Of the portrait of Villanueva, Señor Caveda writes that ‘it not only faithfully represents the features of the famous architect and the expression of him as a whole, but reveals in him the goodness of soul that animates him, and the noble simplicity of character which is so skilfully transmitted in all Goya’s impressions.’ Señor Mariano Nonqués, referring to the portrait of Moratin, now in the possession of Don F. Silvela, declares that ‘it may rightly be said without any appearance of exaggeration that this effigy is painted with the mind and with a spontaneity which is clearly seen, since there is nothing in it that reveals difficulty in the work, or any preconceived idea of imitating any other painter in its execution,’ and he adds that, by reason of the individuality it discloses, it should be considered one of the best likenesses painted by Goya. According to the painter Carlos Luis de Ribera, the genius of ‘La Tirana’ may be seen in the head of the portrait of the distinguished actress, Rosario Fernandez. ‘In it, as in all his (Goya’s) works,’ says this authority, ‘there is that air of truth which so few painters have attained; there is brilliancy and freshness without pretension or exaggeration, the model is simple and convenient, and while it makes no show of strength it is not weak. Its execution springs as much from sentiment as that of all his canvases, because it was never sought after by Goya, but was the consequence and result of his spontaneity and intuition.’ Again, of his portrait of José Luis Munarriz, the eminent critic, Don Francisco Maria Tubina, writes: ‘There is something on the canvas in addition to perfection in the technique, the beautiful development of the subject and the exact likeness; the immaterial part must be recognised and appreciated--the inner vigour Goya gives the character, which illumines the features with the glow of the soul. Munarriz is represented to us in the picture as the fancy imagines him, as we see him in his biography, ingenious and lively in thought, distinguished in form, kind and firm in temperament, prudent in judgment, and with a mind always directed upon things which elevate and ennoble. Munarriz the literary man,’ he says in conclusion, ‘is the Munarriz of the picture, the one being explained by the other.’ And read, also, what the _Boletin de la Sociedad Española de Excursiones_ contains concerning the two portraits of Doña Antonia de Zárate, now in the possession of Señora Vinda de Albacete: ‘But where Goya shows the most exquisite sensibility and profound psychology is in these two portraits of one person, in which he incorporates the whole story of a dreamer swayed in life and death by the highest ideals, a woman of a race of poets and artists, Antonia de Zárate. Though in the first portrait he represented her smiling and in perfect health, in the second he knew her existence was undermined by a treacherous disease which was to cause her death. Never have we felt more deeply the