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Infernal Landscape
Oil on panel. Ca. 1565
Anonymous
Infernal Landscape
Oil on panel. Ca. 1565
Anonymous

After Bosch’s death, his style remained very successful both in the Netherlands and in Italy and Spain. This picture, painted nearly half a century after his death, is an example of the many that were produced in imitation of his style. In this case, the scene is inspired by the representation of Hell in The Garden of Earthly Delights, which also belongs to the Prado.

Frieze with Episodes from the Life of Mucius Scaevola
Pencil, Grey-brown ink, Wash on paper attached to canvas. Ca. 1600
Anonymous
Frieze with Episodes from the Life of Mucius Scaevola
Pencil, Grey-brown ink, Wash on paper attached to canvas. Ca. 1600
Anonymous

The composition shows the following episodes from the first floor of the painted frieze on the facade of the Palazzo Ricci, Rome: Mucius Scaevola crossing the Tiber to take the Etruscan camp of King Lars Porsenna; the killing of the treasurer to Lars Porsenna; the arrest of Mucius Scaevola; and the ordeal by fire of Mucius Scaevola before Lars Porsenna. Another, more damaged copy of this same is i

Man about to strike a seated soldier
Pencil, Grey-brown ink, Wash on yellow paper. XVI century
Anonymous
Man about to strike a seated soldier
Pencil, Grey-brown ink, Wash on yellow paper. XVI century
Anonymous

Insofar as it is possible to judge from its fragmentary condition (more than half the drawing is made up; the original piece of paper on which the study is made occupies the upper section only of the composition), the drawing seems to be a copy, but the model on which it would have been based remains to be identified. The fluid style of drawing in outline with large areas of light wash is, however

The Presentation in the Temple
Pencil ground, Grey ink, Grey-brown ink, Wash on yellow paper. XVI century
Anonymous
The Presentation in the Temple
Pencil ground, Grey ink, Grey-brown ink, Wash on yellow paper. XVI century
Anonymous

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

Marcus Aurelius
White marble. XVI century
Anonymous
Marcus Aurelius
White marble. XVI century
Anonymous

A modern bust of emperor Marcus Aurelius (121-180 A.D.). This work follows the model of the ancient bronze equestrian statue that Michelangelo placed in the Piazza del Campidoglio in Rome, which is now in the Capitolino Museums. The use of a trepan to craft the hair, as well as the eyes and facial expression link it to other sixteenth-century busts in the palace of the Duke of Mantua. Efforts have

Flask with tracery and a head of Medusa in gold
Gold, Diamond, Omphacite. S XVI - XVII century
Miseroni, Giovanni Ambrogio; Anonymous
Flask with tracery and a head of Medusa in gold
Gold, Diamond, Omphacite. S XVI - XVII century
Miseroni, Giovanni Ambrogio; Anonymous

An ovate vessel in the form of an urn. It has a smooth pyriform body with a double moulding on the shoulder, a neck with a concave profile, and a round mouth. The moulded cover has the form of a cupola, while the short bell-shaped stem ends in a round foot with the same diameter as the mouth. The stone, cracked since ancient times, is held by a mount of pierced and chased gold forming a net, with

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