Dramatic Mythological Scenes

Artworks depicting mythological narratives and figures in dynamic poses, emphasizing action and ornate details from historical tales.

Rome, Lanfranco, Giovanni, Italy, Cesio, Carlo, Assumption of Mary, Noah and other patriarchs seated on a cloud, verso - stamped, Noah and other patriarchs seated on a cloud. They are surrounded by angels, one of whom is playing a violin., print, prent, prints, prenten, height 555 mm, width 283 mm, Italian, 1622 - 1682, print maker, printmaker, 1636 - 1686, paper, papier, engraving, engraving (printing process), etching, intermediary draughtsman, after a drawing by, 1582-01-26 - 1647-11-30

Robert the strong voted Count of Anjou, Pierre Jean Baptiste Bradel, 1776 print paper etching / letterpress printing historical persons. ceremonial celebration of installation of a ruler

The Forges of Vulcan, from Book of Cartouches mid-18th century Johann Georg Hertel German. The Forges of Vulcan, from Book of Cartouches 394224

François Boucher drawing depicting the victim of Gideon, executed in brown brush over black chalk.

Fight between soldier and devil, Gérard Audran, after Andrea Sacchi, 1650 - 1703 print France paper etching devil(s) and demons. angels. dragon (large fabulous serpent, sometimes with wings and legs)

Laurent de La Hyre drawing in black chalk and brown wash showing Henry IV.

A chalk drawing on gray paper with white heightening by an anonymous artist depicting Christ appearing to Saint Vincent Ferrer with plague patients at his feet and a kneeling founder.

Fight between Amazones and Greeks (part left), François Ragot, after Peter Paul Rubens, 1648 - 1670 print Fight between Amazons and Greeks on the Troy bridge. publisher: ParisFrance paper engraving / etching battle of Amazons; amazonomachy. bridge

Fall of the damned (top plate), Jonas Suyderhoef, after Peter Paul Rubens, 1642 print Angels throw the damned in hell. Top plate of a large performance consisting of two parts. Haarlem paper engraving the fall of the damned ~ Last Judgement

Rome, Lanfranco, Giovanni, Italy, Cesio, Carlo, Assumption of Mary, Noah and other patriarchs seated on a cloud, verso - stamped, Noah and other patriarchs seated on a cloud. They are surrounded by angels, one of whom is playing a violin., print, prent, prints, prenten, height 555 mm, width 283 mm, Italian, 1622 - 1682, print maker, printmaker, 1636 - 1686, paper, papier, engraving, engraving (printing process), etching, intermediary draughtsman, after a drawing by, 1582-01-26 - 1647-11-30

Hercules bedwingt Cerberus, Charles David, after Frans Floris (I), after Cornelis Cort, 1613 - 1638 print Numbered in the bottom right: 9. print maker: Francepublisher: Paris paper engraving Hercules before Pluto and Proserpina

Procedure to the Shepherds, Jean Baptiste Denis Lempereur, After François Boucher, 1756 print Numbered in the bottom right: 5. France paper etching annunciation of Christ's birth to the shepherds (and/or shepherdesses) at night; a host of singing angels in the air

Project for a Corner Motif of a Painted Ceiling, François Boucher, French, 1703 - 1770, Pen and brown ink, black chalk on thin tracing paper, Nude and draped figures grouped about an urn with putti above holding heavy drapery., France, 1740, interiors, Drawing, Drawing

Resurrection early 16th century Parmigianino (Girolamo Francesco Maria Mazzola) Italian. Resurrection 391601

Saint Ignatius of Loyola and Allegories of the Four Continents 1715-60 Felix Anton Scheffler German. Saint Ignatius of Loyola and Allegories of the Four Continents 334969

Saint Thecla Praying for the End of the Plague in the City of Este 1759-1776 Italy. Etching on ivory laid paper . Lorenzo Tiepolo

Pier Leone Ghezzi drawing of the Adoration of the Shepherds, executed in pen with gray wash.

Jan Muller, Angels in Glory, 1590 Angels in Glory

The Genius of Castiglione Published 1648 Italy. Reflecting on his own prolific creativity, Giovanni Benedetto Castiglione creates a rich allegory. Fame is personified as a reclining half-nude male youth holding a trumpet. In the upper left, a winged infant blows a horn and points to a crown of laurel leaves, a symbol of immortality. Futility (foul and rabbit) and artistic creativity (pallet, brushes, and sheet music) are at Fameís feet.Heralded as one of the most creative etchers in Italy, Castiglione was inspired by Dutch artistsí work, particularly the etchings of Rembrandt van Rijn, whose prints were imported from Amsterdam to Genoa by Dutch dealers.. Etching in black on ivory laid paper . Giovanni Benedetto Castiglione

Satyr Carrying a Vase with Snakes, and Children Attacking a Dragon. Fialetti, Odoardo, 1573-1638. 1601 - 1700. Prints. The Miriam and Ira D. Wallach Division of Art, Prints and Photographs: Print Collection

Artist: Albrecht Dürer, German, 1471-1528, The Abduction of Proserpine on aUnicorn, Etching, sheet: 30 × 20.8 cm (11 13/16 × 8 3/16in.), Made in Germany, German, 16thcentury, Works on Paper -Prints

Hagar and Ishmael in the Desert, 17th century, Domenico Piola, Italian, (Genoa), 1627 - 1703, 10 3/8 x 6 7/8 in. (26.35 x 17.46 cm) (sheet), Pen and brown ink and wash on laid paper squared with black chalk, Italy, 17th century

Etching by Camillo Procaccini depicting the Transfiguration of Christ between 1580 and 1595, showing Christ, disciples, mountain, and radiance.

Satanic Scene withVoltaire. Artist: Unknown

An 18th-century feather drawing by an anonymous artist depicting the Triumph of Bacchus and Ariadne, with satyrs, putti, dancing bacchants, and fruits, executed with brownish shading.

The Ecstasy of St. Mary Magdalene. Date/Period: 1715/1719. Pen and ink and brown wash, heightened with white, with octagonal framing lines of brown ink on laid paper. Width: 27.3 cm. Height: 36.8 cm (sheet). Author: Benedetto Luti.

Allegorical performance with father's time that shows eternity's personification a plaque of Minerva. .

François-Nicolas Chifflart was an important member of the etching revival in 19th-century France. This print, from his 1865 series Improvisations on Copper, reveals the freedom and experimentation that Chifflart found in this medium. He drew directly on prepared copper plates, sketching as he would on a sheet of paper, to create both anecdotal studies and imaginative finished compositions. Executed on an intimate scale, the prints encouraged close looking and private contemplation. Improvisations sur cuivre: Genius of the Arts, 1865. Nicolas-François Chifflart (French, 1825-1901), printed by Auguste Delâtre, published by CADART & LUQUET. Etching; image: 31 x 23.3 cm (12 3/16 x 9 3/16 in.); plate: 31.7 x 23.8 cm (12 1/2 x 9 3/8 in.); sheet: 56 x 37.5 cm (22 1/16 x 14 3/4 in.).

God the Father Watching His New Born Son. 1601 - 1700. Castiglione, Giovanni Benedetto, 1609-1664. Prints. The Miriam and Ira D. Wallach Division of Art, Prints and Photographs: Print Collection

Umbria Perugia Spoleto S. Maria Assunta, Cathedral6. Hutzel, Max 1960-1990 Exterior views: facade (12th century) with details of the rose window, blind gallery, classicizing architectural sculpture, portal with jambs of inhabited vinescroll, campanile with reused relief fragments (7th-8th centuries), and painting of Christ Blessing flanked by St. John and Virgin Mary (1207). Interior views: pavement in geometric patterns; apse frescoes by Fra Fillipo Lippi (1469) with scenes from the Nativity; fresco of the Pieta by Pinturicchio in the Cappella Eroli (1497); frescoes in the Cappella del'Assunta of Saints Jerome, Michael and Lucy, and ceiling frescoes of Noah, Adam and Melchisedek; paintings, cruicifixes, marbles busts of the Cardinal Eroli and Lippi in the Cappella delle Reliquie; marble statues of Kings David and Solomon in the baroque Cappella della SS. Icone; 14th and 15th century frescoes and a baroque frieze in the Cappella S. Anna; and perhaps a marble statue by Bernini in the wo

The Coronation of the Virgin with Angel Musicians and All Saints. Dated: c. 1590. Dimensions: overall (arch): 47.1 x 25.7 cm (18 9/16 x 10 1/8 in.). Medium: pen and black ink with gray wash on laid paper. Museum: National Gallery of Art, Washington DC. Author: Master J. N.

Fragment with the meeting of Jacob and Esau (), Anonymous, 1600 - 1699 drawing Fragment of a drawing with the meeting of Jacob and Esau (). paper. chalk brush sheep. goat. animal mounts; pack-animals. hoofed animals: camel. ass, donkey. Jacob and Esau are reconciled (Genesis 33)

The Virgin and Child Intervening for Victims of the Plague (recto); Seated Female Figure (verso) attributed to Geronimo Cenatiempo (Girolamo Cenatempo) Italian 1705-41

Offer van isaak.abraham is about to sacrifice his son Isaac. An angel stops him.

Saint John Before God and the Elders, from The Apocalypse. Artist: Albrecht Dürer (German, Nuremberg 1471-1528 Nuremberg). Dimensions: sheet: 17 3/8 x 11 15/16 in. (44.1 x 30.3 cm)plate: 15 1/2 x 10 15/16 in. (39.4 x 27.8 cm). Date: n.d.. Museum: Metropolitan Museum of Art, New York, USA.

The Graces on the Tomb of Watteau Artist's working dates 1723-1770 France. Etching on ivory laid paper . François Boucher

Antonio Grano / 'The Coronation of the Virgin'. XVII century. Grey wash, Black chalk on dark yellow paper. Museum: Museo del Prado, Madrid, España.

'Venus on a Chariot'. Italy, First half of the 18th century. Dimensions: 52x37 cm. Museum: State Hermitage, St. Petersburg. Author: GIOVANNI BATTISTA PIAZZETTA.

Minerva armed with a shield and lance attacking three nearly prone figures 17th century Grégoire Huret French. Minerva armed with a shield and lance attacking three nearly prone figures 645479

French crown, Paris, Nattier, Jean-Baptiste, Rubens, Peter Paul, France, Duchange, Gaspard, La ville de Lion va audevant de la Reine, The city of Lyon goes to meet the queen, City maiden of Lyon in a triumphal chariot drawn by two lions. In the sky Jupiter and Juno. Allegory of the meeting of Marie de' Medici with Henry IV in Lyon in 1608. Loose print at the back of the album., print, prints, height 504 mm, width 357 mm, 1662-04 - 1757-01-06, print maker, printmaker, 1672 - 1757, paper, papier, etching, etchings, engraving, engraving (printing process), Zuid-Nederlands, 1577-06-28 - 1640-05-30, after, after a painting by, Frans, 1678-09-27 - 1726-05-23, intermediary draughtsman, after a drawing by, Publication (Event), Publication, publisher, uitgever, verlener of privilege

Juno turns Callisto into a bear, 1728 After Callisto Jupiter's son Arcas has given birth, Juno turns her into a bear, out of anger about the end of her husband's adultery. Left behind Juno's peacock wagon. Two times two verses in Latin under the performance. The print is part of an album. print maker: Haarlemafter design by: Haarlempublisher: Amsterdam paper engraving After Callisto Jupiter's son Arcas has given birth, Juno turns her into a bear, out of anger about the end of her husband's adultery. Left behind Juno's peacock wagon. Two times two verses in Latin under the performance. The print is part of an album. print maker: Haarlemafter design by: Haarlempublisher: Amsterdam paper engraving

Ovidius, putti and gods in landscape, anonymous, 1720 - 1740 print Ovid has a writing tablet on an elevation. There are two women in front of him. On the right a base of a column with figure on a sea creature and the name of the writer. In the foreground two putti with papers. Figures chained in the background. Above it puts Putti with Garlande, Pegasus, Venus and Amor surrounded by clouds and Apollo with Lier sitting on clouds. paper etching (story of) Ovid. cupids: 'amores', 'amoretti', 'putti'. (story of) Apollo (Phoebus). Venus and Cupid (Cupid not being mere attribute)

Allegory of free trade: De Batavian Leeuw, Johannes Glaber, After Gerard de Lairesse, 1672 - 1726 print In the clouds the personification freedom, with a scepter and the hate of freedom in hand. She is surrounded by Putti and Mercury. Under her the Batavian lion, with a sword in hand and coat of arms of Amsterdam on the side. The print is to a ceiling painting by Gerard de Lairesse and is part of a series with Biblical, mythological and allegorical representations. paper etching beasts of prey, predatory animals: lion (+ heraldic animals). device (as symbol of the state, etc.) (+ city; municipal). Freedom, Liberty; 'Libertà' (Ripa). cupids: 'amores', 'amoretti', 'putti'. (story of) Mercury (Hermes)

Neptune apaisant la tempête (Neptune Calming the Storm). Artist: After François Boucher (French, Paris 1703-1770 Paris); François Antoine Aveline (French, Paris 1718-1780 London). Dimensions: Sheet: 24 3/16 x 17 1/2 in. (61.4 x 44.5 cm)Plate: 23 1/8 x 16 in. (58.8 x 40.6 cm). Date: 18th century. Museum: Metropolitan Museum of Art, New York, USA. Author: after François Boucher. Francois Antoine Aveline.

Salvator Rosa, Jason and the Dragon, c 1663 1664 Jason and the Dragon

Dutch() 18th Century, The Judgment of Paris, c 1745 The Judgment of Paris

Design for a Monument to a Military Leader. Artist: Gilles-Marie Oppenord (French, Paris 1672-1742 Paris). Dimensions: 13 3/4 x 8 13/16 in. (34.9 x 22.4 cm). Date: ca. 1690-1740. Museum: Metropolitan Museum of Art, New York, USA.

Allegory on the volatility of life, Gaspar Bouttats, After Godfried Maes, 1650 - 1695 print In the foreground a Hellemond where two classic gods poured soapsop from a small dishes. These dishes are hired by angels. Then the angels fly towards clouds in the background and they blow soap bubbles from the soapsop. Under the clouds are people of all kinds of positions (including the pope and a king) who enthusiastically collect the soap bubbles. Allegorically, the bubble is a vanitas symbol for the volatility of human existence and of earthly wealth. Humanity does everything to catch and collect the bubbles, but such assets are only fleeting in their existence. Antwerp paper etching / engraving (children or putti) blowing bubbles, 'Homo Bulla' ~ scene symbolizing 'Vanitas'. pope. king. entrance of hell as monstrous mouth (of Leviathan). cupids: 'amores', 'amoretti', 'putti'. gods ~ classical mythology

Achilles Dragging Hector's Body Behind His Carriage..

Sint Nicolaas puts the storm at sea.

Allegory of the Immaculate Conception with the Fall of Man 1578-1649 Alessandro Turchi Italian. Allegory of the Immaculate Conception with the Fall of Man 340893

The Annunciation with the Virgin kneeling at left and Gabriel appearing at right ca. 1729 Anne Claude Philippe de Tubières, comte de Caylus. The Annunciation with the Virgin kneeling at left and Gabriel appearing at right. Anne Claude Philippe de Tubières, comte de Caylus (French, Paris 1692-1765 Paris). ca. 1729. Etching and aquatint in brown/orange ink. Prints

Saint Joseph and the Christ Child. Artist: Anonymous, Italian, Roman-Bolognese, 17th century. Dimensions: 9-5/8 x 4-7/16 in. (24.5 x 11.3 cm). Date: 17th century. Museum: Metropolitan Museum of Art, New York, USA.

Allegory of History, Anonymous, After Johann Gottfried Haid, 1745 print Allegory of history, surrounded by rocaille frame. A female angel writes in a book that is worn by father Time, a winged old man with an hourglass and scythe. In the landscape behind them is the fountain of life. Twice a four -line German and Latin text in the lower margin. Publishing number 42. Augsburg paper etching 'Historia'; 'Historia' (Ripa). Father Time, man with wings and scythe. angels

Adonis dies in the arms of Venus. Adonis dies in the arms of Venus. Venus and Amor mourning to his death. During hunting, Adonis was seriously injured in a fight with a wild boar. In the background the wagon of Venus and the wild boar.

Illustration for the Decamerone of Boccaccio, Romeyn de Hooghe, 1697 print Illustration for the Decamerone of Boccaccio, History LXII. Perronella is bent over to give her husband in a barrel instructions. In the meantime, she holds her skirt up in front of her lover behind her. paper etching (scenes from) specific works of literature: Boccaccio, Decamerone

Bekering van Paulus, Michael Willmann (attributed to), 1640 - 1706 print paper etching story of the conversion of Paul (Acts 9:1-18)

Angelica Is Exposed to the Orc. Dated: 1780s. Dimensions: overall: 39.3 x 25.7 cm (15 1/2 x 10 1/8 in.). Medium: black chalk with brown and gray wash on laid paper. Museum: National Gallery of Art, Washington DC. Author: JEAN-HONORE FRAGONARD.

Umbria Perugia Spoleto S. Maria della Manna d'Oro4. Hutzel, Max 1960-1990 Exterior views of the octagonal church now used as a baptistery. Interior views of oil paintings by Conca (1735), the tomb statue of Bishop Bernardino Lauri, and the massive octangonal baptismal font (15th century), decorated with bas-reliefs depicting scenes from the Nativity to the Marriage at Cana. Object Notes: Hutzel photo campaign date: 1/31/83 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.

Drawing (Italy)

The Virgin Immaculate in Glory (recto); Sketch of a Part of a Leg and a Hand (verso). Artist: Domenico Mondo (Italian, Capodrise near Caserta 1723-1806 Naples). Dimensions: 11 1/8 x 6 13/16in. (28.2 x 17.3cm). Date: 1723-1806. Museum: Metropolitan Museum of Art, New York, USA.

Clock supported by four women, c. 1866 - c. 1900 print The women are on a pedestal where leaf shines come down. publisher: Parispublisher: New York (city)printer: Paris paper

Francesco Solimena depicts the Adoration of the Shepherds, drawn in chalk with lavated technique between 1695 and 1701.

Apotheosis of a descendant of a noble Napolitan family, after 1672 - Before 1728 drawing paper. ink. chalk pen / brush apotheosis (or ascension) of individuals

Vision of Saint Dominic Artist's working dates 1652-1705 Italy. A Neapolitan painter known as ëLuca fa prestoî (ìLuke, paint quicklyî), Giordano was also facile and rapid draftsman. He worked in Naples, Florence, Venice, and Rome in the orbit of the great Baroque artists Ribera and Pietro da Cortona.. Pen and brown ink with brush and gray wash, with traces of black chalk, squared in black chalk on ivory laid paper, laid down on ivory laid paper . Luca Giordano

Amaryllis and Myrtillo. Draughtsman: Jan de Bisschop. After Anthony van Dyck. Dating: 1648 - 1671. Measurements: h 326 mm × w 430 mm. Museum: Rijksmuseum, Amsterdam.

Design for a Ceiling: Jason and the Golden Fleece. Artist: Fedele Fischetti (Italian, Naples 1732-1792 Naples). Dimensions: 16 5/8 x 14 3/16 in. (42.2 x 36.1 cm). Date: 1732-92. Museum: Metropolitan Museum of Art, New York, USA.

Nativity. Artist: Johann Wolfgang Baumgartner (German, Kufstein 1712-1761 Augsburg). Dimensions: 5 7/8 x 3 3/4 in. (15 x 9.6 cm). Date: before 1761. Museum: Metropolitan Museum of Art, New York, USA.

The Circumcision. Artist: Ciro Ferri (Italian, Rome 1634-1689 Rome). Dimensions: 14 7/16 x 9 7/16in. (36.6 x 24cm). Date: 1634-89. Museum: Metropolitan Museum of Art, New York, USA.

Drawing by Pierre Charles Trémolières on blue-gray paper in black chalk with white heightening, depicting the apotheosis of a monk with the Virgin Mary and Christ Child.

Naissance et Triomphe de Venus (The Birth and Triumph of Venus) 18th century Jean Daullé French. Naissance et Triomphe de Venus (The Birth and Triumph of Venus) 413499

Vignette from the Galerie des Glaces, Versailles early 18th century Bernard Picart Bernard Picart was a successful engraver active in France and the Netherlands. This drawing belongs to a group of studies he made after works by Charles Le Brun, the leading painter and coordinator of royal projects under Louis XIV. Rather than transcribe an entire composition, he used each sheet to study a vignette of a few figures.. Vignette from the Galerie des Glaces, Versailles. Bernard Picart (French, Paris 1673-1733 Amsterdam). early 18th century. Pen and brown ink, brush and gray wash. Drawings

Copper engraving by Pierre Perret depicting the Laokoon group, created in 1582, illustrating the classical sculpture of Laokoon and his sons, showing mythological figures and 16th-century artistic interpretation.

Philippe Thomassin, French (1562-1622), The Fall of the Rebellious Angels, 1618, engraving

...vino pellite curas (Horace's Odes), Giovanni David, Italian, 1743 - 1790, etching, Italy, 1775, Print, Print

The Virgin and Child Appearing to Saint Agatha and Saint Lucy. Artist: Nicola Grassi (Italian, Formeaso before 1682-ca. 1750 Turin ()). Dimensions: 6 x 4 7/16in. (15.3 x 11.3cm). Date: 1682-1750. Museum: Metropolitan Museum of Art, New York, USA.

. Father's time with sheis in hand and hourglass on his head. All kinds of animals under him: among others. A lion and a boar. Towards a lost painting by Gerard de Lairesse. The print is part of a series with biblical, mythological and allegorical representations.

Five putti with flowers and garlands near Vaas, Leendert Brasser, After Jacob de Wit, 1770 print Rotterdam paper etching Cupids: 'Amores', 'Amoretti', 'Putti'

The Virgin and Child Enthroned with Saint Sebastian and a Franciscan Saint. Artist: Giovanni Battista Tiepolo (Italian, Venice 1696-1770 Madrid). Dimensions: 12-1/8 x 9-3/4 in. (30.8 x 24.8 cm). Date: 1696-1770. Museum: Metropolitan Museum of Art, New York, USA.

H. Rochus with an angel. .

Christ in Glory with Two Saints, first third 17th century. Marcantonio Bassetti (Italian, 1586-1630). Pen and brown ink and brush and brown wash with graphite; sheet: 25.5 x 16.6 cm (10 1/16 x 6 9/16 in.); secondary support: 25.5 x 16.6 cm (10 1/16 x 6 9/16 in.).

Lazio Roma Rome S. Maria dell'Orto9. Hutzel, Max 1960-1990 Post-medieval: Architecture, sculpture, reliefs, painting (frescoes) Object Notes: Despite lively Baroque decoration in the interior, the church conserves an early Renaissance structure of three naves. Building began in 1489 by an unknown architect; was finished in 1566 by Guidetti. Curious inscriptions on church stones with humorous statements such as "Universita dei Vermicellari" (various artisan corporations). 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.

Martyrdom of Two Female Saints Cosimo Ulivelli Italian 1625-1704

Ceiling painting in the Spiegelzaal of Versailles Castle, Louis Desplaces, After Charles Le Brun, After Jean Baptiste Massé, 1752 print print maker: Parisafter painting by: Spiegelzaalafter drawing by: Paris paper etching / engraving ornaments ~ art. personifications of countries, nations, states, districts, etc. Mirror

Allegory (allusian) with the representation of the marriage of Cupid and Psyche in Olympus, in honor of the wedding of Louis XV and Maria Leszczyńska in 1725. unknown

Frontispiece for a History of Peter the Great, Jean-Jacques-François Le Barbier, French, 1738 - 1826, Pen and brown ink, brush and orange wash, black chalk, engraving (portrait) on white laid paper laid down on blue paper mount, A genius holds a crown over the medallion, the inside of which is cut out and replaced by the print; it stands on top of the support, most of which is covered by a cloth; attributes referring to Peter's activities lie upon or before, or lean against, the support; ruled borders in pen and black ink, gold leaf., France, ca. 1780, figures, Drawing, Drawing

Copper engraving by Hendrick Goltzius depicting the mythological competition between Apollo and Pan, created in 1590, illustrating allegorical figures and 16th-century classical mythology.

Spandrel Decoration: Fame and Truth Applauding Louis XV, François Boucher, French, 1703 - 1770, Black chalk, pen and brown ink, brush and pale pink wash on white paper, lined, A putto, companion of Fame, directs the attention of Truth to a portrait of Louis XV. The women are seated in the foreground above a pedestal before which stands an incense burner., France, 1753, architecture, Drawing, Drawing

Anonymous / 'The Immaculate Conception'. Ca. 1750. Pencil on yellow laid paper. Museum: Museo del Prado, Madrid, España.

Allegorical composition on Felix Meritis, Jacques Kuyper, 1784 print Allegorical composition on Felix Meritis with the winged fame on the right that blows on the praise. On the left, Apollo, seated on the clouds, with the left arm on the blason of Felix Meritis that is also held by a putto. Amsterdam paper etching Hunger; 'Fama', 'Good fame', 'Chiara fame' (Ripa). Bee-Hive. Cupids: 'Amores', 'Amoretti', 'Putti'. (story of) Apollo (Phoebus) Amsterdam

Italian 17th Century, after Guido Reni, after Luca Cambiaso, A Group of Angels in Glory, 1607 A Group of Angels in Glory

Design for a ceiling painting with Christ in heaven between saints. Draughtsman: anonymous. Draughtsman: Giovanni Battista Gaulli (possibly). Dating: 1649 - 1709. Measurements: h 272 mm × w 160 mm. Museum: Rijksmuseum, Amsterdam.

Ridinger, Martin Elias, inventor: Johann Elias Ridinger, work, Dogs attack a wild boar, (1000 - 2000), copper engraving, graphics, plate width 24.6 cm, plate height 36.7 cm, leaf width 26 cm, leaf height 38.6 cm, image width 22.4 cm, image height 29 cm

Diploma of the Freemasons of Bordeaux François Boucher French. Diploma of the Freemasons of Bordeaux. François Boucher (French, Paris 1703-1770 Paris). Black and white oil paint on brown paper. Drawings

Aurora, 1713 print Aurora flying with a jet wreath around the head and a canvas in the hands from which flowers fall. Above her head a floating putto with jug that water over her. paper etching personification of the morning, 'Aurora'; 'Aurora' (Ripa)

Prometheus Chained to the Rocks of Caucasus, Cornelis Cort, Dutch, 1533 - 1578, Titian, Italian, ca. 1488 - 1576, Engraving on paper, The nude Prometheus, chained to the rocks of Caucasus, is having his liver plucked out by an eagle. At lower left, a snake., Netherlands, Antwerp, Netherlands, 1566, Print, Print

The Resurrection of Christ. Artist: Joseph Heintz the Elder (Swiss, Basel 1564-1609 Prague). Dimensions: 16 13/16 x 11 in. (42.7 x 28.0 cm). Date: 1585. Museum: Metropolitan Museum of Art, New York, USA.

The Rest on the Flight into Egypt. Dated: c. 1720. Dimensions: sheet: 39 x 29.9 cm (15 3/8 x 11 3/4 in.) mount: 40.5 x 31.1 cm (15 15/16 x 12 1/4 in.). Medium: pen and brown ink and brush and brown wash, heightened with white, on laid paper. Museum: National Gallery of Art, Washington DC. Author: Carlo Antonio Tavella.

Expulsion from Paradise, The angel drives Adam and Eve out of paradise with his sword. God handed Adam and Eve clothes of animal skins to cover their nakedness. In the margins of the frame a Bible quote from Gen. in Latin. The print is part of an album, an angel chases Adam and Eve out of paradise with a (flaming) sword, Crispijn van de Passe (I), Antwerp, 1580 - 1588, paper, engraving, h 120 mm × w 94 mm

Illustration for Ariosto's "Orlando Furioso": Orlando Returns Bireno to Olimpia Jean-Honoré Fragonard (French, 1732-1806). Illustration for Ariosto's "Orlando Furioso": Orlando Returns Bireno to Olimpia, 1780-1789. Black conté crayon and wash on laid paper, Sheet: 15 3/4 x 10 5/8 in. (40 x 27 cm). European Art 1780-1789

Vertumnus andPomona. Artist: Gerbrand van den Eeckhout, Dutch, 1621-1674

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