Foreground • Detail, To the Honourable Rip Van Dam . . . This View of the New Dutch Church is most humbly Dedicated . . . In I. N. Phelps Stokes, The Iconography of Manhattan Island, 1498–1909 . . . , vol. 1 (New York, 1915), plate 28. Courtesy, Special Collections Research Center, Earl Gregg Swem Library, College of William and Mary.
Snake weathervane, iron, ca. 1830, maker unknown. Courtesy of the Abby Aldrich Rockefeller Folk Art Museum, Colonial Williamsburg Foundation, acc. no 1932.800.3.
Detail, Novi Belgii Novaeque Angliae nec non Pennsylvaniae et Partis Virginiae Tabula: multis in locis emendate a Iusto Danckers. In William Loring Andrews, New Amsterdam, New Orange, New York . . . (New York, 1897), between pages xx and xxi. Courtesy, Special Collections Research Center, Earl Gregg Swem Library, College of William and Mary.
Detail, Death on the Pale Horse, by Benjamin West. Oil on canvas; 1817. 176 x 301 in. (447.0 x 764.5 cm). Courtesy of the Pennsylvania Academy of the Fine Arts, Philadelphia. Pennsylvania Academy purchase; acc. no. 1836.1.
Background • Detail, Adoration of the Magi, by unknown artist. Oil on canvas; ca. 1700–1725. Courtesy of the Abby Aldrich Rockefeller Folk Art Museum, Colonial Williamsburg Foundation, acc. no. 1964.101.1.
Detail, Horrible Cruelties inflicted on the Protestants in Ireland, in 1641. In John Malham and T. Pratt, eds., Fox’s Book of Martyrs; or, the Acts and Monuments of The Christian Church . . . (Philadelphia, 1830), facing page 296. Courtesy, Special Collections Research Center, Earl Gregg Swem Library, College of William and Mary.
Detail, Preciosa mors quorundam Patriumiet. Iesu in nova Francia Denoiie Campanus, Caritas official exercens enecatur. 2 Febr. 1646, engraving by Gregoire Huret. In François Du Creux, Historiae Canadiensis, seu Novae-Franciae (Paris, 1664), foldout plate following page 480. Courtesy of the John Carter Brown Library at Brown University, acc. no. 01730-9.
Adoration of the Magi, by unknown artist. Oil on canvas; ca. 1700–1725. Courtesy of the Abby Aldrich Rockefeller Folk Art Museum, Colonial Williamsburg Foundation, acc. no. 1964.101.1
Catherine Tekakoüita Iroquoise du Saut S. Louis de Montreal en Canada morte en odeur de Sainteté, engraving in Claude-Charles LeRoy Bacqueville de La Potherie, Histoire de l’Amerique Septentrionale, vol. 1 (Paris, 1722), plate following page 350. Courtesy of the John Carter Brown Library at Brown University, acc. no. 09906-15.
State Prison, on the Bank of the North River, New York, ca. 1797. In Stokes, Iconography of Manhattan Island, vol. 1, plate 71. Courtesy, Special Collections Research Center, Earl Gregg Swem Library, College of William and Mary.
Paul and Silas in Prison, engraving by Joseph Mulder after a painting by Arnold Houbraken (Amsterdam, ca. 1715). Courtesy of the Colonial Williamsburg Foundation, acc. no. 1979-457, A.
“Patience on force is Medicine for a Mad Horse,” playing card depicting a common punishment for Quakers on both sides of the Atlantic: whipping at a cart’s tail. Image DL 4183308, Cary Playing Card Collection, Beinecke Rare Book and Manuscript Library, Yale University.
Swimming a witch, from the title page of Witches Apprehended, Examined, and Executed . . . (London, 1613). Call no. Rare Books 59439. This item is reproduced by permission of The Huntington Library, San Marino, California.
Page 10 • The Peaceable Kingdom, by Edward Hicks. Oil on canvas; 1832–34. 17 1/2 x 23 1/2 in. Courtesy of the Abby Aldrich Rockefeller Folk Art Museum, Colonial Williamsburg Foundation, acc. no. 1932.101.1, A.
Death on the Pale Horse, by Benjamin West. Oil on canvas; 1817. 176 x 301 in. (447.0 x 764.5 cm). Courtesy of the Pennsylvania Academy of the Fine Arts, Philadelphia. Pennsylvania Academy purchase; acc. no. 1836.1.
Page 10 • San Longinio, by the Truchas Master, New Mexico, ca. 1780–1840. Many of the mission churches in what is now New Mexico were decorated with devotional images such as this painting (“retablo”), which appears to depict San Longinio, the Roman soldier who was instantly converted to Christianity after he pierced Christ’s side with a lance during the crucifixion. The artist, known only as the Truchas Master, is named for the church of Nuestra Señora del Rosario de Las Truchas, which contains two altar screens by the same hand. Courtesy of the Abby Aldrich Rockefeller Folk Art Museum, Colonial Williamsburg Foundation, acc. no. 1990.101.1.