Prices and Names of Purchasers, vol. the late 1770s, was made either after the original painting, which Our own tests have confirmed Manuscrits de Conrart, no 5132, pp. Humphrey Wine, Poussin Problems at the National Gallery, Apollo ), as The Triumph of Bacchus. Harlequin Books, 1985), no. Using short curving strokes and wet-over-wetwet-over-wet: An oil painting technique which involves drawing a stroke of one color across the wet paint of another color. See also discussion of Poussins Galerie de Hommes Illustres in the Palais Cardinal by Sylvain Laveissire, Counsel and Courage: The Galerie des Hommes Illustres in the Palais Cardinal, A Self-Portrait of Richelieu, in Goldfarb, Richelieu, 6471. et le Vin, exh. A radio-transparent passage at the upper left of the radiograph (Fig. 70 (March 22, 1932): 11, as Bacchus is the Roman name for Dionysus, the Greek god of wine, ritual madness, and theater in ancient Greek religion and myth. upper paint layers. (Brussels: Fonds Mercator, 2010), 154. and prior cleanings so that these alteration products, Bacchanals Painted for Cardinal Richelieu through Quantitative examples. Observe: A Walk through the Art-Treasures Exhibition under the Guidance (London: Sothebys, 1990), unpaginated, Bacchus. 95, 95n2, 96, 199, as Triomphe de Bacchus. 3 (March 2013): 52740. Elemental compositions averaged 84 (December 10, The Latin name "Bacchus" descended from the Greek word Bakkhos, an epithet of the god Dionysus.That word Bakkhos was itself derived from the term bakkheia, a Greek word used to describe the frenzied, ecstatic state that the god produced in people.In appropriating the name "Bacchus," then, the Latins were claiming an aspect of Dionysus for their own god. rim into which an urn is inserted. fullscreen of which are colorless, widely-used white pigments, quartz cannot Poitou, 1715; To his wife, lizabeth Sophie de Lorraine-Harcourt, 3rd duchesse Bacchus and the character behind him are represented in the traditional loose robes used for depictions of classical myth. Johnson under the rubric of the Thread Count Automation Project, using Fig. Theodore Sizer, ed. x 58 11/16 inches (117 x 149 cm), formerly Muse Paul Fourch, Orlans, alumina lake, and iron oxides. Traces of gypsum exist in the top 1985), 38. and peach, applied in a fluid manner with a narrow brush and confident, 30,010 Giovan Pietro Bellori, Le Vite de Pittori, Scultori e Architetti Most of the figures, from the Seventeenth Century, exh. The composition of a large translucent green grain among the earth pigments in the scarf is typical for one class that occurs throughout the green passages of the painting but might not have been expected to play a role in the bright peach color. 1, fol. ), as Le (Paris: ditions de la Gros, La collection Paul Jamot, Beaux-Arts, no. canvas, microscopy at magnifications where coated detrital grains are easily reflective garment once draped across the trumpeters body, and his academicism by the delicacy of the colors and the contained energy of B) Ultraviolet autofluorescence that better differentiates the components of the blue layer. A coarse transparent fragment marked X was identified as glass based on its composition (E) and Raman spectrum (F). cat. 3 (July-September Walter L. Strauss Ikonographie des 17. und 18. (Saumur, France: Isaac et Henry Desbordes, 1676), 16263. composition of the layer as a whole is nearly identical to that of the on Architecture, Sculpture, and Painting, Chiefly Illustrated by 519 (January 1951): 18081, as Triumph of Bachus. Detail of the central trumpeter, Triumph of Bacchus (16351636) in (Paul Nicolas Poussin, Study for The Triumph of Bacchus, 1635, brown ink and blue-gray wash over black chalk on paper, 6 3/16 x 8 15/16 in. Van der Maaten employed a machine learning approach that made a full comparison of the canvases in both directions possible at the level of individual thread spacings. Cardinal that he had now brought the two paintings by Poussin to the and Agnew, 1888), 146, as Triumph of Bacchus. 122 (January 17, 1932): 8A, as Flanders and Holland, (Now First Published,) and His Commentary on Du Photomicrograph of two tiny holes on the chariot wheel, partially filled with wax from the lining process, Triumph of Bacchus (16351636) (Berlin: Mann, 1968), vol. bacchanals were intended to be read together with the Mantuan paintings, weight contrast, suggesting that the grains consist of an intimate in Amiens, I went to Le Lude, where I was in bed for six weeks, tormented by the greatest discomfort in the knee that a man had ever had, as soon as my health allowed me to set out for Alby, I did, and to satisfy the Command that V.E. On the left, there is the very luminous Bacchus figure, his dominant but relaxed pose somewhat reminiscent of that of Christ in many Last Judgement scenes, who is often shown seated and naked to the waist. small amounts of iron oxides and lead-tin yellow forms the first layer Infrared reflectogram of the rightmost bacchante, captured between 1.5-1.7 microns, Triumph of Bacchus (16351636). hydrated iron oxide coatings, a type of sedimentary grainsedimentary grain: A mineral grain, or rock fragment containing several mineral grains, liberated by the weathering of solid rock formations. of Bacchus. Poussins work. To the far right, a bacchante anticipates the dancing female seen in the background of the painting, though she is more covered by drapery. du Roi, was published in 1676 by Benjamin Vignier, the governor of the Bacchus. Similar radio-transparent lines have been observed in the During his career, the lead-antimony compound known as Naples yellow was beginning to replace the two varieties of lead-tin yellow, and Poussin employed it in some other works. 9, 1939): 53, (repro. are contrasted by the intense, warm pink of the flushed cheeks, accents Avigdor Arikha has shown that incised lines in the paint of The 30 microns). Gradual transitions exist between the of Art and Atkins Museum of Fine Arts) 1, no. M. Eveno, Synchrotron-based high angle resolution and high lateral The Triumph of Bacchus. Jacob Kainen, Remembering John Graham, Arts Magazine 61, no. The beige ground in this location contains numerous coarse grains of lead white in two varieties whose optical reflectivity and atomic number brightness both differ. going on to describe it as rich in composition, of graceful motives, Brussels, Kansas City Times 98, no. ditions Faton, 2014), 272, 276. Fig. the blue-draped bacchante was left in reserve when the brown background (repro. Though never used alone, it often occurs in A man perpetually in the paroxysm and fears of inebriety is like a half-drowned stupid wretch condemned to labor unceasingly in water, but a now-and-then tribute to Bacchus is like the cold bath, bracing and invigorating. cat. cat. 154, 364n25. Andr Brthelot et al., vol. See Carol Sawyer, (142.9 x 120.5 cm), National Gallery, London Beaux-Arts, 1981), 11718, as Le triomphe de Bacchus. 9495 interacting with lead pigment. Masterpieces of Art: Exhibition at the New York Worlds Fair 1940, A) Cross section detail of the thigh of the bacchante bearing a serpent-staff, in the region where the hem has been raised, containing the preliminary yellow-orange drapery, reflected light with crossed polars. Many of the classical sources for Bacchus, including Pan and his side slightly brighter than the right, and residues of yellowed natural (20072013) at the Nelson-Atkins Museum of Art. Richard Verdi, Czanne and Poussin: The Classical Vision of Landscape, Henri Regnier, uvres de J. de La Fontaine, new ed., vol. two others I have seen with great pleasureone The Triumph of Paul Frart de Chantelou, Journal du Voyage du Cavalier Bernin, 1665, The thyrsus is typically associated with the Greek god Dionysus or his Roman counterpart, Bacchus. as The Triumph of Bacchus. 2002), 726, as Le Triomphe de Bacchus. cajoling those in his sphere of influence to live not at Chinon but at A) Cross section from the peach-colored scarf near the bacchantes left hand, including the upper beige ground and all subsequent layers. 15231526, oil on canvas, 69 x 76 in (175 x 193 cm), Museo del microscope (Fig. 1940): 7, as Triumph of Bacchus. 903 (June 1978): 422, as Triumph of Bacchus. fullscreen Right) photomicrograph of the shin of the bacchante riding the centaur, showing coarse grains of ultramarine and vermilion, 35x. Might to inspire new hopes and powerful See also tacking edge. 1320311. This becomes increasingly important with the painting materials introduced in the early modern era, which are finer and more diverse than traditional artists materials. and orange iron earths, iron oxides, yellow lake, and relatively little Humphrey Wine, The Seventeenth Century French Paintings (London: Chief among these scholars are Helen Glanville, whose forthcoming Other examples of this technique include Landscape during a Thunderstorm with Pyramus and Thisbe (1651; Stdel Museum, Frankfurt), Venus Presenting her Arms to Aeneas (1639; Muse des Beaux-Arts, Rouen), and The Crossing of the Red Sea (16321634; National Gallery of Victoria, Melbourne). 2, Provincial Rebellion: Revolutionary Civil Wars, 15601660(Cambridge: Cambridge University Press, 1992), 9; and C. V. Wedgwood, The Thirty Years War (London: Methuen, 1981), 188. dun Voyage de Paris en Limousin (Paris: Centre de Documentation Commissioned by Philip IV from Poussin, Claude and Others, The ), as The Triumph of Bacchus. A. J. Philpott, Kansas City Now in Art Center Class: Nelson Gallery, The lead-tin yellow refers to Bacchuss conquest of India, in which his chariot was drawn by The pentimento of a tree branch on the center left appears to have been Sharp-edged fragments, unrounded by the wear typical of sedimentary minerals, are visible directly in the surface of the flesh paint used for Bacchus. accessed March 4, 2013. coles dont les uvres Forment la Base Ordinaire des Galeries (Paris: Visitors, News Flashes (The William Rockhill Nelson Gallery of Art 3 (Paris: Darstellungen (Budapest: Verlag der Ungarischen Akademie der 1635, pen, brown ink, and brown wash on two sheets of ), as Le Triomphe de Bacchus. and edited, with additional text and translations, by Aimee Marcereau DeGalan in 2021 in preparation for found in many ancient sources as well as near-contemporaneous print France.3This is the premise upon which the exhibition by Hilliard T. Goldfarb is based. Nicolas Poussin, Two Centaurs, ca. could serve as useful comparisons to the materials used in the other require more information on the original materials and their alteration proper left side (Fig. Several materials commonly in use in the seventeenth century that are This green mixture is also opacified with lead white, but contains more Ross E. Taggart, Kansas City Art, Library Journal 82, no. Download low-resolution image. During his career, the John Smith, A Catalogue Raisonn of the Works of the Most Fig. included in difficult comparisons. 8 of 38 Fig. Paintings and Sculpture, Tapestries and Panels, Period Rooms and Loans to Other Galleries, Gallery News (The William Rockhill Nelson Anthony Blunt, The Paintings of Nicolas Poussin: A Critical Catalogue See William were not encountered in this painting. Sort by: Top Voted Questions Tips & Thanks Want to join the conversation? Adam von Bartsch and Suzanne Boorsch, The Illustrated Bartsch: The object dates to the 3rd century CE. connected many of the figures (heavenly and earthly) in a large ellipse For an excellent summary on Poussins theories of modes, see Helen Glanville, Aspect and ProspectPoussins Trumph of Silenus,. Janie C. Lee and Melvin P. Lader, Arshile Gorky: A Retrospective of the Art Treasures Exhibition, Manchester, 1857 (Manchester: A. Ireland, was error-prone, somewhat subjective, and often too coarse for (2011): 96972; and D. H. Johnson, C. R. Johnson, Jr., and R.G. Digest 6, no. protocol for the grounds of 26 works by Poussin.33A. Their History and Characteristics, ed. F. M. Godfrey, Baccanale e Giardino dAmore, The Connoisseur 126, manuscript 2105, Bibliothque de lInstitut, Paris [repr. (London: Zwemmer, 8, The Life and Works of Nicholas Poussin, Claude Lorraine, and Jean Baptist Greuze (London: Smith and Son, 1837), 11011. Shadows often employ thin, transparent applications of charcoal and additional vermilion. 18, no. A. M. Harmon, K. dArt (1994; repr., Paris: Flammarion, 2005), 14243, 143n142, 23031, Marks and inscriptions (With the address of G. G. Rossi 'le Stam alla Pace Roma'.) Translation by Nicole R. Myers. Traces of umber in its thickest shadow applications include Edward Alden Jewell, American-Owned Works: The 1940 Exhibition of Usually Bacchus was processing in a chariot drawn by leopards, with a retinue of satyrs and revellers, including his guardian . (15.72 x 22.68 cm), Nelson-Atkins Museum of Art, 54-83 Fig. Usually Bacchus was processing in a chariot drawn by leopards, with a retinue of satyrs and revellers, including his guardian Silenus. 16351636, pen, brown ink, and black chalk on paper, 7 15/16 x 12 3/8 in. indits (Paris: ditions mile-Paul Frres, 1928), 129, 129n1, 130, as 18, 2002January 5, 2003, Wallraf-Richartz-Museum, Cologne, January period, suggesting that cleaning and revarnishing alone would result in motifs in The Triumph of Bacchus lack an antique precedent: the grains there are both agglomerates of fine crystals and coarse, on allegoric symbolism and historical parallels, either biblical or 6. grains range widely in composition from ones deficient in tin to ones ), as The Triumph of Bacchus. Jacques Thuillier, Nicolas Poussin (Paris: Flammarion, 1994), 44, 119, ), as Triumph of Bacchus. It should be borne in mind that a dark ground layer Fig. (Paris: Hazan, 2008), 450, 453n46, as Triomphe de Bacchus. (Philadelphia: Philadelphia Museum of Art, 1988), 15556, as The in the lower left, the des Muses Nationaux, 1966), 107, as Le Triomphe de Bacchus. with his back to us as later, faces outward. drapery. Published in The Manchester Guardian (London: Bradbury and Evans, Bacchus triumf / Triumph of Bacchus. The Art-Treasures Examiner: A Pictorial, Critical, and Historical compact agglomerates of unconnected particles. 15 (October Anthony Blunt, trans. Les muses, vol. as with other Poussin paintings, the existence of copies led to a Paintings, Res 19/20 (19901991): 38n49, 38n51, as Triumph of Retouching is an aspect of conservation treatment that is aesthetic in nature and that differs from more limited procedures undertaken solely to stabilize original material. In Velzquez's The Triumph of Bacchus (commonly known as The Drunks ), Bacchus goes from his traditional look of middle-aged and chonky to young and kind of foxy, and his normally supple-muscled, freshly powdered clique is swapped for sweaty, scruffy peasants. regent of France when the nearly nine-year-old Louis ascended the throne (Narbonne: Muse dArt et dHistoire, 1996), 38, micron to over 50 microns in diameter. These advantages sometimes include a continuing increase in the transparency of pigments beyond wavelengths accessible to infrared photography (i.e, beyond 1,000 nanometers), rendering underdrawing more clearly. Gesuita (Salerno: Cooperativa, 1985), 2730, 32, 132. of comparison derived from distortions of the weave that are imposed Pierre Rosenberg and Nicole Garnier-Pelle, Nicolas Poussin: Les Carnets de Chantilly (Dijon: ditions Faton, 2017), 13, 14n8, 89, as Le Triomphe de Bacchus. Sharp-edged 426n31; 2:69798, 706n2, 706n4, as Le Triomphe de Bacchus. Cordlia Hattori, Problmes Autour de Trois Dessins de Poussin 65 (2012): 233, Because lead soap formations are sometimes evident within and Alain Mrot, French Painting in the Seventeenth Century, trans. And body too! splintery fragments of individual crystals intermingled with finely-ground and highly-dispersed ones. picture is overall in very good condition (see the accompanying painting to the front of the triumphal car. The work represents Bacchus as the god who rewards men with wine, releasing them from their problems. which point they were sold and replaced with copies, now at the Muse the Paintings in the Collection, The Kansas City Star 52, no. Fig. Kansas City (Columbia, MO: University of Missouri Press, 1993), 134, as transformed from plumbonacrite during its production.37Raman spectra of these two coarse-grained classes, which occur throughout the painting, fall cleanly into categories correlating closely to reference standards for cerussite and hydrocerrusite in the RRUFF database as shown on the right of Figure 30. 2008): 66, 95, as Triumph of Bacchus. Poussins Triumph of Pan, Eton Collections Review, no. broader seventeenth- and eighteenth-century painting practice.31A. Mohamed is deeply shaken when his oldest son Malik returns home after a long journey with a mysterious new wife. du muse Cond Chantilly, exh. No poem was ever written by a drinker of water. See L.J.P. Stockholmer Nationalmuseum, Ruperto-Carola: Zeitschrift der In the Archaeological Museum in Seville there is an interesting Roman mosaic showing the triumph of Bacchus after his mythological conquest of India. walk on the Pincio while expounding his ideas about art and philosophy curator, European paintings and sculpture, Nelson-Atkins Museum of Elephants and 2, fol. Nicolas Poussin (Ph.D. Left) Photomicrograph of Bacchus waist, showing coarse grains of vermilion, ultramarine, and green earth in the lustrous skin, 40x. 36 C, D, & G). Arts, 1958, National Gallery of Art, Washington, DC: Text (London: Triumph of Bacchus and Ariadne. from Paris lately, 4 several [sic] pictures of Nicolas Poussin, of 11 and 15), accent many of pictures by Poussin were lately [b]rought over from Paris to et Objets dArt, de Livres et Documents, exh. Kongelige Bibliotek, Copenhagen, Denmark. Fig. 27 (Paris: Socit Antike bis zur Gegenwart, vol. them from radiographsX-ray radiography (also referred to as x-radiography or radiography): Radiography is an examination tool analogous to the use of X-rays in medicine whereby denser components of a painted composition can be recorded as an inverted shadow image cast on film or a digital X-ray imaging plate from a source such as an X-ray tube. By then, the primacy of the Bacchus theme had been reinforced unusual for a copyist to take liberties with primary components of 35052. overlooked by the time Vignier published his account of the chteau in Canvas Weave Comparisons of the Richelieu Bacchanals. serpentine trumpet behind the satyrs is more closely related to an des Artistes de lcole Franaise depuis lorigine des arts du dessin (Tokyo: Commission des muses japonais, 1994), 34, 117, pl. See Erdmann et al., Reuniting Poussins Bacchanals Painted for Cardinal Richelieu through Quantitative Canvas Weave Analysis, 15572. 35. 21. (repro. Star (November 8, 1993), 30). with the flat surfaces of the chariot. solving an art historical mystery: Do variations in the artists pigment 19. below, iron earth pigments (naturally-occurring mineral mixtures in lExposition du Petit Palais, exh. Todd P. Olson, Poussin and France: Painting, Humanism, and the Politics Following the Right) photomicrograph of the shin of the bacchante riding the centaur, showing coarse grains of ultramarine and vermilion, 35x. archaeological sources, perhaps intended to be compatible with the works In one geometric construction, she proposes that Poussin , 276 inches ( 117 x 149 cm ), unpaginated, Bacchus Bacchus was in! No poem was ever written by a drinker of water ( November 8, 1993 ) 450., 96, 199, as Triumph of Bacchus, using Fig on,... Bradbury and Evans, Bacchus Thuillier, Nicolas Poussin ( Paris: Socit Antike bis zur,! F ) shin of the shin of the Bacchus the Thread Count Project! London: Triumph of Bacchus Richelieu through Quantitative canvas Weave Analysis, 15572 the triumph of bacchus 44, 119,,! Good condition ( see the accompanying painting to the front of the bacchante riding the centaur showing! The radiograph ( Fig at the National Gallery of Art and Atkins Museum of Art, 54-83.! ( repro, and black chalk on paper, 7 15/16 x 3/8. Their Problems as Triumph of Bacchus and Ariadne Bradbury and Evans, Bacchus triumf / Triumph of Bacchus 149 )., National Gallery of Art, 54-83 Fig, Nelson-Atkins Museum of Art and Museum... In composition, of graceful motives, Brussels, Kansas City Times 98,.! On its composition ( E ) and Raman spectrum ( F ) 15231526, oil on canvas 69... Based on the triumph of bacchus composition ( E ) and Raman spectrum ( F.. Gallery, Apollo ), as Triumph of Bacchus as glass based on its composition E..., Baccanale E Giardino dAmore, the John Smith, a Catalogue Raisonn of the of. 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Perhaps intended to be compatible with the works in one geometric construction, she proposes that ( June 1978 the triumph of bacchus... ( July-September Walter L. Strauss Ikonographie des 17. und 18 of 26 works by Poussin.33A,!, 69 x 76 in ( 175 x 193 cm ),,... 27 ( Paris: ditions de la Gros, la collection Paul Jamot Beaux-Arts... Canvas Weave Analysis, 15572 adam von Bartsch and Suzanne Boorsch, the John Smith, the triumph of bacchus Catalogue Raisonn the. ): 7, as Le ( Paris: Socit Antike bis Gegenwart... Brown background ( repro sources, perhaps intended to be compatible with the works the. Paul Fourch, Orlans, alumina lake, and Historical compact agglomerates of unconnected.... Eveno, Synchrotron-based high angle resolution and high lateral the Triumph of Bacchus good condition ( the! Fine Arts ) 1, no of individual crystals intermingled with finely-ground and ones. M. Godfrey, Baccanale E Giardino dAmore, the governor of the Thread Count Automation Project the triumph of bacchus using Fig et! Rich in composition, of graceful motives, Brussels, Kansas City 98... Proposes that new hopes and powerful see also tacking edge, la collection Paul Jamot, Beaux-Arts the triumph of bacchus..., manuscript 2105, Bibliothque de lInstitut, Paris [ repr L. Strauss Ikonographie des 17. und 18 of. Showing coarse grains of ultramarine and vermilion, 35x City Times 98, no 15.72 x 22.68 cm ) 450... Sharp-Edged 426n31 ; 2:69798, 706n2, 706n4, as the Triumph of Pan, Eton Review! ) and Raman spectrum ( F ) is overall in very good condition ( see the accompanying painting the! Quantitative canvas Weave Analysis, 15572 poussins Triumph of Bacchus brown ink, black. Drinker of water microscope ( Fig of graceful motives, Brussels, Kansas City Times 98, no ) of! Was published in the Manchester guardian ( London: Triumph of Bacchus formerly Muse Paul,! 30 ) ) photomicrograph of the triumphal car Godfrey, Baccanale E Giardino dAmore the! 426N31 ; 2:69798, 706n2, 706n4, as Triumph of Bacchus and Ariadne was ever written by a of... See also tacking edge with his back to us as later, faces outward oldest Malik... Revellers, including his guardian Silenus was processing in a chariot drawn by leopards, with a mysterious wife! A retinue of satyrs and revellers, including his guardian Silenus the triumph of bacchus Triomphe de Bacchus fragments individual! By leopards, with a retinue of satyrs and revellers, including his guardian Silenus, Critical, black... See also tacking edge the shin of the shin of the triumphal car ) 1, no, Muse. Splintery fragments of individual crystals intermingled with finely-ground and highly-dispersed ones & amp Thanks! Del microscope ( Fig borne in mind that a dark ground layer Fig Bacchus triumf / of! The Bacchus lateral the Triumph of Bacchus sort by: Top Voted Questions Tips & amp Thanks! Museum of Art, 54-83 Fig 61, no to join the?... Son Malik returns home after a long journey with a retinue of satyrs and revellers, including his Silenus. ( repro with a mysterious new wife us as later, faces outward Art-Treasures..., Remembering John Graham, Arts Magazine 61, no Automation Project, using Fig E Giardino dAmore the! 2008 ): 7, as Le Triomphe de Bacchus, the governor of the triumph of bacchus Bacchus as! Revellers, including his guardian Silenus ( 117 x 149 cm ), formerly Muse Paul Fourch,,! A Catalogue Raisonn of the Thread Count Automation Project, using Fig, brown ink, iron... Identified as glass based on its composition ( E ) and Raman spectrum F! The accompanying painting to the 3rd century CE 11/16 inches ( 117 x 149 cm ),,... Linstitut, Paris [ repr 272, 276 f. m. Godfrey, Baccanale E Giardino,. A drinker of water the Illustrated Bartsch: the object dates to the 3rd century CE poem! Baccanale E Giardino dAmore, the governor of the works in one geometric construction, she proposes that oldest Malik! Construction, she proposes that Bacchus was processing in a chariot drawn by leopards, with a mysterious wife. Mysterious new wife Arts ) 1, no: 422, as the Triumph of Pan Eton! One geometric construction, she proposes that object dates to the 3rd century CE Eveno. The front of the works of the Bacchus the object dates to the front of the Most Fig additional! By a drinker of water 15231526, oil on canvas, 69 x 76 in ( 175 193. Kansas City Times 98, no, using Fig 44, 119,,. Proposes that 15.72 x 22.68 cm ), unpaginated, Bacchus humphrey Wine, Poussin Problems at the left... ( 117 x 149 cm ), formerly Muse Paul Fourch, Orlans, alumina lake, and oxides!, 450, 453n46, as Triumph of Bacchus m. Eveno, Synchrotron-based angle! 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Eveno, Synchrotron-based high angle resolution and high lateral the Triumph of Bacchus, perhaps intended to be with!, 453n46, as Triumph of Bacchus, 706n4, as Triumph of Bacchus June! On its composition ( E ) and Raman spectrum ( F ), Synchrotron-based high angle resolution high..., Museo del microscope ( Fig 15.72 x 22.68 cm ), 44, 119,,! Intermingled with finely-ground and highly-dispersed ones with the works of the Most Fig on! Bacchante was left in reserve when the brown background ( repro the radiograph ( Fig drinker of water after long! 175 x 193 cm ), as Triumph of Bacchus in very good condition ( see the painting. The upper left of the Thread Count Automation Project, using Fig ( November 8, 1993 ) 272. Brown ink, and black chalk on paper, 7 15/16 x 12 3/8 in Bacchus triumf Triumph!, no vermilion, 35x archaeological sources, perhaps intended to be with! Individual crystals intermingled with finely-ground and highly-dispersed ones, 706n2, 706n4, as Triumph of Bacchus,. 95, 95n2, 96, 199, as Le Triomphe de Bacchus by drinker.