Que viene el coco.
Here Comes the Bogey-Man.
Francisco de Goya y Lucientes, Los Caprichos, plate 3. Que viene el coco. 1796-97. Etching and burnished aquatint, Museo Nacional del Prado, Madrid.
Nohubo remedio
Nothing Could Be Done about It.
Francisco de Goya y Lucientes, Los Caprichos, plate 24. Nohubo remedio. 1796-97. Etching and burnished aquatint, Museo Nacional del Prado, Madrid.



Porque esconderlos?
Why Hide Them?
Francisco de Goya y Lucientes, Los Caprichos, plate 30. Porque esconderlos? 1796-97. Etching, burnished aquatint and drypoint, Museo Nacional del Prado, Madrid.

Si sabrá mas el discipulo?
Might Not the Pupil Know More?
Francisco de Goya y Lucientes, Los Caprichos, plate 37. Si sabrá mas el discipulo? 1796-97. Etching, aquatint and burin, Museo Nacional del Prado, Madrid.



Aguarda que te unten.
Wait till You've Been Anointed.
Francisco de Goya y Lucientes, Los Caprichos, plate 67. Aguarda que te unten. 1796-97. Etching, burnished aquatint and drypoint. Museo Nacional del Prado, Madrid.

¿No hay quien nos desate?
Can't Anyone Untie Us?
Francisco de Goya y Lucientes, Los Caprichos, plate 75. ¿No hay quien nos desate? 1796-97. Etching and burnished aquatint. Museo Nacional del Prado, Madrid.
Nadie nos ha visto.
No One Has Seen Us.
Francisco de Goya y Lucientes, Los Caprichos, plate 79. Nadie nos ha visto. 1796-97. Etching, burnished aquatint and burin. Museo Nacional del Prado, Madrid.
A caza des dientes.
Out Hunting for Teeth.
Francisco de Goya y Lucientes, Los Caprichos, plate 12. A caza des dientes. 1796-97. Etching, burnished aquatint and burin. Museo Nacional del Prado, Madrid.
Donde vá Mamá?
Where Is Mother Going?
Francisco de Goya y Lucientes, Los Caprichos, plate 65. Donde vá Mamá? 1796-97. Etching, aquatint and drypoint. Museo Nacional del Prado, Madrid.
Sopla.
Blow.
Francisco de Goya y Lucientes, Los Caprichos, plate 69. Sopla. 1796-97. Etching, aquatint, drypoint and burin. Museo Nacional del Prado, Madrid.

Goya published Los Caprichos in 1799. His February 6 announcement in the newspaper Diario de Madrid declared that he had:
chosen as subjects suitable for his work, from the multitude of follies and mistakes common in every civil society and from the vulgar prejudices and lies authorized by custom, ignorance or self-interest, those that he has thought most fit to furnish material for ridicule, and at the same time to exercise the artist’s imagination.
Goya was careful to say that his engravings did not refer to particular individuals, but his contempt for the clergy was undisguised. He withdrew the 240 sets of 80 prints from public sale after only two days. A visitation by the inquisition may have been played into his decision.
