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	<title>Escenas cinegéticas - History Lab</title>
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		<title>Hunting with a lure</title>
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		<dc:creator><![CDATA[ad_hlab_min]]></dc:creator>
		<pubDate>Sat, 19 Feb 2022 16:30:19 +0000</pubDate>
				<category><![CDATA[Uncategorized]]></category>
		<category><![CDATA[Caza]]></category>
		<category><![CDATA[Costumbrismo]]></category>
		<category><![CDATA[Decoración]]></category>
		<category><![CDATA[Escenas cinegéticas]]></category>
		<category><![CDATA[Goya]]></category>
		<category><![CDATA[Pinturas]]></category>
		<category><![CDATA[Siglo XVIII]]></category>
		<category><![CDATA[Tapices]]></category>
		<category><![CDATA[Vida cotidiana]]></category>
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					<description><![CDATA[<p>Representation of hunting techniques in the 18th century</p>
<p>The post <a href="https://historylab.es/hunting-with-a-lure/">Hunting with a lure</a> first appeared on <a href="https://historylab.es">History Lab</a>.</p>]]></description>
										<content:encoded><![CDATA[<p>Depicted by Francisco de Goya at the end of the 18th century, the composition shows a hunting stand with two caged birds (an owl and a goldfinch). The scene is completed by a crouching dog and a net over the tree that frames the group. It was part of Goya&#8217;s first commission for the Royal Tapestry Factory of Santa Bárbara in 1774-75. The composition was the invention of Francisco Bayeu, who, according to surviving documents, was in keeping with the monarchs&#8217; use of the Royal Site of El Escorial for hunting during the autumn. The resulting tapestry was intended to decorate the overdoor in the dining room of the Princes of Asturias (Charles IV and Maria Luisa of Parma).</p><p>The post <a href="https://historylab.es/hunting-with-a-lure/">Hunting with a lure</a> first appeared on <a href="https://historylab.es">History Lab</a>.</p>]]></content:encoded>
					
		
		
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		<title>Hunting party</title>
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		<pubDate>Sat, 19 Feb 2022 16:30:19 +0000</pubDate>
				<category><![CDATA[Uncategorized]]></category>
		<category><![CDATA[Caza]]></category>
		<category><![CDATA[Costumbrismo]]></category>
		<category><![CDATA[Escenas cinegéticas]]></category>
		<category><![CDATA[Goya]]></category>
		<category><![CDATA[Pinturas]]></category>
		<category><![CDATA[Real Fábrica de Tapices de Santa Bárbara]]></category>
		<category><![CDATA[Siglo XVIII]]></category>
		<category><![CDATA[Tapices]]></category>
		<category><![CDATA[Vida cotidiana]]></category>
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					<description><![CDATA[<p>Hunting scene painted by Goya as an example of the social reality of the 18th century</p>
<p>The post <a href="https://historylab.es/hunting-party/">Hunting party</a> first appeared on <a href="https://historylab.es">History Lab</a>.</p>]]></description>
										<content:encoded><![CDATA[<p>The scene depicted by the painter Francisco de Goya shows two different types of hunting: on foot and on horseback (as well as small game). It was part of the first commission the master from Zaragoza received for the Royal Tapestry Factory of Santa Bárbara in 1774-75, although the composition was the invention of Francisco Bayeu. This scene was in keeping with the monarchs&#8217; use of the Royal Site of El Escorial, where they spent the autumn. This composition also formed part of the dining room set for the Princes of Asturias (Charles IV and Maria Luisa of Parma)</p><p>The post <a href="https://historylab.es/hunting-party/">Hunting party</a> first appeared on <a href="https://historylab.es">History Lab</a>.</p>]]></content:encoded>
					
		
		
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