Diana Mantuana, Renaissance engraver
Diana Mantuana, Attilius Regulus in a Barrel, ca. 1570. Georgianna Sayles Aldrich Fund
An engraving recently acquired by the Museum is a work by one of the few female engravers of the Italian Renaissance, Diana Mantuana (ca. 1547–1612), also known as Diana Scultori and, erroneously, Diana Ghisi. This shocking print depicts a moment of cruel anticipation, when the heroic Roman consul, Marcus Atilius Regulus, is about to be rolled down a hill within a nail-studded barrel by an angry mob. Regulus is already captive within the barrel as a man pound nails into the side, aided by another with a full basket of nails and a third at the ready to close the lid. Around the barrel a group of men and women dressed in military and classical costumes watch the action with intent gazes and theatrical gestures. A raised flag indicates a sanctioned event, one that no one in the image attempts to prevent. Polybius (2nd century BCE), and Horace (1st century BCE) both relayed the story of Regulus, telling us that his torturers were the Carthaginians, who captured Regulus during the First Punic War (3rd century BCE). After his capture, the Carthaginians sent Regulus on a forced embassy to the Roman Senate to plead for negotiations favorable to Carthage. In Rome, Regulus refused to alter his loyalty, and then returned to Carthage because he had given his word to do so, despite certain death (Wallace, 395).
The Latin verses below the print (which have been cut from the Museum’s impression) give some guidance for its interpretation:
Et patriae, et fidei dum Regule consulis unus/Non dubitas diris ipse perire modis (While you alone take thought for your fatherland and your honesty, Regulus, you do not hesitate to die in a horrible manner). [translated by Wallace, 296]
Emphasized here is Regulus’s honesty, faithfulness, and willing self-sacrifice, which is reinforced by the placid look on his face even as he is about to die a painful death. Regulus was held up as the embodiment of noble and civic virtue by the ancient writers, including the Roman orator Cicero, who heralded the consul as an example of fearlessness, tranquility, dignity, and honor. These qualities aligned with Stoic philosophy, which emphasized self-control of emotions and human actions, over words, as the best indicator of individual virtue. (Wallace, 395–96) When Diana Mantuana made the engraving during the Renaissance, Stoicism, like other classical philosophies, was in the midst of an important revival in Europe.
The engraving by Diana—the single name by which she signed many of her copperplates—(Lincoln, 1102–03) is a reproductive engraving after the composition of Giulio Romano (1492/1499–1546), the celebrated pupil of Raphael and the artist to the Duke Federico Gonzaga of Mantua in the second quarter of the 16th century. From about 1525 to 1535, Romano and a host of assistants decorated the Duke’s country estate, the Palazzo del Te, with mythological, historical, and allegorical subject matter. The Appartamento del Giardino Segreto (Apartment of the Secret Garden) was the duke’s private study, decorated in fresco with episodes from ancient history, including the Atilius Regulus story.
It was from this composition that Diana made her print, crediting Romano for the invention by inscribing Julius Romanus inuentor (Giulio Romano inventor) in the plate at the lower left of the composition. According to Cicero, Regulus was bound to a machine and his eyelids cut off, thus dying from lack of sleep. The manner of death in Romano’s composition (and thus Diana’s) differs from Cicero’s account, and it is possible that the boundlessly inventive Romano conceived of the idea for the diabolical nail-studded barrel himself (Wallace, 396).
Diana Mantuana, Attilius Regulus in a Barrel (detail), ca. 1570. Georgianna Sayles Aldrich Fund
Diana Mantuana was raised at the Mantuan court, the daughter of the artist Giovanni Battista Mantovano, also called Scultori (1503–1575), who was employed as a court sculptor and engraver at the same time as Giulio Romano. Female artists were scarce in the Renaissance, female printmakers even more so, given the public nature of the art (Lincoln, 1110). Diana’s exposure to printmaking was due to her father’s profession as an artist and undoubtedly his willingness to train her in the craft of engraving. The Italian artist and biographer Giorgio Vasari described meeting the artisan family with some admiration on a trip to Mantua in 1566 when Diana was 19. He wrote in his journal:
All in all, from what I saw last time I was in Mantua to this year, 1566, when I returned, the city is so much more ornamented and more beautiful that, if I had not seen it, I would not have believed it. What is more, the number of artisans has multiplied and keeps on multiplying. Inasmuch as this, to Giovanni Battista Mantovano (engraver of prints and excellent sculptor, whose story I related in the Lives of Giulio Romano and Marcantonio Bolognese) there were born two sons who engrave copper plates divinely, and what is more marvelous, a daughter named Diana also engraves so well that it is a wonderful thing: and when I saw her, a very well-bred and charming young lady, and her works, which are most beautiful, I was stunned. (Vasari, 6:490, quoted in Lincoln, 1105)
The sons mentioned were Adamo Scultori (ca. 1530–1585) and another artist, Giorgio Ghisi (1520–1582)— erroneously identified as a son by Vasari—, the latter who would become one of the most innovative engravers of his time (Lincoln, 1105). Mantua presented a vibrant atmosphere from which to learn the art of engraving, with the endless supply of ready compositions, via fresco and drawings, from which to work.
While her male counterparts were probably trained in a variety of drawing techniques as well as in life drawing and the rules of perspective (called disegno), Diana would not have been given the same access. As a woman, she was restricted to the technical craft of engraving rather than tutored in the inventive processes that comprised a full artistic training. Thus Diana’s engravings follow carefully their source designs and reflect, to some extent, her lack of training in drawing. Diana made necessary revisions to the Regulus in order to convert Giulio’s five-sided fresco cartouche to the rectangular format of a copperplate, filling the rectilinear space with ruins and a tree in the background of the composition and adding two groups of civilian spectators on the sides. She employed a hard outline to her forms, relying on cross-hatching and dotting for the creation of light and shadow, an engraving technique much like that of Marcantonio Raimondi, the highly influential engraver of the previous generation. If the implementation of the scene is a bit stiff—keeping in mind that Diana had probably never sketched from a real human body—she negotiated the changes to the format with a great deal of skill, creating a balanced composition that is full of variety with a range of figural positions and gestures. Diana’s foreground rock formations and her relegation of the action to the middle ground create a staged detachment between the viewer and the event, emphasizing the gruesome event’s stylized theatricality over its visceral horror.
Diana Mantuana, Attilius Regulus in a Barrel (detail), ca. 1570. Georgianna Sayles Aldrich Fund
While Diana was too young to have known Giulio Romano personally, she made several engravings after compositions he created for the Palazzo del Te. The Museum’s engraving was printed later in her life, probably after she had moved to Rome in 1575 in the company of her husband, the architect Francesco da Volterra. Evidently, she sold the copperplate to the publisher Antonio Lafreri, whose name appears on the plate, although we have no archival record to confirm the sale. Lafreri was one of the first publishers of reproductive prints in Europe. Between the 1550s and 1570s, he commissioned and bought copperplates that he then published and ordered in various groupings, usually by topic, under the general title Speculum Romanae Magnificentiae (Mirror of Roman Magnificence). Reproductive engravings were a key mode by which artistic motifs and styles as well as major monuments and antiquities were disseminated and interpreted in early modern Europe. In this context, Diana’s print may have appeared in succession with prints of ancient Roman subject matter at the publisher’s—or purchaser’s—choosing (Parshall, 12), providing a record of a work at the Palazzo del Te as well as a story from antiquity with contemporary philosophical implications.
By a rare female artist, Diana Mantuana’s engraving of Atilius Regulus in a Barrel plays an important role in the history of the practice of printmaking and its reception in Renaissance Italy. The acquisition therefore adds in a significant way to the history of art as told through the Museum’s collection.
Emily Peters
Associate Curator of Prints, Drawings, and Photographs
Works Cited
Evelyn Lincoln, “Making a Good Impression: Diana Mantuana’s Printmaking Career,” Renaissance Quarterly 50/4 (Winter 1997): 1101–147.
Peter Parshall, “Antonio Lafreri’s Speculum Romanae Magnificentiae,” Print Quarterly XXIII, 1, 2006: 3–28.
Giorgio Vasari, Le vite de’ piu eccellenti pittori, scultori ed architettori, ed. G. Milanesi. 9 vols. Florence, 1906.
Richard W. Wallace, “Salvator Rosa’s ‘Death of Atilius Regulus,” Burlington Magazine 109/772 (July 1967): 393–97.
Further Reading
Michael Bury, The Print in Italy, 1550–1620 (London: The British Museum Press, 2001).
Evelyn Lincoln, The Invention of the Italian Renaissance Printmaker (New Haven: Yale University Press, 2000).
Speculum Romanae Magnificentae digital collection, http://speculum.lib.uchicago.edu/.
Emily, Peters, et al. The Brilliant Line: Following the Early Modern Engraver, 1480–1650 (Providence: RISD Museum, 2010).
===== Diana Mantuana, Attilius Regulus in a Barrel, ca. 1570. Georgianna Sayles Aldrich Fund
An engraving recently acquired by the Museum is a work by one of the few female engravers of the Italian Renaissance, Diana Mantuana (ca. 1547–1612), also known as Diana Scultori and, erroneously, Diana Ghisi. This shocking print depicts a moment of cruel anticipation, when the heroic Roman consul, Marcus Atilius Regulus, is about to be rolled down a hill within a nail-studded barrel by an angry mob. Regulus is already captive within the barrel as a man pound nails into the side, aided by another with a full basket of nails and a third at the ready to close the lid. Around the barrel a group of men and women dressed in military and classical costumes watch the action with intent gazes and theatrical gestures. A raised flag indicates a sanctioned event, one that no one in the image attempts to prevent. Polybius (2nd century BCE), and Horace (1st century BCE) both relayed the story of Regulus, telling us that his torturers were the Carthaginians, who captured Regulus during the First Punic War (3rd century BCE). After his capture, the Carthaginians sent Regulus on a forced embassy to the Roman Senate to plead for negotiations favorable to Carthage. In Rome, Regulus refused to alter his loyalty, and then returned to Carthage because he had given his word to do so, despite certain death (Wallace, 395).
The Latin verses below the print (which have been cut from the Museum’s impression) give some guidance for its interpretation:
Et patriae, et fidei dum Regule consulis unus/Non dubitas diris ipse perire modis (While you alone take thought for your fatherland and your honesty, Regulus, you do not hesitate to die in a horrible manner). [translated by Wallace, 296]
Emphasized here is Regulus’s honesty, faithfulness, and willing self-sacrifice, which is reinforced by the placid look on his face even as he is about to die a painful death. Regulus was held up as the embodiment of noble and civic virtue by the ancient writers, including the Roman orator Cicero, who heralded the consul as an example of fearlessness, tranquility, dignity, and honor. These qualities aligned with Stoic philosophy, which emphasized self-control of emotions and human actions, over words, as the best indicator of individual virtue. (Wallace, 395–96) When Diana Mantuana made the engraving during the Renaissance, Stoicism, like other classical philosophies, was in the midst of an important revival in Europe.
The engraving by Diana—the single name by which she signed many of her copperplates—(Lincoln, 1102–03) is a reproductive engraving after the composition of Giulio Romano (1492/1499–1546), the celebrated pupil of Raphael and the artist to the Duke Federico Gonzaga of Mantua in the second quarter of the 16th century. From about 1525 to 1535, Romano and a host of assistants decorated the Duke’s country estate, the Palazzo del Te, with mythological, historical, and allegorical subject matter. The Appartamento del Giardino Segreto (Apartment of the Secret Garden) was the duke’s private study, decorated in fresco with episodes from ancient history, including the Atilius Regulus story.
It was from this composition that Diana made her print, crediting Romano for the invention by inscribing Julius Romanus inuentor (Giulio Romano inventor) in the plate at the lower left of the composition. According to Cicero, Regulus was bound to a machine and his eyelids cut off, thus dying from lack of sleep. The manner of death in Romano’s composition (and thus Diana’s) differs from Cicero’s account, and it is possible that the boundlessly inventive Romano conceived of the idea for the diabolical nail-studded barrel himself (Wallace, 396).
Diana Mantuana, Attilius Regulus in a Barrel (detail), ca. 1570. Georgianna Sayles Aldrich Fund
Diana Mantuana was raised at the Mantuan court, the daughter of the artist Giovanni Battista Mantovano, also called Scultori (1503–1575), who was employed as a court sculptor and engraver at the same time as Giulio Romano. Female artists were scarce in the Renaissance, female printmakers even more so, given the public nature of the art (Lincoln, 1110). Diana’s exposure to printmaking was due to her father’s profession as an artist and undoubtedly his willingness to train her in the craft of engraving. The Italian artist and biographer Giorgio Vasari described meeting the artisan family with some admiration on a trip to Mantua in 1566 when Diana was 19. He wrote in his journal:
All in all, from what I saw last time I was in Mantua to this year, 1566, when I returned, the city is so much more ornamented and more beautiful that, if I had not seen it, I would not have believed it. What is more, the number of artisans has multiplied and keeps on multiplying. Inasmuch as this, to Giovanni Battista Mantovano (engraver of prints and excellent sculptor, whose story I related in the Lives of Giulio Romano and Marcantonio Bolognese) there were born two sons who engrave copper plates divinely, and what is more marvelous, a daughter named Diana also engraves so well that it is a wonderful thing: and when I saw her, a very well-bred and charming young lady, and her works, which are most beautiful, I was stunned. (Vasari, 6:490, quoted in Lincoln, 1105)
The sons mentioned were Adamo Scultori (ca. 1530–1585) and another artist, Giorgio Ghisi (1520–1582)— erroneously identified as a son by Vasari—, the latter who would become one of the most innovative engravers of his time (Lincoln, 1105). Mantua presented a vibrant atmosphere from which to learn the art of engraving, with the endless supply of ready compositions, via fresco and drawings, from which to work.
While her male counterparts were probably trained in a variety of drawing techniques as well as in life drawing and the rules of perspective (called disegno), Diana would not have been given the same access. As a woman, she was restricted to the technical craft of engraving rather than tutored in the inventive processes that comprised a full artistic training. Thus Diana’s engravings follow carefully their source designs and reflect, to some extent, her lack of training in drawing. Diana made necessary revisions to the Regulus in order to convert Giulio’s five-sided fresco cartouche to the rectangular format of a copperplate, filling the rectilinear space with ruins and a tree in the background of the composition and adding two groups of civilian spectators on the sides. She employed a hard outline to her forms, relying on cross-hatching and dotting for the creation of light and shadow, an engraving technique much like that of Marcantonio Raimondi, the highly influential engraver of the previous generation. If the implementation of the scene is a bit stiff—keeping in mind that Diana had probably never sketched from a real human body—she negotiated the changes to the format with a great deal of skill, creating a balanced composition that is full of variety with a range of figural positions and gestures. Diana’s foreground rock formations and her relegation of the action to the middle ground create a staged detachment between the viewer and the event, emphasizing the gruesome event’s stylized theatricality over its visceral horror.
Diana Mantuana, Attilius Regulus in a Barrel (detail), ca. 1570. Georgianna Sayles Aldrich Fund
While Diana was too young to have known Giulio Romano personally, she made several engravings after compositions he created for the Palazzo del Te. The Museum’s engraving was printed later in her life, probably after she had moved to Rome in 1575 in the company of her husband, the architect Francesco da Volterra. Evidently, she sold the copperplate to the publisher Antonio Lafreri, whose name appears on the plate, although we have no archival record to confirm the sale. Lafreri was one of the first publishers of reproductive prints in Europe. Between the 1550s and 1570s, he commissioned and bought copperplates that he then published and ordered in various groupings, usually by topic, under the general title Speculum Romanae Magnificentiae (Mirror of Roman Magnificence). Reproductive engravings were a key mode by which artistic motifs and styles as well as major monuments and antiquities were disseminated and interpreted in early modern Europe. In this context, Diana’s print may have appeared in succession with prints of ancient Roman subject matter at the publisher’s—or purchaser’s—choosing (Parshall, 12), providing a record of a work at the Palazzo del Te as well as a story from antiquity with contemporary philosophical implications.
By a rare female artist, Diana Mantuana’s engraving of Atilius Regulus in a Barrel plays an important role in the history of the practice of printmaking and its reception in Renaissance Italy. The acquisition therefore adds in a significant way to the history of art as told through the Museum’s collection.
Emily Peters
Associate Curator of Prints, Drawings, and Photographs
Works Cited
Evelyn Lincoln, “Making a Good Impression: Diana Mantuana’s Printmaking Career,” Renaissance Quarterly 50/4 (Winter 1997): 1101–147.
Peter Parshall, “Antonio Lafreri’s Speculum Romanae Magnificentiae,” Print Quarterly XXIII, 1, 2006: 3–28.
Giorgio Vasari, Le vite de’ piu eccellenti pittori, scultori ed architettori, ed. G. Milanesi. 9 vols. Florence, 1906.
Richard W. Wallace, “Salvator Rosa’s ‘Death of Atilius Regulus,” Burlington Magazine 109/772 (July 1967): 393–97.
Further Reading
Michael Bury, The Print in Italy, 1550–1620 (London: The British Museum Press, 2001).
Evelyn Lincoln, The Invention of the Italian Renaissance Printmaker (New Haven: Yale University Press, 2000).
Speculum Romanae Magnificentae digital collection, http://speculum.lib.uchicago.edu/.
Emily, Peters, et al. The Brilliant Line: Following the Early Modern Engraver, 1480–1650 (Providence: RISD Museum, 2010).
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The RISD Museum acquires, preserves, exhibits, and interprets works of art and design representing diverse cultures from ancient times to the present. Distinguished by its relationship to the Rhode Island School of Design (RISD), the Museum educates and inspires artists, designers, students, scholars, and the general public through exhibitions, programs, and publications.
The development of the Rhode Island School of Design and the RISD Museum is tied to Rhode Island’s emergence after the Civil War as the most heavily industrialized state in the Union, and to the growing desire for better design in manufacturing. With the region’s prosperity based on the production of silverware, jewelry, machine tools, steam engines, files, screws, and textiles, leading manufacturers and civic leaders felt the need for industrial-arts education and exposure to examples of fine art.
Even before the war, the Rhode Island Art Association, chartered in 1854, determined “to establish in Providence a permanent Art Museum and Gallery of the Arts and Design.” In the absence of either state funding or private donations, however, the creation of a design school and art museum in Rhode Island did not occur until 1877. Faced with a choice between erecting a drinking fountain in Roger Williams Park or founding a school of design—the latter proposed by Helen Adelia Rowe Metcalf (1830–1895)—the Rhode Island Women’s Centennial Commission in that year voted to establish the Rhode Island School of Design by allocating to it the modest $1,675 remaining from its fund-raising for the Women’s Pavilion at the 1876 Centennial Exposition in Philadelphia.
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The Museum’s collection is composed of seven departments.
Ancient Art
The Ancient Art collection includes bronze figural sculpture and vessels, an exceptional collection of Greek coins, stone sculpture, Greek vases, paintings, and mosaics, as well as Roman jewelry and glass. Highlights include an Etruscan bronze situla (pail), a fifth-century B.C. Greek female head in marble, and a rare Hellenistic bronze Aphrodite. Among the Greek vases are works by some of the major Attic painters, including Nikosthenes and the Providence, Brygos, Pan, Lewis, and Reed Painters. The Egyptian collection includes a Ptolemaic period coffin and mummy of the priest Nesmin; a rare New Kingdom ceramic paint box; a relief fragment from the Temple at Karnak, and a collection of faience.
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The Asian Art collection spans a period of almost 5,000 years and covering the geographic areas of East Asia, South and Southeast Asia, and the Islamic world. The Abby Aldrich Rockefeller collection of Japanese bird-and-flower prints (Kacho-ga), spans the development of this category of material during the Edo period (1603-1868). The Asian sculpture collection ranges from Indian Buddhist and Hindu materials to Chinese and Japanese including the later twelfth-century wooden Dainichi Nyorai Buddha, the largest (about nine feet tall) seated Japanese figural sculpture in the United States. The collection of three-dimensional objects includes ceramics; carved jades and hardstones; ivory, wood, stone, and metal sculpture; and bronze, brass, and other metalwork. The Islamic and Indian collections together include works of art in all media that celebrate the artistic heritage of the Arab, Indian, Persian, and Turkish cultures.
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Created in 2000, the Contemporary Art collection includes painting, sculpture, video, mixed media, and interdisciplinary work, dating from 1960 to the present. Represented in the collection are significant paintings by Richard Anuskiewicz, Roy Lichtenstein, Robert Mangold, Agnes Martin, Sam Francis, Cy Twombly, Wayne Thiebaud, Larry Rivers, and Andy Warhol, among others. The collection also includes important sculptural work by Richard Artschwager, Louise Bourgeois, Louise Nevelson, Lucas Samaras, and Robert Wilson. The museum’s video collection features experimental works by such pioneers in the field as Vito Acconci, Lynda Benglis, Bruce Nauman, Martha Rosler, Richard Serra, and William Wegman.
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The RISD Museum has one of the finest collections of historical textiles and items of dress in this country, with a range that spans the centuries from at least 1500 BCE to the present and that includes representative cloth and clothing from as many geographic areas as possible. Starting with items such a pair of Native American moccasins and a Hawaiian bark cloth acquired in the Museum’s early history, the collection has grown to include more than 26,000 objects today. Our earliest piece is an ancient Egyptian tomb fragment, and a major focus of our present collecting agenda is the acquisition of contemporary fashion and textiles from all over the world. The richness of the Costume and Textiles collections extends from examples of Elizabethan needlework, Italian Renaissance textiles, French printed toile de Jouey, Navajo chief’s blankets, and fashions from the most celebrated European and American designers of the 19th and 20th centuries to a world-renowned group of Japanese Noh theater robes and Buddhist priest robes donated by Lucy Truman Aldrich, the greatest single donor to the Museum’s textile collection.Works not on view can be accessed by appointment during open for study hours.
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The Decorative Arts and Design department’s collections encompass European and American furniture, silver, metalwork, wallpaper, ceramics, glass, and plastics from the medieval period to the present. The Charles L. Pendleton Collection includes furniture made by 18th-century Boston, New York, Philadelphia, and the Townsend-Goddard circle of Newport cabinetmakers. The Gorham Manufacturing Company collection of silver pieces and design drawings from the mid-19th through the mid-20th century is the cornerstone of the American silver collection. Other highlights include Chinese export porcelain; French Empire furniture; European porcelain figures; 18th- and early 19th-century French wallpaper; 20th-century and contemporary design.
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The Painting and Sculpture collection includes works of European and American art from the 12th through the mid-20th century. Highlights include Renaissance and Baroque works by Giovanni Battista Tiepolo, Lippo Memmi, Tilman Riemenschneider, Hendrick Goltzius, and Salomon van Ruysdael; 17th- and 18th-century paintings by Nicolas Poussin, Angelica Kauffmann, and Joshua Reynolds; 18th- and 19th-century American paintings by John Singleton Copley, Gilbert Stuart, Thomas Cole, Winslow Homer, William Merritt Chase, Martin Johnson Heade, Mary Cassatt, and John Singer Sargent; 19th and 20th century European paintings and sculpture by Edouard Manet, Claude Monet, Edgar Degas, Paul Cézanne, Auguste Rodin, Pablo Picasso, Georges Braque, Henri Matisse, Fernand Léger, and Oskar Kokoschka; 20th century American works by George Wesley Bellows, Robert Henri, Charles Sheeler, Maxfield Parrish, Georgia O’Keeffe, and Nancy Elizabeth Prophet; and a Latin American collection including paintings by Joaquín Torres-Garcia, Wifredo Lam, and Roberto Matta Echuarren.
Prints, Drawings, and Photographs
The Prints, Drawings, & Photographs collection comprises more than 25,000 works including prints, drawings, and photographs, and dating from the 15th century to the present. The holdings include a large group of Old Master engravings and etchings, and particular strengths in prints and drawings of 18th-century Italy, 19th-century France, and 19th- and 20th-century America. The department also holds one of the largest collections of late 18th- and early 19th-century British watercolors in the United States. Both the Nancy Sayles Day Collection of Modern Latin American Art and the Richard Brown Baker collection of contemporary British art have depth in works on paper. Contemporary works on paper in all media are the fastest growing segment of the collection.Works not on view can be accessed by appointment in the Minskoff Center for Prints, Drawings, and Photographs.
Our Buildings
The Museum is composed of five buildings located on the historic East Side of Providence.
Waterman Building
The first public galleries were created in 1893 in the Waterman Building.
Pendleton House
Pendleton House, the country’s first museum wing devoted to the display of American decorative arts, was built in 1906 as a replica of the Federal-style residence of Charles L. Pendleton.
Radeke Building
The Eliza G. Radeke Building was added in 1926, houses permanent-collection galleries, from Egyptian and Ancient art through Impressionism to 20th-century art and design.
Farago Wing
The Daphne Farago Wing, erected in 1993, exhibits contemporary art and provides the Benefit Street entrance to the Museum.
Chace Center
In 2008, the Chace Center opened with 6,000 square feet for special exhibitions and a new entrance on Main Street.
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For the love of Books...Book, ca 1500-1550, Germany, Unknown Artist, RISD Museum.
fonte: @edisonmariotti #edisonmariotti http://risdmuseum.org/support/membership
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