[5] All the paintings in the fourth series were destined for the antechamber of the Prince of Asturias, the future Charles IV and his wife Marie Louise de Parme, in the Pardo palace.

[8] It was considered lost until 1869, when the canvas was discovered in the basement of the Royal Palace in Madrid by Gregorio Cruzada Villaamil, and was returned to the Prado Museum in 1870 by the ordinances of January 19 and February 9, 1870, where it is exhibited in room 91.

[4] The ensemble features a group of young people in colorful costumes, and in the main figure, who turns his head towards the viewers, a portrait of the artist himself has been seen.

whose stockade is suddenly clean"However, according to Jeannine Baticle, Goya didn't start frequenting the capital's Lumières until 1779, and it's likely that he only gained access to this poem - written in the early 1770s - through them, and therefore after the production of this carton.

The result was a series of twelve small metal paintings entitled Scènes de divertissements nationaux, which he presented as a means of “occupying his mortified imagination”.

[16] We usually refer to eight of these small paintings, which form a coherent whole twenty years before the Tauromachie gravée, as the Série Torrecilla, named after the marquis to whom this collection had belonged.