The artistic heritage of the regions that once formed part of the former Spanish Empire comprises a large number of painted copies after Flemish masters made in the sixteenth and seventeenth centuries. Most of these works have received little attention despite the fact that they constitute a valuable source for understanding the artistic influence of the Southern Netherlands on Spanish and Latin American art and society. Approaching the phenomenon of the copy from a large variety of perspectives, ranging from workshop practices to collecting, trade and patronage, the research presented in this volume investigates the driving forces behind the export-driven market of copies, which included artists, patrons, collectors and merchants. By taking into account cultural, religious, political and socioeconomic dynamics, this volume aims to shed new light on the multifaceted artistic impact of the Southern Netherlands on the Hispanic world during this significant period.Table of Contents : Introduction — Eduardo Lamas & David García Cueto; Castilian Legacy and Juan de Flandes’s Miraflores Copy — Jessica Weiss; Imitation, Inspiration or Innovation? Juan de Flandes and the Use of Models from Illuminated Manuscripts — Nicola Jennings; Spanish Fortunes of a Flemish ‘Ecce Homo’: On the Bouts Family’s Originals, Workshop Replicas, Flemish Copies, and Hispanic Imitations — Miquel Àngel Herrero-Cortell & Isidro Puig Sanchis; Jan Gossaert’s Deesis: Copying Van Eyck’s Ghent Altarpiece — José Juan Pérez Preciado; Michiel Coxcie’s Copies for the Spanish Court: A Technical Comparison between the Copy of the Van Eycks’ Ghent Altarpiece and the Copy of Rogier van der Weyden’s Descent from the Cross — Laura Alba, Lorne Campbell, Hélène Dubois and José Juan Pérez-Preciado; Mastering Divine Faces: Titian’s Sacred Images of Christ and the Virgin for Charles V — Astrid Harth; Las copias de los retratos de Antonio Moro durante su segunda estancia en España (1559–1561) — Almudena Pérez de Tudela; Les copies de Marcellus Coffermans pour le marché espagnol — Marie Grappasonni; Copies Emulating Federico Zuccari’s Model for the Annunziata Church in Rome (1570–1600) — Macarena Moralejo Ortega; ‘It copies the Crucifixion from Alsemberg’: On the Influence of Coxcie on the Calvary of Hendrick de Clerck for the Church of Saint-Josse-ten-Noode in Brussels — Ana Diéguez-Rodríguez ; Rubens, Martínez del Mazo and the Decoration of the Prince’s Apartments in the Alcázar of Madrid — Ángel Rodríguez Rebollo ; The Reflection of ‘Flandes’ in the Spanish Royal Collections: Copies after Rubens in the Patrimonio Nacional — David García Cueto ; ‘It is a copy after Rubens or Van Dyck’: Copying Flemish Paintings in Granada — Manuel García Luque ; The Copies by Miguel Manrique and Western Mediterranean Commercial Networks — Eduardo Lamas