Chapter V: Part 5

Two faded beauties in ball-dress are discussing their earlier days. One is looking in a mirror, on which is inscribed, ‘Que tal?’ (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 suspended 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.

19. Children at Play.

Stirling-Maxwell Collection, Keir, Perthshire.

20. Children Playing.

Stirling-Maxwell Collection, Keir, Perthshire.

21. Children Playing.

M. Mège, Paris.

22. The School.

A number of young urchins look on at the schoolmaster whipping one of their number.

M. Mège, 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 possession of a carbine, wounds him in the leg. In the background a horse is galloping away.

M. Lafitte, Madrid.

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 hastening to the scene.

M. Lafitte, Madrid.

30. Bandits.

A post-chaise held up by Spanish highwaymen.

Marqués 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.

Marqués 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.

Marqués de la Romana, Madrid.

36. Brigands.

Slaughter of a group of men, women, and children.

Marqués de la Romana, Madrid.

37. Brigands’ Cave.

In the cave, brigands are stripping women whom they have captured.

Marqués de la Romana, Madrid.

38. Brigands’ Cave.

A brigand slaughtering a woman.

Marqués de la Romana, Madrid.

39. Brigands’ Cave.

Bandits asleep.

Marqués de la Romana, Madrid.

40. The Promenade.

A lady and gentleman conversing as they walk. Tradition has it that the two persons represented are the Duquesa de Alba y Goya.

Marqués de la Romana, Madrid.

41. The Plague Terror.

The stricken ones, stretched upon the ground, are tended by scared doctors.

Marqués de la Romana, Madrid.

42. Interior.

Several women have met together for a gossip.

Marqués de la Romana, Madrid.

43. The Monk’s Visit.

A monk and a young woman.

Marqués de la Romana, Madrid.

44. Brigands Quarrelling.

Museum, Besançon.

45. Brigands Quarrelling.

An old man, seated, is looking on.

Museum, Besançon.

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, Besançon.

47. A Cannibal Scene.

At the foot of a cliff men occupied in stripping and carving corpses.

Museum, Besançon.

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 Champêtre.

Groups of peasants dancing under an arch.

Mentioned by Aranjo.

54. Bal Champêtre.

A village population dancing; spectators on a hill.

Paris.

55. Bal Champêtre.

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 Fête.

Don Juan Perez Calvo, Madrid.

58. Outside the Booth.

Mountebanks attracting an audience at a fair.

Marqués 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.

Marqués 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.

Marqués 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.

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.

Marqués 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.

Marqués de Castro Serna, Madrid.

69. The Hurricane.

Surprised by a tornado, a crowd of people run distractedly.

Formerly in collection Eustaquio Lopez. Sale, 1866.

69A. The Burning Village; an Episode of War.

The inhabitants fleeing from their burning houses.

Marqués 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.

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. Carvalhido, 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 Viñaza.

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. Doubtful.

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.

82. 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. Doubtful.

84. ‘Swallow that, you dog!’

Reproduction of Caprice No. 58.

Monsieur ‘X,’ Florence. Doubtful.

85. ‘You will not always escape!’

Reproduction of Caprice No. 72.

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.

Marqués 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.

Doña Carmen Berganza de Martin, Madrid.

Signed ‘Goya, año 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, año 1795, Goya.’

Doña Carmen Berganza de Martin, Madrid.

94. Caprice.

Mme. de Lacy, Bordeaux-Caudéron. Doubtful.

95. Caprice.

Mme. de Lacy, Bordeaux-Caudéron. Doubtful.

96-117. Caprices.

Formerly in collection Leon Daguerre Hospital de Madrid. Doubtful.

118-133. Caprices.

Formerly in collection of Don José 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-Caudéron.

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.

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.

Marqués de Baroja, Madrid.

147. Bulls at Home.

Bulls enclosed in their _arroyo_ under the care of horsemen 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.

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.

153. 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 Holofernes.

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.

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 includes:--

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 background.

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 unknown:--

13. Bulls Grazing.

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.

Another set of 38.

In the possession of the Marqués 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 distemper on canvas, are two signs of the Zodiac, Scorpio and Libra. Landscape background. Circular medallion.

Library of the Minister of Marine, Madrid.

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 downfall 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 José 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 conducting 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.

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 Fuendetodos, Aragón.

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.

7. St. Brulno, Bishop of Zaragoza.

Full length. 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 Marqués 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 Marqués 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.

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 Marqués de Santa Cruz, Madrid.

19. St. Francis of Borgia exhorting a Dying Man to Repentance.

Valencia cathedral.

20. A study for the preceding subject.

Marqués 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. A Pietá.

Archbishop’s palace, Toledo.

25. Death of St. Joseph.

Church of Santa Ana, Valladolid.

26. Death of St. Joseph.

Don A. de Beruete, Madrid.

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.

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. Blas.

Church of Urrea de Gaen, Aragon.

43. St. Francis. } } Pictures said to be in America. 44. St. John. }

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 III. under the Walls of Seville.

Don A. Canovas, Madrid.

49. The Nativity.

Don P. Lozaño, 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.

55. The Murder of St. Thomas à 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-Caudéron. Doubtful.

61. Interior of the Church of La Seo, Zaragoza.

A priest preaching to his congregation.

Mme. de Lacy, Bordeaux-Caudéron. 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.

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 Novillada.

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.

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 Barcelona in 1885, and another by Messrs. Boussod and Valadon at Paris in 1888:--

1. Francisco Goya y Lucientes, Painter.

2. El sí pronuncian....

‘They say yes, and give their hand to the man that first presents himself.’

3. Que viene el Coco.

‘Here comes the Bogey!’

4. El de la Rollona.

A lackey with a man dressed as a child in leading-strings. Believed to symbolise the helplessness and dependence of the rich on their servants.

5. Tal 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 appearances, which are really misleading.

7. Ni así 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. Tántalo.

‘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 aíro.

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. Están calientes.

‘They are hot.’ Monks at table. An ironical suggestion in the title.

14. Qué 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 está.

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, encouraged by old men, chasing birds furnished with men’s heads.

21. Qual la descañonan.

‘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.

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 quebró el cántaro.

‘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. Quién más rendido?

‘Which is the more bored?’ A gallant paying his oft-repeated compliments to a lady, who is weary of such empty homage.

28. Chitón!

‘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 sí 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. Porqué esconderlos?

‘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 knowledge.

31. Ruega por ella.

‘She prays for her.’ Girls at their toilette, and an old woman praying. Meaning obscure.

32. Porque fué sensible?

‘Why was she sensitive?’ A young girl weeping in a dungeon. This _may_ imply that people of excessive sensibility 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 sueño.

‘Sleep comforts them.’ Women asleep in prison.

35. Le descañona.

‘They shave him.’ Young man shaved by girls.

36. Mala noche.

‘A bad night.’ Women out in a stormy night.

37. Si sabrá más el discípulo?

‘Will the pupil know more [than the master]?’ A donkey, of dignified demeanour, teaching a little ass.

38. Brabisimo!

‘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 qué mal morirá?

‘Of what will he die?’ An ass feels a dying man’s pulse. Perhaps a reflection on the faculty was intended.

41. Ni más 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.

42. Tú 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 sueño 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. Corrección.

‘Correction.’ Fantastic figures with heads of birds and animals. Said to be an allusion to the Holy Office.

47. Obsequio à 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. Allusion to the aristocracy, represented to be the victims of superstition and ignorance.

51. Se repulen.

‘They polish each other’s nails.’ Three demons clawing each other.

52. Lo que puede un sastre!

‘What a tailor can do!’ Devotees prostrate themselves 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. Subir y bajar.

‘Ascent and fall.’ A monstrous satyr, representing Vice, is holding up a manikin [Godoy], while other figures are falling headlong.

57. La filiación.

‘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. Trágala, 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.

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!

‘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 mamá?

‘Where is mamma going?’ 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. Allá 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.

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’ll be off.’ Breaking up of a witches’ party.

72. No te escaparás.

‘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 quién nos desate?

‘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 á 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.

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. Sueño 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 razón ó 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.

5. Y son fieras.

‘And are like wild beasts.’ Similar subject.

6. Bien te se está.

‘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.’ 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.

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. Será lo mismo.

‘It will be the same.’ Wounded men; woman weeping.

22. Tanto y más.

‘As many and more.’ Heap of slain.

23. Lo mismo en otras partes.

‘The same elsewhere.’ Similar subject.

24. Aun podrán 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.

30. Estragos de la guerra.

‘The tragedy of war.’ Men and women projected headlong into a cellar.

31. Fuerte cosa es!

‘Might is stronger than right!’ Prisoners being hanged by the French.

32. Por qué?

‘Why?’ Prisoner being tortured by three soldiers.

33. Que hay que hacer mas?

‘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 qué.

‘No one knows why.’ Eight men garrotted with labels round their necks.

36. Tampóco.

‘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 hazaña--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.’

42. Todo va revuelto.

‘Everything in confusion.’ Friars fly hither and thither.

43. Tambien esto.

‘These also.’ Similar subject.

44. Yo lo ví.

‘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. Así sucedió.

‘Thus it happened.’ Soldiers, watched by a monk, despoiling a church.

48. Cruel lástima!

‘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 á la almorta.

‘Thanks to the blue vetch.’ Woman distributing grain to the afflicted.

52. No llegan á tiempo.

‘Too late.’ Women arrive too late to help a companion.

53. Espiró sin remedio.

‘He died without help.’ Group of persons round a corpse.

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 graveyard.

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 qué 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 indifferent to the appeal of some starving wretches.

62. Las camas de la muerte.

‘The deathbeds.’ Women weeping over a heap of slain.

63. Muertos recogidos.

‘The dead collected.’ A heap of slain.

64. Carretadas al cementerio.

‘Cart-loads for the cemetery.’ Carts being loaded with corpses.

65. Qué alboroto es este?

‘What means this tumult?’ A French officer writes at a table. People taking to flight.

66. Extraña 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. Qué locura!

‘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 ecclesiastics 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?).

74. Esto es lo peor.

‘This is the worst.’ A wolf signing a document; a monk in attendance.

75. Farándula 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. Murió la verdad.

‘Truth died.’ Truth represented as a young woman crowned with laurels.

80. Si resucitará?

‘Will she revive?’ The same figure appearing about to arise from the grave.

(79 and 80 appear to refer to the abolition of the Constitution 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 (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 according 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.

17. Moors using Donkeys instead of Horses.

18. Intrepidity of Martincho at Zaragoza.

19. Similar Exploit.

20. Exploit of Juanito Apiñani at Madrid.

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 (THE PROVERBS)

A collection of eighteen plates, now the property of 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 joined 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.

16. 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 Trapèze.

21. 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 Press

THE FAMILY OF CHARLES IV.

(PRADO, MADRID.)]

THE INFANTE DON CARLOS.

(PRADO, MADRID.)]

THE INFANTE FRANCISCO DE PAULA ANTONIO.

(PRADO, MADRID.)]

THE INFANTA MARIA JOSEFA.

(PRADO, MADRID.)]

THE INFANTE DON ANTONIO, BROTHER OF CHARLES IV.

(PRADO, MADRID.)]

THE INFANTE DON CARLOS MARIA ISIDRO.

(PRADO, MADRID.)]

KING CHARLES IV.

(MINISTERIO DE HACIENDA, MADRID.)]

KING CHARLES IV.

(MINISTERIO DE HACIENDA, MADRID.)]

KING CHARLES IV.]

KING CHARLES IV.

(ROYAL PALACE, MADRID.)]

KING CHARLES IV.

(PRADO, MADRID.)]

KING CHARLES IV.

(MARQUES DE CASA TORRES, MADRID.)]

QUEEN MARIA LUISA.

(DON A. DE BERUETE, MADRID.)]

QUEEN MARIA LUISA.

(DON JOSÉ LÁZAN.)]

QUEEN MARIA LUISA.

(MINISTERIO DE HACIENDA, MADRID.)]

QUEEN MARIA LUISA.

(MARQUES DE CASA TORRES, MADRID.)]

QUEEN MARIA LUISA.

(PRADO, MADRID.)]

QUEEN MARIA LUISA.

(PRADO, MADRID.)]

FERDINAND VII.

(ACADEMY OF ST. FERDINAND, MADRID.)]

FERDINAND VII.

(PRADO, MADRID.)]

FERDINAND VII.

(PRADO, MADRID.)]

PLATE 22.

FERDINAND VII.

(ANCIENT COLLECTION OF EUSTAQUIO VEATE.)

DON LUIS, PRINCE OF PARMA.

(PRADO, MADRID.)]

THE DUCHESS OF ABRANTES.

(DUQUESA DE ABRANTES, MADRID.)]

THE DUCHESS OF ALBA.

(DON RAFAEL BARRIO.)]

THE DUCHESS OF ALBA.

(PALACIO DE LIRIA, MADRID.)]

THE DUCHESS OF ALBA.

(THE DUKE OF ALBA, MADRID.)]

THE DUCHESS OF ALBA.]

THE CONDESA DE ALTAMIRA AND DAUGHTER.

(MARQUES DE CERVERA.)]

THE COUNT OF ALTAMIRA.

(THE BANK OF SPAIN, MADRID.)]

THE INFANTE DON LUIS DE BORBON.

(MARQUES DE CASA TORRES, MADRID.)]

ALTAMIRANO AUDITOR OF SEVILLE.

(MARQUES DE LA VEGA INCLAN.)]

DON MANUEL LAPEÑA, MARQUES DE BONDAD REAL.

(DON JOAQUIN ARGAMANILLA.)]

THE MARQUESA DE CABALLERO.

(MARQUES DE CORVERA.)]

CONDE DE CABARRUS.

(BANK OF SPAIN, MADRID.)]

THE WIFE OF CEAN BERMUDEZ.

(MARQUES DE CASA TORRES, MADRID.)]

J. CEAN BERMUDEZ.

(MARQUES DE CORVERA, MADRID.)]

DOÑA LORENZO CORREA.

(M. BISCHOFFSHEIM, PARIS.)]

THE TOREADOR COSTILLARES.

(DON JOSÉ LAZARO.)]

DON JOAQUIN MARIA FERRER.

(COUNT OF CANDILLA.)]

CONDESA-DUQUESA DE BENAVENTE Y OSUNA.

(MADRID.)]

DOÑA MANUELA DE ALVAREZ COIÑAS.

(MARQUIS OF BAROJA.)]

FLORIDA BLANCA.

(MARQUESA DE MARTORELL.)]

DON ANTONIO FORASTER.

(DON J. MILLAN.)]

THE ENGINEER IGNACIO GARCINI.

(THE GARCINI FAMILY, MADRID.)]

DOÑA JOSEFA CASTILLA-PORTUGAL.

(DON VICENTE GARCINI.)]

DON JUAN ANTONIO CUERVO.

(D. F. DURAN.)]

DOÑA MARIA ILDEFONSO DABALOS.

(COUNT OF VILLAGONZALO.)]

GENERAL DON JUAN MARTIN, SURNAMED EL EMPECINADO.

(DON LUIS NAVAS.)]

GODOY, PRINCE OF THE PEACE.

(ACADEMY OF ST. FERDINAND, MADRID.)]

F. GUILLEMARDET, AMBASSADOR OF THE FRENCH REPUBLIC TO SPAIN, 1798.

(LOUVRE, PARIS.)]

JASPAR MELCHOR DE JOVELLANOS.

(MARQUESA DE VILLAMAJOR, MADRID.)]

ASENSIO JULIA (‘EL PESCADORET’).

(COMTESSE DE PARIS.)]

THE MILKMAID OF BORDEAUX.

(CONDESA VINDA DE MUGUIRO.)]

THE PAINTER ASENSIO JULIA (‘EL PESCADORET’).

(LOUVRE.)]

THE MARQUESA DE LAZAN.

(COMTESSE DE MONTIJO.)]

DON FRANCISCO LARRUMBE.

(THE BANK OF SPAIN, MADRID.)]

THE FAMOUS BOOKSELLER OF THE CALLE DE CARRETAS.

(DON BENITO GARRIGA.)]

DON J. ANTONIO LLORENTE, HISTORIAN OF THE INQUISITION.

(DON FRANCISCO LLORENTE Y GARCIA DE VINUESA.)]

THE DUKE OF SAN CARLOS.

(MARQUES DE LA TORRECILLA.)]

THE DUKE OF SAN CARLOS.

(CONDE DE VILLAGONZALO.)]

THE ACTOR ISIDORO MAIQUEZ.

(PRADO, MADRID.)]

THE ACTOR ISIDORO MAIQUEZ: REPETITION OF THE FOREGOING.

(MARQUES DE CASA TORRES, MADRID.)]

THE COUNTESS OF MIRANDA DEL CASTAÑAR.

(FORMERLY IN MONTIJO COLLECTION.)]

THE CONDE DE MIRANDA.]

LEANDRO FERNANDEZ DE MORATIN.

(ACADEMY OF ST. FERDINAND, MADRID.)]

THE FAMILY OF THE COUNTESS OF MONTIJO.

(PALACIO DE LIRIA, MADRID.)]

SEÑOR J. B. DE MUGUIRO.

(CONDESA VINDA DE MUGUIRO.)]

THE MARQUES DE CASTRO TERREÑO.]

THE MARQUESA DE CASTRO TERREÑO.]

CAMARÓN.

(DOÑA E. CAMARÓN.)]

MUÑARRIZ.

(ACADEMY OF ST. FERDINAND, MADRID.)]

THE DUKE OF OSUNA, WITH HIS FAMILY.

(PRADO, MADRID.)]

ADMIRAL MAZAREDO.

(DON M. HERNANDO.)]

MELÉNDEZ VALDÉS.

(SEÑOR SUÁREZ INCLÁN.)]

THE DUKE OF OSUNA.

(FORMERLY IN THE COLLECTION OF THE DUKE OF OSUNA.)]

THE DUKE OF OSUNA.

(? MARQUESA DE VILLAMAJOR, MADRID.)]

THE DUKE OF OSUNA.

(M. DUNIAT, PARIS.)]

THE DUKE OF OSUNA.

(FORMERLY IN THE PALACE OF THE DUKE OF OSUNA, MADRID.)]

DUCHESS DEL PARQUE.

(MARQUES DE LA VEGA, MADRID.)]

DOCTOR PEYRAL.

(NATIONAL GALLERY, LONDON.)]

GENERAL PALAFOX.

(PRADO, MADRID.)]

DOÑA ISABEL CORBO DE PORCEL.

(NATIONAL GALLERY, LONDON.)]

DON TIBURCIO PEREZ.

(D. F. DURAN AND CUERVO.)]

DON MARIANO LUIS DE URQUIJO.

(ACADEMY OF HISTORY, MADRID.)]

DON TOMÁS PÉREZ ESTALA.

(COUNTESS OF CEDILLO.)]

DON PANTALEÓN PEREZ DE NENIN.

(DON P. LABAT.)]

THE MARQUESA DE PONTEJOS.

(MARQUES DE MARTORELL.)]

DON RAMON PIGNATELLI.

(DUQUESA DE VILLAHERMOSA.)]

GENERAL RICARDOS.

(MADRID.)]

THE TOREADOR JOSÉ ROMERO.

(MADRID.)]

MARQUES DE SAN ADRIÁN.

(IN THE COLLECTION OF THE FAMILY.)]

THE MATADOR PEDRO ROMERO.

(DUKE OF VERAGUA.)]

RAMON SATUE, IN 1823 (ALCAIDE DE CORTE).

(DR. BENITO GARRIGA.)]

DON MANUEL SILVELA.

(DON F. SILVELA.)]

DOÑA MARIA TERESA APODACA DE SESMA.

(DON ANDRES ARTETA.)]

MARQUESA DE LA SOLANA.

(MARQUES DEL SOCORRO.)]

GENERAL URRUTIA.

(PRADO, MADRID.)]

MARIA DEL ROSARIO FERNANDEZ, SURNAMED ‘LA TIRANA.’ A CELEBRATED ACTRESS.

(ACADEMY OF ST. FERDINAND, MADRID.)]

THE ACTRESS MARIA DEL ROSARIO FERNANDEZ, SURNAMED ‘LA TIRANA.’

(CONDE DE VILLAGONZALO.)]

THE MARQUES DE TOLOSA.

(BANK OF SPAIN, MADRID.)]

THE CONDE DE TEBA.

(DON J. LÁZARO.)]

JOSÉ DE VARGAS PONCE.

(ACADEMY OF HISTORY, MADRID.)]

DON JOSÉ DE TORO ZAMBRANO.

(BANK OF SPAIN, MADRID.)]

DOÑA ANTONIA ZARATE.

(SEÑORA VINDA DE ALBACETE.)]

DOÑA ANTONIA ZARATE.

(SEÑORA VINDA DE ALBACETE.)]

DOÑA LOLA ZIMENEZ.

(M. CHIRAMY, PARIS.)]

DON EVARISTO PEREZ DE CASTRO, PRESIDENT OF THE COUNCIL OF CASTILE.

(LOUVRE, PARIS.)]

DON JUAN JOSÉ MATEO ARIAS DAIRLA.

(MARQUESA DE ALMAGUER.)]

FATHER LASCANAL.

(DON J. LÁZARO.)]

DON RAMON DE POSADA Y SOTO.

(DON JOSE MARIA PEREZ CABALLERO.)]

MARQUESA DE CABALLERO.

(MARQUES DE CORVERA, MADRID.)]

THE CONDE DE GAZINZA.

(MARQUES DE CASA TORRES, MADRID.)]

MORATIN.

(DON F. SILVELA.)]

PORTRAIT OF THE ARTIST, BY HIMSELF.

(ACADEMY OF ST. FERDINAND, MADRID.)]

PORTRAIT OF THE ARTIST, BY HIMSELF.

(D. A. PIDAL.)]

PORTRAIT OF THE ARTIST, BY HIMSELF.]

PORTRAIT OF THE ARTIST, BY HIMSELF.

(M. LEON BONNET.)]

GOYA AT THE AGE OF 80, BY VINCENTE LOPEZ.

(PRADO, MADRID.)]

DON J. B. DE GOICOECHEA.

(DON FELIPE MODET.)]

GOYA’S GRANDSON.

(MARQUES DE ALCAÑICES.)]

DOÑA FELICIANA BAYEU.

(D. C. FERRIZ.)]

DON JUAN MARTIN DE GOICOECHEA.

(MARQUES DE CASA TORRES, MADRID.)]

DOÑA NARCISA BARAÑONA DE GOICOECHEA.

(DON FELIPE MODET.)]

DOÑA JUANA GALARZA DE GOICOECHEA.

(MARQUES DE CASA TORRES, MADRID.)]

THE PAINTER, FRANCISCO BAYEU, BROTHER-IN-LAW OF GOYA.

(PRADO, MADRID.)]

JOSEFA BAYEU, GOYA’S WIFE.

(PRADO, MADRID.)]

GROUP OF HEADS.

(FORMERLY IN THE PALACE OF SAN TELMO, NOW IN THE COLLECTION OF THE COMTESSE DE PARIS.)]

PORTRAIT STUDY OF A WOMAN.]

PORTRAIT OF A YOUNG GIRL.

(PRIVATE PROPERTY.)]

PORTRAIT OF A LADY.]

PORTRAIT OF A LADY.

(CONDE DE PEÑALVEZ.)]

PORTRAIT OF A LADY.

(DON JOSÉ LÁZARO.)]

PORTRAIT OF A LADY.

(DON A. DE BERUETE.)]

PORTRAIT OF A LADY.

(DON A. DE BERUETE.)]

PORTRAIT OF A LADY.

(DON A. DE BERUETE.)]

PORTRAIT OF A LADY.

(DON R. GARCIA.)]

PORTRAIT OF A WOMAN.

(LOUVRE, PARIS.)]

A LITTLE GIRL.

(MARQUES DE CASA TORRES, MADRID.)]

PORTRAIT OF A LADY.

(DON J. GUTIERREZ MARTIN.)]

YOUNG SPANISH WOMAN.

(LOUVRE, PARIS.)]

PORTRAIT OF A MAN.

(PRIVATE COLLECTION.)]

THE OLD MAN.

(CONDE DE DA. MARINA.)]

PORTRAIT OF AN ARCHITECT.]

PORTRAIT OF A DOCTOR.]

PORTRAIT OF A LADY.]

PORTRAIT OF A LADY.]

PORTRAIT OF A LADY.]

PORTRAIT OF A LADY.]

PORTRAIT OF A MAN.]

PORTRAIT OF A LADY.

(SEÑOR OROSSEN.)]

PORTRAIT OF A LADY.]

PORTRAIT OF A GENTLEMAN.]

CHARLES IV.

(COMTESSE DE PARIS.)]

QUEEN MARIA LUISA.

(COMTESSE DE PARIS.)]

THE INFANTA ISABEL, AFTERWARDS QUEEN OF THE TWO SICILIES, AT THE AGE OF 12 YEARS.

(COMTESSE DE PARIS.)]

PORTRAIT OF A MAN.]

DON FELIX COLON, SPANISH AUTHOR.

(DON RICARDO TRAUMANN, MADRID.)]

(FRAGMENT) DON FELIX COLON, SPANISH AUTHOR.

(DON RICARDO TRAUMANN, MADRID.)]

PORTRAIT OF A MAN.]

PORTRAIT OF A BOY.]

PORTRAIT OF A BOY.]

PORTRAIT OF A BOY.]

PORTRAIT OF A LADY.]

PORTRAIT OF A LADY.]

PORTRAIT OF A LADY.]

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.)]

ATTACK ON MURAT’S CAVALRY BY THE PEOPLE OF MADRID MAY 2ND, 1808 (SKETCH).

(DUQUESA DE VILLAHERMOSA.)]

CASTING BULLETS BY MOONLIGHT IN THE HILLS OF TARDIENTA.

(ROYAL PALACE, MADRID.)]

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, MADRID.)]

THE TRIBUNAL OF THE INQUISITION.

(PRADO, MADRID.)]

THE PROCESSION OF FLAGELLANTS.

(ACADEMY OF ST. FERDINAND, MADRID.)]

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

THE CITY OF MADRID: AN ALLEGORY.

(THE CORPORATION OF MADRID.)]

MUSIC: AN ALLEGORY.