San Lorenzo de El Escorial in the context of "Juan de Herrera"

El Escorial, or the Royal Site of San Lorenzo de El Escorial (Spanish: Monasterio y Sitio de El Escorial en Madrid), or Monasterio de El Escorial (Spanish pronunciation: [el eskoˈɾjal]), is a historical residence of the king of Spain located in the town of San Lorenzo de El Escorial, 2.06 kilometres (1.28 mi) up the valley (4.1 km [2.5 mi] road distance) from the town of El Escorial and about 45 kilometres (28 mi) northwest of the Spanish capital Madrid. Built between 1563 and 1584 by order of King Philip II (who reigned 1556–1598), El Escorial is the largest Renaissance building in the world. It is one of the Spanish royal sites and functions as a monastery, basilica, royal palace, pantheon, library, museum, university, school, and hospital.

El Escorial consists of two architectural complexes of great historical and cultural significance: the royal monastery itself and La Granjilla de La Fresneda, a royal hunting lodge and monastic retreat about five kilometres (3.1 mi) away. These sites have a dual nature: during the 16th and 17th centuries, they were places in which the power of the Spanish monarchy and the ecclesiastical predominance of the Roman Catholic religion in Spain found a common architectural manifestation. El Escorial was both a Spanish royal palace and a monastery. Established with a community of Hieronymite monks, it has become a monastery of the Order of Saint Augustine. It also contained a boarding school, now the Real Colegio de Alfonso XII, still in operation.

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.