In the troubles which overtook Spain, Goya proved himself neither patriot nor hero. He swore allegiance to Joseph Bonaparte and utilised the sufferings of his country for a series of etchings, _The Disasters of War_, in which the horrors of the military invasion are depicted with unexampled force and naturalism. After Wellington had expelled the French, Goya again played the part of opportunist and pledged his fealty to Ferdinand VII. The King, remarking that Goya’s conduct deserved hanging but that he was a great artist and should be forgiven, restored him to his position of Court Painter. Goya, however, was beginning to decline. His deafness had grown upon him and with it a moroseness and irritability of temper, which made him shun society and bury himself in his country house. His deafness even denied him the solace of his favorite amusement, playing on the piano. His wife was dead, and the sole object of the old man’s affection was his little grandson, Mariano, whose face he has commemorated in the portrait, now owned in Madrid by the Marqués de Alcañices. Goya at length obtained the King’s permission to visit France. He spent some time in Paris, where he was welcomed by Delacroix and the younger spirits of the French romantic movement. He then settled in Bordeaux, tended and cared for by an old friend, Madame Weiss. During this period he executed a few portraits and the lithographs, _Les Taureaux de Bordeaux_, in which his old time vigor is displayed. When the term of his leave of absence had expired, he revisited Madrid and was received by the King and people with marks of the highest respect and consideration. Goya was now in his eighty-second year, and returned to Bordeaux, where he lingered a few months and died in the Spring of 1828. Seventy-one years later his remains were removed from the cemetery of Bordeaux and interred with honors in Madrid. For by this time Goya’s reputation had become world-wide, and his influence upon modern art thoroughly recognised. * * * * * Goya’s gift to the modern world is twofold: impressionism and, if one may coin a word, expressionism. To the former we have already alluded in comparing his kind of impressionism with that of Velasquez. While the earlier artist with his objective vision realised an impression of observation: Goya, influenced by temperament, recorded an impression of feeling. This attitude toward art naturally made him welcome to the French Romanticists, and through them brings him in touch with the general modern tendency toward self-expression. For the modern artist learned from Velasquez the principles of impressionistic painting, as a foundation of technique, but later derived from Goya the secret of impressionism for the purpose of expressing the emotion with which the subject inspired him. To the temperamental impressionist, therefore, Goya seems to represent the last word in technical distinction.