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diff --git a/42425-0.txt b/42425-0.txt index 9c3b9e6..35b5151 100644 --- a/42425-0.txt +++ b/42425-0.txt @@ -1,40 +1,4 @@ -The Project Gutenberg EBook of Goya, by Fr. Crastre - -This eBook is for the use of anyone anywhere at no cost and with -almost no restrictions whatsoever. You may copy it, give it away or -re-use it under the terms of the Project Gutenberg License included -with this eBook or online at www.gutenberg.org - - -Title: Goya - -Author: Fr. Crastre - -Editor: M. Henry Roujon - -Translator: Frederic Taber Cooper - -Release Date: March 28, 2013 [EBook #42425] - -Language: English - -Character set encoding: UTF-8 - -*** START OF THIS PROJECT GUTENBERG EBOOK GOYA *** - - - - -Produced by sp1nd, Matthew Wheaton and the Online -Distributed Proofreading Team at http://www.pgdp.net (This -file was produced from images generously made available -by The Internet Archive) - - - - - - +*** START OF THE PROJECT GUTENBERG EBOOK 42425 *** MASTERPIECES IN COLOUR @@ -1205,361 +1169,4 @@ the new ideas and new beliefs.” End of the Project Gutenberg EBook of Goya, by Fr. 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You may copy it, give it away or -re-use it under the terms of the Project Gutenberg License included -with this eBook or online at www.gutenberg.org - - -Title: Goya - -Author: Fr. Crastre - -Editor: M. Henry Roujon - -Translator: Frederic Taber Cooper - -Release Date: March 28, 2013 [EBook #42425] - -Language: English - -Character set encoding: ISO-8859-1 - -*** START OF THIS PROJECT GUTENBERG EBOOK GOYA *** - - - - -Produced by sp1nd, Matthew Wheaton and the Online -Distributed Proofreading Team at http://www.pgdp.net (This -file was produced from images generously made available -by The Internet Archive) - - - - - - - - MASTERPIECES - IN COLOUR - EDITED BY-- - M. HENRY ROUJON - - GOYA - - (1746-1826) - - - _IN THE SAME SERIES_ - - REYNOLDS - VELASQUEZ - GREUZE - TURNER - BOTTICELLI - ROMNEY - REMBRANDT - BELLINI - FRA ANGELICO - ROSSETTI - RAPHAEL - LEIGHTON - HOLMAN HUNT - TITIAN - MILLAIS - LUINI - FRANZ HALS - CARLO DOLCI - GAINSBOROUGH - TINTORETTO - VAN DYCK - DA VINCI - WHISTLER - RUBENS - BOUCHER - HOLBEIN - BURNE-JONES - LE BRUN - CHARDIN - MILLET - RAEBURN - SARGENT - CONSTABLE - MEMLING - FRAGONARD - DRER - LAWRENCE - HOGARTH - WATTEAU - MURILLO - WATTS - INGRES - COROT - DELACROIX - FRA LIPPO LIPPI - PUVIS DE CHAVANNES - MEISSONIER - GRME - VERONESE - VAN EYCK - FROMENTIN - MANTEGNA - PERUGINO - ROSA BONHEUR - BASTIEN-LEPAGE - GOYA - - - [Illustration: PLATE I.--FERDINAND GUILLEMARDET - - (Museum of the Louvre) - - This personage, who has left no record in history, was one of - those high functionaries, half civil and half military, whom the - First Republic sent to its armies to supervise the commissary - department and also to exercise an espionage over its generals. - Goya has given a vigorous rendering of a head that bears the - double stamp of energy and high breeding; and the prevailing - gray tone of this portrait, relieved only by the one dash of - brightness in the tricoloured scarf, forms altogether a work of - perfect harmony.] - - - - - GOYA - - BY FR. CRASTRE - - - TRANSLATED FROM THE FRENCH - BY FREDERIC TABER COOPER - - ILLUSTRATED WITH EIGHT - REPRODUCTIONS IN COLOUR - - [Illustration: IN SEMPITERNUM.] - - FREDERICK A. STOKES COMPANY - NEW YORK--PUBLISHERS - - - COPYRIGHT, 1914, BY - FREDERICK A. STOKES COMPANY - - March, 1914 - - THE PLIMPTON PRESS - NORWOOD MASS U S A - - - - - CONTENTS - - - Page - - The Youth of Goya 21 - - The Glorious Period 48 - - The Closing Years 77 - - - - -LIST OF ILLUSTRATIONS - - - Plate - - I. Ferdinand Guillemardet Frontispiece - Museum of the Louvre - - II. La Maja Clothed 14 - Museum of the Prado, Madrid - - III. The Woman with the Fan 24 - Museum of the Louvre - - IV. Portrait of Goya 34 - Museum of the Prado, Madrid - - V. The Duchess of Alba 40 - Collection of the Duke of Alba, Madrid - - VI. King Charles IV and his Family 50 - Museum of the Prado, Madrid - - VII. La Tirana 60 - Museum of the Prado, Madrid - - VIII. Josefa Bayeu 70 - Museum of the Prado, Madrid - - -On a certain clear morning in the year 1760, a monk from the convent -of Santa F, near Saragossa, was proceeding leisurely along the road -which leads to that city, and reciting his breviary as he went. -Raising his eyes from between two psalms, he perceived a young lad of -some fifteen years of age deeply absorbed in drawing pictures with a -bit of charcoal on one of the walls which bounded the way. The monk -was a lover of the arts and had himself some little skill in drawing. -Becoming interested, he drew nearer, and was amazed at the aptitude -shown by the boy. Upon questioning him, he was much pleased with his -replies and was completely won by his engaging manners. Without -further reflection, he inquired the way to the home of the lad's -parents, poor peasants of the immediate neighbourhood, and had no -difficulty in persuading them to entrust their son to him, promising -to make him a painter of whom they would some day be proud. - -History has not preserved the name of the worthy monk so kindly -disposed to art, but the boy was destined to make his own name -illustrious: Francisco Jos Goya y Lucientes, the poor son of farming -folk of Saragossa, fulfilled the promises of his patron. He had -talent; better yet, he had genius; he fraternized with princes and -with kings, and the renown of his glory restored its lost dignity to -the art of Spain and did honour to painting throughout the world. - - [Illustration: PLATE II.--LA MAJA (CLOTHED) - - (Museum of the Prado, Madrid) - - This reclining woman represents a very characteristic type of - Spanish beauty. Goya has painted this picture under two - different aspects, although in an absolutely identical pose. In - one, the woman is represented completely nude, while here the - artist has clothed her in corselet and trousers. It is asserted - that the Duchess of Alba served him as model for both of these - pictures.] - -The advent of Goya in the middle of the eighteenth century marks a -sort of providential date in the art of the peninsula. The Spanish -school had fallen into profound decadence. Of the great traditions of -Velazquez, Ribera, Zurbaran, and El Greco, nothing survived save the -regret of knowing that they were forever lost. All the prodigious -strength and powerful realism of that glorious period had become -degenerate, enfeebled, anaemic to the point of utter decrepitude. In -the horde of artists of that time, not a single hand was capable of -taking up the brush let fall by the great predecessors. One only in -all their number, a certain Claudio Coello, mustered sufficient energy -to attempt to carry on the broken tradition. With praiseworthy -insistence and undoubted talent he endeavoured to restore its bygone -dignity to the painting of his time. Among many other noteworthy -works, a magnificent canvas from his hand may still be seen in the -sacristy of the Escurial. But this unlucky artist, like all the -others, had come too late into a world which had grown too old. He -could no longer be understood. The same decadence had overspread the -whole of Europe, but to a greater degree in Spain than elsewhere. -Politics, customs, traditions, popular taste, all bore the imprint of -that degeneracy which heralds the end of a race. What could a Claudio -Coello do in a society that had disintegrated to such a degree? His -strength seemed too brutal, his realism was accused of barbarity, and -the conscientiousness of his line-work caused him to be considered as -a painter who had become old-fashioned and had fallen behind his -times. All the favour of that period was bestowed upon the _fa presto_ -school of painting. Luca Giordano, who usurped Coello's place in the -regard of Philip II., had begun to inundate Spain with his facile and -spiritless productions. He covered the walls of the Escurial with -frescoes brushed in with a turn of the wrist, the dexterity of which -ill concealed their absolute lack of inspiration. In his wake a swarm -of Neapolitan painters, equally dexterous, but of even less worth, -swooped down upon the peninsula, and day by day still further -perverted the standard of popular taste. With the dawn of the -seventeenth century the decadence, instead of diminishing, became more -accentuated. The Neapolitans had been succeeded by Frenchmen--but what -Frenchmen! Their art had neither the nobility of Poussin, nor the -greatness of Le Brun, nor the suavity of Le Sueur; they bore such -names as Ranc, Hovasse, Louis and Michel Vanloo, and their manner drew -its inspiration from the worst type of composition brought into -fashion by Mignard. Their whole effort was confined to producing the -merely pretty, and their tastelessness was absolutely, yet -regrettably, adapted to the growing affectation of the century. After -them came the turn of the Tiepolos: these latter were not merely -remarkable virtuosos of the palette; their prodigious facility was -frequently ennobled by genuine talent; their line-work, though too -often slighted, still showed a certain degree of conscientiousness, -and some of their works are really worthy of admiration. But they too -were infected with the malady of the century; they sacrificed -themselves to the taste of their day, which was definitely degraded to -the extravagances of fashion and the frivolities of gallantry. They -were wholly lacking in the ability to impart to this type of painting -the vivacious charm which the graceful and smiling ease of Watteau, -Fragonard, and Boucher bestowed upon it in France. There was no ground -for hoping that they would ever effect a renaissance of the Spanish -school. - -Finally Charles III. summoned to Madrid a painter of German origin, -Mengs by name, who at that time was regarded as the Messiah of an art -which was destined to unite "the grace of Apelles, the expression of -Raphael, the chiaroscuro of Correggio, and the colouring of Titian!" -Unusually gifted though he was, Mengs did not possess the necessary -calibre to fulfil such brilliant promises. Haunted by the great -compositions of Le Brun, he confined himself to the mythological order -of painting and drew his inspiration from his illustrious model, -without ever achieving an equal eminence or duplicating the latter's -admirable skill in composition. Upon his appointment as Superintendent -of Fine-Arts in Spain, he established a sort of artistic dictatorship, -which forced Spanish painting as a whole to adopt his own special -aesthetic creed. The influence of Mengs would have been even more -disastrous than that of his predecessors, if Providence had not placed -Goya in the path of the artist monk of Saragossa. - -Goya made his appearance, and with him Spanish art underwent a renewal -and an aggrandizement. With one formidable backward leap, he attained -the point of the broken tradition, in order to reweld the glorious -chain. No intermediary connects him with the splendid lineage of -Spanish painters. He proceeds directly from them. He is the natural -heir of Velazquez and Zurbaran. He has their ardour, their vehemence, -their passionate love for nature; like them, he finds the source of -his strength in direct observation; as with them, the secret of his -genius resides in that inner flame which bursts out of bounds in -blazing flashes, with no clever trickery, no premeditation, but with -that spontaneity which is born only of a clear vision, aided by a -vigorous brush. - -Nevertheless, this descendant of bygone masters is the most modern of -all Spanish painters. He is never imitative, he always creates. From -the living springs of great art he draws only what he needs to sustain -his strength: a pious reverence for form, conscientiousness in -line-work, sobriety of colour, and harmony of the component parts. For -the rest, he is wholly of his own time, and of none other than his own -time. He is truly the painter of national Spanish life. What he paints -most willingly, most gladly, are the dances, the games, the joyous -gatherings, the _corridas_, full of ardour and of movement, the -_majas_, the _manolas_, the _toreros_, all the popular types; and one -and all, as he pictures them, are spirited, life-like, entertaining, -and well grouped, standing out boldly against their background of -spreading fields, or bathing gaily in the violent clarity of the -sunshine of Castile. - -When considered under this double aspect, surrounded by the twin -aureole of classicism and realism, Goya is seen to be an exceptional -nature. He builds his fantasies upon a solid foundation of technique, -and it is precisely because he founds his work upon this impregnable -basis that he is able without apprehension to challenge the judgment -of future centuries, and that his name will descend through the ages -crowned with an unfading glory. - - - - -HIS YOUTH - - -Francisco Jos Goya was born at Fuendetodos, in the province of -Aragon, on the 13th of March, 1746. His father, Jos Goya, and his -mother, Gracia Lucientes, were humble peasants and lived upon the -product of the sluggish fields that surrounded their modest home. -What the childhood of Jos was, we do not know, for his biographers -are silent upon this point. They content themselves with saying that -he aided his parents in the daily round of tasks upon the farm. As to -his education, it was certainly that of all the young peasant boys of -the Spanish farming districts. The child must have acquired the first -rudiments from the village priest, or perhaps from the monks of the -nearest convent. Reading, writing, and a little arithmetic made up the -whole equipment that young Jos possessed at the age of fifteen. How -his taste for drawing was first born, what occurrence or what object -awakened his artistic instinct, we do not know. Perhaps, like so many -others, he became suddenly conscious of his vocation at the sight of -some of those cruel and violent pictures representing scenes of the -Passion, such as abound in Spanish churches, and it is not unlikely -that his youthful soul received a profound and lasting impression. - - [Illustration: PLATE III.--THE WOMAN WITH THE FAN - - (Museum of the Louvre) - - The Louvre is not rich in works by Goya; it possesses only four. - But the portrait of a woman, which is here reproduced, belongs - to the period of the painter's second manner, in which a most - precise realism went hand in hand with a vaporous lightness and - a pervading grayness of tone that recalls the most delicate - creations of Prudhon. But the execution is vigorous, and in the - expression of the face and in the employment of the colours - there are a sureness and an intensity that are remarkable.] - -However this may be, at the age of fifteen Goya could handle his -pencil with sufficient assurance to astonish the worthy monk of -Saragossa, who was a judge of such matters. The latter conducted his -young protg to the city, and a few days later entered him as a pupil -in the studio of Don Jos Lujan Martinez. - -This Lujan was a Saragossan by birth, but he had studied painting in -Naples under the guidance of Mastrolo. Possessing considerable -talent, he enjoyed a great reputation in his native city. Upon his -return from Italy, he had founded a free school of design, a sort of -academy which was maintained wholly by his own contributions, both of -money and of time. - -Among the artists who were trained in this studio, there were some who -left names highly esteemed in Spain: Beraton, Vallespin, Antonio -Martinez the goldsmith, and Francisco Bayeu de Subias. With the last -named of this group Goya formed a particular attachment, -notwithstanding that Bayeu was twelve years the elder. - -Goya remained in Lujan's studio for between four and five years. His -fiery and impulsive temperament had already begun to declare itself, -and his master did not always succeed in moderating his exuberance. He -manifested an extraordinary diligence in his work, he was enamoured of -his art, and showed exceptional aptitude for it. From the first months -he became the most interesting feature in the studio; his imagination, -his enthusiasm, his assurance often surprised his master and stupefied -his comrades, who were accustomed to a calmer and less violent manner -of painting. At this epoch his character was already beginning to -form; one could foresee in him the man that he was destined to be -throughout his life. He was no less ardent in his pleasures than in -his work. He was the true type of the hot-headed Aragonais, and at the -age of nineteen revealed himself, headstrong, turbulent, a born -fighter. He threw himself, heart and soul, into the battles that -occurred so frequently at that time throughout Aragon between the -young men of the different parishes. Uniting in rival gangs, fiercely -jealous of one another, they were always ready on holiday evenings to -settle some question of superiority, and any excuse for an encounter -was welcomed by them. More than once, for the greater honour of San -Luis or of Nuestra Seora del Pilar, the club and knife scattered -blood over the streets and suburbs of Saragossa. - -Goya took part in all these battles, flung himself into them, body and -soul, tumultuously aiding and abetting this hazardous and adventurous -mode of life, which had the flavour of romantic fiction. In the course -of one of these collisions, three young men belonging to the rival -faction were left stiff and stark on the battle-ground. Goya, who was -one of those most directly implicated in the affair, was warned that -the Inquisition intended to arrest him. Although it no longer -possessed the terrible power of earlier times, the Inquisition was -even then by no means light-handed, and there was still serious danger -in bringing oneself under its notice. Goya was well aware of this, and -he did not wait for the arrival of the _alguazils_. That same night he -left the city and wended his way to Madrid, which, as it happened, it -had long been his dream to visit. - -In Madrid he once more ran across his friend Bayeu, who had been -living there for the past two years. Bayeu was drawing a pension from -the academy of San Fernando, and he also had the good luck of being -favoured by Mengs, the all powerful Superintendent of Fine-Arts, who -had asked him to collaborate in his great task of decorating the royal -palace. - -Bayeu welcomed his young comrade with open arms and invited him to -have a share in his present work. But we must infer that Mengs's -technique and method of teaching were already displeasing to Goya, for -he courteously declined the offer. In any case, he had not come to -Madrid in search of employment, but for the purpose of continuing his -education. All day long he visited the artistic marvels of the -capital, made the rounds of churches and convents, studied the old -masters, executed copies, and even penetrated into the royal dwellings -in order to admire the works of art which they contained, observing -extensively, reflecting, comparing, and, in a word, equipping his -profound intelligence with precious material for the future. But in -Madrid, just as in Saragossa, work was not allowed to interfere with -his pleasures. He was always to be found in quest of adventure; he -roamed the streets, sword under cape and guitar in hand, serenading -the sparkling black eyes that looked down laughingly at him from the -ambush of their window-blinds, and stirring husbands to a jealous -fury; or again, breaking the peace with a crowd of boisterous -companions; or still again, scaling the balcony of his latest -conquest, "and thus playing the prelude to that reputation of an -audacious, swash-buckling Don Juan, which later was destined to earn -him, even among the lower classes, an incredible notoriety." - -At this period Goya was a young man of haughty presence, somewhat -below the average stature, but exceedingly well proportioned. Although -his features lacked regularity, his face was attractive. It had a -pleasant air of joviality and frankness; there was a sparkle to his -eye and a lurking spirit of mischief around his lips. He had, -furthermore, an affable manner, an unabashed assurance, a mad bravado, -and the impudence of a lackey. Thanks to the friends whom he had -gained, he was favourably received by a goodly number of distinguished -families, where the charm of his personality played havoc with the -hearts of the women. - -This agreeable pastime could not fail to entail its own dangers, as -Goya was not long in learning by experience. On a certain fine -evening, when he had doubtless been lurking beneath some balcony, he -was picked up in an obscure side street, where he lay stretched at -full length, with a gaping poignard thrust in his back. It was -necessary to keep him hidden for a time, in order to protect him from -the unwelcome curiosity of the police; and later, when the affair had -become noised abroad, he was forced to quit Madrid, just as he had -quitted Saragossa, clandestinely, without even waiting for his wound -to be completely healed. - -In order to give his escapade a chance to be forgotten, Goya, who for -some time past had desired to visit Italy, set sail, with Rome for his -destination. - -From the moment of his arrival he came fully under the spell of the -marvels accumulated in the Eternal City. He passed entire days in the -presence of the masterpieces of the great artists. He admired them -with all his heart, yet without surrendering his right to independent -criticism. He recognized instinctively that there was nothing in all -these illustrious compositions which corresponded to his own personal -temperament, and that his fiery soul could ill adapt itself to the -calculated and almost geometric composition of the great frescoes in -the Vatican. But he possessed too deep a reverence for art to disdain -the admirable science of those great forerunners. There, beyond -question, was the ideal opportunity for study; and in the presence of -those celebrated canvases he absolutely forgot himself; he analyzed -their intimate beauties, compared the styles and colour schemes of the -different schools, scrutinized their methods, and forced himself to -penetrate and understand them. He did not attempt to copy a single one -of them; he felt that he would gain nothing by doing so, but that on -the contrary he might lose. This singular method of abstract study, -which may be called the method of intuition, explains perhaps how so -frank an individuality as that of Goya, far from being enfeebled by -contact with the past, became on the contrary stronger and more -genuinely alive. As a matter of fact, his talent owes nothing, or -practically nothing, to the art of Italy. - - [Illustration: PLATE IV.--PORTRAIT OF GOYA - - (Museum of the Prado, Madrid) - - In this portrait the artist is already old, but his physiognomy - has preserved that vivacity of movement, that expression of - penetration and irony, which made him such a brilliant figure at - the Court of Spain. This work, like every other which bears his - signature, is distinguished by the vigour of its execution and - beauty of colouring.] - -During his sojourn in Rome, Goya came in contact with David. Curious -phenomenon; these two natures who were so different in character and -temperament, and whose artistic tastes were almost antagonistic, felt -themselves invincibly attracted towards each other. It is true that -they both shared to an equal degree the philosophic ideas of the -period, and that they had the same ideal; namely, the liberation of -the people. They were destined later, each in his own country, to be -caught in the full whirlwind of the Revolution; and these mutual ties, -divined rather than expressed, created between David and Goya an -undying friendship. Because they liked each other, they appreciated -each other's work, in spite of the divergence between their talents; -and Goya, even in extreme old age, always spoke with emotion of the -"great David." - -In Rome, as in Madrid, Goya was not long in distinguishing himself by -perilous escapades. Seor Carderera relates that at one time "He -carved his name with his knife on the lantern of Michelangelo's -cupola, on a corner of a certain stone which not one of the artists, -German, English, or French, who had preceded him in the mad ascent, -had succeeded in reaching; and on another day he made the circuit of -the tomb of Cecilia Metella, barely supporting himself upon the narrow -projection of the cornice." - -But these were merely childish pranks; before long he had involved -himself in a far more dangerous adventure, especially in the city of -the Popes. He had become infatuated with a young girl in the higher -circles of Roman society, and formed the project of eloping with her. -Being warned in time, the parents placed their daughter beyond his -reach, within the austere shelter of a convent. This setback, however, -was not sufficient to discourage the gallant artist, it only spurred -him on to bolder ventures. He resolved to snatch his fair lady from -the very hands of her jailors, and one night he attempted to invade -the convent itself. But he was captured and handed over to justice. -In order to extricate himself from this awkward dilemma, far more -awkward at Rome than it would have been anywhere else, he was forced -to appeal to the Spanish ambassador, who intervened and demanded his -surrender by the Holy See. Goya was restored to liberty, but on -condition that he should take immediate leave of Rome. - -He now returned to Saragossa, for the sake of his aged parents, with -whom he spent the closing months of the year 1774, after which he once -more set forth for Madrid. There he again fell in with his faithful -friend, Bayeu, discovered himself to be in love with the latter's -sister, Josefa Bayeu, and married her a few months later. - -His brother-in-law again offered to introduce him to Mengs, and this -time, weary no doubt of adventures, he accepted the offer. The -Superintendent of Fine-Arts gave him a most cordial reception. We have -already had occasion to refer to the almost despotic authority which -Mengs at this period exerted over Spanish art and the singular -direction in which he had guided it. In the decorative works which he -was conducting in the palaces at Madrid and Aranjuez, there was, in -the words of M. Charles Yriarte, "nothing but an agglomeration of -struggles of Titans, apotheoses, triumphs of Hercules, and -glorifications of Ceres; but Goya soon came to scale Olympus, and turn -Venus into a manola, and substitute his frightful _Saturn devouring -his Children_, in his _Quinta_ [Goya's country house], for the figure -of Father Time, with his traditional stooping shoulders, partaking of -his progeny with prudence and circumspection." - -Up to this moment Goya had been far more intent upon observing and -learning than upon painting; he had as yet produced nothing, and no -one even suspected the powerful faculties that were dormant in him. -More as a favour to Bayeu than from any personal confidence, Mengs -entrusted him with the composition of some cartoons for the royal -manufactory of Santa Barbara. Goya set to work, and from the start -broke squarely away from the superannuated tradition of the -Superintendent. Throwing aside the entire paraphernalia of mythology, -he confined his cartoons wholly to subjects borrowed from national -life. In this work he gave free rein to the full spontaneity of his -talent and to his riotous imagination, and in the course of it he -revealed the full wealth of his imagination and his marvellous -instinct for decorative art. The result was a revelation: a genuine -ovation greeted these modern compositions, so full of life and -movement and colour. Mengs himself, who was not lacking either in -intelligence or in taste, was frankly delighted and warmly -congratulated the young artist. At Court and in the city nothing was -talked of but Goya and his cartoons; from this moment he entered upon -his true role as national painter. - - [Illustration: PLATE V.--THE DUCHESS OF ALBA - - (Collection of the Duke of Alba, Madrid) - - This superb portrait, the privilege of reproducing which we owe - to his Excellence, the Duke of Alba, was painted by Goya with - all the confidence of genius, guided by gratitude and - friendship. The ties of mutual esteem which united the artist - and the duchess are well known, and this portrait in a certain - sense constitutes an acknowledgment of it.] - -This first attempt had the result of enlightening Goya as to his own -powers. Not that he had previously mistrusted them, but he had feared -that he was not yet sufficiently equipped to venture upon a public -appearance. But on the strength of the success of his cartoons he took -stock of himself as follows: "He was thirty years of age and he -realized now that he had only to take his brush in hand in order to -become a great painter." - -Henceforth, throughout a period of more than fifty years, he was -destined to produce unweariedly, trying his hand at the most diverse -types, alternating between painting and engraving; and in his -life-work, which, taken as a whole, is one of the vastest and most -varied that ever came from any artist, he has given us the measure of -his prodigious fecundity. - -He made his debut in genre painting, and he drew his inspiration -straight from the life of the people. Spain, for that matter, -furnished an exceptional nutriment for his order of talent; land that -it was of vivid light, ardent colour, picturesque manners and curious -costumes, it was well designed to fire that vigorous and impulsive -nature to the highest pitch of enthusiasm. And hence, while Madrid -looked on and marvelled, there came in swift succession from his brush -a whole series of pictures saturated with local colour: bull fights, -attacks of bandits, clandestine meetings, processions, masquerades, -all the life of the Spanish city and the Spanish highway, reproduced -in piquant, accurate, brightly coloured scenes, of charming navet -and exquisite naturalness, replete with vivacity and riotous fancy. - -On closer inspection it would be easy to find a certain amount of -incorrectness in the drawing. Some of his bulls, especially, are -endowed with anatomical proportions that at best only approximate the -truth. But they have such spirit, such vigour, such nimbleness, such -furious agility, that we feel ourselves snatched up and borne along by -this living whirlwind, this intensity of movement, almost as though we -were bodily present in the arena where the blood-stained drama is in -the course of enactment. As to the colouring, it is very light and -very luminous and silvery. - -Almost at the same period Goya published a collection of etchings in -which he had reproduced the most celebrated masterpieces of Velazquez. -It was a daring venture, but it had no terrors for the young artist. -Goya did no injustice to Velazquez; he succeeded most felicitously in -reproducing in these etchings not only the design, but the colour -values and characteristic spirit of his model. This magnificent -series, executed during the year 1778, comprises sixteen pieces, which -to-day are of inestimable value. - -That same year the Franciscans went to great expense to decorate their -church; they appealed to the most renowned artists which Madrid at -that period possessed. Goya was entrusted with the decoration of a -chapel which required two paintings. The subjects specified were a -_Christ on the Cross_ and a _St. Francis Preaching_. The _Christ on -the Cross_ is distinguished by a very fine religious spirit, enhanced -by its admirable drawing and by a dignity quite its own. The fine and -delicate modelling suggests comparison with the most perfect works of -Italy; and the whole painting is overspread with an infinitely light -surface coat of colour, very luminous and very pale. - -This canvas is the best of all Goya's religious works. On the -contrary, his _St. Francis Preaching_ in no way deserved the vogue -which it enjoyed at the time, both at Court and in the city circles. -Its heavy composition, pretentious and ill balanced, did no credit to -any of Goya's qualities, save that of colourist, in which respect he -was always interesting. - -Goya was now the idol of the whole population of Madrid, who revelled -in his fantasies and regarded him as their national painter. Already -celebrated through his scenes of the life of the people, he had now -acquired a new prestige through the fame of his religious paintings; -and there was good reason for astonishment that he had not yet been -rewarded by any official honour. His rival painters had scant love for -him, or, to put it more frankly, they hated the powerful originality -of his talent so far removed from the slow product of their -uninspired toil. In order to belittle him, they censured the -incorrectness of his drawing and the violent character of his -subjects. But public opinion triumphed over this dead weight of -malevolence. However reluctantly, the Academy of Saint-Marc welcomed -him among its members on the seventh of May, 1780, hailing him as -"academician by merit." - -A few months later the Chapter of Nuestra Seora del Pilar at -Saragossa decided to have its sanctuary decorated and instituted a -competition among the leading artists of Spain, under the direction of -Goya's brother-in-law, Francisco Bayeu. Goya decided to compete, and -one of the vaults, with its adjacent panels, was assigned to him. The -sketches which he submitted were only half satisfactory, and the -Chapter requested him to modify them. Goya took the criticisms in ill -part, imputing them, whether rightly or wrongly, to his -brother-in-law's jealousy, and refused in any way to modify his -designs. A bitter quarrel might have resulted, if mutual friends had -not intervened to reconcile the two artists. Finally, Goya agreed to -make certain concessions; the vault was entrusted to him, and he -forthwith commenced the execution of his frescoes. - -The subject chosen represented _The Virgin and the Martyred Saints in -their Glory_. This immense work required no less than three years of -the artist's time, and he expended upon it all his science and all his -exceptional qualities as a colourist. It is an attractive work, -cleverly composed, possessing a fine decorative effect, brilliant and -warm, and in no way inferior to the most resplendent frescoes of -Tiepolo. Only one thing was lacking, the religious spirit, of which -Goya was wholly destitute. In works of this order, dexterity is not -sufficient; the breath of the inner zeal is necessary; cleverness, -dexterity, the gift of colour, cannot make up for the absence of -faith. As often as Goya attempted religious painting, the result -showed the same general order of deficiencies, because he always -treated his subjects solely as a painter, and not, after the manner of -Raphael and Correggio, as a devout believer. - -Furthermore, the ideal was not in his line; the dominant note of his -talent, before all else, was naturalism. Genre painter by temperament, -he sought by preference for the picturesque aspect of his subjects. -Owing to these conditions, his frescoes at Saragossa and in general -all his large religious compositions are in reality nothing else than -vast genre paintings. - - - - -THE GLORIOUS PERIOD - - -At the same time that he was painting his frescoes and his scenes of -popular life, Goya also tried his skill at portraiture. In this branch -of his art his success was immediate and complete. From his very first -attempts he attained the highest possible reputation. From morning -till night he saw his studio besieged by all the most distinguished -figures in the society of the Court and the city. It soon became -the fashion, the rage, to have oneself painted by Goya. They stood in -line at his door; they brought all sorts of influence to bear to -obtain the favour of a sitting. All the celebrities of the period, -poets, scientists, political luminaries, equally with ladies of rank -and reigning beauties, succumbed to this unheard-of vogue, which -persisted, we may add, to the very end of the master's long career. -Furthermore, his portraits form the most extensive part of his -life-work, and at the same time the part which is the most -indisputable and the most perfect. - - [Illustration: PLATE VI.--KING CHARLES IV AND HIS FAMILY - - (Museum of the Prado, Madrid) - - Goya was the favourite painter of the king Charles IV, who - conferred upon him the title of First Painter. In this fine - painting, which raised the reputation of the artist to its - zenith, the members of the royal family are admirably and - sincerely rendered, without a trace of flattery. All the - degeneracy of the dynasty is to be read in these countenances, - in terms of convincing eloquence.] - -There are nearly two hundred portraits that are known to have been -painted by Goya. They are not all of equal value, and in some of them -we feel a certain degree of carelessness of execution, which is to be -explained by the rapid workmanship demanded of him by the abundance of -his orders. But however hasty the work may be, there are always to be -found in it the essential qualities of this artist: a surety of -expression, a free yet firm outline, and an incredible understanding -of his model's personality. Goya did not trouble himself to embellish -his patrons, for he was no flatterer; if the man or woman who posed -before him was homely, Goya's pencil would do nothing towards -correcting the injustices of nature. That was not his business; but he -was able, with an unsurpassed clearness of vision, to catch upon his -canvas that flashing glance, that fugitive gleam of the inner soul -which, at some precise moment, is sure to transfigure the most -unlovely features. What distinguished him above all else was his -originality, that purely personal stamp, thanks to which it is -impossible not to recognize a Goya from the first instant. There is in -him something that he shares in common with all the great -portraitists, and yet he resembles no one of them. He is Goya. - -In the portraits painted in costume, now to be seen in the museum at -Madrid, he somewhat approached the manner of Velazquez; under this -class might be mentioned the portraits of the Infante Don Luis and his -family, that of the Count of Florida-Blanca, of the Duchess of Alba, -and of General Urrutia, which is a magnificent masterpiece. All these -portraits possess distinction, bold relief, and a lofty carriage which -recalls the free and noble manner of the painter of Philip IV. - -At other times his brush took on a milder manner, shading off into -soft and vaporous tints that set us thinking of Reynolds and of -Prudhon, especially in those intimate portraits into which he has put -the greatest spontaneity. In this class belong the admirable _Young -Man in Gray_, the painter's grandson--this portrait is certainly one -of the most beautiful of all Goya's works--and the famous portraits of -Moratin, Boyeu, Josefa Bayeu, the architect Villanueva, and the two -_Majas_, both the nude and the clothed, which are said to be portraits -of the Duchess of Alba, taken in the same pose but under two different -aspects. We may also include among the works of his second manner the -two portraits of woman which hang in the Louvre; _The Woman with the -Fan_, which is reproduced in the present volume, and the _Portrait of -a Young Woman_, which, together with the _Ferdinand Guillemardet_, are -the only paintings by Goya which France's chief national museum -possesses. - -All these portraits are admirably conceived, in a simple, natural -form, without superfluous details, and they are freely painted, in a -rich and solid colouring, and stand out from the canvas, substantial, -harmonious, pulsing with life, against those vaporous and imponderable -backgrounds of which, since Velazquez, Goya alone has found the -secret. - -At this epoch Goya was not only a celebrated painter, he was also a -man of fashion, mingling with persons of the highest rank. The Infante -Don Luis kept him throughout entire seasons at his palace of Arenas de -San Pedro, in the province of Avila, and it was there that Goya -executed an entire series of magnificent portraits and genre -paintings which belong to-day to the Counts of Chinchn. "Then there -are the Benaventes, Dukes of Ossuna and of Candia, who for a period of -more than ten years ordered work after work from him, at one time -religious compositions, destined for the cathedral at Valencia, such -as _St. Francis of Barja bidding Farewell to his Family_ and _St. -Francis exhorting an Impenitent Dying Man_, celebrated pictures which -have been reproduced by the engraver Peleguer,--at other times -portraits of the family, and lastly, a series of twenty-seven genre -pictures for their _Alameda_ in the environs of Madrid." - -Idyllic and anecdotic scenes play by far the larger part in these -compositions. There is an _Al Fresco Breakfast_, in the midst of a -delightful landscape, a _Dance beside the Water_, a _Hunter showing -his Family the Game that he has Killed_, a _Harvesting the Hay_, a -_Resting from Labour_, a _Greased Pole_, a _Comical Accident at a -Picnic_, a _Winter Landscape_, _The Seasons_, _Workmen constructing a -Building_, _Highwaymen attacking a Stage-coach_, _Gypsies playing at -See-saw_, _Bulls in the Arroyo_, and lastly some of those inexplicable -"caprices," bizarre fantasies in which Goya mingles sorcerers and -horned demons with members of the Inquisition. - -Goya frequently introduced Inquisitors into his scenes; he had felt -their claws early in life and had borne them a grudge ever since. - -The most important and most celebrated canvas in this collection is -_The Romeria of San Isidro_. This is the great festival in honour of -the patron saint of Madrid. "The whole populace has come to make merry -on the banks of the Manzanares, and the vast meadow which stretches -from the hill-top where the saint's hermitage stands, down to the very -water's edge, is covered by an immense throng, motley and variegated, -pressing and crowding around the tents of the acrobats, the vendors' -booths, the open-air kitchens, and wine-shops. All this picturesque -world is divided into a thousand varied groups; here a circle has been -formed around a man strumming on a guitar; over yonder a merry set is -forming; there is quarrelling, dancing, drinking; there are meetings -and partings, and in the midst of all this swarming multitude we watch -the coming and going of pages, troopers, porters, members of the -body-guard in their red coats, amidst an indescribable pell-mell of -carriages with gaily decked steeds, and of _calesinos_ with bodies -painted in atrocious colours, which are overturned by the restive -mules as they break away. In the foreground, dominating the whole -scene, pretty women shading themselves under pink silk parasols, and -well garbed personages grouped in easy and unaffected attitudes, form -a most ingenious and charming framework for the scenes which are being -enacted at their feet. In the background of the picture, above and -beyond the Manzanares, we see the palace with its terraced gardens and -the city with its towers and domes. Here are San Francisco el Grande -and the Cuesta de la Vega, and yonder is the famous Barrio de -Lavapis." - -Treated in a warm and luminous scale of colour, lustrous with subtle -and vivid tones, this sparkling page remains unsurpassed, because of -the infinite care which Goya expended in order to give variety and an -astonishing degree of precision to even the minutest of its multifold -details. - -The pictures of country life, such as the _Al Fresco Breakfast_, _The -See-saw_, _The Dance_, _The Picnic_, show us Goya under still another -aspect. The first time that one sees these pictures in the _Alameda_ -one would say that they were the product of the brush of some one of -the French painters of the eighteenth century; one is tempted to -attribute them to Watteau or Fragonard; and it is true that Goya -chose, like them, to reproduce the fashions and frivolities of his -time; but even while he imitated the vanities and affectations of -these masters, he remained nevertheless a Spaniard, and his types and -his costumes are represented with the most scrupulous truth. - - [Illustration: PLATE VII.--LA TIRANA - - (Museum of the Prado, Madrid) - - La Tirana was a famous actress in Madrid during the reign of - Charles IV. Goya painted her at the time when he was in the full - height of his renown, and celebrities of every kind at the - capital quarrelled with one another for the privilege of being - painted by him.] - -On the 25th of April, 1789, a few months after Charles IV. ascended -the throne, a royal order raised Goya to the dignity of _Pintor da -Camara_, which corresponded to _Peintre Ordinaire du Roi_, a title -formerly bestowed upon French artists. This distinction gave him, as -in the case of Gentlemen of the Bed-chamber, free entry to the palace. -Under the new king the Court had taken on a new aspect. During the -reign of the devout Charles III. it was constrained to all the outward -show of austere piety which recalled the morose years under the -monarchs of the House of Austria. Under the new king everything was -changed, laughter was revived, festivals recommenced, and with them, -intrigues of gallantry and licentiousness. Scandals multiplied, and -the example came from high up; Queen Maria-Luisa herself set the pace -for a society that had been parched with thirst for pleasure, and she -flaunted before the whole nation her absolute contempt of decency and -her unbridled appetite for dissipation. The epoch of the high favour -of the Prince de la Paix began. Goya, whose marriage had but poorly -reformed him, welcomed this change of regime with enthusiasm. He was -already something more than celebrated in Madrid because of his -prowess with the fair sex, famous for his duels, an adept at all the -nicer usages through his constant association with the upper circles; -consequently he felt himself fully at ease in this atmosphere of -shamelessness and incontinence. He had some famous intrigues and -illustrious _liaisons_, which he did not even take the trouble to -conceal. Possessed of a caustic and subtle wit, and untroubled by -scruples, he was much sought after for the brilliance and the daring -of his conversation. Those who did not like him learned to fear him. -Before long he had scored an even bigger success as a man than as an -artist. Through contact with men of rank, he had acquired not only -assurance but a certain air of haughtiness verging upon insolence. -Being drawn into the circles of the Duchess of Alba and Duchess of -Ossuna, who at that time, like rival queens, were disputing the -sceptre of fashion and pleasure, he witnessed and shared in many a -boudoir intrigue, taking sides in these women's quarrels, at one time -supporting the one side, then again going over to the other, and at -last coming out openly in favour of the Duchess of Alba, who at that -time was waging a silent warfare with Maria-Luisa. Having become the -_cavaliere servente_ of the Duchess, he no longer contented himself -with plotting intrigues or launching epigrams; but he translated his -opinions into the form of satiric caricatures, in which he mercilessly -ridiculed the adversaries of his fair lady. The arrows that he -launched flew so high that the outraged queen exiled the Duchess from -her court and gave the _Pintor da Camara_ a leave of absence. Goya and -the Duchess set forth side by side on the road to Andalusia, sharing -the period of their disfavour on a distant estate belonging to the -Duchess of Alba. - -This exile, however, was of short duration and only served to -increase the artist's reputation for gallantry. The king, who loved -him in spite of his follies, recalled him and entrusted him with the -frescoes for the chapel of San Antonio de la Florida. The task was a -considerable one; it included the painting of a vast cupola and -several smaller vaults, tympanums, and arches. Behold then our -libertine philosopher transformed once more into a religious painter. -Within three months he had completed the entire scheme of the -decoration. The subject chosen was as follows: _St. Anthony of Padua -resuscitating a Dead Man in Order to Make him Reveal the Name of his -Murderer_. Goya placed his saint upon an eminence, from which he calls -upon the dead man to come forth; the latter has already arisen from -his tomb, has joined his hands, and is about to speak. On the right -and left the compact throng press forward, anxious to see the miracle -accomplished. All around the cupola the artist has pictured a sort of -gallery on which the spectators lean, and among them we see a child -with its legs dangling in space. This composition is remarkable in its -sense of movement and varied interest. But what distinguishes it -especially from other works of its type is that Goya, through an -obstinate adherence to realism which cannot fail to cause some little -surprise, thought that he was bound to adopt for all the personages in -his picture both the costumes and the types of his own time. "His -women are true _manolas_, draping themselves in their mantillas, and -his men are men of the people, _arrieros_ proudly wrapped in their -mantles of motley colour. In the corbels of the arches Goya painted -cherubim, haloes, and angels, and he endowed these celestial beings -with feminine charms and carnal graces that were far too reminiscent -of the seductions of the earth. It is related that Goya used the -ladies of the Court as models for these feminine countenances, and -that on the day when the frescoes were unveiled, Charles IV. expressed -his displeasure to the artist in unmeasured terms." - -From 1796 to 1797 Goya published that curious series of compositions -done in etching and in water-colour which he entitled _Caprices_. And -they were quite literally caprices through their infinite diversity of -subject and the oftentimes extravagant fantasy of their execution. -Scenes of local manners ironically interpreted, mocking allusions to -popular superstitions, trenchant criticisms of public men and -political institutions, attacks of unheard-of violence upon the -established religion and its dogmas, pitiless satires upon the -Inquisition and more especially upon the monastic orders, and finally -prophetic dreams and visions of the future make up the contents of -this singularly complex work which concealed a most audacious motive -underneath its apparent fantasy. And all this treated with a sparkling -brilliance, a diabolical cleverness that is carried sometimes to the -point of brutality, with a realism that often causes a sort of -revulsion. As to the execution, it is remarkable: the lines are -clear-cut and vigorous, the design is solid, almost schematic in -places for the purpose of enhancing the energy; with incomparable art, -Goya makes use of contrasts for the purpose of obtaining astonishing -relief, perfect modelling, and effects of light that produce the -illusion of painting. In these compositions he shows the variety and -flexibility of his talent, which undertook with equal felicity the -most widely diverse branches of his art. - -In Spain these _Caprices_ enjoyed a very considerable success, but -they caused considerable discomfort to their author. At one time their -publication was suspended. The Inquisition, which had been especially -maltreated in these designs, became once more threatening, and showed -an implacable ardour in its quest for vengeance. Nevertheless, it -failed of its purpose, thanks to the kind offices of the Prince de la -Paix, who was himself hostile to the monks and took Goya under his -protection. In accordance with his advice, Goya offered his _Caprices_ -to the king, Charles IV., who, acting in accord with his minister, -accepted them for his collection of copper-plates. Having thus found -shelter behind the august presence, Goya became invulnerable; and the -Inquisition had to let its prey escape. - -On the 31st of October, 1799, Goya became First Painter to the king. -He was at that time fifty-three years of age. Neither years nor -indulgences had undermined his robust organism or diminished his -talent. On the contrary, it was at this epoch that his manner -underwent a transformation which bears witness once again to the -resources and the vitality of this exceptional nature. A study of the -works of Rembrandt had awakened in him a violent passion for the -effects of light and of chiaroscuro, and from this time forward we -find him practising this difficult art and manifesting in it a -remarkable mastery and originality. In this style of painting, which -was new to him, he achieved masterpieces from the first attempt, such -for instance as the _Betrayal by Judas_, in the cathedral at Toledo, -which might have been signed by Correggio or Rembrandt. The patch -of light, which throws into strong relief the suffering face of Christ -and the hideous countenance of Judas, is distributed in a masterly -fashion and in no wise detracts from the luminous transparency of the -shadows. - - [Illustration: PLATE VIII.--JOSEFA BAYEU - - (Museum of the Prado, Madrid) - - Josefa Bayeu was the sister of the painter Francisco Bayeu, like - Goya, a native of Aragon, and his intimate friend. It was in the - home of his comrade that Goya fell in love with Josefa and - married her. He had one son, Xavier Goya. This portrait is - considered as one of the best executed by the artist.] - -In this work, as in all others by this artist, both the personal and -the national note are found to be strongly imprinted; all the -participants in this scene are authentic Spaniards, whose classic -types may still be recognized to-day in every city throughout the -peninsula. - -Mention also should be made, among the works in which Goya ventured -upon chiaroscuro, of the celebrated picture in the Escuelas Pias in -Madrid, representing _The Communion of St. Joseph Calasanz_, and of -the spacious and original canvases with which he decorated the walls -of his own home. - -We now arrive at that turbulent period, extending from 1800 to 1814, -which marked an era of national calamities for Spain. The facts are -familiar: as a result of court intrigues, the luckless and unhappy -Charles IV. found himself in 1808 forced to abdicate in favour of his -son; then came the invasion of Spain by the imperial armies, the -odious treachery of Bayonne which made Ferdinand II. a prisoner and a -dethroned king, while Napoleon, following his mad dream of universal -conquest, placed his own brother, Joseph, on the throne of Charles V.; -and finally there came the awakening of invaded Spain and its splendid -national defence, resulting in the expulsion of the enemy and the fall -of the Empire. - -All these years of struggle and patriotic frenzy Goya passed in his -_quinta_, where he had shut himself up in complete isolation, taking -no part in the events which were shaking Spain to its foundations. -This attitude of his gave rise to a great amount of comment. In the -eyes of many, Goya was an _afrancesado_, a partisan of the French -invasion; but there seem to be no grounds that would justify anyone in -offering him such an insult. It may be that, pledged as he was to -ideas of justice and liberty, he was not displeased to see the -downfall of a corrupt regime, under which Spain had been slowly dying. -But that he had looked on light-heartedly at the misfortunes of his -native land, and that he had not suffered to the very depths of his -Spanish soul, would indicate a depravity which no one has a right to -impute to him. - -And if proof of this were needed, we could find it in his masterly -series of _The Misfortunes of War_, eloquent and melancholy -commentaries upon that troubled period, giving a gruesome panorama of -military executions, conflagrations, pillage, and famine; in a word, -the habitual and tragic accompaniment of a foreign invasion. Could an -artist who was indifferent have expressed himself in such pathetic -accents? Could a renegade have been stirred to such a point by all -these horrors? Furthermore, Goya made no overtures to the invaders. -While other Spaniards, willingly or unwillingly, figured at the court -of Murat and of Joseph, Goya remained in close retirement in his own -house, notwithstanding his natural fondness for adventures and -festivities. "But above and beyond his incontestable patriotism, a -more generous sentiment, loftier and more profoundly humane, emanates -from these sinister pages. What Goya hated beyond all else was war: it -spelled iniquity, despotism, and above all, tyranny. Nothing more -eloquent than this avenging protest has ever been formulated against -the spirit of conquest and the barbarous struggle of nation against -nation." In about the year 1814, upon the return of Ferdinand II., -Goya added to his _Misfortunes of War_ seventeen new plates, the -strangest and most daring of them all. This is the last and most -strenuous battle that he ever waged on behalf of all he loved against -all that he hated. What phials of wrath he poured out against -intrigue, conservatism, and falsehood, which stifle liberty and -repress human thought! What outbursts against the rogues who strive -desperately to destroy liberty and justice! Here is a picture in which -hypocrisy has conquered and has confiscated liberty: _Contra el Bien -General!_ Further on is another, in which truth is in its death agony: -_Muri la Verdad!_ But she will rise again: _Si Resusitar!_ for it is -impossible that she should disappear forever. Lastly, as a conclusion -to this work, Goya prophesied in an eloquent page the return of a -glorious era which should inaugurate the reign of liberty, love, -happiness, and peace. And it bore this legend: _This is the Truth!_ - -But the reign of Ferdinand VII. did not fulfil the generous hopes of -the great artist. With this king, the worst days of absolute monarchy -were revived in Spain; the triumphant reaction manifested itself by -persecutions, cruelties, and tyrannies of the most odious kind. -Whoever was even suspected of liberalism was marked for exile or for -prison. More than anyone else, Goya's personal prominence exposed him -to the attacks of the reactionists, but his very fame protected him. -Ferdinand VII., when he received him one day, informed the aged artist -that he "deserved exile, and more than exile; he deserved death!" but -he consented to forget the past and he reappointed the artist to the -office of First Painter. It would seem as though such protection -should have sufficed to protect Goya from the machinations and -hostilities of his adversaries. But it did nothing of the sort. The -reactionary party would not consent that a liberal should escape its -vengeance, even though protected by royal immunity; so it continued to -hound him by means of secret intrigues and calumnies. - -Goya, impatient and irascible by nature, could ill bear the malevolent -insinuations, allusions, and contemptuous terms; he found himself -stifling in such a poisoned atmosphere. Residence in Madrid had become -impossible for him; the greater number of his friends, less fortunate -than he, had already been forced into exile; and since the persecution -showed no signs of abating, he saw his circle of friends dwindling day -by day. At last he made up his mind to leave a native land that had -grown so inhospitable and hostile. He asked the king for a leave of -absence, and upon obtaining it crossed over into France. - - - - -THE CLOSING YEARS - - -Goya went first of all to Paris, but he made a stay there of short -duration. Almost all his friends from Madrid, whom Ferdinand VII. had -driven from Spain, had taken refuge in Bordeaux, where they formed a -veritable colony. He proceeded to join it and decided to settle down -among them. - -He did not, however, remain inactive. This prodigious worker, who was -now nearly eighty years old, could not resign himself to rest; he once -again took up his brush with a hand which his great age could not yet -cause to tremble. Besides, he was not well off, possessing scarcely -anything besides his house in Spain and his pension as First Painter. - -Accordingly, he continued to paint genre pictures and numerous -portraits. Those of Don Juan Maguire, M. Pio de Molina, and M. J. -Galos date from this epoch. He also painted another of his friends, -also exiled, whom he met again at Bordeaux--Moratin, the celebrated -Spanish poet, who, carried away by his passion for democracy, had sung -the French invasion in eloquent stanzas and now expiated his error in -exile. - -Besides the portraits, Goya painted some very beautiful miniatures on -ivory, and he renewed his experiments in lithography, which he had -already undertaken in Madrid some years previous. His four large -examples representing _Bull Fights_ are masterpieces of colour and of -movement. - -In 1827 Goya had to journey back to Madrid, in order to make a -personal appeal to the king for an extension of his leave of absence. -Since he could not persuade Goya to remain, the king freely granted -the favour requested; but he imposed one condition, and a very -flattering one to the artist: namely, that he would first allow his -portrait to be painted by Don Vicente Lopez, at that time _Pintor da -Camara_. This portrait is now to be seen at the museum in Madrid. - -That same year he returned to Bordeaux and once more resumed his -cherished habits and his brush and palette. Many of the works of this -later period remained in France, and the museum at Bordeaux possesses -a considerable number of them. - -Goya still continued to work, but his hands had begun to tremble and -he could no longer see without the aid of a lens. His strength was -failing and he felt that the end was drawing near. He sent for his -son, Xavier, who had continued to reside at Madrid; and a few days -later, on the 15th of April, 1828, he passed away in the arms of his -friends, at the age of eighty-two years and fifteen days. - -Goya was truly a great artist in the noblest sense of the term. He -possessed qualities which were at one and the same time substantial -and brilliant; he was versatile and original, a spirited genre -painter and a remarkable portraitist. "In the tomb of Goya," writes -Thophile Gautier, "the ancient art of Spain lies buried; gone forever -is the world of the _toreros_, the _majos_, the _manolas_, the -contrabandists, the _alguazils_, and the sorceresses, the entire local -colour of the Peninsula. He arrived in time to gather all this -together and to preserve it on his canvas. He fancied that he painted -only 'caprices;' yet what he really did was to paint the portrait of -bygone Spain, all the time convinced that he was giving his service to -the new ideas and new beliefs." - - - - - -End of the Project Gutenberg EBook of Goya, by Fr. 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Crastre - -This eBook is for the use of anyone anywhere at no cost and with -almost no restrictions whatsoever. You may copy it, give it away or -re-use it under the terms of the Project Gutenberg License included -with this eBook or online at www.gutenberg.org - - -Title: Goya - -Author: Fr. Crastre - -Editor: M. Henry Roujon - -Translator: Frederic Taber Cooper - -Release Date: March 28, 2013 [EBook #42425] - -Language: English - -Character set encoding: UTF-8 - -*** START OF THIS PROJECT GUTENBERG EBOOK GOYA *** - - - - -Produced by sp1nd, Matthew Wheaton and the Online -Distributed Proofreading Team at http://www.pgdp.net (This -file was produced from images generously made available -by The Internet Archive) - - - - - - -</pre> - +<div>*** START OF THE PROJECT GUTENBERG EBOOK 42425 ***</div> <div class="figcenter"> <img src="images/cover.jpg" width="400" height="581" alt="" /> @@ -1528,382 +1486,6 @@ only ‘caprices;’ yet what he really did was to paint the portrait of bygone Spain, all the time convinced that he was giving his service to the new ideas and new beliefs.”</p> - - - - - - - -<pre> - - - - - -End of the Project Gutenberg EBook of Goya, by Fr. 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Hart was the originator of the Project Gutenberg-tm -concept of a library of electronic works that could be freely shared -with anyone. For forty years, he produced and distributed Project -Gutenberg-tm eBooks with only a loose network of volunteer support. - -Project Gutenberg-tm eBooks are often created from several printed -editions, all of which are confirmed as Public Domain in the U.S. -unless a copyright notice is included. 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You may copy it, give it away or -re-use it under the terms of the Project Gutenberg License included -with this eBook or online at www.gutenberg.org - - -Title: Goya - -Author: Fr. Crastre - -Editor: M. Henry Roujon - -Translator: Frederic Taber Cooper - -Release Date: March 28, 2013 [EBook #42425] - -Language: English - -Character set encoding: ASCII - -*** START OF THIS PROJECT GUTENBERG EBOOK GOYA *** - - - - -Produced by sp1nd, Matthew Wheaton and the Online -Distributed Proofreading Team at http://www.pgdp.net (This -file was produced from images generously made available -by The Internet Archive) - - - - - - - - MASTERPIECES - IN COLOUR - EDITED BY-- - M. HENRY ROUJON - - GOYA - - (1746-1826) - - - _IN THE SAME SERIES_ - - REYNOLDS - VELASQUEZ - GREUZE - TURNER - BOTTICELLI - ROMNEY - REMBRANDT - BELLINI - FRA ANGELICO - ROSSETTI - RAPHAEL - LEIGHTON - HOLMAN HUNT - TITIAN - MILLAIS - LUINI - FRANZ HALS - CARLO DOLCI - GAINSBOROUGH - TINTORETTO - VAN DYCK - DA VINCI - WHISTLER - RUBENS - BOUCHER - HOLBEIN - BURNE-JONES - LE BRUN - CHARDIN - MILLET - RAEBURN - SARGENT - CONSTABLE - MEMLING - FRAGONARD - DUeRER - LAWRENCE - HOGARTH - WATTEAU - MURILLO - WATTS - INGRES - COROT - DELACROIX - FRA LIPPO LIPPI - PUVIS DE CHAVANNES - MEISSONIER - GEROME - VERONESE - VAN EYCK - FROMENTIN - MANTEGNA - PERUGINO - ROSA BONHEUR - BASTIEN-LEPAGE - GOYA - - - [Illustration: PLATE I.--FERDINAND GUILLEMARDET - - (Museum of the Louvre) - - This personage, who has left no record in history, was one of - those high functionaries, half civil and half military, whom the - First Republic sent to its armies to supervise the commissary - department and also to exercise an espionage over its generals. - Goya has given a vigorous rendering of a head that bears the - double stamp of energy and high breeding; and the prevailing - gray tone of this portrait, relieved only by the one dash of - brightness in the tricoloured scarf, forms altogether a work of - perfect harmony.] - - - - - GOYA - - BY FR. CRASTRE - - - TRANSLATED FROM THE FRENCH - BY FREDERIC TABER COOPER - - ILLUSTRATED WITH EIGHT - REPRODUCTIONS IN COLOUR - - [Illustration: IN SEMPITERNUM.] - - FREDERICK A. STOKES COMPANY - NEW YORK--PUBLISHERS - - - COPYRIGHT, 1914, BY - FREDERICK A. STOKES COMPANY - - March, 1914 - - THE . PLIMPTON . PRESS - NORWOOD . MASS . U . S . A - - - - - CONTENTS - - - Page - - The Youth of Goya 21 - - The Glorious Period 48 - - The Closing Years 77 - - - - -LIST OF ILLUSTRATIONS - - - Plate - - I. Ferdinand Guillemardet Frontispiece - Museum of the Louvre - - II. La Maja Clothed 14 - Museum of the Prado, Madrid - - III. The Woman with the Fan 24 - Museum of the Louvre - - IV. Portrait of Goya 34 - Museum of the Prado, Madrid - - V. The Duchess of Alba 40 - Collection of the Duke of Alba, Madrid - - VI. King Charles IV and his Family 50 - Museum of the Prado, Madrid - - VII. La Tirana 60 - Museum of the Prado, Madrid - - VIII. Josefa Bayeu 70 - Museum of the Prado, Madrid - - -On a certain clear morning in the year 1760, a monk from the convent -of Santa Fe, near Saragossa, was proceeding leisurely along the road -which leads to that city, and reciting his breviary as he went. -Raising his eyes from between two psalms, he perceived a young lad of -some fifteen years of age deeply absorbed in drawing pictures with a -bit of charcoal on one of the walls which bounded the way. The monk -was a lover of the arts and had himself some little skill in drawing. -Becoming interested, he drew nearer, and was amazed at the aptitude -shown by the boy. Upon questioning him, he was much pleased with his -replies and was completely won by his engaging manners. Without -further reflection, he inquired the way to the home of the lad's -parents, poor peasants of the immediate neighbourhood, and had no -difficulty in persuading them to entrust their son to him, promising -to make him a painter of whom they would some day be proud. - -History has not preserved the name of the worthy monk so kindly -disposed to art, but the boy was destined to make his own name -illustrious: Francisco Jose Goya y Lucientes, the poor son of farming -folk of Saragossa, fulfilled the promises of his patron. He had -talent; better yet, he had genius; he fraternized with princes and -with kings, and the renown of his glory restored its lost dignity to -the art of Spain and did honour to painting throughout the world. - - [Illustration: PLATE II.--LA MAJA (CLOTHED) - - (Museum of the Prado, Madrid) - - This reclining woman represents a very characteristic type of - Spanish beauty. Goya has painted this picture under two - different aspects, although in an absolutely identical pose. In - one, the woman is represented completely nude, while here the - artist has clothed her in corselet and trousers. It is asserted - that the Duchess of Alba served him as model for both of these - pictures.] - -The advent of Goya in the middle of the eighteenth century marks a -sort of providential date in the art of the peninsula. The Spanish -school had fallen into profound decadence. Of the great traditions of -Velazquez, Ribera, Zurbaran, and El Greco, nothing survived save the -regret of knowing that they were forever lost. All the prodigious -strength and powerful realism of that glorious period had become -degenerate, enfeebled, anaemic to the point of utter decrepitude. In -the horde of artists of that time, not a single hand was capable of -taking up the brush let fall by the great predecessors. One only in -all their number, a certain Claudio Coello, mustered sufficient energy -to attempt to carry on the broken tradition. With praiseworthy -insistence and undoubted talent he endeavoured to restore its bygone -dignity to the painting of his time. Among many other noteworthy -works, a magnificent canvas from his hand may still be seen in the -sacristy of the Escurial. But this unlucky artist, like all the -others, had come too late into a world which had grown too old. He -could no longer be understood. The same decadence had overspread the -whole of Europe, but to a greater degree in Spain than elsewhere. -Politics, customs, traditions, popular taste, all bore the imprint of -that degeneracy which heralds the end of a race. What could a Claudio -Coello do in a society that had disintegrated to such a degree? His -strength seemed too brutal, his realism was accused of barbarity, and -the conscientiousness of his line-work caused him to be considered as -a painter who had become old-fashioned and had fallen behind his -times. All the favour of that period was bestowed upon the _fa presto_ -school of painting. Luca Giordano, who usurped Coello's place in the -regard of Philip II., had begun to inundate Spain with his facile and -spiritless productions. He covered the walls of the Escurial with -frescoes brushed in with a turn of the wrist, the dexterity of which -ill concealed their absolute lack of inspiration. In his wake a swarm -of Neapolitan painters, equally dexterous, but of even less worth, -swooped down upon the peninsula, and day by day still further -perverted the standard of popular taste. With the dawn of the -seventeenth century the decadence, instead of diminishing, became more -accentuated. The Neapolitans had been succeeded by Frenchmen--but what -Frenchmen! Their art had neither the nobility of Poussin, nor the -greatness of Le Brun, nor the suavity of Le Sueur; they bore such -names as Ranc, Hovasse, Louis and Michel Vanloo, and their manner drew -its inspiration from the worst type of composition brought into -fashion by Mignard. Their whole effort was confined to producing the -merely pretty, and their tastelessness was absolutely, yet -regrettably, adapted to the growing affectation of the century. After -them came the turn of the Tiepolos: these latter were not merely -remarkable virtuosos of the palette; their prodigious facility was -frequently ennobled by genuine talent; their line-work, though too -often slighted, still showed a certain degree of conscientiousness, -and some of their works are really worthy of admiration. But they too -were infected with the malady of the century; they sacrificed -themselves to the taste of their day, which was definitely degraded to -the extravagances of fashion and the frivolities of gallantry. They -were wholly lacking in the ability to impart to this type of painting -the vivacious charm which the graceful and smiling ease of Watteau, -Fragonard, and Boucher bestowed upon it in France. There was no ground -for hoping that they would ever effect a renaissance of the Spanish -school. - -Finally Charles III. summoned to Madrid a painter of German origin, -Mengs by name, who at that time was regarded as the Messiah of an art -which was destined to unite "the grace of Apelles, the expression of -Raphael, the chiaroscuro of Correggio, and the colouring of Titian!" -Unusually gifted though he was, Mengs did not possess the necessary -calibre to fulfil such brilliant promises. Haunted by the great -compositions of Le Brun, he confined himself to the mythological order -of painting and drew his inspiration from his illustrious model, -without ever achieving an equal eminence or duplicating the latter's -admirable skill in composition. Upon his appointment as Superintendent -of Fine-Arts in Spain, he established a sort of artistic dictatorship, -which forced Spanish painting as a whole to adopt his own special -aesthetic creed. The influence of Mengs would have been even more -disastrous than that of his predecessors, if Providence had not placed -Goya in the path of the artist monk of Saragossa. - -Goya made his appearance, and with him Spanish art underwent a renewal -and an aggrandizement. With one formidable backward leap, he attained -the point of the broken tradition, in order to reweld the glorious -chain. No intermediary connects him with the splendid lineage of -Spanish painters. He proceeds directly from them. He is the natural -heir of Velazquez and Zurbaran. He has their ardour, their vehemence, -their passionate love for nature; like them, he finds the source of -his strength in direct observation; as with them, the secret of his -genius resides in that inner flame which bursts out of bounds in -blazing flashes, with no clever trickery, no premeditation, but with -that spontaneity which is born only of a clear vision, aided by a -vigorous brush. - -Nevertheless, this descendant of bygone masters is the most modern of -all Spanish painters. He is never imitative, he always creates. From -the living springs of great art he draws only what he needs to sustain -his strength: a pious reverence for form, conscientiousness in -line-work, sobriety of colour, and harmony of the component parts. For -the rest, he is wholly of his own time, and of none other than his own -time. He is truly the painter of national Spanish life. What he paints -most willingly, most gladly, are the dances, the games, the joyous -gatherings, the _corridas_, full of ardour and of movement, the -_majas_, the _manolas_, the _toreros_, all the popular types; and one -and all, as he pictures them, are spirited, life-like, entertaining, -and well grouped, standing out boldly against their background of -spreading fields, or bathing gaily in the violent clarity of the -sunshine of Castile. - -When considered under this double aspect, surrounded by the twin -aureole of classicism and realism, Goya is seen to be an exceptional -nature. He builds his fantasies upon a solid foundation of technique, -and it is precisely because he founds his work upon this impregnable -basis that he is able without apprehension to challenge the judgment -of future centuries, and that his name will descend through the ages -crowned with an unfading glory. - - - - -HIS YOUTH - - -Francisco Jose Goya was born at Fuendetodos, in the province of -Aragon, on the 13th of March, 1746. His father, Jose Goya, and his -mother, Gracia Lucientes, were humble peasants and lived upon the -product of the sluggish fields that surrounded their modest home. -What the childhood of Jose was, we do not know, for his biographers -are silent upon this point. They content themselves with saying that -he aided his parents in the daily round of tasks upon the farm. As to -his education, it was certainly that of all the young peasant boys of -the Spanish farming districts. The child must have acquired the first -rudiments from the village priest, or perhaps from the monks of the -nearest convent. Reading, writing, and a little arithmetic made up the -whole equipment that young Jose possessed at the age of fifteen. How -his taste for drawing was first born, what occurrence or what object -awakened his artistic instinct, we do not know. Perhaps, like so many -others, he became suddenly conscious of his vocation at the sight of -some of those cruel and violent pictures representing scenes of the -Passion, such as abound in Spanish churches, and it is not unlikely -that his youthful soul received a profound and lasting impression. - - [Illustration: PLATE III.--THE WOMAN WITH THE FAN - - (Museum of the Louvre) - - The Louvre is not rich in works by Goya; it possesses only four. - But the portrait of a woman, which is here reproduced, belongs - to the period of the painter's second manner, in which a most - precise realism went hand in hand with a vaporous lightness and - a pervading grayness of tone that recalls the most delicate - creations of Prudhon. But the execution is vigorous, and in the - expression of the face and in the employment of the colours - there are a sureness and an intensity that are remarkable.] - -However this may be, at the age of fifteen Goya could handle his -pencil with sufficient assurance to astonish the worthy monk of -Saragossa, who was a judge of such matters. The latter conducted his -young protege to the city, and a few days later entered him as a pupil -in the studio of Don Jose Lujan Martinez. - -This Lujan was a Saragossan by birth, but he had studied painting in -Naples under the guidance of Mastreolo. Possessing considerable -talent, he enjoyed a great reputation in his native city. Upon his -return from Italy, he had founded a free school of design, a sort of -academy which was maintained wholly by his own contributions, both of -money and of time. - -Among the artists who were trained in this studio, there were some who -left names highly esteemed in Spain: Beraton, Vallespin, Antonio -Martinez the goldsmith, and Francisco Bayeu de Subias. With the last -named of this group Goya formed a particular attachment, -notwithstanding that Bayeu was twelve years the elder. - -Goya remained in Lujan's studio for between four and five years. His -fiery and impulsive temperament had already begun to declare itself, -and his master did not always succeed in moderating his exuberance. He -manifested an extraordinary diligence in his work, he was enamoured of -his art, and showed exceptional aptitude for it. From the first months -he became the most interesting feature in the studio; his imagination, -his enthusiasm, his assurance often surprised his master and stupefied -his comrades, who were accustomed to a calmer and less violent manner -of painting. At this epoch his character was already beginning to -form; one could foresee in him the man that he was destined to be -throughout his life. He was no less ardent in his pleasures than in -his work. He was the true type of the hot-headed Aragonais, and at the -age of nineteen revealed himself, headstrong, turbulent, a born -fighter. He threw himself, heart and soul, into the battles that -occurred so frequently at that time throughout Aragon between the -young men of the different parishes. Uniting in rival gangs, fiercely -jealous of one another, they were always ready on holiday evenings to -settle some question of superiority, and any excuse for an encounter -was welcomed by them. More than once, for the greater honour of San -Luis or of Nuestra Senora del Pilar, the club and knife scattered -blood over the streets and suburbs of Saragossa. - -Goya took part in all these battles, flung himself into them, body and -soul, tumultuously aiding and abetting this hazardous and adventurous -mode of life, which had the flavour of romantic fiction. In the course -of one of these collisions, three young men belonging to the rival -faction were left stiff and stark on the battle-ground. Goya, who was -one of those most directly implicated in the affair, was warned that -the Inquisition intended to arrest him. Although it no longer -possessed the terrible power of earlier times, the Inquisition was -even then by no means light-handed, and there was still serious danger -in bringing oneself under its notice. Goya was well aware of this, and -he did not wait for the arrival of the _alguazils_. That same night he -left the city and wended his way to Madrid, which, as it happened, it -had long been his dream to visit. - -In Madrid he once more ran across his friend Bayeu, who had been -living there for the past two years. Bayeu was drawing a pension from -the academy of San Fernando, and he also had the good luck of being -favoured by Mengs, the all powerful Superintendent of Fine-Arts, who -had asked him to collaborate in his great task of decorating the royal -palace. - -Bayeu welcomed his young comrade with open arms and invited him to -have a share in his present work. But we must infer that Mengs's -technique and method of teaching were already displeasing to Goya, for -he courteously declined the offer. In any case, he had not come to -Madrid in search of employment, but for the purpose of continuing his -education. All day long he visited the artistic marvels of the -capital, made the rounds of churches and convents, studied the old -masters, executed copies, and even penetrated into the royal dwellings -in order to admire the works of art which they contained, observing -extensively, reflecting, comparing, and, in a word, equipping his -profound intelligence with precious material for the future. But in -Madrid, just as in Saragossa, work was not allowed to interfere with -his pleasures. He was always to be found in quest of adventure; he -roamed the streets, sword under cape and guitar in hand, serenading -the sparkling black eyes that looked down laughingly at him from the -ambush of their window-blinds, and stirring husbands to a jealous -fury; or again, breaking the peace with a crowd of boisterous -companions; or still again, scaling the balcony of his latest -conquest, "and thus playing the prelude to that reputation of an -audacious, swash-buckling Don Juan, which later was destined to earn -him, even among the lower classes, an incredible notoriety." - -At this period Goya was a young man of haughty presence, somewhat -below the average stature, but exceedingly well proportioned. Although -his features lacked regularity, his face was attractive. It had a -pleasant air of joviality and frankness; there was a sparkle to his -eye and a lurking spirit of mischief around his lips. He had, -furthermore, an affable manner, an unabashed assurance, a mad bravado, -and the impudence of a lackey. Thanks to the friends whom he had -gained, he was favourably received by a goodly number of distinguished -families, where the charm of his personality played havoc with the -hearts of the women. - -This agreeable pastime could not fail to entail its own dangers, as -Goya was not long in learning by experience. On a certain fine -evening, when he had doubtless been lurking beneath some balcony, he -was picked up in an obscure side street, where he lay stretched at -full length, with a gaping poignard thrust in his back. It was -necessary to keep him hidden for a time, in order to protect him from -the unwelcome curiosity of the police; and later, when the affair had -become noised abroad, he was forced to quit Madrid, just as he had -quitted Saragossa, clandestinely, without even waiting for his wound -to be completely healed. - -In order to give his escapade a chance to be forgotten, Goya, who for -some time past had desired to visit Italy, set sail, with Rome for his -destination. - -From the moment of his arrival he came fully under the spell of the -marvels accumulated in the Eternal City. He passed entire days in the -presence of the masterpieces of the great artists. He admired them -with all his heart, yet without surrendering his right to independent -criticism. He recognized instinctively that there was nothing in all -these illustrious compositions which corresponded to his own personal -temperament, and that his fiery soul could ill adapt itself to the -calculated and almost geometric composition of the great frescoes in -the Vatican. But he possessed too deep a reverence for art to disdain -the admirable science of those great forerunners. There, beyond -question, was the ideal opportunity for study; and in the presence of -those celebrated canvases he absolutely forgot himself; he analyzed -their intimate beauties, compared the styles and colour schemes of the -different schools, scrutinized their methods, and forced himself to -penetrate and understand them. He did not attempt to copy a single one -of them; he felt that he would gain nothing by doing so, but that on -the contrary he might lose. This singular method of abstract study, -which may be called the method of intuition, explains perhaps how so -frank an individuality as that of Goya, far from being enfeebled by -contact with the past, became on the contrary stronger and more -genuinely alive. As a matter of fact, his talent owes nothing, or -practically nothing, to the art of Italy. - - [Illustration: PLATE IV.--PORTRAIT OF GOYA - - (Museum of the Prado, Madrid) - - In this portrait the artist is already old, but his physiognomy - has preserved that vivacity of movement, that expression of - penetration and irony, which made him such a brilliant figure at - the Court of Spain. This work, like every other which bears his - signature, is distinguished by the vigour of its execution and - beauty of colouring.] - -During his sojourn in Rome, Goya came in contact with David. Curious -phenomenon; these two natures who were so different in character and -temperament, and whose artistic tastes were almost antagonistic, felt -themselves invincibly attracted towards each other. It is true that -they both shared to an equal degree the philosophic ideas of the -period, and that they had the same ideal; namely, the liberation of -the people. They were destined later, each in his own country, to be -caught in the full whirlwind of the Revolution; and these mutual ties, -divined rather than expressed, created between David and Goya an -undying friendship. Because they liked each other, they appreciated -each other's work, in spite of the divergence between their talents; -and Goya, even in extreme old age, always spoke with emotion of the -"great David." - -In Rome, as in Madrid, Goya was not long in distinguishing himself by -perilous escapades. Senor Carderera relates that at one time "He -carved his name with his knife on the lantern of Michelangelo's -cupola, on a corner of a certain stone which not one of the artists, -German, English, or French, who had preceded him in the mad ascent, -had succeeded in reaching; and on another day he made the circuit of -the tomb of Cecilia Metella, barely supporting himself upon the narrow -projection of the cornice." - -But these were merely childish pranks; before long he had involved -himself in a far more dangerous adventure, especially in the city of -the Popes. He had become infatuated with a young girl in the higher -circles of Roman society, and formed the project of eloping with her. -Being warned in time, the parents placed their daughter beyond his -reach, within the austere shelter of a convent. This setback, however, -was not sufficient to discourage the gallant artist, it only spurred -him on to bolder ventures. He resolved to snatch his fair lady from -the very hands of her jailors, and one night he attempted to invade -the convent itself. But he was captured and handed over to justice. -In order to extricate himself from this awkward dilemma, far more -awkward at Rome than it would have been anywhere else, he was forced -to appeal to the Spanish ambassador, who intervened and demanded his -surrender by the Holy See. Goya was restored to liberty, but on -condition that he should take immediate leave of Rome. - -He now returned to Saragossa, for the sake of his aged parents, with -whom he spent the closing months of the year 1774, after which he once -more set forth for Madrid. There he again fell in with his faithful -friend, Bayeu, discovered himself to be in love with the latter's -sister, Josefa Bayeu, and married her a few months later. - -His brother-in-law again offered to introduce him to Mengs, and this -time, weary no doubt of adventures, he accepted the offer. The -Superintendent of Fine-Arts gave him a most cordial reception. We have -already had occasion to refer to the almost despotic authority which -Mengs at this period exerted over Spanish art and the singular -direction in which he had guided it. In the decorative works which he -was conducting in the palaces at Madrid and Aranjuez, there was, in -the words of M. Charles Yriarte, "nothing but an agglomeration of -struggles of Titans, apotheoses, triumphs of Hercules, and -glorifications of Ceres; but Goya soon came to scale Olympus, and turn -Venus into a manola, and substitute his frightful _Saturn devouring -his Children_, in his _Quinta_ [Goya's country house], for the figure -of Father Time, with his traditional stooping shoulders, partaking of -his progeny with prudence and circumspection." - -Up to this moment Goya had been far more intent upon observing and -learning than upon painting; he had as yet produced nothing, and no -one even suspected the powerful faculties that were dormant in him. -More as a favour to Bayeu than from any personal confidence, Mengs -entrusted him with the composition of some cartoons for the royal -manufactory of Santa Barbara. Goya set to work, and from the start -broke squarely away from the superannuated tradition of the -Superintendent. Throwing aside the entire paraphernalia of mythology, -he confined his cartoons wholly to subjects borrowed from national -life. In this work he gave free rein to the full spontaneity of his -talent and to his riotous imagination, and in the course of it he -revealed the full wealth of his imagination and his marvellous -instinct for decorative art. The result was a revelation: a genuine -ovation greeted these modern compositions, so full of life and -movement and colour. Mengs himself, who was not lacking either in -intelligence or in taste, was frankly delighted and warmly -congratulated the young artist. At Court and in the city nothing was -talked of but Goya and his cartoons; from this moment he entered upon -his true role as national painter. - - [Illustration: PLATE V.--THE DUCHESS OF ALBA - - (Collection of the Duke of Alba, Madrid) - - This superb portrait, the privilege of reproducing which we owe - to his Excellence, the Duke of Alba, was painted by Goya with - all the confidence of genius, guided by gratitude and - friendship. The ties of mutual esteem which united the artist - and the duchess are well known, and this portrait in a certain - sense constitutes an acknowledgment of it.] - -This first attempt had the result of enlightening Goya as to his own -powers. Not that he had previously mistrusted them, but he had feared -that he was not yet sufficiently equipped to venture upon a public -appearance. But on the strength of the success of his cartoons he took -stock of himself as follows: "He was thirty years of age and he -realized now that he had only to take his brush in hand in order to -become a great painter." - -Henceforth, throughout a period of more than fifty years, he was -destined to produce unweariedly, trying his hand at the most diverse -types, alternating between painting and engraving; and in his -life-work, which, taken as a whole, is one of the vastest and most -varied that ever came from any artist, he has given us the measure of -his prodigious fecundity. - -He made his debut in genre painting, and he drew his inspiration -straight from the life of the people. Spain, for that matter, -furnished an exceptional nutriment for his order of talent; land that -it was of vivid light, ardent colour, picturesque manners and curious -costumes, it was well designed to fire that vigorous and impulsive -nature to the highest pitch of enthusiasm. And hence, while Madrid -looked on and marvelled, there came in swift succession from his brush -a whole series of pictures saturated with local colour: bull fights, -attacks of bandits, clandestine meetings, processions, masquerades, -all the life of the Spanish city and the Spanish highway, reproduced -in piquant, accurate, brightly coloured scenes, of charming naivete -and exquisite naturalness, replete with vivacity and riotous fancy. - -On closer inspection it would be easy to find a certain amount of -incorrectness in the drawing. Some of his bulls, especially, are -endowed with anatomical proportions that at best only approximate the -truth. But they have such spirit, such vigour, such nimbleness, such -furious agility, that we feel ourselves snatched up and borne along by -this living whirlwind, this intensity of movement, almost as though we -were bodily present in the arena where the blood-stained drama is in -the course of enactment. As to the colouring, it is very light and -very luminous and silvery. - -Almost at the same period Goya published a collection of etchings in -which he had reproduced the most celebrated masterpieces of Velazquez. -It was a daring venture, but it had no terrors for the young artist. -Goya did no injustice to Velazquez; he succeeded most felicitously in -reproducing in these etchings not only the design, but the colour -values and characteristic spirit of his model. This magnificent -series, executed during the year 1778, comprises sixteen pieces, which -to-day are of inestimable value. - -That same year the Franciscans went to great expense to decorate their -church; they appealed to the most renowned artists which Madrid at -that period possessed. Goya was entrusted with the decoration of a -chapel which required two paintings. The subjects specified were a -_Christ on the Cross_ and a _St. Francis Preaching_. The _Christ on -the Cross_ is distinguished by a very fine religious spirit, enhanced -by its admirable drawing and by a dignity quite its own. The fine and -delicate modelling suggests comparison with the most perfect works of -Italy; and the whole painting is overspread with an infinitely light -surface coat of colour, very luminous and very pale. - -This canvas is the best of all Goya's religious works. On the -contrary, his _St. Francis Preaching_ in no way deserved the vogue -which it enjoyed at the time, both at Court and in the city circles. -Its heavy composition, pretentious and ill balanced, did no credit to -any of Goya's qualities, save that of colourist, in which respect he -was always interesting. - -Goya was now the idol of the whole population of Madrid, who revelled -in his fantasies and regarded him as their national painter. Already -celebrated through his scenes of the life of the people, he had now -acquired a new prestige through the fame of his religious paintings; -and there was good reason for astonishment that he had not yet been -rewarded by any official honour. His rival painters had scant love for -him, or, to put it more frankly, they hated the powerful originality -of his talent so far removed from the slow product of their -uninspired toil. In order to belittle him, they censured the -incorrectness of his drawing and the violent character of his -subjects. But public opinion triumphed over this dead weight of -malevolence. However reluctantly, the Academy of Saint-Marc welcomed -him among its members on the seventh of May, 1780, hailing him as -"academician by merit." - -A few months later the Chapter of Nuestra Senora del Pilar at -Saragossa decided to have its sanctuary decorated and instituted a -competition among the leading artists of Spain, under the direction of -Goya's brother-in-law, Francisco Bayeu. Goya decided to compete, and -one of the vaults, with its adjacent panels, was assigned to him. The -sketches which he submitted were only half satisfactory, and the -Chapter requested him to modify them. Goya took the criticisms in ill -part, imputing them, whether rightly or wrongly, to his -brother-in-law's jealousy, and refused in any way to modify his -designs. A bitter quarrel might have resulted, if mutual friends had -not intervened to reconcile the two artists. Finally, Goya agreed to -make certain concessions; the vault was entrusted to him, and he -forthwith commenced the execution of his frescoes. - -The subject chosen represented _The Virgin and the Martyred Saints in -their Glory_. This immense work required no less than three years of -the artist's time, and he expended upon it all his science and all his -exceptional qualities as a colourist. It is an attractive work, -cleverly composed, possessing a fine decorative effect, brilliant and -warm, and in no way inferior to the most resplendent frescoes of -Tiepolo. Only one thing was lacking, the religious spirit, of which -Goya was wholly destitute. In works of this order, dexterity is not -sufficient; the breath of the inner zeal is necessary; cleverness, -dexterity, the gift of colour, cannot make up for the absence of -faith. As often as Goya attempted religious painting, the result -showed the same general order of deficiencies, because he always -treated his subjects solely as a painter, and not, after the manner of -Raphael and Correggio, as a devout believer. - -Furthermore, the ideal was not in his line; the dominant note of his -talent, before all else, was naturalism. Genre painter by temperament, -he sought by preference for the picturesque aspect of his subjects. -Owing to these conditions, his frescoes at Saragossa and in general -all his large religious compositions are in reality nothing else than -vast genre paintings. - - - - -THE GLORIOUS PERIOD - - -At the same time that he was painting his frescoes and his scenes of -popular life, Goya also tried his skill at portraiture. In this branch -of his art his success was immediate and complete. From his very first -attempts he attained the highest possible reputation. From morning -till night he saw his studio besieged by all the most distinguished -figures in the society of the Court and the city. It soon became -the fashion, the rage, to have oneself painted by Goya. They stood in -line at his door; they brought all sorts of influence to bear to -obtain the favour of a sitting. All the celebrities of the period, -poets, scientists, political luminaries, equally with ladies of rank -and reigning beauties, succumbed to this unheard-of vogue, which -persisted, we may add, to the very end of the master's long career. -Furthermore, his portraits form the most extensive part of his -life-work, and at the same time the part which is the most -indisputable and the most perfect. - - [Illustration: PLATE VI.--KING CHARLES IV AND HIS FAMILY - - (Museum of the Prado, Madrid) - - Goya was the favourite painter of the king Charles IV, who - conferred upon him the title of First Painter. In this fine - painting, which raised the reputation of the artist to its - zenith, the members of the royal family are admirably and - sincerely rendered, without a trace of flattery. All the - degeneracy of the dynasty is to be read in these countenances, - in terms of convincing eloquence.] - -There are nearly two hundred portraits that are known to have been -painted by Goya. They are not all of equal value, and in some of them -we feel a certain degree of carelessness of execution, which is to be -explained by the rapid workmanship demanded of him by the abundance of -his orders. But however hasty the work may be, there are always to be -found in it the essential qualities of this artist: a surety of -expression, a free yet firm outline, and an incredible understanding -of his model's personality. Goya did not trouble himself to embellish -his patrons, for he was no flatterer; if the man or woman who posed -before him was homely, Goya's pencil would do nothing towards -correcting the injustices of nature. That was not his business; but he -was able, with an unsurpassed clearness of vision, to catch upon his -canvas that flashing glance, that fugitive gleam of the inner soul -which, at some precise moment, is sure to transfigure the most -unlovely features. What distinguished him above all else was his -originality, that purely personal stamp, thanks to which it is -impossible not to recognize a Goya from the first instant. There is in -him something that he shares in common with all the great -portraitists, and yet he resembles no one of them. He is Goya. - -In the portraits painted in costume, now to be seen in the museum at -Madrid, he somewhat approached the manner of Velazquez; under this -class might be mentioned the portraits of the Infante Don Luis and his -family, that of the Count of Florida-Blanca, of the Duchess of Alba, -and of General Urrutia, which is a magnificent masterpiece. All these -portraits possess distinction, bold relief, and a lofty carriage which -recalls the free and noble manner of the painter of Philip IV. - -At other times his brush took on a milder manner, shading off into -soft and vaporous tints that set us thinking of Reynolds and of -Prudhon, especially in those intimate portraits into which he has put -the greatest spontaneity. In this class belong the admirable _Young -Man in Gray_, the painter's grandson--this portrait is certainly one -of the most beautiful of all Goya's works--and the famous portraits of -Moratin, Boyeu, Josefa Bayeu, the architect Villanueva, and the two -_Majas_, both the nude and the clothed, which are said to be portraits -of the Duchess of Alba, taken in the same pose but under two different -aspects. We may also include among the works of his second manner the -two portraits of woman which hang in the Louvre; _The Woman with the -Fan_, which is reproduced in the present volume, and the _Portrait of -a Young Woman_, which, together with the _Ferdinand Guillemardet_, are -the only paintings by Goya which France's chief national museum -possesses. - -All these portraits are admirably conceived, in a simple, natural -form, without superfluous details, and they are freely painted, in a -rich and solid colouring, and stand out from the canvas, substantial, -harmonious, pulsing with life, against those vaporous and imponderable -backgrounds of which, since Velazquez, Goya alone has found the -secret. - -At this epoch Goya was not only a celebrated painter, he was also a -man of fashion, mingling with persons of the highest rank. The Infante -Don Luis kept him throughout entire seasons at his palace of Arenas de -San Pedro, in the province of Avila, and it was there that Goya -executed an entire series of magnificent portraits and genre -paintings which belong to-day to the Counts of Chinchon. "Then there -are the Benaventes, Dukes of Ossuna and of Candia, who for a period of -more than ten years ordered work after work from him, at one time -religious compositions, destined for the cathedral at Valencia, such -as _St. Francis of Barja bidding Farewell to his Family_ and _St. -Francis exhorting an Impenitent Dying Man_, celebrated pictures which -have been reproduced by the engraver Peleguer,--at other times -portraits of the family, and lastly, a series of twenty-seven genre -pictures for their _Alameda_ in the environs of Madrid." - -Idyllic and anecdotic scenes play by far the larger part in these -compositions. There is an _Al Fresco Breakfast_, in the midst of a -delightful landscape, a _Dance beside the Water_, a _Hunter showing -his Family the Game that he has Killed_, a _Harvesting the Hay_, a -_Resting from Labour_, a _Greased Pole_, a _Comical Accident at a -Picnic_, a _Winter Landscape_, _The Seasons_, _Workmen constructing a -Building_, _Highwaymen attacking a Stage-coach_, _Gypsies playing at -See-saw_, _Bulls in the Arroyo_, and lastly some of those inexplicable -"caprices," bizarre fantasies in which Goya mingles sorcerers and -horned demons with members of the Inquisition. - -Goya frequently introduced Inquisitors into his scenes; he had felt -their claws early in life and had borne them a grudge ever since. - -The most important and most celebrated canvas in this collection is -_The Romeria of San Isidro_. This is the great festival in honour of -the patron saint of Madrid. "The whole populace has come to make merry -on the banks of the Manzanares, and the vast meadow which stretches -from the hill-top where the saint's hermitage stands, down to the very -water's edge, is covered by an immense throng, motley and variegated, -pressing and crowding around the tents of the acrobats, the vendors' -booths, the open-air kitchens, and wine-shops. All this picturesque -world is divided into a thousand varied groups; here a circle has been -formed around a man strumming on a guitar; over yonder a merry set is -forming; there is quarrelling, dancing, drinking; there are meetings -and partings, and in the midst of all this swarming multitude we watch -the coming and going of pages, troopers, porters, members of the -body-guard in their red coats, amidst an indescribable pell-mell of -carriages with gaily decked steeds, and of _calesinos_ with bodies -painted in atrocious colours, which are overturned by the restive -mules as they break away. In the foreground, dominating the whole -scene, pretty women shading themselves under pink silk parasols, and -well garbed personages grouped in easy and unaffected attitudes, form -a most ingenious and charming framework for the scenes which are being -enacted at their feet. In the background of the picture, above and -beyond the Manzanares, we see the palace with its terraced gardens and -the city with its towers and domes. Here are San Francisco el Grande -and the Cuesta de la Vega, and yonder is the famous Barrio de -Lavapies." - -Treated in a warm and luminous scale of colour, lustrous with subtle -and vivid tones, this sparkling page remains unsurpassed, because of -the infinite care which Goya expended in order to give variety and an -astonishing degree of precision to even the minutest of its multifold -details. - -The pictures of country life, such as the _Al Fresco Breakfast_, _The -See-saw_, _The Dance_, _The Picnic_, show us Goya under still another -aspect. The first time that one sees these pictures in the _Alameda_ -one would say that they were the product of the brush of some one of -the French painters of the eighteenth century; one is tempted to -attribute them to Watteau or Fragonard; and it is true that Goya -chose, like them, to reproduce the fashions and frivolities of his -time; but even while he imitated the vanities and affectations of -these masters, he remained nevertheless a Spaniard, and his types and -his costumes are represented with the most scrupulous truth. - - [Illustration: PLATE VII.--LA TIRANA - - (Museum of the Prado, Madrid) - - La Tirana was a famous actress in Madrid during the reign of - Charles IV. Goya painted her at the time when he was in the full - height of his renown, and celebrities of every kind at the - capital quarrelled with one another for the privilege of being - painted by him.] - -On the 25th of April, 1789, a few months after Charles IV. ascended -the throne, a royal order raised Goya to the dignity of _Pintor da -Camara_, which corresponded to _Peintre Ordinaire du Roi_, a title -formerly bestowed upon French artists. This distinction gave him, as -in the case of Gentlemen of the Bed-chamber, free entry to the palace. -Under the new king the Court had taken on a new aspect. During the -reign of the devout Charles III. it was constrained to all the outward -show of austere piety which recalled the morose years under the -monarchs of the House of Austria. Under the new king everything was -changed, laughter was revived, festivals recommenced, and with them, -intrigues of gallantry and licentiousness. Scandals multiplied, and -the example came from high up; Queen Maria-Luisa herself set the pace -for a society that had been parched with thirst for pleasure, and she -flaunted before the whole nation her absolute contempt of decency and -her unbridled appetite for dissipation. The epoch of the high favour -of the Prince de la Paix began. Goya, whose marriage had but poorly -reformed him, welcomed this change of regime with enthusiasm. He was -already something more than celebrated in Madrid because of his -prowess with the fair sex, famous for his duels, an adept at all the -nicer usages through his constant association with the upper circles; -consequently he felt himself fully at ease in this atmosphere of -shamelessness and incontinence. He had some famous intrigues and -illustrious _liaisons_, which he did not even take the trouble to -conceal. Possessed of a caustic and subtle wit, and untroubled by -scruples, he was much sought after for the brilliance and the daring -of his conversation. Those who did not like him learned to fear him. -Before long he had scored an even bigger success as a man than as an -artist. Through contact with men of rank, he had acquired not only -assurance but a certain air of haughtiness verging upon insolence. -Being drawn into the circles of the Duchess of Alba and Duchess of -Ossuna, who at that time, like rival queens, were disputing the -sceptre of fashion and pleasure, he witnessed and shared in many a -boudoir intrigue, taking sides in these women's quarrels, at one time -supporting the one side, then again going over to the other, and at -last coming out openly in favour of the Duchess of Alba, who at that -time was waging a silent warfare with Maria-Luisa. Having become the -_cavaliere servente_ of the Duchess, he no longer contented himself -with plotting intrigues or launching epigrams; but he translated his -opinions into the form of satiric caricatures, in which he mercilessly -ridiculed the adversaries of his fair lady. The arrows that he -launched flew so high that the outraged queen exiled the Duchess from -her court and gave the _Pintor da Camara_ a leave of absence. Goya and -the Duchess set forth side by side on the road to Andalusia, sharing -the period of their disfavour on a distant estate belonging to the -Duchess of Alba. - -This exile, however, was of short duration and only served to -increase the artist's reputation for gallantry. The king, who loved -him in spite of his follies, recalled him and entrusted him with the -frescoes for the chapel of San Antonio de la Florida. The task was a -considerable one; it included the painting of a vast cupola and -several smaller vaults, tympanums, and arches. Behold then our -libertine philosopher transformed once more into a religious painter. -Within three months he had completed the entire scheme of the -decoration. The subject chosen was as follows: _St. Anthony of Padua -resuscitating a Dead Man in Order to Make him Reveal the Name of his -Murderer_. Goya placed his saint upon an eminence, from which he calls -upon the dead man to come forth; the latter has already arisen from -his tomb, has joined his hands, and is about to speak. On the right -and left the compact throng press forward, anxious to see the miracle -accomplished. All around the cupola the artist has pictured a sort of -gallery on which the spectators lean, and among them we see a child -with its legs dangling in space. This composition is remarkable in its -sense of movement and varied interest. But what distinguishes it -especially from other works of its type is that Goya, through an -obstinate adherence to realism which cannot fail to cause some little -surprise, thought that he was bound to adopt for all the personages in -his picture both the costumes and the types of his own time. "His -women are true _manolas_, draping themselves in their mantillas, and -his men are men of the people, _arrieros_ proudly wrapped in their -mantles of motley colour. In the corbels of the arches Goya painted -cherubim, haloes, and angels, and he endowed these celestial beings -with feminine charms and carnal graces that were far too reminiscent -of the seductions of the earth. It is related that Goya used the -ladies of the Court as models for these feminine countenances, and -that on the day when the frescoes were unveiled, Charles IV. expressed -his displeasure to the artist in unmeasured terms." - -From 1796 to 1797 Goya published that curious series of compositions -done in etching and in water-colour which he entitled _Caprices_. And -they were quite literally caprices through their infinite diversity of -subject and the oftentimes extravagant fantasy of their execution. -Scenes of local manners ironically interpreted, mocking allusions to -popular superstitions, trenchant criticisms of public men and -political institutions, attacks of unheard-of violence upon the -established religion and its dogmas, pitiless satires upon the -Inquisition and more especially upon the monastic orders, and finally -prophetic dreams and visions of the future make up the contents of -this singularly complex work which concealed a most audacious motive -underneath its apparent fantasy. And all this treated with a sparkling -brilliance, a diabolical cleverness that is carried sometimes to the -point of brutality, with a realism that often causes a sort of -revulsion. As to the execution, it is remarkable: the lines are -clear-cut and vigorous, the design is solid, almost schematic in -places for the purpose of enhancing the energy; with incomparable art, -Goya makes use of contrasts for the purpose of obtaining astonishing -relief, perfect modelling, and effects of light that produce the -illusion of painting. In these compositions he shows the variety and -flexibility of his talent, which undertook with equal felicity the -most widely diverse branches of his art. - -In Spain these _Caprices_ enjoyed a very considerable success, but -they caused considerable discomfort to their author. At one time their -publication was suspended. The Inquisition, which had been especially -maltreated in these designs, became once more threatening, and showed -an implacable ardour in its quest for vengeance. Nevertheless, it -failed of its purpose, thanks to the kind offices of the Prince de la -Paix, who was himself hostile to the monks and took Goya under his -protection. In accordance with his advice, Goya offered his _Caprices_ -to the king, Charles IV., who, acting in accord with his minister, -accepted them for his collection of copper-plates. Having thus found -shelter behind the august presence, Goya became invulnerable; and the -Inquisition had to let its prey escape. - -On the 31st of October, 1799, Goya became First Painter to the king. -He was at that time fifty-three years of age. Neither years nor -indulgences had undermined his robust organism or diminished his -talent. On the contrary, it was at this epoch that his manner -underwent a transformation which bears witness once again to the -resources and the vitality of this exceptional nature. A study of the -works of Rembrandt had awakened in him a violent passion for the -effects of light and of chiaroscuro, and from this time forward we -find him practising this difficult art and manifesting in it a -remarkable mastery and originality. In this style of painting, which -was new to him, he achieved masterpieces from the first attempt, such -for instance as the _Betrayal by Judas_, in the cathedral at Toledo, -which might have been signed by Correggio or Rembrandt. The patch -of light, which throws into strong relief the suffering face of Christ -and the hideous countenance of Judas, is distributed in a masterly -fashion and in no wise detracts from the luminous transparency of the -shadows. - - [Illustration: PLATE VIII.--JOSEFA BAYEU - - (Museum of the Prado, Madrid) - - Josefa Bayeu was the sister of the painter Francisco Bayeu, like - Goya, a native of Aragon, and his intimate friend. It was in the - home of his comrade that Goya fell in love with Josefa and - married her. He had one son, Xavier Goya. This portrait is - considered as one of the best executed by the artist.] - -In this work, as in all others by this artist, both the personal and -the national note are found to be strongly imprinted; all the -participants in this scene are authentic Spaniards, whose classic -types may still be recognized to-day in every city throughout the -peninsula. - -Mention also should be made, among the works in which Goya ventured -upon chiaroscuro, of the celebrated picture in the Escuelas Pias in -Madrid, representing _The Communion of St. Joseph Calasanz_, and of -the spacious and original canvases with which he decorated the walls -of his own home. - -We now arrive at that turbulent period, extending from 1800 to 1814, -which marked an era of national calamities for Spain. The facts are -familiar: as a result of court intrigues, the luckless and unhappy -Charles IV. found himself in 1808 forced to abdicate in favour of his -son; then came the invasion of Spain by the imperial armies, the -odious treachery of Bayonne which made Ferdinand II. a prisoner and a -dethroned king, while Napoleon, following his mad dream of universal -conquest, placed his own brother, Joseph, on the throne of Charles V.; -and finally there came the awakening of invaded Spain and its splendid -national defence, resulting in the expulsion of the enemy and the fall -of the Empire. - -All these years of struggle and patriotic frenzy Goya passed in his -_quinta_, where he had shut himself up in complete isolation, taking -no part in the events which were shaking Spain to its foundations. -This attitude of his gave rise to a great amount of comment. In the -eyes of many, Goya was an _afrancesado_, a partisan of the French -invasion; but there seem to be no grounds that would justify anyone in -offering him such an insult. It may be that, pledged as he was to -ideas of justice and liberty, he was not displeased to see the -downfall of a corrupt regime, under which Spain had been slowly dying. -But that he had looked on light-heartedly at the misfortunes of his -native land, and that he had not suffered to the very depths of his -Spanish soul, would indicate a depravity which no one has a right to -impute to him. - -And if proof of this were needed, we could find it in his masterly -series of _The Misfortunes of War_, eloquent and melancholy -commentaries upon that troubled period, giving a gruesome panorama of -military executions, conflagrations, pillage, and famine; in a word, -the habitual and tragic accompaniment of a foreign invasion. Could an -artist who was indifferent have expressed himself in such pathetic -accents? Could a renegade have been stirred to such a point by all -these horrors? Furthermore, Goya made no overtures to the invaders. -While other Spaniards, willingly or unwillingly, figured at the court -of Murat and of Joseph, Goya remained in close retirement in his own -house, notwithstanding his natural fondness for adventures and -festivities. "But above and beyond his incontestable patriotism, a -more generous sentiment, loftier and more profoundly humane, emanates -from these sinister pages. What Goya hated beyond all else was war: it -spelled iniquity, despotism, and above all, tyranny. Nothing more -eloquent than this avenging protest has ever been formulated against -the spirit of conquest and the barbarous struggle of nation against -nation." In about the year 1814, upon the return of Ferdinand II., -Goya added to his _Misfortunes of War_ seventeen new plates, the -strangest and most daring of them all. This is the last and most -strenuous battle that he ever waged on behalf of all he loved against -all that he hated. What phials of wrath he poured out against -intrigue, conservatism, and falsehood, which stifle liberty and -repress human thought! What outbursts against the rogues who strive -desperately to destroy liberty and justice! Here is a picture in which -hypocrisy has conquered and has confiscated liberty: _Contra el Bien -General!_ Further on is another, in which truth is in its death agony: -_Murio la Verdad!_ But she will rise again: _Si Resusitara!_ for it is -impossible that she should disappear forever. Lastly, as a conclusion -to this work, Goya prophesied in an eloquent page the return of a -glorious era which should inaugurate the reign of liberty, love, -happiness, and peace. And it bore this legend: _This is the Truth!_ - -But the reign of Ferdinand VII. did not fulfil the generous hopes of -the great artist. With this king, the worst days of absolute monarchy -were revived in Spain; the triumphant reaction manifested itself by -persecutions, cruelties, and tyrannies of the most odious kind. -Whoever was even suspected of liberalism was marked for exile or for -prison. More than anyone else, Goya's personal prominence exposed him -to the attacks of the reactionists, but his very fame protected him. -Ferdinand VII., when he received him one day, informed the aged artist -that he "deserved exile, and more than exile; he deserved death!" but -he consented to forget the past and he reappointed the artist to the -office of First Painter. It would seem as though such protection -should have sufficed to protect Goya from the machinations and -hostilities of his adversaries. But it did nothing of the sort. The -reactionary party would not consent that a liberal should escape its -vengeance, even though protected by royal immunity; so it continued to -hound him by means of secret intrigues and calumnies. - -Goya, impatient and irascible by nature, could ill bear the malevolent -insinuations, allusions, and contemptuous terms; he found himself -stifling in such a poisoned atmosphere. Residence in Madrid had become -impossible for him; the greater number of his friends, less fortunate -than he, had already been forced into exile; and since the persecution -showed no signs of abating, he saw his circle of friends dwindling day -by day. At last he made up his mind to leave a native land that had -grown so inhospitable and hostile. He asked the king for a leave of -absence, and upon obtaining it crossed over into France. - - - - -THE CLOSING YEARS - - -Goya went first of all to Paris, but he made a stay there of short -duration. Almost all his friends from Madrid, whom Ferdinand VII. had -driven from Spain, had taken refuge in Bordeaux, where they formed a -veritable colony. He proceeded to join it and decided to settle down -among them. - -He did not, however, remain inactive. This prodigious worker, who was -now nearly eighty years old, could not resign himself to rest; he once -again took up his brush with a hand which his great age could not yet -cause to tremble. Besides, he was not well off, possessing scarcely -anything besides his house in Spain and his pension as First Painter. - -Accordingly, he continued to paint genre pictures and numerous -portraits. Those of Don Juan Maguire, M. Pio de Molina, and M. J. -Galos date from this epoch. He also painted another of his friends, -also exiled, whom he met again at Bordeaux--Moratin, the celebrated -Spanish poet, who, carried away by his passion for democracy, had sung -the French invasion in eloquent stanzas and now expiated his error in -exile. - -Besides the portraits, Goya painted some very beautiful miniatures on -ivory, and he renewed his experiments in lithography, which he had -already undertaken in Madrid some years previous. His four large -examples representing _Bull Fights_ are masterpieces of colour and of -movement. - -In 1827 Goya had to journey back to Madrid, in order to make a -personal appeal to the king for an extension of his leave of absence. -Since he could not persuade Goya to remain, the king freely granted -the favour requested; but he imposed one condition, and a very -flattering one to the artist: namely, that he would first allow his -portrait to be painted by Don Vicente Lopez, at that time _Pintor da -Camara_. This portrait is now to be seen at the museum in Madrid. - -That same year he returned to Bordeaux and once more resumed his -cherished habits and his brush and palette. Many of the works of this -later period remained in France, and the museum at Bordeaux possesses -a considerable number of them. - -Goya still continued to work, but his hands had begun to tremble and -he could no longer see without the aid of a lens. His strength was -failing and he felt that the end was drawing near. He sent for his -son, Xavier, who had continued to reside at Madrid; and a few days -later, on the 15th of April, 1828, he passed away in the arms of his -friends, at the age of eighty-two years and fifteen days. - -Goya was truly a great artist in the noblest sense of the term. He -possessed qualities which were at one and the same time substantial -and brilliant; he was versatile and original, a spirited genre -painter and a remarkable portraitist. "In the tomb of Goya," writes -Theophile Gautier, "the ancient art of Spain lies buried; gone forever -is the world of the _toreros_, the _majos_, the _manolas_, the -contrabandists, the _alguazils_, and the sorceresses, the entire local -colour of the Peninsula. He arrived in time to gather all this -together and to preserve it on his canvas. He fancied that he painted -only 'caprices;' yet what he really did was to paint the portrait of -bygone Spain, all the time convinced that he was giving his service to -the new ideas and new beliefs." - - - - - -End of the Project Gutenberg EBook of Goya, by Fr. 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