592, 593. San Antonio de la Florida, Paintings at the Sides of the Window on the left.
594, 595. San Antonio de la Florida, Paintings at the Sides of the Window on the right.
596. San Antonio de la Florida, First Group on the Cupola to the left of the Centre.
597. San Antonio de la Florida, Second Group on the Cupola to the left of the Centre.
598. San Antonio de la Florida, Centre of the Composition on the Cupola facing the Entrance.
599. San Antonio de la Florida, First Group on the Cupola to the right of the Centre.
600. San Antonio de la Florida, Second Group on the Cupola to the right of the Centre.
601. The Duke of Wellington, 1812, From the Original Drawing in the Print Room of the British Museum.
602. Lady and Gentleman on Horseback. From the Original Drawing in the Print Room of the British Museum.
603. Head of the Dying Fray Juan From the Original Drawing Fernanez. in the Print Room of the British Museum.
604. A Criminal undergoing the infliction From the Original Drawing of the Garotte. in the Print Room of the British Museum.
605. A Lost Soul, From the Original Drawing in the Print Room of the British Museum.
606. Condemned Criminals conducted to From the Original Drawing Execution. in the Print Room of the British Museum.
607. Spanish Proverb Illustrated, From an Etching, hitherto unpublished, in the Print Room of the British Museum.
608. Spanish Proverb Illustrated, From an Etching, hitherto unpublished, in the Print Room of the British Museum.
609. Spanish Proverb Illustrated, From an Etching, hitherto unpublished, in the British Museum.
610. The Bulls: A Study of the Animals From an Etching, hitherto in various positions. unpublished, in the British Museum.
611. Bull-fighter fettered in the Arena, From an Etching, hitherto unpublished, in the British Museum.
612. A Blind Guitar-Player tossed by a From an Etching in the Bull, Print Room of the British Museum.
A century before the birth of Goya, Spanish painting had attained its crown of achievement in the work of the four great naturalists, Velazquez, Ribera, Zurbarán, and Murillo. Josef de Ribera (‘Lo Spagnoletto’), had succeeded Ribalta, and had given lasting expression to the realism which characterised Spanish art in the seventeenth century; Francisco de Zurbarán, the Estremaduran peasant, whom Lord Leighton called ‘All Spain,’ carried on the tradition of the elder Herrera in his passion for truth in detail and in the dramatic intensity of his expression; Murillo, the disciple of the Spanish Catholic Church, bewitched his generation with what Antonio Castillo y Saavedra described as his ‘wondrous grace and beauty of colouring’; and Velazquez, ‘our Velazquez,’ as Palomino proudly styled him, was the supreme painter through whom Spanish art became the light of a new artistic life.