The Royal Palace of El Pardo (Spanish: Palacio Real de El Pardo, pronounced [paˈlaθjo reˈal de el ˈpaɾðo]) is one of the official residences of the Spanish royal family and one of the oldest, being used by the Spanish monarchs since Henry III of Castile in the 15th century. The palace is owned by the Spanish government, administered by a state agency named Patrimonio Nacional (National Heritage) and it currently serves as a state guest house.
The Zarzuela Palace (Spanish: Palacio de la Zarzuela [paˈlaθjo ðe la θaɾˈθwela]) is the residence and working offices of the reigning monarch of Spain (King Felipe VI), although the official residence of the Spanish royal family is the Royal Palace of Madrid. The Zarzuela Palace is on the outskirts of Madrid, near the Royal Palace of El Pardo, which accommodates visiting heads of state. The palace is owned by the Spanish government and administered by a state agency named Patrimonio Nacional (National Heritage).
The Zarzuela Palace was the home of King Juan Carlos I from May 1962 until his departure to live abroad in August 2020, following allegations of financial impropriety. It has not been announced whether it will remain the home of his wife, Queen Sofía, who did not accompany Juan Carlos abroad. Although King Felipe VI has his office in the palace, he and his family live in the Pabellón del Príncipe on the grounds just east of the Zarzuela Palace.
This is a complete list of Francisco Goya's 63 large cartoons for tapestries (Spanish: cartones para tapices) painted on commission for Charles III of Spain and later Charles IV of Spain between 1775 and 1791 to hang in the San Lorenzo de El Escorial and El Pardo palaces. The word "cartoon" is derived from the Italian cartone, which describes a large sheet of paper used in preparation for a later painting or tapestry. Goya's were executed on canvas which was then woven into wool tapestry to a large mural scale. While many of the large finished works are today in the Prado Museum, the original sketches were sold as works in their own right.
In 1774, Goya was asked by the German artist Anton Raphael Mengs, acting on behalf of the Spanish crown, to undertake the series. While designing tapestries was neither prestigious nor well paid, Goya used them, along with his early engravings, to bring himself to wider attention. They afforded his first contact with the Spanish monarchy that was to eventually appoint him court painter. The works are mostly popularist in a rococo style, and were completed early in his career, when he was largely unknown and actively seeking commissions. There is evidence that he later regretted having spent so much effort and time on the pieces, and that his later darker period, which begins roughly with Yard with Lunatics, was in part a reaction against them.