# Goya paints the San Antonio de la Florida cupola as a public parish fresco of street-and-miracle bodies

Date: 1798

## The fact

The 1798 Florida frescoes are the dated public wall instrument. [Francisco Goya](/people/francisco-goya)’s documented role is: He painted the cupola. Royal patronage of the hermitage shares the commission. He did not found the parish. Do not merge with Caprichos 1799. Church wall versus print cycle. Later editors, printers, and excavators remain named where they appear. Francisco Goya's documented role is: He painted the cupola. Royal patronage of the hermitage shares the commission. He did not found the parish.

## Context

Madrid hermitage of San Antonio de la Florida. Deafness from 1793 already sits in the body. Court office sits on another row. Named others on the file: Royal works office as patron; unnamed plasterers. The public setting is the file around 1798-01-01. Unnamed clerks, soldiers, printers, or later editors may appear without becoming this instrument. The instrument stays Goya paints the San Antonio de la Florida cupola as a public parish fresco of street-and-miracle bodies. The setting of Goya paints the San Antonio de la Florida cupola as a public parish fresco of street-and-miracle bodies is the public file around 1798-01-01. Shared offices, unnamed crews, printers, or later editors may appear without becoming this instrument. Driver edu-[digital-learning-access](/drivers/edu-digital-learning-access) is attached because the significance names a mechanism from this act, not because a standing list needed coverage.

The welfare reading used in this dossier is improving. That reading is an impact-path choice, not a property stored on the Fact itself.

## Evidence and sources

Prado’s artist file and Britannica independently date the Florida frescoes to the late 1790s. 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: Britannica — Francisco Goya (https://www.britannica.com/biography/Francisco-Goya; Encyclopaedia Britannica). 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: Britannica — Francisco Goya (https://www.britannica.com/biography/Francisco-Goya; Encyclopaedia Britannica).

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

Public church painting. Welfare reading improving. The attached mechanism is A public church fresco is an education-and-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.

Shared responsibility is part of Goya paints the San Antonio de la Florida cupola as a public parish fresco of street-and-miracle bodies. Naming Francisco Goya does not delete co-authors, institutions, or later transmitters. The lag from 1798-01-01 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.

## What is established and what is not

Year-level. Established: a sourced public record of Goya paints the San Antonio de la Florida cupola as a public parish fresco of street-and-miracle bodies under 1798-01-01. Established: a sourced public record of Goya paints the San Antonio de la Florida cupola as a public parish fresco of street-and-miracle bodies under 1798-01-01.

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

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

Confidence is stated on the impact path, not hidden in adjectives. Do not merge with Caprichos 1799. Church wall versus print cycle. Mixed effects of Goya paints the San Antonio de la Florida cupola as a public parish fresco of street-and-miracle bodies are separate paths.

## People

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

## Drivers

- Digital Learning Access: https://factrail.ai/drivers/edu-digital-learning-access

## Sources

- https://www.museodelprado.es/en/the-collection/artist/goya-y-lucientes-francisco-de/b88be641-2f87-4439-bc6b-4db4a2d62447
- https://www.britannica.com/biography/Francisco-Goya

## Methodology

https://factrail.ai/methodology

Canonical: https://factrail.ai/facts/goy-florida-1798