Although it is evident that Goya was already in revolt against the supervision which he had accepted as a condition of his employment, the trouble was temporarily overborne. From this we may conclude that the good Allué did not insist too much upon the gratitude which Goya owed to his brother-in-law. By February Goya had completed the painting of the dome, and he then submitted his studies for the four triangles formed by the arches supporting it. It would appear that the public had expressed their dissatisfaction with Goya’s compositions in the dome, and the Committee complained that not only were these new designs marked by similar defects of ‘drapery, colouring, and idea,’ but one of the figures represented came short of the standard of chastity that was required in pictures of this kind. The Committee, ‘fearing to expose themselves to fresh censure and an accusation of negligence and want of care, put this matter, by reason of the confidence he had won from the Committee and from the whole chapter, under the direction and in the hands of D. Francisco Bayeu, hoping that he will take the trouble to see these studies and say whether the observations of the Committee are just in deciding that the triangles be painted in such a way that they may be shown to the public without fear of criticism.’ But when this resolution of the Committee was communicated to Bayeu, he retaliated with a tirade upon his offended dignity, and we find Allué appealing to Goya to ‘see if there be any way of arranging the matter, knowing that the Committee desire harmony, and do not wish to expose their conduct to censure, but desire only that the work be skilful and perfect.’ To this appeal Goya returned what we may describe as a characteristic letter. This epistle has been published in Spain, but no translation has hitherto appeared in England. The letter is as follows:-- MEMORIAL OF GOYA TO THE BUILDING COMMITTEE.