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The principal beams are decorated with secular scenes, including dances, jousts or men fighting monsters, and with the coats-of-arms of Castile and León and those of the Luna and Rojas families. Other decoration includes sacred scenes (the Last Supper and the Last Judgement, for example). Between the transversal beams are panels with alternating castles and lions and elongated hexagonal pan
An annotation on the mount correctly identifies the drawing as a copy after Raphael´s picture in the Gemäldegalerie, Berlin, which is generally dated 1504-5. Being an offset, however, the design is reversed so that the Infant Baptist approaches the Christ Child from the right instead of from the left, as in the painting. Naturally, the drawn copy from which the offset was made would have show
The drawing was formerly placed in the collection under the name of Sandro Botticelli (1444/5-1510), following the traditional identification. The style is however surely Marchigian, not Florentine, and from around the middle of the sixteenth century. It is by a good hand, and there may be seen elements from the work of Francesco Menzocchi (1502-1574), Battista Franco (1510-1561) and Federico Baro
This decorative roman work is based on Hellenistic iconography that arose in the third century B.C. It shows the moment before Zeus, who has taken the form of an eagle, abducts the mythical shepherd of Troy in order to drink the wine of Olympus. Considered the most handsome mortal, Ganymede shepherded his father´s flocks. He is represented with an elaborate hairdo characteristic of Roman cupbearer
This marble statue and other seven more (E000068, E000041, E000040, E000062, E000038, E000069, E000037) were unearthed in about 1500 in Hadrian´s Villa at Tivoli, where the decorated the stage of the Academy Theatre or Odeon. They were made at the end of the reign of Emperor Hadrian (c. 130 AD), by two Roman worshops, reproducing Greek models from the second century BC. In about 1670, they were ac
Anuncio de moda de París, 1845: sombrero de paja y encaje de Lejay; capa y mangas de muselina bordada de Payan; vestido de muselina de Gagelin; paraguas de Verdier; pañuelo Sublime-porte y perfume de Guerlain. Petit Courrier des Dames. [Paris: Mess. S. & J. Fuller, 1845]. No 2116. La revista "Petit Courrier des Dames" también llamada "Petit courrier des dames ou Nouveau journal des modes, des théâ
Anuncio de moda de París, 1846: vestido en tejido merino con volantes bordados, pluma de Chagot, guantes de Mayer, pañuelo de Chapron, y perfume de Guerlain. Petit Courrier des Dames. [Paris: Mess. S. & J. Fuller, 1846]. No 2117.La revista "Petit Courrier des Dames" también llamada "Petit courrier des dames ou Nouveau journal des modes, des théâtres, de la littérature et des arts", fue una revista
Anuncio de moda de París, 1847: sombrero de piel azul de Maurice Beauvais, vestido de Leymerie, flores de Chagot, perfume de Guerlain, corsé de Josselin, y vajilla de Lahoche-Boin. Petit Courrier des Dames. [Paris: Mess. S. & J. Fuller, 1847]. No 2266.La revista "Petit Courrier des Dames" también llamada "Petit courrier des dames ou Nouveau journal des modes, des théâtres, de la littérature et des
An oval piece of agate in the form of a flat brimmed tray with rounded corners. Carved in low relief on the bottom is a cruciform motif with radial arms, a central pearl decoration, and inserted rows of beads. It had a large filigree mount that disappeared in 1815 after the looting of the Treasure during the Peninsular War.The mount on the platter is described in the 1689 Versailles inventory as f
This small brazier, already cited in the 1689 Versailles inventory, follows the French classical taste propitiated by Le Brun, Maison, Bérain and others. The vessel is made up of seven pieces of jade and silver gilt mounts. The body consists of a large piece of jade on a tripod foot formed by three dogs’ paws with six hanging festoons, ribbons, and a low gadrooned receptacle ending in a rin
This case takes the form of the vessel for which it was made, a Fluted goblet with a tall stem and rubies (O22). The exquisite pieces from the Dauphin´s Treasure are complemented by the custom-made cases that match the shape of each and allow them to be safely transported and counted, as each can be recognized by the contours of its corresponding box. Their wooden structures are lined with wool an
The thirteen cameos that have been preserved come from at least two different stolen vessels (nos. 52 and 58 in Arbeteta’s catalogue). Of various sizes and materials, they mostly depict busts of men, women and children. One of the cameos (O-41/5) represents Philosophy, recognisable by the gesture of pointing upwards with the left hand. Several reproduce effigies of historical personages. One examp
Casket with a rectangular body and hipped flat-topped lid. Rising from a silver gilt base is a framework of gold, according to the 1689 Versailles inventory, with white enamelling. The entire surface is covered with velvet, though the pile is now very worn, on which there are 113 appliqués of cameos and smooth bevelled stones or cabochons, framed by borders of festoons and thorns enamelled
