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Triumph of Love
Oil on copperplate. XVII century
Lint, Pieter Van
Triumph of Love
Oil on copperplate. XVII century
Lint, Pieter Van

Representación alegórica del triunfo del Amor que lleva a Júpiter con los brazos atados en una suntuosa carroza tirada por cuatro caballos blancos. Entre las figuras que acompañan a la carroza, a la derecha de la composición, aparece Apolo portando una cítara como atributo de identificación del dios, y tras él un músico tocando una flauta de Pan.

Jupiter and the Gods urging Apollo to take back the Reins of his Chariot
Oil on panel. 1594
Cornelisz. Van Haarlem, Cornelis
Jupiter and the Gods urging Apollo to take back the Reins of his Chariot
Oil on panel. 1594
Cornelisz. Van Haarlem, Cornelis

The frieze arrangement of the figures places this work in the painter`s classical phase, which began in 1594, the same year as the date on this painting. In Van Thiel`s view, it could be the picture which the Haarlem City Council acquired from the painter in 1594, and which was presented as a gift to Coenraet Dircksz. de Rechtere in around 1601-08, in gratitude for services rendered between 1574 a

Vault with the Apotheosis of the Spanish Monarchy
Fresco-secco, Fresco painting on wall covering. Ca. 1697
Giordano, Luca
Vault with the Apotheosis of the Spanish Monarchy
Fresco-secco, Fresco painting on wall covering. Ca. 1697
Giordano, Luca

The vault of the former Hall of Ambassadors at the Buen Retiro Palace, constructed alongside the former Royal Quarters of San Jerónimo at the behest of the Count-Duke of Olivares as a royal residence for leisure and for the monarchs’ public and official receptions. In the eastern part of this complex, a small building was erected after the palace itself was completed (1632). It was designed

Religion assisted by Spain
Oil on canvas. 1572 - 1575
Titian (Tiziano Vecellio)
Religion assisted by Spain
Oil on canvas. 1572 - 1575
Titian (Tiziano Vecellio)

Religion succoured by Spain (c.1572-75), belongs to the last group of paintings that Titian sent to Philip II in 1576, one year before the artist’s death. As such, it is almost seven decades older than the earliest work by Titian, The Virgin and Child between Saint Anthony of Padua and Saint Roch (P288), c.1510. Contemplating the two together allows viewers to recognise and admire Titian’s excepti

Olympus. The Battle of the Giants
Oil on canvas. 1767 - 1768
Bayeu, Francisco
Olympus. The Battle of the Giants
Oil on canvas. 1767 - 1768
Bayeu, Francisco

Francisco Bayeu, who came from minor nobility, trained in Zaragoza under José Luzán (who, years later, would also teach Francisco de Goya). However, a decisive change in the young Bayeu´s style came about under the influence of Antonio González Velázquez (1723-93), who visited Zaragoza soon after returning from Italy in 1752, carrying models and drawings by his Italian

Falconers setting out on a Hunt
Oil on canvas. 1665 - 1668
Wouwerman, Philips
Falconers setting out on a Hunt
Oil on canvas. 1665 - 1668
Wouwerman, Philips

This painting belongs to a series of scenes of hunting parties at the entrance to country manors or villas built in a classical style. They all document a series of innovations in fashion and dressage, which reveal them to have been painted in the artist`s final phase. In keeping with this chronology, the male characters sport the French clothing and hairstyles that prevailed among the Dutch upper

Water
Oil on canvas. Ca. 1700
Ezquerra, Jerónimo Antonio
Water
Oil on canvas. Ca. 1700
Ezquerra, Jerónimo Antonio

This wooded landscape with the ocean in the background is the setting for a group of maritime allegories. In the foreground, a male figure next to some rapids personifies one of the great rivers that exist in Nature, as was the customary representation during the Classical period. Various elements and animals related to water, such as turtles and seashells, are visible beside him. In the backgroun

The Birth of Venus
Oil on canvas. 1636 - 1638
Vos, Cornelis de
The Birth of Venus
Oil on canvas. 1636 - 1638
Vos, Cornelis de

El nacimiento de esta diosa aparece en la Teogonía de Hesiodo (188-ss): "(...) Vino el poderoso Urano conduciendo la noche, se echó sobre la tierra ansioso de amor y se extendió por todas partes. El hijo, saliendo de su escondite, logró alcanzarle con la mano izquierda, empuño con la derecha la prodigiosa hoz, enorme y de afilados dientes, y apresuradamente segó los genitales de su padre y luego l

Life study
Red chalk, White chalk on green paper. First half of the XVIII century
Anonymous
Life study
Red chalk, White chalk on green paper. First half of the XVIII century
Anonymous

El modelo, tendido boca abajo y visto de escorzo. Tal vez romano o boloñés de la primera mitad del siglo XVIII. En el reverso, Neptuno con una figura femenina que le lleva el tridente. (Texto extractado de Mena Marqués, M.: Catálogo de dibujos. VII. Dibujos italianos del siglo XVIII y del siglo XIX, Museo del Prado, 1990, p. 197).

Neptune
Pencil, Pencil ground, Grey-brown ink on paper. XVI century
Anonymous
Neptune
Pencil, Pencil ground, Grey-brown ink on paper. XVI century
Anonymous

Neptune and Amphitrite
Pencil ground, Grey-brown wash on yellow laid paper. XVIII century
Ximeno y Planes, Rafael
Neptune and Amphitrite
Pencil ground, Grey-brown wash on yellow laid paper. XVIII century
Ximeno y Planes, Rafael

This drawing is a copy of Dorigny’s engraving from 1644 that reproduces one of the panels in the vestibule of the gallery of Diana in the Palace of Fontainebleau painted by Simon Vouet, The Four Elements. This one depicts Water. The Museo del Prado keeps a series of drawings that are copies of this print, including Love Ordering Chaos (D002022).

Tortoise boat
Gold, Rock crystal / hyaline quartz, Enamel. Ca. 1570
Fontana, Annibale (?)
Tortoise boat
Gold, Rock crystal / hyaline quartz, Enamel. Ca. 1570
Fontana, Annibale (?)

A tall-footed cup whose bowl has the form of a ship’s hull with a pointed prow and a slightly raised stern, while below are a balustroid stem and a tortoise for a foot, all formed by three pieces of rock crystal joined by two enamelled gold mounts. The decoration of the bowl is extremely fine, and may have had a political significance. The mount on the foot was stolen in 1918. Where its authorship

Jasper bowl with cameos on the cover and foot
Gold, Agate, Chalcedony, Vitreous paste, Jasper, Lapis lazuli, Enamel. S XV - XVI century
Taller Italiano (?); Ladoireau, Pierre
Jasper bowl with cameos on the cover and foot
Gold, Agate, Chalcedony, Vitreous paste, Jasper, Lapis lazuli, Enamel. S XV - XVI century
Taller Italiano (?); Ladoireau, Pierre

This vessel had a pair, now lost (I1416), which must have been very similar and by the same hand as O37, the work of the silversmith Pierre Ladoyreau or Ladoireau, who made part of the silver furnishings at Versailles. It comprises two pieces of red jasper and two large mounts with twenty cameos. The body is in the form of a bowl with a diminished arch profile, a round mouth, and a lobulated ring

Fragment of boat-shaped rock crystal vessel with Neptune on a dolphin
Silver gilt, Rock crystal / hyaline quartz. Ca. 1590
Anonymous
Fragment of boat-shaped rock crystal vessel with Neptune on a dolphin
Silver gilt, Rock crystal / hyaline quartz. Ca. 1590
Anonymous

To go by the descriptions in the 17th and 18th century inventories of the Dauphin’s Treasure, and judging from the volumes of the interior of its case, this vessel, which was badly damaged during the Peninsular War, would have been formed by three pieces of rock crystal, two copper gilt mounts and a silver gilt statuette. The body would have been a piece with a diminished arch profile in the form

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