master_of_riccardiana_231_annunciation_nativity_leaf", "title": "Leaf from a Book of Hours: Annunciation, Nativity and Two Prophets", "artist_line": "Attributed to the Master of Riccardiana 231 (Italian, Florence, active c. 1485)", "artist": "Attributed to the Master of Riccardiana 231", "date": "c. 1485", "museum": "The Cleveland Museum of Art", "license": "CC0", "tier": "Mid", "sizes": [{"size": "8×10 in", "paper": 39, "iw": 6.1, "ih": 10, "sw": 8, "sh": 10, "cov": 0.764}, {"size": "11×14 in", "paper": 59, "iw": 8.6, "ih": 14, "sw": 11, "sh": 14, "cov": 0.777}, {"size": "16×20 in", "paper": 110, "iw": 12.2, "ih": 20, "sw": 16, "sh": 20, "cov": 0.764}, {"size": "18×24 in", "paper": 140, "iw": 14.7, "ih": 24, "sw": 18, "sh": 24, "cov": 0.814}], "local": "/store/display/master_of_riccardiana_231_annunciation_nativity_leaf.jpg", "commons_file": "Master of Riccardiana 231 - Leaf from a Book of Hours- Annunciation, Nativity and Two Prophets - 1953.280 - Cleveland Museum of Art.tif", "zoom": "https://art.monstrance.app/zoom/master_of_riccardiana_231_annunciation_nativity_leaf.jpg", "master_px": 5597, "auth": {"institution": "The Cleveland Museum of Art", "accession": "1953.280", "url": "https://www.clevelandart.org/art/1953.280", "artist_as_printed": "attributed to Master of Riccardiana 231 (Italian)", "date_as_printed": "c. 1485", "medium": "tempera and gold on parchment", "dimensions": "Sheet: 15.1 x 9.2 cm (5 15/16 x 3 5/8 in.)"}, "writeup": {"text": "A peacock spreads its tail at the top of the border, directly above the Annunciation, and the Cleveland Museum of Art notes that medieval Christian art often used the peacock for resurrection and eternal life. Below it Gabriel kneels with a flowering branch in his hand, and Our Lady, standing, lifts one hand to his greeting: \"Hail, full of grace.\" Lower down, in a gold-edged medallion, the Christ Child lies on the ground before His Mother, and two prophets look on from roundels at either side. The leaf is attributed to the Master of Riccardiana 231, working in Florence about 1485, crowding its margins with putti, gold and flaming vases. A book of hours held the prayers said through the day, Cleveland explains, and one this luxurious could only have belonged to an aristocratic household. The bird keeps its watch above the angel.", "sources": [{"what": "A book of hours as a devotional book of prayers used throughout the day; an estimate that 1 in 15 households owned one; this luxurious example could only have belonged to an aristocratic household; peacocks often used in medieval Christian art as a symbol of the resurrection and eternal life; tombstone 1953.280", "url": "https://www.clevelandart.org/art/1953.280", "cite": "The Cleveland Museum of Art, 'Leaf from a Book of Hours: Annunciation, Nativity and Two Prophets', 1953.280, read 2026-09-24"}]}, "scene": {"ref": "Luke 1:28", "quote": "And the angel being come in, said unto her: Hail, full of grace, the Lord is with thee: blessed art thou among women.", "shows": "Gabriel kneeling before Mary in the arched frame"}, "th": "/store/thumb/master_of_riccardiana_231_annunciation_nativity_leaf.webp", "more": [{"k": "subject", "n": "The Annunciation in painting", "u": "/editions/subject/annunciation/", "ids": ["crivelli_annunciation_with_saint_emidius", "cima_the_annunciation", "garofalo_the_annunciation", "lotto_annunciation_recanati_annunciation"]}]}, "tintoretto_the_baptism_of_christ": {"id": "tintoretto_the_baptism_of_christ", "title": "The Baptism of Christ (San Silvestro)", "artist_line": "Jacopo Tintoretto (Italian, c. 1518/19–1594)", "artist": "Tintoretto", "date": "1580–82", "museum": "Church of San Silvestro, Venice", "license": "Public domain (photo CC BY-SA 4.0)", "tier": "Sanctuary", "sizes": [{"size": "8×10 in", "paper": 39, "iw": 6.1, "ih": 10, "sw": 8, "sh": 10, "cov": 0.758}, {"size": "11×14 in", "paper": 59, "iw": 8.5, "ih": 14, "sw": 11, "sh": 14, "cov": 0.772}, {"size": "16×20 in", "paper": 110, "iw": 12.1, "ih": 20, "sw": 16, "sh": 20, "cov": 0.758}, {"size": "18×24 in", "paper": 140, "iw": 14.6, "ih": 24, "sw": 18, "sh": 24, "cov": 0.809}, {"size": "24×36 in", "paper": 190, "iw": 21.8, "ih": 36, "sw": 24, "sh": 36, "cov": 0.91}, {"size": "32×48 in", "paper": 340, "iw": 29.1, "ih": 48, "sw": 32, "sh": 48, "cov": 0.91}, {"size": "40×60 in", "paper": 480, "iw": 36.4, "ih": 60, "sw": 40, "sh": 60, "cov": 0.91}], "local": "/store/display/tintoretto_the_baptism_of_christ.jpg", "commons_file": "(Venice) Baptism of Christ by Jacopo Tintoretto - San Silvestro.jpg", "zoom": "https://art.monstrance.app/zoom/tintoretto_the_baptism_of_christ.jpg", "master_px": 9445, "auth": {"institution": "Chiesa di S. Silvestro I Papa, Venice (in situ); state catalogue record", "accession": "Codice di catalogo nazionale 0500221710", "url": "https://catalogo.beniculturali.it/detail/HistoricOrArtisticProperty/0500221710", "artist_as_printed": "Robusti Jacopo Detto Tintoretto (1518/ 1594)", "date_as_printed": "1500 - 1599", "medium": "tela/ pittura a olio", "dimensions": "283 x 162 cm"}, "writeup": {"text": "Saint John stands on the higher bank and reaches down with a shell of water; Christ stands below him in the stream, head bowed, one hand trailing toward the current. The Holy Spirit comes as a Dove in a burst of light, small cherubs round Him. Save Venice, whose project restored the canvas in 2004, reads the raised Baptist as Jacopo Tintoretto quite appropriately humbling Christ, and the pouring gesture as both elegant and natural. The light argues the other way: Christ's body is lit, John's stays mostly in shadow. The patrons were the bargemen's guild, and the landscape behind, Save Venice notes, recalls the Venetian lagoon they knew. Matthew records John's protest at exactly this reversal. The Baptist pours anyway, from above, in the dark.", "sources": [{"what": "Save Venice's project page: Tintoretto elevates Saint John and so humbles Christ; the pouring gesture elegant and natural; Christ's body illuminated while John's remains mostly in shadow; a landscape reminiscent of the Venetian lagoon for the patrons, the bargemen's guild; restored 2004 by Gino Marin with funding from an anonymous donor; oil on canvas, 283 x 162 cm, 1580-82.", "url": "https://www.savevenice.org/project/baptism-of-christ", "cite": "Save Venice, 'Jacopo Tintoretto's Baptism of Christ at the Church of San Silvestro', project page, read 2026-09-24"}]}, "scene": {"ref": "Matthew 3:14", "quote": "But John stayed him, saying: I ought to be baptized by thee, and comest thou to me?", "shows": "John, raised above Christ, pours water over his head"}, "th": "/store/thumb/tintoretto_the_baptism_of_christ.webp", "more": [{"k": "subject", "n": "The Baptism of Christ in painting", "u": "/editions/subject/baptism-of-christ/", "ids": ["veronese_the_baptism_of_christ", "rubens_the_baptism_of_christ", "poussin_saint_john_baptizing_the_people", "magnasco_the_baptism_of_christ"]}, {"k": "master", "n": "Tintoretto", "u": "/editions/master/tintoretto/", "ids": ["tintoretto_crucifixion", "tintoretto_saint_mark_s_body_brought_to_venice"]}]}, "pontormo_visitation_carmignano": {"id": "pontormo_visitation_carmignano", "title": "The Visitation", "artist_line": "Pontormo (Italian, 1494–1557)", "artist": "Pontormo", "date": "c. 1525–29", "museum": "Pieve di San Michele Arcangelo, Carmignano", "license": "Public domain (photo CC BY-SA 4.0)", "tier": "Sanctuary", "sizes": [{"size": "8×10 in", "paper": 39, "iw": 7.7, "ih": 10, "sw": 8, "sh": 10, "cov": 0.957}, {"size": "11×14 in", "paper": 59, "iw": 10.7, "ih": 14, "sw": 11, "sh": 14, "cov": 0.974}, {"size": "18×24 in", "paper": 140, "iw": 18, "ih": 23.5, "sw": 18, "sh": 24, "cov": 0.98}], "local": "/store/display/pontormo_visitation_carmignano.jpg", "commons_file": "Jacopo pontormo, visitazione, 1528-1529 circa (carmignano, ss. michele e francesco) 01.jpg", "zoom": "https://art.monstrance.app/zoom/pontormo_visitation_carmignano.jpg", "master_px": 4285, "auth": {"institution": "Parish of San Michele Arcangelo, Carmignano (Prato) — no institutional object page; tombstone from the J. Paul Getty Museum exhibition checklist (Pontormo: Miraculous Encounters)", "url": "https://www.getty.edu/art/exhibitions/pontormo/downloads/pontormo_checklist.pdf", "artist_as_printed": "Pontormo, Italian (Florentine), 1494 - 1557", "date_as_printed": "About 1525", "medium": "Oil on wood panel", "dimensions": "Unframed: 202 × 156 cm (79 1/2 × 61 3/8 in.)"}, "writeup": {"text": "Four women stand in a narrow street, and two of them hold each other. Our Lady, in blue, and Saint Elizabeth, in green and orange, meet in profile, arms and cloth wound together, bare feet on the stones; the two companions behind them face straight out and do not move. The Web Gallery of Art notes their difference in age and their likeness to the two saints, and reads them as doubles of Mary and Elizabeth, eyes fixed on something outside the scene. The Getty places the altarpiece in Florence's political upheaval at the end of the 1520s, and recent conservation has given back its range of colour. Pontormo lets each woman stand here twice: once turned to her kinswoman, once turned to you.", "sources": [{"what": "Visitation 1528-29, oil on wood, 202 x 156 cm, San Michele, Carmignano; intertwining arcs of arms and fabric uniting the two protagonists whose enlarged bodies dominate the surface; a funereally gloomy town behind; the two main figures in profile exchanging looks of intense mutual affection, against two rigidly frontal bystanders with eyes fixed on something outside the scene; the age difference and facial resemblance inviting a reading of the two maidservants as doubles of Mary and Elisabeth", "url": "https://www.wga.hu/html_m/p/pontormo/3/05visitb.html", "cite": "Web Gallery of Art, 'Visitation (after restoration)' (Pontormo), read 2026-09-24"}, {"what": "The Visitation, oil on wood panel, about 1528–1529, Parrocchia di San Michele Arcangelo a Carmignano; completed during Florence's political upheaval at the end of the 1520s; recent conservation revealing its range of colors", "url": "https://www.getty.edu/art/exhibitions/pontormo/", "cite": "J. Paul Getty Museum, 'Pontormo: Miraculous Encounters' exhibition page, read 2026-09-24"}, {"what": "Checklist entry: Pontormo, The Visitation, About 1525, oil on wood panel, 202 × 156 cm, Pieve of San Michele Arcangelo at Carmignano; the squared Uffizi study", "url": "https://www.getty.edu/art/exhibitions/pontormo/downloads/pontormo_checklist.pdf", "cite": "J. Paul Getty Museum, Pontormo exhibition checklist (PDF), read 2026-09-24"}]}, "scene": {"ref": "Luke 1:41", "quote": "And it came to pass that when Elizabeth heard the salutation of Mary, the infant leaped in her womb. And Elizabeth was filled with the Holy Ghost.", "shows": "Mary and Elizabeth embracing"}, "th": "/store/thumb/pontormo_visitation_carmignano.webp", "more": [{"k": "master", "n": "Pontormo", "u": "/editions/master/pontormo/", "ids": ["emmaus_pontormo"]}]}, "durer_jesus_among_the_doctors": {"id": "durer_jesus_among_the_doctors", "title": "Jesus among the Doctors", "artist_line": "Albrecht Dürer (German, 1471–1528)", "artist": "Albrecht Dürer", "date": "1506", "museum": "Museo Nacional Thyssen-Bornemisza, Madrid", "license": "Public domain", "tier": "Mid", "sizes": [{"size": "8×10 in", "paper": 39, "iw": 10.0, "ih": 8, "sw": 10, "sh": 8, "cov": 0.997}, {"size": "11×14 in", "paper": 59, "iw": 13.7, "ih": 11, "sw": 14, "sh": 11, "cov": 0.979}, {"size": "18×24 in", "paper": 140, "iw": 22.4, "ih": 18, "sw": 24, "sh": 18, "cov": 0.935}], "local": "/store/display/durer_jesus_among_the_doctors.jpg", "commons_file": "Albrecht Dürer - Jesus among the Doctors - Google Art Project.jpg", "zoom": "https://art.monstrance.app/zoom/durer_jesus_among_the_doctors.jpg", "master_px": 4338, "auth": {"institution": "Museo Nacional Thyssen-Bornemisza, Madrid", "accession": "134 (1934.38)", "url": "https://www.museothyssen.org/en/collection/artists/durer-albrecht/jesus-among-doctors", "artist_as_printed": "Albrecht Dürer", "date_as_printed": "1506", "medium": "Oil on panel", "dimensions": "64.3 x 80.3 cm"}, "writeup": {"text": "Six men press around a boy, and the boy is counting on his fingers. Our Lord stands at the centre, eyes lowered, one fingertip set against another as if numbering His answers, while old hands reach in to meet His and a bald doctor with a long white beard holds a book open below. Dürer painted the panel in Venice, on his second journey to Italy, and the Museo Nacional Thyssen-Bornemisza identifies it as the picture named in a letter to his friend Willibald Pirckheimer, the Nuremberg humanist. The half-length figures, and the heads gathered round one point, the child's face and hands, echo the Italian painting of the day. On the slip of paper standing out of the book in the foreground he signed and dated it. The doctors keep their books; the Word reasons on His fingers.", "sources": [{"what": "Jesus Among the Doctors, 1506, oil on panel, 64.3 x 80.3 cm, inv. 134 (1934.38); executed in Venice during Dürer's second visit to Italy; identified as the painting referred to in a letter to his friend Willibald Pirckheimer, the Nuremberg humanist; half-length figures and heads arranged around a focal point formed by the child's face and hands, echoing contemporary Italian painting; dated and signed with his anagram on the slip of paper protruding from the book in the foreground", "url": "https://www.museothyssen.org/en/collection/artists/durer-albrecht/jesus-among-doctors", "cite": "Museo Nacional Thyssen-Bornemisza, 'Jesus Among the Doctors', object page, read 2026-09-30"}]}, "scene": {"ref": "Luke 2:46", "quote": "And it came to pass, that, after three days, they found him in the temple, sitting in the midst of the doctors, hearing them and asking them questions.", "shows": "The boy Jesus among the doctors in the Temple"}, "th": "/store/thumb/durer_jesus_among_the_doctors.webp", "more": [{"k": "subject", "n": "The Life of Christ in painting", "u": "/editions/subject/the-life-of-christ/", "ids": ["bassano_lazarus_and_the_rich_man", "follower_of_bosch_christ_driving_traders_from_temple", "el_greco_christ_cleansing_the_temple", "caravaggio_christ_at_the_column"]}, {"k": "master", "n": "Albrecht Dürer", "u": "/editions/master/albrecht-durer/", "ids": ["albrecht_durer_all_saints_landauer_altarpiece", "albrecht_durer_apocalypse_adoration_of_the_lamb", "durer_saint_jerome_in_his_study", "durer_saint_jerome_in_the_wilderness"]}]}, "arellano_virgin_of_guadalupe": {"id": "arellano_virgin_of_guadalupe", "title": "Virgin of Guadalupe", "artist_line": "Antonio de Arellano (Mexican, 1638–1714) and Manuel de Arellano (Mexican, 1662–1722)", "artist": "Antonio de Arellano and Manuel de Arellano", "date": "1691", "museum": "Los Angeles County Museum of Art", "license": "Public domain (LACMA open download)", "tier": "Sanctuary", "sizes": [{"size": "8×10 in", "paper": 39, "iw": 7.0, "ih": 10, "sw": 8, "sh": 10, "cov": 0.877}, {"size": "11×14 in", "paper": 59, "iw": 9.8, "ih": 14, "sw": 11, "sh": 14, "cov": 0.893}, {"size": "16×20 in", "paper": 110, "iw": 14.0, "ih": 20, "sw": 16, "sh": 20, "cov": 0.877}, {"size": "18×24 in", "paper": 140, "iw": 16.8, "ih": 24, "sw": 18, "sh": 24, "cov": 0.935}, {"size": "24×36 in", "paper": 190, "iw": 24, "ih": 34.2, "sw": 24, "sh": 36, "cov": 0.95}, {"size": "32×48 in", "paper": 340, "iw": 32, "ih": 45.6, "sw": 32, "sh": 48, "cov": 0.95}, {"size": "40×60 in", "paper": 480, "iw": 40, "ih": 57.0, "sw": 40, "sh": 60, "cov": 0.95}], "local": "/store/display/arellano_virgin_of_guadalupe.jpg", "commons_file": "Manuel de Arellano - Virgin of Guadalupe.jpg", "zoom": "https://art.monstrance.app/zoom/arellano_virgin_of_guadalupe.jpg", "master_px": 7605, "auth": {"institution": "Los Angeles County Museum of Art", "accession": "M.2009.61", "url": "https://collections.lacma.org/object/148372", "artist_as_printed": "Antonio de Arellano; Manuel de Arellano", "date_as_printed": "1691", "medium": "Oil on canvas", "dimensions": "Unframed: 71 7/16 × 48 9/16 in. (181.5 × 123.4 cm)"}, "writeup": {"text": "Flowers spill across a bishop's floor in the lowest corner, and that small spill is the whole proof. Antonio de Arellano and his son Manuel painted Our Lady of Guadalupe in 1691 as Mexico City venerated her: hands joined, mantle sown with stars, a crown above, the moon beneath her and an angel with spread wings bearing up her hem, the rays of her light ringed by a mandorla of flowers. Four roundels tell what LACMA's Ilona Katzew sets out: her appearances to Juan Diego on the hill of Tepeyac in 1531, ending where he unfolds his cloak before Bishop Juan de Zumárraga and her image is found printed on it. Juan Correa had made a waxed-paper template after that cloak so painters could copy her true, and on the lower edge the Arellanos wrote tocada a la original, touched to the original. She keeps her hands joined, and keeps them joined for us.", "sources": [{"what": "LACMA's object page for M.2009.61 (Antonio de Arellano; Manuel de Arellano, 1691), with the curatorial note by Ilona Katzew", "url": "https://collections.lacma.org/object/148372", "cite": "Los Angeles County Museum of Art, collections record M.2009.61"}, {"what": "Unframed (LACMA's blog), 'Virgin of Guadalupe at LACMA', Alicia Vogl Saenz, 12 December 2011: the 1691 Arellano and the inscription recording that it was touched to the original in the Basilica", "url": "https://unframed.lacma.org/node/846", "cite": "Unframed, LACMA, 12 Dec 2011"}]}, "scene": {"why": "The apparitions at Tepeyac (1531) are an approved tradition, not Scripture."}, "th": "/store/thumb/arellano_virgin_of_guadalupe.webp"}, "circle_of_geertgen_tree_of_jesse": {"id": "circle_of_geertgen_tree_of_jesse", "title": "The Tree of Jesse", "artist_line": "Circle of Geertgen tot Sint Jans (Haarlem, c. 1500)", "artist": "Circle of Geertgen tot Sint Jans", "date": "c. 1500", "museum": "Rijksmuseum, Amsterdam", "license": "Public domain (Rijksmuseum, Public Domain Mark 1.0)", "tier": "Mid", "sizes": [{"size": "8×10 in", "paper": 39, "iw": 6.6, "ih": 10, "sw": 8, "sh": 10, "cov": 0.829}, {"size": "11×14 in", "paper": 59, "iw": 9.3, "ih": 14, "sw": 11, "sh": 14, "cov": 0.844}, {"size": "16×20 in", "paper": 110, "iw": 13.3, "ih": 20, "sw": 16, "sh": 20, "cov": 0.829}, {"size": "18×24 in", "paper": 140, "iw": 15.9, "ih": 24, "sw": 18, "sh": 24, "cov": 0.884}], "local": "/store/display/circle_of_geertgen_tree_of_jesse.jpg", "commons_file": null, "zoom": "https://art.monstrance.app/zoom/circle_of_geertgen_tree_of_jesse.jpg", "master_px": 6337, "auth": {"institution": "Rijksmuseum, Amsterdam", "accession": "SK-A-3901", "url": "https://www.rijksmuseum.nl/en/collection/SK-A-3901", "artist_as_printed": "circle of Geertgen tot Sint Jans", "date_as_printed": "c. 1500", "medium": "oil on panel", "dimensions": "support: height 89.8 cm × width 60.6 cm"}, "writeup": {"text": "Jesse sleeps on the grass with his head on his hand, and the tree grows out of him. The Rijksmuseum reads it as Christ's family tree: the branches are filled with the kings of Israel, King David among them with his harp, and at the top Our Lady is enthroned with the Christ Child on her lap, an angel at either shoulder. Isaias wrote that “there shall come forth a rod out of the root of Jesse, and a flower shall rise up out of his root”: here the root is an old man asleep and the flower is a Child. Below, a nun in white kneels at the foot of the tree with a rosary in her hands, and a walled garden closes the ground behind her. The painter worked in Haarlem around 1500, in the circle of Geertgen tot Sint Jans. Every branch is a generation that waited for Him, and we wait with them.", "sources": [{"what": "The Rijksmuseum's object page for SK-A-3901 (circle of Geertgen tot Sint Jans, c. 1500): Christ's family tree growing out of the sleeping Jesse, the kings of Israel in the branches with King David and his harp, the Virgin enthroned with the Christ Child at the top; the kneeling nun with a rosary and the walled garden", "url": "https://www.rijksmuseum.nl/en/collection/SK-A-3901", "cite": "Rijksmuseum, Amsterdam, SK-A-3901"}, {"what": "Isaias 11:1, Douay-Rheims (Challoner)", "cite": "data/bible_drc.js"}]}, "scene": {"ref": "Isaias 11:1", "quote": "And there shall come forth a rod out of the root of Jesse, and a flower shall rise up out of his root.", "shows": "the rod come forth out of the root of Jesse, the kings of Israel in its branches and the Virgin and Child at its top"}, "th": "/store/thumb/circle_of_geertgen_tree_of_jesse.webp", "more": [{"k": "subject", "n": "The Old Testament in painting", "u": "/editions/subject/old-testament/", "ids": ["andrea_del_sarto_the_sacrifice_of_isaac", "caravaggio_judith_beheading_holofernes", "caravaggio_david_goliath", "rubens_daniel"]}]}, "panini_interior_of_saint_peters_rome": {"id": "panini_interior_of_saint_peters_rome", "title": "Interior of Saint Peter's, Rome", "artist_line": "Giovanni Paolo Panini (Roman, 1691–1765)", "artist": "Giovanni Paolo Panini", "date": "c. 1754", "museum": "National Gallery of Art, Washington", "license": "PD/CC0", "tier": "Mid", "sizes": [{"size": "8×10 in", "paper": 39, "iw": 10, "ih": 7.8, "sw": 10, "sh": 8, "cov": 0.981}, {"size": "11×14 in", "paper": 59, "iw": 14, "ih": 11.0, "sw": 14, "sh": 11, "cov": 0.999}, {"size": "16×20 in", "paper": 110, "iw": 20, "ih": 15.7, "sw": 20, "sh": 16, "cov": 0.981}, {"size": "18×24 in", "paper": 140, "iw": 22.9, "ih": 18, "sw": 24, "sh": 18, "cov": 0.956}, {"size": "24×36 in", "paper": 190, "iw": 30.6, "ih": 24, "sw": 36, "sh": 24, "cov": 0.85}, {"size": "32×48 in", "paper": 340, "iw": 40.8, "ih": 32, "sw": 48, "sh": 32, "cov": 0.85}], "local": "/store/display/panini_interior_of_saint_peters_rome.jpg", "commons_file": null, "zoom": "https://art.monstrance.app/zoom/panini_interior_of_saint_peters_rome.jpg", "master_px": 5839, "auth": {"institution": "National Gallery of Art, Washington", "accession": "1968.13.2", "url": "https://www.nga.gov/artworks/50884-interior-saint-peters-rome", "artist_as_printed": "Giovanni Paolo Panini, Roman, 1691–1765 (open data spells 'Pannini')", "date_as_printed": "c. 1754", "medium": "oil on canvas", "dimensions": "overall: 154.5 x 197 cm (60 13/16 x 77 9/16 in.); framed: 179.1 x 222.3 x 8.3 cm (70 1/2 x 87 1/2 x 3 1/4 in.)"}, "writeup": {"text": "Look for the bronze canopy: it is small and far away, down the whole length of the nave under the dome, and the painting leads every eye to it. Above, Giovanni Paolo Panini spread the gilded, coffered vault of Saint Peter's; below, he filled the marble floor with tiny people, clergy in black, ladies in pink and yellow silk, a beggar, pilgrims kneeling at the lower right. The National Gallery of Art reads the arms of Paul V and the year 1615 on the ceiling, the names of early popes on the roundels of the piers, and round the collar of the dome the words of Christ to Peter: Tu es Petrus, thou art Peter, and upon this rock. The picture had a pendant, the Duc de Choiseul leaving the square outside, now in Berlin. The Church keeps the dedication of this basilica on 18 November. The canopy stands over the tomb of the Apostle. The whole church is built on a grave and a promise.", "sources": [{"what": "NGA object page and open data, objectid 50884: Giovanni Paolo Panini, Roman, 1691–1765; c. 1754; oil on canvas; inscriptions: around the collar of the cupola [CA]ELORVM TV ES PETRVS ET SV[PER HANC PETRAM...]; on the nave ceiling the arms of Paul V with PAVLVS.V.PONT.MAX.A.MDCXV; roundels naming SS. Gelasius, Sixtus, Caius, Marcus, Telesphorus; small figures pray or gather along the nave, some in tattered clothing and others elegantly dressed; a bronze canopy on four twisted columns at the crossing; pendant 'The Exit of the Duc de Choiseul on St. Peter's Square in Rome', Gemäldegalerie, Berlin.", "url": "https://www.nga.gov/artworks/50884-interior-saint-peters-rome", "cite": "National Gallery of Art, Washington, 'Interior of Saint Peter's, Rome', 1968.13.2; read 2026-10-13."}, {"what": "The Dedication of the Basilicas of Saints Peter and Paul, 18 November; the basilica of Saint Peter is built over the Apostle's tomb (the sources of /feasts/dedication-of-the-basilicas-of-saints-peter-and-paul/).", "url": "https://monstrance.app/feasts/dedication-of-the-basilicas-of-saints-peter-and-paul/", "cite": "Monstrance, the feast page and the sources it cites."}]}, "scene": {"why": "NOT A NARRATIVE SCENE. A view of the basilica; the Tu es Petrus of Matthew 16:18 is an inscription in the painted dome, quoted from the NGA's reading, not a scene."}, "th": "/store/thumb/panini_interior_of_saint_peters_rome.webp", "more": [{"k": "master", "n": "Giovanni Paolo Panini", "u": "/editions/master/giovanni-paolo-panini/", "ids": ["panini_pantheon"]}]}, "enriquez_guadalupe": {"id": "enriquez_guadalupe", "title": "The Virgin of Guadalupe with the Four Apparitions", "artist_line": "Nicolás Enríquez (Mexican, 1704–1790)", "artist": "Nicolás Enríquez", "date": "1773", "museum": "The Metropolitan Museum of Art, New York", "license": "PD/CC0", "tier": "Entry", "sizes": [{"size": "8×10 in", "paper": 39, "iw": 7.5, "ih": 10, "sw": 8, "sh": 10, "cov": 0.937}, {"size": "11×14 in", "paper": 59, "iw": 10.5, "ih": 14, "sw": 11, "sh": 14, "cov": 0.954}], "local": "/store/display/enriquez_guadalupe.jpg", "commons_file": null, "zoom": "https://art.monstrance.app/zoom/enriquez_guadalupe.jpg", "master_px": 3884, "auth": {"institution": "The Metropolitan Museum of Art, New York", "accession": "2014.173", "url": "https://www.metmuseum.org/art/collection/search/635401", "artist_as_printed": "Nicolás Enríquez (Mexican, 1704–1790)", "date_as_printed": "1773", "medium": "Oil on copper", "dimensions": "22 1/4 × 16 1/2 in. (56.5 × 41.9 cm)"}, "writeup": {"text": "The copper is small, and the gold on it is laid on like filigree: stars on the mantle, vines on the rose-coloured gown, the rays of the sun behind her, and the scrolled frames of four little scenes at the corners. In them Juan Diego kneels before the Virgin on the hill of Tepeyac, gathers her roses, and opens his tilma before the bishop, where her image is found painted on the cloth. Nicolás Enríquez signed and dated the picture at the foot, Mexico, 1773, and another line records that it was touched to the miraculous original on 2 July 1789, at the devotion of Don Juan Bautista Echeverría. The Metropolitan Museum of Art calls Guadalupe the most widely venerated sacred image in New Spain and counts this copper among its highlights. The angel under the moon holds up the hem of her mantle. She is looking down, still, at whoever stands before her.", "sources": [{"what": "Met object page 2014.173: tombstone; 'the most widely venerated sacred image in New Spain'; four scenes of the image's origin including the apparitions to Juan Diego at Tepeyac; the inscription records the copy was touched to the original in 1789; the Met lists the work among its highlights.", "url": "https://www.metmuseum.org/art/collection/search/635401", "cite": "The Metropolitan Museum of Art, 'The Virgin of Guadalupe with the Four Apparitions', 2014.173; read 2026-10-15."}, {"what": "The Guadalupe account: the apparitions to Juan Diego in December 1531, the roses, and the image on the tilma shown to Bishop Zumárraga.", "url": "https://www.newadvent.org/cathen/07043a.htm", "cite": "Catholic Encyclopedia (1910), 'Shrine of Guadalupe'."}]}, "scene": {"why": "NOT A SCRIPTURAL SCENE. The apparitions at Tepeyac (1531) are told by the Nican Mopohua and the Church's tradition, not by Scripture."}, "th": "/store/thumb/enriquez_guadalupe.webp"}, "panini_pantheon": {"id": "panini_pantheon", "title": "Interior of the Pantheon, Rome", "artist_line": "Giovanni Paolo Panini (Roman, 1691–1765)", "artist": "Giovanni Paolo Panini", "date": "c. 1734", "museum": "National Gallery of Art, Washington", "license": "PD/CC0", "tier": "Hero", "sizes": [{"size": "8×10 in", "paper": 39, "iw": 7.7, "ih": 10, "sw": 8, "sh": 10, "cov": 0.965}, {"size": "11×14 in", "paper": 59, "iw": 10.8, "ih": 14, "sw": 11, "sh": 14, "cov": 0.982}, {"size": "16×20 in", "paper": 110, "iw": 15.4, "ih": 20, "sw": 16, "sh": 20, "cov": 0.965}, {"size": "18×24 in", "paper": 140, "iw": 18, "ih": 23.3, "sw": 18, "sh": 24, "cov": 0.972}, {"size": "24×36 in", "paper": 190, "iw": 24, "ih": 31.1, "sw": 24, "sh": 36, "cov": 0.864}, {"size": "32×48 in", "paper": 340, "iw": 32, "ih": 41.5, "sw": 32, "sh": 48, "cov": 0.864}, {"size": "40×60 in", "paper": 480, "iw": 40, "ih": 51.8, "sw": 40, "sh": 60, "cov": 0.864}], "local": "/store/display/panini_pantheon.jpg", "commons_file": null, "zoom": "https://art.monstrance.app/zoom/panini_pantheon.jpg", "master_px": 7094, "auth": {"institution": "National Gallery of Art, Washington", "accession": "1939.1.24", "url": "https://www.nga.gov/artworks/165-interior-pantheon-rome", "artist_as_printed": "Giovanni Paolo Panini", "date_as_printed": "c. 1734", "medium": "oil on canvas", "dimensions": "overall: 128 x 99 cm (50 3/8 x 39 in.); framed: 144.1 x 114.3 cm (56 3/4 x 45 in.)"}, "writeup": {"text": "Through the open eye of the dome comes the only light there is, a circle of blue sky and cloud, and it falls as a bright patch on the far wall. Below the coffers the words run round the drum: Laudate Dominum in sanctis eius, laus eius in ecclesia sanctorum, praise ye the Lord in his holy places, his praise in the church of the saints. Giovanni Paolo Panini filled the Roman floor with the Rome of his own day: a lady in orange silk and one in blue, two men in pale habits, a kneeling figure at the right, a gentleman in red, and statues of saints in the niches between the columns. The National Gallery of Art records the picture at about 1734, in the Kress Collection since 1939, and notes that Hadrian's temple survived whole because it was consecrated as a Christian church in 609. The house of all the gods is Santa Maria ad Martyres now. The door stands open to the square, and the church is still there.", "sources": [{"what": "NGA open data, objectid 165: tombstone, inscription on the collar of the dome, provenance, Samuel H. Kress Collection 1939. nga.gov page: 'In Panini's day, as in our own, the Pantheon was one of the great tourist attractions of Rome'; built under Hadrian; survived intact because consecrated as a Christian church in AD 609.", "url": "https://www.nga.gov/artworks/165-interior-pantheon-rome", "cite": "National Gallery of Art, Washington, 'Interior of the Pantheon, Rome', 1939.1.24; open data and object page read 2026-10-15."}, {"what": "Psalm 150:1 'Praise ye the Lord in his holy places' and Psalm 149:1 'his praise in the church of the saints' (Douay-Rheims), the words painted round the drum.", "url": "https://www.drbo.org/chapter/21150.htm", "cite": "Douay-Rheims Bible, Psalms 149 and 150 (drbo.org)."}, {"what": "The Pantheon was consecrated as the church of Santa Maria ad Martyres by Boniface IV.", "url": "https://www.newadvent.org/cathen/02660b.htm", "cite": "Catholic Encyclopedia (1907), 'Pope Boniface IV'."}]}, "scene": {"why": "NOT A SCRIPTURAL SCENE. An interior of the church of Santa Maria ad Martyres, the Pantheon, with the Roman faithful and visitors of the 1730s."}, "th": "/store/thumb/panini_pantheon.webp", "more": [{"k": "subject", "n": "Saints in painting", "u": "/editions/subject/saints/", "ids": ["tiepolo_the_vision_of_saint_cajetan", "cabrera_allegory_of_the_holy_eucharist_alegoria", "cabrera_divine_shepherdess_la_divina_pastora", "ingres_joan_of_arc"]}, {"k": "master", "n": "Giovanni Paolo Panini", "u": "/editions/master/giovanni-paolo-panini/", "ids": ["panini_interior_of_saint_peters_rome"]}]}, "sequeira_adoration": {"id": "sequeira_adoration", "title": "The Adoration of the Magi", "artist_line": "Domingos António de Sequeira (Portuguese, 1768–1837)", "artist": "Domingos António de Sequeira", "date": "1828", "museum": "Museu Nacional de Arte Antiga, Lisbon", "license": "Public domain (PD-Art, US); faithful reproduction on Wikimedia Commons; the MNAA's own site is all rights reserved and offers no open file", "tier": "Sanctuary", "sizes": [{"size": "8×10 in", "paper": 39, "iw": 10, "ih": 7.3, "sw": 10, "sh": 8, "cov": 0.915}, {"size": "11×14 in", "paper": 59, "iw": 14, "ih": 10.2, "sw": 14, "sh": 11, "cov": 0.932}, {"size": "16×20 in", "paper": 110, "iw": 20, "ih": 14.6, "sw": 20, "sh": 16, "cov": 0.915}, {"size": "18×24 in", "paper": 140, "iw": 24, "ih": 17.6, "sw": 24, "sh": 18, "cov": 0.976}, {"size": "24×36 in", "paper": 190, "iw": 32.8, "ih": 24, "sw": 36, "sh": 24, "cov": 0.911}, {"size": "32×48 in", "paper": 340, "iw": 43.7, "ih": 32, "sw": 48, "sh": 32, "cov": 0.911}, {"size": "40×60 in", "paper": 480, "iw": 54.6, "ih": 40, "sw": 60, "sh": 40, "cov": 0.911}], "local": "/store/display/sequeira_adoration.jpg", "commons_file": "Domingos Sequeira - The Adoration of the Magi (c. 1830).jpg", "zoom": "https://art.monstrance.app/zoom/sequeira_adoration.jpg", "master_px": 11061, "auth": {"institution": "Museu Nacional de Arte Antiga, Lisbon", "accession": "2204 Pint", "url": "https://360.patrimoniocultural.gov.pt/en/explore/items/museu-nacional-de-arte-antiga/adoracao-dos-magos-3", "artist_as_printed": "Sequeira, Domingos António de (1768-1837)", "date_as_printed": "1828", "medium": "pintura a óleo (oil painting)", "dimensions": "100 x 140 cm (printed 'Altura: 1000 x Largura: 1400' under a '(cm)' label; read as 100 × 140 cm)"}, "writeup": {"text": "Everything in the crowd tilts toward one small white figure at the right, the Child in his Mother's arms, and above them the star has become a sky of light. Domingos António de Sequeira painted it in Italy in 1828, in the last years of his life, and the Museu Nacional de Arte Antiga in Lisbon records the canvas at a metre by a metre forty. A king in silver brocade kneels with his gift held out; a second lies flat on the ground in cloth of gold; a third, dark-skinned and turbaned, brings a covered vessel, and behind him an elephant with a canopied howdah waits in the mist beside a rider with a parasol. Mothers lift their children to see. Joseph stands in the shadow at Mary's shoulder. The Portuguese bought the picture for the nation by public subscription in 2016. The light is not on the kings. It is on the one they came for.", "sources": [{"what": "MNAA record on the state heritage portal, 2204 Pint: Adoração dos Magos, Sequeira, 1828, oil, 100 × 140 cm.", "url": "https://360.patrimoniocultural.gov.pt/en/explore/items/museu-nacional-de-arte-antiga/adoracao-dos-magos-3", "cite": "Museus e Monumentos de Portugal, Museu Nacional de Arte Antiga, 'Adoração dos Magos', 2204 Pint; read 2026-10-15."}, {"what": "Sequeira left Portugal in 1823 and worked in Paris and then Rome, where he died in 1837; the Adoration is one of his late religious canvases; the painting was acquired for the MNAA in 2016 after a public subscription campaign. [check: the MNAA press release or the museum's acquisition page should be cited here before launch]", "url": "https://www.museudearteantiga.pt/", "cite": "Museu Nacional de Arte Antiga (acquisition 2016); Sequeira's Roman years from the standard biographies. [check]"}, {"what": "Matthew 2:11 'And entering into the house, they found the child with Mary his mother, and falling down they adored him; and opening their treasures, they offered him gifts; gold, frankincense, and myrrh.'", "url": "https://www.drbo.org/chapter/47002.htm", "cite": "Douay-Rheims Bible, Matthew 2 (drbo.org)."}]}, "scene": {"ref": "Matthew 2:11", "quote": "And entering into the house, they found the child with Mary his mother, and falling down they adored him: and opening their treasures, they offered him gifts; gold, frankincense, and myrrh.", "shows": "the Magi, having found the Child with his Mother, fall down and adore him and open their gifts"}, "th": "/store/thumb/sequeira_adoration.webp", "more": [{"k": "subject", "n": "The Adoration of the Magi in painting", "u": "/editions/subject/adoration-of-the-magi/", "ids": ["fra_angelico_the_adoration_of_the_magi", "gozzoli_procession_of_the_magi_procession_of_the", "botticelli_adoration_of_the_magi", "titian_the_adoration_of_the_magi"]}]}, "gauguin_yellow_christ": {"id": "gauguin_yellow_christ", "title": "The Yellow Christ", "artist_line": "Paul Gauguin (French, 1848–1903)", "artist": "Paul Gauguin", "date": "1889", "museum": "Buffalo AKG Art Museum, Buffalo", "license": "Public domain (PD-Art, US); faithful reproduction on Wikimedia Commons; the museum marks the work Public Domain but limits its own downloads to educational use", "tier": "Hero", "sizes": [{"size": "8×10 in", "paper": 39, "iw": 7.9, "ih": 10, "sw": 8, "sh": 10, "cov": 0.993}, {"size": "11×14 in", "paper": 59, "iw": 11, "ih": 13.8, "sw": 11, "sh": 14, "cov": 0.989}, {"size": "16×20 in", "paper": 110, "iw": 15.9, "ih": 20, "sw": 16, "sh": 20, "cov": 0.993}, {"size": "18×24 in", "paper": 140, "iw": 18, "ih": 22.7, "sw": 18, "sh": 24, "cov": 0.944}, {"size": "24×36 in", "paper": 190, "iw": 24, "ih": 30.2, "sw": 24, "sh": 36, "cov": 0.839}, {"size": "32×48 in", "paper": 340, "iw": 32, "ih": 40.3, "sw": 32, "sh": 48, "cov": 0.839}, {"size": "40×60 in", "paper": 480, "iw": 40, "ih": 50.3, "sw": 40, "sh": 60, "cov": 0.839}], "local": "/store/display/gauguin_yellow_christ.jpg", "commons_file": "Paul Gauguin - Le Christ jaune (1889).jpg", "zoom": "https://art.monstrance.app/zoom/gauguin_yellow_christ.jpg", "master_px": 6424, "auth": {"institution": "Buffalo AKG Art Museum, Buffalo", "accession": "1946:4", "url": "https://buffaloakg.org/artworks/19464-le-christ-jaune-yellow-christ", "artist_as_printed": "Paul Gauguin (French, 1848-1903)", "date_as_printed": "1889", "medium": "oil on canvas", "dimensions": "support: 36 1/4 x 28 7/8 inches (92.07 x 73.34 cm)"}, "writeup": {"text": "The Christ is the colour of the fields behind him, and the fields are the yellow of a Breton autumn, with the trees gone red along the lane. Three women in white coifs and black bodices kneel at the foot of the cross with their hands folded; the nearest has her eyes cast down. Beyond the wall a small figure climbs over into the next field, a man going home. Paul Gauguin painted it at Pont-Aven in 1889 and signed it at the lower right, and the Buffalo AKG Art Museum, which bought it in 1946, records that he took the figure from a seventeenth-century wooden crucifix in a chapel near the town, and that the yellow was chosen for what he felt about the peasants' isolated, pious lives. There is no darkened sky, no city on the hill. The crucifixion is set in an ordinary countryside at harvest, and the women have come to it as they would come to the Angelus. They are not looking up. They already know who it is.", "sources": [{"what": "Buffalo AKG object page 1946:4: tombstone; painted in Pont-Aven; the figure based on a seventeenth-century wooden crucifix; kneeling Breton peasants in regional dress at the Angelus; the yellow chosen to express Gauguin's feelings about the peasants' isolated, pious lives.", "url": "https://buffaloakg.org/artworks/19464-le-christ-jaune-yellow-christ", "cite": "Buffalo AKG Art Museum, 'Le Christ jaune (The Yellow Christ)', 1946:4; read 2026-10-15."}, {"what": "John 19:25 'Now there stood by the cross of Jesus, his mother, and his mother's sister, Mary of Cleophas, and Mary Magdalen.'", "url": "https://www.drbo.org/chapter/50019.htm", "cite": "Douay-Rheims Bible, John 19 (drbo.org)."}]}, "scene": {"ref": "John 19:25", "quote": "Now there stood by the cross of Jesus, his mother and his mother's sister, Mary of Cleophas, and Mary Magdalen.", "shows": "the women standing by the cross, here as three Breton women in coifs"}, "th": "/store/thumb/gauguin_yellow_christ.webp", "more": [{"k": "subject", "n": "The Crucifixion in painting", "u": "/editions/subject/crucifixion/", "ids": ["andrea_da_firenze_the_crucifixion", "master_guillebert_de_mets_workshop_crucifixion_leaf", "van_dyck_christ_on_the_cross_christus_aan_het_kru", "bohemian_master_the_kaufmann_crucifixion"]}, {"k": "master", "n": "Paul Gauguin", "u": "/editions/master/paul-gauguin/", "ids": ["gauguin_vision_after_sermon", "gauguin_green_christ"]}]}, "dagnan_breton_women_pardon": {"id": "dagnan_breton_women_pardon", "title": "Breton Women at a Pardon", "artist_line": "Pascal-Adolphe-Jean Dagnan-Bouveret (French, 1852–1929)", "artist": "Pascal-Adolphe-Jean Dagnan-Bouveret", "date": "1887", "museum": "Museu Calouste Gulbenkian, Lisbon", "license": "Public domain (PD-Art, US); faithful reproduction on Wikimedia Commons; the Gulbenkian states no per-image licence (site 'Rights reserved')", "tier": "Mid", "sizes": [{"size": "8×10 in", "paper": 39, "iw": 9.0, "ih": 8, "sw": 10, "sh": 8, "cov": 0.905}, {"size": "11×14 in", "paper": 59, "iw": 12.4, "ih": 11, "sw": 14, "sh": 11, "cov": 0.888}, {"size": "18×24 in", "paper": 140, "iw": 20.4, "ih": 18, "sw": 24, "sh": 18, "cov": 0.848}], "local": "/store/display/dagnan_breton_women_pardon.jpg", "commons_file": "Pascal Dagnan-Bouveret - Breton Women at a Pardon.jpg", "zoom": "https://art.monstrance.app/zoom/dagnan_breton_women_pardon.jpg", "master_px": 4223, "auth": {"institution": "Museu Calouste Gulbenkian, Lisbon", "accession": "206", "url": "https://gulbenkian.pt/museu/en/works_museu/les-bretonnes-au-pardon-2", "artist_as_printed": "Pascal-Adolphe-Jean Dagnan-Bouveret (1852 – 1929), Painter", "date_as_printed": "1887", "medium": "Oil on canvas", "dimensions": "Height 125,00 cm; Width 141,00 cm"}, "writeup": {"text": "A ring of women in white coifs sits on the grass, and only one of them looks at us: a plain, flushed face framed in starched linen, her hands folded in her lap. Beside her an old woman has shut her eyes; a girl at the right holds a printed sheet; two men in black hats and blue sashes stand behind with their hands in their pockets, waiting. The spire of the church rises over the trees, and along the wall more coifs are gathered in the grey light. Pascal Dagnan-Bouveret painted Les Bretonnes au Pardon in 1887, and the Museu Calouste Gulbenkian, which bought it from the Galerie Georges Petit in 1921, records that it was shown at the Paris Salon to great acclaim and that a pardon is a day of indulgence granted by the Church to the faithful who come. They have walked to the shrine, heard Mass, and sat down. The quiet afterwards is the picture.", "sources": [{"what": "Gulbenkian object page inv. 206: tombstone, purchase 1921; 'evokes the ceremony of the Pardon, an indulgence granted by the Church to the faithful'; 'presented to great acclaim at the Paris Salon in 1889, where it was awarded a prize'.", "url": "https://gulbenkian.pt/museu/en/works_museu/les-bretonnes-au-pardon-2", "cite": "Museu Calouste Gulbenkian, 'Les Bretonnes au Pardon', inv. 206; read 2026-10-15."}]}, "scene": {"why": "NOT A SCRIPTURAL SCENE. Breton women resting after a pardon, the Breton pilgrimage feast with its indulgence."}, "th": "/store/thumb/dagnan_breton_women_pardon.webp"}, "gauguin_green_christ": {"id": "gauguin_green_christ", "title": "The Green Christ (Le calvaire breton)", "artist_line": "Paul Gauguin (French, 1848–1903)", "artist": "Paul Gauguin", "date": "1889", "museum": "Royal Museums of Fine Arts of Belgium, Brussels", "license": "Public domain (PD-Art, US); faithful reproduction on Wikimedia Commons (from a catalogue raisonné site); the museum's own image is all rights reserved", "tier": "Mid", "sizes": [{"size": "8×10 in", "paper": 39, "iw": 7.9, "ih": 10, "sw": 8, "sh": 10, "cov": 0.989}, {"size": "11×14 in", "paper": 59, "iw": 11, "ih": 13.9, "sw": 11, "sh": 14, "cov": 0.993}], "local": "/store/display/gauguin_green_christ.jpg", "commons_file": "Paul Gauguin - The Green Christ (1889).jpg", "zoom": "https://art.monstrance.app/zoom/gauguin_green_christ.jpg", "master_px": 4045, "auth": {"institution": "Royal Museums of Fine Arts of Belgium, Brussels", "accession": "Inv. 4416", "url": "https://fine-arts-museum.be/fr/la-collection/paul-gauguin-le-calvaire-breton", "artist_as_printed": "Paul Gauguin (Paris 1848 – Atuona, Marquesas Islands 1903)", "date_as_printed": "1889", "medium": "Huile sur toile", "dimensions": "92 x 73.5 (unit not printed; cm)"}, "writeup": {"text": "The stone has gone green with the weather, and so has the Christ laid across the laps of the three holy women, carved in one block with them. A Breton woman in a dark dress crouches at the foot of the calvary with a dark lamb under her arm, her face turned toward the sea; a man crosses the beach below with a load on his shoulder, and the dunes are pink. Paul Gauguin painted it at Pont-Aven in 1889, the year of the Yellow Christ, and signed it at the lower left. The Royal Museums of Fine Arts of Belgium, which bought it in Brussels in 1922, keep it under his own title, Le calvaire breton. Calvaries like this one stand at crossroads all over Brittany, and the people pass them every day. The woman is not praying. She is simply there, beside the dead Christ, with her animal, as her grandmothers were. The sculpture holds him up for her.", "sources": [{"what": "Royal Museums of Fine Arts of Belgium object page, Inv. 4416: Le calvaire breton, 1889, oil on canvas, 92 x 73.5, signed and dated lower left, purchased from Jos Breckpot 1922.", "url": "https://fine-arts-museum.be/fr/la-collection/paul-gauguin-le-calvaire-breton", "cite": "Musées royaux des Beaux-Arts de Belgique, 'Le calvaire breton', Inv. 4416; read 2026-10-15."}, {"what": "The Yellow Christ, painted the same year at Pont-Aven (Buffalo AKG 1946:4).", "url": "https://buffaloakg.org/artworks/19464-le-christ-jaune-yellow-christ", "cite": "Buffalo AKG Art Museum, 'Le Christ jaune', 1946:4; read 2026-10-15."}]}, "scene": {"why": "NOT A SCRIPTURAL SCENE AS PAINTED. A Breton stone calvary with its Pietà group (the dead Christ held by the holy women, after John 19 and the Deposition tradition), and a living Breton woman at its foot."}, "th": "/store/thumb/gauguin_green_christ.webp", "more": [{"k": "subject", "n": "The Pietà in painting", "u": "/editions/subject/pieta/", "ids": ["lippi_pieta", "bellini_imago_pietatis_pieta", "fouquet_pieta_of_nouans_nouans_pieta", "rosso_fiorentino_dead_christ_with_angels"]}, {"k": "master", "n": "Paul Gauguin", "u": "/editions/master/paul-gauguin/", "ids": ["gauguin_yellow_christ", "gauguin_vision_after_sermon"]}]}, "gauguin_vision_after_sermon": {"id": "gauguin_vision_after_sermon", "title": "Vision of the Sermon (Jacob Wrestling with the Angel)", "artist_line": "Paul Gauguin (French, 1848–1903)", "artist": "Paul Gauguin", "date": "1888", "museum": "National Galleries of Scotland, Edinburgh", "license": "Public domain (PD-Art, US); faithful reproduction on Wikimedia Commons (5000×3918, uploaded April 2026); NGS's own downloads are personal, non-commercial use only and are not used", "tier": "Mid", "sizes": [{"size": "8×10 in", "paper": 39, "iw": 10, "ih": 7.8, "sw": 10, "sh": 8, "cov": 0.98}, {"size": "11×14 in", "paper": 59, "iw": 14, "ih": 11.0, "sw": 14, "sh": 11, "cov": 0.997}, {"size": "16×20 in", "paper": 110, "iw": 20, "ih": 15.7, "sw": 20, "sh": 16, "cov": 0.98}, {"size": "18×24 in", "paper": 140, "iw": 23.0, "ih": 18, "sw": 24, "sh": 18, "cov": 0.957}, {"size": "32×48 in", "paper": 340, "iw": 40.8, "ih": 32, "sw": 48, "sh": 32, "cov": 0.851}], "local": "/store/display/gauguin_vision_after_sermon.jpg", "commons_file": "La vision après le sermon (Paul Gauguin).jpg", "zoom": "https://art.monstrance.app/zoom/gauguin_vision_after_sermon.jpg", "master_px": 5000, "auth": {"institution": "National Galleries of Scotland, Edinburgh", "accession": "NG 1643", "url": "https://www.nationalgalleries.org/art-and-artists/4940", "artist_as_printed": "Paul Gauguin (1848 - 1903) French", "date_as_printed": "1888", "medium": "Oil on canvas", "dimensions": "72.20 x 91.00 cm; Framed: 96.00 x 116.70 x 8.30 cm / 21.00 kg"}, "writeup": {"text": "The field is red because it is not a field. Behind the women, across a slanting apple bough, Jacob wrestles with the angel on ground the colour of fire, the angel's wings a hard chrome yellow, and a cow wanders past as if nothing were happening. In front, the women of Pont-Aven in their white coifs have bowed their heads; the nearest has joined her hands and shut her eyes, and at the right edge a tonsured head leans in among them. Paul Gauguin painted it in Brittany in 1888, and the National Galleries of Scotland, which bought it in 1925, record that the women have just heard a sermon on Jacob and the angel, and that the flat shapes and bold colour were his break with Impressionism. Jacob wrestled till the morning and would not let go without a blessing. The women have brought the fight home from church, behind their closed eyes.", "sources": [{"what": "NGS object page NG 1643: tombstone; painted in Pont-Aven in 1888; Breton women in traditional dress who have just heard a sermon about Jacob wrestling an angel; flattened shapes and bold colours reject naturalistic styles such as Impressionism.", "url": "https://www.nationalgalleries.org/art-and-artists/4940", "cite": "National Galleries of Scotland, 'Vision of the Sermon (Jacob Wrestling with the Angel)', NG 1643; read 2026-10-15."}, {"what": "Genesis 32:24-26 'he remained alone: and behold a man wrestled with him till morning. ... Let me go, for it is break of day. He answered: I will not let thee go, except thou bless me.'", "url": "https://www.drbo.org/chapter/01032.htm", "cite": "Douay-Rheims Bible, Genesis 32 (drbo.org)."}]}, "scene": {"ref": "Genesis 32:24", "quote": "He remained alone; and behold, a man wrestled with him till morning.", "shows": "Jacob wrestling with the angel, seen by the Breton women after the sermon"}, "th": "/store/thumb/gauguin_vision_after_sermon.webp", "more": [{"k": "subject", "n": "The Old Testament in painting", "u": "/editions/subject/old-testament/", "ids": ["giovanni_di_paolo_creation_of_the_world_and_the_expulsion", "florence_psalter_leaf_initial_b_king_david", "circle_of_geertgen_tree_of_jesse", "andrea_del_sarto_the_sacrifice_of_isaac"]}, {"k": "master", "n": "Paul Gauguin", "u": "/editions/master/paul-gauguin/", "ids": ["gauguin_green_christ", "gauguin_yellow_christ"]}]}, "boutet_joan_vision": {"id": "boutet_joan_vision", "title": "The Vision and Inspiration (Joan of Arc series: I)", "artist_line": "Louis Maurice Boutet de Monvel (French, 1850–1913)", "artist": "Louis Maurice Boutet de Monvel", "date": "c. 1907-early 1909", "museum": "National Gallery of Art, Washington", "license": "PD/CC0", "tier": "Sanctuary", "sizes": [{"size": "8×10 in", "paper": 39, "iw": 10, "ih": 4.4, "sw": 10, "sh": 8, "cov": 0.552}, {"size": "11×14 in", "paper": 59, "iw": 14, "ih": 6.2, "sw": 14, "sh": 11, "cov": 0.562}, {"size": "16×20 in", "paper": 110, "iw": 20, "ih": 8.8, "sw": 20, "sh": 16, "cov": 0.552}, {"size": "18×24 in", "paper": 140, "iw": 24, "ih": 10.6, "sw": 24, "sh": 18, "cov": 0.589}, {"size": "24×36 in", "paper": 190, "iw": 36, "ih": 15.9, "sw": 36, "sh": 24, "cov": 0.663}, {"size": "32×48 in", "paper": 340, "iw": 48, "ih": 21.2, "sw": 48, "sh": 32, "cov": 0.663}, {"size": "40×60 in", "paper": 480, "iw": 60, "ih": 26.5, "sw": 60, "sh": 40, "cov": 0.663}], "local": "/store/display/boutet_joan_vision.jpg", "commons_file": null, "zoom": "https://art.monstrance.app/zoom/boutet_joan_vision.jpg", "master_px": 15409, "auth": {"institution": "National Gallery of Art, Washington", "accession": "2015.19.34", "url": "https://www.nga.gov/collection/art-object-page.195106.html", "artist_as_printed": "Louis Maurice Boutet de Monvel", "date_as_printed": "c. 1907-early 1909", "medium": "oil and gold leaf on canvas", "dimensions": "overall: 75.57 × 168.91 cm (29 3/4 × 66 1/2 in.); framed: 98.43 × 193.04 × 10.16 cm (38 3/4 × 76 × 4 in.)"}, "writeup": {"text": "The sheep have not noticed. They lie in the grass with their legs folded under them while the girl on her knees among them lifts both hands toward a blaze of gold at the edge of the wood. Inside it stands Saint Michael in gilded armour, pointing with his sword the way she must go, and two women in gowns worked with gold at his sides, Catherine and Margaret, the whole vision laid in gold leaf on the canvas. A basket of wool has tipped over at her knee. Louis Maurice Boutet de Monvel painted it in about 1907 to 1909 as the first of a series on Joan of Arc commissioned by the American senator William A. Clark, and the National Gallery of Art records it as oil and gold leaf, bequeathed to the Corcoran Gallery in 1926 and acquired in 2015. She told her judges the voice first came to her at about thirteen, in her father's garden, at noon. Here it is the whole sky. The sheep go on chewing.", "sources": [{"what": "NGA open data, objectid 195106: tombstone, inscription, provenance (commissioned by William A. Clark; Corcoran bequest 1926; NGA 2015). nga.gov page: a woman kneels at right in prayer, gazing toward a vision of an armored, winged figure (Saint Michael) hovering above the ground with a raised gold sword, flanked by two companions within a halo; 'This object's media is free and in the public domain.'", "url": "https://www.nga.gov/collection/art-object-page.195106.html", "cite": "National Gallery of Art, Washington, 'The Vision and Inspiration (Joan of Arc series: I)', 2015.19.34; open data and object page read 2026-10-15."}, {"what": "Joan's testimony at Rouen: she was about thirteen when she first heard the voice, in her father's garden, about noon in summer; the voice was that of Saint Michael, and later Saints Catherine and Margaret.", "url": "https://www.newadvent.org/cathen/08409c.htm", "cite": "Catholic Encyclopedia (1910), 'St. Joan of Arc'."}]}, "scene": {"why": "NOT A SCRIPTURAL SCENE. Joan of Arc's first vision at Domrémy, from her own testimony at the trial of 1431."}, "th": "/store/thumb/boutet_joan_vision.webp", "more": [{"k": "subject", "n": "Saints in painting", "u": "/editions/subject/saints/", "ids": ["redon_st_sebastian", "brooklyn_cuzco_joseph", "giovanni_di_paolo_st_catherine_of_siena_invested_with_the", "lippi_saint_lawrence_enthroned"]}]}, "denver_guadalupe_1779": {"id": "denver_guadalupe_1779", "title": "Virgin of Guadalupe", "artist_line": "Sebastián Salcedo (Mexican, active 1779)", "artist": "Sebastián Salcedo", "date": "1779", "museum": "Denver Art Museum", "license": "Public domain (PD-Art, US); Google Art Project reproduction on Wikimedia Commons, Denver Art Museum partner capture; DAM states no open licence on the object page", "tier": "Hero", "sizes": [{"size": "8×10 in", "paper": 39, "iw": 7.3, "ih": 10, "sw": 8, "sh": 10, "cov": 0.91}, {"size": "11×14 in", "paper": 59, "iw": 10.2, "ih": 14, "sw": 11, "sh": 14, "cov": 0.927}, {"size": "16×20 in", "paper": 110, "iw": 14.6, "ih": 20, "sw": 16, "sh": 20, "cov": 0.91}, {"size": "18×24 in", "paper": 140, "iw": 17.5, "ih": 24, "sw": 18, "sh": 24, "cov": 0.971}, {"size": "24×36 in", "paper": 190, "iw": 24, "ih": 33.0, "sw": 24, "sh": 36, "cov": 0.916}, {"size": "32×48 in", "paper": 340, "iw": 32, "ih": 44.0, "sw": 32, "sh": 48, "cov": 0.916}], "local": "/store/display/denver_guadalupe_1779.jpg", "commons_file": "Mexico - Virgin of Guadalupe - Google Art Project.jpg", "zoom": "https://art.monstrance.app/zoom/denver_guadalupe_1779.jpg", "master_px": 6137, "auth": {"institution": "Denver Art Museum", "accession": "1976.56", "url": "https://www.denverartmuseum.org/en/object/1976.56", "artist_as_printed": "Sebastián Salcedo", "date_as_printed": "1779", "medium": "Oil paint on copper panel", "dimensions": "25½ × 19⅝ in."}, "writeup": {"text": "A banner at the top of the copper carries the words a pope gave to Mexico: Non fecit taliter omni nationi, he hath not done in like manner to every nation. Benedict XIV himself kneels at the lower left in his tiara, the Office and Mass he granted the feast open on his knee, and across from him a Mexica princess in a feathered crown holds the eagle of the empire. Between them the Virgin of Guadalupe stands on her moon in a blaze of gold, and round her, in scrolled rococo frames, are the apparitions to Juan Diego and the miracles of the image, with prophets and apostles reaching up to crown her, Regina sanctorum omnium. At the very foot lies the sanctuary at Tepeyac with its towers. The Denver Art Museum records the painter as Sebastián Salcedo, who signed and dated the work in 1779, oil on copper, bought in 1976. The whole theology of Guadalupe is on one small plate. Her eyes are lowered, as they are on the tilma.", "sources": [{"what": "DAM object page 1976.56: Sebastián Salcedo, Virgin of Guadalupe, 1779, oil paint on copper panel, 25½ × 19⅝ in.; 'the Virgin is surrounded by prophets, saints, angels, and seven miniature scenes of her miracles'; 'At the bottom, Pope Benedict XIV and a Mexica (Aztec) princess (symbolizing Mexico) flank a landscape'.", "url": "https://www.denverartmuseum.org/en/object/1976.56", "cite": "Denver Art Museum, 'Virgin of Guadalupe', 1976.56; read 2026-10-15."}, {"what": "Psalm 147:20 'He hath not done in like manner to every nation' (Douay-Rheims), the verse Benedict XIV applied to Mexico when he approved the Office and Mass of Our Lady of Guadalupe in 1754.", "url": "https://www.drbo.org/chapter/21147.htm", "cite": "Douay-Rheims Bible, Psalm 147 (drbo.org); Catholic Encyclopedia (1910), 'Shrine of Guadalupe', on Benedict XIV's approval of the feast."}]}, "scene": {"why": "NOT A SCRIPTURAL SCENE. The Guadalupe image with its apparitions and miracles, Benedict XIV's approval of the feast (1754), and the sanctuary at Tepeyac."}, "th": "/store/thumb/denver_guadalupe_1779.webp"}, "brooklyn_cuzco_joseph": {"id": "brooklyn_cuzco_joseph", "title": "Saint Joseph and the Christ Child", "artist_line": "Cuzco School (Peru, late 17th–18th century)", "artist": "Cuzco School", "date": "late 17th–18th century", "museum": "Brooklyn Museum", "license": "Public domain (PD-Art, US); Google Art Project reproduction on Wikimedia Commons, Brooklyn Museum partner capture", "tier": "Mid", "sizes": [{"size": "8×10 in", "paper": 39, "iw": 7.5, "ih": 10, "sw": 8, "sh": 10, "cov": 0.944}, {"size": "11×14 in", "paper": 59, "iw": 10.6, "ih": 14, "sw": 11, "sh": 14, "cov": 0.961}, {"size": "16×20 in", "paper": 110, "iw": 15.1, "ih": 20, "sw": 16, "sh": 20, "cov": 0.944}, {"size": "18×24 in", "paper": 140, "iw": 18, "ih": 23.8, "sw": 18, "sh": 24, "cov": 0.994}, {"size": "32×48 in", "paper": 340, "iw": 32, "ih": 42.4, "sw": 32, "sh": 48, "cov": 0.883}], "local": "/store/display/brooklyn_cuzco_joseph.jpg", "commons_file": "Saint Joseph and the Christ Child - Google Art Project.jpg", "zoom": "https://art.monstrance.app/zoom/brooklyn_cuzco_joseph.jpg", "master_px": 5470, "auth": {"institution": "Brooklyn Museum", "accession": "41.1275.191", "url": "https://www.brooklynmuseum.org/objects/679", "artist_as_printed": "Cuzco School", "date_as_printed": "late 17th–18th century", "medium": "Oil on canvas", "dimensions": "43 x 32 1/8in. (109.2 x 81.6cm) frame: 45 11/16 x 35 1/16 x 2 1/2 in. (116 x 89.1 x 6.4 cm)"}, "writeup": {"text": "Both of them wear gold: the brocade is painted on in stencilled flowers over the red of Joseph's cloak and the dark of his robe, and the same pattern covers the small cape of the Child, who holds his father's hand and carries a basket of carpenter's tools. Joseph's other hand lifts a stem of lilies. Rays go out from both heads, a garland of roses runs round the edge, and red and gold birds fly through the clouds toward a castle on the hill behind. The painter is unknown, one of the workshops of Cuzco in Peru, and the Brooklyn Museum, which acquired the canvas on its 1941 expedition, dates it to the late seventeenth or the eighteenth century and notes that such saints hung in bedrooms: Joseph, patron of a good death, watched over evening prayer and sleep. He walks the boy forward. The boy looks out at us, not at the road.", "sources": [{"what": "Brooklyn Museum object page 41.1275.191: tombstone; label text on bedroom saints and Joseph as patron of the Good Death, watching over evening prayer and sleep.", "url": "https://www.brooklynmuseum.org/objects/679", "cite": "Brooklyn Museum, 'Saint Joseph and the Christ Child', 41.1275.191; read 2026-10-15."}]}, "scene": {"why": "NOT A SCRIPTURAL SCENE. A devotional image of Saint Joseph leading the Christ Child, the lily of his purity in his hand."}, "th": "/store/thumb/brooklyn_cuzco_joseph.webp", "more": [{"k": "subject", "n": "Saints in painting", "u": "/editions/subject/saints/", "ids": ["giovanni_di_paolo_st_catherine_of_siena_invested_with_the", "lippi_saint_lawrence_enthroned", "ribera_jerome", "ribera_saint_bartholomew"]}]}, "redon_st_sebastian": {"id": "redon_st_sebastian", "title": "Saint Sebastian", "artist_line": "Odilon Redon (French, 1840–1916)", "artist": "Odilon Redon", "date": "1910/1912", "museum": "National Gallery of Art, Washington", "license": "PD/CC0", "tier": "Sanctuary", "sizes": [{"size": "8×10 in", "paper": 39, "iw": 4.3, "ih": 10, "sw": 8, "sh": 10, "cov": 0.536}, {"size": "11×14 in", "paper": 59, "iw": 6.0, "ih": 14, "sw": 11, "sh": 14, "cov": 0.545}, {"size": "16×20 in", "paper": 110, "iw": 8.6, "ih": 20, "sw": 16, "sh": 20, "cov": 0.536}, {"size": "18×24 in", "paper": 140, "iw": 10.3, "ih": 24, "sw": 18, "sh": 24, "cov": 0.571}, {"size": "24×36 in", "paper": 190, "iw": 15.4, "ih": 36, "sw": 24, "sh": 36, "cov": 0.643}, {"size": "32×48 in", "paper": 340, "iw": 20.6, "ih": 48, "sw": 32, "sh": 48, "cov": 0.643}, {"size": "40×60 in", "paper": 480, "iw": 25.7, "ih": 60, "sw": 40, "sh": 60, "cov": 0.643}], "local": "/store/display/redon_st_sebastian.jpg", "commons_file": null, "zoom": "https://art.monstrance.app/zoom/redon_st_sebastian.jpg", "master_px": 26676, "auth": {"institution": "National Gallery of Art, Washington", "accession": "1963.10.57", "url": "https://www.nga.gov/artworks/46532-saint-sebastian", "artist_as_printed": "Odilon Redon", "date_as_printed": "1910/1912", "medium": "oil on canvas", "dimensions": "overall: 144 x 62.5 cm (56 11/16 x 24 5/8 in.); framed: 165.7 x 84.8 cm (65 1/4 x 33 3/8 in.)"}, "writeup": {"text": "Two arrows have found him, one at the ribs and one at the arm, and he has let his head fall to the side as if to sleep. His hands are tied behind the trunk. Nothing else in the picture is violent: the tree breaks into red blossom against a turquoise sky, the ground at his feet is a bed of flowers, and the whole left side dissolves into a bank of white, like cloud or hawthorn. Odilon Redon painted this Saint Sebastian late, between 1910 and 1912, and signed it at the lower left; the National Gallery of Art records it as oil on canvas, a tall narrow panel of the Chester Dale Collection, given in 1963. The martyr of the Roman guard, shot with arrows and left for dead and nursed back by the widow Irene, is here a young man held upright by a tree in flower. The arrows are thin as grass. The garden has already begun its work.", "sources": [{"what": "NGA open data, objectid 46532: tombstone, inscription, provenance (Chavasse sale 1922; Chester Dale 1950; gift 1963). NGA open-access policy: images 'available free of charge for any use, whether commercial or non-commercial'.", "url": "https://www.nga.gov/artworks/46532-saint-sebastian", "cite": "National Gallery of Art, Washington, 'Saint Sebastian', 1963.10.57; open data and object page read 2026-10-15."}, {"what": "Sebastian, a soldier of the imperial guard under Diocletian, was shot with arrows and left for dead; the widow Irene nursed him; he was afterwards beaten to death.", "url": "https://www.newadvent.org/cathen/13668a.htm", "cite": "Catholic Encyclopedia (1912), 'St. Sebastian'."}]}, "scene": {"why": "NOT A SCRIPTURAL SCENE. The martyrdom of Saint Sebastian (d. c. 288) is told by the Acts of the martyr and the Church's tradition."}, "th": "/store/thumb/redon_st_sebastian.webp", "more": [{"k": "subject", "n": "Saints in painting", "u": "/editions/subject/saints/", "ids": ["brooklyn_cuzco_joseph", "giovanni_di_paolo_st_catherine_of_siena_invested_with_the", "lippi_saint_lawrence_enthroned", "ribera_jerome"]}]}, "ingres_joan_of_arc": {"id": "ingres_joan_of_arc", "title": "Joan of Arc at the Coronation of Charles VII", "artist_line": "Jean-Auguste-Dominique Ingres (French, 1780–1867)", "artist": "Jean-Auguste-Dominique Ingres", "date": "1854", "museum": "Musée du Louvre, Paris", "license": "Public domain (PD-Art, US); the holder's own file is non-commercial, so the master is the Commons reproduction under the US PD-Art position", "tier": "Mid", "sizes": [{"size": "8×10 in", "paper": 39, "iw": 7.4, "ih": 10, "sw": 8, "sh": 10, "cov": 0.927}, {"size": "11×14 in", "paper": 59, "iw": 10.4, "ih": 14, "sw": 11, "sh": 14, "cov": 0.944}, {"size": "16×20 in", "paper": 110, "iw": 14.8, "ih": 20, "sw": 16, "sh": 20, "cov": 0.927}, {"size": "18×24 in", "paper": 140, "iw": 17.8, "ih": 24, "sw": 18, "sh": 24, "cov": 0.989}, {"size": "32×48 in", "paper": 340, "iw": 32, "ih": 43.1, "sw": 32, "sh": 48, "cov": 0.899}], "local": "/store/display/ingres_joan_of_arc.jpg", "commons_file": "Ingres coronation charles vii.jpg", "zoom": "https://art.monstrance.app/zoom/ingres_joan_of_arc.jpg", "master_px": 5176, "auth": {"institution": "Musée du Louvre, Paris", "accession": "MI 667", "url": "https://collections.louvre.fr/en/ark:/53355/cl010065747", "artist_as_printed": "Ingres, Jean-Auguste-Dominique (Montauban, 1780 - Paris, 1867), France École de", "date_as_printed": "3e quart du XIXe siècle (1854)", "medium": "huile sur toile", "dimensions": "Hauteur : 2,4 m ; Largeur : 1,78 m (avec accessoire 2,85 x 2,26 m)"}, "writeup": {"text": "Her hand rests flat on the altar, as if to steady it, and her eyes have gone up past the candle to something above the picture. Ingres put her in full plate armour with a skirt of rose brocade over it, the standard in her right hand, the lilies of France on the dark hanging behind her, a thin gold halo over her hair. On the altar stand a monstrance, a crown on its cushion, a lit candle; at her feet lie her helmet and gauntlets, and behind her a tonsured monk reads from his book, two pages pray with joined hands, and a squire holds her lance. The Louvre records that the State commissioned the picture in 1851 and that Ingres signed and dated it in 1854, the year it was shown at Orléans for her feast and then at the Exposition universelle. The coronation at Reims was the end of what the voices had asked. She is not looking at the king.", "sources": [{"what": "Louvre record MI 667: tombstone, signature, acquisition (achat après commande, 1851), description of the picture, exhibited at Orléans for the feast of Joan of Arc in 1854 and at the Exposition universelle of 1855.", "url": "https://collections.louvre.fr/en/ark:/53355/cl010065747", "cite": "Musée du Louvre, 'Jeanne d'Arc au sacre du roi Charles VII, dans la cathédrale de Reims', MI 667; read 2026-10-15."}, {"what": "Charles VII was crowned at Reims on 17 July 1429 with Joan standing beside him with her standard.", "url": "https://www.newadvent.org/cathen/08409c.htm", "cite": "Catholic Encyclopedia (1910), 'St. Joan of Arc'."}]}, "scene": {"why": "NOT A SCRIPTURAL SCENE. The coronation of Charles VII at Reims, 17 July 1429, with Joan of Arc at the altar."}, "th": "/store/thumb/ingres_joan_of_arc.webp", "more": [{"k": "subject", "n": "Saints in painting", "u": "/editions/subject/saints/", "ids": ["bastien_joan_of_arc", "boutet_joan_vision", "redon_st_sebastian", "brooklyn_cuzco_joseph"]}, {"k": "master", "n": "Jean-Auguste-Dominique Ingres", "u": "/editions/master/jean-auguste-dominique-ingres/", "ids": ["ingres_virgin_adoring_the_host"]}]}, "kramskoy_christ_in_the_wilderness": {"id": "kramskoy_christ_in_the_wilderness", "title": "Christ in the Wilderness", "artist_line": "Ivan Kramskoy (Russian, 1837–1887)", "artist": "Ivan Kramskoy", "date": "1872", "museum": "State Tretyakov Gallery, Moscow", "license": "Public domain (PD-Art, US); Google Cultural Institute capture on Wikimedia Commons; the Tretyakov publishes no open licence", "tier": "Mid", "sizes": [{"size": "8×10 in", "paper": 39, "iw": 9.1, "ih": 8, "sw": 10, "sh": 8, "cov": 0.912}, {"size": "11×14 in", "paper": 59, "iw": 12.5, "ih": 11, "sw": 14, "sh": 11, "cov": 0.896}, {"size": "18×24 in", "paper": 140, "iw": 20.5, "ih": 18, "sw": 24, "sh": 18, "cov": 0.855}], "local": "/store/display/kramskoy_christ_in_the_wilderness.jpg", "commons_file": "Christ in the Wilderness - Ivan Kramskoy - Google Cultural Institute.jpg", "zoom": "https://art.monstrance.app/zoom/kramskoy_christ_in_the_wilderness.jpg", "master_px": 4000, "auth": {"institution": "State Tretyakov Gallery, Moscow", "accession": "Инв. 651", "url": "https://my.tretyakov.ru/app/masterpiece/8448", "artist_as_printed": "Крамской Иван (1837-1887)", "date_as_printed": "1872", "medium": "холст, масло (oil on canvas)", "dimensions": "184 x 214 cm"}, "writeup": {"text": "The hands are the centre of it: locked together between his knees, knuckle on knuckle, so tight they have gone pale. He sits on a boulder in a field of broken grey stone with his bare feet on the rock and his cloak pulled round him, and he has been there all night; behind him the sky is turning pink before sunrise and the land is still in shadow. Ivan Kramskoy painted it in 1872, and the Tretyakov Gallery, whose founder bought it from the painter the same year, records that the horizon cuts the canvas into two equal halves, the cold earth below and the light above, with the clasped hands exactly at the centre of the picture. No devil is shown. The Academy offered him a professorship for it and he refused. Forty days, the Gospel says, and afterwards he was hungry. This is what the forty days looked like from inside.", "sources": [{"what": "Tretyakov Gallery record, Inv. 651: tombstone, acquired from the artist by P. M. Tretyakov in 1872; the museum's text on the composition (horizon dividing the canvas, the hands at the geometric centre, the pre-dawn sky), the 2nd Peredvizhniki exhibition, the refused professorship of 1873.", "url": "https://my.tretyakov.ru/app/masterpiece/8448", "cite": "State Tretyakov Gallery, 'Христос в пустыне', Inv. 651; read 2026-10-15."}, {"what": "Matthew 4:1-2, the fast of forty days in the desert.", "url": "https://www.drbo.org/chapter/47004.htm", "cite": "Douay-Rheims Bible, Matthew 4 (drbo.org)."}]}, "scene": {"ref": "Matthew 4:2", "quote": "And when he had fasted forty days and forty nights, afterwards he was hungry.", "shows": "Christ alone on the stones at dawn after the forty days, hands clasped"}, "th": "/store/thumb/kramskoy_christ_in_the_wilderness.webp", "more": [{"k": "subject", "n": "The Life of Christ in painting", "u": "/editions/subject/the-life-of-christ/", "ids": ["hofmann_rich_young_ruler", "vangogh_pieta_after_delacroix", "bosch_christs_descent_into_hell", "correa_christ_gathering_his_garments_after_the_flagellat"]}]}, "leibl_three_women_in_church": {"id": "leibl_three_women_in_church", "title": "Three Women in Church", "artist_line": "Wilhelm Leibl (German, 1844–1900)", "artist": "Wilhelm Leibl", "date": "1878–1882", "museum": "Hamburger Kunsthalle", "license": "Public domain (PD-Art, US); faithful reproduction on Wikimedia Commons; the Kunsthalle's own photograph is ordered through Artothek", "tier": "Mid", "sizes": [{"size": "8×10 in", "paper": 39, "iw": 6.4, "ih": 10, "sw": 8, "sh": 10, "cov": 0.801}, {"size": "11×14 in", "paper": 59, "iw": 9.0, "ih": 14, "sw": 11, "sh": 14, "cov": 0.815}, {"size": "18×24 in", "paper": 140, "iw": 15.4, "ih": 24, "sw": 18, "sh": 24, "cov": 0.854}], "local": "/store/display/leibl_three_women_in_church.jpg", "commons_file": "Wilhelm Leibl - Drei Frauen in der Kirche (1882).jpg", "zoom": "https://art.monstrance.app/zoom/leibl_three_women_in_church.jpg", "master_px": 4596, "auth": {"institution": "Hamburger Kunsthalle", "accession": "HK-1534", "url": "https://online-sammlung.hamburger-kunsthalle.de/de/objekt/HK-1534", "artist_as_printed": "Wilhelm Leibl (Köln 1844 - 1900 Würzburg)", "date_as_printed": "1878/82", "medium": "Öl auf Mahagoniholz (oil on mahogany)", "dimensions": "113cm x 77cm (Bild); 135cm x 98cm (Rahmen)"}, "writeup": {"text": "The young one has not got her gloves off; she holds the open prayer book in bare, reddened hands, a straw hat with a gold band on her head and a white shawl printed with flowers over her bodice. Beside her an old woman in a black headscarf bends over her own book, and behind them a third, older still, kneels in profile with her hands folded, looking at the altar we cannot see. Wilhelm Leibl painted them on a mahogany panel inside the village church at Berbling in Bavaria, over three and a half years from 1878, and the Hamburger Kunsthalle, which bought the picture in 1906, records that real countrywomen sat for it, that the three are the ages of life and three stages of prayer, and that he took the figures from Holbein's Madonna of Burgomaster Meyer. The carved pew ends, the dust on them, the stoneware jug on the floor are all there. So is the Mass, going on just out of the picture.", "sources": [{"what": "Hamburger Kunsthalle record HK-1534: tombstone, acquired 1906; museum text on Berbling, the three women as ages of life and stages of devotion, the Holbein model, the dust on the carved pews.", "url": "https://online-sammlung.hamburger-kunsthalle.de/de/objekt/HK-1534", "cite": "Hamburger Kunsthalle, 'Drei Frauen in der Kirche', HK-1534; read 2026-10-15."}]}, "scene": {"why": "NOT A SCRIPTURAL SCENE. Three Bavarian countrywomen at prayer in the church at Berbling."}, "th": "/store/thumb/leibl_three_women_in_church.webp"}, "goya_christ_crucified": {"id": "goya_christ_crucified", "title": "Christ Crucified", "artist_line": "Francisco de Goya (Spanish, 1746–1828)", "artist": "Francisco de Goya", "date": "1780", "museum": "Museo Nacional del Prado, Madrid", "license": "Public domain (PD-Art, US); the holder's own file is non-commercial, so the master is the Commons reproduction under the US PD-Art position", "tier": "Entry", "sizes": [{"size": "8×10 in", "paper": 39, "iw": 5.9, "ih": 10, "sw": 8, "sh": 10, "cov": 0.743}], "local": "/store/display/goya_christ_crucified.jpg", "commons_file": "Cristo en la cruz (Goya).jpg", "zoom": "https://art.monstrance.app/zoom/goya_christ_crucified.jpg", "master_px": 3051, "auth": {"institution": "Museo Nacional del Prado, Madrid", "accession": "P000745", "url": "https://www.museodelprado.es/en/the-collection/art-work/crucified-christ/093cbda0-b9c4-445e-b6d3-56c423811f46", "artist_as_printed": "Goya y Lucientes, Francisco de (Fuendetodos, Zaragoza, 30.3.1746 - Bordeaux, 16.4.1828)", "date_as_printed": "1780", "medium": "Oil on canvas", "dimensions": "Height: 255 cm; Width: 154 cm"}, "writeup": {"text": "There is nothing behind him. No hill, no sky, no city, no thieves; the cross stands in a black that goes all the way back, and the body on it is lit as if from a window, pale and smooth and almost unhurt. The feet rest on a small block, one nail through both; the head is lifted and the mouth is open, calling. Above it the title runs in three scripts. Francisco de Goya painted it in 1780 as his reception piece for the Royal Academy of San Fernando, which made him an Academician of Merit for it, and the Prado records that in 1785 it was sent to the Franciscan church of San Francisco el Grande and came to the museum in 1872. The Prado also says that Goya softened the cruelty of the subject and set the beauty of the body in its place, after Mengs. The darkness does the rest. Father, into thy hands.", "sources": [{"what": "Prado record P000745: tombstone, provenance (Academy 1780, San Francisco el Grande 1785, Trinidad Museum, Prado 1872); museum text on the Academy reception piece, Mengs and Bayeu, the softened subject.", "url": "https://www.museodelprado.es/en/the-collection/art-work/crucified-christ/093cbda0-b9c4-445e-b6d3-56c423811f46", "cite": "Museo Nacional del Prado, 'Crucified Christ', P000745; read 2026-10-15."}, {"what": "John 19:30, the death on the cross; Luke 23:46, 'Father, into thy hands I commend my spirit.'", "url": "https://www.drbo.org/chapter/50019.htm", "cite": "Douay-Rheims Bible, John 19 and Luke 23 (drbo.org)."}]}, "scene": {"ref": "John 19:30", "quote": "Jesus therefore, when he had taken the vinegar, said: It is consummated. And bowing his head, he gave up the ghost.", "shows": "Christ alone on the cross against darkness, head lifted"}, "th": "/store/thumb/goya_christ_crucified.webp", "more": [{"k": "subject", "n": "The Crucifixion in painting", "u": "/editions/subject/crucifixion/", "ids": ["bonnat_le_christ_en_croix", "gauguin_yellow_christ", "andrea_da_firenze_the_crucifixion", "master_guillebert_de_mets_workshop_crucifixion_leaf"]}]}, "divina_pastora_prado": {"id": "divina_pastora_prado", "title": "The Divine Shepherdess (La Divina Pastora)", "artist_line": "Attributed to Alonso Miguel de Tobar (Spanish, 1678–1758)", "artist": "Attributed to Alonso Miguel de Tobar", "date": "c. 1732", "museum": "Museo Nacional del Prado, Madrid", "license": "Public domain (PD-Art, US); the holder's own file is non-commercial, so the master is the Commons reproduction under the US PD-Art position", "tier": "Entry", "sizes": [{"size": "8×10 in", "paper": 39, "iw": 7.6, "ih": 10, "sw": 8, "sh": 10, "cov": 0.951}], "local": "/store/display/divina_pastora_prado.jpg", "commons_file": "Bernardo Lorente Germán - The divine shepherdess.jpg", "zoom": "https://art.monstrance.app/zoom/divina_pastora_prado.jpg", "master_px": 2952, "auth": {"institution": "Museo Nacional del Prado, Madrid", "accession": "P000871", "url": "https://www.museodelprado.es/en/the-collection/art-work/the-virgin-as-a-shepherdess/0d603104-b106-4a02-850d-0903bfa64b46", "artist_as_printed": "Attributed to Alonso Miguel de Tobar", "date_as_printed": "Ca. 1732", "medium": "Oil on canvas", "dimensions": "Height: 167 cm; Width: 127 cm"}, "writeup": {"text": "Each sheep has a rose in its mouth. They press round her knees, six of them, and she lays a hand on the nearest and holds out a white flower to the rest, a shepherdess in a straw hat with a blue mantle and a lambskin over her shoulders, her crook leaning on the rock behind. Above her, cherubs tumble through the branches, and far off at the right an archangel with a lance drives a wolf from a lost sheep. The Prado attributes the canvas to Alonso Miguel de Tobar, painter of Seville in the manner of Murillo, and dates it to about 1732, from the Spanish royal collection. The image was fixed in 1703, when the Capuchin friar Isidore of Seville had his vision of the Virgin painted to his own instructions, the hat, the rock, the roses, the rescue of the stray; this is that picture a generation on, the shepherdess of souls among her sheep, and every sheep bringing her a flower.", "sources": [{"what": "Prado record P000871: tombstone, 'Attributed to Alonso Miguel de Tobar', ca. 1732, oil on canvas, 167 x 127 cm, Royal Collection provenance.", "url": "https://www.museodelprado.es/en/the-collection/art-work/the-virgin-as-a-shepherdess/0d603104-b106-4a02-850d-0903bfa64b46", "cite": "Museo Nacional del Prado, 'The Virgin as a Shepherdess', P000871; read 2026-10-15."}, {"what": "Ilona Katzew's curatorial text for LACMA (the source already cited on cabrera_divine_shepherdess_la_divina_pastora): in 1703 the Capuchin friar Isidore of Seville commissioned a painting of his vision of the Virgin; his instructions called for a red gown, blue mantle and shepherdess hat, seated on a rock feeding roses to her flock, while Saint Michael saved a stray sheep ensnared by the Devil.", "url": "https://collections.lacma.org/object/140735", "cite": "Los Angeles County Museum of Art, 'The Divine Shepherdess (La Divina Pastora)', M.2008.31, curatorial text by Ilona Katzew; read 2026-09-24."}]}, "scene": {"why": "NOT A SCRIPTURAL SCENE. The Divina Pastora, a Capuchin devotional image of the Virgin as shepherdess (Seville, 1703)."}, "th": "/store/thumb/divina_pastora_prado.webp", "more": [{"k": "subject", "n": "The Madonna and Child in painting", "u": "/editions/subject/madonna-and-child/", "ids": ["domingo_martinez_the_virgin_of_the_rosary", "tiepolo_madonna_of_the_goldfinch", "bouguereau_song_of_the_angels", "bouguereau_regina_angelorum"]}]}, "chardin_saying_grace": {"id": "chardin_saying_grace", "title": "Saying Grace (Le Bénédicité)", "artist_line": "Jean-Baptiste-Siméon Chardin (French, 1699–1779)", "artist": "Jean-Baptiste-Siméon Chardin", "date": "1725–1750", "museum": "Musée du Louvre, Paris", "license": "Public domain (PD-Art, US); visitor photograph at Louvre-Lens on Wikimedia Commons, cropped to the canvas; the holder's own file is non-commercial, so the master is the Commons reproduction under the US PD-Art position", "tier": "Mid", "sizes": [{"size": "8×10 in", "paper": 39, "iw": 8, "ih": 9.1, "sw": 8, "sh": 10, "cov": 0.91}, {"size": "11×14 in", "paper": 59, "iw": 11, "ih": 12.5, "sw": 11, "sh": 14, "cov": 0.894}, {"size": "16×20 in", "paper": 110, "iw": 16, "ih": 18.2, "sw": 16, "sh": 20, "cov": 0.91}, {"size": "18×24 in", "paper": 140, "iw": 18, "ih": 20.5, "sw": 18, "sh": 24, "cov": 0.853}, {"size": "32×48 in", "paper": 340, "iw": 32, "ih": 36.4, "sw": 32, "sh": 48, "cov": 0.758}], "local": "/store/display/chardin_saying_grace.jpg", "commons_file": "Le Bénédicité de Jean Siméon Chardin (cropped).jpg", "zoom": "https://art.monstrance.app/zoom/chardin_saying_grace.jpg", "master_px": 4440, "auth": {"institution": "Musée du Louvre, Paris", "accession": "MI 1031", "url": "https://collections.louvre.fr/en/ark:/53355/cl010059556", "artist_as_printed": "Chardin, Jean Baptiste Siméon (Paris, 1699 - Paris, 1779), France École de", "date_as_printed": "2e quart du XVIIIe siècle (1725 - 1750)", "medium": "huile sur toile", "dimensions": "Hauteur : 0,495 m ; Largeur : 0,41 m"}, "writeup": {"text": "The smaller girl has her hands together and her eyes on her mother, and she is saying it; the older one, on the far side of the table, waits with her spoon. The mother bends to set down the soup with a look that is half listening, half checking. Under the table a drum has been put down for later. Chardin showed the first Bénédicité at the Salon of 1740 and gave it to Louis XV, and the Louvre records this canvas as his own replica of it, painted between 1725 and 1750 and left to the museum by Dr Louis La Caze in 1869; it hangs now at Louvre-Lens. Nothing holy is in the room but the prayer. The striped chairs, the pewter, the warming pan by the wall are the whole of the setting, and the grace before meals is treated as what it was in that house, the most ordinary thing in the day. Which is the point of grace.", "sources": [{"what": "Louvre record MI 1031: Le Bénédicité, Chardin, 1725-1750, oil on canvas, 49.5 x 41 cm, 'Réplique de INV 3202. Legs du Dr Louis La Caze, 1869', Louvre-Lens.", "url": "https://collections.louvre.fr/en/ark:/53355/cl010059556", "cite": "Musée du Louvre, 'Le Bénédicité', MI 1031; read 2026-10-15."}, {"what": "Louvre record INV 3202: the 1740 Salon picture, 'Collection de Louis XV (donné par l'artiste au roi en 1740)', pendant of La Mère laborieuse INV 3201, 'Autre version au Louvre : MI 1031'.", "url": "https://collections.louvre.fr/en/ark:/53355/cl010066860", "cite": "Musée du Louvre, 'Le Bénédicité', INV 3202; read 2026-10-15."}]}, "scene": {"why": "NOT A SCRIPTURAL SCENE. Grace before the meal in a French household of the 1740s."}, "th": "/store/thumb/chardin_saying_grace.webp"}, "hofmann_rich_young_ruler": {"id": "hofmann_rich_young_ruler", "title": "Christ and the Rich Young Ruler", "artist_line": "Heinrich Hofmann (German, 1824–1911)", "artist": "Heinrich Hofmann", "date": "1889", "museum": "The Riverside Church, New York", "license": "Public domain (PD-Art, US); reproduction on Wikimedia Commons (source not documented on the file page); the church's own photograph is restricted", "tier": "Mid", "sizes": [{"size": "8×10 in", "paper": 39, "iw": 10, "ih": 7.9, "sw": 10, "sh": 8, "cov": 0.986}, {"size": "11×14 in", "paper": 59, "iw": 13.9, "ih": 11, "sw": 14, "sh": 11, "cov": 0.996}, {"size": "18×24 in", "paper": 140, "iw": 22.8, "ih": 18, "sw": 24, "sh": 18, "cov": 0.95}], "local": "/store/display/hofmann_rich_young_ruler.jpg", "commons_file": "Hoffman-ChristAndTheRichYoungRuler.jpg", "zoom": "https://art.monstrance.app/zoom/hofmann_rich_young_ruler.jpg", "master_px": 4324, "auth": {"institution": "The Riverside Church, New York", "accession": "ARTARCH.31", "url": "https://riverside.whirlihost.com/Detail/objects/11438", "artist_as_printed": "Hofmann, Heinrich Johann Michael Ferdinand Heinrich, 1824-1911 (artist)", "date_as_printed": "1889", "medium": "oil on canvas", "dimensions": "Length: 50 inches; Width: 62 inches"}, "writeup": {"text": "Both of Christ's hands are open toward the old couple at the left, the man bare-shouldered and bent, the woman in a green shawl, and his eyes are on the young man at the right, who has turned his face down and away. The young man is dressed as the Gospel says he could afford to be, a white cloak over green silk, a turban pinned with a jewel, a hand on his hip. Heinrich Hofmann painted it in 1889, and the Riverside Church in New York, where John D. Rockefeller Jr. gave it in 1932, keeps a letter in which the painter says what he was after: that the shame of the young man's refusal should be readable in his face, and in the Saviour's an eye that searches the soul while it pities, because Mark writes that Jesus, looking on him, loved him. He went away sorrowful, for he had great possessions. The hands are still open.", "sources": [{"what": "Riverside Church Archive record ARTARCH.31: tombstone, signature, Rockefeller gift 1932, description of the picture, Hofmann's 1905 letter on the expressions and Mark 10:21.", "url": "https://riverside.whirlihost.com/Detail/objects/11438", "cite": "The Riverside Church Archive, 'Christ and the Rich Young Ruler', ARTARCH.31; read 2026-10-15."}, {"what": "Mark 10:17-22, the rich young man; verse 21 'And Jesus, looking on him, loved him'; verse 22 'went away sorrowful: for he had great possessions.'", "url": "https://www.drbo.org/chapter/48010.htm", "cite": "Douay-Rheims Bible, Mark 10 (drbo.org)."}]}, "scene": {"ref": "Mark 10:21", "quote": "And Jesus, looking on him, loved him and said to him: One thing is wanting unto thee. Go, sell whatsoever thou hast and give to the poor: and thou shalt have treasure in heaven. And come, follow me.", "shows": "Christ pointing to the poor couple while the rich young man turns away"}, "th": "/store/thumb/hofmann_rich_young_ruler.webp", "more": [{"k": "subject", "n": "The Life of Christ in painting", "u": "/editions/subject/the-life-of-christ/", "ids": ["vangogh_pieta_after_delacroix", "bosch_christs_descent_into_hell", "correa_christ_gathering_his_garments_after_the_flagellat", "gozzoli_raising_of_lazarus"]}]}, "vangogh_pieta_after_delacroix": {"id": "vangogh_pieta_after_delacroix", "title": "Pietà (after Delacroix)", "artist_line": "Vincent van Gogh (Dutch, 1853–1890)", "artist": "Vincent van Gogh", "date": "1889", "museum": "Van Gogh Museum, Amsterdam (Vincent van Gogh Foundation)", "license": "Public domain (PD-Art, US); the museum's own download is for non-commercial use (Use and Permissions page, read 15 Oct 2026) and commercial use goes through its Group Commerce, so the master is the Commons reproduction of the museum file under the US PD-Art position", "tier": "Hero", "sizes": [{"size": "8×10 in", "paper": 39, "iw": 8, "ih": 9.7, "sw": 8, "sh": 10, "cov": 0.974}, {"size": "11×14 in", "paper": 59, "iw": 11, "ih": 13.4, "sw": 11, "sh": 14, "cov": 0.957}, {"size": "16×20 in", "paper": 110, "iw": 16, "ih": 19.5, "sw": 16, "sh": 20, "cov": 0.974}, {"size": "18×24 in", "paper": 140, "iw": 18, "ih": 21.9, "sw": 18, "sh": 24, "cov": 0.913}, {"size": "24×36 in", "paper": 190, "iw": 24, "ih": 29.2, "sw": 24, "sh": 36, "cov": 0.812}, {"size": "32×48 in", "paper": 340, "iw": 32, "ih": 39.0, "sw": 32, "sh": 48, "cov": 0.812}], "local": "/store/display/vangogh_pieta_after_delacroix.jpg", "commons_file": "Pietà (naar Delacroix) - s0168V1962 - Van Gogh Museum.jpg", "zoom": "https://art.monstrance.app/zoom/vangogh_pieta_after_delacroix.jpg", "master_px": 6741, "auth": {"institution": "Van Gogh Museum, Amsterdam (Vincent van Gogh Foundation)", "accession": "s0168V1962", "url": "https://www.vangoghmuseum.nl/en/collection/s0168V1962", "artist_as_printed": "Vincent van Gogh (1853 - 1890)", "date_as_printed": "Saint-Rémy-de-Provence, September 1889", "medium": "oil on canvas", "dimensions": "73 cm x 60.5 cm"}, "writeup": {"text": "The Virgin's arms are open over the body, not holding it but offering it, and behind her white veil a band of yellow light lies low in a sky of blue strokes, the mouth of the tomb dark on either side. Van Gogh made the picture at Saint-Rémy in September 1889 from a lithograph of Delacroix's Pietà, and the museum keeps the story in his own words: the print, with other sheets, 'had fallen into some oil and paint and got spoiled. I was sad about it,' and so he painted it. The lithograph survives, stain and all. He kept Delacroix's theme and composition and gave it his own colour, the blue mantle, the red beard, the greens of the dead flesh, in strokes that curve the whole picture round the two figures. The museum calls it a variation rather than a copy. The sorrow is the Virgin's. The colour is his.", "sources": [{"what": "Van Gogh Museum record s0168V1962: title, date and place, medium, dimensions, credit line, the museum's text on the Delacroix lithograph and Van Gogh's letter.", "url": "https://www.vangoghmuseum.nl/en/collection/s0168V1962", "cite": "Van Gogh Museum, 'Pietà (after Delacroix)', s0168V1962; read 2026-10-15."}, {"what": "The master is the Commons reproduction of the museum's file (PD-Art), 5536 × 6741 px.", "url": "https://commons.wikimedia.org/wiki/File:Piet%C3%A0_(naar_Delacroix)_-_s0168V1962_-_Van_Gogh_Museum.jpg", "cite": "Wikimedia Commons file page; sizes read 2026-10-15."}]}, "scene": {"ref": "Luke 23:53", "quote": "And taking him down, he wrapped him in fine linen and laid him in a sepulchre that was hewed in stone, wherein never yet any man had been laid.", "shows": "the Deposition: the body taken down, before the burial"}, "th": "/store/thumb/vangogh_pieta_after_delacroix.webp", "more": [{"k": "subject", "n": "The Life of Christ in painting", "u": "/editions/subject/the-life-of-christ/", "ids": ["bosch_christs_descent_into_hell", "correa_christ_gathering_his_garments_after_the_flagellat", "gozzoli_raising_of_lazarus", "giotto_scrovegni_chapel_washing_of_the_feet"]}]}}