The articles in this issue illustrate the rich variety of fields, media, and approaches evident in the art history that JHNA defines as its purview. They range from a book of hours with woodcut images and a text in movable type, a devotional cabinet embellished with intricate flora, fauna, sculptures, and relics, a well-known history painting, and a distinguished landscape artist, to a princess’s strategies of display.

Anna Dlabacova’s article relates experimental book production aimed at lay people to religious practices of the late 15th century. Besloten hofjes (enclosed gardens) form the focus of Andrea Pearson’s article, which explores how these cabinets incorporated the various senses into devotional practice. Valerie Hedquist’s essay on Hendrick ter Brugghen’s St. Sebastian Tended by Irene argues that the artist joined Roman Catholic pictorial traditions with post-Tridentine iconographic innovations and references to contemporary cultural attitudes regarding the plague as experienced in multi-confessional Utrecht. Saskia Beranek centers her essay on the display strategies that Amalia van Solms, Princess of Orange, adopted for her galleries, and suggests what they reveal about her agendas and ambitions. Marion Boers concentrates on Pieter Molijn, the pioneer of the Dutch tonal landscape, who after 1630 used a successful business model to produce landscapes in different styles for different clients.