A few years ago, in New York for a conference, I made a pilgrimage to The Cloisters museum and gardens. I use the term “pilgrimage” advisedly. Like a medieval traveler going to a shrine, I went to see a sacred object—the painting known as the Merode Altarpiece by Flemish artist Robert Campin. From Midtown, the Cloisters was enough out of the way to make the journey a little difficult, the gratification a bit delayed. The museum’s medieval setting enhanced my sense of sacred purpose.