1. Anyone investigating the Four Cats and Picasso's early life in Barcelona owes enormous debts to Alejandro Cirici Pellicer, Enric Jardí Casany, Marilyn McCully, Josep Palau i Fabre, and, most recently, John Richardson. The earliest studies of the influence that Barcelona's cultural life had on Picasso are Cirici Pellicer's Picasso antes Picasso (Barcelona: Ediciones Iberia, 1946) and its French translation, Picasso avant Picasso , trans. Marguerite de Floris y Ventura Gasol (Geneva: P. Cailler, 1950). Anthony Blunt and Phoebe Pool shifted the focus in 1962 to emphasize the French influences on Picasso's work in their study Picasso: The Formative Years—A Study of His Sources (Greenwich, Conn.: New York Graphic Society, 1962). The seventies saw a rebirth of interest in Picasso's Barcelona days, owing largely to Enric Jardí Casany's study Història de els Quatre Gats (Barcelona: Editorial Aedos, 1972) and Marilyn McCully, whose exhibits, catalogues, and anthologies made clear for an English-speaking audience how important Catalan friends and their work had been for Picasso; see her catalogue Els Quatre Gats: Art in Barcelona Around 1900 (Princeton: Princeton University Press, 1978); her collection A Picasso Anthology: Documents, Criticism, Reminiscences (Princeton: Princeton University Press, 1982); and her introduction to the catalogue entitled Homage to Barcelona: The City and Its Art, 1888-1936 . Of the Catalans, no one has done more than Josep Palau i Fabre to trace Picasso's earliest work; see his Picasso in Catalonia , trans. Kenneth Lyons (Secaucus, N.J.: Chartwell Books, 1974); Picasso i els seus amics catalans (Barcelona: Editorial Aedos, 1971); and Picasso: The Early Years, 1881-1907 (Barcelona: Ediciones Polígrafa, 1985). John Richardson's A Life of Picasso , vol. 1: 1881-1906 , prepared with the collaboration of Marilyn McCully (New York: Random House, 1991), appeared just as my book was going to press. By synthesizing all that has been written about Picasso's early life and dispelling many of the myths to which Picasso happily contributed, Richardson has set a new standard for biographies of Picasso and for studies of the cultural life surrounding him. [BACK]

2. The monumental show on primitivism at the Museum of Modern Art in New York in 1985 acknowledged the impact of non-Western art on Picasso, Matisse, Derain, and other French artists; see the two-volume catalogue edited by William Rubin, "Primitivism" in 20th Century Art (New York: Museum of Modern Art, 1984). One issue that deserves study is the way artists from Ensor and Picasso to Miró and Kandinsky drew on European folk art. [BACK]

3. For a contemporary account of the 1888 exhibition, with its medieval tiles, paintings, and sculpture, see P. del O., "Excursions per l'Exposició—Palau de Bellas Artes—Secció Arqueológica," Esquella de la Torratxa , December 1, 1888, 770-774. [BACK]

4. Rubén Darío, España contemporánea (Paris: Garnier, 1901), 23. [BACK]

5. For reference to Alberto Russinyol's activities in 1909, see Albert Balcells, "La mujer obrera en la industria catalana durante el primer cuarto del siglo XX," in Trabajo industrial y organización obrera en la Cataluña contemporánea (1900-1936) (Barcelona: Editorial Laia, 1974), 62-63. [BACK]

6. Diccionari biogràfic (Barcelona: Editorial Albertí, 1970), 4:172-173. [BACK]

7. McCully, Quatre Gats , 14. [BACK]

8. P.C. y G., "Luis Labarta's Hierros Artísticos , 2 Vols.," Revista de la Asociación Artístico-Arqueológica-Barcelonesa (Barcelona) 3 (1901-1902): 506-508. [BACK]

9. McCully, Quatre Gats , 62. [BACK]

10. M.T. y A., "La Festa Modernista a Sitges," Veu de Catalunya (Barcelona), November 11, 1894, 523; P. del O., "Crónica Forastera," Esquella de la Torratxa , November 9, 1894, 706. [BACK]

11. M.T. y A., "Festa Modernista," 522-523; Josep Pla, Santiago Rusiñol i el seu temps (Barcelona: Edicions Destino, 1981), 121. There is some confusion about the date of the festival. [BACK]

12. John Richardson, "Picasso's Apocalyptic Whorehouse," New York Review of Books 34, no. 7 (April 23, 1987): 40-47. The bibliography on El Greco is enormous, but it is worth singling out Jonathan Brown et al., El Greco of Toledo (Exhibition organized by the Toledo Museum of Art with the Museo del Prado, the National Gallery of Art, and the Dallas Museum of Fine Arts) (Boston: Little, Brown, 1982). [BACK]

13. Pla, Santiago Rusiñol , 123. [BACK]

14. Festa Modernista del Cau Ferrat. Tercer any (Certamen literari celebrat a Sitges el 4 [9?] de noviembre de 1894) (Barcelona: Tipografía L'Avenç , 1895), 8-15. [BACK]

15. Carles Capdevila, "Santiago Rossinyol," Revista de Catalunya 13, no. 70 (June 1931): 490-491. [BACK]

16. McCully, Quatre Gats , 112. [BACK]

17. My reflections about the importance of darkness and the somnambulant state of the movie viewer derive from Stanley Cavell, The World Viewed: Reflections on the Ontology of Film (Cambridge, Mass.: Harvard University Press, 1979). [BACK]

18. Joan Amades, Titelles i ombres xineses , Biblioteca de Tradicions Populars, sér. A, vol. 8 (Barcelona: Imprenta la Neotipia, 1933); the first half of Titelles has been translated by H.V. Tozer as "The Catalan Puppets," in Catalan Puppetry (Columbus, Ohio: Puppeteers of America, 1944), 1-17. See also Arturo Masriera, "El Senyor Nevas, sombrista," in ibid., 18-20. [BACK]

19. Masriera, "Senyor Nevas," 18. [BACK]

20. J.E. Varey, "Los títeres en Cataluña en el siglo XIX," in Estudios escénicos, Cuadernos del Instituto del Teatro , no. 5 (Barcelona: Diputación Provincial de Barcelona, 1960), 54. [BACK]

21. Ibid., 48-51. [BACK]

22. Ibid., 53, 61. [BACK]

24. Quoted in Jardí, Història de els Quatre Gats , 64. [BACK]

25. McCully, Quatre Gats , 70. [BACK]

26. Ibid., 32, 40. [BACK]

27. Quoted in ibid., 20. [BACK]

28. Paul McPharlin, The Puppet Theatre in America; with a Supplement: Puppets in America Since 1948, by Marjorie Batchelder McPharlin (Boston: Plays, [1949] 1969), 288. [BACK]

29. McCully, Quatre Gats , 70, 140; Serrano Victori, "De Pedro Romeu al 'Didó,'" Día gráfico , March 13, 1932, 7. [BACK]

30. See Palau i Fabre, Picasso i els seus amics catalans —for Soler: 66, 83, 84, 135, 136, 232; for González: 67, 68, 74, 130; for Juli Pi: 50; for Pi and Bonnin, see McCully, Quatre Gats , 22-23 and 44, respectively. [BACK]

31. McCully, Quatre Gats , 20-21. [BACK]

32. Quoted in Jardí, Història de els Quatre Gats , 66. [BACK]

33. Marilyn McCully ( Quatre Gats , 16; illus., 19) thinks the scene is an allegory or a "dream sequence" of Romeu's, which may be true. But the presence of stock figures from puppet shows leads me to believe the joke is that once again Romeu himself is being cast as a character. [BACK]

34. Josephine de Boer, "Rusinyol, the Writer," Spanish Review 4, nos. 3-4 (March 1936-April 1937): 16; Amades, Titelles , 37-38; Amades, "Catalan Puppets," 16. [BACK]

35. For shared traditions, see Joan Amades, El carnestoltes a Barcelona el segle XIX , Biblioteca de Tradicions Populars, sér. A, vol. 12 (Barcelona: Imprenta la Neotipia, 1934). H.V. Tozer, "El titella catalá vist per un anglés," in M.R. Contractor, Les grans tradicions populars. Ombres i titelles (Paris: Arthaud, 1977), 140; Pierre Louis Duchârtre, The Italian Comedy (New York: Dover, [1929] 1966), 221. [BACK]

36. Quote from Tozer, "Titella catalá," 140. [BACK]

37. Jardí, Història de els Quatre Gats , 63. [BACK]

38. Ibid., 64. [BACK]

39. Tozer, "Titella catalá," 140; Jardí, Història de els Quatre Gats , 64. [BACK]

40. Amades, "Catalan Puppets," 14-15; Palau i Fabre, Picasso: The Early Years , 157. [BACK]

41. Varey, "Títeres en Cataluña," 73. [BACK]

42. Tozer, "Titella catalá," 140. [BACK]

43. Santiago Rusiñol, "El Titella pròdig. Comèdia de Putxinel.lis en un acte i quatre quadros," in Obres completes. Novel.lis i teatres , 3d ed., ed. Donald Samuel Abrams (Barcelona: Editorial Selecta, 1973), 1:479-490. [BACK]

44. Xavier Fàbregas, "Teatre: Titelles i titellaires," Serra d'or (Barcelona), 1971, 55. [BACK]

45. Institut del Teatre, Palau Güell, Barcelona, Puppet belonging to Jaume Anglés from about 1913, reg. no. 26215. [BACK]

46. Jardí, Història de els Quatre Gats , 63. [BACK]

47. Amades, Titelles i ombres xineses , 40; McCully, "Introduction," in Homage to Barcelona , 39; Palau i Fabre, Picasso i els seus amics , 78-79. [BACK]

48. Fàbregas, "Teatres," 55. [BACK]

49. Varey, "Títeres en Cataluña," 69. [BACK]

50. Ibid., 72; Tozer, "Titella catalá," 143. [BACK]

51. Tozer, "Titella catalá," 142. [BACK]

52. Varey, "Títeres en Cataluña," 71. [BACK]

53. Varey, "Títeres en Cataluña," 74-75. [BACK]

54. Tozer, "Titella catalá," 140-141. [BACK]

55. Amades, Titelles i ombres xineses , 24. [BACK]

56. Amades, "Catalan Puppets," 12. [BACK]

57. McCully, Quatre Gats , 70. [BACK]

58. For consideration of the role of popular devotion in the lives of ordinary people, see William Christian, Jr., Apparitions in Late Medieval and Renaissance Spain (Princeton: Princeton University Press, 1981) and Local Religion in Sixteenth-Century Spain (Princeton: Princeton University Press, 1981); Robert J. Orsi, Madonna of 115th Street and "'He Keeps Me Going': Women's Devotion to Saint Jude Thaddeus and the Dialectics of Gender in American Catholicism, 1926-1965," in Belief in History: Innovative Approaches to European and American Religion , ed. Thomas Kaselman (South Bend, Ind.: Notre Dame Press, 1991), 137-169. [BACK]

59. Santiago Rusiñol, "El pintor de miracles. Sainet en un acte," Obres completes. Novel.lis i teatres , 1:757-769. [BACK]

60. C. Gumá, "Un escultor de sants," in Fruyta agre-dolsa , 3d ser. (Barcelona: Llibrería de I. López. [1895?]), 78. Gumá, who wrote his doggerel for the republican weekly Campana de Gracia , also published dozens of pamphlet-sized volumes of his poetry organized more or less topically. His work, though lacking in artistic value, is an excellent source for the study of popular consciousness in late-nineteenth- and early-twentieth-century Barcelona. [BACK]

61. A superb recent study of votive paintings can be found in Fina Parés i Rigau, Els ex-vots pintats. Coneguem Catalunya (Barcelona: Llibres de la Frontera, n.d.). [BACK]

62. Joan Amades, Els ex-vots (Barcelona: Editorial Orbis, 1952), 20. [BACK]

63. Fortià Solà, El Santuari de la Mare de Déu del Coll , 39, cited in ibid., 21. [BACK]

64. Amades, Els ex-vots , 148. [BACK]

65. Ibid., 147. [BACK]

66. Ibid., 147-148. [BACK]

67. Ibid., 151. [BACK]