CAPRICES.
PLATE SUBJECT
[311.]1. Francisco Goya y Lucientes, Painter.
[312.]2. So it is settled.
[313.]3. Here comes the Bogey!
[314.]4. The Old Spoilt Child.
[315.]5. Birds of a Feather.
[316.]6. Appearances are Deceptive.
[317.]7. Not thus can he distinguish her.
[318.]8. Kidnapped.
[319.]9. Tantalus.
[320.]10. Love and Death.
[321.]11. Andalusian Brigands. Boys, to Work!
[322.]12. Tooth-hunting.
[323.]13. Scalding Hot!
[324.]14. What a Sacrifice!
[325.]15. Good Counsel.
[326.]16. ‘May God pardon her!’
[327.]17. Bien tirada está.
[328.]18. ‘And his House is burning!’
[329.]19. ‘All will fall.’
[330.]20. They are already plucked.
[331.]21. How they pluck her.
[332.]22. Poor Little Things!
[333.]23. Carry this Dust away.
[334.]24. No Remedy.
[335.]25. Because he broke the Pitcher.
[336.]26. Now they have a Seat.
[337.]27. Which is the more bored?
[338.]28. Hush!
[339.]29. This is what he calls Reading.
[340.]30. Why hide them?
[341.]31. She prays for her.
[342.]32. For Over-sensibility.
[343.]33. ‘To the Count Palatine.’
[344.]34. Sleep conquers them.
[345.]35. They shave him.
[346.]36. A Bad Night.
[347.]37. Will the Pupil know more than the Master?
[348.]38. Bravissimo!
[349.]39. As far as his Grandfather.
[350.]40. Of what Ill will he die?
[351.]41. Neither more nor less.
[352.]42. Thou who canst not.
[353.]43. The Sleep of Reason produces Monsters.
[354.]44. They spin Linen.
[355.]45. There is a lot to do.
[356.]46. Doing Penance.
[357.]47. Homage to the Master.
[358.]48. The Blowers.
[359.]49. Little Ghosts.
[360.]50. The Chinchillas.
[361.]51. They cut each others’ Nails.
[362.]52. What a Tailor can do.
[363.]53. ‘What an Orator!’
[364.]54. The Shameful One.
[365.]55. Till Death.
[366.]56. Ascending and Descending.
[367.]57. The Pedigree.
[368.]58. Swallow that, you Dog!
[369.]59. And yet they do not go.
[370.]60. Trials.
[371.]61. Up above the World so high!
[372.]62. Who would believe it?
[373.]63. How grave they are!
[374.]64. Bon Voyage.
[375.]65. Where is Mamma going?
[376.]66. Changing Lodgings.
[377.]67. Wait till you have been anointed.
[378.]68. Pretty Mistress.
[379.]69. Fanning the Brazier.
[380.]70. Devout Professions.
[381.]71. The Day breaks, let us go.
[382.]72. You will not escape.
[383.]73. It is better to do nothing.
[384.]74. Don’t shout, Idiot.
[385.]75. Will no one set us free?
[386.]76. The Habit of Command.
[387.]77. A Mimic Bull-Fight.
[388.]78. Be quick, they waken.
[389.]79. No one has seen us.
[390.]80. Time’s Up!
DISASTERS OF WAR.
[391.]1. Sad Presentiments.
[392.]2. With or without Reason.
[393.]3. All the Same.
[394.]4. Women inspire Courage.
[395.]5. And are like Wild Beasts.
[396.]6. Well deserved!
[397.]7. Courage!
[398.]8. What always happens.
[399.]9. They will not!
[400.]10. Nor they.
[401.]11. Nor for these!
[402.]12. Were you born for this?
[403.]13. A Bitter Sight.
[404.]14. Hard is the Way.
[405.]15. And there was no Remedy.
[406.]16. They avail themselves.
[407.]17. An argument.
[408.]18. To bury and to be silent.
[409.]19. There is not Time.
[410.]20. To heal each other.
[411.]21. It will be the Same.
[412.]22. As much and more.
[413.]23. The same elsewhere.
[414.]24. They are still of use.
[415.]25. And these also.
[416.]26. That cannot be seen.
[417.]27. Charity.
[418.]28. The Populace.
[419.]29. He deserved it.
[420.]30. The Tragedy of War.
[421.]31. Strong Measures.
[422.]32. Why?
[423.]33. What more is there to do?
[424.]34. For a Knife.
[425.]35. No one knows why.
[426.]36. Nor wherefore.
[427.]37. This is worse.
[428.]38. Barbarians.
[429.]39. A Great Feat with the Dead.
[430.]40. He turns it to Account.
[431.]41. They escape through the Flames.
[432.]42. All is in Confusion.
[433.]43. Here also.
[434.]44. ‘I saw it.’
[435.]45. And this, likewise.
[436.]46. This is bad.
[437.]47. Thus it happened.
[438.]48. Cruel Misfortune!
[439.]49. A Woman’s Charity.
[440.]50. Unhappy Mother.
[441.]51. Thanks to the Blue Millet.
[442.]52. They arrive too late.
[443.]53. He died without Help.
[444.]54. Vain Clamours.
[445.]55. To beg is worst of all.
[446.]56. To the Cemetery.
[447.]57. The Healthy and the Sick.
[448.]58. Of no Use to cry.
[449.]59. Of what Use is a Cup?
[450.]60. No one to help.
[451.]61. Are they of another Race?
[452.]62. Death-beds.
[453.]63. Collecting Dead.
[454.]64. Cartloads for the Cemetery.
[455.]65. ‘What means this Tumult?’
[456.]66. Strange Devotion.
[457.]67. This is not less so.
[458.]68. What Folly!
[459.]69. Nothing; he says it himself.
[460.]70. They do not know the Way.
[461.]71. Against the General Good.
[462.]72. The Consequences.
[463.]73. The Cat’s Pantomime.
[464.]74. This is worse.
[465.]75. A Meeting of Quacks.
[466.]76. The Carnivorous Vulture.
[467.]77. May the Rope break.
[468.]78. He defends himself well.
[469.]79. Truly she died.
[470.]80. Should she revive!
TAUROMACHIA
PLATE SUBJECT
[471.]1. Hunting Bulls across Country in the Olden Time.
[472.]2. Hunting the Bull on Foot.
[473.]3. Moors hunting the Bull across Country.
[474.]4. Moors fighting the Bull in an Enclosure.
[475.]5. The Moor Gazul fighting the Bull.
[476.]6. Moors irritating the Bull.
[477.]7. Origin of the Banderilla.
[478.]8. Moor attacked by a Bull.
[479.]9. Spaniard, wearing a Turban, slaying a Bull.
[480.]10. Charles V. spearing a Bull in the Arena of Valladolid.
[481.]11. The Cid spearing a Bull.
[482.]12. Mob attacking a Bull.
[483.]13. Horsemen planting Banderillas in the Bull.
[484.]14. The Student of Falces and the Bull.
[485.]15. The famous Martincho planting Banderillas.
[486.]16. Martincho’s Feat.
[487.]17. Moors using Donkeys as a rampart against Bulls.
[488.]18. Martincho in the Arena at Zaragoza.
[489.]19. Martincho’s Feat at Zaragoza.
[490.]20. Juanito Apiñani in the Arena at Madrid.
[491.]21. Spectators slain by the Bull at Madrid.
[492.]22. The Female Picador, Pajuelera, at Zaragoza.
[493.]23. Mariano Ceballos, alias el Indio, in the Arena.
[494.]24. Ceballos mounted on a Bull in the Arena at Madrid.
[495.]25. Bull-Baiting by Dogs.
[496.]26. Picador overthrown by the Bull.
[497.]27. Fernando del Toro in the Arena.
[498.]28. Rendon in the Arena at Madrid.
[499.]29. Pepe-Illo faces the Bull.
[500.]30. Pedro Romero in the Arena.
[501.]31. Flaming Banderillas.
[502.]32. Bull overthrowing Picador.
[503.]33. Death of Pepe-Illo in the Arena at Madrid.
[504.] 34. Picadors mounted on Mules harnessed to a Carriage.
[505.]35. Bull carrying a Wounded Toreador on his Horns.
[506.] 36. Bull carrying a Dead Toreador on his Horns.
[507.] 37. Variation of No. 25. Bull-baiting.
[508.] 38. A Spanish Gentleman in the Ring.
[509.] 39. Bravo Toro!
[510.]40. Nearing the End.
PROVERBS
[511.]1. Women tossing a Dead Donkey and Mannikins in a Blanket.
[512.]2. Soldiers flying from a Tree draped to represent a Ghost.
[513.]3. Persons listening to an Orator.
[514.]4. Peasant dancing before a Man and Woman.
[515.]5. Man carrying off a Woman on a Winged Monster.
[516.]6. The Infuriated Man.
[517.]7. Man and Woman joined together at the Shoulders.
[518.]8. Persons dressed in Sacks.
[519.]9. Fantastic Personage offering Kittens to two Women.
[520.]10. Human Beings maltreated by a wild Horse.
[521.] 11. A Two-headed Woman pursued by two Men.
[522.] 12. Majos and Majas dancing.
[523.]13. Men attempting to fly.
[524.] 14. Fantastic Salutations.
[525.]15. A Monk preaches; Soldier throws himself down an Abyss.
[526.]16. Man and Woman quarrelling.
[527.]17. Persons deriding a Blind Man.
[528.] 18. The Old Man and the Corpse.
EXAMPLES IN THE COLLECTION OF
SEÑOR A. DE BERUETE
PLATESUBJECTGALLERY
[529.] The Promenade,Don A. de Beruete.
[530.] A Pauper,Don A. de Beruete.
[531.] The Madman,Don A. de Beruete.
[532.] The Miser,Don A. de Beruete.
[533.] A Woman flying,Don A. de Beruete.
[534.] Madmen,Don A. de Beruete.
[535.] The Maja and the Cloaked Man,Don A. de Beruete.
[536.] A Monk suspended in the Air,Don A. de Beruete.
[537.] The Living Skeleton,Don A. de Beruete.
[538.] French Chastisement,Don A. de Beruete.
[539.] To have and to hold,Don A. de Beruete.
[540.] The Snake-Charmer,Don A. de Beruete.
[541.] Charity,Don A. de Beruete.
[542.] Who will win?Don A. de Beruete.
[543.] The Madman,Don A. de Beruete.
[544.] The Lady with the Puppies,Don A. de Beruete.
[545.] Paupers,Don A. de Beruete.
[546.] Procession entering the Temple,Don A. de Beruete.
[547.] Women praying,Don A. de Beruete.
[548.] Mid-Lent,Don A. de Beruete.
[549.] Brides of the Church,Don A. de Beruete.
[550.] Melodious Mediators,Don A. de Beruete.
[551.] A Sleeping Maja,Don A. de Beruete.
[552.] The Skaters,Don A. de Beruete.
[553.] Study for the Young Infante in
‘The Family of King Charles IV.,’		Don A. de Beruete.
[554.] Study for the Portrait of the Queen in
‘The Family of King Charles IV.,’		Don A. de Beruete.
[555.] Sleeping Giant,Don A. de Beruete.
[556.] A Gentle Episode,Don A. de Beruete.
[557.] A Prisoner,Don A. de Beruete.
[558.] The Happy Man,Don A. de Beruete.
[559.] Under a Hood,Don A. de Beruete.
[560.] Fairy Tales,Don A. de Beruete.
[561.] Spanish Beauty,Don A. de Beruete.
[562.] Haut-ton,Don A. de Beruete.
[563.] The Man with the Crocodile,Don A. de Beruete.
[564.] At last it breaks,Don A. de Beruete.
[565.] The Broken Pitcher,Don A. de Beruete.
[566.] Woman with a Child in Arms,Don A. de Beruete.
[567.] Rural Events,Don A. de Beruete.
[568.] Chastisement,Don A. de Beruete.
[569.] A Monk doing Penance,Don A. de Beruete.
[570.] The Invalid,Don A. de Beruete.
[571.] Mirar lo que no ven,Don A. de Beruete.
[572.] An Idiot,Don A. de Beruete.
[573.] Invocation,Don A. de Beruete.
[574.] Prayer,Don A. de Beruete.
[575.] A Mad Newswoman,Don A. de Beruete.
[576.] A Monk,Don A. de Beruete.
[577.] The Bride,Don A. de Beruete.
[578.] The Belle of the Assembly,Don A. de Beruete.
[579.] One more Unfortunate,Don A. de Beruete.
[580.] A Portrait,Don A. de Beruete.
FRESCOES IN THE CHURCH OF SAN
ANTONIO DE LA FLORIDA
[581.] Interior of the Church of San Antonio de la Florida,
[582.] San Antonio de la Florida,Painting in the Principal Chapel.
[583.] San Antonio de la Florida,Paintings on the Centres of the Intrados of the Choir and Principal Chapel Arches.
[584], [585.]San Antonio de la Florida,Paintings on the Springings of the Intrados of the Principal Chapel Arches.
[586], [587.]San Antonio de la Florida,Paintings on the Springings of the Intrados of the Choir Arches.
[588.]San Antonio de la Florida,Paintings on the Intrados of the left Side Chapel Arch.
[589.]San Antonio de la Florida,Paintings on the Intrados of the right Side Chapel Arch.
[590.]San Antonio de la Florida,Triangles formed by the Dome adjoining the Principal Chapel.
[591.]San Antonio de la Florida,Triangles formed by the Dome adjoining the Choir.
[592], [593.]San Antonio de la Florida,Paintings at the Sides of the Window on the left.
[594], [595.]San Antonio de la Florida,Paintings at the Sides of the Window on the right.
[596.]San Antonio de la Florida,First Group on the Cupola to the left of the Centre.
[597.]San Antonio de la Florida,Second Group on the Cupola to the left of the Centre.
[598.]San Antonio de la Florida,Centre of the Composition on the Cupola facing the Entrance.
[599.]San Antonio de la Florida,First Group on the Cupola to the right of the Centre.
[600.]San Antonio de la Florida,Second Group on the Cupola to the right of the Centre.
DRAWINGS, ETC.
[601.]The Duke of Wellington, 1812,From the Original Drawing in the Print Room of the British Museum.
[602.]Lady and Gentleman on Horseback.From the Original Drawing in the Print Room of the British Museum.
[603.] Head of the Dying Fray JuanFrom the Original Drawing Fernanez. in the Print Room of the British Museum.
[604.] A Criminal undergoing the inflictionFrom the Original Drawing of the Garotte. in the Print Room of the British Museum.
[605.] A Lost Soul,From the Original Drawing in the Print Room of the British Museum.
[606.] Condemned Criminals conducted toFrom the Original Drawing Execution. in the Print Room of the British Museum.
[607.]Spanish Proverb Illustrated,From an Etching, hitherto unpublished, in the Print Room of the British Museum.
[608.] Spanish Proverb Illustrated,From an Etching, hitherto unpublished, in the Print Room of the British Museum.
[609.] Spanish Proverb Illustrated,From an Etching, hitherto unpublished, in the British Museum.
[610.] The Bulls: A Study of the Animals in various positions.From an Etiching, hitherto unpublished, in the British Museum.
[611.]Bull-fighter fettered in the Arena,From an Etching, hitherto unpublished, in the British Museum.
[612.]A Blind Guitar-Player tossed by a Bull.From an Etching in the Print Room of the British Museum.

GOYA

I

A century before the birth of Goya, Spanish painting had attained its crown of achievement in the work of the four great naturalists, Velazquez, Ribera, Zurbarán, and Murillo. Josef de Ribera (‘Lo Spagnoletto’), had succeeded Ribalta, and had given lasting expression to the realism which characterised Spanish art in the seventeenth century; Francisco de Zurbarán, the Estremaduran peasant, whom Lord Leighton called ‘All Spain,’ carried on the tradition of the elder Herrera in his passion for truth in detail and in the dramatic intensity of his expression; Murillo, the disciple of the Spanish Catholic Church, bewitched his generation with what Antonio Castillo y Saavedra described as his ‘wondrous grace and beauty of colouring’; and Velazquez, ‘our Velazquez,’ as Palomino proudly styled him, was the supreme painter through whom Spanish art became the light of a new artistic life.

Of Velazquez it has been said that he attained perfection in the realism of detail and in the realism of sight, and in his commanding genius Spanish art was emancipated from the fetters of pseudo-Italianism in which it had laboured so long. He carried Spanish realism to its Ultima Thule. Further his age could not go, and generations of artists who came after him devoted themselves to the imitation and reproduction of his colour and his technique with such passionate servility that in the end the copy of the pupil was frequently mistaken for the work of the master. The perfect technique of the great Court painter had, in his own day, the effect of arresting artistic development—it left his successors nothing to solve for themselves. He achieved so much in his own work that, for a time, the last word in art seemed to have been spoken. Until his influence had died away, the reproduction of Velazquez was the aim of the Madrid painters. For this reason, after the death of Velazquez, the artistic life of the seventeenth century became a spent force, and for want of new impetus of original genius, Spanish art steadily declined. The followers of the supreme painter failed to realise the true inwardness of his message. They had the seed, but they could raise no new flower. One feels towards the pictures of Velazquez as Swinburne felt towards the muse of Sappho:

’ ... earth’s womb has borne in vain
New things, and never this best thing again;
Borne days and men, borne fruits and wars and wine,
Seasons and songs but no song more like mine.’

But the reverent desire to perpetuate ‘this best thing’ could not arrest the decay of artistic inspiration. The disciples of Velazquez copied and painted successfully (up to a point), and they trained other generations of imitators who continued to work and teach their methods, until imitation slowly but surely sank into artistic degradation. Under the sway of Mariana of Austria, the decay of Spanish painting was further hastened, and the ascendency of the facile, brilliant brush of Luca Giordano, under Charles II., dealt the death-blow to the realistic impulse that had carried the national school of the middle seventeenth century to the realisation of its utmost ambition.

The decadence which followed the death of Velazquez was most pronounced among the Castilian painters, but the empire of Giordano extended to the Provincial schools and completed the more gradual decline of art in Andalusia and Valencia. Seville was foredoomed to decadence as a school of painting, for its artists had taken Murillo as their model, and in servilely imitating the ‘Painter of the Conceptions,’ they emphasised his faults, exaggerated his unreality, and caricatured his affectations. The popular admiration of Murillo was all-powerful to hasten the general decline, and each year the artistic outgrowth of Andalusia became more enfeebled.