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Goya paints the Last Communion of Saint Joseph of Calasanz as a public Madrid altarpiece for the Pious Schools

The 1819 Calasanz communion picture is the dated public altar instrument. Francisco Goya’s documented role is: He painted the altarpiece. In the causal graph this event strengthens Social Cohesion, a driver that strengthens Having a say in government — an improving welfare path.

Read the full account

The 1819 Calasanz communion picture is the dated public altar instrument. Francisco Goya’s documented role is: He painted the altarpiece. The Escolapios house shares the commission. He did not found the order. Altarpiece versus museum door. Later editors, printers, and excavators remain named where they appear. Francisco Goya's documented role is: He painted the altarpiece. He did not found the order.

Context

San Antón, Madrid. After Ferdinand’s restoration. Black Paintings remain private on another row. Named others on the file: Pious Schools as patron; unnamed church officers. The public setting is the file around 1819-01-01. The instrument stays Goya paints the Last Communion of Saint Joseph of Calasanz as a public Madrid altarpiece for the Pious Schools. The setting of Goya paints the Last Communion of Saint Joseph of Calasanz as a public Madrid altarpiece for the Pious Schools is the public file around 1819-01-01. Driver social-cohesion is attached because the significance names a mechanism from this act, not because a standing list needed coverage.

If a number is not in the two records named above, it is not supplied here.

Why it matters

School-church cohesion. Welfare reading improving. The attached mechanism is A public school-church altarpiece is a cohesion path. Lag to any modern indicator is not treated as zero. This path is attached because the mechanism is named from this act, not because a driver list needed coverage. The welfare reading on this path is improving.

Later competitions, monuments, translations, UNESCO listings, museums, and adaptations are not converted into extra lifetime acts.

Who was responsible

Contribution type and responsibility level for each recorded actor — not sole-author shorthand.

  • Francisco Goya

    Person

    Direct responsibility

    responsibility level 0.32 · verified

    He painted the altarpiece. The Escolapios house shares the commission. He did not found the order.

What changed

Fact → Driver → Indicator. Relationship strength orders the paths; it is not the observed indicator movement.

    1. FactGoya paints the Last Communion of Saint Joseph of Calasanz as a public Madrid altarpiece for the Pious Schools
    2. strengthensDriverSocial Cohesion
    3. strengthensIndicators (2)Having a say in government
    Improving path

    impact weight 0.3 · Effect from 1 January 1819 · verified

    A public school-church altarpiece is a cohesion path.

    • Having a say in government

      via Social Cohesion

      Better

      Strengthens · Relationship strength 0.14 (weight 0.3 × strength 0.45)

      Observed

      29.8% of population aged 16-65 years · 8.13 below the normal line (2023)

      Worse than normal

      Two readings: 30.2% of population aged 16-65 years (2021) and 29.8% of population aged 16-65 years (2023).

      20212023

      Above normal = better

    • Rule of Law Gap from the Highest Governance Score

      via Social Cohesion

      Better

      Weakens · Relationship strength 0.14 (weight 0.3 × strength 0.45)

      Observed

      43.9 Score · 43.9 above the normal line (2024)

      Worse than normal

      26 readings, 1996–2024: rose from 43 Score to 43.9 Score.

      Normal is zero · any amount = worse

Evidence

The sources behind this fact and its verification state.

Verified2 sources on file
  1. 1.National Gallery of Art — Francisco de GoyaNational Gallery of Art · High credibility · verified
  2. 2.Museo del Prado — Francisco de GoyaMuseo Nacional del Prado · High credibility · verified
What the sources establish

Prado and NGA artist files independently keep the Calasanz altarpiece in the late Madrid list. Official: Museo del Prado — Francisco de Goya (https://www.museodelprado.es/en/the-collection/artist/goya-y-lucientes-francisco-de/b88be641-2f87-4439-bc6b-4db4a2d62447 (opens in a new tab); Museo Nacional del Prado). Independent: National Gallery of Art — Francisco de Goya (https://www.nga.gov/collection/artist-info.1353.html (opens in a new tab); National Gallery of Art). The two URLs are different pages. Where the carrier is a later edition or a received narrative, that limit is stated rather than upgraded to an autograph. Official carrier: Museo del Prado — Francisco de Goya (https://www.museodelprado.es/en/the-collection/artist/goya-y-lucientes-francisco-de/b88be641-2f87-4439-bc6b-4db4a2d62447 (opens in a new tab); Museo Nacional del Prado). Independent carrier: National Gallery of Art — Francisco de Goya (https://www.nga.gov/collection/artist-info.1353.html (opens in a new tab); National Gallery of Art).

Year-level. Established: a sourced public record of Goya paints the Last Communion of Saint Joseph of Calasanz as a public Madrid altarpiece for the Pious Schools under 1819-01-01.

That reading is an impact-path choice, not a property stored on the Fact itself.

Confidence is stated on the impact path, not hidden in adjectives. Altarpiece versus museum door. Mixed effects of Goya paints the Last Communion of Saint Joseph of Calasanz as a public Madrid altarpiece for the Pious Schools are separate paths.

Shared responsibility is part of Goya paints the Last Communion of Saint Joseph of Calasanz as a public Madrid altarpiece for the Pious Schools. Naming Francisco Goya does not delete co-authors, institutions, or later transmitters. The lag from 1819-01-01 to any measured indicator is not treated as zero. Alternative explanations — weather, other armies, later statutes, or independent cultural change — remain live where the sources do not close them.

Causal path

How this event connects to drivers and indicators in the graph.

  1. ActorFrancisco Goya
  2. contributed toFactGoya paints the Last Communion of Saint Joseph of Calasanz as a public Madrid altarpiece for the Pious Schools
  3. strengthensDriverSocial Cohesion
  4. strengthensIndicatorHaving a say in government

Cite this page

Factrail. (2026). Goya paints the Last Communion of Saint Joseph of Calasanz as a public Madrid altarpiece for the Pious Schools. Factrail. https://factrail.ai/facts/goy-calasanz-1819

https://factrail.ai/facts/goy-calasanz-1819

Accessed 16 October 2026.

By the Factrail desk · Method: how we source and score · Last reviewed

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