# Friar Pedro Shoots El Maragato as His Horse Runs Off

- By: Francisco José de Goya y Lucientes (Spanish, 1746–1828)
- Date: c. 1806
- Medium: Oil on panel
- Classification: Painting
- Dimensions: 29.2 × 38.5 cm (11 1/2 × 15 5/8 in.); Framed: 41.3 × 51.4 × 6.4 cm (16 1/4 × 20 1/4 × 2 1/2 in.)
- Culture: Spain
- Credit line: Mr. and Mrs. Martin A. Ryerson Collection
- Museum: [Art Institute of Chicago](https://www.artic.edu/artworks/16362)
- Rights: [Public domain (CC0)](https://creativecommons.org/publicdomain/zero/1.0/)
- Picture: https://www.artic.edu/iiif/2/622998f1-73f9-4c96-08cf-60bda7c9ce4b/full/!1920,1080/0/default.jpg
- Who can see it: Adult profiles and older (museums give no ratings; placed by Invisible Network from the museum's own words)

In the summer of 1806 in Spain, on the run after a prison escape, the dreaded bandit El Maragato overtook a family in their home and held them hostage. Among the family members was Pedro de Zaldivia, a lay Franciscan brother who stopped by the house to beg for alms. The humble monk ended up turning the tables on his captor, seizing El Maragato’s rifle and shooting him in the thigh to subdue him before he could grab another gun from his horse. The story of the heroic friar swept through Spain, not only via reports in newspapers and pamphlets but also in ballads and prints.

Although at the time Francisco Goya was chief painter to the Spanish king, he was interested in the range of human experience, including current events, and the tale of Zaldivia and El Maragato evidently captured his imagination. This small, lively painting belongs to a series of six at the Art Institute, which, like a modern-day comic strip, dramatically illustrates the story. The climactic scene here presents the bandit’s degrading and humorous downfall. As in all the panels, Goya’s broad, quick brushwork dispenses with unnecessary detail to pinpoint the essential drama of the moment.

This narrative series…

Description © Art Institute of Chicago, CC BY 4.0