ES[t] (Christ the King came in peace and God was made man); on the backplate: IESVS
Art 1 of 129 Cuirass and Tassets (Torso and Hip Defense) 3 of 129 Christ as the Man
contemporary knowledge, regardless of whether those objects were created by the genius of man
were naturalia (products of nature), arteficialia (or artefacta, the products of man
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This arresting portrait of an unidentified young Florentine is dated by most scholars to the 1530s. During that decade Bronzino was often engaged in painting members of a close-knit circle of acquaintances with whom he shared literary interests, and this sitter—who so conspicuously holds open a book—may be from among that group
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Inscription: (on banderole held by Micah): D[omi]n[u]S . egredit[ur] . de . loco . / IsAie . XXVOI / S[an]c[t]o . suo . (the Lord embarks from His holy place, [Isaiah 26:21 or Micah 1:2-3])(on frame of mirror):
Christ Is Born as Man’s Redeemer (Episode from the Story of the Redemption of Man
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This impressive portrait was once ascribed to Ferdinand Bol (1616–1680), until Sturla Gudlaugsson more plausibly proposed Bailly (see Blankert 1982). It is compositionally similar to and consistent in quality and handling with two other works by Bailly: the Portrait of Anthony de Wale, Professor of Theology at the University of Leiden of 1636 (Rijksmuseum, Amsterdam) and the Portrait of an Unknown Professor or Pastor, signed and dated 1642 (Van Heeckeren van Wassenaer collection, Kasteel Twickel)
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The Artist: Nicholas Hilliard, the son of Richard Hilliard, an Exeter goldsmith, made his earliest known miniatures in 1560. He served his apprenticeship as a goldsmith, beginning in 1562 with Robert Brandon, whose daughter Alice he was to marry in 1576
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art at the Sidney Janis Gallery in New York and was enthralled by one work, The Man
art at the Sidney Janis Gallery in New York and was enthralled by one work, The Man
