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Dead Christ, surrounded by the Instruments of the Passion, with God the Father and the Holy Spirit
Pencil, Grey-brown ink, Wash on paper. Second half of the XVI century
Anonymous
Dead Christ, surrounded by the Instruments of the Passion, with God the Father and the Holy Spirit
Pencil, Grey-brown ink, Wash on paper. Second half of the XVI century
Anonymous

Although the present composition is ultimately dependent in origin on Albrecht Dürer´s great woodcut of the Trinity, a Florentine interpretation of the design is evident in the conception of the figure of the dead Christ, which derives from that inMichelangelo´s marble Pieta in Florence Cathedral and not from Dürer´s slender corpse. Further evidence that the Prado drawing could be a Flor

Sappho
Marble. S XVI - XVII century
Anonymous
Sappho
Marble. S XVI - XVII century
Anonymous

Cabeza femenina con el pelo sujeto por una cinta y cubierto por un pañuelo. Por delante de las orejas caen dos pares de rizos sobre las mejillas. Este prototipo creado en Grecia fue tradicionalmente identificado como Safo, aunque también como ninfa o musa.Cacciotti (1994) opina que la cabeza del Museo del Prado pudo pertenecer a la colección Giustiniani, basándose en la identificación de un grabad

Apollo
Marble. 150 - 160
Anonymous
Apollo
Marble. 150 - 160
Anonymous

This is a Roman variant of the Tiber Apollo by Calamis (about 450 B. C.). When this statue was made in the Antonine period it was common practice to embellish Greek models with additional attributes. Apollo is thus presented as an archer with a bow (now lost) in his left hand, a quiver and cloak. Perched on his left forearm was a crow, considered to have divinatory powers, while the serpent on his

Ariadne
Marble. XVIII century
Anonymous
Ariadne
Marble. XVIII century
Anonymous

This sculpture is relatively close to a Hellenistic original (c. 150 BC) in the Musei Vaticani. Abandoned by Theseus, whom she had helped to defeat the Minotaur, the Cretan princess Ariadne is shown sleeping on the beach at Naxos. She was found there by Dionysus, the future father of her children. This sculpted Ariadne wears a snake-shaped bracelet, leading to her identification in the past as Cle

The Emperor Hadrian
Marble. 1600 - 1650
Anonymous
The Emperor Hadrian
Marble. 1600 - 1650
Anonymous

This portrait of Hadrian (117-138 AD) does not follow a specific classical model, freely interpreting elements such as the curls of his hair and his expression. It may have belonged to Queen Christina of Sweden (1626-1689). It is technically comparable to the bust of Caligula (E00375).

Christ the Saviour
White marble, Red marble. Ca. 1600
Anonymous
Christ the Saviour
White marble, Red marble. Ca. 1600
Anonymous

Busto de Cristo mayor que el natural, con la cabeza vuelta hacia la derecha del espectador y los ojos bajos. El rostro tiene forma oval, con labios muy finos, barba partida y cabello largo y rizado que cae sobre los hombros. El manto que cubre éstos y la parte superior del pecho es de marmol rojo. Llama la atención lo poco terminada que está la parte posterior de la escultura, como si se hubiera h

Portrait Bust of a Man
Marble. XVII century
Anonymous
Portrait Bust of a Man
Marble. XVII century
Anonymous

Copia de un retrato griego con cabello y barba rizados. Viste manto sobre túnica abierta, con dos botones en el medio. Estos detalles enlazan con los ropajes con los que se representaba durante el Renacimiento a los sabios griegos, pero por otro lado el modelo de busto parece posterior, del siglo XVII, al menos. Existe un vaciado en bronce, denominado Zenón, de la cabeza únicamente, en el Palacio

Dionysus (Bacchus)
White marble. 190 - 210
Anonymous
Dionysus (Bacchus)
White marble. 190 - 210
Anonymous

This Roman work is based on a classical Greek model by the School of Polyclitus (c. 400 B. C.) known as the Dresden Ephebe. The statue of the athlete was transformed into the god of wine in the Roman period and a new head was added with a Dionysian band, an ivy wreath and grapes. The hands holding a goblet and grapes were added in the seventeenth century.

María Ignacia Álvarez de Toledo y Gonzaga Caracciolo, Marchioness of Astorga
Marble. Late XVIII century
Anonymous
María Ignacia Álvarez de Toledo y Gonzaga Caracciolo, Marchioness of Astorga
Marble. Late XVIII century
Anonymous

The 10th Marchioness of Villafranca del Bierzo (1757-1795), who was also painted by Goya, was the first wife of the 16th Marquis of Astorga, an important art collector. The Marchioness has a curious hairstyle fashionable at this period and wears the sash of the Order of María Luisa, a privilege reserved for thirty women of the upper Spanish nobility. Her coat-of-arms appears on the back of

Juno
Marble. XVI century
Anonymous
Juno
Marble. XVI century
Anonymous

Retrato de tamaño algo mayor que el natural, identificado por Coppel (1998) como Juno. Viste túnica con traje y manto y tiene restaurada la nariz y pegada la cabeza. El modelo deriva de la estatua de Juno Cesi, que se conserva en Roma, en el Museo Capitolino. Juno, hermana y esposa de Jupiter, era la protectora de las mujeres y del matrimonio. Frecuentemente aparece representada velada. Hübner (18

Ethiopian Woman
Marble, Black limestone. Early XVII century
Anonymous
Ethiopian Woman
Marble, Black limestone. Early XVII century
Anonymous

The piece belongs to a group of four busts of Ethiopians purchased for the Buen Retiro Palace in 1678 by Charles II. Their inspiration comes from models by the French sculptor Nicolas Cordier, the creator of the celebrated and enigmatic Moor (1607-12), a sculpture of alabaster and various coloured marbles made for Scipione Borghese and now preserved at the Musée du Louvre.

The Emperor Marcus Aurelius
White marble. 161 - 169
Anonymous
The Emperor Marcus Aurelius
White marble. 161 - 169
Anonymous

La iconografía de Marco Aurelio se divide en cuatro tipos de retratos sucesivos. De ellos, los dos primeros lo representan joven, como príncipe heredero bajo Antonino Pío (138-161 d. C.), y el tercero, al que corresponde el presente busto, conmemora su coronación junto a Lucio Vero (161 d. C.). El cuarto tipo, que muestra al monarca con barba y melena más largas, sustituye al anterior en 169 d. C.

Ethiopian Man
Marble, Black limestone, Jasper. Early XVII century
Anonymous
Ethiopian Man
Marble, Black limestone, Jasper. Early XVII century
Anonymous

A piece created under the influence of Nicolas Cordier (1567-1612), a French sculptor and restorer resident in Rome who specialised in combining alabaster and marbles of various colours, and is considered the first modern sculptor to handle this type of subject. The bust, together with another three preserved at the Museo del Prado, was acquired by Charles II for the Buen Retiro Palace.

''Hispania''. Female bust
Africano marble, White marble. II century
Anonymous
''Hispania''. Female bust
Africano marble, White marble. II century
Anonymous

This female bust, identified by Hübner in the inventories of the Alcázar, represents Hispania, the personification of Spain, according to a type developed in the time of Philip II. Her hair bears similarities to the “towering” haridos seen on Roman matrons of the middle of the 2nd century A.D., but is more heavily ornamented with curls. The workmanship and proportions of the head bring

Pallas Athena
Marble. XVIII century
Anonymous
Pallas Athena
Marble. XVIII century
Anonymous

This sculpture depicts the Greek goddess of war, the arts and wisdom - the latter symbolised by the owl on her helmet - known as Minerva in Roman mythology. On her breastplate is the winged head with snakes for hair that was used to terrify the enemy and which refers to the Gorgon Medusa. Punished by Athena and transformed into a monster, Medusa turned all those who looked at her to stone.

Ethiopian Woman
Italian marble, Black limestone. Early XVII century
Anonymous
Ethiopian Woman
Italian marble, Black limestone. Early XVII century
Anonymous

A bust of a woman with cloak and turban, designed by combining materials of various colours. The holes in the earlobes and on the back of the turban suggest it may have worn a diadem or some adornment in metal or another material. It was acquired by Charles II in 1678 for the Buen Retiro Palace.

Roman Woman
White marble. Ca. 1550
Anonymous
Roman Woman
White marble. Ca. 1550
Anonymous

Medallón circular, en mármol de Italia, con una cabeza femenina de perfil, tamaño algo mayor que el natural y bajo relieve. Es un retrato de mujer que ciñe diadema adornada de perlas y mira hacia la derecha del espectador. Parte del fondo es de un añadido realizado en el Taller de Restauración.

Roman Man
White marble. Ca. 1550
Anonymous
Roman Man
White marble. Ca. 1550
Anonymous

En este medallón se representa la cabeza de un joven imberbe hasta la zona clavicular. Su pelo corto se articula en ondulados mechones falciformes que se arremolinan movidos sobre la frente. Aunque la estructura y medidas del tondo son muy similares a las de los medallones lombardos, como los que ornamentan la capilla Colleoni o la Certosa de Pavía, la apariencia y estilo del rostro revela su vinc

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