In this artwork, how is the Leocadia Weiss discussed?
The picture probably depicts Leocadia Weiss (née Zorrilla, 1788–1856) the artist's maid, younger by 35 years, and distant relative, though this identity has been contested. As with any of the paintings from the series, the current title was not Goya's own, and he never mentioned or wrote about any of the Black Paintings. Leocadia was probably similar in features to Goya's first wife Josefa Bayeu, to the extent that one of his well-known portraits bears the cautious title of Josefa Bayeu (or Leocadia Weiss). While Junquera describes the identification of Leocadia as "more romantic ... than a certainty", the work bears strong resemblance to a Goya portrait more or less accepted to be of her, and which was left in her possession following his death.Leocadia, with her daughter Rosario, lived with and cared for Goya after Bayeu's death. She stayed with him in his Quinta del Sordo villa until 1824. Sometime in 1824 Goya lost faith in, or became threatened by, the restored Spanish monarchy's anti-liberal political and social stance, and abandoned Spain to live in France, until his death 1828. Leocadia followed him with Rosario and stayed until his death.Not much is known about her beyond that she had a fiery temperament.  It is known that Leocadia had an unhappy marriage with a jeweler, Isidore Weiss, but had been separated from him since 1811, after he had accused her of "illicit conduct". She had two children before that time, and bore a third, Rosario, in 1814 when she was 26. Isidore was not the father, and it has often been speculated – although with little firm evidence – that the child belonged to Goya. There has been much speculation that Goya and Weiss were romantically linked, and that in this work, she is shown as his widow mourning at his tomb. Others believe the affection between them was platonic and sentimental.From her representations it has been assumed that she was striking looking – if not pretty – and probably in her early 30s at the time of this portrait. She had a strong fiery character; based on Goya's letters, her manner often upset him. Despite the sentiment expressed in a letter in which Goya sent her "a thousand kisses and a thousand things", Leocadia was left nothing in his will.  Mistresses were often omitted in such circumstances. His son Javier, who inherited a large amount of his father's inventory and unsold paintings, but had refused to visit him in Bordeaux, gave her 1,000 francs and pieces of furniture from the home she had shared with his father. 
She wrote to a number of Goya's friends to complain of her exclusion, and that Javier had stolen silverware and pistols from her home. Unfortunately for her, many of her friends were Goya's and by then old men and had died, or died before they could reply. Largely destitute she moved into rented accommodation. In poverty, she passed on her copy of the Caprichos for free. She also sold The Milkmaid of Bordeaux- Goya had told her not to accept less than 'one ounce of gold' - to the Count of Mugurino, but the price she received is lost. Her French pension was cut off shortly after. She possessed a number of Goya's drawings, which she auctioned in 1849; however again it is unknown how much she received for any of them.
Black Paintings Leocadia Weiss Josefa Bayeu The Milkmaid of Bordeaux Quinta del Sordo Rosario Spanish left Bordeaux Caprichos