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The History of the Accademia di San Luca, c. 1590–1635: Documents from the Archivio di Stato di Roma

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Many of the artists who participated in the Accademia di San Luca from 1590 through 1635 are represented by works of art in the collection of the National Gallery of Art. Links to these works are provided on the individual artists’ pages reached from the Search page of this website.

Works by some of the academicians are also included in the Samuel H. Kress Collection, which was donated to various museums throughout the United States. The first carousel here includes images of paintings, small bronzes, and sculptures from the Kress Collection that are now housed at either the National Gallery of Art or other recipient art museums. The website project team is grateful to the Samuel H. Kress Foundation for providing access to images of works of art from other institutions.

The Accademia di San Luca in Rome, which possesses the largest collection of portraits of the artists who were members of the Accademia, has granted permission to reproduce those that are in a good state of conservation. They are presented in the second carousel. The website project team thanks the Accademia di San Luca for making this valuable resource available to researchers who visit this website.

The remaining carousels focus on selected artists who were active in the Accademia di San Luca in the 16th and 17th centuries. The works of art displayed are culled from museums that provide open-access images from their collections; subsequent carousels and images will be added periodically.

Samuel H. Kress Collection

Kress Collection

Gasparo Mola, Vincenzo Gonzaga, 1562‒1612, 4th Duke of Mantua 1587 [obverse], n.d., bronze. National Gallery of Art, Washington, Samuel H. Kress Collection, 1957.14.956.a
Kress Collection

Gasparo Mola, Saint George and the Dragon [reverse], n.d., bronze. National Gallery of Art, Washington, Samuel H. Kress Collection, 1957.14.956.b
Kress Collection

Matteo Pagani, Tommaso Rangone, 1493‒1577, Physician of Ravenna [obverse], 1562, bronze. National Gallery of Art, Washington, Samuel H. Kress Collection, 1957.14.1096.a
Kress Collection

Matteo Pagani, Jupiter as an Eagle Bringing the Infant Hercules to Juno [reverse], 1562, bronze. National Gallery of Art, Washington, Samuel H. Kress Collection, 1957.14.1096.b
Kress Collection

Felice Antonio Casone, Dionisio Ratta of Bologna, died 1597 [obverse], 1592, bronze. National Gallery of Art, Washington, Samuel H. Kress Collection, 1957.14.1070.a
Kress Collection

Felice Antonio Casone, Inscription [reverse], 1592, bronze. National Gallery of Art, Washington, Samuel H. Kress Collection, 1957.14.1070.b
Kress Collection

Feilce Antonio Casone, Lavinia Fontana, 1552‒1614, Bolognese Painter [obverse], 1611, bronze. National Gallery of Art, Washington, Samuel H. Kress Collection, 1957.14.1071.a
Kress Collection

Felice Antonio Casone, Lavinia Fontana Painting [reverse], 1611, bronze. National Gallery of Art, Washington, Samuel H. Kress Collection, 1957.14.1071.b
Kress Collection

Giovanni Benedetto Castiglione, Christ Cleansing the Temple, 1616‒1634, oil on canvas. Bowdoin College Museum of Art, Brunswick, Gift of the Samuel H. Kress Foundation
A young woman plays a small pipe organ while a winged angel holds up a piece of sheet music in this horizontal painting. A strong light source illuminates the scene from our right, creating deep shadows in the dark background. Both the woman and angel have pale skin, flushed cheeks, and light brown hair. Shown from the knees up and taking up the left half of the painting, the woman’s body is angled to our right as she sits at the organ, which is near the right edge of the composition. Her hair is pulled back into a braid, and wisps fall on her forehead. Her skin is smooth, and her head tilts down toward the organ. Her cherry-red dress has a squared neckline and olive-green sleeves over a white shirt. The voluminous sleeves are pushed back over her forearms as she rests her fingertips on the keys of the organ. Gazing toward the woman, the angel has short, curly hair, silvery gray wings, and wears a topaz-blue garment. Two lines of music on the paper the angel holds have notes written in and one staff is empty. The small organ is angled away from us so we see one narrow end and the row of low pipes along its back. The dark brown background lightens behind the young woman’s head.
Kress Collection

Orazio Gentileschi and Giovanni Lanfraco, Saint Cecilia and an Angel, c. 1617/1618 and c. 1621/1627, oil on canvas. National Gallery of Art, Washington, Samuel H. Kress Collection, 1961.9.73
Kress Collection

Domenichino, The Madonna of Loreto Appearing to Saint John the Baptist, Saint Eligius, and Saint Anthony Abbot, c. 1618‒1620, oil on canvas. North Carolina Museum of Art, Raleigh, Gift of the Samuel H. Kress Foundation
Kress Collection

Orazio Gentileschi, Portrait of a Young Woman as a Sibyl, c. 1620, oil on canvas. The Museum of Fine Arts, Houston, The Samuel H. Kress Collection
Kress Collection

Possibly School of Guido Reni, Judith, c. 1620, oil on canvas. Birmingham Museum of Art, Gift of the Samuel H. Kress Foundation
Shown from the waist up, an elderly, balding, light-skinned man with a bushy white beard sits behind a table, facing us, in front of a winged angel who looks on in this shadowy, horizontal painting. The man sits with his body angled slightly to our right, and he turns his head to look in the opposite direction. His eyes are sunk in shadow under deeply furrowed brows, set in his lined face. His sparse, gray and white hair is tousled. He wears only a scarlet-red cloth draped across his lap and over his sinewy left arm, on our right. His open left hand is raised, palm up, at shoulder height. In his other hand, he holds a pen, hovering over a partially unwound scroll. His forearm rests on an open book beneath the scroll. He looks over his right shoulder at the curly-haired angel with snow-white wings. The angel wears a flowing, light blue robe with a golden yellow cloth draped around the chest and over the shoulders. Softly smiling, the backlit angel leans toward the man, face deep in shadow. With arms lifted, one hand gestures with a slightly crooked finger, pointing beyond the picture’s border to our left. In the other hand, the angel holds a golden horn in the dusky background behind the man’s left shoulder. Behind the man and angel and to our right, a single candle sits on two books lying in an arched wall niche. On the desk closest to us are a crumpled cloth on a book, a shiny rust-brown ball, a pair of eyeglasses, an inkpot, an hourglass, and a second book, to our right. Light coming from our upper left starkly illuminates the two people against the shadowed, earth-brown background.
Kress Collection

Simon Vouet, Saint Jerome and the Angel, c. 1622/1625, oil on canvas. National Gallery of Art, Washington, Samuel H. Kress Collection, 1961.9.52
This free-standing, white marble sculpture shows the head, shoulders, and upper chest of a balding, bearded man. In this photograph, his body faces us and he looks straight ahead. Bushy eyebrows arch low over deeply set eyes, and his forehead hollows inward at his temples. He has high cheekbones and the skin of his cheeks draws slightly in. His thin lips are set in a straight line within a full beard. His high-necked robe falls slightly open over his chest and is cut also away over the shoulders to show the crinkled fabric of the garment beneath. The bottom edge of the sculpture curves upward in a very shallow U across the bottom, and is supported by a square pedestal foot decorated with scroll designs. The background behind the bust lightens from charcoal gray along the top edge to pale gray across the bottom, and the sculpture casts a shadow behind its base.
Kress Collection

Gian Lorenzo Bernini, Monsignor Francesco Barberini, c. 1623, marble. National Gallery of Art, Washington, Samuel H. Kress Collection, 1961.9.102
We look slightly down onto a group of people gathered along the bank of a river that winds around a copse of tall trees to our left, past a hill to our right, and into the deep distance in this horizontal landscape painting. The horizon line comes about a third of the way up the painting. More than a dozen people gather to converse in pairs or trios, or work loading a ship in the lower right corner of the composition. Most of the people seem to be men, except for two women who stand near a man who gestures to our left at the lower center of the painting. The people we can see have light or tanned skin. The men loading the boat to our right wear pants and shirts in navy blue, gray, tan, or crimson red. Men wearing hats and capes over suits near the lower center, and the women wear clothing in olive green, butter yellow, petal pink, coral red, or gray. Goods are strewn along the riverbank closest to us, including potted flowering plants to our left, a jumble of chairs, tables, and musical instruments nearby, and collections of wooden barrels to our right and in the lower left corner. Two more boats are moored at the shore in front of the grove of tall, dark green, leafy trees that take up the left third of the composition. The sage-green surface of the river curves to our right, to a tree-covered hill with a watermill at its base. A stone structure with a large, central, round tower sits along the top of that hill. The river continues to wind into the deep distance, where towns nestle along the bases of rolling, slate-blue mountains along the horizon. The sky above is pale yellow along the horizon and deepens to pale blue above. Smoke-gray clouds sweeping in from the right are lit bright cream-white where the sun catches the edges. The artist signed and dated the painting as if he had written his name on the side of the boat in the lower left corner, though the inscription appears to be incomplete: “CLAVDIO o I Vo 16 9 OM.”
Kress Collection

Claude Lorrain, Landscape with Merchants, c. 1629, oil on canvas. National Gallery of Art, Washington, Samuel H. Kress Collection, 1952.5.44
Kress Collection

Andrea di Lione, copy after Nicolas Poussin, Adoration of the Golden Calf, 1626‒1629, oil on canvas. Fine Arts Museums of San Francisco, Gift of the Samuel H. Kress Foundation
Kress Collection

Jusepe de Ribera, A Greek Sage, c. 1630, oil on canvas. The University of Arizona Museum of Art, Tuscon, Gift of the Samuel H. Kress Foundation
Kress Collection

Jusepe de Ribera, Saint Bartholomew, c. 1630, oil on canvas. Birmingham Museum of Art, Gift of the Samuel H. Kress Foundation
Two pale-skinned women wearing jewel-toned blue, pink, and yellow togas sit on the ground at the foot of a stone building, with three, winged, child-like putti flying nearby in this horizontal painting. The women take up most of the left half of the painting while the building behind them spans nearly three-quarters of the composition. A sliver of landscape is visible beyond the building to our right. Both women have dark, ash-brown hair wrapped back around diadems, long, straight noses, dark eyes, and smooth skin. Their cheeks are flushed, and their dark pink lips are parted. To our left, the first woman sits with her body facing our right in profile, and she turns to look at us from the corners of her eyes. Six silver stars line the sky-blue diadem in her hair. Her voluminous white shift falls off the shoulder closer to us, and she wears a swath of sapphire-blue drapery over her other arm and lap. One foot, wearing a yellow sandal, emerges from under the hem of her robe. She leans the elbow closer to us on a silver sphere, which comes a bit higher than her waist. Her other hand rests on the shoulder of the woman next to her. The second woman sits with her legs angled to our right, and she turns her face back to look at the first woman. She wears a butter-yellow garment under a rose-pink toga, and one foot, wearing a blue sandal, rests on the dirt ground. A baby-blue ribbon is tied through her hair, around a gold coronet. Her hands rest on a book in her lap. The partial word “odiss” is written along the edges of the pages facing us. Three pudgy angels with small blue wings flutter near the second woman, to our right. The putti have short, brown or blond, curly hair. Sashes in golden yellow, pink, or blue are tied around one shoulder and their opposite hips. They hold up three crowns of leaves. The building immediately behind the women and putti is parchment white streaked with brown. A tall foundation supports two columns, the base of which are near the top edge of the painting. A few plants grow out of the crevices, and a bush with white and light blue flowers grows behind the woman in blue, to our left. A landscape extends into the distance to our right, with rolling green hills, trees, and far-off, ice-blue mountains along the horizon. The sky above has apricot-peach and gray clouds against a pale blue sky.
Kress Collection

Simon Vouet and Studio, The Muses Urania and Calliope, c. 1634, oil on wood. National Gallery of Art, Washington, Samuel H. Kress Collection, 1961.9.61
Kress Collection

Jusepe de Ribera, Immacualte Conception, 1637, oil on canvas. Columbia Museum of Art, South Carolina, Samuel H. Kress Collection
Kress Collection

Guido Reni, Portrait of a Lady as a Sibyl, c. 1640, oil on canvas. Spencer Museum of Art, The University of Kansas, Lawrence, Gift from the Samuel H. Kress Study Collection
Kress Collection

Giovanni Benedetto Castiglione, The Voyage of Jacob, 1640, oil on canvas. Sheldon Museum of Art, Lincoln, Gift of the Samuel H. Kress Foundation
Kress Collection

Claude Lorrain, View of Tivoli at Sunset, c. 1642-1644, oil on canvas. Fine Arts Museums of San Francisco, Gift of the Samuel H. Kress Foundation
Kress Collection

Circle of Jusepe de Ribera, Saint Bartholomew, 1643, oil on canvas. El Paso Museum of Art, Texas, Samuel H. Kress Collection
Kress Collection

Giovanni Benedetto Castiglione, Allegory of Vanity, 1647‒1649, oil on canvas. The Nelson-Atkins Museum of Art, Kansas city, Gift of the Samuel H. Kress Foundation

Artist Portraits from the Accademia di San Luca

Accademia Artist Portraits

Anonymous 17th century, Portrait of Alessandro Algardi, date unknown, oil on canvas. © Accademia Nazionale di San Luca, Rome
Accademia Artist Portraits

Anonymous 17th century, Portrait of Sofonisba Anguissola, date unknown, oil on canvas on panel. © Accademia Nazionale di San Luca, Rome
Accademia Artist Portraits

Anonymous 17th century, Portrait of Baccio Bandinelli, date unknown, oil on canvas. © Accademia Nazionale di San Luca, Rome
Accademia Artist Portraits

G. B. Gaulli Giuseppe Ghezzi, Portrait of Gian Lorenzo Bernini, date unknown, oil on canvas. © Accademia Nazionale di San Luca, Rome
Accademia Artist Portraits

Anonymous 17th century, Portrait of Matteo Bril, date unknown, oil on canvas. © Accademia Nazionale di San Luca, Rome
Accademia Artist Portraits

Anonymous 17th century, Portrait of Giovanni Battista Calandra, date unknown, oil on canvas. © Accademia Nazionale di San Luca, Rome
Accademia Artist Portraits

Luca Cambiaso, Self-Portrait, date unknown, oil on canvas. © Accademia Nazionale di San Luca, Rome
Accademia Artist Portraits

Anonymous 17th century, Portrait of Annibale Carracci, date unknown, oil on canvas on panel. © Accademia Nazionale di San Luca, Rome
Accademia Artist Portraits

Anonymous 17th century, Portrait of Bernardino Cesari, date unknown, oil on canvas. © Accademia Nazionale di San Luca, Rome
Accademia Artist Portraits

Anonymous 17th century, Portrait of Agostino Ciampelli, date unknown, oil on canvas. © Accademia Nazionale di San Luca, Rome
Accademia Artist Portraits

Anonymous 17th century, Portrait of Domenichino, date unknown, oil on canvas. © Accademia Nazionale di San Luca, Rome
Accademia Artist Portraits

Anonymous 17th century, Portrait of Adam Elsheimer, date unknown, oil on canvas. © Accademia Nazionale di San Luca, Rome
Accademia Artist Portraits

Anonymous 17th century, Portrait of Antiveduto Gramatica, date unknown, oil on canvas. © Accademia Nazionale di San Luca, Rome
Accademia Artist Portraits

Ippolito Leoni, Portrait of Ottavio Mario Leoni, date unknown, oil on canvas. © Accademia Nazionale di San Luca, Rome
Accademia Artist Portraits

Anonymous 17th century, Portrait of Gasparo Mola, date unknown, oil on canvas. © Accademia Nazionale di San Luca, Rome
Accademia Artist Portraits

Pier Leone Ghezzi, Portrait of Girolamo Muziano, date unknown, oil on canvas. © Accademia Nazionale di San Luca, Rome
Accademia Artist Portraits

Anonymous 17th century, Portrait of Nicolas Poussin, date unknown, oil on canvas. © Accademia Nazionale di San Luca, Rome
Accademia Artist Portraits

Anonymous 17th century, Portrait of Cristoforo Roncalli, date unknown, oil on canvas. © Accademia Nazionale di San Luca, Rome
Accademia Artist Portraits

Ottavio Leoni, Portrait of Tommaso Salini, date unknown, oil on canvas. © Accademia Nazionale di San Luca, Rome
Accademia Artist Portraits

Anonymous 17th century, Portrait of Carlo Saraceni, date unknown, oil on canvas. © Accademia Nazionale di San Luca, Rome
Accademia Artist Portraits

Anonymous 17th century, Portrait of Giacomo Stella, date unknown, oil on canvas. © Accademia Nazionale di San Luca, Rome
Accademia Artist Portraits

Anonymous 17th century, Portrait of Antonio Tempesta, date unknown, oil on canvas. © Accademia Nazionale di San Luca, Rome
Accademia Artist Portraits

Anonymous 17th century, Portrait of Alessandro Turchi, date unknown, oil on canvas. © Accademia Nazionale di San Luca, Rome
Accademia Artist Portraits

Anonymous, Portrait of Simon Vouet, 1672(?), oil on canvas. © Accademia Nazionale di San Luca, Rome
Accademia Artist Portraits

Giuseppe Ghezzi and Pier Leone Ghezzi, Portrait of Federico Zuccaro, date unknown, oil on canvas. © Accademia Nazionale di San Luca, Rome
Accademia Artist Portraits

Attributed to Federico Zuccaro, Self-Portrait, date unknown, oil on canvas. © Accademia Nazionale di San Luca, Rome

Cherubino Alberti

Cherubino Alberti

Cherubino Alberti, The Assumption of the Virgin with the Virgin Surrounded by Cherubs and with the Apostles Below, 1574, engraving. Metropolitan Museum of Art, New York, The Elisha Whittelsey Collection, The Elisha Whittelsey Fund, 1959, 59.599.46
Cherubino Alberti

Cherubino Alberti, after Rosso Fiorentino, Allegory of the Christian Faith with Christ at Center, Holding the Cross, 1575, engraving. Metropolitan Museum of Art, New York, The Elisha Whittelsey Collection, The Elisha Whittelsey Fund, 1953, 53.638.1
Cherubino Alberti

Cherubino Alberti, after Taddeo Zuccaro, The Conversion of Saint Paul with God the Father and Angels Above, 1575, engraving; second state of two (Bartsch). Metropolitan Museum of Art, New York, The Elisha Whittelsey Collection, The Elisha Whittelsey Fund, 1951, 51.501.3247 
Cherubino Alberti

Cherubino Alberti, after Rosso Fiorentino, The Stoning of Saint Stephen, 1575, engraving; second state of two (Bartsch). Metropolitan Museum of Art, New York, The Elisha Whittelsey Collection, The Elisha Whittelsey Fund, 1949, 49.95.307
Cherubino Alberti

Cherubino Alberti, The River Nile, 1576, etching printed in black ink on laid paper. Detroit Institute of Arts, Gift of Mrs. James E. Scripps, 09.1S3
Cherubino Alberti

Cherubino Alberti, after Pellegrino Tibaldi, Tobias and the Angel, 1575, engraving. Metropolitan Museum of Art, New York, The Elisha Whittelsey Collection, The Elisha Whittelsey Fund, 1951, 51.501.3774
Cherubino Alberti

Cherubino Alberti, after Polidoro da Caravaggio, The Israelites Fleeing Egypt with Moses at Right Extending His Right Hand and with a Woman Carrying an Urn Prostrate before Him, 1576, engraving. Metropolitan Museum of Art, New York, Joseph D. Marks, Gift, in loving memory of his mother, Jeanette Marks, 1967, 17.50.16-170
Cherubino Alberti

Cherubino Alberti, after Michelangelo, Portion of the Ceiling of the Sistine Chapel with the Libyan Sibyl, Prophet Daniel, Jesse, David, and Solomon, from Sibyls and Prophets from the Sistine Chapel Vaults after Michelangelo, 1577 (republished in 1628), engraving. Metropolitan Museum of Art, New York, Purchase, Joseph Pulitzer Bequest, 1917, 17.50.19-153
Cherubino Alberti

Cherubino Alberti, after Alessandro Alberti, Saint Susanna in an Interior Holding an Open Book in Her Left Hand, a Palm in Her Right, a Landscape Visible through a Window at Right, and at Bottom Center a Coat of Arms, 1578, engraving. Metropolian Museum of Art, New York, The Elisha Whittelsey Collection, The Elisha Whittelsey Fund, 1951, 51.501.3772
Cherubino Alberti

Cherubino Alberti, after Lelio Orsi (called Lelio da Novellara), A Man Shooting a Crossbow, 1579, engraving. Metropolitan Museum of Art, New York, The Elisha Whittelsey Collection, The Elisha Whittelsey Fund, 1949, 49.50.234
Cherubino Alberti

Attributed to Cherubino Alberti, after Lelio Orsi, An Archer Shooting a Crossbow, 1579, engraving on laid paper. National Gallery of Art, Washington, Ailsa Mellon Bruce Fund, 2005.131.1
Cherubino Alberti

Cherubino Alberti, after Raphael, Two Tritons Embracing, One Playing a Panpipe, the Second Holding a Conch Shell Set within a Recessed Space, 1579, engraving. Metropolitan Museum of Art, New York, Bequest of Phyllis Massar, 2011, 2012.136.830
Cherubino Alberti

Cherubino Alberti, Torture of Prometheus Set within a Cornice, 1580, engraving. Metropolitan Museum of Art, New York, The Elisha Whittelsey Collection, The Elisha Whittelsey Fund, 1951, 51.501.659
Cherubino Alberti

Cherubino Alberti, after Michelangelo Buonarroti, The Good Thief, after Michelangelo's The Last Judgment in the Sistine Chapel, 1580, engraving. Metropolitan Museum of Art, New York, The Elisha Whittelsey Collection, The Elisha Whittelsey Fund, 1959, 59.570.234
Cherubino Alberti

Cherubino Alberti, after Michelangelo Buonarroti, Two Damned Souls Fighting, after Michelangelo's The Last Judgment in the Sistine Chapel, 1580, engraving. Metropolitan Museum of Art, New York, The Elisha Whittelsey Collection, The Elisha Whittelsey Fund, 1959, 59.570.235
Cherubino Alberti

Cherubino Alberti, after Andrea del Sarto, Saint Philip Benizzi of the Servites Punishing the Blasphemers, c. 1582, engraving printed in black ink on laid paper. Detroit Institute of Arts, Gift of Mrs. James E. Scripps, 09.1S2
Cherubino Alberti

Cherubino Alberti, after Michelangelo Buonarroti, A Naked Man (Ignudo), Seated and Facing Left, after Michelangelo's The Last Judgment in the Sistine Chapel, 1580–1590, engraving. Metropolitan Museum of Art, New York, The Elisha Whittelsey Collection, The Elisha Whittelsey Fund, 1959, 59.570.239
Cherubino Alberti

Cherubino Alberti, after Michelangelo Buonarroti, A Naked Man (Ignudo), Seated Facing Left, Holding a Piece of Fabric, after Michelangelo's The Last Judgment in the Sistine Chapel, 1580–1590, engraving. Metropolitan Museum of Art, New York, The Elisha Whittelsey Collection, The Elisha Whittelsey Fund, 1959, 59.570.237
Cherubino Alberti

Cherubino Alberti, after Michelangelo Buonarroti, A Naked Man (Ignudo), Twisting toward the Right, Holding Drapery, after Michelangelo's The Last Judgment in the Sistine Chapel, 1580–1590, engraving. Metropolitan Museum of Art, New York, The Elisha Whittelsey Collection, The Elisha Whittelsey Fund, 1959, 59.570.238
Cherubino Alberti

Cherubino Alberti, after Michelangelo Buonarroti, A Naked Man (Ignudo) with a Garland with Acorns over His Shoulders, after Michelangelo's The Last Judgment in the Sistine Chapel, 1580–1590, engraving. Metropolitan Museum of Art, New York, The Elisha Whittelsey Collection, The Elisha Whittelsey Fund, 1959, 59.570.236
Cherubino Alberti

Cherubino Alberti, after Polidoro da Caravaggio, Two Seated Angels, Arms around One Another, the One on the Left Looking Down at a Songbook, from The Angels' Concert, 1583, engraving. Metropolitan Museum of Art, New York, The Elisha Whittelsey Collection, The Elisha Whittelsey Fund, 1951, 51.501.3775
Cherubino Alberti

Cherubino Alberti, after Polidoro da Caravaggio, Two Seated Angels, Facing Left, Reading from a Songbook, from The Angels' Concert, 1583, engraving. Metropolitan Museum of Art, New York, The Elisha Whittelsey Collection, The Elisha Whittelsey Fund, 1951, 51.501.3777
Cherubino Alberti

Cherubino Alberti, after Polidoro da Caravaggio, Two Seated Angels, Facing Left, Reading from a Songbook, from The Angels' Concert, after 1583, engraving (reverse copy). Metropolitan Museum of Art, New York, The Elisha Whittelsey Collection, The Elisha Whittelsey Fund, 1951, 51.501.3776
Cherubino Alberti

Cherubino Alberti, after Jacopo Ligozzi, Allegory of the Medici Family with River Gods in the Foreground and in the Clouds at Right, 1589, engraving. Metropolitan Museum of Art, New York, Harris Brisbane Dick Fund, 1953, 53.601.179
Cherubino Alberti

Cherubino Alberti, after Polidoro da Caravaggio, Jupiter, Seated above Two Eagles and Embracing Cupid, a Round Composition from a Series of Mythological Scenes after Polidoro da Caravaggio, c. 1590, engraving. Metropolitan Museum of Art, New York, Bequest of Phyllis Massar, 2011, 2012.136.125.2
Cherubino Alberti

Cherubino Alberti, after Michelangelo Buonarroti, A Blessed Soul Lifted to Heaven, after Michelangelo's The Last Judgment in the Sistine Chapel, 1591, engraving. Metropolitan Museum of Art, New York, The Elisha Whittelsey Collection, The Elisha Whittelsey Fund, 1959, 59.570.233
Cherubino Alberti

Cherubino Alberti, after Michelangelo Buonarroti, A Blessed Spirit, 1591, etching. National Gallery of Art, Washington D.C., Ailsa Mellon Bruce Fund, 1972.65.4
Cherubino Alberti

Cherubino Alberti, after Michelangelo Buonarroti, Saint John the Baptist in a decorative border, after Michelangelo's The Last Judgment in the Sistine Chapel, 1591, engraving. Metropolitan Museum of Art, New York, The Elisha Whittelsey Collection, The Elisha Whittelsey Fund, 1951, 59.570.232
Cherubino Alberti

Cherubino Alberti, after Michelangelo, Saint John the Baptist, 1591, etching. National Gallery of Art, Washington, Ailsa Mellon Bruce Fund, 1972.65.5
Cherubino Alberti

Cherubino Alberti, Portrait of King Henry IV of France in a Decorative Border, 1595, engraving. Metropolitan Museum of Art, New York, The Elisha Whittelsey Collection, The Elisha Whittelsey Fund, 1966, 66.511
Cherubino Alberti

Cherubino Alberti, after Polidoro da Caravaggio, Two Putti Draped with a Garland, the One at Right Holding a Mask, 1596, engraving. Metropolitan Museum of Art, New York, Harris Brisbane Dick Fund, 1917, 17.3.1879
Cherubino Alberti

Attributed to Cherubino Alberti, Two Studies of a Seated Male Nude Seen from the Back, 1596–1602, red chalk, with some contours reinforced in pen and brown ink (upper right corner replaced). Metropolitan Museum of Art, New York, Harry G. Sperling Fund, 1980, 1980.17.1
Cherubino Alberti

Cherubino Alberti, Genius with the French Royal Coat of Arms, c. 1600, engraving on laid paper (artist's proof). National Gallery of Art, Washington, Ailsa Mellon Bruce Fund, 2007.14.1
Cherubino Alberti

Attributed to Cherubino Alberti, Study for a Resurrection of Lazarus, c. 1600, black chalk and red chalk. Yale University Art Gallery, New Haven, Maitland F. Griggs, B.A. 1896, Fund, 1975.42.1
Cherubino Alberti

Cherubino Alberti, after Polidoro da Caravaggio, The Rape of the Sabine Women and The Triumph of Two Emperors, c. 1600, five engravings printed on separate pieces of satin backed with heavy paper. National Gallery of Art, Washington, Patrons' Permanent Fund, 2004.114.2
Cherubino Alberti

Cherubino Alberti, Christ Supported by an Angel Standing on a Cloud, 1600–1610, engraving. Metropolitan Museum of Art, New York, Purchase, Joseph Pulitzer Bequest, 1917, 17.50.16-173
Cherubino Alberti

Cherubino Alberti, Prudence (recto), c. 1601, red chalk on laid paper. National Gallery of Art, Washington, Gift of William B. O'Neal, in Honor of the 50th Anniversary of the National Gallery of Art, 1991.150.1.a
Cherubino Alberti

Cherubino Alberti, An Allegory of Truth and Justice, a Naked Woman in the Center Seated on a Cloud Holding a Set of Scales, a Putto Above, the Medici Coat of Arms at Lower Right, 1628, engraving, proof before lettering on the banderoles. Metropolitan Museum of Art, New York, The Elisha Whittelsey Collection, The Elisha Whittelsey Fund, 1951, 51.501.3781
Cherubino Alberti

Cherubino Alberti, An Allegorical Figure: Non sine labore, 1628, etching. National Gallery of Art, Washington, Ailsa Mellon Bruce Fund, 1972.65.2
Cherubino Alberti

Cherubino Alberti, An Allegorical Figure: Virtutis Praemium, 1628, etching. National Gallery of Art, Washington, Ailsa Mellon Bruce Fund, 1972.65.3
Cherubino Alberti

Cherubino Alberti, after Polidoro da Caravaggio, Perseus in the Garden of the Hesperides, 1628, engraving. Metropolitan Museum of Art, New York, Gift of Harry Shaw Newman, 1941, 41.97.442a, b
Cherubino Alberti

Cherubino Alberti, after Polidoro da Caravaggio, Winged Genius Seated on a Cloud, Sounding a Trumpet with His Left Hand Extended Upward, 1628, engraving. Metropolitan Museum of Art, New York, The Elisha Whittelsey Collection, The Elisha Whittelsey Fund, 1951, 51.501.3766
Cherubino Alberti

Cherubino Alberti, after Francesco Salviati (Francesco de' Rossi), Design for Two Knife Handles, 1553–1615, engraving. Metropolitan Museum of Art, New York, Harris Brisbane Dick Fund, 1925, 25.24.56
Cherubino Alberti

Cherubino Alberti, after Francesco Salviati (Francesco de' Rossi), Design for Two Knife Handles, 1553–1615, engraving. Metropolitan Museum of Art, New York, Harris Brisbane Dick Fund, 1925, 25.24.57
Cherubino Alberti

Cherubino Alberti, after Polidoro da Caravaggio, Vase with a Monster at Center, Two Cornucopias, and Two Flanking Winged Female Figures, 1565–1615, engraving. Metropolitan Museum of Art, New York, Joseph D. Marks, Gift, in loving memory of his mother, Jeanette Marks, 1967, 67.845
Cherubino Alberti

Cherubino Alberti, Portrait of Pietro Angela da Barga, Bust Length and in a Decorative Border, 1570–1615, engraving. Metropolitan Museum of Art, New York, The Elisha Whittelsey Collection, The Elisha Whittelsey Fund, 1951, 51.501.658
Cherubino Alberti

Cherubino Alberti, Judith with the Head of Holofernes, Standing Nude in a Barren Landscape, 1570–1615, engraving. Metropolitan Museum of Art, New York, The Elisha Whittelsey Collection, The Elisha Whittelsey Fund, 1951, 51.501.3769
Cherubino Alberti

Cherubino Alberti, after Taddeo Zuccaro, The Birth of Christ, who is held by the Virgin against a penumbra of light, adoring angels, and Joseph leading a donkey at left, 1570-1615, engraving. Metropolitan Museum of Art, New York, The Elisha Whittelsey Collection, The Elisha Whittelsey Fund, 1951, 51.501.3244
Cherubino Alberti

Cherubino Alberti, Angel Supporting Christ, Who Is Also Resting on Clouds, 1570–1615, engraving. Metropolitan Museum of Art, New York, The Elisha Whittelsey Collection, The Elisha Whittelsey Fund, 1951, 51.501.3782
Cherubino Alberti

Cherubino Alberti, The Transfiguration with Christ Flanked by Two Saints and with the Apostles Below, 1570–1615, engraving. Metropolitan Museum of Art, New York, The Elisha Whittelsey Collection, The Elisha Whittelsey Fund, 1951, 51.501.3784
Cherubino Alberti

Cherubino Alberti, after Rosso Fiorentino, The Adoration of the Magi with the Virgin, Christ Child, and Joseph at Center, Set against Architectural Details, 1570–1615, engraving. Metropolitan Museum of Art, New York, Rogers Fund, 1962, 62.602.302
Cherubino Alberti

Cherubino Alberti, after Polidoro da Caravaggio, The Triumph of Two Roman Emperors (Left-Hand Side) with a Roman Emperor Riding in a Triumphal Chariot, 1570–1615, engraving. Metropolitan Museum of Art, New York, The Elisha Whittelsey Collection, The Elisha Whittelsey Fund, 1951, 51.501.3759
Cherubino Alberti

Cherubino Alberti, after Polidoro da Caravaggio, The Triumph of Two Roman Emperors (Left-Hand Side) with Soldiers on Horseback and Men, Women, and Children Fleeing, 1570–1615, engraving. Metropolitan Museum of Art, New York, The Elisha Whittelsey Collection, The Elisha Whittelsey Fund, 1951, 51.501.723
Cherubino Alberti

Cherubino Alberti, A Winged Figure of Fame Standing Facing Left and Sounding a Trumpet, 1570–1615, engraving. Metropolitan Museum of Art, New York, The Elisha Whittelsey Collection, The Elisha Whittelsey Fund, 1951, 51.501.646
Cherubino Alberti

Cherubino Alberti, after Polidoro da Caravaggio, Female Figure Standing in the Right-Hand Margin of the Third Sheet of The Rape of the Sabine Women, 1570–1615, engraving. Metropolitan Museum of Art, New York, The Elisha Whittelsey Collection, The Elisha Whittelsey Fund, 1951, 51.501.3786
Cherubino Alberti

Cherubino Alberti, Madonna Holding a Lily Branch with the Christ Child on Her Lap, Seated on Clouds, Surrounded by Cherub Heads, 1570–1615, engraving. Metropolitan Museum of Art, New York, The Elisha Whittelsey Collection, The Elisha Whittelsey Fund, 1951,
51.501.3773
Cherubino Alberti

Cherubino Alberti, Mary Magdalen Standing on Clouds, Being Transported to Heaven by Angels, 1570–1615, engraving. Metropolitan Museum of Art, New York, The Elisha Whittelsey Collection, The Elisha Whittelsey Fund, 1951, 51.501.3771
Cherubino Alberti

Cherubino Alberti, after Polidoro da Caravaggio, Neptune Standing in a Niche Holding a Trident in His Left Hand, Foliage in His Right, 1570–1615, engraving; second state of two (Bartsch). Metropolitan Museum of Art, New York, The Elisha Whittelsey Collection, The Elisha Whittelsey Fund, 1960, 60.639.1
Cherubino Alberti

Cherubino Alberti, Portrait of Pope Urban VII in a Decorative Border, 1570–1615, engraving. Metropolitan Museum of Art, New York, Rogers Fund, 1962, 49.95.142
Cherubino Alberti

Cherubino Alberti, after Polidoro da Caravaggio, The Adoration of the Shepherds with the Christ Child at Center and Angels Above, 1570–1600, engraving; proof before letters. Metropolitan Museum of Art, New York, The Elisha Whittelsey Collection, The Elisha Whittelsey Fund, 1951, 51.501.3785
Cherubino Alberti

Cherubino Alberti, The Martyrdom of Saint Cristina di Bolsena with God the Father Above, 1570–1615, engraving. Metropolitan Museum of Art, New York, The Elisha Whittelsey Collection, The Elisha Whittelsey Fund, 1951, 51.501.3770 
Cherubino Alberti

Cherubino Alberti, after Polidoro da Caravaggio, The Sacrifice of Isaac Set in a Landscape with a Flock of Sheep at Left and an Angel Guiding Abraham's Sword at Upper Left, 1570–1615, engraving. Metropolitan Museum of Art, New York, The Elisha Whittelsey Collection, The Elisha Whittelsey Fund, 1959, 59.570.336
Cherubino Alberti

Cherubino Alberti, Venus on a Half-Shell, Holding Fabric over Her Head, 1570–1615, engraving. Metropolitan Museum of Art, New York, The Elisha Whittelsey Collection, The Elisha Whittelsey Fund, 1951, 51.501.3780
Cherubino Alberti

Cherubino Alberti, Winged Genius Holding a Tableau, Standing on a Sphere with Three Bees, 1570–1615, engraving. Metropolitan Museum of Art, New York, The Elisha Whittelsey Collection, The Elisha Whittelsey Fund, 1951, 51.501.654
Cherubino Alberti

Cherubino Alberti, after Polidoro da Caravaggio, Autumn (Autumnus), Represented as a Seated Male Figure Bearing Grapes in His Right Hand and a Lidded Vessel In His Left Hand, with a Billowing Drape and Grape Wreath, a Spandrel-Shaped Composition from the Series The Four Seasons after Polidoro da Caravaggio, c. 1570–1615, engraving. Metropolitan Museum of Art, New York, Bequest of Phyllis Massar, 2011, 2012.136.124.1
Cherubino Alberti

Cherubino Alberti, after Polidoro da Caravaggio, Spring (Primavera) Represented as a Woman Bearing a Billowing Drape and Garlands, a Spandrel-Shaped Composition from the Series The Four Seasons after Polidoro da Caravaggio, c. 1570–1615, engraving. Metropolitan Museum of Art, New York, Bequest of Phyllis Massar, 2011, 2012.136.124.3
Cherubino Alberti

Cherubino Alberti, after Polidoro da Caravaggio, Summer (Estate), Represented as a Robed Woman Bearing a Horn of Plenty, a Spandrel-Shaped Composition from the Series The Four Seasons after Polidoro da Caravaggio, c. 1570–1615, engraving. Metropolitan Museum of Art, New York, Bequest of Phyllis Massar, 2011, 2012.136.124.4
Cherubino Alberti

Cherubino Alberti, after Polidoro da Caravaggio, Winter (Hyems), Represented as a Seated Man Crossing His Arms across His Chest, a Spandrel-Shaped Composition from the Series The Four Seasons after Polidoro da Caravaggio, c. 1570–1615, engraving. Metropolitan Museum of Art, New York, Bequest of Phyllis Massar, 2011, 2012.136.124.2
Cherubino Alberti

Cherubino Alberti, after Polidoro da Caravaggio, The Creation of Adam Who Reclines at Left Touching the Hand of God, 1570–1615, engraving. Metropolitan Musuem of Art, New York, Purchase, Joseph Pulitzer Bequest, 1917, 17.50.16-175
Cherubino Alberti

Cherubino Alberti, after Polidoro da Caravaggio, The Expulsion from Paradise with an Angel Wielding a Sword behind Adam and Eve, 1570–1615, engraving. Metropolitan Museum of Art, New York, Purchase, Joseph Pulitzer Bequest, 1917, 17.50.16-171
Cherubino Alberti

Cherubino Alberti, after Polidoro da Caravaggio, The Taking of the Golden Apples, from Perseus and the Golden Apples, 1570–1615, engraving. Metropolitan Museum of Art, New York, Gift of Harry Shaw Newman, 1941, 41.97.442b
Cherubino Alberti

Cherubino Alberti, after Polidoro da Caravaggio, Perseus Changing Atlas into a Mountan with the Head of Medusa, from Perseus and the Golden Apples, 1570–1615, engraving. Metropolitan Museum of Art, New York, Gift of Harry Shaw Newman, 1941, 41.97.442a
Cherubino Alberti

Attributed to Cherubino Alberti, The Holy Family with Saint Anne and the Young Saint John the Baptist, 1570–1615, engraving. Metropolitan Museum of Art, New York, Harris Brisbane Dick Fund, 1926, 26.70.4(55)
Cherubino Alberti

Cherubino Alberti, Draped Figure with a Staff, pen and iron gall ink with gray wash over black chalk. National Gallery of Art, Washington, Joseph F. McCrindle Collection, 2009.70.8.b
Cherubino Alberti

Cherubino Alberti, Justice, pen and brown ink with gray wash over black chalk on laid paper. National Gallery of Art, Washington, Ailsa Mellon Bruce Fund, 1985.7.5
Cherubino Alberti

Cherubino Alberti, Saints Peter and Paul, pen and brown and iron gall ink, with brown wash over black chalk on laid paper. National Gallery of Art, Washington, Joseph F. McCrindle Collection, 2009.70.7
Cherubino Alberti

Cherubino Alberti, after Michelangelo Buonarroti, The Prophet Isaiah, undated, engraving. Yale University Art Gallery, New Haven, Everett V. Meeks, B.A. 1901, Fund, 2007.69.1  
Cherubino Alberti

Cherubino Alberti, Truth and Justice, etching. National Gallery of Art, Washington, Ailsa Mellon Bruce Fund, 1972.65.6
Cherubino Alberti

Cherubino Alberti, Two Draped Figures, pen and iron gall ink with brown wash over black chalk on laid paper. National Gallery of Art, Washington, Joseph F. McCrindle Collection, 2009.70.8.a

Giovanni Alberti

Giovanni Alberti

Giovanni Alberti, Prudence (verso), 1596/1601, red chalk on laid paper. National Gallery of Art, Washington, Gift of William B. O'Neal, in Honor of the 50th Anniversary of the National Gallery of Art, 1991.150.1.b
Giovanni Alberti

Giovanni Alberti, Project for a Rectangular Ceiling with Papal Coat of Arms (Design for a Courtyard on verso), 1558–1601, pen and brown ink, brush with brown and gray wash, and ruling and compass work over traces of black chalk. Metropolitan Museum of Art, New York, Purchase, Harris Brisbane Dick Fund and Joseph Pulitzer Bequest, 1971, 1971.513.44
Giovanni Alberti

Giovanni Alberti, Design for a Courtyard (Project for a Rectangular Ceiling with Papal Coat of Arms on recto), 1558–1601, pen and brown ink, brush with brown and gray wash, and ruling and compass work over traces of black chalk. Metropolitan Museum of Art, New York, Purchase, Harris Brisbane Dick Fund and Joseph Pulitzer Bequest, 1971, 1971.513.44

Alessandro Algardi

Alessandro Algardi

Alessandro Algardi, A Flagellator of Christ, c. 1630s, silver. National Gallery of Art, Washington, Patrons' Permanent Fund, 1991.124.1
Alessandro Algardi

Alessandro Algardi, Christ at the Column, model c. 1630s, cast probably mid 17th century, silver. National Gallery of Art, Washington D.C., New Century Fund, Gift of The William Stamps Farish Fund, 1998.95.1
Alessandro Algardi

Alessandro Algardi, The Rest on the Flight into Egypt, c. 1635, bronze. National Gallery of Art, Washington D.C., Kaiser Fund, Loula D. Lasker Fund and Edward E. MacCrone Fund, 1983.20.1
Alessandro Algardi

Alessandro Algardi, The Rest on the Flight into Egypt, 1632–1637, bronze. Yale University Art Gallery, New Haven, Gift of Michael Hall, 2016.17.1
Alessandro Algardi

Attributed to Alessandro Algardi, Bust of Maria Cerri Capranica, c. 1640, marble. J. Paul Getty Museum, Los Angeles, 2000.72, digital image courtesy of the Getty's Open Content Program
Alessandro Algardi

Alessandro Algardi, Saint Matthew, c. 1640, terracotta. National Gallery of Art, Washington, Ailsa Mellon Bruce Fund, 1970.71
Alessandro Algardi

Alessandro Algardi, Venus Seated in Her Sea Chariot Suckling Cupid, c. 1645, black chalk, partially pricked for transfer. J. Paul Getty Museum, Los Angeles, 92.GB.39, digital image courtesy of the Getty's Open Content Program
Alessandro Algardi

Alessandro Algardi, Saint Peter, 1646/1649, terracotta. Detroit Institute of Arts, Founders Society Purchase, Robert H. Tannahill Foundation Fund, 81.2
Alessandro Algardi

Alessandro Algardi, Christ on the Cross, 1647, pen and brown ink over red chalk on laid paper. National Gallery of Art, Washington D.C., Ailsa Mellon Bruce Fund, 1992.42.1
Alessandro Algardi

Alessandro Algardi, Design for a Covered Vase with the Arms of the Aldobrandini and Pamphilj Families, c. 1647, pen and brown ink and brush and brown wash. Metropolitan Museum of Art, New York, Harry G. Sperling Fund, 1979, 1979.131
Alessandro Algardi

Alessandro Algardi, Christ Falling under the Cross, c. 1650, bronze; ebonized wood base. Yale University Art Gallery, New Haven, Anonymous loan, ILE2011.17.58a-b
Alessandro Algardi

Alessandro Algardi, Landscape with the Holy Family (Rest on the Flight into Egypt), c. 1650, pen and brown ink with brown wash. J. Paul Getty Museum, Los Angeles, 94.GA.78, digital image courtesy of the Getty's Open Content Program
Alessandro Algardi

Alessandro Algardi, An Angel Supporting Part of a Reliquary, 1617–1654, black chalk. British Museum, London, Bequeathed by Calyton Mordaunt Cracherode, 1799, At,10.100
Alessandro Algardi

Alessandro Algardi, Two Putti Holding the Arms of Camillo Pamphili, Study for a Relief; Foliate Scrolls Behind, 1617–1654, pen and brown ink with gray-brown wash over black chalk. British Museum, London, Purchased from Hazlitt, Gooden & Fox with contributions from The Art Fund (as NACF) and the National Heritage Memorial Fund, 1991, 1991,1005.80
Alessandro Algardi

Alessandro Algardi, The Baptism of Christ, 1610–1654, bronze, Statens Museum for Kunst, Copenhagen, The Royal Collection of Paintings and Sculptures, KMS6343
Alessandro Algardi

Attributed to Alessandro Algardi, A Man, Whole Length, Standing Almost in Profile to Right, His Left Hand Outstretched and Pointing Downward, 1602–1654, pen and brown ink over red chalk. British Museum, London, Bequeathed by Sir Hans Sloane, 1753, SL,5223.48
Alessandro Algardi

Alessandro Algardi, Hercules Ascending from the Pyre, Study for a Relief; Two Draped Figures at Left, One Kneeling, Looking Up at Him, 1617–1654, pen and brown ink with brown wash over black chalk. British Museum, London, Purchased from Armin Christie, 1982, 1982,0724.4
Alessandro Algardi

Alessandro Algardi, Hercules Shooting at the Stymphalian Birds, Study for a Relief; Standing to Right with Bow Drawn, 1617–1654, pen and brown ink over black chalk. British Museum, London, Donated by Count Antoine Seilern, 1946, 1946,0713.1383
Alessandro Algardi

Alessandro Algardi, The Holy Family with Two Angels, 17th century, black chalk on off-white laid paper; framing outline in pen and dark brown ink; glued onto a secondary paper support. Metropolitan Museum of Art, New York, Purchase, Fletcher Fund, and Mr. and Mrs. David M. Tobey, Susan H. Seidel, and Sayn-Wittgenstein Fine Art Inc. Gifts, 1997, 1997.374
Alessandro Algardi

Alessandro Algardi, The Rest on the Flight into Egypt, 17th century, bronze. Metropolitan Museum of Art, New York, Rogers Fund, 1938, 38.152.11
Alessandro Algardi

Alessandro Algardi, Saint Ignatius Loyola with Saints and Martyr of the Jesuit Order, 17th century, bronze. Metropolitan Museum of Art, New York, Rogers Fund, 1938, 38.152.20
Alessandro Algardi

Alessandro Algardi, Design for the Prow of a Galley of Pope Urban VIII, with Figures of Victory, Sea Gods, Angels, and the Emblems of the Barberini Family, 17th century, pen and brown ink over lead point and partial stylus incisions. Metropolitan Museum of Art, New York, Partial and Promised Gift of Mr. and Mrs. David M. Tobey, 1997, 1997.346

Giovanni Baglione

Giovanni Baglione

Giovanni Baglione, Group of Nude Male Figures Kneeling and Standing in Supplication, c. 1598, pen and brown ink and brush and brown wash, squared in red chalk. Metropolitan Museum of Art, New York, Rogers Fund, 1965, 65.66.2
Giovanni Baglione

Giovanni Baglione, Return of the Holy Family from Egypt (Studies for the Return from Egypt on verso), 1599–1600, pen and brown ink and brush and brown wash over black chalk. Metropolitan Museum of Art, New York, Rogers Fund, 1962, 62.237
Giovanni Baglione

Giovanni Baglione, Studies for the Return from Egypt (Return of the Holy Family from Egypt on recto), 1599–1600, pen and brown ink and brush and brown wash over black chalk. Metropolitan Museum of Art, New York, Rogers Fund, 1962, 62.237
Giovanni Baglione

Giovanni Baglione, The Emperor Constantine Copronymous Burned by an Invisible Fire (Studies of Sibyls and Angels on verso), 1599–1610, pen and brown ink and brush and brown wash over black chalk. Metropolitan Museum of Art, New York, Gift of Walter C. Baker, 1961,61.72
Giovanni Baglione

Giovanni Baglione, Studies of Sibyls and Angels (The Emperor Constantine Copronymous Burned by an Invisible Fire on recto), 1599–1610, pen and brown ink over black chalk. Metropolitan Museum of Art, New York, Gift of Walter C. Baker, 1961, 61.72
Giovanni Baglione

Palma Giovane (center) and Giovanni Baglione (border), The Lamentation over the Dead Christ, Surrounded by a Decorative Border, Supported by Putti, 1559–1628, pen and brown ink with border in pen and brown ink, with brown wash, over black chalk. British Museum, London, Donated by Andrew Oliver, 1922, 1922,0622.5, ©Trustees of the British Museum
Giovanni Baglione

Giovanni Baglione, Leo Emperor of the Armenians Killed in the Presence of His Mother; Preparatory Study for a Fesco in the Ceiling of the Cappella Paolina in Santa Maria Maggiore, Rome, 1600–1630, oil on paper (grisaille), with strip of paper added along top right at later date (?). British Museum, London, Purchased from Julien Stock (Director of Sotheby’s) with contributions from Julien Stock and The Art Fund (as NACF) in Memory of Philip Pouncey, 1993, 1993,0403.8, ©Trustees of the British Museum
Giovanni Baglione

Giovanni Baglione, Rinaldo and Armida, 1586–1643, pen and brown ink and brush and brown wash, highlighted with white, on brownish paper. Metropolitan Museum of Art, New York, Gift of Harry G. Friedman, 1960, 60.66.1
Giovanni Baglione

Giovanni Baglione, A Youthful Saint, Saint James the Greater, on Horseback, Brandishing a Sword and Riding over a Group of Prostrate Men, an Angel Above, 1586–1644, pen and black ink. British Museum, London, Donated by Count Antoine Seilern, 1946, 1946,0713.660, ©Trustees of the British Museum
Giovanni Baglione

Giovanni Baglione, The Resurrection: Christ Rising, with a Swirl of Drapery around Him, Two Men Below Shielding Their Faces, a Third Man Fallen to the Ground (The Resurrection: with Separate Studies of Christ and Two Soldiers on verso), 1586–1644, pen and brown ink with gray wash over red chalk. British Museum, London, Bequeathed by William Fawkener, 1769, Ff,4.28, ©Trustees of the British Museum
Giovanni Baglione

Giovanni Baglione, The Resurrection: With Separate Studies of Christ and Two Soldiers (The Resurrection: Christ Rising, with a Swirl of Drapery around Him, Two Men Below Shielding Their Faces, a Third Man Fallen to the Ground on recto), 1586–1644, pen and brown ink with gray-brown wash. British Museum, London, Bequeathed by William Fawkener, 1769, Ff,4.28, ©Trustees of the British Museum
Giovanni Baglione

Giovanni Baglione, Designs for Two Pendentives, with a Raven Bringing Bread to Anthony of Egypt and Paul the Hermit, and Saint Antony Healing Animals (A Seated Man Looking Up to Left on verso), 1586-1644, pen and brown ink with gray wash, heightened with white (mostly oxidized), over black chalk, on light gray-brown paper. British Museum, London, Bequeathed by William Fawkener, 1769, T,12.6, ©Trustees of the British Museum
Giovanni Baglione

Giovanni Baglione, A Seated Man Looking Up to Left (Designs for Two Pendentives, with a Raven Bringing Bread to Anthony of Egypt and Paul the Hermit, and Saint Antony Healing Animals on recto), 1586–1644, black chalk heightened with white on light gray-brown paper. British Museum, London, Bequeathed by William Fawkener, 1769, T,12.6, ©Trustees of the British Museum
Giovanni Baglione

Giovanni Baglione, Saint Peter Baptizing Saint Prisca, 1586–1644, pen and brown ink with gray-brown wash, heightened with white (partly oxidized), over red chalk, on pale blue paper. British Museum, London, Purchased from Col John Wingfield Malcolm, 1895, 1895,0915.66, ©Trustees of the British Museum
Giovanni Baglione

Giovanni Baglione, Nude Youth Seated Astride an Urn, to Front, 1586–1644, red chalk heightened with white and later retouched with white (partly oxidized). British Museum, London, Purchased from Ben Weinreb, 1981, 1981,1107.223.11, ©Trustees of the British Museum
Giovanni Baglione

Giovanni Baglione, A Crowned Figure Standing by a Table, Looking Away to Left (An Archway in a Roman Ruin and a Composition Study for an Altarpiece Representing an Act of Healing or Charity on verso), 1586–1644, red and black chalk heightened with white. British Museum, London, Bequeathed by Sir Hans Sloane, 1753, SL,5223.9, ©Trustees of the British Museum
Giovanni Baglione

Giovanni Baglione, An Archway in a Roman Ruin and a Composition Study for an Altarpiece Representing an Act of Healing or Charity (A Crowned Figure Standing by a Table, Looking Away to Left on recto), 1586–1644, black chalk and pen and brown ink on buff prepared paper (?). British Museum, London, Bequeathed by Sir Hans Sloane, 1753, SL,5223.9, ©Trustees of the British Museum
Giovanni Baglione

Giovanni Baglione, Saint Peter Baptizing Saint Prisca, the Saint Standing with His Arms Out, Flanked by Groups of Figures, a Young Girl at Right Foreground (The Lateran Baptistry (St. Giovanni in Fiore) and Obelisk on verso), 1586–1644, pen and black ink with gray wash on light brown prepared paper. British Museum, London, Purchased through Yvonne Tan Bunzi from Sotheby’s, 1978, 1978,0520.4, ©Trustees of the British Museum
Giovanni Baglione

Giovanni Baglione, The Lateran Baptistry (St. Giovanni in Fiore) and Obelisk (Saint Peter Baptizing St Prisca, the Saint Standing with His Arms Out, Flanked by Groups of Figures, a Young Girl at Right Foreground on recto), 1586–1644, pen and brown ink over red chalk. British Museum, London, Purchased through Yvonne Tan Bunzi from Sotheby’s, 1978, 1978,0520.4, ©Trustees of the British Museum
Giovanni Baglione

Giovanni Baglione, A Woman Reclining on a Bed, Whole Length, Looking to Left, Drapery Falling Down the Side of the Bed, 1586–1644, black chalk heightened with white on blue-gray paper. British Museum, London, Bequeathed by William Fawkener, 1769, T,12.55, ©Trustees of the British Museum
Giovanni Baglione

Giovanni Baglione, Two Groups of Saints on Clouds, 1586–1644, pen and brown ink with some brown wash. British Museum, London, Donated by Count Antoine Seilern, 1946, 1946,0713.659, ©Trustees of the British Museum
Giovanni Baglione

Giovanni Baglione, A Group of Putti Holding Palms of Martyrdom, One Seated with a Laurel Wreath at Left, 1586–1644, red chalk on buff prepared paper. British Museum, London, Bequeathed by Sir Hans Sloane, 1753, SL,5223.27, ©Trustees of the British Museum
Giovanni Baglione

Giovanni Baglione, Two Figures Handling a Vase Half Length at a Table with Vases and Dishes, 1586–1644, pen and brown ink with gray wash on pale yellow prepared paper. British Museum, London, Bequeathed by Sir Hans Sloane, 1753, SL,5223.14, ©Trustees of the British Museum
Giovanni Baglione

Giovanni Baglione, The Flagellation of Christ: (left) Tied to a Column at Right, His Body Limp, a Man About to Strike Him, Other Figures Behind at Right; (right) Tied to a Column at Right, His Body Limp, a Man About to Strike Him, Other Figures Behind at Right; (below) Tied to a Post at Right, Two Men About to Strike Him, Another Man at Right Seen from Behind, 1586–1644, pen and brown ink on light brown paper. British Museum, London, Donated by Count Antoine Seilern, 1946, 1946,0713.658.a-c, ©Trustees of the British Museum
Giovanni Baglione

Giovanni Baglione, Standing Nude Male to Right, Seen Almost from Behind, 1586–1644, red chalk heightened with white on gray-brown prepared paper. British Museum, London, Purchased from Ben Weinreb, 1981, 1981,1107.223(2), ©Trustees of the British Museum 
Giovanni Baglione

Giovanni Baglione, Woman Walking to the Right, black chalk with gray wash and white heightening on light brown paper. National Gallery of Art, Washington D.C., Julius S. Held Collection, 1985.1.14

Gian Lorenzo Bernini

Gian Lorenzo Bernini

Gian Lorenzo Bernini, Portrait of a Young Man, c. 1615, black and red chalk heightened with white chalk. National Gallery of Art, Washington, Ailsa Mellon Bruce Fund, 1971.66.1
Gian Lorenzo Bernini

Pietro Bernini, assisted by Gian Lorenzo Bernini, Autumn in the Guise of Priapus (one of a pair), 1616–1617, marble. Metropolitan Museum of Art, New York, Purchase, The Annenberg Foundation Gift, 1990, 1990.53.2
Gian Lorenzo Bernini

Pietro Bernini, assisted by Gian Lorenzo Bernini, Spring in the Guise of Flora (one of a pair), 1616–1617, marble. Metropolitan Museum of Art, New York, Purchase, The Annenberg Foundation Gift, 1990, 1990.53.1
Gian Lorenzo Bernini

Gian Lorenzo Bernini and Pietro Bernini, Bacchanal: A Faun Teased by Children, c. 1616–1617, marble. The Metropolitan Museum of Art, Purchase, The Annenberg Fund Inc. Gift, Fletcher, Rogers, and Louis V. Bell Funds, and Gift of J. Pierpont Morgan, by exchange, 1976, 1976.92
Gian Lorenzo Bernini

Pietro Bernini and Gian Lorenzo Bernini, Boy with a Dragon, c. 1617, marble. J. Paul Getty Museum, Los Angeles, digital image courtesy of the Getty's Open Content Program

 
Gian Lorenzo Bernini

Gian Lorenzo Bernini, Bust of Camilla Barbadori (dead 1609). Mother of Pope Urban VIII Barberini, 1619, marble. Statens Museum for Kunst, Copenhagen, The Royal Collection of Paintings and Sculptures, acquired 1929, DEP44
Gian Lorenzo Bernini

Gian Lorenzo Bernini, Bust of Pope Paul V Borghese (1552; Pope 1605–1621), 1621 or 1622, bronze. Statens Museum for Kunst, Copenhagen, The Royal Collection of Paintings and Sculptures, acquired 1929, DEP47
This free-standing, white marble sculpture shows the head, shoulders, and upper chest of a balding, bearded man. In this photograph, his body faces us and he looks straight ahead. Bushy eyebrows arch low over deeply set eyes, and his forehead hollows inward at his temples. He has high cheekbones and the skin of his cheeks draws slightly in. His thin lips are set in a straight line within a full beard. His high-necked robe falls slightly open over his chest and is cut also away over the shoulders to show the crinkled fabric of the garment beneath. The bottom edge of the sculpture curves upward in a very shallow U across the bottom, and is supported by a square pedestal foot decorated with scroll designs. The background behind the bust lightens from charcoal gray along the top edge to pale gray across the bottom, and the sculpture casts a shadow behind its base.
Gian Lorenzo Bernini

Gian Lorenzo Bernini, Monsignor Francesco Barberini, c. 1623, marble. National Gallery of Art, Washington, Samuel H. Kress Collection, 1961.9.102
Gian Lorenzo Bernini

Gian Lorenzo Bernini, Portrait of a Young Man, 1630, red and white chalk. J. Paul Getty Museum, Los Angeles, 82.GB.137, digital image courtesy of the Getty's Open Content Program
Gian Lorenzo Bernini

Gian Lorenzo Bernini, Sketches for a Wall Tomb with Skeletons (recto), 1630–1640, pen and brown ink over traces of black chalk. Metropolitan Museum of Art, New York, Edward Pearce Casey Fund and The Elisha Whittelsey Collection, The Elisha Whittelsey Fund, 1998, 1998.33a, b 
Gian Lorenzo Bernini

Gian Lorenzo Bernini, Sketches for a Wall Tomb with Skeletons (verso), 1630–1640, black chalk. Metropolitan Museum of Art, New York, Edward Pearce Casey Fund and The Elisha Whittelsey Collection, The Elisha Whittelsey Fund, 1998, 1998.33a, b
Gian Lorenzo Bernini

Gian Lorenzo Bernini, Triton with a Sea Serpent, c. 1630s–before 1642, terracotta. Detroit Institute of Arts, Founders Society Purchase, Ralph Harman Booth Bequest Fund, 52.218
Gian Lorenzo Bernini

Gian Lorenzo Bernini, Triton with a Shell, c. 1630–before 1642, terracotta. Detroit Institute of Arts, Founders Society Purchase, Ralph Harman Booth Bequest Fund, 52.219
Gian Lorenzo Bernini

Gian Lorenzo Bernini, Portrait of an Unknown Boy, Head and Shoulders Slightly to Right, Looking to Front, Wearing a Wide Flat collar, c. 1630–1650, black, red, and white chalk on buff paper. British Museum, London, Purchased from Christie’s through Lorna Lowe, 1980, 1980,0126.69, ©Trustees of the British Museum
Gian Lorenzo Bernini

Gian Lorenzo Bernini, Study for a Triton (recto); Anatomical Studies (?) (verso), 1642–1643, red chalk, the background tinted with an almost imperceptible pale brown wash, framing lines in pen and brown ink.. Metropolitan Museum of Art, New York, Harry G. Sperling Fund, 1973, 1973.265
Gian Lorenzo Bernini

Gian Lorenzo Bernini, Anatomical Studies (?) (verso); Study for a Triton (recto), 1642–1643, black chalk. Metropolitan Museum of Art, New York, Harry G. Sperling Fund, 1973, 1973.265
Gian Lorenzo Bernini

Gian Lorenzo Bernini, A Marine God with a Dolphin, 1652–1653, black chalk. J. Paul Getty Museum, Los Angeles, 87.GB.142, digital image courtesy of the Getty's Open Content Program

 
Gian Lorenzo Bernini

Gian Lorenzo Bernini, Chair of Saint Peter, 1658, terracotta. Detroit Institute of Arts, Founders Society Purchase, Ralph Harman Booth Bequest Fund, 52.220
Gian Lorenzo Bernini

Gian Lorenzo Bernini, Two Designs for a Silver Scudo of Alexander VII on a Single Mount: A Centurion Distributing Alms to a Beggar and at Right Saint Peter Blessing the Arms of Pope Alexander VII, circular, c. 1658, pen and brown ink with brown wash over black chalk. British Museum, London, Donated by Count Antoine Seilern, 1946, 1946,0713.689.b, ©Trustees of the British Museum
Gian Lorenzo Bernini

Gian Lorenzo Bernini and studio, Ground Plans and Elevations of the Colonnade of Saint Peter's, Rome, Study for a Print; a Bird's-Eye View at Center Flanked by Two Trumpeting Winged Figures Holding Scrolls, 1659, pen and brown ink with brown wash over black chalk, with lines indented. British Museum, London, Bequeathed by Richard Payne Knight, 1824, Oo,3.5, ©Trustees of the British Museum
Gian Lorenzo Bernini

Gian Lorenzo Bernini, Study for a Medal Commemorating the Cathedral Petri, with a Monument Flanked by Columns and Figures,1662, pen and brown ink with brown wash and graphite. British Museum, London, Donated by Count Antoine Seilern, 1946, 1946,0713.689.a, ©Trustees of the British Museum
Gian Lorenzo Bernini

Gian Lorenzo Bernini, Portrait of Cardinal Sforza Pallavicino, 1665–1666, red chalk on buff paper. Yale University Art Gallery, New Haven, Egmont Collection, Yale Library Transfer, 1961.61.36
Gian Lorenzo Bernini

Gian Lorenzo Bernini, Design for the Catafalque to the Duc de Beaufort with a Soldier Surmounting a Pyramid, Flanked by Angels, Supported Below by Two Winged Skeletons and Trophies of War, 1669, pen and brown ink with brown (and some later gray) wash over black chalk. British Museum, London, Purchased from Charles François de Vendôme, Duc de Beaufort, 1874, 1874,0808.11, ©Trustees of the British Museum
Gian Lorenzo Bernini

Attributed to Gian Lorenzo Bernini, and Girolamo Luceni, Clement IX, ca. between 1669-1678, bronze. Detroit Institute of Arts, Founders Society Purchase, General Endowment Fund, 60.206
Gian Lorenzo Bernini

Gian Lorenzo Bernini, Bronze Medal Portrait of von Cheron, 1598–1680, c. 1674, bronze. Yale University Art Gallery, New Haven, Transfer from the Yale University Library, Numismatic Collection, 2001, 2001.87.28548
Gian Lorenzo Bernini

Gian Lorenzo Bernini, Seated Figures of Saint Ursula and Saint Cecilia, 1598–1680, pen and brown ink and brush and brown wash. Metropolitan Museum of Art, New York, Gift of Cephas G. Thompson, 1887, 87.12.113
Gian Lorenzo Bernini

Gian Lorenzo Bernini, Caricature of a Man Pointing, 1610–1680, pen and brown ink. Metropolitan Museum of Art, New York, Purchase, Alain and Marie-Christine van den Broek d'Obrenan Gift, 2008, 2008.600
Gian Lorenzo Bernini

Gian Lorenzo Bernini, Design for the Catafalque to Muzio Mattei: A Monument with a Pyramid of Candles Surmounted by a Flaming Torch, an Inscribed Tablet Below Flanked by Two Roman Soldiers, 1613–1680, pen and brown ink with brown wash over black chalk, with a vertical line ruled at the center and pricked. British Museum, London, Purchased from Charles Compton Cavendish, 1st Baron Chesham, and Leslie Colling-Mudge, with contributions from The Art Fund (as NACF), and J R Vallentin Fund, 1952,0121.26, ©Trustees of the British Museum
Gian Lorenzo Bernini

Gian Lorenzo Bernini, Portrait of a Young Man (Possibly a Self-Portrait), Head Turned Slightly to Left, Looking to Front, with a Slight Moustache, 1613–1680, red chalk heightened with white on buff prepared paper. British Museum, London, Purchased from Colnaghi, 1897, 1897.0410.10, ©Trustees of the British Museum
Gian Lorenzo Bernini

Gian Lorenzo Bernini, A Nereid Reclining on a Dolphin and Holding a Scarf above her Head, 1613–1680, black chalk and brown wash. British Museum, London, Donated by Count Antoine Seilern, 1946, 1946,0713.688, ©Trustees of the British Museum

Orazio Borgianni

Orazio Borgianni

Orazio Borgianni, Christ among the Doctors, c. 1609, oil on canvas. Rijksmuseum, Amsterdam, On loan from the Broere Charitable Foundation, SK-C-1709
Orazio Borgianni

Orazio Borgianni, Head of an Old Woman, after 1610, oil on canvas. Metropolitan Museum of Art, New York, Purchase, Gwynne Andrews Fund and Marco Voena and Luigi Koelliker Gift, 2010, 2010.289
Orazio Borgianni

Orazio Borgianni, Lot and His Family Fleeing Sodom, 1615, etching. Yale University Art Gallery, New Haven, Arts of the Book Collection Transfer, 2005.131.116
Orazio Borgianni

Orazio Borgianni, Lamentation over the Body of Christ by the Three Marys, a Jar of Ointment on the Table to the Left and Two Nails to the Right, 1615, etching. Metropolitan Museum of Art, New York, Bequest of Phyllis Massar, 2011, 2012.136.147
Orazio Borgianni

Orazio Borgianni, Saint Christopher, c. 1615, engraving on laid paper. National Gallery of Art, Washington, Ailsa Mellon Bruce Fund, 1990.39.1
Orazio Borgianni

Orazio Borgianni, after Raphael, Noah Offers a Sacrifice . . . (from the Vatican Loggia Paintings), 1615, etching. Yale University Art Gallery, New Haven, Gift of Richard Hunt, 1937.219
Orazio Borgianni

Orazio Borgianni, after Raphael, Noah Leaves the Ark after the Flood (from the Vatican Loggia Paintings), 1615, etching. Yale University Art Gallery, New Haven, Gift of Richard Hunt, 1937.220
Orazio Borgianni

Orazio Borgianni, after Raphael, The Capture of Jericho (from the Vatican Loggia Paintings), 1615, etching. Yale University Art Gallery, New Haven, Gift of Richard Hunt, 1937.221
Orazio Borgianni

Orazio Borgianni, after Raphael, Solomon Is Anointed King of Israel . . . (from the Vatican Loggia Paintings), 1615, etching. Yale University Art Gallery, New Haven, Gift of Richard Hunt, 1937.222
Orazio Borgianni

Orazio Borgianni, after Raphael, High Priest Eleazar and Joshua Distribute the Promised Land into Twelve Tribes (from the Vatican Loggia Paintings), 1615, etching. Yale University Art Gallery, New Haven, Gift of Richard Hunt, 1937.223
Orazio Borgianni

Orazio Borgianni, after Raphael, God Separating Light and Dark (from the Vatican Loggia Paintings), 1615, etching. Yale University Art Gallery, New Haven, Gift of George Kubler, B.A. 1934, 1955.55.1
Orazio Borgianni

Orazio Borgianni, after Raphael, God Creating the Sun and the Moon (from the Vatican Loggia Paintings), 1615, etching. Yale University Art Gallery, New Haven, Gift of George Kubler, B.A. 1934, 1955.55.2
Orazio Borgianni

Orazio Borgianni, after Raphael, Adam and Eve Eating the Forbidden Fruit (from the Vatican Loggia Paintings), 1615, etching. Yale University Art Gallery, New Haven, Gift of George Kubler, B.A. 1934, 1955.55.3
Orazio Borgianni

Orazio Borgianni, after Raphael, The Expulsion from Paradise (from the Vatican Loggia Paintings), 1615, etching. Yale University Art Gallery, New Haven, Gift of George Kubler, B.A. 1934, 1955.55.4
Orazio Borgianni

Orazio Borgianni, after Raphael, Adam and Eve after the Fall (from the Vatican Loggia Paintings), 1615, etching. Yale University Art Gallery, New Haven, Gift of George Kubler, B.A. 1934, 1955.55.5
Orazio Borgianni

Orazio Borgianni, after Raphael, The Deluge (from the Vatican Loggia Paintings), 1615, etching. Yale University Art Gallery, New Haven, Gift of George Kubler, B.A. 1934, 1955.55.6
Orazio Borgianni

Orazio Borgianni, after Raphael, Noah Leaving the Ark after the Deluge (from the Vatican Loggia Paintings), 1615, etching. Yale University Art Gallery, New Haven, Gift of George Kubler, B.A. 1934, 1955.55.7
Orazio Borgianni

Orazio Borgianni, after Raphael, Melchizedek Offering Bread and Wine to Abraham (from the Vatican Loggia Paintings), 1615, etching. Yale University Art Gallery, New Haven, Gift of George Kubler, B.A. 1934, 1955.55.8
Orazio Borgianni

Orazio Borgianni, after Raphael, Abraham Welcomes the Three Angels (from the Vatican Loggia Paintings), 1615, etching. Yale University Art Gallery, New Haven, Gift of George Kubler, B.A. 1934, 1955.55.9
Orazio Borgianni

Orazio Borgianni, after Raphael, God Tells Abraham His Destiny (from the Vatican Loggia Paintings), 1615, etching. Yale University Art Gallery, New Haven, Gift of George Kubler, B.A. 1934, 1955.55.10
Orazio Borgianni

Orazio Borgianni, after Raphael, Lot with His Wife and Daughters Leaving Sodom (from the Vatican Loggia Paintings), 1615, etching. Yale University Art Gallery, New Haven, Gift of George Kubler, B.A. 1934, 1955.55.11
Orazio Borgianni

Orazio Borgianni, after Raphael, God Forbids Isaac to Go to Egypt (from the Vatican Loggia Paintings), 1615, etching. Yale University Art Gallery, New Haven, Gift of George Kubler, B.A. 1934, 1955.55.12
Orazio Borgianni

Orazio Borgianni, after Raphael, Abimelech Sees Isaac Embracing Rebecca (from the Vatican Loggia Paintings), 1615, etching. Yale University Art Gallery, New Haven, Gift of George Kubler, B.A 1934, 1955.55.13
Orazio Borgianni

Orazio Borgianni, after Raphael, Isaac Grants a Second Benediction at the Entreaty of Esau (from the Vatican Loggia Paintings), 1615, etching. Yale University Art Gallery, New Haven, Gift of George Kubler, B.A. 1934, 1955.55.14
Orazio Borgianni

Orazio Borgianni, after Raphael, Jacob's Dream (from the Vatican Loggia Paintings), 1615, etching. Yale University Art Gallery, New York, Gift of George Kubler, B.A. 1934, 1955.55.15
Orazio Borgianni

Orazio Borgianni, after Raphael, Jacob and Laban (from the Vatican Loggia Paintings), 1615, etching. Yale University Art Gallery, New York, Gift of George Kubler, B.A. 1934, 1955.55.16
Orazio Borgianni

Orazio Borgianni, after Raphael, Jacob with His Family en Route Home (from the Vatican Loggia Paintings), 1615, etching. Yale University Art Gallery, New Haven, Gift of George Kubler, B.A. 1934, 1955.55.17
Orazio Borgianni

Orazio Borgianni, after Raphael, Joseph Sold by His Brothers (from the Vatican Loggia Paintings), 1615, etching. Yale University Art Gallery, New Haven, Gift of George Kubler, B A. 1934, 1955.55.18 
Orazio Borgianni

Orazio Borgianni, after Raphael, Joseph Interprets Pharaoh's Dreams (from the Vatican Loggia Paintings), 1615, etching. Yale University Art Gallery, New Haven, Gift of George Kubler, B.A. 1934, 1955.55.19
Orazio Borgianni

Orazio Borgianni, after Raphael, The Finding of Moses (from the Vatican Loggia Paintings), 1615, etching. Yale University Art Gallery, New Haven, Gift of George Kubler, B.A. 1934, 1955.55.20
Orazio Borgianni

Orazio Borgianni, after Raphael, God Appearing to Moses (from the Vatican Loggia Paintings), 1615, etching. Yale University Art Gallery, New Haven, Gift of George Kubler, B.A. 1934, 1955.55.21
Orazio Borgianni

Orazio Borgianni, after Raphael, The Crossing of the Red Sea (from the Vatican Loggia Paintings), 1615, etching. Yale University Art Gallery, New Haven, Gift of George Kubler, B.A. 1934, 1955.55.22
Orazio Borgianni

Orazio Borgianni, after Raphael, Moses Receiving the Tablets of the Law (from the Vatican Loggia Paintings), 1615, etching. Yale University Art Gallery, New Haven, Gift of George Kubler, B.A. 1934, 1955.55.24
Orazio Borgianni

Orazio Borgianni, after Raphael, Moses Striking the Rock (from the Vatican Loggia Paintings), 1615, etching. Yale University Art Gallery, New Haven, Gift of George Kubler, B.A. 1934, 1955.55.23
Orazio Borgianni

Orazio Borgianni, after Raphael, Moses Receiving the Tablets of the Law (from the Vatican Loggia Paintings), 1615, etching. Yale University Art Gallery, New Haven, Gift of George Kubler, B.A. 1934, 1955.55.24
Orazio Borgianni

Orazio Borgianni, after Raphael, The Israelites Adoring the Golden Calf (from the Vatican Loggia Paintings), 1615, etching. Yale University Art Gallery, New Haven, Gift of George Kubler, B.A. 1934, 1955.55.25
Orazio Borgianni

Orazio Borgianni, after Raphael, The Ark of the Covenant Carried across the Jordan (from the Vatican Loggia Paintings), 1615, etching. Yale University Art Gallery, New Haven, Gift of George Kubler, B.A. 1934, 1955.55.26
Orazio Borgianni

Orazio Borgianni, after Raphael, Joshua Commanding the Sun and the Moon to Stand Still (from the Vatican Loggia Paintings), 1615, etching. Yale University Art Gallery, New Haven, Gift of George Kubler, B.A. 1934, 1955.55.27
Orazio Borgianni

Orazio Borgianni, after Raphael, Samuel Anoints David (from the Vatican Loggia Paintings), 1615, etching. Yale University Art Gallery, New Haven, Gift of George Kubler, B.A. 1934, 1955.55.28
Orazio Borgianni

Orazio Borgianni, after Raphael, David Killing Goliath (from the Vatican Loggia Painting), 1615, etching. Yale University Art Gallery, New Haven, Gift of George Kubler, B.A. 1934, 1955.55.29
Orazio Borgianni

Orazio Borgianni, after Raphael, David Seeing Bathsheba from His Window (from the Vatican Loggia Paintings), 1615, etching. Yale University Art Gallery, New Haven, Gift of George Kubler, B.A. 1934, 1955.55.30
Orazio Borgianni

Orazio Borgianni, after Raphael, The Judgment of Solomon (from the Vatican Loggia Paintings), 1615, etching. Yale University Art Gallery, New Haven, Gift of George Kubler, B.A. 1934, 1955.55.31
Orazio Borgianni

Orazio Borgianni, after Raphael, The Building of Solomon's Temple in Jerusalem (from the Vatican Loggia Paintings), 1615, etching. Yale University Art Gallery, New York, Gift of George Kubler, B.A. 1934, 1955.55.32

Giovanni Battista Calandra

Giovanni Battista Calandra

Attributed to Giovanni Battista Calandra, Portrait of Camillo Rospigliosi, about 1630–1640, glass mosaic in gilt wood frame. J. Paul Getty Museum, Los Angeles, 87.SE.132, digital image courtesy of the Getty's Open Content Program

Andrea Camassei

Andrea Camassei

Andrea Camassei, Saint Sebastian Clubbed to Death, 1602–1649, red chalk over faint traces of black chalk. The Metropolitan Museum of Art, New York, Rogers Fund, 1965, 65.137

Giuseppe Cesari

Giuseppe Cesari (Il Cavaliere d'Arpino)

Giuseppe Cesari, Allegorical Figure, probably c. 1588, black and red chalk on laid paper. National Gallery of Art, Washington, Andrew W. Mellon Fund, 1977.44.1
Giuseppe Cesari (Il Cavaliere d'Arpino)

Giuseppe Cesari, Allegorical Figure of Fame, c. 1590, graphite and red chalk highlighted with white gouache on light brown paper. Metropolitan Museum of Art, New York, Gift of Mrs. Alfred H. Barr, Jr., 1986, 1986.318
Giuseppe Cesari (Il Cavaliere d'Arpino)

Attributed to Giuseppe Cesari, Madonna and Child, c. 1590, red chalk on cream laid paper. Detroit Institute of Arts, Founders Society Purchase, Laura H. Murphy Fund, 35.112
Giuseppe Cesari (Il Cavaliere d'Arpino)

Giuseppe Cesari, Head of A Warrior, 1597–1601, red chalk. Metropolitan Museum of Art, New York, Bequest of Walter C. Baker, 1971, 1972.118.247
Giuseppe Cesari (Il Cavaliere d'Arpino)

Giuseppe Cesari, The Resurrection, c. 1600, pen and brown ink and brush and brown wash, highlighted with white, over black chalk. Metropolitan Museum of Art, New York, Gift of Cephas G. Thompson, 1887, 87.12.34
A young woman with long blond hair kneels in front of a crowd of about two dozen people, mostly men, under a heavenly group on cloudbanks overhead in this vertical painting. They all have pale or tanned skin. At the bottom center, the young woman, Saint Margaret, kneels facing us as she tips her head down and to our right, her fingertips pressed together in prayer. Her cloak shimmers from pale yellow to coral red over an olive-green gown edged with sapphire blue. A thin gold halo floats over her loose, waist-length hair. A muscular, bare-chested man to our right unsheathes a sword as he twists toward Saint Margaret. An armored man to our right rests one hand on a white and gold shield, which pins dragon to the ground. Another man is on horseback in the crowd beyond, and the rest appear to stand. Some hold halberds and spears. A rocky outcropping rises to our left, and a gray building is in the distance to our right. A woman holding a baby, Mary and Jesus, and two bearded men sit in a cloud bank in the top half of the picture. One man holds an oversized key and the other a sword. They and the people below wear robes and cloaks in tones of golden yellow, royal blue, dark rose pink, or shades of gray and brown. A winged angel holding a crown of leaves and a palm frond flies between the two groups, and more blond-haired angels hover above. Two baby-like putti scatter flowers over Mary. The artist signed the work in the lower left corner as if he had written his name on a rock. It reads, “IOSEPHVS CAESAR ARPINAS.”
Giuseppe Cesari (Il Cavaliere d'Arpino)

Giuseppe Cesari, Martyrdom of Saint Margaret, c. 1608/1611, oil on panel. National Gallery of Art, Washington, Gift of David Edward Finley and Margaret Eustis Finley, 1984.4.1
Giuseppe Cesari (Il Cavaliere d'Arpino)

Giuseppe Cesari, Madonna and Child with Saint John the Baptist and Saint Augustine, c. 1610–1620, red and black chalk. Yale University Art Gallery, New Haven, Everett V. Meeks Fund, 1966.9.2
Giuseppe Cesari (Il Cavaliere d'Arpino)

Giuseppe Cesari, Head of a Bearded Man Wearing a Hood in Profile Facing Left, 1636-1638, pen and brown ink. Metropolitan Museum of Art, New York, Anonymous Gift, 2006. 2006.393.3
Giuseppe Cesari (Il Cavaliere d'Arpino)

Giuseppe Cesari, Advancing Figure, 1568–1640, red chalk. Metropolitan Museum of Art, New York, Gift of Joseph M. Lichtenauer, 1890, 90.20.6
Giuseppe Cesari (Il Cavaliere d'Arpino)

Giuseppe Cesari, Figure of a Man Throwing Stones (Study of a Man (?) on verso), 1568–1640, red chalk. Metropolitan Museum of Art, New York, Gift of Joseph M. Lichtenauer, 1890, 90.20.4
Giuseppe Cesari (Il Cavaliere d'Arpino)

Giuseppe Cesari, Study of a Man (?) (Figure of a Man Throwing Stones on recto), 1568–1640, black chalk. Metropolitan Museum of Art, New York, Gift of Joseph M. Lichtenauer, 1890, 90.20.4
Giuseppe Cesari (Il Cavaliere d'Arpino)

Giuseppe Cesari, Study of a Male Nude, 1568–1640, red chalk. Metropolitan Museum of Art, New York, Gift of Henry Walters, 1917,
17.236.1
Giuseppe Cesari (Il Cavaliere d'Arpino)

Giuseppe Cesari, Study of a Torso, 1568–1640, red chalk. Metropolitan Museum of Art, New York, Gift of Joseph M. Lichtenauer, 1890,
90.20.5

Agostino Ciampelli

Agostino Ciampelli

Agostino Ciampelli,The Marytyrdom of Saint Clement I, Pope, 1596–1597, pen and brown ink and brush and brown wash, highlighted with white, over black chalk on brownish paper. Metropolitan Museum of Art, New York, Harry G. Sperling Fund, 1979, 1979.286.2
Agostino Ciampelli

Antonio Tempesta or Agostino Ciampelli, An Architectural Wall Design in Honor of Henry IV, the Gallic Hercules, c. 1600, pen and brown ink with brown wash over graphite on laid paper. National Gallery of Art, Washington, Ailsa Mellon Bruce Fund, 1996.73.1
Agostino Ciampelli

Attributed to Agostino Ciampelli, Standing Male Nude, n.d., red chalk. Metropolitan Museum of Art, New York, Gift of Mr. and Mrs. Julien Stock, in honor of George R. Goldner, 2015, 2015.562.1

Pietro da Cortona

Pietro da Cortona

François Spierre, after Pietro da Cortona, Saint Martina kneeling before the Virgin and Child, as the Child offers her a lily, c. 1664–79, engraving. Metropolitan Museum of Art, New York, The Elisha Whittelsey Collection, The Elisha Whittelsey Fund, 1962, 62.650.528bis
Pietro da Cortona

Pietro da Cortona, The Virgin and Child with Saint Martina, 1596–1669, pen and brown ink, brush and brown wash, over black chalk. Metropolitan Museum of Art, New York, Bequest of Benjamin Sonnenberg, 1978, 1979.3.
Pietro da Cortona

Pietro da Cortona, The Virgin and Child with Saint Martina, Another Study of Saint Martina, Studies of a Head, and of an Arcade (recto); Figure Studies (verso), 1596–1669, pen and brown ink, over black chalk. Metropolitan Museum of Art, New York, Gift of Cornelius Vanderbilt, 1880, 80.3.52.
Pietro da Cortona

Pietro da Cortona, Study for the Allegory of Religion, 1629–1639, red chalk. Metropolitan Museum of Art, New York, Rogers Fund, 1964, 64.197.3
Pietro da Cortona

Pietro da Cortona, Landscape with Wine Harvest, c. 1630, brush and gray wash and touches of pen and brown ink over traces of black chalk, with an illusionistic frame drawn in yellow and brown wash. Metropolitan Museum of Art, New York, Purchase, 2002 Benefit Fund, 2003, 2003.101
Pietro da Cortona

Pietro da Cortona, The Triumph of Nature over Art (Design for an Engraving of De Florum Cultura), c. 1633, pen and brown ink and brush and brown wash over black chalk. Metropolitan Museum of Art, New York, Rogers Fund, 1960, 61.2.1
Pietro da Cortona

Pietro da Cortona, Cybele before the Council of the Gods, 1633, pen and brown ink with brown wash heightened with white body color, over black chalk, with the outlines indented with the stylus for transfer. J. Paul Getty Museum, Los Angeles, 96.GB.315, digital image courtesy of the Getty's Open Content Program
Pietro da Cortona

Pietro da Cortona, Christ on the Cross with the Virgin Mary, Mary Magdalene, and Saint John, c. 1661, pen and brown ink and gray wash over black chalk, heightened with white gouache, on light brown paper, squared in black chalk; the oval only reinforced in red chalk. J. Paul Getty Museum, Los Angeles, 92.GB.79, digital image courtesy of the Getty's Open Content Program
Pietro da Cortona

Pietro da Cortona, Saint Cecilia Giving Alms to the Poor, c. 1635–1640, pen and brown ink over black chalk. J. Paul Getty Museum, Los Angeles, 96.GB.328, digital image courtesy of the Getty's Open Content Program
Pietro da Cortona

Pietro da Cortona, Study for the Age of Bronze, 1637, pen and brown ink over black chalk. Metropolitan Museum of Art, New York, Rogers Fund, 1964, 64.48.2
Pietro da Cortona

Pietro da Cortona, Study for the Age of Bronze, 1637, pen and brown ink and brush and brown wash over black chalk. Metropolitan Museum of Art, New York, Bequest of Walter C. Baker, 1971, 1972.118.248
Pietro da Cortona

Pietro da Cortona, Study of a Seated Youth for The Age of Gold, 1637, black chalk. Metropolitan Museum of Art, New York, Bequest of Walter C. Baker, 1971, 1972.118.249
Pietro da Cortona

Pietro da Cortona, Study of Two Figures for The Age of Gold, 1637, black chalk, slightly reworked by the artist with the wet tip of the chalk stick. Metropolitan Museum of Art, New York, Bequest of Walter C. Baker, 1971, 1972.118.250
Pietro da Cortona

Pietro da Cortona, God the Father with Angels Holding Symbols of the Passion, 1647–1651, black chalk. Metropolitan Museum of Art, New York, Rogers Fund, 1971, 1971.146
Pietro da Cortona

Pietro da Cortona, Study for Angels Sealing the Foreheads of the Children of Israel in Saint Peter's Basilica, 1652, black chalk and brush with brown and gray wash, highlighted with white gouache, on three sheets of brownish paper glued with overlapping joints. Metropolitan Museum of Art, New York, Rogers Fund, 1966, 66.134.1a–c
Pietro da Cortona

Pietro da Cortona, A Wind God, 1669, black chalk highlighted with white on brownish paper. Metropolitan Museum of Art, New York, The Elisha Whittelsey Fund, 1961, 61.129.1 
Pietro da Cortona

Pietro da Cortona, Allegory in Honor of Cardinal Antonio Barberini the Younger (1607–1671) (Design for an Engraving), 1596–1669, pen and brown ink and brush and brown wash, highlighted with white, over black chalk, on brown paper. Metropolitan Museum of Art, New York, Rogers Fund, 1964, 64.50
Pietro da Cortona

Pietro da Cortona, Satyrs Supporting an Ornamental Motif, 1596–1669, pen and brown ink. Metropolitan Museum of Art, New York, Rogers Fund, 1962, 62.119.2 
Pietro da Cortona

Pietro da Cortona, Sea Battle, 1596–1669, brush and brown wash. Metropolitan Museum of Art, New York, Rogers Fund, 1964, 64.197.4
Pietro da Cortona

Attributed to Pietro da Cortona, Saint Michael Expurging Heresy, 1596–1669, pen and brown ink and brush and brown wash over traces of black chalk. Metropolitan Museum of Art, New York, The Elisha Whittelsey Collection, The Elisha Whittelsey Fund, 1949, 49.19.53
Pietro da Cortona

Pietro da Cortona, The Virgin and Child with Saint Martina; Another Study of Saint Martina; Studies of a Head and of an Arcade (Figure Studies on verso), 1596–1669, pen and brown ink over black chalk. Metropolitan Museum of Art, New York, Gift of Cornelius Vanderbilt, 1880, 80.3.52
Pietro da Cortona

Pietro da Cortona, The Virgin and Child with Saint Martina, 1596–1669, pen and brown ink and brush and brown wash over black chalk. Metropolitan Museum of Art, New York, Bequest of Benjamin Sonnenberg, 1978, 1979.3
Pietro da Cortona

Pietro da Cortona, Men Digging and Constructing a Wall, 17th century, pen and brown ink over black chalk. Metropolitan Museum of Art, New York, Anonymous Gift, 2006, 2006.393.7
Pietro da Cortona

Pietro da Cortona, Design with an Eagle Fighting with a Serpent and a Putto in the Sky Holding an Inscribed Banner, 17th century, pen and black ink and brush and black wash over traces of black chalk, highlighted with white and blue-gray gouache, on light brown paper. Metropolitan Museum of Art, New York, Gift of Janos Scholz, 1954, 54.650
Pietro da Cortona

Pietro da Cortona, The Adoration of the Shepherds, 17th century, pen and dark brown ink; traces of framing outlines in pen and brown ink. Metropolitan Museum of Art, New York, Anonymous Gift, 2006, 2006.393.6
Pietro da Cortona

Pietro da Cortona, Saint Jerome in the Desert, c. 1637, oil on copper. Detroit Institute of Arts, Gift of Mr. and Mrs. E. Raymond Field, 42.56
Pietro da Cortona

Claude Mellan, after Pietro da Cortona, Allegory in Honor of the Roman College Founded by the Borghese Family, 1615–1688, engraving (third state of three). Metropolitan Museum of Art, New York, The Elisha Whittelsey Collection, The Elisha Whittelsey Fund, 1951, 51.501.4303

Domenichino

Domenichino

Domenichino, The Lamentation, 1603, oil on copper. Metropolitan Museum of Art, New York, Purchase, Walter and Leonore Annenberg Acquisitions Endowment Fund, European Paintings Funds and funds from various donors; Mr. and Mrs. Mark Fisch and The Reed Foundation Gifts; Gwynne Andrews Fund; Elaine Rosenberg Gift; The Edward Joseph Gallagher III Memorial Collection, Edward J. Gallagher Jr. Bequest; Marquand Fund; Museum Purchase Fund; Peter Tcherepnine Gift; The Camille M. Lownds Fund; Stephenson Family Foundation Gift; Ruth and Victoria Blumka Fund; Earl Kiely Bequest; and The Morse G. Dial Foundation, 2005 CINOA Prize and Diane Carol Brandt Gifts, 2008, 2008.72
Domenichino

Domenichino, Study of a Seated Old Man, c. 1604, black chalk with white heightening on blue paper. Yale University Art Gallery, Everett V. Meeks, B.A. 1901, Fund, 2003.103.1
Domenichino

Domenichino, The Way to Calvary, c. 1610, oil on copper. J. Paul Getty Museum, Los Angeles, 83.PC.373, digital image courtesy of the Getty's Open Content Program
Domenichino

Domenichino, Landscape with Moses and the Burning Bush, 1610-1616, oil on copper. Metropolitan Museum of Art, New York, Gift of Mr. and Mrs. Charles Wrightsman, 1976, 1976.155.2
Domenichino

Domenichino, The Martyrdom of Saint Cecilia (Cartoon for a Fresco), 1612–1614, charcoal with white chalk heightening on fourteen sheets of blue laid paper, two of the sheets cut from elsewhere on the original cartoon and reset at the left and right margins to make up the oval. Metropolitan Museum of Art, New York, Wrightsman Fund, 1998, 1998.211
Domenichino

Domenichino, Saint Cecilia, c. 1612–1615, black and white chalk on gray paper, pricked for transfer. J. Paul Getty Museum, Los Angeles, 92.GB.26, digital image courtesy of the Getty's Open Content Program
Domenichino

Domenichino, The Madonna of Loreto Appearing to Saint John the Baptist, Saint Eligius, and Saint Anthony Abbot, c. 1618‒1620, oil on canvas. North Carolina Museum of Art, Raleigh, Gift of the Samuel H. Kress Foundation, GL.60.17.51
Domenichino

Domenichino, Head of a Bearded Man, 1620–1630, black chalk highlighted with white chalk on blue-gray paper partly faded light brown. Metropolitan Museum of Art, New York, Gustavus A. Pfeiffer Fund, 1994, 1994.183
A nearly nude man and woman look up at a bearded man floating in front of a billowing red drapery in midair, accompanied by five chubby children in this horizontal painting. All the people have pale or peachy skin. The man and woman on the ground, Adam and Eve, take up the left half of the composition and are shown near a grove of trees. Adam, to our right in the pair, stands with knees bent, his body facing us. He holds both open hands, palm up, toward Eve, to our left. His head tips to our right and he looks up at the bearded man, God, with dark eyes under raised brows. Adam has a brown beard and curly hair. He wears a ring of leaves across his hips but is otherwise nude. His cheek and nose, hands, knees, and toes are pink, and muscles stand out on his torso, arms, and legs. To our left, Eve kneels on one knee and braces her other leg on her splayed toes. Her body is angled to our left, and she turns back to look up at Adam. She has long blond hair, and her skin is more pale than the others. She also wears leaves around her hips, and her torso and legs are bare. Her left hand, closer to Adam, rests on her thigh. With her other hand, she points to a striped snake on the ground. The trees behind them have dark green leaves and yellow fruit. The dirt ground beneath them has some scrubby green growth. Close to Adam, God and his attendants float above a lion and a lamb on the ground, all taking up the right half of the composition. God’s gray beard and hair blow back as if in a wind. He wears a topaz-blue, knee-length toga. His body faces us, and he leans to our left, almost horizontally, toes pointed off to our right. He reaches his right arm, to our left, toward Adam. His other arm stretches out and rests on a black orb, about the size of a basketball. He is supported to our left by two child-like angels, wearing brick red or golden yellow robes. Three smaller children, like toddlers, gather around the black orb. The red cloth billowing around God and the angels creates a shell-like form that surrounds them. The white lamb lies below and looks at Adam and Eve, and the lion crouches and looks off to our left. Trees and grassy knolls lead back to distant, blue hills. A horse and bear stand, tiny in scale, in the distant landscape. The horizon comes about halfway up the painting, and the vivid blue sky above is clear. In the lower right corner, the inventory number “F.7” is painted in yellow.
Domenichino

Domenichino, The Rebuke of Adam and Eve, 1626, oil on canvas. National Gallery of Art, Washington, Patrons' Permanent Fund, 2000.3.1

Orazio Gentileschi

Orazio Gentileschi

Attributed to Orazio Gentileschi, Saint Simon and Saint Jude Baptizing the King of Persia and His Generals, c. 1594, pen and brown ink with gray-brown wash over black chalk, squared for transfer. British Museum, London, 1951,0322.1, ©Trustees of the British Museum
Orazio Gentileschi

Orazio Gentileschi, Saint Francis Supported by an Angel, c. 1600, oil on canvas. Museum of Fine Arts, Boston, Charles H. Bayley Picture and Painting Fund, 2010.374
Orazio Gentileschi

Orazio Gentileschi, Young Woman with a Violin (Saint Cecilia), c. 1612, oil on canvas. Detroit Institute of Arts, Gift of Mrs. Edsel B. Ford, 68.47
Facing away from us, a young woman with pale skin, wearing a golden yellow gown, leans her head down toward the lute she holds nearly upright in her lap in this horizontal painting. She sits near the right edge of the painting so her body faces the table beyond her, to our left. Her body is angled away from us but she turns her head so we see her in profile, facing our left. She tips her head to put her ear next to the lute, and she looks down and off to our left with brown eyes under thin, slightly arched brows. She has a straight nose, smooth, flushed cheeks, and her coral-pink lips are closed. Her dark blond hair is parted down the middle and pulled back under long braids looped around the back and over the top of her head. Light reflects off her hair and off the short, loose strands near the ear we can see. Her long yellow dress has a full skirt. The stiff bodice is laced up the sides and hooks over the shoulders, over a voluminous, bright white blouse. The sleeve we can see is pushed up over her forearm. Her seat is draped in crimson-red, velvety fabric. She holds the neck of the lute up high with her left hand, her fingers pressing the strings, so she brings the rounded body of the instrument up to her ear. In front of her, the table is draped with fringed, olive-green fabric. A violin made with blond wood lies on the table with the neck stretching toward us. There is also the violin bow and at least three wooden recorders on the table. One book of music is open so the pages fall over the edge of the table, near the woman. One other book of music at the back of the table is held open with a recorder. The feet of the table and the ankles of the woman are cut off by the bottom edge of the painting. The background is dark, earth brown except for a diagonal shaft of light across the top left corner of the composition, presumably from a high window in the wall out of our view.
Orazio Gentileschi

Orazio Gentileschi, The Lute Player, c. 1612/1620, oil on canvas. National Gallery of Art, Washington, Ailsa Mellon Bruce Fund, 1962.8.1
A young woman plays a small pipe organ while a winged angel holds up a piece of sheet music in this horizontal painting. A strong light source illuminates the scene from our right, creating deep shadows in the dark background. Both the woman and angel have pale skin, flushed cheeks, and light brown hair. Shown from the knees up and taking up the left half of the painting, the woman’s body is angled to our right as she sits at the organ, which is near the right edge of the composition. Her hair is pulled back into a braid, and wisps fall on her forehead. Her skin is smooth, and her head tilts down toward the organ. Her cherry-red dress has a squared neckline and olive-green sleeves over a white shirt. The voluminous sleeves are pushed back over her forearms as she rests her fingertips on the keys of the organ. Gazing toward the woman, the angel has short, curly hair, silvery gray wings, and wears a topaz-blue garment. Two lines of music on the paper the angel holds have notes written in and one staff is empty. The small organ is angled away from us so we see one narrow end and the row of low pipes along its back. The dark brown background lightens behind the young woman’s head.
Orazio Gentileschi

Orazio Gentileschi, Giovanni Lanfranco, Saint Cecilia and an Angel, c. 1617/1618 and c. 1621/1627, oil on canvas. National Gallery of Art, Washington, Samuel H. Kress Collection, 1961.9.73
Orazio Gentileschi

Orazio Gentileschi, Danaë and the Shower of Gold, 1621–1623, oil on canvas. J. Paul Getty Museum, Los Angeles, 2016.6, digital image courtesy of the Getty's Open Content Program 
Orazio Gentileschi

Orazio Gentileschi, Lot and His Daughters, about 1622, oil on canvas. J. Paul Getty Museum, Los Angeles, 98.PA.10, digital image courtesy of the Getty's Open Content Program
Orazio Gentileschi

Jacques Callot, after Orazio Gentileschi, Conversion of Saint Paul, with Christ Descending from Heaven, Delineationes picturae altarium in Ecclesiis S. Petri et S. Pauli Romae / Tableaux de Rome / Les Eglises jubilaires, 1607–1611, engraving. The British Museum, London, 1861,0713.349 ©Trustees of the British Museum

Giovanni Lanfranco

A young woman plays a small pipe organ while a winged angel holds up a piece of sheet music in this horizontal painting. A strong light source illuminates the scene from our right, creating deep shadows in the dark background. Both the woman and angel have pale skin, flushed cheeks, and light brown hair. Shown from the knees up and taking up the left half of the painting, the woman’s body is angled to our right as she sits at the organ, which is near the right edge of the composition. Her hair is pulled back into a braid, and wisps fall on her forehead. Her skin is smooth, and her head tilts down toward the organ. Her cherry-red dress has a squared neckline and olive-green sleeves over a white shirt. The voluminous sleeves are pushed back over her forearms as she rests her fingertips on the keys of the organ. Gazing toward the woman, the angel has short, curly hair, silvery gray wings, and wears a topaz-blue garment. Two lines of music on the paper the angel holds have notes written in and one staff is empty. The small organ is angled away from us so we see one narrow end and the row of low pipes along its back. The dark brown background lightens behind the young woman’s head.
Giovanni Lanfranco

Orazio Gentileschi and Giovanni Lanfranco, Saint Cecilia and an Angel, c. 1617/1618 and c. 1621/1627, oil on canvas. National Gallery of Art, Washington, Samuel H. Kress Collection, 1961.9.73
Giovanni Lanfranco

Giovanni Lanfranco, Elijah Receiving Bread from the Widow of Zarephath, 1621–1624, oil on canvas. J. Paul Getty Museum, Los Angeles, 76.PA.1, digital image courtesy of the Getty's Open Content Program
Giovanni Lanfranco

Giovanni Lanfranco, Moses and the Messengers from Canaan, 1621–1624, oil on canvas. J. Paul Getty Museum, Los Angeles, 69.PA.4, digital image courtesy of the Getty's Open Content Program
Giovanni Lanfranco

Giovanni Lanfranco, Madonna and Child with the Infant Saint John the Baptist, c. 1630–1632, oil on canvas. J. Paul Getty Museum, Los Angeles, 84.PA.683, digital image courtesy of the Getty's Open Content Program
Giovanni Lanfranco

Giovanni Lanfranco, A Bearded Prophet in Glory Attended by a Bishop, Two Other Male Saints, and Angels (Design for a Section of a Dome), 1634–1635, black chalk, partly reworked by the artist in pen and brown ink. Metropolitan Museum of Art, New York, Purchase, Guy Wildenstein Gift, 2004 2004.295
Giovanni Lanfranco

Giovanni Lanfranco, Seated Apostles and Putti, 1637–1638, red chalk. Metropolitan Museum of Art, New York, Rogers Fund, 1965, 65.66.6
Giovanni Lanfranco

Giovanni Lanfranco, Male Figure Running, 1582–1647, pen and brown ink. Metropolitan Museum of Art, New York, Gift of Cephas G. Thompson, 1887, 87.12.64
Giovanni Lanfranco

Giovanni Lanfranco, The Miraculous Mass of Saint Martin of Tours with the Apparition of a Ball of Fire above His Head, 1582–1647, pen and brown ink. Metropolitan Museum of Art, New York, Gift of Eric Wunsch, 1968, 68.123.2
Giovanni Lanfranco

Giovanni Lanfranco, The Martyrdom of the Apostle Thomas, 1582–1647, pen and brown ink and brush and brown wash with spots of red wash at upper right and left. Metropolitan Museum of Art, New York, Gift of Walter Lowry, 1956, 56.219.4
Giovanni Lanfranco

Giovanni Lanfranco, Putti and a Young Satyr at Play, 1582–1647, red chalk. Metropolitan Museum of Art, New York, Rogers Fund, 1966, 66.53.1
Giovanni Lanfranco

Attributed to Giovanni Lanfranco, Seated Draped Male Figure (Rough Studies of Putti on verso), 1582–1647, black chalk and faint traces of white on gray-blue paper. Metropolitan Museum of Art, New York, Bequest of Harry G. Sperling, 1971, 1975.131.33
Giovanni Lanfranco

Attributed to Giovanni Lanfranco, Rough Studies of Putti (Seated Draped Male Figure on recto), 1582–1647, black chalk. Metropolitan Museum of Art, New York, Bequest of Harry G. Sperling, 1971, 1975.131.33
Giovanni Lanfranco

Giovanni Lanfranco, Design for a Wall Decoration with the Sacrifice of Abraham and the Flight into Egypt, 1582–1647, pen and brown ink and brush and brown wash over traces of red chalk, highlighted with white gouache, on blue paper; architectural moldings above and below indicated in ruled black chalk lines. Metropolitan Museum of Art, New York, Purchase, Walter C. Baker Gift, 1968, 68.51
Giovanni Lanfranco

Attributed to Giovanni Lanfranco, The Consecration of the Site of a Church in Rome by a Pope (The Miracle of Saint Mary of the Snows?), n.d., pen and brown ink over red chalk, some black chalk, and ruled construction; patches of paper with corrections pasted by the artist; silhouetted at the top. Metropolitan Museum of Art, New York, Anonymous gift, 2006, 2006.393.15
Giovanni Lanfranco

Giovanni Lanfranco, The Creation of Eve, between late 16th and mid-17th century, pen and brush and brown ink over graphite on paper mounted to a sheet of heavy cream laid, which is drawn with elaborate french margins. Detroit Institute of Arts, Gift of Mrs. James E. Scripps, 09.1SDR155
Giovanni Lanfranco

Pietro Santo Bartoli, engraver, after Giovanni Lanfranco, Disegno della Loggia di San Pietro in Vaticano, title page, n.d., engraving. Yale University Art Gallery, New Haven, Everett V. Meeks Fund, 2007.36.1.18
Giovanni Lanfranco

Pietro Santo Bartoli, engraver, after Giovanni Lanfranco, Coat of Arms, plate 3 from Disegno della Loggia di San Pietro in Vaticano, n.d., engraving. Yale University Art Gallery, New Haven, Everett V. Meeks Fund, 2007.36.1.20
Giovanni Lanfranco

Pietro Santo Bartoli, engraver, after Giovanni Lanfranco, Beheading of a Saint, plate 4 from Disegno della Loggia di San Pietro in Vaticano, n.d., engraving. Yale University Art Gallery, New Haven, Everett V. Meeks Fund, 2007.36.1.23
Giovanni Lanfranco

Pietro Santo Bartoli, engraver, after Giovanni Lanfranco, Saint Peter Freed, plate 5 from Disegno della Loggia di San Pietro in Vaticano, n.d., engraving. Yale University Art Gallery, New Haven, Everett V. Meeks Fund, 2007.36.1.19
Giovanni Lanfranco

Pietro Santo Bartoli, engraver, after Giovanni Lanfranco, Freeing of Prisoner (?), plate 6 from Disegno della Loggia di San Pietro in Vaticano, n.d., engraving. Yale University Art Gallery, New Haven, Everett V. Meeks Fund, 2007.36.1.21
Giovanni Lanfranco

Pietro Santo Bartoli, engraver, after Giovanni Lanfranco, Saint Peter (?), plate 7 from Disegno della Loggia di San Pietro in Vaticano, n.d., engraving. Yale University Art Gallery, New Haven, Everett V. Meeks Fund, 2007.36.1.22
Giovanni Lanfranco

Pietro Santo Bartoli, engraver, after Giovanni Lanfranco, Various Figures, plate 8 from Disegno della Loggia di San Pietro in Vaticano, n.d., engraving. Yale University Art Gallery, New Haven, Everett V. Meeks Fund, 2007.36.1.23
Giovanni Lanfranco

Pietro Santo Bartoli, engraver, after Giovanni Lanfranco, Figures in Heaven, plate 9 from Disegno della Loggia di San Pietro in Vaticano, n.d., engraving. Yale University Art Gallery, New Haven, Everett V. Meeks Fund, 2007.36.1.25
Giovanni Lanfranco

Pietro Santo Bartoli, engraver, after Giovanni Lanfranco, Sculptural Figures, plate 10 (?) from Disegno della Loggia di San Pietro in Vaticano, n.d., engraving. Yale University Art Gallery, New Haven, Everett V. Meeks Fund, 2007.36.1.27
Giovanni Lanfranco

Pietro Santo Bartoli, engraver, after Giovanni Lanfranco, Figures in Heaven, plate 11 from Disegno della Loggia di San Pietro in Vaticano, n.d., engraving. Yale University Art Gallery, Everett V. Meeks Fund, 2007.36.1.26
Giovanni Lanfranco

Pietro Santo Bartoli, engraver, after Giovanni Lanfranco, Figures with a Saint(?) in a Roundel, plate 12 (?) from Disegno della Loggia di San Pietro in Vaticano, n.d., engraving. Yale University Art Gallery, New Haven, Everett V. Meeks Fund, 2007.36.1.28
Giovanni Lanfranco

Pietro Santo Bartoli, engraver, after Giovanni Lanfranco, Figures Surrounding a Martyred Saint(?), plate 14 from Disegno della Loggia di San Pietro in Vaticano, n.d., engraving. Yale University Art Gallery, New Haven, Everett V. Meeks Fund, 2007.36.1.29
Giovanni Lanfranco

Pietro Santo Bartoli, engraver, after Giovanni Lanfranco, Architectural and Figure Details, plate 15 from Disegno della Loggia di San Pietro in Vaticano, n.d., engraving. Yale University Art Gallery, New Haven, Everett V. Meeks Fund, 2007.36.1.31
Giovanni Lanfranco

Pietro Santo Bartoli, engraver, after Giovanni Lanfranco, Pope Blessing, plate 18 from Disegno dela Loggia di San Pietro in Vaticano, n.d., engraving. Yale University Art Gallery, New Haven, Everett V. Meeks Fund, 2007.36.1.33
Giovanni Lanfranco

Pietro Santo Bartoli, engraver, after Giovanni Lanfranco, Christ Carrying the Cross, from Disegno della Loggia di San Pietro in Vaticano, n.d., engraving. Yale University Art Gallery, New Haven, Everett V. Meeks Fund, 2007.36.1.30
Giovanni Lanfranco

Pietro Santo Bartoli, engraver, after Giovanni Lanfranco, Biblical Scenes, from Disegno della Loggia di San Pietro in Vaticano, n.d., engraving. Yale University Art Gallery, New Haven, Everett V. Meeks Fund, 2007.36.1.32

Gasparo Mola

Gasparo Mola

Gasparo Mola and Guillaume Dupré, Maria Magdalena, Archduchess of Austria, Grand Duchess of Tuscany, 1613, lead. The Metropolitan Museum of Art, New York, Harris Brisbane Dick Fund, 1936, 36.110.33
Gasparo Mola

Gasparo Mola, Cosimo II de' Medici, 1590–1621, 4th Grand Duke of Tuscany 1609 (obverse), 1618, silver. National Gallery of Art, Washington, Gift of Lisa and Leonard Baskin, 1997.114.24.a
Gasparo Mola

Gasparo Mola, Maria Maddalena of Austria, 1589–1631, Wife of Grand Duke Cosimo II de' Medici 1608 (reverse), 1618, silver. National Gallery of Art, Washington, Gift of Lisa and Leonard Baskin, 1997.114.24.b
Gasparo Mola

Decoration attributed to Gasparo Mola, Rapier with Scabbard, 1620–1630, steel encrustred with gold and silver. The Metropolitan Museum of Art, Rogers Fund, 1904, 04.3.23a,b
Gasparo Mola

Gasparo Mola, Urban VIII (Pope, 1623–1644), 1627, bronze. The Metropolitan Museum of Art, New York, Bequest of Rupert L. Joseph, 1959, 60.55.17
Gasparo Mola

Gasparo Mola, Urban VIII (Maffeo Barberini, 1568–1644), Pope 1623 (obverse), 1628, bronze. National Gallery of Art, Washington, Gift of Lisa and Leonard Baskin, 1997.114.25.a
Gasparo Mola

Gasparo Mola, Consecration of St. Peter's (Botonée Cross in Quatrefoil Design) (reverse), 1628, bronze. National Gallery of Art, Washington, Gift of Lisa and Leonard Baskin, 1997.114.25.b
Gasparo Mola

Gasparo Mola, Vincenzo Gonzaga, 1562–1612, 4th Duke of Mantua 1587 (obverse), bronze. National Gallery of Art, Washington, Samuel H. Kress Collection, 1957.14.956.a
Gasparo Mola

Gasparo Mola, Saint George and the Dragon (reverse), bronze. National Gallery of Art, Washington, Samuel H. Kress Collection, 1957.14.956.b

Girolamo Muziano

Girolamo Muziano

Girolamo Muziano, A Standing Man in Classical Drapery, 1544/1549, brown and gray wash with white heightening over black chalk on green-blue paper laid on brown washed paper and then on an eighteenth-century French mount. National Gallery of Art, Washington, Ailsa Mellon Bruce Fund, 1971.62.1
Girolamo Muziano

Girolamo Muziano, Study of a Tree (Figure and Compositional Studies on verso), 1565–1570, pen and brown ink. Yale University Art Gallery, New Haven, Maitland F. Griggs, BA 1896, Fund, 1976.24
Girolamo Muziano

Girolamo Muziano, Figure and Compositional Studies (Study of a Tree on recto), 1565–1570, red chalk, pen, and brown ink. Yale University Art Gallery, New Haven, Maitland F. Griggs, BA 1896, Fund, 1976.24
Girolamo Muziano

Girolamo Muziano, Rocky Landscape with a Waterfall, c. 1570–1575, pen and brown ink. The J. Paul Getty Musuem, Los Angeles, 92.GA.38, digital image courtesy of the Getty's Open Content Program
Girolamo Muziano

Girolamo Muziano, Study of Saint Jerome, 1578–1579, red chalk. Metropolitan Museum of Art, New York, Purchase, Louis V. Bell, Harris Brisbane Dick, Fletcher, and Rogers Funds and Joseph Pulitzer Bequest, and 2005 Benefit Fund, 2006, 2006.450
Girolamo Muziano

Attributed to Girolamo Muziano, Christ on the Cross, 1590–1600, black chalk, traces of reddish-brown oil paint at lower left. Metropolitan Museum of Art, New York, Gift of David L. Klein Jr. Memorial Foundation, 1990, 1990.149
Girolamo Muziano

Attributed to Girolamo Muziano, Woodland Scene, 1528–1592, pen and brown ink and brush and brown wash over black chalk on buff paper. Metropolitan Museum of Art, New York, Gift of Cornelius Vanderbilt, 1880, 80.3.389
Girolamo Muziano

Girolamo Muziano, Christ on the Cross, red chalk on laid paper, squared for transfer. National Gallery of Art, Washington, Gift of John and Alice Steiner, 2004.84.1
Girolamo Muziano

Girolamo Muziano, Saint Andrew, red chalk with brown and gray wash heightened with white on laid paper. National Gallery of Art, Washington, Ailsa Mellon Bruce Fund, 1972.55.1
Girolamo Muziano

Workshop of Johannes Sadeler I, after Cornelis Cort, after Girolamo Muziano, Saint Onuphrius in the Wilderness, c. 1574, engraving, reduced copy in reverse. Yale University Art Gallery, New Haven, Gift of Allen Evarts Foster, BA 1906, 1965.33.737
Girolamo Muziano

Cornelis Cort, after Girolamo Muziano, The Betrayal of Christ, 1568, engraving on laid paper. National Gallery of Art, Washington, Ailsa Mellon Bruce Fund, 2015.202.1
Girolamo Muziano

Cornelis Cort, after Girolamo Muziano, The Descent from the Cross, 1568, engraving. Yale University Art Gallery, New Haven, Everett V. Meeks, BA 1901, Fund, 2008.22.1

Cristoforo Roncalli

Cristoforo Roncalli

Cristoforo Roncalli, Two Nudes Seen from Below (Male Figure with Upraised Arm on verso), 1580–1582, red chalk, squared in red chalk. Metropolitan Museum of Art, New York, Rogers Fund, 1962, 62.197
Cristoforo Roncalli

Cristoforo Roncalli, Male Figure with Upraised Arm (verso of Two Nudes Seen from Below), 1580–1582, red chalk. Metropolitan Museum of Art, New York, Rogers Fund, 1962, 62.197
Cristoforo Roncalli

Cristoforo Roncalli, An Angel Holding a Book (recto); Three Studies of a Falling Male Figure (verso), c. 1583–1586, red and black chalk on blue paper. J. Paul Getty Museum, Los Angeles, 2001.60, digital image courtesy of the Getty's Open Content Program
Cristoforo Roncalli

Cristoforo Roncalli, The Holy Family with Angels, 1603–1605, black chalk highlighted with white chalk on blue paper. Metropolitan Museum of Art, New York, Pfeiffer Fund, 1962, 62.120.4
Cristoforo Roncalli

Attributed to Cristoforo Roncalli, Design for a Lunette Decoration: Coat of Arms Flanked by Seated Allegorical Figures (recto), 1553–1626, pen and brown ink and brush and brown wash over black chalk; squared in black chalk for transfer. The Metropolitan Museum of Art, New York, Bequest of Harry G. Sperling, 1971, 1975.131.20
Cristoforo Roncalli

Attributed to Cristoforo Roncalli, Design for a Lunette Decoration: Coat of Arms Flanked by Seated Allegorical Figures (verso), 1553–1626, red and black chalk, pen and brown ink, brush and brown wash. Metropolian Museum of Art, New York, Bequest of Harry G. Sperling, 1971,
1975.131.20
Cristoforo Roncalli

Cristoforo Roncalli, God the Father, 1553–1626, red chalk, squared for transfer in red chalk. Metropolitan Museum of Art, New York, Gift of Henry Walters, 1917, 17.236.50
Cristoforo Roncalli

Cristoforo Roncalli, Design for a Reredos or Frame and Setting for an Altar Painting, 1553–1626, drawing. Metropolitan Museum of Art, New York, The Elisha Whittelsey Collection, The Elisha Whittelsey Fund, 1949, 49.19.49
Cristoforo Roncalli

Attributed to Cristoforo Roncalli, Flying Angel, 1553–1626, red and some black chalk; squared in red chalk. Metropolitan Museum of Art, New York, Gift of Joseph M. Lichtenauer, 1890, 90.20.2
Cristoforo Roncalli

Cristoforo Roncalli, Study for a Lower Part of a Torso and Legs of a Young Boy, 1568–1640, black chalk and traces of red chalk. Metropolitan Museum of Art, New York, Gift of Joseph M. Lichtenauer, 1890, 90.20.1

Carlo Saraceni

Carlo Saraceni

Carlo Saraceni, Paradise, c. 1598, oil on copper. Metropolitan Museum of Art, New York, Theodore M. Davis Collection, Bequest of Theodore M. Davis, by exchange, 1971, 1971.93
Carlo Saraceni

Carlo Saraceni, Papal Authority, 1616, black chalk heightened with white chalk on blue-green paper. J. Paul Getty Museum,
Los Angeles, 83.GB.263, digital image courtesy of the Getty's Open Content Program
Carlo Saraceni

Jean Leclerc, after Carlo Saraceni, Rest on the Flight into Egypt, c. 1619, etching. National Gallery of Art, Washington, Ailsa Mellon Bruce Fund, 1972.65.19
Carlo Saraceni

Jean Leclerc, after Carlo Saraceni, Rest on the Flight into Egypt, n.d., etching. Yale University Art Gallery, New Haven, Gift of Allen Evarts Foster, B.A. 1906, 1965.33.722

Antonio Tempesta

Antonio Tempesta

Antonio Tempesta or Agostino Ciampelli, An Architectural Wall Design in Honor of Henry IV, the Gallic Hercules, c. 1600, pen and brown ink with brown wash over graphite on laid paper. National Gallery of Art, Washington, Ailsa Mellon Bruce Fund, 1996.73.1
Antonio Tempesta

Antonio Tempesta, Philip as a Boy before Margaret of Austria (verso), 1612, etching. National Gallery of Art, Washington, R. L. Baumfeld Collection, 1969.15.289.b
Antonio Tempesta

Antonio Tempesta, Philip as a Boy before Margaret of Austria, 1612, etching. National Gallery of Art, Washington, R. L. Baumfeld Collection, 1969.15.194
Antonio Tempesta

Antonio Tempesta, Italian Prince before Margaret of Austria, 1612, etching on laid paper (restrike). National Gallery of Art, Washington, Transferred from The Library of Congress, 1986.50.148
Antonio Tempesta

Antonio Tempesta, Italian Prince before Margaret of Austria, 1612, etching. National Gallery of Art, Washington, R. L. Baumfeld Collection, 1969.15.192
Antonio Tempesta

Antonio Tempesta, Philip as a Boy before Margaret of Austria, 1612, etching on laid paper (restrike). National Gallery of Art, Washington, Transferred from The Library of Congress, 1986.50.151
Antonio Tempesta

Antonio Tempesta, Philip of Spain before Margaret of Austria, 1612, etching. National Gallery of Art, Washington, R. L. Baumfeld Collection, 1969.15.190
Antonio Tempesta

Antonio Tempesta, Spanish Duke before Margaret of Austria, 1612, etching on laid paper (restrike). National Gallery of Art, Washington, Transferred from The Library of Congress, 1986.50.149
Antonio Tempesta

Antonio Tempesta, Spanish Duke before Margaret of Austria, 1612, etching. National Gallery of Art, Washington, R. L. Baumfeld Collection, 1969.15.193
Antonio Tempesta

Antonio Tempesta, Spanish Duke before Margaret of Austria (verso), 1612, etching. National Gallery of Art, Washington, R. L. Baumfeld Collection, 1969.15.285.b
Antonio Tempesta

Antonio Tempesta, Philip II of Spain on His Throne, 1612, etching on laid paper (restrike). National Gallery of Art, Washington, Transferred from The Library of Congress, 1986.50.146
Antonio Tempesta

Antonio Tempesta, Philip II of Spain on His Throne, 1612, etching. National Gallery of Art, Washington, R. L. Baumfeld Collection, 1969.15.189
Antonio Tempesta

Antonio Tempesta, Triumphal Entry of Margaret of Austria, 1612, etching.National Gallery of Art, Washington, R. L. Baumfeld Collection, 1969.15.191
Antonio Tempesta

Antonio Tempesta, Triumphal Entry of Margaret of Austria, 1612, etching on laid paper (restrike). National Gallery of Art, Washington, Transferred from The Library of Congress, 1986.50.147
Antonio Tempesta

Antonio Tempesta, The Crucifixion, 1612, etching. National Gallery of Art, Washington, Rosenwald Collection, 1964.8.1612
Antonio Tempesta

Antonio Tempesta, Frontispiece, 1613, etching. National Gallery of Art, Washington, Ailsa Mellon Bruce Fund, 1974.55.17
Antonio Tempesta

Antonio Tempesta, Cain Kills His Brother Abel, 1613, etching National Gallery of Art, Washington, Ailsa Mellon Bruce Fund, 1974.55.18
Antonio Tempesta

Antonio Tempesta, Abraham Makes the Enemies Flee Who Hold His Nephew, 1613, etching. National Gallery of Art, Washington, Ailsa Mellon Bruce Fund, 1974.55.19
Antonio Tempesta

Antonio Tempesta, Lot and His Family Recalled Home by Abraham, 1613, etching. National Gallery of Art, Washington, Ailsa Mellon Bruce Fund, 1974.55.20
Antonio Tempesta

Antonio Tempesta, Moses Makes the Hebrew Army March against the Ethiopians, 1613, etching. National Gallery of Art, Washington, Ailsa Mellon Bruce Fund, 1974.55.21
Antonio Tempesta

Antonio Tempesta, Defeat of the Ethiopians, 1613, etching. National Gallery of Art, Washington, Ailsa Mellon Bruce Fund, 1974.55.22
Antonio Tempesta

Antonio Tempesta, The Hebrews Defeat the Canaans, 1613, etching. National Gallery of Art, Washington, Ailsa Mellon Bruce Fund, 1974.55.23
Antonio Tempesta

Antonio Tempesta, The Egyptians Pursue the Israelites, 1613, etching. National Gallery of Art, Washington, Ailsa Mellon Bruce Fund, 1974.55.24
Antonio Tempesta

Antonio Tempesta, Pharaoh's Army Drowns in the Red Sea, 1613, etching. National Gallery of Art, Washington, Ailsa Mellon Bruce Fund, 1974.55.25
Antonio Tempesta

Antonio Tempesta, The Defeat of the Amalikits by the Hebrews, 1613, etching. National Gallery of Art, Washington, Ailsa Mellon Bruce Fund, 1974.55.26
Antonio Tempesta

Antonio Tempesta, The Taking of the City of Jericho, 1613, etching. National Gallery of Art, Washington, Ailsa Mellon Bruce Fund, 1974.55.27
Antonio Tempesta

Antonio Tempesta, Joshua Ordering the Sun to Stop, 1613, etching. National Gallery of Art, Washington, Ailsa Mellon Bruce Fund, 1974.55.28
Antonio Tempesta

Antonio Tempesta, Joshua has the Chariots Burned and Cuts the Legs off His Enemies, 1613, etching. National Gallery of Art, Washington, Ailsa Mellon Bruce Fund, 1974.55.29
Antonio Tempesta

Antonio Tempesta, Gideon Chooses His Soldiers, 1613, etching. National Gallery of Art, Washington, Ailsa Mellon Bruce Fund, 1974.55.30
Antonio Tempesta

Antonio Tempesta, Gideon Frightens His Enemies in Their Camp, 1613, etching. National Gallery of Art, Washington, Ailsa Mellon Bruce Fund, 1974.55.31
Antonio Tempesta

Antonio Tempesta, The Death of Abimelech, 1613, etching. National Gallery of Art, Washington, Ailsa Mellon Bruce Fund, 1974.55.32
Antonio Tempesta

Antonio Tempesta, David Kills Goliath, 1613, etching. National Gallery of Art, Washington, Ailsa Mellon Bruce Fund, 1974.55.33
Antonio Tempesta

Antonio Tempesta, The Triumph of David over Goliath, 1613, etching. National Gallery of Art, Washington D.C., Ailsa Mellon Bruce Fund, 1974.55.34
Antonio Tempesta

Antonio Tempesta, Saul Kills Himself after the Defeat of his Army by the Philistines, 1613, etching. National Gallery of Art, Washington, Ailsa Mellon Bruce Fund, 1974.55.35
Antonio Tempesta

Antonio Tempesta, Jacob Kills Absalom, Son of King David, 1613, etching. National Gallery of Art, Washington, Ailsa Mellon Bruce Fund, 1974.55.36
Antonio Tempesta

Antonio Tempesta, Elisha Bringing the Blinded Syrian Army to the King of Israel, 1613, etching. National Gallery of Art, Washington, Ailsa Mellon Bruce Fund, 1974.55.37
Antonio Tempesta

Antonio Tempesta, The Exterminating Angel Vanquishing the Army of Sennacherib, 1613, etching. National Gallery of Art, Washington, Ailsa Mellon Bruce Fund, 1974.55.38
Antonio Tempesta

Antonio Tempesta, Josaphat Thanking God for His Victory, 1613, etching. National Gallery of Art, Washington, Ailsa Mellon Bruce Fund, 1974.55.39
Antonio Tempesta

Antonio Tempesta, Judith and Holofernes, 1613, etching. National Gallery of Art, Washington, Ailsa Mellon Bruce Fund, 1974.55.40
Antonio Tempesta

Antonio Tempesta, The Israelites Rebuilding the Walls of Jerusalem, 1613, etching. National Gallery of Art, Washington, Ailsa Mellon Bruce Fund, 1974.55.41
Antonio Tempesta

Antonio Tempesta, A Soldier on Horseback and Other Studies, pen and brown ink and red chalk on laid paper, laid down on an old album sheet. National Gallery of Art, Washington, Gift of Benjamin and Lillian Hertzberg, 2004.140.30
Antonio Tempesta

Antonio Tempesta, Frontispiece: Dedication to Pietro Strozzi, n.d, etching. National Gallery of Art, Washington, Andrew W. Mellon Fund, 1976.82.1.a
Antonio Tempesta

Antonio Tempesta, Cavalry Engagement, n.d., etching. National Gallery of Art, Washington, Andrew W. Mellon Fund, 1976.82.1.b
Antonio Tempesta

Antonio Tempesta, Cavalry Attack on a Walled Fortress, n.d., etching. National Gallery of Art, Washington, Andrew W. Mellon Fund, 1976.82.1.c
Antonio Tempesta

Antonio Tempesta, Battle Scene with Cavalry Observing from a Hill, n.d., etching. National Gallery of Art, Washington, Andrew W. Mellon Fund, 1976.82.1.d
Antonio Tempesta

Antonio Tempesta, Battle Scene with Two Horses Attacking Each Other, n.d., etching. National Gallery of Art, Washington, Andrew W. Mellon Fund, 1976.82.1.e
Antonio Tempesta

Antonio Tempesta, Cavalry Charge with Soldiers and Horses Trampled, n.d., etching. National Gallery of Art, Washington, Andrew W. Mellon Fund, 1976.82.1.f
Antonio Tempesta

Antonio Tempesta, Battle between Cavalry and Infantry, n.d., etching. National Gallery of Art, Washington, Andrew W. Mellon Fund, 1976.82.1.g
Antonio Tempesta

Antonio Tempesta, Cavalry Attack with Soldiers Fleeing, n.d., etching. National Gallery of Art, Washington, Andrew W. Mellon Fund, 1976.82.1.h
Antonio Tempesta

Antonio Tempesta, Cavalry Engagement, n.d., etching. National Gallery of Art, Washington, Andrew W. Mellon Fund, 1976.82.1.i
Antonio Tempesta

Antonio Tempesta, Cavalry Attack with Soldiers Fleeing, n.d., etching, National Gallery of Art, Washington, Andrew W. Mellon Fund, 1976.82.1.j
Antonio Tempesta

Antonio Tempesta, Six Cavalrymen in Combat, n.d., etching. National Gallery of Art, Washington, Andrew W. Mellon Fund, 1976.82.1.k

Alessandro Turchi

Alessandro Turchi

Alessandro Turchi, Allegory of Hope, c. 1617/1618, oil on canvas. Detroit Institute of Arts, Founders Society Purchase with funds from Mr. and Mrs. Edgar B. Whitcomb, 47.400
Alessandro Turchi

Alessandro Turchi, Allegory of the Immaculate Conception with the Fall of Man, 1578–1649, pen and brown ink and brown wash over traces of black chalk. The Metropolitan Museum of Art, New York, Rogers Fund, 1971, 1971.64.2

 

 

Giovanni de Vecchi

Giovanni de Vecchi

Giovanni de Vecchi, after Giuseppe Scolari, Pietà, 1536–1615, drawing. Statens Museum for Kunst, Copenhagen, The Royal Collection of Graphic Art, KKSgb7469
Giovanni de Vecchi

Giovanni de Vecchi, Design for a Wall Decoration: Representations of the Ascension and of the Conversion of the Ethiopian Eunuch, 1536/7–1615, pen and brown ink over black chalk (architectural elements); red chalk, pen and brown ink, traces of black chalk (narrative scenes). Metropolitan Museum of Art, New York, Gift of Cornelius Vanderbilt, 1880, 80.3.651
Giovanni de Vecchi

Giovanni de Vecchi, Esther and Mordecai before King Ahasuerus (Esther 8:1- 12), 1536/7–1615, pen and brown ink, brush and brown wash, over black chalk. Metropolitan Museum of Art, New York, Rogers Fund, 1969, 69.126.3
Giovanni de Vecchi

Giovanni de Vecchi, Standing Figure of Saint Peter Holding Book and Keys, 1536/7–1615, pen and two shades of brown ink and brush and pale brown wash over traces of black chalk. Metropolitan Museum of Art, New York, Rogers Fund, 1967, 67.96
Giovanni de Vecchi

Giovanni de Vecchi, Saint John the Evangelist, 1536/7–1615, pen and dark brown ink, extensively highlighted with white, over black chalk, on beige paper; squared in black chalk. Metropolitan Museum of Art, New York, Purchase, Joseph Pulitzer Bequest, 1964, 64.295.3

Simon Vouet

Shown from the knees up, a young woman sits nuzzling a baby in her lap in this vertical painting. They both have pale skin tinged with pink. The woman’s body is angled to our right with her head in profile. A narrow, white scarf ties around her dark brown hair, leaving soft tendrils brushing the side of her face and neck. Her eyes are lowered, and her pursed, rose-pink lips almost touch the infant’s upturned face. A sea-blue mantle is draped across her back and one shoulder, and wraps around to lie across her lap. Ivory-white fabric drapes across her neckline over a voluminous, coral-red robe. The nude, plump child faces away from us, perched on the woman’s knee. He turns to reach fir the woman, so we see a sliver of his flushed, left cheek and the tip of his nose. He has curly blond hair. One pudgy hand rests on her neck while the other cradles her chin. A mustard-yellow cloth wraps around his hips and under his dimpled bottom. The woman’s left hand, on our right, delicately embraces his hip. She leans onto her other arm, propped on a stone ledge to our left, and that hand loosely holds one end of the baby’s yellow drapery. The scene is lit from the upper left, and they are set against a background that transitions from earth brown on the left to cinnamon brown on the right. The artist signed the work as if he had written his name and the date on the face of the ledge, just under the woman’s elbow: “Simon Vovet Pinxit.1633.”
Simon Vouet

Simon Vouet, Madonna and Child, 1633, oil on canvas. National Gallery of Art, Washington, Chester Dale Fund, 2016.20.1
Shown from the waist up, an elderly, balding, light-skinned man with a bushy white beard sits behind a table, facing us, in front of a winged angel who looks on in this shadowy, horizontal painting. The man sits with his body angled slightly to our right, and he turns his head to look in the opposite direction. His eyes are sunk in shadow under deeply furrowed brows, set in his lined face. His sparse, gray and white hair is tousled. He wears only a scarlet-red cloth draped across his lap and over his sinewy left arm, on our right. His open left hand is raised, palm up, at shoulder height. In his other hand, he holds a pen, hovering over a partially unwound scroll. His forearm rests on an open book beneath the scroll. He looks over his right shoulder at the curly-haired angel with snow-white wings. The angel wears a flowing, light blue robe with a golden yellow cloth draped around the chest and over the shoulders. Softly smiling, the backlit angel leans toward the man, face deep in shadow. With arms lifted, one hand gestures with a slightly crooked finger, pointing beyond the picture’s border to our left. In the other hand, the angel holds a golden horn in the dusky background behind the man’s left shoulder. Behind the man and angel and to our right, a single candle sits on two books lying in an arched wall niche. On the desk closest to us are a crumpled cloth on a book, a shiny rust-brown ball, a pair of eyeglasses, an inkpot, an hourglass, and a second book, to our right. Light coming from our upper left starkly illuminates the two people against the shadowed, earth-brown background.
Simon Vouet

Simon Vouet, Saint Jerome and the Angel, c. 1622/1625, oil on canvas. National Gallery of Art, Washington, Samuel H. Kress Collection, 1961.9.52
Two pale-skinned women wearing jewel-toned blue, pink, and yellow togas sit on the ground at the foot of a stone building, with three, winged, child-like putti flying nearby in this horizontal painting. The women take up most of the left half of the painting while the building behind them spans nearly three-quarters of the composition. A sliver of landscape is visible beyond the building to our right. Both women have dark, ash-brown hair wrapped back around diadems, long, straight noses, dark eyes, and smooth skin. Their cheeks are flushed, and their dark pink lips are parted. To our left, the first woman sits with her body facing our right in profile, and she turns to look at us from the corners of her eyes. Six silver stars line the sky-blue diadem in her hair. Her voluminous white shift falls off the shoulder closer to us, and she wears a swath of sapphire-blue drapery over her other arm and lap. One foot, wearing a yellow sandal, emerges from under the hem of her robe. She leans the elbow closer to us on a silver sphere, which comes a bit higher than her waist. Her other hand rests on the shoulder of the woman next to her. The second woman sits with her legs angled to our right, and she turns her face back to look at the first woman. She wears a butter-yellow garment under a rose-pink toga, and one foot, wearing a blue sandal, rests on the dirt ground. A baby-blue ribbon is tied through her hair, around a gold coronet. Her hands rest on a book in her lap. The partial word “odiss” is written along the edges of the pages facing us. Three pudgy angels with small blue wings flutter near the second woman, to our right. The putti have short, brown or blond, curly hair. Sashes in golden yellow, pink, or blue are tied around one shoulder and their opposite hips. They hold up three crowns of leaves. The building immediately behind the women and putti is parchment white streaked with brown. A tall foundation supports two columns, the base of which are near the top edge of the painting. A few plants grow out of the crevices, and a bush with white and light blue flowers grows behind the woman in blue, to our left. A landscape extends into the distance to our right, with rolling green hills, trees, and far-off, ice-blue mountains along the horizon. The sky above has apricot-peach and gray clouds against a pale blue sky.
Simon Vouet

Simon Vouet, The Muses Urania and Calliope, c. 1634, oil on wood. National Gallery of Art, Washington, Samuel H. Kress Collection, 1961.9.61
Simon Vouet

Simon Vouet, A Bearded Man with a Staff, black chalk and graphite, heightened with white on tan laid paper. National Gallery of Art, Washington, Gift of William B. O'Neal, in Honor of the 50th Anniversary of the National Gallery of Art, 1991.150.88
Simon Vouet

Simon Vouet, Creusa Carrying the Gods of Troy, c. 1635, black chalk heightened with white chalk on blue laid paper, with later framing line in brown ink. National Gallery of Art, Washington, Ailsa Mellon Bruce Fund, 1971.17.3
Simon Vouet

Simon Vouet, Venus and Adonis, c. 1642, oil on canvas. J. Paul Getty Museum, Los Angeles, 71.PA.19, digital image courtesy of the Getty's Open Content Program
Simon Vouet

Simon Vouet, Study of a Female Figure with a Putto (Study of a Male Nude on verso), c. 1630–1635, black chalk with white chalk. J. Paul Getty Museum, Los Angeles, 87.GB.104, digital image courtesy of the Getty's Open Content Program
Simon Vouet

Simon Vouet, Portrait of Armand-Jean du Plessis, Cardinal de Richelieu, c. 1632–1634, black, white, and red chalk and pastel. J. Paul Getty Museum, Los Angeles, 97.GB.68, digital image courtesy of the Getty's Open Content Program
Simon Vouet

Simon Vouet, Saint Louis in Glory, early 17th century, black chalk heightened with white chalk on beige paper; framing lines in pen and brown ink. Metropolitan Museum of Art, New York, Rogers Fund, 1961, 61.132 
Simon Vouet

Simon Vouet, Portrait of Louis XIII, c. 1632–1635, black and white chalk with touches of pastel on light brown paper. Metropolitan Museum of Art, New York, Purchase, Lila Acheson Wallace Gift, The Elisha Whittelsey Collection, The Elisha Whittelsey Fund, and Stephen A. Geiger Gift, 2012, 2012.106
Simon Vouet

Simon Vouet, Two Crouching Nude Male Figures, c. 1640, black chalk heightened with white on beige paper; two vertical ruled lines in red chalk, center. Metropolitan Museum of Art, New York, Rogers Fund, 1962, 62.127.1
Simon Vouet

Simon Vouet, Two Women, c. 1630–1635, black chalk heightened with white. Yale University Art Gallery, New Haven, Egmont Collection, Yale Library Transfer, 1961.66.34
Simon Vouet

Simon Vouet, Holy Family with a Bird, 1633, etching. Yale University Art Gallery, New Haven, Everett V. Meeks, B.A. 1901, Fund, 2002.46.3
Simon Vouet

Simon Vouet, Study of Woman for Madonna and Child, 1582–1649, crayon on paper attached to old backing. Statens Museum for Kunst, Copenhagen, The Royal Collection of Graphic Art, KKSgb8571
Simon Vouet

Claude Mellan, after Simon Vouet, Urban VIII, 1624, engraving on laid paper. National Gallery of Art, Washington., Gift of John O'Brien, 1991.164.7
Simon Vouet

Claude Mellan, after Simon Vouet, Allegory of Intellect, Memory, and Will, 1625, engraving on laid paper. National Gallery of Art. Washington, Ailsa Mellon Bruce Fund, 2003.8.2
Simon Vouet

Hans Troschel, after Simon Vouet, Satyrs Admiring the Anamorphosis of an Elephant, 17th century, engraving. Metropolitan Museum of Art, New York, Harris Brisbane Dick Fund, 1945, 45.97(78)

Federico Zuccaro

Federico Zuccaro

Federico Zuccaro, Figure Study for The Conversion of Saint Mary Magdalene in San Francesco della Vigna, Venice, 1563–1564, pen and brown ink and brown wash over preliminary drawing in black chalk, heightened with white, on blue-green paper. Yale University Art Gallery, New Haven, Everett V. Meeks, B.A. 1901, Fund, 1965.9.15
Federico Zuccaro

Federico Zuccaro, The Dead Christ Supported by Angels, c. 1563, red chalk. Yale University Art Gallery, New Haven, Everett V. Meeks, B.A. 1901, Fund, 1972.94
Federico Zuccaro

Federico Zuccaro, Paradise, 1565–1577, pen and brown ink, brush and brown wash, watercolor, and gouache, highlighted with white gouache, left and central sections squared in red chalk, on three sheets of brown paper, joined vertically; piece of brown paper with figures of Christ, the Virgin, and Saint John the Baptist, measuring 14.0 x 24.0 cm., affixed at the center of the drawing. Metropolitan Museum of Art, New York, Rogers Fund, 1961, 61.201
Federico Zuccaro

Federico Zuccaro, Angels and Putti in the Clouds, 1566, red and black chalk over graphite?, incised with stylus, on laid paper squared with red chalk. National Gallery of Art, Washington, Ailsa Mellon Bruce Fund, 1971.23.1
Federico Zuccaro

Attributed to Federico Zuccaro, A Standing Angel and Two Cherubs, c. 1566, pen and brown ink and brush with brown ink, highlighted with white gouache. Metropolitan Museum of Art, New York, Gift of Cephas G. Thompson, 1887, 87.12.27
Federico Zuccaro

Federico Zuccaro, The Virgin and Child Appearing to Saint Peter, Saint Damasus, Saint Lawrence, and Saint Paul; the Martyrdom of Saint Lawrence in the Background, 1566–1568, pen and brown ink and brush and brown wash over traces of red and black chalk on beige paper. Metropolitan Museum of Art, New York, Gift of John Steiner, 1977, 1977.76
Federico Zuccaro

Federico Zuccaro, Disputation of Saint Catherine of Alexandria, probably c. 1570, pen and brown ink and brown wash over graphite heightened with white, squared in graphite, on laid paper. National Gallery of Art, Washington, Ailsa Mellon Bruce Fund, 1981.89.1
Federico Zuccaro

Federico Zuccaro, God the Father, 1570–1580, pen and brown ink and brush and blue wash, highlighted with white gouache, over traces of black chalk on blue prepared paper. Metropolitan Museum of Art, New York, Gift of J. Peter Williamson, Mary F. Williamson, and Sybil B. Williamson, 2013, 2013.455
Federico Zuccaro

Federico Zuccaro, Head of a Boy, c. 1574–1580, black and red chalk. Yale University Art Gallery, New Haven, Maitland F. Griggs, B.A. 1896, Fund, 1976.37

 
Federico Zuccaro

Federico Zuccaro, Redeemed Souls and Allegorical Figures, Study for the Last Judgment Fresco in the Cupola of the Duomo, Florence, 1575–1576, pen and brown ink and brown wash. Yale University Art Gallery, New Haven, Everett V. Meeks, B.A. 1901, and Leonard C. Hanna, Jr., Class of 1913, Funds, 1989.61.1
Federico Zuccaro

Federico Zuccaro, Scene from the Last Judgment, Study for the Fresco Decoration of One of the Segments of the Cupola of the Cathedral of Santa Maria del Fiore in Florence, 1576–1579, pen and brown ink and brush and brown wash over red chalk on ecru paper cut to the shape of a segment of an octagonal cupola. Metropolitan Museum of Art, New York, Rogers Fund, 1961, 61.53
Federico Zuccaro

Federico Zuccaro, Study for The Allegory of Spring, 1579, pen and brown ink over red chalk and black chalk and brush and brown wash highlighted with white gouache. Metropolitan Museum of Art, New York, Ian Woodner Family Collection Fund, 2002, 2002.96
Federico Zuccaro

Federico Zuccaro, The Submission of the Emperor Frederick Barbarossa to Pope Alexander III, c. 1585, pen and brown ink and brown wash and black chalk on two joined sheets of paper. J. Paul Getty Museum, Los Angeles, digital image courtesy of the Getty's Open Content Program, 83.GG.196
Federico Zuccaro

Attributed to Federico Zuccaro, Bust-Length Portrait of Torquato Tasso, c. 1594, black and red chalk. Metropolian Museum of Art, New York, The Elisha Whittelsey Collection, The Elisha Whittelsey Fund, 2014, 2014.783
Federico Zuccaro

Federico Zuccaro, The Mystic Marriage of Saint Catherine (after Correggio), c. 1595, black and red chalk. J. Paul Getty Museum, Los Angeles, 2004.82, digital image courtesy of the Getty's Open Content Program
Federico Zuccaro

Federico Zuccaro, Two Child Angels, Symbolizing Patience and Industry, c. 1595, pen and brown ink, brush with brown wash, over black chalk. J. Paul Getty Museum, Los Angeles, 99.GA.6.11, digital image courtesy of the Getty's Open Content Program
Federico Zuccaro

Federico Zuccaro, Allegories of Faith and Hope, Flanking the Zuccaro Emblem, c. 1595, pen and brown ink and brush with brown wash over black chalk underdrawing. The J. Paul Getty Museum, Los Angeles, 99.GA.6.1, digital image courtesy of the Getty's Open Content Program
Federico Zuccaro

Federico Zuccaro, Taddeo Leaving Home Escorted by Two Guardian Angels, c. 1595, pen and brown ink and brush with brown wash over black chalk and touches of red chalk. J. Paul Getty Museum, Los Angeles, 99.GA.6.2, digital image courtesy of the Getty's Open Content Program
Federico Zuccaro

Federico Zuccaro, Pallas Athena Shows Taddeo the Prospect of Rome, c. 1595, pen and brown ink and brush with brown wash over red chalk. J. Paul Getty Museum, Los Angeles, 99.GA.6.3, digital image courtesy of the Getty's Open Content Program
Federico Zuccaro

Federico Zuccaro, Taddeo at the Entrance to Rome Greeted by Servitude, Hardship, and Toil and by Fortitude and Patience (the Ox and Ass), c. 1595, pen and brown ink and brush with brown wash over black chalk. J. Paul Getty Museum, Los Angeles, 99.GA.6.4, digital image courtesy of the Getty's Open Content Program
Federico Zuccaro

Federico Zuccaro, Taddeo Rebuffed by Francesco Il Sant'Angelo, c. 1595, pen and brown ink and brush with brown wash over black chalk. J. Paul Getty Museum, Los Angeles, 99.GA.6.5, digital image courtesy of the Getty's Open Content Program
Federico Zuccaro

Federico Zuccaro, Allegories of Fortitude and Patience, c. 1595, pen and brown ink and brush with brown wash over black chalk. J. Paul Getty Museum, Los Angeles, 99.GA.6.6, digital image courtesy of the Getty's Open Content Program
Federico Zuccaro

Federico Zuccaro, Taddeo in the House of Giovanni Piero Calabrese, c. 1595, pen and brown ink and brush with brown wash over black chalk and red chalk underdrawing. J. Paul Getty Museum, Los Angeles, 99.GA.6.7, digital image courtesy of the Getty's Open Content Program
Federico Zuccaro

Federico Zuccaro, Taddeo Sent on an Errand by Calabrese's Wife, c. 1595, pen and brown ink and brush with brown wash over black chalk. The J. Paul Getty Museum, Los Angeles, 99.GA.6.8, digital image courtesy of the Getty's Open Content Program
Federico Zuccaro

Federico Zuccaro, Taddeo Drawing by Moonlight in Calabrese's House, c. 1595, pen and brown ink and brush with brown wash over black chalk. J. Paul Getty Museum, Los Angeles, 99.GA.6.9, digital image courtesy of the Getty's Open Content Program
Federico Zuccaro

Federico Zuccaro, Taddeo Employed on Menial Tasks at Calabrese's House, c. 1595, pen and brown ink and brush with brown wash over black chalk. J. Paul Getty Museum, Los Angeles, 99.GA.6.10, digital image courtesy of the Getty's Open Content Program
Federico Zuccaro

Federico Zuccaro, Taddeo Drawing after the Antique; in the Background Copying a Facade by Polidoro, c. 1595, pen and brown ink and brush with brown wash over black chalk and touches of red chalk. J. Paul Getty Museum, Los Angeles, 99.GA.6.12, digital image courtesy of the Getty's Open Content Program
Federico Zuccaro

Federico Zuccaro, Taddeo Copying Raphael's Frescoes in the Loggia of Villa Farnesina, Where He Is Also Represented Asleep, c. 1595, pen and brown ink and brush with brown wash over black chalk and touches of red chalk. J. Paul Getty Museum, Los Angeles, 99.GA.6.13, digital image courtesy of the Getty's Open Content Program
Federico Zuccaro

Federico Zuccaro, Taddeo's Hallucination, c. 1595, pen and brown ink and brush with brown wash over black chalk. J. Paul Getty Museum, Los Angeles, 99.GA.6.14, digital image courtesy of the Getty's Open Content Program
Federico Zuccaro

Federico Zuccaro, Taddeo Returning Home with the Sack of Stones and in Bed Recovering from His Fever, c. 1595, pen and brown ink and brush with brown wash over black chalk and touches of red chalk. J. Paul Getty Museum, Los Angeles, 99.GA.6.15, digital image courtesy of the Getty's Open Content Program
Federico Zuccaro

Federico Zuccaro, Taddeo Returns to Rome Escorted by Drawing and Spirit Toward the Three Graces, c. 1595, pen and brown ink and brush with brown wash over black chalk and touches of red chalk. J. Paul Getty Museum, Los Angeles, 99.GA.6.16, digital image courtesy of the Getty's Open Content Program
Federico Zuccaro

Federico Zuccaro, Taddeo in the Belvedere Court in the Vatican, Drawing the Laocoön, c. 1595, pen and brown ink and brush with brown wash over black chalk and touches of red chalk. J. Paul Getty Museum, Los Angeles, 99.GA.6.17, digital image courtesy of the Getty's Open Content Program
Federico Zuccaro

Federico Zuccaro, Taddeo in the Sistine Chapel Drawing Michelangelo's Last Judgment, c. 1595, pen and brown ink and brown wash over black chalk and touches of red chalk. J. Paul Getty Museum, Los Angeles, 99.GA.6.18, digital image courtesy of the Getty's Open Content Program
Federico Zuccaro

Federico Zuccaro, Taddeo Decorating the Facade of Palazzo Mattei, c. 1595, pen and brown ink and brush with brown wash over black chalk and touches of red chalk. J. Paul Getty Museum, Los Angeles, 99.GA.6.19, digital image courtesy of the Getty's Open Content Program
Federico Zuccaro

Federico Zuccaro, Episode from Taddeo’s Life, 1541–1609, pen and sepia. Statens Museum for Kunst, Copenhagen, The Royal Collection of Graphic Art, KKS11287
Federico Zuccaro

Federico Zuccaro, Allegories of Study and Intelligence Flanking the Zuccaro Device, c. 1595, pen and brown ink and brush with brown wash over black chalk and touches of red chalk. J. Paul Getty Museum, Los Angeles, 99.GA.6.20, digital image courtesy of the Getty's Open Content Program
Federico Zuccaro

Attributed to Federico Zuccaro or attributed to Taddeo Zuccaro, Design for a Cartouche with a Religious Subject in the Central Compartment, 16th century, pen and brown ink and brush and brown wash over lead point (?). Metropolitan Museum of Art, New York, The Elisha Whittelsey Collection, The Elisha Whittelsey Fund, 1954,
54.546.7
Federico Zuccaro

Attributed to Federico Zuccaro, Cupid and Pan, 1600, oil on canvas. J. Paul Getty Museum, Los Angeles, digital image courtesy of the Getty's Open Content Program, 72.PA.6
Federico Zuccaro

Federico Zuccaro, View of Saint Peter's (Study of a Young Man on verso), 1603, red chalk. J. Paul Getty Museum, Los Angeles, 85.GB.228, digital image courtesy of the Getty's Open Content Program
Federico Zuccaro

Federico Zuccaro, Study of a Young Man (verso of View of Saint Peter’s), 1603, red and black chalk. J. Paul Getty Museum, Los Angeles, 85.GB.228, digital image courtesy of the Getty's Open Content Program
Federico Zuccaro

Federico Zuccaro, Allegorical Figure of Faith, c. 1604, pen and brown ink and brown wash. Yale University Art Gallery, New Haven, Everett V. Meeks, BA 1901, Fund, 1963.9.30
Federico Zuccaro

Federico Zuccaro, Design for a Quarantore Decoration, 1540–1609, pen and brown ink and brush and brown wash, highlighted with white, over traces of black chalk. Metropolitan Museum of Art, Purchase, New York, Lord Palumbo, David T. Schiff, Drue Heinz and W. Mark Brady Gifts, in memory of Jacob Bean, and Harry G. Sperling Fund, 1993, 1993.120
Federico Zuccaro

Federico Zuccaro, The Last Supper, 1540–1609, pen and brown ink on blue paper. Metropolitan Museum of Art, New York, Bequest of Harry G. Sperling, 1971, 1975.131.60
Federico Zuccaro

Attributed to Federico Zuccaro, Saint Michael and Saint Giovanni Gualberto (after Andrea del Sarto's Vallombrosa Altarpiece), 1540/1541–1609, black and red chalk. Metropolitan Museum of Art, New York, Gift of Cornelius Vanderbilt, 1880, 80.3.110
Federico Zuccaro

Federico Zuccaro, Ecce Homo, 1540/1541–1609, pen and brown ink and brush and brown wash, highlighted with white, on beige paper. Metropolitan Museum of Art, Gift of Cornelius Vanderbilt, 1880, 80.3.485
Federico Zuccaro

Federico Zuccaro, The Virgin and Child with Saint Joseph, Attendant Angels, and a Group of Supplicants, 1540/1541–1609, pen and brown ink and brush and brown wash over traces of red chalk. Metropolitan Museum of Art, New York, Rogers Fund, 1968, 68.106.2
Federico Zuccaro

Federico Zuccaro, The Vision of Saint Eustace, 1542–1609, point of brush with brown, gray, green, yellow, and red wash, highlighted with white, over traces of red and black chalk; lightly squared in black chalk. Metropolitan Museum of Art, New York, Rogers Fund, 1962, 62.76
Federico Zuccaro

Attributed to Federico Zuccaro, A Swiss Guard, late 16th–early 17th century, pen and brown ink and brown wash over extensive black chalk underdrawing; squared in black chalk. Metropolitan Museum of Art, New York, Robert Lehman Collection, 1975, 1975.1.552
Federico Zuccaro

Federico Zuccaro, Scene from Fiery Hell, from the Cupola of Florence Cathedral, 1555–1609, drawing, squared with red chalk, framed with pen and black ink. Statens Museum for Kunst, Copenhagen, The Royal Collection of Graphic Art, Copenhagen, KKSgb5698
Federico Zuccaro

Federico Zuccaro, Scene from Fiery Hell, from the Cupola of Florence Cathedral, 1555–1609, pen and brown ink and brown wash, framed with pen and black ink. Statens Museum for Kunst, Copenhagen, The Royal Collection of Graphic Art,  KKSgb5699
Federico Zuccaro

Cornelis Cort, after Federico Zuccaro, The Creation of Eve, late 16th–early 17th century, engraving printed in black ink on laid paper. Detroit Institute of Arts, Gift of Mrs. James E. Scripps, 09.1S322
Federico Zuccaro

Cornelis Cort, after Federico Zuccaro, The Crowning of the Virgin with Saints Lawrence and Sixtus, 1576, engraving printed in black ink on laid paper. Detroit Institute of Arts, Gift of Mrs. James E. Scripps, 09.1S324
Federico Zuccaro

Cornelis Cort, after Federico Zuccaro, Birth of the Virgin, 1578, engraving. Metropolitan Museum of Art, New York, The Elisha Whittelsey Collection, The Elisha Whittelsey Fund, 1951, 51.501.3287
Federico Zuccaro

Juliua Goltzius, after Cornelis Cort, after Federico Zuccaro, Birth of the Virgin, 1581, engraving; first state of two. Metropolitan Museum of Art, New York, The Elisha Whittelsey Collection, The Elisha Whittelsey Fund, 1951, 51.501.3285

Taddeo Zuccaro

Taddeo Zuccaro

Taddeo Zuccaro, Soldiers Carrying a Model of a City, c. 1548, pen and brown ink and brush with brown wash over black chalk, with white heightening, on blue paper. J. Paul Getty Museum, Los Angeles, 96.GB.329, digital image courtesy of the Getty's Open Content Program
Taddeo Zuccaro

Taddeo Zuccaro, Alexander the Great and Bucephalus, c. 1553, pen and brown ink with brown wash over traces of graphite on laid paper. National Gallery of Art, Washington, Woodner Collection, 1991.182.1
Taddeo Zuccaro

Taddeo Zuccaro, A Man Seen from Behind (A Man Seen from Behind on verso), c. 1555, red chalk heightened with white on laid paper. National Gallery of Art, Washington, Ailsa Mellon Bruce Fund, 1972.4.2.a
Taddeo Zuccaro

Taddeo Zuccaro, A Man Seen from Behind (A Man Seen from Behind on recto), c. 1555, red chalk and pen and brown ink on laid paper. National Gallery of Art, Washington, Ailsa Mellon Bruce Fund, 1972.4.2.b
Taddeo Zuccaro

Taddeo Zuccaro, Baby Jesus Bathed by Mary, Anna, and a Maid, 1535–1566, drawing with top two corners highly rounded, partially framed with pen and black ink, paper very torn with a hole (adhered and retouched). Statens Museum for Kunst, Copenhagen, The Royal Collection of Graphic Art, KKSgb5702
Taddeo Zuccaro

Taddeo Zuccaro, The Conversion of Saint Paul, 1558/1559–1566, pen and brown ink, brush with brown wash, black chalk, and lead-white heightening on blue paper. J. Paul Getty Museum, Los Angeles, 91.GA.13, digital image courtesy of the Getty's Open Content Program
Taddeo Zuccaro

Taddeo Zuccaro, Mythological Figures, c. 1561, pen and brown ink and brown wash over red chalk, heightened with white, on laid paper; laid down. National Gallery of Art, Washington, Ailsa Mellon Bruce Fund, 1989.64.1
Taddeo Zuccaro

Taddeo Zuccaro, Cardinal Albornoz Gives the Keys to Valentino, c. 1565, pen and brown ink and brush with brown wash over black chalk; squared in red chalk. J. Paul Getty Museum, Los Angeles, 87.GG.52, digital image courtesy of the Getty's Open Content Program