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Masinissa Mourning Over the Death of Sophonisba (?)
Oil on canvas. XVII century
Finoglia, Paolo Domenico
Masinissa Mourning Over the Death of Sophonisba (?)
Oil on canvas. XVII century
Finoglia, Paolo Domenico

Within the large series of paintings dedicated to the history of Rome, this work and Meleager’s Hunt (P2320) belong to a small group of scenes from mythology and the history of Antiquity. This is undoubtedly the most mysterious group in the series -so much so, that the subject matter of some of its paintings has yet to be identified today. Moreover, neither the significance of this group as a whol

Lupercalia
Oil on canvas. Ca. 1635
Camassei, Andrea
Lupercalia
Oil on canvas. Ca. 1635
Camassei, Andrea

Lupercalia was a festival involving sacrifices to the two deities associated, respectively, with fecundity and childbirth: Pan and Lucina. As part of the celebrations, the men whipped their wives to make them more fecund. Two young musicians close to the scene of the sacrifice to the gods, as well as the statue on the altar itself, carry wind instruments characteristic of this type of festivity.Wi

Meleager and Atalanta
Oil on canvas. 1620 - 1623
Jordaens, Jacques
Meleager and Atalanta
Oil on canvas. 1620 - 1623
Jordaens, Jacques

This mythological scene is drawn from the Metamorphoses of Roman poet Publio Ovidio Nason, one of the texts on ancient mythology that had the greatest intellectual impact on 17th-century Flemish artists. According to Ovid, Diana had sent an enormous wild boar to ravage the region of Calydon as punishment after the king failed to make the promised sacrifices to her. The king’s son, Meleager, was an

The Hunt of Meleager
Oil on canvas. 1634 - 1639
Poussin, Nicolas
The Hunt of Meleager
Oil on canvas. 1634 - 1639
Poussin, Nicolas

Until very recently there was total confusion as to the origin of this painting and the circumstances surrounding its entry into the Royal Collection. Its original owner was formerly thought to have been Cassiano dal Pozzo, an erudite Italian contemporary of Nicolas Poussin whose collection did, indeed, include a work with similar characteristics. Since 2005, however, the generally accepted hypoth

Three Nymphs with the Horn of Plety
Oil on canvas. 1615 - 1617
Rubens, Peter Paul; Snyders, Frans
Three Nymphs with the Horn of Plety
Oil on canvas. 1615 - 1617
Rubens, Peter Paul; Snyders, Frans

Goddess of grains and the harvest, Ceres holds some corn cobs in her right hand while, with the left, she holds a horn of plenty. Two nymphs fill the cornucopia with fruits, symbolizing the Earth´s generosity. The subject is inspired by Ovid´s mythological tales. In this collaboration between two artists, something quite frequent among Flemish painters, Rubens made the figures of the goddess and h

Visit of Queen Maria Amalia of Saxony to the Arch of Trajan in Benevento
Oil on canvas. Ca. 1759
Joli, Antonio
Visit of Queen Maria Amalia of Saxony to the Arch of Trajan in Benevento
Oil on canvas. Ca. 1759
Joli, Antonio

This architectural landscape showing the ancient Roman city of Benevento, near Naples, was painted around 1759 by Antonio Joli of Modena. A painter of theatre sets and vedute, Joli worked for theatres in Venice, London and Madrid, and painted numerous scenes for private collectors, which show the influence of Giovanni Paolo Panini, Gaspare Vanvitelli and Giovanni Antonio Canal (Canaletto). In 1756

Atalanta and Meleager hunting the Calydonian Boar
Oil on canvas. 1635 - 1640
Rubens, Peter Paul
Atalanta and Meleager hunting the Calydonian Boar
Oil on canvas. 1635 - 1640
Rubens, Peter Paul

As Ovid tells in his Metamorphosis (book VIII, 260-444), the goddess Diana sent a giant wild boar to ravage the kingdom of Calydon. The king´s son, Meleager, and his beloved Atalanta organize a hunt with the help of their cousins, Castor and Pollux. Rubens depicts this passage, distributing the figures in the foreground near the bottom of the composition in order to direct the viewer´s gaze toward

Roman Soldiers in the Circus
Oil on canvas. Ca. 1640
Falcone, Aniello
Roman Soldiers in the Circus
Oil on canvas. Ca. 1640
Falcone, Aniello

The story of the Museo del Prado’s Roman Soldiers at the Circus is similar to that of Roman Athletes (P92) and to Andrea di Lione’s Elephants at a Circus (P91). This artist passed through Falcone’s workshop and his works have often been mistaken for those of his teacher. As is often the case in the History of Rome cycle, it is difficult to date this work, which is not mentioned by any contemporane

The God of Sleep
Pencil on paper. Mid-XVIIIcentury
Ajello, Eutichio
The God of Sleep
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.

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

Boar
White marble. Ca. 20
Anonymous; Roman Sculptor
Boar
White marble. Ca. 20
Anonymous; Roman Sculptor

Probablemente en el siglo XVII, un autor desconocido dividió mediante un corte longitudinal el torso de la estatua de un jabalí de tamaño natural en dos partes; luego, las completó y montó cada una de las dos mitades sobre un tablero liso de mármol de color. Aún hoy se percibe fácilmente que la cabeza del animal estaba levemente girada hacia la derecha. Originalmente el pesado cuerpo no descansaba

Demetrius I Poliorcetes
Bronze. 307 A.C. - 300 a.C.
Hellenistic Workshop
Demetrius I Poliorcetes
Bronze. 307 A.C. - 300 a.C.
Hellenistic Workshop

The monumental dimensions of the bronze head, compatible with a statue approximately 3.5 m high, as well as its individualized features suggests a portrait rather than a mythological image. Schröder (1993) explained in detail that the bronze is an original Greek work datable between 310 and 290 BC. In stylistic terms it is notably similar to the marble head of Lysimachos (?) in Ephesos (Smith

Apollo
Italian marble. Ca. 1540
Cosini, Silvio
Apollo
Italian marble. Ca. 1540
Cosini, Silvio

Joven semidesnudo, coronado de laurel, cubierto únicamente por una larga túnica enrollada que cae desde la parte alta de la espalda hasta el suelo y calzado con sandalias de cintas entrelazadas. Con la mano derecha saca una flecha del carcaj, que está adornado con motivos de armas, y con la izquierda sostiene la empuñadura de un arco del que sólo queda esa parte y el punto de unión a un tronco de

Meleagrus' Hunt
Gilt-bronze. 1583 - 1584
Bandini, Giovanni Di Benedetto
Meleagrus' Hunt
Gilt-bronze. 1583 - 1584
Bandini, Giovanni Di Benedetto

The classical hero, accompanied by his dogs, takes on the wild boar of Caledonia who was devastating Attica, as told in the well-known mythological tale. This theme often appeared on sarcophagi and ancient sculptures that came to light during the Renaissance, inspiring numerous artists. With this sculptural group, Bandini sought to show the Duke of Urbino his skills with bronze after the latter ch

Diadumenus
White marble. 140 - 150
Roman Sculptor
Diadumenus
White marble. 140 - 150
Roman Sculptor

This is a Roman copy of Polyclitus´s Diadumenos (ca. 420 B.C.). Polyclitus of Argos (active ca. 460-420 B.C.) was quite far along in his career when he conceived this figure —probably Apollo— tying a ribbon ("diadoumenos") around his temples as a symbol of victory. At that time, his idea of a canon of ideal proportions had been enriched by his experience of Athenian art, as can clearly be seen in

Hunting Vase
Rock crystal / hyaline quartz. 1550 - 1575
Tortorino, Francesco
Hunting Vase
Rock crystal / hyaline quartz. 1550 - 1575
Tortorino, Francesco

A vessel comprising three pieces of rock crystal. The body takes the form of an ancient urn of circular cross-section with two winged female busts, sculpted from the body itself, emerging by way of handles from a concave neck. It sits on a fluted base that, like the lid, has recently been identified. A complex scene occupying the central section of the body reflects a tableau typical of Milanese p

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