摘要：In the following study are presented various paintings which are attributed —with some certainty—to Velazquez and that belong to different stages of his production. Within them, it has special significance the identification of the funeral portrait of the beato Simón de Rojas, painted in 1624. We argue, as well, the rejection of the attribution of one Immaculate, once pretended to be ascribed to Velazquez, and that is, in fact, a work by Alonso Cano.
