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The article discusses the 16th century engraving "The Big Fish Eat the Small" by Belgian artist Maarten de Vos. The article focuses on the production of prints from the engraving, the artistic culture of Antwerp, Belgium, and the influence of Dutch artist Pieter Bruegel on de Vos. Among other topics addressed are its depiction of cannibals and cannibalism, works copying or imitating the original engraving, and an overview of Vos' other works, especially his satire.

This article presents an analysis of illustrations of Peruvian Incas engraved by writer Jean-Francois Marmontel between the eighteenth and nineteenth century. Particular focus is given to production, distribution, and receipt in a consumer society used to printed images and the role and issues of pictures as cultural practices. Further details include a closer look at the relationship between illustrations and the accompanying text.

An essay is presented on the visual readings and interpretations in the Celadon and Amelia episode of the poem "The Seasons," by James Thompson. It stresses the ways in which the representation of the scenes changes throughout a period of nearly 80 years. The author states that the visual interpretations of the Celadon and Amelia episode proves that the narrative characterize in the painting of Richard Wilson or in the engraving of William Wollet was redeveloped and revised from 1770s.

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The article focuses on the role and significance of engravings of the scenes of various operas in festival books. It states that libretti that have engravings express the awareness on the necessity of documentation about the performances of the operas. It says that engravings of the opera depict the real event in the theater from a particular performance. It explores the scenes and the series engravings of the opera "Talestri, Regina Delle Amazzoni," by Maria Antonina Walpurgis. It mentions that even though there is proof that the actual performances in the opera are not represented by the engravings in festival books, it still have significance for the study of historic performance practice.

This article discusses the controversial engraving of the Last Judgment made by the Jesuits in the late 18th century, which many believed represented a satire of King Charles III of Spain. The author describes the expulsion of the Jesuits from Spain in the 1760s and explains how the engraving can be seen as a reaction to their suppression. He also comments on the effects that the denouncement of the engraving had on Spain's diplomatic relations as well as printers of the time, including Giovanni Battista Remondini, one of the most well-known printers in Europe, according to the author. His attempts to defend himself against accusations of printing the engraving are also detailed.

The article features the recent etchings executed by Frank Auerbach. These include an etching from two larger plates of Ruth Bromberg, the portrait of painter and critic William Feaver and "Jake06." It relates that the etchings emphasize the independent gestures of drawing and the poignant elusiveness of their connections to the subject of an earlier smaller print and paintings. It is stated that in Bromberg's etching, the momentum of the drawing has its own self-revising rhythm independent of the anatomical form of the head. The grid in Feaver's etching is primary of verticals and only occasional horizontals are lightly cut. Moreover, the structures of the foreshortened head in the etching "Jake06" is so firmly established and the marks on the image seem so fluid and un-insistent.

The article focuses on the number of impressions that could be made from one engraving or etching in Italy and Netherlands. However, there is a problem in identifying the correct number of engravings because of the lack of evidence. It is evident that the engraving entitled "Annales ecclesiastici," by Caesar Baronius has been reworked several times due to the numerous volumes it illustrates. These archival records and visual data provides a unique opportunity to track the stages of wear as well as the revitalization and reconception of the image through the reworking of the plate up to its final appearance. There are 18, 257 impressions taken from one plate in a period of 57 years which contradicts the stated 1, 000 impressions for a single plate.

The article discusses the author's encounter with the rough engraving of two hoplite figures cut in bedrock in Sounion, Greece. He emphasizes that the figures are not fashioned by a skillful hand due to their general roughness of shape and the absence of interior detailing. He stresses that the smaller hoplite is similar in all aspects to his larger opponent. He mentions the meaning portrayed by the hoplite figures in terms on how the engraver carves them. He asserts the reasons on why he does not want to date such figures more closely than around 500 BC.

The article focuses on the ethnographical and art history of the carved posts at the Grand Bassam in Abidjan, Cotô d'lvoire. It is notable that the sketches by Hyacinthe Hecquard, a French military officer and explorer, gives information about the political affiliation of his figures and it also provides the background of the Lagoon ethnic groups including the Sanwi Anyi, Abidji, Twi-Fante, Gwa and Abure. It is notable that the stylistic similarities and differences between the posts suggest that the Gwa poles supported the overhanging roof of the veranda and the Abure post was placed in a courtyard. The practice of carving tall houseposts was most persistent among Gwa, Akye and Abure and it is visible in the common use of the sculpture in their houses.

The article analyzes the iconographic history of the two carved columns from the Grand Bassam region in Abidjan, Côte d'lvoire. Its history is traced through the two pencil sketches by Hyacinthe Hecquard, a French military officer, geographer and explorer. The first sketch is the "Colonne soutenant le toit de la salle de palabre du Chef Acka à Grand Bassam" which represents a wooden column carved into vertical registers with Lagoon people standing on it. The second sketch is the "Colonne fétiche faite d'un seul morveau de bois élevé au milieu du village d'Abra." It is notable that the carved figures are arranged according to their power in the society. A figure erected at the center of the village proclaimed the wealth and power and high status.

The article discusses the representation of the engraving "The Shepherd and the Old Warrior," by Domenico Campagnola. It describes the physical appearance of the characters and the objects on the image. The engraving illustrates two men standing on either side of a blasted tree in a rustic landscape, the author noted. According to him, the print of Campagnola suggested an allegory of youth and age, peace and war, or the active and contemplative life. However, he argues that the theme of the engraving may be drawn from the premonition of Meliboeus in the literary work of poet Vergil.

This essay examines a unique project to revive the place, imagery, and cultural memory of solitude within a reformed Catholic context. Originating at the Munich court of the retired Duke Wilhelm V, the project was closely related to an increase in the practice of meditation across the Catholic world, in which ‘controlled’ interior spaces as well as material artefacts were given a pivotal role. The focus is on two types of medial and material representations of hermits’ spaces, which intersected and interacted with each other: the hermitages built at the initiative of Duke Wilhelm V in his city residence and near his country retreat at Schleissheim; and the series of copper engravings depicting hermits by the Flemish brothers Jan I and Raphael I Sadeler after designs by Maarten de Vos. The new anchorite ‘philosophy’ that emerged at the court of Wilhelm V soon became fashionable in cities and at courts across Europe. [ABSTRACT FROM AUTHOR]

The article analyzes the depiction of mathematics in "Melancholia I," a 1514 engraving created by artist Albrecht Dürer. The engraving features a winged, disheveled woman sitting, while being surrounded by an array of builder's tools and measurement instruments. It also features a dog, an angry cupid, an irregular stone polyhedron and a bat with the word "Melancholia I" imprinted on its wings. Despite its many interpretations, the engraving illustrates mathematical concepts and is said to be of significance to mathematicians. The author notes that in order to appreciate the engraving, greater mathematical skill is needed.

A literary criticism of an inscription on William Blake's engraved grafitto plate "Laocoön" is presented. It discusses previous critiques on the biblical source material for the inscription, and argues for an alternative source from the biblical book of "Mark." The themes of the unity of Christ, imagination, and Blake's concern with common humanity is also discussed.