Witches' Sabbath (The Great He-Goat) placing their faith in ghouls, quack doctors and tyrants. Goya had used witchcraft imagery in his 1797–98 "Caprichos" print series, and in his similarly titled 1789 painting "Witches' Sabbath". In both the 1789 and 1822 Sabbath pictures, the Devil is presented as a goat surrounded by a ring of terrified women. The earlier painting uses witchcraft imagery in a manner that inverts the order of traditional Christian iconography. The goat extends his left rather than right hoof towards the child, the quarter moon faces out at the left hand corner of the canvas. These inversions may be metaphor for the
Witches' Sabbath (The Great He-Goat) and "Judith and Holofernes". "Leocadia", "Two Old Men" and "Two Old Men Eating Soup" were on the left wall. Art historian Lawrence Gowing observed that the lower floor was divided thematically, with a male side – "Saturn" and "A Pilgrimage to San Isidro" – and a female side – "Judith and Holofernes", "Witches' Sabbath" and "Leocadia". The house changed owners a number of times before March 1873, when it came into the possession of the Belgian Frédéric Émile d'Erlanger, who speculated that the area would appreciate in value over the coming years. The murals had deteriorated badly after many years