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The Family Concert (Coat of Arms – Christian VII – in plate, l/c)
Johann Georg Wille, after Godfried Schalcken
![Tricoteuse Hollandoise [Dutch knitter]]( https://emuseum.cornell.edu/internal/media/dispatcher/68820/full?key=1a8c6f31f1cd83400dfc462b7e8af9def99a34523cd060f59c1b0dc76a738e15)
Design for a Ceiling (Entwurff eines Plaffond), plate 16 from Decker’s Architectura Civilis
Johann Daniel Herz the younger, after Paul Decker the Elder
![Maitresse d'Ecole [Schoolmistress]]( https://emuseum.cornell.edu/internal/media/dispatcher/68323/full?key=1a8c6f31f1cd83400dfc462b7e8af9def99a34523cd060f59c1b0dc76a738e15)
Memento Mori: Die Loge der Verschwiegenheit (The Lodge of Silence, Masonic Temple)
Johann Rudolf Schellenberg
l’Ordre rétabli dans les Finances
Johann Georg Wille, after Jean-Baptiste Massé, after Charles Le Brun
Rétablissement de la Navigation 1663 (Reestablishment of Navigation 1663)
Simon Thomassin, Johann Martin Preisler, after Jean-Baptiste Massé, after Charles Le Brun
![Jeune Joueur d'Instrument [Young musician]]( https://emuseum.cornell.edu/internal/media/dispatcher/68325/full?key=1a8c6f31f1cd83400dfc462b7e8af9def99a34523cd060f59c1b0dc76a738e15)
Crossing the Rhine in the Presence of the Enemy, 1672), Plate 4 from the series “The Hall of Mirrors at Versailles”
Dupuis the Elder, Johann Martin Preisler, after Jean-Baptiste Massé, after Charles Le Brun
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