Classical Allegorical Prints

Prints portraying allegorical themes featuring figures like Justice and mythological references, richly detailed in classical styles.

Rome, Rossi, Giovanni Giacomo de', Lafreri, Antonio, Italy, Raphael, Martini, Giovanni, Master of the Dice, Tapestry of the Papa, Tapestries of the Pope, Putti mocking a monkey, verso - stamped, On a large garland stands a monkey with a putto wrapped in cloth. On the right a putto with a fruit in its hand and on the left a putto with a rattle. On the ground a snail, a turtle and a butterfly., print, prints, height 209 mm, width 285 mm, Italian, German, print maker, printmaker, 1530 - 1560, paper, engraving, engraving (printing process), Work conception, 1470 - 1535, after a design by, 1483-04-07 - 1520-04-07, Publication (Event), Publication, 1512 - 1577, publisher, uitgever, 1627 - 1691

Justice surrounded by putti and cherubs. The personification of justice is sitting on a cloud with scales and law book in her hand. She is surrounded by putti and cherubs.

Portrait of Agostino Barbarigo and the Personifications of Eendracht and Peace; Numismata virorum illustrium ex Barbadica Gente. Pedestal in the shape of a cartouche. Then a medallion with the portrait of Agostino Barbarigo in Harnas on the front. Two committees placed a border stone on the rear. Given the coats of arms in the left and right-back corner, it concerns the bead stones of Emperor Ferdinand I and Venice. On the left side of the pedestal, the personification is single-handed with two cornucopia that are entangled in her right hand and a fire cup in her left hand. The woman right has a skewer and olive branch in her hands. She is the personification of peace. The print is part of an album.

Young woman drinking from a bowl, an old woman standing in front of her, set within an elaborate frame. Artist: Battista Angolo del Moro (Italian, Verona ca. 1515-ca. 1573 Murano); After Jacques Androuet Du Cerceau (French, Paris 1510/12-1585 Annecy). Dimensions: Sheet (Trimmed): 5 1/16 × 7 3/16 in. (12.8 × 18.3 cm). Former Attribution: Formerly attributed to Andrea Schiavone (Andrea Meldola) (Italian, Zadar (Zara) ca. 1510-1563 Venice). Date: ca. 1540-80. Museum: Metropolitan Museum of Art, New York, USA.

Hercules in Omphale, Antonio Fantuzzi (attributed to), after Francesco Primaticcio, c. 1542 - c. 1543 print Hercules dress the servants of hods as a woman. Fontainebleau paper etching love-affairs of Hercules

Sacrifice of iphigenia; Ifigenia Libens COLLUM Submitte Securi; Non Aliter, Quando Troia Perire Potest; Diana's life. Iphigenia sacrifice. The high priest Kalchas is about to sacrifice IHPigenia to Artemis. Iphigenia kneels for him. A beew is next to her. On the left, spectators turn their heads off. In the background Diana with a deer floating on a cloud.

Cameo with germanicus triumph and agrippina; Variae figueri de Agati Antiqui, Disiniati de Pietro Paolo Rubenii. A cameo with a representation of the germanicus triumph and agrippina (or the triumph of Constantine). A Roman general by his wife in a triumphar pulled by two centuries. Unfinished representation. The Camee was auctioned in the coin of Amsterdam on September 11, 1765.

Portrait of Agostino Barbarigo and the personifications of ship's victory, victory and prosperity, Robert van Audenaerd, 1673 - 1743 print Pedest in the form of a cartouche. Then a medallion with the portrait of Agostino Barbarigo with Dogehoed on the front. On the back four children with hunting out of hunting, grain and bowls with flowers and fruit. In addition, the text: Temporum Felicitas. The pedestal is surrounded by three personifications. On the far left is a victory at sea: a woman with laurel wreath and palm branch, standing on a shipboeg. In addition, victory writes on a shield. Her left foot is on a helmet. On the right, prosperity or bliss is on a throne. In her hands a snake meadow and horn of abundance. A flower wreath on her head. The print is part of an album. paper engraving Medal (Considered as a Piece of Sculpture, Regardless of Its Specific Function). Welfare, Prosperity; 'Publica' happiness', 'Prosperity of life', 'Health' (Ripa). 'Victoria'; 'Vittoria', 'Naval v

Umbria Terni Amelia Palazzo Petrignani5. Hutzel, Max 1960-1990 Post-medieval: 16th century frescoes, restored ; views of exterior. 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.

Campania Caserta Caserta Palazzo Reale85. Hutzel, Max 1960-1990 Post-medieval: Architecture & architectural sculpture, sculpture, statues, paintings, frescoes, stuccoes, furnishings & decorative art General Notes: Discrepancy in number of prints & negatives. Hutzel notes 824 prints & negatives. Negatives for 1-62 of one batch seem to be missing (would make a total of 824) 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.

Rome, Rossi, Giovanni Giacomo de', Lafreri, Antonio, Italy, Raphael, Martini, Giovanni, Master of the Dice, Tapestry of the Papa, Tapestries of the Pope, Putti mocking a monkey, verso - stamped, On a large garland stands a monkey with a putto wrapped in cloth. On the right a putto with a fruit in its hand and on the left a putto with a rattle. On the ground a snail, a turtle and a butterfly., print, prints, height 209 mm, width 285 mm, Italian, German, print maker, printmaker, 1530 - 1560, paper, engraving, engraving (printing process), Work conception, 1470 - 1535, after a design by, 1483-04-07 - 1520-04-07, Publication (Event), Publication, 1512 - 1577, publisher, uitgever, 1627 - 1691

A 16th-century etching by Monogrammist AC showing a fight between four figures, emphasizing dynamic movement and combat.

Pierre Brebiette, Sacrifice of a Ram, 1626 Sacrifice of a Ram

Venus and Cupid; Sine Cerere et Baccho Friget Venus. Round representation of Venus and Cupid at a tree. Venus has a bunch of grapes in hand, Cupid gives her a bundle grain. In the background Ceres in the middle of grain harvesters and Bacchus amid from grape pickers. Around the show an empty margin, intended for a peripheral.

Dionysus and Ariadne, Johann August Nahl The Younger, German, 1752 - 1825, Giulio Romano, Italian, 1499-1546, Lead pencil, pen, brush and brownish gray watercolors, Drawing after a fresco devised by Giulio Romano in the Palazzo del Te in Manuta. Dionysus and Ariadne with the satyr at left, and the flying putto at right., Germany, ca. 1781, Drawing, Drawing

Kindermoord Bethlehem, Virgil, 1524 - 1562 print Nuremberg paper engraving the massacre ot the innocents; sometimes Herod looking on

Drawing (Italy)

Vier putti met attributen.A putto holds a harp on which three other putti put a crown, a miter and a helmet.

Copper engraving by Barthel Beham depicting the robbery of Helena, showing detailed figures, dramatic action, and narrative composition.

The flood; History of Noah. Design for a glass window.

Rome, Persijn, Reinier van, Galleria Giustiniana del Marchese Vincenzo Giustiniani II, Bas-relief of a group of putti, verso - stamped, Roman bas-relief of a group of putti, two of whom are holding a portrait. (Probably a fragment of a sacrcophagus.) In the middle below the coat of arms of Vincenzo Giustiniani. Print from a publication with reproduction prints after the sculptures in the collection in the Galleria Giustiniani in Rome., print, prent, prints, prenten, height 237 mm, width 369 mm, Noord-Nederlands, 1614 - 1668-11-23, print maker, printmaker, 1640 - 1640, paper, papier, engraving, engraving (printing process)

Lazio Viterbo Bolsena Palazzo del Drago80. Hutzel, Max 1960-1990 Post-medieval: frescoes, tapestries, paintings on canvas. Extensive coverage of exterior, including views of portals and portal details, terrace, and collection of antiquities displayed on terrace. Detailed coverage of palazzo interior, including views of frescoes, statuary, paintings, and architectural details. Antiquities: cippi, inscriptions, portraits (Trajan), architectural fragments 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.

Sausage makers and a bagpipe player, Anonymous, After Marten van Cleve (I), 1555 - 1631 print Two medallions with an ambiguous edge in German. On the left medallion, a woman turns a sausage at a table. Next to her is a man with a dumb stick in his hand. A dog is eating under the table. Behind them a pot hangs above the fire. On the right medallion, a woman plays a bagpipe outside under the supervision of a man. paper engraving butcher, slaughterman. sausage. bagpipe, musette - CC - out of doors. sensuality

Personification of Theology, After Raphael. Date: 1815. Pen and brown ink, brush and watercolor washes, on paper. Museum: Cooper Hewitt, Smithsonian Design Museum.

Part of Fries on Schouw in the Midwikskamer of the Town Hall on Dam Square, Hubert Quellinus, After Artus Quellinus (I), 1663 print Part of Frisian on one of the two fireplaces in the Midwikskamer of the Town Hall on Dam Square in Amsterdam. On that Frisian, of which this performance is part, there is an allegorical representation on which good advice, union and peace vices such as malice, deception, self -tan, drunkenness, back shit (gossip) and venuity chase. See RP-P-AO22-2R-1 and RP-P-AO-22-2R-3 for the other parts of Frisian. The performance is explained in the register (RP-P-AO-22-2-2-2). Numbered at the bottom right: 2. At the bottom of the middle: R. paper etching / engraving strife between Virtues and Vices, Psychomachy. allegory, personification of good government. cupids: 'amores', 'amoretti', 'putti' City Hall of Amsterdam (1655-1808)

The Entombment ofChrist, 17thcentury, Brush and blue watercolor and brown wash, 16 × 23 cm (6 5/16 × 9 1/16in.), Made in Flanders, possiblyFlemish, 17thcentury, Works on Paper - Drawings andWatercolors

Print, Vignette with Angels and Instruments of the Passion; Print Maker: Jakob Frey; After Giovanni Passari (Italian); Switzerland; engraving on paper; 6.7 × 14.3 cm (2 5/8 × 5 5/8 in.); 1907-7-6-b

Dronken Silenus, Pieter de Jode (1), 1580 - 1634 drawing paper. ink pen / brush (story of) Silenus

Bas-relief with Diana and Endymion; Galleria Giustiniana del Marchese Vincenzo Giustiniani II. Bas-relief with Diana and Endymion. Diana steps out of her car to visit the sleeping endymion, which is right. In the middle of Vincenzo Giustiniani coat of arms. Print is part of an album with a series of prints to the sculptures in the collection in the Galleria Giustiniani in Rome.

Light bent Frisian, at each end a vase on a pedestal, 1516 - 1556 print In the middle, a satar brings fruit to a river god. Left and right of it is a female figure with a fruit basket on the head, supported by rolling work to her waist. Leaf from series of 3 sheets. paper engraving scrollwork, strapwork ~ ornament. vase ~ ornament. satyr(s) (in general). river-gods

Allegory on the music. Design for a painting.

Amsterdam, Picart, Bernard, Engel crowning two putti surrounded by ornaments, verso - stamped, print, ornament print, prints, height 59 mm, width 109 mm, Northern Netherlands, 1673-06-11 - 1733-05-08, print maker, printmaker, 1715 - 1715, first quarter 18th century, paper, papier, etching, etchings, engraving, engraving (printing process)

Barbarigo, Giovanni Francesco, Rome, Audenaerd, Robert van, Numismata virorum illustrium ex Barbadica gente, Personification of the province of Marca Trevigiana, verso - stamped, A woman with three faces with a mural crown on her head and on her clothes decoration of vines. She sits on the back of a winged lion (the lion of Saint Mark) and holds an oak tree in her right hand fixed. A ship's hull hangs from the oak tree on the right. In her left hand the woman holds a book and an olive branch. The print is part of an album., print, prent, albumblad, prints, prenten, height 182 mm, width 180 mm, 1663 - 1743, print maker, printmaker, 1673 - 1743, paper, papier, engraving, engraving (printing process), Italian, 1658-04-29 - 1730-01-27, client

Relief with a Roman emperor during the hunt for a wild boar, François Perrier, 1645 print Relief with a Roman emperor on horseback, hunting a wild boar. Two hunters on horseback behind the emperor. Text in Latin in STUDMARGE. Print is part of an album. paper etching piece of sculpture, reproduction of a piece of sculpture. ruler, sovereign. hunter. hunters hunting (N.B.: In 1988-1990 this notation denoted the concept of 43C11421 'hunters resting during the hunt'). boar-hunting Arch of Constantine

Edward Francis Burney, 1760-1848, British, Bacchanalia, undated. Pen and black ink and gray wash on medium, slightly textured, cream wove paper.

'Design for a Bas-relief: The Judgement of Paris'. France, Between 1785 and 1789. Dimensions: 35,9x49,8 cm. Museum: State Hermitage, St. Petersburg. Author: Jean-Guillaume Moitte.

Lucas van Leyden (Netherlandish, 1489-1494-1533), Christ Crowned with Thorns, 1509, engraving

Triumph of Bacchus, 1534, Master V. G., German, image, sheet: 2 x 9 5/8 in. (5.08 x 24.45 cm), Engraving, Germany, 16th century, Bacchus rides the chariot, but he looks more hung over than triumphant. His gesture suggests that he may not appreciate the music made by the cymbal-playing satyr. Apart from the three prints that bear his monogram, almost nothing is known of the skilled engraver who depicted this miniature parade.

Copper engraving by Giovanni Antonio da Brescia showing ornamental grotesque figures, including human and hybrid forms, created late 15th to early 16th century.

Melchis deck offers Abraham bread and wine; Les Plat-Fonds Ou Les Tableaux des Galleries / ceilings or gallery pieces. Melchis deck stands on a staircase and hands two loaves to Abraham.

Combats and Triumphs Artist's working dates 1538-1583 France. Engraving on paper . Étienne Delaune

Ceres. 1501 - 1600. Bonasone, Giulio, approximately 1498-approximately 1580. Prints. The Miriam and Ira D. Wallach Division of Art, Prints and Photographs: Print Collection

Personification of caution, Ludwig Frig, Jost Amman, 1580 print paper Prudentia (Prudence) as Roman personification

Portrait of Agostino Barbarigo and the personifications of equality, beneficiary and innocence, Robert van Audenaerd, 1673 - 1743 print Pedest in the form of a cartouche. Then a medallion with the portrait of Agostino Barbarigo with Dogehoed on the front. On the back the text: Aequitatis et Innocentiae cult. The pedestal is surrounded by three personifications. On the far left is the personification of equality with scales and horn of abundance. In the middle: a woman with wings. She holds a bird in her two hands. A lizard for her feet. On the right is innocence with a flower wreath around the head and a lamb under the arm. The print is part of an album. paper engraving Medal (Considered as a Piece of Sculpture, Regardless of Its Specific Function). Innocence; 'Innocence', 'Innocence or Purité (Ripa). Benevolence, Beneficcence; 'Benefit', 'benevolence or affection' (Ripa). Equality, Equity, Faiorss, Righteousness; 'Equality', 'Equity', 'Giuditio Giusto', 'Drit and just order', 'Equali

Sater, worn by two putti and a young man, Jan de Bisschop, After Anonymous, 1648 - 1671 drawing paper. chalk brush piece of sculpture, reproduction of a piece of sculpture. satyr(s) (in general) - offspring, companion(s), train etc.

Man is raised. A seated man holds a stick in his hand, while a laurel wreath is held above his head. On the left is Minerva and on the right two children, two women and a man. In the foreground an eagle.

Jason Throws a Rock at the Giants (Cette moisson va son semeur chercher a fer tranchant...) 1563 René Boyvin Plate 12 of 26. The giants born from the dragon's teeth kill one another, in the background Jason picks up a rock. One of a set of illustrations to the Livre de la Conqueste de la Toison d'or, published in Paris in 1563 and engraved by René Boyvin based on drawings by Léonard Thiry. Jason, the famous hero of antiquity, sets off on a quest to find the Golden Fleece which leads him to meet Medea with whom he has a love affair ending in tragedy.. Jason Throws a Rock at the Giants (Cette moisson va son semeur chercher a fer tranchant...). Jason and the Golden Fleece (Livre de la Conqueste de la Toison d'or par le Prince Jason de Tessalie). After Leonard Thiry (Netherlandish, active Fontainebleau ca. 1536-1550). 1563. Engraving. René Boyvin (French, Angers ca. 1525-1598 or 1625/6 Angers). Prints

Study of the Landing of Maria de' Medici to Marsala, after Peter Paul Rubens, Felice Giani, Italian, 1758-1823, Pen and ink, brush and watercolor washes on paper, Italy, 1813-18, figures, Drawing, Drawing

Triumph of Mirjam, monogrammist AC (16th century), 1520 - 1562 print Mirjam and other women play instruments. Moses watches Egyptians drown in Red Sea. Low Countries paper engraving Miriam takes up a tambourine and dances; all the women follow her

Dalen, Cornelis van (II), Rubens, Peter Paul, Amsterdam, Allegory of Nature, verso - stamped, Allegory of Nature with nymphs honoring bust of Diana with many breasts. In front of the plinth of the statue sit Bacchus, nymphs and female and male satyrs who pick vegetables and fruit from a large garland from which animals also eat., print, prints, height 636 mm, width 431 mm, Noord-Nederlands, 1638-12-28 - 1664-10-09, print maker, printmaker, 1648 - 1664, paper, papier, engraving, engraving (printing process), Zuid-Nederlands, 1577-06-28 - 1640-05-30, after, after a painting by, Publication (Event), Publication, publisher

Return of Giovanni de 'Medici, Pietro Sante Bartoli, After Rafaël, 1645 - 1700 Giovanni de 'Medici returns home after the death of his father. He drives towards Florence on his horse, accompanied by a procession of clergymen on horseback. On the right a horizontal river god. Title in the end margin. Numbered in the middle below: 1. print is part of an album. print maker: Italyafter design by: Vaticaanstadpublisher: RomeRomeFlorence paper etching / engraving Giovanni de 'Medici returns home after the death of his father. He drives towards Florence on his horse, accompanied by a procession of clergymen on horseback. On the right a horizontal river god. Title in the end margin. Numbered in the middle below: 1. print is part of an album. print maker: Italyafter design by: Vaticaanstadpublisher: RomeRomeFlorence paper etching / engraving

Drawing, Study of the Landing of Maria de' Medici to Marsala, after Peter Paul Rubens; Designed by Felice Giani (Italian, 1758-1823); Italy; pen and ink, brush and watercolor washes on paper; 21.8 x 15.4 cm (8 9/16 x 6 1/16 in.)

. A dancing farm couple. The man holds his hat in hand. The show is caught in a cartouche. Print is part of a series of scenes from farming life.

Frisian with child and two putti; Diurs ornements. A child with a fasces and a staff is flanked by two putti sitting on a leaf rank that runs into a dragon. From series of 7 sheets.

Vestigia delle Terme di Tito. Bacchus youth. Quadro from vault ornamentation in room 25. Carlone, Marco (1742-1796), graphic artist, Smuglewicz, Franciszek (1745-1807), draughtsman, cartoonist, Mirri, Ludovico (1738-1786), publisher

Sketchbook Folio, Studies after Four Statues on the Tomb of Julius II, after Michelangelo: Moses; Madonna and Child; Leah, Virtue; Rachel, Religion; Designed by Felice Giani (Italian, 1758-1823); Italy; pen and brown ink, brush and brown wash, over black chalk on white heavy wove paper; 30.8 x 23 cm (12 1/8 x 9 1/16 in.)

Apollo sits with cithara (lyre) and plectrum, accompanied by a muse. Olympus pleads for mercy for his teacher Marsyas, who is tied to a tree about to be flayed alive by a Scythian. Copperplate engraving by Tommaso Piroli from his Antiquities of Herculaneum (Antichita di Ercolano), Rome, 1789.

Relief with triumph of Bacchus; Roman sculpted reliefs; Icone et segment (...). Relief with a triumph trip for the god Bacchus with the drunk God Silenus on a donkey. Text in Latin in undermarge. Print is part of an album.

Three-plate clair-obscur woodcut by Monogrammist NDB from circa 1540-1550 showing the Virgin Mary with the Christ Child and a saint, including detailed figures and drapery.

Personification of praise; Numismata virorum illustrium ex Barbadica Gente. A console with the female personification of praise. She has a rosary in her hair. In her right hand a trumpet from which light comes. She points out with her other hand. The print is part of an album.

The Women's Bath. Sebald Beham; German, 1500-1550. Date: 1525-1545. Dimensions: 229 × 229 mm (image/block/sheet). Woodcut in black, with touches of brush and black ink, on cream laid paper. Origin: Germany. Museum: The Chicago Art Institute, FLORENCIA, USA. Author: Hans Sebald Beham.

Warsaw. Sculpture at the Brühl Palace; Bułhak, Jan (1876-1950); 1921 (1921-00-00-1921-00-00);

Coal drawing by Karl Rahl the Younger depicting a couple in a romantic embrace, rendered in Ranke style.

Dancend Sater En Maenaden, Marcantonio Raimondi, After Agostino Veneziano, After Rafaël, in OR After 1516 print A sater and two maenaden walk to the right dancing. In the middle, the Sater De Aulos (double flute) plays his forehead with ivy. Left and right the two dancing Maenaden. print maker: Italyafter print by: Italyafter drawing by: Italypublisher: Rome paper engraving Satyrs, Faun, Silen. Maenad (s), female Bacchant (es). flute, tribes. dancing

After: Andrea Mantegna, Italian, ca. 1431-1506, Bacchanal withSilenus, ca.1475-1480, Engraving, sheet: 26 × 44.8 cm (10 1/4 × 17 5/8in.), Italian, 15thcentury, Works on Paper -Prints

River god of the Nile, Cornelis Bloemaert (II), After Giovanni Citosibio Guidi, c. 1636 print Image of a naked man who leans on a horn of abundance. Putti play around him. The image comes from the Vincenzo Giustiniani collection, whose weapon can be seen under the pedestal. paper engraving personification of river Nile; 'Nilo' (Ripa). piece of sculpture, reproduction of a piece of sculpture Nile

Frisian with putti making wine and sacrifice to Priapas, Antonio Tempesta, 1565 - 1630 print paper etching cupids: 'amores', 'amoretti', 'putti'. vintage, grape harvest. wine production. Sacrifice

Barbarigo, Giovanni Francesco, Audenaerd, Robert van, Rome, Numismata virorum illustrium ex Barbadica gente, Portrait of Marcantonio Barbarigo and the personifications of Politeness, Kindness and Gentleness, verso - stamped, Pedestal in the form of a cartouche. On it a medallion with the portrait of Cardinal Marcantonio Barbarigo on the obverse. On the back, the cardinal kneels before the pope and is appointed. The pedestal is surrounded by three female personifications. On the left, the personification of Politeness (Humanita). She is caressing a dog. The woman in the middle is the female personification of Kindness or Talkativeness. On the right is Gentleness: a woman with a laurel wreath on her head and her hand on the head of an elephant. The print is part of an album., print, picture, album leaf, prints, height 220 mm, width 244 mm, 1663 - 1743, print maker, printmaker, 1673 - 1743, paper, engraving, engraving (printing process), Work conception, after own design by, Italian, 1658

Plate 41, Collection of engravings from ancient vases mostly of pure Greek workmanship discovered in sepulchres in the kingdom of the Two Sicilies, Hamilton, William, Sir, 1730-1803, Tischbein, Johann Heinrich Wilhelm, 1751-1829, Engraving, 1795, Volumes 4 and 5 are bound together, with a notation that previously unpublished engraved plates, numbering 84, are contained within volume 5. Volume 4 contains 61 s.

Bacchus, Venus, andCeres. Artist: Hendrick van Balen I, Flemish, 1575-1632 Artist: Jan Brueghel the Elder, Flemish, 1568-1625

Fries met acht bacchanten.Frisian with eight drunk children. Of the three children with the drinking dish in the middle, the child left Bacchus. A wine barrel in the background.

Lazio Rieti Rieti S. Domenico5. Hutzel, Max 1960-1990 Medieval: 13th century architecture. Post-medieval: 16th century archiecture, frescos (16th century) of the Last Judgement 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.

Le Gray, Gustave. Murale paintings by Henri Lehmann, from the Hall of the Town Hall, 4th arrondissement, Paris. "Epic and history". Salted paper. in 1853-1853. Paris, Carnavalet museum. 156934-7

. Unfinished representation of women who try to protect their children against the violence of men with daggers, who are commissioned by Herod (standing, right) to kill all boys in Bethlehem.

A bas relief with the chariot of Bacchus from the Old Theater in Dresden by Ernst J. Hähnel. unknown, Hähnel, Ernst Julius (1811 1891)

Frisian with triumphal tour of Quintus Fabius Maximus on Schouw in the mayor's room of the town hall on Dam Square (fourth part), Hubert Quellinus, after Artus Quellinus (I), 1663 print Fourth part of Fries with triumphal tour of Quintus Fabius Maximus on the Schouw in the mayor's room of the town hall on Dam Square in Amsterdam. With prisoners of war and trophies. Locks below numbered: 4. At the bottom of the middle marked: O. paper etching / engraving triumphal entry and public reception, pageant, 'entrée solennelle', 'joyeuse entrée'. prisoner of war (after the battle). trophy ~ battle, war. conqueror triumphing, triumphal entry of victor. triumphs (allegorical and symbolic). (military) flags and standards City Hall of Amsterdam (1655-1808)

Veneres uti observantur in gemmis antiquis, Hancarville, Pierre d', 1719-1805, s.n., after 1771

Personifications of painting, engraving art and sculpture, Willem Panneels, c. 1610 - 1634 print Pictura the personification of painting, sculptura the personification of engraving art and statuaria The personification of sculpture is crowned by an eagle with a laurel wreath. Next to them a putto with a banderole and fighting figures below. The show is caught in a round frame. Frankfurt am Main paper etching / engraving 'Pictura', symbolic representations, allegories and emblems ~ painting; 'Pittura' (Ripa). 'Sculptura', symbolic representations, allegories and emblems ~ sculpture; 'Scoltura' (Ripa). symbolic representations, allegories and emblems ~ the graphic arts

Meeting of Abraham and Melchizedek, Anonymous, 1550 - 1570 drawing Design for a plaque. Low Countries paper. ink pen / brush

Euterpe, the muse of music, Jan Kamphuijsen, 1770 - 1841, draughtsman: Jan Kamphuijsen, 1770 - 1841, paper, pen, h 86 mm × w 217 mm

Lazio Viterbo Bagnaia Villa Lante085. Hutzel, Max 1960-1990 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.

Teyler, Johan, Lepautre, Jean, Netherlands, Ornamental frieze, Frisian with ornamental plant motifs, a sphinx, a naked male and female figure, Amor and three putti. On the left a rosette. This print is part of an album., print, prent, albumblad, prints, prenten, height 69 mm, width 215 mm, print maker, printmaker, 1688 - 1698, paper, papier, engraving, engraving (printing process), à la poupée, color print, Work conception, French, 1618-06-28 - 1682-02-02, after a print by, North Netherlands, 1648 - 1712, supervision

unknown, Paris, Mariette, Pierre (II), France, Lepautre, Jean, Grands Carts de Plafons, Ceiling with Aurora, Aurora scatters flowers from a cornucopia. With variations for three times an eighth part of the border. Sheet 5 from a series of 6 sheets with designs for ceilings, some with variations for the borders. From the second edition., print, ornament print, prints, ornament prints, height 226 mm, width 314 mm, French, 1618-06-28 - 1682-02-02, print maker, printmaker, 1661 - 1666, third quarter 16th century, paper, etching, etchings, Work conception, after a design by, Publication (Event), Publication, 1634 - 1716, publisher, granter of privilege

Wall or Ceiling Decoration with a Young Man (Phaeton) in a horse-drawn Chariot 18th century Anonymous, Italian, Bolognese 18th century artist Italian. Wall or Ceiling Decoration with a Young Man (Phaeton) in a horse-drawn Chariot 389781

Ezekiel in the Valley of the Dry Bones late 16th-mid-17th century Georg Pecham German. Ezekiel in the Valley of the Dry Bones 366728

Barbarigo, Giovanni Francesco, Audenaerd, Robert van, Rome, Numismata virorum illustrium ex Barbadica gente, Portrait of Giorgio Barbarigo with Minerva and Mercury, verso - stamped, Pedestal in the form of a cartouche. On it a medallion with on the obverse the portrait of Giorgio Barbarigo, Venetian ambassador in Sweden. On the reverse only the motto: In Foederis Instauratione. The pedestal is flanked by Minerva and Mercury. The print is part of an album., print, prent, albumblad, prints, prenten, height 220 mm, width 236 mm, 1663 - 1743, print maker, prentmaker, 1673 - 1743, paper, papier, engraving, engraving (printing process), Work conception, after own design by, Italian, 1658-04-29 - 1730-01-27, client

Print (France)

Drawing, Ceiling Design, History, Abundance in Six Ovals, Sala di Ercole ed Ebe, Palazzo Gessi, Faenza; Designed by Felice Giani (Italian, 1758-1823); Italy; pen and brown ink, brush and brown wash over black chalk on white laid paper; 19.1 x 32.1 cm (7 1/2 x 12 5/8 in.) dims. vary widely Mat: 35.6 x 45.7 cm (14 x 18 in.)

Hieronymus Hopfer after Andrea Mantegna (German, active c. 1520-1550 or after), Silenus, etching on laid paper

Medal project symbolizing August 10 1792 Augustin Dupre (1748-1833). Medal project symbolizing August 10, 1792.

Vestigia delle Terme di Tito. Enthroned Dionysus. Central quadro from vault decoration in room 12. Carlone, Marco (1742-1796), graphic artist, Smuglewicz, Franciszek (1745-1807), draughtsman, cartoonist, Manna, Pietro (17..-18..), publisher

Statues of the Dioscuri at the Quirinal, Rome (Speculum Romanae Magnificentiae) 1546 Anonymous, Italian, 16th century Italian The giant sculptures of the Dioscuri, as the twin brothers Castor and Pollux are known, have stood on the Quirinal Hill in Rome since antiquity. This engraving provides one of the few illustrations of their dilapidated condition during the Renaissance, before they were restored between 1589 and 1591 under the direction of Pope Sixtus V (r. 1585-90). Domenico Fontana's (1543-1607) new design for the sculptural group included installing a fountain, reorienting the direction of the figures, and placing them on pedestals. Two centuries later, during the pontificate of Pius VI (r. 1775-99), their positions were adjusted once again, and an obelisk from the Mausoleum of Augustus was placed between them, which conforms to the arrangement we see today.This print comes from the museums copy of the Speculum Romanae Magnificentiae (The Mirror of Roman Magnificence) The Spe

Barbarigo, Giovanni Francesco, Audenaerd, Robert van, Rome, Numismata virorum illustrium ex Barbadica gente, Portrait of Girolamo Barbarigo and the personification of Friendship, verso - stamped, Pedestal in the form of a cartouche. On it a medallion with the portrait of Girolamo Barbarigo on the front. On the reverse, a Venetian delegation is received by Emperor Frederick III, standing under a canopy. Around the pedestal is the personification of Friendship, depicted with the Three Graces. As a group, they are positioned so that both outer figures are visible in the face and the middle one is not. Their attributes are a dice, a myrtle branch and a rose. The print is part of an album., print, album sheet, prints, height 220 mm, width 235 mm, 1663 - 1743, print maker, printmaker, 1673 - 1743, paper, engraving, engraving (printing process), Work conception, after own design by, Italian, 1658-04-29 - 1730-01-27, client

This image dates to 1897 and is a copy of a statue of Laocoon and his sons. According to Greek mythology, Laocoon warned the Trojans about bringing the wooden horse fashioned by the Greeks into Troy. To quiet his protests, a god who favored the Greeks (some say Athena, others Poseidon, others Zeus) sent to sea serpents to kill him - and with him, his sons.

De Perzische Sibille, Giorgio Ghisi, After Michelangelo, 1530 - 1582 print A lunet with the Persian Sibille with a book and naked figures. Print Maker: ItalyaFter Painting by: Vatican City paper engraving Persian sibyl. sibyls

Diamond with the triumph of the pride (Superbia). Diamond with the triumph of the pride (Superbia). Superbia in a triumph cart.

Neptunes Kingdom (circular design for a plate). Artist: Unknown

Three Etruscan mimes or actors in winged boots (rear view). Possibly performing an obscene play about adultery. From a bronze seal found in a field. Histriones Etrusci. Pars posterior in eodem Museo. Copperplate engraving from Francesco Valesio, Antonio Gori and Ridolfino Venutis Academia Etrusca, Museum Cortonense in quo Vetera Monumenta, (Etruscan Academy or Museum of Cortona), Faustus Amideus, Rome, 1750.

The 1880s caption reads: Elysian repast (bas relief also called Bacchus at the House of Icarus) - now housed in the Museum of the Louvre. Elysian, Elysium, orElysianFields of Ancient Greek mythology, was a conception of the afterlife in Ancient Greek mythology where mortals related to the gods, the heroic and the virtuous, could rest in a blessed and happy life after death.

Sater, carried by two putti and a young man. Artist: anonymous. Draughtsman: Jan de Bisschop. Dating: 1648 - 1671. Measurements: h 179 mm × w 228 mm. Museum: Rijksmuseum, Amsterdam.

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