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| Lairesse - New School - Page 50 |  | |
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| Lairesse - New School - Page 57 |  | The page contains a detailed illustration of a male figure in a classical pose, showcasing anatomical study in art, typical of the teaching style in Lairesse's 1745 book on drawing. |
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| Lairesse - New School - Page 64 |  | The image includes diagrams for constructing head shapes using letters and numbers, and illustrations of skulls from various angles. These are designed to help artists understand the structure and proportions of the human skull. The content is from a historical art book aimed at teaching drawing techniques. |
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| Lairesse - New School - Page 84 |  | The text dedicates the image to Lady Isabella Savina of Bavaria, praising her virtues and noble heritage. It references her connection to knightly and theological traditions and praises divine attributes associated with her deeds. The inscription emphasizes her celebrated fame and achievements. |
| Lairesse - New School - Page 85 |  | The text, in Latin, refers to Clio, the muse of history, who sings the deeds of leaders and kings. It emphasizes how Clio carefully preserves the mighty deeds and historical tales of heroes for eternity, protecting them from the ravages of time. Clio's guardianship ensures these stories extend over the ages into a long-lasting legacy. |
| Lairesse - New School - Page 86 |  | The text is a poetic reference to a muse named Thalia, who is involved in directing the actions of humble people and inciting disputes among fathers. It notes her role in sharing affection and participating in delicate games. |
| Lairesse - New School - Page 87 |  | The text appears to be a poetic reference to Melpomene, the muse of tragedy, featuring themes and characters from Greek mythology. It emphasizes her role in portraying tragic stories equipped with the symbolic tragic buskin. Additional context is provided on specific mythological references and terms. |
| Lairesse - New School - Page 88 |  | The text is a poetic depiction of Terpsichore, the muse of dance and chorus, setting down her lyre to enjoy a gentle melody. It describes how the music, played on a tortoise-shell lyre, enhances dance and kindles youthful affection. |
| Lairesse - New School - Page 89 |  | The text describes elements of rhetoric and eloquence, associating them with Polyhymnia, the Muse of hymns. It highlights her role in gracefully using gestures and speech. The translation clarifies references to Greek mythology. |
| Lairesse - New School - Page 90 |  | The text is a poetic depiction of Euterpe, the muse of music in Greek mythology, highlighting her musical prowess with the flute and her presence in poetic traditions. It alludes to Greek cultural elements, including the Pythian Games and the legendary Aganippe spring. The text intertwines the arts with mathematical harmony, a classical concept. |
| Lairesse - New School - Page 91 |  | The text is a poetic description associated with one of the Muses, Erato, from Greek mythology. It highlights her role in spreading creativity and music across the world. This represents the inspiration and artistry revered in classical art. |
| Lairesse - New School - Page 92 |  | The text describes Urania, the muse of astronomy, showing the movements of the heavens and stars. It mentions the gentle promise of Venus's star and the predictions of the Hyades and stormy Orion. The passage concludes with a reference to the terrifying comet and its fiery flames. |
| Lairesse - New School - Page 93 |  | This text is a Latin poem meditating on themes of vanity, repentance, and divine grace, using the story of Mary Magdalene for illustration. It reflects on youthful attraction to earthly desires and the transformative power of Christ's acceptance. The poem urges self-reflection, portraying a shift from vanity to humility. |
| Lairesse - New School - Page 94 |  | The text is a Latin phrase from Luke 2, recognizing a woman as blessed among women. It is likely part of a religious depiction consistent with the image of an angel in the artwork. |
| Lairesse - New School - Page 95 |  | The text is a Latin excerpt from the "Magnificat," a biblical passage where Mary praises the Lord and speaks of the blessings of humility. It emphasizes Mary's role and her prophecy of being called blessed by future generations. The text credits the designers and printer, with notation of a royal privilege for printing. |
| Lairesse - New School - Page 96 |  | The text describes Saint Peter denying Christ three times before the rooster crowed and then retreating into solitary prayer. In prayer, Peter is depicted as gaining the ability to open and close the celestial poles, symbolizing his spiritual authority. The passage uses imagery of keys to represent access to heaven. |
| Lairesse - New School - Page 97 |  | The text is a confession from Zacchaeus, a biblical figure, acknowledging his sins and expressing his desire for forgiveness. It highlights his transformation from a wealth-focused life to one of humility and generosity toward the poor. The passage is written in Latin and reflects themes of repentance and redemption. |
| Lairesse - New School - Page 98 |  | The text is a poetic depiction of King Saul, struggling with his own life due to many faults. In desperation, he ends his own life, as his weapon fails him. |
| Lairesse - New School - Page 99 |  | The text on the page includes a Latin description associated with Judas Iscariot, expressing despair and a wish for destruction. Judas reflects on his actions, lamenting the pact of betrayal and the resulting misery. The language captures a sense of urgency and regret, typical of narratives about Judas from historical contexts. |
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