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This panel shows the Resurrection of Christ, who steps from the tomb bearing a cross-staff with a banner and gives a blessing with his right hand, while the soldiers guarding the tomb startle awake or continue sleeping. In the background are further scenes, from left to right: Christ in Limbo, the A
This small devotional panel shows Christ bearing his cross on the road to Calvary, accompanied by a kneeling Dominican friar in prayer, one of the Sorrowful Mysteries of the Rosary. It is a tempera-on-panel painting attributed to the circle of the Sienese painter Simone Martini, dated around 1350, n
This tempera-on-poplar panel depicts the Resurrection of Christ, shown emerging from the tomb bearing the banner of victory over death, one of the Glorious Mysteries of the Rosary. It is the work of the Florentine painter Giovanni Dal Ponte (Giovanni di Marco, 1385-1437/38), painted in the 15th cent
This triptych icon was probably commissioned by a lay person for private prayer and meditation, and could be folded shut when not in use. The scenes shown, from left to right, are the Crucifixion, the Resurrection and Anastasis, and the Adoration of the Miracle-Working Icon of the Vladimir Mother of
This painting, also known as Lo Spasimo di Sicilia, shows Christ stumbling beneath the weight of the cross on the road to Calvary as Simon of Cyrene and the holy women look on, one of the Sorrowful Mysteries of the Rosary. It was painted around 1516 by the Italian Renaissance master Raphael and is n
This panoramic panel shows Christ carrying his cross to Calvary amid a vast crowd of onlookers, an episode from the Passion of Christ and one of the Sorrowful Mysteries of the Rosary. It was painted in 1564 by the Flemish master Pieter Bruegel the Elder and is now held in the Kunsthistorisches Museu
This tempera-on-wood icon depicts the Ascension of Christ on the Mount of Olives, with two angels in white appearing to the apostles to announce his promised return, following the accounts in the Gospels of Mark and Luke and the Acts of the Apostles. It was originally part of the Feast Tier of the i
This fresco depicts the risen Christ appearing above his empty tomb as the women who came to anoint his body find it empty, an episode from the Gospel of Mark and one of the Glorious Mysteries of the Rosary. It decorates Cell 8 of the Convent of San Marco in Florence, painted by the Italian Early Re
This painting depicts the Ascension of Christ, when the risen Jesus departed from earth into heaven before his gathered apostles, an episode described in the Acts of the Apostles and one of the Glorious Mysteries of the Rosary. It is the work of the Italian Renaissance painter Benvenuto Tisi, known
This watercolor depicts Christ rising from the tomb as the soldiers guarding it lie asleep, an episode from the Gospels and one of the Glorious Mysteries of the Rosary. It is part of French painter James Tissot's celebrated Life of Christ series, painted between 1886 and 1894 and now held by the Bro
This panel depicts the Ascension of Christ, the moment described in the Acts of the Apostles when the risen Christ departed from earth into heaven forty days after his Resurrection, watched by his apostles. It is a work of the Flemish painter Adriaen van Overbeke, active in Antwerp in the early sixt
This tempera-on-panel painting depicts the twelve-year-old Jesus found teaching among the doctors in the Temple, an episode from the Gospel of Luke and one of the Joyful Mysteries of the Rosary. It forms part of the main altarpiece of the Church of San Salvador in Ejea de los Caballeros, Spain, pain
This painting depicts the twelve-year-old Jesus found teaching among the doctors in the Temple at Jerusalem, an episode from the Gospel of Luke and one of the Joyful Mysteries of the Rosary. It hangs in the Unionskirche in Idstein, Germany, and is attributed to the German draftsman and printmaker Jo
Tilman Riemenschneider, one of the most important German sculptors of the late Middle Ages, created a highly original version of the Annunciation in this carved figure. The angel Gabriel, whose drapery billows out as he flies down, is dynamic and full of vitality, contrasting with the Virgin's subdu
This painting shows the Virgin Mary, half-length, standing behind a balustrade with the Christ Child seated beside her on a raised step. It is by Garofalo, a leading painter of the School of Ferrara active in the early 16th century.
This tender painting shows the Virgin Mary tenderly embracing the Christ Child, who stands blessing with his right hand on her lap. It is attributed to the Venetian Renaissance master Giovanni Bellini, painted between 1470 and 1480.
This porcelain plate, painted over the glaze in black and gold, depicts the Resurrection of Christ, with an angel seated on his tomb and soldiers asleep in the foreground. It was made between 1740 and 1760, with a decorative band around the rim.
This silver plaquette depicts the Resurrection of Christ, with three soldiers sleeping in the foreground and an archer looking up in alarm behind them. It was made in 1605 by the Dutch goldsmith Paulus van Vianen, renowned for his refined figurative relief work.
This panel shows Christ stepping from the tomb holding a banner of victory and raising his right hand in blessing, while soldiers startle awake or sleep on around him. It is attributed to the circle of the Master of the Amsterdam Death of the Virgin, active around 1485-1500.
The ornamental frame of this domestic altar, richly decorated with grotesques, garlands, satyrs and putti, is based on prints by the Antwerp sculptor Cornelis Floris. Its style is a distinctive south Netherlandish variant of Italian Renaissance ornament, dating from around 1550.
This triptych is the earliest known and best-preserved verre eglomise painting, a type of reverse painting on glass, from the northern Netherlands. It is still in its original frame and shows the Last Supper flanked by portraits of the donors who commissioned it.
This painting shows Christ seated with his disciples around a table in a room lit by candlelight. It is by the Dutch Golden Age painter Gerbrand van den Eeckhout, a pupil of Rembrandt who developed his own successful career as a history painter in Amsterdam.
Jerome and Catherine sit on a grass-covered bench before some rose bushes. The two saints can be identified by their attributes: Jerome with the lion, and Catherine with the sword and the broken wheel of her martyrdom. The painting was made in Bruges or Brussels around 1480-1490.
This altarpiece was made in the then modern Renaissance style, using the modern material of tin-glazed earthenware. Its inscription records that it was commissioned in 1502 by Sister Catherine, daughter of Tomaso di Salvestro, for the church of Sant'Antonio Abate in Cortona, Italy.
