‘The frescoes of la Florida,’ comments C. Gasquoine Hartley, ‘are yet another witness of the truthful humour of Goya’s insight, but not one of his countrymen realised the irreverent irony of his work.’ ‘The figures are as full of piquant intention,’ declared Richard Muther, ‘as can be found in the most erotic paintings of Fragonard.... It is an artistic _can-can_; it is Casanova transferred to colour. All that the Church painting of the past had created is despised, forsaken; and this satire upon the Church and all its works was written in the land of Zurbarán, of Murillo.’ The Conde de la Viñaza alludes to Goya as an artist who painted pictures with religious subjects, but not religious pictures. ‘I do not know,’ he says, ‘a more profane master than this Velazquez, Rembrandt, Vicelli and Veronese rolled into one.’ And he instances his monumental painting at la Florida to illustrate his contention: ‘An admirable energy, the most splendid scale of tones. What relief! What a magic of colour! What a beautiful lesson the light of nature receives there! On the other hand, what lack of religious feeling and spirituality in those frescoes!’ And having denounced in the angels the silkiness of their skins, the brilliance of their eyes, and the wantonness of their beauty, he adds, ‘the miracles of the exemplary man of Padua are familiarly treated as a spectacle of wandering rope-dancers might be!’ It has been said that the King was incensed against the artist for introducing renowned ladies of his court in the faces of the winged archangels, and it is generally believed that the most aristocratic persons of the capital are represented in the frescoes, but if Charles IV. resented his choice of models, he had a most amiable way of expressing his displeasure. Goya himself, writing to Zapater, admitted that ‘the King and Queen are mad on your friend Goya,’ but the madness took the form of a royal order, dated October 31, 1799, which reads: ‘H.M. wishing to reward your distinguished merit and to give in person a testimony that may serve as a stimulus to all professors, of how much he appreciates your talent and knowledge of the noble art of painting, has been pleased to appoint you his chief painter of the Chamber, at a yearly salary of 50,000 reals, which you will receive from this date free of rights, and also 500 ducats a year for a carriage: and it is also his pleasure that you occupy the house now inhabited by Don Mariano Maëlla should he die first,’ etc.