The work, attested for some centuries in Anghiari at Palazzo Pretorio, in 1869 was identified as a painting of considerable value and attributed to Cristofano Allori or in his manner. In 2021 she was at the center of a documentary called "Rastrelli" by Andrea Merendelli and Simone Marcelli in which the figure of the Magdalene is identified as a portrait of Virginia Ramponi Andreini, the most important actress of the seventeenth century. Today he finds a comparative historical-artistic study that proposes, confirmed by the FMF signature found in the canvas, the authorship of the work to Francesco Morosini, (BENASSAI 2022) known as Montepulciano, a painter with a "composite, variegated and inhomogeneous language" that is formed in 'area of Giovanni Bilivert (Florence, 1585 - Florence 1644).

The print reproduces the famous painting by Manet which caused a sensation when it was exhibited at the Paris Salon in 1865. The woman portrayed is a prostitute, but also a tribute to the great painting of the past, think of Titian's Venus of Urbino or the Maja by Goya. It was this combination, combined with the pictorial technique, that caused a sensation and at the same time provoked indignation among those who supported the academic tradition, and appreciation among the most attentive critics, such as Charles Baudelaire.

The full signature, together with the date, underlines the full awareness of Dürer's result in what is one of his best-known burin engravings, as well as one of his masterpieces. In fact, his studies on the proportions of the human body and his technical virtuosity culminate on this sheet. The glow of Adam and Eve's bodies, with their perfect proportions and sculptural appearance, contrast with the darker background, where naturalistic details abound.

This burin is a reworking of the engraving that reproduces part of the decoration of the Stufetta Bibbiena in the Vatican (1516). Venus is depicted in the same pose, wiping her foot, while Cupid observes her. The difference is that the two protagonists are no longer inside a room, but on the banks of a river. The village on the mountain recalls those engraved by Dürer. In fact, it is the monogram of the German engraver that can be seen in the lower left corner.

The print is part of the well-known Goya series containing 80 prints made between about 1795 and 1798, a sort of manifesto in which the artist declares his liberalism and his contempt for ignorance, through satirical images towards vices of the human being. It is a series full of caricatures and here it is that of the Vanity. Three young people laugh at an elderly woman who, sitting at the dressing table, gazes at herself in the mirror to adjust her hat, because “until death” it is worth getting dressed up.

The small canvas, certainly from the sixteenth century, is a quality derivation of the painting preserved at the National Museum of Capodimonte in Naples of Farnese origin. Correggio's work, reproduced in antiquity in some versions, is one of the most successful compositions of the Italian sixteenth century. The scene portrays Mary in the act of helping the Child to insert the ring into the ring finger of the Martyr, represented with her iconographic attributes, the most evident of which is the palm and below the sword placed between the group of Mary with the Child. and Santa Caterina. The chromatic alternation of the clothes of the two women, which responds to the iconographic tradition of the same number of subjects, only highlights the attitude of the Baby Jesus in the center, who seeks the gaze of his mother with an expression of pleased approval.

It is one of 633 woodcuts made by Wohlgemut and his stepson Wilhelm Pleydenwurff for the Nuremberg Chronicle, a compendium of world history, written by humanist Hartmann Schedel (1440-1514), consisting of more than 600 pages. The illustrations were commissioned to Wohlgemut in 1487-88, the same years in which Dürer was an apprentice in the great workshop of this German painter and typographer, who is credited with having updated the aesthetic canons of German woodcut.

The print reproduces the painting by Antoon van Dyck kept at the Kunsthistorisches Museum in Vienna (inv. No. 512). A precise moment of the biblical story narrated in the Book of Kings is depicted. It is the moment of betrayal: Delilah delivers Samson to the Philistines, after having cut his hair and deprived him of his extraordinary strength. Note the exchange of glances between the two protagonists: he, disappointed and embittered, turns to his beloved lying on the bed in a mixed motion between resignation and anger.

The engraving reproduces the painting made by Michelangelo in 1530 and now lost, but known through several copies. The myth is reported by several ancient sources and tells that Zeus fell in love with Leda and to seduce her he decided to turn into a swan. Their union took place on the banks of the Eurota river, and this is the moment depicted with great attention to detail. Later Leda laid an egg from which Pollux, one of the two Dioscuri, and Elena, future queen of Troy, known for her beauty, came out.