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The Marchioness of Santa Cruz
Oil on unlined canvas. 1805
Goya y Lucientes, Francisco de
The Marchioness of Santa Cruz
Oil on unlined canvas. 1805
Goya y Lucientes, Francisco de

Joaquina Téllez-Girón y Pimentel (1784-1851) was the daughter of the Duke and Duchess of Osuna and Marchioness of Santa Cruz by her marriage to José Gabriel de Silva y Walstein in 1801. A friend of poets and literati, she was one of the most admired women of her time. Goya presents her wearing white crêpe and reposing on a canapé upholstered in red velvet. She is

Vault with the Apotheosis of the Spanish Monarchy
Fresco-secco, Fresco painting on wall covering. Ca. 1697
Giordano, Luca
Vault with the Apotheosis of the Spanish Monarchy
Fresco-secco, Fresco painting on wall covering. Ca. 1697
Giordano, Luca

The vault of the former Hall of Ambassadors at the Buen Retiro Palace, constructed alongside the former Royal Quarters of San Jerónimo at the behest of the Count-Duke of Olivares as a royal residence for leisure and for the monarchs’ public and official receptions. In the eastern part of this complex, a small building was erected after the palace itself was completed (1632). It was designed

The Muse Talía
Pencil on paper. Mid-XVIIIcentury
Ajello, Eutichio
The Muse Talía
Pencil on paper. Mid-XVIIIcentury
Ajello, Eutichio

This drawing belongs to the Ajello Sketchbook, a group of fifty-nine unbound pencil drawings that were models for engraving to illustrate a descriptive calendar of sculptures that Philip V and his wife, Elizabeth of Farnesio, had gathered in the Royal Palace of La Granja de San Ildefonso.

Terpsichore
Pencil on paper. Mid-XVIIIcentury
Ajello, Eutichio
Terpsichore
Pencil on paper. Mid-XVIIIcentury
Ajello, Eutichio

This drawing belongs to the Ajello Sketchbook, a group of fifty-nine unbound pencil drawings that were models for engraving to illustrate a descriptive calendar of sculptures that Philip V and his wife, Elizabeth of Farnesio, had gathered in the Royal Palace of La Granja de San Ildefonso.

The Muse Calliope
Pencil on paper. Mid-XVIIIcentury
Ajello, Eutichio
The Muse Calliope
Pencil on paper. Mid-XVIIIcentury
Ajello, Eutichio

This drawing belongs to the Ajello Sketchbook, a group of fifty-nine unbound pencil drawings that were models for engraving to illustrate a descriptive calendar of sculptures that Philip V and his wife, Elizabeth of Farnesio, had gathered in the Royal Palace of La Granja de San Ildefonso.

Roman Woman
Pencil on paper. Mid-XVIIIcentury
Ajello, Eutichio
Roman Woman
Pencil on paper. Mid-XVIIIcentury
Ajello, Eutichio

This drawing belongs to the Ajello Sketchbook, a group of fifty-nine unbound pencil drawings that were models for engraving to illustrate a descriptive calendar of sculptures that Philip V and his wife, Elizabeth of Farnesio, had gathered in the Royal Palace of La Granja de San Ildefonso.

The Muse Clío
Pencil on paper. Mid-XVIIIcentury
Ajello, Eutichio
The Muse Clío
Pencil on paper. Mid-XVIIIcentury
Ajello, Eutichio

This drawing belongs to the Ajello Sketchbook, a group of fifty-nine unbound pencil drawings that were models for engraving to illustrate a descriptive calendar of sculptures that Philip V and his wife, Elizabeth of Farnesio, had gathered in the Royal Palace of La Granja de San Ildefonso.

Erato (?)
Red chalk, White chalk on dark toned paper. Before 1769
Bayeu, Francisco
Erato (?)
Red chalk, White chalk on dark toned paper. Before 1769
Bayeu, Francisco

This work depicts a head tilted to the left of the drawing and foreshortened from below. This is a preparatory drawing – probably intended for the head of the figure of Erato in the centre-right part of the fresco The Apotheosis of Hercules – painted before 1769 and corresponding to the cupola in the Conversation Room of the living quarters of the Princes of Asturias. Today, this space is known as

Euterpe
Pencil on paper. Mid-XVIIIcentury
Ajello, Eutichio
Euterpe
Pencil on paper. Mid-XVIIIcentury
Ajello, Eutichio

This drawing belongs to the Ajello Sketchbook, a group of fifty-nine unbound pencil drawings that were models for engraving to illustrate a descriptive calendar of sculptures that Philip V and his wife, Elizabeth of Farnesio, had gathered in the Royal Palace of La Granja de San Ildefonso.

The Muse Erato
Pencil on paper. Mid-XVIIIcentury
Ajello, Eutichio
The Muse Erato
Pencil on paper. Mid-XVIIIcentury
Ajello, Eutichio

This drawing belongs to the Ajello Sketchbook, a group of fifty-nine unbound pencil drawings that were models for engraving to illustrate a descriptive calendar of sculptures that Philip V and his wife, Elizabeth of Farnesio, had gathered in the Royal Palace of La Granja de San Ildefonso.

The Muse Polymnia
Pencil on paper. Mid-XVIIIcentury
Ajello, Eutichio
The Muse Polymnia
Pencil on paper. Mid-XVIIIcentury
Ajello, Eutichio

This drawing belongs to the Ajello Sketchbook, a group of fifty-nine unbound pencil drawings that were models for engraving to illustrate a descriptive calendar of sculptures that Philip V and his wife, Elizabeth of Farnesio, had gathered in the Royal Palace of La Granja de San Ildefonso.

Muse
Marble. 150 A.C. - 125 a.C.
Greek Sculptor
Muse
Marble. 150 A.C. - 125 a.C.
Greek Sculptor

This Greek statue of a Muse shows her wearing the high cothurni of the theatre on her feet, and she may have originally carried an instrument in her left arm. The dress she wears, a long chiton with a high belt and a cloak thrown backwards, is proper to Greek musicians. The seventeenth-century additions which it had were removed in the nineteenth century.

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

This marble statue and other seven more (E000041, E000040, E000062, E000061, E000038, E000069, E000037) 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

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

This marble statue and other seven more (E000068, E000041, E000040, E000062, E000038, E000069, E000037) 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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