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In conjunction with the exhibition Bernini: Sculpting in Clay (on view October 3, 2012–January 6, 2013), Tod Marder, Professor II, Department of Art History, Rutgers, The State University of New Jersey, outlines the methods Bernini used to design and construct the fountains in Piazza Navona in Rome. Marder also discusses how Bernini's use of models helped him gain valuable commissions and ensure that his fountains would be accurately constructed.
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The Roentgens' Berlin Secretary Cabinet
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The Collation from a set of the Italian Village Scenes
Vertumnus and Pomona from a set of Scenes from Operas
Vulcan Presenting Arms for Aeneas to Venus from a set of The Loves of the Gods
Bacchus and Ariadne from a set of The Loves of the Gods
The Charlatan and the Peep Show from a set of Italian Village Scenes
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This artwork is not on display
Signature: At lower right there is an insertion from another tapestry with signature and date in reverse, F. Boucher 1756. No example of The Dance is recorded as woven this late.Inscription: (right lower corner, in reverse) F. Boucher/1756(?).
W. Bayard Cutting (until 1942; to MMA)
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