A preparatory drawing for Disasters of War, 61, Perhaps they are of another breed. In a densely atmospheric urban setting barely sketched in with light architectural references, Goya shows the path from hunger to death: those who beg on the streets, those who barely survive on charity, the dying, and once again, the dead. For the first time in art, Goya focuses especially on hunger, and thus, the seventeen prints that depict the suffering in Madrid become a modern version of The four horsemen of the Apocalypse, with their combination of war, hunger, pestilence and death. While the previous prints convey the dichotomy generated by violence between victims and victimizers; here, Goya shows us how hunger does not affect everyone in the same way, distinguishing between its suffering victims and the privileged, who avoid it and even use it to their benefit. Thus, Goya reiterates his criticism. The title is aimed in this direction and reinforced by the word “Perhaps,” which serves to emphasize the expression here. As usual, however, Goya uses the title as a call for thought. To whom is he referring? Who is of another breed? Those who beg for help on the street, dressed in rags, starving, extenuated and already half dead? Or the group of elegant people that includes two men dressed in the English style, with two-cornered carrik hats or top hats and their companions—the beautiful young women barely visible behind them—before whom they adopt the proud and uncaring attitude conveyed by their facial expressions? (Text from: Matilla, J.M.: Si son de otro linage, in: Goya en tiempos de Guerra, Madrid, Museo Nacional del Prado, 2008, p. 324)