Wellington and the other for that of General Palafox. Both sketches
mentioned by Conde de la Viñaza.
78. The Bride’s Toilette.
A maid is drawing on the bride’s stockings.
Conde Esteban de Collantes, Madrid.
79. Can she say ‘Yes’?
Reproduction of Caprice No. 2. Doubtful.
80. Scraping Acquaintance.
Reproduction of Caprice No. 35.
Conde Esteban de Collantes, Madrid.
81. One of the Fates!
Reproduction of Caprice No. 44.
Museum, Bordeaux.
82. Even unto Death!
Reproduction of Caprice No. 55.
Formerly in the collection Lacour, Bordeaux.
Doubtful.
83. The Register.
Reproduction of Caprice No. 57.
Monsieur ‘X,’ Florence. Doubtful.
84. ‘Swallow that, you dog!’
Reproduction of Caprice No. 58.
Monsieur ‘X,’ Florence. Doubtful.
85. ‘You will not always escape!’
Reproduction of Caprice No. 72.
Paris sale, 1899. Doubtful.
86. ‘It is better to let it alone.’ (Mejor es holgar.)
Reproduction of Caprice No. 73.
Paris sale, 1899, with preceding. Doubtful.
87. Two grotesque half-length figures.
Formerly in the Spanish Gallery of the Louvre. M. Comartin, Paris.
88. Caprice.
Marqués de Casa Jimenez.
89. Caprice.
A monk throwing books and papers in the fire.
Formerly in collection of Don Constantino Ardanaz, Madrid.
90. Caprice.
Don Alejandro Pidal, Madrid.
91. Caprice.
Three balloons in the air; one carrying a donkey, the second a bull, the
third a child.
Formerly in Madrazo Collection, Madrid.
92. Caprice.
Doña Carmen Berganza de Martin, Madrid.
Signed ‘Goya, año 1795.’
93. Caprice.
Tradition says that two of the persons represented in the picture are
Don Luis Berganza and a little negress picked up by the Duquesa de Alba.
In the right-hand corner is written ‘Luis Berganza, año 1795, Goya.’
Doña Carmen Berganza de Martin, Madrid.
94. Caprice.
Mme. de Lacy, Bordeaux-Caudéron. Doubtful.
95. Caprice.
Mme. de Lacy, Bordeaux-Caudéron. Doubtful.
96-117. Caprices.
Formerly in collection Leon Daguerre Hospital de Madrid. Doubtful.
118-133. Caprices.
Formerly in collection of Don José Maria d’Estoup de Murcia. Doubtful.
134. Dogs and Hunting Accessories.
Design for tapestry. The Prado, Madrid.
135. Dead Turkey.
The Prado, Madrid.
136. Dead Birds.
The Prado, Madrid.
137. Bull-Fight.
The bull is charging. Village background.
Academia de San Fernando, Madrid.
138. Bull-Fight.
A stirring scene in a provincial arena.
Mme. de Lacy, Bordeaux-Caudéron.
139. A Galloping Picador.
The Prado, Madrid.
140. Death of the Picador.
The picador is impaled on a horn of the bull.
At the Carlin sale, Paris, 1872--4600 francs.
141. Bull-Fight.
The scene is enacting in a cloud of dust. A picador extricating himself
from his disembowelled horse.
142. Bull-Fight.
The picture represents an arena divided after the manner of lists at a
tournament; a bull on either side of the barrier attacking or attacked.
Sold in Paris, 1875, for 7500 francs.
143. Bull-Fight.
A dense crowd in the foreground watching the course of the contest.
M. Sigismond Bardac, Paris.
144. Bull-Fight.
The bull has overthrown a toreador, whose companions hasten to his
assistance. Companion to the preceding.
M. Sigismond Bardac, Paris.
145. Retaliation.
Three bulls have turned upon their custodians and borne them to the
earth.
W. Mackay, Esq., London.
146. Bull and Picador.
A picador, accompanied by chulos and toreadors, attacks the bull.
Marqués de Baroja, Madrid.
147. Bulls at Home.
Bulls enclosed in their _arroyo_ under the care of horsemen and picadors
in laced costumes.
Carlin sale, Paris, 1872--5100 francs.
148. Bull at liberty in the Place de Madrid.
Duque de Veragua, Madrid.
149. Bulls attacking a Procession.
Sir J. G. J. Sinclair, Bart., Thurso Castle, Caithness.
150. The Madhouse.
In a large hall, lunatics engaged in various forms of dementia.
Academia de San Fernando, Madrid.
151. The Madhouse.
A repetition of the foregoing.
Don Aureliano de Beruete, Madrid.
Pictures from Goya’s house presented to the Prado Museum by Baron
d’Erlanger:--
152. Meeting of Witches.
153. La Romeria de San Isidro.
Man playing on guitar to a group of people.
154. Galician Shepherds Fighting.
155. The Procession.
156. Caprice.
Flying persons pointing to a castle.
157. The Fates.
158. The Maja.
Said to be a portrait of the Duquesa de Alba.
159. Saturn devouring his Children.
160. Dog swimming in a Rough Sea.
161. Judith and Holofernes.
162. Two Monks.
163. Listening to the News.
164. Woman laughing at a Suffering Man.
165. Wizards preparing a Philtre.
PAINTINGS FROM THE ALAMEDA OF OSUNA
M. Paul Lafond enumerates twenty-three pictures formerly at the Alameda
de Osuna, sold some years ago, and now dispersed.
The collection of the Duque de Montellano includes:--
1. The Swing.
Girl, on a swing pushed by a young man.
2. The Greasy Pole (climbed by Children).
3. The Accident.
A girl falling off a donkey.
4. A Coach stopped by Brigands.
The collection of the Marquesa de Villamayor includes:--
5. Building the Church.
Two workmen carrying a wounded comrade.
6. The Procession.
The collection of Don Ricardo Traumann includes:--
7. Summer.
Same subject as The Harvesters (Tapestry Cartoons).
The collection of Don Pedro Fernandez Duran includes:--
8. The Hermitage of San Isidro.
9. The Wounded Mason.
Same subject as No. 34 of the Tapestry Cartoons.
In the Prado is:--
10. The Romeria de San Isidro.
Madrid and the Manzanares are seen in the background.
In the National Gallery, London, besides those already enumerated,
are:--
11. The Bewitched.
A priest pouring oil into a lamp held by a goat.
12. The Picnic (La merienda campestre).
The present possessors of the following are unknown:--
13. Bulls Grazing.
14. Spring.
Same subject as The Flower Girl, No. 31 Tapestry Cartoons.
15. The Vintagers.
Same subject as No. 33 Tapestry Cartoons.
16. Winter.
Same subject as The Snow, No. 36 Tapestry Cartoons.
17. The Rustic Dance.
Same subject as No. 2 Tapestry Cartoons.
18. Caprice.
Man kneeling watches demons.
19. A Witches’ Conventicle.
20. Caprice.
Three nude persons consulting a witch.
21. Caprice.
Cloaked man crossing a mountain.
22. Don Juan and the Comendador.
23. The Poor.
Same subject as No. 35 Tapestry Cartoons.
DRAWINGS AND STUDIES
M. Paul Lafond enumerates:--
One set of 228 drawings.
The Prado, Madrid.
Another set, now broken up, including 300 pieces.
Another set of 38.
Belonging to Don Aureliano de Beruete.
Another set of 20.
Sold in Paris in 1869.
Another set of 38.
In the possession of the Marqués de Casa Jimenez.
Another set of 3.
Belonging to M. Cherfils, of Paris.
Another set of 4.
Sold in Paris, 1899.
Another set.
Belonging to Don Mariano Fortuny.
Another set of 6.
Sold in Paris, 1869.
Another set of 3.
Belonging to Don Ricardo de Madrazo.
Another set.
Belonging to Don B. Montanez.
Another set of 9.
Belonging to M. H. Rouart.
Another set of 2.
Belonging to M. A. Beurdelez.
And 81 different drawings and studies. Scattered through various
collections, and some of doubtful origin.
DECORATIVE PAINTINGS
1. Agriculture.
Represented by a female figure, amply draped, holding a sickle, and
gracefully accepting fruit and flowers. In the upper part of the
picture, which is painted in distemper on canvas, are two signs of the
Zodiac, Scorpio and Libra. Landscape background. Circular medallion.
Library of the Minister of Marine, Madrid.
2. Industry.
In the foreground two women are busy at their spinning-wheels. In the
distance other figures are occupied in similar work. Circular medallion.
Library of the Minister of Marine, Madrid.
3. Commerce.
Seated at a table two figures in Moorish costume are writing; in the
mid-distance two others are examining a book. In the foreground bales of
goods and a stork. Circular medallion.
Library of the Minister of Marine, Madrid.
4. An Allegory.
In the upper part of the picture Fame is sounding a trumpet. The
heraldic shield of Madrid is supported by a classic figure; while a
child holds aloft a medallion on which is inscribed ‘2 _de Mayo_.’ The
date is an allusion to the massacre in the streets of Madrid and the
downfall of Joseph Buonaparte.
Ayuntamiento, Madrid.
5. An Allegory.
In the foreground a child leans against a column having upon it
geometric figures; two children support a tablet inscribed with
algebraic numbers. In the background groups of students. The arms of
Spain prominent in the centre of the picture.
6. Truth the Daughter of Time.
A small picture in the collection of Don José Martinez Espinosa, Madrid.
7. The Apotheosis of Music.
On a rock from which a cascade descends, a presiding genius is seated;
near her, in the air, three nude figures are floating; one holds a baton
with which he is conducting an angelic choir, another bears a trumpet,
and a third the cymbals. A group composed of three mortals hearken
attentively.
In the possession of Don Luis Navas, Madrid.
8. Spain creating History.
Old Chronos is taking by the hand a figure bearing the records of Spain.
A classic figure, seated, pen in hand, prepares to enrol the chronicles.
In the possession of Don Luis Navas, Madrid.
RELIGIOUS SUBJECTS
1. Apparition of Our Lady of the Column.
Painted upon the altar-screen of the church of Fuendetodos, Aragón.
2. Our Lady of Sorrows.
Goya mentions this painting in a letter to his friend Zapater in 1775,
but its situation is unknown.
3. The Symbol of the Trinity.
The emblematic triangle: angels and archangels adore the holy token.
A fresco in the church of Notre-Dame del Pilar, Zaragoza.
4. Our Lady, Queen of Martyrs.
The Virgin, seated enthroned on clouds, is surrounded by angels, saints,
and martyrs.
A fresco in the church of Notre-Dame del Pilar, Zaragoza.
5. Our Lady, Queen of Martyrs.
Goya’s study for the preceding fresco.
Chapter of the church of Notre-Dame del Pilar, Zaragoza.
6. Two Divine and two Cardinal Virtues: Faith, Charity; Fortitude and
Patience.
Frescoes in the church of Notre-Dame del Pilar, Zaragoza.
7. St. Brulno, Bishop of Zaragoza.
Full length. Is in the attitude of benediction; in his left hand a
pastoral staff.
Church of Notre-Dame del Pilar, Zaragoza.
8. St. Bernard of Sienna preaching before Alfonso, King of Aragon.
The king and his courtiers are surrounded by a large congregation
attending the sermon. In the crowd Goya is himself represented.
Church of San Francisco el Grande.
9. St. Bernard.
A study for the preceding picture.
In the collection of the Marqués de Torrecilla, Madrid.
10. St. Bernard.
A second study for the same subject.
Belonging to the Zapater family, Zaragoza.
11. St. Bernard.
A third study for the same subject. The figure of Goya is omitted.
In the collection of the Marqués de Torrecilla, Madrid.
12. The Assumption.
Altar-screen of Chinchon parish church.
13. The Immaculate Conception.
Full length, life size.
Calatrava College, Salamanca.
14. St. Benedict.
Full length, life size.
Calatrava College, Salamanca.
15. St. Bernard.
Full length, life size.
Calatrava College, Salamanca.
16. St. Raymond.
Full length, life size.
Calatrava College, Salamanca.
17. The Marques de Lombay, afterwards canonised as St. Francis of
Borgia, quitting his Family in order to live the Spiritual Life.
Valencia cathedral.
18. A study for the preceding subject.
In the possession of the Marqués de Santa Cruz, Madrid.
19. St. Francis of Borgia exhorting a Dying Man to Repentance.
Valencia cathedral.
20. A study for the preceding subject.
Marqués de Santa Cruz, Madrid.
21. The Betrayal of Christ.
Jesus in the midst of a crowd. Judas points Him out to the Roman
soldiery.
Toledo cathedral.
22. A sketch for the preceding subject.
Don Luis Rotondo, Madrid.
23. Christ crucified.
This picture, although ascribed by some to Goya, is believed to be by
his brother-in-law, Francisco Bayeu.
Toledo cathedral.
24. A Pietá.
Archbishop’s palace, Toledo.
25. Death of St. Joseph.
Church of Santa Ana, Valladolid.
26. Death of St. Joseph.
Don A. de Beruete, Madrid.
27. SS. Bernard and Robert.
A kneeling man receiving baptism from the saints.
Church of Santa Ana, Valladolid.
28. St. Luitgarde praying before a Crucifix.
A palm branch in the foreground.
Church of Santa Ana, Valladolid.
29. St. Omeline praying.
Church of Santa Ana, Valladolid.
30. Miracle of St. Antony.
A corpse, resuscitated, rises from the tomb at the bidding of the saint.
Church of St. Antonio de la Florida, Madrid.
31. Miracle of St. Antony.
Sketch for the principal group of preceding.
Conde de Villagonzalo, Madrid.
32. Angels and Cherubim.
Church of St. Antonio de la Florida, Madrid.
33. Sketch for preceding.
Conde de Villagonzalo, Madrid.
34. Christ crucified.
The Prado, Madrid.
35. Holy Family.
The Prado, Madrid.
36. Holy Family.
Duque de Noblejas, Madrid.
37. Saints Justa and Rufina, the Guardians of Seville.
In the distance, the Giralda. Signed.
38. Sketch for preceding.
Don Pablo Bosch, Madrid.
39. St. Joseph de Calasanz.
Church of St. Antonio, Madrid.
40. Study for preceding, with some differences.
M. Leon Bonnat, Paris.
41. St. Peter offering Bread to a Figure emerging from a Tomb.
Cathedral, Valladolid.
42. St. Blas.
Church of Urrea de Gaen, Aragon.
43. St. Francis. }
} Pictures said to be in America.
44. St. John. }
45. The Possessed.
A priest expelling devils.
The Prado, Madrid.
46. Tobias and the Angel.
Pascual Galvo family, Valladolid.
47. Tobias and the Angel.
Sketch. Zapater family, Zaragoza.
48. Apparition of St. Isidore to King Ferdinand III. under the Walls of
Seville.
Don A. Canovas, Madrid.
49. The Nativity.
Don P. Lozaño, Madrid.
50. St. Peter.
Don A. Pidal, Madrid. Signed.
51. The Garden of Olives.
Schools of San Antonio, Madrid. Signed.
52. St. Isabel tending Lepers.
Sketch. Don C. Velasco, Madrid.
53. Bishop in Ecstasy.
Zapater family, Zaragoza.
54. Head of John the Baptist.
Conde de Villagonzalo, Madrid.
55. The Murder of St. Thomas à Becket.
Sold in Paris, 1892.
56. St. Hermengilde in Prison.
Sketch. Don C. Velasco, Madrid.
57. A Thanksgiving.
In a church a young woman with her infant kneels before the priest, who
pronounces the benediction.
Formerly in the Madrazo Gallery, Madrid.
58 and 59. Studies for the preceding.
Respectively in the possession of the Marques de Torrecilla and Conde
Esteban de Gollantes, Madrid.
60. The Viaticum.
A priest, accompanied by many figures, carries the Viaticum to a dying
man.
Mme. de Lacy, Bordeaux-Caudéron. Doubtful.
61. Interior of the Church of La Seo, Zaragoza.
A priest preaching to his congregation.
Mme. de Lacy, Bordeaux-Caudéron. Doubtful.
62. Interior of a Church, with Figures.
Formerly in the Aroza Collection, Paris.
THE TAPESTRY CARTOONS
A series of forty-six Cartoons executed by Goya between 1776 and 1791,
for reproduction on tapestry. The Prado, Madrid.
1. Lunch on the Banks of the Manzanares.
2. The Dance at San Antonio de la Florida.
Dancing on the banks of the Manzanares.
3. The Scuffle at the Venta Nueva (New Inn).
4. Al fresco scene.
Couples courting in a wooded Andalusian scene.
5. The Toper.
6. The Parasol.
Youth holds a parasol over a girl.
7. The Kite.
8. The Card-Players.
9. Children playing with a Bladder.
10. Children gathering Fruit.
11. A Blind Man playing the Guitar.
12. La Feria; or, the Fair of Madrid.
13. The Crockery Seller.
14. The Soldier and the Girl.
15. La Acerolera.
Girl passes through a group of men.
16. Playing at Soldiers.
17. Children playing with a Cart.
18. Playing at Pelota.
19. The See-Saw.
20. The Washerwomen.
21. La Novillada.
A village bull-fight.
22. The Dog.
23. The Fountain.
24. The Tobacco Guard (Preventive Service).
25. The Child in the Tree.
26. The Child and the Bird.
27. The Woodcutters.
28. The Singer.
29. The Rendezvous.
30. The Doctor.
31. The Flower-Girl.
32. The Harvesters.
33. The Vintagers.
34. The Wounded Mason.
35. The Poor Woman.
36. The Snow.
37. A Village Wedding.
38. Women at the Fountain.
39. Playing at Giants.
40. The Swing.
41. Fighting on Stilts.
42. Girls tossing a Manikin in a Sheet.
43. Children climbing a Tree.
44. Blindman’s-Buff.
45. Child on a Sheep.
(46. The Hunter and his Dogs.)
Sometimes included in the list.
THE CAPRICES (LOS CAPRICHOS)
A set of eighty engravings in aqua-fortis and aqua-tinta, executed
between 1796 and 1812. A facsimile edition was published by the Artistic
Library of Barcelona in 1885, and another by Messrs. Boussod and Valadon
at Paris in 1888:--
1. Francisco Goya y Lucientes, Painter.
2. El sí pronuncian....
‘They say yes, and give their hand to the man that first presents
himself.’
3. Que viene el Coco.
‘Here comes the Bogey!’
4. El de la Rollona.
A lackey with a man dressed as a child in leading-strings. Believed to
symbolise the helplessness and dependence of the rich on their servants.
5. Tal para qual.
‘Birds of a feather flock together.’
6. Nadie se conoce.
Masked persons in conversation. Supposed to suggest that in this world
we know each other only by appearances, which are really misleading.
7. Ni así la distingue.
‘Not thus can he distinguish her.’ A gallant scanning a young woman
through an eye-glass. Similar meaning to preceding.
8. Que se la llevaron.
‘Kidnapped!’ A woman carried off by masked and hooded men.
9. Tántalo.
‘Tantalus.’ A man, wringing his hands, supports a swooning woman.
Possibly points the same moral as the saying, _Si vieillesse
pouvait...._
10. El amor y la muerte.
‘Love and death.’ A woman supporting a dying man.
11. Muchachos al aíro.
Four Andalusian brigands seated round a tree.
12. A caza de dientes.
‘Tooth-hunting.’ A woman trying to extract the tooth of a man hanging.
13. Están calientes.
‘They are hot.’ Monks at table. An ironical suggestion in the title.
14. Qué sacrificio!
‘What a sacrifice!’ Young girl bestowed in marriage on an ugly old man.
15. Bellos consejos.
‘Good counsel.’ Duenna gives worldly advice to a young girl, who listens
with attention.
16. Dios la perdone....
‘May God pardon her--it was her mother.’ Young lady turns scornfully
from a beggar-woman. A rebuke to upstarts, forgetful of the ties of
kindred.
17. Bien tirada está.
Girl drawing up her stocking in presence of an aged duenna.
18. Y se le quema la casa.
‘And his house is burning.’ Old man, seemingly drunk, does not perceive
that his house is on fire.
19. Todos caer.
‘All will fall.’ Women pluck a bird which has a man’s head. Similar
fowls hovering above. Suggests that men of all classes, undismayed by
the fate of others, fall a prey to women.
20. Ya van desplumados.
‘They are already plucked. Young women, encouraged by old men, chasing
birds furnished with men’s heads.
21. Qual la descañonan.
‘How they pluck her!’ Lawyers, in feline shape, plucking a bird provided
with a woman’s head.
22. Pobrecitas!
‘Poor little things!’ Two women, hooded, escorted or annoyed by two
cloaked men.
23. Aquellos polvos.
‘Dust and Ashes.’ A female victim of the Inquisition listening to the
sentence read by a familiar of that tribunal.
24. No hubo remedio.
‘There was no remedy.’ A woman, stripped to the waist and mounted on an
ass, is led away by the officers of the Inquisition.
25. Si quebró el cántaro.
‘Because he broke the pitcher.’ Mother chastising her boy.
26. Ya tienen asiento.
‘Now they have seats.’ Two women, nude from the waist downwards, carry
their chairs on their heads. Meaning obscure.
27. Quién más rendido?
‘Which is the more bored?’ A gallant paying his oft-repeated compliments
to a lady, who is weary of such empty homage.
28. Chitón!
‘Hush!’ A lady of fashion makes a sign to an old dame leaning on a
stick. Allusion to the fashion in Spain of confiding _billets doux_ to
beggars at the church doors.
29. Esto sí que es leer.
‘This is what he calls reading.’ A man of fashion reads in a desultory
manner, while his valets attend to his toilette. Possibly a skit on some
minister of state.
30. Porqué esconderlos?
‘Why hide them?’ A miser, possibly an ecclesiastic, endeavours to hide
some bags of money from four persons who deride him. May be intended as
a skit on the clergy, whose wealth was a matter of common knowledge.
31. Ruega por ella.
‘She prays for her.’ Girls at their toilette, and an old woman praying.
Meaning obscure.
32. Porque fué sensible?
‘Why was she sensitive?’ A young girl weeping in a dungeon. This _may_
imply that people of excessive sensibility carry their own prison or
torture-chamber with them.
33. Al Conde Palatino.
‘To the Count Palatine.’ A richly dressed charlatan extracting teeth.
Allusion, probably, to the practice of such gentry of representing
themselves as physicians to foreign potentates.
34. Las riende el sueño.
‘Sleep comforts them.’ Women asleep in prison.
35. Le descañona.
‘They shave him.’ Young man shaved by girls.
36. Mala noche.
‘A bad night.’ Women out in a stormy night.
37. Si sabrá más el discípulo?
‘Will the pupil know more [than the master]?’ A donkey, of dignified
demeanour, teaching a little ass.
38. Brabisimo!
‘Bravissimo!’ A donkey applauds a monkey who plays on the guitar.
Possibly a skit on Charles IV. and Godoy.
39. Asta su abuelo.
‘As far as his grandfather.’ An ass contemplates the portraits of other
asses. Satire on those who seek to establish long pedigrees for
themselves.
40. De qué mal morirá?
‘Of what will he die?’ An ass feels a dying man’s pulse. Perhaps a
reflection on the faculty was intended.
41. Ni más ni menos.
‘Neither more nor less.’ A donkey sits for his portrait to a monkey, who
is painting a horse. Satire on artists who paint pictures of those whom
they have never seen.
42. Tú que no puedes.
‘Thou who canst not....’ Two men staggering under the weight of two
asses. The men represent the people, the asses perhaps the governing
classes.
43. El sueño de la razon produce monstruosos.
‘The sleep of reason induces monstrous thoughts.’ Bats and owls fly
round a sleeping man, and place a pencil in his hand wherewith to
reproduce his vision.
44. Hilan delgado.
‘They spin linen.’ Old women spinning.
45. Mucho hay que chupar.
‘There is a lot to taste.’ Around a basket full of new-born children sit
three topers. Meaning obscure.
46. Corrección.
‘Correction.’ Fantastic figures with heads of birds and animals. Said to
be an allusion to the Holy Office.
47. Obsequio à el maestro.
‘Homage to the master.’ Wizards and witches offering a new-born infant
to their chief.
48. Soplones.
‘Blowers.’ Devil on a cat is rousing some sleeping monks.
49. Duendecitos.
‘Little ghosts.’ Three monstrous beings in clerical garb. Attack on the
clergy.
50. Los chinchillas.
Two persons with costumes heraldically decorated, their eyes closed, and
with padlocks on their ears, are being fed by a third, blindfolded, and
with ass’s ears. Allusion to the aristocracy, represented to be the
victims of superstition and ignorance.
51. Se repulen.
‘They polish each other’s nails.’ Three demons clawing each other.
52. Lo que puede un sastre!
‘What a tailor can do!’ Devotees prostrate themselves before an
ecclesiastical vestment hung on a tree. The meaning is obvious.
53. Que pico de oro!
‘What an Orator!’ A parrot preaching to friars and others.
54. El vergonzoso.
‘How shameful.’ A man is eating from a dish held by another person. The
suggestion does not lend itself to explanation.
55. Hasta la muerte.
‘Till death.’ A hideous old crone trying on a head-dress before a mirror
to the amusement of a number of spectators.
56. Subir y bajar.
‘Ascent and fall.’ A monstrous satyr, representing Vice, is holding up a
manikin [Godoy], while other figures are falling headlong.
57. La filiación.
‘Well mated.’ An espousal ceremony. The bride has an animal’s head, and
carries her own face in her lap. The bridegroom is a hideous and
repulsive-looking dwarf. A woman makes an entry in a book. Meaning
obscure.
58. Trágala, perro.
‘Swallow that, dog!’ A monk threatens with an enormous syringe a
kneeling priest surrounded by other monks.
59. Y aun no se van!
‘And yet they do not go!’ Two withered wretches uphold a slab of stone
which threatens to overwhelm them. Not impossibly this may symbolise the
determined clinging to life of even the most wretched.
60. Ensayos.
‘Essays.’ An enormous goat surveys a nude man and woman who are rising
in the air. Meaning obscure.
61. Volaverunt.