Jove-Llanos to assure the artist that he was ‘singularly satisfied with the care and diligence with which he had finished the paintings and with their eminent merit.’ In the year of his return to Madrid Goya’s father died, and the painter sent for his mother and his brother Camilo to join him. He obtained for Camilo a chaplainship at Chinchón, but his mother soon wearied of the unaccustomed noise and bustle of the city and retired to Zaragoza, where she lived on a pension of five reals per diem provided by Goya. The artist at this time may have found some difficulty in providing for his household; for his family, if not long-lived, was numerous, but it is unlikely that he ever felt the pinch of poverty. We can well believe that he was insistent in obtaining the reward of his labours, especially when he was working for princes who, in his view, were living a life of gilded pauperism, and the stress which Ponz lays upon the needs of these ‘poor men’ is far removed from the attitude assumed by Goya. In the letter, in which he applies for payment, he does not plead for a dole in relief of his poverty, but demands the remuneration which is justly due to him. This is the only recorded instance of his being in financial straits. From this time his career is one of eventful and interrupted but assured success. Fame and fortune attended him on either hand. In 1785 Andreas Calleja died, and Goya succeeded him as deputy director of the Academy of San Fernando, with an annual salary of twenty-five doubloons. Four years later, on the death of Cornelio van der Goten, Charles IV., who had just succeeded his father Charles III., appointed him a Painter of the Chamber, with a salary of 15,000 reals, which was increased in 1799 to 50,000 reals a year, with the rank of first painter to the King.