6. Ibid., p. 31.
7. On Mengs and the engravings see ibid., p. 38. Mengs wrote to Carlos III in 1777, shortly before he left Madrid to return to Rome, expressing regret that the royal collection was not more accessible, if not to the general public, then at least to connoisseurs; it was one of the glories of the Bourbon realm, he wrote, and would be worth advertising through well-circulated printed copies.
8. Ibid., p. 49.
9. Reuter, in cat. note to #6, “La cita,” in Fundación Amigos del Museo del Prado, ed., Goya: La imagen de la mujer (Madrid: Fundación Amigos del Museo del Prado, 2001), p. 128, takes a somewhat different tack: the leafless tree behind her, an image of sterility, is the cause of her grief; it symbolizes the woman’s inability to conceive as a result of too many abortions. This connects to Goya’s corrosive skepticism about doctors.
10. Tomlinson, Francisco Goya y Lucientes, p. 89.
11. See Baticle, Goya, pp. 80–81.
12. Goya, MS letters to Zapater, pp. 64–5.
13. Goya, MS letters to Zapater, #22, p. 61.
14. Goya, MS letters to Zapater, Feb. 25, 1785, #64, p. 130.
15. See A. Pérez Sánchez, in catalog to Goya and the Spirit of Enlightenment, p. 10.
16. On Pignatelli and the Aragón canal, see Alejandro Diz in Iglesias, ed., La lucha contra la pobreza, p. 347.
17. Goya, MS letters to Zapater, p. 110.
18. Eleanor Sayre, catalog note in Goya and the Spirit of Enlightenment, p. 12.
19. Goya to Zapater, #109 in A. Canellas López, ed., Goya, Diplomatario, pp. 269–70.
20. Goya, MS letters to Zapater, #82, p. 154; cited in Baticle, Goya, p. 127.
21. Goya, MS letters to Zapater, Oct. 6, #26, p. 73; cited in Baticle, Goya, p. 82.
22. Holland, Spanish Journal, p. 195.
23. On Goya’s portrait prices at this early stage of his work see Miguel Artola, “La Condesa de Chinchón,” in Fundación Amigos del Museo del Prado, ed., Goya (Barcelona: Galaxia Gutenberg/Círculo de Lectores 2002), p. 207.
24. On the Osuna family portrait and its dating, see Anna Reuter, in Fundación Amigos, Goya: La imagen de la mujer, entry #32, p. 182.
25. Tomlinson, Francisco Goya y Lucientes, p. 70.
26. Cited in ibid., pp. 306 ff.
27. Goya, MS letters to Zapater, p. 211.
28. Goya to Iriarte, in Gassier and Wilson, p. 382.
29. Juliet Wilson-Bareau, in Goya, Truth and Fantasy: The Small Paintings, p. 203; also Tomlinson, Francisco Goya y Lucientes, pp. 98 and 14–15n.
30. See “La herida y el arco: Arte y psychologia en la vida de Goya,” in Glendinning, Goya: La década de los Caprichos, pp. 33 ff.
5 WITCHES AND ANGELS
1. Goya to Zapater, in A. Canellas López, ed., Goya, Diplomatario, letter #72, Sept. 20, 1783.
2. Goya, MS letters to Zapater, p. 200.
3. Related in Tomlinson, Francisco Goya y Lucientes, p. 83.
4. Goya to Zapater, in López, Goya, Diplomatario, letter #77, Feb. 1784.
5. J.-W. Bareau, “Witchcraft and Allegory,” in Goya, Truth and Fantasy: The Small Paintings,” p. 215.
6. Fleuriot de Langle, Voyage en Espagne (ed. 1785), vol. II, p. 76; cited in Baticle, “Goya y la Duquesa de Alba: ¿Que tal?” in Fundación Amigos del Museo del Prado, ed., Goya: Nuevas visiones and Homenaje a Enrique Lafuente Ferrari, 2 vols. (Madrid: Fundación Amigos del Museo del Prado, 1987).
7. Tomlinson, Francisco Goya y Lucientes, p. 108.
8. Symmons, “La mujer vestida de blanco,” pp. 54–7.
9. Herman de Schubart, “Lettres d’un diplomate danois en Espagne,” Revue hispanique, 1902, pp. 393–439; cited in Goya and the Spirit of Enlightenment, p. 76.
10. See Jeannine Baticle, El arte Europeo en la Corte de España durante el siglo XVIII, catalog for an exhibition at the Museo del Prado, 1980, p. 78.
11. For Jovellanos, see Hugh Thomas, “Gaspar Melchor de Jovellanos” in Fundación Amigos del Museo del Prado, ed., Goya (Barcelona: Galaxia Gutenberg/Círculo de Lectores, 2002), pp. 119–30.
12. Helman, Trasmundo, pp. 103–4.
13. On Jovellanos as collector, see Glendinning, Goya: La década de los Caprichos, pp. 52–3. He was a more conservative collector than some other middle-class acquaintances of Goya’s, such as the brothers Iriarte.
14. Quoted in Thomas, “Gaspar Melchor de Jovellanos,” p. 120.
6 THE CAPRICHOS
1. To the author, in 1975.
2. For Goya’s collaborators on the Caprichos, see Patricia E. Muller, “Los Caprichos como obra in curso,” in Fundación Amigos del Museo del Prado, ed., Goya, (Barcelona: Galaxia Gutenberg/Círculo de Lectores, 2002), p. 93.
3. Tomlinson, Francisco Goya y Lucientes, p. 125.
4. Goya and the Spirit of Enlightenment, #30, p. 86.
5. Tomlinson, Francisco Goya y Lucientes, p. 133.
6. See Vinaza, Goya.
7. See Leandro Moratín, Obras postumas (Madrid, 1867–68), vol. III, p. 255.
8. See biographical notice on Javier Goya by Valentín de Carderera, cited in Lafuente Ferrari, Goya: The Frescoes in San Antonio de la Florida, p. 144, n. 24.
9. Biography of Goya in Almanaque de la ilustración española y americana (Madrid, 1880).
7 THE FALL OF THE BOURBONS
1. On the Castillo crime, see Juliet Wilson-Bareau, “The Caprichos of the Marquess of la Romana,” in Goya, Truth and Fantasy: The Small Paintings (London, 1994), pp. 272–6.
2. For the story of El Maragato and the friar, see Wilson-Bareau, “Caprichos of the Marquess,” op. cit., pp. 292–3.
3. On the real-life Maragatos, see Ford, Gatherings from Spain, p. 73.
4. Westminster Review, April 1836; cited in Sencourt, Spain’s Uncertain Crown, p. 31.
5. Raymond Carr, Spain, 1808–1939 (London, 1966), p. 82.
6. C. Pereira, Cartas confidentiales de María Luisa y Godoy (Madrid, n.d.).
7. Anna Reuter, in Fundación Amigos del Museo del Prado, ed., Goya: La imagen de la mujer (Madrid: Fundación Amigos del Museo del Prado, 2001), p. 224.
8. Holland, Spanish Journal, p. 75.
9. Cited in Glendinning, La década de los Caprichos, p. 83, n. 247.
10. Antonio Ortiz, La sociedad española en el siglo XVIII (Madrid, 1955), p. 35; cited in Goya and the Spirit of Enlightenment, p. 144.
11. Fred Licht, “Ya no es una diosa: Las majas de Goya y el desnudo en los origines de la época moderna,” in Fundación Amigos del Museo del Prado, ed., El desnudo en el Museo del Prado (Barcelona: Galaxia Gutenberg/Círculo de Lectores, 1998), p. 121.
12. Ibid., p. 123.
13. Miguel Artola, “La condesa de Chinchón,” in Fundación Amigos del Museo del Prado, ed., Goya (Barcelona: Galaxia Gutenberg/Círculo de Lectores, 2002), p. 205.
14. See Véronique Gerard Powell, “El retrato de Godoy,” in Fundación Amigos, Goya, op. cit., p. 235.
15. Juan Escoiquiz, “Idea sencilla de las razones que motivaron el viaje del rey don Fernando VII a Bayona” (Madrid, 1814), p. 8.
16. Cited in Sencourt, Spain’s Uncertain Crown, pp. 112–13.
17. Henry Richard Holland, Foreign Reminiscences (London, 1851), p. 208.
18. For the putative influence of Meléndez’s Aranjuez paintings on Goya, see Bodo Vischer, “Entre la vida y la muerte: Los bodegones de Goya en el Museo del Prado, in Fundación Amigos del Museo del Prado, ed., El bodegón (Barcelona: Galaxia Gutenberg/Círculo de Lectores, 2000), p. 374.
8 WAR WITH NAPOLEON
1. Col. Juan José Sanudo, “Oman’s View of the Spanish Army in the Peninsular War Reassessed,” in A History of the Peninsular War, ed. Paddy Griffith, vol. 10 (London, 1999), p. 155.
2. A. Brett-James, ed., Edward Costello: Military Memoirs (London, 1967), p. 112.
3. “A Short Account of the Celebrated Guerrilla … Espoz y Mina,” in Gentleman’s Magazine, supp. for 1811, pp. 619–25.
4. From Espoz y Mina’s memoirs in A. Hugo, France militaire, vol.
4 (Paris, 1837).
5. Espoz y Mina, ibid.
6. Cited in La Rosa, España, p. 27.
7. Ibid., p. 53.
8. For a carefully nuanced discussion of the iconography of this painting, see Eleanor Sayre in Goya and the Spirit of Enlightenment, pp. 167–9.
9. To D. Josef Muñarriz, Real Academia de San Fernando, Oct. 2, 1808; quoted in Sayre, Changing Image, p. 126, n. 9.
10. See Eleanor Sayre in Goya and the Spirit of Enlightenment, catalog #97, pp. 214–16.
11. See Richard Holmes, Wellington, the Iron Duke (New York: HarperCollins, 2002), p. 187.
12. See Nigel Glendinning, “Goya and England in the Nineteenth Century,” Burlington Magazine 106 (Jan. 1964), p. 5.
13. Letter to Muñarriz, op. cit.
14. See Glendinning, “Goya and Arriaza’s Profecía de los Pireneos,” cited in Manuela Mena Marques, “The Colossus,” catalog #69 in Goya and the Spirit of Enlightenment, pp. 157–8. From Arriaza to the later nineteenth-century Catalán poet Jacint Verdaguer, the nineteenth century produced a fairly constant stream of invocations to the Pyrenees as guardian of Spanish integrity and independence.
15. See Jesusa Vega in Goya and the Spirit of Enlightenment, p. 185.
16. Ibid., p. 207, catalog #93, quoting from Gaceta de Madrid, May 8, 1812, p. 523.
17. See note by MMH in Goya and the Spirit of Enlightenment, catalog item #118, p. 265.
18. Baticle, Goya, p. 360, n. 21.
19. One need not, perhaps, take seriously the contention of an American art historian, John Moffitt in “Francisco de Goya y Paul Revere” in Fundación Amigos del Museo del Prado, ed., Goya: Nuevas visiones and Homenaje a Enrique Lafuente Ferrari, 2 vols. (Madrid: Fundación Amigos del Museo del Prado, 1987) that Goya based his firing squad on a copy of Paul Revere’s print of the Boston Massacre that had found its way into Spanish ilustrado hands and thus been seen by Goya. It is an attractive thought, especially since, if true, it would have claims to be the most extreme example in history of poor art inspiring a great masterpiece. But there is no evidence for it beyond a superficial resemblance.
9 THE RESTORATION
1. On the relations between the princess and her mother-in-law, see Marqués de Villaurrutia, Las mujeres de Fernando VII (Madrid, 1916), p. 36.
2. Marqués de Villaurrutia, Fernando VII: Rey Constitucional (Madrid, 1931), pp. 21–2.
3. On the morals of Fernando VII, see Mesonero Romanos, Memorias.
4. Goya and the Spirit of Englightenment, p. 164.
5. Joseph was not Joseph “Napoleon,” of course, but Joseph Bonaparte. Napoleo sounded more impressive.
6. On Fernando, Goya, and the Eggplant, see Baticle, Goya, p. 358.
7. Raymond Carr, Spain, 1808–1939 (Oxford, 1966), p. 78.
8. On Zapata, see SLS’s catalog entry to #106 in Goya and the Spirit of Enlightenment, pp. 236–8.
9. On Goya’s debt to literary polemic against the Inquisition, see Glendinning, “A Solution to the Enigma,” pp. 186–91.
10. Cited in Glendinning, Goya and His Critics, p. 56.
11. See Baticle, Goya, pp. 416–17; for a long and more detailed treatment of the painting and its implications, see Albert Boime, “Oscuridad al mediodía: ‘La Junta de Filipinas,’ ” in Fundación Amigos del Museo del Prado, ed., Goya (Barcelona: Galaxia Gutenberg/Círculo de Lectores, 2002), pp. 301–24.
12. Ford, Gatherings from Spain, pp. 284–5.
13. Enrique Lafuente Ferrari, “Celebration and Sacrifice of the Bull,” in J. and M. Guillaud, Goya: The Phantasmal Vision (New York, 1987), p. 66.
14. Goya, MS letters to Zapater, Apr. 23, 1794.
10 EXILE IN FRANCE
1. See “Los Disparates,” in J. Tomlinson, Graphic Evolutions: The Print Series of Francisco Goya, Columbia Studies in Art, no. 2 (New York, 1989), p. 47.
2. See Michael Roche in Goya and the Spirit of Enlightenment, catalog item 143, Disparate de bestia, pp. 318–19.
3. On the mechanism of the pronunciamiento, see Carr, Spain, 1808–1939, op. cit.
4. Proposed by Baticle, in Goya, p. 454.
5. See Anna Reuter in catalog entry to El Aquelarre, in Fundación Amigos del Museo del Prado, ed., Goya: La imagen de la mujer (Madrid: Fundación Amigos del Museo del Prado, 2001), p. 290.
6. See José López Vega, Goya: El programa neo-Platónico de las pinturas de la Quinta del Sordo (Santiago de Compostela, 1981).
7. Epistolario de Moratín, 1973, items 308 and 309, pp. 595–6.
8. A. Canellas López, ed., Goya, Diplomatario, p. 309.
9. Cited in Tomás Harris, Goya: Engravings and Lithographs, vol. 1, p. 222.
10. By Aloys Senefelder, a Prague-born dramatist living in Munich. His own writings differ on the exact year.
11. Goya to Ferrer, Dec. 20, 1825, in A. Canellas López, ed., Goya, Diplomatario, pp. 389–90.
12. Moratín, in A. Canellas López, ed., Goya, Diplomatario, p. 498.
13. Rene Andioc, ed., Epistolario, 1873, no. 374, p. 679.
14. A. Canellas López, ed., Goya, Diplomatario, no. 280, p. 394.
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