Saint Luke (c. 1625), Valentin de Boulogne (1591–1632). “The most Italian of the French imitators of Caravaggio” At the heart of the royal apartment and

Study for the Colonna Pietà (c. 1538), Michelangelo (1475–1564). This study of the Pietà, drawn by Michelangelo in 1538, is small in size but monumental

Transfiguration, Theophanes the Greek (c. 1370–c. 1405), Tretyakov Gallery, Moscow. Light from Light Lord, my God… you are clothed with majesty and splendor, robed in

The Incredulity of Saint Thomas (1601–1602), Michelangelo Merisi da Caravaggio (1571–1610). Caravaggio’s Incredulity of Saint Thomas was meant to make us uncomfortable. We are interrupting

The Last Supper (c.1620), Luis Tristán (c. 1586–1624). Prado Museum, Madrid, Spain. The table is a riot of opulence. Pieces of sweet melon edge their

Saint Joseph the Worker (1964), Pietro Annigoni (1910–1988). This striking painting by Pietro Annigoni illustrates the dignity of the worker and the reasons for Saint

Flevit super illam, Enrique Simonet (1866–1927). A waxing moon sets as the morning star rises, heralding the dawn of Palm Sunday. The faint glow of

The Temptation of Christ (c. 1525–1530), Simon Bening (c. 1483–1561).   After the introduction of the printing press to Europe in the mid-15th century, the

The Presentation in the Temple (1460–1475),  Master of the Life of the Virgin. On February 2 we celebrate the feast of the Presentation, an event recounted

The Adoration of the Magi, central panel of the Triptych (c. 1494),  Hieronymus Bosch (1450–1516). The visit of the three kings to adore the Christ Child is a