Domenico Collection (page 2)

Gentleman fencer taking his opponents sword, second position of the Disarm after parrying his Carte Thrust. Copperplate engraving by after an illustration by Thomas Rowlandson from Mr

Gentleman fencer disarming his opponent after parrying his Carte Thrust. Copperplate engraving by after an illustration by Thomas Rowlandson from Mr

Gentleman fencer in the whole turn called Volte
Gentleman fencer making the whole turn called Volte, on the Pass in Tierce, or in Carte over the Arm. Copperplate engraving by after an illustration by Thomas Rowlandson from Mr

Gentleman fencer in the Demi-Volte turn
Gentleman fencer in the half-round or bounding turn of the Body called the Demi-Volte. Copperplate engraving by after an illustration by Thomas Rowlandson from Mr

Gentleman fencer running through an opponent
Gentleman fencer stabbing his opponent after an Evasion, by moving his left leg back when his opponent makes a pass on the outside of the sword

Gentleman fencer making the Pass on the sword in Carte over the arm. Copperplate engraving by after an illustration by Thomas Rowlandson from Mr. Domenico Angelos The School of Fencing, London, 1787

Gentlemen fencers making the plain Cut over the Point from Carte in Tierce. Copperplate engraving by after an illustration by Thomas Rowlandson from Mr

Gentleman fencer in the return from the Prime parade to the Seconde and Low Carte thrust. Copperplate engraving by after an illustration by Thomas Rowlandson from Mr

Gentleman fencer making the return on the Flanconade thrust by reversing the edge to an opponent who has not opposed with the left hand

Gentlemen fencers making a return thrust in Quinte after the thrust in Seconde. Copperplate engraving by after an illustration by Thomas Rowlandson from Mr

Gentleman fencer making the Seconde return thrust after parrying Carte over the Arm. Copperplate engraving by after an illustration by Thomas Rowlandson from Mr

Gentlemen fencers in the Tierce return after the Tierce thrust. Copperplate engraving by after an illustration by Thomas Rowlandson from Mr. Domenico Angelos The School of Fencing, London, 1787

Gentlemen fencers in the Carte return after the Carte parry. Copperplate engraving by after an illustration by Thomas Rowlandson from Mr. Domenico Angelos The School of Fencing, London, 1787

Gentlemen fencers in the Quinte parry against Quinte Thrust
Gentlemen fencers in the Quinte parade, point low and wrist raised, against the Quinte Thrust, outside thrust under the wrist

Gentlemen fencers in Prime parry and Seconde thrust
Gentlemen fencers in the Prime parade or St. George Guard parry derived from the broadsword, against the outside thrust under the wrist called Seconde

Gentlemen fencers in guard positions
Gentlemen fencers in the position for the Guard in Carte, and position for the Guard in Tierce. Copperplate engraving by after an illustration by Thomas Rowlandson from Mr

Gentleman fencer in the position of the Thrust in Seconde
Gentleman fencer in the position of the outside Parade for the thrust under the wrist or the Thrust in Seconde. Copperplate engraving by after an illustration by Thomas Rowlandson from Mr

Gentlemen fencers in thrust and parry positions
Gentlemen fencers in the position of the outward parry with the nails upward or the Feather Parade and the outward thrust nails upward, or the Carte over the Arm

Gentlemen fencers in Tierce parry and thrust positions
Gentlemen fencers in the position of the outside parade in Tierce and the outside thrust or Tierce-Thrust. Copperplate engraving by after an illustration by Thomas Rowlandson from Mr

Gentlemen fencers in Carte thrust and parry
Gentlemen fencers in the position of the inside parade in Carte and the thrust in Carte. Copperplate engraving by after an illustration by Thomas Rowlandson from Mr

Gentleman fencers in the fourth and fifth positions of the Salute. Copperplate engraving by after an illustration by Thomas Rowlandson from Mr. Domenico Angelos The School of Fencing, London, 1787

Gentlemen fencers in the second and third positions of the Salute. Copperplate engraving by after an illustration by Thomas Rowlandson from Mr. Domenico Angelos The School of Fencing, London, 1787

Gentleman fencer in the first position of the Salute. Copperplate engraving by after an illustration by Thomas Rowlandson from Mr. Domenico Angelos The School of Fencing, London, 1787

Gentleman fencer in first position to draw a sword. Copperplate engraving by after an illustration by Thomas Rowlandson from Mr. Domenico Angelos The School of Fencing, London, 1787

Andromache bewailing the death of Hector, engraved by Domenico Cunego, 1764 (engraving)
495816 Andromache bewailing the death of Hector, engraved by Domenico Cunego, 1764 (engraving) by Hamilton, Gavin (1723-98) (after); 45.5x62.9 cm; The Hunterian, University of Glasgow

Scene from the Opera of "Haydee, "at Covent-Garden Theatre (engraving)
1617747 Scene from the Opera of " Haydee, " at Covent-Garden Theatre (engraving) by English School, (19th century); Private Collection; (add.info.: Scene from the Opera of " Haydee)

Laocoon, c. 1610 / 1614. Creator: El Greco
Laocoon, c. 1610/1614

Battle between cavalry and infantry in a wood, 16th century. Creator: Hieronymus Hopfer
Battle between cavalry and infantry in a wood, 16th century. After Domenico Campagnola

Madonna of the Rose, she reaches for a rose held by the Christ child, who rests his left arm on a globe, 1560-75. After Parmigianino

Gothic Architecture in a Landscape, ca. 1807. Creator: Domenico Quaglio II
Gothic Architecture in a Landscape, ca. 1807

The Triubute Money: Christ at center right gesturing to man at his left with coins in his hand, other figures surrounding them; columns and drapery in the background, ca. 1564-89

Mary seated beneath trees with baby, flanked by Joseph at left and St. Jerome at right; St. John the Baptist seated in the foreground holding a cross; a man stooping to pick up a child at left; a

Landscape with family walking together in the foreground, at left two figures with herd of goats and sheep; a mill (?) and other buildings in the background, ca. 1535-40

Landscape with a woman seated next to a man playing a hurdy-gurdy, ca. 1540

Landscape with Saint Jerome at left looking towards lion and bear fighting at center; two figures with mule in the background, ca. 1530-35

The forger standing by an anvil pulling a man in chains, from the series The var... ca
The forger standing by an anvil pulling a man in chains, from the series The various operations of alchemy, ca. 1540-1550

Following Francesco I d Estes Example, His Troops Safely Pass Torrents During Extreme Weather, from L Idea di un Principe ed Eroe Cristiano in Francesco I d Este, di Modena e Reggio Duca VIII [...]

After a Few Days of Seige with the French Army, Francesco I d Este Takes Prossession of Mortara, The Last of his Great Victories, from L Idea di un Principe ed Eroe Cristiano in Francesco I d Este

After a Long Seige, Francesco I d Este, with the Aid of the French Army, Takes Valencia, from L Idea di un Principe ed Eroe Cristiano in Francesco I d Este, di Modena e Reggio Duca VIII [...], 1659

Francesco I d Este, Suffering the Pain of his Injuries, Continues to Take Charge for the Successful Completion of the Military Campaign

Francesco I d Este and the French Army Besiege Valenza, which has Been Taken by the Spanish, and by Persisting with Intrepid Courage, Succeeds in the Endeavor

After a Long March, Francesco I d Este Passes with the River of Cassano with his Army, thus Causing Great Harm to the Spanish, from L Idea di un Principe ed Eroe Cristiano in Francesco I d Este

The Seige of Alessandria Begins, from L Idea di un Principe ed Eroe Cristiano in Francesco I d Este, di Modena e Reggio Duca VIII [...], 1659

At the Head of a Swiss Army, Francesco I d Este, with Uncrushed Spirit, Confronts the Enemy under Bozzolo, who has Many Advantages, and Demands their Retreat

Francesco I d Este Freely Crosses the Po and Takes Up his Sword Against Troops in the Vinyard of the Opposite Bank where the Spanish had Settled to Impede his Crossing

Despite the Corageous Opposition of the Germans and the Spanish, Francesco I d Este, at the Head of his Armies, Arrives at the Piazza di Valeneza

Francesco I d Este Sets Out for the Seige of Cremona, Crosses the Trench Between Himself and the Spanish, and Takes the City with Great Force

Francesco I d Este, Wounded in Battle, Continues to Orchestrate the Seige of Pavia, from L Idea di un Principe ed Eroe Cristiano in Francesco I d Este, di Modena e Reggio Duca VIII [...], 1659

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"Domenico: A Journey Through Art, Beauty, and Deception" Step into the world Ghirlandaio (1449-1494), an Italian Renaissance painter whose works continue to captivate audiences today. His masterpiece "An Old Man and his Grandson" portrays a tender moment between generations, reminding us of the timeless bond shared within families. In contrast, his "Carnival Scene or the Minuet" transports us to a lively celebration filled with vibrant colors and joyous laughter. The energy is palpable as dancers twirl in sync to the enchanting melodies. Switching gears, we encounter gentlemen fencers in Tierce guard and thrust position. Domenico's attention to detail captures their poised stances and intense concentration, showcasing both skill and discipline. Moving forward in time, we delve into the artistry Fetti with "The Parable of the Mote and the Beam. " This thought-provoking piece challenges us to reflect on our own flaws before judging others—a timeless lesson beautifully depicted by Fetti's brushstrokes. El Greco takes center stage next with "Christ Carrying the Cross, " a powerful portrayal that evokes deep emotions within its viewers. The intensity in Christ's eyes speaks volumes about sacrifice and resilience. Shifting mediums from painting to engraving, we explore Hebe through Domenico Cunego's skilled hands. The delicate lines etched onto paper bring this Greek goddess of youth to life—her youthful radiance captivating all who gaze upon her image. Stepping away from art momentarily, we encounter Amomum, vochya, callisia, tapanhuacanga, portlandia, and fransin—an intriguing mix of botanical wonders that pique our curiosity about nature's diversity under Domenico’s lens. Music fills our ears as we uncover Coltel by Domenico Cimarosa—a harmonious composition that transports us to a world of melodic enchantment.