Nothing. It will say

In the foreground, a corpse lies down on its back and sits up slightly to write the word Nothing on a piece of paper. In the background, in a dark setting, a group of figures with somewhat caricatured faces that resemble masks can be made out with some difficulty. On the left side of the print, Goya has engraved a female figure reading while resting her elbow on a table and holding a scale in her other hand, probably an allegory of Justice. The scales are clearly visible in the first state of the proof, although Goya gradually covers them with the grain of the aquatint.

Several interpretations have been made of this print, perhaps one of the most literary of the entire series of The Disasters of War. It is most likely that this image refers to the situation in Spain after the end of the War of Independence. In reality, this war was both painful and painful for the population and, at the same time, absolutely useless, since once it was over, Spain returned to the same point from which it had started, that is to say, the Old Regime was reinstated in the figure of Ferdinand VII. 

Nigel Glendinning has proposed a relationship between this print and the last plate of the Moral Theatre illustrated by Otto van Veen (Leiden, 1556-Brussels, 1629), as he considers that both are a meditation on death and have in common the recurrence of the corpse and the scales of Justice. He also believes that the crown in the corpse's hand could be a veiled allusion to the monarchy.

Valeriano Bozal has established a parallel between Nothing It will say this with the engravings No. 66, Strange Devotion, No. 67, This Is No Less, and No. 68, What Madness! in which the painter openly criticises certain aspects of the Church. Thus print no. 69 could be a reference to the culmination of this great deception constructed by the Church, the denial of a future life in which the believer projects himself. 

To a large extent it could be said that this work continues the Baroque pictorial tradition in which the theme of Vanitas was addressed, especially in connection with some paintings by Juan de Valdés Leal (Seville, 1622-Seville, 1690) such as Finis Gloriae Mundi (1672, Hospital de la Santa Caridad, Seville). Goya must have had occasion to see it during his stay in Seville around 1790, from where he went to Cadiz to spend a period in the company of his learned friend Sebastián Martínez y Pérez (1747-1800), where he remained until 1793. The Aragonese painter may have taken from this painting the idea of Justice, which in Valdés Leal's work is alluded to by the representation of a scale in the centre, as well as the decomposing corpse and the crown.