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Image from page 88 of “Valuable paintings by the old masters of the northern and southern schools” (1916)
Augsburg
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Identifier: soutpang00amer
Title: Valuable paintings by the old masters of the northern and southern schools
Year: 1916 (1910s)
Authors: American Art Association
Subjects: Nicolas Riabouchinsky Prince Golinicheff Koutousoff
Publisher:
Contributing Library: Philadelphia Museum of Art, Library
Digitizing Sponsor: LYRASIS Members and Sloan Foundation

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I OF SPAIN BY CHRISTOPH AMBERGER CHKISTOPH AMBEKGER German (Augsburg): ( ?)—1563 No. 20—PORTRAIT OF CHARLES V OF GERMANY AND I OF SPAIN (Canvas) Height, 25 inches; width, 191/-; inches The figure is shown to the waist, facing three-quartersto the right, the hands, one resting on the other, appearingat the foot of the canvas on a black, arc-shaped object,decorated with gold arabesques. The head is coveredwith soft white hair, arranged in wavy rows, while themustache and heard, curved round the square chin andjaws and growing up to the ears, where some black ap-pears, complete the white framing of the face. The lat-ter, as well as the hands, is painted in limpid colors withminiature-like refinement. The eyes are olive-gray, sur-rounded by wrinkles; the nose is long, slender and aqui-line, and the crimson underlip has the protrusion char-acteristic of the Hapsburg lineage. In the upper leftcorner of the olive-green background appear armorialbearings, enclosing the castles of Castile.

Text Appearing After Image:
No. 21MADONNA AND CHILD BY PIERO DI COSIMO (DI LORENZO) PIEHO DI COSIMO (DI LORENZO) Italian (Florentine): 1462—about 1521 No. 21—MADONNA AND CHILD (Panel)Height, – + /4 indie*; width, 20 inches Against an evening sky of primrose hue, the beautifulhead of Madonna is seen, turning to the right, as shestands beside a scarlet-topped table, on which stands thenude figure of the Infant Christ. He gently grasps alittle bird, and nestles up to His Mothers body, whileshe joins her hands In prayer. Pier headdress is com-posed of a gossamer white veil over a silk drapery ofsilvery wine-colored tones, which is knotted over the earsand falls to the shoulder. The blue mantle is turnedback, like lapels across the bosom, revealing the yellow-gold lining, which also shows in the folds around theelbow. Her robe is of crimson velvet, gathered into tucksby the neck-band, which is embroidered with gold diaper,and by the band at the waist. In the background, onthe right, appears the glimpse of a city

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Image from page 283 of “Ancient faiths embodied in ancient names; or, An attempt to trace the religious belief, sacred rites, and holy emblems of certain nations” (1873)
Augsburg
Image by Internet Archive Book Images
Identifier: ancientfaithsem02inma
Title: Ancient faiths embodied in ancient names; or, An attempt to trace the religious belief, sacred rites, and holy emblems of certain nations
Year: 1873 (1870s)
Authors: Inman, Thomas, 1820-1876
Subjects: Religions Names, Personal Rites and ceremonies Symbolism
Publisher: London and Liverpool, Printed for the author
Contributing Library: Princeton Theological Seminary Library
Digitizing Sponsor: MSN

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red figure of a nude woman,exposing the V?, maar, in the most shamelessmanner, the idea being that the sight brought goodluck. The horse-shoe is the modern representativeof the organ in question. King {Gnostics, p. 219)gives the copy of a gem, in which a figure sits, muchin the same way as the Irish females. She is statedto be Athor, one of the Egyptian goddesses. In theexplanation given of the plate, the position is said tobe assumed in order to show the androgynous natureof the divinity. Fig. 19, a Buddhist emblem, represents Mary as a horse-shoe, instead Figure 19. of a crescent. Thewhole figure indi-cates the mystic four,the Alar and Rl ofthe Chaldaeans. I must now againcall my readers at-tention to Fig. 1 p.53, Vol. I., Fig. 6,p. 90, ibid., Figs. 16and 17, pp. 106, 107,ibid., Fig. 62, p.159, ibid., and Fig.5, Plate III., ibid. There is yet an-other subject con-nected with Mary, themodern virgin, and the ancient celestial goddesses,which is as curious as it is significant. The old

Text Appearing After Image:
263 Mary] Egyptians, Hindoos, Greeks and Romans representedcertain deities as black. Diana of the Ephesians,whose figure is represented on page 105, Vol. I.,was black. Juggernauts face, Narayen and Christna,in India, are painted black, and Cneph, Osiris andhis bull, Isis and Horus, Buddha, Mercury and theRoman Terminus were also tj^pified by black stones.The Thespians had a temple to Jupiter the Saviour,and to Venus Melainis, who were represented byblack stones. Ammons oracle was founded by blackdoves, and one founded a shrine at Dodona. Therewas a black Venus at Corinth. Venus, Isis, Hecate,Diana, Juno, Metis, Ceres, and Cybele were black;and the Multimammia, at the Campidoglio at Rome,is so too. In the Cathedral at Moulins; at thechapel at Loretto; at the churches of the Annun-ciation, St. Lazars, and St. Stephens, at Genoa; ofSt. Francisco, at Pisa; at Brisen, in the Tyrol; andin one at Padua ; in St. Theodore, at Munich;in the cathedial and thechurch at Escort Augsburg; inthe Borghese ch

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Please note that these images are extracted from scanned page images that may have been digitally enhanced for readability – coloration and appearance of these illustrations may not perfectly resemble the original work.

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