Witches' Sabbath (Goya, 1798) feature of Romanticism, and is to be found for example in Weber's opera "Der Freischütz". However, in a Spanish context, Goya's paintings have been seen as a protest against those who upheld and enforced the values of the Spanish Inquisition, which had been active in Witch hunting during the seventeenth-century Basque witch trials. The later "Witches Sabbath" was painted as a bitter struggle raged between liberals and those in favour of a church and a royalist-lead state, which culminated in the so-called Ominous Decade (1823-1833). Both paintings can be seen as an attack on the superstitious beliefs rife in Spain
James Roberts (painter) was the reason her father agreed to sit for Roberts, that the result was uncharacteristic, and that the book shown was a novel. Roberts was also a scene painter at Blenheim Palace, in 1788 and 1789. In 1789 he was designer for "The Maid of the Oaks", and "False Appearances". a translation by Henry Seymour Conway of "Trompeurs Dehors" by Louis de Boissy. By 1795, Roberts had an appointment as portrait painter to the Duke of Clarence. He exhibited again annually at the Royal Academy from 1795 to 1799. The National Portrait Gallery, London holds 52 portraits by Roberts or