The Drunk Mason (Spanish: El albañil borracho) is an oil on canvas painted by Francisco de Goya, then reputed painter of tapestries for the royal palaces.

In the sale of their assets in 1896, three of them were acquired by Pedro Fernández Durán and Bernaldo de Quirós, who bequeathed them, along with the rest of his artistic collection, to the Museo del Prado, where they entered after his death in 1930.

[2] Underlying the painting is the interest that the learned of the time (headed by Jovellanos, a friend of Goya's) showed in labor and health reforms in favor of workers and peasants.

It is most likely that it was in fact a sketch for The Injured Mason and that Goya was forced to change the motif of his composition because of a clash with the directors of the Royal Tapestry Factory of Santa Barbara.

[3] Together with Woman with two Boys at a Fountain and The Threshing Floor, it belongs to the series of sketches of the fifth set of Goyaesque tapestries, destined for the dining room of Prince Charles of Bourbon in the Palace of El Pardo.

[3] But the presence of drunkenness in the painting would not have been suitable for a royal palace, as Hagen considers,[9] so it was transformed into a canvas that depicts a wounded man but at the same time made reference to the beneficent character that Charles III had demonstrated with his 1784 edict protecting the masons.

[10] The comic interpretation it has often received differs from how The Injured Mason has traditionally been seen, as a work of social content and covert criticism of the terrible state of workers' safety.