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Angelico, Fra 36 PoussiN, Nicolas 28
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Bermejo, Bartolome 2 ''^ Pradilla, Francisco 49
Bosch 4-5 H-.-*: Raffaello de Urbino 38-39
Botticelli, Sandro 37 Rembrandt 12 &,„,,^,,.^^
Brueghel, Peter 7 Reni, Guido 42
Caravaggio 41 RiBERA, Jose de 22
DuRER, Albrecht 8 RosALES, Eduardo 48 "''*',
Fortuny, Mariano 46 Rubens, Peter Paul 9-10
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Goya 13-15-16-17-18 OnyxSaltcellar 14 w,.^'j.
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Greco, El 29-30-31 Sorolla, Joaquin 47
Gris. Juan 50 **'- - Tintoretto 34
Leoni, Leone and Ponpeo 40 Titian 32-33 !^ .ii
Lopez Portana, Vicente 44 Van der Weyden, Roger 3 j&
Maderuelo, Santa Cruzde 1 Van Dyck, Anton 11
Madrazo, Federico de 45 Velazquez, Diego de 23-24-25-26-27
Madrazo, Jose de 43 Verones 35
MoR, Anthonis 6 ZuRBARAN, Francisco de 21
Murillo, Bartolome Esteban 19-20m
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MUSEO DEL PRADO
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Angelico, Fra 36 Poussin, Nicolas 28
Bermejo, Bartolome 2 Pradilla, Francisco 49 v-tJaV^-"^
-V'-'J Bosch 4-5 Raffaello de Urbino 38-39
Botticelli, Sandro 37 Rembrandt 12 'i
i/JJ'-J.j Brueghel, Peter 7 Rfni, Guido 42 ".^
Caravaggio 41 Ribera, Jose de 22
Durer, Albrecht 8 Rosales, Eduardo 48
FoRTUNY, Mariano 46 Rubens, Peter Paul 9-10
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Goya 13-15-16-17-18 OnyxSaltcellar 14
Greco. El 29-30-31 Sorolla, Joaquin 47 :
Gris, Juan 50 Tintoretto 34
Leoni, Leone and Ponpeo 40 Titian 32-33
Lopez Portana, Vicente 44 Van der Wevden, Roger 3
Maderuelo, SantaCruzde 1 Van Dyck. Anton 11
Madrazo, Federico de 45 ,'*jri VelAzquez, Diego de 23-24-25-26-27
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Madrazo, Jose de 43 Verones 35
MoR, Anthonis 6 Zurbaran, Francisco de 21
MuRiLLo, Bartolome Esteban 19-20
MUSEO DEL PRADO
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Museum
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The Prado Museum is a neo-Classical building by the ArchitectJuan de
Villanueva, the construction ofwhich began in the year 1785. It
was conceived ofas a museum and natural history room forming
part ofa building complex dedicated to the study ofscience, as
planned under the reign ofCharles III and within the scope of
the urban reform that took place on the Paseo del Prado
(previously named Salon del Prado), which was also embellished
with various monumental fountains (Cybele, Apollo and
Neptune).
It was established in 1819 as the «Royal Museum ofPainting and
Sculpture)) by King Ferdinand VII, with pieces from the royal
collections amassed by earlier Spanish Monarchs, his forebears.
At the end ofthe 19th century, the Museum —by then national
—
in scope received works from another museum, then called the
Trinity, that were ofa eclesiastic nature and which had been
expropriated under laws governing the depreciation ot
ecclesiastic assets. From the time ofthe creation and merger of
the two museums many other works ofart have been added to
the Prado through donations, legacies and acquisitions.
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Brambila.ThePradoMuseum,around1840
Brambila NorthRotundaofthePradoMuseum,around1830
Only a tenth ofthe museum's artistic holdings are actually on display
in its two buildings, the Villanueva Building and the Cason del
Buen Retire. The remainder is held in other places, museums,
institutions and Government buildings or in storage at
specially conditioned sites within the two museum buildings.
The large museum collections fundamentally include paintings.
However, there is a valuable collection ofsculptures, drawings,
furniture, luxury art, coins and medallions that cannot be
permanently displayed due to lack ofspace.
The Painting collection (12th to the 20th century) is displayed as
followed: up to the 18th century and Goya's work is in the
Villanueva Building, and the 19th and 20th centuries' work in
the nearby Cason del Buen Retiro.
The fundamental painting collections belong to the Spanish schools
— —
the best represented and the Italian and Flemish schools.
The French, Dutch and German schools, though numerically
less represented, are not unworthy ofmention vis-a-vis their
quality. Two halls are expressly reserved for sculpture, but
sculptural pieces are scattered throughout the different halls in
both museum buildings. All decorative art is on display in
what is known as the Dauphin's Treasure.
The tour we propose will allow you to view the fifty most
famous pieces ofthe museum. The normal placement ofthese
pieces are indicated, though it is possible (due to remodeling or
temporary expositions) these may be found to have been
altered. Ifthis is the case, the museum guards will provide
turther information.
