Allegorical Representations in Art

Engravings illustrating mythological themes and allegorical figures, emphasizing concepts like music, creation, and virtue through intricate designs and symbolism.

Picart, Bernard, Amsterdam, Title page for: A. Dacier, L'Iliade d'Homère, 1712, Allegory of the genius of Homer, verso lower right - stamped, The personification of Heroic Poetry leads a boy, symbolizing the genius of Homer, to the temple of memory. Envy (Invidia) tries to stop them. Mnemosyne, the goddess of memory, opens the doors of the temple. Father Time hangs a portrait medallion of Homer above the entrance. In the sky Fame (Fama) blowing the trumpet. In the margin a five-line caption in French., print, engraving, title page, prints, height 142 mm, width 85 mm, Noord-Nederlands, 1673-06-11 - 1733-05-08, print maker, printmaker, 1711 - 1711, first quarter 18th century, paper, papier, etching, etchings, engraving (printing process), Work conception, after own design by

The Education of Infancy by Time and Nature, Hieronymus Sperling, German, 1695 - 1777, Johann Georg Bergmüller, German, 1688 - 1762, Engraving on paper, A nude child is held by the allegorical representation of Time, while Warefare and Charity hold his hands. Above, Knowledge is seated on a cload. The three Fates in the background. Below, a four-line German explanatory inscription., Germany, ca. 1750-1770, Print, Print

Second creation day: separation between the waters, Jan Harmensz. Muller, after Hendrick Goltzius, 1589 print The second day of creation: an angel, the four winds on his head, separates the rainwater from the water from the earth. The rainwater is personalized by a woman with a carafe in her hand, from which water flows. In her other hand the rainbow. The water of the earth is personalized by a power god, with a jug from which water flows. Shells on his head. To the Bible text in Gen. 1: 6-8. Amsterdam paper engraving creation of the firmament and division of the waters above and below it. Oceanids

Music sitting on clouds. The Muse of Music is In The Clouds Between Putti With Instruments.

Table of virtues and vices of antiquity: prosthet (Dutuit 36, white 117) Cornelis II Bloemaert, said the young person (1603-1692). Table of virtues and vices of antiquity: prosthet (Dutuit 36, white 117). Burin, 1630-1633. Museum of Fine Arts of the city of Paris, small palace.

Music sitting on clouds, Charles Ange Bowly, c. 1753 - 1813 print The muse of music is in the clouds between putti with instruments. Netherlands (possibly) paper etching 'Musica', symbolic representations, allegories and emblems ~ music; 'Musica'(Ripa)

Offer Van Isaak, Battista Franco, 1520 - 1561 print Abraham is about to imagine his sword Isaac, who is kneeling in front of him. An angel in the air grabs the sword. On the left a burning sacrificial block, on the right a ram. paper engraving the sacrifice of Isaac (Genesis 22)

Picart, Bernard, Amsterdam, Title page for: A. Dacier, L'Iliade d'Homère, 1712, Allegory of the genius of Homer, verso lower right - stamped, The personification of Heroic Poetry leads a boy, symbolizing the genius of Homer, to the temple of memory. Envy (Invidia) tries to stop them. Mnemosyne, the goddess of memory, opens the doors of the temple. Father Time hangs a portrait medallion of Homer above the entrance. In the sky Fame (Fama) blowing the trumpet. In the margin a five-line caption in French., print, engraving, title page, prints, height 142 mm, width 85 mm, Noord-Nederlands, 1673-06-11 - 1733-05-08, print maker, printmaker, 1711 - 1711, first quarter 18th century, paper, papier, etching, etchings, engraving (printing process), Work conception, after own design by

Measure between Minerva and Neptunus, Michel Natalis, After Annibale Carracci, After Andrea Camassei, 1632 - 1633 print Minerva and Neptunus contest each other's possession of Attica, the region of which Athens was the capital. The gods promised the country to those who could give the inhabitants the most useful gift. Neptunus creates the horse with his trident. Tritons guide Neptunus. On the right, Minerva is on the land, with spear and shield, where she lets an olive tree get along. On a banderole around the tree the text: Pomis Sva Nomina Servant. The gods watch Jupiter, Mars and Mercury on the clouds. The city of Athens is on the left in the background. Rome paper engraving Minerva in contest with Neptune for Athens: Minerva creates the olive-tree, Neptune the horse; Jupiter and other Olympians look on

The Frightened Naïad (Une naïade échevelée recule d'efroi à la vue d'un lion) ca. 1740 Jean-Baptiste Marie Pierre French. The Frightened Naïad (Une naïade échevelée recule d'efroi à la vue d'un lion) 343508

Martyrdom of St. Livinus van Gent, Philippe Lambert Joseph Spruyt, after Peter Paul Rubens, 1747 - 1801 print The tongue of the Holy Livinus has been pulled out. A executioner holds him by the beard, another man holds the tongs with the tongue. The horse in the background and the soldiers are shocked when angels appear in the sky and a male figure lets it lights. In the middle of an assignment in Latin and the coat of arms of Cardinal Ignazio Michele Crivelli. Ghent paper etching martyrdom, suffering, misfortune, death of St. Livinus

Hercules Being Shown the Mountainous Road to the Temple of Immortal Fame in the Company of Minerva and Mars. Artist: Jan Muller (Netherlandish, Amsterdam 1571-1628 Amsterdam); After Bartholomeus Spranger (Netherlandish, Antwerp 1546-1611 Prague). Dimensions: Sheet: 9 1/2 × 6 5/16 in. (24.1 × 16 cm). Publisher: Harmen Jansz. Muller (Netherlandish, Amsterdam ca. 1540-1617 Amsterdam). Date: ca. 1591. Museum: Metropolitan Museum of Art, New York, USA.

Copper engraving print by Marco Dente titled 'Galatea', created between 1515 and 1527, depicting the mythological sea nymph Galatea.

Adam and Eve are expelled by the angel with the flaming sword of the Earthly Paradise, besides them a crawling snake, print maker: Jan Saenredam (mentioned on object), Dating 1604 and/or 1690 - 1750

Hercules drags Cerberus de Hel from, Cornelis Cort, after Frans Floris (I), 1563 print Hercules takes care of Cerberus, the three-person dog that monitors the entrance of the Hades. He pulls the chain around Cerberus heads and threatens the dog with his club. Antwerp paper engraving the Twelve Labours of Hercules: second series

Man with a Flag ca. 1514-36 Agostino Veneziano (Agostino dei Musi) Italian See comment for 44.32. Man with a Flag. Agostino Veneziano (Agostino dei Musi) (Italian, Venice ca. 1490-after 1536 Rome). ca. 1514-36. Engraving. Prints

Apollo kills the Draak Python, master of the dice, after bangdassare peruzzi, c. 1530 - c. 1560 print On the right the python dragon, his neck pierced by an arrow. On the left, the naked Apollo focuses a second arrow on the dragon. At the top left Apollo and the Muses with musical instruments and at the top right on a cloud party Apollo and Amor. Italian text in two columns in STUDMARGE. paper engraving Apollo shoots Python, the dragon. (story of the) Muses; 'Muse' (Ripa). musical instruments; group of musical instruments. (story of) Cupid, Amor (Eros)

Torture of the H. Sebastian. Saint Sebastian tied to a tree, his body is piercing with arrows. In the background, drowns are still in hand with the bow. An angel welcomes Sebastian in heaven and reaches him a laurel wreath and palm branch, like signs of the martyr.

Praag, Spranger, Bartholomeus, Sadeler, Aegidius, Inscius non honorabitur, Triumph of Wisdom, verso lower left - stamped, Wisdom stands in the guise of Minerva with one foot on Ignorance, a man with donkey ears. A putto honors her with a laurel wreath. She has tied the man's hands with a rope. Around them are seven personifications as a variation on the seven liberal arts; including astronomy, music, geometry, painting, sculpture and rhetoric. Below the image is a four-line Latin caption emphasizing that the ignorant are incapable of worshipping the arts., print, prent, prints, prenten, height 495 mm, width 350 mm, Zuid-Nederlands, 1570 - 1629, print maker, printmaker, 1597 - 1629, paper, papier, engraving, graveren (drukprocess), 1546-03-21 - 1611-08

Copper engraving by Hendrick Goltzius circa 1586 showing Horatius Codes, a Roman historical and literary figure.

Hercules between Virtue and Vice Hercules at the crossroads Crayer, Gaspar de, 1584-1669. still image. Art reproductions. 1928. The Miriam and Ira D. Wallach Division of Art, Prints and Photographs: Picture Collection. Heracles (Greek mythology), Cupid (Roman deity), Mythology, Hercules (Roman mythology), Nude in art, Allegory (artistic device), Father Time (Symbolic character), Temptation

Abraham en de Drie Engelen, Pietro Monaco, After Giovanni Battista Tiepolo, 1717 - 1763 print Abraham is kneeling and with folded hands opposite three angels in a landscape. Text in STUDMARGE. Italy paper etching / engraving Abraham kneels before the angels

The Archangel Michael Fighting the Rebel Angels. In the course of the centuries many paintings have inevitably been lost. This is also the case of the picture by Rubens on which Vorsterman based this print. It hung in the Jesuit Church in Lille (France), and was destroyed by fire in 1740. For his spectacular depiction Rubens relied on the Revelation to John, a biblical book of prophetic visions about the Apocalypse.

. The portraits of Ferdinand II (R) and Eleonora Gonzaga (L) between emblematic figures. In the middle, the Roman wolf embraces that Romulus and Remus sucks the personification of the Tiber River. In the middle, on the clouds, a putto with the family weapons of Ferdinand and Eleonora. In the left and right-hand corner Mars and Venus on their floats. The print has a Latin caption.

The Angel Staying the Arm of Abraham. Artist: Attributed to Battista Franco (Italian, Venice ca. 1510-1561 Venice). Dimensions: sheet: 16 7/16 x 11 1/2 in. (41.8 x 29.2 cm) trimmed to platemark. Museum: Metropolitan Museum of Art, New York, USA. Author: Attributed to Battista Franco.

Concordia ca. 1581 after Maerten de Vos Netherlandish. Concordia 383755 Artist: after Maerten de Vos, Netherlandish, Antwerp 15321603 Antwerp, Concordia, ca. 1581, Engraving, sheet: 11 1/4 x 8 5/16 in. (28.6 x 21.1 cm). The Metropolitan Museum of Art, New York. The Elisha Whittelsey Collection, The Elisha Whittelsey Fund, 1949 (49.95.1995)

Allegory of writing, Simon Fokke, 1722 - 1784 print The personification of writing is on her lap with a book and points with a writing spring to a shield with the image of father time that a canvas stops and thereby reveals a naked woman. To the right of writing, a putto lifts his club to a devilish figure. An angel with laurel wreath and trumpet flies in the air with a coat of arms. Amsterdam paper etching inspiration of the poet; 'Furore poetico' (Ripa). Father Time, man with wings and scythe. devil(s) and demons. crowning with laurel

Saint Roch. Etching by F. Perrier, le Bourguignon.

Giovanni Giacomo Caraglios copper engraving shows Hercules and Nessus, depicting the mythological scene with human figures, dramatic movement, and narrative action.

Apollo and Daphne (judge part), Robert van Audenaerd, after Carlo Maratta, after Giovanni Paolo Melchiori, 1685 - 1728 print Apollo, affected by an Amors arrows, chased the Nymph Daphne. He calls her father for help and then she turns into a laurel tree. All the leaves spread out of her fingers. A river god and a nymph that lie on the banks of a river see the whole happen. Rome paper etching / engraving Apollo pursuing the nymph Daphne (as yet not metamorphosed). Daphne changed into a laurel-tree: while fleeing from Apollo, Daphne is changed into a laurel-tree by her father Peneus (Ovid, Metamorphoses I 548)

Copper engraving by Hendrick Goltzius around 1586 depicting Horatius Codes, a classical Roman figure, illustrating historical or literary themes.

Allegorical representation of America with Benjamin Franklin, Jean Honoré Fragonard, 1778 print paper etching America represented allegorically; 'America' (Ripa). historical persons

Apollo and the Muzen, 1693 Ceiling piece with the god Apollo, trunning on the clouds with the winch in his hand, in the midst of the muses. At the top right of his winged horse Pegasus. Print is part of an album. Amsterdam paper etching / engraving Ceiling piece with the god Apollo, trunning on the clouds with the winch in his hand, in the midst of the muses. At the top right of his winged horse Pegasus. Print is part of an album. Amsterdam paper etching / engraving

The archangel Michael, in one hand a shield with the symbol of God the Father and in the other a thunderbolt, together with other angels throws the rebellious angels out of heaven., Michael and the Fall of the Rebellious Angels, print maker: Jacob de Wit, after: Peter Paul Rubens, Amsterdam, 1705 - 1754, paper, etching, h 338 mm × w 402 mm

Amphion and Zethus avenging their mother by tying Dirce to the horns of a bull After the classical sculpture known as the bull of Farnese, Amphion and Zethus tie Dirce to the bull Bull of Farnese , print maker: Antoni Zürcher, (mentioned on object), Netherlands, 1765 - 1837, paper, etching, h 192 mm × w 111 mm

Venus en Adonis, Carel Allard, Michel Dorigny, after Simon Vouet, in or after 1638 print Amsterdam paper engraving / etching Venus and Adonis as lovers. dog

Personification of the conquered Judea is reprimanded by the revenge, Bernard Picart, 1721 print The personification of the conquered Judea is looking up to heaven. She is surrounded by attributes that come from the destroyed temples of Jerusalem. She is sitting on a dead priest, in front of her is a naked woman whose body has been pierced with a dagger. The Wraakelgel, a flaming sword, flies in the air. Peace (Pax) points her to justice in heaven. In the background the temple in Jerusalem, which goes up in flames. Amsterdam paper etching / engraving personifications of countries, nations, states, districts, etc.. Revenge, Requital, Retaliation; 'Vendetta' (Ripa). symbols, allegories of peace, 'Pax'; 'Pace' (Ripa). Justice, 'Justitia'; 'Giustitia divina' (Ripa) ~ one of the Four Cardinal Virtues. destruction of pagan idols

Limiers, Henri Philippe de, Picart, Bernard, Folkema, Jacob, Title print for: Jean de La Bruyère, Les caracteres de Theophraste, 1731, Allegorical representation with Hercules trampling Cupid, The personification of Temperance sits with her bridle next to Minerva on a cloud. Together they try to call the figures on the ground to order. To the left of the cloud stands a man who wants to attack Temperance and Minerva with a sword. In the foreground stands Hercules with Pride: a naked woman with a peacock in her arms. Hercules kicks Cupid to the ground. In the foreground lies a deck of cards and a winged devilish figure stands on a bag of money. In the margin a seven-line verse in French., print, engraving, title print, prints, engravings, height 146 mm, width 85 mm, Dutch, 1692 - 1767, print maker, printmaker, 1719 - 1767, paper, papier, etching, etchings, Work conception, Noord-Nederlands, 1673-06-11 - 1733-05-08

Fame and history; The Roman heroes. Fame blows the praise to history, which reads a book on a sarcophagus in the middle of ruins. Under the show two couplets of eight fresh rules in Latin. Final print for a series of ten prints, consisting of an unnumbered title print, eight numbered representations of heroes and an unnumbered closing print.

Vulcan et Thetis. Artist: Etched by Stefano della Bella (Italian, Florence 1610-1664 Florence); Designed by Jean Desmarets de Saint-Sorlin (French, 1595-1676). Dedicatee: Dedicated to Louis XIV, King of France (French, Saint-Germain-en-Laye 1638-1715 Versailles). Patron: Commissioned by Cardinal Jules Mazarin (Italian, Piscina 1602-1661 Vincennes). Publisher: Published by Henri Le Gras (French). Series/Portfolio: Jeu de la Mythologie. Date: 1644. Museum: Metropolitan Museum of Art, New York, USA.

David Strangling the Lion. Artist: Claude Mellan (French, Abbeville 1598-1688 Paris); After Gian Lorenzo Bernini (Italian, Naples 1598-1680 Rome). Dimensions: sheet: 8 7/16 x 6 in. (21.4 x 15.2 cm). Date: 1631. Museum: Metropolitan Museum of Art, New York, USA.

Dirck Volckertz Coornhert, Hercules Killing Cacus, 1554 Hercules Killing Cacus

The Smidse of the Cyclopes. The cyclopen are in force in the Smidse Wapentuig. Four cyclopes hit the anvil with hammers. Another removes iron from the fire. A lion looks at the working cyclopen.

Archangel Michaël kills the dragon, Louis Surugue, After Rafaël, 1691 - 1767 print paper engraving / etching the Archangel Michael fighting the dragon (devil, Satan)

Hercules en Cacus, 1588 print Hercules lifts a big club to hit Cacus, lying on the floor in his cave. Under the performance, the address of printer Willem Janszoon Blaeu is mentioned in print letters. paper letterpress printing Cacus, the fire-breathing monster is killed in his cave by Hercules

Moses Rescued from the Nile 16th century Battista Angolo del Moro Italian In Mariette album, folio 8 bottom. Moses Rescued from the Nile 367074

Northern Netherlands, Title page for: Bernardus Bosch, The truth to self-interest, 1785, verso - stamped, Title page for a patriotic verse entitled: The truth to self-interest, 1785. Allegorical representation in which Self-interest carries Truth on its shoulders and almost collapses under the burden., print, title page, prints, Frederik Muller Historical plates, height 158 mm, width 93 mm, print maker, printmaker, 1785 - 1785, paper, etching, engraving, engraving (printing process)

Cain kills Abel. Engraving by M. van der Gucht after G. Hoet.

Print, Abduction of Proserpine on a Unicorn, 1516; Print Maker: Albrecht Dürer (German, 1471-1528); Germany; engraving on off-white laid paper; 30.8 x 21 cm (12 1/8 x 8 1/4 in.); Bequest of George Campbell Cooper; 1896-3-43

Offer van Isaak. Abraham is about to sacrifice his son Isaac. An angel, sent by God, stops him. Instead of his own son, Abraham will sacrifice the RAM, which is held on the left by a second angel. Under the representation two lines in Latin, GEN. 22.

Saint Jerome in theDesert. Engraver: Pietro del Po, Italian, 1610-1692 After: Domenichino (Domenico Zampieri), Italian, 1581-1641

Hendrick Goltzius copper engraving depicting Daphne transforming into a laurel tree, created in 1589, illustrating the mythological story.

Jan Muller after Bartholomaeus Spranger, Bellona Leading the Imperial Armies Against the Turks, 1600 Bellona Leading the Imperial Armies Against the Turks

Anger and despair head towards the grave, Gerard de Lairesse, 1668 print The despair goes with a dagger in her chest Amor to an open grave. The anger armed with dagger has appeared at the grave and holds a burning torch. In the margin there is a two -way caption in Dutch. This illustration was made by the mourning game "Didoos Doot" (1668), written by Andries Pels. The print is part of a four -part series with scenes from this mourning game. paper etching Fury; 'Furore', 'Furore implacabile', 'Furore & Rabbia', 'Furore superbo & Indomito' (Ripa). (story of) Dido. punishment of Cupid. grave, tomb

Aeneas, Johann Gottfried Haid, 1745 print Aeneas escapes from the burning Troy at night and expresses his father Anchises out of the city. His son Ascanius walks behind him. Twice a four -line German and Latin text in the lower margin. Publishing number 41. Augsburg paper etching 'Pius Aeneas': Aeneas, leading Ascanius, escapes from burning Troy, carrying his father Anchises with the Penates; his wife Creusa, who sets out with them, is lost on the way

Amsterdam, Damme, Andries van, Leiden, Dalen, Daniel van den, Sluyter, Pieter, Title page for: European Mercurius Fourteenth Piece First Part, 1703, center bottom, containing the first 6 months of the year 1703. Altar with the year 1702 and arms above which a chained by his feet Mercury and Victory. On the right a warrior (the German Empire) raises his sword against a lion (France). In the foreground the river god of the Rhine., print, engraving, title page, prints, engravings, Frederik Muller Historieplaten, EUROPISCHE, MERCURIUS, ..., het Jaar, 1703., right on print on stone tablet, TOT LEYDEN., By DANIEL VANDEN DALEN, Booksellers, T'AMSTERDAM, By ANDRIES VAN DAMME., height 162 mm, width 135 mm, Noord-Nederlands, 1675 - 1733, print maker, printmaker, 1703 - 1703, paper, papier, etching, etchings, Publication (Event), Publicatie, Nederlands, publisher

Heemskerck, Maarten van, Haarlem, Coornhert, Dirck Volckertsz., Triumphs of Petrarch, Time overcomes fame, verso middle bottom - stamped, In the clouds the personification of Time. Below him on the ground Fame lies defeated on her side. Time is stronger than fame. The print is part of a six-part series on the triumphs of Petrarch., print, prints, verso bottom center - stamped, height 226 mm, width 176 mm, Northern Netherlands, 1522 - 1590-10-29, print maker, printmaker, 1532 - 1590, paper, papier, etching, etchings, Work conception, 1498 - 1574

Jacques Callot, The Resurrection, c 1631 The Resurrection

The French Admiral, 1702, 1702 print The French Admiral. Cartoon on the burning of the French and Spanish ships by the Dutch and English after the victory in the sea battle in the bay of Vigo, October 23, 1702. Phaëthon falls into the sea with the solar car from heaven. In the caption two verses in French and Dutch. Part of a group of individual cartoons on Louis XIV during the Spanish Succession War, ca. 1701-1713. Northern Netherlands paper etching political caricatures and satires. fall of Phaethon; he is struck by a thunderbolt of Jupiter. battle (+ naval force)

Triton Blowing on a Conch 1613-1623 Netherlands. Etching in black on cream laid paper, laid down on cream laid paper . Jacob de Gheyn, III

Umbria Terni Narni S. Domenico58. Hutzel, Max 1960-1990 Medieval: 1965 photos, 29 Architecture, architectural sculpture (12th century); Wall painting (13-16th century); Mosaic, cosmati style pavement (c. 1200) 1986 photos, 44 Architecture, architectural sculpture, cosmati pavement, sculpture. Post-medieval: 1965 photos, 56 Frescoes, painting (13-16th century); sculpture (14-16th century) 1986 photos 167 Frescoes, painting, sculpture, metalwork Antiquities: 1986 Weaponry Object Notes: Church deconsecrated and modified for use as museum, 1970 General Notes: Bibliographic material sent, Getty Center library () German-born photographer and scholar Max Hutzel (1911-1988) photographed in Italy from the early 1960s until his death. The result of this project, referred to by Hutzel as Foto Arte Minore, is thorough documentation of art historical development in Italy up to the 18th century, including objects of the Etruscans and the Romans, as well as early Medieval, Romanesque, Gothic, Renaiss

The lost son wasted his money, Johann Gelle, after Augustin Braun, 1595 - 1625 print The lost son has wasted all his money. He is bitten by a woman while another woman hits him with a stick. Fortuna flies away in the air. He is abandoned and broken by happiness. Paartjes sex in the background. The print has a Latin and German caption. Low Countries paper engraving lovers; courting, flirting. when all his money is squandered the prodigal son is chased away by the harlots. Luck, Fortune, Lot; 'Fato', 'Fortuna', 'Fortuna aurea', 'Fortuna buona', 'Fortuna pacifica overo clemente', 'Sorte' (Ripa)

. The personalized anger; A women's figure with helmet, shield and sword in a landscape, next to her a bear.

Sadness, Raphaël Sadeler (I), After Maerten de Vos, 1592 print In the foreground is a half -naked young woman in front of a cave. She is the personification of sadness and keeps her hands folded up. Around her four animals: owl, snake, rat and a howling dog. On the left in the middle plan a woman with a snake head who pays a heart (the personification anger/invidia) and a devil with a snake in both hands (the personification envy/zelotypia). On the right in the middle plan is a woman with a dagger in her chest (the personification despair/desperatio) and a praying woman (complaint/commiseratio). In the background the siege of a city (left) and a shipwreck (right). With Latin explanation in caption. The third print of a four -part series about negative human characteristics. Cologne paper engraving Despair; 'Disperatione' (Ripa). Jealousy; 'Gelosia', 'Rammarico del ben'altrui' (Ripa). Envy; 'Invidia' (Ripa) ~ personification of one of the Seven Deadly Sins. Grumbling, Complaint; 'Pianto

Minerva protecting Telemachus and preserving him from the shafts of love. Copperplate engraving by W. Walker after an illustration by C. Monnet from The Copper Plate Magazine or Monthly Treasure, G. Kearsley, London, 1778.

Dronken Silenus, Jonas suderhoef, after Peter Paul Rubens, 1644 - 1650 print The drunk Silenus is supported by Saters. Silenus has a wreath of wingerd leaves on the head. Haarlem paper etching / engraving (story of) Silenus

The Assumption of the Virgin. Artist: After Peter Paul Rubens (Flemish, Siegen 1577-1640 Antwerp); François Ragot (French, 1638-1670 ()). Dimensions: Sheet: 25 5/8 × 18 3/4 in. (65.1 × 47.6 cm). Date: mid 17th-late 17th century. Museum: Metropolitan Museum of Art, New York, USA.

Perseus Rescuing Andromeda. 1730. Hogarth, William, 1697-1764. Prints. The Miriam and Ira D. Wallach Division of Art, Prints and Photographs: Print Collection

A copper engraving and etching by Luca Giordano depicting Hercules fighting the multi-headed Hydra from Lerna, showing the mythological battle scene.

Faam in Een Landschap Met Ruïnes, Virgil, 1524 - 1562 print Nuremberg paper engraving / etching Fama as Roman personification. landscape with ruins

Venus a Neptunus, Simon Fokke, 1775 print Neptunus stands on a shell and is pulled by sea horses. He is in conversation with Venus who descended from the sky. Print on top left marked: Page 160. Amsterdam paper etching (story of) Telemachus. (story of) Venus (Aphrodite). (story of) Neptune (Poseidon)

The Martyrdom of Saint Bartholomew. Dated: 1624. Dimensions: sheet: 32.4 x 24.1 cm (12 3/4 x 9 1/2 in.). Medium: etching and engraving. Museum: National Gallery of Art, Washington DC. Author: Jusepe de Ribera.

Hercules in Cerberus, Antonio Tempesta, 1608 print Hercules walks out of the underworld with the Cerberus cerberus, the multi -member dog that guarded the Hades. Rome paper etching most important deeds of Hercules: the Twelve Labours. (12) Cerberus captured and carried away by Hercules

Table of the Temple of Muses: Hercules burst (Dutuit 36, White 114) Cornelis II Bloemaert, said the young person (1603-1692). Table of the Temple of Muses: Hercules bursow (Dutuit 36, White 114). Burin, 1655. Museum of Fine Arts in the city of Paris, small palace.

Martyrdom of Saint Catherine, after Bernardino Passari 1588 Gijsbert Van Veen. Martyrdom of Saint Catherine, after Bernardino Passari. Gijsbert Van Veen (Netherlandish, ca. 1562-1628). 1588. Engraving. Prints

Eros and Anteros. Jacob Matham (Holland, Haarlem, 1571-1631). Holland, 1588. Prints; engravings. Engraving

The Angel Staying the Arm of Abraham Attributed to Battista Franco Italian. The Angel Staying the Arm of Abraham 371774

Soil; The four elements. The Earth element, personalized by the naked goddess Cybele. Cybele carries a wall wreath and holds a bunch of flowers in her one hand and in her other hand a model of a city. She is surrounded by the fruits of the earth and the personnifications of life and death, respectively a newborn and a skeleton. In the background the animals of the earth in a wide landscape. The print has a Latin caption. The print is part of a four-part series over the four elements.

Simone Cantarini, Frontispiece with Coat of Arms Frontispiece with Coat of Arms

Matham, Jacob, Sovius, Simon, Bloemaert, Abraham, Haarlem, H. Catharina, verso lower left - stamped, Saint Catherine, seated, with her attributes at her feet, the wheel and the sword., print, prints, height 300 mm, width 207 mm, Noord-Nederlands, 1571-10-15 - 1631-01-20, print maker, printmaker, 1602 - 1615, paper, papier, engraving, engraving (printing process), Work conception, 1566-12-25 - 1651-01-27, after a design by, writer, Publication (Event), Publication, publisher

Jacob Matham (1571-1631) after originalinal Hendrick Goltzius (1558-1617), Dutch school) Uniafter Venus, Bacchus and Ceres engraving The St. Hermitage Museum, St Petersburg

Fifth day of creation: creation of the animals, Jan Harmensz. Muller, after Hendrick Goltzius, 1589 print The fifth day of creation, on which the animals were created. Various animals and birds run on land. Birds flying in the sky. In the foreground the sea with fish and scratching and a sea god with shells in the hair. To the Bible text in Gen. 1: 20-23. Amsterdam paper engraving creation of the animals ~ Genesis. gods of the waters: the older dynasty (second series): children of Oceanus, river and small water deities. animals. fishes

Pluto leaves Proserpina in the underworld; The history of Pluto and Proserpina. After spraying Proserpina, Pluto brings her to the underworld. He then drives back to the world with his victor.

Italy, Domenichino, Po, Pietro del, Saint Jerome in the Desert, verso - stamped, An angel and a putto appear to Saint Jerome. Jerome is kneeling in the wilderness with a crucifix in his hand. Before him lies a lion., print, prent, prints, prenten, height 429 mm, width 341 mm, Italian, 1610 - 1692-07-22, print maker, printmaker, 1620 - 1692, paper, papier, engraving, engraving (printing process), etching, 1581-10-21 - 1641-04-06

Gods in council still image. Illustrations. The Miriam and Ira D. Wallach Division of Art, Prints and Photographs: Picture Collection. Eagles , Mythology, Jupiter (Roman deity), Mercury (Roman deity), Venus (Roman deity), Carthage (Extinct city)

Apollo en Daphne, Willem Panneels, after Peter Paul Rubens, 1631 print Landscape with Apollo that chases the fleeing Daphne. Her raised arms already get branches and leaves and her feet shoot root. Above them in the clouds amor with his arrow and arch. Frankfurt am Main paper etching / engraving Daphne changed into a laurel-tree: while fleeing from Apollo, Daphne is changed into a laurel-tree by her father Peneus (Ovid, Metamorphoses I 548)

Luigi Sabatelli I, Vidi, quod aperuisset agnus (The Four Horsemen of the Apocalypse), 1809 1810 Vidi, quod aperuisset agnus... (The Four Horsemen of the Apocalypse)

Visscher, Claes Jansz. (II), Buytewech, Willem Pietersz., Haarlem, Kittensteyn, Cornelis van, Currus triumphalis Illustris, Triomftocht van Willem of Orange, Triumphal Procession of William of Orange, plate d, verso - stamped, Symbolic representation of the virtues of Prince William of Orange. Triumphal chariot in which the prince and the Dutch Lion sit. Above the prince, the Eternal Memory drives away Envy. Next to the chariot, other personifications of virtues. Behind the chariot, many princes of Orange ride on horseback. With explanation in Latin above the figures, Dutch translation at the bottom., print, engraving, propaganda print, prints, Frederik Muller Historieplaten, height 357 mm, width 275 mm, 1600 - 1663, print maker, printmaker, 1623 - 1623, first quarter 17th century, second quarter 17th century, paper, engraving (printing process), 1592 - 1624, intermediary draughtsman, after a drawing by, Publication (Event), Publication, Northern Netherlands, 1586 - 1652-06-19, publish

Minerva with portrait of unknown man. On the leg of Minerva a portrait in oval of an unknown man. Her spear is crowned with the freedom hat. A woman's left of Minerva bears seven together arrows in her hand and is flanked by the Dutch lion. On the right writes a raised angel in a book, which rests on the back of the father's time. Two Putti bind two burning hearts together in the foreground. Putti is playing in the air and blows the bazuin with a coat of arms.

Vatican City, Alexander VII, Rome, Collignon, François, Italy, Carracci, Annibale, Cesio, Carlo, Galeria nel Palazzo Farnese in Roma, Paintings in Palazzo Farnese in Rome, Polyphemus Throws a Stone at Acis, The monstrous one-eyed giant Polyphemus throws a stone at his rival Acis. Acis flees with Galatea towards the sea., print, prints, height 344 mm, width 247 mm, Italian, 1622 - 1682, print maker, printmaker, 1656 - 1656, paper, papier, etching, etchings, intermediary draughtsman, after a drawing by, Work conception, 1560-11-03 - 1609-07-15, after a design by, Publication (Event), Publication, French, 1610 - 1687, publisher, uitgever, 1599-02-13 - 1667-05-22, verlener van privilege

Lazio Roma Rome Palazzo Lante7. Hutzel, Max 1960-1990 Post-medieval: Architecture, courtyard views, architectural sculpture; painting (ceiling and wall frescoes), sculptural reliefs. Object Notes: Palace was commissioned by Pope Leone X of the Medici at beginning of 16th century. After World War II, palace was taken over by city of Rome and in 1955, restoration began, finishing in c. 1958. Located on Piazza S. Eustachio. German-born photographer and scholar Max Hutzel (1911-1988) photographed in Italy from the early 1960s until his death. The result of this project, referred to by Hutzel as Foto Arte Minore, is thorough documentation of art historical development in Italy up to the 18th century, including objects of the Etruscans and the Romans, as well as early Medieval, Romanesque, Gothic, Renaissance and Baroque monuments. Images are organized by geographic region in Italy, then by province, city, site complex and monument.

Christ Salvator Mundi, from the cycle Christ and the Twelve Apostles. Beham, Sebald (1500-1550), graphic artist

Mercury brings Paris the Golden Apple; Paintings in Palazzo Farnese in Rome; Galeria Nel Palazzo Farnese in Roma. Mercury floats through the air with a trumpet and an apple in his hands. He gives the apple to Paris that is on a stone. In addition to Paris, a dog is sitting. The print originally belonged to Liber 22 of the Atlas of Michiel Hinloopen (seem to book 10).

Italy, Alberti, Cherubino, Fame, blowing the trumpet, verso - stamped, Nude winged figure, the personification of fame, blowing a trumpet. On a plaque below the representation two lines of text in Latin., print, prent, prints, prenten, height 310 mm, width 162 mm, 1553 - 1615, print maker, prentmaker, 1563 - 1615, paper, papier, engraving, engraving (printing process), Work conception

Sadeler, Aegidius, Dürer, Albrecht, Prague, Fable of the Abduction of a Woman by a Centaur, A centaur abducts a naked woman while she is bathing. In the background the other bathing women in a pond. The moral of the story teaches that it is better to die than to live in shame, print, book illustration, prints, height 96 mm, width 112 mm, South Netherlands, 1570 - 1629, print maker, printmaker, 1608 - 1608, paper, papier, etching, etchings, engraving, engraving (printing process), letterpress printing, Work conception, German, 1471-05-24 - 1528-04-05, after print by, Publication (Event), Publication, publisher

The personifications Zeal, with beehive and oil lamp, and Prudence, with mirror, sit side by side Mercury holds up a curtain In the background, ships In foreground left, a monogram on a paper, Zeal and Prudence, print maker: anonymous, print maker: Jan Wandelaar, (rejected attribution), 1700 - 1750, paper, etching, engraving, h 134 mm × w 98 mm

CREAT OF MARIA, Jan Punt, After Jacob de Wit, after Peter Paul Rubens, 1751 print Mary is crowned in the clouds by the trinity. Under the rectangular representation a caption in Latin. Amsterdam paper etching / engraving coronation of Mary in heaven (usually the Holy Trinity present) Carolus Borromeuskerk

Clarence's Dream (Shakespeare, Richard III, Act 1, Scene 4). Artist: After Thomas Stothard (British, London 1755-1834 London). Dimensions: plate: 4 7/8 x 2 7/8 in. (12.4 x 7.3 cm)sheet: 6 7/16 x 3 5/8 in. (16.4 x 9.2 cm). Engraver: William Blake (British, London 1757-1827 London). Publisher: John Johnson (London) St. Paul's Churchyard. Subject: William Shakespeare (British, Stratford-upon-Avon 1564-1616 Stratford-upon-Avon). Date: 1774.When just seventeen, Blake engraved this design by Stothard for William Enfield's "The Speaker, or Miscellaneous Pieces Selected from the Best English Writers." Kneeling in the foreground, the Duke of Clarence looks over his shoulder at an accusing spirit chillingly described in Shakespeare's Richard III:Then came wand'ring by, A shadow like an Angel, with bright hair Dabbled in blood, and he shriek'd aloud: "Clarence is come, false, fleeting perjur'd Clarence, That stabb'd me in the field by Tewkesbury, Seize on him, furies, take him to your torm

The Martyrdom of Saint Catherine 1563 Mario Cartaro Italian. The Martyrdom of Saint Catherine. Mario Cartaro (Italian, born Viterbo, active Rome ca. 1557-88, died 1620). 1563. Engraving. Prints

Tobias from the Ango; Le Febre, Valentin (1642-1680), Titian (CA 1488-1576), Camen, Jacob Van (1595-1657); 1682 (1682-00-00-1682-00-00);

Scolari, Giuseppe, Italy, Rape of Proserpina, verso - stamped, Proserpina is abducted to the underworld by Pluto. After Pluto dragged her onto his chariot, he created a great chasm in the earth., print, prints, height 437 mm, width 350 mm, Italian, print maker, printmaker, 1550 - 1600, third quarter 16th century, fourth quarter 16th century, paper, woodcut, Work conception

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