Militant

Carlo Crivelli
St George and the Dragon
1470
tempera and gold on panel
Isabella Stewart Gardner Museum, Boston

Paris Bordone
Perseus armed by Mercury and Minerva
ca. 1545-55
oil on canvas
Birmingham Museum of Art, Alabama

Camillo Mariani
Roman General Aulus Caecina Alienus
ca. 1590
bronze medallion
National Gallery of Art, Washington DC

Juan Pantoja de la Cruz
Portrait of Prince Philip Emmanuel of Savoy
ca. 1604
oil on canvas
Museo de Bellas Artes de Bilbao

Giacomo Franco
Venetian Military Captain in Parade Armour
with view of the Battle of Lepanto
ca. 1610
engraving
British Museum

Filippo Napoletano (Filippo Angeli)
Landsknecht
(series, Capricci e Habiti Militari)
before 1629
etching
British Museum

Justus Sustermans
Alfonso IV d'Este, Duke of Modena and Reggio
1649
oil on canvas
Isabella Stewart Gardner Museum, Boston

Samuel Bottschild
Study of Roman Cuirasse and Helmet
1674
drawing
Kupferstichkabinett, Staatliche Kunstsammlungen, Dresden

 

Georg Fennitzer
Portrait of Werner von Parsberg
(copied from a painting dated 1442)
ca. 1690
mezzotint
British Museum

Girolamo Ferroni after Carlo Maratti
Joshua commanding the Sun to Halt
ca. 1710-30
etching
Graphische Sammlung, ETH Zürich

Domenico Maria Fratta
Sleeping Pandur (Hungarian Soldier)
1745
drawing
Graphische Sammlung Albertina, Vienna

Benigno Bossi after Ennemond-Alexandre Petitot
Grenadier à la Grecque
(fanciful figure with architectural elements)
1771
etching
Cooper Hewitt, Smithsonian Design Museum

James Fittler after Henry Howard
Coriolanus
1805
etching
(illustration to an edition of Shakespeare)
British Museum

Anonymous Italian Woodcarver
Puppet - Orlando Furioso
19th century
painted wood body, silk satin suit, brass armor
National Museum of American History,
Washington DC

Anonymous British Printmaker
Edmund Kean as Richard Coeur de Lion
ca. 1830
hand-colored engraving, with embellishments
Cooper Hewitt, Smithsonian Design Museum

Winslow Homer
Cavalry Soldier
1863
drawing
Cooper Hewitt, Smithsonian Design Museum

Conrad Felixmüller
Soldier in Madhouse II
1918
lithograph
Los Angeles County Museum of Art

Alexias: the Complaint of the Forsaken Wife of Sainte Alexis: 

The Seconde Elegie

Though All the joyes I had fled hence with Thee

Unkind! yet are my Teares still true to me.

I'm wedded ore again, since thou art gone,
Nor couldst thou, cruell, leave me quite alone.

Alexis' widdow now is sorrow's wife,
With him shall I weep out my weary life.
Wellcome, my sad sweet Mate! Now have I gott

At last a constant love that leaves me not. 
Firm he, as thou art false, nor need my cryes
Thus vex the earth & teare the beauteous skyes.
For him, alas, n'ere shall I need to be
Troublesom to the world, thus, as for thee.
For thee I talk to trees; with silent groves
Expostulate my woes & much-wrong'd loves.
Hills & relentlesse rockes, or if there be

Things that in hardnesse more allude to thee,

To these I talk in teares, & tell my pain,
And answer too for them in teares again.
How oft have I wept out the weary sun!
My watry hour-glasse hath old times outrunne.
O I am learned grown, poor love & I
Have study'd over all astrology.
I'm perfect in heavn's state, with every starr
My skillfull greife is grown familiar.

Rise, fairest of those fires, whate're thou be
Whose rosy beam shall point my sun to me,
Such as the sacred light that erset did bring
The Eastern princes to their infant king.
O rise, pure lamp! & land thy golden ray
That weary love at last may find his way.

– Richard Crashaw, Sacred Poems (1652)