Magnificent Art in Lisbon – Part Three: European Art

…continued from Part Two…

This part of the series on the National Museum of Ancient Art will focus on the European works by some well known, and some less well known, painters.

Spanish Works

St Anne and the Virgin, c1350, Ramons Destorrents and Arnau Ferrer Bassa, National Museum of Ancient Art, Lisbon, Portugal

St Anne and the Virgin, c1350, Ramons Destorrents and Arnau Ferrer Bassa, National Museum of Ancient Art, Lisbon, Portugal

Detail of St Catherine from St Anne and the Virgin, c1350, Ramons Destorrents and Arnau Ferrer Bassa, National Museum of Ancient Art, Lisbon, Portugal

Detail of St Catherine from St Anne and the Virgin, c1350, Ramons Destorrents and Arnau Ferrer Bassa, National Museum of Ancient Art, Lisbon, Portugal

Detail of St Christopher, from the Tripych of the Decent from the Cross, St Catherine & St Christopher, c1440/45, Bernardo Martorell, National Museum of Ancient Art, Lisbon, Portugal

Detail of St Christopher, from the Tripych of the Decent from the Cross, St Catherine & St Christopher, c1440/45, Bernardo Martorell, National Museum of Ancient Art, Lisbon, Portugal

St Francis receiving the stigmata, c1475-1500, Valencian master, National Museum of Ancient Art, Lisbon, Portugal

St Francis receiving the stigmata, c1475-1500, Valencian master, National Museum of Ancient Art, Lisbon, Portugal

Detail of a very cute goldfinch from St Francis receiving the stigmata, c1475-1500, Valencian master, National Museum of Ancient Art, Lisbon, Portugal

Detail of a very cute goldfinch from St Francis receiving the stigmata, c1475-1500, Valencian master, National Museum of Ancient Art, Lisbon, Portugal

Prophet Micah, c1400-1450, unknown Spanish master, National Museum of Ancient Art, Lisbon, Portugal

Prophet Micah, c1400-1450, unknown Spanish master, National Museum of Ancient Art, Lisbon, Portugal

St Damian, c1490, Bartolomé Bermejo, National Museum of Ancient Art, Lisbon, Portugal.  St Damian was a doctor, and is therefore depicted holding a urinal, a glass vase used for looking at urine and making a medical diagnosis. 

St Damian, c1490, Bartolomé Bermejo, National Museum of Ancient Art, Lisbon, Portugal.  St Damian was a doctor, and is therefore depicted holding a urinal, a glass vase used for looking at urine and making a medical diagnosis.

Detail of St Damian inspecting the urinal, c1490, Bartolomé Bermejo, National Museum of Ancient Art, Lisbon, Portugal

Detail of St Damian inspecting the urinal, c1490, Bartolomé Bermejo, National Museum of Ancient Art, Lisbon, Portugal

The Mystic Marriage of St Catherine, 1660, Bartolomé Esteban Murillo, National Museum of Ancient Art, Lisbon, Portugal

The Mystic Marriage of St Catherine, 1660, Bartolomé Esteban Murillo, National Museum of Ancient Art, Lisbon, Portugal

Italian Works

Virgin and Child with Saints, 1350-1400, unknown Italian Master, National Museum of Ancient Art, Lisbon, Portugal

Virgin and Child with Saints, 1350-1400, unknown Italian Master, National Museum of Ancient Art, Lisbon, Portugal

Mater Dolorosa, 1360-1400, attributed to Pere Serra, National Museum of Ancient Art, Lisbon, Portugal

Mater Dolorosa, 1360-1400, attributed to Pere Serra, National Museum of Ancient Art, Lisbon, Portugal

St Augustine, 1460/70, Piero della Francesca, National Museum of Ancient Art, Lisbon, Portugal

St Augustine, 1460/70, Piero della Francesca, National Museum of Ancient Art, Lisbon, Portugal

Detail of St Augustine, 1460/70, Piero della Francesca, National Museum of Ancient Art, Lisbon, Portugal.  The edge of his cope is decorated with amazingly detailed and clear scenes from the life of Jesus.  

Detail of St Augustine, 1460/70, Piero della Francesca, National Museum of Ancient Art, Lisbon, Portugal.  The edge of his cope is decorated with amazingly detailed and clear scenes from the life of Jesus.

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Virgin and Child, known as Our Lady of the Stars, 1501-1513, Buglioni workshop, National Museum of Ancient Art, Lisbon, Portugal. It was for the Monastery of St Maria de Belém.  It became the object of an intense cult, which led to the creation of the Brotherhood of the Crown of 12 Stars. Buglioni trained with the della Robbia family and set up his own workshop.

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Detail of a Tabernacle front, 1501-1524, della Robbia workshop, National Museum of Ancient Art, Lisbon, Portugal. This was originally in the Convent of Madre de Deus in Lisbon, currently housing the Azulejo Museum.

St Leonard, 1501-1513, Andrea della Robbia, National Museum of Ancient Art, Lisbon, Portugal.  It was for the Monastery of St Maria de Belém.

St Leonard, 1501-1513, Andrea della Robbia, National Museum of Ancient Art, Lisbon, Portugal.  It was for the Monastery of St Maria de Belém.

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Virgin and Child with St John the Baptist, 1501/25, della Robbia workshop, National Museum of Ancient Art, Lisbon, Portugal

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Coat of Arms of Portugal, 1501/25, della Robbia Workshop, National Museum of Ancient Art, Lisbon, Portugal

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Virgin and Child, 15th-16th century, attributed to Andrea Sansovino in a della Robbia workshop frame, National Museum of Ancient Art, Lisbon, Portugal

Dutch and Flemish Works

Virgin and Child, 1480/90, Hans Memling, National Museum of Ancient Art, Lisbon, Portugal

Virgin and Child, 1480/90, Hans Memling, National Museum of Ancient Art, Lisbon, Portugal

Detail of the Virgin and Child, 1480/90, Hans Memling, National Museum of Ancient Art, Lisbon, Portugal

Detail of the Virgin and Child, 1480/90, Hans Memling, National Museum of Ancient Art, Lisbon, Portugal

St Luke drawing the Virgin, c1480, circle of Hugo van der Goes, National Museum of Ancient Art, Lisbon, Portugal

St Luke drawing the Virgin, c1480, circle of Hugo van der Goes, National Museum of Ancient Art, Lisbon, Portugal

Detail of St Luke drawing the Virgin, c1480, circle of Hugo van der Goes, National Museum of Ancient Art, Lisbon, Portugal

Detail of St Luke drawing the Virgin, c1480, circle of Hugo van der Goes, National Museum of Ancient Art, Lisbon, Portugal

Female Portrait, 1655, Pieter Nason, National Museum of Ancient Art, Lisbon, Portugal

Female Portrait, 1655, Pieter Nason, National Museum of Ancient Art, Lisbon, Portugal

Isabel of Portugal, mid 16th century, attributed to "master of the female half-lengths", National Museum of Ancient Art, Lisbon, Portugal

Isabel of Portugal, mid 16th century, attributed to “master of the female half-lengths”, National Museum of Ancient Art, Lisbon, Portugal

The Appearance of an Angel to St Clare and St Agnes of Assisi, and St Colette of Corbie, early 16th century, workshop of Quentin Metsys, National Museum of Ancient Art, Lisbon, Portugal

The Appearance of an Angel to St Clare and St Agnes of Assisi, and St Colette of Corbie, early 16th century, workshop of Quentin Metsys, National Museum of Ancient Art, Lisbon, Portugal

Detail of The Appearance of an Angel to St Clare and St Agnes of Assisi, and St Colette of Corbie, early 16th century, workshop of Quentin Metsys, National Museum of Ancient Art, Lisbon, Portugal

Detail of The Appearance of an Angel to St Clare and St Agnes of Assisi, and St Colette of Corbie, early 16th century, workshop of Quentin Metsys, National Museum of Ancient Art, Lisbon, Portugal

Detail of Virgin and Child with an Angel, c1510-20, circle of Quentin Metsys, National Museum of Ancient Art, Lisbon, Portugal

Detail of Virgin and Child with an Angel, c1510-20, circle of Quentin Metsys, National Museum of Ancient Art, Lisbon, Portugal

Triptych of the Presentation in the Temple, St Anthony of Padua & St Francis, c1500/25, Goswijn van der Weyden, National Museum of Ancient Art, Lisbon, Portugal

Triptych of the Presentation in the Temple, St Anthony of Padua & St Francis, c1500/25, Goswijn van der Weyden, National Museum of Ancient Art, Lisbon, Portugal

Detail of St Francis from the Triptych of the Presentation in the Temple, c1500/25, Goswijn van der Weyden, National Museum of Ancient Art, Lisbon, Portugal

Detail of St Francis from the Triptych of the Presentation in the Temple, c1500/25, Goswijn van der Weyden, National Museum of Ancient Art, Lisbon, Portugal

Detail of the rabbis from the Triptych of the Presentation in the Temple, c1500/25, Goswijn van der Weyden, National Museum of Ancient Art, Lisbon, Portugal

Detail of the rabbis from the Triptych of the Presentation in the Temple, c1500/25, Goswijn van der Weyden, National Museum of Ancient Art, Lisbon, Portugal

Virgin and child, c1520, unknown Flemish master, National Museum of Ancient Art, Lisbon, Portugal

Virgin and Child, c1520, unknown Flemish master, National Museum of Ancient Art, Lisbon, Portugal

Detail of the Angel of the Annunciation, c1500, unknown Flemish master, National Museum of Ancient Art, Lisbon, Portugal.  Basically I liked the way Jesus is being brought down in baby form with the dove.

Detail of the Angel of the Annunciation, c1500, unknown Flemish master, National Museum of Ancient Art, Lisbon, Portugal.  Basically I liked the way Jesus is being brought down in baby form with the dove.

Smokers, c1650, David Teniers the Younger, National Museum of Ancient Art, Lisbon, Portugal.  I love the details, like the pots, the pipes, the picture above the door on the right - and the dude peeing the corner.

Smokers, c1650, David Teniers the Younger, National Museum of Ancient Art, Lisbon, Portugal.  I love the details, like the pots, the pipes, the picture above the door on the right – and the dude peeing the corner.

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Works of Mercy, 1600-1650, Pieter Brueghel the Younger, National Museum of Ancient Art, Lisbon, Portugal

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Detail of people dressed in rags, being better clothed, from the Works of Mercy, 1600-1650, Pieter Brueghel the Younger, National Museum of Ancient Art, Lisbon, Portugal

Detail of the needy being fed, from the Works of Mercy, 1600-1650, Pieter Brueghel the Younger, National Museum of Ancient Art, Lisbon, Portugal

Detail of the needy being fed, from the Works of Mercy, 1600-1650, Pieter Brueghel the Younger, National Museum of Ancient Art, Lisbon, Portugal

Detail of two people visiting some poor guys in the stocks, from the Works of Mercy, 1600-1650, Pieter Brueghel the Younger, National Museum of Ancient Art, Lisbon, Portugal

Detail of two people visiting some poor guys in the stocks, from the Works of Mercy, 1600-1650, Pieter Brueghel the Younger, National Museum of Ancient Art, Lisbon, Portugal

A Guardroom Interior, 1667, David Teniers the Younger, oil on copper, National Museum of Ancient Art, Lisbon, Portugal

A Guardroom Interior, 1667, David Teniers the Younger, oil on copper, National Museum of Ancient Art, Lisbon, Portugal

Detail of the old guard, A Guardroom Interior, 1667, David Teniers the Younger, oil on copper, National Museum of Ancient Art, Lisbon, Portugal

Detail of the old guard, A Guardroom Interior, 1667, David Teniers the Younger, oil on copper, National Museum of Ancient Art, Lisbon, Portugal

For many, the star of the museum collection is the weird and wonderful Bosch telling the tale of St Anthony Abbot in the way that only he knew.  The torments of the 3rd century saint are depicted in baffling ways.  Like with most of Bosch’s work, there is a lot of speculation about the meaning of the symbolism, which clearly I can’t go into here.  If you’re interested in this work, I’ve also found this awesome site, where you can look in detail at the painting (and in much better quality than my pictures): www.boschproject.org

I know not everyone likes Bosch because, well, he is distinctly odd.  I have come to really admire him over the years, not just because I think he’s amusing, but because he was a really amazing painter – I mean, just by looking at the outside shutters you can tell how skilled he was.  He’s basically Hans Memling in Monty Python mode.  Personally, that works for me, not least because you end up by getting unusual glimpses into the world of Bosch, like the ice-skates of the demon-bird-in-the-funnel-hat below, or the walking-frame of the man-with-a-nose-and-a-red-gown a few below.

Detail of a demon bird on ice-skates, from the Triptych of the Temptation of St Anthony, 1501, Hieronymus Bosch, National Museum of Ancient Art, Lisbon, Portugal

Detail of a demon bird on ice-skates, from the Triptych of the Temptation of St Anthony, 1501, Hieronymus Bosch, National Museum of Ancient Art, Lisbon, Portugal

Detail of fish and fish vehicles, from the Triptych of the Temptation of St Anthony, 1501, Hieronymus Bosch, National Museum of Ancient Art, Lisbon, Portugal

Detail of fish and fish vehicles, from the Triptych of the Temptation of St Anthony, 1501, Hieronymus Bosch, National Museum of Ancient Art, Lisbon, Portugal

Detail of the central scene of the central panel of the Triptych of the Temptation of St Anthony, 1501, Hieronymus Bosch, National Museum of Ancient Art, Lisbon, Portugal

Detail of the central scene of the central panel of the Triptych of the Temptation of St Anthony, 1501, Hieronymus Bosch, National Museum of Ancient Art, Lisbon, Portugal

Detail of a man's body, which has turned into a house - with its entrance in the rear (!), from the Triptych of the Temptation of St Anthony, 1501, Hieronymus Bosch, National Museum of Ancient Art, Lisbon, Portugal.   It may symbolise a brothel.

Detail of a man’s body, which has turned into a house – with its entrance in the rear (!), from the Triptych of the Temptation of St Anthony, 1501, Hieronymus Bosch, National Museum of Ancient Art, Lisbon, Portugal.   It may symbolise a brothel.

Detail of fisherman pulling up fish from their fish-boat, from the Triptych of the Temptation of St Anthony, 1501, Hieronymus Bosch, National Museum of Ancient Art, Lisbon, Portugal

Detail of fisherman pulling up fish from their fish-boat, from the Triptych of the Temptation of St Anthony, 1501, Hieronymus Bosch, National Museum of Ancient Art, Lisbon, Portugal

Detail of a man in a top hat and of a dismembered foot, from the Triptych of the Temptation of St Anthony, 1501, Hieronymus Bosch, National Museum of Ancient Art, Lisbon, Portugal

Detail of a man in a top hat and of a dismembered foot, from the Triptych of the Temptation of St Anthony, 1501, Hieronymus Bosch, National Museum of Ancient Art, Lisbon, Portugal

Detail looking into St Anthony's cell, with Jesus standing beside a depiction of the Crucifixion,  from the Triptych of the Temptation of St Anthony, 1501, Hieronymus Bosch, National Museum of Ancient Art, Lisbon, Portugal.   Note also the ray of light that's coming through a hole on the wall on left, and the strange smoking-trumpet-nose of a creature on the left.

Detail looking into St Anthony’s cell, with Jesus standing beside a depiction of the Crucifixion,  from the Triptych of the Temptation of St Anthony, 1501, Hieronymus Bosch, National Museum of Ancient Art, Lisbon, Portugal.   Note also the ray of light that’s coming through a hole on the wall on left, and the strange smoking-trumpet-nose of a creature on the left.

Detail of a giant rat carrying a tree-woman, with a swaddled baby, from the Triptych of the Temptation of St Anthony, 1501, Hieronymus Bosch, National Museum of Ancient Art, Lisbon, Portugal

Detail of a giant rat carrying a tree-woman, with a swaddled baby, from the Triptych of the Temptation of St Anthony, 1501, Hieronymus Bosch, National Museum of Ancient Art, Lisbon, Portugal

Detail of a man in red in a walker, from the Triptych of the Temptation of St Anthony, 1501, Hieronymus Bosch, National Museum of Ancient Art, Lisbon, Portugal

Detail of a man in red in a walker, from the Triptych of the Temptation of St Anthony, 1501, Hieronymus Bosch, National Museum of Ancient Art, Lisbon, Portugal

Detail of an erupting strawberry, spewing forth much vileness, from the Triptych of the Temptation of St Anthony, 1501, Hieronymus Bosch, National Museum of Ancient Art, Lisbon, Portugal

Detail of an erupting strawberry, spewing forth much vileness, from the Triptych of the Temptation of St Anthony, 1501, Hieronymus Bosch, National Museum of Ancient Art, Lisbon, Portugal

Detail of two musicians, from the Triptych of the Temptation of St Anthony, 1501, Hieronymus Bosch, National Museum of Ancient Art, Lisbon, Portugal.  The owl on the pig-headed man symbolises heresy.

Detail of two musicians, from the Triptych of the Temptation of St Anthony, 1501, Hieronymus Bosch, National Museum of Ancient Art, Lisbon, Portugal.  The owl on the pig-headed man symbolises heresy.

Detail of a demon ceremony, from the Triptych of the Temptation of St Anthony, 1501, Hieronymus Bosch, National Museum of Ancient Art, Lisbon, Portugal.  Note also the crucifix handing from St Anthony's belt, and his reassuring smile, showing that despite the temptations, he's ok.

Detail of a demon ceremony, from the Triptych of the Temptation of St Anthony, 1501, Hieronymus Bosch, National Museum of Ancient Art, Lisbon, Portugal.  Note also the crucifix handing from St Anthony’s belt, and his reassuring smile, showing that despite the temptations, he’s ok.

Detail of a city on fire, from the Triptych of the Temptation of St Anthony, 1501, Hieronymus Bosch, National Museum of Ancient Art, Lisbon, Portugal.  This scene refers to the traditional symbol of the protection granted by Anthony against ergotism and fire.  The monks of the Order of St Anthony specialised in the treatment and care of victims of ergotism (also known as St Anthony's fire).

Detail of a city on fire, from the Triptych of the Temptation of St Anthony, 1501, Hieronymus Bosch, National Museum of Ancient Art, Lisbon, Portugal.  This scene refers to the traditional symbol of the protection granted by Anthony against ergotism and fire.  The monks of the Order of St Anthony specialized in the treatment and care of victims of ergotism (also known as St Anthony’s fire).

The shutters are beautiful.  They are painted in grisaille, that is, in greys (a painted effect of black and white, if you will) and again they show the skill of Bosch as a painter.  Traditionally, churches would cover their paintings, or close their altarpieces, in the week before Easter.  On these shutters, the scenes of the Arrest of Christ and Christ Carrying the Cross are both themes that are relevant for Lent and Easter.

Christ Carrying the Cross, from the back panels of the Triptych of the Temptation of St Anthony, 1501, Hieronymus Bosch, National Museum of Ancient Art, Lisbon, Portugal

Christ Carrying the Cross, from the back panels of the Triptych of the Temptation of St Anthony, 1501, Hieronymus Bosch, National Museum of Ancient Art, Lisbon, Portugal

Detail of Christ Carrying the Cross, from the back panels of the Triptych of the Temptation of St Anthony, 1501, Hieronymus Bosch, National Museum of Ancient Art, Lisbon, Portugal

Detail of Christ Carrying the Cross, from the back panels of the Triptych of the Temptation of St Anthony, 1501, Hieronymus Bosch, National Museum of Ancient Art, Lisbon, Portugal

The Arrest of Christ, from the back panels of the Triptych of the Temptation of St Anthony, 1501, Hieronymus Bosch, National Museum of Ancient Art, Lisbon, Portugal

The Arrest of Christ, from the back panels of the Triptych of the Temptation of St Anthony, 1501, Hieronymus Bosch, National Museum of Ancient Art, Lisbon, Portugal

Detail of The Arrest of Christ, from the back panels of the Triptych of the Temptation of St Anthony, 1501, Hieronymus Bosch, National Museum of Ancient Art, Lisbon, Portugal

Detail of The Arrest of Christ, from the back panels of the Triptych of the Temptation of St Anthony, 1501, Hieronymus Bosch, National Museum of Ancient Art, Lisbon, Portugal

Detail of St Peter cutting Malchus's ear, The Arrest of Christ, from the back panels of the Triptych of the Temptation of St Anthony, 1501, Hieronymus Bosch, National Museum of Ancient Art, Lisbon, Portugal

Detail of St Peter cutting Malchus’s ear, The Arrest of Christ, from the back panels of the Triptych of the Temptation of St Anthony, 1501, Hieronymus Bosch, National Museum of Ancient Art, Lisbon, Portugal

Baptism of Christ, 1500/20, Brussels, wool and silk, National Museum of Ancient Art, Lisbon, Portugal

Baptism of Christ, 1500/20, Brussels, wool and silk, National Museum of Ancient Art, Lisbon, Portugal

Detail of St John from the Baptism of Christ, 1500/20, Brussels, wool and silk, National Museum of Ancient Art, Lisbon, Portugal

Detail of St John from the Baptism of Christ, 1500/20, Brussels, wool and silk, National Museum of Ancient Art, Lisbon, Portugal

Detail of God, the Holy Spirit and Jesus (and an angel) from the Baptism of Christ, 1500/20, Brussels, wool and silk, National Museum of Ancient Art, Lisbon, Portugal

Detail of God, the Holy Spirit and Jesus (and an angel) from the Baptism of Christ, 1500/20, Brussels, wool and silk, National Museum of Ancient Art, Lisbon, Portugal

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Merry Company, c1663/5, Pieter de Hooch, National Museum of Ancient Art, Lisbon, Portugal

DSC_93Detail of Merry Company, c1663/5, Pieter de Hooch, National Museum of Ancient Art, Lisbon, Portugal82

Detail of Merry Company, c1663/5, Pieter de Hooch, National Museum of Ancient Art, Lisbon, Portugal

The Endor Pythoness, c1675, attributed to Godfried Schalcken, National Museum of Ancient Art, Lisbon, Portugal

The Endor Pythoness, c1675, attributed to Godfried Schalcken, National Museum of Ancient Art, Lisbon, Portugal

Maria of Parma, c1555, circle of Antonis Mor, National Museum of Ancient Art, Lisbon, Portugal

Maria of Parma, c1555, circle of Antonis Mor, National Museum of Ancient Art, Lisbon, Portugal

Interior of Old Church, Delft, 1653, Louys Aernouts Elsevier, National Museum of Ancient Art, Lisbon, Portugal

Interior of Old Church, Delft, 1653, Louys Aernouts Elsevier, National Museum of Ancient Art, Lisbon, Portugal

Detail of unloaded animals for The Discovery of India, in the Style of Portugal and India Series, 1504-1530, from Tournai, Belgium, wool, National Museum of Ancient Art, Lisbon, Portugal.  It was created as part of the celebrations held to mark the arrival of Vasco da Gama's fleet in India in 1498.  Manuel I had planned a series of tapestries for the event and the originals spawned copies - like this one.

Detail of unloaded animals for The Discovery of India, in the Style of Portugal and India Series, 1504-1530, from Tournai, Belgium, wool, National Museum of Ancient Art, Lisbon, Portugal.  It was created as part of the celebrations held to mark the arrival of Vasco da Gama’s fleet in India in 1498.  Manuel I had planned a series of tapestries for the event and the originals spawned copies – like this one.

The Discovery of India, in the Style of Portugal and India Series, 1504-1530, Tournai, wool. As part of the celebrations held to mark the arrival of Vasco da Gama's fleet in India in 1498, Manuel I planned a series of tapestries for the event. This is a copy of one of them.

The Discovery of India, in the Style of Portugal and India Series, 1504-1530, Tournai, wool. As part of the celebrations held to mark the arrival of Vasco da Gama’s fleet in India in 1498, Manuel I planned a series of tapestries for the event. This is a copy of one of them.

Detail of a monkey scrambling down the shrouds of a ship, from The Discovery of India, in the Style of Portugal and India Series, 1504-1530, from Tournai, Belgium, wool, National Museum of Ancient Art, Lisbon, Portugal

Detail of a monkey scrambling down the shrouds of a ship, from The Discovery of India, in the Style of Portugal and India Series, 1504-1530, from Tournai, Belgium, wool, National Museum of Ancient Art, Lisbon, Portugal

German Works

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Detail of the Virgin and Child with Saints, 1519, Hans Holbein the Elder, National Museum of Ancient Art, Lisbon, Portugal

St Jerome, 1521, Albrecht Dürer, National Museum of Ancient Art, Lisbon, Portugal

St Jerome, 1521, Albrecht Dürer, National Museum of Ancient Art, Lisbon, Portugal

Detail of the books of St Jerome, 1521, Albrecht Dürer, National Museum of Ancient Art, Lisbon, Portugal

Detail of the books of St Jerome, 1521, Albrecht Dürer, National Museum of Ancient Art, Lisbon, Portugal

English Works

Holy Trinity, 1451-1500, from Nottingham, England, alabaster, National Museum of Ancient Art, Lisbon, Portugal

Holy Trinity, 1451-1500, from Nottingham, England, alabaster, National Museum of Ancient Art, Lisbon, Portugal

Sir John Orde, 1785, George Romney, National Museum of Ancient Art, Lisbon, Portugal

Sir John Orde, 1785, George Romney, National Museum of Ancient Art, Lisbon, Portugal

…please click here for Part Four…

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