Images at Librifly

Plate 10: Five Heads of Children, from 'Collection of various doodles and etching proofs' (Recueil de divers griffonnements et preuves d'eauforte), ca. 1646, Etching, Sheet (trimmed): 1 1/16 × 4 5/8 in. (2.7 × 11.7 cm), Prints, Stefano della

Procession (left-hand portion of border below Sacrifice of Isaac, inlaid-marble pavement, Siena Cathedral), 1520–50, Pen and brown ink, brush and brown wash, over leadpoint or black chalk, 3 3/4 x 16 7/8in. (9.5 x 42.9cm), Drawings, After

Copy after a Sculpture of the Sleeping Eros Based on an Antique Model (from Cassiano dal Pozzo's 'Paper Museum'), ca. 1630, Pen and brown ink, brush and brown wash, 8 9/16 x 12 5/8in. (21.7 x 32.1cm), Drawings, Giovanni Angelo Canini (Italian,

Design for Two Candlesticks with decorated Bases, early 16th century, Pen and brown ink, brush and brown wash over traces of leadpoint, Image: 14 1/2 x 10 1/2 in. (36.9 x 26.6 cm), Drawings, ? Made by Giulio Romano (Italian, Rome 1499?–1546

The Beast with Two Horns Like a Lamb, from The Apocalypse, Latin Edition 1511, ca. 1496, Woodcut, sheet: 17 9/16 x 12 11/16 in. (44.6 x 32.3 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Madame Granger, after Ingres, 1867, Etching on japan paper; first state of four, sheet: 13 1/4 x 9 1/4 in. (33.7 x 23.5 cm), Prints, Félix Bracquemond (French, Paris 1833–1914 Sèvres), After Jean Auguste Dominique Ingres (French,

Allegory of the Liberal Arts (Astronomy), second half 19th century, Graphite, Overall: 8 15/16 x 10 11/16 in. (22.7 x 27.1 cm), Drawings, Jules-Edmond-Charles Lachaise (French, died 1897), Eugène-Pierre Gourdet (French, born Paris, 1820

Ornament Design, 19th century, Pen and ink and watercolor on laid paper, sheet: 18 7/16 x 5 1/2 in. (46.8 x 13.9 cm), Drawings, Anonymous, French, 19th century

Design for a Plate, ca. 1770–90, Pen and gray and brown ink, brush and gray wash, 10 1/8 x 13 3/16 in. (25.7 x 33.5 cm), Drawings, Anonymous, French, 18th century

The Banquet of the Gods, 1534–77, Pen and brown ink, over black chalk, 4 13/16 x 6 9/16in. (12.3 x 16.6cm), Drawings, Guglielmo della Porta (Italian, Porlezza, near Lake Lugano ca. 1500–1577 Rome

Gentleman Seen from the Back Pointing towards a Chateau, 1629, Etching, Sheet (trimmed): 5 1/2 × 3 11/16 in. (14 × 9.3 cm), Prints, Abraham Bosse (French, Tours 1602/1604–1676 Paris), After Jean de Saint-Igny (French, Rouen ca.

Plate 12: head of a child, from 'The Book for Learning to Draw' (Livre pour apprendre à dessiner), ca. 1649, Etching, Plate: 3 3/8 × 2 11/16 in. (8.6 × 6.9 cm), Prints, Stefano della Bella (Italian, Florence 1610–1664 Florence

The Sleeping Herdsman, ca. 1644, Etching and burin, Prints, Rembrandt (Rembrandt van Rijn) (Dutch, Leiden 1606–1669 Amsterdam

The Holy Family (?), 1488–1560, Pen and brown ink, 13-1/16 x 8-1/4 in. (33.2 x 21.0 cm), Drawings, Baccio Bandinelli (Italian, Gaiole in Chianti 1493–1560 Florence), The Florentine sculptor Baccio Bandinelli produced a number of pen and

Head of an old Man looking down, facing Left, Etching, Prints, Giovanni Benedetto Castiglione (Il Grechetto) (Italian, Genoa 1609–1664 Mantua

Design for a Lidded Gadrooned Vase with Satyr Heads Holding Garlands, 1652–1725, Pen and brown ink over traces of black chalk, sheet: 9 1/8 x 4 1/2 in. (23.2 x 11.5 cm), Giovanni Battista Foggini (Italian, Florence 1652–1725 Florence

Ladies' Hats, No. 4671, from Journal des Demoiselles, April 1, 1888, Steel engraving with hand coloring and gilt, Sheet: 13 x 9 7/16 in. (33 x 24 cm), Prints, Paul Deferneville (French, active 19th century

Title Page: Comedies of Terence (Publii Terentii Comoediae), 1642, Etching, Sheet: 14 in. × 9 3/8 in. (35.6 × 23.8 cm), Prints, Abraham Bosse (French, Tours 1602/1604–1676 Paris

Presentation of Valerius Maximus to King Louis XI, 1862, Prints, Charles Meryon (French, 1821–1868

A Loaded Wagon and Several Human Figures., 1610–64, Pen and brown ink over traces of graphite, light sketch in graphite in the background, Sheet: 3 9/16 x 5 7/16 in. (9.1 x 13.8 cm), Drawings, Stefano della Bella (Italian, Florence

Fox Hunt, 1736, Etching, image: 11 15/16 x 10 11/16 in. (30.3 x 27.2 cm), Prints, Jean-Baptiste Oudry (French, Paris 1686–1755 Beauvais

The Blessed John Mata, n.d., Engraving with etching, sheet: 16 7/8 x 10 15/16 in. (42.9 x 27.8 cm), Prints, Nicolas Pitau (French, Paris before 1670–1724), After Laurent de La Hyre (French, Paris 1606–1656 Paris

Figure Studies, 1659–1734, Pen and brown ink, brush and gray wash, over red and a little black chalk, 11 3/16 x 7 1/2in. (28.4 x 19cm), Drawings, Sebastiano Ricci (Italian, Belluno 1659–1734 Venice

Design for an Oil Lamp, 19th century, Graphite, brush and gray wash, and gouache, sheet: 16 9/16 x 11 1/4 in. (42.1 x 28.5 cm), Drawings, Anonymous, French, 19th century

The Wise Virgins before Christ, ca. 1635, Etching and engraving, Sheet: 13 in. × 15 7/8 in. (33 × 40.3 cm), Prints, Abraham Bosse (French, Tours 1602/1604–1676 Paris

Sheet of Monogram Designs, 19th century, Pen and blue ink, watercolor, gouache, and gold gilt, sheet: 9 11/16 x 13 9/16 in. (24.6 x 34.4 cm), Drawings, Anonymous, French, 19th century

Raising of Lazarus, 1645–1650, Etching, sheet: 8 11/16 x 12 3/8 in. (22 x 31.4 cm), Prints, Giovanni Benedetto Castiglione (Il Grechetto) (Italian, Genoa 1609–1664 Mantua), This print conveys Castiglione’s distinctive technique,

Venetian Capriccio: Landscape with a Farm Building, Sarcophagus, and Fountain (recto); Monument (verso), n.d., Pen and light brown ink, brush and gray wash (recto); soft black chalk, or graphite, or leadpoint (verso)., sheet: 6 5/8 x 9 7/16

Time and Truth, 1696–1770, Pen and brown ink, brush with pale and dark brown wash, over black chalk, 10 x 9-3/16 in. (25.4 x 23.4 cm), Drawings, Giovanni Battista Tiepolo (Italian, Venice 1696–1770 Madrid

Signalement Des Chouans et Autres Contrevolutionaires, ca. 1793, Etching, plate: 11 9/16 x 8 1/4 in. (29.4 x 21 cm), Prints, Anonymous, French, 18th century

Entellus and Dares fighting in front of classical ruins, 1520–25, Engraving, Sheet (Trimmed): 12 1/4 × 10 3/8 in. (31.1 × 26.3 cm), Prints, Marco Dente (Italian, Ravenna, active by 1515–died 1527 Rome), After Raphael (Raffaello Sanzio

The Old Testament (or Synagogue), from the series of Sibyls, ca. 1530, Woodcut, Prints, Lucas van Leyden (Netherlandish, Leiden ca. 1494–1533 Leiden

Roman Scene, 1499–1543, Pen and brown ink, brush and brown wash, highlighted with white, 13-1/4 x 7-1/4 in. (33.8 x 18.5 cm), Drawings, After Polidoro da Caravaggio (Italian, Caravaggio ca. 1499–ca. 1543 Messina

Design for a paneled ceiling painted with putti, birds, and floral motifs, 19th century, graphite, pen and ink, watercolor and gold paint on laid paper, Drawings, Jules-Edmond-Charles Lachaise (French, died 1897), Eugène-Pierre Gourdet

Christ in the House of Martha and Mary, ca. 1640, Pen and brown ink, brown wash, over traces of graphite, 8 3/16 x 6 9/16 in. (20.8 x 16.6 cm), Drawings, François Perrier (French, Saint-Jean-du-Losne/Mâcon 1584–1650 Paris

Procession of Monstrous Figures, 1615, Etching, frieze 1 of 8 plates, sheet: 3 3/4 x 12 5/16 in. (9.6 x 31.3 cm), Prints, Wendel Dietterlin, the Younger (German, active Strasbourg ca. 1614–69

House with a Turret, rue de la Tixéranderie, Paris, 1852, Etching on heavy laid paper; third state of four, plate: 9 11/16 x 5 3/16 in. (24.6 x 13.1 cm), Prints, Charles Meryon (French, 1821–1868

The Head of Pompey Presented to Julius Caesar (recto); Study for an Elaborate Door Frame (verso), 1675–1741, Pen and brown ink, brush and brown wash, over red and black chalk; traces of white chalk at upper right edge (recto); pen and brown

Lapwings and Teals, 1862, Etching, Prints, Félix Bracquemond (French, Paris 1833–1914 Sèvres

Designs for Door Hardware, ca. 1775–85, Pen and brown ink, brush and brown, yellow, and blue wash. Framing lines in pen and ink., 9 1/4 x 16 1/4 in. (23.5 x 41.3 cm), Drawings, Anonymous, French, 18th century

St. Simon, ca. 1510, Engraving, sheet: 4 1/2 x 2 3/4 in. (11.4 x 7 cm), Prints, Lucas van Leyden (Netherlandish, Leiden ca. 1494–1533 Leiden

Design for a Mirrored Sideboard with Turned Legs Rocaille Ornament (Verso: Sketch for a Desk), early 19th century, Ink and wash, sheet: 8 1/2 x 12 1/4 in. (21.6 x 31.1 cm), Anonymous, British, 19th century

Touch (Le Toucher), ca. 1638, Etching, sheet: 10 3/16 x 12 7/8 in. (25.8 x 32.7 cm), Prints, Abraham Bosse (French, Tours 1602/1604–1676 Paris

A Day When You Do Not Pay–Twenty-Five-Degree Heat (Un jour ou l'on ne paye pas. Vingt-cinq degres de chaleur ), from Le Public du Salon, published in Le Charivari, May 17, 1852, May 17, 1852, Lithograph; second state of two (Delteil),

Frontispiece to Jerusalem, the Emanation of the Great Albion, [ca. 1804–20] (?), White line engraving, printed in orange ink, sheet: 8 7/8 x 6 7/16 in. (22.5 x 16.3 cm), Prints, William Blake (British, London 1757–1827 London

The Adoration of the Kings, n.d., Woodcut, sheet: 2 3/8 x 1 5/8 in. (6.1 x 4.1 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Christ's Entry into Jerusalem, 15th century, Metalcut, hand-colored in green, yellow and red, sheet: 4 1/8 x 3 1/16 in. (10.5 x 7.8 cm), Prints, Anonymous, German, 15th century

Design for a Candelabra, 19th century, Pen and brown ink, sheet: 9 1/8 x 5 1/2 in. (23.1 x 13.9 cm), Drawings, Anonymous, French, 19th century

Study for the Allegory of San Gimignano and Colle Val d'Elsa, 1563, Pen and brown ink, highlighted with white gouache, traces of squaring in black chalk (on top of drawing surface), over traces of black chalk on blue paper, 8 7/16 x 8 7/16 in.

Design for a Sculpture consisting of a Satyr and Satyress holding a Vase, 1652–1725, Pen and brown ink, brush and gray-brown wash, over traces of black chalk or graphite, sheet: 7 7/16 x 4 1/2 in. (18.9 x 11.4 cm), Giovanni Battista Foggini

Design for a Worktable, early 19th century, Graphite, sheet: 8 7/16 x 12 3/16 in. (21.5 x 31 cm), Anonymous, British, 19th century

Plate 2 of the 'Tauromaquia': Another way of hunting on foot, 1816, Etching, burnished aquatint, drypoint and burin, Plate: 9 9/16 x 13 7/8 in. (24.3 x 35.2 cm), Prints, Goya (Francisco de Goya y Lucientes) (Spanish, Fuendetodos 1746–1828

Allegorie des mariages faits par la Ville de Paris a la naissance du Duc de Bourgogne, 1752, Etching, between second and third states, sheet: 7 3/4 x 6 1/8 in. (19.7 x 15.5 cm), Prints, Gabriel de Saint-Aubin (French, Paris 1724–1780 Paris

The Mass of Saint Gregory, late 15th century, Metalcut with traces of hand-coloring; second state, 13-7/8 x 19-15/16 in.; 10-5/8 x 7-7/16 in., Prints, Master of the Church Fathers' Border (German, late 15th century

The Virgin and Child with Two Male Saints, 1577–1660, Charcoal, brush and brown wash, white oil paint, on brown paper, 12 1/16 x 8 3/4in. (30.7 x 22.3cm), Drawings, Giacomo Cavedone (Italian, Sassuolo 1577–1660 Bologna

Apollo Standing in His Chariot, 1696–1770, Pen and brown ink, brush with pale and dark brown wash, over black chalk, 9-1/2 x 9-9/16 in. (24.2 x 24.3 cm), Drawings, Giovanni Battista Tiepolo (Italian, Venice 1696–1770 Madrid

Design for a Vestibule, 19th century, Graphite, pen and black ink, watercolor, 9 9/16 x 10 7/8 in. (24.3 x 27.7 cm), Drawings, Anonymous, French, 19th century

The Wife-Beater, ca. 1633, Etching with engraving, Sheet (trimmed): 10 1/8 × 13 1/16 in. (25.7 × 33.1 cm), Prints, Abraham Bosse (French, Tours 1602/1604–1676 Paris

Anatomical drawing, 18th century, Pen and ink, brush and gray wash on blue paper, sheet: 8 3/8 x 13 5/16 in. (21.2 x 33.8 cm), Drawings, Anonymous, French, 18th century

Design for Tomb Monument, 18th century, Graphite and gouache, image: 6 5/16 in. (16 cm), Drawings, Anonymous, French, 18th century

Design for a Double Tomb, 16th century, Black chalk, pen and brown ink, watercolor, sheet: 17 1/2 x 11 1/2 in. (44.4 x 29.2 cm), Drawings, Anonymous, French, 16th century

Evening, New York Harbor, 1884, Etching, Plate: 9 3/4 × 13 7/16 in. (24.7 × 34.2 cm), Prints, Henry Farrer (American, London 1844–1903 New York

Beggar Leaning on a Stick (reverse copy), 1851, Etching, Sheet: 3 3/8 x 2 1/2 in. (8.6 x 6.4 cm), Prints, F. Bradshaw (British, active mid-19th century), After Rembrandt (Rembrandt van Rijn) (Dutch, Leiden 1606–1669 Amsterdam

The Lantern in Winter, Water in Summer, 1737, Etching with some engraving, Sheet: 9 1/2 x 7 5/16 in. (24.1 x 18.5 cm), Prints, Anne Claude Philippe de Tubières, comte de Caylus (French, Paris 1692–1765 Paris), After Edme Bouchardon

Study of a Kneeling Youth and of the Head of Another, 1500, Metalpoint on pale pink-beige prepared paper, 8 11/16 x 4 1/2 in. (22 x 11.5 cm), Drawings, Perugino (Pietro di Cristoforo Vannucci) (Italian, Città della Pieve, active by

San Lorenzo, Library, Ricetto, portal to Ricetto, elevation; plan (recto) San Lorenzo, Library, Ricetto, portal to Ricetto, section; details (verso), early to mid-16th century , Dark brown ink, black chalk, and incised lines, sheet: 17

Figures, 1624–63, Pen and brown ink. Framing lines in pen and brown ink on mount, 2-11/16 x 3-7/16 in. (6.8 x 8.8 cm), Drawings, attributed to Francesco Allegrini (Italian, Cantiano (?) 1615/20–after 1679 Gubbio

St. Paschal Baylon Adoring the Blessed Sacrament, 17th century, Pen and brown ink, gray and cream oil paint, on paper, mounted on wood, 16 7/16 x 12 3/8 in. (41.7 x 31.5 cm), Drawings, Claude François (French, Amiens, 1615–1685

Jeanne, 1882, Etching and aquatint on laid paper, image: 6 1/8 x 4 3/16 in. (15.5 x 10.7 cm), Prints, Édouard Manet (French, Paris 1832–1883 Paris

Amador Jean-Baptiste de Vignerod, abbe de Richelieu, Etching, third state, sheet: 12 3/8 x 9 1/8 in. (31.4 x 23.2 cm), Prints, Jean Morin (French, Paris ca. 1605–1650 Paris), After Philippe de Champaigne (French, Brussels 1602–1674

Mercury and Herse, n.d., Engraving, Sheet: 19 15/16 x 15 11/16 in. (50.7 x 39.8 cm), Prints, François Jourd'heuil (French, Poitiers 1759–1781 Paris), After Laurent de La Hyre (French, Paris 1606–1656 Paris

Design for a Pen and Ink Stand, 19th century, Pen and gray ink, brush and gray and yellow wash. Framing lines in pen and black ink., sheet: 11 x 17 9/16 in. (28 x 44.6 cm), Anonymous, French, 19th century

Study for Clovis (middle register; study for wall paintings in the Chapel of Saint Remi, Sainte-Clotilde, Paris, 1858), 19th century, Red, black, and white chalk, stumped, 18 5/8 x 12 in. (46.7 x 30.5 cm), Drawings, Isidore Pils (French,

Architectural Capriccio: A Palace Colonnade., 1712–93, Pen and brown ink, brush and brown wash over black chalk. Framing outlines in pen and brown ink, sheet: 10 13/16 x 7 1/2 in. (27.4 x 19.1 cm), Drawings, Francesco Guardi (Italian, Venice

Smell, 1635–38, Etching, Sheet: 10 1/8 × 12 13/16 in. (25.7 × 32.5 cm), Prints, Abraham Bosse (French, Tours 1602/1604–1676 Paris

St. Anthony, ca. 1521, Engraving, sheet: 4 1/2 x 2 15/16 in. (11.5 x 7.5 cm), Prints, Lucas van Leyden (Netherlandish, Leiden ca. 1494–1533 Leiden

Design for Stage Set, 1698–1765, Pen and brown ink, brush and gray wash, sheet: 7 1/4 x 4 7/8 in. (18.4 x 12.4 cm), Drawings, Attributed to Giovanni Battista Natali III (Italian, Pontremoli, Tuscany 1698–1765 Naples

Plate 23: two hounds, from 'Various animals' (Diversi animali), ca. 1641, Etching; second state of three (De Vesme), Plate: 3 3/8 × 4 5/16 in. (8.6 × 11 cm), Prints, Stefano della Bella (Italian, Florence 1610–1664 Florence

Abraham and Isaac (reverse copy), n.d., Etching, Prints, After Rembrandt (Rembrandt van Rijn) (Dutch, Leiden 1606–1669 Amsterdam

Woman on a Staircase, 1928–29, Drypoint; only state, plate: 5 3/4 x 3 13/16 in. (14.6 x 9.7 cm), Prints, Walter Richard Sickert (British, Munich 1860–1942 Bathampton, Somerset

Design for a Decorated Ceiling with Statues and Stucco, 18th century, Pen and light brown ink, brush and gray wash, over traces of leadpoint, Image: 9 9/16 x 7 1/16 in. (24.3 x 17.9 cm), Attributed to Vittorio Maria Bigari (Italian, Bologna

Illustration to 'Count Burckhardt' (Once a Week), 1862, Wood engraving; proof, Prints, After James McNeill Whistler (American, Lowell, Massachusetts 1834–1903 London

Imaginary Landscape with Classical Ruins, 1700–1750, Point of a brush and gray wash, over graphite. Framing lines in pen and brown ink and bronze paint, 5 11/16 x 5 11/16in. (14.5 x 14.5cm), Drawings, Carlo Fantaccini (Italian, documented

Venus in the Forge of Vulcan (Aeneid VIII: 370 ff), 1699–1768, Black chalk, highlighted with white chalk, on blue-green paper, Total: 12-11/16 x 17 in. (32.2 x 43.2 cm), Drawings, Stefano Pozzi (Italian, Rome 1699–1768 Rome

Shepherd and Shepherdess Conversing in a Landscape, ca. 1651, Etching; state five of seven (Mannocci), sheet: 7 7/8 x 10 7/16 in. (20 x 26.5 cm), Prints, Claude Lorrain (Claude Gellée) (French, Chamagne 1604/5?–1682 Rome

Two Designs for Carved Panels, 16th century, Black chalk, pen and brown ink, brush and brown wash, sheet: 18 5/8 x 13 1/8 in. (47.3 x 33.3 cm), Drawings, Anonymous, French, 16th century

Portrait of Charles Baudelaire in Profile, 1862–67, Etching on blue laid paper, only state, from 1905 Strölin edition, plate: 5 1/8 x 2 15/16 in. (13 x 7.5 cm), Prints, Édouard Manet (French, Paris 1832–1883 Paris

A Man on Crutches, 1878, Brush and lithographic ink on transfer paper, 10 11/16 x 7 3/4 in. (27.1 x 19.7 cm), Drawings, Édouard Manet (French, Paris 1832–1883 Paris

Head of a bearded Man with a Turban facing Right, Etching, Prints, Giovanni Benedetto Castiglione (Il Grechetto) (Italian, Genoa 1609–1664 Mantua

Domine, Quo Vadis, 1592–1664, Black chalk, highlighted with white, on brown paper; cropped to the shape of a lunette, 7-5/16 x 10-7/16 in. (18.5 x 26.5 cm), Drawings, Jacopo Vignali (Italian, Pratovecchio 1592–1664 Florence

Songs of Innocence and of Experience: London, ca. 1825, Relief etching printed in orange-brown ink and hand-colored with watercolor and gold, sheet: 6 3/16 x 5 9/16 in. (15.7 x 14.1 cm), Prints, William Blake (British, London 1757–1827

Design for a Mirrored Sideboard with Rococo Ornament, and Casket, early 19th century, Ink and watercolor, sheet: 9 7/16 x 11 3/4 in. (24 x 29.9 cm), Anonymous, British, 19th century

Anne-Sophie Herbert, comtesse de Carnarvon, Etching, first state, sheet: 13 3/4 x 10 9/16 in. (34.9 x 26.8 cm), Prints, Jean Morin (French, Paris ca. 1605–1650 Paris), After Anthony van Dyck (Flemish, Antwerp 1599–1641 London

Plate 69 from 'Los Caprichos': Blow (Sopla.), 1799, Etching, aquatint, drypoint and burin, Plate: 8 1/4 × 5 3/4 in. (20.9 × 14.6 cm), Prints, Goya (Francisco de Goya y Lucientes) (Spanish, Fuendetodos 1746–1828 Bordeaux

La Vieille Femme Assise, Etching, first state, sheet: 7 5/16 x 9 9/16 in. (18.5 x 24.3 cm), Prints, Jean Morin (French, Paris ca. 1605–1650 Paris), After Cornelis van Poelenburch (Dutch, Utrecht (?) 1594/95–1667 Utrecht

Coat of Arms with a Skull, 1503, Engraving, Plate: 8 11/16 x 6 1/4 in. (22.1 x 15.8 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg), In this stunning engraving, Dürer recast the theme of memento mori in a brilliantly

A bearded man wearing a tasseled headdress facing left, from the series 'Heads in Oriental Headdress', ca. 1648–50, Etching, sheet: 7 x 5 13/16 in. (17.8 x 14.8 cm), Prints, Giovanni Benedetto Castiglione (Il Grechetto) (Italian, Genoa

Brevet d'Invention. Chapeaux de soie d'une seule pièce..., 19th century, Wood engraving, Sheet: 20 7/8 x 14 1/8 in. (53 x 35.8 cm), Prints, Anonymous, French, 19th century

Le Pont au Change, 1854, Etching with additions in graphite; seventh state, Sheet: 7 3/16 x 14 1/16 in. (18.2 x 35.7 cm), Prints, Charles Meryon (French, 1821–1868), While Paris was becoming a modern European city, Meryon clung to the

Plate 12 from the 'Tauromaquia': The crowd hamstrings the bull with lances, sickles, banderillas and other arms., 1816, Etching, burnished aquatint and drypoint, Plate: 9 13/16 x 13 3/4 in. (25 x 35 cm), Prints, Goya (Francisco de Goya y