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[Music] In the 18th century in Spain, it was widely believed that witches could influence nearly every aspect of daily life. Curses and spells were thought to bring misfortune to ordinary people. Nightly gatherings, ceremonies, and so-called sabbaths were described as rituals in which witches would gather to worship the devil and perform acts of black magic. In 1797, Francisco de Goya drew on these popular beliefs to create one of the most terrifying paintings of his career. In Witch's Sabbath, Goya depicts a witchcraft ritual presided over by a goat-like entity, with a circle of witches offering what appear to be human bodies. But why did Goya choose to portray the scene in this way? Why is the devil depicted as a goat, and most disturbingly, why are children being offered to this creature? In this video, we will thoroughly explore this painting and reveal its true background. As Goya was neither superstitious nor a believer in such rituals, his intent with this painting was much deeper than merely highlighting these legends. Let's [Music] begin. In 18th-century Spanish society, beliefs in witches and witchcraft were deeply ingrained in popular culture. These figures were greatly feared by the common people, and there was even a belief that witches held nocturnal gatherings described as rituals where they congregated to worship the devil. However, the fear of witchcraft was not solely a Spanish phenomenon but was widespread throughout Europe. In Spain, the Inquisition played a crucial role in the perpetuation and eventual persecution of these beliefs. Since its establishment in 1478, the Spanish Inquisition dedicated itself to eradicating what it considered heresies, including witchcraft. Despite the Inquisition's efforts to maintain strict control over these practices, many of these beliefs remained alive among the population. A prominent figure in the fight against these superstitions was Pedro Ciruelo, a 16th-century theologian who wrote extensively about the need to educate the people to eradicate witchcraft. In one of his most renowned works, Ciruelo argued that many of the practices attributed to witches were products of ignorance and superstition rather than any real power. His work influenced how the Inquisition and Spanish society approached witchcraft. Although popular beliefs persisted for centuries, during the Age of Enlightenment, the philosophy of the Enlightenment began to impact the wealthy elites of Europe, including Spain. This new perspective promoted reason and scientific knowledge over superstition and ignorance. Belief in witchcraft began to be seen as a practice of the less educated classes. Francisco de Goya, a prominent painter and member of enlightened Spanish society, reflected this struggle between reason and superstition in his work. Beyond being recognized as a painter of the Spanish monarchy and for his famous black paintings created in the later years of his life, Goya is also remembered for addressing controversial themes such as witchcraft. At the time Goya explored this theme, his life had not yet been profoundly affected by the horrors of war. However, the style he used to depict these terrifying scenes does not differ much from the style seen in his famous black paintings. Goya's fascination with the supernatural and the irrational was born during a period of significant political and social upheaval in Spain. The artist used witchcraft as a means to criticize the ignorance and superstition that plagued society, particularly during the final years of the Spanish Inquisition. The first painting in which Goya depicted the theme of witchcraft was Witch's Sabbath, created around 1797. This painting was part of a series commissioned by the Dukes of Osuna, a noble family known for their interest in art and their support of artists. The series was intended to decorate their country house, the Alameda de Osuna, and consisted of six paintings, all centered on themes of witchcraft and superstition. The purpose of this series of paintings was twofold. On one hand, it reflected high society's interest in esoteric and mystical themes, which were popular at the time. On the other hand, it served as a critique of the irrationality and superstition that continued to dominate much of everyday life in Spain despite the advances of the Enlightenment. Goya, being a man of enlightened thought, saw in these themes an opportunity to express his revulsion towards superstitious beliefs and obscurantist practices. The public acceptance of Goya's witchcraft paintings was varied. While his patrons and high society appreciated the artistic mastery and provocative content of the works, reactions from the general public were more mixed. Some viewed the paintings with fascination and curiosity, while others found them unsettling and disturbing. Without a doubt, the most disturbing and talked-about painting is Witch's Sabbath. In the center of the scene, illuminated by moonlight, a witchcraft ritual is taking place. The devil, in the form of a goat, leads a circle of witches. In front of him, a woman offers him a newborn, while an old woman holds a skeletal child. Behind the goat, another woman holds a rod with human fetuses hanging from it. In the background, a group of women in white robes, illuminated by a halo of light, have bats flying over their heads. What could all this mean? Before answering this question, I'd like to tell you about something special. If you've reached this point in the video, it's because you have a passion for art. That's why I invite you to visit our catalog, where you'll find over 300 historical paintings like this one, personally selected by me for you to collect and display in your home. Each product is made to be a faithful reproduction of the original work, allowing you to hang it on your wall for a lifetime. You also have the option to buy your favorite painting as a phone case, so you can protect your phone while carrying a piece of art in your pocket. Over 1,000 people have supported the channel by purchasing from our store. I invite you to visit the catalog once you finish watching this video and place an order if you want to support the channel and have a painting like this in your home. Shipping is completely free worldwide. You'll find a link in the description. In the center of the painting is the demon depicted as a goat because that was the way to represent him in the 18th century. In the painting, this creature is the alpha male whom the witches worship during the ritual. But unlike what you might think, this scene is not a gathering to make magic potions. As the vine leaves on its horns indicate, it is also a bacchanal. This interpretation is based on the traditional association of vine leaves with Bacchus, the god of wine, fertility, and ecstasy. Bacchanals were festivals dedicated to Bacchus and were characterized by an atmosphere of revelry and excessive celebrations, including sexual relations. The women surrounding the demon are the witches. They pay homage to and worship him by offering babies, as they are considered to have the purest blood, making them the best food for the devil. It is likely that Goya drew inspiration for this painting from a work found in the collection of the Dukes of Osuna. At the time of the commission, this work was a text written by Leandro Fernandez de Moratin that narrates how two women poisoned their children to satisfy the demon's request. However, it is also possible that these witches snatched the newborns from their mothers. The outcome of this ritual is evident in the corpses scattered around the scene. This indicates that the goat had quite a feast. He even has a rod with deceased babies ready to be devoured, as we can tell from the gray color Goya used for their skin, indicating these bodies are lifeless. Some of the witches are semi-nude; others are in suggestive poses. All of this alludes, without being overtly explicit, to the idea of a bacchanal. In a witch's Sabbath, they are not just his subjects but also have a sexual relationship with him. The witches are old, ugly, some ghostly because their faces are ba-
