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And to serenade: for what does it matter to a deaf man that the guitar has no strings?" Now, in this darker painting, the procession may be leading up to this very house and into Goya's haunted imagination.

The locale of Goya's house, which was the repository for his Black Paintings, had approximately the same vantage point in which we view the pilgrims in his earlier tapestry cartoon. The topic of the procession was used to emphasize theatrical or satirical aspects in this respect the picture has parallels to The Burial of the Sardine, painted between 18. In the foreground a group of humble extraction appears, while farther into the background top hats and nuns' habits can be seen.

Figures from diverse social strata also figure in the painting. If the earlier work was a question of depicting the customs of a traditional holiday in Madrid and providing a reasonably accurate view of the city, the present painting depicts a group of prominent figures in the night, apparently intoxicated and singing with distorted faces. Ī Pilgrimage to San Isidro shows a view of the pilgrimage towards San Isidro's Hermitage of Madrid that is totally opposite to Goya's treatment of the same subject thirty years earlier in The Meadow of San Isidro. The owner, Baron Emile d'Erlanger, donated the canvases to the Spanish state in 1881, and they are now on display at the Museo del Prado.

Like the other Black Paintings, it was transferred to canvas in 1873–74 under the supervision of Salvador Martínez Cubells, a curator at the Museo del Prado. It probably occupied a wall on the first floor of the house, opposite The Great He-Goat. A Pilgrimage to San Isidro (Spanish: La romería de San Isidro) is one of the Black Paintings painted by Francisco de Goya between 1819–23 on the interior walls of the house known as Quinta del Sordo ("The House of the Deaf Man") that he purchased in 1819.
