Part 12

‘From one to the other.’ Old dotards attacking a third who is playing at ‘ball.’ May be intended to convey a satire on the aged who pretend to the activities and energy of youth.

78. Despacha, que despiertan.

‘Be quick, they waken.’ An old woman apparently awaking her fellow-servants.

79. Nadie nos ha visto.

‘Nobody has seen us.’ Monks drinking in a cellar.

80. Ya es hora.

‘It is the hour.’ Monks stretching themselves and yawning.

_Sometimes included in Los Caprichos are the following_:--

81. Sueño de la mentira y de la inconstancia.

‘A dream of falsehood and inconstancy.’ In the collection of Don V. Carderera.

82. Women lamenting, while a Man gives a Dog some Medicine.

Very rare.

83. Woman sleeping in a Prison, her Feet chained to the Wall.

Very rare.

THE DISASTERS OF WAR

A set of eighty prints in aqua-tinta. Published by the Academia de San Fernando in 1863:--

1. Tristes presentimientos....

‘Sad presentiments.’ An emaciated man, symbolical of the Spanish people, kneels in a supplicating attitude, and regards the sky, which is filled with portentous monsters.

2. Con razón ó sin ella.

‘With or without reason.’ Two peasants attacking French troops.

3. Lo mismo.

‘All the same.’ Similar subject.

4. Las mujeres dan valor.

‘Women inspire courage.’ Women resisting soldiers.

5. Y son fieras.

‘And are like wild beasts.’ Similar subject.

6. Bien te se está.

‘A good thing.’ French soldiers dying.

7. Que valor!

‘Courage!’ The Maid of Zaragoza.

8. Siempre sucede.

‘What always happens.’ French soldiers put to flight.

9. No quieren.

‘They will not.’ Women resisting soldiers.

10. Tampoco.

‘Nor they.’ Similar subject.

11. Ni por esas.

‘Not for these.’ Similar subject.

12. Para eso habeis nacido?

‘Were you born for this?’ Man falls dying on a heap of slain.

13. Amarga presencia.

‘A bitter sight.’ Woman witnessing maltreatment of her husband by soldiers.

14. Duro es el paso.

‘Hard is the way.’ Hanging of prisoners.

15. Y no hay remedio.

‘And there was no remedy.’ Execution of prisoners.

16. Se aprovechar.

‘They avail themselves.’ Troops stripping the slain.

17. No se convienen.

‘They do not agree.’ Battle piece. Dispute between French officers.

18. Enterrar y callar.

‘Bury and be silent.’ Weeping man and woman gaze on a heap of slain.

19. Ya no hay tiempo.

‘There is no time.’ Fruitless appeal by women to a French officer.

20. Curarlos y a otra.

‘To heal them and each other.’ Wounded guerrillas.

21. Será lo mismo.

‘It will be the same.’ Wounded men; woman weeping.

22. Tanto y más.

‘As many and more.’ Heap of slain.

23. Lo mismo en otras partes.

‘The same elsewhere.’ Similar subject.

24. Aun podrán servir.

‘They are still of use.’ Sick people carrying the wounded.

25. Tambien estos.

‘And there also.’ Wounded in an ambulance.

26. No se puede mirar.

‘That cannot be seen.’ People lying on the ground threatened by the muskets of the troops.

27. Caridad.

‘Charity.’ Corpses being thrown into a ditch.

28. Populacho.

‘The populace.’ Mutilating a corpse.

29. Lo merecia.

‘He deserved it.’ Soldier’s body being dragged by cords.

30. Estragos de la guerra.

‘The tragedy of war.’ Men and women projected headlong into a cellar.

31. Fuerte cosa es!

‘Might is stronger than right!’ Prisoners being hanged by the French.

32. Por qué?

‘Why?’ Prisoner being tortured by three soldiers.

33. Que hay que hacer mas?

‘What more is there to do?’ Similar subject.

34. Por una navaja.

‘For a knife.’ Corpse of executed assassin on a scaffold.

35. No se puede saber por qué.

‘No one knows why.’ Eight men garrotted with labels round their necks.

36. Tampóco.

‘Neither.’ French soldier watches a man hanging from a tree.

37. Esto es peor.

‘This is worse.’ Mutilated corpse impaled on a tree.

38. Barbaros!

‘Barbarians!’ Execution of a prisoner.

39. Grande hazaña--Con muertos!

‘Great prowess--With the dead!’ Three horribly mutilated corpses.

40. Algun partido saca.

‘He turns it to account.’ Man fighting a wild beast.

41. Escapan entre las llamas.

‘They escape through the flames.’

42. Todo va revuelto.

‘Everything in confusion.’ Friars fly hither and thither.

43. Tambien esto.

‘These also.’ Similar subject.

44. Yo lo ví.

‘I saw it.’ People flying from a village. Mother dragging away her children.

45. Y esto tambien.

‘And this also.’ Similar subject.

46. Esto malo.

‘This is bad.’ Soldiers slaughtering monks.

47. Así sucedió.

‘Thus it happened.’ Soldiers, watched by a monk, despoiling a church.

48. Cruel lástima!

‘Cruel misfortune!’ A man imploring succour near a heap of slain.

49. Caridad de una muger.

‘A woman’s charity.’ Women tending the wounded.

50. Madre infeliz.

‘Unhappy mother!’ Child, weeping, beholds its mother carried off by soldiers.

51. Gracias á la almorta.

‘Thanks to the blue vetch.’ Woman distributing grain to the afflicted.

52. No llegan á tiempo.

‘Too late.’ Women arrive too late to help a companion.

53. Espiró sin remedio.

‘He died without help.’ Group of persons round a corpse.

54. Clamores en vano.

‘No help.’ Starving people vainly beseech a French dragoon for help.

55. Lo peor es pedir.

‘To beg is the worst of all.’ Starving men vainly appeal for help to a French lady.

56. Al cementerio!

‘To the cemetery.’ Corpse being carried to the graveyard.

57. Sanos y enfermos.

‘The quick and the dead.’ The hale and the sick both taking refuge in a vault.

58. No hay que dar voces.

‘Of no use to cry.’ Group of starving and afflicted persons.

59. De qué sirve una taza?

‘Of what use is one cup?’ Woman carrying a cupful of nourishment to a group of starving women.

60. No hay quien los socorra.

‘There is nobody to help them.’ Three men prostrate, another standing; all feel the approach of death.

61. Si son de otro linaje?

‘Are they of another race?’ Frenchmen remain indifferent to the appeal of some starving wretches.

62. Las camas de la muerte.

‘The deathbeds.’ Women weeping over a heap of slain.

63. Muertos recogidos.

‘The dead collected.’ A heap of slain.

64. Carretadas al cementerio.

‘Cart-loads for the cemetery.’ Carts being loaded with corpses.

65. Qué alboroto es este?

‘What means this tumult?’ A French officer writes at a table. People taking to flight.

66. Extraña devocion.

‘Strange devotion.’ People adoring relics carried on the back of an ass.

67. Esta no lo es menos.

‘This is not less so.’ Procession of the image of Our Lady of Sorrows.

68. Qué locura!

‘What madness!’ A monk, surrounded by objects of popular devotion.

69. Nada.

‘Nothing.’ A spectre emerging from the tomb writes the word ‘Nada’ on a sheet of paper.

70. No saben el camino.

‘They do not know the way.’ A procession of ecclesiastics tied together by ropes. ‘The blind leading the blind.’

71. Contra el bien general.

‘Against the general good.’ An old man with bat’s ears writing in an open book. An allusion probably to some unpopular statesman.

72. Las resultas.

‘The consequences.’ The above personage and other vampires drinking the blood of a corpse, representing Spain.

73. Gatesca pantomima.

‘Cat’s pantomime.’ A monk, birds of prey, and others doing homage to a cat (Godoy?).

74. Esto es lo peor.

‘This is the worst.’ A wolf signing a document; a monk in attendance.

75. Farándula de charlatanes.

‘Meeting of quacks.’ Monks with heads of asses, parrots, and pigs.

76. El buitre carnivoro.

‘The carnivorous vulture.’ A huge vulture pursued by a crowd of monks and soldiers.

77. Que se rompe la cuerda.

‘May the rope break.’ King Joseph represented walking on a rope.

78. Se defiende bien.

‘He defends himself well.’ A horse (Spain) defending himself against wolves.

79. Murió la verdad.

‘Truth died.’ Truth represented as a young woman crowned with laurels.

80. Si resucitará?

‘Will she revive?’ The same figure appearing about to arise from the grave.

(79 and 80 appear to refer to the abolition of the Constitution by Fernando VII.)

81. Fiero monstruo.

‘Bold monster.’ An enormous cat devouring human beings.

82. Esto es lo verdadero.

‘There is Truth.’ Truth is represented by a young woman leaning on the shoulder of a husbandman.

(81 and 82 are not usually included in the series Disasters of War.)

LA TAUROMAQUIA (TAUROMACHIA)

A set of thirty-three prints in aqua-fortis and aqua-tinta finished about 1815.

1. Hunting Bulls across Open Country in the Olden Time.

2. Hunting the Bull on Foot.

3. Moors hunting the Bull across Country.

4. Moors bull-fighting in an Enclosure.

5. The Moor Gazul is the first to fight the Bull according to modern rules.

6. Moors using their Burnouses to irritate the Bull.

7. Origin of the Banderilla.

8. Moor attacked by a Bull.

9. Spaniard wearing a Turban killing a Bull in the Arena.

10. Charles V. kills a Bull in the Arena at Valladolid.

11. The Cid spearing a Bull.

12. People hamstringing a Bull.

13. Horseman places some Banderillas without the Help of the Chulos.

14. The Student of Falces, enveloped in his Cape, plays with the Bull.

15. The famous Martincho plants Banderillas.

16. Martincho seizes the Bull by the Tail and the Horns.

17. Moors using Donkeys instead of Horses.

18. Intrepidity of Martincho at Zaragoza.

19. Similar Exploit.

20. Exploit of Juanito Apiñani at Madrid.

21. Spectators killed by the Bull at Madrid.

22. The Woman Picador, Pajuelera, at Zaragoza.

23. Mariano Ceballos in the Arena.

24. Ceballos mounted on a Bull.

25. Bull being baited with Dogs.

26. Picador overthrown by the Bull.

27. Fernando del Toro in the Arena.

28. Rendon killing a Bull with one Blow at Madrid.

29. Pepe-Illo in front of the Bull.

30. Pedro Romero in the Arena.

31. Flaming Banderillas.

32. Bull overthrowing Picadors.

33. Death of Pepe-Illo in the Arena.

The plates 34 to 40 do not properly belong to the series.

34. Variation of plate No. 24.

35. Combat between the Bull and Picadors mounted on Donkeys harnessed to a Carriage.

36. Scene in the Bull-Ring.

37. Bull carrying a wounded Toreador impaled on his Horns.

38. Bull carrying dead Toreador impaled on his Horns.

39. Variation of plate No. 25.

40. Variation of plate No. 18.

41. The Bulls. A study of the animals in various attitudes.

This plate belongs to Monsieur Lucas of Paris, and does not properly belong to this set.

LOS PROVERBIOS (THE PROVERBS)

A collection of eighteen plates, now the property of the Academia de San Fernando, Madrid.

1. Six Women tossing a dead Donkey and some Puppets in a Blanket.

2. Soldiers flying from a Tree draped to represent a Ghost.

3. Ten Persons seated on a rotten Branch over an Abyss listening to an Orator.

4. A gigantic Peasant dances, with Castanets, before Mannikins.

5. A Man riding on a winged Monster carries off a Woman.

6. A Man, seemingly in a Condition of Fury, throws down an old Man, who begs for Mercy.

7. A Man and Woman joined together at the Shoulders. A Crowd kneels before the Man.

8. Persons apparently preparing to run a Sack-Race.

9. A fantastic Personage offers some Kittens to two Women.

10. A Woman dragged along by a Horse. In the Background an Animal about to devour a Woman.

11. A two-headed Woman pursued by two Persons, who give up the chase.

12. Majos and Majas dancing.

13. Men, with wings attached, attempting to fly.

14. Two fantastic Persons exchange Salutations; an odd Crowd of Spectators.

15. Monk preaching, while a Soldier throws himself into an Abyss.

16. Angry Woman quarrelling with a three-armed Man.

17. Persons deriding a blind Man, who is defended by a Dog.

18. An old Man attended by Monsters approaches a Corpse.

The following plates do not properly belong to the series:--

19. A Crowd watching some Trees tricked out as Ghosts.

Belongs to M. E. Lucas.

20. A young Woman rides a Horse on a Trapèze.

21. Moors offering an open Book and a Collar to an Elephant.

The property of M. E. Lucas. Published in 1877 under the title of ‘Otros leyes por el pueblo’ (Other laws for the people).

Printed by T. and A. CONSTABLE, Printers to His Majesty at the Edinburgh University Press

PLATE 22.

FERDINAND VII.

(ANCIENT COLLECTION OF EUSTAQUIO VEATE.)