Q:Given the below context:  A number of plates in this group reveal a scepticism towards idolatry of religious images. There are instances in the group where early Christian iconography, in particular statues and processional images, are mocked and denigrated. Plate 67, Esta no lo es menos (This is no less curious), shows two statues carried by two stooped members of clergy. One statue is recognisable as the "Virgin of Solitude". In Goya's image, the statue is not carried vertically in processional triumph, rather it lies flat and undignified on the backs of the two almost crouched men. Shown horizontal, the object loses its aura, and becomes a mere everyday object. Art critics Victor Stoichita and Anna Maria Coderch wrote, "It is in effect a deposed, toppled image, stripped of its powers and its connotations." Goya is making a general statement: that the Church's attempts to support and restore the Bourbons were "illusory, since what they proposed was nothing more than the adoration of an empty form".The published edition of The Disasters of War ends as it begins; with the portrayal of a single, agonized figure. The last two plates show a woman wearing a wreath, intended as a personification of Spain, Truth, or the Constitution of 1812—which Ferdinand had rejected in 1814. In plate 79, Murió la Verdad (The Truth has died), she lies dead. In plate 80, Si resucitará? (Will she live again?), she is shown lying on her back with breasts exposed, bathed in a halo of light before a mob of "monks and monsters". In plate 82, Esto es lo verdadero (This is the true way), she is again bare-breasted and apparently represents peace and plenty. Here, she lies in front of a peasant.  Guess a valid title for it!
A:
The Disasters of War