En la plaza se sitúan pequeños puestos de venta de diversos productos: vasijas, utensilios de cerámica o frutas. Damas y caballeros se acercan a la plazoleta vistiendo trajes ricamente adornados, y una gran carroza se detiene bruscamente, al intentar abrirse paso entre la gente. En medio de la plaza se halla la fuente que fue demolida en 1840 y cuyo diseño se encomendó en 1617 al arquitecto Juan Gómez de Mora. Al fondo, se distingue la Iglesia de Nuestra Señora de Gracia y las torres y la cúpula

Esta estampa reproduce el retrato al óleo de Mujer sentada, de Antonio Moro (1516/21-1576), que conserva el Museo del Prado (P2114). La lámina fue grabada al aguafuerte por Bartolomé Vázquez (1749-1802) en 1793 a partir de un dibujo de Manuel de la Cruz Vázquez (1750-1792), y formaba parte del proyecto ilustrado de la Compañía para el grabado de los cuadros de los Reales Palacios, la más importante empresa de reproducción de pinturas de finales del siglo XVIII llevada a cabo en España. Además, c

Estampa perteneciente a la serie de la Compañía para el grabado de los cuadros de los Reales Palacios, que representa el óleo de José de Ribera, Isaac y Jacob, conservado en el Prado (P1118). Inicialmente, la plancha grabada iba a formar parte de la serie sobre los cuadros de la Colección Real, promovida por la Compañía constituida en Madrid, en 1789. Incluso, se llegaron a pagar mil reales a su autor, François-Robert Ingouf por el grabado de la lámina. Sin embargo, la lámina grabada nunca llegó

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for the engraving of paintings from the Royal Palaces, although it was only published after that institution was no longer active.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 of paintings from the Royal Collections and its early projects were carried out by Francisco de Goya

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for the engraving of paintings from the Royal Palaces, although it was only published after that institution was no longer active.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 of paintings from the Royal Collections and its early projects were carried out by Francisco de Goya

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 of paintings from the Royal Collections and its early projects were carried out by Francisco de Goya

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 of paintings from the Royal Collections and its early projects were carried out by Francisco de Goya

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 of paintings from the Royal Collections and its early projects were carried out by Francisco de Goya

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 of paintings from the Royal Collections and its early projects were carried out by Francisco de Goya

Set against a classical cityscape with porches, domes and obelisks, a winged female figure flies with ears of wheat in her left hand. In the foreground, on the floor, several children are playing with books and one of them holds a set of scales and a caduceus. It appears to be a vignette for a book illustration.

Kneeling on a cloud, he faces right and looks upwards. An adolescent angel stands behind him, and in the foreground, there is a pig. The composition culminates in a mixtilinear arch, as if for an altar painting.

Seated under a tree, he clasps his hands and gazes upwards. Beside him, the pig is stretched out. The work was finished in a mixtilinear form, as if for an altar canvas.

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 of paintings from the Royal Collections and its early projects were carried out by Francisco de Goya

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 of paintings from the Royal Collections and its early projects were carried out by Francisco de Goya

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 of paintings from the Royal Collections and its early projects were carried out by Francisco de Goya

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 of paintings from the Royal Collections and its early projects were carried out by Francisco de Goya,

The painting portrays the Virgin, standing in the centre, with her hands clasped and stepping on the snake. On the right, Saint Anthony of Padua is kneeling with the infant Jesus in his arms. On the left, Saint Francis is half-kneeling. There are cherubs in the sky, and in the foreground there is a child angel with a book. The work was finished in a mixtilinear form, as if for an altar canvas.

Although the quality of the drawing is quite mediocre, the accumulation of symbols and allegories is interesting and characteristic, serving to deify the painter.