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The article “La inexistencia del pintor Francisco Frutet” demonstrates that this painter never existed and counts how this enigmatic fleming managed to take naturalization papers from the creation of his figure on the part of the commentator Juan Agustín Ceán Bermúdez in his Dictionary. This one there based on the writings on also non-existent painter Antonio Flores of Antonio Palomino as well as on the altarpiece of the Adoration of the Kings of the Convent of the Merced Calzada of Seville. Later after managing to acquire a particular biography thanks to the successive interpretations that were realized of Ceán’s text, the doubts finished with this supposed fl eming painter of the 16th century, who according to the artistic historiography was employed at Seville at company of Pedro de Campaña, together with whom the rafaelism introduced in the Sevillian painting.
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