ROOMS GUIDE the Museo Cerralbo Is Special in That It Is One of the Few Examples in Madrid of a 19Th-Century Mansion Which Preserves Its Original Décor

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ROOMS GUIDE The Museo Cerralbo is special in that it is one of the few examples in Madrid of a 19th-century mansion which preserves its original décor. It was the residence of the 17th 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), 1st 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 19th century and the early 20th 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, restoration 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 Spanish Civil War and, later, with the museographic refurbishment of the 20th 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. MEZZANINE FLOOR 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. 1 Summer Reception Area and Gallery This is the reason for which the exhibition proposal 2 Garden of this floor has been undertaken from a recreational 3 Red Room standpoint and not from the faithful recovery of 4 Yellow Room the spaces, as has occurred on the Main Floor. This 5 Pink Sitting Room recreation of atmospheres has been done, whenever 6 Bedchamber of the Marquis of Cerralbo possible, with the pieces which were originally 7 Corridor 8 Main Doorway and Main Staircase found in these rooms; however, the spaces have been 9 Winter Reception Area complemented with pieces from the Villa-Huerta 10 Parlour collection (coming from the Marquises’ mansion in 11 Dining Room Santa Mª de Huerta, Soria) or even, although to a lesser degree, with purchases on the antiques market.

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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 17th 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 18th century 1600-1630 Iron, bronze Oil on canvas Inv. No. VH 4838 Inv. No. VH 1

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

9 2 3 Garden Red Room

The garden’s current appearance is a recreation dating from 1995. Hardly any documentation This is the first in a series of three rooms with views to the garden which owe their names, pertaining to the original garden remains except a note by the Marquis of Cerralbo himself. following the custom of the time, to the shades of their tapestries and wall hangings. That project involved a transverse axis which divided the space into two triangles and joined The vivid colour of this room is completed in the lower part of the walls with a frieze of the façade of the home with the corner of the belvedere or pavilion-viewpoint, located at wallpaper, an alternative to the skirting board in fashion at the end of the 19th century. the corner of the fence and, in the centre, a large irregular space lined with curved paths. This room was used as an office, where the Marquis received administrators and suppliers The construction in the 1940s of a pavilion, identical to the home itself, for the internal without them having to pass through the rest of the house. The existence of these rooms, use of the Museum, broke the axis conceived by the Marquis. The garden thus underwent located on the ground floor, in which the owner worked on the administration of his an alteration from which it has been impossible to recover. However, the work which was properties, and managed his income and his business dealings, was common in the urban done enables us today to enjoy a landscaped space in a classical-romantic style, in which mansions of the nobility and haute bourgeoisie. 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 Fernando de Aguilera y Ericsson telephone atmosphere typical of certain Italian gardens adorned with classical elements, while the Gamboa, 15th Marquis of 1890-1900 curved paths and thick vegetation bring us closer to the melancholic English-style garden. Cerralbo Wood, bakelite, metal, silk Valentín Carderera Inv. No. 7262 1833 Oil on canvas Inv. No. VH 496 Bust of a Roman woman to the collection of classical sculptures of Per Italy, 18th and 19th centuries Afán de Ribera, viceroy of Naples. It is a copy Portrait of the great-uncle of don Enrique de A private intercom, model BC 1300 (405), Marble of the Roman wild boar from the Florentine Aguilera, founder of this Museum, painted in the which would most probably have been Inv. No. VH 1026 gallery of the Uffizi, which in turn reproduces same year he was appointed as Master Equerry connected to a similar telephone found in the an ancient Greek work. The classical busts which are exhibited in the at the beginning of Isabella II of Spain’s reign. tower where the archive was located, around garden are those which decorated the garden 1900, on the attic areas of the house. This of the palace of Santa María de Huerta (Soria), model appears in the 1897 Ericsson catalogue. the property of the Marquise of Cerralbo and her children, where the family lived during the Don Jaime in Uniform on summertime and where the Marquis studied Roman capital Horseback Singing Angels the archaeological material he had excavated Arcobriga (Monreal de Ariza, A. Mayer (studio) Ludovico Carracci st from the sites in the Alto Jalón region. Zaragoza), end of the 1 Austria, around 1893 1600-1610 century AD Gelatin/Collodion Oil on canvas Carved sandstone Inv. No. 6177 Inv. No. VH 490 Inv. No. 6143 Wild boar This is a photograph of the son and heir of Attributed to the painter from Bologna’s last Florence, 16th century This Corinthian capital belongs to a corner pilaster situated in the portico of the courtyard don Carlos de Borbón in the style of a court period and probably a fragment of another Marble portrait with a certain regal look to it; the painting, this work shows large faces from a Inv. No. VH 894 of a Roman house. It was found in the first excavations done by the Marquis of Cerralbo young man in uniform sits majestically in choir of angels in a cluttered composition, but This piece comes from the Medinaceli palace between 1908 and 1911 in the Celtiberian- the saddle of his standing horse. It is lovingly clearly defined by the pronounced lines and in Madrid, demolished in 1890. It belonged Roman city of Arcobriga. dedicated to the Marquise of Cerralbo. the strong chiaroscuro.

10 11 4 5 Yellow Room Pink Sitting Room This was a dining area as well as a private study, as the furniture itself tells us, comprised Unlike the two previous rooms, in which the original decoration has been restored, of a solid crotch mahogany table surrounded by six upright chairs with the characteristic this space has been recreated as the Marquise of Villa-Huerta’s study with some of the central backrest with fretwork and another set of ‘study’ chairs which include various furniture bequeathed by her to form part of the Museum. The recreation has been done seats, armchairs, chairs and sofas arranged in groups for conversation, sprung, low and in the style of the small visiting rooms very much to the taste of 19th century ladies, in cosy, and covered in yellow silk damask, matching the balcony curtains. 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 The walls are decorated with the original wallpaper, the only example of it remaining in friend, chatting while they contemplated the springtime flowering of the plants through the entire home. This paper, printed by a mechanical process, in fashion during the middle the balcony opening onto the Garden or embroidering while they read out loud in turns, of the 19th century, was a practical solution compared with older and much more expensive or on her own, seated before the lady’s writing desk which bears her initials, writing hangings, and a good example of the application of industrial processes in the decorative arts. letters, invitation cards or thank you notes.

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) Jewellery box Inocencia Serrano y Around 1840 Havana, 1888-1889 Around 1880 Cerver with her Daughter Oil on canvas Albumen Glass, gilt metal Amelia Inv. No. VH 502 Inv. No. VH 982 Inv. No. 26975 Spanish school Around 1855 The portrait of don Enrique de Aguilera’s This photographic portrait of one of the This example of a jewellery box in the form of Watercolour on cardboard grandfather was done by either Vicente López Marquis of Cerralbo’s brothers, Agustín de a book is based on the boxes made with pieces Inv. No. 505 or his son Bernardo, who painted in the same Aguilera y Gamboa, Count of Alba de Yeltes, of rock crystal during the Renaissance, the style as his father and who, like him, was was taken in a famous Cuban studio. He is period to which the arabesque designs etched the court painter to Isabella II and a portrait wearing a rayadillo uniform (colonial uniform) on the clasps also correspond. It contains painter fashionable with the haute bourgeoisie and adopts the classic pose for a military several medals and a woman’s cross of the and the aristocracy. portrait. Order of Isabella the Catholic. Inocencia Serrano y Cerver Antonio María del Valle Dressed in Typical Salamanca Lamp Antonio María del Valle with his Son Antonio Bohemia or France, second y Angelín Spanish school Costume th Poujade y señora (studio) half of the 19 century J. Heigel Around 1855 Salamanca, 1878-1896 Glass, gilt bronze 1830 Watercolour on cardboard Gelatin/Collodion illuminated Inv. No. VH 1006 Watercolour on cardboard Inv. No. 506 Inv. No. VH 984 Inv. No. VH 504 This illuminated photograph is of the Marquise This is an example of the 19th century evolution This is a miniature-portrait of the first These two portrait miniatures show the Valle of Cerralbo in typical Salamanca costume. The of one of the sumptuary creations of Bohemian husband of Inocencia Serrano y Cerver the Serrano family in two pairs: Inocencia (1816- work of a French photographer who was active glassmakers. The doubled-walled glass, with Marquise of Cerralbo. It is signed by Joseph 1896) and her daughter Amelia (1853-1927), in various Spanish cities along with his wife, an outside layer of gold ruby crystal or glass, Heigel, a German miniaturist established in and Antonio del Valle (who died in 1863) with the exquisite illumination signed ‘Ch. de Bar.’ etched and cut on the whetstone, was, from Paris between 1817 and 1837. her son Antonio (1846-1900). was probably done in Paris. 1830, replaced with copper red glass, thus reducing production costs.

12 13 6 7 Bedchamber of the Marquis of Cerralbo Corridor

In a society in which exhibition and appearances were of the utmost importance, the personal It was this corridor connected to the old service staircase that the servants from the kitchens bedrooms were designed with substantial austerity in contrast to the opulence and showiness on the lower ground floor moved along in order to serve the dining room. Recently, some of the visitors’ rooms. Such is the case with this bedroom, recreated from the inventory of of the Carlist souvenirs in the house related to the Marquis’ political affiliation have been the house, which includes some of the original furniture and some pieces acquired on the gathered together here. 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. Don Carlos de Borbón The District Council and doña Berta in of Igualada The Marquis died in the Isabelline armchair at the foot of the bed on 27 August 1922. Traditional Attire J. Sagristá G. Contarini Igualada (Barcelona), Venice, 1896 around 1892 Bed Alarm clock with light Albumen Albumen Majorca or Catalonia, France (?), second half Inv. No. 6173 Inv. No. FF 2673 19th century of the 19th century Ebonized wood Wood, metal This photograph is dedicated to the pretender This photograph is dedicated by the members Inv. No. 28016 Inv. No. VH 1122 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 This is a portable table clock which ran on six The bed was recently acquired on the art Berta de Rohán, who wears a Spanish mantilla. representative of don Carlos, the Marquis of the first batteries in France. It is equipped market to complete the furniture of this room. Contarini had a studio in Venice, where the actively travelled around Spain encouraging with an alarm with an on-off switch, an In the Baroque tradition, the headboard and couple had their official residence. his supporters, managing to create a modern footboard are formed of several crosspieces incandescent light bulb to see the time, and a political party. turned on the lathe, ending in pinnacles. petrol lighter with electric ignition, also with a switch. Group in the Gardens of Don Carlos de Borbón Santa María de Huerta y Austria-Este, Duke of Chest of drawers- The Marquis of Cerralbo in writing desk Santiago Oñate Madrid Full-dress Uniform Calatayud (Zaragoza), G. Atam Spain, probably Madrid, Manuel Compañy 1870-1900 Venice, around 1890 around 1815 Madrid, 1885-1909 Albumen Charcoal Pine, walnut, gilt brass Gelatin/Collodion Inv. No. 6176 Inv. No. 5379 Inv. No. 5144 Inv. No. 6181

A piece of furniture with a dual purpose, it This is a photographic portrait of the Marquis In this image we can identify the members This portrait was sent from Venice to the is composed of four drawers, the three lower of Cerralbo in full-dress uniform of which of the family, Enrique, Inocencia, Antonio Marquis of Cerralbo by don Carlos de Borbón ones for keeping clothes in and the top one the shako and the dress sword are especially and Amelia, in the gardens of their summer in 1893 in gratitude for services rendered. The for housing a writing desk. The front of the noteworthy. Manuel Compañy was one of the residence in Santa María de Huerta (Soria). duke wears the Captain General’s uniform top drawer folds out for use as a desktop to best-known photographers in Madrid at the The Aragonese photographer worked regularly with beret and his figure is drawn with such write while standing and at the back there are end of the 19th century, with as many as three with the Marquis. precision in the chiaroscuro technique that it small drawers for storing the ink, paper, pens, studios working simultaneously. looks like a photograph. sealing wax and stamp.

14 15 8 9 Main Doorway and Main Staircase Winter Reception Area

The hall has, like many other doorways in Madrid, two enormous twin doors whose purpose, This is the reception area in the part of the residence that belonged to the Marquis and today forgotten, was to allow guests’ and suppliers’ carriages to enter through one and leave Marquise of Cerralbo and their daughter Amelia, and which was later turned into the winter through the other, thus facilitating the complicated manoeuvres with horses. In contrast, the wing. It is soberly decorated, in line with the everyday use of the floor, with several pieces house carriages continued the journey to the foot of the stairs and, once there, the ladies and of furniture characteristic of 19th-century reception areas: a console table flanked by two gentlemen could get out of the carriage comfortably while the driver went on to the inner chairs and a full-length mirror set in a decorative base; in this case, what’s more, it has a shelf courtyard where the stables and harness room were. for placing indoor plants. These large mirrors, going by the French term trumeau, allowed The Main Staircase was one of the most scenographic spaces in these 19th-century mansions; visitors to check their appearance and make any touch ups before being received, and also it was important here to praise the social prestige of the owners of the house. Of particular allowed the residents of the house to take a final look at themselves before leaving. This note along the staircase in the Cerralbo mansion are the wrought iron banister which belonged rooms leads directly to the chapel, the parlour and, in the past, to the internal corridor that to the old monastery of Las Salesas Reales, founded by Queen Barbara of Braganza, and the led to the rooms for private use. large coat of arms representing the Cerralbo marriage, framed by two tapestries from the 17th 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. Philip III Wall clock Spanish school Germany, 1870-1900 Roman Midwife Saint Dominic in Soriano 1600-1630 Wood, alabaster, metal, Second half of the 2nd century AD Antonio de Pereda Oil on canvas porcelain Marble Around 1655 Inv. No. VH 434 Inv. No. VH 270 Inv. No. 44 Oil on canvas Inv. No. 56 A young midwife with her head uncovered This painting repeats the pattern of the The cuckoo clocks made by the clockmakers of to highlight the recognition and liberty that This painting belonged to the retable in the court portrait in the style of the portraits the Black Forest were very popular in the second Roman women were gaining with the passage chapel of the Marquis of La Lapilla, destroyed painted by Pantoja de la Cruz’s followers, half of the 19th century. A cuckoo that is pushed of time. We can see several restorations in the in the fire that devastated the Colegio de Atocha such as Bartolomé González, Rodrigo de out by the wind from bellows still marks the form of staple marks from Antiquity, and 19th in Madrid in 1872. Don Enrique de Aguilera, Villandrandro and Andrés López Polanco. hour of this clock with its song and then returns century additions. patron of the chapel, retrieved this piece to its position behind a small window. representing the miracle that occurred in 1530 Tapestry of the 3rd Duke in the Dominican convent of Soriano, Italy. Margaret of Austria Cane stand and Duchess of Pastrana Spanish school Daniel Zuloaga Pastrana workshop Coat of arms 1600-1630 1888 Around 1625 Around 1893 Oil on canvas Glazed ceramic Wool and silk Stuccoed plaster Inv. No. VH 433 Inv. No. 27068 Inv. No. 55 Forming a pair with the previous one, this kind The stand was decorated by Daniel Zuloaga To the right, the arms of the Marquis of of portrait repeats a long-standing model that in the La Moncloa factory with a candelieri This is a magnificent example of the scarce th production conserved of the tapestry work- Cerralbo, Spanish Grandee, who also held the survived in the 17 century due to the repeated design in neo-Renaissance style. This great shop established in Pastrana (Guadalajara) by titles of Marquis of the Holy Roman Empire, copies commissioned by the Spanish nobility in ceramist, trained in Sèvres, was responsible Francisco Tons, a master tapestry maker from of Almarza and of Campo Fuerte, and count of order to form their own portrait galleries, like for the ceramic decoration of several turn-of- Antwerp, to whom this hanging is attributed Alcudia, of Villalobos and of Foncalada. To the the royal galleries of El Alcázar and El Pardo. the-century buildings in Madrid, such as the due to its similarity to the only two tapestries left, the arms of Soler y Cerver, the ancestors Velázquez palace in El Retiro and the Ministry that bear his mark. of his wife. of Agriculture. 16 17 10 11 Parlour Dining Room This is the reception room on the main floor and as such some of the most striking decorative This is both a dining and living room situated in one of the warmest areas of the home thanks objects are found here. The term parlour, within the confines of 19th-century formality, refers to being situated near one of the boiler rooms, to having a fireplace with a cast-iron hearth, to the room in which visitors were received whether they were close friends and family or which helps combustion and reduces the consumption of wood and coal, and to getting all formal visits, or the days when visitors were received without the necessary formal attire the afternoon sun due to its positioning. The circular centre table, which is extended by and paraphernalia belonging to gala receptions. This room is connected to the Marquise of adding supplementary panels, was used, aside from dining, for conversation, reading, sewing Villa-Huerta’s last bedroom. or playing cards. Next to the fireplace is a comfortable divan for sitting and having coffee Without a doubt, eye-catching pieces are the large Murano crystal lamp, acquired by the after meals and in front of one of the balconies is a writing desk for reviewing the daily Marquis and Marquise on one of their trips to Italy and, below it on the centre table, a accounts, making to-do lists for the housekeeper, or writing and replying to correspondence, th collection of Meissen porcelain, also from the 19th century, comprised of two pitchers and the preferred way of communicating in 19 -century society. two vases dedicated to the four natural elements, Water, Fire, Earth and Air. 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.

Matilde de Aguilera y Cheval glass or psiqué Vase with flowers Outdoor Still Life with Gamboa, Lady of Fontagud Meissen factory Jan Baptiste Boschaert Fruit, Flowers and Federico de Madrazo Around 1885 1715 Vegetables 1873 Porcelain, glass, wood Oil on canvas Giovan Battista Ruoppolo Oil on canvas Inv. No. 533 Inv. No. VH 469 Around 1680 Inv. No. 28025 Oil on canvas This is a portrait of one of the Marquis’ most One of the objects in the Dresden or Saxony Inv. No. VH 455 beloved sisters, who died at an early age, style that decorate this room, adorned with the An exceptional example of the Museum’s The author of this painting, the Neapolitan which was donated to the Museum in 2008. porcelains preferred by 19th-century society; still lifes with flowers, Boschaert’s signature Ruoppolo, popularized a kind of large outdoor Madrazo, a portrait artist from Madrid in from 1850 the Meissen factory produced was found whilst it was being restored. The still life with plenty of fruit, vegetables and fashion during the period in which he did this furniture and other neo-Rococo pieces based Italianate style of this Flemish painter’s work is flowers seen on their respective fruit trees or work, recreated the beauty of the subject in a on their exclusive 18th-century porcelain. due to the admiration that Neapolitan flower plants, or piled up on the ground, which were pose unique for its delicacy. paintings aroused in Europe. highly valued in Spain and Italy due to their Inocencia Serrano y Cerver decorative effect. and Amelia del Valle y Bouquet of Flowers with Zarf set Serrano in Eastern Attire Large Mask Plate with Peaches Turkey, around 1890 Abdullah Frères (studio) Gabriel de la Corte Juan van der Hamen Silver Istanbul, 1889 Around 1670-1680 Around 1630 Inv. No. VH 678 to 680 Albumin Oil on canvas Oil on canvas Inv. No. VH 702 Inv. No. VH 461 Inv. No. VH 133 Cup-shaped stands used in eastern countries Taken during a family trip to Turkey, this The group of paintings with flowers hanging The state of preservation of this painting, to hold cups without handles for hot coffee. photographic portrait shows us mother and from a large bronze mask was done by one recently attributed to Juan van der Hamen, The Marquis and Marquise and their children daughter in local attire posing on a couch. The of the greatest flower painters at the court of made it difficult to identify the author, the great probably purchased in Turkey the zarfs exhibited three Armenian brothers known as Abdullah Charles II in Madrid. In them, the traditional still-life painter of Philip III’s reign, who died in the ‘Travel souvenirs’ display cabinet. Frères were renowned photographers with garland of Renaissance origin brims over at an early age. The plate with fruit was one studios in Istanbul and Cairo. in an exuberant cascade, full of vitality and kind of still life made popular by this painter. naturalism.

18 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 MAIN FLOOR proprietors. Its organisation reflects the 19th-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 12 Armoury 21 Billiard Room result of the efforts of a multidisciplinary team of 13 Bathroom 22 Chamfered Corner Room professionals that has worked to recover the original 14 Arab Room 23 Office atmosphere of the place. 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

20 21 12 13

Jesus Sentenced to Death Stirrups (Abumi) Armoury Bathroom Francisco de Herrera, el Mozo Japan, Edo period Around 1670 (1614-1868) Oil on canvas Iron, silver, lacquer This was the place designed for the reception of guests where the greeting ceremony, the Inv. No. 295 Inv. No. 464-465; 466-467 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 Trained in Seville and Italy, Herrera worked These samurai stirrups bear the craftsman’s took part. The decorative motifs of the console table with a mirror were also inspired by the at the Spanish court as a royal painter. This signature on the pin of the buckle. The exte- Gothic style, as were the galleries over the doors, a style which the two chairs of honour Museum possesses both of the paintings on rior is decorated with silver, forming floral beside the door share in trying to emulate the throne room of a medieval castle. Weapons the Passion of Christ that he painted for the motifs; on the inside we see the pieces of and armour line the walls and form harmonious groups that, along with the heraldic coats Colegio de Santo Tomás de Atocha, destroyed lacquered wood where the feet rested. of arms on the ceiling, in painted plaster, and the felt hanging give much information about in 1872. the ancient ancestry of the proprietors of the home.

Leading directly on from the armoury is the Bathroom, a room in which exhibition takes Sedan chair Pistol th priority over the practical. It is important to remember that until the late 19 century France, around 1750 Belgium, around 1790 bathrooms that were designed as independent rooms were not common. Having an exclusive Pine and oak, linen, silk Wood, iron room with a marble bath, hot and cold taps and a drain meant a display of comfort that the Inv. No. 396 Inv. No. 453 owners of the house wanted to show off.

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 Suit of armour Helmet Miguel Cegarra Sebastian Around 1650 Germany, 16th century 1768-1783 José Antolínez, 1657 Wrought iron Engraved steel Iron, gold, wood, ivory Oil on canvas Inv. No. 100 Inv. No. 103 Inv. No. 445 Inv. No. 519

According to tradition, the suit belonged to One legend attributes this helmet to With a trigger in the Madrid style, its mark- This painting represents the moment before one of the Marquis of Cerralbo’s ancestors, Emmanuel Phillibert, Duke of Savoy, the vic- ings indicate that it comes from the Royal he was martyred, when the saint, one of don Pablo Fernández de Contreras, 1st Count tor at Saint-Quentin in command of Philip II’s Armoury and belonged to the Infante don Diocletian’s praetorian guard, now stripped of of Alcudia, Admiral of the High Seas, famous Spanish troops, and known by the nickname Gabriel de Borbón, according to an inscription his clothes, is tied to a tree before being shot for his galleon’s heroic victory over three ‘Ironhead’. damascened in gold. The gunsmith Cegarra was with arrows in the presence of the Roman Dutch ships in 1635. harquebusier to King Charles III. emperor on horseback.

22 23 14 Suit of armour Dagger (Kris) Japan, Edo period Philippines (Sulu Islands), (1614-1868) 19th century Iron, copper, lacquer, fabrics Steel, wood Arab Room Inv. No. 585 Inv. No. 642 The suit of armour is composed of the kabuto A weapon in use for thousands of years in The names Oriental study or Turkish room, and other similar options to describe the same (helmet), ho-ate (mask), nodu-wa (gorget), do Southern Asia, this kris, used by the Muslims kind of space, fashionable throughout Europe in 19th century, were associated with smoking (cuirass), sode (shoulder guards), ko-te (arm in the Philippines, was also considered to tobacco and, therefore, essentially masculine use. The walls covered with kilims (flat tapestry- guards) and sune-ate (shin guards). At the end be an object that brought good or bad luck. woven carpets) and the floors and furniture covered with carpets were intended to evoke the of the Edo period in Japan, samurai suits of Specialised craftsmen forged the blade, usually jaimas (tents) of the desert nomads. There was also space here for curiosities and collectables, armour were made based on old models as flame-shaped or wavy, and performed mystic especially weapons and armour, but also, as is the case here, musical instruments or the artistic and commemorative objects. rituals to endow it with spiritual powers. 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 Two-string violin (Erh-hu) Philippines, Morocco or New Zealand are, therefore, the result of the taste for the exotic Moroccan musket Shanghai (China), inherited from Romanticism. Exoticism and Orientalism are two qualities combined in the Morocco, 19th century 19th century th décor of these rooms, which were to become prolific in Madrid until well into the 20 , Wood, metal Cane, snakeskin imitating the Arab Study designed by Rafael Contreras for the Royal Palace in Aranjuez. 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) Opium smoking set Bento Philippines, 19th century Steel, bronze, wood, shagreen, China, Qing dynasty, 19th century Japan, Meiji era (1868-1911) Iron, wood lacquer and fabrics Glazed pottery, metal Lacquered wood Inv. No. 609 Inv. No. 731 Inv. No. 554 Inv. No. 566

This constitutes yet another curiosity among This set of containers was used to store This battleaxe was given to don Enrique This samurai weapon was used in duels and the objects exhibited in this Eastern room and transport food prepared for later de Aguilera by the intendant general of hand-to-hand combat, and for the ritual act and, together with the pipe used for the same consumption. The use of boxes or containers the Treasury in the Philippines along with of suicide known as hara-kiri or seppuku. Its purpose, is an exotic allusion to the common which can be placed one on top of the other other weapons pertaining to the Muslims size is the biggest that the wakizashi can be. use of Arab rooms, in fashion in European began in Japan in around 1610 and continues of Mindanao and the Igorrotes on the houses at the end of the 19th century, where to this day. island of Luzon. the gentlemen gathered to smoke.

24 25 15 Tondo with the Adoration Jardinière of the Virgin Japan Florence, first third of the Meiji era (1868-1912) 16th century Porcelain Maiolica Inv. No. 947 Sunroom Inv. No. 811

The purpose of this flowerpot stand is in It was originally designed as a conservatory for protecting exotic and indoor plants from This is a noteworthy example of the kind of religious sculpture created during the keeping with the design of this room as a the elements. It was very much a favoured space in urban mansions during the second half Renaissance by Lucca della Robbia, modelled sunroom or greenhouse. It is a piece that was of the 19th century as an adaptation of the kind of pavilion or cold serre which had become in fired and glazed clay, with figures in white made for export after the Universal Exhibition common in parks and gardens since the presentation of the glass and iron pavilion built by and polychrome garlands. It is attributed to in Paris in 1878, where the Japanese blue and Paxton at the Great Exhibition held in London in 1851. The Marquis can’t have seen any one of Andrea della Robbia’s followers or to white porcelain with birds and flowers was a advantage in this glass structure, designed by the architects of the mansion, which wasn’t the Buglioni workshop. great success. 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, Falcata then, was converted into an authentic collector’s study, where materials, styles and periods Greek skyphos Necropolis of Las Angosturas. Illora were mixed with archaeological objects. Of the latter, the examples of Neolithic axes and Apulia (Italy), middle of (Granada), 3rd-4th centuries BC fabrics from the Palaphitic cultures of the Swiss great lakes, the bell-shaped vessel from the 4th century BC Wrought iron, damascened Malpartida de Plasencia (Cáceres), the Attic and Italic Greek vessels and the Iberian weapons Red figure technique decoration are particularly noteworthy. All of these objects, the majority of which were acquired by the Inv. No. 902 Inv. No. 1306 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 This receptacle for drinking wine shows a This is the characteristic sword of the Iberian to the Museo Nacional de Arqueología and the Museo Nacional de Ciencias Naturales. 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.

Bust and hands of an Pilgrim’s phial Still Life with Fruit and Semi-pedalis of the Legio VII apostle Egypt, 6th-7th centuries Cooking Utensils Gemina Castilian school Made in the mould Luis Meléndez León, 238-244 AD Around 1700 Inv. No. 848 Around 1760-1765 In the mould, mark Polychromed wood Oil on canvas stamped Inv. No. 799 Inv. No. 905 Inv. No. 1400

The image to be dressed was a kind of This ceramic bottle was originally used to This work by the most remarkable Spanish still- A brick, half a Roman foot long, made by the processional sculpture that abounded in Spain hold the oil with which to light the lamps in life painter of the 18th century is characterized Roman legion stationed in the present-day during the Baroque period. In this example, the sepulchre of Saint Menas at Abu Mena by the exceptional capturing of the particular city of León. They not only ensured peace and the bust and hands were connected by a (Alexandria, Egypt) and later offered to the texture of each object and by the low point the collection of taxes, but also participated in structure hidden under the cloth tunic that the pilgrims as a souvenir of their journey. of view from which they are seen, as if the the Romanization of the conquered territories figure was dressed in for worship or for being painter had been sitting and working very thanks to their industrial production. taken out in procession. close to them.

26 27 Portrait of a Boy Monarch Receiving an 16 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 Corridor of Drawings Inv. No. 4705 This sketch by the master engraver to King This corridor, which was once for the service–as it was here that the servants stood waiting Charles III could be of one of his sons, Juan This drawing is the work of the great Mannerist th to attend to the people in the banquet room–, was decorated by the Marquis with part of his Antonio, from his second marriage to Ana painter who worked for the foremost 16 - María Mengs, the eldest daughter of the collection of drawings, 80 out of a total of 558. Its location in a place without direct natural century patrons of the arts in Italy, England, painter Antonio Rafael Mengs. Holland and Spain. He took part in the light was not accidental: don Enrique undoubtedly knew the danger of photo deterioration to decoration of the Royal Monastery of El art done on paper. Escorial between 1586 and 1588 under the What are currently exhibited are exact reproductions of the originals and their passepartout Project for the decoration patronage of Philip II. frames, keeping the old attributions and framing them in their original and restored mouldings, of a church while the originals themselves are perfectly conserved in the store rooms. Francisco Rizi de Guevara Frederick V Arriving in 1614-1685 Bohemia Of the drawings, “Cheap Covered Carriage” by Goya is worthy of note, a work that was Black pencil, brown ink and Adrien Pieters Van de Venne completed between 1824 and 1828 during his ‘exile’ in France. Apart from this important watercolours 1613-1618 drawing, notable works are also preserved by others painters, such as Francisco Bayeu, José Inv. No. 4763 Pen and brown ink del Castillo, Salvador Maella and Manuel Salvador Carmona, as well as masters from other Nº inv. 4744 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, This is a sketch for the mural decoration of Preparatory drawing for the print engraved Nicolas de Platmontaigne and Antoine Ranc deserve mention, while from Northern Europe one sector of the elevation of a lady chapel in by Van de Venne, published by his brother the compositions by Willem van Nieuwlandt, Adriaen van Ostade and Jan Ykens stand out. a church. Francisco Rizi learnt the quadrattura Jan in Middelburg in 1618. It shows the technique from the Italians Agostino Mitelli arrival in Flushing in 1613 of the English and Angelo Michele Colonna with mock fleet that carried the Elector Palatine of the structures, which he applied in the decoration Rhine, Frederick V, and his wife Elizabeth, of lady chapels in several convents in Madrid. princess of England, to their new kingdom of Bohemia. Saint (Martina?) Being Led to Jugurtha Bound and Her Martyrdom Handed Over to Silanus, Cheap Covered Coach Lady Seated at a Table Pietro da Cortona who Takes Him to Marius Francisco de Goya Jacobo Confortini Around 1634 Mariano Salvador Maella 1824-1828 1634-1666 Black pencil, pen and brown ink Around 1772 Pencil lithograph Black pencil and sanguine Inv. No. 4766 Pen and brown ink Inv. No. 4711 Inv. No. 4713 Inv. No. 4746

This work was part of the album that Goya This sketch is a study for one of the figures This is a preparatory sketch for a work Preparatory drawing for plate number XXX, drew in Bordeaux whose pages are filled with included in The Wedding at Cana, which this probably planned for the church of Saints engraved by Manuel Salvador Carmona, in the different means of transport or locomotion Florentine painter from the early period of the Luke and Martina in the Forum in Rome, book The Conspiracy of Catiline and the Jugurthine used by the poor and beggars; this drawing, Baroque did in the refectory of the convent of belonging to the Academy of Saint Luke, War, by Gaius Sallustius Crispus (Sallust), No. 25 in Album G, shows a cripple pulling a the Santa Trinità in Florence in 1631. Due to directed by Cortona in 1634; the renovation published by Joaquín Ibarra in 1772, one of wheelbarrow to the concealed amusement of the fluency of the lines and the relaxed pose of the crypt was begun that year and the relics the most beautiful Spanish editions of the 18th three women. of the model, it seems a study drawn from life. of the saint were discovered in it. century.

28 29 17 Our Lady of the Angels Young Man With Basket Bartolomé González On His Head Around 1613 Sebastiano Ricci Small Columns Room Oil on canvas Around 1722 Nº inv. 4593 Oil on canvas Nº inv. 4605 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 19th- Also entitled “Heavenly Concerto”, it is a At the end of the 19th century the Marquis of century politics while they smoked. The name ‘The Room of Little Columns’ is due to replica of the painting on the high altar of Cerralbo acquired, probably in Italy, this work the collection on the central table. There is a wide variety of figurines coming from the the convent church of the Capuchins at El that has turned out to be a fragment of the Egyptian, Greek, Etruscan and Roman cultures, together with others from the Middle Pardo (Madrid), which was commissioned to “Supper at Emmaus”, painted by Ricci for the Ages, done in terracotta, marble and bronze, which are mounted on as many small agate, Bartolomé González by Philip III, for whom he church of Corpus Domini in Venice. alabaster, coloured marble and gilded wood columns like small monuments. The opulence worked as court painter and portraitist. 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 17th The Assumption of Our Cabinet on stand century. The pictorial collection is centred on, essentially, the Baroque school in Madrid. Lady Spain or Naples, around 1660 It is also the Baroque style that predominates in the furniture: the Neapolitan cabinets on Eugenio Caxés Wood dyed black, shell, stands with ebony and shell insets –in pairs, in accordance with the custom of placing this Around 1615-1620 bronze furniture in twos–, the writing desk in the style of Salamanca and the Venetian mirror with Oil on canvas Nº inv. 4529 mother-of-pearl inlay above the fireplace. 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 17th 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 documents and small objects in.

Bust Lid of Canopic jar The Birds’ Concerto Sèvres factory Egypt, 1st millennium BC Attributed to Juan de Piece of furniture Around 1770 Marble Arellano (folder) Soft biscuit porcelain Nº inv. 4646 Around 1650-1670 Spain, 19th century Inv. No. 4656 Oil on canvas Wood, metal, silk velvet Nº inv. 4604 Nº inv. 4547

Probably a portrait of the Dauphin of France, A human head belonging to the god Amset, In a garden with a rich variety of flowers, An original piece of furniture in use in offices done during the period when the French one of the four sons of Horus, depicted on the birds of different species sing as a choir, con- in the19th century, in this room it was used for royal porcelain factory’s sculpture workshop four Canopic jars that contained the entrails of ducted by the owl; the subject, Flemish in keeping a selection of drawings and engravings was directed by the painter Jean-Jacques the mummified deceased in ancient Egypt; in origin, is not without its irony, as it seems in, which the Marquis probably showed to his Bachelier. this case the liver. that the voice of the peacock imposes itself, guests, along with the analogous works on dis- as beautiful as it is useless at singing. play in the adjoining corridor.

30 31 18 Pouffe-firewood container Sword of honour Spain, 19th century Tomás de Ayala Wood, silk Around 1800 Nº inv. 4229 Iron Inv. No. 4332 Dressing Lounge 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 Conceived with the same sense of representation in mind that many of the rooms in this in the hearth was kept. Its use was habitual swordsmiths, the hilt is composed of rows of mansion are imbued with, it was designed as a dressing room for the Marquis of Cerralbo, in middle-class and aristocratic households in faceted steel beads, giving the appearance of thus it is a masculine space in contrast to the Marquise’s, which it is directly connected to. It the second half of the 19th century. gemstones, a technique created in Matthew assumes the survival, although on a merely symbolic level, of the custom, in courtly circles Boulton’s factory (Birmingham, England). 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 18th century, the collection of Flowerpot stand Mirror court swords and sabres from the 18th and 19th centuries lavishly placed on the centre table China, Qing dynasty, Venice, around 1890 and the washstand recycled as a dressing table contribute to this idea. Objects and souvenirs around 1750-1825 Glass done in tiny mosaic and crystal brought from Venice are scattered over its marble top and the Copper, silver, bronze, Inv. No. 4251 shelf which hides the tank where the water was stored when it was used as a washstand. Two enamelling, jade, glass Nº inv. 4211 armchairs, upholstered in velvet and Chinese embroidered silk, typical of the 19th century, invite enlightened conversation around the fireplace. 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 Mantel clock adorned with Armchair Saint Paul Spain, around 1810 candelabra France or Spain, Juan Antonio de Frías Blued and gilt iron Marquis à Paris around 1890 y Escalante Inv. No. 4195 2nd Empire (1852-1870) Wood, silk Around 1660-1670 Gilt bronze Nº inv. 4175 Oil on canvas Nº inv. 4219 to 4221 Inv. No. 4271

This clock’s case and the matching candelabra Corresponds to the type of seats called of A truly Baroque work,it copies the picture This is a Spanish officer’s presentation sabre, were cast in gilt bronze covered in powdered confort, completely upholstered with padded, card engraved by Bolswert of Rubens’ The with decoration in the form of a stirrup. The gold by Marquís, one of the many Parisian sprung materials, in fashion in the second Conversion of Saint Paul. A common practice blade is partly engraved with the Spanish coat foundries making ornamental bronzes for half of the 19th century in the lounges, where among the Spanish painters of the 17th century of arms and gold-coloured military trophies, clocks. It has Paris pendulum movement and the visits of relatives or close friends were was to use as models the engravings that made in reserve on the background of blued iron. the hours and half-hours are chimed by a bell. attended to, in boudoirs or dressing rooms the works of other artists known. and in bathrooms.

32 33 19 Vase with Empire-style vases ‘A Sacrifice to Cupid’ France, around 1810 Etruria factory Porcelain Around 1785-1790 Inv. No. 4088-4089 Wedgwood jasper Empire Sitting Room Inv. No. 4123

This two-coloured vase with neoclassical The scene on the first vase evokes the meeting This room, originally the Marquise’s dressing room, was redecorated around 1900 as a study reliefs represents a European trend in the between the Austrian emperor Francis I with mirrors and was given the name ‘The Little Empire Room’. Its positioning between decoration of interiors designed at his and Napoleon two days after the battle of the Dressing Room and the Banquet Room allows us to assume that it was a place to pass Staffordshire factory by Josiah Wedgwood, Austerlitz in 1805; represented on the other through, where ladies paused to touch up their hairdo or rest briefly on the comfortable the creator of a ceramic material he called one are popular types of the German princi- divans. A bright lively space, painted in pink and white, far removed from the pompous jasper because of its hardness, which looks palities that gained independence from Austria solemnity of the adjacent rooms, it evokes the sumptuousness of French mansions in the 18th similar to biscuit porcelain. through the Treaty of Pressburg, signed by the and early 19th centuries. Here, a concept of very feminine luxury is recreated, expressed two emperors. 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 19th century. Boiseries (paneling) with neoclassical borders comprise a French-style Carnations and roses atmosphere in which mirrors abound, of gilded wood and Venetian crystal, hanging on the Vase José Soriano Fort walls and mock chamfers. The console tables and the pedestal table are home to a wide 19th century Around 1895 variety of ornamental objects: clocks, vases, plant-pot holders, as well as bronze, crystal and Enamelled glass Oil on canvas porcelain candlesticks. Floral design predominates in the curtains, valances and upholstery. Inv. No. 4119 Inv. No. 4071 The paintings done by José Soriano Fort and Máximo Juderías Caballero, artists protected A clear glass cylinder fits inside this vase which Trained at the Academy of Fine Arts in Valencia, by the Marquis, who worked on the decoration of their patron’s mansion, are framed on the can be removed, and which was probably used Soriano Fort worked in this palace doing several inside of the doors. The flowers and allegories of the four seasons heighten with their beauty as a lamp. The light it gave was toned down by murals and some paintings, like this group of the uniqueness of this small room which came about in honour of the Marquise of Cerralbo. 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 Pedestal table and lamp Vase France, first half of the Máximo Juderías Caballero Russia, around 1850 Paul Millet & Fils, Sèvres 19th century Around 1895 Malachite, bronze Around 1890 Gilt bronze, steel Oil on canvas Inv. No. 4167 Porcelain, bronze Inv. No. 4085 Inv. No. 4075 Inv. No. 4102

The tabletop and the lamp are formed of The private company Millet, Céramique d´Art As opposed to the English ones, the French The panels of the door that leads to the dressing mosaics of malachite plates, a material that worked in Sèvres between 1866 and 1945, clocks of the 18th and 19th centuries have a room feature four female figures representing cannot be carved in monolithic blocks. The in the vicinity of the prestigious French state different kind of machinery and cases with the seasons. Winter, Spring and Autumn are technique was perfected by the Russian factory, from which it copied this type of vase sculptures cast in gilt bronze. This clock is by Máximo Juderías Caballero, a painter from lapidaries who cut pieces for furniture and with a flamée or flame-decorated bottom, at the remarkable for its size and for the Cupid on Aragon who did part of the mural decoration other sumptuary objects in marbles and hard forefront of the Art Nouveau style prevailing a chariot that forms its case, a theme rarely and some sculptures in the rooms on the main stones from the Urals. around 1900. represented. floor of this House-museum.

34 35 20 Fable of the Snake Kitchen still-life and the Porcupines Cristoforo Munari Frans Snyders Around 1710 Banquet Room 1625-1650 Oil on canvas Here, formal dinners took place and splendid buffets were served on the nights when balls Oil on canvas Inv. No. 3876 and parties were thrown. The idea of a large dining-room table, which emerged in England Inv. No. 3900 in the late 18th century, took some time to spread through Spain. We find the first examples well into the 19th century in the aristocratic mansions which included, in purpose-built The genre of painting showing live animals An example of Munari’s best painting, it is rooms, these big tables linked to the ritual of formal dinners. Diners had to combine their was a speciality of Flemish painting of the similar to the six still-lifes that decorated th La Ferdinanda, the villa of the Medicis, his participation in general conversation, guided by the hosts, with paying attention to their 17 century, a genre mastered by the painter Snyders, whose works were much appreciated dealers in Florence. It is characterised by the immediate neighbours. The choice of French-style protocol placed the heads of the table in by Philip IV and the Marquis of Leganés, to representation of rustic objects, the strong the centre of the two longest sides, framed, in the case of this dining room, by two facing whom this painting originally belonged. three-dimensional modelling of the shapes and mirrors, one above the fireplace and one between the balconies. the wise mastery of the colour. 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 Still-life with could choose from a variety of dishes spread on the table at the same time. This practice watermelons, continued in Spain until the end of the 19th century, although little by little Russian-style Bunch of Grapes pumpkin and flowers service was being introduced, in use in Europe since the beginning of the century. This Juan Fernández “El Labrador” Giuseppe Recco Around 1630 consisted of a menu of several dishes, the same for all the diners, which the servants served Around 1675 Oil on canvas Oil on canvas one after the other, always serving to the left, and clearing away from the right. The side Inv. No. 3898 Inv. No. 3868 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 The banqueting room exhibits twenty-four A work by one of the most renowned dishes with lids and kerosene burners to keep the food warm stand out. still-lifes in the same places they were hung Neapolitan still-life painters of the 17th The original lighting combined the first electric lights with candles and was amplified by the by the Marquis of Cerralbo. These bunches century, it shows a strong contrast in the light th careful placing of mirrors. The balcony windows remained almost permanently closed, formerly of grapes were highly appreciated in the 17 between the background and the objects, covered with curtains made from tapestries of coats of arms, which were moved to the Cerralbo century for their singular naturalism; their and the combination of glazing or trans- painter’s nickname is due to his hypothetical funeral chapel in Ciudad Rodrigo (Salamanca) on the express wishes of the Marquis. parent brushstrokes and opaque, very thick work as a farmer in the outskirts of Madrid. brushstrokes, in relation to the natural texture of each fruit.

Bottle cooler Plate Wall clock Still-life with grapes Around 1900 Talavera de la Reina Le Faucher / Paris et Amant à Paris and cakes th Optical glass and silver- Around 1743-1750 18 century Juan de Espinosa plated metal Tin-glazed earthware Wood, gilt bronze, tortoise Around 1630-1640 Inv. No. 3927 Inv. No. 3978 shell (?), porcelain Oil on canvas Inv. No. 3884 Inv. No. 3866

A piece designed by Gisela Von Falke, a pupil Its exquisite Bérain-style decoration in blue This is a type of wall clock originally placed This is a work by one of the greatest Spanish of the Vienna Workshops of the Secession and chiaroscuro reveals the hand of a painter trained on a bracket. The case is Boulle inlaid, still-life painters of the 17th century, active in a follower of the founders Koloman Moser at the factory at Alcora (Castellón de la Plana), with brass and tortoise shell; the bronzes Madrid between 1628 and 1659. A contem- and Josef Hoffmann. Produced for sale in possibly José Causada, who temporarily moved represent the passage of time. The face and porary of El Labrador, he takes from him the large department stores, the glass features to Talavera (Toledo), introducing the decorative the movements, of square Paris Movement, naturalistic recreation of the grapes, although Moser’s Meteor design. styles of Alcora ceramics to its pottery. were made by clockmakers in the reign of he also depicts cakes and red ceramics, Louis XV. following the tradition of the still-lifes of Juan van der Hamen. 36 37 21 Portrait of a Lady in Giulio Cesare Procaccini Hunting Dress Around 1624 Spanish school Oil paint on wood 17th century Inv. No. 3731 Oil on canvas Billiard Room Inv. No. 3808

This room must have been used as a help area for the service to the dining room; evidence 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 of this is the pulley that communicated with the big kitchen in the basement and which is director of the Museo del Prado, collector of drawing the attention to the brush and the still kept today behind a narrow door between the divans, as well as the presence of a water a prestigious gallery of paintings from which palette, instead of to the gold medal that filter topped with a carved alabaster cup. numerous works in this Museum come. hangs on his chest, given to him by Grand However, more important than the practical use of the room was that of recreation and Duke Cosimo de Medici. leisure, centred on the game of billiards, a favourite pastime of 19th-century gentlemen. A spectacular cannon billiard table dominates the room. The rest of the furniture is placed François-Joachim, Duke Portrait of Louis XIV around the table, with high chairs or, canapés de billar with retractable footrests, thanks of Gèvres in a Cuirass to which the women could comfortably watch the events of the game. The light from a French school Workshop of Hyacinthe Rigaud horizontal lamp falls evenly on the whole table, and concentrates, thanks to its lampshades, 1725-1750 1701-1715 all the attention on the baize, leaving the rest of the room in the half light. Oil on canvas Inv. No. 3755 Oil on canvas Portraits of ladies and gentlemen from different periods and schools and of varying degrees Inv. No. 3729 of mastery cover the walls. 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 the objects that represent his high social and and Museo del Prado) although due to its military rank. size, it falls within the type of high-quality workshop paintings, which spread the royal image in smaller-size bust portraits.

Portrait of a gentleman Billiard table Portrait of a Boy Tintoretto Luis I, Prince of Asturias France, around 1855 Italian school Around 1555 Miguel Jacinto Meléndez Fine woods, bronze, 1600-1630 Oil on canvas 1712 baize Oil on canvas Inv. No. 3740 Oil on canvas Inv. No. 3825 Inv. No. 3771 Inv. No. 3814

Originally a table for playing billard à blouses The naturalism of the representation, the A work by the great Venetian painter, it Portrait of the first son of Philip V and Maria or billards, it was later adapted to the French everyday familiarity of the figure and the probably depicts Agustino Doria, a member Luisa Gabriella of Savoy, at the age of five, game of carom billiards. Around 1900, in tenebrist chiaroscuro effect are aspects that of the important family of Genoa. The holding the sceptre and touching the chain the reports that described the rooms of the make it possible to catalogue this magnificent personality of the subject is reflected in his of the Order of the Golden Fleece, on a table Marquis of Cerralbo it said that it was the portrait as a work from the early 17th century. face and in the rhetorical gesture of his hand. next to the crown. He was king of Spain for table on which easy caroms had been prepared eight months in 1724. for King Ferdinand VII.

38 39 22 Allegory of Summer Tray and Autumn Japan, Meiji era 19th century (1868-1911) Chamfered Corner Room Porcelain Lacquered wood Inv. No. 3623-3625 Inv. No. 3646

Moving on from the Billiard Room is another room devoted to recreation and leisure which Ceres with a sheaf of corn and Bacchus The tray is lacquered in black (roiro) with owes its name to the shape of the wall which is a result of the building being on the chamfered with a bottle represent both bread and wine decoration in relief (takamakie) and flat corner of Ferraz and Ventura Rodríguez streets. and Summer and Autumn. The sculpture (hiramakie) in gold, silver and with touches model was created in El Buen Retiro around of red lacquer, representing a plum tree It is a room designed for discussions, whispering and resting between dances. 1785, although in this case it is a forgery of in flower with phoenixes (ho-oo). It sits on The plastic decoration was the responsibility of Máximo Juderías (1867-1951), the author excellent quality, set on a pedestal from the a trestle of gold-coloured wood imitating of the sculptural motifs and the majority of the pictorial scenes, both those on the ceiling, Madrid factory. bamboo cane, made in the West. 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 Bell de Huerta mansion in Soria, the Cerralbo family’s summertime destination; while the Vase China, Qing dynasty, around 1800 traditional dance of the Valencian farmland is the work of José Soriano (1873-1937). Japan, Edo period or Meiji era, around 1870 Bronze with cloisonné The regency-style seating favoured discussions in small groups. The flooring done in hydraulic Lacquered porcelain enamelling floor tiles, a technical innovation that burst onto the scene in 19th-century bourgeois Inv. No. 3614 Inv. No. 3649 interiors, is covered with a carpet from the 19th-century French manufacturer Aubusson, where the valances on the balconies also come from. This vase shows a technique unusual among This is an ornamental object made for exportation. Fine sheets of metal make up The atmosphere, inspired by the French 18th century, is completed with European and the Japanese porcelains for export. Its ceramic material is hidden by a layer of black lacquer the design and separate the different coloured oriental porcelains. 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 Bowl Clock Aristide Petrilli Inocencia Serrano y Cerver, Canton (China), Qing Second half of 19th century Aound 1890 Marquise of Cerralbo dynasty, 19th century Porcelain Marble Last quarter of 19th century Porcelain Inv. No. 3620 Inv. No. 3641 Illuminated albumen Inv. No. 3616 Inv. No. 3651

It was modelled on the wheel in the potteries The case of this clock is of porcelain from Signed by Professor Petrilli in Florence, it This is a photographic portrait taken in the of Jingdezhen and decorated in Canton in a Saxony or Dresden, as both the porcelains is inspired by the Florentine busts of the studio with the albumen technique, then illu- style used for Chinese porcelain for export, from the factory at Meissen and their French, Renaissance, although it coincides with the minated with transparent colours that enhance characterized by the cluttered composition English and German imitations were called in Art Nouveau aesthetic in the stylisation of the the copper-red hair and the blue eyes of the of Buddhist and Taoist motifs and the pre- the 19th century, which enjoyed widespread model and the slight turn of her neck. The subject, wearing an evening dress with a train dominance of a deep pink enamelling (purple acceptance on the sumptuary objects market. sculptor perfected the engraving technique and pearl earrings. of Cassius), which is European in origin. for drawing decorative motifs on the marble.

40 41 23 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 Office Inv. No. 3523 Inv. No. 3439

This is the room most closely connected to the Marquis of Cerralbo’s personality, designed 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. as a room for entertaining and the reception of illustrious visitors, without any sense of the technique, a system patented by François The subject, the traditionalist politician Juan practical. The Ferdinand-style roll-top writing desk is full of a wide variety of objects which Willème in 1860. The bust was modelled with Vázquez de Mella, alludes with his friendly have a sumptuary or anecdotal value rather than a practical one. The idea is reinforced by the aid of a pantograph from the projection dedication to the archaeological activity the enormous number of pieces both on the centre table, full of Carlist mementos, such as of 24 negatives taken simultaneously in a carried out by the Marquis. pistols featuring the emblem God, Motherland and King, and in the rest of the room and which tenmetre diameter. 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 Alessandro de’Medici Marquis considered the most important in his entire pictorial collection are found, such as Drum-top writing desk Bronzino and workshop the portrait of Alessandro de’ Medici by Bronzino’s workshop –attributed by the Marquis France, 1775-1800 Florence, around 1540-1553 to Andrea del Sarto– next to the fireplace, or the portrait of Marie deMedici by Van Dyck’s Oak and mahogany Oil on panel workshop above the desk with a chest of drawers. The coats of arms carved in stone and the Inv. No. 3553 Inv. No. 3180 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 With a quarter-cylinder shaped top, the writing One of the best versions of the portrait of the ‘mysterious’, which hid the mechanism in the hands. 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 Pair of vases Sword with pistiliform blade Colonel (Masriera Brothers) Paris, around 1845 Alhama de Aragón (Zaragoza), Spanish school Around 1890 Porcelain 1150-1050 BC Around 1800 Silver and other enamelled Inv. No. 3251-3252 Bronze cast in a mould Oil on canvas metals, sheepskin and walnut Inv. No. 3562 Inv. No. 3416 Inv. No. 3178

Vases in the shape of amphorae were used in the Characteristic of the metalworking activity of This work is not by Goya although its car- In the inscription framed by a wreath of laurel 19th century for the decoration of the reception the period known as the Late Atlantic Bronze touche says that it is, in black lettering and oak leaves it reads that this plaque was paid areas of large houses. In Louis XVI style, the Age, it comes from Brittany. It was used as a on gilt wood. Similar cartouches with the for by the Catholic and monarchic community floral decoration corresponds to the tastes of symbol of power and exchange among the painter’s name largely reflect attributions as a tribute to the Marquis of Cerralbo after the period when Louis-Philippe I reigned in elites that controlled the trade in raw materials now obsolete, but they have been kept as the events of 10 April 1890, the date when, in France (1830-1848). in Western Europe. decorative elements of this Museum’s origi- Valencia on a Carlist propaganda visit, he was nal atmosphere. stoned by the republicans.

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Letter Royal seal of Alfonso X 1912 the Wise Library Paper, ink Crown of Castile, 1252-1284 Inv. No. 6135 Lead and silk Inv. No. 2834 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 On 16 May 1912 Marcelino Menéndez Pelayo The collection of royal seals and papal bulls table, few in number but useful, and the general sobriety that the room full of books is congratulated the Marquis of Cerralbo for covers the 13th to the 18th centuries. Used enveloped in. Around 10,000 volumes from incunabula to editions from 1922, in addition to having obtained the prestigious Martorell chiefly to validate documents, they were also manuscripts of great artistic, literary and scientific value comprise this library, considered prize for his work Páginas de la Historia Patria, used to seal letters and reliquaries, authorize in its day to be one of the most complete in the country on the subjects of numismatics and a compendium of his early archaeological messengers, or to mark loaves of unleavened archaeology. Other areas of study, bearing witness to don Enrique’s intellectual interests, excavations. bread at the Jewish Passover. 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 The Execution of Marie Half of a Ekualakos pieces, which Cerralbo and his stepson the Marquis of Villa-Huerta collected. Antoinette c. 180-146 BC Copper commemorative Bronze The stamp collection is comprised of papal and royal stamps and dies. The coin collection plaque Inv. No. 2726 is largely made up of Hispanic examples; the obsidional (siege) coins which belonged to Inv. No. 3059 Prosper Mailliet, acquired by Cerralbo in a Parisian auction in 1886, are of particular note. Reproduction of the reverse of the medal A Hispanic coin from Ekualakos, a city lo- The medals and commemorative, papal and celebratory reproductions cover the 16th to the designed in 1794 by C. H. Küchler for the cated, probably, between the Upper Duero 20th centuries chronologically. Among them, the Renaissance medals by Jacobo Trezzo and businessman M. Boulton. The original me- and the Jalón basin. It was a coin used to pay Pompeo and León Leoni stand out. dal was made due to the British demand for for everyday necessities and to pay salaries; the objects and souvenirs related to the French silver coins were used for the payment of taxes Revolution taking place at that time. to Rome.

Mystery clock Table clock The Supremacy of Catholic Thirty-two stuivers Henri Robert / Paris / Horloge Augte. Meyer à Paris Doctrine Friedrich Pithan mystérieuse 1800-1850 Giovanni M. Hamerani Jülich, Germany, 1621 Around 1878 Gilt bronze Roma, 1673 Silver Glass, metal Inv. No. 2546 to 2548 Cast copper Inv. No. 2641 Inv. No. 3155 Inv. No. 3004

From the library we see the back of this The figure on this Charles X style clock repre- Medal of Clement X made by G. Hamerani These were issued by the city of Jülich due clock, ‘mysterious’ because its movement is sents Apollo, wreathed with laurel, playing (1649-1705), a member of the most out- to the lack of coinage during the six-month not easy to understand at first sight. A techni- the lyre, an instrument that identifies him as standing medal-making families that worked siege by the troops of the Spanish general cal advance on the clock-making of its time, the mythological god of music. The movement in the Papal mint in Rome. It belonged to Ambrosio de Spinola, under the command the prototype of this model was presented is round Paris Movement, with a pendulum, the old collection of Tomás Fr. Prieto (1716- of Enrique de Bergh. This conquest was by Henri Robert at the Exhibition of French the bell chiming the hours and half-hours. 1782), purchased by Charles III for the Casa Philip IV’s first great military victory after Products held in Paris in 1878. de la Moneda in Madrid. the Twelve Years’ Truce.

44 45 25 Table clock Golden Fleece Brocot factory 19th century First Gallery Paris, second half of Enamelled gold th The three galleries which are distributed around the inner courtyard complete the space 19 century Inv. No. 2187 made up of the three previous rooms, lined one after the other, with balconies looking onto Marble, alabaster, gilt bronze Inv. No. 1779 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 The base of this magnificent clock houses a The rank of Knight of the Order of the Golden imitation of those in Italian mansions, to make it easier for his guests to move around as they musical box that no longer works, formed by a Fleece was bestowed upon the Marquis of contemplated the most important artworks in his gallery, placed, even, on the roof, such as series of tubes or organ of flutes. Its movement Cerralbo in 1895 by Carlos de Borbón, Duke th the paintings from the 17 century by Francesco de Ruschi and Francesco Maffei. is exposed escapement, as it is located on the of Madrid, who acted as Grand Master of In the first gallery, paintings of ancestors and the ladies and gentlemen of the house are face. The vase crowning it is a feature added to the Order, as he considered that this right, mixed with porcelain vases, clocks, divans and console tables, and compete with jewellery the original clock. traditionally attributed to the king of Spain, and curiosities in the centre display cabinet. legitimately corresponded to him. Vase with ‘May Flowers’ Don Manuel Isidoro The Designation of a Cardinal Meissen factory Cross Aguilera y Galarza, Marquis Jacopo Negretti, Palma, Around 1890 Spain, 1610-1620 Porcelain Enamelled gold, green glass of Cerralbo y Almarza the Younger Inv. No. 1742 Inv. No. 2419 Spanish school Around 1590 Around 1800 Oil on canvas Oil on canvas Inv. No. 1769 The two pairs of vases from Meissen in this One of the oldest pieces in this Museum’s Inv. No. 1795 This painting represents the investiture of a gallery show one of the Saxon factory’s most jewellery collection dates from the period This painting shows don Enrique de Aguilera’s appreciated specialities; from the 18th century in which the use of large pectoral crosses cardinal, traditionally identified as Francisco th grandfather, also the count of Fuenrubia, with Pacheco y Toledo, ancestor of the Marquis of it uninterruptedly produced ornamental vases waned, in fashion in the 16 century. The a powdered wig, blue dress coat and the Cross Cerralbo, who was designated by Pius IV in with pictorial decoration combined with sculp- glass gemstones imitate the Colombian of the Order of Calatrava. It makes a pair with 1561. However, the picture was painted by tural decoration of applied figures and flowers. emeralds of the richest crosses. 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 Don Enrique de Aguilera th Doña Luisa de Gamboa y y Cerver, Marquise of y Gamboa, 17 Marquis of López de León, Countess of Cerralbo Cerralbo Cuff links th Villalobos Ricardo Balaca José Soriano Fort 19 century Antonio Mª Esquivel (?) 1859 Around 1900 Gold and gilt metal Around 1835 Oil on canvas Oil on canvas Inv. No. 2194 Oil on canvas Inv. No. 1814 Inv. No. 1807 Inv. No. 1750 The portrait shows the Marquise dressed in This is an official portrait of the Museum’s Two staters of Alexander III the Great (336- This portrait had great sentimental value for the the Isabelline style, with the mantilla on her founder, dressed as a senator of the Kingdom, 323 BC) were mounted on laminas decorated Marquis as it shows his mother, still a young lady, head and holding the missal in one hand, be- with the condecorations granted him by with threads of filigree to compose this jewel, dressed and with a hairdo in the Isabelline style. fore or after attending a religious service. On Carlos de Borbón. The books and objects piled a gift from King George I of Greece (1863- Married in 1842 to don Francisco de Aguilera y her right wrist we see the miniature-portrait up on the desk allude to his collections and his 1913) to don Carlos de Borbón, Duke of Becerril, count of Villalobos, she was the mother of a gentleman; in 1859 she was married to investigations as a historian and archaeologist. Madrid, and from him to Cerralbo. of three children, Enrique being the first-born. don Antonio María del Valle Angelín.

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Table The Regent’s vases Milan, around 18th-19th centuries Second Gallery 1860-1870 Porcelain Pine and ebony, ivory Inv. No. 1624-1625-1637-1638 Inv. No. 1623 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 19th century in This type of table in an eclectic style won The group of vases in the Chinese Imari ebony-covered wood with decorative motifs veneered in ivory, the dominant element is the many prizes at the Universal Exhibitions of style belonged to Antoine d’Orleans, Duke painting The Pietà, done around 1600 by Alonso Cano and, on the other side, an Allegory the 19th century. It combines the French style of Montpensier. It shows the coat of arms of of the Death that Comes to Us All by Pietro Paolini (1603-1682), believed to be a work by in the shape and the Italian in the decoration, his lineage, like the vases of this same type Caravaggio in the Marquis’ time as the original plaque attests. 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.

The Martyrdom of Saint The Immaculate Chair Sebastian Conception Italy, around 1860-1870 View from Portugalete Juan de Peralta Francisco de Zurbarán Walnut, palo santo, bone, Luis Paret Around 1430 Around 1655 mother of pearl, metals Around 1785 Oil on panel Oil on canvas Inv. No. 1833 Oil on canvas Inv. No. 1827 Inv. No. 1649 Inv. No. 1934

According to the Museum’s old inventory, A late work by the painter from Seville, from Historicist in nature, its shape recalls the Belongs to the series of the Puertos de la this Gothic painting belonged to the chapel whom we know of numerous versions on old chairs with a scissor-shaped backrest, Mar Oceána or views of Cantabrian ports, of San Sebastián de Montuenga (Soria). The a theme he began painting in 1613, when called ‘Dantesque’ in the 19th century. The commissioned to Paret in 1786 by Charles donors, kneeling before the martyrdom of this city society expressed itself en masse in marquetry is based on the Italian furniture of III. It shows a place in the vicinity of the the saint, are identified in the inscription as favour of the belief in the Virgin conceiving the Renaissance and the Baroque. old beach at Portugalete which has been the sons of Luis de la Cerda, third count of free of original sin. identified with Peñota; the town seen in the Medinaceli. background would be Santurce.

The Resurrection of Christ Pietà Allegory of Death Diana the Huntress Corrado Giaquinto Alonso Cano Pietro Paolini Clunia (Peñalba de Castro, 1755-1762 Around 1660 1640-1680 Burgos), 2nd century Oil on copper Oil on canvas Oil on canvas Marble, metal Inv. No. 1630 Inv. No. 1648 Inv. No. 1918 Inv. No. 1937

A unique work by Corrado Giaquinto, it is The scene represents the grief of the Virgin A work by the painter from Lucca (Italy), a A 19th-century montage made using a Roman attributed to the painter because it shows and Saint John before the body of Christ, follower of Caravaggio’s tenebrist chiaroscuro torso. It was originally a copy of the model similarities to the canvases of the Passion taken down from the cross, lying with his and naturalism, it shows men and women of created by the Greek sculptor Leochares of Christ that he painted during his stay in head in his mother’s lap. A much-loved theme different ages and social conditions gathered (4th C BC) presenting the goddess equipped Spain at the service of Charles III and which in the 17th century, its Baroque composition around the skull held by the eldest one of with a bow and a quiver full of arrows on decorated the King’s chapel in the defunct is based on the Pietà painted by Van Dyck them, who seems to be meditating on the her back. palace of El Buen Retiro in Madrid. around 1636. meaning of Death.

48 49 27 Diana and Calixtus The Martyrdom of Attributed to Federico Saint Menas Cervelli (?) Spanish school Third Gallery 1665-1670 1600-1630 Oil on canvas Oil on canvas In the third gallery is the guests’ bathroom with a curious wooden chamber pot lid and a Inv. No. 1969 Inv. No. 1566 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, Painting that shows a mythological story, This painting, attributed to Bartolomé or Diana and Calixtus marble busts and large mirrors with gilded wooden frames. The balconies looking over the inspired by Liberi’s 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 staircase encouraged the more punctual guests to gather and contemplate the gradual ascent done by a follower of the Paduan painter, Veronese (Museo del Prado), erroneously of the rest of the guests, while at the same time allowing the sounds of the orchestra sitting perhaps the Milanese Cervelli, a painter of interpreted in 1657 as the martyrdom of on the rostrum in the nearby Ballroom to waft over them. the Venetian school. Saint Genesius of Arles, although the saint, according to the inscription on the original Vase Casket of the Bull painting, is the Egyptian Menas. Japan, Edo period or Meiji era ‘Pía Sentencia’ Around 1870 Polychromy attributed to the Pietà Saint Francis in Ecstasy Bronze workshop of Antonio de Pereda Sebastiano Ricci El Greco and workshop Inv. No. 1527 Around 1661 1691-1706 Around 1600 Oil on wood, metal Oil on canvas Oil on canvas Inv. No. 1533 Inv. No. 1574 Inv. No. 1982

This vase was cast in a mould with reliefs According to the tradition and the inscriptions This painting is a finished work, not a sketch, Signed Doménikos Theotokópulos epoiei, it is one inspired by ancient Chinese bronzes. It was on this casket, in it the bull granted in 1661 though it appears to be due to its small size. of the versions painted by the great Cretan probably acquired in the Hôtel Drouot in by Pope Alexander VII was brought to The diagonal perspective, the gesticulation painter of the miracle of the stigmata or Paris in 1877 and shows the esteem with King Philip IV. It permitted worship of the of the figures and the heavy chiaroscuro are wounds of Christ that Saint Francis of Assisi which the Japanese decorative arts came to Virgin’s Immaculate Conception through the resources used by Ricci, a famous painter of received in his retreat on Mount Alvernia, in be held in as collectable objects in Europe mediation of Luis Crespi de Borja, bishop of the Venetian school, to stress the dramatic the presence of Brother Leo. during that time. de Orihuela, depicted on the lid. quality of the subject.

Jacob with the Flocks The Appearance of the Child Jesus Pair of Corinthian capitals of Laban Clock before Saint Anthony of Padua 19th century Workshop of José de John Taylor, London Mariano Salvador Maella Porcelain Ribera 18th century Around 1787 Inv. No. 1950 and 2003 Around 1638 Mahogany, metals Oil on canvas Oil on canvas Inv. No. 2008 Inv. No. 2014 Inv. No. 1576

The Museum keeps two of the sketches of the Of exceptional size and technical quality, Thanks to this copy we know the complete Its movement, via a pear-shaped pendulum three paintings that Maella did for the parish they combine different textures in the finish composition of a work painted by Ribera in and pin-pallet escapement, is characteristic church of Casa de Campo, which are in the of the porcelain, glazed and unglazed. They his Neapolitan workshop, of which only a of the English clocks of the ‘bracket’ type. It Museo de Historia de Madrid. The church was have been attributed to the factory of Sèvres fragment is kept in the National Gallery in is signed on the face by John Taylor, a well- reconstructed during Charles III’s reign, the or to the Madrid factory of El Buen Retiro. London. It shows Jacob (Israel) next to the known London clockmaker whose ‘brackets’ king professing great devotion to Saint Anthony. flock of speckled sheep that enabled him to were especially imported to Spain. form his own tribe. 50 51 28

Figure-candelabrum Allegory of Dance France, 1850-1900 Máximo Juderías Bronze or zinc with black Caballero, 1891-1892 Ballroom and gold patina Oil on canvas stuck to Inv. No. 1799 the wall 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 An allegory of the earthly world; the boy In the vault, Juderías Caballero’s academy jewel of our tour. carries an entomologist’s case slung across his style translates into a romantic evocation of The oil paintings on the ceiling by Juderías Caballero done between 1891 and 1892 are some shoulder from which emerge the insects that the history of dance, whose sequences, some of the few concessions to contemporary art found in the Mansion. However, as we can see, crawl over his body. Its style recalls Baroque of a veiled eroticism, revolve around the this contribution ascribes to a profoundly academic style, far removed from the paths of the sculpture, one of the sources of inspiration dance of the gods on heavenly Olympus. most advanced painters of the time, but which goes perfectly with the historicist atmosphere for the French sculptors of decorative of the mansion and helps to create a particular atmosphere of splendour and brilliance in a bronzes for lamps or clocks. 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 Chair Roman-style busts placed among the seating: divans and cane-bottomed chairs upholstered 1875-1900 in silk from Lyon. Also in this room, important archaeological and numismatic exhibitions Gilded wood, silk and literary gatherings took place. 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 Borne Clock with neoclassical room danced the ‘galop’, a very popular dance Around 1885 sculpture Bust in which, going round in a circle, they jumped Gilded wood, silk Barbedienne; Cíe Des Marbres 18th century in imitation of galloping horses. Inv. No. 2512 Onyx d´Algérie, Paris Marble Around 1870 Inv. No. 2501 Silver-plated bronze, marble Inv. No. 2495

The structure of this divan features an eclectic A ‘Mystery’ clock with conical pendulum The iconography of the figure portrayed, composition of diverse elements probably designed by Farcot, which makes the heavenly possibly a Greek philosopher, ascribes this designed by the Marquis of Cerralbo, who sphere turn upon being pulled by an arrow work to the tradition of a type of portraits personally took charge of directing every mounted on the pedestal that conceals the created in classical Greece during the 4th detail of the decoration of the rooms on the movement. The sculpture was done in the century BC, recovered in the time of the main floor of the Museum. famous foundry of Ferdinand Barbedienne. Early Roman Empire and renewed during neoclassicism, at the end of the 18th century.

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