An adolescent angel with his wings spread out is playing a trumpet. He holds it in his right hand, while the left hand rests on a cloud. The relation between this drawing and the following works: an imitation of Angel flying with Trumpet (previously in Gijón, Collection of the Institute of Jovellanos, destroyed in 1936), paintings of Saint Jerome (P627), around 1660, as well as the Angel playing the Trumpet, around 1660 (Museo de Bellas Artes, Granada) in which the same, or a similar angel appears; suggests that it represents a figure from Cano’s repertoire, which could be adapted to various compositional contexts.

As Wethey notes, some of the strokes are thicker. This effect could be the result of a later tracing in order to transfer the design to another surface. The delicate quality of the lines of the wings, as well as the decorative elegance of the figure, places this drawing firmly within Cano’s autograph works. The drawing previously located in Gijón is a very meticulous imitation, and judging from what can be determined from the adjusted measurements taken from the photographs, the figures were exactly the same size. This fact strongly suggests the possibility that the lost imitation was, in fact, an exact replica of the work in the Prado. It is even possible that it had been reproduced in Cano’s workshop before he had included the final touches to this autograph drawing. There is one correction or revision in the folds of the fabric, situated above the upper part of the angel’s arm.

In relation to the two paintings of Saint Jerome and the Angel Playing the Trumpet, the drawing in the Prado should be considered as a ricordo rather than a study for the Granada canvas. Careful observation of the painting reveals a series of compositional changes that were executed while the angel was painted and that can be observed in the drawing at the Prado. Furthermore, the angel was moved down from a position that was much closer to the upper edge of the canvas. In fact, the original position of the angel in the painting in Granada was closer to that of the angel in the Prado composition.

Until an in-depth comparative analysis of the paintings is carried out for the purpose of clarifying the relationship between them, the following hypothesis can be proposed: the painting in the Prado is the first existing interpretation of the theme. It may reflect an earlier state of the Granada painting: a version made while the Granada canvas was still being painted. Later on, Cano conducted important changes to the painting in Granada. However, only those around the angel can be visually confirmed. The modified angel is reflected in the drawing in the Prado.

Veliz, Zahira, Alonso Cano (1601-1667): dibujos, Santander, Fundación Marcelino Botín, 2009, p.384-387; nº 79