Goya (1985)




Director:     José Ramón Larraz.

Starring:     Enric Majó (Goya),  Laura Morante (Duquesa de Alba),  Raf Vallone (Duaso),  Rosalía Dans (Leocadia),  Jeannine Mestre (Pepa Bayeu),  Juanjo Puigcorbé.

In Spanish with English subtitles.

TV mini-series about the famous Spanish artist



Spoiler Warning:  below is a summary of the entire mini-series.


Episode 1.  The Greased Pole. 

Fuendetodos, Easter Sunday, Spain, 1760.  A lot of men in the village help to carry a long, straight tree trunk into the square.  Mother and father are looking for their son Paco.  The men raise the long pole up while sticking the pole in a hole dug into the ground.  Up at the top is a live chicken and some colorful banners.  Paco comes running over and starts immediately climbing the pole.  The church bell rings and the people go into the the church.  Paco is still holding on to the pole.  Around the village is the "terrible dry land of Aragon". 

The early years of the reign of Charles III (who ruled from 1759 to 1788) were fairly good.  He brought in the great medicines of the day:  the Enlightenment; praise for work in a country of beggars, nobles and monks; royal factories; the census; wars against England; and alliances with France.  There is an ugly scene where the dead bodies of men have been placed in trees or hung from tree branches.  Goya as narrator says his life spanned over a lot of history.  He survived through all the turmoil, even if he did have to paint four different kings of Spain:  Charles III; Charles IV (1788-1808), Ferdinand VII (1808);  Jose I (Joseph Bonaparte, brother of Napoleon, ruled from 1808-1813); and Ferdinand VII again (1813-1833). 

A clergyman greets recently arrived priest de Pignatelli. De Pignatelli looks at the art work that Franciso "Paco" Goya has done for the church and is impressed.   The priest suggests that they take Paco to Zaragoza to study art at the studio of José Luzán.  He says the church will even pay the tuition. 

Zaragoza.  At 14 years of age Goya begins studying with José Luzán.  The teacher immediately starts Goya sketching a live naked male model.  Goya makes friends with a fellow about his age in school.  His name is Ramon Bayeu.  He introduces his younger sister Pepa to Goya. Goya also has a younger brother named Martin Zapater.

At school Ramon tells Paco that his brother studies art in Madrid with Anton Raphael Mengs.  Paco tells Ramon that he is tired of just copying the work of other artists.  He wants to start painting what he wants to paint. 

Paco and his two friends go with him over the wall of a mental asylum.  From the second floor, they see lots of women and men  running around in circles.  The other two boys run away, but Paco is going to get closer to the women.  He gets a little too close and a man tries to grab him through the bars.  Now Paco runs for it.  All three boys jump back over the wall. 

The three boys are young men now.  They are walking on the streets when a huge crowd walks past them shouting:  "Down with Esquilache!  Long Live the King!"  The three go along with the flow of people.  Soldiers fire just above the crowd's heads and everyone starts running away.  One of Goya's friends get caught in among the mentally challenged patients.   

The Count de Fuentes' brother, Ramon, tells the king that the people rioted because they objected to the rise in the prices of bread and oils.  Moreover, they are mad at their foreign ministers like Esquilache and Grimaldi who have tried to changer their clothes and habits.  The King blames it on the clergy and especially the Jesuits who feel their power is threatened by the new changes.   Luzán brings Goya to meet the count.  They meet and Goya learns that he will be competing in a competition involving other artists painting a scene involving the same subject. 

Roman Bayeu introduces his painter brother Francisco to Goya.  The two men shake hands.  As they talk, maestro Mengs comes walking down the stairs. Ramon's brother introduces Mengs to Ramon.  After the brother and Mengs leave, Ramon holds out his right hand and says:  "I shook Mengs' hand."  Goya says:  "So what?  Is that hand going to paint for you."

Ramon and his brother meet the incoming coach.  Pepa and Pepa's sister-in-law step out of the coach.  Pepa goes over to greet Goya and then Ramon introduces his sister-in-law to Goya. 

Ramon Bayeu earns the gold medal in the competition.  Everyone congratulates Ramon, except Goya.  He starts to walk away.  Ramon runs after him and asks Goya if he won't shake his hand?  Goya says the problem is that Ramon has an influential brother who swayed the judges to choose Ramon.  In spite of this, Ramon's brother asks Goya:  "Why don't you stay and work in my studio?"

Mengs comes in to the studio and is pleased with the work of Ramon.  Ramon's brother wants to pass over Goya's painting, but Mengs takes a look at it and says:  "Promising."  Mengs now asks Goya's name.  He will remember that name.  After Mengs leaves, the brother tells Goya that his brush strokes are too thick.  The paint must be applied lightly and carefully. 

Goya has his bags packed.  Pepa asks him where he is going?  Goya says he is going to Italy.  Pepa asks with what money?  Goya says that his father sold the house in Fuendetodos and Martin has sent him his share of the money.  Pepa asks if he is going because of her and Ramon's brother?  Goya only says that a painter must paint in Italy.  Both Goya and Pepa say they will miss each other.  Pepa gives him a kiss goodbye.

Goya writes Martin from Rome saying there are art students all around him.  The city is a great place in which to paint.  Later Martin gets another letter where Goya says he is now in Venice.  Goya also writes that he almost won an art competition. in Parma. Venice is a great place and he admires the local painters like Tieppolo, Tizziano, the Verones and Tintoretto. 

Smooching with a lady, a man comes in and stabs Goya in the left arm.  Goya slugs the man in the face and he goes flying backwards.  Goya then closes the door to the room.  He seems to be getting to be quite a lady's man.  Goya is now back in Rome.  Ambassador de Azara was the one who got Goya out of Venice.  While in Venice, he saw Mengs again.  Mengs asks Goya why, after two years in Italy, does he not return to Spain?  Goya says he is still in conflict with Bayeu.  Mengs says that he received a letter from Bayeu.  He is in charge of painting the church in Zaragoza and says he has work for Goya there.  Mengs tells Goya to swallow his pride and go back to Bayeu for that way leads to the Academy.   And, yes, Goya will be an academic. 

Zaragoza, 1771.  In the church Goya paints The Adoration of God's Name on the ceiling.  Everyone likes the painting so much that Goya is asked to paint the Aula Dei monastery. 

Goya tells his brother that he has to get to Madrid for that is where the money and the Academy is.  His brother Martin tells him he must get closer to Bayeu?  Closer? asks Bayeu.  Yes, Goya should get close to Bayeu by getting close to Pepa.  Martin adds:  "Nothing assures the success of a marriage better than a friendship."

Goya marries Pepa and becomes part of the family. 

Ramon and Goya go to a tapestry company to get jobs.  Tapestries are being made for the walls and the royals have chosen the colors they want, but Goya ignores all that and chooses his own colors.  This brings a rebuke to him from Francisco Bayeu.  He tells Goya to not let it happen again. 

Martin comes to visit his brother.  Pepa is near to having a baby and Martin has brought a toy rocking horse for the child.  Goya has set up his own studio in his house. 

The guys go out to a restaurant/tavern.  They have a good time talking.  When they return home they hear the groans of Pepa who now is in labor.  Goya starts to go into the room, but he is stopped by one of the women helping Pepa.  This woman tells Goya:  "It's going badly, very badly."  Hours pass.  The woman comes out to tell Goya that the baby was stillborn.  But Pepa is doing fine. 

Goya goes in to see his sleeping wife.  She awakens.  Nothing is said.  Goya rocks the toy horse.  He comes down and is given a note from King Charles III. 

Goya goes to see the King and Queen.  The Queen really praises the painting:  "Absolutely charming, so typical of Madrid.  It is so full of realist charm."

At home Goya works on a painting of Jesus on the cross with a completely black background.  He tells his wife with this portrait he will become an academic. 

Goya gets high praise for his most recent work.  Francisco Bayeu is at an exhibition of Goya's work and he says to Goya:  "All Madrid comes to admire your work."  And he asks Goya to paint the Pilar along with Ramon and himself in Zaragoza.  Francisco tells Goya that this time he will be able to be independent and make his own sketches.  The only thing required is that he gets approval from their employers. 

Zaragoza.  Goya is busy painting the ceiling.  Franciso climbs up the scaffolding and looks at his work.  He says:  "You're still a teenager.  Still painting in huge strokes."  Goya replies:  "It's meant to be seen from a distance."

The clergymen start to criticize Goya's work.  One priest says:  "This image of Charity lacks the appropriate decency.  We can't approve these sketches."   He says Goya will have to redo the sketches and now must get approval from Bayeu.  Goya is really angry now.  He goes and confronts Bayeu whose defense is that the clergy doesn't like his art.  Goya replies:  "What do priests knows about art?  You sowed discord."   Goya believes this was a trap deliberately set by Bayeu. 

Martin comes to the top clergyman and tells him that his brother believes Bayeu lured him into a trap.  When Goya comes in the priest asks that the great painter be more humble and have more patience.  In addition, Goya shouldn't defy the chapter or his brother-in-law.  After all, Goya's time will come.  He adds:  "I don't think you should go ahead with this complaint."  Goya is defiant, saying:  "No one kicks me."

At home Goya tells Pepa that Mengs was wrong:  "Entering the Academy doesn't make an artist renowned.  Entering the Academy doesn't bring freedom."

So, Goya and Pepa are leaving Zaragoza.       


Episode 2.  Court Painter.   

1781.  Spain fought the English during the American Revolutionary War that was settled only by the Treaty of Paris of 1783.    Goya curses the English for the tough times faced by Spain and his little family. 

There's a knock at the door.  It turns out to be Ramon who has good news of work.  There will be seven commissions for the altars of San Francisco el Grande.  Goya asks who will be the painters and Ramon says it will be the six court painters:  Ferro, Maella, etc. plus Francisco Bayeu, who will paint the main altar and Paco Goya who will paint the seventh altar.  Prince Charles and Princess Maria Luisa told the prime minister to give Goya one of the commissions.  Goya and Pepa are happy that they are saved.  Goya says that his painting with the great names of Spanish art is going to make his enemies in Zaragoza very furious. 

Goya writes to his brother Martin telling him that he has been working for a year on the sketch for the San Bernardino altar.  Tomorrow he presents his sketch to Prime Minister Floridablanca. 

Goya sees Floridablanca and gets a commission to do his portrait.  Pepa, who is pregnant again, asks him if the prime minister will really pay for the painting?

Goya writes Martin again saying that Floridablanca likes his portrait.  Unfortunately, he still has not been paid for his work.  He goes on to mention that they have hung the paintings they did in the San Francisco el Grande. 

The Prince does not particularly like Bayeu's painting.  He tells Goya:  "Well done" and pats him on the back.  Goya asks Floridablanca about his portrait, but the prime minister puts him off saying they will talk about that subject on another day.  Prince Luis comes over to him and says that he has been looking for a painter.

So Goya will get another commission.  He speaks with Prince Luis and the Princess, who is also from Zaragoza.  The Prince's daughter asks if Goya will paint the butterfly she recently caught.  Goya says yes and then says that afterwards, he will paint the little girl.

While riding with Prince Luis, a messenger rides up telling Maestro Goya that he has a son.  The Prince congratulates Goya and Goya starts riding back to his house.  At home, Goya is very happy and says:  "Now it seems everything is going my way." 

It is the Age of the Enlightenment.  Prince Luis introduces Goya to three prominent men in Spain:  diplomat Bernardo de Iriarte, who has translated the French classics; Leandro Fernandez de Moratin, the most promising playwright of Spain; and Don Gaspar Melchor de Jovellanos, Spain's celebrated jurist.  The Prince warns Goya that the three influential men will probably corrupt his mind with ominous ideas coming out of Paris.  The Prince leaves and the three powerful men say that they were very impressed by Goya's paintings of the Prince's family.  Now the Princess comes in, happy to see Goya again.  She introduces Goya to the Duchess of Osuna, who wants her family to be painted by Goya. 

A formal presentation of the paintings of Goya of the Duchess of Osuna's family, brings Goya even more praise.   And the Duchess loves a separate portrait of herself.

Goya goes hunting with the royals.  He shoots a rabbit on the run.  The women are having a picnic.  The Princess, the Duchess of Alba and two other women go wading into the stream nearby.  Goya follows a hunting dog and comes upon the women.  He can't seem to keep his eyes off a woman named Cayetana.  (brief nudity)  Cayetana (the Duchess of Alba) suddenly notices him staring at her.  She doesn't scream or panic, but covers herself up, and walks downstream a bit. 

The men now join the women for the picnic.  This includes the hunters.  Goya studies the Duchess of Alba again.  She decides to ask her husband to walk with her. 

Goya sees her again at the bullfight.  In the arena a hot air balloon ascends into the air.  A little later the bull is let into the arena and he comes charging out.  And then the Duchess of Alba shows up, sitting in the next booth over from Goya.  They look at each other and she turns her head.  She greets the Duchess of Osuna and asks who is that fellow?  That's Goya. 

The Duchess of Osuna has called for a gypsy that reads fortunes.  So, the Duchess of Alba decides to transfer to the next box over.  Goya transfers over to the booth of the Duchess of Osuna.  He greets the people and sits down.  He sees the Duchess of Alba over in a corner flirting with a man (probably her husband).

At home Goya paints a water color of Cayetana. Pepa comes in and looks over his shoulder.  She is not pleased to see the portrait.  The next day Goya pays a visit to the Duchess of Osuna.  The Duchess of Alba is swinging on a swing tied to a branch of a tree.  She gets off the swing and comes over to her cousin and Goya.  Osuna introduces Alba to Goya.  Alba pretends that she doesn't remember the incident by the stream.  Osuna tells Goya that she wants him to paint a painting for her. 

Cayetana calls Goya to come to her.  She wants him to push her in the swing and he obliges. 

Goya writes his brother Martin and mentions that he has just finished a painting for the Duchess of Osuna and he has included in that painting the Duchess of Alba. 

Cayetana sees the painting and she objects to Goya:  "I commission my portraits to whom I choose and I pay them."  He had no right to paint her without her permission.  Goya gets angry and tells her:  "I won't paint you again, for pleasure or payment."  He walks out. 

Goya learns that King Carlos III has died. 

Aranjuez, 1789.  Goya pays his respects to the new king, King Carlos IV and Queen.  He takes an oath of loyalty to the King. 

The Queen (who is having an affair with a man named Godoy) is going to have Goya paint her and her new horse (a gift from Godoy).  The King comes in saying that there has been a revolution in France.  Everyone in the room is shocked at the news. 

At a tavern Goya is excited by the revolution and the thought that everyone will be free and equal.  The Spanish royals, however, are not pleased by the revolution so close to them.  A man named Martínez from Cádiz, Spain has got his hands on the new French constitution and reads from it to Goya and the others.  Martínez wants Goya to come to Cádiz and paint the new Santa Cueva chapel. 

Goya writes to Martin saying what great times he has been having.  He gets so much art work from the nobility.  His son is a young boy now and Goya walks the horse with Javierito on the horse's back.  He paints the portrait of King Carlos IV. 

Goya does some paintings of witches and devils for the Duke and Duchess of Osuna.  His friends find the subject a strange one to paint.  Leandro Fernandez de Moratin, the playwright, however, finds the subject of witchcraft immensely interesting. 

Goya still paints for the Royal Tapestry Factory, but he really gets mad when he finds his paintings covered up as not to be seen.  He declares that he has been swindled and says he is going to take the paintings.  He tells the supervisor there that his relationship with the Royal Tapestry Factory is now over and walks out. 

Cádiz.  Goya sees the work of an artist named Piranesi who sketches scenes of witches and witchcraft.  He gets mad because he says that he has had 20 years of people telling him what he should paint or not paint. He asks himself what has he really accomplished at age 45?  "What others wanted."  He complains of witches filling his head. 

Goya dreams of being caught in a mental asylum with the patients grabbing at him.  His host Martínez has to call a doctor to check up on his state of health, mental and physical. 

Goya learns that Godoy has been appointed Secretary of State at only 25 years of age.  Martínez remarks:  "What a career.  From Corps guard to Prime Minister in three years."  Here they are about to go to war with France and this Godoy has the fate of Spain in his hands.  A letter arrives with the news that Ramon, Goya's old friend, has died.  Goya is upset.  He mentions to Martínez that the thing he fears the most is falling into madness. 

1794.  Goya says:  "I've been at the bottom of a well for a whole year."  He goes on to say that the world is filled with madness, horror and stupidity.  His funk has led to the loss of commissions and he frankly tells a friend that he needs a buyer -- he needs money.  His friend says they will have an exhibition of Goya's recent paintings at the Academy.  He says he saw the Duchess of Alba and she asked about Goya.  The friend goes on to ask why hasn't Goya answered her letters over these many years of not seeing each other?  He then tries to hand Goya a letter from the Duchess.  Goya tears it into little pieces.  His friend tells Goya that the painter has been a recluse since he came back from Cádiz.  He asks about Francisco Bayeu and Goya tells him that Francisco is very ill. 

Bayeu sits alone looking at his paintings.  Goya goes to visit the ill Francisco, who has been asking for Goya.  He tells Goya that his own paintings will all disappear after he dies.  Francisco now acknowledges that true artists don't compromise.  He adds:  "You are a real artist, Paco.  Greater each day."  And now he confesses that much of his objections were out of a ferocious envy of Goya and his work.  Goya quietly gets up and goes over to Bayeu to squeeze his left hand, saying that that is all over now. 


Episode 3.  Cayetana.  

1795.  A friend tells Goya that Leandro Fernandez de Moratin is back from England.  He is amazed that English painters like Hogarth and Rowlands can use art as a political weapon there.  The friend adds that artists in Spain could never get away with that.  Before he leaves his friend tells Goya that Moratin wants all the old crowd to go to The Left Inn tomorrow at 12.  

When Goya shows up at The Left Inn, the Duchess of Alba is seated at a table waiting for him.  He slowly approaches her.  She tells him to come closer to her.  Goya seems very unsure of her and what she wants.  She says she wants him to share a pitcher of wine with her.  He sits down.  Alba asks him if he is still holding a grudge after all these years?  He gets to the point and asks her bluntly what does she want from him?  She says not only does he bear grudges, but he is also very stubborn.  He responds:  "You put me in my place once, and that's where I am."  Alba says that now Goya is a real celebrity.  Everyone of note wants him to paint their portrait.  She tells him:  "Me, no."  But she does want him to paint her husband.  Goya agrees to it.  She asks if he will paint only the Duke and no one else from the House of Alba?  He says no. 

Goya goes home and his wife asks him if he saw Moratin?  He says Moratin wasn't there.  Nor were his other friends.  In fact, it was a trap set up by the Duchess of Alba.  "She got Iriarte to arrange it."  Pepa asks why?  Goya says that seven years ago the Duchess of Alba offended him.  But now, he says, he will paint the Duke.  Pepa is not sure she likes this idea.

Goya paints the Duke of Alba.  Outside Cayetana plays the guitar and children dance and sing.  Goya watches them play.  The Duke has told Goya to go see his wife.  Goya does so and Cayetana says that the Duke is exhausted from standing for his portrait and doesn't feel well.  Her husband apologizes.  Cayetana then says that the Duke wants Goya to paint her portrait.  Goya agrees to paint her. 

Cayetana stands in the sun dressed in white while holding her small dog on a leash.  Goya paints her like this and calls the painting The White Duchess.    Cayetana tells him the latest gossip.  She says that the Duchess of Osuna despises her as much as the Queen.  He comments that gossip distracts him from his work.  Cayetana tells him:  "I can see your decision is irreversible.  You decided to hate me and nothing will change your mind."  Then she tells him that she can be as rude as him and even more so.  A maid comes running up to Cayetana and says that the Duke is calling for her.  Cayetana runs to the house. 

Cayetana tells Goya that her husband is very sick and she leaves for Seville today for his last wish is to die there.  She suddenly kisses Goya just as Pepa walks in.  Pepa also sees that Goya tries to kiss Alba, but she pulls back.  Pepa turns around and leaves. 

Goya tells Pepa that he is going to Cádiz to paint for Martínez.   Pepa replies that she imagines that he will stop along the way in Seville (capital of the autonomous community of Andalusia and of the province of Seville).  Goya says yes. 

The Duke of Alba has died.  A funeral is held for him.  After the funeral sCayetana decides to go to San Lúcar for the sea, the sun and the rest.  (Sanlúcar is a city, northwest of Cádiz province, part of the autonomous community of Andalusia, southern Spain.)  Goya arrives and he goes to see Cayetana.  He says he is sorry to hear about the death of her husband.  She says she is very sad.  Goya tells her he is headed to Cádiz on a commission and she says she is headed to San Lúcar.  Cayetana suggests that they travel together.  Goya agrees. 

Traveling in the coach Cayetana flirts with Goya.  Soon they are kissing each other. 

Goya stares at the naked sleeping Cayetana.  She awakens and tells him that he is not going to Cádiz.  He agrees.  She kisses him and says that they will spend the summer together. 

Goya and Cayetana ride their horses on the beach.  Later Goya sketches her while a maid is combing her hair and when she is naked by a pool and having her hair combed. 

Goya is out hunting ducks with a Labrador Retriever dog.  The dog has a mind of his own and it's not easy getting him to do what is commanded.  Goya shoots a duck, the dog goes after it but then just keeps holding the duck in its mouth in the water.  The Duchess comes riding up to him.  They lay in the sun and kiss.  At night Goya paints a design on one of her fans. 

Circa 1800.  And now the Duchess lays on a couch fully naked, while Goya paints her.  This portrait will be known as The Naked Maja

Goya looks out the window with a telescope and sees two coaches coming to the house. Cayetana's children get out of the first coach and Cayetana and some musicians get out of the second.  Seeing her with other men makes Goya jealous.  With Goya Cayetana tells him that everyone in Madrid is wondering why is Goya in Andalusia?  Goya is still sulking.  She gossips that Godoy is going to marry French King Luis' daughter and the Spanish King's first cousin.  Cayetana ignores his sulking and says his friend and others want to be friends with revolutionary France and are taking positions in the government. 

She wants to get dressed and asks Goya to leave her room.  As she waits for him to go, he jumps up and demands to know:  "Who are those men?"  Cayetana gets mad and asks him:  "Who do you think you are?  Frankly, I thought you'd left."  Goya now gets mad and he takes her over to the painting of The Naked Maja with no face.  She tells him she will sit for him tomorrow.  He is too mad to want to paint her face.  She tells him that he takes life too seriously and it's just not worth it. 

At night one of the singers flirts with Cayetana, while Goya watches.  He goes inside and watches her from a window.  She goes off with the singer somewhere. 

Goya goes into Cayetana's room and grabs her out of bed.  She tells him to let go of her, but he drags her over to the couch and lays her down.  She goes into her pose, so he can finish her face.  He rips open her nightgown (brief nudity) and Goya starts kissing her.  By the morning, he has finished her portrait.  He finishes a bottle of wine and then drops it out of the window to crash on the patio below. 

Madrid.  Goya looks at one of his sketches of Cayetana as a witch standing on top of three bent-over men.  In fact, in a dark mood, Goya has sketched many drawings dealing with witchcraft.  His grown son tells him:  "The Inquisition won't like those prints."  Goya only says that he must sell them.  His son gave him a letter from Cayetana when he first came in.  Now he asks his father to open the letter.  Father puts the letter in a pan of acid. 

Goya is being followed by two men. 

Two of Goya's friends, Jovellanos and  Moratin, discus current events in a book store.  They talk about the dismissal of Godoy at the hands of the aristocracy and the Inquisition.   They add that now all the enlightened men in government will be dismissed from their posts since enlightened men are now seen as revolutionaries.  Goya comes and sits with the men.  They continue talking about the Jesuists, who, after 30 years in exile, have now been brought back to Spain.  All books from France are banned.  They ask Goya what does he think of these recent events?  The great artist has poor hearing and they have to shout at him to get his attention.  Goya says he was just thinking about art as a weapon.  He says the prints he has finished put the "world's guts on show".  The corruption, the vice, the deceit. 

Goya shows his prints to his friends.  They joke about what the Inquisition would do if they got hold of these prints.  Getting serious, they warn Goya that if he intends to sell these prints, he better have prepared a good defense for himself.  One of his friends suggests that he publish the prints.  But at the same time he must be working on a painting with a grand religious theme.  The San Antonio de la Florida cathedral has just authorized its decoration.  Goya worries about who will approve the project?  The man says:  "The ministry needs neither ecclesiastical nor academic approval. And I'm the minister."  Goya is thrilled at the idea:  "Painting with freedom."

Goya's son comes into the cathedral to tell his father that Jovellanos has been dismissed from his post and is to be exiled.  And Bailo refuses to sell Goya's witchcraft prints.   The man is afraid and, worse, that there is going to be an investigation. Bailo has decided to hide the prints in his bookshop.  His son says they will sell the prints in the liquor store behind their house.  He then tells his father that his angels look strange.  Goya says it's:  "The people of Madrid, I've raised them up to heaven."

One day Cayetana comes into the church to look at Goya's frescoes.   She is then taken to Goya's house.  His son lets her in.  She touches Goya's left sleeve and he turns around and is surprised to see Cayetana.  She congratulates him on his magnificent works on the cathedral ceiling.  She tells him that he has painted her face again without her permission and with her surrounded by commoners.   She laughs.  Then she says he used her likeness in several cruel prints that are currently being circulated around.  He says they are merely caricatures.  She asks to see one and he shows her the print with her as a witch and of her as having two faces.  She comments:  "You made a bitter tragedy out of a beautiful summer  But it is true.  I always fly away." 

He tears up the two prints.  She says she would like her and him to be friends.  Friends?  She looks at a painting of her wearing a black gown and a black veil done in 1797.  She is pointing down to the ground with a hand with two rings on it:  One ring says Alba and the other says Goya.  The finger of her right hand points to something scratched into the sand: "Only Goya."  Cayetana smiles a little.  She turns and looks at Goya and then leaves. 

Godoy's assistant goes in and asks for some prints (known as Caprichos or Whims).  The assistant comes out of the store and gets into a cab.  Three members of the Inquisition now go into the liquor and perfume shop.  This time they only warn the nervous shop keeper that he better not sell any more Caprichos.

Twenty years ago Goya painted the portrait of the little daughter of Prince Luis and the Princess.  Now the Prince wants Goya to paint his daughter's portrait again.  And he has a surprise for Goya.  He takes him into what looks like an ordinary reception room, but then the Prince goes along the wall pulling drape pieces.  Each time he pulls a drape piece the panel goes up revealing paintings of beautiful women.  The last painting he reveals is that of The Naked Maja.  The Prince says he got the painting from the owner who wanted to stay out of trouble with the Inquisition. He now asks Goya who is the model?  Goya just pulls the drape piece again and the panel comes back down over the painting.  He says nothing. 


Episode 4.  The Family of Carlos IV. 

1799.  Royal Academy of the Three Noble Arts.  Goya is going to be the first chamber painter.  But his reputation has been tarnished by Caprichos.  So, he should get rid of the Caprichos.  Goya can't agree to that for he is much too fond of them.  So the next suggestion is that Goya give the prints to the King and he will put them somewhere.  Goya asks if any money would be coming his way?  Godoy tells him to ask for a pension because everyone else does. 

A play opens called San Hermenegildo or the World of Religion.  Goya, his brother and Moratin watch the play with Pepa.  Goya says the King will grant a pension for Goya's son for the Caprichos.  He also talks about the intrigue in the court of the Queen and Godoy versus Prince Ferdinand.  And, yes, Godoy is still at the palace with both King and Queen.  At the play is the Duchess of Alba who looks around to see who is in attendance.  And now Godoy comes in.  Martin comments that Godoy's wife is beautiful.  Goya looks and the woman, Pepita Tudor, looks a lot like the Duchess of Alba.  Martin says,no, the one he is looking at is the lover.  Godoy's wife is the Countess of Chinchon on the other side of Godoy. 

Godoy receives a note with a red carnation from the Duchess of Alba.  The Duchess is watching Goya, but he acts as if he never received anything. 

1800.  Goya and his son go into the palace to re-meet the King and Queen.  The great artist thanks the King for taking his Caprichos.  The King says it was not important, but it was his wife's idea to accept the prints.  The King and Queen take Goya and Javier into a large room where the extended family waits plus Godoy wait for the artist.  The King says that Goya will paint the entire family, all together.  The Queen asks where the Prince of Asturias is?  He is in with the priest taking lessons.  The priest tells him he should go in and sit for the family portrait.  The Prince says he won't sit next to Godoy.  The priest tells him to make that one of the conditions  -- that he won't sit if Godoy is in the painting. 

The Queen sits for her portrait and fumes that the King gave into the Prince and Godoy was not allowed in the family painting.  She tells Godoy that he just must appear in the family portrait.  Godoy tells her that the problem is Father Escoiquiz.  He should be separated from the Prince.  More over, they should remove the priest from the Court.

Godoy tells Goya that he will not be in the family portrait, because Prince Ferdinand, advised by puppet master Escoiquiz, doesn't want him in the portrait. 

Goya paints Prince Ferdinand who tells Goya that he must be in the front line with the King and the rest of the family is to behind him "at a prudent distance".  The priest tells the Prince that the sash is shown under his jacket, rather than on top of his jacket as it should be.  The Prince and the priest complain to Goya.  He gets upset and decides to quit for the day. 

Goya uses the servants as stand ins for the royal family.  He wants to get the arrangement just right.  As he tells the servants to move here and then, they are all giggling.  All of a sudden, Goya does not feel well.  He has to sit down.  As he sits, he has visions of being taunted by the servants and then by the people at a mental institution.  He starts sweating and holding his head.  The King and Queen walk over to him.   

The Prince and the priest look at the family portrait.  Goya has now put the sash outside the Prince's jacket.  But the priest says that the Prince's future wife has her face turned away from the Prince and it is mostly in the dark because, as of yet, they do not know who will becomes the prince's wife.  The priest says that the woman is turning her head away from the Prince as if she is rejecting him.  This makes the Prince angry at Goya, but the priest tells him he feels that someone in a higher position should petition for Goya to do this.  The Prince suspects his mother the Queen and Godoy.  The priest says they may have requested that the woman have her face turned away from the Prince as if the woman is looking for the real Prince, or rather, the one who will be the next King.  The Prince figures that would be Godoy, who wants to supplant the Prince.  The Prince now tells the priest that he will get rid of Godoy. 

Goya studies the family portrait.  A messenger comes to tell him that the Duchess of Alba is dying and she has been asking for Goya. Goya goes over to see the Duchess on her death bed.  There are lots of people already there.  Cayetana dies before Goya can look at her.  In her will she left 10 reales a day for life to the son of Francisco Goya. 

Goya speaks to Martin and says that now all he has left of Cayenta is the one painting hanging on the wall.  He also says that he loved the Duchess like no other. 

Goya paints a lot of portraits. 

Goya and his friends talk politics again.  Godoy just received a fancy title:  Admiral of Spain and the Indies and Most Serene Highness.  They discuss the question of whether Napoleon would be interested in making Godoy the next King of Spain.  They think that the constant fighting between Godoy and the Prince  will resultsin Napoleon becoming master of the situation in Spain. 

El Escorial, 1807.  Escorial  is a municipality in the Autonomous Community of Madrid, located 28 miles northwest of Madrid.  Prince Ferdinand tells his men that Godoy has him surrounded by spies. He asks the priest if he has memorized the message he is to take to Escoiquiz?  The message is that Prince Ferdinand is writing a letter to be shown to his ill father accusing Godoy.  The Duke of San Carlos will take charge of the troops in Madrid, the royal houses and Castille.  Furthermore, the unfair exile imposed on Godoy will be lifted.

Godoy shows up and tells the King and Queen that Prince Ferdinand is plotting against the realm and Escoiquiz is his agent.  Even Napoleon is involved in the plotting.  The Prince has asked Napoleon for permission to marry one of his nieces. The King says he will take over now.  Godoy leaves.  He tells his wife that he just can't understand why the Prince is in such a hurry to be the King:  "I waited 40 years before becoming King."  The Prince, however, is worried that Godoy could work out a deal with Napoleon to put him on the throne instead of the Prince. 

The King bursts into the Prince's room and demands that he turn over the papers on his desk to him.  The Prince crumbles up the letter that he was just working on.  

The King tells the Minister of Grace and Justice that he must arrest the Prince. Goya watches as the guards and the Minister march the Prince to a jail cell. 

French troops are on the march to Spain. 

Goya's brohter Martin had died.  He tells his son Javier that the monarchy is ruined and Spain is sinking.  They talk about Prince Ferdinand who knelt and begged for forgiveness from the King and Queen.  His son tells him that the Court has gone to Aranjuez.  And the worst of all  --  France is invading Spain. 

At dinner Javier says that the French will invade Portugal, because Portugal is allied with England.  A guest says that invading Portugal is just a pretext for grabbing Spain.  The warring factions in the Spanish monarchy all appeal to Napoleon for protection, "but we'll all lose in the end."  Pepa has put the children down for a siesta, so she now says that everyone can start eating.  Cousin Leocadia, wife of Mr. Weiss, has not arrived yet.  Weiss says that his wife is late as usual.  Just then Leocadia enters saying that Godoy has fallen.  And the town of Aranjuez has revolted.  The people invaded Godoy's home and grabbed up all of his documents.  They then searched the house until they found Godoy up in the attic hiding in a wardrobe.  They gave Godoy such a beating that Prince Ferdinand had to save the usurper.  The plan is to overthrow the King and put the Prince in his place.  Long live King Ferdinand VII! 

Goya paints a portrait of the new King, Ferdinand VII.  Escoiquiz says that his parents in Escorial are asking Napoleon for help to return them to the throne and to free Godoy. 

Godoy comes up to see the ex-Queen.  He tells her and Goya, who is in the room, that the French freed him and now he is going into exile.  The ex-Queen says the servants will prepare his luggage for the exile.  She leaves the room.  Godoy tells Goya that his wife can't bear his presence anymore.  Godoy now tells Goya that he will get back into power in Spain. 

Mrs. Weiss tells Goya that the French demand that the entire royal family assemble in Bayonne.  Some French soldiers come over to flirt with Mrs. Weiss, but Goya chases them away.  He says that for 20 years he has admired the French.  "And in only two weeks I hate them."    Mrs. Weiss says that Spain welcomed the French with open arms. 

Mrs. Weiss and Goya are at a christening when a priest runs in shouting:  "There's a riot at the Palace!"  The French were taking Prince Franciso to Bayonne when the Spanish people stopped them.  Now the French are firing on the people.  After the christening, the group goes for a dinner.  Javier's wife asks where is Javier?  He went to see what is going on. 

The French come into the area and their leader tells them to empty out all the houses.  One of the French soldiers is shot from a patio on the third floor.  Soldiers go up the stairs to get the shooter.  The shooter scoots his way down a patio to the street below.  He starts to run but is shot down by the French.  Another Spaniard in the apartment complex is shot and throw off the third floor patio to the street.  The host for the party tells Goya that it would be prudent if he and his family stayed here for the night.  Goya agrees.

Javier is down in the street in a huge crowd.  He has to go with the flow of the crowd.  French Soave soldiers catch up with them at a large square.  They pull out their swords and attack the Spanish crowd.  Many are are wounded by the swords.  Now regular French soldiers arrive and open fire on the crowd.  The tide, however, turns and the Spanish people are killing the Soave soldiers.  Javier is wounded.  He manages to get into a building with hundreds of others from the crowd.  The fight continues in the courtyard.  Women are helping to kill the Soave soldiers.  A Soave soldier on horseback chases a Spaniard into the building where Javier is hiding.  He throws his sword into the chest of the Spaniard.  But now he looks around and sees that the doors are closed behind him and there are hundreds of Spaniards are all around him.  About 15 men jump on the horse and rider at the same time sending both to the ground.  The Soave is repeatedly stabbed. 

The dinner guests are all sleeping except for Goya.  The sound of gunfire still continues. 

When order is more or less restored, the French tell the Spanish that any congregation of eight people or more will be fired upon.  Every home or place where a French soldier has been killed will be burned to the ground.  Armed Spaniards will be shot. 

Hundreds of Spaniards are rounded up by the French.  The French soldiers see Goya, but pay no attention to the older man walking with his cape and cane.  Goya watches as a group of Spaniards is executed by firing squad.


Episode 5.  "I saw It . . ."

1808.  People are about to get on a coach to Zaragoza.  There is a lot of concern about passenger safety.  One woman asks:  "Will there be Frenchmen on the way?"  The station manager replies:  "The war is everywhere."  The woman decides to go back to Madrid.  Goya gets on the coach. 

While riding, Goya pulls out a letter from Jose de Palafox, commander-in-chief in Aragon (located in the northeast with its northern border next to France;  three sections:  Huesca, Zaragoza  and Teruel).  The commander has asked Goya to come to Zaragoza to see what the French did to it after a long siege. 

Goya walks through Zaragoza and sees many ruins of buildings.  He goes into a church and hears the priest railing against the tyrant Napoleon.  He shouts that the French have re-occupied Madrid. 

Goya goes back in the streets and sees Spanish troops collecting their dead.  His heart also melts for the suffering of the poor horses. 

Goya reaches the commander who is very happy to see him.  He says Goya just has to immortalize the Zaragozans' resistance against the French for the resistance is an example for the whole nation.  In addition to recording the heroic Zaragozans, he wants him to portray the great hunger the city residents had to endure.  Many have had to eat rats.  Goya says he will record everything that he saw in Zaragoza. 

Goya was once an admirer of the French, but now he really hates them for what they have done to Spain.  As he rides the coach back to Madrid, the coach suddenly comes to a halt.  The French are burning Madrid.  As they get closer to the city, Goya and the others see more and more terrible scenes of death and destruction.  Refugees are leaving Madrid.  One of the men comes over to the coach and tells them that they should return to their homes because the city is burning.  Some of the Spanish residents killed a French soldier in a horrible way and that infuriated the French.  They poured into the city for vengeance and started burning the houses and offices.  Moreover, they executed a lot of Spaniards by the use of firing squads. 

The coach continues on and the passengers see dead bodies of Spanish soldiers placed up in the small trees.

Madrid.  Goya and his wife walk through a section of the city that was not devastated.  She has a much harder time communicating to Goya because the man is now very hard of hearing.  This makes her feel more isolated than usual.  She has been separated from the great Goya by his painting and drawings, the Duchess of Alba and now her niece Leocadia. 

Spanish troops bring in some wagons with food and soon the people are swarming around the wagons grabbing the food.  The soldiers have to beat them back with the use of their rifle butts.  Another soldier fires his rifle.  When they have scared the hungry away, the wagons move on. 

Goya is offered a commission by the council of Madrid.  Javier shows his wife and child the huge painting his father has been working on, entitled  An Allegory of Madrid.  It's a painting to please the French.  His wife doesn't approve of the painting.   Javier reminds her that they live as well as they do because of father's paintings.  He then looks at prints made by his father called The Atrocities of War.  The wife asks Javier to put away the prints because they are too horrible to look at.  She also criticizes Goya for painting Napoleon's portrait and asks: ". . . which side is your father on?"  The wife says her father-in-law is on the side of the French.  This makes Javier mad and he tells her to never say that again. 

Goya and Pepa return from their long walk.  His grandson Marianito rushes over to grandfather, who picks the lad up and fondly looks at him.  The boy now asks grandfather about the meaning of the different components of the painting.  Goya explains, for instance, that the dog indicates loyalty.  Goya says:  "All very pretty and fawning.  But we have to eat."  He sits his grandson down on a chair and tells him:  "Flattering the fools will let us do important and secret things."  Then Goya picks up his prints of atrocities and he tells Marianito that these prints are very important.  The prints are full of atrocities:  beheadings, mutilations of dead bodies, torture, etc. 

Goya and other members of the Academy have to swear their loyalty and faithfulness to King Joseph Napoleon I.  Iriarte is the first to take the oath. 

Leocadia brings her son Guillermo once again to play with Marianito, whose mother Gumersinda tells Leocadia that she brings her son over so often.  The two women and Pepa have hot chocolate to drink.  Pepa's daughter-in-law brings up the humiliating spectacle that Goya has to go through.  Leocadia defends him by asking:  "Isn't all of Madrid swearing allegiance to Joe Bottle (that is Joseph Bonaparte)?"   Pepa comments the Leocadia is right.  She also says that she imagines Goya will have a hard time taking his oath. 

It's Goya's turn to swear loyalty.  He does so without incident. 

Because of the shortage of food the General Charity Boards sets up soup kitchens.  But people are dying everyday.  A cart goes through the streets twice daily to pick up the dead.  Goya walks the streets.  Later he will make prints out of the scenes he sees.

Goya paints General Guya, Field Marshall to His Majesty, King Joseph Bonaparte.  Goya's grandson comes in and asks the General who is he?  The General tells him.  The boy has a toy sword and attacks a chair shouting die infidel.  The General asks is he killing Moors?  The boy says he is killing Frenchmen as it says to do so in the book he has.  This takes the French general aback some.

Gumersinda complains that she can't stand for a French general to be in their home.  Goya with the book in his hands comes in and scolds Gumersinda for letting her son have this book which is full of anti-French sentiment.  He says the book could have caused him and other family members a great deal of suffering.  The feisty daughter-in-law asks:  Isn't it bad enough to have a foreign King and an enemy in the house (Leocadia) that they have to take in a French general too?  The enemy in the house must be Leocadia as she is stopped in her tracks and looks very crushed.   

The mood in the room changes instantly, as Pepa collapses.  They help her to bed.  Gumersinda tells Goya he should leave and let the women takes care of this.  Goya leaves.  Now Gumersinda takes Leocadia to the side and balls her out for her affair with Pepa's husband.  She says Leocadia does not belong in this house and yet she is here way too often.  Lecocadia says she will leave.  Gumersinda refers to her with one word:  "Whore!"

Leocadia goes into tell Goya that Pepa will be alright.  Goya grabs her arms and tells Leocadia that she is so nice.  Javier comes into the room at this moment not looking too pleased.  Leocadia tells Javier that his mother fainted, but she will be okay.   Leocadia leaves.  Javier complains that Leocadia walks around the house as if it were her own.  Father tells him not to interfere.  So Javier tells him that the bookseller told him that he would not be able to sell the prints on the atrocities of war.  Neither the French or the Spanish like the prints.  Goya responds:  "I didn't make them to be liked by the good nor the evil."   Javier advises him to paint neutral subjects like bullfighting.  His father tells him that it is his duty to paint and print statements against the atrocities of the war. 

Goya is one of five men granted medals by King Joseph for their outstanding achievements.  On Goya's trip back to his home he sees the French abusing Spanish prisoners.  When he gets home, Leocadia and her son are waiting for Goya.  She says her husband accused her of infidelity and then threw her out.  And now she asks Goya what is she to do?  Goya indicates that he can't take her into his home. 

Goya talks with some of his friends about the continued Spanish resistance against the occupation and what Wellington and the English troops might be doing right now?  There's a lot of talking at the front door of the tavern and Moratin goes to find out what's happening.  He returns saying that Wellington and the warriors have defeated the French in the Arapiles.  (In the Battle of Salamanca an Anglo-Portuguese and Spanish army under the Duke of Wellington defeated Marshal Auguste Marmont's French forces among the hills around Arapiles south of Salamanca, Spain on July 22, 1812 during the Peninsular War.)  The rumor is that King Joseph has fled Spain.

Moratin says that they must flee for they are known as men who admired the French before the occupation of Spain.  The priest at the table says if they don't call them traitors, then they will call them "Francophiles".  Goya says:  "It's the beginning of the end."  He says that he personally is staying and will accept whatever comes his way. 

Gumersinda tells Pepa, who is still in bed, that they have defeated Napoleon and now King Ferdinand VII will be coming back.  She is eager for revenge now on the Francophiles.  Leocadia comes in, so Gumersinda leaves. 

Gumersinda bitterly complains to Javier about Leocadia.  She says it was right that Leocadia's husband threw her out.  At this point, Goya appears.  He says:  "Wellington is at the gates of Madrid.  The French are leaving.  We shall have a constitution."  Now he goes in to tell Pepa about what has happened. 

1812.  A crowd shouts:  "Long live the Constitution!  Long live Wellington!"  Goya hurriedly modifies his painting for the French by painting out the face of King Joseph I. 

Wellington comes along with many others to Goya's place.  A Spanish spokesman says that the people want to offer Wellington a portrait of himself by Goya.  Wellington says it has to be quick, because he is very busy.  Goya comments to himself:  "Such vanity!"

The next day Javier comes into his father's studio.  There he sees the finished portrait of Wellington on horseback.  He asks father how could he have done all this in one night?  Goya says he took an old painting and left the horse and boots the same, but changed riders from Godoy to Wellington.  Leocadia comes in.  It's obvious she has been crying.  She says:  "Pepa."  She sits down and cries.

A funeral is held for Pepa.  That night Leocadia comes into Goya's studio. She finds the great man sitting and staring at the portrait of the Duchess of Alba.  Goya leaves the room. 

At breakfast Gumersinda tells her father-in-law that Leocadia is pregnant and he must make a decision of what to do with her.  She says Leocadia sleeps with other men.  Her badgering makes him angry and he knocks some dishware off the table and onto the floor.  Gumersinda leaves the table and the room. 

A priest, who Goya knew as a young boy, is now in charge of the realm until the Spanish king returns.  Goya has written a letter to him asking permission to paint two works of art to mark the welcoming entrance for the day of the return of King Ferdinand VII.  The priest wants to know directly from Goya which heroes will he paint?  Goya says he will paint the real heroes:  the common people of Spain.   

1814.  Goya paints The Third of May, 1808 with common Spanish people being shot down by a French firing squad.  The other painting is The Second of May, 1808 picturing the fight against the Soave soldiers in the square. 

Javier tells his father that he doesn't think King Ferdinand and his people are going to like his paintings.  The King has just declared the Constitution of 1812 null and void.  Leocadia comes in with more bad news.  The King is determined to have the Court cleansed of liberals before he returns.  There have been some arrests made already.  She starts shouting at Goya:  don't you hear me?;  is she on the outs with him?;  is that because she is pregnant?; or doesn't he think the child is his?  Goya tells her that no woman has ever shouted in this house before.  He will take care of her children.  "So shut up and leave me alone!"  Leocadia leaves. 

And now Goya has to change An Allegory of Madrid again.  He paints over the word constitution written on the drum in the painting.    Everyone is abuzz waiting for the arrival of the King.  "The monarch is restored."  Church bells ring throughout Madrid. Goya paints over the face of King Joseph I to replace it with the face of King Ferdinand VII. 

Javier comes in and tells his father that the King is having a purification trial and he has summoned father.  And now the painting The Naked Maja is discovered among Godoy's possessions.

A priest named Duaso tells Paco that he will have to appear before two tribunals: one before the King and one before the Inquisition.  He has to go before the Inquisition because he painted the nude, which they regard as lascivious.  Goya says he is tired of a lifetime of having to explain himself and his paintings to one influential person after another.   

Back home Javier tells his dad that he is accused of having picked out 50 Spanish art masterpieces to be sent to Paris.  Goya says that he deceived the French.  He chose the cheapest of art works by second rate artists. Goya hears a baby crying.  Javier says that dad is going to be a father again. 

Goya goes before the Inquisition.  They not only want to hear about his nude painting, but also about what they call his Francophile paintings of Frenchmen and collaborating Spanish men.  Goya says he stopped receiving his salary as First Court Painter.  He painted out of necessity. 

Goya tells priest Duaso that all of a sudden the Inquisition and the Purification trials were just cancelled for him.  He says he is now purified and he is getting his salary.  Duaso says that he told Goya that things were not as bad as they seemed.  Goya says that the King hates his paintings.  He tells the priest:  "My golden age is over."  And now he just wants to leave Madrid and disappear. 

He sees a man chopping wood in the little woods behind his house.  Goya asks him whose house is that.  The man says it belonged to a deaf man.  No one remembers him now.  And now the place is abandoned.  What was the house called?  The man says the Manor of the Deaf Man.  Goya says to himself:  "The Deaf Man's Manor."  He has a slight smile when he adds:  "No one remembers him."


Episode 6.   The Deaf Man's Manor.

1819.  Goya sits behind the manor house in the garden with his granddaughter.  A man named Tiburcio comes to visit him.  He asks for Lady Leocadia, but Goya just says she's busy with her usual routines.  The man is ready to build a gardener's house and add a new bedroom onto the manor house. 

At night Goya and Leocadia sleep in the same bed.  The have sex (not shown). 

Goya says that this modern era is without freedom. 

King Ferdinand VII tells Vicente Lopez that he is going to give Madrid the best museum in Europe.  It will be called the Prado Museum of Art.  He tells Lopez that there are too many Goyas in the museum.  After all, the man hasn't been to the palace in years.  After Lopez leaves, the King says:  "The Goya Affair is over."

The King learns that the expeditionary force going to America is restless:  the masons irritate them and the troops are afraid of the water.  The King says that means that the expedition must begin immediately or there might be some unrest.  And he wants the command Riego watched.

Cabezas de San Juan, 1820.  The commanders gives a speech to the troops  Someone shouts:  "Viva Riego!" 

Spanish Civil War, 1820-1823. 

The young Guillermo says that it is said that Riego and the rebels are going to lose.  Goya says that for two months Riego has been roaming around Andalusia.

A storm opens up.  A coach arrives at the deaf man's house and a woman gets out.  She is escorted to the door.  Goya goes downstairs and sees Leocadia.  She says:  "Riego has finally won.  The King has agreed.  We shall have a constitution."    Paco just keeps looking at her.  He grabs her arm and pushes her out of his way saying:  "Whore!  You're all the same, witches."  Leocadia decides to get out of there. 

Paco goes back to his desk.  He feels bad and he has been having a very dark period in which he portrays dark scenes of people screaming (precursor of Expressionism).  He even seems to be haunted by these paintings. 

In the morning the servants finds Goya on the floor.  A doctor is called.  The doctor says that Don Paco is having a relapse of an illness he suffered 30 years ago.  The man is close to death and yet he is as strong as an ox. 

Father Duosa arrives to try to comfort the restless artist.  Gumersinda says to her husband, what a scandal and that he should have sent Leocadia packing already.  Javier says now is not the time to talk about the subject.  The priest comes out saying that he can guarantee that Goya will not die from this illness.  He looks at a painting by Goya of the last communion of St. Joseph and just loves it.  But Javier shows him the dark, pessimistic prints that Goya has produced.  He says his father is tormented by terrible nightmares. 

The male servant accompanies Goya on his long walk about the manor.  Paco decides to try to sell his prints of the atrocities he saw during the French occupation of Spain.  Lopez says the prints are too "terrifying".  But now the liberals are in power in Spain.  Lopez doesn't think that will make any difference.  He says:  "Some things never change."  Goya has to go in and take another oath for another government. 

At home he gives his doctor a small painting he did.  The doctor thanks him for it.  Goya says:  "And now I have nothing to paint."  The doctor, of course, disagrees with that.   Goya is being still bothered by cruel images that pop into his head.  He says:  "It's night in here, though I don't sleep."  And when he does sleep he is bother by nightmares. The doctor suggests that he paint his nightmares to help him get the images out of his head.  Paco likes that:  "Paint my demons."

He puts canvas up against the entire wall of one side of his room and starts sketching and painting his demons. Lecocadia comes into the room.  She goes over and take his dinner away reproaching him for not eating much. 

Late at night Leocadia comes in again and asks him to come to bed.  He suddenly grabs her and she tells him to release her.  She asks if he has gone mad?  He tells her to bring him more wine and pushes her towards the door. 

Goya finishes a painting of a heavy woman in a black dress with Leocadia's face.  She appears to be leaning against a tomb.  Now he grabs Leocadia from her sleep and shows her the painting.  Leocadia is a bit scared of what this all means.  She asks who is she mourning for?  She starts to cry and runs back to the bedroom. 

Leocadia thinks that painting is driving Paco mad.  She asks her daughter to talk to him, for Paco only listens to the child, and tell him to stop painting.   Goya is painting a gruesome portrait Saturn Devouring One of His Children.  

In the legislative body Gen. Riego has the floor.  He speaks out against the King and the Royalist sedition.  Someone shouts:  "The constitution or death!"  Leocadia is flirting with one of the fellows in the legislature. 

1823.  Guillermo and Marianito argue vehemently about politics.  The discussion is continued at dinner.  Goya is not saying much of anything.  Many people are engaging in the argument, but it is about to get out of hand between Guillermo and Marianito.  Suddenly, Goya pounds on the table and asks the boys how dare they fight like this in his house?  Today is Marianito's name day and not the start of a civil war. 

Goya looks out the window and wonders what Leocadia is whispering to Marianito.  She goes back into the house.  Marianito whistles and three fellows dressed in black come out of hiding and they all head for the house.  Goya goes downstairs and asks Leocadia who are these young fellows?  Leocadia says they are Spaniards who are in trouble.  St. Louis' Hundred Thousand (the popular name for a French army mobilized by French King Louis XVIII to restore King Ferdinand VII of Spain to absolute power of which he had been deprived during the Liberal Triennium, the civil war) are almost in Madrid.  Goya tells Leocadia to get those fellows out of his house and to tell Guillermo to take off his uniform. 

Marianito and a friend are on a mission to spread leaflets when they are confronted by two French soldiers.  Marianito knocks one of them down and then stabs the next man.  Another soldier shoot Marianito's friend in the leg.  He tries to help his friend up, but he is too badly wounded.  Marianito runs for it. 

Riego has been arrested.  Priest Duosa tells Goya that he must hide his secret work (almost a thousand drawings) for these are dangerous times.  Duosa now says that it will be a honor for him to keep these drawings in his own house.  Goya says that he spent half his life on these drawings.  He adds that this reveals the other half of his self and his art.  Javier tells the priest that the authorities are looking for Leocadia and her son Guillermo.  Duosa tells Goya to get the pair out of Spain. 

November 7, 1823.  Riego is hanged. 

Tiburcio has come with a coach to take Leocadia and Guillermo out of Spain.  He tells Leocadia that Madrid is suffering from a riot.  Tiburcio also warns Goya that they are going to confiscate all the goods of the Liberals.  At any moment they could come and take his house from him. 

Javier and Gumarsinda come to Goya's house.  They see black crosses painted on the outside walls of the house.  Javier tells his wife that since they hung Riego, the servile are going around all over Madrid painting crosses on the walls of the houses of the Liberals.  It is used a a threat to the Liberals.  He adds:  "No one is safe."  They go inside the house.  Goya is packing up his paintings.  He says that Tiburcio has taken Rosarito already and he will stay with Father Duosa tonight.     

Goya now tells Javier that he has given the house to Marianito.  Thereby, the authorities won't be able to take Goya's house from him. 

Duosa tells Goya that he could set up a studio here.  Goya says no.  He is going abroad.  He says Spain does not want him anymore.  He mentions going to France.  Goya then falls asleep and dreams of the highlights of his career. 

Later Duosa tells Goya that they finally have some good news.  The Spanish King has agreed to an amnesty. 

A young fellow is writing down a letter from Goya to the King.  Between written sentences, the artists complains of all the time he lost having to beg for permission to paint his way and, thereby, making himself look like a fool.  In the letter he mentions that he will take the waters at Plombiers, France. 

The King figures that Goya wants to flee to France.  The King thinks about it and decides to let him go to France. 

Javier closes up the house.  Turbicio is there to take Goya away.  He sees how sad the old man is and tells him to cheer up.  His daughter will be with him soon.  And Leocadia will come to see him.  Goya tells Turbicio that, thanks to the king, he still has his post and his salary.  He asks what was all that in-fighting in Spain all about?  Of what worth was it? 

Goya gets in the coach.  He tells Javier that he will set up a lithography workshop in Bordeaux.  Goodbyes are said and the coach pulls away.  They head up into the Pyrenees, covered with snow.  They reach the border and are allowed to pass.   


Partly because it's a longer film, this film of Goya is probably the best one to watch.  There are lots of references to Spanish history for Goya's life extended over the reigns of four different monarchs.  And Goya was very involved in politics.  He used some of his paintings as political statements against the atrocities committed by governments.  He especially did this in his Caprichos and The Atrocities of War.  There are six episodes or chapters and that makes room for an in-depth look at Goya.  One of the eras covered in the film is the Napoleonic Age.  Spain continued its resistance against French occupation and at one time tied up half of Napleon's armed forces.  Enric Majó (as Goya) and Laura Morante as the Duchess of Alba) were both very good in their roles. 

Patrick Louis Cooney, Ph. D. 


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