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Venus and Cupid
Pencil, Grey-brown ink on paper. XVI century
Anonymous
Venus and Cupid
Pencil, Grey-brown ink on paper. XVI century
Anonymous

Venus, Adonis and Cupid
Pencil, Pencil ground, Grey-brown ink on paper. XVI century
Anonymous
Venus, Adonis and Cupid
Pencil, Pencil ground, Grey-brown ink on paper. XVI century
Anonymous

Venus and Cupid
Pencil, Pencil ground, Grey-brown ink on paper. XVI century
Anonymous
Venus and Cupid
Pencil, Pencil ground, Grey-brown ink on paper. XVI century
Anonymous

An equally feeble studio version, closely corresponding in composition, is in the British Museum, London (1946-7-13-1347).

Venus, Adonis and Cupid
Pencil, Pencil ground, Grey-brown ink on paper. XVI century
Anonymous
Venus, Adonis and Cupid
Pencil, Pencil ground, Grey-brown ink on paper. XVI century
Anonymous

The Suidas connected this drawing with Cambiaso´s Venus and Adonis in the Galleria Borghese. Another studio version of the same composition, corresponding closely in outline to the Prado drawing but differing from it through the addition of shading in brush and wash, is in the Fondazione Horne, the Uffizi, Florence (inv. no. 5580).This and nos. D01716, D01722, D01890 and D01899 from the Album were

Venus and Cupid
Pencil, Pencil ground, Grey-brown ink on paper. XVI century
Anonymous
Venus and Cupid
Pencil, Pencil ground, Grey-brown ink on paper. XVI century
Anonymous

This is a replica of a drawing by Cambiaso or his School in the Louvre, Paris. Among the many School versions of this composition, is one formerly in the Suida Manning Collection, New York, and now in the Jack S. Blanton Museum, University of Texas, Austin.

Venus, Adonis and Cupid
Pencil, Pencil ground, Grey-brown ink on paper. XVI century
Anonymous
Venus, Adonis and Cupid
Pencil, Pencil ground, Grey-brown ink on paper. XVI century
Anonymous

Venus´s reclining body, with her left hand raised in order to pull Adonis´s head close to hers, echoes the goddess´s pose in a painting of Venus and Adonis in a private collection, Genoa. The positions of both Cupid and Adonis are, however, different.This and nos. D01716, D01722, D01890 and D01899 from the Album were connected by the Suidas with a painting of Venus Restraining Adonis from the Hunt

Venus, Adonis and Cupid
Pencil, Pencil ground, Grey-brown ink on paper. XVI century
Anonymous
Venus, Adonis and Cupid
Pencil, Pencil ground, Grey-brown ink on paper. XVI century
Anonymous

This and nos. D01715, D01716, D01890 and D01899 from the Album were connected by the Suidas with a painting of Venus Restraining Adonis from the Hunt in the Palazzo Bianco, Genoa. The composition shows knowledge of Titian´s famous painting of the subject in the Prado.

Venus, Adonis and Cupid
Pencil, Pencil ground, Grey-brown ink on paper. XVI century
Anonymous
Venus, Adonis and Cupid
Pencil, Pencil ground, Grey-brown ink on paper. XVI century
Anonymous

This and nos. D01715, D01722, D01890 and D01899 from the Album were connected by the Suidas with a painting of Venus Restraining Adonis from the Hunt in the Palazzo Bianco, Genoa.

Venus and Cupid
Pencil, Pencil ground, Grey-brown ink, Wash on paper. XVI century
Anonymous
Venus and Cupid
Pencil, Pencil ground, Grey-brown ink, Wash on paper. XVI century
Anonymous

Venus and Cupid
Pencil, Grey-brown ink on paper. XVI century
Anonymous
Venus and Cupid
Pencil, Grey-brown ink on paper. XVI century
Anonymous

Venus and Cupid
Pencil, Pencil ground, Grey-brown ink on paper. XVI century
Anonymous
Venus and Cupid
Pencil, Pencil ground, Grey-brown ink on paper. XVI century
Anonymous

The drawing must have been placed sideways, at the top of the Album page. The composition is connected with Cambiaso´s painting of Venus Disarming Cupid in the Chateau de Merkenau, near Strasbourg.

The Judgement of Paris
Pencil, Pencil ground, Grey-brown ink, White lead, Wash on blue paper. Early Finales del siglo XVI - XVII century
Anonymous
The Judgement of Paris
Pencil, Pencil ground, Grey-brown ink, White lead, Wash on blue paper. Early Finales del siglo XVI - XVII century
Anonymous

This drawing appears to be by Villena as other drawings, though it lacks and old inscription giving it to Villamena.

Venus, Adonis and Cupid
Pencil, Pencil ground, Grey-brown ink on paper. XVI century
Anonymous
Venus, Adonis and Cupid
Pencil, Pencil ground, Grey-brown ink on paper. XVI century
Anonymous

This is a variant of the composition of a painting from Cambiaso´s late period, now untraced, formerly in the collection of the Duc d´Orleans, the appearance of which survives in an engraving by G. M. Villain. In both the lost painting and the Prado copy, the legs of the dead Adonis, with sandals laced half way up his shins, are intertwined with those of the grief-stricken Venus. The motif of the

Venus, Adonis and Cupid
Pencil, Pencil ground, Grey-brown ink on paper. XVI century
Anonymous
Venus, Adonis and Cupid
Pencil, Pencil ground, Grey-brown ink on paper. XVI century
Anonymous

This and nos. D01716, D01722, D01890 and D01899 from the Album were connected by the Suidas with a painting of Venus Restraining Adonis from the Hunt in the Palazzo Bianco, Genoa.

Venus and Cupid
Pencil, Pencil ground, Grey-brown ink on paper. XVI century
Anonymous
Venus and Cupid
Pencil, Pencil ground, Grey-brown ink on paper. XVI century
Anonymous

Venus and Cupid
Pencil, Pencil ground, Grey-brown ink on paper. XVI century
Anonymous
Venus and Cupid
Pencil, Pencil ground, Grey-brown ink on paper. XVI century
Anonymous

Cupid, seated in Venu´s lap, raises his face to kiss her. The two figures correspond precisely in pose to those in a painting by Cambiaso of Venus and Cupid accompanied by a satyr in a landscape in the Palazzo Belimbau, Genoa. However, in the painting, the figures are seated on a piece of drapery rather than on clouds.

Venus and Adonis
Black chalk, Pencil on dark yellow paper. 1676
Anonymous
Venus and Adonis
Black chalk, Pencil on dark yellow paper. 1676
Anonymous

Dibujo en el que se representa a Venus sentada a la derecha con Cupido; ante ella, arrodillado, Adonis. Lleva una inscripción con el nombre de Mola y una fecha en 1676, por lo que no se puede referir a Pier Francesco Mola, muerto en 1666, sino tal vez a su hijo (Texto extractado de Mena Marqués, M.: Catálogo de dibujos. VI. Dibujos italianos del siglo XVII, Museo del Prado, 1983, p. 201).

The Muse Euterpe
White marble. 130 - 150
Anonymous
The Muse Euterpe
White marble. 130 - 150
Anonymous

This marble statue and other seven more (E000068, E000041, E000040, E000062, E000061, E000038, E000069) 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

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