The Immaculate Conception of Los Venerables
The original, as its museum records it
Every line above is reproduced from the holding institution’s own catalogue entry, which is linked. Where their title, date or attribution differs from ours, theirs is the one printed here.
The file this print is made from
Sizes
About this painting
Murillo cut every emblem but the moon. No tower of David, no sealed fountain, no palm or cypress: the Prado suggests they were instead in the frame Torre Farfán described, still at the Hospital de los Venerables.
The moon under her feet is the Apocalypse's woman clothed with the sun. The one emblem Murillo kept comes from Scripture, not the litany; the crossed hands are his own formula, and he painted the subject some two dozen times.
In 1813 Marshal Soult took the canvas to Paris. It hangs in Madrid now. The frame never left Seville.
Sources: Museo del Prado, object page · Smarthistory, 'Bartolomé Esteban Murillo, The Immaculate Conception of Los Venerables' · Apocalypse 12:1, Douay-Rheims.
Printed on demand. Public-domain masterwork, reproduced from a 3,051 px master of the original. The whole image is printed — never cropped to fit the sheet — so every sheet carries an archival margin, and the dimensions and resolution listed above are the ones you receive.