La Casa de Pilatos, is the seat and home of the Ducal House of Medinaceli, one of the most important palaces of the sixteenth century and also important for the route of Murillo.
The building began its construction at the end of the 15th century by Don Pedro Enríquez, Major Adelantado of Andalusia, but it would not be until his son Don Fabrique who, returning from a pilgrimage trip to Jerusalem, would build most of the building. His stay in Jerusalem led to the creation of a space with similarities to buildings of Islamic type and therefore took the name of the Roman procurator Pontius Pilate.
The building is quite large, mixing Mudejar, Renaissance and Baroque styles, although its patio has a more classic appearance. In this patio we can see the statues of Janus bifronte from the central fountain and those from Palas Athena. We must not forget the main staircase with the wooden dome on 16th century muqarnas horns, and the room on the upper floor with the roof of the Apotheosis of Hercules painted by Francisco Pacheco in 1604.
In this space we can see the following works by Murillo
Immaculate Conception (reproduction of the original)
This Immaculate is shown with childlike features and represents the purity of this dogma. This children’s version was very popular and loved by the Sevillian clientele.
In this painting he alternates colorful touches and other touches more transparent in the Virgin’s tunic. Its small format allows us to venture that it could be a sketch of a work of greater dimensions.
Immaculate of Esquilache (reproduction of the original)
The chromatic and technical quality of the drawing makes it one of the best immaculate of murillo .. The play of the fringe of the mantle, hanging vertically to the right, intensifies the expressiveness of the gentle curve described by its body and the flexion of its knee, aspects that harmonize the disposition of all its anatomy.
Immaculate Conception of Aranjuez (reproduction of the original).
This Immaculate is one of the most dynamic and it shows the subtle technique of the genius Murillo The figure of the Virgin shows a very pronounced curve, augmented by the fringes of the mantle that give more volume to the left, some in ascending direction and others in sense on the contrary, which intensifies its spectacular impetus. His mixture of crossed hands on the chest and his face turned towards the top, in contraposto shows a fully achieved expression.
The magnificent representation of the four angels on the clouds, are in ascending arrangement, showing one of them backlit.