The image of Francisco de Goya gives us respect, here I prefer not to give any biographical comments of this famous painter and engraver, who would necessarily be inexpressive of what Goya represents in painting. So I will comment better on this work.

It is a cardboard, a painting on canvas of those made to serve as models to the bill of tapestries. The realization of a series of cartons for the Santa Barbara factory that in total were 45, and occupied Goya between 1776 and 1791, when after having decorated the core of the Pilar de Zaragoza, he painted the "Prendimiento de Cristo" for the sacristy of the Cathedral of Tóledo, which he delivered in 1789.

Tapestry cardboard that represents the meeting between a young woman, dressed in popular luxury, and her partner, described by Goya in his bill to the Tapestry Factory as "a january and a jitana", and several cloaks of sinister appearance. The scene, game of love and jealousy, takes place in a park of leafy pine trees closed in the background by a wall, and that the artist called in his bill "a walk of Andalucia". The tapestry resulting from this cardboard hung in the dining room of the princes of Asturias (the future Carlos IV and his wife María Luisa de Parma) in the Palacio de El Pardo in Madrid. The series of which it was part was made up of ten carpets of "campestres" subjects (all conserved in the Prado Museum, being its composition, already in these years, of Goya's own invention, as it appears in the documents related to the order.

In the cardboard number 4 of the series, and evokes a tense scene, although it seems of falling in love, that takes place in a remote place, in the countryside. There is a pestress in it, a woman who is wearing a suit and who speaks to a man, a man, (The rapier on his belt is well distinguished), while two knights are muffled, and armed with rapiers, and another sketched sitting on the floor, they watch that conversation closely. Perhaps the true meaning of this painting is an "interrupted duel". In this work, a lot of chromatic vigor is observed; the dark masses, boldly distributed, show in their clearings the figures, which gives extraordinary strength to the whole that it composes.

Three specimens of tapestry were woven in the Fabrica de Santa Barbara according to this model.