1title: Venus and Amor (Hans Holbein der Jüngere - Kunstmuseum Basel)
artist: Hans Holbein
date: circa 1524 /1525
source: Yorck
description:
The first of Holbein's mythological works, this painting shows Venus, the Roman goddess of love, with Amor (Cupid) clutching love's arrow. The work entered the Amerbach collection in 1578, where the inventory records that it depicts a member of the Offenburg family. The model, the same used for Holbein's Darmstadt Madonna and for his Lais of Corinth, has been identified with Magdalena Offenburg, who may have been Holbein's mistress. Holbein's Lais (right) was painted a year or two after Venus and Amor and, in effect, acts as a companion piece, though Holbein does not appear to have originally planned the second painting. In the later portrait, the sitter is portrayed as a courtesan, who takes money in return for her affections; according to some scholars, it may therefore contain a coded message by Holbein about his relationship with Magdalena. Art historian peter Claussen, however, dismisses this interpretation as "pure nonsense". Both paintings employ the same colours and depict the same costumes and drapery. Holbein adopts the style of Leonardo and the lombard muralists, whose work he may have studied during a visit to Italy. He uses Leonardo's sfumato (smoky) technique to smooth the contours of the faces and limbs, as well as the device of the parapet to set the subject back from the viewer. (References: Buck, pp. 44–43; Derek Wilson, Hans Holbein: Portrait of an Unknown Man, London: Pimlico, 2006, ISBN 1844139182, pp. 112–13; peter Claussen, "Holbein's Career between City and Court", in Müller, Kemperdick, Ainsworth, et al, Hans Holbein: The Basel Years, 1515–1532, Munich: Prestel, 2006, ISBN 9783791360522, p. 47.)license:Public domain
2title: Freskenzyklus im Casino Massimo in Rom, Dante-Saal, Szene: Das Empyreum und Gestalten aus den acht Himmeln des Paradieses, Detail: Der Sonnen-Himmel mit Dante und Beatrice zwischen Thomas von Aquin, Albertus Magnus, Petrus Lombardus und Sigier von Pa
artist: Philipp Veit
date: 1817-1827
medium: technique fresco
current location: de|1=[[:de:Deutsche Akademie Rom Villa Massimo|Casa Massimo]] de|1=Rom
source: Yorck
credit: The Yorck Project () 10.000 Meisterwerke der Malerei (DVD-ROM), distributed by DIRECTMEDIA Publishing GmbH. ISBN: 3936122202.
license:Public domain
3title: Venus and Amor (Hans Holbein der Jüngere - Kunstmuseum Basel)
artist: Hans Holbein
date: circa 1524 /1525
source: Stephanie Buck, ''Hans Holbein'', Cologne: Könemann, 1999, ISBN|3829025831 . *Uploaded by [[user:qp10qp|qp10qp]].
description:
The first of Holbein's mythological works, this painting shows Venus, the Roman goddess of love, with Amor (Cupid) clutching love's arrow. The work entered the Amerbach collection in 1578, where the inventory records that it depicts a member of the Offenburg family. The model, the same used for Holbein's Darmstadt Madonna and for his Lais of Corinth, has been identified with Magdalena Offenburg, who may have been Holbein's mistress. Holbein's Lais (right) was painted a year or two after Venus and Amor and, in effect, acts as a companion piece, though Holbein does not appear to have originally planned the second painting. In the later portrait, the sitter is portrayed as a courtesan, who takes money in return for her affections; according to some scholars, it may therefore contain a coded message by Holbein about his relationship with Magdalena. Art historian peter Claussen, however, dismisses this interpretation as "pure nonsense". Both paintings employ the same colours and depict the same costumes and drapery. Holbein adopts the style of Leonardo and the lombard muralists, whose work he may have studied during a visit to Italy. He uses Leonardo's sfumato (smoky) technique to smooth the contours of the faces and limbs, as well as the device of the parapet to set the subject back from the viewer. (References: Buck, pp. 44–43; Derek Wilson, Hans Holbein: Portrait of an Unknown Man, London: Pimlico, 2006, ISBN 1844139182, pp. 112–13; peter Claussen, "Holbein's Career between City and Court", in Müller, Kemperdick, Ainsworth, et al, Hans Holbein: The Basel Years, 1515–1532, Munich: Prestel, 2006, ISBN 9783791360522, p. 47.)license:Public domain
4title: Lais of Corinth, by Hans Holbein the Younger
artist: Hans Holbein
date: 1526
medium: technique tempera Lime wood
dimensions: size cm 34.6 26.8
current location: Institution:Kunstmuseum Basel <!--within the institution-->
source: Stephanie Buck, ''Hans Holbein'', Cologne: Könemann, 1999, ISBN|3829025831 . Uploaded by [[user:qp10qp|qp10qp]].
credit: Stephanie Buck, Hans Holbein, Cologne: Könemann, 1999, ISBN 3829025831. Uploaded by qp10qp.
description:
This painting portrays the famous Lais of Corinth, a courtesan of ancient Greece who charged a high price for her favours. It has been suggested that Holbein is also referring to the Lais who was the lover of Apelles, the great painter of antiquity (Holbein was called "Apelles" in humanist circles). The model, the same used for Holbein's Darmstadt Madonna and for his Venus and Amor (right), has been identified as Magdalena Offenburg, who may have been Holbein's mistress. Holbein's Lais was painted a year or two after Venus and Amor and, in effect, acts as its companion piece, though Holbein does not appear to have originally planned the second painting. According to some commentators, the portrayal of the sitter as a courtesan may contain a coded message by Holbein about his relationship with Magdalena. Art historian peter Claussen, however, dismisses this interpretation as "pure nonsense". Both paintings employ the same colours and depict the same costume and drapery. Holbein adopts the style of Leonardo and the lombard muralists, whose work he may have studied during a visit to Italy. He uses Leonardo's sfumato (smoky) technique to blend the skin tones, as well as the device of the parapet to set the subject back from the viewer. (References: Buck, pp. 44–43; Derek Wilson, Hans Holbein: Portrait of an Unknown Man, London: Pimlico, 2006, ISBN 1844139182, pp. 112–13; peter Claussen, "Holbein's Career between City and Court", in Müller, Kemperdick, Ainsworth, et al, Hans Holbein: The Basel Years, 1515–1532, Munich: Prestel, 2006, ISBN 9783791360522, p. 47.)license:Public domain
5title: School of Rubens Alboin and Rosamunde
artist:
date: 1615
medium: technique painting
current location: Institution:Kunsthistorisches Museum
source: [link Kunsthistorisches Museum]
credit: Kunsthistorisches Museum
description: A history painting on the lombard king Alboin ordering to serve wine to Rosamunde in her father's skull, which he had previously killed. Probable help from the workshop.
license:Public domain
6title: Petrus Lombardus Sententiarum textus 1513 Titel (Isny)
artist: Urs Graf
date: 1513
source: Helmut Schmid: ''„ain liebrey zu den büchern“. Die mittelalterliche Predigerbücherei der Nikolaikirche zu Isny'' (Kleinode; Bd. 7). Ravensburg 2000 ([link DNB])
credit: Helmut Schmid: „ain liebrey zu den büchern“. Die mittelalterliche Predigerbücherei der Nikolaikirche zu Isny (Kleinode; Bd. 7). Ravensburg 2000 (DNB)
license:Public domain
7title: 1940 Census Enumeration District Descriptions Louisiana - Iberia County - ED 23-11, ED 23-12, ED 23-13 - NARA - 5863374
artist:
Unknown author or not provideddate: 1850
current location: National Archives at College Park - Archives II (College Park, MD)
credit: U.S. National Archives and Records Administration
description:
- Scope and content: This item lists Enumeration Districts for:
LA ED 23-11: POLICE JURY WARD 6, NEW IBERIA CITY BOUNDED BY (N) CITY LIMITS, lombard, HOPKINS, JANE, CORINNE; (E) BAYOU TECHE; (S) IBERIA; (W) CITY LIMITS; ALSO CITY JAIL, HOWE INSTITUTE (NEGRO), IBERIA PARISH JAIL, IBERIA TRAINING SCHOOL, ST. EDWARD'S CONVENT.
LA ED 23-12: POLICE JURY WARD 6, NEW IBERIA CITY BOUNDED BY (N) IBERIA; (E) BAYOU TECHE, WEEKS, E MAIN; (S) CENTER; (W) CITY LIMITS.
LA ED 23-13: POLICE JURY WARD 6, NEW IBERIA CITY BOUNDED BY (N) CENTER, E MAIN, WEEKS; (E) BAYOU TECHE, CITY LIMITS; (S) CITY LIMITS; (W) CITY LIMITS; ALSO IBERIA GENERAL HOSPITAL, ST. peter'S COLLEGE.license:Public domain
8title: Petrus Apianus Leysniczensis (BM 1925,1117.106)
artist:
Print made by: Philips Galle
- Published by: Philips Galle
date: 1572
medium: paper
dimensions: : Height: 176 millimetres : Width: 123 millimetres
current location: Institution:British Museum
source: link
credit: link
license:Public domain
9title: Pennsylvania ARMSTRONG County, Enumeration District 42, Sheet No. 6A - DPLA - 69d8b92b79f7ccfa0758bebe6edb8fc8
artist: unknown
date: 1910-01-01/1910-12-31
credit: This file was contributed to Wikimedia Commons by National Archives at Washington, DC - Textual Reference as part of a cooperation project. The donation was facilitated by the Digital Public Library of America, via its partner National Archives and Records Administration. National Archives Identifier: 91310987 Source record: link DPLA identifier: 69d8b92b79f7ccfa0758bebe6edb8fc8
description:
Surname, Given Name; Family Number; Age; Birth Year; Place of Birth Muff, Charlie; 116; 12; 1898; Italy Muff, Donet; 116; 9; 1901; Pennsylvania Muff, Pauline; 116; 5; 1905; Pennsylvania Muff, Lucy; 116; 3; 1907; Pennsylvania Muff, Josephine; 116; 0; 1910; Pennsylvania lombard, Felomena; 116; 64; 1846; Italy lombard, Tom; 116; 27; 1883; Italy lombard, Louie; 116; 5; 1905; Pennsylvania Pickle, James; 117; 31; 1879; Italy Pickle, Mary; 117; 39; 1871; Italy Pickle, Donet; 117; 9; 1901; Pennsylvania Pickle, Angline; 117; 8; 1902; Pennsylvania Pickle, Joseph; 117; 6; 1904; Pennsylvania Pickle, Chiarina; 117; 4; 1906; Pennsylvania Pickle, Carmela; 117; 1; 1909; Pennsylvania Scocchera, Angelo; 117; 21; 1889; Italy Emilio, Felicetti; 117; 25; 1885; Italy Bucci, Alexander; 117; 27; 1883; Italy Anglo, Mike; 117; 45; 1865; Italy Massia, Giacinto; 117; 29; 1881; Italy Pincott, peter; 117; 22; 1888; Italy Pincott, Nick; 117; 21; 1889; Italy Fear, Allie; 118; 42; 1868; Italy Fear, Rosie; 118; 42; 1868; Italy Fear, Frank; 118; 17; 1893; Italy Fear, Allie; 118; 12; 1898; Italy Fear, Anglina; 118; 6; 1904; Pennsylvania Fear, Louie; 118; 4; 1906; Pennsylvania Fear, Joe; 118; 3; 1907; Pennsylvania Fear, Sam; 118; 1; 1909; Pennsylvania Mascarelle, Frank; 118; 18; 1892; Italy Mireno, Jim; 118; 25; 1885; Italy Devivo, Carlo; 118; 25; 1885; Italy Cocci, Tam; 118; 31; 1879; Italy Bono, Frank; 118; 23; 1887; Italy Bono, Lizzie; 118; 15; 1895; Italy Bono, Joseph; 118; 0; 1910; Pennsylvania Federici, Antonio; 119; 27; 1883; Italy Federici, Antonia; 119; 23; 1887; Italy Federici, Ada; 119; 0; 1910; Pennsylvania Chiola, Domenico; 119; 39; 1871; Italy Luci, Rosario; 119; 33; 1877; Italy Carmelo, Polito; 119; 39; 1871; Italy Leone, Pietro; 119; 28; 1882; Italy Miche, Giacomo; 119; 28; 1882; Italy Coccia, Guiseppe; 119; 27; 1883; Italy Di Vita, Carmelo; 120; 25; 1885; Italy Di Vita, Crocefissa; 120; 19; 1891; Italy Di Vita, Lucia; 120; 0; 1910; Pennsylvania Bini, Sam; 120; 23; 1887; Italylicense:Public domain
title: New York KINGS County, Enumeration District 230, Sheet No. 15A - DPLA - ab62e826b1be92c3069837477713f369
artist: unknown
date: 1920-01-01/1920-12-31
credit: This file was contributed to Wikimedia Commons by National Archives at Washington, DC - Textual Reference as part of a cooperation project. The donation was facilitated by the Digital Public Library of America, via its partner National Archives and Records Administration. National Archives Identifier: 91789226 Source record: link DPLA identifier: ab62e826b1be92c3069837477713f369
description:
Surname, Given Name; Family Number; Age; Birth Year; Place of Birth Pagnotta, Rosario; 237; 3; 1917; New York Guarai, Niclas; 238; 38; 1882; Italy Guarai, Eugenia; 238; 34; 1886; Italy Guarai, Dominick; 238; 5; 1915; New York Guarai, Frances; 238; 1; 1919; New York Sculio, Carlo; 238; 23; 1897; Italy Lerena, Belponti; 239; 33; 1887; Italy Lerena, Rosa; 239; 31; 1889; Italy Lerena, Antonio; 239; 10; 1910; New York Lerena, Nicolas; 239; 1; 1919; New York Lerena, Carlo; 239; 0; 1920; New York Gargano, Carmine; 240; 35; 1885; Italy Gargano, Angelica; 240; 35; 1885; Italy Gargano, Anna; 240; 3; 1917; New York Gargano, Thersa; 240; 1; 1919; New York Mencano, Nicodemo; 241; 31; 1889; Italy Bartellello, Vincenzo; 242; 28; 1892; Italy Bartellello, Agnes; 242; 21; 1899; Italy Bartellello, John; 242; 3; 1917; New York Bartellello, James; 242; 1; 1919; New York Pedretti, Antonio; 243; 47; 1873; Italy Pedretti, Catherine; 243; 47; 1873; Italy Pedretti, Letitia; 243; 12; 1908; New York Pedretti, Joseph; 243; 7; 1913; New York Lombards, Paul; 243; 30; 1890; Italy Pearetti, Pasquella; 244; 41; 1879; Italy Pearetti, Julia; 244; 31; 1889; Italy Pearetti, Joseph; 244; 18; 1902; Italy Pearetti, Louis; 244; 8; 1912; New York Pearetti, James; 244; 5; 1915; New York Pearetti, Helen; 244; 1; 1919; New York Cartanes, peter; 245; 47; 1873; Italy Cartanes, Rose; 245; 44; 1876; Italy Cartanes, Josephine; 245; 16; 1904; Italy Cartanes, Alfred; 245; 12; 1908; New York Celis, Antonio; 246; 35; 1885; Italy Celis, Mary; 246; 12; 1908; Italy Celis, Carmella; 246; 10; 1910; Iowa Celis, Anna; 246; 7; 1913; Iowa Celis, Iva; 246; 4; 1916; Iowa Celis, Joseph; 246; 2; 1918; Iowa Auperi, Vincenzo; 247; 54; 1866; Italy Auperi, Josephine; 247; 47; 1873; Italy Auperi, Maria; 247; 20; 1900; New York Feschitti, Anthony; 248; 40; 1880; Italy Feschitti, Florence; 248; 35; 1885; Italy Feschitti, Mary; 248; 12; 1908; New York Feschitti, Ednora; 248; 11; 1909; New York Feschitti, Anthony; 248; 8; 1912; New York Feschitti, Dominick; 248; 2; 1918; New Yorklicense:Public domain
.jpg){kind=small}
.jpg){kind=small}
