Tieck's Essay on the Boydell Shakspere Gallery Part 3

[3] E. g. in the letters.

[4] Krit. Sch. I, 4. Jean Paul, t.i.tan, I, 42. [Berlin, 1827.]

[5] 1719-1804.

[6] Preface to the Prospectus and quoted in the preface to the "Gallery."

[7] The facts on the "Gallery" are pretty well scatterd. The statements in Allibone are not all correct. See Graves, "New Light on Boydell's Shakespeare Gallery," _Magazine of Art_, vol.

XXI, page 143 ff. For some details as to the disposition of the pictures, see "Notes and Queries," series 2, vol. VIII, vol. IX, 313, vol. X, 52. Also Pye, "Patronage of British Art," London, 1848.

[8] Preface to critical works.

[9] Page 7.

[10] Copy in the Columbia University Library.

[11] Mr. L. L. Mackall kindly furnisht me with this information.

[12] This Ms. (79 pp., vellum, quarto) contains the signatures of all the subscribers or their agents. Romney, Warren Hastings, Wedgewood, the King, the Queen and the Prince Regent besides a number of English "persons of quality" are represented. The poets are conspicuously wanting. The King of England gave the copy to the University Library. Cp. _Gttinger Gelehrte Anzeigen_ (G. G. A.) 1791, page 1793; 1793, page 561.

[13] At least until after the time concerned here. This from Wustenfeld on the contributor to the _Anzeigen_ furnisht by Professor Wilkens.

[14] The plates which come into consideration and the order in which they occur in Tieck are as follow:

"Love's Labor Lost," Tieck, page 9, (1) IV, 1 (G. G. A., 1794, page 10); (2) IV, 2, small plates; (3) V, 2.

"Merry Wives of Windsor," Tieck, page 10, I, 1 (G. G. A., 1794, page 969); page 12, II, 1 (G. G. A., 1794, page 969); page 13 (G. G. A., page 959); page 13, I, 4; IV, 1, small plates (G. G.

A., 1794, page 970); V, 5.

"Twelfth Night," II, 3 (G. G. A., 1794, page 970); Tieck, page 15. A small plate.

"Two Gent. Verona," Tieck, page 16, Last Scene (G. G. A., 1793, page 903); 17, IV, 3. Small plate.

"As You Like It," Tieck, page 17, II, 1 (G. G. A., 1793, page 561); page 17, last scene (G. G. A., 1793, page 561).

"Much Ado About Nothing," Tieck, page 19, III, 1 (G. G. A., 1791, page 1794); IV, 1; IV, 2.

"Winter's Tale," Tieck, page 21, II, 3 (G. G. A., 1794, page 9); IV, 3; V, 3; page 22, two small plates (G. G. A., 1794, page 10).

I "Henry VI.," Tieck, page 24, II, 5 (G. G. A., 1794, page 970).

II "Henry VI.," Tieck page 25, III, 3 (G. G. A., 1794, page 10).

"Richard III.," Tieck, page 27, III, 1 (G. G. A., 1791, page 1794).

"t.i.tus Andronicus," Tieck, page 28, IV, 1 (G. G. A., 1794, page 970); page 29 (G. G. A. 1794, page 970).

"Romeo and Juliet," Tieck, page 30, I, 5 (G. G. A., 1793, page 561); IV, 5 (G. G. A. page 561); V, 3 (G. G. A., 1793, page 562).

"King Lear," Tieck, page 31, I, 1 (G. G. A., 1793, page 903-4); page 32, III, 4 (G. G. A. 1793, page 904); page 33, last scene (G. G. A., 1793, page 904); page 34 (G. G. A., 1793, Page 904).

Tieck mentions in all 39 plates; of these 24 are large plates and the rest small ones. In only 6 instances does Tieck enter into even a slite criticism of the small plates. In some cases, his remarks are so meager that it is only by a comparison with the original that we can tell what plate he means.

[15] Boydell's Catalog, page 28 ff. It may be worth while to mention in this connection that the Catalog has a number of errors in the list of these supplementary plates. The proof was red carelessly and the results are jumbled. Only by a careful comparison with the originals in the 1802 edition, for the results of which there is no room here, can this be straightend out.

[16] "Romantische Schule," page 57-8.

[17] For possible influence of Du Bos, cf. Tieck's doctrin of poetry as an imitativ art. Kr. Sch., page 24. See Howard, _Publications of the Mod. Lang. a.s.sn._, vol. XXII, page 4. The letters to Wackenroder in Holtei, 300 Briefe, etc.

[18] Volbehr, Dessoir, Stocker. D. L. D.

[19] Kr. Sch. I, 321. It is doutful if Tieck knew any of the Hogarth Shakspere plates. The dates of issu (Dobson, pp. 310, 340 ff.) are all later than the writing of the Boydell article.

For Tieck and Hogarth, Kopke, I, page 148.

[20] Of course the emfasis on color is entirely wanting in the body of the work. Tieck nowhere in the essay points out how engraving can suggest color.

[21] Literary paralels are at once apparent. So, Schiller's Prolog to "Wallenstein."

[22] Schriften, vol. X, pages 302-3.

[23] Weitenkampf, 155.

[24] One or two actual errors of fact hav crept into the paper.

Kyder for Ryder and Northcate for Northcote. The latter error and Tieck's Slatbard may hav arisn, as Professor Wilkens suggested to me, from Tieck's notoriously bad handwriting which was misinterpreted by the compositor. At any rate, Tieck made no later effort to correct. The "Rev." before Peters' name misled both Tieck and Forster into laying too much emfasis on his sacerdotal function. The G. G. A. calls him a dilettante.

[25] Walzel, 279; Sulger-Gebing, 41, 154. Engel ("Angelika Kaufmann," 36, 37, 43) while not denying her preference for this dress, is of the opinion that it was not suited to her. "Im Schaferkleide, den Hirtenstab in der Hand, Atlaspantoffelchen an den Fussen, ein bebandertes Hutchen auf der gepuderten Coiffure, umgeben von einem Hofstaat schongeistiger Verehrer und Verehrerinnen, so hatte sie unzweifelhaft eine weit naturlichere und tuchtigere Figur gemacht als in der Vestalinnentracht die sie--das Bregenzerwaldnymphlein--in der Folgezeit zu bevorzugen pflegte."

[26] Biografers of Sir Joshua generally agree that his pictures in this series, with the possible exception of "Puck," are failures. Boydell paid 400 and 1500 guineas for the two largest and this was considerd by some an exorbitant price.

[27] Minor's edition, pages 27, 30.

[28] There is the possibility of a crude symbolism having been intended for Shakspere's "Blow, winds," etc.

[29] The West picture was very popular. Cf. _Teutsche Mercur_, 1791, pages 445-6, for a criticism of Berger's engraving from it.

[30] See, 300 Bfe. page 79.

[31] This is a difficult point to decide. The citizen cla.s.s was limited by such sumptuary laws as is shown by the records, but most writers agree that the violations were open and common.

[32] The figure with the helmet is unquestionably that of Marius, the tribune. He enters from the street and is drest in street costume. t.i.tus, who has been in the house, wears only a fillet around his hed. In the play, Marius commands the boy to stand near him for refuge, but in the picture the moment just previous is chosen, when the boy is still near his grandfather.

Forster wrongly holds that the helmeted figure is t.i.tus.

[33] Cf. A. W. v. Schlegel in _Athenaeum_, 2, 212, "Man kennt Reynolds Ugolino aus dem Kupferstiche: es ist ein alter Mann, der hungert, aber es ist nicht Ugolino." For his criticism of Boydell, 2, 198.

[34] Marie Joachimi-Dege has given a very careful account of the erly Romantic and Storm and Stress att.i.tude toward Shakspere.

Her book needs supplementation thru a study of the Romantic Shakspere criticism, written from the English point of view.

[35] In his Academy discourses. Bohn ed., vol. I, page 460 ff.

Reynolds points out that those who praise the "invention" of Timanthes in the Agamemnon picture hav not been painters but literary men. They use it as an ill.u.s.tration of their own art.