A monograph by Steven Orso about this work describes its role in a program praising the reign of Philip IV by equating his rule with that of this work's central figure, whose own conquest of Iberia was detailed in contemporary histories like de Nebrija's Cronica de los Reyes Catolicos.
A monograph by Steven Orso about this work describes its role in a program praising the reign of Philip IV by equating his rule with that of this work's central figure, whose own conquest of Iberia was detailed in contemporary histories like de Nebrija's Cronica de los Reyes Catolicos. A man on the far left of this painting pats a leather bag on his shoulder as a standing figure lifts his hat and holds his hand out to ask for money. Glass appears on the left side, behind the head of the central figure and by his feet, while clay ceramics appear on the right, by a man on his knees and in the hands of two men on the right. The central figure of this painting sits on a cask, looking to the left, while he crowns a man in yellow who kneels before him with ivy leaves; that central figure is nude except for a pink and white cloth over his legs, and his bright, pale skin contrasts with the darker earth-tones of the celebrants on the right. , For 10 points, depicting its artist's first mythological theme, this is what painting of the god of wine by Diego Velazquez? 
A monograph by Steven Orso about this work describes its role in a program praising the reign of Philip IV by equating his rule with that of this work's central figure, whose own conquest of Iberia was detailed in contemporary histories like de Nebrija's Cronica de los Reyes Catolicos.
The Triumph of Bacchus [or El Triunfo de Baco or The Drinkers or Los Borrachos or Bacchus and His Companions or The Festival of Bacchus or Bacchus in Iberia] 