intrusive King increased with advancing age. In the seclusion of his
house (the house in which he had entertained the noblest of the Court
circle--the Deaf Man’s House, as it came to be called by the Madrileños)
he beguiled the time by painting the walls with fantastic and gruesome
visions which gave it an awesome and startling appearance. But the
brilliant fancy had been obscured by the national vicissitudes he had
witnessed and the haunting memories of the war obsessed his imagination.
These paintings, which are now preserved in the Prado, produce a painful
impression; they would seem to be the creations of a fevered brain.
In 1817 Goya visited Seville to paint the picture of Santas Justa and
Rufina for the Cathedral, to which reference has been made. On his
return he designed a new series of Caprices, and executed many portraits
and miniatures on ivory. It was at this time, too, that he made his
first essay in lithography. The earliest of these lithographs is a fine
brush drawing of an old woman spinning. It is signed and dated February
1819. Among the drawings upon stone that were executed about this
period, the two most important are ‘Los Chiens,’ a bull attacked by
dogs, and the splendid diabolical scene of a man being dragged along by
demons. This last, which is in the Print Room of the British Museum, has
special interest, as it is the first known wash drawing made upon the
stone. M. Lefort mentions six other lithographs which were executed at
Madrid before the journey to France: a duel between two people, a young
woman reading to two children, a monk, a girl sitting on the knee of an
old woman with other women in the background, a drunkard and a woman,
and a peasant assaulting a girl.
The date of the execution of ‘Los Proverbios,’ the fourth series of
Goya’s etchings,--‘the last thunderbolt of his genius,’--is uncertain.
Probably they belong to those years when, under the weight of distress
of spirits in his lonely home on the Manzanares, he sketched the world
within him as it appeared to his gloomy imagination. The plates are
without explanatory titles, and their meaning is obscure. Mr.
Rothenstein finds in the larger size and broader execution of the plates
themselves the reason for his belief that these are the last etchings by
Goya’s hand before his failing eyesight forced him to lay aside the
needle. The plates were first printed in 1830. This edition was edited
with little care, and in 1864 a second edition was undertaken by the
Academy of San Fernando. There were eighteen of these plates, but three
more, reproduced much later in _L’Art_, may be placed among them.
There remain several important etchings; among them the three fine and
impressive plates of ‘The Prisoners’ come first in importance. In these,
as Mr. Rothenstein has said, ‘Goya’s powers as an etcher and his
sympathy for suffering are demonstrated in a striking and singularly
direct manner.’ Beneath the prints he has written in three sentences,
his last protest against injustice: ‘The safe guarding of a prisoner
does not necessitate torture’; ‘If he is guilty, why not kill him at
once?’ ‘So much barbarity in the treatment equals the crime committed.’
The first proofs of these prints Goya gave to his friend, Cean Bermudez.
The plates known as _Obras Sueltas_ were not, as far as we know, printed
in Goya’s lifetime. They show a man swinging a woman on a swing, with a
cat watching her from the bough of a tree; a bull-fighter with a bull
lying down behind him; and two representations of _majas_. They were
first etched at Bordeaux, and from the somewhat crude style of the work,
probably were the last prints executed by Goya.
Among several unconnected prints we may mention the superb engraving of
‘The Colossus,’ which seems like an etching at first glance and has
defied the attempts of experts to explain the highly complicated process
of its execution. As an illustration of Goya’s resources for producing a
marvellous impression, this piece constitutes a veritable _tour de
force_. The giant is placed in a vast landscape, and beside his uncouth
might and Herculean muscles, cities and villages seem diminutive and
insignificant atoms of the soil on which he rests. He is frightened into
wakefulness by the morning sun which touches his mighty head and
shoulders; they seem as if the summit of a mountain, while his feet are
yet in the shadow of night. A mysterious, pale, fantastic effect of
moonlight throws a peculiar atmosphere about the figure. As we have
already remarked, the process by which the effect is obtained remains
inexplicable. According to a statement made by Goya’s grandson, the
engraver employed a very soft metal plate from which only three
impressions could be taken. One of these impressions is in the National
Library of Madrid. A brilliant and rare old engraving of ‘A Blind Guitar
Player,’ a large but inferior plate of a popular scene, and three
etchings of religious subjects, complete the list of Goya’s
miscellaneous etchings.
In June 1824, at the age of seventy-six, Goya set out for France. Before
starting he painted his ‘San José de Calasanz receiving the
Sacrament’--perhaps his finest religious composition. The work was
scarcely dry when he sought and obtained the King’s permission to take
the mineral waters at Plombières in France. The remainder of his life’s
story is soon told. In Paris he made the personal acquaintance of
Vernet, and found delight in the works of Gros, of Géricault, and of
Delacroix. The last master did honour to Goya by copying every plate of
the ‘Caprichos.’ But the full life of Paris was too overwhelming for
the old painter, and having obtained in January 1825 a six months’
extension of leave from the King, he settled down in Bordeaux with his
devoted friends, Mme. Weiss and her daughter. In the little Spanish
colony on the pleasant banks of the Garonne, he had for companions
Joseph de Carnerero, the marine painter, Antonio de Brugada, the members
of the family of Goicoechea, and Pio de Molina, and Moratin, whose
portraits he painted. But these pictures do not represent his full
powers; the colours are heavy and sometimes crude; he worked with double
magnifying glasses and a stout lens. But in his engraving, and
especially in his series of lithographs, ‘Les Taureaux de Bordeaux,’
which Mr. Rothenstein describes as ‘the most remarkable compositions of
his life, certainly the greatest and most significant lithographs in the
history of the art,’ his old powers shine forth again in undimmed
brilliance.
In 1826 the feeling of home-sickness drew him back to Madrid. At Court
he was received with every mark of respect. The King granted him a
superannuation salary of 50,000 reals and permission to return to
France, ‘in order that he may again take the baths which have done him
so much good.’ His Majesty requested him to sit to Vicente López y
Portaña, in order that he might possess a picture of ‘the greatest
painter Spain has seen since Velazquez.’ López painted ‘the good old
Goya’ life-size, seated full-face, palette in the left hand, brush in
the right, and wearing an unbuttoned frockcoat. The portrait was
executed in a few hours, for at the second sitting Goya carried away the
portrait, assuring the painter that he would only spoil the likeness if
he persevered any further with ‘his niggling brush.’ It is said that he
took palette and brush and essayed a portrait of López, but his hand,
cold and trembling, refused to respond to the call made upon it, and the
attempt was a failure.
The royal pension and permission to return to France is dated July 17,
1826. Accompanied by his grandson, Mariano, he betook himself again to
Bordeaux. His declining years were cheered by the affectionate
attentions of his young compatriot, Antonio de Brugada, who attended him
in his infrequent strolls, suffered patiently his querulous moods, and
even played to him on the piano the national airs which the old man
could not hear. In one last flash of his genius Goya painted an
admirable portrait of Juan Maguiro. It was his last work, and beneath
the signature he inscribed his age--eighty-one years.
In March 1828 a premonition that his end was near filled Goya with a
strong desire to see his son once more before he died. When he heard
that his wish was to be realised he wrote to his son: ‘DEAR XAVIER,--I
can only tell you that this great pleasure has somewhat indisposed me
and I am in bed. God grant that I can see you when you come, and then I
shall be quite satisfied. Good-bye.--Your father, FRANCISCO.’ Xavier
reached Bordeaux on March 13. Three days later Goya had a paralytic
seizure, and surrounded by his family and his intimate friends, ‘the
greatest painter that Spain has seen since Velazquez,’ breathed his
last.
On the following day the remains of Goya were buried in the Goicoechea
family vault in the Grand Chartreux Cemetery of Bordeaux, and the
following inscription was engraved on the stone:--
✝
SEPULTURA
DE LA FAMILIA
DE
GOICOECHEA
AL MEJOR DE LOS PADRES
EL AMOR FILIAL
ELEVA ESTE MONUMENTO
A LA MEMORIA
DE DN MARTIN MIGUEL
DE GOICOECHEA
DEL COMMERCIO DE MADRID
NACIO EN ALSASUA
REYNO DE NAVARRA
EL 27 DE OCTUBRE DE 1755
Y FALLECIO EN BURDEOS
EL 30 DE JUNIO DE 1825
ROGAD Á DIOS POR SU ALMA
HIC JACET
FRANCISCUS A GOYA ET LUCIENTES
HISPANIENSIS PERITISSIMUS PICTOR
MAGNAQUE SUI NOMINIS
CELEBRITATE NOTUS
DECURSO, PROBE, LUMINE VITAE
OBIIT XVI. KALENDAS MARCII
ANNO DOMINI
M.DCCC.XXVIII.
AETATIS SUAE
LXXXV.
R. I. P.
Goya’s remains were removed to Spain at the end of the nineteenth
century. On the afternoon of May 11, 1900, the body was placed in the
San Isidro Cemetery, Madrid, by the side of his old friends Menéndez
Valdés and Leandro Moratin. Already in 1888 the Cortes had voted a sum
of money for the creation of a suitable monument, and a magnificent
cenotaph now marks the resting-place of the last great Spanish painter.
Printed by T. and A. CONSTABLE, Printers to His Majesty at the Edinburgh
University Press
CATALOGUE OF THE WORKS OF GOYA
PORTRAITS
1. King Charles III.
The King is standing in hunting costume, wearing a black three-cornered
hat, ample grey cloak, gaiters, etc. In his right hand a carbine, in his
left, white gloves. At his feet his favourite white dog is lying, with
collar inscribed ‘Rey nuestro señor.’
Background, an arid landscape, with shrubs; mountains beyond. (A copy is
to be found in the Royal Palace, Madrid, and another in the possession
of the Duque de Fernan Nuñez.)
The Prado, Madrid. Doubtful.
2. King Charles III.
The King wears court dress.
Portrait painted in 1787.
The Bank of Spain, Madrid.
3. The Family of King Charles IV.
This important composition includes fourteen full-length figures. The
King standing in the centre; at his right the Queen, holding by the hand
the Infante Don Francisco de Paula. To the right of the Queen, the
Infanta Doña Maria Isabella; the Prince of the Asturias and his wife,
Marie Antoinette; the Infante Don Carlos; the Infanta Maria Josefa,
sister of the King; further on, the artist painting. To the left of the
King, the Infante Don Antonio; Prince Louis of Parma and his wife,
carrying their infant in her arms; and the Infanta Charlotte-Joaquine.
Canvas 2·80 by 3·36.
The Prado, Madrid.
4. Studies for the preceding picture.
(_a_) King Charles IV.
(_b_) Queen Maria Luisa.
(_c_) The Infante Ferdinand.
(_d_) The Infante Don Carlos. The Prado, Madrid.
(_e_) The Infante Don Francisco de Paula.
(_f_) The Infante Don Antonio, Brother of Charles IV.
The Prado, Madrid.
(_g_) Prince Louis of Parma, Son-in-law of Charles IV.
The Prado, Madrid.
(_h_) Princess Isabella, afterwards Queen of Naples.
(_i_) Doña Maria Josefa, Sister of Charles IV.
(_j_) The Infant Son of Prince Louis of Parma, represented with a toy
guitar in his hands.
This sketch was sold in Paris in 1873 for 12,800 francs.
(_k_) Maria Luisa, Princess of Parma.
The Prado, Madrid.
5. King Charles IV.
The King in Court dress.
Ministerio de Hacienda, Madrid.
6. Repetition of the preceding.
The University of Madrid.
7. Repetition of the preceding.
Escuela de Ingenieros de Caminos.
8. King Charles IV.
The King wears a gorgeous crimson costume.
Boadilla del Monte.
9. King Charles IV.
The King, in Court dress, is represented standing.
The War Office, Madrid.
10. King Charles IV.
The King wears the uniform of the Royal Body-guard. He is standing.
11. King Charles IV.
The property of the Marqués de Casa Torres, Madrid.
12. King Philip IV.
The King is hunting the wild boar. This picture by Goya is a copy of the
painting by Velazquez, now in the National Gallery, London, which was in
the Royal Palace, Madrid, until it was presented by Ferdinand VII. to
the late Lord Cowley, of whom it was purchased for the National Gallery
in 1846.
The hunt is taking place in an enclosed space of ground, in the front of
which there are many spectators; hills and foliage fill the background.
Among the numerous small figures in the picture are portraits of King
Philip IV., the Count-Duke of Olivares, the Cardinal Infante, Don
Fernando de Bourbon; the arquebus-carrier of the King, Don Juan Mateos.
Queen Isabella de Bourbon and her maids of honour are present in their
coaches.
Prado, Madrid.
13. King Charles IV.
A life-size figure of the King, standing; he wears hunting costume.
Capodimonte, Naples.
14. King Charles IV.
A repetition of the preceding.
The Royal Palace, Madrid.
15. King Charles IV.
The King wears the uniform of the Royal Body-guard. He is standing,
bare-headed, with a cane in his hand.
The Prado, Madrid.
16. King Charles IV.
This is a repetition of the preceding, on canvas.
The Royal Palace, Madrid.
17. King Charles IV.
The King, mounted on a piebald horse, is in the uniform of the Royal
Body-guard.
The Prado, Madrid.
18. Maria Luisa of Parma, wife of Charles IV.
The Queen carries an open fan in her right hand.
Academia de la Historia, Madrid.
19. Maria Luisa of Parma.
A repetition of the preceding.
20. Maria Luisa of Parma.
A repetition of the preceding.
Don Luis de Navas, Madrid.
21. Maria Luisa of Parma.
The Queen wears a large hat, and has a fan in her hands, which are
crossed.
Boadilla del Monte.
22. Maria Luisa of Parma.
Repetition of the preceding. Canvas.
Don Aureliano de Beruete, Madrid.
23. Maria Luisa of Parma.
This is a copy of the preceding.
24. Maria Luisa of Parma.
Ministerio de Hacienda, Madrid.
25. Maria Luisa of Parma.
Repetition of the preceding.
The University of Madrid.
26. Maria Luisa of Parma.
Repetition of the preceding (full-length portrait).
The Queen wears a hat with feathers.
The War Office, Madrid.
27. Maria Luisa of Parma.
Repetition of the preceding.
The Queen wears a lace dress.
The figure is three-quarter length.
Inscribed ‘Maria Luisa de Parma.’
Casa de la Diputacion, Madrid.
28. Maria Luisa of Parma.
This is a companion picture to No. 10 (Charles IV.).
The Queen wears a turban as head-dress.
A three-quarter length portrait.
The Marqués de Casa Torres, Madrid.
29. Maria Luisa of Parma.
The Queen wears a bright-coloured gown, and for head-dress a turban.
This is the companion picture to No. 11 (Charles IV.).
Capodimonte, Naples.
29A. Maria Luisa of Parma.
Repetition of No. 28.
The Royal Palace, Madrid.
30. Maria Luisa of Parma.
The Queen is represented full face, a turban on her head; heavy ear and
finger rings; a fan in her right hand.
The property of Mr. Havemeyer, New York.
31. Maria Luisa of Parma.
The Queen is dressed in black, and wears a mantilla.
Formerly in the possession of Godoy, Prince of the Peace.
The Prado, Madrid.
32. Maria Luisa of Parma.
Equestrian portrait of the Queen in the uniform of the Royal Body-guard.
The Prado, Madrid.
33. Maria Luisa of Parma.
The Queen wears a black dress and mantilla.
The Royal Palace, Madrid.
34. Maria Luisa of Parma.
The Queen is reclining on a couch.
35. Maria Luisa of Parma.
The property of General Sir J. Meade, London.
36. Maria Luisa of Parma.
The Queen carries a child in her arms.
The property of M. Billotte, Paris.
37. Equestrian Portrait of King Ferdinand VII.
The King is mounted on a charger. He wears a tight-fitting coat, riding
breeches and boots; a hat with a white feather. The right arm is
extended.
Academia de San Fernando, Madrid.
38. King Ferdinand VII.
Sketch of the preceding in oils.
39. King Ferdinand VII.
The King is standing dressed in general’s uniform.
The Prado, Madrid.
40. King Ferdinand VII.
In coronation robes.
The Prado, Madrid.
41. King Ferdinand VII.
Repetition of the preceding.
Signed ‘F. Goya.’
Palacio del Canal Imperial de Aragon, Zaragoza.
42. King Ferdinand VII.
A study of the entire figure.
The Post Office, Madrid.
43. King Ferdinand VII.
Casa de la Diputacion, Pamplona.
44. King Ferdinand VII.
A study on canvas.
Ministerio de la Gobernacion, Madrid.
45. King Ferdinand VII.
Study on canvas.
46. King Ferdinand VII.
A bust. On his shoulders the royal purple cloak with ermine collar. He
wears the insignia of the Golden Fleece.
The property of the Vizconde de Val de Erro, Madrid.
47. The Infanta Margarita and Playmates.
After Velazquez (Las Meninas).
The property of Herr Steinmeier, Cologne.
48. The Family of the Infante Don Luis de Bourbon, Brother of Charles
III.
Don Luis and his wife are seated at a round table; their two children
near them. A hairdresser is powdering the lady’s hair; she wears a
dressing-gown. Members of the household are present, and Goya himself is
represented with his palette and brushes in hand. Heavy curtains in
crimson and blue velvet form the background.
Boadilla del Monte.
49. The Infante Don Luis de Bourbon.
A study.
It bears on the reverse the inscription: ‘Retrato del Serenissimo Señor
Infante Don Luis Antonio de Borbon, que de q a 12 de la Mañana, dia 11
de Sept. del año 1783, hacia Don Francisco Goya.’
Boadilla del Monte.
50. The Infante Don Luis de Bourbon.
Repetition of the preceding.
51. The Infante Don Luis de Bourbon.
Three-quarter portrait, in Court costume.
Boadilla del Monte.
52. The Infante Don Luis de Bourbon and the Architect Don Ventura
Rodriguez.
The property of M. Joan Stchoukine, Paris.
53. The Infante Don Luis Maria de Bourbon, Archbishop of Toledo, as a
Child.
With the inscription: ‘Al S D Luis Maria, hijo del Ser Infante D Luis y
de la muy ilustre S D Mar. Ter. Vallabriga a los seis años y tres meses
de edad.’
Boadilla del Monte.
54. The Infante Don Luis Maria de Bourbon.
Boadilla del Monte.
55. The Infante Don Luis Maria de Bourbon.
Repetition of the preceding.
The property of the Marqués de Casa Torres, Madrid.
(Another copy in the Church of Monserrat at Rome.)
56. Doña Maria Teresa de Vallabriga, Condesa de Chinchon, Wife of the
Infante Don Luis de Bourbon.
Companion picture to No. 49. Bears the date 1783. It bears an
inscription and the artist’s name.
57. Doña Maria Teresa de Vallabriga, Condesa de Chinchon.
Repetition of the preceding.
58. Doña Maria Teresa de Vallabriga, Condesa de Chinchon.
Three-quarter length portrait.
59. Doña Maria Teresa de Vallabriga, Condesa de Chinchon.
Equestrian portrait.
60. Doña Maria Teresa de Bourbon.
Bears an inscription by the painter.
Boadilla del Monte.
61. Doña Maria Teresa de Bourbon.
Full-length figure, standing.
Boadilla del Monte.
62. Doña Maria Teresa de Bourbon.
Boadilla del Monte.
63. Doña Maria Teresa de Bourbon.
The entire figure, seated.
Boadilla del Monte.
64. King Joseph Buonaparte.
This portrait is in private hands.
65. The Emperor Francis of Austria.
Doubtful.
His right hand holds a telescope, his left rests on a cannon marked with
the letter N. White uniform.
66. Doña Manuela Giron y Pimentel, Duquesa de Abrantes.
Bears her name and the painter’s signature, 1816.
The property of the Dowager Duquesa de Abrantes, Madrid.
67. Æsop.
After Velazquez.
The property of M. Sortez, Paris.
68. 13th Duque de Berwick y Alba.
Half-figure, on canvas.
The property of the Duque de Medina Sidonia, Madrid.
69. 13th Duque de Berwick y Alba.
Private property, Madrid.
70. Doña Maria Teresa Cagetana de Silva, Duquesa de Berwick y Alba.
Painted in 1795.
She is represented full face, her hair falling on her shoulders; a coral
necklace and gold bracelets. Her right hand points to the painter’s
signature. She is dressed in white with a large flame-coloured sash. At
her feet is a pet-dog. Landscape background.
Signed left-hand bottom corner.
71. Doña Maria Teresa Cagetana de Silva, Duquesa de Berwick y Alba.
The property of Sir Julius Wernher, Bart., London.
72. The Duquesa de Alba.
In black, and wearing a mantilla. On her forefinger is a ring, on the
bezel of which is inscribed the name ‘Alba.’
Signed by the artist.
The property of M. P. Soliège, Paris.
73. The Duquesa de Alba.
The property of Don Rafael Barrio, Madrid.
74. The Duquesa de Alba.
Life-size bust.
The property of the Duque de Medina Sidonia, Madrid.
75. The Duquesa de Alba.
Half-length figure, life size.
Dressed in green. She wears a fichu. Her hair is powdered.
The property of M. Bamberger, Paris.
76. The Duquesa de Alba.
Formerly in the Urzaiz Collection in Seville.
77. Conde de Altamira.
He is seated. The head is shown in profile. Full-length, life-size
figure on canvas.
The Bank of Spain, Madrid.
78. Doña Maria Ignacia Alvares de Toledo, Condesa de Altamira.
On canvas, full-length figure, life size.
The Countess is represented with her daughter.
The property of M. Leopold Goldschmidt, Paris.
79. Altamirano, Auditor to the Court of Seville.
He is bare-headed, wears a brown suit, with a frill and light-flowered
vest.
Oval canvas, life-size bust.
The property of Messieurs Boussod and Valadon, Paris.
80. Don José Maria Arango, the Andalusian Painter.
Painted in 1816, when he was twenty-nine.
The property of Don J. Masensio, Seville.
81. Don Gabriel de Aristizabal, Lieutenant-General of Marines.
Standing, half-length, he wears the gala uniform of a lieutenant-general
of the Armada. In a buttonhole is seen the Cross of Charles II.
It bears an inscription.
Formerly in the Naval Museum, Madrid.
82. Azara, the Naturalist.
He wears the uniform of a naval brigadier. Half-length portrait.
Azara family, Madrid.
83. The Marquesa de Baena.
The property of Don J. Zuloaga, Eibar.
84. Doña Feliciana Bayeu.
She wears a silk handkerchief round her neck; in her hair blue and pink
ribbons.
An inscription in left-hand bottom corner.
Life-size bust, on canvas.
The property of Don C. Ferriz, Madrid.
85. Don Francisco Bayeu y Subias, Goya’s Brother-in-law.
He is seated almost full face, wears a grey suit, and holds a brush in
his right hand.
The Prado, Madrid.
86. Don Francisco Bayeu y Subias.
He stands before a canvas; holds a brush in his right hand.
The Museum, Valencia.
87. Don Ramon Bayeu and his Wife.
88. Father-in-law and Mother-in-law of Goya.
Two miniatures.
The property of Don Alejandro de Pidal, Madrid.
89. Don Manuel Lapeña, Marquis of Bondad Real.
Bears the inscription ‘D. Manuel Lapeña. P^r Goya año 1779.’
Photo by Moreno.
Canvas 2·25 by 1·40.
The property of Don Joaquín Argamasilla, Madrid.
90. The Marquesa de Caballero.
Bears the inscription ‘Exma Sra. Mar de Caballero, Goya 1807.’
Canvas 1·06 by 0·54.
Photo by Moreno. Reproduction Plate 55.
The property of the Marqués de Cervera, Madrid.
91. Don Francisco, Conde de Cabarrus.
Painted in 1788 for the sum of 4500 reales.
Photo by Moreno.
Canvas 2·10 by 1·27.
The Bank of Spain, Madrid.
92. The Marquesa de Cadalso.
Canvas 1·06 by 0·84.
Half-length figure, life size.
She wears flowers in her hair, and carries a fan in her hand.
The property of ‘D. G.,’ Madrid.
93. Don Juan Camaron y Melia, Director of the Academia de San Carlos in
Valencia.
Bears the inscription ‘D. Joh. Camaron y Melia en la Edad de 38 A.’
Canvas 0·65 by 0·56.
The property of Feligre Calvo, Madrid.
94. Don Pedro Rodriguez, Count of Campomanes.
Viñaza, p. 269.
95. Doña Francisca Caudado.
Dressed in gauze, with a black mantilla and long yellow kid gloves. She
is seated at the foot of a tree.
Viñaza, p. 264. Canvas 1·63 by 1·18.
The Museum, Valencia.
96. Doña F. Caudado.
Yriarte, p. 147.
Canvas 1·020 by 0·745.
Herr Gans, Frankfurt am Main.
97. Don Manuel Cantin y Lucientes.
Canvas 0·55 by 0·44.
98. Don M. Careda.
99. Don Isidoro de Castagnedo.
100. Don Juan Augustin Cean Bermudez.
101. The Wife of D. Juan Augustin Cean Bermudez.
102. Don Felix Colon y Lariategui, the Author.
103. Don Joaquin, Archbishop of Valencia.
104. The Secretary of the Archbishop of Valencia.
105. Doña Lorenza Correa, the Singer.
106. Joaquin Rodriguez Costellares, the Bull-fighter.
107. Don Joaquin Maria de Ferrer, President of the Council of Ministers.
108. Doña Manuela de Alvarez Coiñas y Tomas de Ferrer.
109. Don Mariano Ferrer.
110. Don José Moñino, Conde de Floridablanca y Goya.
111. Don José Moñino, Conde de Floridablanca.