COMPLETE ETCHINGS

ALDOUS HUXLEY
 The Complete Etchings of

GOYA
With a Foreword by

ALD OUS HUXLEY

No other artist in black-and-white has ever exhibited
such tremendous vitality, such seething indignation and
wealth of invention, as Goya. In all of the 268 etchings in
this large and handsome collection of his complete graphic
work, there is an exuberant, full-bodied delight in life, an
overflow of sheer animal spirits tempered by the wit and
wisdom of a great creativity that have made his prints eagerly

sought-for and beloved by many generations of art lovers.

Now we have, in a single volume, all of the etchings of his
famous print series, The Disasters of War, The Caprices,
The Proverbs, The Art of Bullfighting and 39 out-of-series

etchings available for your permanent library and constant

pleasure.
The etchings in these memorable series reveal Goya as

one of our greatest masters of design. The composition of

each print possesses the quality of an exquisitely-planned
structure, with perfect correlation of its parts and remarkable
plastic quality. The substance of his forms and their position
in space are so completely realized that they most actively
excite the tactile sense. They fascinate alike by their actu-
ality and their suggestion of vision.
No other artist, with the possible exception of the

Japan^ \ Hokusai, has ever expressed the feeling of

wei i. In his prints for the Disasters of War and

the reader can literally feel the heaviness of
tired bodii (lie leaden fall ol an unconscious woman's
arms. Who, other than Goya, lias ever made motion so

movingl j line is kinetic! In The Ail of Bullfighting

die rhytl lines that form the structure ol the angry

charging id the mine inn torreadors, are masterpieces
ol linear i is. No Oth ei artist lias ever projected fear
so effective toya! Can one ever Eorgei the terrified Ea< es

ol women a ildien in The Disasters of War as the) face

themaraudii not oi the invading soldiers? The emotional

gamut oi (,.i work reaches into c\ci\ human motivation

(Continued on Bach Flap)

X
THE COMPLETE ETCHINGS OF

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THE COMPLETE ETCHINGS OF

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CROWN PUBLISHERS, INC. •

NEW YORK
 X

COPYRIGHT © MCMXLIII, BY CROWN PUBLISHERS, INC.

LIBRARY OF CONGRESS CATALOG CARD NUMBER: 43"I7339

PRINTED IN THE U.S.A.

(F)
 FOREWORD
by Aldous Huxley

THE CAPRICCIOS
THE DISASTERS OF THE WAR
THE ART OF BULLFIGHTING
THE PROVERBS
MISCELLANY

Publisher's Note: Throughout this book the Spanish captions of the etchings, given

to them by Goya, will be found together with English translations. In a few instances
no Spanish titles are known. In such cases the accepted French captions, from the
definitive catalogue by Loys Delteil, are given.
\
 BY ALDOUS HUXLEY
There are anthologies of almost everything— from the best to the worst, from the his-
torically significant to the eccentric, from the childish to the sublime. But there is

one anthology, potentially the most interesting of them all, which, to the best of my knowl-
edge, has never yet been compiled; I mean, the Anthology of Later Works.
To qualify for inclusion in such an anthology, the artist would have to pass several tests.
First of all, he must have avoided a premature extinction and lived on into artistic and
chronological maturity. Thus the last poems of Shelley, the last compositions of Schubert

and even of Mozart would find no place in our collection. Consummate artists as they were,
these men were still psychologically youthful when they died. For their full development
they needed more time than their earthly destiny allowed them. Of a different order are

those strange beings whose chronological age is out of all proportion to their maturitv,
not only as artists, but as human spirits. Thus, some of the letters written by Keats in his

early twenties and many of the paintings which Seurat executed before his death at thirtv -

two might certainly qualify as Later Works. But, as a general rule, a certain minimum of
time is needed for the ripening of such fruits. For the most part, our hypothetical anthol-
ogist will make his selections from the art of elderly and middle-aged men and women.
But by no means all middle-aged and elderly artists are capable of producing significant
Later Works. For the last half century of a long life, Wordsworth preserved an almost
unbroken record of And in this respect
dulness. he does not stand alone. There are manv,
many others whose Later Works are their worst. All these must be excluded from our an-
thology, and I would pass a similar judgment on that other large class of Later Works,
which, though up to the standard of the earlier, are not significantly different from them.
Haydn lived to a ripe old age and his right hand never forgot its cunning; but it also failed

to learn a new cunning. Peter Pan-like, he continued, as an old man, to write the same sort
of thing he had written twenty, thirty and forty years before. Where there is nothing to

[7
 )
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distinguish the creations of a man's maturity from those of his youth it is superfluous to in-
clude any of them in a selection of characteristically Later Works.
This leaves us, then, with the Later Works of those artists who have lived without ever
ceasing to learn of life. The field is relatively narrow; but within it, what astonishing, and
sometimes what disquieting treasures! One thinks of the ineffable serenity of the slow move-
ment of Beethoven's A minor quartet, the peace passing all understanding of the orchestral
prelude to the Benedictus of his Missa Solemnis. But this is not the old man's onlv mood;
when he turns from the contemplation of eternal reality to a consideration of the human
world, we are treated to the positively terrifying merriment of the Scherzo in his B flat

major quartet— merriment quite inhuman, peals of violent and yet somehow abstract laugh-
ter echoing down from somewhere beyond the limits of the world. Of the same nature, but
if possible even more disquieting, is the mirth which reverberates through the last act of

Verdi's Falstaff, culminating in that extraordinary final chorus in which the aged genius
makes his maturest comment on the world— not with bitterness or sarcasm or satire, but in

a huge, contrapuntal paroxysm of detached and already posthumous laughter. A similar

detachment— but not associated with laughter and therefore less hair-raising than the de-
tachment of Falstaff or the B flat major scherzo—-is the characteristic feature of Bach's Art
of the Fugue.
Turning to the other arts, we find something of the same non-human, posthumous
quality in the Later Works of Yeats and, coupled with a prodigious majesty, in those of
Piero della Francesca. x\nd then, of course there is The Tempest— a work charged with
something of the unearthly serenity of Beethoven's Benedictus but concluding in the most
disappointing anti-climax, with Prospero giving up his magic for the sake (heaven help us!

of becoming once again a duke. And the same sort of all too human anti-climax saddens us
at the end of the second part of Faust, with its implication that draining fens is Man's Final
End, and that the achievement of this end automatically qualifies the drainer for the beatific

vision. Still, in spite of those touches of what every exponent of the Perennial Philosophy
would put down as spiritual immaturity, both of them remain Later Works on the grand
scale.

And what about the last El Grecos— for example, that unimaginable Assumption at

Toledo with its fantastic harmony of brilliant, ice-cold colors, its ecstatic gesticulations

in a heaven with a third dimension no greater than that of a mine-shaft, its deliquescence of
flesh and flowers and drapery into a set of ectoplasmic abstractions? What about them, in-

deed? All we know is that, beautiful and supremely enigmatic, they will certainly take their

place in our hypothetical anthology.

And finally, among these and all other extraordinary Later Works, we should have to
1

[81
number the paintings, drawings and etchings of Goya's final twenty-five or thirty years.

The difference between the young Goya and the old may be best studied and appre-
ciated by starting in the basement of the Prado, where his cartoons for the tapestries are
hung; climbing thence to the main floor, where there is a room full of his portraits of royal

imbeciles, grandees, enchanting duchesses, majas, clothed and unclothed; walking thence to
the smaller room containing the two great paintings of the Second of May— Napoleon's
Mamelukes cutting down the crowd and, at night, when the revolt has been quelled, the

firing squads at work upon their victims by the light of lanterns; and finally mounting to

the top floor where hang the etchings and drawings, together with those unutterably mys-
terious and disturbing "black paintings," with which the deaf and aging Goya elected to
adorn the dining-room of his house, the Quinta delSordo. It is a progress from light-hearted
eighteenth-century art, hardly at all unconventional in subject matter or in handling, through
fashionable brilliancy and increasing virtuosity to something quite timeless both in technique

and spirit— the most powerful of commentaries on human crime and madness, made in terms
of an artistic convention uniquely fitted to express precisely that extraordinary mingling of

hatred and compassion, despair and sardonic humor, realism and fantasy.

"I show you sorrow," said the Buddha, "and the ending of sorrow"— the sorrow of the
phenomenal world in which man, "like an angry ape, plays such fantastic tricks before high

heaven as make the angels weep," and the ending of sorrow in the beatific vision, the unitive

contemplation of transcendental reality. Apart from the fact that he is a great and one might
say, uniquely original artist, Goya is significant as being, in his Later Works, the almost per-

fect type of the man who knows only sorrow and not the ending of sorrow— who can give
expression to the equivalent only of Falstaff, not of the Reqnie?n, only of the B fiat major
scherzo, not of the Benedictus.

In spite of his virulent anti-clericalism, Goya contrived to remain on sufficiently good

terms with the Church to receive periodical commissions to paint religious pictures. Some
of these, like the frescoes in the cupola of La Florida, are frankly and avowedly secular. But
others are serious essays in religious painting. It is worth looking rather closely at what is

probably the best of these religious pieces— the fine Agony in the Garden. With outstretched
arms, Christ raises towards the comforting angel a face whose expression is identical with
that of the poor creatures whom we see, in a number of unforgettably painful etchings and
paintings, kneeling or standing in an excruciating anticipation before the gun barrels of a

French firing squad. There is no trace here of that loving confidence which, even in the

darkest hours, fills the hearts of men and women who live continually in the presence of
God; not so much as a hint of what Francois de Sales calls "holy indifference" to suffering

[9]
 '^

and good fortune, of the fundamental equanimity, the peace passing all understanding which
belongs to those whose attention is firmly fixed upon a transcendental reality.

For Goya the transcendental reality did not exist. There is no evidence in his biography
or his works that he ever had even the most distant personal experience of it. The only
reality he knew was that of the world around him; and the longer he lived the more fright-

ful did that world seem— the more frightful, that is to say, in the eyes of his rational self; for

his animal high spirits went on bubbling up irrepressibly, whenever his body was free from
pain or sickness, to the very end. As a young man in good health, with money and reputa-
tion, a fine position and as many women as he wanted, he had found the world a very agree-
able place. Absurd, of course, and with enough of folly and roguery to furnish subject
matter for innumerable satirical drawings, but eminently worth living in. Then all of a sud-

den came deafness; and, after the joyful dawn of the Revolution, Napoleon and French
Imperialism and the atrocities of war; and, when Napoleon's hordes were gone, the unspeak-
able Ferdinand VII and clerical reaction and the spectacle of Spaniards fighting among
themselves; and all the time, like the drone of a bagpipe accompanying the louder noises

of what is officially called history, the enormous stupidity of average men and women, the
chronic squalor of their superstitions, the bestiality of their occasional violences and orgies.
Realistically or in fantastic allegories, with a technical mastery that only increased as

he grew older, Goya recorded it all. Not only the agonies endured by his people at the
hands of the invaders, but also the follies and crimes committed by these same people in

their dealings with one another. The great canvases of the Madrid massacres and execu-
tions, the incomparable etchings of War's Disasters, fill us with an indignant compassion.

But then we turn to the Disparates and the Pinturas Negras. In these, with a sublimely im-
partial savagery, Goya sets down exactly what he thinks of the martyrs of the Dos de Mayo,
when they are not being martyred. Here, for example, are two men— two Spaniards-
sinking slowly towards death in an engulfing quicksand, but busily engaged in knocking

one another over the head with bludgeons. And here is a rabble coming home from a pil-

grimage—scores of low faces, distorted as though by reflection in the back of a spoon, all

open-mouthed and yelling. And all the blank black eyes stare vacantly and idiotically in
different directions.

These creatures who haunt Goya's Later Works are inexpressibly horrible, with the
honor of mindlessness and animality and spiritual darkness. And above the lower depths
where they obscenely pullulate is a world of bad priests and lustful friars, of fascinating

women whose love is a "dream of lies and inconsistency," of fatuous nobles and, at the top
of the social pyramid, a royal family of half-wits, sadists, Messalinas and perjurers. The

[10]

'«_
moral of it all is summed up in the central plate of the Caprichos, in which we see Goya
himself, his head on his arms, sprawled across his desk and fitfully sleeping, while the air
above is peopled with the bats and owls of necromancy and just behind his chair lies an
enormous witch's cat, malevolent as only Goya's cats can be, staring at the sleeper with
baleful eyes. On the side of the desk are traced the words, "The dream of reason produces
monsters." It is a caption that admits of more than one interpretation. When reason sleeps,
the absurd and loathsome creatures of superstition wake and are active, goading their vic-

tim to an ignoble frenzy. But this is not all, Reason may also dream without sleeping; may
intoxicate itself, as it did during the French Revolution, with the day-dreams of inevitable
progress, of liberty, equality and fraternity imposed by violence, of human self-sufficiency
and the ending of sorrow, not by the all too arduous method which alone offers any pros-
pect of success, but by political re-arrangements and a better technology. The Caprichos
were published in the last year of the eighteenth century; in 1808 Goya and all Spain were
given the opportunity of discovering the consequences of such day-dreaming. Murat
marched his troops into Madrid; the Desastres de la Guerra were about to begin.
Goya produced four main sets of etchings— the Caprichos, the Desastres de la Guerra,
the Tauromaquia and the Disparates or Pr over bios. All of them are Later Works. The Cap-
richos were not published until he was fifty-three; the plates of the Desastres were etched
between the ages of sixty-five and seventy-five; the Tauromaquia series first saw the
light when he was sixty-nine (and at the age of almost eighty he learnt the brand new
technique of lithography in order to be able to do justice to his beloved bulls in yet an-
other medium) ; the Disparates were finished when he was seventy-three.
For the non-Spaniard the plates of the Tauromaquia series will probably seem the least

interesting of Goya's etchings. They are brilliant records of the exploits of the bull ring;

but unfortunately, or fortunately, most of us know very little about bullfighting. Con-
sequently, we miss the finer shades of the significance of these little masterpieces of
documentary art. Moreover, being documentary, the etchings of the Tauromaquia do
not lend themselves to being executed with that splendid audacity, that dramatic breadth
of treatment, which delight us in the later paintings and the etchings of the other three

series. True, we find in this collection a few plates that are as fine as anything Goya ever
produced— for example, that wonderful etching of the bull which has broken out of the
arena and stands triumphant, a corpse hanging limp across its horns, among the spectators'

benches. But by and large it is not to the Tauromaquia that we turn for the very best
specimens of Goya's work in black and white, or for the most characteristic expressions

of his mature personality. The nature of the subject matter makes it impossible for him,
in these plates, to reveal himself fully either as a man or as an artist.

[11]
 —
'X

Of the three other sets of etchings two, the Caprichos and Disparates, are fantastic

and allegorical in subject matter, while the third, the Desastres, though for the most part
it represents real happenings under the Napoleonic terror, represents them in a way
which, being generalized and symbolical, rather than directly documentary, permits of,

and indeed demands, a treatment no less broad and dramatic than is given to the fantasies
of the other collections.
War always weakens and often completely shatters the crust of customary decency
which constitutes a civilization. It is a thin crust at the best of times, and beneath it lies

what? Look through Goya's Desastres and find out. The abyss of bestiality and diabolism
and suffering seems almost bottomless. There is practically nothing of which human be-
ings are not capable when war or revolution or anarchy gives them the necessary oppor-
tunity and excuse; and to their pain death alone imposes a limit.

Goya's record of disaster has a number of recurrent themes. There are those shadowy
archways, for example, more sinister than those even of Piranesi's Prisons, where women
are violated, captives squat in a hopeless stupor, corpses lie rotting, emaciated children

starve to death. Then there are the vague street corners at which the famine-stricken
hold out their hands; but the whiskered French hussars and carabiniers look on without
pity, and even the rich Spaniards pass by indifferently, as though they were "of another
lineage." Of still more frequent occurrence in the series are the crests of those naked
hillocks on which lie the dead, like so much garbage. Or else, in dramatic silhouette
against the sky above those same hilltops, we see the hideous butchery of Spanish men
and women, and the no less hideous vengeance meted out by infuriated Spaniards upon
their tormentors. Often the hillock sprouts a single tree, always low, sometimes maimed
by gun-fire. Upon its branches are impaled, like the beetles and caterpillars in a butcher
bird's larder, whole naked torsos, sometimes decapitated, sometimes without arms; or else

a pair of amputated legs, or a severed head— warnings, set there by the conquerors, of the
fate awaiting those who dare oppose the Emperor. At other times the tree is used as a
gallows— a less efficient gallows, indeed, than that majestic oak which, in Callot's Miseres
de la Guerre, is fruited with more than a score of swinging corpses, but good enough for
a couple of executions en passant, except, of course, in the case recorded in one of Goya's
most hair-raising plates, in which the tree is too stumpy to permit of a man's hanging
clear of the ground. But the rope is fixed, none the less, and to tighten the noose around
their victim's neck, two French soldiers tug at the legs, while with his foot a third man
thrusts with all his strength against the shoulders.
And so the record proceeds, horror after horror, unalleviated by any of the splendors
which other painters have been able to discover in war; for, significantly, Goya never

In']
illustrates an engagement, never shows us impressive masses of troops marching in column
or deployed in the order of battle. His concern is exclusively with war as it affects the

civilian population, with armies disintegrated into individual thieves and ravishers, tor-
mentors and executioners— and occasionally, when the gnerilleros have won a skirmish,

into individual victims tortured in their turn and savagely done to death by the avengers
of their own earlier atrocities. All he shows us is war's disasters and squalors, without any
of the glory or even picturesqueness.

In the two remaining series of etchings we pass from tragedy to satire and from his-

torical fact to allegory and pictorial metaphor and pure fantasy. Twenty years separate
the Caprichos from the Disparates, and the later collection is at once more sombre and more
enigmatic than the earlier. Much of the satire of the Caprichos is merely Goya's sharper
version of what may be called standard eighteenth-century humor. A plate such as Hasta
la Muerte, showing the old hag before her mirror, coquettishly trying on a new head-
dress, is just Rowlandson-with-a-difference. But in certain other etchings a stranger and
more disquieting note is struck. Goya's handling of his material is such that standard
eighteenth-century humor often undergoes a sea-change into something darker and

queerer, something that goes below the anecdotal surface of life into what lies beneath
—the unplumbed depths of original sin and original stupidity. And in the second half of
the series the subject matter reinforces the effect of the powerful and dramatically sin-

ister treatment; for here the theme of almost all the plates is basely supernatural. We are
in a world of demons, witches and familiars, half horrible, half comic, but wholly dis-

quieting inasmuch as it reveals the sort of thing that goes on in the squalid catacombs of
the human mind.
In the Disparates the satire is on the whole less direct than in the Caprichos, the allegories

are more general and more mysterious. Consider, for example, the technically astonishing

plate, which shows a large family of three generations perched like huddling birds along a
huge dead branch that projects into the utter vacancy of a dark sky. Obviously, much more
is meant than meets the eye. But what? The question is one upon which the commentators
have spent a great deal of ingenuity— spent it, one may suspect, in vain. For the satire, it

would seem, is not directed against this particular social evil or that political mistake, but
rather against unregenerate human nature as such. It is a statement, in the form of an image,
about life in general. Literature and the scriptures of all the great religions abound in such
brief metaphorical verdicts on human destiny. Alan, turns the wheel of sorrow, burns in the

fire of craving, travels through a vale of tears, leads a life that is no better than a tale told by
an idiot signifying nothing.

[13]
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Poor man, what art? A tennis ball of error,

A ship of glass tossed in a sea of terror:
Issuing in blood and sorrow from the womb,
Crawling in tears and mourning to the tomb.
How slippery are thy paths, how sure thy fall!
How art thou nothing, when thou art most of all!

And so on. Good, bad and indifferent, the quotations could be multiplied almost indefi-

nitely. In the language of the plastic arts, Goya has added a score of memorable contribu-
tions to the stock of humanity's gnomic wisdom.
The Disparate of the dead branch is relatively easy to understand. So is the comment on
Fear contained in the plate which shows soldiers running in terror from a gigantic cowled
figure, spectral against a jet black sky. So is the etching of the ecstatically smiling woman
riding a stallion that turns its head and, seizing her skirts between its teeth, tries to drag her

from her seat. The allegorical use of the horse, as a symbol of the senses and the passions,
and of the rational rider or charioteer who is at liberty to direct or be run away with, is at

least as old as Plato.

But there are other plates in which the symbolism is less clear, the allegorical significance
far from obvious. That horse on a tight-rope, for example, with a woman dancing on its

back; the men who fly with artificial wings against a sky of inky menace; the priests and
the elephant; the old man wandering among phantoms. What is the meaning of these things?
And perhaps the answer to that question is that they have no meaning in any ordinary sense
of the word; that they refer to strictly private events taking place on the obscurer levels of

their creator's mind. For us who look at them, it may be that their real point and significance
consist precisely in the fact that they image forth so vividly and yet, of necessity, so darkly
and incomprehensibly, some at least of the unknown quantities that exist at the heart of every
personality.

Goya once drew a picture of an ancient man tottering along under the burden of years,

but with the accompanying caption, "I'm still learning." That old man was himself. To the
end of a long life, he went on learning. As a very young man he paints like the feeble eclec-
tics who were his masters. The first signs of power and freshness and originality appear in
the cartoons for the tapestries of which the earliest were executed when he was thirty. As a

portraitist, however, he achieves nothing of outstanding interest until he is almost forty.

But by that time he really knows what he's after, and during the second forty years of his

life he moves steadily forward towards the consummate technical achievements, in oils, of
the Vinturas Negras, and, in etching, of the Desastres and the Disparates. Goya's is a sty-
t

[14]
listic growth away from restraint and into freedom, away from timidity and into expressive
boldness.

From the technical point of view the most striking fact about almost all Goya's success-
ful paintings and etchings is that they are composed in terms of one or more clearly delim-
ited masses standing out from the background, often indeed, silhouetted against the sky.

When he attempts what may be called an "all-over" composition, the essay is rarely success-
ful. For he lacks almost completely the power which Rubens so conspicuously possessed— of
filling the entire canvas with figures or details of landscape, and upon that plenum imposing
a clear and yet exquisitely subtle three-dimensional order. The lack of this power is already
conspicuous in the tapestry cartoons, of which the best are invariably those in which Goya
does his composing in terms of silhouetted masses and the worst those in which he attempts
to organize a collection of figures distributed all over the canvas. And compare, from this

point of view, the two paintings of the Dos de Mayo— the Mamelukes cutting down the
crowd in the Puerta del Sol, and the firing squads at work in the suburbs, after dark. The

first is an attempt to do what Rubens would have done with an almost excessive facility— to
impose a formally beautiful and dramatically significant order upon a crowd of human and
animal figures covering the greater part of the canvas. The attempt is not successful, and in

spite of its power and the beauty of its component parts, the picture as a whole is less satisfy-

ing as a composition, and for that reason less moving as a story, than is the companion piece,

in which Goya arranges his figures in a series of sharply delimited balancing groups, dra-
matically contrasted with one another and the background. In this picture the artist is speak-
ing his native language, and he is therefore able to express what he wants to say with the

maximum force and clarity. This is not the case with the picture of the Mamelukes. Here,
the formal language is not truly his own, and consequently his eloquence lacks the moving
power it possesses when he lets himself go in the genuine Goyescan idiom.
Fortunately, in the etchings, Goya is very seldom tempted to talk in anything else. Here
he composes almost exclusively in terms of bold separate masses, silhouetted in luminous
grays and whites against a darkness that ranges from stippled pepper-and-salt to intense
black, or in blacks and heavily shaded grays against the whiteness of virgin paper. Some-
times there is only one mass, sometimes several, balanced and contrasted. Hardly ever does
he make the, for him, almost fatal mistake of trying to organize his material in an all-over
composition.
With the Desastres and the Disparates his mastery of this, his predestined method of
composition becomes, one might say, absolute. It is not, of course, the only method of com-
position. Indeed, the nature of this particular artistic idiom is such that there are probably

[Ml
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certain things that can never be expressed in it— things which Rembrandt, for example, was
able to say in his supremely beautiful and subtle illustrations to the Bible. But within the field

that he chose to cultivate— that the idiosyncrasies of his temperament and the quality of his

artistic sensibilities compelled him to choose— Goya remains incomparable.

[16]
 • •

(LOS CAPRICHOS)

In addition to the Spanish and translated captions of the Capriccios, from the plates
themselves, Goya's commentaries on the etchings are also given. The manuscript of
these is now in the Prado. The authentic numbers for the series are on the upper
right corners of the plates.
 8
5
3

i Portrait of Goya— Francisco Goya y Lucientes, 1 1 Boys, Up and ABOvr—Muchachos al avio

Pintor Their faces and clothes show us what they are.

2 They Swear to Be Faithful Yet Marry the First 1 2 . Tooth-Hunting— A caza de dientes
People believe that the teeth of hanged men are very impor-
Man Who Proposes— El si pronuncian y la mano
tant to sorcery; that without them it cannot succeed. What
alargan A primer o que llega
I
a pity that the people should believe such nonsense.
The indifference with which many women marry, hoping
thereby to gain greater liberty. 1 It's Hot— Estan calientes
They are so greedy that they gulp down their soup boiling.
3 Look Out, Here Comes the Bogy-Man— Que In pleasure more than anything else temperance and wisdom
viene el Coco are necessary.
Bad education. To bring up a child to fear a bogy more than
its own father is to make him afraid of something that is not.
14 What a Sacrifice!— Que sacrificio!
The bridegroom is hard to look at, but he is rich. At the cost
4 The Ch ild- Adult— El de la rollona of the happiness of one poor child the security of a hungry
Indifference, laxness, and too much fondling make children family is bought. Such is the way of the world.
naughty, greedy, lazy, and unbearable. They grow up yet
remain childish. Here is a big spoilt booby. 1 Good Advice— Bellos consejos
Advice is worthy of her who takes it. The tragedy is that
5 Birds of a Feather Flock Together— Tal para qual the girl will follow it to a letter. Miserable will be the man
People argue whether man or woman is worse by nature. who will have anything to do with her.
The vice of one as well as the other is the result of bad
upbringing. Where men are perverted, women are the same.
16 God Forgive Her— It Was Her Mother— Dios la

The young lady in this etching is no better than the fop talk-
per done: Y era su madre
ing to her. As regards the two old people, the first is as vile
The girl left home very young. Her apprenticeship was got-
as the second. ten at Cadiz and then she went to Madrid. Here she won a
lottery prize. She goes for a walk along the Prado. A dirty,
6 People Do Not Know Themselves— Nadie se shrivelled hag begs her for alms. She chases her awav, but the
conoce old woman follows her. The hard-hearted girl turns around
The world is a masquerade. The face, the clothes, the voice- and sees— who would believe?— the poor old woman is her
all Everyone tries to appear what he
are false. is not. Every- mother!
one deceives and does not even know himself.
17 They Must Fit Tightly— Bien tirada estd

7 Not Even So Can He Recognize Her-ZV/ asi la

Auntie isno fool. She knows well that stockings must fit

tightly around the leg.

distingue
How should he know them? No lenses are strong enough. 1 And His House Is Burning— Y se le quema la Casa
One needs judgment and worldly knowledge. Both these the He couldn't take his pants off nor could he stop playing with
poor fellow lacks. the candles till the firemen saved him. This is what drink
can do.
8 And So They Kidnapped Her!— Que se la llevaron!
A woman who cannot take care of herself belongs to the 19 All Will Fall— To dos Caeran
first man who grabs her. When it is too late, she is surprised They who are to fall are never stopped bv the examples of
that she has been seduced.
those who have fallen before them. It is no use, they will
all fall.
9 Tantalus—TmuUo
If he were more considerate and less played-out, she would 20 They're Already Plucked— Ya van desplwnados
revive.
When there are no more feathers left, throw them out.
Others will come.
io l.ovi u*d Death—El amor y la muerte
See the lover who, killed by Ins rival, dies in the arms of the 21 How They Pluck Them!— Qual la descaiioium!
woman he loves, thus losing her anyway. It is foolish to draw 1 lens arc plucked by vultures. As the sayings go, "Give and
the sword. i
take," "Six of one and half a dozen of the other."
 1

y/ine ^vZaAvt'ccecA

11 Poor Little TmsGsl—Pobrecitas! 35 She Knows How to Pluck Her Goose— Le des-
They will have to repair what has long been going from bad canona
to worse, to fix what has been forced apart. They strip him to the skin. It is his own fault for trusting
such.
23 See the Result— Aquellos polbos
From such dust such dirt must come. For shame, to treat her 36 A Stormy Night— Mala noche
in such fashion! She who has waited on everyone for a trifle, These are the dangers which streetwalkers face.
she who was so industrious, so useful; she was an honorable
woman. 37 Can the' Pupil Know More?— Si sabra mas el dis-

cipulo?
24 There Was No CvRE—Nohubo remedio It's hard to say, but the teacher is trying his best.
They have made up their minds to kill this good woman.
After judgment was pronounced, she was dragged through 38 Bravissimo!— Brabisimof
the streets in triumph. She has indeed earned a triumph. If If the size of the ears makes a good listener, he should know
they do this to shame her, they are wasting their time. Noth- a lot. Most likely, he is applauding not knowing what.
ing can make her ashamed who has nothing to be ashamed of.
39 As Far Back as His Grandfather— Asta su Abuelo
The Pitcher Broke— Si quebro Cantaro This poor wretch is driven mad by genealogy and heraldry.
25 el
The boy is a scamp, and the mother a nag. What He isn't the only one.
is a pair!

16 Plenty of Room— Fa tienen asiento 40 Of What Will He Die?— De que mal morira?
The doctor is doing his best. What more can we expect?
These nice girls have enough chairs, but they know nothing
better to do with them than to wear them on their heads. 41 Neither More Nor Less— Ni mas ni menos
Lucky he had his portrait painted. Now they who have not
27 Which of the Two Loves More?— Quien mas ren-
seen him will know what he was like.
dido?
Neither cares for the other. He pretends to love and says the 42 They Cannot Help It— Tu que no puedes
same thing to every woman he meets. She is wondering how You can't deny that these two cavaliers— are cavalry men.
to keep her five dates between eight and nine— and it is (An untranslatable pun.)
seven-thirty now.
43 The Dream of Reason Produces Monsters— El
28 Hush-sh-sh— Chiton sueno de razon produce monstruos
la
An excellent woman to trust with a confidential message. Imagination deserted by reason creates impossible, useless
thoughts. United with reason, imagination is the mother of
29 They Call This Reading— Esto si que es leer all art and the source of all its beauty.
He is having his hair combed, his stockings drawn on, his
sleep and his studies at the same time. No one can say he is 44 They Spin— Hilan delgado
.not making the most of time. So finely do they spin that the devil himself will not be able
to tear the cloth they are weaving.
30 Why Hide the Money?— P or que esconderlos?
45 There Is a Lot to Suck— Mucho hay que chupar
The answer He won't spend it; he doesn't spend it;
is easy.
he can't spend Although he is over eighty and has barely
it.
At eighty they suck little children dry; they who do not live
another month to live, he is afraid that he might have no more than eighteen, suck big children. It looks as if man is
more left if he lives longer. Such are the mistakes of greed. born into this world and lives just to have the marrow
sucked out of him.
3 She Prays for Her— Ruega por ella
46 Corrections— Correccion
And she did well to do so that God may . . . give her luck,
Without punishment and self-discipline one can't get on in
keep her from harm, moneylenders, and cops . . . make her
any one needs unusual talent, perse-
science. In witchcraft
skilful and careful, wide-awake, and ready as her sainted
verance, maturity, and a rigid obedience to the teachings of
mother.
the Great Witchmaster who conducts the Seminary of

32 She Was So Easily Influenced— Por que fue sen- Barahona.

sible
47 Homage to the Master— Obsequio a el maestro
This was to be expected. The world has its ups and downs This is only natural. They would be ungrateful students not
and the life she led has no other end. to entertain their teacher who taught them all they know
about the dark sciences.
3 3 To the Count Palatine— Al Conde Palatino
In all sciences there are people who know everything without 48 The Blowers—Soplones
having learned and have a ready remedy for all ills. One The blowing witches are the most revolting and most stupid
can't believe what they say. The really intelligent person they had any sense the) would not -
in the devil's league. If
mistrusts them. The educated person makes moderate prom- blow.
ises and keeps much in reserve. The Count Palatine never

keeps any promises at all.

49 Little Devils— Duendecitos
Quite a different kind of people! Jolly, quick, useful— perhaps
34 They Are Asleep— Lay rinde el Sueiio a bit selfish, somewhat prone to play childish tricks— but

Don't wake them. Sleep is the only happiness of the miserable. very nice, very good-natured little fellows.
 OfAe ^-*£>a/t>it'cc*oS

50 The Chinchilla Rats— Los Chinchillas have believed that they would tear each other to pieces in
People who will not listen, people who are ignorant and such an insane fashion. Friendship is a virtue. Criminals may
never do anything useful, belong to the family of the Chin- be accomplices but never friends.
They good for nothing.
chilla rats. are
63 Look, Are We Not Wonderful!— Mir en que
ci They Pare Their Own Nails—Se repiden grabes!
Long nails are so nasty and dirty a habit that it is even for- See two nice and highly' respected witches out for a ride.
bidden among the witches.
64 Bon Voyage— Buen Viage
52 Fine Feathers Make Fine Birds!— Lo que puede un Where is this hellish company going to, filling the darkness
Sastre! of night with their shrieks? were day it would be dif-
If it

Often an idiot, a mere nobody, is gotten up to look like some- ferent; the whole crew would be brought down by guns.

body. This is the result of the tailor's art and the blindness It is night. No one can see them.

of most people who judge only by the outside.

65 Where Is Mama Going?— Donde vd mania?
53 What a Golden Beak!— Que pico de Oro! Mother is sick and is going out for a walk. God grant that
This is an academic session. Is the parrot speaking on some she may recover!
medical subject? Don't you believe what he says. There is
many a doctor who has the golden beak when he is talking
66 There They Go— Alia vd eso

but is useless when it comes to prescribing. He can describe

The witch is riding on a crippled devil. This poor devil

diseases in the most able manner, but he can't cure them. He

whom everyone scorns is sometimes very useful.
beguiles the sick and fills the churchyard with skulls.
67 Wait Until You Have Been Properly Anointed
54 The Pimp (Pander)— El Vergonzoso —Aguarda que te tint en

There whose faces are the most shameful part of

are people He's been given an important errand but wants to go off
their bodies. It would be a good thing if those who have such half anointed. Even among witches there are thoughtless,
obscene faces were to hide them in their pants. How shame- foolish, imprudent members. It is the same everywhere.
ful!
68 Pretty Teacher! —Linda vmestra!
55 Till Death— Hasta la muerte The broom is perhaps the most essential tool for a witch.

She is right to doll herself up. It is her birthday. She is 75

For besides being useful for sweeping, it can, according to
years old and her friends are coming to see her. many a story, be changed into a mule that runs so fast that
even the devil himself can't catch up with it.
56 Ups and Dowss—Subir y bajar
Fortune is unkind to those who court her. Ambition is 69 She Blows—Sopla
rewarded with emptiness. Those who have risen she often Surely, there was a great catch of children yesterday. The
punishes with downfall. banquet being prepared will be a large one. Hearty appetite!

57 The Betrothal— La filiacion 70 Vows— Devota profesion

See them overcome the bridegroom bv showing him who the Do you swear to obey your masters or those in authority . . .

parents, grandparents, great-grandparents, and great-great- to honor them, to sweep, to spin, to beat drums, to howl, to
grandparcnts of the young lady were; but who is she? He yell, to fly, to cook, to suck, to bake, to roast, and every-
will find this out later. thing else whenever you are ordered? ... I swear . . .

Very well, you are a witch, my dear. Congratulations!

5 6 I \ t That, You Dog— Tragala, perro
Living among people is full of annoyances. Whoever wants 71 The Day Is Breaking, Away—Si avianece; nos
to avoid them should go into the wilderness. There he will Vamos
find that loneliness is a greater annoyance. If you didn't come, you won't have been missed.

59 They're There!—Y ami no se van! 72 You Cannot Escape— No te escaparas

Ik- who is indifferent to the favors of fortune sleeps calmly No one ever escapes who wants to be caught.
through all danger. Nevertheless, danger threatens him and
he cannot avoid the misfortunes that will befall him. 73 It Is Better to Do Nothing— Mejor es holgar
He who does not enjoy his work is quite right in saying,
60 Trials—Ensay os do nothing."
"It is better to
Gradually he makes progress. Now he can jump a little. In

time lie will do even as much as Ins teacher.

74 Don't Cry, Idiot— No grites, tonta
Poor little Frances. She went out to see the footman but met
61 Vni wild nt— Volavertmt
the goblm. Don't be afraid! Hie goblin is in good temper
I In witches which serve as a pedestal to this fashion's fool
and he won't do you any harm.
are mure ornamental than useful. There are heads so swelled
with hot air th.u they need neither broom nor witches to Will No One Set Us Free?-IVo bay quien nos
75
make them fly.
desatc?
a woman ire tied together. They are trying
with
6a Who Wot i d Bi i n \i It!—Quien lo creyera! A man ami
See tl em fight as to which is the bigger witch. Who would all their might to free themselves and ue calling tor help. If
 &A* <%<*/>

I'm not mistaken, they are two people who were forced to ple. The housemaid is very friendly towards them so they
marry. clean her pots, cook the vegetables, dust and sweep, and take
care of the baby for her. People argue whether they are devils
76 Your Excellency Is . . . H-m-m ... As I Was or not. That is quite useless. Devils are those who are busy

Saying . . . Yes. H-m-m ... Be Careful!— Esta causing trouble and hindering others from doing good— or,
Vm d pues, Como digo . . . eh! Cuidado! si no . . .
they do nothing at all.

The uniform, sign of the dignity of a commander, and the

baton of command, makes this blockhead imagine himself a 79 Nobody Saw Us— Nadie nos ha visto

superior being. He misuses his office to annoy everyone who

What does it matter if the brownies go down the wine cellar
to have an occasional glass after they have worked night
knows him. He proud, vain, insolent to
is his inferiors in all

rank, cringing to all above him. polishing the cask's tap so that it shines and glows like bright
gold?
77 Now One, Now Another— Unos a otros
The way of the world. The people laugh and play bullfight- 80 'Tis the Hour. Time to Be Off— Fa es hora
ing with each other. He who yesterday played the bull plays When dawn breaks they fly away . . . each to his place. The
today the toreador. Chance rules the game and assigns the witches, the hobgoblins, the dreams, the phantoms. It is lucky
parts according to her caprices. that such creatures only show themselves by night in the
dark. Noone has yet discovered where they hide in the day-
78 Hurry, They're Waking Up— Despacha, que dis- time. If one were to succeed in trapping some goblins and
piertan showing them in a cage on the Puerta del Sol, it would make
The brownies are a most industrious and helpful little peo- him his fortune.
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 (LOS DESASTRES DE LA GUERRA)

The authentic numbers of this series are found at the upper left corners of the plates.
Numbers 81, 82, and 83 are plates discovered after the issuing of the earlv editions.
They are rare and are not available in the United States. For this reason they are
reproduced in small size from other reproductions.
 ! 1

i Gloomy Presentiments of Things to Come— Tm- Everything's Going Wrong— Todo va revuelto
presentimientos de lo que ha de aconteger
tes And This Too—Tambien esto
2 With Reason, or Without— Cow razon 6 sin ella I Saw This— Yo lo vi

3 The Same— Lo mismo And That Too—}7 esto tambien

4 Women Give Courage— Las mugeres dan valor This Is Bad— Esto es malo
5 And They Are Like Wild Beasts— Y son fieras Thus It Happened— Asi sucedio
6 This Brings You Luck— Bien te se estd Cruel Suffering!— Cruel lastima!
7 What Courage! —Que valor! 49 A Woman's
Charity— Caridad de una muger
8 That Always Happens—Siempre sucede 50 Unhappy Mother!— Madre injeliz!
9 They Do Not Want To— No quieren 51 Thanks to the Chick-Pea— Gracias a la almorta
o Nor They—Tampoco 52 They Won't Arrive in Time— No llegan a tempo
i And Nor Do These— Ni por esas 53 He Died Without Aid— Espir 6 sin remedio
2 Is This What You Were Born For?— Para eso ha- 54 Vain Laments— Clamores en vano
beis nacido? 55 The Worst Is Begging— Lo peor es pedir
3 Bitter Presence— Amarga presencia 56 To the Cemetery!— Al cementerio!
4 The Way Is Hard!— Duro es el paso! 57 The Sound and the Sick— Sanos y enfermos
5 And There Is No Remedy— Y no hai remedio 58 Shouting's No Good— No hay que dar voces
6 They Equip Themselves— Se aprovechan 59 What Is the Use of a Cup?— De que sirve una taza?
7 They Do Not Agree— No se convienen 60 Nobody Could Help Them— No hay quien los so-
8 Bury Them and Be Silent— Enterrar y collar corra
9 There Is No More Time— Ya no hay tiempo 6 Do They Belong to Another Race?—Si son de otro
Look After Them, and Then Turn to the Others linage?
—Curarlos, y a otra 62 The Death-Beds— Las comas de la muerte
i ItWill Be the Same— Sera lo mismo 63 For the Common Grave!— Muertos recogidos!
2 So Much and Even More— 7 onto y mas 64 Carloads for the Cemetery— Carretadas al cemen-
3 The Same Elsewhere— Lo mismo en otras partes terio
4 They Will Be Fit for Further Service— Ann po- What Is All That Noise About?— Que alboroto es
drdn servir este?
5 And So Will These—Tambien estos Strange Piety!— Extrana devocion!
6 That Is Not to Be Looked At— No se puede mirar No Less Curious— Esta no lo es menos
1 Charity— Car idad 68 What Folly —Que locura! !

8 The Pv.oi'Lv.—Populacho 69 Nothing! It Speaks for Itself— Nada. Ello dird

9 He Deserved It— Lo merecia 70 They Don't Know the Way— No saben el carrdno
o Ravages of War—
Estragos de la guerra 7 Contrary to the General Interest— Contra el bien
iThat Is Wrong!— Etierte cosa es! general
2 Why?— Por que? 72 The Consequences— Las result as
3 What More Can Be Done?— Qui hai que hacer vias? 73 Cats' Pantomime—Gatesca pantom'mta
4 On Accoi mui Pi nknife—For una navaja
\ 74 That Is Still Worse!— Esto es lo peor!
; Nobody Knows Why—No se puede saber por que 75 The Charlatans' Swindle— Farandula de charla-
6 Nob This— Tampoco tancs
7 This Is Sin W'oksk— Esto es peor
i
76 The Carnivorous Vulture— El buitre carnivoro
h Barbabi kss\—Barbar os 77 The Cord Breaks—Que se rompe la cuerda
9 Womhiihi Heboism! Against Dead Men!— 78 I Ii I)i 11 \Ds I Iimsei 1 \\ 1 1 1 —Se defiende bien
Grande hazana! Con muertos! 79 Truth Is Dead— Murio laverdad
40 Ii
1 I'm LTS IN lis Pi NKNlFl —Algun partido saca
I 80 Will She Risi Again?—Si resuscitaraf
41 Tin ^ Escapi Iiikou.h mi Flames—Escapan entre 81 Horribli Monsteb—Fiero monstruo
las llamas 8j his Is the Truth— Esto es la verdadcro
I

83 Im wioi s Profh —Infante provecho

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(LA TAUROMAQUIA)

The first published series of The Art of Bullfighting consisted of thirty-three plates.
To this, seven were added in subsequent editions and are doubly designated by num-
bers and letters. Four more plates rightly belonging to the series are unpublished,

rare, and are not available in the United States. These are reproduced in small size

from other reproductions. The authentic numbers are found on the upper right
corners of the plates.
 i The Way the Ancient Spaniards Baited the Arena— El mismo vuelca un toro en la plaza de
Bull in the Open— Modo con que los antigiios es- Madria
panoles cazaban los toros a caballo en el campo 17 The Way the Moors Use Asses for Protection
2 Another Way of Baiting the Bull— Otro modo from a Bull Whose Horns Have Been Blunted
de cazar a pie with Metal Balls— Palenque de los moros hecho
3 The Moors Take to Fighting the Bull with con burros, para dejenderse del toro embolado
Lances: Thus Giving Up the Superstitions in 18 The Courage of Martincho in the Saragossa
the Koran— Los Moros establecidos en Espaiia, Arena— Temeridad de Martincho en la plaza de
prescindiendo de las supersticiones de su Alcoran, Zaragoza
adoptaron esta caza y arte, y lancean un toro en el 19 Another Daring Act in the Same Arena— Otra
campo locura suya en la misma plaza
4 They Are Fighting Bulls with the Cape in the 20 The Coolness and Daring of Juantto Apinani in
Arena— Capean otro encerrado the Madrid Arena— Ligereza y atrevimiento de
5 The Courageous .Moor, Gazul, Was the First to Juan it o Apinani en la plaza de Madrid
Fight Bulls According to the Rules of the Art— 21 An Accident that Occurred in the Ringside
El animoso moro Gazul es el pri?nero que lanced Seats at Madrid and the Death of the Alcalde
toros en regla of Torrejon— Desgracias acaecidas en el tendido
6 The Moors Using the "Burnous" as a Method de la plaza de Madrid y muerte del Alcalde de
for Exciting the Bull— Los moros hacen otro Torrejon
capeo en la plaza con su albornoz 22 The Courage of the Famous Pajuflera in the
1 The
Introduction of the Banderillo (or Har- Saragossa Arena— Valor varonil de la celebre Pa-
poon)— Origen de los ar pones o bander illas juelera en la plaza de Zaragoza
8 A iYlooR Hurt in the Arena— Cogida de un moro 23 Mariano Ceballos, Known as "The Indian,"
estando en la plaza Kills the Bull from His Horse's Back—. Mariano
9 A Spanish Nobleman, After Losing His Horse, Ceballos, alias el lndio, mata el toro desde su caballo
Kills the Bull— Un caballero espanol mata un toro 24 The Same, Riding a Bull, Throws Darts in the
despues de haber per dido el caballo Madrid Arena— El vnsmo Ceballos montado sobre
io Charles V
Fighting the Bull at Valladolid— la plaza de Madrid
otro toro quiebra rejones en
Carlos V lanceando un toro en la plaza de Valla- 25 Dogs Set to Worry the Bull— Echan perros al
dolid toro
1 The Cid Campeador Attacking a Bull with 26 A Picador Falls Underneath the Bull from His
His Lancf— El Cid Campeador lanceando otro toro Horse— Caida de un picador de su caballo debajo del
12 A Crowd, with Lances and Other Arms, Ham- toro
strings the Bull— Desjarrete de la canalla con 27 The Famous Fernando Del Toro Stirring the
lanzas, medias lunas, banderillas y otras armas Bull to Attack with His Pike— El celebre Fer-
13 A Bullfighter on Horseback Breaks Lancfs nando del Toro, varilarguero, obltgando a la fiera
without His Companions— Un Caballero espanol con su garrocha
en plaza quebrando rejoncillos, sin auxilio de los 28 The Brave Rendon Wounds the Bun with His
chulos Pike. While Doing This He Met His Death in
14 Tin Clever "Student of Falcf.s" Infuriates the the Madrid Arena— El esforzado Rcnddn picando
Bull by Moving About Wrapped in His Cloak— un toro, de ana sucrtc nnirio en la plaza de Madrid
El diestrisimo estudiante de Falces, embozado, burl a 29 Pepi Illo M \ki s 111 Rf.cortf. to the Bull (That
i

al toro con sus quiebros Is, He Tries to Get Him in m Rn.nr Position i

15 How the Famous MARTINCHO Pi WTS His Han- for un Banderillos in Moving His Hat)— Pepe
oi kiiios as He Turns— El famoso Martincho po- Illo baciendo el recorte al toro
niendo banderillas al quiebro 30 Pedro Romero Kims \\\ him is Standing
\ 1 1

16 The Same Throwing THE Bull in the Madrid Si ill— Pedro Romero matando a toro parado
 1
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3 Darts with Fireworks— Banderillas de fuego
32 Two Picadors Thrown Down One After An-
other by a Single Bull— Dos grupos de picadores
arrollados de seguida por un solo toro
33 The Tragic Death of Pepe Illo in the Madrid
Arena. (The Bull Barbuda Piercing Him with
the Left Horn)— La desgraciada muerte de Pepe
Illo en la plaza de Madrid
34A A Bullfighter Breaking Darts with the Help
of a Companion— Un caballero en plaza quebrando
un re]oncillo con ayuda de un chido
35B A Horse Thrown by a Bull— Desgraciada em-
bestida de un poderoso toro
36c Dogs Set on a Bull— Perros al toro
37D A Picador Riding the Shoulders of a Toreador,
Attacks a Bull with a Pike— Un varilarguero,
montado a hombros de un chulo, pica al toro
38E Fear and Confusion in the Defense of an Im-
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paled Companion— Espanto y contusion en la de-
fensa deun chulo cogido
39F A Picador and His Companions Finish Off the
Bull— Varilarguero y chulos haciendo el quite a un
torero cogido
40G Two Picadors Fighting the Bull from a Cart
Drawn by Mules— Funcion de Mojiganga
41 Martincho's Daring at Saragossa— ( Temerite de
Martincho dans la place de Saragosse)
42 A Bullfighter Using a hat Instead of the
Muleta— ( c/w torero s'appretant a frapper de Vepee
tin taureau)
43 ABullfighter (Mariano Ceballos?) Riding on
a Bull and Attacking Another with Darts, at
Madrid— (Mariano Ceballos (?), montant un tau-
reau, brise des bander illes sur la place de Madrid)
44 The Toreador Showing the Cape to the Bull—
{he torero presentant la cape au taureau)
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For numbers 8, 10, 12, 16 and 18 there are no Spanish captions. These are therefore
translated from the accepted French captions in the catalogue bv Lovs Delteil. The
sequence (numbers at upper right corner of the etchings) is also that of Delteil.

The etchings have been presented in variations of this order bv manv different

editors, some of whom have created captions to suit their tastes.

 i Feminine Foolishness— Disparate jemenino (Trois majos et trois majas dansant)
2 The Folly of Fear— Disparate de miedo 1 One Way to Fly— Modo de volar
3 Strange Folly— Disparate ridiculo 14 Foolishness at the Carnival— Disparate de carna-
4 Big Booby— Bobabilicon bal
5 Folly on the Wing— Disparate volant 15 Pure Folly— Disparate claro
6 Foolish Fury— Disparate furioso 16 Exhortation— {Les exhortations)
7 Matrimonial Extravagance — Disparate matri- 17 Loyalty—La Lealtad
monial 18 Old Man Wandering Among Phantoms— (Le
8 People in Sacks— (Les ensaches) vieillard errant parmi les ^antomes)
9 Universal Folly— Disparate general 19 A Familiar Folly— Disparate conocido
io Young Woman on a Bucking Horse— (La jeune 20 Foolish Precision— Disparate piintual
jemme emportee par nn cheval qui se cabre) 21 Animal Foolishness— Disparate de bestia
1 Folly of Poverty— Disparate pobre 22 Foolish Extravagance— Disparate de tontos
12 Three Gentlemen and Three Ladies Dancing—
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The miscellaneous etchings are not available in originals in this country. As circum-
stances make it impossible to obtain even photographs of these thev are reproduced
here, in small size, from other reproductions, chiefly for their reference value. The
French captions are those in the Delteil catalogue.
 i The Flight into Egypt— La fuite en Egypte 21 D. Baltasar Carlos— D. Baltasar Carlos (After
2 St. Francis de Paul— Saint Frangois de Paule Velasquez)
3 Isidro Labrador, Patron of Madrid— lsid.ro Labra- 22 D. Gaspar de Guzman, Count of Olivares— D.
dor, Patron de Madrid Gaspar de Guzman, Comte U
Olivares (After Vel-
4 The Menines—Les Adenines (After Velasquez) asquez)
5 Philip III— Philippe III (After Velasquez) 23 The Dwarf Sebastian of Morra— he nain Sebas-
6 Margaret of Austria— Marguerite UAutriche de Morra (After Velasquez)
tian
(After Velasquez) 24 The Dwarf El Primo— he nam El Primo (After
7 Philip IV— Philippe IV (After Velasquez) Velasquez)
8 Isabel of Bourbon— Isabelle de Bourbon (After 25 Old Man Swinging— he vieux se balangant
Velasquez) 26 Old Woman Swinging— La vieille se balangant
9 A Prince of Spain (ist State)— Un Infant D'Es- 27 The Maja Facing Right—La maja tournee a droite
pagne (After Velasquez) 28 The Maja Facing Left— La maja tournee a gauche
io A Prince of Spain (2nd State) 29 Blind Man, Seated, Singing—Aveugle assis, chan-
1 Pernia, Called Barberousse—Pernia, dit Barbe- tant
rousse (After Velasquez) 30 Prisoner Bent Over His Chain— he prisonnier
1 The Buffoon Don Juan of Austria— he Bouffo?i ploye sur sa chaine
Don Juan de Austria. (After Velasquez) 31 Prisoner Tortured, Front View— he prisonnier
13 Ochoa, Porter of the Palace (1st State)— Ochoa, torture, de face
P or tier du Palais (After Velasquez) 32 Prisoner Tortured, Side View— he prisonnier tor-
14 Ochoa, Porter of the Palace (2nd State) ture, de profil
15 Aesop— Esope (After Velasquez) 33 Woman Prisoner— ha prisonniere
16 Menippus— Menippe (After Velasquez) 34 The Garrote— he garrote
17 Gathering of the DRiKKERs^Reunion de buveurs 35 The Old Toreador— Un vieux torero
(After Velasquez) 36 The Colossus— he colosse
18 A
Popular Scene or Blind Man with Guitar— 37 Shield of the Military Order of Calatrava—
Une
scene populaire ou VAveugle a la guitare £cusso?i de VOrdre Militaire de Calatrava
19 The Big Rock— he grand rocher 38 God Save You— Dios se lo pague a usted
20 The Waterfall— La chute d'eau 39 The Clyster— he clyster
• - -
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and reaction and is as modern in its psv< hiatric: awareness as

are the latest psychoanalytical methods.

The Disasters of War are probablv Goya's most powerful
expression. They were etched during the succeeding years
of the Peninsular War and finally published in Madrid in
1863. The unforgettable scenes of rapine and slaughter mirror
Goya's own repulsion from the criminal horror and futility
of war. They are graphic versions of his own brooding pro-
jected against darkness and emptiness. This amazing series

was started when the artist was 64 years old and prove that
his genius never dimmed.
The spontaneous expression of ( >ya's temperament and
of his attitude towards the life and society of his day are
wonderfully reflected in the ever-popular Caprices. This
provocative series analyses the human foibles and frailties of

his fellows and directly influenced such artists as Delacroix

and Manet with its power of draughtsmanship and inventive-
ness in composition. Goya's prints for this series have placed
him next to Rembrandt as one of the two greatest etchers
of all times.
The Proverbs are Goya's most subtle graphic commen-
taries. Their satire is less direct than in the Caprices and
their allegories more general and mysterious. They remain
a fascinating puzzle for all to interpret as they wish. The great
wealth of imagery and bizarre symbolism and the cryptic
references assure the reader that there is much more here
than meets the eye. They are an eternal and tantalizing
enigma that will always thrill art lovers.
The Art of Bullfighting series was designed to represent
the various phases through which the art of bullfighting in
Spain has passed. They are brilliant records of the exploits
of the bull ring and for sheer movement and drama are
unexcelled in art history. Goya started this series with the
early hunting of the bull in open country. He then proceeded
to the methods of bull fighting introduced into Spain by the
Moors and gradually traced its evolution to the point where
it became a precise science and technique. Most of the plates

are familiar to everybody and are probably Goya's most

popular works.
Aldous Huxley's brilliant Foreword is a most valuable
addition to this definitive collection of Goya's graphic art.

In it, with the typically splendid Huxley style, he shows keen

discernment of the technical, social and historical aspects of
Goya's work. It is a brilliant note to a great artist and an
authoritative critique. THE COMPLETE ETCHINGS OF
GOYA belongs in your library as an invaluable part of art's

superlative heritage for our own general n.

CROWN PUBLISHERS. INC.

419 Park Avenue Souch
New York, N.Y. 10016
 THE MODERNS
A TREASURY OF PAINTING THROUGHOUT
THE WORLD
by Gaston Diehl

The importance of modern painting has, by now, been sufficiently

recognized and the subject treated in so many specialized studies that
few persons are unaware of the major figures and principal stages in
its evolution.
many may be unfamiliar with the general outline of
Nevertheless,
itsdevelopment. Because various histories of modern painting have
frequently been distorted by partisan views, it is not easy to unravel
and relate the tangled threads of its international scope, nor is it easy
to distinguish the unquestionably superior among the profusion of
names of modern artists.
This work has been conceived to meet this obvious need and to offer
the reader a comprehensive picture of modern painting such as until
now had not been generally available. It includes an account of the most
recent advances in an art which aims at universality and which always
seeks to uncover new horizons of human experience.
In this masterful summary of an exceedingly complex subject,
treated with the utmost objectivity, every important artist is charac-
terized and his place in the artistic movement and his relationship
with or influence on other artists clearly defined. An explicit and suc-
cinct account is provided of each phase in the development of modern
painting, from its origins in the hue nineteenth centun to the present
era, with its various national ramifications.
In this concise survey, discussion is not limited to movements within
national frontiers those elements which were world-wide in character
;

and which imparted a cohesi vencss and strength are particularly illu-
minated. Also, through vignettes of prominent exponents of various
phases, readers will gain a better understanding of modern art in the
context of t> era as va ell as .in understanding of the reasons for its pro-
i

digious expansion in the twentieth century.

Noted for his active participation in the artistic life of his time ami
for lux previous books on the problems of painting, the art of the new
generation and abstract art as well as for his studies of Matisse and
Picasso, iaston Diehl, a founder of the Salon du Mai ami its president
(

for seventeen years, is particularly qualified to write this definitive

history.
This volume is illustrated with 126 magnificent full-color reproduc-
tions, many them published here for the first time, and with repro-
of
ductions of U drawings. These illustrations ami the informative text
make it the most comprehensive and concise reference book ot its t\ pe
ever published, a "must" for anyone with a genuine interest in mod-
ern art.