GREAT ENGRAVERS : EDITED BY ARTHUR M. HIND
PORTRAIT OF THE ARTIST
y
x /// '//'
First published as Froi
Los Capnchos. H., L.
FRANCISC<
FRANCISCO
GOYA
BOOKS OF REFERENCE
GAUTIER, Theophile, and PIOT, E. Cabinet de ? Amateur, I (1842) 337
MATHERON, Laurent. Goya. Paris 1858
MELIDA, E. Los Desastres de la Guerra. Arte en Espana, II (1863) 266
CARDERERA, Valentin. Francisco Goya. Sa vie, ses dessins, et ses eaux-
fortes. Gazette dcs Beaux Arts, VII (1860) 215, XV (1863) 237
YRIARTE, Charles. Goya. Paris 1867
Goya aquafortiste. L'Art, IX (1877) 3> 33 5 6, 79
LEFORT, Paul. Essai d'un catalogue raisonne de 1'ceuvre grave et lithographic
de Francisco Goya. Gazette des Beaux *Arts, XXII (1867) 191, 382,
XXIV 86, 169, 385, XXV 165
Francisco Goya. Gazette des Beaux Arts, 2 e per. XII (1875) 56?
XIII 336
-Francisco Goya. Etude biographique et critique, suivie d'un
catalogue raisonne de son ceuvre grave et lithographic. Paris 1877
HAMERTON, P. G. Goya. The Portfolio, X (1879) 6 7> 8 3> 99
VINAZA, Conde de la. Goya, su tiempo, su vida, sus obras. Madrid 1887.
NAIT, Antoine de. Les eaux-fortes de Francisco Goya. Les Caprichos
gravures facsimile de M. Segui y Riera. Paris 1888
ARAUJO SANCHEZ, C. Goya. Madrid 1895 (from La Espana Moderna]
ROTHENSTEIN, W. Goya (Artist's Library, No. 4). London 1900
LAFOND, Paul. Goya. Paris 1902 (from the Revue de F Art Anclen et
Moderne, V etc.)
LOGA, Valerian von. Francisco de Goya. Berlin 1903. Goya's Litho-
graphien und seltene Radierungen. Berlin 1907. Go\a's Zeich-
nungen. Die Graphite hen Kiinste, 1908, p. I
Vier lithographische Einzelblatter von Goya. Jahrbuch der kg/. Pr.
Kunstsa?nmlungen, XXVI (1905) 136
LEHRS, Max. Ein geschabtes aquatintblatt von Goya. Jahrbuch der kgl.
Pr. Kunstsamm/ungen, XXVII 141
-Ein Steindruck Goya's. Ibid. XXVIII 50
BERTELS, K. Goya. Munich 1907
HOFMANN, Julius. Francisco de Goya. Katalog seines graphischen
Werkes. Vienna 1907
OERTEL, Richard. Francisco de Goya (Kiinstler-Monographien, 89).
Bielefeld and Leipzig 1907
ACHIARDI, Pierre d'. Les Dessins de Goya au Musee du Prado a Madrid.
3 vols. Rome 1908
FRANCISCO GOYA
GOYA offers us the strange combination of satirist and court
painter. The reign of Charles IV of Spain (1788-1808)
was, it is true, a period of moral license, analogous in its
reaction against the strictness of the preceding reign to the time of
Charles II of England. And in such periods as these the satirist is
seldom silenced, while his immunity is insured by the very power
that he wields, than which no stronger blackmail can be imagined.
But even then the satirist's safety often lies in his ingenuity in
explaining away all personalities, and claiming the position of critic
and censor, not of persons but of human nature in general. This *
was Goya's attitude, so we owe him no revelations into the rottenness
of a licentious court and the corruptions of the political life of the
day. In face, in speaking of his own great satirical series, Los \
CaprichoS) Goya explicitly denied all intention of personalities,
affirming that he merely chose subjects by which the prejudices,
hypocrisies, and impostures consecrated by time might best be stigma-
tised and turned to ridicule.* This is the inevitable disclaimer of every
satirist who draws from his own circle. Nevertheless, whatever his
contemporaries knew or thought, and many must have felt the sting
of his lash, a generation is enough to have hidden, and we must for
the most part be content to lose any special application in the more
universal truths, on which Goya has himself left us a commentary. f
It is like sand in the eyes of those who are seeking for enlightenment.
Still we have little basis for confidence in other supposed contem-
porary manuscripts, J in which many famous personages of the court
are branded as the victims of Goya's abuse.
We are laying perhaps undue emphasis on the satirical elements of
Goya's art. But it is this side of his work which strikes one most
forcibly in his prints, and it is only with these that we are con-
cerned. He was a great deal more than a satirist. As a painter he
started his career with large works, doing extensive frescoes under the
influence of Francisco Bayeu, Raphael Mengs, and Giovanni Battista
Tiepolo, paintings of biblical subjects, and numerous designs for
tapestry. But outside his native country his fame as a painter is chiefly
limited to portrait, in which he is Spain's greatest master since the
* In an unpublished MS. prospectus quoted by Carderera, Gazette des
Beaux Arts, XV, 240. t Once in Carderera's collection ; now in the
Prado, Madrid. Printed in Vinaza, Goya, Madrid 1887, and in a French
paraphrase in Lefort's catalogue. \ See Lefort, and Vinaza.
5
GREAT ENGRAVERS
time of Velazquez, if not one of the greatest masters of modern
times.
Francisco Goya y Lucientes was born of humble parents at
Fuendetodos in 1746, but Saragossa was the home of his family at
least as early as 1749. Here he studied painting under Jose Luzan y
Martinez, but his chief inspiration was found after his removal to
Madrid in 1766 in the work of the Italian painter and etcher Tiepolo,
who was settled in Spain for the last part of his life. Goya's debt to
Tiepolo is especially remarkable in the group of early etchings done
about 1 778. There is one in particular, the Blind Street Musician (LV),
which shows this influence, not only in the manner of treating line
and light, but in the whole triangular structure of the composition.
The subject itself corresponds to one of Goya's cartoons for tapestry
completed in 1779, and this fact, as well as the similarity of the
manner of etching, places it in the same period as the plates after
Velazquez, of which several are dated in 1778. Goya was too
original to be a success as a reproductive etcher, and his prints after
Velazquez probably meant nothing more than a temporary immersion
in the work of a master whose influence no Spanish painter could
avoid (see LIX-LXI).
In 1789, soon after the accession of Charles IV, Goya was appointed
Pintor de Camara, and succeeded ten years later to the position of first
court painter. It was during this period that his great series of
satires, the Caprichos, was produced. The series as generally known
consists of eighty plates, including as its frontispiece the portrait of
Goya reproduced at the head of the present volume. The only date
attached to any of the subjects is found on an original drawing for
No. 43 of the series, bearing the inscription Tdioma univer \ sal
dibujado y gravado p r \ F. de Goya \ ano 1797, which seems to have
formed a first idea for a title. Moreover Carderera drew a most
natural inference from an unpublished prospectus written by Goya in
1797, that seventy-two subjects were issued at that date. It is of
course possible that a public issue did not at that time succeed the
intention. In any case no copy is known which can be collectively
dated before the edition of 1803, which contained eighty plates. In
1803, b e ^ r e the edition, Goya offered the plates together with two
hundred and forty impressions of the series to the Calcografia Nacional.
Perhaps both the delay and the subsequent presentation to the
Calcografia were caused by Goya's feeling that his personal responsi-
bility for somewhat dangerous satires would thereby be lessened.
Proofs before the numbers and titles printed on the plates in the
6
FRANCISCO GOYA
edition of 1803 are of great rarity, and best represented in the
Bibliotheque Nationale, Paris. They have an added interest from
the occasional difference in the pen-and-ink inscriptions from the
final printed lettering.
In 1806 another edition of the Caprichos is said to have been issued
under the direction of the engraver Rafael Esteve, and if the report
is correct the two hundred and forty impressions received from Goya
must have been exhausted within the three years. Since that time
there have been three fresh editions, in 1856 (without the portrait,
which had been used in the 1855 edition of the Tauromaquid], 1868,
and 1892, all being printed on a thin Japanese vellum, while the
earlier issues were on a stouter and more opaque paper.
In addition to the regular series there are three unpublished plates
of Caprichos, done for the Duchess of Alba, in the National Library,
Madrid. Allusion has already been made to Goya's own commentary.
Besides the one mentioned as preserved in the Prado, he seems to have
left others,* but the majority of those claimed for Goya are probably
later paraphrases or entire fictions. We will make a few quotations
from Lefort's paraphrase where they touch our plates.
No. 6 (iv) " Le monde est une mascarade : visage, costume, voix,
tout est mensonge. Tous veulent paraitre ce qu'ils ne sont pas, tous
s'entre-trompent et personne ne se connait."
No. 26 (xn) " Si Ton veut que ces creatures a tete legere
trouvent ou se caser, il n'y a rien de mieux a faire que de leur mettre
leur siege sur la tete." Lefort supplements this enigmatical remark by
a quotation from his second commentary : " Telle est a present la
fureur chez nos belles de se decouvrir la moitie du corps, qu'elles ne
prennent pas garde que les polissons se moquent d'elles." Von Loga
supports this allusion to the fashion of the time for very short dresses
as well as very low necks by a reference to a corresponding drawing
of men with trousers for arms and boots for ears (Achiardi, pi. CLXXX).
No. 32 (xvi) "Et comment cela ? C'est que ce monde-la a ses
hauts et ses bas, et la vie qu'elle menait ne la pouvait conduire autre
part." This is clear enough, but still leaves us in uncertainty as to
the exact interpretation Goya would have put on the word sensible of
the inscription.
No. 53 (xix) " Ceci ressemble quelque peu aux reunions
* E.g., a second somewhat more outspoken commentary from which
Lefort makes occasional quotation ; another, once in the possession of
Charles Yriarte (see his articles in U Arf] ; and a third (probably a later
paraphrase) from the collection of A. L. de Ayala (quoted by Vifiaza).
7
GREAT ENGRAVERS
academiques. Qui sait si ce perroquet ne parle pas medicine r Que
Ton n'aille pas toutefois Ten croire sur parole. II y a tel medecin
qui, quand il parle, parle d'or, et lorsqu'il ecrit une ordonnance est
quelque chose de plus qu'un Herode. II discourt admirablement
des maladies, mais ne les guerit pas. Enfin, s'il ebaubit son malade,
il peuple en revanche les cimetieres de cadavres."
No. 71 (xxin) " Et si vous n'etiez pas venus du tout, ce n'eut
pas e"te" autrement regrettable," an enlargement rather than an
explanation of the theme, which may be that of the loathsome beings
that thrive in the darkness of superstition.
Superstition and ecclesiasticlsm in its worst forms seem to offer
a fairly frequent butt for his satire,* hardly a matter for wonder in
a country which had suffered under the Inquisition at its worst.
There is a famous picture of a Sitting of the Inquisition in the Academy
of San Fernando, Madrid, and an etching illustrating the same
subject is cited by Piot and Matheron, but no impression is now
known to exist. The personalities given by Lefort are taken from
the notes of a supposed contemporary of Goya in a copy of the first
edition of the Caprichos. We will give a few for what thev are
worth to those interested in Spanish life about 1800. Godoy, Prince
de la Paix, the greatest influence at Charles IV's court, is said to be
satirised in No. 37, and again in No. 38, for the lengthy genealogy
made to flatter him. Godoy 's surgeon Galinsoya figures in No. 40,
and his painter Carnicero in No. 41 (xvm). No. 55 (xx) mocks
at the eternal coquetry of the Comtesse de Benavente, mother of
the Duchess d'Osuna, while Goya's patroness and friend, the Duchess
of Alba, is said to appear in several others. *
In the Caprichos and in the majority of his plates from this time
forward Goya uses a combination of etching in line and aquatint, in
place of the pure etching of his earlier work. Probably in 1778 he
did not know of the process of aquatint, which only came into use
about 17^8, when the French etcher J. B. Le Prince claims to have
made the discovery. The aim of the process is to imitate surfaces of
tone, like those of a washed drawing. It is similar in effect to
mezzotint, but more transparent in its quality, like water colour in
contrast with oil. The essential factor of the process is etching
through a porous ground formed of sand or some powdered resinous
substance. The method of work pursued by Le Prince was as follows :
* E.g., according to Lefort's anonymous contemporary, Caprichos No. 70
represents Spain on the shoulders of Ignorance, devoting itself in all
humility to fanaticism and superstition.
8
FRANCISCO GOYA
Some powdered asphaltum or resin placed in a box was blown into a
cloud with the bellows (or by a fly-wheel worked from without).
The plate being placed on the floor of the box and the door closed,
the dust settles regularly on the surface of the plate, and is afterwards
fixed by the application of heat. If the plate with this porous covering
were placed in the acid bath, the result would be a granulation of
the surface which would print in a regular tone of more or less open
grain according to the kind and amount of resin used. Variations
of tone are achieved by covering the ground with varnish to protect
it against the acid where it is to print quite white, and then proceeding
by stages, leaving uncovered longest those parts that are to print
darkest. A somewhat more delicate grain can be achieved by dis-
solving resin in spirits of wine, spreading this solution over the plate,
and so letting the dry grains settle as the spirit evaporates. This
method was not used in Le Prince's time, and it is doubtful whether
Goya knew it or not. One of the Caprtchos, No 32 (xvi), shows
pure aquatint, but in all the other plates aquatint is treated as an aid
to the etching in line, rather than an essential factor in the structure
of the figures or subject. But if not structurally essential to his com-
positions, the large number of original studies for his plates that are
preserved,* whether in red chalk, or pen-and-ink and wash, show that
his compositions were conceived from the first in light and shade.
Apart from the Caprichos, Goya's satirical work is chiefly contained
in the Proverbios, a series of eighteen larger oblong plates, which
were pmrjably done about 1810-15, although they were first publicly
issued in a series in 1864 (by the Acadamy of S. Fernando). The
few proofs that exist before the addition of the numbers are said to
have been taken by the private owner of the plates (whose name is
not recorded) in 1850. Three plates of similar size and character,
evidently intended for the Proverbios, but not in the published set,
are known from impressions printed in "L'Art" in 1877.
The point of the satire in these dreams (suenos, or alucinaciones
inespllcables as they have been called) is generally more obscure than
in the Caprichos. Some of them fall into line with other series, e.g.
Soldiers and the Phantom (xxxvi) with the 'Desastres de la Guerra, while
A Circus Queen (XLIII) like the Tauromaquia reflects the life of the
Ring. A fourth plate published by u L'Art " in 1877, tne F e ^ u ^ s
(xxxiv), ranges itself so definitely with the subject of the Tauromaquia
that it has been placed by Lefort and Hofmann in their catalogues at
the end of that series.
* For reproductions see Books of Reference, Achiardi.
GREAT ENGRAVERS
It is more than probable that several of the series, such as the
People in Sacks (xxxix) had some definite political signification, but
no clues to their explanation, nor even any mystifying commentaries
such as we have for the Caprichos, are forthcoming. Whatever Goya
meant by the Flying Men (XLII) matters little : it is curiously
topical to-day. Treated as pure composition, some of these plates
the most wonderful of Goya's achievements. The Giant Dancing
(xxxvin) is a magnificent apotheosis of the grotesque, and most
mysteriously impressive in the brilliance of its handling of light and
shade. In its suggestion of Titanic power it has an even greater
counterpart in the Colossus (LVI), one of Goya's separate plates which
stands quite apart from the rest in its technical handling. Here the
aqi'atint is much deeper than usual, and the plate is treated like a
mezzotint, the lights being scraped out from a dark foundation.
Another of the Proverbios, the Company of People on the Branch of
a Tree (xxxvn), is almost Japanese in its purity of dtsign. It is
remarkable again how near Goya comes to the more abstract style of
Japanese and Chinese art in his only two landscape etchings, of which
one is reproduced on plate LVIII. They are each only known in a
single impression at Madrid.
Our survey of the more imaginative part of Goya's work may fitly
close with a quotation from Goya's own words, from the prospectus
to the Caprichos as translated into French in Valentin Carderera's-
article: "Si imitation de la nature est aussi difficile qu'elle est admirable'
quand on russit a 1'obtenir, celui-la meritera encore quelque estime
qui s'eloignant complement d'elle, a du exprimer aux yeux des
formes ou des mouvements qui n'ont existe jusqu'a ce jour que
dans Timagination . . . La peinture, ainsi que la poesie, choisit dans
1'univers ce qu'elle trouve de plus propres a ses fins; elle rassemble
dans un seul personnage fantastique des circonstances et des caracteres
que la nature pr^sente epars entre plusieurs individus, et c'est grace a
cette combinaison sage et ingenieuse que 1'artiste acquiert le titre
d'inventeur et cesse d'etre un copiste servile."
In the two series that remain to be mentioned, the Desastres de la
Guerra, and the Tauromdquia, Goya is on more solid earth. The
'Desastres are based on the Napoleonic campaigns in the Peninsula from *
the abdication of Charles IV in 1808 and the subsequent accession of
Joseph Bonaparte, to the restoration in 1813 of Charles's son Ferdinand
VII, who had only reigned for a few months in 1808. No doubt
here too, Goya chiefly relied on his imagination, but various plates,
such as that of the Woman firing the Cannon, XLVI (Maria Agostina
10
FRANCISCO GOYA
of Saragossa), have been referred to definite incidents. Nothing but
immediate experience could have given this terrible emphasis to the
horrors of war, in face of which Callot's famous series are mere stage
play. Amid the multitude of ghastly incidents, a plate such as the
Cup of Cold Water (LI) comes as a relief in the comparative absence
^/revolting details, and in the sheer beauty and impressiveness of its
composition. Aquatint is a much less important factor in the
Desastres than in any of the other series, twenty-eight of the eighty-
two plates being in pure etching. Where aquatint is used, as in
the plate just cited, it is often a much broader and more open grain
than in the Caprichos, or Tauromaquia. As in the Caprichosthe titles
often leave considerable ambiguity as to the exact turn of Goya's
meaning. For example Tampoco (XLVIII) is obscure, and only slightly
less so when considered in relation to what proceeds and follows in
a progressive series. It might be read " Even thus they will not
yield," but almost equally well " they will not spare," from the
point of view not of the dead, but of the living.
In connection with these illustrations of the Peninsular War, it is
of interest at least to English readers to recall Goya's portraits of the
Duke of Wellington. A red chalk drawing in the British Museum,*
taken from the life, formed the basis for the picture in the collection
of the Duke of Leeds, and an unfinished equestrian portrait is pre-
served at Strathfield Saye. They show the Duke in much earlier
life than most of his portraits, before the loss of some front teeth
which caused the characteristic sinking of the lips.
As in the case of the Proverbios there was no public issue of the
series of Desastres during the artist's lifetime. It is curious that
Goya should have thought so little of profiting from the sale of his
prints. The first edition of 1863 issued by the Academy of San
Fernando (of which Goya had been director) differs from the second
of 1892, in the change of Academia de Nobles Artes of the first title-
page to Academia de Bellas Artes of the second. Unfortunately the
Calcografia Nacional has continued to issue bad impressions from the
worn plates quite recently (1903 and 1906).
Two of the eighty-two plates never appeared in the published set
while a sort of supplement is formed by the Prisoners (H. 240-242),
three plates of different size, each only known in a single contemporary
impression (Madrid). Lefort possessed the plate of one of these
Prisoners, and had impressions published in the Gazette des Beaux
Arts, 1867.
* Reproduced in facsimile by the Art for Schools Association.
I I
GREAT ENGRAVERS
The Tauromdquia has probably suffered more than any of the other
series, from the continuation of modern impressions. They have
been recently reissued by the Calcografia Nacional, after having
passed through two French editions from 1876, as well as two earlier
Spanish issues in 1815 and 1855. Goya must have studied contem-
porary books on the history of bull-fighting like that of his friend
N. F. Moratin, Carta historical sobre el or I gen y progresses de las fiestas
de tor os en Espana, 1777, and others by Antonio Carnicero (1790) and
Pepe Hillos (1796), but his real inspiration was the life and incidents
that he must himself have witnessed in the ring. Apart from the
interest, of their presentation of the Spanish national sport, these
plates ojfer some of the finest examples of Goya's complete mastery
of light and shade, and of space composition. The plate of Martincho
throwing a bull (xxix) shows a brilliance of concentration, a command'
of spacing, and a grasp of the mysterious power of a veil of light and
shade that places it among the greatest triumphs of art. As pure
illustrations of the bull-ring, Goya's four lithographs entitled Los Toros
de Burdeos (The Bulls of Bordeaux) have an even greater vividness
(LXIII-IV). Lithography as a process of making prints was only,;
discovered by Senefelder about 1800, and Goya's earliest dated v
lithographs belong to the year 1819, a year after the publication of
Senefelder's historic description of the process and his own discovery.
He only did about twenty lithographs in all, but they are among the
finest work that exists in a process that has been popular with few
great artists. The Bulls of Bordeaux get their name from the place
of their publication in 1825, the subjects being based of course not on
any local bull-fights but on Goya's memory or sketches of the sport
in Spain. .
The latter part of Goya's life was not one of personal glory. On
the accession of Joseph Bonaparte, he did not scruple to retain his
position at court at the sacrifice of his loyalty to his king. On the
restoration he was branded by Ferdinand VII as worthy of the
garrotte, but he still adroitly clung to his place as painter to the
court. It was not until some ten years later, in 1824, that he obtained
the King's consent (or, it may be, followed the King's advice) to
retire from Madrid, spending the last four years of his life at
Bordeaux.
In spite of his cynicism and apparent contempt for the ordinary
codes of loyalty and honour, Goya seems to have been a man of
a warm heart and enduring friendships. Nevertheless his vein of
satire was entirely without the bonhomie which takes all evil taste
12
FRANCISCO GOYA
< from the work of so much of the coarsest of English caricature. In
the unflinching courage with which he probes right' to the heart of
social rottenness he proved himself the true satirist battling with
abuses, not the mere social historian of a degenerate age. But his
highest fame rests not on his satire, but on the sheer power of his
imaginative faculty, and on the perfect command of composition,
whether by line, space, or light and shade, by which his genius was
seconded.
LIST OF GOYA'S WORK, WITH
REFERENCE TO THE PLATES
Los CAPRICHOS. H., L. 1-80. A
series of 80 etchings, including
the frontispiece portrait. 72 of
the plates were produced between
1793-1797,. but there was pro-
bably no collected edition before
1803 when the plates were
. acquired by the Calcografia
Nacional. Later editions 1806,
1856 (without the portrait of
Goya, which had been used
in 1855 ed. of the Tauroma-
quia), 1868, and 1892. The
editions from 1856 printed on
thin Japanese vellum ; the earlier
editions on stouter and more
opaque paper. There are also
three unpublished plates of the
series. H.,L. 81-83. The follow-
ing numbers arc here reproduced :
Francisco Goya y Lucientes, Pintor.
Frontispiece. H., L. I
El si pronuncian y la mano alargan
al primero que llega (They say
yes, and give their hand to the
first who offers), i. H., L. 2
Que viene el coco (Here comes the
bogey!) ii. H., L. 3
Tal para qual (Birds of a feather
flock together), in. H., L. 5
Nadie se conoce (Nobody really
knows another), iv. H., L. 6
Ni asi la distingue (Even so near
he doesn't recognise her), v.
H, L. 7
Que se la llevaron (And they carried
her off), vi. H., L. 8
El Amor y la Muerte (Love and
Death), vn. H., L. 10
Estan calientes (It burns), vm.
H,L. 13
Bellos consejos (Good advice), ix.
H., L. 15
Dios la perdone : y era su madre
(God forgive Her : it was her own
mother), x. H., L. 16
Ya van desplumados (There they
go, all plucked), xi. H., L. 20
Ya tienen asiento (At last they have
found a place), xn. H., L. 26
Chiton ! (Mum's the word !) xm.
H., L. 28
Esto si que es leer (That's what one
calls reading), xiv. H., L. 29
Porque esconderlos ? (Why try to
hide them ?) xv. H., L. 30
Porque fue sensible (Because she
was sensitive), xvi. H., L. 32
Brabisimo ! (Bravo !) xvn. H., L,
38
GREAT ENGRAVERS
Ni mas ni menos (Neither more
nor less), xvm. H., L. 41
Que pico de oro ! (What golden
oratory !) xix. H., L. 53
Hasta la Muerte (Till death), xx.
H., L. 55
Volaverunt (They have taken to
wing), xxi. H., L. 61
Linda Maestra ! (Pretty mistress !)
xxn. H., L. 68
Si amanece ; nos vamos (If the day
dawns, we go), xxm. H., L. 71
No te escarparas (You will not
escape), xxiv. H., L. 72
Nadie nos ha visto (Nobody has
seen us), xxv. H., L. 79
Ya es hora (Now it is time), xxvi.
H., L. 80
LA TAUROMAQUIA. H., L. 83-115,
and unpublished plates 116-123.
Series of 33 published plates issued
by Goya in a small edition 1815,
with title Treinta y tres estampas
que representan diferentes suertes y
attitudes del arte eli lldiar los Toros.
The second edition, published
by the Calcografia Nacional in
1855 w i tn tne portrait of Goya
from the Caprichos, under the
title, Cole don de /as diferentes
suertes, etc. Third edition, Paris
1876, with 7 additional plates
(La lauromachie, recuell de 40
Estampes). There was a second
French edition, and also a recent
issue by the Calcografia Nacional,
which recovered the plates through
the intervention of the etcher
Ricardo de los Rios. The follow-
ing numbers are here reproduced :
The populace cutting the bull's
hamstrings with lances and other
weapons, xxvn. H., L. 94
The clever student from Fakes,
wrapped in his mantle, plays with
the bull, xxvin. H., L. 96
The famous Martincho throws a
bull in the Arena at Madrid,
xxix. H., L. 98
Martincho's audacious act in the
Arena at Saragossa. xxx. H., L.
100
The agility and daring of Juanito
Apinani in the Arena at Madrid.
xxxi. H., L. 102
Burning darts, xxxii. H., L. 113
Two groups of picadors overthrown
one after the other by the same
bull, xxxin. H., L. 1 14
Five Bulls (Pluie de Taureaux).
xxxiv. IT., L. 123
Los PROVERBIOS. H., L. 124-141,
and unpublished plates, 142-144.
This series was probably done for
the most part between 1810-15,
but the first collected edition
was issued by the Academy of
S. Fernando in 1864. A small
number of impressions had been
taken from the plates (before the
addition of the numbers) about
1850. Later editions, 1891 and
1902. The following numbers
are here reproduced :
Puppets of men and a dead ass
thrown on a blanket by six
women, xxxv. H., L, 124
Soldiers and the phantom, xxxvi.
H, L. 125
A company of people, seated on the
branch of a tree, listening to an
orator, xxxvu. H., L. 126
Thegiant dancing. xxxvm. H.,L. 127
Two groups of people in sacks.
xxxix. H., L. 131
Woman carried off by a horse. XL.
H., L. 133
The dancers. XLI S H., L. 135
The flying men. XLII. H., L. 136
A Circus Queen. XLIII. H., L. 143
Other laws for the people. XLIV.
H., L. 144
Los DESASTRES DE LA GUERRA. H., L.
145-224; and unpublished plates
225-6. A series of eighty plates
etched at the time of the French
occupation (about 1810), but first
published in 1 863 by the Academy
of S. Fernando. Second edition
1892 (in which Academia de Bellis
Artes replaces Academia de Nobles
Artes of the " title-page of
first edition). The Calcografia
Nacional has also issued editions
from the worn-out plates in
1903 and 1906. The following
numbers are here reproduced :
5. Y son fieras (And they are like
wild beasts). XLV. H., L. 149
7. Que valor ! (What courage !)
XLVI. H., L. i 5 i
8. Siempre sucede (That always
happens). XLVII. H., L. 152
10. Tampoco (Nor thus). XLVIII.
H., L. 154
19. Ya no hay tiempo (No time
now). XLIX. H., L. 163
50. Madreinfeliz(Unhappy mother).
L. H., L. 194
59. De que sirve una taza ? (What
good a single cup ?). LI. H., L. 203
71. Contra el bien general (Against
the public good). LII. H., L. 215
FRANCISCO GOYA
77. Que se rompe la cuerda (The
rope breaks). LIII. H., L. 221
MISCELLANEOUS ETCHINGS NOT BE-
LONGING TO ANY SERIES. H. 2ZJ-
248. L. 227-229, 246-262
Blind man lifted on the horns of a
bull. LIV. H. 231. L. 247
The Blind Street Musician. LV.
H. 232. L. 248
The Colossus. LVI. H. 233. L.
249. Scraped aquatint
Man on the Swing. LVII. H. 234.
L. 250
Landscape with a Waterfall. LVIII.
H. 244. L. 260. Madrid
PRINTS AFTER VELAZQUEZ. H. 249-
264. L. 230-245. Early work,
for the most part dated 1778
Las Meninas (Velazquezpainting the
portrait of the Infanta Margarita
Maria). LIX. H. 255. L. 236
The Infant Don Fernando. LX.
H. 257. I. 238
Barbarossa, Court fool to Philip IV.
LXI. H. 260. L. 241
LITHOGRAPHS. H. 265-284. L. 263-
-, 278
The reading. LXIT. H. 270. L. 267
The famous American Mariano
Ceballos. LXIII. H. 277. L. 272
This and the following are from a
series of four lithographs entitled
Los toros de Burdeos (The Bulls
of Bordeaux), 1825
Bull-fight with divided arena. LXIV.
H. 280. L. 275
The title-page border is from the engraved title to an edition of Terence,
Paris 1642
I. LOS CAPRICHOS, 2. EL SI PRONUNCIAN Y LA MANO
ALARGAN AL PRIMERO QUE LLEGA (They say yes, and give
their hand to the first who offers)
G. I
II. LOS CAPRICHOS, 3. QUE VIENE EL COCO (Here comes the
bogey !)
ITI. LOS CAPRICHOS, 5. TAL PARA QUAL (Birds of a feather flock
together)
IV. LOS CAPRICHOS, 6. NADIE SE CONOCE (Nobody really knows
another)
V. LOS CAPRICHOS, 7. NI ASI LA DISTINGUE (Even so near
he doesn't recognise her)
VI. LOS CAPRICHOS, 8. QUE SE LA LLEVARON (And they carried
her off)
VII. LOS CAPRICHOS, 10. EL AMOR Y LA MUERTE (Love and
Death)
VIII. LOS CAPRICHOS, 13. ESTAN CALIENTES (It burns)
IX. LOS CAPRICHOS, 15. BELLOS CONSEJOS (Good advice)
G 2
X. LOS CAPRICHOS, 16. DIGS LA PERDONE :
MADRE (God forgive her : it was her own mother)
Y ERA SU
XI. LOS CAPRICHOS, 20. YA VAN DESPLUMADOS (There they go,
all plucked)
XII. LOS CAPRICHOS, 26. YA TIENEN ASIENTO (At last they have
found a place)
XIII. LOS CAPRICHOS, 28. CHITON! (Mum's the word !)
XIV. LOS CAPRICHOS, 29. ESTO SI QUE ES LEER (That's what
one calls reading)
XV. LOS PROVERBIOS, 30. PORQUE ESCONDERLOS ? (Why try
to hide them ?
XVI. LOS CAPRICHOS, 32. FOR QUE FUE SENSIBLE (Because she
was sensitive)
XVII. LOS CAPRICHOS, 38. BRABISIMO ! (Bravo !)
c. 3
XVIII. LOS CAPRICHOS, 41. NI MAS NI MENOS (Neither more
nor less)
XIX. LOS CAPRICHOS, 53. QUE PICO DE ORO ! (What golden
oratory !)
XX. LOS CAPRICHOS, 55. HASTA LA MUERTE (Till death)
XXI. LOS CAPRICHOS, 61. VOLAVERUNT (They have taken to
wing)
XXII. LOS CAPRICHOS, 68. LINDA MAESTRA ! (Pretty mistress !)
XXIII. LOS CAPRICHOS, 71. SI AMANECE ; NOS VAMOS (If
the day dawns, we go)
XXIV. LOS CAPRICHOS, 72. NO TE ESCARPERAS (You will not
escape)
XXV. LOS CAPRICHOS, 79. NADIE NOS HA VISTO (Nobody has
seen us).
G. 4
XXVI. LOS CAPRICHOS, 80. YA ES HORA (Now it is time)
XXVII. LA TAUROMAQUIA. THE POPULACE CUTTING THE
BULL'S HAMSTRINGS WITH LANCES AND OTHER
WEAPONS. H.,L. 94
XXVIII. LA TAUROMAQUIA. THE CLEVER STUDENT FROM
FALCES, WRAPPED IN HIS MANTLE, PLAYS WITH
THE BULL. H., L. 96
XXIX. LA TAUROMAQUIA. THE FAMOUS MARTINCHO
THROWS A BULL IN THE CIRCUS AT MADRID.
H.,I, 9 8
XXX. LA TAUROMAQUIA. MARTINCHO'S AUDACIOUS ACT
IN THE CIRCUS AT SARAGOSSA. H., L. 100
XXXI. LA TAUROMAQUIA. THE AGILITY AND DARING OF
JUANITO APINANI IN THE CIRCUS AT MADRID.
H., L. 102
XXXII. LA TAUROMAQUIA. BURNING DARTS. H.,L. 113
XXXIII. LA TAUROMAQUIA. TWO GROUPS OF PICADORS
OVERTHROWN ONE AFTER THE OTHER BY THE
SAME BULL. H., L. 114
XXXIV. LA TAUROMAQUIA. FIVE BULLS (PLUIE DE TAUR-
EAUX). H., L. 123
XXXV. LOS PROVERBIOS. PUPPETS OF MEN AND A DEAD ASS
THROWN ON A BLANKET BY SIX WOMEN. H.,L. 124
XXXVI. LOS PROVERBIOS. SOLDIERS AND THE PHANTOM.
H.,L.i2 5
XXXVII. LOS PROVERBIOS. A COMPANY OF PEOPLE, SEATED
ON THE BRANCH OF A TREE, LISTENING TO AN
ORATOR. H., L. 126
XXXVIII. LOS PROVERBIOS. THE GIANT DANCING. H, L. 127
XXXIX. LOS PROVERBIOS. TWO GROUPS OF PEOPLE IN
SACKS. H., L. 131
XL. LOS PROVERBIOS. WOMAN CARRIED OFF BY A HORSE.
H,L.i 33
XLI. LOS PROVERBIOS. THE DANCERS. H.,L. 135
G. 6
XLII. LOS PROVERBIOS. THE FLYING MEN. H.,L. 136
XLTTI. LOS PROYERBIOS. A CIRCUS QUEEN. H., L. 143
XLIV. LOS PRO VERB IOS. OTHER LAWS FOR THE PEOPLE.
H., L. 144
XLV. LOS DESASTRES DE LA GUERRA, 5. Y SON FIERAS
(And they are like wild beasts). H., L. 149
XLVI. LOS DESASTRES DE LA GUERRA, 7. QUE VALOR!
(What courage!). H., L. 151
XLVII. LOS DESASTRES DE LA GUERRA, 8. SIEMPRE SUCEDE
(That always happens). H., L. 152
XLVIII. LOS DESASTRES DE LA GUERRA, 10. TAMPOCO (Nor
thus). H., L. 154
XTJX. LOS DESASTRES DE LA GUERRA, ' 19. YA NON HAY
TEMPO (No time now). H., L. 163
G. 7
L, LOS DESASTRES DE LA GUERRA, 50. MADRE INFELIZ
(Unhappy mother). H., L. 194
LI. LOS DESASTRES DE LA GUERRA, 59. DE QU SIRVE UNA
TAZA ? (What good a single cup ?). H., L. 203
LII. LOS DESASTRES DE LA GUERRA, 71. CONTRA EL BIEN
GENERAL (Against the public good). H., L. 215
LIII. LOS DESASTRES BE LA GUERRA, 7. QUE SE ROMPE LA
CUERDA (The rope breaks). H., L. 221
LIV. BLIND MAN LIFTED ON THE HORNS OF A BULL. H.23I.
L. 247
LV. THE BLIND STREET MUSICIAN. H. 232. L. 248
LVI. THE COLOSSUS. SCRAPED AQUATINT, H. 233. L. 249
LVII. MAN ON A SWING. H. 234. L. 250
G. 8
LVIII. LANDSCAPE WITH A WATERFALL. H. 244. L. 260.
MADRID
LIX. LAS MENINAS (VELAZQUEZ PAINTING THE PORTRAIT
OF THE INFANTA MARGARETA MARIA), AFTER
VELAZQUEZ. H. 255. L. 236
LX. THE INFANT DON FERNANDO, AFTER VELAZQUEZ.
H. 257. L. 238
LXI. BARBAROSSA, COURT FOOL TO PHILIP IV, AFTER
VELAZQUEZ. H. 260. L. 241
LXII. THE READING. LITHOGRAPH. H. 270. L. 267
LXIII. THE FAMOUS AMERICAN, MARIANO CEBALLOS. LITHO-
GRAPH. H. 277. L. 272
LXIV. BULL-FIGHT WITH DIVIDED ARENA. LITHOGRAPH.
H. 280. L. 275
PRINTED AT THE BALLANTYNE PRESS LONDON
BINDING SECT. SEP 25 1974
PLEASE DO NOT REMOVE
CARDS OR SLIPS FROM THIS POCKI
UNIVERSITY OF TORONTO LIBRARY
