1532 Collection (page 5)

Nymphs bathing / a [monogram of Andrea Andreani], between 1500 and 1530, printed 1605. Carpi, Ugo da, 1480-approximately 1532, artist, Parmigianino, 1503-1540

Louise of Savoy, Louise van Savoye, 1467-1531, 1532, Duchess of Angouleme, hertogin van Angouleme, mother of Francis I, Frans I, Anonymous, 1700 - 1799

Judgment of Paris, circle of Master of the Female Half Figures, 1532

Portrait of a Scholar or Cleric; Hans Holbein the Younger, German, 1497/1498 - 1543; 1532 - 1535; Black and red chalk, pen and brush and black ink

A Turkish Procession; Erhard Schon, German, about 1491 - 1542; Germany, Europe; 1532; Pen and brown ink; 23.7 x 37 cm (9 5/16 x 14 9/16 in.)

An Allegory of Passion; Hans Holbein the Younger, German, 1497/1498 - 1543; about 1532 - 1536; Oil on panel; Unframed: 45.4 x 45.4 cm (17 7/8 x 17 7/8 in.)

Portrait of Francisco de los Cobos y Molina; Jan Gossaert (called Mabuse), Netherlandish, about 1478 - 1532; about 1530 - 1532; Oil on panel; Unframed: 43.8 x 33.7 cm (17 1/4 x 13 1/4 in.)

Bernardino Luini, Cephalus and the Nymphs, Italian, c. 1480-1532, c. 1520-1522, fresco

Bernardino Luini, Procris and the Unicorn, Italian, c. 1480-1532, c. 1520-1522, fresco

Bernardino Luini, The Misfortunes of Cephalus, Italian, c. 1480-1532, c. 1520-1522, fresco

Bernardino Luini, Procris Pierced by Cephalus Javelin, Italian, c. 1480-1532, c. 1520-1522, fresco

Bernardino Luini, Cephalus Punished at the Hunt, Italian, c. 1480-1532, c. 1520-1522, fresco

Bernardino Luini, Cephalus Hiding the Jewels, Italian, c. 1480-1532, c. 1520-1522, fresco

Bernardino Luini, Cephalus and Pan at the Temple of Diana, Italian, c. 1480-1532, c. 1520-1522, fresco

Bernardino Luini, Procris Prayer to Diana, Italian, c. 1480-1532, c. 1520-1522, fresco

Bernardino Luini, The Magdalen, Italian, c. 1480-1532, c. 1525, oil on panel

Bernardino Luini, Venus, Italian, c. 1480-1532, c. 1530, oil on panel

Bernardino Luini, The Madonna of the Carnation, Italian, c. 1480-1532, c. 1515, oil on panel

Master of the Die after Raphael (Italian, active c. 1532), Apollo and Marsyas, engraving

SULEIMAN THE MAGNIFICENT (c1494-1566). Sultan of the Ottoman Empire, 1520-1566. The reception of a French delegation sent by King Francis I at Belgrade, 1532

SUNDIAL, 1532. A man using his hand as a sundial. Woodcut, Mainz, 1532, by Jacob Kobel

KING PERCEFOREST. Perceforest, a follower of Alexander the Great, and Greek ancestor of King Arthur. Woodcut from History of King Perceforest, of Great Britian

THE PRINCE: TITLE-PAGE. Title-page of the first edition of Niccolo Machiavellis Il Principe. Rome, Antonio Blado, 1532

CHAUCER: TITLE PAGE. Title page of first collected edition of Geoffrey Chaucers Works, c1532

PERU: PIZARRO & ATAHUALPA. The first meeting, in 1532, of Francisco Pizarro and Atahualpa, the last Inca king. Pen and ink drawing, c1600, by Felipe Guaman Poma de Ayala

ITALIAN POEM, 1532. First page of the poem La gran guerra e rotta del Scapigliato, printed at Brescia, Italy, in 1532

PHYSICIANS, 1532. The title page of Laurentius Friesens Spiegel der Artzney, with portraits of ancient and medieval physicians and (bottom) a representation of Venus and Adonis in a garden

CHAUCER. Beginning of Clerk of Oxenfords Tale from the first edition of Chaucer s
CHAUCER. Beginning of Clerk of Oxenfords Tale from the first edition of Chaucers works

PRINTERs DEVICE, 1532. Device used by Pierre Regnault, Paris, France, 1532

WEIDITZ: HARASSED SPINSTER. The Harassed Spinster. Woodcut by Hans Weiditz, 1532

Wheeled war engine designed to break up enemy ranks or crush the opposing troops. From Epitome Institutionum Rei Militaris by Flavius Vegetius (1532)

France, Indre-et-Loire, Villandry, Villandry Castle exterior and gardens
France - Centre. Loire Valley. Villandry Castle, built 1532 (UNESCO World Heritage Site, 2000)

Prudence, Between 1500 And 1610, Carpi, Ugo Da, 1480-approximately 1532

Circe, Dating From Between 1500 And 1530, Carpi, Ugo Da, 1480-approximately 1532, Artist, Parmigianino, 1503-1540. Andreani, Andrea, Approximately 1560-1623

Nymphs Bathing / Aa [monogram Of Andrea Andreani], Between 1500 And 1530, Printed 1605. Carpi, Ugo Da, 1480-approximately 1532, Artist, Parmigianino, 1503-1540

Ceiling With Three Angels, Between Ca. 1515 And 1535, Carpi, Ugo Da, 1480-approximately 1532

St. Peter Preaching The Gospel, Between 1515 And 1535, Carpi, Ugo Da, 1480-approximately 1532

The Resurrection, Between 1515 And 1535, Carpi, Ugo Da, 1480-approximately 1532

The title page of Laurentius Friesens Spiegel der Artzney, with portraits of ancient and medieval physicians
PHYSICIANS, 1532. The title page of Laurentius Friesens Spiegel der Artzney, with portraits of ancient and medieval physicians and (bottom) a representation of Venus and Adonis in a garden

Doctor of Physicks prologue from the first collected edition of Geoffrey Chaucers Works, c1532
CHAUCER: PROLOGUE Doctor of Physicks prologue from the first collected edition of Geoffrey Chaucers Works, c1532

Page 217 from Herbarium (1532) by Otto Brunfels
Herbarum vivae eiconeb (1532) by Otto Brunfels (1488-1534). Illustrations by Hans Weiditz the Younger (1495 Freiburg im Breisgau - c1537 Bern). Tom I, 2nd edition

Miraculous Draught of Fishes. Tapestry, c1532, after cartoon by Raphael
CHRIST:MIRACULOUS DRAUGHT. Miraculous Draught of Fishes. Tapestry, c1532, after cartoon by Raphael

PERU: SPANISH CONQUEST. Spanish conquistadors battling Incas at Cuzco, Peru. Line engraving from The Royal Comentaries of Peru by Garcilaso de la Vega, 1688

CONQUEST OF PERU, 1532. Title page of Pedro Sancho de Hozs account of the Spanish conquest of Peru, printed in Seville, 1534. The woodcut shows the arrest of Atahualpa by the Spanish in 1532

SPANISH CONQUEST OF INCANS. The Spanish landing in Peru. Line engraving from the English edition, 1688, of The Royal Commentaries of Peru by Garcilaso de la Vega (1539-1617)

CAPTURE OF ATAHUALPA, 1532. The capture of Atahualpa, the last Incan king, by Francisco Pizarro and his army at Cajamarca, Peru, 1532. Line engraving, French, late 18th or early 19th century

ATAHUALPA (c1500-1533). Last Inca king of Peru. The capture of Atahualpa by the Spanish under Francisco Pizarro in 1532. Copper engraving, 18th century

CAPTURE OF ATAHUALPA, the last Inca king, by the Spanish under Francisco Pizarro in 1532. Copper engraving, 18th century

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In the year 1532, amidst a backdrop of political intrigue and cultural milestones, Thomas Cromwell, Earl of Essex, stood as a prominent figure. Painted by Holbein himself, Cromwell's portrait captured his commanding presence and influence in the court of King Henry VIII. Known for his intelligence and shrewdness, he played a pivotal role in shaping England's history. During this time, literary works like Rabelais' "Pantagruel" and satires by Juvenal were gaining popularity among intellectuals. St. Machars Cathedral stood tall as a testament to architectural brilliance while "Songes De Pantagruel" enchanted readers with its whimsical tales. Across the Atlantic Ocean in Peru, Francisco Pizarro met Inca Atahualpa in an encounter that would forever change the course of South American history. This meeting marked the clash between two civilizations and set off a chain reaction that shaped future conquests. Meanwhile, King Henry VIII gifted Anne Boleyn with an exquisite clock—a symbol of their passionate yet tumultuous relationship. The love story intertwined with politics would eventually lead to significant shifts within English society. Dorothy Wadham emerged as another notable figure during this era—an influential philanthropist who left behind a lasting legacy through her charitable endeavors. Amy Robsart Dudley also made her mark as Robert Earl's wife before her untimely death in 1560. Hans Holbein the Younger showcased his artistic prowess through masterful portraits such as "Portrait of the Mer, " capturing not only physical likeness but also inner essence on canvas. Artistic expression extended beyond paintings; polychrome sculpture like the "Sacrifice of Isaac" depicted biblical narratives with vivid colors and intricate details that evoked deep emotions from viewers. Within this rich tapestry of events was St. John of Patmos' depiction from Francois I's Book of Hours—a testament to the enduring power of religious devotion and artistic craftsmanship.