Goya's model for his visual indictment of war and its horrors was the Spanish insurrection of 1808 and the resulting Peninsular War with Napoleonic France. The bloody conflict and the horrible famine of Madrid were witnessed by Goya himself, or were revealed to him from the accounts of friends and contemporaries. From 1810 to 1820, he worked to immortalize them in a series of etchings.The artist himself never saw the results. The etchings were not published until 1863, some 35 years after his death. By then, the passions of the Napoleonic era had subsided and the satirical implications in Goya's work were less likely to offend. The Dover edition reproduces in its original size the second state of this first edition, which contained 80 prints. Three additional prints not in the 1863 edition are also included here, making this the most complete collection possible of the etchings Goya intended for this series. The bitter, biting captions are reprinted, along with the new English translations, as are the original title page and preface.

    Col. Arthur J. L. Fremantle of the British Coldstream Guards toured the Confederacy. Mildly predisposed toward the Union side because of his dislike of slavery, he was soon awakened to the gallantry of Jefferson Davis, Robert E. Lee and his generals, ordinary Johnny Rebs, and the women left at home. From April to early July 1863—the critical period of campaigns at Vicksburg, Chancellorsville, and Gettysburg—Fremantle traveled from the Texas frontier to northern Virginia, recording in a diary his experience of the war. Three Months in the Southern States, published upon his return to England later in the year, has long been considered a classic of wartime writing, especially in its description of the Battle of Gettysburg. Filled with biographical vignettes of Lee, Davis, Stonewall Jackson, Sam Houston, and others, this book offers a kaleidoscopic view of the Confederacy at floodtide.