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The Egyptians Drowned in the Red Sea
Anne Claude Philippe de Tubières, Comte de Caylus, Nicolas Le Sueur, Giovanni Francesco Penni
Portrait de jeune femme début du XVIIIe siecle (possibly Madeleine de Lafayette)
Attributed to Nicolas de Largillière
Le Chasteau de St. Cloud veu du costé de la grande pièce d’eau faite par le Sr. Girard Architecte (The Château of St. Cloud viewed from the side with the great pool done by the Sieur Girard, architect), from Veues des Belles Maisons des Environs de Paris (Views of the Beautiful Houses near Paris)
Gabriel Pérelle, Nicolas Pérelle
Saint Paul with two other Saints
Paul Ponce Antoine Robert, Nicolas Le Sueur, after Andrea da Bagnacavallo
![Aux Armes, Citoyens! Formez vos Bataillons! [To Arms Citizens! Form your Battalions!]]( https://emuseum.cornell.edu/internal/media/dispatcher/69932/full?key=1a8c6f31f1cd83400dfc462b7e8af9def99a34523cd060f59c1b0dc76a738e15)
Aux Armes, Citoyens! Formez vos Bataillons! [To Arms Citizens! Form your Battalions!]
Nicolas Toussaint Charlet
Perspective pour Saint Cloud (Perspective at St. Cloud) and Perspective peinte à l’Hotel d’Aumont (Perspective painted at the Hôtel d’Aumont), from Veues des Belles Maisons des Environs de Paris (Views of the Beautiful Houses near Paris)
Gabriel Pérelle, Nicolas Pérelle
Veüe Generale de St. Cloud (General view of St. Cloud), from Veues des Belles Maisons des Environs de Paris (Views of the Beautiful Houses near Paris)
Gabriel Pérelle, Nicolas Pérelle
Self-portrait of Watteau with his friend Julienne in a wooded landscape
Nicolas Henri Tardieu, after Jean-Antoine Watteau
![Porrait [Young woman wearing red clothes and large hair ribbons]]( https://emuseum.cornell.edu/internal/media/dispatcher/81021/full?key=1a8c6f31f1cd83400dfc462b7e8af9def99a34523cd060f59c1b0dc76a738e15)
Portrait of Elizabeth Charlotte of Bavaria, Duchess of Orleans
Nicolas Bazin, after Jean-Baptiste Martin the Elder
Hannetons (May-bugs), Plate 16 from a naturalistic treatise on insects
Attributed to François Nicolas Martinet
King Pepin the Short, illustration from Hénault’s l’Histoire de France
Benoît Louis Prévost, after Charles-Nicolas Cochin II
Capricornes (Capricorn beetles), Plate 64 from a naturalistic treatise on insects
Attributed to François Nicolas Martinet
Capricornes (Capricorn beetles), Plate 90 from a naturalistic treatise on insects
Attributed to François Nicolas Martinet
Victory with Wreath, Roman Buildings in Background (from two Roman sarcophagi)
Attributed to Nicolas Poussin
Mantes (Praying Mantis), Plate 65 from a naturalistic treatise on insects
Attributed to François Nicolas Martinet
Madre infeliz! (Unhappy mother!), Plate 50 of “The Disasters of War”
Francisco José de Goya, Real Academia de Bellas Artes de San Fernando
Extraña devocion! (Strange devotion!), Plate 66 of “The Disasters of War”
Francisco José de Goya, Real Academia de Bellas Artes de San Fernando
Que locura! (What madness!), Plate 68 of “The Disasters of War”
Francisco José de Goya, Real Academia de Bellas Artes de San Fernando
Bien te se está (It serves you right), Plate 6 of “The Disasters of War”
Francisco José de Goya, Real Academia de Bellas Artes de San Fernando
Siempre Sucede (This always happens), Plate 8 of “The Disasters of War”
Francisco José de Goya, Real Academia de Bellas Artes de San Fernando
Aun podrán servir (They’ll still be useful), Plate 24 of “The Disasters of War”
Francisco José de Goya, Real Academia de Bellas Artes de San Fernando
Todo va revuelto (Everything is topsy-turvy), Plate 42 of “The Disasters of War”
Francisco José de Goya, Real Academia de Bellas Artes de San Fernando
No hay que dar voces (It is no use shouting), Plate 58 of “The Disasters of War”
Francisco José de Goya, Real Academia de Bellas Artes de San Fernando
Esto és lo peor (This is the absolute worst), Plate 74 of “The Disasters of War”
Francisco José de Goya, Real Academia de Bellas Artes de San Fernando
El buitre carnívoro (The carniverous vulture), Plate 76 of “The Disasters of War”
Francisco José de Goya, Real Academia de Bellas Artes de San Fernando
No quieran (They do not want to), Plate 9 of “The Disasters of War”
Francisco José de Goya, Real Academia de Bellas Artes de San Fernando
Tambies estos (So will these), Plate 25 of “The Disasters of War”
Francisco José de Goya, Real Academia de Bellas Artes de San Fernando
No se puede mirar (One cannot look at this), Plate 26 of “The Disasters of War”
Francisco José de Goya, Real Academia de Bellas Artes de San Fernando
Algun partido saca (There is something to be gained), Plate 40 of “The Disasters of War”
Francisco José de Goya, Real Academia de Bellas Artes de San Fernando
Al cementerio (To the cemetery), Plate 56 of “The Disasters of War”
Francisco José de Goya, Real Academia de Bellas Artes de San Fernando
Gatesca pantomima (Feline pantomime), Plate 73 of “The Disasters of War”
Francisco José de Goya, Real Academia de Bellas Artes de San Fernando
Qué hai que hacer mas? (What more can one do?), Plate 33 of “The Disasters of War”
Francisco José de Goya, Real Academia de Bellas Artes de San Fernando
Por una nabaja (On account of a knife), Plate 34 of “The Disasters of War”
Francisco José de Goya, Real Academia de Bellas Artes de San Fernando
Y son fieras (And they are like wild beasts), Plate 5 of “The Disasters of War”
Francisco José de Goya, Real Academia de Bellas Artes de San Fernando
Si resucitará? (Will she live again?), Plate 80 of “The Disasters of War”
Francisco José de Goya, Real Academia de Bellas Artes de San Fernando
Duro es el Paso! (It’s a hard step), Plate 14 of “The Disasters of War”
Francisco José de Goya, Real Academia de Bellas Artes de San Fernando
Será lo mismo (It will be the same), Plate 21 of “The Disasters of War”
Francisco José de Goya, Real Academia de Bellas Artes de San Fernando
No se puede saber por qué (Nobody knows why), Plate 35 of “The Disasters of War”
Francisco José de Goya, Real Academia de Bellas Artes de San Fernando
Farándula de charlantenes (Troupe of Charlatans), Plate 75 of “The Disasters of War”
Francisco José de Goya, Real Academia de Bellas Artes de San Fernando
Se aprovechan (They avail themselves), Plate #16 to The Disasters of War., 1863
Francisco José de Goya, Real Academia de Bellas Artes de San Fernando
Fuerte cosa es! (This is too much!), Plate 31 of “The Disasters of War”
Francisco José de Goya, Real Academia de Bellas Artes de San Fernando
Title Page: English translation of “The Disasters of War”
Francisco José de Goya, Real Academia de Bellas Artes de San Fernando
introduction (in spanish) to the original edition of “The Disasters of War”
Francisco José de Goya, Real Academia de Bellas Artes de San Fernando
Tristes Presentimientos de lo Que ha de Acontecer (Sad Presentments of what must come to pass), Plate 1 of “The Disasters of War”
Francisco José de Goya, Real Academia de Bellas Artes de San Fernando
Caridad de una muger (A woman’s charity), Plate 49 of “The Disasters of War”
Francisco José de Goya, Real Academia de Bellas Artes de San Fernando
Gracias á la almorta (Thanks to the millet), Plate 51 of “The Disasters of War”
Francisco José de Goya, Real Academia de Bellas Artes de San Fernando
Esta no lo es menos (This is no less curious), Plate 67 of “The Disasters of War”
Francisco José de Goya, Real Academia de Bellas Artes de San Fernando
Tampoco (Nor do these), Plate 10 of “The Disasters of War”
Francisco José de Goya, Real Academia de Bellas Artes de San Fernando
Para eso habeis nacido (This is what you were born for), Plate 12 of “The Disasters of War”
Francisco José de Goya, Real Academia de Bellas Artes de San Fernando
Populacho (Rabble), Plate 28 of “The Disasters of War”
Francisco José de Goya, Real Academia de Bellas Artes de San Fernando
Esto es peor (This is worse), Plate 37 of “The Disasters of War”
Francisco José de Goya, Real Academia de Bellas Artes de San Fernando
Grande Hazaña! Con Muertos! (Great deeds – against the dead!), Plate 39 of “The Disasters of War”
Francisco José de Goya, Real Academia de Bellas Artes de San Fernando
Espiró sin remedio (There was nothing to be done and he died), Plate 53 of “The Disasters of War”
Francisco José de Goya, Real Academia de Bellas Artes de San Fernando
Lo peor es pedir (The worst is to beg), Plate 55 of “The Disasters of War”
Francisco José de Goya, Real Academia de Bellas Artes de San Fernando
Contra el bien general (Against the common good), plate 71 from the series Los Desastres de la Guerra (The Disasters of War)
Francisco José de Goya, Real Academia de Bellas Artes de San Fernando
No se convienen (They do not agree), Plate 17 of “The Disasters of War”
Francisco José de Goya, Real Academia de Bellas Artes de San Fernando
Y no hai remedio (And it can’t be helped), Plate 15 of “The Disasters of War”
Francisco José de Goya, Real Academia de Bellas Artes de San Fernando
Por Qué? (Why?), Plate 32 of “The Disasters of War”
Francisco José de Goya, Real Academia de Bellas Artes de San Fernando
Las mugeres dan valor (The women give courage), Plate 4 of “The Disasters of War”
Francisco José de Goya, Real Academia de Bellas Artes de San Fernando
Curarlos, y á otra (Get them well, and on to the next), Plate 20 of “The Disasters of War”, 1863
Francisco José de Goya, Real Academia de Bellas Artes de San Fernando
Y esto tambien (and this too), Plate 45 of “The Disasters of War”
Francisco José de Goya, Real Academia de Bellas Artes de San Fernando