Eleonor Sayre- Drawings by Goya

Eight Books of Drawings by Goya - IAuthor(s): Eleanor A. SayreSource: The Burlington Magazine, Vol. 106, No. 730, Francisco de Goya y Lucientes 1746-1828(Jan., 1964), pp. 19-31Published by: The Burlington Magazine Publications Ltd.Stable URL: http://www.jstor.org/stable/874233 .Accessed: 29/03/2014 21:59

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PORTRAITS OF SPANISH ARTISTS BY GOYA

drawn in pencil by Don Juan de Alfaro, it is stated that he died [Arbasia] in the year 1614.') We can readily imagine that Goya's version derives from it.

We have already discussed the portrait of Zurbaran. The model copied by Goya was sent to Cein in a letter, most probably by one of his correspondents when he was prepar- ing the dictionary. Its source is unknown. The one of Alonso Cano most probably derives from the portrait considered by Wethey as a painting by one of Cano's pupils, formerly in the hands of Mariano Moreno.'6

It is more difficult to be precise about the only portrait of Cespedes which has come down to us (we must remember that in Carderera's folder there were two portraits of Ces- pedes). It probably derives from the portrait referred to by Palomino, who wrote: 'He visto su retrato, y a lo que demuestra, parece tendria mds de setenta an-os cuando pasd a mejor vida.' ('I saw his portrait and from his appearance it seems he was more than 70 years old when he passed on to a better life.')17 The portrait done of Cespedes by his friend Pacheco for the 'Libro de Retratos'18 faces the other way and appears younger than the 70 years mentioned by Palomino. A third portrait in one of the frescoes of the Trinith de' Monti in Rome has sometimes been considered to be a portrait of Cespedes. But it now seems to be an uncertain identification.'9

The portrait of Cornelio Schutz raises several problems, as there were two painters, father and son, of the same name, and we do not know which of them it was intended to record. Ceain Bermuidez quoted among the works of the son a portrait 'que hizo de su padre en papely a la aguada' ('which he did of his father on paper and in wash'), a portrait then in the

hands of the collector Don Francisco de Bruna; and a self- portrait then in the collection of Don Nicolas de Vargas.20 I do not know where they are now, nor how the father and the son were represented.

I think it is possible that the portrait of Navarrete 'el mudo' derives from the self-portrait, for a long time at the Escorial, later stolen by Marshal Soult, and described in the catalogue of the sale of his collection2' as 'Vu en buste d trois quarts. Sa tWte est couverte d'lpais cheveux noirs, sa lIvre ombragee d'une lge're moustache. Le regard est fixe, prdoccupl, presque soucieux. Quoique ce portrait, comme l'indique sa physionomie, soit de la jeunesse du peintre, il n'en accuse pas moins dejd le pinceau d'un grand coloriste'. But the fact that this description does not mention the head- wear and the small beard, distinctly drawn in the portrait by Goya, and describes him as young, makes me doubt whether this was really the prototype for the one in question.

Father Zarco22 when writing on the self-portrait that Marshal Soult took from the Escorial, quotes Thore - who probably saw it in the sale - in turn quoted by Lefort, adding that 'From this self-portrait derives a print "algo desdibu- jado", which is kept in the library of the Escorial'. I have not been able to confirm this point.

An indication that the portraits of Liafio and Roldain were kept together in the second half of last century is provided by the appearance recently on the art market in Madrid of two enlarged copies of these drawings (which I was able to see) in a pile of others by the painter Ricardo Villodas (1846- 1904). They may be regarded as the work of this artist, as they are very similar in touch and on the same paper.

The publication of all these portraits makes me hope that they will lead to the discovery of others, completing this curious iconographical series, painstakingly prepared by Goya for the book of his friend Ceain Bermuidez.

16 H. E. WETHEY: Alonso Cano, Princeton [1935], p.183, pl.165. 17 ANTONIO PALOMINO DE CASTRO: El Museo Pictdrico .. . , 11, Madrid [1797], p.41 I. 18 Asensio facsimile (p.I8). 19 A. L. MAYER in his Historia de la Pintura Esparzola, Madrid [1942], p.222, supposed that 'the man dressed in black, kneeling to the left side of the crib is thought to be a self-portrait'. Lately E. TORMO (Monumentos de espaholes en Roma y de portugueses e hispano-americanos, in, Madrid [1942], p. IIo) expressed doubts about the authorship of the frescoes and the interpretation of the old texts.

20 Diccionario ... Iv, pp.358 ff. 21 It appears under No.4, from the Catalogue raisonni des tableaux de la galerie de feu M. le Mardchal-Ge'nral Soult, Duc de Dalmatie, dont la vente aura lieu a Paris ... les mercredi 9g, vendredi 21 et samedi 22 mai 1852 ..., Paris [1852]. 22 JULIAN ZARCO CUEVAS, O.S.A.: Pintores espailoles en S. Lorenzo el Real de el Escorial, Madrid [1931], p.I8, No.24.

ELEANOR A. SAYRE

Eight Books of Drawings by Goya- i WHEN Goya died at 82,1 considerably more than 800 drawings from his hand still existed. Some of these were miscel- laneous in character, made for no known purpose. There was a small group of figure studies for tapestry cartoons, an equally modest number of compositional sketches, and various portraits. But the great bulk of his drawings belonged to two quite different categories: roughly 275 had been made for prints; and an even larger number - at least 539 - formed the contents of eight sketch-books on the subject of humanity.

Not one of the sketch-books can now be examined as a physical entity. Many pages are destroyed or lost, and the remainder are scattered throughout Europe and the Ameri- cas. But to a considerable extent it is still possible to recon-

struct all eight volumes; it is possible to know what each one looked like; and possible also to understand something of its individual character and of its importance to Goya.

He did not use his sketch-books as other artists did. One finds no friend sitting for a portrait, no sketch from nature of landscape, tree, classical fragment, or ruin, no drapery study, and no thrifty jotting down of ideas for paintings against a less inventive time to come. There are only men and women drawn from trenchant imagination, or memory. ALBUM A - THE SANL6CAR This first, and most famous book, was small, its leaves 6# by 4 in. The pages, cut so that the laid lines were uniformly vertical, were of excellent Netherlandish paper, thick, springy, and faintly greenish-white in colour (Fig.A). A few

19

1 Born 31st March 1746; died I6th April 1828.


EIGHT BOOKS OF DRAWINGS BY GOYA- I

well-preserved sheets show that while the lower right corners were very slightly rounded, the upper ones were angular; along the left edges one can see the marks of cutting, made

when the book was taken apart. Both sides of every sheet were used (Fig.Io).2

They were filled with what one can only call a paean to

' CTN woman - the visual expression A. Album A: laid lines and water- of Goya's delight in her - the

mark. elegant, enchanting feminity of a lady of fashion (Fig. 12), or the vital, unselfconscious grace of a girl dancing to the guitar (pages a, f); delight in the curving, sensuous contours of a young woman's body per- ceived through the thin folds of her shift as she lies in bed, or wholly revealed when, drenched with sun, she bathes herself at a garden fountain (pages 1, d); delight in the endless variety of her being, so that we see her lifting her arms in joyful salutation (Fig. I13), bawdy, pensive, ten- der, weeping as a guest departs (pages i, b, k, e, o).

One is immediately struck by the painterly quality of most of these scenes. They are small grisailles rather than drawings. Set against airy backgrounds, the figures are painted with brush and warm grey wash, heightened with touches of black. In this book one finds sober, delicate modelling, accomplished by slight, painstaking brush strokes, as though Goya were repeating on a small scale what he was accustomed to doing on a greater one in his canvases. But simultaneously, just as within the confines of a single painting Goya's work can range from loving care to careless haste, here, too, there are surprisingly awk- ward passages. Arms are left too short, shoulders slant unconvincingly, a head is turned too far.

However imperfect and careless the drawings of Goya's humans may be, they are invariably and inimitably quick- ened with male or female energy, with the power of intel- ligence, with the will towards good or evil. His fellow academicians were not blind to this gift, valuing for that very reason his portraits of themselves.

Among these drawings one face in particular recurs. It is almond-shaped, framed with thick, dark hair, and has the small mouth, large eyes, delicate, narrow nose, and the strong, expressive, arching brows we recognize as being characteristic of the extraordinarily fascinating Ex. S. D. Maria Teresa Cayetana de Silva, Duquesa de Alba.

In I86o Carderera stated that Goya had made this album and had possibly started on the following one while he was staying at Sanlticar with the Duquesa de Alba. Con- noisseurs think, he added, that they recognize her in various drawings: writing in a negligee, her long, black hair loose over her shoulders; standing draped in a shawl, with arm uplifted to give an order; richly dressed, looking towards heaven as she tears her hair 'with the despair of one of Niobe's daughters'; fainting, supported by a general; or seated, holding in her arms the little negro girl whom she had taken into her household.3 There are two contem-

porary references which seem to support Carderera's state- ment. One, a brief mention of Goya's visit to the duchess, appeared in 1813 in a travel book on collections and monu- ments by the Conde de Maule.4 The other, written in French before the onset of the Peninsular War in i8o8, was in an explanatory note to a set of Goya's Caprichos. Published almost a century ago by Lefort, it has been surprisingly neglected, for not only was the anonymous writer quite aware that a relationship existed between the duchess and the artist, but it is plain that he had seen and remembered various other drawings by Goya similar to those which had been etched and published as Caprichos. He admired Goya's gift for caricatures which he said, perhaps mistakenly, Goya had been practising 'more than twenty years', and then wrote: 'The series of caricatures must be considerable, and one is the more certain that Goya did not publish them all, in that one does not find amongst the etchings a number of pieces drawn for the Duquesa de Alba whose friend and pensioner he was at the time. Doubtless the high rank of the personages and the nature of the scenes in which they were represented kept him from etching them.'5

If we grant the visit as fact, and are willing to accept the presence of the Duquesa de Alba in the sketch-book drawings, then it becomes possible to determine almost to the month the time during which they must have been made. Twice, before the duchess's death in 1802, Goya is known to have spent a period of some months in Andalusia. Late in 1792 he had gone south; and by January of 1793 was within twenty miles of Sanlicar, at Cadiz, but desperately ill. At the end of March he was still there, still unwell, but hoping to return to Madrid in May.6 The visit, however, could not have taken place then because the Duque and Duquesa de Alba were not in residence at their Sanlhicar estates; and the Medinasidonia palace was rented to the archbishop of Seville. 7

2 The pages known to me will be found catalogued below. 3 VALENTiN CARDERERA: 'Frangois Goya, sa vie, ses dessins et ses eaux-fortes', Gazette des Beaux-Arts, vnI [i86o], p.223. The first two drawings cited are known from brush and grey wash copies in the Museo Lazaro Galdiano, Madrid - (I) The Duquesa de Alba seated, writing (inscribed below, brush: Goya San Lucar; 194 by 127 mm.; paper probably J. Kool, laid lines vertical, 27, 28 mm.) and

(2) The Duquesa de Alba, draped in a shawl, giving an order (212 by 143 mm.; watermark of paper, J. KOOL, laid lines vertical, 27, 28 mm.). They were reproduced by AUGUST L. MAYER: 'Echte und falsche Goya-Zeichnungen', Belvedere, Ix-I [1930], pl.130/I and 2. Another brush and grey wash drawing of the second, not on the same paper as other ALBUM A drawings, and in my opinion doubtful, was published by PIERRE GASSIER: 'De Goya-Tekeningen in het Museum Boymans', Bulletin Museum Boymans, Rotterdam, Iv, I [I9531, pp.13-I5, Fig.12 (double-sided drawing; 172 by 88 mm.; thin paper, laid lines horizontal, 24 mm.). For third drawing cited, see below, ALBUM A, page c. The fourth is lost. For the fifth, see also below, page e. 4 NICOLAS DE LA CRUZ Y BAHAMONDE, CONDE DE MAULE: Viage de Espafla, Francia, d Italia, Madrid, Cadiz [1805-13], XIV, p.115 and n. I. The count credits Goya with the attribution to Poussin of a painting at Sanldcar, explaining in a footnote: 'El Sr. Goya . . . Hallandose aqui con motivo de ver d la duquesa de Alba observd este quadro . 5 PAUL LEFORT: Francisco Goya, Itude biographique et critique suivie de l'essai d'un catalogue raisonn6 de son oeuvre grave et lithographid, Paris [1877], p.38, n.I ' . . . La suite de ces caricatures doit tre considirable, et l'on est d'autant plus si2r que Goya ne les a pas publides toutes, qu'on ne voit pas, parmi ses eaux-fortes, plusieurs pieces com- posies dans le temps pour la duchesse d'Albe, dont ii dtait l'ami et le pensionnaire. Sans doute, le haut rang des personnages et la nature des scenes qui s'y trouvaient reprisentles l'ont emp chd de les graver ..'

The note has probably been ignored because of the speculative nature of the anonymous author's explanations to the Capricho plates, based on gossip and his own guesses. 6 For the documentary evidence on this illness, see VALENTIN DE SAMBRICIO: Tapices de Goya, Madrid [I946], pp.I74-6; Docs. 157-63. 7 For an account of the duke and duchess's movements, see JOAQUfN EZQUERRA DEL BAYO: La Duquesa de Albay Goya, Madrid [1928], pp.182-4. From records of dowry payments made between the Duque and Duquesa de Alba, Ezquerra learned that they were not resident at Sanlhicar from 1791 to 1795.

The palace was rented to D. Alonso Marcos de Llanes y Argilelles, Arzo-

bispo de Sevilla, from 1789 to 1795, EZQUERRA 28, op. cit., p.I83.

20



On 9th June 1796, the ailing Duque de Alba died unex- pectedly in Seville where he had gone without his wife. At an unknown date, the duchess withdrew to Sanluicar. Presumably she waited to move until after 4th and 5th September when memorial rites were held for the duke in Madrid.8 But she was unquestionably at Sanlficar by 16th February 1797, when she signed a will written by herself which stipulated that her own burial should be 'without pomp', and named as residuary legatees six people in her service and her brother-in-law. There were minor bequests to the sons and daughters of the former. Paired with one of them, Goya's son was left 10 reales a day for life.9

Some of Goya's movements during 1796 and 1797 can also be traced. One piece of evidence is to be found in a document resulting from a dispute over whether or not the palace inspectors of finance should continue to allow Goya the wages of Pedro G6mez, the colour grinder allotted him as Pintor de Camera for the Real Fdbrica de Tapices. The money was stopped in May, 1797, on the grounds that Goya was neither painting tapestry cartoons nor executing other royal orders. One year later the Contralor de la Real Casa, defending his policy when the Ministro de Justicia intervened on Goya's behalf, was to affirm 'that [Goya] had been absent in Seville the whole of '96.'10

Such statements are not usually intended to be taken with absolute literalness; and perhaps we should not do so here. At the Real Academia de San Fernando, Goya seems to have been required each year to teach at least three separate months, spaced so that they fell roughly in the autumn, winter, and spring. When he could not do so, and a substitute replaced him, the monthly Junta Ordinaria of the Academia was so informed. By reading their minutes one can see how recurrent bouts of illness prevented Goya from working for considerable periods during the years which followed the earlier serious one mentioned above."

On the other hand, the very lack of any mention of Goya in the minutes for the first months of 1796 suggests the possibility that he did not actually leave Madrid until spring. It is not until October that we read of a subtsitute being provided for him, 'because of absence'.12 The minutes do not tell us where. But that winter, by late January, he was certainly very close to Sanlficar. An application for membership in the Academia was received from one, Jose FernAndez Guerrero, sculptor, who wrote from Cadiz on the 24th: '... Don Francisco de Goya who is in this city recommends me to you ...'13

It is commonly said that Goya's sojourn with the Duquesa de Alba began in the autumn of 1796, but we should remember that this is nothing more than surmise. Not until early in 1797 can either of the two be placed indubitably in the vicinity of Sanlficar. This, too, is the date on the Hispanic Society's full-length painting of the duchess standing in the countryside of Andalusia. With her right forefinger, on which she wears a ring marked Goya, she points to an inscription written in the earth: Goya Sdlo (Goya only).14

By Ist April the visit had ended; Goya was back in Madrid;15 and the first sketch-book was almost certainly complete - with, so Carderera tells us, drawings of the duchess in its earlier pages and Andalusian scenes in the later ones.16

In three drawings, known today, her presence is almost unanimously accepted (pages a, c, e). In the third, The Duquesa de Alba holding Maria de la Luz in her lap, it has been noted that the child looks perceptibly older than she did when Goya painted her in I795.17 But in other drawings the question of identity is much less certain. And it must be admitted that in one or two of them, a lady with facial characteristics rather like those of the Duquesa de Alba is to be seen behaving in a distinctly unlady-like fashion - when she smiles, for example, and wantonly lifts her skirt above her buttocks (page b)s18 8 EZQUERRA 28, op. cit., p.211. He thinks that in the spring of 1797 the duchess

might have gone to stay in the remoter Rocio palace, to the north of Sanlu(car. 9 For this will see EZQUERRA 28, op. cit., pp.202-3. Concerning her funeral, she says: '. .. Mi entierro ha de ser sin pompay despuds se me han de hacer los oficios de difuntos por nueve dias .. .' Her final two bequests were: '1 5.0, al h jo mayor de D. Antonio Bargas, diez reales diarios; 16.0, al hijo de D. Francisco Goya, diez reales diarios a ambos de por vida.'

Information concerning the residuary legatees is given on p.204 and in Doc. I o: Resumen de la ndmina de sueldos y raciones correspondientes al mes de Julio de 1793. In this list of people receiving stipends, wages, and pensions from the Duque de Alba, Antonio Garcia de Bargas is described under 'Criados Mayores' as 'Gentilhombre de mi seifora'. 10o ... en todo el afto de 96 que ha estado ausenta en Sevilla . . .', SAMBRICIO 46, op. cit., Doc. I88. The grounds of this argument shifted about with time. The palace inspectors of finance, who seem to have behaved with both justice and patience, were finally outflanked by the interest of Goya's patron, Jovellanos, Ministro de Justicia from November 1797 to August 1798. See also SAMBRICIO's Docs. 181-9go. 11 Manuscript minutes of the Juntas Ordinarias of the Real Academia de San Fernando: 1793, 13th October, ' . . . Di cuenta de que en el mes ultimo Sete asistid de Ayudante en Principios

Dn. Francisco Ramos; y que en este mes de Octubre asistian

en las mismas Salas Dt Josef Camaron por idisposicion de Dn. Francisco Goya . ..'; 1794, 6th April, ' . . . Por ultimo habiendo hecho presente que Dn

Cosme Acufia dirigia este mes las Salas de Principios por excusa del Sor

Dn. Franco Goya . . .'; 5th

October, ' . . . Di cuenta de estar en la Sala del reso por enfermedad del Sor DIn Franco Goya el Academico D. Josef Maea . . .'; 1795, 4th January, ' . . . Por ultimo di cuenta de estar este mes dirigiendo las Salas de Principios Dn Josef Camaron por enfermedad del ST D!. Franco Goya .. ..'; 3rd May, ' . . . Di cuenta de que por la enfermedad del Sor D. Franco de Goya empezo d dirigir las Salas de Principios en el mes de Abril anterior el Academico Grabador D. Juan Moreno de texada . ..'; Ist November, 'Di cuenta . . . que el So d. Francisco Goya d quien tocaba la direccion en la Sala del Natural, estaba actualmente enfermo de tercianas, y me habia avisado no estar en disposicion de poder asistir d ella. La Junta me previno que convidase d alguno

de los demas Seflores Directores para que supliese por dicho Sor Goya . . .', Madrid, Academia de San Fernando. 12 Manuscript minutes, op. cit.: 1796, 2nd October, ' . . Ygualmente por ausencia del Sor Goya, d quien tocaba en Iste mes dirigir la Sala del Natural, se habia nombrado al Sor Ferro . .' 13 D. Jos6 Fernindez Guerrero, describing himself as 'theniente Director de escultura en la Circula de Nobles Artes de la Ciudad de Cadiz,' wrote from that city to D. Isidoro Bosarte, 24th January 1797: ' . . . D!. Francisco de Goya se halla en esta Ciudad me recommienda a V. S. dandome el permiso para que se lo digo en su nombre halla muy Justa mi solicitud, asi sean todos, quando se Junten ...', Madrid, Academia de San Fernando, Armorio 1-42. 14 The word Sdlo reappeared when the painting was recently cleaned. See the anonymous note: 'Painting on and scraping off: El Greco and Goya', Art News, LvIII, 7 I19591, p.32 and Fig.2.

The two Prado paintings, La maja desnuda and La maja vestida (R.A. Nos. 85, 86), are not adduced as evidence. They are undated; and the question of whom or what they represent is still moot and unresolved. 15 Goya's letter to the Academia de San Fernando, resigning as Director de Pintura because his health had not improved, was written from Madrid, Ist April 1797 (quoted in full by SATURNINO CALLEJA (publisher): Coleccidn de cuatrocientas cuarenta y nueve reproducciones de cuadros, dibujos y aguafuertes de Don Francisco de Goya, Madrid [1924], P-59)- There is no record of a substitute provided for Goya in the Juntas Ordinarias of the Academia, during the preceding months of 1797. 16 CARDERERA 6o, op. cit., p.223. 17 See EZQURRRA 28, op. cit., p. 19 and pl.34, La Beata, con el niuo, Luis Berganza, y la negrita, Maria de la Luz, dated 1795. Goya also painted the Duque and Duq- uesa de Alba that year; and, as F. J. sANCHEZ CANTON points out (Vida y obras de Goya, Madrid [ 195I], P.55) 1795 - not i800 - is the probable date of Goya's letter to Zapater, with its often quoted: 'Mas te balia benirme a ayudar a pintar a la de Alba qf se me metio en el estudio a qe lepintase la cara,y se salio con ello .. .' 18 For portraits of the duchess by Goya and other artists, see EZQUERRA 28, op. cit., pls.24, 28, 31, 35 and 40.

21I



Art historians will doubtless endlessly debate the question of which drawings portray the duchess, according both to their reading of the evidence and their notion of her character. But it seems to me that there can be no categorical answer. None of the drawings has the appearance of being a life study. We ought, therefore, to consider what else they may have been. Did they depict Goya's memory of fleeting moments caught and held? Were they totally unsub- stantial, compounded from his own desire and imagination ? Or was it that a stone-deaf artist, aged 5o, drew them for a 34-year-old duchess, hoping that when she saw them, she would consent to their realization ?19 The sober truth is that we do not know.

ALBUM B - THE MADRID (or 'LARGE SANLTfCAR') The second book, about 95 by 5~ in., was in many res- pects like the first. The pages were again made of tough, resilient, off-white Netherlandish paper, cut so that the laid lines invariably run vertically, and large enough so

that fragments of the watermark may

| I

I ..

,

I

! ?'

,

I

r 1

,

'ri

, ? I

B. Album B: laid lines and watermark.

be seen in the majority of them (Fig.B). Once more the book was bound at the left; both right corners were slightly rounded (Fig. I).20 Carderera tells us that it was made in Madrid, but that it might have been begun in Andalusia, if the southern scenes in its earlier pages were done from life, and not, as he believed, from memory.21

As before, Goya made a drawing on the recto and verso of every known sheet; but this time he numbered them in brush at the top, to the right (recto), or left (verso). He began the book in the same manner and spirit as the Sanlhcar, with pictures drawn in brush and grey wash, to which he often added pungent touches of brown as well as black. The drawings are executed a little more freely, but with the same characteristic mixture of airy delicacy, of elegance, and careless haste.

Once more the world we are shown is on the whole an agree-

able one. Here one can see a circle of friends, listening as a young man tries to convince a lady by logic (page 31); a duet for voice and clavichord - in the worldly French tradition (page 27); a young woman with a mirror, sitting, naked and confident, at the entrance of a little tent (page 26); a prostitute displaying her charms as she waits near a

great stone arch (page 6); or a group of them professionally appraising a strutting colleague (page a); a young man and two girls in native dress smiling as they care for a third who leans back as though faint (page 7); a majo laughing at two majas unashamedly tussling with one another (page 15; Fig. 15 a lady and gentleman, her stance wilful and feminine, his forceful and masculine, face one another in a park (page 32); a gentleman lifting his hands in mock horror because a lady on a swing has not tied her skirts around her ankles (page 21; Fig. 16); or a lady pretending she is fright- ened by a bull (page 23).22

Then by page 55 the character of the volume shifts. Titles, many of them ironical, are now added to every page, in brush and grey wash, pen and brown ink, or both. At intervals another type of drawing appears. One or two are game-like combinations of a word and its opposite, Largueza contra Abaricia (Generosity versus Greed), for example (page 76). Several are illustrated mascaras (masquerades), such as La Apunta pr ermofrodita (He writes her down as an hermaphrodite) - once he has seen through the mask of an unappetizing young lady (page c); or Tambien ay mascaras de Borricos Literatos (There are also asses masquerading as men of letters) (page 72). Others are designated as caricaturas (caricatures), like page 62, Caricatura de las carracas (Caricature of the rattles): wooden rattles were used to summon worship- pers during holy week,23 and Goya shows the obedient piety with which a dissolute couple heeds the noise (Fig.21). Another caricatura follows it, monks at table, alegre (merry).

This censure of human stupidity and sin, which in the earlier part of the book was no more than hinted at, in the narrowed, predatory eyes of a prostitute (page 25), for example, has now become the principal component of most of the drawings. It may be applied gently in the case of a lady who gives way to a tantrum merely because her abbe says she looks pale (page 94), but it can be savage towards a lustful priest caught pulling on his clothes (page 86; Fig. I I).

As the subject-matter veers towards satire, Goya's manner of drawing alters too. With the forthrightness of any eighteenth-century catchpenny caricaturist, he at times grossly exaggerates the features of human beings, or even transforms them entirely into beast, bird, or witch. He will summarily reduce the modelling of form to a minimum and paint a scene with broad areas of light and dark. It may be this which Carderera had in mind when he wrote: 'In the last sheets of this series, one sees that little by little Goya takes pleasure in giving a greater effect of chiaroscuro to the compositions.'24

Three drawings from the Sanlhicar album and no less than fourteen scattered through the Madrid album reappear in new guises among the eighty aquatints of the Caprichos.25 This work was finished and printed by 17th January 1799, when the Condesa-Duquesa de Benavente paid Goya for

19 The duchess was born Ioth June, 1762. 20 The pages known to me will be found catalogued below. 21 CARDERERA 60, op. cit., pp.223-4. The traditional name for this sketch-book is the 'Large Sanlhicar' (in contradistinction to ALBUM A, the 'Small Sanldicar'). Jos.

L6PEZ-REY: Goya's 'Caprichos': beauty, reason and caricature, Princeton [19531], following Carderera's text more exactly, called ALBUM B, the 'Madrid'. I have followed his example. ELIZABETH DU GUA TRAPIER: 'Unpublished drawings by Goya in the Hispanic Society of America', Master Drawings, I, I [i963], p.12, calls it the

'Sanlicar-Madrid'. While this name may be more accurate, it seems cumbersome for general use.

22 Pasiphae making lecherous advances to King Minos's bull has been suggested as the subject of this drawing, see L6PEZ 53, op. cit., p.31 ; but in my opinion the argument for such an interpretation is not convincing. 23 See REAL ACADEMIA ESPAROLA: Diccionario de la lengua castellana, Madrid [1791], 3rd. edit., 'CARRACA. s. f. . .. 2. Instrumento de madera de que usan las iglesias los dias de semana santa en que no se tocan las campanas para lUamar d los oficios divinos ...' 24 CARDERERA 60, op. cit., p.224. 25 Pages j, n, and p of the Sanlicar; 19, 25, 35, 56, 57, 63, 68, 72, 81, 82, 86, 88, b, and c of the Madrid; see also pp.2o and 40 of the latter.

22


EIGHT BOOKS OF DRAWINGS BY GOYA- 1

four copies she obtained from him,26 thus providing a terminal date for both albums of drawings. Besides taking material from these earlier sources, Goya made roughly Ioo additional drawings specifically for his new work. As an examination of the studies will show, Goya seems to have conceived of his set of prints at first as suenos, or dreams, in that especial sense of the word long ago given to it by moral fabulists who under the cover of 'dreams' could indict with impunity various evils which had found indulgence or official protection in their society. Of the published Cap- richos nine were once in this form.27 In addition to an inscription summarizing the 'dream', Goya indicated the sequence of the drawings by a number in pencil(?), centred above the border lines framing the picture. The opening page of the set, Sue-o I0 (Dream the first), would have shown Goya himself leaning over a tablet marked: rdioma universal. Dibujado y Grabado pr FrcO de Goya a-o z797 (Uni- versal language. Drawn and etched by Francisco de Goya, the year 1797). In the lower margin was to have been: El Autor soilando. Su yntento solo es desterrar bulgaridades per- judiciales, y perpetuar con esta obra de caprichos el testimonio solido de la verdad. (The author dreaming. His one intent is to banish harmful beliefs, commonly held, and with this work of caprichos to perpetuate the solid testimony of truth.)28

Even in this earlier form of the Caprichos, three compositions from the Madrid sketch-book are to be found, re- drawn in pen and made into Suen-os. Since all three of these subjects were taken from the latter part of Goya's second sketch-book (pages 56, 57, and 63),29 it is very possible that Goya had finished it about the time he undertook the work of his first important series of prints, and that neither the Madrid nor the Sanlhicar album is later than the year 1797-

Below are listed the extant sheets from these albums, as far as the author knows them, together with the principal places where they may be found reproduced. The measurements and descriptive information were obtained from examining the drawings at first hand. This work is not complete. It is sufficient, however, to show (I) the consistent nature of the pages of an album - their size, type of paper, and the invariable direction in which the laid lines will lie throughout the album; (2) that as Goya filled the books with drawings he attempted to maintain for each album its own visual consistency. Once the physical nature of each album is clearly understood, it is not difficult to dis- tinguish between the pages which were taken from these books, and the grow-

ing number of copies and forgeries now offered for sale. That is why these appendices have been given a premature birth.

Information which is not relevant to the original physical character of the albums - the frequent posthumous renumbering, collectors' marks and nota- tions; history of ownership; exhibitions and references; additional information to make them understandable - is here omitted in order to bring these appendices within the scope of a magazine article.

The translations of Goya's inscriptions were made in collaboration with Edith F. Helman, an authority on eighteenth-century Spanish literature.

I am profoundly grateful to all the curatorial staffs of museums and the collectors, who with unfailing patience, understanding and kindness permitted me to examine their drawings. I am equally indebted to the Ford Foundation which made it possible for me to see many of them and thus to explore more fully a problem encountered while working under a grant from the American Philosophical Society. MEASUREMENTS: the maximum sheet size is given LAID LINES: these are the widely spaced wire lines visible in a laid paper * Page partially examined t Page known to me from photographs; tentatively accepted .

Page known to me from reproductions; tentatively accepted BRIEF REFERENCES: ACHIARDI 08 PIERRE D'ACHIARDI: Les dessins de D. Francisco Goya y Lucientes

au Muse'e du Prado a' Madrid, Rome [I9go8]. BASLE 53 KUNSTHALLE BASLE: Goya, Gemiilde, Zeichnungen, Graphik,

Tapisserien, Basle [I953], 23rd January-I2th April 1953. BOIX 28 FELIX BOIX and F. J. SANCHEZ CANTON: Goya - I: Cien dibujos,

indditos, Madrid, Museo del Prado [1928]. CHICAGO41 CHICAGO, THE ART INSTITUTE OF CHICAGO: Paintings, drawings

and prints; the art of Goya, edited by Daniel Catton Rich, 3oth January to 2nd March 1941.

CRISPOLTI 58 Ott ENRICO CRISPOLTI: 'Otto nuove pagine del taccuino "Di Madrid" di Goya ed alcuni problemi ad esso relativi', Commentari, ix, 3 [1958], pp.181-205.

DESPARMET 50 X. DESPARMET FITZ-GERALD: L'(Euvre peint de Goya, catalogue raisonne ... ouvrage posthume publie' avec un suppliment par Mile. Xaviere Desparmet Fitz-Gerald, uI, Paris [1928-1950], pp.241-2.

EZQUERRA 28 JOAQUIN EZQUERRA DEL BAYO: La Duquesa de Alba y Goya, Madrid [1928].

GASSIER 54 PIERRE GASSIER: 'Les dessins de Goya au Mus6e du Louvre', La Revue des Arts, IV, I [I1954], pp.31-41.

LOGA 08 VALERIAN VON LOGA: 'Goyas Zeichnungen', Die Graphischen Kuiinste, XXXI [I9O8], pp.-I18.

LOGA 21 VALERIAN VON LOGA: Francisco de Goya, Berlin [1921]. L6PEZ 53 Jost LOPEZ-REY: Gova's 'Caprichos': beauty, reason and caricature,

Princeton [1953]. Some of this material appeared earlier in The Art Quarterly, IX [1946], pp.141-3; and in Gazette des Beaux-Arts, S&r. 6, xxvIII [945], pp.129-50; xxxIv [i948], PP.355-64; and xxxIx [1952], PP-341-50.

MALRAUX 47 ANDRE MALRAUx: Dessins de Goya au Musee du Prado, Geneva [1947] (with handlist by Pierre Gassier).

MARIANI 28 VALERIO MARIANI: 'Primo centenario dalla morte di Fran- cisco Goya - disegni inediti', L'Arte, xxxI [1928], pp.97-108.

MAYER 23 AUGUST L. MAYER: Francisco de Goya, Munich [1923]. MAYER 24 AUGUST L. MAYER: Die Skizzenbiicher Francisco Goya, aus-

gewihite Handzeichnungen, Berlin [n.d. 1924]. MAYER 30 AUGUST L. MAYER: 'Echte und falsche Goya-Zeichnungen',

Belvedere, Ix-I [1930], pp.215-17. MAYER 33 AUGUST L. MAYER: 'Dibujos desconocidos de Goya', Revista

Espa"fola de Arte, xI [1933J, PP-376-84. MAYER 34 AUGUST L. MAYER: 'Some unknown drawings by Francisco Goya', Old Master Drawings, Ix, 34 [1934], pp.20-2.

MAYER 38 AUGUST L. MAYER: 'Goya drawings in the Louvre', Old Master Drawings, xmII [1938], pp.22-3.

MONGAN 43 AGNES MONGAN: "Drawings and watercolors', The Bulletin of the Fogg Museum of Art, x [19431, PP-53-7.

MONGAN 49 AGNES MONGAN (editor): One hundred master drawings, Cam- bridge [1949].

NEW YORK 36 NEW YORK, THE METROPOLITAN MUSEUM OF ART: Francisco Goya, his paintings, drawings andprints, 27thJanuary-8th March 1936.

ROTHE 43 HANS ROTHE: Francisco Goya, Handzeichnungen, Munich [19431]. SALE, I935, SALE. SOTHEBY & CO., LONDON: Catalogue of. . . drawings Dec. 4 and paintings of. . . Monsieur Adrien Fauchier-Magnan,

4th December 1935. SALE, 1957 SALE. GALERIE CHARPENTIER, PARIS: Importante s6rie de dessins Apr. 9 par Goya, tableaux anciens... du XVIIme siecle, 9th April 1957. SANCHEZ 28 F. J. SANCHEZ CANTON: 'Los dibujos del viaje a Sanlhicar',

Sociedad espaflola de excursiones, boletin, xxxvI [1928], pp.13-26. SANCHEZ 30 F. J. SANCHEZ CANTON: Goya, Paris [1930o] (tr. by Georges

Pillement). SANCHEZ 49 F. J. SANCHEZ CANT6N: 'Los Caprichos' de Goya y sus dibujos

preparatorios, Barcelona [1949].

26 Order and receipt preserved, Madrid, Archivo Hist6rico Nacional. Archivo de Osuna, Legajo 315; both quoted by the CONDESA DE YEBES: La Condesa-Duquesa de Benavente, Madrid [19551], P47. 27 Reprod. F. J. SANCHEZ CANTON: Museo del Prado. Los Dibujos de Goya, Madrid [1954]: Fig.2I, Suefio/De unos hombres... (Prado No.20), which became Capricho 13; Fig.4I, Suen"o to ... El Autor so"fando . . . (Prado 34), Capricho 43; Fig.49, Pesadilla sohando ... (Prado 35), Capricho 50; Fig.6I, Sueho/Zanganos ... (Prado 38), Capricho 63; Fig.64, Suelo./Bruja poderosa ... (Prado 39), Capricho 65; Fig.65, Sueno./Bruja maestra ... (Prado 40), Capricho 66; Fig.67, Sueflo/De Brujas ... (Prado 41), Capricho 68; Fig.68, Sueho de Brujas . . . (Prado 16), Capricho 69; Fig.69, sueho/de Brujas . . . (Prado 451) and an earlier version, Fig.73, became Capricho 70.

Three additional compositions were not included in the set of etchings, Fig.82, Sueflo/De la mentira ... (Prado I7); pl. B, Suefio/Crecer despues ... (Prado 18); and Fig.2I I, Sue"fo./Pregon de Brujas ... (Prado 477). All twelve are drawn in pen and brown ink. As the numbering above the pictures reaches as high as 25 (Prado 20), we may suppose that various other studies for the Caprichos numbered in the same way and drawn in the same medium, were once considered by Goya to form part of the above group, although their inscriptions do not include the word sueflo. 28 Prado, No.34; reprod. SANCHEZ 54, Fp. cit., Fig.4I. 29 ALBUM B, p.-56 reappeared as the third dream, suefiolde Brujas . . . (Prado No.451); p.57 as the seventh dream, Sueflo de Brujas ... (Prado 16); p.63 as the twenty-fifth dream, Sue"fo/De unos hombres ... (Prado 20). Reprod. SANCHEZ 54, op. cit., Figs.69, 68, 21, respectively.

23



sANCHEZ 51 F. J. SANCHEZ CANT6N: Viday obras de Goya, Madrid [I95I] SANCHEZ 54 F. J. SANCHEZ CANTON: Los dibujos de Goya, Madrid, Museo del Prado [1954].

SAN FRANCISCO SAN FRANCISCO, CALIFORNIA PALACE OF THE LEGION OF HONOR: 37 Exhibition of paintings, drawings and prints by Francisco Goya,

5th June to 4th July 1937. STOLL 54 ROBERT THOMAS STOLL: Drawings by Francisco Goya, New York

[1954] (tr. by R. Allen). TRAPIER 55 ELIZABETH DU GUAJ TRAPIER: Goya: a study of his portraits,

1797-9, New York [19551]. TRAPIER 63 ELIZABETH DU GUE TRAPIER: 'Unpublished drawings by Goya in the Hispanic Society of America', Master Drawings, I, I [1963], pp.II-20.

WEHLE 38 HARRY B. WEHLE: Fffty Drawings by Francisco Goya, New York [1938].

EARLIER RECONSTRUCTIONS OF ALBUMS A AND B: the pioneer attempt is to be found in sANCHEZ 28. See also WEHLE 38; L6PEZ 53; eRISPOLTI 58 Ott.

ALBUM A - THE SANLflCAR

[a] THE DUQUESA DE ALBA WEARING WHITE, EMBROIDERED DRESS AND SMALL HAT (Fig.12) Brush and grey wash, touched with black Reprod. EZQUERRA 28, pl.42; SANCHEZ 28, pl.I; DESPARMET 50, pl.449; L6PEZ 53, Fig.I

[b] LADY SMILING AS SHE INDELICATELY LIFTS THE BACK OF HER DRESS Brush and grey wash; face and mouth outlined in sgraffito Reprod. SANCHEZ 28, pl.2; L6PEZ 53, Fig.2

170 by 97 mm.; 6j* by 31 in. After being stamped with an 1867 acquistion stamp, the sheet was extended 17 mm. at the bottom. An extraneous pair of feet was then added, recto, pencil and brush Laid lines vertical, 26 mm. Madrid, Biblioteca Nacional, No. B. 1270

[c] THE DUQUESA DE ALBA TEARING HER HAIR Very slight pencil (?) sketch; brush and grey wash Reprod. EZQUERRA 28, pl.43; SANCHEZ 28, pl.3; DESPARMET 50, pl.450; L6PEZ 53, Fig.7

[d] YOUNG WOMAN BATHING AT A FOUNTAIN, WATCHED BY A GALLANT HIDING BEHIND A STATUE30 Brush and grey wash; statue's face touched with pencil (?), making it more sardonic Reprod. SANCHEZ 28, pl.4; DESPARMET 50, pl.451; LOPEZ 53, Fig.8

171 by Io0 mm.; 6j by 4 in. Laid lines vertical, 26 mm. Madrid, Biblioteca Nacional, No. B. I27I

[e] THE DUQUESA DE ALBA HOLDING MARIA DE LA LUZ IN HER LAP Brush and grey wash, touched with black Reprod. ACHIARDI o8, pl.I74; LOGA o8, p.7; LOGA 21, pl.88 left; MAYER 23, Fig.322; EZQUERRA 28, pl.45; sANCHEZ 28, pl.5; MALRAUX 47, pl.I; L6PEZ 53, Fig.5; SANCHEZ 54, Fig.22I

If] GIRL DANCING TO A GUITAR Brush and grey wash, touched with black Reprod. ACHIARDI 08, pl.I75; MAYER 24, pl.4; MARIANI 28, Fig.I; sANCHEZ 28, pl.6; ROTHE 43, Fig.57; MALRAUX 47, p1.2; L6PEZ 53, Fig.6; sANCHEZ 54, Fig.220

Sight: 6j by 3 - in. Laid lines vertical, 26 mm. Madrid, Prado, Nos.426 and 468

[g] YOUNG WOMAN, IN SPANISH DRESS, ON A CROWDED PASEO Brush and grey wash, touched with black Reprod. MAYER 24, pl.3; BOIX 28, pl.4; sANCHEZ 28, pl.7; MALRAUX 47, pl.3; L6PEZ 53, Fig.3; sANCHEZ 54, Fig.216; TRAPIER 55, Fig.2

[h] LADY TAKING SIESTA AS MAID REMOVES CHAMBER POT Brush and grey wash, touched with black Reprod. EZQUERRA 28, pl.44; SANCHEZ 28, pl1.8; MALRAUx 47, pl.4; LOPEZ 53, Fig.4; sANCHEZ 54, Fig.2I 7

Sight: 6j by 31 in. Laid lines vertical, 25 mm. Madrid, Prado, Nos.466 and 428

[i] YOUNG WOMAN STANDING IN HER SHIFT ON A BALCONY, HER ARMS LIFTED IN JOYFUL GREETING (Fig.I3) Brush and grey wash Reprod. BOIX 28, p1.6; SANCHEZ 28, pl.9; MALRAUX 47, pl.5; L6PEZ 53, Fig.9; SANCHEZ 54, Fig.2 19

[j] YOUNG WOMAN PULLING UP HER STOCKING Brush and grey wash Reprod. MAYER 24, pl1.2; BOIX 28, pl.5; SANCHEZ 28, p1.IO; MALRAUX 47, pl.6; SANCHEZ 49, pl.17 [A]; LOPEZ 53, Fig.Io; SANCHEZ 54, Fig.218 Afterwards used for pl. 17 of the CAPRICHOS, Bien tirada estd

Sight: 61 by 3 in. Laid lines vertical, 25, 26 mm. Madrid, Prado, Nos.427 and 467

[k] recto: TWO YOUNG WOMEN NAKED ON A BED (Fig.Io) Brush with grey and black wash Reprod. MARIANI 28, Fig.4; L6PEZ 53, Fig. II

[1] verso: OLD WOMAN OFFERING GLASS TO YOUNG ONE, RECLINING AGAINST A CUSHION WITH A MAN; A SECOND MAN WATCHING Brush with grey and black wash Reprod. MARIANI 28, Fig.3; LOPEZ 53, Fig.12

172 by IOI mm.; 6# by 4 in. Laid lines vertical, 24, 25 mm. Formerly Rome, Clementi Collection

[m] recto: YOUNG WOMAN ARRANGING HER HAIR AS ANOTHER RESTS ON A BED Brush with grey and black wash Reprod. MAYER 33, p.380

[n] verso: YOUNG WOMAN, IN SPANISH DRESS, SWEEPING Brush with grey and black wash Reprod. MAYER 34, pl.25 Afterwards used for pl.20 of the CAPRICHOS, Ta van desplumados

172 by o10 mm.; 6# by 4 in. Laid lines vertical, 26 mm. Watermark: fragment of LETTER Paris, anonymous collection

t[o] recto: LADY WEEPING AND CHILD WAVING AFTER WHEELS OF A DEPARTING CARRIAGE Brush drawing Reprod. MAYER 33, p.382

[p] verso: WOMEN, IN SPANISH DRESS, SITTING ON THE PASEO Brush drawing Reprod. MAYER 34, p1.26 Afterwards used for pl.15 of the CAPRICHOS, Bellos consejos

Laid lines vertical Paris, anonymous collection

ALBUM B - THE MADRID (or'Large Sanlkcar') 3 and 4 Possibly pages [a] and [b], listed below

5 COUPLE MAKING LOVE IN THE DARK IN THE COUNTRYSIDE (Fig.I4) Brush with grey and black wash, modelling achieved primarily by scraping, as in a mezzotint Upper right, brush and grey, partly effaced but almost certainly: 5

6 MAJA AND PROCURESS WAITING UNDER A STONE ARCH Brush and grey, heightened with black Reprod. LOGA 08, P.7; MAYER 30, pl.128/I ; MAYER 33, p.378; BASLE 53, pl.13; L6PEZ 53, Fig.33

236 by 148 mm.; 9g by 5j in. Laid lines vertical, 27 mm. Watermark: part of SHIELD WITH BEND Hamburg, Kunsthalle, No.38544

30 The traditional title for this drawing, Casta Susana, or Susannah and the Elders, was suggested by ANGEL M. DE BARCIA in his Catdlogo de la coleccidn de dibujos originales de la Biblioteca NVacional, Madrid [1906], No.1271. However, since the male figure on the far right is not a bearded elder, but a younger man with the wide neckcloth, high collar, and loosely arranged hair, fashionable at the end of the eighteenth century, I take the male figure next him to be the statue of a river god, or possibly satyr, used by the younger man as a vantage point from which to watch a bather as yet unconscious of his presence. For characteristic gentleman's dress of the period, see Goya's own drawings from ALBUM B, pp.16, 17, 19, 21, 22, 24, 27, 31, 36, 37, 39, 40, 68-71, 75, 77 and especially p.32 (Prado, No.465; reprod. sANCHEZ 54, op. cit., Fig.227) where these details are clearly shown from much the same angle.

24


10. mo

. . . . . . . . . .

111 mo miiii

i o. Two Young Women naked on a bed, by Francisco de Goya. Album A, page k. Brush with grey and black wash, 17-2 by io-i cm. Uncropped page, recto. (Formerly Clementi Collection, Rome.)

i . Buen sacerdote ? donde se ha celebrado? (Good Priest; where was it celebrated?), by Francisco de Goya. Album B, page 86. Brush and grey wash, touched with black, 23-6 by 14'5 cm. Uncropped page, verso. (For- merly Clementi Collection, Rome.)

I 2. The Duquesa de Alba wearing white, embroidered dress and small hat, by Francisco de Goya. Album A, page a. Brush and grey wash, touched with black, 17 by 9'7 cm. Here reproduced without posthumous addition. (Biblioteca Na- cional, Madrid.)

13. Young Woman standing in her shift on a balcony, her arms lifted in 'joyful greeting, by Francisco de Goya. Album A, page i. Brush and grey wash, c. 16-6 by 9- 1 cm. (Museo del Prado, Madrid.)

14. Couple making love in the dark in the countryside, by Francisco de Goya. Album B, page 5. Brush with grey and black wash. 23-6 by 14.8 cm. Damaged drawing. (Kunsthalle, Hamburg.)

A... .............

77,

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as I : ......

12.

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........ .

. . . . . .......

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I5. Majo stretched on the ground, laughing as two Majas fight each other, by Francisco de Goya. Album B, page 15. Brush and grey wash, touched with black, 22-8 by 14 cm. (Hispanic Society of America, New York.)

iiiiiii~J~i

..............

........ ..ii

16. Gallant shocked by Girl in Spanish dress because she has not tied down her skirts when swinging, by Francisco de Goya. Album B, page 21. Brush and grey wash, touched with dark grey, 23-7 by 14-7 cm. (Metropolitan Museum of Art, New York.)

Ml NO

??Wg,4 g, am

M."L

..........

.............

S7. Lady holding up her dying lover, by Francisco de Goya. Album B, page 35-6, recto. Brush and grey wash, 23-6 by 14-6 cm. (Collection Philip Hofer, Cambridge (Mass.))

. . .. .. . ...

. .... .......

...

...... . ..

.

fe-

........ . ........

18. Toung Woman in Spanish dress, conversing with a Gallant, by Francisco de Goya. Album B, page 35-6, verso. Brush and grey wash, touched with brown. (Collection Philip Hofer, Cambridge (Mass.))



*7 MAN AND THREE YOUNG WOMEN, ALL IN SPANISH DRESS, REVIVING ONE OF THEIR NUMBER WHO SHAMS FAINTNESS Brush and grey wash, touched with pen and brown ink Upper right, brush: 7 Reprod. MAYER 23, Fig.32I; SANCHEZ 28, pl.12; SANCHEZ 30, pl.25 right; MALRAUX 47, pl.8; L6PEZ 53, Fig. 13; SANCHEZ 54, pl.223; STOLL 54, pl.2; TRAPIER 63, pl.8

8 LADY IN SPANISH DRESS, SEATED ON GROUND WITH MAN WEARING TRICORN AND CLOAK Brush and wash Upper left, brush: 8 Reprod. MAYER 24, pl.x; EZQUERRA 28, pl.21; SANCHEZ 28, pl.i I; SANCHEZ 30, pl.25 left; MALRAUX 47, pl.7; L6PEZ 53, Fig.x4; SANCHEZ 54, pl.222

Sight: 81 by 5) in. Laid lines vertical, 27 mm. Madrid, Prado, Nos.464, 422

13 TWO LADIES EMBRACING, ONE IN SPANISH DRESS Brush and grey wash Upper right, brush and grey: 13 Reprod. CHICAGO 41, no.20; L6PEZ 53, Fig.15

14 MAJA PARADING IN FRONT OF THREE OTHERS Brush and grey wash, heightened with black Upper left, brush and grey: r4 Reprod. CHICAGO 41, No.21; L6PEZ 53, Fig.I6

Sight: 9k by 5 1 in. Laid lines vertical, 27, 28 mm. Princeton University, Art Museum

15 MAJO STRETCHED ON THE GROUND, LAUGHING AS TWO MAJAS FIGHT EACH OTHER (Fig.I5) Very slight pencil (?) sketch; brush and grey wash, touched with black Upper right, brush and grey: 15 Reprod. TRAPIER 63, pl.9

I6 GALLANT AND GIRL IN SPANISH DRESS, SITTING WITH A GROUP ON THE PASEO Brush and grey wash, touched with dark grey Upper left, brush and grey: i6 Reprod. TRAPIER 63, pl.10o

228 by 140 mm.; 9 by 51 in. Laid lines vertical, 27, 28 mm. Watermark: part of SHIELD WITH BEND New York, Hispanic Society

17 LADY WEEPING AS TWO GENTLEMEN EXPOSTULATE Very slight pencil (?) sketch; brush and grey wash, touched with black Upper right, brush and grey: 17 Reprod. WEHLE 38, pl.I; CHICAGO 41, No.18; L6PEZ 53, Fig.I7

I8 MAJA SITTING WITH A CLOAKED MAN Brush and grey wash, touched with black Upper left, brush and grey: 18 Reprod. NEW YORK 36, no.2 I; WEHLE 38, pl.2; L6PEZ 53, Fig.I8

237 by 148 mm.; 9j# by 5"l

in. Laid lines vertical, 26, 27 mm. New York, Metropolitan, Nos.35.Io03.4 and .5

19 GALLANT WITH QUIZZING GLASS, PEERING AT A WOMAN WEARING SPANISH DRESS

Very slight pencil (?) sketch; brush and grey wash, touched with black Upper right, brush: 19 Reprod. ACHIARDI 08, pl.3; SANCHEZ 28, pl.15; MALRAUX 47, p1.9; SANCHEZ 49, pl.7[A]; L6PEZ 53, Fig.19; SANCHEZ 54, Fig.5 Afterwards used for pl.7 of the CAPRICHOS, JVNi asi la distingue

20 GENTLEMAN IN RIDING COAT, AND THREE LADIES WEARING SPANISH DRESS

Very slight pencil (?) sketch; brush and grey wash Upper left, brush: 20 Reprod. BOIx 28, pl.7; SANCHEZ 28, pl.I6; MALRAUX 47, pl.Io; SANCHEZ 49, pl.27[A]; L6PEZ 53, Fig.2o; sANCHEZ 54, pl.D Perhaps afterwards used for pl.27 of the CAPRICHOS, Quien mas rendido?

Sight: 81 by 5 A in. Laid lines vertical, 27 mm. Madrid, Prado, Nos.424, 462

2 I GALLANT SHOCKED BY GIRL IN SPANISH DRESS BECAUSE SHE HAS NOT TIED DOWN HER SKIRTS WHEN SWINGING (Fig.16) Brush and grey wash, touched with dark grey Upper right, brush and grey: 21 Reprod. NEW YORK 36, No.20; WEHLE 38, pl.3; L6PEZ 53, Fig.2I; STOLL 54, pl.3

22 GALLANT WEARING SWORD, DISCOMFITED BY YOUNG WOMAN IN SPANISH DRESS Brush and grey wash Upper left, brush and grey: 22 Reprod. WEHLE 38, pl.4; L6PEZ 53, Fig.22

237 by 147 mm.; 9j by 51 in. Laid lines vertical, 28, 29 mm. Watermark: part of SHIELD WITH BEND New York, Metropolitan, Nos.35.103.2 and .3

23 LADY PRETENDING TO BE AFRAID OF A BULL Brush and grey wash, touched with dark grey Upper right, brush and grey: 23 Reprod. WEHLE 38, pl.5; L6PEZ 53, Fig.23

24 LOVERS SITTING ON A ROCK Brush with grey and dark grey wash Upper left, brush and grey: 24 Reprod. WEHLE 38, pl.6; L6PEZ 53, Fig.24

236 by 147 mm.; 9A by 51 in. Laid lines vertical: 26, 27 mm. Watermark: part of FLEUR-DE-LIS New York, Metropolitan, Nos.35. 103.7 and .6

25 MAID COMBING A YOUNG WOMAN'S HAIR Brush and grey wash Upper right, brush: 25 Reprod. SANCHEZ 28, pl.I7; SANCHEZ 49, pl.3I [A]; DESPARMET 50, pl.452; L6PEZ 53, Fig.25 Afterwards used for pl.3I of the CAPRICHOS, Ruega por ella

26 NAKED YOUNG WOMAN, WITH MIRROR, SITTING AT ENTRANCE TO A TENT Brush and grey wash, touched with black Upper left, brush: 26 Reprod. sANCHEZ 28, pl.I8; SANCHEZ 51, Fig.22; L6PEZ 53, Fig.26

234 by 145 mm.; 9 K by 5j* in. Laid lines vertical, 26, 27 mm. Madrid, Biblioteca Nacional, No.B.1263

*27 GENTLEMAN AND LADY AT A CLAVICHORD, SINGING A DUET Brush and grey wash Upper right, brush: 27 Reprod. ACHIARDI o8, pl.I88; LOGA 08, p.6; LOGA 2I, pl.87; MAYER 23, Fig.323; SANCHEZ 28, pl.19; MALRAUX 47, pl.I1; L6PEZ 53, Fig.27; SANCHEZ 54, Fig.224

28 PASEO, WITH GROUP OF WOMEN IN SPANISH DRESS Brush and grey wash, touched with black Upper left, brush: 28 Reprod. BOIX 28, pl.8; SANCHEZ 28, p1.20; MALRAUX 47, pl.12; L6PEZ 53, Fig.28; SANCHEZ 54, Fig.225

Laid lines vertical, 26, 28 mm. Madrid, Prado, Nos.425 and 469

*31 TERTULIA (GATHERING OF FRIENDS) Brush and grey wash Upper right, brush: 31 Reprod. ACHIARDI 08, pl.I81; SANCHEZ 28, pl.21I; MALRAUX 47, pl.I3; L6PEZ 53, Fig.3I; SANCHEZ 54, Fig.226

32 LADY WEARING SPANISH DRESS, MEETING GALLANT IN A PARK

Brush and grey wash, touched with dark grey Upper left, brush: 32 Reprod. BOIx 28, pl.9; SANCHEZ 28, pl.22; MALRAUX 47, pl.I4; L6PEZ 53, Fig.32; SANCHEZ 54, Fig.227; TRAPIER 55, Fig.4

Laid lines vertical Madrid, Prado, Nos.429 and 465

33 IMMODEST YOUNG WOMAN, CLIMBING STEPS TO WATCH MARCHING SOLDIERS Brush and grey wash Upper right, brush and grey: 33 Reprod. CRISPOLTI 58 Ott, Fig.I

27



34 YOUNG MAN IN SPANISH DRESS CANING A PROSTITUTE (?) Brush and grey wash, heightened with black Upper left, brush and grey: 34 Reprod. CRISPOLTI 58 Ott, Fig.2

237 by 147 mm.; 9} by 5Aj in. Laid lines vertical, 26, 27 mm. Watermark: part of SHIELD WITH BEND, reprod. CRISPOLTI 58 Ott, Fig.9 Zurich, Anton Schrafl Collection

35 LADY HOLDING UP HER DYING LOVER (Fig.I7) Brush and grey wash Upper right, brush and grey: 35 Afterwards used for pl. Io of the CAPRICHOS, El amor y la muerte

36 YOUNG WOMAN IN SPANISH DRESS, CONVERSING WITH A GALLANT (Fig.I8) Brush and grey wash, touched with brown Upper left, brush and grey: 36

236 by 146 mm.; 91 by 51 in. Laid lines vertical, 27 mm. Watermark: part of SHIELD WITH BEND Cambridge, Mass., Philip Hofer Collection

37 GALLANT ESCORTING A LADY AND CARRYING HER PARASOL Brush and grey wash, touched with pen, brush and brown Upper right, brush and grey: 37

38 TWO WOMEN, IN SPANISH DRESS, PARADING ALONG THE PASEO Brush and grey wash, touched with brown Upper left, brush and grey: 38 Reprod. MAYER 30, pl.I29/I; MAYER 33, p.378; L6PEZ 53, Fig.34; STOLL 54, pl.4

220 by i34 mm.; 8 * by 51 in. Laid lines vertical, 26, 27, 28 mm. Hamburg, Kunsthalle, No. 38545

39 GALLANT STANDING IN PARK WITH TWO YOUNG WOMEN IN SPANISH DRESS (Fig.I9) Brush with grey and dark grey, touched with pen, brush and brown Upper right, brush and grey: 39

40 ANDALUSIAN WATCHING AS GALLANT BOWS TO A MAJA (Fig.2o) Brush and grey wash, touched with brown and black Upper left, brush and grey: 40 Perhaps afterwards used for pl.27 of the CAPRICHOS, Quien mas rendido?

Sight: 8J by 5A in. Laid lines vertical, 26, 27 mm. Watermark: part of SHIELD WITH BEND New York, Benjamin Sonnenberg Collection

43 SEATED MAJA WITH GALLANT STRETCHED OUT ON CHAIRS, HIS HEAD IN HER LAP Brush and grey wash, touched with dark grey Upper right, brush and grey: 43 Reprod. MONGAN 49, p.I23 left; L6PEZ 53, Fig.35

44 LADY TAKING INFANT FROM A WET NURSE (?) Brush with grey and dark grey wash Upper left, brush and grey: 44 Reprod. MONGAN 43, p.54; MONGAN 49, p.123 right; LOPEZ 53, Fig.36

233 by 146 mm.; 9k by 5j in. Laid lines vertical, 26, 27 mm. Cambridge, Mass. Fogg, No.I943.55I

45 YOUNG LADY DRAWING WATER FROM A WELL

Brush and grey wash Upper right, brush and grey: 45 Reprod. SAN FRANCISCO 37, Fig.38; WEHLE 38, pl.7; L6PEZ 53, Fig.37

46 YOUNG WOMAN STARING DOWN A WELL Brush and grey wash Upper left, brush and grey: 46 Reprod. WEHLE 38, pl.8; LOPEZ 53, Fig.38

234 by I48 mm.; 9j by 5"

in. Laid lines vertical, 26, 27 mm. Watermark: part of SHIELD WITH BEND New York, Metropolitan, Nos.35.I03.8 and .9

49 PROSTITUTE SOLICITING A FAT, UGLY MAN Brush with grey and dark grey wash, touched with black Upper right, brush and grey: 49 Reprod. MARIANI 28, Fig.8; L6PEZ 53, Fig.39

50 YOUNG WOMAN WRINGING HER HANDS OVER NAKED MAN LYING IN A THICKET Brush and grey wash, touched with dark grey Upper left, brush and grey: 50 Reprod. MARIANI 28, Fig.7; L6PEZ 53, Fig.40

236 by 146 mm.; 9- by 51 in. Laid lines vertical, 26 mm. Watermark: fragment of FLEUR-DE-LIS Formerly Rome, Clementi Collection

s55 Mascaras/crueles (Masks, cruel ones) Brush and wash Upper right, brush: 55; above picture, centre, brush: Mascaras, pen: crueles

56 Brujas/d bolar (Witches, ready to rise) Brush and wash Upper left, brush: 56; below picture, brush: Brujas and pen: d bolar Afterwards used for pl.70 of the CAPRICHOS, Devota profesion.

Laid lines vertical Paris, anonymous collection

157 La tia chorriones enciende la/Oguera/Brujas d recoger (Aunt Chorriones lights the fire. Witches, to be picked up) Brush and wash Upper right, brush: 57; above picture, pen: La...Oguera; below picture, brush: Brujas, and pen d recoger Reprod. SALE, 1957, Apr. 9, pl.3 right; CRISPOLTI 58 Ott., Fig.3 Afterwards used for pl.69 of the CAPRICHOS, Sopla

58 Caricats/Le pide cuentas la muger al marido (Caricatures, the wife is asking her husband for an accounting) Upper left, brush: 58; lower right of picture, brush: Caricatf; below picture, pen: Le . . . marido Reprod. SALE, 1957, Apr. 9, pl.3 left; CRISPOLTI 58 Ott., Fig.4

Laid lines vertical Present location unknown to me

61 Caricat./es

dia de su Santo (Caricatures, it's her saint's day) Brush and grey wash, touched with black Upper right, brush and grey: 6,; above picture, centre, Caricats; below picture, brush and grey, to left, es ... Santo Reprod. L6PEZ 53, Fig.4I; GASSIER 54, Fig.7

62 Caricatura/d[e] las carracas (Caricature, of the rattles) (Fig.21) Brush and grey wash, touched with black Upper left, brush and grey: 62; and lower left of picture, brush and grey, title Reprod. L6PEZ 53, Fig.42; GASSIER 54, Fig.8

235 by 146 mm.; 91 by 5f in. Laid lines vertical, 26, 27 mm. Watermark: part of SHIELD WITH BEND Paris, Louvre, No. RF 1870 06912

63 Caricatura alegre (Caricature, merry) Brush and grey wash, touched with black and opaque grey Below picture, towards left, brush and grey, title Reprod. ACHIARDI o8, pl.8; MALRAUX 47, pl.15; SANCHEZ 49, pl.I3[A]; L6PEZ 53, Fig.43; SANCHEZ 54, Fig.20o Afterwards used for pl.13 of the CAPRICHOS, Estan calientes.

64 Aguarda qe benga (She waits for him to come) Brush and grey wash Upper left, brush: 64; and below picture, brush, title Reprod. BOIX, pl.24; MALRAUX 47, pl.I6; L6PEZ 53, Fig.44; SANCHEZ 54, Fig.212

Sight: 7j by 5t in. Laid lines vertical, 27 mm. Madrid, Prado, Nos.443, 452

67 se emborrachan (They are getting drunk) Brush and grey wash, touched with black Upper right, brush and grey: 67; below picture, to left, brush and grey, title Reprod. WEHLE 38, pl.9; L6PEZ 53, Fig.47

68 tuto parola i busia/El Charlatan qe arranca una quziada y lo/creen (Every word is a lie - the charlatan who pulls out a jaw and they believe it) Brush with grey and dark grey wash Upper left, brush and grey: 68; above picture, tuto ... busia; below picture, brush and grey, El . . . creen; barilla (jawbone) corrected to quijada in pen and brown ink

28



Reprod. NEW YORK 36, no.22; WEHLE 38, pl.10o; CHICAGO 41, no.22; SANCHEZ 49, pl.33[A]; L6PEZ 53, Fig.48 Afterwards used for pl.33 of the CAPRICHOS, Al Conde Palatino

237 by 146 mm.; 9K by 51 in. Laid lines vertical, 26, 27 mm. Watermark: part of FLEUR-DE-LIS New York, Metropolitan, Nos.35.Io3.I and .Io

t69 Solo pr qe le pregunta, si esta buena su Madre./se pone como un tigre (Just because she is asked if her mother is well, she acts like a tigress) Brush and wash Upper right, brush: 69; below picture, brush, Solo ... Madre. and pen, se . .. tigre Reprod. CRISPOLTI 58 Ott, Fig.5

70 Confianza (Trust) Brush and wash Upper left, brush: 7o; below picture, brush, title Reprod. CRISPOLTI 58 Ott, Fig.6

Laid lines vertical Present location unknown to me

71 lo mismo (The same) Brush and grey wash, touched with black Upper right, brush and grey: 71; below picture, brush and grey, title Reprod. SALE, 1957, Apr. 9, pl.2I left; CRISPOLTI 58 Ott, Fig.7

72 Mascaras de B./ Tambien ay mascaras de Borricos/Literatos (Masquerades, of A [sses]. There are also asses masquerading as men of letters) Brush and grey wash, touched with pen and brown ink Upper left, brush and grey: 72; and above picture: Mascaras de B.; below picture, brush and grey: Tambien ... Literatos Reprod. SALE, 1957, Apr. 9, pl.2I right; CRISPOLTI 58 Ott, Fig.8 Afterwards used for plate 39 of the CAPRICHOS, Asta su Abuelo

236 by I45 mm.; 91% by 51 in. Laid lines vertical, 26, 27, 28 mm. Heerbrugg, Max Schmidheiny Collection

73 and 74 Possibly pages [c] and [d], listed below

75 Humilidad contra soberbia (Humility versus Pride) Brush and grey wash, reworked with dark grey Upper right, brush and grey: 75; below picture, to left, brush and grey, title Reprod. WEHLE 38, pl.I I; L6PEZ 53, Fig.49

76 Largueza contra Abaricia (Generosity versus Greed) Brush and grey wash, touched with dark grey Upper left, brush and grey: 76; below picture, towards left, brush and grey, title; Largeza corrected with a u added in pen and brown ink Reprod. WEHLE 38, pl.I2; L6PEZ 53, Fig.5o

237 by 147 mm.; 9A by 5A in. Laid lines vertical, 26, 27 mm. Watermark: part of SHIELD WITH BEND New York, Metropolitan, Nos.35.103. 13 and .12

77 Los hermanos de ella, matan a su amante, y ella/se mata despues (Her brothers kill her lover, and afterwards she kills herself) Brush and grey wash Upper right, brush and grey: 77; below picture, brush and grey: Los . . amante, and pen and brown ink:,y... despues

Reprod. SAN FRANCISCO 37, Fig.37; WEHLE 38, pl.I3; LOPEZ 53, Fig.5I

78 An echo subir al confesor por la bentana (They got the confessor up through the window) Brush and grey wash, touched with black Upper left, brush and grey: 78; below picture, pen and brown ink, title Reprod. WEHL~E 38, pl.I4; L6PEZ 53, Fig.52

236 by 147 mm.; 94 by 5@ in. Laid lines vertical, 26, 27 mm. Watermark: part of LETTERS New York, Metropolitan, Nos.35.Io3.14 and .I5

79 tiene cortedad de desnudarse, bayd estese V. quieto (She is timid about taking her clothes off. 'Go on, keep your hands where they belong'.) (Fig.22) Brush with grey and dark grey wash Upper right, brush and grey: 79; below picture, pen and brown ink, title

80 Mascaras de semana santa del afio de 94 (Masquerades of Holy Week in the year '94) (Fig.23) Brush and grey wash, heightened with black Upper left, brush and grey: 8o; below picture, brush and grey, title

232 by 141 mm.; 9j by 5f* in. Laid lines vertical, 26, 27 mm. Watermark: part of FLEUR-DE-LIS San Francisco, anonymous collection

81 Jesus qf Aire (Lord, what a wind!) Brush and grey wash, touched with black Upper right, brush and grey: 81; below picture, brush and grey, title Reprod. L6PEZ 53, Fig.53 Afterwards used for pl.36 of the CAPRICHOS, Mala noche

82 Pobres, equantas lo mereceran mejor? dpues qe es esto?/que J de ser, qe las lleban a

S. fernando. (Poor things; how many would deserve it more ? but what

is this ? What else but that they're being taken off to San Fernando.) Brush with grey and dark grey wash Upper left, brush and grey: 82; below picture, pen and brown ink, title Reprod. L6PEZ 53, Fig.54 Afterwards used for pl.22 of the CAPRICHOS, Pobrecitas!

236 by 147 mm.; 91 by 5* in. Laid lines vertical, 26, 27 mm. Paris, anonymous collection

85 es beranoy a la luna, toman elfresco, y se espulgan/al tiento (It's summer, and by moonlight they take the air and get rid of fleas, by feel) Brush with grey and black wash Upper right, brush and grey: 85; below picture, pen and brown ink, title Reprod. MARIANI 28, Fig.9; LOPEZ 53, Fig.55

86 Buen sacerdote ddonde se ha celebrado? (Good priest; where was it celebrated ?) (Fig.I I) Brush and grey wash, touched with black Upper left, brush and grey: 86; below picture, pen and brown ink, title Reprod. LOPEZ 53, Fig.56 Afterwards used for pl. 18 of the CAPRICHOS, r se le quema la Casa

236 by 145 mm.; 9A by 51 in. Laid lines vertical, 26, 27 mm. Watermark: fragment of FLEUR-DE-LIS Formerly Rome, Clementi Collection

87 Ay Pulgas? (Are there fleas?) Brush and grey wash, touched with dark grey Upper right, brush and grey: 87; below picture, to left, brush and grey, title Reprod. TRAPIER 63, pl.Iia

88 Buena Jente. somos los/Moralistas (Fine people we are, the moralists) Brush and grey wash, touched with dark grey Upper left, brush and grey: 88; below picture, brush and grey, title Reprod. TRAPIER 63, pl.IIb Afterwards used for pl. I I of the CAPRICHOS, Muchachos al avio

237 by 147 mm.; 9k by 5# in. Laid lines vertical, 26, 27, 28 mm. New York, Hispanic Society

+89 el Abogado./Este a nadie perdona, pero no es tan dafino como/como [sic] un Medico malo (The lawyer. This one never lets anybody off, but he doesn't do as much harm as a bad doctor) Brush and wash Upper right, brush: 89; above picture, to left, brush: el Abogado; below picture, pen: Este. . . malo Reprod. SALE, 1935, Dec. 4, No.2o left; L6PEZ 53, Fig.57

9o Nobia Discreta y arrepentida a sus Padres/se presenta en estaforma (A prudent and repentant betrothed presents herself to her parents in this manner) Brush and wash Below picture, brush: Nobia. .. arrepentida, and pen a .. .forma Reprod. SALE, 1935, Dec. 4, No.2o right; L6PEZ 53, Fig.58

Laid lines vertical Formerly London, Percy Moore Turner Collection

93 Conoc?los el aceiteroy dice Eola?y empiezafa palos con las mascaras/ellos huyendo, claman la injusticia del poco respeto/a su representacion (The oil vendor rec- ognizes them, says 'Ola ?', and begins to cudgel the masqueraders; they, fleeing, protest the injustice of such lack of respect for their performance) Brush with grey and dark grey wash, touched with black and with pen and brown ink

29



Upper right, brush and grey: 93; above picture, pen and brown ink: Conocelos . .. mascaras; below picture, pen and brown ink: ellos ... representacion Reprod. WEHLE 38, pl.15; CHICAGO 4I, No.23; L6PEz 53, Fig.59

94 Manda qe quiten el coche, se despeina, y/arranca el pelo y patja/Porqf el abate Pichurris, le d dicho en sus ocios, q! estaba descolorida (She orders them to send away the coach, musses her hair, tears it, and stamps. Because Abb6 Pichurris told her to her face that she was pale) Brush with grey and black wash, touched with pen and brown ink Upper left, brush and grey: 94; above picture, pen and brown ink: Manda ... patia; below picture, pen and brown ink: Porqe ... descolorida Reprod. WEHLE 38, pl.I6; CHICAGO 41, No.I9; LOPEZ 53, Fig.6o

236 by 146 mm.; 9q- by 5* in. Laid lines vertical, 25, 26, 27 mm. Watermark: part of LETTERS New York, Metropolitan, Nos.35.1o3.I7 and .16

[a] recto: PROSTITUTES APPRAISING A COLLEAGUE AS SHE WALKS Brush and grey wash Reprod. sANCHEZ 28, pl.I4; DESPARMET 50, p1.458; L6PEz 53, Fig.3o; TRAPIER 55, Fig.8

[b] verso: OLD WOMAN BEGGING FROM A MAJA Brush and grey wash, touched with black

Reprod. SANCHEZ 28, pl.13; SANCHEZ 49, pl. 6 [A]; DESPARMET 50, pl.457; L6PEZ 53, Fig.29 Afterwards used for pl.i6 of the CAPRICHOS, Dios la perdone: T era su madre

This sheet, with a triangular tear, lower right, like those in sheets three and four (pp.5--8) was certainly originally near them; possibly sheet two 234 by 145 mm.; 94 by 5j in. Laid lines vertical, 25, 27 mm. Madrid, Biblioteca Nacional, No.B. 1262

[c] mascs/La apunta p.

ermofrodita (Masquerades, he writes her down as an hermaphrodite) Brush and grey wash, touched with black Bottom right of picture, brush and grey, mascs; below picture, to left, pen and brown ink: La ... ermofrodita Reprod. L6PEZ 53, Fig.45; GASSIER 54, Fig.I Afterwards used for pl.57 of the CAPRICHOS, Lafiliacion

[d] Parten la Vieja (They're cutting the old woman in two) Brush with grey and black wash Below picture, brush and grey, title Reprod. MAYER 38, pl.20; L6PEZ 53, Fig.46; GASSIER 54, Fig.5

209 by 125 mm.; 81 by 41 in. Laid lines vertical, 27 mm. Watermark: part of LETTERS Paris, Louvre, No.RF 1870 06914

EDITH HELMAN

Identity and Style in Goya 'Genius means the faculty to create a new piece of the universe, a group of objective problems, a cluster of solutions; only when we have something of this sort to deal with is it possible for us to speak of genius.'

ORTEGA Y GASSET

THE Romantic image of Goya as an unconscious and un- tutored genius still persists in some recent publications and not all of them fictional. The unquestioned originality of the painter is invariably coupled with his presumed facility and spontaneity. It is easy to see how this Goya legend arose from the early statements of Carderera, Brunet, and others. Carderera stressed the amazing facility with which Goya painted portraits, often requiring only one short sitting for a work that besides being an exact likeness caught the characteristic attitude and gestures of the sitter and revealed his disposition and character. We know now that although the painter may have made only a rapid sketch at the time of the sitting, he often reworked it in one or several studies before beginning to execute the final painting. And Carder- era himself pointed out that before beginning to paint a composition Goya would reflect for some time and calculate the precise effect he wished to produce so that he could then carry out the actual painting of the work with the ease and boldness that the uninitiated took for improvisation or negligence. It is not, however, this observation of Carderera's that later critics cite but rather his remarks about the artist's tumultuous life, his ardent temperament, his great productivity, and incomparable facility. The same impression of ease, arising out of the perfect mastery of the medium, is conveyed in the letters of the Spanish neo-classical dramatist Moratin, who had long been the painter's friend and admirer and often observed him at work during his last

years at Bordeaux. He reported that the old painter was as energetic and active as ever, forging straight ahead with briskness and vehemence, hardly ever correcting anything. But since, as Moratin himself tells us, Goya never stopped working, not even at 8o, his apparent spontaneity and rapidity of execution must have been gained at the cost of intense effort and persevering practice for well over fifty years. We know from his son Xavier that in earlier times he had often been profoundly discouraged when, after wrestling for many hours with a particular problem he had set himself without finding a solution, Goya would say, 'I must have forgotten how to paint'.

The Romantics, confusing the pictorial quality of a painting or its effect on the spectator with the method or tech- nique used to achieve the effect, attributed to natural facility alone the characteristics they most admired in Goya's painting, namely, the vigour and boldness of the brush- strokes and the freshness of the colouring. The French poets, Gautier, Hugo, Baudelaire, extolled above all Goya's revolt against the system of his contemporaries, his freeing of the imagination and brush from precept and line, in a word, his originality.

In Spain, Goya's originality and excellence as a painter of portraits was early recognized and everyone who was anyone wanted to be painted by him. He boasted in a letter to his old childhood friend Zapater that now - he was about 40 at the time - people sought him out and waited on him but that he accepted commissions to paint only the most important people or those who came recommended by friends. His friends he had always painted with special predilection, as we see in the series of magnificent studies executed in the last years of the eighteenth century, the portraits of Mel6ndez Vald6s, Jovellanos, Moratin, and Peral. Commenting on the Peral portrait (Fig.24) in a review of a current exhibition at

30


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?L.w 19. Gallant standing in park with two young Women in Spanish dress, by Francisco de Goya. Album B, page 39-40, recto. Brush with grey and dark grey, touched with pen, brush and brown c. 21-7 by

3" I cm. (Collection Benjamin

Sonnenberg, New York.) 20. Andalusian watching as Gallant

bows to a Maja, by Francisco de Goya. Album B, page 39-40 verso. Brush and grey wash touched with brown and black. (Col- lection Benjamin Sonnenberg, New York.)

21. Caricatura de las carracas (Cari- cature of the rattles), by Fran- cisco de Goya. Album B, page 62. Brush and grey wash, touched with black, 23'5 by 14-6 cm. (Musee du Louvre, Paris.)

22. Tiene cortedad de desnudarse, bayd estese V. quieto (She is timid about taking her clothes off, 'Go on, keep your hands where they belong'), by Francisco de Goya. Album B, page 79-80 recto. Brush with grey and dark grey wash, 23-2 by 14- cm. (Private Collection, San Francisco.)

23. Mascaras de semana santa del arzo de 94 (Masquerades of Holy Week in the year '94), by Francisco de Goya. Album B, page 79-80, verso. Brush and grey wash, heightened with black. (Private Collection, San Fran- cisco.)

23.


Article Contentsp. 19p. 20p. 21p. 22p. 23p. 24p. [25]p. [26]p. 27p. 28p. 29p. 30p. [31]

Issue Table of ContentsThe Burlington Magazine, Vol. 106, No. 730, Francisco de Goya y Lucientes 1746-1828 (Jan., 1964), pp. i-iv+i-xvi+1-50Volume Information [pp. i-iv]Front Matter [pp. i-xvi]Exhibitions - January [p. xiv]EditorialGoya and His Times [pp. 2-4+35]

Goya and England in the Nineteenth Century [pp. 4-14]Portrait of Spanish Artists by Goya [pp. 14-19]Eight Books of Drawings by Goya - I [pp. 19-31]Identity and Style in Goya [pp. 30+32-37]Shorter NoticesA Group of Bullfighting Scenes by Goya [pp. 36-40]A Contemporary Review of Goya's 'Caprichos' [pp. 38+40-43]

LettersWatts and Ellen Terry [pp. 40+43]The Problem of the Master of Moulins [pp. 43-44]Early German Drawings in Dresden [p. 44]

Current and Forthcoming ExhibitionsGeneral [p. 45]London [pp. 45-47+49]Switzerland [pp. 48-50]

Publications Received [p. 50]Foreign Auction Sales [p. 50]Back Matter

Documents

Eleonor Sayre- Drawings by Goya