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Danaë and the Shower of Gold
Oil on canvas. 1560 - 1565
Titian (Tiziano Vecellio)
Danaë and the Shower of Gold
Oil on canvas. 1560 - 1565
Titian (Tiziano Vecellio)

The first Poesie presented to Prince Philip were Danaë (1553, The Wellington Collection) and Venus and Adonis (1554, Museo del Prado, P422), versions of other previous works, but endowed with all the prestige of the commissioning party. In turn, these works became models for numerous replicas (Danaë receiving the Golden Rain, 1560-65, Museo del Prado, P425).Danaë depicts the moment

Aerial View of the Siege of Breda
Oil on canvas. First half of the XVII century
Snayers, Peter
Aerial View of the Siege of Breda
Oil on canvas. First half of the XVII century
Snayers, Peter

The plaza occupies the center of the image, surrounded by the fortifications and the camp. Amprosio Spínola appears in a carriage alongside a group of riders and footmen in the right foreground. On the left, a cartouche details the different positions in Italian, with indicative letters and numerals. We have detailed knowledge of this crucial moment in the War of Flanders, thanks to Hermann

The Continence of Scipio
Oil on panel. 1496
Aspertini, Amico; Aspertini, Guido
The Continence of Scipio
Oil on panel. 1496
Aspertini, Amico; Aspertini, Guido

This painting and The Rape of the Sabines (P524) were part of the decoration of two cassoni commissioned in May 1496 in Bologna by Lodovico da Sala from the painter Guido Aspertini. These paintings were commissioned for the betrothal of his daughter Angelica to Giovan Battista Bolognetti held in August of that year. Certain elements of The Continence of Scipio also suggest that these panels are as

The Recapture of Bahía de Todos los Santos
Oil on canvas. 1634 - 1635
Maíno, Fray Juan Bautista
The Recapture of Bahía de Todos los Santos
Oil on canvas. 1634 - 1635
Maíno, Fray Juan Bautista

The Recapture of Bahía de Todos los Santos was commissioned from Maíno towards the end of 1634. The artist was still working on it on 24 March 1635, date on which he received the first 18,600 maravedíes on account, corresponding to an order of payment from the Chief Notary of the Council of Aragon, Jerónimo de Villanueva (died 1653). Maíno completed the painting

Battle
Oil on canvas. 1650 - 1654
Chiesa, Pasquale
Battle
Oil on canvas. 1650 - 1654
Chiesa, Pasquale

The Battle is a work well-known to specialists in 17th-century Neapolitan painting, largely because it was included in the original catalogue of the 1985 exhibition in Madrid on the subject. On that occasion, Pérez Sánchez attributed the work to Aniello Falcone, the name traditionally associated with the canvas. In 1857, it was included in an inventory as a work presumed to have been

The Victory at Fleurus
Oil on canvas. 1634
Carducho, Vicente
The Victory at Fleurus
Oil on canvas. 1634
Carducho, Vicente

This painting depicts the battle of Fleurus, near Brussels, which pitted troops from the Catholic League commanded by General Gonzalo Fernández de Córdoba against Protestant Union soldiers led by Count Ernst von Mansfeld and Prince Christian of Brunswick. The Catholic League’s victory on August 29, 1622 freed Brussels—governed at that time by Isabel Clara Eugenia—from the threat pose

The Virgin and Child
Oil on canvas. XVI century
Romano, Giulio (Giovanni Francesco Penni) (Copy After)
The Virgin and Child
Oil on canvas. XVI century
Romano, Giulio (Giovanni Francesco Penni) (Copy After)

The painting reproduces an original by Giulio Romano that was in the Royal Palace of Madrid and passed to the Wellington Collection during the War of Independence, as part of King Joseph Bonaparte´s luggage. The original is now in Apsley House (WM 1618GÇô1948, oil on wood, 51 x 37 cm).

Roman Gladiators with Wooden Swords
Oil on canvas. 1635 - 1639
Romanelli, Giovanni Francesco
Roman Gladiators with Wooden Swords
Oil on canvas. 1635 - 1639
Romanelli, Giovanni Francesco

Until 1956, this painting was attributed to Pietro da Cortona, an understandable mistake, given how close Romanelli’s style was to that of his teacher. In fact, it appears as such in Charles II’s will and in the Museo del Prado’s 1845 catalog (p. 373, no. 1623), where it is mentioned for the first time as being on the staircase leading to the new Flemish rooms of the ground floor. In the 1878 cata

The Donation of Constantine / Three Studies for the Figure of a Youth
Pencil, Pencil ground, Grey-brown ink, Wash on yellow paper. 1588 - 1589
Nebbia, Cesare
The Donation of Constantine / Three Studies for the Figure of a Youth
Pencil, Pencil ground, Grey-brown ink, Wash on yellow paper. 1588 - 1589
Nebbia, Cesare

As Zuccari correctly noted, this is a study for Nebbia´s lunette fresco of the Donation of Constantine painted in the Benediction Loggia of S. Giovanni in Laterano, Rome, in c. 1590 (Madonna, 1993, p. 124). Nebbia and his collaborator, Giovanni Guerra (1544-1618) organized the decoration of the loggia, which was shared between a number of other painters. Payments to Nebbia and Guerra for their wor

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

Procession with Alessandro Farnese, Duke of Parma
Pencil, Pencil ground, Grey-brown ink, White lead, Wash on paper. Second half of the XVI century
Tinti, Giovanni Battista (Attributed To)
Procession with Alessandro Farnese, Duke of Parma
Pencil, Pencil ground, Grey-brown ink, White lead, Wash on paper. Second half of the XVI century
Tinti, Giovanni Battista (Attributed To)

As Gabriele Finaldi has pointed out, the military leader with the magnificent plumed helmet on his head is Alessandro Farnese, Duke of Parma (1545-1592), and his coat-of-arms appear top center, almost directly above. He is evidently setting out for war: his grooms bring forward his charger behind him; three maidens, bearing objects symbolic of protection, sustenance, and wealth precede him; and le

An Open Right Hand, Fragment from the Tapestry Cartoon The Continence of Scipio
Oil, Wash on paper. First half of the XVI century
Romano, Giulio (Giovanni Francesco Penni) (Attributed To)
An Open Right Hand, Fragment from the Tapestry Cartoon The Continence of Scipio
Oil, Wash on paper. First half of the XVI century
Romano, Giulio (Giovanni Francesco Penni) (Attributed To)

The hand and forearm correspond, in reverse, to that of the Roman general Scipio Africanus in a composition of the Continence of Scipio, the appearance of which is recorded in an old copy in the Louvre. In the Louvre drawing, Scipio is shown seated on a throne in front of his lictors: clearly seen in the cartoon fragment are the fasces held by two of the lictors, as well as the tunic decorated wit

Battle between Hercules and the Amazons
Pencil, Grey-brown ink on brown paper. 1544 - 1550
Cambiaso, Luca
Battle between Hercules and the Amazons
Pencil, Grey-brown ink on brown paper. 1544 - 1550
Cambiaso, Luca

The encounter between Hercules and the Amazons, the ninth of his Labors, arose from his assignment to seize the girdle of Queen Hippolyte of the Amazons. Admete, the daughter of Eurystheus, had expressed a desire to possess it, and Hercules therefore set off on a mission to satisfy her desire. The girdle was the ensign of the Queen´s power and she had received it as a present from Ares. The Amazon

Beheading of Sixtus II
Pencil, Pencil ground, Grey-brown ink, Wash on yellow paper. Early Segunda mitad del siglo XVI - XVII century
Guerra, Giovanni
Beheading of Sixtus II
Pencil, Pencil ground, Grey-brown ink, Wash on yellow paper. Early Segunda mitad del siglo XVI - XVII century
Guerra, Giovanni

Traditionally attributed to Nebbia, the drawing was given subsequently to Orazio Samacchini (1532-1577) and Luca Giordano, as old pen inscriptions on the front of the mount in different hands bear witness. John A. Gere, in 1981, proposed the torrent attribution to Giovanni Guerra. As Elizabeth McGrath and Paul Taylor have kindly pointed out, the pope about to be beheaded is Sixtus II, and the deac

the Madonna di Loreto, with Sts. Sebastian and Roch, appearing before a crowd of monks and pilgrims [Members of the Third Order of St. Francis (?)]
Pencil, Grey-brown ink, Wash on paper. Late XVI century
Anonymous
the Madonna di Loreto, with Sts. Sebastian and Roch, appearing before a crowd of monks and pilgrims [Members of the Third Order of St. Francis (?)]
Pencil, Grey-brown ink, Wash on paper. Late XVI century
Anonymous

The arms of Pope Sixtus V appear in the middle of the base. To either side of the arms are two empty escutcheons, each surmounted by a Cardinal´s hat, as if the particulars of the two cardinal donors had yet to be determined. As A. Zuccari has observed, in a note on the mount, the style is close to that of the Roman painters Giovanni Guerra (1544-1618) and Cesare Nebbia (c. 1536-1614). The two sai

Charles VII of Naples, the future Charles III of Spain
Italian marble. Ca. 1744
Anonymous
Charles VII of Naples, the future Charles III of Spain
Italian marble. Ca. 1744
Anonymous

A medallion portraying the young Charles of Bourbon (1716-1788), recently proclaimed King of Naples and Sicily, who would become King Charles III of Spain in 1759. Shown in profile with a large wig and dressed all’antica, his breastplate bears a head of Medusa, an allusion to the mythological heroes, and the golden fleece, the symbol of the Order of the same name.

Allegory of Francesco I de’Medici
Alabaster. 1560 - 1561
Giambologna (Giovanni Da Bologna)
Allegory of Francesco I de’Medici
Alabaster. 1560 - 1561
Giambologna (Giovanni Da Bologna)

The protagonist of this relief is Francesco de’Medici (1541-1587). His is the figure at the right, whom the gods´ messenger, Mercury, leads by the hand, towards a female figure that has been identified as an embodiment of the city of Florence. On the left of the composition are diverse mythological and allegorical figures, including a fluvial personification who probably represents the Arno River.

Carlos II on Horseback
Gilt-bronze, Wood. 1698
Foggini, Giovanni Battista
Carlos II on Horseback
Gilt-bronze, Wood. 1698
Foggini, Giovanni Battista

A small equestrian statue on a gilded wooden base. The Spanish king, Carlos II (1661-1700) wears epic clothing of Roman character, holding a scepter in his right hand and the reins of his horse in the left. His heroic and powerful posture is strengthened by the rearing position of his steed. Foggini made various sketches for this work, which he modeled after the Baroque bronze artist, Pietro Tacca

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