Religious and Divine Imagery

Drawings emphasizing divine themes with saints and angels, rendered in refined techniques, highlighting spiritual and religious contexts.

Painting woman between angels (personification of painting), Giuseppe Diamantini, 1631 - 1705 print A female figure (personification of painting) is in front of an easel with a palette and brushes in her hand. She looks up at an angel trying to put a laurel wreath on her head. Around angels and putti. Italy paper etching 'Pictura', symbolic representations, allegories and emblems ~ painting; 'Pittura' (Ripa). cupids: 'amores', 'amoretti', 'putti'

Design for a Thesis Print with an Allegory of Knowledge and Portrait of Cardinal Antonio Barberini the Younger (1607-1671) ca. 1635 Pietro da Cortona (Pietro Berrettini) Italian As scholar Louise Rice has identified, this highly finished drawing was preparatory for the image portion of a thesis print of 1635, designed by Pietro da Cortona and engraved by the German printmaker Theodor Matham. Seventeenth-century thesis prints were published as part of a broadside, or booklet, which served to communicate and celebrate a student's public defense of a series of theses (or conclusions) on a philosophical, theological, or legal subject, done in person in front of three examiners. The thesis broadsides consisted of three parts: an image, a preface or dedication, and the detailed text of the dissertation on the subject. The image portion often depicts a composition based on allegorical, emblematic, and heraldic elements, usually allusive to the patron or sponsor of the student. As Rice notes,

Feather drawing on brownish paper by Giulio Romano showing Jupiter seated beside Juno receiving a trophy from Ganymede, circa 1527.

Carlo Antonio Tavella, The Rest on the Flight into Egypt, c 1720 The Rest on the Flight into Egypt

The sacrament of the dying. Design for a glass window.

A chalk drawing by Antonio Campi showing an architectural detail with a female figure on a half-rounded console and a putto positioned on the cornice, with feather and lavated technique.

Chalk, feather, and brush drawing by Giacinto Gimignani depicting Erminia with shepherds from Tasso's 'Gerusalemme Liberata', executed with wash and white highlights.

Dance around the golden calf, Leonaert Bramer, 1606 - 1674, draughtsman: Leonaert Bramer, 1606 - 1674, paper, pen, brush, h 220 mm × w 181 mm

Saint Charles Borromeo visits the plague sufferers. Draughtsman: anonymous. Dating: 1700 - 1800. Measurements: h 234 mm × w 350 mm. Museum: Rijksmuseum, Amsterdam.

Feast of the Gods late 17th-early 18th century Circle of Bernard Picart French. Feast of the Gods 348081

The Schikgodinnen, Jacob de Wit, c. 1705 - c. 1754 drawing Design for a ceiling painting. paper. chalk Fates, spare (Moir)

Hercules in Centauren, Antonio Storm, 1608 print Hercules in fight with a group of centaurs. paper etching most important deeds of Hercules: the Twelve Labours. Hercules' fight with the centaurs

Still life of hunting tackle with hounds, Joannes Fijt (possibly), 1621 - 1661, draughtsman: Joannes Fijt, (possibly), 1621 - 1661, paper, h 200 mm × w 245 mm

Italy, Sadeler, Johann (I), Verona, Farinati, Paolo, John the Evangelist, verso - stamped, sitting on a cloud with the eagle next to him. The gospel lies on his lap. With his right hand he dips his pen in an inkwell. At the top right the Holy Spirit in the form of a dove., print, prent, prints, prenten, height 276 mm, width 186 mm, Italian, 1524 - 1606, print maker, prentmaker, 1567 - 1567, paper, papier, etching, etsen, Publication (Event), Publicatie, Zuid-Nederlands, 1550 - 1600-08, publisher, uitgever

God the Father Seated on a Cloud, Flanked by Two Putti 17th century Anonymous, Italian, Roman-Bolognese, 17th century Italian. God the Father Seated on a Cloud, Flanked by Two Putti 340143

L'ange gardien (The Guardian Angel), in an album containing Recueil de Compositions par Lagrenée Le Jeune (Collection of Compositions by Lagrenée the Younger) 1782-1821 Jean Jacques Lagrenée French. L'ange gardien (The Guardian Angel), in an album containing Recueil de Compositions par Lagrenée Le Jeune (Collection of Compositions by Lagrenée the Younger) 424202

Drawing by Charles François Hutin representing the allegory of painting, executed in black chalk with white highlights.

Design for a portrait surrounded by a snake, Charles Le Brun, 1629 - 1690, paper, chalk, h 413 mm × w 300 mm

Étienne Parrocel red chalk drawing depicting the biblical scene of Tobias with the blind old man.

Vertumnus and Pomona, Richard van Orley (II), 1678 - 1732 print Vertumnus and Pomona sit in front of the stone gate of a garden on a couch under a tree. Vertumnus seduces Pomona in the form of an old woman. Venus provides Pomona a grape vocker, Amor appears on the left between the leaves. Brussels paper etching / engraving Vertumnus and Pomona. Vertumnus, in the guise of an old woman, wooing Pomona

Amsterdam, Visscher, Claes Jansz. (II), Goltzius, Hendrick, Matham, Jacob, The virtues, Love (Caritas), The personified Love; a female figure surrounded by children., print, prints, height 218 mm, width 143 mm, Northern Netherlands, 1571-10-15 - 1631-01-20, print maker, printmaker, 1585 - 1589, paper, papier, engraving, engraving (printing process), Work conception, 1558-01 - 1617-01-01, after a design by, Publication (Event), Publication, 1586 - 1652-06-19, publisher

St. Joseph with the Christ Child and St. John the Baptist ca. 1500 Circle of Filippino Lippi. St. Joseph with the Christ Child and St. John the Baptist. Circle of Filippino Lippi (Italian, Prato ca. 1457-1504 Florence). ca. 1500. Pen and brown ink, heightened with white on prepared paper. Drawings

Lazio Viterbo Caprarola Palazzo Farnese26. Hutzel, Max 1960-1990 German-born photographer and scholar Max Hutzel (1911-1988) photographed in Italy from the early 1960s until his death. The result of this project, referred to by Hutzel as Foto Arte Minore, is thorough documentation of art historical development in Italy up to the 18th century, including objects of the Etruscans and the Romans, as well as early Medieval, Romanesque, Gothic, Renaissance and Baroque monuments. Images are organized by geographic region in Italy, then by province, city, site complex and monument.

Drawing (Italy)

Multiplication of the loaves and fishes, Anonymous, 1600 - 1700

Drunken Silenus, Pieter de Jode (I), 1580 - 1634, draughtsman: Pieter de Jode (I), 1580 - 1634, paper, pen, brush, d 179 mm

Frieze. Artist: Anonymous, Italian, 16th century (Italian, active Central Italy, ca. 1550-1580). Dimensions: 6-3/4 x 10 in. (17.1 x 25.4 cm). Date: 16th century. Museum: Metropolitan Museum of Art, New York, USA.

Hercules beats Acheloüs in the form of a bull. Design for a print.

The Heilige Jerome Francesco loved c. 1585 - c. 1620 print The saint Hieronymus is reading in the wilderness. At his feet a lion lies next to him on a rock lying a skull and a cross. Italy paper etching St. Jerome as hermit in a landscape, reading

Scene with Mercury and Minerva. School of Fontainebleau; French, 16th century. Date: 1500-1599. Dimensions: 240 × 189 mm. Pen and black ink on tan laid paper, laid down on ivory laid paper. Origin: France. Museum: The Chicago Art Institute, Chicago, USA.

The Assumption of the Virgin. Dated: 1704. Dimensions: sheet: 30.9 x 33.1 cm (12 3/16 x 13 1/16 in.). Medium: pen and brown ink with gray wash over black and red chalk on laid paper. Museum: National Gallery of Art, Washington DC. Author: MELCHIOR STEIDL.

The Virgin and Child Holding Scapulars. Artist: Attributed to Francesco Guardi (Italian, Venice 1712-1793 Venice). Dimensions: 5 5/8 x 4 5/8in. (14.3 x 11.8cm). Date: 1712-93. Museum: Metropolitan Museum of Art, New York, USA.

Anonymous (Circle of Novelli, Pietro Antonio) / 'The Judgement of Paris'. XVIII century. Grey-brown wash, Pencil on white paper. Museum: Museo del Prado, Madrid, España.

Bartolommeo Gagliardo, Perseus and Andromeda, Italian, 1555-c. 1626, pen and brown ink with brown wash over black chalk on laid paper

Jupiter Gezoogd Door de Geit Amalthea, Giulio Bonasone, After Giulio Romano, 1501 - 1590 print A shepherd and a nymph hold the goat Amalthea. The child Jupiter drinks milk from one of the udders of the goat. On the left is a second nymph with a bowl. On the right is a shepherd with three goats. Italy paper engraving Amalthea, the nymph, usually in the shape of a goat, suckles the new-born Jupiter. herding, herdsman, herdswoman, shepherd, shepherdess, cowherd, etc.. goat. early life, prime youth of Jupiter

The Nibelungen's End - The Death of Kriemhild. Julius Schnorr von Carolsfeld; German, 1794-1874. Date: 1845. Dimensions: 504 x 638 mm (primary support); 620 x 685 mm (secondary support). Graphite and brush and brown washes on tan laid paper, with added strip of tan wove paper at top (restoration), laid down on brown wove paper. Origin: Germany. Museum: The Chicago Art Institute, Chicago, USA.

Red chalk drawing by an anonymous artist depicting Christ in a scene representing spring.

Skeletons and sculptures; Capricci Decorativi; Grotteschi. Decorative fantasy with residues of structures, skeletons and remains of sculptures. On the left a sculpture of Hercules and a Herme.

The Visitation of the Virgin to Saint Elizabeth. Artist: Giovanni Balducci ("Il Cosci") (Italian, Florence 1560-1631 Naples). Dimensions: 13-1/16 x 10-3/16 in. (33.2 x 25.9 cm). Date: 1560-1631. Museum: Metropolitan Museum of Art, New York, USA.

Design for a Funerary Monument or Epitaph with Mourning Figures. Artist: Anonymous, Italian, first half of the 18th century. Dimensions: 10-5/8 x 4-3/4 in. (27 x 12 cm). Date: 18th century. Museum: Metropolitan Museum of Art, New York, USA.

Mythological performance with Minerva () And Pegasus (). Minerva donates the popped and knitted Pegasus to Bellerophon.

Drawing (Italy); Felice Giani (Italian, 1758-1823)

Drawing, Jupiter Sending Mercury to Priam; Italy; black chalk, pen and ink on paper

Design for a round ceiling with Mercury and Minerva. Design for a ceiling painting.

Albrecht Dürer (German, 1471-1528), Sea Monster ("Das Meerwunder"), c. 1498, engraving

Giovanni Balducci / 'The Adoration of the Shepherds'. Late XVI century. Wash, White lead, Pencil ground, Grey-brown ink on tinted paper. Museum: Museo del Prado, Madrid, España.

Hercules and Iole. Artist: Antonio Fantuzzi (Italian, active France, 1537-45); After Francesco Primaticcio (Italian, Bologna 1504/5-1570 Paris). Dimensions: Sheet (trimmed): 10 7/8 × 16 7/8 in. (27.7 × 42.9 cm). Date: 1540-45. Museum: Metropolitan Museum of Art, New York, USA.

Adam and Eve under the tree and Cain killing Abel, draughtsman: Jacopo Palma (il Giovane), 1554 - 1628, prepared paper, pen, brush, h 116 mm × w 137 mm

Two female figures, by Filippino Lippi (1457-ca 1504), drawing.

Jacopo Palma il Giovane, Sketch for a Baptism of Christ Sketch for a Baptism of Christ

Etching 'The Martyrdom of St. Bartholomew' by Josef Ferdinand Fromiller, depicting the martyrdom of apostle Bartholomew with detailed composition and figures.

Boreas and Orithyia Artist's working dates 1654-1768 Italy. Black chalk and black crayon, heightened with touches of white chalk, squared in black chalk on blue laid paper, laid down on ivory laid card . Stefano Pozzi

Etching by Andrea Meldolla on blue prepared paper with white heightening depicting the scene of finding the infant Moses, showing figures and landscape elements.

Allegorical Figure of Faith 1648-1729 Marcantonio Franceschini Italian. Allegorical Figure of Faith 338796

The Expulsion of Hagar; Giovanni Benedetto Castiglione, Italian, 1609 - 1664; Italy, Europe; late 1640s; Red-brown, blue-green, and white oil paint and brush on tan paper; 28.9 x 41.6 cm (11 3/8 x 16 3/8 in.)

The Return of the Prodigal Son mid-16th century Lombardy- The Veneto. The Return of the Prodigal Son. Lombardy- The Veneto (1530-1569). Italian. mid-16th century. Pen and brown ink, over traces of black chalk. Drawings

Gaspare Diziani / 'Susannah and the Elders'. Ca. 1755. Grey-brown wash, Pencil, Red chalk on dark yellow paper. Museum: Museo del Prado, Madrid, España.

Bacchus and Ariadne 17th century Anonymous, Italian, Roman-Bolognese, 17th century Italian. Bacchus and Ariadne 340349

Anonymous / 'Saint Catherine'. XVI century. Grey-brown wash, Pencil on yellow paper. Museum: Museo del Prado, Madrid, España.

Hercules at the Crossroads. Giuseppe Cades (1750-99). Black chalk, pen and brown ink and brown wash. 32 x 38.5cm.

Love, Jan Saenredam, Anonymous, Hendrick Goltzius, 1601 - 1651

Feather and blue watercolor drawing showing Merkur approaching Aglauros and Herse, with white highlights on blue natural paper, focusing on figures and gesture.

Design for a ceiling painting, Design for a round ceiling with Mercury and Minerva., draughtsman: anonymous, 1700 - 1800, paper, h 225 mm × w 217 mm

Design for an Ornamental Base with Kneeling Satyresses and Satyr. Circle of Marco Marchetti, called Marco da Faenza; Italian, c. 1526-1588. Date: 1546-1588. Dimensions: 160 x 179 mm (max.). Pen and brown ink, with brush and brown wash, on tan laid paper, laid down on cream laid card. Origin: Italy. Museum: The Chicago Art Institute, Chicago, USA.

Drawing by Kaspar Jacob van Opstal depicting St. Katharina disputing with philosophers, executed with brown and gray brushes, white oil paint over black chalk on brown paper, showing figures, gestures, and restored edges.

A chalk drawing by Bernardino Gatti showing two angels embracing each other, with emphasis on posture, form, and composition, enhanced with whitewash.

Illustration for a Book: Frontispiece with a Female Allegorical Figure (Religion) and a Putto. Artist: Giovanni Battista Tiepolo (Italian, Venice 1696-1770 Madrid). Dimensions: 5-1/8 x 7-1/2 in. (13 x 19 cm). Series/Portfolio: See Metropolitan Museum of Art acc. nos. 59.600.176 - 59.600.212. Date: 1696-1770. Museum: Metropolitan Museum of Art, New York, USA.

Adoration of the Magi. Lambert van Noort; Netherlandish, 1520-1571. Date: 1559. Dimensions: 578 x 435 mm. Pen and brown ink, with brush and brown wash, heightened with lead white (discolored), over traces of black chalk on buff laid paper. Origin: Netherlands. Museum: The Chicago Art Institute, Chicago, USA.

Feder and brush drawing by Albrecht Dürer depicting the flagellation of Christ, showing figures, gestures, arches, and compositional elements on green-primed paper

Four Women Dancing. School of Andrea Mantegna; Italian, 1431-1506. Date: 1492-1502. Dimensions: 238 × 336 mm. Engraving on paper. Origin: Italy. Museum: The Chicago Art Institute, Chicago, USA.

Studies for Figures of Five Angels 17th century Anonymous, Spanish, School of Seville, 17th century Spanish. Studies for Figures of Five Angels 336538

A Martyrdom. Artist: attributed to Serafino Brizzi (Italian, Bologna 1684-1737 Bologna). Dimensions: 10-3/4 x 8-1/16 in. (27.3 x 20.5 cm). Date: 1648-1737. Museum: Metropolitan Museum of Art, New York, USA.

Ossenkar, Jan Van Ossenbeeeck, 1647 - 1674 print A lying and a standing ox for an ox cart. The cart is loaded by a farmer. Roman ruins in the background. unknown paper etching four-wheeled, animal-drawn vehicle, e.g.: cab, carriage, coach

An anonymous drawing depicting a plague scene with three adults and a child mourning a deceased mother before a column base.

Sketches for a table piece with male and female figures, c. 1835 - c. 1845 Paris paper. graphite (mineral) center-foot, sperne, 'especially', 'medium-of-table'

Fortuna ship: the janus temple closure after the defeat of Marcus Antonius at Actium. Fortuna ship: the janus temple closure after the defeat of Marcus Antonius at Actium. Printed on the back with text in Dutch.

Carlo Maratta, Pluto Bringing Proserpine to the Gates of Hell Pluto Bringing Proserpine to the Gates of Hell

Classical Figures, Graphite, red chalk on paper, Roundel with classical figures, France, 18th century, Drawing, Drawing

Two-plate clair-obscur woodcut by Antonio da Trento from 1524-1527 showing the Virgin Mary with the Christ Child holding a rose, depicting figures, drapery, and devotional symbolism.

Stigmatization of Francis of Assisi. Draughtsman: Cristoforo Pomarancio. Dating: 1600 - 1626. Measurements: h 417 mm × w 233 mm. Museum: Rijksmuseum, Amsterdam.

Satyrs and Nymphs. Artist: Joseph Heintz the Elder (Swiss, Basel 1564-1609 Prague). Dimensions: sheet: 9 1/4 x 12 5/8 in. (23.5 x 32 cm). Date: ca. 1599.This drawing is a rare and outstanding example of Joseph Heintz the Elder's mature and most elaborate drawing style. Related to one of Heintz's most important paintings, made in 1599, probably for Emperor Rudolf II (Alte Pinakothek, Munich), the sheet is typical of the work of artists active at Rudolf's Prague court, who favored complex compositions with many figures in distorted positions and mythological subjects, often of a slightly lascivious nature. Combining fluent yet expressive pen lines, carefully applied heightening with white body color, red chalk, and washes, Heintz masterfully succeeded in adapting his composition to an oval form. Although there seems to be no direct literary source for the subject of this drawing and the corresponding painting, it has been connected to the story of Pan and Syrinx in Ovid's Metamorphoses.

Sketch for the lower left section of the "Disputa". Date/Period: 1508/1509. Width: 416 mm. Height: 281 mm (Complete). Author: RAPHAEL.

The Insane, Albrecht Dürer, draughtsman: anonymous, Low Countries, 1514 - 1600, paper, pen, h 171 mm × w 94 mm

Male en -Face, two naked children and a minervabust, Girolamo da Carpi (Follower of), 1530 - 1600 drawing paper. ink pen

Boer complains to De Graaf, Willem Pietersz Buytewech, 1619 drawing paper. ink. chalk pen

H. Hieronymus in the desert. Draughtsman: Guercino (attributed to). Dating: 1601 - 1666. Measurements: h 416 mm × w 261 mm. Museum: Rijksmuseum, Amsterdam.

Sketchbook Folio, The Battle of Ostia, After Giulio Romano; Designed by Felice Giani (Italian, 1758-1823); Italy; pen and brown ink, brush and dark brown wash, over traces of black chalk on white laid paper; 15 x 21.2 cm (5 7/8 x 8 3/8 in.)

Italy, Correggio, Holy Family, verso - stamped, Mary seated with the Christ child leaning against her. Joseph is on the left. Around them fly putti., print, prints, height 208 mm, width 153 mm, print maker, printmaker, 1499 - 1584, paper, papier, etching, etchings, plaattoon, Work conception, Italian, 1489 - 1534-03-05

Kings, Bishops and Popes: design for ceiling. 1696-1782 Francesco de Mura Italian. Kings, Bishops and Popes: design for ceiling. 340818

Judit stops holofernes's head in a bag; Judit and Holofernes. Judit stops the carved head of Holofernes in a bag that has opened her in front of her. The print is part of an eight-language series that tells the story of Judit and Holofernes.

Anonymous / 'The Virgin, surrounded by angels, appearing to a Pope, a King and a Doge, in the Presence of Kings, Bishops, Monks and Nuns'. XVI century. Grey wash, Grey-brown wash, White lead, Pencil, Pencil ground, Grey-brown ink on paper. Museum: Museo del Prado, Madrid, España.

Drawing, Design for an Escutcheon with Allusions to Egypt; Designed by Juste-Aurèle Meissonnier (French, b. Italy, 1695-1750); France; pen and ink, grey wash, black chalk on laid paper; Sheet: 16 x 21 cm (6 x 8 1/4 in.)

Cain beats Abel to death with the donkeyskinnebak, with an alternative solution on two separate pieces of paper, Cain beats Abel to death with the donkeyskinnebak., draughtsman: Domenico Passignano, 1590 - 1599, paper, pen, brush, h 207 mm × w 220 mm

Jeremiah Dictating the Word of God to Baruch the Son of Neriah (Jeremiah 36, 4). Sir Peter Paul Rubens (1577-1640). Red chalk. 34 x 28.3cm.

Sheets of Studies after Bolognese Monuments, Felice Giani, Italian, 1758-1823, Pen and brown ink, brush and brown wash, black chalk on paper, Sheet of studies of sculptures and architectural fragments. It shows ten fragments of monuments, various in type, some architectural and some decorative. At top row, to the left, a panel depicting a satyr watching as Venus lifts the bow of Cupid. It is inscribed: coreggio Bologna. On the right hand side is a niche with a statue of a man in armor. Inscribed: Bologna monumento del sei cento. At the middle portion, first to the left is a decorative panel, oriented vertically, with military details/trophy (helmet, armor, drum). Next to it, to the right, is a statue of a man in armor, lower parts of the legs missing. Inscription to the right of the statue: mounumento / sei cento / Bolognese. Next to the statue, to the right, is a fragment of a spandrel with a relief of a female figure (Genius). Inscribed within the arched opening: 17 OTTVBRE / XAMBECA

Apotheosis of Saint Elias 1675-1700 Italy. Pen and black ink, and brush and gray wash, on ivory laid paper . School of Carlo Maratti

Augsburg, Heart, Johann Daniel (I), Italy, Carlone, Carlo Innocenzo, Nobility, verso sheet - stamped, Fragment of a ceiling painting (possibly a dome decoration) with the personification of Nobility with a crown in her hand on a cloud. She is surrounded by angels, two of whom are carrying a large crown., print, prints, height 141 mm, width 178 mm, Italian, 1686 - 1775-05-17, print maker, printmaker, 1696 - 1775, paper, etching, etchings, Work conception, after own design by, Publication (Event), Publication, German, 1693 - 1754, publisher, uitgever

Six putti, c. 1600 - c. 1699 print Designs for support figures at cartouches. Germany (possibly) paper etching

Christ at Supper with Simon the Pharisee, with the Anointment of Christ's Feet by Mary Magdalen. Giovanni Domenico Tiepolo (Italian, 1727 - 1804)

Red chalk drawing by Giovanni Morone depicting Saint John the Evangelist and Saint Benedict, showing both figures with detailed gestures and robes, executed after 1515.

Madonna and Child with Angels, late 1500s. Aurelio Luini (Italian, 1530-1593). Pen and brown ink and brush and brown wash over black chalk (extended with brush and water in places); pricked; sheet: 23.9 x 18.7 cm (9 7/16 x 7 3/8 in.).

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