Criticism of false beliefs is one of the core topics of the Caprichos series. Goya here portrays a repugnant manner of obtaining teeth from a hanged man, since they were very popular for casting magic spells to attract men as it was assumed that they would transmit the dead man´s strength. Goya presents a scene with a noticeable diagonal composition which creates a scene of instability, while showing the horrified face of the woman, unable even to look directly or touch the hanged man, who is shown with his neck dislocated.

On February 6, 1799, an advertisement was published in the Diario de Madrid announcing that the eighty etchings constituting the Caprichos series were up for sale.

As mentioned in the announcement, the Caprichos are above all a work of satire, designed to criticize man´s vices and the absurdities of human behavior. The etchings can be grouped around four main themes unquestionably critical in tone. The first one deals with deception in relationship between men and women: courtship, prostitution and marriage of convenience. The second group satirizes poor education and ignorance, and shows the consequences of misguided teachings, using superstition and witchcraft as the supreme manifestation of a lack of appropriate instruction. The third is a condemnation of vice, present in civil society and the clergy. And finally there is his protest against the abuses of power: the Inquisition, the arrogance of the ruling classes, the exploitation of the people and the injustices of the law.

Goya produced preparatory drawings for all the etchings, although some have still not been found. After the initial series of drawings for Dreams, produced with pen and ink, he used red chalk almost exclusively so he could transfer them to etchings as faithfully as possible.

Matilla Rodríguez, José Manuel, Ligereza y atrevimiento. Dibujos de Goya, Santander, Fundación Botín, 2017, p.78-79 n.36; 176-177 n.36