VARIOUS SUBJECTS
1. Venus.
Mentioned by the Conde de la Viñaza as forming part of Godoy’s collection at Madrid.
2 and 3. The Madhouse.
Academia de San Fernando, Madrid, and copy in the collection of Don A. de Beruete, Madrid.
4. ‘La Maja Vestida’ and ‘La Maja Denuda.’
The two famous pictures in the Academy of San Fernando at Madrid are regarded as portraying a favourite of Manuel Godoy, the ‘Prince of the Peace’; others maintain that they are portraits of the painter’s mistress. Both paintings are from the same model. The one represents a young and beautiful woman reclining at full length upon a couch, her shoulders sustained by soft cushions, her head somewhat advanced by her hand crossed at the back of her neck, the upper part of the left arm supported by the cushions. Her lustrous, expressive eyes are turned towards the spectator. She is habited in Oriental costume, a diaphanous yellow vest, and clinging skirt beneath, of tender rose colour, revealing the contour of the lower limbs.
The second figure is entirely nude, and in precisely the same attitude as the companion picture. Relieved of the head-dress, her curling tresses fall luxuriantly about her shoulders; the lace-bedecked pillows and drapery upon the couch in charming contrast with the lovely flesh-tints. In short, these life-size figures are amongst the choicest examples of the master. Had Goya always painted thus it had been vain to blame, and useless to praise him.
5. The Majas of the Balcony.
Two young women are seated on a balcony, one in a white robe with black mantilla, the other in a dark dress with white mantilla. Behind them two attendant cavaliers.
Duque de Marchena, Madrid.
6. The Majas of the Balcony.
Repetition of foregoing with variations.
Comtesse de Paris.
7. The Majas of the Balcony.
Repetition.
Formerly at Salamanca. Bought in Paris, 1875, by ‘C.G.’
8. The Majas at the Theatre.
In the front of a box three young ladies are seated; a gentleman standing behind.
Don Joaquin Miguel y Polo, Valencia. Doubtful.
9. A Cavalier playing the Guitar.
The Prado, Madrid.
10. A Cavalier.
He is represented smoking a cigarette. A lace frill about his neck; a black cape is thrown across his left shoulder.
Academia de Bellas Artes, Cadiz. Doubtful.
11. A Maja, veiled.
Standing on a terrace, the lady lightly lifts a black scarf from her head. Black skirt, red shoes. To her left a block of stone; a cloak on the ground.
Herr H. O. Miethke, Vienna. Doubtful.
12. Two Girls.
Two girls in white mantillas are followed by a young man.
W. Rotheinstein, Esq., London.
13. Two Girls at a Window.
Are exchanging pleasantries with a student passing the house.
Doña S. España, Briviesca.
14. Youth.
A girl is confiding the contents of a letter to another. In the distance young women are hanging linen to dry.
Museum, Lille. Doubtful.
15. Old Age.
Two faded beauties in ball-dress are discussing their earlier days. One is looking in a mirror, on which is inscribed, ‘Que tal?’ (Can this be me?). In the middle distance, Time, with a besom, prepares to sweep them from the world. Companion picture to the preceding.
Museum, Lille. Doubtful.
16. The Knife-Grinder.
Bare-headed, in his shirt sleeves, engaged at his trade.
Formerly in the Esterhazy Collection, Vienna; now in the National Gallery, Buda-Pesth.
17. The Water-Carrier.
A woman holding in her right hand a large pitcher which rests upon her hip. From her left hand is suspended a basketful of tumblers. Companion picture to the preceding.
Formerly in the Esterhazy Collection; now in the National Gallery, Buda-Pesth.
18. Girl delivering a Letter.
Formerly in the collection of Don Ricardo Heredia.
19. Children at Play.
Stirling-Maxwell Collection, Keir, Perthshire.
20. Children Playing.
Stirling-Maxwell Collection, Keir, Perthshire.
21. Children Playing.
M. Mège, Paris.
22. The School.
A number of young urchins look on at the schoolmaster whipping one of their number.
M. Mège, Paris.
23. Fight between Brigands and Soldiers.
The scene is on the bank of a river.
Sold from the collection of Don Eustaquio Lopez, 1866.
24. Priest and Brigand.
At the gate of a convent the bandit El Margaroto points with a carbine at Fra Pedro de Zaldivia, who offers the brigand a pair of shoes.
M. Lafitte, Madrid.
25. Priest and Brigand.
Fra Pedro de Zaldivia seizes the carbine of El Margaroto, and brings retribution upon the bandit. Three brethren are hastening to the monk’s assistance.
M. Lafitte, Madrid.
26. Brigands in a Convent.
Fight between monks and bandits.
M. Lafitte, Madrid.
27. Priest and Brigands.
A bandit attempts to escape. The monk, having possession of a carbine, wounds him in the leg. In the background a horse is galloping away.
28. Priest and Brigand.
El Margaroto submits to the priest, who, master of the situation, in turn threatens the brigand.
M. Lafitte, Madrid.
29. Priest and Brigand.
The bandit, conquered, yields to the priest, who binds him securely. In the background countrymen are hastening to the scene.
M. Lafitte, Madrid.
30. Bandits.
A post-chaise held up by Spanish highwaymen.
Marqués de Castro Serna, Madrid.
31. Bandits.
Two women are supplicating brigands to spare their lives; a third is lying dead.
In this picture the colour is said to be wholly laid on with a knife.
Mentioned by Z. Aranjo.
32. Brigands stopping a Carriage.
Marqués de Riscal, Madrid. Doubtful.
33. Brigands.
A brigand is holding a woman to the ground; a monk, inactive, is contemplating the scene. In the background, two women, stripped, are tied to trees.
Formerly in possession of Don Constantino Ardanaz. Mentioned by Aranjo.
34. Brigands.
A kneeling woman struggling with a bandit. In the distance two bandits are carrying a dead woman.
Formerly in the possession of Don Constantino Ardanaz, Madrid. Mentioned by Aranjo.
35. Brigands.
At the entrance to a cave a bandit is murdering a woman bound to a rock.
36. Brigands.
Slaughter of a group of men, women, and children.
Marqués de la Romana, Madrid.
37. Brigands’ Cave.
In the cave, brigands are stripping women whom they have captured.
Marqués de la Romana, Madrid.
38. Brigands’ Cave.
A brigand slaughtering a woman.
Marqués de la Romana, Madrid.
39. Brigands’ Cave.
Bandits asleep.
Marqués de la Romana, Madrid.
40. The Promenade.
A lady and gentleman conversing as they walk. Tradition has it that the two persons represented are the Duquesa de Alba y Goya.
Marqués de la Romana, Madrid.
41. The Plague Terror.
The stricken ones, stretched upon the ground, are tended by scared doctors.
Marqués de la Romana, Madrid.
42. Interior.
Several women have met together for a gossip.
Marqués de la Romana, Madrid.
43. The Monk’s Visit.
A monk and a young woman.
Marqués de la Romana, Madrid.
44. Brigands Quarrelling.
Museum, Besançon.
45. Brigands Quarrelling.
An old man, seated, is looking on.
46. A Cannibal Scene.
Eight men are gathered round a fire; one is grinning, and holding in his right hand a human arm, in his left a head. His companions, naked like himself, are engaged in the orgie.
Museum, Besançon.
47. A Cannibal Scene.
At the foot of a cliff men occupied in stripping and carving corpses.
Museum, Besançon.
48. The Funeral of the Sardine.
An episode at the close of the carnival at Madrid. Men and women are masquerading on the banks of the Manzanares.
Academia de San Fernando, Madrid.
49. A Carnival Scene.
Masked figures dance extravagantly at the entrance of a cave.
M. Ch. Cherfils, Biarritz.
50. A Carnival Scene.
A singer entertaining his audience.
Museum, Bayonne. Doubtful.
51. A Masquerade.
In the foreground two principal figures are dancing; others engaged in flirtation and conversation.
Duquesa de Villahermosa, Madrid.
52. Children’s Masquerade.
Don Patricio Lozano, Madrid.
53. Bal Champêtre.
Groups of peasants dancing under an arch.
Mentioned by Aranjo.
54. Bal Champêtre.
A village population dancing; spectators on a hill.
55. Bal Champêtre.
Same subject as Goya’s tapestry cartoon.
Conde de Torrecilla, Madrid.
56. A Popular Pastime.
Near an old city-gate in ruins delighted spectators are regarding a number of girls dancing.
Formerly in collection of Don Eustaquio Lopez. Sold 1866.
57. A Fête.
Don Juan Perez Calvo, Madrid.
58. Outside the Booth.
Mountebanks attracting an audience at a fair.
Marqués de Castro Serna, Madrid.
59. The Tight-Rope Dancers.
A comic troupe, in which it is said there is an allusion to Queen Maria-Luisa and Godoy.
Marqués de Castro Serna, Madrid.
60. The Greasy Pole.
The pole is erected in the foreground; in mid-distance a village built on a rock; mountainous background.
Marqués de Casa Torres, Madrid.
61. The Bonfire.
Don Cristobal Ferriz, Madrid.
62. The Bonfire.
Repetition of preceding.
Conde de Villagonzalo, Madrid.
63. The Puppet Merchant.
A toyman offering his wares; women and children around him; a gentleman seated, whose features recall those of the painter.
Formerly in Martinet Collection. Paris sale, 1896.
64. The Balloon.
A balloon rises, while a considerable group of persons watch its ascent.
Formerly in Madrazo Collection, Madrid.
65. The Siesta.
Two couples asleep on a lawn.
66. The Picnic.
Same subject as No. 1 of Goya’s tapestry cartoons.
Marqués de Torrecilla, Madrid.
67. The House of the Cock.
The patio of an inn. Reproduced as No. 3 of Goya’s Tapestry Cartoons.
Formerly in Yriarte Collection. Paris sale, 1898.
68. The Inundation.
Marqués de Castro Serna, Madrid.
69. The Hurricane.
Surprised by a tornado, a crowd of people run distractedly.
Formerly in collection Eustaquio Lopez. Sale, 1866.
69A. The Burning Village; an Episode of War.
The inhabitants fleeing from their burning houses.
Marqués de Castro Serna, Madrid.
Reproduction of Disasters of War, No. 44.
70. An Aragonese.
Formerly in collection of M. Vallet, Bordeaux.
71. Peasants.
A group of three; a young man, a girl, and an old woman.
Formerly in collection Vallet. Paris sale, 1884.
72. The Angler.
On the bank of a winding river a solitary figure.
Formerly in collection of Don J. M. d’Estoup de Murcia. Doubtful.
73. Country Scene.
Formerly in collection of Don J. M. d’Estoup de Murcia. Doubtful.
74. Sea Piece.
Formerly in collection of Don J. M. d’Estoup de Murcia. Doubtful.
75. The Infuriated Dog.
The maddened animal tries to break away from his chain.
M. Carvalhido, Paris.
76 and 77. Sketches.
Two sketches for equestrian portraits; one for that of the Duke of 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.