Classical Allegorical Drawings

Dramatic historical drawings featuring mythological scenes, biblical references, and allegorical figures. Rich in detail, with a focus on composition and shading.

Design for a Tapestry: Allegory of Africa, Gérard Audran, Flemish, active in France, 1640-1703, Brush and brown ink, black wash, white gouache,over black chalk on laid paper. Framing lines in pen and black ink., A central group of women are flanked at left by a river god and at right by three figures. The Queen of Africa, crowned with ostrich feathers is shown seated holding a mace. At her right stands a woman who carries a sheaf of grain with her left arm and holds aloft a feather or offering with her raised right hand. She wears the head of an elephant as a headdress; a lion accompanies her. A third woman is seated beside the Queen and looks toward her while pointing to the left., France, 1660-1680, textile designs, drawing, drawing

Black chalk drawing by Abraham van Diepenbeeck showing Ulysses companions opening the sack of winds, on a sheet with vertical folds, brownish spots, and minor paper damage.

Drawing, Christ and the Virgin with Patron Saints of Pistoia; Giacinto Gimignani (Italian, 1606 - 1681); Italy; brush and gray wash, pen and brown ink, black chalk, white gouache on cream paper.; 37 x 25.1 cm (14 9/16 x 9 7/8 in.)

A 1763 drawing by Charles Nicolas Cochin the Younger showing Justitia and Pallas Athena safeguarding the visual arts from envy, executed in red chalk.

Design for a Tapestry: Allegory of Africa, Gérard Audran, Flemish, active in France, 1640-1703, Brush and brown ink, black wash, white gouache,over black chalk on laid paper. Framing lines in pen and black ink., A central group of women are flanked at left by a river god and at right by three figures. The Queen of Africa, crowned with ostrich feathers is shown seated holding a mace. At her right stands a woman who carries a sheaf of grain with her left arm and holds aloft a feather or offering with her raised right hand. She wears the head of an elephant as a headdress; a lion accompanies her. A third woman is seated beside the Queen and looks toward her while pointing to the left., France, 1660-1680, textile designs, drawing, drawing

Entombment. Artist: Parmigianino (Girolamo Francesco Maria Mazzola) (Italian, Parma 1503-1540 Casalmaggiore). Dimensions: plate: 12 15/16 x 9 7/16 in. (32.9 x 24 cm)sheet: 13 1/16 x 9 5/8 in. (33.2 x 24.4 cm). Date: n.d.. Museum: Metropolitan Museum of Art, New York, USA.

Menelaus Holding the Body of Patroclus Artist's working dates 1519-1546 Italy. Pen and brown ink, with brush and brown wash, heightened with white gouache, on tan laid paper, laid down on card . Giulio Romano

Pietro Perugino, The Baptism of Christ, c 1475 The Baptism of Christ

The Hermit Saints Paul and Anthony Receiving Bread from a Dove. Dated: 1530s. Dimensions: overall: 39.2 × 25.9 cm (15 7/16 × 10 3/16 in.). Medium: pen and brown ink over traces of leadpoint. Museum: National Gallery of Art, Washington DC. Author: Domenico Campagnola.

Saturn. Dated: 1525/1530. Medium: chiaroscuro woodcut in four violets. Museum: National Gallery of Art, Washington DC. Author: after Giovanni Antonio Pordenone Giuseppe Nicolo Vicentino.

Harpocrates. Dated: first quarter 17th century. Dimensions: sheet: 20.3 x 29.3 cm (8 x 11 9/16 in.) support: 31.7 x 41.4 cm (12 1/2 x 16 5/16 in.). Medium: red chalk on laid paper. Museum: National Gallery of Art, Washington DC. Author: French 17th Century.

Massacre of the Innocents 17th century Anonymous, Italian, 17th century Italian. Massacre of the Innocents 342319

Ceres, Cornelis Schut (I), 1607 - 1655 drawing paper. ink. pencil pen / brush Triumph of Ceres; 'Carro di Cerere' (Ripa)

Birth of Christ, Anonymous, 1575 - 1625 drawing The birth of Christ, with the worship by the shepherds. Angels oversee from the clouds. Southern Netherlands paper. ink pen / brush adoration of the Christ-child by the shepherds; Mary and Joseph present

Young Palma (Jacopo Negretti) / 'The Virgin and Child Appearing to Four Saints'. Ca. 1625. Wash, White lead, Pencil, Pencil ground, Grey-brown ink on dark yellow paper. Museum: Museo del Prado, Madrid, España.

Anonymous / 'Joseph and Potiphar's Wife / The Repudiation of Hagar'. Second half of the XVII century. White chalk, Black chalk on grey paper. Museum: Museo del Prado, Madrid, España.

Mythilologying Voorteteling MET GODIN Diana, Matthias Osterfry, After Seabas Bourdon, 1750 print Dresden paper etching (story of) Diana (Artemis)

Nessus is affected by the poison arrow of Hercules; Roof from Proserpina. A river god watches how Nessus tries to remove the poison arrow from Hercules from his back. Deïanira is on its back. In the background Hercules is, his bow is still in hand.

Maarten of Heemskerck (1498-1574), Gideon Nedbryder Baalsalteret, 1561

Three young people are thrown into a fiery oven, Maarten van Heemskerck, 1564 drawing Right in the foreground, one of the youngsters, whose feet and hands are tied; Another is thrown into the oven and the third is in the flames with an angel next to him. The flames overmen the servants; In the background, Nebuchadnezzar on horseback next to the idol. Design for a print. paper. ink pen / brush after the furnace has been heated seven times more, the three Hebrews are bound and thrown into the fire; their executioners are burnt by the flames

Exaltation of the Cross and Saints (Design for a Painting for the Cathedral of Pisa), Giovanni Battista Paggi, Italian, 1554 - 1627, Pen and brown ink, brush and gray wash on laid paper, Italy, ca. 1606-11, Drawing, Drawing

Christ and the Canaanite Women. Artist: Abraham Bloemaert (Netherlandish, Gorinchem 1566-1651 Utrecht). Dimensions: 13 1/2 x 18 7/8 in. (34.3 x 47.9 cm). Date: late 16th-mid-17th century. Museum: Metropolitan Museum of Art, New York, USA.

Lamentation of Christ, draughtsman: Aertgen Claesz van Leyden, Hans Baldung Grien, 1508 - 1564, paper, pen, h 245 mm × w 187 mm

Allegorical Composition, Red and black chalk on paper, Allegorical composition of many figures and winged putti in a landscape. Ruled frame in red chalk., France, late 17th century, figures, Drawing, Drawing

Apollo and Galatea in a Landscape with Neptune and Three Nymphs 1550-60 Emilian artist near Orazio Samacchini Italian Formerly considered as a work by Niccolò dell'Abate (Cleveland 1981, no. 83), Jacob Bean published this drawing in 1982, more generally as by an anonymous 16th century Emilian artist (Bean 1982, no. 290). Though somewhat timid in execution, this drawing seems closest to the style of the Bolognese painter Orazio Samacchini, as suggested by the notes on the modern mount written by Mario di Giampaolo, Marzia Faietti, and Timothy Clifford. While endorsed by Carmen C. Bambach, the attribution to Samacchini was rejected by Babette Bohnn and Jak Katalan, who also thought more generally of an artist active at Fontainebleau (notes on the mount). In 1979, Philip Pouncey recognized that a drawing in the Musée du Louvre, Paris (inv. 10494) attributed to Samacchini features the same composition of Apollo, Galatea and her Nymphs, with slight modifications (especially in the pose of G

A drawing by Daniel Seiter depicting Venus with Amor and Adonis in a landscape, seated on a lawn bench with a curtain above, executed in chalk, pen, and brown and gray wash.

Brown ink and wash drawing by an anonymous artist depicting the death of a German figure, executed with brown ink and brush washes.

Sebastiano Ricci, The Angel Appearing to Hagar and Ishmael, 1726 1727 The Angel Appearing to Hagar and Ishmael

Christ and the Virgin with Patron Saints of Pistoia. Date/Period: 1638. Drawing. Brush and gray wash, pen and brown ink, black chalk, white gouache on cream paper. Author: GIACINTO GIMIGNANI.

A 1768 drawing by Joseph Marie Vien depicting a children's bacchanal scene, executed in ink with brush, brown wash, and white highlights.

Beheading of St. John theBaptist. Artist: Unknown

Venus and Adonis; Malczewski, Bart Omiej (CA 1781-1823); around 1810 (1800-00-00-1815-00-00);Adonis (Mitol.), Akteon (Mitol.), Artemis (Mitol.), Bersohn, Mathias (1823-1908), Bersohn, Mathias (1823-1908)-collections, Ovidius Naso, Publius (43 A.C.-Ca 17), Ovidius Naso, Publius (43 A.C.-Ca 17). Metamorphoses, Society for the Encouragement of Fine Arts (Warsaw - 1860-1940), Society for the Encouragement of Fine Arts (Warsaw - 1860-1940) - collection, Venus (mitol.), Metamorphoses/changes, mythology, couples of lovers, Poland (culture), dogs, Putta (iconogr.), Polish drawings

Anonymous / 'Christ in Glory among Saints and Embodiments of the Four Continents'. Late XVII century. Grey-brown wash, Pencil, Pencil ground on dark yellow paper. Museum: Museo del Prado, Madrid, España.

Giovanni Andrea Podesta, Bacchanal with Altar, Faun, and Silenus, 1640 Bacchanal with Altar, Faun, and Silenus

The Sacrifice ofIphigenia. Artist: Pietro Testa, Italian, 1611/12-1650

Mythological show with Mercury and Failure Men, Louis Fabritius Dubourg (Possible), 1703 - 1775 drawing paper. chalk aggressive, unfriendly activities and relationships of Mercury

Venus at the Forge of Vulcan. Dated: 18th century. Dimensions: overall (approximate): 36.7 x 16.6 cm (14 7/16 x 6 9/16 in.). Medium: pen and brown ink with brown wash and touches of white gouache. Museum: National Gallery of Art, Washington DC. Author: French 18th Century.

Judith and Holofernes. Dimensions: overall: 26.8 x 41.3 cm (10 9/16 x 16 1/4 in.). Medium: pen and brown ink with brown and gray wash on laid paper; laid down. Museum: National Gallery of Art, Washington DC. Author: Hans von Aachen.

A black and reddish chalk drawing with white highlights by Theodor van Thulden depicting the biblical story of Jakob and Laban on brown-tinted paper, with stains and minor tears on the edges.

Red chalk drawing by Bernard Picart depicting Zephyr and Flora, showing figures in motion with gestures and interaction.

Maarten van Heemskerck (1498-1574), Tamar Foeder Pearz and Zera, 1566

Venus and Adonis Artist's working dates 1680-1725 France. Pen and brown ink, with brush and brown wash and black chalk, heightened with touches of white chalk, on grayish-tan laid paper, laid down on cream laid paper . Louis Chéron

Depiction of Christs Crossing by Abraham van Diepenbeeck using brown feather and gray brush, with 6 mm margin on the left.

Andrea Mantegna (1432-1506), "Bakkanal at wine vessel", 2nd Half of 15th Century

The Holy Family with Saint John, Pen and black ink, brush and brown wash on cream paper; verso: red chalk, Scene depicting the Virgin supporting the Christ-child, who reaches for a branch of a tree. Joseph kneels on the left, and the infant, St. John, stands near him. A pyramid and tower can be seen in the left background. Verso: sketch of two female and one male figures., Italy, 1780-1820, figures, Drawing, Drawing

Feather and lavated drawing by Lodovico Cardi depicting the Adoration of the Shepherds, showing figures, gestures, and composition, with a highlighted left area.

Valentin Lefevre (Drafstman) / 'The Assumption of the Virgin'. XVII century. Grey-brown wash, Pencil, Pencil ground, Grey-brown ink on white paper. Museum: Museo del Prado, Madrid, España.

Bacchanal with Satyrs and Bacchants at Wijnpers, Andrea Mantegna, 1473 - 1477 print Italy paper engraving thiasos, i.e. Bacchus' revel-rout, bacchanal without Bacchus. wine-press

Studies of a kneeling man, half figure, arm and bust, draughtsman: G. Ladan, 1700 - 1800,

Venus Watching Vulcan and Cyclops Forge Armor for Mars late 17th century attributed to Raymond de La Fage French. Venus Watching Vulcan and Cyclops Forge Armor for Mars 343066

Descent from the Cross. Artist: Pasquale Ottino (Pasqualotto) (Italian, Verona 1578-1630 Verona). Dimensions: 12 1/2 x 9 1/4in. (31.8 x 23.5cm). Date: 1615-16. Museum: Metropolitan Museum of Art, New York, USA.

Figure Studies: Men Standing by a Large Vase, a Falling Nude Figure, and Other Figures 1613-78 Giulio Carpioni Italian. Figure Studies: Men Standing by a Large Vase, a Falling Nude Figure, and Other Figures 338402

Hans von Aachen, Judith and Holofernes Judith and Holofernestitle QS:P1476,en:Judith and Holofernes label QS:Len,Judith and Holofernes label QS:Lde,Judith und Holofernes

Battle between Cavalry and Foot Soldiers. After Girolamo Genga; Italian, c. 1476-1551. Date: 1580-1599. Dimensions: 278 x 397 mm. Pen and brown ink, over traces of graphite, on ivory laid paper. Origin: Italy. Museum: The Chicago Art Institute, Chicago, USA.

Andrea Mantegna (1432-1506), "Bakkanal at wine vessel", 2nd Half of 15th Century

Venus and Adonis. Louis Chéron; French, 1660-c. 1725. Date: 1680-1725. Dimensions: 299 × 257 mm. Pen and brown ink, with brush and brown wash and black chalk, heightened with touches of white chalk, on grayish-tan laid paper, laid down on cream laid paper. Origin: France. Museum: The Chicago Art Institute, Chicago, USA.

Artwork by Annibale Carracci depicting the triumphal procession of Bacchus and Ariadne. Executed in feather and gray-lavated ink before 1597, showing figures and chariots in motion.

Nessus is hit by the Gifspijl van Hercules, 1618 - Before 1655 print A river god watches how Nessus tries to remove the poison arrow from Hercules from his back. Deïanira is sitting on his back. Hercules is in the background, his bow is still in the hand. paper etching / engraving Hercules shoots Nessus, the centaur, who attempts to carry off Deianira. river-gods

Bacchanal with a Wine Vat 1465-1475 Italy. Andrea Mantegna was an artist with a deep interest in antiquity, and much of his work resembled Greco-Roman sculpture, which he translated into widely circulating and frequently copied engravings. This is the left half of a pair of prints; the adjoining print Bacchanal with Silenos (1956.1010) is also in the Art Instituteís collection. Mantegnaís frieze-shaped bacchanalian subjects portray the god of wine and his drunken revelers. Dionysos may be the standing youth on the left, who is being crowned with a wreath of grape leaves. His noble bearing and contrapposto stance link him particularly to ancient sculptures.. Engraving on cream laid paper . Andrea Mantegna

Five music -making children, Michiel Frans van der Voort, 1737 - 1777 print Five music -making children in a landscape. On the right a child is on his hands and knees, on his back is a music book from which another child sings. Behind him a child with Schelmei on the right two children whose recorder plays and the other holds a music book. Antwerp paper etching children singing. 'music' of children. clarinet, bassoon, oboe, shawm - CC - out of doors

Hercules in Antaeus, Domenico I Piola, 1637 - 1703 drawing paper. chalk. ink pen / brush the giant Antaeus is lifted in the air and crushed to death by Hercules. the giant Antaeus is lifted in the air and crushed to death by Hercules

Pietro Testa, Saint Jerome, 1632 1633 Saint Jerome

An Apparition. Artist: Salvator Rosa (Italian, Arenella (Naples) 1615-1673 Rome). Dimensions: 7 3/8 × 5 1/2 in. (18.7 × 13.9 cm). Date: 1615-73. Museum: Metropolitan Museum of Art, New York, USA.

Hercules and Omphale. Artist: Gaspare Diziani (Italian, Belluno 1689-1767 Venice). Dimensions: 11 5/8 x 7 3/4in. (29.6 x 19.7cm). Date: 1689-1767. Museum: Metropolitan Museum of Art, New York, USA.

A chalk and feather drawing by Guglielmo Caccia depicting the charge of St. Katharina of Siena, emphasizing figures, gesture, and composition with light brown wash.

Eliëzer a Rebekka. .

St. Peter Delivered from Prison. Artist: After Polidoro da Caravaggio (Italian, Caravaggio ca. 1499-ca. 1543 Messina). Dimensions: 6 x 7 7/8 in. (15.3 x 20.1 cm). Date: 1499-1543. Museum: Metropolitan Museum of Art, New York, USA.

Scipio grants clementy to prisoners. The Roman General Scipio Africanus is on his throne on the left, for a drapery. As he is acclaimed by an angel, he grants clementy to two prisoners who are brought to him by his soldiers.

Anonymous (Circle of Maratta, Carlo) / 'The Death of Seneca'. XVII century. Red chalk on white paper. Museum: Museo del Prado, Madrid, España.

Bacchanal (DrunkenSilenus). Artist: Jusepe de Ribera, Spanish, active in Rome and Naples, 1590-1652

A drawing by Johannes Voorhout showing the Good Samaritan pouring oil over the wounds of the robbed man, executed with red chalk, pen in brown, and white heightening.

Abraham van Diepenbeeck black chalk drawing depicting Ulysses showing mildness to a subject, showing figures, gestures, and narrative composition.

Giorgio Vasaris drawing from around 1550 depicts the Holy Family with St. Anna and the boy John, executed in metal pen, chalk, and wash.

Roof of Proserpina, Pauwels Franck, 1550 - 1596, In the foreground left three nymphs picking flowers. On the right, Proserpina is carried away by Pluto in his chariot, which is drawn by four horses., draughtsman: Pauwels Franck, 1550 - 1596, paper, pen, h 205 mm × w 306 mm

Love conquers, 1599 print Amor in fight with pan in a landscape. There are two nymphs on the right. Italy paper engraving (story of) Pan. (story of) Cupid, Amor (Eros). nymphs (in general); 'Ninfe in commune' (Ripa)

Death of Dido. Artist: After Giovanni Francesco Romanelli (Italian, Viterbo ca. 1610-1662 Viterbo). Dimensions: 7-15/16 x 11-1/2 in. (20.2 x 29.2 cm). Date: 1620-1640. Museum: Metropolitan Museum of Art, New York, USA.

Print, Clelia Crossing the Tiber, ca. 1550; Print Maker: G. Bonasone; After Polidoro da Caravaggio (Italian, 1499 - 1543); Italy; engraving on paper; 29.5 × 43.2 cm (11 5/8 in. × 17 in.); Bequest of George Campbell Cooper; 1896-3-77

Allegory of winter, Pietro Testa, 1621 - 1650 print Allegorical show of the winter season. Luna on a cloud on the left, symbolizes the long nights in the winter. On the left a group of figures by a fire. The personification of the sea leans on a large fish and wraps its other arm around a river god. In the background on the left Apollo on his solar car. On the right figures and putti in a tree that together represent the struggles of an artist. In the background a tower of monkeys that try to get a bottle that hangs in a trophy. print maker: Italyafter own design by: Italyprinter: Rome paper etching winter ~ human activities (the four seasons of the year). Diana as moon-goddess, i.e. Luna (Selene). river-gods. ocean personified. cupids: 'amores', 'amoretti', 'putti'. monkeys, apes

Francesco Bartolozzi, Adoration of the Shepherds with Joseph Kneeling Left, 1737-1815, etching in red with wash effects on paper.

Hercules en Antaeus.

Christian Wilhelm Ernst Dietrichs drawing depicts a Göttermahl scene, executed with lead handle and brown and gray washes around 1739.

The VirginMourning. Artist, attributed to: Giovanni Andrea Sirani, Italian, 1610-1670

Bacchus and Ceres Attended by Putti and a Marine Deity 1676-1741/46 Sebastiano Galeotti Italian. Bacchus and Ceres Attended by Putti and a Marine Deity 338814

Print, Samson and Delilah, ca. 1508; Print Maker: Lucas van Leyden (Netherlandish, ca. 1494 - 1533); Netherlands; engraving on paper; 28.2 × 22.2 cm (11 1/8 × 8 3/4 in.); Bequest of George Campbell Cooper; 1896-3-67

Drawing by an anonymous artist showing Christ allowing a child to approach him, executed with feather and lavation on brownish paper.

Chalk and feather drawing by Santi di Tito depicting Christ in a spring scene, with laved details and chalk squaring, focusing on figure and environment.

Orpheus and Eurydice 1763-1856 Attributed to Filippo Pedrini Italian. Orpheus and Eurydice 340454

Drawing by Giorgio Vasari depicting a woman with blood, executed in ink on paper, circa 1569.

Graflegging.

Dronken sater en putti.Two putti helps to rise a drunken sater from his goat. On the right a putto with a wind instrument. Left three putti at a lion.

The Flaying of Marsyas, c. 1570-1605. Jan van der Straet, called Johannes Stradanus (Netherlandish, active Italy, 1523-1605). Pen and brown ink and brown and red washes, heightened with white paint (or gouache), on paper prepared with red washes; sheet: 21.1 x 31.5 cm (8 5/16 x 12 3/8 in.). In this gruesome mythological scene, Apollo begins to flay, or peel the skin off, the satyr Marsyas as punishment for his arrogant challenge in a musical contest. The surrounding Olympian gods show reactions ranging from horror to fascination. The artist Johannes Stradanus helped found the Accademia delle Arti del Disegno (Academy of the Arts of Drawing) in Florence in 1563, which instituted a course of training for artists that included observing a human dissection. In making this image, Stradanus very likely understood the flaying of Marsyas as a metaphor for the importance of dissection and anatomical study to the artist.

Apollo and Diana kill the children of Niobe, Anonymous, After Francesco Salviati, After Antonio Salamanca, 1541 print Apollo and Diana, both with arrow-and-bow, kill the children of Niobe. Several children lie dead on the floor, others try to flee. Fresh in four columns in Latin in STUPMEP. print maker: Romeafter drawing by: Italypublisher: Rome paper etching Apollo and Diana kill Niobe's children

Anonymous feather drawing with chalk squaring depicting Apollo and the Muses on Mount Parnassus, showing mythological figures in a compositional layout.

Rijn, Rembrandt van, The great lion hunt, verso lower right, print, prints, Rembrandt f. 1641, top right, verso bottom left, height 222 mm, width 298 mm, Northern Netherlands, 1606-07-15 - 1669-10-08, print maker, printmaker, 1641 - 1641, second quarter 17th century, paper, etching, etchings, drypoint, dry needle, plate tone, Work conception, after own design by

Christ in the Garden of Gethsemane (Matthew 26:36-46). Artist: Anonymous, German, 16th century. Dimensions: 7-5/8 x 10-5/16 in. (19.3 x 26.2 cm). Former Attribution: Formerly attributed to Federico Zuccaro (Zuccari) (Italian, Sant'Angelo in Vado 1540/42-1609 Ancona). Date: ca. 1600. Museum: Metropolitan Museum of Art, New York, USA.

Heads, including one of a violin playing angel, protruding above a cloud edge, Heads, draughtsman: Schiavone, (attributed to), 1520 - 1563, paper, brush, h 97 mm × w 127 mm

Italy, Rosa, Salvator, The genius of Salvator Rosa, verso lower right - handwritten in brown ink, Salvator Rosa sits on the ground on the right with his hand resting on a cornucopia. With his other hand he gives his heart to Honesty (Sinceritas), a female figure with a dove. On the right behind the artist stands Liberty (Libertas). On the left in the foreground kneels Painting (Pictura) with a painting and palette and in front of her on the ground a fish. Behind her stand a satyr and Equality (Aequitas), dressed in a toga. In the background a sarcophagus. Bottom right two lines of Latin text., print, prints, recto bottom left - blind embossing, , height 458 mm, width 276 mm, Italian, 1615-06-20 - 1673-03-15, print maker, printmaker, 1662 - 1662, paper, papier, etching, etchings, drypoint, dry needle, plate tone, Work conception, after own design by

Death of Cleopatra. Follower of Daniela da Volterra (Italian; 1509-1566); or circle of Rosso Fiorentino (Italian, 1494-1540). Date: 1538-1542. Dimensions: 254 × 348 mm (ma×.). Black chalk on blue-gray laid paper, laid down on cream laid paper. Origin: Florence. Museum: The Chicago Art Institute, USA.

Bacchanal with Satyrs and Bacchants at Wijnpers, Andrea Mantegna, 1473 - 1477 print Italy paper engraving thiasos, i.e. Bacchus' revel-rout, bacchanal without Bacchus. wine-press

Study for the Rape of the Sabines 1544-1574 Italy. Pen and brown ink over traces of black chalk, on ivory laid paper, edge mounted to ivory laid paper . Circle of Jacopo Zanguidi Bertoja

Plate 3: the Assumption of the Virgin 1678 Giuseppe Maria Mitelli Italian. Plate 3: the Assumption of the Virgin. Bononiensium Pictorum Celebrioris Gloria Quaedam Sacrae Icones Delineatae Incisae et Tantae Artis Amatoribus Dicatae A Josepho M.a Mitello Pictore Bononiense MDCLXXVIII. Giuseppe Maria Mitelli (Italian, Bologna () 1634-1718 Bologna). 1678. Etching. Gioseffo Longhi (Italian, 1620-1691). Prints

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