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These are part of Colección de diferentes vistas del Magnífico Templo y Real Monasterio de San Lorenzo de El Escorial (Collectionof Different Views of the Magnificent Temple and Monastery of San Lorenzo de El Escorial). One of Spain’s principle goals during the Enlightenment was to spread knowledge of its monumental and artistic wealth through engravings. Calcografía Nacional
These are part of Colección de diferentes vistas del Magnífico Templo y Real Monasterio de San Lorenzo de El Escorial (Collectionof Different Views of the Magnificent Temple and Monastery of San Lorenzo de El Escorial). One of Spain’s principle goals during the Enlightenment was to spread knowledge of its monumental and artistic wealth through engravings. Calcografía Nacional
These are part of Colección de diferentes vistas del Magnífico Templo y Real Monasterio de San Lorenzo de El Escorial (Collectionof Different Views of the Magnificent Temple and Monastery of San Lorenzo de El Escorial). One of Spain’s principle goals during the Enlightenment was to spread knowledge of its monumental and artistic wealth through engravings. Calcografía Nacional
These are part of Colección de diferentes vistas del Magnífico Templo y Real Monasterio de San Lorenzo de El Escorial (Collectionof Different Views of the Magnificent Temple and Monastery of San Lorenzo de El Escorial). One of Spain’s principle goals during the Enlightenment was to spread knowledge of its monumental and artistic wealth through engravings. Calcografía Nacional
These are part of Colección de diferentes vistas del Magnífico Templo y Real Monasterio de San Lorenzo de El Escorial (Collectionof Different Views of the Magnificent Temple and Monastery of San Lorenzo de El Escorial). One of Spain’s principle goals during the Enlightenment was to spread knowledge of its monumental and artistic wealth through engravings. Calcografía Nacional
These are part of Colección de diferentes vistas del Magnífico Templo y Real Monasterio de San Lorenzo de El Escorial (Collectionof Different Views of the Magnificent Temple and Monastery of San Lorenzo de El Escorial). One of Spain’s principle goals during the Enlightenment was to spread knowledge of its monumental and artistic wealth through engravings. Calcografía Nacional
These are part of Colección de diferentes vistas del Magnífico Templo y Real Monasterio de San Lorenzo de El Escorial (Collectionof Different Views of the Magnificent Temple and Monastery of San Lorenzo de El Escorial). One of Spain’s principle goals during the Enlightenment was to spread knowledge of its monumental and artistic wealth through engravings. Calcografía Nacional
This print is part of a series published by the Company for the engraving of paintings from the Royal Palaces, although it was only published after that institution was no longer active. The Company for the engraving of the paintings from the Royal Palaces was one of the Spanish Enlightenment’s major undertakings during the second half of the 18th century. It supervised the reproduction of prints
As King of Naples and Sicily, Charles of Bourbon actively promoted the excavations at Herculaneum and Pompeii, and helped bring attention to them through prints that stimulated archaeological research. Only the first volume of Le antichità was published during his Neapolitan reign, but from Spain he continued to encourage the appearance of the other volumes.
Derived from a portrait by Giuseppe Bonito, this print presents the most emblematic image of the King of Naples and Sicily. It shows the sovereign in military attire, perhaps in reference to his victory over the Austrians in the Battle of Velletri of 1744, which definitively secured the Italian territories he was to reign over.
This print is part of a series published by the Company for the engraving of paintings from the Royal Palaces, although it was only published after that institution was no longer active. The Company for the engraving of the paintings from the Royal Palaces was one of the Spanish Enlightenment’s major undertakings during the second half of the 18th century. It supervised the reproduction of prints
These are part of Colección de diferentes vistas del Magnífico Templo y Real Monasterio de San Lorenzo de El Escorial (Collectionof Different Views of the Magnificent Temple and Monastery of San Lorenzo de El Escorial). One of Spain’s principle goals during the Enlightenment was to spread knowledge of its monumental and artistic wealth through engravings. Calcografía Nacional
During his reign in Naples, Charles of Bourbon founded two institutions related to the excavations at Pompeii and Herculaneum. These were the Herculaneum Royal Academy, which published Le antichità, and the Herculanense Museum.
During his reign in Naples, Charles of Bourbon founded two institutions related to the excavations at Pompeii and Herculaneum. These were the Herculaneum Royal Academy, which published Le antichità, and the Herculanense Museum. Such a modern approach to the study of antiquities is reflected in this print of a mural, where the paint losses are shown in order not to give a false impression of
This portrait is closely based on Charles III in hunting Dress by Francisco de Goya. The monarch, wearing a dress coat, has the same pose as in the painting, leaning forward slightly and with sloping shoulders. The modelling of the face is also the same. The print was published in 1788 in the revised edition of the Bibliotheca hispana vetus (1672) by Nicolás Antonio.
La estampa de Carlos IV, dibujada y grabada por Juan Antonio Salvador Carmona, hace pareja con la del retrato de Maria Luisa de Borbón (G01709 y G02527). Estampación a partir de 1788 y principios del siglo XIX. Se conocen cuatro estados. El primero, dentro de un marco el retrato de tres cuartos casi frontal, con el sombrero encima de la mesa; a la derecha del marco objetos alegóricos de las artes
La estampa de Carlos IV, dibujada y grabada por Juan Antonio Salvador Carmona, hace pareja con la del retrato de Maria Luisa de Borbón (G01709 y G02527). Estampada entre 1778 y 1788 fecha en la que sube al trono. Se conocen cuatro estados. El primero, dentro de un marco el retrato de tres cuartos casi frontal, con el sombrero encima de la mesa; a la derecha del marco objetos alegóricos de las arte
Estampa grabada por Juan Antonio Salvador Carmona que forma parte de una serie (G01573-G01576): Alegorías de las partes del mundo por la que recibió el título de Grabador de Cámara el 20 de febrero de 1786: "Las quatro partes del Mundo, originales de Lucas Jordán que existen en la referida colección del Real Palacio, las grabó en mayor tamaño del de un pliego de la expresada marca y las dedicó al
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