SPANISH MASTERS<br >The collection of works by Spanish masters on show in the Prado is the most<br >complete and exceptional display of Spanish art to be found in any Museum in the<br >world. The most important part of the paintings owned by the Kings of Spain<br >were works by their Court painters， in particular two outstanding figures who<br >break out of the context of Spanish painting and rank among the masters of<br >universal art: Velazquez and Goya. Their works are amply represented in the<br >Prado since they were present at Court from their youth practically until their<br >death， so that a study of their masterpieces here is indispensable for anyone<br >wishing to acquaint himself with their work.<br >In 1870 the Prado collection was enriched in number and quality by the addi.<br >tion of works from the Trinity Museum， where a large amount of paintings<br >fi om convents and monasteries had been assembled after the secularization ofth~<br >monasteries. This accounts for the excellent representation of Medieval art and<br >religious painting， especially of the Schools of Madrid and Toledo.<br >Other famous g.ctions of the Prado collection have been built up g*adually in<br >different ways. El Greco， for example， was only represented in the r，:，， al collec，<br >ti，m by a few portraits; the Trinity Museum added some religious pa ~tings anJ<br >the rest have been acquired through purchases and donations later. F hera， wh，<br >lived nearly all his artistic life in Naples， is present here thanks to th， esteem0t<br >Ihe Spanish viceroys i9 Naples who sent his works to Spain， wher~ they wen<br >highly appreciated. Although the collection of works by Zurbar~in is n， extens0~<br >tl ts nonetheless s ery varied and many of these paintings are the re dt ofreh<br >{iv，.Iv recent purchases. Murillo is so well represented in the Prad thanks~<br >S2ue~:n Elizabeth Farnese. who held him in high esteem and acquire， ，s maol ~<br >his w~rks as possible.<br >Along with these great names the visitor to our Museum will find ~ ong liss~，<br >~tllcr artists whose works offer a fine panorama of the history of Spal h paiatJni<br > AGUERO， Benito Manuel de Aguero (b. Burgos 1626; d. b drid 167~<br > School of Madrid. Agfiero was a pupil of Mazo and worked his stud:<br > his style resembles that of his master. His landscapes are ge， ally rug~-，:<br > and agitated and sometimes almost Romantically dramati， they 0fl;<br > include small figures as a mythological pretext.<br > 8 90 *A fortified port- ~Canvas. 54 x 196 cm.L<br > 893 *Landscape with a nymph and a shepherd，~ ~Canvas， 5( 199 c~ <br > 894 ~Landscape，~ ~Canvas. 56 x 199 cm.).<br > 895 ~Landscape with Dido and Aeneas， (Canvas， 246 x 202 m.).<br > 896 .Landscape: Aeneas departure from Carthage. (Canv，~ 293 x~i<br > 89"7 ~.~a~dscape with Leto and the peasants transformed intO fr0#<br > ICanvas， 244 x 219 cm.).<br > 898 ~Landscape with two figures tCanvas， 246 x 325 cm.)<br > 899 .Landscape with Mercury and Argus，， (Canvas， 248 ~ 3 cmi!d<br > ANDRES Y AGUIRRE， Gin& de Andres y Aguirre d， J~ ，<br > 2893 *Dog and cats~ tCanvas， 149 x 114 cm.. This was a tapt .try ca~t!~j~<br > ANTOLINEZ， Francisco Antolinez (b. Seville c. 1644; d. Maat~l， .<br > fi)re 1700). Sevillian Schonl. He was related toJos4 Antolin~z.andu~r<br > reli ious scenes in landscape or architectural backgrounds， ，，tth o~，dl`<br > figures， very elongated and rather ghostlike due to their sketchy J ~"<br > The quality of his works is very unequal. ， ;<br > 585 *The Preaentation of the Virgin- ~Canvas 45 x 75 cm.). T )ge~h$[，<br > the fol owing three， this work comes from the convent of San !<br > Real in Madrid No. ~f<br > 587 *The Betrothal of the Virgin， (Canvas. 45 ~ 73 cm.). ，~ec :;<br > 588 *The Nativity. (Canvas 45 ~ 73 cm.). See No. 585. "~5 7~<br > 590 *The Flight into Egypt. tCanvas 45 x 7~， c n.) See No. ~ ~1 ~r ~ --~<br >