The Virgin wears blue robes and a silver lamé tunic, a crown of stars and a halo with the Holy Ghost above. Around her, ten angels bear attributes such as a palm frond, irises, lilies, roses, an olive branch, a scepter, a mirror and a crown. Two very similar versions, respectively at the Ivison Collection in Jerez de la Frontera and the Museo Lázaro Galdiano, are signed, and the latter is dated 1666.

According to Jacobus de Voragine´s Golden Legend (c.1260), 14 years after Christ´s Passion, Mary Magdalene and her companions were abandoned and set adrift in a small boat to die. The boat miraculously landed on the shores of the Gulf of Marseilles, where the rest of the saint´s life ran its course. This place, in which she chose to devote herself to the contemplation of divine matters, was barren and lacked water and sources of food. Consequently, every day at the seven moments corresponding to

Copy taken between 1970 and 1990 from a later print made by Juana Roig using a Lacoste negative. The original photograph was taken between 1907 and 1915. In the lower right corner you can see Roig´s dry stamp photographed. It is considered that Juana Roig edited the photographs produced by José Lacoste.

This is one of the most successful of this painter´s many known Immaculate Conceptions, thanks to its serenity and exquisite beauty. His inventive capacity is continually visible in the vast repertoire of variations he brings to his treatment of a single religious subject. The symbols of the Marian litany are always present, but the angels´ heads are never the same, nor do their groups have the same number. The Virgin´s silhouette appears amidst hurricane-force winds that allow

Es pareja de un retrato de similares características que representa a otra niña de edad y rasgos parecidos (P1227), por lo que se supone que eran hermanas. Sus vestidos, con el escote horizontal y las mangas abiertas, son representativos de la moda española de hacia 1660. Como ha ocurrido con numerosas pinturas, durante gran parte del siglo XIX, se creyeron ambas realizadas por Velázquez. Entre las razones que explican esta atribución figura lo poco avanzado que estaba el estudio de los pintores

This is the companion to a portrait with similar characteristics that depicts another girl of about the same age with similar features (P1228). The two models may therefore have been sisters. Their dresses, with horizontal necks and open sleeves are characteristic of Spanish clothing from around 1660. As with many other paintings, these were considered works by Velázquez during the 19th century. This can be partially attributed to that century´s relatively scant knowledge of the wor