,,masterpieces      ,,in ,,colour       
,,edited ,,by--      ,m4 ,,henry        
,,roujon        ,,goya                  
7#agdf-ahbf7          ,,in ,,the ,,same 
,,series        ,,reynolds              
,,velasquez      ,,greuze      ,,turner 
,,botticelli      ,,romney              
,,rembrandt      ,,bellini      ,,fra   
,,angelico      ,,rossetti              
,,raphael      ,,leighton      ,,holman 
,,hunt      ,,titian      ,,millais     
,,luini      ,,franz ,,hals      ,,carlo
 ,,dolci      ,,gainsborough            
,,tintoretto      ,,van ,,dyck      ,,da
 ,,vinci      ,,whistler      ,,rubens  
,,boucher      ,,holbein                
,,burne-,,jones      ,,le ,,brun        
,,chardin      ,,millet      ,,raeburn  
,,sargent      ,,constable              
,,memling      ,,fragonard      ,d,,rer 
,,lawrence      ,,hogarth      ,,watteau
      ,,murillo      ,,watts            
,,ingres      ,,corot      ,,delacroix  
,,fra ,,lippo ,,lippi      ,,puvis ,,de 
,,chavannes      ,,meissonier           

,g,r,,me      ,,veronese      ,,van     
,,eyck      ,,fromentin      ,,mantegna 
,,perugino      ,,rosa ,,bonheur        
,,bastien-,,lepage      ,,goya          
,illustration3 ,,plate ,i4--,,ferdinand 
,,guillemardet        7,museum of the   
,louvre7        ,this personage1 who has
 left no record in history1 was one of  
those high functionaries1 half civil and
 half military1 whom the      ,first    
,republic sent to its armies to         
supervise the commissary      department
 and also to exercise an espionage over 
its generals4      ,goya has given a    
vigorous rendering of a head that bears 
the      double stamp of energy and high
 breeding2 and the prevailing      gray 
tone of this portrait1 relieved only by 
the one dash of      brightness in the  
tricoloured scarf1 forms altogether a   
work of      perfect harmony4           
,,goya        ,,by ,,fr4 ,,crastre      
,,translated ,,from ,,the ,,french      
,,by ,,frederic ,,taber ,,cooper        
,,illustrated ,,with ,,eight            

,,reproductions ,,in ,,colour           
,illustration3 ,,in ,,sempiternum4      
,,frederick ,a4 ,,stokes ,,company      
,,new ,,york--,,publishers              
,,copyright1 #aiad1 ,,by                
,,frederick ,a4 ,,stokes ,,company      
,march1 #aiad        ,,the  ,,plimpton  
,,press      ,,norwood  ,,mass  ,u  ,s  
,a              ,,contents              
,page        ,the ,youth of ,goya       
#ba        ,the ,glorious ,period       
#dh        ,the ,closing ,years         
#gg          ,,list ,,of ,,illustrations
          ,plate           ,i4          
,ferdinand ,guillemardet                
,frontispiece               ,museum of  
the ,louvre          ,,ii4 ,la ,maja    
,clothed                                
#ad               ,museum of the ,prado1
 ,madrid         ,,iii4 ,the ,woman with
 the ,fan                         #bd   
,museum of the ,louvre          ,,iv4   
,portrait of ,goya                      
#cd               ,museum of the ,prado1
 ,madrid           ,v4 ,the ,duchess of 

,alba                            #dj    
,collection of the ,duke of ,alba1      
,madrid          ,,vi4 ,king ,charles   
,,iv and his ,family                 #ej
               ,museum of the ,prado1   
,madrid         ,,vii4 ,la ,tirana      
#fj               ,museum of the ,prado1
 ,madrid        ,,viii4 ,josefa ,bayeu  
#gj               ,museum of the ,prado1
 ,madrid      ,on a certain clear       
morning in the year #agfj1 a monk from  
the convent  of ,santa ,f1 near         
,saragossa1 was proceeding leisurely    
along the road  which leads to that     
city1 and reciting his breviary as he   
went4  ,raising his eyes from between   
two psalms1 he perceived a young lad of 
some fifteen years of age deeply        
absorbed in drawing pictures with a  bit
 of charcoal on one of the walls which  
bounded the way4 ,the monk  was a lover 
of the arts and had himself some little 
skill in drawing4  ,becoming interested1
 he drew nearer1 and was amazed at the  
aptitude  shown by the boy4 ,upon       

questioning him1 he was much pleased    
with his  replies and was completely won
 by his engaging manners4 ,without      
further reflection1 he inquired the way 
to the home of the lad's  parents1 poor 
peasants of the immediate neighbourhood1
 and had no  difficulty in persuading   
them to entrust their son to him1       
promising  to make him a painter of whom
 they would some day be proud4          
,history has not preserved the name of  
the worthy monk so kindly  disposed to  
art1 but the boy was destined to make   
his own name  illustrious3 ,francisco   
,jos ,goya y ,lucientes1 the poor son of
 farming  folk of ,saragossa1 fulfilled 
the promises of his patron4 ,he had     
talent2 better yet1 he had genius2 he   
fraternized with princes and  with      
kings1 and the renown of his glory      
restored its lost dignity to  the art of
 ,spain and did honour to painting      
throughout the world4                   
,illustration3 ,,plate ,,ii4--,,la      
,,maja 7,,clothed7        7,museum of   

the ,prado1 ,madrid7        ,this       
reclining woman represents a very       
characteristic type of      ,spanish    
beauty4 ,goya has painted this picture  
under two      different aspects1       
although in an absolutely identical     
pose4 ,in      one1 the woman is        
represented completely nude1 while here 
the      artist has clothed her in      
corselet and trousers4 ,it is asserted  
that the ,duchess of ,alba served him as
 model for both of these      pictures4 
,the advent of ,goya in the middle of   
the eighteenth century marks a  sort of 
providential date in the art of the     
peninsula4 ,the ,spanish  school had    
fallen into profound decadence4 ,of the 
great traditions of  ,velazquez1        
,ribera1 ,zurbaran1 and ,el ,greco1     
nothing survived save the  regret of    
knowing that they were forever lost4    
,all the prodigious  strength and       
powerful realism of that glorious period
 had become  degenerate1 enfeebled1     
anaemic to the point of utter           

decrepitude4 ,in  the horde of artists  
of that time1 not a single hand was     
capable of  taking up the brush let fall
 by the great predecessors4 ,one only in
  all their number1 a certain ,claudio  
,coello1 mustered sufficient energy  to 
attempt to carry on the broken          
tradition4 ,with praiseworthy           
insistence and undoubted talent he      
endeavoured to restore its bygone       
dignity to the painting of his time4    
,among many other noteworthy  works1 a  
magnificent canvas from his hand may    
still be seen in the  sacristy of the   
,escurial4 ,but this unlucky artist1    
like all the  others1 had come too late 
into a world which had grown too old4   
,he  could no longer be understood4 ,the
 same decadence had overspread the      
whole of ,europe1 but to a greater      
degree in ,spain than elsewhere4        
,politics1 customs1 traditions1 popular 
taste1 all bore the imprint of  that    
degeneracy which heralds the end of a   
race4 ,what could a ,claudio  ,coello do

 in a society that had disintegrated to 
such a degree8 ,his  strength seemed too
 brutal1 his realism was accused of     
barbarity1 and  the conscientiousness of
 his line-work caused him to be         
considered as  a painter who had become 
old-fashioned and had fallen behind his 
times4 ,all the favour of that period   
was bestowed upon the fa presto  school 
of painting4 ,luca ,giordano1 who       
usurped ,coello's place in the  regard  
of ,philip ,,ii41 had begun to inundate 
,spain with his facile and  spiritless  
productions4 ,he covered the walls of   
the ,escurial with  frescoes brushed in 
with a turn of the wrist1 the dexterity 
of which  ill concealed their absolute  
lack of inspiration4 ,in his wake a     
swarm  of ,neapolitan painters1 equally 
dexterous1 but of even less worth1      
swooped down upon the peninsula1 and day
 by day still further  perverted the    
standard of popular taste4 ,with the    
dawn of the  seventeenth century the    
decadence1 instead of diminishing1      

became more  accentuated4 ,the          
,neapolitans had been succeeded by      
,frenchmen--but what  ,frenchmen6 ,their
 art had neither the nobility of        
,poussin1 nor the  greatness of ,le     
,brun1 nor the suavity of ,le ,sueur2   
they bore such  names as ,ranc1         
,hovasse1 ,louis and ,michel ,vanloo1   
and their manner drew  its inspiration  
from the worst type of composition      
brought into  fashion by ,mignard4      
,their whole effort was confined to     
producing the  merely pretty1 and their 
tastelessness was absolutely1 yet       
regrettably1 adapted to the growing     
affectation of the century4 ,after  them
 came the turn of the ,tiepolos3 these  
latter were not merely  remarkable      
virtuosos of the palette2 their         
prodigious facility was  frequently     
ennobled by genuine talent2 their       
line-work1 though too  often slighted1  
still showed a certain degree of        
conscientiousness1  and some of their   
works are really worthy of admiration4  

,but they too  were infected with the   
malady of the century2 they sacrificed  
themselves to the taste of their day1   
which was definitely degraded to  the   
extravagances of fashion and the        
frivolities of gallantry4 ,they  were   
wholly lacking in the ability to impart 
to this type of painting  the vivacious 
charm which the graceful and smiling    
ease of ,watteau1  ,fragonard1 and      
,boucher bestowed upon it in ,france4   
,there was no ground  for hoping that   
they would ever effect a renaissance of 
the ,spanish  school4    ,finally       
,charles ,,iii4 summoned to ,madrid a   
painter of ,german origin1  ,mengs by   
name1 who at that time was regarded as  
the ,messiah of an art  which was       
destined to unite 8the grace of         
,apelles1 the expression of  ,raphael1  
the chiaroscuro of ,correggio1 and the  
colouring of ,titian60  ,unusually      
gifted though he was1 ,mengs did not    
possess the necessary  calibre to fulfil
 such brilliant promises4 ,haunted by   

the great  compositions of ,le ,brun1 he
 confined himself to the mythological   
order  of painting and drew his         
inspiration from his illustrious model1 
without ever achieving an equal eminence
 or duplicating the latter's  admirable 
skill in composition4 ,upon his         
appointment as ,superintendent  of      
,fine-,arts in ,spain1 he established a 
sort of artistic dictatorship1  which   
forced ,spanish painting as a whole to  
adopt his own special  aesthetic creed4 
,the influence of ,mengs would have been
 even more  disastrous than that of his 
predecessors1 if ,providence had not    
placed  ,goya in the path of the artist 
monk of ,saragossa4    ,goya made his   
appearance1 and with him ,spanish art   
underwent a renewal  and an             
aggrandizement4 ,with one formidable    
backward leap1 he attained  the point of
 the broken tradition1 in order to      
reweld the glorious  chain4 ,no         
intermediary connects him with the      
splendid lineage of  ,spanish painters4 

,he proceeds directly from them4 ,he is 
the natural  heir of ,velazquez and     
,zurbaran4 ,he has their ardour1 their  
vehemence1  their passionate love for   
nature2 like them1 he finds the source  
of  his strength in direct observation2 
as with them1 the secret of his  genius 
resides in that inner flame which bursts
 out of bounds in  blazing flashes1 with
 no clever trickery1 no premeditation1  
but with  that spontaneity which is born
 only of a clear vision1 aided by a     
vigorous brush4    ,nevertheless1 this  
descendant of bygone masters is the most
 modern of  all ,spanish painters4 ,he  
is never imitative1 he always creates4  
,from  the living springs of great art  
he draws only what he needs to sustain  
his strength3 a pious reverence for     
form1 conscientiousness in  line-work1  
sobriety of colour1 and harmony of the  
component parts4 ,for  the rest1 he is  
wholly of his own time1 and of none     
other than his own  time4 ,he is truly  
the painter of national ,spanish life4  

,what he paints  most willingly1 most   
gladly1 are the dances1 the games1 the  
joyous  gatherings1 the corridas1 full  
of ardour and of movement1 the  majas1  
the manolas1 the toreros1 all the       
popular types2 and one  and all1 as he  
pictures them1 are spirited1 life-like1 
entertaining1  and well grouped1        
standing out boldly against their       
background of  spreading fields1 or     
bathing gaily in the violent clarity of 
the  sunshine of ,castile4    ,when     
considered under this double aspect1    
surrounded by the twin  aureole of      
classicism and realism1 ,goya is seen to
 be an exceptional  nature4 ,he builds  
his fantasies upon a solid foundation of
 technique1  and it is precisely because
 he founds his work upon this           
impregnable  basis that he is able      
without apprehension to challenge the   
judgment  of future centuries1 and that 
his name will descend through the ages  
crowned with an unfading glory4         
,,his ,,youth      ,francisco ,jos ,goya

 was born at ,fuendetodos1 in the       
province of  ,aragon1 on the #acth of   
,march1 #agdf4 ,his father1 ,jos ,goya1 
and his  mother1 ,gracia ,lucientes1    
were humble peasants and lived upon the 
product of the sluggish fields that     
surrounded their modest home4  ,what the
 childhood of ,jos was1 we do not know1 
for his biographers  are silent upon    
this point4 ,they content themselves    
with saying that  he aided his parents  
in the daily round of tasks upon the    
farm4 ,as to  his education1 it was     
certainly that of all the young peasant 
boys of  the ,spanish farming districts4
 ,the child must have acquired the first
  rudiments from the village priest1 or 
perhaps from the monks of the  nearest  
convent4 ,reading1 writing1 and a little
 arithmetic made up the  whole equipment
 that young ,jos possessed at the age of
 fifteen4 ,how  his taste for drawing   
was first born1 what occurrence or what 
object  awakened his artistic instinct1 
we do not know4 ,perhaps1 like so many  

others1 he became suddenly conscious of 
his vocation at the sight of  some of   
those cruel and violent pictures        
representing scenes of the  ,passion1   
such as abound in ,spanish churches1 and
 it is not unlikely  that his youthful  
soul received a profound and lasting    
impression4        ,illustration3       
,,plate ,,iii4--,,the ,,woman ,,with    
,,the ,,fan        7,museum of the      
,louvre7        ,the ,louvre is not rich
 in works by ,goya2 it possesses only   
four4      ,but the portrait of a woman1
 which is here reproduced1 belongs      
to the period of the painter's second   
manner1 in which a most      precise    
realism went hand in hand with a        
vaporous lightness and      a pervading 
grayness of tone that recalls the most  
delicate      creations of ,prudhon4    
,but the execution is vigorous1 and in  
the      expression of the face and in  
the employment of the colours      there
 are a sureness and an intensity that   
are remarkable4    ,however this may be1

 at the age of fifteen ,goya could      
handle his  pencil with sufficient      
assurance to astonish the worthy monk of
  ,saragossa1 who was a judge of such   
matters4 ,the latter conducted his      
young protg to the city1 and a few days 
later entered him as a pupil  in the    
studio of ,don ,jos ,lujan ,martinez4   
,this ,lujan was a ,saragossan by birth1
 but he had studied painting in  ,naples
 under the guidance of ,mastrolo4       
,possessing considerable  talent1 he    
enjoyed a great reputation in his native
 city4 ,upon his  return from ,italy1 he
 had founded a free school of design1 a 
sort of  academy which was maintained   
wholly by his own contributions1 both of
  money and of time4    ,among the      
artists who were trained in this studio1
 there were some who  left names highly 
esteemed in ,spain3 ,beraton1           
,vallespin1 ,antonio  ,martinez the     
goldsmith1 and ,francisco ,bayeu de     
,subias4 ,with the last  named of this  
group ,goya formed a particular         

attachment1  notwithstanding that ,bayeu
 was twelve years the elder4    ,goya   
remained in ,lujan's studio for between 
four and five years4 ,his  fiery and    
impulsive temperament had already begun 
to declare itself1  and his master did  
not always succeed in moderating his    
exuberance4 ,he  manifested an          
extraordinary diligence in his work1 he 
was enamoured of  his art1 and showed   
exceptional aptitude for it4 ,from the  
first months  he became the most        
interesting feature in the studio2 his  
imagination1  his enthusiasm1 his       
assurance often surprised his master and
 stupefied  his comrades1 who were      
accustomed to a calmer and less violent 
manner  of painting4 ,at this epoch his 
character was already beginning to      
form2 one could foresee in him the man  
that he was destined to be  throughout  
his life4 ,he was no less ardent in his 
pleasures than in  his work4 ,he was the
 true type of the hot-headed ,aragonais1
 and at the  age of nineteen revealed   

himself1 headstrong1 turbulent1 a born  
fighter4 ,he threw himself1 heart and   
soul1 into the battles that  occurred so
 frequently at that time throughout     
,aragon between the  young men of the   
different parishes4 ,uniting in rival   
gangs1 fiercely  jealous of one another1
 they were always ready on holiday      
evenings to  settle some question of    
superiority1 and any excuse for an      
encounter  was welcomed by them4 ,more  
than once1 for the greater honour of    
,san  ,luis or of ,nuestra ,seora del   
,pilar1 the club and knife scattered    
blood over the streets and suburbs of   
,saragossa4    ,goya took part in all   
these battles1 flung himself into them1 
body and  soul1 tumultuously aiding and 
abetting this hazardous and adventurous 
mode of life1 which had the flavour of  
romantic fiction4 ,in the course  of one
 of these collisions1 three young men   
belonging to the rival  faction were    
left stiff and stark on the             
battle-ground4 ,goya1 who was  one of   

those most directly implicated in the   
affair1 was warned that  the            
,inquisition intended to arrest him4    
,although it no longer  possessed the   
terrible power of earlier times1 the    
,inquisition was  even then by no means 
light-handed1 and there was still       
serious danger  in bringing oneself     
under its notice4 ,goya was well aware  
of this1 and  he did not wait for the   
arrival of the alguazils4 ,that same    
night he  left the city and wended his  
way to ,madrid1 which1 as it happened1  
it  had long been his dream to visit4   
,in ,madrid he once more ran across his 
friend ,bayeu1 who had been  living     
there for the past two years4 ,bayeu was
 drawing a pension from  the academy of 
,san ,fernando1 and he also had the good
 luck of being  favoured by ,mengs1 the 
all powerful ,superintendent of         
,fine-,arts1 who  had asked him to      
collaborate in his great task of        
decorating the royal  palace4    ,bayeu 
welcomed his young comrade with open    

arms and invited him to  have a share in
 his present work4 ,but we must infer   
that ,mengs's  technique and method of  
teaching were already displeasing to    
,goya1 for  he courteously declined the 
offer4 ,in any case1 he had not come to 
,madrid in search of employment1 but for
 the purpose of continuing his          
education4 ,all day long he visited the 
artistic marvels of the  capital1 made  
the rounds of churches and convents1    
studied the old  masters1 executed      
copies1 and even penetrated into the    
royal dwellings  in order to admire the 
works of art which they contained1      
observing  extensively1 reflecting1     
comparing1 and1 in a word1 equipping his
  profound intelligence with precious   
material for the future4 ,but in        
,madrid1 just as in ,saragossa1 work was
 not allowed to interfere with  his     
pleasures4 ,he was always to be found in
 quest of adventure2 he  roamed the     
streets1 sword under cape and guitar in 
hand1 serenading  the sparkling black   

eyes that looked down laughingly at him 
from the  ambush of their window-blinds1
 and stirring husbands to a jealous     
fury2 or again1 breaking the peace with 
a crowd of boisterous  companions2 or   
still again1 scaling the balcony of his 
latest  conquest1 8and thus playing the 
prelude to that reputation of an        
audacious1 swash-buckling ,don ,juan1   
which later was destined to earn  him1  
even among the lower classes1 an        
incredible notoriety40    ,at this      
period ,goya was a young man of haughty 
presence1 somewhat  below the average   
stature1 but exceedingly well           
proportioned4 ,although  his features   
lacked regularity1 his face was         
attractive4 ,it had a  pleasant air of  
joviality and frankness2 there was a    
sparkle to his  eye and a lurking spirit
 of mischief around his lips4 ,he had1  
furthermore1 an affable manner1 an      
unabashed assurance1 a mad bravado1  and
 the impudence of a lackey4 ,thanks to  
the friends whom he had  gained1 he was 

favourably received by a goodly number  
of distinguished  families1 where the   
charm of his personality played havoc   
with the  hearts of the women4    ,this 
agreeable pastime could not fail to     
entail its own dangers1 as  ,goya was   
not long in learning by experience4 ,on 
a certain fine  evening1 when he had    
doubtless been lurking beneath some     
balcony1 he  was picked up in an obscure
 side street1 where he lay stretched at 
full length1 with a gaping poignard     
thrust in his back4 ,it was  necessary  
to keep him hidden for a time1 in order 
to protect him from  the unwelcome      
curiosity of the police2 and later1 when
 the affair had  become noised abroad1  
he was forced to quit ,madrid1 just as  
he had  quitted ,saragossa1             
clandestinely1 without even waiting for 
his wound  to be completely healed4     
,in order to give his escapade a chance 
to be forgotten1 ,goya1 who for  some   
time past had desired to visit ,italy1  
set sail1 with ,rome for his            

destination4    ,from the moment of his 
arrival he came fully under the spell of
 the  marvels accumulated in the        
,eternal ,city4 ,he passed entire days  
in the  presence of the masterpieces of 
the great artists4 ,he admired them     
with all his heart1 yet without         
surrendering his right to independent   
criticism4 ,he recognized instinctively 
that there was nothing in all  these    
illustrious compositions which          
corresponded to his own personal        
temperament1 and that his fiery soul    
could ill adapt itself to the           
calculated and almost geometric         
composition of the great frescoes in    
the ,vatican4 ,but he possessed too deep
 a reverence for art to disdain  the    
admirable science of those great        
forerunners4 ,there1 beyond  question1  
was the ideal opportunity for study2 and
 in the presence of  those celebrated   
canvases he absolutely forgot himself2  
he analyzed  their intimate beauties1   
compared the styles and colour schemes  

of the  different schools1 scrutinized  
their methods1 and forced himself to    
penetrate and understand them4 ,he did  
not attempt to copy a single one  of    
them2 he felt that he would gain nothing
 by doing so1 but that on  the contrary 
he might lose4 ,this singular method of 
abstract study1  which may be called the
 method of intuition1 explains perhaps  
how so  frank an individuality as that  
of ,goya1 far from being enfeebled by   
contact with the past1 became on the    
contrary stronger and more  genuinely   
alive4 ,as a matter of fact1 his talent 
owes nothing1 or  practically nothing1  
to the art of ,italy4                   
,illustration3 ,,plate ,,iv4--,,portrait
 ,,of ,,goya        7,museum of the     
,prado1 ,madrid7        ,in this        
portrait the artist is already old1 but 
his physiognomy      has preserved that 
vivacity of movement1 that expression of
      penetration and irony1 which made 
him such a brilliant figure at      the 
,court of ,spain4 ,this work1 like every

 other which bears his      signature1  
is distinguished by the vigour of its   
execution and      beauty of colouring4 
,during his sojourn in ,rome1 ,goya came
 in contact with ,david4 ,curious       
phenomenon2 these two natures who were  
so different in character and           
temperament1 and whose artistic tastes  
were almost antagonistic1 felt          
themselves invincibly attracted towards 
each other4 ,it is true that  they both 
shared to an equal degree the           
philosophic ideas of the  period1 and   
that they had the same ideal2 namely1   
the liberation of  the people4 ,they    
were destined later1 each in his own    
country1 to be  caught in the full      
whirlwind of the ,revolution2 and these 
mutual ties1  divined rather than       
expressed1 created between ,david and   
,goya an  undying friendship4 ,because  
they liked each other1 they appreciated 
each other's work1 in spite of the      
divergence between their talents2  and  
,goya1 even in extreme old age1 always  

spoke with emotion of the  8great       
,david40    ,in ,rome1 as in ,madrid1   
,goya was not long in distinguishing    
himself by  perilous escapades4 ,seor   
,carderera relates that at one time 8,he
  carved his name with his knife on the 
lantern of ,michelangelo's  cupola1 on a
 corner of a certain stone which not one
 of the artists1  ,german1 ,english1 or 
,french1 who had preceded him in the mad
 ascent1  had succeeded in reaching2 and
 on another day he made the circuit of  
the tomb of ,cecilia ,metella1 barely   
supporting himself upon the narrow      
projection of the cornice40    ,but     
these were merely childish pranks2      
before long he had involved  himself in 
a far more dangerous adventure1         
especially in the city of  the ,popes4  
,he had become infatuated with a young  
girl in the higher  circles of ,roman   
society1 and formed the project of      
eloping with her4  ,being warned in     
time1 the parents placed their daughter 
beyond his  reach1 within the austere   

shelter of a convent4 ,this setback1    
however1  was not sufficient to         
discourage the gallant artist1 it only  
spurred  him on to bolder ventures4 ,he 
resolved to snatch his fair lady from   
the very hands of her jailors1 and one  
night he attempted to invade  the       
convent itself4 ,but he was captured and
 handed over to justice4  ,in order to  
extricate himself from this awkward     
dilemma1 far more  awkward at ,rome than
 it would have been anywhere else1 he   
was forced  to appeal to the ,spanish   
ambassador1 who intervened and demanded 
his  surrender by the ,holy ,see4 ,goya 
was restored to liberty1 but on         
condition that he should take immediate 
leave of ,rome4    ,he now returned to  
,saragossa1 for the sake of his aged    
parents1 with  whom he spent the closing
 months of the year #aggd1 after which  
he once  more set forth for ,madrid4    
,there he again fell in with his        
faithful  friend1 ,bayeu1 discovered    
himself to be in love with the latter's 

sister1 ,josefa ,bayeu1 and married her 
a few months later4    ,his             
brother-in-law again offered to         
introduce him to ,mengs1 and this  time1
 weary no doubt of adventures1 he       
accepted the offer4 ,the                
,superintendent of ,fine-,arts gave him 
a most cordial reception4 ,we have      
already had occasion to refer to the    
almost despotic authority which  ,mengs 
at this period exerted over ,spanish art
 and the singular  direction in which he
 had guided it4 ,in the decorative works
 which he  was conducting in the palaces
 at ,madrid and ,aranjuez1 there was1 in
  the words of ,m4 ,charles ,yriarte1   
8nothing but an agglomeration of        
struggles of ,titans1 apotheoses1       
triumphs of ,hercules1 and              
glorifications of ,ceres2 but ,goya soon
 came to scale ,olympus1 and turn       
,venus into a manola1 and substitute his
 frightful ,saturn devouring  his       
,children1 in his ,quinta ,goya's       
country house1 for the figure  of       

,father ,time1 with his traditional     
stooping shoulders1 partaking of  his   
progeny with prudence and               
circumspection40    ,up to this moment  
,goya had been far more intent upon     
observing and  learning than upon       
painting2 he had as yet produced        
nothing1 and no  one even suspected the 
powerful faculties that were dormant in 
him4  ,more as a favour to ,bayeu than  
from any personal confidence1 ,mengs    
entrusted him with the composition of   
some cartoons for the royal  manufactory
 of ,santa ,barbara4 ,goya set to work1 
and from the start  broke squarely away 
from the superannuated tradition of the 
,superintendent4 ,throwing aside the    
entire paraphernalia of mythology1  he  
confined his cartoons wholly to subjects
 borrowed from national  life4 ,in this 
work he gave free rein to the full      
spontaneity of his  talent and to his   
riotous imagination1 and in the course  
of it he  revealed the full wealth of   
his imagination and his marvellous      

instinct for decorative art4 ,the result
 was a revelation3 a genuine  ovation   
greeted these modern compositions1 so   
full of life and  movement and colour4  
,mengs himself1 who was not lacking     
either in  intelligence or in taste1 was
 frankly delighted and warmly           
congratulated the young artist4 ,at     
,court and in the city nothing was      
talked of but ,goya and his cartoons2   
from this moment he entered upon  his   
true role as national painter4          
,illustration3 ,,plate ,v4--,,the       
,,duchess ,,of ,,alba                   
7,collection of the ,duke of ,alba1     
,madrid7        ,this superb portrait1  
the privilege of reproducing which we   
owe      to his ,excellence1 the ,duke  
of ,alba1 was painted by ,goya with     
all the confidence of genius1 guided by 
gratitude and      friendship4 ,the ties
 of mutual esteem which united the      
artist      and the duchess are well    
known1 and this portrait in a certain   
sense constitutes an acknowledgment of  

it4    ,this first attempt had the      
result of enlightening ,goya as to his  
own  powers4 ,not that he had previously
 mistrusted them1 but he had feared     
that he was not yet sufficiently        
equipped to venture upon a public       
appearance4 ,but on the strength of the 
success of his cartoons he took  stock  
of himself as follows3 8,he was thirty  
years of age and he  realized now that  
he had only to take his brush in hand in
 order to  become a great painter40     
,henceforth1 throughout a period of more
 than fifty years1 he was  destined to  
produce unweariedly1 trying his hand at 
the most diverse  types1 alternating    
between painting and engraving2 and in  
his  life-work1 which1 taken as a whole1
 is one of the vastest and most  varied 
that ever came from any artist1 he has  
given us the measure of  his prodigious 
fecundity4    ,he made his debut in     
genre painting1 and he drew his         
inspiration  straight from the life of  
the people4 ,spain1 for that matter1    

furnished an exceptional nutriment for  
his order of talent2 land that  it was  
of vivid light1 ardent colour1          
picturesque manners and curious         
costumes1 it was well designed to fire  
that vigorous and impulsive  nature to  
the highest pitch of enthusiasm4 ,and   
hence1 while ,madrid  looked on and     
marvelled1 there came in swift          
succession from his brush  a whole      
series of pictures saturated with local 
colour3 bull fights1  attacks of        
bandits1 clandestine meetings1          
processions1 masquerades1  all the life 
of the ,spanish city and the ,spanish   
highway1 reproduced  in piquant1        
accurate1 brightly coloured scenes1 of  
charming navet  and exquisite           
naturalness1 replete with vivacity and  
riotous fancy4    ,on closer inspection 
it would be easy to find a certain      
amount of  incorrectness in the drawing4
 ,some of his bulls1 especially1 are    
endowed with anatomical proportions that
 at best only approximate the  truth4   

,but they have such spirit1 such vigour1
 such nimbleness1 such  furious agility1
 that we feel ourselves snatched up and 
borne along by  this living whirlwind1  
this intensity of movement1 almost as   
though we  were bodily present in the   
arena where the blood-stained drama is  
in  the course of enactment4 ,as to the 
colouring1 it is very light and  very   
luminous and silvery4    ,almost at the 
same period ,goya published a collection
 of etchings in  which he had reproduced
 the most celebrated masterpieces of    
,velazquez4  ,it was a daring venture1  
but it had no terrors for the young     
artist4  ,goya did no injustice to      
,velazquez2 he succeeded most           
felicitously in  reproducing in these   
etchings not only the design1 but the   
colour  values and characteristic spirit
 of his model4 ,this magnificent        
series1 executed during the year #aggh1 
comprises sixteen pieces1 which  to-day 
are of inestimable value4    ,that same 
year the ,franciscans went to great     

expense to decorate their  church2 they 
appealed to the most renowned artists   
which ,madrid at  that period possessed4
 ,goya was entrusted with the decoration
 of a  chapel which required two        
paintings4 ,the subjects specified were 
a  ,christ on the ,cross and a ,st4     
,francis ,preaching4 ,the ,christ on    
the ,cross is distinguished by a very   
fine religious spirit1 enhanced  by its 
admirable drawing and by a dignity quite
 its own4 ,the fine and  delicate       
modelling suggests comparison with the  
most perfect works of  ,italy2 and the  
whole painting is overspread with an    
infinitely light  surface coat of       
colour1 very luminous and very pale4    
,this canvas is the best of all ,goya's 
religious works4 ,on the  contrary1 his 
,st4 ,francis ,preaching in no way      
deserved the vogue  which it enjoyed at 
the time1 both at ,court and in the city
 circles4  ,its heavy composition1      
pretentious and ill balanced1 did no    
credit to  any of ,goya's qualities1    

save that of colourist1 in which respect
 he  was always interesting4    ,goya   
was now the idol of the whole population
 of ,madrid1 who revelled  in his       
fantasies and regarded him as their     
national painter4 ,already  celebrated  
through his scenes of the life of the   
people1 he had now  acquired a new      
prestige through the fame of his        
religious paintings2  and there was good
 reason for astonishment that he had not
 yet been  rewarded by any official     
honour4 ,his rival painters had scant   
love for  him1 or1 to put it more       
frankly1 they hated the powerful        
originality  of his talent so far       
removed from the slow product of their  
uninspired toil4 ,in order to belittle  
him1 they censured the  incorrectness of
 his drawing and the violent character  
of his  subjects4 ,but public opinion   
triumphed over this dead weight of      
malevolence4 ,however reluctantly1 the  
,academy of ,saint-,marc welcomed  him  
among its members on the seventh of     

,may1 #aghj1 hailing him as             
8academician by merit40    ,a few months
 later the ,chapter of ,nuestra ,seora  
del ,pilar at  ,saragossa decided to    
have its sanctuary decorated and        
instituted a  competition among the     
leading artists of ,spain1 under the    
direction of  ,goya's brother-in-law1   
,francisco ,bayeu4 ,goya decided to     
compete1 and  one of the vaults1 with   
its adjacent panels1 was assigned to    
him4 ,the  sketches which he submitted  
were only half satisfactory1 and the    
,chapter requested him to modify them4  
,goya took the criticisms in ill  part1 
imputing them1 whether rightly or       
wrongly1 to his  brother-in-law's       
jealousy1 and refused in any way to     
modify his  designs4 ,a bitter quarrel  
might have resulted1 if mutual friends  
had  not intervened to reconcile the two
 artists4 ,finally1 ,goya agreed to     
make certain concessions2 the vault was 
entrusted to him1 and he  forthwith     
commenced the execution of his frescoes4

    ,the subject chosen represented ,the
 ,virgin and the ,martyred ,saints in   
their ,glory4 ,this immense work        
required no less than three years of    
the artist's time1 and he expended upon 
it all his science and all his          
exceptional qualities as a colourist4   
,it is an attractive work1  cleverly    
composed1 possessing a fine decorative  
effect1 brilliant and  warm1 and in no  
way inferior to the most resplendent    
frescoes of  ,tiepolo4 ,only one thing  
was lacking1 the religious spirit1 of   
which  ,goya was wholly destitute4 ,in  
works of this order1 dexterity is not   
sufficient2 the breath of the inner zeal
 is necessary2 cleverness1  dexterity1  
the gift of colour1 cannot make up for  
the absence of  faith4 ,as often as     
,goya attempted religious painting1 the 
result  showed the same general order of
 deficiencies1 because he always        
treated his subjects solely as a        
painter1 and not1 after the manner of   
,raphael and ,correggio1 as a devout    

believer4    ,furthermore1 the ideal was
 not in his line2 the dominant note of  
his  talent1 before all else1 was       
naturalism4 ,genre painter by           
temperament1  he sought by preference   
for the picturesque aspect of his       
subjects4  ,owing to these conditions1  
his frescoes at ,saragossa and in       
general  all his large religious        
compositions are in reality nothing else
 than  vast genre paintings4            
,,the ,,glorious ,,period      ,at the  
same time that he was painting his      
frescoes and his scenes of  popular     
life1 ,goya also tried his skill at     
portraiture4 ,in this branch  of his art
 his success was immediate and complete4
 ,from his very first  attempts he      
attained the highest possible           
reputation4 ,from morning  till night he
 saw his studio besieged by all the most
 distinguished  figures in the society  
of the ,court and the city4 ,it soon    
became  the fashion1 the rage1 to have  
oneself painted by ,goya4 ,they stood in

  line at his door2 they brought all    
sorts of influence to bear to  obtain   
the favour of a sitting4 ,all the       
celebrities of the period1  poets1      
scientists1 political luminaries1       
equally with ladies of rank  and        
reigning beauties1 succumbed to this    
unheard-of vogue1 which  persisted1 we  
may add1 to the very end of the master's
 long career4  ,furthermore1 his        
portraits form the most extensive part  
of his  life-work1 and at the same time 
the part which is the most  indisputable
 and the most perfect4                  
,illustration3 ,,plate ,,vi4--,,king    
,,charles ,,iv ,,and ,,his ,,family     
7,museum of the ,prado1 ,madrid7        
,goya was the favourite painter of the  
king ,charles ,,iv1 who      conferred  
upon him the title of ,first ,painter4  
,in this fine      painting1 which      
raised the reputation of the artist to  
its      zenith1 the members of the     
royal family are admirably and          
sincerely rendered1 without a trace of  

flattery4 ,all the      degeneracy of   
the dynasty is to be read in these      
countenances1      in terms of          
convincing eloquence4    ,there are     
nearly two hundred portraits that are   
known to have been  painted by ,goya4   
,they are not all of equal value1 and in
 some of them  we feel a certain degree 
of carelessness of execution1 which is  
to be  explained by the rapid           
workmanship demanded of him by the      
abundance of  his orders4 ,but however  
hasty the work may be1 there are always 
to be  found in it the essential        
qualities of this artist3 a surety of   
expression1 a free yet firm outline1 and
 an incredible understanding  of his    
model's personality4 ,goya did not      
trouble himself to embellish  his       
patrons1 for he was no flatterer2 if the
 man or woman who posed  before him was 
homely1 ,goya's pencil would do nothing 
towards  correcting the injustices of   
nature4 ,that was not his business2 but 
he  was able1 with an unsurpassed       

clearness of vision1 to catch upon his  
canvas that flashing glance1 that       
fugitive gleam of the inner soul  which1
 at some precise moment1 is sure to     
transfigure the most  unlovely features4
 ,what distinguished him above all else 
was his  originality1 that purely       
personal stamp1 thanks to which it is   
impossible not to recognize a ,goya from
 the first instant4 ,there is in  him   
something that he shares in common with 
all the great  portraitists1 and yet he 
resembles no one of them4 ,he is ,goya4 
,in the portraits painted in costume1   
now to be seen in the museum at         
,madrid1 he somewhat approached the     
manner of ,velazquez2 under this  class 
might be mentioned the portraits of the 
,infante ,don ,luis and his  family1    
that of the ,count of ,florida-,blanca1 
of the ,duchess of ,alba1  and of       
,general ,urrutia1 which is a           
magnificent masterpiece4 ,all these     
portraits possess distinction1 bold     
relief1 and a lofty carriage which      

recalls the free and noble manner of the
 painter of ,philip ,,iv4    ,at other  
times his brush took on a milder manner1
 shading off into  soft and vaporous    
tints that set us thinking of ,reynolds 
and of  ,prudhon1 especially in those   
intimate portraits into which he has put
  the greatest spontaneity4 ,in this    
class belong the admirable ,young  ,man 
in ,gray1 the painter's grandson--this  
portrait is certainly one  of the most  
beautiful of all ,goya's works--and the 
famous portraits of  ,moratin1 ,boyeu1  
,josefa ,bayeu1 the architect           
,villanueva1 and the two  ,majas1 both  
the nude and the clothed1 which are said
 to be portraits  of the ,duchess of    
,alba1 taken in the same pose but under 
two different  aspects4 ,we may also    
include among the works of his second   
manner the  two portraits of woman which
 hang in the ,louvre2 ,the ,woman with  
the  ,fan1 which is reproduced in the   
present volume1 and the ,portrait of  a 
,young ,woman1 which1 together with the 

,ferdinand ,guillemardet1 are  the only 
paintings by ,goya which ,france's chief
 national museum  possesses4    ,all    
these portraits are admirably conceived1
 in a simple1 natural  form1 without    
superfluous details1 and they are freely
 painted1 in a  rich and solid          
colouring1 and stand out from the       
canvas1 substantial1  harmonious1       
pulsing with life1 against those        
vaporous and imponderable  backgrounds  
of which1 since ,velazquez1 ,goya alone 
has found the  secret4    ,at this epoch
 ,goya was not only a celebrated        
painter1 he was also a  man of fashion1 
mingling with persons of the highest    
rank4 ,the ,infante  ,don ,luis kept him
 throughout entire seasons at his palace
 of ,arenas de  ,san ,pedro1 in the     
province of ,avila1 and it was there    
that ,goya  executed an entire series of
 magnificent portraits and genre        
paintings which belong to-day to the    
,counts of ,chinchn4 8,then there  are  
the ,benaventes1 ,dukes of ,ossuna and  

of ,candia1 who for a period of  more   
than ten years ordered work after work  
from him1 at one time  religious        
compositions1 destined for the cathedral
 at ,valencia1 such  as ,st4 ,francis of
 ,barja bidding ,farewell to his ,family
 and ,st4  ,francis exhorting an        
,impenitent ,dying ,man1 celebrated     
pictures which  have been reproduced by 
the engraver ,peleguer1--at other times 
portraits of the family1 and lastly1 a  
series of twenty-seven genre  pictures  
for their ,alameda in the environs of   
,madrid40    ,idyllic and anecdotic     
scenes play by far the larger part in   
these  compositions4 ,there is an ,al   
,fresco ,breakfast1 in the midst of a   
delightful landscape1 a ,dance beside   
the ,water1 a ,hunter showing  his      
,family the ,game that he has ,killed1 a
 ,harvesting the ,hay1 a  ,resting from 
,labour1 a ,greased ,pole1 a ,comical   
,accident at a  ,picnic1 a ,winter      
,landscape1 ,the ,seasons1 ,workmen     
constructing a  ,building1 ,highwaymen  

attacking a ,stage-coach1 ,gypsies      
playing at  ,see-saw1 ,bulls in the     
,arroyo1 and lastly some of those       
inexplicable  8caprices10 bizarre       
fantasies in which ,goya mingles        
sorcerers and  horned demons with       
members of the ,inquisition4    ,goya   
frequently introduced ,inquisitors into 
his scenes2 he had felt  their claws    
early in life and had borne them a      
grudge ever since4    ,the most         
important and most celebrated canvas in 
this collection is  ,the ,romeria of    
,san ,isidro4 ,this is the great        
festival in honour of  the patron saint 
of ,madrid4 8,the whole populace has    
come to make merry  on the banks of the 
,manzanares1 and the vast meadow which  
stretches  from the hill-top where the  
saint's hermitage stands1 down to the   
very  water's edge1 is covered by an    
immense throng1 motley and variegated1  
pressing and crowding around the tents  
of the acrobats1 the vendors'  booths1  
the open-air kitchens1 and wine-shops4  

,all this picturesque  world is divided 
into a thousand varied groups2 here a   
circle has been  formed around a man    
strumming on a guitar2 over yonder a    
merry set is  forming2 there is         
quarrelling1 dancing1 drinking2 there   
are meetings  and partings1 and in the  
midst of all this swarming multitude we 
watch  the coming and going of pages1   
troopers1 porters1 members of the       
body-guard in their red coats1 amidst an
 indescribable pell-mell of  carriages  
with gaily decked steeds1 and of        
calesinos with bodies  painted in       
atrocious colours1 which are overturned 
by the restive  mules as they break     
away4 ,in the foreground1 dominating the
 whole  scene1 pretty women shading     
themselves under pink silk parasols1 and
  well garbed personages grouped in easy
 and unaffected attitudes1 form  a most 
ingenious and charming framework for the
 scenes which are being  enacted at     
their feet4 ,in the background of the   
picture1 above and  beyond the          

,manzanares1 we see the palace with its 
terraced gardens and  the city with its 
towers and domes4 ,here are ,san        
,francisco el ,grande  and the ,cuesta  
de la ,vega1 and yonder is the famous   
,barrio de  ,lavapis40    ,treated in a 
warm and luminous scale of colour1      
lustrous with subtle  and vivid tones1  
this sparkling page remains unsurpassed1
 because of  the infinite care which    
,goya expended in order to give variety 
and an  astonishing degree of precision 
to even the minutest of its multifold   
details4    ,the pictures of country    
life1 such as the ,al ,fresco           
,breakfast1 ,the  ,see-saw1 ,the ,dance1
 ,the ,picnic1 show us ,goya under still
 another  aspect4 ,the first time that  
one sees these pictures in the ,alameda 
one would say that they were the product
 of the brush of some one of  the       
,french painters of the eighteenth      
century2 one is tempted to  attribute   
them to ,watteau or ,fragonard2 and it  
is true that ,goya  chose1 like them1 to

 reproduce the fashions and frivolities 
of his  time2 but even while he imitated
 the vanities and affectations of  these
 masters1 he remained nevertheless a    
,spaniard1 and his types and  his       
costumes are represented with the most  
scrupulous truth4        ,illustration3 
,,plate ,,vii4--,,la ,,tirana           
7,museum of the ,prado1 ,madrid7        
,la ,tirana was a famous actress in     
,madrid during the reign of             
,charles ,,iv4 ,goya painted her at the 
time when he was in the full      height
 of his renown1 and celebrities of every
 kind at the      capital quarrelled    
with one another for the privilege of   
being      painted by him4    ,on the   
#beth of ,april1 #aghi1 a few months    
after ,charles ,,iv4 ascended  the      
throne1 a royal order raised ,goya to   
the dignity of ,pintor da  ,camara1     
which corresponded to ,peintre          
,ordinaire du ,roi1 a title  formerly   
bestowed upon ,french artists4 ,this    
distinction gave him1 as  in the case of

 ,gentlemen of the ,bed-chamber1 free   
entry to the palace4  ,under the new    
king the ,court had taken on a new      
aspect4 ,during the  reign of the devout
 ,charles ,,iii4 it was constrained to  
all the outward  show of austere piety  
which recalled the morose years under   
the  monarchs of the ,house of ,austria4
 ,under the new king everything was     
changed1 laughter was revived1 festivals
 recommenced1 and with them1  intrigues 
of gallantry and licentiousness4        
,scandals multiplied1 and  the example  
came from high up2 ,queen ,maria-,luisa 
herself set the pace  for a society that
 had been parched with thirst for       
pleasure1 and she  flaunted before the  
whole nation her absolute contempt of   
decency and  her unbridled appetite for 
dissipation4 ,the epoch of the high     
favour  of the ,prince de la ,paix      
began4 ,goya1 whose marriage had but    
poorly  reformed him1 welcomed this     
change of regime with enthusiasm4 ,he   
was  already something more than        

celebrated in ,madrid because of his    
prowess with the fair sex1 famous for   
his duels1 an adept at all the  nicer   
usages through his constant association 
with the upper circles2  consequently he
 felt himself fully at ease in this     
atmosphere of  shamelessness and        
incontinence4 ,he had some famous       
intrigues and  illustrious liaisons1    
which he did not even take the trouble  
to  conceal4 ,possessed of a caustic and
 subtle wit1 and untroubled by          
scruples1 he was much sought after for  
the brilliance and the daring  of his   
conversation4 ,those who did not like   
him learned to fear him4  ,before long  
he had scored an even bigger success as 
a man than as an  artist4 ,through      
contact with men of rank1 he had        
acquired not only  assurance but a      
certain air of haughtiness verging upon 
insolence4  ,being drawn into the       
circles of the ,duchess of ,alba and    
,duchess of  ,ossuna1 who at that time1 
like rival queens1 were disputing the   

sceptre of fashion and pleasure1 he     
witnessed and shared in many a  boudoir 
intrigue1 taking sides in these women's 
quarrels1 at one time  supporting the   
one side1 then again going over to the  
other1 and at  last coming out openly in
 favour of the ,duchess of ,alba1 who at
 that  time was waging a silent warfare 
with ,maria-,luisa4 ,having become the  
cavaliere servente of the ,duchess1 he  
no longer contented himself  with       
plotting intrigues or launching         
epigrams2 but he translated his         
opinions into the form of satiric       
caricatures1 in which he mercilessly    
ridiculed the adversaries of his fair   
lady4 ,the arrows that he  launched flew
 so high that the outraged queen exiled 
the ,duchess from  her court and gave   
the ,pintor da ,camara a leave of       
absence4 ,goya and  the ,duchess set    
forth side by side on the road to       
,andalusia1 sharing  the period of their
 disfavour on a distant estate belonging
 to the  ,duchess of ,alba4    ,this    

exile1 however1 was of short duration   
and only served to  increase the        
artist's reputation for gallantry4 ,the 
king1 who loved  him in spite of his    
follies1 recalled him and entrusted him 
with the  frescoes for the chapel of    
,san ,antonio de la ,florida4 ,the task 
was a  considerable one2 it included the
 painting of a vast cupola and  several 
smaller vaults1 tympanums1 and arches4  
,behold then our  libertine philosopher 
transformed once more into a religious  
painter4  ,within three months he had   
completed the entire scheme of the      
decoration4 ,the subject chosen was as  
follows3 ,st4 ,anthony of ,padua        
resuscitating a ,dead ,man in ,order to 
,make him ,reveal the ,name of his      
,murderer4 ,goya placed his saint upon  
an eminence1 from which he calls  upon  
the dead man to come forth2 the latter  
has already arisen from  his tomb1 has  
joined his hands1 and is about to speak4
 ,on the right  and left the compact    
throng press forward1 anxious to see the

 miracle  accomplished4 ,all around the 
cupola the artist has pictured a sort of
  gallery on which the spectators lean1 
and among them we see a child  with its 
legs dangling in space4 ,this           
composition is remarkable in its  sense 
of movement and varied interest4 ,but   
what distinguishes it  especially from  
other works of its type is that ,goya1  
through an  obstinate adherence to      
realism which cannot fail to cause some 
little  surprise1 thought that he was   
bound to adopt for all the personages in
  his picture both the costumes and the 
types of his own time4 8,his  women are 
true manolas1 draping themselves in     
their mantillas1 and  his men are men of
 the people1 arrieros proudly wrapped in
 their  mantles of motley colour4 ,in   
the corbels of the arches ,goya painted 
cherubim1 haloes1 and angels1 and he    
endowed these celestial beings  with    
feminine charms and carnal graces that  
were far too reminiscent  of the        
seductions of the earth4 ,it is related 

that ,goya used the  ladies of the      
,court as models for these feminine     
countenances1 and  that on the day when 
the frescoes were unveiled1 ,charles    
,,iv4 expressed  his displeasure to the 
artist in unmeasured terms40    ,from   
#agif to #agig ,goya published that     
curious series of compositions  done in 
etching and in water-colour which he    
entitled ,caprices4 ,and  they were     
quite literally caprices through their  
infinite diversity of  subject and the  
oftentimes extravagant fantasy of their 
execution4  ,scenes of local manners    
ironically interpreted1 mocking         
allusions to  popular superstitions1    
trenchant criticisms of public men and  
political institutions1 attacks of      
unheard-of violence upon the            
established religion and its dogmas1    
pitiless satires upon the  ,inquisition 
and more especially upon the monastic   
orders1 and finally  prophetic dreams   
and visions of the future make up the   
contents of  this singularly complex    

work which concealed a most audacious   
motive  underneath its apparent fantasy4
 ,and all this treated with a sparkling 
brilliance1 a diabolical cleverness that
 is carried sometimes to the  point of  
brutality1 with a realism that often    
causes a sort of  revulsion4 ,as to the 
execution1 it is remarkable3 the lines  
are  clear-cut and vigorous1 the design 
is solid1 almost schematic in  places   
for the purpose of enhancing the energy2
 with incomparable art1  ,goya makes use
 of contrasts for the purpose of        
obtaining astonishing  relief1 perfect  
modelling1 and effects of light that    
produce the  illusion of painting4 ,in  
these compositions he shows the variety 
and  flexibility of his talent1 which   
undertook with equal felicity the  most 
widely diverse branches of his art4     
,in ,spain these ,caprices enjoyed a    
very considerable success1 but  they    
caused considerable discomfort to their 
author4 ,at one time their  publication 
was suspended4 ,the ,inquisition1 which 

had been especially  maltreated in these
 designs1 became once more threatening1 
and showed  an implacable ardour in its 
quest for vengeance4 ,nevertheless1 it  
failed of its purpose1 thanks to the    
kind offices of the ,prince de la       
,paix1 who was himself hostile to the   
monks and took ,goya under his          
protection4 ,in accordance with his     
advice1 ,goya offered his ,caprices  to 
the king1 ,charles ,,iv41 who1 acting in
 accord with his minister1  accepted    
them for his collection of              
copper-plates4 ,having thus found       
shelter behind the august presence1     
,goya became invulnerable2 and the      
,inquisition had to let its prey escape4
    ,on the #cast of ,october1 #agii1   
,goya became ,first ,painter to the     
king4  ,he was at that time fifty-three 
years of age4 ,neither years nor        
indulgences had undermined his robust   
organism or diminished his  talent4 ,on 
the contrary1 it was at this epoch that 
his manner  underwent a transformation  

which bears witness once again to the   
resources and the vitality of this      
exceptional nature4 ,a study of the     
works of ,rembrandt had awakened in him 
a violent passion for the  effects of   
light and of chiaroscuro1 and from this 
time forward we  find him practising    
this difficult art and manifesting in it
 a  remarkable mastery and originality4 
,in this style of painting1 which  was  
new to him1 he achieved masterpieces    
from the first attempt1 such  for       
instance as the ,betrayal by ,judas1 in 
the cathedral at ,toledo1  which might  
have been signed by ,correggio or       
,rembrandt4 ,the patch  of light1 which 
throws into strong relief the suffering 
face of ,christ  and the hideous        
countenance of ,judas1 is distributed in
 a masterly  fashion and in no wise     
detracts from the luminous transparency 
of the  shadows4        ,illustration3  
,,plate ,,viii4--,,josefa ,,bayeu       
7,museum of the ,prado1 ,madrid7        
,josefa ,bayeu was the sister of the    

painter ,francisco ,bayeu1 like         
,goya1 a native of ,aragon1 and his     
intimate friend4 ,it was in the         
home of his comrade that ,goya fell in  
love with ,josefa and      married her4 
,he had one son1 ,xavier ,goya4 ,this   
portrait is      considered as one of   
the best executed by the artist4    ,in 
this work1 as in all others by this     
artist1 both the personal and  the      
national note are found to be strongly  
imprinted2 all the  participants in this
 scene are authentic ,spaniards1 whose  
classic  types may still be recognized  
to-day in every city throughout the     
peninsula4    ,mention also should be   
made1 among the works in which ,goya    
ventured  upon chiaroscuro1 of the      
celebrated picture in the ,escuelas     
,pias in  ,madrid1 representing ,the    
,communion of ,st4 ,joseph ,calasanz1   
and of  the spacious and original       
canvases with which he decorated the    
walls  of his own home4    ,we now      
arrive at that turbulent period1        

extending from #ahjj to #ahad1  which   
marked an era of national calamities for
 ,spain4 ,the facts are  familiar3 as a 
result of court intrigues1 the luckless 
and unhappy  ,charles ,,iv4 found       
himself in #ahjh forced to abdicate in  
favour of his  son2 then came the       
invasion of ,spain by the imperial      
armies1 the  odious treachery of        
,bayonne which made ,ferdinand ,,ii4 a  
prisoner and a  dethroned king1 while   
,napoleon1 following his mad dream of   
universal  conquest1 placed his own     
brother1 ,joseph1 on the throne of      
,charles ,v42  and finally there came   
the awakening of invaded ,spain and its 
splendid  national defence1 resulting in
 the expulsion of the enemy and the fall
  of the ,empire4    ,all these years of
 struggle and patriotic frenzy ,goya    
passed in his  quinta1 where he had shut
 himself up in complete isolation1      
taking  no part in the events which were
 shaking ,spain to its foundations4     
,this attitude of his gave rise to a    

great amount of comment4 ,in the  eyes  
of many1 ,goya was an afrancesado1 a    
partisan of the ,french  invasion2 but  
there seem to be no grounds that would  
justify anyone in  offering him such an 
insult4 ,it may be that1 pledged as he  
was to  ideas of justice and liberty1 he
 was not displeased to see the  downfall
 of a corrupt regime1 under which ,spain
 had been slowly dying4  ,but that he   
had looked on light-heartedly at the    
misfortunes of his  native land1 and    
that he had not suffered to the very    
depths of his  ,spanish soul1 would     
indicate a depravity which no one has a 
right to  impute to him4    ,and if     
proof of this were needed1 we could find
 it in his masterly  series of ,the     
,misfortunes of ,war1 eloquent and      
melancholy  commentaries upon that      
troubled period1 giving a gruesome      
panorama of  military executions1       
conflagrations1 pillage1 and famine2 in 
a word1  the habitual and tragic        
accompaniment of a foreign invasion4    

,could an  artist who was indifferent   
have expressed himself in such pathetic 
accents8 ,could a renegade have been    
stirred to such a point by all  these   
horrors8 ,furthermore1 ,goya made no    
overtures to the invaders4  ,while other
 ,spaniards1 willingly or unwillingly1  
figured at the court  of ,murat and of  
,joseph1 ,goya remained in close        
retirement in his own  house1           
notwithstanding his natural fondness for
 adventures and  festivities4 8,but     
above and beyond his incontestable      
patriotism1 a  more generous sentiment1 
loftier and more profoundly humane1     
emanates  from these sinister pages4    
,what ,goya hated beyond all else was   
war3 it  spelled iniquity1 despotism1   
and above all1 tyranny4 ,nothing more   
eloquent than this avenging protest has 
ever been formulated against  the spirit
 of conquest and the barbarous struggle 
of nation against  nation40 ,in about   
the year #ahad1 upon the return of      
,ferdinand ,,ii41  ,goya added to his   

,misfortunes of ,war seventeen new      
plates1 the  strangest and most daring  
of them all4 ,this is the last and most 
strenuous battle that he ever waged on  
behalf of all he loved against  all that
 he hated4 ,what phials of wrath he     
poured out against  intrigue1           
conservatism1 and falsehood1 which      
stifle liberty and  repress human       
thought6 ,what outbursts against the    
rogues who strive  desperately to       
destroy liberty and justice6 ,here is a 
picture in which  hypocrisy has         
conquered and has confiscated liberty3  
,contra el ,bien  ,general6 ,further on 
is another1 in which truth is in its    
death agony3  ,muri la ,verdad6 ,but she
 will rise again3 ,si ,resusitar6 for it
 is  impossible that she should         
disappear forever4 ,lastly1 as a        
conclusion  to this work1 ,goya         
prophesied in an eloquent page the      
return of a  glorious era which should  
inaugurate the reign of liberty1 love1  
happiness1 and peace4 ,and it bore this 

legend3 ,this is the ,truth6    ,but the
 reign of ,ferdinand ,,vii4 did not     
fulfil the generous hopes of  the great 
artist4 ,with this king1 the worst days 
of absolute monarchy  were revived in   
,spain2 the triumphant reaction         
manifested itself by  persecutions1     
cruelties1 and tyrannies of the most    
odious kind4  ,whoever was even         
suspected of liberalism was marked for  
exile or for  prison4 ,more than anyone 
else1 ,goya's personal prominence       
exposed him  to the attacks of the      
reactionists1 but his very fame         
protected him4  ,ferdinand ,,vii41 when 
he received him one day1 informed the   
aged artist  that he 8deserved exile1   
and more than exile2 he deserved death60
 but  he consented to forget the past   
and he reappointed the artist to the    
office of ,first ,painter4 ,it would    
seem as though such protection  should  
have sufficed to protect ,goya from the 
machinations and  hostilities of his    
adversaries4 ,but it did nothing of the 

sort4 ,the  reactionary party would not 
consent that a liberal should escape its
  vengeance1 even though protected by   
royal immunity2 so it continued to      
hound him by means of secret intrigues  
and calumnies4    ,goya1 impatient and  
irascible by nature1 could ill bear the 
malevolent  insinuations1 allusions1 and
 contemptuous terms2 he found himself   
stifling in such a poisoned atmosphere4 
,residence in ,madrid had become        
impossible for him2 the greater number  
of his friends1 less fortunate  than he1
 had already been forced into exile2 and
 since the persecution  showed no signs 
of abating1 he saw his circle of friends
 dwindling day  by day4 ,at last he made
 up his mind to leave a native land that
 had  grown so inhospitable and hostile4
 ,he asked the king for a leave of      
absence1 and upon obtaining it crossed  
over into ,france4          ,,the       
,,closing ,,years      ,goya went first 
of all to ,paris1 but he made a stay    
there of short  duration4 ,almost all   

his friends from ,madrid1 whom          
,ferdinand ,,vii4 had  driven from      
,spain1 had taken refuge in ,bordeaux1  
where they formed a  veritable colony4  
,he proceeded to join it and decided to 
settle down  among them4    ,he did not1
 however1 remain inactive4 ,this        
prodigious worker1 who was  now nearly  
eighty years old1 could not resign      
himself to rest2 he once  again took up 
his brush with a hand which his great   
age could not yet  cause to tremble4    
,besides1 he was not well off1          
possessing scarcely  anything besides   
his house in ,spain and his pension as  
,first ,painter4    ,accordingly1 he    
continued to paint genre pictures and   
numerous  portraits4 ,those of ,don     
,juan ,maguire1 ,m4 ,pio de ,molina1 and
 ,m4 ,j4  ,galos date from this epoch4  
,he also painted another of his friends1
  also exiled1 whom he met again at     
,bordeaux--,moratin1 the celebrated     
,spanish poet1 who1 carried away by his 
passion for democracy1 had sung  the    

,french invasion in eloquent stanzas and
 now expiated his error in  exile4      
,besides the portraits1 ,goya painted   
some very beautiful miniatures on       
ivory1 and he renewed his experiments in
 lithography1 which he had  already     
undertaken in ,madrid some years        
previous4 ,his four large  examples     
representing ,bull ,fights are          
masterpieces of colour and of  movement4
    ,in #ahbg ,goya had to journey back 
to ,madrid1 in order to make a  personal
 appeal to the king for an extension of 
his leave of absence4  ,since he could  
not persuade ,goya to remain1 the king  
freely granted  the favour requested2   
but he imposed one condition1 and a very
  flattering one to the artist3 namely1 
that he would first allow his  portrait 
to be painted by ,don ,vicente ,lopez1  
at that time ,pintor da  ,camara4 ,this 
portrait is now to be seen at the museum
 in ,madrid4    ,that same year he      
returned to ,bordeaux and once more     
resumed his  cherished habits and his   

brush and palette4 ,many of the works of
 this  later period remained in ,france1
 and the museum at ,bordeaux possesses  
a considerable number of them4    ,goya 
still continued to work1 but his hands  
had begun to tremble and  he could no   
longer see without the aid of a lens4   
,his strength was  failing and he felt  
that the end was drawing near4 ,he sent 
for his  son1 ,xavier1 who had continued
 to reside at ,madrid2 and a few days   
later1 on the #aeth of ,april1 #ahbh1 he
 passed away in the arms of his         
friends1 at the age of eighty-two years 
and fifteen days4    ,goya was truly a  
great artist in the noblest sense of the
 term4 ,he  possessed qualities which   
were at one and the same time           
substantial  and brilliant2 he was      
versatile and original1 a spirited genre
  painter and a remarkable portraitist4 
8,in the tomb of ,goya10 writes         
,thophile ,gautier1 8the ancient art of 
,spain lies buried2 gone forever  is the
 world of the toreros1 the majos1 the   

manolas1 the  contrabandists1 the       
alguazils1 and the sorceresses1 the     
entire local  colour of the ,peninsula4 
,he arrived in time to gather all this  
together and to preserve it on his      
canvas4 ,he fancied that he painted     
only #8caprices2' yet what he really did
 was to paint the portrait of  bygone   
,spain1 all the time convinced that he  
was giving his service to  the new ideas
 and new beliefs40