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Tityus
Oil on canvas. Ca. 1565
Titian (Tiziano Vecellio)
Tityus
Oil on canvas. Ca. 1565
Titian (Tiziano Vecellio)

In his Metamorphoses Ovid recounts the torments of the Giant Tityus, whose punishment for having attempted to rape the goddess Leto was to have two vultures devouring his continually regenerating liver for eternity. This work is Titian´s own late repetition of the original, painted by him for Mary of Hungary as part of a series of Furies. It was conceived as a warning for those who dared to challe

Landscape with Dido and Aeneas
Oil on canvas. Third quarter of the XVII century
Agüero, Benito Manuel de
Landscape with Dido and Aeneas
Oil on canvas. Third quarter of the XVII century
Agüero, Benito Manuel de

This is a superb example of the type of landscape that Agüero and Mazo painted for the Court: paintings already marked by their knowledge of the works of Claude Lorraine and, especially here, Salvatore Rosa. The event depicted is drawn directly from the Aeneid and narrates the moment in a hunting expedition when Juno provokes a storm that obliges Dido and Aeneas to take shelter in a cave (IV,

Landscape with Leto and the Peasants Transformed into Frogs
Oil on canvas. Third quarter of the XVII century
Agüero, Benito Manuel de
Landscape with Leto and the Peasants Transformed into Frogs
Oil on canvas. Third quarter of the XVII century
Agüero, Benito Manuel de

This work´s subject is quite uncommon in Spanish painting, although frequent in Italian seicento works. It is drawn from Ovid´s Metamorphoses (VI, 337-382), which narrates how, fleeing Juno, Leto arrives at Lycia with her two children by Jupiter, Apollo and Diana. Despite her thirst, the local peasants hinder her efforts to drink in a small pond, and in her rage, she converts them into

The Birth of Apollo and Diana
Ink, White lead, Wash on laid paper. Ca. 1625
Rubens, Peter Paul
The Birth of Apollo and Diana
Ink, White lead, Wash on laid paper. Ca. 1625
Rubens, Peter Paul

Held by two young maids, Leto gives birth to Diana and Apollo before a temple portico. She is surrounded by women and children who help her bear the pain. A second group of children in the foreground contribute to sense of depth, reflecting a mannerist practice common in works by Giulio Romano and Primaticcio.In the Pastrana family inventory, this was considered a drawing of the death of Pandora,

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