Plate 12 from "La Tauromaquia": The crowd hamstrings the bull with lances, sickles, banderillas and other arms
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Providermetmuseum
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subject_creditlineRogers Fund, 1921
subject_titlePlate 12 from "La Tauromaquia": The crowd hamstrings the bull with lances, sickles, banderillas and other arms
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subject_creditlineBullfights: The Rabble Hamstringing the Bull with Lances, Sickles, Banderillas and Other Arms, 1816, printed 1876. Francisco de Goya (Spanish, 1746–1828). Engraving. The Cleveland Museum of Art, Charles W. Harkness Endowment Fund, 1923.551
subject_titleBullfights: The Rabble Hamstringing the Bull with Lances, Sickles, Banderillas and Other Arms
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Providermetmuseum
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provider_nameThe Metropolitan Museum of Art
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subject_creditlineRogers Fund, 1921
subject_titlePlate 33 from "La Tauromaquia": The unlucky death of Pepe Illo in the ring at Madrid
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Providermetmuseum
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provider_nameThe Metropolitan Museum of Art
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subject_creditlineRogers Fund, 1921
subject_titlePlate 30 from "La Tauromaquia": Pedro Romero killing the halted bull
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provider_nameThe Metropolitan Museum of Art
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subject_creditlineRogers Fund, 1921
subject_titlePlate 8 from "La Tauromaquia": A Moor caught by the bull in the ring
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Providermetmuseum
Depiction IDmetmuseum:397887:primaryImage
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provider_nameThe Metropolitan Museum of Art
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subject_creditlineRogers Fund, 1921
subject_titlePlate 17 of "La Tauromaquia": The Moors use donkeys as a barrier to defend themselves against the bull whose horns have been tipped with balls
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Providermetmuseum
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subject_creditlineRogers Fund, 1921
subject_titlePlate 31 of "La Tauromaquia": Banderillas with firecrackers
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Providermetmuseum
Depiction IDmetmuseum:365884:primaryImage
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subject_creditlineRogers Fund, 1921
subject_titlePlate 6 from "La Tauromaquia": The Moors make a different play in the ring calling the bull with their burnous
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Providermetmuseum
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subject_creditlineRogers Fund, 1921
subject_titlePlate 14 from "La Tauromaquia": The very skillful student of Falces, wrapped in his cape, tricks the bull with the play of his body
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subject_titlePlate 7 from "La Tauromaquia": Origin of the harpoon or banderillas
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Providermetmuseum
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subject_creditlineRogers Fund, 1921
subject_titlePlate 4 from "La Tauromaquia": They play another with the cape in an enclosure
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subject_titlePlate 5 from "La Tauromaquia": The spirited Moor Gazul is the first to spear bulls according to the rules
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provider_nameThe Metropolitan Museum of Art
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subject_creditlineRogers Fund, 1921
subject_titlePlate 26 from "La Tauromaquia": A picador is unhorsed and falls under the bull
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provider_nameThe Metropolitan Museum of Art
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subject_titlePlate 11 from "La Tauromaquia": The Cid campeador spearing another bull
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subject_creditlineGift of Walter E. Sachs, 1916
subject_titleA Moor Caught by the Bull in the ring, plate 8 from "La Tauromaquia"
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subject_creditlineBullfights: Origin of the Harpoons or Banderillas, 1816, printed 1876. Francisco de Goya (Spanish, 1746–1828). Engraving. The Cleveland Museum of Art, Charles W. Harkness Endowment Fund, 1923.546
subject_titleBullfights: Origin of the Harpoons or Banderillas
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provider_nameThe Metropolitan Museum of Art
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subject_titlePlate 25 from "La Tauromaquia": They loose dogs on the bull
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Providermetmuseum
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subject_creditlineRogers Fund, 1921
subject_titlePlate 13 of "La Tauromaquia": A Spanish mounted knight in the ring breaking short spears without the help of assistants
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subject_creditlineBullfights: The Spirited Moor Gazul is the First to Fight According to the Rules, 1816, printed 1876. Francisco de Goya (Spanish, 1746–1828). Engraving. The Cleveland Museum of Art, Charles W. Harkness Endowment Fund, 1923.544
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Providermetmuseum
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subject_titlePlate 22 from "La Tauromaquia": Manly courage of the celebrated Pajuelera in [the ring] at Zaragoza
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