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During the 16th and 17th century, dogs were depicted in hunting scenes, representing social status, as a lap dog, or sometimes as a personal friend. They were also used as symbols in painting. The Greek philosopher Diogenes (404–323 BC) was depicted by Jean-Léon Gérôme in the company of dogs, serving as emblems of his "Cynic" (Greek ...
The celestial phenomenon over the German city of Nuremberg on April 14, 1561, as printed in an illustrated news notice in the same month. An April 1561 broadsheet by Hans Glaser described a mass sighting of celestial phenomena or unidentified flying objects (UFO) above Nuremberg (then a Free Imperial City of the Holy Roman Empire).
Other satirists suggested that Boy was a "Lapland Lady" who had been transformed into a white dog. Boy was also "able" to find hidden treasure, was invulnerable to attack, could catch bullets fired at Rupert in his mouth, and prophesy as well as the 16th-century soothsayer, Mother Shipton. [7]
Two pipers play the pijpzak, an unbreeched boy in the foreground licks a plate, a wealthy man at the far right is talking to a Franciscan friar, a dog emerges from under the table to snatch pieces of bread on the bench. The scene is said to accurately depict 16th-century peasant wedding customs. [1]
In Rubens' Last Supper, a dog with a bone can be seen in the scene, probably a simple pet. It may represent faith, dogs are traditionally symbols of and are representing faith. [30] According to J. Richard Judson the dog near Judas, it perhaps representing greed, or representing the evil, as the companion of Judas, as in John 13:27. [31]
The 17th-century art historian Gian Pietro Bellori makes the first mention of this work and describes it as a copy of a lost work by Annibale Carracci.Domenichino had been trained in Bologna by Annibale's brother Ludovico Carracci, and after moving to Rome in 1602 joined the circle of Annibale, who had already made the move there around the time Domenichino began to work with Ludovico.
Jan van Eyck, The Arnolfini Portrait, 1434, National Gallery, London Rogier van der Weyden, The Descent from the Cross, c. 1435, Museo del Prado, Madrid. Early Netherlandish painting is the body of work by artists active in the Burgundian and Habsburg Netherlands during the 15th- and 16th-century Northern Renaissance period, once known as the Flemish Primitives. [1]
It is a depiction of the Second Coming of Christ and the final and eternal judgment by God of all humanity. The dead rise and descend to their fates, as judged by Christ who is surrounded by prominent saints. Altogether there are over 300 figures, with nearly all the males and angels originally shown as nudes; many were later partly covered up ...