The Museo Cerralbo is special in that it is one of the few examples in of a 19 th -century mansion which preserves its original décor. It was the residence of the 17 th Marquis of Cerralbo, don Enrique de Aguilera (1845-1922), and his family, comprised of his wife, doña Inocencia Serrano y Cerver (1816-1896), widow of don Antonio del Valle, who brought two children to the marriage, don Antonio del Valle y Serrano (1846-1900), 1 st Marquis of Villa-Huerta, and doña Amelia (1850- 1927), Marquise of Villa-Huerta upon the death of her brother.

As a House-museum it is a must-see for learning about the lifestyle of the aristocracy in Madrid in the late 19 th century and the early 20 th century. Moreover, as a collector’s Museum it reflects the artistic tastes of its time, a collection that was considered, at that time, to be one of the most important private collections in the country and, without a doubt, the most complete of its time. THE MUSEUM

The building, built between 1883 and 1893, was designed from the outset as a residential home and as a place to exhibit art, antiques and curiosities in a harmonious way, which were brought together due to the owners’ liking for collecting. The former mansion, now a museum, has four floors: lower ground floor, mezzanine, first floor and attic areas. The lower ground floor and the attic areas, which were once the service areas of the home, such as kitchens, larders, the carriage garage, stables, harness rooms, boiler rooms and servants’ quarters, are now the auditorium and the areas for the internal use of the Museum: offices, laboratories and storerooms.

The tour covers the two other floors: the mezzanine, devoted to the everyday life of the Marquis and Marquise, and the first, or main, floor devoted to social life.

The seemingly unchanged nature of the house over time is misleading, since alterations were naturally made to the residence due to changes in family circumstances, which occurred first with the terrible events of the and, later, with the museographic refurbishment of the 20 th century.

Since 2002 detailed work centred on the recuperation of the original atmospheres of the mansion in its day has been carried out. This means the sacrifice of the individual appreciation of the works of art in favour of the global interpretation of the rooms, now considered to have artistic interest in themselves.

5 MEZZANINE FLOOR

It was on this floor that the everyday life of the family transpired; where visits from family and good friends took place.

Its domestic use and family and historical circumstances resulted in successive transformations to the floor. The first took place after the death of don Antonio, in 1900, and affected, fundamentally, the left wing. A large number of the rooms comprising his private chambers were transformed into studies and summer sitting rooms.

However, the most radical change without a doubt took place in the 1940s and meant the sacrifice of the bedrooms and other everyday and service rooms, at that time lacking in museographic interest, in favour of several galleries where, in a clear and educational way, artistic collections could be displayed.

This is the reason for which the exhibition proposal of this floor has been undertaken from a recreational standpoint and not from the faithful recovery of the spaces, as has occurred on the Main Floor. This recreation of atmospheres has been done, whenever possible, with the pieces which were originally found in these rooms; however, the spaces have been complemented with pieces from the Villa-Huerta collection (coming from the Marquises’ mansion in Santa Mª de Huerta, Soria) or even, although to a lesser degree, with purchases on the antiques market.

6 MEZZANINE FLOOR

1 Summer Reception Area and Gallery 2 Garden 3 Red Room 4 Yellow Room 5 Pink Sitting Room 6 Bedchamber of the Marquis of Cerralbo 7 Corridor 8 Main Doorway and Main Staircase 9 Winter Reception Area 10 Parlour 11 Dining Room

7 1

Summer Reception Area and Gallery

The reception area in the summer wing was, before the death of don Antonio del Valle, the place to receive guests which was connected to his private rooms. From 1900, this area of the home came to be used by the Marquis of Cerralbo and his step-daughter Amelia, due to the advantage that its positioning and opening onto the garden gave, in spring and early summer, before the annual move to the stately home of Santa Mª de Huerta in Soria. The reception area extends to a gallery with a door to the garden in which paintings of a religious subjet are exhibited. This gallery used to be a long corridor which included an internal staircase communicating with the Main Floor and which disappeared during the refurbishment of the 1940s.

Allegory of the Eucharist Saint Augustine and Saint Spanish school Monica Second half of the 17 th century Girolamo Muziano Oil on canvas 1580-1590 Inv. No. VH 939 Oil on canvas Inv. No. VH 4905 The Spanish and Italian schools predominate in This painting is very similar to the one in the the Museum’s painting collection. The Spanish church of Sant’ Agostino in Perugia, the work works are mainly religious paintings from the of the same painter who did two versions of 17th and 18th centuries. This painting shows a this composition for Saint Peter’s basilica in mystic vision, the apotheosis of the Eucharist, Rome and three more which were destined which has been associated with the painter for other Italian churches. from Córdoba, Acisclo Antonio Palomino.

Saint Joseph with the Wall clock Child Jesus J. Wats. London Italian school 18 th century 1600-1630 Iron, bronze Oil on canvas Inv. No. VH 4838 Inv. No. VH 1

The anonymous author of this work was inspired This is an English model for an alarm clock to paint the figure of the Child sleeping on the for domestic use, which works with weights, saint’s lap by a Madonna and Child done by the known as a lantern clock. It is the oldest of the painter Guido Reni, a master of the school of seventy clocks in the Museo Cerralbo. Those Bologna. that are part of the décor of the rooms still work perfectly.

9 2

Garden

The garden’s current appearance is a recreation dating from 1995. Hardly any documentation pertaining to the original garden remains except a note by the Marquis of Cerralbo himself. That project involved a transverse axis which divided the space into two triangles and joined the façade of the home with the corner of the belvedere or pavilion-viewpoint, located at the corner of the fence and, in the centre, a large irregular space lined with curved paths. The construction in the 1940s of a pavilion, identical to the home itself, for the internal use of the Museum, broke the axis conceived by the Marquis. The garden thus underwent an alteration from which it has been impossible to recover. However, the work which was done enables us today to enjoy a landscaped space in a classical-romantic style, in which the intention of the Marquis can be imagined. In the central space is a pond, acting as a mirror of water, in which different sculptures are reflected which, along with the busts of Roman emperors adjacent to the garden walls and those of the home, manage to create an atmosphere typical of certain Italian gardens adorned with classical elements, while the curved paths and thick vegetation bring us closer to the melancholic English-style garden.

Bust of a Roman woman to the collection of classical sculptures of Per , 18 th and 19 th centuries Afán de Ribera, viceroy of Naples. It is a copy Marble of the Roman wild boar from the Florentine Inv. No. VH 1026 gallery of the Uffizi, which in turn reproduces an ancient Greek work. The classical busts which are exhibited in the garden are those which decorated the garden of the palace of Santa María de Huerta (Soria), the property of the Marquise of Cerralbo and her children, where the family lived during the summertime and where the Marquis studied Roman capital the archaeological material he had excavated Arcobriga (Monreal de Ariza, st from the sites in the Alto Jalón region. Zaragoza), end of the 1 century AD Carved sandstone Inv. No. 6143 Wild boar Florence, 16 th century This Corinthian capital belongs to a corner Marble pilaster situated in the portico of the courtyard Inv. No. VH 894 of a Roman house. It was found in the first excavations done by the Marquis of Cerralbo This piece comes from the Medinaceli palace between 1908 and 1911 in the Celtiberian- in Madrid, demolished in 1890. It belonged Roman city of Arcobriga .

10 3

Red Room

This is the first in a series of three rooms with views to the garden which owe their names, following the custom of the time, to the shades of their tapestries and wall hangings. The vivid colour of this room is completed in the lower part of the walls with a frieze of wallpaper, an alternative to the skirting board in fashion at the end of the 19 th century. This room was used as an office, where the Marquis received administrators and suppliers without them having to pass through the rest of the house. The existence of these rooms, located on the ground floor, in which the owner worked on the administration of his properties, and managed his income and his business dealings, was common in the urban mansions of the nobility and haute bourgeoisie.

Fernando de Aguilera y Ericsson telephone Gamboa, 15 th Marquis of 1890-1900 Cerralbo Wood, bakelite, metal, silk Valentín Carderera Inv. No. 7262 1833 Oil on canvas Inv. No. VH 496

Portrait of the great-uncle of don Enrique de A private intercom, model BC 1300 (405), Aguilera, founder of this Museum, painted in the which would most probably have been same year he was appointed as Master Equerry connected to a similar telephone found in the at the beginning of Isabella II of ’s reign. tower where the archive was located, around 1900, on the attic areas of the house. This model appears in the 1897 Ericsson catalogue.

Don Jaime in Uniform on Horseback Singing Angels A. Mayer (studio) Ludovico Carracci Austria, around 1893 1600-1610 Gelatin/Collodion Oil on canvas Inv. No. 6177 Inv. No. VH 490

This is a photograph of the son and heir of don Attributed to the painter from Bologna’s last Carlos de Borbón in the style of a court portrait period and probably a fragment of another with a certain regal look to it; the young man painting, this work shows large faces from a in uniform sits majestically in the saddle of his choir of angels in a cluttered composition, but standing horse. It is lovingly dedicated to the clearly defined by the pronounced lines and Marquise of Cerralbo. the strong .

11 4 Yellow Room

This was a dining area as well as a private study, as the furniture itself tells us, comprised of a solid crotch mahogany table surrounded by six upright chairs with the characteristic central backrest with fretwork and another set of ‘study’ chairs which include various seats, armchairs, chairs and sofas arranged in groups for conversation, sprung, low and cosy, and covered in yellow silk damask, matching the balcony curtains. The walls are decorated with the original wallpaper, the only example of it remaining in the entire home. This paper, printed by a mechanical process, in fashion during the middle of the 19 th century, was a practical solution compared with older and much more expensive hangings, and a good example of the application of industrial processes in the decorative

José de Aguilera y Contreras, Agustín de Aguilera y 16th Marquis of Cerralbo Gamboa in Uniform Vicente López or Bernardo López Otero y Colominas (studio) Around 1840 Havana, 1888-1889 Oil on canvas Albumen Inv. No. VH 502 Inv. No. VH 982 The portrait of don Enrique de Aguilera’s This photographic portrait of one of the Marquis grandfather was done by either Vicente López of Cerralbo’s brothers, Agustín de Aguilera y or his son Bernardo, who painted in the same Gamboa, Count of , was taken in style as his father and who, like him, was the a famous Cuban studio. He is wearing a rayadillo court painter to Isabella II and a portrait painter uniform (colonial uniform) and adopts the fashionable with the haute bourgeoisie and the classic pose for a military portrait. aristocracy.

Inocencia Serrano y Cerver Lamp Dressed in Typical Bohemia or France, second th Costume half of the 19 century Glass, gilt bronze Poujade y señora (studio) Salamanca, 1878-1896 Inv. No. VH 1006 Gelatin/Collodion illuminated Inv. No. VH 984 This is an example of the 19 th century evolution This illuminated photograph is of the Marquise of one of the sumptuary creations of Bohemian of Cerralbo in typical Salamanca costume. The glassmakers. The doubled-walled glass, with work of a French photographer who was active an outside layer of gold ruby crystal or glass, in various Spanish cities along with his wife, the etched and cut on the whetstone, was, from exquisite illumination signed ‘Ch. de Bar.’ was 1830, replaced with copper red glass, thus probably done in . reducing production costs.

12 5

Pink Sitting Room Unlike the two previous rooms, in which the original decoration has been restored, this space has been recreated as the Marquise of Villa-Huerta’s study with some of the furniture bequeathed by her to form part of the Museum. The recreation has been done in the style of the small visiting rooms very much to the taste of 19 th century ladies, in which a comfort chair, where the lady of the house could be seated comfortably and informally, was essential. It is easy to imagine Miss Amelia here in the company of a friend, chatting while they contemplated the springtime flowering of the plants through the balcony opening onto the Garden or embroidering while they read out loud in turns, or on her own, seated before the lady’s writing desk which bears her initials, writing letters, invitation cards or thank you notes.

Jewellery box Inocencia Serrano y Around 1880 Cerver with her Daughter Glass, gilt metal Amelia Inv. No. 26975 Spanish school Around 1855 This example of a jewellery box in the form of Watercolour on cardboard a book is based on the boxes made with pieces Inv. No. 505 of rock crystal during the Renaissance, the period to which the arabesque designs etched on the clasps also correspond. It contains several medals and a woman’s cross of the Order of Isabella the Catholic. Antonio María del Valle Antonio María del Valle with his Son Antonio y Angelín Spanish school J. Heigel Around 1855 1830 Watercolour on cardboard Watercolour on cardboard Inv. No. 506 Inv. No. VH 504

This is a miniature-portrait of the first husband These two portrait miniatures show the Valle of Inocencia Serrano y Cerver the Marquise Serrano family in two pairs: Inocencia (1816- of Cerralbo. It is signed by Joseph Heigel, 1896) and her daughter Amelia (1853-1927), a German miniaturist established in Paris and Antonio del Valle (who died in 1863) with between 1817 and 1837. her son Antonio (1846-1900).

13 6

Bedchamber of the Marquis of Cerralbo In a society in which exhibition and appearances were of the utmost importance, the personal bedrooms were designed with substantial austerity in contrast to the opulence and showiness of the visitors’ rooms. Such is the case with this bedroom, recreated from the inventory of the house, which includes some of the original furniture and some pieces acquired on the current antiques market. The room has, as was usually the case, a bed and mattress, which could be filled with flock or wool, a tall bedside table to store the chamber pot, a wardrobe and a commode with drawers where stiff collars, undergarments, vests or gloves were kept, which in this case has the double function of being a writing desk. Regarding daily hygiene we find a shaving mirror –an adjustable tilting mirror for shaving and taking care of one’s moustache– and a printed ceramic wash set comprised of a jug and washbowl. The Marquis died in the Isabelline armchair at the foot of the bed on 27 August 1922.

Bed Alarm clock with light Majorca or , France (?), second half 19 th century of the 19 th century Ebonized wood Wood, metal Inv. No. 28016 Inv. No. VH 1122

The bed was recently acquired on the art This is a portable table clock which ran on six market to complete the furniture of this room. of the first batteries in France. It is equipped In the tradition, the headboard and with an alarm with an on-off switch, an footboard are formed of several crosspieces incandescent light bulb to see the time, and a turned on the lathe, ending in pinnacles. petrol lighter with electric ignition, also with a switch.

Chest of drawers- The Marquis of Cerralbo in writing desk Full-dress Uniform Spain, probably Madrid, Manuel Compañy around 1815 Madrid, 1885-1909 Pine, walnut, gilt brass Gelatin/Collodion Inv. No. 5144 Inv. No. 6181

A piece of furniture with a dual purpose, it This is a photographic portrait of the Marquis is composed of four drawers, the three lower of Cerralbo in full-dress uniform of which ones for keeping clothes in and the top one the shako and the dress sword are especially for housing a writing desk. The front of the noteworthy. Manuel Compañy was one of the top drawer folds out for use as a desktop to best-known photographers in Madrid at the write while standing and at the back there are end of the 19 th century, with as many as three small drawers for storing the ink, paper, pens, studios working simultaneously. sealing wax and stamp. 14 7

Corridor

It was this corridor connected to the old service staircase that the servants from the kitchens on the lower ground floor moved along in order to serve the dining room. Recently, some of the Carlist souvenirs in the house related to the Marquis’ political affiliation have been gathered together here.

Don Carlos de Borbón The District Council and doña Berta in of Igualada Traditional Attire J. Sagristá G. Contarini Igualada (Barcelona), Venice, 1896 around 1892 Albumen Albumen Inv. No. 6173 Inv. No. FF 2673

This photograph is dedicated to the This photograph is dedicated by the members to the Spanish throne, Carlos de Borbón, of a Junta (council), the Carlists’ fundamen- wearing a Carlist uniform, and his second wife tal territorial organization. As the political Berta de Rohán, who wears a Spanish mantilla. representative of don Carlos, the Marquis Contarini had a studio in Venice, where the actively travelled around Spain encouraging couple had their official residence. his supporters, managing to create a modern political party.

Group in the Gardens of Don Carlos de Borbón Santa María de Huerta y Austria-Este, Duke of Santiago Oñate Madrid Calatayud (Zaragoza), G. Atam 1870-1900 Venice, around 1890 Albumen Charcoal Inv. No. 6176 Inv. No. 5379

In this image we can identify the members This portrait was sent from Venice to the of the family, Enrique, Inocencia, Antonio Marquis of Cerralbo by don Carlos de Borbón and Amelia, in the gardens of their summer in 1893 in gratitude for services rendered. The residence in Santa María de Huerta (Soria). duke wears the Captain General’s uniform The Aragonese photographer worked regularly with beret and his figure is drawn with such with the Marquis. precision in the chiaroscuro technique that it looks like a photograph.

15 8

Main Doorway and Main Staircase

The hall has, like many other doorways in Madrid, two enormous twin doors whose purpose, today forgotten, was to allow guests’ and suppliers’ carriages to enter through one and leave through the other, thus facilitating the complicated manoeuvres with horses. In contrast, the house carriages continued the journey to the foot of the stairs and, once there, the ladies and gentlemen could get out of the carriage comfortably while the driver went on to the inner courtyard where the stables and harness room were. The Main Staircase was one of the most scenographic spaces in these 19 th -century mansions; it was important here to praise the social prestige of the owners of the house. Of particular note along the staircase in the Cerralbo mansion are the wrought iron banister which belonged to the old monastery of Las Salesas Reales, founded by Queen Barbara of Braganza, and the large coat of arms representing the Cerralbo marriage, framed by two tapestries from the 17 th century: one from Brussels with partitioned shields representing the Carvajal, Padilla, Acuña and Enríquez houses, and another from Pastrana with the arms of Silva, Mendoza and Cerda.

Roman Midwife Saint Dominic in Soriano Second half of the 2 nd century AD Antonio de Pereda Marble Around 1655 Inv. No. 44 Oil on canvas Inv. No. 56 A young midwife with her head uncovered to highlight the recognition and liberty that This painting belonged to the retable in the Roman women were gaining with the passage chapel of the Marquis of La Lapilla, destroyed of time. We can see several restorations in the in the fire that devastated the Colegio de Atocha form of staple marks from Antiquity, and 19th in Madrid in 1872. Don Enrique de Aguilera, century additions. patron of the chapel, retrieved this piece representing the miracle that occurred in 1530 Tapestry of the 3rd Duke in the Dominican convent of Soriano, Italy. and Duchess of Pastrana Pastrana workshop Coat of arms Around 1625 Around 1893 Wool and silk Stuccoed plaster Inv. No. 55

This is a magnificent example of the scarce To the right, the arms of the Marquis of production conserved of the tapestry work- Cerralbo, Spanish , who also held the shop established in Pastrana (Guadalajara) by titles of Marquis of the Holy Roman Empire, Francisco Tons, a master tapestry maker from of Almarza and of Campo Fuerte, and count of Antwerp, to whom this hanging is attributed Alcudia, of Villalobos and of Foncalada. To the due to its similarity to the only two tapestries left, the arms of Soler y Cerver, the ancestors that bear his mark. of his wife. 16 9

Winter Reception Area

This is the reception area in the part of the residence that belonged to the Marquis and Marquise of Cerralbo and their daughter Amelia, and which was later turned into the winter wing. It is soberly decorated, in line with the everyday use of the floor, with several pieces of furniture characteristic of 19 th -century reception areas: a console table flanked by two chairs and a full-length mirror set in a decorative base; in this case, what’s more, it has a shelf for placing indoor plants. These large mirrors, going by the French term trumeau , allowed visitors to check their appearance and make any touch ups before being received, and also allowed the residents of the house to take a final look at themselves before leaving. This rooms leads directly to the chapel, the parlour and, in the past, to the internal corridor that led to the rooms for private use.

Philip III Wall clock Spanish school Germany, 1870-1900 1600-1630 Wood, alabaster, metal, Oil on canvas porcelain Inv. No. VH 434 Inv. No. VH 270

This painting repeats the pattern of the court The cuckoo clocks made by the clockmakers of portrait in the style of the portraits painted the Black Forest were very popular in the second by Pantoja de la Cruz’s followers, such as half of the 19 th century. A cuckoo that is pushed Bartolomé González, Rodrigo deVillandrandro out by the wind from bellows still marks the and Andrés López Polanco. hour of this clock with its song and then returns to its position behind a small window.

Margaret of Austria Cane stand Spanish school Daniel Zuloaga 1600-1630 1888 Oil on canvas Glazed ceramic Inv. No. VH 433 Inv. No. 27068 Forming a pair with the previous one, this kind The stand was decorated by Daniel Zuloaga of portrait repeats a long-standing model that in the La Moncloa factory with a candelieri survived in the 17 th century due to the repeated design in neo-Renaissance style. This great copies commissioned by the in ceramist, trained in Sèvres, was responsible order to form their own portrait galleries, like for the ceramic decoration of several turn-of- the royal galleries of El Alcázar and El Pardo. the-century buildings in Madrid, such as the Velázquez palace in El Retiro and the Ministry of Agriculture.

17 10 Parlour This is the reception room on the main floor and as such some of the most striking decorative objects are found here. The term parlour , within the confines of 19 th -century formality, refers to the room in which visitors were received whether they were close friends and family or formal visits, or the days when visitors were received without the necessary formal attire and paraphernalia belonging to gala receptions. This room is connected to the Marquise of Villa-Huerta’s last bedroom. Without a doubt, eye-catching pieces are the large Murano crystal lamp, acquired by the Marquis and Marquise on one of their trips to Italy and, below it on the centre table, a collection of Meissen porcelain, also from the 19 th century, comprised of two pitchers and two vases dedicated to the four natural elements, Water, Fire, Earth and Air.

Girls bust Cheval glass or psiqué Antono Frilli (dead in 1902) Meissen factory Marble Around 1885 Around 1900 Porcelain, glass, wood Nº inv. VH 510 Inv. No. 533

Representative of the author´s virtuosity, One of the objects in the Dresden or Saxony specialized in feminine marble and alabaster style that decorate this room, adorned with the portraits, although he also produced funerary porcelains preferred by 19 th -century society; sculpture. Frilli stablised his workshop in from 1850 the Meissen factory produced Florence in 1860, and we can find his works in furniture and other neo-Rococo pieces based famous cemeteries of the city, as Porte Sante on their exclusive 18th-century porcelain. or Allori. He participated in the Universal Exhibitions of Inocencia Serrano y Cerver Philadelphia (1876) and Melbourne (1880). and Amelia del Valle y Serrano in Eastern Attire Zarf set Abdullah Frères (studio) Turkey, around 1890 Istanbul, 1889 Silver Albumin Inv. No. VH 678 to 680 Inv. No. VH 702 Cup-shaped stands used in eastern countries to hold cups without handles for hot coffee. Taken during a family trip to Turkey, this The Marquis and Marquise and their children photographic portrait shows us mother and probably purchased in Turkey the zarfs exhibited daughter in local attire posing on a couch. The in the ‘Travel souvenirs’ display cabinet. three Armenian brothers known as Abdullah Frères were renowned photographers with studios in Istanbul and Cairo.

18 11 Dining Room This is both a dining and living room situated in one of the warmest areas of the home thanks to being situated near one of the boiler rooms, to having a fireplace with a cast-iron hearth, which helps combustion and reduces the consumption of wood and coal, and to getting all the afternoon sun due to its positioning. The circular centre table, which is extended by adding supplementary panels, was used, aside from dining, for conversation, reading, sewing or playing cards. Next to the fireplace is a comfortable divan for sitting and having coffee after meals and in front of one of the balconies is a writing desk for reviewing the daily accounts, making to-do lists for the housekeeper, or writing and replying to correspondence, the preferred way of communicating in 19 th -century society. Further along we come to the music room , which was called the ‘bay window room’ in the old inventory of the house because of the glass cased-in balcony. It was here that the Marquise of Villa-Huerta did her piano practice. Outdoor Still Life with Vase with flowers Fruit, Flowers and Jan Baptiste Boschaert Vegetables 1715 Giovan Battista Ruoppolo Oil on canvas Around 1680 Inv. No. VH 469 Oil on canvas Inv. No. VH 455 An exceptional example of the Museum’s The author of this painting, the Neapolitan still lifes with flowers, Boschaert’s signature Ruoppolo, popularized a kind of large outdoor was found whilst it was being restored. The still life with plenty of fruit, vegetables and Italianate style of this Flemish painter’s work flowers seen on their respective fruit trees or is due to the admiration that Neapolitan flower plants, or piled up on the ground, which were paintings aroused in Europe. highly valued in Spain and Italy due to their decorative effect. Bouquet of Flowers with Matilde de Aguilera y Large Mask Gamboa, Lady of Fontagud Gabriel de la Corte Federico de Madrazo Around 1670-1680 1873 Oil on canvas Oil on canvas Inv. No. VH 461 Inv. No. 28025 The group of paintings with flowers hanging This is a portrait of one of the Marquis’ most from a large bronze mask was done by one beloved sisters, who died at an early age, of the greatest flower painters at the court of which was donated to the Museum in 2008 by Charles II in Madrid. In them, the traditional his great grandson Jaime Parladé. Madrazo, a garland of Renaissance origin brims over portrait artist from Madrid in fashion during in an exuberant cascade, full of vitality and the period in which he did this work, recreated naturalism. the beauty of the subject in a pose unique for its delicacy.

19 MAIN FLOOR

The First, or Main, Floor devoted to protocol and decorated in the most sumptuous and artistic way mirrors the economic and social position of the proprietors. Its organisation reflects the 19 th -century mentality where appearance, above all else, was of the utmost importance and it is here that the finest areas were reserved for guests. In fact, it was only used for receptions, parties and balls.

There is a similar distribution here to the Mezzanine Floor with a series of rooms, one after the other, in addition to three large galleries around an internal courtyard, so that all the spaces compose a common area well connected by doors and corridors, perfect for accommodating a large number of guests and distributing the artistic collections in a harmonious way.

Its apparent resistance to the passage of time is the result of the efforts of a multidisciplinary team of professionals that has worked to recover the original atmosphere of the place.

20 MAIN FLOOR

12 Armoury 21 Billiard Room 13 Bathroom 22 Chamfered Corner Room 14 Arab Room 23 Office 15 Sunroom 24 Library 16 Corridor of Drawings 25 First Gallery 17 Small Columns Room 26 Second Gallery 18 Dressing Lounge 27 Third Gallery 19 Empire Sitting Room 28 Ballroom 20 Banquet Room

21 12 13

Armoury Bathroom

This was the place designed for the reception of guests where the greeting ceremony, the gentlemen kissing the ladies’ hands, took place. The atmosphere evokes the armouries of the Middle Ages and transports us to the time of noble deeds in which the ancestors of the family took part. The decorative motifs of the console table with a mirror were also inspired by the Gothic style, as were the galleries over the doors, a style which the two chairs of honour beside the door share in trying to emulate the throne room of a medieval castle. Weapons and armour line the walls and form harmonious groups that, along with the heraldic coats of arms on the ceiling, in painted plaster, and the felt hanging give much information about the ancient ancestry of the proprietors of the home. Leading directly on from the armoury is the Bathroom , a room in which exhibition takes priority over the practical. It is important to remember that until the late 19 th century bathrooms that were designed as independent rooms were not common. Having an exclusive room with a marble bath, hot and cold taps and a drain meant a display of comfort that the owners of the house wanted to show off.

Suit of armour Helmet Around 1650 Germany, 16 th century Wrought iron Engraved steel Inv. No. 100 Inv. No. 103

According to tradition, the suit belonged to One legend attributes this helmet to one of the Marquis of Cerralbo’s ancestors, Emmanuel Phillibert, Duke of Savoy, the - don Pablo Fernández de Contreras, 1 st Count tor at Saint-Quentin in command of Philip II’s of Alcudia, Admiral of the High Seas, famous Spanish troops, and known by the nickname for his galleon’s heroic victory over three ‘Ironhead’. Dutch ships in 1635.

22 Jesus Sentenced to Death Stirrups (Abumi) Francisco de Herrera, el Mozo Japan, Edo period Around 1670 (1614-1868) Oil on canvas Iron, silver, lacquer Inv. No. 295 Inv. No. 464-465; 466-467

Trained in and Italy, Herrera worked These samurai stirrups bear the craftsman’s at the Spanish court as a royal painter. This signature on the pin of the buckle. The exte- Museum possesses both of the paintings on rior is decorated with silver, forming floral the Passion of Christ that he painted for the motifs; on the inside we see the pieces of Colegio de Santo Tomás de Atocha, destroyed lacquered wood where the feet rested. in 1872.

Sedan chair Pistol France, around 1750 Belgium, around 1790 Pine and oak, linen, silk Wood, iron Inv. No. 396 Inv. No. 453

Rococo in style, the panelling is lined with This pistol, which was for civilian use, has a box serge painted with bouquets of flowers and trigger. It has a double priming pan, duplicated motifs in oils that imitate bois unis (joined for the lower barrels, which is made to face the wood) veneer, which was fashionable in French hammer by turning a lever located on the left- furniture around 1750. hand side of the weapon.

Hunting harquebus The Martyrdom of Saint Miguel Cegarra Sebastian 1768-1783 José Antolínez, 1657 Iron, gold, wood, ivory Oil on canvas Inv. No. 445 Inv. No. 519

With a trigger in the Madrid style, its mark- This painting represents the moment before ings indicate that it comes from the Royal he was martyred, when the saint, one of Armoury and belonged to the don Diocletian’s praetorian guard, now stripped of Gabriel de Borbón, according to an inscription his clothes, is tied to a tree before being shot damascened in gold. The gunsmith Cegarra was with arrows in the presence of the Roman harquebusier to King Charles III. emperor on horseback.

23 14

Arab Room

The names Oriental study or Turkish room, and other similar options to describe the same kind of space, fashionable throughout Europe in 19 th century, were associated with smoking tobacco and, therefore, essentially masculine use. The walls covered with kilims (flat tapestry- woven carpets) and the floors and furniture covered with carpets were intended to evoke the jaimas (tents) of the desert nomads. There was also space here for curiosities and collectables, especially weapons and armour, but also, as is the case here, musical instruments or the remains of rare specimens, such as the appendage of a sawfish. The neo-Arabic decoration of the hangings and the objects gathered together in this study or fumoir from China, Japan, the , Morocco or New Zealand are, therefore, the result of the taste for the exotic inherited from Romanticism. Exoticism and Orientalism are two qualities combined in the décor of these rooms, which were to become prolific in Madrid until well into the 20 th , imitating the Arab Study designed by Rafael Contreras for the Royal Palace in .

Opium smoking set Bento China, Qing , 19 th century Japan, Meiji era (1868-1911) Glazed pottery, metal Lacquered wood Inv. No. 554 Inv. No. 566

This constitutes yet another curiosity among This set of containers was used to store the objects exhibited in this Eastern room and transport food prepared for later and, together with the pipe used for the same consumption. The use of boxes or containers purpose, is an exotic allusion to the common which can be placed one on top of the other use of Arab rooms, in fashion in European began in Japan in around 1610 and continues houses at the end of the 19 th century, where to this day. the gentlemen gathered to smoke.

24 Suit of armour Dagger ( Kris ) Japan, Edo period (1614- Philippines (Sulu Islands), 1868) 19 th century Iron, copper, lacquer, fabrics Steel, wood Inv. No. 585 Inv. No. 642

The suit of armour is composed of the kabuto A weapon in use for thousands of years in (helmet), ho-ate (mask), nodu-wa (gorget), do Southern Asia, this kris, used by the Muslims (cuirass), sode (shoulder guards), ko-te (arm in the Philippines, was also considered to guards) and sune-ate (shin guards). At the end be an object that brought good or bad luck. of the Edo period in Japan, samurai suits of Specialised craftsmen forged the blade, usually armour were made based on old models as flame-shaped or wavy, and performed mystic artistic and commemorative objects. rituals to endow it with spiritual powers.

Two-string violin (Erh-hu) Moroccan musket Shanghai (China), Morocco, 19 th century 19 th century Wood, metal Cane, snakeskin Inv. No. 588 Inv. No. 652

This musket was used in the war in Melilla Some of the objects shown in this room were and was taken in the El Jemis de Beni-Bu- acquired by the Marquis of Cerralbo in Paris, Ifrur marketplace on 30 September 1909. where the collection of musical instruments It was the Rif Moroccans’ preferred firearm belonging to Adolphe Sax, the inventor of the due to its easy handling and because if the saxophone and the owner of this violin until ammunition ran out it could be loaded with 1877, was auctioned. stones.

Sabre ( Wakizashi ) Ligua Japan, Edo period (1614-1868) Philippines, 19 th century Steel, bronze, wood, shagreen, Iron, wood lacquer and fabrics Inv. No. 609 Inv. No. 731

This battleaxe was given to don Enrique This samurai weapon was used in duels and de Aguilera by the intendant general of hand-to-hand combat, and for the ritual act the Treasury in the Philippines along with of suicide known as hara-kiri or seppuku . Its other weapons pertaining to the Muslims size is the biggest that the wakizashi can be. of Mindanao and the Igorrotes on the island of Luzon.

25 15

Sunroom

It was originally designed as a conservatory for protecting exotic and indoor plants from the elements. It was very much a favoured space in urban mansions during the second half of the 19 th century as an adaptation of the kind of pavilion or cold serre which had become common in parks and gardens since the presentation of the glass and iron pavilion built by Paxton at the Great Exhibition held in London in 1851. The Marquis can’t have seen any advantage in this glass structure, designed by the architects of the mansion, which wasn’t very practical for a climate such as that in Madrid, with its peaks of hot and cold weather, and condemned the windows by covering them up with tapestries like curtains. The room, then, was converted into an authentic collector’s study, where materials, styles and periods were mixed with archaeological objects. Of the latter, the examples of Neolithic axes and fabrics from the Palaphitic cultures of the Swiss great lakes, the bell-shaped vessel from de Plasencia (Cáceres), the Attic and Italic Greek vessels and the Iberian weapons are particularly noteworthy. All of these objects, the majority of which were acquired by the Marquis of Cerralbo on the antiques market, have nothing to do with his own discoveries, the fruit of archaeological and palaeontological excavations, which the Marquis bequeathed to the Museo Nacional de Arqueología and the Museo Nacional de Ciencias Naturales.

Bust and hands of an Pilgrim’s phial apostle Egypt, 6 th -7 th centuries Castilian school Made in the mould Around 1700 Inv. No. 848 Polychromed wood Inv. No. 799

The image to be dressed was a kind of This ceramic bottle was originally used to processional sculpture that abounded in Spain hold the oil with which to light the lamps in during the Baroque period. In this example, the the sepulchre of Saint Menas at Abu Mena bust and hands were connected by a structure (Alexandria, Egypt) and later offered to the hidden under the cloth tunic that the figure pilgrims as a souvenir of their journey. was dressed in for worship or for being taken out in procession.

26 Tondo with the Adoration Jardinière of the Virgin Japan Florence, first third of the Meiji era (1868-1912) 16 th century Porcelain Maiolica Inv. No. 947 Inv. No. 811

This is a noteworthy example of the kind The purpose of this flowerpot stand is in of religious sculpture created during the keeping with the design of this room as a Renaissance by Lucca della Robbia, modelled sunroom or greenhouse. It is a piece that was in fired and glazed clay, with figures in white made for export after the Universal Exhibition and polychrome garlands. It is attributed to in Paris in 1878, where the Japanese blue and one of Andrea della Robbia’s followers or to white porcelain with birds and flowers was a the Buglioni workshop. great success.

Falcata Greek skyphos Necropolis of Las Angosturas. Illora Apulia (Italy), middle of (Granada), 3 rd -4 th centuries BC the 4 th century BC Wrought iron, damascened Red figure technique decoration Inv. No. 902 Inv. No. 1306

This receptacle for drinking wine shows a This is the characteristic sword of the Iberian deceased young man as Dionysus, to whom warrior, whose hilt is in the shape of a horse’s a Nike offers funeral ribbons, and a Maenad head. The hilt is decorated with plant motifs who joins him in a Bacchic dance. The rhyton , in threads of silver, and there is a fantastical or drinking horn, contains the sacred wine of animal (a dragon?) on the blade. the celebration.

Still Life with Fruit and Semi-pedalis of the Legio VII Cooking Utensils Gemina Luis Meléndez León, 238-244 AD Around 1760-1765 In the mould, mark Oil on canvas stamped Inv. No. 905 Inv. No. 1400

This work by the most remarkable Spanish still- A brick, half a Roman foot long, made by the life painter of the 18 th century is characterized Roman legion stationed in the present-day by the exceptional capturing of the particular city of León. They not only ensured peace and texture of each object and by the low point the collection of taxes, but also participated in of view from which they are seen, as if the the Romanization of the conquered territories painter had been sitting and working very thanks to their industrial production. close to them.

27 16

Corridor of Drawings

This corridor, which was once for the service–as it was here that the servants stood waiting to attend to the people in the banquet room–, was decorated by the Marquis with part of his collection of drawings, 80 out of a total of 558. Its location in a place without direct natural light was not accidental: don Enrique undoubtedly knew the danger of photo deterioration to art done on paper. What are currently exhibited are exact reproductions of the originals and their passepartout frames, keeping the old attributions and framing them in their original and restored mouldings, while the originals themselves are perfectly conserved in the store rooms. Of the drawings, “Cheap Covered Carriage” by Goya is worthy of note, a work that was completed between 1824 and 1828 during his ‘exile’ in France. Apart from this important drawing, notable works are also preserved by others painters, such as Francisco Bayeu, José del Castillo, Salvador Maella and Manuel Salvador Carmona, as well as masters from other European schools. From the Italian school there are pieces by Confortini, Pietro da Cortona, Palma “the Young” and the Tiepolos. From the French school the studies by Charles Mellin, Nicolas de Platmontaigne and Antoine Ranc deserve mention, while from Northern Europe the compositions by Willem van Nieuwlandt, Adriaen van Ostade and Jan Ykens stand out.

Cheap Covered Coach Lady Seated at a Table Francisco de Goya Jacobo Confortini 1824-1828 1634-1666 Pencil lithograph Black pencil and sanguine Inv. No. 4711 Inv. No. 4713

This work was part of the album that Goya This sketch is a study for one of the figures drew in Bordeaux whose pages are filled with included in The Wedding at Cana, which this different means of transport or locomotion Florentine painter from the early period of the used by the poor and beggars; this drawing, Baroque did in the refectory of the convent of No. 25 in Album G, shows a cripple pulling a the Santa Trinità in Florence in 1631. Due to wheelbarrow to the concealed amusement of the fluency of the lines and the relaxed pose of three women. the model, it seems a study drawn from life.

28 Portrait of a Boy Monarch Receiving an Manuel Salvador Carmona Emissary Around 1790 Federico Zuccaro Black pencil and sanguine 1542-1609 Inv. No. 4698 Pen and brown ink with touches of white crayon and sanguine Inv. No. 4705 This sketch by the master engraver to King Charles III could be of one of his sons, Juan This drawing is the work of the great Mannerist Antonio, from his second marriage to Ana painter who worked for the foremost 16 th - María Mengs, the eldest daughter of the century patrons of the arts in Italy, England, painter Antonio Rafael Mengs. Holland and Spain. He took part in the decoration of the Royal Monastery of between 1586 and 1588 under the Project for the decoration patronage of Philip II. of a church Francisco Rizi de Guevara Frederick V Arriving in 1614-1685 Bohemia Black pencil, brown ink and Adrien Pieters Van de Venne watercolours 1613-1618 Inv. No. 4763 Pen and brown ink Nº inv. 4744

This is a sketch for the mural decoration of Preparatory drawing for the print engraved one sector of the elevation of a lady chapel in by Van de Venne, published by his brother Jan a church. Francisco Rizi learnt the quadrattura in Middelburg in 1618. It shows the arrival technique from the Italians Agostino in Flushing in 1613 of the English fleet that Mitelli and Angelo Michele Colonna with carried the Elector Palatine of the Rhine, mock structures, which he applied in the Frederick V, and his wife Elizabeth, princess of decoration of lady chapels in several convents England, to their new kingdom of Bohemia. in Madrid. Jugurtha Bound and Handed Over to Silanus, Saint (Martina?) Being Led to who Takes Him to Marius Her Martyrdom Mariano Salvador Maella Pietro da Cortona Around 1772 Around 1634 Pen and brown ink Black pencil, pen and brown ink Inv. No. 4746 Inv. No. 4766 Preparatory drawing for plate number XXX, This is a preparatory sketch for a work engraved by Manuel Salvador Carmona, in the probably planned for the church of Saints book The Conspiracy of Catiline and the Jugurthine Luke and Martina in the Forum in Rome, War , by Gaius Sallustius Crispus (Sallust), belonging to the Academy of Saint Luke, published by Joaquín Ibarra in 1772, one of directed by Cortona in 1634; the renovation the most beautiful Spanish editions of the 18 th of the crypt was begun that year and the relics century. of the saint were discovered in it. 29 17

Small Columns Room

This room, witness to the Marquis de Cerralbo’s zeal as a collector, was used as a fumoir , a place where gentlemen met to talk business or speak about the events of turbulent 19 th - century politics while they smoked. The name ‘The Room of Little Columns’ is due to the collection on the central table. There is a wide variety of figurines coming from the Egyptian, Greek, Etruscan and Roman cultures, together with others from the Middle Ages, done in terracotta, marble and bronze, which are mounted on as many small agate, alabaster, coloured marble and gilded wood columns like small monuments. The opulence and abundance of objects, along with the paintings completely covering the walls –in the past, wallpaper in imitation of embossed leather– transport us to the rooms of the 17 th century. The pictorial collection is centred on, essentially, the Baroque school in Madrid. It is also the Baroque style that predominates in the furniture: the Neapolitan cabinets on stands with ebony and shell insets –in pairs, in accordance with the custom of placing this furniture in twos–, the writing desk in the style of Salamanca and the Venetian mirror with mother-of-pearl inlay above the fireplace.

Bust Lid of Canopic jar Sèvres factory Egypt, 1 st millennium BC Around 1770 Marble Soft biscuit porcelain Nº inv. 4646 Inv. No. 4656

Probably a portrait of the Dauphin of France, A human head belonging to the god Amset, done during the period when the French one of the four sons of Horus, depicted on the royal porcelain factory’s sculpture workshop four Canopic jars that contained the entrails of was directed by the painter Jean-Jacques the mummified deceased in ancient Egypt; in Bachelier. this case the liver.

30 Our Lady of the Angels Young Man With Basket Bartolomé González On His Head Around 1613 Sebastiano Ricci Oil on canvas Around 1722 Nº inv. 4593 Oil on canvas Nº inv. 4605

Also entitled “Heavenly Concerto”, it is a At the end of the 19 th century the Marquis of replica of the painting on the high altar of Cerralbo acquired, probably in Italy, this work the convent church of the Capuchins at El that has turned out to be a fragment of the Pardo (Madrid), which was commissioned to “Supper at Emmaus”, painted by Ricci for the Bartolomé González by Philip III, for whom he church of Corpus Domini in Venice. worked as court painter and portraitist.

The Assumption of Our Cabinet on stand Lady Spain or Naples, around 1660 Eugenio Caxés Wood dyed black, shell, Around 1615-1620 bronze Oil on canvas Nº inv. 4529 Nº inv. 4601

A work by the best painter at the court in A quality piece of furniture in a standard Madrid in the period going from the death of model of the second half of the 17 th century, his father, the Italian Patricio Caxés, to the originally Neapolitan, although also made in arrival of Velázquez. His style falls within the Spain. Of the type called “papelera”, as it had tradition of the Late Italian Mannerism. no front lid, it was used for keeping docu- ments and small objects in.

The Birds’ Concerto Attributed to Juan de Piece of furniture Arellano (folder) Around 1650-1670 Spain, 19 th century Oil on canvas Wood, metal, silk velvet Nº inv. 4604 Nº inv. 4547

In a garden with a rich variety of flowers, birds An original piece of furniture in use in offices of different species sing as a choir, conducted in the19 th century, in this room it was used for by the owl; the subject, Flemish in origin, is keeping a selection of drawings and engravings not without its irony, as it seems that the voice in, which the Marquis probably showed to his of the peacock imposes itself, as beautiful as it guests, along with the analogous works on dis- is useless at singing. play in the adjoining corridor.

31 18

Dressing Lounge

Conceived with the same sense of representation in mind that many of the rooms in this mansion are imbued with, it was designed as a dressing room for the Marquis of Cerralbo, thus it is a masculine space in contrast to the Marquise’s, which it is directly connected to. It assumes the survival, although on a merely symbolic level, of the custom, in courtly circles and in the way of kings and queens, of dressing or composing oneself before an entourage of assistants in rooms designed for this purpose, and, even, receiving people in them. The oak wardrobe, finished with French gilded carvings from the 18 th century, the collection of court swords and sabres from the 18 th and 19 th centuries lavishly placed on the centre table and the washstand recycled as a dressing table contribute to this idea. Objects and souvenirs done in tiny mosaic and crystal brought from Venice are scattered over its marble top and the shelf which hides the tank where the water was stored when it was used as a washstand. Two armchairs, upholstered in velvet and Chinese embroidered silk, typical of the 19 th century, invite enlightened conversation around the fireplace.

Mantel clock adorned with Armchair candelabra France or Spain, Marquis à Paris around 1890 2nd Empire (1852-1870) Wood, silk Gilt bronze Nº inv. 4175 Nº inv. 4219 to 4221

This clock’s case and the matching candelabra Corresponds to the type of seats called of were cast in gilt bronze covered in powdered confort, completely upholstered with padded, gold by Marquís, one of the many Parisian sprung materials, in fashion in the second foundries making ornamental bronzes for half of the 19 th century in the lounges, where clocks. It has Paris pendulum movement and the visits of relatives or close friends were the hours and half-hours are chimed by a attended to, in boudoirs or dressing rooms bell. and in bathrooms.

32 Pouffe-firewood container Sword of honour Spain, 19 th century Tomás de Ayala Wood, silk Around 1800 Nº inv. 4229 Iron Inv. No. 4332

The sprung seat of this stool opens like the lid While the blade is signed by one of the of a box, inside which the wood for the fire representatives of a famous line of Toledo in the hearth was kept. Its use was habitual swordsmiths, the hilt is composed of rows of in middle-class and aristocratic households in faceted steel beads, giving the appearance of the second half of the 19 th century. gemstones, a technique created in Matthew Boulton’s factory (Birmingham, England).

Flowerpot stand Mirror China, Qing dynasty, Venice, around 1890 around 1750-1825 Glass Copper, silver, bronze, Inv. No. 4251 enamelling, jade, glass Nº inv. 4211

A Chinese object classified as a ‘curiosity’; it The group of several mirrors and two consists of a flowerpot stand that presents jewellery boxes arranged on the washbasin, a grotesque scene composed of figures and adorned with mosaic composed of tiny objects in miniature: two monkeys holding a tesserae of cristallo , are souvenirs of the city support formed by lotus flower petals and a of Venice, visited frequently by the Marquis phoenix posing between a magnolia tree and a of Cerralbo to discuss matters of importance plum tree in flower. with don Carlos de Borbón.

The Conversion of Presentation sabre Saint Paul Spain, around 1810 Juan Antonio de Frías Blued and gilt iron y Escalante Inv. No. 4195 Around 1660-1670 Oil on canvas Inv. No. 4271

A truly Baroque work,it copies the picture card This is a Spanish officer’s presentation sabre, engraved by Bolswert of Rubens’ The Conversion with decoration in the form of a stirrup. The of Saint Paul . A common practice among the blade is partly engraved with the Spanish coat Spanish painters of the 17 th century was to use of arms and gold-coloured military trophies, as models the engravings that made the works in reserve on the background of blued iron. of other artists known.

33 19

Empire Sitting Room

This room, originally the Marquise’s dressing room, was redecorated around 1900 as a study with mirrors and was given the name ‘The Little Empire Room’. Its positioning between the Dressing Room and the Banquet Room allows us to assume that it was a place to pass through, where ladies paused to touch up their hairdo or rest briefly on the comfortable divans. A bright lively space, painted in pink and white, far removed from the pompous solemnity of the adjacent rooms, it evokes the sumptuousness of French mansions in the 18 th and early 19 th centuries. Here, a concept of very feminine luxury is recreated, expressed through the Rococo or Louis XV, neoclassical or Louis XVI styles, and to a lesser degree the Empire Style, both in the décor and the furniture; this eclecticism was characteristic of the late 19 th century. Boiseries (paneling) with neoclassical borders comprise a French-style atmosphere in which mirrors abound, of gilded wood and Venetian crystal, hanging on the walls and mock chamfers. The console tables and the pedestal table are home to a wide variety of ornamental objects: clocks, vases, plant-pot holders, as well as bronze, crystal and porcelain candlesticks. Floral design predominates in the curtains, valances and upholstery. The paintings done by José Soriano Fort and Máximo Juderías Caballero, artists protected by the Marquis, who worked on the decoration of their patron’s mansion, are framed on the inside of the doors. The flowers and allegories of the four seasons heighten with their beauty the uniqueness of this small room which came about in honour of the Marquise of Cerralbo.

Pedestal table and lamp Vase Russia, around 1850 Paul Millet & Fils, Sèvres Malachite, bronze Around 1890 Inv. No. 4167 Porcelain, bronze Inv. No. 4102

The tabletop and the lamp are formed of The private company Millet, Céramique d´Art mosaics of malachite plates, a material that worked in Sèvres between 1866 and 1945, cannot be carved in monolithic blocks. The in the vicinity of the prestigious French state technique was perfected by the Russian factory, from which it copied this type of vase lapidaries who cut pieces for furniture and with a fl amée or flame-decorated bottom, at the other sumptuary objects in marbles and hard forefront of the Art Nouveau style prevailing stones from the Urals. around 1900.

34 Vase with Empire-style vases ‘A Sacrifi ce to Cupid’ France, around 1810 Etruria factory Porcelain Around 1785-1790 Inv. No. 4088-4089 Wedgwood jasper Inv. No. 4123

This two-coloured vase with neoclassical The scene on the first vase evokes the meeting reliefs represents a European trend in the between the Austrian emperor Francis I decoration of interiors designed at his and Napoleon two days after the battle of Staffordshire factory by Josiah Wedgwood, Austerlitz in 1805; represented on the other the creator of a ceramic material he called one are popular types of the German princi- jasper because of its hardness, which looks palities that gained independence from Austria similar to biscuit porcelain. through the Treaty of Pressburg, signed by the two emperors.

Carnations and roses Vase José Soriano Fort 19 th century Around 1895 Enamelled glass Oil on canvas Inv. No. 4119 Inv. No. 4071

A clear glass cylinder fits inside this vase which Trained at the Academy of Fine Arts in , can be removed, and which was probably used Soriano Fort worked in this palace doing several as a lamp. The light it gave was toned down by murals and some paintings, like this group of the exterior matt surface, polished with sand, cheerful canvases of flowers on the bush in the highlighting the garland of flowers effect. garden, with a delicate, decorative style.

Miniature mantel clock Allegory of Winter France, first half of the Máximo Juderías Caballero 19 th century Around 1895 Gilt bronze, steel Oil on canvas Inv. No. 4085 Inv. No. 4075

As opposed to the English ones, the French The panels of the door that leads to the dressing clocks of the 18 th and 19 th centuries have a room feature four female figures representing different kind of machinery and cases with the seasons. Winter, Spring and Autumn are sculptures cast in gilt bronze. This clock is by Máximo Juderías Caballero, a painter from remarkable for its size and for the Cupid on Aragon who did part of the mural decoration a chariot that forms its case, a theme rarely and some sculptures in the rooms on the main represented. floor of this House-museum.

35 20 Banquet Room Here, formal dinners took place and splendid buffets were served on the nights when balls and parties were thrown. The idea of a large dining-room table, which emerged in England in the late 18 th century, took some time to spread through Spain. We find the first examples well into the 19 th century in the aristocratic mansions which included, in purpose-built rooms, these big tables linked to the ritual of formal dinners. Diners had to combine their participation in general conversation, guided by the hosts, with paying attention to their immediate neighbours. The choice of French-style protocol placed the heads of the table in the centre of the two longest sides, framed, in the case of this dining room, by two facing mirrors, one above the fireplace and one between the balconies. Regarding the ways of serving in this house, the French style was also followed, as the various menus from different celebrations (preserved in the archives) tell us. Each diner could choose from a variety of dishes spread on the table at the same time. This practice continued in Spain until the end of the 19 th century, although little by little Russian-style service was being introduced, in use in Europe since the beginning of the century. This consisted of a menu of several dishes, the same for all the diners, which the servants served one after the other, always serving to the left, and clearing away from the right. The side tables or ‘serving tables’ constituted the support to the table service. Pieces of silver-plated metal crockery are shown in the sideboards, among which the samovars and the curious dishes with lids and kerosene burners to keep the food warm stand out. The original lighting combined the first electric lights with candles and was amplified by the careful placing of mirrors. The balcony windows remained almost permanently closed, formerly covered with curtains made from tapestries of coats of arms, which were moved to the Cerralbo funeral chapel in (Salamanca) on the express wishes of the Marquis.

Bottle cooler Plate Around 1900 Talavera de la Reina Optical glass and silver- Around 1743-1750 plated metal Tin-glazed earthware Inv. No. 3927 Inv. No. 3978

A piece designed by Gisela Von Falke, a pupil Its exquisite Bérain-style decoration in blue of the Vienna Workshops of the Secession and chiaroscuro reveals the hand of a painter trained a follower of the founders Koloman Moser at the factory at Alcora (Castellón de la Plana), and Josef Hoffmann. Produced for sale in possibly José Causada, who temporarily moved large department stores, the glass features to Talavera (Toledo), introducing the decorative Moser’s Meteor design. styles of Alcora ceramics to its pottery.

36 Fable of the Snake Kitchen still-life and the Porcupines Cristoforo Munari Frans Snyders Around 1710 1625-1650 Oil on canvas Oil on canvas Inv. No. 3876 Inv. No. 3900

The genre of painting showing live animals An example of Munari’s best painting, it is was a speciality of Flemish painting of the similar to the six still-lifes that decorated 17 th century, a genre mastered by the painter La Ferdinanda, the villa of the Medicis, his Snyders, whose works were much appreciated dealers in Florence. It is characterised by the by Philip IV and the Marquis of Leganés, to representation of rustic objects, the strong whom this painting originally belonged. three-dimensional modelling of the shapes and the wise mastery of the colour.

Still-life with watermelons, Bunch of Grapes pumpkin and flowers Miguel de Pret Giuseppe Recco Around 1630 Around 1675 Oil on canvas Oil on canvas Inv. No. 3898 Inv. No. 3868

The banqueting room exhibits twenty-four A work by one of the most renowned still-lifes in the same places they were hung Neapolitan still-life painters of the 17 th by the Marquis of Cerralbo. These bunches century, it shows a strong contrast in the light of grapes were highly appreciated in the 17 th between the background and the objects, century for their singular naturalism; This and the combination of glazing or trans- picture, attributed to Juan Fernández “El parent brushstrokes and opaque, very thick Labrador” until 2013, it´s been confirmed as a brushstrokes, in relation to the natural texture work by Miguel de Pret by the lasts studies. of each fruit.

Still-life with grapes Wall clock and cakes Le Faucher / Paris et Amant à Paris Juan de Espinosa 18 th century Around 1630-1640 Wood, gilt bronze, tortoise Oil on canvas shell (?), porcelain Inv. No. 3866 Inv. No. 3884 This is a work by one of the greatest Spanish This is a type of wall clock originally placed on still-life painters of the 17 th century, active in a bracket. The case is Boulle inlaid, with brass Madrid between 1628 and 1659. A contem- and tortoise shell; the bronzes represent the porary of El Labrador, he takes from him the passage of time. The face and the movements, naturalistic recreation of the grapes, although of square Paris Movement, were made by he also depicts cakes and red ceramics, clockmakers in the reign of Louis XV. following the tradition of the still-lifes of Juan van der Hamen. 37 21

Billiard Room

This room must have been used as a help area for the service to the dining room; evidence of this is the pulley that communicated with the big kitchen in the basement and which is still kept today behind a narrow door between the divans, as well as the presence of a water filter topped with a carved alabaster cup. However, more important than the practical use of the room was that of recreation and leisure, centred on the game of billiards, a favourite pastime of 19 th -century gentlemen. A spectacular cannon billiard table dominates the room. The rest of the furniture is placed around the table, with high chairs or, canapés de billar with retractable footrests, thanks to which the women could comfortably watch the events of the game. The light from a horizontal lamp falls evenly on the whole table, and concentrates, thanks to its lampshades, all the attention on the baize, leaving the rest of the room in the half light. Portraits of ladies and gentlemen from different periods and schools and of varying degrees of mastery cover the walls.

Billiard table Portrait of a Boy France, around 1855 Italian school Fine woods, bronze, 1600-1630 baize Oil on canvas Inv. No. 3825 Inv. No. 3771

Originally a table for playing billard à blouses The naturalism of the representation, the or billards, it was later adapted to the French everyday familiarity of the figure and the game of carom billiards. Around 1900, in tenebrist chiaroscuro effect are aspects that the reports that described the rooms of the make it possible to catalogue this magnificent Marquis of Cerralbo it said that it was the portrait as a work from the early 17 th table on which easy caroms had been prepared century. for King Ferdinand VII.

38 Portrait of a Lady in Giulio Cesare Procaccini Hunting Dress Around 1624 Spanish school Oil paint on wood 17 th century Inv. No. 3731 Oil on canvas Inv. No. 3808

An anonymous work attributed to the school Self-portrait painted at a date close to his of Velázquez by José de Madrazo, painter and death. It stresses his status as a painter by director of the , collector of drawing the attention to the brush and the a prestigious gallery of paintings from which palette, instead of to the gold medal that numerous works in this Museum come. hangs on his chest, given to him by Grand Duke Cosimo de Medici.

François-Joachim, Duke of Gèvres Portrait of Louis XIV French school in a Cuirass 1725-1750 Workshop of Hyacinthe Rigaud Oil on canvas 1701-1715 Inv. No. 3755 Oil on canvas Inv. No. 3729

A ceremonious court portrait, its style It derives from the two full-body portraits is close to the work of Jean Marc Nattier that Rigaud painted in 1701 of the Sun King (1685-1766). The figure is surrounded by all at the age of sixty-two (Musée du Louvre and the objects that represent his high social and Museo del Prado) although due to its size, it military rank. falls within the type of high-quality workshop paintings, which spread the royal image in smaller-size bust portraits.

Portrait of a gentleman Luis I, Around 1555 Miguel Jacinto Meléndez Oil on canvas 1712 Inv. No. 3740 Oil on canvas Inv. No. 3814

A work by the great Venetian painter, it Portrait of the first son of Philip V and Maria probably depicts Agustino Doria, a member Luisa Gabriella of Savoy, at the age of five, of the important family of Genoa. The holding the sceptre and touching the chain personality of the subject is reflected in of the Order of the Golden Fleece, on a table his face and in the rhetorical gesture of his next to the crown. He was king of Spain for hand. eight months in 1724.

39 22

Chamfered Corner Room

Moving on from the Billiard Room is another room devoted to recreation and leisure which owes its name to the shape of the wall which is a result of the building being on the chamfered corner of Ferraz and Ventura Rodríguez streets. It is a room designed for discussions, whispering and resting between dances. The plastic decoration was the responsibility of Máximo Juderías (1867-1951), the author of the sculptural motifs and the majority of the pictorial scenes, both those on the ceiling, alluding to Music and Painting, and those on the walls which show the midday rest during harvesting, the sunrise on the shores of the Jalón River and the garden at the Santa Mª de Huerta mansion in Soria, the Cerralbo family’s summertime destination; while the traditional dance of the Valencian farmland is the work of José Soriano (1873-1937). The regency-style seating favoured discussions in small groups. The flooring done in hydraulic floor tiles, a technical innovation that burst onto the scene in 19 th -century bourgeois interiors, is covered with a carpet from the 19 th -century French manufacturer Aubusson, where the valances on the balconies also come from. The atmosphere, inspired by the French 18 th century, is completed with European and oriental porcelains.

Bowl Clock Canton (China), Qing Second half of 19 th century dynasty, 19 th century Porcelain Porcelain Inv. No. 3620 Inv. No. 3616

It was modelled on the wheel in the potteries The case of this clock is of porcelain from of Jingdezhen and decorated in Canton in a Saxony or Dresden, as both the porcelains style used for Chinese porcelain for export, from the factory at Meissen and their French, characterized by the cluttered composition English and German imitations were called in of Buddhist and Taoist motifs and the pre- the 19 th century, which enjoyed widespread dominance of a deep pink enamelling (purple acceptance on the sumptuary objects mar- of Cassius), which is European in origin. ket.

40 Allegory of Summer Tray and Autumn Japan, Meiji era 19 th century (1868-1911) Porcelain Lacquered wood Inv. No. 3623-3625 Inv. No. 3646

Ceres with a sheaf of corn and Bacchus with The tray is lacquered in black ( roiro ) with a bottle represent both bread and wine and decoration in relief ( takamakie ) and flat Summer and Autumn. The sculpture model (hiramakie ) in gold, silver and with touches was created in El Buen Retiro around 1785, of red lacquer, representing a plum tree although in this case it is a forgery of excellent in flower with phoenixes ( ho-oo ). It sits on quality, set on a pedestal from the Madrid a trestle of gold-coloured wood imitating factory. bamboo cane, made in the West.

Bell Vase China, Qing dynasty, Japan, Edo period or Meiji era, around 1800 around 1870 Bronze with cloisonné Lacquered porcelain enamelling Inv. No. 3614 Inv. No. 3649

This vase shows a technique unusual among This is an ornamental object made for the Japanese porcelains for export. Its ceramic exportation. Fine sheets of metal make up material is hidden by a layer of black lacquer the design and separate the different coloured decorated with gilt motifs stylised as the body enamels, representing plum tree, peony and of the vase, given a light appearance due to the chrysanthemum branches (winter, spring sinuous shape of a double pumpkin. and autumn) although the lotus flowers sym- bolizing summer are missing.

Female bust Aristide Petrilli Inocencia Serrano y Cerver, Aound 1890 Marquise of Cerralbo Marble Last quarter of 19 th century Inv. No. 3641 Illuminated albumen Inv. No. 3651 Signed by Professor Petrilli in Florence, it is inspired by the Florentine busts of the This is a photographic portrait taken in the Renaissance, although it coincides with the studio with the albumen technique, then illu- Art Nouveau aesthetic in the stylisation of the minated with transparent colours that enhance model and the slight turn of her neck. The the copper-red hair and the blue eyes of the sculptor perfected the engraving technique subject, wearing an evening dress with a train for drawing decorative motifs on the and pearl earrings. marble.

41 23

Office

This is the room most closely connected to the Marquis of Cerralbo’s personality, designed as a room for entertaining and the reception of illustrious visitors, without any sense of the practical. The Ferdinand-style roll-top writing desk is full of a wide variety of objects which have a sumptuary or anecdotal value rather than a practical one. The idea is reinforced by the enormous number of pieces both on the centre table, full of Carlist mementos, such as pistols featuring the emblem God, Motherland and King , and in the rest of the room and which tell us about Cerralbo’s different interests: archaeology, his liking for antiques and collecting, focusing particularly on painting. It is in this very room that some of the works which the Marquis considered the most important in his entire pictorial collection are found, such as the portrait of Alessandro de’ Medici by Bronzino’s workshop –attributed by the Marquis to Andrea del Sarto– next to the fireplace, or the portrait of Marie deMedici by Van Dyck’s workshop above the desk with a chest of drawers. The coats of arms carved in stone and the armour belonging to the second Marquis of Cerralbo speak of the varied and noble ancestry of the owner. In the doorway to the library is a clock with a glass face of the kind called ‘mysterious’, which hid the mechanism in the hands.

Pair of vases Sword with pistiliform blade Paris, around 1845 Alhama de Aragón (Zaragoza), Porcelain 1150-1050 BC Inv. No. 3251-3252 Bronze cast in a mould Inv. No. 3562

Vases in the shape of amphorae were used in the Characteristic of the metalworking activity of 19 th century for the decoration of the reception the period known as the Late Atlantic Bronze areas of large houses. In Louis XVI style, the Age, it comes from Brittany. It was used as a floral decoration corresponds to the tastes of symbol of power and exchange among the the period when Louis-Philippe I reigned in elites that controlled the trade in raw materials France (1830-1848). in Western Europe.

42 María Luisa de Aguilera Juan Vázquez de Mella, y Gamboa, Countess of dedicated to Cerralbo Torrepalma Kaulak Around 1863-1868 Madrid, around 1915 Fired clay Gelatin, chemically developed Inv. No. 3523 Inv. No. 3439

Portrait of one of the sisters of the Marquise A photograph taken by the famous Antonio of Cerralbo, made with the photosculpture Cánovas del Castillo, better known as Kaulak . technique, a system patented by François The subject, the traditionalist politician Juan Willème in 1860. The bust was modelled with Vázquez de Mella, alludes with his friendly the aid of a pantograph from the projection dedication to the archaeological activity of 24 negatives taken simultaneously in a carried out by the Marquis. tenmetre diameter.

Alessandro de’Medici Drum-top writing desk Bronzino and workshop France, 1775-1800 Florence, around 1540-1553 Oak and mahogany Oil on panel Inv. No. 3553 Inv. No. 3180

With a quarter-cylinder shaped top, the writing One of the best versions of the portrait of the surface, lined with green morocco leather, can first Duke of Florence painted by Pontormo be pulled out forwards. This type of bureau in 1534, most of them done by Bronzino, was for the exclusive use of gentlemen and responsible for the face of the subject in this corresponds to the French neoclassical style. painting. Alessandro was the son of Giulio de’Medici (later Pope Clement VII) and a black slave woman.

Commemorative plaque Portrait of a Lieutenant Masriera Hermanos-Barcelona Colonel (Masriera Brothers) Spanish school Around 1890 Around 1800 Silver and other enamelled Oil on canvas metals, sheepskin and walnut Inv. No. 3416 Inv. No. 3178

This work is not by Goya although its car- In the inscription framed by a wreath of laurel touche says that it is, in black lettering and oak leaves it reads that this plaque was paid on gilt wood. Similar cartouches with the for by the Catholic and monarchic community painter’s name largely reflect attributions as a tribute to the Marquis of Cerralbo after now obsolete, but they have been kept as the events of 10 April 1890, the date when, in decorative elements of this Museum’s origi- Valencia on a Carlist propaganda visit, he was nal atmosphere. stoned by the republicans.

43 24

Library

In contrast to the sumptuousness of the Office, the Library is a place of study and intellectual concentration, which can be perceived from the kind of objects that are spread over the table, few in number but useful, and the general sobriety that the room full of books is enveloped in. Around 10,000 volumes from incunabula to editions from 1922, in addition to manuscripts of great artistic, literary and scientific value comprise this library, considered in its day to be one of the most complete in the country on the subjects of numismatics and archaeology. Other areas of study, bearing witness to don Enrique’s intellectual interests, are also represented here: we see books on travel, history, geography, religion, law, politics and literature in just the way he arranged them. In the display cabinets, a concise display of the large collection of stamps, coins and medals is on show, comprising more than 24,000 pieces, which Cerralbo and his stepson the Marquis of Villa-Huerta collected. The stamp collection is comprised of papal and royal stamps and dies. The coin collection is largely made up of Hispanic examples; the obsidional (siege) coins which belonged to Prosper Mailliet, acquired by Cerralbo in a Parisian auction in 1886, are of particular note. The medals and commemorative, papal and celebratory reproductions cover the 16 th to the 20 th centuries chronologically. Among them, the Renaissance medals by Jacobo Trezzo and Pompeo and León Leoni stand out.

Mystery clock Table clock Henri Robert / Paris / Horloge Augte. Meyer à Paris mystérieuse 1800-1850 Around 1878 Gilt bronze Glass, metal Inv. No. 2546 to 2548 Inv. No. 3155

From the library we see the back of this The figure on this Charles X style clock repre- clock, ‘mysterious’ because its movement is sents Apollo, wreathed with laurel, playing the not easy to understand at first sight. A techni- lyre, an instrument that identifies him as the cal advance on the clock-making of its time, mythological god of music. The movement is the prototype of this model was presented round Paris Movement, with a pendulum, the by Henri Robert at the Exhibition of French bell chiming the hours and half-hours. Products held in Paris in 1878.

44 Letter Royal seal of Alfonso X 1912 the Wise Paper, ink Crown of Castile, 1252-1284 Inv. No. 6135 Lead and silk Inv. No. 2834

On 16 May 1912 Marcelino Menéndez Pelayo The collection of royal seals and papal bulls congratulated the Marquis of Cerralbo for having covers the 13 th to the 18 th centuries. Used obtained the prestigious Martorell prize for his chiefly to validate documents, they were also work Páginas de la Historia Patria , a compendium used to seal letters and reliquaries, authorize of his early archaeological excavations. messengers, or to mark loaves of unleavened bread at the Jewish Passover.

The Execution of Marie Antoinette Half of a Ekualakos Copper commemorative c. 180-146 BC plaque Bronze Inv. No. 3059 Inv. No. 2726

Reproduction of the reverse of the medal designed in 1794 by C. H. Küchler for the bu- A Hispanic coin from Ekualakos, a city lo- sinessman M. Boulton. The original medal was cated, probably, between the Upper Duero made due to the British demand for objects and the Jalón basin. It was a coin used to pay and souvenirs related to the French Revolution for everyday necessities and to pay salaries; the taking place at that time. silver coins were used for the payment of taxes to Rome.

The Supremacy of Catholic Doctrine Thirty-two stuivers Giovanni M. Hamerani Friedrich Pithan Roma, 1673 Jülich, Germany, 1621 Cast copper Silver Inv. No. 3004 Inv. No. 2641

Medal of Clement X made by G. Hamerani (1649-1705), a member of the most out- These were issued by the city of Jülich due standing medal-making families that worked to the lack of coinage during the six-month in the Papal mint in Rome. It belonged to siege by the troops of the Spanish general the old collection of Tomás Fr. Prieto (1716- Ambrosio de Spinola, under the command 1782), purchased by Charles III for the Casa of Enrique de Bergh. This conquest was de la Moneda in Madrid. Philip IV’s first great military victory after the Twelve Years’ Truce.

45 25 First Gallery The three galleries which are distributed around the inner courtyard complete the space made up of the three previous rooms, lined one after the other, with balconies looking onto Ventura Rodríguez and Ferraz streets, and surround the Ballroom, creating a common space for large celebrations. These galleries were envisaged by the Marquis of Cerralbo himself, in imitation of those in Italian mansions, to make it easier for his guests to move around as they contemplated the most important artworks in his gallery, placed, even, on the roof, such as the paintings from the 17 th century by Francesco de Ruschi and Francesco Maffei. In the first gallery, paintings of ancestors and the ladies and gentlemen of the house are mixed with porcelain vases, clocks, divans and console tables, and compete with jewellery and curiosities in the centre display cabinet.

Don Manuel Isidoro The Designation of a Cardinal Aguilera y Galarza, Marquis Jacopo Negretti, Palma, of Cerralbo y Almarza the Younger Spanish school Around 1590 Around 1800 Oil on canvas Oil on canvas Inv. No. 1769 Inv. No. 1795 This painting represents the investiture of a This painting shows don Enrique de Aguilera’s cardinal, traditionally identified as Francisco grandfather, also the count of Fuenrubia, with Pacheco y Toledo, ancestor of the Marquis of a powdered wig, blue dress coat and the Cross Cerralbo, who was designated by Pius IV in of the Order of Calatrava. It makes a pair with 1561. However, the picture was painted by the other oval portrait that shows his wife, doña Palma at the end of the 16th century. María Ruiz de Contreras Vargas Machuca. Doña Inocencia Serrano Doña Luisa de Gamboa y y Cerver, Marquise of López de León, Countess of Cerralbo Villalobos Ricardo Balaca Antonio Mª Esquivel (?) 1859 Around 1835 Oil on canvas Oil on canvas Inv. No. 1814 Inv. No. 1750 The portrait shows the Marquise dressed in This portrait had great sentimental value for the the Isabelline style, with the mantilla on her Marquis as it shows his mother, still a young lady, head and holding the missal in one hand, be- dressed and with a hairdo in the Isabelline style. fore or after attending a religious service. On Married in 1842 to don Francisco de Aguilera y her right wrist we see the miniature-portrait Becerril, count of Villalobos, she was the mother of a gentleman; in 1859 she was married to of three children, Enrique being the first-born. don Antonio María del Valle Angelín.

46 Table clock Golden Fleece Brocot factory 19 th century Paris, second half of Enamelled gold 19 th century Inv. No. 2187 Marble, alabaster, gilt bronze Inv. No. 1779

The base of this magnificent clock houses a The rank of Knight of the Order of the Golden musical box that no longer works, formed by a Fleece was bestowed upon the Marquis of series of tubes or organ of flutes. Its movement Cerralbo in 1895 by Carlos de Borbón, Duke is exposed escapement, as it is located on the of Madrid, who acted as Grand Master of face. The vase crowning it is a feature added to the Order, as he considered that this right, the original clock. traditionally attributed to the king of Spain, legitimately corresponded to him.

Vase with ‘May Flowers’ Meissen factory Cross Around 1890 Spain, 1610-1620 Porcelain Enamelled gold, green glass Inv. No. 1742 Inv. No. 2419

The two pairs of vases from Meissen in this One of the oldest pieces in this Museum’s gallery show one of the Saxon factory’s most jewellery collection dates from the period appreciated specialities; from the 18 th century in which the use of large pectoral crosses it uninterruptedly produced ornamental vases waned, in fashion in the 16 th century. The glass with pictorial decoration combined with sculp- gemstones imitate the Colombian emeralds tural decoration of applied figures and flowers. of the richest crosses.

Don Enrique de Aguilera y Gamboa, 17 th Marquis of Cerralbo Cuff links José Soriano Fort 19 th century Around 1900 Gold and gilt metal Oil on canvas Inv. No. 2194 Inv. No. 1807

This is an official portrait of the Museum’s Two staters of Alexander III the Great (336- founder, dressed as a senator of the Kingdom, 323 BC) were mounted on laminas decorated with the condecorations granted him by Carlos with threads of filigree to compose this jewel, de Borbón. The books and objects piled up a gift from King George I of Greece (1863- on the desk allude to his collections and his 1913) to don Carlos de Borbón, Duke of investigations as a historian and archaeologist. Madrid, and from him to Cerralbo.

47 26

Second Gallery

In the second, furnished with a collection of Italian pieces inspired by Florentine Baroque production –table, chairs and display cabinet– made at the end of the 19 th century in ebony-covered wood with decorative motifs veneered in ivory, the dominant element is the painting The Pietà, done around 1600 by Alonso Cano and, on the other side, an Allegory of the Death that Comes to Us All by (1603-1682), believed to be a work by in the Marquis’ time as the original plaque attests.

The Martyrdom of Saint The Immaculate Sebastian Conception Juan de Peralta Francisco de Zurbarán Around 1430 Around 1655 Oil on panel Oil on canvas Inv. No. 1827 Inv. No. 1649

According to the Museum’s old inventory, A late work by the painterof the painted of this Gothic painting belonged to the chapel Fuente de Cantos (Badajoz), from whom of San Sebastián de Montuenga (Soria). The we know of numerous versions on a theme donors, kneeling before the martyrdom of he began painting in 1613, when this city the saint, are identified in the inscription as society expressed itself en masse in favour the sons of Luis de la Cerda, third count of of the belief in the Virgin conceiving free of Medinaceli. original sin.

The Resurrection of Christ Corrado Giaquinto Pietà 1755-1762 Alonso Cano Oil on copper Around 1660 Inv. No. 1630 Oil on canvas Inv. No. 1648 A unique work by Corrado Giaquinto, it is attributed to the painter because it shows The scene represents the grief of the Virgin similarities to the canvases of the Passion and Saint John before the body of Christ, of Christ that he painted during his stay in taken down from the cross, lying with his Spain at the service of Charles III and which head in his mother’s lap. A much-loved theme decorated the King’s chapel in the defunct in the 17 th century, its Baroque composition palace of El Buen Retiro in Madrid. is based on the Pietà painted by Van Dyck around 1636.

48 Table The Regent’s vases Milan, around 18 th -19 th centuries 1860-1870 Porcelain Pine and ebony, ivory Inv. No. 1624-1625-1637-1638 Inv. No. 1623

This type of table in an eclectic style won The group of vases in the Chinese Imari many prizes at the Universal Exhibitions of style belonged to Antoine d’Orleans, Duke the 19 th century. It combines the French style of Montpensier. It shows the coat of arms of in the shape and the Italian in the decoration, his lineage, like the vases of this same type based on the Neapolitan furniture of the late ordered for the first time from China by Renaissance. Philippe II d’Orleans, Regent of France, at the beginning of the 18th century.

Chair Italy, around 1860-1870 View from Portugalete Walnut, palo santo, bone, Luis Paret mother of pearl, metals Around 1785 Inv. No. 1833 Oil on canvas Inv. No. 1934

Historicist in nature, its shape recalls the Belongs to the series of the Puertos de la old chairs with a scissor-shaped backrest, Mar Oceána or views of Cantabrian ports, called ‘Dantesque’ in the 19 th century. The commissioned to Paret in 1786 by Charles marquetry is based on the Italian furniture of III. It shows a place in the vicinity of the the Renaissance and the Baroque. old beach at Portugalete which has been identified with Peñota; the town seen in the background would be Santurce.

Allegory of Death Diana the Huntress Pietro Paolini Clunia (Peñalba de Castro, 1640-1680 Burgos), 2 nd century Oil on canvas Marble, metal Inv. No. 1918 Inv. No. 1937

A work by the painter from Lucca (Italy), a A 19 th -century montage made using a Roman follower of Caravaggio’s tenebrist chiaroscuro torso. It was originally a copy of the model and naturalism, it shows men and women of created by the Greek sculptor Leochares different ages and social conditions gathered (4 th C BC) presenting the goddess equipped around the skull held by the eldest one of with a bow and a quiver full of arrows on them, who seems to be meditating on the her back. meaning of Death.

49 27

Third Gallery

In the third gallery is the guests’ bathroom with a curious wooden chamber pot lid and a marble washbasin. Distributed throughout this last gallery are writing desks in the style from Salamanca which alternate with neo-Renaissance chests, coffers from different places, marble busts and large mirrors with gilded wooden frames. The balconies looking over the staircase encouraged the more punctual guests to gather and contemplate the gradual ascent of the rest of the guests, while at the same time allowing the sounds of the orchestra sitting on the rostrum in the nearby Ballroom to waft over them.

Vase Casket of the Bull Japan, Edo period or Meiji era ‘Pía Sentencia’ Around 1870 Polychromy attributed to the Bronze workshop of Antonio de Pereda Inv. No. 1527 Around 1661 Oil on wood, metal Inv. No. 1533

This vase was cast in a mould with reliefs According to the tradition and the inscriptions inspired by ancient Chinese bronzes. It was on this casket, in it the bull granted in 1661 probably acquired in the Hôtel Drouot in Paris by Pope Alexander VII was brought to in 1877 and shows the esteem with which the King Philip IV. It permitted worship of the Japanese decorative arts came to be held in Virgin’s Immaculate Conception through the as collectable objects in Europe during that mediation of Luis Crespi de Borja, bishop of time. de Orihuela, depicted on the lid.

The Appearance of the Child Jesus Pair of Corinthian capitals before Saint Anthony of Padua 19 th century Mariano Salvador Maella Porcelain Around 1787 Inv. No. 1950 and 2003 Oil on canvas Inv. No. 2014

The Museum keeps two of the sketches of the Of exceptional size and technical quality, three paintings that Maella did for the parish they combine different textures in the finish church of Casa de Campo, which are in the of the porcelain, glazed and unglazed. They Museo de Historia de Madrid. The church was have been attributed to the factory of Sèvres reconstructed during Charles III’s reign, the king or to the Madrid factory of El Buen Retiro. professing great devotion to Saint Anthony.

50 Diana and Calixtus The Martyrdom of Attributed to Federico Saint Menas Cervelli (?) Spanish school 1665-1670 1600-1630 Oil on canvas Oil on canvas Inv. No. 1969 Inv. No. 1566

Painting that shows a mythological story, This painting, attributed to Bartolomé or inspired by Liberi’s Diana and Calixtus con- Vicente Carducho, belonged to the church of served in the Hermitage Museum, although San Ginés and is a copy of the work by Paolo done by a follower of the Paduan painter, Veronese (Museo del Prado), erroneously perhaps the Milanese Cervelli, a painter of interpreted in 1657 as the martyrdom of the Venetian school. Saint Genesius of Arles, although the saint, according to the inscription on the original painting, is the Egyptian Menas.

Pietà Saint Francis in Ecstasy Sebastiano Ricci El Greco and workshop 1691-1706 Around 1600 Oil on canvas Oil on canvas Inv. No. 1574 Inv. No. 1982

This painting is a finished work, not a sketch, Signed Doménikos Theotokópulos epoiei , it is one though it appears to be due to its small size. of the versions painted by the great Cretan The diagonal perspective, the gesticulation painter of the miracle of the stigmata or of the figures and the heavy chiaroscuro are wounds of Christ that Saint Francis of Assisi resources used by Ricci, a famous painter of received in his retreat on Mount Alvernia, in the Venetian school, to stress the dramatic the presence of Brother Leo. quality of the subject.

Jacob with the Flocks of Laban Clock Workshop of José de John Taylor, London Ribera 18 th century Around 1638 Mahogany, metals Oil on canvas Inv. No. 2008 Inv. No. 1576

Thanks to this copy we know the complete Its movement, via a pear-shaped pendulum composition of a work painted by Ribera in and pin-pallet escapement, is characteristic his Neapolitan workshop, of which only a of the English clocks of the ‘bracket’ type. It fragment is kept in the National Gallery in is signed on the face by John Taylor, a well- London. It shows Jacob (Israel) next to the known London clockmaker whose ‘brackets’ flock of speckled sheep that enabled him to were especially imported to Spain. form his own tribe. 51 28

Ballroom

Decorated with panels of agate from Granada, marble from the Pyrenees and large Venetian mirrors which infinitely multiply light and reflections, the Ballroom is the last jewel of our tour. The oil paintings on the ceiling by Juderías Caballero done between 1891 and 1892 are some of the few concessions to contemporary art found in the Mansion. However, as we can see, this contribution ascribes to a profoundly academic style, far removed from the paths of the most advanced painters of the time, but which goes perfectly with the historicist atmosphere of the mansion and helps to create a particular atmosphere of splendour and brilliance in a place designed for enjoyment, in which everything is designed with dancing in mind. The central scene represents the dance of the gods and around it are interpretations of dance throughout history. This idea of a ‘temple of dance’ is reinforced with the inclusion of Roman-style busts placed among the seating: divans and cane-bottomed chairs upholstered in silk from Lyon. Also in this room, important archaeological and numismatic exhibitions and literary gatherings took place.

Borne Clock with neoclassical Around 1885 sculpture Gilded wood, silk Barbedienne; Cíe Des Marbres Inv. No. 2512 Onyx d´Algérie, Paris Around 1870 Silver-plated bronze, marble Inv. No. 2495

The structure of this divan features an eclectic A ‘Mystery’ clock with conical pendulum composition of diverse elements probably designed by Farcot, which makes the heavenly designed by the Marquis of Cerralbo, who sphere turn upon being pulled by an arrow personally took charge of directing every mounted on the pedestal that conceals the detail of the decoration of the rooms on the movement. The sculpture was done in the main floor of the Museum. famous foundry of Ferdinand Barbedienne.

52 Figure-candelabrum Allegory of Dance France, 1850-1900 Máximo Juderías Bronze or zinc with black Caballero, 1891-1892 and gold patina Oil on canvas stuck to Inv. No. 1799 the wall

An allegory of the earthly world; the boy In the vault, Juderías Caballero’s academy carries an entomologist’s case slung across his style translates into a romantic evocation of shoulder from which emerge the insects that the history of dance, whose sequences, some crawl over his body. Its style recalls Baroque of a veiled eroticism, revolve around the sculpture, one of the sources of inspiration dance of the gods on heavenly Olympus. for the French sculptors of decorative bronzes for lamps or clocks.

Chair 1875-1900 Gilded wood, silk Inv. No. 3606

Chaise volante , easy to carry because of its light The Marquis of Cerralbo himself is portrayed in weight, typical of ballrooms, which guests one of the corners, dressed in a red frock coat, took with them around the floor to rest or playing the role of the perfect host attending to discreetly join different groups conversing. the guests invited to the ball in that ideal world, a replica of the high-society figures who in this room danced the ‘galop’, a very popular dance Bust in which, going round in a circle, they jumped 18 th century in imitation of galloping horses. Marble Inv. No. 2501

The iconography of the figure portrayed, possibly a Greek philosopher, ascribes this work to the tradition of a type of portraits created in classical Greece during the 4 th century BC, recovered in the time of the Early Roman Empire and renewed during neoclassicism, at the end of the 18 th century.

53