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The Cover
April 8, 2009

Agnus Dei (Lamb of God)

JAMA. 2009;301(14):1412. doi:10.1001/jama.2009.319

Spanish Golden Age painter Francisco de Zurbarán (1598-1664) adopted Seville as his residence in 1629. The city council of Seville had beseeched the artist to grace the capital of Andalucía with his presence after they saw his early masterpiece, Christ on the Cross (also known as The Crucifixion, 1627). Zurbarán's style of ecclesiastical painting matched the pious and devout image of Seville's citizens. Zurbarán's return to Seville—he had apprenticed there from 1614 until 1617—was not free of controversy, however: he had failed to complete the required examination after finishing his apprenticeship and could not officially claim the title of “master painter” until later intervention by his noble patron, the Viscount of La Corzana. The intervening years were spent in Llerena, a small market town where the painter began making a name for himself with artistic commissions, oddly, mostly from Seville.

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