Architectural Drawings

Detailed architectural designs and plans illustrating altars, temples, and ornate structures, emphasizing symmetry and classic elements.

Submash, shaft decorated with Apollo, Abraham Bosse, After Jean Barbet, After 1638 - Before 1643 print Apollo shoots on a monster. Leaf 12 from the second edition of series. The numbering of the prints only partially corresponds to that of the first edition. print maker: France (possibly)after design by: France (possibly)publisher: Paris paper etching

Project for an altar, Pencil, pen, sepia, brush and grey water color on paper, Vertical composition of an altar. The left edge of the alter is extended to the lowest step of the altar. In the center, three steps lead to the mensa below the dado of an aedicula. The central part of the aedicula has a paiting frame. The paiting is flanked by two columns and groups of pilasters. A circular pediment is at the top., Italy, ca. 1780, religion, Drawing, Drawing

Design for Mantle Piece, from 'Cheminées et Lambris', Jean Le Pautre, French, 1618-1682, Etching on paper, France, ca. 1650, Print, Print

Bound Print, Elevation of a Tomb; Designed by Gilles-Marie Oppenord (French, 1672-1742); Print Maker: Gabriel Huquier (French, 1695-1772); Published by Chez Huquier; France; etching and engraving on paper

Temple with fountain and bacchus on a barrel, 1568 print Square temple with fountain. Bacchus sits on a ton on the fountain. This print is part of an album. paper etching ornamental fountain. (story of) Bacchus (Dionysus), Liber

Underbooling with a painting by Narcissus; Nouvelles Cheminées à Panneaux De Glace Exécuté Dance Quelques Hôtels à Paris. Various details are shown on the right.

Corinthic head frame, capital and basement; Architettura Con Diversi Ornamenti Cavati Dall 'Antico. With details of the cornice. At the bottom of explanation.

Design of a fireplace with a painting featuring a sacrifice scene. unknown, graphic artist, Marot, Daniel (1661-1752 ; st.), graphic artist

The Catafalque of Philip IV of Spain ca. 1665 Domenico Piola Italian. The Catafalque of Philip IV of Spain. Domenico Piola (Italian, Genoa 1627-1703 Genoa). ca. 1665. Etching

Submash, shaft decorated with Apollo, Abraham Bosse, After Jean Barbet, After 1638 - Before 1643 print Apollo shoots on a monster. Leaf 12 from the second edition of series. The numbering of the prints only partially corresponds to that of the first edition. print maker: France (possibly)after design by: France (possibly)publisher: Paris paper etching

Design of a fireplace with a trapezoidal mirror above and an historic painting featuring a tribute scene on the top. unknown, graphic artist, Marot, Daniel (1661-1752 ; st.), graphic artist

Grave monument for Willem Lodewijk, Count of Nassau-Dillenburg, 1620; Architectura Moderna or Buildinge van Onsen Tyt (...) Mr. Hendrick de Keyser (...) and Cornelis Danckerts (...) Amsterdam 1631, PL. XLI. Grafmonument for Willem Lodewijk in the Grote Kerk in Leeuwarden, Died May 31, 1620, buried on July 13, 1620. Map, seen from the side and seen from the front with the image of the kneeling count between Fortitudo and Prudentia. At the top right 'Xli.'.

Portal with niche and on the broken pediment the personification of justice (justitia) flanked by two women and putti, Wendel Dietterlin (I), 1593 - 1595 Numbered: 44. Print is part of a book. Strasbourg (France) paper etching ornament derived from architectural details. parts of church exterior and annexes: portal. Corinthian order ~ architecture. Justitia (justice) as Roman personification

Louis XIV (King of France), Louis XIII (King of France), Paris, Leblond, Jean (I), France, Lepautre, Jean, Altars with plan, Altar with painting, In the middle hangs a painting with a detail of the Descent from the Cross. With elevation and plan. From a series of 6 sheets, first edition., print, ornamental print, prints, ornamental prints, height 183 mm, width 129 mm, French, 1618-06-28 - 1682-02-02, print maker, printmaker, 1628 - 1666, second quarter 17th century, third quarter 17th century, paper, etching, etchings, Work conception, after own design by, Publication (Event), Publication, 1594 - 1666, publisher, 1601-09-27 - 1643-05-14, granter of privilege, 1638-09-05 - 1715-09-01

Wall cabinet with broken fronton; Oficina Arcvlaria (...), Bovticqve Menvseries (...), Schriner Load (...), Schrinckers Winckel (...). With a variant for the right side. Amor is at the top of the left.

Nuremberg, Weigel, Johann Christoph, Schübler, Johann Jakob, Nouveau Livre des Chemines, Fireplace with vase in cartouche, verso - stamped, A fireplace with rocaille ornaments, wickerwork, garlands, left a rocaille vase in a cartouche and a vase top right. Bottom left a rocaille fire screen., print, ornament print, prints, ornament prints, height 291 mm, width 189 mm, print maker, printmaker, 1699 - 1726, paper, papier, etching, engraving, engraving (printing process), Work conception, German, 1689 - 1741, after a design by, Publication (Event), Publication, 1661-07-15 - 1726, publisher

Triumphpoort Founded by the Bishop of Antwerp for the Onze-Lieve-Vrouwekathedral, 1685, 1685 print Triumphpoort founded by the bishop of Antwerp and the chapter for the Onze-Lieve-Vrouwekathedral in Antwerp. Part of the illustrations of the decorations founded in Antwerp at the celebration in 1685 of the centenary of the liberation of the city by the Duke of Parma in 1585. print maker: Southern Netherlandspublisher: Antwerp paper etching triumphal arch Our Lady Cathedral. Antwerp

Parts of chimney jackets; Chimney jackets.Decorated with Grotesken, Bestans, Women's and Men's Figures.

School Met Putti, Emanuel Eyel (POSSIBLY), AFTER France xaver Hervelman, 1746 print Fireplace with rocaille ornaments, flower motifs, three putti and a three -armed candlestick. Publishing number 274. paper etching / engraving Open Hearth, Fire-Place. Cupids: 'Amores', 'Amoretti', 'Putti'

Design for a Funerary Monument. Artist: Circle of Ignaz Günther (German, Altmannstein 1725-1775 Munich) (). Dimensions: sheet: 16 7/16 x 10 1/8 in. (41.7 x 25.7 cm). Former Attribution: Formerly attributed to Anonymous, French, 18th century. Date: ca. 1710-40. Museum: Metropolitan Museum of Art, New York, USA.

Cartouche Surrounded by Putti, Mattheus Terwest, 1600 - 1604 drawing paper. ink. graphite (mineral) pen / brush Cupids: 'Amores', 'Amoretti', 'Putti'. ornament ~ cartouche. Cupids: 'Amores', 'Amoretti', 'Putti'. ornament ~ cartouche

Drawing, Altar; Attributed to Angelo Michele Colonna (1600-1687); Italy; pen and brown ink, red, black chalk, brown wash on white laid paper; Overall: 38.7 x 23cm (15 1/4 x 9 1/16in.) Mat: 35.6 x 45.7 cm (14 x 18 in.)

Study for a Vault 17th century Anonymous, Italian, 17th century Italian. Study for a Vault 365722

Façade with shepherd, gods and equestrian statues, 1689 print Façade with a standing shepherdin with pan flute and staff in the middle. Left and right of her are the gods Mars and Pallas Athena on pedestals between Pilasters. In addition, Hercules is wearing the world on its shoulders. Equestrian statues of Louis XIV from France and Louis of France flanks him. At the top are two trumpet women blowing on both sides of a crowned coat of arms. The print is originally the title page for: Sanson, Nicolas, Atlas Nouveau Conttenant Toutes Les Parties du Monde (...), 1689. The title has been cut away and replaced by the print of the shepherdin. paper etching / engraving façade (of house or building). herding, herdsman, herdswoman, shepherd, shepherdess, cowherd, etc.. Roman deities, and foreign deities included in the classical Pantheon. equestrian statue

Drawing, Elevation of a door case for the center of a façade in the main floor; Filippo Marchionni (Italian, 1732-1805); Italy; graphite on laid paper; 17.4 x 14.3 cm (6 7/8 x 5 5/8 in.)

Ionian Portiek, Anonymous, After Giovanni Battista Montano, 1636 print At the bottom is an explanation. after design by: Italy (possibly)publisher: Rome paper engraving

Monument to J. Zawadzki from 1580 in the church of Fr. Domini In: Sad souvenir of the fire of Krakow Balicki, Karol (1820 1854)

Design for a canopy to decorate an altar, to be set up during the Holy Week, Louis Jean Despez, 1769 print Design for a canopy to decorate an altar during the Holy Week. The construction is equipped with French lilies and the papal cross. The print is dedicated to Christophe de Beaumont, Archbishop of Paris (from 1746 to 1781). With this complex example of his early print art, Desprez won the Grand Prix of the Academie DArchitecture in 1770. The ETS is originally part of a series of six with details and a map of the design. paper etching altar under altar-canopy or ciborium. (liturgical) equipment of church. other feasts of the ecclesiastical year

Brackets, Caryatids and other Architectural Details (recto and verso). Artist: Attributed to Gilles-Marie Oppenord (French, Paris 1672-1742 Paris). Dimensions: Sheet: 11 7/8 × 7 3/4 in. (30.1 × 19.7 cm). Date: ca. 1690-1710.Gilles-Marie Oppenord was the son of the cabinet maker Jean-Alexandre Oppenord who, during the latter part of his career, worked at the Louvre in the service of the French king as 'Ébeniste du Roi'. After his first training, Gilles-Marie spent seven years in Italy where he studied the Baroque monuments built by his contemporaries and the great masters of previous generations. Collecting thoughts and inspiration on paper would prove to be a life-long exercise for him. Although not many of his executed buildings and interiors survive today, many drawings can be attributed to his hand. On this sheet he seems to have specifically collected architectural elements with a supporting function. Although the arrangement of the motifs on the sheet seems somewhat chaotic, the

Allegory on case law, Etienne Delaune, 1528 - 1583 drawing Ornamental drawing with five performances in cartouches. Central a prince on his throne for two parties: Justitia on the right with rich people, left Christ () With poor people. Above temperantia; Returned to her parents under a woman. On the left a preaching woman and a preaching man on the right. In the background the humiliation of Nebuchadnezzar. These scenes set in a frame of mascarons, children and horns of abundance, among others. Possible design for a print. France parchment (animal material). ink pen / brush Temperance, 'Temperantia'; 'Temperanza' (Ripa) ~ one of the Four Cardinal Virtues. Justice, 'Justitia'; 'Giustitia divina' (Ripa) ~ one of the Four Cardinal Virtues. King Nebuchadnezzar's madness: long-haired, he creeps on all fours, eating grass

Secondo Tenpio De Giove in Capitolio, Print made by Marc Antonio Raimondi, ca. 1480-ca. 1534, Italian, Published by Antonio Salamanca, ca. 1500-1562, Spanish, Published by Antonio Lafreri, 1512-1577, French, 1546-1590, Line engraving on medium, slightly textured, cream laid paper, Sheet: 15 × 11 7/8 inches (38.1 × 30.2 cm), Plate: 11 5/8 × 8 1/2 inches (29.5 × 21.6 cm), and Image: 10 5/8 × 7 5/8 inches (27 × 19.4 cm)

German or Austrian 16th Century, Palatial Mantelpiece with Mercury and Hope (recto), 1571 Palatial Mantelpiece with Mercury and Hope recto

Chance altar with lamb and book with the seven stamps, Anonymous, After Georg Peter Schillinger, 1705 - 1775 print A pulpit altar with columns, rocaille ornaments and two vases. The lamb with the book with the seven stamps in a jet wreath awarded the whole. Publishing number 208. Augsburg paper etching / engraving altar. pulpit, ambo, chancel. the vision of the Lamb and the book with the seven seals

Design for a clock, Anonymous, 1797 print Design for a 'perpetual' clock. All above the clock with putti on either side: one with the attributes of Mercury, the other with the attributes of Neptune. In medallions a performance of father Time and of the day with sunflower and the sleeping night. At the bottom of the basement the days of the week. Netherlands paper etching clock. Father Time, man with wings and scythe. days of the week

Design for an Altar with Canopy, 1693-1704, After Andreas Pozzo, Italian, 1642 - 1709, 13 1/4 x 8 15/16 in. (33.66 x 22.7 cm) (plate)15 3/4 x 10 3/16 in. (40.01 x 25.88 cm) (sheet), Engraving, Italy, 17th-18th century

Ornamented fireplace with hair screen; Second Livre de Nouveaux Cheminées (...). Fireplace with rocaille ornaments and a fireplace.

Grotesque with a Bacchus Fountain Placed in an Architectural Structure 1540 after Anonymous, Italian, 16th century Italian Grotesque, copied after a print published by Cornelis Bos around 1540. The design is characterized by a winged female figure, holding up an architectural structure in which a fountain has been placed. The print has been copied in full.. Grotesque with a Bacchus Fountain Placed in an Architectural Structure. Anonymous, Italian, 16th century. 1540 after. Pen and black ink, brush and gray wash

Amsterdam, Passe, Crispijn van de (II), Oficina Arcvlaria ((...)), Bovticqve Menvseries ((...)), Schriner Laden ((...)), Schrinwerckers Winckel, Wall cabinet, Cabinet with two shelves and a broken fronton. With a variant for the right half., print, ornamental print, prints, ornamental prints, height 212 mm, width 171 mm, Work conception, 1597 - 1670-01-06, after a design by, 1642 - 1642, second quarter 17th century, paper, engraving, engraving (printing process), print maker, printmaker, Publication (Event), Publication, publisher

Theaterpoort founded on the Damsluis, 1642, 1642 print Theaterpoort founded on the Damsluis. At the top of the coat of arms of the English king Charles I, on the silk images of Pallas and Mars. Theater for the screenings during the visit of English queen Henrietta Maria to Amsterdam, 20-22 May 1642. Ninth album in a group of ten impressions and triumphal arches. Northern Netherlands paper etching The internship and its Equipment. Triummphal Entry and Public Reception, pageant, 'solemn entrance', 'Joyeuse entrance'. Triummphal Arch Amsterdam. Dam

Augsburg, Wolf, Jeremias, Nuremberg, Decker, Paul (I), Reiff, Johann Conrad, Delsenbach, Johann Adam, Mantelpieces, Mantelpiece with vases and oriental scenes, verso - stamped, print, ornament print, prints, ornament prints, height 283 mm, width 188 mm, 1687 - 1765-05-16, print maker, printmaker, 1708 - 1724, paper, papier, etching, etchings, German - 1726-06-11, Work conception, 1677-12-27 - 1713-11-18, after a design by, Publication (Event), Publication, German, 1673 - 1724, publisher

Altarpiece with a proclamation and two prophets on both sides, Baldassare peruzzi (Follower of), 1534 - 1549 drawing Design for a three -part altarpiece with a proclamation in the middle and two prophets on either side; Upstairs with the weapon of Pope Paul III Farnese. paper. ink pen / brush

Tomb monument from Pope Adriaan VI. Sketch to the tomb of Pope Adriaan VI in the Santa Maria Dell'Anima in Rome.

The lower part is a variation of -1369, the round pedestals having a smaller diameter, the connecting walls being longer. Statues stand upon the pedestals. In the center of the retable is a picture of an Ascension. On either side are three columns, the central one is projecting. Above the entablature is a framed panel with a representation. Beside it are two sitting angels. On top of it is a base with two angels, adoring the cross, which is supported by a kneeling figure. Usual background. Pen and brown ink, brush and brown wash on lined off-white laid paper. Date: 1746-1809. Museum: Cooper Hewitt, Smithsonian Design Museum.

. Folded sheet. Numbered at the top right: 4. The ereportion placed at the port. On the Arch Neptune in his chariots, with statues of navigation and commerce. Part of the illustrations of the festive inauguration of Stadholder William IV as a Markgraaf van Veere on 1 June 1751.

Lower part of a retable; Fountains, water wells, chimney jackets, capitals, windows and retabels; Title page and 11 sheets of "Architectura und Auftsheilung der V Senln (...)" 1593. One of 20 blades from a series (Architectura. Von Ausztheilung, Symmetria und Proportion of Fünff seul ...) consisting of 193 sheets and 5 title sheets , divided into five books. This is a second, extensive edition of the series described under Orn Cat I-319.

Schouw with vases, Anonymous, 1758 - 1820 print Design for a fireplace with three vases on the left and a hair edge with a lion on the right. Germany paper etching / engraving open hearth, fire-place. vase ~ ornament. fender

Jan van den Hoecke depicts an altar frame showing the battle on the Milvian Bridge with Madonna in heaven using gray ink, gray lavated brush, and brown highlights on architectural framework, showing figures, gestures, and setting.

Design for Elevation of an Altar Retable, Pen and ink, black chalk on paper, Recto: The left half is shown. Two paintings in a vertical row are suggested for the central part, which is topped by the royal French crown. the lateral part is obliquely disposed. A twisted column stands free at the inside beside two statutes of St. John the Evangelist and St. Luke, both seated. A flying angel lifts the curtain over them which hangs downward from a lambrequin showin fleur-de-lys. Volutes form the top, two angels with palm boughs being suggested affixed to them. Verso: sketches of a similar altar in black chalk., France, ca. 1700, architecture, Drawing, Drawing

Feather drawing of architecture by Mauro Tesi, lavished around 1750, depicting structural elements and building designs.

Perino del Vaga, Altarpiece of the Madonna and Child with Saints, in Its Architectural Setting, 1528 1537 Altarpiece of the Madonna and Child with Saints, in Its Architectural Setting

Bliżej Kultury Verlag Gerlach & Schenk in Vienna (1882 1901)

Graftombe of Willem I, Prince of Orange, 1623, Anonymous, 1631 print Graftombe or Praalgraf from Willem I in the Nieuwe Kerk in Delft, completed in 1623. Seen from the front with the image of the sitting prince. At the top right 'XXXIX'. print maker: Low Countriespublisher: Amsterdam paper engraving grave-building, monumental tomb. interior of church. historical persons New church. Delft

Chimneys in the Italian Manner 1669-1670 France. Etching on ivory laid paper . Jean Le Pautre

Triumphal arch at the Sint-Michielsabdij (front); entry from Ferdinand in Antwerp in 1635 (no. 37); Arcus Ad D. Michaelis. Triumphal arch at the Sint-Michiel Abbey, drawn up in the Sint-Michielsstraat, the end point of the entry. With centrally a representation of Hercules on the crossroads. Signature at the top right: Pag. 159A. Leaf no. 37 In a whole of 43 plates that illustrate the publication of the description of the arrival of the Cardinal Infant Ferdinand in Austria in Antwerp on April 17, 1635 as the new governor for the Spanish Netherlands.

Coffin on a high pedestal; Tombeaux Ou Mausolées. Under the coffin, the family crest is depicted, around three pedestals with obelisks. From first edition.

Interior, decoration, design, ornament, ornamental, architecture, Cornelis Danckerts (I), Pierre Bullet, Justus Danckerts, c. 1675 - c. 1686

Paris, Tavernier, Melchior, France, Barbet, Jean, Bosse, Abraham, Livre d' Architecture et d' Autels, Lower bosom, shaft decorated with a knight on horseback, print, ornament print, prints, ornament prints, height 206 mm, width 150 mm, French, 1602 - 1676-02-14, print maker, printmaker, 1638 - 1643, second quarter 17th century, paper, papier, etching, etchings, Work conception, 1605 - 1654, after a design by, Publication (Event), Publication, South Netherlandish, 1564 - 1641, publisher

Design for a Freestanding Altar dedicated to the Assumption of the Virgin ca. 1670-1740 Anonymous, Italian, first half of the 18th century Italian. Design for a Freestanding Altar dedicated to the Assumption of the Virgin. Anonymous, Italian, first half of the 18th century. ca. 1670-1740. Pen and brown ink, brush and gray wash, over traces of graphite or black chalk; two centering marks in graphite or black chalk (a ruled centered vertical line and a ruled centered horizontal line); a scale in pen and brown ink that is unnumbered at the bottom of composition

Cheminee project Daniel Marot The Old (around 1663-1752). "Fireplace project". Burin.

Design for a temporary decoration of the East wall of the Palazzo Vecchio Courtyard (recto); Partial diagram of a ceiling with circular, square, and rectangular panels(verso). Artist: Giorgio Vasari, Italian, 1511-1574 Artist, attributed to: Vincenzo Borghini, Italian, 1515-1580

Stage Set of a Room Interior with Receding Perspective. Artist: Anonymous, Italian, Piedmontese, 18th century. Dimensions: 7-5/16 x 6-5/8 in. (18.6 x 16.8 cm). Date: 1700-1780. Museum: Metropolitan Museum of Art, New York, USA.

Design for a Freestanding Tomb Seen in Elevation and Plan 1530-35 Antonio da Sangallo, the Younger Italian This drawing was rediscovered and sold at auction in 1998, together with three other tomb designs, all four sheets dating to the 1530s; their attribution and subject matter were confirmed by Christoph Luitpold Frommel in the sales catalogue. The intended final projects with which the three other sheets were connected are less securely known than is true of the present sheet, which renders the intended project with great clarity of design and in a relatively finished conception. The present drawing depicts the effigy of a bearded pope and on the lower part of the podium includes the papal tiara with crossed keys over the Medici familys coat of arms -- the six balls, or palle -- which readily identifies the funerary monument as that of Clement VII de Medici (1478-1534), elected pope on November 19, 1523. This detailed modello, or demonstration drawing, may be compared to Michelan

TITELBLAD: new ice-panel fireplaces executed in some hotels in Paris; New ice panel fireplaces executed in some hotels in Paris. Of Titel Staat in Een Ovaal. Serie Van Tielflad in 5 Bladen, Tweeede Editie.

Drawing, Wall painting with alternate suggestions; Italy

Design for a clock; Perpetual Almanac / Almanach Petuel. Design for a 'everlasting' clock. Completely above the clock with on either side putti: the one with the attributes of Mercury, the other with the attributes of Neptune. In medallions a representation of father time and day with sunflower and the sleeping night. At the bottom of the basement the days of the week.

Catafalk of the book of Adam Kazimierz Czartoryski; Vogel, Zygmunt (1764-1826), Solronne, Louis (Warsaw; Litographic AD; FL. 1820-1828); 1823 (1823-00-00-1823-00-00);Czartoryski, Adam Kazimierz (1734-1823), Czartoryski, Adam Kazimierz (1734-1823)-iconography, Order of the White Eagle, Order of the Golden Run, Order of St. Aleksander Nevsky, the Order of St. Stanisława, Pogoń (coat of arms), Witke-Jeżewski, Dominik (1862-1944), Witke-Jeżewski, Dominik (1862-1944)-collection, Castrum Doloris (archite. )

Stage Design, Sepulchral Building in Egyptian Style, Mauro Antonio Tesi, Italian, 1730 - 1766, Graphite on laid paper, Vertical rectangle. Interior of Egyptian sepulchral building, decorated with inscriptions and image of an Egyptian goddess. Two groups of figures in conversation at foreground and background., Italy, after 1787, theater, Drawing, Drawing

Loose plate from, La Voye de Laict ou le Chemin des Heros à l'entrée de Louis XIV en la Cité d'Avignon le 16 Novembre 1622. Author: Thomas de Berton. Designer: Luigi Palma (Portuguese, active 17th century). Dimensions: Sheet (Trimmed): 9 7/16 × 12 5/16 in. (23.9 × 31.3 cm). Published in: Avignon. Date: 1623.One of eight fold-out illustrations of designs from 'La Voye de Laict ou le Chemin des Heros à l'entrée de Louis XIV en la Cité d'Avignon le 16 Novembre 1622'. The Met has a copy of this book in its collection (see 49.36.10). Museum: Metropolitan Museum of Art, New York, USA.

Althrancetabel of Pax, c. 1543 - c. 1553 Page 2 Verso, loose -set page from an album consisting of a band with two sheets, a bract and seventeen separately set up sheets. parchment (animal material). ink pen / brush altar with altar-piece

Oval cartouche in a rolling frame of rolling with garlands of fruits; Ceilings and cartouches in a picture frame with grotesken, garlands and mascarons; Small cart shower to example in Fontainebleau. On the left is a man with a vase, on the right a woman with a lion at her feet. From series of 32 sheets. The cartouches are partly derived from the prints of Antonio Fantuzzi to the decoration of François gallery by Giovanni Battista Rosso. The series is also known under the title Petits cartouches the Fontainebleau.

Print, Cabinet; Print Maker: Jean Le Pautre (French, 1618-1682); etching on paper; 21 × 14.2 cm (8 1/4 × 5 9/16 in.)

Catafalque for a Cardinal. Artist: Anonymous, Italian, Roman-Bolognese, 17th century. Dimensions: 9-1/4 x 5-11/16 in. (23.5 x 14.4 cm). Date: 17th century. Museum: Metropolitan Museum of Art, New York, USA.

Speculum Romanae Magnificentiae: Arch of Septimus Severus 16th century Anonymous This print comes from the museums copy of the Speculum Romanae Magnificentiae (The Mirror of Roman Magnificence) The Speculum found its origin in the publishing endeavors of Antonio Salamanca and Antonio Lafreri. During their Roman publishing careers, the two foreign publishers - who worked together between 1553 and 1563 - initiated the production of prints recording art works, architecture and city views related to Antique and Modern Rome. The prints could be bought individually by tourists and collectors, but were also purchased in larger groups which were often bound together in an album. In 1573, Lafreri commissioned a title page for this purpose, which is where the title ‘Speculum Romanae Magnificentiae first appears. Lafreri envisioned an ideal arrangement of the prints in 7 different categories, but during his lifetime, never appears to have offered one standard, bound set of prints. Instead, clie

Catafalque for Cardinal Alessandro Farnese; from 'Libro De Catafalchi, Tabernacoli, con varij designi di Porte fenestre et altri ornamenti di Architettura'. Artist: Girolamo Rainaldi (Italian, Rome 1570-1655 Rome). Dimensions: Sheet: 16 3/16 × 10 7/8 in. (41.1 × 27.7 cm)Plate: 14 3/4 × 9 3/16 in. (37.5 × 23.3 cm). Publisher: Giovanni Giacomo De Rossi (Italian, Rome 1627-1691 Rome). Subject: Cardinal Alessandro Farnese (died 1589). Date: 1589.Disbound print from 'Libro De Catafalchi, Taernacoli, con varij designi di Porte fenestre et altri ornamenti di Architettura'. Catafalque for Cardinal Alessandro Farnese, designed by Girolamo Rainaldi. Museum: Metropolitan Museum of Art, New York, USA.

Stage Design: Window of a Pavilion, Giuseppe Barberi, Italian, 1746-1809, Pen and bistre on paper, A right side. The window is at right, seen in foreshortening. A curtain hangs in its opening, the one wing of which is laid upon the gaine supporting the entablature. Upon its lower spiral stands a flower pot. Framing line except at left., Rome, Italy, ca. 1675 - 1690, Drawing, Drawing

Grotesque with a Bacchus Fountain Placed in an Architectural Structure. Artist: Anonymous, Italian, 16th century; After Cornelis Bos (Netherlandish, Hertogenbosch ca. 1510-before 1566 Groningen). Dimensions: Sheet: 9 5/8 x 6 5/8 in. (24.4 x 16.8 cm). Date: 1540 after.Grotesque, copied after a print published by Cornelis Bos around 1540. The design is characterized by a winged female figure, holding up an architectural structure in which a fountain has been placed. The print has been copied in full. Museum: Metropolitan Museum of Art, New York, USA.

Alcove; Alcofen a la romaine. On the cornice there is a cartouche with awarded French royal coat of arms. The king is surrounded by Hovelingen in front of the four-poster bed. Third print from second edition.

Design for a Painted Wall Decoration, with Figures in a Landscape with Classical Ruins 18th century Anonymous, Italian, first half of the 18th century Italian. Design for a Painted Wall Decoration, with Figures in a Landscape with Classical Ruins 340607

Drawing, Macchina delle 40 ore; Circle of Andrea Pozzo (Italian, 1642-1709); Italy; pen and brown ink, gray wash, black chalk support: white laid paper, laid down; 42.2 x 27.4 cm (16 5/8 x 10 13/16 in.) Mat: 40.6 x 55.9 cm (16 x 22 in.)

Libyan Sibille and the prophet Daniel; Vault from the Sistine Chapel. Part of the vault painting by Michelangelo in the Sistine Chapel with Sibilles, Prophets and Naked Figures (Ignudi). Midside the Libyan Sibille and the right of the right the prophet Daniël. Middle above a cartouche with text in Latin.

Augsburg, Hertel, Johann Georg (I), Habermann, Franz Xaver, Designs for altars, Altar with putti, verso - stamped, Design and plan of altar with rocaille ornaments. Left and right four putti with palm branch, sword, keys and an inverted cross: the attributes of Peter and Paul. Publisher number 34., print, ornament print, prints, ornament prints, height 338 mm, width 197 mm, print maker, printmaker, 1740 - 1745, paper, engraving, engraving (printing process), Work conception, German, 1721 - 1796, after a design by, Publication (Event), Publication, 1695 - 1775, publisher

TROOMFBOOG MET COMEL IV, ABOBASTIES LECLLC (I), afterHe Claude at a 2006 print Triumph arch with three passages crowned with an image of Charles IV on horseback and the sun flanked by flags, Minerva and an angel. Between the passages there are twisted columns. Above the passages weapon trophies, medallions and figures with trumpets and drums. paper etching triumphal arch. riding a horse, ass, or mule; rider, horseman Nancy

Holy House of the Virgin Mary, Occident Silk. The obocident side of the marble renaissance housing of the Holy House of the Virgin Mary in the Basilica della Casa Santa in Loreto. The housing contains images and reliefs by Andrea Sansovino, Ranieri Nerucci and Antonio da Sangallo de Jero person. The whole was designed by Donato Bramante.

Rococo architectural decoration (reverse) fragment of the Rococo decoration Radwa Ski, Andrzej (1711 1762)

The Gesù, Rome, from the 'Speculum Romanae Magnificentiae:' 1589 Giovanni Ambrogio Brambilla Italian This print comes from the museums copy of the Speculum Romanae Magnificentiae (The Mirror of Roman Magnificence) The Speculum found its origin in the publishing endeavors of Antonio Salamanca and Antonio Lafreri. During their Roman publishing careers, the two foreign publishers - who worked together between 1553 and 1563 - initiated the production of prints recording art works, architecture and city views related to Antique and Modern Rome. The prints could be bought individually by tourists and collectors, but were also purchased in larger groups which were often bound together in an album. In 1573, Lafreri commissioned a title page for this purpose, which is where the title ‘Speculum Romanae Magnificentiae first appears. Lafreri envisioned an ideal arrangement of the prints in 7 different categories, but during his lifetime, never appears to have offered one standard, bound set of p

Tuscan porch and two details of main frame, Anonymous, After Giovanni Battista Montano, 1636 print There is an explanation in the middle. From the first edition. after design by: Italy (possibly)publisher: Rome paper engraving

Paris, Chéreau, Jacques-François, Delafosse, Jean Charles, Nouvelle Iconologie Historique Ou Attributs Hierogliphyques, R Dessus de Portes, Erreur, Hypocrisie, Misverstand en hypocrisie, verso - stamped, A dessus-de-porte with a smoking vessel, a book, snakes, a mask, a blindfolded figure and a frame with a flying owl. Below that a dessus-de-porte with the head of Minerva, masks, frogs, a vessel with coins and an octagonal frame with Medusa with a torch. Print number 88., print, ornamental print, prints, ornamental prints, height 379 mm, width 235 mm, French, 1734 - 1791-10-11, print maker, printmaker, 1768 - 1771, paper, papier, etching, etchings, engraving, engraving (printing process), Work conception, after own design of, Publication (Event), Publication, 1742-10-14 - 1794-05-16, publisher

Wall cupboard with representation of Perseus and Andomeda, ca. 1700; CE Cabinet Est Construïct de Perles Reportees Par Tout Avec Deux Mirors Derriere La Tableau D Andromedo 3 Aulnes D Hollando D Hauteur et 11/2 de Largeur. Ornamental wall cupboard in the form of an epitod with centrally a representation of Perseus and Andomeda, at the bottom of a box with a representation of two empty beds, ca. 1700.

The British Order: Elevation of a Capital and Part of the Fluted Shaft 1762 James Adam British, Scottish. The British Order: Elevation of a Capital and Part of the Fluted Shaft 362099

Design for a Grotesque Decoration ca. 1543-45 Luzio Luzzi (also known as Luzio Romano, Luzio da Todi) Probably a fragment of a larger design, this sheet was likely a study for a wall decoration in stucco or fresco. The drawing may have served as a modello, or presentation drawing for a patron, which included annotations indicating the various colors to be used. This type of design, consisting of variously shaped panels adorned with ornamental motifs and mythological figures, was known as "grotesque" (or grotteschi, from the Italian word, grotto, or cave). Inspired by ancient Roman painting, these allantica designs provided a significant and highly popular model for sixteenth century artists and were frequently used as ceiling or wall decorations in villas and palaces.. Design for a Grotesque Decoration. Luzio Luzzi (also known as Luzio Romano, Luzio da Todi) (Italian, active Rome, documented 1519-1582). ca. 1543-45. Pen and brown ink, brown wash.. Drawings

Design for a writing furniture. Design for a writing furniture, placed in a corner deduction with two windows with awnings. Leged numbered 2.

Drawing (Italy)

Triumph arch of Milan (rear), 1594, 1594 - 1595 Triumph arch of Milan (rear), 1594. Founded in the Lange Nieuwstraat near Markgravenstraat. Part of the description of the entry of Archduke Ernst in Antwerp, 18 July 1594, by Joannes Bochius, Descriptio Publicae Gratulationis, Spectaculorum et Ludorum, in Adventu Sereniss. Principis Ernesti Archiducis Austriae, ex Officina Plantiniana, Antwerp 1595. print maker: Southern Netherlandspublisher: Antwerp paper etching Milan. Antwerp Triumph arch of Milan (rear), 1594. Founded in the Lange Nieuwstraat near Markgravenstraat. Part of the description of the entry of Archduke Ernst in Antwerp, 18 July 1594, by Joannes Bochius, Descriptio Publicae Gratulationis, Spectaculorum et Ludorum, in Adventu Sereniss. Principis Ernesti Archiducis Austriae, ex Officina Plantiniana, Antwerp 1595. print maker: Southern Netherlandspublisher: Antwerp paper etching Milan. Antwerp

Speculum Romanae Magnificentiae: Arch by Master GA with the Caltrop. Artist: Master G.A. (Italian, active ca. 1535). Dimensions: sheet: 10 1/16 x 7 1/2 in. (25.5 x 19 cm). Series/Portfolio: Speculum Romanae Magnificentiae. Date: 16th century.This print comes from the museum's copy of the Speculum Romanae Magnificentiae (The Mirror of Roman Magnificence) The Speculum found its origin in the publishing endeavors of Antonio Salamanca and Antonio Lafreri. During their Roman publishing careers, the two foreign publishers - who worked together between 1553 and 1563 - initiated the production of prints recording art works, architecture and city views related to Antique and Modern Rome. The prints could be bought individually by tourists and collectors, but were also purchased in larger groups which were often bound together in an album. In 1573, Lafreri commissioned a title page for this purpose, which is where the title 'Speculum Romanae Magnificentiae' first appears. Lafreri envisioned an

Design for a Choir Screen with a Tomb in Red-Gray Marble 17th century Anonymous, Flemish Flemish. Design for a Choir Screen with a Tomb in Red-Gray Marble 679424

Cheminee project Daniel Marot The Old (around 1663-1752). "Fireplace project". Burin.

A copper engraving from 1670 by Giovanni Battista Falda depicting the triumphal arches of the Roman Senate and people during the procession for San Giovanni in Laterano by Pope Clemens X, showing architectural and ceremonial details.

Design for a Cartouche. Artist: Anonymous, Italian, 17th century. Dimensions: Sheet: 5 3/16 × 6 7/8 in. (13.2 × 17.5 cm). Date: 17th century. Museum: Metropolitan Museum of Art, New York, USA.

Drawing, Design for a Ceiling; Italy; pen and ink, brush and wash on paper

Beheading of John the Baptist, Mattia Preti, Italian, 1613 - 1699, Brush and watercolor, black chalk on paper; verso: red chalk on paper, A study for mural decoration around a window, S. Giovanni in Valletta, Malta; Verso a sketch for a ceiling plan. At top left, two women, possibly Salome, holding a platter and looking to the right as John the Baptist kneels down while a soldier above him is ready to strike down with a sword. At center at each end two figures are seated holding an end of a garland. At bottom center, a doorway with seated soldiers holding shields on either side., Italy, 1661-66, figures, Drawing, Drawing

Design for an Altar 1700-1780 Anonymous, Italian, Piedmontese, 18th century Italian. Design for an Altar 365546

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