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

Date: 1819

## The fact

The 1819 Calasanz communion picture is the dated public altar instrument. [Francisco Goya](/people/francisco-goya)’s documented role is: He painted the altarpiece. The Escolapios house shares the commission. He did not found the order. Do not merge with the 1819 Prado-opening row. Altarpiece versus museum door. Later editors, printers, and excavators remain named where they appear. Francisco Goya's documented role is: He painted the altarpiece. The Escolapios house shares the commission. 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. Unnamed clerks, soldiers, printers, or later editors may appear without becoming this instrument. 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. Shared offices, unnamed crews, printers, or later editors may appear without becoming this instrument. Driver [social-cohesion](/drivers/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.

## Evidence and sources

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; Museo Nacional del Prado). Independent: National Gallery of Art — Francisco de Goya (https://www.nga.gov/collection/artist-info.1353.html; 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; Museo Nacional del Prado). Independent carrier: National Gallery of Art — Francisco de Goya (https://www.nga.gov/collection/artist-info.1353.html; National Gallery of Art).

Official or archival record: Museo del Prado — Francisco de Goya (https://www.museodelprado.es/en/the-collection/artist/goya-y-lucientes-francisco-de/b88be641-2f87-4439-bc6b-4db4a2d62447; Museo Nacional del Prado).

## Significance

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.

## What is established and what is not

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. 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.

The attached driver is social-cohesion. The welfare reading used in this dossier is improving. 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. Do not merge with the 1819 Prado-opening row. 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.

## People

- Francisco Goya: https://factrail.ai/people/francisco-goya

## Drivers

- Social Cohesion: https://factrail.ai/drivers/social-cohesion

## Sources

- https://www.nga.gov/collection/artist-info.1353.html
- https://www.museodelprado.es/en/the-collection/artist/goya-y-lucientes-francisco-de/b88be641-2f87-4439-bc6b-4db4a2d62447

## Methodology

https://factrail.ai/methodology

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