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The Martyrdom of Saint Menas
Oil on canvas. Ca. 1580
Veronese, Paolo (Paolo Cagliari)
The Martyrdom of Saint Menas
Oil on canvas. Ca. 1580
Veronese, Paolo (Paolo Cagliari)

Saint Mena extends his arms and raises his gaze to Heaven, refusing to worship the graven idol presented to him at the left of the composition. As a result, he was martyred and decapitated. His suffering occurred in the year 296, under the rule of Diocletian. It is indicated here by the sword held by the person who has seized the saint, and by the pliers in the basket, which were used to pull out

Venus, Adonis and Cupid
Oil on canvas. Ca. 1590
Carracci, Annibale
Venus, Adonis and Cupid
Oil on canvas. Ca. 1590
Carracci, Annibale

Venus, the Roman goddess of Love and Beauty, is accidentally wounded by one of her son Cupid´s arrows, which triggers her passion for Adonis. This love story ends with the tragic death of the hero. The scene is based on book X of Ovid´s Metamorphoses, one of the most important sources of mythology for artists of that time. The composition and pictorial technique in this work are a fine

Christ among the Doctors in the Temple
Oil on canvas. Ca. 1560
Veronese, Paolo (Paolo Cagliari)
Christ among the Doctors in the Temple
Oil on canvas. Ca. 1560
Veronese, Paolo (Paolo Cagliari)

This work illustrates the final passage of Christ´s childhood (Luke 2, 41-50) when, at the age of 12, he was taken to Jerusalem by his parents to celebrate Passover. Mary and Joseph lost their son, and later found him in the Temple, arguing with the doctors. Christ´s theological superiority is emphasized by his placement towards the top of the composition´s axis. The doctors look on as he enumerat

Sacrifice to Bacchus
Oil on canvas. Ca. 1634
Stanzione, Massimo
Sacrifice to Bacchus
Oil on canvas. Ca. 1634
Stanzione, Massimo

While it is first listed in 1666 at the Alcázar, where it hung alongside Ribera’s Fable of Bacchus or Teoxenia (of which only three fragments have survived: two at the Museo del Prado and one in a private collection), this work’s subject and dimensions suggest it may originally have been commissioned for the Buen Retiro Palace. Along with Finoglia’s Triumph of Bacchus (P7309), Poussin’s Sac

The Finding of Moses
Oil on canvas. 1633
Gentileschi, Orazio
The Finding of Moses
Oil on canvas. 1633
Gentileschi, Orazio

Painted in London when the artist was nearly seventy years old, Moses Rescued from the Nile is undoubtedly the finest work from Orazio Gentileschi’s final period. Exquisitely refined and subtle in its emotions, it was conceived to please that most informed and demanding connoisseur of painting, King Philip IV of Spain. The artist sent it to him as a gift in the summer of 1633, and his son Francesc

Venus and Adonis
Oil on canvas. Ca. 1580
Veronese, Paolo (Paolo Cagliari)
Venus and Adonis
Oil on canvas. Ca. 1580
Veronese, Paolo (Paolo Cagliari)

Like its pair, Cephalus and Procris (Strasbourg Museum, inv. 634, oil on canvas, 162 x 185 cm), this canvas illustrates a passage from the Metamorphoses by the Roman poet Ovid. Both stories involve love cut short by death, in this case that of Adonis. Veronese conveys the grief of Venus, goddess of love, as she presages the death of her lover at the hunt. Painted after a period in Rome, Veronese u

Christ and the Centurion
Oil on canvas. Ca. 1571
Veronese, Paolo (Paolo Cagliari)
Christ and the Centurion
Oil on canvas. Ca. 1571
Veronese, Paolo (Paolo Cagliari)

With a halo of sainthood over his head, Jesus extends his arm to the centurion who, having converted to the Christian faith, kneels at his feet, as told in the New Testament (Matthew 8, 5-13). The scene takes place in front of an architectural backdrop inspired by the work of the architect Andrea Palladio (1508-1580). The bright colors worn by the figures are brought out by the white of the strong

The Holy Family with Saint Catherine
Oil on canvas. 1617 - 1619
Cavarozzi, Bartolomeo
The Holy Family with Saint Catherine
Oil on canvas. 1617 - 1619
Cavarozzi, Bartolomeo

This painting shows the vision of Saint Catherine, who, in a dream, was mystically wed to the Christ Child. The work is dated between 1617 and 1619, when the artist was in Spain where he left a profound mark on artists such as Murillo. A follower of Caravaggio, he produced more delicate compositions with nobler figures and a more detailed treatment of the forms. He did however adopt Caravaggio’s v

The Virgin of the Chair
Oil on canvas. 1624 - 1625
Reni, Guido
The Virgin of the Chair
Oil on canvas. 1624 - 1625
Reni, Guido

Sitting on a sumptuous chair, the Virgin tenderly contemplates the nude Christ child, whose expression is pensive and informal. Above them, two cherubs crown Mary. Michelangelo’s sculpture, the Madonna of Bruges has been mentioned as a possible influence, as both combine a carefree Christ child with a solemn mother.After Bolognese classicism went out of fashion in the second half of the 19th centu

Lion
Gilt-bronze. 1651
Bonuccelli, Matteo
Lion
Gilt-bronze. 1651
Bonuccelli, Matteo

The table O00448 is supported by four bronze lions (O02942, O02943), three of them commissioned by Velazquez in Italy in 1651. The fourth lion of this table is a bronze copy made in 2004 to replace the damaged lead one made in 1837, which in turn replaced the original damaged in the fire at the Alcazar in 1734.

Lion
Gilt-bronze. 1651
Bonuccelli, Matteo
Lion
Gilt-bronze. 1651
Bonuccelli, Matteo

The table O00448 is supported by four bronze lions (O02942, O02943), three of them commissioned by Velazquez in Italy in 1651. The fourth lion of this table is a bronze copy made in 2004 to replace the damaged lead one made in 1837, which in turn replaced the original damaged in the fire at the Alcazar in 1734.

Lion
Gilt-bronze. 1651
Bonuccelli, Matteo
Lion
Gilt-bronze. 1651
Bonuccelli, Matteo

The table O00448 is supported by four bronze lions (O02942, O02943), three of them commissioned by Velazquez in Italy in 1651. The fourth lion of this table is a bronze copy made in 2004 to replace the damaged lead one made in 1837, which in turn replaced the original damaged in the fire at the Alcazar in 1734.

Tabletop of don Rodrigo Calderon
Africano marble, White marble, Polychrome marble, Paragone, Lapis lazuli, Alabaster. Ca. 1600
Roman Sculptor
Tabletop of don Rodrigo Calderon
Africano marble, White marble, Polychrome marble, Paragone, Lapis lazuli, Alabaster. Ca. 1600
Roman Sculptor

This tabletop belonged to Rodrigo Calderon, secretary to Philip III, who seems to have acquired it by somewhat unethical means. Its decoration of military motifs suggests that it is related to the victory at Lepanto. After Calderon´s death in 1621 it was acquired by Philip IV at the posthumous sale of his possessions. The table is supported by four bronze lions, three of them commissioned by Velaz

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