Credits and sources of the citations P. 4: HenriMatisse, cited by Sister Jacques-Marie, Henri Matisse: La chapelle de Vence (1992), new edition, coll. “Cahiers et Couleurs” (Paris: Bernard ChauveauÉdition, 2014). P. 10:GeorgesBraque, LeJour et laNuit: chaiers 1917-1952 (Paris:Gallimard, 1952)©ÉditionsGallimard. P. 18:PaulValéry, “L’infini esthétique,” Oeuvres, vol. II, coll. “Bibliothèque de la Pléiade” (Paris; Gallimard, 1960). P. 20: Charles Baudelaire, “L’Homme et la mer” and “La Vie antérieure,” Les Fleurs du Mal (1857), English translation by Roy Campbell, “Man and the Sea” and “Former Life,” in Poems of Baudelaire (New York: Pantheon Books, 1952). P. 22 (“bitter abyss”): Charles Baudelaire, “Man and the Sea,” translated by Roy Campbell. P. 28 (paragraph 1): Auguste Rodin, (1st citation) L’Art, entretiens réunis par Paul Gsell (Paris: Bernard Grasset, 1911). (2nd citation) “La TêteWarren,” Le Musée: Revue d’art antique vol. 1, n. 6 (novembre-décembre 1904). P. 32 (paragraph 1): CharlesPéguy, “Présentationde laBeauce àNotre-DamedeChartres,” LaTapisserie de Notre-Dame (Paris: Cahiers de la Quinzaine, 1913). P. 39: Søren Kierkegaard, Fear and Trembling (1843), translated from the Danish by Walter Lowrie, (Princeton;PrincetonUniversityPress, 1941). P.42: (paragraph2): MarcChagall, citedbyZivaAmishai-Maisels, “Chagall undderHolocaust,” Chagall und Deutschland: Verehrt, Verfemt, catalogue of an exposition at the Jewish Museum in Frankfurt-am-Main (Munich: Prestel, 2004). P. 44 (beginning of paragraph 2): SidneyAlexander, Marc Chagall: A biography (New York: Putnam, 1978), 422. P. 44 (end of paragraph 2): Geneviève Schmitt-Rehlinger, Jésus le Christ dans l’oeuvre de Marc Chagall: Le motif du Crucifié (Metz: Université Paul Verlaine, 2006). P. 45 (paragraph 2): RolandBarthes, Critique et vérité (Paris:Éditions duSeuil, 1966). P.45 (paragraph3): MarcChagall, cited in Chagall et l’avant-garde russe, catalogueof anexposition in theMusée deGrenoble (Paris: Centre Pompidou, 2011). ©Adagp, Paris [2021]. P. 45 (last paragraph): Michelangelo, Lettres familières, 1497-1509, translated fromItalian into French by ÉlianeDeschamps-Pria (Caen: L’Échoppe, 1989). P. 48 (art history commentary, col. 3, top): Camille Mauclair, LesMétèques contre l’art français: La Farce de l’art vivant (Paris: Nouvelle Revue critique, 1930). P. 56:VincentVanGogh, Letter dated July 1880 to his brother Théo, in Lettres à son frère Théo, translated fromDutch to French by Georges Philippart (Paris: Bernard Grasset, 2002), © Éditions Grasset & Fasquelle, 1972. P. 65:Maurice Denis, (paragraph 1), Nouvelles théories sur l’art moderne, sur l’art sacré: 1914-1921 [New theories on modern art and sacred art] (Paris: L. Rouart et J. Watelin, 1922). P. 67 (paragraph 4): FriedrichHölderlin, Hyperion, translated fromGerman into French by Philippe Jaccottet (Paris:Mercure de France, 1965) ©Éditions Gallimard. P. 69 (art history commentary, col. 2, above): Pierre-JeanDavid d’Angers, cited by Henry Jouin, David d’Angers, sa vie, son oeuvre, vol. I (Paris: Plon, 1878). P. 86 (art history commentary, col. 1): JeanMoréas,Manifeste littéraire, Le Figaro, Supplément littéraire (18 septembre 1886). P. 86 (art history commentary, cols. 1-2): Gabriel-Albert Aurier, “Le symbolisme en peinture: Paul Gauguin,” Mercure de France (mars 1891). P. 86 (art history commentary, col. 3): OdilonRedon, À soi-même: Journal (1867-1915) (Paris: H. Floury, 1922). P. 87: HenryWadsworth Longfellow, “The Nativity: AMiracle Play,” in The Golden Legend (Boston: Ticknor, Reed, and Fields, 1852). P. 96 (paragraph 2): Marie-LouiseMunier, cited by ÉricDivry, great-great-grandson of ÉmileMunier, on the occasion of the centennial of his death: http://munier.chez.com/sa_vie.ht. P. 98 (art history commentary, col. 2, below): Émile Zola, “Nos peintres au Champ-de-Mars,” La Situation (1 juillet 1867). P. 100 (end of last paragraph): Jean Clair, cited by Philippe Royer, “Picasso, le religieux,” Le Pèlerin 6941 (10 décembre 2015). P. 102: Henri Matisse, cited by Soeur Jacques-Marie, Henri Matisse: La chapelle de Vence (1992), new edition in the collection Cahiers et Couleurs (Paris: Bernard Chauveau Édition, 2014). P. 119: Caryll Houselander, The Reed of God (New York: Sheed & Ward, 1944). P. 130 (end of last paragraph): Charles Baudelaire, “Les Phares,” Les Fleurs du Mal (1857); English translation by Roy Campbell, “The Beacons,” in Poems of Baudelaire (New York: Pantheon Books, 1952). P. 144 (paragraph 1, first citation): Paul de Saint-Victor, “Salon de 1876,” La Liberté (19 mai 1876). P. 147 (last paragraph, 3rd citation): GustaveMoreau, cited in Gustave Moreau, ed. Henry Roujon in the series “Les Peintres illustres” (Paris: P. Laffite, 1914); and by Georges Rouault, Souvenirs intimes:G.Moreau, LéonBloy, Cézanne, 2nd ed. (Paris:E. Frapier, 1926). P. 156: “LaetaturhodieMatrisEcclesiae sanctadevotio,” in Lyra Messianica: Hymns and Verses on the Life of Christ, Ancient andModern (London: Longman, Green, Longman, Roberts, and Green, 1864). P. 157: “Phos Hilaron,” translated as “O Radiant Light, O Sun Divine” byWilliamGeorge Storey. P. 160: ThomasMerton, “For My Brother: ReportedMissing in Action, 1943,” from Collected Poems, copyright 1968 by the Abbey of Gethsemani. Reprinted by permission of NewDirections Publishing Corporation. P. 171 (paragraph 3): Philippe Sollers, La Divine Comédie: Entretiens avec Benoît Chantre (Paris: Desclée de Brouwer, 2000). P. 171 (last paragraph): Dante, The Divine Comedy: Paradise, translated from Italian byHenryWadsworth Longfellow (1867, public domain), XVII, 130-133; cited in Philippe Sollers, op. cit. P. 172 (end of last paragraph): remark attributed toMichelangelo, cited in the article by Georges Didi-Huberman, “Fra Angelico,” Encyclopaedia Universalis. P. 186 (art history commentary, col. 3, first citation): Cennino Cennini, Traité de la peinture, translated from Italian into French by Colette Déroche (Paris: Berger-Levrault, 1991). P. 186 (art history commentary, col. 3, second citation): GiorgioVasari, Les Vies des meilleurs peintres, sculpteurs et architectes, translatedfromItalianintoFrencheditedbyA. Chastel (Paris:Berger-Levrault, 1981-1988). P. 191:GertrudvonLeFort, The Wife of Pilate and other stories (San Francisco: Ignatius Press, 2015). P. 198: Jean Racine, Sur les vaines occupations du siècle, Cantiques spirituels (1694). P. 221 (paragraph 2): LéonBloy, Le lépreux, Un brelan d’excommuniés (Paris: Albert Savine, 1899). P. 230 (paragraph 1): BlaisePascal, Letter II to Mademoiselle de Roannez, October 1656, in Thoughts, Letters and Minor Works, The Harvard Classics 48 (New York: P. F. Collier & Son Company, 1938). P. 235: FrançoisMauriac, Life of Jesus, translated by Julie Kernan (London: Longmans, Green, 1937). P. 240 (last paragraph): Blaise Pascal, “Submission and use of reason,” 20 and 17 Pensées (1669-1670), selections 265 and 263 in Thoughts, Letters &Minor Works, ed. Charles W. Eliot (1910). P. 241: Denise Levertov, from A Door in the Hive © 1989 by Denise Levertov. Reprinted by permission of New Directions Publishing Corp. P. 246: Giorgio de Chirico, © Adagp, Paris, [2021]. P. 274 (art history commentary, col. 2): André Suarès, Letter to Georges Rouault cited by Jean-Pierre Jossua, Sur le seuil de la foi: André Suarès d’après sa correspondance et son oeuvre ultime, Revue des sciences philosophiques et théologiques, 93/3 (2009). P. 281:AndréMalraux, ©Éditions Gallimard. P. 282: CharlesBaudelaire, “Correspondences,” Les Fleurs duMal (1857); English translation by Roy Campbell, Poems of Baudelaire (NewYork: Pantheon Books, 1952). 287
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