Chapter IV: Part 4

Already he had painted two pictures, the ‘Dos de Mayo’ and ‘Un Episodio de la Invasión Francesca.’ One has only to study these two pictures of realised terror, in the Prado, to understand the painter’s hatred of the French and the brooding melancholy which the events of the 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 expression 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 condemned to death, and a line of French soldiers 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 mouth, 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 outside 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 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 warfare and its heroism and the stupidity of war are depicted here with searching truth. The technique 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 desolation, its hunger and disease, its heroism and its savagery, are depicted in this impeachment of Militarism. The utter uselessness of war is emphasised 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 meaning of which, that we can dimly understand, fills you with horror and affright. It is a corpse, half-buried in the earth; it is supporting 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--“Nothingness”--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 fatidical hand holds a pair of scales, which are in the act of turning upside down. Can you conceive anything more sinister or more heartrending?’

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 hauteur which are a characteristic of the Spaniard. What matter for surprise then that a Spaniard, an Aragonese, a man with the stern independent 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 accomplished; the brief phrases, at times a single word, reveal by their sense of rapidity the fugitive 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 reproduced 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. Of the selection made for the present volume (Nos. 601-12), the portrait of the 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 (1812), when Marmont was defeated on the field of Arapiles. The ‘Lady and Gentleman on Horseback’ (No. 602) have not been identified, although the picture 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 between them had brought about by folly, ignorance, 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 commencement of modern Spain. Meanwhile Wellington was driving the French troops before him--Olivenza, Fuentes de Oñoro, 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 Madrileños from the national misery. Napoleon was overwhelming his 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 1811 to August 1812, when Wellington’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 belongings, 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 Valençay,--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 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 Ferdinand VII. Neither Liberals nor Conservatives were safe. He imprisoned the men who had striven and bled to effect his return; he persecuted 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 José 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 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 of the new sovereign. It is evident from these likenesses 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 prodigious art’ when he painted people who were congenial to him, is shown by many of the portraits of this period; for instance, by that of the Marquis de San Adrián, of Don Ignacio Garcini and his wife, of Don Evaristo Pérez de Castro, and by the beautiful study of Goya’s little niece, La Felicianæ, 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 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 increased 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 Madrileños) 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 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 miniatures 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 Proverbios,’ the fourth series of Goya’s etchings,--‘the last thunderbolt of his genius,’--is uncertain. Probably they belong to those years when, 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 explanatory 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 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 somewhat 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 resources 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 insignificant atoms of the soil on which he rests. He is frightened into wakefulness by the morning sun which touches his mighty head and shoulders; they seem as if the summit of a 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 impressions 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 José de Calasanz receiving the Sacrament’--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 Plombières 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 Géricault, 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 overwhelming for the old painter, and having obtained in January 1825 a six months’ extension of leave from the King, he settled down in Bordeaux 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 lithographs 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 permission 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 sit to Vicente López y Portaña, in order that he might possess a picture of ‘the greatest painter Spain has seen since Velazquez.’ López 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 López, 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 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 surrounded 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:--

✝

SEPULTURA
DE LA FAMILIA
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 1755
Y FALLECIO EN BURDEOS
EL 30 DE JUNIO DE 1825

ROGAD Á 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 MARCII
ANNO DOMINI
M.DCCC.XXVIII.
AETATIS SUAE
LXXXV.

R. I. P.

Goya’s remains were removed to Spain at the end of the nineteenth century. On the afternoon of May 11, 1900, the body was placed in the San Isidro Cemetery, Madrid, by the side of his old friends Menéndez Valdés 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 III.

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 inscribed ‘Rey nuestro señor.’

Background, an arid landscape, with shrubs; mountains beyond. (A copy is to be found in the Royal Palace, Madrid, and another in the possession of the Duque de Fernan Nuñez.)

The Prado, Madrid. Doubtful.

2. King Charles III.

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 Doña 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 his wife, carrying their infant in her arms; and the Infanta Charlotte-Joaquine.

Canvas 2·80 by 3·36.

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.

(_f_) 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_) Doña 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.

Escuela de Ingenieros de Caminos.

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 Marqués 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 VII. 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.

15. King Charles IV.

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.

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.’

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 Marqués 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.

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 VII.

Sketch of the preceding in oils.

39. King Ferdinand VII.

The King is standing dressed in general’s uniform.

The Prado, Madrid.

40. King Ferdinand VII.

In coronation robes.

The Prado, Madrid.

41. King Ferdinand VII.

Repetition of the preceding.

Signed ‘F. Goya.’

Palacio del Canal Imperial de Aragon, Zaragoza.

42. King Ferdinand VII.

A study of the entire figure.

The Post Office, Madrid.

43. King Ferdinand VII.

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 III.

Don Luis and his wife are seated at a round table; their two children near them. A hairdresser is powdering the lady’s hair; she wears a dressing-gown. Members of the household are present, and Goya himself is represented 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 Señor Infante Don Luis Antonio de Borbon, que de q a 12 de la Mañana, dia 11 de Sept. del año 1783, hacia Don Francisco Goya.’

Boadilla del Monte.

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 Architect Don Ventura Rodriguez.

The property of M. Joan Stchoukine, Paris.

53. The Infante Don Luis Maria de Bourbon, Archbishop 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 años 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 Marqués de Casa Torres, Madrid.

(Another copy in the Church of Monserrat at Rome.)

56. Doña 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. Doña Maria Teresa de Vallabriga, Condesa de Chinchon.

Repetition of the preceding.

58. Doña Maria Teresa de Vallabriga, Condesa de Chinchon.

Three-quarter length portrait.

59. Doña Maria Teresa de Vallabriga, Condesa de Chinchon.

Equestrian portrait.

60. Doña Maria Teresa de Bourbon.

Bears an inscription by the painter.

Boadilla del Monte.

61. Doña Maria Teresa de Bourbon.

Full-length figure, standing.

Boadilla del Monte.

62. Doña Maria Teresa de Bourbon.

Boadilla del Monte.

63. Doña 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. Doña 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. Æsop.

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.

69. 13th Duque de Berwick y Alba.

Private property, Madrid.

70. Doña 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. Doña 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. Soliège, Paris.

73. The Duquesa de Alba.

The property of Don Rafael Barrio, Madrid.

74. The Duquesa de Alba.

Life-size bust.

The property of the 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.

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. Doña 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 José 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 II.

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. Doña Feliciana Bayeu.

She wears a silk handkerchief round her neck; in her hair blue and pink ribbons.

An inscription in left-hand bottom corner.

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 Lapeña, Marquis of Bondad Real.

Bears the inscription ‘D. Manuel Lapeña. P^r Goya año 1779.’

Photo by Moreno.

Canvas 2·25 by 1·40.

The property of Don Joaquín Argamasilla, Madrid.

90. The Marquesa de Caballero.

Bears the inscription ‘Exma Sra. Mar de Caballero, Goya 1807.’

Canvas 1·06 by 0·54.

Photo by Moreno. Reproduction Plate 55.

The property of the Marqués de Cervera, Madrid.

91. Don Francisco, Conde de Cabarrus.

Painted in 1788 for the sum of 4500 reales.

Photo by Moreno.

Canvas 2·10 by 1·27.

The Bank of Spain, Madrid.

92. The Marquesa de Cadalso.

Canvas 1·06 by 0·84.

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.

Viñaza, p. 269.

95. Doña Francisca Caudado.

Dressed in gauze, with a black mantilla and long yellow kid gloves. She is seated at the foot of a tree.

Viñaza, p. 264. Canvas 1·63 by 1·18.

The Museum, Valencia.

96. Doña F. Caudado.

Yriarte, p. 147.

Canvas 1·020 by 0·745.

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. Doña Lorenza Correa, the Singer.

106. Joaquin Rodriguez Costellares, the Bull-fighter.

107. Don Joaquin Maria de Ferrer, President of the Council of Ministers.

108. Doña Manuela de Alvarez Coiñas y Tomas de Ferrer.

109. Don Mariano Ferrer.

110. Don José Moñino, Conde de Floridablanca y Goya.

111. Don José Moñino, Conde de Floridablanca.

112. Don José Moñino, 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. Doña Josefa 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. Doña Maria Ildefonsa Dabalos y Santa Maria.

122. Don Juan Martin, nicknamed El Empecinado.

123. Doña Tadea Arias de Enriquez.

124. Don Carlos España, Conde de España.

125. Doña 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 Fernán Nuñez.

129. Monsieur Gasparini.

130. Don Miguel de Muzquiz, Conde de Gausa.

131. Don Manuel Godoy, Prīncipe de la Paz.

132. Don Manuel Godoy, Prīncipe de la Paz.

133. Doña 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. Doña Josefa Bayeu y Goya, the Painter’s Wife.

152. Doña 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. Doña Gracia Lucientes y Goya, Mother of the Painter (?).

157. Doña Gracia Lucientes y Goya (?).

158. Doña Gumersinda de Goicoechea y Goya, Daughter-in-law of the Painter.

159. Mariano de Goya y Goicoechea, Marques de Espinar, Grandson of the Painter, as a Child (ten years).

160. Doña 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.

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.

182. The Condesa Miranda de Castañar.

183. Don Pedro Mocarte, the Singer.

184. Doña Maria Amalia Zuargo de Acedo, Marquesa de Monte Hermoso.

185. Doña 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 José Luis de Munárriz.

192. Marqués de Nibbiano.

193. Don Manuel Osorio.

194. Don Pedro de Alcantara Tellez Giron y Pacheco, Marqués de Penafiel, 9th Duque de Osuna; with his wife, Doña Maria Josefa Pimentel Tellez Giron Borga, Condesa and Duquesa of Benavente and Osuna, and their four eldest children--D. Francisco de Borga, 10th Duque; D. Pedro de Alcantara, Prīncipe de Anglona; Da. Josefa Manuela, later Marquesa de Camarasa; and Da. Joaquina Maria del Pilar, Marquesa de Santa Cruz.

195. Cardinal Lorenzana.

Toledo.

196. Admiral Mazaredo.

Madrid.

197. The Toreador Martineto.

Madrid.

198. The Poet Melendez Valdez.

Barnard Castle.

199. José 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.

208. Doña 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 Puñonrostro.

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.

223. Don Manuel Romero, Minister of Joseph Buonaparte.

Madrid.

224, 225, 226. The Toreador José Romero.

Madrid and Seville.

227. The Marqués de San Adrian.

Madrid.

228. The Marquesa de San Adrian.

Madrid.

229. Doña Joaquina Tellez Giron, Marquesa de Santa Cruz.

Madrid.

230. Marquesa de Santiago,

Mentioned by Conde de la Viñaza.

231. Don Miguel Cayetano Soler.

Mentioned by Goya himself.

232. Don Ramon Satué, Alcalde de Corte.

1823. Madrid.

233. Manuel Silvela.

Madrid.

234. Doña Maria Apodaca de Sesma.

Madrid.

235. The Marquesa de la Solana.

Madrid.

236. The Engraver Selma.

Engraved by Selma himself.

237. Don Bartolomé Sureda.

In possession of Señora Sureda.

238. Doña Teresa Sureda, Wife of preceding.

Companion picture of preceding; in possession of Señora Sureda.

239. The Conde de Teba.

Mentioned by the Conde de la Viñaza.

240. The Actress Maria del Rosario Fernandez, surnamed 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 José 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 Marqués 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. Doña Catalina Viola.

Mentioned by the Conde de la Viñaza.

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. Doña Antonia Zarate.

Madrid.

257. The same.

Madrid.

258. Doña Lola Jiménez.

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.

Marqués 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-Caudéron.

265. Victoriano Her ...

An infant. Signed ‘F. Goya, Año 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 seventeenth century.

Doubtful.

Formerly in Collection Cepero, Seville.

271. A Spanish Gentleman.

Don José Toran, Valencia.

272. A Spanish Gentleman.

Don Enrique Salazar, Bilbao.

273. A Spanish Gentleman.

Formerly in Collection Candamo, Paris.

274. An Old Man.

Formerly in collection of Don Sebastian de Borbon y Braganza, Aranjuez.

275. An Old Man.

Signed ‘Fco. Goya.’

Don José Lázaro Galdeano, Madrid.

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.

Marqués de Casa Torres, Madrid.

278. A Little Girl.

Of about five years.

Mme. de Lacy, Bordeaux-Caudéron.

279. A Little Girl.

In company of a dog.

Mme. de Lacy, Bordeaux-Caudéron.

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.

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 décolletée dress; black mantilla.

M. Dannat, Paris.

291. A Woman.

In ‘Maja’ costume.

Don José Maria Cienfuegos, Gijon.

292. A Woman.

This canvas has been considerably cut from its original dimensions.

M. H. Rouart, Paris.

293. A Woman.

In décolletée 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 décolletée.

Signed ‘Goya.’

Purchased in Paris, 1900--7500 francs.

Formerly in Debrousse Collection.

296. A Woman.

In pink dress, with hair powdered.

Marqués de la Ve a Inclan, Madrid.

297. A Woman.

In ‘Maja’ costume; her long black hair falls about her shoulders.

Mme. de Lacy, Bordeaux-Caudéron.

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 (afterwards Fernando VII.).

Oval bust. Life size.

Comtesse de Paris.

4. The Infanta Doña Isabel, afterwards Queen of Naples.

Comtesse de Paris.

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.

Marqués de Casa Torres, Madrid. Doubtful.

8. An Assembly of Notables.

Museum of Castres, France.

9. Sketch of the preceding, described as ‘The Congress.’

Royal Museum, Berlin.

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 Tardienta.

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 José 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.

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 Viñaza 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 Fernando 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 represents 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 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 useless 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 cavaliers.

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. O. Miethke, Vienna. Doubtful.

12. Two Girls.

Two girls in white mantillas are followed by a young man.

W. Rotheinstein, Esq., London.

13. Two Girls at a Window.

Are exchanging pleasantries with a student passing the house.

Doña S. España, 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.