Page 62: Bouquet (1805), Jean-Louis Prévost (c. 17601810), National Library of France, Paris. © BnF. Page 63: The Agony in the Garden, illumination from the Book of Hours of Louis de Laval, folio 94, Jean Colombe (c. 1430-c. 1498), National Library of France, Paris. © BnF. Page 65: Christ on the Mount of Olives (1819), Francisco José de Goya y Lucientes (1746-1828), oil on wood, Colegio Escolapios de San Antón, Madrid, Spain. © akg-images / Erich Lessing. Page 66: Bouquet, Pierre-Joseph Redouté (1759-1840), National Library of France, Paris. © BnF. Page 67: The Scourging at the Pillar (c. 1515), illumination from the Da Costa Hours, ms. M.399, folio 44v, Pierpont Morgan Library, NYC, NY, USA. © 2012, Photo Pierpont Morgan Library / art Resource / Scala, Florence. Page 69: Christ Bound to the Column, Alonso Cano (16011667), oil on canvas, Museum of Fine Arts, Pau, France. © Musée des Beaux-Arts de Pau / Jean-Christophe Poumeyrol. Page 70: Bouquet (1852), Pierre Anglade (19th century), National Library of France, Paris. © BnF. Page 71: The Crowning with Thorns (c. 1515), illumination from the Da Costa Hours, ms. M.399, folio 58v, Pierpont Morgan Library, NYC, NY, USA. © 2012, Photo Pierpont Morgan Library / art Resource / Scala, Florence. Page 73: The Crowning with Thorns (c. 1510), detail of the Passion Altarpiece, Champagne or Picardy workshop, polychrome limestone, Chapel of Notre-Dame de la Houssaye, Pontivy, France. © Clément Guillaume. Page 74: Bouquet, Pierre-Joseph Redouté (1759-1840), National Library of France, Paris. © BnF. Page 75: Christ Carrying the Cross, illumination from the Book of Hours of the use of Tours, Harley 2877, folio 44v, Jean Bourdichon (c. 1457-1521), The British Library, London, England. © Heritage Images / Leemage. Page 77: Christ and the Cyrenian (detail, 1547), Tiziano Vecellio di Gregorio, called Titian (c. 1488-1576), oil on canvas, Prado Museum, Madrid, Spain. © 2012, Photo Scala, Florence. Page 78: Bouquet, Pierre-Joseph Redouté (1759-1840), National Library of France, Paris. © BnF. Page 79: The Crucifixion, illumination from the Great Hours of Anne of Brittany, folio 47v, Jean Bourdichon (c. 1457-1521), National Library of France, Paris. © BnF. Page 81: The Crucifixion (1392-1393), Piero di Giovanni, called Lorenzo Monaco (c. 1370-c. 1424), tempera and gilding on wood, Accademia Gallery, Florence, Italy. © 2012, Photo Scala, Florence – courtesy of the Ministero Beni e Att. Culturali. Page 82: The Virgin Mary at Prayer (detail, before 1412), polychrome wood, Church of Santa Maria della Libera, Cercemaggiore, Italy. © akg-images / Electa. Page 83: The Rose (1683), from the History of Louis le Grand, folio 58, Jean Donneau de Visé (1638-1710), National Library of France, Paris. © BnF. Page 84-85: Tomb of Saint James in Jerusalem (beginning of 19th century), Jacques Boyer. © Jacques Boyer / Roger-Viollet. Page 86: Bouquet, Pierre-Joseph Redouté (1759-1840), National Library of France, Paris. © BnF. Page 87: The Resurrection, illumination from the Very Rich Hours of the Duke of Berry, ms. 65, folio 182r, Jean Colombe (c. 1430-c. 1498), Conde Museum, Chantilly, France. © RMN-GP (Domaine de Chantilly) / RenéGabriel Ojéda. Page 89: The Resurrection (detail, c. 1570), Paolo Caliari, called Veronese (1528-1588), oil on canvas, Gemäldegalerie Alte Meister, Dresden, Germany. © BPK, Berlin, dist. RMN / Elke Estel / Hans-Peter Kluth. Page 90: Bouquet, Pierre-Joseph Redouté (1759-1840), National Library of France, Paris. © BnF. Page 91: The Ascension, illumination from the Book of Hours of Etienne Chevalier, ms. 71, folio 3r, Jean Fouquet (1420-c. 1477), Conde Museum, Chantilly, France. © RMN-GP (Domaine de Chantilly) / René-Gabriel Ojéda. Page 93: The Ascension (c. 1460/1464), Andrea Mantegna (1431-1506), tempera on wood, Uffizi Gallery, Florence, Italy. © 2012, Photo Scala, Florence – courtesy of the Ministero Beni e Att. Culturali. Page 94: Bouquet, P. Lambotte (19th century), National Library of France, Paris. © BnF. Page 95: The Descent of the Holy Spirit, illumination from the Great Hours of Anne of Brittany, folio 49v, Jean Bourdichon (c. 1457-1521), National Library of France, Paris. © BnF. Page 97: The Descent of the Holy Spirit (1612/1613), Fray Juan Bautista Maíno (1581-1649), from the altarpiece in the Monastery of Saint Peter Martyr, Toledo, oil on canvas, Prado Museum, Madrid, Spain. © Album / Oronoz / akg. Page 98: Bouquet, anonymous (19th century), National Library of France, Paris. © BnF. Page 99: The Assumption of the Virgin, illumination from the Book of Hours of Etienne Chevalier, ms. 71, folio 12, Jean Fouquet (1420-c. 1477), Conde Museum, Chantilly, France. © RMN-GP (Domaine de Chantilly) / RenéGabriel Ojéda. Page 101: The Death and the Assumption of the Virgin (c. 1432), Guido di Pietro, called Fra Angelico (c. 1387-1455), tempera and gold on wood, Isabella Stewart Gardner Museum, Boston, MA, USA. © Isabella Stewart Gardner Museum, Boston, MA, USA / The Bridgeman Art Library. Page 102: Bouquet, Pierre-Joseph Redouté (1759-1840), National Museum of Natural History, Paris, France. © Muséum national d’Histoire naturelle, dist. RMN-GP / image du MNHN, bibliothèque centrale. Page 103: The Assumption of the Virgin, illumination from Frederick III of Aragon’s Book of Hours, page 308, Jean Bourdichon (c. 1457-1521), National Library of France, Paris. © BnF. Page 105: The Assumption of the Virgin (detail), Ambrogio di Stefano da Fossano, called Bergognone (c. 14531523), oil and gold on wood, Metropolitan Museum of Art, NYC, USA. © The Metropolitan Museum of Art, Dist. RMN-GP / image of the MMA. Page 106: The Battle of Lepanto (1572), Paolo Caliari, called Veronese (1528-1588), oil on canvas, Gallerie dell’Accademia, Venice, Italy. © 2012, Photo Scala, Florence – courtesy of the Ministero Beni e Att. Culturali. Back cover: Virgin with the Host (1854), Jean-AugusteDominique Ingres (1780-1867), oil on canvas (tondo), 44.5 in. diameter, Musée d’Orsay, Paris, France. © 2012, photo Scala, Florence.
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