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                  <text>Chapter 2 -- Ancient Rome to Modern Italy</text>
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                <text>(CAT 111; Fig. 8) --  Charles Mottram after John Doyle.&lt;em&gt; Samuel Rogers at his Breakfast Table&lt;/em&gt;</text>
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                <text>&lt;h3&gt;Image Identification&lt;/h3&gt;
Charles Mottram after John Doyle. &lt;em&gt;Samuel Rogers at his Breakfast Table, &lt;/em&gt;engraving and mezzotint, c. 1823. Tate Gallery London.</text>
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                <text>&lt;a href="https://www.tate.org.uk/art/artworks/doyle-mottram-samuel-rogers-at-his-breakfast-table-engraved-by-charles-mottram-t04907"&gt;https://www.tate.org.uk/art/artworks/doyle-mottram-samuel-rogers-at-his-breakfast-table-engraved-by-charles-mottram-t04907&lt;/a&gt;</text>
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                <text>(CAT 111; Fig. 7) -- Ludovico Carracci. &lt;em&gt;Madonna and Child with Saints&lt;br /&gt;&lt;/em&gt;</text>
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                <text>&lt;h3&gt;Image Identification&lt;/h3&gt;
Ludovico Carracci. &lt;em&gt;Madonna and Child with Saints&lt;/em&gt;, oil on copper, 11 &lt;sup&gt;3&lt;/sup&gt;/&lt;sub&gt;4&lt;/sub&gt; x 9 &lt;sup&gt;7&lt;/sup&gt;/&lt;sub&gt;8&lt;/sub&gt; inches, 1607. Acquired by the Metropolitan Museum of Art, New York, in 2007. Copy of the same work formerly in the collection of Samuel Rogers, London.</text>
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                <text>&lt;p&gt;&lt;a href="https://www.metmuseum.org/art/collection/search/438776"&gt;https://www.metmuseum.org/art/collection/search/438776&lt;/a&gt;&lt;/p&gt;</text>
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                <text>(CAT 111; Fig. 6) -- Annibale Carracci. &lt;em&gt;The Coronation of the Virgin&lt;/em&gt;</text>
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                <text>&lt;h3&gt;Image Identification&lt;/h3&gt;
Annibale Carracci. &lt;em&gt;The Coronation of the Virgin&lt;/em&gt;, oil on canvas, 46 &lt;sup&gt;3&lt;/sup&gt;/&lt;sub&gt;8&lt;/sub&gt; x 55 &lt;sup&gt;5&lt;/sup&gt;/&lt;sub&gt;8&lt;/sub&gt; inches, after 1595. Acquired by the Metropolitan Museum of Art, New York, in 1971. Formerly in the collection of Samuel Rogers, London.</text>
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                <text>&lt;p&gt;&lt;a href="https://www.metmuseum.org/art/collection/search/435853"&gt;https://www.metmuseum.org/art/collection/search/435853&lt;/a&gt;&lt;/p&gt;</text>
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                <text>(CAT 111; Fig. 5) -- Annibale Carracci and studio. &lt;em&gt;The Loves of the Gods&lt;/em&gt;</text>
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                <text>&lt;h3&gt;Image Identification&lt;/h3&gt;
Annibale Carracci and studio. &lt;em&gt;The Loves of the Gods&lt;/em&gt;, Vault of the Farnese Gallery, fresco, 1597-1608. Farnese Palace, Rome.</text>
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                <text>&lt;p&gt;Wikipedia, &lt;a href="https://en.wikipedia.org/wiki/The_Loves_of_the_Gods#/media/File:Volta_della_Galleria_Farnese_dopo_il_restauro_del_2015.jpg"&gt;https://en.wikipedia.org/wiki/The_Loves_of_the_Gods#/media/File:Volta_della_Galleria_Farnese_dopo_il_restauro_del_2015.jpg&lt;/a&gt;&lt;/p&gt;</text>
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                <text>(CAT 111; Fig. 4) -- Annibale Carracci. &lt;em&gt;Virgin and Child in Glory with Saints Louis, Alexius, John the Baptist, Catherine, Francis and Clare&lt;/em&gt;&lt;em&gt; (Madonna of San Ludovico)&lt;/em&gt;</text>
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                <text>&lt;h3&gt;Image Identification&lt;/h3&gt;
&lt;p&gt;Annibale Carracci. &lt;em&gt;Virgin and Child in Glory with Saints Louis, Alexius, John the Baptist, Catherine, Francis and Clare&lt;/em&gt;&lt;em&gt; (Madonna of San Ludovico)&lt;/em&gt;&lt;em&gt;, &lt;/em&gt;oil on canvas, 278 x 193 cm, 1592. Bologna Pinacoteca.&lt;/p&gt;</text>
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                <text>&lt;p&gt;&lt;a href="https://www.pinacotecabologna.beniculturali.it/en/content_page/item/2820-virgin-and-child-in-glory-with-saints-louis-alexius-john-the-baptist-catherine-francis-and-clare-madonna-of-san-ludovico"&gt;https://www.pinacotecabologna.beniculturali.it/en/content_page/item/2820-virgin-and-child-in-glory-with-saints-louis-alexius-john-the-baptist-catherine-francis-and-clare-madonna-of-san-ludovico&lt;/a&gt;&lt;/p&gt;</text>
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                  <text>Chapter 2 -- Ancient Rome to Modern Italy</text>
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                <text>&lt;p&gt;(CAT 111; Fig. 3) Marcenay de Ghuy after Rembrandt. &lt;em&gt;Tobias Returning Sight to His Father&lt;/em&gt;&lt;/p&gt;</text>
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                <text>&lt;h3&gt;Image Identification&lt;/h3&gt;
&lt;p&gt;Antoine de Marcenay de Ghuy after Rembrandt. &lt;em&gt;Tobias Returning Sight to His Father&lt;/em&gt;, etching, 12 &lt;sup&gt;13&lt;/sup&gt;/&lt;sub&gt;16&lt;/sub&gt; x 9 &lt;sup&gt;1&lt;/sup&gt;/&lt;sub&gt;2&lt;/sub&gt; inches, 1755. Metropolitan Museum of Art, New York.&lt;/p&gt;</text>
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                <text>&lt;p&gt;&lt;a href="https://nam12.safelinks.protection.outlook.com/?url=https%3A%2F%2Fwww.metmuseum.org%2Fart%2Fcollection%2Fsearch%2F416820&amp;amp;data=04%7C01%7CWALLACER%40nku.edu%7Ca82dcfcf19f843ae8de808d9ceda8b31%7Cac3218551f554d0bb2fa531085ca3022%7C0%7C0%7C637768260308069155%7CUnknown%7CTWFpbGZsb3d8eyJWIjoiMC4wLjAwMDAiLCJQIjoiV2luMzIiLCJBTiI6Ik1haWwiLCJXVCI6Mn0%3D%7C3000&amp;amp;sdata=66sJb%2BWRldd%2BRIZZWsV19wgddDOWHWTrQ7uwBTboLw0%3D&amp;amp;reserved=0"&gt;https://www.metmuseum.org/art/collection/search/416820&lt;/a&gt;&lt;/p&gt;</text>
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                <text>(CAT 111; Fig. 2) -- Guillaume Chasteau after Nicholas Poussin. &lt;em&gt;Christ healing two blind men outside Jericho&lt;/em&gt;</text>
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                <text>&lt;h3&gt;Image Identification&lt;/h3&gt;
Guillaume Chasteau after Nicholas Poussin. &lt;em&gt;Christ healing two blind men outside Jericho, &lt;/em&gt;etching and engraving, before 1683. Wellcome Collection, UK.</text>
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                <text>&lt;p&gt;Wellcome Collection, &lt;a href="https://wellcomecollection.org/works/afcbv7cd"&gt;https://wellcomecollection.org/works/afcbv7cd&lt;/a&gt;&lt;/p&gt;</text>
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                <text>(CAT 111) -- Richard Earlom after Josiah Boydell after Annibale Carracci. &lt;em&gt;&lt;span&gt;Our Saviour Healing the Blind&lt;/span&gt;&lt;/em&gt;</text>
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                <text>&lt;h3&gt;Print Identification&lt;/h3&gt;
&lt;p&gt;CAT 111. &lt;span&gt;[Richard Earlom after Josiah Boydell after Hannibale Carrache. &lt;/span&gt;&lt;em&gt;&lt;span&gt;Our Saviour Healing the Blind&lt;/span&gt;&lt;/em&gt;&lt;span&gt;. From the Original Picture in the Collection of Robert Adams. John Boydell, London, February 21, 1785. Proposed identity for print framed by Elias Dexter for Herman Melville in 1869. ]&lt;/span&gt;&lt;/p&gt;
&lt;p&gt;17 &lt;sup&gt;1&lt;/sup&gt;/&lt;sub&gt;4&lt;/sub&gt; x 21 &lt;sup&gt;1&lt;/sup&gt;/&lt;sub&gt;2&lt;/sub&gt; inches. Mezzotint. FRAMED, but currently untraced. COMM: Herman Melville letter to Elias Dexter, May 13, 1869, NN &lt;em&gt;CO&lt;/em&gt; 409; Otter and Wallace, pp. 99-103, fig. 6.&lt;/p&gt;</text>
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                <text>&lt;p&gt;(CAT 115; Fig. 1) -- Guiseppe Mitelli. The Letter D in &lt;em&gt;Alfabeto in Sogno&lt;/em&gt;, Bologna, 1683.&lt;/p&gt;</text>
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                <text>&lt;p&gt;(CAT 120; Fig. 2) -- Samuel Read. &lt;em&gt;The Bay of Naples&lt;/em&gt;, 1860&lt;/p&gt;</text>
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