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The Queen's Gallery was built in the shell of the former Holyrood Free Church and Duchess of Gordon’s School at the entrance to the Palace of Holyroodhouse. The buildings were constructed in the 1840s with funds from the Duchess of Gordon, but fell into disuse in the late 19th century. Benjamin Tindall Architects were appointed project architects for the new Queen’s Gallery in October 1999. Their central visual theme was a celebration of The Queen’s Golden Jubilee, expressed through a series of arches and screens that lead visitors from the Gallery entrance to the exhibition spaces beyond. Their design complements the original 19th-century architecture, elements of which were incorporated into the new spaces. Unsympathetic later internal alterations were removed, and a new exposed steel and concrete floor inserted to reflect the original ‘gallery’ of the Church.   A new stone arched entrance was created at the centre of the Horse Wynd frontage, opposite the new Scottish Parliament building. The use of a stone archway, with a courtyard beyond, is a traditional entrance device in Scottish architecture. The main walling is of Catcastle stone, the dressed work and lettering is of Stainton stone and the base is of Kenmay granite. ‘THE QUEEN’S GALLERY’ lettering above the entrance is the work of John Neilson, a calligrapher and carver. The letters were cut from single pieces of stone. Above sits Scotland’s heraldic lion, designed by Jill Watson. The lion sedant is based on a small red lion that sits at the feet of Mary, Queen of Scots on her tomb in Westminster Abbey. (The Palace of Holyroodhouse was once home to Mary, Queen of Scots.)   The monumental entrance doors of oak have gilded bronze hinges by Jill Watson. Continuing the heraldic theme, the main hinges are decorated with the Scottish lion and unicorn. The beasts are set against the adjacent urban scene of Edinburgh’s Royal Mile and the rural scene of Arthur’s Seat and Salisbury Crags. The upper hinges are made as golden boughs of flowering native trees – chestnut and laburnum, oak, rowan and hawthorn. The stone archway is decorated with a carved and gilded garland of Scottish flowers, including daisies and thistles, created by Graciela Ainsworth, an Edinburgh-based sculptor, carver and conservator. Over the old entrance to the former church is a stained-glass window by Christian Shaw.  The design shows a perspective drawing of the interior of a gallery. At night, the shape of the archway is reflected by the glass lights by Keiko Mukaide set into the paving. The artist has given the tiles a water flow pattern, mirroring the stream of visitors walking in and out of the Gallery. Inside, the reception desk by Hamid van Koten is made from curved pieces of Scottish elm with kilned glass and patinated copper. The pendant lights were designed and made in Edinburgh by Ingrid Phillips. Dividing the reception from the main Gallery area is a patterned glass screen by Jacqueline Poncelet. The screen’s bronze handles by Jill Watson incorporate figures looking at art in a gallery.   The dramatic central stair of native timber leads to the Gallery spaces above. The complex shape was designed by the architects with Charles Taylor Woodwork, who were responsible for the construction. Lights set into the first floor illuminate the curved balustrading.  

The building that today houses the Museo Nacional del Prado was designed by architect Juan de Villanueva in 1785. It was constructed to house the Natural History Cabinet, by orders of King Charles III. However, the building's final purpose - as the new Royal Museum of Paintings and Sculptures - was the decision of the monarch's grandson, King Ferdinand VII, encouraged by his wife Queen Maria Isabel de Braganza. The Museo Nacional del Prado, opened to the public for the first time in November 1819. The Museum's first catalogue, published in 1819, included 311 paintings, although at that time its collection comprised just over 1,510 pictures from the various Reales Sitios (Royal Residences). The exceptionally important royal collection, which represents the foundation of the Museum's collection as we know it today, started to increase significantly in the 16th century during the time of Charles V and continued to thrive under the succeeding Habsburg and Bourbon Monarchs. It is down to them than nowadays we can contemplate in the Museum as greatest masterpieces as The Garden of Earthly Delights by Bosch, The Nobleman with his hand on his Chest by El Greco, Las Meninas by Velázquez and The Family of Carlos IV by Goya. The visit will take place in chronological order, starting with the exhibit hall where the masterpieces of J. Bosch (El Bosco) (1450-1516): The Table of the 7 Deadly Sins, The Hay Wain, The temptations of San Antonio, The Stone of Madness and The Garden of Delights, to continue with the rooms devoted to the Greco (1540-1614): The gentleman's hand on his chest, The Trinity, Christ embraced the cross and The Annunciation. Velázquez (1599-1660): The Worship, Drunkards, Equestrian Portraits, the Forge of Vulcan, The Christ, The spinners, Spears and Las Meninas, ending with Goya (1746-1828): The family of Carlos IV Pictures, The Shootings of May 2nd, Pestles and Black Paintings.         

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