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The Martydom of Saint Cecilia standing naked in a large cauldron, at left under a colonnade, sits a Roman Prefect, at right the statue of Jupiter in a niche
Victory: a naked youth standing facing left holding a statue of winged Victory in his right hand
Victory: a naked youth standing facing left holding a statue of winged Victory in his right hand
Nude youth holding palm branch, partially nude woman holding wreath.
Romeinse soldaat begroet Romeinse dame / Allegorie: een jongen klampt zich vast aan een oude man, terwijl een vrouw aan zijn gewaad trekt
Victory: a naked youth standing facing left holding a statue of winged Victory in his right hand
An allegorical scene; a young woman at centre holding a wreath above her head, at left is a old man leaning on a stick, a younger man at right who holds a small dragon
Throne room with a man in classical armor standing at center addressing a man seated on a throne at left; soldiers lined on either side of the room; set design from 'Il Fuoco Eterno'
The Sacrifice of a Ram; naked man at right guiding a ram towards an altar pyre, hooded priest at left with a young attendant
The triumph of a Roman Emperor; a young naked hero stands at centre on a pile of armour; a woman at right holds aloft a laurel wreath
Summary
Marcantonio Raimondi (Italian, Argini (?) ca. 1480–before 1534 Bologna (?))
Public domain photograph of 16th-century Italian painting, free to use, no copyright restrictions image - Picryl description
Renaissance representation of classical ruins was a symbol of antiquity, enlightenment, and lost knowledge. Ruins spoke to the passage of time. The greatest subject for ruin artists was the overgrown and crumbling Classical Rome remains. Forum and the Colosseum, Pantheon, and the Appian Way. Initially, art representations of Rome were realistic, but soon the imagination of artists took flight. Roman ruins were scattered around the city, but frustrated artists began placing them in more pleasing arrangements. Capriccio was a style of imaginary scenes of buildings and ruins.
Printmaking in woodcut and engraving came to Northern Italy within a few decades of their invention north of the Alps. Engraving probably came first to Florence in the 1440s, the goldsmith Maso Finiguerra (1426–64) used the technique. Italian engraving caught the very early Renaissance, 1460–1490. Print copying was a widely accepted practice, as well as copying of paintings viewed as images in their own right.
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