crouching figures. Said to represent the Duquesa de Alba.
62. Quien lo creyera?
‘Who would believe it?’ Two naked wretches fighting in mid-air are
falling into the jaws of monsters.
63. Miren que grabes!
‘How grave they are!’ Men with the heads of birds and donkeys riding on
grotesque-looking beasts.
64. Buen viaje!
‘Bon voyage!’ Winged monsters or witches flying through the darkness.
65. Donde va mamá?
‘Where is mamma going?’ A fat woman carried through the air by three
demons, one of whom rides an owl. A cat holds a parasol over the group.
66. Allá va eso.
‘Beware!’ A man and a woman with outspread wings flying in the company
of a cat and a serpent.
67. Aguarda que te unten.
‘Wait till you have been anointed!’ A goat leaps upwards while two
grotesque wretches endeavour to anoint its hoofs. Alleged by some to be
a derisive allusion to the sacrament of extreme unction.
68. Linda maestra!
‘Pretty mistress!’ Two witches preceded by an owl.
69. Sopla.
‘She blows!’ Woman using a child as a bellows.
70. Devota profesion!
‘Devout profession!’ A woman with ass’s ears, seated astride a satyr,
recites from a book at the direction of two ecclesiastics.
71. Si amanece, nos vamos.
‘The dawn is breaking, we’ll be off.’ Breaking up of a witches’ party.
72. No te escaparás.
‘You will not escape.’ A girl trying to elude winged creatures with
men’s heads.
73. Mejor es holgar.
‘It’s better to do nothing.’ A man assists a woman to disentangle a
skein. Girl stands by amused.
74. No grites, tonta.
‘Don’t grizzle, idiot.’ A girl alarmed at two comical monkish phantoms.
A variation of the artist’s favourite theme of bogeys raised by monks.
75. No hay quién nos desate?
‘Will no one set us free?’ A man and a woman tied to the same tree.
Satire on marriage.
76. Esta Vmd? pues, como digo, etc....
‘Are you there? Well, then, as I say.... Well, be careful! If not....’
Nonsensical orders issued by a fat, ridiculous-looking officer.
77. Unos á otros.
‘From one to the other.’ Old dotards attacking a third who is playing at
‘ball.’ May be intended to convey a satire on the aged who pretend to
the activities and energy of youth.
78. Despacha, que despiertan.
‘Be quick, they waken.’ An old woman apparently awaking her
fellow-servants.
79. Nadie nos ha visto.
‘Nobody has seen us.’ Monks drinking in a cellar.
80. Ya es hora.
‘It is the hour.’ Monks stretching themselves and yawning.
_Sometimes included in Los Caprichos are the following_:--
81. Sueño de la mentira y de la inconstancia.
‘A dream of falsehood and inconstancy.’ In the collection of Don V.
Carderera.
82. Women lamenting, while a Man gives a Dog some Medicine.
Very rare.
83. Woman sleeping in a Prison, her Feet chained to the Wall.
Very rare.
THE DISASTERS OF WAR
A set of eighty prints in aqua-tinta. Published by the Academia de San
Fernando in 1863:--
1. Tristes presentimientos....
‘Sad presentiments.’ An emaciated man, symbolical of the Spanish people,
kneels in a supplicating attitude, and regards the sky, which is filled
with portentous monsters.
2. Con razón ó sin ella.
‘With or without reason.’ Two peasants attacking French troops.
3. Lo mismo.
‘All the same.’ Similar subject.
4. Las mujeres dan valor.
‘Women inspire courage.’ Women resisting soldiers.
5. Y son fieras.
‘And are like wild beasts.’ Similar subject.
6. Bien te se está.
‘A good thing.’ French soldiers dying.
7. Que valor!
‘Courage!’ The Maid of Zaragoza.
8. Siempre sucede.
‘What always happens.’ French soldiers put to flight.
9. No quieren.
‘They will not.’ Women resisting soldiers.
10. Tampoco.
‘Nor they.’ Similar subject.
11. Ni por esas.
‘Not for these.’ Similar subject.
12. Para eso habeis nacido?
‘Were you born for this?’ Man falls dying on a heap of slain.
13. Amarga presencia.
‘A bitter sight.’ Woman witnessing maltreatment of her husband by
soldiers.
14. Duro es el paso.
‘Hard is the way.’ Hanging of prisoners.
15. Y no hay remedio.
‘And there was no remedy.’ Execution of prisoners.
16. Se aprovechar.
‘They avail themselves.’ Troops stripping the slain.
17. No se convienen.
‘They do not agree.’ Battle piece. Dispute between French officers.
18. Enterrar y callar.
‘Bury and be silent.’ Weeping man and woman gaze on a heap of slain.
19. Ya no hay tiempo.
‘There is no time.’ Fruitless appeal by women to a French officer.
20. Curarlos y a otra.
‘To heal them and each other.’ Wounded guerrillas.
21. Será lo mismo.
‘It will be the same.’ Wounded men; woman weeping.
22. Tanto y más.
‘As many and more.’ Heap of slain.
23. Lo mismo en otras partes.
‘The same elsewhere.’ Similar subject.
24. Aun podrán servir.
‘They are still of use.’ Sick people carrying the wounded.
25. Tambien estos.
‘And there also.’ Wounded in an ambulance.
26. No se puede mirar.
‘That cannot be seen.’ People lying on the ground threatened by the
muskets of the troops.
27. Caridad.
‘Charity.’ Corpses being thrown into a ditch.
28. Populacho.
‘The populace.’ Mutilating a corpse.
29. Lo merecia.
‘He deserved it.’ Soldier’s body being dragged by cords.
30. Estragos de la guerra.
‘The tragedy of war.’ Men and women projected headlong into a cellar.
31. Fuerte cosa es!
‘Might is stronger than right!’ Prisoners being hanged by the French.
32. Por qué?
‘Why?’ Prisoner being tortured by three soldiers.
33. Que hay que hacer mas?
‘What more is there to do?’ Similar subject.
34. Por una navaja.
‘For a knife.’ Corpse of executed assassin on a scaffold.
35. No se puede saber por qué.
‘No one knows why.’ Eight men garrotted with labels round their necks.
36. Tampóco.
‘Neither.’ French soldier watches a man hanging from a tree.
37. Esto es peor.
‘This is worse.’ Mutilated corpse impaled on a tree.
38. Barbaros!
‘Barbarians!’ Execution of a prisoner.
39. Grande hazaña--Con muertos!
‘Great prowess--With the dead!’ Three horribly mutilated corpses.
40. Algun partido saca.
‘He turns it to account.’ Man fighting a wild beast.
41. Escapan entre las llamas.
‘They escape through the flames.’
42. Todo va revuelto.
‘Everything in confusion.’ Friars fly hither and thither.
43. Tambien esto.
‘These also.’ Similar subject.
44. Yo lo ví.
‘I saw it.’ People flying from a village. Mother dragging away her
children.
45. Y esto tambien.
‘And this also.’ Similar subject.
46. Esto malo.
‘This is bad.’ Soldiers slaughtering monks.
47. Así sucedió.
‘Thus it happened.’ Soldiers, watched by a monk, despoiling a church.
48. Cruel lástima!
‘Cruel misfortune!’ A man imploring succour near a heap of slain.
49. Caridad de una muger.
‘A woman’s charity.’ Women tending the wounded.
50. Madre infeliz.
‘Unhappy mother!’ Child, weeping, beholds its mother carried off by
soldiers.
51. Gracias á la almorta.
‘Thanks to the blue vetch.’ Woman distributing grain to the afflicted.
52. No llegan á tiempo.
‘Too late.’ Women arrive too late to help a companion.
53. Espiró sin remedio.
‘He died without help.’ Group of persons round a corpse.
54. Clamores en vano.
‘No help.’ Starving people vainly beseech a French dragoon for help.
55. Lo peor es pedir.
‘To beg is the worst of all.’ Starving men vainly appeal for help to a
French lady.
56. Al cementerio!
‘To the cemetery.’ Corpse being carried to the graveyard.
57. Sanos y enfermos.
‘The quick and the dead.’ The hale and the sick both taking refuge in a
vault.
58. No hay que dar voces.
‘Of no use to cry.’ Group of starving and afflicted persons.
59. De qué sirve una taza?
‘Of what use is one cup?’ Woman carrying a cupful of nourishment to a
group of starving women.
60. No hay quien los socorra.
‘There is nobody to help them.’ Three men prostrate, another standing;
all feel the approach of death.
61. Si son de otro linaje?
‘Are they of another race?’ Frenchmen remain indifferent to the appeal
of some starving wretches.
62. Las camas de la muerte.
‘The deathbeds.’ Women weeping over a heap of slain.
63. Muertos recogidos.
‘The dead collected.’ A heap of slain.
64. Carretadas al cementerio.
‘Cart-loads for the cemetery.’ Carts being loaded with corpses.
65. Qué alboroto es este?
‘What means this tumult?’ A French officer writes at a table. People
taking to flight.
66. Extraña devocion.
‘Strange devotion.’ People adoring relics carried on the back of an ass.
67. Esta no lo es menos.
‘This is not less so.’ Procession of the image of Our Lady of Sorrows.
68. Qué locura!
‘What madness!’ A monk, surrounded by objects of popular devotion.
69. Nada.
‘Nothing.’ A spectre emerging from the tomb writes the word ‘Nada’ on a
sheet of paper.
70. No saben el camino.
‘They do not know the way.’ A procession of ecclesiastics tied together
by ropes. ‘The blind leading the blind.’
71. Contra el bien general.
‘Against the general good.’ An old man with bat’s ears writing in an
open book. An allusion probably to some unpopular statesman.
72. Las resultas.
‘The consequences.’ The above personage and other vampires drinking the
blood of a corpse, representing Spain.
73. Gatesca pantomima.
‘Cat’s pantomime.’ A monk, birds of prey, and others doing homage to a
cat (Godoy?).
74. Esto es lo peor.
‘This is the worst.’ A wolf signing a document; a monk in attendance.
75. Farándula de charlatanes.
‘Meeting of quacks.’ Monks with heads of asses, parrots, and pigs.
76. El buitre carnivoro.
‘The carnivorous vulture.’ A huge vulture pursued by a crowd of monks
and soldiers.
77. Que se rompe la cuerda.
‘May the rope break.’ King Joseph represented walking on a rope.
78. Se defiende bien.
‘He defends himself well.’ A horse (Spain) defending himself against
wolves.
79. Murió la verdad.
‘Truth died.’ Truth represented as a young woman crowned with laurels.
80. Si resucitará?
‘Will she revive?’ The same figure appearing about to arise from the
grave.
(79 and 80 appear to refer to the abolition of the Constitution by
Fernando VII.)
81. Fiero monstruo.
‘Bold monster.’ An enormous cat devouring human beings.
82. Esto es lo verdadero.
‘There is Truth.’ Truth is represented by a young woman leaning on the
shoulder of a husbandman.
(81 and 82 are not usually included in the series Disasters of War.)
LA TAUROMAQUIA (TAUROMACHIA)
A set of thirty-three prints in aqua-fortis and aqua-tinta finished
about 1815.
1. Hunting Bulls across Open Country in the Olden Time.
2. Hunting the Bull on Foot.
3. Moors hunting the Bull across Country.
4. Moors bull-fighting in an Enclosure.
5. The Moor Gazul is the first to fight the Bull according to modern
rules.
6. Moors using their Burnouses to irritate the Bull.
7. Origin of the Banderilla.
8. Moor attacked by a Bull.
9. Spaniard wearing a Turban killing a Bull in the Arena.
10. Charles V. kills a Bull in the Arena at Valladolid.
11. The Cid spearing a Bull.
12. People hamstringing a Bull.
13. Horseman places some Banderillas without the Help of the Chulos.
14. The Student of Falces, enveloped in his Cape, plays with the Bull.
15. The famous Martincho plants Banderillas.
16. Martincho seizes the Bull by the Tail and the Horns.
17. Moors using Donkeys instead of Horses.
18. Intrepidity of Martincho at Zaragoza.
19. Similar Exploit.
20. Exploit of Juanito Apiñani at Madrid.
21. Spectators killed by the Bull at Madrid.
22. The Woman Picador, Pajuelera, at Zaragoza.
23. Mariano Ceballos in the Arena.
24. Ceballos mounted on a Bull.
25. Bull being baited with Dogs.
26. Picador overthrown by the Bull.
27. Fernando del Toro in the Arena.
28. Rendon killing a Bull with one Blow at Madrid.
29. Pepe-Illo in front of the Bull.
30. Pedro Romero in the Arena.
31. Flaming Banderillas.
32. Bull overthrowing Picadors.
33. Death of Pepe-Illo in the Arena.
The plates 34 to 40 do not properly belong to the series.
34. Variation of plate No. 24.
35. Combat between the Bull and Picadors mounted on Donkeys harnessed to
a Carriage.
36. Scene in the Bull-Ring.
37. Bull carrying a wounded Toreador impaled on his Horns.
38. Bull carrying dead Toreador impaled on his Horns.
39. Variation of plate No. 25.
40. Variation of plate No. 18.
41. The Bulls. A study of the animals in various attitudes.
This plate belongs to Monsieur Lucas of Paris, and does not properly
belong to this set.
LOS PROVERBIOS (THE PROVERBS)
A collection of eighteen plates, now the property of the Academia de San
Fernando, Madrid.
1. Six Women tossing a dead Donkey and some Puppets in a Blanket.
2. Soldiers flying from a Tree draped to represent a Ghost.
3. Ten Persons seated on a rotten Branch over an Abyss listening to an
Orator.
4. A gigantic Peasant dances, with Castanets, before Mannikins.
5. A Man riding on a winged Monster carries off a Woman.
6. A Man, seemingly in a Condition of Fury, throws down an old Man, who
begs for Mercy.
7. A Man and Woman joined together at the Shoulders. A Crowd kneels
before the Man.
8. Persons apparently preparing to run a Sack-Race.
9. A fantastic Personage offers some Kittens to two Women.
10. A Woman dragged along by a Horse. In the Background an Animal about
to devour a Woman.
11. A two-headed Woman pursued by two Persons, who give up the chase.
12. Majos and Majas dancing.
13. Men, with wings attached, attempting to fly.
14. Two fantastic Persons exchange Salutations; an odd Crowd of
Spectators.
15. Monk preaching, while a Soldier throws himself into an Abyss.
16. Angry Woman quarrelling with a three-armed Man.
17. Persons deriding a blind Man, who is defended by a Dog.
18. An old Man attended by Monsters approaches a Corpse.
The following plates do not properly belong to the series:--
19. A Crowd watching some Trees tricked out as Ghosts.
Belongs to M. E. Lucas.
20. A young Woman rides a Horse on a Trapèze.
21. Moors offering an open Book and a Collar to an Elephant.
The property of M. E. Lucas. Published in 1877 under the title of ‘Otros
leyes por el pueblo’ (Other laws for the people).
Printed by T. and A. CONSTABLE, Printers to His Majesty at the Edinburgh
University Press
[Illustration: PLATE 1.
THE FAMILY OF CHARLES IV.
(PRADO, MADRID.)]
[Illustration: PLATE 2.
THE INFANTE DON CARLOS.
(PRADO, MADRID.)]
[Illustration: PLATE 3.
THE INFANTE FRANCISCO DE PAULA ANTONIO.
(PRADO, MADRID.)]
[Illustration: PLATE 4.
THE INFANTA MARIA JOSEFA.
(PRADO, MADRID.)]
[Illustration: PLATE 5.
THE INFANTE DON ANTONIO, BROTHER OF CHARLES IV.
(PRADO, MADRID.)]
[Illustration: PLATE 6.
THE INFANTE DON CARLOS MARIA ISIDRO.
(PRADO, MADRID.)]
[Illustration: PLATE 7.
KING CHARLES IV.
(MINISTERIO DE HACIENDA, MADRID.)]
[Illustration: PLATE 8.
KING CHARLES IV.
(MINISTERIO DE HACIENDA, MADRID.)]
[Illustration: PLATE 9.
KING CHARLES IV.]
[Illustration: PLATE 10.
KING CHARLES IV.
(ROYAL PALACE, MADRID.)]
[Illustration: PLATE 11.
KING CHARLES IV.
(PRADO, MADRID.)]
[Illustration: PLATE 12.
KING CHARLES IV.
(MARQUES DE CASA TORRES, MADRID.)]
[Illustration: PLATE 13.
QUEEN MARIA LUISA.
(DON A. DE BERUETE, MADRID.)]
[Illustration: PLATE 14.
QUEEN MARIA LUISA.
(DON JOSÉ LÁZAN.)]
[Illustration: PLATE 15.
QUEEN MARIA LUISA.
(MINISTERIO DE HACIENDA, MADRID.)]
[Illustration: PLATE 16.
QUEEN MARIA LUISA.
(MARQUES DE CASA TORRES, MADRID.)]
[Illustration: PLATE 17.
QUEEN MARIA LUISA.
(PRADO, MADRID.)]
[Illustration: PLATE 18.
QUEEN MARIA LUISA.
(PRADO, MADRID.)]
[Illustration: PLATE 19.
FERDINAND VII.
(ACADEMY OF ST. FERDINAND, MADRID.)]
[Illustration: PLATE 20.
FERDINAND VII.
(PRADO, MADRID.)]
[Illustration: PLATE 21.
FERDINAND VII.
(PRADO, MADRID.)]
PLATE 22.
FERDINAND VII.
(ANCIENT COLLECTION OF EUSTAQUIO VEATE.)
[Illustration: PLATE 23.
DON LUIS, PRINCE OF PARMA.
(PRADO, MADRID.)]
[Illustration: PLATE 24.
THE DUCHESS OF ABRANTES.
(DUQUESA DE ABRANTES, MADRID.)]
[Illustration: PLATE 25.
THE DUCHESS OF ALBA.
(DON RAFAEL BARRIO.)]
[Illustration: PLATE 26.
THE DUCHESS OF ALBA.
(PALACIO DE LIRIA, MADRID.)]
[Illustration: PLATE 27.
THE DUCHESS OF ALBA.
(THE DUKE OF ALBA, MADRID.)]
[Illustration: PLATE 28.
THE DUCHESS OF ALBA.]
[Illustration: PLATE 29.
THE CONDESA DE ALTAMIRA AND DAUGHTER.
(MARQUES DE CERVERA.)]
[Illustration: PLATE 30.
THE COUNT OF ALTAMIRA.
(THE BANK OF SPAIN, MADRID.)]
[Illustration: PLATE 31.
THE INFANTE DON LUIS DE BORBON.
(MARQUES DE CASA TORRES, MADRID.)]
[Illustration: PLATE 32.
ALTAMIRANO AUDITOR OF SEVILLE.
(MARQUES DE LA VEGA INCLAN.)]
[Illustration: PLATE 33.
DON MANUEL LAPEÑA, MARQUES DE BONDAD REAL.
(DON JOAQUIN ARGAMANILLA.)]
[Illustration: PLATE 34.
THE MARQUESA DE CABALLERO.
(MARQUES DE CORVERA.)]
[Illustration: PLATE 35.
CONDE DE CABARRUS.
(BANK OF SPAIN, MADRID.)]
[Illustration: PLATE 36.
THE WIFE OF CEAN BERMUDEZ.
(MARQUES DE CASA TORRES, MADRID.)]
[Illustration: PLATE 37.
J. CEAN BERMUDEZ.
(MARQUES DE CORVERA, MADRID.)]
[Illustration: PLATE 38.
DOÑA LORENZO CORREA.
(M. BISCHOFFSHEIM, PARIS.)]
[Illustration: PLATE 39.
THE TOREADOR COSTILLARES.
(DON JOSÉ LAZARO.)]
[Illustration: PLATE 40.
DON JOAQUIN MARIA FERRER.
(COUNT OF CANDILLA.)]
[Illustration: PLATE 41.
CONDESA-DUQUESA DE BENAVENTE Y OSUNA.
(MADRID.)]
[Illustration: PLATE 42.
DOÑA MANUELA DE ALVAREZ COIÑAS.
(MARQUIS OF BAROJA.)]
[Illustration: PLATE 43.
FLORIDA BLANCA.
(MARQUESA DE MARTORELL.)]
[Illustration: PLATE 44.
DON ANTONIO FORASTER.
(DON J. MILLAN.)]
[Illustration: PLATE 45.
THE ENGINEER IGNACIO GARCINI.
(THE GARCINI FAMILY, MADRID.)]
[Illustration: PLATE 46.
DOÑA JOSEFA CASTILLA-PORTUGAL.
(DON VICENTE GARCINI.)]
[Illustration: PLATE 47.
DON JUAN ANTONIO CUERVO.
(D. F. DURAN.)]
[Illustration: PLATE 48.
DOÑA MARIA ILDEFONSO DABALOS.
(COUNT OF VILLAGONZALO.)]
[Illustration: PLATE 49.
GENERAL DON JUAN MARTIN, SURNAMED EL EMPECINADO.
(DON LUIS NAVAS.)]
[Illustration: PLATE 50.
GODOY, PRINCE OF THE PEACE.
(ACADEMY OF ST. FERDINAND, MADRID.)]
[Illustration: PLATE 51.
F. GUILLEMARDET, AMBASSADOR OF THE FRENCH REPUBLIC TO SPAIN, 1798.
(LOUVRE, PARIS.)]
[Illustration: PLATE 52.
JASPAR MELCHOR DE JOVELLANOS.
(MARQUESA DE VILLAMAJOR, MADRID.)]
[Illustration: PLATE 53.
ASENSIO JULIA (‘EL PESCADORET’).
(COMTESSE DE PARIS.)]
[Illustration: PLATE 54.
THE MILKMAID OF BORDEAUX.
(CONDESA VINDA DE MUGUIRO.)]
[Illustration: PLATE 55.
THE PAINTER ASENSIO JULIA (‘EL PESCADORET’).
(LOUVRE.)]
[Illustration: PLATE 56.
THE MARQUESA DE LAZAN.
(COMTESSE DE MONTIJO.)]
[Illustration: PLATE 57.
DON FRANCISCO LARRUMBE.
(THE BANK OF SPAIN, MADRID.)]
[Illustration: PLATE 58.
THE FAMOUS BOOKSELLER OF THE CALLE DE CARRETAS.
(DON BENITO GARRIGA.)]
[Illustration: PLATE 59.
DON J. ANTONIO LLORENTE, HISTORIAN OF THE INQUISITION.
(DON FRANCISCO LLORENTE Y GARCIA DE VINUESA.)]
[Illustration: PLATE 60.
THE DUKE OF SAN CARLOS.
(MARQUES DE LA TORRECILLA.)]
[Illustration: PLATE 61.
THE DUKE OF SAN CARLOS.
(CONDE DE VILLAGONZALO.)]
[Illustration: PLATE 62.
THE ACTOR ISIDORO MAIQUEZ.
(PRADO, MADRID.)]
[Illustration: PLATE 63.
THE ACTOR ISIDORO MAIQUEZ: REPETITION OF THE FOREGOING.
(MARQUES DE CASA TORRES, MADRID.)]
[Illustration: PLATE 64.
THE COUNTESS OF MIRANDA DEL CASTAÑAR.
(FORMERLY IN MONTIJO COLLECTION.)]
[Illustration: PLATE 65.
THE CONDE DE MIRANDA.]
[Illustration: PLATE 66.
LEANDRO FERNANDEZ DE MORATIN.
(ACADEMY OF ST. FERDINAND, MADRID.)]
[Illustration: PLATE 67.
THE FAMILY OF THE COUNTESS OF MONTIJO.
(PALACIO DE LIRIA, MADRID.)]
[Illustration: PLATE 68.
SEÑOR J. B. DE MUGUIRO.
(CONDESA VINDA DE MUGUIRO.)]
[Illustration: PLATE 69.
THE MARQUES DE CASTRO TERREÑO.]
[Illustration: PLATE 70.
THE MARQUESA DE CASTRO TERREÑO.]
[Illustration: PLATE 71.
CAMARÓN.
(DOÑA E. CAMARÓN.)]
[Illustration: PLATE 72.
MUÑARRIZ.
(ACADEMY OF ST. FERDINAND, MADRID.)]
[Illustration: PLATE 73.
THE DUKE OF OSUNA, WITH HIS FAMILY.
(PRADO, MADRID.)]
[Illustration: PLATE 74.
ADMIRAL MAZAREDO.
(DON M. HERNANDO.)]
[Illustration: PLATE 75.
MELÉNDEZ VALDÉS.
(SEÑOR SUÁREZ INCLÁN.)]
[Illustration: PLATE 76.
THE DUKE OF OSUNA.
(FORMERLY IN THE COLLECTION OF THE DUKE OF OSUNA.)]
[Illustration: PLATE 77.
THE DUKE OF OSUNA.
(? MARQUESA DE VILLAMAJOR, MADRID.)]
[Illustration: PLATE 78.
THE DUKE OF OSUNA.
(M. DUNIAT, PARIS.)]
[Illustration: PLATE 79.
THE DUKE OF OSUNA.
(FORMERLY IN THE PALACE OF THE DUKE OF OSUNA, MADRID.)]
[Illustration: PLATE 80.
DUCHESS DEL PARQUE.
(MARQUES DE LA VEGA, MADRID.)]
[Illustration: PLATE 81.
DOCTOR PEYRAL.
(NATIONAL GALLERY, LONDON.)]
[Illustration: PLATE 82.
GENERAL PALAFOX.
(PRADO, MADRID.)]
[Illustration: PLATE 83.
DOÑA ISABEL CORBO DE PORCEL.
(NATIONAL GALLERY, LONDON.)]
[Illustration: PLATE 84.
DON TIBURCIO PEREZ.
(D. F. DURAN AND CUERVO.)]
[Illustration: PLATE 85.
DON MARIANO LUIS DE URQUIJO.
(ACADEMY OF HISTORY, MADRID.)]
[Illustration: PLATE 86.
DON TOMÁS PÉREZ ESTALA.
(COUNTESS OF CEDILLO.)]
[Illustration: PLATE 87.
DON PANTALEÓN PEREZ DE NENIN.
(DON P. LABAT.)]
[Illustration: PLATE 88.
THE MARQUESA DE PONTEJOS.
(MARQUES DE MARTORELL.)]
[Illustration: PLATE 89.
DON RAMON PIGNATELLI.
(DUQUESA DE VILLAHERMOSA.)]
[Illustration: PLATE 90.
GENERAL RICARDOS.
(MADRID.)]
[Illustration: PLATE 91.
THE TOREADOR JOSÉ ROMERO.
(MADRID.)]
[Illustration: PLATE 92.
MARQUES DE SAN ADRIÁN.
(IN THE COLLECTION OF THE FAMILY.)]
[Illustration: PLATE 93.
THE MATADOR PEDRO ROMERO.
(DUKE OF VERAGUA.)]
[Illustration: PLATE 94.
RAMON SATUE, IN 1823 (ALCAIDE DE CORTE).
(DR. BENITO GARRIGA.)]
[Illustration: PLATE 95.
DON MANUEL SILVELA.
(DON F. SILVELA.)]
[Illustration: PLATE 96.
DOÑA MARIA TERESA APODACA DE SESMA.
(DON ANDRES ARTETA.)]
[Illustration: PLATE 97.
MARQUESA DE LA SOLANA.
(MARQUES DEL SOCORRO.)]
[Illustration: PLATE 98.
GENERAL URRUTIA.
(PRADO, MADRID.)]
[Illustration: PLATE 99.
MARIA DEL ROSARIO FERNANDEZ, SURNAMED ‘LA TIRANA.’ A CELEBRATED ACTRESS.
(ACADEMY OF ST. FERDINAND, MADRID.)]
[Illustration: PLATE 100.
THE ACTRESS MARIA DEL ROSARIO FERNANDEZ, SURNAMED ‘LA TIRANA.’
(CONDE DE VILLAGONZALO.)]
[Illustration: PLATE 101.
THE MARQUES DE TOLOSA.
(BANK OF SPAIN, MADRID.)]
[Illustration: PLATE 102.
THE CONDE DE TEBA.
(DON J. LÁZARO.)]
[Illustration: PLATE 103.
JOSÉ DE VARGAS PONCE.
(ACADEMY OF HISTORY, MADRID.)]
[Illustration: PLATE 104.
DON JOSÉ DE TORO ZAMBRANO.
(BANK OF SPAIN, MADRID.)]
[Illustration: PLATE 105.
DOÑA ANTONIA ZARATE.
(SEÑORA VINDA DE ALBACETE.)]
[Illustration: PLATE 106.
DOÑA ANTONIA ZARATE.
(SEÑORA VINDA DE ALBACETE.)]
[Illustration: PLATE 107.
DOÑA LOLA ZIMENEZ.
(M. CHIRAMY, PARIS.)]
[Illustration: PLATE 108.
DON EVARISTO PEREZ DE CASTRO, PRESIDENT OF THE COUNCIL OF CASTILE.
(LOUVRE, PARIS.)]
[Illustration: PLATE 109.
DON JUAN JOSÉ MATEO ARIAS DAIRLA.
(MARQUESA DE ALMAGUER.)]
[Illustration: PLATE 110.
FATHER LASCANAL.
(DON J. LÁZARO.)]
[Illustration: PLATE 111.
DON RAMON DE POSADA Y SOTO.
(DON JOSE MARIA PEREZ CABALLERO.)]
[Illustration: PLATE 112.
MARQUESA DE CABALLERO.
(MARQUES DE CORVERA, MADRID.)]
[Illustration: PLATE 113.
THE CONDE DE GAZINZA.
(MARQUES DE CASA TORRES, MADRID.)]
[Illustration: PLATE 114.
MORATIN.
(DON F. SILVELA.)]
[Illustration: PLATE 115.
PORTRAIT OF THE ARTIST, BY HIMSELF.
(ACADEMY OF ST. FERDINAND, MADRID.)]
[Illustration: PLATE 116.
PORTRAIT OF THE ARTIST, BY HIMSELF.
(D. A. PIDAL.)]
[Illustration: PLATE 117.
PORTRAIT OF THE ARTIST, BY HIMSELF.]
[Illustration: PLATE 118.
PORTRAIT OF THE ARTIST, BY HIMSELF.
(M. LEON BONNET.)]
[Illustration: PLATE 119.
GOYA AT THE AGE OF 80, BY VINCENTE LOPEZ.
(PRADO, MADRID.)]
[Illustration: PLATE 120.
DON J. B. DE GOICOECHEA.
(DON FELIPE MODET.)]
[Illustration: PLATE 121.
GOYA’S GRANDSON.
(MARQUES DE ALCAÑICES.)]
[Illustration: PLATE 122.
DOÑA FELICIANA BAYEU.
(D. C. FERRIZ.)]
[Illustration: PLATE 123.
DON JUAN MARTIN DE GOICOECHEA.
(MARQUES DE CASA TORRES, MADRID.)]
[Illustration: PLATE 124.
DOÑA NARCISA BARAÑONA DE GOICOECHEA.
(DON FELIPE MODET.)]
[Illustration: PLATE 125.
DOÑA JUANA GALARZA DE GOICOECHEA.
(MARQUES DE CASA TORRES, MADRID.)]
[Illustration: PLATE 126.
THE PAINTER, FRANCISCO BAYEU, BROTHER-IN-LAW OF GOYA.
(PRADO, MADRID.)]
[Illustration: PLATE 127.
JOSEFA BAYEU, GOYA’S WIFE.
(PRADO, MADRID.)]
[Illustration: PLATE 128.
GROUP OF HEADS.
(FORMERLY IN THE PALACE OF SAN TELMO, NOW IN THE COLLECTION OF THE
COMTESSE DE PARIS.)]
[Illustration: PLATE 129.
PORTRAIT STUDY OF A WOMAN.]
[Illustration: PLATE 130.
PORTRAIT OF A YOUNG GIRL.