Adam Sammut, PhD (1990, University of York) is a Leverhulme Early Career Fellow in the Department of History of Art at the University of York. He has published articles on Dutch and Flemish art in Review of Scottish Culture, Dutch Crossing and Nederlands Kunsthistorisch Jaarboek.

• AcknowledgementsList of FiguresList of IllustrationsList of TablesAbbreviationsIntroductionPart I: The Fifteen Mysteries of the Rosary Cycle, 1568–16711 Guns and Rosaries: The Ecclesia Laicorum as a Realm of Memory1 Iconoclasm and the Revolt2 Places and Realms of Memory3 The Art of Memory and the Art of Preaching4 The Enemy Within5 Conclusion2 The Mystery Machine: The Cycle as a Proponent of Piety and Peace1 Antwerp and the Archdukes2 Joannes Boucquet, ‘A Highly Distinguished Prior’3 The Rosary Brotherhood4 Peace and Pictura Sacra5 ConclusionPart II: Caravaggio’s Rosary Madonna, c.1603–513 ‘Outstandingly Great Art yet Not High in Price’: The Rosary Madonna as a Sacred Commodity1 Made in Rome2 The Entombment3 The Death of the Virgin4 ‘A Very Dear Friend of Caravaggio’s’5 Conclusion4 Four Liefhebbers and a Funeral: Procuring The Rosary Madonna for Profit, Fame and Love1 Love Actualised2 Friends with Benefits3 The Gift Economy4 Two Become One5 The Art-Lover Formerly Known as Prince6 The Godly Feast7 The Art of the Deal8 ConclusionPart III: Rubens’s Wrath of Christ High Altarpiece, 1618–425 Apocalypse Later: Michaël Ophovius and the Ecclesia Fratrum1 The Archaeology of the Choir2 Unemotional Rescue3 Back to Basics4 ‘The Hangman’s Noose for the Bishop’s Mitre’5 ‘Tears of Blood’6 Hero-Worship7 Rubens and ’s-Hertogenbosch8 Heart of Glass9 ConclusionConclusionFiguresReferences 447Index 515

Adam Sammut, PhD (1990, University of York) is a Leverhulme Early Career Fellow in the Department of History of Art at the University of York. He has published articles on Dutch and Flemish art in Review of Scottish Culture, Dutch Crossing and Nederlands Kunsthistorisch Jaarboek.

• AcknowledgementsList of FiguresList of IllustrationsList of TablesAbbreviationsIntroductionPart I: The Fifteen Mysteries of the Rosary Cycle, 1568–16711 Guns and Rosaries: The Ecclesia Laicorum as a Realm of Memory1 Iconoclasm and the Revolt2 Places and Realms of Memory3 The Art of Memory and the Art of Preaching4 The Enemy Within5 Conclusion2 The Mystery Machine: The Cycle as a Proponent of Piety and Peace1 Antwerp and the Archdukes2 Joannes Boucquet, ‘A Highly Distinguished Prior’3 The Rosary Brotherhood4 Peace and Pictura Sacra5 ConclusionPart II: Caravaggio’s Rosary Madonna, c.1603–513 ‘Outstandingly Great Art yet Not High in Price’: The Rosary Madonna as a Sacred Commodity1 Made in Rome2 The Entombment3 The Death of the Virgin4 ‘A Very Dear Friend of Caravaggio’s’5 Conclusion4 Four Liefhebbers and a Funeral: Procuring The Rosary Madonna for Profit, Fame and Love1 Love Actualised2 Friends with Benefits3 The Gift Economy4 Two Become One5 The Art-Lover Formerly Known as Prince6 The Godly Feast7 The Art of the Deal8 ConclusionPart III: Rubens’s Wrath of Christ High Altarpiece, 1618–425 Apocalypse Later: Michaël Ophovius and the Ecclesia Fratrum1 The Archaeology of the Choir2 Unemotional Rescue3 Back to Basics4 ‘The Hangman’s Noose for the Bishop’s Mitre’5 ‘Tears of Blood’6 Hero-Worship7 Rubens and ’s-Hertogenbosch8 Heart of Glass9 ConclusionConclusionFiguresReferences 447Index 515

Adam Sammut, PhD (1990, University of York) is a Leverhulme Early Career Fellow in the Department of History of Art at the University of York. He has published articles on Dutch and Flemish art in Review of Scottish Culture, Dutch Crossing and Nederlands Kunsthistorisch Jaarboek.

• AcknowledgementsList of FiguresList of IllustrationsList of TablesAbbreviationsIntroductionPart I: The Fifteen Mysteries of the Rosary Cycle, 1568–16711 Guns and Rosaries: The Ecclesia Laicorum as a Realm of Memory1 Iconoclasm and the Revolt2 Places and Realms of Memory3 The Art of Memory and the Art of Preaching4 The Enemy Within5 Conclusion2 The Mystery Machine: The Cycle as a Proponent of Piety and Peace1 Antwerp and the Archdukes2 Joannes Boucquet, ‘A Highly Distinguished Prior’3 The Rosary Brotherhood4 Peace and Pictura Sacra5 ConclusionPart II: Caravaggio’s Rosary Madonna, c.1603–513 ‘Outstandingly Great Art yet Not High in Price’: The Rosary Madonna as a Sacred Commodity1 Made in Rome2 The Entombment3 The Death of the Virgin4 ‘A Very Dear Friend of Caravaggio’s’5 Conclusion4 Four Liefhebbers and a Funeral: Procuring The Rosary Madonna for Profit, Fame and Love1 Love Actualised2 Friends with Benefits3 The Gift Economy4 Two Become One5 The Art-Lover Formerly Known as Prince6 The Godly Feast7 The Art of the Deal8 ConclusionPart III: Rubens’s Wrath of Christ High Altarpiece, 1618–425 Apocalypse Later: Michaël Ophovius and the Ecclesia Fratrum1 The Archaeology of the Choir2 Unemotional Rescue3 Back to Basics4 ‘The Hangman’s Noose for the Bishop’s Mitre’5 ‘Tears of Blood’6 Hero-Worship7 Rubens and ’s-Hertogenbosch8 Heart of Glass9 ConclusionConclusionFiguresReferences 447Index 515