A satirical etching from Goya's Los Caprichos series, depicting a penitent figure in a courtroom setting to critique the Spanish Inquisition.

Aquellos polbos is plate 23 from Los Caprichos, a series of eighty prints published by Francisco de Goya in 1799. This work employs etching and aquatint to critique the social and religious institutions of late eighteenth-century Spain. The title translates to 'Those motes of dust', a reference to the Spanish proverb, 'De aquellos polvos vienen estos lodos' (from those dusts come these muds), implying that present troubles are the direct consequence of past actions.

The composition depicts a figure wearing a tall, conical hat, known as a coroza, which was traditionally worn by penitents during the Spanish Inquisition. The individual sits in a posture of resignation, while a figure behind a lectern reads from a document, suggesting a formal trial or public shaming. A crowd of onlookers fills the lower portion of the frame, their faces rendered with Goya's characteristic economy of line and expressive distortion. The use of aquatint provides a soft, atmospheric tone that contrasts with the sharp, biting lines of the etching, creating a sense of grim reality within the scene.

Goya uses this print to examine the absurdity and cruelty of the Inquisition. By placing the penitent in a public setting, he draws attention to the performative nature of such punishments. The work avoids overt moralising, instead presenting a stark observation of human folly and institutional power. The print remains a significant example of Goya's ability to use the medium of printmaking to convey complex social commentary. His technical mastery allows for a subtle interplay of light and shadow, which directs the viewer's focus toward the central figure and the oppressive atmosphere of the courtroom. This piece is a clear demonstration of the artist's critical eye regarding the societal structures of his time.