id: 170436 accession number: 2012.53 share license status: CC0 url: https://clevelandart.org/art/2012.53 updated: 2022-01-04 17:56:04.454000 Portrait of Philip II, King of Spain , mid-1550s . Alessandro Cesati (Italian, bef 1538-aft 1564). Citrine, mounted in a gold and enamel pendant; pendant: 4.3 x 2.8 x 0.9 cm (1 11/16 x 1 1/8 x 3/8 in.); gem: 3.2 x 2.5 cm (1 1/4 x 1 in.). The Cleveland Museum of Art, By exchange: Bequests of Mrs. Severance A. Millikin and John L. Severance; Dudley P. Allen Fund; Gift of Carrie Moss Halle in memory of Salmon Portland Halle; Gift of S. Livingstone Mather, Constance Mather Bishop, Philip R. Mather, Katherine Hoyt Cross, 2012.53 title: Portrait of Philip II, King of Spain title in original language: series: series in original language: creation date: mid-1550s creation date earliest: 1555 creation date latest: 1569 current location: 118 Italian Renaissance creditline: By exchange: Bequests of Mrs. Severance A. Millikin and John L. Severance; Dudley P. Allen Fund; Gift of Carrie Moss Halle in memory of Salmon Portland Halle; Gift of S. Livingstone Mather, Constance Mather Bishop, Philip R. Mather, Katherine Hoyt Cross, copyright: --- culture: Italy, 16th century technique: citrine, mounted in a gold and enamel pendant department: European Painting and Sculpture collection: Sculpture type: Sculpture find spot: catalogue raisonne: --- CREATORS * Alessandro Cesati (Italian, bef 1538-aft 1564) - artist --- measurements: Pendant: 4.3 x 2.8 x 0.9 cm (1 11/16 x 1 1/8 x 3/8 in.); Gem: 3.2 x 2.5 cm (1 1/4 x 1 in.) state of the work: edition of the work: support materials: inscriptions: inscription: Signed on collar .A.E. translation: remark: --- CURRENT EXHIBITIONS --- LEGACY EXHIBITIONS --- PROVENANCE --- fun fact: The ancient Romans believed citrine, a type of quartz, offered protection against evil thoughts. digital description: wall description: Clad in armor, Philip II wears a chain with the Order of Golden Fleece around his neck. The remarkably precise and varied cutting describes the textures of cloth, metal, skin, and hair while presenting the king’s features with striking naturalism—complete with receding hairline and prominent chin—as well as conveying his forceful character. Carved gems were luxury arts of the highest order in the Renaissance, hotly collected and used as diplomatic gifts. The original patron is not yet known, but cameos played a prominent role at the Spanish court, where the royal family often hold gems of Philip II in their portraits. The yellow quartz, rare in the 1500s, probably came from a newly opened source in South America; this object is thus both a natural marvel and a masterful portrait. One of only three known works signed by the artist (his initials appear at miniscule scale on the collar just below the knot of cloth), this stone is also likely in its original setting. --- RELATED WORKS --- CITATIONS Boardman, John. The Marlborough Gems: Formerly at Blenheim Palace, Oxfordshire. Oxford: Oxford University Press, 2009. page number: Reproduced: p. 66. cat. # 84 url: --- IMAGES web: https://openaccess-cdn.clevelandart.org/2012.53/2012.53_web.jpg print: https://openaccess-cdn.clevelandart.org/2012.53/2012.53_print.jpg full: https://openaccess-cdn.clevelandart.org/2012.53/2012.53_full.tif