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Henry IV
Oil on canvas. Second half of the XVII century
Arco, Alonso del
Henry IV
Oil on canvas. Second half of the XVII century
Arco, Alonso del

This heroic full-length portrait presents the king under a red-and-gold curtain with a landscape in the background. He wears a crown and, under a blue tunic, armor. His right hand rests on the head of a lion whose paw rests, in turn, on the coat of arms of Castile and León, territories ruled by Henry IV. The arms are surrounded by pomegranate flowers with the slogan, AGRO DULCE, an insignia

Henry IV of Castile
Oil on canvas. Ca. 1848
Sainz, Francisco
Henry IV of Castile
Oil on canvas. Ca. 1848
Sainz, Francisco

The Chronological Series of the Kings of Spain was a museum project planned in 1847 by José de Madrazo to adorn four of the new rooms at the Real Museo de Pinturas (Royal Museum of Paintings), then under his direction. At the height of the confrontation between the supporters of Isabella II and the Carlists, who denied the sovereign’s right to occupy the throne because she was a woman, the

The Annunciation
Oil on oak panel. 1420 - 1425
Campin, Robert
The Annunciation
Oil on oak panel. 1420 - 1425
Campin, Robert

The event is set in a gothic temple, alluding to the New Law that replaces the old one, represented by the Romanesque tower in the background. The sculptures on the outside of the church and on the tower and Bible passages in the stained-glass windows reinforce this idea, and that of the Redemption. That is the case of Moses and David, or the sacrifice of Isaac´s, which foreshadows that of Christ.

The Arrival in England of Saint Ursula
Tempera on panel. 1425 - 1450
Mateu, Jaume
The Arrival in England of Saint Ursula
Tempera on panel. 1425 - 1450
Mateu, Jaume

These works formed the upper section of the Altar Piece of Saint Ursula in the church of San Pablo in Palencia. The style of these paintings, typical of the International Gothic, led them to originally be considered Valencian. The painter follows the Golden Legend by Jacobus de Voragine (thirteenth century). Each story, translated into bright colours, abundant amounts of gold, and in different set

The Virgin Annunciate
Tempera on panel. 1425 - 1450
Peris, Gonçal
The Virgin Annunciate
Tempera on panel. 1425 - 1450
Peris, Gonçal

The two panels (P2720 and P2721) formed an exquisite portable diptych dedicated to the moment when the Archangel Gabriel announces to Mary that she will conceive the Son of God. Despite paint losses, we can still appreciate the delicacy of the faces and the fluency of the evanescent, almost weightless figures represented against an abstract gold background with multiple sgraffiti of leaves and flo

The Archangel Gabriel
Tempera on panel. 1425 - 1450
Peris, Gonçal
The Archangel Gabriel
Tempera on panel. 1425 - 1450
Peris, Gonçal

These panels (P2721-P2721) formed an exquisite portable diptych dedicated to the moment when the Archangel Gabriel announces to Mary that she will conceive the Son of God. Despite paint losses, we can still appreciate the delicacy of the faces and the fluency of the evanescent, almost weightless figures represented against an abstract gold background with multiple sgraffiti of leaves and flowers.

The Annunciation
Tempera on panel. Ca. 1426
Angelico, Fra
The Annunciation
Tempera on panel. Ca. 1426
Angelico, Fra

This altarpiece was painted for the monastery of Santo Domenico in Fiesole, near Florence. The central panel shows the Archangel Gabriel’s Annunciation to Mary under a portico. On the left, Adam and Eve are being expelled from Paradise. The damnation and salvation of Humanity. The predella has scenes from the life of the Virgin; Mary’s Birth, Her Wedding with Saint Joseph, Mary’s Visit to her cous

Scenes from the Life of the Virgin
Tempera on panel. Ca. 1426
Angelico, Fra
Scenes from the Life of the Virgin
Tempera on panel. Ca. 1426
Angelico, Fra

Painted for San Domenico in Fiesole, near Florence, where Fra Angelico lived as a Dominican friar, the principal panel of this altarpiece (P15/1) depicts the cycle of Man’s fall and salvation through the episodes of Adam and Eve expelled from Eden and the Annunciation to Mary, respectively. The predella panels (P15/2) depict scenes from the life of the Virgin.

Angel with Christ’s Cross
Walnut wood. 1425 - 1435
Maes, Tydeman
Angel with Christ’s Cross
Walnut wood. 1425 - 1435
Maes, Tydeman

This pair of angels with instruments of the Passion (E00493, E00711) was sculpted for export by Maes in Bruges, as the rare signatures on the reverses indicate. The pair comes from a church in northern Spain where the figures flanked an altar or tomb. Neither angel directly touches the instruments of the Passion, covering them with the piece of drapery out of respect. The angel with the cross, its

Angel with Christ’s Cross
Walnut wood. 1425 - 1435
Maes, Tydeman
Angel with Christ’s Cross
Walnut wood. 1425 - 1435
Maes, Tydeman

This pair of angels with instruments of the Passion (E00493, E00711) was sculpted for export by Maes in Bruges, as the rare signatures on the reverses indicate. The pair comes from a church in northern Spain where the figures flanked an altar or tomb. Neither angel directly touches the instruments of the Passion, covering them with the piece of drapery out of respect. The angel with the cross, its

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