,,the ,,spanish ,,series ,,goya ,,the ,,spanish ,,series ,,edited ,,by ,,albert ,f4 ,,calvert ,,goya ,,toledo ,,madrid ,,seville ,,murillo ,,cordova ,,el ,,greco ,,velazquez ,,the ,,prado ,,the ,,escorial ,,royal ,,palaces ,,of ,,spain ,,spanish ,,arms ,,and ,,armour ,,granada ,,and ,,the ,,alhambra ,,leon1 ,,burgos1 ,,and ,,salamanca ,,catalonia1 ,,valencia ,,and ,,murcia ,,valladolid1 ,,oviedo1 ,,segovia1 ,,zamora1 ,,avila1 ,,and ,,zaragoza ,,goya ,,an ,,account ,,of ,,his ,,life ,,and ,,works ,,by ,,albert ,f4 ,,calvert1 ,,with #fab ,,reproductions ,,from ,,his ,,pictures1 ,,etchings1 ,,and ,,lithographs ,,london3 ,,john ,,lane1 ,,the ,,bodley ,,head ,,new ,,york3 ,,john ,,lane ,,company ,,mcmviii ,to ,,the ,,marquis ,,of ,,comillas ,my dear ,marquis1 ,i beg you to accept the dedication of this volume as a mark of the high value ,i place upon your friendship1 and as a sincere expression of my esteem for yourself as a patron of the arts1 a true philanthropist1 and a lifelong worker in the interests of ,spanish greatness4 ,i am1 my dear ,marquis1 ,your sincere and obliged1 ,,albert ,f4 ,,calvert4 ,edinburgh3 ,t4 and ,a4 ,,constable1 ,printers to ,his ,majesty ,,preface ,it has been said that in ,england everybody knows of ,cervantes1 but very few persons have more than a nodding acquaintance with ,don ,quixote1 and ,goya's reputation in this country is even less securely founded4 ,the great ,aragonese is indeed little more than a name to the general public1 and his work is literally unknown4 ,two little books--,mr4 ,w4 ,rothenstein's ,goya1 now out of print1 and a monograph by ,mr4 ,richard ,muther in the ,langham ,series--are the only volumes in ,english dealing exclusively with a painter who for more than half a century might have been described1 with more aptness than that with which the words were applied to ,zurbarn1 as #8,all ,spain4' ,as sincere a lover and as brilliant a transcriber of the beautiful as ,watteau and ,van ,loo1 a greater realist than ,hogarth1 and in portraiture second only to ,velazquez1 ,goya stands out as the greatest artist ,spain has produced since the death of the great ,court painter of ,philip ,,iv4 ,the fact that ,spanish art reflects the aspirations and is largely concerned with the representation of scenes selected by its chief patron1 the ,spanish ,catholic ,church1 accounts1 in some measure1 for the lack of sympathy and appreciation with which it is regarded in this country1 but this prejudice does not explain the neglect from which ,goya has suffered4 ,goya1 it is true1 accepted commissions from the ,church1 but his religious subjects do not comprise a tenth of his canvases1 and in his etchings and engravings he is seen only as a secular moralist4 ,as the painter of the ,spanish ,rococo period1 he dipped his brush in beauty1 gaiety1 and humour2 as a portraitist he was vivid1 surprising1 audacious1 a maker of masterpieces2 while his etchings constitute an unrivalled commentary upon the spirit of the age1 recorded by its #8most fearless and advanced thinker4' ,goya's art would appear to be the reflection of his life4 ,his youth was disordered and tempestuous2 in the height of his success he accepted favours1 but he was too conscientious an artist to repay the adulation of the world by flattering it in his canvases2 and he published his disillusions in the biting satire of his ,caprices and ,proverbs4 ,the authorities ,i have consulted would make a formidable list1 but among those to whom ,i am under special obligation ,i must mention the #8,lives' of ,goya by the ,conde de la ,viaza1 ,paul ,lefort1 ,paul ,lafond1 ,w4 ,rothenstein1 ,richard ,muther and ,julius ,hofmann2 ,valerian von ,loga's works on ,goya's etchings and engravings2 ,don ,juan de la ,rada's chapter on #8,goya's ,frescoes in the ,church of ,san ,antonio de la ,florida2' ,muther's appreciation of ,goya in his ,history of ,modern ,painting2 ,stirling-,maxwell's ,annals of the ,artists of ,spain2 ,carl ,justi's #8,sketch of ,spanish ,art' in ,baedeker's ,spain and ,portugal2 ,c4 ,gasquoine ,hartley's ,spanish ,painting2 the ,boletin de la ,sociedad ,espaola de ,excursiones2 and ,thophile ,gautier's brilliant study of ,goya in his ,travels in ,spain4 ,in making the collection of ,goya's works that is presented at the end of this volume1 ,i have taken the line of least resistance and included reproductions of every picture1 etching1 or lithograph that ,i could acquire4 ,however inadequate photography and #8process' may be to convey an impression of the original works1 ,i have endeavoured to give ,english students an opportunity of becoming acquainted with the subjects and general nature of much of the output of ,goya's sixty years of artistic effort4 ,in the compilation of the appended exhaustive catalogue of ,goya's works1 which ,i am not without hope may be found of practical value1 ,i have derived no little assistance from ,spanish and ,german publications and from the list prepared by ,m4 ,paul ,lafond4 ,to ,seor ,don ,mariano ,moreno1 who has made a special study of ,goya and his work1 ,i am indebted for descriptions of many pictures which are published here for the first time1 and my thanks are also due to him for permission to reproduce from his collection a number of photographs which were new to me4 ,i have also to acknowledge the kindness of the authorities of the ,academy of ,san ,fernando in allowing me to publish copies of the different prints of ,goya's works issued by the ,academy2 and to express my thanks to ,seor ,don ,j4 ,lacoste1 ,messrs4 ,braun1 ,clement and ,co41 ,messrs4 ,mansell and ,co41 and ,herr ,franz ,hanfstaengl1 for their courtesy in supplying me with various pictures included in this collection and permitting me to reproduce them4 ,a4 ,f4 ,c4 ,,illustrations ,,plate ,,subject ,,gallery #a4 ,the ,family of ,charles ,,iv41 ,prado1 ,madrid4 #b4 ,the ,infante ,don ,carlos1 ,prado1 ,madrid4 #c4 ,the ,infante ,francisco de ,paula ,antonio1 ,prado1 ,madrid4 #d4 ,the ,infanta ,maria ,josefa1 ,prado1 ,madrid4 #e4 ,the ,infante ,don ,antonio1 ,prado1 ,madrid4 #f4 ,the ,infante ,don ,carlos ,maria ,isidro1 ,prado1 ,madrid4 #g4 ,king ,charles ,,iv41 ,ministerio de ,hacienda1 ,madrid4 #h4 ,king ,charles ,,iv41 ,ministerio de ,hacienda1 ,madrid4 #i4 ,king ,charles ,,iv41 #aj4 ,king ,charles ,,iv41 ,royal ,palace1 ,madrid4 #aa4 ,king ,charles ,,iv41 ,prado1 ,madrid4 #ab4 ,king ,charles ,,iv41 ,marques de ,casa ,torres1 ,madrid4 #ac4 ,queen ,maria ,luisa1 ,don ,a4 de ,beruete1 ,madrid4 #ad4 ,queen ,maria ,luisa1 ,don ,jos ,lzan4 #ae4 ,queen ,maria ,luisa1 ,ministerio de ,hacienda1 ,madrid4 #af4 ,queen ,maria ,luisa1 ,marques de ,casa ,torres1 ,madrid4 #ag4 ,queen ,maria ,luisa1 ,prado1 ,madrid4 #ah4 ,queen ,maria ,luisa1 ,prado1 ,madrid4 #ai4 ,ferdinand ,,vii41 ,academy of ,st4 ,ferdinand1 ,madrid4 #bj4 ,ferdinand ,,vii41 ,prado1 ,madrid4 #ba4 ,ferdinand ,,vii41 ,prado1 ,madrid4 #bb4 ,ferdinand ,,vii41 ,ancient ,collection of ,eustaquio ,veate4 #bc4 ,don ,luis1 ,prince of ,parma1 ,prado1 ,madrid4 #bd4 ,duchess of ,abrantes1 ,duquesa de ,abrantes1 ,madrid4 #be4 ,duchess of ,alba1 ,don ,rafael ,barrio4 #bf4 ,duchess of ,alba1 ,palacio de ,liria1 ,madrid4 #bg4 ,duchess of ,alba1 ,duque de ,alba1 ,madrid4 #bh4 ,duchess of ,alba1 #bi4 ,condesa de ,altamira and ,daughter1 ,marques de ,cervera4 #cj4 ,count of ,altamira1 ,bank of ,spain1 ,madrid4 #ca4 ,the ,infante ,don ,luis de ,borbon1 ,marques de ,casa ,torres1 ,madrid4 #cb4 ,altamirano1 ,auditor of ,seville1 ,marques de la ,vega ,inclan4 #cc4 ,don ,manuel ,lapea1 ,marques de ,bondad ,real1 ,don ,joaquin ,argamanilla4 #cd4 ,marquesa de ,caballero1 ,marques de ,cervera4 #ce4 ,conde de ,cabarrus1 ,bank of ,spain1 ,madrid4 #cf4 ,the ,wife of ,cean ,bermudez1 ,marques de ,casa ,torres1 ,madrid4 #cg4 ,j4 ,cean ,bermudez1 ,marques de ,casa ,torres1 ,madrid4 #ch4 ,doa ,lorenzo ,correa1 ,m4 ,bischoffsheim1 ,paris4 #ci4 ,the ,toreador ,costillares1 ,don ,jos ,lazaro4 #dj4 ,don ,joaquin ,maria ,ferrer1 ,count of ,candilla4 #da4 ,condesa-,duquesa de ,benavente y ,osuna1 ,madrid4 #db4 ,doa ,manuela de ,alvarez ,coias1 ,marquis of ,baroja4 #dc4 ,florida ,blanca1 ,marquesa de ,martorell4 #dd4 ,don ,antonio ,foraster1 ,don ,j4 ,millan4 #de4 ,the ,engineer ,ignacio ,garcini1 ,the ,garcini ,family1 ,madrid4 #df4 ,doa ,josefa ,castilla-,portugal1 ,don ,vicente ,garcini4 #dg4 ,don ,juan ,antonio ,cuervo1 ,don ,f4 ,duran4 #dh4 ,doa ,maria ,ildefonso ,dabalos1 ,count of ,villagonzalo4 #di4 ,general ,don ,juan ,marlin1 ,don ,luis ,navas4 #ej4 ,godoy1 ,prince of the ,peace1 ,academy of ,st4 ,ferdinand1 ,madrid4 #ea4 ,f4 ,guillemardet1 ,louvre1 ,paris4 #eb4 ,jaspar ,melchor de ,jovellanos1 ,marquesa de ,villamajor1 ,madrid4 #ec4 ,asensio ,julia1 ,comtesse de ,paris4 #ed4 ,the ,milkmaid of ,bordeaux1 ,condesa ,vinda de ,muguiro4 #ee4 ,asensio ,julia1 ,louvre1 ,paris4 #ef4 ,marquesa de ,lazan1 ,comtesse de ,montijo4 #eg4 ,don ,francisco ,larrumbe1 ,bank of ,spain1 ,madrid4 #eh4 ,the ,bookseller of the ,calle de ,carretas1 ,don ,benito ,garriga4 #ei4 ,don ,j4 ,antonio ,llorente1 ,don ,francisco ,llorente y ,garcia de ,vinuesa4 #fj4 ,duke of ,san ,carlos1 ,marques de la ,torrecilla4 #fa4 ,duke of ,san ,carlos1 ,conde de ,villagonzalo4 #fb4 ,the ,actor ,isidoro ,maiquez1 ,prado1 ,madrid4 #fc4 ,the ,actor ,isidoro ,maiquez1 ,marques de ,casa ,torres1 ,madrid4 #fd4 ,countess of ,miranda del ,castaar1 ,formerly in the ,montijo ,collection4 #fe4 ,conde de ,miranda1 #ff4 ,leandro ,fernandez de ,moratin1 ,academy of ,st4 ,ferdinand1 ,madrid4 #fg4 ,the ,family of the ,countess of ,montijo1 ,palacio de ,liria1 ,madrid4 #fh4 ,seor ,j4 ,b4 de ,muguiro1 ,condesa ,vinda de ,muguiro4 #fi4 ,marques de ,castro ,terreo1 #gj4 ,marquesa de ,castro ,terreo1 #ga4 ,camarn1 ,doa ,e4 ,camarn4 #gb4 ,muarriz1 ,academy of ,st4 ,ferdinand1 ,madrid4 #gc4 ,duke of ,osuna and ,family1 ,prado1 ,madrid4 #gd4 ,admiral ,mazaredo1 ,don ,m4 ,hernando4 #ge4 ,melndez ,valds1 ,seor ,surez ,incln4 #gf4 ,duke of ,osuna1 ,formerly in the ,collection of the ,duke of ,osuna4 #gg4 ,duke of ,osuna1 ,marquesa de ,villamajor1 ,madrid4 #gh4 ,duke of ,osuna1 ,m4 ,duniat1 ,paris4 #gi4 ,duke of ,osuna1 ,formerly in the ,palace of the ,duque de ,osuna1 ,madrid4 #hj4 ,duquesa del ,parque1 ,marques de la ,vega1 ,madrid4 #ha4 ,doctor ,peral1 ,national ,gallery1 ,london4 #hb4 ,general ,palafox1 ,prado1 ,madrid4 #hc4 ,doa ,isabel ,corbo de ,porcel1 ,national ,gallery1 ,london4 #hd4 ,don ,tiburcio ,perez1 ,d4 ,f4 ,duran and ,cuervo4 #he4 ,don ,mariano ,luis de ,urquijo1 ,academy of ,history1 ,madrid4 #hf4 ,don ,toms ,prez ,estala1 ,countess of ,cedillo4 #hg4 ,don ,pantalen ,perez de ,nenin1 ,don ,p4 ,labat4 #hh4 ,marquesa de ,pontejos1 ,marquesa de ,martorell4 #hi4 ,don ,ramn ,pignatelli1 ,duquesa de ,villahermosa4 #ij4 ,general ,ricardos1 ,madrid4 #ia4 ,the ,toreador ,jos ,romero1 ,madrid4 #ib4 ,marques de ,san ,adrin1 ,collection of the ,family4 #ic4 ,the ,espada ,pedro ,romero1 ,duque de ,veragua4 #id4 ,ramon ,satue1 ,dr4 ,benito ,garriga4 #ie4 ,don ,manuel ,silvela1 ,don ,f4 ,silvela4 #if4 ,doa ,maria ,teresa ,apodaca de ,sesma1 ,don ,andres ,arteta4 #ig4 ,marquesa de la ,solana1 ,marques del ,socorro4 #ih4 ,general ,urrutia1 ,prado1 ,madrid4 #ii4 ,maria del ,rosario ,fernandez1 ,academy of ,st4 ,ferdinand1 ,madrid4 #ajj4 ,maria del ,rosario ,fernandez1 ,conde de ,villagonzalo4 #aja4 ,marques de ,tolosa1 ,bank of ,spain1 ,madrid4 #ajb4 ,conde de ,teba1 ,don ,j4 ,lzaro4 #ajc4 ,jos de ,vargas ,ponce1 ,academy of ,history1 ,madrid4 #ajd4 ,don ,jos de ,toro ,zambrano1 ,bank of ,spain1 ,madrid4 #aje4 ,doa ,antonia ,zarate1 ,seora ,vinda de ,albacete4 #ajf4 ,doa ,antonia ,zarate1 ,seora ,vinda de ,albacete4 #ajg4 ,doa ,lola ,zimenez1 ,m4 ,chiramy1 ,paris4 #ajh4 ,don ,evaristo ,perez de ,castro1 ,louvre1 ,paris4 #aji4 ,don ,juan ,jos ,mateo ,arias ,dairla1 ,marquesa de ,almaguer4 #aaj4 ,father ,lascanal1 ,don ,j4 ,lzaro4 #aaa4 ,don ,ramon de ,posada y ,soto1 ,don ,jos ,maria ,perez ,caballero4 #aab4 ,marques de ,caballero1 ,marques de ,cervera1 ,madrid4 #aac4 ,conde de ,gazinza1 ,marques de ,casa ,torres1 ,madrid4 #aad4 ,moratin1 ,don ,f4 ,silvela4 #aae4 ,the ,artist1 ,academy of ,st4 ,ferdinand1 ,madrid4 #aaf4 ,the ,artist1 ,don ,a4 ,pidal4 #aag4 ,the ,artist1 #aah4 ,the ,artist1 ,m4 ,leon ,bonnet4 #aai4 ,the ,artist1 by ,vicente ,lopez1 ,prado1 ,madrid4 #abj4 ,don ,j4 ,b4 de ,goicoechea1 ,don ,felipe ,modet4 #aba4 ,goya's ,grandson1 ,marques de ,alcaices4 #abb4 ,doa ,feliciana ,bayeu1 ,don ,c4 ,ferriz4 #abc4 ,don ,juan ,martin de ,goicoechea1 ,marques de ,casa ,torres1 ,madrid4 #abd4 ,doa ,narcisa ,baraona de ,goicoechea1 ,don ,felipe ,modet4 #abe4 ,doa ,juana ,galarza de ,goicoechea1 ,marques de ,casa ,torres1 ,madrid4 #abf4 ,francisco ,bayeu1 ,prado1 ,madrid4 #abg4 ,josefa ,bayeu1 ,prado1 ,madrid4 #abh4 ,group of ,heads1 ,comtesse de ,paris4 #abi4 ,portrait ,study of a ,woman1 #acj4 ,portrait of a ,young ,girl1 ,private ,property4 #aca4 ,portrait of a ,lady1 #acb4 ,portrait of a ,lady1 ,conde de ,pealvez4 #acc4 ,portrait of a ,lady1 ,don ,jos ,lzaro4 #acd4 ,portrait of a ,lady1 ,don ,a4 de ,beruete4 #ace4 ,portrait of a ,lady1 ,don ,a4 de ,beruete4 #acf4 ,portrait of a ,lady1 ,don ,a4 de ,beruete4 #acg4 ,portrait of a ,lady1 ,don ,r4 ,garcia4 #ach4 ,portrait of a ,woman1 ,louvre1 ,paris4 #aci4 ,a ,little ,girl1 ,marques de ,casa ,torres1 ,madrid4 #adj4 ,portrait of a ,lady1 ,don ,j4 ,gutierrez ,martin4 #ada4 ,young ,spanish ,woman1 ,louvre1 ,paris4 #adb4 ,portrait of a ,man1 ,private ,collection4 #adc4 ,the ,old ,man1 ,conde de ,da4 ,marina4 #add4 ,portrait of an ,architect1 #ade4 ,portrait of a ,doctor1 #adf4 ,portrait of a ,lady1 #adg4 ,portrait of a ,lady1 #adh4 ,portrait of a ,lady1 #adi4 ,portrait of a ,lady1 #aej4 ,portrait of a ,man1 #aea4 ,portrait of a ,lady1 ,seor ,orossen4 #aeb4 ,portrait of a ,lady1 #aec4 ,portrait of a ,gentleman1 #aed4 ,charles ,,iv41 ,comtesse de ,paris4 #aee4 ,queen ,maria ,luisa1 ,comtesse de ,paris4 #aef4 ,the ,infanta ,isabel1 ,comtesse de ,paris4 #aeg4 ,portrait of a ,man1 #aeh4 ,don ,felix ,colon1 ,don ,ricardo ,traumann1 ,madrid4 #aei4 ,don ,felix ,colon1 ,don ,ricardo ,traumann1 ,madrid4 #afj4 ,portrait of a ,man1 #afa4 ,portrait of a ,boy1 #afb4 ,portrait of a ,boy1 #afc4 ,portrait of a ,boy1 #afd4 ,portrait of a ,lady1 #afe4 ,portrait of a ,lady1 #aff4 ,portrait of a ,lady1 #afg4 ,portrait of a ,young ,lady1 ,mons4 ,c4 ,g41 ,paris4 #afh4 ,episode of the ,french ,invasion of #ahjh1 ,prado1 ,madrid4 #afi4 ,episode of the ,french ,invasion of #ahjh1 ,duquesa de ,villahermosa4 #agj4 ,casting ,bullets by ,moonlight in the ,hills of ,tardienta1 ,royal ,palace1 ,madrid4 #aga4 ,scenes of the #bnd ,may #ahjh1 ,prado1 ,madrid4 #agb4 ,battle-,scene1 ,marques de ,casa ,torres1 ,madrid4 #agc4 ,manufacturing ,powder in the ,sierra de ,tardienta1 ,royal ,palace1 ,madrid4 #agd4 ,the ,tribunal of the ,inquisition1 ,prado1 ,madrid4 #age4 ,the ,procession of ,flagellants1 ,academy of ,st4 ,ferdinand1 ,madrid4 #agf4 ,a ,meeting of the ,company of the ,philippines1 #agg4 ,the ,city of ,madrid3 an ,allegory1 ,corporation of ,madrid4 #agh4 ,music3 an ,allegory1 ,don ,luis ,navas4 #agi4 ,spain making ,history1 ,don ,luis ,navas4 #ahj4 ,the ,madhouse1 ,prado1 ,madrid4 #aha4 ,the ,majas of the ,balcony1 ,duque de ,marchesa4 #ahb4 ,the ,majas of the ,balcony1 #ahc4 ,the ,majas of the ,balcony1 #ahd4 ,la ,maja 7,nude71 ,prado1 ,madrid4 #ahe4 ,la ,maja 7,clothed71 ,prado1 ,madrid4 #ahf4 ,the ,knife-,grinder1 ,budapest4 #ahg4 ,the ,water-,carrier1 ,budapest4 #ahh4 ,old ,age1 ,lille ,museum4 #ahi4 ,robbery of a ,coach1 ,marques de ,castro ,serna4 #aij4 ,brigands1 ,marques de la ,romana4 #aia4 ,brigand murdering a ,woman1 ,marques de la ,romana4 #aib4 ,brigands stripping their ,captives1 ,marques de la ,romana4 #aic4 ,murder by ,brigands1 ,marques de la ,romana4 #aid4 ,brigands' ,cave1 ,marques de la ,romana4 #aie4 ,goya and the ,duchess of ,alba1 ,marques de la ,romana4 #aif4 ,the ,plague ,terror1 ,marques de la ,romana4 #aig4 ,the ,monk's ,visit1 ,marques de la ,romana4 #aih4 ,a ,masquerade1 ,duquesa de ,villahermosa4 #aii4 ,the ,dance1 ,marques de la ,torrecilla4 #bjj4 ,the ,funeral of the ,sardine1 ,academy of ,st4 ,ferdinand1 ,madrid4 #bja4 ,the ,booth at the ,fair1 ,marques de ,castro ,serna4 #bjb4 ,the ,greasy ,pole1 ,marques de ,castro ,torres4 #bjc4 ,the ,bonfire1 ,conde de ,villagonzalo4 #bjd4 ,nocturnal ,scene1 ,marques de la ,romana4 #bje4 ,the ,picnic1 ,marques de la ,torrecilla4 #bjf4 ,the ,inundation1 ,marques de ,castro ,serna4 #bjg4 ,the ,village on ,fire1 ,marques de ,castro ,serna4 #bjh4 ,caprice1 ,doa ,c4 ,berganza de ,martin4 #bji4 ,caprice1 ,doa ,c4 ,berganza de ,martin4 #baj4 ,caprice1 ,don ,a4 ,pidal4 #baa4 ,dogs and ,guns3 ,design for ,tapestry1 ,prado1 ,madrid4 #bab4 ,a ,dead ,bird1 ,prado1 ,madrid4 #bac4 ,dead ,birds1 ,prado1 ,madrid4 #bad4 ,a ,picador on ,horseback1 ,prado1 ,madrid4 #bae4 ,picador and ,bull1 ,marques de ,baroja4 #baf4 ,death of the ,picador1 ,paris4 #bag4 ,a ,bull-,fight1 ,bequeathed to the ,royal ,academy1 ,madrid4 #bah4 ,a ,bull escaped from the ,arena1 ,duque de ,veragua4 #bai4 ,meeting of ,witches1 ,prado1 ,madrid4 #bbj4 ,galician ,shepherds fighting1 ,prado1 ,madrid4 #bba4 ,the ,procession1 ,conde de ,candilla4 #bbb4 ,caprice1 ,prado1 ,madrid4 #bbc4 ,the ,fates1 ,prado1 ,madrid4 #bbd4 ,saturn devouring one of his ,children1 ,prado1 ,madrid4 #bbe4 ,judith and ,holofernes1 ,prado1 ,madrid4 #bbf4 ,two ,monks1 #bbg4 ,the ,maja1 ,from ,goya's ,country ,house near ,madrid4 #bbh4 ,a ,caprice1 #bbi4 ,listening to the ,news1 ,prado1 ,madrid4 #bcj4 ,a ,group of ,witches1 ,prado1 ,madrid4 #bca4 ,a ,group of ,witches1 ,prado1 ,madrid4 #bcb4 ,the ,bull-,fight1 #bcc4 ,pilgrimage to the ,fountain of ,san ,isidro1 ,prado1 ,madrid4 #bcd4 ,meeting of ,witches1 ,prado1 ,madrid4 #bce4 ,two ,old ,people eating ,porridge1 ,prado1 ,madrid4 #bcf4 ,the ,mass of ,parida1 ,marques de la ,torrecilla4 #bcg4 ,the ,topers1 #bch4 ,women of ,madrid1 and ,friars1 ,marques de ,casa ,torres4 #bci4 ,the ,majas and the ,majo1 #bdj4 ,the ,witch1 #bda4 ,laughing ,women1 ,prado1 ,madrid4 #bdb4 ,the ,swing1 ,duke de ,montellano4 #bdc4 ,the ,greasy ,pole1 ,duke de ,montellano4 #bdd4 ,the ,accident1 ,duke de ,montellano4 #bde4 ,coach attacked by ,bandits1 ,duke de ,montellano4 #bdf4 ,building the ,church1 ,from the ,collection of the ,duque de ,osuna4 #bdg4 ,the ,village ,procession1 ,from the ,collection of the ,duque de ,osuna4 #bdh4 ,summer3 ,threshers of ,wheat1 ,don ,ricardo ,traumann4 #bdi4 ,the ,hermitage of ,san ,isidro1 ,don ,p4 ,f4 ,durn4 #bej4 ,the ,wounded ,mason1 ,don ,p4 ,f4 ,durn4 #bea4 ,the ,hermitage of ,san ,isidro1 ,prado1 ,madrid4 #beb4 ,scene from the ,play #8,el hechizado por fuerza'--,the ,bewitched1 ,national ,gallery1 ,london4 #bec4 ,the ,picnic1 ,national ,gallery1 ,london4 #bed4 ,herd of ,bulls coming from the ,from the ,collection of the ,muoza1 ,duque de ,osuna4 #bee4 ,a ,caprice1 ,from the ,collection of the ,duque de ,osuna4 #bef4 ,a ,witches' ,conventicle1 ,from the ,collection of the ,duque de ,osuna4 #beg4 ,sorcery ,scene1 ,from the ,collection of the ,duque de ,osuna4 #beh4 ,don ,juan and the ,comendador1 ,from the ,collection of the ,duque de ,osuna4 #bei4 ,don ,quixote1 #bfj4 ,st4 ,bernard of ,siena1 ,church of ,san ,francisco el ,grande4 #bfa4 ,st4 ,bernard of ,siena1 ,marques de ,torrecilla4 #bfb4 ,christ taken by the ,soldiers1 ,toledo ,cathedral4 #bfc4 ,christ on the ,cross1 ,prado1 ,madrid4 #bfd4 ,the ,death of ,st4 ,joseph1 ,don ,a4 ,beruete1 ,madrid4 #bfe4 ,the ,holy ,family1 ,prado1 ,madrid4 #bff4 ,st4 ,justa and ,st4 ,rufina1 ,seville ,cathedral4 #bfg4 ,apparition of ,st4 ,isidore to ,king ,ferdinand ,,iii41 ,don ,a4 ,canovas1 ,madrid4 #bfh4 ,st4 ,peter1 ,don ,a4 ,pidal1 ,madrid4 #bfi4 ,the ,prayer in the ,garden of ,gethsemane1 ,the ,rector of ,san ,antonio4 #bgj4 ,st4 ,elizabeth of ,hungary healing ,lepers1 ,don ,clemente ,velasco4 #bga4 ,st4 ,hermenegild in ,prison1 ,don ,clemente ,velasco4 #bgb4 ,angels and ,cherubim1 ,conde de ,villagonzalo4 #bgc4 ,fresco of the ,cupola of ,san ,antonio de la ,florida1 #ast ,section1 #bgd4 ,fresco of the ,cupola of ,san ,antonio de la ,florida1 #bnd ,section1 ,the ,church of ,san #bge4 ,fresco of the ,cupola of ,san ,antonio ,antonio de la de la ,florida1 #crd ,section1 ,florida4 #bgf4 ,fresco of the ,cupola of ,san ,antonio de la ,florida1 #dth ,section1 #bgg4 ,group of ,angels from ,san ,antonio de la ,florida1 #bgh4 ,fresco of ,san ,antonio de la ,florida1 #bgi4 ,lunch on the ,banks of the ,manzanares3 ,tapestry ,cartoon1 ,prado1 ,madrid4 #bhj4 ,dance at ,san ,antonio de la ,florida3 ,tapestry ,cartoon1 ,prado1 ,madrid4 #bha4 ,the ,scuffle at the ,new ,inn3 ,tapestry ,cartoon1 ,prado1 ,madrid4 #bhb4 ,al ,fresco ,scene3 ,tapestry ,cartoon1 ,prado1 ,madrid4 #bhc4 ,the ,drinker3 ,tapestry ,cartoon1 ,prado1 ,madrid4 #bhd4 ,the ,parasol3 ,tapestry ,cartoon1 ,prado1 ,madrid4 #bhe4 ,the ,kite3 ,tapestry ,cartoon1 ,prado1 ,madrid4 #bhf4 ,the ,card-,players3 ,tapestry ,cartoon1 ,prado1 ,madrid4 #bhg4 ,children with a ,bladder3 ,tapestry ,cartoon1 ,prado1 ,madrid4 #bhh4 ,boys picking ,fruit3 ,tapestry ,cartoon1 ,prado1 ,madrid4 #bhi4 ,blind ,man playing the ,guitar3 ,tapestry ,cartoon1 ,prado1 ,madrid4 #bij4 ,the ,fair of ,madrid3 ,tapestry ,cartoon1 ,prado1 ,madrid4 #bia4 ,the ,crockery ,seller3 ,tapestry ,cartoon1 ,prado1 ,madrid4 #bib4 ,the ,soldier and the ,girl3 ,tapestry ,cartoons1 ,prado1 ,madrid4 ,la ,acerolera3 #bic4 ,playing at ,soldiers3 ,tapestry ,cartoon1 ,prado1 ,madrid4 #bid4 ,the ,game of ,pelota3 ,tapestry ,cartoon1 ,prado1 ,madrid4 #bie4 ,the ,washerwomen3 ,tapestry ,cartoon1 ,prado1 ,madrid4 #bif4 ,la ,novillada3 ,tapestry ,cartoon1 ,prado1 ,madrid4 #big4 ,the ,tobacco ,guard3 ,tapestry ,cartoon1 ,prado1 ,madrid4 #bih4 ,children climbing a ,tree3 ,the ,hunter and his ,dogs3 ,tapestry ,cartoons1 ,prado1 ,madrid4 ,the ,child and the ,bird3 #bii4 ,the ,woodcutters3 ,tapestry ,cartoon1 ,prado1 ,madrid4 #cjj4 ,the ,rendezvous3 ,tapestry ,cartoon1 ,prado1 ,madrid4 #cja4 ,the ,gardener3 ,tapestry ,cartoon1 ,prado1 ,madrid4 #cjb4 ,the ,vintagers3 ,tapestry ,cartoon1 ,prado1 ,madrid4 #cjc4 ,poor ,woman at the ,fountain3 ,tapestry ,cartoon1 ,prado1 ,madrid4 #cjd4 ,winter3 ,tapestry ,cartoon1 ,prado1 ,madrid4 #cje4 ,the ,wedding3 ,tapestry ,cartoon1 ,prado1 ,madrid4 #cjf4 ,women at the ,fountain3 ,tapestry ,cartoon1 ,prado1 ,madrid4 #cjg4 ,the ,swing3 ,tapestry ,cartoon1 ,prado1 ,madrid4 #cjh4 ,the ,stilt-,walkers3 ,tapestry ,cartoon1 ,prado1 ,madrid4 #cji4 ,boys climbing a ,tree3 ,tapestry ,cartoon1 ,prado1 ,madrid4 #caj4 ,boy on a ,sheep3 ,tapestry ,cartoon1 ,prado1 ,madrid4 ,,caprices4 ,,plate ,,subject #caa4 #a4 ,francisco ,goya y ,lucientes1 ,painter4 #cab4 #b4 ,so it is settled4 #cac4 #c4 ,here comes the ,bogey6 #cad4 #d4 ,the ,old ,spoilt ,child4 #cae4 #e4 ,birds of a ,feather4 #caf4 #f4 ,appearances are ,deceptive4 #cag4 #g4 ,not thus can he distinguish her4 #cah4 #h4 ,kidnapped4 #cai4 #i4 ,tantalus4 #cbj4 #aj4 ,love and ,death4 #cba4 #aa4 ,andalusian ,brigands4 ,boys1 to ,work6 #cbb4 #ab4 ,tooth-hunting4 #cbc4 #ac4 ,scalding ,hot6 #cbd4 #ad4 ,what a ,sacrifice6 #cbe4 #ae4 ,good ,counsel4 #cbf4 #af4 #8,may ,god pardon her6' #cbg4 #ag4 ,bien tirada est4 #cbh4 #ah4 #8,and his ,house is burning6' #cbi4 #ai4 #8,all will fall4' #ccj4 #bj4 ,they are already plucked4 #cca4 #ba4 ,how they pluck her4 #ccb4 #bb4 ,poor ,little ,things6 #ccc4 #bc4 ,carry this ,dust away4 #ccd4 #bd4 ,no ,remedy4 #cce4 #be4 ,because he broke the ,pitcher4 #ccf4 #bf4 ,now they have a ,seat4 #ccg4 #bg4 ,which is the more bored8 #cch4 #bh4 ,hush6 #cci4 #bi4 ,this is what he calls ,reading4 #cdj4 #cj4 ,why hide them8 #cda4 #ca4 ,she prays for her4 #cdb4 #cb4 ,for ,over-sensibility4 #cdc4 #cc4 #8,to the ,count ,palatine4' #cdd4 #cd4 ,sleep conquers them4 #cde4 #ce4 ,they shave him4 #cdf4 #cf4 ,a ,bad ,night4 #cdg4 #cg4 ,will the ,pupil know more than the ,master8 #cdh4 #ch4 ,bravissimo6 #cdi4 #ci4 ,as far as his ,grandfather4 #cej4 #dj4 ,of what ,ill will he die8 #cea4 #da4 ,neither more nor less4 #ceb4 #db4 ,thou who canst not4 #cec4 #dc4 ,the ,sleep of ,reason produces ,monsters4 #ced4 #dd4 ,they spin ,linen4 #cee4 #de4 ,there is a lot to do4 #cef4 #df4 ,doing ,penance4 #ceg4 #dg4 ,homage to the ,master4 #ceh4 #dh4 ,the ,blowers4 #cei4 #di4 ,little ,ghosts4 #cfj4 #ej4 ,the ,chinchillas4 #cfa4 #ea4 ,they cut each others' ,nails4 #cfb4 #eb4 ,what a ,tailor can do4 #cfc4 #ec4 #8,what an ,orator6' #cfd4 #ed4 ,the ,shameful ,one4 #cfe4 #ee4 ,till ,death4 #cff4 #ef4 ,ascending and ,descending4 #cfg4 #eg4 ,the ,pedigree4 #cfh4 #eh4 ,swallow that1 you ,dog6 #cfi4 #ei4 ,and yet they do not go4 #cgj4 #fj4 ,trials4 #cga4 #fa4 ,up above the ,world so high6 #cgb4 #fb4 ,who would believe it8 #cgc4 #fc4 ,how grave they are6 #cgd4 #fd4 ,bon ,voyage4 #cge4 #fe4 ,where is ,mamma going8 #cgf4 #ff4 ,changing ,lodgings4 #cgg4 #fg4 ,wait till you have been anointed4 #cgh4 #fh4 ,pretty ,mistress4 #cgi4 #fi4 ,fanning the ,brazier4 #chj4 #gj4 ,devout ,professions4 #cha4 #ga4 ,the ,day breaks1 let us go4 #chb4 #gb4 ,you will not escape4 #chc4 #gc4 ,it is better to do nothing4 #chd4 #gd4 ,don't shout1 ,idiot4 #che4 #ge4 ,will no one set us free8 #chf4 #gf4 ,the ,habit of ,command4 #chg4 #gg4 ,a ,mimic ,bull-,fight4 #chh4 #gh4 ,be quick1 they waken4 #chi4 #gi4 ,no one has seen us4 #cij4 #hj4 ,time's ,up6 ,,disasters ,,of ,,war4 #cia4 #a4 ,sad ,presentiments4 #cib4 #b4 ,with or without ,reason4 #cic4 #c4 ,all the ,same4 #cid4 #d4 ,women inspire ,courage4 #cie4 #e4 ,and are like ,wild ,beasts4 #cif4 #f4 ,well deserved6 #cig4 #g4 ,courage6 #cih4 #h4 ,what always happens4 #cii4 #i4 ,they will not6 #djj4 #aj4 ,nor they4 #dja4 #aa4 ,nor for these6 #djb4 #ab4 ,were you born for this8 #djc4 #ac4 ,a ,bitter ,sight4 #djd4 #ad4 ,hard is the ,way4 #dje4 #ae4 ,and there was no ,remedy4 #djf4 #af4 ,they avail themselves4 #djg4 #ag4 ,an argument4 #djh4 #ah4 ,to bury and to be silent4 #dji4 #ai4 ,there is not ,time4 #daj4 #bj4 ,to heal each other4 #daa4 #ba4 ,it will be the ,same4 #dab4 #bb4 ,as much and more4 #dac4 #bc4 ,the same elsewhere4 #dad4 #bd4 ,they are still of use4 #dae4 #be4 ,and these also4 #daf4 #bf4 ,that cannot be seen4 #dag4 #bg4 ,charity4 #dah4 #bh4 ,the ,populace4 #dai4 #bi4 ,he deserved it4 #dbj4 #cj4 ,the ,tragedy of ,war4 #dba4 #ca4 ,strong ,measures4 #dbb4 #cb4 ,why8 #dbc4 #cc4 ,what more is there to do8 #dbd4 #cd4 ,for a ,knife4 #dbe4 #ce4 ,no one knows why4 #dbf4 #cf4 ,nor wherefore4 #dbg4 #cg4 ,this is worse4 #dbh4 #ch4 ,barbarians4 #dbi4 #ci4 ,a ,great ,feat with the ,dead4 #dcj4 #dj4 ,he turns it to ,account4 #dca4 #da4 ,they escape through the ,flames4 #dcb4 #db4 ,all is in ,confusion4 #dcc4 #dc4 ,here also4 #dcd4 #dd4 #8,i saw it4' #dce4 #de4 ,and this1 likewise4 #dcf4 #df4 ,this is bad4 #dcg4 #dg4 ,thus it happened4 #dch4 #dh4 ,cruel ,misfortune6 #dci4 #di4 ,a ,woman's ,charity4 #ddj4 #ej4 ,unhappy ,mother4 #dda4 #ea4 ,thanks to the ,blue ,millet4 #ddb4 #eb4 ,they arrive too late4 #ddc4 #ec4 ,he died without ,help4 #ddd4 #ed4 ,vain ,clamours4 #dde4 #ee4 ,to beg is worst of all4 #ddf4 #ef4 ,to the ,cemetery4 #ddg4 #eg4 ,the ,healthy and the ,sick4 #ddh4 #eh4 ,of no ,use to cry4 #ddi4 #ei4 ,of what ,use is a ,cup8 #dej4 #fj4 ,no one to help4 #dea4 #fa4 ,are they of another ,race8 #deb4 #fb4 ,death-beds4 #dec4 #fc4 ,collecting ,dead4 #ded4 #fd4 ,cartloads for the ,cemetery4 #dee4 #fe4 #8,what means this ,tumult8' #def4 #ff4 ,strange ,devotion4 #deg4 #fg4 ,this is not less so4 #deh4 #fh4 ,what ,folly6 #dei4 #fi4 ,nothing2 he says it himself4 #dfj4 #gj4 ,they do not know the ,way4 #dfa4 #ga4 ,against the ,general ,good4 #dfb4 #gb4 ,the ,consequences4 #dfc4 #gc4 ,the ,cat's ,pantomime4 #dfd4 #gd4 ,this is worse4 #dfe4 #ge4 ,a ,meeting of ,quacks4 #dff4 #gf4 ,the ,carnivorous ,vulture4 #dfg4 #gg4 ,may the ,rope break4 #dfh4 #gh4 ,he defends himself well4 #dfi4 #gi4 ,truly she died4 #dgj4 #hj4 ,should she revive6 ,,tauromachia ,,plate ,,subject #dga4 #a4 ,hunting ,bulls across ,country in the ,olden ,time4 #dgb4 #b4 ,hunting the ,bull on ,foot4 #dgc4 #c4 ,moors hunting the ,bull across ,country4 #dgd4 #d4 ,moors fighting the ,bull in an ,enclosure4 #dge4 #e4 ,the ,moor ,gazul fighting the ,bull4 #dgf4 #f4 ,moors irritating the ,bull4 #dgg4 #g4 ,origin of the ,banderilla4 #dgh4 #h4 ,moor attacked by a ,bull4 #dgi4 #i4 ,spaniard1 wearing a ,turban1 slaying a ,bull4 #dhj4 #aj4 ,charles ,v4 spearing a ,bull in the ,arena of ,valladolid4 #dha4 #aa4 ,the ,cid spearing a ,bull4 #dhb4 #ab4 ,mob attacking a ,bull4 #dhc4 #ac4 ,horsemen planting ,banderillas in the ,bull4 #dhd4 #ad4 ,the ,student of ,falces and the ,bull4 #dhe4 #ae4 ,the famous ,martincho planting ,banderillas4 #dhf4 #af4 ,martincho's ,feat4 #dhg4 #ag4 ,moors using ,donkeys as a rampart against ,bulls4 #dhh4 #ah4 ,martincho in the ,arena at ,zaragoza4 #dhi4 #ai4 ,martincho's ,feat at ,zaragoza4 #dij4 #bj4 ,juanito ,apiani in the ,arena at ,madrid4 #dia4 #ba4 ,spectators slain by the ,bull at ,madrid4 #dib4 #bb4 ,the ,female ,picador1 ,pajuelera1 at ,zaragoza4 #dic4 #bc4 ,mariano ,ceballos1 alias el ,indio1 in the ,arena4 #did4 #bd4 ,ceballos mounted on a ,bull in the ,arena at ,madrid4 #die4 #be4 ,bull-,baiting by ,dogs4 #dif4 #bf4 ,picador overthrown by the ,bull4 #dig4 #bg4 ,fernando del ,toro in the ,arena4 #dih4 #bh4 ,rendon in the ,arena at ,madrid4 #dii4 #bi4 ,pepe-,illo faces the ,bull4 #ejj4 #cj4 ,pedro ,romero in the ,arena4 #eja4 #ca4 ,flaming ,banderillas4 #ejb4 #cb4 ,bull overthrowing ,picador4 #ejc4 #cc4 ,death of ,pepe-,illo in the ,arena at ,madrid4 #ejd4 #cd4 ,picadors mounted on ,mules harnessed to a ,carriage4 #eje4 #ce4 ,bull carrying a ,wounded ,toreador on his ,horns4 #ejf4 #cf4 ,bull carrying a ,dead ,toreador on his ,horns4 #ejg4 #cg4 ,variation of ,no4 #be4 ,bull-baiting4 #ejh4 #ch4 ,a ,spanish ,gentleman in the ,ring4 #eji4 #ci4 ,bravo ,toro6 #eaj4 #dj4 ,nearing the ,end4 ,,proverbs #eaa4 #a4 ,women tossing a ,dead ,donkey and ,mannikins in a ,blanket4 #eab4 #b4 ,soldiers flying from a ,tree draped to represent a ,ghost4 #eac4 #c4 ,persons listening to an ,orator4 #ead4 #d4 ,peasant dancing before a ,man and ,woman4 #eae4 #e4 ,man carrying off a ,woman on a ,winged ,monster4 #eaf4 #f4 ,the ,infuriated ,man4 #eag4 #g4 ,man and ,woman joined together at the ,shoulders4 #eah4 #h4 ,persons dressed in ,sacks4 #eai4 #i4 ,fantastic ,personage offering ,kittens to two ,women4 #ebj4 #aj4 ,human ,beings maltreated by a wild ,horse4 #eba4 #aa4 ,a ,two-headed ,woman pursued by two ,men4 #ebb4 #ab4 ,majos and ,majas dancing4 #ebc4 #ac4 ,men attempting to fly4 #ebd4 #ad4 ,fantastic ,salutations4 #ebe4 #ae4 ,a ,monk preaches2 ,soldier throws himself down an ,abyss4 #ebf4 #af4 ,man and ,woman quarrelling4 #ebg4 #ag4 ,persons deriding a ,blind ,man4 #ebh4 #ah4 ,the ,old ,man and the ,corpse4 ,,examples ,,in ,,the ,,collection ,,of ,,se,,or ,a4 ,,de ,,beruete ,,plate ,,subject ,,gallery #ebi4 ,the ,promenade1 ,don ,a4 de ,beruete4 #ecj4 ,a ,pauper1 ,don ,a4 de ,beruete4 #eca4 ,the ,madman1 ,don ,a4 de ,beruete4 #ecb4 ,the ,miser1 ,don ,a4 de ,beruete4 #ecc4 ,a ,woman flying1 ,don ,a4 de ,beruete4 #ecd4 ,madmen1 ,don ,a4 de ,beruete4 #ece4 ,the ,maja and the ,cloaked ,man1 ,don ,a4 de ,beruete4 #ecf4 ,a ,monk suspended in the ,air1 ,don ,a4 de ,beruete4 #ecg4 ,the ,living ,skeleton1 ,don ,a4 de ,beruete4 #ech4 ,french ,chastisement1 ,don ,a4 de ,beruete4 #eci4 ,to have and to hold1 ,don ,a4 de ,beruete4 #edj4 ,the ,snake-,charmer1 ,don ,a4 de ,beruete4 #eda4 ,charity1 ,don ,a4 de ,beruete4 #edb4 ,who will win8 ,don ,a4 de ,beruete4 #edc4 ,the ,madman1 ,don ,a4 de ,beruete4 #edd4 ,the ,lady with the ,puppies1 ,don ,a4 de ,beruete4 #ede4 ,paupers1 ,don ,a4 de ,beruete4 #edf4 ,procession entering the ,temple1 ,don ,a4 de ,beruete4 #edg4 ,women praying1 ,don ,a4 de ,beruete4 #edh4 ,mid-,lent1 ,don ,a4 de ,beruete4 #edi4 ,brides of the ,church1 ,don ,a4 de ,beruete4 #eej4 ,melodious ,mediators1 ,don ,a4 de ,beruete4 #eea4 ,a ,sleeping ,maja1 ,don ,a4 de ,beruete4 #eeb4 ,the ,skaters1 ,don ,a4 de ,beruete4 #eec4 ,study for the ,young ,infante in #8,the ,family of ,king ,charles ,,iv41' ,don ,a4 de ,beruete4 #eed4 ,study for the ,portrait of the ,queen in #8,the ,family of ,king ,charles ,,iv41' ,don ,a4 de ,beruete4 #eee4 ,sleeping ,giant1 ,don ,a4 de ,beruete4 #eef4 ,a ,gentle ,episode1 ,don ,a4 de ,beruete4 #eeg4 ,a ,prisoner1 ,don ,a4 de ,beruete4 #eeh4 ,the ,happy ,man1 ,don ,a4 de ,beruete4 #eei4 ,under a ,hood1 ,don ,a4 de ,beruete4 #efj4 ,fairy ,tales1 ,don ,a4 de ,beruete4 #efa4 ,spanish ,beauty1 ,don ,a4 de ,beruete4 #efb4 ,haut-ton1 ,don ,a4 de ,beruete4 #efc4 ,the ,man with the ,crocodile1 ,don ,a4 de ,beruete4 #efd4 ,at last it breaks1 ,don ,a4 de ,beruete4 #efe4 ,the ,broken ,pitcher1 ,don ,a4 de ,beruete4 #eff4 ,woman with a ,child in ,arms1 ,don ,a4 de ,beruete4 #efg4 ,rural ,events1 ,don ,a4 de ,beruete4 #efh4 ,chastisement1 ,don ,a4 de ,beruete4 #efi4 ,a ,monk doing ,penance1 ,don ,a4 de ,beruete4 #egj4 ,the ,invalid1 ,don ,a4 de ,beruete4 #ega4 ,mirar lo que no ven1 ,don ,a4 de ,beruete4 #egb4 ,an ,idiot1 ,don ,a4 de ,beruete4 #egc4 ,invocation1 ,don ,a4 de ,beruete4 #egd4 ,prayer1 ,don ,a4 de ,beruete4 #ege4 ,a ,mad ,newswoman1 ,don ,a4 de ,beruete4 #egf4 ,a ,monk1 ,don ,a4 de ,beruete4 #egg4 ,the ,bride1 ,don ,a4 de ,beruete4 #egh4 ,the ,belle of the ,assembly1 ,don ,a4 de ,beruete4 #egi4 ,one more ,unfortunate1 ,don ,a4 de ,beruete4 #ehj4 ,a ,portrait1 ,don ,a4 de ,beruete4 ,,frescoes ,,in ,,the ,,church ,,of ,,san ,,antonio ,,de ,,la ,,florida #eha4 ,interior of the ,church of ,san ,antonio de la ,florida1 #ehb4 ,san ,antonio de la ,florida1 ,painting in the ,principal ,chapel4 #ehc4 ,san ,antonio de la ,florida1 ,paintings on the ,centres of the ,intrados of the ,choir and ,principal ,chapel ,arches4 #ehd1 #ehe4 ,san ,antonio de la ,florida1 ,paintings on the ,springings of the ,intrados of the ,principal ,chapel ,arches4 #ehf1 #ehg4 ,san ,antonio de la ,florida1 ,paintings on the ,springings of the ,intrados of the ,choir ,arches4 #ehh4 ,san ,antonio de la ,florida1 ,paintings on the ,intrados of the left ,side ,chapel ,arch4 #ehi4 ,san ,antonio de la ,florida1 ,paintings on the ,intrados of the right ,side ,chapel ,arch4 #eij4 ,san ,antonio de la ,florida1 ,triangles formed by the ,dome adjoining the ,principal ,chapel4 #eia4 ,san ,antonio de la ,florida1 ,triangles formed by the ,dome adjoining the ,choir4 #eib1 #eic4 ,san ,antonio de la ,florida1 ,paintings at the ,sides of the ,window on the left4 #eid1 #eie4 ,san ,antonio de la ,florida1 ,paintings at the ,sides of the ,window on the right4 #eif4 ,san ,antonio de la ,florida1 ,first ,group on the ,cupola to the left of the ,centre4 #eig4 ,san ,antonio de la ,florida1 ,second ,group on the ,cupola to the left of the ,centre4 #eih4 ,san ,antonio de la ,florida1 ,centre of the ,composition on the ,cupola facing the ,entrance4 #eii4 ,san ,antonio de la ,florida1 ,first ,group on the ,cupola to the right of the ,centre4 #fjj4 ,san ,antonio de la ,florida1 ,second ,group on the ,cupola to the right of the ,centre4 ,,drawings1 ,,etc4 #fja4 ,the ,duke of ,wellington1 #ahab1 ,from the ,original ,drawing in the ,print ,room of the ,british ,museum4 #fjb4 ,lady and ,gentleman on ,horseback4 ,from the ,original ,drawing in the ,print ,room of the ,british ,museum4 #fjc4 ,head of the ,dying ,fray ,juan ,from the ,original ,drawing ,fernanez4 in the ,print ,room of the ,british ,museum4 #fjd4 ,a ,criminal undergoing the infliction ,from the ,original ,drawing of the ,garotte4 in the ,print ,room of the ,british ,museum4 #fje4 ,a ,lost ,soul1 ,from the ,original ,drawing in the ,print ,room of the ,british ,museum4 #fjf4 ,condemned ,criminals conducted to ,from the ,original ,drawing ,execution4 in the ,print ,room of the ,british ,museum4 #fjg4 ,spanish ,proverb ,illustrated1 ,from an ,etching1 hitherto unpublished1 in the ,print ,room of the ,british ,museum4 #fjh4 ,spanish ,proverb ,illustrated1 ,from an ,etching1 hitherto unpublished1 in the ,print ,room of the ,british ,museum4 #fji4 ,spanish ,proverb ,illustrated1 ,from an ,etching1 hitherto unpublished1 in the ,british ,museum4 #faj4 ,the ,bulls3 ,a ,study of the ,animals ,from an ,etching1 hitherto in various positions4 unpublished1 in the ,british ,museum4 #faa4 ,bull-fighter fettered in the ,arena1 ,from an ,etching1 hitherto unpublished1 in the ,british ,museum4 #fab4 ,a ,blind ,guitar-,player tossed by a ,from an ,etching in the ,bull1 ,print ,room of the ,british ,museum4 ,,goya ,i ,a century before the birth of ,goya1 ,spanish painting had attained its crown of achievement in the work of the four great naturalists1 ,velazquez1 ,ribera1 ,zurbarn1 and ,murillo4 ,josef de ,ribera 7#8,lo ,spagnoletto'71 had succeeded ,ribalta1 and had given lasting expression to the realism which characterised ,spanish art in the seventeenth century2 ,francisco de ,zurbarn1 the ,estremaduran peasant1 whom ,lord ,leighton called #8,all ,spain1' carried on the tradition of the elder ,herrera in his passion for truth in detail and in the dramatic intensity of his expression2 ,murillo1 the disciple of the ,spanish ,catholic ,church1 bewitched his generation with what ,antonio ,castillo y ,saavedra described as his #8wondrous grace and beauty of colouring'2 and ,velazquez1 #8our ,velazquez1' as ,palomino proudly styled him1 was the supreme painter through whom ,spanish art became the light of a new artistic life4 ,of ,velazquez it has been said that he attained perfection in the realism of detail and in the realism of sight1 and in his commanding genius ,spanish art was emancipated from the fetters of pseudo-,italianism in which it had laboured so long4 ,he carried ,spanish realism to its ,ultima ,thule4 ,further his age could not go1 and generations of artists who came after him devoted themselves to the imitation and reproduction of his colour and his technique with such passionate servility that in the end the copy of the pupil was frequently mistaken for the work of the master4 ,the perfect technique of the great ,court painter had1 in his own day1 the effect of arresting artistic development--it left his successors nothing to solve for themselves4 ,he achieved so much in his own work that1 for a time1 the last word in art seemed to have been spoken4 ,until his influence had died away1 the reproduction of ,velazquez was the aim of the ,madrid painters4 ,for this reason1 after the death of ,velazquez1 the artistic life of the seventeenth century became a spent force1 and for want of new impetus of original genius1 ,spanish art steadily declined4 ,the followers of the supreme painter failed to realise the true inwardness of his message4 ,they had the seed1 but they could raise no new flower4 ,one feels towards the pictures of ,velazquez as ,swinburne felt towards the muse of ,sappho3 ' 444 earth's womb has borne in vain ,new things1 and never this best thing again2 ,borne days and men1 borne fruits and wars and wine1 ,seasons and songs but no song more like mine4' ,but the reverent desire to perpetuate #8this best thing' could not arrest the decay of artistic inspiration4 ,the disciples of ,velazquez copied and painted successfully 7up to a point71 and they trained other generations of imitators who continued to work and teach their methods1 until imitation slowly but surely sank into artistic degradation4 ,under the sway of ,mariana of ,austria1 the decay of ,spanish painting was further hastened1 and the ascendency of the facile1 brilliant brush of ,luca ,giordano1 under ,charles ,,ii41 dealt the death-blow to the realistic impulse that had carried the national school of the middle seventeenth century to the realisation of its utmost ambition4 ,the decadence which followed the death of ,velazquez was most pronounced among the ,castilian painters1 but the empire of ,giordano extended to the ,provincial schools and completed the more gradual decline of art in ,andalusia and ,valencia4 ,seville was foredoomed to decadence as a school of painting1 for its artists had taken ,murillo as their model1 and in servilely imitating the #8,painter of the ,conceptions1' they emphasised his faults1 exaggerated his unreality1 and caricatured his affectations4 ,the popular admiration of ,murillo was all-powerful to hasten the general decline1 and each year the artistic outgrowth of ,andalusia became more enfeebled4 ,in the last months of the seventeenth century ,charles ,,ii4 died without issue and the art-loving ,austrian dynasty was ended4 ,the succeeding ,bourbon sovereigns brought with them an art derived from ,france2 they had no ambition to reanimate the native art of the country4 ,madrid became the only recognised art centre in ,spain1 and to ,madrid1 in #agfa1 came1 at the invitation of ,charles ,,iii41 ,giovanni ,battista ,tiepolo1 the ,venetian fresco-painter1 and the ,saxon pedant1 ,anton ,raphael ,mengs4 ,the ,spanish painters who had rendered homage to the facile ,giordano were caught by the glamour of the fantastic1 insincere art of ,tiepolo1 while the dreary academic influence of ,mengs--whose paintings are declared by ,carl ,justi to echo the last shadow of eclectic mannerism--made for all that is dull1 exact1 and lifeless in pictorial art4 ,no great ,spaniard arose to counteract the demoralising influence of these imported professors2 it was realised in the studios of ,madrid that the methods of the favoured aliens led to popularity and fortune2 the ,spanish artists followed the line of least resistance1 nor desisted when they found that it carried them ever further from the tradition founded by ,velazquez4 ,this art1 dull but without dignity1 showy but meaningless1 was the reflex of the prevailing rottenness in the national life4 ,during the reign of ,charles ,,iii4 a certain superficial decency was observed2 the corruptness of ,court life was kept out of sight2 a general conspiracy of make-believe was maintained4 ,but under ,maria ,luisa of ,parma and ,charles ,,iv41 the abomination of moral desolation in social1 political and artistic life was complete and confessed4 ,manuel ,godoy1 afterwards ,prince de la ,paz1 was ,prime ,minister of ,spain1 and the country was demoralised by dissolute courtiers and unscrupulous ministers1 and drained by insatiable priests4 ,but in the turmoil created by an aristocracy sunk in lasciviousness1 a government steeped in corruption1 and a commonalty beaten and bled into a state of nerveless resignation1 was heard the echo of the revolutionary movement which was sweeping over ,europe4 ,the teaching of ,goethe and ,schiller1 followed by the preaching of ,rousseau1 had taken concrete form in the butcheries of ,robespierre and ,danton2 the movement had culminated in the personal supremacy of ,napoleon ,buonaparte4 ,the hopes of the ,spanish nation were centred in the ,crown ,prince ,ferdinand4 ,even as the ,first of the ,tigers thought to exterminate ,fear by killing a man1 the ,spaniards believed that the abdication of ,charles ,,iv4 would make an end of misrule and give their country peace and prosperity4 ,but the ,king hated his son1 and inspired by the double purpose of defeating the ambition of the ,crown ,prince and punishing the disloyalty of his subjects1 he laid his crown at the feet of the ,emperor of the ,french1 who bestowed it upon his brother1 ,joseph ,buonaparte4 ,the ,spanish liberals made the alien king welcome1 but the ,spanish loyalists proved a constant thorn in the side of the usurper1 and at the end of five years ,joseph ,buonaparte fled ,madrid4 ,two years later the ,prince of the ,asturias returned to ,spain to be crowned king as ,ferdinand ,,vii4 ,again the distressful country was plunged into the depths of retrogression1 clericalism1 and fanaticism4 ,spain was undergoing her fate4 ,the strong men of the troublous times of the eighteenth century were the revolutionaries and reformers1 and1 as was inevitable1 they sprang from the people4 ,rousseau1 ,robespierre1 ,napoleon1 these were the forces that directed the movement1 the effect of which was to make itself felt from one end of ,europe to the other4 ,goya was a revolutionary4 ,he lived under four kings of ,spain4 ,he was elected a member of the ,acadmia de ,san ,fernando in the reign of ,charles ,,iii42 ,charles ,,iv4 appointed him ,pintor de ,cmara del ,rey2 he took the oath of allegiance to ,joseph ,buonaparte and painted the usurper's portrait2 ,ferdinand ,,vii41 who declared that he had deserved death for his defection from the ,bourbon cause1 condemned the man but pardoned the artist and received him as a member of the new ,court4 ,critical opinion condones ,goya's flexible patriotism by the fact that #8it was a period of national disaster1' and that #8national calamity was not altered by these trivialities4' ,goya1 we are reminded1 was a revolutionary2 he was also a pitiless1 if quizzical1 onlooker at the life of the ,madrid ,court4 ,it was a simple matter to him to transfer his allegiance from the ,bourbons to ,joseph ,buonaparte1 and it was even more simple to welcome ,ferdinand ,,vii4 to the throne4 #8,what did such changes matter in years of irretrievable ruin8' writes ,c4 ,gasquoine ,hartley1 in ,a ,record of ,spanish ,painting4 ,the question may be left for the individual to answer according to his own fancy4 ,and if ,goya was1 as some will find1 an opportunist1 a political weathercock1 and a moral ,vicar of ,bray1 as an artist he was a great reformative force4 ,alternately an idealist and a realist1 he fought with all the social forces and against the academic standards of the school commanded by ,david and ,mengs1 destroying the debased conventions of painting and freeing the brush from the domination of a clique4 ,a national artist par excellence1 he gave lasting form to the sentiments1 customs and conditions of his country4 ,a profound believer in empiricism1 a great humourist1 sometimes impetuous and fantastic1 at other times holding fast to reality2 a master of portraiture2 fantastic1 inspired1 spontaneous in his aquafortis etchings2 he seized upon and immortalised every aspect of the gruesome tragi-comedy which was played in ,spain in the last years of the eighteenth century4 ,francisco ,jos de ,goya y ,lucientes was born at the end of ,march 7the #cjth or #cast7 #agdf at ,fuentetodos near ,zaragoza1 in ,aragon1 the province which gave to the nation poets like the #8,spanish ,horaces1' historians like ,zurita1 teachers like ,gracin and ,luzn1 a scholar like ,latassa1 and a statesman like the ,conde de ,aranda4 ,goya was baptized in the ,church of ,our ,lady of the ,ascent1 and the names given him by his godmother1 ,francesca de ,grasa1 were ,francis ,joseph4 ,the amiable weakness for connecting great men with great families has prompted a ,german biographer to claim that both his father and mother belonged to the nobility1 and that his first patron was the ,duque de ,fuentes4 ,less imaginative authorities1 however1 tell us that his parents1 ,jos ,goya and ,gracia ,lucientes1 were poor but hardworking peasants1 and that when #8the regenerator of the ,spanish school of naturalistic painters'--to quote the prefatory note to ,goya's pictures in the ,prado catalogue--had completed his course of elementary instruction at the hands of the village schoolmaster1 he was put to agriculture4 ,a fortunate accident revealed the bent of the lad's genius and liberated him1 at the age of fourteen1 from the drudgery of manual labour4 ,m4 ,matheron relates that the lad had been sent with a sack of wheat to a neighbouring mill1 when a monk of ,zaragoza 7probably ,father ,felix ,salvador of the ,carthusian convent of ,aula ,dei7 happened upon him4 ,goya1 seated on his burden1 was intent upon drawing a pig with a piece of charcoal upon a whitewashed wall4 ,the priest1 struck by the correct free lines traced by the youngster1 inquired who his master was and received the characteristic reply3 #8,i have none1 your reverence4 ,it is not my fault1 ,i cannot keep from drawing4' ,the overmastering incentive pleaded by the youthful delinquent never forsook him1 and1 although powerful enemies resented his too free use of the pencil1 and the ,holy ,inquisition was moved to curb his unwearied industry1 he continued to ply brush and needle and gavel during sixty-eight years of changing1 strenuous life4 ,father ,salvador remained ,goya's friend until his death4 ,he saw his father1 and obtained permission from him1 in #agfj1 for the lad to go to ,zaragoza4 ,the imperial city exercised a powerful influence upon his art4 ,there is always in his pictures1 as one of his countrymen points out1 the ,zaragoza landscape1 so rich in the contrasts of its splendid and vigorous vegetation1 recalling the banks of the ,genil or the ,turia1 while its limy hills and grey plains bring to the memory the vistas of ,castile4 ,the melancholy of the sky--pierced by the severe lines of innumerable towers and bounded by the austere distant rock--remind us that here the sun has not the same suggested warmth that supplied the rays for ,murillo's brush2 that this is not the land of fancy but the land of genius1 cold as the snow of the ,moncayo1 that adds beauty to the beautiful plants which produce not sweet odours but healing balsams4 ,thanks to the friendly offices of ,father ,salvador1 ,goya was admitted to the studio of ,jos ,luzn y ,martinez1 whose religious and historical pictures bear evidence of soft fresh colouring4 ,he attended1 too1 the school founded in #agad by the sculptor ,juan ,ramirez1 a pupil of the well-intentioned ,gregoria de ,mesa4 ,in the studio of ,martinez1 ,goya1 who from the first betrayed his lifelong passion for realism1 worked with untiring ardour1 stimulated1 it may be1 by the industry of his co-pupils1 ,jos ,beratn1 ,tmas ,vallespin1 and the ,huesca jeweller1 ,antonio ,martinez1 who founded1 in ,madrid1 the silversmith's business which still bears his name4 #8,in the schools of ,zaragoza1' says ,c4 ,gasquoine ,hartley1 #8he followed no conventional standards1 and his continuous study was directed to the development of his exuberant individuality4 ,to comprehend the truth1 and afterwards to depict it1 as it pleased his ever-varying fancy1 this was his great aim4 ,his utterance was inevitable and instinctive1 the overflow of his dramatic1 inexhaustible and vivid imagination4' ,goya's exuberant1 passionate temperament betrayed itself in other directions outside his art4 ,he lived1 as he worked1 in a condition of unconventional1 even arrogant independence4 ,many tales of the wild escapades of his youth are told4 ,his revolutionary tendencies embroiled him in frequent altercations2 thrice he is said to have fallen under the ban of the ,inquisition4 ,zaragoza finally grew unsafe for him1 and in #agff he fled to ,madrid4 ,there are no discovered documents relating to his first years in ,madrid1 and his biographers1 for the most part1 preserve a discreet reticence concerning his mode of life in the capital4 ,it is supposed that he copied ,velazquez1 and the pictures at the ,casa de ,campo1 the seat of the ,duque de ,arcos4 ,it has even been surmised that1 through his friendship with ,bayeu1 he had the entre to the royal palaces of ,la ,zarzuela1 ,aranjuez1 and the ,escorial4 ,other writers favour the idea that he lived the life of a young revolutionary1 and ,richard ,muther1 in his monograph of the painter1 pictures him #8wild and passionate1 an athlete in his physical strength1' being #8everywhere present when dancing or love-making1 scuffling or stabbing1 is going forward4' ,the one outstanding fact1 upon which most biographers are agreed1 is that one morning he was found lying in the streets with a dagger in his back4 ,this occurrence1 supplemented1 it is said1 by his misfortune in again incurring the displeasure of the ,inquisition--some hold that he was placed under police supervision--made him once more seek safety in flight4 ,he had a will to visit ,rome1 but no money to defray his travelling expenses4 ,tradition declares that he joined himself to a company of bull-fighters1 worked his way to the coast as a picador1 and set sail for ,italy4 ,iriarte is the authority for most of the details concerning this period of ,goya's career4 ,french writers declare that the painter remained in ,italy from #agfi to #aggd4 ,there is a full-length likeness of ,pope ,benedict ,,xiv4 still in the ,vatican which is said to have been painted by ,goya in a few hours1 but as that pontiff died in #agef there is much reason to doubt the truth of the legend4 ,the ,conde de la ,viaza in his ,life of ,goya refutes every detail of this story4 ,it is said that while ,goya was in ,italy he secured a prize offered by the ,parma ,academy of ,fine ,arts for a picture of #8,hannibal surveying ,rome from a pinnacle of the ,alps1' but the ,conde maintains that ,goya at this time was in ,spain and that it was in his own country he painted his picture and carried off the second prize4 ,in the ,mercure de ,france of ,january #aggb we read3 #8,le #bg ,juin dernier l',acadmie ,royale des ,beaux ,arts de ,parme tint sa sance publique pour la distribution de ses prix4 ,le sujet de peinture tait3 8,annibal vainqueur du haut des ,alpes jette ses premiers regards sur les campagnes d',italie40444 ,le premier prix de peinture a t accord au tableau qui avait devise3 8,montes fregit aceto10 et qui tait de monsieur ,paul ,borroni etc4 ,le second prix de peinture a t remport par ,m4 ,franois ,goya romain 7sic71 lve de ,m4 ,vajeu1 peintre du roi d',espagne4' ,the following paragraph by ,m4 ,paul ,mantz from the same source is quoted into the ,archives de l'art franais3 #8,l',acadmie a remarqu avec plaisir dans le second tableau un beau maniement de pinceau1 de la chaleur d'expression dans le regard d',annibal et un caractre de grandeur dans l'attitude de ce gnral4 ,si ,m4 ,goya se ft moins cart dans sa composition du sujet du programme1 et s'il et mis plus de vrit dans son coloris1 il aurait balanc les suffrages pour le premier prix4' ,the ,conde de la ,viaza1 ,goya's ,spanish biographer1 maintains that this picture was painted and the prize won before the artist went to ,italy1 and he proves1 by the publication of documents preserved in the ,archives of the ,pilar ,cathedral at ,zaragoza1 that in ,october #agga the painter1 forsaking ,madrid1 was back on the banks of the ,ebro in the enjoyment of an enviable reputation4 ,this is in direct contradiction to the old stories describing a love adventure as the reason for his sudden and hasty departure from ,rome4 ,a mad enterprise which had for its object the rescue of a young maid from a convent ended1 it is said1 in his capture1 and he #8only escaped the gallows by the most reckless and headlong flight4' ,this much we know1 that ,goya was in ,zaragoza in #agga4 ,he returned not as a fugitive and an outlaw1 but as a reputable citizen having the confidence of the ,cathedral authorities1 who commissioned him to paint the quadrangular vault in the ,holy ,chapel4 ,the fresco which he prepared as a proof that #8he was experienced in this kind of painting1' was submitted to the ,building ,committee of the ,cathedral1 on ,november #aa1 #agga1 together with the director's assurance that it had received the approval of experts1 and with ,goya's offer to paint the vault of the small choir for #ae1jjj reals1 he providing the labourers and materials4 ,the ,committee1 having heard this proposition and recognising it as better than that made by ,don ,antonio ,velazquez1 who asked #be1jjj reals for the work1 #8agreed to ,goya's proposition1 but in order to be safe and sure1' it was stipulated that he should make some further studies and submit them to ,madrid for the approval of the ,royal ,academy of ,fine ,arts 7,san ,fernando71 #8which obtained1 the negotiations would be completed and the contract signed4' ,on ,january #bg1 #aggb1 ,goya presented his study to the ,committee1 who having #8already been informed that it was a skilful piece of work in specially good style1' approved it1 and waiving the stipulation that it should be submitted to the ,royal ,academy1 they decided that the artist should forthwith proceed with the work4 ,the documents give no information concerning the progress of the work1 but we learn from a minute in the ,building ,committee's meeting1 held on ,june #a1 #aggb1 that the painting of the choir was nearly finished by that date1 and the scaffolding was about to be taken down4 ,we are without any authentic particulars concerning the next three years of ,goya's life1 but the ,conde de la ,viaza supposes that with the #ae1jjj reals which this work brought him1 he went to ,italy4 ,how he passed his time there cannot be definitely stated1 but many interesting surmises have obtained currency4 ,we are assured by ,mr4 ,muther that for ,goya #8the antique had no more existence than the magnificent art of the cinque-cento3 what attracted him was rather the teeming life of the people4 ,out of the red robes of the priests1 the costumes1 gay with colour1 of the women of ,trastevere1 the merry1 careless freedom of the ,lazzaroni1 he created fragments of life1 rich with all its varied colour4 ,muleteers with their jangling cars1 religious processions and ,carnivale masques1' to say nothing of much #8love-making1 scuffling and stabbing'--these are imagined to be the influences that directed his genius during his stay in ,italy4 ,paul ,lafond 7,goya71 while admitting the legendary element in most of the reported incidents in the life of the painter1 repeats the stories of his ascending to the lantern in the dome of ,st4 ,peter's1 of his making a tour of ,cecilia ,melella's tomb1 walking upright on the narrow ledge of the cornice1 of his amatory escapade at a convent and its resultant flight from ,rome4 ,he also adds that his genre pictures attracted so much attention in ,rome that the ,russian ambassador1 instructed by his sovereign to invite a number of distinguished artists to establish themselves at the ,court at ,st4 ,petersburg1 made ,goya a very tempting offer1 which he refused4 ,on the other hand1 the ,conde de la ,viaza declares that #8he was frequently seen studying the most sublime frescoes in the land1 leaning boldly on the decorations of the architraves or on the most dangerous parts of the cornices'2 that he secured the necessaries of life by the sale of pictures of the customs of his native land2 that he made the acquaintance of ,luis ,david1 for whom he formed a deep and lasting attachment2 and1 finally1 that #8the only recollection he preserved of ,italy in his old age was of his having met there the painter of 8,the ,rape of the ,sabines40' ,the friendship that existed between ,goya and ,david has called attention to the similarities in the temperament and the aims of the two men1 whose work was so widely different4 ,both used their brushes to glorify the throne and received honours from kings2 both sacrificed tradition on the altar of new ideas2 and both lacked the tenderness and the faith necessary in the treatment of religious subjects4 ,david was the friend of ,robespierre and ,saint ,just1 of ,marat and ,buonaparte2 he painted the #8,coronation of the ,hero of the ,pyramids'2 he attended the ,convention and voted for the death of ,louis ,,xvi4 ,goya was the friend of ,godoy and of the ministers of ,joseph ,buonaparte2 he painted the pictures of the ,usurper as well as those of the kings that preceded and followed him2 and he executed #8,the ,disasters of ,war' and #8,the ,caprices4' ,david was ambitious for the aggrandisement of his art1 and ,goya strove to make it worthy of its civilising mission1 but they differed in the means by which they sought to attain their respective ends4 ,david was inspired by the antique1 and produced works which possessed the hardness of statuary as well as its clear-cut accuracy of form1 while ,goya went direct to nature for his inspiration1 and his paintings are the reflections of naked reality4 ,the painter of #8,the ,death of ,socrates' was imbued with the guiding purpose of making his work dignified1 elaborately accurate1 and exclusive1 while the author of the frescoes of ,la ,florida1 drawing inspiration from the customs of the toilers and the dandies alike1 held that #8a picture is finished when its effect is true4' ,david represented man endowed with improbable and unattractive virtues1 ,goya painted man as he was2 ,david idealised the individual form with classic grandeur1 and his austere and solemn compositions1 though based on observation of nature1 were moulded to a fixed external idea2 but ,goya was as faithful to psychologic truth as to anatomy1 and his brush revealed the moral sentiments of mankind and laid bare the passionate and terrible emotions of the human soul4 ,when ,goya returned to ,madrid in #agge ,spanish art was directed by ,mengs and ,tiepolo1 by ,malla and ,francesco ,bayeu4 ,mengs1 the #8reasoning artificer1' who had neglected the world of nature in his servile study of ,raphael and the antique1 was a painter who theorised much and invented little4 ,according to ,richard ,cumberland he was an artist incapable of portraying either life or death2 a painter whose creations neither terrify nor inspire passion or transport2 a timid1 conscientious craftsman with an excellent hand for miniature4 ,yet ,mengs1 the #8,spanish ,david1' as we are told by ,jos de ,madrazo1 was regarded by the youth of his time as #8the regenerator of the antique1' and from the dictatorial chair of pictorial art1 his voice #8was heard like that of an oracle1 not so much by the artistic cohorts of agitated ,germany1 where he received little attention1 as by the peaceful ,italo-,spanish pleiades1 who applauded with enthusiasm the exhumation of the ,hellenic form from among the ruins of ,herculaneum and ,pompeii1 because it was the fashion1 and without comprehending the reach of that fortuitous event4' ,in the fantastic1 beautiful1 but slightly handled compositions of ,battista ,tiepolo we have the reaction against this form of classicism4 ,the ,venetian possessed a fertile and brilliant fancy1 his execution was free and daring1 if at times careless1 and1 in addition1 he had a wide knowledge of the resources of his art4 ,his decorations in the new palace at ,madrid were #8extolled to the skies of a generation that had forgotten ,velazquez4' ,tiepolo got his effects rapidly2 ,mengs was laborious to a fault1 but his work was probably a better guide for second-rate painters1 themselves poorly equipped in knowledge1 than the clearly 7though incorrectly7 drawn compositions of his ,venetian contemporary4 ,as director of the ,acadmia de ,san ,fernando1 ,mengs suggested several new laws for the government of the students and certain alterations in the methods of study4 ,these were at first adopted1 but in carrying them into effect the director seems to have met with opposition and involved himself in quarrels1 which #8did little credit to the wisdom of his fellow-directors1 or to his own temper and tact4' ,as a result of these dissensions ,mengs failed to accomplish all his reforms1 but he secured several important changes in the ,academy4 ,it was due to his efforts that plaster casts were taken of the statues discovered at ,herculaneum4 ,charles ,,iii4 dowered the institution with a rich collection of marbles and bronzes which had been presented to his ,majesty by ,mengs1 and he supplemented this gift with a large number of statues and busts from the ,museum of ,cristina of ,sweden1 and with pictures from the royal galleries and from the suppressed houses of the ,jesuits4 ,the sovereign also formed a library for the ,academy1 opened a school of perspective 7,royal ,decree of ,august #ai1 #agff71 and commissioned the surgeon ,augustin ,navarro to instruct the students in the science of nature and the human form4 ,in his efforts on behalf of the ,academy1 ,mengs had the loyal assistance of ,francisco ,bayeu and ,mariano ,malla4 ,the latter's pictures are deficient in invention1 in vigour of execution1 and in variety2 indeed his cold pearl-coloured creations have nothing to compensate their feeble and unimpressive handling and colour4 ,bayeu was gifted with peculiar intelligence and as an artist displayed fertility1 capacity in composing a picture1 and a skilful touch1 but his designs lack vigour and delicacy1 and his colour is disagreeable4 ,when ,goya reappeared in ,madrid in #agge1 ,mengs was dictator of art1 and ,bayeu was the ,court painter4 ,goya's art owed nothing to contemporary influence or example1 but to these two officials he was indebted for employment and for his wife4 ,the young ,aragonese knew nothing of the bitterness of long apprenticeship2 his rise in the esteem of the art world of ,madrid was rapid4 ,this1 in a measure1 was due to his genius1 but his worldly prospects were assisted by his marriage to ,josefa ,bayeu1 the sister of the ,court painter1 and by the influence of ,mengs1 which secured for him a commission to execute a series of designs for the tapestries woven at the ,fbrica de ,tapices de ,santa ,brbara4 ,this first series were designed for the decoration of the dining-room and bed-chamber of the ,prince of the ,asturias in the ,palace of ,el ,pardo4 ,goya delivered the first picture on ,october #ca1 #aggf2 on ,january #bf1 #aggh1 the tenth and last cartoon was delivered4 ,between #aggf and #agia ,goya executed the forty-six tapestry cartoons which now hang in the ,prado1 and he repainted many of his designs on a smaller scale for the ,countess of ,benavente at the ,alameda4 ,as late as #ahjb the ,santa ,brbara factory wove tapestries from ,goya's pictures1 and up to #ahcb some of the more favoured designs had been reproduced four times4 ,isabella ,,ii4 presented some of these fabrics to ,king ,leopold of ,belgium1 but the greater number adorn the royal palaces of ,madrid1 ,el ,pardo1 and the ,escorial4 ,the designs for tapestries which ,goya composed during this period of over twenty-five years form a large part of the painter's artistic output4 ,it has been said that these early designs do not exhibit any of the painter's predominant characteristics1 and that they reveal crudeness and uncertainty4 ,it is probable that ,goya approached the task1 in the first place1 with very little knowledge of either the industry or the style of design required from him4 ,mr4 ,rothenstein remarks that the models in the ,prado are painted #8in so crude a key1 and with so little regard for harmony of colouring1 that their merit is apt to escape the attention of many students1' while the strong reds and yellows ,goya employs in them have prompted ,mr4 ,muther to compare them unfavourably with the #8tender delicate colouring' of ,watteau and ,lancret4 ,certainly ,goya's designs are unequal in merit4 ,it must be remembered1 too1 that often he had not the good fortune of being reproduced faithfully2 while other artists employed by the factory gained much by reproduction1 his work almost invariably suffered in the process4 ,the officials at the factory objected to the elaborate and delicate work which ,goya submitted1 and a beautiful model 7#8,the ,blind ,man playing the ,guitar'7 was returned to him on the ground that it could not be successfully transferred to the threads of the warp4 ,goya corrected his design by exaggerating all the tints and he accentuated the figures by enclosing them in white outlines4 ,this fact suggests one reason why ,goya's enthusiasm in the employment speedily grew cool4 ,we learn from the ,palace archives that the officials1 who were more concerned with the commercial than the artistic side of the manufacture1 declared that ,goya's figures were #8dandies and girls with so much decoration of coifs1 ribbons1 fal-lals1 gauzes1 etc41 that much time and patience is wasted on them1 and the work is unproductive4' ,they contrived to remedy this defect by covering his figures with paintings of trees or clouds or anything else that made the tapestry easier and cheaper to produce1 and this treatment was not calculated to make ,goya more careful in the finish of his designs4 ,it therefore follows of necessity that only occasionally among his later cartoons can one be found to compare with those in the first series1 such1 for instance1 as #8,the ,picnic on the ,banks of the ,manzanares' and #8,the ,dance at ,san ,antonio de la ,florida1' or indeed with any of the earlier designs1 which were all remarkable for the vigour and animation of the scenes1 the delicacy of colouring 7despite an occasional surfeit of sienna and red ochre71 the strength and freedom of the drawing1 and the genius for natural and effective grouping in the composition of the pictures4 ,goya would appear in these works to be carried away by his imagination1 and he has presented to us a masterly panorama of all that is brightest and most joyous in the national customs--a panorama that pulsates with life1 bubbles over with spontaneous merriment1 and fascinates with its irresistible gaiety4 ,we seem to hear the bells of the pony chaise and the pleasant jokes of the wenches at the ftes on the banks of the ,manzanares2 the farces of ,ramn de la ,cruz are translated into the language of colour4 ,and the pictures with children--happy1 roguish youngsters--reveal not only marvellous skill1 but a sympathy with the poetry and charm of childhood that has not been surpassed4 ,zapater tells us that ,goya was often seen surrounded by children in his house by the ,manzanares1 and his whole-hearted love of childish grace and innocence is manifested in these studies4 ,among his later work as a designer of tapestry one of the best examples is #8,the ,earthenware ,stall1' which in its delicacy of colouring1 its skilful arrangement of transparent draperies1 and its brilliant lighting1 is comparable with #8,the ,village ,wedding1' which ,cruzada declares to be the most graceful composition of the whole collection4 ,here the story is told with supreme humour4 ,the stupid and happy youth in his finest attire walks beside his fresh-coloured bride who is bedecked with finery and ribbons1 a priest and the parents and friends of the young couple accompany them1 and the village piper marches in front surrounded by a crowd of singing1 shouting1 dancing children4 ,in beauty of colouring this design is the equal of the handsome1 graceful figures in #8,the ,water-,girls1' and in its mirthfulness and realism it is a companion to his illustration of #8,blind ,man's ,buff1' which overflows with irrepressible merriment4 ,another notable design which is also the largest that ,goya painted1 is #8,el ,agosto1' a striking piece of work4 #8,on contemplating this picture1' writes the ,conde de la ,viaza--who declares that it entitles ,goya to be known as the ,theocritus1 the ,virgil1 and the ,garcilaso of painting--#8the sun seems to burn and asphyxiate with its fire1 the reapers appear to be dazed with wine1 and we seem to hear the chirping of a cricket hidden in the sheaves4 ,of the children crying and playing on the hills of straw1 some appear to be the children of ,van ,dyck1 and others the work of the expressive hand that created the weeping ,ganymede4' ,the forty-six cartoons mentioned in the ,prado catalogue--of which thirty-three are reproduced at the end of this volume--are now contained in the ,goya ,room of the ,madrid ,gallery4 ,during the reign of ,isabella ,,ii41 ,frederico de ,madrazo1 the director of the ,royal ,gallery1 repeatedly importuned the administrators of the ,royal ,patrimony to exhume the ,goya designs from the cellars of the ,tapestry offices to which they had been consigned1 and to have them restored and housed in the ,royal ,museum4 ,this request1 however1 was not conceded1 and it remained for ,gregorio ,cruzada ,villaamil to rescue them from the oblivion into which they had fallen4 ,he succeeded in having the cartoons placed at the disposal of the ,escorial ,tapestry ,museum ,commission1 and after being restored they were sent to the ,prado4 ,unfortunately the works are difficult to restore and quickly deteriorate2 for it was ,goya's practice to sketch his pictures with extraordinary rapidity1 to surround the whole with carbon1 and then trace his figures with the aid of aqua rs4 ,many of the studies in the ,prado are covered with glass in order to preserve from total loss the canvases on which scarcely any oil has been used beyond that contained in the colours4 ,during these first years of his material prosperity ,goya varied his work for the tapestry factory by producing genre paintings and a few portraits4 ,he also began at this time to exercise his extraordinary powers as an engraver4 ,as an exponent of genre he was unsurpassed1 as a portraitist he was excelled by ,velazquez alone1 but his genius is more certainly demonstrated in his aquafortis work than in either his genre studies1 his frescoes1 or his portraits4 #8,goya was pre-eminently fitted1 both by his environment and by his nature1' writes ,c4 ,gasquoine ,hartley1 #8to be the exponent of genre4' ,the truth of this dictum is patent to all who study his canvases of this period4 ,the customs that he depicted were the customs that he loved2 the subjects1 the people1 and the passions represented are always real4 ,he reveals both imagination and invention in the grouping and arrangement of the scenes4 ,the vigour and boldness of his manner is revealed in the success with which he seizes1 as with a camera1 the fleeting movement--the unfinished smile1 the arrested gesture--and seals it upon his canvas4 ,his scenes of carnival and of merry-makings1 his representations of bull-fights1 and his sidelights on the ,inquisition1 are living phases of the life which surrounded him and in which he found his pleasure and his inspiration4 ,the spirit of ,goya is in all these pictures4 ,his dramatic temperament1 his fierce humour1 and his imagination found their outlet in the life of the period and expressed itself in these paintings in which that life is immortalised4 ,in all that he painted ,goya never lost sight of1 if he did not always attain1 his object of securing absolute truth of effect4 ,whether he is employed on a portrait1 a representation of romance or diablerie1 or a religious fresco1 he is true to the principle explained in his own remark that #8a picture is finished when its effect is true4' ,and the truth of #8his flashes of insight imprisoned in line and paint1' give his work a sense of modernity which is seen in the pictures of few other artists4 ,m4 ,paul ,lefond declares3 #8,more than any other painter of past periods he is made to be understood in our day4 ,something more and something better than a modern1 the ,aragon painter still remains a forerunner2 he is still almost a contemporary of the generation to come4 ,his manner of translating and interpreting nature is absolutely modern4 ,he renders it as he sees it1 with the comprehension of an artist of our time1 daring and independent4 ,he is more than a hundred years in advance of his century4 ,his manner of portrait-painting is completely outside all theory of teaching2 his fashion of treating frescoes is an extraordinary audacity4 ,he has in his whole existence1 without truce or compromise1 been pursued by this idea of arriving at the true expression of life4' ,it has been claimed for ,goya that his genius was arrogantly unsubjective2 that he had no master and was contemptuous of all rules4 ,originality and independence could go no further1 and it may be admitted that he was intolerant of outside influence4 ,but the spark of genius must be fanned into flame by the magnetic influence of example1 and while ,goya studied nature with a passionate and jealous devotion1 he glories in the debt he owes to ,rembrandt and ,velazquez4 #8,i have had three masters1' he wrote to a literary friend1 #8,nature1 ,velazquez1 and ,rembrandt4' ,some have tried to recognise in him a disciple of ,tiepolo1 and his study of the aquafortis engravings of the ,venetian may well have suggested his adoption of that so long neglected method of engraving1 but as we should expect1 he preserved an independent attitude of mind and developed a manner quite different from that of ,tiepolo4 ,there is no evidence1 in his engravings1 of any admiration for ,tiepolo's style1 but his admiration of ,rembrandt was as sincere as was his devotion to ,velazquez4 ,gautier finds that ,goya's work reminds one of ,velazquez and ,rembrandt1 #8as a son reminds you of his ancestors1 without any servile imitation--or rather1 more by certain congeniality of taste than by any formal wish4' #8,goya's love for the old masters1' says ,lafond1 #8is the best proof one can give of his sincerity4 ,he did not think of inventing new processes2 conscious that the same language is capable of a variety of expressions1 he was content to master the technique of the past and to borrow from it all that best suited his individuality4' ,but what he borrowed he moulded and modified to suit his own purposes2 translating it into a language which was his own and in the process enlarging it with new and further life4 ,in #aggi ,goya presented to the ,king his plates after the pictures of ,velazquez4 ,this series1 which consisted of the portraits of ,philip ,,iii41 ,philip ,,iv41 ,margaret of ,austria1 ,isabella of ,bourbon1 ,prince ,baltasar ,carlos1 the ,count-,duke of ,olivarez1 and other etchings1 are faithful though not inspired copies of the master4 ,goya wrote to ,zapater that he had had the honour of being received by his ,majesty and family when he submitted the plates for their inspection1 and he adds1 #8,i could not have wished them to be more pleased than they showed themselves to be on seeing them4' ,herr ,valerian von ,loga1 who has an intimate acquaintance with and profound knowledge of ,goya's etchings and lithographs1 has just published in ,berlin a series of thirty-two reproductions of the rarest examples of the painter's work in these media4 ,the explanatory notes which accompany the plates are of great interest both to the student and the collector4 ,this writer assumes that ,jos del ,castillo1 who worked with ,goya for the tapestry factory of ,santa ,brbara1 urged him to devote some of his restless activity to the etching needle4 ,he holds that in his earlier attempts1 and particularly in #8,the ,flight into ,egypt1' the technique reminds one of ,tiepolo4 ,this etching is the work of an apprentice hand1 and while it is not devoid of charm1 it runs on bad lines4 ,goya's acquaintance with the fundamental rules of etching was so imperfect that1 in the first prints of his #8,st4 ,francisco de ,paula1' the inscription ,c4 ,a4 ,r4 ,j4 appears turned the wrong way4 ,it is the opinion of ,herr ,valerian von ,loga that in almost all the plates executed at this period there is a certain emptiness and unsteadiness of drawing1 while the unsuccessful handling of light and shade betrays the work of the beginner1 but #8what is new and original1 and above all1 characteristic of ,goya1 is the manner in which the whole is worked out according to the painter's mode of working4 ,we see the artist taking pains1 not to give form to the things themselves1 but to their appearance4 ,on this account outlines are omitted and contours left open1 and there are no regularly-growing1 flowing lines1 while parallel and crossing strokes are rare4 ,the dark surfaces are composed of a great number of short1 chopped-off strokes2 the entire workmanship is nervous and undecided4 ,it is clear here that the ability of the artist was far behind the good-will1 and at times too his inspiration was insufficient4' ,in his copies of ,velazquez ,goya appears to have been the first to introduce into ,spain ,le ,prince's ten-year-old process of aquatinta1 a process which in later times he developed to the highest perfection4 ,in #aggi he brought out an etching from one of his own designs for the tapestry factory4 ,his work so pleased the ,prince of the ,asturias1 for whom it was executed1 that the painter is credited with an intention of publishing all his ,santa ,brbara pictures as etchings4 ,but his growing popularity as a portrait painter now claimed his activities for more remunerative work1 and for more than ten years he laid aside the etching needle in favour of the brush4 ,we learn from a memorial preserved in the ,palace ,archives that the graciousness of his reception1 the success of his tapestry designs1 and the admiration that ,charles ,,iii4 had expressed for his two religious studies of #8,christ ,crucified' and of #8,st4 ,francis1' emboldened the artist to proffer himself for the position of ,court ,painter4 ,this honour was denied1 but he was elected a member of the ,acadmia de ,san ,fernando4 ,on ,january #bd1 #agha1 ,goya left ,madrid for ,zaragoza to assist in the redecoration of the ,church del ,pilar under the direction of his brother-in-law1 ,francisco ,bayeu4 ,the dissensions which arose out of this commission between ,bayeu and ,goya1 and between ,goya and the ,building ,committee1 were bitter and prolonged4 ,it is not likely that the biographers of ,goya1 without the facts of the dispute to guide them to a correct conclusion1 would display much sympathy with a conventional1 mediocre painter like ,bayeu1 or so nebulous a body as an archbishop's chapter1 and ,zapater and ,cruzada have revealed their hero in the light of a persecuted1 long-suffering martyr4 ,the vanity and envy of ,bayeu and the wilful obstinacy of the ,building ,committee in their support of the older artist they hold to have been at the bottom of the matter4 ,but the ,conde de la ,viaza has exhumed the hard facts in the archives of the ,pilar ,cathedral1 and from these it is now clear that the indomitable independence of ,goya's nature and his impetuous intolerance of all restriction have not been taken sufficiently into account by his biographers4 ,from the documents which ,viaza has brought to light we learn that the frescoes which ,bayeu completed in the ,pilar ,church1 in #aggf1 gave so much satisfaction to the authorities that they agreed to the artist's terms for painting the round vaults and cupolas of the church4 ,four years later1 when the ,building ,committee were getting impatient for the work to be put in hand1 they granted ,bayeu permission to engage his brother ,ramon and his brother-in-law ,goya to assist in the execution of the designs which he had already prepared4 ,on ,october #e1 #aghj1 ,ramon ,bayeu and ,goya presented these designs for the vaults4 ,the ,committee found that they were #8inspired by the greatest taste' and decided to proceed at once with the work4 ,it may be assumed that ,francisco ,bayeu arrived shortly after to supervise the operations of his assistants1 and it was not long before the disagreements between ,goya and his brother-in-law commenced4 ,on ,december #ad ,bayeu complained that ,goya would not be subject to correction in the manner of his painting1 and he asked the ,committee that he might be relieved of his responsibility in the direction of the work1 in so far as ,goya was concerned4 ,we read that #8the ,committee1 taking into account that ,goya had come to paint1 owing in a great measure to the pressure and eulogy of ,bayeu in his letters1 agreed that the ,building ,director 7,canon ,allu7 should see ,goya and his painting frequently1 and mention any defects he might notice and impress upon him how grateful he ought to be for the good offices of ,d4 ,francisco ,bayeu in engaging him as his assistant4' ,although it is evident that ,goya was already in revolt against the supervision which he had accepted as a condition of his employment1 the trouble was temporarily overborne4 ,from this we may conclude that the good ,allu did not insist too much upon the gratitude which ,goya owed to his brother-in-law4 ,by ,february ,goya had completed the painting of the dome1 and he then submitted his studies for the four triangles formed by the arches supporting it4 ,it would appear that the public had expressed their dissatisfaction with ,goya's compositions in the dome1 and the ,committee complained that not only were these new designs marked by similar defects of #8drapery1 colouring1 and idea1' but one of the figures represented came short of the standard of chastity that was required in pictures of this kind4 ,the ,committee1 #8fearing to expose themselves to fresh censure and an accusation of negligence and want of care1 put this matter1 by reason of the confidence he had won from the ,committee and from the whole chapter1 under the direction and in the hands of ,d4 ,francisco ,bayeu1 hoping that he will take the trouble to see these studies and say whether the observations of the ,committee are just in deciding that the triangles be painted in such a way that they may be shown to the public without fear of criticism4' ,but when this resolution of the ,committee was communicated to ,bayeu1 he retaliated with a tirade upon his offended dignity1 and we find ,allu appealing to ,goya to #8see if there be any way of arranging the matter1 knowing that the ,committee desire harmony1 and do not wish to expose their conduct to censure1 but desire only that the work be skilful and perfect4' ,to this appeal ,goya returned what we may describe as a characteristic letter4 ,this epistle has been published in ,spain1 but no translation has hitherto appeared in ,england4 ,the letter is as follows3-- ,,memorial ,,of ,,goya ,,to ,,the ,,building ,,committee4 ,d4 ,francisco de ,goya1 ,member of the ,royal ,academy of ,san ,fernando1 respectfully shows3 ,that after having put the works of his profession before the public1 namely1 the paintings just unveiled at the ,church of ,our ,lady of ,pilar1 his attention had been called to the opinions he hears expressed1 containing a criticism prompted by a principle other than that of justice1 or governed by the authorised rules of art1 which only should form the opinion regarding the work2 and although he cannot believe that ill-meant prejudice has gained access to your rectitude1 or that you could be led away by impulses little in accord with reason2 yet the honour of a professor is a very delicate thing2 opinion is what sustains him1 all his subsistence depends on his reputation1 and when that is obscured by even a light shadow1 his fortune is gone2 therefore ,nature warns him to take care of it by using all the defences within his reach1 and to omit the least would be to gain a slight advantage by abandoning the greatest treasure the ,creator had entrusted to him4 ,these principles1 accompanied by a sense of wounded honour1 the expositor hopes his explanation will make evident to your benignity4 ,d4 ,francisco ,bayeu asked that the work in the domes might be done by his brother and the expositor1 but it was on the understanding that the latter should do one of the parts by himself1 as ,bayeu himself agreed1 considering that the degree of an honoured member of the ,san ,fernando ,academy1 acquired by the work which had won great renown for him in ,madrid1 in addition to the work for ,h4,m41 would not admit of his absolute subordination to another professor without detriment to his honour4 ,the expositor might be wrong in this1 but his error would have the approbation of ,d4 ,francisco ,bayeu himself1 who agreed to it1 and was a trustworthy witness of the success that might be expected2 and also that of the chief ,presbyter ,allu1 to whom through some people in the city he had manifested the same opinion1 to which he agreed4 ,the expositor feeling sure of said promises1 with all good faith in them1 proceeded with the ,study or ,design1 and as he wished to be on good terms with ,d4 ,francisco ,bayeu he took it to him1 and received his entire approval3 he came with him to this city3 he began his work by consulting him regarding the place where the principal faade should be put2 the expositor gave way to ,bayeu's opinion4 ,he presented the design to you1 who approved them2 and in executing them he has only enlarged them4 ,taking into consideration these harmonious dealings of the supplicant with ,d4 ,francisco ,bayeu1 which created no motive for resentment1 and were governed by the principles and rules prescribed in the first and only conversations regarding the matter1 who could think that the expositor had been wanting in respect to ,bayeu8 ,there are those who think so1 because when the work was well in hand1 they wished to make him understand that the agreement with ,bayeu was that he should interfere as much as he liked with the expositor's work1 and that the latter should obey him as a subordinate in execution1 placing of figures1 style1 colouring1 and so forth2 in a word make him a mere executor and mercenary subordinate2 but as this was in direct opposition to what had been agreed1 it would have been discreditable to his honour to yield1 as he would be losing what his merit had won for him1 and he could not therefore so humiliate himself1 for he knew that the previous offices were sufficient1 and that similar ones if continued would not make them anything but his own production4 ,d4 ,francisco ,bayeu's warning to you that he would not be responsible for his part of the work1 only shows that his object was to create a want of confidence that should cause coercion to be exercised1 which was justly resisted1 for doubt as to skill and success sat ill on ,d4 ,francisco1 who knew quite well of the honours acquired by the expositor in ,madrid1 both from the ,royalties and from all who had seen his productions1 all executed by himself without the slightest direction from any one4 ,after this1 things were artfully circulated against the conduct of the expositor1 concerning his temper1 proceedings and dealings with ,bayeu1 he being accused of hauteur1 pride and stubbornness4 ,thereafter malice prepared the blow1 long premeditated1 of first creating personal disaffection1 and then disaffection with his work2 as shown by the reception of his work in the dome of the ,cathedral of ,our ,lady4 ,the criticism passed by some persons can only be attributed to this1 because all its merit is unobserved and only the defects suggested by caprice or ignorance are sought4 ,he has suffered with resignation the insults to his honour1 he has had the patience to see that the same ,bayeu who impaired his credit with insinuating words1 and the deceitful complaint that he was responsible for the success of the work1 and that he would have to give an account of the confidence placed in him1 and that the supplicant was depriving him of this satisfaction because he would not allow him to correct or alter his productions2 on other occasions defended the expositor1 exalting his merit1 acknowledging his skill and the correctness of his painting4 ,the insinuations of ,bayeu have led to the conclusion that the expositor came to this city as a mere subordinate of his1 and that notwithstanding this absolute dependence1 his proud spirit would not submit to asking for instructions from ,d4 ,francisco1 even on the ground of friendship and relationship4 ,two entirely false propositions1 which are the cause of all the supplicant's trouble1 because regarding the first he has already told you about the agreements that preceded his coming to ,zaragoza1 and regarding this and the second1 ,d4 ,francisco ,bayeu cannot deny that1 as the result of those agreements1 the expositor executed the studies and designs in ,madrid1 showed them to him1 received his approval1 and no fault was found4 ,the studies are the complete work1 with the same figures1 colouring and arrangement to be observed1 and the work itself an entire copy of them2 and if they passed his examination in ,madrid as an act of condescension on the part of the supplicant1 emanating from his desire for peace1 why1 if as he says he was responsible1 did he not then point out the defects he might have noted8 ,he did not do so2 then what is to be inferred from his having concealed them1 if he noticed them8 ,obviously1 and no dissimulating artifice can hide this1 it may be gathered that his object was for the expositor to be in error1 receive indignant public censure1 and lose all the merit and status won by his work4 ,but not wishing to believe such malevolence1 because other proofs would be required of it1 it must be admitted either that he found no defects in the studies or designs1 and therefore the painting on the dome1 which is the same1 has none1 or that ,d4 ,francisco was most culpable who1 knowing of them1 said nothing and allowed them to be copied4 ,the expositor has never departed from that friendly subordination1 nor attempted to oppose ,d4 ,francisco ,bayeu with the proud spirit of which he is accused2 a proof of this is what has been said about the designs2 another1 the placing of the principal faade2 and1 lastly1 the many visits he paid him at his own house1 even though they were not returned4 ,on being informed that the ,chapter wished ,bayeu to inspect the work on the dome1 he arranged for him to do so1 which he did1 accompanied by the chief ,presbyter ,allu1 and in his presence admitted and acknowledged the perfection of the work1 saying that what he had been informed was not true2 he also saw the designs for the triangles1 and approved of them4 ,in face of all this1 the expositor finds that the same bitter opposition which he had thought would cease1 still continued1 because the sense of truth may be suspended but not extinguished1 but seeing that there is no hope of staying the torrent of provocations that insult his honour and fame1 and that an honoured professor cannot stand for ever against the opposition of his enemies1 whose only object is to work him ill2 notwithstanding that he thought he must finish the work on the triangles1 he has at last been undeceived by the letter which the chief ,presbyter ,allu had just sent to him1 of which he sends you a complete copy4 ,after the calumnies he has had to endure1 the slights and contempt with which he is treated will not permit him to continue to expose himself to some greater misfortune4 ,he now humbly shows1 and at the same time sets forth that he has heard that some figures were to be altered in the dome1 and although the expositor cannot be sure that you will allow yourselves to be guided by the declamatory voice of the ignorant public1 or the opinion of rivals1 the right he has to defend his honour leads him to forestall you4 ,before a daub is put in the ,church that will obscure and deprive it of merit1 and leave a permanent witness of the ignorance which is a reproach3 which is now the only thing in the matter that interests him1 and regarding which he appeals to you--because the will of the owner in his own house does not let go the reins of liberty to such an extent1 merely in order to exercise his authority1 as to permit without cause1 and quite uselessly1 great detriment to another on a point so delicate as honour--the expositor thinks the best way to appease the want of confidence he presumes in others and to assert his own opinion1 is that a person expert in the art1 authorised in his profession1 and whose opinion would be impartial1 should minutely inspect the work1 and when his criticism detects his unskilfulness and error1 or testifies to his sufficiency and skill1 he will watch with indifference any mutilations executed4 ,therefore he humbly begs that you will arrange for the work in the dome to be seen by one of the members of the ,san ,fernando ,academy1 one of the most renowned1 as ,d4 ,mariano ,malla or ,d4 ,antonio ,velazquez1 at the expense of the expositor1 and after careful inspection his declaration be accepted as testimony4--,zaragoza1 ,march #ag1 #agha4 ,,francisco ,,de ,,goya4 ,upon the receipt of this letter1 which may be left to speak for itself1 the worthy and sorely tried ,allu seems to have invited the mediation of ,father ,salzedo1 who was1 perhaps1 the only man to whom the irascible ,goya might be expected to listen4 ,salzedo wrote the painter a long1 earnest epistle1 in which he appealed to his better judgment and prudence1 cited instances of humility in the life of ,christ for his guidance1 and demonstrated the practical advantages that would be derived from doing his work to the satisfaction of the ,building ,committee4 ,the good father did not hesitate to tell his friend that he had taken up a wrong attitude towards his brother-in-law and the ,cathedral authorities1 and plainly exhorted him #8with all generosity and ,christian charity1 to submit your studies to ,bayeu's opinion1 in order to please ,god by your humility1 edify the public1 and give pleasure to your friends4' ,and he adds in conclusion3 #8,my dictum1 as your greatest admirer1 is that you submit to the demands of the ,committee1 have your studies taken to your brother's house1 and say to him in the best manner possible3 ,this is required by the ,chapter--here they are2 examine them to your satisfaction1 and put your opinion in writing1 doing this as ,god and your conscience shall dictate1 etc4 ,and then await the result4' ,the foregoing letter was dated ,march #cj1 #agha4 ,on ,april #f1 ,goya wrote a conciliatory note to ,allu1 promising to make fresh studies in consultation with ,bayeu4 ,eleven days later the ,committee approved the new designs and expressed their pleasure at finding him reconciled to his brother-in-law4 ,but the truce1 for such one supposes it to have been1 did not last4 ,from a minute in the report of the ,building ,committee's proceedings on ,may #bh1 it is recorded that ,goya1 in a #8not very courteous' manner1 had told ,allu that he was only losing his reputation in ,zaragoza and desired permission to return to ,madrid as soon as possible3 #8,the ,committee resenting this further affront1 resolved3 ,first1 that the ,professor be paid for his painting4 ,second1 that under no circumstances would he be permitted to continue to paint any more in this ,church1 but that this need not deter the ,director from giving some medals to his wife1 in virtue of her being the sister of ,d4 ,francisco ,bayeu1 who was so worthy of this and other considerations from the ,committee1 by reason of his skilful work in this church4' ,the source of the trouble was the failure of the ,committee to accept ,goya at his own estimate1 which was certainly the true one1 as the superior of ,bayeu4 ,the young painter doubtless did his best to follow the advice of ,father ,salzedo1 but he wore the robes of humility with a bad grace1 and was impatient of ignorant and pedantic criticism4 ,his position had become untenable4 ,the painter received his payment1 his wife accepted her medals1 and they left ,zaragoza for ,madrid in ,june #agha4 ,goya was indulging no empty boast when he intimated1 in his memorial to the ,building ,committee1 that his renown in ,madrid was widely acknowledged4 ,he was no sooner back in the capital than the ,conde de ,florida ,blanca sent him a royal order to paint one of the pictures for the ,church of ,san ,francisco el ,grande4 ,the favoured minister also presented him to the ,infante don ,luis1 the brother of the ,king and husband of ,maria ,teresa ,vallabriga1 who at once conceived a great liking for the painter4 ,he spent a month at the palace of ,arenas de ,san ,pedro1 and was entertained with great hospitality1 while he executed portraits of the ,infante's family4 ,he also painted for the ,consejo de las ,ordenes several devotional pictures for the ,calatrava ,college at the ,salamanca ,university4 ,in his leisure hours he worked at his picture in the ,church of ,st4 ,francis4 ,this work was not completed until ,november #aghd4 ,the pictures were ceremoniously unveiled on the #hth of ,december1 in the presence of the ,king and his court4 ,the occasion was a triumph for ,goya4 ,other pictures had been painted by ,bayeu1 ,mariano ,malla1 ,gregorio ,farro1 ,antonio ,velazquez1 ,joseph del ,castillo1 and ,andres ,calleja4 ,but their work was eclipsed by the composition in which the magic brush of the ,aragonese represented ,san ,bernardino de ,siena4 ,the saint is shown with a crucifix in his hand1 standing on a rock1 preaching1 by the light of a brilliant star1 to the wonder-filled ,king ,alfonso of ,aragon and his court4 ,great was the admiration which this picture won for the artist1 but1 as was usual in ,spain1 he experienced much difficulty in obtaining payment for his work4 ,in ,april #aghe we find ,goya1 ,farro1 and ,castillo memorialising the ,conde de ,florida ,blanca for pecuniary acknowledgment of their labours1 explaining that they had each spent two years in making sketches and studies and in the execution of their several pictures1 and pointing out that they are obliged to gain their livelihood with their work and #8have no income or assistance1 like others who have the good fortune to serve his ,majesty4' ,this memorial was despatched with a covering letter from ,antonio ,ponz1 who emphasises the fact that the painters are in need1 and hopes that their request will be complied with1 #8in order that these poor men may not lose heart and that reward shall hearten them to fresh work4' ,three months late ,florida ,blanca arranged with the general directors at the post-office to hand the artists #8six thousand reals for the present until something else is arranged4' ,this payment is duly noted on the memorial1 and a later marginal order1 presumably in the ,count's handwriting1 reads3 #8,pay another #djjj reals to each1 although the pictures are nothing wonderful1 but theirs are the best4' ,this grudging eulogy was in striking contrast with the enthusiastic praise bestowed upon ,goya's pictures for the ,salamanca ,college by the ,consejo de las ,ordenes1 who instructed ,jove-,llanos to assure the artist that he was #8singularly satisfied with the care and diligence with which he had finished the paintings and with their eminent merit4' ,in the year of his return to ,madrid ,goya's father died1 and the painter sent for his mother and his brother ,camilo to join him4 ,he obtained for ,camilo a chaplainship at ,chinchn1 but his mother soon wearied of the unaccustomed noise and bustle of the city and retired to ,zaragoza1 where she lived on a pension of five reals per diem provided by ,goya4 ,the artist at this time may have found some difficulty in providing for his household2 for his family1 if not long-lived1 was numerous1 but it is unlikely that he ever felt the pinch of poverty4 ,we can well believe that he was insistent in obtaining the reward of his labours1 especially when he was working for princes who1 in his view1 were living a life of gilded pauperism1 and the stress which ,ponz lays upon the needs of these #8poor men' is far removed from the attitude assumed by ,goya4 ,in the letter1 in which he applies for payment1 he does not plead for a dole in relief of his poverty1 but demands the remuneration which is justly due to him4 ,this is the only recorded instance of his being in financial straits4 ,from this time his career is one of eventful and interrupted but assured success4 ,fame and fortune attended him on either hand4 ,in #aghe ,andreas ,calleja died1 and ,goya succeeded him as deputy director of the ,academy of ,san ,fernando1 with an annual salary of twenty-five doubloons4 ,four years later1 on the death of ,cornelio van der ,goten1 ,charles ,,iv41 who had just succeeded his father ,charles ,,iii41 appointed him a ,painter of the ,chamber1 with a salary of #ae1jjj reals1 which was increased in #agii to #ej1jjj reals a year1 with the rank of first painter to the ,king4 ,in this period of his greatest prosperity1 ,goya was courted not only for the sake of his art1 but also for his personal qualities4 ,he was popular with men1 while women eagerly contended for his favour4 ,a revolutionary1 he became the friend of the ,king1 while the ,queen and the ,countess of ,benavente delighted in his companionship4 ,he went from palace to palace and from fte to fte1 observing1 working1 studying1 revelling in the life by which he was surrounded and in which he played a full part4 ,this lover of freedom could breathe in an atmosphere of corruption2 this son of the soil could play the courtier with a will4 #8,if we are to understand his genius rightly1' says ,c4 ,gasquoine ,hartley1 in ,a ,record of ,spanish ,painting1 #8all contradictions are solved when we realise that he was an onlooker at1 rather than an operator in1 many incidents of his life4' ,this half-hearted attempt to condone the irregularity of his life at this period is at variance both with what we know of ,goya's temperament and with the facts4 ,he was an actor as well as an interpreter of the scenes which he represents1 and many of his pictures1 which are regarded as biting satires of the follies and vice of his age1 are quite as plausibly explained as the expression of personal animus and party feeling4 ,certain people have discovered in ,goya a moralist after the style of ,hogarth1 using his brush in the sacred cause of morality1 to expose the vices of his time1 laying bare the baseness of his contemporaries in order to inspire contempt and horror of their conduct1 stigmatising the habits of the court of ,charles ,,iv41 and castigating the hypocrisy1 ignorance1 and immodesty of the men and women who surrounded the royal family4 ,but while in the later works of his mature age he employed his brush and needle to this purpose1 it is more probable1 as ,lafond concludes1 that under ,charles ,,iv4 and ,maria ,luisa1 ,goya drew and engraved1 as ,la ,fontaine wrote his fables3 for the pleasure of producing them1 from the necessity of multiplying them1 not troubling himself about questions of morality or of the lessons which his pictures should teach4 #8,the truth is1' says his ,french biographer1 #8that1 mixed up in the intrigues of the ,court and involved in personal quarrels1 he takes the part now of one1 now of another1 using his pen to scratch his adversaries of to-day who are his allies to-morrow4' ,in all his works he imbued the subject with the quality of his thought as well as with the charm of his colour and the skill of his draughtmanship4 ,of all the artists of his class1 says the ,boletin de la ,sociedad ,espaola de ,excursiones1 none put into their studies more meaning and personal opinion4 ,if he painted a scene he attached to it a proverb or a significant ejaculation2 if he produced a portrait he left upon the likeness his opinion of his model2 if in many cases it amounted to a positive caricature1 he could no more help seeing his subject in that guise than his subject could avoid so appearing to the artist4 ,with regard to ,goya's personal life at this period it is not necessary to say much1 but it would seem to have been consistent with our knowledge of him and of his surroundings4 ,lafond reminds us that his wife bore him twenty children and continued to love him in spite of his endless infidelities4 ,mr4 ,rotherstein declares that while it would be idle to pretend that he was faithful to his wife1 it is undeniable that he was deeply attached to her during her lifetime4 ,with the single exception of his devotion to the unfortunate ,duchess of ,alba1 says the same writer1 his intrigues seem to have been as much caprices on the part of his sitters as his own4 ,but these caprices were1 as it has been said1 endless4 #8,we have only to look at the master's self-portrait1' writes ,richard ,muther1 #8at this man with the bull-neck and full1 sensual lips1 to understand that the countless stories which got about on the subject of his relations with the women of high society in ,madrid were not all inventions of the fancy4 ,goya must have been a terror to all their husbands4 ,in all the most aristocratic salons the women were at his feet2 and perhaps they appreciated the difference between this sturdy man of the people and their decadent lords and masters4 ,in a word1 ,goya at this time not only painted ,rococo1 but lived himself to its full the wild passionate life of that ,rococo period4' ,and again1 in the ,boletin de la ,sociedad ,espaola de ,excursiones1 we get the shrewd and common-sense conclusion that #8,goya was a man of his age4 ,he neither aspired to the category of an ascetic nor opposed the customs and tendencies of his time1 and his age being one of transition1 without fixed principles1 he accommodated himself to its duties and its weaknesses1 never for a moment failing in his domestic obligations1 yet not refusing those outside favours that presented themselves to him4' ,it would have been strange indeed if ,goya had resisted the temptations by which he was surrounded2 it is remarkable under the circumstances that he remained unspoiled4 ,the ,king1 as we have seen1 was his friend1 the ,queen confided to him her most delicate secrets1 the all-powerful ,prince de la ,pax made him welcome at ,aranjuez1 and the most distinguished women of the day delighted in entertaining him4 ,writing to his friend ,zapater about his success at this period1 he said3 #8,i had established for myself an enviable mode of life2 ,i no longer danced attendance in an ante-chamber2 if anybody wanted anything of mine he had to come to me4 ,i was much sought after1 but if it was not anybody in a high position1 or to oblige a friend1 ,i worked for none4' ,he was a privileged guest at the palaces of the ,marchioness of ,santa ,cruz and of ,san ,carlos2 ,brunetti and the ,countess of ,benavente fted him4 ,his relations with the beautiful and vivacious ,duchess of ,alba are too well known to call for more than a passing mention4 ,the artist painted at least a dozen portraits of the ,duchess1 in one of which he presents himself in company with his inamorata4 ,he introduced her piquant features into the frescoes of ,san ,antonio de la ,florida4 ,she is the model for the nude and clothed ,maja which hang in the ,prado ,museum4 ,tradition has it that the clothed ,maja was painted to meet the wishes of the ,duke1 who expressed a desire to inspect the master's work4 ,the story is almost comical to any one who has stood in front of the two pictures4 ,nothing but the most conventional views upon the subject of the nude could make the naked study more offensive in the eyes of a husband than the one in which the young woman1 #8naked in spite of her dress1' appears to challenge the continence of all the ,st4 ,anthonys of ,christendom4 ,of these pictures ,mr4 ,charles ,ricketts writes in an illuminating chapter on ,the ,masterpieces of the ,prado3 #8,goya's two pictures are still vivacious and fresh4 ,in 8,la ,maja10 a nude1 he has painted the sensuous waist1 the frail arms1 the dainty head of the ,duchess thrown upon pillows1 contrasting in their gray whiteness with the gleam upon her flesh4 ,in the other we note the same grace of pose1 a more summary workmanship1 touches of colour--too many perhaps4 ,the ,duchess of ,alba 7,la ,maja7 reclines on her divan in her rich bolero and white duck trousers of a toreador or ,spanish dandy4 ,we pause1 we are astonished and charmed2 we wonder how such a thing was possible4 ,her beauty and daring live on the two canvases2 this one scandal in the nineteenth century has endowed the world with those pictures1 and they are now in the ,prado4 ,so ends the adventure4' ,the scandal which associated ,goya's name with that of the ,duchess of ,alba1 fanned1 it may be suspected1 by the jealousy of the ,countess of ,benavente1 could not be concealed1 and by the order of ,maria ,luisa1 the ,duchess was banished in #agie to the seclusion of her estate at ,san ,lucar4 ,the painter immediately obtained from the ,king a prolonged leave of absence and accompanied her into exile4 ,on the journey to ,san ,lucar an accident happened to their carriage1 and ,goya with his characteristic energy set to work to repair the defect4 ,an iron bar belonging to the coach was buckled2 a fire had to be lighted and the iron made straight4 ,the heat and the unwonted exertion which the operation entailed was followed by a chill1 and from this chill resulted the deafness which1 in later years1 became complete4 ,the ,duchess was recalled in the following year--this exercise of royal clemency being apparently the only means of securing the return of the painter to ,madrid--and died in the same year in the fullness of her exquisite and inspiring beauty4 ,the period of ,goya's greatest popularity 7#aghj-ahjj7 was the period of his greatest activity4 ,he was high in the favour of the ,court4 ,much of his time was absorbed in painting portraits of his royal and aristocratic patrons4 ,at the same time he never lost touch with the commonalty1 nor his powers to depict1 with sympathy and understanding1 the life of the country--the bustling1 laughing1 loving1 wrangling1 vibrating life he loved and to which1 by birth and temperament1 he belonged4 ,it is probable that he was never a courtier at heart4 ,his effrontery and uncompromising independence1 combined with incisive wit and physical strength1 made him at once a singular and incongruous but popular figure in the ,court circles1 while his frank camaraderie and his amazing prowess in the national games and feats of strength1 and above all1 the boldness and skill of his demeanour in the bull-ring--in which he is said to have been the equal of the professional espada--won for him the enthusiastic admiration of the hero-worshipping people of ,madrid4 ,he seems to have been at no pains to disguise the real bent of his nature4 ,the story runs that he would frequently leave the royal palace to pass the night in the most disreputable taverns and bodegas in the suburbs of ,madrid1 drinking1 dicing1 and merrymaking with the night-birds of the capital4 ,but ,goya's artistic output showed no signs of falling off either in quality or amount1 and his marvellous rapidity of workmanship enabled him to produce an almost incredible number of canvases4 ,in a biography and review of this size and scope it is not possible to present a leisured review of his pictures4 ,we must be content with a brief notice of the more important among them1 but the illustrations at the end of the volume which are produced in such wealth1 and which constitute the chief interest of this book1 will speak more eloquently than words4 ,of ,goya's methods of painting many stories are told1 from which it might be concluded that he employed for the purpose every instrument known to art with the solitary exception of a brush4 ,gautier1 who declared his mode to be as eccentric as his talent1 has exhausted all the facts and legends relating to his brush-work 7if so it can be called7 in the following vivacious descriptive passage3 #8,he kept his colours in tubs1 and applied them to the canvas by means of sponges1 brooms1 rags1 and everything that happened to be within his reach4 ,he put on his tones with a trowel1 as it were1 exactly like so much mortar1 and painted touches of sentiment with large daubs of his thumb4 ,from the fact of his working in this offhand and expeditious manner1 he would cover some thirty feet of wall in a couple of days4 ,this method certainly appears somewhat to exceed even the licence accorded to the most impetuous and fiery genius2 the most dashing painters are but children compared to him4 ,he executed1 with a spoon for a brush1 a painting of the 8,dos de ,mayo10 where some ,french troops are shooting a number of ,spaniards4 ,it is a work of incredible vigour and fire4' ,the vigour and fire which ,gautier finds in this picture is to be observed in varying degree in all ,goya's works4 ,these qualities were the results of his temperament1 which moved him to fling his ideas upon the canvas before they could escape him1 and imbued him with a constant desire to be rid of them and at work on something else4 #8,his whole art1' says ,muther1 #8seems like a bull-fight2 for everywhere he sees before him some red rag1 and hurls himself upon it with the fury of the toro4' ,nor did his sitters escape the consequences of his impetuosity4 ,many of his portraits were painted in a day1 but the sitting lasted not a few hours merely but the whole of the day1 during which time1 ,mr4 ,rothenstein tells us1 #8,goya1 inexorable towards his model1 worked in absolute silence with extraordinary concentration and vigour4' ,the same writer relates1 as an example of his nervousness and irritability in his studio1 the story that the ,duke of ,wellington so exasperated ,goya while he was painting his portrait by passing comments upon his work while the picture was in progress1 that he took a sword from the wall and forced his noble sitter to beat a retreat from his studio4 ,other authorities state that it was with a pair of pistols that he put the ,english ,duke to flight4 ,after all1 the weapon is not a material point in the story4 ,a man who worked at this pressure might be expected to develop a tendency to scamp his work1 but while many of ,goya's compositions are mere sketches1 they are all finished according to his theory that #8a picture is finished when its effect is true4' ,the many compositions ,goya executed for the ,countess of ,benavente1 until recently at the ,alameda ,palace1 comprised the most representative exhibition of ,goya's genius4 ,the collection included many pictures painted with exceptional delicacy4 ,the most important of these pictures1 the ,romeria de ,san ,isidro1 is a wonderful canvas containing a mass of details which astonish by their clearness and finish4 ,the #8,coach attacked by ,brigands' is one example among many of his skill in catching an instantaneous motion and transfixing it upon the canvas4 ,among the ,alameda paintings are some repetitions of the designs for the tapestry factory4 ,the exuberant gaiety in these pictures is in amazing contrast with the #8,san ,bernard' or the terrifying cartoon of #8,saturn devouring his ,children4' ,goya can be simple and bizarre1 idyllic and grotesque1 fascinating and appalling--his vitality emphasises every facet of his imagination4 ,the examples of phases of his many-sided vision are inexhaustible4 ,he makes demons terrible by their humanity1 and men and women horrible by their diabolical sinisterism4 ,he paints you a fte or a funeral1 a picnic or a hanging1 with the same facility and artistic assurance2 be the mood he would portray gay or gloomy1 the scene brilliant or shuddersome1 the beauty that of a child1 a blushing maiden or a dazzling ,maja1 he never hesitates1 nor does he often come short of success4 ,in his portraits he is a realist--versatile1 vivid1 often unflinching in his brutality1 unsurpassed1 when he wills it1 in perfection of treatment and intention4 ,his finish is the fulfilment of his purpose1 which has nothing in common with finish in the sense of elaboration4 ,true1 many of his likenesses are #8washed in with a certain impatience1 almost as if the painter had tired of his subject' 7,c4 ,gasquoine ,hartley1 in ,a ,record of ,spanish ,painting72 true again1 the restlessness of his temperament made him inclined to seize on a characteristic rendering of pose and feature3 but his portraits reflect the idea in his mind2 they express the always very definite something he has to say2 the effect is true and the picture is finished4 ,it was his method to arrange his canvas1 his model and all his accessories1 and then remain wrapped in profound reflection4 ,when his study of his model was ended he set to work1 either to materialise his inspiration in a swift realisation of a personality1 or to produce a suave1 lingering piece of workmanship which recalls the refinement of ,gainsborough in its elaborate1 exquisite detail4 ,goya1 by virtue of his portraits1 has been rightly acclaimed the legitimate descendant of ,velazquez1 and1 like the great ,court painter of a previous century1 he is a magnificent exception4 ,but the comparison between the two masters cannot be pushed too far4 ,velazquez was a realist to whom the world appeared as a beautiful vision2 ,goya was a realist to whom life was always a drama and not infrequently a satiric melodrama played in the tempo of a farce4 ,velazquez depicted men and women at their noblest2 ,goya1 when he was in the mood1 detected the worst that was in them and he exposed it with a flourish4 ,the grandeur of the times which we discern in the portraits of ,velazquez is the grandeur of the artist's conception and treatment4 ,the equestrian effigies of ,philip ,,iii4 and ,philip ,,iv4 reveal the magnificence and nobility of conscious kingship which neither of the monarchs possessed2 the royal likenesses convey to us a prosperity which impoverished ,spain did not enjoy under the rule of his kingly sitters4 ,thus it is curious to find that some critics1 but particularly the ,conde de la ,viaza1 should see in ,goya's work a similar determination to idealise and glorify the characters of his royal patrons4 #8,the celebrated canvas of the family of ,charles ,,iv41' writes ,goya's latest ,spanish biographer1 #8together with the equestrian portraits'--the composition of which1 as ,mr4 ,rothenstein reminds us1 he may well have learned from ,velazquez--#8of ,maria ,luisa and her husband1 of ,ferdinand ,,vii4 and ,godoy1 show forth a grandeur of mind and intellectual and moral qualities which these people did not possess4 ,the ,godoy represented by ,goya as though he were a sort of ,marquis de ,pescara1 although he never wore his uniform except at sham fights1 recalls the fact that ,velazquez also1 flattering the ridiculous vanity of the ,count-,duke of ,olivarez1 painted his portrait in a suit which was not his own4444 ,goya painted moral life hyperbolically idealised in his effigies of the kings1 because he was painter to the ,household and protected by the ,crown and the ,court1 although he was rather the protector of his protectors4 ,in all the other portraits of statesmen1 politicians1 literati1 scientific men1 actors1 bull-fighters1 priests and artists1 ,goya harmonised exactly the body and the mind4 ,how marvellously he caught the faces of the men of great minds6 ,how beautifully the moral and intellectual qualities of the person represented are shown6' ,a second and more cautious reading of the foregoing passage was required to convince us that it was written without sarcasm1 and was meant to express a sober estimate of the qualities which the writer discovered in the pictures referred to4 ,personal taste1 as we have remarked elsewhere1 counts for much in the whole field of art1 and in the opinion which is quoted the ,conde de la ,viaza has the field practically to himself4 ,nearly all ,goya's critics and admirers are united in their appreciation of the merciless and remorseless frankness1 the pitiless satire1 the mocking1 saturnine faithfulness of the likenesses4 ,sir ,william ,stirling-,maxwell misses the point of the equestrian portrait of ,charles ,,iv4 when he remarks that #8the poor imbecile king1 in the blue uniform and cocked hat of a colonel of the guards1 mounted on a sober brown charger1' is #8an example of the dignity which may be conferred1 by a skilful hand1 on the most ordinary features and expression1 without sacrificing the resemblance4' ,but who beside ,viaza and ,stirling-,maxwell could detect anything but a burlesque of kingly dignity in this grandly-uniformed1 coarsely-made and coarse-faced ,bourbon who sits #8asthmatic and fat1 upon his fat asthmatic horse1 with his fat asthmatic dog'--a study which moves a ,german critic to remark1 #8,how like a ,moloch he appears1 an evil god who has battened upon the life-blood of his people4' ,the portraits of his sensuous1 passion-ridden queen are equally fearless1 true even to brutality4 ,maria ,luisa was a courtesan seated upon the throne of ,spain4 ,velazquez1 it has been wisely said1 redeemed the face of ,mariana of ,austria in his portrait by making her unapproachable icy pride the keynote in his composition4 ,goya extenuates nothing4 ,he shows the queen1 dcollete to vulgarity in her insolently vulgar gown1 with gleaming arms and bosom exposed as a snare1 which is watched over by the greedy1 hawk-like eyes4 ,it is the woman she was1 the #8woman who loved men better perhaps than she was loved by them1' the courtesan that the artist knew and flattered and despised4 ,of the picture of the #8,family of ,charles ,,iv41' with its fourteen life-size figures1 it has been written that it #8mirrors the hidden merriment with which ,goya recorded the ,court history4' ,here is a faithful exposition of ,goya's estimate of the ,spanish royal family2 an estimate which has never been so remorselessly expressed by any other delineator of royal groups4 ,they are depicted in their resplendent uniforms and rich gowns1 they have all the dignity that is derived from gorgeous trappings1 but ,goya has not spared them1 or us1 a tittle of their pitiful stupidity1 their coarse insolence1 their mental and moral degeneracy4 #8,the heads are admirably painted1 as ,gautier admitted1 #8and are full of life1 delicacy and intelligence'2 but the ,french critic's general verdict upon the group represented is his best tribute to the genius of the painter2--#8a grocer's family who have won the big lottery prize4' ,the more closely one studies these royal portraits the more one becomes convinced of their truth4 ,to-day they remain as real to us as the sympathetic1 ,velazquezesque likenesses of the painter ,bayeu in the ,prado1 or of ,dr4 ,peral in the ,national ,gallery4 ,it is almost impossible for any one to be in a position to award the palm for supreme excellence among ,goya's portraits1 for besides being so numerous1 they are widely distributed among the aristocratic families of ,spain1 and many are practically inaccessible to the student4 ,there are fewer than two dozen of his portraits in the ,prado1 only two in the ,national ,gallery1 and one in the ,louvre4 ,few people are familiar with more than a certain number of his portraits4 ,for this reason there are many different opinions as to the comparative merit of his pictures1 but the individual opinions all constitute a remarkable tribute to the painter's genius in catching the likeness and reflecting the character of his subjects4 ,of the portrait of ,villanueva1 ,seor ,caveda writes that #8it not only faithfully represents the features of the famous architect and the expression of him as a whole1 but reveals in him the goodness of soul that animates him1 and the noble simplicity of character which is so skilfully transmitted in all ,goya's impressions4' ,seor ,mariano ,nonqus1 referring to the portrait of ,moratin1 now in the possession of ,don ,f4 ,silvela1 declares that #8it may rightly be said without any appearance of exaggeration that this effigy is painted with the mind and with a spontaneity which is clearly seen1 since there is nothing in it that reveals difficulty in the work1 or any preconceived idea of imitating any other painter in its execution1' and he adds that1 by reason of the individuality it discloses1 it should be considered one of the best likenesses painted by ,goya4 ,according to the painter ,carlos ,luis de ,ribera1 the genius of #8,la ,tirana' may be seen in the head of the portrait of the distinguished actress1 ,rosario ,fernandez4 #8,in it1 as in all his 7,goya's7 works1' says this authority1 #8there is that air of truth which so few painters have attained2 there is brilliancy and freshness without pretension or exaggeration1 the model is simple and convenient1 and while it makes no show of strength it is not weak4 ,its execution springs as much from sentiment as that of all his canvases1 because it was never sought after by ,goya1 but was the consequence and result of his spontaneity and intuition4' ,again1 of his portrait of ,jos ,luis ,munarriz1 the eminent critic1 ,don ,francisco ,maria ,tubina1 writes3 #8,there is something on the canvas in addition to perfection in the technique1 the beautiful development of the subject and the exact likeness2 the immaterial part must be recognised and appreciated--the inner vigour ,goya gives the character1 which illumines the features with the glow of the soul4 ,munarriz is represented to us in the picture as the fancy imagines him1 as we see him in his biography1 ingenious and lively in thought1 distinguished in form1 kind and firm in temperament1 prudent in judgment1 and with a mind always directed upon things which elevate and ennoble4 ,munarriz the literary man1' he says in conclusion1 #8is the ,munarriz of the picture1 the one being explained by the other4' ,and read1 also1 what the ,boletin de la ,sociedad ,espaola de ,excursiones contains concerning the two portraits of ,doa ,antonia de ,zrate1 now in the possession of ,seora ,vinda de ,albacete3 #8,but where ,goya shows the most exquisite sensibility and profound psychology is in these two portraits of one person1 in which he incorporates the whole story of a dreamer swayed in life and death by the highest ideals1 a woman of a race of poets and artists1 ,antonia de ,zrate4 ,though in the first portrait he represented her smiling and in perfect health1 in the second he knew her existence was undermined by a treacherous disease which was to cause her death4 ,never have we felt more deeply the impression of pathos than before this presentment of a soul rather than a person1 before this face enveloped in transparent veils1 with life showing in the eyes1 and in that life a melancholy realisation of approaching death4' ,goya's portraits1 as we have said1 are so numerous that it is only possible to deal here with a brief selection of them4 ,in his large and varied gallery he displays so much versatility that it appears impossible that they could all have been conceived by the same mind and painted by the same hand4 ,his treatment is alternately rough to the verge of violence and as smooth as the work of a miniaturist2 his tones are crude and heavy or luminous and glowing1 as the sitter appeals to his mind2 he makes his queen a confessed harlot and his little grandson the incarnation of dainty boyhood4 ,the portrait of his wife1 now in the ,prado1 is a work of the highest excellence1 so are the beautiful representations of the ,duchess of ,alba1 the vivid impression of ,asensi1 the delicious portrait of the ,marquesa de ,pontejos1 the ,gainsboroughesque study of the ,conde de ,florida ,blanca1 the equestrian painting of ,general ,palafox1 the dashing1 almost contemptuously vivid likeness of ,godoy1 the striking portrait of ,guillemardet so enthusiastically eulogised by ,m4 ,len ,legrange 7,gazette des ,beaux-,arts71 and those of the ,duke of ,osuna1 of ,felix ,coln1 ,jove-,llanos and ,ventura ,rodriguez1 of ,martincho and ,romero1 the bull-fighters1 of ,pignatelly1 ,general ,urrutia1 of the royal children1 and of himself1 painted when still young--each portrait bears the stamp of ,goya's genius1 each expresses an individuality in his individual style1 each is finished because its effect is true4 ,goya's portrait of the ,duke of ,san ,carlos1 the most loyal friend of the son of ,maria ,luisa1 has won the admiration of many painters and critics4 ,the head is beautifully painted1 the posing is natural and graceful1 the figure lives and breathes4 ,for this #8miracle of art1' as ,viaza styles it1 ,goya used only a few colours1 which he spread over the canvas with an energetic and grandiose brush1 each stroke being the expression of an sthetic thought and the perfection of the technique of painting4 ,the portrait1 #8which legitimises ,goya's descent from ,velazquez1' is said to be like the work of ,rembrandt in its clare-obscure1 of ,watteau in its correctness1 and of ,titian in its delicacy and freshness4 ,but there is no end to the expressions of admiration which ,goya has inspired4 ,eduardo ,rosales went to ,zaragoza annually to visit ,goya's portrait of the ,duke of ,san ,carlos1 and on one occasion1 when he had been lifted by a friend that he might study the face of the portrait1 he is reported to have exclaimed1 #8,my friend1 such painting will never be seen again4' ,in #agih ,goya was intrusted with the decoration of the newly built church of ,san ,antonio de la ,florida1 which had sprung into existence in #agbj as a primitive hermitage1 had been destroyed when the ,el ,pardo road was made in #agfh1 was re-erected two years later1 and in #agib was replaced by the present elegant edifice1 which was built at the expense of the royal patrimony1 after the plans of the celebrated architect1 ,ventura ,rodriguez4 ,the outside of the building is of good architectural style1 the interior is small and elegant1 and well suited to the rank and fashion which frequented it4 ,the ,church was opened for worship on ,july #a1 #agii1 and we read that #8,madrid went wild with excitement at the glory of ,goya's achievement4' ,don ,juan de ,dios de la ,rada y ,delgado1 who supplied the text for the volume of aquafortis engravings of these frescoes which ,d4 ,jos ,moria ,galvan y ,candela executed in #ahig1 tells us that they were wholly in accord with the conditions of the time4 ,but the sentiment of ,mr4 ,rothenstein is nearer to the truth when1 in speaking of these frescoes1 he says that he can remember nothing which gave him so clear an idea of ,goya's cynicism4 #8,imagine1' he writes1 #8a coquettish little church with a white and gold interior1 more like a boudoir than a shrine1 but furnished with altar1 and seats1 and confessionals4 ,one's nostrils expect an odour of frangipane rather than incense1 and it must be admitted that ,goya's frescoes do not strike a discordant note in this indecorously holy place4' ,the subject of the main composition covers the cupola1 and contains upwards of a hundred figures considerably over life-size4 ,the picture illustrates the miracle ascribed to ,st4 ,anthony of ,padua1 who restored to life the corpse of a murdered man in order that he might reveal the name of his assassin and rescue an innocent man who was about to be executed as the perpetrator of the crime4 ,the scene is enclosed by a painted railing which surrounds the entire composition4 ,we see the saint standing on an eminence against a luminous background4 ,his life-giving words have just restored the corpse to consciousness4 ,the man leans forward1 supported in the arms of a companion1 with his hands clasped in an attitude of profound veneration1 his expressive face looking fixedly upon the saint with a gaze of surprise and gratitude4 ,the central figures are surrounded by a motley crowd of men1 women1 and children1 some of whom express their astonishment by eloquent gestures1 while others appear indifferent to the miracle that is being performed1 and one or two frolicsome boys are seen astride the figured railing4 ,on the spandrils1 the intrados1 the curvilineal triangles of the arches1 and behind the high altar1 are groups of angels and cherubs4 ,the angels are beautifully clothed and almost wanton in their human loveliness1 the babes are entirely without the illusion of divine origin4 ,it has been said that in this composition ,goya perfectly interpreted the spirit of the ,church de la ,florida2 certain it is that these angels with #8the skin of a camellia1 eyes of fire1 and the beauty of a harlot1' which move with audacious freedom of attitude1 #8not in pure spheres of blessedness1 but in an atmosphere of atoms of gold illuminated by an ,asiatic sun1 are the strangest and most beautiful creatures that ever adorned a consecrated house4' #8,the frescoes of la ,florida1' comments ,c4 ,gasquoine ,hartley1 #8are yet another witness of the truthful humour of ,goya's insight1 but not one of his countrymen realised the irreverent irony of his work4' #8,the figures are as full of piquant intention1' declared ,richard ,muther1 #8as can be found in the most erotic paintings of ,fragonard4444 ,it is an artistic can-can2 it is ,casanova transferred to colour4 ,all that the ,church painting of the past had created is despised1 forsaken2 and this satire upon the ,church and all its works was written in the land of ,zurbarn1 of ,murillo4' ,the ,conde de la ,viaza alludes to ,goya as an artist who painted pictures with religious subjects1 but not religious pictures4 #8,i do not know1' he says1 #8a more profane master than this ,velazquez1 ,rembrandt1 ,vicelli and ,veronese rolled into one4' ,and he instances his monumental painting at la ,florida to illustrate his contention3 #8,an admirable energy1 the most splendid scale of tones4 ,what relief6 ,what a magic of colour6 ,what a beautiful lesson the light of nature receives there6 ,on the other hand1 what lack of religious feeling and spirituality in those frescoes6' ,and having denounced in the angels the silkiness of their skins1 the brilliance of their eyes1 and the wantonness of their beauty1 he adds1 #8the miracles of the exemplary man of ,padua are familiarly treated as a spectacle of wandering rope-dancers might be6' ,it has been said that the ,king was incensed against the artist for introducing renowned ladies of his court in the faces of the winged archangels1 and it is generally believed that the most aristocratic persons of the capital are represented in the frescoes1 but if ,charles ,,iv4 resented his choice of models1 he had a most amiable way of expressing his displeasure4 ,goya himself1 writing to ,zapater1 admitted that #8the ,king and ,queen are mad on your friend ,goya1' but the madness took the form of a royal order1 dated ,october #ca1 #agii1 which reads3 #8,h4,m4 wishing to reward your distinguished merit and to give in person a testimony that may serve as a stimulus to all professors1 of how much he appreciates your talent and knowledge of the noble art of painting1 has been pleased to appoint you his chief painter of the ,chamber1 at a yearly salary of #ej1jjj reals1 which you will receive from this date free of rights1 and also #ejj ducats a year for a carriage3 and it is also his pleasure that you occupy the house now inhabited by ,don ,mariano ,malla should he die first1' etc4 ,certainly the frescoes in his own day were extolled as the most important work ever done by ,goya's marvellous brush2 he closed the eighteenth century with creations that won for him his greatest contemporary fame and raised him to the summit of his art4 ,if nothing could be further removed from religious inspiration1 nothing human could reveal more enchanting beauty1 more exquisite grace4 ,these frescoes were praised as #8an inimitable symphony of light and colour4' ,it is not in our province either to accept or to refute the claim that #8they raise the most common things of ,goya's time to the high spheres of ,spanish mystic realism4' ,goya's contemporaries did not realise that the paintings outraged the canons of propriety and probability1 and in later times ,seor ,rada finds that the painter1 in this work1 rises always to the regions of mystery1 where only genius can penetrate1 and responds to the peculiar influence of a temple which seems rather to inspire loving human aspirations1 than mystic thoughts of infinite abstraction4 #8,apart from the fact that ,goya was a believer and respectful to all that pertained to religion1' urges ,seor ,rada1 #8in the principal subject of this painting 7the 8,cupola07 he is as manifestly mystic and delicate as any painter of the spiritual school4 ,in the central group the risen man partakes of both realism and religious unction4 ,the expression could not be better1 nor could the attitude of the saint be more dignified4 ,apart from this in the other groups1 he copied what he was wont to observe in popular gatherings1 as he saw it1 as it was1 as it always will be4' ,goya's ,spanish apologists may well be justified in their contention that his originality forced him to disregard the classic rules and mannerism of traditional ,spanish religious art4 ,they see no impropriety or extravagance in surrounding the figure of a revered saint with a crowd of roysterers1 prostitutes1 cut-purses and ,manzanares rascals4 ,and1 after all1 the point is scarcely worth arguing4 ,again1 when it is protested that ,goya's archangels and seraphim were rather beautiful women than angelic spirits--well6 what better conception could there be of angels than the perfections of a charming woman8 ,that is ,seor ,rada's retort3 #8,the naturalist ,goya1 surrounded by the seductive beauty of his time1 could not conceive or even presume that the chosen beings who sing eternal praises in the ethereal regions of celestial glory were any different4 ,more in accord doubtless1 with our pious traditions and with ,christian spiritual belief are the glories of ,juan de ,juanes and ,murillo2 but each artist has his peculiar temperament as well as his special gamut of colour1 and to ask ,goya to paint angels like those great ,christian artists would be the same as asking the painters of a previous epoch to paint pictures of popular scenes like ,goya's4' ,the logic of the foregoing is presumably sound1 although the conclusion seems to us to support those who contend that ,goya's temperament rendered him an unsuitable person to translate religious episodes into colour4 ,we remember1 as ,seors ,rada and ,pedro de ,madrazo assert1 that ,goya was #8a believer' and #8respectful in everything pertaining to religion1' and we recall also that in their joint will the painter and his wife describe themselves as #8firmly believing and confessing the mystery of the ,holy ,trinity 444 and all other mysteries and sacraments1 believed and confessed by our ,holy ,roman ,catholic ,apostolic ,mother ,church1 in whose true faith and belief we have lived4' ,but we cannot1 at the same time1 forget that ,goya's detestation of the priesthood was violent and unresting4 ,if he caught the spirit of ecstasy in his picture of ,san ,jos de ,calasanz receiving the ,host at the hands of a priest1 he also painted a representation of ,santas ,justa and ,rufina4 ,this picture has been described as the most profane and inappropriate work of the ,aragonese genius4 ,it is stated that he selected as his models a pair of well-known cocottes of ,madrid1 giving1 it is said1 the caustic1 uncanonical explanation1 #8,i will cause the faithful to worship vice6' ,goya may have called himself an orthodox conformer to the national church1 but his contempt for his ecclesiastical patrons and those who practised the devotions which he mechanically professed1 is avowed4 ,but apart from their religious significance1 or their lack of it1 these frescoes of the ,church of ,san ,antonio de la ,florida reveal ,goya at his best as a daring draughtsman and fine colourist4 ,the energy1 the spontaneity1 the light and the relief1 the magic of his paint--all are revealed in this work1 which occupied him only three months4 ,and what better proof could one desire of the truth of his own contention3 #8,in nature colour exists no more than line--there is only light and shade4' ,goya knew how to produce abundant life with simply white lead1 the black of smoke1 green and vermillion4 ,richness of colour does not consist in an infinite variety of tints1 but in the harmonious variety of tones and in the skilful selection of the key in which the picture is painted4 ,here ,goya surpassed himself in the effect he produced with a palette that was severe in its simplicity1 but the processes employed by the master to obtain his wonderfully vivid and charming tones were so varied that they cannot be exactly determined4 ,of the result1 ,paul ,lafond writes1 it is #8as true as ,velazquez1 as energetic and as light as ,rembrandt1 as delicate as ,titian1 as spiritual as ,tiepolo1 with infinite perspectives like those of ,tiepolo and ,veronese1 and as refined as ,watteau4' ,the painting of the frescoes of ,san ,antonio de la ,florida won for ,goya1 as we have seen1 the coveted office of first painter to the ,court4 ,it was at this same time he began to paint less and to take up the needle as a new force of expression4 ,his first work was the series of designs known as #8,los ,caprichos' in which the spectator is transported into some #8unheard of1 impossible1 but still real world'--a world peopled with dapper majas1 handsome hidalgos1 hideous old men and hags more horrible than the witch of ,endor1 gluttonous priests1 spectres and sorceresses1 devils and desperadoes and corpses1 all the myriad diabolical and terrifying shapes and phantasies in which ,goya set down his vision of humanity4 ,the origin1 the inspiration and the object of these etchings are still matters of speculation4 ,it is generally agreed that the painter executed the first drafts for these plates after his return from ,san ,lucar4 ,his deafness aggravated by a serious illness1 from which he made a slow and painful recovery1 obliged him to give up the fatiguing work with palette and brush1 and it may well be that he1 whose spirit never rested and whose hand was never idle1 fell into a habit of preserving his impressions on paper in order to distract his tormented imagination from brooding over his sufferings4 ,it was at a later date that he transferred these drawings on to the copper plates4 ,it may be reasonable to assume1 as some have done1 that the part of philosopher which he had developed leisurely during his days at ,court1 as well as the vein of moralist and castigator of vice1 was quickened in him by satiety and physical pain4 ,the ,conde de la ,viaza appears to believe that ,goya suddenly awakened to his power as a caricaturist1 and that1 irritated at the moral ugliness of his contemporaries1 and at the vile coterie which surrounded the ,king and ,queen1 he began to inveigh unflinchingly against lasciviousness1 covetousness1 rapacity1 hypocrisy1 and ignorance1 against the court parasite and the court harlot1 the miser and the monk1 the women who sold their daughters and the monsters who bought them1 against insolent pomp1 ecclesiastical rottenness and venal stupidity4 ,yet probably the view of ,gautier is nearer the truth4 ,he assumes that the now popular painter was #8merely producing so many capricious sketches1 when he was in truth drawing the portrait and writing the history of ,spain of former days1 under the belief that he was serving the ideas and creed of modern times4 ,his caricatures will soon be looked upon in the light of historical monuments4' ,extraordinary as these pictures are by reason of their fancy1 their beauty1 their saturnine wit1 their #8,gargantuan spirit1' as well as by the technical skill and originality they display1 they are even more extraordinary by reason of the favour with which they were at first received by the people against whom they were directed4 ,at first the plates were issued separately and were passed from hand to hand among the etcher's friends4 ,but in #agii1 probably the year in which the series was completed1 a prospectus was issued1 advertising the publication of an edition of seventy-two plates4 ,goya1 for unknown reasons1 objected to this edition1 and the issue was never made4 ,in the meantime the satire of these tumultuous cartoons was discovered by the objects of his ridicule4 ,godoy1 the old ,duchess of ,benavente1 the ,queen's favourites1 were the first to be identified1 then effigies of the ,queen herself and her illustrious lord were recognised upon the plates4 ,the scandal of these allusions aroused an outburst of indignation1 instigated1 in great measure1 by the caricatured and crucified clergy4 ,the office of the ,inquisition was moved to take action1 and ,goya's popularity and influence were powerless to avert the inevitable catastrophe4 ,rescue came from the most unexpected quarter4 ,in #ahjc the ,king caused an edition of #bdj copies of #hj plates1 which had already been printed1 as well as the plates themselves1 to be acquired by the state1 with an order that he had commanded their publication4 ,it is difficult to account for this splendid action from such a ,king as ,charles ,,iv4 ,was he so impressed by the merits of these etchings that he was prompted to rescue them from the ,inquisition in the interests of art--a magnanimity of spirit #8of which his character gives no promise'8 ,probably he was merely insensible to the satire of the pictures4 ,the #8,caprichos' were dedicated to the monarch by the artist--a subtle jest on the stupidity of the ,king1 who1 ,muther concludes1 #8was not even in a position to grasp the meaning of the plates4' ,we learn that ,charles remunerated ,goya by granting his son a pension of #ab1jjj reals4 ,a reproduction of the letter from the painter referring to this arrangement is as follows3-- ,illustration ,illustration ,,translation ,,your ,,excellency1--,i am in receipt of ,h4,m4 ,royal ,order which your excellency communicated to me on the #fth inst41 accepting the offer of my work1 the caprices on eighty copper plates engraved with aquafortis by my hand1 which ,i will hand to the ,royal ,calcografia with the lot of prints which ,i had printed by way of precaution amounting to #bdj copies of #hj prints each copy1 in order not to defraud ,h4,m4 in the least and for my own satisfaction as to my mode of procedure4 ,i am very grateful for the pension of twelve thousand reals which ,h4,m4 has been pleased to concede to my son1 for which ,i give my best thanks to ,h4,m4 and to your excellency4 ,your excellency has not replied to a letter of mine1 in which ,i said that the portraits were finished1 and also the copy of your excellency's by ,esteve which only lacked the inscription for which he has asked me several times4 ,i also suggested that if your excellency approved ,i would get the frames made for the originals and would myself go and put them where your excellency might order1 so that you might have the pleasure of finding them in their places4 ,i only desire your excellency's orders and that you keep well4 ,may ,god preserve your excellency's valuable life for many years4--,madrid1 ,october #i1 #ahjc4--,your excellency's obedient and grateful servant1 ,,francisco ,,de ,,goya4 ,to his ,excellency ,seor ,don ,miguel ,cayetano ,soler4 ,the technical excellence of the ,caprichos makes them comparable with those of ,rembrandt1 while in their meaning and character they may be likened to the work of ,daumier4 ,there are the peculiar qualities of ,goya's etching1 which recall the truth and naturalness of ,fernando ,boll1 the movement and life of ,lievens and ,konninck1 and the expression and charm of ,von ,vliet8 ,these artists1 whose best individual qualities are all combined in ,goya1 were pupils of ,rembrandt4 #8,only ,hokusai1' writes ,mr4 ,rothenstein1 #8was capable of such monstrous gaiety1 such stinging satire1 and he alone could have lent probability to such monstrous phantasy2 ,hogarth was too sermonising1 ,rowlandson too rollicking2 a certain diabolical side of his nature1 which ,goya allowed to be seen both in the 8,caprichos0 and 8,the ,disasters10 has probably prevented his etchings gaining a footing in ,england4' ,certain it is that ,goya's prints are rarely to be met with in this country--a fact that caused the writer of this book to spare no effort in order to include in the illustrations1 reproductions of every etching and lithograph1 as well as of every portrait or picture of ,goya's1 of which he could secure an impression4 ,it is one thing to admire1 even to understand1 the technique of the #8,caprichos1' but to understand the precise significance of many of the plates is almost impossible4 ,perhaps the titles printed by ,goya beneath the plates are the best guide to their meaning4 ,the only reward to be derived from reading ingenious meanings into the prints is the personal interest one finds in the exercise4 ,the series may be divided into three classes2 the first are humorous satires of the foolishness and rottenness of the life of the period2 the second are scathing assaults upon the ignorance and greed of the priesthood and the corruptness of the civic institutions2 and the last are visions of witches and demons1 which may be classed as pure phantasies4 ,there is a depth of meaning in every plate1 for ,goya reproduces for us in them not only what he has seen1 but what he has felt4 ,the first plate illustrates a marriage of convenience1 and we are shown the girl-bride being presented to her hideous suitor by her more hideous mother4 ,over and over again we are presented with this type of the #8complaisant mother1' which has been described by ,thophile ,gautier in illuminating prose4 #8,it is impossible' he writes1 #8to fancy anything more grotesquely horrible1 more viciously deformed4 ,each of these frightful old shrews unites in her own person the ugliness of the seven capital sins2 compared to them the ,prince of ,darkness himself is pretty4 ,just fancy whole ditches and counterscarps of wrinkles2 eyes like live coals that have been extinguished in blood2 noses like the neck of an alembic covered with warts and other excrescences2 nostrils like those of an hippopotamus rendered formidable by stiff bristles2 whiskers like a tiger's2 a mouth like the slit in the top of a money-box1 contracted by a horrible and convulsive grin2 a something between the spider and the multiped which makes you feel the same kind of disgust as if you had placed your foot upon the belly of a toad4' ,the description is horrible even as ,goya's engravings are horrible1 and as excellently true as the work by which it was inspired4 ,it is not possible in the space at our command to review these #8,caprichos' in detail1 and fortunately it is not necessary4 ,the reader can examine the plates for himself and study their details4 ,he will remark the skill with which the engraver endows #8,the ,garroted ,man' with its sombre1 gruesome tone2 the sense of the unavailing1 despairing effort with which the living skeleton in #8,and yet they do not go' 7,plate #cfi7 supports the slab of stone which must inevitably fall and crush the crouching1 scarcely human wretches who anticipate their fate with expressions of such lurid horror4 ,one can feel the violence of the wind that buffets the women in #8,a ,bad ,night'2 we enter into the terror of the woman who is employed in her hideous task in #8,tooth ,hunting4' ,here indeed1 #8horror confronts us2 corruptness is imagined with an unapproachable depth of grotesqueness4' ,in all the realm of art there is nothing to compare with the horror and grotesquerie of these ,caprices4 ,goya's next work was the thirty-three plates of #8,the ,tauromachia4' ,this series of engravings was so brilliant in execution and appealed so strongly in their theme and treatment to the ,spanish national affection for the bull-ring1 that doubtless they would have brought the etcher even greater contemporary fame than the larger series1 but for some unexplained reason1 they were not publicly issued until after his death and the death of his only surviving legitimate son4 ,in the #8,tauromachia' ,goya made less use of aquatint and aquafortis1 and1 as in his later etchings1 relied more and more upon the needle to produce his effects4 ,these scenes of the bull-ring represent the different phases of the combat and the surpassing feats of its most famous exponents4 ,the #8,caprices' may appeal more strongly in some respects1 but the drawing in the plates of the #8,tauromachia' is extremely light and facile1 and the illusion of vigorous movement is seen in them all4 ,in #ahjc ,goya was fifty-seven years old4 ,the corruption in high places1 against which he had hurled his darts1 was fast driving ,spain into the grasp of the world-power which was menacing all ,europe4 ,napoleon's ambitious designs embraced the mastership of the ,peninsula1 and he was already maturing his plans to that end4 ,in #ahjc the ,english and ,french were again at war4 ,napoleon demanded1 under the treaty of ,st4 ,ildefonso1 that ,spain should declare war against ,england4 ,godoy strove fiercely to resist the will of the tyrant4 ,napoleon ordered the dismissal of ,godoy4 ,spain purchased her neutrality in hard cash1 and ,godoy was retained4 ,in #ahjd ,napoleon was proclaimed ,emperor1 and the neutrality of the ,spaniards was reduced to such a farce beneath the grinding importunities of the imperial ally that ,pitt declared war against ,spain in ,december of that year4 ,the battle of ,trafalgar was fought on ,october #ba1 #ahje1 but before the end of the year ,napoleon had entered ,vienna and won the battle of ,austerlitz4 ,before the awful menace of his growing power1 ,godoy sued for the favour of the conqueror in gold drawn from the ,spanish funds4 ,the ,emperor accepted the money without relaxing his animus against the despised favourite1 who was forced to approach ,england with proposals for an anti-,french coalition4 ,his overtures were ignored4 ,the ,queen and the ,king heaped new honours upon the ,prince of the ,peace1 but his end and that of his august patrons was near4 ,ferdinand's party was working the country into a ferment of hatred against ,godoy1 and ,napoleon's inflexible aversion sealed his doom4 ,in #ahjg ,ferdinand truckled to the #8,scourge of ,europe' by asking for a lady of ,napoleon's family for a wife1 while ,godoy urged upon ,napoleon the occupation of ,portugal as a preliminary to the introduction of ,french troops into ,spain4 ,in ,october #ahjg ,portugal proving refractory1 ,junot and a strong force encamped on ,spanish soil and were made welcome by the ,prince of the ,asturias and the ,prince of the ,peace1 both of whom regarded the invasion of the ,french as a friendly move1 in support of their respective interests4 ,in the same month the ,court was stricken by the exposure of the plot and counterplot planned by the rascally favourite and the intriguing ,crown ,prince4 ,godoy was charged by ,ferdinand with the intention of killing the ,king and his family and seizing the throne2 ,ferdinand was surprised in a plot which embraced the imprisonment if not the death of his father4 ,the ,prince of the ,asturias was placed under arrest1 and the ,king applied to ,napoleon for his advice4 ,junot marched into ,portugal2 ,french troops poured into ,spain2 the ,portuguese ,regent1 at the advice of ,lord ,strangford1 transferred his court to ,brazil4 ,on ,march #ag1 #ahjh1 the troops1 in favour of ,ferdinand1 prevented ,godoy from leaving ,aranguez1 and two days later threw him1 bruised and bleeding1 at the feet of the ,prince of the ,asturias1 who gave his father to understand that1 by virtue of the presence in the capital of his friends the ,french1 he was absolute master of the situation4 ,charles ,,iv4 signed a decree which made ,ferdinand ,,vii4 sovereign of ,spain4 ,a few days later he put his name to a private withdrawal of his abdication2 and this document was forwarded to ,napoleon1 with a letter offering to conform to whatever the ,emperor might order with regard to him1 his queen1 and the ,prince of the ,peace4 ,napoleon came south towards ,spain4 ,ferdinand1 who hastened north to meet him1 entered ,bayonne to find himself a prisoner4 ,charles ,,iv41 with ,maria ,luisa and ,godoy1 followed to ,bayonne1 and ,ferdinand was compelled to restore the crown to his father1 who transferred it to ,napoleon4 ,the cash consideration the ,king was to receive for his sovereignty was never paid4 ,while these base traffickings were occupying the ,king and his family1 the gallant loyalists of ,madrid had risen against the ,french and suffered massacre on the terrible ,dos de ,mayo4 ,once again the country was in arms2 the ,spaniards fought--to instance only the sieges of ,zaragoza and ,valencia--with superb valour1 but the ,junta continued its servile negotiations with ,napoleon1 and ,joseph ,buonaparte1 ,king of ,naples1 was summoned by his brother to rule over ,spain4 ,on ,july #i1 #ahjh1 ,joseph ,i4 set foot in his new kingdom4 ,on the #agth the ,french were defeated in the battle of ,baileu1 and the victorious ,spanish troops advanced over the ,sierra ,morena to ,madrid4 ,the new king fled the capital4 ,napoleon in person took command of the army which was to reconquer ,spain1 and advanced into the heart of ,castile4 ,the left division of the ,spanish army was defeated on ,november #aa1 the right was driven into the mountains of ,aragon1 the centre was completely crushed at ,tudela on ,november #bf4 ,a fortnight later the ,emperor entered ,madrid1 and ,joseph ,i4 was restored to the throne of ,spain4 ,goya's position was rendered acutely difficult by these drastic changes4 ,the first painter of the exiled ,king1 the favourite of his dispersed courtiers1 what could he do in the court of the hated ,joseph ,buonaparte8 ,it may be surmised that #8the good old ,goya1' as ,gautier familiarly styles him1 hated the new order of things1 but he was no visionary patriot burning with the fire of useless sacrifice4 ,his love of country was not love of ,charles ,,iv4 or his son2 he loved ,spain not less because ,maria ,luisa and ,godoy were out of it4 ,and as he asked himself what action he should take1 he saw the ,prince of the ,asturias submit himself to the new ruler1 and with him ,jove-,llanos1 ,mazarrado and ,urquijo1 the ,dukes of ,fernan ,nuez and del ,parque1 the ,count of ,santa ,colonna1 the ,cardinal of ,bourbon--to mention a few only among the nobles4 ,goya's comrades also1 the ,court painters1 ,mariano ,malla1 ,francisco ,ramos1 and ,pablo ,racio1 acknowledged the #8intrusive king'6 ,goya hesitated no longer4 ,he took the oath of allegiance to ,joseph ,i4 ,he was made a knight of the ,legion of ,honour4 ,he painted the usurper's portrait1 and some time later accepted1 with ,napoli and ,malla1 the commission to select from the treasures of the royal gallery fifty of the most beautiful pictures which were to be sent to the ,louvre4 ,but though the old order had changed and ,goya had changed with it1 his spirit was full of bitterness4 ,he had witnessed the butchery and slaughter of the ,french soldiers2 he hated the sound of the clanking of the spurs of ,murat's hussars on the pavements of ,madrid4 ,already he had painted two pictures1 the #8,dos de ,mayo' and #8,un ,episodio de la ,invasin ,francesca4' ,one has only to study these two pictures of realised terror1 in the ,prado1 to understand the painter's hatred of the ,french and the brooding melancholy which the events of the rising in ,madrid had fastened upon his soul and darkened his life4 ,de ,amicis1 the ,italian author1 writes1 with a fine appreciation of the stirring realism of these works3 #8,nothing more tremendous can be imagined3 one can give no more execrable form to power1 nor frightful aspect to desperation1 nor a more ferocious expression to the fury of a fray4 ,in the first one there is a dark sky1 the light of a lantern1 a pool of blood1 a pile of bodies1 a crowd of men condemned to death1 and a line of ,french soldiers in the act of firing2 in the other are horses with their veins cut1 and horsemen dragged from their saddles1 stabbed1 trodden upon1 and lacerated4 ,what faces6 ,what attitudes6 ,one seems to hear the cries and see the blood running3 the veritable scene could not cause more horror4 ,goya must have painted these pictures with his eyes glaring1 foam at his mouth1 and with the fury of a demoniac2 it is the last point which painting can reach before being translated into action2 having passed that point one throws away the brush and seizes the dagger2 one must commit murder in order to do anything more terrible than those pictures2 after those colours1 comes blood4' ,goya retired to the seclusion of his house outside the gates of the capital1 only opening his doors to a few old friends1 among whom were ,cean ,bermudez the art critic1 ,carnicero the illustrator of ,don ,quixote1 ,castillo the painter1 and ,selma the engraver4 ,the old painter had become completely deaf1 and1 in these dark days of change and violence1 the bitterness of his spirit found further expression in the #8,desastres de la ,guerra'--#8the cry of a just soul against the iniquity of warfare4' ,with passionate vigour he depicted the horrors of the ,french invasion and lashed with his satire the barbarities of the conquerors4 ,the new series was begun in the year #ahaj4 ,they reproduce all the sad and abominable events which had culminated in the accession of ,joseph ,bonaparte4 ,callot1 in his scenes of the barbarities of the ,thirty ,years' ,war1 did not attain the fire1 the power1 or the purpose of these plates4 ,all the horrors of warfare and its heroism and the stupidity of war are depicted here with searching truth4 ,the technique of the plates is unsurpassed4 ,we see starving men made bestial with terror1 dead bodies stripped and mutilated1 women outraged1 and children butchered before the eyes of their frenzied mothers4 ,and again we are shown the superb heroism of the women who1 armed only with hatchets and stones1 withstood the onslaught of the dragoons2 we are made to realise the intrepid loyalty of those men and women who fought side by side on the terrible ,dos de ,mayo2 we witness the masculine daring of the women who took the match from the hands of the dead artillerymen and continued to work the guns4 ,every phase of warfare1 its famine and desolation1 its hunger and disease1 its heroism and its savagery1 are depicted in this impeachment of ,militarism4 ,the utter uselessness of war is emphasised in the haunting echo which runs through all the plates--#8,to what end8' ,the wasteful sacrifice of human lives is forced upon ,goya's audience by an engraving in this series inscribed with the word #8,nada' 7,nothingness74 ,gautier in his rare volume1 ,travels in ,spain 7so rare that ,i need make no apology for again quoting from it71 writes of this plate3 #8,among these drawings which admit of an easy explanation1 there is one fearfully terrible and mysterious1 the meaning of which1 that we can dimly understand1 fills you with horror and affright4 ,it is a corpse1 half-buried in the earth2 it is supporting itself on its elbow1 and1 without looking at what it is writing1 traces with its bony hand1 on a paper placed near it1 one word--8,nothingness0--which is alone worth the most terrible things ,dante ever penned4 ,around its head1 on which there is just enough flesh left to render it more frightful than a mere skull1 flit1 scarcely visible in the darkness of the night1 a number of monstrous spectres1 lighted up here and there by flashes of vivid lightning4 ,a fatidical hand holds a pair of scales1 which are in the act of turning upside down4 ,can you conceive anything more sinister or more heartrending8' ,the #8,disasters' were not published in a series until #ahfc1 when the ,academy of ,san ,fernando acquired eighty plates and issued the engravings with a brief introductory note4 ,in this introduction the writer says3 #8,the collection which ,goya designated by the name of ,ravages or ,disasters of ,war1 is indisputably one of the most notable of the kind that he produced4 ,in it is all the strength of his lively imagination1 exalted and excited by a deep patriotic feeling in those terrible moments when an unjust foreign invasion essayed to humiliate the pride and hauteur which are a characteristic of the ,spaniard4 ,what matter for surprise then that a ,spaniard1 an ,aragonese1 a man with the stern independent character of ,goya1 should allow himself to be carried away very often by exaggeration and caricature8444 ,on the other hand1 this work breathes novelty in the subjects1 originality in the types1 fire in the composition1 boldness and firmness in the colouring1 decision and even fineness in the design4444 ,in order that nothing shall be lacking in this collection1 there is given on each plate the inscriptions which afford another proof of the artist's genius4 ,these inscriptions1 concise1 incisive1 and piquant1 add character1 if that be possible1 to what the pencil had already accomplished2 the brief phrases1 at times a single word1 reveal by their sense of rapidity the fugitive idea which his mind had conceived in a moment1 and which1 in little more than another moment1 his hand had represented4' ,a very interesting series of drawings and etchings are preserved in the ,print ,room of the ,british ,museum4 ,of these ten are reproduced in this book for the first time4 ,the ,goya collection in the ,museum consists of eight original drawings1 a holograph letter of ,goya and no fewer than two hundred and eighty-one separate works1 comprising etchings and lithographs of the ,proverbs1 ,caprices1 ,tauromachia1 and ,disasters of ,war1 and the subjects after ,velazquez4 ,they are all in a splendid state of preservation4 ,of the selection made for the present volume 7,nos4 #fja-ab71 the portrait of the ,duke of ,wellington 7#fja7 and #8,a ,lost ,soul' 7#fje71 have been reproduced by ,mr4 ,rothenstein4 ,the sketch of the ,duke1 whom ,goya in the letter referred to1 writes #8,weelingthon1' served the painter in executing the large portrait4 ,it was made on the day following the battle of ,salamanca 7#ahab71 when ,marmont was defeated on the field of ,arapiles4 ,the #8,lady and ,gentleman on ,horseback' 7,no4 #fjb7 have not been identified1 although the picture is evidently a portrait4 ,the head of ,fray ,juan ,fernanez 7,no4 #fjc71 drawn at the moment of his last breath1 is a very powerful sketch4 ,in ,no4 #fji the artist depicts misery in a few masterly touches1 and in ,nos4 #fjg1 #fjh1 and #fji he illustrates proverbs with his peculiar freakish fancy4 ,the study of bulls 7#faj7 is another spirited sketch4 ,the remaining plates represent scenes of the bull-ring4 ,goya still brooded over the misfortunes which the ,royal family and their hated favourite between them had brought about by folly1 ignorance1 and baseness2 and over the sufferers1 the common people1 who still sacrificed their lives to reinstate their corrupt but accustomed oppressors4 ,but the end was near4 ,the leading patriots1 assembled at ,cadiz1 were engaged in framing a constitution which was to mark the commencement of modern ,spain4 ,meanwhile ,wellington was driving the ,french troops before him--,olivenza1 ,fuentes de ,ooro1 ,almeida1 ,albuera1 ,ciudad ,rodrigo1 and ,badajoz indicate the line of their retreat4 ,the country was being drained and devastated to provide money for continuing the war4 ,joseph was providing bull-fights and shows to divert the mind of the ,madrileos from the national misery4 ,napoleon was overwhelming his brother with blame for a state of affairs which was neither of his making nor controlling4 ,madrid1 cut off from supplies1 was wasted by an appalling visitation of famine which lasted from ,september #ahaa to ,august #ahab1 when ,wellington's liberating army reached the capital to find that ,joseph had already beaten a retreat4 ,the ,napoleonic rule was over4 ,joseph returned to ,madrid1 but it was only to pack up his belongings1 to loot churches and palaces and retire with the plunder to ,france4 ,on ,june #ba1 #ahac1 ,wellington met the retiring intruders at ,vittoria1 and ,joseph1 with a greatly diminished burden of treasure1 barely escaped with his life4 ,thereafter ,napoleon abandoned his schemes of ,spanish conquest2 ,ferdinand1 the prisoner of ,valenay1--who had danced in captivity while his country bled1 who still sought a marital alliance with the house of ,buonaparte1 who had slobbered his felicitations on the birth of the ,king of ,rome and congratulated the ,emperor upon his victory over the ,spaniards--,ferdinand was now free to receive the welcome which his loyal countrymen were eager to give him4 ,ferdinand #8the desired1' after swearing to respect the new constitution1 re-entered ,spain in ,march #ahad amidst an incredible outburst of popular enthusiasm4 ,two days before he reached ,madrid every member of the ,cortes and every known friend of the constitution was thrown into prison4 ,by the publication of the decree of ,valencia he proclaimed himself an autocrat1 by his acts he proved himself a tyrant4 ,he re-established the ,inquisition1 he decreed the ancient taxes2 the country1 desolated by war waged on his behalf1 was thrown into lamentable disorder by the greed of the coarse and ignorant bloodsuckers whom the ,king gathered around him4 ,charles ,,iv4 was a paternal sovereign1 and ,joseph ,i4 was an enlightened ruler beside ,ferdinand ,,vii4 ,neither ,liberals nor ,conservatives were safe4 ,he imprisoned the men who had striven and bled to effect his return2 he persecuted without mercy those who had sworn allegiance to ,joseph4 ,goya was one of the first and fiercest1 according to ,lafond1 to acclaim the return of the ,king4 ,for a time he sought refuge from his sovereign in the house of his friend ,jos ,duaso y ,latre1 who kept him in hiding for three months4 ,at the expiration of that time he found that ,ferdinand was inclined to condone his defection4 ,it is reported that he pardoned him with the words1 #8,in our absence you have deserved exile1 nay worse1 you have merited death2 but you are a great artist1 and we will forget everything4' ,so #8the good old ,goya' was reinstated as ,court painter1 and he executed several portraits of the new sovereign4 ,it is evident from these likenesses that the painter recognised the weakness and worthlessness of ,ferdinand4 ,he viewed his sitter in the same clear1 critical1 uncompromising spirit with which he had gazed on his royal parents2 he painted the weak1 shifty1 uncultured despot as he was4 ,the equestrian portrait of ,ferdinand ,,vii4 is commonplace4 ,his portrait of the monarch in his gorgeous mantle is almost a caricature of royalty1 and in his other likenesses he betrays his antipathy to the restored ,bourbon4 ,that ,goya's palette still emitted #8rays of prodigious art' when he painted people who were congenial to him1 is shown by many of the portraits of this period2 for instance1 by that of the ,marquis de ,san ,adrin1 of ,don ,ignacio ,garcini and his wife1 of ,don ,evaristo ,prez de ,castro1 and by the beautiful study of ,goya's little niece1 ,la ,felician1 which is one of the tenderest and most delicate of all his portraits4 ,another royal commission entrusted to ,goya was to paint episodes of the war1 especially of the siege of ,zaragoza4 ,accompanied by his pupil ,luis ,gil ,ranz1 he set out to obtain studies4 ,owing to the exaltation of the populace the journey is said to have abounded in incidents and perils4 ,the language of signs which ,ranz employed in conversing with his deaf master caused them to be mistaken for spies4 ,they were forced to seek sanctuary at ,renales1 the pupil's native town1 where they waited until a favourable opportunity offered for their return to ,madrid4 ,the melancholy which had settled upon ,goya after the accession of the intrusive ,king increased with advancing age4 ,in the seclusion of his house 7the house in which he had entertained the noblest of the ,court circle--the ,deaf ,man's ,house1 as it came to be called by the ,madrileos7 he beguiled the time by painting the walls with fantastic and gruesome visions which gave it an awesome and startling appearance4 ,but the brilliant fancy had been obscured by the national vicissitudes he had witnessed and the haunting memories of the war obsessed his imagination4 ,these paintings1 which are now preserved in the ,prado1 produce a painful impression2 they would seem to be the creations of a fevered brain4 ,in #ahag ,goya visited ,seville to paint the picture of ,santas ,justa and ,rufina for the ,cathedral1 to which reference has been made4 ,on his return he designed a new series of ,caprices1 and executed many portraits and miniatures on ivory4 ,it was at this time1 too1 that he made his first essay in lithography4 ,the earliest of these lithographs is a fine brush drawing of an old woman spinning4 ,it is signed and dated ,february #ahai4 ,among the drawings upon stone that were executed about this period1 the two most important are #8,los ,chiens1' a bull attacked by dogs1 and the splendid diabolical scene of a man being dragged along by demons4 ,this last1 which is in the ,print ,room of the ,british ,museum1 has special interest1 as it is the first known wash drawing made upon the stone4 ,m4 ,lefort mentions six other lithographs which were executed at ,madrid before the journey to ,france3 a duel between two people1 a young woman reading to two children1 a monk1 a girl sitting on the knee of an old woman with other women in the background1 a drunkard and a woman1 and a peasant assaulting a girl4 ,the date of the execution of #8,los ,proverbios1' the fourth series of ,goya's etchings1--#8the last thunderbolt of his genius1'--is uncertain4 ,probably they belong to those years when1 under the weight of distress of spirits in his lonely home on the ,manzanares1 he sketched the world within him as it appeared to his gloomy imagination4 ,the plates are without explanatory titles1 and their meaning is obscure4 ,mr4 ,rothenstein finds in the larger size and broader execution of the plates themselves the reason for his belief that these are the last etchings by ,goya's hand before his failing eyesight forced him to lay aside the needle4 ,the plates were first printed in #ahcj4 ,this edition was edited with little care1 and in #ahfd a second edition was undertaken by the ,academy of ,san ,fernando4 ,there were eighteen of these plates1 but three more1 reproduced much later in ,l',art1 may be placed among them4 ,there remain several important etchings2 among them the three fine and impressive plates of #8,the ,prisoners' come first in importance4 ,in these1 as ,mr4 ,rothenstein has said1 #8,goya's powers as an etcher and his sympathy for suffering are demonstrated in a striking and singularly direct manner4' ,beneath the prints he has written in three sentences1 his last protest against injustice3 #8,the safe guarding of a prisoner does not necessitate torture'2 #8,if he is guilty1 why not kill him at once8' #8,so much barbarity in the treatment equals the crime committed4' ,the first proofs of these prints ,goya gave to his friend1 ,cean ,bermudez4 ,the plates known as ,obras ,sueltas were not1 as far as we know1 printed in ,goya's lifetime4 ,they show a man swinging a woman on a swing1 with a cat watching her from the bough of a tree2 a bull-fighter with a bull lying down behind him2 and two representations of majas4 ,they were first etched at ,bordeaux1 and from the somewhat crude style of the work1 probably were the last prints executed by ,goya4 ,among several unconnected prints we may mention the superb engraving of #8,the ,colossus1' which seems like an etching at first glance and has defied the attempts of experts to explain the highly complicated process of its execution4 ,as an illustration of ,goya's resources for producing a marvellous impression1 this piece constitutes a veritable tour de force4 ,the giant is placed in a vast landscape1 and beside his uncouth might and ,herculean muscles1 cities and villages seem diminutive and insignificant atoms of the soil on which he rests4 ,he is frightened into wakefulness by the morning sun which touches his mighty head and shoulders2 they seem as if the summit of a mountain1 while his feet are yet in the shadow of night4 ,a mysterious1 pale1 fantastic effect of moonlight throws a peculiar atmosphere about the figure4 ,as we have already remarked1 the process by which the effect is obtained remains inexplicable4 ,according to a statement made by ,goya's grandson1 the engraver employed a very soft metal plate from which only three impressions could be taken4 ,one of these impressions is in the ,national ,library of ,madrid4 ,a brilliant and rare old engraving of #8,a ,blind ,guitar ,player1' a large but inferior plate of a popular scene1 and three etchings of religious subjects1 complete the list of ,goya's miscellaneous etchings4 ,in ,june #ahbd1 at the age of seventy-six1 ,goya set out for ,france4 ,before starting he painted his #8,san ,jos de ,calasanz receiving the ,sacrament'--perhaps his finest religious composition4 ,the work was scarcely dry when he sought and obtained the ,king's permission to take the mineral waters at ,plombires in ,france4 ,the remainder of his life's story is soon told4 ,in ,paris he made the personal acquaintance of ,vernet1 and found delight in the works of ,gros1 of ,gricault1 and of ,delacroix4 ,the last master did honour to ,goya by copying every plate of the #8,caprichos4' ,but the full life of ,paris was too overwhelming for the old painter1 and having obtained in ,january #ahbe a six months' extension of leave from the ,king1 he settled down in ,bordeaux with his devoted friends1 ,mme4 ,weiss and her daughter4 ,in the little ,spanish colony on the pleasant banks of the ,garonne1 he had for companions ,joseph de ,carnerero1 the marine painter1 ,antonio de ,brugada1 the members of the family of ,goicoechea1 and ,pio de ,molina1 and ,moratin1 whose portraits he painted4 ,but these pictures do not represent his full powers2 the colours are heavy and sometimes crude2 he worked with double magnifying glasses and a stout lens4 ,but in his engraving1 and especially in his series of lithographs1 #8,les ,taureaux de ,bordeaux1' which ,mr4 ,rothenstein describes as #8the most remarkable compositions of his life1 certainly the greatest and most significant lithographs in the history of the art1' his old powers shine forth again in undimmed brilliance4 ,in #ahbf the feeling of home-sickness drew him back to ,madrid4 ,at ,court he was received with every mark of respect4 ,the ,king granted him a superannuation salary of #ej1jjj reals and permission to return to ,france1 #8in order that he may again take the baths which have done him so much good4' ,his ,majesty requested him to sit to ,vicente ,lpez y ,portaa1 in order that he might possess a picture of #8the greatest painter ,spain has seen since ,velazquez4' ,lpez painted #8the good old ,goya' life-size1 seated full-face1 palette in the left hand1 brush in the right1 and wearing an unbuttoned frockcoat4 ,the portrait was executed in a few hours1 for at the second sitting ,goya carried away the portrait1 assuring the painter that he would only spoil the likeness if he persevered any further with #8his niggling brush4' ,it is said that he took palette and brush and essayed a portrait of ,lpez1 but his hand1 cold and trembling1 refused to respond to the call made upon it1 and the attempt was a failure4 ,the royal pension and permission to return to ,france is dated ,july #ag1 #ahbf4 ,accompanied by his grandson1 ,mariano1 he betook himself again to ,bordeaux4 ,his declining years were cheered by the affectionate attentions of his young compatriot1 ,antonio de ,brugada1 who attended him in his infrequent strolls1 suffered patiently his querulous moods1 and even played to him on the piano the national airs which the old man could not hear4 ,in one last flash of his genius ,goya painted an admirable portrait of ,juan ,maguiro4 ,it was his last work1 and beneath the signature he inscribed his age--eighty-one years4 ,in ,march #ahbh a premonition that his end was near filled ,goya with a strong desire to see his son once more before he died4 ,when he heard that his wish was to be realised he wrote to his son3 #8,,dear ,,xavier1--,i can only tell you that this great pleasure has somewhat indisposed me and ,i am in bed4 ,god grant that ,i can see you when you come1 and then ,i shall be quite satisfied4 ,good-bye4--,your father1 ,,francisco4' ,xavier reached ,bordeaux on ,march #ac4 ,three days later ,goya had a paralytic seizure1 and surrounded by his family and his intimate friends1 #8the greatest painter that ,spain has seen since ,velazquez1' breathed his last4 ,on the following day the remains of ,goya were buried in the ,goicoechea family vault in the ,grand ,chartreux ,cemetery of ,bordeaux1 and the following inscription was engraved on the stone3-- ,,sepultura ,,de ,,la ,,familia ,,de ,,goicoechea ,,al ,,mejor ,,de ,,los ,,padres ,,el ,,amor ,,filial ,,eleva ,,este ,,monumento ,a ,,la ,,memoria ,,de ,,dn ,,martin ,,miguel ,,de ,,goicoechea ,,del ,,commercio ,,de ,,madrid ,,nacio ,,en ,,alsasua ,,reyno ,,de ,,navarra ,,el #bg ,,de ,,octubre ,,de #agee ,y ,,fallecio ,,en ,,burdeos ,,el #cj ,,de ,,junio ,,de #ahbe ,,rogad ,,dios ,,por ,,su ,,alma ,,hic ,,jacet ,,franciscus ,a ,,goya ,,et ,,lucientes ,,hispaniensis ,,peritissimus ,,pictor ,,magnaque ,,sui ,,nominis ,,celebritate ,,notus ,,decurso1 ,,probe1 ,,lumine ,,vitae ,,obiit ,,xvi4 ,,kalendas ,,marcii ,,anno ,,domini ,m4,,dccc4,,xxviii4 ,,aetatis ,,suae ,,lxxxv4 ,r4 ,i4 ,p4 ,goya's remains were removed to ,spain at the end of the nineteenth century4 ,on the afternoon of ,may #aa1 #aijj1 the body was placed in the ,san ,isidro ,cemetery1 ,madrid1 by the side of his old friends ,menndez ,valds and ,leandro ,moratin4 ,already in #ahhh the ,cortes had voted a sum of money for the creation of a suitable monument1 and a magnificent cenotaph now marks the resting-place of the last great ,spanish painter4 ,printed by ,t4 and ,a4 ,,constable1 ,printers to ,his ,majesty at the ,edinburgh ,university ,press ,,catalogue ,,of ,,the ,,works ,,of ,,goya ,,portraits #a4 ,king ,charles ,,iii4 ,the ,king is standing in hunting costume1 wearing a black three-cornered hat1 ample grey cloak1 gaiters1 etc4 ,in his right hand a carbine1 in his left1 white gloves4 ,at his feet his favourite white dog is lying1 with collar inscribed #8,rey nuestro seor4' ,background1 an arid landscape1 with shrubs2 mountains beyond4 7,a copy is to be found in the ,royal ,palace1 ,madrid1 and another in the possession of the ,duque de ,fernan ,nuez47 ,the ,prado1 ,madrid4 ,doubtful4 #b4 ,king ,charles ,,iii4 ,the ,king wears court dress4 ,portrait painted in #aghg4 ,the ,bank of ,spain1 ,madrid4 #c4 ,the ,family of ,king ,charles ,,iv4 ,this important composition includes fourteen full-length figures4 ,the ,king standing in the centre2 at his right the ,queen1 holding by the hand the ,infante ,don ,francisco de ,paula4 ,to the right of the ,queen1 the ,infanta ,doa ,maria ,isabella2 the ,prince of the ,asturias and his wife1 ,marie ,antoinette2 the ,infante ,don ,carlos2 the ,infanta ,maria ,josefa1 sister of the ,king2 further on1 the artist painting4 ,to the left of the ,king1 the ,infante ,don ,antonio2 ,prince ,louis of ,parma and his wife1 carrying their infant in her arms2 and the ,infanta ,charlotte-,joaquine4 ,canvas #bhj by #ccf4 ,the ,prado1 ,madrid4 #d4 ,studies for the preceding picture4 7a7 ,king ,charles ,,iv4 7b7 ,queen ,maria ,luisa4 7c7 ,the ,infante ,ferdinand4 7d7 ,the ,infante ,don ,carlos4 ,the ,prado1 ,madrid4 7e7 ,the ,infante ,don ,francisco de ,paula4 7f7 ,the ,infante ,don ,antonio1 ,brother of ,charles ,,iv4 ,the ,prado1 ,madrid4 7g7 ,prince ,louis of ,parma1 ,son-in-law of ,charles ,,iv4 ,the ,prado1 ,madrid4 7h7 ,princess ,isabella1 afterwards ,queen of ,naples4 7i7 ,doa ,maria ,josefa1 ,sister of ,charles ,,iv4 7j7 ,the ,infant ,son of ,prince ,louis of ,parma1 represented with a toy guitar in his hands4 ,this sketch was sold in ,paris in #ahgc for #ab1hjj francs4 7k7 ,maria ,luisa1 ,princess of ,parma4 ,the ,prado1 ,madrid4 #e4 ,king ,charles ,,iv4 ,the ,king in ,court dress4 ,ministerio de ,hacienda1 ,madrid4 #f4 ,repetition of the preceding4 ,the ,university of ,madrid4 #g4 ,repetition of the preceding4 ,escuela de ,ingenieros de ,caminos4 #h4 ,king ,charles ,,iv4 ,the ,king wears a gorgeous crimson costume4 ,boadilla del ,monte4 #i4 ,king ,charles ,,iv4 ,the ,king1 in ,court dress1 is represented standing4 ,the ,war ,office1 ,madrid4 #aj4 ,king ,charles ,,iv4 ,the ,king wears the uniform of the ,royal ,body-guard4 ,he is standing4 #aa4 ,king ,charles ,,iv4 ,the property of the ,marqus de ,casa ,torres1 ,madrid4 #ab4 ,king ,philip ,,iv4 ,the ,king is hunting the wild boar4 ,this picture by ,goya is a copy of the painting by ,velazquez1 now in the ,national ,gallery1 ,london1 which was in the ,royal ,palace1 ,madrid1 until it was presented by ,ferdinand ,,vii4 to the late ,lord ,cowley1 of whom it was purchased for the ,national ,gallery in #ahdf4 ,the hunt is taking place in an enclosed space of ground1 in the front of which there are many spectators2 hills and foliage fill the background4 ,among the numerous small figures in the picture are portraits of ,king ,philip ,,iv41 the ,count-,duke of ,olivares1 the ,cardinal ,infante1 ,don ,fernando de ,bourbon2 the arquebus-carrier of the ,king1 ,don ,juan ,mateos4 ,queen ,isabella de ,bourbon and her maids of honour are present in their coaches4 ,prado1 ,madrid4 #ac4 ,king ,charles ,,iv4 ,a life-size figure of the ,king1 standing2 he wears hunting costume4 ,capodimonte1 ,naples4 #ad4 ,king ,charles ,,iv4 ,a repetition of the preceding4 ,the ,royal ,palace1 ,madrid4 #ae4 ,king ,charles ,,iv4 ,the ,king wears the uniform of the ,royal ,body-guard4 ,he is standing1 bare-headed1 with a cane in his hand4 ,the ,prado1 ,madrid4 #af4 ,king ,charles ,,iv4 ,this is a repetition of the preceding1 on canvas4 ,the ,royal ,palace1 ,madrid4 #ag4 ,king ,charles ,,iv4 ,the ,king1 mounted on a piebald horse1 is in the uniform of the ,royal ,body-guard4 ,the ,prado1 ,madrid4 #ah4 ,maria ,luisa of ,parma1 wife of ,charles ,,iv4 ,the ,queen carries an open fan in her right hand4 ,academia de la ,historia1 ,madrid4 #ai4 ,maria ,luisa of ,parma4 ,a repetition of the preceding4 #bj4 ,maria ,luisa of ,parma4 ,a repetition of the preceding4 ,don ,luis de ,navas1 ,madrid4 #ba4 ,maria ,luisa of ,parma4 ,the ,queen wears a large hat1 and has a fan in her hands1 which are crossed4 ,boadilla del ,monte4 #bb4 ,maria ,luisa of ,parma4 ,repetition of the preceding4 ,canvas4 ,don ,aureliano de ,beruete1 ,madrid4 #bc4 ,maria ,luisa of ,parma4 ,this is a copy of the preceding4 #bd4 ,maria ,luisa of ,parma4 ,ministerio de ,hacienda1 ,madrid4 #be4 ,maria ,luisa of ,parma4 ,repetition of the preceding4 ,the ,university of ,madrid4 #bf4 ,maria ,luisa of ,parma4 ,repetition of the preceding 7full-length portrait74 ,the ,queen wears a hat with feathers4 ,the ,war ,office1 ,madrid4 #bg4 ,maria ,luisa of ,parma4 ,repetition of the preceding4 ,the ,queen wears a lace dress4 ,the figure is three-quarter length4 ,inscribed #8,maria ,luisa de ,parma4' ,casa de la ,diputacion1 ,madrid4 #bh4 ,maria ,luisa of ,parma4 ,this is a companion picture to ,no4 #aj 7,charles ,,iv474 ,the ,queen wears a turban as head-dress4 ,a three-quarter length portrait4 ,the ,marqus de ,casa ,torres1 ,madrid4 #bi4 ,maria ,luisa of ,parma4 ,the ,queen wears a bright-coloured gown1 and for head-dress a turban4 ,this is the companion picture to ,no4 #aa 7,charles ,,iv474 ,capodimonte1 ,naples4 #bi;,a4 ,maria ,luisa of ,parma4 ,repetition of ,no4 #bh4 ,the ,royal ,palace1 ,madrid4 #cj4 ,maria ,luisa of ,parma4 ,the ,queen is represented full face1 a turban on her head2 heavy ear and finger rings2 a fan in her right hand4 ,the property of ,mr4 ,havemeyer1 ,new ,york4 #ca4 ,maria ,luisa of ,parma4 ,the ,queen is dressed in black1 and wears a mantilla4 ,formerly in the possession of ,godoy1 ,prince of the ,peace4 ,the ,prado1 ,madrid4 #cb4 ,maria ,luisa of ,parma4 ,equestrian portrait of the ,queen in the uniform of the ,royal ,body-guard4 ,the ,prado1 ,madrid4 #cc4 ,maria ,luisa of ,parma4 ,the ,queen wears a black dress and mantilla4 ,the ,royal ,palace1 ,madrid4 #cd4 ,maria ,luisa of ,parma4 ,the ,queen is reclining on a couch4 #ce4 ,maria ,luisa of ,parma4 ,the property of ,general ,sir ,j4 ,meade1 ,london4 #cf4 ,maria ,luisa of ,parma4 ,the ,queen carries a child in her arms4 ,the property of ,m4 ,billotte1 ,paris4 #cg4 ,equestrian ,portrait of ,king ,ferdinand ,,vii4 ,the ,king is mounted on a charger4 ,he wears a tight-fitting coat1 riding breeches and boots2 a hat with a white feather4 ,the right arm is extended4 ,academia de ,san ,fernando1 ,madrid4 #ch4 ,king ,ferdinand ,,vii4 ,sketch of the preceding in oils4 #ci4 ,king ,ferdinand ,,vii4 ,the ,king is standing dressed in general's uniform4 ,the ,prado1 ,madrid4 #dj4 ,king ,ferdinand ,,vii4 ,in coronation robes4 ,the ,prado1 ,madrid4 #da4 ,king ,ferdinand ,,vii4 ,repetition of the preceding4 ,signed #8,f4 ,goya4' ,palacio del ,canal ,imperial de ,aragon1 ,zaragoza4 #db4 ,king ,ferdinand ,,vii4 ,a study of the entire figure4 ,the ,post ,office1 ,madrid4 #dc4 ,king ,ferdinand ,,vii4 ,casa de la ,diputacion1 ,pamplona4 #dd4 ,king ,ferdinand ,,vii4 ,a study on canvas4 ,ministerio de la ,gobernacion1 ,madrid4 #de4 ,king ,ferdinand ,,vii4 ,study on canvas4 #df4 ,king ,ferdinand ,,vii4 ,a bust4 ,on his shoulders the royal purple cloak with ermine collar4 ,he wears the insignia of the ,golden ,fleece4 ,the property of the ,vizconde de ,val de ,erro1 ,madrid4 #dg4 ,the ,infanta ,margarita and ,playmates4 ,after ,velazquez 7,las ,meninas74 ,the property of ,herr ,steinmeier1 ,cologne4 #dh4 ,the ,family of the ,infante ,don ,luis de ,bourbon1 ,brother of ,charles ,,iii4 ,don ,luis and his wife are seated at a round table2 their two children near them4 ,a hairdresser is powdering the lady's hair2 she wears a dressing-gown4 ,members of the household are present1 and ,goya himself is represented with his palette and brushes in hand4 ,heavy curtains in crimson and blue velvet form the background4 ,boadilla del ,monte4 #di4 ,the ,infante ,don ,luis de ,bourbon4 ,a study4 ,it bears on the reverse the inscription3 #8,retrato del ,serenissimo ,seor ,infante ,don ,luis ,antonio de ,borbon1 que de q a #ab de la ,maana1 dia #aa de ,sept4 del ao #aghc1 hacia ,don ,francisco ,goya4' ,boadilla del ,monte4 #ej4 ,the ,infante ,don ,luis de ,bourbon4 ,repetition of the preceding4 #ea4 ,the ,infante ,don ,luis de ,bourbon4 ,three-quarter portrait1 in ,court costume4 ,boadilla del ,monte4 #eb4 ,the ,infante ,don ,luis de ,bourbon and the ,architect ,don ,ventura ,rodriguez4 ,the property of ,m4 ,joan ,stchoukine1 ,paris4 #ec4 ,the ,infante ,don ,luis ,maria de ,bourbon1 ,archbishop of ,toledo1 as a ,child4 ,with the inscription3 #8,al ,s ,d ,luis ,maria1 hijo del ,ser ,infante ,d ,luis y de la muy ilustre ,s ,d ,mar4 ,ter4 ,vallabriga a los seis aos y tres meses de edad4' ,boadilla del ,monte4 #ed4 ,the ,infante ,don ,luis ,maria de ,bourbon4 ,boadilla del ,monte4 #ee4 ,the ,infante ,don ,luis ,maria de ,bourbon4 ,repetition of the preceding4 ,the property of the ,marqus de ,casa ,torres1 ,madrid4 7,another copy in the ,church of ,monserrat at ,rome47 #ef4 ,doa ,maria ,teresa de ,vallabriga1 ,condesa de ,chinchon1 ,wife of the ,infante ,don ,luis de ,bourbon4 ,companion picture to ,no4 #di4 ,bears the date #aghc4 ,it bears an inscription and the artist's name4 #eg4 ,doa ,maria ,teresa de ,vallabriga1 ,condesa de ,chinchon4 ,repetition of the preceding4 #eh4 ,doa ,maria ,teresa de ,vallabriga1 ,condesa de ,chinchon4 ,three-quarter length portrait4 #ei4 ,doa ,maria ,teresa de ,vallabriga1 ,condesa de ,chinchon4 ,equestrian portrait4 #fj4 ,doa ,maria ,teresa de ,bourbon4 ,bears an inscription by the painter4 ,boadilla del ,monte4 #fa4 ,doa ,maria ,teresa de ,bourbon4 ,full-length figure1 standing4 ,boadilla del ,monte4 #fb4 ,doa ,maria ,teresa de ,bourbon4 ,boadilla del ,monte4 #fc4 ,doa ,maria ,teresa de ,bourbon4 ,the entire figure1 seated4 ,boadilla del ,monte4 #fd4 ,king ,joseph ,buonaparte4 ,this portrait is in private hands4 #fe4 ,the ,emperor ,francis of ,austria4 ,doubtful4 ,his right hand holds a telescope1 his left rests on a cannon marked with the letter ,n4 ,white uniform4 #ff4 ,doa ,manuela ,giron y ,pimentel1 ,duquesa de ,abrantes4 ,bears her name and the painter's signature1 #ahaf4 ,the property of the ,dowager ,duquesa de ,abrantes1 ,madrid4 #fg4 sop4 ,after ,velazquez4 ,the property of ,m4 ,sortez1 ,paris4 #fh4 #acth ,duque de ,berwick y ,alba4 ,half-figure1 on canvas4 ,the property of the ,duque de ,medina ,sidonia1 ,madrid4 #fi4 #acth ,duque de ,berwick y ,alba4 ,private property1 ,madrid4 #gj4 ,doa ,maria ,teresa ,cagetana de ,silva1 ,duquesa de ,berwick y ,alba4 ,painted in #agie4 ,she is represented full face1 her hair falling on her shoulders2 a coral necklace and gold bracelets4 ,her right hand points to the painter's signature4 ,she is dressed in white with a large flame-coloured sash4 ,at her feet is a pet-dog4 ,landscape background4 ,signed left-hand bottom corner4 #ga4 ,doa ,maria ,teresa ,cagetana de ,silva1 ,duquesa de ,berwick y ,alba4 ,the property of ,sir ,julius ,wernher1 ,bart41 ,london4 #gb4 ,the ,duquesa de ,alba4 ,in black1 and wearing a mantilla4 ,on her forefinger is a ring1 on the bezel of which is inscribed the name #8,alba4' ,signed by the artist4 ,the property of ,m4 ,p4 ,solige1 ,paris4 #gc4 ,the ,duquesa de ,alba4 ,the property of ,don ,rafael ,barrio1 ,madrid4 #gd4 ,the ,duquesa de ,alba4 ,life-size bust4 ,the property of the ,duque de ,medina ,sidonia1 ,madrid4 #ge4 ,the ,duquesa de ,alba4 ,half-length figure1 life size4 ,dressed in green4 ,she wears a fichu4 ,her hair is powdered4 ,the property of ,m4 ,bamberger1 ,paris4 #gf4 ,the ,duquesa de ,alba4 ,formerly in the ,urzaiz ,collection in ,seville4 #gg4 ,conde de ,altamira4 ,he is seated4 ,the head is shown in profile4 ,full-length1 life-size figure on canvas4 ,the ,bank of ,spain1 ,madrid4 #gh4 ,doa ,maria ,ignacia ,alvares de ,toledo1 ,condesa de ,altamira4 ,on canvas1 full-length figure1 life size4 ,the ,countess is represented with her daughter4 ,the property of ,m4 ,leopold ,goldschmidt1 ,paris4 #gi4 ,altamirano1 ,auditor to the ,court of ,seville4 ,he is bare-headed1 wears a brown suit1 with a frill and light-flowered vest4 ,oval canvas1 life-size bust4 ,the property of ,messieurs ,boussod and ,valadon1 ,paris4 #hj4 ,don ,jos ,maria ,arango1 the ,andalusian ,painter4 ,painted in #ahaf1 when he was twenty-nine4 ,the property of ,don ,j4 ,masensio1 ,seville4 #ha4 ,don ,gabriel de ,aristizabal1 ,lieutenant-,general of ,marines4 ,standing1 half-length1 he wears the gala uniform of a lieutenant-general of the ,armada4 ,in a buttonhole is seen the ,cross of ,charles ,,ii4 ,it bears an inscription4 ,formerly in the ,naval ,museum1 ,madrid4 #hb4 ,azara1 the ,naturalist4 ,he wears the uniform of a naval brigadier4 ,half-length portrait4 ,azara family1 ,madrid4 #hc4 ,the ,marquesa de ,baena4 ,the property of ,don ,j4 ,zuloaga1 ,eibar4 #hd4 ,doa ,feliciana ,bayeu4 ,she wears a silk handkerchief round her neck2 in her hair blue and pink ribbons4 ,an inscription in left-hand bottom corner4 ,life-size bust1 on canvas4 ,the property of ,don ,c4 ,ferriz1 ,madrid4 #he4 ,don ,francisco ,bayeu y ,subias1 ,goya's ,brother-in-law4 ,he is seated almost full face1 wears a grey suit1 and holds a brush in his right hand4 ,the ,prado1 ,madrid4 #hf4 ,don ,francisco ,bayeu y ,subias4 ,he stands before a canvas2 holds a brush in his right hand4 ,the ,museum1 ,valencia4 #hg4 ,don ,ramon ,bayeu and his ,wife4 #hh4 ,father-in-law and ,mother-in-law of ,goya4 ,two miniatures4 ,the property of ,don ,alejandro de ,pidal1 ,madrid4 #hi4 ,don ,manuel ,lapea1 ,marquis of ,bondad ,real4 ,bears the inscription #8,d4 ,manuel ,lapea4 ,pr ,goya ao #aggi4' ,photo by ,moreno4 ,canvas #bbe by #adj4 ,the property of ,don ,joaqun ,argamasilla1 ,madrid4 #ij4 ,the ,marquesa de ,caballero4 ,bears the inscription #8,exma ,sra4 ,mar de ,caballero1 ,goya #ahjg4' ,canvas #ajf by #jed4 ,photo by ,moreno4 ,reproduction ,plate #ee4 ,the property of the ,marqus de ,cervera1 ,madrid4 #ia4 ,don ,francisco1 ,conde de ,cabarrus4 ,painted in #aghh for the sum of #dejj reales4 ,photo by ,moreno4 ,canvas #baj by #abg4 ,the ,bank of ,spain1 ,madrid4 #ib4 ,the ,marquesa de ,cadalso4 ,canvas #ajf by #jhd4 ,half-length figure1 life size4 ,she wears flowers in her hair1 and carries a fan in her hand4 ,the property of #8,d4 ,g41' ,madrid4 #ic4 ,don ,juan ,camaron y ,melia1 ,director of the ,academia de ,san ,carlos in ,valencia4 ,bears the inscription #8,d4 ,joh4 ,camaron y ,melia en la ,edad de #ch ,a4' ,canvas #jfe by #jef4 ,the property of ,feligre ,calvo1 ,madrid4 #id4 ,don ,pedro ,rodriguez1 ,count of ,campomanes4 ,viaza1 p4 #bfi4 #ie4 ,doa ,francisca ,caudado4 ,dressed in gauze1 with a black mantilla and long yellow kid gloves4 ,she is seated at the foot of a tree4 ,viaza1 p4 #bfd4 ,canvas #afc by #aah4 ,the ,museum1 ,valencia4 #if4 ,doa ,f4 ,caudado4 ,yriarte1 p4 #adg4 ,canvas #ajbj by #jgde4 ,herr ,gans1 ,frankfurt am ,main4 #ig4 ,don ,manuel ,cantin y ,lucientes4 ,canvas #jee by #jdd4 #ih4 ,don ,m4 ,careda4 #ii4 ,don ,isidoro de ,castagnedo4 #ajj4 ,don ,juan ,augustin ,cean ,bermudez4 #aja4 ,the ,wife of ,d4 ,juan ,augustin ,cean ,bermudez4 #ajb4 ,don ,felix ,colon y ,lariategui1 the ,author4 #ajc4 ,don ,joaquin1 ,archbishop of ,valencia4 #ajd4 ,the ,secretary of the ,archbishop of ,valencia4 #aje4 ,doa ,lorenza ,correa1 the ,singer4 #ajf4 ,joaquin ,rodriguez ,costellares1 the ,bull-fighter4 #ajg4 ,don ,joaquin ,maria de ,ferrer1 ,president of the ,council of ,ministers4 #ajh4 ,doa ,manuela de ,alvarez ,coias y ,tomas de ,ferrer4 #aji4 ,don ,mariano ,ferrer4 #aaj4 ,don ,jos ,moino1 ,conde de ,floridablanca y ,goya4 #aaa4 ,don ,jos ,moino1 ,conde de ,floridablanca4 #aab4 ,don ,jos ,moino1 ,conde de ,floridablanca4 #aac4 ,don ,antonio ,faraster4 #aad4 ,jacques ,galos1 the ,printer4 #aae4 ,don ,manuel ,garcia1 the celebrated ,musician4 #aaf4 ,don ,ignacio ,garcini1 the ,engineer4 #aag4 ,doa ,josefa ,castilla ,portugal de ,garcini4 #aah4 ,joaquin ,rodriguez ,costellares1 the ,bull-fighter4 #aai4 ,joaquin ,rodriguez ,costellares1 the ,bull-fighter4 #abj4 ,don ,juan ,antonio ,cuervo1 ,director of the ,academia de ,san ,fernando4 #aba4 ,doa ,maria ,ildefonsa ,dabalos y ,santa ,maria4 #abb4 ,don ,juan ,martin1 nicknamed ,el ,empecinado4 #abc4 ,doa ,tadea ,arias de ,enriquez4 #abd4 ,don ,carlos ,espaa1 ,conde de ,espaa4 #abe4 ,doa ,josefa de ,alvarado ,lero1 ,marquesa de ,espeja4 #abf4 ,don ,rafael ,esteve y ,vilella4 #abg4 ,fray ,miguel ,fernandez4 #abh4 ,don ,carlos ,gutierrez de los ,rios1 ,duque de ,fernn ,nuez4 #abi4 ,monsieur ,gasparini4 #acj4 ,don ,miguel de ,muzquiz1 ,conde de ,gausa4 #aca4 ,don ,manuel ,godoy1 ,prncipe de la ,paz4 #acb4 ,don ,manuel ,godoy1 ,prncipe de la ,paz4 #acc4 ,doa ,juana ,galarza de ,goicoechea4 #acd4 ,don ,cornelio van der ,gosen4 #ace4 ,don ,francisco de ,goya y ,lucientes4 #acf4 ,don ,francisco de ,goya y ,lucientes4 #acg4 ,don ,francisco de ,goya y ,lucientes4 #ach4 ,don ,francisco de ,goya y ,lucientes4 #aci4 ,don ,francisco de ,goya y ,lucientes4 #adj4 ,don ,francisco de ,goya y ,lucientes4 #ada4 ,don ,francisco de ,goya y ,lucientes4 #adb4 ,don ,francisco de ,goya y ,lucientes4 #adc4 ,don ,francisco de ,goya y ,lucientes4 #add4 ,don ,francisco de ,goya y ,lucientes4 #ade4 ,don ,francisco de ,goya y ,lucientes4 #adf4 ,don ,francisco de ,goya y ,lucientes4 #adg4 ,don ,francisco de ,goya y ,lucientes4 #adh4 ,don ,francisco de ,goya y ,lucientes4 #adi4 ,don ,francisco de ,goya y ,lucientes and the ,duquesa de ,alba4 #aej4 ,d4 ,francisco de ,goya y ,lucientes and ,dr4 ,arieta4 #aea4 ,doa ,josefa ,bayeu y ,goya1 the ,painter's ,wife4 #aeb4 ,doa ,hermengilda ,goya y ,bayeu1 ,daughter of the ,painter1 aged #ah months4 #aec4 ,don ,francisco ,javier de ,goya y ,bayeu1 ,son of the ,artist4 #aed4 ,don ,francisco ,javier de ,goya y ,bayeu4 #aee4 ,don ,francisco ,javier de ,goya y ,bayeu4 #aef4 ,doa ,gracia ,lucientes y ,goya1 ,mother of the ,painter 7874 #aeg4 ,doa ,gracia ,lucientes y ,goya 7874 #aeh4 ,doa ,gumersinda de ,goicoechea y ,goya1 ,daughter-in-law of the ,painter4 #aei4 ,mariano de ,goya y ,goicoechea1 ,marques de ,espinar1 ,grandson of the ,painter1 as a ,child 7ten years74 #afj4 ,doa ,rita de ,goya4 #afa4 ,don ,j4 ,m4 de ,goicoechea4 #aghi4 #afb4 ,the same4 ,signed1 #ahaj4 #afc4 ,mariano de ,goya1 ,grandson of the ,painter4 #afd4 ,ferdinand ,guillemardet1 ,french ,ambassador4 #agih4 #afe4 ,condesa de ,haro4 ,madrid4 #aff4 ,the ,minister ,jovellanos4 ,madrid4 #afg4 ,the same4 ,gijon4 #afh4 ,the ,painter ,asensio ,julia1 #8el ,pescadoret4' ,signed4 ,the ,comtesse de ,paris4 #afi4 ,the same4 ,m4 ,bamberger4 #agj4 ,the ,milkmaid of ,bordeaux4 ,madrid4 #aga4 ,francisco ,larrumbe4 ,the ,bank of ,spain1 ,madrid4 #agb4 ,the ,marquesa de ,lazan4 ,madrid4 #agc4 ,the ,bookseller of the ,calle ,carretas4 #agd4 ,the ,actress ,rita ,luna4 ,madrid4 #age4 ,manuel ,lucientes1 aged twelve4 ,zaragoza4 #agf4 ,llorente1 ,historian of the ,inquisition4 ,doubtful4 ,madrid4 #agg4 ,the ,duque de ,san ,carlos4 #ahae4 ,zaragoza4 #agh4 ,the ,actor ,isidoro ,maiquez4 ,madrid4 #agi4 ,don ,juan ,antonio ,melon4 #ahj4 ,menippus 7after ,velazquez74 #aha4 ,the ,conde de ,miranda4 #ahb4 ,the ,condesa ,miranda de ,castaar4 #ahc4 ,don ,pedro ,mocarte1 the ,singer4 #ahd4 ,doa ,maria ,amalia ,zuargo de ,acedo1 ,marquesa de ,monte ,hermoso4 #ahe4 ,doa ,vincenta ,solis1 ,duquesa de ,montellano4 #ahf4 ,the ,family of the ,condesa de ,montijo4 #ahg4 ,don ,leandro ,fernandez de ,moratin1 the ,poet4 #ahh4 ,don ,leandro ,fernandez de ,moratin1 the ,poet4 #ahi4 ,marshal ,mouchy1 ,governor of ,french ,guiana4 #aij4 ,don ,juan ,bautista de ,muguiro4 #aia4 ,don ,jos ,luis de ,munrriz4 #aib4 ,marqus de ,nibbiano4 #aic4 ,don ,manuel ,osorio4 #aid4 ,don ,pedro de ,alcantara ,tellez ,giron y ,pacheco1 ,marqus de ,penafiel1 #ith ,duque de ,osuna2 with his wife1 ,doa ,maria ,josefa ,pimentel ,tellez ,giron ,borga1 ,condesa and ,duquesa of ,benavente and ,osuna1 and their four eldest children--,d4 ,francisco de ,borga1 #ajth ,duque2 ,d4 ,pedro de ,alcantara1 ,prncipe de ,anglona2 ,da4 ,josefa ,manuela1 later ,marquesa de ,camarasa2 and ,da4 ,joaquina ,maria del ,pilar1 ,marquesa de ,santa ,cruz4 #aie4 ,cardinal ,lorenzana4 ,toledo4 #aif4 ,admiral ,mazaredo4 ,madrid4 #aig4 ,the ,toreador ,martineto4 ,madrid4 #aih4 ,the ,poet ,melendez ,valdez4 ,barnard ,castle4 #aii4 ,jos ,pio de ,molina4 #aii;,a4 ,don ,evaristo ,perez de ,castro4 ,madrid4 #bjj4 ,the #ith ,duque de ,osuna4 ,paris4 #bja4 ,the #ajth ,duque de ,osuna1 aged ten4 ,doubtful4 ,madrid4 #bjb4 ,the same4 ,paris4 #bjc4 ,the ,duquesa del ,parque4 ,madrid4 #bjd4 ,doctor ,peral4 ,national ,gallery1 ,london4 ,presented in #aijd4 #bje4 ,general ,palafox1 ,duque de ,zaragoza4 ,equestrian portrait4 ,the ,prado4 #bjf4 ,manuel ,garcia de la ,prada4 #ahaj4 ,paris4 #bjg4 ,antonio ,cobos de ,porcel4 ,painted on wood4 ,granada4 #bjh4 ,doa ,isabel de ,porcel4 ,national ,gallery1 ,london4 #bji4 ,don ,manuel de la ,prada4 ,paris4 #baj4 ,tiburcio ,perez4 ,madrid4 #baa4 ,don ,mariano de ,urquijo4 ,academia de la ,historia1 ,madrid4 #bab4 ,tomas ,perez ,estala4 ,madrid4 #bac4 ,don ,pantaleon ,perez de ,nenin4 #ahjh4 ,madrid4 #bad4 ,don ,ramon de ,pignatelli4 ,several copies at ,zaragoza and ,madrid4 #bae4 ,the ,marquesa de ,pontejos4 #baf4 ,don ,martin ,zapater y ,claveria4 #agij4 ,zaragoza4 #bag4 ,the same4 #agig4 ,an oval4 ,zaragoza4 #bag;,a4 ,don ,ramon de ,posada y ,solo4 ,madrid4 #bah4 ,the ,conde de ,puonrostro4 ,madrid4 #bai4 ,general ,ricardos4 ,madrid4 #bbj4 ,the ,architect ,ventura ,rodriguez4 ,madrid4 #bba4 ,the same4 ,copy of a picture which is lost4 ,academia de ,san ,fernando1 ,madrid4 #bbb4 ,bishop ,rojas4 ,doubtful4 ,academia de la ,historia1 ,madrid4 #bbc4 ,don ,manuel ,romero1 ,minister of ,joseph ,buonaparte4 ,madrid4 #bbd1 #bbe1 #bbf4 ,the ,toreador ,jos ,romero4 ,madrid and ,seville4 #bbg4 ,the ,marqus de ,san ,adrian4 ,madrid4 #bbh4 ,the ,marquesa de ,san ,adrian4 ,madrid4 #bbi4 ,doa ,joaquina ,tellez ,giron1 ,marquesa de ,santa ,cruz4 ,madrid4 #bcj4 ,marquesa de ,santiago1 ,mentioned by ,conde de la ,viaza4 #bca4 ,don ,miguel ,cayetano ,soler4 ,mentioned by ,goya himself4 #bcb4 ,don ,ramon ,satu1 ,alcalde de ,corte4 #ahbc4 ,madrid4 #bcc4 ,manuel ,silvela4 ,madrid4 #bcd4 ,doa ,maria ,apodaca de ,sesma4 ,madrid4 #bce4 ,the ,marquesa de la ,solana4 ,madrid4 #bcf4 ,the ,engraver ,selma4 ,engraved by ,selma himself4 #bcg4 ,don ,bartolom ,sureda4 ,in possession of ,seora ,sureda4 #bch4 ,doa ,teresa ,sureda1 ,wife of preceding4 ,companion picture of preceding2 in possession of ,seora ,sureda4 #bci4 ,the ,conde de ,teba4 ,mentioned by the ,conde de la ,viaza4 #bdj4 ,the ,actress ,maria del ,rosario ,fernandez1 surnamed ,la ,tirana4 ,academia de ,san ,fernando1 ,madrid4 #bda4 ,the same4 ,painted in #agid4 ,madrid4 #bdb4 #8,tio ,paquete1' a well-known ,madrid ,mendicant4 ,madrid4 #bdc4 ,the ,duque de ,trastamara1 aged twelve4 ,madrid4 #bdd4 ,the ,marques de ,tolosa4 ,the ,bank of ,spain1 ,madrid4 #bde4 ,general ,urrutia4 ,the ,prado1 ,madrid4 #bdf4 ,don ,jos de ,vargas ,ponce1 ,naval ,officer and ,man of ,letters4 ,signed by ,goya4 ,academia de la ,historia1 ,madrid4 #bdg4 ,the ,architect ,don ,juan de ,villanueva4 ,academia de ,san ,fernando1 ,madrid4 #bdh4 ,the ,marqus and ,marquesa de ,villafranca with their ,son4 ,in the possession of the ,duque de ,medina ,sidonia1 ,madrid4 #bdi4 ,the ,marquesa de ,villafranca4 ,same owner4 #bej4 ,the ,dowager ,marquesa de ,villafranca4 ,same owner4 #bea4 ,doa ,catalina ,viola4 ,mentioned by the ,conde de la ,viaza4 #beb4 ,the ,duke of ,wellington4 ,unfinished4 ,equestrian portrait4 ,strathfieldsaye4 #bec4 ,the same4 ,madrid4 #bed4 ,don ,bernardo ,yriarte1 a ,collector of ,pictures4 ,paris4 #bee4 ,don ,toro ,zambrano4 ,the ,bank of ,spain1 ,madrid4 #bef4 ,doa ,antonia ,zarate4 ,madrid4 #beg4 ,the same4 ,madrid4 #beh4 ,doa ,lola ,jimnez4 ,paris4 #bei4 ,a ,lady about twenty-five years of age1 believed to have been the ,painter's ,mistress4 ,m4 ,bamberger1 ,paris4 #bfj4 ,a ,lady playing a ,guitar1 said to have been the ,painter's ,mistress4 ,m4 de ,pommereal1 ,paris4 #bfa4 ,ferdinando ,,iv41 ,king of ,naples4 ,marqus de la ,vega ,inclan1 ,madrid4 ,portraits unidentified3-- #bfb4 ,group of ,heads4 ,formerly at ,san ,telmo1 ,seville4 ,comtesse de ,paris4 #bfc4 ,an ,actor4 ,formerly in the collection of ,don ,v4 de ,carderera4 ,madrid4 #bfd4 ,a ,child4 ,a boy of about seven years4 ,mme4 de ,lacy1 ,bordeaux-,caudron4 #bfe4 ,victoriano ,her 444 ,an infant4 ,signed #8,f4 ,goya1 ,ao #ahjf4' ,doubtful4 ,herr ,kleinschmidt4 ,cassel4 #bff4 ,a ,spanish ,gentleman4 ,painted in #ahae4 ,museum1 ,castres4 #bfg4 ,a ,spanish ,gentleman of the ,old ,school4 ,don ,manuel ,soler y ,alarcon1 ,madrid4 #bfh4 ,a ,spanish ,gentleman4 ,doubtful4 ,formerly in collection of ,don ,sebastian de ,borbon y ,braganza1 ,aranjuez4 #bfi4 ,a ,spanish ,gentleman of the early years of the nineteenth century4 ,m4 ,ch4 ,cherfils1 ,biarritz4 #bgj4 ,a ,spanish ,gentleman in costume of the seventeenth century4 ,doubtful4 ,formerly in ,collection ,cepero1 ,seville4 #bga4 ,a ,spanish ,gentleman4 ,don ,jos ,toran1 ,valencia4 #bgb4 ,a ,spanish ,gentleman4 ,don ,enrique ,salazar1 ,bilbao4 #bgc4 ,a ,spanish ,gentleman4 ,formerly in ,collection ,candamo1 ,paris4 #bgd4 ,an ,old ,man4 ,formerly in collection of ,don ,sebastian de ,borbon y ,braganza1 ,aranjuez4 #bge4 ,an ,old ,man4 ,signed #8,fco4 ,goya4' ,don ,jos ,lzaro ,galdeano1 ,madrid4 #bgf4 ,a ,little ,girl4 ,in a white dress4 ,don ,patricio de ,lozano1 ,madrid4 #bgg4 ,a ,little ,girl4 ,of five or six years1 in peasant's dress4 ,marqus de ,casa ,torres1 ,madrid4 #bgh4 ,a ,little ,girl4 ,of about five years4 ,mme4 de ,lacy1 ,bordeaux-,caudron4 #bgi4 ,a ,little ,girl4 ,in company of a dog4 ,mme4 de ,lacy1 ,bordeaux-,caudron4 #bhj4 ,a ,girl4 ,royal ,museum of ,painting and ,sculpture1 ,brussels4 #bha4 ,a ,girl4 ,this portrait was long regarded as a presentment of ,charlotte ,corday4 ,heirs of ,baron ,n4 de ,rothschild1 ,paris4 #bhb4 ,a ,girl4 ,m4 ,c4 ,g----1 ,paris4 #bhc4 ,a ,woman4 ,seated figure4 ,purchased ,antwerp1 #ahih--bi1jjj francs4 ,the ,louvre1 ,paris4 #bhd4 ,a ,woman4 ,standing figure4 ,the ,louvre1 ,paris4 #bhe4 ,a ,woman1 in a garden4 ,m4 ,c4 ,g----1 ,paris4 #bhf4 ,a ,woman1 seated on a sofa4 ,purchased in ,paris1 #ahhb--aajj francs ,m4 ,c4 ,g----1 ,paris4 #bhg4 ,a ,woman4 ,head covered with white mantilla4 ,this picture was at the ,san ,telmo1 ,seville4 ,comtesse de ,paris4 #bhh4 ,a ,woman4 ,white dress1 black ribbons4 ,don ,aureliano de ,beruete1 ,madrid4 #bhi4 ,a ,woman4 ,don ,joaquin ,gutierrez ,martin1 ,madrid4 #bij4 ,a ,woman4 ,in dcollete dress2 black mantilla4 ,m4 ,dannat1 ,paris4 #bia4 ,a ,woman4 ,in #8,maja' costume4 ,don ,jos ,maria ,cienfuegos1 ,gijon4 #bib4 ,a ,woman4 ,this canvas has been considerably cut from its original dimensions4 ,m4 ,h4 ,rouart1 ,paris4 #bic4 ,a ,woman4 ,in dcollete dress4 ,m4 ,h4 ,rouart1 ,paris4 ,doubtful4 #bid4 ,a ,woman4 ,her face framed in black mantilla4 ,painted on panel4 ,formerly in ,wilson ,collection4 ,paris sale1 #ahha4 #bie4 ,a ,woman4 ,with curling chestnut hair upon her forehead2 bodice dcollete4 ,signed #8,goya4' ,purchased in ,paris1 #aijj--gejj francs4 ,formerly in ,debrousse ,collection4 #bif4 ,a ,woman4 ,in pink dress1 with hair powdered4 ,marqus de la ,ve a ,inclan1 ,madrid4 #big4 ,a ,woman4 ,in #8,maja' costume2 her long black hair falls about her shoulders4 ,mme4 de ,lacy1 ,bordeaux-,caudron4 #bih4 ,a ,woman4 ,seated figure2 a little dog in her lap4 ,m4 ,c4 ,g----1 ,paris4 #bii4 ,a ,general of the ,french ,republic4 ,sold in ,paris for #cfjj francs4 ,tapestry ,cartoons4 #cjj4 ,a ,nun4 ,painted at ,bordeaux4 ,aranjuez4 ,the following ,oval ,busts were formerly in the ,palace of ,san ,telmo1 ,seville3-- #a4 ,king ,charles ,,iv4 ,oval ,bust4 ,life size4 ,in the possession of the ,comtesse de ,paris4 #b4 ,queen ,maria ,luisa4 ,oval ,bust4 ,life size4 ,companion picture to the foregoing4 ,comtesse de ,paris4 #c4 ,the ,infante ,fernando1 ,prince of the ,asturias 7afterwards ,fernando ,,vii474 ,oval bust4 ,life size4 ,comtesse de ,paris4 #d4 ,the ,infanta ,doa ,isabel1 afterwards ,queen of ,naples4 ,comtesse de ,paris4 ,,historical ,,subjects #a4 ,the #bnd of ,may #ahjh4 ,the people of ,madrid attacking the ,french cavalry in the ,puerta del ,sol4 ,the ,prado1 ,madrid4 #b4 ,the #crd of ,may #ahjh4 ,a group of ,spanish patriots being shot by ,french troops at ,madrid4 ,the ,prado1 ,madrid4 #c4 ,episode of the ,war of ,independence4 ,a heap of slain in the foreground4 ,aranjuez4 #d4 ,episode of the ,war of ,independence4 ,two women defending themselves against the ,french soldiery4 ,aranjuez4 #e4 ,episode of the ,war of ,independence4 ,women1 one with a child1 struggling against ,french soldiery4 ,biarritz4 #f4 ,a ,battle4 ,women endeavouring to come between the ,french troops and the ,spanish peasantry4 ,doubtful4 ,hamburg4 #g4 ,a ,battle4 ,marqus de ,casa ,torres1 ,madrid4 ,doubtful4 #h4 ,an ,assembly of ,notables4 ,museum of ,castres1 ,france4 #i4 ,sketch of the preceding1 described as #8,the ,congress4' ,royal ,museum1 ,berlin4 #aj4 ,promulgation of the ,decree of ,expulsion against the ,jesuits4 ,sketch4 ,sold in ,paris for #ejj francs4 #aa4 ,execution of the ,decree of ,expulsion against the ,jesuits4 ,sold in ,paris in #ahih4 #ab4 ,making ,cannon-balls by ,moonlight in the ,hills of ,tardienta4 ,the ,royal ,palace1 ,madrid4 #ac4 ,making ,powder in a ,valley of the ,sierra de ,tardienta4 ,the ,royal ,palace1 ,madrid4 #ad4 ,the ,tribunal of the ,holy ,inquisition4 ,academia de ,san ,fernando1 ,madrid4 ,by a decree dated #abth ,september #aija it was ordered that the pictures at the ,academia de ,san ,fernando be transferred to the ,prado ,museum4 #ae4 ,the ,inquisition3 ,judges1 ,monks1 and ,condemned4 ,the ,royal ,museum1 ,brussels4 #af4 ,dungeon of the ,inquisition4 ,the ,bowes ,museum1 ,barnard ,castle1 ,england4 #ag4 ,monk flogging a ,woman2 several ,onlookers4 ,don ,jos de la ,bastida1 ,madrid4 #ah4 ,the ,flagellants4 ,a procession of penitents advancing in order and scourging each other4 ,academia de ,san ,fernando1 ,madrid4 #ai4 ,the ,garotte4 ,clothed in a san-benito1 the criminal has just expired4 ,a crowd1 horrified4 ,museum1 ,lille4 #bj4 ,the ,pilgrimage to ,lombas4 ,sold in ,paris1 #ahge4 #ba4 ,the ,procession4 ,monks and pilgrims traversing a barren country4 ,conde de ,candilla1 ,madrid4 #bb4 ,hannibal surveying ,italy from the ,apennines4 ,this picture earned for ,goya the second prize offered by the ,academy of ,parma in #aggb4 ,,various ,,subjects #a4 ,venus4 ,mentioned by the ,conde de la ,viaza as forming part of ,godoy's collection at ,madrid4 #b and #c4 ,the ,madhouse4 ,academia de ,san ,fernando1 ,madrid1 and copy in the collection of ,don ,a4 de ,beruete1 ,madrid4 #d4 #8,la ,maja ,vestida' and #8,la ,maja ,denuda4' ,the two famous pictures in the ,academy of ,san ,fernando at ,madrid are regarded as portraying a favourite of ,manuel ,godoy1 the #8,prince of the ,peace'2 others maintain that they are portraits of the painter's mistress4 ,both paintings are from the same model4 ,the one represents a young and beautiful woman reclining at full length upon a couch1 her shoulders sustained by soft cushions1 her head somewhat advanced by her hand crossed at the back of her neck1 the upper part of the left arm supported by the cushions4 ,her lustrous1 expressive eyes are turned towards the spectator4 ,she is habited in ,oriental costume1 a diaphanous yellow vest1 and clinging skirt beneath1 of tender rose colour1 revealing the contour of the lower limbs4 ,the second figure is entirely nude1 and in precisely the same attitude as the companion picture4 ,relieved of the head-dress1 her curling tresses fall luxuriantly about her shoulders2 the lace-bedecked pillows and drapery upon the couch in charming contrast with the lovely flesh-tints4 ,in short1 these life-size figures are amongst the choicest examples of the master4 ,had ,goya always painted thus it had been vain to blame1 and useless to praise him4 #e4 ,the ,majas of the ,balcony4 ,two young women are seated on a balcony1 one in a white robe with black mantilla1 the other in a dark dress with white mantilla4 ,behind them two attendant cavaliers4 ,duque de ,marchena1 ,madrid4 #f4 ,the ,majas of the ,balcony4 ,repetition of foregoing with variations4 ,comtesse de ,paris4 #g4 ,the ,majas of the ,balcony4 ,repetition4 ,formerly at ,salamanca4 ,bought in ,paris1 #ahge1 by #8,c4,g4' #h4 ,the ,majas at the ,theatre4 ,in the front of a box three young ladies are seated2 a gentleman standing behind4 ,don ,joaquin ,miguel y ,polo1 ,valencia4 ,doubtful4 #i4 ,a ,cavalier playing the ,guitar4 ,the ,prado1 ,madrid4 #aj4 ,a ,cavalier4 ,he is represented smoking a cigarette4 ,a lace frill about his neck2 a black cape is thrown across his left shoulder4 ,academia de ,bellas ,artes1 ,cadiz4 ,doubtful4 #aa4 ,a ,maja1 veiled4 ,standing on a terrace1 the lady lightly lifts a black scarf from her head4 ,black skirt1 red shoes4 ,to her left a block of stone2 a cloak on the ground4 ,herr ,h4 ,o4 ,miethke1 ,vienna4 ,doubtful4 #ab4 ,two ,girls4 ,two girls in white mantillas are followed by a young man4 ,w4 ,rotheinstein1 ,esq41 ,london4 #ac4 ,two ,girls at a ,window4 ,are exchanging pleasantries with a student passing the house4 ,doa ,s4 ,espaa1 ,briviesca4 #ad4 ,youth4 ,a girl is confiding the contents of a letter to another4 ,in the distance young women are hanging linen to dry4 ,museum1 ,lille4 ,doubtful4 #ae4 ,old ,age4 ,two faded beauties in ball-dress are discussing their earlier days4 ,one is looking in a mirror1 on which is inscribed1 #8,que tal8' 7,can this be me874 ,in the middle distance1 ,time1 with a besom1 prepares to sweep them from the world4 ,companion picture to the preceding4 ,museum1 ,lille4 ,doubtful4 #af4 ,the ,knife-,grinder4 ,bare-headed1 in his shirt sleeves1 engaged at his trade4 ,formerly in the ,esterhazy ,collection1 ,vienna2 now in the ,national ,gallery1 ,buda-,pesth4 #ag4 ,the ,water-,carrier4 ,a woman holding in her right hand a large pitcher which rests upon her hip4 ,from her left hand is suspended a basketful of tumblers4 ,companion picture to the preceding4 ,formerly in the ,esterhazy ,collection2 now in the ,national ,gallery1 ,buda-,pesth4 #ah4 ,girl delivering a ,letter4 ,formerly in the collection of ,don ,ricardo ,heredia4 ,paris sale1 #ahij4 #ai4 ,children at ,play4 ,stirling-,maxwell ,collection1 ,keir1 ,perthshire4 #bj4 ,children ,playing4 ,stirling-,maxwell ,collection1 ,keir1 ,perthshire4 #ba4 ,children ,playing4 ,m4 ,mge1 ,paris4 #bb4 ,the ,school4 ,a number of young urchins look on at the schoolmaster whipping one of their number4 ,m4 ,mge1 ,paris4 #bc4 ,fight between ,brigands and ,soldiers4 ,the scene is on the bank of a river4 ,sold from the collection of ,don ,eustaquio ,lopez1 #ahff4 #bd4 ,priest and ,brigand4 ,at the gate of a convent the bandit ,el ,margaroto points with a carbine at ,fra ,pedro de ,zaldivia1 who offers the brigand a pair of shoes4 ,m4 ,lafitte1 ,madrid4 #be4 ,priest and ,brigand4 ,fra ,pedro de ,zaldivia seizes the carbine of ,el ,margaroto1 and brings retribution upon the bandit4 ,three brethren are hastening to the monk's assistance4 ,m4 ,lafitte1 ,madrid4 #bf4 ,brigands in a ,convent4 ,fight between monks and bandits4 ,m4 ,lafitte1 ,madrid4 #bg4 ,priest and ,brigands4 ,a bandit attempts to escape4 ,the monk1 having possession of a carbine1 wounds him in the leg4 ,in the background a horse is galloping away4 ,m4 ,lafitte1 ,madrid4 #bh4 ,priest and ,brigand4 ,el ,margaroto submits to the priest1 who1 master of the situation1 in turn threatens the brigand4 ,m4 ,lafitte1 ,madrid4 #bi4 ,priest and ,brigand4 ,the bandit1 conquered1 yields to the priest1 who binds him securely4 ,in the background countrymen are hastening to the scene4 ,m4 ,lafitte1 ,madrid4 #cj4 ,bandits4 ,a post-chaise held up by ,spanish highwaymen4 ,marqus de ,castro ,serna1 ,madrid4 #ca4 ,bandits4 ,two women are supplicating brigands to spare their lives2 a third is lying dead4 ,in this picture the colour is said to be wholly laid on with a knife4 ,mentioned by ,z4 ,aranjo4 #cb4 ,brigands stopping a ,carriage4 ,marqus de ,riscal1 ,madrid4 ,doubtful4 #cc4 ,brigands4 ,a brigand is holding a woman to the ground2 a monk1 inactive1 is contemplating the scene4 ,in the background1 two women1 stripped1 are tied to trees4 ,formerly in possession of ,don ,constantino ,ardanaz4 ,mentioned by ,aranjo4 #cd4 ,brigands4 ,a kneeling woman struggling with a bandit4 ,in the distance two bandits are carrying a dead woman4 ,formerly in the possession of ,don ,constantino ,ardanaz1 ,madrid4 ,mentioned by ,aranjo4 #ce4 ,brigands4 ,at the entrance to a cave a bandit is murdering a woman bound to a rock4 ,marqus de la ,romana1 ,madrid4 #cf4 ,brigands4 ,slaughter of a group of men1 women1 and children4 ,marqus de la ,romana1 ,madrid4 #cg4 ,brigands' ,cave4 ,in the cave1 brigands are stripping women whom they have captured4 ,marqus de la ,romana1 ,madrid4 #ch4 ,brigands' ,cave4 ,a brigand slaughtering a woman4 ,marqus de la ,romana1 ,madrid4 #ci4 ,brigands' ,cave4 ,bandits asleep4 ,marqus de la ,romana1 ,madrid4 #dj4 ,the ,promenade4 ,a lady and gentleman conversing as they walk4 ,tradition has it that the two persons represented are the ,duquesa de ,alba y ,goya4 ,marqus de la ,romana1 ,madrid4 #da4 ,the ,plague ,terror4 ,the stricken ones1 stretched upon the ground1 are tended by scared doctors4 ,marqus de la ,romana1 ,madrid4 #db4 ,interior4 ,several women have met together for a gossip4 ,marqus de la ,romana1 ,madrid4 #dc4 ,the ,monk's ,visit4 ,a monk and a young woman4 ,marqus de la ,romana1 ,madrid4 #dd4 ,brigands ,quarrelling4 ,museum1 ,besanon4 #de4 ,brigands ,quarrelling4 ,an old man1 seated1 is looking on4 ,museum1 ,besanon4 #df4 ,a ,cannibal ,scene4 ,eight men are gathered round a fire2 one is grinning1 and holding in his right hand a human arm1 in his left a head4 ,his companions1 naked like himself1 are engaged in the orgie4 ,museum1 ,besanon4 #dg4 ,a ,cannibal ,scene4 ,at the foot of a cliff men occupied in stripping and carving corpses4 ,museum1 ,besanon4 #dh4 ,the ,funeral of the ,sardine4 ,an episode at the close of the carnival at ,madrid4 ,men and women are masquerading on the banks of the ,manzanares4 ,academia de ,san ,fernando1 ,madrid4 #di4 ,a ,carnival ,scene4 ,masked figures dance extravagantly at the entrance of a cave4 ,m4 ,ch4 ,cherfils1 ,biarritz4 #ej4 ,a ,carnival ,scene4 ,a singer entertaining his audience4 ,museum1 ,bayonne4 ,doubtful4 #ea4 ,a ,masquerade4 ,in the foreground two principal figures are dancing2 others engaged in flirtation and conversation4 ,duquesa de ,villahermosa1 ,madrid4 #eb4 ,children's ,masquerade4 ,don ,patricio ,lozano1 ,madrid4 #ec4 ,bal ,champtre4 ,groups of peasants dancing under an arch4 ,mentioned by ,aranjo4 #ed4 ,bal ,champtre4 ,a village population dancing2 spectators on a hill4 ,paris4 #ee4 ,bal ,champtre4 ,same subject as ,goya's tapestry cartoon4 ,conde de ,torrecilla1 ,madrid4 #ef4 ,a ,popular ,pastime4 ,near an old city-gate in ruins delighted spectators are regarding a number of girls dancing4 ,formerly in collection of ,don ,eustaquio ,lopez4 ,sold #ahff4 #eg4 ,a ,fte4 ,don ,juan ,perez ,calvo1 ,madrid4 #eh4 ,outside the ,booth4 ,mountebanks attracting an audience at a fair4 ,marqus de ,castro ,serna1 ,madrid4 #ei4 ,the ,tight-,rope ,dancers4 ,a comic troupe1 in which it is said there is an allusion to ,queen ,maria-,luisa and ,godoy4 ,marqus de ,castro ,serna1 ,madrid4 #fj4 ,the ,greasy ,pole4 ,the pole is erected in the foreground2 in mid-distance a village built on a rock2 mountainous background4 ,marqus de ,casa ,torres1 ,madrid4 #fa4 ,the ,bonfire4 ,don ,cristobal ,ferriz1 ,madrid4 #fb4 ,the ,bonfire4 ,repetition of preceding4 ,conde de ,villagonzalo1 ,madrid4 #fc4 ,the ,puppet ,merchant4 ,a toyman offering his wares2 women and children around him2 a gentleman seated1 whose features recall those of the painter4 ,formerly in ,martinet ,collection4 ,paris sale1 #ahif4 #fd4 ,the ,balloon4 ,a balloon rises1 while a considerable group of persons watch its ascent4 ,formerly in ,madrazo ,collection1 ,madrid4 #fe4 ,the ,siesta4 ,two couples asleep on a lawn4 #ff4 ,the ,picnic4 ,same subject as ,no4 #a of ,goya's tapestry cartoons4 ,marqus de ,torrecilla1 ,madrid4 #fg4 ,the ,house of the ,cock4 ,the patio of an inn4 ,reproduced as ,no4 #c of ,goya's ,tapestry ,cartoons4 ,formerly in ,yriarte ,collection4 ,paris sale1 #ahih4 #fh4 ,the ,inundation4 ,marqus de ,castro ,serna1 ,madrid4 #fi4 ,the ,hurricane4 ,surprised by a tornado1 a crowd of people run distractedly4 ,formerly in collection ,eustaquio ,lopez4 ,sale1 #ahff4 #fi;,a4 ,the ,burning ,village2 an ,episode of ,war4 ,the inhabitants fleeing from their burning houses4 ,marqus de ,castro ,serna1 ,madrid4 ,reproduction of ,disasters of ,war1 ,no4 #dd4 #gj4 ,an ,aragonese4 ,formerly in collection of ,m4 ,vallet1 ,bordeaux4 #ga4 ,peasants4 ,a group of three2 a young man1 a girl1 and an old woman4 ,formerly in collection ,vallet4 ,paris sale1 #ahhd4 #gb4 ,the ,angler4 ,on the bank of a winding river a solitary figure4 ,formerly in collection of ,don ,j4 ,m4 d',estoup de ,murcia4 ,doubtful4 #gc4 ,country ,scene4 ,formerly in collection of ,don ,j4 ,m4 d',estoup de ,murcia4 ,doubtful4 #gd4 ,sea ,piece4 ,formerly in collection of ,don ,j4 ,m4 d',estoup de ,murcia4 ,doubtful4 #ge4 ,the ,infuriated ,dog4 ,the maddened animal tries to break away from his chain4 ,m4 ,carvalhido1 ,paris4 #gf and #gg4 ,sketches4 ,two sketches for equestrian portraits2 one for that of the ,duke of ,wellington and the other for that of ,general ,palafox4 ,both sketches mentioned by ,conde de la ,viaza4 #gh4 ,the ,bride's ,toilette4 ,a maid is drawing on the bride's stockings4 ,conde ,esteban de ,collantes1 ,madrid4 #gi4 ,can she say #8,yes'8 ,reproduction of ,caprice ,no4 #b4 ,doubtful4 #hj4 ,scraping ,acquaintance4 ,reproduction of ,caprice ,no4 #ce4 ,conde ,esteban de ,collantes1 ,madrid4 #ha4 ,one of the ,fates6 ,reproduction of ,caprice ,no4 #dd4 ,museum1 ,bordeaux4 #hb4 ,even unto ,death6 ,reproduction of ,caprice ,no4 #ee4 ,formerly in the collection ,lacour1 ,bordeaux4 ,doubtful4 #hc4 ,the ,register4 ,reproduction of ,caprice ,no4 #eg4 ,monsieur #8,x1' ,florence4 ,doubtful4 #hd4 #8,swallow that1 you dog6' ,reproduction of ,caprice ,no4 #eh4 ,monsieur #8,x1' ,florence4 ,doubtful4 #he4 #8,you will not always escape6' ,reproduction of ,caprice ,no4 #gb4 ,paris sale1 #ahii4 ,doubtful4 #hf4 #8,it is better to let it alone4' 7,mejor es holgar47 ,reproduction of ,caprice ,no4 #gc4 ,paris sale1 #ahii1 with preceding4 ,doubtful4 #hg4 ,two grotesque half-length figures4 ,formerly in the ,spanish ,gallery of the ,louvre4 ,m4 ,comartin1 ,paris4 #hh4 ,caprice4 ,marqus de ,casa ,jimenez4 #hi4 ,caprice4 ,a monk throwing books and papers in the fire4 ,formerly in collection of ,don ,constantino ,ardanaz1 ,madrid4 #ij4 ,caprice4 ,don ,alejandro ,pidal1 ,madrid4 #ia4 ,caprice4 ,three balloons in the air2 one carrying a donkey1 the second a bull1 the third a child4 ,formerly in ,madrazo ,collection1 ,madrid4 #ib4 ,caprice4 ,doa ,carmen ,berganza de ,martin1 ,madrid4 ,signed #8,goya1 ao #agie4' #ic4 ,caprice4 ,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 ,alba4 ,in the right-hand corner is written #8,luis ,berganza1 ao #agie1 ,goya4' ,doa ,carmen ,berganza de ,martin1 ,madrid4 #id4 ,caprice4 ,mme4 de ,lacy1 ,bordeaux-,caudron4 ,doubtful4 #ie4 ,caprice4 ,mme4 de ,lacy1 ,bordeaux-,caudron4 ,doubtful4 #if-aag4 ,caprices4 ,formerly in collection ,leon ,daguerre ,hospital de ,madrid4 ,doubtful4 #aah-acc4 ,caprices4 ,formerly in collection of ,don ,jos ,maria d',estoup de ,murcia4 ,doubtful4 #acd4 ,dogs and ,hunting ,accessories4 ,design for tapestry4 ,the ,prado1 ,madrid4 #ace4 ,dead ,turkey4 ,the ,prado1 ,madrid4 #acf4 ,dead ,birds4 ,the ,prado1 ,madrid4 #acg4 ,bull-,fight4 ,the bull is charging4 ,village background4 ,academia de ,san ,fernando1 ,madrid4 #ach4 ,bull-,fight4 ,a stirring scene in a provincial arena4 ,mme4 de ,lacy1 ,bordeaux-,caudron4 #aci4 ,a ,galloping ,picador4 ,the ,prado1 ,madrid4 #adj4 ,death of the ,picador4 ,the picador is impaled on a horn of the bull4 ,at the ,carlin sale1 ,paris1 #ahgb--dfjj francs4 #ada4 ,bull-,fight4 ,the scene is enacting in a cloud of dust4 ,a picador extricating himself from his disembowelled horse4 #adb4 ,bull-,fight4 ,the picture represents an arena divided after the manner of lists at a tournament2 a bull on either side of the barrier attacking or attacked4 ,sold in ,paris1 #ahge1 for #gejj francs4 #adc4 ,bull-,fight4 ,a dense crowd in the foreground watching the course of the contest4 ,m4 ,sigismond ,bardac1 ,paris4 #add4 ,bull-,fight4 ,the bull has overthrown a toreador1 whose companions hasten to his assistance4 ,companion to the preceding4 ,m4 ,sigismond ,bardac1 ,paris4 #ade4 ,retaliation4 ,three bulls have turned upon their custodians and borne them to the earth4 ,w4 ,mackay1 ,esq41 ,london4 #adf4 ,bull and ,picador4 ,a picador1 accompanied by chulos and toreadors1 attacks the bull4 ,marqus de ,baroja1 ,madrid4 #adg4 ,bulls at ,home4 ,bulls enclosed in their arroyo under the care of horsemen and picadors in laced costumes4 ,carlin sale1 ,paris1 #ahgb--eajj francs4 #adh4 ,bull at liberty in the ,place de ,madrid4 ,duque de ,veragua1 ,madrid4 #adi4 ,bulls attacking a ,procession4 ,sir ,j4 ,g4 ,j4 ,sinclair1 ,bart41 ,thurso ,castle1 ,caithness4 #aej4 ,the ,madhouse4 ,in a large hall1 lunatics engaged in various forms of dementia4 ,academia de ,san ,fernando1 ,madrid4 #aea4 ,the ,madhouse4 ,a repetition of the foregoing4 ,don ,aureliano de ,beruete1 ,madrid4 ,pictures from ,goya's house presented to the ,prado ,museum by ,baron d',erlanger3-- #aeb4 ,meeting of ,witches4 #aec4 ,la ,romeria de ,san ,isidro4 ,man playing on guitar to a group of people4 #aed4 ,galician ,shepherds ,fighting4 #aee4 ,the ,procession4 #aef4 ,caprice4 ,flying persons pointing to a castle4 #aeg4 ,the ,fates4 #aeh4 ,the ,maja4 ,said to be a portrait of the ,duquesa de ,alba4 #aei4 ,saturn devouring his ,children4 #afj4 ,dog swimming in a ,rough ,sea4 #afa4 ,judith and ,holofernes4 #afb4 ,two ,monks4 #afc4 ,listening to the ,news4 #afd4 ,woman laughing at a ,suffering ,man4 #afe4 ,wizards preparing a ,philtre4 ,,paintings ,,from ,,the ,,alameda ,,of ,,osuna ,m4 ,paul ,lafond enumerates twenty-three pictures formerly at the ,alameda de ,osuna1 sold some years ago1 and now dispersed4 ,the collection of the ,duque de ,montellano includes3-- #a4 ,the ,swing4 ,girl1 on a swing pushed by a young man4 #b4 ,the ,greasy ,pole 7climbed by ,children74 #c4 ,the ,accident4 ,a girl falling off a donkey4 #d4 ,a ,coach stopped by ,brigands4 ,the collection of the ,marquesa de ,villamayor includes3-- #e4 ,building the ,church4 ,two workmen carrying a wounded comrade4 #f4 ,the ,procession4 ,the collection of ,don ,ricardo ,traumann includes3-- #g4 ,summer4 ,same subject as ,the ,harvesters 7,tapestry ,cartoons74 ,the collection of ,don ,pedro ,fernandez ,duran includes3-- #h4 ,the ,hermitage of ,san ,isidro4 #i4 ,the ,wounded ,mason4 ,same subject as ,no4 #cd of the ,tapestry ,cartoons4 ,in the ,prado is3-- #aj4 ,the ,romeria de ,san ,isidro4 ,madrid and the ,manzanares are seen in the background4 ,in the ,national ,gallery1 ,london1 besides those already enumerated1 are3-- #aa4 ,the ,bewitched4 ,a priest pouring oil into a lamp held by a goat4 #ab4 ,the ,picnic 7,la merienda campestre74 ,the present possessors of the following are unknown3-- #ac4 ,bulls ,grazing4 #ad4 ,spring4 ,same subject as ,the ,flower ,girl1 ,no4 #ca ,tapestry ,cartoons4 #ae4 ,the ,vintagers4 ,same subject as ,no4 #cc ,tapestry ,cartoons4 #af4 ,winter4 ,same subject as ,the ,snow1 ,no4 #cf ,tapestry ,cartoons4 #ag4 ,the ,rustic ,dance4 ,same subject as ,no4 #b ,tapestry ,cartoons4 #ah4 ,caprice4 ,man kneeling watches demons4 #ai4 ,a ,witches' ,conventicle4 #bj4 ,caprice4 ,three nude persons consulting a witch4 #ba4 ,caprice4 ,cloaked man crossing a mountain4 #bb4 ,don ,juan and the ,comendador4 #bc4 ,the ,poor4 ,same subject as ,no4 #ce ,tapestry ,cartoons4 ,,drawings ,,and ,,studies ,m4 ,paul ,lafond enumerates3-- ,one set of #bbh drawings4 ,the ,prado1 ,madrid4 ,another set1 now broken up1 including #cjj pieces4 ,another set of #ch4 ,belonging to ,don ,aureliano de ,beruete4 ,another set of #bj4 ,sold in ,paris in #ahfi4 ,another set of #ch4 ,in the possession of the ,marqus de ,casa ,jimenez4 ,another set of #c4 ,belonging to ,m4 ,cherfils1 of ,paris4 ,another set of #d4 ,sold in ,paris1 #ahii4 ,another set4 ,belonging to ,don ,mariano ,fortuny4 ,another set of #f4 ,sold in ,paris1 #ahfi4 ,another set of #c4 ,belonging to ,don ,ricardo de ,madrazo4 ,another set4 ,belonging to ,don ,b4 ,montanez4 ,another set of #i4 ,belonging to ,m4 ,h4 ,rouart4 ,another set of #b4 ,belonging to ,m4 ,a4 ,beurdelez4 ,and #ha different drawings and studies4 ,scattered through various collections1 and some of doubtful origin4 ,,decorative ,,paintings #a4 ,agriculture4 ,represented by a female figure1 amply draped1 holding a sickle1 and gracefully accepting fruit and flowers4 ,in the upper part of the picture1 which is painted in distemper on canvas1 are two signs of the ,zodiac1 ,scorpio and ,libra4 ,landscape background4 ,circular medallion4 ,library of the ,minister of ,marine1 ,madrid4 #b4 ,industry4 ,in the foreground two women are busy at their spinning-wheels4 ,in the distance other figures are occupied in similar work4 ,circular medallion4 ,library of the ,minister of ,marine1 ,madrid4 #c4 ,commerce4 ,seated at a table two figures in ,moorish costume are writing2 in the mid-distance two others are examining a book4 ,in the foreground bales of goods and a stork4 ,circular medallion4 ,library of the ,minister of ,marine1 ,madrid4 #d4 ,an ,allegory4 ,in the upper part of the picture ,fame is sounding a trumpet4 ,the heraldic shield of ,madrid is supported by a classic figure2 while a child holds aloft a medallion on which is inscribed #8#b de ,mayo4' ,the date is an allusion to the massacre in the streets of ,madrid and the downfall of ,joseph ,buonaparte4 ,ayuntamiento1 ,madrid4 #e4 ,an ,allegory4 ,in the foreground a child leans against a column having upon it geometric figures2 two children support a tablet inscribed with algebraic numbers4 ,in the background groups of students4 ,the arms of ,spain prominent in the centre of the picture4 #f4 ,truth the ,daughter of ,time4 ,a small picture in the collection of ,don ,jos ,martinez ,espinosa1 ,madrid4 #g4 ,the ,apotheosis of ,music4 ,on a rock from which a cascade descends1 a presiding genius is seated2 near her1 in the air1 three nude figures are floating2 one holds a baton with which he is conducting an angelic choir1 another bears a trumpet1 and a third the cymbals4 ,a group composed of three mortals hearken attentively4 ,in the possession of ,don ,luis ,navas1 ,madrid4 #h4 ,spain creating ,history4 ,old ,chronos is taking by the hand a figure bearing the records of ,spain4 ,a classic figure1 seated1 pen in hand1 prepares to enrol the chronicles4 ,in the possession of ,don ,luis ,navas1 ,madrid4 ,,religious ,,subjects #a4 ,apparition of ,our ,lady of the ,column4 ,painted upon the altar-screen of the church of ,fuendetodos1 ,aragn4 #b4 ,our ,lady of ,sorrows4 ,goya mentions this painting in a letter to his friend ,zapater in #agge1 but its situation is unknown4 #c4 ,the ,symbol of the ,trinity4 ,the emblematic triangle3 angels and archangels adore the holy token4 ,a fresco in the church of ,notre-,dame del ,pilar1 ,zaragoza4 #d4 ,our ,lady1 ,queen of ,martyrs4 ,the ,virgin1 seated enthroned on clouds1 is surrounded by angels1 saints1 and martyrs4 ,a fresco in the church of ,notre-,dame del ,pilar1 ,zaragoza4 #e4 ,our ,lady1 ,queen of ,martyrs4 ,goya's study for the preceding fresco4 ,chapter of the church of ,notre-,dame del ,pilar1 ,zaragoza4 #f4 ,two ,divine and two ,cardinal ,virtues3 ,faith1 ,charity2 ,fortitude and ,patience4 ,frescoes in the church of ,notre-,dame del ,pilar1 ,zaragoza4 #g4 ,st4 ,brulno1 ,bishop of ,zaragoza4 ,full length4 ,is in the attitude of benediction2 in his left hand a pastoral staff4 ,church of ,notre-,dame del ,pilar1 ,zaragoza4 #h4 ,st4 ,bernard of ,sienna preaching before ,alfonso1 ,king of ,aragon4 ,the king and his courtiers are surrounded by a large congregation attending the sermon4 ,in the crowd ,goya is himself represented4 ,church of ,san ,francisco el ,grande4 #i4 ,st4 ,bernard4 ,a study for the preceding picture4 ,in the collection of the ,marqus de ,torrecilla1 ,madrid4 #aj4 ,st4 ,bernard4 ,a second study for the same subject4 ,belonging to the ,zapater family1 ,zaragoza4 #aa4 ,st4 ,bernard4 ,a third study for the same subject4 ,the figure of ,goya is omitted4 ,in the collection of the ,marqus de ,torrecilla1 ,madrid4 #ab4 ,the ,assumption4 ,altar-screen of ,chinchon parish church4 #ac4 ,the ,immaculate ,conception4 ,full length1 life size4 ,calatrava ,college1 ,salamanca4 #ad4 ,st4 ,benedict4 ,full length1 life size4 ,calatrava ,college1 ,salamanca4 #ae4 ,st4 ,bernard4 ,full length1 life size4 ,calatrava ,college1 ,salamanca4 #af4 ,st4 ,raymond4 ,full length1 life size4 ,calatrava ,college1 ,salamanca4 #ag4 ,the ,marques de ,lombay1 afterwards canonised as ,st4 ,francis of ,borgia1 quitting his ,family in order to live the ,spiritual ,life4 ,valencia cathedral4 #ah4 ,a study for the preceding subject4 ,in the possession of the ,marqus de ,santa ,cruz1 ,madrid4 #ai4 ,st4 ,francis of ,borgia exhorting a ,dying ,man to ,repentance4 ,valencia cathedral4 #bj4 ,a study for the preceding subject4 ,marqus de ,santa ,cruz1 ,madrid4 #ba4 ,the ,betrayal of ,christ4 ,jesus in the midst of a crowd4 ,judas points ,him out to the ,roman soldiery4 ,toledo cathedral4 #bb4 ,a sketch for the preceding subject4 ,don ,luis ,rotondo1 ,madrid4 #bc4 ,christ crucified4 ,this picture1 although ascribed by some to ,goya1 is believed to be by his brother-in-law1 ,francisco ,bayeu4 ,toledo cathedral4 #bd4 ,a ,piet4 ,archbishop's palace1 ,toledo4 #be4 ,death of ,st4 ,joseph4 ,church of ,santa ,ana1 ,valladolid4 #bf4 ,death of ,st4 ,joseph4 ,don ,a4 de ,beruete1 ,madrid4 #bg4 ,,ss4 ,bernard and ,robert4 ,a kneeling man receiving baptism from the saints4 ,church of ,santa ,ana1 ,valladolid4 #bh4 ,st4 ,luitgarde praying before a ,crucifix4 ,a palm branch in the foreground4 ,church of ,santa ,ana1 ,valladolid4 #bi4 ,st4 ,omeline praying4 ,church of ,santa ,ana1 ,valladolid4 #cj4 ,miracle of ,st4 ,antony4 ,a corpse1 resuscitated1 rises from the tomb at the bidding of the saint4 ,church of ,st4 ,antonio de la ,florida1 ,madrid4 #ca4 ,miracle of ,st4 ,antony4 ,sketch for the principal group of preceding4 ,conde de ,villagonzalo1 ,madrid4 #cb4 ,angels and ,cherubim4 ,church of ,st4 ,antonio de la ,florida1 ,madrid4 #cc4 ,sketch for preceding4 ,conde de ,villagonzalo1 ,madrid4 #cd4 ,christ crucified4 ,the ,prado1 ,madrid4 #ce4 ,holy ,family4 ,the ,prado1 ,madrid4 #cf4 ,holy ,family4 ,duque de ,noblejas1 ,madrid4 #cg4 ,saints ,justa and ,rufina1 the ,guardians of ,seville4 ,in the distance1 the ,giralda4 ,signed4 #ch4 ,sketch for preceding4 ,don ,pablo ,bosch1 ,madrid4 #ci4 ,st4 ,joseph de ,calasanz4 ,church of ,st4 ,antonio1 ,madrid4 #dj4 ,study for preceding1 with some differences4 ,m4 ,leon ,bonnat1 ,paris4 #da4 ,st4 ,peter offering ,bread to a ,figure emerging from a ,tomb4 ,cathedral1 ,valladolid4 #db4 ,st4 ,blas4 ,church of ,urrea de ,gaen1 ,aragon4 #dc4 ,st4 ,francis4 ,pictures said to be in ,america4 #dd4 ,st4 ,john4 #de4 ,the ,possessed4 ,a priest expelling devils4 ,the ,prado1 ,madrid4 #df4 ,tobias and the ,angel4 ,pascual ,galvo family1 ,valladolid4 #dg4 ,tobias and the ,angel4 ,sketch4 ,zapater family1 ,zaragoza4 #dh4 ,apparition of ,st4 ,isidore to ,king ,ferdinand ,,iii4 under the ,walls of ,seville4 ,don ,a4 ,canovas1 ,madrid4 #di4 ,the ,nativity4 ,don ,p4 ,lozao1 ,madrid4 #ej4 ,st4 ,peter4 ,don ,a4 ,pidal1 ,madrid4 ,signed4 #ea4 ,the ,garden of ,olives4 ,schools of ,san ,antonio1 ,madrid4 ,signed4 #eb4 ,st4 ,isabel tending ,lepers4 ,sketch4 ,don ,c4 ,velasco1 ,madrid4 #ec4 ,bishop in ,ecstasy4 ,zapater family1 ,zaragoza4 #ed4 ,head of ,john the ,baptist4 ,conde de ,villagonzalo1 ,madrid4 #ee4 ,the ,murder of ,st4 ,thomas ,becket4 ,sold in ,paris1 #ahib4 #ef4 ,st4 ,hermengilde in ,prison4 ,sketch4 ,don ,c4 ,velasco1 ,madrid4 #eg4 ,a ,thanksgiving4 ,in a church a young woman with her infant kneels before the priest1 who pronounces the benediction4 ,formerly in the ,madrazo ,gallery1 ,madrid4 #eh and #ei4 ,studies for the preceding4 ,respectively in the possession of the ,marques de ,torrecilla and ,conde ,esteban de ,gollantes1 ,madrid4 #fj4 ,the ,viaticum4 ,a priest1 accompanied by many figures1 carries the ,viaticum to a dying man4 ,mme4 de ,lacy1 ,bordeaux-,caudron4 ,doubtful4 #fa4 ,interior of the ,church of ,la ,seo1 ,zaragoza4 ,a priest preaching to his congregation4 ,mme4 de ,lacy1 ,bordeaux-,caudron4 ,doubtful4 #fb4 ,interior of a ,church1 with ,figures4 ,formerly in the ,aroza ,collection1 ,paris4 ,,the ,,tapestry ,,cartoons ,a series of forty-six ,cartoons executed by ,goya between #aggf and #agia1 for reproduction on tapestry4 ,the ,prado1 ,madrid4 #a4 ,lunch on the ,banks of the ,manzanares4 #b4 ,the ,dance at ,san ,antonio de la ,florida4 ,dancing on the banks of the ,manzanares4 #c4 ,the ,scuffle at the ,venta ,nueva 7,new ,inn74 #d4 ,al fresco scene4 ,couples courting in a wooded ,andalusian scene4 #e4 ,the ,toper4 #f4 ,the ,parasol4 ,youth holds a parasol over a girl4 #g4 ,the ,kite4 #h4 ,the ,card-,players4 #i4 ,children playing with a ,bladder4 #aj4 ,children gathering ,fruit4 #aa4 ,a ,blind ,man playing the ,guitar4 #ab4 ,la ,feria2 or1 the ,fair of ,madrid4 #ac4 ,the ,crockery ,seller4 #ad4 ,the ,soldier and the ,girl4 #ae4 ,la ,acerolera4 ,girl passes through a group of men4 #af4 ,playing at ,soldiers4 #ag4 ,children playing with a ,cart4 #ah4 ,playing at ,pelota4 #ai4 ,the ,see-,saw4 #bj4 ,the ,washerwomen4 #ba4 ,la ,novillada4 ,a village bull-fight4 #bb4 ,the ,dog4 #bc4 ,the ,fountain4 #bd4 ,the ,tobacco ,guard 7,preventive ,service74 #be4 ,the ,child in the ,tree4 #bf4 ,the ,child and the ,bird4 #bg4 ,the ,woodcutters4 #bh4 ,the ,singer4 #bi4 ,the ,rendezvous4 #cj4 ,the ,doctor4 #ca4 ,the ,flower-,girl4 #cb4 ,the ,harvesters4 #cc4 ,the ,vintagers4 #cd4 ,the ,wounded ,mason4 #ce4 ,the ,poor ,woman4 #cf4 ,the ,snow4 #cg4 ,a ,village ,wedding4 #ch4 ,women at the ,fountain4 #ci4 ,playing at ,giants4 #dj4 ,the ,swing4 #da4 ,fighting on ,stilts4 #db4 ,girls tossing a ,manikin in a ,sheet4 #dc4 ,children climbing a ,tree4 #dd4 ,blindman's-,buff4 #de4 ,child on a ,sheep4 7#df4 ,the ,hunter and his ,dogs47 ,sometimes included in the list4 ,,the ,,caprices 7,,los ,,caprichos7 ,a set of eighty engravings in aqua-fortis and aqua-tinta1 executed between #agif and #ahab4 ,a facsimile edition was published by the ,artistic ,library of ,barcelona in #ahhe1 and another by ,messrs4 ,boussod and ,valadon at ,paris in #ahhh3-- #a4 ,francisco ,goya y ,lucientes1 ,painter4 #b4 ,el s pronuncian4444 #8,they say yes1 and give their hand to the man that first presents himself4' #c4 ,que viene el ,coco4 #8,here comes the ,bogey6' #d4 ,el de la ,rollona4 ,a lackey with a man dressed as a child in leading-strings4 ,believed to symbolise the helplessness and dependence of the rich on their servants4 #e4 ,tal para qual4 #8,birds of a feather flock together4' #f4 ,nadie se conoce4 ,masked persons in conversation4 ,supposed to suggest that in this world we know each other only by appearances1 which are really misleading4 #g4 ,ni as la distingue4 #8,not thus can he distinguish her4' ,a gallant scanning a young woman through an eye-glass4 ,similar meaning to preceding4 #h4 ,que se la llevaron4 #8,kidnapped6' ,a woman carried off by masked and hooded men4 #i4 ,tntalo4 #8,tantalus4' ,a man1 wringing his hands1 supports a swooning woman4 ,possibly points the same moral as the saying1 ,si vieillesse pouvait4444 #aj4 ,el amor y la muerte4 #8,love and death4' ,a woman supporting a dying man4 #aa4 ,muchachos al aro4 ,four ,andalusian brigands seated round a tree4 #ab4 ,a caza de dientes4 #8,tooth-hunting4' ,a woman trying to extract the tooth of a man hanging4 #ac4 ,estn calientes4 #8,they are hot4' ,monks at table4 ,an ironical suggestion in the title4 #ad4 ,qu sacrificio6 #8,what a sacrifice6' ,young girl bestowed in marriage on an ugly old man4 #ae4 ,bellos consejos4 #8,good counsel4' ,duenna gives worldly advice to a young girl1 who listens with attention4 #af4 ,dios la perdone4444 #8,may ,god pardon her--it was her mother4' ,young lady turns scornfully from a beggar-woman4 ,a rebuke to upstarts1 forgetful of the ties of kindred4 #ag4 ,bien tirada est4 ,girl drawing up her stocking in presence of an aged duenna4 #ah4 ,y se le quema la casa4 #8,and his house is burning4' ,old man1 seemingly drunk1 does not perceive that his house is on fire4 #ai4 ,todos caer4 #8,all will fall4' ,women pluck a bird which has a man's head4 ,similar fowls hovering above4 ,suggests that men of all classes1 undismayed by the fate of others1 fall a prey to women4 #bj4 ,ya van desplumados4 #8,they are already plucked4 ,young women1 encouraged by old men1 chasing birds furnished with men's heads4 #ba4 ,qual la descaonan4 #8,how they pluck her6' ,lawyers1 in feline shape1 plucking a bird provided with a woman's head4 #bb4 ,pobrecitas6 #8,poor little things6' ,two women1 hooded1 escorted or annoyed by two cloaked men4 #bc4 ,aquellos polvos4 #8,dust and ,ashes4' ,a female victim of the ,inquisition listening to the sentence read by a familiar of that tribunal4 #bd4 ,no hubo remedio4 #8,there was no remedy4' ,a woman1 stripped to the waist and mounted on an ass1 is led away by the officers of the ,inquisition4 #be4 ,si quebr el cntaro4 #8,because he broke the pitcher4' ,mother chastising her boy4 #bf4 ,ya tienen asiento4 #8,now they have seats4' ,two women1 nude from the waist downwards1 carry their chairs on their heads4 ,meaning obscure4 #bg4 ,quin ms rendido8 #8,which is the more bored8' ,a gallant paying his oft-repeated compliments to a lady1 who is weary of such empty homage4 #bh4 ,chitn6 #8,hush6' ,a lady of fashion makes a sign to an old dame leaning on a stick4 ,allusion to the fashion in ,spain of confiding billets doux to beggars at the church doors4 #bi4 ,esto s que es leer4 #8,this is what he calls reading4' ,a man of fashion reads in a desultory manner1 while his valets attend to his toilette4 ,possibly a skit on some minister of state4 #cj4 ,porqu esconderlos8 #8,why hide them8' ,a miser1 possibly an ecclesiastic1 endeavours to hide some bags of money from four persons who deride him4 ,may be intended as a skit on the clergy1 whose wealth was a matter of common knowledge4 #ca4 ,ruega por ella4 #8,she prays for her4' ,girls at their toilette1 and an old woman praying4 ,meaning obscure4 #cb4 ,porque fu sensible8 #8,why was she sensitive8' ,a young girl weeping in a dungeon4 ,this may imply that people of excessive sensibility carry their own prison or torture-chamber with them4 #cc4 ,al ,conde ,palatino4 #8,to the ,count ,palatine4' ,a richly dressed charlatan extracting teeth4 ,allusion1 probably1 to the practice of such gentry of representing themselves as physicians to foreign potentates4 #cd4 ,las riende el sueo4 #8,sleep comforts them4' ,women asleep in prison4 #ce4 ,le descaona4 #8,they shave him4' ,young man shaved by girls4 #cf4 ,mala noche4 #8,a bad night4' ,women out in a stormy night4 #cg4 ,si sabr ms el discpulo8 #8,will the pupil know more than the master8' ,a donkey1 of dignified demeanour1 teaching a little ass4 #ch4 ,brabisimo6 #8,bravissimo6' ,a donkey applauds a monkey who plays on the guitar4 ,possibly a skit on ,charles ,,iv4 and ,godoy4 #ci4 ,asta su abuelo4 #8,as far as his grandfather4' ,an ass contemplates the portraits of other asses4 ,satire on those who seek to establish long pedigrees for themselves4 #dj4 ,de qu mal morir8 #8,of what will he die8' ,an ass feels a dying man's pulse4 ,perhaps a reflection on the faculty was intended4 #da4 ,ni ms ni menos4 #8,neither more nor less4' ,a donkey sits for his portrait to a monkey1 who is painting a horse4 ,satire on artists who paint pictures of those whom they have never seen4 #db4 ,t que no puedes4 #8,thou who canst not4444' ,two men staggering under the weight of two asses4 ,the men represent the people1 the asses perhaps the governing classes4 #dc4 ,el sueo de la razon produce monstruosos4 #8,the sleep of reason induces monstrous thoughts4' ,bats and owls fly round a sleeping man1 and place a pencil in his hand wherewith to reproduce his vision4 #dd4 ,hilan delgado4 #8,they spin linen4' ,old women spinning4 #de4 ,mucho hay que chupar4 #8,there is a lot to taste4' ,around a basket full of new-born children sit three topers4 ,meaning obscure4 #df4 ,correccin4 #8,correction4' ,fantastic figures with heads of birds and animals4 ,said to be an allusion to the ,holy ,office4 #dg4 ,obsequio el maestro4 #8,homage to the master4' ,wizards and witches offering a new-born infant to their chief4 #dh4 ,soplones4 #8,blowers4' ,devil on a cat is rousing some sleeping monks4 #di4 ,duendecitos4 #8,little ghosts4' ,three monstrous beings in clerical garb4 ,attack on the clergy4 #ej4 ,los chinchillas4 ,two persons with costumes heraldically decorated1 their eyes closed1 and with padlocks on their ears1 are being fed by a third1 blindfolded1 and with ass's ears4 ,allusion to the aristocracy1 represented to be the victims of superstition and ignorance4 #ea4 ,se repulen4 #8,they polish each other's nails4' ,three demons clawing each other4 #eb4 ,lo que puede un sastre6 #8,what a tailor can do6' ,devotees prostrate themselves before an ecclesiastical vestment hung on a tree4 ,the meaning is obvious4 #ec4 ,que pico de oro6 #8,what an ,orator6' ,a parrot preaching to friars and others4 #ed4 ,el vergonzoso4 #8,how shameful4' ,a man is eating from a dish held by another person4 ,the suggestion does not lend itself to explanation4 #ee4 ,hasta la muerte4 #8,till death4' ,a hideous old crone trying on a head-dress before a mirror to the amusement of a number of spectators4 #ef4 ,subir y bajar4 #8,ascent and fall4' ,a monstrous satyr1 representing ,vice1 is holding up a manikin ,godoy1 while other figures are falling headlong4 #eg4 ,la filiacin4 #8,well mated4' ,an espousal ceremony4 ,the bride has an animal's head1 and carries her own face in her lap4 ,the bridegroom is a hideous and repulsive-looking dwarf4 ,a woman makes an entry in a book4 ,meaning obscure4 #eh4 ,trgala1 perro4 #8,swallow that1 dog6' ,a monk threatens with an enormous syringe a kneeling priest surrounded by other monks4 #ei4 ,y aun no se van6 #8,and yet they do not go6' ,two withered wretches uphold a slab of stone which threatens to overwhelm them4 ,not impossibly this may symbolise the determined clinging to life of even the most wretched4 #fj4 ,ensayos4 #8,essays4' ,an enormous goat surveys a nude man and woman who are rising in the air4 ,meaning obscure4 #fa4 ,volaverunt4 ,a handsome young woman flying through the air supported by three crouching figures4 ,said to represent the ,duquesa de ,alba4 #fb4 ,quien lo creyera8 #8,who would believe it8' ,two naked wretches fighting in mid-air are falling into the jaws of monsters4 #fc4 ,miren que grabes6 #8,how grave they are6' ,men with the heads of birds and donkeys riding on grotesque-looking beasts4 #fd4 ,buen viaje6 #8,bon voyage6' ,winged monsters or witches flying through the darkness4 #fe4 ,donde va mam8 #8,where is mamma going8' ,a fat woman carried through the air by three demons1 one of whom rides an owl4 ,a cat holds a parasol over the group4 #ff4 ,all va eso4 #8,beware6' ,a man and a woman with outspread wings flying in the company of a cat and a serpent4 #fg4 ,aguarda que te unten4 #8,wait till you have been anointed6' ,a goat leaps upwards while two grotesque wretches endeavour to anoint its hoofs4 ,alleged by some to be a derisive allusion to the sacrament of extreme unction4 #fh4 ,linda maestra6 #8,pretty mistress6' ,two witches preceded by an owl4 #fi4 ,sopla4 #8,she blows6' ,woman using a child as a bellows4 #gj4 ,devota profesion6 #8,devout profession6' ,a woman with ass's ears1 seated astride a satyr1 recites from a book at the direction of two ecclesiastics4 #ga4 ,si amanece1 nos vamos4 #8,the dawn is breaking1 we'll be off4' ,breaking up of a witches' party4 #gb4 ,no te escapars4 #8,you will not escape4' ,a girl trying to elude winged creatures with men's heads4 #gc4 ,mejor es holgar4 #8,it's better to do nothing4' ,a man assists a woman to disentangle a skein4 ,girl stands by amused4 #gd4 ,no grites1 tonta4 #8,don't grizzle1 idiot4' ,a girl alarmed at two comical monkish phantoms4 ,a variation of the artist's favourite theme of bogeys raised by monks4 #ge4 ,no hay quin nos desate8 #8,will no one set us free8' ,a man and a woman tied to the same tree4 ,satire on marriage4 #gf4 ,esta ,vmd8 pues1 como digo1 etc4444 #8,are you there8 ,well1 then1 as ,i say4444 ,well1 be careful6 ,if not4444' ,nonsensical orders issued by a fat1 ridiculous-looking officer4 #gg4 ,unos otros4 #8,from one to the other4' ,old dotards attacking a third who is playing at #8ball4' ,may be intended to convey a satire on the aged who pretend to the activities and energy of youth4 #gh4 ,despacha1 que despiertan4 #8,be quick1 they waken4' ,an old woman apparently awaking her fellow-servants4 #gi4 ,nadie nos ha visto4 #8,nobody has seen us4' ,monks drinking in a cellar4 #hj4 ,ya es hora4 #8,it is the hour4' ,monks stretching themselves and yawning4 ,sometimes included in ,los ,caprichos are the following3-- #ha4 ,sueo de la mentira y de la inconstancia4 #8,a dream of falsehood and inconstancy4' ,in the collection of ,don ,v4 ,carderera4 #hb4 ,women lamenting1 while a ,man gives a ,dog some ,medicine4 ,very rare4 #hc4 ,woman sleeping in a ,prison1 her ,feet chained to the ,wall4 ,very rare4 ,,the ,,disasters ,,of ,,war ,a set of eighty prints in aqua-tinta4 ,published by the ,academia de ,san ,fernando in #ahfc3-- #a4 ,tristes presentimientos4444 #8,sad presentiments4' ,an emaciated man1 symbolical of the ,spanish people1 kneels in a supplicating attitude1 and regards the sky1 which is filled with portentous monsters4 #b4 ,con razn sin ella4 #8,with or without reason4' ,two peasants attacking ,french troops4 #c4 ,lo mismo4 #8,all the same4' ,similar subject4 #d4 ,las mujeres dan valor4 #8,women inspire courage4' ,women resisting soldiers4 #e4 ,y son fieras4 #8,and are like wild beasts4' ,similar subject4 #f4 ,bien te se est4 #8,a good thing4' ,french soldiers dying4 #g4 ,que valor6 #8,courage6' ,the ,maid of ,zaragoza4 #h4 ,siempre sucede4 #8,what always happens4' ,french soldiers put to flight4 #i4 ,no quieren4 #8,they will not4' ,women resisting soldiers4 #aj4 ,tampoco4 #8,nor they4' ,similar subject4 #aa4 ,ni por esas4 #8,not for these4' ,similar subject4 #ab4 ,para eso habeis nacido8 #8,were you born for this8' ,man falls dying on a heap of slain4 #ac4 ,amarga presencia4 #8,a bitter sight4' ,woman witnessing maltreatment of her husband by soldiers4 #ad4 ,duro es el paso4 #8,hard is the way4' ,hanging of prisoners4 #ae4 ,y no hay remedio4 #8,and there was no remedy4' ,execution of prisoners4 #af4 ,se aprovechar4 #8,they avail themselves4' ,troops stripping the slain4 #ag4 ,no se convienen4 #8,they do not agree4' ,battle piece4 ,dispute between ,french officers4 #ah4 ,enterrar y callar4 #8,bury and be silent4' ,weeping man and woman gaze on a heap of slain4 #ai4 ,ya no hay tiempo4 #8,there is no time4' ,fruitless appeal by women to a ,french officer4 #bj4 ,curarlos y a otra4 #8,to heal them and each other4' ,wounded guerrillas4 #ba4 ,ser lo mismo4 #8,it will be the same4' ,wounded men2 woman weeping4 #bb4 ,tanto y ms4 #8,as many and more4' ,heap of slain4 #bc4 ,lo mismo en otras partes4 #8,the same elsewhere4' ,similar subject4 #bd4 ,aun podrn servir4 #8,they are still of use4' ,sick people carrying the wounded4 #be4 ,tambien estos4 #8,and there also4' ,wounded in an ambulance4 #bf4 ,no se puede mirar4 #8,that cannot be seen4' ,people lying on the ground threatened by the muskets of the troops4 #bg4 ,caridad4 #8,charity4' ,corpses being thrown into a ditch4 #bh4 ,populacho4 #8,the populace4' ,mutilating a corpse4 #bi4 ,lo merecia4 #8,he deserved it4' ,soldier's body being dragged by cords4 #cj4 ,estragos de la guerra4 #8,the tragedy of war4' ,men and women projected headlong into a cellar4 #ca4 ,fuerte cosa es6 #8,might is stronger than right6' ,prisoners being hanged by the ,french4 #cb4 ,por qu8 #8,why8' ,prisoner being tortured by three soldiers4 #cc4 ,que hay que hacer mas8 #8,what more is there to do8' ,similar subject4 #cd4 ,por una navaja4 #8,for a knife4' ,corpse of executed assassin on a scaffold4 #ce4 ,no se puede saber por qu4 #8,no one knows why4' ,eight men garrotted with labels round their necks4 #cf4 ,tampco4 #8,neither4' ,french soldier watches a man hanging from a tree4 #cg4 ,esto es peor4 #8,this is worse4' ,mutilated corpse impaled on a tree4 #ch4 ,barbaros6 #8,barbarians6' ,execution of a prisoner4 #ci4 ,grande hazaa--,con muertos6 #8,great prowess--,with the dead6' ,three horribly mutilated corpses4 #dj4 ,algun partido saca4 #8,he turns it to account4' ,man fighting a wild beast4 #da4 ,escapan entre las llamas4 #8,they escape through the flames4' #db4 ,todo va revuelto4 #8,everything in confusion4' ,friars fly hither and thither4 #dc4 ,tambien esto4 #8,these also4' ,similar subject4 #dd4 ,yo lo v4 #8,i saw it4' ,people flying from a village4 ,mother dragging away her children4 #de4 ,y esto tambien4 #8,and this also4' ,similar subject4 #df4 ,esto malo4 #8,this is bad4' ,soldiers slaughtering monks4 #dg4 ,as sucedi4 #8,thus it happened4' ,soldiers1 watched by a monk1 despoiling a church4 #dh4 ,cruel lstima6 #8,cruel misfortune6' ,a man imploring succour near a heap of slain4 #di4 ,caridad de una muger4 #8,a woman's charity4' ,women tending the wounded4 #ej4 ,madre infeliz4 #8,unhappy mother6' ,child1 weeping1 beholds its mother carried off by soldiers4 #ea4 ,gracias la almorta4 #8,thanks to the blue vetch4' ,woman distributing grain to the afflicted4 #eb4 ,no llegan tiempo4 #8,too late4' ,women arrive too late to help a companion4 #ec4 ,espir sin remedio4 #8,he died without help4' ,group of persons round a corpse4 #ed4 ,clamores en vano4 #8,no help4' ,starving people vainly beseech a ,french dragoon for help4 #ee4 ,lo peor es pedir4 #8,to beg is the worst of all4' ,starving men vainly appeal for help to a ,french lady4 #ef4 ,al cementerio6 #8,to the cemetery4' ,corpse being carried to the graveyard4 #eg4 ,sanos y enfermos4 #8,the quick and the dead4' ,the hale and the sick both taking refuge in a vault4 #eh4 ,no hay que dar voces4 #8,of no use to cry4' ,group of starving and afflicted persons4 #ei4 ,de qu sirve una taza8 #8,of what use is one cup8' ,woman carrying a cupful of nourishment to a group of starving women4 #fj4 ,no hay quien los socorra4 #8,there is nobody to help them4' ,three men prostrate1 another standing2 all feel the approach of death4 #fa4 ,si son de otro linaje8 #8,are they of another race8' ,frenchmen remain indifferent to the appeal of some starving wretches4 #fb4 ,las camas de la muerte4 #8,the deathbeds4' ,women weeping over a heap of slain4 #fc4 ,muertos recogidos4 #8,the dead collected4' ,a heap of slain4 #fd4 ,carretadas al cementerio4 #8,cart-loads for the cemetery4' ,carts being loaded with corpses4 #fe4 ,qu alboroto es este8 #8,what means this tumult8' ,a ,french officer writes at a table4 ,people taking to flight4 #ff4 ,extraa devocion4 #8,strange devotion4' ,people adoring relics carried on the back of an ass4 #fg4 ,esta no lo es menos4 #8,this is not less so4' ,procession of the image of ,our ,lady of ,sorrows4 #fh4 ,qu locura6 #8,what madness6' ,a monk1 surrounded by objects of popular devotion4 #fi4 ,nada4 #8,nothing4' ,a spectre emerging from the tomb writes the word #8,nada' on a sheet of paper4 #gj4 ,no saben el camino4 #8,they do not know the way4' ,a procession of ecclesiastics tied together by ropes4 #8,the blind leading the blind4' #ga4 ,contra el bien general4 #8,against the general good4' ,an old man with bat's ears writing in an open book4 ,an allusion probably to some unpopular statesman4 #gb4 ,las resultas4 #8,the consequences4' ,the above personage and other vampires drinking the blood of a corpse1 representing ,spain4 #gc4 ,gatesca pantomima4 #8,cat's pantomime4' ,a monk1 birds of prey1 and others doing homage to a cat 7,godoy874 #gd4 ,esto es lo peor4 #8,this is the worst4' ,a wolf signing a document2 a monk in attendance4 #ge4 ,farndula de charlatanes4 #8,meeting of quacks4' ,monks with heads of asses1 parrots1 and pigs4 #gf4 ,el buitre carnivoro4 #8,the carnivorous vulture4' ,a huge vulture pursued by a crowd of monks and soldiers4 #gg4 ,que se rompe la cuerda4 #8,may the rope break4' ,king ,joseph represented walking on a rope4 #gh4 ,se defiende bien4 #8,he defends himself well4' ,a horse 7,spain7 defending himself against wolves4 #gi4 ,muri la verdad4 #8,truth died4' ,truth represented as a young woman crowned with laurels4 #hj4 ,si resucitar8 #8,will she revive8' ,the same figure appearing about to arise from the grave4 7#gi and #hj appear to refer to the abolition of the ,constitution by ,fernando ,,vii47 #ha4 ,fiero monstruo4 #8,bold monster4' ,an enormous cat devouring human beings4 #hb4 ,esto es lo verdadero4 #8,there is ,truth4' ,truth is represented by a young woman leaning on the shoulder of a husbandman4 7#ha and #hb are not usually included in the series ,disasters of ,war47 ,,la ,,tauromaquia 7,,tauromachia7 ,a set of thirty-three prints in aqua-fortis and aqua-tinta finished about #ahae4 #a4 ,hunting ,bulls across ,open ,country in the ,olden ,time4 #b4 ,hunting the ,bull on ,foot4 #c4 ,moors hunting the ,bull across ,country4 #d4 ,moors bull-fighting in an ,enclosure4 #e4 ,the ,moor ,gazul is the first to fight the ,bull according to modern rules4 #f4 ,moors using their ,burnouses to irritate the ,bull4 #g4 ,origin of the ,banderilla4 #h4 ,moor attacked by a ,bull4 #i4 ,spaniard wearing a ,turban killing a ,bull in the ,arena4 #aj4 ,charles ,v4 kills a ,bull in the ,arena at ,valladolid4 #aa4 ,the ,cid spearing a ,bull4 #ab4 ,people hamstringing a ,bull4 #ac4 ,horseman places some ,banderillas without the ,help of the ,chulos4 #ad4 ,the ,student of ,falces1 enveloped in his ,cape1 plays with the ,bull4 #ae4 ,the famous ,martincho plants ,banderillas4 #af4 ,martincho seizes the ,bull by the ,tail and the ,horns4 #ag4 ,moors using ,donkeys instead of ,horses4 #ah4 ,intrepidity of ,martincho at ,zaragoza4 #ai4 ,similar ,exploit4 #bj4 ,exploit of ,juanito ,apiani at ,madrid4 #ba4 ,spectators killed by the ,bull at ,madrid4 #bb4 ,the ,woman ,picador1 ,pajuelera1 at ,zaragoza4 #bc4 ,mariano ,ceballos in the ,arena4 #bd4 ,ceballos mounted on a ,bull4 #be4 ,bull being baited with ,dogs4 #bf4 ,picador overthrown by the ,bull4 #bg4 ,fernando del ,toro in the ,arena4 #bh4 ,rendon killing a ,bull with one ,blow at ,madrid4 #bi4 ,pepe-,illo in front of the ,bull4 #cj4 ,pedro ,romero in the ,arena4 #ca4 ,flaming ,banderillas4 #cb4 ,bull overthrowing ,picadors4 #cc4 ,death of ,pepe-,illo in the ,arena4 ,the plates #cd to #dj do not properly belong to the series4 #cd4 ,variation of plate ,no4 #bd4 #ce4 ,combat between the ,bull and ,picadors mounted on ,donkeys harnessed to a ,carriage4 #cf4 ,scene in the ,bull-,ring4 #cg4 ,bull carrying a wounded ,toreador impaled on his ,horns4 #ch4 ,bull carrying dead ,toreador impaled on his ,horns4 #ci4 ,variation of plate ,no4 #be4 #dj4 ,variation of plate ,no4 #ah4 #da4 ,the ,bulls4 ,a study of the animals in various attitudes4 ,this plate belongs to ,monsieur ,lucas of ,paris1 and does not properly belong to this set4 ,,los ,,proverbios 7,,the ,,proverbs7 ,a collection of eighteen plates1 now the property of the ,academia de ,san ,fernando1 ,madrid4 #a4 ,six ,women tossing a dead ,donkey and some ,puppets in a ,blanket4 #b4 ,soldiers flying from a ,tree draped to represent a ,ghost4 #c4 ,ten ,persons seated on a rotten ,branch over an ,abyss listening to an ,orator4 #d4 ,a gigantic ,peasant dances1 with ,castanets1 before ,mannikins4 #e4 ,a ,man riding on a winged ,monster carries off a ,woman4 #f4 ,a ,man1 seemingly in a ,condition of ,fury1 throws down an old ,man1 who begs for ,mercy4 #g4 ,a ,man and ,woman joined together at the ,shoulders4 ,a ,crowd kneels before the ,man4 #h4 ,persons apparently preparing to run a ,sack-,race4 #i4 ,a fantastic ,personage offers some ,kittens to two ,women4 #aj4 ,a ,woman dragged along by a ,horse4 ,in the ,background an ,animal about to devour a ,woman4 #aa4 ,a two-headed ,woman pursued by two ,persons1 who give up the chase4 #ab4 ,majos and ,majas dancing4 #ac4 ,men1 with wings attached1 attempting to fly4 #ad4 ,two fantastic ,persons exchange ,salutations2 an odd ,crowd of ,spectators4 #ae4 ,monk preaching1 while a ,soldier throws himself into an ,abyss4 #af4 ,angry ,woman quarrelling with a three-armed ,man4 #ag4 ,persons deriding a blind ,man1 who is defended by a ,dog4 #ah4 ,an old ,man attended by ,monsters approaches a ,corpse4 ,the following plates do not properly belong to the series3-- #ai4 ,a ,crowd watching some ,trees tricked out as ,ghosts4 ,belongs to ,m4 ,e4 ,lucas4 #bj4 ,a young ,woman rides a ,horse on a ,trapze4 #ba4 ,moors offering an open ,book and a ,collar to an ,elephant4 ,the property of ,m4 ,e4 ,lucas4 ,published in #ahgg under the title of #8,otros leyes por el pueblo' 7,other laws for the people74 ,printed by ,t4 and ,a4 ,,constable1 ,printers to ,his ,majesty at the ,edinburgh ,university ,press ,illustration3 ,,plate #a4 ,,the ,,family ,,of ,,charles ,,iv4 7,,prado1 ,,madrid47 ,illustration3 ,,plate #b4 ,,the ,,infante ,,don ,,carlos4 7,,prado1 ,,madrid47 ,illustration3 ,,plate #c4 ,,the ,,infante ,,francisco ,,de ,,paula ,,antonio4 7,,prado1 ,,madrid47 ,illustration3 ,,plate #d4 ,,the ,,infanta ,,maria ,,josefa4 7,,prado1 ,,madrid47 ,illustration3 ,,plate #e4 ,,the ,,infante ,,don ,,antonio1 ,,brother ,,of ,,charles ,,iv4 7,,prado1 ,,madrid47 ,illustration3 ,,plate #f4 ,,the ,,infante ,,don ,,carlos ,,maria ,,isidro4 7,,prado1 ,,madrid47 ,illustration3 ,,plate #g4 ,,king ,,charles ,,iv4 7,,ministerio ,,de ,,hacienda1 ,,madrid47 ,illustration3 ,,plate #h4 ,,king ,,charles ,,iv4 7,,ministerio ,,de ,,hacienda1 ,,madrid47 ,illustration3 ,,plate #i4 ,,king ,,charles ,,iv4 ,illustration3 ,,plate #aj4 ,,king ,,charles ,,iv4 7,,royal ,,palace1 ,,madrid47 ,illustration3 ,,plate #aa4 ,,king ,,charles ,,iv4 7,,prado1 ,,madrid47 ,illustration3 ,,plate #ab4 ,,king ,,charles ,,iv4 7,,marques ,,de ,,casa ,,torres1 ,,madrid47 ,illustration3 ,,plate #ac4 ,,queen ,,maria ,,luisa4 7,,don ,a4 ,,de ,,beruete1 ,,madrid47 ,illustration3 ,,plate #ad4 ,,queen ,,maria ,,luisa4 7,,don ,,jos ,l,,zan47 ,illustration3 ,,plate #ae4 ,,queen ,,maria ,,luisa4 7,,ministerio ,,de ,,hacienda1 ,,madrid47 ,illustration3 ,,plate #af4 ,,queen ,,maria ,,luisa4 7,,marques ,,de ,,casa ,,torres1 ,,madrid47 ,illustration3 ,,plate #ag4 ,,queen ,,maria ,,luisa4 7,,prado1 ,,madrid47 ,illustration3 ,,plate #ah4 ,,queen ,,maria ,,luisa4 7,,prado1 ,,madrid47 ,illustration3 ,,plate #ai4 ,,ferdinand ,,vii4 7,,academy ,,of ,,st4 ,,ferdinand1 ,,madrid47 ,illustration3 ,,plate #bj4 ,,ferdinand ,,vii4 7,,prado1 ,,madrid47 ,illustration3 ,,plate #ba4 ,,ferdinand ,,vii4 7,,prado1 ,,madrid47 ,,plate #bb4 ,,ferdinand ,,vii4 7,,ancient ,,collection ,,of ,,eustaquio ,,veate47 ,illustration3 ,,plate #bc4 ,,don ,,luis1 ,,prince ,,of ,,parma4 7,,prado1 ,,madrid47 ,illustration3 ,,plate #bd4 ,,the ,,duchess ,,of ,,abrantes4 7,,duquesa ,,de ,,abrantes1 ,,madrid47 ,illustration3 ,,plate #be4 ,,the ,,duchess ,,of ,,alba4 7,,don ,,rafael ,,barrio47 ,illustration3 ,,plate #bf4 ,,the ,,duchess ,,of ,,alba4 7,,palacio ,,de ,,liria1 ,,madrid47 ,illustration3 ,,plate #bg4 ,,the ,,duchess ,,of ,,alba4 7,,the ,,duke ,,of ,,alba1 ,,madrid47 ,illustration3 ,,plate #bh4 ,,the ,,duchess ,,of ,,alba4 ,illustration3 ,,plate #bi4 ,,the ,,condesa ,,de ,,altamira ,,and ,,daughter4 7,,marques ,,de ,,cervera47 ,illustration3 ,,plate #cj4 ,,the ,,count ,,of ,,altamira4 7,,the ,,bank ,,of ,,spain1 ,,madrid47 ,illustration3 ,,plate #ca4 ,,the ,,infante ,,don ,,luis ,,de ,,borbon4 7,,marques ,,de ,,casa ,,torres1 ,,madrid47 ,illustration3 ,,plate #cb4 ,,altamirano ,,auditor ,,of ,,seville4 7,,marques ,,de ,,la ,,vega ,,inclan47 ,illustration3 ,,plate #cc4 ,,don ,,manuel ,,lape,a1 ,,marques ,,de ,,bondad ,,real4 7,,don ,,joaquin ,,argamanilla47 ,illustration3 ,,plate #cd4 ,,the ,,marquesa ,,de ,,caballero4 7,,marques ,,de ,,corvera47 ,illustration3 ,,plate #ce4 ,,conde ,,de ,,cabarrus4 7,,bank ,,of ,,spain1 ,,madrid47 ,illustration3 ,,plate #cf4 ,,the ,,wife ,,of ,,cean ,,bermudez4 7,,marques ,,de ,,casa ,,torres1 ,,madrid47 ,illustration3 ,,plate #cg4 ,j4 ,,cean ,,bermudez4 7,,marques ,,de ,,corvera1 ,,madrid47 ,illustration3 ,,plate #ch4 ,,do,a ,,lorenzo ,,correa4 7,m4 ,,bischoffsheim1 ,,paris47 ,illustration3 ,,plate #ci4 ,,the ,,toreador ,,costillares4 7,,don ,,jos ,,lazaro47 ,illustration3 ,,plate #dj4 ,,don ,,joaquin ,,maria ,,ferrer4 7,,count ,,of ,,candilla47 ,illustration3 ,,plate #da4 ,,condesa-,,duquesa ,,de ,,benavente ,y ,,osuna4 7,,madrid47 ,illustration3 ,,plate #db4 ,,do,a ,,manuela ,,de ,,alvarez ,,coi,,as4 7,,marquis ,,of ,,baroja47 ,illustration3 ,,plate #dc4 ,,florida ,,blanca4 7,,marquesa ,,de ,,martorell47 ,illustration3 ,,plate #dd4 ,,don ,,antonio ,,foraster4 7,,don ,j4 ,,millan47 ,illustration3 ,,plate #de4 ,,the ,,engineer ,,ignacio ,,garcini4 7,,the ,,garcini ,,family1 ,,madrid47 ,illustration3 ,,plate #df4 ,,do,a ,,josefa ,,castilla-,,portugal4 7,,don ,,vicente ,,garcini47 ,illustration3 ,,plate #dg4 ,,don ,,juan ,,antonio ,,cuervo4 7,d4 ,f4 ,,duran47 ,illustration3 ,,plate #dh4 ,,do,a ,,maria ,,ildefonso ,,dabalos4 7,,count ,,of ,,villagonzalo47 ,illustration3 ,,plate #di4 ,,general ,,don ,,juan ,,martin1 ,,surnamed ,,el ,,empecinado4 7,,don ,,luis ,,navas47 ,illustration3 ,,plate #ej4 ,,godoy1 ,,prince ,,of ,,the ,,peace4 7,,academy ,,of ,,st4 ,,ferdinand1 ,,madrid47 ,illustration3 ,,plate #ea4 ,f4 ,,guillemardet1 ,,ambassador ,,of ,,the ,,french ,,republic ,,to ,,spain1 #agih4 7,,louvre1 ,,paris47 ,illustration3 ,,plate #eb4 ,,jaspar ,,melchor ,,de ,,jovellanos4 7,,marquesa ,,de ,,villamajor1 ,,madrid47 ,illustration3 ,,plate #ec4 ,,asensio ,,julia 7#8,,el ,,pescadoret'74 7,,comtesse ,,de ,,paris47 ,illustration3 ,,plate #ed4 ,,the ,,milkmaid ,,of ,,bordeaux4 7,,condesa ,,vinda ,,de ,,muguiro47 ,illustration3 ,,plate #ee4 ,,the ,,painter ,,asensio ,,julia 7#8,,el ,,pescadoret'74 7,,louvre47 ,illustration3 ,,plate #ef4 ,,the ,,marquesa ,,de ,,lazan4 7,,comtesse ,,de ,,montijo47 ,illustration3 ,,plate #eg4 ,,don ,,francisco ,,larrumbe4 7,,the ,,bank ,,of ,,spain1 ,,madrid47 ,illustration3 ,,plate #eh4 ,,the ,,famous ,,bookseller ,,of ,,the ,,calle ,,de ,,carretas4 7,,don ,,benito ,,garriga47 ,illustration3 ,,plate #ei4 ,,don ,j4 ,,antonio ,,llorente1 ,,historian ,,of ,,the ,,inquisition4 7,,don ,,francisco ,,llorente ,y ,,garcia ,,de ,,vinuesa47 ,illustration3 ,,plate #fj4 ,,the ,,duke ,,of ,,san ,,carlos4 7,,marques ,,de ,,la ,,torrecilla47 ,illustration3 ,,plate #fa4 ,,the ,,duke ,,of ,,san ,,carlos4 7,,conde ,,de ,,villagonzalo47 ,illustration3 ,,plate #fb4 ,,the ,,actor ,,isidoro ,,maiquez4 7,,prado1 ,,madrid47 ,illustration3 ,,plate #fc4 ,,the ,,actor ,,isidoro ,,maiquez3 ,,repetition ,,of ,,the ,,foregoing4 7,,marques ,,de ,,casa ,,torres1 ,,madrid47 ,illustration3 ,,plate #fd4 ,,the ,,countess ,,of ,,miranda ,,del ,,casta,,ar4 7,,formerly ,,in ,,montijo ,,collection47 ,illustration3 ,,plate #fe4 ,,the ,,conde ,,de ,,miranda4 ,illustration3 ,,plate #ff4 ,,leandro ,,fernandez ,,de ,,moratin4 7,,academy ,,of ,,st4 ,,ferdinand1 ,,madrid47 ,illustration3 ,,plate #fg4 ,,the ,,family ,,of ,,the ,,countess ,,of ,,montijo4 7,,palacio ,,de ,,liria1 ,,madrid47 ,illustration3 ,,plate #fh4 ,,se,,or ,j4 ,b4 ,,de ,,muguiro4 7,,condesa ,,vinda ,,de ,,muguiro47 ,illustration3 ,,plate #fi4 ,,the ,,marques ,,de ,,castro ,,terre,o4 ,illustration3 ,,plate #gj4 ,,the ,,marquesa ,,de ,,castro ,,terre,o4 ,illustration3 ,,plate #ga4 ,,camar,n4 7,,do,a ,e4 ,,camar,n47 ,illustration3 ,,plate #gb4 ,,mu,,arriz4 7,,academy ,,of ,,st4 ,,ferdinand1 ,,madrid47 ,illustration3 ,,plate #gc4 ,,the ,,duke ,,of ,,osuna1 ,,with ,,his ,,family4 7,,prado1 ,,madrid47 ,illustration3 ,,plate #gd4 ,,admiral ,,mazaredo4 7,,don ,m4 ,,hernando47 ,illustration3 ,,plate #ge4 ,,mel,,ndez ,,vald,s4 7,,se,,or ,,su,,rez ,,incl,n47 ,illustration3 ,,plate #gf4 ,,the ,,duke ,,of ,,osuna4 7,,formerly ,,in ,,the ,,collection ,,of ,,the ,,duke ,,of ,,osuna47 ,illustration3 ,,plate #gg4 ,,the ,,duke ,,of ,,osuna4 78 ,,marquesa ,,de ,,villamajor1 ,,madrid47 ,illustration3 ,,plate #gh4 ,,the ,,duke ,,of ,,osuna4 7,m4 ,,duniat1 ,,paris47 ,illustration3 ,,plate #gi4 ,,the ,,duke ,,of ,,osuna4 7,,formerly ,,in ,,the ,,palace ,,of ,,the ,,duke ,,of ,,osuna1 ,,madrid47 ,illustration3 ,,plate #hj4 ,,duchess ,,del ,,parque4 7,,marques ,,de ,,la ,,vega1 ,,madrid47 ,illustration3 ,,plate #ha4 ,,doctor ,,peyral4 7,,national ,,gallery1 ,,london47 ,illustration3 ,,plate #hb4 ,,general ,,palafox4 7,,prado1 ,,madrid47 ,illustration3 ,,plate #hc4 ,,do,a ,,isabel ,,corbo ,,de ,,porcel4 7,,national ,,gallery1 ,,london47 ,illustration3 ,,plate #hd4 ,,don ,,tiburcio ,,perez4 7,d4 ,f4 ,,duran ,,and ,,cuervo47 ,illustration3 ,,plate #he4 ,,don ,,mariano ,,luis ,,de ,,urquijo4 7,,academy ,,of ,,history1 ,,madrid47 ,illustration3 ,,plate #hf4 ,,don ,,tom,s ,p,,rez ,,estala4 7,,countess ,,of ,,cedillo47 ,illustration3 ,,plate #hg4 ,,don ,,pantale,n ,,perez ,,de ,,nenin4 7,,don ,p4 ,,labat47 ,illustration3 ,,plate #hh4 ,,the ,,marquesa ,,de ,,pontejos4 7,,marques ,,de ,,martorell47 ,illustration3 ,,plate #hi4 ,,don ,,ramon ,,pignatelli4 7,,duquesa ,,de ,,villahermosa47 ,illustration3 ,,plate #ij4 ,,general ,,ricardos4 7,,madrid47 ,illustration3 ,,plate #ia4 ,,the ,,toreador ,,jos ,,romero4 7,,madrid47 ,illustration3 ,,plate #ib4 ,,marques ,,de ,,san ,,adri,n4 7,,in ,,the ,,collection ,,of ,,the ,,family47 ,illustration3 ,,plate #ic4 ,,the ,,matador ,,pedro ,,romero4 7,,duke ,,of ,,veragua47 ,illustration3 ,,plate #id4 ,,ramon ,,satue1 ,,in #ahbc 7,,alcaide ,,de ,,corte74 7,,dr4 ,,benito ,,garriga47 ,illustration3 ,,plate #ie4 ,,don ,,manuel ,,silvela4 7,,don ,f4 ,,silvela47 ,illustration3 ,,plate #if4 ,,do,a ,,maria ,,teresa ,,apodaca ,,de ,,sesma4 7,,don ,,andres ,,arteta47 ,illustration3 ,,plate #ig4 ,,marquesa ,,de ,,la ,,solana4 7,,marques ,,del ,,socorro47 ,illustration3 ,,plate #ih4 ,,general ,,urrutia4 7,,prado1 ,,madrid47 ,illustration3 ,,plate #ii4 ,,maria ,,del ,,rosario ,,fernandez1 ,,surnamed #8,,la ,,tirana4' ,a ,,celebrated ,,actress4 7,,academy ,,of ,,st4 ,,ferdinand1 ,,madrid47 ,illustration3 ,,plate #ajj4 ,,the ,,actress ,,maria ,,del ,,rosario ,,fernandez1 ,,surnamed #8,,la ,,tirana4' 7,,conde ,,de ,,villagonzalo47 ,illustration3 ,,plate #aja4 ,,the ,,marques ,,de ,,tolosa4 7,,bank ,,of ,,spain1 ,,madrid47 ,illustration3 ,,plate #ajb4 ,,the ,,conde ,,de ,,teba4 7,,don ,j4 ,l,,zaro47 ,illustration3 ,,plate #ajc4 ,,jos ,,de ,,vargas ,,ponce4 7,,academy ,,of ,,history1 ,,madrid47 ,illustration3 ,,plate #ajd4 ,,don ,,jos ,,de ,,toro ,,zambrano4 7,,bank ,,of ,,spain1 ,,madrid47 ,illustration3 ,,plate #aje4 ,,do,a ,,antonia ,,zarate4 7,,se,,ora ,,vinda ,,de ,,albacete47 ,illustration3 ,,plate #ajf4 ,,do,a ,,antonia ,,zarate4 7,,se,,ora ,,vinda ,,de ,,albacete47 ,illustration3 ,,plate #ajg4 ,,do,a ,,lola ,,zimenez4 7,m4 ,,chiramy1 ,,paris47 ,illustration3 ,,plate #ajh4 ,,don ,,evaristo ,,perez ,,de ,,castro1 ,,president ,,of ,,the ,,council ,,of ,,castile4 7,,louvre1 ,,paris47 ,illustration3 ,,plate #aji4 ,,don ,,juan ,,jos ,,mateo ,,arias ,,dairla4 7,,marquesa ,,de ,,almaguer47 ,illustration3 ,,plate #aaj4 ,,father ,,lascanal4 7,,don ,j4 ,l,,zaro47 ,illustration3 ,,plate #aaa4 ,,don ,,ramon ,,de ,,posada ,y ,,soto4 7,,don ,,jose ,,maria ,,perez ,,caballero47 ,illustration3 ,,plate #aab4 ,,marquesa ,,de ,,caballero4 7,,marques ,,de ,,corvera1 ,,madrid47 ,illustration3 ,,plate #aac4 ,,the ,,conde ,,de ,,gazinza4 7,,marques ,,de ,,casa ,,torres1 ,,madrid47 ,illustration3 ,,plate #aad4 ,,moratin4 7,,don ,f4 ,,silvela47 ,illustration3 ,,plate #aae4 ,,portrait ,,of ,,the ,,artist1 ,,by ,,himself4 7,,academy ,,of ,,st4 ,,ferdinand1 ,,madrid47 ,illustration3 ,,plate #aaf4 ,,portrait ,,of ,,the ,,artist1 ,,by ,,himself4 7,d4 ,a4 ,,pidal47 ,illustration3 ,,plate #aag4 ,,portrait ,,of ,,the ,,artist1 ,,by ,,himself4 ,illustration3 ,,plate #aah4 ,,portrait ,,of ,,the ,,artist1 ,,by ,,himself4 7,m4 ,,leon ,,bonnet47 ,illustration3 ,,plate #aai4 ,,goya ,,at ,,the ,,age ,,of #hj1 ,,by ,,vincente ,,lopez4 7,,prado1 ,,madrid47 ,illustration3 ,,plate #abj4 ,,don ,j4 ,b4 ,,de ,,goicoechea4 7,,don ,,felipe ,,modet47 ,illustration3 ,,plate #aba4 ,,goya',s ,,grandson4 7,,marques ,,de ,,alca,,ices47 ,illustration3 ,,plate #abb4 ,,do,a ,,feliciana ,,bayeu4 7,d4 ,c4 ,,ferriz47 ,illustration3 ,,plate #abc4 ,,don ,,juan ,,martin ,,de ,,goicoechea4 7,,marques ,,de ,,casa ,,torres1 ,,madrid47 ,illustration3 ,,plate #abd4 ,,do,a ,,narcisa ,,bara,,ona ,,de ,,goicoechea4 7,,don ,,felipe ,,modet47 ,illustration3 ,,plate #abe4 ,,do,a ,,juana ,,galarza ,,de ,,goicoechea4 7,,marques ,,de ,,casa ,,torres1 ,,madrid47 ,illustration3 ,,plate #abf4 ,,the ,,painter1 ,,francisco ,,bayeu1 ,,brother-,,in-,,law ,,of ,,goya4 7,,prado1 ,,madrid47 ,illustration3 ,,plate #abg4 ,,josefa ,,bayeu1 ,,goya',s ,,wife4 7,,prado1 ,,madrid47 ,illustration3 ,,plate #abh4 ,,group ,,of ,,heads4 7,,formerly ,,in ,,the ,,palace ,,of ,,san ,,telmo1 ,,now ,,in ,,the ,,collection ,,of ,,the ,,comtesse ,,de ,,paris47 ,illustration3 ,,plate #abi4 ,,portrait ,,study ,,of ,a ,,woman4 ,illustration3 ,,plate #acj4 ,,portrait ,,of ,a ,,young ,,girl4 7,,private ,,property47 ,illustration3 ,,plate #aca4 ,,portrait ,,of ,a ,,lady4 ,illustration3 ,,plate #acb4 ,,portrait ,,of ,a ,,lady4 7,,conde ,,de ,,pe,,alvez47 ,illustration3 ,,plate #acc4 ,,portrait ,,of ,a ,,lady4 7,,don ,,jos ,l,,zaro47 ,illustration3 ,,plate #acd4 ,,portrait ,,of ,a ,,lady4 7,,don ,a4 ,,de ,,beruete47 ,illustration3 ,,plate #ace4 ,,portrait ,,of ,a ,,lady4 7,,don ,a4 ,,de ,,beruete47 ,illustration3 ,,plate #acf4 ,,portrait ,,of ,a ,,lady4 7,,don ,a4 ,,de ,,beruete47 ,illustration3 ,,plate #acg4 ,,portrait ,,of ,a ,,lady4 7,,don ,r4 ,,garcia47 ,illustration3 ,,plate #ach4 ,,portrait ,,of ,a ,,woman4 7,,louvre1 ,,paris47 ,illustration3 ,,plate #aci4 ,a ,,little ,,girl4 7,,marques ,,de ,,casa ,,torres1 ,,madrid47 ,illustration3 ,,plate #adj4 ,,portrait ,,of ,a ,,lady4 7,,don ,j4 ,,gutierrez ,,martin47 ,illustration3 ,,plate #ada4 ,,young ,,spanish ,,woman4 7,,louvre1 ,,paris47 ,illustration3 ,,plate #adb4 ,,portrait ,,of ,a ,,man4 7,,private ,,collection47 ,illustration3 ,,plate #adc4 ,,the ,,old ,,man4 7,,conde ,,de ,,da4 ,,marina47 ,illustration3 ,,plate #add4 ,,portrait ,,of ,,an ,,architect4 ,illustration3 ,,plate #ade4 ,,portrait ,,of ,a ,,doctor4 ,illustration3 ,,plate #adf4 ,,portrait ,,of ,a ,,lady4 ,illustration3 ,,plate #adg4 ,,portrait ,,of ,a ,,lady4 ,illustration3 ,,plate #adh4 ,,portrait ,,of ,a ,,lady4 ,illustration3 ,,plate #adi4 ,,portrait ,,of ,a ,,lady4 ,illustration3 ,,plate #aej4 ,,portrait ,,of ,a ,,man4 ,illustration3 ,,plate #aea4 ,,portrait ,,of ,a ,,lady4 7,,se,,or ,,orossen47 ,illustration3 ,,plate #aeb4 ,,portrait ,,of ,a ,,lady4 ,illustration3 ,,plate #aec4 ,,portrait ,,of ,a ,,gentleman4 ,illustration3 ,,plate #aed4 ,,charles ,,iv4 7,,comtesse ,,de ,,paris47 ,illustration3 ,,plate #aee4 ,,queen ,,maria ,,luisa4 7,,comtesse ,,de ,,paris47 ,illustration3 ,,plate #aef4 ,,the ,,infanta ,,isabel1 ,,afterwards ,,queen ,,of ,,the ,,two ,,sicilies1 ,,at ,,the ,,age ,,of #ab ,,years4 7,,comtesse ,,de ,,paris47 ,illustration3 ,,plate #aeg4 ,,portrait ,,of ,a ,,man4 ,illustration3 ,,plate #aeh4 ,,don ,,felix ,,colon1 ,,spanish ,,author4 7,,don ,,ricardo ,,traumann1 ,,madrid47 ,illustration3 ,,plate #aei4 7,,fragment7 ,,don ,,felix ,,colon1 ,,spanish ,,author4 7,,don ,,ricardo ,,traumann1 ,,madrid47 ,illustration3 ,,plate #afj4 ,,portrait ,,of ,a ,,man4 ,illustration3 ,,plate #afa4 ,,portrait ,,of ,a ,,boy4 ,illustration3 ,,plate #afb4 ,,portrait ,,of ,a ,,boy4 ,illustration3 ,,plate #afc4 ,,portrait ,,of ,a ,,boy4 ,illustration3 ,,plate #afd4 ,,portrait ,,of ,a ,,lady4 ,illustration3 ,,plate #afe4 ,,portrait ,,of ,a ,,lady4 ,illustration3 ,,plate #aff4 ,,portrait ,,of ,a ,,lady4 ,illustration3 ,,plate #afg4 ,,portrait ,,of ,a ,,young ,,lady4 7,,mons4 ,c4 ,g41 ,,paris47 ,illustration3 ,,plate #afh4 ,,episode ,,of ,,the ,,french ,,invasion ,,of #ahjh4 ,,the ,,struggle ,,in ,,the ,,puerta ,,del ,,sol ,,between ,,the ,,citizens ,,and ,,the ,,cavalry ,,of ,,the ,,imperial ,,guard4 7,,prado1 ,,madrid47 ,illustration3 ,,plate #afi4 ,,attack ,,on ,,murat',s ,,cavalry ,,by ,,the ,,people ,,of ,,madrid ,,may #b,,nd1 #ahjh 7,,sketch74 7,,duquesa ,,de ,,villahermosa47 ,illustration3 ,,plate #agj4 ,,casting ,,bullets ,,by ,,moonlight ,,in ,,the ,,hills ,,of ,,tardienta4 7,,royal ,,palace1 ,,madrid47 ,illustration3 ,,plate #aga4 ,,scenes ,,of ,,the #b,,nd ,,may #ahjh3 ,a ,,group ,,of ,,citizens ,,of ,,madrid ,,being ,,shot ,,by ,,the ,,troops ,,of ,,murat4 7,,prado1 ,,madrid47 ,illustration3 ,,plate #agb4 ,,battle-,,scene4 7,,marques ,,de ,,casa ,,torres1 ,,madrid47 ,illustration3 ,,plate #agc4 ,,manufacturing ,,powder ,,in ,,the ,,sierra ,,de ,,tardienta4 7,,royal ,,palace1 ,,madrid47 ,illustration3 ,,plate #agd4 ,,the ,,tribunal ,,of ,,the ,,inquisition4 7,,prado1 ,,madrid47 ,illustration3 ,,plate #age4 ,,the ,,procession ,,of ,,flagellants4 7,,academy ,,of ,,st4 ,,ferdinand1 ,,madrid47 ,illustration3 ,,plate #agf4 ,a ,,meeting ,,of ,,the ,,company ,,of ,,the ,,philippines ,,presided ,,over ,,by ,,ferdinand ,,vii4 ,illustration3 ,,plate #agg4 ,,the ,,city ,,of ,,madrid3 ,,an ,,allegory4 7,,the ,,corporation ,,of ,,madrid47 ,illustration3 ,,plate #agh4 ,,music3 ,,an ,,allegory4 7,,don ,,luis ,,navas47 ,illustration3 ,,plate #agi4 ,,spain ,,making ,,history4 7,,don ,,luis ,,navas47 ,illustration3 ,,plate #ahj4 ,,the ,,madhouse4 7,,prado1 ,,madrid47 ,illustration3 ,,plate #aha4 ,,the ,,majas ,,of ,,the ,,balcony4 7,,collection ,,of ,,the ,,duque ,,de ,,marchesa47 ,illustration3 ,,plate #ahb4 ,,the ,,majas ,,of ,,the ,,balcony4 7,,repetition ,,of ,,the ,,foregoing1 ,,with ,,variations47 ,illustration3 ,,plate #ahc4 ,,the ,,majas ,,of ,,the ,,balcony4 7,,repetition ,,of ,,the ,,foregoing1 ,,with ,,variations47 ,illustration3 ,,plate #ahd4 ,,la ,,maja 7,,nude74 7,,prado1 ,,madrid47 ,illustration3 ,,plate #ahe4 ,,la ,,maja 7,,clothed74 7,,prado1 ,,madrid47 ,illustration3 ,,plate #ahf4 ,,the ,,knife-,,grinder4 7,,budapest47 ,illustration3 ,,plate #ahg4 ,,the ,,water-,,carrier4 7,,budapest47 ,illustration3 ,,plate #ahh4 ,,old ,,age 7,,lille ,,museum47 ,illustration3 ,,plate #ahi4 ,,robbery ,,of ,a ,,coach4 7,,marques ,,de ,,castro ,,serna47 ,illustration3 ,,plate #aij4 ,,brigands4 7,,marques ,,de ,,la ,,romana47 ,illustration3 ,,plate #aia4 ,,brigand ,,murdering ,a ,,woman4 7,,marques ,,de ,,la ,,romana47 ,illustration3 ,,plate #aib4 ,,brigands ,,stripping ,,their ,,captives4 7,,marques ,,de ,,la ,,romana47 ,illustration3 ,,plate #aic4 ,,murder ,,by ,,brigands4 7,,marques ,,de ,,la ,,romana1 ,,madrid47 ,illustration3 ,,plate #aid4 ,,brigands' ,,cave 7,,marques ,,de ,,la ,,romana1 ,,madrid47 ,illustration3 ,,plate #aie4 ,,goya ,,and ,,the ,,duchess ,,of ,,alba4 7,,marques ,,de ,,la ,,romana47 ,illustration3 ,,plate #aif4 ,,the ,,plague ,,terror4 7,,marques ,,de ,,la ,,romana47 ,illustration3 ,,plate #aig4 ,,the ,,monk',s ,,visit4 7,,marques ,,de ,,la ,,romana47 ,illustration3 ,,plate #aih4 ,a ,,masquerade4 7,,duquesa ,,de ,,villahermosa1 ,,madrid47 ,illustration3 ,,plate #aii4 ,,the ,,dance4 7,,marques ,,de ,,la ,,torrecilla47 ,illustration3 ,,plate #bjj4 ,,the ,,funeral ,,of ,,the ,,sardine3 ,,carnival ,,scene4 7,,academy ,,of ,,st4 ,,ferdinand1 ,,madrid47 ,illustration3 ,,plate #bja4 ,,the ,,booth ,,at ,,the ,,fair4 7,,marques ,,de ,,castro ,,serna47 ,illustration3 ,,plate #bjb4 ,,the ,,greasy ,,pole4 7,,marques ,,de ,,castro ,,torres47 ,illustration3 ,,plate #bjc4 ,,the ,,bonfire4 7,,conde ,,de ,,villagonzalo47 ,illustration3 ,,plate #bjd4 ,,nocturnal ,,scene4 7,,marques ,,de ,,la ,,romana47 ,illustration3 ,,plate #bje4 ,,the ,,picnic4 7,,marques ,,de ,,la ,,torrecilla47 ,illustration3 ,,plate #bjf4 ,,the ,,inundation4 7,,marques ,,de ,,castro ,,serna47 ,illustration3 ,,plate #bjg4 ,,the ,,village ,,on ,,fire4 7,,marques ,,de ,,castro ,,serna47 ,illustration3 ,,plate #bjh4 ,,caprice4 7,,do,a ,c4 ,,berganza ,,de ,,martin47 ,illustration3 ,,plate #bji4 ,,caprice4 7,,do,a ,c4 ,,berganza ,,de ,,martin47 ,illustration3 ,,plate #baj4 ,,caprice4 7,,don ,a4 ,,pidal47 ,illustration3 ,,plate #baa4 ,,dogs ,,and ,,guns3 ,,design ,,for ,,tapestry4 7,,prado1 ,,madrid47 ,illustration3 ,,plate #bab4 ,a ,,dead ,,bird4 7,,prado1 ,,madrid47 ,illustration3 ,,plate #bac4 ,,dead ,,birds4 7,,prado1 ,,madrid47 ,illustration3 ,,plate #bad4 ,a ,,picador ,,on ,,horseback4 7,,prado1 ,,madrid47 ,illustration3 ,,plate #bae4 ,,picador ,,and ,,bull4 7,,marques ,,de ,,baroja1 ,,madrid47 ,illustration3 ,,plate #baf4 ,,death ,,of ,,the ,,picador4 7,,paris47 ,illustration3 ,,plate #bag4 ,a ,,bull-,,fight4 7,,bequeathed ,,to ,,the ,,royal ,,academy47 ,illustration3 ,,plate #bah4 ,a ,,bull ,,escaped ,,from ,,the ,,arena4 7,,duque ,,de ,,veragua47 ,illustration3 ,,plate #bai4 ,,meeting ,,of ,,witches4 7,,prado1 ,,madrid47 ,illustration3 ,,plate #bbj4 ,,galician ,,shepherds ,,fighting4 7,,prado1 ,,madrid47 ,illustration3 ,,plate #bba4 ,,the ,,procession4 7,,conde ,,de ,,candilla47 ,illustration3 ,,plate #bbb4 ,,caprice4 7,,prado1 ,,madrid47 ,illustration3 ,,plate #bbc4 ,,the ,,fates4 7,,prado1 ,,madrid47 ,illustration3 ,,plate #bbd4 ,,saturn ,,devouring ,,one ,,of ,,his ,,children4 7,,prado1 ,,madrid47 ,illustration3 ,,plate #bbe4 ,,judith ,,and ,,holofernes4 7,,prado1 ,,madrid47 ,illustration3 ,,plate #bbf4 ,,two ,,monks4 ,illustration3 ,,plate #bbg4 ,,the ,,maja4 7,,from ,,goya',s ,,country ,,house1 ,,near ,,madrid47 ,illustration3 ,,plate #bbh4 ,a ,,caprice4 ,illustration3 ,,plate #bbi4 ,,listening ,,to ,,the ,,news4 7,,prado1 ,,madrid47 ,illustration3 ,,plate #bcj4 ,a ,,group ,,of ,,witches4 7,,prado1 ,,madrid47 ,illustration3 ,,plate #bca4 ,a ,,group ,,of ,,witches4 7,,prado1 ,,madrid47 ,illustration3 ,,plate #bcb4 ,,the ,,bull-,,fight4 ,illustration3 ,,plate #bcc4 ,,pilgrimage ,,to ,,the ,,fountain ,,of ,,san ,,isidro4 7,,prado1 ,,madrid47 ,illustration3 ,,plate #bcd4 ,,meeting ,,of ,,witches4 7,,prado1 ,,madrid47 ,illustration3 ,,plate #bce4 ,,two ,,old ,,people ,,eating ,,porridge4 7,,prado1 ,,madrid47 ,illustration3 ,,plate #bcf4 ,,the ,,mass ,,of ,,parida4 7,,marques ,,de ,,la ,,torrecilla47 ,illustration3 ,,plate #bcg4 ,,the ,,topers4 ,illustration3 ,,plate #bch4 ,,women ,,of ,,madrid1 ,,and ,,friars4 7,,marques ,,de ,,casa ,,torres47 ,illustration3 ,,plate #bci4 ,,the ,,majas ,,and ,,the ,,majo4 ,illustration3 ,,plate #bdj4 ,,the ,,witch4 ,illustration3 ,,plate #bda4 ,,laughing ,,women4 7,,prado1 ,,madrid47 ,illustration3 ,,plate #bdb4 ,,the ,,swing4 7,,duke ,,de ,,montellano47 ,illustration3 ,,plate #bdc4 ,,the ,,greasy ,,pole4 7,,duke ,,de ,,montellano47 ,illustration3 ,,plate #bdd4 ,,the ,,accident4 7,,duke ,,de ,,montellano47 ,illustration3 ,,plate #bde4 ,,coach ,,attacked ,,by ,,bandits4 7,,duke ,,de ,,montellano47 ,illustration3 ,,plate #bdf4 ,,building ,,the ,,church4 7,,from ,,the ,,collection ,,of ,,the ,,duque ,,de ,,osuna47 ,illustration3 ,,plate #bdg4 ,,the ,,village ,,procession4 7,,from ,,the ,,collection ,,of ,,the ,,duque ,,de ,,osuna47 ,illustration3 ,,plate #bdh4 ,,summer3 ,,threshers ,,of ,,wheat4 7,,don ,,ricardo ,,traumann47 ,illustration3 ,,plate #bdi4 ,,the ,,hermitage ,,of ,,san ,,isidro4 7,,don ,p4 ,f4 ,,dur,n47 ,illustration3 ,,plate #bej4 ,,the ,,wounded ,,mason4 7,,don ,p4 ,f4 ,,dur,n47 ,illustration3 ,,plate #bea4 ,,the ,,hermitage ,,of ,,san ,,isidro4 7,,prado1 ,,madrid47 ,illustration3 ,,plate #beb4 ,,scene ,,from ,,the ,,play #8,,el ,,hechizado ,,por ,,fuerza'--,,bewitched ,,by ,,force4 7,,national ,,gallery1 ,,london47 ,illustration3 ,,plate #bec4 ,,the ,,picnic4 7,,national ,,gallery1 ,,london47 ,illustration3 ,,plate #bed4 ,,herd ,,of ,,bulls ,,coming ,,from ,,the ,,mu,,oza4 7,,from ,,the ,,collection ,,of ,,the ,,duque ,,de ,,osuna47 ,illustration3 ,,plate #bee4 ,a ,,caprice4 7,,from ,,the ,,collection ,,of ,,the ,,duque ,,de ,,osuna47 ,illustration3 ,,plate #bef4 ,a ,,witches' ,,conventicle4 7,,from ,,the ,,collection ,,of ,,the ,,duque ,,de ,,osuna47 ,illustration3 ,,plate #beg4 ,,sorcery ,,scene4 7,,from ,,the ,,collection ,,of ,,the ,,duque ,,de ,,osuna47 ,illustration3 ,,plate #beh4 ,,don ,,juan ,,and ,,the ,,comendador4 7,,from ,,the ,,collection ,,of ,,the ,,duque ,,de ,,osuna47 ,illustration3 ,,plate #bei4 ,,don ,,quixote4 ,illustration3 ,,plate #bfj4 ,,st4 ,,bernard ,,of ,,siena4 7,,church ,,of ,,san ,,francisco ,,el ,,grande47 ,illustration3 ,,plate #bfa4 ,,st4 ,,bernard ,,of ,,siena4 7,,marques ,,de ,,torrecilla47 ,illustration3 ,,plate #bfb4 ,,christ ,,taken ,,by ,,the ,,soldiers4 7,,toledo ,,cathedral47 ,illustration3 ,,plate #bfc4 ,,christ ,,on ,,the ,,cross4 7,,prado1 ,,madrid47 ,illustration3 ,,plate #bfd4 ,,the ,,death ,,of ,,st4 ,,joseph4 7,,don ,a4 ,,beruete1 ,,madrid47 ,illustration3 ,,plate #bfe4 ,,the ,,holy ,,family4 7,,prado1 ,,madrid47 ,illustration3 ,,plate #bff4 ,,st4 ,,justa ,,and ,,st4 ,,rufina4 7,,seville ,,cathedral47 ,illustration3 ,,plate #bfg4 ,,apparition ,,of ,,st4 ,,isidore ,,to ,,king ,,ferdinand ,,iii4 7,,don ,a4 ,,canovas1 ,,madrid47 ,illustration3 ,,plate #bfh4 ,,st4 ,,peter4 7,,don ,a4 ,,pidal1 ,,madrid47 ,illustration3 ,,plate #bfi4 ,,the ,,prayer ,,in ,,the ,,garden ,,of ,,gethsemane4 7,,the ,,rector ,,of ,,san ,,antonio47 ,illustration3 ,,plate #bgj4 ,,st4 ,,elizabeth ,,of ,,hungary ,,healing ,,lepers4 7,d4 ,,clemente ,,velasco47 ,illustration3 ,,plate #bga4 ,,st4 ,,hermenegild ,,in ,,prison4 7,d4 ,,clemente ,,velasco47 ,illustration3 ,,plate #bgb4 ,,angels ,,and ,,cherubim4 7,,conde ,,de ,,villagonzalo47 ,illustration3 ,,plate #bgc4 ,,fresco ,,of ,,the ,,cupola ,,of ,,san ,,antonio ,,de ,,la ,,florida1 #a,,st ,,section4 ,illustration3 ,,plate #bgd4 ,,fresco ,,of ,,the ,,cupola ,,of ,,san ,,antonio ,,de ,,la ,,florida1 #b,,nd ,,section4 ,illustration3 ,,plate #bge4 ,,fresco ,,of ,,the ,,cupola ,,of ,,san ,,antonio ,,de ,,la ,,florida1 #c,,rd ,,section4 ,illustration3 ,,plate #bgf4 ,,fresco ,,of ,,the ,,cupola ,,of ,,san ,,antonio ,,de ,,la ,,florida1 #d,,th ,,section4 ,illustration3 ,,plate #bgg4 ,,group ,,of ,,angels ,,from ,,san ,,antonio ,,de ,,la ,,florida4 ,illustration3 ,,plate #bgh4 ,,fresco ,,of ,,san ,,antonio ,,de ,,la ,,florida4 ,illustration3 ,,plate #bgi4 ,,lunch ,,on ,,the ,,banks ,,of ,,the ,,manzanares3 ,,tapestry ,,cartoon4 7,,prado1 ,,madrid47 ,illustration3 ,,plate #bhj4 ,,dance ,,at ,,san ,,antonio ,,de ,,la ,,florida3 ,,tapestry ,,cartoon4 7,,prado1 ,,madrid47 ,illustration3 ,,plate #bha4 ,,the ,,scuffle ,,at ,,the ,,venta ,,nueva3 ,,tapestry ,,cartoon4 7,,prado1 ,,madrid47 ,illustration3 ,,plate #bhb4 ,,al ,,fresco ,,scene3 ,,tapestry ,,cartoon4 7,,prado1 ,,madrid47 ,illustration3 ,,plate #bhc4 ,,the ,,drinker3 ,,tapestry ,,cartoon4 7,,prado1 ,,madrid47 ,illustration3 ,,plate #bhd4 ,,the ,,parasol3 ,,tapestry ,,cartoon4 7,,prado1 ,,madrid47 ,illustration3 ,,plate #bhe4 ,,the ,,kite3 ,,tapestry ,,cartoon4 7,,prado1 ,,madrid47 ,illustration3 ,,plate #bhf4 ,,the ,,card-,,players3 ,,tapestry ,,cartoon4 7,,prado1 ,,madrid47 ,illustration3 ,,plate #bhg4 ,,children ,,with ,a ,,bladder3 ,,tapestry ,,cartoon4 7,,prado1 ,,madrid47 ,illustration3 ,,plate #bhh4 ,,boys ,,picking ,,fruit3 ,,tapestry ,,cartoon4 7,,prado1 ,,madrid47 ,illustration3 ,,plate #bhi4 ,,blind ,,man ,,playing ,,the ,,guitar3 ,,tapestry ,,cartoon4 7,,prado1 ,,madrid47 ,illustration3 ,,plate #bij4 ,,the ,,fair ,,of ,,madrid3 ,,tapestry ,,cartoon4 7,,prado1 ,,madrid47 ,illustration3 ,,plate #bia4 ,,the ,,crockery ,,seller3 ,,tapestry ,,cartoon4 7,,prado1 ,,madrid47 ,illustration3 ,,plate #bib4 ,,the ,,soldier ,,and ,,the ,,girl4 ,,la ,,acerolera4 ,,tapestry ,,cartoons4 7,,prado1 ,,madrid47 ,illustration3 ,,plate #bic4 ,,playing ,,at ,,soldiers3 ,,tapestry ,,cartoon4 7,,prado1 ,,madrid47 ,illustration3 ,,plate #bid4 ,,the ,,game ,,of ,,pelota3 ,,tapestry ,,cartoon4 7,,prado1 ,,madrid47 ,illustration3 ,,plate #bie4 ,,the ,,washerwomen3 ,,tapestry ,,cartoon4 7,,prado1 ,,madrid47 ,illustration3 ,,plate #bif4 ,,la ,,novillada3 ,,tapestry ,,cartoon4 7,,prado1 ,,madrid47 ,illustration3 ,,plate #big4 ,,the ,,tobacco ,,guard3 ,,tapestry ,,cartoon4 7,,prado1 ,,madrid47 ,illustration3 ,,plate #bih4 ,,children ,,climbing ,a ,,tree4 ,,the ,,hunter ,,and ,,his ,,dogs4 ,,the ,,child ,,and ,,the ,,bird4 ,,tapestry ,,cartoons4 7,,prado1 ,,madrid47 ,illustration3 ,,plate #bii4 ,,the ,,woodcutters3 ,,tapestry ,,cartoon4 7,,prado1 ,,madrid47 ,illustration3 ,,plate #cjj4 ,,the ,,rendezvous3 ,,tapestry ,,cartoon4 7,,prado1 ,,madrid47 ,illustration3 ,,plate #cja4 ,,the ,,gardener3 ,,tapestry ,,cartoon4 7,,prado1 ,,madrid47 ,illustration3 ,,plate #cjb4 ,,the ,,vintagers3 ,,tapestry ,,cartoon4 7,,prado1 ,,madrid47 ,illustration3 ,,plate #cjc4 ,,poor ,,woman ,,at ,,the ,,fountain3 ,,tapestry ,,cartoon4 7,,prado1 ,,madrid47 ,illustration3 ,,plate #cjd4 ,,winter3 ,,tapestry ,,cartoon4 7,,prado1 ,,madrid47 ,illustration3 ,,plate #cje4 ,,the ,,wedding3 ,,tapestry ,,cartoon4 7,,prado1 ,,madrid47 ,illustration3 ,,plate #cjf4 ,,women ,,at ,,the ,,fountain3 ,,tapestry ,,cartoon4 7,,prado1 ,,madrid47 ,illustration3 ,,plate #cjg4 ,,the ,,swing3 ,,tapestry ,,cartoon4 7,,prado1 ,,madrid47 ,illustration3 ,,plate #cjh4 ,,the ,,stilt-,,walkers3 ,,tapestry ,,cartoon4 7,,prado1 ,,madrid47 ,illustration3 ,,plate #cji4 ,,boys ,,climbing ,a ,,tree3 ,,tapestry ,,cartoon4 7,,prado1 ,,madrid47 ,illustration3 ,,plate #caj4 ,,boy ,,on ,a ,,sheep3 ,,tapestry ,,cartoon4 7,,don ,,gabino ,,stuyk1 ,,madrid47 ,,caprices ,illustration3 ,,plate #caa4 #a4 ,,francisco ,,goya ,y ,,lucientes1 ,,painter4 ,illustration3 ,,plate #cab4 #b4 ,,el ,,si ,,pronuncian4 ,illustration3 ,,plate #cac4 #c4 ,,here ,,comes ,,the ,,bogey6 ,illustration3 ,,plate #cad4 #d4 ,,el ,,de ,,la ,,rollona4 ,illustration3 ,,plate #cae4 #e4 ,,birds ,,of ,a ,,feather4 ,illustration3 ,,plate #caf4 #f4 ,,appearances ,,are ,,deceptive4 ,illustration3 ,,plate #cag4 #g4 ,,not ,,thus ,,can ,,he ,,distinguish ,,her4 ,illustration3 ,,plate #cah4 #h4 ,,kidnapped6 ,illustration3 ,,plate #cai4 #i4 ,,tantalus4 ,illustration3 ,,plate #cbj4 #aj4 ,,love ,,and ,,death4 ,illustration3 ,,plate #cba4 #aa4 ,,andalusian ,,brigands4 ,illustration3 ,,plate #cbb4 #ab4 ,,tooth-,,hunting4 ,illustration3 ,,plate #cbc4 #ac4 ,,they ,,are ,,hot6 ,illustration3 ,,plate #cbd4 #ad4 ,,what ,a ,,sacrifice6 ,illustration3 ,,plate #cbe4 #ae4 ,,good ,,counsel4 ,illustration3 ,,plate #cbf4 #af4 #8,,may ,,god ,,pardon ,,her6' ,illustration3 ,,plate #cbg4 #ag4 ,,bien ,,tirada ,,est4 ,illustration3 ,,plate #cbh4 #ah4 #8,,and ,,his ,,house ,,is ,,burning6' ,illustration3 ,,plate #cbi4 #ai4 #8,,all ,,will ,,fall4' ,illustration3 ,,plate #ccj4 #bj4 ,,they ,,are ,,already ,,plucked4 ,illustration3 ,,plate #cca4 #ba4 ,,how ,,they ,,pluck ,,her6 ,illustration3 ,,plate #ccb4 #bb4 ,,poor ,,little ,,things6 ,illustration3 ,,plate #ccc4 #bc4 ,,this ,,dust4 ,illustration3 ,,plate #ccd4 #bd4 ,,there ,,was ,,no ,,remedy4 ,illustration3 ,,plate #cce4 #be4 ,,because ,,he ,,broke ,,the ,,pitcher4 ,illustration3 ,,plate #ccf4 #bf4 ,,now ,,they ,,have ,a ,,seat4 ,illustration3 ,,plate #ccg4 #bg4 ,,which ,,is ,,the ,,more ,,bored8 ,illustration3 ,,plate #cch4 #bh4 ,,hush6 ,illustration3 ,,plate #cci4 #bi4 ,,this ,,is ,,what ,,he ,,calls ,,reading4 ,illustration3 ,,plate #cdj4 #cj4 ,,why ,,hide ,,them8 ,illustration3 ,,plate #cda4 #ca4 ,,she ,,prays ,,for ,,her4 ,illustration3 ,,plate #cdb4 #cb4 ,,why ,,was ,,she ,,sensitive8 ,illustration3 ,,plate #cdc4 #cc4 #8,,to ,,the ,,count ,,palatine4' ,illustration3 ,,plate #cdd4 #cd4 ,,sleep ,,conquers ,,them4 ,illustration3 ,,plate #cde4 #ce4 ,,they ,,shave ,,him4 ,illustration3 ,,plate #cdf4 #cf4 ,a ,,bad ,,night4 ,illustration3 ,,plate #cdg4 #cg4 ,,will ,,the ,,pupil ,,know ,,more ,,than ,,the ,,master8 ,illustration3 ,,plate #cdh4 #ch4 ,,bravissimo6 ,illustration3 ,,plate #cdi4 #ci4 ,,as ,,far ,,as ,,his ,,grandfather4 ,illustration3 ,,plate #cej4 #dj4 ,,of ,,what ,,ill ,,will ,,he ,,die8 ,illustration3 ,,plate #cea4 #da4 ,,neither ,,more ,,nor ,,less4 ,illustration3 ,,plate #ceb4 #db4 ,,thou ,,who ,,canst ,,not4 ,illustration3 ,,plate #cec4 #dc4 ,,the ,,sleep ,,of ,,reason ,,produces ,,monsters4 ,illustration3 ,,plate #ced4 #dd4 ,,they ,,spin ,,linen4 ,illustration3 ,,plate #cee4 #de4 ,,there ,,is ,a ,,lot ,,to ,,taste4 ,illustration3 ,,plate #cef4 #df4 ,,correction4 ,illustration3 ,,plate #ceg4 #dg4 ,,homage ,,to ,,the ,,master4 ,illustration3 ,,plate #ceh4 #dh4 ,,the ,,blowers4 ,illustration3 ,,plate #cei4 #di4 ,,little ,,ghosts4 ,illustration3 ,,plate #cfj4 #ej4 ,,las ,,chinchillas4 ,illustration3 ,,plate #cfa4 #ea4 ,,they ,,cut ,,each ,,others' ,,nails4 ,illustration3 ,,plate #cfb4 #eb4 ,,what ,a ,,tailor ,,can ,,do4 ,illustration3 ,,plate #cfc4 #ec4 #8,,what ,a ,,mouth ,,of ,,gold6' ,illustration3 ,,plate #cfd4 #ed4 ,,the ,,shameful ,,one4 ,illustration3 ,,plate #cfe4 #ef4 ,,till ,,death4 ,illustration3 ,,plate #cff4 #ef4 ,,ascending ,,and ,,descending4 ,illustration3 ,,plate #cfg4 #eg4 ,,the ,,descent4 ,illustration3 ,,plate #cfh4 #eh4 ,,swallow ,,that1 ,,you ,,dog6 ,illustration3 ,,plate #cfi4 #ei4 ,,and ,,yet ,,they ,,do ,,not ,,go4 ,illustration3 ,,plate #cgj4 #fj4 ,,ensayos4 ,illustration3 ,,plate #cga4 #fa4 ,,volaverunt4 ,illustration3 ,,plate #cgb4 #fb4 ,,who ,,would ,,believe ,,it8 ,illustration3 ,,plate #cgc4 #fc4 ,,how ,,grave ,,they ,,are4 ,illustration3 ,,plate #cgd4 #fd4 ,,bon ,,voyage4 ,illustration3 ,,plate #cge4 #fe4 ,,where ,,is ,,mamma ,,going8 ,illustration3 ,,plate #cgf4 #ff4 ,,beware6 ,illustration3 ,,plate #cgg4 #fg4 ,,wait ,,till ,,you ,,have ,,been ,,anointed4 ,illustration3 ,,plate #cgh4 #fh4 ,,pretty ,,mistress4 ,illustration3 ,,plate #cgi4 #fi4 ,,sopla6 ,illustration3 ,,plate #chj4 #gj4 ,,devout ,,professions4 ,illustration3 ,,plate #cha4 #ga4 ,,the ,,day ,,breaks1 ,,let ,,us ,,go4 ,illustration3 ,,plate #chb4 #gb4 ,,you ,,will ,,not ,,escape4 ,illustration3 ,,plate #chc4 #gc4 ,,it ,,is ,,better ,,to ,,do ,,nothing4 ,illustration3 ,,plate #chd4 #gd4 ,,don',t ,,grizzle1 ,,idiot4 ,illustration3 ,,plate #che4 #ge4 ,,the ,,habit ,,of ,,command4 ,illustration3 ,,plate #chf4 #gf4 ,,will ,,no ,,one ,,set ,,us ,,free8 ,illustration3 ,,plate #chg4 #gg4 ,a ,,mimic ,,bull-,,fight4 ,illustration3 ,,plate #chh4 #gh4 ,,be ,,quick1 ,,they ,,waken4 ,illustration3 ,,plate #chi4 #gi4 ,,no ,,one ,,has ,,seen ,,us4 ,illustration3 ,,plate #cij4 #hj4 ,,is ,,it ,,already ,,the ,,hour8 ,,disasters ,,of ,,war ,illustration3 ,,plate #cia4 #a4 ,,sad ,,presentiments4 ,illustration3 ,,plate #cib4 #b4 ,,with ,,or ,,without ,,reason4 ,illustration3 ,,plate #cic4 #c4 ,,all ,,the ,,same4 ,illustration3 ,,plate #cid4 #d4 ,,women ,,inspire ,,courage4 ,illustration3 ,,plate #cie4 #e4 ,,and ,,are ,,like ,,wild ,,beasts4 ,illustration3 ,,plate #cif4 #f4 ,a ,,good ,,thing1 ,,too6 ,illustration3 ,,plate #cig4 #g4 ,,courage6 ,illustration3 ,,plate #cih4 #h4 ,,what ,,always ,,happens4 ,illustration3 ,,plate #cii4 #i4 ,,they ,,will ,,not6 ,illustration3 ,,plate #djj4 #aj4 ,,nor ,,they6 ,illustration3 ,,plate #dja4 #aa4 ,,not ,,for ,,these6 ,illustration3 ,,plate #djb4 #ab4 ,,were ,,you ,,born ,,for ,,this8 ,illustration3 ,,plate #djc4 #ac4 ,a ,,bitter ,,sight4 ,illustration3 ,,plate #djd4 #ad4 ,,hard ,,is ,,the ,,way4 ,illustration3 ,,plate #dje4 #ae4 ,,and ,,there ,,was ,,no ,,remedy4 ,illustration3 ,,plate #djf4 #af4 ,,they ,,avail ,,themselves4 ,illustration3 ,,plate #djg4 #ag4 ,,they ,,do ,,not ,,argue4 ,illustration3 ,,plate #djh4 #ah4 ,,to ,,bury ,,and ,,to ,,be ,,silent4 ,illustration3 ,,plate #dji4 #ai4 ,,there ,,is ,,not ,,time4 ,illustration3 ,,plate #daj4 #bj4 ,,to ,,heal ,,each ,,other4 ,illustration3 ,,plate #daa4 #ba4 ,,it ,,will ,,be ,,the ,,same4 ,illustration3 ,,plate #dab4 #bb4 ,,as ,,much ,,and ,,more4 ,illustration3 ,,plate #dac4 #bc4 ,,the ,,same ,,elsewhere4 ,illustration3 ,,plate #dad4 #bd4 ,,they ,,are ,,still ,,of ,,use4 ,illustration3 ,,plate #dae4 #be4 ,,and ,,these ,,also4 ,illustration3 ,,plate #daf4 #bf4 ,,that ,,cannot ,,be ,,seen4 ,illustration3 ,,plate #dag4 #bg4 ,,charity4 ,illustration3 ,,plate #dah4 #bh4 ,,the ,,populace4 ,illustration3 ,,plate #dai4 #bi4 ,,he ,,deserved ,,it4 ,illustration3 ,,plate #dbj4 #cj4 ,,the ,,tragedy ,,of ,,war4 ,illustration3 ,,plate #dba4 #ca4 ,,strong ,,measures4 ,illustration3 ,,plate #dbb4 #cb4 ,,why8 ,illustration3 ,,plate #dbc4 #cc4 ,,what ,,more ,,is ,,there ,,to ,,do8 ,illustration3 ,,plate #dbd4 #cd4 ,,for ,a ,,knife4 ,illustration3 ,,plate #dbe4 #ce4 ,,no ,,one ,,knows ,,why4 ,illustration3 ,,plate #dbf4 #cf4 ,,nor ,,wherefore4 ,illustration3 ,,plate #dbg4 #cg4 ,,this ,,is ,,worse4 ,illustration3 ,,plate #dbh4 #ch4 ,,barbarians6 ,illustration3 ,,plate #dbi4 #ci4 ,a ,,great ,,feat ,,with ,,the ,,dead4 ,illustration3 ,,plate #dcj4 #dj4 ,,he ,,turns ,,it ,,to ,,account4 ,illustration3 ,,plate #dca4 #da4 ,,they ,,escape ,,through ,,the ,,flames4 ,illustration3 ,,plate #dcb4 #db4 ,,all ,,is ,,in ,,confusion4 ,illustration3 ,,plate #dcc4 #dc4 ,,here ,,also4 ,illustration3 ,,plate #dcd4 #dd4 #8,i ,,saw ,,it6' ,illustration3 ,,plate #dce4 #de4 ,,and ,,this1 ,,likewise4 ,illustration3 ,,plate #dcf4 #df4 ,,this ,,is ,,bad4 ,illustration3 ,,plate #dcg4 #dg4 ,,thus ,,it ,,happened4 ,illustration3 ,,plate #dch4 #dh4 ,,cruel ,,misfortune6 ,illustration3 ,,plate #dci4 #di4 ,a ,,woman',s ,,charity4 ,illustration3 ,,plate #ddj4 #ej4 ,,unhappy ,,mother4 ,illustration3 ,,plate #dda4 #ea4 ,,thanks ,,to ,,the ,,blue ,,vetch4 ,illustration3 ,,plate #ddb4 #eb4 ,,they ,,arrive ,,too ,,late4 ,illustration3 ,,plate #ddc4 #ec4 ,,he ,,died ,,without ,,help4 ,illustration3 ,,plate #ddd4 #ed4 ,,vain ,,clamours4 ,illustration3 ,,plate #dde4 #ee4 ,,to ,,beg ,,is ,,worst ,,of ,,all4 ,illustration3 ,,plate #ddf4 #ef4 ,,to ,,the ,,cemetery4 ,illustration3 ,,plate #ddg4 #eg4 ,,the ,,halt ,,and ,,the ,,sick4 ,illustration3 ,,plate #ddh4 #eh4 ,,of ,,no ,,use ,,to ,,cry4 ,illustration3 ,,plate #ddi4 #ei4 ,,of ,,what ,,use ,,is ,a ,,cup4 ,illustration3 ,,plate #dej4 #fj4 ,,no ,,one ,,to ,,help4 ,illustration3 ,,plate #dea4 #fa4 ,,are ,,they ,,of ,,another ,,race8 ,illustration3 ,,plate #deb4 #fb4 ,,death-,,beds4 ,illustration3 ,,plate #dec4 #fc4 ,,collected ,,dead4 ,illustration3 ,,plate #ded4 #fd4 ,,cartloads ,,for ,,the ,,cemetery4 ,illustration3 ,,plate #dee4 #fe4 #8,,what ,,means ,,this ,,tumult8' ,illustration3 ,,plate #def4 #ff4 ,,strange ,,devotion4 ,illustration3 ,,plate #deg4 #fg4 ,,this ,,is ,,not ,,less ,,so4 ,illustration3 ,,plate #deh4 #fh4 ,,what ,,madness6 ,illustration3 ,,plate #dei4 #fi4 ,,nothing2 ,,he ,,says ,,it ,,himself4 ,illustration3 ,,plate #dfj4 #gj4 ,,they ,,do ,,not ,,know ,,the ,,way4 ,illustration3 ,,plate #dfa4 #ga4 ,,against ,,the ,,general ,,good4 ,illustration3 ,,plate #dfb4 #gb4 ,,the ,,consequences4 ,illustration3 ,,plate #dfc4 #gc4 ,,the ,,cats ,,pantomime4 ,illustration3 ,,plate #dfd4 #gd4 ,,this ,,is ,,worse4 ,illustration3 ,,plate #dfe4 #ge4 ,a ,,meeting ,,of ,,quacks4 ,illustration3 ,,plate #dff4 #gf4 ,,the ,,carnivorous ,,vulture4 ,illustration3 ,,plate #dfg4 #gg4 ,,may ,,the ,,rope ,,break4 ,illustration3 ,,plate #dfh4 #gh4 ,,he ,,defends ,,himself ,,well4 ,illustration3 ,,plate #dfi4 #gi4 ,,truth ,,died4 ,illustration3 ,,plate #dgj4 #hj4 ,,will ,,she ,,revive8 ,,tauromachie ,illustration3 ,,plate #dga4 #a4 ,,hunting ,,bulls ,,across ,,country ,,in ,,the ,,olden ,,time4 ,illustration3 ,,plate #dgb4 #b4 ,,hunting ,,the ,,bull ,,on ,,foot4 ,illustration3 ,,plate #dgc4 #c4 ,,moors ,,hunting ,,the ,,bull ,,across ,,country4 ,illustration3 ,,plate #dgd4 #d4 ,,moors ,,fighting ,,the ,,bull ,,in ,,an ,,enclosure4 ,illustration3 ,,plate #dge4 #e4 ,,the ,,moor1 ,,gazul1 ,,fighting ,,the ,,bull4 ,illustration3 ,,plate #dgf4 #f4 ,,moors ,,irritating ,,the ,,bull4 ,illustration3 ,,plate #dgg4 #g4 ,,origin ,,of ,,the ,,banderilla4 ,illustration3 ,,plate #dgh4 #h4 ,,moor ,,attacked ,,by ,a ,,bull4 ,illustration3 ,,plate #dgi4 #i4 ,,spaniard1 ,,wearing ,a ,,turban1 ,,slaying ,a ,,bull4 ,illustration3 ,,plate #dhj4 #aj4 ,,charles ,v4 ,,in ,,the ,,arena ,,of ,,valladolid4 ,illustration3 ,,plate #dha4 #aa4 ,,the ,,cid ,,spearing ,a ,,bull4 ,illustration3 ,,plate #dhb4 #ab4 ,,men ,,attacking ,,the ,,bull4 ,illustration3 ,,plate #dhc4 #ac4 ,,horseman ,,planting ,,banderillas ,,in ,,the ,,bull4 ,illustration3 ,,plate #dhd4 #ad4 ,,the ,,pupil ,,of ,,falces ,,and ,,the ,,bull4 ,illustration3 ,,plate #dhe4 #ae4 ,,the ,,famous ,,martincho ,,planting ,,banderillas4 ,illustration3 ,,plate #dhf4 #af4 ,,martincho',s ,,feat4 ,illustration3 ,,plate #dhg4 #ag4 ,,moors ,,using ,,donkeys ,,instead ,,of ,,horses4 ,illustration3 ,,plate #dhh4 #ah4 ,,martincho ,,in ,,the ,,arena ,,at ,,zaragoza4 ,illustration3 ,,plate #dhi4 #ai4 ,,martincho',s ,,feat4 ,illustration3 ,,plate #dij4 #bj4 ,,juanito ,,apinani ,,in ,,the ,,arena ,,at ,,madrid4 ,illustration3 ,,plate #dia4 #ba4 ,,spectators ,,slain ,,by ,,the ,,bull ,,at ,,madrid4 ,illustration3 ,,plate #dib4 #bb4 ,,the ,,woman ,,picador1 ,,paguerela1 ,,at ,,zaragoza4 ,illustration3 ,,plate #dic4 #bc4 ,,mariano ,,ceballos ,,in ,,the ,,arena4 ,illustration3 ,,plate #did4 #bd4 ,,ceballos ,,mounted ,,on ,a ,,bull4 ,illustration3 ,,plate #die4 #be4 ,,bull-,,baiting4 ,illustration3 ,,plate #dif4 #bf4 ,,picador ,,overthrown ,,by ,,the ,,bull4 ,illustration3 ,,plate #dig4 #bg4 ,,fernando ,,del ,,toro ,,in ,,the ,,arena4 ,illustration3 ,,plate #dih4 #bh4 ,,readon ,,in ,,the ,,arena ,,at ,,madrid4 ,illustration3 ,,plate #dii4 #bi4 ,,pepe-,,illo ,,faces ,,the ,,bull4 ,illustration3 ,,plate #ejj4 #cj4 ,,pedro ,,romero ,,in ,,the ,,arena4 ,illustration3 ,,plate #eja4 #ca4 ,,flaming ,,banderillas4 ,illustration3 ,,plate #ejb4 #cb4 ,,bull ,,overthrowing ,,picadors4 ,illustration3 ,,plate #ejc4 #cc4 ,,death ,,of ,,pepe-,,illo ,,in ,,the ,,arena4 ,illustration3 ,,plate #ejd4 ,,picadors ,,mounted ,,on ,,mules ,,harnessed ,,to ,a ,,carriage4 ,illustration3 ,,plate #eje4 ,,bull ,,carrying ,a ,,wounded ,,toreador ,,on ,,his ,,horns4 ,illustration3 ,,plate #ejf4 ,,bull ,,carrying ,a ,,dead ,,toreador ,,on ,,his ,,horns4 ,illustration3 ,,plate #ejg4 ,,variation ,,of ,,no4 #be4 ,illustration3 ,,plate #ejh4 ,a ,,spanish ,,gentleman ,,in ,,the ,,ring4 ,illustration3 ,,plate #eji4 ,,bravo ,,toro6 ,illustration3 ,,plate #eaj4 ,,nearing ,,the ,,end4 ,,proverbs ,illustration3 ,,plate #eaa4 #a4 ,,women ,,tossing ,a ,,dead ,,donkey ,,and ,,mannikins ,,in ,a ,,blanket4 ,illustration3 ,,plate #eab4 #b4 ,,soldiers ,,flying ,,from ,a ,,tree ,,draped ,,to ,,represent ,a ,,ghost4 ,illustration3 ,,plate #eac4 #c4 ,,persons ,,listening ,,to ,,an ,,orator4 ,illustration3 ,,plate #ead4 #d4 ,,peasant ,,dancing ,,before ,a ,,man ,,and ,,woman4 ,illustration3 ,,plate #eae4 #e4 ,,man ,,carrying ,,off ,a ,,woman ,,on ,a ,,winged ,,monster4 ,illustration3 ,,plate #eaf4 #f4 ,,the ,,infuriated ,,man4 ,illustration3 ,,plate #eag4 #g4 ,,man ,,and ,,woman ,,joined ,,together ,,at ,,the ,,shoulders4 ,illustration3 ,,plate #eah4 #h4 ,,persons ,,dressed ,,in ,,sacks4 ,illustration3 ,,plate #eai4 #i4 ,,fantastic ,,personage ,,offering ,,kittens ,,to ,,two ,,women4 ,illustration3 ,,plate #ebj4 #aj4 ,,human ,,beings ,,maltreated ,,by ,,horses4 ,illustration3 ,,plate #eba4 #aa4 ,a ,,two-,,headed ,,woman ,,pursued ,,by ,,two ,,men4 ,illustration3 ,,plate #ebb4 #ab4 ,,majos ,,and ,,majas ,,dancing4 ,illustration3 ,,plate #ebc4 #ac4 ,,men ,,attempting ,,to ,,fly4 ,illustration3 ,,plate #ebd4 #ad4 ,,fantastic ,,salutations4 ,illustration3 ,,plate #ebe4 #ae4 ,a ,,monk ,,preaches2 ,,soldier ,,throws ,,himself ,,down ,,an ,,abyss4 ,illustration3 ,,plate #ebf4 #af4 ,,man ,,and ,,woman ,,quarrelling4 ,illustration3 ,,plate #ebg4 #ag4 ,,persons ,,deriding ,a ,,blind ,,man4 ,illustration3 ,,plate #ebh4 #ah4 ,,the ,,old ,,man ,,and ,,the ,,corpse4 ,illustration3 ,,plate #ebi4 ,,the ,,promenade4 ,illustration3 ,,plate #ecj4 ,a ,,pauper4 7,,don ,a4 ,,de ,,beruete47 ,illustration3 ,,plate #eca4 ,,the ,,madman4 ,illustration3 ,,plate #ecb4 ,,the ,,miser4 7,,don ,a4 ,,de ,,beruete47 ,illustration3 ,,plate #ecc4 ,a ,,woman ,,flying4 ,illustration3 ,,plate #ecd4 ,,madmen4 7,,don ,a4 ,,de ,,beruete47 ,illustration3 ,,plate #ece4 ,,the ,,maja ,,and ,,the ,,cloaked ,,man4 ,illustration3 ,,plate #ecf4 ,a ,,monk ,,suspended ,,in ,,the ,,air4 7,,don ,a4 ,,de ,,beruete47 ,illustration3 ,,plate #ecg4 ,,the ,,living ,,skeleton4 ,illustration3 ,,plate #ech4 ,,french ,,chastisement4 7,,don ,a4 ,,de ,,beruete47 ,illustration3 ,,plate #eci4 ,,aqui ,,algo ,,ha ,,de ,,haber4 ,illustration3 ,,plate #edj4 ,,the ,,snake ,,charmer4 7,,don ,a4 ,,de ,,beruete47 ,illustration3 ,,plate #eda4 ,,charity4 ,illustration3 ,,plate #edb4 ,,who ,,will ,,win8 7,,don ,a4 ,,de ,,beruete47 ,illustration3 ,,plate #edc4 ,,the ,,madman4 ,illustration3 ,,plate #edd4 ,,the ,,lady ,,with ,,the ,,puppies4 7,,don ,a4 ,,de ,,beruete47 ,illustration3 ,,plate #ede4 ,,paupers4 ,illustration3 ,,plate #edf4 ,,procession ,,entering ,,the ,,temple4 7,,don ,a4 ,,de ,,beruete47 ,illustration3 ,,plate #edg4 ,,women ,,praying4 ,illustration3 ,,plate #edh4 ,,por ,,mitad ,,de ,,cuaresma4 7,,don ,a4 ,,de ,,beruete47 ,illustration3 ,,plate #edi4 ,,brides ,,of ,,the ,,church4 ,illustration3 ,,plate #eej4 ,,melodious ,,mediators4 7,,don ,a4 ,,de ,,beruete47 ,illustration3 ,,plate #eea4 ,a ,,sleeping ,,maja4 ,illustration3 ,,plate #eeb4 ,,the ,,skaters4 7,,don ,a4 ,,de ,,beruete47 ,illustration3 ,,plate #eec4 ,,study ,,for ,,the ,,young ,,infante ,,in #8,,the ,,family ,,of ,,king ,,charles ,,iv4' ,illustration3 ,,plate #eed4 ,,study ,,for ,,the ,,portrait ,,of ,,the ,,queen ,,in #8,,the ,,family ,,of ,,king ,,charles ,,iv4' 7,,don ,a4 ,,de ,,beruete47 ,illustration3 ,,plate #eee4 ,,sleeping ,,giant4 ,illustration3 ,,plate #eef4 ,a ,,gentle ,,episode4 7,,don ,a4 ,,de ,,beruete47 ,illustration3 ,,plate #eeg4 ,a ,,prisoner4 ,illustration3 ,,plate #eeh4 ,,the ,,happy ,,man4 7,,don ,a4 ,,de ,,beruete47 ,illustration3 ,,plate #eei4 ,,under ,a ,,hood4 ,illustration3 ,,plate #efj4 ,,fairy ,,tales4 7,,don ,a4 ,,de ,,beruete47 ,illustration3 ,,plate #efa4 ,,spanish ,,beauty4 ,illustration3 ,,plate #efb4 ,,haut-,,ton4 7,,don ,a4 ,,de ,,beruete47 ,illustration3 ,,plate #efc4 ,,the ,,man ,,with ,,the ,,crocodile4 ,illustration3 ,,plate #efd4 ,,at ,,last ,,it ,,breaks4 7,,don ,a4 ,,de ,,beruete47 ,illustration3 ,,plate #efe4 ,,the ,,broken ,,pitcher4 ,illustration3 ,,plate #eff4 ,,woman ,,with ,a ,,child ,,in ,,arms4 7,,don ,a4 ,,de ,,beruete47 ,illustration3 ,,plate #efg4 ,,rural ,,events4 ,illustration3 ,,plate #efh4 ,,chastisement4 7,,don ,a4 ,,de ,,beruete47 ,illustration3 ,,plate #efi4 ,a ,,monk ,,doing ,,penance4 ,illustration3 ,,plate #egj4 ,,the ,,invalid4 7,,don ,a4 ,,de ,,beruete47 ,illustration3 ,,plate #ega4 ,,mirar ,,lo ,,que ,,no ,,ven4 ,illustration3 ,,plate #egb4 ,,an ,,idiot4 7,,don ,a4 ,,de ,,beruete47 ,illustration3 ,,plate #egc4 ,,invocation4 ,illustration3 ,,plate #egd4 ,,prayer4 7,,don ,a4 ,,de ,,beruete47 ,illustration3 ,,plate #ege4 ,a ,,mad ,,newswoman4 ,illustration3 ,,plate #egf4 ,a ,,monk4 7,,don ,a4 ,,de ,,beruete47 ,illustration3 ,,plate #egg4 ,,the ,,bride4 ,illustration3 ,,plate #egh4 ,,the ,,belle ,,of ,,the ,,assembly4 ,illustration3 ,,plate #egi4 ,,one ,,more ,,unfortunate4 ,illustration3 ,,plate #ehj4 ,a ,,portrait4 7,,don ,a4 ,,de ,,beruete47 ,illustration3 ,,plate #eha4 ,,interior ,,of ,,the ,,church ,,of ,,san ,,antonio ,,de ,,la ,,florida4 ,illustration3 ,,plate #ehb4 ,,san ,,antonio ,,de ,,la ,,florida4 ,,painting ,,in ,,the ,,principal ,,chapel4 ,illustration3 ,,plate #ehc4 ,,san ,,antonio ,,de ,,la ,,florida4 ,,paintings ,,on ,,the ,,centres ,,of ,,the ,,intrados ,,of ,,the ,,choir ,,and ,,principal ,,chapel ,,arches4 ,illustration3 ,,plate #ehd4 ,,plate #ehe4 ,,san ,,antonio ,,de ,,la ,,florida4 ,,paintings ,,on ,,the ,,springings ,,of ,,the ,,intrados ,,of ,,the ,,principal ,,chapel ,,arches4 ,illustration3 ,,plate #ehf4 ,,plate #ehg4 ,,san ,,antonio ,,de ,,la ,,florida4 ,,paintings ,,on ,,the ,,springings ,,of ,,the ,,intrados ,,of ,,the ,,choir ,,arches4 ,illustration3 ,,plate #ehh4 ,,san ,,antonio ,,de ,,la ,,florida4 ,,paintings ,,on ,,the ,,intrados ,,of ,,the ,,left ,,side ,,chapel ,,arch4 ,illustration3 ,,plate #ehi4 ,,san ,,antonio ,,de ,,la ,,florida4 ,,paintings ,,on ,,the ,,intrados ,,of ,,the ,,right ,,side ,,chapel ,,arch4 ,illustration3 ,,plate #eij4 ,,san ,,antonio ,,de ,,la ,,florida4 ,,triangles ,,formed ,,by ,,the ,,dome ,,adjoining ,,the ,,principal ,,chapel4 ,illustration3 ,,plate #eia4 ,,san ,,antonio ,,de ,,la ,,florida4 ,,triangles ,,formed ,,by ,,the ,,dome ,,adjoining ,,the ,,choir4 ,illustration3 ,,plate #eib4 ,,plate #eic4 ,,san ,,antonio ,,de ,,la ,,florida4 ,,paintings ,,at ,,the ,,sides ,,of ,,the ,,window ,,on ,,the ,,left4 ,illustration3 ,,plate #eid4 ,,plate #eie4 ,,san ,,antonio ,,de ,,la ,,florida4 ,,paintings ,,at ,,the ,,sides ,,of ,,the ,,window ,,on ,,the ,,right4 ,illustration3 ,,plate #eif4 ,,san ,,antonio ,,de ,,la ,,florida4 ,,first ,,group ,,on ,,the ,,cupola ,,to ,,the ,,left ,,of ,,the ,,centre4 ,illustration3 ,,plate #eig4 ,,san ,,antonio ,,de ,,la ,,florida4 ,,second ,,group ,,on ,,the ,,cupola ,,to ,,the ,,left ,,of ,,the ,,centre4 ,illustration3 ,,plate #eih4 ,,san ,,antonio ,,de ,,la ,,florida4 ,,centre ,,of ,,the ,,composition ,,on ,,the ,,cupola ,,facing ,,the ,,entrance4 ,illustration3 ,,plate #eii4 ,,san ,,antonio ,,de ,,la ,,florida4 ,,first ,,group ,,on ,,the ,,cupola ,,to ,,the ,,right ,,of ,,the ,,centre4 ,illustration3 ,,plate #fjj4 ,,san ,,antonio ,,de ,,la ,,florida4 ,,second ,,group ,,on ,,the ,,cupola ,,to ,,the ,,right ,,of ,,the ,,centre4 ,illustration3 ,,plate #fja4 ,,duke ,,of ,,wellington1 #ahab4 7,,from ,,the ,,original ,,drawing ,,in ,,the ,,print ,,room ,,of ,,the ,,british ,,museum47 ,illustration3 ,,plate #fjb4 ,,lady ,,and ,,gentleman ,,on ,,horseback4 7,,from ,,the ,,original ,,coloured ,,sketch ,,in ,,the ,,print ,,room ,,of ,,the ,,british ,,museum47 ,illustration3 ,,plate #fjc4 ,,head ,,of ,,the ,,dying ,,fray ,,juan ,,fernanez4 7,,from ,,the ,,original ,,drawing ,,in ,,the ,,print ,,room ,,of ,,the ,,british ,,museum47 ,illustration3 ,,plate #fjd4 ,a ,,criminal ,,undergoing ,,the ,,infliction ,,of ,,the ,,garotte4 7,,from ,,the ,,original ,,drawing ,,in ,,the ,,print ,,room ,,of ,,the ,,british ,,museum47 ,illustration3 ,,plate #fje4 ,a ,,lost ,,soul4 7,,from ,,the ,,original ,,drawing ,,in ,,the ,,print ,,room ,,of ,,the ,,british ,,museum47 ,illustration3 ,,plate #fjf4 ,,condemned ,,criminals ,,conducted ,,to ,,execution4 7,,from ,,the ,,original ,,drawing ,,in ,,the ,,print ,,room ,,of ,,the ,,british ,,museum47 ,illustration3 ,,plate #fjg4 ,,spanish ,,proverb ,,illustrated4 7,,from ,,an ,,etching1 ,,hitherto ,,unpublished1 ,,in ,,the ,,print ,,room ,,of ,,the ,,british ,,museum47 ,illustration3 ,,plate #fjh4 ,,spanish ,,proverb ,,illustrated4 7,,from ,,an ,,etching1 ,,hitherto ,,unpublished1 ,,in ,,the ,,print ,,room ,,of ,,the ,,british ,,museum47 ,illustration3 ,,plate #fji4 ,,spanish ,,proverb ,,illustrated4 7,,from ,,an ,,etching1 ,,hitherto ,,unpublished1 ,,in ,,the ,,print ,,room ,,of ,,the ,,british ,,museum47 ,illustration3 ,,plate #faj4 ,,tauromachia3 ,,the ,,bulls4 ,a ,,study ,,of ,,the ,,animals ,,in ,,various ,,positions4 7,,from ,,an ,,etching1 ,,hitherto ,,unpublished1 ,,in ,,the ,,print ,,room ,,of ,,the ,,british ,,museum47 ,illustration3 ,,plate #faa4 ,,tauromachia3 ,,bull-,,fighter ,,fettered ,,in ,,the ,,arena4 7,,from ,,an ,,etching1 ,,hitherto ,,unpublished1 ,,in ,,the ,,print ,,room ,,of ,,the ,,british ,,museum47 ,illustration3 ,,plate #fab4 ,,tauromachia3 ,a ,,blind ,,guitar-,,player ,,tossed ,,by ,a ,,bull4 7,,from ,,an ,,etching ,,in ,,the ,,print ,,room ,,of ,,the ,,british ,,museum47 99 99 99 99 99 ,,the ,,spanish ,,series ,edited by ,,albert ,f4 ,,calvert ,a new and important series of volumes1 dealing with ,spain in its various aspects1 its history1 its cities and monuments4 ,each volume will be complete in itself in a uniform binding1 and the number and excellence of the reproductions from pictures will justify the claim that these books comprise the most copiously illustrated series that has yet been issued1 some volumes having over #cjj pages of reproductions of pictures1 etc4 ,crown #hvo ,price #c_/f net #a ,,goya with #fjj illustrations #b ,,toledo 8 #eaj 8 #c ,,madrid 8 #dej 8 #d ,,seville 8 #cjj 8 #e ,,murillo 8 #afe 8 #f ,,cordova 8 #afj 8 #g ,,el ,,greco 8 #adj 8 #h ,,velazquez 8 #adb 8 #i ,,the ,,prado 8 #bbc 8 #aj ,,the ,,escorial 8 #bgh 8 #aa ,,royal ,,palaces ,,of ,,spain 8 #bjj 8 #ab ,,granada ,,and ,,alhambra 8 #dfj 8 #ac ,,spanish ,,arms ,,and ,,armour 8 #chf 8 #ad ,,leon1 ,,burgos ,,and ,,salamanca 8 #dfb 8 #ae ,,catalonia1 ,,valencia1 ,,murcia #af ,,valladolid1 ,,oviedo1 ,,segovia1 ,,zamora1 ,,avila ,,and ,,zaragoza 8 #cij 8 99 99 99 99 99 ,,uniform ,,with ,,this ,,volume ,,murillo ,a ,,biography ,,and ,,appreciation4 ,,illustrated ,,by ,,over #afe ,,reproductions ,,from ,,photographs ,,of ,,his ,,most ,,celebrated ,,pictures ,while the names of ,murillo and ,velazquez are inseparably linked in the history of ,art as ,spain's immortal contribution to the small band of world-painters1 the great ,court-,painter to ,philip ,,iv4 has ever received the lion's share of public attention4 ,many learned and critical works have been written about ,murillo1 but whereas ,velazquez has been familiarised to the general reader by the aid of small1 popular biographies1 the niche is still empty which it is hoped that this book will fill4 ,in this volume the attempt has been made to show the painter's art in its relation to the religious feeling of the age in which he lived1 and his own feeling towards his art4 ,murillo was the product of his religious era1 and of his native province1 ,andalusia4 ,to ,europe in his lifetime he signified little or nothing4 ,he painted to the order of the religious houses in his immediate vicinity2 his works were immured in local monasteries and cathedrals1 and1 passing immediately out of circulation1 were forgotten or never known4 99 99 99 99 99 ,,uniform ,,with ,,this ,,volume ,,spanish ,,arms ,,and ,,armour ,a ,,historical ,,and ,,descriptive ,,account ,,of ,,the ,,royal ,,armoury ,,at ,,madrid4 ,,illustrated ,,with #chf ,,reproductions ,,from ,,photographs4 ,,dedicated ,,by ,,special ,,permission ,,to ,h4,m4 ,,queen ,,maria ,,cristina ,,of ,,spain ,although several valuable and voluminous catalogues of the ,spanish ,royal ,armoury have1 from time to time1 been compiled1 this 8finest collection of armour in the world0 has been subjected so often to the disturbing influences of fire1 removal1 and re-arrangement1 that no hand catalogue of the ,museum is available1 and this book has been designed to serve both as a historical souvenir of the institution and a record of its treasures4 ,the various exhibits with which the writer illustrates his narrative are reproduced to the number of nearly #djj on art paper1 and the selection of weapons and armour has been made with a view not only to render the series interesting to the general reader1 but to present a useful text book for the guidance of artists1 sculptors1 antiquaries1 costumiers1 and all who are engaged in the reproduction or representation of ,european armoury4 99 99 99 99 99 ,,uniform ,,with ,,this ,,volume ,,the ,,escorial ,a ,,historical ,,and ,,descriptive ,,account ,,of ,,the ,,spanish ,,royal ,,palace1 ,,monastery ,,and ,,mausoleum4 ,,illustrated ,,with ,,plans ,,and #bgh ,,reproductions ,,from ,,pictures ,,and ,,photographs ,the ,royal ,palace1 ,monastery1 and ,mausoleum of ,el ,escorial1 which rears its gaunt1 grey walls in one of the bleakest but most imposing districts in the whole of ,spain1 was erected to commemorate a victory over the ,french in #aeeg4 ,it was occupied and pillaged by the ,french two and a-half centuries later1 and twice it has been greatly diminished by fire2 but it remains to-day1 not only the incarnate expression of the fanatic religious character and political genius of ,philip ,,ii41 but the greatest mass of wrought granite which exists on earth1 the leviathan of architecture1 the eighth wonder of the world4 ,in the text of this book the author has endeavoured to reconstitute the glories and tragedies of the living past of the ,escorial1 and to represent the wonders of the stupendous edifice by reproductions of over two hundred and seventy of the finest photographs and pictures obtainable4 ,both as a review and a pictorial record it is hoped that the work will make a wide appeal among all who are interested in the history1 the architecture1 and the art of ,spain4 99 99 99 99 99 ,,uniform ,,with ,,this ,,volume ,,toledo ,a ,,historical ,,and ,,descriptive ,,account ,,of ,,the 8,,city ,,of ,,generations10 ,,with #eaj ,,illustrations ,the origin of ,imperial ,toledo1 8the crown of ,spain1 the light of the world1 free from the time of the mighty ,goths10 is lost in the impenetrable mists of antiquity4 ,mighty1 unchangeable1 invincible1 the city has been described by ,wrmann as 8a gigantic open-air museum of the architectural history of early ,spain1 arranged upon a lofty and conspicuous table of rock40 ,but while some writers have declared that ,toledo is a theatre with the actors gone and only the scenery left1 the author does not share the opinion4 ,he believes that the power and virility upon which ,spain built up her greatness is reasserting itself4 ,the machinery of the theatre of ,toledo is rusty1 the pulleys are jammed from long disuse1 but the curtain is rising steadily if slowly1 and already can be heard the tuning-up of fiddles in its ancient orchestra4 ,in this belief the author of this volume has not only set forth the story of ,toledo's former greatness1 but has endeavoured to place before his readers a panorama of the city as it appears to-day1 and to show cause for his faith in the greatness of the ,toledo of the future4 99 99 99 99 99 ,,uniform ,,with ,,this ,,volume ,,seville ,a ,,historical ,,and ,,descriptive ,,account1 ,,with #cjj ,,illustrations ,seville1 which has its place in mythology as the creation of ,hercules1 and was more probably founded by the ,phnicians1 which became magnificent under the ,roman rule1 was made the capital of the ,goths1 became the centre of ,moslem power and splendour1 and fell before the military prowess of ,st4 ,ferdinand1 is still the ,queen of ,andalusia1 the foster-mother of ,velazquez and ,murillo1 the city of poets and pageantry and love4 ,seville is always gay1 and responsive and fascinating to the receptive visitor1 and all sorts of people go there with all sorts of motives4 ,the artist repairs to the ,andalusian city to fill his portfolio2 the lover of art makes the pilgrimage to study ,murillo in all his glory4 ,the seasons of the ,church attract thousands from reasons of devotion or curiosity4 ,and of all these myriad visitors1 who go with their minds full of preconceived notions1 not one has yet confessed to being disappointed in ,seville4 ,the author has here attempted to convey in the illustrations an impression of this laughing city where all is gaiety and mirth and ever-blossoming roses1 where the people pursue pleasure as the serious business of life in an atmosphere of exhilarating enjoyment4 99 99 99 99 99 ,,uniform ,,with ,,this ,,volume ,,the ,,prado ,a ,,guide ,,and ,,handbook ,,to ,,the ,,royal ,,picture ,,gallery ,,of ,,madrid4 ,,illustrated ,,with #bba ,,reproductions ,,from ,,photographs ,,of ,,old ,,masters4 ,,dedicated ,,by ,,special ,,permission ,,to ,h4,r4,h4 ,,princess ,,henry ,,of ,,battenberg ,this volume is an attempt to supplement the accurate but formal notes contained in the official catalogue of a picture gallery which is considered the finest in the world4 ,it has been said that the day one enters the ,prado for the first time is an important event like marriage1 the birth of a child1 or the coming into an inheritance2 an experience of which one feels the effects to the day of one's death4 ,the excellence of the ,madrid gallery is the excellence of exclusion2 it is a collection of magnificent gems4 ,here one becomes conscious of a fresh power in ,murillo1 and is amazed anew by the astonishing apparition of ,velazquez2 here is1 in truth1 a rivalry of miracles of art4 ,the task of selecting pictures for reproduction from what is perhaps the most splendid gallery of old masters in existence1 was one of no little difficulty1 but it is believed that the collection is representative1 and that the letterpress will form a serviceable companion to the visitor to ,the ,prado4 99 99 99 99 99 ,,uniform ,,with ,,this ,,volume ,,granada ,,and ,,the ,,alhambra ,a ,,brief ,,history ,,of ,,the ,,moslem ,,rule ,,in ,,spain1 ,,together ,,with ,a ,,particular ,,account ,,of ,,the ,,construction1 ,,the ,,architecture1 ,,and ,,the ,,decoration ,,of ,,the ,,moorish ,,palace1 ,,with #dfj ,,illustrations4 ,,dedicated ,,by ,,special ,,permission ,,to ,h4,i4,m4 ,,the ,,empress ,,eug,,nie ,this volume is the third and abridged edition of a work which the author was inspired to undertake by the surpassing loveliness of the ,alhambra1 and by his disappointment in the discovery that no such thing as an even moderately adequate illustrated souvenir of 8this glorious sanctuary of ,spain0 was obtainable4 ,keenly conscious of the want himself1 he essayed to supply it1 and the result is a volume that has been acclaimed with enthusiasm alike by critics1 artists1 architects1 and archologists4 ,in his preface to the first edition1 ,mr4 ,calvert wrote3 8,the ,alhambra may be likened to an exquisite opera which can only be appreciated to the full when one is under the spell of its magic influence4 ,but as the witchery of an inspired score can be recalled by the sound of an air whistled in the street1 so--it is my hope--the pale ghost of the ,moorish fairy-land may live again in the memories of travellers through the medium of this pictorial epitome40 99 99 99 99 99 ,,uniform ,,with ,,this ,,volume ,,el ,,greco ,a ,,biography ,,and ,,appreciation4 ,,illustrated ,,by ,,reproductions ,,of ,,over #adj ,,of ,,his ,,pictures ,in a ,series such as this1 which aims at presenting every aspect of ,spain's eminence in art and in her artists1 the work of ,domenico ,theotocpuli must be allotted a volume to itself4 8,el ,greco10 as he is called1 who reflects the impulse1 and has been said to constitute the supreme glory of the ,venetian era1 was a ,greek by repute1 a ,venetian by training1 and a ,toledan by adoption4 ,his pictures in the ,prado are still catalogued among those of the ,italian ,school1 but foreigner as he was1 in his heart he was more ,spanish than the ,spaniards4 ,el ,greco is typically1 passionately1 extravagantly ,spanish1 and with his advent1 ,spanish painting laid aside every trace of ,provincialism1 and stepped forth to compel the interest of the world4 ,neglected for many centuries1 and still often misjudged1 his place in art is an assured one4 ,it is impossible to present him as a colourist in a work of this nature1 but the author has got together reproductions of no fewer than #adj of his pictures--a greater number than has ever before been published of ,el ,greco's works4 99 99 99 99 99 ,,uniform ,,with ,,this ,,volume ,,velazquez ,a ,,biography ,,and ,,appreciation4 ,,illustrated ,,with #adb ,,reproductions ,,from ,,photographs ,,of ,,his ,,most ,,celebrated ,,pictures ,diego ,rodriguez de ,silva y ,velazquez--8our ,velazquez10 as ,palomino proudly styles him--has been made the subject of innumerable books in every ,european language1 yet the ,editor of this ,spanish ,series feels that it would not be complete without the inclusion of yet another contribution to the broad gallery of ,velazquez literature4 ,the great ,velazquez1 the eagle in art--subtle1 simple1 incomparable--the supreme painter1 is still a guiding influence of the art of to-day4 ,this greatest of ,spanish artists1 a master not only in portrait painting1 but in character and animal studies1 in landscapes and historical subjects1 impressed the grandeur of his superb personality upon all his work4 ,spain1 it has been said1 the country whose art was largely borrowed1 produced ,velazquez1 and through him ,spanish art became the light of a new artistic life4 ,the author cannot boast that he has new data to offer1 but he has put forward his conclusions with modesty2 he has reproduced a great deal that is most representative of the artist's work2 and he has endeavoured to keep always in view his object to present a concise1 accurate1 and readable life of ,velazquez4 99 99 99 99 99 ,,uniform ,,with ,,this ,,volume ,,royal ,,palaces ,,of ,,spain ,a ,,historical ,,and ,,descriptive ,,account ,,of ,,the ,,seven ,,principal ,,palaces ,,of ,,the ,,spanish ,,kings4 ,,profusely ,,illustrated ,spain is beyond question the richest country in the world in the number of its ,royal ,residences1 and while few are without artistic importance1 all are rich in historical memories4 ,thus1 from the ,alcazar at ,seville1 which is principally associated with ,pedro the ,cruel1 to the ,retiro1 built to divert the attention of ,philip ,,iv4 from his country's decay2 from the ,escorial1 in which the gloomy mind of ,philip ,,ii4 is perpetuated in stone1 to ,la ,granja1 which speaks of the anguish and humiliation of ,christina before ,sergeant ,garcia and his rude soldiery2 from ,aranjuz to ,rio ,frio1 and from ,el ,pardo1 darkened by the agony of a good king1 to ,miramar1 to which a widowed ,queen retired to mourn3 all the history of ,spain1 from the splendid days of ,charles ,v4 to the present time1 is crystallised in the ,palaces that constitute the patrimony of the ,crown4 ,the ,royal ,palaces of ,spain are open to visitors at stated times1 and it is hoped that this volume1 with its wealth of illustrations1 will serve the visitor both as a guide and a souvenir4 99 99 99 99 99 ,,uniform ,,with ,,this ,,volume ,,valladolid1 ,,oviedo1 ,,segovia1 ,,zamora1 ,,avila ,,and ,,zaragoza ,a ,,historical ,,and ,,descriptive ,,account1 ,,with #cij ,,illustrations ,the glory of ,valladolid has departed1 but the skeleton remains1 and attached to its ancient stones are the memories that ,philip ,,ii4 was born here1 that here ,cervantes lived1 and ,christopher ,columbus died4 ,in this one-time capital of ,spain1 in the ,plaza ,mayor1 the fires of the ,great ,inquisition were first lighted1 and here ,charles ,v4 laid the foundation of the ,royal ,armoury1 which was afterwards transferred to ,madrid4 ,more than seven hundred years have passed since ,oviedo was the proud capital of the ,kingdoms of ,las ,asturias1 ,leon1 and ,castile4 ,segovia1 though no longer great1 has still all the appurtenances of greatness1 and with her granite massiveness and austerity1 she remains an aristocrat even among the aristocracy of ,spanish cities4 ,zamora1 which has a history dating from time almost without date1 was the key of ,leon and the centre of the endless wars between the ,moors and the ,christians1 which raged round it from the eighth to the eleventh centuries4 ,in this volume the author has striven to re-create the ancient greatness of these six cities1 and has preserved their memories in a wealth of excellent and interesting illustrations4 99 99 99 99 99 ,,uniform ,,with ,,this ,,volume ,,leon1 ,,burgos ,,and ,,salamanca ,a ,,historical ,,and ,,descriptive ,,account1 ,,with #dfb ,,illustrations ,in ,leon1 once the capital of the second kingdom in ,spain2 in ,burgos1 which boasts one of the most magnificent cathedrals in ,spain1 and the custodianship of the bones of the ,cid2 and in ,salamanca1 with its university1 which is one of the oldest in ,europe1 the author has selected three of the most interesting relics of ancient grandeur in this country of departed greatness4 ,leon to-day is nothing but a large agricultural village1 torpid1 silent1 dilapidated2 ,burgos1 which still retains traces of the ,gotho-,castilian character1 is a gloomy and depleting capital2 and ,salamanca is a city of magnificent buildings1 a broken hulk1 spent by the storms that from time to time have devastated her4 ,yet apart from the historical interest possessed by these cities1 they still make an irresistible appeal to the artist and the antiquary4 ,they are content with their stories of old-time greatness and their cathedrals1 and these ancient architectural splendours1 undisturbed by the touch of a modernising and renovating spirit1 continue to attract the visitor4 99 99 99 99 99 ,,uniform ,,with ,,this ,,volume ,,madrid ,a ,,historical ,,and ,,descriptive ,,account ,,of ,,the ,,spanish ,,capital1 ,,with #dej ,,illustrations ,madrid is at once one of the most interesting and most maligned cities in ,europe4 ,it stands at an elevation of #b1ejj feet above the sea leve1 in the centre of an arid1 treeless1 waterless1 and wind-blown plain2 but whatever may be thought of the wisdom of selecting a capital in such a situation1 one cannot but admire the uniqueness of its position1 and the magnificence of its buildings1 and one is forced to admit that1 having fairly entered the path of progress1 ,madrid bids fair to become one of the handsomest and most prosperous of ,european cities4 ,the splendid promenades1 the handsome buildings1 and the spacious theatres combine to make ,madrid one of the first cities of the world1 and the author has endeavoured with the aid of the camera1 to place every feature and aspect of the ,spanish metropolis before the reader4 ,some of the illustrations reproduced here have been made familiar to the ,english public by reason of the interesting and stirring events connected with the ,spanish ,royal ,marriage1 but the greater number were either taken by the author1 or are the work of photographers specially employed to obtain new views for the purpose of this volume4 99 99 99 99 99 ,,uniform ,,with ,,this ,,volume ,,goya ,a ,,biography ,,and ,,appreciation4 ,,illustrated ,,by ,,reproductions ,,of #fjj ,,of ,,his ,,pictures ,the last of the old masters and the first of the moderns1 as he has been called1 ,francisco ,jos de ,goya y ,lucientes is not so familiarised to ,english readers as his genius deserves4 ,he was born at a time when the tradition of ,velazquez was fading1 and the condition of ,spanish painting was debased almost beyond hope of salvation2 he broke through the academic tradition of imitation2 8he1 next to ,velazquez1 is to be accounted as the man whom the ,impressionists of our time have to thank for their most definite stimulus1 their most immediate inspiration40 ,the genius of ,goya was a robust1 imperious1 and fulminating genius2 his iron temperament was passionate1 dramatic1 and revolutionary2 he painted a picture as he would have fought a battle4 ,he was an athletic1 warlike1 and indefatigable painter2 a naturalist like ,velazquez2 fantastic like ,hogarth2 eccentric like ,rembrandt2 the last flame-coloured flash of ,spanish genius4 ,it is impossible to reproduce his colouring2 but in the reproductions of his works the author has endeavoured to convey to the reader some idea of ,goya's boldness of style1 his mastery of frightful shadows and mysterious lights1 and his genius for expressing all terrible emotions4 99 99 99 99 99 ,,uniform ,,with ,,this ,,volume ,,cordova ,a ,,historical ,,and ,,descriptive ,,account ,,of ,,the ,,ancient ,,city ,,which ,,the ,,carthaginians ,,styled ,,the 8,,gem ,,of ,,the ,,south10 ,,with #afj ,,illustrations ,gay-looking1 vivacious in its beauty1 silent1 ill-provided1 depopulated1 ,cordova was once the pearl of the ,west1 the city of cities1 ,cordova of the thirty suburbs and three thousand mosques2 to-day she is no more than an overgrown village1 but she still remains the most ,oriental town in ,spain4 ,cordova1 once the centre of ,european civilisation1 under the ,moors the ,athens of the ,west1 the successful rival of ,baghdad and ,damascus1 the seat of learning and the repository of the arts1 has shrunk to the proportions of a third-rate provincial town2 but the artist1 the antiquary and the lover of the beautiful1 will still find in its streets and squares and patios a mysterious spell that cannot be resisted4 ,,by ,,albert ,f4 ,,calvert ,,life ,,of ,,cervantes ,a ,,new ,,life ,,of ,,the ,,great ,,spanish ,,author ,,to ,,commemorate ,,the ,,tercentenary ,,of ,,the ,,publication ,,of 8,,don ,,quixote10 ,,with ,,numerous ,,portraits ,,and ,,reproductions ,,from ,,early ,,editions ,,of 8,,don ,,quixote0 ,size ,crown #hvo4 #aej pp4 ,price #c_/f net ,,press ,,notices 8,a popular and accessible account of the career of ,cervantes40--,daily ,chronicle4 8,a very readable and pleasant account of one of the great writers of all time40--,morning ,leader4 8,mr4 ,,calvert is entitled to the gratitude of book-lovers for his industrious devotion at one of our greatest literary shrines40--,birmingham ,post4 8,it is made trebly interesting by the very complete set of ,cervantes' portraits it contains1 and by the inclusion of a valuable bibliography40--,black and ,white4 8,we recommend the book to all those to whom ,cervantes is more than a mere name40--,westminster ,gazette4 8,a most interesting rsum of all facts up to the present time known40--,el ,nervion de ,bilbao1 ,spain4 8,the most notable work dedicated to the immortal author of ,don ,quixote that has been published in ,england40--,el ,graduador1 ,spain4 8,although the book is written in ,english no ,spaniard could have written it with more conscientiousness and enthusiasm40--,el ,defensor de ,granada1 ,spain4 ,,by ,,albert ,f4 ,,calvert ,,the ,,alhambra ,,of ,,granada1 ,,being ,a ,,brief ,,history ,,of ,,the ,,moslem ,,rule ,,in ,,spain ,,from ,,the ,,reign ,,of ,,mohammed ,,the ,,first ,,to ,,the ,,final ,,expulsion ,,of ,,the ,,moors1 ,,together ,,with ,a ,,particular ,,account ,,of ,,the ,,construction1 ,,the ,,architecture ,,and ,,the ,,decoration ,,of ,,the ,,moorish ,,palace1 ,,with #hj ,,coloured ,,plates ,,and ,,nearly #cjj ,,black ,,and ,,white ,,illustrations 7,,new ,,edition74 ,,dedicated ,,by ,,permission ,,to ,h4,m4 ,,king ,,alfonso ,,xiii4 ,size #aj x #g-a_/b4 ,price #b #bs4 net ,,press ,,notices 8,it is hardly too much to say that this is one of the most magnificent books ever issued from the ,english ,press40--,building ,world4 8,one is really puzzled where to begin and when to stop in praising the illustrations40--,bookseller4 8,the most complete record of this wonder of architecture which has ever been contemplated1 much less attempted40--,british ,architect4 8,a treasure to the student of decorative art40--,morning ,advertiser4 8,mr4 ,,calvert has given us a ,book ,beautiful40--,western ,daily ,press4 8,it is the last word on the subject1 no praise is too high40--,nottingham ,express4 8,may be counted among the more important art books which have been published during recent years40--,the ,globe4 8,has a pride of place that is all its own among the books of the month40--,review of ,reviews4 8,has in many respects surpassed any books on the ,alhambra which up to the present have appeared in our own country or abroad40--,el ,graduador1 ,spain4 8,it is one of the most beautiful books of modern times40--,ely ,gazette4 8,one of the most artistic productions of the year40--,publishers' ,circular4 8,the most beautiful book on the ,alhambra issued in ,england40--,sphere4 8,the standard work on a splendid subject40--,daily ,telegraph4 8,a remarkable masterpiece of book production40--,eastern ,daily ,press4 8,a perfect treasure of beauty and delight40--,keighley ,news4 8,a magnificent work40--,melbourne ,age1 ,australia4 8,immense collection of fine plates40--,the ,times4 8,a standard work1 the compilation of which would credit a life's labour40--,hull ,daily ,mail4 ,,by ,,albert ,f4 ,,calvert ,,moorish ,,remains ,,in ,,spain ,,being ,a ,,brief ,,record ,,of ,,the ,,arabian ,,conquest ,,and ,,occupation ,,of ,,the ,,peninsula1 ,,with ,a ,,particular ,,account ,,of ,,the ,,mohammedan ,,architecture ,,and ,,decoration ,,in ,,the ,,cities ,,of ,,cordova1 ,,seville ,,and ,,toledo1 ,,with ,,many ,,coloured ,,plates1 ,,and ,,over #djj ,,black ,,and ,,white ,,illustrations1 ,,diagrams1 ,,etc41 ,,dedicated ,,by ,,permission ,,to ,h4,m4 ,,king ,,alfonso ,,xiii4 ,crown #dto4 7#g-a_/b x #aj ins47 ,price #b #bs4 net ,,press ,,notices 8,the making of this book must surely have been a veritable labour of love2 and love's labour has certainly not been lost40--,pall ,mall ,gazette4 8,the best age of ,moorish architecture in ,spain is shown with remarkable vividness and vitality40--,the ,scotsman4 8,a most gorgeous book4444 ,we cheerfully admit ,mr4 ,,calvert into the ranks of those whom posterity will applaud for delightful yet unprofitable work40--,outlook4 8,a large and sumptuous volume40--,tribune4 8,the illustrations are simply marvels of reproduction40--,dundee ,advertiser4 8,one of the books to which a simple literary review cannot pretend to do justice40--,spectator4 8,a special feature of a work of peculiar interest and value are the illustrations40--,newcastle ,chronicle4 8,the illustrations are given with a minuteness and faithfulness of detail1 and colour1 which will be particularly appreciated and acknowledged by those who are most acquainted with the subject themselves40--,liverpool ,post4 8,it is impossible to praise too highly the care with which the illustrations have been prepared40--,birmingham ,daily ,post4 8,it is illustrated with so lavish a richness of colour that to turn its pages gives one at first almost the same impression of splendour as one receives in wandering from hall to hall of the ,alcazar of ,seville2 and this is probably the highest compliment we could pay to the book or its author40--,academy4 8,it is certainly one of the most interesting books of the year40--,crown4 8,the occasional delicacy of design and harmony of colour can scarcely be surpassed 444 a valuable and profusely illustrated volume40--,guardian4 8,an excellent piece of work40--,the ,times4 8,mr4 ,,calvert has performed a useful work40--,daily ,telegraph4 8,a truly sumptuous volume40--,the ,speaker4 8,mr4 ,,calvert has given a very complete account of the evolution of ,moresco art40--,the ,connoisseur4