This is the last print included in the 1863 version of Desastres de la Guerra [Disasters of War]. However, two more etchings exist that correspond to plates number 81 and 82, which were part of the album Goya gave to his friend Ceán Bermúdez and were printed for the first time in 1957.

The glowing woman in this etching, who wakes from her slumber and returns to life, is the same woman who appears in plate 79, Murió la verdad [Truth Has Died], in a scene where she is being buried. Here Goya depicted a monk holding a stone in one hand and a small trumpet in the other near a character whose head is shaped like that of a feline or a dog (the dog is a representation of greed). Behind them, one can make out figures resembling vampires. In a somewhat menacing attitude they are all preparing for the woman’s awakening, as if they felt threatened by her resurrection. Enveloped by a luminous halo, she is the only one who brings hope.

This is an allegorical scene that depicts how the war has not only dragged truth down with it, but also reason and moral values. The hope is that truth, reason, and morals will be resurrected. Goya could have also been representing the possibility of Spain’s regeneration if the constitution were to be reestablished.