human
Los Capriccios.
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Misères de la Guerre are intrinsically more serious. All the scenes of terror that occurred in Spain as a sequel to the French invasion and the glory of Napoleon here utter their cry of lamentation. A few plates amongst them are worthy of comparison with the finest of Rembrandt's,--the sole classic for whom Goya cherished a veneration. All the undertakings which followed these--the
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Bull-fights, the
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Proverbs, the
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Captives, the fantastic landscapes--tell of a long study of the great Dutch master. Especially celebrated were the seventeen new plates which he added to the
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Malheurs de la Guerre in 1814, at the time of the restoration of Ferdinand VII. They are the political and philosophical testament of the old liberal, the keen free-thinker, the last and utmost fight for all that he loved against all that he hated. With sacred wrath and biting irony he waged war against the intrigues and hypocrisy of the obscurantists who throttle progress and suppress freedom of thought. With passionate wrath he rushed upon kings, priests, and dignitaries. It seems incredible that the plate entitled
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Nada --a dead man, who comes out of his grave and writes with his corpse-fingers the word
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Nada