130 Sentences With "putto" | Random Sentence Generator

Among these was a red and white chalk study from about 1600 by the Dutch Mannerist artist Abraham Bloemaert of a flying putto firing a bow.

By the time the Hellenistic period rolled around, Cupid was almost solely depicted as the cherub (or, for the art buffs among us, putto), we know today.

Mr. Butterfield had acquired the 2-foot-233-inch tall putto, or "spiritello," in 2012 from the estate of a Turin art dealer, Giancarlo Gallino, for an undisclosed amount.

This show includes several other small bronzes by Verrocchio, including the recently conserved "Putto With a Dolphin," from 1465 or a little later, which was the first Renaissance sculpture made to be beheld from 360 degrees.

The historiography of this subject matter is very short. Many art historians have commented on the importance of the putto in art, but few have undertaken a major study. One useful scholarly examination is Charles Dempsey's Inventing the Renaissance Putto.

The revival of the figure of the putto is generally attributed to Donatello, in Florence in the 1420s, although there are some earlier manifestations (for example the tomb of Ilaria del Carretto, sculpted by Jacopo della Quercia in Lucca). Since then, Donatello has been called the originator of the putto because of the contribution to art he made in restoring the classical form of putto. He gave putto a distinct character by infusing the form with Christian meanings and using it in new contexts such as musician angels. Putti also began to feature in works showing figures from classical mythology, which became popular in the same period.

A putto (; plural putti ) is a figure in a work of art depicted as a chubby male child, usually naked and sometimes winged. Originally limited to profane passions in symbolism,Dempsey, Charles. Inventing the Renaissance Putto. University of North Carolina Press, Chapel Hill and London, 2001.

Its logo depicts a yellow putto on a green background, putti being typical of the Baroque Era.

Most Renaissance putti are essentially decorative and they ornament both religious and secular works, without usually taking any actual part in the events depicted in narrative paintings. There are two popular forms of the putto as the main subject of a work of art in 16th-century Italian Renaissance art: the sleeping putto and the standing putto with an animal or other object.Korey, ALexandra M. "Putti, Pleasure, and Pedagogy in Sixteenth-Century Italian Prints and Decorative Arts." The University of Chicago, 2007.

Other alterations are also visible in the books, the hand of the right putto and the larger hill of the landscape.

Tomb and monument of Ilaria del Carretto by Jacopo della Quercia, c. 1413 (plaster cast in Moscow) Putti are a classical motif found primarily on child sarcophagi of the 2nd century, where they are depicted fighting, dancing, participating in bacchic rites, playing sports, etc. Putto on the ceiling of Stirling Castle. The putto disappeared during the Middle Ages and was revived during the Quattrocento.

Baroque drinking fountains of this type included Putto s rybou I (Putto with a fish I) and Scharitzerova fontána (Scharitzer drinking fountain) inside the Apponyi Palace, Putto s rybou II on Biela Street survived until today. Drinking fountains are used especially during the summer, yet a lot of people are reluctant to drink the water due to fear of disease. According to the Public Health Office of Slovakia (), all drinking water fountains supply the same tap water as residents have in their homes and the water is safe to drink. Drinking fountains in Bratislava do not feature any instructions on how to operate them.

Schneider (2000), p. 50. This putto once hung in the upper right of the piece before, for whatever reason, somebody closed the wall over it.Montias (1991), p. 152.Huerta (2005), p. 37.

First courtyard with Putto with Dolphin by Verrocchio in the middle, and frescoes of Austrian cities on the wall by Vasari The first courtyard was designed in 1453 by Michelozzo. In the lunettes, high around the courtyard, are crests of the church and city guilds. In the center, the porphyry fountain is by Battista del Tadda. The Putto with Dolphin on top of the basin is a copy of the original by Andrea del Verrocchio (1476), now on display on the second floor of the palace.

The more commonly found form putti is the plural of the Italian word putto. The Italian word comes from the Latin word putus, meaning "boy" or "child". Today, in Italian, putto means either toddler winged angel or, rarely, toddler boy. It may have been derived from the same Indo-European root as the Sanskrit word "putra" (meaning "boy child", as opposed to "son"), Avestan puθra-, Old Persian puça-, Pahlavi (Middle Persian) pus and pusar, all meaning "son", and the New Persian pesar "boy, son".

Michael Rees is an American artist doing sculpture, installation, animation, and interactive computing. He has exhibited his works widely, including at the Whitney Museum of American Art, New York, NY (1995 Whitney Biennial, 2001 Bitstreams Exhibition); Bitforms gallery, Universal Concepts Unlimited, The Aldrich Museum of Contemporary Art, Ridgefield, CT (Putto Large and Moving 2004, Pop Surrealism 1998, Best of Season 2001), The MARTa Museum, Herford, Germany (Putto 4 over 4 2005), and The Kemper Museum of Contemporary Art, Kansas City, MO (Putto 2x2x4 permanent installation of sculpture and animation). He has experimented with a broad practice that includes performance, interactive computer programs (the sculptural user interface), digital modeling and fabrication, animation, and video. Rees' work with digital media has been written about and illustrated in books,Edward A. Shanken, Art and Electronic Media. London: Phaidon Press, forthcoming january 2009.

Visscher and Baldoin Breyel were charged with overseeing the tomb's execution Both of them had been friends of the deceased, who belonged to the expatriate Netherlandish community of Santa Maria dell'Anima in Rome. The tomb was completed between 1633 and 1640. The putti that compose Van den Eynde's epitaph, especially the righthand putto, are considered "the peak of the evolution of the putto in sculpture" and one of Duquesnoy's best realizations. Copies of the Van den Eynde's putti, whether in plaster or wax, were owned by many artists in Rome and Northern Europe.

A putto sits atop a millstone (or grindstone) with a chip in it. He scribbles on a tablet, or perhaps a burin used for engraving; he is generally the only active element of the picture.e.g., Klibansky, Panofsky & Saxl, 321 Attached to the structure is a balance scale above the putto, and above Melancholy is a bell and an hourglass with a sundial at the top. Numerous unused tools and mathematical instruments are scattered around, including a hammer and nails, a saw, a plane, pincers, a straightedge, a molder's form, and either the nozzle of a bellows or an enema syringe (clyster).

Putto da fontana (1515-20), Berlino, Museo Bode Girolamo della Robbia (1488 - 4 August 1566) was an Italian potter, the youngest son of Andrea della Robbia, together with his brother Giovanni della Robbia were among the most active collaborators in the family workshop.

He retired as professor in 1987 and died in Groningen in 2003. Kossmann was considered a writer with a refined style, and an erudite scholar. His intellectual outlook was sceptical, ironical, detached. He published several books in collaboration with his wife Johanna Kossmann-Putto.

Putto with Lyre Mitjens was born in Brussels. He was the first known member of a family of painters named Mijtens or Mytens. He was the uncle of Isaac Mijtens (ca. 1602–1666), a portrait painter in The Hague and Daniel Mijtens (ca. 1590-ca.

The Judgement of Paris refers to any of the several paintings of the Judgement of Paris produced by Peter Paul Rubens, though he did not match the 22 depictions of the subject attributed to Lucas Cranach the Elder. The large versions of 1636 (London) and 1639 (Madrid) are among the best known. These both show Rubens' version of idealised feminine beauty, with the goddesses Venus, Minerva and Juno on one side and Paris accompanied by Mercury on the other (the 1636 version has a putto at the far left and Alecto above the goddesses, whilst the 1639 version adds a putto between Minerva and Venus).

Putti of the Tomb of Ferdinand van den Eynde. The putti of Van den Eynde's tomb are considered the peak of the evolution of the putto. Venditrice di amorini, fresco from Villa Arianna, Stabiae (National Archaeological Museum, Naples). Sarcophagus of the Museo Pio-Clementino (Vatican Museums).

This is an allegory of wisdom and knowledge of the present. The backward-facing visage of the old man peers into a past for sound judgment predicated on experience. His view is enhanced by the flaming torch held by a putto depicting Hope. Temperance sits on the right.

The statue, completed in 1931, was placed there in 1960 in honor of the industrial pioneers of Hartford. Sitting on a 16,000 pound granite foundation, the approximately 1,950 pound bronze sculpture remains an inspiration to students today. Minneapolis Institute of Art collection includes "Putto on Seahorse", 1933 in bronze.

A mural monument to Christopher Lethbridge (d.1713) (one of whose sons was Christopher Lethbridge (d.1748)), exists high up on the south aisle wall of Pilton Church, and was described by Nikolaus Pevsner as "Big and sumptuous...with rather crude putto heads and elaborate achievement".Pevsner, Devon, 2004, p.

The background landscape recalls Dürer's watercolours and Giorgione's landscape paintings. A young woman in white and gold leans against a laurel tree in the centre, possibly referring to Daphne, and ignores two satyrs (one female, one male), symbolising intoxication and lust. A putto pours a cascade of white flowers over her.

Having a more Protestant king did not quite ease the situation at all. Under Cranmer's guidance, Joan Bocher was executed for her Anabaptists beliefs. Even so, some of these concerns of preserving religious order were not unfounded. Thomas Putto, an Anabaptist, would disrupt religious services, causing concern for those above.

Pilasters sprang up from each of the gable ledges while the windows were surmounted with shell-shaped ornaments. Above the second- storey window, there was a putto frieze depicting figures. A sign with a golden balance symbolised the building's role. From the street, the building was accessed through two round arches.

A telescope in the foreground and a hallway in the rear, lined with art works, leading to an open door into nature and lit from above by shafts of sunlight, also refer to aspects of this sense. The female figure epitomising sight is looking at her reflection in a mirror which is held up for her by a putto, while the other female figure, representing smell, receives a bouquet of flowers from another putto. The dog represents an acute sense of smell, and the civet, stenches. In Taste, Hearing and Touch, the central scene is a meal; a lutenist is playing and children singing, epitomising hearing, while one young woman strokes a mink in her arms, representing touch, and another is about to eat oysters, representing taste.

Built by carpenter and builder Andreas Hallander in 1788. It has seven bays separated by Ionic pilasters and another typical Neoclassical decoration is a "running dog". The relief in the triangular pediment is an early work by Bertel Thorvaldsen depicting a female figure with a monocular next to a putto decorated with a garland.

Cupidon features short stories about the adventures of a little Putto attempting to bring love on earth. His headquarters are in Heaven and he is dispatched by a (hot-tempered) Saint Peter. With his bow and arrows, Cupidon is usually prone to blunders, bringing together people of contrasting personalities, even matching together animals not necessarily of the same species.

Clodion used the motif in a work which is now in the Walters Art Museum in Baltimore, Maryland: Female Satyr Carrying Two Putti. This young and healthy satyress is striding upright, carrying a squirming putto in each arm.Female Satyr Carrying Two Putti, terra cotta work displayed in Walters Art Museum, Baltimore, Maryland. Accessed February 4, 2008.

In a scene depicting a council of the gods, the three brothers Jove, Pluto, and Neptune are grouped closely, with a Cupid standing before them. Neptune holds the trident. Elsewhere in the loggia, a putto holds a bident.Richard Stemp, The Secret Language of the Renaissance: Decoding the Hidden Symbolism of Italian Art (Duncan Baird, 2006), p.

Allan Burroughs, Alan Criticism from a Laboratory, Little Brown, Boston 1938, s.93-94, za. H. Rachlin The second putto, which tied the ribbon around Venus' legs, symbolizes the union of lovers into eternal love and harmony in a time without wars. Milk from the breast of Venus symbolizes the wealth of peace, which is the food for humanity.

The putto by her side was supposedly moulded by Bertel Thorvaldsen according to a drawing by Nicolaus Wolff (1762-1813). A gatein the left hand side of the building opens to a central courtyard. The facade on Esplanaden is also seven bays long but without decorative elements. The two facades are joined by a canted corner bay.

A bas-relief putto stands atop each medallion and panel, supporting fruit swags. Between the third and fourth (or attic) floors is a molding decorated with repetitive small eggs which serves as the sill for the fourth floor windows. The truncated hipped roof slightly overhangs the walls. The cornice is decorated with dentils and acanthus carvings beneath the roofline.

At her feet, another personification, labeled "Gratitude of the Arts", kneels. A putto holds a dedication copy up to Anicia. Anicia and her attendants are enclosed within an eight-point star within a circle all formed of intertwined rope. Within the outer spandrels of the star are putti, done in grisaille, working as masons and carpenters.

This illustrates Lord Burlington's patronage of artists. The ceiling, similar in design to that in the Green Velvet Room, but containing painted panels has at its centre a painting attributed to William Kent representing Lord Burlington's patronage of the arts. The main character is the Roman god Mercury, the great patron of the arts and god of commerce, who is dispensing money into the arts depicted at the bottom of the panel. Burlington's wealth is represented by a putto who holds a cornucopia. The arts are represented by a self-portrait of William Kent (art), a supine bust of Inigo Jones (sculpture) and a putto with a temple plan of the Temple of Fortuna Virilis as depicted by Palladio in his architectural treatise I quattro libri dell’architettura first published in 1570.

The effigy of the founder in an oval frame was placed atop the plinth with the Janina coat of arms and a royal crown. The whole composition was completed with carved statues of the personification of the Polish–Lithuanian Commonwealth and a putto, while the arcade above was adorned with skulls. The tombstone was reconstructed in 1961 by Antoni Szymanowski.

Samuel Rafael Globic The funeral monument of Samuel Rafael Globic Samuel Rafael Globic was a young Czech painter who died in Rome in 1665. His small monument is hidden in the corner of the counterfaçade near the wooden entrance booth. Its cryptic inscription remains an unsolved mystery. A putto is carrying the family coat-of-arms and a rippling drapery.

Monument to Elizabeth Carteret (1665-1717), wife of Sir Philip Carteret, 2nd Baronet, formerly in Westminster Abbey, now at Haynes Park in Bedfordshire. The inscription is on the thin diagonal slab held by a putto Sir Philip Carteret, 2nd Baronet (c. 1650 – 1693), also known as Philippe de Carteret IV, was the 5th Seigneur of Sark from 1663 to 1693.

Later tradition ascribes to them a variety of physical appearances. Some early midrashic literature conceives of them as non-corporeal. De Coelesti Hierarchia places them in the highest rank alongside Seraphim and Thrones. In Western Christianity, cherubim have become associated with the putto, which is derived from images of Cupid, resulting in depictions of cherubim as small, plump, winged boys.

The upper part of the portal is composed of the dismantled arch of a pulpit, broken in the middle and reused as brackets. The way in which the two prophets have been configured associates them with the Caserta School, which was active between 1200 and 1220. Two putto heads and other marble decoration were added, further to embellish this portal.

After the war he studied History at Leiden University in the Netherlands. He graduated in 1950 and in the same year married his fellow student Johanna Putto. After their marriage the couple went to Paris. In 1954 Kossmann obtained his Ph.D. from Leiden University, with a doctoral thesis entitled La Fronde. In 1957 he went to London as professor of Dutch History and Institutions.

Four years later, in 1778, was the portrait of Maria Theresa in mourning dress completed. It shows the empress, unlike the representative Baroque royal portraits, in natural environment without emperor symbols. She sits with a classicist vase and a little Putto-sculpture in her decorated garden on a stone bank heading to the viewers. A typical work of the Enlightenment, free from the Baroque motions and emotions.

She attends to her hair with a comb and mirror. The mirror is sometimes held by a demon or a putto. Other symbols of vanity include jewels, gold coins, a purse, and often by the figure of death himself. Often we find an inscription on a scroll that reads Omnia Vanitas ("All is Vanity"), a quote from the Latin translation of the Book of Ecclesiastes.

The figure was originally located in the Frauenkirche. Mariensäule in Munich was the first column of this type built north of the Alps and inspired erecting other Marian columns in this part of Europe.For more and detailed pictures of the column see the respective German language article on wikipedia.de. At each corner of the column's pedestal is a statue of a putto, created by Ferdinand Murmann.

The latter holds something in her right hand which may be another game piece or a coin (i.e. the payment for the courtesan's services?). On the opposite side of the table there is a man blindfolded, with long dark hair and beard who is holding coins in his right hand. Behind him appears the head of a fourth figure, probably the putto who blindfolded him.

In the church is a hatchment bearing the arms of the Congreve family and other memorials to this family. The memorial to Richard Congreve who died in 1820 is by S. Gibson and includes a weeping putto. The organ was built around 1935 by the John Compton Organ Co and renovated in 1985 by Rushworth and Dreaper. There is a ring of six bells.

The putto stands in a slight contrapposto, weight on his proper right leg, and his head turned to his left. His arms reach out in front of his belly. In his proper right hand he holds a goblet, and his left hand holds a cluster of grapes. He is clad in a robe tied over the right shoulder and twisted along the upper edge across the chest.

The balcony is topped by a niche consisting of allegorical figures of Justice and Truth, as well as triumphal sculptures of a winged female figure and a putto. The latter sculptures represent fame. These sculptures are of high artistic value due to their symbolic details and fine work. Some parts of the sculptures, such as the scales held by Lady Justice, are now missing.

The player controls Bob, a putto sent by God to clean up the corruption and sin on Earth. The dictator of Earth, Father Prime, is conducting experiments into other dimensions on the dark side of the Moon. Soon after landing on Earth, Bob's existence is deemed illegal and is hunted by police and the military. Father Prime's experiments succeed in bringing Satan into the mortal plane.

Marble putto on fire surround in saloon This is now the entrance hall and shop, and the walls are used to display temporary exhibitions. The saloon was also the grand hall, reception room, picture gallery and ballroom, with a little furniture at the sides, many oil paintings and gasoliers. It has rooflights with painted plaster decorations in the classical style around them. The marble fireplace features two large putti holding trumpets.

Armor-clad, she caresses a lion with her left hand while grasping a sapling of black oak with her right. The oak tree symbolizes strength and alludes to the Della Rovere family to which Pope Julius II belonged. A putto representing Charity harvests acorns from the oak branch. Fortitude's seated posture and the folds of her clothing are copied directly from a modello Raphael had seen of Michelangelo's Moses.

She holds the bridle of restraint and is accompanied by a putto portraying Faith who points upward to heaven with his right hand. The fourth cardinal virtue, Justice, isn't included in the scene. Instead, she is depicted holding scales and a sword in a tondo on the ceiling directly above the fresco. The more prominent position of Justice is explained by the emphasis Plato placed on this fourth virtue.

Cupid and Venus kiss in the foreground, while the putto Folly prepares to shower them with rose petals. The bald Time, at the top, looks on and holds a cloth. The meaning of the other three figures and the interactions between them all is much less certain. The painting displays the ambivalence, eroticism, and obscure imagery that are characteristic of the Mannerist period, and of Bronzino's master Pontormo.

Still-life with Violinist Basket of Fruit with a Putto The Master of the Acquavella Still-Life was an Italian painter, in the Baroque style, who was active in Rome during the 1610s and 20s and specialized in still-lifes.A. Cottino: "Le Origini e lo sviluppo della natura morta barocca a Roma, Natura morta italiana tra Cinquecento e Settecento". In: M. Gregori et al.: Stille Welt Electa, 2002, pgs.351–352.

The logo of IRSA and Artibus et Historiae - a symbolic representation of a winged putto standing firmly on a balance, held in his own hands - comes from a Renaissance painting by Lorenzo Lotto (Portrait of a Man Aged Thirty-Seven. c. 1542 Collection Doria Pamphili, Rome) and symbolizes the Platonic idea of internal equilibrium between the spiritual and the physical aspects of the activities and existence of man.

His right hand holds a cluster of large buds. The figure is clad in a cloth wrapped around his waist and rolled at the upper edge for support, and on his head he wears an anadem (wreath) of blossoms. Summer, accession number LH2001.236, is identified with wheat. This putto stands in a rather dynamic contrapposto, weight on his straightened left leg, swinging his laden arms out to his left side.

The two bay windows on either side of the balcony feature the same torches, swag, putti, panels, and molding similar to the rest of the third floor. Above the French doors is a large oval estucheon with fruit-and-drapery swag which mimics the estucheon over the doors to the loggia. A standing putto over each slit window supports the swag. All exterior walls are faced with white marble over stone.

Even after the restoration, as recently as 2013, art historian Guillaume Kazerouni has disputed the Blanchard attribution and repeated the suggestion that the Blanton Danaë may be the work of Virginia da Vezzo. Danaë (1620-1630) by Jacques Blanchard (or Virginia da Vezzo?) at the Blanton Museum of Art in Austin, after restoration. The Blanton "Danaë" as it appeared before the restoration that uncovered the putto and the image of Jupiter.

The painting depicts the mortal Castor and the immortal Pollux abducting Phoebe and Hilaeira, daughters of Leucippus of Messenia. Castor the horse-tamer is recognisable from his armour, whilst Pollux the boxer is shown with a bare and free upper body. They are also distinguished by their horses—Castor's is well- behaved and supported by a putto, whereas Pollux's is rearing. The putto's black wing shows the twins' ultimate fate.

Giovanni Andrea Podestà, Bacco e Arianna at Arte Antico Silvia Danesi Squarzina, A 'Hagar and the Angel' by Carel Philips Spierinck in Potsdam, in: The Burlington Magazine, June 1999 (Number 1155 – Volume 141) In this circle there was an interest in Classicism as well as a growing interest and admiration for the bacchanals of Titian. This found expression in copies and reproductions after Titian as well as new compositions inspired by the theme of the bacchanals. The mutual influence of the artists in this circle is clear from the fact that Podestà 's Bacchus and Ariadne (At Arte Antico) cites in the putto who scares another putto with a mask similar figures in a Drunken Silenus of the Flemish painter Karel Philips Spierincks. Landscape with a Bacchanal of Putti and a Goat The quality of his work and its closeness to the Poussin circle was such that it is often difficult to distinguish his work from compositions by Poussin and Spierincks.

When the church was rebuilt in 1881 these mortal remains were transferred to one of the cemeteries at Hallisches Tor; his grave was marked with a marble slab and a putto. This gravesite was destroyed by a bomb in World War II. Today a simple white marble memorial on an honorary grave of the State of Berlin in Cemetery No. 1 of the Jerusalem and New Church congregation brings to mind Knobelsdorff and Pesne.

Cupids are a frequent motif of both Roman art and later Western art of the classical tradition. In the 15th century, the iconography of Cupid starts to become indistinguishable from the putto. Cupid continued to be a popular figure in the Middle Ages, when under Christian influence he often had a dual nature as Heavenly and Earthly love. In the Renaissance, a renewed interest in classical philosophy endowed him with complex allegorical meanings.

From Lake Miwok puṭa wuwwe "grassy > creek" (Callaghan; cf. Beeler 1974:141). The similarity to Spanish puta > "prostitute" is purely accidental. In the records of Mission San Francisco > Solano (Sonoma Mission) of 1824, the natives of the place are mentioned with > various spellings from Putto to Puttato. In the baptismal records of Mission > Dolores an adulto de Putü is mentioned in 1817, and the wife of Pedro Putay > in 1821 (Arch. Mis. 1:94.81).

Monument by Richard Westmacott to Caroline Gresley, who died in 1817 The most notable monuments in the church are wall-mounted Neoclassical marble reliefs. Joseph Nollekens (1737–1823) sculpted a putto leaning on a funerary urn to commemorate John Bird, who died in 1772. Richard Westmacott sculpted a relief of Caroline Gresley, who died in 1817. He shows her reclining on her deathbed, surrounded by her grieving family, as an angel hovers at the foot.

The Craftsman or Industry (1931), Hartford, Connecticut. Putto on Seahorse Two of Longman's bas relief sculptures serve as memorials in Lowell Cemetery in Lowell, Massachusetts. Her 1905 sculpture of a cloaked woman holding a finger to her lips adorns the grave of John Ansley Storey. Longman's "Mill Girl" sculpture, dedicated in 1906, memorializes Lowell mill worker Louisa Maria Wells. In 1920, Longman carved the marble fountain in the lobby of the Heckscher Museum of Art.

Two putti painting a bust in the ceiling of the Summer Parlour. One putto raises his finger to his lips in a Masonic gesture of silence and secrecy. The bust resembles the Polish Princess Maria Clementina Sobieska. The central ceiling panel shows a sunflower at the centre, surrounded by four scenes of ports, each framed by shells, a reference to the Roman water goddess Venus and the Egyptian protector of ports and sailors, Isis.

Sleeping Venus with Cupid (or Sleeping Venus with Amor) is an oil on canvas painting by the French artist Nicolas Poussin. It was completed in 1630 and is now part of the collection of the Gemäldegalerie Alte Meister in Dresden, Germany. It depicts a naked Venus, the Roman goddess of love, sleeping under trees accompanied at her feet by her son Cupid with his bow and arrow. A putto sits at her side clutching more arrows.

The current Loggetta is built with roughly fifty percent of the original architectonic and decorative material. The three surviving columns are located on either side of the doorway and in the second-to-the-last position on the right. Although badly damaged, the reliefs in the attic are original with the exception of the putto on the extreme right. The spandrel figures are also original as are most of the reliefs above and below the niches.

From him, he learned the production techniques for creating the stucco figures with highly polished surfaces that would make Feuchtmayer famous. Alongside such notable artists as Johann Joseph Christian and Franz Joseph Spiegler, Feuchtmayer worked for the most part on the Baroque monastic churches along the Upper Swabian Baroque Route. His most well-known work is the putto on the Bernhardsaltar in Birnau called the "Honigschlecker" ("honey eater"), a reference St. Bernard's rhetorical gift.Germany: A Phaidon Cultural Guide.

Other decorations include dolphins below the windows on the first floor and shields crowned by hives and held by mermaids above the windows on the first floor and eagles above the windows on the second floor. The iron balconies on the rounded corner of the first and second floor are supported by flying eagles. Below the rain gutters is a frieze featuring putti holding a garland. A falling putto is seen in the bay furthest to the east.

NON COM putto. ARC mammolo”. Oltre alla presenza di diverse etichette di registro, in questa lista di sinonimi si possono osservare anche altre peculiarità del DOSC: prima fra tutte l’inserimento tra parentesi quadre di indicazioni semantiche accessorie, che rendono più sofisticata l’operazione di differenziazione semantica. Si evita così al lettore di inferire erroneamente che i sinonimi associati a uno stesso significato siano da ritenersi tra loro intercambiabili (non viene creata, in altre parole, l’illusione della sinonimia assoluta).

These commissioned artworks often teem with suns and bees (the Barberini family coat of arms had three bees), as also the Cortona fresco does. At one end of the sky sits the eminent solar Divine Providence, while at the other end are putto and flying maidens holding aloft the papal keys, tiara, with robe belt above a swarm of heraldic giant golden bees. Below Providence, the simulated frame crumbles. Time with a scythe seems to swallow a putti's arm.

At the west end is a doorway over which is a lintel, and a fanlight whose architrave contains Perpendicular tracery and whose keystone is carved with the head of a putto. Each of the upper stages contains two- light windows with mullions. Those in the second stage have leaded lights, those in the third stage are blind, and the top stage has louvred bell openings. At the summit of the tower is a balustrade and there are crocketted pinnacles at the corners.

The cover art was created by graphic artist Margo Nahas. It was not specifically commissioned; Nahas had been asked to create a cover that featured four chrome women dancing, but declined due to the creative difficulties. Her husband brought her portfolio to the band anyway, and from that material they chose the painting of a putto stealing cigarettes that was used. The model was Carter Helm, who was the child of one of Nahas' best friends, whom she photographed holding a candy cigarette.

"Hussey, Sir Edward, 3rd Bt. (c.1662–1725), of Caythorpe, Lincs", The History of Parliament Online. Retrieved 21 October 2013 The Hussey family were patrons of the church and its benefice. A chancel memorial—in the shape of a tombstone, with putto head, scrolling, and foliate devices below a pediment—is that to Edmund Weaver of Frieston (1683–1748), the astronomer, local land surveyor, and author of The British Telescope ephemerides.The Correspondence of the Spalding Gentlemen's Society, 1710–1761, p. 143.

The figure in Hearing is playing the lute amongst a collection of musical instruments and clocks. In Smell, she sits among flowers in a garden, with a perfume distillery visible on the left. In Taste, seated at a table groaning with food fit for a banquet, she is eating an oyster and a satyr is filling her glass. In Touch, she embraces a putto in a superbly equipped armoury where there are also medical instruments, pain being an aspect of touch.

In 1860 in 10 days he modeled a stucco sculpture of General La Marmora, raised to celebrated the entry of Vittorio Emanuele to Naples. He also completed Il Paisiello, for the theater of San Carlo. In 1869 he completed a wooden Putto for the Prince of Naples. He made a bust of his father, in an impressionist style, exhibited at the Promotrice of Naples, and at the Exhibition of Parma del 1871, then the Mostra internazionale of Paris and of Rome.

In their current placement the sculptures are elevated to eye level on matching tall, narrow, rectangular stone bases constructed in three pieces and held together via mortise and tenon. The sculptures differ in that each is shown with a traditional iconographic indicator of the depicted season. Spring, to which the IMA assigned accession number LH2001.238, is distinguished by the presence of flower blossoms. The putto stands with his left leg forward, supporting on his left hip a woven basket filled with blossoms.

The square sacristy, a structure extending from the northern façade of the church, contains a cross-ribbed vaulted ceiling from the 15th century. Within the nave there is a baroque wooden pulpit of 1690 with a decorative pulpit ceiling. The retable, created in 1656 and restored in 1958, is structured by columns and tuberous ornaments () on the edges (Wangen) and surrounding portrait medaillons, which display Moses and John the Baptist. Baptismal font The baptismal font of 1695 consists of a sandstone bowl carried by a putto statue.

At least one small terra cotta satyress depicted reclining was created by a student of Clodion in the late 18th or early 19th Century, but is in a private collection.Dictionnaire des termes de l'art: anglais/français & français/anglais, by Claude Ferment. La Maison Du Dictionnaire, (1994). English Giambattista Giovanni Battista Tiepolo, an 18th-century Venetian painter in the rococo style, painted at least two works with a satyress as the main figure: Satyress with a Putto and Satyress With Two Putti and a Tambourine.

The cover always quoted Puck saying, "What fools these mortals be!" The jaunty symbol of Puck is conceived as a putto in a top hat who admires himself in a hand-mirror. He appears not only on the magazine covers but over the entrance to the Puck Building in New York's Nolita neighborhood, where the magazine was published, as well. In May 1893, Puck Press published A Selection of Cartoons from Puck by Joseph Keppler (1877–1892) featuring 56 cartoons chosen by Keppler as his best work.

The ceiling fresco is tall and wide. It is displayed within a painted frame or quadro riportato and depicts from right to left, Aurora (Dawn) in a golden billowing dress with her garlands flies over a dim-lit landscape, leading a blond Apollo in his horse-drawn chariot, surrounded by a chain of female "hours", bringing light to the world. It could also be described as the Triumph of Apollo led by the Aurora. Above the quadriga, in the sky, flies the putto Phosphorus with a torch.

Behind the saint is her old nurse Beldia, who kneels as Saint Fina's hand touches hers, bringing about the miracle which healed her from paralysis. A second miracle is represented by the crying boy who is touching her toes, and will gain back his sight. A third miracle, that the bells of San Gimignano's towers were rung by angels, is suggested by a flying putto near one of the towers depicted in the background. The Torre Grossa, the town's tallest, is visible on the right.

Two memorials are by John Bacon; one to Sir Richard Brooke (died 1792) features a putto unveiling an urn and the second, to another Sir Richard Brooke (died 1796), shows a female figure by an urn. The memorial to Thomas Brooke (died 1820) is by B. F. Hardenburg of London. A memorial to another Sir Richard Brooke (died 1865) is a brass in the form of a cross. In the nave are a number of Georgian tablets including one to John Bankes (died 1817), by T. Grindrod.

Only one putto remains, the other having been stolen in the burglary of 1997. The octagonal wooden tiles set in the two pillars were placed there at the time of the restoration of the church during the reign of Mary I of England of Queen Mary, the daughter of Henry VIII, and whose initial they bear. The gallery along the south wall of the nave was added in 1841 by Lord Ongley. The blank-arched panels are English and are believed to be Elizabethan or Jacobean.

The palazzo was built in the second half of the 18th century by the Baron Melfi di San Antonio. It was later acquired by the Zacco family, after which it is named. The building has two street façades, each with six wide balconies bearing the coat of arms of the Melfi family, a frame of acanthus leaves from which a putto leans. The balconies, a feature of the palazzo, are notable for the differing corbels which support them, ranging from putti to musicians and grotesques.

Her servants chased him through the halls of the Château and stabbed him to death. Louis XIV came to see her at the Château, did not mention the murder, and allowed her to continue her travels. Pierre-Denis Martin Apollo, Pan, and a putto blowing a horn, from a series of eight compositions after Francesco Primaticcio's designs for the ceiling of the Ulysses Gallery (destroyed 1738-39). On May 19–20, 1717, during the Regency following the death of Louis XIV, the Russian Czar Peter the Great was a guest at Fontainebleau.

Detail of the façade showing the ornamentation Balluta Buildings is one of the finest among the few surviving Art Nouveau buildings in Malta, and it is also regarded as Psaila's masterpiece and one of the most iconic buildings in the country. It consists of three connected blocks of flats, with three vertical structures having long vertical arched openings protruding from the rest of the building. These are topped with keystones decorated with a carved putto. The openings are flanked with a row of double windows and pilasters on either side.

In this sculpture a putto stands with his weight on his straightened left leg and his right leg bent and crossed in front of the left, the ball of the right foot resting on a rock. His upper body leans right and his arms are crossed, right over left. The right hand grasps the left upper arm, and the left hand clutches the two ends of a cloth wrapped around the boy from waist to knee. The figure looks to his left. Unlike the other sculptures in this set, LH2001.237’s curly locks are unadorned.

The economy of the town is based on the industrial activities including food, mechanical and electronic industries, and on the manufacture of glass and pottery. Flourishing is also the artisan manufacture of leathers, and remarkable are the productions of the "Vino Chianti Putto" and of a very valuable oil. Among the several celebrations periodically taking place in Pontassieve we remind here the traditional "Toscanello d'oro" held yearly in May. The celebration consists of a show-market where it is possible to taste and buy valuable local wines and typical courses of Pontassieve.

The attribution was made after a restoration of the painting c. 2012 uncovered a previously painted-over putto and an image of Jupiter, which not only identified the mythological subject, but bore stylistic markers of Blanchard's work. In 1992, art historian William R. Crelly had suggested that Virginia da Vezzo (the wife of Simon Vouet) painted the Blanton Danaë.Crelly, William R. "Marcello Giovanetti: Sonnets et tableaux" in Simon Vouet: Actes du colloque international Galeries nationales du Grand Palais 5-6-7 février 1991, edited by Stéphane Loire, Paris: La Documentation Française, 1992, pp. 178-9.

As the young lady swings high, she throws her left leg up, allowing her dainty shoe to fly through the air. The lady is wearing a bergère hat (shepherdess hat). Two statues are present, one of a putto, who watches from above the young man on the left with its finger in front of its lips in a sign of silence, the other of pair of putti, who watch from beside the older man, on the right. There is a small dog shown barking in the lower right hand corner, in front of the older man.

Below, and part of the monument, is a plaque with inscriptions beneath a pediment and inside vertical volutes. The monument is ascribed to W. Palmer, and Pevsner gives its date as c. 1730. Sir Edward’s, to the north of the crossing arch, comprises a plaque inscription between pilasters on which is set a pediment broken into three sections topped with an urn on each side. A split garland above the plaque leads to a putto head beneath the central section of the pediment, upon which is a painted coat of arms surrounded by scrolled relief decoration.

Romulus and Remus and their she-wolf adopted mother play behind her back while a putto presents her with the papal tiara and the keys of Saint Peter. She is wearing regalia that show that her presence and her power are intimately connected with the Catholic Church. Her crown identifies her as the protector of a city, and the star above it is the symbols of the Chigi family to which Pope Alexander VII belonged. She holds a long sceptre topped with the hand of justice and her eyes fall on a mitre, a cardinal's hat, and other Catholic religious objects.

Rosand, 60; Hale, 721–722; Accademia, 180. Jaffé, 153 identifies the figure as Saint Helena, which would be plausible if there were not an inscription. A putto-angel with a flaming torch illuminates the scene, which is dark and evidently set at night. In particular his torch reveals the gold mosaic in the semi-dome of the niche, where in the centre a pelican feeds its young by pecking its own breast to draw blood, a phenomenon believed since classical times in traditional zoology, which had become a common visual symbol of the Passion of Christ and its redemptive effects for man.

Fra Angelico, The Annunciation, 1437–46 The classical erotes or putto re-appeared in art during the Italian Renaissance in both religious and mythological art, and is often known in English as a cherub, the singular of cherubim, actually one of the higher ranks in the Christian angelic hierarchy. They normally appear in groups and are generally given wings in religious art, and are sometimes represented as just a winged head. They generally are just in attendance, except that they may be amusing Christ or John the Baptist as infants in scenes of the Holy Family.

A misunderstanding of the nature of a pilaster in this print, which shows a putto wrapped round one as though it were a thin sheet, unattached to the wall behind, perhaps suggests that his understanding of the Italian style was derived purely from prints, books and other objects brought back to France.The Annunciation, Eisler no. 12; see Zerner (1994) p.211. Blunt however points out that one borrowing from Raphael reflects the original in Italy, rather than the several print copies of it, concluding that either Duvet saw the original, or an unknown drawing of it.

The sketch shows Henry of Navarre bowing down in Henry III's presence, which eyewitness accounts confirm was accurate. Rubens represented a putto taking the crown of Henry III, with the intention of placing it on the willing future Henry IV, although the actual transfer of power didn't occur until Henry III's assassination several months later (August 1, 1589). A page stands behind Henry of Navarre holding his personal badge: a white plumed helmet, while the dog at his feet represents fidelity. The two ominous figures behind Henry III most likely represent personifications of Fraud and Discord.

Both Giovanni Battista Passeri and Giovanni Pietro Bellori stressed the fame of the Van den Eynde's putti, which served as models of the infant putto for contemporary artists. Other notable artists praised the Van den Eynde's putti, among whom Johann Joachim Winckelmann (generally a harsh critic of Baroque sculpture) and Peter Paul Rubens, who requested a copy of them and commented "I do not know how [...] can I praise their beauty properly. It is nature, rather than art, that has formed them; the marble is softened into living flesh." Ferdinand died prematurely in Rome in 1630, and was buried in Santa Maria dell'Anima.

The artist biographer Giovanni Bellori, the Baroque equivalent of Giorgio Vasari, considered Barocci to be among the finest painters of his time. Barocci's emotive brushwork was not lost on Peter Paul Rubens when he was in Italy. Rubens is known to have made a sketch of his dramatic Martyrdom of St Vitale, in which the martyr's undulating flesh is the eye of another whirlwind of figures, gestures, and drama. Also, Rubens' The Martyrdom of St Livinus seems to owe much to Barocci, from the putto with the pointing palm frond to the presence of dogs in the lower right corner.

Five fruit-shaped clusters decorate the outside frame of the furthermost window on this floor (the lowest cluster supported by a tiny putto), while above each window is a false pediment topped by an escutcheon flanked by drapery. Variegated marble panels are set between each window on the third floor as well, the bottom of each decorated with scrollwork and a small dramatic mask. The sill of each third floor window is of scrollwork, while the window is topped by scrollwork and a torch. Circular medallions with pendants decorate the outside frame of the furthermost window on the third floor.

The Garden Monumental is created with hedges of boxwood (Buxus sempervirens L.) and refined achievements of topiary cones and cones surrounding the 17th century marble fountain depicting a putto. Around the garden and the main building, terraces and gardens alternate framed pergolas, columns painted or brick, rare plants and blooms that steal exceptional attention depending on the season. A shaded courtyard takes its name from a very old and monumental wisteria vine (Wisteria sinensis). Columns of the upper garden are completely covered with fragrant star jasmine (Trachelospermum jasminoides), Bougainvillea, rare pink capers, Bignonia, grapes, pepper trees (Schinus sp.), Camellias, roses, Hydrangeas, Strelizia, and several other species.

He was a resident of Milan, and born into a family of sculptors and owners of a bronze foundery. Among the many exhibitions he sent works were: 1870 in Parma, a marble bust of Springtime and a marble statue of First Flower. In 1872 Milan, he exhibited Diavoletto-maschera In 1877, in Naples, La Vendemmia; Moses tramples the Crown of the Pharaoh; a putto in marble; and a marble statue of Menestrello e Diavoletto. At the 1880 Mostra of Turin, he exhibited a Temptation of Love and a Compiacenza materna; In 1881 Milan, in 1881, he exhibited the marble group a Temptation of Love.

The life-size imperial pair lie on the tin lid, awakened from their sleep of death by the Trumps of Doom. The two look at each other while a putto behind them holds a garland of stars above them. The reliefs on the sides of the sarcophagus depict important scenes of their lives : the ceremonial entrance in Florence as archduke of Tuscany, his coronation in Frankfurt am Main, his coronation in Prague as King of Bohemia, and the coronation ceremony in Bratislava of Maria Theresia. Of the four corners of the sarcophagus, grieving statues show the crowns and blasons of their most important titles : Holy Roman Empire, Hungary, Bohemia and Jerusalem.

Giovanni Battista Passeri and Giovanni Pietro Bellori praised Duqesnoy's work, and stressed the fame of the Van den Eynde's putti. They enjoyed huge fame in the following centuries, and served as models of the infant putto for contemporary artists. Bellori wrote: > The Greeks were excellent at sculpting and painting the Erotes and the Genii > as young boys, and it seems that Callistratus gives a very good description > of the putti around the statue of the Nile, and Philostratos does so in his > account of the Erotes at play. Michelangelo made putti in both marble and > paint, all of them resembling figures of Hercules, devoid of tenderness.

Ignored by her husband, and despised by the Florentines for her Austrian hauteur, she never felt at home in Florence. Her father-in-law, Cosimo I de' Medici, was reasonably kind to Joanna. He had the courtyard of the Palazzo Vecchio specially decorated for her; the lunettes were painted with murals of Austrian towns by pupils of Vasari, and Verrocchio's Putto with Dolphin fountain was brought down from the Careggi villa where it had been set up in the garden by Lorenzo de' Medici. The position of Joanna in the Florentine court was a difficult one: between 1567 and 1575, she gave birth to six daughters, of whom only three survived infancy.

Albertus Magnus in the De animalibus wrote about the killing gaze of the basilisk, but he denied other legends, such as the rooster hatching the egg. He gave as source of those legends Hermes Trismegistus, who is credited also as the creator of the story about the basilisk's ashes being able to convert silver into gold: the attribution is absolutely incorrect, but it shows how the legends of the basilisk were already linked to alchemy in the 13th century. A putto kills a basilisk, symbolic of Swedish occupiers and Protestant heresy, on the Mariensäule, Munich, erected in 1638. Geoffrey Chaucer featured a basilicok (as he called it; possibly in relation to the cock) in his Canterbury Tales.

Two women, who appear to be modelled on the same person, sit on a carved Ancient Roman sarcophagus that has been converted to a water-trough, or a trough made to look like a Roman sarcophagus; the broad ledges here are not found in actual sarcophagi. How the water enters is unclear, but it leaves through a phallic- looking brass spout between the two women, next to an anachronistic coat of arms in the carving. This belongs to Niccolò Aurelio, whose presence in the picture is probably also represented by the spout.Jaffé, 92; Brilliant, 75; Brown, 238 Between the two women is a small winged boy, who may be Cupid, son and companion of Venus, or merely a putto.

Plaster castings of the putti that decorate Van den Eynde's tomb were listed in the studio inventories of Bernini's assistant Peter Verpoorten and the Italian artist Ercole Ferrata in Rome, as well as in the Antwerp studios of Erasmus Quellinus II and Peter Paul Rubens. Both Giovanni Battista Passeri and Giovanni Pietro Bellori stressed the fame of the Van den Eynde's putti, which served as models of the infant putto for contemporary artists. Many other artists, such as Peter Paul Rubens and Johann Joachim Winckelmann (generally a harsh critic of Baroque sculpture) lauded the Van den Eynde's putti. Throughout the following centuries, artists from around the world portrayed the Van den Eynde's epitaph in painting and drawing.

The work depicts the mystical marriage of Saint Catherine of Alexandria, set a in a fake niche with a colonnade surmounting the background curved wall. The scheme is that of the Holy Conversation. In the middle is the Virgin sitting on a tall throne, above a historiated section of column (decorated with a barely visible putto), giving the Child to St. Catherine, on the left, who receives the symbolic marriage ring. At the sides are two saints, St. John the Evangelist (with a chalice full of snakes, a hint to his alleged miraculous discovery and healing of a poisoned drink) and St. John the Baptist, who holds his typical attributed, a tall and slim cross.

Originally the project was designed by Giacomo della Porta, then by Cortona; but ultimately Pozzo won a public contest to design the altar. A canvas of the Saint receives the monogram with the name of Jesus from the celestial resurrected Christ attributed to Pozzo. The urn of St. Ignatius is a bronze urn by Algardi that holds the body of the saint; below are two groups of statues where Religion defeats heresy by Legros (with a putto – on the left side – tearing pages from heretical books by Luther, Calvin and Zwingli), and Faith defeats idolatry by Jean-Baptiste Théodon. The St. Ignatius Chapel also hosts the restored macchina barocca or conversion machine of Andrea Pozzo.

In particular he stressed that the models the much older Jean-Baptiste Théodon submitted for the pendant group had to be corrected several times while Le Gros' model (today in Montpellier, Musée Fabre) was spot on from the outset. Le Gros' subject was Religion Overthrowing Heresy, a dynamic group of four over-lifesize marble figures on the altar's right hand side. With her cross and a bundle of flames, the towering Religion, meaning Catholic religion, drives out heresy, personified by an old woman tearing her hair and a falling man with a serpent. To leave no doubt as to who specifically are considered heretics, three books bear the names of Luther, Calvin and Zwingli, whose book is torn apart by a putto.

Inside, above the western door there is a decorated relief monogrammed with the initials G.R.II in honour of the then Supreme Governor of the Lutheran church, George II, King and Elector of Great Britain and Hanover. The congregation owns two chalices, one from 1422 and another donated by the convent's last Prioress Gerdruth von Kampe in 1636. Furthermore there are a paten granted by the Conventual Anna Voss in 1648, and a silver, internally gilded jug, created in 1780 fulfilling the last will of the widow of Bailiff Tiling, née Prilop (d. 1779). In 1684 on the occasion of the renovation of the abbey, during the term of Bailiff Lothar Feindt, an unknown donator granted a wooden putto which was later translated to the new church.

Rubens painted the allegorical female figures, accompanied by a putto or a winged Cupid in Sight, Hearing, Smell and Touch, by a satyr in Taste. Brueghel created the sumptuous settings, which evoke the splendour of the court of Albert VII, Archduke of Austria, and his wife Isabella, governors of the Spanish Netherlands, to which the two artists were attached. (The eroticism of the figures' near-nudity has been related to ecstasy in luxury.Emil Krén and Daniel Marx, The Sense of Hearing, Web Gallery, retrieved 11 September 2014.) Thus, in Sight the female figure is contemplating a painting of Christ's restoring the sight of a blind man, in a cabinet of curiosities full of pictures, antique busts, objets d'art, and scientific instruments.

Interior view of the Wallfahrtskirche Birnau with J. A. Feuchtmayer's famous "Honigschlecker" putto (center) in Überlingen, Germany St. Anna Selbdritt (1750), detail (Stadtmuseum in Überlingen, Germany) Joseph Anton Feuchtmayer (6 March 1696 (baptized) - 2 January 1770) was an important Rococo stuccoist and sculptor, active in southern Germany and Switzerland. J. A. Feuchtmayer was born in Linz, a member of the famous Feuchtmayer family of the Wessobrunner School. He was the son of Franz Joseph Feuchtmayer (1660-1718); the nephew of Johann Michael Feuchtmayer (the Elder) and Michael Feuchtmayer (b. 1667); the first cousin of Franz Xaver Feuchtmayer (the Elder) (1705-1764) and Johann Michael Feuchtmayer (the Younger) (1709-1772); and the first cousin once removed of Franz Xaver Feuchtmayer (the Younger) (b. 1735).

Traditional legend states that the image once belonged to Saint Teresa of Ávila of the Carmelite Order, here portrayed under religious ecstasy as pierced in the heart by a Putto. The exact origin of the Infant Jesus statue is not known, but historical sources point to a 19inch (48 cm) sculpture of the Holy Child with a bird in his right hand currently located in the Cistercian monastery of Santa María de la Valbonna in Asturias, Spain, which was carved around the year 1340. Many other Infant Jesus sculptures were also carved by famous masters throughout Europe in the Middle Ages. Often found in early medieval work, the significance of the bird symbolizes either a soul or the Holy Spirit.

Mauro Lucco (ed), Mantegna a Mantova 1460-1506, exhibition catalogue, Skira Milano, 2006 Influenced by the Laocoon (as is Correggio's treatment of Saint Roch in his San Sebastiano Madonna and Four Saints), the central male figure is sometimes identified as a personification of Vice but sometimes as Silenus (possibly from Virgil's Eclogues 6, where a sleeping Silenus is tied up by the shepherds Chromi and Marsillo and forced to sing by them and the nymph Egle) or Vulcan. It was even misidentified as Apollo and Marsyas by the writer of the Gonzaga collection inventory of 1542. This misunderstanding may have contributed to an Apollo and Marsyas (actually by the studio or circle of Bronzino) being historically misattributed to Correggio. The putto in the foreground is influenced by Raphael's putti in the Sistine Chapel.

This ceiling represents Lord Burlington's interest in architecture. Alternatively the painted ceiling and its surrounding decoration (including the presence of rats and snakes) can be interpreted as having a Masonic program, as dividers, set-squares, T-Squares and plumb lines were important Masonic symbols of morality. The putto to the left of ‘Architecture’ holds his finger to his lips suggesting silence or secrecy – a gesture mimicking the Egyptian child god of silence, Harpocrates. The idea that this room could have been used for initiation into Masonic mysteries is further supported by the proportions of this room as a perfect cube measuring 15x15x15 feet – the equivalent of 10 cubits by 10 cubits by 10 cubits, the stated dimensions of the Holy of Holies within Moses' Tabernacle according to the Bible.

Over the entrance door is a half-length figure of a male bird-hunter carrying an owl and a bundle of rods on his shoulders - the rods would be used to make traps in the branches and the owl to attract birds into the traps. An ancient tradition holds this bird-hunter to be a self-portrait of Lotto hidden under a cryptic and esoteric disguise. On the ceiling is a peeing putto symbolising the saving water of baptism and of divine protection - according to alchemists of the time boys' urine had important properties as a "burning" liquid whose essence was fire. In alchemy urine was known as "lot", probably used here as a play on the artist's surname and as a reference to his ability to transform and create.

Juliana's name is attached to the Vienna Dioscurides, also known as the Anicia Juliana Codex, an illuminated manuscript codex copy of Pedanius Dioscorides's De materia medica, known as the one of the earliest and most lavish manuscripts still in existence. It has a frontispiece with a donor portrait of Anicia Juliana, the oldest surviving such portrait in the history of manuscript illumination. The patrikia is shown enthroned and flanked by the personifications of Megalopsychia (Magnanimity) and Phronesis (Prudence), with a small female allegory labelled "Gratitude of the Arts" () performing proskynesis in honour of the patrikia, kissing her feet. A putto is at Anicia Juliana's right side, handing her a codex and labelled with the , added in a later scribe's handwriting, interpreted as "the Desire to build", "the Love of building", or "the Desire of the building-loving woman".

Crelly, William R. "Marcello Giovanetti: Sonnets et tableaux" in Simon Vouet: Actes du colloque international Galeries nationales du Grand Palais 5-6-7 février 1991, edited by Stéphane Loire, Paris: La Documentation Française, 1992, pp. 178-9. Subsequently, a restoration of the painting uncovered a putto and an image of Jupiter that prompted the Blanton to attribute the Danaë to Jacques Blanchard (who painted another Danaë, at the Musée des Beaux-Arts de Lyon). But as recently as 2013, art historian Guillaume Kazerouni has disputed the Blanchard attribution and repeated the suggestion that the Blanton Danaë may be by Virginia Vezzi. Another painting, of a woman in a red dress with a blue cloak and a cream shawl (see Gallery), has been attributed to Vezzi by Kazerouni and another art historian, Adeline Collange, who both believe it may be a self-portrait; however, Arnauld and Barbara Brejon de Lavergnée do not believe the painting depicts Virginia Vezzi.

In 1797, following the occupation of the Duchy of Milan by the French, Napoleon I had the Milan mint strike a commemorative medal with the dedication "All'Insubria Libera" ("To Free Insubria") and an allegory of the French Republic, which was represented as a woman wearing a headpiece and helped on the right hand by Peace, who places the Phrygian cap onto Insubria's head. Insubria is led by a putto and has a horn of plenty at her feet. In the 1930s, a review called Insubria was published, whose aim was promoting tourism and culture of the pre-Alpine lakes area. The term fell into oblivion until the 1990s, when Insubria came into favour again because of a series of events, the first of which was the founding (in 1995) of the above-mentioned "Regio Insubrica", a cross-boundary cooperation community whose aim is to promote the cultural, economic and social elements which draw Italian Switzerland and the border provinces together.

" Detail of hourglass In addition, as noted by Estelle Lingo, "because the infant's posture can be understood as the result of his struggle to lift the drape from the tomb, the figure seems to play upon the theoretical criticism that the infant's youth made him unfit for his 'monumental' task." The putto on the left, on the other hand, appears fully absorbed in raising his side of the cloth: "only after long contemplation the viewer may notice that this infant, too, carries an attribute, the long trumpet of fame. Grasped in his left hand, the instrument is almost entirely covered by the cloth, though the outline of its flared end may be discerned beneath the drape when one looks for it. The use of an attribute so well hidden is surprising, but serves to underscore Duquesnoy's conception of the tomb as a site of meditation, an epigrammatic construction in which a few forms sustain a range of meanings.

The British Museum holds two prints by John June after Augustine Heckel: Harrowing the Ground and Laying the Ground smooth & even for the Rice, by a second Harrowing, dating from about 1775. The Victoria and Albert Museum holds: Heckel's A New Book of Sheilds [sic] usefull for all sorts of Artificers, an etching on paper dating from 1752; a gold box engraved by Heckel; a drawing of a design, dating from about 1740, described as being "for a cartouche with an acanthus leaf architechtonic frame surmounted by vases and supported by a caryatid in the form of a winged putto"; and a print from 1750–70, A Select Collection of the most beautiful Flowers, Drawn after Nature by A. Heckell; disposed in their proper Order in Baskets: Intended either for Ornament or the Improvement of Ladies in Drawing and Needlework. Heckel's The Battle of Culloden (1746; reprinted 1797) is held by the National Galleries of Scotland. His colour engraving of The Countess of Suffolk's House (1749) is held at Marble Hill House, Twickenham, London.

This is without > doubt the most beautiful little putto to which Francesco's chisel gave life, > and sculptors and painters consider it exemplary, together with its > companion, who is turned towards him and bows with him as he raises the > cloth Rubens, whose putti may be considered the "painterly pendant" to Duquesnoy's, praised the Van den Eynde putti greatly. In a letter to Duquesnoy, in which he thanks the Fiammingo for the models after the putti of Van den Eynde's epitaph, he writes: > I do not know hot to express to you my obligation for the models you have > sent me, and for the plaster casts of the two putti for the epitaph of van > den Eynde in the Chiesa dell'Anima. Still less can I praise their beauty > properly. It is nature, rather than art, that has formed them; the marble is > softened into living flesh Even Johann Joachim Winckelmann, who generally was a critic of the Baroque, commented: > Our artists resemble the classical sculptors in the sense that they too do > not know how to make beautiful children, and I believe that they prefer to > choose a Cupid by Fiammingo [Duquesnoy] to imitate than on by Praxiteles > himself.

The theatrical mask contemplated by a putto on the Beethoven monument by Kaspar von Zumbusch (Vienna, 1880) commemorates Beethoven's sole opera in the city where it made its debut. Fidelio itself, which Beethoven began in 1804 immediately after giving up on Vestas Feuer, was first performed in 1805 and was extensively revised by the composer for subsequent performances in 1806 and 1814. Although Beethoven used the title ' ("Leonore, or The Triumph of Married Love"), the 1805 performances were billed as Fidelio at the theatre's insistence, to avoid confusion with the 1798 opera Léonore, ou L’amour conjugal by Pierre Gaveaux, and the 1804 opera Leonora by Ferdinando Paer (a score of which was owned by Beethoven). Beethoven published the 1806 libretto and, in 1810, a vocal score under the title Leonore, and the current convention is to use the name Leonore for both the 1805 (three-act) and 1806 (two-act) versions and Fidelio only for the final 1814 revision. The first version with a three-act German libretto adapted by Joseph Sonnleithner from the French of Jean-Nicolas Bouilly premiered at the Theater an der Wien on 20 November 1805, with additional performances the following two nights.