# The Torre de la Parada cycle is commissioned as a royal hunting-lodge myth-and-hunt decoration for Philip IV

Date: 1636

## The fact

The Torre de la Parada series is the dated Spanish hunt-palace instrument. [Peter Paul Rubens](/people/peter-paul-rubens)’s documented role is: He designed the mythological and [hunt](/people/jeremy-hunt) series. Workshop and Madrid finishers share the labour. The hunting-canvas cost row is earlier and general; this is the named lodge cycle. Do not merge with the generic 1616 hunting-canvas row. Torre de la Parada is a distinct 1636–38 commission. Later editors, printers, and excavators remain named where they appear. Peter Paul Rubens's documented role is: He designed the mythological and hunt series. Workshop and Madrid finishers share the labour. The hunting-canvas cost row is earlier and general; this is the named lodge cycle.

## Context

Philip IV’s lodge near Madrid. Rubens is often in Antwerp; sketches travel. Named others on the file: Philip IV as patron; workshop as executants. The public setting is the file around 1636-01-01. Unnamed clerks, soldiers, printers, or later editors may appear without becoming this instrument. The instrument stays The Torre de la Parada cycle is commissioned as a royal hunting-lodge myth-and-hunt decoration for Philip IV. The setting of The Torre de la Parada cycle is commissioned as a royal hunting-lodge myth-and-hunt decoration for Philip IV is the public file around 1636-01-01. Shared offices, unnamed crews, printers, or later editors may appear without becoming this instrument. Driver [humanitarian-access](/drivers/humanitarian-access) is attached because the significance names a mechanism from this act, not because a standing list needed coverage.

Confidence is stated on the impact path, not hidden in adjectives. Do not merge with the generic 1616 hunting-canvas row. Torre de la Parada is a distinct 1636–38 commission. Mixed effects of The Torre de la Parada cycle is commissioned as a royal hunting-lodge myth-and-hunt decoration for Philip IV are separate paths.

## Evidence and sources

NGA and Met independently locate the Torre de la Parada commission in Rubens’s last decade. Official: National Gallery of Art — Peter Paul Rubens (https://www.nga.gov/collection/artist-info.1847.html; National Gallery of Art). Independent: Met Heilbrunn — Peter Paul Rubens (https://www.metmuseum.org/toah/hd/rben/hd_rben.htm; Metropolitan Museum 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: National Gallery of Art — Peter Paul Rubens (https://www.nga.gov/collection/artist-info.1847.html; National Gallery of Art). Independent carrier: Met Heilbrunn — Peter Paul Rubens (https://www.metmuseum.org/toah/hd/rben/hd_rben.htm; Metropolitan Museum of Art).

Official or archival record: National Gallery of Art — Peter Paul Rubens (https://www.nga.gov/collection/artist-info.1847.html; National Gallery of Art).

## Significance

Hunt-palace spectacle. Welfare reading worsening. The attached mechanism is Decorating a royal hunt palace is a humanitarian-adjacent spectacle path of medium weight. 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 worsening.

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

## What is established and what is not

Sketches plus workshop, not a unique autograph of every canvas. Established: a sourced public record of The Torre de la Parada cycle is commissioned as a royal hunting-lodge myth-and-hunt decoration for Philip IV under 1636-01-01. Established: a sourced public record of The Torre de la Parada cycle is commissioned as a royal hunting-lodge myth-and-hunt decoration for Philip IV under 1636-01-01.

Shared responsibility is part of The Torre de la Parada cycle is commissioned as a royal hunting-lodge myth-and-hunt decoration for Philip IV. Naming Peter Paul Rubens does not delete co-authors, institutions, or later transmitters. The lag from 1636-01-01 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.

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.

## People

- Peter Paul Rubens: https://factrail.ai/people/peter-paul-rubens

## Drivers

- Humanitarian Access: https://factrail.ai/drivers/humanitarian-access

## Sources

- https://www.nga.gov/collection/artist-info.1847.html
- https://www.metmuseum.org/toah/hd/rben/hd_rben.htm

## Methodology

https://factrail.ai/methodology

Canonical: https://factrail.ai/facts/rub-torre-parada-1636