The expressive body in Goya's Saint Francis Borgia at the Deathbed of an Impenitent

32. Ibid., vol. 1, n.p. This definition, with a reference to Palomino, is repeated by Rejon de Silva in his Diccionario de las Nobles Artes para instruccion de los aficionados, y uso de los profesores (Segovia: Antonio Espinosa, 1788), 106. In a similar text, Francisco Martinez discusses expression in his entry on sculpture; Martinez, Introduccion al conocimiento de las bellas artes . . . . (Madrid: Viuda Escribano, 1788), 161-65.

33. Palomino (as in n. 31), vol. 2, 110.

34. Ibid., 111.

35. Ibid., 113.

36. On this painting, see Perez Sanchez and Sayre (as in n. 4), 8-11; and Tomlinson, 131-34.

37. On Mengs in Spain, see F. J. Sanchez Canton, Anton Rafael Mengs, exh. cat., Museo del Prado, Madrid, 1929; Thomas Oberlin Pelzel, "Anton Raphael Mengs and Neoclassicism: His Art, His Influence and His Reputation," Ph.D. diss., Princeton University, 1968; Bedat, passim; Mercedes Agueda, Anton Rafael Mengs, exh. cat., Museo del Prado, Madrid, 1980; Ubeda, 1988 (as in n. 15), 490-515; and Jose Luis Morales y Marin, Pintura en Espana (Madrid: Catedra, 1994), 15-23, 116-25, and passim. For a brief overview of his aesthetic thought, see Moshe Barasch, Modern Theories of Art, vol. 1, From Winckelmann to Baudelaire (New York: New York University, 1990), 90-95, 395-96.

38. Anton Raphael Mengs, Obras de D. Antonio Rafael Mengs, Primer Pintor de Camara del Rey, trans. Jose Nicolas de Azara (Madrid: Imprenta de la Gazeta, 1780).

39. Gaspar Melchor de Jovellanos, "Elogio de las bellas artes," Obras publicadas e ineditas de D. Gaspar Melchor de Jovellanos, Biblioteca de autores espafioles, vol. 46 (Madrid: M. Rivadeneyra, 1858), 360.

40. Bedat, 225.

41. Ibid., 272; Morales y Marin (as in n. 37), 137-77; and idem, 1984 (as in n. 5), 117-56.

42. Ponz, 569.

43. Ibid., 581. Mengs offers similar praise for Raphael's art in "Pensamientos sobre los grandes pintores Rafael, Corregio, Tiziano, y los antiguos," in Mengs (as in n. 38), 87-155; see in particular "Composicion de Rafael," 108-14. This volume also includes a reprint of the 1776 letter to Ponz (199-240).

44. In 1752-53 Mengs had executed a nearly life-size copy of the School of Athens for Northumberland House (now in the collection of the Victoria and Albert Museum, London). See Steffi Roettgen, Anton Raphael Mengs 1728-1779 and His British Patrons (London: A. Zwemmer, 1993), 11-12.

45. Rejon de Silva (as in n. 25), 24.

46. On the holdings of the Royal Academy of S. Fernando library, see Claude Bedat, "La biblioteca de la Real Academia de San Fernando en 1793," Academia: Boletin de la R.A.B.A.S.F. 25 (1967): 5-52, and 26 (1968): 31-86. All of the Spanish texts mentioned here, with the exception of Zeglirscosac (as in n. 28) appear in this inventory. For prints after Raphael, see nos. 376, 378, 380-82.

See also Bedat, 265-69.

47. Archive of R.A.B.A.S.F., 18-14/1.

48. Morales y Marin (as in n. 37), 134; and Agueda (as in n. 37), 108.

49. G-W 88-117.

50. "Reflexiones sobre la belleza y gusto en la pintura," in Mengs (as in n. 38), 20.