# The Osuna witchcraft cabinet pictures are painted as a private-aristocratic commission that still puts superstition on canvas

Date: 1798

## The fact

The Osuna witch-cabinet is the dated private-to-later-public picture group. [Francisco Goya](/people/francisco-goya)’s documented role is: He painted the small pictures for the Duke and Duchess of Osuna. A private cabinet is not a cheap broadside. Caprichos remain the public print cycle. Do not merge with Caprichos plates. Cabinet versus published set. Later editors, printers, and excavators remain named where they appear. Francisco Goya's documented role is: He painted the small pictures for the Duke and Duchess of Osuna. A private cabinet is not a cheap broadside. Caprichos remain the public print cycle.

## Context

Alameda of the Osunas, Madrid. Inquisition weather is the same decade as Caprichos. Named others on the file: Duke and Duchess of Osuna as patrons. The public setting is the file around 1798-01-01. Unnamed clerks, soldiers, printers, or later editors may appear without becoming this instrument. The instrument stays The Osuna witchcraft cabinet pictures are painted as a private-aristocratic commission that still puts superstition on canvas. The setting of The Osuna witchcraft cabinet pictures are painted as a private-aristocratic commission that still puts superstition on canvas is the public file around 1798-01-01. Shared offices, unnamed crews, printers, or later editors may appear without becoming this instrument. Driver edu-[digital-learning-access](/drivers/edu-digital-learning-access) is attached because the significance names a mechanism from this act, not because a standing list needed coverage.

If a number is not in the two records named above, it is not supplied here.

## Evidence and sources

NGA and Met independently discuss the Osuna witchcraft pictures as Goya commissions of the late 1790s. Official: National Gallery of Art — Francisco de Goya (https://www.nga.gov/collection/artist-info.1353.html; National Gallery of Art). Independent: Met Heilbrunn — Francisco de Goya (https://www.metmuseum.org/toah/hd/goya/hd_goya.htm; Metropolitan Museum of Art). The two URLs are different pages. Where the carrier is a later edition or a received narrative, that limit is stated rather than upgraded to an autograph. Official carrier: National Gallery of Art — Francisco de Goya (https://www.nga.gov/collection/artist-info.1353.html; National Gallery of Art). Independent carrier: Met Heilbrunn — Francisco de Goya (https://www.metmuseum.org/toah/hd/goya/hd_goya.htm; Metropolitan Museum of Art).

Official or archival record: National Gallery of Art — Francisco de Goya (https://www.nga.gov/collection/artist-info.1353.html; National Gallery of Art).

## Significance

Superstition-on-canvas teaching. Welfare reading improving. The attached mechanism is Cabinet pictures of witchcraft as Enlightenment seeing are a limited education path. Lag to any modern indicator is not treated as zero. This path is attached because the mechanism is named from this act, not because a driver list needed coverage. The welfare reading on this path is improving.

Later competitions, monuments, translations, UNESCO listings, museums, and adaptations are not converted into extra lifetime acts.

## What is established and what is not

Private cabinet in his lifetime. Established: a sourced public record of The Osuna witchcraft cabinet pictures are painted as a private-aristocratic commission that still puts superstition on canvas under 1798-01-01. Established: a sourced public record of The Osuna witchcraft cabinet pictures are painted as a private-aristocratic commission that still puts superstition on canvas under 1798-01-01.

The welfare reading used in this dossier is improving. That reading is an impact-path choice, not a property stored on the Fact itself.

Confidence is stated on the impact path, not hidden in adjectives. Do not merge with Caprichos plates. Cabinet versus published set. Mixed effects of The Osuna witchcraft cabinet pictures are painted as a private-aristocratic commission that still puts superstition on canvas are separate paths.

Shared responsibility is part of The Osuna witchcraft cabinet pictures are painted as a private-aristocratic commission that still puts superstition on canvas. Naming Francisco Goya does not delete co-authors, institutions, or later transmitters. The lag from 1798-01-01 to any measured indicator is not treated as zero. Alternative explanations — weather, other armies, later statutes, or independent cultural change — remain live where the sources do not close them.

## People

- Francisco Goya: https://factrail.ai/people/francisco-goya

## Drivers

- Digital Learning Access: https://factrail.ai/drivers/edu-digital-learning-access

## Sources

- https://www.nga.gov/collection/artist-info.1353.html
- https://www.metmuseum.org/toah/hd/goya/hd_goya.htm

## Methodology

https://factrail.ai/methodology

Canonical: https://factrail.ai/facts/goy-osuna-witches-1798