material from the ,google ,print project47 ,new ,york ,university ,,ottendorfer ,,memorial ,,series ,,of ,,germanic ,,monographs ,no4 #c ,,tieck',s ,,essay ,,on ,,the ,,boydell ,,shakspere ,,gallery ,,by ,,george ,,henry ,,danton ,,indianapolis ,,edward ,j4 ,,hecker1 ,,printer #aiab ,this ,paper ,is ,dedicated ,to the ,memory of ,oswald ,ottendorfer ,,preface ,the material which was originally pland for my monograf in the ,ottendorfer series has since been independently publisht by ,steinert in his dissertation and book on ,tieck's color sense and by ,o4 ,fischer in an article1 ,ueber ,verbindung von ,farbe und ,klang in the ,zeitschrift fuer sthetik4 ,these three works renderd the publication of my material superfluous1 made a change of plan necessary and the result is that my monograf has been very much delayd in appearing4 ,as far as ,i know1 there is no other study of ,tieck's first critical paper4 ,i found it worth while to do this monograf because the comparison with the original engraving brought out so many interesting facts1 threw light on ,tieck's erly critical method1 explaind his taste1 showd his use of sources and above all1 contradicted the positiv assertion of ,haym that ,lessing's influence is nowhere discernible4 ,the meny interesting facts about the gallery itself that came to light in the course of the paper1 the meny questions about it which ,i was unable to solv1 may perhaps become the matter of another article4 ,the ,gallery is for us now a revenant of a past and somewhat impossible generation4 ,a certain air of ,english commercial roastbeefism clings to it4 ,it is an ,england1 the art of which knows nothing of ,constable and still less of ,turner1 an ,england which loves ,shakspere without reading him--as ,tieck suspected--and whose gallofobia does not recognize the det to ,france and the ,french elements in this very series4 ,as an interpretation of ,shakspere1 it is no more than on a plane with ,colly ,cibber4 ,tieck saw this and felt it1 but could not make clear to himself what was wrong with it4 ,the plates belong in parlors of the haircloth age1 where indeed1 they may still often be found4 ,it is before the day of the painted snowshovel and the crayon portrait1 but the delicacy of the ,adams' decorations has gone out and the new strength of ,romanticism has not come in4 ,there is surely no tuch of the ,elizabethan or ,jacobean spirit4 ,i wish to take this opportunity to thank the various members of the staffs of the ,stanford ,university and the ,columbia ,university ,libraries1 of the ,congressional and ,new ,york ,public ,libraries for their aid2 especially to thank ,mr4 ,weitenkampf for his very great help on technical matters4 ,mr4 ,l4 ,l4 ,mackall also furnisht me with very valuable information4 ,the paper underwent a most searching criticism at the hands of ,professor ,wilkens1 of ,new ,york ,university and ,i wish to express my especial indetedness to him for his assistance in the matter4 ,to ,professor ,mc,louth my thanks are due for a constant kindly interest in me as ,ottendorfer fellow4 ,finally1 it is a plesant duty to express my appreciation of the benefits derived from that ,fellowship and to thank the ,committee for having made me its third incumbent4 ,g4 ,h4 ,d4 ,indianapolis1 ,ind41 ,september1 #aiaa4 ,,tieck',s ,,essay ,,on ,,the ,,boydell ,,shakspere ,,gallery ,tieck's attack#a on the ,boydell ,shakspere ,gallery#b was his first publisht critical production4 ,it is significant to note that this first essay in criticism delt both with ,shakspere and with art1 that is1 with the ruling passion of ,tieck's life and with one of the strongest of his secondary interests4 ,the passion for ,shakspere with the concomitant sense of close personal relationship with him1 came to be a major part of ,tieck's being and is clearly indicated even before this article4#c ,tieck's decided aversion to the ,english national standpoint toward ,shakspere is strongly exprest in the essay4 ,the man who later vainly tried to convert ,coleridge to a point of view with respect to the dramatist that was opposed to all that was national and ,english1 does not1 as a mere lad1 hesitate to venture his douts as to whether the ,english nation is equal to the task of illustrating its greatest poet4#d ,these illustrations are known as the ,boydell ,shakspere ,gallery4 ,they were the idea of the engraver1 ,alderman ,john ,boydell1#e who wisht to set up a great national monument to the genius of ,shakspere and1 at the same time1 to foster a school of historical painting in a land where heretofore the portrait alone had attaind to any degree of excellence4#f ,the ,gallery was begun in #aghi and was completed in #ahjc4 ,at no sparing of expense to himself--the entire cost was upward of #ajj1jjj--;,boydell commissiond some of the best artists and engravers of the time to portray scenes from all of ,shakspere's plays4 ,the oil paintings1 about #ajj in number1 were to be permanently housd in a gallery bilt for the purpose in ,london and were to be bestowd on the nation as a perpetual memorial to the great playwright's genius4 ,the ,napoleonic wars1 that ,gothic and ,vandalic revolution1 and the deth in poverty of ,boydell1 renderd necessary the disposal of the collection by lottery 7#ahjd74 ,the lucky ticket was held by a ,london connoisseur named ,tassie4 ,at his deth the collection was scatterd1 tho subsequently a few of the pictures were recollected and are now in the ,shakspere ,memorial in ,stratford4#g ,the plates from these pictures are1 all in all1 no better and no worse than engravings of the day are likely to be4 ,it is illustration work in which the story interest is the predominant feature4 ,interpretation of ,shakspere takes precedence over art1 and even ,boydell places the painter below the poet and speaks disparagingly of the ability of the former to understand and to portray4 ,the purposes of the ,gallery harmonize with ,tieck's point of view and his predilection for the interpretativ in criticism minimizes the esthetic aspects of his discussion4 ,tieck's essay is in the form of four letters1 and was written while he was a student at the ,university of ,gttingen4 ,it had the approval of his teacher1 ,johann ,dominik ,fiorillo1 7himself afterward well-known as the author of an extensiv history of art17 tho it was not especially written under ,fiorillo's gidance4#h ,it was intended1 on the surface at least1 as an open and emfatic protest agenst the too lavish praise of the plates in the journals4 ,the general tone1 then1 is polemic tho directed agenst no particular person or article4 ,in the preface to his critical works#i ,tieck asserts that the article is a product of the year #agic and that it was published in #agid4 ,it appeared in the ,neue ,bibliothek der schoenen ,wissenschaften und freyen ,kuenste1 #eeten ,bandes zweytes ,stck1 pages #ahg-bbf1 which bears the date #agie1aj and according to the ,messkatalog1 did not appear till ,michaelmas of that year4#aa ,tieck's memory1 therefore1 faild him as to the date of publication and he has also fallen into a slite error1 or rather inaccuracy1 in regard to the time of origin4 ,the article could not have been completed within the calendar year #agic1 because a number of the plates that ,tieck discusses are dated ,december #bd1 #agic1 and could hardly hav got to the continent in the same year4 ,while it may be possible that the plates were postdated1 there is no evidence of such fact at hand4 ,moreover1 the ,gallery was reviewd in the ,goettinger ,gelehrte ,anzeigen under dates about six months after the appearance of the individual plates in ,england and these reviews1 as will be shown hereafter1 were extensivly used by ,tieck4 ,in these reviews1 the plates are always spoken of as recently arrived4 ,the prints were issued regularly to the subscribers1 of whom the ,university1 according to the ,ms4 catalog in the ,boston ,public ,library1 was one4#ab ,it is hardly to be supposd that the young student would have erlier access to the pictures than the reviewer for the semi-official university publication4 ,this reviewer was ,heyne#ac who afterward mediated the publication of ,tieck's article4 ,the article was no dout written before ,tieck settled in ,berlin in the ,fall of #agid but its writing went out over the confines of #agic4 ,the next series of plates appeard in ,june1 #agid1 and is not included in ,tieck's article1 tho this is no proof that the article was completed before ,june1 since the plates probably did not arrive in ,germany till well in the ,summer4 ,tieck's essay has been almost entirely neglected by ,tieck scholars4 ,it is not a great piece of constructiv criticism1 nor can it be said to contain the ripe judgments of a mature mind4 ,it is1 however1 a fresh and1 on the whole1 convincing analysis of the plates and as such deserves a careful examination4 ,it will be seen that the article has a very definit foundation in preceding criticism but that ,tieck1 tho borrowing freely from one source at least1 namely the ,goettinger ,gelehrte ,anzeigen1 has not slavishly plagiarized nor has he been servil in his adoption of the ideas of others4 ,and it is also worth noting that ,tieck's criticism was regarded as sufficiently authorativ by ,fiorillo to have been used as a partial source for the latter's critique of the ,boydell plates4 ,tieck claims that the praise of the ,gallery in the contemporary magazines is excessiv4 ,this claim is exaggerated4 ,meny important magazines do not discuss the plates even where there was an excellent opportunity4 ,so1 for example1 ,wieland's ,mercur and ,nicolai's ,allgemeine deutsche ,bibliothek do not mention them1 tho from time to time engravings from other contemporary paintings are discust4 ,for instance1 ,nicolai's journal has one long discussion of the state of contemporary art1 especially of engraving 7,no4 #aaj1 #agib7 but omits all reference to the ,boydell series4 ,the criticism in ,meusel's ,museum fuer ,kuenstler is on the whole1 destructiv4 ,one discussion1 for example1 7,no4 ,,iv1 page #ii7 is a violent attack on engraving in general and calls the ,gallery1 ,diese die ,malerei zu grunde richtende ,gelegenheit1 and condems the ,krmergeist at the bottom of the enterprize4 ,the value of line in engraving is1 however1 pointed out1 and ,bartolozzi and ,ryland1 who had but little to do with the series are faintly praisd4 ,other mention in ,meusel's magazines is either entirely unoriginal summary 7,museum1 ,,vi1 #ceb7 or mere cursory comment 7,miscellaneen1 ,stck #cj47 ,the articles on caricature 7,neue ,miscellaneen ,x41 #aed and ,archiv ,i1 #ff7 are so late that they cannot be taken into consideration in connection with ,tieck's paper4 ,with the ,goettinger ,gelehrte ,anzeigen the case is different4#ad ,tieck saw and used its articles as a basis for his work1 tho the credit of having written the first connected essay from a single viewpoint belongs to him4 ,the not over laudatory criticisms of the ,anzeigen are often paralel1 even down to the wording of details with ,tieck's judgments1 but it would be a mistake to suppose that ,tieck used the articles without having seen the engravings and without having given the pictures careful consideration4 ,the fact that ,tieck follows the errors of the ,anzeigen is significant1 but it is equally significant that he corrects the errors of the magazine from his stock of observd judgments4 ,generally1 where ,tieck follows the ,anzeigen most closely he is at his worst4 ,the somewhat superficial and scanty remarks of the journal were no surrogate for the clear vision and power of adaptibility of the young man4 ,tieck's personal regard for ,shakspere1 which amounted to a real passion1 was entirely wanting4 ,the use of the articles in the ,anzeigen must be shown in detail1 and ,tieck's indetedness must be definitly brought out4 ,paralels will sometimes show convergence and sometimes divergence of ideas1 but in general it will be seen that ,tieck practically never used his material without some personal addition4 ,there is one set of cases which is peculiar and which deservs special attention4 ,the plates in question are3 ,much ,ado1 ,,iii1 #a1 ditto ,,iv1 #b1 and ,as ,you ,like ,it1 last scene4 ,a word of explanation in regard to the ,boydell plates is necessary4 ,from the original paintings there were two sets of plates engraved1 known as the large plates 7,l7 and the small plates 7,s74 ,the small plates were in all but a few cases done from different pictures than were the large ones4 ,these large plates are those usually known as the ,boydell ,gallery4 ,both sets were issued serially2 the large set was also bound and issued as a separate volume in #ahjc1 and the small plates were used as illustrations for the ,steevens ,shakspere edition of #ahjb1 the letter press of which also seems to have been issued in parts before the bound volumes were finally put on the market4 ,the bulk of ,tieck's criticisms applies to the large plates tho he has a few remarks on the small ones as well4 ,when he discusses the small plates1 he always mentions the fact1 except in the three cases just cited4 ,these are three of the cases where ,l and ,s coincide in subject matter and where additional ,s plates were afterwards printed as a gratuitous gift to the subscribers4#ae ,these plates are among the first discust by the ,anzeigen 7#agia1 page #agid7 which mention the fact of the plates being for the ,shakspere edition1 and that the extra plates are to be furnisht to make up for the duplication of subject matter in these cases of ,l and ,s4 ,this is what is meant by the sentence1 ,es wird sogar die ,austauschung des einen ,kupfers knftig versprochen1 a statement that corresponds perfectly with the remark in the later ,boydell catalog that this promis has been fulfild4 ,tieck does not notis this statement of the ,anzeigen but treats these ,s plates as if they were ,l1 yet gives the names of the engravers of ,s4 ,this would look like a clear case of careless copying from the ,anzeigen if it were not clear from the additions that ,tieck makes to the latter's criticism that he saw the plates too4 ,the explanation of the discrepancy may be that ,tieck when he was writing his article consulted the ,anzeigen for the facts in regard to the engravers1 did not notis that the ,s plates were referd to and carelessly copied down what he saw4 ,i shall now examin in detail some of the paralel criticisms4 ,much ,ado1 ,,ii2 #d1 ,g4 ,g4 ,a4 #agia1 page #agid3 444 wo in der ,trauung statt des ,jaworts ,pedro die ,hero fr keine reine ,jungfer erklrt1 und ,hero in ,ohnmacht fllt2 444 ,das beste ,stck von allen in ,rcksicht der ,composition1 ,ausdrucks und ,auswahl des ,lichtes nur ist die ,stellung der ,hauptperson ein wenig zu theatralisch2 sonst aber alles gut geordnet2 schne ,contraste von ,licht und ,ruhe fr das ,auge4 ,tieck1 page #ai3 ,das zweite ,blatt enthlt die ,vertossung der ,hero 444 und dies ist offenbar eines der vorzglichsten4 ,das ,licht ist sehr gut geordnet1 das ,auge findet sogleich unter den ,gruppen einen ,ruhepunkt2 nur hat ,hamilton dem ,claudio eine zu theatralische ,stellung und dem ,leonato zu wenig ,ausdruck gegeben4 ,tieck carries the praise of the ,anzeigen1 the ,das beste ,stck of which refers only to the group under immediate discussion1 to the whole series4 ,he takes his main critical vocabulary from the prototype and adds the original differentiation of ,claudio and ,leonato to which reference must be made later4 ,much ,ado1 ,,iv1 #b2 ,g4 ,g4 ,a41 #agia1 page #agid3 444 ein ,gemisch von verkrppelten1 unedeln ,caricaturen ohne alle ,grazie 444 ,zu bedauren ist die ,kunst1 die an den ,stich verwendet ist2 denn der ,stich ist einer der besten4 ,tieck's criticism of this plate is paralel in so far as he praises the mechanical perfection of the engraver1 who is ,heath of ,s1 and not ,simon of ,l4 ,so far we have the blind following of the model4 ,but ,tieck also makes the picture a basis for a long discussion of caricature and of thoro condemnation of ,smirke1 who is also no favorit of the ,anzeigen4 ,as ,tieck's letters show a profuse use of the word caricature1 he need not be especially indeted to the ,anzeigen for it4 ,richard ,,iii1 ,i1 #a1 ,g4 ,g4 ,a41 #agia1 page #agie4 ,here ,tieck's borrowing is direct4 ,g4 ,g4 ,a43 ,eine schlechte ,composition1 ohne ,ausdruck4 ,tieck1 page #bg3 ,die ,composition ist schlecht1 alle ,figuren sind ohne ,ausdruck4 ,g4 ,g4 ,a43 ,eine ,menge ,reflexe1 ,wiederscheine s4 w4 aber alles dieses macht keine ,wirkung1 und das ,auge findet keinen ,ruhepunkt4 ,tieck1 page #bh3 und sucht durch unendlich viele ,wiederscheine 444 dass das ,auge bei den vielen ,lichtmassen gar keine ,ruhe findet4 ,but again1 besides these verbal and associational paralels1 ,tieck has added a free treatment of the composition1 an examination of the drawing of the figures1 of which there is no hint in the model and1 all in all1 makes the criticism his own4 ,the impulse certainly came from the ,anzeigen1 but the whole critique is a product of ,tieck's self4 ,richard ,,iii1 ,,iv1 #c1 ,g4 ,g4 ,a41 #agia1 page #agie3 ,stellung gezwungen4 ,tieck1 page #bh3 ,der ,mrder unnatrlich4 ,here ,tieck borrowed the idea and after an examination of the plate changed the wording4 ,as ,you ,like ,it1 ,,ii1 #a1 ,g4 ,g4 ,a41 #agic1 page #efa3 ,ein treffliches ,landschaftsgemlde4 ,tieck1 page #ah3 die reizende ,landschaft4 ,an examination of the whole of ,tieck's criticism shows that he has added a characterization of ,jacques1 has discust the choice of this particular subject1 and in this connection shows especially that the plate under discussion is only a vignette to the plays and not a part of the real play itself4 ,as ,you ,like ,it1 last scene1 ,g4 ,g4 ,a41 #agic1 pages #efa-b3 ,orlando1 der mit zeimleich ausgespreizeten ,beinen4 ,tieck1 page #ah3 ,seine augespreizten ,beine machen ihn widrig4 ,here ,tieck has taken an externality of the description and has given it a point4 ,the use of the word widrig gives a new tuch4 ,romeo and ,juliet1 ,i1 #e1 ,g4 ,g4 ,a43 die ,hauptfiguren muss man suchen4 ,tieck1 page #bi3 ,die ,hauptfiguren findet man nur mit einiger ,mhe4 ,notis1 however1 how ,tieck then goes on independently to giv his own point3 den ,vater der ,julie kann man nur errathen2 ,julie selbst hat wenig ,character4 ,tybald ist die ausdruckvollste ,figur auf diesem ,blatte4 ,tieck also quotes in full the passage beginning1 ,if ,i profane with my unworthy hand which the ,anzeigen only indicates4 ,this might be laid to yuthful pedantry1 were the whole not made far clearer for the entire citation4 ,romeo and ,juliet1 ,,iv1 #e1 ,g4 ,g4 ,a41 #efb3 ,julia nach genommenem ,schlaftrunk fr todt gehalten1 mit den ,worten des ,mnchs3 ,peace ho for shame6 ff4 ,dieser trstend1 die ,mutter die ,hnde ringend1 ,paris ,julien umfassend1 ein ,stck mit vielem ,affect 444 ,tieck1 page #cj3 ,julie hat den ,schlaftrunk genommen und scheint gestorben1 ihre ,aeltern sowie ihr ,brutigam ,paris sind in ,verzweifelung1 der ,pater sucht ,alle zu trsten4 ,in the discussion of the small plate which follows1 the ,anzeigen points out the changes which have been made on it1 this being one of the supplementary small plates for the #ahjb text edition4 ,tieck also notises the fact of the change but that he took his information not only from the ,anzeigen but from an examination of the original is proved by his additions to the information of the ,anzeigen4 ,tieck's comment is1 ,mehrere unntze ,personen weggelassen4 ,this reason goes at least one step farther than the ,anzeigen comment4 ,in the magazine1 the effect of the double light in ,l is adversly criticized4 ,tieck adds to this1 ,der alte ,capulet hat auf beiden ,blttern wenig ,ausdruck4 ,that both ,tieck and the magazine use the fraze tut 444 ,wirkung in this place seems of secondary importance4 ,a mere linguistic reminiscence1 where it is not connected with an idea1 is not influence4 ,this must be sought in basic ideas1 in hints which point the way for new lines of thought1 in an adoption of facts4 ,an author like ,tieck shows independence when he adds1 eliminates and remolds what he receives1 even tho the form of the thought clings often to him4 ,so1 then1 when the ,anzeigen 7#agic1 page #efb7 has the fraze ,julie in dem ,grabgewlbe erwachend1 the fact that ,tieck 7page #cj7 introduces his criticism with the words1 ,julie erwacht1 als der ,mnch eben in das ,gewlbe tritt1 is of slite consequence4 ,this is a simple description of fact4 ,of much more importance is the fact that the magazine goes on to point out that not nature but the stage should be the model for the painter in this case1 a doctrin which ,tieck not only does not mention1 but in fact1 utterly rejects when the time comes to discuss it in the course of the treatment4 ,in the criticism of ,schiavonetti's plate after ,angelica ,kaufmann 7,g4 ,g4 ,a41 #agic1 page #ijc2 ,tieck1 pages #af-ag7 ,tieck agrees with the ,anzeigen but is thoroly independent in his resoning and adds constantly to what the magazine asserts4 ,that both find the disguisd ,julia beautiful is not unresonable1 and as the disguise is a part of the play it is not strange that ,tieck mentions it4 ,in the same section of the magazine is a passage which finds a later echo in ,tieck4 ,knig ,lear reisst sich die ,kleider vom ,leibe 7#ijc74 ,tieck 7#cb73 und reisst sich endlich die ,kleider ab4 ,the verbal paralelism has significance here only because there are other hints at this time which may hav aided ,tieck3 e4 g41 the fact that the artist has departed from the scene as ,shakspere portrayd it4 ,tieck is definit in stating just who is added1 which proves that he knew his ,shakspere and saw the plate4 ,tieck also points out the spiritual difference between ,shakspere and the famous ,west1 a distinct addition to the matter in the ,anzeigen4 ,winter's ,tale1 ,,ii1 #c1 ,g4 ,g4 ,a41 #agid1 page #i3 ,der eiferschtige ,leontes lsst den ,antigonous bey seinem ihm vorgehalten ,schwerte schwren1 dass er das ,kind1 das ihm seine ,gemahlin geboren hatte1 in eine ,einde aussetzen will4 ,sind gemeine ,figuren4 ,notis how in ,tieck1 while the general terms of the description are the same1 because following the line of least resistance in externalities1 the whole discussion takes on an individual character1 and is expanded into a critique of ,opie's drawing which was always unsatisfactory to ,tieck4 ,tieck 7page #ba73 ,der eiferschtige ,leontes lsst den ,antigonus schwren1 das ,kind auszusetzen4444 ,an den ,darstellungen aus diesem ,stcke ist viel zu tadeln1 vorzglich an dieser ersten ,scene4 ,leontes1 die ,hauptperson1 ist steif und ohne allen ,ausdruck1 alle brigen ,personen sind dick und plump gezeichnet und ganz ohne alle ,bedeutung4 ,leontes lsst den ,antigonus1 so wie ,hamlet seine ,gefhrten1 bei seinem ,schwerte schwren4 ,schauspieler und ,zeichner aber fehlen1 wenn sie es so vorstellen1 wie ,opie es hier gethan hat4 ,die alten ,schwerter bilden oben am ,griffe ein ,kreuz und auf dieses legte man die ,hand1 in ,ermangelung eines eigentlichen ,crucifixes4444 ,in diesem ,blatte entdecken sich auch bald viele ,fehler in der ,zeichnung4 ,das ,auge wird von der ,hauptperson auf die ,lichtmasse1 folglich1 auf das ,kind hingezogen2 die ,hauptfigur tritt gar nicht genug hervor1 sondern hngt mit den hinter ihr stehenden zusammen2 die ,kpfe im ,hintergrunde sind eben so gross1 wie die der vorderen ,personen4 ,alles verrth den ungebten ,knstler4 ,as an example of ,tieck's rejection of the opinion of the ,g4 ,g4 ,a41 the discussion of ,winter's ,tale1 ,v1 #c1 will suffice4 ,this is the statue scene which ,tieck absolutely condems on account of poor engraving1 expression and posing4 ,where the magazine says ,die ,statue1 der man es doch sehr gut ansieht1 das es eine lebende ,figur ist1 macht grosse ,wirkung4 ,tieck 7#bb7 contradicts thus3 ,die ,statue ist sehr unnatrlich1 sie sieht mehr einem ,geiste1 als einem ,menschen hnlich4 ,there are1 finally1 three further cases in which ,tieck takes a hint from the ,anzeigen and develops it4 #b ,henry ,,vi1 ,,iii1 #c1 7#agid1 page #aj73 ,kardinal ,beauford 444 ein scheuslicher ,anblick1 in mehr als einem ,verstande4 ,tieck 7page #be73 ,dieses abscheuliche ,blatt4 ,but ,tieck1 in a passage too long to quote1 goes on to giv cogent reasons for not liking the picture1 not one of which is derived from the ,anzeigen4 ,the other passages from the ,merry ,wives 7,i1 #a and ,,ii1 #a1 ,g4 ,g4 ,a41 #agid1 page #igj2 ,tieck1 #aa-ab7 take the hint that ,smirke drew caricatures and not human beings and borrow the adjectiv widrig4 ,with this slender borrowing ,tieck develops a full discussion of ,smirke and of these plates with no further assistance from the ,anzeigen than a hint on the engraving of textiles4 ,these passages on ,henry ,,vi and on the ,merry ,wives are doubly interesting1 however1 because they show that ,tieck's judgment of ,smirke and ,northcote offers a very close paralel to that of the magazine4 ,tieck's reasons are fuller1 but they show no more ability in ,tieck than in the reviewer of the ,anzeigen to understand some of the most characteristic features of ,english humor as exemplified in ,smirke1 while the pupil and biografer of ,sir ,joshua fares badly because of his alleged bad composition and poor light effects4 ,it will be shown later that on both of these latter questions ,tieck held views quite independent of the ,anzeigen4 ,of ,kirk's plate from ,titus ,adronicus the ,g4 ,g4 ,a41 #agid1 page #igj1 says1 ,den ,ausdruck an der ,lavinia abgerechnet ein gut ,stck4 ,tieck 7#bh7 begins with a weak1 an dem ,blatte 444 ist vielleicht viel zu loben und wenig zu tadeln but rights himself like a soldier thus1 ,man sieht1 dass der ,knstler eine sehr richtige ,idee von der ,composition hat1 und dass er seinem ,gegenstand mit ,geschmack und ,delicatesse zu behandeln weiss4 ,er lsst uns die abgeschnittenen ,arme der ,lavinia nur vermuthen2 der geschickt geworfene ,schleier entzieht unserm ,auge den unangenehmen ,anblick1 etc4 ,the examples and paralels alredy given cover practically all of the points of similarity between ,tieck and his model4 ,they show that ,tieck used the ,anzeigen constantly and minutely but they can not fail to impress the reader with the fact that ,tieck invariably rises above the plane of the jottings in the magazine in form and in substance4 ,the content of ,tieck's criticisms is very much greater than that of his prototype and the form is far more polisht4 ,these apercus of ,heyne did not prevent ,tieck's independent thinking2 they never fettered him4 ,he followd them in a number of places in his paper and once or twice falls into their error thru youthful carelessness or misapprehension4 ,they did not often confuse his judgment or hamper his vision4 ,he never ruthlessly plagiarizd them4 ,that they were a source can not be denied1 but that they form the real basis of ,tieck's critique is not for a moment tenable4 ,this came unquestionably from himself1 and he must be given credit or blame for the good or bad in it4 ,tieck set about the task of criticising the ,boydell ,gallery with no diffidence1 but with many misgivings1 amounting almost to prejudises1 as to the valu of the set of plates4 ,he was aware that this work was intrinsically in a class which is1 all in all1 artistically inferior4 ,his judgments are objectiv1 but they promis no prescience of a higher1 a more spiritual attitude toward art4 ,art in this case servs interpretation and the struggle away from what the plates represent has hardly commenced4 ,tieck feels that the whole group does not do ,shakspere justis1 but he nowhere says that the subjectiv interpretation of the poet must remain the lasting one for the individual2 indeed he asserts quite the contrary on the very first page of his paper4 ,it is to be expected that ,tieck's common sense and fancy should rebel at the platitudinarianism of the pictures2 that at times he is no more than on the plane of the sentimental ,enlightenment is also to be expected4 ,the valu of the study is in such harsh negativ criticism as it exercises where emfasis is false or where bad taste prevails in the performance of the artists' task4 ,tieck came to the work with a good first-hand knowledge of ,shakspere and this lessens the juvenile and jejune qualities of his work4 ,he is weaker on the comedies than on the trajedies1 for the former require a keener sensing of ,english life than it was possible for ,tieck to hav obtaind at the time of writing4 ,but even for the comedies1 some of his observations are very just and show that he could interpret ,shakspere with sense and precision4 ,the present discussion will attempt to find out by a careful examination of the plates just what ,tieck saw in these pictures and how far his interpretation was right4 ,the results should show1 in a general way1 something of the powers of interpretation possest by the youthful ,tieck1 and how this power of interpretation conditiond his judgments4 ,the general theoretical standpoint upon which the essay was written is that of ,lessing1 and a careful perusal will show that ,haym was wrong when he postulated no ,lessing influence on the article4#af ,tieck's letters to ,wackenroder show that he was reading the ,laokoon at this time1 but even if a preoccupation with ,lessing were not easily postulable1 the matter of the paper itself will show a distinct recrudescence of ,lessing's ideas4 ,and not only ,lessing1 but the school of critics out of which ,lessing arose1 e4 g41 ,winkelmann and ,du,bos1 were also a part of ,tieck's reading4#ag ,the article has a total lack of coloristic reflexes2 it emfasizes form1 if not line2 its thoro reasonableness takes into consideration all that ,lessing has stood for in the domain of art4 ,it has the same standpoint as that of a ,goethe returnd from ,italy and of a ,karl ,philipp ,moritz from whom1 to be sure1 ,tieck was turning away in disgust4#ah ,the article fails to solv the problem in ,tieck's mind of reconciling his natural desire away from the regulated and calm with the current and traditional in ,british art4 ,the conflict is between a desire in theory for moderated effects1 for the toning down of emotion1 and a desire1 in practis1 for strong contrast and superlativ effects4 ,lessing1 in art the enemy of all realism1 finds in ,tieck a condemer of ,hogarth1 a condemnation that persists in ,tieck as late as the essay on the erly ,english ,theater 7#ahbh71ai and persists on grounds similar to the fundamental principle of beauty laid down by ,lessing4 ,it would be a mistake to argu from the foregoing that in this article ,tieck was not a realist1 or at least strongly inclined toward realism in his practis4 ,his realism was that of the yung enthusiast for whom each variation from the sense of his idol was a blasfemy1 and he points out 7page #bd7 that there can be none of that deception of the senses which is a part of the pictorial arts where ich irgend eine auffallende ,unnatrlichkeit entdecke2 denn die ,nachahmung der ,natur ist der ,zweck des ,knstlers4 ,such strict imitation of nature is more to be expected1 to be sure1 in the work of the lesser lights1 such as are the men who did the pictures for the ,gallery1 than in the work of a real genius1 and one is glad to overlook1 in the works of the latter1 those minor faults which almost entirely disappear in the face of a thousand beauties4 ,so1 says ,tieck 7page #ad7 who would pass by the divine masterpieces of a ,rafael and yet with weighty mien find fault with the bad coloring of a single garment8 ,there are clearly two kinds of artist4 ,the one is the genius who may be carried too far by his enthusiasm1 the other is the colder painter1 who by his choice of subject1 composition1 correctness of drawing1 and grace must make up for his lack of genius1 and who can not hope to attain the emotional effects of his rival1 but who must be content to arouse a cooler feeling1 that is1 the satisfaction of the spectator4 ,in this series1 where genius is excluded from the outset1 ,tieck expects a strict adherence to fact1 to verisimilitude1 and the correct interpretation of ,shakspere must be insisted on4 ,in order that the soul may get an immediate enjoyment of the work of art1 ,tieck recommends 7page #d7 that the painter choose well-known subjects4 ,he says3 ,the soul passes immediately to the enjoyment of the work of art and curiosity does not stand in the way of his enjoyment as in the case of obscure or unknown subjects4 ,i am alredy prepared for the sentiment that the work of art is to arouse in me1 and surrender myself all the more willingly to the illusion4 ,if the subject of the picture is in itself beautiful and sublime1 or if a great poet has furnisht the painter with the invention1 the composition and the emotions1 our enthusiasm is arousd1 we giv our wonder and our delight to the painter4 ,the painter1 then1 is only an interpreter of the poet1 whose purpose it is to seize the spirit of the poet1 to portray those fine and spiritual ideas which only a related genius can grasp and make concrete by an appeal to the senses thru color-magic#bj the intangible creations of the poet's brain4 ,he makes lasting what the reader gets but a fleeting glimpse of1 and what even the actor can giv but little permanence 7page #c74ba ,whether or not ,tieck was influenced by the prospectus to the set1 indeed1 whether he saw it or not1 there is no way of knowing1 but his statement that these pictures in their entirety will form a national gallery of historical paintings which will drive the scenes from ,greek mythology out of ,england1 is much like ,boydell's own statement of purpose mentiond above4 ,it is also an erly paralel to the ,romantic insistence on a new mythology1 a nativ mythology1 rather than one drawn from foren sources which was a part of ,friedrich ,schlegel's canon4 ,the engravings as such are treated by ,tieck under five different heds4 ,these are3 the mechanical technique1 drawing with perspectiv and line1 composition 7which ,tieck does not clearly differentiate from design71 expression and choice of subject4 ,these five heds comprize all the points in which the pictures are treated1 but not each picture is treated from all five4 ,the five giv1 however1 the full range of ,tieck's ideas on the engravings4 ,they show the things that attracted his attention1 and where the influence of the ,anzeigen is felt1 they serv to show how different1 after all1 his own ideas were4 ,often the magazine does not tuch one or more points of the five4 ,tieck's discussion of the technique of the engravings is1 as may be expected1 rather thin1 and the frazes that he uses are stereotyped4 ,several of the plates praisd by him are quite without merit and such generalities as1 schn gestochen1 vorzglich1 vortrefflich gut1 are not very significant4 ,negativ praise like nichts zu tadeln or die ,ausfhrung verdient alles ,lob show that on technical points ,tieck was judging very superficially and that his attention to the ,gallery had been attracted by something else than the perfection of the plates4 ,these engravings are in the now old-fashiond stipple1 tho parts of them are in line4 ,at the time of writing1 ,tieck may not hav known the difference between line and stipple1 tho in ,zerbino a reference to the pointed manner1 used in a punning way1 shows that by that time ,tieck had become acquainted with it4#bb ,nor does ,tieck indicate in any way the ,gallery's sparing use of the increasingly popular mezzotint4 ,he makes no mention of the line manner of ,flaxman1 if he knew him4 ,he does not see that the line engravings in the set are poorer all thru than the stipple prints1 and that in some of the line plates the cutting is so deep and the execution so clumsy that the resulting plates are muddy and crude and are lacking in tone1 grace1 and even in exactness of execution4 ,in one or two places where satin is excellently reproduced1 ,tieck praises the texture of the fabrics4 ,the large plate by ,simon from the ,merry ,wives has a wonderful lace apron which a recent writer on engraving has cald one of the best examples of the stipple manner4#bc ,as ,tieck refers to the other fabrics on the plate1 which is one of those with duplicated subject and which in the ,anzeigen seems only to hav been discust in the ,s form1 it seems clear that ,tieck also saw ,l here1 as ,s is by no means so fine a plate2 in fact ,l has the best fabrics in the series4 ,of the twenty-four large plates discust by ,tieck1 there are only thirteen which receive technical criticisms and of these thirteen1 three are lumpt together under one comment so that in all there are only ten separate technical criticisms4 ,of these1 six occur in the first six plates and with the eighteenth plate1 ,kirk's scene from ,titus ,andronicus1 the criticism of the mechanical side ends with a weak1 sehr gut gestochen1 showing that ,tieck did not progress in his technical criticisms4 ,his interest in the engravings as engravings waned as the essay proceeded3 it never rose above an attention to textiles and1 even there1 ,tieck did not see all the finer differentiations of velvet1 chiffon and lace1 tho the fine satins distinctly appeald to him4 ,perhaps as fair an example as any of his inexactness1 is his praise of the plate from ,as ,you ,like ,it in which ,jacques lies watching the wounded deer 7,,ii1 #a74 ,this is one of the poorest of the plates and yet ,tieck says1 ,die ,ausfhrung verdient alles ,lob4 ,fittler's plate from ,winter's ,tale 7,,iv1 #b71 while weak and without character1 is not as bad either in actual cutting or in general managment1 and yet ,tieck condems it unmercifully4 ,so1 too1 the bad plates by ,middiman come in for no special condemnation from ,tieck1 tho ,middiman is by far the worst engraver in the series1 and is particularly bad after ,hodges1 the plates after whom ,tieck saw4#bd ,drawing1 as such1 fares rather better than engraving1 tho less than half the pictures are criticized from this standpoint4 ,colorless expressions like ,keine ,fehler and ,viele ,fehler are not wanting and in many cases where whole bodies are out of drawing or where individual parts are bad ,tieck has nothing to say4 ,it is especially interesting to note that ,tieck finds the drawing of ,angelika ,kaufmann without error4 7,two ,gent4 ,verona1 last scene74 ,here he declares that no clumsy clothing conceals the figures1 but the lines are well brought out under the garments4 ,the disguised ,julia is at once recognizable in spite of her masculin attire1 and the manner of the artist is grazis4 ,an examination of the figure shows that ,julia's figure has something of the immature in it and that the face is rather boyish4 ,one thinks at once of the somewhat malicious words of ,friedrich ,schlegel to his brother1 ,wie ,angelika ,kaufmann1 der die ,busen und ,hften1 auch immer wie von selbst aus den ,fingern quellen4 ,both ,tieck and ,schlegel felt the sensuous charm of the painter whose best known self-portrait is in the garb of a ,vestal ,virgin1 tho the ,schlegels1 like ,georg ,forster1 had no illusions as to the qualities of her art4#be ,engravings in stipple emfasize less than line engravings mere questions of drawing4 ,it is perhaps with some instinctiv feeling for this that ,tieck suggests that one of ,hamilton's pictures has been hurt by the bad engraving1 just as certain other plates have gaind thru the engraver 7page #bb74 ,the hint for this point came originally from the ,anzeigen but ,tieck has developt it4 ,while it is now no longer possible to check up each plate with its corresponding picture1 it is true that the engravers were relatively better craftsmen1 as a rule1 than the painters4 ,in hardly any one case is the painting a sample of the best work of the artist4 ,often1 as in the case of ,sir ,joshua ,reynolds1 the painting redounds but little to his credit4#bf ,where1 as in the case of ,barry1 ,sir ,joshua's great rival1 the picture is reckond with his superior work1 the only conclusion is that ,barry was a very bad artist and so ,tieck considers him4 ,the engravers1 on the other hand1 had had no better chance in years to exhibit their art than in this imposing series1 and most of the best names in stipple appear in it4 ,the best that ,tieck does to recognize this fact is in the occasional lament for the waste of good labor on a bad subject or painting 7e4 g41 page #bj74 ,besides having the good feeling for the human form under the garment1 as in the case of the figure of ,julia and of those of ,mrs4 ,ford and ,mrs4 ,page by ,smirke1 ,tieck also criticizes several cases of misdrawing4 ,so1 the clumsy legs of one of ,opie's figures are scored and in blaming this failing of ,opie1 ,tieck hits one of the most pronounced weaknesses of that artist both in the ,gallery and in ,bell's ,british ,theater4 ,but ,opie1 the ,comedy ,wonder1 is hardly the ungebter ,knstler that ,tieck makes him out to be4 ,here ,tieck1 following the criticism of the ,anzeigen1 from which he may have got the hint on ,opie's drawing1 develops the criticism too far and goes astray4 ,there is a constant suspicion that ,tieck is trying to master a jargon4 ,often it is a mere chance whether ,tieck will see or not see a peculiarity4 ,some of the sentimental1 foolish1 and misdrawn hands escape his notis1 whereas in other cases he criticizes them4 ,perhaps the best example of ,tieck's criticism of drawing is that of ,northcote's plate to ,richard ,,iii4 7,,iii1 #a1 page #bg74 ,he says1 ,der alte ,cardinal scheint ganz verzeichnet zu sein1 man ist ungewiss1 ob er steht oder kniet3 in beiden ,fllen ist die ,zeichnung fehlerhaft4 ,tieck's strictures are correct4 ,the space from the waist down is found upon examination to be abnormally long for a kneeling person1 and groteskly short for one standing4 ,tieck's critique is good1 for it points out the error and the reason1 and shows that in any case the alternativ is a bad one4 ,tho ,tieck may hav been over-kind to ,angelika ,kaufmann1 he quite agrees with his contemporaries in the condemnation of another ,german ,swiss living in ,england1 namely ,fessli1 whom he calls one of the worst of the admirers of ,michaelangelo4 ,the michaelangelesk school of the day faild in its expression of great muscular effort1 in that it put for strength distortion and violence4 ,fessli was one of the most important adherents1 or rather1 was the greatest representativ of the fad perhaps anywhere and seems therby to hav largely incurd the displesure of his ,german critics4 ,that ,tieck really understood ,michaelangelo is shown by his later article in the ,phantasien ber die ,kunst4 ,he defends him from the charge of having drawn to show his knowledge of anatomy and among other things1 exclaims on his greatness1 his wild grace1 his fearful beauty4#bg ,but ,tieck had no use for those of his imitators who caught only the extravagance of his figures and debased his ,titanic creations into bizarre contortions by over-emfasis on mere muscle4 ,that ,tieck was not unconscious of the effect of mere line is shown by his pointing out the unplesantness of the line made by ,leontes' figure in ,hamilton's picture of the statu scene from ,winter's ,tale4 ,awkwardness and violence1 anything that savord of affectation and bombast1 where in ,shakspere power and energy are found1 met ,tieck's disapproval4 ,so this figure of ,leontes1 so ,orlando standing with his legs far apart1 so the faces drawn by ,fessli4 ,wherever there were violent angles1 sharp points and corners1 ,tieck felt himself ill at ease4 ,when he saw in some of ,fessli's plates faces which giv the impression of the plaster blocks of the art schools that are used to draw from the cast1 the square chins1 the noses1 either very pointed or cut off square1 imprest him as repulsivly inhuman4 ,widrig1 unnatrlich1 abgeschmackt1 manierirt1 are the terms applied to ,fessli's cursing scene from ,lear4 ,it would hav been interesting had ,tieck seen ,fessli's later scenes in the ,gallery4 ,the ,bottom scenes from the ,midsummer ,night's ,dream show that fantastic imagination which was the artist's strong point4 ,all the forms from the fairy world were there1 ,moth1 ,peascod and a welth of other spirits4 ,there is a distinct appeal to the imagination which justifies the painter of ,die ,nachtmahr1 tho the faces of ,titania and ,oberon are here too hard and sullen4 ,but the imagination shown has a curious similarity with the work of ,tieck in his later stories such as ,die ,elfen1 and which has so warm an afterglow in ,die ,vogelscheuche4 ,composition means for ,tieck especially order4 ,he has not yet lernd the principle of triangulation of arrangement enunciated by ,caroline in the ,gemlde essay in the ,athenaeum4 ,he expects no more than that the principle character shall be in an important place in the picture and insists that the lighting devices serv to throw such personages into relief4 ,so when the perspectiv is bad it is because of the wrong emfasis on the principal figures rather than that the harmony of the whole is disturbed by a wrong arrangement4 ,what irritates ,tieck especially is an arrangement of figures in the picture in the regular semi-circle borrowd directly from the theater4 ,the evil of unnaturalness which such attitudinizing brings with it1 is enhanced by light effects drawn from the same source4 ,so1 for example1 where the light is that of a lamp1 only so much light as a lamp would giv1 or the effect of natural lamp-light is allowable4 ,if1 on the other hand1 the sunlight streams into the room1 the source of the sunlight should be evident as outside the room4 ,tieck might hav mentiond as an example of this some of the fine interiors of ,pieter ,de ,hoogh4 ,the light effects should not be harsh but graded down so that no violent light contrasts occur within the same room4 ,the light1 too1 should be broken up1 not kept in a mass as if it were a separate entity to be treated apart from all other objects4 ,all this is perfectly resonable and not especially technical4 ,it is conveyd in stray hints rather than in any set discussion of light effects in any one place4 ,often1 too1 ,tieck's dislike for some other aspect of a painter's work leads him astray on this point4 ,this is tru in the case of ,northcote1 whose really good treatment of the high lights ,tieck has in one or two cases entirely overlookt4 ,there seems to hav been a distinct appeal made1 too1 by the sheen and glitter of certain textiles and the scintillating1 flickering light of the later periods of ,tieck's work is presaged as erly as this4 ,on the whole1 however1 it is not the glitter of the world of out-of-doors1 but of the world of the shut-in1 of the world of little things which appeals so strongly to ,tieck and which he treated with such banality in the story ,ulrich der ,empfindsame4 ,thus1 ,tieck's landscape criticism is very bad and even tho1 as has been pointed out1 the basis for his adjectivs lies in the ,anzeigen articles1 his expansion beyond them brings no real betterment4 ,in the plate from ,love's ,labor ,lost 7,,iv1 #a1 page #i71 when ,tieck was feeling his way into his subject1 his general impression was one of plesure1 and so the landscape is reizend4 ,in the whole essay1 reizend is the only constructiv epithet applied to landscape and it occurs only twice4 ,hamilton's landscape is purely conventional and1 except for a vista1 of which ,tieck was all his life fond1 offers nothing to commend it4 ,the failure of ,tieck to judge rightly must be laid at the door of too great reliance on the ,anzeigen4 ,tieck criticizes only one other landscape as such1 tho in a third case a landscape background is discust adversly4 ,for the scene from ,as ,you ,like ,it in which ,jacques watches the wounded deer the term reizend seems quite impossible4 ,engraved by ,middiman after ,hodges1 a combination which augurs ill1 the scene is without dout the worst in every way that ,tieck saw4 ,the composition is bad3 ,jacques1 a figure without grace of expression1 sprawls in a comedy landscape and the features of the wounded deer hav a strong ,hebraic cast4 ,here1 if ever1 the scene is drawn from the stage and not from nature and stage properties are models for tree and foliage4 ,when ,tieck says that the scene is one to arouse cheerfulness in the beholder1 he is correct but not in the sense that he ment4 ,the reliance on his source is not enuf to account for his aberration2 the failure to judge aright must be laid at ,tieck's door4 ,after pointing out the value of the whole1 and the effect made by the light of the torch held by ,gloster 7,lear1 ,,iii1 #d71 ,tieck shows that this effect1 striking as it is1 detracts from the unity of the composition1 since it shifts the emfasis from ,lear and his pain4 ,lear1 morover1 is not the ,lear of ,shakspere but a giant1 and the effect of this ,herculean form is made further improbable by the exaggeration of the wind blowing from all directions in the picture and driving the garments of ,lear with it1 winding them impossibly about him4 ,the effect of these draperies1 says ,tieck1 is baroque and there is no thought of quiet strength or noble simplicity4#bh ,in the composition of this picture ,tieck also notises that the figure of ,edgar is practically the same as that of a figure in ,west's ,deth of ,general ,wolf4 ,a comparison with the latter picture at once reveals the justness of ,tieck's observation4 ,the figure of the ,indian seated in the foreground is strikingly like that of ,edgar1 both in form and in general expression1 and it is evident that ,west has repeated himself4 ,in general1 ,tieck does not make comparisons of this kind4 ,he confines his remarks to the picture itself1 and probably was not well acquainted with the run of contemporary ,british art4#bi ,tieck's judgment of composition did not go far beyond this emfasis on the principal figure4 ,a general series of colorless frases like gut geordnet occurs1 but expresses only a mild acquiescence in the arrangement4 ,tieck was fond of the posing sentimentalities of groups like the landscape plate from ,love's ,labor ,lost1 but he tries hard to get away from them toward a realism which drew upon actual perception for its postulates and which was not based upon premises--inadequate for art--of ,shakspere illustration4 ,on the other hand1 and here he departs constantly from the canon of ,lessing1 there is no striving for abstract beauty4 ,charm and grace1 beauty in motion as it is exprest by the female figure in ,anne ,page and a few other cases1 are ,tieck's nearest approach to it4#cj ,the general reason for ,tieck's failure is that in actuality these pictures were not ugly or inartistic to him4 ,where he criticizes it is oftenest the idea2 the execution and the relation to an abstract standard are of less consequence1 and his theory once more limps behind his practis4 ,he may berate ,hogarth as an artist without beauty but it is clear that his extoling of ,rafael is a mere matter of fashion2 he is in the same category with ,domenichino1 whom ,tieck's generation and the next succeeding one considerably overestimated4 ,in ,michaelangelo1 ,tieck knows the strength of the drawing and not the wistfulness that pervades even the most ,titanic of the master's creations4 ,in general1 affectation of pose1 mannerism and preciosity are ,tieck's bane only where the sentimental is not concernd4 ,an interesting commendation of the composition of a plate is that of ,kirk's picture from ,titus ,adronicus 7,,iv1 #a74 ,tieck likes the plate because of its taste and delicacy in only suggesting the mutilated arms of ,lavinia4 ,kirk has avoided the frank naturalism of the original by the use of draperies1 and this appeals to ,tieck as a toning down and is in line with what had been suggested before in regard to ,tieck's attitude4 ,this plate has an accessory which ,tieck objects to1 namely the over large colum in the background4 ,usually1 but not in this case1 ,tieck criticises the accessories from the standpoint of the stickler for historical accuracy1 rather than for any artistic merit or demerit4 ,so the tomb of the ,capulets in ,romeo and ,juliet is not ,italian of the period1 and the dresses of the women in ,merry ,wives are in violation of the sumptuary laws of the time4#ca ,in the deth of ,mortimer 7#a ,henry ,,vi41 ,v1 #b7 the family tree lying on the ground adds a tuch of symbolism which ,tieck approves1 tho in the same scene he criticizes the mean character of the prison1 saying that for such a noble prisoner a better place of incarceration would hav been found4 ,tieck makes no clear distinction between passing expression 7,ausdruck7 and permanency of feature 7,miene74 ,his discussion of expression goes hand in hand with composition1 since1 as was mentiond above1 composition has so close a relation to the placing of the principal character4 ,there is a definit point of view1 however1 in ,tieck's discussions of composition2 in his strictures and encomiums on expression of face and figure it is practically impossible to find a consistent pou sto4 ,in places1 his powers of observation seem to hav deserted him and his lapses are not attributable to a too great leaning on the articles in the ,anzeigen4 ,tieck's theoretical discussion of the common-sense element in these illustrations may be ever so clear and his demands on the artist may be ever so high1 but his practical application of these principles is by no means as strict as might be expected4 ,indeed1 in theory ,tieck demands one thing and in practis another4 ,it is ,tieck's desire that the artist should catch the individual note in these figures and raise it to an ideal1 that he should choose the expression with care and never sacrifice it to coloring or drapery and that he should avoid all necessity of using symbols to designate his characters4 ,but when ,tieck actually examins the pictures1 he stresses theatrical pose or mien and pays no attention to those obvious tricks whereby expression is obtainable3 the skilful use of light and shade on the face1 the treatment of the lines of the mouth1 and the placing of the eyes4 ,occasionally1 as in the ball scene in ,romeo and ,juliet1 it seems as if the treatment of the eyes of a figure--in this case that of ,tybalt--attracted his attention1 but there are so many other plates in which the eyes are quite as good and are nevertheless past over1 that the instance of ,tybalt seems fortuitous4 ,tieck uses the expressions ohne ,ausdruck1 wenig ,ausdruck and ohne ,charakter1 wenig ,charakter almost exclusively in his negativ criticism of the plates and his positiv criticism substitutes viel for wenig4 ,such frases are not very definit and ,tieck misapplies them constantly4 ,in four out of the five cases of ,tieck's largest caption1 ohne ,ausdruck1 he is certainly incorrect and the postulation of wenig ,ausdruck is wrong in at least two out of the three cases4 ,it is not a matter of personal opinion nor can it be a difference in point of view between the twentieth century and the end of the eighteenth4 ,it is largely bad judgment on ,tieck's part4 ,in the three cases where ,tieck sees vielen ,ausdruck not one is in reality especially distinguisht for vividness4 ,two even vie with the most expressionless in feature and hav no special pretentions to significance of posture4 ,in the five plates where ,tieck uses ohne ,charakter or wenig ,charakter1 the epithets are in general tru4 ,tieck got the hint for an advers criticism of the faces of ,mrs4 ,ford and ,mrs4 ,page from the ,anzeigen4 ,he exclaims1 expanding his model1 ,welch' widrige ,gesichter6 welch' uninteresante ,figuren6 ,there is in the pose of ,mrs4 ,page a most awkward droop of the neck1 but in ,mrs4 ,ford's face there is a rollicking ,irish drollery1 a freshness of complexion and a witchery of the eyes that are quite charming4 ,the painting was by ,peters1 whose sprightly humor was so much admired by his contemporaries4 ,one of the two pictures of ,leontes in the ,winter's ,tale shows his giving the oath to ,antigonous to destroy the child4 ,in ,leontes' frowning face ,tieck sees no expression1 altho it is unquestionably one of the most lively of the series4 ,the stiffness of pose that ,tieck objects to in the picture may well be accounted for by the full suit of armor that ,leontes wears4 ,the face is far more expressiv than that of the other ,leontes picture and yet ,tieck's judgment on them is the same4 ,one of the most striking failures on ,tieck's part to see character interpretation of real subtlety is in ,northcote's portrayal of ,richard ,,iii4 ,there can be no dout that ,tieck's general dislike of the artist1 which was based on the adverse criticisms of the ,anzeigen1 led his judgment astray4 ,the face of ,richard is all in all the most characteristic of the series in so far as ,tieck saw the series4 ,richard's subtle1 false and trecherous look with the smile of his grim humor is well caught2 the eyes and mouth are excellent and giv a very adequate idea of the deviltry of the man1 of his lewd cunning and his scheming4 ,what ,tieck might well hav objected to is the sentimentalizing of the two princes whom the artist has transmogrified into fat little babies1 just as in the next picture the two hav become well-fed little beef-eaters4 ,as ,tieck fails to see sentimentality in this picture1 so he misses extravagance in the church scene from ,much ,ado4 ,tieck borrowd much in this discussion from the ,anzeigen but his remarks on expression are his own4 ,he says that ,leonato has too little expression4 ,there can be no dout as to the figure intended for ,leonato4 ,claudio is identified by a very theatrical gesture and by a ,mefistofelian ,don ,juan behind him4 ,the fainting ,hero1 over whom ,beatrice is bending1 falls into ,benedix' arms4 ,the only other figure1 that of an older man1 and who therefore cannot be ,benedix1 is standing in a most theatrical posture with clencht fists1 eyes upturnd1 rigid and ridiculous4 ,if ,tieck ment that this figure should represent ,leonato1 he has shot wide of the mark in his criticism and displays a most unrefined love of the melodramatic4 ,figures like this are not often found in the ,gallery4 ,ordinarily excess of sentiment and a cheap display of emotion giv way to stiffness and awkwardness4 ,tieck was dissatisfied with all the reproductions of ,lear4 ,they hav all too much of the gigantic1 too little of the childish old man4 ,he points out that the face as drawn by ,fessli expresses nothing but rage2 the same exaggeration is found in the drawing of ,west who sacrifices truth1 nature and emotion to a striking first impression4 ,barry's ,lear only excites laughter and the lack of expression in the face is made up by the storm-wind in the hair4 ,again1 however1 issu must be taken with ,tieck's attitude1 for it is impossible to regard these faces as expressionless4 ,it is not that they hav too little1 but too much1 and of a wrong kind4 ,tieck nowhere draws the clear distinction and nowhere makes it evident that he regards ,ausdruck as a term to be interpreted in any but a common sense way4 ,it seems apparent that those plates which had a certain sentimentality1 a certain saccharin quality appeald to ,tieck4 ,he likes the prettiness of ,anne ,page and cleverly notes the touch of scorn in her face4 ,if he had recalled ,reynolds' ,mrs4 ,siddons he would hav recognized the same trait of hardness around the mouth1 a line that is often found in the pictures of ,english women4 ,perhaps ,tieck's interest went hand in hand with his enthusiasm for ,rafael1 and lack of discrimination lets him take all as of equal value4 ,the face of young ,lucius in ,titus ,adronicus and the face of ,juliet in the tomb are examples of this4 ,tieck argues that the boy has a good deal of expression1 but a cool observer can see only melodrama in the pose and blankness in the face4 ,the most interesting thing about the plate has escaped ,tieck's attention1 namely that both of ,titus' hands are represented4 ,it seems an especially noteworthy omission in a picture which ,tieck praises for not showing the stumps of ,lavinia4#cb ,tieck several times criticizes a picture for making a good first impression and then not being able to stand the test of close observation4 ,an example of this is ,northcote's portrayal of ,mortimer and ,york 7#a ,henry ,,vi41 ,,ii1 #e7 which is really spoild according to ,tieck by the strong light masses which at first sight seem very striking4 ,these light masses throw the main figure into relief1 but ,tieck objects to the unnatural posture of the dying man4 ,close examination of the figure reveals the fact that ,mortimer is really well drawn2 the lines of the drapery distort the general impression1 but that part of the drawing comprising the actual sitting figure is that of a broken old man1 fallen in a heap and dying4 ,any one who has seen ,irving's masterly representation of the dying ,louis cannot but be imprest by the verisimilitude of ,northcote's presentation4 ,what ,tieck says of the minor characters on the plate is true2 they are expressionless in the extreme4 ,tieck is fully justified in calling ,reynolds' scene from ,henry ,,vi4 dieses abscheuliche ,blatt1 where the word abscheulich is reminiscent of the ,anzeigen4 ,he asks further1 ,ist dies der ,knstler der ,familie des ,ugolino8#cc ,with much better right he might hav askt1 ,is this the painter of the ',age of ,innocence' and the man who loved to paint children8 ,both the ,shakspere plate and the stiff ,ugolino picture attempt to portray the horrible1 and the only other plate that ,sir ,joshua did for the ,gallery1 namely1 the ,hecate plate from ,macbeth1 the same selection of a grewsome subject is made4 ,neither of these pictures can be sed to conform with ,reynolds' well-known doctrin that the function of art is to arouse the imagination1 for in these pictures there is nothing left for the imagination but exhaustion4 ,they show a vein of the bizarre without the great fancy of ,fessli and are realistic to a degree that stopt at nothing4 ,it is not to be wonderd at that ,tieck exhausts himself in condemnation of the plate that he saw4 ,it is plain that ,tieck saw in the plate a caricature and an evasion4 ,the caricature was the dying man and the evasion was the veild face of the young king4 ,tieck felt that the artist had veild the face of his character to conceal his want of skill in the portrayal of a supreme moment of emotion4 ,here ,tieck certainly breaks with the doctrin of ,lessing who praised the expedient of ,timanthes in veiling the face of ,agamemnon at the sacrifice4 ,tieck tacitly accuses ,reynolds of shirking an obvious task4 ,he wisht something superlativ1 whether in fleeting expression or in that permanency which is caused by iterativ emotion4 ,such a desire1 the emfasizing of ,shakspere's ,kraft and ,energie leaves him on the plane of the ,storm and ,stress in his attitude toward the ,british poet4#cd ,if the words of ,sir ,joshua himself are to be taken as a criterion1 his theory is different from his practis in this case1 and ,tieck has condemd him out of his own mouth4 ,beauford1 whom ,tieck calls a caricature1 certainly leaves nothing to the imagination1 as ,reynolds wisht for art4#ce ,tieck's description of the figure is apt1 ,beauford liegt da1 mit den ,zhnen grinsend1 das ,bett in ,verzuckungen kneifend1 eine ekelhafte1 verzerrte ,caricatur1 ber die man lachen knnte1 wenn sie etwas weniger abscheulich wre4 ,genie and ,enthusiasmus knnen hier die ,hand und ,kritik unmglich irre gefhrt haben2 denn weder das eine1 noch der andere gehrt dazu1 um diese ,zge1 diese ,umrisse hervorzubringen4 ,the word caricature is1 even before he found it in the ,anzeigen1 a term of deepest reproach with ,tieck4 ,in his essays to ,wackenroder he says1 speaking of a certain actor1 ,ich gestehe dass er vielleicht viele ,scenen natrlich und einige komish darstellt1 aber nach meinem ,urtheil spielt er in keiner einzigen schn1 mit einem ,worte1 er macht ,carrikatur1 und die kann nie schn sein1 wenn sie auch noch so vielen ,ausdruck hat4 ,das ,komische und das ,schreckhafte grnzen berhaupt vielleicht nher aneinander1 als man glaubt 444 ,vielleicht ist das wahre komische ,spiel so wie ,unzelmann est giebt1 alles so leicht1 so bergehend1 keine ,periode1 keine ,idee1 keine ,stellung mglichst festgehalten1 keine ,grimasse in ,stein verwandelt4 ,after pointing out the value of the unspoild taste of childhood in matters of esthetic judgment1 ,tieck continues3 ,du kannst leicht die ,erfahrung machen1 dass ,carrikaturen den ,kindern nie gefallen1 denn sie erkennen in ihnen nur mit ,mhe den ,menschen wieder1 sie frchten sie wirklich2 sie knnen ungleich lnger eine andre ,figur ohne ,ausdruck und bestimmten ,charakter betrachten1 ja tagelang darber brten1 und ,ausdruck und ,charakter hineintragen1 hundert ,trume spinnen sich in ihrer ,seele aus1 444 ,carrikaturen gefallen berhaupt vielleicht nur einem kalten nrdlichen ,volke1 dessen ,gefhl fr den feinen ,stachel der stillen ,schnheit zu grob ist1 oder die schon die ,schule der ,schnheit durchgegangen sind1 und deren bersatten ,magen nur noch die gewrztesten ,speisen reizen knnen1 die es daher gern sehen1 wenn die ,schnheit dem ,ausdruck aufgeopfert wird1 weil sie in der ,schnheit keinen lebenden ,ausdruck mehr finden4 ,du wirst sehen1 dass ich hier nicht bloss von der komischen ,carrikatur spreche1 sondern von jedem ,ausdruck irgend einer ,leidenschaft1 der die ,schnheit ausschliesst4 ,he then goes on to indicate the relation of what he had sed to ,lessing and confesses his indetedness to him in the matter4 ,the highest effects when used in sculpture and painting are also caricature4#cf ,paralel to this statement in the letters is the discussion in the essay of the valu of the comedies of ,shakspere over his tragedies as material for illustration4 ,tieck says 7page #ae71 ,im ,trauerspiele ersteigen meistentheils gerade die schnsten ,scenen eine ,hhe des ,effects1 die der ,maler schwerlich ausdrcken kann1 ohne widrig zu werden4 ,der ,schauspieler verliert schon oft jene ,grazie1 die jedem ,kunstwerke nthig ist1 wenn er manche ,scenen der tragischen ,kraft so wiedergeben will1 wie er sie im ,dichter findet1 doch kann die ,mimik hier noch das ,unangenehme vermeiden2 der ,malerei ist es aber meist unmglich1 denn jene ,verzerrungen1 die auf der ,bhne nur vorbergehend sind1 werden hier bleibend gemacht2 dort erschrecken sie durch ihr pltzliches ,entstehen und ,verschwinden1 hier werden sie ekelhaft1 weil durch das ,feststehende und ,bleibende des ,widrigen der dargestellte ,mensch zum ,thier herabsinkt4 ,jemehr der ,maler den ,affekt hinauftreibt1 desto mehr nimmt er zugleich ,interesse und ,tadel von seinem ,helden4 ,die hchsten ,grade des ,zorns1 der ,wuth oder der ,verzweifelung bleiben im ,gemlde stets unedel2 selbst der ,wahnsinn muss hier mit einer gewissen ,schchternheit auftreten1 und im hchsten ,entzcken muss ein sanfter ,wiederschein der ,melancholie leuchten4 ,the relation of this to ,lessing1 both in the ,laokoon and in the ,dramaturgie is at once apparent4 ,the dislike for caricature centers around the comic efforts of ,smirke for whom ,tieck has hardly a good word to say4 ,in the discussion of ,reynolds' picture1 ,tieck remarks1 half in jest1 that he regrets his strictures on ,smirke in the face of this greater caricature by ,reynolds4 ,the sum total of his criticisms of ,smirke is unjust3 thruout the series and especially in some of the plates that ,tieck saw1 this painter has caught the comic spirit well1 and tho overpraisd by his contemporaries1 has done some very clever work both in the ,gallery and in ,bell's ,british ,theater4#cg ,tieck's principal censures are directed against the figure of ,simple in the ,merry ,wives and that of ,dogberry in the comic trial in ,much ,ado4 ,simple is for ,tieck neither the character as ,shakspere conceived him1 nor is he funny4 ,it is again1 says ,tieck1 a mere exaggeration1 tantamount to a confession of inability4 ,that the spectator cannot laugh at the character is the artist's greatest punishment2 in overstepping the just limits of the comic and the natural1 he has made the figure insignificant4 ,unlike ,hogarth1 says ,tieck1 ,smirke has not the power of expressing character by means of the distortions of the exterior4 ,to put an artist below ,hogarth is with ,tieck to put him very low2 in this respect he stands on the plane of ,august von ,schlegel in the ,athenum and has not risen to the level of admiration for the ,englishman displayed by ,novalis in the ,fragments4 ,the best that ,tieck can say for the ,dogberry scene as a whole is1 that in spite of its exaggerations1 it has much comic power4 ,but1 he goes on to explain1 it is a far different thing for ,smirke to exaggerate than for ,shakspere1 for the latter always draws human beings1 while the figures of the former are at times hardly to be distinguisht from apes4 ,to a certain extent the figure of ,dogberry and more especially the face1 justify ,tieck's repugnance4 ,in its way1 the face is fully as bad as that of ,reynolds' ,beauford4 ,tieck says1 ,selbst ein vertrauter ,leser des ,shakspeare findet sich nicht in den hier dargestellen ,caricaturen1 von denen die ,hauptperson in einer ,wuth1 die lcherlich sein soll1 so ekelhaft verzerrt wird1 dass man nur ungern mit dem ,blick auf dieser ,zeichnung verweilt4 ,this is in every respect tru4 ,smirke has here mist all the comic elements of the character1 and has produced not the ridiculous malapropian ,dogberry but a demoniac grinning mask of a face and a twisted1 distorted and frenzied figure4 ,tieck proceeds1 ,ein ,knstler1 der die komischen ,scenen des ,shakspeare darstellen will1 sollte doch von seinem ,dichter so viel gelernt haben1 dass dieser seine ,caricaturen nie ohne eine gewisse ,portion von phlegmatischer ,laune lsst1 die so oft unser ,lachen erregt1 und aus der blossen ,erfahrung sollte er wissen1 dass selbst der lcherlichste ,zwerg1 wenn er schumt1 in eben dem ,augenblicke aufhrt lcherlich zu sein4 ,jedes ,subject hrt auf1 komisch zu sein1 sobald ich es in einen hohen ,grad von ,leidenschaft versetze4 ,denn das ,lcherliche in den ,charakteren entsteht gewhnlich nur durch die seltsam widersprechende ,mischung des ,affects und des inneren ,phlegma2 wenigstens so hat ,shakspeare seine wirklich komischen ,personen gezeichnet4 ,der ,mangel an ,genie zeigt sich gewhnlich in ,uebertreibung und gesuchten ,verzerrungen des ,krpers4#ch ,the scene from the ,merry ,wives in which ,dr4 ,cajus catechizes ,william on his ,latin1 represents very well the type of scene the choice of which ,tieck condems as unsuited for representation4 ,it is not because there was something in the humor of them that ,tieck did not grasp1 but because he rejects on principle all that is secondary and episodical4 ,such scenes as are told and not acted1 that is1 the epic portions of the plays1 as well as the reflectiv and filosofical portions would hav to be excluded4 ,it is the fate of the principal characters which is of prime importance1 and the moment must be chosen with their activities in view4 ,this emfasis on the principal character is also strongly reminiscent of the doctrin of ,lessing's ,dramaturgie4 ,it has been shown how it affects what ,tieck has to say about composition and it is the prime factor in his feeling for what is the proper moment and subject of representation4 ,some of the scenes which ,tieck rejects are ,hodges' picture of the melancholy ,jacques1 and the murder of the princes in ,richard ,,iii4 ,neither of these is acted out on the stage4 ,from the ,merry ,wives he proposes ,falstaff's three adventures3 the basket scene1 the ,witch of ,brentford scene and the final torturing of ,falstaff by the practical jokers4 ,these giv a chance for variety of grouping and a gradation of expression in all the chief characters of the play4 ,the scene in which the two women read identical letters from ,falstaff1 ,tieck regards as the worst possible1 for reasons that he says he need not recall but which are obviously those of lack of stress on the main character4 ,the scenes that ,tieck recommends were actually chosen by the artists whose work appears later in the series and so ,tieck's judgment is1 in a way1 confirmd4 ,these scenes are the skeleton of the farce element and bring out the structure of the ,falstaff plot which ,tieck evidently regards as the main theme4 ,it is interesting to note1 however1 how little the choice of subject has to do with the artistic merit or demerit of the plates4 ,the subsequent plates1 which would hav fully satisfied ,tieck's requirements as to the moment of presentation are artistically among the worst in the series4 ,the two scenes from ,as ,you ,like ,it suggested by ,tieck1 the one where ,adam admonishes ,orlando 7,,ii1 #c7 and the scene in the forest where ,orlando enters bearing ,adam on his shoulders 7,,ii1 #g7 hav not the same structural relation to the whole as hav those from the ,merry ,wives4 ,these moments lend themselves very well to representation but are chosen on another basis of judgment4 ,they show that for ,tieck ,orlando was of more importance than ,rosalind1 for he suggests no scene with her in it as especially representativ of the play4 ,in the first of these two scenes1 the action has already begun2 the scene is the culmination of the episode containing the first relation of the brothers4 ,it is in itself not a vital part of the action4 ,the scene in the forest1 on the other hand1 has more of the qualities demanded by ,tieck3 a variety of characters and an important moment4 ,this is a moment--tho not the initial one--when ,orlando's fortunes mend and he comes to his frends4 ,the scene in which he first meets the ,duke's party is of more significance4 ,it seems as if the governing principle is contrast rather than a desire for elucidation of structure in serial arrangment4 ,orlando and ,adam1 ill-fortune and good luck1 are juxtaposed4 ,tieck conjectures that the eavesdropping scene from ,much ,ado 7,,iii1 #a7 is included in the collection because it was played by popular actresses of the contemporary ,english stage4 ,tieck misses the structural importance of the scene4 ,it is apart of the intrigue2 it has a direct effect on ,beatrice who comes from it a changed woman4 ,to ,tieck1 however1 it ment as little as the similar eavesdropping scene from ,love's ,labor ,lost 7,,iv1 #c71 in which play he claims there is no suitable scene for representation4 ,the scene from ,winter's ,tale in which ,perdita welcomes the disguised ,duke 7,,iv1 #c71 offering him flowers the while1 is condemd in favor of the one immediately following in which the ,duke discloses himself4 ,here again ,tieck stresses the contrast and wishes a climax1 a dramatic moment4 ,so he praises such scenes as the putting away of ,hero at the altar and the deth of ,beauford1 however much he derides the execution of the latter1 by ,reynolds4 ,for the sake of bringing out the wretchedness of this execution1 ,tieck points out that tho he has often before bewaild the choice of moment1 he cannot do so in this case for no better could hav been selected4 ,he details the good points in the scene3 ,man denke sich einen ,bsewicht auf dem ,todtenbette1 den die ,verzweifelung wahnsinnig gemacht hat1 der keine ,seligkeit hofft2 diesen besucht in seiner ,todesstunde ,heinrich1 der junge gefhlvolle ,knig1 ein ,schwarmer in der ,religion1 der von diesem ,anblick auf das tiefste gerhrt wird2 ,warwick und ,salisbury1 zwei mnnliche ,krieger1 begleiten ihn hierher4 ,beauford ist die ,hauptperson1 alle ,zuschauer haben ihre gauze ,aufmerksamkeit auf ihn gerichtet4 ,der ,knstler htte hier rhren und erschttern knnen2 ich sehe in ,gedanken den weichen ,heinrich ,thrnen vergiessen1 im schnsten ,contrast mit dem ,cardinal1 der ihn1 in der ,abwesenheit seines ,geistes1 kalt und ohne ,bewusstsein anstarrt4 ,warwick und ,salisbury1 weniger gerhrt1 aber doch interessante ,physiognomien1 die durch leichtere ,nuancen von einander unterschieden sind4 ,so sehe ich in der ,phantasie das schnste tragische ,gemlde 444 ,in ,romeo and ,juliet the choice of the ball scene meets with ,tieck's disapproval4 ,the scene is ,ohne ,wirkung4 ,tieck's main reason why the scene is not good is that the painter has interpreted literally the metafor1 ,my lips two blushing pilgrims stand and has represented ,romeo in the garb of a pilgrim to correspond to ,juliet's anser1 ,good pilgrim4 ,as ,tieck rightly points out1 there is no need for such a gise4 ,the choice of the more highly keyd situation at the supposed deth of ,juliet meets with ,tieck's approval and shows that where there is a choice1 the emfasis of his selection is apt to be on the superlativ moment4#ci ,one other idea seems to be in ,tieck's mind and it is hard to believe that he was not unconsciously influenced by the stage presentation of the plays when formulating it4 ,that is the desire to hav a number of people in the picture4 ,nearly all the plates that he condems hav but few characters and his dictum of variety demands a reasonable number to choose from4 ,this dramatic point of view is in accord with his attitude in all other fases of the discussion4 ,it has been pointed out how rarely the artistic makes the prime appeal to him4 ,tieck's second point in regard to choice of subject is that the comedies offer a wider field and a better opportunity than the tragedies4 ,the general basis for this notion is allied to his theory of the worthlessness of caricature1 that is1 that there is an exaggeration1 an overacting of the part possible in tragedy that is less likely to occur in comedy4 ,the statement of the evils of exaggeration is very sweeping and includes in some of its details both comedy and tragedy3 ,der dramatische ,dichter hat ,momente in seinen ,schauspielen1 die kein ,pinsel oder ,griffel jemals darstellen kann2 ich meine jene ,sprnge und berraschenden ,wendungen des ,affectes1 jene frchterlichen ,blitze des ,genies1 bei denen der ,zuschauer zusammenfhrt1 wo der ,dichter unerwartet durch eine neue verdrngt3 diese ,momente sind oft die glnzendsten des ,schauspiels1 und bei keinem ,dichter finden sie sich so hufig als bei ,shakspeare in seinen ,tragdien4 ,tieck's illustration for this is the passage from ,lear beginning1 ,no1 ,i will weep no more1 etc4 ,he continues1 welcher ,maler wird es wagen1 wenn er den ,sinn ganz durchdringt1 444 diese ,stelle auf die ,leinwand zu werfen8 ,so innig diese ,verse beim ,lesen oder bei der ,darstellung rhren1 so frostig wrden sie vielleicht als ein ,gemlde dargestellt erscheinen3 oder wenn sie auch hier rhrten1 so wrde das ,gemlde doch nie jene ,erschtterung in uns erregen1 jenes ,anschlagen von hundert ,gefhlen4 ,man wrde immer nur den weinenden ,lear sehen oder den erzrnten ,vater1 der sich zur ,klte zwingt2 das ,ineinanderschmelzen dieser beiden ,empfindungen1 verbunden mit der ,verstandesschwche1 die dem ,schmerz endlich ganz erliegt und ,wahnsinn wird1 wre selbst ein ,rafael unmglich3 hier steht ein grosser ,grenzstein zwischen dem ,gebiet des ,malers und des ,dichters4 ,the result of overstepping these bounds is that the painter is likely to enter into rivalry with the poet1 to feel his lack of ability in the struggle and to produce empty declamation insted of a work of the creativ imagination and to offer to the spectator nothing for either imagination or reason4 ,but in the comedies there are many moments which almost force themselves on the painter4 ,these are scenes in which he can portray the poet just as he finds him and in which his rivalry is legitimate and1 indeed1 may tend to make him surpass the poet4 ,if he can do this it will be by bringing out more plainly the light shades of the poet's meaning and he will become a commentator1 so to speak1 of these4 ,under such circumstances1 the painter must be very careful to choose just the most beautiful and most interesting passages4 ,the relation to ,lessing is again at once clear4 ,the culminating moment of passion as it appears in the tragedies is not suitable from the artistic point of view for reproduction but the comedies1 from their admixture of the flegmatic1 the almost imperativ concomitant of ,shaksperean humor1 tone down this superlativ expression and are therefore within the pale4 ,how ,tieck carries out his theory in practis1 has been sufficiently shown3 his love for the sentimental and melodramatic1 for the climatic and striking lead him to neglect his delimiting theoretical remarks4 ,before leaving the discussion of ,tieck's article1 it may be well to compare it with another contemporary treatment of the ,boydell ,gallery4 ,this is by the famous traveler and publicist1 ,george ,forster4 ,it was ,forster's account which furnisht ,fiorillo with much of his data for the treatment of the ,gallery in his history of ,british art1 but it is hardly likely that the account is a source for ,tieck4 ,i hav no external evidence and the internal evidence is entirely negativ4 ,if ,friedrich ,schlegel's estimate of ,forster's artistic capabilities be accepted1 it is just such pictures as these1 where the social interest is great and the artistic valu is secondary1 that should bring out ,forster's strength of judgment4 ,forster was also a finely discriminating amateur1 with a decided sense of tactile form based on a sincere love of ,greek art and confirmd by a study of ,winkelmann and ,lessing1 beyond whom he past in his appreciation of the portrait and the landscape and of the coloring of the great masters4 ,forster's essay1 ,die ,kunst und das ,zeitalter 7#agia71 was written about the time that he saw the ,boydell pictures4 ,it shows his attitude toward ,greek art and givs more than a hint of his standards which point so clearly toward ,schiller4 ,his ,ansichten vom ,niederrhein1 especially the discussions of the galleries and collections at ,dsseldorf1 ,brussels and ,antwerp fully express his ideas on ,dutch and ,flemish art1 especially emfasizing the characteristics of ,rubens for whose fleshy types ,forster had little use4 ,in the discussion of ,british art which comes as an appendix to the ,ansichten1 ,forster includes a rather detaild description of the ,boydell paintings4 ,he did not see the engravings1 or rather1 his description is based on the paintings as they hung in the gallery in ,pall ,mall and so the material of this sketch in two parts1 is in one way fundamentally different from that of ,tieck4 ,all the discussion of technique in which ,tieck was so weak1 is entirely lacking in ,forster4 ,his point of view1 too1 is different4 ,he is the traveld1 experienced man from whose traind eye and broad judgment more may be expected than from the student ,tieck4 ,there is1 as ,friedrich ,schlegel says1 an out-of-doorness in ,forster's work that ,tieck could never hav had2 the over-emfasis on ,shakspere on the part of the latter is only one product of his inexperience4 ,in spite of all this1 it is surprizing to find what correspondences there are between the student ,tieck and the more traind ,forster4 ,the latter who knew vastly more of ,english life than ,tieck1 fails to understand it in just those vital points where ,tieck went farthest astray4 ,smirke and ,peters fare badly at his hands1 perhaps because of a certain puritanism in his atitude1 or to quote ,schlegel1 because ,keine ,vollkommenheit der ,darstellung konnte ihn mit einem ,stoff ausshnen1 der sein ,zartgefhl verletzte1 seine ,sittlichkeit beleidigte oder seinen ,geist unbefriedigt liess4 ,for this reason he can call one of the ,peters paintings from the ,merry ,wives a brothel 7ein ,speelhuis7 or refer to the women of that artist as lockere ,nymphen4 ,besides the same general dislike for the caricatures of ,smirke that was noted in all previous instances1 there is the usual praise of ,hodges1 the usual condemnation of ,opie's bad drawing4 ,fessli1 too1 comes in for his share of the blame3 ,der ,beifall1 welchen ,fesslis ,gemlde in ,england erhalten1 bezeichnet mehr als alles die ,ueberspannung des dortigen ,kunstgeschmacks4 ,dieser junge ,schweizer 444 brachte nebst der ,kenntniss akademischer ,modelle sein malerisches ,kraftgenie mit sich ber das ,meer2 seiner ,phantasie ward es wohl unter wilden ,traumgestalten und ,bildern des ,ungewhnlichen4 ,diese ,stimmung 444 verfhrte ihn nur gar zu bald zu allen ,ausschweifungen der ,manier4 ,es ist zwar leicht das ,alltgliche zu vermeiden1 indem man ,kontorsionen darstellt 444 7page #dff74 ,again3 ,es sind nicht ,menschen1 die dieser ,knstler phantasiert1 sondern ,ungeheuer in halb menschlicher ,gestalt1 mit einzeln sehr gross gezeichneten und sehr verzerrten1 verunstalteten ,theilen und ,proportionen3 ausgerenkte ,handgelenke1 aus dem ,kopfe springende ,augen1 ,bocksphysiognomien u4 s4 f4444 7page #ejc74 ,northcote is damned with the faint praise ,nicht ohne ,verdienst1 a frase that clings to the characterizations of his work from the ,anzeigen to ,fiorillo4 ,barry is shown to lack grace1 noble greatness and beauty4 ,his distorted figures border on caricature and his forms are of giants1 colossi4 ,his coloring is bad in spite of his theoretical knowlege and good drawing4 ,forster sees thru ,angelika ,kaufmann and ,hamilton better than ,tieck did4 ,hamilton's paintings are ,machwerk and his figures move in ,tanzschritt1 while ,angelika's are hermafroditic 7page #eja74 ,die deutsche ,muse ,angelika verbarg die ,inkorrektheit und das ,einerlei ihrer allzuschlanken ,figuren unter dem ,schleier der ,grazie und ,unschuld 7page #dei74 ,for ,forster1 ,shakspere is the most logical portrayer of nature that ever existed2 he meets the painter halfway in his work by his excellent characterization of the salient features of a personage and so givs the painter sharply defined subjects for his fantasy4 ,for the artists of the ,british school this is especially valuable because effect is their highest aim and beauty only secondary4 ,extremes of passion1 astonishment1 surprize are strivn for4 ,sie hascht nach der ,wahrheit der ,natur in ihren grsslichen ,augenblicken und erlaubt ihrer ,phantasie den verwegenen ,flug1 nicht in das schne ,feenland des ,ideals sondern in die verbotene ,region der ,geister und ,gespenster4 ,but while the general condemnation of ,british artists shows far more perspectiv than is found in ,tieck1 the acquaintance with the details of ,shakspere's plays is never drawn on to point out any defects in choice of subject matter4 ,forster can refer to the acted plays from an experience that was at this time still denied ,tieck1 but this experience does not result in any well-defined theory of ,shakspere-illustration as a whole and as we found ,tieck to hav4 ,the melancholy ,jacques in the forest is a good scene for ,forster1 whereas ,tieck rejected it as having no structural relation to the rest of the play4 ,forster finds it worthy of portrayal as one of the moments arising from ,shakspere's variety of scene1 character and condition of life1 to say nothing of the chance to show the lonesome melancholy stag by the famous animal painter1 ,gilpin6 ,on ,reynolds' famous ,beauford picture1 ,tieck and ,forster are entirely at odds4 ,for ,tieck the execution is terrible1 the choice of subject satisfactory4 ,for ,forster1 the choice is inexcusable1 the execution in part masterly2 a dying criminal in his last throes seems to ,forster an utterly impossible subject for representation4 ,so with ,kirk's picture from ,titus ,adronicus3 in spite of the attempt to meliorate the impression of the butcherd ,lavinia1 the whole picture remains for ,forster a disgusting sight4 ,the conclusion is obvious3 ,forster's sense of delicacy rebeld at the crass and brutal2 wildness and terror shockt him4 ,but if ,tieck's article compares favorably with ,forster's in all points respecting the ,gallery itself1 it must be confest that the political1 patriotic note1 the application to ,germany of the principles of national betterment in art which arose in the mind of ,boydell1 escape him4 ,he was not1 of course1 like ,forster1 a political writer1 and revolutionary conditions had no immediate interest for him as for the older man4 ,and so his art criticism does not look forward to ,germany as does ,forster's or as does that of a propagandist like ,kleist in his ,abendbltter article4 ,tieck does not rise above the milieu2 the ,gallery offers no hold with which to test contemporary art in his own land4 ,it is only a beginning1 clearsighted in part and in general sustaind1 an ernest of what the matured criticism of the ,romantic school was later on to do4 ,,notes #a ,die ,kupferstiche nach der ,shakspeare-,gallerie in ,london4 ,briefe an einen ,freund4 #agic4 ,kritische ,schriften1 vol4 ,i1 pages #c-cd4 ,kr4 ,sch4 #b ,for full title1 see bibliografy4 #c ,e4 g4 in the letters4 #d ,krit4 ,sch4 ,i1 #d4 ,jean ,paul1 ,titan1 ,i1 #db4 ,berlin1 #ahbg4 #e #agai-ahjd4 #f ,preface to the ,prospectus and quoted in the preface to the ,gallery4 #g ,the facts on the ,gallery are pretty well scatterd4 ,the statements in ,allibone are not all correct4 ,see ,graves1 ,new ,light on ,boydell's ,shakespeare ,gallery1 ,magazine of ,art1 vol4 ,,xxi1 page #adc ff4 ,for some details as to the disposition of the pictures1 see ,notes and ,queries1 series #b1 vol4 ,,viii1 vol4 ,,ix1 #cac1 vol4 ,x1 #eb4 ,also ,pye1 ,patronage of ,british ,art1 ,london1 #ahdh4 #h ,preface to critical works4 #i ,page #g4 #aj ,copy in the ,columbia ,university ,library4 #aa ,mr4 ,l4 ,l4 ,mackall kindly furnisht me with this information4 #ab ,this ,ms4 7#gi pp41 vellum1 quarto7 contains the signatures of all the subscribers or their agents4 ,romney1 ,warren ,hastings1 ,wedgewood1 the ,king1 the ,queen and the ,prince ,regent besides a number of ,english persons of quality are represented4 ,the poets are conspicuously wanting4 ,the ,king of ,england gave the copy to the ,university ,library4 ,cp4 ,goettinger ,gelehrte ,anzeigen 7,g4 ,g4 ,a47 #agia1 page #agic2 #agic1 page #efa4 #ac ,at least until after the time concerned here4 ,this from ,wstenfeld on the contributor to the ,anzeigen furnisht by ,professor ,wilkens4 #ad ,the plates which come into consideration and the order in which they occur in ,tieck are as follow3 ,love's ,labor ,lost1 ,tieck1 page #i1 7#a7 ,,iv1 #a 7,g4 ,g4 ,a41 #agid1 page #aj72 7#b7 ,,iv1 #b1 small plates2 7#c7 ,v1 #b4 ,merry ,wives of ,windsor1 ,tieck1 page #aj1 ,i1 #a 7,g4 ,g4 ,a41 #agid1 page #ifi72 page #ab1 ,,ii1 #a 7,g4 ,g4 ,a41 #agid1 page #ifi72 page #ac 7,g4 ,g4 ,a41 page #iei72 page #ac1 ,i1 #d2 ,,iv1 #a1 small plates 7,g4 ,g4 ,a41 #agid1 page #igj72 ,v1 #e4 ,twelfth ,night1 ,,ii1 #c 7,g4 ,g4 ,a41 #agid1 page #igj72 ,tieck1 page #ae4 ,a small plate4 ,two ,gent4 ,verona1 ,tieck1 page #af1 ,last ,scene 7,g4 ,g4 ,a41 #agic1 page #ijc72 #ag1 ,,iv1 #c4 ,small plate4 ,as ,you ,like ,it1 ,tieck1 page #ag1 ,,ii1 #a 7,g4 ,g4 ,a41 #agic1 page #efa72 page #ag1 last scene 7,g4 ,g4 ,a41 #agic1 page #efa74 ,much ,ado ,about ,nothing1 ,tieck1 page #ai1 ,,iii1 #a 7,g4 ,g4 ,a41 #agia1 page #agid72 ,,iv1 #a2 ,,iv1 #b4 ,winter's ,tale1 ,tieck1 page #ba1 ,,ii1 #c 7,g4 ,g4 ,a41 #agid1 page #i72 ,,iv1 #c2 ,v1 #c2 page #bb1 two small plates 7,g4 ,g4 ,a41 #agid1 page #aj74 ,i ,henry ,,vi41 ,tieck1 page #bd1 ,,ii1 #e 7,g4 ,g4 ,a41 #agid1 page #igj74 ,,ii ,henry ,,vi41 ,tieck page #be1 ,,iii1 #c 7,g4 ,g4 ,a41 #agid1 page #aj74 ,richard ,,iii41 ,tieck1 page #bg1 ,,iii1 #a 7,g4 ,g4 ,a41 #agia1 page #agid74 ,titus ,andronicus1 ,tieck1 page #bh1 ,,iv1 #a 7,g4 ,g4 ,a41 #agid1 page #igj72 page #bi 7,g4 ,g4 ,a4 #agid1 page #igj74 ,romeo and ,juliet1 ,tieck1 page #cj1 ,i1 #e 7,g4 ,g4 ,a41 #agic1 page #efa72 ,,iv1 #e 7,g4 ,g4 ,a4 page #efa72 ,v1 #c 7,g4 ,g4 ,a41 #agic1 page #efb74 ,king ,lear1 ,tieck1 page #ca1 ,i1 #a 7,g4 ,g4 ,a41 #agic1 page #ijc-d72 page #cb1 ,,iii1 #d 7,g4 ,g4 ,a4 #agic1 page #ijd72 page #cc1 last scene 7,g4 ,g4 ,a41 #agic1 page #ijd72 page #cd 7,g4 ,g4 ,a41 #agic1 ,page #ijd74 ,tieck mentions in all #ci plates2 of these #bd are large plates and the rest small ones4 ,in only #f instances does ,tieck enter into even a slite criticism of the small plates4 ,in some cases1 his remarks are so meager that it is only by a comparison with the original that we can tell what plate he means4 #ae ,boydell's ,catalog1 page #bh ff4 ,it may be worth while to mention in this connection that the ,catalog has a number of errors in the list of these supplementary plates4 ,the proof was red carelessly and the results are jumbled4 ,only by a careful comparison with the originals in the #ahjb edition1 for the results of which there is no room here1 can this be straightend out4 #af ,romantische ,schule1 page #eg-h4 #ag ,for possible influence of ,du ,bos1 cf4 ,tieck's doctrin of poetry as an imitativ art4 ,kr4 ,sch41 page #bd4 ,see ,howard1 ,publications of the ,mod4 ,lang4 ,assn41 vol4 ,,xxii1 page #d4 ,the letters to ,wackenroder in ,holtei1 #cjj ,briefe1 etc4 #ah ,volbehr1 ,dessoir1 ,stcker4 ,d4 ,l4 ,d4 #ai ,kr4 ,sch4 ,i1 #cba4 ,it is doutful if ,tieck knew any of the ,hogarth ,shakspere plates4 ,the dates of issu 7,dobson1 pp4 #caj1 #cdj ff47 are all later than the writing of the ,boydell article4 ,for ,tieck and ,hogarth1 ,kpke1 ,i1 page #adh4 #bj ,of course the emfasis on color is entirely wanting in the body of the work4 ,tieck nowhere in the essay points out how engraving can suggest color4 #ba ,literary paralels are at once apparent4 ,so1 ,schiller's ,prolog to ,wallenstein4 #bb ,schriften1 vol4 ,x1 pages #cjb-c4 #bc ,weitenkampf1 #aee4 #bd ,one or two actual errors of fact hav crept into the paper4 ,kyder for ,ryder and ,northcate for ,northcote4 ,the latter error and ,tieck's ,slatbard may hav arisn1 as ,professor ,wilkens suggested to me1 from ,tieck's notoriously bad handwriting which was misinterpreted by the compositor4 ,at any rate1 ,tieck made no later effort to correct4 ,the ,rev4 before ,peters' name misled both ,tieck and ,forster into laying too much emfasis on his sacerdotal function4 ,the ,g4 ,g4 ,a4 calls him a dilettante4 #be ,walzel1 #bgi2 ,sulger-,gebing1 #da1 #aed4 ,engel 7,angelika ,kaufmann1 #cf1 #cg1 #dc7 while not denying her preference for this dress1 is of the opinion that it was not suited to her4 ,im ,schferkleide1 den ,hirtenstab in der ,hand1 ,atlaspantffelchen an den ,fssen1 ein bebndertes ,htchen auf der gepuderten ,coiffure1 umgeben von einem ,hofstaat schngeistiger ,verehrer und ,verehrerinnen1 so hatte sie unzweifelhaft eine weit natrlichere und tchtigere ,figur gemacht als in der ,vestalinnentracht die sie--das ,bregenzerwaldnymphlein--in der ,folgezeit zu bevorzugen pflegte4 #bf ,biografers of ,sir ,joshua generally agree that his pictures in this series1 with the possible exception of ,puck1 are failures4 ,boydell paid #djj and #aejj guineas for the two largest and this was considerd by some an exorbitant price4 #bg ,minor's edition1 pages #bg1 #cj4 #bh ,there is the possibility of a crude symbolism having been intended for ,shakspere's ,blow1 winds1 etc4 #bi ,the ,west picture was very popular4 ,cf4 ,teutsche ,mercur1 #agia1 pages #dde-f1 for a criticism of ,berger's engraving from it4 #cj ,see1 #cjj ,bfe4 page #gi4 #ca ,this is a difficult point to decide4 ,the citizen class was limited by such sumptuary laws as is shown by the records1 but most writers agree that the violations were open and common4 #cb ,the figure with the helmet is unquestionably that of ,marius1 the tribune4 ,he enters from the street and is drest in street costume4 ,titus1 who has been in the house1 wears only a fillet around his hed4 ,in the play1 ,marius commands the boy to stand near him for refuge1 but in the picture the moment just previous is chosen1 when the boy is still near his grandfather4 ,forster wrongly holds that the helmeted figure is ,titus4 #cc ,cf4 ,a4 ,w4 v4 ,schlegel in ,athenum1 #b1 #bab1 ,man kennt ,reynolds ,ugolino aus dem ,kupferstiche3 es ist ein alter ,mann1 der hungert1 aber es ist nicht ,ugolino4 ,for his criticism of ,boydell1 #b1 #aih4 #cd ,marie ,joachimi-,dege has given a very careful account of the erly ,romantic and ,storm and ,stress attitude toward ,shakspere4 ,her book needs supplementation thru a study of the ,romantic ,shakspere criticism1 written from the ,english point of view4 #ce ,in his ,academy discourses4 ,bohn ed41 vol4 ,i1 page #dfj ff4 ,reynolds points out that those who praise the invention of ,timanthes in the ,agamemnon picture hav not been painters but literary men4 ,they use it as an illustration of their own art4 ,he says1 ,i fear that we have but very scanty means of exciting those powers over the imagination which make so very considerable and refined a part of poetry4 7,cf4 ,boydell's preface47 ,it is a doubt with me if we should even make the attempt4 ,the chief1 if not the only occasion which the painter has for this artifice1 is when the subject is improper to be more fully represented1 either for the sake of decency1 or to avoid what would be disagreeable to be seen2 and this is not to raise or increase the passions1 which is the reason given for this practice1 but on the contrary to diminish their effect4444 ,we cannot 444 recommend an undeterminate manner or vague ideas of any kind1 in a complete or finished picture4 ,this notion1 therefore1 of leaving anything to the imagination opposes a very fixed and indispensible rule in our art1--that everything shall be carefully and distinctly expresst1 as if the painter knew1 with correctness and precision1 the exact form and character of whatever is introduced into the picture4 ,this 444 must not be sacrificed 444 for uncertain and doubtful beauty which1 not naturally belonging to our art1 will probably be sought for without success4 ,after praising the artifis of ,timanthes1 ,reynolds goes on to say1 ,suppose this method of leaving the expression of grief to the imagination1 to be 444 the invention of the painter and that it deserves all the praise that has been given to it1 it is still a trick that will serve only once2 whoever does it a second time1 will not only want novelty1 but will be justly suspected of using artifice to evade difficulties4 ,if difficulties overcome make a great part of the merit of ,art1 difficulties evaded can deserve but little commendation4 ,among the names of those who discuss the trick ,lessing's is1 of course1 wanting4 ,gilray's satirical plate on ,boydell should be compared for this and other points4 ,copy in ,n4 ,y4 ,public ,library4 #cf ,in this connection1 the letters mention ,engel's ,mimik7#aghe74 #cg ,some of the latter pictures by ,smirke are very fine2 e4 g41 the face of ,jessica which justifies the statement of the ,dict4 ,nat4 ,biog4 that ,smirke had good drawing1 refinement1 quiet humor4 ,bryan has a cooler comment3 ,smirke was well spoken of in the comedy vein4 ,tieck likes him better in tragedy 7page #cd74 ,fiorillo's comment is ,seit ,hogarths ,zeiten hat kein ,knstler so viel ,charakter oder so viel ,ausdruck in seine ,figuren gebracht1 noch eine ,scene mit so viel echter ,laune bearbeitet4 #ch ,to me the ,tieck-,schlegel translation of this scene misses all the best points of the original4 ,to be sure1 ,tieck had nothing to do with its translation4 7,friesen1 ,i1 #acf2 ,sybel1 ,,iii1 #dfc ff74 ,it was not that ,tieck was not interested in puns1 altho the ,dr4 ,cajus scene seems uninteresting to him on that account4 ,tieck himself made a good many puns4 ,cf4 ,viehsiognomie1 the first lines of his sonnet on the sonnet and the gemein from the ,allgemeine deutsche ,bibliothek in ,das jngste ,gericht4 ,his sensing of ,english puns seems not to hav been so keen4 ,so in a discussion of ,mss4 readings toward the end of the essay on the erly ,english ,theater 7,kr4 ,sch4 ,i1 #cbj7 after calling one faulty reading ,unsinn he continues1 ,in derselben ,rede3 ,if you can construe but your doctor's bill ,parse your wife's waiting woman1 etc4 ,parse8 ,was kann das bedeuten8 ,pierce ist dem aufmerksamen ,auge leserlich genug4 ,tieck seems to hav mist the play on the grammatical idea4 ,to be sure1 ,i hav not seen the ,ms41 but ,tieck was no very careful reader or copyist4 #ci ,this is a scene where ,tieck saw both ,l4 and ,s4 ,there were two different paintings of the same subject1 one with fewer figures1 and ,tieck rightly points out that the less crowded one is the better4 ,one of the engravings is by ,w4 ,blake and is not given in any list of that artist's work4 ,mr4 ,w4 ,g4 ,robertson1 the most recent biografer of ,blake informs me in a letter that he does not know it4 ,a ,,partial ,,bibliography ,athenum4 ,eine ,zeitschrift von ,a4 ,w4 ,schlegel und ,friederich ,schlegel1 ,zweiter ,band4 ,berlin1 #agii4 ,boydell1 ,john4 ,catalogue of the 444 ,shakspeare ,gallery1 ,london1 #aghi4 ,the first edition of the catalog givs the painters' names only3 subsequent editions add the names of the engravers4 ,there are copies of the various editions in the ,columbia1 ,harvard and ,new ,york ,public ,libraries4 ,a ,catalogue of ,prints 444 comprising the stock of ,j4 and ,j4 ,boydell1 ,london1 #ahjh4 ,copy in ,n4 ,y4 ,public ,library4 ,a ,collection of prints from pictures painted for the purpose of illustrating the dramatic works of ,shakespeare1 by the artists of ,great ,britain4 ,london 444 #ahjc1 #b vols4 in one1 atlas folio4 ,there are many copies in the ,u4 ,s4 and there is also an ,american reprint with letterpress explanatory of the plates4 ,dessoir1 ,m4 ,k4 ,p4 ,moritz als ,aesthetiker4 ,dobson1 ,austin4 ,william ,hogarth1 ,new ,york and ,london1 #aijg4 ,engel1 ,j4 ,j4 ,ideen zu einer ,mimik1 #ahdh4 ,engel4 ,angelika ,kaufmann1 #aijc4 ,fiorillo1 ,j4 ,d4 ,geschichte der zeichnenden ,knste1 etc4 ,bd4 ,v4 ,geschichte der ,malerei in ,grossbrittanien4 ,gttingen1 #ahjh4 ,forster1 ,georg4 ,smmtliche ,schriften1 ,,iii4 ,leipzig1 #ahdc4 ,friessen1 ,h4 von4 ,ludwig ,tieck4 ,erinnerungen eines alten ,freundes4 ,wien1 #ahgb4 ,gttingen4 ,anzeigen fr ,gelehrte ,sachen1 etc4 ,the volumes from #agia to #ahjc were used4 ,haym1 ,r4 ,die romantische ,schule1 #ahgj4 ,holtei1 ,k4 ,drei hundert ,briefe aus zwei ,jahrhunderten1 ,hannover1 #ahgb4 ,joachimi-,dege1 ,m4 ,deutsche ,shakspeare-,probleme im ,,xviii4 ,jahrhundert und im ,zeitalter der ,romantik4 ,leipzig1 #aijg4 ,kpke1 ,r4 ,ludwig ,tieck1 ,leipzig1 #ahee4 ,minor1 ,j4 ,friedrich ,schlegel4 ,seine prosaischen ,jugendschriften1 ,wien #aijf4 ,tieck und ,wackenroder4 ,krschners ,d4 ,n4 ,l4 ,bd4 #ade4 ,moritz1 ,k4 ,p4 ,ueber die nachahmende ,bildung des ,schnen4 ,in ,d4 ,l4 ,d4 ,reynolds1 ,j4 ,academy ,discourses4 ,bohn ,edition1 ,london1 #ahdf4 ,shakspere1 ,w4 ,the ,dramatic ,works of ,william ,shakspeare1 ,london1 #ahjb4 ,this is the ,steevens edition in nine volumes4 ,copy in ,new ,york ,public ,library4 ,spooner1 ,shearjashub4 ,prospectus for publishing an ,american edition of ,boydell's illustrations of ,shakespeare1 ,n4 ,y41 #ahdh4 ,sulger-,gebing4 ,die ,brder ,a4 ,w4 und ,f4 ,schlegel und die bildende ,kunst1 #ahig4 ,sybel4 ,erinnerungen an ,f4 von ,uechtritz4 ,leipzig1 #ahhd4 ,volbehr4 ,goethe und die bildende ,kunst1 #ahig4 ,walzel1 ,o4 ,f4 ,friedrich ,schlegel's ,briefe an seinen ,bruder ,august ,wilhelm4 ,berlin1 #ahij4 ,wietenkampf1 ,f4 ,how to appreciate prints4 ,new ,york1 #aijh4 ,zelak4 ,tieck und ,shakspere4 ,tarnopol1 #aijj4 99 99 99 99 99 ,transcriber's ,notes ,there is much idiosyncratic spelling in both ,english and ,german4 ,this has been retained1 apart from the following four typos3 page #ae sehn amended to sehr2 page #cj obobserver amended to observer2 page #dj int he amended to in the2 page #ed ,grossbittanien amended to ,grossbrittanien4 ,on page #cb1 the typo est giebt has been left unchanged3 it could be either es giebt or erst giebt 7more likely74 ,also on p4 #cb zu grob ist should probably be zu gro ist1 but has been left unchanged1 as the letter does not appear elsewhere in the text4 ,three obvious errors in punctuation have also been amended1 as follows3 page #ab page #bh4 amended to page #bh32 page #cd darstellen will4 amended to darstellen will12 page #da ,tanzschritt1 amended to ,tanzschritt2 page #dd ,g4 ,g4 ,a44 amended to ,g4 ,g4 ,a414 page #dh in in ,das amended to in ,das4 ,anchors for footnootes #ca and #cf are missing4 ,they have been inserted in the most likely locations4