Dating homoseksuelle Læsø private fickanzeigen Mannheim

Wilhelm Baur's (or Bauer's) series of Ovid engravings may well have been published as early as 1639, the date given on many of our own plates, which are further signed "Inv[enit] et Fec[it]" ("Designed and Engraved"); the ambiguous date on our title-page is 1641.

Left-hand bracketed links are to our All-Change Notes-Links page; the adjacent caption-links pull up Tempesta's plates, while numerical links on the right pull up Baur's plates and their page-linked comments in German, with the comments in German preceding the even-numbered plates and succeeding the odd.

dating homoseksuelle Læsø-7

Partnervermittlung owl - Dating homoseksuelle Læsø

The Latin four-liners given here on the right, generally copied ( Even where these later cycles seem to widen the image-canon of Salomon's first Ovid-cycle from 1557 (indicated by non-suffixed links in square brackets, for instance 1/1), it is often by way of his own extra-series from 1559.

Left-hand ordinal numbers where given are those of Tempesta's collection as published; scenes apparently out of order in Tempesta as well as in Baur are arranged on this page in the order of Ovid's own episodes.

featuring Metamorphoses illustrations by Virgil Solis et al., with a versecommentary by Johann Spreng (1563)Page assembled by Daniel Kinney Special thanks to Bradley Daigle and the generous assistanceof U. Special Collections This page supplies parallel links to two other important cycles of 150 engraved scenes from Ovid at the Fine Arts Museums of San Francisco and in U. Though not published till 1606, Italian Tempesta's designs were apparently already available for imitation by Goltzius as well as de Passe, whose own cycles were published before that date.

All these cycles involve at least loose imitations of Salomon-Solis designs, though no longer as woodcuts, but rather as complex engravings, replete with stylistic refinements along Mannerist and early-Baroque lines.

For a useful sketch of Baur's Ovid engravings and their imitations-reengravings by Melchior Küsel [K.] and Aubry see Henkel, 128-30, 144; photo-samplings of Baur's own original drawings (now in Vaduz, Sammlungen des regierenden Fürsten von Liechtenstein) with their print-derivatives are included in Rgine Bonnefoit, Johann Wilhelm Baur (1607-1642): Ein Wegbereiter der barocken Kunst in Deutschland (Tübingen, 1997), Abb.

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