Miracle of Saint Anthony of Padua (Milagro de San Antonio de Padua) (sketch 2)

This elongated sketch shows the whole set of figures depicted in the cupola of the Chapel of San Antonio de la Florida in the form of a frieze. The composition is similar to the final piece in terms of the distribution of the groups of figures, shapes and colours.

The canvas is divided into four sections which must have been painted separately and then sewn together.

Although it is quite similar to the original, there are differences in this sketch, such as in the balustrade which here has 71 banisters while in the final painting there are 81. The main group containing Saint Anthony is given more emphasis in the fresco, since the figures are grouped closer together and the saint's head is raised higher up above the other figures.

Other modifications were made that took the perspective from which the fresco would be viewed from below into account. Thus, the beads on the rosary carried by a blind man are shown as round in the sketch, whereas in the definitive work these become elongated marks. Likewise, some of the figures are distorted in the cupola painting: in the sketch they seem to be more refined and delicate, while in the fresco they are simpler and sketchier.

Gudiol firmly dismissed the idea that this could be the work of Goya, claiming that it is a later work. Since then, its authorship has been a subject of much contention. Buendía suggests that it could be the work of Eduardo Rosales. These doubts as to the authorship of the sketch are reflected in the vague, extended date range suggested for this work.