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brance of a far past, Mengs showed eyes with the heavy black brows which

strongly in his earlier works, and these Goya was prone to depict. Goya has

are works of exceeding charm and grace, given the face the subtile reserve of the

To the following of the Mengs tradition man of court acquaintance, and has

is attributed the exquisite portrait of dressed him in a delicately laced blue

the Countess of Altamira with her wee coat with the love of millinery that Goya

daughter posed on her knee calm with always showed when opportunity offered,

baby sovereignty. The face of the count- Here is seen the amiable, not too forceful

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ess glows with a lambent radiance in which burn the impenetrable dark eyes with haunting insistence, a pale face set in a cloud of soft black hair. The tones of the drapery are sparkling with silvery sheen flushed with rose, all executed with fine delicacy of touch. The whole effect of the picture is one of light-hearted grace, although the faces express a burning intensity of almost passionate repression. Goya's clairvoyant quality as a portraitpainter is here strongly in evidence.

The portrait of the Duke of Osuna is also of the Mengs tradition, and painted about the same time as that of the Altamira. From the proud, ineffectual face of the patrician look out the well-trained

gentleman whose wife, the Duchess of Osuna, was the generous patron of Goya for a period of fourteen years from 1785.

Life in Spain was such, late in the eighteenth century, and the free life of Goya was such, that the natural gossip followed upon the intimacy of the great painter and the great lady. Under her patronage, which appears vested with dignity, Goya produced several portraits as well as about twenty genre subjects, a collection which is now scattered over Europe. The Osuna family group greets one on entering the Prado, and is almost face to face with the powerful " Third of May," Napoleon's "bath of blood" for the Madrileiios.

It has been deplored that Goya's years

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ir.'in fhetegrafht by l-rtdtruk o. Htmm, Chicago,

The pictures on this and the opposite pages are from the famous series of "The Monk and the Brigand." In the collection of Martin A. Ryerson, Esquire, of Chicago.

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others less talented in subsequent years. But this is a peculiarity of the artist, that he ever worked with varying excellence of technique and of standards, and thus it becomes difficult to date his pictures.

A penetration into the intimate life of Goya becomes necessary to an understanding of a large proportion of his paintings executed during the years immediately succeeding 1790. His fame having taken him to court and his charm having made him a social favorite in that time of wild moral aberration, he was in frequent contact with all the great ladies of beauty and wealth, each one of whom

There are historians who like to dwell on the naughty side of this strong alliance, for in it all the conventions were broken, but a great love has, like death, a dignity of its own, and with dignity this important alliance is endowed.

Goya was crowding fifty when the movements of the court functions threw in his way the gifted, beautiful woman known as Maria Teresa Cayetana de Silva y Alvarez, Duchess of Alba, who was then about thirty-five. From her father she had inherited enormous wealth and her title. Add to these her beauty, her charm, her audacious unconventionally,

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