As more and more were acquired, a Collection of Engravings was established, which now contains some three hundred works from the 16th century to the 20th century. These extremely delicate graphic art works are particularly important because they are all related to Sevillian iconography. The collection is unique among those existing in Spain and abroad and a landmark reference for all scholars in this field. After painstakingly restoring the paper, scientifically cataloguing and transferring the several hundred engravings that make up this chalcographic treasure onto slides, a general catalogue of all the items was published in 1996 under the supervision of the then National Chalcography Director, Juan Carrete Parrondo, who reminds us that before photography and modern photomechanical printing had been invented, for four centuries, between the 15th century and the 18th century, engraving was the only means available for the mass reproduction of images. The Foundation, faithful to its mission of spreading knowledge about the art of engraving, staged an exhibition entitled See Seville. Five perspectives in a hundred engravings at its headquarters building, which is described in greater detail in the section on exhibitions. A significant addition was made to the Collection of Engravings in 2002: a rare print entitled Vista y perspectiva de la Insigne plaza de los Toros en día de función de la Ciudad de Sevilla, which shows a bullfighting scene at the bullring in Seville. It was printed in Paris at Mondhare, rue St Jacques, (ca.1730). 740 x 990 mm on 760 x 116 mm sheets. It features a numbered legend indicating what each element portrayed on the engraving is. The elements listed are: 1. Effigy of His Most Serene Highness Prince Philip of Spain, Head of the Real Maestrança. 2. Balconies of the Real Maestrança. 3. Picadors with long lances. 4. Capeadores (bullfighters with capes). 5. Banderilleros 6. Matadors. 7. Tiers. The importance of this engraving stems not only from its technical quality and excellent condition, but also from the fact that it is the earliest known portrayal of the old bullring in Seville. The historian Fátima Halcón has published, studied and reproduced the engraving in her book on Seville's Real Maestranza bullring, identifying it as the second of the wooden structures that preceded the stone construction begun in 1749. The caption dates the engraving to around 1730. According to the Seville University lecturer Alberto Oliver, the engraving's iconographic value is two-fold. On the one hand, it is a detailed, synthetic representation of the different suertes or stages of a bullfight at a key moment in the development of bullfighting as it is known today. On the other, it also depicts the image of a building which, although made of wood, already displayed the essential features of a modern bullring. The predominant "Infante's Balcony" is a direct precursor of the "Prince's Box", which was to be built in stone in the new bullring between 1761 and 1766. The Infante Don Luis was appointed head of the Maestranza in 1730, and his portrait presided over the festivities in his absence, just as it appears in the engraving. The wooden bullring required continuous renovation and repair work, as in 1739 just before the Infante's wedding to Luisa of Bourbon. In fact, it is quite likely that the engraving was produced for the occasion, although at a later date from a drawing or canvas that did not survive. This highly significant engraving was an important addition to the collection, which included few works featuring this subject.