File:A short history of engraving (and) etching - for the use of collectors and students; with full bibliography, classified list and index of engravers (1908) (14596550070).jpg

Identifier: shorthistoryofen00hinduoft (find matches)
Title: A short history of engraving (and) etching : for the use of collectors and students; with full bibliography, classified list and index of engravers
Year: 1908 (1900s)
Authors: Hind, Arthur Mayger, 1880-1957
Subjects: Engravers Engraving Etchers Etching
Publisher: London : A. Constable
Contributing Library: Robarts - University of Toronto
Digitizing Sponsor: MSN

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um, while the earlier editions hadbeen printed on stouter and more opaque paper. Like every satiristbefore and since, Goya of course denied all intention of personalities,affirming that he merely chose subjects by which the prejudices,hypocrisies, and impostures consecrated by time might best bestigmatised and turned to ridicule.* Without giving him credit forbeing less human than his brother-satirists, we need not be detained 1 See Chap. IX. p. 300. - The composition corresponds to one of the cartoons for tapestry which Goyamade in his early period. ■^ Without tiie portrait of Goya, which had been used in the 1855 edition of theTiluroindqIlia. It may be remarked that there are three unpublished plates ofCaprichos, which were done for the Duchess of Alba, in the National Library,Madrid. ■* The MS. once in Valentin Cardereras collection ; see Gazette des Beaux-Arts,XV. p. 240. 254 ETCHING IN 18th AND EARLY 19th CENTURIESby the commentaries of certain of Goyas contemporaries,^ which
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Fig 93.—Francisco Goya. From the Caprichos (Plate 53). have fixed Godoy, Prince de la Paix (e.g. Plate 37), Godoys 1 See Leforts Catalogue (1877), and Conde de la Vinaza, Madrid, 1887, p. 134. FRANCISCO GOYA 255 surgeon Galinsoya (Plate 40), his painter Carnicero (Plate 41),the Duchess of Alba (Goyas patroness and more than friend), andmany other personages of the Court in the pillory. Goyas owncommentary ^ unfortunately does little more than adduce furthergeneralities. If there is one butt at which he is never tired oflaunching his shafts, it is ecclesiasticism. In the same vein of satire are the eighteen plates of the Proverbios.Froverbios (or Suenos, Dreams as Goya called them), which wereprobably done for the most part between 1810 and 1815, thoughthey were first publicly issued in a series in 1864 (by the Academyof San Fernando). A small number of impressions had been takenfrom the plates (before the addition of the numbers) by their privateowner in 1850. Later editions, of lit

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