This term primarily refers to a type of religious painting depicting the worship of the infant Jesus, particularly by the Magi. In All the Beauty in the World, the author expands the word’s meaning to describe a state of tender reverence and wonder, not only in religious contexts but also in everyday life. Bringley applies this concept to his experience of watching over his ill brother, finding beauty and meaning in moments of quiet observation and care.

In the context of the book, this refers to a phase in ancient Greek art and culture, approximately spanning from 800 to 480 BCE. Bringley describes it as a transitional age, about 150 years after Homer and 150 years before Socrates. This period is characterized by significant developments in Greek sculpture, including the creation of freestanding statues like the kouros.

Benin was a powerful West African kingdom, now part of modern-day Nigeria, renowned for its sophisticated artistic traditions. Bringley examines Benin artworks in the Metropolitan Museum’s collection, with a particular focus on a mask depicting Queen Mother Idia. He also contemplates the complex history of these artifacts, many of which were acquired through colonial conquest, and considers the potential for their future repatriation.