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The Bronze Serpent
Oil on canvas. XVII century
Anonymous
The Bronze Serpent
Oil on canvas. XVII century
Anonymous

As Pieter J. van Thiel suggests, this painting may be a copy made after an engraving by Jan Muller (1590) of Cornelisz. van Haarlem`s original Fortune bestowing her Favours, today at the Musée d´art et d´histoire of Geneva, which is also known through a grisaille executed by van Haarlem himself as a model for the engraving and through a copy of the original painting (Gothenburg, Götebo

The Boy with the Thorn (The Spinario)
Bronze. Ca. 1652
Anonymous
The Boy with the Thorn (The Spinario)
Bronze. Ca. 1652
Anonymous

A copy of the famous Hellenistic bronze —there is a Roman copy in the Capitolino Museum in Rome— representing a nude boy pulling a thorn out of his foot. The soft modeling, orderly arrangement of his hair and inexpressive face faithfully follow the Roman model. In the seventeenth century it was popularly said that the sculpture was commissioned by the Roman Senate in homage to a shepherd named Mar

Hermes-Antinous
Bronze. 1650 - 1700
Anonymous
Hermes-Antinous
Bronze. 1650 - 1700
Anonymous

The Belvedere Courtyard in the Vatican, a favoured location for study, housed an excellent collection of classical sculptures. From 1543 this included the full-length image of a beautiful nude youth, then considered a portrait of Antinous but now identified as Hermes, the Roman Mercury. Due to its remarkable quality it was reproduced in its entirety or in part for the greatest European collections

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

Boy wearing an Ivy Wreath
White marble. 115 A.C. - 100 a.C.
Anonymous
Boy wearing an Ivy Wreath
White marble. 115 A.C. - 100 a.C.
Anonymous

This is a late Hellenistic head set on a bust, the tiger skin transforming the subject into a young Dionysus. The ivy wreath, over which another bronze one would have been placed, tends to confirm this identification although the hairstyle is not the habitual type for depictions of the god of wine. This may be the head of one of the so-called “mute servants” that decorated Roman residences.

Bust of Laocoön
Bronze. 1650 - 1705
Anonymous
Bust of Laocoön
Bronze. 1650 - 1705
Anonymous

This is a copy of the head of Laocoön, the Trojan priest who forms part of the monumental sculpture Laocoön and his Sons, now in the Vatican Museums. It has sometimes been suggested that Velázquez may have brought this piece from Italy. The highly-expressive composition moves away from the classical prototype, reflecting the influence of Spanish Baroque sculpture.

Bust of Apollo
White marble. Late XVII century
Anonymous
Bust of Apollo
White marble. Late XVII century
Anonymous

This is a male bust in white marble with a partially naked torso. His left shoulder is draped with a piece of cloth. The sculpture possesses all the characteristics of an Apollo from the 17th century or the first decades of the 18th century. It was probably intended to decorate a garden and perhaps to be accompanied by muses or other gods. This work suffered the loss of the nose, which was subsequ

Silver pax with Charles II
Gilt-bronze, Silver. Ca. 1691
Anonymous
Silver pax with Charles II
Gilt-bronze, Silver. Ca. 1691
Anonymous

Este portapaz y su pareja (O3394) en origen servían para ser besados durante la celebración de la Misa. Inicialmente, ambos tenían como efigie en la calle central un tema religioso, en este caso la representación de dos santos identificados en las cartelas inferiores como San Hipólito mártir y Santa Concordia. Las dos placas ovales quedan enmarcadas por una sencilla estructura arquitectónica en fo

Silver pax with Maria Anna of Neuburg
Gilt-bronze, Silver. Ca. 1691
Anonymous
Silver pax with Maria Anna of Neuburg
Gilt-bronze, Silver. Ca. 1691
Anonymous

In this medallion and his partner (O3392) the idealised king and queen are depicted according to the conventions of painted portraits, their faces in half-profile against a plain background with a large curtain. Charles II wears armour and the emblem of the Golden Fleece. Maria Anna, his second wife whom he married by proxy in 1689, wears an ornate, low-necked bodice with a jewelled brooch and the

Rock crystal salver with pierced border and ten engraved stems
Silver gilt, Rock crystal / hyaline quartz. Ca. 1615
Anonymous
Rock crystal salver with pierced border and ten engraved stems
Silver gilt, Rock crystal / hyaline quartz. Ca. 1615
Anonymous

An oval salver or tray made up of seven pieces of rock crystal, identical in structure to O104. There are variations in the decorative composition, the work of the same Milanese workshop, recognisable by the flowers on the ends of the central spiral patterns. On this piece, however, the clearly Baroque decoration has, to borrow Arbeteta’s phrase, burst its banks. Moreover, the gentle curve of the

Clock with the allegories of Study and Philosophy, crowned by an eagle
Bronze. XIX century
Anonymous
Clock with the allegories of Study and Philosophy, crowned by an eagle
Bronze. XIX century
Anonymous

White marble tabletop clock, with ornaments and an eagle in gilt bronze, and two seated allegorical figurines. The figures, a young woman reading and a young man writing, are known as the allegories of study / science and philosophy / the arts, and are modeled after the French sculptor Louis-Simon Boizot (1743-1809). These figures, which Boizot designed in Sèvres porcelain, became very popu

Pyramid clock
Marble. First quarter of the XIX century
Anonymous
Pyramid clock
Marble. First quarter of the XIX century
Anonymous

White marble tabletop clock with gilt bronze ornaments, pyramidal shape with lantern and glass, placed on a wooden base. In addition to this, the museum preserves another white marble table clock (O206). These two clocks were transferred from the Main Palace to this Royal Museum for the internal order of the Establishment, by virtue of an order dated September 29, 1842.

Writing cabinet
Copper alloy, Ebony wood, Shell. 1702 - 1714
Anonymous
Writing cabinet
Copper alloy, Ebony wood, Shell. 1702 - 1714
Anonymous

The cabinet has three sections arranged symmetrically with a bronze handle on each side. The central section has a folding door at the right, with a secret drawer underneath it and four small drawers on each side with bronze pulls. The two lateral sections have four larger drawers each, with two small wooden pulls on each one. All three sections are topped by a pediment, which is higher in the cas

Charles II
Gilt-bronze. Ca. 1691
Anonymous
Charles II
Gilt-bronze. Ca. 1691
Anonymous

In this medallion and his partner (O3394) the idealised king and queen are depicted according to the conventions of painted portraits, their faces in half-profile against a plain background with a large curtain. Charles II wears armour and the emblem of the Golden Fleece.

Maria Anna of Neuburg
Gilt-bronze. Ca. 1691
Anonymous
Maria Anna of Neuburg
Gilt-bronze. Ca. 1691
Anonymous

In this medallion and his partner (O3392) the idealised king and queen are depicted according to the conventions of painted portraits, their faces in half-profile against a plain background with a large curtain. Charles II wears armour and the emblem of the Golden Fleece. Maria Anna, his second wife whom he married by proxy in 1689, wears an ornate, low-necked bodice with a jewelled brooch and the

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