Sevillian school; last third of the 17th century. "Annunciation". Oil on canvas. Re-drawn. It has a half-round frame from the 18th century. Measurements: 37 x 48 cm; 43 x 55 cm (frame). Aesthetically this work is inscribed, therefore, in the Sevillian Baroque. The main scene is situated in an interior in which, on the right hand side, the Virgin kneels before a lectern. A vase of lilies, a symbol of Marian purity, stands between her and the archangel who brings her the good news. St Gabriel points upwards, where God the Father and the Holy Spirit, barely discernible, burst forth in a burst of golden glory. The Annunciation is an episode widely represented throughout the history of Christian art, given that it is one of the main dogmas of the church, that of the Incarnation. It is also included in both the cycle of the life of Christ and the life of the Virgin, which gives it renewed meaning as a narrative episode. The brother of the painter José Antolínez, Francisco was a lawyer by profession, although his curiosity led him to take an interest in a wide range of subjects. He even took up painting, achieving success with small-format works generally featuring small figures against a background of landscape or architecture. Ceán Bermúdez stated that after studying law in Seville he learned painting at Murillo`s school and attended the academy established in the Casa Lonja in the same city, where he is recorded as having attended in 1672. That same year he must have moved to Madrid to join José Antolínez, although it is likely that after Antolínez`s death he returned to his native city for some time. He finally settled permanently in Madrid. Francisco Antolínez was able to make a living from painting, but in spite of this he did not sign his works, as he preferred to present himself as a lawyer. Antolínez was heir to the Flemish style of Ignacio de Iriarte in his landscapes, and to the architectural backgrounds of Matías de Torres. His figures have a clear Murilloesque character. Francisco Antolínez is currently represented in the Prado Museum, the Castrelos Museum in Vigo, the Provincial Museum in Ciudad Real, the Episcopal Palace in Huesca, the parish church of Santa Ana in Brea de Aragón, the church of Nuestra Señora de los Remedios in Zamora and other religious centres and public and private collections.