Antiquity (Renaissance Views)

Giovanni Antonio da Brescia after Raphael
Two Sibyls and an Angel
ca. 1510-20
engraving
(after fresco in Santa Maria della Pace, Rome)
British Museum

Monogrammist H.F.E. (Italian printmaker)
Parnassus Profaned
ca. 1530-35
engraving
British Museum

Michiel Coxie the Elder
Jupiter as Amphitryon with Alcmena
ca. 1530-35
drawing (print study)
British Museum

Michiel Coxie the Elder
Jupiter as Bull with Europa
ca. 1530-35
drawing (print study)
British Museum

Michiel Coxie the Elder
Jupiter as Diana with Callisto
ca. 1530-35
drawing (print study)
British Museum

Michiel Coxie the Elder
Jupiter as Satyr with Antiope
ca. 1530-35
drawing (print study)
British Museum

Michiel Coxie the Elder
Jupiter as Serpent with Proserpina
ca. 1530-35
drawing (print study)
British Museum

Michiel Coxie the Elder
Jupiter as Swan with Leda
ca. 1530-35
drawing (print study)
British Museum

Michiel Coxie the Elder
Jupiter coupling with Aegina
ca. 1530-35
drawing (print study)
British Museum

Michiel Coxie the Elder
Jupiter revealing his Glory to Semele
ca. 1530-35
drawing (print study)
British Museum

Michiel Coxie the Elder
Jupiter surprised by Juno
and transforming Io into a Heifer
ca. 1530-35
drawing (print study)
British Museum

Giulio Campi
Classical Frieze element with Prisoner
(study for temporary Triumphal Arch)
1541
drawing
British Museum

Giulio Campi
Classical Frieze element with Prisoner
(study for temporary Triumphal Arch)
1541
drawing
British Museum

Domenico Campagnola
The Judgment of Midas
ca. 1545
drawing
British Museum

Pieter Coecke van Aelst
Studies for the figure of Orpheus
before 1550
drawing
British Museum

Angelo Falconetto
Naiad, Siren and Triton
before 1567
etching
Graphische Sammlung, ETH Zürich

Giulio Bonasone after Perino del Vaga
Two Satyrs escorting Silenus into the presence of King Midas
before 1576
engraving
Graphische Sammlung, ETH Zürich

from Of the Answers of the Oracle of Apollo at Delphos to Croesus King of Lydia

    Men look upon ancient Oracles as naturall, Artificiall, Demonicall or all. They conceaved somewhat naturall in them, as being in places affording exhalations which were found to operate upon the braynes of persons unto raptures, strange utterances, and divinations; which being observed and admired by the people, an advantage was taken thereof and an artificiall contrivance made by subtle and craftie persons confederating to carry on a practise of divination pretending some power of divinitie therein. Butt because they sometimes made very strange predictions and above the power of human reason, men were inclined to believe demonicall cooperation, and that some evell spirit ruled the whole scene, having so fayre an opportunity to delude mankind and to advance his owne worshippe, and were thought to proceed from the spirit of Apollo or other heathen deitie; so that these oracles were not only apprehended to bee naturall, human, or artificiall, but also demoniacall, according to common opinion and also of learned men. 

– Sir Thomas Browne (1656)