PAINTINGS AND DRAWINGS 
 
 BY 
 
 FRANCISCO GOYA 
 
 IN 
 
 THE COLLECTION OP 
 
 THE HISPANIC SOCIETY OF AMERICA 
 
 BY 
 
 WILLIAM E. B. STARKWEATHER 
 
 WITH EIGHTY-SIX ILLUSTRATIONS 
 
 THE HISPANIC SOCIETY OF AMERICA 
 NEW YORK 
 1916 
 
PUBLICATION OF 
 
 THE HISPANIC SOCIETY OF AMERICA 
 
 No. 96 
 
Digitized by the Internet Archive 
 ' in 2016 
 
 https://archive.org/details/paintingsdrawing00hisp_0 
 

 
 9 
 
 __ O^, / i / 6 , 
 
Portrait Bust of Francisco Goya 
 
 By Mariano Benlliure y Gil 
 
PAINTINGS AND DRAWINGS 
 
 BY 
 
 FRANGISGO GOYA 
 
 IN 
 
 THE COLLECTION OF 
 
 THE HISPANIC SOCIETY OE AMERICA 
 
 BY 
 
 WILLIAM E. B. STARKWEATHER 
 
 WITH EIGHTY-SIX ILLUSTRATIONS 
 
 THE HISPANIC SOCIETY OF AMERICA 
 NEW YORK 
 1916 
 
Copyright, 1916, by 
 
 The Hispanic Society of America 
 
CONTENTS 
 
 PAGE 
 
 Francisco Goya y Lucientes ii 
 
 A Portrait of Dona Maria del Pilar Teresa Cayetana de 
 Silva Alvarez de Toledo, Thirteenth Duchess of Allia, 
 by Francisco Goya y Lucientes 51 
 
 A Portrait of Don Alberto Foraster, In- Francisco Goya y 
 Lucientes 71 
 
 A Sketch for Esccuas del 3 dc Mayo dc 1S08. (Scenes of 
 May 3, 1808), liy Francisco Goya y Lucientes 75 
 
 Seventy Drawings in Sepia, by Francisco Goya y Lucientes 81 
 
 Etchings by Goya in the Library of The FIispanic Society 
 OF America 16 1 
 
 A Portrait Bust of Goya, by Mariano Benlliure y Gil 173 
 
 Tn the Studio of Goya, by Francisco Domingo y Marcjues.. 177 
 
 A Copy of Goya’s Portrait of Pedro Mocarte, by Mariano 
 
 Fortuny i8l 
 
 Victims of War, and A Carnival Scene, 1 \v Ifugenio Lucas 187 
 
 ILdliograpily of Francisco Goya y Thjcientes 
 
 197 
 
ILLUSTRATIONS 
 
 PAGE 
 
 Portrait Bust of Goya, by Mariano Benllinre y GW.. Frontispiece 
 
 Portrait of Dona Maria del Pilar Teresa Cayetana de 
 Silva Alvarez de Toledo, Thirteenth Dnehess of Alba, 
 by Francisco Goya y Lncientes 52 
 
 Portrait of Don Alberto Foraster, by Francisco Goya y 
 Lncientes 72 
 
 Sketch for Esceiias del 3 de Mayo de 1808. (Scenes of 
 May 3, 1808), 1 )y Francisco Goya y Lncientes 76 
 
 Seventy Drawings in Sepia, hy Francisco Goya y Lncientes. 
 Plates I-LXX 82, 92-160 
 
 Francisco Goya y Lucientes. From Caprichos (Caprices). 
 
 No. I 165 
 
 A Gaza de Dientes (Hunting for Teeth). From Caprichos. 
 
 No. 12 166 
 
 El Sueno de la Razon Produce Monstruos (The Sleep of 
 Reason Gives Birth to Monsters) . From Caprichos. No. 43 167 
 
 VoLAVERUNT (They are Disappearing) . From Caprichos. No. 61 168 
 
 Carlos V Lanceando un Toro en la Plaza de Valladolid 
 (Charles V Spearing a Bull in the Plaza of Valladolid). 
 From La Tauroniaquia (The Art of Bull-Fighting) . No. 10 169 
 
 Los Proverbios (The Proverbs). No. 7 170 
 
 Escapan Entre las Llamas (Escaping Through the Flames) 
 
 Los Desastres de la Guerra (The Disasters of JVar). No. 41 171 
 
 House in Which Goya Was Born at Fuendetodos. From 
 
 a Sketch l)y Rafael xA.guado Amal 172 
 
 Tn the Studio of Goya, hy Francisco Domingo y Marques. . 176 
 
 Copy of Goya’s PortrxMt of Pedro Mocarte, l)y Mariano 
 
 Fortuny 180 
 
 Victims of War, by Eugenio Lucas 192 
 
 A Carnival Scene, by Eugenio Lucas 194 
 
 [91 
 
FRANCISCO GOYA Y LUCIENTES 
 

 / 
 
FRANCISCO GOYA Y LUCIENTES 
 
 T here is no artist of the past of whom 
 biographers and critics hold more varied and 
 conflicting opinions than of Erancisco Goya. Of 
 Velazquez, the man, and of his rank as a painter, 
 there is but one estimate. The comparative sim- 
 plicity of the Sevillian master’s nature, the marvel- 
 lous approach to perfection which his work makes 
 in its own field and the very definite way in which 
 the field of his work was limited through character 
 render impossible any great differences of opinion 
 as to his place in art history. But the strangeness 
 of Goya’s nature and of that mirror of a man’s 
 nature, his work, its many-sidedness, its stridently 
 contrasting elements, its extraordinary mixtures of 
 good and bad, its oddly enigmatic quality, have given 
 rise to singularly differing judgments of him and his 
 productions. Each of his biographers has presented 
 a portrait of Goya, given a valuation to his art, that 
 has varied widely with the nationality, the training 
 and the sympathies of the author. While some have 
 
 [ 13 ] 
 
depicted him as a man revealed in both life and work 
 as lacking all religions feeling, all human kindness, 
 all patriotism, others have shown a Goya believing 
 profoundly in the elements of religion if not inter- 
 ested in dogma, a man deeply moved by the distresses 
 of humanity and despairing at the disasters which 
 overwhelmed his country. Pictures censured by some 
 as grossly vulgar have been praised by others as 
 remarkable expressions of macabre genius; the cru- 
 dities of tone, the careless haste, the frequent and 
 grave faults of drawing to be found in many of his 
 works and which dismay one critic, are pointed out 
 by the next as necessary incidents to, and indeed 
 proofs of, a genius so rich, varied and abundant. 
 
 Certainly to arrive at any just estimate of Goya 
 and his art, it is necessary that he be studied in rela- 
 tion to his time. He was peculiarly a man of his 
 epoch. Velazquez was a Spaniard and an aristocrat, 
 he might have been a Spaniard and an aristocrat of 
 almost any century. But it is impossible to separate 
 (foya from his background. In any other country or 
 at any other time, he would have been an incredible 
 figure. He was not only of his own time, of his own 
 country, but his character combined in itself all the 
 elements of the bizarre, turlmlent Spain of his day. 
 His art relleeted the savagery, the sensuality, the 
 
 [ 1^1 
 
romanticism, the disorder, the fundamental melan- 
 choly of the period in which he lived, its strange 
 atmosphere of passion and conflict. Despite its num- 
 berless eccentricities and manifest imperfections, his 
 work lived, and, living, proves his genius. Through 
 it he gave the w^orld not only visions of new l^eauty, 
 ljut a marvellous record of the soul of the Spain he 
 knew. 
 
 Francisco Jose Goya y Lucientes was born at 
 Fuendetodos, a village of Aragon, on March 30, 
 1746. Flis childhood was spent at his native town with 
 his parents who were ])oor laborers. In 1760, or pos- 
 sild}' at a somewhat earlier date, he l^egan his art 
 career at Zaragoza as a pupil of Jose Luzan 
 Olartinez, in the academy which that artist had 
 founded. Luzan, who had studied painting at Naples 
 under Mastroleo, \vas an artist of ability and profited 
 l)y a considerable local reputation. Although Goya 
 spent five or six years at Zaragoza under Luzan, his 
 work was l)ut little infiuenced l)v the correctly aca- 
 demic style of his master. Bold, headstrong and 
 capricious, Goya's life at Zaragoza reflected his pas- 
 sionate temperament. Tradition depicts him as living 
 and working in a condition of continuous revolt and 
 as having l)een ol)liged to leave the city as the result 
 of some mad escapade. 
 
In his nineteenth year, Goya moved to Madrid. 
 His stay, however, at the Spanish capital was brief. 
 Although without a government pension, he decided 
 to visit Rome, where he arrived weak from priva- 
 tion and almost without funds. Of his life there, 
 practically nothing is known save that he made the 
 acquaintance of Louis David. The Count de la 
 Vihaza states that the only remembrance the artist 
 retained in his old age of his stay at Rome was his 
 friendship with the French classicist. This friend- 
 ship, however, does not appear to have been continued 
 after the Italian sojourn of the two painters. In 
 1772 he was awarded the second prize in a compe- 
 tition under the auspices of the Royal Academy of 
 Fine Arts of Parma. The Moniteur de France 
 of January, 1772, states: ‘‘On June 27th last, 
 
 the Royal Academy of Fine Arts of Parma held its 
 public session for the distribution of prizes. The 
 painting subject was: 'Hannibal the Conqueror, from 
 the Heights of the Alps Regards for the First Time 
 the Plains of Italy.’ . . . The first prize for painting 
 was awarded to the picture with the device : ‘Montes 
 f re git aceto,’ by M. Paul Borroni, etc. The second 
 prize for painting was taken by M. Frangois Goya, 
 Roman, pupil of M. Vajeu, painter to the King of 
 Spain. The Academy noted with pleasure in the 
 
 [16] 
 
second picture the excellent management of the brush, 
 the depth of expression in the face of Hannibal, as 
 well as an air of grandeur in the attitude of the 
 general. If M. Goya had departed less in his compo- 
 sition from the sul^ject of the competition, and if his 
 coloring had been more truthful, he would have ren- 
 dered doubtful the vote as to the first prize.” 
 
 Upon Goya’s return to Madrid about 1775, he 
 married Josefa Bayeu, sister of his friend and fellow 
 painter, Francisco Bayeu, who had become a Court 
 painter. It is probably through Bayeu that Goya was 
 presented to Raphael Mengs, who at this time was all- 
 powerful in the art life of Spain. Mengs, an artist 
 of German birth trained in Italy, was a classicist. 
 Salomon Reinach characterizes him as “the best rep- 
 resentative of academicism before David,'’ and adds, 
 ‘‘If this highly gifted artist produced no masterpiece, 
 it was because he was led astray by the fatal seduction 
 of eclecticism which knows only beauty at second 
 hand.” He was as much a theorist as a painter, the 
 head of an artistic renaissance which attempted to 
 combine the expression and drawing of Raphael 
 with the chiaroscuro of Correggio and the color of 
 Titian. Under Charles III, Mengs had charge of 
 the Department of Fine Arts. As absolute master, he 
 directed the Academy, supervised all royal art manu- 
 
 [ 1 /] 
 
factories and had control of such decorations as were 
 undertaken in the royal palaces. 
 
 Mengs was quick to recognize Goya’s talent, and 
 commissioned the young artist to design cartoons for 
 tapestries to be woven in the royal tapestry factories 
 at Santa Barbara. The hrst design was delivered in 
 1776, and from that date until 1791 Goya worked 
 intermittently for the royal manufactory, producing 
 over forty paintings, from which two or three times 
 that numl^er of tapestries were made. Tapestries were 
 being woven from these cartoons at the Santa Bar- 
 bara factories as late as 1802. For the most part 
 these hangings now adorn the Spanish royal palaces. 
 The weavers’ execution was frequently indifferent. 
 Often they went so far as to make such departures 
 from the design of the artist as suited their own con- 
 venience. It is probalde that the indifference of the 
 tapestry workers to faithful reproduction acted as a 
 contributory cause to the unevenness of Goya’s work 
 on these paintings and to the fact that, as a whole, 
 the later cartoons are less carefully executed and 
 reveal less interest and enthusiasm on the part of the 
 artist than do the earlier ones. As a series, however, 
 they form a charming and stimulating panorama of 
 all the brighter side of life in the Peninsula. “In 
 these compositions,” writes Paul Lefort, “the intel- 
 
 [18] 
 
lect, the fancy, the wealth of imagination of Goya find 
 ample expression. Real genre pictures, the artist is 
 inspired in them above all by popular custom. Full 
 to the last degree of local color, these amusing scenes, 
 often enough improvised, sometimes carefully painted, 
 at other times lightly indicated and a little pale in tone, 
 are generally treated with a marvellous instinct for 
 decorative effect. To be sure, the drawing of these 
 delightful compositions is not always correct, but they 
 are so full of movement, so gay, so picturesque, that 
 one easily pardons the artist for the haste and free- 
 dom of their execution.” Until shortly after the 
 revolution of 1868, these cartoons were packed away 
 in rolls in the storerooms of the tapestry offices. They 
 were then saved from neglect and oblivion by being 
 carefully restored and placed in the Prado, where 
 they now hang. 
 
 The originality and abundant talent shown in 
 these works brought Goya greatly into vogue. He 
 began to receive recognition from members of the 
 Spanish court, and May 7, 1780, the Academy of 
 San Fernando opened its doors to him as a mem- 
 ber. His next important commission was an order 
 to assist in the decoration of the church of Nuestra 
 Senora del Pilar at Zaragoza, under the direction of 
 his brother-in-law, Bayeu. The sketches which Goya 
 
 [19] 
 
prepared did not prove to the taste of the committee 
 in charge of the work, which obliged him to make 
 others and submit them to Bayeu for approval. This 
 was an intense humiliation for Goya, and until his 
 departure from Zaragoza upon the completion of the 
 work in June, 1781, his relations with his brother-in- 
 law were marked by great bitterness of feeling. 
 Shortly after Goya’s return to Madrid, however, his 
 pride was gratified by receiving a commission for a 
 decoration for the church of San Francisco el Grande, 
 which had just been finished under Charles III. He 
 chose as his subject Saint Bernard of Sienna Preach- 
 ing Before Alphonse of Aragon, and worked on this 
 composition during the next three years. When, in 
 December, 1784, the King, surrounded by his entire 
 court, solemnly inaugurated the temple, all the paint- 
 ings were uncovered and for the first time exposed to 
 public view. Goya’s composition, unique in its force 
 and originality, was by far the most notable work 
 shown, and established his place securely as one of 
 the leading painters of the epoch. 
 
 Superbly decorative as some of Goya’s re- 
 ligious paintings are, it is not as a religious 
 painter that he takes rank. His church deco- 
 rations as a whole are unmarked l^y any religious 
 feeling, unillumined l)y that fervor of faith neces- 
 
 120 ] 
 
sary to the proper rendering- of spiritual sidyjects. 
 Matheron, in writing of Goya’s religions com- 
 positions, notes with admiration their grandeur of 
 design, their grave and harmonious color, the audacity 
 with which their groups are arranged and the wise 
 relations these groups have to the whole, but states 
 that all religions sentiment is lacking. ‘The artist 
 took care in entering the sacred precincts to leave his 
 heart and soul at the portal, to note that he did not 
 believe; it is impossilde to attain solely by force of 
 will and genius to the production of those sublime 
 reflections of holiness, those beautiful ideals of Chris- 
 tianity, those lovely figures which illuminate the 
 pictures of old Italian masters, pictures so often 
 imperfect from the point of view of art and science.” 
 From this time Goya’s success was assured. His 
 career became intimately associated with the Spanish 
 court. In 1785 he was selected as deputy director of 
 the Academy of San Fernando to succeed Andres de la 
 Calleja. AAiting to his friend Zapater of his success 
 at this period, he states: “I had estal)lished for myself 
 an enviable mode of life; I no longer danced attend- 
 ance in an antechaml)er ; if anyl)ody wanted anything 
 of mine, he had to come to me. I was much sought 
 after, but except for someone in a high position, or 
 to ol)lige a triend, I worked for none. The more 
 
I strove to make myself difficult of access, the more 
 I was pursued ; each day this has increased and grown 
 worse and worse ; as a result, I am so overwhelmed 
 that I do not know where to turn or how to fulflll 
 so many accepted engagements.” “The whole of 
 Goya,” writes Paul Lefort, “is in these lines. Inde- 
 pendent, proud, with a touch of savagery in marked 
 contrast to an ability which closely approaches the 
 extreme of adroitness, he is also fully conscious of 
 his worth and is not afraid to show unaffectedly his 
 self-assurance. That which he writes to his friend 
 Zapater of the obsessions of which he is the object, is 
 the exact truth ; he is persecuted, siege is laid to his 
 door, his studio is taken by assault, and to obtain a 
 picture or portrait from him there is no power of 
 influence or success which is not brought to bear. 
 He had really become the spoiled child of the public.” 
 On the death of Cornelius van der Goten, Goya 
 was appointed Painter of the Chamber with a salary 
 of 15,000 reals a year. This sum was increased in 
 1799 to 50,000 reals and the artist was given the 
 title of First Painter to the King. The years from 
 1780 to 1800 mark the period of Goya’s greatest 
 activity and production. He was in high favor at 
 the court, where he had become a fashionable figure. 
 He lived the life of a grand seigneur, as had Van 
 
 [ 22 ] 
 
Dyck, Riiljens and Velazquez. The Queen received 
 him in her salon, as did the Duchess of Alba and the 
 Duchess of Osuna and Benavente ; he was a friend 
 of the King and of the all-powerful Godoy. During 
 this period Goya received many commissions from the 
 royal family. He worked with rapidity and produced 
 a large number of easel pictures and portraits. 
 Although accepted as a friend by the aristocracy, his 
 chief sympathy and interest remained throughout his 
 life with the lower classes to which he himself be- 
 longed. His intimate knowledge of their lives is 
 proved in the long series of drawings and paintings 
 he devoted to them and to their activities. 
 
 The greatest figures of Spain passed before 
 Goya’s easel in a glittering procession of kings and 
 nobles, actors, priests and courtesans. With his pic- 
 tures of the lower classes and his tapestry designs 
 illustrative of popular custom, they form a superbly 
 vivid panorama of the period in which he lived. The 
 immense virility of his portraits, their truth often 
 brutal and pitiless, at other times mocking and ironic, 
 renders them as striking and compelling todav as when 
 painted. 1'hey show how ]wo found an understanding 
 the painter possessed of the psychology of his sitters, 
 although certain of these works also reveal that he 
 was not always interested in the personality of those 
 
he portrayed. In others, where the sitter appears to 
 have been unsympathetic, he allowed the likeness to 
 verge on caricature, or carried his gifts for ironic and 
 satiric representation to the point where the charge 
 of cruelty may reasonably be brought against him. 
 As a whole, however, his portraits bear within them- 
 selves evidence of the justice of the judgments of 
 the artist. They are wonderful human documents ; 
 taken together, they form an amazing record of the 
 qualities of heart and soul possessed by the notabilities 
 of the Spain of his day. 
 
 ‘‘The disposition of Goya, his great taste for 
 naturalism, his eminent qualities as a painter and an 
 observer, served him wonderfully in the painting of 
 portraits,” writes Paul Lefort. “There, as a matter 
 of fact, was his true field. ... In his portraits there 
 is something of Velazquez, of Pruddion, of Reynolds, 
 of Greuze, but amalgamated, absorbed and fused in 
 an originality which finally, clearly frees itself and 
 predominates. . . . Perhaps Goya in his long career 
 painted more than two hundred portraits, but even 
 among his most impetuous improvisations there is not 
 one which does not redeem the careless freedom of 
 its execution by some of the innate gifts of the mas- 
 ter; however rapid, however hurried his sketch may 
 be — and in this direction Goya frequently allowed 
 
 [ 24 ] 
 
himself real tours tic force — \t always is alive, it 
 always palpitates with life and spirit.” The hnish 
 of his portraits varied greatly with the impression 
 made upon him by the sitter. Often the likeness is 
 brnsqnely washed in at a single sitting, while at other 
 times the work has been carried through many sit- 
 tings to a result that in its easy grace and charm 
 recalls the English portrait school. Goya performed 
 for the court of Charles IV the same service of record 
 that Velazquez had given the court of Philip IV. The 
 Count de la Vihaza considers that the royal portraits 
 of Goya are marked by a certain nobility and dignity. 
 “The celebrated canvas of the family of Charles TV, 
 the equestrian portraits of Maria Louisa and her hus- 
 band, those of Ferdinand VII, and those of the un- 
 happy Godoy, give evidence to a grandeur of spirit 
 and intellectual and moral qualities which the mean 
 souls of those personages did not possess.” Others, 
 however, have felt these canvases to have l)een 
 in nearly every case cruel works of satire. “A fat 
 gossip, without any distinction, and with the high 
 color and impudent regard of an old coquette,” writes 
 Lafond of the Queen, as shown in the equestrian por- 
 trait ; and Gautier, while praising the heads of the King 
 and his consort in the equestrian portraits as “mar- 
 vellously painted, full of life, of subtlety and spirit,” 
 
is said to have declared that the royal group resembled 
 a grocer's family who had won the great lottery prize. 
 “In his portraits he is a realist," writes Calvert, ‘‘ver- 
 satile, vivid, often unflinching in his brutality, unsur- 
 passed when he wills it in perfection of treatment. 
 . . . Goya, by virtue of his portraits, has been rightly 
 acclaimed the legitimate descendant of Velazquez, and, 
 like the great court painter of a previous century, he 
 is a magnificent exception. But the comparison be- 
 tween the two masters cannot be pushed too far. 
 Wlazquez was a realist to whom the world appeared 
 as a beautiful vision, Goya was a realist to whom life 
 was always a drama and not un frequently a satiric 
 melodrama played in the tempo of a farce. Velaz- 
 quez depicted men and women at their noblest ; Goya, 
 when he was in the mood, detected the worst that was 
 in them and he exposed it with a flourish.” 
 
 Living in a period of great moral laxity and in 
 a court notable for its license, Goya's life reflected 
 the disorders of his time. He lived as he worked, in 
 a spirit of audacious and even arrogant independence. 
 Matheron states that his wife bore him twenty chil- 
 dren, and continued to love him and to have influence 
 over him despite his flagrant and innumerable infidel- 
 ities. His liaison with the Duchess of Alba became 
 notorious. She was finally exiled to her estate at 
 
 [ 26 ] 
 
Sanlucar, where Goya accompanied her. Although 
 her exile w-as brief, the unfortunate Duchess did 
 not long survive her return to Madrid. Certain of 
 Goya’s etchings appear to indicate that before her 
 death the couple had become estranged, but it seems 
 clear that their relations had been marked by a con- 
 stancy and depth of devotion not characteristic of the 
 painter’s usual intrigues, which appear to have been 
 mere passing caprices. 
 
 There is little justification for the charge brought 
 by certain waiters that Goya was a monster of selfish- 
 ness, without heart or any kindly emotions. He pro- 
 vided his mother with a pension and educated and 
 helped to place his brothers in the world. His love 
 of his children is often indicated in his correspond- 
 ence with Zapater. The many picturesque traditions 
 which have survived of the painter’s career form 
 undoubtedly a truer record of his character than of 
 his history ; possibly, indeed, their only value is to 
 give a general idea of the background against which 
 his life was enacted. Goya is shown as obliged to 
 leave Zaragoza and Rome as a result of ‘Amorous 
 adventures;” at Zaragoza we see a Goya embroiled 
 in street riots during the rival religious processions, 
 and at Aladrid he is picked u]) in the road with a 
 dagger in his back. As conservative a writer as Paul 
 
Lefort states that Goya, being without funds for his 
 journey to Italy, joined a ciiadrilla of bull-fighters 
 and thus made his way from town to town, until he 
 reached an Andalusian port, where he embarked. At 
 Rome, Goya is represented as studying ceiling fres- 
 coes from dizzy altitudes upon the cornices of the 
 ])uildings, as climbing to a dangerous height on an old 
 monument to cut his name above that of Van Loo. 
 Finally we are shown a Goya on the point of killing 
 Mengs, who had dared to criticise one of his pictures 
 adversely, and as actually having been saved by his son, 
 Xavier Goya, from assassinating Wellington because 
 the Iron Duke did not consider his portrait l)y the 
 Spanish master a good likeness. It is probable that 
 the painter’s nervousness and irritability were intensi- 
 fied by constantly increasing deafness. Some biog- 
 raphers assert that he had been annoyed by this infir- 
 mity from childhood and that it was greatly increased 
 in after years by serious illness. The correspondence 
 of Goya’s son quotes another story bearing on the 
 sulqect. During the journey into exile with the 
 Duchess an accident occurred to their carriage. It 
 was necessary to light a fire and straighten an iron 
 bar. This Goya accomplished. Fie became over- 
 heated, a chill followed, and from this chill resulted 
 the deafness which in later years l)ecame nearly com- 
 
 [ 28 ] 
 
plete. During the latter part of his life a frequent 
 use was made of the sign language in conversing 
 with him. 
 
 In 1798 Goya received from the King a commis- 
 sion to decorate with frescoes the interior of the small 
 chapel of San Antonio de la Florida, which had 
 recently been finished. In three months he completed 
 the work, painting the great dome of the building 
 with a vast composition including more than a hun- 
 dred figures, somewhat over life size. He took as 
 his subject St. Anthony of Padua Restoring to Life 
 the Corpse of a Murdered Man, in Order That He 
 May Reveal the Name of ITis Assassin. Besides the 
 figures of this great composition, he painted groups 
 of cherubs and angels in certain of the architectural 
 spaces of the ceiling and walls. The result, although 
 a superb piece of decorative art, is characteristic in 
 its lack of tenderness, faith or mysticism. The angels 
 especially are of the world worldly, their loveliness 
 l^eing in no way spiritual, their freedom of attitude 
 conveying no suggestion of divine origin. Many 
 critics have considered these frescoes to be full of 
 irreverent irony, daring satires directed at the aris- 
 tocratic congregation which attended the little chapel. 
 The Count de la Vinaza, who stated that Goya 
 “painted pictures of religious subjects hut no re- 
 
 [291 
 
ligious pictures,” wrote that “the figure of the saint 
 is that of an ordinary friar dressed in the manner 
 of the epoch and surrounded by majas in draped 
 mantillas, ruffians and a good number of young 
 rogues from the Manzanares.” He adds: “The mira- 
 cles of the exemplary man of Padua are as famil- 
 iarly treated as a spectacle of wandering rope dancers 
 might be.” 
 
 The talent of Goya, abundant, full of daring, 
 rich in ingenuity and love of experiment, did not 
 permit the artist to confine himself to one medium. 
 As early as 1778 he completed a set of etchings after 
 certain of the more important paintings of Velasquez, 
 and these etchings were acquired by Charles III for 
 the royal collections. They reflect faithfully the 
 solidity, dignity and sobriety of tone of the Sevillian 
 master. They were traced by a hand not unaccus- 
 tomed to the needle, for Goya, before their appear- 
 ance, had already produced several plates which, slight 
 in themselves, strongly recalled the manner of Tiepolo. 
 It was not, however, until 1796 or 1797 when a series 
 of etchings known as Caprichos (Caprices) appeared, 
 that his great mastery as an etcher was manifest. 
 These Caprichos are unique in the history of art. 
 They are absolutely personal, entirely and intensely 
 Goya's : few artists have embodied their creative 
 
 [30] 
 
impulse in so individual a form. They constitute, 
 perhaps, his most supreme legacy to humanity. The 
 series of etchings are for the most part satires, bitter, 
 fantastic, often flagrantly vulgar. In these works 
 Goya bitingly attacks royalty, the church and its 
 dogmas, the Inquisition, the monastic orders and the 
 professions. He exposes with grim irony the greed, 
 corruption and foolish superstition of the period, or 
 forsakes his attitude of bitter derision for flights 
 of pure phantasy, inventing witches, demons and 
 strangely repulsive monsters. 
 
 The whole set of etchings has a certain sense 
 of nightmare. “You feel transported into some 
 unheard-of, impossible, but still real world,” wrote 
 Gautier of the Caprichos. “The trunks of the 
 trees look like phantoms, the men resemble hyenas, 
 owls, cats, asses or hippopotamuses ; their nails 
 may be talons, their shoes covered with bows 
 may conceal cloven feet : that young cavalier may 
 be some old corpse, and his trunk hose, ornamented 
 with ril^bons, envelop, perhaps, a fleshless thigh- 
 l)one and two shrunken legs ; never did more mys- 
 terious and sinister apparitions issue from liehind 
 the stove of Dr. Faustus.” He adds: “It is when he 
 aljandons himself to his demonographic inspirations 
 that he is especially admirable: no one can represent 
 
 [ 31 ] 
 
as he can, floating in the warm atmosphere of a 
 stormy night, dark masses of clouds loaded with 
 vampires, goblins and demons, or make a cavalcade 
 of witches stand out with such startling effect from 
 the sinister background of the horizon.” 
 
 Their subjects and the brutal frankness with 
 which the subjects are often treated have made this 
 set of etchings offensive to many. An extreme 
 opinion is that of Philip Gilbert Hamerton, who 
 wrote that Goya was ‘Goarse-minded and essen- 
 tially vulgar.” As works of art, there is no ques- 
 tion of their mastery. They are distinctly the works 
 of a fluent painter. Their power and freedom are 
 extraordinary. Especially interesting is their reve- 
 lation of the profound influence which the art of 
 Remlwandt made upon Goya. In these etchings 
 Goya makes free use of aquatint. He was the first 
 Spanish painter to introduce the process into his 
 country. 
 
 The Caprichos were followed by a series of 
 thirty-three plates known as Tauromaqiiia (The 
 Art of Bull-Fighting) , which depicted incidents of 
 the luill ring. Only a few of the plates were issued 
 during the life of the artist, and the set was not 
 actually puljlished in anything like complete form 
 until the Calcografia Nacional issued the series in 
 
1855. In this series of etchings aquatint is not as 
 freely used as in the Caprichos, and it is characteristic 
 of Goya’s etching that, as he grew older, he relied 
 more and more upon pure line alone for his effects. 
 
 Amid the political disturbances that marked the 
 close of the reign of Charles IV, Goya carried on his 
 work as a court painter and produced many of the 
 l^est pictures of his career. Among his notable achieve- 
 ments at this period are the Maja J^csfida (Maja 
 Clothed) i\\Q Maja Dcsniida (Maja N ude) . They 
 rank today as the most celebrated of his easel pictures. 
 In 1808, when sixty-two years old, he saw the French 
 enter Madrid and was familiar with the period of 
 horror and butchery that followed. Politically, Goya 
 has been accused of being an opportunist. It is true 
 that upon the entry of Joseph Bonaparte as King of 
 Spain, Goya swore allegiance to the usurper, that he 
 was made a knight of the Legion of Honor, that he 
 added a portrait of Joseph I to his long catalogue of 
 royal portraits, and that he accepted, with Napoli 
 and Maella, a commission to select from the treasures 
 of the Royal Gallery fifty of its greatest pictures for 
 transference to the Louvre. But in acknowledging 
 Joseph’s sovereignty he but followed the example of 
 many of the most powerful of his countrymen of the 
 dav. 
 
 [ 33 ] 
 
There can be little question that his heart was 
 full of bitterness toward the French invaders. This 
 feeling found expression in two of his greatest can- 
 vases, Episodio de la Invasion Francesa en 1808 
 {Episode of the French Invasion in 1808) and the 
 Escenas del j de Mayo, 1808 {Scenes of May 3, 
 1808). The first picture represents a group of Madrid 
 citizens being executed by troops of Murat; the sec- 
 ond, a bloody fight in the Puerta del Sol, between 
 citizens and the cavalry of the French Imperial Guard. 
 These pictures are two of the most powerful, the 
 most gloomy and the most moving battle pieces ever 
 produced. They stand as witness to Goya’s distress 
 at the pitiable condition of his country during the 
 French invasion, and with the series of etchings 
 known as Los Desastres de la Guerra {The Disasters 
 of War), commenced about this time, offer, were it 
 needed, a proof which refutes any theory that their 
 author was lacking in patriotism. Los Desastres de 
 la Guerra consists of a series of eighty-two plates, 
 which were not, however, published as a collection 
 until 1863. In these superb designs Goya gave 
 artistic expression to the terrible events he had wit- 
 nessed during the Peninsula War. All the horror, 
 the savagery, the splendid heroism of the epoch are 
 depicted in these tragic and powerful works. He 
 
 [34] 
 
shows us hideous scenes of slaughter, bestial atroci- 
 ties, the outrage of women, the butchery of children, 
 the despoiling of the dead, a succession of sinister 
 pictures of famine, disaster and death. These works 
 clearly reveal Goya’s revolt against power capable of 
 plunging humanity in such abysms of terror. The 
 plates form a bitter and impassioned arraignment of 
 militarism. 
 
 Upon the restoration of the Spanish monarchy 
 under Ferdinand VII, Goya for a time found it expe- 
 dient to go into hiding. It was not long, however, 
 before the King reinstated him in his old position of 
 court painter. Tradition states that he pardoned 
 Goya with the words : '‘You have deserved exile, you 
 have merited the garrote, but you are a great artist 
 and we will forget everything.” Goya painted sev- 
 eral portraits of Ferdinand VII, making four mon- 
 archs of Spain that he had immortalized with his 
 brush. At about the period of Ferdinand’s restora- 
 tion, Goya left Madrid and retired to a little country 
 house outside the city, near the Puente de Segovia. 
 The rooms of that residence he decorated with a 
 series of frescoes which have since been transferred 
 to the Prado. They are for the most part powerful, 
 gloomy and 1)izarre productions. For his dining 
 room he painted a decoration showing Satan devour- 
 
 [ 35 ] 
 
ing his children, which is perhaps the most character- 
 istic expression of his genius for the horrible. Some 
 critics consider that these frescoes show that Goya’s 
 reason had been affected by the period of terror and 
 distress through which he had passed : it may at 
 
 least be concluded from these works that a spirit of 
 deep melancholy had settled upon the artist. He had 
 certainly been greatly disheartened by the terrible 
 vicissitudes through which his country had passed. 
 The early years of the nineteenth century had been 
 marked by the death of his wife and of many of his 
 most intimate friends ; his progeny, although numerous, 
 had been for the most part short lived ; old age was 
 creeping upon him ; his health and eyesight were 
 affected ; he had become completely deaf. 
 
 In these later years of his life, although he painted 
 occasional portraits, he gave the greater part of his 
 time to etching, and produced a series of eighteen 
 plates known as Los Proverbios {The Proverbs), 
 which are really late additions to the set of Caprichos. 
 Their exact date is uncertain. Critics have placed 
 their time of production from 1805 to 1820, some list- 
 ing them as probably the painter’s last works, although 
 they betray no waning power. Goya gave these 
 strange plates the title of Sueuos {Dreams). No one 
 has appeared to have arrived at an understanding of 
 
 [ 36 ] 
 
their meaning'. Grotesque monsters, phantoms, hying 
 men, deformed and malformed creatures constitute 
 for the most part the more striking features of these 
 extraordinary productions. Suchos seems, indeed, 
 the best title and description of them. In his later 
 years he also etched three impressive plates entitled 
 Los Prisioncros ( The Prisoners) and several separate 
 etchings such as the Colossus. 
 
 In 1824 he obtained leave of absence from the 
 King in order to go to France, giving as his reason a 
 desire to take the mineral waters at Plombieres in 
 the Vosges. At seventy-eight he started on his long 
 journey and proceeded to Paris, where he made a 
 l)rief sojourn, and then joined the colony of Spanish 
 exiles at Bordeaux. He was constantly active, draw- 
 ing, painting and lithographing, with the aid of a 
 double-lensed glass. The King once prolonged Goya’s 
 leave of absence. To obtain a third leave, Goya con- 
 sidered it necessary to make application to his sover- 
 eign in person, and in 1826, at the age of eighty, made 
 another l)rief visit to Aladrid, when he sat to Vicente 
 Lopez for the well-known portrait now in the Prado. 
 On his return to Bordeaux, although greatly troulded 
 l)y failing eyesight, he continued his work, llis last 
 portrait was that of Don Juan de Muguiro. Goya 
 was evidently proud of such an achievement at his 
 
 [37] 
 
age. He signed it in full, “Don Juan de Muguiro 
 por su amigo Goya a los 81 anos en Burdeos, Mayo 
 de 1827.” On April 15, 1828, he was stricken with 
 apoplexy, and the next day death brought his turbu- 
 lent career to an end. For some seventy years his 
 body lay in the tomb of the Goicoechea family at 
 Bordeaux, but was finally transferred to Madrid, 
 where it now rests in the cemetery of San Isidro. 
 
 Goya’s fame rests almost entirely upon his por- 
 traits, easel pictures and etchings. His ecclesiastical 
 decorations, although marked by certain splendid 
 qualities of design, add nothing to his reputation. 
 Nor may his genius be fairly estimated by his charm- 
 ing tapestry cartoons. Made for reproduction, their 
 theme and treatment were limited by the possibilities 
 of tapestry weaving as it was understood at the Santa 
 Barbara manufactory; and the series is not without 
 evidence that the artist felt the restraint which the 
 factory imposed. Although the genius of Goya is of 
 a nature to render analytical investigation difficult, 
 there is no doubt but that the main characteristic of 
 his art is its intense naturalism or realism. A pro- 
 found observer of life, who himself took passionate 
 delight in living, he sought by every means within 
 the range of his supple technique to perpetuate on 
 canvas the intense realities, the vital truths of life as 
 
 [38] 
 
he knew it. And in this he was essentially Spanish, 
 for Spanish art has been, more than any other, an 
 art of realism. From its inception, the Spanish 
 school of painting has had but one ideal, to depict 
 the truth. Its greatest epochs have been its periods 
 of most intense realism, its weakest when, led by 
 foreign influence, it has forsaken that realism for 
 which the school has genius, and has attempted to 
 replace it with qualities not so clearly a product of 
 the national character. 
 
 It was during one of these weaker moments 
 of Spanish art that Goya was born. He appeared 
 comet-like, isolated, without a group or school 
 about him, at a time when no one in Spain and, 
 as Salomon Reinach says, scarcely anyone in 
 Europe, knew how to paint. The death of Coello 
 in 1693 marked the disappearance of that group of 
 artists who had surrounded Velazquez and found 
 their inspiration in the work of the great Sevillian 
 master. With the extinction of the house of Habs- 
 burg and the entrance of the Bourl)ons under Philip 
 a few years later, the Peninsula was flooded with 
 French and Italian painters. Native painters strove 
 when possilfle to complete their education at Rome, 
 and gave their talents to the imitation of French and 
 Italian work in the over-elaborate, artificial style 
 
 [39] 
 
characteristic of the epoch. The national art of Spain 
 seemed well-nigh extinct. It was at the height of 
 this chaos of foreign influence that the art of the 
 Aragonese painter emerged and by its vitality, its 
 freedom from academic restraint, its intense natural- 
 ism, gave Spanish art another great epoch of splendid 
 achievement. The realism of Goya was not a realism 
 imitative of only the exteriors of the people and objects 
 that surrounded him. Although too much of a painter 
 not to make frequent use of an accident of the moment, 
 not to be interested in the picturesque appeal of a 
 bit of detail, his observation penetrated far below 
 such superficialities. Lafond has well expressed this 
 idea ; “The artists who have painted their times are 
 known as realists or naturalists. Although they may 
 be understood in the profound sense of the words, 
 these appellations are generally given to painters who 
 are more particularly struck by the exterior of things, 
 by the momentarily picturesque. They are not, how- 
 ever, true realists. This appellation should be exclu- 
 sively reserved for those masters who, moved by the 
 power of life, are incapable of ignoring the invisible 
 which on all sides manifests itself to them; this pen- 
 etration of beings and things, unknown to their con- 
 temporaries, renders them the demigods of their 
 epoch and of humanity. It is among these painters 
 
 [ 40 ] 
 
only, and Goya is of the nnmljer, that is found the 
 concern for simplification, the sense of the general, 
 the disdain of the anecdote, the sensual passion for 
 life, that combination of qualities which restrains the 
 decorations of costume and local color, forcing them 
 into the role of simple accessories, making them give 
 way before things which are unchangeable. By this 
 very means they escape being lost in the absurdities 
 of capricious and changing fashions As a result with 
 these masters, styles of dress seem always natural even 
 when they have long since been replaced by others 
 which will change in their turn.” This realism, which 
 is the keynote of Goya’s work, is characteristic of 
 even the most fantastic of his etchings. His witches, 
 his goblins, his malformed monsters, even his ghosts, 
 exist and are solid, they have light and shade, they 
 “go ’round,” in the language of the studio. 
 
 Goya himself is the best authority as to the 
 sources of his inspiration and training. “I have had 
 three masters,” he wrote, “Nature, Velazquez and 
 I'iembrandt.” It is difficult to estimate to what extent 
 he owed his training in elements of art to Luzan. 
 Certainly his work shows no influence of the style 
 of the director of the Zaragoza Academy. On the 
 other hand, Luzan was an enthusiastic and thorough 
 teacher: many of his pupils achieved considerable 
 
 [ 41 ] 
 
distinction. It is not impossible that, as some critics 
 suggest, he was to Goya what Otto Voenius was to 
 Rubens, Quentin Varin to Poussin, Pacheco to Velaz- 
 quez. However, it is undoubtedly true that talent as 
 rich and vigorous as Goya’s would inevitably have 
 found adequate means of expression, with or without 
 instruction, in any place where models and material 
 were accessible. The painter’s stay at Rome appears 
 to have had almost as little effect upon his style as 
 had the two Italian trips of Velazquez on the work 
 of that master. Only in his decorations does Goya 
 show any trace of Italian influence. In this connec- 
 tion, the tradition that he supported himself when in 
 Rome by the sale of small pictures depicting scenes 
 of Spanish life is worthy of mention. 
 
 Throughout his work is much that may be rec- 
 ognized as deriving inspiration from Velazquez, of 
 whom he may be justly considered a pupil. “He 
 studied Velazquez’s great understanding of the pic- 
 ture,” writes Yriarte, “his independence, his proud 
 manner, his daring poses, his admirable envelop- 
 ment, the subtle and silvery tones of his flesh, 
 his distinguished and delightful execution.” Cer- 
 tain of Goya’s pictures show ideas evidently directly 
 copied from his great predecessor. An interesting 
 example will be found through comparing the man- 
 
 [ 42 ] 
 
ner in which Goya introduced his own portrait 
 into the Charles IV and His Family, with the 
 portrait which Velazquez painted of himself in Las 
 Meninas. Although the many etchings which Goya 
 produced of the masterpieces of Velazquez show a 
 remarkable appreciation and understanding of the 
 qualities that have rendered the Sevillian master pre- 
 eminent, the strongly marked differences between the 
 temperament of the two men rendered it impossible 
 for the former to be in any way a servile imitator of 
 the latter. 
 
 The work of the two painters is, in many fun- 
 damental ways, profoundly different. Goya’s art 
 is almost wholly instinctive ; he worked with a sort 
 of savage and lusty joy in production, urged l)y an 
 irresistible impulse to express himself. The art of 
 Velazquez was a product of a marvellous hand, guided 
 by a singularly cool, logical and poised mind. The 
 art of Goya is emotional to an extreme : he liked or 
 disliked, loved or hated, wept or laughed or sneered 
 in each of his productions. Complex and paradoxical 
 as was his character, every line that he drew gave 
 some clue to at least one aspect of his strange nature. 
 The art of Velazquez, on the contrary, was almost 
 without emotion. Goya would have rendered the 
 dwarfs Vekzquez painted either pitiable, ridiculous 
 
 [ 43 ] 
 
or loathsome ; the Sevillian master, absorbed in the 
 marvel of the impressionism he discovered, was con- 
 tent to give a record, singularly beautiful in its per- 
 fection, of the impression made on his eye by the 
 grotesque figure standing before him, not only illu- 
 mined itself, but in itself slightly luminous and 
 enveloped in illuminated atmosphere. “If this great 
 observer, this prodigious craftsman, felt a heart 
 beating strongly in his breast, if he knew sympathies 
 and antipathies, love and hate, he has not confided 
 them to us,” writes Salomon Reinach. “He is a 
 haughty and indifferent genius, whose soul never 
 appears in his pictures. He is content to live and to 
 make others live.’' 
 
 Goya was one of the most imaginative artists 
 that has ever lived ; in his imagination and emo- 
 tionalism, he had more kinship to Greco than to 
 Velazquez. His pictures have something of that 
 quality of strange restlessness, of agitation, that 
 marks the work of the master of Toledo, without, of. 
 course, any trace of their religious spirit. The poise, 
 the perfect balance, the restraint, the perfection of 
 taste and workmanship that marked the pictures of 
 Velazquez are missing in Goya, whose works, gen- 
 erally produced at white heat in response to the inspi- 
 ration of the moment, are frequently marred by care- 
 
 [ 44 ] 
 
less drawing, passages of discordant tone and gross 
 offenses against good taste. It was probably Goya's 
 imaginative and emotional qualities that caused him 
 to be greatly inhuenced by Rembrandt. His etchings, 
 which especially reveal this influence, show how clearly 
 he realized the value of chiaroscuro in obtaining dra- 
 matic effect, in intensifying the emotional qualities of 
 a picture. The very great importance which Goya 
 gave to the use of deep shadow and brilliant light is 
 another quality which distinguished his work from 
 that of Velazquez, who painted his figures for the 
 most part in a full but fairly diffused light and with- 
 out deep shadow. The Forge of J^ulean being a char- 
 acteristic example of his method. Yriarte, who ap- 
 preciates fully Goya’s profoundly original genius, his 
 entirely personal point of view, his way of under- 
 standing and feeling, his mise en sehie without par- 
 allel, his originality of purpose and ardent curiosity, 
 considers him as a painter beneath the plane of V elaz- 
 quez and Rembrandt 'Svho soared to artistic heights 
 toward which he aspired but never attained.’' 
 
 Goya invented no new process of work. He 
 could claim no such epoch-making achievement in 
 the art of painting as that of Velazquez, who has 
 been so often called the first and greatest of all im- 
 pressionists, and who, by his discovery of impression- 
 
 [ 45 ] 
 
ism, became the virtual founder of the modern school 
 of painting. Goya employed the methods which had 
 come to him through others; he adapted them to his 
 own temperament and produced essentially personal 
 results. His manner of painting varied very much 
 with his subject or with the personality of a sitter. 
 His work was extremely uneven in quality. Although 
 in the Maja Desnnda he attained great delicacy and 
 truth in the pearly gray shadows and flesh tones of 
 the figure, he never equalled the marvellous subtlety 
 of Velazquez. 
 
 He painted as a whole directly, with consid- 
 erable impasto, rarely making use of glazes, and 
 then principally in his smaller pictures or works made 
 for very close examination. He worked frequently 
 on a red-primed canvas. The studies of the heads of 
 members of the royal family from which he painted 
 the Charles IV and His Family are all on red canvas 
 that shows clearly in the many small spots which the 
 artist did not cover with his hurrying brush. His 
 palette was simple. It consisted for the most part of 
 black, white, vermillion, ochre and umber with a little 
 blue and yellow. With this rather heavy and earthy 
 group of pigments he obtained, however, effects of 
 surprising luminosity. His tendency as he grew older 
 was to eliminate color and to paint in a darker key, 
 
 [ 46 ] 
 
trusting to strong light and shade for his effect. Some 
 of his last portraits are painted in little more than 
 red, black and white. As a whole, his later works 
 were more thinly painted than his earlier ones. “It 
 is impossible to push a contempt for process further 
 than did Goya,” wrote Yriarte, who, in treating of 
 Goya’s method, also stated : “It must be recognized 
 that he did not attach any importance to the material 
 upon which he painted.” He lists as essentials for the 
 painter’s work only “the first piece of cardboard at 
 hand, a coarse and badly stretched canvas fastened 
 with the aid of four nails in the corners, very strong 
 paper prepared with turpentine, badly ground colors 
 and a palette knife.” 
 
 The directness of Goya’s painting and the 
 solidity and simplicity of his palette have resulted, 
 however, in the general excellent preservation of 
 his work today. “He kept his colors in tubs and 
 applied them to the canvas by means of sponges, 
 brooms, rags and everything that happened to be 
 within his reach,” wrote Gautier. “He put on his 
 tones with a trowel, as it were, exactly like so much 
 mortar, and painted touches of sentiment with large 
 daubs of his thuml). From the fact of his working 
 in this offhand and expeditious manner, he would 
 cover some thirty feet of wall in a couple of days. 
 
 [ 47 ] 
 
This method certainly appears somewhat to exceed 
 even the license accorded to the most impetuous and 
 fiery genius; the most dashing painters are but chil- 
 dren compared to him. He executed, with a spoon 
 for a brush, a painting of the Dos de Mayo, where 
 some French troops are shooting a number of Span- 
 iards. It is a work of incredible vigor and fire.” 
 Painters, especially, will feel that Gautier’s lively 
 description is what is known today as impressionistic 
 criticism. Certainly a spoon appears a tool of doubt- 
 ful value in the making of a picture, however robust 
 and impassioned the artist who wielded it. But the 
 French critic undoubtedly gives an admirable general 
 sense of the unconventionality, directness and vigor 
 that characterized Goya’s method. 
 
 Goya founded no school. His art was too per- 
 sonal, too much the direct expression of his own 
 strange temperament. But his influence has been 
 very great. Spain, on account of its isolated posi- 
 tion, has always been less subject to foreign art 
 movements than other European countries. It was, 
 however, fast yielding before the academic movement 
 which had swept France, Italy and Germany, when 
 Goya appeared and with his virile productions upheld 
 the best traditions of Spanish art. He delayed and 
 weakened the invasion of the pseudo-classic and other 
 
 [ 48 ] 
 
academic schools and kept the love of real painting 
 alive in the Peninsula. Lafond calls attention to the 
 fact that among painters of the past Goya is the one 
 most understandable in our day. “i\Iore and better 
 than a predecessor," he states, “the Aragonese painter 
 is a contemporary, almost a man of tomorrow. His 
 fashion of rendering, of interpreting nature is abso- 
 lutely modern. He depicts it as he sees it, with the 
 comprehension of an artist of our daring and inde- 
 pendent epoch. He is more than one hundred years 
 ahead of his century." It is these qualities in Goya's 
 work which have insured his great influence on mod- 
 ern painting. iManet, Courbet, Regnault — all felt his 
 spell, while the most cursory examination of current 
 exhibitions will show how great and how worthy is 
 the company of painters who have proflted by a study 
 of his example. 
 
 Only fifteen years after the death of Goya. 
 Gautier wrote : “In Goya's tomb is buried ancient 
 Spanish art — all the world, which has now forever 
 disappeared, of torrcros, majos, manolos, alguacils, 
 monks, smugglers, rol)bers and sorceresses ; in a 
 word, all the local color of the Peninsula. He came 
 just in time to collect and perpetuate these various 
 classes. He thought that he was merely producing 
 so many caprices, when he was in truth drawing the 
 
 [ 49 ] 
 
 4 
 
portrait and writing the history of the Spain of for- 
 mer days, under the belief that he was serving the 
 ideas and creeds of modern times.” Since Gautier 
 penned these lines more than half a century has 
 widened the gap that lies between the world of Goya 
 and our world today. But the world of Goya and 
 Goya himself still live, immortalized through his 
 genius in the precious legacy of work which he 
 bequeathed to mankind. 
 
 [ 50 ] 
 
A PORTRAIT OF DONA MARIA DEL PILAR 
 TERESA CAYETANA DE SILVA ALVAREZ 
 DE TOLEDO, THIRTEENTH DUCHESS OF 
 
 ALBA 
 
Dona Maria del Pilar Teresa Cayetana ue Silva Alvarez de 
 Toledo, Thirteenth Duchess of Alba 
 P>y Francisco Goya y Lncientes 
 
A PORTRAIT OF DONA MARIA DEL PILAR 
 TERESA CAYETANA DE SILVA ALVAREZ 
 DE TOLEDO, THIRTEENTH DUCHESS 
 OF ALBA, BY FRANCISCO GOYA Y LUCI- 
 ENTES 
 
 In books dealing with the life and work of Goya, this 
 portrait has frequently been referred to as The Duchess of 
 Alba in a Black Mantilla. 
 
 The celebrated Duchess of Alba was the daugh- 
 ter of Don Francisco de Paula Alvarez de Toledo, 
 Duke of Huescar, and of Doha Mariana de Silva y 
 Sarmiento. She was born at Madrid, June 10, 1762. 
 The Duke of Huescar was the son and heir of Don 
 Fernando de Silva, twelfth Duke of Alba, but did not 
 inherit the title, as he died before his father. When 
 l)etween twelve and thirteen years of age, Doha Maria 
 Teresa was married to Don Jose Alvarez de Toledo 
 Osorio Perez de Guzman el Bueno, eleventh Marquis 
 of Villafranca. The l^ridegroom, who was born 
 July 16, 1756, was still under nineteen at the time of 
 the ceremony. 
 
 Through the death of her grandfather in 1776, 
 Doha Alaria Teresa, when fourteen years of age, 
 
 [53] 
 
became in her own right Duchess of Alba, inheriting 
 at the same time the vast estates and revenues of 
 the family. She was one of the most brilliant figures 
 of the Spanish court of her day. Her beauty, wealth 
 and position gave her great influence and power. 
 Goya’s biographers have varied widely in their treat- 
 ment of her and in their interpretation of her rela- 
 tions with the artist. Some, emphasizing the roman- 
 tic note in their account of the friendship, have 
 produced the effects of a historical novel ; a few, 
 giving credence to unauthenticated and unconven- 
 tional stories, have written what is closely akin to a 
 chronique scandaleuse. Others have ignored her story 
 as far as possible ; they treat of her in footnotes and 
 attempt to minimize any importance she may have 
 had in the life of the painter. The Duchess, like 
 Goya, was peculiarly a person of her own epoch. In 
 any period of the Spanish court other than the reign 
 of Charles IV she would have been an almost incred- 
 ible figure. She can only be accepted as a product 
 of her time and environment ; as such she needs no 
 excuses. Despite her eccentricities, she remains an 
 appealing and pathetic historical figure. An admi- 
 rable idea of the atmosphere in which Dona Maria 
 Teresa grew up is given in a passage from Travels 
 Through Spain and Portugal in i//4, by Major Dal- 
 
 [ 54 ] 
 
rymple, aptly quoted by Stokes : “All these great fam- 
 ilies have pages, who are gentlemen, for whom they 
 provide sometimes in the army, etc. The custom of 
 keeping buffoons prevails still in this part of the world. 
 I often saw the Duke of Alba’s covered with ribbons 
 of various orders, a satire on such baubles! He 
 attends his master in the morning, and the instant 
 he awakes is obliged to relate some facetious story 
 to put his Grace in good humour. The Duke requires 
 so much wit from him that he is eternally upon the 
 scamper in search of it. It is hardly possible to 
 divine how these people can spend such amazing for- 
 tunes as some of them possess. But residing at the 
 Court, never visiting their estates, and, in general, 
 thinking it beneath them to examine or even inquire 
 into their affairs, their stewards enrich themselves to 
 their ruin. . . . When once a servant is admitted 
 into a family, it is certain maintenance for him dur- 
 ing life, if he commit not some glaring crime, and 
 even his descendants are taken care of. Women are 
 another considerable expense.” 
 
 The Duchess of Alba and the Duchess of Osuna 
 were great rivals of each other and of the queen, 
 iMaria Louisa. Lady Holland, in The Spanish Jour- 
 nal, in which she recorded her experiences in Spain 
 in 1802-5, writes: “The Duchess was always an object 
 
 [55] 
 
of jealousy and envy to the great Lady ; her beauty, 
 popularity, grace, wealth, and rank were corroding 
 to her heart.” And again: “She [the Duchess] was 
 very beautiful, popular, and by attracting the best 
 society was an object of jealousy to one who is all- 
 powerful.” Lady Holland had no high opinion of 
 the morals of the Duchess: “The matadores are the 
 toreros admired by the ladies,” she gossips; “the 
 Duchesses of Osuna and Alba formerly were the rivals 
 for Pedro Romero.” She refers to the “Duchess of 
 Osuna, formerly the great rival of the celebrated 
 Duchess of Alba in profligacy and profusion,” but at 
 least stated that, “however they may have indulged 
 themselves, they never wantonly violated decency in 
 their conversation or deportment.” 
 
 Her story of the burning of the Alba palace 
 is particularly interesting as an indication of the 
 extent to which its owner suffered through perse- 
 cution from spiteful and powerful enemies. This 
 palace, known as the Palacio de Buenavista, still 
 exists in the Calle de Alcala at Madrid, and is 
 now used by the government as a War Office. The 
 land was bought in 1769 by the Duke of Alba for 
 over four million reals. “The Alba palace,” states 
 Lady Plolland, “situated by the Prado in the most 
 commanding situation, was l)uilt by the late Duchess's 
 
 [56] 
 
grandfather. The plan was magnificent: she almost 
 finished its execntion when a fire broke out and de- 
 stroyed mnch of the work. However, not discour- 
 aged by the accident, she pursued the plan, and the 
 palace was nearly ready for her reception when an- 
 other fire, more violent and destructive than the for- 
 mer, destroyed the labour of years. Every search 
 was made among the workmen to ascertain how the 
 disaster was occasioned, but the vigilance of enquiry 
 was eluded and enough was discovered to convince 
 that a further attempt to finish the noble edifice would 
 end in a similar disappointment, the train being laid 
 by a high and jealous power.” 
 
 The following amusing anecdote is considered 
 by Von Loga as worthy of quotation: '‘The Duchess 
 D * * young, beautiful, witty and an im- 
 
 mensely rich widow, had the misfortune as a result 
 of certain court intrigues to lose the favor of the 
 Queen. The sense of injury which the Duchess felt 
 confined itself for a long time to a noble defense, but 
 finally the gaiety of her character often led her to 
 pleasantries which were not without danger for her. 
 Knowing the Queen’s custom of having brought from 
 Paris almost all her finery, she employed a faithful 
 and adroit agent to procure at any price the same 
 styles, the same materials, the same jewels that the 
 
 [ 57 ] 
 
furnishers of the Queen had orders to forward to 
 Madrid. He sent on his cases several days before 
 the Queen’s employees were ready to make their ship- 
 ments. The Duchess then had nothing more to do 
 than to dress her maids and give them orders to 
 show themselves in all public places, at the Prado, 
 at the theatre, etc. The war was just so much the 
 more animated as the Duchess, young, pretty and 
 perfectly agreeable, obtained in this field all the ad- 
 vantages and all the success she wished. Twice an 
 unknown hand burnt her palace. She had the dam- 
 ages caused by the fire restored; and for the third 
 time, when her palace was entirely reconstructed and 
 furnished, gave a grand fHe, which was brought to 
 a close earlier than usual. 'Withdraw,’ she said to 
 her guests, T do not at all wish to leave to others 
 the pleasure of burning my palace. I will take charge 
 myself of that task.’ And in fact, she had it set on 
 fire.” 
 
 The friendship of Goya with the Duchess of 
 Alba was an intimate one. He produced at least 
 seven portraits of her, certain of which, like the pres- 
 ent painting, have been considered by many indicative 
 of the closeness of their relations. In one famous 
 portrait in the collection of the Marquis de la Romana 
 at Madrid, he depicted himself beside his patrician 
 
 [ 58 ] 
 
friend. Reminiscences of her striking and piquant 
 type are found in many of the artist's works. Von 
 Loga, who does not give great importance to the 
 romantic stories associating her name with that of 
 the painter, calls attention to the fact that Goya, at 
 the period of their friendship, was nearly fifty years 
 old and partially deaf. It is established, however, 
 that early in 1793, when the Duchess was banished 
 from the court, Goya accompanied her into exile. 
 According to Lady Holland, the only favor allowed 
 the disgraced noblewoman was the choice from among 
 her estates of a place of banishment. She chose 
 Sanlucar de Barrameda in Andalusia. Lefort, who 
 brought to light the royal order dated January, 1793, 
 which gave Goya a leave of absence on account of 
 his health, recounts the incident: “A frequenter of 
 the salons of the Duchesses of Alba and of Benavente, 
 who disputed with Maria Louisa the scepter of fashion 
 and pleasure, Goya interested himself in their rivalries 
 and took part in their quarrels. He took sides first 
 with one, then with the other, and finally became the 
 avowed champion of the beautiful Duchess of Alba, 
 then in open’ rivalry with the Queen herself. The 
 artist, whose biting verve no longer spared anyone, 
 overwhelmed with his sarcasms the enemies of his 
 dear Duchess until the day when, upon order of the 
 
 [59] 
 
offended Maria Louisa, she, an exile from the Court, 
 and he, on a two months’ leave of absence for health, 
 were obliged to take the road for Andalusia and 
 Sanlucar de Barrameda, where the Duchess possessed 
 a palace.” 
 
 The exact duration of Goya’s visit to Andalu- 
 sia is not known. Matheron gives it as two years, 
 but other biographers consider that his stay was of 
 much less duration. At any rate, the Duchess was 
 pardoned and allowed to re-enter Madrid shortly 
 after the re-establishment of the painter in the capital. 
 The greater number of the portraits which Goya 
 painted of her date from about this period of exile 
 or the years immediately following. The resemblance 
 of the heads of the Maja Dcsmida and the Maja Ves- 
 tida to the Duchess has undoubtedly been the principal 
 cause of the legend that she posed for these figures. 
 It is unsupported by any evidence. It is not impos- 
 sible that Goya’s model presented that combination 
 so unhappily familiar to artists of a beautiful body 
 with a commonplace head ; to have remedied this 
 lack of facial charm, Goya may have introduced into 
 the features either consciously or unconsciously some 
 traces of the type of the Duchess, whom he had 
 painted so often and whose features he knew so 
 well. At any rate, it may l)e safely assumed that 
 
 [ 60 ] 
 
she did not pose for the pictures. Stokes, who 
 writes quite fully of the possible identity of the 
 model of these paintings, wisely concludes : '‘The 
 identity of the Majas must therefore remain a secret 
 which future biographers are not likely to unravel." 
 He tells of Baudelaire’s great interest in these pic- 
 tures. The poet, who accepted the popular story, 
 saw at Paris in 1859 what must have l)een two 
 copies of the Maja Dcsniida and the Maja J\^stida. 
 On May 14, 1859, he wrote an amusing letter to a 
 friend: “. . .if 3^011 are an angel go and flatter a 
 person named Moreau, picture dealer, Rue Lafltte, 
 Hotel Lafltte (I intend to court him on account of 
 a study I am preparing upon Spanish painting), 
 and try to obtain from this man permission 
 to take a photograph of the Duchess of Alba 
 (absolutely Goya and absolutely authentic). The 
 replicas (life size) are in Spain, where Gautier has 
 seen them. In one frame she is represented in na- 
 tional costume, in the other she is nude in the same 
 position on her back. The triviality of the pose adds 
 to the charm of the pictures. If I ever used your 
 slang, I might say that the Duchess is a bizarre woman 
 with a wicked look.’’ 
 
 Certain of Goya’s etchings are generally ac- 
 cepted as an indication that the painter and the 
 
 [611 
 
Duchess finally became estranged. Plate 61 of the 
 Caprichos represents an elegant young woman, 
 her head adorned with butterfly wings. She flies 
 through the air carried by a group of sorcerers. 
 Goya left certain manuscripts commenting on his 
 etchings, the comments being generally enigmatic. 
 Of this etching he wrote: “The group of sorcerers 
 who serve as a support for our elegant lady are more 
 for ornament than real use. Some heads are so 
 charged with inflammable gas that they have no 
 need for balloons or sorcerers in order to fly away.” 
 In another manuscript attributed to Goya it is defi- 
 nitely stated that the etching refers to the Duchess. 
 On a drawing for one of the unpublished etchings 
 of the Caprichos, which is also considered to refer 
 to her, is written in Goya’s hand : “A dream of false- 
 hood and inconstancy.” Although the friendship of 
 the painter and the Duchess thus came to an end, it 
 was of some years’ duration and was undoubtedly of 
 much more importance in their lives than a passing 
 caprice. It has resulted in their names being for- 
 ever inseparably linked ; whatever opinion a biog- 
 rapher may hold of their relation, it is impossible to 
 write any fairly complete life of one without mention 
 of the other. 
 
 [ 62 ] 
 
The Duchess did not long survive her return to 
 Madrid. She died on July 25, 1802, some six years 
 after the death of her husband. “She died last summer,” 
 writes Lady Holland, “supposed to have been poisoned ; 
 her physician and some confidential attendants are 
 imprisoned and her estates sequestered during their 
 trial, but by whom and for what reason the dose was 
 administered, remains as yet unknown.” Sir Wil- 
 liam Stirling-Maxwell also states that the physician 
 was suspected of poisoning his patron, but declares 
 that the doctor does not seem to have been guilty 
 and that he got off through the interest of Godoy. 
 The Duchess was buried in the cemetery of San Isidro 
 at Madrid. She died without issue and with her 
 death one of the main lines of the Alvarez de Toledo 
 family came to an end. The title and estates passed 
 to Don Carlos Miguel Fitzjames Stuart y Silva, sev- 
 enth duke of Berwick and Liria, the title now used 
 by the family being Berwick and Alba. 
 
 The death of the unfortunate Duchess was fol- 
 lowed by a period of confusion resulting from diffi- 
 culties as to the settlement of her estate. “Most of the 
 effects of the late Duchess of Alba,” writes Lady Hol- 
 land, “were seized l)y the Queen, Prince, and even 
 King, on the day after her death, engaging to pay for 
 them the price at which they should be valued. One of 
 
 [63] 
 
her estates, bought by ye Prince of the Peace [Godoy], 
 taken possession of, but not paid for on account of the 
 law-suits about her will ; sold to the King afterward, 
 and the purchase money received, without having to 
 this day satisfied the original proprietors.” One of 
 the greatest objects of contention was the valuable 
 collection of pictures which had descended in the 
 family through many generations. It had been 
 notably enriched by the addition of the bulk of the 
 magnificent collection of the celebrated Count-Duke 
 of Olivares. The Alba pictures were several hun- 
 dred in number at the time of the Duchess’s death, 
 and included such masterpieces as the famous Venus 
 and Cupid, by Velazquez, now in the National Gal- 
 lery in London; The Edueation of Loz'e, by Cor- 
 reggio; and the Madonna of the House of Alba, by 
 Raphael, now in the Hermitage at Petrograd. Pas- 
 savant, in his work on Raphael, relates a tradition 
 regarding this picture. According to his account, the 
 Duchess, after having been cured of grave illness, 
 presented the Raphael and a copy of it to her physi- 
 cian. It was this same physician who was afterward 
 imprisoned under suspicion of having poisoned his 
 patron. Released through the influence of Godoy, he 
 presented the copy of the work to the Prince of Peace 
 and sold the original to Count Burcke, through whom 
 
 [ 64 ] 
 
it finally passed to Russia. It appears true, however, 
 that the original picture was sold to Godoy by order 
 of the King during the lawsuits which complicated 
 the settlement of the estate, and at the sale of Godoy ’s 
 effects it passed out of Spain. The lawsuits regarding 
 the pictures were between the Duke of Berwick and 
 x\lba and other heirs and were terminated by an agree- 
 ment by which the heirs consented to give thirty-two 
 of the best pictures of the collection to the Duke. 
 The Catdlogo de la Coleccion de Pinfuras del Excmo. 
 Sr. Diique de Berwiek y de Alba, prepared by Don 
 x\ngel M. de Barcia at the request of the mother of 
 the present Duke, Dona Maria del Rosario Falco y 
 Osorio, ninth Duchess of Berwick and sixteenth of 
 Alba, states that this obligation does not appear to 
 have been very faithfully fulfilled, for only a half 
 dozen of the best pictures of the collection passed to 
 the possession of the Duke ; others were family por- 
 traits and pictures in themselves good, but of second 
 order. The greater part of the magnificent collection 
 was forever dispersed. 
 
 The portrait of the Duchess of Alba in the col- 
 lection of The Hispanic Society of America is dated 
 1797 and appears, therefore, to have been painted 
 consideral)ly after the artist’s return from Sanlucar. 
 The Duchess was then thirty-five years of age, the 
 
 [65] 
 
painter fifty-one. It is the largest portrait which the 
 artist painted of his distinguished patron. Only two 
 other full-length, life-size portraits of her by Goya 
 are known. One is the property of the present Duke 
 of Berwick and Alba, and hangs in the Liria palace 
 at Madrid. A replica of it, formerly in the Medici 
 collection at Naples, is now owned in England. The 
 portrait in the Liria palace shows the Duchess dressed 
 in white and wearing a red sash. She points with 
 one hand toward an inscription painted upon the 
 canvas at the left of the picture near her feet. The 
 catalogue of the paintings of the Duke of Berwick 
 and Alba gives the following note : “Above the dog, 
 a large inscription, carefully executed with such sin- 
 gular mastery that it is not noticeable even on close 
 inspection, states: ‘A la Duquesa de Alba, Francisco 
 de Goya, 1795.’ The inscription proves that this por- 
 trait, not greatly impressive, but admirable for its 
 character and subtlety of tone, was a gift made to 
 the Duchess by the painter and at the same time 
 reveals the intention of the artist, who desired that 
 the lady should be indicating the dedication. It is 
 known that this Duchess was a great friend of Goya, 
 whom she treated with a certain intimacy, regarding 
 which certain writers, particularly foreigners, have 
 invented more or less extravagant anecdotes. Goya 
 
 [ 66 ] 
 
made several portraits of her. This picture, and that 
 which was at Paris, also full-length, with a black 
 dress and mantilla, are the principal ones. A letter 
 of Goya to his friend Zapater, written at Madrid and 
 dated as a joke at London, owned today by the Mar- 
 quis de Casa-Torres and already published, although 
 not very faithfully, states : 
 
 “ ‘Londres 2 de Agosto de 1800. . . . Maste 
 l)alia benirme a ayudar a pintar a la de Alba, que 
 ayer seme metio en el estudio a que la pintase la 
 cara, y se salio con ello; por cierto que me gusta 
 mas que pintar en lienzo, que tambien la he de retratar 
 de cuerpo entero y bendra apenas acabe yo un borron 
 del Duque de la Alcudia a caballo. . . . ’ 
 
 The portrait mentioned in this letter is without doubt 
 that in which the Duchess is shown full-length, dressed 
 as a maja; a portrait that, after belonging to the 
 Goyena collection, was owned at Paris by the dealer 
 Kramer and was recently acquired for The Plispanic 
 Society of America.” Von Loga also notes the pos- 
 sibility that this portrait in black is that to which 
 reference is made in Goya’s letter. The picture is 
 frequently mentioned in books dealing with the life 
 and art of Goya. Lafond, who saw it at Paris, 
 spoke of it as a portrait of “a superb air.” Stokes 
 
 [67] 
 
writes of the portrait : ‘'A whole-length in black silk 
 and mantilla is artistically the most attractive of the 
 series and is clearly the result of several studies.” 
 The picture was once the property of King Louis 
 Philippe and for a time hung in the Louvre, when a 
 collection of paintings owned by the French mon- 
 arch was shown there. This collection became cele- 
 brated under the name of the Galerie Espagnole. It 
 was formed for Louis Philippe by M. le Baron 
 Taylor and the painter A. Dauzat, who when a youth 
 at Bordeaux had known Goya. These two agents 
 proceeded to Spain to collect pictures after succes- 
 sive revolutions had resulted, in 1836, in the sup- 
 pression of various religious orders and the conse- 
 quent dispersal of the effects of these ecclesiastical 
 bodies. The mission of the collectors was highly 
 successful, for they assembled one of the finest 
 groups of Spanish pictures ever brought together. 
 In 1838 the collection of four hundred and forty-two 
 pictures, including eight by Goya, was placed in the 
 Louvre, where it remained until after the death of 
 Louis Philippe in exile. It was finally obtained by 
 the heirs of the king and sold in 1853 at auction at 
 London 1)y Christie and Manson, the sale bringing 
 the ridiculous sum of £4497. This portrait of the 
 Duchess of Allia was No. 103 of the Galerie Espag- 
 
 [ 68 ] 
 
nole and No. 444 of the catalogue of the London 
 sale. Sir William Stirling-Maxwell, in his Annals 
 of the Artists of Spain, published in 1848, wrote of 
 it : ‘‘The Louvre has a good full-length portrait of 
 the famous Duchess of A11)a, attired in a l)lack lace 
 national dress of Andalusia, from whence we learn 
 that the rouge of Castilian high life long survived 
 the ridicule of Madame d'Aulnoy.” After the sale 
 of the collection of King Louis Philippe the pic- 
 ture passed to M. P. Sohege, of Paris. It figured 
 for a time in the Irureta Goyena collection in Seville. 
 It was olLained for The Hispanic Society through 
 Gimpel and Wildenstein, of Paris. The portrait is 
 undoul)tedly an excellent likeness, the essential char- 
 acteristics of the face being the same as in all other 
 portraits which Goya painted of the Duchess. 
 
 The sulyject is represented as standing and turned 
 slightly toward the right. Her left hand rests on 
 her hip ; with her right hand she points to the ground, 
 where the name Goya is written. She wears an elal)- 
 orate Idack skirt and an orange waist, which is draped, 
 as is her head, in a l)lack mantilla. .\l)oul her waist 
 is a red sash ornamented with gold fringe. Gold- 
 embroidered white slippers with white stockings and 
 a hair ornament in yellow and white complete her 
 costume. On the index and middle finger of her left 
 
 [69] 
 
hand are two large rings, on which are inscribed re- 
 spectively Alha and Goya. A conventional landscape 
 showing a river with a fringe of trees and a dark 
 gray sky complete the composition. Signed below : 
 Goya 179 /. On canvas — 2.10x1.47. 
 
 [ 70 ] 
 
DON ALBERTO FORASTER 
 
Don Alberto Foraster. 
 
 By Francisco Goya y Lucientes. 
 
A PORTRAIT OF DON ALBERTO FORASTER, 
 BY FRANCISCO GOYA Y LUCIENTES 
 
 This is the larger of two portraits which Goya 
 painted of Don Alberto Foraster. The other exists 
 at Madrid in the collection of Don Javier Millan. 
 It is a head and bust portrait measuring 0.49 x 0.37. 
 The head is shown in the same position as in the 
 painting belonging to The Hispanic Society of 
 America, and the uniform in l)oth pictures is iden- 
 tical. The Madrid portrait has been photographed 
 by Moreno and reproduced in several books on Goya. 
 It is mentioned in various catalogues of Goya’s work 
 under the title Don Antonio Foraster. 
 
 A life-size, three-quarter-length portrait. The 
 subject is represented as standing and turned slightly 
 to the left. His right hand holds his black military 
 hat, his left his sword. The coat is of black with 
 large revers and cuffs of red ornamented with gold 
 braid. The trousers and gloves are of dull yellow, 
 the background of a deep olive brown. Obtained 
 through M. Sedelmeyer, of Paris. Signed below and 
 to the right: Alberto Foraster por Goya 1804. On 
 canvas — 132 x 104. 
 
 [ 73 ] 
 
A SKETCH FOR ESCENAS DEL 3 DE MAYO 
 DE 1808 
 
Sketch for Escenas del s de Mayo de 1808 
 By Francisco Goya y Lucientes 
 
A SKETCH FOR ESCENAS DEL 3 DE MAYO 
 
 DE 1808 (SCENES OF MAY 3,1808), BY 
 
 FRANCISCO GOYA Y LUCIENTES 
 
 This is a sketch for one of the most celebrated 
 of the painter’s pictures, Escenas del dc Mayo dc 
 i8o8, included with its companion piece, Episodio dc 
 la Invasion Erancesa en i8o8 (Episode of the Ercneh 
 Invasion of i8o8) in the collection of the Mnseo del 
 Prado at Madrid. These two pictures are Goya’s 
 greatest achievement as a historical painter, and rank 
 among the most notal^le works of their order ever 
 produced. They present a vivid pictorial record of 
 the hideous scenes which the artist witnessed at the 
 time of the French invasion of Spain during the 
 Peninsula War. In the Escenas del ? de Mayo de 
 i8o8, a group of Madrid citizens, huddled together 
 in horror at their fate, are about to be executed by 
 troops of i\Inrat, who, standing in file with muskets 
 at their shoulders, are ready to fire. Many of the 
 condemned are upon their knees, some cover their 
 faces with their hands to shut out the sight of the 
 levelled guns; a man in the center of the group raises 
 his arms as if in an aljandonment of terror. The 
 
grisly scene, which takes place before dawn, is but 
 feebly illuminated by a large lantern. The Episodic 
 de la Invasion Francesa en 1808 shows a fierce fight 
 in the main plaza of Madrid, the Puerta del Sol, 
 between the Mamelukes of the French Imperial Guard 
 and Madrid citizens. The canvas is a tangle of fight- 
 ing men and plunging horses. The extraordinary 
 power and spirit of the two pictures, the truth of 
 movement of the figures, the mastery with which 
 Goya conveys to the spectator his vivid impression 
 of tenseness and horror has been rarely approached 
 and never surpassed. Both canvases are large, meas- 
 uring 2.66 by 3.45 metres. They were produced in 
 1808 or 1809, and this sketch may be assigned to the 
 same period. The Prado catalogue gives the follow- 
 ing note on the Escenas del j de Mayo de 1808: “The 
 invaders, not content with the blood spilled during 
 the night (of the second of May), still continued the 
 following morning, shooting some of those arrested 
 the evening before, for whose execution they chose 
 the grounds of the house of Prince Pio.” Hisforia 
 del Levantamiento, Guerra y Revolucion de Espaiia, 
 by the Count de Toreno. A sketch for the Episodio 
 de la Inz>asion Francesa en 1808, corresponding to 
 this sketch for the Escenas del y de Mayo de 1808 
 is owned at Madrid by the Duchess of Villahermosa. 
 
 [78] 
 
A comparison between the composition of the Escenas 
 del ? de Mayo de 1808 and The Execution of Maxi- 
 milian, by Manet, is of interest. 
 
 The composition of the sketch for Escenas del 
 j de Mayo de 1808 is identical with that of the larger 
 work as already described. The file of soldiers, who 
 are placed at the right of the picture, are painted in 
 obscure tones of Ijrown and gray. The condemned 
 people are grouped at the left. The central figure 
 of this group, in a white shirt and yellow pantaloons, 
 forms the principal light note in the composition. 
 The sky is l3lue-black. In the background is a group 
 of buildings in obscure color. The general tone of 
 the picture is a warm and luminous brown relieved 
 l)y touches of yellow ochre and black. From the col- 
 lection of the late Francis Lathrop. On canvas — 
 0.47 X 0.60. 
 
 [ 79 ] 
 
SEVENTY DRAWINGS IN SEPIA 
 
SEVENTY DRAWINGS IN SEPIA, BY FRAN- 
 CISCO GOYA Y LUCIENTES 
 
 During the last years of his life, passed at Bor- 
 deaux, Goya's health and eyesight were so enfeebled 
 through old age that he painted but a small number 
 of pictures. Nevertheless, the restless energy and 
 indomitable spirit which had always been so strongly 
 characteristic of him still controlled his failing phys- 
 ical powers and allowed him no repose. “Goya does 
 not know what he wants, or what he wishes for,” 
 wrote his friend Leandro Moratin, the poet, on April 
 24, 1825. “I advise him to remain at peace until his 
 ‘leave’ expires. He likes the town, the country, the 
 climate, the food, the independence and tranquillity 
 he has enjoyed since his arrival. He has not had to 
 suffer from any of the annoyances which troubled 
 him before. Yet at some moments, he has the idea 
 that there is much for him to do at Madrid. If we 
 left him alone, he would take to the road on a stub- 
 born mule with his cloak, his mantle, his stirrups, his 
 l)ottle and his wallet.” On Octol)er 7, 1825, Moratin 
 wrote another letter, giving a somewhat humorous 
 l)ut entirely sympathetic view of the hery old painter: 
 
 [83] 
 
‘‘Goya maintains that formerly he descended into the 
 arena and sword in hand feared no one ... in two 
 months, he will be eighty years old.” 
 
 Driven then by an unconqnered will, by his 
 restless energy, by an unexhausted curiosity and 
 appetite for life, Goya, in his old age, although 
 unable to undertake large pictures, was unceasingly 
 active as an artist. He took up lithography; he 
 painted in miniature and devoted much time to the 
 production of a series of drawings in various me- 
 diums that reflected incidents of the daily life of 
 that colony of Spanish exiles among whom he made 
 his home at Bordeaux. Goya lived there with his 
 cousin, Leocardia Weiss, a widow, who assumed 
 charge of his household. Rosaria Weiss, the little 
 daughter of Dona Leocardia, born in 1814, was 
 a great favorite of the old painter. Among his 
 other associates were, besides the poet Moratin, the 
 l)anker, Juan Bautista Muguiro; Jose Carnerero; 
 Jose Alea, the author; Vicente Peleguer; the poli- 
 tician, Manuel Silvela ; Pio di Molina ; and Pastor, 
 Gurea and O'Daly, who were military men. 
 
 iVccording to Lafond, who has written a val- 
 uable study of the last days of Goya, the little 
 group of Spanish exiles adopted the custom of meet- 
 ing in a chocolate shop in the Rue de la Petite- 
 
 |84] 
 
Taupe, kept l)y a certain Braiillio Poe, a former resi- 
 dent of Zaragoza. There they would sit and discuss 
 the political questions of the day. Lafond describes 
 Leocardia Weiss as turbulence itself, keen for dis- 
 traction, always moving about and turning the rooms 
 upside down. “Goya is here with his Doha Leocar- 
 dia," wrote Leandro Moratin on Octol)er 23, 1824, 
 “and I notice no great harmony reigning in his 
 household." And again: “Doha Leocardia with her 
 customary dauntlessness quarrels at times and at 
 times makes merry." She dragged the old painter 
 to the four corners of Bordeaux. With Rosaria 
 they attended the popular fairs and travelling circuses 
 that passed through the town. Goya’s friendship 
 with his little “god-daughter" or “adopted daughter," 
 as she is spoken of in some letters, was marked Iw 
 a profound mutual affection. Rosaria appears to have 
 been a very lively and talented child. “La Mariquita 
 speaks French like a paroquet, runs, jumps and amuses 
 herself with the children of her own age," wrote 
 iMoratin. Goya had a high opinion of her artistic 
 talent. “This astonishing child,” he wrote on Decem- 
 ber 28, 1824, to Don Joaquin Ferrer at Paris, “wishes 
 to learn miniature painting, and I wish it also, for 
 to paint as she is painting at her age is the greatest 
 ])henomenon in the world. She possesses special ([ual- 
 
 [851 
 
ities, as you will see. If you will be kind enough to 
 help me, I want to send her to Paris, but I would 
 like you to consider her as if she were my daughter. 
 I will repay you with my works or my goods. I 
 send you a small sample of her ability. All the pro- 
 fessors at Madrid have marvelled at it, particularly 
 the incomparable Martin. If I were not afraid of 
 adding to the weight of my letter, I would send 
 much more.” 
 
 Rosaria, however, did not study at Paris. 
 She was placed as a pupil of drawing in the estab- 
 lishment of a manufacturer of wall-papers named 
 V ernet, where she worked for two years and then 
 entered the class of the director of the works, the 
 painter Antoine Lacour. The instruction which she 
 received from this poor provincial artist was not to 
 the taste of Goya. A. Dauzats, who during his youth 
 frequented the studio of Lacour, has recalled that 
 Goya, then a feeble old man, after having brought 
 his ward to the class, would occasionally pass among 
 the pupils, examining their studies, and, fuming with 
 irritation, would mutter under his breath, ‘‘No es eso,” 
 ‘‘That's not it." Rosaria Weiss did not fulfill the 
 high hopes of Goya. La Sylphide, one of her pictures 
 now in Bordeaux, is both weak and insipid. After 
 the death of her guardian she returned to Madrid, 
 
 [861 
 
where she made excellent copies of old masters and 
 was eventually appointed Professor of Drawing to 
 Queen Isabella. In July, 1840, while on her way to 
 the royal palace, she became involved in a street riot. 
 The shock sustained at that time resulted in a fever, 
 from which she died on July 31, 1840, when but 
 twenty-six years of age. 
 
 Although an octogenarian, half blind and almost 
 totally deaf, Goya made scores of drawings at Bor- 
 deaux. He worked in ink, in sepia or other water 
 color, in red crayon, chalk or pencil, helping his feel)le 
 vision by the use of double-lensed glasses and a large 
 magnifier. He drew scenes of the circus, such as a 
 serpent tamer or a thin man exhibited as a ‘diving 
 skeleton,” vendors in the market place, ecclesiastics, 
 the execution of a criminal by the guillotine, a widely 
 varied series of impressions of the life of the city. 
 IMany of these drawings are marked by humor and 
 reveal a sort of ironic philosophy ; some of them reflect 
 in a mild way the caustic and mocking cjualities of the 
 Caprichos. Their satire, however, is far less biting 
 and without the cruel sting of the cele1)rated etch- 
 ings. Lafond has well expressed this : “Goya, less 
 extreme than in his youth, more contemplative, wiser, 
 more master of himself and of his thought, has here 
 in part forsaken the fantastic and the macabre so 
 
 [87] 
 
frequently employed in the Caprichos, of which they 
 form, indeed, one of the essential elements. It is 
 true that the times had changed. Like the Caprichos, 
 this suite of drawings contains something of every- 
 thing, of philosophy, of morals, of ecstasy, scenes of 
 popular life and simple incidents found through happy 
 accident.” 
 
 The greater number of Goya’s drawings made 
 during the last few years of his life are undoubt- 
 edly memory drawings. Timothy Cole, the celebrated 
 wood engraver, writes : ‘T was told by a Spanish 
 painter, whose father had known Goya person- 
 ally, that the great man was wont to declare that 
 he who aspired to the name of artist should be able 
 to reproduce from memory, with brush or pencil, any 
 scene or incident in all its essential features after 
 having once beheld it.” This idea is admirably car- 
 ried out in the Bordeaux drawings. There is no 
 attempt at finish ; the artist drives directly at the 
 essentials of the subject; every line is trenchant; the 
 synthesis of the action and of the character once 
 caught, the drawing is left as complete. As a result, 
 all these sketches are remarkable for their vitality ; 
 they bear no trace of that uncertainty of touch gen- 
 erally characteristic of those whose eyesight is im- 
 paired. Especially is there no trace of that “fussiness,” 
 
 I 88] 
 
to use a studio term, which nearly always marks the 
 work of a craftsman of advanced years. “It is im- 
 possible to push a contempt for process further than 
 did Goya,” wrote Yriarte. “Even when he drew, it 
 was necessary for him to find a new and original 
 method. Everything was of service to him; he em- 
 ployed black crayon, red chalk, the pen or the brush. 
 This he used as a pencil, by filling it with Chinese 
 ink ; he dipped it in his inkwell, squeezing out the 
 ink with his hngers, making use of a blot or an acci- 
 dent in the paper. At times, also, he scratched a 
 dark background with the handle of a brush or a 
 pointed instrument, so as to silhouette upon it a white 
 figure : or, at other times, after having commenced 
 a sketch upon a newspaper or poster, he hnished it 
 by dipping his brush in writing ink mixed with 
 Spanish tobacco." 
 
 These drawings of his old age were prob- 
 ably made by Goya simply for his own pleasure. 
 Lafond suggests : “Goya marked five dots at ran- 
 
 dom on a piece of paper, or had them marked by 
 someone present. Then he drew a hgure, whose head, 
 hands and feet had to pass through these points. 
 The exercise, which used to be much practiced in 
 studios, was known in Spain under the name of Jiiego 
 
de rigiiitillas. If we examine carefully most of the 
 drawings made by Goya at Bordeaux, we find the 
 five dots.” Goya’s drawings have been widely scat- 
 tered. Their number may only be approximately 
 estimated. Many exist which, made before the 
 artist’s removal from Madrid, served as studies for 
 etchings. In the Museo del Prado are nearly two 
 hundred drawings, with many studies for the Capri- 
 chos, Desastres de la Guerra, Tauromaquia and Pro- 
 ve rhios. Von Loga, who alone of Goya’s biographers 
 has attempted a list of his drawings, states that a 
 hundred were divided after the death of Frederico 
 de Madrazo, of which Mariano Fortuny received 
 fifty-six and Bernardino Montanes thirty-eight, some 
 of the set passing afterward to the collection of 
 Aureliano de Beruete. He considers that these draw- 
 ings were included, as were the drawings of the 
 Prado and the Biblioteca Nacional, in the three hun- 
 dred indicated by Matheron as belonging to Manuel 
 Garreta. In 1900 the Marques de Casa Jimenez ex- 
 hibited thirty-two drawings which were afterward 
 sold. 
 
 The seventy drawings comprised in the collection 
 of The Hispanic Society of America are in sepia, 
 use having been made of both pen and brush. A few 
 
 [90] 
 
suggest that a quill of paper dipped in ink has been 
 employed. No. I is clearly a scene of circus life. 
 Nos. II, III and IV also probably record figures in 
 some spectacle. No. V recalls Plate 18 of the Capri- 
 chos. From the collection of M. R. Foulchc-Delbosc, 
 editor of Revue Hispaniqiie. On paper — 0.15x0.10. 
 
II 
 
Ill 
 
IV 
 
V 
 
VI 
 
VII 
 
VIll 
 
IX 
 
X 
 
XI 
 
XII 
 
XIII 
 
XIV 
 
X\' 
 
XVI 
 
XVII 
 
XVIII 
 
XIX 
 
XX 
 
XXI 
 
XXI 1 
 
XXIII 
 
XXIV 
 
XXV 
 
XXVI 
 
XXVII 
 
4 
 
 XXV 1 1 1 
 
XXIX 
 
XXX 
 
XXXI 
 
XXXll 
 
XXXIII 
 
XXXIV 
 
XXXV 
 
XXXVI 
 
XXX VJl 
 
XXXVIII 
 
 m 
 
XXX IX 
 
XL 
 
XLT 
 
XL II 
 
XLIII 
 
XLIV 
 
XLV 
 
XLVl 
 
XLVll 
 

 XLVIII 
 
XLIX 
 
L 
 
JJ 
 
LII 
 
iis 
 
 LIV 
 
1 
 
LVI 
 
LVII 
 
LVIII 
 
LIX 
 
LX 
 
LXI 
 
- 
 
 LX II 
 
I.X 1 1 1 
 
LXIV 
 
LXV 
 
LXVl 
 
LXVll 
 
LXVIIJ 
 
LXIX 
 
LXX 
 
ETCHINGS BY GOYA IN THE LIBRARY OF 
 THE HISPANIC SOCIETY OF AMERICA 
 
 11 
 

 ! 
 
 •XV 
 
ETCHINGS BY GOYA 
 
 IN THE LIBRARY OF 
 THE HISPANIC SOCIETY OF AMERICA 
 
 The LiTrary of The Hispanic Society of America 
 contains the following editions of the etchings of 
 Goya : 
 
 Caprichos de Goya; colcccion dc ochcnta cs- 
 tampas grahados al agiia fuerfc con aguadas de resina 
 por cl mismo. Madrid, Calcograf'ia Nacional, 1868. 
 80 plates. 
 
 Treinta y trcs cstanipas qiie re present an difer- 
 entes suertes y actitudes del arte de lidiar los Toros, 
 inventados y grahados al agua fuerte en Madrid por 
 Don Francisco de Goya y Lncientes. yj plates. 
 
 These plates, originally issued separately, are bound in a 
 modern cover of red leather inscribed, Los Toros. Goya. 
 
 This is the first edition of the Tauromaquia engraved 
 by Goya about 1815 and almost certainly printed under his 
 direction if not by his own hand. The exact number of sets 
 issued is not known but was certainly very limited. Only a 
 few sets were sold during the life of the artist, the rest of 
 the edition being held by Goya’s family and not circulated 
 until after the death of his son Xavier in 1855. 
 
 Coleccion de las diferentes suertes y actitudes 
 del arte de lidiar los toros inventados y grabadas al 
 agua fuerte por Goya. Madrid, i8g^. Estampado 
 en la Calcograda de la Imprenta Nacional, i8^j. y ? 
 plates. 
 
 [ 163 ] 
 
This is the second edition of the Tauromaquia. The 
 portrait of Goya which serves as Plate i of the Caprichos is 
 printed on the paper cover and on the back of the folio 
 appears the title of the first edition, Treinta y tres estampas 
 quc representan diferentcs suertes y actitudes del arte de 
 lidiar los Toros, inventados y grabados al agua fuerte en 
 Madrid por Don Francisco de Goya y Lucientes. Both the 
 paper and the printing of this edition are inferior to that of 
 the first edition. 
 
 La Tanreaumachie, rcciicil de quaranfe csfainpcs 
 inventees et graz’ccs d reau-forte par Don Francisco 
 Goya y Lucicntcs. Loizclct. Paris [no datc^. 40 
 plates. 
 
 This edition was issued about 1870 by Loizelet, of 
 Paris, a dealer in etchings, who purchased the original 
 plates, had them carefully cleaned and issued under the 
 French title as given above. The seven plates of this 
 edition which are not included in earlier editions, were 
 almost all engraved on the reverse of certain of the plates 
 of the series as first published. They were probably 
 rejected by the artist as unsatisfactory for one reason or 
 another, and before their publication by Loizelet were 
 only known through some rare trial proofs. 
 
 Los Proverhios ; colcccion de dicz y ocJio Idminas 
 inventadas y grabadas al agna fnerte por Don Fran- 
 cisco Goya. Madrid. Publicala la Real Academia 
 de Nobles Artes dc San Fernando, Madrid, i8gi. 
 18 plates. 
 
 Upon the following seven pages are printed 
 reproductions of typical etchings by Goya. The 
 comments in quotation marks under the three plates 
 Nos. 12, 43 and 61 from the Caprichos are those 
 which the artist himself wrote for these etchings. 
 
 [164] 
 
Francisco Goya y Lucientks 
 From the etching l)y the artist of liimsclf 
 Plate I of Caprichos (Caprices) 
 
 “'I'he portrait of (loya serves as a frontis])iece to the c<hlected edition 
 of his works. He is represented as a man of al)ont fifty with a (piick 
 oblique glance, a large eyelid and a sly, mocking, crow’s foot beneath. 
 The chin is curved upward, the up]ier lijr is thin and the lower one jiointed 
 and sensual, d'he face is surrounded by a heard of a description jiecnliar 
 to natives of southern climates and tlie head is covered by a hat a la 
 Bolraar. The whole physiognomy is lliat of a man of strongly developed 
 character.” — I'lu'-ophile Gautier. 
 
A Caza de Dientes. Hunting for Teeth 
 Caprichos. No. 12 
 
 “The teeth of tliose who have been hanged are very efficacious in bring- 
 ing luck; without this ingredient nothing wortli wliile can be done. Is it 
 not pitiful that the common folk believe such foolishness?” 
 
El Suexo de la Razon Pkuduce Munstruos. The Sleep oe 
 Reason Gives Birth to Monsters 
 Cap rich os. No. 43 
 
 “I niaj^inali'iii willioul rcvison produces monstrosities; united with reason 
 it l)ceonies tlie mother of the arts and tlie souret- of marvels.” 
 
VOLAVERUNT. ThEY ARE DISAPPEARING 
 
 Caprichos. No. 6i 
 
 “'!'he group of sorcerers wlio form the support for our elegant lady are 
 more for ornament than real use. Some heads are so full of inflammable 
 gas tliat they have no need for balloons or soreerers to lly away.” 
 
12 
 
 Carlos V Lanceando un Toro en la Plaza de Valladolid 
 Charles V spearing a bull in the plaza of Valladolid 
 La Taitromaqnia (The Art of Bull-Fighting). No. lo 
 
Los Pr overbios (The Proverbs). No. 
 
Escapan Entke las Llamas. Escaping Through the Elames 
 Los Dcsastrcs dc la Guerra (The Disasters of JJhir). No. 41 
 
House in Which Goya was Born at Fuendetodos. 
 From a Sketch by Rafael Aguado Amal. 
 
A PORTRAIT BUST OF FRANCISCO GOYA, 
 BY MARIANO BENLLIURE Y GIL 
 
 (See Frontispiece) 
 
 ]\Iariano Benlliure y Gil was 1:>orn at the Grao 
 of Valencia, September 8, 1862. He is a younger 
 brother of Jose and Juan Antonio Benlliure, the 
 painters. From bis earliest youth be showed great 
 ability for art. As a very young child be modelled 
 small figures in wax, and when l)iit twelve years of 
 age carved in wood a life-size religions group, Dcscen- 
 dimicnto dc la Cruz {Descent from the Cross). In 
 1871 be followed bis eldest In'otber to Madrid, where 
 be studied for some years, exbiltiting in the Exposi- 
 tion of Fine Arts, in 1876, a wax group, Cogida de 
 un Picador {The UDunding of a Picador), wdiicb 
 attracted very favorable attention, as did bis ec|ues- 
 trian statue of Don Alfonso XII, shown two years 
 later. At seventeen be went to Rome, where be mod- 
 elled a statue of an acolyte, the title, Aeeidente, being 
 the Italian exclamation, and not, as it is often ren- 
 dered, An Accident. This w-ork was awarded a 
 second medal at the iMadrid Fx])osition of 1884, 
 afterward being acquired Iw the Duke of Fernan 
 Xunez. 
 
 This success was followed l)v many others. 
 Benlliure has been a prodigious worker and has ])ro- 
 
 [ 173 ] 
 
(luced a large number of important seulptures. His 
 bust of the Valencian painter Luis Domingo (1718- 
 67) was awarded the medal of honor at Vienna and 
 the gold medal at Berlin; the statue of the painter 
 Ribera and the group in marble, Al Agua {In the 
 Water), a gold medal at Madrid; the statue of the 
 novelist Trneba received the medal of honor at Mad- 
 rid, and the mausoleum of the tenor Gayarre, the 
 medal of honor at Paris. From 1904 to 1907 
 Mariano Benlliure was director of the Spanish Acad- 
 emy in Rome, and is Art Director of the Royal 
 Spanish Mint and of the Royal Establisment for the 
 Printing of Government Paper. He is a member of 
 the Academies of San Luca, Rome ; San Fernando, 
 Madrid; San Carlos, Valencia; a corresponding 
 member of the Institut de France; an honorary 
 member of the Academies of Milan and Florence; a 
 chevalier of the Legion of Honor of France; a com- 
 mendatore of the crown of Italy, and has received 
 grand crosses of the Orders of Alfonso XII, of 
 Isabella the Catholic, of the Order of Military Merit, 
 and of the Red Cross of Spain. Other of his more 
 important statues are ; Doha Barbara de Braganza, 
 modelled for the entrance of the Palacio de Justicia 
 at Madrid; Don Diego Lopez de Haro, in the Plaza 
 Xueva of Bilbao; Don Alvaro de Bazan, at Madrid; 
 El Teniente Ruiz, in the Plaza del Rey at Madrid ; 
 General Martinez Campos, in the Paseo de Codies 
 del Retiro, Madrid; Doha Maria Cristina, Reina 
 Gobernadora, l)efore the Museo de Reproducciones at 
 
 [174] 
 
Madrid ; V clazquez, in front of the Miiseo del Prado, 
 Madrid; a decorative work, El Infierno del Dante; 
 and finally a statue of Goya on the pedestal of 
 which he chiselled the beautiful lines of the figure of 
 the celebrated Maja revealed against a l)ackground 
 composed of figures adapted from Goya’s etchings. 
 
 A bust in bronze. Goya is represented as an 
 old man. His head is turned slightly to the right 
 and he looks downward as if in reflection. The like- 
 ness is clearly founded on the celebrated portrait of 
 Goya by Vicente Lopez y Portana painted in the early 
 summer of 1826, when the sitter was over eighty 
 years of age. Signed at the left: M. Benlliure. 
 Height — 0.59. 
 
In the Studio of Goya 
 By Francisco Domingo y Marques 
 
IN THE STUDIO OF GOYA, BY FRANCISCO 
 DOMINGO Y MARQUES 
 
 Francisco Domingo y Marques was born at 
 Valencia, March 12, 1842. He studied in the Acad- 
 emy of San Carlos at his native towm and with the 
 painter Rafael Montesinos y Ramiro. In 1867 he 
 exhibited for the first time, showing a composition 
 recording an historical incident. Shortly after he 
 obtained considerable success with certain genre pic- 
 tures. The Spanish Government granted him a 
 scholarship at Rome in 1868, where he painted El 
 Ultimo Dia de Sagunto {The Last Day of Sagunto), 
 purchased by the Valencian Museum. On his return 
 to Spain he painted many portraits, among them that 
 of Ruiz Zorrilla for the municipality of Valencia; 
 certain historical compositions, such as Columbus at 
 Barcelona, for the palace of the Senate, and various 
 decorative compositions for the Dukes of Bailen and 
 of Fernan Nunez. Establishing himself at Paris in 
 1875, he painted portraits and genre pictures, the 
 latter showing the influence of Fortuny and Vleis- 
 sonier. Among his best known portraits is one of 
 His Majesty Don Alphonso XIII as a child. His 
 pictures are included in the collections of many 
 museums. 
 
 Goya is shown standing in the middle of a 
 large studio before a canvas which is turned with 
 
 [ 177 ] 
 
its back toward the spectator, and occupies about 
 one-third of the area of the picture. He is repre- 
 sented as a man of about seventy. He wears a gray 
 coat with black trousers and white waistcoat and 
 stockings. He carries a palette and brushes. He is 
 turned toward the left of the picture and regards 
 two models, a man and a woman, who are dressed 
 in country costumes and are dancing. The woman 
 wears a rose petticoat and a blue waist. The man 
 is in gray with a yellow waistcoat and red sash. 
 Behind these figures are shown two musicians seated 
 and playing, with two ladies sitting near by. At the 
 extreme left is a divan, on which are seated three 
 other spectators of the dance. The figures in the 
 background are painted principally with black, white 
 and yellow. They are relieved against the back wall 
 of the studio, which is dark in tone and decorated 
 with two large pictures, one of which is an eques- 
 trian portrait, the other a figure composition. Signed 
 below to the right : Domingo. On canvas — 0.68 x 0.52. 
 
 | 178 | 
 

 
 
 '[■ 
 
 / 
 
Corv OF Goya's Portrait of Pfdro IMocarte 
 I)V Mariano Fortuny 
 
A COPY OF GOYA’S PORTRAIT OF PEDRO 
 MOCARTE, BY MARIANO FORTUNY 
 
 ^lariano Jose Maria Bernardo Fortuny was l^orn 
 at Reus, in Tarragona, June 11, 1838. He was the 
 son of poor parents, his father being a carpenter. He 
 received an education in the primary school of his 
 native town and ol^tained at least an elementary 
 art training in a drawdng class established at Reus 
 by Domingo Soberano. At an early age Fortuny 
 was left an orphan and came under the guardian- 
 ship of his grandfather, who, though a joiner by 
 trade, travelled from town to town with a collection 
 of wax figures which he exhibited. Fortuny, en- 
 dowed from earliest childhood with extraordinary 
 manual dexterity, showed great cleverness in the 
 modelling and painting of these figures. In 1852, 
 when fourteen years of age, he went with his grand- 
 father to Barcelona, where he hoped to obtain means 
 for an art education. 
 
 Through the influence of the sculptor Talarn 
 he secured a pension amounting to one hundred and 
 sixty reals a month and his tuition fees in the Bar- 
 celona Academy of hfine Arts, where he entered 
 the studio of Claudio Lorenzale. His brilliant 
 gifts at once made themselves manifest. In March, 
 1857, after competition with other students, he was 
 
 [ 181 ] 
 
unanimously awarded a scholarship at Rome. Here 
 he fulfilled the obligations imposed on him by 
 the terms of the pension, copying Raphael and 
 other old masters, and producing a considerable 
 number of original works. Early in 1860 he was 
 summoned to Barcelona by the authorities of the 
 city, who commissioned him to go to Africa and 
 paint a series of pictures representing the principal 
 incidents of the war then being waged by Spain 
 against Morocco. Although this expedition was com- 
 paratively brief, it exercised a great influence upon 
 the painter’s life and art. He fell under the spell 
 of the brilliant light and color of north Africa and 
 brought every resource of his vivacious and supple 
 technique to the task of recording the kaleidoscopic 
 scenes of Oriental life which he witnessed. This 
 love of light, of opulent color, of movement, of 
 sparkling and brilliant effect, remained character- 
 istic of Fortuny’s art until his death. He produced 
 during the expedition a large number of sketches, 
 many of which served later in the composition of 
 more pretentious pictures. The return to Barcelona 
 was made via Madrid, where he visited the Prado 
 and met Federico de Madrazo, then director of the 
 Royal Museum. 
 
 After a brief visit to Paris, devoted largely to 
 the study of certain of the battle pieces in French 
 national collections, he proceeded to Rome and 
 commenced for the city of Barcelona an immense 
 canvas. The Storming of the Moroeean Camp by 
 
 [ 182 ] 
 
Spanish Troops, February 4, i860. This huge work, 
 more than hfteen meters long, occupied much of the 
 time of the artist during the next few years, but 
 remained unfinished at his death. It now adorns the 
 Casa de la Diputacion at Barcelona. Fortuny was a 
 rapid and incessant worker. Besides his battle pic- 
 ture he produced a remarkable series of paintings in 
 oil and Avater color which, after a few years, brought 
 as their reward international fame. Visits to Madrid 
 and Paris in 1867 and 1868 still further extended 
 his reputation and acquaintance. Shortly after this 
 time he married Doha Cecilia de Madrazo, daughter 
 of Federico de Madrazo. His pictures were eagerly 
 sought for by collectors and museums. His life 
 became a series of triumphs. He turned easily from 
 oil to water color, and as an etcher obtained results 
 as distinguished as those which he produced with his 
 brush. 
 
 In 1870 he commenced at Rome, and hnished 
 at Paris, La Vicaria [The Vicarage ) , or, as it is gen- 
 erally called in English, The Spanish Marriage, pos- 
 sibly his most famous picture. Exhibited at Paris, it 
 placed him at once among the most celelu'ated artists 
 of Europe. La J^icaria is a characteristic work of 
 the master and also an excellent example of the pre- 
 vailing taste in pictures during the period in which 
 it was painted. In an immense and picturesque 
 sacristy a brilliant wedding party in eighteenth- 
 century costume is shown signing documents relating 
 to the marriage. A priest supervises the ceremonv. 
 
 [183] 
 
At one side a group of toreadors, sitting in care- 
 less ease, look on with an air of rather inso- 
 lent indifference. The figures are worked with 
 jewel-like fineness, color and brilliancy. Despite the 
 remarkable drawing and the truth of the types, the 
 over-decoration of the accessories and the too- 
 adroitly devised grouping result in an effect that is 
 more theatrical than natural. ‘‘A sketch of Goya 
 retouched by Meissonier,” wrote Gautier of this pic- 
 ture. Meissonier, indeed, did Fortuny the honor of 
 posing for one of the figures in the composition. The 
 famous La Eleccion de Modello (The Choosing of 
 the Model), a masterpiece of rococo artifice, is an- 
 other canvas of the same order, while the Fantasia 
 Arabe (Arab Fantasy), in which a number of Moroc- 
 can warriors are shown in a mad dance, is an ex- 
 cellent example of the one other class of subject, 
 Moroccan life and customs, to which the artist 
 devoted his talent. From 1870 to 1872 Fortuny 
 lived at Granada, breaking his stay there by twO' 
 excursions to Africa. In 1874 he returned to 
 Rome. On November 21st of that year, when only 
 thirty-six years old and at the height of splendid 
 powers and success, he died somewhat suddenly from 
 an attack of malarial fever contracted when painting 
 outdoors at Naples and Portici. 
 
 Endowed with great gifts which found their 
 most natural expression in dexterities of craftsman- 
 ship, Fortuny's works are more remarkable for the 
 unapproachable vivacity and brilliance of their tech- 
 
 [184] 
 
nique than for subtle and profound qualities. He 
 was a master of color, his works glitter with har- 
 monies that recall the tones and patterns of a Per- 
 sian carpet. He had a clear understanding of effects 
 of light, knew Spanish national types, and could 
 render them well. These qualities would have l)een 
 of service had he cared to produce pictures of his 
 own country, marked l)y the intense realism which 
 has been the chief characteristic of Spanish art in its 
 greatest epochs. His life as a painter, however, was 
 passed almost entirely outside of Spain. He himself 
 was a cosmopolitan ; he chose motives with regard 
 for the opportunity they afforded for technical dis- 
 play, and unfortunately, much of his work reflected 
 the taste for bric-a-brac and rococo artificiality that 
 marked the period in which he lived. But through 
 his technique he is related to the national school of 
 his native country: the fluency, the abandon, the 
 
 brilliancy of his style are thoroughly Spanish. His 
 manner of painting is manifestly founded on that of 
 Goya. The audacity and vigor of his attack, the 
 staccato quality of his touch in applying pigment to 
 canvas, recall the method employed, especially in 
 smaller works, by the great Aragonese master. The 
 admiration and understanding with which Fortuny 
 regarded the art of Goya is evidenced in the copy 
 which he made of Goya’s portrait of iMocarte. For- 
 tuny painted the copy with gusto ; he was evidently 
 in sympathy with the style of the older master. There 
 is no trace of niggling, so common in a copy. The 
 
 [ 185 ] 
 
 1.3 
 
resemblance between the methods of the two artists 
 is clearly shown in the felicity with which Fortuny 
 reproduced Goya’s peculiarly individual manner of 
 painting the embroideries of the toreador’s jacket. 
 
 Don Pedro Mocarte was a singer in the cathe- 
 dral of Toledo and an intimate friend of Goya. The 
 singer is shown in the costume of a torero. It is not 
 known whether he was painted in this costume because 
 he was an admirer of the sport of bull-fighting or 
 l)ecause the costume gave opportunity for picturesque 
 effect. The original picture was listed by Yriarte in 
 1867 as in the collection of Don Luis de Madrazo, 
 of Madrid. At one time it figured in the Edwards 
 collection at Paris, afterward passing to Don Rai- 
 mundo de Madrazo, from whom it was acquired by 
 its present owner, Mr. Archer M. Huntington, Pres- 
 ident of The Hispanic Society of America, in whose 
 private collection it now hangs. The copy by For- 
 tuny was obtained for The Hispanic Society from 
 Don Raimundo de Madrazo. 
 
 A life-size head and bust portrait. The subject 
 is shown turned slightly to the left and regarding 
 the spectator. He wears a white shirt with black 
 neckpiece and toreador’s jacket of brownish gray 
 satin with silver embroideries. About his shoulders 
 is a capa or bull-fighter’s cloak of a dark reddish 
 color, lined with satin of a brownish pink. The back- 
 ground is almost black. Signed below to the right: 
 Fortuny. On canvas — 0.76x0.56. 
 
 [ 186 ] 
 
VICTIMS OF WAR, AND A CARNIVAL SCENE, 
 BY EUGENIO LUCAS 
 
 Eugenio Lucas was born at iMadrid in 1824. He 
 studied painting at the Academy of San Fernando 
 at iMadrid and in 1849 exhibited a number of land- 
 scapes in an exhibition held under the auspices of 
 that institution. In 1855 he was represented in the 
 Ehiiversal Exhibition at Paris by two pictures, A Biill- 
 FigJit at Madrid and An Episode of the Revolution 
 of i8j-i in the Puerto del Sol. With the French 
 artist Philastre, he decorated with fresco, in the style 
 of the Renaissance, the ceiling of the Teatro de la 
 Opera at IMadrid. ‘Tn four great medallions," writes 
 Ossorio of this work, "are painted mythological 
 scenes showing life-size figures. The first represents 
 the Arts with their attributes : the second, the Dance 
 directed by Terpsicore; the third. Lyric Poetry pre- 
 sided over by Erato, who is encouraging the \^irtues 
 and banishing the Alices : in the fourth Euterpe is 
 seen conducting a concert. In some circular forms 
 are half-length portraits of IMoratin, Bellini, \^elaz- 
 quez, Calderon and Fernando de Herrera. Lucas was 
 an artist of abundant talent and considerable techni- 
 cal attainment. He appears to have lacked, however, 
 a personality of sufficient strength to have enabled 
 him to produce works in a single manner distinctly 
 
 [ 187 ] 
 
his own and representative of a personal point of 
 view. He spent much of his time in making imita- 
 tions of the paintings of old masters, working, accord- 
 ing to Lafond, under the constant pressure of neces- 
 sity. Lafond wrote : “Lucas reproduced Breughel, 
 Teniers, Wouwerniann, Watteau, as well as the painter 
 of Las Mcninas, and brushed in easily in an after- 
 noon a copy or an imitation, more or less exact, of 
 these masters, that was then exchanged during the 
 day for two or three dollars in the cafes or hotels of 
 Madrid.” The artist died at Madrid, September 11, 
 1870. 
 
 Eugenio Lucas is then chiefly rememl:»ered as a 
 result of his remarkable facility in imitating works 
 of the great painters of past epochs. His produc- 
 tions after these artists were distinctly imitations, not 
 merely pictures influenced by their style; he chose 
 subjects similar to the subjects of the man he sought 
 to copy and painted them with slavish imitation of 
 every trick of technique of the original artist. He 
 was particularly successful in imitation of the smaller 
 pictures of Goya. He succeeded so admirably in 
 reproducing the spontaneity of Goya’s brush-stroke, 
 the very spirit of the work of the great Aragonese 
 master, that it is often difficult to tell a Lucas, when 
 painted at the artist’s best, from a Goya. As a whole, 
 however, Lucas is heavier than Goya, his manner is 
 less varied, the figures and compositions of his pic- 
 tures are less solidly constructed than in the works 
 of the painter he imitated. He also had a tendency 
 
 [188] 
 
to exaggerate the manner and method which he copied 
 from his model, so that his pictures have often a 
 slight air of caricature. A list of titles of his paint- 
 ings would read much like a list of Goya paintings. 
 A few are: Two Bandits Kneeling Before the Head 
 of a Comrade Nailed to a Post, A Temptation, An 
 Exoreism, tVitehes with Children, Masqueraders, 
 Drunkards, A Young Girl and an Old IJAinan, A 
 Miser, Gallantries of the Seventeenth and Eighteenth 
 Centuries. 
 
 Aureliano de Beruete y Moret, in his work on 
 Velazquez, refers to Lucas as ‘'The clever pastieheur 
 of the sketches and even of the paintings of Goya, 
 Eugenio Lucas, whose works are attributed to Goya 
 in many collections and even museums.” He adds 
 that Lucas “tried also to imitate Velazquez, but these 
 badly designed imitations, verging on caricature, have 
 deceived nobody.” Lafond is less severe: “His paint- 
 ing, frank, free, all vivacity, energy and daring, full 
 of tempest, traversed by flashes of lightning, executed 
 with furious strokes of the brush, is stupefying in 
 its audacity and surety. . . . His sketches, bold to 
 the point of recklessness, are usually improvised with 
 a palette knife. When seen near by, they are gen- 
 erally only a chaos of hard tones, but from a little 
 distance everything harmonizes, is explained and 
 takes form. The personages which these sketches 
 include are extremely rudimentary and summary in 
 treatment, with violently illuminated visages and big 
 round eyes like lotto discs, which recall perhaps too 
 
 [ 189 ] 
 
much those of Polichinelle. Nevertheless they live, 
 are well in their place and in accord with the atmos- 
 phere in which they move. His tempestuous skies, full 
 of menacing clouds ready to burst in cascades of rain 
 or hail, attain at times the pathetic. The canvases 
 render marvellously the landscapes of La Mancha 
 and of Castile, which have not changed at all since 
 Velasquez, with their desolate, tottering ruins ; their 
 yellow and discolored barrens ; their arid and 
 monotonous plains.” Today the pictures of Lucas 
 are selling upon their own merits. ‘'The merchants 
 and the antiquity dealers,” states Lafond, “who dis- 
 dained the productions of Lucas during his life, 
 search for them now, too often, it is true, to sell 
 them under the name of Goya. But in the Penin- 
 sula the works of Lucas have no longer need of this 
 false passport and circulate under their true name. 
 The wisest collectors have no fear of making a 
 ])lace for them in their collections. If Eugenio 
 Lucas were not an artist of first rank, if he 
 lacked an elevated enough mentality, a sufficiently 
 personal sentiment to illumine the firmament of art 
 with a new light, if he is nothing more than the 
 attenuated echo of the great masters who had pre- 
 ceded him, of Velazquez, and above all of Goya, he 
 remains, nevertheless, an original artistic character, 
 a painter in the true sense of the word, and that 
 suffices.” 
 
 [ 190 ] 
 

 
 I- 
 
 _ , m:- 
 
 ! 
 
 r - ■ ' 
 
 It ' 
 
Victims of War. 
 By Eugenio Lucas. 
 
VICTIMS OF WAR 
 
 Slightly to the left of the center of the picture, 
 the principal figure, that of a man who has been 
 shot, is bound to a tall post. He wears a white 
 shirt, blue trousers and sash, and white stockings. 
 His eyes are covered with a handkerchief. At his 
 feet to the right crouches a woman dressed in red 
 and green ; behind is a figure in white, the hands 
 clasped before the face, as though in terror. To the 
 right and left are bodies of dead men, secured to 
 posts in the same manner as the central figure. The 
 scene takes place at night. The sky is obscure ; 
 against it rises the smoke of bonfires. The fore- 
 ground, littered with the debris of war, is of a rich 
 brown color. Unsigned. On canvas — 0.70x0.54. 
 
 [ 193 ] 
 
A Carnival Scene 
 By Eugenio Lucas. 
 
A CARNIVAL SCENE 
 
 A group composed chiefly of men and boys is 
 shown out of doors at night, playing musical instru- 
 ments and singing. The figures are three-quarter 
 length and revealed against an obscure night sky. 
 The interest is centered on two men, who are placed 
 slightly to the left of the picture. They are playing 
 guitars. One is dressed in a white shirt with a blue 
 sash and blue trousers, and has a red handkerchief 
 bound about his head. The other wears a capa of 
 l^lue and yelloAv with a large black hat. In the fore- 
 ground to the right are two boys, one playing a 
 triangle and the other a tambourine. Their clothes 
 reflect the blue and yellow note of the central figures. 
 At the extreme left, in the foreground, a man's figure 
 in deep obscurity serves to accentuate the light which 
 pours in on the principal actors in the scene. In the 
 background is a group of men and women singing; 
 two of them carry wine glasses. Signed l)elow to 
 the left: E. Lucas. On metal — 0.30x0.41. 
 
 [ 195 ] 
 
BIBLIOGRAPHY OF FRANCISCO GOYA 
 
X 
 
BIBLIOGRAPHY OF FRANCISCO GOYA 
 
 Achiardi, Pierre d\ Les dessins de D. Francisco 
 Goya y Liicientes au Musee dii Prado a Madrid. 
 Rome, 1908. 
 
 Alexandre, Arsene. Ecole Espagnole. (In his 
 Ecole Allemande, Espagnole et Anglaise. Paris, 
 1895. Pp. 270-278. Histoire populaire de la 
 peinture. Vol. IV.) 
 
 Altspanische Ausstellung; Galerie Heinemann. 
 Munich, 1911. Pp. 29-50. 
 
 Amaiidry, Eeonce. The collection of Dr. Carvallo 
 at Paris: Spanish and other later pictures. (In 
 P)urlington Magazine. Decemljer, 1904. Wl. 
 VI, pp. 179-191.) 
 
 Amici s, Edmondo de. Spagna. Elorence, 1873. 
 
 Pp. 149-151. 
 
 Espaha. ^Madrid, 1877. Pp. 150-151. 
 
 Spain and the S])aniards. A^ew York 
 
 and London, 1885. Pp. 143-145. 
 
 [199] 
 
Amicis, Edmondo de. L’Espagne. Paris, 1894. 
 Pp. 123-125. 
 
 Araujo Sanchez, Zeferino. Goya. Madrid, 1895. 
 Eirst published in La Espaha Moderna. Jan- 
 uary- April, 1895. No. 73, pp. 20-45; no. 74, 
 pp. 64-90; no. 75, pp. 101-134; no. 76, pp. 
 74-114. 
 
 Avrial, Jose Maria. Informe redactado por nues- 
 tro compahero el Sr. D. Jose Maria Avrial, 
 despues de haber leido la obra de Mr. Pablo 
 Lefort, correspondiente extranjero de la Real 
 Academia, sobre Goya y sus obras grabadas y 
 litografiadas. (In Boletin de la Real Academia 
 de Bellas Artes de San Eernando. Madrid, 
 January, 1882. Aho II, no. 11, pp. 4-8.) 
 
 Balsa de la Vega, Ricardo. Exposicion de obras 
 de Goya ; Madrid. ( In La Ilustracion Espa- 
 hola y Americana. 1900. Vol. XLIV, no. 43, 
 p. 299.) 
 
 Barcia, Angel M. de. Catalogo de la coleccion de 
 dibujos originales de la Biblioteca Nacional. 
 Madrid, 1906. Pp. 200-207. 
 
 Catalogo de la coleccion de pinturas 
 
 del Excmo. Sr. Duque de Berwick y de Alba. 
 Madrid, 1911. 
 
 [ 200 ] 
 
Barcia, Angel M. cle. Catalogo de los retratos de 
 persona jes Espanoles qiie se conservan en la 
 seccion de estampas y de bellas artes de la Bibli- 
 oteca Nacional. Madrid, 1901. Pp. 371-373. 
 
 Goya en la seccion de estampas de la 
 
 Biblioteca Xacional. {fji La Revista de Archi- 
 vos, Bibliotecas y Mnseos. 1900. Vol. IV, no. 
 4, pp. 195-200. ) 
 
 Baudelaire, Charles. (Eiivres posthnines et corre- 
 spondances inedits. Paris, 1887. 19 204. 
 
 Qnelques caricatnristes ctrangers ; Goya. 
 
 (In his Cnriosites esthctiques. Paris, 1880. 
 Pp. 426-430. ) 
 
 Eirst published in Le Present, 1857. P. 188. 
 
 Bensusan, Samuel Levy. A note upon the paint- 
 ings of Erancisco Jose Goya. (In The Inter- 
 national Studio. 1901. Vol. XV, pp. 155-161. ) 
 
 Goya, his times and portraits. (In 
 
 4'he Connoisseur. 1902. Vol. II, pp. 22-37 : 
 vol. IV, pp. 115-123.) 
 
 Beraldi, Henri. Les gravenrs dn XIXe siecle. 
 Paris, 1888. Pp. 188-200. 
 
 [ 201 ] 
 
 14 
 
Bernath, Morton H. Die spanische Kimst. {In 
 New York und Boston. Leipzig, 1912. Pp. 
 113-118.) 
 
 Bertels, Knrt. Goya. Mnnieh, 1907. (Klassische 
 Illnstratoren. No. 1.) 
 
 Bernete y Moret, Anreliano de. Deiix portraits 
 inedits de Goya. {In Les Arts. April, 1913. 
 No. 136, pp. 1-4.) 
 
 Line Saminlnng von Tdandzeichnnngen 
 
 des Francisco Goya. {In Zeitschrift fiir bild- 
 ende Knnst, 1907. Nene Folge. Jahrg. XVIII, 
 pp. 165-171.) 
 
 Exposicion de o1)ras de los pintores 
 
 Espanoles en el Guildhall de Londres. {In La 
 Lectnra. October, 1901. Aho I, no. 10, pp. 
 609-617.) 
 
 The school of Madrid. London, 1909. 
 
 P. 286. 
 
 Boehm, Max von. Francisco de Goya. {In Die 
 Knnst fhr Alle. 1907. Jahrg. XXIII, pp. 121- 
 135.) 
 
 [ 202 ] 
 
Bremon, Jose Fernandez. La casa qne habito Goya. 
 In La Illustracion Espaiiola y Americana. 
 July 15, 1909. Ano LIII, no. 26.) 
 
 Brieger-WAsservogel, Lothar. Francisco de Goya. 
 Olit 1 Gravnre, 52 original Reprodnktionen nnd 
 19 text lllnstrationen nach seltenen Radierungen 
 nnd Handzeichnungen. Berlin, 1911. (Beck- 
 mann's Knnstbucher. ) 
 
 Brinton, Christian. Goya and certain Goyas in 
 America. ( In Art in America. Xew York, 
 1915. Vol. Ill, no. 5, pp. 85-lOB.) 
 
 Ignacio Znloaga. (In Catalogue of 
 
 paintings l)y Ignacio Znloaga exhibited by The 
 Hispanic Society of America, March 20 to 
 April 11, 1909. \Yw York, 1909. Pp. 20, 23, 
 31, 50, 86, 98, 102, 106, 110.) 
 
 Olodern artists. X^ew York, 1908. Pp. 
 
 165, 246, 251-252, 255-256, 260. 
 
 Brunet, Gustave. Etude snr Francisco Goya, sa 
 vie et ses travanx. Bordeaux and Paris, 1865. 
 
 Francisco Goya y Lncientes. (In XYn- 
 
 velle biographic general. Paris, 1857. Vol. 
 XXI, colnmns 514-518.) 
 
 [203] 
 
Brunet, Gustave. L’CEuvre de Francisco Goya. 
 (In Revue Universelle des Arts. 1858. Vol. 
 VIII, pp. 450-453.) 
 
 Bull Fight by Francisco Goya, The. No place, no 
 date. 
 
 Gaffin, Gharles Henry. The Bourbon dynasty; 
 Francisco Goya. (In Old Spanish masters en- 
 graved by Timothy Cole. New York, 1907. 
 Pp. 161-172.) 
 
 An extraordinary show of FI Grecos 
 
 and Goyas. (In New York American. Janu- 
 ary 18, 1915. No. 11,506.) 
 
 Francisco Goya y Lucientes. (In The 
 
 Print Collector's Quarterly. April, 1911. Vol. 
 I, no. 2, pp. 190-236.) 
 
 Reprinted under the title Goya in Prints and 
 their Makers, edited by Fitzroy Carrington. 
 New York, 1912. 
 
 Goya. (In his The story of Spanish 
 
 painting. New York, 1910. Pp. 171-190.) 
 
 Calvert, Albert F. Goya, an account of his life 
 and works, with 612 reproductions from his 
 pictures, etchings and lithographs. London, 
 1908. (The Spanish series.) 
 
 [204] 
 
Caprichos de Goya. Madrid, 1909. (Los grandes 
 maestros de la pintiira cn Espana. No. 1.) 
 
 Sixty reproductions of original nnpiildished 
 drawings. 
 
 Carderera y Solano, Valentin. Catalogo y descrip- 
 cion snmaria de retratos antignos de personajes 
 ilnstres espanolcs y extranjeros de aml)os sexos. 
 iMadrid, 1877. Pp. 103-106. 
 
 Goya. ( //^ El Artista. 1835. Vol. II, 
 
 pp. 253-255.) 
 
 Carderera, Valentin and P)iirty, Philippe. Eran- 
 cisco Goya, sa vie, ses dessins, et ses eaiix-fortes. 
 [In Gazette des Beaux- Arts. August, 15, 
 
 1860; September 1, 1863. Vol. VII, no. 4, 
 pp. 215-227: vol. XV, no. 3, pp. 237-249.) 
 
 Cary, Elizal)eth Luther. A remarkable collection 
 of masterpieces l)y El Greco and Goya on view 
 for the heneht of war relief societies. ( //i New 
 York Times. January 13 and 17, 1915. Vol. 
 LNIV, nos. 20,808, 20,812.) 
 
 Castelar, Emilio. Ln viaje a Paris durante el 
 establecimiento de la Repiiblica. iMadrid, 1878. 
 Chap. NX. 
 
 Catalogo de la Exposicion Nacional de Retratos. 
 Madrid, 1902. 
 
 [ 205 ] 
 
Catalogo de las obras de Goya expiiestas en el Min- 
 isterio de Instruccion Piiblica y Bellas Artes, 
 Mayo, 1900. Madrid, 1900. 
 
 Catalogo de los cuadros . . . de la coleccion de la 
 antigiia casa Ducal de Osuna. Madrid, 1896. 
 
 Catalogo de los cuadros, estatuas y bustos que 
 existen en la y\cademia Nacional de San Fer- 
 nando en este ano de 1821, con expresion de 
 las salas en que estan colocados, numeros que 
 los distinguen, asuntos que representan y au- 
 tores que los ban egecutado. Madrid, 1821. 
 
 Caveda y Nava, Jose. Memorias para la historia 
 de la Real Academia de San Fernando y de 
 Bellas Artes en Espana, desde el advenimiento 
 al trono de Felipe V, hasta nuestros dias. 
 Madrid, 1867. Vol. I, pp. 207-221. 
 
 Clement de Ris, Athanase Louis Torterat, comte. 
 Le Musee Royal de Madrid. Paris, 1859. 
 Pp. 30-32. 
 
 Cole, Timothy. The Bourbon dynasty; notes by 
 the engraver. {In Old Spanish masters en- 
 graved by Timothy Cole. New York, 1907. 
 Pp. 172-175.) 
 
 With engravings on wood after Goya’s The 
 washerwoman; In the balcony: Portrait of 
 Doha Isabel Corbo de Porcel. 
 
 [206] 
 
Cortissoz, Royal. El Greco and Goya. {In his 
 Art and common sense. Xew York, 1913. Pp. 
 300-304.j 
 
 Two old masters of Spanish art : YYrks 
 
 by El Greco and Goya shown for the benefit of 
 war funds. {In Xew York Tribune. January 
 13 and 17, 1915. Xos. 24,895, 24,899. ) 
 
 Cossio, hlanuel Bartoleme. El Greco, hladrid, 
 1908. Pp. 228, 244, 245, 320, 381. 
 
 Courboin, Francois. L’Eau-Forte. {Iji Art et 
 Decoration. April, 1906. Vol. XX, no. 4, pp. 
 142-143.1 
 
 Gourteault, Paul. Un portrait Bordelais de Goya. 
 {In La Revue Pbilomatbique de Bordeaux et 
 du Sud-Ouest. Bordeaux, 1909. Annee 12, 
 pp. 49-51.) 
 
 Craigie, Pearl Olary Teresa. (John Oliver Hobbes, 
 pseud.) The art of portraiture: Dante and 
 
 Goya. (7/z The Academy. London, April 23, 
 1904. \ ol. LX\ I, pp. 457-459.) 
 
 Cruzada \bllaamil, Gorgio. La casa del sordo. 
 {In El Arte en Espana. Oladrid, 1868. \Y1. 
 
 VII, p. 265.) 
 
 Los tapices de Goya. Oladrid, 1870. 
 [207] 
 
Dessiiis inedites de Goya. {In Revue Hispanique, 
 1906, 1913. Plates 1-20, vol. XV, no. 48; 
 plates 21-30, vol. XXIX, no. 75; plates 31-40. 
 vol. XXIX, no. 76.) 
 
 Dieiilafoy, Jane Paul Rachel Mayre. Aragon et 
 Valence. Paris, 1901. Pp. 385, 456. 
 
 Dieulafoy, Marcel. Art in Spain and Portugal. 
 Xew York, 1913. Pp. 284-288. 
 
 Distriljucion de los premios hecha por el Real Aca- 
 demia de S. Fernando el 27 de Marzo, 1832. 
 Madrid, 1832. P. 92. 
 
 Dodgson, Campltell. Bemerkungen zu den Radier- 
 ungen und Lithographien Goyas im Britisclien 
 Museum. ( In Beilage der graphischen Kiinste. 
 Vienna, 1907. Xo. 1, pp. 59-61.) 
 
 Eau-Forte inconnue de Goya, Une. {In La Revue 
 de TArt Ancien et Moderne. Deceml^er, 1901. 
 Vol. X, no. 57, p. 378.) 
 
 I'errer del Rio, :\ntonio. Francisco de Goya y 
 Lucientes; nuevos y preciosos datos para su 
 vida. Xo place, no date. 
 
 Extract, 24 pp. 
 
 hdat, Paul. Goya ; portraitiste et peintre des 
 frescpies. {In I’Artiste. Paris, 1892. Nou- 
 velle periode. Annee 62, vol. Ill, pp. 161-171.) 
 
 [208] 
 
Flitch, John Ernest Crawford. A little journey in 
 Spain; notes of a (loya pilgrimage. London, 
 1914. 
 
 Ford, Richard. A handliook for travellers in 
 Spain. London, 1855. Pp. 182, 686. 
 
 Galvan y Candela, Jose Maria. Frescos de Goya en 
 la iglesia de San Antonio de la Florida : gralja- 
 dos al agna fnerte por D. Jose i\I. Galvan y 
 Candela . . . texto por D. Juan de Dios de la 
 Rada y Delgado, precedido del in forme . . . por 
 el Excmo. Sr. D. Pedro de Madrazo . . . Mad- 
 rid, 1897. 
 
 Gautier, Theophile. Francisco Go)^a y Lucientes. 
 [In Le Cabinet de I’Amateur et de I'Antiquaire. 
 Paris, 1842. Vol. I, pp. 337-345.) 
 
 AMyage en Espagne. Paris, 1845. Pp. 
 
 127-137. 
 
 Geffroy, Gustave. Goya. ( In Jus Aladrid. No 
 place, no date. Pp. 89-104. Les musees (hEu- 
 rope.) 
 
 Gonse, Louis. Goya, par Lefort. (In La Chron- 
 ic|ue des Arts et de la Curiosite. July 14, 1877. 
 No. 25, pp. 242-243.) 
 
 [209] 
 
Gonse, Louis. Les chefs-d’oeuvre des musees de 
 France. {In his La Peinture. Paris, 1900. 
 Pp. 99-100.) 
 
 Gonzales Marti, Manuel. Goya y Valencia. {In 
 Forma. Barcelona, 1908. Vol. Ill, no. 25, pp. 
 3-31.) 
 
 Goya y Valencia. {In Museum. 1913. 
 
 Vol. HI, no. 12, pp. 429-450.) 
 
 Goya. Paris, no date. (Les peintres illustres. 
 No. 44.) 
 
 Published under the direction of M. Henry 
 Roujon. 
 
 Goya, Francisco. {In Vluseum. 1913. Vol. HI, 
 no. 5, pp. 159-192.) 
 
 A Goya number with thirty-four reproduc- 
 tions of Goya paintings. 
 
 Goya en la Exposicion Retrospectiva de Zaragoza. 
 {hi Exposicion Retrospectiva de Arte. Zara- 
 goza, 1908. Pp. 101-115.) 
 
 Goya y Lucientes, Francisco. (In Dictionnaire des 
 ventes d’art faites en France et a I’Hranger 
 pendant les XVIP^^e & NlX^ie siecles. Paris, 
 1911. Vol. HI, pp. 338-341.) 
 
 [ 210 ] 
 
Goya y Lucientes, Francisco Jose de. {In Masters 
 in Art. November, 1906. Vol. VII, pt. 83.) 
 
 Goya; viaje artistico. ( /n Espana Ilnstrada. Zar- 
 agoza, 1894. Vol. II, p. 285.) 
 
 Granados, Enrique. Goyesca : Literas y calesas 6 
 los majos enamorados. 
 
 This is the original manuscript score of the 
 opera, Goyescas, presented to The Hispanic 
 Society of America by the composer on Janu- 
 ary 29, 1916. 
 
 Goyescas: Primera parte de los majos 
 
 enamorados. Los reqnieljros. Coloqnio en la 
 reja. El fandango de candil. One j as 6 la 
 maja y el rnsinor. Edicion facsimil de la pri- 
 mera parte de Goyescas (Los majos enamo- 
 rados) hecho en Barcelona el aho de 1911. 
 
 With a facsimile of Plate 5 of Caprichos. 
 
 El Greco and Goya ; Catalogue of a loan exhibition 
 of paintings l)y El Greco and Goya for the 
 lienefit of the American war relief fund and the 
 Belgian relief fund on exhibition at the gal- 
 leries of M. Knoeder & Co. New York, 1915. 
 
 Hamerton, Philip Gilliert. Goya. {In The Port- 
 folio. London, 1879. Pp. 67-73, 83-86, 99- 
 
Hartley, C. Gasquoine. (Mrs. Walter Gallichan.) 
 Goya. {In The Art Journal. July, 1903. Pp. 
 207-211.) 
 
 The brief revival of art under Fran- 
 cisco Goya y Lucientes, the genius of satire. {In 
 her A record of Spanish painting. New York, 
 1904. Pp. 274-298.) 
 
 Head, Sir Edmund. IVIodern Spanish masters. {In 
 his A hand-book of the history of the Spanish 
 and French schools of painting. London, 1848. 
 Pp. 217-218.) 
 
 Hein, Marguerite. A hecole de Goya. Paris, 1909. 
 
 Hind, Arthur M., editor. Francisco Goya. Lon- 
 don, 1911. (Great engravers.) 
 
 Hofmann, Julius. Francisco de Goya; Katalog 
 seines graphischen \Verkes. Vienna, 1907. 
 
 Huneker, James Gibbons. Goya. {In his Prome- 
 nades of an impressionist. New York, 1910. 
 Pp. 110-123, 359-360.) 
 
 1 lunter, George Leland. Spanish looms. {In his 
 Tapestries, their origin, history and renaissance. 
 New York, 1913. Pp. 227-228.) 
 
 [ 212 ] 
 
Hiiysmans, Joris Karl. Goya et Turner. {In his 
 Certains.^ Paris, 1889. Pp. 199-202.) 
 
 Imbert, P. L. Autour de Oladrid : la quinta de 
 Goya. {In his L'Espague ; splendeurs et mis- 
 eres. Paris, 1875. Pp. 325, 331, 203-204.) 
 
 The Individualism of Goya; eg'otisin and art. {In 
 Arts and Decoration. Xew York, 1915. Vol. 
 V, p. 91.) 
 
 Ivins, Ydlliam M., jr. A note on Goya. {In Prints 
 and their makers ; edited by Fitzroy Carring- 
 ton. XTw York, 1912. Pp. 164-165.) 
 
 Jacquemont, S. Les maitres Espagnols et kart 
 naturaliste. ( In Revue des Deux-klonds. Sep- 
 tember 15, 1888. TroisiGne pGdode. Vol. 
 LXXXIX, pp. 378-413. ) 
 
 Jovellanos, Caspar Olelchor de. Obras del excelen- 
 tisimo Sehor D. Caspar Olelchor de Jovellanos. 
 Barcelona, 1840. Vol. V, pp. 242-246. 
 
 Justi, Carl. Diego Velazquez and his times. Eon- 
 don, 1889. Pp. 72, 90, 143, 217, 313, 422, 440, 
 448. 
 
 Keppel & Co., Frederick. Catalogue of au exhi- 
 bition of the Caprices and the Proverbs etched 
 by Goya. Xew York, 1911. 
 
 [213] 
 
Konody, P. G. Goya, the artist and the man. {In 
 The Idler. London, 1899. Vol. XV, pp. 746- 
 762.) 
 
 Laban, Ferdinand. Die Farbenskizze zn einem 
 reprasentations-geinalde Goyas. {In Jahrbuch 
 der koniglich prenszischen Knnstsammlungen. 
 Berlin, 1900. Band XXI, pp. 177-185.) 
 
 Lacroix, Paul and Thore L, editors. Francisco 
 Goya. {In Bulletin de rAlliance des Arts. 
 Paris, 1842. Vol. I, pp. 94-96.) 
 
 Lafond, Paul. Goya. Paris, 1902. ( Les artistes 
 
 de tons les temps. Serie C. Les temps mo- 
 dernes. ) 
 
 First published in Revue de TArt Ancien et 
 Moderne. 1899-1901. Vol. V, pp. 133-144, 
 491-502: vol. VI, pp. 45-56, 461-474; vol. VII, 
 pp. 45-53; vol. IX, pp. 20-35, 210-225. 
 
 Les dernieres annees de Goya en France. 
 
 {In Gazette des Beaux-Arts. 1907. Troisieme 
 periode. Vol. XXXVII, pp. 141-151, 241-257.) 
 
 ■ Trois tableaux de Goya au Musee de 
 
 Castres. {In Chronique des Arts et de la Curi- 
 osite. March, 1896. No. 11, pp. 99-100; no. 
 12, pp. 107-108.) 
 
 [ 214 ] 
 
Leclerc, Tristan. Les Caprices de Goya. Paris, 
 1910. 
 
 Lefort, Paul. Francisco (ioya: etnde Ijiographicjne 
 et critique, snivi de Tessai ddm catalogue rai- 
 sonne de son oeuvre grave et lithographc\ Paris, 
 1877. 
 
 First published in Gazette des Beaux- Arts. 
 hTbrnary-April, 1867; Fel)rnary-April, 1868; 
 August, 1868. Premiere periode. Yol. XXII, 
 pp. 191-205, 382-395; vol. XXIV, pp. 169-186, 
 385-399; vol. XXV, pp. 165-180. 
 
 Francisco Goya. ( In Gazette des 
 
 Beanx-Arts. Deceml)er, 1875; February and 
 Deceinl)er, 1876. Denxieme periode. Vol. XII, 
 pp. 506-514; vol. XIII, pp. 336-344; vol. XIV, 
 pp. 500-510. ) 
 
 Francisco Jose Goya y Lucientes. {In 
 
 Histoire des peintres ; edited by Charles Blanc. 
 Paris, 1869. Pp. 1-12.) 
 
 La peintiire Espagnole. Paris, 1893. 
 
 P. 257. 
 
 Ecole Espagnole ; collection Pacnlly. 
 
 Paris, 1875-1876. 
 
 [ 215 ] 
 
Lefort, Paul. Dona Isabel Corbo de Porcel. {In 
 Gazette des Beaux- Arts. January, 1897. Vol. 
 XVII, p. 67.) 
 
 Lehrs, Max. Ein Steindruck Goyas. {In Jahrbuch 
 der koniglich preuszischen Kunstsammlungen. 
 Berlin, 1907. Band XXVIII, p. 50.) 
 
 Ein geschabtes Aqnatintablatt von Goya. 
 
 [In Jahrbuch der koniglich preuszischen Knnst- 
 sammlnngen. Berlin, 1906. Band XVII, pp. 
 141-142.) 
 
 Lira, Pedro. Erancisco Goya. {In his Diccionario 
 biografico de piiitores. Santiago de Ghile, 1902. 
 Pp. 168-171.) 
 
 Loga, Valerian von. Erancisco de Goya. Berlin, 
 1903. 
 
 Afterward published in La Espaha Moderna, 
 Jnne-November, 1909. No. 246, pp. 74-101 ; 
 no. 247, pp. 15-39 : no. 248, pp. 5-31; no. 249, 
 pp. 80-106; no. 250, pp. 35-53; no. 251, pp. 
 73-99. 
 
 — — Erancisco de Goya. Leipzig, no date. 
 
 (Meister der Graphik. Band IV.) 
 
 Goya’s seltene Radiernngen nnd Litho- 
 
 graphien. Berlin, 1907. 
 
 [ 216 ] 
 
Loga, Valerian von. Goya's Zeichnungen. {In 
 Die Graphischen Kiinste. 1908. Jahrg. XXXI, 
 
 pp. 1-18.) 
 
 Los cnadros de The Hispanic Society 
 
 of America. {In Mnsenin. 1913. Vol. Ill, 
 no. 4, pp. 119-135.) 
 
 Lopez Baga, Eduardo. L^na visita al Real IMiiseo. 
 {In Revista Contemporanea. October 15, 1878. 
 AVI. XVII, no. 69, pp. 287-288.) 
 
 Low, Will H. A century of painting; Goya and 
 his career. {In AIcChire's Alagazine. March, 
 1896. AVI. VI, no. 4, pp. 337-340.) 
 
 Lhcke, H. Francisco Goya. {In Zeitschrift fur 
 bildende Kimst. 1875. Band X, pp. 193-199.) 
 
 Francisco Goya. {In Kiinst und Kiiiist- 
 
 ler. Leipzig, 1880. P. 29. ) 
 
 Liigar de Goya en la pintura; por AL Utrillo. {In 
 La Lectnra. February, 1905. Aho V, no. 50, 
 
 pp. 200-202.) 
 
 A review of an article l)y AL Lhrillo in 
 Forma, 1904. A^ol. I, pp. 259-279. 
 
 [217] 
 
M., Ad. Une annee en Espa^^^iie par iin jeiine Ame- 
 ricain. (In Revue Encyclopedique. Vol. L, pp. 
 328-33 L) 
 
 A review of year in Spain l)y a young 
 American, by Alexander Slidell. 
 
 MacColl, Dugald Sutherland. Erancisco Jose de 
 Goya y Lucientes. {In his Nineteenth century 
 art. London, 1913. Pp. 43-45.) 
 
 Madrazo, Pedro de. Catalogo de los cuadros del 
 Museo Nacional de Pintura y Escultura. Mad- 
 rid, 1903. Pp. 111-118.) 
 
 Goya. (In Almanaque de la Ilustracion 
 
 Espahola y Americana. 1880.) 
 
 Viaje artistico de tres siglos por las 
 
 colecciones de cuadros de los reyes de Espaha. 
 Barcelona, 1844. P. 301. 
 
 Mantz, Paul. Archives de Tart Erancais. Paris, 
 1842. 
 
 Erancisco Goya. {In Dictionnaire de 
 
 la conversation et de la lecture. Paris, 1855. 
 Vol. X, pp. 414-415. ) 
 
 Alarti y Monso, Jose. Estudios historico-artisticos 
 relativos principalmente a Valladolid. Madrid, 
 no date. Pp. 473-474. 
 
 [218] 
 
Martinez, Jose. Diseiirsos practicables del nobil- 
 isimo arte de la pintura. Madrid, 1866. Ap- 
 pendix no. Ill, pp. 209-213. 
 
 iMartinez, Vagiies, F. Vn hallazgo artistico ; cinco 
 pasteles de Goya. ( In La Ilnstracion Espanola 
 y Americana. Madrid, September 22, 1915. 
 Vol. LIX, no. 35.) 
 
 Masterpieces of Goya. London, 1910. Gowan’s 
 Art Books. N^o. 26. 
 
 Mather, Frank Jewett, /r. Goya and his art. {In 
 The XAtion. N^ew York, 1914. Vol. XCIX, 
 pp. 447, 479-481.) 
 
 Goya and Los Desastres de la Gnerra. 
 
 {In The Print Collector’s Quarterly. April, 
 1915. Vol. V, no. 2, pp. 17L190.) 
 
 Olatheron, Lanrent. Goya. Paris, 1858. 
 
 Goya; Traduccion de G. Belmonte 
 
 Midler. Madrid, 1890. (Biblioteca Universal ; 
 Coleccion de los me j ores antores antignos y 
 modernos nacionales y extranjeros. Tomo 
 CXXVI.) 
 
 Idle appendix contains articles by Valetin 
 Carderera, Jose Caveda and Pedro de Madrazo, 
 and poems addressed to Goya by Leandro Fer- 
 nandez de Oloratin and Mannel Jose Qnintana. 
 
 [219] 
 
Mayer, August L. Bildnisse aus dem Kreis des 
 j ungen Goya. {In Monatshefte fur Kunstwis- 
 senschaft. Leipzig, 1914. Jahrg. VII, pp. 385- 
 389.) 
 
 Los cuadros del Greco y de Goya de la 
 
 coleccion Nemes en Budapest. (In Museum. 
 1911. Vol. I, no. 12, pp. 459-468.) 
 
 ■ Die Gemaldesammlung des Bowes- 
 
 Museums zu Barnard Castle. (In Zeitschrift 
 fiir bildende Kunst. 1912. Neue Folge. Jahrg. 
 XLVII, pp. 99-104.) 
 
 Pinocoteca de Munich ; los cuadros 
 
 Espaholes recientemente adquiridos. {In Mu- 
 seum. 1912. Vol. II, no. 8, pp. 294-301.) 
 
 Meier-Graefe, Julius. Der Beitrag Spaniens and 
 Die erschiessung Maximilians. {In his Edouard 
 Manet. Munich, 1912. Pp. 49-85, 182-193.) 
 
 Spanische Reise. Berlin, 1900. P. 75. 
 
 Mel i da, Enrique. Los desastres de la guerra. {In 
 El arte en Espafia. Madrid, 1863. Vol. II, p. 
 266.) 
 
 Mesonero Romanos, Manuel. Goya. {In his Goya, 
 Moratin, Melendez Valdes, y Donoso Cortes. 
 Madrid, 1900. Pp. 43-62.) 
 
 [ 220 ] 
 
Mesonero Romanos, Manuel. Las sepulturas de 
 los homl^res ilnstres en los cementerios de 
 Madrid. Madrid, 1898. Pp. 94-99. 
 
 Mommeja, J. Un tableau de Go)^a du Musee de 
 Lille. {In Gazette des Beaux-Arts. 1905. Troi- 
 siGne periode. Vol. XXXIV, pp. 39-42.) 
 
 With an etching by A. Majeur. 
 
 iMoratin, Leandro Fernandez de. Silva a D. Fran- 
 cisco Goya, insigne pintor. {In his Obras de D. 
 Leandro Fernandez de Moratin. Madrid, 1831. 
 Vol. VI, pp. 326-327.) 
 
 iMoreno, Silverio. Goya. (In La Revista Con- 
 temporanea. Madrid, 1900. Vol. CXVIII, pp. 
 53-64, 163-176.) 
 
 Muther, Richard. Francisco de Goya. London, 
 1905. 
 
 ■ Goya. Berlin, 1906. 
 
 Geschichte der Malerei im 18. und 19. 
 
 Jahrhundert. Alunich, 1893. Vol. Ill, pp. 135- 
 146. 
 
 The history of modern painting. Lon- 
 don, 1895. \T4. I, pp. 66-78. 
 
 [ 221 ] 
 
Muther, Richard. The history of painting: From 
 the fourth to the early nineteenth century. New 
 York and London, 1907. Vol. II, pp. 758-760. 
 
 Studien und Kritiken. Vienna, 1900. 
 
 P. 365. 
 
 Nait, Antoine de. Les eaux-fortes de Goya. Los 
 caprichos gravures fac-simile de Segui y Riera. 
 Paris, 1888. 
 
 Notice des tableaux esposes jusqu’a present dans 
 le Musee Royal de Peinture an Prado. Madrid, 
 1823. Pp. 25-26. 
 
 Oertel, Richard. Francisco de Goya. Leipzig, 
 
 1907. (Kunstler-Monographien. No. 89.) 
 
 • Goya. {In Velhagen & Klasings 
 
 Monatshefte. 1904-1905. Jahrg. XIX, pp. 
 
 642-666.) 
 
 Ossorio y Bernard, Manuel. Galeria biografica de 
 artistas Espaholes del siglo XIX. Madrid, 1868. 
 Vol. I, p. 311. 
 
 Pardo Bazan, Emilia, condcsa dc. Goya. {In La 
 Lectura. 1906. Aho VI, no. 67, pp. 233-252.) 
 [ 222 ] 
 
Peintres Espagnols ; Francisco Goya y Lucientes. 
 i\Iagasin Pittoresque. Paris, 1834. Pp. 
 324-325.) 
 
 PGie dll Bois, Guy. Greco, Goya and Velazquez, 
 the three pillars of Spanish art. {In Arts and 
 Decoration. New York, 1915. Vol. Y, pp. 
 181-184.) 
 
 Perez de Guzman y Gallo, Juan. Las pinturas del 
 palacio ducal de Berwick y de Alba. {In La 
 Espaha Aloderna. 1912. No. 281, pp. 6, 12, 
 
 17 -) 
 
 A review of Catalogo de la coleccion de pin- 
 turas del Excmo. Sr. Duque de Berwick y de 
 All)a, by Angel M. de Barcia. IMadrid, 1911. 
 
 Petit, Fernand. Goya. [ In his Notes snr I’Espagne 
 artistiqne. Lyon, 1878. Pp. 62-63.) 
 
 Pictures acquired by Mr. Archer \l. Huntington. 
 
 ( //z Burlington ^Magazine. January, 1908. \^ol. 
 NIL pp. 232-233.)^ 
 
 Plot, EngGie. Catalogue raisonne de I’oenvre grave 
 de Goya. ( In Le Cal)inet de I’Amateur et de 
 IWntiquaire. Paris, 1842. Yo\. I, p. 346.) 
 
 Portrait of Don Juan Jose Perez jMora lyv Fran- 
 cisco de Goya. (In ^Dsthetics. Olnskegon, 
 Michigan, 1913. VMl. I, pp. 54-57.) 
 
 [223] 
 
Portrait of a Lady; Goya y Lucientes. {In The 
 art treasures of Great Britain; edited by C. 
 PL Collins Baker. London and Toronto. 
 No date. Pt. 4.) 
 
 Quintana, Manuel Jose. A mi amigo D. Francisco 
 Goya enviadole el libro de mis poesias. {In 
 Vihaza, Cipriano Munoz y Manzano, conde de. 
 Goya, su tiempo, su vida, sus obras. Madrid, 
 1887. Pp. 54-56.) 
 
 This poem was first published in a literary 
 supplement of El Dia issued in Madrid about 
 1880. It does not appear in collections of Quin- 
 tana’s works. 
 
 Rada y Delgado, Juan de Dios de la. Frescos de 
 Goya en la iglesia de San Antonio de la Florida : 
 Grabados al agua fuerte por D. Jose M. Galvan 
 y Candela . . . texto por D. Juan de Dios de 
 la Rada y Delgado, precedido del in forme . . . 
 por el Excmo. Sr. D. Pedro de Madrazo. Mad- 
 rid, 1897. 16 pp., 16 pi. 
 
 Ramon Melida, Jose. El arte de Goya. {In La 
 Ilustracion Espanola y Americana. Madrid, 
 November, 1900. No. 44, p 295.) 
 
 \Jn Morales y un Goya existentes en 
 
 la catedral de Madrid. ( In Boletin de la Soci- 
 edad Espanola de Excursiones. 1909. Vol. 
 XVII, pp. 1-8.) 
 
 [ 224 ] 
 
Reinach, Salomen. Apollo. New York, 1908. Pp. 
 255-257, 313. 
 
 Retratos de mujeres por Goya. Madrid, 1909. 
 ( Los grandes maestros de la pintura en Espafia. 
 No. II.) 
 
 Ricketts, Charles. The Spanish school and the art 
 of Goya. {In his The art of the Prado. Bos- 
 ton, 1907. Pp. 127-143.) 
 
 Rios, R. de los. L’exposition des cenvres de Goya 
 a Madrid. ( In La Chroniqne des Arts et de la 
 Cnriosite. Paris, August, 1900. No. 28, pp. 
 286-288.) 
 
 Rothenstein, William. Goya. London, 1900. {In 
 The Artist’s Library. No. 4.) 
 
 Sanchez de Neira, J. Dos Aragoneses. {In La 
 Lidia. Madrid,' April 1, 1894. Aho NIII, 
 no. 2.) 
 
 Schnette, ^1. Vier lithographische Einselldatter 
 von Goya. {In Jahrbnch der kOniglich prensz- 
 ischen Kimstsammlnngen. Berlin, 1905. Band 
 NNVI, p. 136.) 
 
 Schnlze-Berge, A. Einiges hl)er die Goya-ansstell- 
 nng. Aladrid, Alay, 1900. {In Zeitschrift fhr 
 l)ildende Ennst. 1900. Band NVll, pp. 229- 
 234. J 
 
 [ 225 ] 
 
Sentenach y Cabanas, Narciso. Catalogo de los 
 cuadros, escultiiras, grabados, de la antiqua casa 
 ducal de Osuna. Madrid, 1896. 
 
 ■ Goya ; discipulos y contemporaneos de 
 
 Goya. {In his La pintura en Madrid desde sus 
 origenes hasta el siglo XIX. Madrid, 1907. 
 Pp. 203-238.) 
 
 Los grandes retratistas en Espana ; 
 
 Goya. {In Boletin de la Sociedad Espanola de 
 Excursiones. Ano XXL II trimestre, 1913. 
 Pp. 73-88. 
 
 XMtas sobre la exposicion de Goya. {In 
 
 La Espana Moderna. Madrid, June, 1900. No. 
 
 138, pp. 34-53.) 
 
 Xaievos datos sobre Goya y sus obras. 
 
 {In Historia y Arte. Vol. I, pp. 196-199.) 
 
 Singer, Hans W. Pictures by Goya at the Galerie 
 Miethke, Vienna. {In Burlington Magazine. 
 1908. Vol. XIII, no. 62, p. 99.) 
 
 Smith, Gerard W. School of Aragon. {In his 
 Painting, Spanish and Erench. London, 1884. 
 Pp. 76-77.) 
 
 L'art Espagnol. Paris, 1887. Pp. 
 
 Solvay, Lucien. 
 252-272. 
 
 [ 226 ] 
 
Solvay, Lucien. Les femmes de Goya. {In L’Art 
 et les Artistes. 1906. Vol. II, pp. 193-205.) 
 
 Spielmann, M. H. The variousness of Goya. {In 
 The Magazine of Art. Fel)rnary, March, 1902. 
 Part 256, pp. 130-135; part 257, pp. 161-164.) 
 
 Stokes, Hugh. Francisco Goya; a study of the 
 work and personality of the eighteenth century 
 Spanish painter and satirist. New York and 
 London, 1914. 
 
 Stothert, James. French and Spanish painters. 
 Philadelphia, no date. Pp. 63-65. 
 
 Stirling-Maxwell, Sir William. Annals of the 
 artists in Spain. London, 1848. Vol. Ill, pp. 
 1260-1270. 
 
 Temple, A. G. Catalogue of the exhibition of the 
 works of Spanish painters at the Guildhall, 
 London, 1901. 
 
 Torino y Monzo, Elias. Lucas, nuestro pequeho 
 Goya. I, Antes de la exposicion ; II, La dol)le 
 exposicion Lucas; III, Las de Lucas que pasan 
 por obras de Goya y de Velazquez. {In Arte 
 Espahol. 1912. Vol. I, no. 4, pp. 150-160; no. 
 5, pp. 220-245.) 
 
 [ 227 ] 
 
Tormo y Monzo, Elias. La pintura Aragonesa. 
 Cuatrocentista y la retrospectiva de la exposi- 
 cion de Zaragoza en general. {In Boletin de 
 la Sociedad Espanola de Exciirsiones. Madrid, 
 1909. Vol. XVII, pp. .282-285.) 
 
 Las pinturas de Goya con motivo de la 
 
 exposicion de sns ol^ras en Madrid. {In Re- 
 vista de la Asociacion Artistico, Arqueologico- 
 Barcelonesa. Barcelona, 1900. Vol. IV, p. 
 585.) 
 
 — Varios estiidios de artes y letras ; Las 
 
 pintnras de Goya y su clasificacion cronologica. 
 Madrid, 1902. P. 223. 
 
 Tyler, Royall. Spain ; a study of her life and arts. 
 New York, 1909. Pp. 69, 101, 219, 248, 252, 
 255, 297, 300-301, 305-306, 475, 477, 479-480, 
 515, 530. 
 
 Utrillo, VI. Liigar de Goya en la pintura. {In 
 Eorina. Barcelona, 1904. Vol. I, pp. 259-279.) 
 
 Valient, J. Erancisco Goya. {In Encyclopedie du 
 XIX siecle. Paris, 1852. Vol. XIII, p. 631.) 
 
 Viardot, Louis. Ecole de Madrid. {In his Les 
 inusees d’Espagne. Paris, 1860. P. 152.) 
 
 [228] 
 
Viardot, Louis. Estiidios so1)re la historia de las 
 institiiciones, literatura, teatro y bellas artes en 
 Espana. Obra escrita en Erance por M. Luis 
 Viardot y traducida al Castellano por D. Man- 
 uel de Cristo Varela. Logrono, 1841. P. 277. 
 
 Notices sur les principaux peintres de 
 
 I’Espagne. Paris, 1839. Pp. 305-308. 
 
 and others. The school of Castile; 
 
 Erancisco Goya y Lucientes. (In An illustrated 
 history of painters of all schools. London, 
 1877. Pp. 229-230.) 
 
 Vihaza, Cipriano Munoz y Manzano, comic dc. 
 Adiciones al diccionario historico de los mas 
 ilustres profesores de las l)ellas artes en Espagne, 
 de Don Juan Augustin Cean Bermudez. Mad- 
 rid, 1889-1894. Vol. IT, pp. 240-242. 
 
 Goya, su tiempo, su vida, sus obras. 
 
 ^ladrid, 1887. 
 
 Goya. (In Revista Contemporanea. 
 
 1882. No. 164, pp. 153-178: no. 165, ])p. 340- 
 352; no. 166, pp. 427-438. ) 
 
 W ashburn, Emelyii W. The Spanisli masters. 
 New hhjrk, 1884. IJ). 182-186. 
 
 [229] 
 
Watsin, M. and Stassow, W. Francisco Goya. 
 
 In Russian. 
 
 Williams, Leonard. The art of Joaquin Sorolla. 
 (In Catalogue of paintings by Joaquin Sorolla 
 y Bastida exhil)ited by the Hispanic Society of 
 America, February 8 to March 8, 1909. New 
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 Woltmann, Alfred Friedrich Gottfried Albert and 
 Woermann, Karl. Geschichte der Malerei. 
 Leipzig, 1888. Vol. Ill, pp. 937-941. 
 
 Woods, Margaret L. Pastels from Spain; portraits 
 by Goya. (In The Cornhill Magazine. Lon- 
 don, 1900. Vol. IX, pp. 289-304.) 
 
 Wyzewa, Teodor de. (Theodor de Wyzewski.) 
 Goya. (In his Les grandes peintres de I’Es- 
 pagne et de I’Angleterre. Paris, 1891. Pp. 
 79-87.) 
 
 Les peintres Espagnols et Itabens. (In 
 
 his La peinture etrangere. No place, no date. 
 Pp. 75-126. Les chefs d’oenvre de I’art an 
 XlXe siecle.) 
 
 Yriarte, Charles. Goya; sa biographie, les fresques, 
 les toiles, les tapisseries, les eanx-fortes, et le 
 catalogue de rcenvre. Paris, 1867. 
 
 [2301 
 
Wiarte, Charles. Guya aquafortiste. ( In L’Art. 
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 Zapater y Gomez, Franeisco. Apiintes historico- 
 biograficos acerca de la escuela Aragonesa de 
 pintiira. Madrid, 1863. 
 
 Goya ; iioticias Idograhcas. Zaragoza, 
 
 1868. 
 
 First published in La Perseverencia ; Diario 
 Catolico. Zaragoza, 1868. Vol. IV, no. 5714. 
 
 [ 231 ] 
 
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