Classical Mythology Illustrations

Dramatic depictions of mythological scenes featuring gods and heroic figures in intricate detail and dynamic compositions, showcasing themes of judgment and divine intervention.

Last Judgment, page C, A detail from the fresco 'The Last Judgment' by Michelangelo in the Sistine Chapel. Marked lower left: C., Giorgio Ghisi, 1530 - 1582, paper, engraving, h 456 mm × w 442 mm

The final judgment. A detail from the fresco 'The Last Judgment' by Michelangelo in the Sistine Chapel.

. Neptunus fits a storm. He hunts his horses by sticking them with his trident. At the top right, a wind god blows the wind. Jupiter falls from heaven with lightning bolt and minerva with helmet on the head. On the left, Odysseus looks frightened. The ships are difficult.

Collection of Christ, Domenico Passignano, 1570 - 1636 drawing paper. chalk. ink pen / brush

Apollo en Diana doden de kinderen van Niobe; Het leven van Niobe (kopieën).Apollo and Diana, both with arrow and bow, kill the children of Niobe. Different children are dead on the ground, trying to flee others. Niobe is on the left.

Italy, Valegn, Nicolaus, Raphael, Rome, Penni, Giovanni Francesco, Caraglio, Giovanni Jacopo, Assembly of the Gods on Olympus, verso - stamped, A group of gods and goddesses on Olympus, including Jupiter, Minerva, Juno, Bacchus and Mercury., print, prent, prints, height 377 mm, width 524 mm, Italian, 1505 - 1565, print maker, printmaker, 1515 - 1565, paper, papier, engraving, engraving (printing process), Work conception, after a print by, 1488 - 1528, after a painting by, 1483-04-07 - 1520-04-07, designed by, Publication (Event), Publication, publisher

The Last Judgment, Blad F, Giorgio Ghisi, After Michelangelo, 1530 - 1582 print A detail from the fresco 'The Last Judgment' by Michelangelo in the Sixtine Chapel. Marked bottom left: F. paper engraving Last Judgement

King Cyrus has the Babylonians who wanted to kill Daniel thrown into the lion's den. The men are immediately eaten by the lions. Daniel and Cyrus watch from the edge of the pit. Cyrus has Daniel's enemies thrown into the lion's pit History of Daniel, Bel and the dragon , print maker: Philips Galle, Maarten van Heemskerck, (mentioned on object), publisher: Theodoor Galle, (mentioned on object), print maker: Haarlem, publisher: Antwerp, 1601 - 1633, paper, engraving, h 203 mm × w 245 mm

Sacrifice to Priapus. Dated: 1542. Dimensions: sheet (trimmed within plate mark): 27.4 x 40.7 cm (10 13/16 x 16 in.). Medium: etching in brown on laid paper. Museum: National Gallery of Art, Washington DC. Author: Antonio Fantuzzi after Rosso Fiorentino.

Last Judgment, page C, A detail from the fresco 'The Last Judgment' by Michelangelo in the Sistine Chapel. Marked lower left: C., Giorgio Ghisi, 1530 - 1582, paper, engraving, h 456 mm × w 442 mm

The Sense of Hearing 16th century Circle of Joseph Heintz the Elder Swiss. The Sense of Hearing 335365

Ascension of Maria (judge part), Giovanni Battista Vanni, After Correggio, 1642 print Saints and putti between clouds. print maker: Italyafter painting by: Parmapublisher: RomeVaticaanstadFlorence paper etching the assumption of Mary ('assumptio corporis'): she is borne into heaven by angels. cupids: 'amores', 'amoretti', 'putti'

Albrecht Dürer, Abduction on a Unicorn, 1516 Abduction on a Unicorn

Hieronymus who experiences a vision of Christ on the Cross, Anonymous, 1600 - 1650 print The reclining Hieronymus looks up to the crucifix that hangs above him. paper etching Vision of St. Jerome. Cupids: 'Amores', 'Amoretti', 'Putti'

Simson fights with Philistine soldiers, Titian, Nicolò Boldrini (attributed to), c. 1540 - c. 1545 print The bald simson in fight with Philistine soldiers, after his hairs have been cut off. Left Delila with large scissors and the hairs of Simson in her hands. print maker: VeniceItaly paper Samson is tormented by the Philistines, Delilah is paid

Wine Scenes from the Apocrypha Bible Book 3 Esdras, Allegorical representation with wine as ruler of the world. A group of men indulges in wine. Eventually two boys take the king's scepter and keys from the king. There is fighting in the background. Presentation from 3 Ezr 3-4., Wine, alcoholic drinks, bacchanal: Bacchus with his wine-flushed train (thiasos), the first guardsman says (writes) that wine is the strongest of all things, contest of the three guardsmen, Zacharias Dolendo (mentioned on object), Amsterdam, 1595 - 1596 and/or 1600 - 1652, paper, engraving, h 210 mm × w 290 mm

Fries met acht spelende kinderen en putti.Fries with six children playing. One of the children tries to seduce a pigeon to sit on his hand. The child with the Druiventros presents Bacchus. On the right two putti.

France, French crown, Delaune, Etienne, Combats de cavaliers Romains contre des fantassins, Fight between Roman cavalrymen and infantrymen, verso - stamped, print, prints, height 92 mm, width 306 mm, French, 1519 - 1583, print maker, printmaker, 1528 - 1583, paper, papier, engraving, engraving (printing process), stipple work, granter of privilege

A Nereid Riding a Sea Centaur Accompanied by Other Sea Creatures ca. 1540-60 Angiolo Falconetto Italian In Mariette Album, folio 85, bottom. A Nereid Riding a Sea Centaur Accompanied by Other Sea Creatures. Angiolo Falconetto (Italian, active ca. 1555-67). ca. 1540-60. Etching with drypoint, first state of two. Prints

Two Beggars Fighting, 1610-20. Jacques Bellange (French, c.1575-1616). Etching; Since antiquity, music was considered to inspire two different effects: it could elevate the soul to spiritual thoughts, or arouse passions both violent and sensual. In this genre scene, two transients engage in an epic struggle. The hurdy-gurdy, slung across the body of one of the vagabonds, was considered a "base" instrument whose melodies heated the senses without uplifiting the spirit. In his Syntagma Musicum of 1618, the musical theorist Michael Praetorius dubbed the hurdy-gurdy a "fiddle for peasants and loose women."

Italy, Farinati, Paolo, Orazio, Putti with instruments of the passion, verso - stamped, Six putti carry together the cross and the other instruments of the passion., print, prent, prints, height 177 mm, width 293 mm, Italian, 1524 - 1606, print maker, printmaker, 1534 - 1606, paper, papier, etching, etchings, 1559 - 1616, Work conception

Artist: Jusepe de Ribera, Spanish, active in Rome and Naples, 1590-1652, Bacchanal (DrunkenSilenus), Etching, sheet: 27.7 × 35.3 cm (10 7/8 × 13 7/8in.), Made in Spain, Spanish, 17thcentury, Works on Paper -Prints

The Lamentation of Christ, c. 1532 - c. 1535 drawing Antwerp paper pen Christ's body lying on the ground

Adam and Eva the Dead Abel, Cornelis Cort, after Frans Floris (I), 1561 print The dead Abel is on the ground. Eva sits next to her son and caresses his head. Two grieving women at his feet. Adam is sitting next to the dead body, seen on the back. On the right a lion that tears a lamb. On the left a burning sacrifice altar. In the background in a hilly landscape, Kain flees that God sitting in a cloud is punished by God. paper engraving Adam and Eve discover the dead body of Abel and grieve over it. the curse and flight of Cain. beasts of prey, predatory animals: lion

The flood, 1643 print The flood floods the country. People and animals are swallowed up by the water. A few men try to save themselves by climbing a tree. Right in the back of Noah's Ark. At the bottom a reference to the Bible text in Gen. 7:10 in Latin. This print is part of an album. Amsterdam paper engraving the Flood and destruction of mankind ~ story of Noah (Genesis 7:10 - 8:17). the ark is floating on the waters, while life on earth is destroyed ~ story of Noah. climbing up a tree. death by drowning (non-violent)

Phineus and his followers changed to stone, Cherubino Alberti (Possible), After Polidoro da Caravaggio, After Cherubino Alberti, 1563 - 1615 print Perseus shows Phineus and his followers the severed head of Medusa, causing them to turn into stone. Under the show the title. Italy paper engraving Phineus and his attendants are turned into stone

A Bacchanal 1530-61 Battista Franco Italian. A Bacchanal 371660

Putto, seated on a sea horse, c. 1526 - 1606 print With both hands, the putto clings to the mane of the horse. Passionate copy to a print by Giovanni Andrea Maglioli. Germany (possibly) paper engraving

Harvest of Grapes, plate two of four from Le Travaux de la Vendange 1750 France

From Triomf Van Galatea, Hendrick Goltzius, After Rafaël, 1592 print Galatea, sailing over the water on a shell pulled by dolphins, surrounded by tritons and nereids. Under the show a six -line Latin verse. paper engraving triumph of Galatea

Cadmus sows the teeth of the dragon, Hendrick Goltzius (workshop of), After Hendrick Goltzius, 1615 print Minerva dedicates Cadmus to sow part of the teeth that he has just killed. He does that, on which armed men rise from the earth. Two times two lines of Latin text under the performance. This print is part of a series of 52 prints that represent stories from Ovid's metamorphoses. This series falls into three numbered series: two of 20 prints and one of 12 prints. This print belongs to the third series. print maker: Haarlemprint maker: Netherlandspublisher: Netherlands paper engraving on Minerva's advice, Cadmus sows the dragon's teeth; a host of armed men springs up

Roof of a woman by husband and Sater, Anonymous, After Singea Vico, After Rosso Fiorentino, in or after 1542 print In the middle, a woman is robbed by a man and a saat. Various figures around a table on the right. In the foreground a man has pulled his sword, and a man with a dagger waves behind the table. Two horses on the left. Italy paper engraving man abducting woman. celebration meal, feast, banquet

Hercules in fight with the Hydra van Lerna, Battista Franco, 1520 - 1561 print Hercules, raised with club above his head, in a fight with the six -member Hydra van Lerna. Italy paper etching (2) the Hydra of Lerna is killed by Hercules

Susanna is accused of adultery, Dirck Volckertsz. Coornhert, after Maarten van Heemskerck, 1551 print Susanne is led for the elders, who accuse her of unfaithfulness. As judges, they also condemn her. The print is part of a four -part series about the story of Susanna and the elders. paper engraving / etching the elders accusing Susanna before the people, laying their hands on her head or unveiling her

Virtue by love protected against ignorance, misunderstanding and wrong conviction, Andrea Andreani, after Jacopo Ligozzi, 1585 print A female personification of virtue (virtu) is protected by love (Amor) against ignorance (ignorantia), misunderstanding (Errore) and wrong conviction (opinion). On the left a winged old woman, a blindfolded young man on the right and under a woman with donkey ears. Florence paper Error; 'Error' (Ripa). Opinion. Ignorance; 'Ignorance', 'ignorance of all things', 'ignorance in a rich without letters' (Ripa). Virtuousness; 'Love of virtues',' virtuous action ',' Safe driving of 'real honors',' virtue ',' insurmountable virtue '(Ripa)

Violin player with three women, Marcantonio Raimondi, 1510 - 1527 print paper engraving violin, fiddle. one person playing an instrument. 'Musica', symbolic representations, allegories and emblems ~ music; 'Musica'(Ripa)

Terwesten, Augustinus (I), Rome, Venus mourns over the dead Adonis, verso - stamped, Venus, on a cloud, mourns her beloved Adonis, who has been killed by a wild boar during the hunt. Cupid controls the cloud drawn by doves., print, prints, height 125 mm, width 166 mm, Northern Netherlands, 1649-05-04 - 1711-01-21, print maker, printmaker, 1672 - 1677, paper, papier, etching, etchings, Work conception, after own design by

Mars, seated on a wall and holding a flame in his right hand, with armor below 1600-30 Odoardo Fialetti Italian. Mars, seated on a wall and holding a flame in his right hand, with armor below 397757

Apollo and Marsyas and the Judgment of Midas 1581 Melchior Meier German According to Ovid, Apollo engaged in two musical competitions. When Marsyas boasted that his flute playing could rival the music of Apollo, the god proved his superiority and then punished Marsyas by flaying him alive. The Arcadian god Pan emerged unscathed from his own competition with Apollo, although King Midas, present at the contest, found his ears transformed into long, shaggy gray ones for his foolishness in preferring Pan's rustic notes to Apollo's ethereal harmonies.Here, Meier has cleverly combined the two stories: as Midas points to the woodland god, Apollo not only grants the king ass's ears but mocks him with the skin of Marsyas, whose flayed body is displayed at left.. Apollo and Marsyas and the Judgment of Midas 338975

Emperor Trajan between Roma and Victoria, Andrea Boscoli, After Anonymous, 1570 - 1607 drawing paper. ink. chalk pen / brush

France, Jacquard, Antoine, Les Divers Pourtraicts & figures faictes sus les meurs Des habitans du Nouveau Monde, Figures in motion, contained in architectural niches, Struggling putti with plants and dead animals, verso - stamped, print, prints, height 45 mm, width 141 mm, French - 1640, print maker, 1610 - 1640, paper, engraving, engraving (printing process)

Triomf van Bacchus.Bacchant procession to the right. Bacchus sitting on a car that is being carried out by four lions. There are two saters behind Bacchus and floats a putto. On the right two bacchants. In the background Silenus on a donkey.

Turning Doodle player attacks a pilgrim, Jacques Bellange, 1602 - 1616 print A blind man with a hurdy -gurdy grabs a pilgrim to the throat. France paper engraving / drypoint hurdy-gurdy player. pilgrim(s)

Summer: allegorical scene with figures seated on clouds with bunches of grapes ca. 1710-62 Johann Georg Bergmüller. Summer: allegorical scene with figures seated on clouds with bunches of grapes. Johann Georg Bergmüller (German, Türkheim 1688-1762 Augsburg). ca. 1710-62. Etching. Prints

Mars and Venus in the Bath 1770-90 Giovanni David Italian. Mars and Venus in the Bath. Giovanni David (Italian, Cabella Ligure 1749-1790 Genoa). 1770-90. Etching. Prints

Andrea Mantegna, Bacchanal with a Wine Vat, c 1475 Bacchanal with a Wine Vat

The Martyrdom of St. Peter and St. Paul, c. 1527-1530/1531. Antonio da Trento (Italian, c. 1508-c. 1550), after Parmigianino (Italian, 1503-1540). Chiaroscuro woodcut (in two shades of brown and black); sheet: 29.6 x 47.9 cm (11 5/8 x 18 7/8 in.); image: 29.2 x 47.5 cm (11 1/2 x 18 11/16 in.). The workshop of Parmigianino was one of the chief centers of chiaroscuro printmaking in the 1500s. Antonio da Trento, Parmigianino's student in Bologna from 1527 to 1531, made several chiaroscuro prints after his master's drawings. This print, considered da Trento's first collaborative effort with Parmigianino, was based on a drawing executed in Rome between 1524 and 1527 for a potential papal commission.It shows the imminent beheading of saint Paul, kneeling in the foreground, and the forthcoming crucifixion of Saint Peter, dragged away by his long beard by an executioner. According to tradition, the martyrdom of these two saints was ordered by the Roman Emperor Nero on the same day.

Albrecht Dürer (1471-1528). "The kidnapping of a young woman, B 72", 1516. Etch. Museum of Fine Arts of the City of Paris, Petit Palais. 72171-6 Removal, young woman, unicorn, Roman mythology, mythological character, abstract

Roof from a woman by man and Sater; Battle between the Lapithen and Centaurs. In the middle a woman is robbed by a man and a Sater. On the right several figures around a table. In the foreground a man has pulled his sword, and a man waves a dagger behind the table. Links two horses.

Italy, Beatrizet, Nicolas, Adam and Eve mourning Abel, Adam and Eve standing over the dead body of Abel. In the background Cain killing Abel., print, prints, height 385 mm, width 267 mm, French, 1515 - 1565, print maker, printmaker, 1525 - 1565, paper, papier, etching, etchings, engraving, engraving (printing process)

The genius of Salvator Rosa. Salvator Rosa sits on the right on the ground with his hand resting on a cornucopia (cornucopia). With his other hand, he gives his heart to honesty (Sinceritas), a female figure with a pigeon. Right behind the artist is freedom (Libertas). On the left in the foreground, painting (pictura) kneel with a painting and painting palette and a fish for her on the ground. Behind her stand a Sater and equality (AEQUITAS), dressed in Gown. A sarcophagus in the background. At the bottom right two lines of Latin text.

The Thames, or the Triumph of Navigation 1792-1801 James Barry Barry based this print on one of the paintings he made to adorn the Great Room of London's Society for the Encouragement of Arts, Manufactures, and Commerce. The image centers on a personification of the Thames who rides in a vessel that moves away from the English coast as Mercury, the god of Commerce, flies overhead. Modern figures and objects elaborate the allegory, with navigational instruments invented or improved by Englishmen guiding the Thames, who is propelled by the illustrious seamen Sir Walter Raleigh, Sir Francis Drake and Captain James Cook. Nereids swim alongside carrying the manufactures of the Midlands, to be dispersed to the four principal trading continents. In typical individualistic fashion, Barry inserted a portrait of his friend the musician Dr. Charles Burney amidst the nereids, to remind viewers of the need for a national school of music. The first state of this work was printed and published by Bar

Fight between people of both sexes, a few of which on horseback, Etienne Delaune, 1528 - 1583 print France paper engraving hand-to-hand fighting (~ battle). battle

Battle of the Milvische Brug, Orazio Farinati (Attributed to), After Giulio Romano, After Rafaël, 1569 - 1616 print Battle scene in a landscape, possibly the Battle of the Milvian bridge. The soldiers of Constantijn in fight with the soldiers of Maxentius. Dead bodies and horses lie on the floor. print maker: Italyprint maker: Italyafter painting by: Vaticaanstadafter painting by: Vaticaanstadafter design by: Vaticaanstad paper etching the battle of the Milvian bridge (Saxa Rubra): St. Constantine on horseback confronts Maxentius; a cross appears in the sky with in fiery letters 'in hoc signo vinces' (the raised standards of the Roman soldiers carry a cross or the chi-rho monogram). the soldier; the soldier's life

Venus visits the meeting of the gods, Jacob Folkema, After Louis Fabritius Dubourg, 1703 - 1767 print Venus asks Jupiter permission in the meeting of gods to destroy Telemachus. Jupiter, together with his wife Juno, is on a cloud and hears Venus. On the left, Hercules looks surrounded by allegorical figures. Illustration made in book 9 from "Adventures of Telemachus", written by François de Fénélon. paper etching / engraving (story of) Telemachus. (story of) Venus (Aphrodite). meetings of the gods

Roof of a woman by husband and Sater, Enea Vico, After Rosso Fiorentino, 1542 print In the middle, a woman is robbed by a man and a saat. Various figures around a table on the right. In the foreground a man has pulled his sword, and a man with a dagger waves behind the table. Two horses on the left. print maker: Italyafter design by: Italypublisher: Rome paper engraving man abducting woman. celebration meal, feast, banquet

The judgment of Paris, Marco Dente, After Marcantonio Raimondi, After Rafaël, 1498 - 1532 print A meeting of gods in a landscape. In the foreground, Paris makes a choice between Venus, Juno and Minerva. Mercury is behind Paris. Apollo flies through the air on its solar car. Italy paper engraving the Judgement of Paris (without Mercury)

Etcher: Francois Perrier, French, 1590-1650, After: Raphael, Italian, 1483-1520, Psyche admitted toOlympus, Etching, seat: 20 × 50.48 cm (7 7/8 × 19 7/8in.), French, 17thcentury, Works on Paper -Prints

Phaeton Driving the Chariot to the Sun. Hendrik Goltzius (after) (Holland, Mülbracht, 1558-1617)Hendrik Goltzius (Netherlands, Mülbracht now Bracht-am-Niederrhein, 1558-1617). Holland, published 1590. Prints; engravings. Engraving

Four dancing women.

Portrait of Maria Luisa d'Orleans (1662-1689), wife of Charles II of Spain ca. 1689 Attributed to Giovanni Battista Bonacina Italian. Portrait of Maria Luisa d'Orleans (1662-1689), wife of Charles II of Spain. Attributed to Giovanni Battista Bonacina (Italian, Milan 1620-ca. 1670). ca. 1689. Etching and engraving. Ambrosius Besutius (Italian, 17th century). Prints

Allegory on the vanity.

Fifteen Nude Children Dancing. Artist: Heinrich Aldegrever (German, Paderborn ca. 1502-1555/1561 Soest); After Marcantonio Raimondi (Italian, Argini () ca. 1480-before 1534 Bologna ()). Dimensions: Sheet: 2 1/16 × 6 1/2 in. (5.3 × 16.5 cm). Date: 1535. Museum: Metropolitan Museum of Art, New York, USA.

The triumph of Galatea. Galatea, over the water sailing on a shell drawn by dolphins, surrounded by tritons and Nereïden. Under the show a six-line latin fresh.

De Triomf Van Galatea, 1596 - 1652 print Galatea, sailing over the water on a shell pulled by dolphins, surrounded by tritons and nereids. Under the show a six -line Latin verse. paper engraving triumph of Galatea

Amsterdam, Muller, Harmen Jansz, Spranger, Bartholomeus, Jan Harmensz., Minerva and Mercurius arming Perseus, verso - stamped, before he will fight Medusa. Minerva gives him her shield and Mercurius ties his winged sandals to the feet of Perseus. At the bottom in the margin two two-line verses in Latin., print, prints, height 566 mm, width 401 mm, Northern Netherlands, 1571 - 1628, print maker, printmaker, 1604 - 1604, paper, engraving, engraving (printing process), Work conception, Southern Netherlands, 1546-03-21 - 1611-08, after a design by, Publication (Event), Publication, Dutch, 1540 - 1617-10-07, publisher

Lucas Emil Vorsterman after Sir Peter Paul Rubens, The Fall of the Rebel Angels, 1621 The Fall of the Rebel Angels

Illustration for the Decamerone of Boccaccio, Romeyn de Hooghe, 1697 print Illustration for the Decamerone of Boccaccio, History XXXI. A monk in the clothing of a wildeman is chained to a column and is shouted by people. Netherlands paper etching (scenes from) specific works of literature: Boccaccio, Decamerone

Women Bathing. 1529 - 1564. Reverdy, Georges, approximately 1529-1564. Prints. The Miriam and Ira D. Wallach Division of Art, Prints and Photographs: Print Collection

Archangel Michaël in fight with the devil, Giovanni Pietro Possenti, 1628 - 1659 print Italy paper etching the Archangel Michael fighting the dragon (devil, Satan)

Fortuna divides her gifts (right leaf), Jan Harmensz. Muller, after Cornelis Cornelisz. van Haarlem, 1652 - 1690 print The naked goddess Fortuna, standing on a globe, hands out her gifts. However, she stands with her back to the people who do not receive anything. They are and literally sit with their hands in their hair. At the bottom of the margin three two -line verses in Latin. print maker: Amsterdampublisher: Netherlands paper engraving Luck, Fortune, Lot; 'Fato', 'Fortuna', 'Aurea fortune', 'Good luck', 'peaceful luck overo Clemente', 'fate' (Ripa)

Vatican City, Paulus V, Italy, Cambiaso, Luca, Reni, Guido, Jubilemus deo salutari nostro, Angels in glory, verso - stamped, A group of floating putti, surrounded by clouds. Title in Latin in bottom margin., print, prent, prints, height 406 mm, width 276 mm, Italian, 1575-11-04 - 1642-08-18, print maker, printmaker, 1607 - 1607, paper, papier, etching, etchings, 1527-10 - 1585, intermediary draughtsman, after a drawing by, 1552 - 1621, granter of privilege

Simson fights with Philistine soldiers, Titian, Nicolò Boldrini (attributed to), c. 1540 - c. 1545 print The bald simson in fight with Philistine soldiers, after his hairs have been cut off. Left Delila with large scissors and the hairs of Simson in her hands. print maker: VeniceItaly paper Samson is tormented by the Philistines, Delilah is paid

A group of angels embracing in flight, framed by clouds ca. 1607 Guido Reni Italian After a drawing by Luca Cambiaso.. A group of angels embracing in flight, framed by clouds 397049

The Last Judgment, Nicolò della Casa, After Michelangelo, 1548 print A detail from the fresco 'The Last Judgment' by Michelangelo in the Sixtine Chapel. print maker: Italyafter painting by: Vaticaanstadpublisher: Rome paper engraving Last Judgement

Albrecht Dürer (German, 1471-1528), Abduction on a Unicorn, 1516, etching

Allegory on Staats -Vlaanderen, Romeyn de Hooghe, 1705 - 1707 print Netherlands paper etching personifications of countries, nations, states, districts, etc. Flanders

Vatican City, Gregory XIII, Italy, Romano, Giulio, Mantuana, Diana, Procession of armed horsemen (left part), verso - stamped, print, prints, 67, recto top right - handwritten in brown ink, height 259 mm, width 384 mm, Italian, 1547 - 1612, print maker, printmaker, 1575 - 1575, paper, engraving, engraving (printing process), Work conception, 1499 - 1546-01-11, after a design by, 1502-01 - 1585-04-10, granter of privilege

Maarten of Heemskerck (1498-1574), Noa Spots Off Comb, 1559

Battle of Sea-Gods, Left Half of a Frieze 1465-1505 Italy. Andrea Mantegnaís Battle of the Sea Gods may be the first print with a unified composition occupying more than one sheet. Unlike the Andrea Andreani Triumph of Caesar (1926.452.2ñ9) and the engravings after the same Mantegna paintings by his own workshop, this mythological frieze has only one seam and no disguising columns. Albrecht D¸rer drew a copy of the right half of the frieze in 1494, already establishing the seminal importance of the work in the Renaissance.. Engraving in black on ivory laid paper, discolored to grayish brown . Andrea Mantegna

Judgment of Paris, Marcantonio Raimondi, After Rafaël, 1520 - 1562 print As a shepherd, Paris is in a landscape and gives the Golden Apple to Venus. She stands with Amor between the goddesses Juno, with peacock, and Minerva, with her shield next to her. Behind Paris is Mercury, the messenger of the gods, with his caduceus. In the sky Apollo in his solar car and Jupiter on his throne. On the right Oenone and Oeneus on the waterfront near the reeds. paper engraving the Judgement of Paris (Mercury present)

Allegorian portrait of Raymond de Lafage. Allegorical performance on the death of the French draftsman Raymond de Lafage.

Italy, Campi, Giulio, Ghisi, Giorgio, Rest on the Flight into Egypt, verso - stamped, The Holy Family rests during the flight into Egypt. The family is surrounded by angels. Above five putti between the leaves of a palm tree., print, prent, prints, height 470 mm, width 320 mm, Italian, 1520 - 1582-12-15, print maker, printmaker, 1578 - 1578, paper, papier, engraving, engraving (printing process), Work conception, 1502 - 1572

Apollo and Diana kill the children of Niobe. Apollo and Diana fires from a cloud arrows at the children of Niobe to avenge her. The sons and daughters of Niobe are dead on the ground. Others still try to escape their destiny.

Niobe, from 'Game of Mythology' (Jeu de la Mythologie) 1644 Etched by Stefano della Bella Italian. Niobe, from 'Game of Mythology' (Jeu de la Mythologie). 'Game of Mythology' (Jeu de la Mythologie). Etched by Stefano della Bella (Italian, Florence 1610-1664 Florence). 1644. Etching; first state of five. Henri Le Gras (French). Prints

The First Fruits of the Earth Offered to Saturn. Artist: Giorgio Vasari (Italian, Arezzo 1511-1574 Florence). Dimensions: 6 3/4 x 15 7/16in. (17.2 x 39.2cm). Date: 1555-56.The drawing, surely from the hand of Vasari himself, is a study for an Allegory of Earth painted by his assistant Cristofano Gherardi in the Sala degli Elementi, Palazzo Vecchio, Florence. There are a number of differences between the preparatory drawing and the finished fresco. Vasari supplied a full description of the complex symbolism of this allegorical composition that is dominated by the figure of Saturn holding up a serpent that bites its own tail. This circular symbol is said to be an Egyptian hieroglyph, symbolic of the rotundity of the heavens among other things. Museum: Metropolitan Museum of Art, New York, USA.

Kidnapping of Hippodamea, Pieter de Bailliu (I), after Peter Paul Rubens, 1623 - 1660 print Lapithen with weapons try to save Hippodamea from a kidnapping by Centaur Eurytus. With two four -line verses in Latin under the performance. This print is part of an album. Antwerp paper engraving the centaur Eurytion tries to carry off Hippodamia, the bride

Victory Surrounded by Prisoners and Trophies, 1552. Frans Floris the Elder (Flemish, 1509-1570), published by Hieronymus Cock. Etching with engraving; image: 31.7 x 44 cm (12 1/2 x 17 5/16 in.); sheet: 31.7 x 44 cm (12 1/2 x 17 5/16 in.). In Victory Surrounded by Prisoners and Trophies, Frans Floris portrayed a standing female figure in the center, the personification of Victory, surrounded by a multitude of nudes and trophies (or spoils of war), which she has vanquished. The nudes were inspired by Roman friezes as well as figures that Floris had studied on Michelangelos Sistine Chapel frescoes during an extended trip to Italy in the 1540s. The etching is based on a painted composition (now lost) that Floris made a few years earlier to adorn a triumphal arch, one of numerous ephemeral arches featured in festive decorations throughout the city mounted for the visit of Charles V and the future Philip II in 1549.

The arch of Constantijn with Trajanus' victory over the Dacians, c. 1609 drawing Rome paper. ink. chalk Arch of Constantine

Wild Animal Hunt (frieze), Etienne Delaune, French, 1519 - 1583, Engraving on paper, Frieze showing combats between men and lions, an elephant, dragon, unicorn and other animals. Perhaps represents 'Africa.', France, ca. 1570, ornament, Print, Print

Italy, Carracci, Annibale, Rome, Cesio, Carlo, Triumph of Galatea, verso - stamped, The sea nymph Galatea rests in the arms of a sea centaur. They are surrounded by a crowd of sea creatures. Above float four putti., print, prints, height 246 mm, width 447 mm, Work conception, Italian, 1622 - 1682, after print by, 1656 - 1656, paper, etching, etchings, print maker, printmaker, 1560-11-03 - 1609-07-15

. Odysseus and other Greeks sacrifice to the gods as a thank you for the fall of troy. Ships are ready for departure.

A King Receiving a Present Artist's working dates 1505-1570 France. This print, more than any other in Duvetís oeuvre, demonstrates the influence of the School of Fountainebleau on his work. It illustrates a popular fourteenth-century story of the hunt by Henri de FerriËres. The king and Diana may be meant to refer to King Henri II and Diane de Poitiers.. Engraving on paper . Jean Duvet

Bel Parsuas Gewijd Apollo en Muzen, Monographed Attribution, after Amico Asperni, 1530 - 153 print Berg Parnassus dedicated to Apollo and displayed muses as a hill in a landscape. On the hilltop there are trees of which the tribes are displayed as men's and female bodies that hug each other. On the left is Apollo with a muse and at the foot of the mountain of making love men with muses. Pegasus flies in the air. Italy paper engraving Parnassus, sacred to Apollo Musagetes

Rinaldo and Armida 1566-1643 Giovanni Baglione Italian An old, much damaged, but possibly autograph replica of this drawing by Baglione is in the Musée du Louvre, Paris (inv. 2840). The Louvre drawing is a study, with minor variations, for Baglione's ceiling fresco in the Casino dell'Aurora, Palazzo Pallavicini-Rospigliosi, Rome, for which the artist was paid in 1614 (repr. Bollettino d'Arte, vol. 39, 1954, p. 319, fig. 13). Baglione himself describes the subject of the fresco as "la favola d'Armida, quando trovò Rinaldo addormentato, e sopra il suo incantato Carro il riposo" (Baglione, 1642, p. 403).. Rinaldo and Armida 338116

Three men sacrifice a pig. Drie men are around a pot. A fire is fired under the pot and a pig is over the edge of the pot.

Scene From Roman History. Thomas Blanchet; French, 1614/17-1689. Date: 1624-1689. Dimensions: 186 × 313 mm. Red chalk, with brush and gray-brown and red chalk wash, with touches of black chalk, heightened with lead white (partially discolored), on tan laid paper with blue fibers, laid down on cream laid paper. Origin: France. Museum: The Chicago Art Institute, USA.

Virtue by love protected against ignorance, misunderstanding and wrong conviction, Andrea Andreani, after Jacopo Ligozzi, 1585 print A female personification of virtue (virtu) is protected by love (Amor) against ignorance (ignorantia), misunderstanding (Errore) and wrong conviction (opinion). On the left a winged old woman, a blindfolded young man on the right and under a woman with donkey ears. Florence paper Error; 'Error' (Ripa). Opinion. Ignorance; 'Ignorance', 'ignorance of all things', 'ignorance in a rich without letters' (Ripa). Virtuousness; 'Love of virtues',' virtuous action ',' Safe driving of 'real honors',' virtue ',' insurmountable virtue '(Ripa)

Hendrik Goltzius, Hercules Killing Cacus, 1588 Hercules Killing Cacus

Antwerp, Cock, Hieronymus, Heemskerck, Maarten van, Galle, Philips, History of Daniel, Bel and the Dragon, Cyrus has Daniel's accusers thrown into the lions' den, King Cyrus has the Babylonians who wanted to kill Daniel thrown into the lions' den. The men are immediately eaten by the lions. Daniel and Cyrus watch from the edge of the den. An explanatory text in Latin below the representation. This print is part of an album., print, album sheet, prints, height 203 mm, width 247 mm, Southern Netherlands, 1537 - 1612-03-29, print maker, printmaker, 1565 - 1565, paper, engraving, engraving (printing process), Northern Netherlands, 1498 - 1574, intermediary draughtsman, after a drawing by, Publication (Event), Publication, 1518 - 1570-03-10, publisher

Detailed drawing by Jacopo Zanguidi Bertoja showing two men attempting to extract Hercules' lance, using brown feder, lavated brown, white heighted, black chalk on blue paper with corrections, dated 1569.

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