Antichità Castelbarco

Total Page：16

File Type：pdf, Size：1020Kb

anticSwiss 28/09/2021 17:18:36 http://www.anticswiss.com antichità castelbarco SOLD ANTIQUE DEALER Period: 18° secolo - 1700 Antichità Castelbarco Riva del Garda Style: Luigi XIV Reggenza +39 0464 973235 393494296409 Height:105cm Width:91cm Material:Olio su tela Price:0€ DETAILED DESCRIPTION: Workshop of Carlo Cignani (Bologna 1628 - Forlì 1719) Attributable to Marcantonio Franceschini (Bologna 1648 - 1729) Portrait of Sibyl writing the prophecy oil painting on canvas, cm. 89 x 77 - framed cm. 105 x 91 Short video of the work: https://youtu.be/Z5lBLDVi2Fs Details of the artwork: https://www.antichitacastelbarco.it/it/prodotto/la-sibilla-bottega- marcantonio-franceschini This pleasant female portrait immortalizes a young Sibyl, presented in the act of drawing up her own prophecy (it is easy to read some words of a Latin phrase). From a monochrome background, presumably illuminated by a candle, the complexion of the girl stands out, dressed in a simple way, whose face is framed by a sophisticated hairstyle, gathered by ribbons and braids and fixed above the source by a jewel brooch. It is a work of great charm, both for the immortalized subject and for the pictorial execution, which shows the peculiar characters of the Bolognese school, highlighting a good quality of drafting and drawing, as well as an elegant compositional balance, characters that they can only evoke the essential models of seventeenth-century classicism, conceived by the head of the school Guido Reni. Going into the attributive detail, the canvas reveals strong stylistic and compositional affinities with the creations coming from the workshop of the master Carlo Cignani (Bologna 1628-Forlì 1719), so much so that the execution can be traced back to a painter from his close circle. In fact, he refers to the painter, who taught a group of valid students throughout his very long artistic activity, the typology of the faces and also the 1 / 4 anticSwiss 28/09/2021 17:18:36 http://www.anticswiss.com composition belonging to his figurative lexicon. Although the attribution area has been identified, the work certainly deserves a more in- depth study to identify its hand with precision: lingering in the analysis of the painting, in our opinion the style and composition show surprising similarities with the works of Marcantonio Franceschini ( Bologna 1648 - 1729), one of Cignani's best pupils. By way of comparison, we can propose an interesting correlation between the work in question and Franceschini's Santa Cecilia, now a private collection, (Sotheby's, London 20 October 1971), where the same compositional detail is found in the hairstyle. Link: http: //catalogo.fondazionezeri.unibo.it/scheda/opera/57128/Franceschini%20Marca ntonio%2C%20Santa%20C ... The painting is completed with a pleasant gilded frame. For more information, please contact us. Painting accompanied by a certificate of photographic authenticity in accordance with the law (FIMA) Follow us on: https://www.instagram.com/galleriacastelbarco/?hl=it https://www.facebook.com/galleriacastelbarco/ https://www.anticswiss.com/en/fine-art-antiques/antichita-castelbarco-26200 2 / 4 anticSwiss 28/09/2021 17:18:36 http://www.anticswiss.com Gallery 3 / 4 anticSwiss 28/09/2021 17:18:36 http://www.anticswiss.com 4 / 4 Powered by TCPDF (www.tcpdf.org) Powered by TCPDF (www.tcpdf.org).

Copy Link

Recommended publications

ELISABETTA SIRANI's JUDITH with the HEAD of HOLOFERNES By
ELISABETTA SIRANI’S JUDITH WITH THE HEAD OF HOLOFERNES by JESSICA COLE RUBINSKI (Under the Direction of Shelley Zuraw) ABSTRACT This thesis examines the life and artistic career of the female artist, Elisabetta Sirani. The paper focuses on her unparalleled depictions of heroines, especially her Judith with the Head of Holofernes. By tracing the iconography of Judith from masters of the Renaissance into the mid- seventeenth century, it is evident that Elisabetta’s painting from 1658 is unique as it portrays Judith in her ultimate triumph. Furthermore, an emphasis is placed on the relationship between Elisabetta’s Judith and three of Guido Reni’s Judith images in terms of their visual resemblances, as well as their symbolic similarities through the incorporation of a starry sky and crescent moon. INDEX WORDS: Elisabetta Sirani, Judith, Holofernes, heroines, Timoclea, Giovanni Andrea Sirani, Guido Reni, female artists, Italian Baroque, Bologna ELISABETTA SIRANI’S JUDITH WITH THE HEAD OF HOLOFERNES by JESSICA COLE RUBINSKI B.A., Florida State University, 2003 A Thesis Submitted to the Graduate Faculty of The University of Georgia in Partial Fulfillment of the Requirements for the Degree MASTER OF ARTS ATHENS, GEORGIA 2008 © 2008 Jessica Cole Rubinski All Rights Reserved ELISABETTA SIRANI’S JUDITH WITH THE HEAD OF HOLOFERNES by JESSICA COLE RUBINSKI Major Professor: Dr. Shelley Zuraw Committee: Dr. Isabelle Wallace Dr. Asen Kirin Electronic Version Approved: Maureen Grasso Dean of the Graduate School The University of Georgia May 2008 iv To my Family especially To my Mother, Pamela v ACKNOWLEDGEMENTS First, I would like to thank Robert Henson of Carolina Day School for introducing me to the study of Art History, and the professors at Florida State University for continuing to spark my interest and curiosity for the subject.
[Show full text]
The History of Painting in Italy, Vol. V
The History Of Painting In Italy, Vol. V By Luigi Antonio Lanzi HISTORY OF PAINTING IN UPPER ITALY. BOOK III. BOLOGNESE SCHOOL. During the progress of the present work, it has been observed that the fame of the art, in common with that of letters and of arms, has been transferred from place to place; and that wherever it fixed its seat, its influence tended to the perfection of some branch of painting, which by preceding artists had been less studied, or less understood. Towards the close of the sixteenth century, indeed, there seemed not to be left in nature, any kind of beauty, in its outward forms or aspect, that had not been admired and represented by some great master; insomuch that the artist, however ambitious, was compelled, as an imitator of nature, to become, likewise, an imitator of the best masters; while the discovery of new styles depended upon a more or less skilful combination of the old. Thus the sole career that remained open for the display of human genius was that of imitation; as it appeared impossible to design figures more masterly than those of Bonarruoti or Da Vinci, to express them with more grace than Raffaello, with more animated colours than those of Titian, with more lively motions than those of Tintoretto, or to give them a richer drapery and ornaments than Paul Veronese; to present them to the eye at every degree of distance, and in perspective, with more art, more fulness, and more enchanting power than fell to the genius of Coreggio. Accordingly the path of imitation was at that time pursued by every school, though with very little method.
[Show full text]
Domenichino's Scenes from the Life
DOMENICHINO’S SCENES FROM THE LIFE OF ST. CECILIA: ARTISTIC INTERPRETATION AND THE COUNTER-REFORMATION by Emily Freeman Bachelor of Arts, 2005 The University of Texas at Austin Austin, Texas Submitted to the Faculty Graduate Division of the College of Fine Arts Texas Christian University in partial fulfillment of requirements for the degree of MASTER OF ARTS May 2008 DOMENICHINO’S SCENES FROM THE LIFE OF ST. CECILIA: ARTISTIC INTERPRETATION AND THE COUNTER-REFORMATION Thesis approved: Major Professor, Dr. Babette Bohn Dr. Mark Thistlethwaite Dr. Nadia Lahutsky Graduate Studies Representative For the College of Fine Arts ii Copyright © 2008 by Emily Freeman All Rights Reserved iii TABLE OF CONTENTS List of Illustrations.................................................................................................. v Introduction............................................................................................................. 1 St. Cecilia and the Revival of Her Cult................................................................... 4 St. Cecilia in Art and Literature............................................................................ 13 Early Life and the Carracci Academy................................................................... 22 Conclusion ............................................................................................................ 43 Images................................................................................................................... 45 Bibliography ........................................................................................................
[Show full text]
Women, Virtue and Visual Imagery During the Counter-Reformation in the Papal States, 1575-1675
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 2-2014 Maniera Devota/mano Donnesca: Women, Virtue And Visual Imagery During The Counter-Reformation In The Papal States, 1575-1675 Patricia Rocco Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/101 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] MANIERA DEVOTA/MANO DONNESCA WOMEN, VIRTUE AND VISUAL IMAGERY DURING THE COUNTER-REFORMATION IN THE PAPAL STATES, 1575-1675 by PATRICIA ROCCO A dissertation submitted to the Graduate Faculty in Art History in partial fulfillment of the requirements for the degree of Doctor of Philosophy The City University of New York 2014 ©2014 PATRICIA ROCCO All Rights Reserved ii This manuscript has been read and accepted for the Graduate Faculty in Art History in satisfaction of the dissertation requirement for the degree of Doctor of Philosophy Professor James Saslow Date Chair of Executive Committee Professor Claire Bishop Date Executive Officer Professor James Saslow Professor Elinor Richter Professor Barbara Lane Supervisory Committee THE CITY UNIVERSITY OF NEW YORK iii Abstract MANIERA DEVOTA/MANO DONNESCA WOMEN, VIRTUE AND VISUAL IMAGERY DURING THE COUNTER-REFORMATION IN THE PAPAL STATES, 1575-1675 by Patricia Rocco Adviser: Professor James Saslow The history of women’s participation in religious movements during the Early Modern period in Europe has long been less commented upon in modern scholarship than that of their male counterparts.
[Show full text]
The History of Painting in Italy, from the Period of the Revival of the Fine Arts to the End of the Eighteenth Century
THE HISTORY OF PAINTING IN ITALY, FROM THE PERIOD OF THE REVIVAL OF THE FINE ARTS, TO THE END OF THE EIGHTEENTH CENTURY: TRANSLATED gmn tj)e O^rtgtnal Btaltan OF THE ABATE LUIGI I.ANZI. By THOMAS ROSCOE. IN SIX VOLUMES. VOL. VI. CONTAINING THE INDEXES. LONDON: PKINTED FOR W. SIMPKIN AND R. MARSHALL, STATIONERS'-HALL COURT, LUDGATE STREET. 1828. ND }. IVl'Cieery, Tooks Court, Cliancery-Iane, Londou. J. PAUL GETTY MUSEUM UBRABX CONTENTS OF THE SIXTH VOLUME. Page Index I. Professors of Painting mentioned in the 1 worJc ; together with the dates, 8fc. ... Index II. Historical and Critical Publications re- lating to the Art, cited in the Work . .167 Index III. Of some of the most important Matters contained in the Work 197 that ** ^''itft regard to the Abbreviations of words adapted in the above Indexes, to dates birth, and that d. to the deaths of artists. The rest »f b. is applied of of lUill be perfectly intelligible to the English reader. FIRST INDEX. Artists referred to in this work, noting the periods of their Birth and Death, and the authoritiesfor the dates. A. Abate (!') Ciccio, v. Solimene. Abati, or dell' Abate, Niccolo, a Modenese, b. 1509 or 1512, d. 1571. Tiraboschi. Vol. iv. p. 46, and vol. v. pp. 48, 57. • Giovanni, his father, d. 1559. Tiraboschi. iv. 48. Pietro Paolo, brother of Niccolo. Tiraboschi. iv. 48. — Giulio Camillo, son of Niccolo. Tiraboschi. ib. Ercole, son of Giulio, d, 1613. Tiraboschi. ib. Pietro Paolo, son of Ercole, d. 1630, aged 38. Tira- boschi. iv. 50. Abatini, Guido Ubaldo, of Cittk di Castello, d.
[Show full text]
Madonna with Child, XVII Century
anticSwiss 29/09/2021 11:39:19 http://www.anticswiss.com Madonna with Child, XVII century FOR SALE ANTIQUE DEALER Period: 17° secolo -1600 Ars Antiqua srl Milano Style: Altri stili +39 02 29529057 393664680856 Height:75cm Width:61cm Material:Olio su tela Price:2800€ DETAILED DESCRIPTION: Bolognese school, 17th century Madonna with Sleeping Child Oil on canvas, 75 x 61 cm - with frame 85 x 70.5 cm The intoxicating delicacy inherent in the colorism of the present produces an exemplary light in correspondence with the Son supported by the Mother. The traditional representation of the Madonna and Child is here enriched by multiple allegorical and spiritual undertones, of profound catechetical value. The Child is in fact represented as sleeping, softly wrapped by the Mother seated on a bench; however, the particular position, in accordance with the sheet that surrounds her hips and with the sprung right arm, betray the implicit foreshadowing of the death of the Son. Even the attributive choice of the apple, the fruit of original sin, helps to structure a reflection on the sacrifice of Christ, as only through this has humanity known the possibility of redemption. The fully veiled composition, with a pleasant chiaroscuro juxtaposition and exceptional intimacy, is part of the full artistic maturity of Bologna. In fact, the painting supports that particular pictorial matrix that extended, in full Baroque, from the capital to the entire region, fomenting a markedly academic naturalism. Adherence to this classical line is collected, in the present, through various figurative references to the Bolognese culture of this golden century.
[Show full text]
TIMELESS RENAISSANCE Italian Drawings from the Alessandro Maggiori Collection
TIMELESS RENAISSANCE Italian Drawings from the Alessandro Maggiori Collection by Ricardo De Mambro Santos hallie ford museum of art willamette university distributed by university of washington press seattle and london CONTENTS This book was published in connection with an exhibition arranged by the Hallie Ford Museum of Art at Willamette University entitled Timeless Renaissance: Italian Drawings from the Alessandro Maggiori Collection. The dates for the exhibition were August 1 – November 6, 011. 7 preface Designed by Phil Kovacevich By John Olbrantz Editorial review by Sigrid Asmus Printed and bound in Canada 11 Master Drawings from the Alessandro Maggiori Collection Front cover and Fig. 2, page 80: Anonymous artist (Roman School, 18th century) Head of a young woman with hair in plaits, red chalk on light brown and the Aesthetics of Reappropriation in Eighteenth-Century Italy paper, 11 x 9 in. Fondo Alessandro Maggiori, Biblioteca Comunale, Monte San Giusto, Italy By Ricardo De Mambro Santos Back cover and Fig. 34, page 96: Attributed to Lodovico Carracci (born Bologna, 1555–died Bologna, 1619) Seated woman looking backward, red chalk and red charcoal on ivory-colored paper, 4 x 5 in. Fondo Alessandro Maggiori, Biblioteca Comunale, Monte San Giusto, Italy 1. The Cultural Paradigms of a Renaissance Nostalgia Frontispiece and Fig. 68, page 113: Anonymous artist (Roman School, 17th century) Study of Mercury, black chalk and black charcoal on grey paper, 15.5 x 11.75 in. Fondo Alessandro Maggiori, Biblioteca Comunale, Monte San Giusto, Italy . Back to the Beginning: The Panorama of the Studies . A Brief, yet Veracious, History of the Collection Page 6: Anton Raphael Mengs (born Aussig, Germany, 1728–died Rome, 1770), Study of a standing naked man seen from the rear with outstretched hand (detail), black chalk, slightly heightened with white, on light brown paper, 11.25 x 7.75 in., Fondo Alessandro Maggiori, Biblioteca Comunale, .
[Show full text]
A History of Painting
Marjorie Lyrline Williams ""^ ^^^•^" THE LIBRARY OF THE UNIVERSITY OF CALIFORNIA LOS ANGELES A HISTORY OF PAINTING A HISTORY OF PAINTING BY HALDANE MACFALL WITH A PREFACE BY FRANK BRANGWYN "^he Renaissance Edition OF THE HISTORY OF PAINTING LIMITED TO ONE THOUSAND NUMBERED COPIES. OF WHICH THIS IS NUMBER A HISTORY OF PAINTING BY HALDANE MAGFALL WITH A PREFACE BY FRANK BRANGWYN IN EIGHT VOLUMES. ILLUSTRATED WITH TWO HUNDRED PLATES IN COLOUR VOL. Ill LATER ITALIANS AND GENIUS OF SPAIN DANA ESTES AND CO. BOSTON Art Library 5o FOREWORD To the student who desires full information upon the significance of the Italian genius in painting after the great outburst of that genius in the Renaissance, in the years of the so-called Decline, I can findfew books to recommend in the English tongue—for the greatness of the Naturalisti has not yet been discovered, whilst the old vogue of the Eclectics was exaggerated as much in laudation as it is to-day condemned by contempt. But the great Spaniards have come into their own—or are coming. The best authorities on the scientific side concerning Velazquez and Spanish art generally are Beruete and Carl Justi, and they may be read in an English translation. An excellent survey of the Spanish achievement, setforth in fairly good balance, is the volume written by Mrs. Gasquoine Hartley, entitled " A Record of Spanish Painting." The writings of R. A. M. Stevenson, Sir William Stirling-Maxwell, Arthur Symons, W. Rothenstein, and the many brilliant students, English and foreign, who have done so much to set the bays on the heads of the great Spaniards, are helpful.
[Show full text]
Observing Protest from a Place
VISUAL AND MATERIAL CULTURE, 1300-1700 Bohn & Morselli (eds.) Edited by Babette Bohn and Raffaella Morselli Reframing Seventeenth-CenturySeventeenth-century Bolognese Art Archival Discoveries Reframing Seventeenth-Century Bolognese Art Bolognese Seventeenth-Century Reframing FOR PRIVATE AND NON-COMMERCIAL USE AMSTERDAM UNIVERSITY PRESS Reframing Seventeenth-Century Bolognese Art FOR PRIVATE AND NON-COMMERCIAL USE AMSTERDAM UNIVERSITY PRESS Visual and Material Culture, 1300–1700 A forum for innovative research on the role of images and objects in the late medieval and early modern periods, Visual and Material Culture, 1300–1700 publishes monographs and essay collections that combine rigorous investigation with critical inquiry to present new narratives on a wide range of topics, from traditional arts to seemingly ordinary things. Recognizing the fluidity of images, objects, and ideas, this series fosters cross-cultural as well as multi-disciplinary exploration. We consider proposals from across the spectrum of analytic approaches and methodologies. Series Editor Dr. Allison Levy, an art historian, has written and/or edited three scholarly books, and she has been the recipient of numerous grants and awards, from the National Endowment for the Humanities, the American Association of University Women, the Getty Research Institute, the Dumbarton Oaks Research Library of Harvard University, the Whiting Foundation and the Bogliasco Foundation, among others. www.allisonlevy.com. FOR PRIVATE AND NON-COMMERCIAL USE AMSTERDAM UNIVERSITY PRESS Reframing Seventeenth-Century Bolognese Art Archival Discoveries Edited by Babette Bohn and Raffaella Morselli Amsterdam University Press FOR PRIVATE AND NON-COMMERCIAL USE AMSTERDAM UNIVERSITY PRESS Cover illustration: Guido Reni, Portrait of Cardinal Bernardino Spada, Rome, Galleria Spada, c.
[Show full text]
Download Document
DATE: September 9, 2008 FOR IMMEDIATE RELEASE THE GETTY MUSEUM BRINGS TOGETHER MASTERPIECES OF ITALIAN BAROQUE PAINTING FROM CARRACCI TO CRESPI Exhibition explores the panorama of Bolognese painting through generous loans from the Staatliche Kunstsammlungen Dresden and Southern California collections Captured Emotions: Baroque Painting in Bologna, 1575–1725 Co-organized by the J. Paul Getty Museum and the Staatliche Kunstsammlungen Dresden At the J. Paul Getty Museum, Getty Center December 16, 2008 – May 3, 2009 “To write the history of the Carracci and their followers is virtually to write the history of painting in all Italy for two centuries, down to the present day.” – Luigi Lanzi, History of Painting in Italy, 1789 LOS ANGELES— Ludovico Carracci (1555–1619) and his two cousins, the brothers Agostino (1557–1602) and Annibale (1560–1609) Carracci, together brought about a revolution in the study and practice of painting that forever changed the history of art. The repercussions on European painting—a measured classicism and the expression of genuine emotion that characterized Baroque art—lasted for the next 250 years. On view at the J. Paul Getty Museum at the Getty Center, December 16, 2008 through May 3, 2009, Captured Emotions: Baroque Painting in Bologna, 1575–1725 is co-organized by the J. Paul Getty Museum and the Gemäldegalerie Alte Meister (Old Masters Picture Gallery), Staatliche Kunstsammlungen Dresden (Dresden State Art Collections), and continues the collaboration between the Getty and the Staatliche Kunstsammlungen Dresden that began back in 1999. Page 2 “This collaboration has given our curators the opportunity to show side by side works from the Getty’s collection with works from the 11 extraordinary museums that comprise the Staatliche Kunstsammlungen Dresden,” says Michael Brand, director of the J.
[Show full text]
Reni, Guercino, Cantarini, Pasinelli IL SEICENTO BOLOGNESE NELLE COLLEZIONI DELLA FONDAZIONE CASSA DI RISPARMIO in BOLOGNA
Reni, Guercino, Cantarini, Pasinelli IL SEICENTO BOLOGNESE NELLE COLLEZIONI DELLA FONDAZIONE CASSA DI RISPARMIO IN BOLOGNA Bologna, 9 maggio-13 ottobre 2019 Casa Saraceni, via Farini 15 E. Sirani, Porzia si ferisce alla gamba I pittori del Seicento bolognese godono di fama internazionale. Pur nelle oscillanti fortune, non è mai venuto meno il riconoscimento del ruolo strategico svolto dai Carracci, da Guido Reni e dal Guercino nella storia della pittura europea; così come, nella seconda metà del Seicento, opere di Elisabetta Sirani, di Lorenzo Pasinelli, di Carlo Cignani, di Marcantonio Franceschini e di altri pittori bolognesi varcarono le Alpi verso i paesi germanici e anglosassoni; per non dire dei decoratori e degli abili quadraturisti prospettici che lavorarono alla corte medicea come a quella estense e raggiunsero Roma, Genova, Madrid, Parigi, Vienna e altre città europee. Le Collezioni della Fondazione Cassa di Risparmio in Bologna documentano in parte la produzione di questi artisti; e se le opere più importanti sono permanentemente esposte nel Museo della Storia di Bologna in Palazzo Pepoli, altre non meno significative arredano gli uffici di Casa Saraceni, sede della Fondazione, o sono custodite nei caveaux di altre residenze affidate a Genus Bononiae. La mostra si compone di queste opere altrimenti non visibili. In copertina: F. Gessi, Allegoria della pittura G. Reni, Suicidio di Lucrezia G.G. Sementi, Santa Caterina d’Alessandria G.B. Bertusio, Crocifisso con santa Tecla Guercino, San Pietro penitente E. Sirani, Ritratto di Anna Maria Ranuzzi Vi figurano nomi di prima grandezza, come Guido Reni, alla cui ultima attività si deve la Lucrezia che si appresta al suicidio, oppure il Guercino con San Pietro penitente; ma anche Simone Cantarini, allievo ribelle di Guido Reni, con un capolavoro di severo naturalismo quale il sobrio, penetrante Doppio ritratto di uomo con cappello e donna G.G.
[Show full text]
The Vanderbilt Collection of Drawings in the East Galleries
. METROPOLITAN MUSEUM OF ART. HANDBOOK No. 8. The Vanderbilt Collection OF DRAWINGS, IN THE EAST G-ALLERIES. (FIRST EDITION.) PUBLISHED BY THE METROPOLITAN MUSEUM OF ART. M! A.Y, 1891. RHODE ISLAND SCHOOL OF DESIGN METROPOLITAN MUSEUM OF ART. HANDBOOK No. 8. The Vanderbilt Collection D RAWS MGS, IN THE EAST G-ALLERIES. ( FIRST EDITION.) PUBLISHED BY THE METROPOLITAN MUSEUM OF ART. MA.Y. 18S1. , INTRODUCTORY NOTE. This collection was begun in the latter part of the last century by Count Maggiori Bologna a learned scholar and connoisseur , of , and a member of the Academy of Sciences in that city. It has gradually been increased by additions from the celebrated collections Signor Marietta Professor Angelini Doctor Guastalla and Mr. of , , fames Jackson Jarves our Vice-Consul at Florence. , In 1880, it was purchased from the latter gentleman and generously presented to the Museum by MR. CORNELIUS VANDERBILT one of its Trustees. The attributions of authorship and the division into schools are by former owners, while a general chronological sequence in each school was attempted here. The practical difficulties in carrying out this plan, however, were so great that it was abandoned in some cases. In choosing a method of displaying the collection, the aim was to give all possible facilities for study and copying and yet to prevent hand- ling. The next edition of the handbook will probably contain an essay upon the period of Italian painting illustrated by this collection. '_ ,'.) INDEX BY CASES AND SCHOOLS. WEST SIDE. EAST SIDE. I. 1-19. Roman. XVII. 338-350. II. 20-49.
[Show full text]