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The painting was given to Philip IV by Cardinal Francesco Barberini in 1656. It is unusual for being painted on a vitreous paste called aventurine, which acts as the background to the composition. It [+]
An ivory Christ with copper arms that were probably added at a later date. The cross consists of various pieces of rock crystal joined by metal rods covered with painted parchment. The clasps are of e [+]
This is a modern copy of a Roman portrait of a young man from the period of the Emperor Commodus (180-192 AD). While the beard recalls portraits of Hadrian (such as E-176 in the Prado) and others from [+]
During the Renaissance, the poses and clothing of sculptural models from classical Antiquity were reinterpreted for decorative purposes. This example interprets sculptures of young rulers making use o [+]
This scene is notable for the technical difficulty involved in carving porphyry. It depicts two cherubs, one of whom represents Sacred Love and the other Profane Love. They are seen fighting and the f [+]
Retrato de busto sobre pedestal original de jaspe en el que el monarca aparece representado en su madurez, con barba, bigote y amplias entradas en la frente, vistiendo cuello con gorguera. Perteneció [+]
The head of this young man with soft features is made of black marble with a highly polished face, while the bust is of white alabaster. Belonging to a production modelled on works by Nicolas Cordier [+]
The falcon was identified with Horus, “the exalted, the one who is above”. One of the oldest gods in Egyptian mythology, Horus was associated with royalty as the guide of monarchs. The pharaoh was alw [+]
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 consid [+]
This relief is similar to a gem (known from an engraving) that was in Cardinal Massimo’s collection and subsequently that of the Marquis of El Carpio. It exemplifies the survival of classical models w [+]
To go by the descriptions in the 17th and 18th century inventories of the Dauphin’s Treasure, and judging from the volumes of the interior of its case, this vessel, which was badly damaged during the [+]
A vessel made up of six pieces of rock crystal and six gold mounts enamelled in opaque white and translucent red. The ovate body is decorated with helicoidal gadroons and darts on the base, and the sa [+]
A vessel made up of three pieces of rock crystal and three enamelled gold mounts. The body is formed by a boat-shaped piece with a figurehead on the prow consisting of a mask with pointed ears and ram [+]
A vessel formed by four pieces of rock crystal and a gold mount. Seen from the front, the sides rise parallel to each other, while emerging on one side is a fold that forms the spout. The upper plane [+]
This footed tray is a presentation salver that forms a pair with O-60 of the Dauphin’s Treasure. Both are made from a single piece of lapis lazuli. It has a round, flat-bottomed bowl, low sides and a [+]
The vessel, similar to O44, is formed by three fragments of agate and five enamelled gold mounts. The body is an ancient piece of stone with a broad gold mount on the edge decorated with an enamelled [+]
Florentine Mosaic is a technique in which semiprecious stones are cut and assembled so that their different colors and grains form a pictorial composition. This term reflects the fact that the techniq [+]
Este camafeo formó parte de un vaso robado en 1918. [+]
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