The _Caprichos_ are the only productions of Goya in the Bibliothèque Royale at Paris. He has, however, produced other works,--namely, the "Tauromaquia," a collection of thirty-three plates; "Scenes of the Invasion," which make twenty plates, and ought to make more than forty; the etchings after Velasquez and many others. The "Tauromaquia" is a collection of scenes representing various episodes of the bull-fights, from the time of the Moors down to the present day. Goya was a finished _aficionado_, passing a considerable portion of his time with the _torreros_, so that he was the most competent person in the world to treat the matter thoroughly. Although the attitudes, positions, the defence and the attack, or, to speak technically, the various _suertes_ and _cogidas_ are remarkable for their irreproachable exactitude; Goya has invested the different scenes with his mysterious shadows and fantastic colouring. What strange and ferocious heads! What savage and odd dresses! What fury in the action! His Moors, treated somewhat in the manner of the Turks in the time of the Empire, as far as costume is concerned, have the most characteristic physiognomies imaginable--a stroke roughly scratched in, a black spot, a streak of light, is sufficient to form a personage who lives, who moves, and whose physiognomy remains for ever impressed upon your memory. The bulls and horses, although sometimes fabulous in their proportions, have an expression of life and vigour which is often wanting in the works of animal painters by profession: the exploits of Gazul, of the Cid, of Charles V., of Romero, of the Student of Falces, and of Pepe Illo, who perished miserably in the arena, are traced with a truthfulness altogether Spanish. Like the "Caprichos," the plates of the "Tauromaquia" are executed in aquatinta, touched with aquafortis.