0

¦J0vt theft Books
'/rr\ Me,/«g^ag of a College bi^iHtrCf/ony]

10

Bought with the Income
ofthe
ANN S. FARNAM FUND

THE SPANISH SERIES

GOYA

THE SPANISH SERIES
EDITED BY ALBERT F. CALVERT
GOYAToledo Madrid
SevilleMurillo
Cordova El Greco
VelazquezThe Prado
The Escorial
Royal Palaces of Spain
Spanish Arms and Armour
Granada and the Alhambra
Leon, Burgos, and Salamanca
Catalonia, Valencia and Murcia
Valladolid, Oviedo, Segovia,
Zamora, Avila, and Zaragoza

GOYA
AN ACCOUNT OF HIS LIFE
AND WORKS BY ALBERT F.
CALVERT, WITH 612 RE
PRODUCTIONS FROM HIS
PICTURES, ETCHINGS, AND
LITHOGRAPHS

LONDON: JOHN LANE, THE BODLEY HEAD
NEW YORK: JOHN LANE COMPANY MCMVIII

To
THE MARQUIS OF CO MILL AS
My dear Marquis,
I beg you to accept the dedication of this
volume as a mark of the high value I place
upon your friendship, and as a sincere expression
of my esteem for yourself as a patron of the arts,
a true philanthropist, and a lifelong worker in
the interests of Spanish greatness.
I am, my dear Marquis,
Your sincere and obliged,
ALBERT F. CALVERT.

Edinburgh : T. and A. Constable, Printers to His Majesty

PREFACE
It has been said that in England everybody
knows of Cervantes, but very few persons have
more than a nodding acquaintance with Don
Quixote, and Goya's reputation in this country
is even less securely founded. The great Ara-
gonese is indeed little more than a name to the
general public, and his work is literally unknown.
Two little books — Mr. W. Rothenstein's Goya, now
out of print, and a monograph by Mr. Richard
Muther in the Langham Series — are the only
volumes in English dealing exclusively with a
painter who for more than half a century might
have been described, with more aptness than that
with which the words were applied to Zurbaran,
as ' All Spain.' As sincere a lover and as brilliant
a transcriber of the beautiful as Watteau and
Van Loo, a greater realist than Hogarth, and
in portraiture second only to Velazquez, Goya
stands out as the greatest artist Spain has pro
duced since the death of the great Court painter
of Philip IV.
The fact that Spanish art reflects the aspira
tions and is largely concerned with the repre-

viii GOYA
sentation of scenes selected by its chief patron,
the Spanish Catholic Church, accounts, in some
measure, for the lack of sympathy and apprecia
tion with which it is regarded in this country,
but this prejudice does not explain the neglect
from which Goya has suffered. Goya, it is true,
accepted commissions from the Church, but his
religious subjects do not comprise a tenth of
his canvases, and in his etchings and engravings
he is seen only as a secular moralist. As the
painter of the Spanish Rococo period, he dipped
his brush in beauty, gaiety, and humour ; as
a portraitist he was vivid, surprising, audacious,
a maker of masterpieces ; while his etchings
constitute an unrivalled commentary upon the
spirit of the age, recorded by its ' most fearless
and advanced thinker.'
Goya's art would appear to be the reflection of
his life. His youth was disordered and tempest
uous ; in the height of his success he accepted
favours, but he was too conscientious an artist to
repay the adulation of the world by flattering it
in his canvases ; and he published his disillusions
in the biting satire of his Caprices and Proverbs.
The authorities I have consulted would make
a formidable list, but among those to whom

PREFACE ix
I am under special obligation I must mention
the ' Lives ' of Goya by the Conde de la Viflaza,
Paul Lefort, Paul Lafond, W. Rothenstein,
Richard Muther and Julius Hofmann ; Vale
rian von Loga's works on Goya's etchings and
engravings ; Don Juan de la Rada's chapter on
' Goya's Frescoes in the Church of San Antonio
de la Florida;' Muther's appreciation of Goya in
his History of Modern Painting; Stirling-Max
well's Annals of the Artists of Spain ; Carl Justi's
' Sketch of Spanish Art ' in Baedeker's Spain
and Portugal; C. Gasquoine Hartley's Spanish
Painting; the Boletin de la Sociedad Espanola
de Excursiones ; and Th£ophile Gautier's brilliant
study of Goya in his Travels in Spain.
In making the collection of Goya's works that
is presented at the end of this volume, I have
taken the line of least resistance and included
reproductions of every picture, etching, or litho
graph that I could acquire. However inadequate
photography and 'process' may be to convey
an impression of the original works, I have
endeavoured to give English students an oppor
tunity of becoming acquainted with the subjects
and general nature of much of the output of
Goya's sixty years of artistic effort.

x GOYA
In the compilation of the appended exhaustive
catalogue of Goya's works, which I am not
without hope may be found of practical value,
I have derived no little assistance from Spanish
and German publications and from the list
prepared by M. Paul Lafond. To Senor Don
Mariano Moreno, who has made a special study
of Goya and his work, I am indebted for de
scriptions of many pictures which are published
here for the first time, and my thanks are also
due to him for permission to reproduce from his
collection a number of photographs which were
new to me. I have also to acknowledge the
kindness of the authorities of the Academy of
San Fernando in allowing me to publish copies
of the different prints of Goya's works issued
by the Academy ; and to express my thanks to
Sefior Don J. Lacoste, Messrs. Braun, Clement
and Co., Messrs. Mansell and Co., and Herr
Franz Hahfstaengl, for their courtesy in sup
plying me with various pictures included in this
collection and permitting me to reproduce them.
A. F. C.

ILLUSTRATIONS

PLATE SUBJECT
i. The Family of Charles iv.,
2. The Infante Don Carlos,
3. The Infante Francisco de
Antonio,
4. The Infanta Maria Josefa,
5. The Infante Don Antonio,
6. The Infante Don Carlos
Isidro, .
7. King Charles iv. , .

>

8. King Charles IV. ,

9. King Charles iv. ,
10. King Charles iv.,
n. King Charles iv. ,
12. King Charles IV. ,

13. Queen Maria Luisa,
14. Queen Maria Luisa,
15. Queen Maria Luisa,
16. Queen Maria Luisa,
17. Queen Maria Luisa,
18. Queen Maria Luisa,
19. Ferdinand vu. ,
20. Ferdinand vii. ,

GALLERY
. Prado, Madrid.
. Prado, Madrid.
Paula . Prado, Madrid.
. Prado, Madrid.
. Prado, Madrid.
Maria . Prado, Madrid.
. Ministerio de Hacienda,
Madrid.
. Ministerio de Hacienda,
Madrid.

Royal Palace, Madrid.
Prado, Madrid.
Marques de Casa Torres,
Madrid.
Don A. de Beruete, Madrid.
Don Jos6 L:_ zan.
, Ministerio de Hacienda,
Madrid.
Marques de Casa Torres,
Madrid.
Prado, Madrid.
Prado, Madrid.
Academy of St. Ferdinand,
Madrid.
Prado, Madrid.

Xll

GOYA

TLATE SUBJECT
21. Ferdinand VII. ,
22. Ferdinand VII.,
23. Don Luis, Prince of Parma,
24. Duchess of Abrantes,
25. Duchess of Alba,
26. Duchess of Alba,
27. Duchess of Alba,
28. Duchess of Alba,
29. Condesa de Altamira and Daughter,
30. Count of Altamira, ....
31. The Infante Don Luis de Borbon, .
32. Altamirano, Auditor of Seville,
33. Don Manuel Lapefia, Marques de
Bondad Real, ....
34. Marquesa de Caballero, .
35. Conde de Cabarrus,
36. The Wife of Cean Bermudez, .
37. J. Cean Bermudez, .
38. Dona Lorenzo Correa, .
39. The Toreador Costillares,
40. Don Joaquin Maria Ferrer,
41. Condesa-Duquesa de Benavente y
Osuna 
42. Dona Manuela de Alvarez Comas, .
43. Florida Blanca,
44. Don Antonio Foraster, .
45. The Engineer Ignacio Garcini,
46. Dona Josefa Castilla- Portugal,
47. Don Juan Antonio Cuervo,
48. Dona. Maria Ildefonso Dabalos,
49. General Don Juan Martin,

GALLERY
Prado, Madrid.
Ancient Collection of Eus-
taquio Veate.
Prado, Madrid.
Duquesa de Abrantes,
Madrid.
Don Rafael Barrio.
Palacio de Liria, Madrid.
Duque de Alba, Madrid.
Marques de Cervera.
Bank of Spain, Madrid.
Marques de Casa Torres,
Madrid.
Marques de la Vega Inclan.
Don Joaquin Argamanilla.
Marques de Cervera.
Bank of Spain, Madrid.
Marques de Casa Torres,
Madrid.
Marques de Casa Torres,
Madrid.
M. Bischoffsheim, Paris.
Don Jose' Lazaro.
Count of Candilla.
Madrid. Marquis of Baroja.
Marquesa de Martorell.
Don J. Millan.
The Garcini Family,
Madrid.
Don Vicente Garcini.
Don F. Duran.
Count of Villagonzalo.
Don Luis Navas.

ILLUSTRATIONS

xm

PLATE SUBJECT
50. Godoy, Prince of the Peace, .
Si. F. Guillemardet 
52. Jaspar Melchor de Jovellanos,
53. Asensio Julia 
54. The Milkmaid of Bordeaux, .
55. Asensio Julia, 
56. Marquesa de Lazan,
57. Don Francisco Larrumbe,
58. The Bookseller of the Calle de
Carretas, 
Sg. Don J. Antonio Llorente,
60. Duke of San Carlos,
61. Duke of San Carlos,
62. The Actor Isidoro Maiquez, .
63. The Actor Isidoro Maiquez, .
64. Countess of Miranda del Castaiiar,
65. Conde de Miranda,
66. Leandro Fernandez de Moratin,
67. The Family of the Countess of
Montijo, ....
68. Senor J. B. de Muguiro, .
69. Marques de Castro Terreflo, .
70. Marquesa de Castro Terrefio, .
71. Camar6n, 
72. Muiiarriz, 
73. Duke of Osuna and Family, .
74. Admiral Mazaredo,
75. Melendez Valdfe, .
76. Duke of Osuna,

GALLERY
Academy of St. Ferdinand,
Madrid.
Louvre, Paris.
Marquesa de Villamajor,
Madrid.
Comtesse de Paris.
Condesa Vinda de Muguiro.
Louvre, Paris.
Comtesse de Montijo.
Bank of Spain, Madrid.
Don Benito Garriga.
Don Francisco Llorente y
Garcia de Vinuesa.
Marques de la Torrecilla.
Conde de Villagonzalo.
Prado, Madrid.
Marques de Casa Torres,
Madrid.
Formerly in the Montijo
Collection.
Academy of St. Ferdinand,
Madrid.
Palacio de Liria, Madrid.
Condesa Vinda de Muguiro.

Dona E. Camaron.
Academy of St. Ferdinand.
Madrid.
Prado, Madrid.
Don M. Hernando.
Senor Suarez Incl&n.
Formerly in the Collection
of the Duke of Osuna.

xiv

GOYA

PLATE SUBJECT
77. Duke of Osuna,
78. Duke of Osuna,
79. Duke of Osuna,

80. Duquesa del Parque,

81. Doctor Peral 
82. General Palafox,
83. Dona Isabel Corbo de Porcel,
84, Don Tiburcio Perez,
85. Don Mariano Luis de Urquijo,
86. Don Tomas Perez Estala,
87. Don Pantaledn Perez de Nenin,
88. Marquesa de Pontejos, .
89. Don Ramon Pignatelli,
90. General Ricardos,
91. The Toreador Jos6 Romero, .
92. Marques de San Adrian,
93. The Espada Pedro Romero, .
94. Ramon Satue 
95. Don Manuel Silvela,
96. Doiia Maria Teresa Apodaca
Sesma, 
97. Marquesa de la Solana, .
98. General Urrutia,
99. Maria del Rosario Fernandez,
100. Maria del Rosario Fernandez,
101. Marques de Tolosa,
102. Conde de Teba,
103. Jos6 de Vargas Ponce, .
104. Don Jose" de Toro Zambrano,
105. Dona Antonia Zarate, .

. Marquesa de Villamajor,
Madrid.
. M. Duniat, Paris.
. Formerly in the Palace
of the Duque de Osuna,
Madrid.
. Marques de la Vega,
Madrid.
. National Gallery, London.
Prado, Madrid.
. National Gallery, London.
. D. F. Duran and Cuervo.
. Academy of History,
Madrid.
. Countess of Cedillo.
. Don P. Labat.
. Marquesa de Martorell.
. Duquesa de Villahermosa.
. Madrid.
. Madrid.
. Collection of the Family.
. Duque de Veragua.
. Dr. Benito Garriga.
. Don F. Silvela.
de . Don Andres Arteta.
. Marques del Socorro.
. Prado, Madrid.
. Academy of St. Ferdinand
Madrid.
. Conde de Villagonzalo.
. Bank of Spain, Madrid
. Don J. Lazarp.
. Academy of History
Madrid.
. Bank of Spain, Madrid.
. Senora Vinda de Albacete.

ILLUSTRATIONS

xv

PLATE SUBJECT
106. Dona Antonia Zarate,
107. Dona Lola Zimenez,

108. Don Evaristo Perez de Castro,
109. Don Juan Jos6 Mateo Arias Dairla,
no. Father Lascanal 
in. Don Ramon de Posada y Soto,
112. Marques de Caballero, .
113. Conde de Gazinza, .
114. Moratin, ....
115. The Artist 
116. The Artist,
117. The Artist,
118. The Artist 
119. The Artist, by Vicente Lopez,
120. Don J. B. de Goicoechea,
121. Goya's Grandson, .
122. Doiia Feliciana Bayeu, .
123. Don Juan Martin de Goicoechea,
124. Dona Narcisa Baranona de
Goicoechea, ....
125. Doha Juana Galarza de Goicoechea,

126. Francisco Bayeu, .
127. Josefa Bayeu, .
128. Group of Heads,
129. Portrait Study of a Woman,
130. Portrait of a Young Girl,
131. Portrait of a Lady, .
132. Portrait of a Lady, .
133. Portrait of a Lady, .
134. Portrait of a Lady, .
135. Portrait of a Lady, .

GALLERY
Seiiora Vinda de Albacete.
M. Chiramy, Paris.
Louvre, Paris.
Marquesa de Almaguer.
Don J. Lazaro.
Don Jos6 Maria Perez
Caballero.
Marques de Cervera,
Madrid.
Marques de Casa Torres,
Madrid.
Don F. Silvela.
Academy of St. Ferdinand,
Madrid.
Don A. Pidal.

M. Leon Bonnet.
Prado, Madrid.
Don Felipe Modet.
Marques de Alcafiices.
Don C. Ferriz.
Marques de Casa Torres,
Madrid.
Don Felipe Modet.
Marques de Casa Torres,
Madrid.
Prado, Madrid.
Prado, Madrid.
Comtesse de Paris.
Private Property.
Conde de Pefialvez.
Don Jos6 L-Lzaro.
Don A. de Beruete.
Don A. de Beruete.

XVI

GOYA

PLATE SUBJECT
136. Portrait of a Lady, .
137. Portrait of a Lady, .
138. Portrait of a Woman,
139. A Little Girl, .
140. Portrait of a Lady, .
141. Young Spanish Woman,
142. Portrait of a Man, .
143. The Old Man,
144. Portrait of an Architect,
145. Portrait of a Doctor,
146. Portrait of a Lady, .
147. Portrait of a Lady, .
148. Portrait of a Lady, .
149. Portrait of a Lady, .
150. Portrait of a Man, .
151. Portrait of a Lady, .
152. Portrait of a Lady, .
153. Portrait of a Gentleman,
154. Charles IV., .
155. Queen Maria Luisa,
156. The Infanta Isabel,
157. Portrait of a Man, .
158. Don Felix Colon, .
159. Don Felix Colon,

160. Portrait of a Man, .
161. Portrait of a Boy, .
162. Portrait of a Boy, .
163, Portrait of a Boy, .
164. Portrait of a Lady, .
165. Portrait of a Lady, .
166. Portrait of a Lady, .
167. Portrait of a Young Lady,
168. Episode of the French Invasion
1808 

GALLERY
Don A. de Beruete.
Don R. Garcia.
Louvre, Paris.
Marques de Casa Torres
Madrid.
Don J. Gutierrez Martin.
Louvre, Paris.
Private Collection.
Conde de Da. Marina.

Senor Orossen.

Comtesse de Paris.
Comtesse de Paris.
Comtesse de Paris.
Don Ricardo Traumann,
Madrid.
Don Ricardo Traumann,
Madrid.

Mons. C. G., Paris.

of

Prado, Madrid.

ILLUSTRATIONS

xv

PLATE SUBJECT
169. Episode of the French Invasion of
1808 
170. Casting Bullets by Moonlight in the
Hills of Tardienta,
171. Scenes of the 2nd May 1808, .
172. Battle-Scene, 
173. Manufacturing Powder in the Sierra
de Tardienta, ....
174. The Tribunal of the Inquisition,
175. The Procession of Flagellants,
176. A Meeting of the Company of the
Philippines, .....
177. The City of Madrid : an Allegory, ,
178. Music : an Allegory,
179. Spain making History, .
180. The Madhouse,
181. The Majas of the Balcony,
182. The Majas of the Balcony,
183. The Majas of the Balcony,
184. La Maja (Nude), .
185. La Maja (Clothed),
186. The Knife-Grinder,
187. The Water-Carrier,
188. Old Age, . .
189. Robbery of a Coach,
190. Brigands,
191. Brigand murdering a Woman,
192. Brigands stripping their Captives,
193. Murder by Brigands,
194. Brigands' Care,
195. Goya and the Duchess of Alba.
196. The Plague Terror,
197. The Monk's Visit, .
198. A Masquerade,
199. The Dance, ' .

Duquesa de Villahermosa.
Royal Palace, Madrid.
Prado, Madrid.
Marques de Casa Torres,
Madrid.
Royal Palace, Madrid.
Prado, Madrid.
Academy of St. Ferdinand,
Madrid.

Corporation of Madrid.
Don Luis Navas.
Don Luis Navas.
Prado, Madrid.
Duque de Marchesa.

Prado, Madrid.
Prado, Madrid.
Budapest.
Budapest. Lille Museum.
Marques de Castro Serna.
Marques de la Romana.
Marques de la -Romana.
Marques de la Romana.
Marques de la Romana.
Marques de la Romana.
Marques de la Romana.
Marques de la Romana.
Marques de la Romana.
Duquesa de Villahermosa.
Marques de la Torrecilla.

Vlll

GOYA

LATE SUBJECT
200. The Funeral of the Sardine,
201. The Booth at the Fair, .
202. The Greasy Pole, .
203. The Bonfire, .
204. Nocturnal Scene,
205. The Picnic,
206. The Inundation,
207. The Village on Fire,
208. Caprice, ....

209. Caprice,

210. Caprice, ....
211. Dogs and Guns: Design
Tapestry,
212. A Dead Bird, .
213. Dead Birds,
214. A Picador on Horseback,
215. Picador and Bull, .
216. Death of the Picador,
217. A Bull-Fight, .
218. A Bull escaped from the Arena,
219. Meeting of Witches,
220. Galician Shepherds fighting, .
221. The Procession,
222. Caprice, .....
223. The Fates,
224. Saturn devouring one of
Children, ....
225. Judith and Holofernes, .
226. Two Monks, .
227. The Maja, ....

GALLERY
. Academy of St. Ferdinand,
Madrid.
. Marques de Castro Serna.
. Marques de Castro Torres.
. Conde de Villagonzalo.
. Marques de la Romana.
. Marques de la Torrecilla.
. Marques de Castro Serna.
. Marques de Castro Serna.
. Doiia C. Berganza de
Martin.
. Dona C. Berganza de
Martin.
. Don A. Pidal.

for

. Prado, Madr d.
. Prado, Madrid.
. Prado, Madrid.
. Prado, Madrid.
. Marques de Baroja.
. Paris.
. Bequeathed to the Royal
Academy, Madrid.
. Duque de Veragua.
. Prado, Madrid.
. Prado, Madrid.
. Conde de Candilla.
. Prado, Madrid.
Prado, Madrid.

his

. Prado, Madrid.
. Prado, Madrid.

228. A Caprice,
229. Listening to the News,

From Goya's Country
House near Madrid.
Prado, Madrid.

ILLUSTRATIONS

xix

PLATE SUBJECT
230. A Group of Witches,
A Group of Witches,
The Bull-Fight 
Pilgrimage to the Fountain of San
Isidro 
Meeting of Witches,
Two Old People eating Porridge, .
The Mass of Parida,
237. The Topers, 
238. Women of Madrid, and Friars,
239. The Majas and the Majo,
The Witch, .
Laughing Women,
The Swing, .
The Greasy Pole,
The Accident,
Coach attacked by Bandits,
Building the Church,

231. 232
233. 234-23S- 236.

240.
241. 242.
243- 244.245-246.

247. The Village Procession, .
248. Summer : Threshers of Wheat,
249. The Hermitage of San Isidro,
250. The Wounded Mason, .
251. The Hermitage of San Isidro,
252. Scene from the Play ' El hechizado
por fuerza' — The Bewitched,
253. The Picnic 
254. Herd of Bulls coming from the">
Munoza  J
255. A Caprice 
256. A Witches' Conventicle,
257. Sorcery Scene, ....
258. Don Juan and the Comendador,

GALLERY
Prado, Madrid.
Prado, Madrid.

Prado, Madrid.
Prado, Madrid.
Prado, Madrid.
Marques de la Torrecilla.
Marques de Casa Torres.

Prado, Madrid.
Duke de Montellano.
Duke de Montellano.
Duke de Montellano.
Duke de Montellano.
From the Collection of the
Duque de Osuna.
From the Collection of the
Duque de Osuna.
Don Ricardo Traumann.
Don P. F. Durdn.
Don P. F. Durdn.
Prado, Madrid.
National Gallery, London.
National Gallery, London
From the Collection of the
Duque de Osuna.
From the Collection of the
Duque de Osuna.
From the Collection of the
Duque de Osuna.
From the Collection
Duque de Osuna.
From the Collection
Duque de Osuna.

XX

GOYA

PLATE SUBJECT
259. Don Quixote, .
260. St. Bernard of Siena,

Church of San Francisco
el Grande.
Marques de Torrecilla.
Toledo Cathedral.
Prado, Madrid.
Don A. Beruete, Madrid.
Prado, Madrid.
Seville Cathedral.

Don A. Canovas, Madrid.
Don A. Pidal, Madrid.

261. St. Bernard of Siena,
262. Christ taken by the Soldiers, .
263. Christ on the Cross,
264. The Death of St. Joseph,
265. The Holy Family, ....
266. St. Justa and St. Rufina,
267. Apparition of St. Isidore to King
Ferdinand ill.,
268. St. Peter, ....
269. The Prayer in the Garden of Geth
semane,  The Rector of San Antonio,
270. St. Elizabeth of Hungary healing
Lepers, .... Don Clemente Velasco.
271. St. Hermenegild in Prison, . . Don Clemente Velasco.
272. Angels and Cherubim, . . . Conde de Villagonzalo.
273. Fresco of the Cupola of San Antonio''
de la Florida, 1st Section,
274. Fresco ofthe Cupola of San Antonio
de la Florida, 2nd Section, .
275. Fresco of the Cupola of San Antonio
de la Florida, 3rd Section, .
276. Fresco of the Cupola of San Antonio
de la Florida, 4th Section, ' .
277. Group of Angels from San Antonio
de la Florida 
278. Fresco of San Antonio de la
Florida, 
279. Lunch on the Banks of the Manza-
nares : Tapestry Cartoon, .
280. Dance at San Antonio de la Florida :
Tapestry Cartoon,
281. The Scuffle at the New Inn :
Tapestry Cartoon,
282. Al Fresco Scene : Tapestry Cartoon

The Church of San
Antonio de la
Florida.

Prado, Madrid.

Prado, Madrid.

Prado, Madrid.
Prado, Madrid.

ILLUSTRATIONS xxi
•¦LATE SUBJECT GALLERY
283. The Drinker : Tapestry Cartoon, . Prado, Madrid.
284. The Parasol : Tapestry Cartoon, . Prado, Madrid.
285. The Kite : Tapestry Cartoon, . Prado, Madrid.
286. The Card-Players : Tapestry Car
toon,  Prado, Madrid.
287. Children with a Bladder : Tapestry
Cartoon,  Prado, Madrid.
288. Boys picking Fruit : Tapestry Car
toon  Prado, Madrid.
28g. Blind Man playing the Guitar :
Tapestry Cartoon, . . . Prado, Madrid.
290. The Fair of Madrid : Tapestry Car-
toon,  Prado, Madrid,
291. The Crockery Seller : Tapestry
Cartoon,  Prado, Madrid.
292. The Soldier and"j
the Girl: l-Tapestry Cartoons, Prado, Madrid.
La Acerolera : J
293. Playing at Soldiers : Tapestry Car
toon,  Prado, Madrid.
294. The Game of Pelota : Tapestry
Cartoon  Prado, Madrid.
295. The Washerwomen : Tapestry Car
toon, ... . . Prado, Madrid.
296. La NoviUada : Tapestry Cartoon, . Prado, Madrid.
297. The Tobacco Guard : Tapestry
Cartoon, . ... Prado, Madrid.
298. Children climb-''
ing a Tree :
The Hunter and
his Dogs :
The Child and
the Bird :
299. The Woodcutters: Tapestry Car
toon,  Prado, Madrid.
300. The Rendezvous : Tapestry Car
toon,-  Prado, Madrid

•Tapestry Cartoons, Prado, Madrid.

xxii GOYA
PLATE SUBJECT GALLERY
301. The Gardener : Tapestry Cartoon, Prado, Madrid.
302. The Vintagers : Tapestry Cartoon, Prado, Madrid.
303. Poor , Woman at the Fountain :
Tapestry Cartoon, . . . Prado, Madrid.
304. Winter : Tapestry Cartoon, . . Prado, Madrid.
305. The Wedding : Tapestry Cartoon, Prado, Madrid.
306. Women at the Fountain : Tapestry
Cartoon  Prado, Madrid.
307. The Swing : Tapestry Cartoon, . Prado, Madrid.
308. The Stilt-Walkers : Tapestry Car
toon  Prado, Madrid.
309. Boys climbing a Tree : Tapestry
Cartoon  Prado, Madrid.
310. Boy on a Sheep : Tapestry Cartoon, Prado, Madrid.

CAPRICES.

PLATE

SUBJECT

3"-

1.

Francisco Goya y Lucientes, Painter.

312.

2.

So it is settled.

3*3-

3-

Here comes the Bogey !

314-

4-

The Old Spoilt Child.

315-

S-

Birds of a Feather.

316.

6.

Appearances are Deceptive.

317-

7-

Not thus can he distinguish her.

318.

8.

Kidnapped.

319-

9-

Tantalus.

320.

10.

Love and Death.

321.

n.

Andalusian Brigands. Boys, to Work !

322.

12.

Tooth-hunting.

323-

13-

Scalding Hot !

324-

14-

What a Sacrifice !

325-

IS-

Good Counsel.

326.

16.

' May God pardon her ! '

327-

17-

Bien tirada esta.

328.

18.

' And his House is burning ! '

ILLUSTRATIONS xxiii

PLATE

SUBJECT

329-

19. 'All will fall.'

33°-

20. They are already plucked.

331-

21. How they pluck her.

332-

22. Poor Little Things !

333-

23. Carry this Dust away.

334-

24. No Remedy.

33S-

25. Because he broke the Pitcher.

336.

26. Now they have a Seat.

337-

27. Which is the more bored ?

338.

28. Hush!

339-

29. This is what he calls Reading.

34°-

30. Why hide them ?

341-

31. She prays for her.

342-

32. For Over-sensibility.

343-

33. ' To the Count Palatine.'

344-

34. Sleep conquers them.

345-

35. They shave him.

346.

36. A Bad Night.

347-

37. Will the Pupil know more than the Master ?

348.

38. Bravissimo !

349-

39. As far as his Grandfather.

35°-

40. Of what 111 will ne die?

35i-

41. Neither more nor less.

352.

42. Thou who canst not.

353-

43. The Sleep of Reason produces Monsters.

3S4-

44. They spin Linen.

355-

45. There is a lot to do.

356-

46. Doing Penance.

357-

47. Homage to the Master.

358.

48. The Blowers.

359-

49. Little Ghosts.

360.

50. The Chinchillas.

361.

51. They cut each others' Nails.

362.

52. What a Tailor can do.

3^3-

53. ' What an Orator ! '

364-

54. The Shameful One.

36S-

55. Till Death.

XXIV

GOYA

366.

56-

367.

57-

368.

S3-

369-

59-

370.

60.

37i-

61.

372.

62.

373-

63-

374-

64.

37S-

65-

376-

66.

377-

67.

378.

68.

379-

69.

380.

70.

381.

71-

382.

72.

383-

73-

384-

74-

38S-

75-

386.

76.

387-

77-

388.

78.

389-

79-

39°-

80.

SUBJECT
Ascending and Descending.
The Pedigree.
Swallow that, you Dog !
And yet they do not go.
Trials. Up above the World so high !
Who would believe it ?
How grave they are !
Bon Voyage.
Where is Mamma going?
Changing Lodgings.
Wait till you have been anointed.
Pretty Mistress.
Fanning the Brazier. -
Devout Professions.
The Day breaks, let us go.
You will not escape.
It is better to do nothing.
Don't shout, Idiot.
Will no one set us free ?
The Habit of Command.
A Mimic Bull-Fight.
Be quick, they waken.
No one has seen us.
Time 's Up !

DISASTERS OF WAR.

391. ±. Sad Presentiments.
392. 2. With or without Reason.
393. 3. All the Same.
394. 4. Women inspire Courage.
395. s- And are like Wild Beasts.
396. 6. Well deserved !
397. 7. Courage)

ILLUSTRATIONS xxv
PLATE SUBJECT
398. 8. What always happens.
399. 9. They will not !
400. 10. Nor they.
401. n. Nor for these!
402. 12. Were you born for this?
403. 13. A Bitter Sight.
404. 14. Hard is the Way.
405. 15. And there was no Remedy.
406. 16. They avail themselves.
407. 17. An argument.
408. 18. To bury and to be silent.
409. 19. There is not Time. f
410. 20. To heal each other.
411. 21. It will be the Same.
412. 22. As much and more.
413. 23. The same elsewhere.
414. 24. They are still of use.
415. 25. And these also.
416. 26. That cannot be seen
417. 27. Charity.
418. 28. The Populace.
419. 29. He deserved it.
420. 30. The Tragedy of War.
421. 31. Strong Measures.
422. 32. Why?
423. 33- What more is there to do ?
424. 34. For a Knife.
425- 35- No one knows why.
426. 36. Nor wherefore.
427. 37. This is worse.
428. 38. Barbarians.
429. 39. A Great Feat with the Dead.
430. 40. He turns it to Account.
431. 41. They escape through the Flames.
432. 42. All is in Confusion.
433. 43. Here also,
434. 44. ' I saw it.'

XXVI

GOYA

435

45-

436

46.

437

47-

438

48.

439

49.

440

5°-

441

5i-

442

52.

443

53-

444

54-

44S

SS-

446

56-

447

57-

448

58.

449

59-

4S°

60.

451

61.

452

62.

453

63-

454

64.

465

65-

456

66.

457

67.

458

68.

459

69.

460

70.

461

71-

462

72.

463

73-

464

74-

465

75-

466

76.

467

77-

468

78.

469

79-

470

80.

SUBJECT
And this, likewise.
This is bad.
Thus it happened.
Cruel Misfortune !
A Woman's Charity.
Unhappy Mother.
Thanks to the Blue Millet.
They arrive too late.
He died without Help.
Vain Clamours.
To beg is worst of all.
To the Cemetery.
The Healthy and the Sick.
Of no Use to cry.
Of what Use is a Cup ?
No one to help.
Are they of another Race ?
Death-beds.
Collected Dead.
Cartloads for the Cemetery.
' What means this Tumult?'
Strange Devotion.
This is not less so.
What Folly !
Nothing ; he says it himself.
They do not know the Way.
Against the General Good.
The Consequences.
The Cat's Pantomime.
This is worse.
A Meeting of Quacks.
The Carnivorous Vulture.
May the Rope break.
He defends himself well.
Truly she died.
Should she revive !

ILLUSTRATIONS xxvii

TAUROMACHIA
PLATE SUBJECT
471. x. Hunting Bulls across Country in the Olden Time.
472. 2. Hunting the Bull on Foot.
473. 3. Moors hunting the Bull across Country.
474. 4. Moors fighting the Bull in an Enclosure.
47S- 5- The Moor Gazul fighting the Bull.
476. 6. Moors irritating the Bull.
477. 7. Origin of the Banderilla.
478. 8. Moor attacked by a Bull.
479. 9. Spaniard, wearing a Turban, slaying a Bull.
480. 10. Charles v. spearing a Bull in the Arena of
Valladolid.
481. 11. The Cid spearing a Bull.
482. 12. Mob attacking a Bull.
483. 13. Horsemen planting Banderillas in the Bull.
484. 14. The Student of Falces and the Bull.
485. 15. The famous Martincho planting Banderillas.
486. 16. Martincho's Feat.
487. 17. Moors using Donkeys as a rampart against Bulls.
488. 18. Martincho in the Arena at Zaragoza.
489. 19. Martincho's Feat at Zaragoza.
490. 20. Juanito Apinani in the Arena at Madrid.
491. 21. Spectators slain by the Bull at Madrid.
492. 22. The Female Picador, Pajuelera, at Zaragoza.
493. 23. Mariano Ceballos, alias el Indio, in the Arena.
494. 24. Ceballos mounted on a Bull in the Arena at Madrid .
495. 25. Bull-Baiting by Dogs.
496. 26. Picador overthrown by the Bull.
497. 27. Fernando del Toro in the Arena.
498. 28. Rendon in the Arena at Madrid.
499. 29. Pepe-Illo faces the Bull.
500. 30. Pedro Romero in the Arena.
501. 31. Flaming Banderillas.
502. 32. Bull overthrowing Picador.
S°3- 33- Death of Pepe-Illo in the Arena at Madrid.

XXVIII

GOYA

PLATE 5°4-

505S06. 5°7508,
S09 5i°.

SUBJECT
34. Picadors mounted on Mules harnessed to a
Carriage.
35. Bull carrying a Wounded Toreador on his Horns.
36. Bull carrying a Dead Toreador on his Horns.
37. Variation of No. 25. Bull-baiting.
38. A Spanish Gentleman in the Ring.
39. Bravo Toro !
40. Nearing the End.

PROVERBS

5"-

1.

512.

2.

5*3-

3-

514-

4-

5iS-

S-

Si6.

6.

517.

7-

518.

8.

519-

9-

520.

IO.

521.

11.

522.

12.

523-

13-

524-

14.

525-

15-

526.

16.

527-

17-

S28.

18.

Women tossing a Dead Donkey and Mannikins in
a Blanket.
Soldiers flying from a Tree draped to represent a
Ghost.
Persons listening to an Orator.
Peasant dancing before a Man and Woman.
Man carrying off a Woman on a Winged Monster.
The Infuriated Man.
Man and Woman joined together at the Shoulders.
Persons dressed in Sacks.
Fantastic Personage offering Kittens to two
Women.
Human Beings maltreated by a wild Horse.
A Two-headed Woman pursued by two Men.
Majos and Majas dancing.
Men attempting to fly.
Fantastic Salutations.
A Monk preaches ; Soldier throws himself down
an Abyss.
Man and Woman quarrelling.
Persons deriding a Blind Man.
The Old Man and the Corpse.

ILLUSTRATIONS

XXIX

EXAMPLES IN THE COLLECTION OF
SENOR A. DE BERUETE

PLATE SUBJECT
529. The Promenade,
530. A Pauper,
531. The Madman,
532. The Miser,
533. A Woman flying,
534. Madmen,
535. The Maja and the Cloaked Man
536. A Monk suspended in the Air,
537. The Living Skeleton,
538. French Chastisement,
539. To have and to hold,
540. The Snake-Charmer,
541. Charity, ....
542. Who will win ?
543. The Madman,
544. The Lady with the Puppies
545. Paupers 
546. Procession entering the Temple,
547. Women praying, .
548. Mid-Lent,
549. Brides of the Church,
550. Melodious Mediators,
551. A Sleeping Maja, .
552. The Skaters, .
553. Study for the Young Infante in ' The
Family of King Charles iv.,'
SS4. Study for the Portrait of the Queen
in ' The Family of King Charles
IV.,' .
555. Sleeping Giant,
556. A Gentle Episode,
557. A Prisoner,
358. The Happy Man,

GALLERY
Don A. de Beruete.
Don A. de Beruete.
Don A. de Beruete.
Don A. de Beruete.
Don A. de Beruete.
Don A. de Beruete.
Don A. de Beruete.
Don A. de Beruete.
Don A. de Beruete.
Don A. de Beruete.
Don A. de Beruete.
Don A. de Beruete,
Don A. de Beruete.
Don A. de Beruete.
Don A. de Beruete.
Don A. de Beruete.
Don A. de Beruete.
Don A. de Beruete.
Don A. de Beruete.
Don A. de Beruete.
Don A. de Beruete.
Don A.'de Beruete.
Don A. de Beruete.
Don A. de Beruete.
Don A. de Beruete.

Don A. de Beruete.
Don A. de Beruete.
Don A. de Beruete.
Don A. de Beruete.
Don A. de Beruete.

XXX

GOYA

PLATE SUBJECT
559. Under a Hood,
560. Fairy Tales, .
561. Spanish Beauty,
562. Haut-ton,
563. The Man with the Crocodile,
564. At last it breaks,
565. The Broken Pitcher,
566. Woman with a Child in Arms
567. Rural Events, .
568. Chastisement, .
569. A Monk doing Penance,
570. The Invalid, .
571. Mirar lo que no ven,
572. An Idiot,
573. Invocation,
S74- Prayer, .
575. A Mad Newswoman,
576. A Monk 
577. The Bride,
578. The Belle ofthe Assembly,
579. One more Unfortunate, .
580. A Portrait,

GALLERY
. Don A . de Beruete.
. Don A. de Beruete.
. Don A. de Beruete.
. Don A. de Beruete.
. Don A. de Beruete.
. Don A. de Beruete.
. Don A. de Beruete.
. Don A. de Beruete.
. Don A. de Beruete.
Don A. de Beruete.
. Don A. de Beruete.
. Don A. de Beruete.
. Don A. de Beruete.
Don A. de Beruete.
Don A. de Beruete.
. Don A. de Beruete.
. Don A. de Beruete.
. Don A. de Beruete.
. Don A. de Beruete.
. Don A. de Beruete.
. Don A. de Beruete.
. Don A. de Beruete.

FRESCOES IN THE CHURCH OF SAN
ANTONIO DE LA FLORIDA

581. Interior of the Church of San An
tonio de la Florida,
582. San Antonio de la Florida,
583. San Antonio de la Florida,

584, 585. San Antonio de la Florida,

Painting in the Principal
Chapel.
Paintings on the Centres of
the Intrados of the Choir
and Principal Chapel
Arches.
Paintings on the Springings
of the Intrados of the
Principal Chapel Arches.

ILLUSTRATIONS

XXXI

PLATE
586, 587. San Antonio de la Florida,

588. San Antonio de la Florida,
589. San Antonio de la Florida,
590. San Antonio de la Florida,
591. San Antonio de la Florida,
592, 593- San Antonio de la Florida,
S94, 595. San Antonio de la Florida,
596. San Antonio de la Florida,
597. San Antonio de la Florida,
598. San Antonio de la Florida,
599. San Antonio de la Florida,
600. San Antonio de la Florida,

. Paintings on the Springings
of the Intrados of the
Choir Arches.
. Paintings on the Intrados
of the left Side Chapel
Arch.
. Paintings on the Intrados
of the right Side Chapel
Arch.
. Triangles formed by the
Dome adjoining the Prin
cipal Chapel.
. Triangles formed by the
Domeadjoining the Choir.
. Paintings at the Sides of the
Window on the left.
. Paintings at the Sides of the
Window on the right.
. First Group on the Cupola
to the left of the Centre.
. Second Group on the Cupola
to the left of the Centre.
. Centre of the Composition
on the Cupola facing the
Entrance.
. First Group on the Cupola
to the right of the Centre.
. Second GroupontheCupola
to the right of the Centre.

DRAWINGS, ETC.

601. The Duke of Wellington, 1812,

602. Lady and Gentleman on
back.

Horse-

From the Original Drawing
in the Print Room of the
British Museum.
From the Original Drawing
in the Print Room of the
British Museum.

xxxii GOYA
PLATE
603. Head of the Dying Fray Juan From the Original Drawing
Fernanez. in the Print Room of the
British Museum.
604. A Criminal undergoing the infliction From the Original Drawing
of the Garotte. in the Print Room of the
British Museum.
605. A Lost Soul  From the Original Drawing
in the Print Room of the
British Museum.
606. Condemned Criminals conducted to From the Original Drawing
Execution. in the Print Room of the
British Museum.
07. Spanish Proverb Illustrated, . . From an Etching, hitherto
unpublished, in the Print
Room of the British
Museum.
608. Spanish Proverb Illustrated, . . From an Etching; hitherto
unpublished, in the Print
Room of the British
Museum.
609. Spanish Proverb Illustrated, . . From an Etching, hither
to unpublished, in the
British Museum.
610. The Bulls : A Study of the Animals From an Etching, hither-
in various positions. to unpublished, in the
British Museum.
611. Bull-fighter fettered in the Arena, . From an Etching, hither
to unpublished, in the
British Museum.
612. A Blind Guitar-Player tossed by a From an Etching in the
B"11- Print Room of the British
Museum.

GOYA

I
A CENTURY before the birth of Goya, Spanish
painting had attained its crown of achievement
in the work of the four great naturalists, Velaz
quez, Ribera, Zurbaran, and Murillo. Josef de
Ribera (' Lo Spagnoletto '), had succeeded
Ribalta, and had given lasting expression to
the realism which characterised Spanish art in
the seventeenth century ; Francisco de Zurbaran,
the Estremaduran peasant, whom Lord Leighton
called ' All Spain,' carried on the tradition of
the elder Herrera in his passion for truth in
detail and in the dramatic intensity of his ex
pression ; Murillo, the disciple of the Spanish
Catholic Church, bewitched his generation with
what Antonio Castillo y Saavedra described as
his ' wondrous grace and beauty of colouring ' ;
and Velazquez, 'our Velazquez,' as Palomino
proudly styled him, was the supreme painter
A

2 GOYA
through whom Spanish art became the light of
a new artistic life.
Of Velazquez it has been said that he attained
perfection in the realism of detail and in the
realism of sight, and in his commanding genius
Spanish art was emancipated from the fetters of
pseudo-Italianism in which it had laboured so
long. He carried Spanish realism to its Ultima
Thule. Further his age could not go, and
generations of artists who came after~ him
devoted themselves to the imitation and repro
duction of his colour and his technique with
such passionate servility that in the end the copy
of the pupil was frequently mistaken for the
work of the master. The perfect technique of
the great Court painter had, in his own day, the
effect of arresting artistic development — it left
his successors nothing to solve for themselves.
He achieved so much in his own work that, for
a time, the last word in art seemed to have been
spoken. Until his influence had died away,
the reproduction of Velazquez was the aim of
the Madrid painters. For this reason, after
the death of Velazquez, the artistic life of the
seventeenth century became a spent force, and
for want of new impetus of original genius
Spanish art steadily declined. The followers of

GOYA 3
the supreme painter failed to realise the true
inwardness of his message. They had the seed,
but they could raise no new flower. One feels
towards the pictures of Velazquez as Swinburne
felt towards the muse of Sappho :
' . . . earth's womb has borne in vain
New things, and never this best thing again ;
Borne days and men, borne fruits and wars and wine,
Seasons and songs but no song more like mine.'
But the reverent desire to perpetuate ' this best
thing' could not arrest the decay of artistic in
spiration. The disciples of Velazquez copied and
painted successfully (up to a point), and they
trained other generations of imitators who con
tinued to work and teach their methods, until
imitation slowly but surely sank into artistic
degradation. Under the sway of Mariana of
Austria, the decay of Spanish painting was
further hastened, and the ascendency of the
facile, brilliant brush of Luca Giordano, under
Charles IL, dealt the death-blow to the realistic
impulse that had carried the national school of
the middle seventeenth century to the realisation
of its utmost ambition.
The decadence which followed the death of
Velazquez was most pronounced among the

4 GOYA
Castilian painters, but the empire of Giordano
extended to the Provincial schools and completed
the more gradual decline of art in Andalusia and
Valencia. Seville was foredoomed to decadence
as a school of painting, for its artists had taken
Murillo as their model, and in servilely imitating
the ' Painter of the Conceptions,' they emphasised
his faults, exaggerated his unreality, and carica
tured his affectations. The popular admiration
of Murillo was all-powerful to hasten the general
decline, and each year the artistic outgrowth of
Andalusia became more enfeebled.
jf In the last months of the seventeenth century
Charles II. digd without issue and the art-loving
Austrian dynasty was ended. The succeeding
Bourbon sovereigns brought with them an art
derived from France; they had no ambition
to reanimate the native art of the country.
Madrid became the only recognised art centre in
Spain, and to Madrid, in 1761, came, at the
invitation of Charles III., Giovanni Battista
Tiepolo, the Venetian fresco-painter, and the
Saxon pedant, Anton Raphael Mengs. The
Spanish painters who had rendered homage to
the facile Giordano were caught by the glamour
of the fantastic, insincere art of Tiepolo, while
the dreary academic influence of Mengs — whose

GOYA 5
paintings are declared by Carl Justi to echo the
last shadow of eclectic mannerism — made for all
that is dull, exact, and lifeless in pictorial art.
No great Spaniard arose to counteract the
demoralising influence of these imported pro
fessors ; it was realised in the studios of Madrid
that the methods of the favoured aliens led tb
popularity and fortune ; the Spanish artists
followed the line of least resistance, nor desisted
when they found that it carried them ever further
from the tradition founded by Velazquez./
This art, dull but without dignity, showy but
meaningless, was the reflex of the prevailing
rottenness in the national life. During the reign
of Charles III. a certain superficial decency was
observed ; the corruptness of Court life was kept
out of sight ; a general conspiracy of make-
believe was maintained. But under Maria Luisa
of Parma and Charles IV., the abomination of
moral desolation in social, political and artistic
life was complete and confessed. Manuel Godoy,
afterwards Prince de la Paz, was Prime Minister
of Spain, and the country was demoralised by
dissolute courtiers and unscrupulous ministers,
and drained by insatiable priests. But in the
turmoil created by an aristocracy sunk in
lasciviousness, a government steeped in cor-

6 GOYA
ruption, and a commonalty beaten and bled into a
state of nerveless resignation, was heard the echo
of the revolutionary movement which was sweep
ing over Europe. The teaching of Goethe and
Schiller, followed by the preaching of Rousseau,
had taken concrete form in the butcheries of
Robespierre and Danton ; the movement had
culminated in the personal supremacy of Napoleon
Buonaparte. The hopes of the Spanish nation were centred
in the Crown Prince Ferdinand. Even as the
First of the Tigers thought to exterminate Fear
by killing a man, the Spaniards believed that the
abdication of Charles IV. would make an end
of misrule and give their country peace and
prosperity. But the King hated his son, and
inspired by the double purpose of defeating the
ambition of the Crown Prince and punishing the
disloyalty of his subjects, he laid his crown at the
feet of the Emperor of the French, who bestowed
it upon his brother, Joseph Buonaparte. The
Spanish liberals made the alien king welcome,
but the Spanish loyalists proved a constant
thorn in the side of the usurper, and at the end of
five years Joseph Buonaparte fled Madrid. Two
years later the Prince of the Asturias returned
to Spain to be crowned king as Ferdinand vu..

GOYA 7
Again the distressful country was plunged into
the depths of retrogression, clericalism, and
fanaticism. Spain was undergoing her fate.
The strong men of the troublous times of the
eighteenth century were the revolutionaries and
reformers, and, as was inevitable, they sprang from
the people. Rousseau, Robespierre, Napoleon,
these were the forces that directed the move
ment, the effect of which was to make itself
felt from one end of Europe to the other.
/Goya was a revolutionary. He lived under
four kings of Spain. He was elected a member
of the Acad£mia de San Fernando in the reign
of Charles in. ; Charles iv. appointed him
Pintor de Cdmra del Rey; he took the oath
of allegiance to Joseph Buonaparte, and painted
the usurper's portrait ; Ferdinand VII., who
declared that he had deserved death for his
defection from the Bourbon cause, condemned
the man but pardoned the artist and received
him as a member of the new Court. ¦' Critical
opinion condones Goya's flexible patriotism by
the fact that 'it was a period of national
disaster,' and that 'national calamity was not
altered by these trivialities.'
Goya, we are reminded, was a revolutionary;
he was also a pitiless, if quizzical, onlooker at

GOYA
the life of the Madrid Court. It was a simple
matter to him to transfer his allegiance from the
Bourbons to Joseph Buonaparte, and it was even
more simple to welcome Ferdinand vii. to the
throne. 'What did such changes matter in
years of irretrievable ruin?' writes C. Gasquoine
Hartley, in A Record of Spanish Painting. The
question may be left for the individual to answer
according to his own fancy. And if Goya was,
as some will find, an opportunist, a political
weathercock, and a moral Vicar of Bray, as an
artist he was a great reformative force. Alter- -
nately an idealist and a realist, he fought with
all the social forces and against the academic
standards of the school commanded by David
and Mengs, destroying the debased conven
tions of painting and freeing the brush from the
domination of a clique. A national artist par
excellence, he gave lasting form to the sentiments,
customs and conditions of his country. A pro
found believer in empiricism, a great humourist,
sometimes impetuous and fantastic, at other times
holding fast to reality ; a master of portraiture ;
fantastic, inspired, spontaneous in his aquafortis,
etchings ; he seized upon and immortalised every
aspect of the gruesome tragi-comedy which
was played in Spain in the last years of the
eighteenth century.

GOYA 9
Francisco' Jose" de Goya y Lucientes was born
at the end of March (the 30th or 31st) 1746
at Fuentetodos near Zaragoza, in Aragon, the
province which gave to the nation poets like
the ' Spanish Horaces,' historians like Zurita,
teachers like Gracian and Luzan, a scholar like
Latassa, and a statesman like the Conde de
Aranda. Goya was baptized in the Church
of Our Lady of the Ascent, and the names
given him by his godmother, Francesca de
Grasa, were Francis Joseph. The amiable weak
ness for connecting great men with great families
has prompted a German biographer to claim that
both his father and mother belonged to the
nobility, and that his first patron was the Duque
de Fuentes. Less imaginative authorities, how
ever, tell us that his parents, Jose" Goya and
Gracia Lucientes, were poor but hardworking
peasants, and that when ' the regenerator of the
Spanish school of naturalistic painters ' — to quote
the prefatory note to Goya's pictures in the
Prado catalogue — had completed his course of
elementary instruction at the hands of the vil
lage schoolmaster, he was put to agriculture. A
fortunate accident revealed the bent of the lad's
genius and liberated him, at the age of fourteen,
from the drudgery of manual labour.

10 GOYA
M. Matheron relates that the lad had been
sent with a sack of wheat to a neighbouring
mill, when a monk of Zaragoza (probably
Father Felix Salvador of the Carthusian con
vent of Aula Dei) happened upon him. Goya,
seated on his burden, was intent upon drawing
a pig with a piece of charcoal upon a white
washed wall. The priest, struck by the cor
rect free lines traced by the youngster, inquired
who his master was and received the charac
teristic reply: 'I have none, your reverence.
It is not my fault, I cannot keep from drawing.'
The overmastering incentive pleaded by the
youthful delinquent never forsook him, and,
although powerful enemies resented his too free
use of the pencil, and the Holy Inquisition was
moved to curb his unwearied industry, he con
tinued to ply brush and needle and gavel during
sixty-eight years of changing, strenuous life.
Father Salvador remained Goya's friend until
his death. He saw his father, and obtained per
mission from him, in 1760, for the lad to go
to Zaragoza. The imperial city exercised a
powerful influence upon his art. There is always
in his pictures, as one of his countrymen points out,
the Zaragoza landscape, so rich in the contrasts of
its splendid and vigorous vegetation, recalling

GOYA n
the banks of the Genii or the Turia, while its
limy hills and grey plains bring to the memory the
vistas of Castile. The melancholy of the sky —
pierced by the severe lines of innumerable towers
and bounded by the austere distant rock —
remind us that here the sun has not the same
suggested warmth that supplied the rays for
Murillo's brush ; that this is not the land of
fancy but the land of genius, cold as the snow
of the Moncayo, that adds beauty to the beau
tiful plants which produce not sweet odours but I
healing balsams. »*
Thanks to the friendly offices of Father
Salvador, Goya was admitted to the studio of
Jos6 Luzan y Martinez, whose religious and
historical pictures bear evidence of soft fresh
colouring. He attended, too, the school founded
in 1714 by the sculptor Juan Ramirez, a pupil
of the well-intentioned Gregoria de Mesa. In
the studio of Martinez, Goya, who from the
first betrayed his lifelong passion for realism,
worked with untiring ardour, stimulated, it may
be, by the industry of his co-pupils, Jose" Beraton,
Tomas Vallespin.and the Huescajeweller, Antonio
Martinez, who founded, in Madrid, the silver
smith's business which still' bears his name. ' In
the schools of Zaragoza,' says C. Gasquoine

12 GOYA
Hartley, ' he followed no conventional standards,
and his continuous study was directed to the
development of his exuberant individuality. /,To \
comprehend the truth, and afterwards to depict
it, as it pleased his ever-varying fancy, this was
his great aim. / His utterance was inevitable
and instinctive, the overflow of his dramatic,
inexhaustible and vivid imagination.'
/ Goya's exuberant, passionate temperament
betrayed itself in other directions outside his art.
He lived, as he worked, in a condition of uncon
ventional, even arrogant independence.; Many
tales of the wild escapades of his youth are told.
His revolutionary tendencies embroiled him in
frequent altercations ; thrice he is said to have
fallen under the ban of the Inquisition. Zaragoza
finally grew unsafe for him, and in 1766 he fled
to Madrid. There are no discovered documents
relating to his first years in Madrid, and his
biographers, for the most part, preserve a dis
creet reticence concerning his mode of life in
the capital. It is supposed that he copied
Velazquez, and the pictures at the Casa de
Campo, the seat of the Duque de Arcos. It
has even been surmised that, through his friend-
ship with Bayeu, he had the entrde to the royal
palaces of La Zarzuela, Aranjuez, and the

GOYA 13
Escorial. Other writers favour the idea that he
lived the life of a young revolutionary, and
Richard Muther, in his monograph of the painter,
pictures him 'wild and passionate, an athlete in
his physical strength,' being ' everywhere present
when dancing or love-making, scuffling or stab
bing, is going forward.' The one outstanding fact,
upon which most biographers are agreed, is that
one morning he was found lying in the streets
with a dagger in his back. This occurrence,
supplemented, it is said, by his misfortune in
again incurring the displeasure of the Inquisition
— some hold that he was placed under police
supervision — made him once more seek safety in
flight. He had a will to visit Rome, but-no
money to defray his travelling expenses. Tradi
tion declares that he joined himself to a company
of bull-fighters, worked his way to the coast as a
picador, and set sail for Italy.
Iriarte is the authority for most of the details
concerning this period of Goya's career. French
writers declare that the painter remained in
Italy from 1769 to 1774. There is a full-length
likeness of Pope Benedict XIV. still in the Vatican
which is said to have been painted by Goya in a
few hours, but as that pontiff died in 1756 there
is much reason to doubt the truth of the legend.

14 GOYA
The Conde de la Vinaza in his Life of Goya
refutes every detail of this story. It is said
that while Goya was in Italy he secured a prize
offered by the Parma Academy of Fine Arts
for a picture of ' Hannibal surveying Rome from
a pinnacle of the Alps,' but the Conde maintains
that Goya at this time was in Spain and that
it was in his own country he painted his
picture and carried off the second prize. In the
Mercure de France of January 1772 we read :
' Le 27 Juin dernier l'Acad6mie Royale des
Beaux Arts de Parme tint sa stance publique
pour la distribution de ses prix. Le sujet de
peinture etait : " Annibal vainqueur du haut
des Alpes jette ses premiers regards sur les
campagnes d'ltalie." . . . Le premier prix de
peinture a 6t6 accorde au tableau qui avait
devise : " Montes fregit aceto," et qui etait de
monsieur Paul Borroni etc. Le second prix de
peinture a 6t6 remporte" par M. Francois Goya
romain (sic), 61eve de M. Vajeu, peintre du roi
d'Espagne.' The following paragraph by M. Paul Mantz
from the same source is quoted into the Archives
de tart franeais : ' L'Acaddmie a remarque" avec
plaisir dans le second tableau un beau maniement
de pinceau, de la chaleur d'expression dans le

GOYA 15
regard d'Annibal et un caractere de grandeur dans
l'attitude de ce g6n£ral. Si M. Goya se fut
moins £carte" dans sa composition du sujet du
programme, et s'il eut mis plus de veVite' dans son
coloris, il aurait balance" les suffrages pour le
premier prix.'
The Conde de la Viflaza, Goya's Spanish
biographer, maintains that this picture was
painted and the prize won before the artist went
to Italy, and he proves, by the publication of
documents preserved in the Archives of the Pilar
Cathedral at Zaragoza, that in October 177 1 the
painter, forsaking Madrid, was back on the banks
of the Ebro in the enjoyment of an enviable _
reputation. This is in direct contradiction to
the old stories describing a love adventure as the
reason for his sudden and hasty departure from
Rome. A mad enterprise which had for its
object the rescue of a young maid from a
convent ended, it is said, in his capture, and he
' only escaped the gallows by the most reckless
and headlong flight.' This much we know, that ,
Goya was in Zaragoza in 1771. He returned not
as a fugitive and an outlaw, but as a reputable
citizen having the confidence of the Cathedral
authorities, who commissioned him to paint the
quadrangular vault in the Holy Chapel. The

i 6 GOYA
fresco which he prepared as a proof that 'he
was experienced in this kind of painting,' was
submitted to the Building Committee of the
Cathedral, on November n, 177 1, together with
the director's assurance that it had received the
approval of experts, and with Goya's offer to paint
the vault of the small choir for 15,000 reals, he
providing the labourers and materials. The
Committee, having heard this proposition and
recognising it as better than that made by Don
Antonio Velazquez, who asked 25,000 reals for
the work, ' agreed to Goya's proposition, but in
order to be safe and sure,' it was stipulated that
he should make some further studies and submit
them to Madrid for the approval of the Royal
Academy of Fine Arts (San Fernando), * which
obtained, the negotiations would be completed
and the contract signed.'
On January 27, 1772, Goya presented his
study to the Committee, who having ' already
been informed that it was a skilful piece of work
in specially good style,' approved it, and waiving
the stipulation that it should be submitted to
the Royal Academy, they decided that the artist
should forthwith proceed with the work. The
documents give no information concerning the
progress of the work, but we learn from a minute

GOYA 17
in the Building Committee's meeting, held on
June 1, 1772, that the painting of the choir was
nearly finished by that date, and the scaffolding
was about to be taken down.
We are without any authentic particulars con
cerning the next three years of Goya's life, but
the Conde de la Viflaza supposes that with the
15,000 reals which this work brought hiin, he
went to Italy. How he passed his time there
cannot be definitely stated, but many interesting
surmises have obtained currency. We are assured
by Mr. Muther that for Goya ' the antique had no
more existence than the magnificent art of the
cinque-cento : what attracted him was rather the
teeming life of the people. Out of the red robes of
the priests, the costumes, gay with colour, of the
women of Trastevere, the merry, careless freedom
of the Lazzaroni, he created fragments of life,
rich with all its varied colour. Muleteers with
their jangling cars, religious processions and
Carnivale masques,' to say nothing of much
' love-making, scuffling and stabbing ' — these are
imagined to be the influences that directed his
genius during his stay in Italy. Paul Lafond
(Goya), while admitting the legendary element
in most of the reported incidents in the life of
the painter, repeats the stories of his ascending
B

1 8 GOYA
to the lantern in the dome of St. Peter's, of his
making a tour of Cecilia Melella's tomb, walking
upright on the narrow ledge of the cornice, of his
amatory escapade at a convent and its resultant
flight from Rome. He also adds that his genre
pictures attracted so much attention in Rome
that the Russian ambassador, instructed by his
sovereign to invite a number of distinguished.
artists to establish themselves at the Court at
St. Petersburg, made Goya a very tempting
offer, which he refused. On the other hand,
the Conde de la Viflaza declares that 'he was
frequently seen studying the most sublime fres
coes in the land, leaning boldly on the decora
tions ofthe architraves or on the most dangerous
parts of the cornices ' ; that he secured the
necessaries of life by the sale of pictures of the
customs of his native land ; that he made the
acquaintance of Luis David, for whom he formed
a deep and lasting attachment ; and, finally, that
' the only recollection he preserved of Italy in his
old age was of his having met there the painter
of " The Rape of the Sabines." '
The friendship that existed between Goya and
David has called attention to the similarities in
the temperament and the aims of the two men,
whose work was so widely different. Both used

GOYA 19
their brushes to glorify the throne and received
honours from kings ; both sacrificed tradition on
the altar of new ideas; and both lacked the tender
ness and the faith necessary in the treatment of
religious subjects. David was the friend of Robes
pierre and Saint Just, of Marat and Buonaparte ;
he painted the ' Coronation of the Hero of the
Pyramids ' ; he attended the Convention and
voted for the death of Louis XVI. Goya was
the friend of Godoy and of the ministers of
Joseph Buonaparte ; he painted the pictures
of the Usurper as well as those of the
kings that preceded and followed him ; and he
executed ' The Disasters of War ' and ' The
Caprices.' David was ambitious for the aggran
disement of his art, and Goya strove to make
it worthy of its civilising mission, but they
differed in the means by which they sought
to attain their respective ends. David was in
spired by the antique, and produced works which
possessed the hardness of statuary as well as
its clear-cut accuracy of form, while Goya went
direct to nature for his inspiration, and his
paintings are the reflections of naked reality.-
The painter of ' The Death of Socrates ' was
imbued with the guiding purpose of making his
work dignified, elaborately accurate, and ex-

20 GOYA
elusive, while the author of the frescoes of La
Florida, drawing inspiration from the customs
of the toilers and the dandies alike, held
that 'a picture is finished when its effect is
true.' David represented man endowed with
improbable and unattractive virtues, Goya
painted man as he was ; David idealised the
individual form with classic grandeur, and his
austere and solemn compositions, though based
on observation of nature, were moulded to a
fixed external idea ;/ but Goya was as faithful
to psychologic truth as to anatomy, and his
brush revealed the moral sentiments of man
kind and laid bare the passionate and terrible
emotions of the human soul./
When Goya returned to Madrid in 1775
Spanish art was directed by Mengs and
Tiepolo, by Maella and Francesco Bayeu. Mengs,
the ' reasoning artificer,' who had neglected the
world of nature in his servile study of Raphael
and the antique, was a painter who theorised
much and invented little. According to Richard
Cumberland he was an artist incapable of por
traying either life or death; a painter whose
creations neither terrify nor inspire passion or
transport ; a timid, conscientious craftsman with
an excellent hand for miniature. Yet Mengs,

GOYA 21
the ' Spanish David,' as we are told by Jose" de
Madrazo, was regarded by the youth of his time
as ' the regenerator of the antique,' and from the
dictatorial chair of pictorial art, his voice 'was
heard like that of an oracle, not so much by
the artistic cohorts of agitated Germany, where
he received little attention, as by the peaceful
Italo-Spanish pleiades, who applauded with
enthusiasm the exhumation of the Hellenic form
from among the ruins of Herculaneum and
Pompeii, because it was the fashion, and without
comprehending the reach of that fortuitous
event.' In the fantastic, beautiful, but slightly handled
compositions of Battista Tiepolo we have the
reaction against this form of classicism. The
Venetian possessed a fertile and brilliant fancy,
his execution was free and daring, if at times
careless, and, in addition, he had a wide know
ledge of the resources of his art. His decora
tions in the new palace at Madrid were ' extolled
to the skies of a generation that had forgotten
Velazquez.' Tiepolo got his effects rapidly;
Mengs was laborious to a fault, but his work was
probably a better guide for second-rate painters,
themselves poorly equipped in knowledge, than
the clearly (though incorrectly) drawn com-

22 GOYA
positions of his Venetian contemporary. As
director of the Acaddmia de San Fernando,
Mengs suggested several new laws for the
government of the students and certain altera
tions in the methods of study. These were at
first adopted, but in carrying them into effect
the director seems to have met with opposition
and involved himself in quarrels, which ' did little
credit to the wisdom of his fellow-directors, or to
his own temper and tact.' As a result of these
dissensions Mengs failed to accomplish all his
reforms, but he secured several important changes
in the Academy. It was due to his efforts that
plaster casts were taken of the statues discovered
at Herculaneum. Charles III. dowered the in
stitution with a rich collection of marbles and
bronzes which had been presented to his Majesty
by Mengs, and he supplemented this gift with
a large number of statues and busts from the
Museum of Cristina of Sweden, and with pictures
from the royal galleries and from the suppressed
houses of the Jesuits. The sovereign also formed
a library for the Academy, opened a school of
perspective (Royal Decree of August 19, 1766),
and commissioned the surgeon Augustin Navarro
to instruct the students in the science of nature
and the human form.

GOYA 23
In his efforts on behalf of the Academy, Mengs
had the loyal assistance of Francisco Bayeu and
Mariano Maella. The latter's pictures are
deficient in invention, in vigour of execution,
and in variety ; indeed his cold pearl-coloured
creations have nothing to compensate their feeble
and unimpressive handling and colour. Bayeu
was gifted with peculiar intelligence and as an
artist displayed fertility, capacity in composing
a picture, and a skilful touch, but his designs
lack vigour and delicacy, and his colour is
disagreeable. When Goya reappeared in Madrid in 1775,
Mengs was dictator , of art, and Bayeu was the
Court painter. Goya's art owed nothing to con
temporary influence or example, but to these two
officials he was indebted for employment and for
his wife. The young Aragonese knew nothing
of the bitterness of long apprenticeship ; his rise
in the esteem of the art world of Madrid was
rapid. This, in a measure, was due to his genius,
but his worldly prospects were assisted by his
marriage to Josefa Bayeu, the sister of the
Court painter, and by the influence of Mengs,
which secured for him a commission to execute
a series of designs for the tapestries woven at the
Fabrica de Tapices de Santa Barbara. This first

24 GOYA
series were designed for the decoration of the
dining-room and bed-chamber of the Prince of
the Asturias in the Palace of El Pardo. Goya
delivered the first picture on October 31, 1776;
on January 26, 1778, the tenth and last cartoon
was delivered.
Between 1776 and 1791 Goya executed the
forty-six tapestry cartoons which now hang in
the Prado, and he repainted many of his designs
on a smaller scale for the Countess of Benavente
at the Alameda. As late as 1802 the Santa
Barbara factory wove tapestries from Goya's
pictures, and up to 1832 some of the more
favoured designs had been reproduced four
times. Isabella II. presented some of these
fabrics to King Leopold of Belgium, but the
greater number adorn the royal palaces of
Madrid, El Pardo, and the Escorial.
The designs for tapestries which Goya com
posed during this period of over twenty-five
years form a large part of the painter's artistic
output. It has been said that these early designs .
do not exhibit any of the painter's predominant
characteristics, and that they reveal crudeness
and uncertainty. It is probable that Goya
approached the task, in the first place, with very
little knowledge of either the industry or the style

GOYA 25
of design required from him. Mr. Rothenstein
remarks that the models in the Prado are
painted 'in so crude a key, and with so little
regard for harmony of colouring, that their merit
is apt to escape the attention of many students,'
while the strong reds and yellows Goya employs
in them have prompted Mr. Muther to compare
them unfavourably with the 'tender delicate
colouring' of Watteau and Lancret. Certainly
Goya's designs are unequal in merit. It must
be remembered, too, that often he had not the
good fortune of being reproduced faithfully ;
while other artists employed by the factory
gained much by reproduction, his work almost
invariably suffered in the process. The officials
at the factory objected to the elaborate and
delicate work which Goya submitted, and a
beautiful model ('The Blind Man playing the
Guitar ') was returned to him on the ground that
it could not be successfully transferred to the
threads of the warp. Goya corrected his design
by exaggerating all the tints and he accentuated
the figures by enclosing them in white outlines.
This fact suggests one reason why Goya's enthu
siasm in the employment speedily grew cool.
We learn from the Palace archives that the
officials, who were more concerned with the com-

26 GOYA
mercial than the artistic side of the manufacture,
declared that Goya's figures were 'dandies and
girls with so much decoration of coifs, ribbons,
fal-lals, gauzes, etc., that much time and patience
is wasted on them, and the work is unproductive.'
They contrived to remedy this defect by cover
ing his figures with paintings of trees or clouds
or anything else that made the tapestry easier
and cheaper to produce, and this treatment was
not calculated to make Goya more careful in the
finish of his designs. It therefore follows of
necessity that only occasionally among his later
cartoons can one be found to compare with those
in the first series, such, for instance, as 'The
Picnic on the Banks of the Manzanares ' and ' The
Dance at San Antonio de la Florida,' or indeed
with any of the earlier designs, which were all
remarkable for the vigour and animation of
the scenes, the delicacy of colouring (despite an
occasional surfeit of sienna and red ochre), the
strength and freedom of the drawing, and the
genius for natural and effective grouping in the
composition of the pictures. Goya would
appear in these works to be carried away by
his imagination, and he has presented to us a
masterly panorama of all that is brightest and
most joyous in the national customs — a panorama

GOYA 27
that puhsatesj^ithtj^
^tan^usjmejnriment..-ajQd4ascinates with its irre
sistible gaiety. We seem to hear the bells of
the pony" chaise and the pleasant jokes of the
wenches at the f6tes on the banks of the Man
zanares ; the farces of Ram6n de la Cruz are
translated into the language of colour. And the
pictures with childreiv^iiappy, roguish young-
^sters—reveal not only marvellous skill, but IT
sympathy with the poetry and charm of child
hood that has not been surpassed. Zapater
tells us that Goya was often seen surrounded
by children in his house by the Manzanares,
and his whole-hearted love of childish grace and
innocence is manifested in these studies.
Among his later work as a designer of tapestry
one of the best examples is ' The Earthenware
Stall,' which in jits ^delicacy of^c^QMagg, its skil
ful arrangement of transparent draperies, and its
'" brilliant 'lighti rig;!-; comparable with 'The Village
Wedding,' which Cruzada declares to be the most
graceful composition of the whole collection.
Here the story is told with supreme humour.
The stupid and happy youth in his finest attire
walks beside his fresh-coloured bride who is
bedecked with finery and ribbons, a priest and
the parents and friends of the young couple

28 GOYA
accompany them, and the village piper marches in
front surrounded by a crowd of singing, shouting,
dancing children. In beauty of colouring this
design is the equal of the handsome, graceful
figures in ' The Water-Girls,' and in its mirthful-
ness and--featfsm"lt~~is a companion" lo h1§

illustration of ' Blind Mafl's . Buff,' which over-
flows with irrepressiblemerrjrnenl. Another
ftlAgiiiH^i^stpMIMbi^ i1'^1 urn-***
notable design which is also the largest that
Goya painted, is ' El Agosto,' a striking piece of
work. ' On contemplating this picture,' writes
the Conde de la Viflaza — who declares that it
entitles Goya to be known as the Theocritus,
the Virgil, and the Garcilaso of painting — 'the
sun seems to burn and asphyxiate with its fire,
the reapers appear to be dazed with wine, and we
seem to hear the chirping of a cricket hidden in
the sheaves. Of the children crying and playing
on the hills of straw, some appear to be the
children of Van Dyck, and others the work of
the expressive hand that created the weeping
Ganymede.' The forty-six cartoons mentioned in the Prado
catalogue — of which thirty-three are reproduced
at the end of this volume — are now contained in
the Goya Room of the Madrid Gallery. During
the reign of Isabella II., Frederico de Madrazo, the

GOYA 29
director of the Royal Gallery, repeatedly impor
tuned the administrators of the Royal Patrimony
to exhume the Goya designs from the cellars ofthe
Tapestry offices to which they had been consigned,
and to have them restored and housed in the
Royal Museum. This request, however, was not
conceded, and it remained for Gregorio Cruzada
Villaamil to rescue them from the oblivion into
which they had fallen. He succeeded in having
the cartoons placed at the disposal ofthe Escorial
Tapestry Museum Commission, and after being
restored they were sent to the Prado. Unfor
tunately the works are difficult to restore and
quickly deteriorate ; for it was Goya's practice
to sketch his pictures with extraordinary
rapidity, to surround the whole with carbon, and
then trace his figures with the aid of aqua
rds. Many of the studies in the Prado are
covered with glass in order to preserve from total
loss the canvases on which scarcely any oil has
been used beyond that contained in the colours.
During these first years of his material pro
sperity Goya varied his work for the tapestry
factory by producing genre paintings and a few
portraits. He also began at this time to exer
cise his extraordinary powers as an engraver.
As an exponent of genre he was unsurpassed, as

30 GOYA
a portraitist he was excelled by Velazquez alone,
but his genius is more certainly demonstrated
in his aquafortis work than in either his genre
studies, his frescoes, or his portraits. ' Goya was
pre-eminently fitted, both by his environment
and by his nature,' writes C. Gasquoine Hartley,
' to be the exponent of genre.' The truth of this
dictum is patent to all who study his canvases
of this period. The customs that he depicted
were the customs that he loved ; the subjects, the
people, and the passions represented are always
real. He reveals both imagination and invention
in the grouping and arrangement of the scenes.
The vigour and boldness of his manner is revealed
in the success with which he seizes, as with a
camera, the fleeting movement — the unfinished
smile, the arrested gesture — and seals it upon
his canvas. His scenes of carnival and of merry
makings, his representations of bull-fights, and
his sidelights on the Inquisition, are living
phases of the life which surrounded him and
in which he found his pleasure and his inspira
tion. The spirit of Goya is in all these pictures.
His dramatic temperament, his fierce humour,
and his imagination found their outlet in the life
of the period and expressed itself in these
paintings in which that life is immortalised.

GOYA 31
In all that he painted Goya never lost sight
of, if he did not always attain, his object of*
securing absolute truth of effect. Whether he
is employed on a portrait, a representation of
romance or diablerie, or a religious fresco, he is
true to the principle explained in his own remark
that 'a picture is finished when its effect is true.'/
And the truth of 'his flashes of insight imprisoned
in line and paint,' give his work a sense of
modernity which is seen in the pictures of few
other artists. M. Paul Lefond declares : ' More
than any other painter of past periods he is
made to be understood in our day. Something
more and something better than a modern, the
Aragon painter still remains a forerunner; he
is still almost a contemporary of the generation
to come. His manner of translating and inter
preting nature is absolutely modern. He renders
it as he sees it, with the comprehension of an
artist of our time, daring and independent. He
is more than a hundred years in advance of his
century. His manner of portrait-painting is
completely outside all theory of teaching; his
fashion of "treating frescoes is an extraordinary
audacity. He has in his whole existence, without
truce or compromise, been pursued by this idea
of arriving at the true expression of life.'

32 GOYA
/ It has been claimed for Goya that his genius was
arrogantly unsubjective ; that he had no master
and was contemptuous of all rules. Originality
and independence could go no further, and it
may be admitted that he was intolerant of out
side influence. /But the spark of genius must be
fanned into flame by the magnetic influence of
example, and while Goya studied nature with
a passionate and jealous devotion, he glories in
the debt he owes to Rembrandt and Velazquez.
' I have had three masters,' he wrote to a lite
rary friend, ' Nature, Velazquez, and Rembrandt.'y
Some have tried to recognise in him a disciple
of Tiepolo, and his study of the aquafortis
engravings of the Venetian may well have sug
gested his adoption of that so long neglected
method of engraving, but as we should expect,
he preserved an independent attitude of mind
and developed a manner quite different from
that of Tiepolo. There is no evidence, in his
engravings, of any admiration for Tiepolo's
style, but his admiration of Rembrandt was as
sincere as was his devotion to Velazquez. Gautier
finds that Goya's work reminds one of Velaz
quez and Rembrandt, 'as a son reminds you
of his ancestors, without any servile imita
tion — or rather, more by certain congeniality of

GOYA 33
taste than by any formal wish.' ,' Goya's love
for the old masters,' says Lafond, 'is the best
proof one can give of his sincerity. He did not
think of inventing new processes ; conscious that
the same language is capable of a variety of ex
pressions, he was content to master the technique
of the past and to borrow from it all that best
suited his individuality.' But what he borrowed
he moulded and modified to suit his own pur
poses ; translating it into a language which was
his own and in the process enlarging it with new
and further life. /
In 1779 Goya presented to the King his plates
after the pictures of Velazquez. This series,
which consisted of the portraits of Philip III.,
Philip IV., Margaret of Austria, Isabella of Bour
bon, Prince Baltasar Carlos, the Count-Duke of
Olivarez, and other etchings, are faithful though
not inspired copies of the master. Goya wrote
to Zapater that he had had the honour of being
received by his Majesty and family when he
submitted the plates for their inspection, and
he adds, ' I could not have wished them to' be
more pleased than they showed themselves to be
on seeing them.'
Herr Valerian von Loga, who has an intimate
acquaintance with and profound knowledge
C

34 GOYA
of Goya's etchings and lithographs, has just
published in Berlin a series of thirty-two repro
ductions of the rarest examples of the painter's
work in these media. The explanatory notes
which accompany the plates are of great inter
est both to the student and the collector. This
writer assumes that Jose" del Castillo, who
worked with Goya for the tapestry factory of
Santa Bdrbara, urged him to devote some of
his restless activity to the etching needle. He
holds that in his earlier attempts, and particu
larly in ' The Flight into Egypt,' the technique
reminds one of Tiepolo. This etching is the
work of an apprentice hand, and while it is
not devoid of charm, it runs on bad lines.
Goya's acquaintance with the fundamental rules
of etching was so imperfect that, in the first
prints of his ' St. Francisco de Paula,' the inscrip
tion C. A. R. J. appears turned the wrong way.
It is the opinion of Herr Valerian von Loga
that in almost all the plates executed at this
period there is a certain emptiness and un
steadiness of drawing, while the unsuccessful
handling of light and shade betrays the work of
the beginner, but ' what is new and original, and
above all, characteristic of Goya, is the manner
in which the whole is worked out according to

GOYA 35
the painter's mode of working. We see the artist
taking pains, not to give form to the things them-'
selves, but to their appearance. On this account
outlines are omitted and contours left open, and
there are no regularly-growing, flowing lines, !
while parallel and crossing strokes are rare. The :
dark surfaces are composed of a great number of
short, chopped-off strokes ; the entire workman
ship is nervous and undecided. It is clear here
that the ability of the artist was far behind the
good-will, and at times too his inspiration was
insufficient.' ' In his copies of Velazquez Goya appears to
have been the first to introduce into Spain Le
Prince's ten-year-old process of aquatinta, a
process which in later times he developed
to the highest perfection. In 1779 he brought
out an etching from one of his own designs for
the tapestry factory. His work so pleased
the Prince of the Asturias, for whom it was
executed, that the painter is credited with an
intention of publishing all his Santa Barbara
pictures as etchings. But his growing popularity
as a portrait painter now claimed his activities
for more remunerative work, and for more than
ten years he laid aside the etching needle in
favour of the brush.

36 GOYA
We learn from a memorial preserved in the
Palace Archives that the graciousness of his
reception, the success of his tapestry designs, and
the admiration that Charles III. had expressed
for his two religious studies of ' Christ Crucified '
and of 'St. Francis,' emboldened the artist
to proffer himself for the position of Court
Painter. This honour was denied, but he was
elected a member of the Acad£mia de San
Fernando. On January 24, 178 1, Goya left Madrid for Zara
goza to assist in the redecoration of the Church
del Pilar under the direction of his brother-in-
law, Francisco Bayeu. The dissensions which
arose out of this commission between Bayeu and
Goya, and between -Goya and the Building Com
mittee, were bitter and prolonged. It is not
likely that the biographers of Goya, without the
facts of the dispute to guide them to a correct
conclusion, would display much sympathy with
a conventional, mediocre painter like Bayeu, or
so nebulous a body as an archbishop's chapter,
and Zapater and Cru^ada have revealed their
hero in the light of a persecuted, long-suffering
martyr. The vanity and envy of Bayeu and
the wilful obstinacy of the Building Committee
in their support of the older artist they hold to

GOYA 37
have been at the bottom of the matter. But the
Conde de la Viflaza has exhumed the hard facts in
the archives ofthe Pilar Cathedral, and from these
it is now clear that the/indomitable indepen
dence of Goya's nature and his impetuous
intolerance of all restriction] have not been taken
sufficiently into account by his biographers. --
From the documents which Viflaza has brought
to light we learn that the frescoes which Bayeu
completed in the Pilar Church, in 1776, gave so
much satisfaction to the authorities that they
agreed to the artist's terms for painting the
round vaults and cupolas of the church. Four
years later, when the Building Committee were
getting impatient for the work to be put in hand,
they granted Bayeu permission to engage his
brother Ramon and his brother-in-law Goya to
assist in the execution of the designs which he
had already prepared. On October 5, 1780,
Ramon Bayeu and Goya presented these designs
for the vaults. The Committee found that they
were 'inspired by the greatest taste' and
decided to proceed at once with the work. It
may be assumed that Francisco Bayeu arrived
shortly after to supervise the operations of his
assistants, and it was not long before the dis
agreements between Goya and his brother-in-law

38 GOYA
commenced. On December 14 Bayeu com
plained that Goya would not be subject to
correction in the manner of his painting, and he
asked the Committee that he might be relieved
of his responsibility in the direction of the work,
in so far as Goya was concerned. We read that
' the Committee, taking into account that Goya
had come to paint, owing in a great measure to
the pressure and eulogy of Bayeu in his letters,
agreed that the Building Director (Canon Allu£)
should see Goya and his painting frequently, and
mention any defects he might notice and impress
upon him how grateful he ought to be for the
good offices of D. Francisco Bayeu in engaging
him as his assistant.'
Although it is evident that Goya was already
in revolt against the supervision which he had
accepted as a condition of his employment, the
trouble was temporarily overborne. From this we
may conclude that the good Aliud did not insist
too much upon the gratitude which Goya owed
to his brother-in-law. By February Goya had
completed the painting of the dome, and he then
submitted his studies for the four triangles formed
by the arches supporting it. It would appear
that the public had expressed their dissatisfaction
with Goya's compositions in the dome, and the

GOYA 39
Committee complained that not only were these
new designs marked by similar defects of 'drapery,
colouring, and idea,' but one of the figures repre
sented came short of the standard of chastity
that was required in pictures of this kind. The
Committee, 'fearing to expose themselves to
fresh censure and an accusation of negligence
and want of care, put this matter, by reason of
the confidence he had won from the Committee
and from the whole chapter, under the direction
and in the hands of D. Francisco Bayeu, hoping
that he will take the trouble to see these studies
and say whether the observations of the Com
mittee are just in deciding that the triangles be
painted in such a way that they may be shown to
the public without fear of criticism.' But when
this resolution of the Committee was com
municated to Bayeu, he retaliated with a tirade
upon his offended dignity, and we find Allue"
appealing to Goya to ' see if there be any way
of arranging the matter, knowing that the Com
mittee desire harmony, and do not wish to expose
their conduct to censure, but desire only that
the work be skilful and perfect.'
To this appeal Goya returned what we may
describe as a characteristic letter. This epistle
has been published in Spain, but no transla-

40 GOYA
tion has hitherto appeared in England. The
letter is as follows : —
Memorial of Goya to the Building Committee.
D. Francisco de Goya, Member of the Royal
Academy of San Fernando, respectfully shows : That
after having put the works of his profession before the
public, namely, the paintings just unveiled at the
Church of Our Lady of Pilar, his attention had been
called to the opinions he hears expressed, containing
a criticism prompted by a principle other than that of
justice, or governed by the authorised rules of art,
which only should form the opinion regarding the
work; and although he cannot believe that ill-meant
prejudice has gained access to your rectitude, or that
you could be led away by impulses little in accord with
reason ; yet the honour of a professor is a very delicate
thing ; opinion is what sustains him, all his subsistence
depends on his reputation, and when that is obscured
by even a light shadow, his fortune is gone ; therefore
Nature warns him to take care of it by using all the
defences within his reach, and to omit the least would
be to gain a slight advantage by abandoning the greatest
treasure the Creator had entrusted to him.
These principles, accompanied by a sense of wounded
honour, the expositor hopes his explanation will make
evident to your benignity.
D. Francisco Bayeu asked that the work in the
domes might be done by his brother and the expositor,
but it was on the understanding that the latter should
do one of the parts by himself, as Bayeu himself

GOYA 41
agreed, considering that the degree of an honoured
member of the San Fernando Academy, acquired by
the work which had won great renown for him in
Madrid, in addition to the work for H.M., would not
admit of his absolute subordination to another pro
fessor without detriment to his honour. The expositor
might be wrong in this, but his error would have the
approbation of D. Francisco Bayeu himself, who agreed
to it, and was a trustworthy witness of the success that
might be expected ; and also that of the chief Presbyter
Allue, to whom through some people in the city he
had manifested the same opinion, to which he agreed.
The expositor feeling sure of said promises, with all
good faith in them, proceeded with the Study or
Design, and as he wished to be on good terms with
D. Francisco Bayeu he took it to him, and received his
entire approval : he came with him to this city : he
began his work by consulting him regarding the place
where the principal facade should be put ; the expositor
gave way to Bayeu's opinion. He presented the design
to you, who approved them ; and in executing them
he has only enlarged them.
Taking into consideration these harmonious dealings
of the supplicant with D. Francisco Bayeu, which
created no motive for resentment, and were governed
by the principles and rules prescribed in the first and
only conversations regarding the matter, who could
think that the expositor had been wanting in respect to
Bayeu ? There are those who think so, because when
the work was well in hand, they wished to make him
understand that the agreement with Bayeu was that
he should interfere as much as he liked with the

42 GOYA
expositor's work, and that the latter should obey him as
a subordinate in execution, placing of figures, style,
colouring, and so forth ; in a word make him a mere
executor and mercenary subordinate ; but as this was
in direct opposition to what had been agreed, it would
have been discreditable to his honour to yield, as he
would be losing what his merit had won for him, and
he could not therefore so humiliate himself, for he
knew that the previous offices were sufficient, and that
similar ones if continued would not make them anything
but his own production. D. Francisco Bayeu's warn
ing to you that he would not be responsible for his
part of the work, only shows that his object was to
create a want of confidence that should cause coercion
to be exercised, which was justly resisted, for doubt as
to skill and success sat ill on D. Francisco, who knew
quite well of the honours acquired by the expositor in
Madrid, both from the Royalties and from all who had
seen his productions, all executed by himself without
the slightest direction from any one.
After this, things were artfully circulated against the
conduct of the expositor, concerning his temper, pro
ceedings and dealings with Bayeu, he being accused
of hauteur, pride and stubbornness. Thereafter
malice prepared the blow, long premeditated, of first
creating personal disaffection, and then disaffection
with his work ; as shown by the reception of his work
in the dome of the Cathedral of Our Lady. The
criticism passed by some persons can only be attributed
to this, because all its merit is unobserved and only
the defects suggested by caprice or ignorance . are
sought.

GOYA 43
He has suffered with resignation the insults to his
honour, he has had the patience to see that the same
Bayeu who impaired his credit with insinuating words,
and the deceitful complaint that he was responsible for
the success of the work, and that he would have to
give an account of the confidence placed in him, and
that the supplicant was depriving him of this satisfac
tion because he would not allow him to correct or
alter his productions ; on other occasions defended
the expositor, exalting his merit, acknowledging his
skill and the correctness of his painting.
The insinuations of Bayeu have led to the conclu
sion that the expositor came to this city as a mere
subordinate of his, and that notwithstanding this
absolute dependence, his proud spirit would not sub
mit to asking for instructions from D. Francisco, even
on the ground of friendship and relationship, Two
entirely false propositions, which are the cause of all
the supplicant's trouble, because regarding the first he
has already told you about the agreements that pre
ceded his coming to Zaragoza, and regarding this and
the second, D. Francisco Bayeu cannot deny that, as
the result of those agreements, the expositor executed
the studies and designs in Madrid, showed them to
him, received his approval, and no fault was found.
The studies are the complete work, with the same
figures, colouring and arrangement to be observed,
and the work itself an entire copy of them ; and if
they passed his examination in Madrid as an act of
condescension on the part of the supplicant, emanating
from his desire for peace, why, if as he says he was
responsible, did he not then point out the defects he

44 GOYA
might have noted? He did not do so ; then what is
to be inferred from his having concealed them, if he
noticed them ? Obviously, and no dissimulating
artifice can hide this, it may be gathered that his
object was for the expositor to be in error, receive
indignant public censure, and lose all the merit and
status won by his work. But not wishing to believe
such malevolence, because other proofs would be
required of it, it must be admitted either that he found
no defects in the studies or designs, and therefore the
painting on the dome, which is the same, has none, or
that D. Francisco was most culpable who, knowing of
them, said nothing and allowed them to be copied.
The expositor has never departed from that friendly
subordination, nor attempted to oppose D. Francisco
Bayeu with the proud spirit of which he is accused ; a
proof of this is what has been said about the designs ;
another, the placing of the principal facade ; and, lastly,
the many visits he paid him at his own house, even
though they were not returned. On being informed
that the Chapter wished Bayeu to inspect the work on
the dome, he arranged for him to do so, which he did,
accompanied by the chief Presbyter Alkie, and in his
presence admitted and acknowledged the perfection of
the work, saying that what he had been informed was
not true ; he also saw the designs for the triangles, and
approved of them.
In face of all this, the expositor finds that the same
bitter opposition which he had thought would cease,
still continued, because the sense of truth may be sus
pended but not extinguished, but seeing that there is
no hope of staying the torrent of provocations that

GOYA 45
insult his honour and fame, and that an honoured
professor cannot stand for ever against the opposition
of his enemies, whose only object is to work him ill ;
notwithstanding that he thought he must finish the
work on the triangles, he_ has at last been unde
ceived by the letter which the chief Presbyter Allue
had just sent to him, of which he sends you a complete
copy. After the calumnies he has had to endure,
the slights and contempt with which he is treated will
not permit him to continue to expose himself to some
greater misfortune. He now humbly shows, and at
the same time sets forth that he has heard that some
figures were to be altered in the dome, and although
the expositor cannot be sure that you will allow your
selves to be guided by the declamatory voice of the
ignorant public, or the opinion of rivals, the right he
has to defend his honour leads him to .forestall you.
Before a daub is put in the Church that will obscure
and deprive it of merit, and leave a permanent witness
of the ignorance which is a reproach : which is now the
only thing in the matter that interests him, and regard
ing which he appeals to you — because the will of the
owner in his own house does not let go the reins of
liberty to such an extent, merely in order to exercise
his authority, as to permit without cause, and quite
uselessly, great detriment to another on a point so
delicate as honour — the expositor thinks the best way
to appease the want of confidence he presumes in
others and to assert his own opinion, is that a person
expert in the art, authorised in his profession, and
whose opinion would be impartial, should minutely
inspect the work, and when his criticism detects his

46 GOYA
unskilfulness and error, or testifies to his sufficiency
and skill, he will watch with indifference any mutilations
executed. Therefore he humbly begs that you will
arrange for the work in the dome to be seen by one
of the members of the San Fernando Academy, one
of the most renowned, as D. Mariano Maella or
D. Antonio Velazquez, at the expense of the expositor,
and after careful inspection his declaration be accepted
as testimony. — Zaragoza, March 17, 17S1.
Francisco de Goya.
Upon the receipt of this letter, which may be
left to speak for itself, the worthy and sorely
tried Allue seems to have invited the mediation
of Father Salzedo, who was, perhaps, the only
man to whom the irascible Goya might be
expected to listen. Salzedo wrote the painter a
long, earnest epistle, in which he appealed to his
better judgment and prudence, cited instances
of humility in the life of Christ for his guidance,
and demonstrated the practical advantages that
would be derived from doing his work to the
satisfaction of the Building Committee. The
good father did not hesitate to tell his friend
that he had taken up a wrong attitude towards
his brother-in-law and the Cathedral authorities,
and -plainly exhorted him ' with all generosity
and Christian charity, to submit your studies to
Bayeu's opinion, in order to please God by your

GOYA 47
humility, edify the public, and give pleasure to
your friends.' And he adds in conclusion :
'My dictum, as your greatest admirer, is that
you submit to the demands of the Committee,
have your studies taken to your brother's house,
and say to him in the best manner possible :
This is required by the Chapter — here they are ;
examine them to your satisfaction, and put your
opinion in writing, doing this as God and your
conscience shall dictate, etc. And then await
the result.'
The foregoing letter was dated March 30,
1781. On April 6, Goya wrote a conciliatory
note to Allue, promising to make fresh studies
in consultation with Bayeu. Eleven days later
the Committee approved the new designs and
expressed their pleasure at finding him recon
ciled to his brother-in-law. But the truce, for
such one supposes it to have been, did not last.
From a minute in the report of the Building
Committee's proceedings on May 28, it is re
corded that Goya, in a ' not very courteous '
manner, had told Aliud that he was only losing
his reputation in Zaragoza and desired per
mission to return to Madrid as soon as possible :
'The Committee resenting this further affront,
resolved : First, that the Professor be paid for

48 GOYA
his painting. Second, that under no circum
stances would he be permitted to continue to
paint any more in this Church, but that this
need not deter the Director from giving some
medals to his wife, in virtue of her being the sister
of D. Francisco Bayeu, who was so worthy of this
and other considerations from the Committee, by
reason of his skilful work in this church.'
The source of the trouble was the failure of
the Committee to accept Goya at his own
estimate, which was certainly the true one, as the
superior of Bayeu. The young painter doubt
less did his best to follow the advice of Father
Salzedo, but he wore the robes of humility with
a bad grace, and was impatient of ignorant and
pedantic criticism. His position had become
untenable. The painter received his payment,
his wife accepted her medals, and they left Zara
goza for Madrid in June 178 1.
Goya was indulging no empty boast when he
intimated, in his memorial to the Building Com
mittee, that his renown in Madrid was widely
acknowledged. He was no sooner back in the
, capital than the Conde de Florida Blanca sent
him a royal order to paint one of the pictures
for the Church of San Francisco el Grande. The
favoured minister also presented him to the

GOYA 49
Infante don Luis, the brother of the King and
husband of Maria Teresa Vallabriga, who at once
conceived a great liking for the painter. He spent
a month at the palace of Arenas de San Pedro,
and was entertained with great hospitality, while
he executed portraits of the Infante's family.
He also painted for the Consejo de las Ordenes
several devotional pictures for the Calatrava
College at the Salamanca University. In his
leisure hours he worked at his picture in the
Church of St. Francis. This work was not
completed until November 1784. The pictures
were ceremoniously unveiled on the 8th of
December, in the presence of the King and his
court. The occasion was a triumph for Goya.
Other pictures had been painted by Bayeu,
Mariano Maella, Gregorio Farro, Antonio Velaz
quez, Joseph del Castillo, and Andres Calleja.
But their work was eclipsed by the composition
in which the magic brush of the Aragonese
represented San Bernardino de Siena. The saint
is shown with a crucifix in his hand, standing on
a rock, preaching, by the light of a brilliant star,
to the wonder-filled King Alfonso of Aragon and
his court.
Great was the admiration which this picture
won for the artist, but, as was usual in Spain, he
D

50 GOYA
experienced much difficulty in obtaining payment
for his work. In April 1785 we find Goya, Farro,
and Castillo memorialising the Conde de Florida
Blanca for pecuniary acknowledgment of their
labours, explaining that they had each spent two
years in making sketches and studies and in the
execution of their several pictures, and pointing
out that they are obliged to gain their livelihood
with their work and 'have no income or assist
ance, like others who have the good fortune
to serve his Majesty.' This memorial was
despatched with a covering letter from Antonio
Ponz, who emphasises the fact that the painters
are in need, and hopes that their request will
be complied with, ' in order that these poor men
may not lose heart and that reward shall hearten
them to fresh work.' Three months late Florida
Blanca arranged with the general directors at
the post-office to hand the artists ' six thousand
reals for the present until something else is
arranged.' This payment is duly noted on the
memorial, and a later marginal order, presum
ably in the Count's handwriting, reads : ' Pay
another 4000 reals to each, although the pictures
are nothing wonderful, but theirs are the best.'
This grudging eulogy was in striking contrast
with the enthusiastic praise bestowed upon

GOYA 51
Goya's pictures for the Salamanca College by
the Consejo de las Ordenes, who instructed Jove-
Llanos to assure the artist that he was ' singu
larly satisfied with the care and diligence with
which he had finished the paintings and with
their eminent merit.'
In the year of his return to Madrid Goya's
father died, and the painter sent for his mother
and his brother Camilo to join him. He obtained
for Camilo a chaplainship at Chinchon, but his
mother soon wearied of the unaccustomed noise
and bustle of the city and retired to Zaragoza,
where she lived on a pension of five reals per
diem provided by Goya. The artist at this time
may have found some difficulty in providing for
his household ; for his family, if not long-lived, ,
was numerous, but it is unlikely that he ever felt
the pinch of poverty. We can well believe that
he was insistent in obtaining the reward of his
labours, especially when he was working for
princes who, in his view, were living a life of
gilded pauperism, and the stress which Ponz
lays upon the needs of these ' poor men ' is far
removed from the attitude assumed by Goya.
In the letter, in which he applies for payment,
he does not plead for a dole in relief of his
poverty, but demands the remuneration which

52 GOYA
is justly due to him. This is the only recorded
instance of his being in financial straits. From
this time his career is one of eventful and inter
rupted but assured success. Fame and fortune
attended him on either hand. In 1785 Andreas
Calleja died, and Goya succeeded him as deputy
director of the Academy of San Fernando, with
an annual salary of twenty-five doubloons. Four
years later, on the death of Cornelio van der
Goten, Charles IV., who had just succeeded his
father Charles III., appointed him a Painter of
the Chamber, with a salary of 15,000 reals, which
was increased in 1799 to 50,000 reals a year, with
the rank of first painter to the King.
In this period of his greatest prosperity, Goya
was courted not only for the sake of his art,
but also for his personal qualities. He was
popular with men, while women eagerly con
tended for his favour. A revolutionary, he
became the friend of the King, while the Queen
and the Countess of Benavente delighted in his
companionship. He went from palace to palace
and from fele to f6te, observing, working, study
ing, revelling in the life by which he was sur
rounded and in which he played a full part.
This lover of freedom could breathe in an
atmosphere of corruption ; this son of the soil

GOYA 53
could play the courtier with a will. ' If we are
to understand his genius rightly,' says C. Gas
quoine Hartley, in A Record of Spanish Paint
ing, 'all contradictions are solved when we
realise that he was an onlooker at, rather
than an operator in, many incidents of his
life.' This half-hearted attempt to condone
the irregularity of his life at this period is at
variance both ' with what we know of Goya's
temperament and with the facts. He was an
actor as well as an interpreter of the scenes which
he represents, and many of his pictures, which
are regarded as biting satires of the follies and
vice of his age, are quite as plausibly explained
as the expression of personal animus and party
feeling. Certain people have discovered in Goya
a moralist after the style of Hogarth, using his
brush in the sacred cause of morality, to expose
the vices of his time, laying bare the baseness of
his contemporaries in order to inspire contempt
and horror of their conduct, stigmatising the
habits of the court of Charles IV, and castigat
ing the hypocrisy, ignorance, and immodesty of
the men and women who surrounded the royal
family. But while in the later works of his
mature age he employed his brush and needle
to this purpose, it is more probable, as Lafond

54 GOYA
concludes, that under Charles IV. and Maria
Luisa, Goya drew and engraved, as La Fontaine
wrote his fables: for the pleasure of producing
them, from the necessity of multiplying them,
not troubling himself about questions of morality
or of the lessons which his pictures should teach.
' The truth is,' says his French biographer, ' that,
mixed up in the intrigues of the Court and in
volved in personal quarrels, he takes the part
now of one, now of another, using his pen to
scratch his adversaries of to-day who are his
allies to-morrow.' In all his works he imbued
the subject with the quality of his thought as
well as with the charm of his colour and the
skill _of his draughtmanship. Of all the artists
of his class, says the Boletin de la Sociedad
EspaMola de Excursiones, none put into their
studies more meaning and personal opinion. If
he painted a scene he attached to it a proverb
or a significant ejaculation ; if he produced a
portrait he left upon the likeness his opinion of
his model ; if in many cases it amounted to a
positive caricature, he could no more help seeing
his subject in that guise than his subject could
avoid so appearing to the artist.
With regard to Goya's personal life at this
period it is not necessary to say much, but it

GOYA 55
would seem to have been consistent with our
knowledge of him and of his surroundings.
Lafond reminds us that his wife bore him twenty
children and continued to love him in spite
of his endless infidelities. Mr. Rotherstein de
clares that while it would be idle to pretend
that he was faithful to his wife, it is undeniable
that he was deeply attached to her during her
lifetime. With the single exception of his
devotion to the unfortunate Duchess of Alba,-
says the same writer, his intrigues seem to have
been as much caprices on the part of his sitters
as his own. But these caprices were, as it has
been said, endless. ' We have only to look at
the master's self-portrait,' writes Richard Muther,
' at this man with the bull-neck and full, sensual
lips, to understand that the countless stories
which got about on the subject of his relations
with the women of high society in Madrid were
not all inventions of the fancy. Goya must have
been a terror to all their husbands. In all the
most aristocratic salons the women were at his
feet ; and perhaps they appreciated the differ
ence between this sturdy man of the people and
their decadent lords and masters. In a word,
Goya at this time not only painted Rococo, but
lived himself to its full the wild passionate life

56 GOYA
of that Rococo period.' And again, in the
Boletin de la Sociedad EspaMola de Excursiones,
we get the shrewd and common-sense conclusion
that ' Goya was a man of his age. He neither
aspired to the category of an ascetic nor opposed-
the customs and tendencies of his time, and his
age being one of transition, without fixed prin
ciples, he accommodated himself to its duties
and its weaknesses, never for a moment failing in
his domestic obligations, yet not refusing those
outside favours that presented themselves to him.,-'
It would have been strange indeed if Goya
had resisted the temptations by which he was
surrounded ; it is remarkable under the circum
stances that he remained unspoiled. The King,
as we have seen, was his friend, the Queen con
fided to him her most delicate secrets, the all-
powerful Prince de la Pax made him welcome
at Aranjuez, and the most distinguished women
of the day delighted in entertaining him. Writ
ing to his friend Zapater about his success at
this period, he said : ' I had established for
myself an enviable mode of life ; I no longer
danced attendance in an ante-chamber; if any
body wanted anything of mine he had to come to
me. I was much sought after, but if it was not
anybody in a high position, or to oblige a friend,

GOYA 57
I worked for none.' He was a privileged guest
at the palaces of the Marchioness of Santa Cruz
and of San Carlos ; Brunetti and the Countess
of Benavente f£ted him. His relations with
the beautiful and vivacious Duchess of Alba are
too well known to call for more than a passing
mention. The artist painted at least a dozen
portraits of the Duchess, in one of which he
presents himself in company with his inamorata.
He introduced her piquant features into the
frescoes of San Antonio de la Florida. She is
the model for the nude and clothed Maja which
hang in the Prado Museum. Tradition has it
that the clothed Maja was painted to meet the
wishes of the Duke, who expressed a desire to
inspect the master's work. The story is almost
comical to any one who has stood in front of
the two pictures. Nothing but the most con
ventional views upon the subject of the nude
could make the naked study more offensive in
the eyes of a husband than the one in which
the young woman, ' naked in spite of her dress,'
appears to challenge the continence of all the
St. Anthonys of Christendom.
Of these pictures Mr. Charles Ricketts writes in
an illuminating chapter on The Masterpieces of
the Prado : ' Goya's two pictures are still vivacious

58 GOYA
and fresh. In " La Maja," a nude, he has painted
the sensuous waist, the frail arms, the dainty
head of the Duchess thrown upon pillows,
contrasting in their gray whiteness with the
gleam upon her flesh. In the other we note the
same grace of pose, a more summary workman
ship, touches of colour — too many perhaps. The
Duchess of Alba (La Maja) reclines on her
divan in her rich bolero and white duck trousers
of a toreador or Spanish dandy. We pause, we
are astonished and charmed ; we wonder how
such a thing was possible. Her beauty and
daring live on the two canvases ; this one
scandal in the nineteenth century has endowed
the world with those pictures, and they are now
in the Prado. So ends the adventure.1
The scandal which associated Goya's name
with that of the Duchess of Alba, fanned, it may
be suspected, by the jealousy of the Countess of
Benavente, could not be concealed, and by
the order of Maria Luisa, the Duchess was
banished in 1795 to the seclusion of her estate
at San Lucar. The painter immediately obtained
from the King a prolonged leave of absence and
accompanied her into exile. On the journey to
San Lucar an accident happened to their carriage,
and Goya with his characteristic energy set to

GOYA 59
work to repair the defect. An iron bar belong
ing to the coach was buckled ; a fire had to be
lighted and the iron made straight. The heat
and the unwonted exertion which the operation
entailed was followed by a chill, and from this
chill resulted the deafness which, in later years,
became complete. The Duchess was recalled
in the following year — this exercise of royal
clemency being apparently the only means of
securing' the return of the painter to Madrid —
and died in the same year in the fullness of her
exquisite and inspiring beauty.
The period of Goya's greatest popularity
(1780- 1 800) was the period of his greatest
activity. ; He was high in the favour of the
Court. Much of his time was absorbed in
painting portraits of his royal and aristocratic
patrons. At the same time he never lost touch
with the commonalty, nor his powers to depict,
with sympathy and understanding, the life of
the country — the bustling, laughing, loving,
wrangling, vibrating life he loved and to which,
by birth and temperament, he belonged. It is
probable that he was never a courtier at heart.
His effrontery and uncompromising independence,
combined with incisive wit and physical strength,
made him at once a singular and incongruous

60 GOYA
but popular figure in the Court circles, while his
frank camaraderie and his amazing prowess in the
national games and feats of strength, and above
all, the boldness and skill of his demeanour in
the bull-ring — in which he is said to have been
the equal of the professional espada — won for
him the enthusiastic admiration of the hero-
worshipping people of Madrid. He seems to have
been at no pains to disguise the real bent of his
nature. The story runs that he would frequently
leave the royal palace to pass the night in the
most disreputable taverns and bodegas in the
suburbs of Madrid, drinking, dicing, and merry
making with the night-birds of the capital.
But Goya's artistic output showed no signs of
falling off either in quality or amount, and his
marvellous rapidity of workmanship enabled
him to produce an almost incredible number of
canvases. In a biography and review of this
size and scope it is not possible to present a
leisured review of his pictures. We must be
content with a brief notice of the more important
among them, but the illustrations at the end of
the volume which are produced in such wealth,
and which constitute the chief interest of this
book, will speak more eloquently than words. Of
Goya's methods of painting many stories are

GOYA 6jU
told, from which it might be concluded that he
employed for the purpose every instrument known
to art with the solitary exception of a brush.
Gautier, who declared his mode to be as eccentric
as his talent, has exhausted all the facts and
legends relating to his brush-work (if so it can
be called) in the following vivacious descriptive
passage : ' He kept his colours in tubs, and
applied them to the canvas by means of sponges,
brooms, rags, and everything that happened to
be within his reach. He put on his tones with
a trowel, as it were, exactly like so much niortar,
and painted touches of sentiment with large
daubs of his thumb. From the fact of his work
ing in this offhand and expeditious manner, he
would cover some thirty feet of wall in a couple
of days. This method certainly appears some
what to exceed even the licence accorded to the
most impetuous and fiery genius ; the most
dashing painters are but children compared to
him. He executed, with a spoon for a brush,
a painting of the " Dos de Mayo," where some
French troops are shooting a number of
Spaniards. It is a work of incredible vigour
and fire.'
The vigour and fire which Gautier finds in this
picture is to be observed in varying degree in

62 GOYA
all Goya's works. These qualities were the
results of his temperament, which moved him
to fling his ideas upon the canvas before they
could escape him, and imbued him with a con
stant desire to be rid of them and at work on
something else. ' His whole art,' says Muther,
' seems like a bull-fight ; for everywhere he sees
before him some red rag, and hurls himself upon
it with the fury of the tore' /Nor did his sitters
escape the consequences of his impetuosity.
Many of his portraits were painted in a day,
but the sitting lasted not a few hours merely
but the whole of the day, during which time,
Mr. Rothenstein tells us, ' Goya, inexorable
towards his model, worked in absolute silence
with extraordinary concentration and vigour.'
The same writer relates, as an example of his
nervousness and irritability in his studio, the
story that the Duke of Wellington so exasper
ated Goya while he was painting his portrait
by passing comments upon his work while the
picture was in progress, that he took a sword
from the wall and forced his noble sitter to beat
a retreat from his studio. Other authorities state
that it was with a pair of pistols that he put the
English Duke to flight. After all, the weapon
is not a material point in the story.

GOYA 63
A man who worked at this pressure might be
expected to develop a tendency to scamp his
work, but while many of Goya's compositions are
mere sketches, they are all finished according to
his theory that 'a picture is finished when its
effect is true.' The many compositions Goya
executed for the Countess of Benavente, until
recently at the Alameda Palace, comprised the
most representative exhibition of Goya's genius.
The collection included many pictures painted
with exceptional delicacy. The most important
of these pictures, the Romeria de San Isidro, is a
wonderful canvas containing a mass of details
which astonish by their clearness and finish.
The ' Coach attacked by Brigands ' is one
example among many of his skill in catching
an instantaneous motion and transfixing it upon
the canvas. Among the Alameda paintings are
some repetitions of the designs for the tapestry
factory. The exuberant gaiety in these pictures
is in amazing contrast with the ' San Bernard '
or the terrifying cartoon of 'Saturn devouring
his Children.' /Goya can be simple and bizarre,
idyllic and grotesque, fascinating and appall
ing — his vitality emphasises every facet of his
imagination. The examples of phases of his
many-sided vision are inexhaustible. ' He makes

64 GOYA
demons terrible by their humanity, and men and
women horrible by their diabolical sinisterism.
He paints you a f£te or a funeral, a picnic or a
hanging, with the same facility and artistic
assurance ; be the mood he would portray gay
or gloomy, the scene brilliant or shuddersome,
the beauty that of a child, a blushing maiden or
a dazzling Maja, he never hesitates; nor does he
often come short of success.
In his portraits he is a realist — versatile, vivid,
often unflinching in his brutality, unsurpassed,
when he wills it, in perfection of treatment and
intention. His finish is the fulfilment of his
purpose, which has nothing in common with
finish in the sense of elaboration. True, many
of his likenesses are ' washed in with a certain
impatience, almost as if the painter had tired of
his subject ' (C. Gasquoine Hartley, in A Record
of Spanish Painting); true again, the restlessness
of his temperament made him inclined to seize
on a characteristic rendering of pose and feature :
but his portraits reflect the idea in his mind ; they
express the always very definite something he
has to say; the effect is true and the picture is
finished. It was his method to arrange his
canvas, his model and all his accessories, and then
remain wrapped in profound reflection. When

GOYA 65
his study of his model was ended he set to
work, either to materialise his inspiration in a
swift realisation of a personality, or to produce
a suave, lingering piece of workmanship which
recalls the refinement of Gainsborough in its
elaborate, exquisite detail.
Goya, by virtue of his portraits, has been
rightly acclaimed the legitimate descendant of
Velazquez, and, like the great Court painter of
a previous century, he is a magnificent excep
tion. But the comparison between the two
masters cannot be pushed too far. Velazquez
was a realist to whom the world appeared
as a beautiful vision ; Goya was a realist to
whom life was always a drama and not in
frequently a satiric melodrama played in the
tempo of a farce. Velazquez depicted men and
women at their noblest ; Goya, when he was
in the mood, detected the worst that was in
them and he exposed it with a flourish. The
grandeur of the times which we discern in the
portraits of Velazquez is the grandeur of the
artist's conception and treatment. / The eques
trian effigies of Philip III. and Philip IV. reveal
the magnificence and nobility of conscious king
ship which neither of the monarchs possessed ;
the royal likenesses convey to us a prosperity
E

66 GOYA
which impoverished Spain did not enjoy under
the rule of his kingly sitters. Thus it is curious to
find that some critics, but particularly the Conde
de la Viflaza, should see in Goya's work a similar
determination to idealise and glorify the charac
ters of his royal patrons. ' The celebrated canvas
of the family of Charles TV.,' writes Goya's latest
Spanish biographer, ' together with the equestrian
portraits' — the composition of which, as Mr.
Rothenstein reminds us, he may well have
learned from Velazquez — 'of Maria Luisa and*
her husband, of Ferdinand vii. and Godoy,
show forth a grandeur of mind and intellec
tual and moral qualities which these people
did not possess. The Godoy represented by
Goya as though he were a sort of Marquis de
Pescara, although he never wore his uniform
except at sham fights, recalls the fact that
Velazquez also, flattering the ridiculous vanity
of the Count-Duke of Olivarez, painted his
portrait in a suit which was not his own.
Goya painted moral life hyperbolically idealised
in his effigies of the kings, because he was
painter to the Household and protected by the
Crown and the Court, although he was rather
the protector of his protectors. In all the
other portraits of statesmen, politicians, literati,

GOYA - 67
scientific men, actors, bull-fighters, priests and
artists, Goya harmonised exactly the body and
the mind. How marvellously he caught the faces
of the men of great minds! How beautifully
the moral and intellectual qualities of the person
represented are shown ! '
A second and more cautious reading of the
foregoing passage was required to convince us
that it was written without sarcasm, and was
meant to express a sober estimate of the
qualities which the writer discovered in the
pictures referred to. Personal taste, as we have
remarked elsewhere, counts for much in the
whole field of art, and in the opinion which is
quoted the Conde de la Viflaza has the field
practically to himself. Nearly all Goya's critics
and admirers are united in their appreci
ation of the merciless and remorseless frank
ness, the pitiless satire, the mocking, saturnine
faithfulness of the likenesses. Sir William
Stirling-Maxwell misses the point of the eques
trian portrait of Charles IV. when he remarks
that ' the poor imbecile king, in the blue uniform
and cocked hat of a colonel of the guards,
mounted on a sober brown charger,' is 'an
example of the dignity which may be conferred,
by a skilful hand, on the most ordinary features

68 GOYA
and expression, without sacrificing the resem
blance.' But who beside Viflaza and Stirling-
Maxwell could detect anything but a burlesque
of kingly dignity in this grandly-uniformed,
coarsely-made and coarse-faced Bourbon who
sits 'asthmatic and fat, upon his fat asthmatic
horse, with his fat asthmatic dog' — a study
which moves a German critic to remark, ' How
like a Moloch he appears, an evil god who has
battened upon the life-blood of his people.'
The portraits of his sensuous, passion-ridden
queen are equally fearless, true even to brutality.
Maria Luisa was a courtdsan seated upon the
throne of Spain. Velazquez, it has been wisely
said, redeemed the face of Mariana of Austria
in his portrait by making her unapproachable
icy pride the keynote in his composition. Goya
extenuates nothing. He shows the queen, dicol-
lete"e to vulgarity in her insolently vulgar gown,
with gleaming arms and bosom exposed as a
snare, which is watched over by the greedy, hawk
like eyes. It is the woman she was, the 'woman
who loved men better perhaps than she was
loved by them,' the courtesan that the artist
knew and flattered and despised. Of the picture
of the ' Family of Charles iv.,' with its fourteen
life-size figures, it has been written that it

GOYA 69
' mirrors the hidden merriment with which Goya
recorded the Court history.' Here is a faithful
exposition of Goya's estimate of the Spanish
royal family ; an estimate which has never been
so remorselessly expressed by any other de
lineator of royal groups. They are depicted in
their resplendent uniforms " and rich gowns,
they have all the dignity that is derived from
gorgeous trappings, but Goya has not spared
them, or us, a tittle of their pitiful stupidity,
their coarse insolence, their mental and moral
degeneracy. ' The heads are admirably painted,
as Gautier admitted, ' and are full of life, delicacy
and intelligence ' ; but the French critic's general
verdict upon the group represented is his best
tribute to the genius of the painter ; — ' a grocer's
family who have won the big lottery prize.'
The more closely one studies these royal
portraits the more one becomes convinced of
their truth. To-day they remain' as real to us as
the sympathetic, Velazquezesque likenesses of
the painter Bayeu in the Prado, or of Dr. Peral
in the National Gallery. It is almost impossible
for any one to be in a position to award the palm
for supreme excellence among Goya's portraits,
for besides being so numerous, they are widely
distributed among the aristocratic families of

70 GOYA
Spain, and many are practically inaccessible to
the student. There are fewer than two dozen
of his portraits in the Prado, only two in the
National Gallery, and one in the Louvre. Few
people are familiar with more than a certain
number of his portraits. For this reason there
are many different opinions as to the compara
tive merit of his pictures, but the individual
opinions all constitute a remarkable tribute to
the painter's genius in catching the likeness and
reflecting the character of his subjects.
Of the portrait of Villanueva, Seflor Caveda
writes that ' it not only faithfully represents the
features of the famous architect and the ex
pression of him as a whole, but reveals in him
the goodness of soul that animates him, and
the noble simplicity of character which is so
skilfully transmitted in all Goya's impressions.'
Seflor Mariano Nonqu6s, referring to the portrait
of Moratin, now in the possession of Don F.
Silvela, declares that 'it may rightly be said
without any appearance of exaggeration that this
effigy is painted with the mind and with a
spontaneity which is clearly seen, since there
is nothing in it that reveals difficulty in the
work, or any preconceived idea of imitating any
other painter in its execution,' and he adds that,

GOYA 71
by reason of the individuality it discloses, it
should be considered one of the best likenesses
painted by Goya. According to the painter
Carlos Luis de Ribera, the genius of ' La Tirana '
may be seen in the head of the portrait of the
distinguished actress, Rosario Fernandez. ' In
it, as in all his (Goya's) works,' says this authority,
* there is that air of truth which so few painters
have attained ; there is brilliancy and freshness
without pretension or exaggeration, the model is
simple and convenient, and while it makes no
show of strength it is not weak. Its execution
springs as much from sentiment as that of all
his canvases, because it was never sought after
by Goya, but was the consequence and result
of his spontaneity and intuition.' Again, of his
portrait of Jose" Luis Munarriz, the eminent critic,
Don Francisco Maria Tubina, writes : ' There
is something on the canvas in addition to per
fection in the technique, the beautiful develop
ment of the subject and the exact likeness ; the
immaterial part must be recognised and appre
ciated — the inner vigour Goya gives the character,
which illumines the features with the glow ofthe
soul. Munarriz is represented to us in the picture
as the fancy imagines him, as we see him in his
biography, ingenious and lively in thought, dis-

72 GOYA
tinguished in form, kind and firm in tempera
ment, prudent in judgment, and with a mind
always directed upon things which elevate and
ennoble. Munarriz the literary man,' he says in
conclusion, ' is the Munarriz of the picture, the
one being explained by the other.' And read,
also, what the Boletin de la Sociedad Espafiola de
Excursiones contains concerning the two portraits
of Dona Antonia de Zarate, now in the possession
of Senora Vinda de Albacete : ' But where Goya
shows the most exquisite sensibility and profound
psychology is in these two portraits of one person,
in which he incorporates the whole story of a
dreamer swayed in life and death by the highest
ideals, a woman of a race of poets and artists,
Antonia de Zarate. Though in the first portrait
he represented her smiling and in perfect health,
in the second he knew her existence was under
mined by a treacherous disease which was to cause
her death. Never have we felt more deeply the
impression of pathos than before this presentment
of a soul rather than a person, before this face
enveloped in transparent veils, with life showing
in the eyes, and in that life a melancholy realisation
of approaching death.'
Goya's portraits, as we have said, are so numer
ous that it is only possible to deal here with a

GOYA 73
brief selection of them. In his large and varied
gallery he displays so much versatility that it
appears impossible that they could all have been
conceived by the same mind and painted by the
same hand. His treatment is alternately rough
to the verge of violence and as smooth as the
work of a miniaturist ; his tones are crude and
heavy or luminous and glowing, as the sitter
appeals to his mind ; he makes his queen a con
fessed harlot and his little grandson the incar
nation of dainty boyhood. The portrait of his
wife, now in the Prado, is a work of the highest
excellence, so are the beautiful representations of
the Duchess of Alba, the vivid impression of
Asensi, the delicious portrait of the Marquesa
de Pontejos, the Gainsboroughesque study of
the Conde de Florida Blanca, the equestrian
painting of General Palafox, the dashing, almost
contemptuously vivid likeness of Godoy, the
striking portrait of Guillemardet so enthusiastic
ally eulogised by M. Leon Legrange (Gazette des
Beaux-Arts), and those of the Duke of Osuna, of
Felix Col6n, Jove-Llanos and Ventura Rodriguez,
of Martincho and Romero, the bull-fighters, of
Pignatelly, General Urrutia, of the royal children,
and of himself, painted when still young- -each
portrait bears the stamp of Goya's genius,

74 GOYA
each expresses an individuality in his individual
style, each is finished because its effect is true.;'
Goya's portrait of the Duke of San Carlos, the
most loyal friend of the son of Maria Luisa, has
won the admiration of many painters and critics.
The head is beautifully painted, the posing is
natural and graceful, the figure lives and breathes.
For this ' miracle of art,' as Viflaza styles it,
Goya used only a few colours, which he spread
over the canvas with an energetic and grandiose
brush, each stroke being the expression of an
aesthetic thought and the perfection of the
technique of painting. The portrait, 'which
legitimises Goya's descent from Velazquez,' is
said to be like the work of Rembrandt in its
clare-obscure, of Watteau in its correctness, and
of Titian in its delicacy and freshness. But there
is no end to the expressions of admiration which
Goya has inspired. Eduardo Rosales went to
Zaragoza annually to visit Goya's portrait of the
Duke of San Carlos, and on one occasion, when
he had been lifted by a friend that he might
study the face of the portrait, he is reported to
have exclaimed, 'My friend, such painting will
never be seen again.'
In 1798 Goya was intrusted with the decora
tion of the newly built church of San Antonio

GOYA 75
de la Florida, which had sprung into existence in
1720 as a primitive hermitage, had been destroyed
when the El Pardo road was made in 1768, was
re-erected two years later, and in 1792 was
replaced by the present elegant edifice, which was
built at the expense of the royal patrimony, after
the plans of the celebrated architect, Ventura
Rodriguez. The outside of the building is of
good architectural style, the interior is small and
elegant, and well suited to the rank and fashion
which frequented it. The Church was opened
for worship on July 1, 1799, and we read that
' Madrid went wild with excitement at the glory
of Goya's achievement.'
Don Juan de Dios de la Rada y Delgado, who
supplied the text for the volume of aquafortis
engravings of these frescoes which D. Jose" Moria
Galvan y Candela executed in 1897, tells us that
they were wholly in accord with the conditions
of the time. But the sentiment of Mr. Rothen
stein is nearer to the truth when, in speaking of
these frescoes, he says that he can remember
nothing which gave him so clear an idea of
Goya's cynicism. 'Imagine,' he writes, * a
coquettish little church with a white and gold
interior, more like a boudoir than a shrine, but
furnished with altar, and seats, and confessionals.

76 GOYA
One's nostrils expect an odour oifrangipane rather
than incense, and it must be admitted that Goya's
frescoes do not strike a discordant note in this
indecorously holy place.'
The subject of the main composition covers
the cupola, and contains upwards of a hundred
figures considerably over life-size. The picture
illustrates the miracle ascribed to St. Anthony of
Padua, who restored to life the corpse of a
murdered man in order that he might reveal the
name of his assassin and rescue an innocent man
who was about to be executed as the perpetrator
of the crime. The scene is enclosed by a painted
railing which surrounds the entire composition.
We see the saint standing on an eminence against
a luminous background. His life-giving words
have just restored the corpse to consciousness.
The man leans forward, supported in the arms
of a companion, with his hands clasped in an
attitude of profound veneration, his expressive
face looking fixedly upon the saint with a gaze
of surprise and gratitude. The central figures
are surrounded by a motley crowd of men,
women, and children, some of whom express
their astonishment by eloquent gestures, while
others appear indifferent to the miracle that is
being performed, and one or two frolicsome

GOYA 77
boys are seen astride the figured railing. On
the spandrils, the intrados, the curvilineal tri
angles of the arches, and behind the high altar,
are groups of angels and cherubs. The angels
are beautifully clothed and almost wanton in
their human loveliness, the babes are entirely
without the illusion of divine origin. It has
been said that in this composition Goya per
fectly interpreted the spirit of the Church de la
Florida ; certain it is that these angels with ' the
skin of a camellia, eyes of fire, and the beauty
of a harlot,' which move with audacious free
dom of attitude, ' not in pure spheres of blessed
ness, but in an atmosphere of atoms of gold
illuminated by an Asiatic sun, are the strangest
and most beautiful creatures that ever adorned
a consecrated house.'
' The frescoes of la Florida,' comments C. Gas
quoine Hartley, ' are yet another witness of the
truthful humour of Goya's insight, but not one of
his countrymen realised the irreverent irony of
his work.' ' The figures are as full of piquant
intention,' declared Richard Muther, ' as can be
found in the most erotic paintings of Fragonard.
... It is an artistic can-can ; it is Casanova
transferred to colour. All that the Church paint
ing ofthe past had created is despised, forsaken;

78 GOYA
and this satire upon the Church and all its works
was written in the land of Zurbaran, of Murillo.'
The Conde de la Viflaza alludes to Goya as an
artist who painted pictures with religious subjects,
but not religious pictures. ' I do not know,' he
says, ' a more profane master than this Velazquez,
Rembrandt, Vicelli and Veronese rolled into
one.' And he instances his monumental paint
ing at la Florida to illustrate his contention : ' An
admirable energy, the most splendid scale of
tones. What relief! What a magic of colour !
What a beautiful lesson the light of nature re
ceives there ! On the other hand, what lack of
religious feeling and spirituality in those frescoes ! '
And having denounced in the angels the silkiness
of their skins, the brilliance of their eyes, and
the wantonness of their beauty, he adds, ' the
miracles of the exemplary man of Padua are
familiarly treated as a spectacle of wandering
rope-dancers might be ! '
It has been said that the King was incensed
against the artist for introducing renowned ladies
of his court in the faces of the winged arch
angels, and it is generally believed that the
most aristocratic persons of the capital are
represented in the frescoes, but if Charles IV.
resented his choice of models, he had a most

GOYA 79
amiable way of expressing his displeasure.
Goya himself, writing to Zapater, admitted that
' the King and Queen are mad on your friend
Goya,' but the madness took the form of a royal
order, dated October 31, 1799, which reads: ' H.M.
wishing to reward your distinguished merit and
to give in person a testimony that may serve as
a stimulus to all professors, of how much he
appreciates your talent and knowledge of the
noble art of painting, has been pleased to appoint
you his chief painter of the Chamber, at a yearly
salary of 50,000 reals, which you will receive from
this date free of rights, and also 500 ducats a year
for a carriage : and it is also his pleasure that you
occupy the house now inhabited by Don Mariano
Maella should he die first,' etc.
Certainly the frescoes in his own day were
extolled as the most important work ever done
by Goya's marvellous brush; he closed the
eighteenth century with creations that won for
him his greatest contemporary fame and raised
him to the summit of his art. If nothing could
be further removed from religious inspiration,
nothing human could reveal more enchanting
beauty, more exquisite grace. These frescoes
were praised as ' an inimitable symphony of light
and colour.' It is not in our province either to

80 GOYA
accept or to refute the claim that 'they raise
the most common things of Goya's time to
the high spheres of Spanish mystic realism.'
Goya's contemporaries did not realise that the
paintings outraged the canons of propriety and
probability, and in later times Seflor Rada finds
that the painter, in this work, rises always to the
regions of mystery, where only genius can pene
trate, and responds to the peculiar influence of
a temple which seems rather to inspire loving
human aspirations, than mystic- thoughts of
infinite abstraction. 'Apart from the fact that
Goya was a believer and respectful to all that
pertained to religion,' urges Seflor Rada, ' in the
principal subject of this painting (the " Cupola ")
he is as manifestly mystic and delicate as any
painter of the spiritual school. In the central
group the risen man partakes of both realism and
religious unction. The expression could not be
better, nor could the attitude of the saint be
more dignified. Apart from this in the other
groups, he copied what he was wont to observe
in popular gatherings, as he saw it, as it was,
as it always will be.'
Goya's Spanish apologists may well be justi
fied in their contention that his originality
forced him to disregard the classic rules and

GOYA • 8 1
mannerism of traditional Spanish religious art.
They see no impropriety or extravagance in
surrounding the figure of a revered saint with a
crowd of roysterers, prostitutes, cut-purses and
Manzanares rascals. And, after all, the point is
scarcely worth arguing. Again, when it is pro
tested that Goya's archangels and seraphim were
rather beautiful women than angelic spirits —
well ! what better conception could there be
of angels than the perfections of a charming
woman? That is Seflor Rada's retort: 'The
naturalist Goya, surrounded by the seductive
beauty of his time, could not conceive or even
presume that the chosen beings who sing eternal
praises in the ethereal regions of celestial glory
were any different. More in accord doubtless,
with our pious traditions and with Christian
spiritual belief are the glories of Juan de Juanes
and Murillo ; but each artist has his peculiar
temperament as well as his special gamut of
colour, and to ask Goya to paint angels like
those gre-at Christian artists would be the same
as asking the painters of a previous epoch to
paint pictures of popular scenes like Goya's.'
The logic of the foregoing is presumably sound,
although the conclusion seems to us to support
those who contend that Goya's temperament
F

82 • GOYA
rendered him an unsuitable person to translate
religious episodes into colour. We remember,
as Seflors Rada and Pedro de Madrazo assert,
that Goya was 'a believer' and 'respectful in
everything pertaining to religion,' and we recall
also that in their joint will the painter and
his wife describe themselves as 'firmly believ
ing and confessing the mystery of the Holy
Trinity . . . and all other mysteries and sacra
ments, believed and confessed by our Holy Roman
Catholic Apostolic Mother Church, in whose true
faith and belief we have lived.' But we cannot,
at the same time, forget that Goya's detestation
of the priesthood was violent and unresting. If
he caught the spirit of ecstasy in his picture of
San Jose" de Calasanz receiving the Host at the
hands of a priest, he also painted a representa
tion of Santas Justa and Rufina. This picture
has been described as the most profane and in
appropriate work of the Aragonese genius. It is
stated that he selected as his models a pair of
well-known cocottes of Madrid, giving, it is said,
the caustic, uncanonical explanation, ' I will
cause the faithful to worship vice ! ' Goya may
have called himself an orthodox conformer to
the national church, but his contempt for his
ecclesiastical patrons and those who practised the

GOYA 83
devotions which he mechanically professed, is
avowed. But apart from their religious significance, or
their lack of it, these frescoes of the Church of
San Antonio de la Florida reveal Goya at his best
as a daring draughtsman and fine colourist. The
energy, the spontaneity, the light and the relief,
the magic of his paint — all are revealed in this
work, which occupied him only three months.
And what better proof could one desire of the
truth of his own contention :.' In nature colour .
exists no more than line — there is only light and
shade.' Goya knew how to produce abundant
life with simply white lead, the black of smoke,
green and vermillion. Richness of colour does
not consist in an infinite variety of tints, but in
the harmonious variety of tones and in the skil
ful selection of the key in which the picture
is painted. Here Goya surpassed himself in
the effect he produced with a palette that was
severe in its simplicity, but the processes
employed by the master to obtain his wonder
fully vivid and charming tones were so varied
that they cannot be exactly determined./ Of the
result, Paul Lafond writes, it is 'as true as
Velazquez, as energetic and as light as Rembrandt,
as delicate as Titian, as spiritual as Tiepolo, with

84 GOYA
infinite perspectives like those of Tiepolo and
Veronese, and as refined as Watteau.'
The painting of the frescoes of San Antonio
de la Florida won for Goya, as we have seen, the
coveted office of first painter to the Court. It
was at this same time he began to paint less and
to take up the needle as a new force of expres
sion. His first work was the series of designs
known as ' Los Caprichos ' in which the spectator
is transported into some ' unheard of, impossible,
but still real world' — a world peopled with
dapper majas, handsome hidalgos, hideous old
men and hags more horrible than the witch of
Endor, gluttonous priests, spectres and sorceresses,
devils and desperadoes and 'corpses, all the
myriad diabolical and terrifying shapes and
phantasies in which Goya set down his vision
of humanity. The origin, the inspiration and
the object of these etchings are still matters of
speculation. It is generally agreed that the
painter executed the first drafts for these plates
after his return from San Lucar. His deafness ¦
aggravated by a serious illness, from which he
made a slow and painful recovery, obliged him
to give up the fatiguing work with palette and
brush, and it may well be that he, whose spirit
never rested and whose hand was never idle,

GOYA 85
fell into a habit of preserving his impressions on
paper in order to distract his tormented imagina
tion from brooding over his sufferings. It was
at a later date that he transferred these drawings
on to the copper plates. It may be reasonable
to assume, as some have done, that the part of
philosopher which he had developed leisurely
during his days at Court, as well as the vein of
moralist and castigator of vice, was quickened in
him by satiety and physical pain. The Conde
de la Viflaza appears to believe that Goya
suddenly awakened to his power as a carica
turist, and that, irritated at the moral ugliness of
his contemporaries, and at the vile coterie which
surrounded the- King and Queen, he began
to inveigh unflinchingly against lasciviousness,
covetousness, rapacity, hypocrisy, and ignorance,
against the court parasite and the court harlot,
the miser and the monk, the women who sold
their daughters and the monsters who bought
them, against insolent pomp, ecclesiastical rot
tenness and venal stupidity. Yet probably the
view of Gautier is nearer the truth. He assumes
that the now popular painter was ' merely pro
ducing so many capricious sketches, when he
was in truth drawing the portrait and writing the
history of Spain of former days, under the belief '

86 GOYA
that he was serving the ideas and creed of
modern times. His caricatures will soon be
looked upon in the light of historical monu
ments.' Extraordinary as these pictures are by reason
of their fancy, their beauty, their saturnine wit,
their 'Gargantuan spirit,' as well as by the
technical skill and originality they display, they
are even more extraordinary by reason of the
favour with which they were at first received by
the people against whom they were directed.
At first the plates were issued separately and
were passed from hand to hand among the etcher's
friends. But in 1799, probably the year in which
the series was completed, a prospectus was issued,
advertising the publication of an edition of seventy-.
two plates. Goya, for unknown reasons, objected
to this edition, and the issue was never made.
In the meantime the satire of these tumultuous
cartoons was discovered by the objects of his
ridicule. Godoy, the old Duchess of Benavente,
the Queen's favourites, were the first to be
identified, then effigies of the Queen herself and
her illustrious lord were recognised upon the
plates. The scandal of these allusions aroused
an outburst of indignation, instigated, in great
measure, by the caricatured and crucified" clergy.

GOYA 87
The office of the Inquisition was moved to take
action, and Goya's popularity and influence were
powerless to avert the inevitable catastrophe.
Rescue came from the most unexpected quarter.
In 1803 the King caused an edition of 240 copies
of 80 plates, which had already been printed,
as well as the plates themselves, to be acquired
by the state, with an order that he had
commanded their publication.
It is difficult to account for this splendid action
from such a King as Charles IV. Was he so
impressed by the merits of these etchings that he
was prompted to rescue them from the Inquisition
in the interests of art — a magnanimity of spirit
' of which his character gives no promise ' ?
Probably he was merely insensible to the satire
of the pictures. The ' Caprichos ' were dedicated
to the monarch by the artist — a subtle jest on the
stupidity of the King, who, Muther concludes,
' was not even in a position to grasp the meaning
of the plates.' We learn that Charles remunerated
Goya by granting his son a pension of 1 2,000 reals.
A reproduction of the letter from the painter
referring to this arrangement is as follows : —

88

GOYA

£z, O&rf^u, <)&&. 0&vt~ <£'•?***} Co, -
ynano, Ci*s JU& ^^A-^^i^c <*?«*_>
/% CiZcoprcifi^. Off*. &J fcvrtifn*
Qf£vy -*»**y <****<*****¦&* Jr. &*.J><*i

GOYA 89

&.a^ TS>*41* Ca*r*vts -»*t"*_. ^M-tf/4-^
-__[.^«»'A«y»iAt Jki. G***^*^, „^
*r~*r«r, f^^U, <?rj^s y
V£ *ff «•*"«• «<^~'^^e. .*«-»__,
2»«j ^«. •» y*y~H»t*~A^is, 'At, at.
fV*J
TRANSLATION
Your Excellency, — I am in receipt of H.M. Royal
Order which your excellency communicated to me on

90 GOYA
the 6th inst., accepting the offer of my work, the
caprices on eighty copper plates engraved with aqua
fortis by my hand, which I will hand to the Royal
Calcografia with the lot of prints which I had printed
by way of precaution amounting to 240 copies of 80
prints each copy, in order not to defraud H.M. in the
least and for my own satisfaction as to my mode of
procedure. I am very grateful for the pension of twelve thousand
reals which H.M. has been pleased to concede to my
son, for which I give my best thanks to H.M. and to
your excellency.
Your excellency has not replied to a letter of mine,
in which I said that the portraits were finished, and
also the copy of your excellency's by Esteve which only
lacked the inscription for which he has asked me
several times. I also suggested that if your excellency
approved I would get the frames made for the originals
and would myself go and put them where your excel
lency might order, so that you might have the pleasure
of finding them in their places.
I only desire your excellency's orders and that you
keep well. May God preserve your excellency's valu
able life for many years. — Madrid, October 9, 1803. —
Your excellency's obedient and grateful servant,
Francisco de Goya.
To his Excellency Senor Don Miguel Cayetano Soler.

The technical excellence of the Caprichos makes
them comparable with those of Rembrandt, while

GOYA 91
in their meaning and character they may be
likened to the work of Daumier. There are
the peculiar qualities of Goya's etching, which
recall the truth and naturalness of Fernando
Boll, the movement and life of Lievens and
Konninck, and the expression and charm of Von
Vliet ? These artists, whose best individual
qualities are all combined in Goya, were pupils
of Rembrandt. ' Only Hokusai,' writes Mr.
Rothenstein, 'was capable of such monstrous
gaiety, such stinging satire, and he alone could
have lent probability to such monstrous phantasy ;
Hogarth was too sermonising, Rowlandson too
rollicking ; a certain diabolical side of his nature,
which Goya allowed to be seen both in the
" Caprichos " and " The Disasters," has probably
prevented his etchings gaining a footing in
England.' Certain it is that Goya's prints are
rarely to be met with in this country — a fact that
caused the writer of this book to spare no effort
in order to include in the illustrations, repro
ductions of every etching and lithograph, as
well as of every portrait or picture of Goya's,
of which he could secure an impression.
It is one thing to admire, even to understand,
the technique of the 'Caprichos,' but to under
stand the precise significance of many of the

92 GOYA
plates is almost impossible. Perhaps the titles
printed by Goya beneath the plates are the best
guide to their meaning. The only reward to
be derived from reading ingenious meanings
into the prints is the personal interest one finds
in the exercise. The series may be divided
into three classes ; the first are humorous satires
of the foolishness and rottenness of the life of
the period ; the second are scathing assaults
upon the ignorance and greed of the priesthood
and the corruptness of the civic institutions ;
and the last are visions of witches and demons,
which may be classed as pure phantasies. There
is a depth of meaning in every plate, for Goya
reproduces for us in them not only what he
has seen, but what he has felt. The first plate
illustrates a marriage of convenience, and we
are shown the girl-bride being presented to her
hideous suitor by her more hideous mother.
Over and over again we are presented with
this type of the 'complaisant mother,' which
has been described by Thdophile Gautier in
illuminating prose. ' It is impossible' he writes,
'to fancy anything more grotesquely horrible,
more viciously deformed. Each of these frightf
old shrews unites in her own person the uglir.kes
of the seven capital sins ; compared to ther while

GOYA 93
Prince of Darkness himself is pretty. Just fancy
whole ditches and counterscarps of wrinkles ;
eyes like live coals that have been extinguished
in blood ; noses like the neck of an alembic
covered with warts and other excrescences ;
nostrils like those of an hippopotamus rendered
formidable by stiff bristles ; whiskers like a
tiger's; a mouth like the slit in the top of a
money-box, contracted by a horrible and con
vulsive grin; a something between the spider
and the multiped which makes you feel the
same kind of disgust as if you had placed your
foot upon the belly of a toad.' The description
is horrible even as Goya's engravings are horrible,
and as excellently true as the work by which
it was inspired.
It is not possible in the space at our command
to review these ' Caprichos ' in detail, and fortun
ately it is not necessary. The reader can
examine the plates for himself and study their
details. He will remark the skill with which
the engraver endows ' The Garroted Man ' with
its sombre, gruesome tone ; the sense of the
unavailing, despairing effort with which the
ing skeleton in ' And yet they do not go *
tht, ,te ^69) supports the slab of stone which
stan.. inevjtably fall and crush the crouching,

94 GOYA
scarcely human wretches who anticipate their
fate with expressions of such lurid horror. One
can feel the violence of the wind that buffets
the women in 'A Bad Night'; we enter into
the terror of the woman who is employed in
her hideous task in 'Tooth Hunting.' Here
indeed, ' horror confronts us ; corruptness is
imagined with an unapproachable depth of
grotesqueness.' In all the realm of art there
is nothing to compare with the horror and
grotesquerie of these Caprices.
Goya's next work was the thirty-three plates
of ' The Tauromachia.' This series of engravings
was so brilliant in execution and appealed so
strongly in their theme and treatment to the
Spanish national affection for the bull-ring, that
doubtless they would have brought the etcher even
greater contemporary fame than the larger series,
but for some unexplained reason, they were not
publicly issued until after his death and the
death of his only surviving legitimate son. In
the ' Tauromachia ' Goya made less use of
aquatint and aquafortis, and, as in his later
etchings, relied more and more upon the needle
to produce his effects. These scenes of the bull
ring represent the different phases of the combat
and the » surpassing feats of its most famous

GOYA 95
exponents. The ' Caprices ' may appeal more
strongly in some respects, but the drawing in the
plates of the ' Tauromachia ' is extremely light
and facile, and the illusion of vigorous movement
is seen in them all.
In 1803 Goya was fifty-seven years old.
The corruption in high places, against which he
had hurled his darts, was fast driving Spain
into the grasp of the world-power which was
menacing all Europe. Napoleon's ambitious
designs embraced the mastership of the
Peninsula, and he was already maturing his
plans to that end. In 1803 the English and
French were again at war. Napoleon de
manded, under the treaty of St. Ildefonso, that
Spain should declare war against England.
Godoy strove fiercely to resist the will of the
tyrant. Napoleon ordered the dismissal of
Godoy. Spain purchased her neutrality in hard
cash, and Godoy was retained. In 1804 Napoleon
was proclaimed Emperor, and the neutrality of
the Spaniards was reduced tb such a farce
beneath the grinding importunities of the im
perial ally that Pitt declared war against Spain
in December of that year. The battle of
Trafalgar was fought on October 21, 1805, but
before the end of the year Napoleon had entered

96 GOYA
Vienna and won the battle of Austerlitz. Before
the awful menace of his growing power, Godoy
sued for the favour of the conqueror in gold drawn
from the Spanish funds. The Emperor accepted
the money without relaxing his animus against
the despised favourite, who was forced to ap
proach England with proposals for an anti-
French coalition. His overtures were ignored.
The Queen and the King heaped new honours
upon the Prince of the Peace, but his end and that
of his august patrons was near. Ferdinand's
party was working the country into a ferment of
hatred against Godoy, and Napoleon's inflexible
aversion sealed his doom. In 1807 Ferdinand
truckled to the ' Scourge of Europe ' by asking
for a lady of Napoleon's family for a wife, while
Godoy urged upon Napoleon the occupation of
Portugal as a preliminary to the introduction
of French troops into Spain. In October 1807
Portugal proving refractory, Junot and a strong
force encamped on Spanish soil and were made
welcome by the Prince of the Asturias and the
Prince of the Peace, both of whom regarded the
invasion of the French as a friendly move, in
support of their respective interests.
In the same month the Court was stricken by
the exposure of the plot and counterplot planned

GOYA 97
by the rascally favourite and the intriguing Crown
Prince. Godoy was charged by Ferdinand with the
intention of killing the King and his family and
seizing the throne ; Ferdinand was surprised in a
plot which embraced the imprisonment if not the
death of his father. The Prince ofthe Asturias was
placed under arrest, and the King applied to
Napoleon for his advice. Junot marched into
Portugal ; French troops poured into Spain ; the
Portuguese Regent, at the advice of Lord Strang-
ford, transferred his court to Brazil. On March 17,
1 808, the troops, in favour of Ferdinand, prevented
Godoy from leaving Aranguez, and two days later
threw him, bruised and bleeding, at the feet of
the Prince of the Asturias, who gave his father to
understand that, by virtue of the presence in the
capital of his friends the French, he was absolute
master of the situation. Charles IV. signed a
decree which made Ferdinand VII. sovereign of
Spain. A few days later he put his name to a
private withdrawal of his abdication ; and this
document was forwarded to Napoleon, with a
letter offering to conform to whatever the
Emperor might order with regard to him, his
queen, and the Prince of the Peace. Napoleon
came south towards Spain. Ferdinand, who
hastened north to meet him, entered Bayonne to
G

98 GOYA
find himself a prisoner. Charles IV., with Maria
Luisa and Godoy, followed to Bayonne, and
Ferdinand was compelled to restore the crown
to his father, who transferred it to Napoleon.
The cash consideration the King was to receive
for his sovereignty was never paid.
While these base traffickings were occupying
the King and his family, the gallant loyalists of
Madrid had risen against the French and suffered
massacre on the terrible Dos de Mayo. Once
again the country was in arms ; the Spaniards
fought — to instance only the sieges of Zaragoza
and Valencia — with superb valour, but the Junta
continued its servile negotiations with Napoleon,
and Joseph Buonaparte, King of Naples, was
summoned by his brother to rule over Spain.
On July 9, 1808, Joseph 1. set foot in his new
kingdom. On the 17th the French were defeated
in the battle of Baileu, and the victorious
Spanish troops advanced over the Sierra Morena
to Madrid. The new king fled the capital.
Napoleon in person took command of the army
which was to reconquer Spain, and advanced
into the heart of Castile. The left division ofthe
Spanish army was defeated on November 11, the
right was driven into the mountains of Aragon,
the centre was completely crushed at Tudela on

GOYA 99
/November 26. A fortnight later the Emperor
tered Madrid, and Joseph I. was restored to
t throne of Spain.
Goya's position was rendered acutely difficult
these drastic changes. The first painter of
j exiled King, the favourite of his dispersed
courtiers, what could he do in the court of the
hated Joseph Buonaparte ? It may be surmised
that ' the good old Goya,' as Gautier familiarly
styles him, hated the new order of things, but he
was no visionary patriot burning with the fire of
useless sacrifice. His love of country was not love
of Charles IV. or his son ; he loved Spain not less
because Maria Luisa and Godoy were out of it.
And as he asked himself what action he should
take, he saw the Prince of the Asturias submit
himself to the new ruler, and with him Jove-Llanos,
Mazarrado and Urquijo, the Dukes of Fernan
Nunez and del Parque, the Count of Santa
Colonna, the Cardinal of Bourbon — to mention
a few only among the nobles. Goya's com
rades also, the Court painters, Mariano Maella,
Francisco Ramos, and Pablo Racio, acknowledged
the ' intrusive king ' ! Goya hesitated no longer.
He took the oath of allegiance to Joseph I. He
was made a knight of the Legion of Honour.
He painted the usurper's portrait, and some time

ioo GOYA
later accepted, with Napoli and Maella, the com
mission to select from the treasures of the royal
gallery fifty of the most beautiful pictures which
were to be sent to the Louvre.
But though the old order had changed and
Goya had changed with it, his spirit was full
of bitterness. He had witnessed the butchery
and slaughter of the French soldiers ; he hated
the sound of the clanking of the spurs of Murat's
hussars on the pavements of Madrid.
Already he had painted two pictures, the ' Dos
de Mayo' and 'Un Episodio de la Invasion
Francesca.' One has only to study these two
pictures of realised terror, in the Prado, to under-!
stand the painter's hatred of the French and the; !
brooding melancholy which the events of the'f
rising in Madrid had fastened upon his soul and
darkened his life. De Amicis, the Italian
author, writes, with a fine appreciation of the
stirring realism of these works : ' Nothing more
tremendous can be imagined : one can give no
more execrable form to power, nor frightful
aspect to desperation, nor a more ferocious ex
pression to the fury of a fray. In the first one
there is a dark sky, the light of a lantern, a pool
of blood, a pile of bodies, a crowd of men con
demned to death, and a line of French soldiers

GOYA 101
in the act of firing ; in the other are horses with
their veins cut, and horsemen dragged from their
saddles, stabbed, trodden upon, and lacerated.
What faces ! What attitudes ! One seems to
hear the cries and see the blood running : the
veritable scene could not cause more horror.
Goya must have painted these pictures with his
eyes glaring, foam at his mputh, and with the
fury of a demoniac ; it is the last point which
painting can reach before being translated into
action ; having passed that point one throws
away the brush and seizes the dagger ; one must
commit murder in order to do anything more
terrible than those pictures; after those colours,.
comes blood.'
Goya retired to the seclusion of his house out
side the gates of the capital, only opening his
doors to a few old friends, among whom were
Cean Bermudez the art critic, Carnicero the
illustrator of Don Quixote, Castillo the painter,
and Selma the engraver. The old painter had
become completely deaf, and, in these dark days
of change and violence, the bitterness of his
spirit found further expression in the ' Desastres
de la Guerra' — 'the cry of a just soul against
the iniquity of warfare.' With passionate vigour
he depicted the horrors of the French invasion

102 GOYA
and lashed with his satire the barbarities of the
conquerors. The new series was begun in the
year 1810. They reproduce all the sad and
abominable events which had culminated in the
accession of Joseph Bonaparte. Callot, in his
scenes of the barbarities of the Thirty Years'
War, did not attain the fire, the power, or the
purpose of these plates. All the horrors of war
fare and its heroism and the stupidity of war are
depicted here with searching truth. The tech
nique of the plates is unsurpassed. We see
starving men made bestial with terror, dead
bodies stripped and mutilated, women outraged,
and children butchered before the eyes of their
frenzied mothers. And again we are shown the
superb heroism of the women who, armed only
with hatchets and stones, withstood the onslaught
of the dragoons ; we are made to realise the
intrepid loyalty of those men and women who
fought side by side on the terrible Dos de Mayo ;
we witness the masculine daring of the women
who took the match from the hands of the dead
artillerymen and continued to work the guns.
Every phase of warfare, its famine and desola
tion, its hunger and disease, its heroism and its
savagery, are depicted in this impeachment of
Militarism. The utter uselessness of war is em-

GOYA 103
phasised in the haunting echo which runs through
all the plates—' To what end ? ' The wasteful
sacrifice of human lives is forced upon Goya's
audience by an engraving in this series inscribed
with the word ' Nada ' (Nothingness). Gautier in
his rare volume, Travels in Spain (so rare that
I need make no apology for again quoting from
it), writes of this plate : ' Among these drawings
which admit of an easy explanation, there is
one fearfully terrible and mysterious, the mean
ing of which, that we can dimly understand,
fills you with horror and affright. It is a
corpse, half-buried in the earth ; it is support
ing itself on its elbow, and, without looking at
what it is writing, traces with its bony hand,
on a paper placed near it, one word — "No
thingness " — which is alone worth the most
terrible things Dante ever penned. Around its
head, on which there is just enough flesh left to
render it more frightful than a mere skull, flit,
scarcely visible in the darkness of the night, a
number of monstrous spectres, lighted up here
and there by flashes of vivid lightning. A fati
dical hand holds a pair of scales, which are in
the act of turning upside down. Can you con
ceive anything more sinister or more heart
rending ? '

104 GOYA
The ' Disasters ' were not published in a
series until 1863, when the Academy of San
Fernando acquired eighty plates and issued the
engravings with a brief introductory note. In
this introduction the writer says : ' The collection
which Goya designated by the name of Ravages
or Disasters of War, is indisputably one of the
most notable of the kind that he produced. In
it is all the strength of his lively imagination,
exalted and excited by a deep patriotic feeling
in those terrible moments when an unjust foreign
invasion essayed to humiliate the pride and hau
teur which are a characteristic of the Spaniard.
What matter for surprise then that a Spaniard,
an Aragonese, a man with the stern indepen
dent character of Goya, should allow himself to
be carried away very often by exaggeration and
caricature? . . . On the other hand, this work
breathes novelty in the subjects, originality in
the types, fire in the composition, boldness and
firmness in the colouring, decision and even
fineness in the design. ... In order that nothing
shall be lacking in this collection, there is given
on each plate the inscriptions which afford another
proof of the artist's genius. These inscriptions,
concise, incisive, and piquant, add character, if
that be possible, to what the pencil had already

GOYA 105
accomplished ; the brief phrases, at times a single
word, reveal by their sense of rapidity the fugi
tive idea which his mind had conceived in a
moment, and which, in little more than another
moment, his hand had represented.'
A very interesting series of drawings and
etchings are preserved in the Print Room of
the British Museum. Of these ten are repro
duced in this book for the first time. The Goya
collection in the Museum consists of eight original
drawings, a holograph letter of Goya and no fewer
than two hundred and eighty-one separate works,
comprising etchings and lithographs of the
Proverbs, Caprices, Tauromachia, and Disasters
of War, and the subjects after Velazquez. They
are all in a splendid state of preservation. Ofthe
selection made for the present volume (Nos. 601-
12), the portrait ofthe Duke of Wellington (601)
and 'A Lost Soul' (605), have been reproduced
by Mr. Rothenstein. The sketch of the Duke,
whom Goya in the letter referred to, writes
' Weelingthon,' served the painter in executing
the large portrait. It was made on the day
following the battle of Salamanca (18 12), when
Marmont was defeated on the field of Arapiles.
The ' Lady and Gentleman on Horseback ' (No.
602) have not been identified, although the picture

106 GOYA
is evidently a portrait. The head of Fray Juan
Fernanez (No. 603), drawn at the moment of
his last breath, is a very powerful sketch. In
No. 609 the artist depicts misery in a few
masterly touches, and in Nos. 607, 608, and 609
he illustrates proverbs with his peculiar freakish
fancy. The study of bulls (610) is another spirited
sketch. The remaining plates represent scenes
of the bull-ring.
Goya still brooded over the misfortunes which
the Royal family and their hated favourite be
tween them had brought about by folly, ignor
ance, and baseness; and over the sufferers, the
common people, who still sacrificed their lives to
reinstate their corrupt but accustomed oppressors.
But the end was near. The leading patriots,
assembled at Cadiz, were engaged in framing a
constitution which was to mark the commence
ment of modern Spain. Meanwhile Wellington
was driving the French troops before him —
Olivenza, Fuentes de Ofloro, Almeida, Albuera,
Ciudad Rodrigo, and Badajoz indicate the line of
their retreat. The country was being drained and
devastated to provide money for continuing the
war. Joseph was providing bull-fights and shows
to divert the mind of the Madrilenos from the
national misery. Napoleon was overwhelming his

GOYA 107
brother with blame for a state of affairs which
was neither of his making nor controlling.
Madrid, cut off from supplies, was wasted by an
appalling visitation of famine which lasted from
September 181 1 to August 1 812, when Welling
ton's liberating army reached the capital to find
that Joseph had already beaten a retreat. The
Napoleonic rule was over. Joseph returned to
Madrid, but it was only to pack up his belong
ings, to loot churches and palaces and retire
with the plunder to France. On June 21, 1813,
Wellington met the retiring intruders at Vittoria,
and Joseph, with a greatly diminished burden of
treasure, barely escaped with his life. Thereafter
Napoleon abandoned his schemes of Spanish
conquest ; Ferdinand, the prisoner of Valengay,
— who had danced in captivity while his country
bled, who still sought a marital alliance with
the house of Buonaparte, who had slobbered his
felicitations on the birth of the King of Rome
and congratulated the Emperor upon his victory
over the Spaniards — Ferdinand was now free to
receive the welcome which his loyal countrymen
were eager to give him.
Ferdinand ' the desired,' after swearing to
respect the new constitution, re-entered Spain in
March 1814 amidst an incredible outburst of

108 GOYA
popular enthusiasm. Two days before he
reached Madrid every member of the Cortes
and every known friend of the constitution was
, thrown into prison. By the publication of the
decree of Valencia he proclaimed himself an
autocrat, by his acts he proved himself a tyrant.
He re-established the Inquisition, he decreed
the ancient taxes ; the country, desolated by war
waged on his behalf, was thrown into lamentable
disorder by the greed of the coarse and ignorant
bloodsuckers whom the King gathered around
him. Charles IV. was a paternal sovereign, and
Joseph I. was an enlightened ruler beside Ferdi
nand VII. Neither Liberals nor Conservatives
were safe. He imprisoned the men who had
striven and bled to effect his return ; he per
secuted without mercy those who had sworn
allegiance to Joseph. Goya was one of the
first and fiercest, according to Lafond, to acclaim
the return of the King. For a time he sought
refuge from his sovereign in the house of his
friend Jose Duaso y Latre, who kept him in
hiding for three months. At the expiration of
that time he found that Ferdinand was inclined
to condone his defection. It is reported that
he pardoned him with the words, ' In our absence
you have deserved exile, nay worse, you have

GOYA 109
merited death ; but you are a great artist, and
we will forget everything.'
So 'the good old Goya' was reinstated as
Court painter, and he executed several portraits
ofthe new sovereign. It is evident from these like
nesses that the painter recognised the weakness
and worthlessness of Ferdinand. He viewed his
sitter in the same clear, critical, uncompromising
spirit with which he had gazed on his royal
parents ; he painted the weak, shifty, uncultured
despot as he was. The equestrian portrait of
Ferdinand VII. is commonplace. His portrait of
the monarch in his gorgeous mantle is almost a
caricature of royalty, and in his other likenesses
he betrays his antipathy to the restored Bourbon.
That Goya's palette still emitted 'rays of pro
digious art ' when he painted people who were
congenial to him, is shown by many of the por
traits of this period ; for instance, by that of the
Marquis de San Adrian, of Don Ignacio Garcini
and his wife, of Don Evaristo Perez de Castro,
and by the beautiful study of Goya's little niece,
La Feliciana^, which is one of the tenderest and
most delicate of all his portraits.
Another royal commission entrusted to Goya
was to paint episodes of the war, especially of the
siege of Zaragoza. Accompanied by his pupil

no GOYA
Luis Gil Ranz, he set out to obtain studies.
Owing to the exaltation of the populace the
journey is said to have abounded in incidents
and perils. The language of signs which Ranz
employed in conversing with his deaf master
caused them to be mistaken ' for spies. They
were forced to seek sanctuary at Renales, the
pupil's native town, where they waited until a
favourable opportunity offered for their return to
Madrid. The melancholy which had settled upon Goya
after the accession of the intrusive King in
creased with advancing age. In the seclusion of
his house (the house in which he had entertained
the noblest of the Court circle — the Deaf Man's
House, as it came to be called by the Madrilenos)
he beguiled the time by painting the walls with
fantastic and gruesome visions which gave it
an awesome and startling appearance. But the
brilliant fancy had been obscured by the national
vicissitudes he had witnessed and the haunting
memories of the war obsessed his imagination.
These paintings, which are now preserved in
the Prado, produce a painful impression ; they
would seem to be the creations of a fevered
brain. In 1817 Goya visited Seville to paint the

GOYA in
picture of Santas Justa and Rufina for the
Cathedral, to which reference has been made.
On his return he designed a new series of
Caprices, and executed many portraits and minia
tures on ivory. It was at this time, too, that he
made his first essay in lithography. The earliest
of these lithographs is a fine brush drawing of
an old woman spinning. It is signed and dated
February 1819. Among the drawings upon
stone that were executed about this period, the
two most important are ' Los Chiens,' a bull
attacked by dogs, and the splendid diabolical
scene of a man being dragged along by demons.
This last, which is in the Print Room of the
British Museum, has special interest, as it is the
first known wash drawing made upon the stone.
M. Lefort mentions six other lithographs which
were executed at Madrid before the journey to
France : a duel between two people, a young
woman reading to two children, a monk, a girl
sitting on the knee of an old woman with other
women in the background, a drunkard and a
woman, and a peasant assaulting a girl.
The date of the execution of 'Los Prover-
bios,' the fourth series of Goya's etchings, — 'the
last thunderbolt of his genius,' — is uncertain.
Probably they belong to those years when,

112 GOYA
under the weight of distress of spirits in his
lonely home on the Manzanares, he sketched the
world within him as it appeared to his gloomy
imagination. The plates are without explana
tory titles, and their meaning is obscure. Mr.
Rothenstein finds in the larger size and broader
execution of the plates themselves the reason
for his belief that these are the last etchings by
Goya's hand before his failing eyesight forced
him to lay aside the needle. The plates were
first printed in 1830. This edition was edited
with little care, and in 1864 a second edition was
undertaken by the Academy of San Fernando.
There were eighteen of these plates, but three
more, reproduced much later in L'Art, may be
placed among them.
There remain several important etchings ;
among them the three fine and impressive plates
of ' The Prisoners ' come first in importance. In
these, as Mr. Rothenstein has said, 'Goya's
powers as an etcher and his sympathy for
suffering are demonstrated in a striking and
singularly direct manner.' Beneath the prints he
has written in three sentences, his last protest
against injustice: 'The safe guarding of a
prisoner does not necessitate torture ' ; ' If he is
guilty, why not kill him at once?' 'So much

GOYA 113
barbarity in the treatment equals the crime
committed.' The first proofs of these prints
Goya gave to his friend, Cean Bermudez. The
plates known as Obras Sueltas were not, as far
as we know, printed in Goya's lifetime. They
show a man swinging a woman on a swing, with
a cat watching her from the bough of a tree ; a
bull-fighter with a bull lying down behind him ;
and two representations of majas. They were
first etched at Bordeaux, and from the some
what crude style of the work, probably were the
last prints executed by Goya.
Among several unconnected prints we may
mention the superb engraving of ' The Colossus,'
which seems like an etching at first glance
and has defied the attempts of experts to
explain the highly complicated process of its
execution. As an illustration of Goya's re
sources for producing a marvellous impression,
this piece constitutes a veritable tour de force.
The giant is placed in a vast landscape, and
beside his uncouth might and Herculean muscles,
cities and villages seem diminutive and insig
nificant atoms of the soil on which he rests.
He is frightened into wakefulness by the morn
ing sun which touches his mighty head and
shoulders ; they seem as if the summit of a
H

114 GOYA
mountain, while his feet are yet in the shadow
of night. A mysterious, pale, fantastic effect of
moonlight throws a peculiar atmosphere about
the figure. As we have already remarked, the
process by which the effect is obtained remains
inexplicable. According to a statement made by
Goya's grandson, the engraver employed a very
soft metal plate from which only three impres
sions could be taken. One of these impressions
is in the National Library of Madrid. A brilliant
and rare old engraving of 'A Blind Guitar Player/
a large but inferior plate of a popular scene, and
three etchings of religious subjects, complete the
list of Goya's miscellaneous etchings.
In June 1824, at the age of seventy-six, Goya
set out for France. Before starting he painted
his ' San Jose de Calasanz receiving the Sacra
ment' — perhaps his finest religious composition.
The work was scarcely dry when he sought and
obtained the King's permission to take the
mineral waters at Plombieres in France. The
remainder of his life's story is soon told. In
Paris he made the personal acquaintance of
Vernet, and found delight in the works of Gros,
of Gericault, and of Delacroix. The last master
did honour to Goya by copying every plate of
the ' Caprichos.' But the full life of Paris was too

GOYA 115
overwhelming for the old painter, and having
obtained in January 1825 a six months' extension
of leave from the King, he settled down in Bor
deaux with his devoted friends, Mme. Weiss and
her daughter. In the little Spanish colony on
the pleasant banks of the Garonne, he had for
companions Joseph de Carnerero, the marine
painter, Antonio de Brugada, the members of the
family of Goicoechea, and Pio de Molina, and
Moratin, whose portraits he painted. But these
pictures do not represent his full powers; the
colours are heavy and sometimes crude ; he
worked with double magnifying glasses and a
stout lens. But in his engraving, and especially
in his series of lithographs, ' Les Taureaux de
Bordeaux,' which Mr. Rothenstein describes as
' the most remarkable compositions of his life,
certainly the greatest and most significant litho
graphs in the history of the art,' his old powers
shine forth again in undimmed brilliance.
In 1826 the feeling of home-sickness drew him
back to Madrid. At Court he was received with
every mark of respect. The King granted him
a superannuation salary of 50,000 reals and per
mission to return to France, 'in order that he
may again take the baths which have done him
so much good.' His Majesty requested him to

116 GOYA
sit to Vicente Ldpez y Portafla, in order that he
might possess a picture of ' the greatest painter
Spain has seen since Velazquez.' Lopez painted
'the good old Goya' life-size, seated full -face
palette in the left hand, brush in the right, and
wearing an unbuttoned frockcoat. The portrait
was executed in a few hours, for at the second
sitting Goya carried away the portrait, assuring
the painter that he would only spoil the likeness
if he persevered any further with 'his niggling
brush.' It is said that he took palette and brush
and essayed a portrait of Lopez, but his hand,
cold and trembling, refused to respond to the
call made upon it, and the attempt was a
failure. The royal pension and permission to return to
France is dated July 17, 1826. Accompanied
by his grandson, Mariano, he betook himself
again to Bordeaux. His declining years were
cheered by the affectionate attentions of his
young compatriot, Antonio de Brugada, who
attended him in his infrequent strolls, suffered
patiently his querulous moods, and even played
to him on the piano the national airs which the
old man could not hear. In one last flash of
his genius Goya painted an admirable portrait of
Juan Maguiro. It was his last work, and

GOYA 117
beneath the signature he inscribed his age —
eighty-one years.
In March 1828 a premonition that his end was
near filled Goya with a strong desire to see his
son once more before he died. When he heard
that his wish was to be realised he wrote to his
son : ' Dear Xavier, — I can only tell you that
this great pleasure has somewhat indisposed me
and I am in bed. God grant that I can see
you when you come, and then I shall be quite
satisfied. Good-bye. — Your father, FRANCISCO.'
Xavier reached Bordeaux on March 13. Three
days later Goya had a paralytic seizure, and sur
rounded by his family and his intimate friends,
' the greatest painter that Spain has seen since
Velazquez,' breathed his last.
On the following day the remains of Goya
were buried in the Goicoechea family vault in
the Grand Chartreux Cemetery of Bordeaux, and
the following inscription was engraved on the
stone : —

t

SEPULTURA
DE LA FAMIL1A
DE
GOICOECHEA

AL MEJOR DE LOS PADRES

EL AMOR FILIAL
ELEVA ESTE MONUMENTO
A LA MEMORIA
DE Dn MARTIN MIGUEL
DE GOICOECHEA
DEL COMMERCIO DE MADRID
NACIO EN ALSASUA
REYNO DE NAVARRA
EL 27 DE OCTUBRE DE 1 75 5
Y FALLECIO EN BURDEOS
EL 30 DE JUNIO DE 1825

ROGAD A DIOS POR SU ALMA

HIC JACET
FRANCISCUS A GOYA ET LUCIENTES
HISPANIENSIS PERITISSIMUS PICTOR
MAGNAQUE SUI NOMINIS
CELEBRITATE NOTUS
DECURSO, PROBE, LUMINE VITAE
OBIIT XVI. KALENDAS MARCH
ANNO DOMINI
M.DCCCXXVIII. AETATIS SUAE
LXXXV.
R. I. P.

GOYA 119
Goya's remains were removed to Spain at the
end of the nineteenth century. On the after
noon of May n, 1900, the body was placed in
the San Isidro Cemetery, Madrid, by the side
of his old friends Mendndez Vald£s and Leandro
Moratin. Already in 1888 the Cortes had voted
a sum of money for the creation of a suitable
monument, and a magnificent cenotaph now
marks the resting-place of the last great Spanish
painter.

Printed by T. and A. Constable, Printers to His Majesty
at the Edinburgh University Press

CATALOGUE OF
THE WORKS OF GOYA
PORTRAITS
1. King Charles in.
The King is standing in hunting costume, wearing a
black three-cornered hat, ample grey cloak, gaiters, etc.
In his right hand a carbine, in his left, white gloves. At
his feet his favourite white dog is lying, with collar in
scribed ' Key nuestro senor.'
Background, an arid landscape, with shrubs ; moun
tains beyond. (A copy is to be found in the Royal
Palace, Madrid, and another in the possession of the
Duque de Fernan Nunez.)
The Prado, Madrid. Doubtful.
2. King Charles in.
The King wears court dress.
Portrait painted in 1787.
The Bank of Spain, Madrid.
3. The Family of King Charles iv.
This important composition includes fourteen full-
length figures. The King standing in the centre ; at his
right the Queen, holding by the hand the Infante Don
Francisco de Paula. To the right of the Queen, the
Infanta Dona Maria Isabella ; the Prince of the Asturias
and his wife, Marie Antoinette ; the Infante Don
Carlos ; the Infanta Maria Josefa, sister of the King ;
further on, the artist painting. To the left of the King,
the Infante Don Antonio ; Prince Louis of Parma and

122 GOYA CATALOGUE
his wife, carrying their infant in her arms ; and the
Infanta Oharlotte-Joaquine.
Canvas 2"80 by 336.
The Prado, Madrid.
4. Studies for the preceding picture.
(a) King Charles IV.
(b) Queen Maria Luisa.
(c) The Infante Ferdinand.
(d) The Infante Don Carlos.
The Prado, Madrid.
(e) The Infante Don Francisco de Paula.
(/) The Infante Don Antonio, Brother of
Charles iv.
The Prado, Madrid.
(g) Prince Louis of Parma, Son-in-law of
Charles IV.
The Prado, Madrid.
(h) Princess Isabella, afterwards Queen of Naples.
(i) Doiia Maria Josefa, Sister of Charles iv.
(j) The Infant Son of Prince Louis of Parma,
represented with a toy guitar in his hands.
This sketch was sold in Paris in 1873 for 12,800 francs.
(k) Maria Luisa, Princess of Parma.
The Prado, Madrid.
5. King Charles IV.
The King in Court dress.
Ministerio de Hacienda, Madrid.
6. Repetition of the preceding.
The University of Madrid.
7. Repetition of the preceding.
Bscuela de Ingenieros de Caminos.

PORTRAITS 123
8. King Charles iv.
The King wears a gorgeous crimson costume.
Boadilla del Monte.
9. King Charles iv.
The King, in Court dress, is represented standing.
The War Office, Madrid.
10. King Charles iv.
The King wears the uniform of the Royal Body
guard. He is standing.
11. King Charles iv.
The property of the Marques de Casa Torres, Madrid.
12. King Philip iv.
The King is hunting the wild boar. This picture by
Goya is a copy of the painting by Velazquez, now in the
National Gallery, London, which was in the Royal Palace,
Madrid, until it was presented by Ferdinand vn. to the
late Lord Cowley, of whom it was purchased for the
National Gallery in 1846.
The hunt is taking place in an enclosed space of
ground, in the front of which there are many spectators ;
hills and foliage fill the background. Among the
numerous small figures in the picture are portraits of
King Philip iv., the Count -Duke of Olivares, the
Cardinal Infante, Don Fernando de Bourbon ; the
arquebus-carrier of the King, Don Juan Mateos.
Queen Isabella de Bourbon and her maids of honour
are present in their coaches.
Prado, Madrid.
13. King Charles iv.
A life - size figure of the King, standing ; he wears
hunting costume.
Capodimonte, Naples.
14. King Charles iv.
A repetition of the preceding.
The Royal Palace, Madrid.

124 GOYA CATALOGUE
15. King Charles rv.
The King wears the uniform of the Royal Body-guard.
He is standing, bare-headed, with a cane in his hand.
The Prado, Madrid.
16. King Charles iv.
This is a repetition of the preceding, on canvas.
The Royal Palace, Madrid.
17. King Charles iv.
The King, mounted on a piebald horse, is in the
uniform of the Royal Body-guard.
The Prado, Madrid.
18. Maria Luisa of Parma, wife of Charles iv.
The Queen carries an open fan in her right hand.
Academia de la Historia, Madrid.
19. Maria Luisa of Parma.
A repetition of the preceding.
20. Maria Luisa of Parma.
A repetition of the preceding.
Don Luis de Navas, Madrid.
21. Maria Luisa of Parma.
The Queen wears a large hat, and has a fan in her
hands, which are crossed.
Boadilla del Monte.
22. Maria Luisa of Parma.
Repetition of the preceding. Canvas.
Don Aureliano de Beruete, Madrid.
23. Maria Luisa of Parma.
This is a copy of the preceding.
24. Maria Luisa of Parma.
Ministerio de Hacienda, Madrid.
25. Maria Luisa of Parma.
Repetition of the preceding.
The University of Madrid.

PORTRAITS 125
26. Maria Luisa of Parma.
Repetition of the preceding (full-length portrait). '
The Queen wears a hat with feathers.
The War Office, Madrid.
27. Maria Luisa of Parma.
Repetition of the preceding.
The Queen wears a lace dress.
The figure is three-quarter length.
Inscribed ' Maria Luisa de Parma.1
Casa de la Diputacion, Madrid.
28. Maria Luisa of Parma.
This is a companion picture to No. 10 (Charles iv.).
The Queen wears a turban as head-dress.
A three-quarter length portrait.
The Marqufe de Casa Torres, Madrid.
29. Maria Luisa of Parma.
The Queen wears a bright-coloured gown, and for head
dress a turban.
This is the companion picture to No. 11 (Charles iv.).
Capodimonte, Naples.
29a. Maria Luisa of Parma.
Repetition of No. 28.
The Royal Palace, Madrid.
30. Maria Luisa of Parma.
The Queen is represented full face, a turban on her
head ; heavy ear and finger rings ; a fan in her right hand.
The property of Mr. Havemeyer, New York.
31. Maria Luisa of Parma.
The Queen is dressed in black, and wears a mantilla.
Formerly in the possession of Godoy, Prince of the
Peace. The Prado, Madrid.

126 GOYA CATALOGUE
32. Maria Luisa of Parma.
Equestrian portrait of the Queen in the uniform of the
Royal Body-guard.
The Prado, Madrid.
33. Maria Luisa of Parma.
The Queen wears a black dress and mantilla.
The Royal Palace, Madrid.
34. Maria Luisa of Parma.
The Queen is reclining on a couch.
35. Maria Luisa of Parma.
The property of General Sir J. Meade, London.
36. Maria Luisa of Parma.
The Queen carries a child in her arms.
The property of M. Billotte, Paris.
37. Equestrian Portrait of King Ferdinand Vii.
The King is mounted on a charger. He wears a tight-
fitting coat, riding breeches and boots; a hat with a white
feather. The right arm is extended.
Academia de San Fernando, Madrid.
38. King Ferdinand vu.
Sketch of the preceding in oils.
39. King Ferdinand vu.
The King is standing dressed in general's uniform.
The Prado, Madrid.
40. King Ferdinand vu.
In coronation robes.
The Prado, Madrid.
41. King Ferdinand vu.
Repetition of the preceding.
Signed 'F. Goya.'
Palacio del Canal Imperial de Aragon, Zaragoza.

PORTRAITS 127
42. King Ferdinand vu.
A study of the entire figure.
The Post Office, Madrid.
43. King Ferdinand vu.
Casa de la Diputacion, Pamplona.
44. King Ferdinand VII.
A study on canvas.
Ministerio de la Gobernacion, Madrid.
45. King Ferdinand VII.
Study on canvas.
46. King Ferdinand vii.
A bust. On his shoulders the royal purple cloak with
ermine collar. He wears the insignia of the Golden Fleece.
The property of the Vizconde de Val de Erro, Madrid.
47. The Infanta Margarita and Playmates.
After Velazquez (Las Meninas).
The property of Herr Steinmeier, Cologne.
48. The Family of the Infante Don Luis de Bourbon,
Brother of Charles hi.
Don Luis and his wife are seated at a round table ;
their two children near them. A hairdresser is powder
ing the lady's hair ; she wears a dressing-gown. Members
of the household are present, and Goya himself is repre
sented with his palette and brushes in hand. Heavy
curtains in crimson and blue velvet form the background.
Boadilla del Monte.
49. The Infante Don Luis de Bourbon.
A study.
It bears on the reverse the inscription : ' Retrato del
Serenissimo Senor Infante Don Luis Antonio de Borbon,
que de q a 12 de la Manana, dia 11 de Sept. del ano
1783, hacia Don Francisco Goya.'
Boadilla del Monte.

128 GOYA CATALOGUE
50. The Infante Don Luis de Bourbon.
Repetition of the preceding.
51. The Infante Don Luis de Bourbon.
Three-quarter portrait, in Court costume.
Boadilla del Monte.
52. The Infante Don Luis de Bourbon and the Archi
tect Don Ventura Rodriguez.
The property of M. Joan Stchoukine, Paris.
53. The Infante Don Luis Maria de Bourbon, Arch
bishop of Toledo, as a Child.
With the inscription : ' Al S D Luis Maria, hijo del
Ser Infante D Luis y de la muy ilustre S D Mar. Ter.
Vallabriga a los seis aiios y tres meses de edad.'
Boadilla del Monte.
54. The Infante Don Luis Maria de Bourbon.
Boadilla del Monte.
55. The Infante Don Luis Maria de Bourbon.
Repetition of the preceding.
The property of the Marques de Casa Torres, Madrid.
(Another copy in the Church of Monserrat at Rome.)
56. Doiia Maria Teresa de Vallabriga, Condesa de
Chinchon, Wife of the Infante Don Luis de
Bourbon.
Companion picture to No. 49. Bears the date 1783.
It bears an inscription and the artist's name.
57. Doiia Maria Teresa de Vallabriga, Condesa de
Chinchon.
Repetition of the preceding.
58. Dofia Maria Teresa de Vallabriga, Condesa de
Chinchon.
Three-quarter length portrait.

PORTRAITS 129
59. Dofia Maria Teresa de Vallabriga, Condesa de
Chinchon.
Equestrian portrait.
60. Dona Maria Teresa de Bourbon.
Bears an inscription by the painter.
Boadilla del Monie.
61. Dofia Maria Teresa de Bourbon.
Full-length figure, standing.
Boadilla del Monte.
62. Dofia Maria Teresa de Bourbon.
Boadilla del Monte.
63. Dofia Maria Teresa de Bourbon.
The entire figure, seated.
Boadilla del Monte.
64. King Joseph Buonaparte.
This portrait is in private hands.
65. The Emperor Francis of Austria.
Doubtful. His right hand holds a telescope, his left rests on a
cannon marked with the letter N. White uniform.
66. Dofia Manuela Giron y Pimentel, Duquesa de
Abrantes.
Bears her name and the painter's signature, 1816.
The property of the Dowager Duquesa de Abrantes,
Madrid.
67. Msop.
After Velazquez.
The property of M. Sortez, Paris.
68. 13th Duque de Berwick y Alba.
Half-figure, on canvas.
The property of the Duque de Medina Sidonia, Madrid.

130 GOYA CATALOGUE
69. 13th Duque de Berwick y Alba.
Private property, Madrid.
70. Dona Maria Teresa Cagetana de Silva, Duquesa de
Berwick y Alba.
Painted in 1795.
She is represented full face, her hair falling on her
shoulders ; a coral necklace and gold bracelets. Her right
hand points to the painter's signature. She is dressed in
white with a large flame-coloured sash. At her feet is a
pet-dog. Landscape background.
Signed left-hand bottom corner.
71. Dofia Maria Teresa Cagetana de Silva, Duquesa de
Berwick y Alba.
The property of Sir Julius Wernher, Bart., London.
72. The Duquesa de Alba.
In black, and wearing a mantilla. On her forefinger is
a ring, on the bezel of which is inscribed the name ' Alba.'
Signed by the artist.
The property of M. P. Soliege, Paris.
73. The Duquesa de Alba.
The property of Don Rafael Barrio, Madrid.
74. The Duquesa de Alba.
Life-size bust.
The property ofthe Duque de Medina Sidonia, Madrid
75. The Duquesa de Alba.
Half-length figure, life size.
Dressed in green. She wears a fichu. Her hair is
powdered. The property of M. Bamberger, Paris.
76. The Duquesa de Alba.
Formerly in the Urzaiz Collection in Seville.

PORTRAITS 131
77. Conde de Altamira.
He is seated. The head is shown in profile. Full-
length, life-size figure on canvas.
The Bank of Spain, Madrid.
78. Dofia Maria Ignacia Alvares de Toledo, Condesa
de Altamira.
On canvas, full-length figure, life size.
The Countess is represented with her daughter.
The property of M. Leopold Goldschmidt, Paris.
79. Altamirano, Auditor to the Court of Seville.
He is bare-headed, wears a brown suit, with a frill and
light-flowered vest.
Oval canvas, life-size bust.
The property of Messieurs Boussod and Valadon, Paris.
80. Don Jose Maria Arango, the Andalusian Painter.
Painted in 1816, when he was twenty-nine.
The property of Don J. Masensio, Seville.
81. Don Gabriel de Aristizabal, Lieutenant-General of
Marines.
Standing, half-length, he wears the gala uniform of a
lieutenant-general of the Armada. In a buttonhole is
seen the Cross of Charles n.
It bears an inscription.
Formerly in the Naval Museum, Madrid.
82. Azara, the Naturalist.
He wears the uniform of a naval brigadier. Half-
length portrait.
Azara family, Madrid.
83. The Marquesa de Baena.
The property of Don J. Zuloaga, Eibar.
84. Dofia Feliciana Bayeu.
She wears a silk handkerchief round her neck ; in her
hair blue and pink ribbons.

132 GOYA CATALOGUE
An inscription in left-hand bottom comer.
Life-size bust, on canvas.
The property of Don C. Ferriz, Madrid.
85. Don Francisco Bayeu y Subias, Goya's Brother-
in-law.
He is seated almost full face, wears a grey suit, and
holds a brush in his right hand.
The Prado, Madrid.
86. Don Francisco Bayeu y Subias.
He stands before a canvas ; holds a brush in his right
hand. The Museum, Valencia.
87. Don Ramon Bayeu and his Wife.
88. Father-in-law and Mother-in-law of Goya.
Two miniatures.
The property of Don Alejandro de Pidal, Madrid.
89. Don Manuel Lapefia, Marquis of Bondad Real.
Bears the inscription 'D. Manuel Lapefia. Pr Goya
ano 1779.'
Photo by Moreno.
Canvas 2 '25 by 1-40.
The property of Don Joaquin Argamasilla, Madrid.
90. The Marquesa de Caballero.
Bears the inscription 'Exma Sra. Mar de Caballero,
Goya 1807.'
Canvas T06 by 0-54.
Photo by Moreno. Reproduction Plate 55.
The property of the Marques de Cervera, Madrid.
91. Don Francisco, Conde de Cabarrus.
Painted in 1788 for the sum of 4500 reales.
Photo by Moreno.
Canvas 210 by 1'27.
The Bank of Spain, Madrid.
92. The Marquesa de Cadalso.
Canvas 1-06 by 0'84.

PORTRAITS 133
Half-length figure, life size.
She wears flowers in her hair, and carries a fan in her
hand. The property of 'D. G.,' Madrid.
93. Don Juan Camaron y Melia, Director of the
Academia de San Carlos in Valencia.
Bears the inscription ' D. Joh. Camaron y Melia en la
Edad de 38 A.'
Canvas 0-65 by 0"56.
The property of Feligre Calvo, Madrid.
94. Don Pedro Rodriguez, Count of Campomanes.
Vinaza, p. 269.
95. Doiia Francisca Caudado.
Dressed in gauze, with a black mantilla and long
yellow kid gloves. She is seated at the foot of a tree.
Vinaza, p. 264. Canvas 1"63 by 1-18.
The Museum, Valencia.
96. Dona F. Caudado.
Yriarte, p. 147.
Canvas 1*020 by 0745.
Herr Gans, Frankfurt am Main.
97. Don Manuel Cantin y Lucientes.
Canvas 0-55 by 0-44.
98. Don M. Careda.
99. Don Isidoro de Castagnedo.
100. Don Juan Augustin Cean Bermudez.
101. The Wife of D. Juan Augustin Cean Bermudez.
102. Don Felix Colon y Lariategui, the Author.
103. Don Joaquin, Archbishop of Valencia.
104. The Secretary of the Archbishop of Valencia.
105. Dona Lorenza Correa, the Singer.
106. Joaquin Rodriguez Costellares, the Bull-fighter.

134 GOYA CATALOGUE
107. Don Joaquin Maria de Ferrer, President of the
Council of Ministers.
108. Dofia Manuela de Alvarez Coifias y Tomas de
Ferrer.
109. Don Mariano Ferrer.
110. Don Jose Mofiino, Conde de Floridablanca y Goya.
111. Don Jose Mofiino, Conde de Floridablanca.
112. Don Jose Mofiino, Conde de Floridablanca.
113. Don Antonio Faraster.
114. Jacques Galos, the Printer.
115. Don Manuel Garcia, the celebrated Musician.
116. Don Ignacio Garcini, the Engineer.
117. Dona Josef a Castilla Portugal de Garcini.
118. Joaquin Rodriguez Costellares, the Bull-fighter.
119. Joaquin Rodriguez Costellares, the Bull-fighter.
120. Don Juan Antonio Cuervo, Director of the
Academia de San Fernando.
121. Dona Maria Ildefonsa Dabalos y Santa Maria.
122. Don Juan Martin, nicknamed El Empecinado.
123. Dofia Tadea Arias de Enriquez.
124. Don Carlos Espafia, Conde de Espana.
125. Dona Josefa de Alvarado Lero, Marquesa de
Espeja.
126. Don Rafael Esteve y Vilella.
127. Fray Miguel Fernandez.
128. Don Carlos Gutierrez de los Rios, Duque de
Fern&n Nunez.
129. Monsieur Gasparini.
130. Don Miguel de Muzquiz, Conde de Gausa.
131. Don Manuel Godoy, Principe de la Paz.
132. Don Manuel Godoy, Principe de la Paz.

PORTRAITS 135
133. Dona Juana Galarza de Goicoechea.
134. Don Cornelio van der Gosen.
135. Don Francisco de Goya y Lucientes.
136. Don Francisco de Goya y Lucientes.
137. Don Francisco de Goya y Lucientes.
138. Don Francisco de Goya y Lucientes.
139. Don Francisco de Goya y Lucientes.
140. Don Francisco de Goya y Lucientes.
141. Don Francisco de Goya y Lucientes.
142. Don Francisco de Goya y Lucientes.
143. Don Francisco de Goya y Lucientes.
144. Don Francisco de Goya y Lucientes.
145. Don Francisco de Goya y Lucientes.
146. Don Francisco de Goya y Lucientes.
147. Don Francisco de Goya y Lucientes.
148. Don Francisco de Goya y Lucientes.
149. Don Francisco de Goya y Lucientes and the
Duquesa de Alba.
150. D. Francisco de Goya y Lucientes and Dr. Arieta.
151. Dona Josefa Bayeu y Goya, the Painter's Wife.
152. Dofia Hermengilda Goya y Bayeu, Daughter of
the Painter, aged 18 months.
153. Don Francisco Javier de Goya y Bayeu, Son of
the Artist.
154. Don Francisco Javier de Goya y Bayeu.
155. Don Francisco Javier de Goya y Bayeu.
156. Dona Gracia Lucientes y Goya, Mother of the
Painter (1).
157. Dofia Gracia Lucientes y Goya (?).
158. Dona Gumersinda de Goicoechea y Goya,
Daughter-in-law of the Painter.

136 GOYA CATALOGUE
159. Mariano de Goya y Goicoechea, Marques de
Espinar, Grandson of the Painter, as a Child
(ten years).
160. Dofia Rita de Goya.
161. Don J. M. de Goicoechea.
1789.
162. The same.
Signed, 1810.
163. Mariano de Goya, Grandson of the Painter.
164. Ferdinand Guillemardet, French Ambassador.
1798.
165. Condesa de Haro.
Madrid.
166. The Minister Jovellanos.
Madrid.
167. The same.
Gijon.
168. The Painter Asensio Julia, 'el Pescadoret.
Signed. The Comtesse de Paris.
169. The same.
M. Bamberger.
170. The Milkmaid of Bordeaux.
Madrid.
171. Francisco Larrumbe.
The Bank of Spain, Madrid.
172. The Marquesa de Lazan.
Madrid.
173. The Bookseller of the Calle Carretas.
174. The Actress Rita Luna.
Madrid.

PORTRAITS 137
175. Manuel Lucientes, aged twelve.
Zaragoza.
176. Llorente, Historian of the Inquisition.
Doubtful. Madrid.
177. The Duque de San Carlos.
1815. Zaragoza.
178. The Actor Isidoro Maiquez.
Madrid.
179. Don Juan Antonio Melon.
180. Menippus (after Velazquez).
181. The Conde de Miranda.
1 82. The Condesa Miranda de Castaiiar.
183. Don Pedro Mocarte, the Singer.
184. Dofia Maria Amalia Zuargo de Acedo, Marquesa
de Monte Hermoso.
185. Dona Vincenta Solis, Duquesa de Montellano.
186. The Family of the Condesa de Montijo.
187. Don Leandro Fernandez de Moratin, the Poet.
188. Don Leandro Fernandez de Moratin, the Poet.
189. Marshal Mouchy, Governor of French Guiana.
190. Don Juan Bautista de Muguiro.
191. Don Jose Luis de Munarriz.
192. Marques de Nibbiano.
193. Don Manuel Osorio.
194. Don Pedro de Alcantara Tellez Giron y Pacheco,
Marques de Penafiel, 9th Duque de Osuna; with
his wife, Dofia Maria Josefa Pimentel Tellez
Giron Borga, Condesa and Duquesa of Bena-
vente and Osuna, and their four eldest chil
dren — D. Francisco de Borga, 10th Duque;
D. Pedro de Alcantara, Principe de Anglona ;
K

138 GOYA CATALOGUE
Da. Josefa Manuela, later Marquesa de Cama-
rasa; and Da. Joaquina Maria del Pilar,
Marquesa de Santa Cruz.
195. Cardinal Lorenzana.
Toledo.
196. Admiral Mazaredo.
Madrid.
197. The Toreador -Mar tineto.
Madrid.
198. The Poet Melendez Valdez.
Barnard Castle.
199. Jose" Pio de Molina.
199a. Don Evaristo Perez de Castro.
Madrid.
200. The 9th Duque de Osuna.
Paris.
201. The 10th Duque de Osuna, aged ten.
Doubtful. Madrid.
202. The same.
Paris.
203. The Duquesa del Parque.
Madrid.
204. Doctor Peral.
National Gallery, London. Presented in 1904.
205. General Palafox, Duque de Zaragoza.
Equestrian portrait. The Prado.
206. Manuel Garcia de la Prada.
1810. Paris.
207. Antonio Cobos de Porcel.
Painted on wood.
Granada.

PORTRAITS 139

208. Dofia Isabel de Porcel.
National Gallery, London.
209. Don Manuel de la Prada.
Paris.
210. Tiburcio Perez.
Madrid.
211. Don Mariano de Urquijo.
Academia de la Historia, Madrid.
212. Tomas Perez Estala.
Madrid.
213. Don Pantaleon Perez de Nenin.
1808. Madrid.
214. Don Ramon de Pignatelli.
Several copies at Zaragoza and Madrid.
215. The Marquesa de Pontejos.
216. Don Martin Zapater y Claveria.
1790. Zaragoza.
217. The same.
1797. An oval. Zaragoza.
217a. Don Ramon de Posada y Solo.
Madrid.
218. The Conde de Pufionrostro.
Madrid.
219. General Ricardos.
Madrid.
220. The Architect Ventura Rodriguez.
Madrid.
221. The same.
Copy of a picture which is lost.
Academia de San Fernando, Madrid.
222. Bishop Rojas.
Doubtful. Academia de la Historia, Madrid.

140 GOYA CATALOGUE
223. Don Manuel Romero, Minister of Joseph Buona
parte.
Madrid.
224, 225, 226. The Toreador Jose Romero.
Madrid and Seville.
227. The Marques de San Adrian.
Madrid.
228. The Marquesa de San Adrian.
Madrid.
229. Dofia Joaquina Tellez Giron, Marquesa de Santa
Cruz.
Madrid.
230. Marquesa de Santiago.
Mentioned by Conde de la Vinaza.
231. Don Miguel Cayetano Soler.
Mentioned by Goya himself.
232. Don Ramon Satue, Alcalde de Corte.
1823. Madrid.
233. Manuel Silvela.
Madrid.
234. Dofia Maria Apodaca de Sesma.
Madrid.
235. The Marquesa de la Solana.
Madrid.
236. The Engraver Selma.
Engraved by Selma himself.
237. Don Bartolome" Sureda.
In possession of Seiiora Sureda.
238. Dofia Teresa Sureda, Wife of preceding.
Companion picture of preceding ; in possession of
Sefiora Sureda.

PORTRAITS 141
239. The Conde de Teba.
Mentioned by the Conde de la Vinaza.
240. The Actress Maria del Rosario Fernandez, sur-
named La Tirana.
Academia de San Fernando, Madrid.
241. The same.
Painted in 1794. Madrid.
242. ' Tio Paquete,' a well-known Madrid Mendicant.
Madrid.
243. The Duque de Trastamara, aged twelve.
Madrid.
244. The Marques de Tolosa.
The Bank of Spain, Madrid.
245. General Urrutia.
The Prado, Madrid.
246. Don Jose de Vargas Ponce, Naval Officer and
Man of Letters.
Signed by Goya.
Academia de la Historia, Madrid.
247. The Architect Don Juan de Villanueva.
Academia de San Fernando, Madrid.
248. The Marques and Marquesa de Villafranca with
their Son.
In the possession of the Duque de Medina Sidonia,
Madrid.
249. The Marquesa de Villafranca.
Same owner.
250. The Dowager Marquesa de Villafranca.
Same owner.
251. Dofia Catalina Viola.
Mentioned by the Conde de la Vinaza.

142 GOYA CATALOGUE
252. The Duke of Wellington.
Unfinished. Equestrian portrait.
Strathfieldsaye.
253. The same.
Madrid.
254. Don Bernardo Yriarte, a Collector of Pictures.
Paris.
255. Don Toro Zambrano.
The Bank of Spain, Madrid.
256. Dofia Antonia Zarate.
Madrid.
257. The same.
Madrid.
258. Dofia Lola Jimenez.
Paris.
259. A Lady about twenty-five years of age, believed to
have been the Painter's Mistress.
M. Bamberger, Paris.
260. A Lady playing a Guitar, said to have been the
Painter's Mistress.
M. de Pommereal, Paris.
261. Ferdinando IV., King of Naples.
Marques de la Vega Inclan, Madrid.
Portraits unidentified : —
262. Group of Heads.
Formerly at San Telmo, Seville. Comtesse de Paris.
263. An Actor.
Formerly in the collection of Don V. de Carderera,
Madrid.
264. A Child.
A boy of about seven years.
Mme. de Lacy, Bordeaux-Cauderon.

PORTRAITS 143
265. Victoriano Her . . .
An infant. Signed 'F. Goya, Ano 1806.' Doubtful.
Herr Kleinschmidt. Cassel.
266. A Spanish Gentleman.
Painted in 1815. Museum, Castres.
267. A Spanish Gentleman of the Old School.
Don Manuel Soler y Alarcon, Madrid.
268. A Spanish Gentleman.
Doubtful.Formerly in collection of Don Sebastian de Borbon y
Braganza, Aranjuez.
269. A Spanish Gentleman of the early years of the
nineteenth century.
M. Ch. Cherfils, Biarritz.
270. A Spanish Gentleman in costume of the seven
teenth century.
Doubtful.
Formerly in Collection Cepero, Seville.
271. A Spanish Gentleman.
Don Jose" Toran, Valencia.
272. A Spanish Gentleman.
Don Enrique Salazar, Bilbao.
273. A Spanish Gentleman.
Formerly in Collection Candanio, Paris.
274. An Old Man.
Formerly in collection of Don Sebastian de Borbon y
Braganza, Aranjuez.
275. An Old Man.
Signed 'Fco. Goya.'
Don Jose" Lazaro Galdeano, Madrid.

144 GOYA CATALOGUE
276. A Little Girl.
In a white dress.
Don Patricio de Lozano, Madrid.
277. A Little Girl.
Of five or six years, in peasant's dress.
Marques de Casa Torres, Madrid.
278. A Little Girl.
Of about five years.
Mme. de Lacy, Bordeaux-CaudeVon.
279. A Little Girl.
In company of a dog.
Mme. de Lacy, Bordeaux-Cauderon.
280. A Girl.
Royal Museum of Painting and Sculpture, Brussels.
281. A Girl.
This portrait was long regarded as a presentment of
Charlotte Corday.
Heirs of Baron N. de Rothschild, Paris.
282. A Girl.
M. C. G  , Paris.
283. A Woman. Seated figure.
Purchased Antwerp, 1898—29,000 francs.
The Louvre, Paris.
284. A Woman. Standing figure.
The Louvre, Paris.
285. A Woman, in a garden.
M. C. G  , Paris.
286. A Woman, seated on a sofa.
Purchased in Paris, 1882 — 1100 francs
M. C. G  , Paris.

PORTRAITS 145
287. A Woman.
Head covered with white mantilla.
This picture was at the San Telmo, Seville.
Comtesse de Paris.
288. A Woman.
White dress, black ribbons.
Don Aureliano de Beruete, Madrid.
289. A Woman.
Don Joaquin Gutierrez Martin, Madrid.
290. A Woman.
In d^collet^e dress ; black mantilla.
M. Dannat, Paris.
291. A Woman.
In 'Maja' costume.
Don Jos6 Maria Cienfuegos, Gijon.
292. A Woman.
This canvas has been considerably cut from its original
dimensions. M. H. Rouart, Paris.
293. A Woman.
In decolletee dress.
M. H. Rouart, Paris. Doubtful.
294. A Woman.
Her face framed in black mantilla.
Painted on panel.
Formerly in Wilson Collection. Paris sale, 1881.
295. A Woman.
With curling chestnut hair upon her forehead ; bodice
decolletee. Signed ' Goya.'
Purchased in Paris, 1900—7500 francs.
Formerly in Debrousse Collection.
296. A Woman.
In pink dress, with hair powdered.
Marques de la Vega Inclan, Madrid.

146 GOYA CATALOGUE
297. A Woman.
In 'Maja' costume ; her long black hair falls about
her shoulders.
Mme. de Lacy, Bordeaux-Cauderon.
298. A Woman.
Seated figure ; a little dog in her lap.
M. C. G  , Paris.
299. A General of the French Republic.
Sold in Paris for 3600 francs.
Tapestry Cartoons.
300. A Nun.
Painted at Bordeaux.
Aranjuez.
The following Oval Busts were formerly in the
Palace of San Telmo, Seville : —
1. King Charles iv.
Oval Bust. Life size.
In the possession of the Comtesse de Paris.
2. Queen Maria Luisa.
Oval Bust. Life size.
Companion picture to the foregoing.
Comtesse de Paris.
3. The Infante Fernando, Prince of the Asturias (after
wards Fernando VII.).
Oval bust. Life size.
Comtesse de Paris.
4. The Infanta Dofia Isabel, afterwards Queen of
Naples.
Comtesse de Paris.

HISTORICAL SUBJECTS 147

HISTORICAL SUBJECTS
1. The 2nd of May 1808.
The people of Madrid attacking the French cavalry in
the Puerta del Sol.
The Prado, Madrid.
2. The 3rd of May 1808.
A group of Spanish patriots being shot by French
troops at Madrid.
The Prado, Madrid.
3. Episode of the War of Independence.
A heap of slain in the foreground.
Aranjuez.
4. Episode of the War of Independence.
Two women defending themselves against the French
soldiery. Aranjuez.
5. Episode of the War of Independence.
Women, one with a child, struggling against French
soldiery. Biarritz.
6. A Battle.
Women endeavouring to come between the French
troops and the Spanish peasantry. Doubtful.
Hamburg.
7. A Battle.
Marques de Casa Torres, Madrid. Doubtful.
8. An Assembly of Notables.
Museum of Castres, France.
9. Sketch of the preceding, described as ' The Con
gress.1
Royal Museum, Berlin.

148 GOYA CATALOGUE
10. Promulgation of the Decree of Expulsion against
the Jesuits.
Sketch. Sold in Paris for 500 francs.
11. Execution of the Decree of Expulsion against the
Jesuits.
Sold in Paris in 1898.
12. Making Cannon-balls by Moonlight in the Hills of
Tardienta.
The Royal Palace, Madrid.
13. Making Powder in a Valley of the Sierra de Tar
dienta.
The Royal Palace, Madrid.
14. The Tribunal of the Holy Inquisition.
Academia de San Fernando, Madrid.
By a decree dated 12th September 1901 it was ordered
that the pictures at the Academia de San Fernando be
transferred to the Prado Museum,.
15. The Inquisition: Judges, Monks, and Condemned.
The Royal Museum, Brussels.
16. Dungeon of the Inquisition.
The Bowes Museum, Barnard Castle, England.
17. Monk flogging a Woman; several Onlookers.
Don Jos6 de la Bastida, Madrid.
18. The Flagellants.
A procession of penitents advancing in order and
scourging each other.
Academia de San Fernando, Madrid.
19. The Garotte.
Clothed in a san-benito, the criminal has just expired.
A crowd, horrified.
Museum, Lille.

VARIOUS SUBJECTS 149
20. The Pilgrimage to Lombas.
Sold in Paris, 1875.
21. The Procession.
Monks and pilgrims traversing a barren country.
Conde de Candilla, Madrid.
22. Hannibal surveying Italy from the Apennines.
This picture earned for Goya the second prize offered
by the Academy of Parma in 1772.
VARIOUS SUBJECTS
1. Venus.
Mentioned by the Conde de la Vinaza as forming part
of Godoy's collection at Madrid.
2 and 3. The Madhouse.
Academia de San Fernando, Madrid, and copy in the
collection of Don A. de Beruete, Madrid.
4. ' La Maja Vestida ' and ' La Maja Denuda.'
The two famous pictures in the Academy of San Fer
nando at Madrid are regarded as portraying a favourite
of Manuel Godoy, the ' Prince of the Peace ' ; others
maintain that they are portraits of the painter's mistress.
Both paintings are from the same model. The one repre
sents a young and beautiful woman reclining at full
length upon a couch, her shoulders sustained by soft
cushions, her head somewhat advanced by her hand
crossed at the back of her neck, the upper part of the
left arm supported by the cushions. Her lustrous,
expressive eyes are turned towards the spectator. She is
habited in Oriental costume, a diaphanous yellow vest,
and clinging skirt beneath, of tender rose colour, revealing
the contour of the lower limbs.
The second figure is entirely nude, and in precisely
the same attitude as the companion picture. Relieved
of the head-dress, her curling tresses fall luxuriantly

150 GOYA CATALOGUE
about her shoulders ; the lace-bedecked pillows and
drapery upon the couch in charming contrast with the
lovely flesh-tints. In short, these life-size figures are
amongst the choicest examples of the master. Had Goya
always painted thus it had been vain to blame, and use
less to praise him.
5. The Majas of the Balcony.
Two young women are seated on a balcony, one in a
white robe with black mantilla, the other in a dark dress
with white mantilla. Behind them two attendant cava
liers. Duque de Marchena, Madrid.
6. The Majas of the Balcony.
Repetition of foregoing with variations.
Comtesse de Paris.
7. The Majas of the Balcony.
Repetition.Formerly at Salamanca. Bought in Paris, 1875, by ' C.G.'
8. The Majas at the Theatre.
In the front of a box three young ladies are seated ; a
gentleman standing behind.
Don Joaquin Miguel y Polo, Valencia. Doubtful.
9. A Cavalier playing the Guitar.
The Prado, Madrid.
10. A Cavalier.
He is represented smoking a cigarette. A lace frill
about his neck; a black cape is thrown across his left
shoulder. Academia de Bellas Artes, Cadiz. Doubtful.
11 A Maja, veiled.
Standing on a terrace, the lady lightly lifts a black
scarf from her head. Black skirt, red shoes. To her
left a block of stone ; a cloak on the ground.
Herr H. 0. Miethke, Vienna. Doubtful.

VARIOUS SUBJECTS 151
12. Two Girls.
Two girls in white mantillas are followed by a young
man. W. Rothemstein, Esq., London.
13. Two Girls at a Window.
Are exchanging pleasantries with a student passing
the house.
Dona S. Espana, Briviesca.
14. Youth. A girl is confiding the contents of a letter to another.
In the distance young women are hanging linen to dry.
Museum, Lille. Doubtful.
15. Old Age.
Two faded beauties in ball-dress are discussing their
earlier days. One is looking in a mirror, on which is
inscribed, ' Que tai ? ' (Can this be me ?). In the middle
distance, Time, with a besom, prepares to sweep them
from the world. Companion picture to the preceding.
Museum, Lille. Doubtful.
16. The Knife-Grinder.
Bare-headed, in his shirt sleeves, engaged at his
trade. Formerly in the Esterhazy Collection, Vienna ; now in
the National Gallery, Buda-Pesth.
17. The Water-Carrier.
A woman holding in her right hand a large pitcher
which rests upon her hip. From her left hand is sus
pended a basketful of tumblers. Companion picture to
the preceding.
Formerly in the Esterhazy Collection ; now in the
National Gallery, Buda-Pesth.
18. Girl delivering a Letter.
Formerly in the collection of Don Ricardo Heredia.
Paris sale, 1890.

152 GOYA CATALOGUE
19. Children at Play.
Stirling-Maxwell Collection, Keir, Perthshire.
20. Children Playing.
Stirling-Maxwell Collection, Keir, Perthshire.
21. Children Playing.
M. Mege, Paris.
22. The School.
A number of young urchins look on at the school
master whipping one of their number.
M. Mege, Paris.
23. Fight between Brigands and Soldiers.
The scene is on the bank of a river.
Sold from the collection of Don Eustaquio Lopez,
1866.
24. Priest and Brigand.
At the gate of a convent the bandit El Margaroto
points with a carbine at Fra Pedro de Zaldivia, who offers
the brigand a pair of shoes.
M. Lafitte, Madrid.
25. Priest and Brigand.
Fra Pedro de Zaldivia seizes the carbine of El
Margaroto, and brings retribution upon the bandit.
Three brethren are hastening to the monk's assistance.
M. Lafitte, Madrid.
26. Brigands in a Convent.
Fight between monks and bandits.
M. Lafitte, Madrid.
27. Priest and Brigands.
A bandit attempts to escape. The monk, having posses
sion of a carbine, wounds him in the leg. In the back
ground a horse is galloping away.
M. Lafitte, Madrid.

VARIOUS SUBJECTS 153
28. Priest and Brigand.
El Margaroto submits to the priest, who, master of the
situation, in turn threatens the brigand.
M. Lafitte, Madrid.
29. Priest and Brigand.
The bandit, conquered, yields to the priest, who binds
him securely. In the background countrymen are hasten
ing to the scene.
M. Lafitte, Madrid.
30. Bandits. A post-chaise held up by Spanish highwaymen.
Marqufe de Castro Serna, Madrid.
31. Bandits. Two women are supplicating brigands to spare their
lives ; a third is lying dead.
In this picture the colour is said to be wholly laid on
with a knife.
Mentioned by Z. Aranjo.
32. Brigands stopping a Carriage.
Marques de Riscal, Madrid. Doubtful.
33. Brigands. A brigand is holding a woman to the ground ; a monk,
inactive, is contemplating the scene. In the background,
two women, stripped, are tied to trees.
Formerly in possession of Don Constantino Ardanaz.
Mentioned by Aranjo.
34. Brigands. A kneeling woman struggling with a bandit. In the
distance two bandits are carrying a dead woman.
Formerly in the possession of Don Constantino
Ardanaz, Madrid. Mentioned by Aranjo.
35. Brigands. At the entrance to a cave a bandit is murdering a
woman bound to a rock.
Marques de la Romana, Madrid.
L

154 GOYA CATALOGUE
36. Brigands. Slaughter of a group of men, women, and children.
Marques de la Romana, Madrid.
37. Brigands' Cave.
In the cave, brigands are stripping women whom they
have captured.
Marques de la Romana, Madrid.
38. Brigands' Cave.
A brigand slaughtering a woman.
Marquds de la Romana, Madrid.
39. Brigands' Cave.
Bandits asleep.
Marques de la Romana, Madrid.
40. The Promenade.
A lady and gentleman conversing as they walk. Tradi
tion has it that the two persons represented are the
Duquesa de Alba y Goya.
Marques de la Romana, Madrid.
41. The Plague Terror.
The stricken ones, stretched upon the ground, are
tended by scared doctors.
Marqufe de la Romana, Madrid.
42. Interior. Several women have met together for a gossip.
Marques de la Romana, Madrid.
43. The Monk's Visit.
A monk and a young woman.
Marques de la Romana, Madrid.
44. Brigands Quarrelling.
Museum, Besangon.
45. Brigands Quarrelling.
An old man, seated, is looking on.
Museum, Besangon.

VARIOUS SUBJECTS 155
46. A Cannibal Scene.
Eight men are gathered round a fire ; one is grinning,
and holding in his right hand a human arm, in his left a
head. His companions, naked like himself, are engaged
in the orgie.
Museum, Besangon.
47. A Cannibal Scene.
At the foot of a cliff men occupied in stripping and
carving corpses.
Museum, Besangon.
48. The Funeral of the Sardine.
An episode at the close of the carnival at Madrid.
Men and women are masquerading on the banks of the
Manzanares. Academia de San Fernando, Madrid.
49. A Carnival Scene.
Masked figures dance extravagantly at the entrance of
a cave. M. Ch. Cherfils, Biarritz.
50. A Carnival Scene.
A singer entertaining his audience.
Museum, Bayonne. Doubtful.
51. A Masquerade.
In the foreground two principal, figures are dancing;
others engaged in flirtation and conversation.
Duquesa de Villahermosa, Madrid.
52. Children's Masquerade.
Don Patricio Lozano, Madrid.
53. Bal Champetre.
Groups of peasants dancing under an arch.
Mentioned by Aranjo.
54. Bal Champltre.
A village population dancing ; spectators on a hill.
Paris.

156 GOYA CATALOGUE
55. Bal Champetre.
Same subject as Goya's tapestry cartoon.
Conde de Torrecilla, Madrid.
56. A Popular Pastime.
Near an old city-gate in ruins delighted spectators are
regarding a number of girls dancing.
Formerly in collection of Don Eustaquio Lopez. Sold
1866.
57. A Fete.
Don Juan Perez Calvo, Madrid.
58. Outside the Booth.
Mountebanks attracting an audience at a fair.
Marques de Castro Serna, Madrid.
59. The Tight-Rope Dancers.
A comic troupe, in which it is said there is an allusion
to Queen Maria-Luisa and Godoy.
Marques de Castro Serna, Madrid.
60. The Greasy Pole.
The pole is erected in the foreground ; in mid-distance
a village built on a rock ; mountainous background.
Marques de Casa Torres, Madrid.
61. The Bonfire.
Don Cristobal Ferriz, Madrid.
62. The Bonfire.
Repetition of preceding.
Conde de Villagonzalo, Madrid.
63. The Puppet Merchant.
A toyman offering his wares ; women and children
around him ; a gentleman seated, whose features recall
those of the painter.
Formerly in Martinet Collection. Paris sale, 1896.

VARIOUS SUBJECTS 157
64. The Balloon.
A balloon rises, while a considerable group of persons
watch its ascent.
Formerly in Madrazo Collection, Madrid.
65. The Siesta.
Two couples asleep on a lawn.
66. The Picnic.
Same subject as No. 1 of Goya's tapestry cartoons.
Marques de Torrecilla, Madrid.
67. The House of the Cock.
The patio of an inn. Reproduced as No. 3 of Goya's
Tapestry Cartoons.
Formerly in Yriarte Collection. Paris sale, 1898.
68. The Inundation.
Marques de Castro Serna, Madrid.
69. The Hurricane.
Surprised by a tornado, a crowd of people run dis
tractedly. Formerly in collection Eustaquio Lopez. Sale, 1866.
69A The Burning Village ; an Episode of War.
The inhabitants fleeing from their burning houses.
Marques de Castro Serna, Madrid.
Reproduction of Disasters of War, No. 44.
70. An Aragonese.
Formerly in collection of M. Vallet, Bordeaux.
71. Peasants. A group of three ; a young man, a girl, and an old
woman. Formerly in collection Vallet. Paris sale, 1884.
72. The Angler.
On the bank of a winding river a solitary figure.
Formerly in collection of Don J. M. d'Estoup de Murcia.
Doubtful.

158 GOYA CATALOGUE
73. Country Scene.
Formerly in collection of Don J. M. d'Estoup de
Murcia. Doubtful.
74. Sea Piece.
Formerly in collection of Don J. M. d'Estoup de
Murcia. Doubtful
75. The Infuriated Dog.
The maddened animal tries to break away from his
chain. M. CarvalHdo, Paris.
76 and 77. Sketches.
Two sketches for equestrian portraits ; one for that of
the Duke of Wellington and the other for that of General
Palafox. Both sketches mentioned by Conde de la
Vinaza.
78. The Bride's Toilette.
A maid is drawing on the bride's stockings.
Conde Esteban de Collantes, Madrid.
79. Can she say 'Yes'?
Reproduction of Caprice No. 2. DoubtfaL
80. Scraping Acquaintance.
Reproduction of Caprice No. 35.
Conde Esteban de Collantes, Madrid.
81. One of the Fates !
Reproduction of Caprice No. 44.
Museum, Bordeaux.
S2. Even unto Death !
Reproduction of Caprice No. 55.
Formerly in the collection Lacour, Bordeaux.
Doubtful
83. The Register.
Reproduction of Caprice No. 57.
Monsieur ' X,' Florence. DoubtfaL

VARIOUS SUBJECTS 159
84. ' Swallow that, you dog ! '
Reproduction of Caprice No. 58.
Monsieur ' X,' Florence. Doubtful.
85. ' You will not always escape ! '
Reproduction of Caprice No. 721
Paris sale, 1899. Doubtful.
86. ' It is better to let it alone.' (Mejor es holgar.)
Reproduction of Caprice No. 73.
Paris sale, 1899, with preceding. Doubtful.
87. Two grotesque half-length figures.
Formerly in the Spanish Gallery of the Louvre.
M. Comartin, Paris.
88. Caprice. Marques de Casa Jimenez.
89. Caprice. A monk throwing books and papers in the fire.
Formerly in collection of Don Constantino Ardanaz,
Madrid.
90. Caprice. Don Alejandro Pidal, Madrid.
91. Caprice. Three balloons in the air ; one carrying a donkey, the
second a bull, the third a child.
Formerly in Madrazo Collection, Madrid.
92. Caprice. Dona Carmen Berganza de Martin, Madrid.
Signed 'Goya, ano 1795.'
93. Caprice. Tradition says that two of the persons represented in
the picture are Don Luis Berganza and a little negress
picked up by the Duquesa de Alba. In the right-hand
corner is written ' Luis Berganza, ano 1795, Goya.'
Dona Carmen Berganza de Martin, Madrid.

160 GOYA CATALOGUE
94. Caprice. Mme. de Lacy, Bordeaux-Cauderon. Doubtful.
95. Caprice. Mme. de Lacy, Bordeaux-Cauderon. Doubtful.
96—117. Caprices.
Formerly in collection Leon Daguerre Hospital de
Madrid. Doubtful.
118—133. Caprices.
Formerly in collection of Don Jose" Maria d'Estoup de
Murcia. Doubtful.
134. Dogs and Hunting Accessories.
Design for tapestry. The Prado, Madrid.
135. Dead Turkey.
The Prado, Madrid.
136. Dead Birds.
The Prado, Madrid.
137. Bull-Fight. The bull is charging. Village background.
Academia de San Fernando, Madrid.
138. Bull-Fight. A stirring scene in a provincial arena.
Mme. de Lacy, Bordeaux-Cauderon.
139. A Galloping Picador.
The Prado, Madrid.
140. Death of the Picador.
The picador is impaled on a horn of the bull.
At the Carlin sale, Paris, 1872—4600 francs.
141. Bull-Fight. The scene is enacting in a cloud of dust. A picador
extricating himself from his disembowelled horse.

VARIOUS SUBJECTS 161
142. Bull-Fight. The picture represents an arena divided after the
manner of lists at a tournament ; a bull on either side of
the barrier attacking or attacked.
Sold in Paris, 1875, for 7500 francs.
143. Bull-Fight. A dense crowd in the foreground watching the course
of the contest.
M. Sigismond Bardac, Paris.
144. Bull-Fight. The bull has overthrown a toreador, whose companions
hasten to his assistance. Companion to the preceding.
M. Sigismond Bardac, Paris.
145. Retaliation. Three bulls have turned upon their custodians and
borne them to the earth.
W. Mackay, Esq., London.
146. Bull and Picador.
A picador, accompanied by chulos and toreadors, attacks
the bull.
Marques de Baroja, Madrid.
147. Bulls at Home.
Bulls enclosed in their arroyo under the care of horse
men and picadors in laced costumes.
Carlin sale, Paris, 1872 — 5100 francs.
148. Bull at liberty in the Place de Madrid.
Duque de Veragua, Madrid.
149. Bulls attacking a Procession.
Sir J. G. J. Sinclair, Bart., Thurso Castle, Caithness.
150. The Madhouse.
In a large hall, lunatics engaged in various forms of
dementia. Academia de San Fernando, Madrid.

162 GOYA CATALOGUE
151. The Madhouse.
A repetition of the foregoing.
Don Aureliano de Beruete, Madrid.
Pictures from Goya's house presented to the Prado
Museum by Baron d'Erlanger : —
152. Meeting of Witches.
J^lhZ. La Romeria de San Isidro.
Man playing on guitar to a group of people.
154. Galician Shepherds Fighting.
155. The Procession.
156. Caprice. Flying persons pointing to a castle.
157. The Fates.
158. The Maja.
Said to be a portrait of the Duquesa de Alba.
159. Saturn devouring his Children.
160. Dog swimming in a Rough Sea.
161. Judith and Holof ernes.
162. Two Monks.
163. Listening to the News.
164. Woman laughing at a Suffering Man.
165. Wizards preparing a Philtre.
PAINTINGS FROM THE ALAMEDA OF OSUNA
M. Paul Lafond enumerates twenty-three pictures
formerly at the Alameda de Osuna, sold some years
ago, and now dispersed.
The collection of the Duque de Montellano includes : —
1. The Swing.
Girl, on a swing pushed by a young man.

PAINTINGS FROM THE ALAMEDA 163
2. The Greasy Pole (climbed by Children).
3. The Accident.
A girl falling off a donkey.
4. A Coach stopped by Brigands.
The collection of the Marquesa de Villamayor in
cludes : —
5. Building the Church.
Two workmen carrying a wounded comrade.
6. The Procession.
The collection of Don Ricardo Traumann includes : —
7. Summer. Same subject as The Harvesters (Tapestry Cartoons).
The collection of Don Pedro Fernandez Duran
includes : —
8. The Hermitage of San Isidro.
9. The Wounded Mason.
Same subject as No. 34 of the Tapestry Cartoons.
In the Prado is : —
10. The Romeria de San Isidro.
Madrid and the Manzanares are seen in the back
ground.
In the National Gallery, London, besides those
already enumerated, are : —
11. The Bewitched.
A priest pouring oil into a lamp held by a goat.
12. The Picnic (La merienda campestre).
The present possessors of the following are un
known : —
13. Bulls Grazing.

164 GOYA CATALOGUE
14. Spring. Same subject as The Flower Girl, No. 31 Tapestry
Cartoons.
15. The Vintagers.
Same subject as No. 33 Tapestry Cartoons.
16. Winter. Same subject as The Snow, No. 36 Tapestry Cartoons
17. The Rustic Dance.
Same subject as No. 2 Tapestry Cartoons.
18. Caprice. Man kneeling watches demons.
19. A Witches' Conventicle.
20. Caprice. Three nude persons consulting a witch.
21. Caprice. Cloaked man crossing a mountain.
22. Don Juan and the Comendador.
23. The Poor.
Same subject as No. 35 Tapestry Cartoons.
DRAWINGS AND STUDIES
M. Paul Lafond enumerates : —
One set of 228 drawings.
The Prado, Madrid.
Another set, now broken up, including 300 pieces.
Another set of 38.
Belonging to Don Aureliano de Beruete.
Another set of 20.
Sold in Paris in 1869.

DECORATIVE PAINTINGS 165
Another set of 38.
In the possession of the Marques de Casa Jimenez.
Another set of 3.
Belonging to M. Cherfils, of Paris.
Another set of 4.
Sold in Paris, 1899.
Another set.
Belonging to Don Mariano Fortuny.
Another set of 6.
Sold in Paris, 1869.
Another set of 3.
Belonging to Don Ricardo de Madrazo.
Another set.
Belonging to Don B. Montanez.
Another set of 9.
Belonging to M. H. Rouart.
Another set of 2.
Belonging to M. A. Beurdelez.
And 81 different drawings and studies. Scattered
through various collections, and some of doubtful
origin.
DECORATIVE PAINTINGS
1. Agriculture.
Represented by a female figure, amply draped, holding
a sickle, and gracefully accepting fruit and flowers. In
the upper part of the picture, which is painted in dis
temper on canvas, are two signs of the Zodiac, Scorpio
and Libra. Landscape background. Circular medallion.
Library of the Minister of Marine, Madrid.

166 GOYA CATALOGUE
2. Industry. In the foreground two women are busy at their spinning-
wheels. In the distance other figures are occupied in
similar work. Circular medallion.
Library of the Minister of Marine, Madrid.
3. Commerce. Seated at a table two figures in Moorish costume are
writing ; in the mid-distance two others are examining a
book. In the foreground bales of goods and a stork.
Circular medallion.
Library of the Minister of Marine, Madrid.
4. An Allegory.
In the upper part of the picture Fame is sounding a
trumpet. The heraldic shield of Madrid is supported by
a" classic figure ; while a child holds aloft a medallion on
which is inscribed ' 2 de Mayo.' The date is an allusion
to the massacre in the streets of Madrid and the down
fall of Joseph Buonaparte.
Ayuntamiento, Madrid.
5. An Allegory.
In the foreground a child leans against a column having
upon it geometric figures ; two children support a tablet
inscribed with algebraic numbers. In the background
groups of students. The arms of Spain prominent in the
centre of the picture.
6. Truth the Daughter of Time.
A small picture in the collection of Don Jose" Martinez
Espinosa, Madrid.
7. The Apotheosis of Music.
On a rock from which a cascade descends, a presiding
genius is seated ; near her, in the air, three nude figures
are floating ; one holds a baton with which he is conduct
ing an angelic choir, another bears a trumpet, and a
third the cymbals. A group composed of three mortals
hearken attentively.
In the possession of Don Luis Navas, Madrid.

RELIGIOUS SUBJECTS 167
8. Spain creating History.
Old Chronos is taking by the hand a figure bearing the
records of Spain. A classic figure, seated, pen in hand,
prepares to enrol the chronicles.
In the possession of Don Luis Navas, Madrid.

RELIGIOUS SUBJECTS
1. Apparition of Our Lady of the Column.
Painted upon the altar-screen of the church of Fuen-
detodos, Aragon.
2. Our Lady of Sorrows.
Goya mentions this painting in a letter to his friend
Zapater in 1775, but its situation is unknown.
3. The Symbol of the Trinity.
The emblematic triangle : angels and archangels adore
the holy token.
A fresco in the church of Notre-Dame del Pilar,
Zaragoza.
4. Our Lady, Queen of Martyrs.
The Virgin, seated enthroned on clouds, is surrounded
by angels, saints, and martyrs.
A fresco in the church of Notre-Dame del Pilar,
Zaragoza.
5. Our Lady, Queen of Martyrs.
Goya's study for the preceding fresco.
Chapter of the church of Notre-Dame del Pilar,
Zaragoza.
6. Two Divine and two Cardinal Virtues: Faith,
Charity ; Fortitude and Patience.
Frescoes in the church of Notre-Dame del Pilar,
Zaragoza.

168 GOYA CATALOGUE
7. St. Brulno, Bishop of Zaragoza.
Full lengtL Is in the attitude of benediction ; in his
left hand a pastoral staff.
Church of Notre-Dame del Pilar, Zaragoza.
8. St. Bernard of Sienna preaching before Alfonso,
King of Aragon.
The king and his courtiers are surrounded by a large
congregation attending the sermon. In the crowd Goya
is himself represented.
Church of San Francisco el Grande.
9. St. Bernard.
A study for the preceding picture.
In the collection of the Marques de Torrecilla, Madrid.
10. St. Bernard.
A second study for the same subject.
Belonging to the Zapater family, Zaragoza.
11. St. Bernard.
A third study for the same subject. The figure of
Goya is omitted.
In the collection of the Marques de Torrecilla, Madrid.
12. The Assumption.
Altar-screen of Chinchon parish church.
13. The Immaculate Conception.
Full length, life size.
Calatrava College, Salamanca.
14. St. Benedict.
Full length, life size.
Calatrava College, Salamanca.
15. St. Bernard.
Full length, life size.
Calatrava College, Salamanca.

RELIGIOUS SUBJECTS 169
16. St. Raymond.
Full length, life size.
Calatrava College, Salamanca.
17. The Marques de Lombay, afterwards canonised as
St. Francis of Borgia, quitting his Family in
order to live the Spiritual Life.
Valencia cathedral.
18, A study for the preceding subject.
In the possession of the Marqu6s de Santa Cruz,
Madrid.
19. St. Francis of Borgia exhorting a Dying Man to
Repentance.
Valencia cathedral.
20. A study for the preceding subject.
Marques de Santa Cruz, Madrid.
21. The Betrayal of Christ.
Jesus in the midst of a crowd. Judas points Him out
to the Roman soldiery.
Toledo cathedral.
22. A sketch for the preceding subject.
Don Luis Rotondo, Madrid.
23. Christ crucified.
This picture, although ascribed by some to Goya, is
believed to be by his brother-in-law, Francisco Bayeu. '
Toledo cathedral.
24. APieU. Archbishop's palace, Toledo.
25. Death of St. Joseph.
Church of Santa Ana, Valladolid.
26. Death of St. Joseph.
Don A. de Beruete, Madrid. M

170 GOYA CATALOGUE
27. SS. Bernard and Robert.
A kneeling man receiving baptism from the saints.
Church of Santa Ana, Valladolid.
28. St. Luitgarde praying before a Crucifix.
A palm branch in the foreground.
Church of Santa Ana, Valladolid.
29. St. Omeline praying.
Church of Santa Ana, Valladolid.
30. Miracle of St. Antony.
A corpse, resuscitated, rises from the tomb at the
bidding of the saint.
Church of St. Antonio de la Florida, Madrid.
31. Miracle of St. Antony.
Sketch for the principal group of preceding.
Conde de Villagonzalo, Madrid.
32. Angels and Cherubim.
Church of St. Antonio de la Florida, Madrid.
33. Sketch for preceding.
Conde de Villagonzalo, Madrid.
34. Christ crucified.
The Prado, Madrid.
35. Holy Family.
The Prado, Madrid.
36. Holy Family.
Duque de Noblejas, Madrid.
37. Saints Justa and Rufina, the Guardians of Seville.
In the distance, the Giralda. Signed.
38. Sketch for preceding.
Don Pablo Bosch, Madrid.
39. St. Joseph de Calasanz.
Church of St. Antonio, Madrid.

43. St. Francis. . Pictures said to be in America.

RELIGIOUS SUBJECTS 171
40. Study for preceding, with some differences.
M. Leon Bonnat, Paris.
41. St. Peter offering Bread to a Figure emerging from
a Tomb.
Cathedral, Valladolid.
42. St. Bias.
Church of Urrea de Gaen, Aragon.
44. St. John. J
45. The Possessed.
A priest expelling devils.
The Prado, Madrid.
46. Tobias and the Angel.
Pascual Galvo family, Valladolid.
47. Tobias and the Angel.
Sketch. Zapater family, Zaragoza.
48. Apparition of St. Isidore to King Ferdinand in.
under the Walls of Seville.
Don A. Canovas, Madrid.
49. The Nativity.
Don P. Lozano, Madrid.
50 St. Peter.
Don A. Pidal, Madrid. Signed.
51. The Garden of Olives.
Schools of San Antonio, Madrid. Signed.
52. St. Isabel tending Lepers.
Sketch. Don C. Velasco, Madrid.
53. Bishop in Ecstasy.
Zapater family, Zaragoza.
54. Head of John the Baptist.
Conde de Villagonzalo, Madrid.

172 GOYA CATALOGUE
55. The Murder of St. Thomas a Becket.
Sold in Paris, 1892.
56. St. Hermengilde in Prison.
Sketch. Don C. Velasco, Madrid.
57. A Thanksgiving.
In a church a young woman with her infant kneels
before the priest, who pronounces the benediction.
Formerly in the Madrazo Gallery, Madrid.
58 and 59. Studies for the preceding.
Respectively in the possession of the Marques de
Torrecilla and Conde Esteban de Gollantes, Madrid.
60. The Viaticum.
A priest, accompanied by many figures, carries the
Viaticum to a dying man.
Mme. de Lacy, Bordeaux-Cauderon. Doubtful
61. Interior of the Church of La Seo, Zaragoza.
A priest preaching to his congregation.
Mme. de Lacy, Bordeaux- Cauderon. Doubtful
62. Interior of a Church, with Figures.
Formerly in the Aroza Collection, Paris.
THE TAPESTRY CARTOONS
A series of forty-six Cartoons executed by Goya
between 1776 and 1791, for reproduction on tapestry.
The Prado, Madrid.
1. Lunch on the Banks of the Manzanares.
2. The Dance at San Antonio de la Florida.
Dancing on the banks of the Manzanares.
3. The Scuffle at the Venta Nueva (New Inn).
4. Al-fresco scene.
Couples courting in a wooded Andalusian scene.

THE TAPESTRY CARTOONS 173
5. The Toper.
6. The Parasol.
Youth holds a parasol over a girl.
7. The Kite.
8. The Card-Players.
9. Children playing with a Bladder.
10. Children gathering Fruit.
11. A Blind Man playing the Guitar.
12. La Feria; or, the Fair of Madrid.
13. The Crockery Seller.
14. The Soldier and the Girl.
15. La Acerolera.
Girl passes through a group of men.
16. Playing at Soldiers.
17. Children playing with a Cart.
18. Playing at Pelota.
19. The See-Saw.
20. The Washerwomen.
21. La NoviUada.
A village bull-fight.
22. The Dog.
23. The Fountain.
24. The Tobacco Guard (Preventive Service).
25. The Child in the Tree.
26. The Child and the Bird.
27. The Woodcutters.
28. The Singer.
29. The Rendezvous.
30. The Doctor.
31. The Flower-Girl.

174 GOYA CATALOGUE
32. The Harvesters.
33. The Vintagers.
34. The Wounded Mason.
35. The Poor Woman.
36. The Snow.
37. A Village Wedding.
38. Women at the Fountain.
39. Playing at Giants.
40. The Swing.
41. Fighting on Stilts.
42. Girls tossing a Manikin in a Sheet.
43. Children climbing a Tree.
44. Blindman's-Buff.
45. Child on a Sheep.
(46. The Hunter and his Dogs.)
Sometimes included in the list.

THE CAPRICES (LOS CAPRICHOS)
A set of eighty engravings in aqua-fortis and aqua-
tinta, executed between 1796 and 1812. A facsimile
edition was published by the Artistic Library of Bar
celona in 1885, and another by Messrs. Boussod and
Valadon at Paris in 1888 : —
1. Francisco Goya y Lucientes, Painter.
2. El si pronuncian . . .
' They say yes, and give their hand to the man that
first presents himself.'
3. Que viene el Coco.
1 Here comes the Bogey ! '

THE CAPRICES 175
4. El de la Rollona.
A lackey with a man dressed as a child in leading-
strings. Believed to symbolise the helplessness and de
pendence of the rich on their servants.
5. Tai para qual.
' Birds of a feather flock together.'
6. Nadie se conoce.
Masked persons in conversation. Supposed to suggest
that in this world we know each other only by appear
ances, which are really misleading.
7. Ni asi la distingue.
' Not thus can he distinguish her.' A gallant scanning
a young woman through an eye-glass. Similar meaning
to preceding.
8. Que se la llevaron.
'Kidnapped!' A woman carried off by masked and
hooded men.
9. Tantalo. 'Tantalus.' A man, wringing his hands, supports a
swooning woman. Possibly points the same moral as the
saying, Si vieillesse pouvait . . .
10. El amor y la muerte.
' Love and death.' A woman supporting a dying man.
11. Muchachos al airo.
Four Andalusian brigands seated round a tree.
12. A caza de dientes.
' Tooth-hunting.' A woman trying to extract the tooth
of a man hanging.
13. Estdn calientes.
' They are hot.' Monks at table. An ironical sugges
tion in the title.

176 GOYA CATALOGUE
14, Que sacrificio !
' What a sacrifice ! ' Young girl bestowed in marriage
on an ugly old man.
15. Bellos consejos.
' Good counsel.' Duenna gives worldly advice to a
young girl, who listens with attention.
16. Dios la perdone . . .
'May God pardon her — it was her mother.' Young
lady turns scornfully from a beggar-woman. A rebuke
to upstarts, forgetful of the ties of kindred.
17. Bien tirada esta.
Girl drawing up her stocking in presence of an aged
duenna.
18. Y se le quema la casa.
'And his house is burning.' Old man, seemingly
drunk, does not perceive that his house is on fire.
19. Todos caer.
' All will fall.' Women pluck a bird which has a man's
head. Similar fowls hovering above. Suggests that
men of all classes, undismayed by the fate of others, fall
a prey to women.
20. Ya van desplumados.
' They are already plucked.' Young women, encour
aged by old men, chasing birds furnished with men's heads.
21. Qual la descafionan.
' How they pluck her ! ' Lawyers, in feline shape,
plucking a bird provided with a woman's head.
22. Pobrecitas! ' Poor little things ! ' Two women, hooded, escorted
or annoyed by two cloaked men.
23. Aquellos polvos.
' Dust and Ashes.' A female victim of the Inquisition
listening to the sentence read by a familiar of that tribunal.

THE CAPRICES 177
24. No hubo remedio.
'There was no remedy.' A woman, stripped to the
waist and mounted on an ass, is led away by the officers
of the Inquisition.
25. Si quebr6 el cantaro.
' Because he broke the pitcher.' Mother chastising her
boy.
26. Ya tienen asiento.
' Now they have seats.' Two women, nude from the
waist downwards, carry their chairs on their heads.
Meaning obscure.
27. Quien mas rendido ?
'Which is the more bored?' A gallant paying his
oft-repeated compliments to a lady, who is weary of such
empty homage.
28. Chit6n! ' Hush ! ' A lady of fashion makes a sign to an old
dame leaning on a stick. Allusion to the fashion in
Spain of confiding billets doux to beggars at the church
doors.
29. Esto sf que es leer.
'This is what he calls reading.' A man of fashion
reads in a desultory manner, while his valets attend to
his toilette. Possibly a skit on some minister of state.
30. Porque esconderlos 1
' Why hide them ?' A miser, possibly an ecclesiastic,
endeavours to hide some bags of money from four persons
who deride him. May be intended as a skit on the
clergy, whose wealth was a matter of common know
ledge.
31. Ruega por ella.
' She prays for her.' Girls at their toilette, and an old
woman praying. Meaning obscure.

178 GOYA CATALOGUE
32. Porque f ue sensible ?
' Why was she sensitive ? ' A young girl weeping in a
dungeon. This may imply that people of excessive sensi
bility carry their own prison or torture-chamber with them.
33. Al Conde Palatino.
' To the Count Palatine.' A richly dressed charlatan
extracting teeth. Allusion, probably, to the practice of
such gentry of representing themselves as physicians to
foreign potentates.
34. Las riende el sueno.
' Sleep comforts them.' Women asleep in prison.
35. Le descanona.
' They shave him.' Young man shaved by girls.
36. Mala noche.
' A bad night.' Women out in a stormy night.
37. Si sahra mas el discfpulo ?
' Will the pupil know more [than the master] 1 ' A
donkey, of dignified demeanour, teaching a little ass.
38. Brahisimo !
'Bravissimo !' A donkey applauds a monkey who
plays on the guitar. Possibly a skit on Charles iv. and
Godoy.
39. Asta su abuelo.
* As far as his grandfather.' An ass contemplates the
portraits of other asses. Satire on those who seek to
establish long pedigrees for themselves.
40. De que mal morira 1
' Of what will he die ? ' An ass feels a dying man's
pulse. Perhaps a reflection on the faculty was intended.
41. Ni mas ni menos.
' Neither more nor less.' A donkey sits for his portrait
to a monkey, who is painting a horse. Satire on artists
who paint pictures of those whom they have never seen.

THE CAPRICES 179
42. Tii que no puedes.
' Thou who canst not . . .' Two men staggering under
the weight of two asses. The men represent the people,
the asses perhaps the governing classes.
43. El suefio de la razon produce monstruosos.
' The sleep of reason induces monstrous thoughts.' Bats
and owls fly round a sleeping man, and place a pencil in
his hand wherewith to reproduce his vision.
44. Hilan delgado.
' They spin linen.' Old women spinning.
45. Mucho hay que chupar.
' There is a lot to taste.' Around a basket full of new
born children sit three topers. Meaning obscure.
46. Correcci6n. ' Correction.' Fantastic figures with heads of birds and
animals. Said to be an allusion to the Holy Office.
47. Obsequio a el maestro.
' Homage to the master.' Wizards and witches offering
a new-born infant to their chief.
48. Soplones. 'Blowers.' Devil on a cat is rousing some sleeping
monks.
49. Duendecitos. ' Little ghosts.' Three monstrous beings in 'clerical
garb. Attack on the clergy.
50. Los chinchillas.
Two persons with costumes heraldically decorated, their
eyes closed, and with padlocks on their ears, are being
fed by a third, blindfolded, and with ass's ears. Allu
sion to the aristocracy, represented to be the victims of
superstition and ignorance.
51. Se repulen.
' They polish each other's nails.' Three demons claw
ing each other.

180 GOYA CATALOGUE
52. Lo que puede un sastre !
' What a tailor can do ! ' Devotees prostrate them
selves before an ecclesiastical vestment hung on a tree.
The meaning is obvious.
53. Que pico de oro !
' What an Orator ! ' A parrot preaching to friars and
others.
54. El vergonzoso.
' How shameful.' A man is eating from a dish held
by another person. The suggestion does not lend itself
to explanation.
55. Hasta la muerte.
' Till death.' A hideous old crone trying on a head
dress before a mirror to the amusement of a number of
spectators.
56. Suhir y bajar.
'Ascent and fall.' A monstrous satyr, representing
Vice, is holding up a manikin [Godoy], while other
figures are falling headlong.
57. La filiaci6n.
'Well mated.' An espousal ceremony. The bride
has an animal's head, and carries her own face in her
lap. The bridegroom is a hideous and repulsive-looking
dwarf. A woman makes an entry in a^ book. Meaning
obscure.
58. Tragala, perro.
' Swallow that, dog ! ' A monk threatens with an
enormous syringe a kneeling priest surrounded by other
monks.
59. Y aun no se van !
' And yet they do not go ! ' Two withered wretches
uphold a slab of stone which threatens to overwhelm
them. Not impossibly this may symbolise the determined
clinging to life of even the most wretched.

THE CAPRICES 181
60. Ensayos. ' Essays.' An enormous goat surveys a nude man and
woman who are rising in the air. Meaning obscure.
61. Volaverunt. A handsome young woman flying through the air
supported by three crouching figures. Said to represent
the Duquesa de Alba.
62. Quien lo creyera ?
' Who would believe it ? ' Two naked wretches fighting
in mid-air are falling into the jaws of monsters.
63. Miren que grabes !
1 How grave they are ! ' Men with the heads of birds
and donkeys riding on grotesque-looking beasts.
64. Buen viaje !
' Bon voyage ! ' Winged monsters or witches flying
through the darkness.
65. Donde va mama ?
' Where is mamma going V A fat woman carried
through the air by three demons, one of whom rides an
owl. A cat holds a parasol over the group.
66. Alia va eso.
' Beware ! ' A man and a woman with outspread
wings flying in the company of a cat and a serpent.
67. Aguarda que te unten.
' Wait till you have been anointed ! ' A goat leaps
upwards while two grotesque wretches endeavour to
anoint its hoofs. Alleged by some to be a derisive
allusion to the sacrament of extreme unction.
68. Linda maestra !
'Pretty mistress ! ' Two witches preceded by an owl.
69. Sopla. ' She blows ! ' Woman using a child as a bellows.

182 GOYA CATALOGUE
70. Devota profesion !
' Devout profession ! ' A woman with ass's ears,
seated astride a satyr, recites from a book at the
direction of two ecclesiastics.
71. Si amanece, nos vamos.
' The dawn is breaking, we '11 be off.' Breaking up of
a witches' party.
72. No te escaparas.
'You will not escape.' A girl trying to elude winged
creatures with men's heads.
73. Mejor es holgar.
' It 's better to do nothing.' A man assists a woman to
disentangle a skein. Girl stands by amused.
74. No grites, tonta.
' Don't grizzle, idiot.' A girl alarmed at two comical
monkish phantoms. A variation of the artist's favourite
theme of bogeys raised by monks.
75. No hay quien nos desate 1
' Will no one set us free ? ' A man and a woman tied
to the same tree. Satire on marriage.
76. Esta Vmd? pues, como digo, etc. . . .
' Are you there ? Well, then, as I say. . . . Well, be
careful ! If not. . . .' Nonsensical orders issued by a fat,
ridiculous-looking officer.
77. Unos a otros.
'From one to the other.' Old dotards attacking a
third who is playing at 'ball.' May be intended to
convey a satire on the aged who pretend to the activities
and energy of youth.
78. Despacha, que despiertan.
'Be quick, they waken.' An old woman apparently
awaking her fellow-servants.

THE DISASTERS OF WAR 183
79. Nadie nos ha visto.
' Nobody has seen us.' Monks drinking in a cellar.
80. Ya es hora.
'It is the hour.' Monks stretching themselves and
yawning. Sometimes included in Los Caprichos are the
following : —
81. Sueno de la mentira y de la inconstancia.
'A dream of falsehood and inconstancy.' In the
collection of Don V. Carderera.
82. Women lamenting, while a Man gives a Dog some
Medicine.
Very rare.
83. Woman sleeping in a Prison, her Feet chained to
the Wall.
Very rare.
THE DISASTERS OF WAR
A set of eighty prints in aqua-tinta. Published by
the Academia de San Fernando in 1863 : —
1. Tristes presentimientos . . .
'Sad presentiments.' An emaciated man, symbolical
of the Spanish people, kneels in a supplicating attitude,
and regards the sky, which is filled with portentous
monsters.
2. Con raz6n 6 sin ella.
'With or without reason.' Two peasants attacking
French troops.
3. Lo mismo.
' All the same.' Similar subject.
4. Las mujeres dan valor.
' Women inspire courage.' Women resisting soldiers.

184 GOYA CATALOGUE
5. Y son fieras.
' And are like wild beasts.' Similar subject.
6. Bien te se esta.
' A good thing.' French soldiers dying.
7. Que valor !
' Courage ! ' The Maid of Zaragoza.
8. Siempre sucede.
'What always happens.' French soldiers put to
flight.
9. No quieren.
' They will not.' Women resisting soldiers.
10. Tampoco. ' Nor they.' Similar subject.
11. Ni por esas.
' Not for these.' Similar subject.
12. Para eso habeis nacido ?
' Were you born for this ? ' Man falls dying on a heap
of slain.
13. Amarga presencia.
' A bitter sight.' Woman witnessing maltreatment of
her husband by soldiers.
14. Duro es el paso.
' Hard is the way.' Hanging of prisoners.
15. Y no hay remedio.
* And there was no remedy.1 Execution of prisoners.
16. Se aprovechar.
' They avail themselves.' Troops stripping the slain.
17. No se convienen.
' They do not agree.' Battle piece. Dispute between
French officers.

THE DISASTERS OF WAR 185
18. Enterrar y callar.
' Bury and be silent.' Weeping man and woman gaze
on a heap of slain.
19. Ya no hay tiempo.
' There is no time.' Fruitless appeal by women to a
French officer.
20. Curarlos y a otra.
' To heal them and each other.' Wounded guerrillas.
21. Sera lo mismo.
' It will be the same.' Wounded men ; woman
weeping.
22. Tanto y mas.
' As many and more.' Heap of slain.
23. Lo mismo en otras partes.
' The same elsewhere.' Similar subject.
24. Aun podran servir.
'They are still of use.' Sick people carrying the
wounded.
25. Tambien estos.
' And there also.' Wounded in an ambulance.
26. No se puede mirar.
'That cannot be seen.' People lying on the ground
threatened by the muskets of the troops.
27. Caridad. ' Charity.' Corpses being thrown into a ditch.
28. Populacho. ' The populace.' Mutilating a corpse.
29. Lo merecia.
'He deserved it.' Soldier's body being dragged by
cords. N

186 GOYA CATALOGUE
30. Estragos de la guerra.
' The tragedy of war.' Men and women projected head
long into a cellar.
31. Fuerte cosa es !
' Might is stronger than right ! ' Prisoners being
hanged by the French.
32. Por que?
' Why ? ' Prisoner being tortured by three soldiers.
33. Que hay que hacer mas 1
' What more is there to do ? ' Similar subject.
34. Por una navaja.
' For a knife.' Corpse of executed assassin on a
scaffold.
35. No se puede saber por que\
'No one knows why.' Eight men garrotted with
labels round their necks.
36. Tampocd. 'Neither.' French soldier watches a man hanging
from a tree.
37. Esto es peor.
' This is worse.' Mutilated corpse impaled on a tree.
38. Barbaros !
' Barbarians ! ' Execution of a prisoner.
39. Grande hazafia — Con muertos !
' Great prowess — With the dead ! ' Three horribly
mutilated corpses.
40. Algun partido saca.
' He turns it to account.' Man fighting a wild beast.
41. Escapan entre las llamas.
' They escape through the flames.'

THE DISASTERS OF WAR 187
42. Todo va revuelto.
'Everything in confusion.' Friars fly hither and
thither.
43. Tambien esto.
' These also.' Similar subject.
44. Yo lo vi.
'I saw it.' People flying from a village. Mother
dragging away her children.
45. Y esto tambien.
'And this also.' Similar subject.
46. Esto malo.
' This is bad.' Soldiers slaughtering monks.
47. Asi sucedi6.
'Thus it happened.' Soldiers, watched by a monk,
despoiling a church.
48. Cruel lastima !
' Cruel misfortune ! ' A man imploring succour near a
heap of slain.
49. Caridad de una muger.
' A woman's charity.' Women tending the wounded.
50. Madre infeliz.
' Unhappy mother ! ' Child, weeping, beholds its
mother carried off by soldiers.
51. Gracias a la almorta.
'Thanks to the blue vetch.' Woman distributing
grain to the afflicted.
52. No llegan a tiempo.
' Too late.' Women arrive too late to help a com
panion.
53. Espiro" sin remedio.
' He died without help.' Group of persons round a corpse.

188 GOYA CATALOGUE
54. Clamores en vano.
' No help.' Starving people vainly beseech a French
dragoon for help.
55. Lo peor es pedir.
'To beg is the worst of all.' Starving men vainly
appeal for help to a French lady.
56. Al cementerio !
' To the cemetery.' Corpse being carried to the graver
yard.
57. Sanos y enfermos.
' The quick and the dead.' The hale and the sick both
taking refuge in a vault.
58. No hay que dar voces.
' Of no use to cry.' Group of starving and afflicted
persons.
59. De que" sirve una taza ?
' Of what use is one cup ? ' Woman carrying a cupful
of nourishment to a group of starving women.
60. No hay quien los socorra.
' There is nobody to help them.' Three men prostrate,
another standing ; all feel the approach of death.
61. Si son de otro linaje ?
' Are they of another race ? ' Frenchmen remain in
different to the appeal of some starving wretches.
62. Las camas de la muerte.
' The deathbeds.' Women weeping over a heap of
slain.
63. Muertos reeogidos.
' The dead collected.' A heap of slain.
64. Carretadas al cementerio.
' Cart-loads for the cemetery.' Carts being loaded with
corpses.

THE DISASTERS OF WAR 189
65. Qu6 alboroto es estel
' What means this tumult ? ' A French officer writes
at a table. People taking to flight.
66. Extrana devocion.
' Strange devotion.' People adoring relics carried
on the back of an ass.
67. Esta no lo es menos.
' This is not less so.' Procession of the image of Our
Lady of Sorrows.
68. Que loeura !
' What madness ! ' A monk, surrounded by objects of
popular devotion.
69. Nada. ' Nothing.' A spectre emerging from the tomb writes
the word ' Nada ' on a sheet of paper.
70. No saben el camino.
' They do not know the way.' A procession of ecclesi
astics tied together by ropes. ' The blind leading the
blind.'
71. Contra el bien general.
'Against the general good.' An old man with bat's
ears writing in an open book. An allusion probably to
some unpopular statesman.
72. Las resultas.
'The consequences.' The above personage and other
vampires drinking the blood of a corpse, representing Spain .
73. Gatesca pantomima.
' Cat's pantomime.' A monk, birds of prey, and others
doing homage to a cat (Godoy 1).
74. Esto es lo peor.
' This is the worst.' A wolf signing a document ; a
monk in attendance.

190 GOYA CATALOGUE
75. Farandula de charlatanes.
'Meeting of quacks.' Monks with heads of asses,
parrots, and pigs.
76. El buitre carnivoro.
' The carnivorous vulture.' A huge vulture pursued by
a crowd of monks and soldiers.
77. Que se rompe la cuerda.
'May the rope break.' King Joseph represented
walking on a rope.
78. Se defiende bien.
' He defends himself well.' A horse (Spain) defending
himself against wolves.
79. Muri6 la verdad.
' Truth died.' Truth represented as a young woman
crowned with laurels.
80. Si resucitard 1
' Will she revive ? ' The same figure appearing about
to arise from the grave.
(79 and 80 appear to refer to the abolition of the Con
stitution by Fernando vii.)
81. Fiero monstruo.
' Bold monster.' An enormous cat devouring human
beings.
82. Esto es lo verdadero.
'There is Truth.' Truth is represented by a young
woman leaning on the shoulder of a husbandman.
(81 and 82 are not usually included in the series
Disasters of War.)

LA TAUROMAQUIA 191

LA TAUROMAQUIA (TAUROMACHIA)
A set of thirty-three prints in aqua-fortis and aqua-
tinta finished about 1815.
1. Hunting Bulls across Open Country in the Olden
Time.
2. Hunting the Bull on Foot.
3. Moors hunting the Bull across Country.
4. Moors bull-fighting in an Enclosure.
5. The Moor Gazul is the first to fight the Bull accord
ing to modern rules.
6. Moors using their Burnouses to irritate the Bull.
7. Origin of the Banderilla.
8. Moor attacked by a Bull.
9. Spaniard wearing a Turban killing a Bull in the
Arena.
10. Charles v. kills a Bull in the Arena at Valladolid.
11. The Cid spearing a Bull.
12. People hamstringing a Bull.
13. Horseman places some Banderillas without the
Help of the Chulos.
14. The Student of Falces, enveloped in his Cape,
plays with the Bull.
15. The famous Martincho plants Banderillas.
16. Martincho seizes the Bull by the Tail and the
Horns.
1 7. Moors using Donkeys instead of Horses.
18. Intrepidity of Martincho at Zaragoza.
19. Similar Exploit.
20. Exploit of Juanito Apifiani at Madrid.

192 GOYA CATALOGUE
21. Spectators killed by the Bull at Madrid.
22. The Woman Picador, Pajuelera, at Zaragoza.
23. Mariano Ceballos in the Arena.
24. Ceballos mounted on a Bull.
25. Bull being baited with Dogs.
26. Picador overthrown by the Bull.
27. Fernando del Toro in the Arena.
28. Rendon killing a Bull with one Blow at Madrid.
29. Pepe-Illo in front of the Bull.
30. Pedro Romero in the Arena.
31. Flaming Banderillas.
32. Bull overthrowing Picadors.
33. Death of Pepe-Illo in the Arena.
The plates 34 to 40 do not properly belong to the
series. 34. Variation of plate No. 24.
35. Combat between the Bull and Picadors mounted
on Donkeys harnessed to a Carriage.
36. Scene in the Bull-Ring.
37. Bull carrying a wounded Toreador impaled on his
Horns.
38. Bull carrying dead Toreador impaled on his Horns.
39. Variation of plate No. 25.
40. Variation of plate No. 18.
41. The Bulls. A study of the animals in various
attitudes.
This plate belongs to Monsieur Lucas of Paris, and does
not properly belong to this set.

LOS PROVERBIOS v°>

ATE 1.
\

LOS PROVERBIOS (THE PROVERBS)\
A collection of eighteen plates, now the property i.
the Academia de San ^Fernando, Madrid.
1. Six Women tossing a dead Donkey and some
Puppets in a Blanket.
2. Soldiers flying from a Tree draped to represent a
Ghost.
3. Ten Persons seated on a rotten Branch over an
Abyss listening to an Orator.
4. A gigantic Peasant dances, with Castanets, before
Mannikins.
5. A Man riding on a winged Monster carries off a
Woman.
6. A Man, seemingly in a Condition of Fury, throws
down an old Man, who begs for Mercy.
7 . A Man and Woman j oined together at the Shoulders.
A Crowd kneels before the Man.
8. Persons apparently preparing to run a Sack-Race.
9. A fantastic Personage offers some Kittens to two
Women.
10. A Woman dragged along by a Horse. In the
Background an Animal about to devour a
Woman.
11. A two-headed Woman pursued by two Persons,
who give up the chase.
12. Majos and Majas dancing.
13. Men, with wings attached, attempting to fly,
14. Two fantastic Persons exchange Salutations; an
odd Crowd of Spectators.
15-. Monk preaching, while a Soldier throws himself
into an Abyss. 0

1924 GOYA CATALOGUE
6. Angry Woman quarrelling with a three-armed Man.
^17. Persons deriding a blind Man, who is defended by
a Dog.
18. An old Man attended by Monsters approaches a
Corpse. *
The following plates do not properly belong to the
series : —
19. A Crowd watching some Trees tricked out as
Ghosts.
Belongs to M. E. Lucas.
20. A young Woman rides a Horse on a Trapeze.
2 J. Moors offering an open Book and a Collar to an
Elephant.
The property of M. E. Lucas. Published in 1877
under the title of ' Otros leyes por el pueblo' (Other laws
for the people).

Printed by T. and A. Constable, Printers to His Majesty
at the Edinburgh University 1

THE FAMILY OF CHARLES IV.
(Prado, Madrid.)

PLATE 2.

THE INFANTE DON CARLOS.
(Prado, Madrid.)

PLATE

THE INFANTE FRANCISCO DE PAULA ANTONIO.
(Pkado, Madrid.)

PLATE 4.

THE INFANTA MARIA JOSEFA.
(Pkado, Madrid.)

PLATE 5.

THE INFANTE DON ANTONIO, BROTHER OF CHARLES IV.
(Prado, Madrid.)

PLATE 'fl.

THE INFANTE DON CARLOS MARIA ISIDRO.
(Prado, Madrid.)

PLATE '

KING CHARLES IV.
(MiNisTEKin de Hacienda, Madrid.)

PLATE S.

KING CHARLES IV.
(Ministerio de Hacjenda, Madrid.)

PLATE 9.

KING CHARLES IV.

PLATE 10.

KING CHARLES IV.
(Ruval Palace, Madrid.)

KING CHARLES IV.
(Prado, Madrid..)

PLATE 12.

KING CHARLES IV.
(Marqles de Casa Torres, Madrid.)

PLATE 13.

" ' : ' ''¦'

r*3&**0

^51

.1 '.:* r-©^ V
^fe5!.t;-.'.: '^_-ES_l,*v ¦
______ fi_____r
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t3S-3_v*.
l '. #,. * say ;
WSHr'jr-^
_____ • '" rf*
*5 *. ..
K_ itfil P^
_______Kv.^s
QUEEN MARIA LUISA.
(Don A. de Beruete, Madrid.)
PLATE 14.

QUEEN MARIA LUISA.
(Don Josit L.azan.)

PLATE 15.

QUEEN MARIA LUISA.
(Ministerio de Hacienda, Madrid.)

PLATE 10.

QUEEN MARIA LUISA.
(Marques de Casa Torres, Madrid.)

PLATE 17

JUEEN MARIA LUISA.
(Prado, Madrid.)

PLATE IS.

QUEEN MARIA LUISA.
(Prado, Madrid.)

PLATE 19.

FERDINAND VII.
(Acadk.iv of St. Ferdinand, Madrid.)

PLATE 20.

FERDINAND VII.
(Prado, Madrid.)

PLATE 21.

ferdinand vii.
(Prado, Madrid.)

PLATE 22.

FERDINAND VII.
(Ancient Collection of Eustaquio Veate.)

PLATE

DON LUIS, PRINCE OF PARMA.
(Prado, Madrid.)

PLATE 24.

THE DUCHESS OF ABRANTES.
(Duquesa de Abrantes, Madrid.)

PLATE 23

THE DUCHESS OF ALBA.
(Don Rafael Barrio.)

PLATE 26.

THE DUCHESS OF ALBA.
(Palacio de Liria, Madrid.)

PLATE 27.

THE DUCHESS OF ALBA.
(The Duke of Alba, Madrid.)

PLATE 28.

THE DUCHESS OF ALBA.

PLATE 29.

THE CONDESA DE ALTAMIRA AND DAUGHTER.
(Makques de Cervera.)

PLATE

PLATE 31.

THE INFANTE DON LUIS DE BORBON.
(MaRi.h'f.^ de1 Casa Torres. Madrid. 1

PLATE 32.

ALTAMIRANO AUDITOR OF SEVILLE.
(Marques de la Vega Inclan.)

PI. .VI K 33.

DON MANUEL LAPENA MARQUES DE BONDAD REAL.
(Don Jovqlin Akgamanilla.)

PLATE 34.

THE MARQUESA DE CABALLERO.
(Marques he Chi. \ ek \.)

PLATE 35.

CONDE DF r.ABU»n<

PLA'I V. 36.

THE WIFE OF CEAN BERMUDEZ.
(M \K'H kv DE C'\s. TOURES, M \I1RII_.)

J. CEAN BERMUDEZ.
(M -u.-nri-;^ ])i; Curvkka, Madkii>.)

DONA LORENZO CORREA.
(M. Pii^ciioi-KsiiKiM, Pakis.)

PLATE 39.

THE TOREADOR COSTILLARES.
( I ti i\ Josi-: Lazai.o.)

DON JOAQUIN MARIA FERRER.
(Count of Caxdili.a.)

TLATE 11.

CONDESA-DUQUESA DE BENAVENTE Y OSUNA.
(Madrid.)

IT.ATE J2.

DONA MANUELA DE ALVAREZ COINAS.
(Makqlis of Paroja.)

PLATE 43.

FLORIDA BLANCA.
(.MAUQ. I --\ DE MAR lol.EI.L.)

DON ANTONIO FORASTER.
(Don J. Millan.)

PLATE «

THE ENGINEER IGNACIO GARCINI.
(The Gakcim Family, Madrid.)

PLATE 4it

DONA JOSEFA CASTI LLA-PORTUGAL.
{U..\ VlUiNft GMK.INI.)

PLATE 47.

DON JUAN ANTONIO CUERVO.
tl>. )•'. In KAN.I

DONA MARIA ILDEFONSO DABALOS.
(Cul'NT UK YlLLAGi'N/ALO.)

IT.ATI''. 4H.

GENERAL DON JUAN MARTIN, SURNAMED EL EMPECINADO.
(Don Luis Navas.)

d

GODOY, PRINCE OF THE PEACE.
CACADKMV (TV St. KkKDIN'ANI), MadKII) )

PLATE CI.

F. GUILLEMARDET, AMBASSADOR OF THE
REPUBLIC TO SPAIN, 1798.
(Louvre, Paris.)

PLATE 52.

JASPAR MELCHOR DE JOVELLANOS.
(Marquesa he Yu'lamajok, Madrid.)

ASENSIO JULIA (' EL PESCADOR ET ').
(Ci im i i-.ssi. ue Pakis.)

THE MILKMAID OF BORDEAUX.
(Condesa Vinda di; Muguiro.)

THE PAINTER ASENSIO JULIA C' EL PESCADORET').
(Louvre.)

PLATE

THE MARQUESA DE LAZAN.
(Cmmtesse de Moniijo.)

DON FRANCISCO L A R R U M B E.
(The Ijank of Spain, Mai. kid.)

THE FAMOUS BOOKSELLER OF THE CALLE DE CARRETAS.
(D<>\ Bkmto Gahriga.)

DON J. ANTONIO LLORENTE, HISTORIAN OF THE INQUISITION.
(])n\ Francisco Llorente v Garcia de Vinuesa.)

PLATE 00.

THE DUKE OF SAN CARLOS.
(Makhli.- de la Torrecilla.)

PLA'J'E 111.

THE DUKE OF SAN CARLOS.
(Conde de Villagonzalo.)

IT.ATE 02.

THE ACTOR ISIDORO MAIQUEZ.
(Prado, M un.iu. )

PLATE

THE ACTOR ISIDORO MAIQUEZ: REPETITION OF THE FOREGOING.
(Maki.h rs de Cas. Ti.KRES, Madrid.)

THE COUNTESS OF MIRANDA DEL CASTANAR.
(Furmhrly in Montijo Collection.)

THE CONDE DE MIRANDA.

LEANDRO FERNANDEZ DE MORATIN.
(Academy of St. Ferdinand, Madrid.)

PLATE 67

THE FAMILY OF THE COUNTESS OF MONTIJO.
(Palacio de Liria, Madrid.)

IT.ATE r.s.

SENOR J. B. DE MUGUIRO.
(G>".dksa Vinda in-: Mlt.uiru.)

THE MARQUES DE CASTRO TERRENO.

THE MARQUESA DE CASTRO TERRENO.

PLATE VI.

CAMARON.
(Dona E. Camaron.)

MUNARRIZ.
(Academy of St. Ferdinand, Madrid.)

PLATE 7::

THE DUKE OF OSUNA, WITH HIS FAMILY.
(Pkado, Madrid.)

PLATE 74.

ADMIRAL MAZAREDO.
(Don M. Hernando.)

PLATE 75.

MELENDEZ VALDES.
(Senor SuArez Inclan.)

THE DUKE OF OSUNA
(FoKMEKl.V IN THE COLLECTION W THE l'HKE OF OSUNA.)

PLATE

1

¦ii-.1 ¦ '/me* '¦'. j
* <&? ft*!
A ¦
_____________ ***•
________ \ ^flfe

L-

V-____k 1 -.fflk'^i
^V-___^H BBT

THE DUKE OF OSUNA.
|7 MAKi,)!. I VA DE YlI.LAMAJOR, M\I)-RII'.)

PLATE 78.

THE DUKE OF OSUNA.
(M. Duviat, Paris.)

PLATE 7H.

THE DUKE OF OSUNA.
(Formerly i\r the Palace uf the Dure of Osuna, Madrid.)

PLATE sn.

DUCHESS DEL PARQUE.
(M\KO_UE« de i.a Vega, Madrid.)

PLATE si.

DOCTOR PEYRAL.
(Natio vjal Gai.i.ekv, LllNII'lN.)

PLATE 82

GENERAL PALAFOX.
(Prado. Madkid.)

PLATE si

DONA ISABEL CORBO DE PORCEL.
(X \ I If i\ \l, I'.AI.I.IkV, LOMIUX.)

PLATE s-1.

DON TIBURCIO PEREZ.
(D. F. Duran and Cuervo.)

PLATE 85.

DON MARIANO LUIS DE URQUIJO.
(Academy lie Himui.y, Maukim.)

PLATE Sli.

DON TOMAS PEREZ ESTALA.
(Coi.viESs of Cedillo.)

PLATE S7

DON PANTALEON PEREZ DE NENIN.
(Don P. Labat.)

M.A I E SS.

THE MARQUESA DE PONTEJOS.
(Marquesa de Martorell.)

PLATE N'i

don ramon pignatelli
(Duquesa de Villahermosa.)

PLATE 90.

GENERAL RICARDOS.
(Madrid.)

PLATE 91.

THE TOREADOR JOSE ROMERO.
(Madrid.)

PLATE-

MARQUES DE SAN ADRIA'N.
(In the Collection of the Family.)

PLATE 93.

THE MATADOR PEDRO ROMERO.
(Dure of Yri.aou \.)

IT.ATE 94.

RAMON SATUE, IN 1823 (ALCAIDE DE CORTE).
(Dr. Beniih Garrioa.)

PLATE 93.

DON MANUEL SILVELA.
(Don F. Silvela.)

PLATE K-.

DONA MARIA TERESA APODACA DE SESMA.
(Don Anders Arteta.)

PLATE

MARQUESA DE LA SOLANA.
(Marques del Shcokku.1

S £ 7,

PLATE

GENERAL URRUTIA.
(Prado, Madrid.)

PLATE 99.

MARIA DEL ROSARIO FERNANDEZ, SURNAMED 'LA TIRANA,'
A CELEBRATED ACTRESS.
(Academy ui- St. Ferdinand, Madrid.)

PLATE 100.

THE ACTRESS MARIA DEL ROSARIO FERNANDEZ. SURNAMED LA TIRANA.'
(Conde di- ViiijciwtmaI

plate: nil.

THE MARQUES DE TOLOSA.
(Hank ok Srain, Madrid.)

PLATE 102.

THE CONDE DE TEBA.
(Don J. Lazaro.)

PLATE 103.

JOSE DE VARGAS PONCE.
(Academy of History, Madrid.)

IT.ATE 104.

DON JOSE DE TORO ZAMBRANO.
(Bank of Stain, Madrid.)

DONA ANTONIA ZARATE.
(,S..-;m.ka Vinda i>k At u-ai_F"(k_)

(¦axaOYiny aa vn..i( vao.N-aq.
¦axvavz vinoxnv vnoo

'•'HI ilXVTd

-T.ATE 107.

DONA LOLA ZIMENEZ.
(M. Chiramv, Paris.)

PLATE 10S.

DON EVARISTO PEREZ DE CASTRO, PRESIDENT OF
THE COUNCIL OF CASTILE.
1 l.or\ re. Paris.)

PLATE 109.

DON JUAN JOSE. MATEO ARIAS DAIRLA.
(M\RQl'hs. DE ALMAOUER.)

PL4TE 110.

FATHER LASCANAL.
(Don J. LAzaro. )

PLATE 111.

DON RAMON DE POSADA Y SOTO.
(Don Jose Maria Perez Caballero.)

P1ATE 112

MARQUESA DE CABALLERO.
(Marques de Corvera, Madrid.)

PI ATE 113.

THE CONDE DE GAZINZA.
(Makques de Casa Torres, Madrid..

IT.ATE 114.

MORATIN.
(Don F. Silvela )

PORTRAIT OF THE ARTIST, BY HIMSELF.
(ACAIJI-.MY UK Sl\ I' * klJJNAXU, Madkid.)

PLATE 110.

PORTRAIT OF THE ARTIST, BY HIMSELF.
ID. A. Pidal.)

PLATE 117

PORTRAIT OF THE ARTIST, BY HIMSELF.

PLATE US.

PORTRAIT OF THE ARTIST, BY HIMSELF.
(M. Leon Bonnet.)

PLATE 119.

GOYA AT THE AGE OF 80, BY VINCENTE LOPEZ.
(Prado, Madrid.)

PLATE 120.

DON J. B. DE GOICOECHEA.
(Don Felipe Modet.)

PLATE 121.

GOYA'S GRANDSON.
(-Maki.iues de Alcanices.)

IT.ATE 122.

DONA FELICIANA BAYEU.
11). C. Ferriz.)

PLATE 123.

DON JUAN MARTIN DE GOICOECHEA.
(Marques de Casa Torres, Madrid.)

PLATE 124.

DONA NARCISA BARANONA DE GOICOECHEA.
(Don Erlite Modet.)

PLATE 12

DONA JUANA GALARZA DE GOICOECHEA.
(Marques de Casa Tokkks, Miiikid .

PLATE 126.

THE PAINTER, FRANCISCO BAYEU, BROTHER-IN-LAW OF GOYA.
(Prado. Madrid.)

PLATE 127.

JOSEFA BAYEU, GOYAS WIFE.
(Prado, Madrid.)

PIATK 12s.

GROUP' OF HEADS.
(Formerly in the P\i u k (If-Sav. Tm.mo, now ix tuf
C'OLLI-'C I'll iv OK Till C'llMM-ssK DE PAU1S.)

2
>

PORTRAIT STUDY OF A WOMAN.

PLATE 130.

PORTRAIT OF A YOUNG GIRL.
(Private Proter iv.)

¦aovh v do xivaxaod

'Tilt .IXV'l.l

PL A I E 132.

PORTRAIT OF A LADY.
IC0NI1I-- OP PlNAIAIZ.)

PLATE 133.

PORTRAIT OF A LADY.
(Don Jose I, (/arm.)

PLATE 134.

PORTRAIT OF A LADY.
(Don A. de Beruete.)

PLATE 1S5.

PORTRAIT OF A LADY.
(Don A. de Bekuete.)

PLAI I-. 136.

PORTRAIT OF A LADY.
(Don A. de Hekieie.)

PLATE 137

PORTRAIT OF A LADY.
(Don K.. Garcia.)

jjL,AJ_'Ji j;^

PORTRAIT OF A WOMAN.
(Luuvke, Paris.)

PLATE 139.

A LITTLE GIRL.
(Marques de Casa Torres, Madrid.)

PORTRAIT OF A LADY.
(,D<_>n J. GuTiKKUt/. Martin.)

PLATE 111

YOUNG SPANISH WOMAN.
(Louvre, Paris )

PLATE 142.

PORTRAIT OF A MAN.
(Private Collection.)

PLATE 143.

THE OLD MAN.
(CoNUE UK D \. MARINA.)

PT, VTE 144.

PORTRAIT OF AN ARCHITECT.

PL VIE li:.

PORTRAIT OF A DOCTOR.

PLATE 140.

PORTRAIT OF A LADY.

IT.ATE 1 17.

PORTRAIT OF A LADY.

PLATE US.

PORTRAIT OF A LADY.

¦aov-1 v do xivaxaod

PLATE l'.u.

PORTRAIT OF A MAN.

PLATE 151.

PORTRAIT OF A LADY.
(Senor Orossen.)

PI. VI E

PORTRAIT OF A LADY,

PORTRAIT OF A GENTLEMAN.

PLATE 154.

CHARLES IV.
(Comtesse de Paris.)

IT .A I E 155.

QUEEN MARIA LUISA.
(O i\tti-ssi- he Paris.")

T. VI E 150.

THE INFANTA ISABEL, AFTERWARDS QUEEN OF THE
TWO SICILIES, AT THE AGE OF 12 YEARS.
(Comtesse di Paris.)

"L \TE l;.r.

PORTRAIT OF A MAN.

PLATE 158.

DON FELIX COLON, SPANISH AUTHOR.
(Don Ricardo Traumann, Madrid.)

PL VIE 189.

(FRAGMENT) DON FELIX COLON, SPANISH AUTHOR.
(Don Ricardo Traumann, Madrid.)

PLATE 160.

PORTRAIT OF A MAN.

PLATE 161.

PORTRAIT OF A BOY.

PLATE 162.

PORTRAIT OF A BOY.

PLATE 163.

PORTRAIT OF A BOY.

TLATE 164.

-

; ¦

,

N

?;&Pr ' a. ¦
. ',. Spr-.'

PORTRAIT OF A LADY.

PLATE 165.

PORTRAIT OF A LADY.

PLATE 166.

PORTRAIT OF A LADY.

PLATE 167.

¦**%fc

"-"::

¦-.-.

PORTRAIT OF A YOUNG LADY.
(Mons. C. G., Paris.)

EPISODE OF THE FRENCH INVASION OF 1808. THE STRUGGLE IN THE
PUERTA DEL SOL BETWEEN THE CITIZENS AND THE CAVALRY
OF THE IMPERIAL GUARD.
(Prado, Madrid .

>

ON MURAT'S CAVALRY BY THE PEOPLE OF MADRID
MAY 2ND, 1808 (SKETCHX
(Duqufsv de Villahermosa.)

CASTING BULLETS BY MOONLIGHT IN THE HILLS OF TARDIENTA.
(Royal Palace, Madrid.)

t-1>
H

SCENES OF THE 2ND MAY 1808: A GROUP OF CITIZENS OF MADRID
BEING SHOT BY THE TROOPS OF MURAT.
(Prado, Madrid.)

BATTLE-SCENE.
(Marques de Casa Torres, Madrid.)

MANUFACTURING POWDER IN THE SIERRA DE TARDIENTA.
(Royal Palace, Madkid.)

THE TRIBUNAL OF THE INQUISITION.
(Prado, Madrid.)

THE PROCESSION OF FLAGELLANTS.
(Academy of St. Ferdinand, Madrid.)

r>HIS

-r > HM

A MEETING OF THE COMPANY OF THE PHILIPPINES
PRESIDED OVER BY FERDINAND VII.

PLATE 177.

THE CITY OF MADRID: AN ALLEGORY.
(The Corporation of Madrid.)

PLATE 178.

PLATE 179.

SPAIN MAKING HISTORY.
(Don Luis Navas.)

>1-3

THE MADHOUSE.
(Prado, Madrid.)

PLATE 181.

THE MAJAS OF THE BALCONY.
(COLLHCTION OF THE DuQUE DE MaRCHKSA.)

PLATE 182.

the majas of the balcony.
(Repetition of the Foregoing, with Variations.)

the knife-grinder.
(Budapest.)

LA MAJA (CLOTHED).
(Prado, Madrid.)

C>w

PLATE 187.

THE WATER-CARRIER.
(Budapest.)

PLATE 188.

OLD AGE
(Lille Museum.)

PLATE 18_!_

ROBBERY OF A COACH.
(Marques de Castro Serna.)

PLATE 190.

BRIGANDS.
(Marques de la Romana.)

PL VTE 191.

BRIGAND MURDERING A WOMAN.
(Marques de la Romana.)

PLATE 192.

BRIGANDS STRIPPING THEIR CAPTIVES.
(Marques df. i.a Romana.)

MURDER BY BRIGANDS.
(Marques de la Romana, Madrid.)

r >Hm

BRIGANDS' CAVE
(Marques de la Romana, Madrid.)

PLATE 1(1.1.

GOYA AND THE DUCHESS OF ALBA.
(Marijues de la Rom\na )

THE PLAGUE TERROR.
(Marques de la Romana.)

PLATE 197.

THE MONK'S VISIT.
(Marques de la Romana.)

> -ir,

A MASQUERADE.
(Duquesa. de Villahermosa, Madrid.)

PLATE 199.

z H

PLATE 200.

THE FUNERAL OF THE SARDINE : CARNIVAL SCENE.
(Academy of St. Ferdinand, Madrid.)

PLATE 201.

THE BOOTH AT THE FAIR.
(Marques de Castro Serna.)

THE GREASY POLE.
(Marques de Castro Torres.)

PLATE 203.

PLATE 204.

NOCTURNAL SCENE.
(Marques de la Romana.)

PLATE 205.

PLATE 206.

THE INUNDATION.
(Marques de Castro Serna.)

PLATE 207

THE VILLAGE ON FIRE.
(Marques de Castro Serna.)

PLATE 208.

CAPRICE.
(Dona C. Berganza de Martin.)

PLATE 200.

CAPRICE.
(Dona C. Berganza de Martin.)

PLATE 210.

o p.

>-,

DOGS AND GUNS: DESIGN FOR TAPESTRY.
(Prado, Madrid.)

PLATE 212.

__ 2

PLATE 213.

l'LATE 211.

A PICADOR ON HORSEBACK.
(Prado, Madrid.)

PICADOR AND BULL.
(Marouks de Baroja, Madrid.)

l'LATE 210.

DEATH OF THE PICADOR.
(Paris.)

A BULL-FIGHT.
(r.EuUKA IHKI) TO THE ROYAL ACADEMY.)

A BULL ESCAPED FROM THE ARENA.
(Duque de Veragua.)

MEETING OF WITCHES.
(Prado, Madrid.)

r

H

GALICIAN SHEPHERDS FIGHTING.
(Prado, Madrid )

THE PROCESSION.
(Conde di-: C-vnwi.u.)

PLATE 222.

PLATE 223.

PLATE 221.

i__________i-^^w'*^_a_^ ___r^ iw^^aB

W '* ¦¦•

^¦kHv
;
___W__Rj-_, "flh
- . J
¦r Br%_9
Jr -^2e*-JN
1
_____B__L
¦f' -^
PP1^
Jl
r 1 fl
.jam
¦EM* ' ____M___tf
' \MBr ' 'V J^H
*¦
HH_S^Sffinra_l
SATURN DEVOURING ONE OF HIS CHILDREN.
(Prado, Madrid.)
PLATE 225.

¦ Bii^Hir^i^s

''l/rfov*'' ¦

' J^' ' • ,^|IL-;--^K^ ¦ ' ¦ ¦ 'a— ^
.'-»' * Ik, _4wil______tec^i '"''''" _i^^__bI mtr z^^***'*'

1 M* *
' jiff K.

' _____

JUDITH AND HOLOFERNES.
(Prado, Madrid.)

PLATE 220.

TWO MONKS.

PLATE

THE MAJA.
(Erom Goya's Countrv House, near Madrid..

PLATE 228.

PLATE 2211.

LISTENING TO THE NEWS.
(Prado, Madrid.)

A GROUP OF WITCHES.
(Prado, Madrid.)

>l-J

A GROUP OF WITCHES.
(Prado, Madrid.)

PLATE 230.

t->

A GROUP OF WITCHES,
(Prado, Madrid.)

THE BULL-FIGHT.

PILGRIMAGE TO THE FOUNTAIN OF SAN ISIDRO.
(Prado, Madrid.)

t-*

MEETING OF WITCHES.
(Prado, Madrid.)

TWO OLD PEOPLE EATING PORRIDGE.
IPicado, Madrid.)

r

THE MASS OF PARIDA.
(Marques de la Torrecilla.)

PLATE 237

THE TOPERS.

WOMEN OF MADRID, AND FRIARS.
(Marques de Casa Torres.)

PLATE 230.

PLATE 240.

THE WITCH.

PLATE 241.

LAUGHING WOMEN.
(Prado, Madrid.)

PLATE 242.

THE SWING.
(Duke de Montellano.)

PLATE 243.

THE GREASY POLE.
(Duke de Montellano.)

PLATE 244.

THE ACCIDENT.
(Duke de Montellano.)

PLATE 240

COACH ATTACKED BY BANDITS.
(Duke de Montellano.)

BUILDING THE CHURCH.
(From the Collection of the Dlque de Osvna.)

PLATE 247.

THE VILLAGE PROCESSION.
(From the Collection of the Duque de Osuna.)

SUMMER: THRESHERS OF WHEAT.
(Don Ricardo Traumann.)

PLATE 249.

THE HERMITAGE OF SAN ISIDRO.
(Don P. F. DurAn.)

PLATE 250.

THE WOUNDED MASON.
(Don P. F. Duran.)

THE HERMITAGE OF SAN ISIDRO.
(Prado, Madrid.)

PLATE 252.

SCENE FROM THE PLAY 'EL hTEOHIZADO POR FUERZA'
BEWITCHED BY FORCE.
(National Gallery, London.)

PLATE 253.

THE PICNIC.
(National Oallerv, London.)

HERD OF BULLS COMING FROM THE MUNOZA.
(From the Collection of the Dunui-: de Osuna.)

PLATE 250

A CAPRICE.
(From the Collection of the Duque de Osuna.)

PLATE 256.

A WITCHES' CONVENTICLE.
(From the Collection of the Duque de Osuna.)

PLATE 25

SORCERY SCENE.
(From the Collection of the Duque de Osu.\a.i

PLATE 258.

DON JUAN AND THE COMENDADOR.
(From the Collection of the Duque de Osuna.)

PLATE 259

irsm __¦

DON QUIXOTE.

PLAI'E 200.

ST. BERNARD OF SIENA.
(Church or S.\n Fkanciso> el Grande.)

PLATE 261.

ST. BERNARD OF SIENA.
(Marques de Torrecilla.)

PLATE 262.

CHRIST TAKEN BY THE SOLDIERS.

PLATE 263.

CHRIST ON THE CROSS.
(Prado, Madrid.)

PLATE 204.

THE DEATH OF ST. JOSEPH.
(Don A. Bekuete. Madrid )

PLATE 265.

THE HOLY FAMILY.
(Prado, Madrid.)

PI-ATE 266.

ST. JUSTA AND ST. RUFINA.
(Seville Cathedral.)

PLATE 267.

APPARITION OF ST. ISIDORE TO KING FERDINAND III.
(Don A. Canovas, Madrid.)

PLATE 26S.

ST. PETER.
(Dun A. Phial, Madrid.)

THE 'PRAYER IN THE GARDEN OF GETHSEMANE.
(The Rector of San Antonio.)

PLATE 270.

ST. ELIZABETH OF HUNGARY HEALING LEPERS.
(D. Clemente Velasco.)

PLATE 271.

ST. HERMENEGILD IN PRISON.
(D. Clemente Velasco.)

ANGELS AND CHERUBIM.
(CllMlE DE Vll.I.AI.ciNZALU.)

>
3

FRESCO OF THE CUPOLA OF SAN ANTONIO DE LA FLORIDA, 1ST SECTION.

FRESCO OF THE CUPOLA OF SAN ANTONIO DE LA FLORIDA. 2ND SECTION.

PLATE 275.

5ESCO OF THE CUPOLA OF SAN ANTONIO DE LA FLORIDA. 4TH SECTION.

PLATE 27

_T :-~ ••
».•-• i

GROUP OF ANGELS FROM SAN ANTONIO DE LA FLORIDA.

>H

FRESCO OF SAN ANTONIO DE LA FLORIDA.

r>

LUNOH ON THE BANKS OF THE MANZANARES: TAPESTRY CARTOON.
(Prado, Madrid.)

r

DANCE AT SAN ANTONIO DE LA FLORIDA- TAPESTRY CARTOON.
(Prado, Maiikih.)

THE SCUFFLE AT THE VENTA NUEVA; TAPESTRY CARTOON.
(Prado, Madkid.)

PLATE 2S'J.

al fresco scene: tapestry cartoon.
(Prado, Madrid.)

THE DRINKER: TAPESTRY CARTOON.
(Prado, Madrid.)

THE PARASOL. TAPESTRY CARTOON.
(Puado, Madkid.)

r
> -.

THE KITE: TAPESTRY CARTOON.
(Pkado, Madkid. I

PLATE 2S0.

IHE CARD-PLAYERS: TAPESTRY CARTOON
(Prado, Madrid.)

CHILDREN WITH A BLADDER: TAPESTRY CARTOON.
(Prado, Madrid.)

PLATE 2S8.

BOYS PICKING FRUIT: TAPESTRY CARTOON.
(Prado, Madrid.)

BLIND MAN PLAYING THE GUITAR: TAPESTRY CARTOON.
(Prado, Madrid.)

PLATE 290.

THE FAIR OF MADRID: TAPESTRY CARTOON.
(Prado, Madrid.)

PLATE 291.

THE CROCKERY SELLER: TAPESTRY CARTOON.
(Prado, Madrid.)

PLATE 292.

THE SOLDIER AND THE GIRL.
TAPESTRY CARTOONS.
(Prado, Madrid.)

LA ACEROLERA.

PLATE 293.

PLAYING AT SOLDIERS: TAPESTRY CARTOON.
(Prado, Madrid.)

13

-_

THE GAME OF PELOTA: TAPESTRY CARTOON.
(Prado, Madrid.)

PLATE 295.

THE WASHERWOMEN: TAPESTRY CARTOON.
(Prado, Madrid.)

PLATE 296.

LA NOVILLADA: TAPESTRY CARTOON.
(Prado, Madrid.)

PLATE 297.

THE TOBACCO GUARD: TAPESTRY CARTOON.
(Prado, Madrid.)

PLATE

CHILDREN
CLIMBING A TREE.

THE HUNTER AND
HIS DOGS.
TAPESTRY CARTOONS.
(Prado, Madrid.)

THE CHILD AND
THE BIRD.

PLATE

THE WOODCUTTERS: TAPESTRY CARTOON.
(Prado, Madrid.)

13

THE RENDEZVOUS: TAPESTRY CARTOON.
(Prado, Madrid.)

PLATE SOI

____________________

THE GARDENER: TAPESTRY CARTOON.
(Prado, Madrid.)

PLATE 302.

THE VINTAGERS: TAPESTRY CARTOON.
(Prado, Madrid.)

PLATE 303.

POOR WOMAN AT THE FOUNTAIN: TAPESTRY CARTOON.
(Prado, Madrid.)

PLATE. 304.

WINTER: TAPESTRY CARTOON.
(Prado, Madrid )

THE WEDDING: TAPESTRY CARTOON.
(Prado, Madrid.)

PLATE 306.

WOMEN AT THE FOUNTAIN: TAPESTRY CARTOON.
(Prado, Madrid.)

'

THE SWING: TAPESTRY CARTOON.
(Prado, Madrid.)

>
H

THE STILT-WALKERS: TAPESTRY CARTOON
(Prado, Madrid.)

PLATE

BOYS CLIMBING A TREE: TAPESTRY CARTOON.
(Prado, Madrid.)

PLATE 310.

BOY ON A SHEEP: TAPESTRY CARTOON.
(Don Gaeino Stuyk, Madrid.)

PLATE 311.

CAPRICES

1 FRANCISCO GOYA Y LUCIENTES, PAINTER.

2. EL SI PRONUNCIAN.

PLATE 313.

PLATE 314.

4. EL DE LA ROLLONA.

3. HERE COMES THE BOGEY I

PLATE 31 j.

PLATE 316.

5. BIRDS OF A FEATHER.

6. APPEARANCES ARE DECEPTIVE.

PLATE 317.

PLATE SIS.

7. NOT THUS CAN HE DISTINGUISH HER.

8. KIDNAPPEDI

PLATE 319.

PLATE 320.

10. LOVE AND DEATH.

9. TANTALUS.

11. ANDALUSIAN BRIGANDS.

12. TOOTH-HUNTING.

PLATE 323.

PLATE 324.

14. WHAT A SACRIFICEI

13. THEY ARE HOTI

PLATE 325.

PLATE 326.

15. GOOD COUNSEL.

16 'MAY GOD PARDON HERI

PLATE S27.

PLATE 328.

17. BIEN TIRADA ESTA.

. .«. .-..«-.. - ..- „_.J*_3«s»'S_»B!_
18. 'AND HIS HOUSE IS BURNING!'

PLATE 329.

PLATE 330.

19. 'ALL WILL FALL.

20. THEY ARE ALREADY PLUCKED.

PLATE 331.

PLATE

21. HOW THEY PLUCK HER!

22. POOR LITTLE THINGS!

PLATE

PLATE 334,

23. THIS DUST.

24. THERE WAS NO REMEDY.

PLATE 335.

PLATE 3311.

26. NOW THEY HAVE A SEAT.

25. BECAUSE HE BROKE THE PITCHER.

PLATE 337.

PLATE

27. WHICH IS THE MORE BORED?

28. HUSH!

PLATE

PLATE 340.

29. THIS IS WHAT HE CALLS READING

30. WHY HIDE THEM?

PLATE 341.

PLATE 342.

31. SHE PRAYS FOR HER.

32. WHY WAS SHE SENSITIVE P

PLATE 343.

PLATE 344.

33. 'TO THE COUNT PALATINE.'

34. SLEEP CONQUERS THEM.

PLATE 34il.

35. THEY SHAVE HIM.

A BAD NIGHT.

PLATE 347.

PLATE 348.

38. BRAVISSIMOl

37. WILL THE PUPIL KNOW MORE THAN
THE MASTER?

PLATE 349.

PLATE 350.

39. AS FAR AS HIS GRANDFATHER.

40. OF WHAT ILL WILL HE DIE?

PLATE 351.

PLATE 352.

41. NEITHER MORE NOR LESS.

42. THOU WHO CANST NOT.

PLATE 353.

PLATE 354.

43. THE SLEEP OF REASON PRODUCES
MONSTERS.

44. THEY SPIN LINEN.

PLATE 355.

PLATE 350.

46. CORRECTION.

45. THERE IS A LOT TO TASTE.

PLATE 357.

PLATE 358.

47. HOMAGE TO THE MASTER.

48. THE BLOWERS.

l'LATE 300.

49. LITTLE GHOSTS.

50. LAS CHINCHILLAS.

PLATE 361.

PLATE 362.

51. THEY CUT EACH OTHERS' NAILS.

52 WHAT A TAILOR CAN DO.

PLATE

PLATE 364.

^

53. 'WHAT A MOUTH OF GOLD!

54. THE SHAMEFUL ONE.

PLATE 365.

PLATE 300.

56. TILL DEATH

56. ASCENDING AND DESCENDING.

PLATE 367.

PLATE

57. THE DESCENT.

__._ - ' YV~

58. SWALLOW THAT, YOU DOG I

H<

H<!

PLATE 371.

PLATE 37

i .-_ ;

52^r ^W**V

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^f^^^W^rm fa- i
¦ ' & .
' I fa
^Wi/
w- -
62. WHO WOULD BELIEVE ITP
61. VOLAVERUNT.
PLATE 373.

PLATE 374.

63. HOW GRAVE THEY ARE.

64. BON VOYAGE.

PLATE 375.

PLATE 376.

65. WHERE IS MAMMA GOING?

66. BEWARE I

PLATE 378.

67. WAIT TILL YOU HAVE BEEN ANOINTED.

68. PRETTY MISTRESS

PLATE 379.

PLATE 380.

s___n

70. DEVOUT PROFESSIONS.

69. SOPLAI

PLATE 381.

PLATE

r /.

// ////'///'//¦

?.' , >?_rv /'6

72. YOU WILL NOT ESCAPE.

71. THE DAY BREAKS, LET US GO.

PLATE 383.

PLATE 3S4.

(. Wt'/W ''¦> '//"///'" :

73. IT IS BETTER TO DO NOTHING.

74. DON'T GRIZZLE, IDIOT.

PLATE 385.

PLATE 380

t! - LVL# V , %T»«j<5&>^'

75. THE HABIT OF COMMAND.

76. WILL NO ONE SET US FREE?

PLATE 387.

PLATE 3S8.

77. A MIMIC BULL-FIGHT.

78. BE QUICK, THEY WAKEN.

PLATE

PLATE 390.

.-..-:

79. NO ONE HAS SEEN US.

80. IS IT ALREADY THE HOUR P

. vVAR

PLATE 391.

1. SAD PRESENTIMENTS.

PLATE 392.

2. WITH OR WITHOUT REASON.

PLATE

ALL THE SAME,

PLATE 394.

4. WOMEN INSPIRE COURAGE.

PLATE 395.

5. AND ARE LIKE WILD BEASTS.

PLATE

6. A GOOD THING, TOO I

PLATE 397.

PLATE 398:

7. COURAGE]

8. WHAT ALWAYS HAPPENS.

PLATE 399

9. THEY WILL NOT!

PLATE 400.

10. NOR THEY!

PLATE 401.

11. NOT FOR THESE1

PLATE 402.

12. WERE YOU BORN FOR THIS?

PLATE 403.

13. A BITTER SIGHT.

PLATE 404.

14. HARD IS THE WAY.

PLATE 405.

15. AND THERE WAS NO REMEDY.

PLATE 406.

16. THEY AVAIL THEMSELVES

PLATE 407.

17. THEY DO NOT ARGUE.

PLATE 408.

18. TO BURY AND TO BE SILENT.

PLATE 409.

19. THERE IS NOT TIME.

PLATE 410.

20. TO HEAL EACH OTHER.

21. IT WILL BE THE SAME.

PLATE 412.

22. AS MUCH AND MORE.

PLATE 413.

23. THE SAME ELSEWHERE.

PLATE 414.

24. THEY ARE STILL- OF USE.

PLATE 415

7-„, ,,/,,'„ rWiS
25. AND THESE ALSO.

PLATE 416.

26. THAT CANNOT BE SEEN.

PLATE 417.

27. CHARITY.

PLATE 418.

28. THE POPULACE.

PLATE 419.

29. HE DESERVED IT.

SO. THE TRARFnV np wad

PLA1E 421.

31. STRONG MEASURES.

PLATE 422

32. WHY P

PLATE 423.

33. WHAT MORE IS THERE TO DO?

PLATE 424.

34. FOR A KNIFE.

PLATE 425.

35. NO ONE KNOWS WHY.

PLATE 426.

36. NOR WHEREFORE.

PLATE 427.

37. THIS IS WORSE.

PLATE 428.

88. BARBARIANS I

PLATE 429.

39. A GREAT FEAT WITH THE DEAD.

PLATE 430.

40. HE TURNS IT TO ACCOUNT.

PLATE 431.

41. THEY ESCAPE THROUGH THE FLAMES.

PLATE 432.

. ,/ ... ',;.__
'- ___. _'_v>^ ^f '....,*

42. ALL IS IN CONFUSION.

PLATE 433.

43. HERE ALSO.

PLATE 434.

44. 'I SAW IT I

45. AND THIS, LIKEWISE.

PLATE 430.

46. THIS IS BAD.

PLATE 437.

47. THUS IT HAPPENED.

PLATE 4C8

48. CRUEL MISFORTUNE!

PLATE

49. A WOMAN'S CHARITY.

PLATE 440.

50. UNHAPPY MOTHER.

PLATE 441.

51. THANKS TO THE BLUE VETCH.

PLATE 442.

52. THEY ARRIVE TOO LATE.

PLATE 443.

53. HE DIED WITHOUT HELP.

PLATE 444.

jYCXiyWW1^^

64. VAIN CLAMOURS.

PLATE 445.

55. TO BEG IS WORST OF ALL.

PLATE 446.

56. TO THE CEMETERY.

PLATE 417.

57. THE HALT AND THE SICK.

PLATE 44S.

58. OF NO USE TO CRY.

PLATE 449.

59. OF WHAT USE IS A CUP.

PLATE 450.

60. NO ONE TO HELP.

PLATE 451.

61. ARE THEY OF ANOTHER RACE!

PLATE 452.

62. DEATH-BEDS.

PLATE 453.

63. COLLECTED DEAD.

PLATE 454.

64. CARTLOADS FOR THE CEMETERY.

PLATE 455.

65. 'WHAT MEANS THIS TUMULTP'

PLATE 456.

66. STRANGE DEVOTION.

PLATE 457.

67. THIS IS NOT LESS SO.

PLATE 45S.

68. WHAT MADNESSI

PLATE 459.

69. NOTHING; HE SAYS IT HIMSELF

PLATE 460.

70. THEY DO NOT KNOW THE WAY.

PLATE 461.

71., AGAINST THE GENERAL GOOD.

PLATE 462.

72. THE CONSEQUENCES.

PLATE 463.

73. THE CATS PANTOMIME.

PLATE 464.

74. THIS IS WORSE.

PLATE 465.

75. A MEETING OF QUACKS.

PLATE 466.

76. THE CARNIVOROUS VULTURE.

PLATE 467.

77. MAY THE ROPE BREAK.

PLATE 468.

78. HE DEFENDS HIMSELF WELL.

PLATE 469.

79. TRUTH DIED.

PLATE 470.

WILL SHE REVIVEP

TAUROMACHIE

PLATE 471.

1. HUNTING BULLS ACROSS COUNTRY IN THE OLDEN TIME.
PLATE 472

2. HUNTING THE BULL ON FOOT.

PLATE 473.

3. MOORS HUNTING THE BULL ACROSS COUNTRY.
PLATE 474.

4. MOORS FIGHTING THE BULL IN AN ENCLOSURE.

PLATE 475.

5. THE MOOR, GAZUL, FIGHTING THE BULL. PLATE 476.

6. MOORS IRRITATING THE BULL.

PLATE 477.

7. ORIGIN OF THE BANDERILLA.

PLATE 478.

8. MOOR ATTACKED BY A BULL.

PLATE 479.

9. SPANIARD, WEARING A TURBAN, SLAYING A BULL.
PLATE 480.

10. CHARLES V. IN THE ARENA OF VALLADOLID.

PLATE 481.

11. THE CID SPEARING A BULL.

PLATE 482.

12. MEN ATTACKING THE BULL.

PLATE 483.

13. HORSEMAN PLANTING BANDERILLAS IN THE BULL.
PLATE 484.

14. THE PUPIL OF FALCES AND THE BULL.

PLATE 485.

15. THE FAMOUS MARTINCHO PLANTING BANDERILLAS.
PLATE- 486.

16. MARTINCHO'S FEAT.

PLATE 487.

17. MOORS USING DONKEYS INSTEAD OF HORSES.

PLATE 488.

18. MARTINCHO IN THE ARENA AT ZARAGOZA.

PLATE 489.

19. MARTINCHO'S FEAT.

PLATE 490.

20. JUANITO APINANI IN THE ARENA AT MADRID.

PLATE 491.

21. SPECTATORS SLAIN BY THE BULL AT MADRID. PLATE 492.

22. THE WOMAN PICADOR, PAGUERELA, AT ZARAGOZA.

PLATE 493..

23. MARIANO CEBALLOS IN THE ARENA.

PLATE 494.

24 CEBALLOS MOUNTED ON A BULL.

PLATE 495.

cws WW***'

25. BULL-BAITING.

PLATE

26. PICADOR OVERTHROWN BY THE BULL.

PLATE 497.

27. FERNANDO DEL TORO IN THE ARENA.
PLATE 498.

28. READQN IN THE ARENA AT MADRID.

PLATE 499.

29. PEPE-ILLO FACES THE BULL.

PLATE 500.

30. PEDRO ROMERO IN THE ARENA.

PLATE 501.

31. FLAMING BANDERILLAS.

PLATE 502.

32. BULL OVERTHROWING PICADORS.

PLATE 503.

33. DEATH OF PEPE-ILLO IN THE ARENA. PLATE 504.

PICADORS MOUNTED ON MULES HARNESSED TO A CARRIAGE.

PLATE 505.

BULL CARRYING A WOUNDED TOREADOR ON HIS HORNS.
PLATE 506.

BULL CARRYING A DEAD TOREADOR ON HIS HORNS.

PLATE 507.

VARIATION OF NO. 25.

PLATE 508.

A SPANISH GENTLEMAN IN THE RING.

PLATE 509.

BRAVO TORO !

PLATE 510.

NEARING THE END

PROVERBS

PLATE 511.

1. WOMEN TOSSING A DEAD DONKEY AND MANNIKINS IN A
BLANKET. PLATE 512.

2. SOLDIERS FLYING FROM A TREE DRAPED TO

PLATE 513.

3. PERSONS LISTENING TO AN ORATOR.

PLATE 614.

4. PEASANT DANCING BEFORE A MAN AND WOMAN.

PLATE 515.

5. MAN CARRYING OFF A WOMAN ON A WINGED MONSTER.
PLATE 516.

6. THE INFURIATED MAN.

PLATE 517.

7. MAN AND WOMAN JOINED TOGETHER AT THE SHOULDERS.
PLATE 51S.

8. PERSONS DRESSED IN SACKS.

PLATE 519.

9. FANTASTIC PERSONAGE OFFERING KITTENS TO TWO WOMEN.
PLATE 520.

10. HUMAN BEINGS MALTREATED BY HORSES.

PLATE 521.

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11. A TWO-HEADED WOMAN PURSUED BY TWO MEN.
PLATE 522.

12. MAJOS AND MAJAS DANCING.

PLATE 523.

13. MEN ATTEMPTING TO FLY.

PLATE 524.

14. FANTASTIC SALUTATIONS.

PLATE 525,

15
PLATE 526,

A MONK PREACHES; SOLDIER THROWS HIMSELF
DOWN AN ABYSS.

16. MAN AND WOMAN QUARRELLING.

PLATE 027.

17. PERSONS DERIDING A BLIND MAN.

PLATE 528.

18. THE OLD MAN AND THE CORPSE.

PLATE 529.

It&tiik

.1
THE PROMENADE.

PLATE 530.

•-¥4

23V

A PAUPER.
H|MHE90H^BHH9

PLATE 533.

PLATE 534.

A WOMAN FLYING.

(Don A. de Beruete.)

MADMEN.

PLATE 535.

PLATE 530.

THE MAJA AND THE CLOAKED MAN. A MONK SUSPENDED IN THE AIR.
(Don A. de Beruete.)

PLATE 537.

PLATE

THE LIVING SKELETON. FRENCH CHASTISEMENT.
(Don A. de Beruete.)

PLATE 539.

PLATE 540.

v**Sfc

AQUI ALGO HA DE HABER.

THE SNAKE CHARMER.

(Don A. de Peruf.te. )

5
o
i

PLATE 543.

PLATE 544.

THE MADMAN.

THE LADY WITH THE PUPPIES.

(Don A. de Beruf.te.)

PLATE 545.

PLATE 546.

PAUPERS.

PROCESSION ENTERING THE TEMPLE
(Don A. de Beruete.)

PLATE 547.

PLATE 54S,

-

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pjjs*""
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WOMEN PRAYING.
POR MITAD DE CUARESMA.
(Don A. de Beruete.)
PLATE 549.

PLATE 650.

BRIDES OF THE CHURCH.

(Don A. de Beruete.)

MELODIOUS MEDIATORS.

PLATE 551.

IPef^

A SLEEPING MAJA.

PLATE 552.

THE SKATERS.
(Don A. de Beruete.)

PLATE 553.

PLATE 554.

STUDY FOR THE YOUNG INFANTE IN 'THE
FAMILY OF KING CHARLES IV.' (Don A.

STUDY FOR THE PORTRAIT OF THE QUEEN
IN 'THE FAMILY OF KING CHARLES IV.'
IK BEI-UI."r_.. .

K_

SLEEPING GIANT.

A GENTLE EPISODE.

(Don A. de Beruete.)

< a.

H H<!J PL,

PLATE 559.

PLATE 560.

UNDER A HOOD.

(Don A. de Beruete.)

FAIRY TALES.

PLATE 563

PLATE 564.

I I

. ia___
THE MAN WITH THE CROCODILE.

AT LAST IT BREAKS.

(Don A. de Beruete.)

PLATE 565.

PLATE 666.

THE BROKEN PITCHER. WOMAN WITH A CHILD IN ARMS.
(Don A. de Beruete.)

PLATE 567.

PLATE .Vis.

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P^^SSfiKl >rf
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.'« Pti '.fll
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Jfll^l
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.
RURAL EVENTS.
CHASTISEMENT.
(Don A. de Beruete.)
H<PL,

PLA'l'E 573.

PLATE 574.

INVOCATION.

(Don A. de Beruete.)

PLATE 570.

A MAD NEWSWOMAN.

(Don A. de Beruete.)

0,

PLATE 579.

PLATE 680.

ONE MORE UNFORTUNATE.

A PORTRAIT.

(Don A. de Beruete.)

PLATE 5S1.

INTERIOR OF THE CHURCH OF SAN ANTONIO DE LA FLORIDA.

>
H3

SAN ANTONIO DE LA FLORIDA.
PAINTING IN THE PRINCIPAL CHAPEL.

PLATE 583.

SAN ANTONIO DE LA FLORIDA.

PAINTINGS ON THE CENTRES OF THE INTRADOS OF THE CHOIR
AND PRINCIPAI? CHAPEL ARCHES.

PL -VTE .584.

s

SAN ANTONIO DE LA FLORIDA.
PAINTINGS ON THE SPRINGIN3S OF THE INTRADOS OF THE PRINCIPAL CHAPEL ARCHES.

PLATE 5S0.

PLATE 5S7.

SAN ANTONIO DE LA FLORIDA.
PAINTINGS ON THE SPRINGINGS OF THE INTRADOS OF THE CHOIR ARCHES.

PLATE 588.

SAN ANTONIO DE LA FLORIDA.
PAINTINGS ON THE INTRADOS OF THE LEFT SIDE CHAPEL ARCH.

PLATE 589.

SAN ANTONIO DE LA FLORIDA.
PAINTINGS ON THE INTRADOS OF THE RIGHT SIDE CHAPEL ARCH.

PLATE 590.

SAN ANTONIO DE LA FLORIDA.
TRIANGLES FORMED BY THE DOME ADJOINING THE
PRINCIPAL CHAPEL.

PI ATE 591.

SAN ANTONIO DE LA FLORIDA.
TRIANGLES FORMED BY THE DOME ADJOINING THE CHOIR.

PLATE 592.

PLATE 593

SAN ANTONIO DE LA FLORIDA.
PAINTINGS AT THE SIDES OF THE WINDOW ON THE LEFT.

PLATE 594.

PLATE 595.

SAN ANTONIO DE LA FLORIDA.
PAINTINGS AT THE SIDES OF THE WINDOW ON THE , RIGHT.

PLATE 596.

SAN ANTONIO DE LA FLORIDA.
FIRST GROUP ON THE CUPOLA TO THE LEFT OF THE CENTRE.

PLATE 597.

SAN ANTONIO DE LA FLORIDA.
SECOND GROUP ON THE CUPOLA TO THE LEFT OF THE CENTRE.

PLATE 598.

SAN ANTONIO DE LA FLORIDA.
CENTRE OF THE COMPOSITION ON THE CUPOLA FACING
THE ENTRANCE.

PLATE 599.

;/T-'

SAN ANTONIO DE LA FLORIDA.
FIRST GROUP ON THE CUPOLA TO THE RIGHT OF THE CENTRE.

PLATE 600.

SAN ANTONIO DE LA FLORIDA.
SECOND GROUP ON THE CUPOLA TO THE RIGHT OF THE CENTRE.

PLATE 601.

DUKE OF WELLINGTON, 1812.
(From the Orhginal Drawing in the Print Room of the British Museum.)

*g

PLATE 602.

LADY AND GENTLEMAN ON HORSEBACK,
(From the Original Coloured Sketch in the Print Room of the
British Museum.)

PLATE 603.

HEAD OF THE DYING FRAY JUAN FERNANEZ.
(From the Original Drawing in the Print Room of the British Museum.)

PLATE 604.

i n*

.-.V*/X_lt*'<,V - ' '5> «__>¦_-¦ - "*,»__ ~« "__* -* — —
IllliiliP W^z

A CRIMINAL UNDERGOING THE INFLICTION OF THE GAROTTE.
(From the Original Drawing in the Print Room of the British Museum.)

PLATE 605.

2g2

PLATE 006.

CONDEMNED CRIMINALS CONDUCTED TO EXECUTION.
(From the Original Drawing in the Print Room of the British Museum.)

r
H

SPANISH PROVERB ILLUSTRATED.
(From an Etching, hitherto unpublished, in the Print Room of the
P.ritish Museum.)

H

SPANISH PROVERB ILLUSTRATED.
(From an Etching, hitherto unpublished, in the Print Room of the
British Museum.)

r>
H
H

SPANISH PROVERB ILLUSTRATED.
(From an Etching, hitherto unpublished, in the Print Room of the
British Museum.)

HM

TAUROMACHIA: THE BULLS. A STUDY OF THE ANIMALS IN VARIOUS POSITIONS.
(From an Etching, hitherto unpublished, in the Print Room of the
British Museum.)

r-
>
H

TAUROMACHIA: BULL-FIGHTER FETTERED IN THE ARENA.
(From an Etching, hitherto unpublished, in the Print Room of the
British Museum.)

Xr>H t-1

TAUROMACHIA: A BLIND GUITAR-PLAYER TOSSED BY A BULL.
(From an Etching in the Print Room of the British Museum.)

YALE UNIVERSITY

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