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A kid collects wax from a penitent’s candle during the Holy Week procession in Arcos de la Frontera, Spain, on 31 March 2015.

> Photo: Daniel Ochoa de Olza.

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Los Reyes | Recolección de Nuestra Señora de Belén high altar

detail from the Nativity relief unknown sculptor, 17th century

Ministerio de Cultura de la República Peruana

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Caxamarca | Hospital de Nuestra Señora de Belén

ph. BluesyPete, CC-BY-SA – via Wikimedia Commons

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San Nicolás de Bari

by Pedro de Córdoba (Cordoban, fl. 1475) oil on canvas (c. 72 × 110)

Museo de Bellas Artes de Córdoba

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Escudo del Almirante Colón en el Monasterio de Santa María de la Rábida, Palos de la Frontera

ph. José Luis Filpo Cabana, CC-BY - via Wikimedia Commons

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La estrella de Lima convertida en sol sobre sus tres coronas Title page

engraver Joseph Mulder (Hollandian, 1658 – 1742) 1688

John Carter Brown Library

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Opstanding van Christus

by Gerard Seghers (Brabantian, 1591 – 1651) oil on canvas (240 × 324 cm), c. 1620

Musée du Louvre

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Angel holding the dead Christ (17th c.).

@ Museo Diocesano y Catedralicio de Valladolid.

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Penitents from the “Cristo de la Buena Muerte” Brotherhood, take part in a procession in Zamora, during the Holy Week, on 3 April 2012.

> Photo: Daniel Ochoa De Olza.

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Peter Paul Rubens (Flemish; Siegen 1577 - 1640 Antwerp), Descent from the Cross, 1617-18, oil on canvas, 297 x 200 cm. The Hermitage Museum

After the success of his monumental altar triptych for Antwerp Cathedral in 1614, Rubens received a number of commissions to produce variations on the central panel, which showed the Descent from the Cross. Unlike Netherlandish paintings of the 15th and 16th centuries, which presented a detailed narrative, Rubens treated the subject in accordance with the canons set out by the Council of Trent (1545-1563). Instead of a multi-figure composition, here we find only those directly mentioned in the Gospels. Thus the dead body of Christ is supported in silent grief by Joseph of Arimathaea, Nicodemus and the young John the Evangelist. Mary, gently holding her son for the last time, symbolizes the Christian virtue of resignation. Mary Magdalene has fallen to her knees, the personification of repentance. The simplicity used in conveying the emotional state of each figure, united as they are by a common feeling of unbounded sorrow, was dictated by the artist’s desire to emphasize their understanding of the necessity and inevitability of the Messiah’s self-sacrifice. (The Hermitage)

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La Última Cena

by Juan de Juanes (Valencian, 1510 - 1579) oil on panel (84 × 92 cm), n. d.

Palacio de San Pío V, València

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Penitents from the “San Gonzalo” Brotherhood take part in a procession in Seville on Holy Monday.

> Photo: Emilio Morenatti.

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La Infanta Doña Juana (detail)

by Alonso Sánchez Coello (Valencian, 1532 - 1588) oil on canvas, 1557

Kunsthistorisches Museum

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January 18th, 1535 - Francisco Pizarro, Governor of New Castile and later Marquess and Knight of Santiago, declares the foundation of the Most Noble, Illustrious and Loyal City of The Kings

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The Transverberation of St. Theresa of Avila by Francisco Romero Zafra

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Title pages for volumes I and II of Lima Fundada by Peruvian polymath D. Pedro de Peralta y Barnuevo (1663 – 1743)

1732

John Carter Brown Library