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Triumph of Chastity: unicorns draw a carriage bearing a female figure seated next to a sphinx and holding a standard, Vestal virgins walk behind the carriage, round temple of Vesta at right, from the series 'The Triumphs of Petrarch'

Apulian lebes gamikos showing a seated bride holding a vase, attended by a youth with a dove and a woman supporting Eros, who bears a wreath

Triumph of Love: four horses draw a carriage with Cupid standing upon a smoking platform, preceded by gods and goddesses on foot, a temple with gabled pediment at crest of hill beyond, from the series 'The Triumphs of Petrarch'

[Young girls carry banners for the procession at dedication of the new National Woman's Party headquarters at the "Old Brick Capitol" in Washington, D.C.]

[Design drawing for stained glass window in Pre-Raphaelite style showing Royal Virgin Mary enthroned with female attendants, children, symbols of Evangelists, Chiro, and Trinity]

A female figure in glory at center, surrounded by burning rocks; below Cupid sailing on a burning chariot; set design from 'Il Pomo D'Oro'

Femmina coronata di spighe, per un simbolo dell'Estate; di Gio. Caccini: ed un Mercurio con la testa d'Argo ai piedi; di Pietro Francavilla; Statue ambedue lungo lo Stradone all'Isolotto in Boboli.

Petrograd. [Boats along the side of the Neva River. People carrying banners. Women carrying a religious banner. Horse and carriage]

The Triumph of Eternity is represented by a cart drawn by the Four Evangelists with their symbols; on the cart is a Gnadenstuhl representation of the Trinity.

The Triumph of Chastity; she stands on a vase upon a chariot, before her kneels Cupid bound and blindfolded, the chariot is escorted by young women, leading them a maiden carrying a banner with the emblem of an ermine, illustration to Petrarch's 'Triumph of Chastity'

description

Summary

Public domain reproduction of Italian art print, 16th-17th century, free to use, no copyright restrictions image - Picryl description.

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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francesco rosselli engraving prints attributed to francesco rosselli triumph chastity vase chariot cupid women maiden banner emblem ermine illustration petrarch and chastity and 15th century high resolution ultra high resolution italian emblems francesco petrarca renaissance metropolitan museum of art medieval art
date_range

Date

1480 - 1489
collections

in collections

Italian Prints

Set of random Italian prints from NYPL collection
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Source

Metropolitan Museum of Art
link

Link

http://www.metmuseum.org/
copyright

Copyright info

Public Domain Dedication (CC0)

label_outline Explore Ermine, Francesco Rosselli, Chastity

Topics

francesco rosselli engraving prints attributed to francesco rosselli triumph chastity vase chariot cupid women maiden banner emblem ermine illustration petrarch and chastity and 15th century high resolution ultra high resolution italian emblems francesco petrarca renaissance metropolitan museum of art medieval art