1. King CharlesIV.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 FernandoVII.).Oval bust. Life size.Comtesse de Paris.4. The Infanta Doña Isabel, afterwards Queen of Naples.Comtesse de Paris.
1. King CharlesIV.
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 FernandoVII.).
Oval bust. Life size.
Comtesse de Paris.
4. The Infanta Doña Isabel, afterwards Queen of Naples.
Comtesse de Paris.
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.
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.
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 luxuriantlyabout 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.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.Thepatioof 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 theirarroyounder 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.
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 luxuriantlyabout 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.
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.
Thepatioof 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 theirarroyounder 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.
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.
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.
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.
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.
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.
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 ‘2de 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.
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 ‘2de 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.
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. Pictures said to be in America.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 FerdinandIII.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.
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. Pictures said to be in America.
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 FerdinandIII.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.
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.
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.
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 confidingbillets douxto 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. Thismayimply 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 CharlesIV.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.
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 confidingbillets douxto 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. Thismayimply 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 CharlesIV.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:—