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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.
Painted by an anonymous artist, this canvas depicts the upper body of a knight against a neutral background. He insistently stares at the viewer. It may have been at the sitter’s request that the light shines brightly on everything that the painter wished to emphasise: his face, his hands and the accessories that adorn the black satin doublet he wears. The robe, tight-fitting around the torso and
If we compare this painting with the Animals Entering the Ark (P22), we find that the iconographic elements which identify the subject have been shifted to a middle plane -Noah thanking God for bringing the flood to an end by means of a burnt offering (Genesis 8: 20-22) and the appearance of the rainbow as a symbol of the covenant between God and man (Genesis, 9: I-17)- while the foreground depict
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
On the verso are extensive notes about the Flemish sculptor Pietro Francavilla (ca.1548-1616). Francavilla received his early training in Paris and Innsbruck. Archduke Ferdinand of Austria provided him with a letter of introduction to Giambologna, and he transferred to Florence in c. 1570, becoming the latter´s partner. He remained in Florence for much of his career, travelling at times to other c
The drawing is laid down onto Brun´s (?) mount, with his inscription F. BAROCCI. The attribution follows the older inscription written in the reverse, in the hand of the so-called Italian Supplier. This is a copy of Portrait of a young lady by Barocci in the Galleria degli Uffizi, Florencem datable c. 1570-75.
Although traditionally placed in the collection under the name of Polidoro da Caravaggio, I have been unable to trace the composition in that artist´s ouvre. The style of the drawing seems however to show knowledge of the School of Fontainebleau style, and there are echoes of the draftsmanship of both Rosso Fiorentino (1495-1540) and Primaticcio (1504/05-1570).
This fine drawing seems to show some Emilian traits of style. Alternatively, it may be Marchigian, around Lilio (c. 1570-1635).
Rightly connected by the Suidas with Cambiaso´s altarpiece in S. Giorgio, Genoa, datable around 1570. An autograph study for the composition, very different in design from the finished result and showing the surrounding frame, is in the Capodimonte Museum, Naples (inv. no. 1040).
This case takes the form of the vessel for which it was made, Gondola or galley with three winged serpents (O114). 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
Vessel formed by three pieces of rock crystal and two gold mounts. The globular body is carved with gadroons and dart motifs. The short neck is adorned with ova enamelled in blue and a lower spiral moulding in black enamel embedded with a wax reserve, interrupted by red scrolls and others with leaves and white, sky blue and green enamelling, once incrusted with stones. Of these, only two diamonds
This case takes the form of the vessel for which it was made, the Tortoise boat (O78). The case is one of the most interesting in the whole collection. It is very unusual because of its decoration and the presence of four embossed gold oval medallions representing classical-type male heads. Known as “cameos”, such adornments had been fashionable in Italian bookbinding since at least 1484. Arbeteta
This O- 80 Made in a single piece of rock crystal, this masterpiece is a show of technical virtuosity. Its decoration permits philosophical, political or even alchemical readings, since it can symbolise the plenitude of the human being, the Universal Monarchy, or the transmutation of alchemy. Visually, it tells the story of Hermaphroditus, based on Ovid’s Metamorphoses. The fruit of the union betw
