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+The Project Gutenberg EBook of Tieck's Essay on the Boydell Shakspere
+Gallery, by George Henry Danton
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: Tieck's Essay on the Boydell Shakspere Gallery
+
+Author: George Henry Danton
+
+Release Date: January 12, 2011 [EBook #34937]
+
+Language: English
+
+Character set encoding: UTF-8
+
+*** START OF THIS PROJECT GUTENBERG EBOOK BOYDELL SHAKSPERE GALLERY ***
+
+
+
+
+Produced by Margo Romberg, Karl Eichwalder and the Online
+Distributed Proofreading Team at https://www.pgdp.net (This
+book was produced from scanned images of public domain
+material from the Google Print project.)
+
+
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+
+
+
+
+
+
+                          New York University
+
+                     OTTENDORFER MEMORIAL SERIES OF
+                          GERMANIC MONOGRAPHS
+
+                                No. 3
+
+                             TIECK'S ESSAY
+
+                               ON THE
+
+                       BOYDELL SHAKSPERE GALLERY
+
+
+                                 BY
+
+                         GEORGE HENRY DANTON
+
+
+                            INDIANAPOLIS
+
+                      EDWARD J. HECKER, PRINTER
+
+                                1912
+
+
+
+
+                       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 O. Fischer in an
+article, "Ueber Verbindung von Farbe und Klang" in the _Zeitschrift fuer
+Æsthetik_. These three works renderd the publication of my material
+superfluous, made a change of plan necessary and the result is that my
+monograf has been very much delayd in appearing.
+
+As far as I know, there is no other study of Tieck's first critical
+paper. I found it worth while to do this monograf because the comparison
+with the original engraving brought out so many interesting facts, threw
+light on Tieck's erly critical method, explaind his taste, showd his use
+of sources and above all, contradicted the positiv assertion of Haym
+that Lessing's influence is nowhere discernible. The meny interesting
+facts about the gallery itself that came to light in the course of the
+paper, the meny questions about it which I was unable to solv, may
+perhaps become the matter of another article.
+
+The "Gallery" is for us now a revenant of a past and somewhat impossible
+generation. A certain air of English commercial roastbeefism clings to
+it. It is an England, the art of which knows nothing of Constable and
+still less of Turner, 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 series. As an
+interpretation of Shakspere, it is no more than on a plane with Colly
+Cibber. Tieck saw this and felt it, but could not make clear to himself
+what was wrong with it. The plates belong in parlors of the haircloth
+age, where indeed, they may still often be found. It is before the day
+of the painted snowshovel and the crayon portrait, but the delicacy of
+the Adams' decorations has gone out and the new strength of Romanticism
+has not come in. There is surely no tuch of the Elizabethan or Jacobean
+spirit.
+
+I wish to take this opportunity to thank the various members of the
+staffs of the Stanford University and the Columbia University Libraries,
+of the Congressional and New York Public Libraries for their aid;
+especially to thank Mr. Weitenkampf for his very great help on technical
+matters. Mr. L. L. Mackall also furnisht me with very valuable
+information. The paper underwent a most searching criticism at the hands
+of Professor Wilkens, of New York University and I wish to express my
+especial indetedness to him for his assistance in the matter. To
+Professor McLouth my thanks are due for a constant kindly interest in me
+as Ottendorfer fellow. Finally, 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 incumbent.
+
+                                                                G. H. D.
+    Indianapolis, Ind., September, 1911.
+
+
+
+
+
+TIECK'S ESSAY ON THE BOYDELL SHAKSPERE GALLERY
+
+
+Tieck's attack[1] on the Boydell Shakspere Gallery[2] was his first
+publisht critical production. It is significant to note that this first
+essay in criticism delt both with Shakspere and with art, that is, with
+the ruling passion of Tieck's life and with one of the strongest of his
+secondary interests. The passion for Shakspere with the concomitant
+sense of close personal relationship with him, came to be a major part
+of Tieck's being and is clearly indicated even before this article.[3]
+Tieck's decided aversion to the English national standpoint toward
+Shakspere is strongly exprest in the essay. 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 English, does
+not, as a mere lad, hesitate to venture his douts as to whether the
+English nation is equal to the task of illustrating its greatest
+poet.[4]
+
+These illustrations are known as the Boydell Shakspere Gallery. They
+were the idea of the engraver, Alderman John Boydell,[5] who wisht to
+set up a great national monument to the genius of Shakspere and, at the
+same time, to foster a school of historical painting in a land where
+heretofore the portrait alone had attaind to any degree of
+excellence.[6] The "Gallery" was begun in 1789 and was completed in
+1803. At no sparing of expense to himself--the entire cost was upward of
+£100,000--Boydell commissiond some of the best artists and engravers of
+the time to portray scenes from all of Shakspere's plays. The oil
+paintings, about 100 in number, 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 genius. The
+Napoleonic wars, "that Gothic and Vandalic revolution," and the deth in
+poverty of Boydell, renderd necessary the disposal of the collection by
+lottery (1804). The lucky ticket was held by a London connoisseur named
+Tassie. At his deth the collection was scatterd, tho subsequently a few
+of the pictures were recollected and are now in the Shakspere Memorial
+in Stratford.[7]
+
+The plates from these pictures are, all in all, no better and no worse
+than engravings of the day are likely to be. It is illustration work in
+which the story interest is the predominant feature. Interpretation of
+Shakspere takes precedence over art, and even Boydell places the painter
+below the poet and speaks disparagingly of the ability of the former to
+understand and to portray. 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 discussion.
+
+Tieck's essay is in the form of four letters, and was written while he
+was a student at the University of Göttingen. It had the approval of his
+teacher, Johann Dominik Fiorillo, (himself afterward well-known as the
+author of an extensiv history of art,) tho it was not especially written
+under Fiorillo's gidance.[8] It was intended, on the surface at least,
+as an open and emfatic protest agenst the too lavish praise of the
+plates in the journals. The general tone, then, is polemic tho directed
+agenst no particular person or article.
+
+In the preface to his critical works[9] Tieck asserts that the article
+is a product of the year 1793 and that it was published in 1794. It
+appeared in the _Neue Bibliothek der schœnen Wissenschaften und
+freyen Kuenste_, 55ten Bandes zweytes Stück, pages 187-226, which bears
+the date 1795,[10] and according to the Messkatalog, did not appear till
+Michaelmas of that year.[11] Tieck's memory, therefore, faild him as to
+the date of publication and he has also fallen into a slite error, or
+rather inaccuracy, in regard to the time of origin. The article could
+not have been completed within the calendar year 1793, because a number
+of the plates that Tieck discusses are dated December 24, 1793, and
+could hardly hav got to the continent in the same year. While it may be
+possible that the plates were postdated, there is no evidence of such
+fact at hand. Moreover, the "Gallery" was reviewd in the _GÅ“ttinger
+Gelehrte Anzeigen_ under dates about six months after the appearance of
+the individual plates in England and these reviews, as will be shown
+hereafter, were extensivly used by Tieck. In these reviews, the plates
+are always spoken of as recently arrived. The prints were issued
+regularly to the subscribers, of whom the University, according to the
+Ms. catalog in the Boston Public Library, was one.[12] 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 publication.
+This reviewer was Heyne[13] who afterward mediated the publication of
+Tieck's article. The article was no dout written before Tieck settled in
+Berlin in the Fall of 1794 but its writing went out over the confines of
+1793. The next series of plates appeard in June, 1794, and is not
+included in Tieck's article, tho this is no proof that the article was
+completed before June, since the plates probably did not arrive in
+Germany till well in the Summer.
+
+Tieck's essay has been almost entirely neglected by Tieck scholars. It
+is not a great piece of constructiv criticism, nor can it be said to
+contain the ripe judgments of a mature mind. It is, however, a fresh
+and, on the whole, convincing analysis of the plates and as such
+deserves a careful examination. It will be seen that the article has a
+very definit foundation in preceding criticism but that Tieck, tho
+borrowing freely from one source at least, namely the _GÅ“ttinger
+Gelehrte Anzeigen_, has not slavishly plagiarized nor has he been servil
+in his adoption of the ideas of others. 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 plates.
+
+Tieck claims that the praise of the "Gallery" in the contemporary
+magazines is excessiv. This claim is exaggerated. Meny important
+magazines do not discuss the plates even where there was an excellent
+opportunity. So, for example, Wieland's _Mercur_ and Nicolai's
+_Allgemeine deutsche Bibliothek_ do not mention them, tho from time to
+time engravings from other contemporary paintings are discust. For
+instance, Nicolai's journal has one long discussion of the state of
+contemporary art, especially of engraving (No. 110, 1792) but omits all
+reference to the Boydell series. The criticism in Meusel's _Museum fuer
+Kuenstler_ is on the whole, destructiv. One discussion, for example,
+(No. IV, page 99) is a violent attack on engraving in general and calls
+the "Gallery," "Diese die Malerei zu grunde richtende Gelegenheit," and
+condems the "Krämergeist" at the bottom of the enterprize. The value of
+line in engraving is, however, pointed out, and Bartolozzi and Ryland,
+who had but little to do with the series are faintly praisd. Other
+mention in Meusel's magazines is either entirely unoriginal summary
+(_Museum_, VI, 352) or mere cursory comment (_Miscellaneen_, Stück 30.)
+The articles on caricature (Neue _Miscellaneen_ X., 154 and Archiv I,
+66) are so late that they cannot be taken into consideration in
+connection with Tieck's paper.
+
+With the _GÅ“ttinger Gelehrte Anzeigen_ the case is different.[14]
+Tieck saw and used its articles as a basis for his work, tho the credit
+of having written the first connected essay from a single viewpoint
+belongs to him. The not over laudatory criticisms of the _Anzeigen_ are
+often paralel, even down to the wording of details with Tieck's
+judgments, 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 consideration. The fact that Tieck follows the errors
+of the _Anzeigen_ is significant, but it is equally significant that he
+corrects the errors of the magazine from his stock of observd judgments.
+Generally, where Tieck follows the _Anzeigen_ most closely he is at his
+worst. The somewhat superficial and scanty remarks of the journal were
+no surrogate for the clear vision and power of adaptibility of the young
+man. Tieck's personal regard for Shakspere, which amounted to a real
+passion, was entirely wanting.
+
+The use of the articles in the _Anzeigen_ must be shown in detail, and
+Tieck's indetedness must be definitly brought out. Paralels will
+sometimes show convergence and sometimes divergence of ideas, but in
+general it will be seen that Tieck practically never used his material
+without some personal addition.
+
+There is one set of cases which is peculiar and which deservs special
+attention. The plates in question are: "Much Ado," III, 1, ditto IV, 2,
+and "As You Like It," last scene.
+
+A word of explanation in regard to the Boydell plates is necessary. From
+the original paintings there were two sets of plates engraved, known as
+the large plates (L) and the small plates (S). The small plates were in
+all but a few cases done from different pictures than were the large
+ones. These large plates are those usually known as the Boydell Gallery.
+Both sets were issued serially; the large set was also bound and issued
+as a separate volume in 1803, and the small plates were used as
+illustrations for the Steevens Shakspere edition of 1802, the letter
+press of which also seems to have been issued in parts before the bound
+volumes were finally put on the market. The bulk of Tieck's criticisms
+applies to the large plates tho he has a few remarks on the small ones
+as well. When he discusses the small plates, he always mentions the
+fact, except in the three cases just cited. 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 subscribers.[15]
+These plates are among the first discust by the _Anzeigen_ (1791, page
+1794) which mention the fact of the plates being for the Shakspere
+edition, and that the extra plates are to be furnisht to make up for the
+duplication of subject matter in these cases of L and S. This is what is
+meant by the sentence, "Es wird sogar die Austauschung des einen Kupfers
+künftig versprochen," a statement that corresponds perfectly with the
+remark in the later Boydell catalog that this promis has been fulfild.
+Tieck does not notis this statement of the _Anzeigen_ but treats these S
+plates as if they were L, yet gives the names of the engravers of S.
+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 too. 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 engravers, did
+not notis that the S plates were referd to and carelessly copied down
+what he saw.
+
+I shall now examin in detail some of the paralel criticisms.
+
+Much Ado, II; 4, G. G. A. 1791, page 1794: ... "wo in der Trauung statt
+des Jaworts Pedro die Hero für keine reine Jungfer erklärt, und Hero in
+Ohnmacht fällt; ... Das beste Stück von allen in Rücksicht der
+Composition, Ausdrucks und Auswahl des Lichtes nur ist die Stellung der
+Hauptperson ein wenig zu theatralisch; sonst aber alles gut geordnet;
+schöne Contraste von Licht und Ruhe für das Auge."
+
+Tieck, page 19: "Das zweite Blatt enthält die Vertossung der Hero ...
+und dies ist offenbar eines der vorzüglichsten. Das Licht ist sehr gut
+geordnet, das Auge findet sogleich unter den Gruppen einen Ruhepunkt;
+nur hat Hamilton dem Claudio eine zu theatralische Stellung und dem
+Leonato zu wenig Ausdruck gegeben."
+
+Tieck carries the praise of the _Anzeigen_, the "Das beste Stück" of
+which refers only to the group under immediate discussion, to the whole
+series. He takes his main critical vocabulary from the prototype and
+adds the original differentiation of Claudio and Leonato to which
+reference must be made later.
+
+"Much Ado," IV, 2; G. G. A., 1791, page 1794: ... "ein Gemisch von
+verkrüppelten, unedeln Caricaturen ohne alle Grazie ... Zu bedauren ist
+die Kunst, die an den Stich verwendet ist; denn der Stich ist einer der
+besten." Tieck's criticism of this plate is paralel in so far as he
+praises the mechanical perfection of the engraver, who is Heath of S,
+and not Simon of L. So far we have the blind following of the model. But
+Tieck also makes the picture a basis for a long discussion of caricature
+and of thoro condemnation of Smirke, who is also no favorit of the
+_Anzeigen_. As Tieck's letters show a profuse use of the word
+caricature, he need not be especially indeted to the _Anzeigen_ for it.
+
+"Richard III," I, 1, G. G. A., 1791, page 1795. Here Tieck's borrowing
+is direct. G. G. A.: "Eine schlechte Composition, ohne Ausdruck." Tieck,
+page 27: "Die Composition ist schlecht, alle Figuren sind ohne
+Ausdruck." G. G. A.: "Eine Menge Reflexe, Wiederscheine s. w. aber alles
+dieses macht keine Wirkung, und das Auge findet keinen Ruhepunkt."
+Tieck, page 28: "und sucht durch unendlich viele Wiederscheine ... dass
+das Auge bei den vielen Lichtmassen gar keine Ruhe findet." But again,
+besides these verbal and associational paralels, Tieck has added a free
+treatment of the composition, an examination of the drawing of the
+figures, of which there is no hint in the model and, all in all, makes
+the criticism his own. The impulse certainly came from the _Anzeigen_,
+but the whole critique is a product of Tieck's self.
+
+"Richard III," IV, 3, G. G. A., 1791, page 1795: "Stellung gezwungen."
+Tieck, page 28: "Der Mörder unnatürlich." Here Tieck borrowed the idea
+and after an examination of the plate changed the wording.
+
+"As You Like It," II, 1, G. G. A., 1793, page 561: "Ein treffliches
+Landschaftsgemälde." Tieck, page 18: "die reizende Landschaft." An
+examination of the whole of Tieck's criticism shows that he has added a
+characterization of Jacques, has discust the choice of this particular
+subject, 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 itself.
+
+"As You Like It," last scene, G. G. A., 1793, pages 561-2: "Orlando, der
+mit zeimleich ausgespreizeten Beinen." Tieck, page 18: "Seine
+augespreizten Beine machen ihn widrig." Here Tieck has taken an
+externality of the description and has given it a point. The use of the
+word "widrig" gives a new tuch.
+
+"Romeo and Juliet," I, 5, G. G. A.: "die Hauptfiguren muss man suchen."
+Tieck, page 29: "Die Hauptfiguren findet man nur mit einiger Mühe."
+Notis, however, how Tieck then goes on independently to giv his own
+point: "den Vater der Julie kann man nur errathen; Julie selbst hat
+wenig Character. Tybald ist die ausdruckvollste Figur auf diesem
+Blatte." Tieck also quotes in full the passage beginning, "If I profane
+with my unworthy hand" which the _Anzeigen_ only indicates. This might
+be laid to yuthful pedantry, were the whole not made far clearer for the
+entire citation.
+
+"Romeo and Juliet," IV, 5, G. G. A., 562: "Julia nach genommenem
+Schlaftrunk für todt gehalten, mit den Worten des Mönchs: Peace ho for
+shame! ff. Dieser tröstend, die Mutter die Hände ringend, Paris Julien
+umfassend, ein Stück mit vielem Affect" ... Tieck, page 30: "Julie hat
+den Schlaftrunk genommen und scheint gestorben, ihre Aeltern sowie ihr
+Bräutigam Paris sind in Verzweifelung, der Pater sucht Alle zu trösten."
+In the discussion of the small plate which follows, the _Anzeigen_
+points out the changes which have been made on it, this being one of the
+supplementary small plates for the 1802 text edition. 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 _Anzeigen_. Tieck's comment is,
+"Mehrere unnütze Personen weggelassen." This reason goes at least one
+step farther than the _Anzeigen_ comment. In the magazine, the effect of
+the double light in L is adversly criticized. Tieck adds to this, "Der
+alte Capulet hat auf beiden Blättern wenig Ausdruck." That both Tieck
+and the magazine use the fraze "tut ... Wirkung" in this place seems of
+secondary importance. A mere linguistic reminiscence, where it is not
+connected with an idea, is not influence. This must be sought in basic
+ideas, in hints which point the way for new lines of thought, in an
+adoption of facts. An author like Tieck shows independence when he adds,
+eliminates and remolds what he receives, even tho the form of the
+thought clings often to him.
+
+So, then, when the _Anzeigen_ (1793, page 562) has the fraze "Julie in
+dem Grabgewölbe erwachend," the fact that Tieck (page 30) introduces his
+criticism with the words, "Julie erwacht, als der Mönch eben in das
+Gewölbe tritt," is of slite consequence. This is a simple description of
+fact. 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 case, a doctrin which Tieck not only does not mention,
+but in fact, utterly rejects when the time comes to discuss it in the
+course of the treatment.
+
+In the criticism of Schiavonetti's plate after Angelica Kaufmann (G. G.
+A., 1793, page 903; Tieck, pages 16-17) Tieck agrees with the _Anzeigen_
+but is thoroly independent in his resoning and adds constantly to what
+the magazine asserts. That both find the disguisd Julia beautiful is not
+unresonable, and as the disguise is a part of the play it is not strange
+that Tieck mentions it. In the same section of the magazine is a passage
+which finds a later echo in Tieck. "König Lear reisst sich die Kleider
+vom Leibe" (903). Tieck (32): "und reisst sich endlich die Kleider ab."
+The verbal paralelism has significance here only because there are other
+hints at this time which may hav aided Tieck: e. g., the fact that the
+artist has departed from the scene as Shakspere portrayd it. Tieck is
+definit in stating just who is added, which proves that he knew his
+Shakspere and saw the plate. Tieck also points out the spiritual
+difference between Shakspere and the "famous West," a distinct addition
+to the matter in the _Anzeigen_. "Winter's Tale," II, 3, G. G. A., 1794,
+page 9: "Der eifersüchtige Leontes lässt den Antigonous bey seinem ihm
+vorgehalten Schwerte schwören, dass er das Kind, das ihm seine Gemahlin
+geboren hatte, in eine Einöde aussetzen will. Sind gemeine Figuren."
+Notis how in Tieck, while the general terms of the description are the
+same, because following the line of least resistance in externalities,
+the whole discussion takes on an individual character, and is expanded
+into a critique of Opie's drawing which was always unsatisfactory to
+Tieck. Tieck (page 21): "Der eifersüchtige Leontes lässt den Antigonus
+schwören, das Kind auszusetzen.... An den Darstellungen aus diesem
+Stücke ist viel zu tadeln, vorzüglich an dieser ersten Scene. Leontes,
+die Hauptperson, ist steif und ohne allen Ausdruck, alle übrigen
+Personen sind dick und plump gezeichnet und ganz ohne alle Bedeutung.
+Leontes lässt den Antigonus, so wie Hamlet seine Gefährten, bei seinem
+Schwerte schwören. Schauspieler und Zeichner aber fehlen, wenn sie es so
+vorstellen, wie Opie es hier gethan hat. Die alten Schwerter bilden oben
+am Griffe ein Kreuz und auf dieses legte man die Hand, in Ermangelung
+eines eigentlichen Crucifixes.... In diesem Blatte entdecken sich auch
+bald viele Fehler in der Zeichnung. Das Auge wird von der Hauptperson
+auf die Lichtmasse, folglich, auf das Kind hingezogen; die Hauptfigur
+tritt gar nicht genug hervor, sondern hängt mit den hinter ihr stehenden
+zusammen; die Köpfe im Hintergrunde sind eben so gross, wie die der
+vorderen Personen. Alles verräth den ungeübten Künstler." As an example
+of Tieck's rejection of the opinion of the G. G. A., the discussion of
+"Winter's Tale," V, 3, will suffice. This is the statue scene which
+Tieck absolutely condems on account of poor engraving, expression and
+posing. Where the magazine says "Die Statue, der man es doch sehr gut
+ansieht, das es eine lebende Figur ist, macht grosse Wirkung." Tieck
+(22) contradicts thus: "Die Statue ist sehr unnatürlich, sie sieht mehr
+einem Geiste, als einem Menschen ähnlich."
+
+There are, finally, three further cases in which Tieck takes a hint from
+the _Anzeigen_ and develops it. "2 Henry VI," III, 3, (1794, page 10):
+"Kardinal Beauford ... ein scheuslicher Anblick, in mehr als einem
+Verstande." Tieck (page 25): "Dieses abscheuliche Blatt." But Tieck, in
+a passage too long to quote, goes on to giv cogent reasons for not
+liking the picture, not one of which is derived from the _Anzeigen_. The
+other passages from the "Merry Wives" (I, 1 and II, 1, G. G. A., 1794,
+page 970; Tieck, 11-12) take the hint that Smirke drew caricatures and
+not human beings and borrow the adjectiv "widrig." 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 textiles.
+
+These passages on "Henry VI" and on the "Merry Wives" are doubly
+interesting, however, because they show that Tieck's judgment of Smirke
+and Northcote offers a very close paralel to that of the magazine.
+Tieck's reasons are fuller, 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 Smirke, while
+the pupil and biografer of Sir Joshua fares badly because of his alleged
+bad composition and poor light effects. It will be shown later that on
+both of these latter questions Tieck held views quite independent of the
+_Anzeigen_.
+
+Of Kirk's plate from "Titus Adronicus" the G. G. A., 1794, page 970,
+says, "Den Ausdruck an der Lavinia abgerechnet ein gut Stück." Tieck
+(28) begins with a weak, "an dem Blatte ... ist vielleicht viel zu loben
+und wenig zu tadeln" but "rights himself like a soldier" thus, "Man
+sieht, dass der Künstler eine sehr richtige Idee von der Composition
+hat, und dass er seinem Gegenstand mit Geschmack und Delicatesse zu
+behandeln weiss. Er lässt uns die abgeschnittenen Arme der Lavinia nur
+vermuthen; der geschickt geworfene Schleier entzieht unserm Auge den
+unangenehmen Anblick," etc.
+
+The examples and paralels alredy given cover practically all of the
+points of similarity between Tieck and his model. 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 substance. The
+content of Tieck's criticisms is very much greater than that of his
+prototype and the form is far more polisht. These apercus of Heyne did
+not prevent Tieck's independent thinking; they never fettered him. He
+followd them in a number of places in his paper and once or twice falls
+into their error thru youthful carelessness or misapprehension. They did
+not often confuse his judgment or hamper his vision. He never ruthlessly
+plagiarizd them. That they were a source can not be denied, but that
+they form the real basis of Tieck's critique is not for a moment
+tenable. This came unquestionably from himself, and he must be given
+credit or blame for the good or bad in it.
+
+Tieck set about the task of criticising the "Boydell Gallery" with no
+diffidence, but with many misgivings, amounting almost to prejudises, as
+to the valu of the set of plates. He was aware that this work was
+intrinsically in a class which is, all in all, artistically inferior.
+His judgments are objectiv, but they promis no prescience of a higher, a
+more spiritual attitude toward art. Art in this case servs
+interpretation and the struggle away from what the plates represent has
+hardly commenced. Tieck feels that the whole group does not do Shakspere
+justis, but he nowhere says that the subjectiv interpretation of the
+poet must remain the lasting one for the individual; indeed he asserts
+quite the contrary on the very first page of his paper. It is to be
+expected that Tieck's common sense and fancy should rebel at the
+platitudinarianism of the pictures; that at times he is no more than on
+the plane of the sentimental "Enlightenment" is also to be expected. 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' task.
+
+Tieck came to the work with a good first-hand knowledge of Shakspere and
+this lessens the juvenile and jejune qualities of his work. He is weaker
+on the comedies than on the trajedies, for the former require a keener
+sensing of English life than it was possible for Tieck to hav obtaind at
+the time of writing. But even for the comedies, some of his observations
+are very just and show that he could interpret Shakspere with sense and
+precision. 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 right. The results should show, in a general
+way, something of the powers of interpretation possest by the youthful
+Tieck, and how this power of interpretation conditiond his judgments.
+
+The general theoretical standpoint upon which the essay was written is
+that of Lessing, and a careful perusal will show that Haym was wrong
+when he postulated no Lessing influence on the article.[16] Tieck's
+letters to Wackenroder show that he was reading the Laokoon at this
+time, but even if a preoccupation with Lessing were not easily
+postulable, the matter of the paper itself will show a distinct
+recrudescence of Lessing's ideas. And not only Lessing, but the school
+of critics out of which Lessing arose, e. g., Winkelmann and DuBos,
+were also a part of Tieck's reading.[17]
+
+The article has a total lack of coloristic reflexes; it emfasizes form,
+if not line; its thoro reasonableness takes into consideration all that
+Lessing has stood for in the domain of art. It has the same standpoint
+as that of a Goethe returnd from Italy and of a Karl Philipp Moritz from
+whom, to be sure, Tieck was turning away in disgust.[18]
+
+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 art. The conflict is between a desire in theory
+for moderated effects, for the toning down of emotion, and a desire, in
+practis, for strong contrast and superlativ effects. Lessing, in art the
+enemy of all realism, finds in Tieck a condemer of Hogarth, a
+condemnation that persists in Tieck as late as the essay on the erly
+English Theater (1828),[19] and persists on grounds similar to the
+fundamental principle of beauty laid down by Lessing.
+
+It would be a mistake to argu from the foregoing that in this article
+Tieck was not a realist, or at least strongly inclined toward realism in
+his practis. His realism was that of the yung enthusiast for whom each
+variation from the sense of his idol was a blasfemy, and he points out
+(page 24) that there can be none of that deception of the senses which
+is a part of the pictorial arts where "ich irgend eine auffallende
+Unnatürlichkeit entdecke; denn die Nachahmung der Natur ist der Zweck
+des Künstlers." Such strict imitation of nature is more to be expected,
+to be sure, in the work of the lesser lights, such as are the men who
+did the pictures for the "Gallery," than in the work of a real genius,
+and one is glad to overlook, in the works of the latter, those minor
+faults which almost entirely disappear in the face of a thousand
+beauties. So, says Tieck (page 14) "who would pass by the divine
+masterpieces of a Rafael and yet with weighty mien find fault with the
+bad coloring of a single garment?" There are clearly two kinds of
+artist. The one is the genius who may be carried too far by his
+enthusiasm, the other is the colder painter, who by his choice of
+subject, composition, correctness of drawing, and grace must make up for
+his lack of genius, and who can not hope to attain the emotional effects
+of his rival, but who must be content to arouse a cooler feeling, that
+is, the satisfaction of the spectator. In this series, where genius is
+excluded from the outset, Tieck expects a strict adherence to fact, to
+verisimilitude, and the correct interpretation of Shakspere must be
+insisted on.
+
+In order that the soul may get an immediate enjoyment of the work of
+art, Tieck recommends (page 4) that the painter choose well-known
+subjects. He says: "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 subjects. I am alredy prepared for the
+sentiment that the work of art is to arouse in me, and surrender myself
+all the more willingly to the illusion. If the subject of the picture is
+in itself beautiful and sublime, or if a great poet has furnisht the
+painter with the invention, the composition and the emotions, our
+enthusiasm is arousd, we giv our wonder and our delight to the painter."
+
+The painter, then, is only an interpreter of the poet, whose purpose it
+is to seize the spirit of the poet, 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[20] the intangible creations of
+the poet's brain. He makes lasting what the reader gets but a fleeting
+glimpse of, and what even the actor can giv but little permanence (page
+3).[21]
+
+Whether or not Tieck was influenced by the prospectus to the set,
+indeed, whether he saw it or not, there is no way of knowing, 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 England, is much like Boydell's own statement of
+purpose mentiond above. It is also an erly paralel to the Romantic
+insistence on a new mythology, a nativ mythology, rather than one drawn
+from foren sources which was a part of Friedrich Schlegel's canon.
+
+The engravings as such are treated by Tieck under five different heds.
+These are: the mechanical technique, drawing with perspectiv and line,
+composition (which Tieck does not clearly differentiate from design),
+expression and choice of subject. These five heds comprize all the
+points in which the pictures are treated, but not each picture is
+treated from all five. The five giv, however, the full range of Tieck's
+ideas on the engravings. They show the things that attracted his
+attention, and where the influence of the _Anzeigen_ is felt, they serv
+to show how different, after all, his own ideas were. Often the magazine
+does not tuch one or more points of the five.
+
+Tieck's discussion of the technique of the engravings is, as may be
+expected, rather thin, and the frazes that he uses are stereotyped.
+Several of the plates praisd by him are quite without merit and such
+generalities as, "schön gestochen," "vorzüglich," "vortrefflich gut,"
+are not very significant. Negativ praise like "nichts zu tadeln" or "die
+Ausführung 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 plates.
+
+These engravings are in the now old-fashiond stipple, tho parts of them
+are in line. At the time of writing, Tieck may not hav known the
+difference between line and stipple, tho in "Zerbino" a reference to the
+"pointed manner," used in a punning way, shows that by that time Tieck
+had become acquainted with it.[22] Nor does Tieck indicate in any way
+the "Gallery's" sparing use of the increasingly popular mezzotint. He
+makes no mention of the line manner of Flaxman, if he knew him. He does
+not see that the line engravings in the set are poorer all thru than the
+stipple prints, 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 tone, grace, and even in exactness of
+execution.
+
+In one or two places where satin is excellently reproduced, Tieck
+praises the texture of the fabrics. 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 manner.[23]
+As Tieck refers to the other fabrics on the plate, which is one of those
+with duplicated subject and which in the _Anzeigen_ seems only to hav
+been discust in the S form, it seems clear that Tieck also saw L here,
+as S is by no means so fine a plate; in fact L has the best fabrics in
+the series.
+
+Of the twenty-four large plates discust by Tieck, there are only
+thirteen which receive technical criticisms and of these thirteen, three
+are lumpt together under one comment so that in all there are only ten
+separate technical criticisms. Of these, six occur in the first six
+plates and with the eighteenth plate, Kirk's scene from "Titus
+Andronicus," the criticism of the mechanical side ends with a weak,
+"sehr gut gestochen," showing that Tieck did not progress in his
+technical criticisms. His interest in the engravings as engravings waned
+as the essay proceeded: it never rose above an attention to textiles
+and, even there, Tieck did not see all the finer differentiations of
+velvet, chiffon and lace, tho the fine satins distinctly appeald to him.
+Perhaps as fair an example as any of his inexactness, is his praise of
+the plate from "As You Like It" in which Jacques lies watching the
+wounded deer (II, 1). This is one of the poorest of the plates and yet
+Tieck says, "Die Ausführung verdient alles Lob." Fittler's plate from
+"Winter's Tale" (IV, 2), while weak and without character, is not as bad
+either in actual cutting or in general managment, and yet Tieck condems
+it unmercifully. So, too, the bad plates by Middiman come in for no
+special condemnation from Tieck, tho Middiman is by far the worst
+engraver in the series, and is particularly bad after Hodges, the plates
+after whom Tieck saw.[24]
+
+Drawing, as such, fares rather better than engraving, tho less than half
+the pictures are criticized from this standpoint. 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 say.
+
+It is especially interesting to note that Tieck finds the drawing of
+Angelika Kaufmann without error. ("Two Gent. Verona," last scene). Here
+he declares that no clumsy clothing conceals the figures, but the lines
+are well brought out under the garments. The disguised Julia is at once
+recognizable in spite of her masculin attire, and the manner of the
+artist is "graziös." An examination of the figure shows that Julia's
+figure has something of the immature in it and that the face is rather
+boyish. One thinks at once of the somewhat malicious words of Friedrich
+Schlegel to his brother, "Wie Angelika Kaufmann, der die Busen und
+Hüften, auch immer wie von selbst aus den Fingern quellen." Both Tieck
+and Schlegel felt the sensuous charm of the painter whose best known
+self-portrait is in the garb of a Vestal Virgin, tho the Schlegels,
+like Georg Forster, had no illusions as to the qualities of her art.[25]
+
+Engravings in stipple emfasize less than line engravings mere questions
+of drawing. It is perhaps with some instinctiv feeling for this that
+Tieck suggests that one of Hamilton's pictures has been hurt by the bad
+engraving, just as certain other plates have gaind thru the engraver
+(page 22). The hint for this point came originally from the _Anzeigen_
+but Tieck has developt it. While it is now no longer possible to check
+up each plate with its corresponding picture, it is true that the
+engravers were relatively better craftsmen, as a rule, than the
+painters. In hardly any one case is the painting a sample of the best
+work of the artist. Often, as in the case of Sir Joshua Reynolds, the
+painting redounds but little to his credit.[26] Where, as in the case of
+Barry, Sir Joshua's great rival, the picture is reckond with his
+superior work, the only conclusion is that Barry was a very bad artist
+and so Tieck considers him. The engravers, on the other hand, had had no
+better chance in years to exhibit their art than in this imposing
+series, and most of the best names in stipple appear in it. 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 (e. g., page 20).
+
+Besides having the good feeling for the human form under the garment, as
+in the case of the figure of Julia and of those of Mrs. Ford and Mrs.
+Page by Smirke, Tieck also criticizes several cases of misdrawing. So,
+the clumsy legs of one of Opie's figures are scored and in blaming this
+failing of Opie, Tieck hits one of the most pronounced weaknesses of
+that artist both in the "Gallery" and in Bell's British Theater. But
+Opie, the "Comedy Wonder," is hardly the "ungeübter Künstler" that Tieck
+makes him out to be. Here Tieck, following the criticism of the
+_Anzeigen_, from which he may have got the hint on Opie's drawing,
+develops the criticism too far and goes astray. There is a constant
+suspicion that Tieck is trying to master a jargon.
+
+Often it is a mere chance whether Tieck will see or not see a
+peculiarity. Some of the sentimental, foolish, and misdrawn hands escape
+his notis, whereas in other cases he criticizes them.
+
+Perhaps the best example of Tieck's criticism of drawing is that of
+Northcote's plate to "Richard III." (III, 1, page 27). He says, "Der
+alte Cardinal scheint ganz verzeichnet zu sein, man ist ungewiss, ob er
+steht oder kniet: in beiden Fällen ist die Zeichnung fehlerhaft."
+Tieck's strictures are correct. The space from the waist down is found
+upon examination to be abnormally long for a kneeling person, and
+groteskly short for one standing. Tieck's critique is good, for it
+points out the error and the reason, and shows that in any case the
+alternativ is a bad one.
+
+Tho Tieck may hav been over-kind to Angelika Kaufmann, he quite agrees
+with his contemporaries in the condemnation of another German Swiss
+living in England, namely Füessli, whom he calls one of the worst of the
+admirers of Michaelangelo. The michaelangelesk school of the day faild
+in its expression of great muscular effort, in that it put for strength
+distortion and violence. Füessli was one of the most important
+adherents, or rather, was the greatest representativ of the fad perhaps
+anywhere and seems therby to hav largely incurd the displesure of his
+German critics. That Tieck really understood Michaelangelo is shown by
+his later article in the "Phantasien über die Kunst." He defends him
+from the charge of having drawn to show his knowledge of anatomy and
+among other things, exclaims on his "greatness, his wild grace, his
+fearful beauty."[27] 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 muscle.
+
+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 Tale."
+Awkwardness and violence, anything that savord of "affectation and
+bombast," where in Shakspere "power and energy" are found, met Tieck's
+disapproval. So this figure of Leontes, so Orlando standing with his
+legs far apart, so the faces drawn by Füessli. Wherever there were
+violent angles, sharp points and corners, Tieck felt himself ill at
+ease. When he saw in some of Füessli's plates faces which giv the
+impression of the plaster blocks of the art schools that are used to
+draw from the cast, the square chins, the noses, either very pointed or
+cut off square, imprest him as repulsivly inhuman. "Widrig, unnatürlich,
+abgeschmackt, manierirt," are the terms applied to Füessli's cursing
+scene from Lear.
+
+It would hav been interesting had Tieck seen Füessli's later scenes in
+the "Gallery." The Bottom scenes from the "Midsummer Night's Dream" show
+that fantastic imagination which was the artist's strong point. All the
+forms from the fairy world were there, Moth, Peascod and a welth of
+other spirits. There is a distinct appeal to the imagination which
+justifies the painter of "Die Nachtmahr," tho the faces of Titania and
+Oberon are here too hard and sullen. But the imagination shown has a
+curious similarity with the work of Tieck in his later stories such as
+"Die Elfen," and which has so warm an afterglow in "Die Vogelscheuche."
+
+Composition means for Tieck especially order. He has not yet lernd the
+principle of triangulation of arrangement enunciated by Caroline in the
+"Gemälde" essay in the _Athenaeum_. 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
+relief. 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 arrangement.
+
+What irritates Tieck especially is an arrangement of figures in the
+picture in the regular semi-circle borrowd directly from the theater.
+The evil of unnaturalness which such attitudinizing brings with it, is
+enhanced by light effects drawn from the same source. So, for example,
+where the light is that of a lamp, only so much light as a lamp would
+giv, or the effect of natural lamp-light is allowable. If, on the other
+hand, the sunlight streams into the room, the source of the sunlight
+should be evident as outside the room. Tieck might hav mentiond as an
+example of this some of the fine interiors of Pieter De Hoogh. The light
+effects should not be harsh but graded down so that no violent light
+contrasts occur within the same room. The light, too, should be broken
+up, not kept in a mass as if it were a separate entity to be treated
+apart from all other objects.
+
+All this is perfectly resonable and not especially technical. It is
+conveyd in stray hints rather than in any set discussion of light
+effects in any one place. Often, too, Tieck's dislike for some other
+aspect of a painter's work leads him astray on this point. This is tru
+in the case of Northcote, whose really good treatment of the high
+lights Tieck has in one or two cases entirely overlookt. There seems to
+hav been a distinct appeal made, too, by the sheen and glitter of
+certain textiles and the scintillating, flickering light of the later
+periods of Tieck's work is presaged as erly as this. On the whole,
+however, it is not the glitter of the world of out-of-doors, but of the
+world of the shut-in, of the world of little things which appeals so
+strongly to Tieck and which he treated with such banality in the story
+"Ulrich der Empfindsame."
+
+Thus, Tieck's landscape criticism is very bad and even tho, as has been
+pointed out, the basis for his adjectivs lies in the _Anzeigen_
+articles, his expansion beyond them brings no real betterment. In the
+plate from "Love's Labor Lost" (IV, 1, page 9), when Tieck was feeling
+his way into his subject, his general impression was one of plesure, and
+so the landscape is "reizend." In the whole essay, "reizend" is the only
+constructiv epithet applied to landscape and it occurs only twice.
+Hamilton's landscape is purely conventional and, except for a vista, of
+which Tieck was all his life fond, offers nothing to commend it. The
+failure of Tieck to judge rightly must be laid at the door of too great
+reliance on the _Anzeigen_.
+
+Tieck criticizes only one other landscape as such, tho in a third case a
+landscape background is discust adversly. For the scene from "As You
+Like It" in which Jacques watches the wounded deer the term "reizend"
+seems quite impossible. Engraved by Middiman after Hodges, a combination
+which augurs ill, the scene is without dout the worst in every way that
+Tieck saw. The composition is bad: Jacques, a figure without grace of
+expression, sprawls in a comedy landscape and the features of the
+wounded deer hav a strong Hebraic cast. Here, if ever, the scene is
+drawn from the stage and not from nature and stage properties are models
+for tree and foliage. When Tieck says that the scene is one to arouse
+cheerfulness in the beholder, he is correct but not in the sense that he
+ment. The reliance on his source is not enuf to account for his
+aberration; the failure to judge aright must be laid at Tieck's door.
+
+After pointing out the value of the whole, and the effect made by the
+light of the torch held by Gloster ("Lear," III, 4), Tieck shows that
+this effect, striking as it is, detracts from the unity of the
+composition, since it shifts the emfasis from Lear and his pain. Lear,
+morover, is not the Lear of Shakspere but a giant, 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 it, winding them impossibly about him. The effect
+of these draperies, says Tieck, is baroque and there is no thought of
+quiet strength or noble simplicity.[28]
+
+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 Wolf. A comparison with the latter picture at once reveals the
+justness of Tieck's observation. The figure of the Indian seated in the
+foreground is strikingly like that of Edgar, both in form and in general
+expression, and it is evident that West has repeated himself. In
+general, Tieck does not make comparisons of this kind. He confines his
+remarks to the picture itself, and probably was not well acquainted with
+the run of contemporary British art.[29]
+
+Tieck's judgment of composition did not go far beyond this emfasis on
+the principal figure. A general series of colorless frases like "gut
+geordnet" occurs, but expresses only a mild acquiescence in the
+arrangement. Tieck was fond of the posing sentimentalities of groups
+like the landscape plate from "Love's Labor Lost," 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 illustration. On the other hand, and here he departs
+constantly from the canon of Lessing, there is no striving for abstract
+beauty. Charm and grace, beauty in motion as it is exprest by the female
+figure in Anne Page and a few other cases, are Tieck's nearest approach
+to it.[30]
+
+The general reason for Tieck's failure is that in actuality these
+pictures were not ugly or inartistic to him. Where he criticizes it is
+oftenest the idea; the execution and the relation to an abstract
+standard are of less consequence, and his theory once more limps behind
+his practis. He may berate Hogarth as an artist without beauty but it is
+clear that his extoling of Rafael is a mere matter of fashion; he is in
+the same category with Domenichino, whom Tieck's generation and the next
+succeeding one considerably overestimated. In Michaelangelo, Tieck
+knows the strength of the drawing and not the wistfulness that pervades
+even the most Titanic of the master's creations. In general, affectation
+of pose, mannerism and preciosity are Tieck's bane only where the
+sentimental is not concernd.
+
+An interesting commendation of the composition of a plate is that of
+Kirk's picture from "Titus Adronicus" (IV, 1). Tieck likes the plate
+because of its taste and delicacy in only suggesting the mutilated arms
+of Lavinia. Kirk has avoided the frank naturalism of the original by the
+use of draperies, and this appeals to Tieck as a toning down and is in
+line with what had been suggested before in regard to Tieck's attitude.
+
+This plate has an accessory which Tieck objects to, namely the over
+large colum in the background. Usually, but not in this case, Tieck
+criticises the accessories from the standpoint of the stickler for
+historical accuracy, rather than for any artistic merit or demerit. So
+the tomb of the Capulets in "Romeo and Juliet" is not Italian of the
+period, and the dresses of the women in "Merry Wives" are in violation
+of the sumptuary laws of the time.[31] In the deth of Mortimer (1 "Henry
+VI.," V, 2) the family tree lying on the ground adds a tuch of symbolism
+which Tieck approves, tho in the same scene he criticizes the mean
+character of the prison, saying that for such a noble prisoner a better
+place of incarceration would hav been found.
+
+Tieck makes no clear distinction between passing expression (Ausdruck)
+and permanency of feature (Miene). His discussion of expression goes
+hand in hand with composition, since, as was mentiond above, composition
+has so close a relation to the placing of the principal character. There
+is a definit point of view, however, in Tieck's discussions of
+composition; in his strictures and encomiums on expression of face and
+figure it is practically impossible to find a consistent _pou sto_. In
+places, 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 _Anzeigen_. 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 high, but his practical application of these
+principles is by no means as strict as might be expected. Indeed, in
+theory Tieck demands one thing and in practis another.
+
+It is Tieck's desire that the artist should catch the individual note in
+these figures and raise it to an ideal, 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
+characters. But when Tieck actually examins the pictures, he stresses
+theatrical pose or mien and pays no attention to those obvious tricks
+whereby expression is obtainable: the skilful use of light and shade on
+the face, the treatment of the lines of the mouth, and the placing of
+the eyes. Occasionally, as in the ball scene in "Romeo and Juliet," it
+seems as if the treatment of the eyes of a figure--in this case that of
+Tybalt--attracted his attention, but there are so many other plates in
+which the eyes are quite as good and are nevertheless past over, that
+the instance of Tybalt seems fortuitous.
+
+Tieck uses the expressions "ohne Ausdruck," "wenig Ausdruck" and "ohne
+Charakter," "wenig Charakter" almost exclusively in his negativ
+criticism of the plates and his positiv criticism substitutes "viel" for
+"wenig." Such frases are not very definit and Tieck misapplies them
+constantly. In four out of the five cases of Tieck's largest caption,
+"ohne Ausdruck," he is certainly incorrect and the postulation of "wenig
+Ausdruck" is wrong in at least two out of the three cases. 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 eighteenth. It is
+largely bad judgment on Tieck's part. In the three cases where Tieck
+sees "vielen Ausdruck" not one is in reality especially distinguisht for
+vividness. Two even vie with the most expressionless in feature and hav
+no special pretentions to significance of posture. In the five plates
+where Tieck uses "ohne Charakter" or "wenig Charakter," the epithets are
+in general tru.
+
+Tieck got the hint for an advers criticism of the faces of Mrs. Ford and
+Mrs. Page from the _Anzeigen_. He exclaims, expanding his model, "Welch'
+widrige Gesichter! welch' uninteresante Figuren!" There is in the pose
+of Mrs. Page a most awkward droop of the neck, but in Mrs. Ford's face
+there is a rollicking Irish drollery, a freshness of complexion and a
+witchery of the eyes that are quite charming. The painting was by
+Peters, whose "sprightly humor" was so much admired by his
+contemporaries.
+
+One of the two pictures of Leontes in the "Winter's Tale" shows his
+giving the oath to Antigonous to destroy the child. In Leontes' frowning
+face Tieck sees no expression, altho it is unquestionably one of the
+most lively of the series. The stiffness of pose that Tieck objects to
+in the picture may well be accounted for by the full suit of armor that
+Leontes wears. The face is far more expressiv than that of the other
+Leontes picture and yet Tieck's judgment on them is the same.
+
+One of the most striking failures on Tieck's part to see character
+interpretation of real subtlety is in Northcote's portrayal of "Richard
+III." There can be no dout that Tieck's general dislike of the artist,
+which was based on the adverse criticisms of the _Anzeigen_, led his
+judgment astray. The face of Richard is all in all the most
+characteristic of the series in so far as Tieck saw the series.
+Richard's "subtle, false and trecherous" look with the smile of his grim
+humor is well caught; the eyes and mouth are excellent and giv a very
+adequate idea of the deviltry of the man, of his lewd cunning and his
+scheming. What Tieck might well hav objected to is the sentimentalizing
+of the two princes whom the artist has transmogrified into fat little
+babies, just as in the next picture the two hav become well-fed little
+beef-eaters.
+
+As Tieck fails to see sentimentality in this picture, so he misses
+extravagance in the church scene from "Much Ado." Tieck borrowd much in
+this discussion from the _Anzeigen_ but his remarks on expression are
+his own. He says that Leonato has too little expression. There can be no
+dout as to the figure intended for Leonato. Claudio is identified by a
+very theatrical gesture and by a Mefistofelian Don Juan behind him. The
+fainting Hero, over whom Beatrice is bending, falls into Benedix' arms.
+The only other figure, that of an older man, and who therefore cannot be
+Benedix, is standing in a most theatrical posture with clencht fists,
+eyes upturnd, rigid and ridiculous. If Tieck ment that this figure
+should represent Leonato, he has shot wide of the mark in his criticism
+and displays a most unrefined love of the melodramatic. Figures like
+this are not often found in the "Gallery." Ordinarily excess of
+sentiment and a cheap display of emotion giv way to stiffness and
+awkwardness.
+
+Tieck was dissatisfied with all the reproductions of Lear. They hav all
+too much of the gigantic, too little of the childish old man. He points
+out that the face as drawn by Füessli expresses nothing but rage; the
+same exaggeration is found in the drawing of West who sacrifices truth,
+nature and emotion to a striking first impression. Barry's Lear only
+excites laughter and the lack of expression in the face is made up by
+the storm-wind in the hair. Again, however, issu must be taken with
+Tieck's attitude, for it is impossible to regard these faces as
+expressionless. It is not that they hav too little, but too much, and of
+a wrong kind. 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 way.
+
+It seems apparent that those plates which had a certain sentimentality,
+a certain saccharin quality appeald to Tieck. He likes the prettiness of
+Anne Page and cleverly notes the touch of scorn in her face. If he had
+recalled Reynolds' Mrs. Siddons he would hav recognized the same trait
+of hardness around the mouth, a line that is often found in the pictures
+of English women. Perhaps Tieck's interest went hand in hand with his
+enthusiasm for Rafael, and lack of discrimination lets him take all as
+of equal value. The face of young Lucius in "Titus Adronicus" and the
+face of Juliet in the tomb are examples of this. Tieck argues that the
+boy has a good deal of expression, but a cool observer can see only
+melodrama in the pose and blankness in the face. The most interesting
+thing about the plate has escaped Tieck's attention, namely that both of
+Titus' hands are represented. It seems an especially noteworthy omission
+in a picture which Tieck praises for not showing the stumps of
+Lavinia.[32]
+
+Tieck several times criticizes a picture for making a good first
+impression and then not being able to stand the test of close
+observation. An example of this is Northcote's portrayal of Mortimer and
+York (1 "Henry VI.," II, 5) which is really spoild according to Tieck by
+the strong light masses which at first sight seem very striking. These
+light masses throw the main figure into relief, but Tieck objects to the
+unnatural posture of the dying man. Close examination of the figure
+reveals the fact that Mortimer is really well drawn; the lines of the
+drapery distort the general impression, but that part of the drawing
+comprising the actual sitting figure is that of a broken old man, fallen
+in a heap and dying. Any one who has seen Irving's masterly
+representation of the dying Louis cannot but be imprest by the
+verisimilitude of Northcote's presentation. What Tieck says of the minor
+characters on the plate is true; they are expressionless in the extreme.
+
+Tieck is fully justified in calling Reynolds' scene from "Henry VI."
+"dieses abscheuliche Blatt," where the word "abscheulich" is reminiscent
+of the _Anzeigen_. He asks further, "Ist dies der Künstler der Familie
+des Ugolino?"[33] With much better right he might hav askt, "Is this the
+painter of the 'Age of Innocence' and the man who loved to paint
+children?" Both the Shakspere plate and the stiff Ugolino picture
+attempt to portray the horrible, and the only other plate that Sir
+Joshua did for the "Gallery," namely, the Hecate plate from "Macbeth,"
+the same selection of a grewsome subject is made. Neither of these
+pictures can be sed to conform with Reynolds' well-known doctrin that
+the function of art is to arouse the imagination, for in these pictures
+there is nothing left for the imagination but exhaustion. They show a
+vein of the bizarre without the great fancy of Füessli and are realistic
+to a degree that stopt at nothing. It is not to be wonderd at that Tieck
+exhausts himself in condemnation of the plate that he saw.
+
+It is plain that Tieck saw in the plate a caricature and an evasion. The
+caricature was the dying man and the evasion was the veild face of the
+young king. 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 emotion. Here Tieck certainly breaks with the doctrin of
+Lessing who praised the expedient of Timanthes in veiling the face of
+Agamemnon at the sacrifice. Tieck tacitly accuses Reynolds of shirking
+an obvious task. He wisht something superlativ, whether in fleeting
+expression or in that permanency which is caused by iterativ emotion.
+Such a desire, the emfasizing of Shakspere's "Kraft" and "Energie"
+leaves him on the plane of the Storm and Stress in his attitude toward
+the British poet.[34] If the words of Sir Joshua himself are to be taken
+as a criterion, his theory is different from his practis in this case,
+and Tieck has condemd him out of his own mouth.
+
+Beauford, whom Tieck calls a caricature, certainly leaves nothing to
+the imagination, as Reynolds wisht for art.[35] Tieck's description of
+the figure is apt, "Beauford liegt da, mit den Zähnen grinsend, das Bett
+in Verzuckungen kneifend, eine ekelhafte, verzerrte Caricatur, über die
+man lachen könnte, wenn sie etwas weniger abscheulich wäre. Genie and
+Enthusiasmus können hier die Hand und Kritik unmöglich irre geführt
+haben; denn weder das eine, noch der andere gehört dazu, um diese Züge,
+diese Umrisse hervorzubringen."
+
+The word caricature is, even before he found it in the _Anzeigen_, a
+term of deepest reproach with Tieck. In his essays to Wackenroder he
+says, speaking of a certain actor, "Ich gestehe dass er vielleicht viele
+Scenen natürlich und einige komish darstellt, aber nach meinem Urtheil
+spielt er in keiner einzigen schön, mit einem Worte, er macht
+Carrikatur, und die kann nie schön sein, wenn sie auch noch so vielen
+Ausdruck hat. Das Komische und das Schreckhafte gränzen überhaupt
+vielleicht näher aneinander, als man glaubt ... Vielleicht ist das wahre
+komische Spiel so wie Unzelmann est giebt, alles so leicht, so
+übergehend, keine Periode, keine Idee, keine Stellung möglichst
+festgehalten, keine Grimasse in Stein verwandelt."
+
+After pointing out the value of the unspoild taste of childhood in
+matters of esthetic judgment, Tieck continues: "Du kannst leicht die
+Erfahrung machen, dass Carrikaturen den Kindern nie gefallen, denn sie
+erkennen in ihnen nur mit Mühe den Menschen wieder, sie fürchten sie
+wirklich; sie können ungleich länger eine andre Figur ohne Ausdruck und
+bestimmten Charakter betrachten, ja tagelang darüber brüten, und
+Ausdruck und Charakter hineintragen, hundert Träume spinnen sich in
+ihrer Seele aus, ... Carrikaturen gefallen überhaupt vielleicht nur
+einem kalten nördlichen Volke, dessen Gefühl für den feinen Stachel der
+stillen Schönheit zu grob ist, oder die schon die Schule der Schönheit
+durchgegangen sind, und deren übersatten Magen nur noch die gewürztesten
+Speisen reizen können, die es daher gern sehen, wenn die Schönheit dem
+Ausdruck aufgeopfert wird, weil sie in der Schönheit keinen lebenden
+Ausdruck mehr finden. Du wirst sehen, dass ich hier nicht bloss von der
+komischen Carrikatur spreche, sondern von jedem Ausdruck irgend einer
+Leidenschaft, der die Schönheit ausschliesst." He then goes on to
+indicate the relation of what he had sed to Lessing and confesses his
+indetedness to him in the matter. The highest effects when used in
+sculpture and painting are also caricature.[36]
+
+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 illustration. Tieck says (page 15), "Im Trauerspiele ersteigen
+meistentheils gerade die schönsten Scenen eine Höhe des Effects, die der
+Maler schwerlich ausdrücken kann, ohne widrig zu werden. Der
+Schauspieler verliert schon oft jene Grazie, die jedem Kunstwerke nöthig
+ist, wenn er manche Scenen der tragischen Kraft so wiedergeben will, wie
+er sie im Dichter findet, doch kann die Mimik hier noch das Unangenehme
+vermeiden; der Malerei ist es aber meist unmöglich, denn jene
+Verzerrungen, die auf der Bühne nur vorübergehend sind, werden hier
+bleibend gemacht; dort erschrecken sie durch ihr plötzliches Entstehen
+und Verschwinden, hier werden sie ekelhaft, weil durch das Feststehende
+und Bleibende des Widrigen der dargestellte Mensch zum Thier herabsinkt.
+Jemehr der Maler den Affekt hinauftreibt, desto mehr nimmt er zugleich
+Interesse und Tadel von seinem Helden. Die höchsten Grade des Zorns, der
+Wuth oder der Verzweifelung bleiben im Gemälde stets unedel; selbst der
+Wahnsinn muss hier mit einer gewissen Schüchternheit auftreten, und im
+höchsten Entzücken muss ein sanfter Wiederschein der Melancholie
+leuchten." The relation of this to Lessing, both in the "Laokoon" and in
+the "Dramaturgie" is at once apparent.
+
+The dislike for caricature centers around the comic efforts of Smirke
+for whom Tieck has hardly a good word to say. In the discussion of
+Reynolds' picture, Tieck remarks, half in jest, that he regrets his
+strictures on Smirke in the face of this greater caricature by Reynolds.
+The sum total of his criticisms of Smirke is unjust: thruout the series
+and especially in some of the plates that Tieck saw, this painter has
+caught the comic spirit well, and tho overpraisd by his contemporaries,
+has done some very clever work both in the "Gallery" and in Bell's
+"British Theater."[37]
+
+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 Ado."
+Simple is for Tieck neither the character as Shakspere conceived him,
+nor is he funny. It is again, says Tieck, a mere exaggeration,
+tantamount to a confession of inability. That the spectator cannot laugh
+at the character is the artist's greatest punishment; in overstepping
+the just limits of the comic and the natural, he has made the figure
+insignificant. Unlike Hogarth, says Tieck, Smirke has not the power of
+expressing character by means of the distortions of the exterior. To put
+an artist below Hogarth is with Tieck to put him very low; in this
+respect he stands on the plane of August von Schlegel in the _Athenæum_
+and has not risen to the level of admiration for the Englishman
+displayed by Novalis in the "Fragments."
+
+The best that Tieck can say for the Dogberry scene as a whole is, that
+in spite of its exaggerations, it has much comic power. But, he goes on
+to explain, it is a far different thing for Smirke to exaggerate than
+for Shakspere, for the latter always draws human beings, while the
+figures of the former are at times hardly to be distinguisht from apes.
+
+To a certain extent the figure of Dogberry and more especially the face,
+justify Tieck's repugnance. In its way, the face is fully as bad as that
+of Reynolds' Beauford. Tieck says, "Selbst ein vertrauter Leser des
+Shakspeare findet sich nicht in den hier dargestellen Caricaturen, von
+denen die Hauptperson in einer Wuth, die lächerlich sein soll, so
+ekelhaft verzerrt wird, dass man nur ungern mit dem Blick auf dieser
+Zeichnung verweilt." This is in every respect tru. Smirke has here mist
+all the comic elements of the character, and has produced not the
+ridiculous malapropian Dogberry but a demoniac grinning mask of a face
+and a twisted, distorted and frenzied figure. Tieck proceeds, "Ein
+Künstler, der die komischen Scenen des Shakspeare darstellen will,
+sollte doch von seinem Dichter so viel gelernt haben, dass dieser seine
+Caricaturen nie ohne eine gewisse Portion von phlegmatischer Laune
+lässt, die so oft unser Lachen erregt, und aus der blossen Erfahrung
+sollte er wissen, dass selbst der lächerlichste Zwerg, wenn er schäumt,
+in eben dem Augenblicke aufhört lächerlich zu sein. Jedes Subject hört
+auf, komisch zu sein, sobald ich es in einen hohen Grad von Leidenschaft
+versetze. Denn das Lächerliche in den Charakteren entsteht gewöhnlich
+nur durch die seltsam widersprechende Mischung des Affects und des
+inneren Phlegma; wenigstens so hat Shakspeare seine wirklich komischen
+Personen gezeichnet. Der Mangel an Genie zeigt sich gewöhnlich in
+Uebertreibung und gesuchten Verzerrungen des Körpers."[38]
+
+The scene from the "Merry Wives" in which Dr. Cajus catechizes William
+on his Latin, represents very well the type of scene the choice of which
+Tieck condems as unsuited for representation. It is not because there
+was something in the humor of them that Tieck did not grasp, but because
+he rejects on principle all that is secondary and episodical. Such
+scenes as are told and not acted, that is, the epic portions of the
+plays, as well as the reflectiv and filosofical portions would hav to be
+excluded. It is the fate of the principal characters which is of prime
+importance, and the moment must be chosen with their activities in view.
+This emfasis on the principal character is also strongly reminiscent of
+the doctrin of Lessing's "Dramaturgie." 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 representation.
+
+Some of the scenes which Tieck rejects are Hodges' picture of the
+melancholy Jacques, and the murder of the princes in "Richard III."
+Neither of these is acted out on the stage. From the "Merry Wives" he
+proposes Falstaff's three adventures: the basket scene, the Witch of
+Brentford scene and the final torturing of Falstaff by the practical
+jokers. These giv a chance for variety of grouping and a gradation of
+expression in all the chief characters of the play. The scene in which
+the two women read identical letters from Falstaff, Tieck regards as the
+worst possible, for reasons that he says he need not recall but which
+are obviously those of lack of stress on the main character.
+
+The scenes that Tieck recommends were actually chosen by the artists
+whose work appears later in the series and so Tieck's judgment is, in a
+way, confirmd. 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 theme. It is interesting to note, however, how
+little the choice of subject has to do with the artistic merit or
+demerit of the plates. The subsequent plates, which would hav fully
+satisfied Tieck's requirements as to the moment of presentation are
+artistically among the worst in the series.
+
+The two scenes from "As You Like It" suggested by Tieck, the one where
+Adam admonishes Orlando (II, 3) and the scene in the forest where
+Orlando enters bearing Adam on his shoulders (II, 7) hav not the same
+structural relation to the whole as hav those from the "Merry Wives."
+These moments lend themselves very well to representation but are chosen
+on another basis of judgment. They show that for Tieck Orlando was of
+more importance than Rosalind, for he suggests no scene with her in it
+as especially representativ of the play. In the first of these two
+scenes, the action has already begun; the scene is the culmination of
+the episode containing the first relation of the brothers. It is in
+itself not a vital part of the action. The scene in the forest, on the
+other hand, has more of the qualities demanded by Tieck: a variety of
+characters and an important moment. This is a moment--tho not the
+initial one--when Orlando's fortunes mend and he comes to his frends.
+The scene in which he first meets the Duke's party is of more
+significance. It seems as if the governing principle is contrast rather
+than a desire for elucidation of structure in serial arrangment. Orlando
+and Adam, ill-fortune and good luck, are juxtaposed.
+
+Tieck conjectures that the eavesdropping scene from "Much Ado" (III, 1)
+is included in the collection because it was played by popular actresses
+of the contemporary English stage. Tieck misses the structural
+importance of the scene. It is apart of the intrigue; it has a direct
+effect on Beatrice who comes from it a changed woman. To Tieck, however,
+it ment as little as the similar eavesdropping scene from "Love's Labor
+Lost" (IV, 3), in which play he claims there is no suitable scene for
+representation.
+
+The scene from "Winter's Tale" in which Perdita welcomes the disguised
+Duke (IV, 3), offering him flowers the while, is condemd in favor of the
+one immediately following in which the Duke discloses himself. Here
+again Tieck stresses the contrast and wishes a climax, a dramatic
+moment. So he praises such scenes as the putting away of Hero at the
+altar and the deth of Beauford, however much he derides the execution of
+the latter, by Reynolds.
+
+For the sake of bringing out the wretchedness of this execution, Tieck
+points out that tho he has often before bewaild the choice of moment,
+he cannot do so in this case for no better could hav been selected. He
+details the good points in the scene: "Man denke sich einen Bösewicht
+auf dem Todtenbette, den die Verzweifelung wahnsinnig gemacht hat, der
+keine Seligkeit hofft; diesen besucht in seiner Todesstunde Heinrich,
+der junge gefühlvolle König, ein Schwarmer in der Religion, der von
+diesem Anblick auf das tiefste gerührt wird; Warwick und Salisbury, zwei
+männliche Krieger, begleiten ihn hierher. Beauford ist die Hauptperson,
+alle Zuschauer haben ihre gauze Aufmerksamkeit auf ihn gerichtet. Der
+Künstler hätte hier rühren und erschüttern können; ich sehe in Gedanken
+den weichen Heinrich Thränen vergiessen, im schönsten Contrast mit dem
+Cardinal, der ihn, in der Abwesenheit seines Geistes, kalt und ohne
+Bewusstsein anstarrt. Warwick und Salisbury, weniger gerührt, aber doch
+interessante Physiognomien, die durch leichtere Nuancen von einander
+unterschieden sind. So sehe ich in der Phantasie das schönste tragische
+Gemälde ..."
+
+In "Romeo and Juliet" the choice of the ball scene meets with Tieck's
+disapproval. The scene is "Ohne Wirkung." Tieck's main reason why the
+scene is not good is that the painter has interpreted literally the
+metafor, "My lips two blushing pilgrims stand" and has represented Romeo
+in the garb of a pilgrim to correspond to Juliet's anser, "Good
+pilgrim." As Tieck rightly points out, there is no need for such a gise.
+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
+choice, the emfasis of his selection is apt to be on the superlativ
+moment.[39]
+
+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 it. That is the desire to hav a number of
+people in the picture. Nearly all the plates that he condems hav but few
+characters and his dictum of variety demands a reasonable number to
+choose from. This dramatic point of view is in accord with his attitude
+in all other fases of the discussion. It has been pointed out how rarely
+the artistic makes the prime appeal to him.
+
+Tieck's second point in regard to choice of subject is that the comedies
+offer a wider field and a better opportunity than the tragedies. The
+general basis for this notion is allied to his theory of the
+worthlessness of caricature, that is, that there is an exaggeration, an
+overacting of the part possible in tragedy that is less likely to occur
+in comedy.
+
+The statement of the evils of exaggeration is very sweeping and includes
+in some of its details both comedy and tragedy: "Der dramatische Dichter
+hat Momente in seinen Schauspielen, die kein Pinsel oder Griffel jemals
+darstellen kann; ich meine jene Sprünge und überraschenden Wendungen des
+Affectes, jene fürchterlichen Blitze des Genies, bei denen der Zuschauer
+zusammenfährt, wo der Dichter unerwartet durch eine neue verdrängt:
+diese Momente sind oft die glänzendsten des Schauspiels, und bei keinem
+Dichter finden sie sich so häufig als bei Shakspeare in seinen
+Tragödien." Tieck's illustration for this is the passage from Lear
+beginning, "No, I will weep no more," etc. He continues, "welcher Maler
+wird es wagen, wenn er den Sinn ganz durchdringt, ... diese Stelle auf
+die Leinwand zu werfen? So innig diese Verse beim Lesen oder bei der
+Darstellung rühren, so frostig würden sie vielleicht als ein Gemälde
+dargestellt erscheinen: oder wenn sie auch hier rührten, so würde das
+Gemälde doch nie jene Erschütterung in uns erregen, jenes Anschlagen von
+hundert Gefühlen. Man würde immer nur den weinenden Lear sehen oder den
+erzürnten Vater, der sich zur Kälte zwingt; das Ineinanderschmelzen
+dieser beiden Empfindungen, verbunden mit der Verstandesschwäche, die
+dem Schmerz endlich ganz erliegt und Wahnsinn wird, wäre selbst ein
+Rafael unmöglich: hier steht ein grosser Grenzstein zwischen dem Gebiet
+des Malers und des Dichters."
+
+The result of overstepping these bounds is that the painter is likely to
+enter into rivalry with the poet, 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 reason.
+
+But in the comedies there are many moments which almost force themselves
+on the painter. These are scenes in which he can portray the poet just
+as he finds him and in which his rivalry is legitimate and, indeed, may
+tend to make him surpass the poet. 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 commentator, so to speak, of these. Under such
+circumstances, the painter must be very careful to choose just the most
+beautiful and most interesting passages.
+
+The relation to Lessing is again at once clear. The culminating moment
+of passion as it appears in the tragedies is not suitable from the
+artistic point of view for reproduction but the comedies, from their
+admixture of the flegmatic, the almost imperativ concomitant of
+Shaksperean humor, tone down this superlativ expression and are
+therefore within the pale. How Tieck carries out his theory in practis,
+has been sufficiently shown: his love for the sentimental and
+melodramatic, for the climatic and striking lead him to neglect his
+delimiting theoretical remarks.
+
+Before leaving the discussion of Tieck's article, it may be well to
+compare it with another contemporary treatment of the Boydell Gallery.
+This is by the famous traveler and publicist, George Forster. It was
+Forster's account which furnisht Fiorillo with much of his data for the
+treatment of the "Gallery" in his history of British art, but it is
+hardly likely that the account is a source for Tieck. I hav no external
+evidence and the internal evidence is entirely negativ.
+
+If Friedrich Schlegel's estimate of Forster's artistic capabilities be
+accepted, it is just such pictures as these, where the social interest
+is great and the artistic valu is secondary, that should bring out
+Forster's strength of judgment. Forster was also a finely discriminating
+amateur, with a decided sense of tactile form based on a sincere love of
+Greek art and confirmd by a study of Winkelmann and Lessing, beyond whom
+he past in his appreciation of the portrait and the landscape and of the
+coloring of the great masters.
+
+Forster's essay, "Die Kunst und das Zeitalter" (1791), was written about
+the time that he saw the Boydell pictures. It shows his attitude toward
+Greek art and givs more than a hint of his standards which point so
+clearly toward Schiller. His "Ansichten vom Niederrhein," especially the
+discussions of the galleries and collections at Düsseldorf, Brussels and
+Antwerp fully express his ideas on Dutch and Flemish art, especially
+emfasizing the characteristics of Rubens for whose fleshy types Forster
+had little use.
+
+In the discussion of British art which comes as an appendix to the
+"Ansichten," Forster includes a rather detaild description of the
+Boydell paintings. He did not see the engravings, or rather, 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 parts, is in one way
+fundamentally different from that of Tieck. All the discussion of
+technique in which Tieck was so weak, is entirely lacking in Forster.
+His point of view, too, is different. He is the traveld, experienced man
+from whose traind eye and broad judgment more may be expected than from
+the student Tieck. There is, as Friedrich Schlegel says, an
+out-of-doorness in Forster's work that Tieck could never hav had; the
+over-emfasis on Shakspere on the part of the latter is only one product
+of his inexperience.
+
+In spite of all this, it is surprizing to find what correspondences
+there are between the student Tieck and the more traind Forster. The
+latter who knew vastly more of English life than Tieck, fails to
+understand it in just those vital points where Tieck went farthest
+astray. Smirke and Peters fare badly at his hands, perhaps because of a
+certain puritanism in his atitude, or to quote Schlegel, because "Keine
+Vollkommenheit der Darstellung konnte ihn mit einem Stoff aussöhnen, der
+sein Zartgefühl verletzte, seine Sittlichkeit beleidigte oder seinen
+Geist unbefriedigt liess." For this reason he can call one of the Peters
+paintings from the "Merry Wives" a brothel (ein Speelhuis) or refer to
+the women of that artist as "lockere Nymphen."
+
+Besides the same general dislike for the caricatures of Smirke that was
+noted in all previous instances, there is the usual praise of Hodges,
+the usual condemnation of Opie's bad drawing. Füessli, too, comes in for
+his share of the blame: "Der Beifall, welchen Füesslis Gemälde in
+England erhalten, bezeichnet mehr als alles die Ueberspannung des
+dortigen Kunstgeschmacks. Dieser junge Schweizer ... brachte nebst der
+Kenntniss akademischer Modelle sein malerisches Kraftgenie mit sich über
+das Meer; seiner Phantasie ward es wohl unter wilden Traumgestalten und
+Bildern des Ungewöhnlichen. Diese Stimmung ... verführte ihn nur gar zu
+bald zu allen Ausschweifungen der Manier. Es ist zwar leicht das
+Alltägliche zu vermeiden, indem man Kontorsionen darstellt ..." (page
+466). Again: "Es sind nicht Menschen, die dieser Künstler phantasiert,
+sondern Ungeheuer in halb menschlicher Gestalt, mit einzeln sehr gross
+gezeichneten und sehr verzerrten, verunstalteten Theilen und
+Proportionen: ausgerenkte Handgelenke, aus dem Kopfe springende Augen,
+Bocksphysiognomien u. s. f...." (page 503). Northcote is damned with the
+faint praise "Nicht ohne Verdienst," a frase that clings to the
+characterizations of his work from the _Anzeigen_ to Fiorillo. Barry is
+shown to lack grace, noble greatness and beauty. His distorted figures
+border on caricature and his forms are of giants, colossi. His coloring
+is bad in spite of his theoretical knowlege and good drawing.
+
+Forster sees thru Angelika Kaufmann and Hamilton better than Tieck did.
+Hamilton's paintings are "Machwerk" and his figures move in
+"Tanzschritt," while Angelika's are hermafroditic (page 501). "Die
+deutsche Muse Angelika verbarg die Inkorrektheit und das Einerlei ihrer
+allzuschlanken Figuren unter dem Schleier der Grazie und Unschuld" (page
+459).
+
+For Forster, Shakspere is the most logical portrayer of nature that ever
+existed; 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 fantasy. For the artists of the
+British school this is especially valuable because effect is their
+highest aim and beauty only secondary. Extremes of passion,
+astonishment, surprize are strivn for. "Sie hascht nach der Wahrheit der
+Natur in ihren grässlichen Augenblicken und erlaubt ihrer Phantasie den
+verwegenen Flug, nicht in das schöne Feenland des Ideals sondern in die
+verbotene Region der Geister und Gespenster."
+
+But while the general condemnation of British artists shows far more
+perspectiv than is found in Tieck, the acquaintance with the details of
+Shakspere's plays is never drawn on to point out any defects in choice
+of subject matter. Forster can refer to the acted plays from an
+experience that was at this time still denied Tieck, but this experience
+does not result in any well-defined theory of Shakspere-illustration as
+a whole and as we found Tieck to hav. The melancholy Jacques in the
+forest is a good scene for Forster, whereas Tieck rejected it as having
+no structural relation to the rest of the play. Forster finds it worthy
+of portrayal as one of the moments arising from Shakspere's variety of
+scene, character and condition of life, to say nothing of the chance to
+show the lonesome melancholy stag by the famous animal painter, Gilpin!
+
+On Reynolds' famous Beauford picture, Tieck and Forster are entirely at
+odds. For Tieck the execution is terrible, the choice of subject
+satisfactory. For Forster, the choice is inexcusable, the execution in
+part masterly; a dying criminal in his last throes seems to Forster an
+utterly impossible subject for representation. So with Kirk's picture
+from "Titus Adronicus": in spite of the attempt to meliorate the
+impression of the butcherd Lavinia, the whole picture remains for
+Forster a disgusting sight. The conclusion is obvious: Forster's sense
+of delicacy rebeld at the crass and brutal; wildness and terror shockt
+him.
+
+But if Tieck's article compares favorably with Forster's in all points
+respecting the "Gallery" itself, it must be confest that the political,
+patriotic note, the application to Germany of the principles of national
+betterment in art which arose in the mind of Boydell, escape him. He was
+not, of course, like Forster, a political writer, and revolutionary
+conditions had no immediate interest for him as for the older man. 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 _Abendblætter_
+article. Tieck does not rise above the milieu; the "Gallery" offers no
+hold with which to test contemporary art in his own land. It is only a
+beginning, clearsighted in part and in general sustaind, an ernest of
+what the matured criticism of the Romantic school was later on to do.
+
+
+
+
+NOTES
+
+[1] Die Kupferstiche nach der Shakspeare-Gallerie in London. Briefe an
+    einen Freund. 1793. "Kritische Schriften," vol. I, pages 3-34. [Kr.
+    Sch.]
+
+[2] For full title, see bibliografy.
+
+[3] E. g. in the letters.
+
+[4] Krit. Sch. I, 4. Jean Paul, Titan, I, 42. [Berlin, 1827.]
+
+[5] 1719-1804.
+
+[6] Preface to the Prospectus and quoted in the preface to the
+    "Gallery."
+
+[7] The facts on the "Gallery" are pretty well scatterd. The
+    statements in Allibone are not all correct. See Graves, "New
+    Light on Boydell's Shakespeare Gallery," _Magazine of Art_, vol.
+    XXI, page 143 ff. For some details as to the disposition of the
+    pictures, see "Notes and Queries," series 2, vol. VIII, vol. IX,
+    313, vol. X, 52. Also Pye, "Patronage of British Art," London,
+    1848.
+
+[8] Preface to critical works.
+
+[9] Page 7.
+
+[10] Copy in the Columbia University Library.
+
+[11] Mr. L. L. Mackall kindly furnisht me with this information.
+
+[12] This Ms. (79 pp., vellum, quarto) contains the signatures
+    of all the subscribers or their agents. Romney, Warren Hastings,
+    Wedgewood, the King, the Queen and the Prince Regent besides a
+    number of English "persons of quality" are represented. The
+    poets are conspicuously wanting. The King of England gave the
+    copy to the University Library. Cp. _GÅ“ttinger Gelehrte
+    Anzeigen_ (G. G. A.) 1791, page 1793; 1793, page 561.
+
+[13] At least until after the time concerned here. This from
+    Wüstenfeld on the contributor to the _Anzeigen_ furnisht by
+    Professor Wilkens.
+
+[14] The plates which come into consideration and the order in which
+    they occur in Tieck are as follow:
+
+    "Love's Labor Lost," Tieck, page 9, (1) IV, 1 (G. G. A., 1794, page
+      10); (2) IV, 2, small plates; (3) V, 2.
+
+    "Merry Wives of Windsor," Tieck, page 10, I, 1 (G. G. A., 1794,
+      page 969); page 12, II, 1 (G. G. A., 1794, page 969); page 13
+      (G. G. A., page 959); page 13, I, 4; IV, 1, small plates (G. G.
+      A., 1794, page 970); V, 5.
+
+    "Twelfth Night," II, 3 (G. G. A., 1794, page 970); Tieck, page 15. A
+      small plate.
+
+    "Two Gent. Verona," Tieck, page 16, Last Scene (G. G. A., 1793, page
+     903); 17, IV, 3. Small plate.
+
+    "As You Like It," Tieck, page 17, II, 1 (G. G. A., 1793, page
+      561); page 17, last scene (G. G. A., 1793, page 561).
+
+    "Much Ado About Nothing," Tieck, page 19, III, 1 (G. G. A.,
+      1791, page 1794); IV, 1; IV, 2.
+
+     "Winter's Tale," Tieck, page 21, II, 3 (G. G. A., 1794, page 9);
+      IV, 3; V, 3; page 22, two small plates (G. G. A., 1794, page
+      10).
+
+    I "Henry VI.," Tieck, page 24, II, 5 (G. G. A., 1794, page 970).
+
+    II "Henry VI.," Tieck page 25, III, 3 (G. G. A., 1794, page 10).
+
+    "Richard III.," Tieck, page 27, III, 1 (G. G. A., 1791, page
+      1794).
+
+    "Titus Andronicus," Tieck, page 28, IV, 1 (G. G. A., 1794, page
+      970); page 29 (G. G. A. 1794, page 970).
+
+    "Romeo and Juliet," Tieck, page 30, I, 5 (G. G. A., 1793, page 561);
+      IV, 5 (G. G. A. page 561); V, 3 (G. G. A., 1793, page 562).
+
+    "King Lear," Tieck, page 31, I, 1 (G. G. A., 1793, page 903-4);
+      page 32, III, 4 (G. G. A. 1793, page 904); page 33, last scene
+      (G. G. A., 1793, page 904); page 34 (G. G. A., 1793, Page 904).
+
+Tieck mentions in all 39 plates; of these 24 are large plates
+    and the rest small ones. In only 6 instances does Tieck enter
+    into even a slite criticism of the small plates. In some cases,
+    his remarks are so meager that it is only by a comparison with
+    the original that we can tell what plate he means.
+
+[15] Boydell's Catalog, page 28 ff. It may be worth while to
+    mention in this connection that the Catalog has a number of
+    errors in the list of these supplementary plates. The proof was
+    red carelessly and the results are jumbled. Only by a careful
+    comparison with the originals in the 1802 edition, for the
+    results of which there is no room here, can this be straightend
+    out.
+
+[16] "Romantische Schule," page 57-8.
+
+[17] For possible influence of Du Bos, cf. Tieck's doctrin of
+    poetry as an imitativ art. Kr. Sch., page 24. See Howard,
+    _Publications of the Mod. Lang. Assn._, vol. XXII, page 4. The
+    letters to Wackenroder in Holtei, 300 Briefe, etc.
+
+[18] Volbehr, Dessoir, Stöcker. D. L. D.
+
+[19] Kr. Sch. I, 321. It is doutful if Tieck knew any of the
+    Hogarth Shakspere plates. The dates of issu (Dobson, pp. 310,
+    340 ff.) are all later than the writing of the Boydell article.
+    For Tieck and Hogarth, Köpke, I, page 148.
+
+[20] Of course the emfasis on color is entirely wanting in the
+    body of the work. Tieck nowhere in the essay points out how
+    engraving can suggest color.
+
+[21] Literary paralels are at once apparent. So, Schiller's
+    Prolog to "Wallenstein."
+
+[22] Schriften, vol. X, pages 302-3.
+
+[23] Weitenkampf, 155.
+
+[24] One or two actual errors of fact hav crept into the paper.
+    Kyder for Ryder and Northcate for Northcote. The latter error
+    and Tieck's Slatbard may hav arisn, as Professor Wilkens
+    suggested to me, from Tieck's notoriously bad handwriting which
+    was misinterpreted by the compositor. At any rate, Tieck made no
+    later effort to correct. The "Rev." before Peters' name misled
+    both Tieck and Forster into laying too much emfasis on his
+    sacerdotal function. The G. G. A. calls him a dilettante.
+
+[25] Walzel, 279; Sulger-Gebing, 41, 154. Engel ("Angelika
+    Kaufmann," 36, 37, 43) while not denying her preference for this
+    dress, is of the opinion that it was not suited to her. "Im
+    Schäferkleide, den Hirtenstab in der Hand, Atlaspantöffelchen an
+    den Füssen, ein bebändertes Hütchen auf der gepuderten Coiffure,
+    umgeben von einem Hofstaat schöngeistiger Verehrer und
+    Verehrerinnen, so hatte sie unzweifelhaft eine weit natürlichere
+    und tüchtigere Figur gemacht als in der Vestalinnentracht die
+    sie--das Bregenzerwaldnymphlein--in der Folgezeit zu bevorzugen
+    pflegte."
+
+[26] Biografers of Sir Joshua generally agree that his pictures
+    in this series, with the possible exception of "Puck," are
+    failures. Boydell paid 400 and 1500 guineas for the two largest
+    and this was considerd by some an exorbitant price.
+
+[27] Minor's edition, pages 27, 30.
+
+[28] There is the possibility of a crude symbolism having been
+    intended for Shakspere's "Blow, winds," etc.
+
+[29] The West picture was very popular. Cf. _Teutsche Mercur_,
+    1791, pages 445-6, for a criticism of Berger's engraving from
+    it.
+
+[30] See, 300 Bfe. page 79.
+
+[31] This is a difficult point to decide. The citizen class was
+    limited by such sumptuary laws as is shown by the records, but
+    most writers agree that the violations were open and common.
+
+[32] The figure with the helmet is unquestionably that of
+    Marius, the tribune. He enters from the street and is drest in
+    street costume. Titus, who has been in the house, wears only a
+    fillet around his hed. In the play, Marius commands the boy to
+    stand near him for refuge, but in the picture the moment just
+    previous is chosen, when the boy is still near his grandfather.
+    Forster wrongly holds that the helmeted figure is Titus.
+
+[33] Cf. A. W. v. Schlegel in _Athenæum_, 2, 212, "Man kennt
+    Reynolds Ugolino aus dem Kupferstiche: es ist ein alter Mann,
+    der hungert, aber es ist nicht Ugolino." For his criticism of
+    Boydell, 2, 198.
+
+[34] Marie Joachimi-Dege has given a very careful account of the
+    erly Romantic and Storm and Stress attitude toward Shakspere.
+    Her book needs supplementation thru a study of the Romantic
+    Shakspere criticism, written from the English point of view.
+
+[35] In his Academy discourses. Bohn ed., vol. I, page 460 ff.
+    Reynolds points out that those who praise the "invention" of
+    Timanthes in the Agamemnon picture hav not been painters but
+    literary men. They use it as an illustration of their own art.
+    He says, "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 poetry. (Cf. Boydell's
+    preface.) It is a doubt with me if we should even make the
+    attempt. The chief, if not the only occasion which the painter
+    has for this artifice, is when the subject is improper to be
+    more fully represented, either for the sake of decency, or to
+    avoid what would be disagreeable to be seen; and this is not to
+    raise or increase the passions, which is the reason given for
+    this practice, but on the contrary to diminish their effect....
+    We cannot ... recommend an undeterminate manner or vague ideas
+    of any kind, in a complete or finished picture. This notion,
+    therefore, of leaving anything to the imagination opposes a very
+    fixed and indispensible rule in our art,--that everything shall
+    be carefully and distinctly expresst, as if the painter knew,
+    with correctness and precision, the exact form and character of
+    whatever is introduced into the picture. This ... must not be
+    sacrificed ... for uncertain and doubtful beauty which, not
+    naturally belonging to our art, will probably be sought for
+    without success." After praising the artifis of Timanthes,
+    Reynolds goes on to say, "Suppose this method of leaving the
+    expression of grief to the imagination, to be ... the invention
+    of the painter and that it deserves all the praise that has been
+    given to it, it is still a trick that will serve only once;
+    whoever does it a second time, will not only want novelty, but
+    will be justly suspected of using artifice to evade
+    difficulties. If difficulties overcome make a great part of the
+    merit of Art, difficulties evaded can deserve but little
+    commendation." Among the names of those who discuss the "trick"
+    Lessing's is, of course, wanting. Gilray's satirical plate on
+    Boydell should be compared for this and other points. Copy in N.
+    Y. Public Library.
+
+[36] In this connection, the letters mention Engel's
+    "Mimik"(1785).
+
+[37] Some of the latter pictures by Smirke are very fine; e. g.,
+    the face of Jessica which justifies the statement of the Dict.
+    Nat. Biog. that Smirke had "good drawing, refinement, quiet
+    humor." Bryan has a cooler comment: "Smirke was well spoken of
+    in the comedy vein." Tieck likes him better in tragedy (page
+    34). Fiorillo's comment is "Seit Hogarths Zeiten hat kein
+    Künstler so viel Charakter oder so viel Ausdruck in seine
+    Figuren gebracht, noch eine Scene mit so viel echter Laune
+    bearbeitet."
+
+[38] To me the Tieck-Schlegel translation of this scene misses
+    all the best points of the original. To be sure, Tieck had
+    nothing to do with its translation. (Friesen, I, 136; Sybel,
+    III, 463 ff). It was not that Tieck was not interested in puns,
+    altho the Dr. Cajus scene seems uninteresting to him on that
+    account. Tieck himself made a good many puns. Cf.
+    "Viehsiognomie," the first lines of his sonnet on the sonnet and
+    the "gemein" from the _Allgemeine deutsche Bibliothek_ in
+    "Das jüngste Gericht." His sensing of English puns seems not to
+    hav been so keen. So in a discussion of Mss. readings toward the
+    end of the essay on the erly English Theater (Kr. Sch. I, 320)
+    after calling one faulty reading "Unsinn" he continues, "In
+    derselben Rede:
+
+
+        If you can construe but your doctor's bill
+        Parse your wife's waiting woman, etc.
+
+
+     Parse? Was kann das bedeuten? Pierce ist dem aufmerksamen Auge
+     leserlich genug." Tieck seems to hav mist the play on the
+     grammatical idea. To be sure, I hav not seen the Ms., but Tieck
+     was no very careful reader or copyist.
+
+[39] This is a scene where Tieck saw both L. and S. There were
+    two different paintings of the same subject, one with fewer
+    figures, and Tieck rightly points out that the less crowded one
+    is the better. One of the engravings is by W. Blake and is not
+    given in any list of that artist's work. Mr. W. G. Robertson,
+    the most recent biografer of Blake informs me in a letter that
+    he does not know it.
+
+
+
+
+A PARTIAL BIBLIOGRAPHY
+
+
+Athenæum. Eine Zeitschrift von A. W. Schlegel und Friederich
+    Schlegel, Zweiter Band. Berlin, 1799.
+
+Boydell, John.
+    Catalogue of the ... Shakspeare Gallery, London, 1789. The first
+      edition of the catalog givs the painters' names only: subsequent
+      editions add the names of the engravers. There are copies of the
+      various editions in the Columbia, Harvard and New York Public
+      Libraries.
+    A Catalogue of Prints ... comprising the stock of J. and J.
+      Boydell, London, 1808.
+        Copy in N. Y. Public Library.
+    A Collection of prints from pictures painted for the purpose of
+      illustrating the dramatic works of Shakespeare, by the artists
+      of Great Britain. London ... 1803, 2 vols. in one, atlas folio.
+        There are many copies in the U. S. and there is also an American
+        reprint with letterpress explanatory of the plates.
+
+Dessoir, M. K. P. Moritz als Aesthetiker.
+
+Dobson, Austin. William Hogarth, New York and London, 1907.
+
+Engel, J. J. Ideen zu einer Mimik, 1848.
+
+Engel. Angelika Kaufmann, 1903.
+
+Fiorillo, J. D. Geschichte der zeichnenden Künste, etc. Bd. V.
+    Geschichte der Malerei in Grossbrittanien. Göttingen, 1808.
+
+Forster, Georg. Sämmtliche Schriften, III. Leipzig, 1843.
+
+Friessen, H. von. Ludwig Tieck. Erinnerungen eines alten
+    Freundes. Wien, 1872.
+
+Göttingen. Anzeigen für Gelehrte Sachen, etc. The volumes from
+    1791 to 1803 were used.
+
+Haym, R. Die romantische Schule, 1870.
+
+Holtei, K. Drei hundert Briefe aus zwei Jahrhunderten,
+    Hannover, 1872.
+
+Joachimi-Dege, M. Deutsche Shakspeare-Probleme im XVIII.
+    Jahrhundert und im Zeitalter der Romantik. Leipzig, 1907.
+
+Köpke, R. Ludwig Tieck, Leipzig, 1855.
+
+Minor, J. Friedrich Schlegel. Seine prosaischen
+    Jugendschriften, Wien 1906.
+
+Tieck und Wackenroder. Kürschners D. N. L. Bd. 145.
+
+Moritz, K. P. Ueber die nachahmende Bildung des Schönen. In D.
+    L. D.
+
+Reynolds, J. Academy Discourses. Bohn Edition, London, 1846.
+
+Shakspere, W. The Dramatic Works of William Shakspeare, London,
+    1802.
+      This is the Steevens edition in nine volumes. Copy in New
+      York Public Library.
+
+Spooner, Shearjashub. Prospectus for publishing an American
+    edition of Boydell's illustrations of Shakespeare, N. Y., 1848.
+
+Sulger-Gebing. Die Brüder A. W. und F. Schlegel und die
+    bildende Kunst, 1897.
+
+Sybel. Erinnerungen an F. von Uechtritz. Leipzig, 1884.
+
+Volbehr. Goethe und die bildende Kunst, 1897.
+
+Walzel, O. F. Friedrich Schlegel's Briefe an seinen Bruder
+    August Wilhelm. Berlin, 1890.
+
+Wietenkampf, F. How to appreciate prints. New York, 1908.
+
+Zelak. Tieck und Shakspere. Tarnopol, 1900.
+
+
+       *       *       *       *       *
+
+Transcriber's Notes
+
+There is much idiosyncratic spelling in both English and German. This
+has been retained, apart from the following four typos:
+
+page 15 "sehn" amended to "sehr";
+
+page 30 "obobserver" amended to "observer";
+
+page 40 "int he" amended to "in the";
+
+page 54 "Grossbittanien" amended to "Grossbrittanien".
+
+On page 32, the typo "est giebt" has been left unchanged: it could be
+either "es giebt" or "erst giebt" (more likely).
+
+Also on p. 32 "zu grob ist" should probably be "zu groß ist", but has
+been left unchanged, as the letter ß does not appear elsewhere in the
+text.
+
+Three obvious errors in punctuation have also been amended, as follows:
+
+page 12 "page 28." amended to "page 28:";
+
+page 34 "darstellen will." amended to "darstellen will,";
+
+page 41 Tanzschritt," amended to "Tanzschritt";
+
+page 44 "G. G. A.." amended to "G. G. A.,".
+
+page 48 "in in Das" amended to "in Das".
+
+Anchors for footnootes 31 and 36 are missing. They have been inserted in
+the most likely locations.
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+Gallery, by George Henry Danton
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diff --git a/34937-0.zip b/34937-0.zip
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+The Project Gutenberg EBook of Tieck's Essay on the Boydell Shakspere
+Gallery, by George Henry Danton
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: Tieck's Essay on the Boydell Shakspere Gallery
+
+Author: George Henry Danton
+
+Release Date: January 12, 2011 [EBook #34937]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK BOYDELL SHAKSPERE GALLERY ***
+
+
+
+
+Produced by Margo Romberg, Karl Eichwalder and the Online
+Distributed Proofreading Team at https://www.pgdp.net (This
+book was produced from scanned images of public domain
+material from the Google Print project.)
+
+
+
+
+
+
+
+
+
+                          New York University
+
+                     OTTENDORFER MEMORIAL SERIES OF
+                          GERMANIC MONOGRAPHS
+
+                                No. 3
+
+                             TIECK'S ESSAY
+
+                               ON THE
+
+                       BOYDELL SHAKSPERE GALLERY
+
+
+                                 BY
+
+                         GEORGE HENRY DANTON
+
+
+                            INDIANAPOLIS
+
+                      EDWARD J. HECKER, PRINTER
+
+                                1912
+
+
+
+
+                       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 O. Fischer in an
+article, "Ueber Verbindung von Farbe und Klang" in the _Zeitschrift fuer
+Æsthetik_. These three works renderd the publication of my material
+superfluous, made a change of plan necessary and the result is that my
+monograf has been very much delayd in appearing.
+
+As far as I know, there is no other study of Tieck's first critical
+paper. I found it worth while to do this monograf because the comparison
+with the original engraving brought out so many interesting facts, threw
+light on Tieck's erly critical method, explaind his taste, showd his use
+of sources and above all, contradicted the positiv assertion of Haym
+that Lessing's influence is nowhere discernible. The meny interesting
+facts about the gallery itself that came to light in the course of the
+paper, the meny questions about it which I was unable to solv, may
+perhaps become the matter of another article.
+
+The "Gallery" is for us now a revenant of a past and somewhat impossible
+generation. A certain air of English commercial roastbeefism clings to
+it. It is an England, the art of which knows nothing of Constable and
+still less of Turner, 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 series. As an
+interpretation of Shakspere, it is no more than on a plane with Colly
+Cibber. Tieck saw this and felt it, but could not make clear to himself
+what was wrong with it. The plates belong in parlors of the haircloth
+age, where indeed, they may still often be found. It is before the day
+of the painted snowshovel and the crayon portrait, but the delicacy of
+the Adams' decorations has gone out and the new strength of Romanticism
+has not come in. There is surely no tuch of the Elizabethan or Jacobean
+spirit.
+
+I wish to take this opportunity to thank the various members of the
+staffs of the Stanford University and the Columbia University Libraries,
+of the Congressional and New York Public Libraries for their aid;
+especially to thank Mr. Weitenkampf for his very great help on technical
+matters. Mr. L. L. Mackall also furnisht me with very valuable
+information. The paper underwent a most searching criticism at the hands
+of Professor Wilkens, of New York University and I wish to express my
+especial indetedness to him for his assistance in the matter. To
+Professor McLouth my thanks are due for a constant kindly interest in me
+as Ottendorfer fellow. Finally, 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 incumbent.
+
+                                                                G. H. D.
+    Indianapolis, Ind., September, 1911.
+
+
+
+
+
+TIECK'S ESSAY ON THE BOYDELL SHAKSPERE GALLERY
+
+
+Tieck's attack[1] on the Boydell Shakspere Gallery[2] was his first
+publisht critical production. It is significant to note that this first
+essay in criticism delt both with Shakspere and with art, that is, with
+the ruling passion of Tieck's life and with one of the strongest of his
+secondary interests. The passion for Shakspere with the concomitant
+sense of close personal relationship with him, came to be a major part
+of Tieck's being and is clearly indicated even before this article.[3]
+Tieck's decided aversion to the English national standpoint toward
+Shakspere is strongly exprest in the essay. 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 English, does
+not, as a mere lad, hesitate to venture his douts as to whether the
+English nation is equal to the task of illustrating its greatest
+poet.[4]
+
+These illustrations are known as the Boydell Shakspere Gallery. They
+were the idea of the engraver, Alderman John Boydell,[5] who wisht to
+set up a great national monument to the genius of Shakspere and, at the
+same time, to foster a school of historical painting in a land where
+heretofore the portrait alone had attaind to any degree of
+excellence.[6] The "Gallery" was begun in 1789 and was completed in
+1803. At no sparing of expense to himself--the entire cost was upward of
+£100,000--Boydell commissiond some of the best artists and engravers of
+the time to portray scenes from all of Shakspere's plays. The oil
+paintings, about 100 in number, 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 genius. The
+Napoleonic wars, "that Gothic and Vandalic revolution," and the deth in
+poverty of Boydell, renderd necessary the disposal of the collection by
+lottery (1804). The lucky ticket was held by a London connoisseur named
+Tassie. At his deth the collection was scatterd, tho subsequently a few
+of the pictures were recollected and are now in the Shakspere Memorial
+in Stratford.[7]
+
+The plates from these pictures are, all in all, no better and no worse
+than engravings of the day are likely to be. It is illustration work in
+which the story interest is the predominant feature. Interpretation of
+Shakspere takes precedence over art, and even Boydell places the painter
+below the poet and speaks disparagingly of the ability of the former to
+understand and to portray. 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 discussion.
+
+Tieck's essay is in the form of four letters, and was written while he
+was a student at the University of Göttingen. It had the approval of his
+teacher, Johann Dominik Fiorillo, (himself afterward well-known as the
+author of an extensiv history of art,) tho it was not especially written
+under Fiorillo's gidance.[8] It was intended, on the surface at least,
+as an open and emfatic protest agenst the too lavish praise of the
+plates in the journals. The general tone, then, is polemic tho directed
+agenst no particular person or article.
+
+In the preface to his critical works[9] Tieck asserts that the article
+is a product of the year 1793 and that it was published in 1794. It
+appeared in the _Neue Bibliothek der schoenen Wissenschaften und
+freyen Kuenste_, 55ten Bandes zweytes Stück, pages 187-226, which bears
+the date 1795,[10] and according to the Messkatalog, did not appear till
+Michaelmas of that year.[11] Tieck's memory, therefore, faild him as to
+the date of publication and he has also fallen into a slite error, or
+rather inaccuracy, in regard to the time of origin. The article could
+not have been completed within the calendar year 1793, because a number
+of the plates that Tieck discusses are dated December 24, 1793, and
+could hardly hav got to the continent in the same year. While it may be
+possible that the plates were postdated, there is no evidence of such
+fact at hand. Moreover, 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 reviews, as will be shown
+hereafter, were extensivly used by Tieck. In these reviews, the plates
+are always spoken of as recently arrived. The prints were issued
+regularly to the subscribers, of whom the University, according to the
+Ms. catalog in the Boston Public Library, was one.[12] 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 publication.
+This reviewer was Heyne[13] who afterward mediated the publication of
+Tieck's article. The article was no dout written before Tieck settled in
+Berlin in the Fall of 1794 but its writing went out over the confines of
+1793. The next series of plates appeard in June, 1794, and is not
+included in Tieck's article, tho this is no proof that the article was
+completed before June, since the plates probably did not arrive in
+Germany till well in the Summer.
+
+Tieck's essay has been almost entirely neglected by Tieck scholars. It
+is not a great piece of constructiv criticism, nor can it be said to
+contain the ripe judgments of a mature mind. It is, however, a fresh
+and, on the whole, convincing analysis of the plates and as such
+deserves a careful examination. It will be seen that the article has a
+very definit foundation in preceding criticism but that Tieck, tho
+borrowing freely from one source at least, namely the _Goettinger
+Gelehrte Anzeigen_, has not slavishly plagiarized nor has he been servil
+in his adoption of the ideas of others. 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 plates.
+
+Tieck claims that the praise of the "Gallery" in the contemporary
+magazines is excessiv. This claim is exaggerated. Meny important
+magazines do not discuss the plates even where there was an excellent
+opportunity. So, for example, Wieland's _Mercur_ and Nicolai's
+_Allgemeine deutsche Bibliothek_ do not mention them, tho from time to
+time engravings from other contemporary paintings are discust. For
+instance, Nicolai's journal has one long discussion of the state of
+contemporary art, especially of engraving (No. 110, 1792) but omits all
+reference to the Boydell series. The criticism in Meusel's _Museum fuer
+Kuenstler_ is on the whole, destructiv. One discussion, for example,
+(No. IV, page 99) is a violent attack on engraving in general and calls
+the "Gallery," "Diese die Malerei zu grunde richtende Gelegenheit," and
+condems the "Krämergeist" at the bottom of the enterprize. The value of
+line in engraving is, however, pointed out, and Bartolozzi and Ryland,
+who had but little to do with the series are faintly praisd. Other
+mention in Meusel's magazines is either entirely unoriginal summary
+(_Museum_, VI, 352) or mere cursory comment (_Miscellaneen_, Stück 30.)
+The articles on caricature (Neue _Miscellaneen_ X., 154 and Archiv I,
+66) are so late that they cannot be taken into consideration in
+connection with Tieck's paper.
+
+With the _Goettinger Gelehrte Anzeigen_ the case is different.[14]
+Tieck saw and used its articles as a basis for his work, tho the credit
+of having written the first connected essay from a single viewpoint
+belongs to him. The not over laudatory criticisms of the _Anzeigen_ are
+often paralel, even down to the wording of details with Tieck's
+judgments, 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 consideration. The fact that Tieck follows the errors
+of the _Anzeigen_ is significant, but it is equally significant that he
+corrects the errors of the magazine from his stock of observd judgments.
+Generally, where Tieck follows the _Anzeigen_ most closely he is at his
+worst. The somewhat superficial and scanty remarks of the journal were
+no surrogate for the clear vision and power of adaptibility of the young
+man. Tieck's personal regard for Shakspere, which amounted to a real
+passion, was entirely wanting.
+
+The use of the articles in the _Anzeigen_ must be shown in detail, and
+Tieck's indetedness must be definitly brought out. Paralels will
+sometimes show convergence and sometimes divergence of ideas, but in
+general it will be seen that Tieck practically never used his material
+without some personal addition.
+
+There is one set of cases which is peculiar and which deservs special
+attention. The plates in question are: "Much Ado," III, 1, ditto IV, 2,
+and "As You Like It," last scene.
+
+A word of explanation in regard to the Boydell plates is necessary. From
+the original paintings there were two sets of plates engraved, known as
+the large plates (L) and the small plates (S). The small plates were in
+all but a few cases done from different pictures than were the large
+ones. These large plates are those usually known as the Boydell Gallery.
+Both sets were issued serially; the large set was also bound and issued
+as a separate volume in 1803, and the small plates were used as
+illustrations for the Steevens Shakspere edition of 1802, the letter
+press of which also seems to have been issued in parts before the bound
+volumes were finally put on the market. The bulk of Tieck's criticisms
+applies to the large plates tho he has a few remarks on the small ones
+as well. When he discusses the small plates, he always mentions the
+fact, except in the three cases just cited. 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 subscribers.[15]
+These plates are among the first discust by the _Anzeigen_ (1791, page
+1794) which mention the fact of the plates being for the Shakspere
+edition, and that the extra plates are to be furnisht to make up for the
+duplication of subject matter in these cases of L and S. This is what is
+meant by the sentence, "Es wird sogar die Austauschung des einen Kupfers
+künftig versprochen," a statement that corresponds perfectly with the
+remark in the later Boydell catalog that this promis has been fulfild.
+Tieck does not notis this statement of the _Anzeigen_ but treats these S
+plates as if they were L, yet gives the names of the engravers of S.
+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 too. 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 engravers, did
+not notis that the S plates were referd to and carelessly copied down
+what he saw.
+
+I shall now examin in detail some of the paralel criticisms.
+
+Much Ado, II; 4, G. G. A. 1791, page 1794: ... "wo in der Trauung statt
+des Jaworts Pedro die Hero für keine reine Jungfer erklärt, und Hero in
+Ohnmacht fällt; ... Das beste Stück von allen in Rücksicht der
+Composition, Ausdrucks und Auswahl des Lichtes nur ist die Stellung der
+Hauptperson ein wenig zu theatralisch; sonst aber alles gut geordnet;
+schöne Contraste von Licht und Ruhe für das Auge."
+
+Tieck, page 19: "Das zweite Blatt enthält die Vertossung der Hero ...
+und dies ist offenbar eines der vorzüglichsten. Das Licht ist sehr gut
+geordnet, das Auge findet sogleich unter den Gruppen einen Ruhepunkt;
+nur hat Hamilton dem Claudio eine zu theatralische Stellung und dem
+Leonato zu wenig Ausdruck gegeben."
+
+Tieck carries the praise of the _Anzeigen_, the "Das beste Stück" of
+which refers only to the group under immediate discussion, to the whole
+series. He takes his main critical vocabulary from the prototype and
+adds the original differentiation of Claudio and Leonato to which
+reference must be made later.
+
+"Much Ado," IV, 2; G. G. A., 1791, page 1794: ... "ein Gemisch von
+verkrüppelten, unedeln Caricaturen ohne alle Grazie ... Zu bedauren ist
+die Kunst, die an den Stich verwendet ist; denn der Stich ist einer der
+besten." Tieck's criticism of this plate is paralel in so far as he
+praises the mechanical perfection of the engraver, who is Heath of S,
+and not Simon of L. So far we have the blind following of the model. But
+Tieck also makes the picture a basis for a long discussion of caricature
+and of thoro condemnation of Smirke, who is also no favorit of the
+_Anzeigen_. As Tieck's letters show a profuse use of the word
+caricature, he need not be especially indeted to the _Anzeigen_ for it.
+
+"Richard III," I, 1, G. G. A., 1791, page 1795. Here Tieck's borrowing
+is direct. G. G. A.: "Eine schlechte Composition, ohne Ausdruck." Tieck,
+page 27: "Die Composition ist schlecht, alle Figuren sind ohne
+Ausdruck." G. G. A.: "Eine Menge Reflexe, Wiederscheine s. w. aber alles
+dieses macht keine Wirkung, und das Auge findet keinen Ruhepunkt."
+Tieck, page 28: "und sucht durch unendlich viele Wiederscheine ... dass
+das Auge bei den vielen Lichtmassen gar keine Ruhe findet." But again,
+besides these verbal and associational paralels, Tieck has added a free
+treatment of the composition, an examination of the drawing of the
+figures, of which there is no hint in the model and, all in all, makes
+the criticism his own. The impulse certainly came from the _Anzeigen_,
+but the whole critique is a product of Tieck's self.
+
+"Richard III," IV, 3, G. G. A., 1791, page 1795: "Stellung gezwungen."
+Tieck, page 28: "Der Mörder unnatürlich." Here Tieck borrowed the idea
+and after an examination of the plate changed the wording.
+
+"As You Like It," II, 1, G. G. A., 1793, page 561: "Ein treffliches
+Landschaftsgemälde." Tieck, page 18: "die reizende Landschaft." An
+examination of the whole of Tieck's criticism shows that he has added a
+characterization of Jacques, has discust the choice of this particular
+subject, 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 itself.
+
+"As You Like It," last scene, G. G. A., 1793, pages 561-2: "Orlando, der
+mit zeimleich ausgespreizeten Beinen." Tieck, page 18: "Seine
+augespreizten Beine machen ihn widrig." Here Tieck has taken an
+externality of the description and has given it a point. The use of the
+word "widrig" gives a new tuch.
+
+"Romeo and Juliet," I, 5, G. G. A.: "die Hauptfiguren muss man suchen."
+Tieck, page 29: "Die Hauptfiguren findet man nur mit einiger Mühe."
+Notis, however, how Tieck then goes on independently to giv his own
+point: "den Vater der Julie kann man nur errathen; Julie selbst hat
+wenig Character. Tybald ist die ausdruckvollste Figur auf diesem
+Blatte." Tieck also quotes in full the passage beginning, "If I profane
+with my unworthy hand" which the _Anzeigen_ only indicates. This might
+be laid to yuthful pedantry, were the whole not made far clearer for the
+entire citation.
+
+"Romeo and Juliet," IV, 5, G. G. A., 562: "Julia nach genommenem
+Schlaftrunk für todt gehalten, mit den Worten des Mönchs: Peace ho for
+shame! ff. Dieser tröstend, die Mutter die Hände ringend, Paris Julien
+umfassend, ein Stück mit vielem Affect" ... Tieck, page 30: "Julie hat
+den Schlaftrunk genommen und scheint gestorben, ihre Aeltern sowie ihr
+Bräutigam Paris sind in Verzweifelung, der Pater sucht Alle zu trösten."
+In the discussion of the small plate which follows, the _Anzeigen_
+points out the changes which have been made on it, this being one of the
+supplementary small plates for the 1802 text edition. 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 _Anzeigen_. Tieck's comment is,
+"Mehrere unnütze Personen weggelassen." This reason goes at least one
+step farther than the _Anzeigen_ comment. In the magazine, the effect of
+the double light in L is adversly criticized. Tieck adds to this, "Der
+alte Capulet hat auf beiden Blättern wenig Ausdruck." That both Tieck
+and the magazine use the fraze "tut ... Wirkung" in this place seems of
+secondary importance. A mere linguistic reminiscence, where it is not
+connected with an idea, is not influence. This must be sought in basic
+ideas, in hints which point the way for new lines of thought, in an
+adoption of facts. An author like Tieck shows independence when he adds,
+eliminates and remolds what he receives, even tho the form of the
+thought clings often to him.
+
+So, then, when the _Anzeigen_ (1793, page 562) has the fraze "Julie in
+dem Grabgewölbe erwachend," the fact that Tieck (page 30) introduces his
+criticism with the words, "Julie erwacht, als der Mönch eben in das
+Gewölbe tritt," is of slite consequence. This is a simple description of
+fact. 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 case, a doctrin which Tieck not only does not mention,
+but in fact, utterly rejects when the time comes to discuss it in the
+course of the treatment.
+
+In the criticism of Schiavonetti's plate after Angelica Kaufmann (G. G.
+A., 1793, page 903; Tieck, pages 16-17) Tieck agrees with the _Anzeigen_
+but is thoroly independent in his resoning and adds constantly to what
+the magazine asserts. That both find the disguisd Julia beautiful is not
+unresonable, and as the disguise is a part of the play it is not strange
+that Tieck mentions it. In the same section of the magazine is a passage
+which finds a later echo in Tieck. "König Lear reisst sich die Kleider
+vom Leibe" (903). Tieck (32): "und reisst sich endlich die Kleider ab."
+The verbal paralelism has significance here only because there are other
+hints at this time which may hav aided Tieck: e. g., the fact that the
+artist has departed from the scene as Shakspere portrayd it. Tieck is
+definit in stating just who is added, which proves that he knew his
+Shakspere and saw the plate. Tieck also points out the spiritual
+difference between Shakspere and the "famous West," a distinct addition
+to the matter in the _Anzeigen_. "Winter's Tale," II, 3, G. G. A., 1794,
+page 9: "Der eifersüchtige Leontes lässt den Antigonous bey seinem ihm
+vorgehalten Schwerte schwören, dass er das Kind, das ihm seine Gemahlin
+geboren hatte, in eine Einöde aussetzen will. Sind gemeine Figuren."
+Notis how in Tieck, while the general terms of the description are the
+same, because following the line of least resistance in externalities,
+the whole discussion takes on an individual character, and is expanded
+into a critique of Opie's drawing which was always unsatisfactory to
+Tieck. Tieck (page 21): "Der eifersüchtige Leontes lässt den Antigonus
+schwören, das Kind auszusetzen.... An den Darstellungen aus diesem
+Stücke ist viel zu tadeln, vorzüglich an dieser ersten Scene. Leontes,
+die Hauptperson, ist steif und ohne allen Ausdruck, alle übrigen
+Personen sind dick und plump gezeichnet und ganz ohne alle Bedeutung.
+Leontes lässt den Antigonus, so wie Hamlet seine Gefährten, bei seinem
+Schwerte schwören. Schauspieler und Zeichner aber fehlen, wenn sie es so
+vorstellen, wie Opie es hier gethan hat. Die alten Schwerter bilden oben
+am Griffe ein Kreuz und auf dieses legte man die Hand, in Ermangelung
+eines eigentlichen Crucifixes.... In diesem Blatte entdecken sich auch
+bald viele Fehler in der Zeichnung. Das Auge wird von der Hauptperson
+auf die Lichtmasse, folglich, auf das Kind hingezogen; die Hauptfigur
+tritt gar nicht genug hervor, sondern hängt mit den hinter ihr stehenden
+zusammen; die Köpfe im Hintergrunde sind eben so gross, wie die der
+vorderen Personen. Alles verräth den ungeübten Künstler." As an example
+of Tieck's rejection of the opinion of the G. G. A., the discussion of
+"Winter's Tale," V, 3, will suffice. This is the statue scene which
+Tieck absolutely condems on account of poor engraving, expression and
+posing. Where the magazine says "Die Statue, der man es doch sehr gut
+ansieht, das es eine lebende Figur ist, macht grosse Wirkung." Tieck
+(22) contradicts thus: "Die Statue ist sehr unnatürlich, sie sieht mehr
+einem Geiste, als einem Menschen ähnlich."
+
+There are, finally, three further cases in which Tieck takes a hint from
+the _Anzeigen_ and develops it. "2 Henry VI," III, 3, (1794, page 10):
+"Kardinal Beauford ... ein scheuslicher Anblick, in mehr als einem
+Verstande." Tieck (page 25): "Dieses abscheuliche Blatt." But Tieck, in
+a passage too long to quote, goes on to giv cogent reasons for not
+liking the picture, not one of which is derived from the _Anzeigen_. The
+other passages from the "Merry Wives" (I, 1 and II, 1, G. G. A., 1794,
+page 970; Tieck, 11-12) take the hint that Smirke drew caricatures and
+not human beings and borrow the adjectiv "widrig." 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 textiles.
+
+These passages on "Henry VI" and on the "Merry Wives" are doubly
+interesting, however, because they show that Tieck's judgment of Smirke
+and Northcote offers a very close paralel to that of the magazine.
+Tieck's reasons are fuller, 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 Smirke, while
+the pupil and biografer of Sir Joshua fares badly because of his alleged
+bad composition and poor light effects. It will be shown later that on
+both of these latter questions Tieck held views quite independent of the
+_Anzeigen_.
+
+Of Kirk's plate from "Titus Adronicus" the G. G. A., 1794, page 970,
+says, "Den Ausdruck an der Lavinia abgerechnet ein gut Stück." Tieck
+(28) begins with a weak, "an dem Blatte ... ist vielleicht viel zu loben
+und wenig zu tadeln" but "rights himself like a soldier" thus, "Man
+sieht, dass der Künstler eine sehr richtige Idee von der Composition
+hat, und dass er seinem Gegenstand mit Geschmack und Delicatesse zu
+behandeln weiss. Er lässt uns die abgeschnittenen Arme der Lavinia nur
+vermuthen; der geschickt geworfene Schleier entzieht unserm Auge den
+unangenehmen Anblick," etc.
+
+The examples and paralels alredy given cover practically all of the
+points of similarity between Tieck and his model. 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 substance. The
+content of Tieck's criticisms is very much greater than that of his
+prototype and the form is far more polisht. These apercus of Heyne did
+not prevent Tieck's independent thinking; they never fettered him. He
+followd them in a number of places in his paper and once or twice falls
+into their error thru youthful carelessness or misapprehension. They did
+not often confuse his judgment or hamper his vision. He never ruthlessly
+plagiarizd them. That they were a source can not be denied, but that
+they form the real basis of Tieck's critique is not for a moment
+tenable. This came unquestionably from himself, and he must be given
+credit or blame for the good or bad in it.
+
+Tieck set about the task of criticising the "Boydell Gallery" with no
+diffidence, but with many misgivings, amounting almost to prejudises, as
+to the valu of the set of plates. He was aware that this work was
+intrinsically in a class which is, all in all, artistically inferior.
+His judgments are objectiv, but they promis no prescience of a higher, a
+more spiritual attitude toward art. Art in this case servs
+interpretation and the struggle away from what the plates represent has
+hardly commenced. Tieck feels that the whole group does not do Shakspere
+justis, but he nowhere says that the subjectiv interpretation of the
+poet must remain the lasting one for the individual; indeed he asserts
+quite the contrary on the very first page of his paper. It is to be
+expected that Tieck's common sense and fancy should rebel at the
+platitudinarianism of the pictures; that at times he is no more than on
+the plane of the sentimental "Enlightenment" is also to be expected. 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' task.
+
+Tieck came to the work with a good first-hand knowledge of Shakspere and
+this lessens the juvenile and jejune qualities of his work. He is weaker
+on the comedies than on the trajedies, for the former require a keener
+sensing of English life than it was possible for Tieck to hav obtaind at
+the time of writing. But even for the comedies, some of his observations
+are very just and show that he could interpret Shakspere with sense and
+precision. 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 right. The results should show, in a general
+way, something of the powers of interpretation possest by the youthful
+Tieck, and how this power of interpretation conditiond his judgments.
+
+The general theoretical standpoint upon which the essay was written is
+that of Lessing, and a careful perusal will show that Haym was wrong
+when he postulated no Lessing influence on the article.[16] Tieck's
+letters to Wackenroder show that he was reading the Laokoon at this
+time, but even if a preoccupation with Lessing were not easily
+postulable, the matter of the paper itself will show a distinct
+recrudescence of Lessing's ideas. And not only Lessing, but the school
+of critics out of which Lessing arose, e. g., Winkelmann and DuBos,
+were also a part of Tieck's reading.[17]
+
+The article has a total lack of coloristic reflexes; it emfasizes form,
+if not line; its thoro reasonableness takes into consideration all that
+Lessing has stood for in the domain of art. It has the same standpoint
+as that of a Goethe returnd from Italy and of a Karl Philipp Moritz from
+whom, to be sure, Tieck was turning away in disgust.[18]
+
+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 art. The conflict is between a desire in theory
+for moderated effects, for the toning down of emotion, and a desire, in
+practis, for strong contrast and superlativ effects. Lessing, in art the
+enemy of all realism, finds in Tieck a condemer of Hogarth, a
+condemnation that persists in Tieck as late as the essay on the erly
+English Theater (1828),[19] and persists on grounds similar to the
+fundamental principle of beauty laid down by Lessing.
+
+It would be a mistake to argu from the foregoing that in this article
+Tieck was not a realist, or at least strongly inclined toward realism in
+his practis. His realism was that of the yung enthusiast for whom each
+variation from the sense of his idol was a blasfemy, and he points out
+(page 24) that there can be none of that deception of the senses which
+is a part of the pictorial arts where "ich irgend eine auffallende
+Unnatürlichkeit entdecke; denn die Nachahmung der Natur ist der Zweck
+des Künstlers." Such strict imitation of nature is more to be expected,
+to be sure, in the work of the lesser lights, such as are the men who
+did the pictures for the "Gallery," than in the work of a real genius,
+and one is glad to overlook, in the works of the latter, those minor
+faults which almost entirely disappear in the face of a thousand
+beauties. So, says Tieck (page 14) "who would pass by the divine
+masterpieces of a Rafael and yet with weighty mien find fault with the
+bad coloring of a single garment?" There are clearly two kinds of
+artist. The one is the genius who may be carried too far by his
+enthusiasm, the other is the colder painter, who by his choice of
+subject, composition, correctness of drawing, and grace must make up for
+his lack of genius, and who can not hope to attain the emotional effects
+of his rival, but who must be content to arouse a cooler feeling, that
+is, the satisfaction of the spectator. In this series, where genius is
+excluded from the outset, Tieck expects a strict adherence to fact, to
+verisimilitude, and the correct interpretation of Shakspere must be
+insisted on.
+
+In order that the soul may get an immediate enjoyment of the work of
+art, Tieck recommends (page 4) that the painter choose well-known
+subjects. He says: "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 subjects. I am alredy prepared for the
+sentiment that the work of art is to arouse in me, and surrender myself
+all the more willingly to the illusion. If the subject of the picture is
+in itself beautiful and sublime, or if a great poet has furnisht the
+painter with the invention, the composition and the emotions, our
+enthusiasm is arousd, we giv our wonder and our delight to the painter."
+
+The painter, then, is only an interpreter of the poet, whose purpose it
+is to seize the spirit of the poet, 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[20] the intangible creations of
+the poet's brain. He makes lasting what the reader gets but a fleeting
+glimpse of, and what even the actor can giv but little permanence (page
+3).[21]
+
+Whether or not Tieck was influenced by the prospectus to the set,
+indeed, whether he saw it or not, there is no way of knowing, 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 England, is much like Boydell's own statement of
+purpose mentiond above. It is also an erly paralel to the Romantic
+insistence on a new mythology, a nativ mythology, rather than one drawn
+from foren sources which was a part of Friedrich Schlegel's canon.
+
+The engravings as such are treated by Tieck under five different heds.
+These are: the mechanical technique, drawing with perspectiv and line,
+composition (which Tieck does not clearly differentiate from design),
+expression and choice of subject. These five heds comprize all the
+points in which the pictures are treated, but not each picture is
+treated from all five. The five giv, however, the full range of Tieck's
+ideas on the engravings. They show the things that attracted his
+attention, and where the influence of the _Anzeigen_ is felt, they serv
+to show how different, after all, his own ideas were. Often the magazine
+does not tuch one or more points of the five.
+
+Tieck's discussion of the technique of the engravings is, as may be
+expected, rather thin, and the frazes that he uses are stereotyped.
+Several of the plates praisd by him are quite without merit and such
+generalities as, "schön gestochen," "vorzüglich," "vortrefflich gut,"
+are not very significant. Negativ praise like "nichts zu tadeln" or "die
+Ausführung 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 plates.
+
+These engravings are in the now old-fashiond stipple, tho parts of them
+are in line. At the time of writing, Tieck may not hav known the
+difference between line and stipple, tho in "Zerbino" a reference to the
+"pointed manner," used in a punning way, shows that by that time Tieck
+had become acquainted with it.[22] Nor does Tieck indicate in any way
+the "Gallery's" sparing use of the increasingly popular mezzotint. He
+makes no mention of the line manner of Flaxman, if he knew him. He does
+not see that the line engravings in the set are poorer all thru than the
+stipple prints, 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 tone, grace, and even in exactness of
+execution.
+
+In one or two places where satin is excellently reproduced, Tieck
+praises the texture of the fabrics. 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 manner.[23]
+As Tieck refers to the other fabrics on the plate, which is one of those
+with duplicated subject and which in the _Anzeigen_ seems only to hav
+been discust in the S form, it seems clear that Tieck also saw L here,
+as S is by no means so fine a plate; in fact L has the best fabrics in
+the series.
+
+Of the twenty-four large plates discust by Tieck, there are only
+thirteen which receive technical criticisms and of these thirteen, three
+are lumpt together under one comment so that in all there are only ten
+separate technical criticisms. Of these, six occur in the first six
+plates and with the eighteenth plate, Kirk's scene from "Titus
+Andronicus," the criticism of the mechanical side ends with a weak,
+"sehr gut gestochen," showing that Tieck did not progress in his
+technical criticisms. His interest in the engravings as engravings waned
+as the essay proceeded: it never rose above an attention to textiles
+and, even there, Tieck did not see all the finer differentiations of
+velvet, chiffon and lace, tho the fine satins distinctly appeald to him.
+Perhaps as fair an example as any of his inexactness, is his praise of
+the plate from "As You Like It" in which Jacques lies watching the
+wounded deer (II, 1). This is one of the poorest of the plates and yet
+Tieck says, "Die Ausführung verdient alles Lob." Fittler's plate from
+"Winter's Tale" (IV, 2), while weak and without character, is not as bad
+either in actual cutting or in general managment, and yet Tieck condems
+it unmercifully. So, too, the bad plates by Middiman come in for no
+special condemnation from Tieck, tho Middiman is by far the worst
+engraver in the series, and is particularly bad after Hodges, the plates
+after whom Tieck saw.[24]
+
+Drawing, as such, fares rather better than engraving, tho less than half
+the pictures are criticized from this standpoint. 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 say.
+
+It is especially interesting to note that Tieck finds the drawing of
+Angelika Kaufmann without error. ("Two Gent. Verona," last scene). Here
+he declares that no clumsy clothing conceals the figures, but the lines
+are well brought out under the garments. The disguised Julia is at once
+recognizable in spite of her masculin attire, and the manner of the
+artist is "graziös." An examination of the figure shows that Julia's
+figure has something of the immature in it and that the face is rather
+boyish. One thinks at once of the somewhat malicious words of Friedrich
+Schlegel to his brother, "Wie Angelika Kaufmann, der die Busen und
+Hüften, auch immer wie von selbst aus den Fingern quellen." Both Tieck
+and Schlegel felt the sensuous charm of the painter whose best known
+self-portrait is in the garb of a Vestal Virgin, tho the Schlegels,
+like Georg Forster, had no illusions as to the qualities of her art.[25]
+
+Engravings in stipple emfasize less than line engravings mere questions
+of drawing. It is perhaps with some instinctiv feeling for this that
+Tieck suggests that one of Hamilton's pictures has been hurt by the bad
+engraving, just as certain other plates have gaind thru the engraver
+(page 22). The hint for this point came originally from the _Anzeigen_
+but Tieck has developt it. While it is now no longer possible to check
+up each plate with its corresponding picture, it is true that the
+engravers were relatively better craftsmen, as a rule, than the
+painters. In hardly any one case is the painting a sample of the best
+work of the artist. Often, as in the case of Sir Joshua Reynolds, the
+painting redounds but little to his credit.[26] Where, as in the case of
+Barry, Sir Joshua's great rival, the picture is reckond with his
+superior work, the only conclusion is that Barry was a very bad artist
+and so Tieck considers him. The engravers, on the other hand, had had no
+better chance in years to exhibit their art than in this imposing
+series, and most of the best names in stipple appear in it. 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 (e. g., page 20).
+
+Besides having the good feeling for the human form under the garment, as
+in the case of the figure of Julia and of those of Mrs. Ford and Mrs.
+Page by Smirke, Tieck also criticizes several cases of misdrawing. So,
+the clumsy legs of one of Opie's figures are scored and in blaming this
+failing of Opie, Tieck hits one of the most pronounced weaknesses of
+that artist both in the "Gallery" and in Bell's British Theater. But
+Opie, the "Comedy Wonder," is hardly the "ungeübter Künstler" that Tieck
+makes him out to be. Here Tieck, following the criticism of the
+_Anzeigen_, from which he may have got the hint on Opie's drawing,
+develops the criticism too far and goes astray. There is a constant
+suspicion that Tieck is trying to master a jargon.
+
+Often it is a mere chance whether Tieck will see or not see a
+peculiarity. Some of the sentimental, foolish, and misdrawn hands escape
+his notis, whereas in other cases he criticizes them.
+
+Perhaps the best example of Tieck's criticism of drawing is that of
+Northcote's plate to "Richard III." (III, 1, page 27). He says, "Der
+alte Cardinal scheint ganz verzeichnet zu sein, man ist ungewiss, ob er
+steht oder kniet: in beiden Fällen ist die Zeichnung fehlerhaft."
+Tieck's strictures are correct. The space from the waist down is found
+upon examination to be abnormally long for a kneeling person, and
+groteskly short for one standing. Tieck's critique is good, for it
+points out the error and the reason, and shows that in any case the
+alternativ is a bad one.
+
+Tho Tieck may hav been over-kind to Angelika Kaufmann, he quite agrees
+with his contemporaries in the condemnation of another German Swiss
+living in England, namely Füessli, whom he calls one of the worst of the
+admirers of Michaelangelo. The michaelangelesk school of the day faild
+in its expression of great muscular effort, in that it put for strength
+distortion and violence. Füessli was one of the most important
+adherents, or rather, was the greatest representativ of the fad perhaps
+anywhere and seems therby to hav largely incurd the displesure of his
+German critics. That Tieck really understood Michaelangelo is shown by
+his later article in the "Phantasien über die Kunst." He defends him
+from the charge of having drawn to show his knowledge of anatomy and
+among other things, exclaims on his "greatness, his wild grace, his
+fearful beauty."[27] 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 muscle.
+
+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 Tale."
+Awkwardness and violence, anything that savord of "affectation and
+bombast," where in Shakspere "power and energy" are found, met Tieck's
+disapproval. So this figure of Leontes, so Orlando standing with his
+legs far apart, so the faces drawn by Füessli. Wherever there were
+violent angles, sharp points and corners, Tieck felt himself ill at
+ease. When he saw in some of Füessli's plates faces which giv the
+impression of the plaster blocks of the art schools that are used to
+draw from the cast, the square chins, the noses, either very pointed or
+cut off square, imprest him as repulsivly inhuman. "Widrig, unnatürlich,
+abgeschmackt, manierirt," are the terms applied to Füessli's cursing
+scene from Lear.
+
+It would hav been interesting had Tieck seen Füessli's later scenes in
+the "Gallery." The Bottom scenes from the "Midsummer Night's Dream" show
+that fantastic imagination which was the artist's strong point. All the
+forms from the fairy world were there, Moth, Peascod and a welth of
+other spirits. There is a distinct appeal to the imagination which
+justifies the painter of "Die Nachtmahr," tho the faces of Titania and
+Oberon are here too hard and sullen. But the imagination shown has a
+curious similarity with the work of Tieck in his later stories such as
+"Die Elfen," and which has so warm an afterglow in "Die Vogelscheuche."
+
+Composition means for Tieck especially order. He has not yet lernd the
+principle of triangulation of arrangement enunciated by Caroline in the
+"Gemälde" essay in the _Athenaeum_. 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
+relief. 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 arrangement.
+
+What irritates Tieck especially is an arrangement of figures in the
+picture in the regular semi-circle borrowd directly from the theater.
+The evil of unnaturalness which such attitudinizing brings with it, is
+enhanced by light effects drawn from the same source. So, for example,
+where the light is that of a lamp, only so much light as a lamp would
+giv, or the effect of natural lamp-light is allowable. If, on the other
+hand, the sunlight streams into the room, the source of the sunlight
+should be evident as outside the room. Tieck might hav mentiond as an
+example of this some of the fine interiors of Pieter De Hoogh. The light
+effects should not be harsh but graded down so that no violent light
+contrasts occur within the same room. The light, too, should be broken
+up, not kept in a mass as if it were a separate entity to be treated
+apart from all other objects.
+
+All this is perfectly resonable and not especially technical. It is
+conveyd in stray hints rather than in any set discussion of light
+effects in any one place. Often, too, Tieck's dislike for some other
+aspect of a painter's work leads him astray on this point. This is tru
+in the case of Northcote, whose really good treatment of the high
+lights Tieck has in one or two cases entirely overlookt. There seems to
+hav been a distinct appeal made, too, by the sheen and glitter of
+certain textiles and the scintillating, flickering light of the later
+periods of Tieck's work is presaged as erly as this. On the whole,
+however, it is not the glitter of the world of out-of-doors, but of the
+world of the shut-in, of the world of little things which appeals so
+strongly to Tieck and which he treated with such banality in the story
+"Ulrich der Empfindsame."
+
+Thus, Tieck's landscape criticism is very bad and even tho, as has been
+pointed out, the basis for his adjectivs lies in the _Anzeigen_
+articles, his expansion beyond them brings no real betterment. In the
+plate from "Love's Labor Lost" (IV, 1, page 9), when Tieck was feeling
+his way into his subject, his general impression was one of plesure, and
+so the landscape is "reizend." In the whole essay, "reizend" is the only
+constructiv epithet applied to landscape and it occurs only twice.
+Hamilton's landscape is purely conventional and, except for a vista, of
+which Tieck was all his life fond, offers nothing to commend it. The
+failure of Tieck to judge rightly must be laid at the door of too great
+reliance on the _Anzeigen_.
+
+Tieck criticizes only one other landscape as such, tho in a third case a
+landscape background is discust adversly. For the scene from "As You
+Like It" in which Jacques watches the wounded deer the term "reizend"
+seems quite impossible. Engraved by Middiman after Hodges, a combination
+which augurs ill, the scene is without dout the worst in every way that
+Tieck saw. The composition is bad: Jacques, a figure without grace of
+expression, sprawls in a comedy landscape and the features of the
+wounded deer hav a strong Hebraic cast. Here, if ever, the scene is
+drawn from the stage and not from nature and stage properties are models
+for tree and foliage. When Tieck says that the scene is one to arouse
+cheerfulness in the beholder, he is correct but not in the sense that he
+ment. The reliance on his source is not enuf to account for his
+aberration; the failure to judge aright must be laid at Tieck's door.
+
+After pointing out the value of the whole, and the effect made by the
+light of the torch held by Gloster ("Lear," III, 4), Tieck shows that
+this effect, striking as it is, detracts from the unity of the
+composition, since it shifts the emfasis from Lear and his pain. Lear,
+morover, is not the Lear of Shakspere but a giant, 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 it, winding them impossibly about him. The effect
+of these draperies, says Tieck, is baroque and there is no thought of
+quiet strength or noble simplicity.[28]
+
+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 Wolf. A comparison with the latter picture at once reveals the
+justness of Tieck's observation. The figure of the Indian seated in the
+foreground is strikingly like that of Edgar, both in form and in general
+expression, and it is evident that West has repeated himself. In
+general, Tieck does not make comparisons of this kind. He confines his
+remarks to the picture itself, and probably was not well acquainted with
+the run of contemporary British art.[29]
+
+Tieck's judgment of composition did not go far beyond this emfasis on
+the principal figure. A general series of colorless frases like "gut
+geordnet" occurs, but expresses only a mild acquiescence in the
+arrangement. Tieck was fond of the posing sentimentalities of groups
+like the landscape plate from "Love's Labor Lost," 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 illustration. On the other hand, and here he departs
+constantly from the canon of Lessing, there is no striving for abstract
+beauty. Charm and grace, beauty in motion as it is exprest by the female
+figure in Anne Page and a few other cases, are Tieck's nearest approach
+to it.[30]
+
+The general reason for Tieck's failure is that in actuality these
+pictures were not ugly or inartistic to him. Where he criticizes it is
+oftenest the idea; the execution and the relation to an abstract
+standard are of less consequence, and his theory once more limps behind
+his practis. He may berate Hogarth as an artist without beauty but it is
+clear that his extoling of Rafael is a mere matter of fashion; he is in
+the same category with Domenichino, whom Tieck's generation and the next
+succeeding one considerably overestimated. In Michaelangelo, Tieck
+knows the strength of the drawing and not the wistfulness that pervades
+even the most Titanic of the master's creations. In general, affectation
+of pose, mannerism and preciosity are Tieck's bane only where the
+sentimental is not concernd.
+
+An interesting commendation of the composition of a plate is that of
+Kirk's picture from "Titus Adronicus" (IV, 1). Tieck likes the plate
+because of its taste and delicacy in only suggesting the mutilated arms
+of Lavinia. Kirk has avoided the frank naturalism of the original by the
+use of draperies, and this appeals to Tieck as a toning down and is in
+line with what had been suggested before in regard to Tieck's attitude.
+
+This plate has an accessory which Tieck objects to, namely the over
+large colum in the background. Usually, but not in this case, Tieck
+criticises the accessories from the standpoint of the stickler for
+historical accuracy, rather than for any artistic merit or demerit. So
+the tomb of the Capulets in "Romeo and Juliet" is not Italian of the
+period, and the dresses of the women in "Merry Wives" are in violation
+of the sumptuary laws of the time.[31] In the deth of Mortimer (1 "Henry
+VI.," V, 2) the family tree lying on the ground adds a tuch of symbolism
+which Tieck approves, tho in the same scene he criticizes the mean
+character of the prison, saying that for such a noble prisoner a better
+place of incarceration would hav been found.
+
+Tieck makes no clear distinction between passing expression (Ausdruck)
+and permanency of feature (Miene). His discussion of expression goes
+hand in hand with composition, since, as was mentiond above, composition
+has so close a relation to the placing of the principal character. There
+is a definit point of view, however, in Tieck's discussions of
+composition; in his strictures and encomiums on expression of face and
+figure it is practically impossible to find a consistent _pou sto_. In
+places, 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 _Anzeigen_. 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 high, but his practical application of these
+principles is by no means as strict as might be expected. Indeed, in
+theory Tieck demands one thing and in practis another.
+
+It is Tieck's desire that the artist should catch the individual note in
+these figures and raise it to an ideal, 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
+characters. But when Tieck actually examins the pictures, he stresses
+theatrical pose or mien and pays no attention to those obvious tricks
+whereby expression is obtainable: the skilful use of light and shade on
+the face, the treatment of the lines of the mouth, and the placing of
+the eyes. Occasionally, as in the ball scene in "Romeo and Juliet," it
+seems as if the treatment of the eyes of a figure--in this case that of
+Tybalt--attracted his attention, but there are so many other plates in
+which the eyes are quite as good and are nevertheless past over, that
+the instance of Tybalt seems fortuitous.
+
+Tieck uses the expressions "ohne Ausdruck," "wenig Ausdruck" and "ohne
+Charakter," "wenig Charakter" almost exclusively in his negativ
+criticism of the plates and his positiv criticism substitutes "viel" for
+"wenig." Such frases are not very definit and Tieck misapplies them
+constantly. In four out of the five cases of Tieck's largest caption,
+"ohne Ausdruck," he is certainly incorrect and the postulation of "wenig
+Ausdruck" is wrong in at least two out of the three cases. 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 eighteenth. It is
+largely bad judgment on Tieck's part. In the three cases where Tieck
+sees "vielen Ausdruck" not one is in reality especially distinguisht for
+vividness. Two even vie with the most expressionless in feature and hav
+no special pretentions to significance of posture. In the five plates
+where Tieck uses "ohne Charakter" or "wenig Charakter," the epithets are
+in general tru.
+
+Tieck got the hint for an advers criticism of the faces of Mrs. Ford and
+Mrs. Page from the _Anzeigen_. He exclaims, expanding his model, "Welch'
+widrige Gesichter! welch' uninteresante Figuren!" There is in the pose
+of Mrs. Page a most awkward droop of the neck, but in Mrs. Ford's face
+there is a rollicking Irish drollery, a freshness of complexion and a
+witchery of the eyes that are quite charming. The painting was by
+Peters, whose "sprightly humor" was so much admired by his
+contemporaries.
+
+One of the two pictures of Leontes in the "Winter's Tale" shows his
+giving the oath to Antigonous to destroy the child. In Leontes' frowning
+face Tieck sees no expression, altho it is unquestionably one of the
+most lively of the series. The stiffness of pose that Tieck objects to
+in the picture may well be accounted for by the full suit of armor that
+Leontes wears. The face is far more expressiv than that of the other
+Leontes picture and yet Tieck's judgment on them is the same.
+
+One of the most striking failures on Tieck's part to see character
+interpretation of real subtlety is in Northcote's portrayal of "Richard
+III." There can be no dout that Tieck's general dislike of the artist,
+which was based on the adverse criticisms of the _Anzeigen_, led his
+judgment astray. The face of Richard is all in all the most
+characteristic of the series in so far as Tieck saw the series.
+Richard's "subtle, false and trecherous" look with the smile of his grim
+humor is well caught; the eyes and mouth are excellent and giv a very
+adequate idea of the deviltry of the man, of his lewd cunning and his
+scheming. What Tieck might well hav objected to is the sentimentalizing
+of the two princes whom the artist has transmogrified into fat little
+babies, just as in the next picture the two hav become well-fed little
+beef-eaters.
+
+As Tieck fails to see sentimentality in this picture, so he misses
+extravagance in the church scene from "Much Ado." Tieck borrowd much in
+this discussion from the _Anzeigen_ but his remarks on expression are
+his own. He says that Leonato has too little expression. There can be no
+dout as to the figure intended for Leonato. Claudio is identified by a
+very theatrical gesture and by a Mefistofelian Don Juan behind him. The
+fainting Hero, over whom Beatrice is bending, falls into Benedix' arms.
+The only other figure, that of an older man, and who therefore cannot be
+Benedix, is standing in a most theatrical posture with clencht fists,
+eyes upturnd, rigid and ridiculous. If Tieck ment that this figure
+should represent Leonato, he has shot wide of the mark in his criticism
+and displays a most unrefined love of the melodramatic. Figures like
+this are not often found in the "Gallery." Ordinarily excess of
+sentiment and a cheap display of emotion giv way to stiffness and
+awkwardness.
+
+Tieck was dissatisfied with all the reproductions of Lear. They hav all
+too much of the gigantic, too little of the childish old man. He points
+out that the face as drawn by Füessli expresses nothing but rage; the
+same exaggeration is found in the drawing of West who sacrifices truth,
+nature and emotion to a striking first impression. Barry's Lear only
+excites laughter and the lack of expression in the face is made up by
+the storm-wind in the hair. Again, however, issu must be taken with
+Tieck's attitude, for it is impossible to regard these faces as
+expressionless. It is not that they hav too little, but too much, and of
+a wrong kind. 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 way.
+
+It seems apparent that those plates which had a certain sentimentality,
+a certain saccharin quality appeald to Tieck. He likes the prettiness of
+Anne Page and cleverly notes the touch of scorn in her face. If he had
+recalled Reynolds' Mrs. Siddons he would hav recognized the same trait
+of hardness around the mouth, a line that is often found in the pictures
+of English women. Perhaps Tieck's interest went hand in hand with his
+enthusiasm for Rafael, and lack of discrimination lets him take all as
+of equal value. The face of young Lucius in "Titus Adronicus" and the
+face of Juliet in the tomb are examples of this. Tieck argues that the
+boy has a good deal of expression, but a cool observer can see only
+melodrama in the pose and blankness in the face. The most interesting
+thing about the plate has escaped Tieck's attention, namely that both of
+Titus' hands are represented. It seems an especially noteworthy omission
+in a picture which Tieck praises for not showing the stumps of
+Lavinia.[32]
+
+Tieck several times criticizes a picture for making a good first
+impression and then not being able to stand the test of close
+observation. An example of this is Northcote's portrayal of Mortimer and
+York (1 "Henry VI.," II, 5) which is really spoild according to Tieck by
+the strong light masses which at first sight seem very striking. These
+light masses throw the main figure into relief, but Tieck objects to the
+unnatural posture of the dying man. Close examination of the figure
+reveals the fact that Mortimer is really well drawn; the lines of the
+drapery distort the general impression, but that part of the drawing
+comprising the actual sitting figure is that of a broken old man, fallen
+in a heap and dying. Any one who has seen Irving's masterly
+representation of the dying Louis cannot but be imprest by the
+verisimilitude of Northcote's presentation. What Tieck says of the minor
+characters on the plate is true; they are expressionless in the extreme.
+
+Tieck is fully justified in calling Reynolds' scene from "Henry VI."
+"dieses abscheuliche Blatt," where the word "abscheulich" is reminiscent
+of the _Anzeigen_. He asks further, "Ist dies der Künstler der Familie
+des Ugolino?"[33] With much better right he might hav askt, "Is this the
+painter of the 'Age of Innocence' and the man who loved to paint
+children?" Both the Shakspere plate and the stiff Ugolino picture
+attempt to portray the horrible, and the only other plate that Sir
+Joshua did for the "Gallery," namely, the Hecate plate from "Macbeth,"
+the same selection of a grewsome subject is made. Neither of these
+pictures can be sed to conform with Reynolds' well-known doctrin that
+the function of art is to arouse the imagination, for in these pictures
+there is nothing left for the imagination but exhaustion. They show a
+vein of the bizarre without the great fancy of Füessli and are realistic
+to a degree that stopt at nothing. It is not to be wonderd at that Tieck
+exhausts himself in condemnation of the plate that he saw.
+
+It is plain that Tieck saw in the plate a caricature and an evasion. The
+caricature was the dying man and the evasion was the veild face of the
+young king. 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 emotion. Here Tieck certainly breaks with the doctrin of
+Lessing who praised the expedient of Timanthes in veiling the face of
+Agamemnon at the sacrifice. Tieck tacitly accuses Reynolds of shirking
+an obvious task. He wisht something superlativ, whether in fleeting
+expression or in that permanency which is caused by iterativ emotion.
+Such a desire, the emfasizing of Shakspere's "Kraft" and "Energie"
+leaves him on the plane of the Storm and Stress in his attitude toward
+the British poet.[34] If the words of Sir Joshua himself are to be taken
+as a criterion, his theory is different from his practis in this case,
+and Tieck has condemd him out of his own mouth.
+
+Beauford, whom Tieck calls a caricature, certainly leaves nothing to
+the imagination, as Reynolds wisht for art.[35] Tieck's description of
+the figure is apt, "Beauford liegt da, mit den Zähnen grinsend, das Bett
+in Verzuckungen kneifend, eine ekelhafte, verzerrte Caricatur, über die
+man lachen könnte, wenn sie etwas weniger abscheulich wäre. Genie and
+Enthusiasmus können hier die Hand und Kritik unmöglich irre geführt
+haben; denn weder das eine, noch der andere gehört dazu, um diese Züge,
+diese Umrisse hervorzubringen."
+
+The word caricature is, even before he found it in the _Anzeigen_, a
+term of deepest reproach with Tieck. In his essays to Wackenroder he
+says, speaking of a certain actor, "Ich gestehe dass er vielleicht viele
+Scenen natürlich und einige komish darstellt, aber nach meinem Urtheil
+spielt er in keiner einzigen schön, mit einem Worte, er macht
+Carrikatur, und die kann nie schön sein, wenn sie auch noch so vielen
+Ausdruck hat. Das Komische und das Schreckhafte gränzen überhaupt
+vielleicht näher aneinander, als man glaubt ... Vielleicht ist das wahre
+komische Spiel so wie Unzelmann est giebt, alles so leicht, so
+übergehend, keine Periode, keine Idee, keine Stellung möglichst
+festgehalten, keine Grimasse in Stein verwandelt."
+
+After pointing out the value of the unspoild taste of childhood in
+matters of esthetic judgment, Tieck continues: "Du kannst leicht die
+Erfahrung machen, dass Carrikaturen den Kindern nie gefallen, denn sie
+erkennen in ihnen nur mit Mühe den Menschen wieder, sie fürchten sie
+wirklich; sie können ungleich länger eine andre Figur ohne Ausdruck und
+bestimmten Charakter betrachten, ja tagelang darüber brüten, und
+Ausdruck und Charakter hineintragen, hundert Träume spinnen sich in
+ihrer Seele aus, ... Carrikaturen gefallen überhaupt vielleicht nur
+einem kalten nördlichen Volke, dessen Gefühl für den feinen Stachel der
+stillen Schönheit zu grob ist, oder die schon die Schule der Schönheit
+durchgegangen sind, und deren übersatten Magen nur noch die gewürztesten
+Speisen reizen können, die es daher gern sehen, wenn die Schönheit dem
+Ausdruck aufgeopfert wird, weil sie in der Schönheit keinen lebenden
+Ausdruck mehr finden. Du wirst sehen, dass ich hier nicht bloss von der
+komischen Carrikatur spreche, sondern von jedem Ausdruck irgend einer
+Leidenschaft, der die Schönheit ausschliesst." He then goes on to
+indicate the relation of what he had sed to Lessing and confesses his
+indetedness to him in the matter. The highest effects when used in
+sculpture and painting are also caricature.[36]
+
+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 illustration. Tieck says (page 15), "Im Trauerspiele ersteigen
+meistentheils gerade die schönsten Scenen eine Höhe des Effects, die der
+Maler schwerlich ausdrücken kann, ohne widrig zu werden. Der
+Schauspieler verliert schon oft jene Grazie, die jedem Kunstwerke nöthig
+ist, wenn er manche Scenen der tragischen Kraft so wiedergeben will, wie
+er sie im Dichter findet, doch kann die Mimik hier noch das Unangenehme
+vermeiden; der Malerei ist es aber meist unmöglich, denn jene
+Verzerrungen, die auf der Bühne nur vorübergehend sind, werden hier
+bleibend gemacht; dort erschrecken sie durch ihr plötzliches Entstehen
+und Verschwinden, hier werden sie ekelhaft, weil durch das Feststehende
+und Bleibende des Widrigen der dargestellte Mensch zum Thier herabsinkt.
+Jemehr der Maler den Affekt hinauftreibt, desto mehr nimmt er zugleich
+Interesse und Tadel von seinem Helden. Die höchsten Grade des Zorns, der
+Wuth oder der Verzweifelung bleiben im Gemälde stets unedel; selbst der
+Wahnsinn muss hier mit einer gewissen Schüchternheit auftreten, und im
+höchsten Entzücken muss ein sanfter Wiederschein der Melancholie
+leuchten." The relation of this to Lessing, both in the "Laokoon" and in
+the "Dramaturgie" is at once apparent.
+
+The dislike for caricature centers around the comic efforts of Smirke
+for whom Tieck has hardly a good word to say. In the discussion of
+Reynolds' picture, Tieck remarks, half in jest, that he regrets his
+strictures on Smirke in the face of this greater caricature by Reynolds.
+The sum total of his criticisms of Smirke is unjust: thruout the series
+and especially in some of the plates that Tieck saw, this painter has
+caught the comic spirit well, and tho overpraisd by his contemporaries,
+has done some very clever work both in the "Gallery" and in Bell's
+"British Theater."[37]
+
+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 Ado."
+Simple is for Tieck neither the character as Shakspere conceived him,
+nor is he funny. It is again, says Tieck, a mere exaggeration,
+tantamount to a confession of inability. That the spectator cannot laugh
+at the character is the artist's greatest punishment; in overstepping
+the just limits of the comic and the natural, he has made the figure
+insignificant. Unlike Hogarth, says Tieck, Smirke has not the power of
+expressing character by means of the distortions of the exterior. To put
+an artist below Hogarth is with Tieck to put him very low; in this
+respect he stands on the plane of August von Schlegel in the _Athenæum_
+and has not risen to the level of admiration for the Englishman
+displayed by Novalis in the "Fragments."
+
+The best that Tieck can say for the Dogberry scene as a whole is, that
+in spite of its exaggerations, it has much comic power. But, he goes on
+to explain, it is a far different thing for Smirke to exaggerate than
+for Shakspere, for the latter always draws human beings, while the
+figures of the former are at times hardly to be distinguisht from apes.
+
+To a certain extent the figure of Dogberry and more especially the face,
+justify Tieck's repugnance. In its way, the face is fully as bad as that
+of Reynolds' Beauford. Tieck says, "Selbst ein vertrauter Leser des
+Shakspeare findet sich nicht in den hier dargestellen Caricaturen, von
+denen die Hauptperson in einer Wuth, die lächerlich sein soll, so
+ekelhaft verzerrt wird, dass man nur ungern mit dem Blick auf dieser
+Zeichnung verweilt." This is in every respect tru. Smirke has here mist
+all the comic elements of the character, and has produced not the
+ridiculous malapropian Dogberry but a demoniac grinning mask of a face
+and a twisted, distorted and frenzied figure. Tieck proceeds, "Ein
+Künstler, der die komischen Scenen des Shakspeare darstellen will,
+sollte doch von seinem Dichter so viel gelernt haben, dass dieser seine
+Caricaturen nie ohne eine gewisse Portion von phlegmatischer Laune
+lässt, die so oft unser Lachen erregt, und aus der blossen Erfahrung
+sollte er wissen, dass selbst der lächerlichste Zwerg, wenn er schäumt,
+in eben dem Augenblicke aufhört lächerlich zu sein. Jedes Subject hört
+auf, komisch zu sein, sobald ich es in einen hohen Grad von Leidenschaft
+versetze. Denn das Lächerliche in den Charakteren entsteht gewöhnlich
+nur durch die seltsam widersprechende Mischung des Affects und des
+inneren Phlegma; wenigstens so hat Shakspeare seine wirklich komischen
+Personen gezeichnet. Der Mangel an Genie zeigt sich gewöhnlich in
+Uebertreibung und gesuchten Verzerrungen des Körpers."[38]
+
+The scene from the "Merry Wives" in which Dr. Cajus catechizes William
+on his Latin, represents very well the type of scene the choice of which
+Tieck condems as unsuited for representation. It is not because there
+was something in the humor of them that Tieck did not grasp, but because
+he rejects on principle all that is secondary and episodical. Such
+scenes as are told and not acted, that is, the epic portions of the
+plays, as well as the reflectiv and filosofical portions would hav to be
+excluded. It is the fate of the principal characters which is of prime
+importance, and the moment must be chosen with their activities in view.
+This emfasis on the principal character is also strongly reminiscent of
+the doctrin of Lessing's "Dramaturgie." 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 representation.
+
+Some of the scenes which Tieck rejects are Hodges' picture of the
+melancholy Jacques, and the murder of the princes in "Richard III."
+Neither of these is acted out on the stage. From the "Merry Wives" he
+proposes Falstaff's three adventures: the basket scene, the Witch of
+Brentford scene and the final torturing of Falstaff by the practical
+jokers. These giv a chance for variety of grouping and a gradation of
+expression in all the chief characters of the play. The scene in which
+the two women read identical letters from Falstaff, Tieck regards as the
+worst possible, for reasons that he says he need not recall but which
+are obviously those of lack of stress on the main character.
+
+The scenes that Tieck recommends were actually chosen by the artists
+whose work appears later in the series and so Tieck's judgment is, in a
+way, confirmd. 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 theme. It is interesting to note, however, how
+little the choice of subject has to do with the artistic merit or
+demerit of the plates. The subsequent plates, which would hav fully
+satisfied Tieck's requirements as to the moment of presentation are
+artistically among the worst in the series.
+
+The two scenes from "As You Like It" suggested by Tieck, the one where
+Adam admonishes Orlando (II, 3) and the scene in the forest where
+Orlando enters bearing Adam on his shoulders (II, 7) hav not the same
+structural relation to the whole as hav those from the "Merry Wives."
+These moments lend themselves very well to representation but are chosen
+on another basis of judgment. They show that for Tieck Orlando was of
+more importance than Rosalind, for he suggests no scene with her in it
+as especially representativ of the play. In the first of these two
+scenes, the action has already begun; the scene is the culmination of
+the episode containing the first relation of the brothers. It is in
+itself not a vital part of the action. The scene in the forest, on the
+other hand, has more of the qualities demanded by Tieck: a variety of
+characters and an important moment. This is a moment--tho not the
+initial one--when Orlando's fortunes mend and he comes to his frends.
+The scene in which he first meets the Duke's party is of more
+significance. It seems as if the governing principle is contrast rather
+than a desire for elucidation of structure in serial arrangment. Orlando
+and Adam, ill-fortune and good luck, are juxtaposed.
+
+Tieck conjectures that the eavesdropping scene from "Much Ado" (III, 1)
+is included in the collection because it was played by popular actresses
+of the contemporary English stage. Tieck misses the structural
+importance of the scene. It is apart of the intrigue; it has a direct
+effect on Beatrice who comes from it a changed woman. To Tieck, however,
+it ment as little as the similar eavesdropping scene from "Love's Labor
+Lost" (IV, 3), in which play he claims there is no suitable scene for
+representation.
+
+The scene from "Winter's Tale" in which Perdita welcomes the disguised
+Duke (IV, 3), offering him flowers the while, is condemd in favor of the
+one immediately following in which the Duke discloses himself. Here
+again Tieck stresses the contrast and wishes a climax, a dramatic
+moment. So he praises such scenes as the putting away of Hero at the
+altar and the deth of Beauford, however much he derides the execution of
+the latter, by Reynolds.
+
+For the sake of bringing out the wretchedness of this execution, Tieck
+points out that tho he has often before bewaild the choice of moment,
+he cannot do so in this case for no better could hav been selected. He
+details the good points in the scene: "Man denke sich einen Bösewicht
+auf dem Todtenbette, den die Verzweifelung wahnsinnig gemacht hat, der
+keine Seligkeit hofft; diesen besucht in seiner Todesstunde Heinrich,
+der junge gefühlvolle König, ein Schwarmer in der Religion, der von
+diesem Anblick auf das tiefste gerührt wird; Warwick und Salisbury, zwei
+männliche Krieger, begleiten ihn hierher. Beauford ist die Hauptperson,
+alle Zuschauer haben ihre gauze Aufmerksamkeit auf ihn gerichtet. Der
+Künstler hätte hier rühren und erschüttern können; ich sehe in Gedanken
+den weichen Heinrich Thränen vergiessen, im schönsten Contrast mit dem
+Cardinal, der ihn, in der Abwesenheit seines Geistes, kalt und ohne
+Bewusstsein anstarrt. Warwick und Salisbury, weniger gerührt, aber doch
+interessante Physiognomien, die durch leichtere Nuancen von einander
+unterschieden sind. So sehe ich in der Phantasie das schönste tragische
+Gemälde ..."
+
+In "Romeo and Juliet" the choice of the ball scene meets with Tieck's
+disapproval. The scene is "Ohne Wirkung." Tieck's main reason why the
+scene is not good is that the painter has interpreted literally the
+metafor, "My lips two blushing pilgrims stand" and has represented Romeo
+in the garb of a pilgrim to correspond to Juliet's anser, "Good
+pilgrim." As Tieck rightly points out, there is no need for such a gise.
+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
+choice, the emfasis of his selection is apt to be on the superlativ
+moment.[39]
+
+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 it. That is the desire to hav a number of
+people in the picture. Nearly all the plates that he condems hav but few
+characters and his dictum of variety demands a reasonable number to
+choose from. This dramatic point of view is in accord with his attitude
+in all other fases of the discussion. It has been pointed out how rarely
+the artistic makes the prime appeal to him.
+
+Tieck's second point in regard to choice of subject is that the comedies
+offer a wider field and a better opportunity than the tragedies. The
+general basis for this notion is allied to his theory of the
+worthlessness of caricature, that is, that there is an exaggeration, an
+overacting of the part possible in tragedy that is less likely to occur
+in comedy.
+
+The statement of the evils of exaggeration is very sweeping and includes
+in some of its details both comedy and tragedy: "Der dramatische Dichter
+hat Momente in seinen Schauspielen, die kein Pinsel oder Griffel jemals
+darstellen kann; ich meine jene Sprünge und überraschenden Wendungen des
+Affectes, jene fürchterlichen Blitze des Genies, bei denen der Zuschauer
+zusammenfährt, wo der Dichter unerwartet durch eine neue verdrängt:
+diese Momente sind oft die glänzendsten des Schauspiels, und bei keinem
+Dichter finden sie sich so häufig als bei Shakspeare in seinen
+Tragödien." Tieck's illustration for this is the passage from Lear
+beginning, "No, I will weep no more," etc. He continues, "welcher Maler
+wird es wagen, wenn er den Sinn ganz durchdringt, ... diese Stelle auf
+die Leinwand zu werfen? So innig diese Verse beim Lesen oder bei der
+Darstellung rühren, so frostig würden sie vielleicht als ein Gemälde
+dargestellt erscheinen: oder wenn sie auch hier rührten, so würde das
+Gemälde doch nie jene Erschütterung in uns erregen, jenes Anschlagen von
+hundert Gefühlen. Man würde immer nur den weinenden Lear sehen oder den
+erzürnten Vater, der sich zur Kälte zwingt; das Ineinanderschmelzen
+dieser beiden Empfindungen, verbunden mit der Verstandesschwäche, die
+dem Schmerz endlich ganz erliegt und Wahnsinn wird, wäre selbst ein
+Rafael unmöglich: hier steht ein grosser Grenzstein zwischen dem Gebiet
+des Malers und des Dichters."
+
+The result of overstepping these bounds is that the painter is likely to
+enter into rivalry with the poet, 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 reason.
+
+But in the comedies there are many moments which almost force themselves
+on the painter. These are scenes in which he can portray the poet just
+as he finds him and in which his rivalry is legitimate and, indeed, may
+tend to make him surpass the poet. 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 commentator, so to speak, of these. Under such
+circumstances, the painter must be very careful to choose just the most
+beautiful and most interesting passages.
+
+The relation to Lessing is again at once clear. The culminating moment
+of passion as it appears in the tragedies is not suitable from the
+artistic point of view for reproduction but the comedies, from their
+admixture of the flegmatic, the almost imperativ concomitant of
+Shaksperean humor, tone down this superlativ expression and are
+therefore within the pale. How Tieck carries out his theory in practis,
+has been sufficiently shown: his love for the sentimental and
+melodramatic, for the climatic and striking lead him to neglect his
+delimiting theoretical remarks.
+
+Before leaving the discussion of Tieck's article, it may be well to
+compare it with another contemporary treatment of the Boydell Gallery.
+This is by the famous traveler and publicist, George Forster. It was
+Forster's account which furnisht Fiorillo with much of his data for the
+treatment of the "Gallery" in his history of British art, but it is
+hardly likely that the account is a source for Tieck. I hav no external
+evidence and the internal evidence is entirely negativ.
+
+If Friedrich Schlegel's estimate of Forster's artistic capabilities be
+accepted, it is just such pictures as these, where the social interest
+is great and the artistic valu is secondary, that should bring out
+Forster's strength of judgment. Forster was also a finely discriminating
+amateur, with a decided sense of tactile form based on a sincere love of
+Greek art and confirmd by a study of Winkelmann and Lessing, beyond whom
+he past in his appreciation of the portrait and the landscape and of the
+coloring of the great masters.
+
+Forster's essay, "Die Kunst und das Zeitalter" (1791), was written about
+the time that he saw the Boydell pictures. It shows his attitude toward
+Greek art and givs more than a hint of his standards which point so
+clearly toward Schiller. His "Ansichten vom Niederrhein," especially the
+discussions of the galleries and collections at Düsseldorf, Brussels and
+Antwerp fully express his ideas on Dutch and Flemish art, especially
+emfasizing the characteristics of Rubens for whose fleshy types Forster
+had little use.
+
+In the discussion of British art which comes as an appendix to the
+"Ansichten," Forster includes a rather detaild description of the
+Boydell paintings. He did not see the engravings, or rather, 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 parts, is in one way
+fundamentally different from that of Tieck. All the discussion of
+technique in which Tieck was so weak, is entirely lacking in Forster.
+His point of view, too, is different. He is the traveld, experienced man
+from whose traind eye and broad judgment more may be expected than from
+the student Tieck. There is, as Friedrich Schlegel says, an
+out-of-doorness in Forster's work that Tieck could never hav had; the
+over-emfasis on Shakspere on the part of the latter is only one product
+of his inexperience.
+
+In spite of all this, it is surprizing to find what correspondences
+there are between the student Tieck and the more traind Forster. The
+latter who knew vastly more of English life than Tieck, fails to
+understand it in just those vital points where Tieck went farthest
+astray. Smirke and Peters fare badly at his hands, perhaps because of a
+certain puritanism in his atitude, or to quote Schlegel, because "Keine
+Vollkommenheit der Darstellung konnte ihn mit einem Stoff aussöhnen, der
+sein Zartgefühl verletzte, seine Sittlichkeit beleidigte oder seinen
+Geist unbefriedigt liess." For this reason he can call one of the Peters
+paintings from the "Merry Wives" a brothel (ein Speelhuis) or refer to
+the women of that artist as "lockere Nymphen."
+
+Besides the same general dislike for the caricatures of Smirke that was
+noted in all previous instances, there is the usual praise of Hodges,
+the usual condemnation of Opie's bad drawing. Füessli, too, comes in for
+his share of the blame: "Der Beifall, welchen Füesslis Gemälde in
+England erhalten, bezeichnet mehr als alles die Ueberspannung des
+dortigen Kunstgeschmacks. Dieser junge Schweizer ... brachte nebst der
+Kenntniss akademischer Modelle sein malerisches Kraftgenie mit sich über
+das Meer; seiner Phantasie ward es wohl unter wilden Traumgestalten und
+Bildern des Ungewöhnlichen. Diese Stimmung ... verführte ihn nur gar zu
+bald zu allen Ausschweifungen der Manier. Es ist zwar leicht das
+Alltägliche zu vermeiden, indem man Kontorsionen darstellt ..." (page
+466). Again: "Es sind nicht Menschen, die dieser Künstler phantasiert,
+sondern Ungeheuer in halb menschlicher Gestalt, mit einzeln sehr gross
+gezeichneten und sehr verzerrten, verunstalteten Theilen und
+Proportionen: ausgerenkte Handgelenke, aus dem Kopfe springende Augen,
+Bocksphysiognomien u. s. f...." (page 503). Northcote is damned with the
+faint praise "Nicht ohne Verdienst," a frase that clings to the
+characterizations of his work from the _Anzeigen_ to Fiorillo. Barry is
+shown to lack grace, noble greatness and beauty. His distorted figures
+border on caricature and his forms are of giants, colossi. His coloring
+is bad in spite of his theoretical knowlege and good drawing.
+
+Forster sees thru Angelika Kaufmann and Hamilton better than Tieck did.
+Hamilton's paintings are "Machwerk" and his figures move in
+"Tanzschritt," while Angelika's are hermafroditic (page 501). "Die
+deutsche Muse Angelika verbarg die Inkorrektheit und das Einerlei ihrer
+allzuschlanken Figuren unter dem Schleier der Grazie und Unschuld" (page
+459).
+
+For Forster, Shakspere is the most logical portrayer of nature that ever
+existed; 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 fantasy. For the artists of the
+British school this is especially valuable because effect is their
+highest aim and beauty only secondary. Extremes of passion,
+astonishment, surprize are strivn for. "Sie hascht nach der Wahrheit der
+Natur in ihren grässlichen Augenblicken und erlaubt ihrer Phantasie den
+verwegenen Flug, nicht in das schöne Feenland des Ideals sondern in die
+verbotene Region der Geister und Gespenster."
+
+But while the general condemnation of British artists shows far more
+perspectiv than is found in Tieck, the acquaintance with the details of
+Shakspere's plays is never drawn on to point out any defects in choice
+of subject matter. Forster can refer to the acted plays from an
+experience that was at this time still denied Tieck, but this experience
+does not result in any well-defined theory of Shakspere-illustration as
+a whole and as we found Tieck to hav. The melancholy Jacques in the
+forest is a good scene for Forster, whereas Tieck rejected it as having
+no structural relation to the rest of the play. Forster finds it worthy
+of portrayal as one of the moments arising from Shakspere's variety of
+scene, character and condition of life, to say nothing of the chance to
+show the lonesome melancholy stag by the famous animal painter, Gilpin!
+
+On Reynolds' famous Beauford picture, Tieck and Forster are entirely at
+odds. For Tieck the execution is terrible, the choice of subject
+satisfactory. For Forster, the choice is inexcusable, the execution in
+part masterly; a dying criminal in his last throes seems to Forster an
+utterly impossible subject for representation. So with Kirk's picture
+from "Titus Adronicus": in spite of the attempt to meliorate the
+impression of the butcherd Lavinia, the whole picture remains for
+Forster a disgusting sight. The conclusion is obvious: Forster's sense
+of delicacy rebeld at the crass and brutal; wildness and terror shockt
+him.
+
+But if Tieck's article compares favorably with Forster's in all points
+respecting the "Gallery" itself, it must be confest that the political,
+patriotic note, the application to Germany of the principles of national
+betterment in art which arose in the mind of Boydell, escape him. He was
+not, of course, like Forster, a political writer, and revolutionary
+conditions had no immediate interest for him as for the older man. 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 _Abendblætter_
+article. Tieck does not rise above the milieu; the "Gallery" offers no
+hold with which to test contemporary art in his own land. It is only a
+beginning, clearsighted in part and in general sustaind, an ernest of
+what the matured criticism of the Romantic school was later on to do.
+
+
+
+
+NOTES
+
+[1] Die Kupferstiche nach der Shakspeare-Gallerie in London. Briefe an
+    einen Freund. 1793. "Kritische Schriften," vol. I, pages 3-34. [Kr.
+    Sch.]
+
+[2] For full title, see bibliografy.
+
+[3] E. g. in the letters.
+
+[4] Krit. Sch. I, 4. Jean Paul, Titan, I, 42. [Berlin, 1827.]
+
+[5] 1719-1804.
+
+[6] Preface to the Prospectus and quoted in the preface to the
+    "Gallery."
+
+[7] The facts on the "Gallery" are pretty well scatterd. The
+    statements in Allibone are not all correct. See Graves, "New
+    Light on Boydell's Shakespeare Gallery," _Magazine of Art_, vol.
+    XXI, page 143 ff. For some details as to the disposition of the
+    pictures, see "Notes and Queries," series 2, vol. VIII, vol. IX,
+    313, vol. X, 52. Also Pye, "Patronage of British Art," London,
+    1848.
+
+[8] Preface to critical works.
+
+[9] Page 7.
+
+[10] Copy in the Columbia University Library.
+
+[11] Mr. L. L. Mackall kindly furnisht me with this information.
+
+[12] This Ms. (79 pp., vellum, quarto) contains the signatures
+    of all the subscribers or their agents. Romney, Warren Hastings,
+    Wedgewood, the King, the Queen and the Prince Regent besides a
+    number of English "persons of quality" are represented. The
+    poets are conspicuously wanting. The King of England gave the
+    copy to the University Library. Cp. _Goettinger Gelehrte
+    Anzeigen_ (G. G. A.) 1791, page 1793; 1793, page 561.
+
+[13] At least until after the time concerned here. This from
+    Wüstenfeld on the contributor to the _Anzeigen_ furnisht by
+    Professor Wilkens.
+
+[14] The plates which come into consideration and the order in which
+    they occur in Tieck are as follow:
+
+    "Love's Labor Lost," Tieck, page 9, (1) IV, 1 (G. G. A., 1794, page
+      10); (2) IV, 2, small plates; (3) V, 2.
+
+    "Merry Wives of Windsor," Tieck, page 10, I, 1 (G. G. A., 1794,
+      page 969); page 12, II, 1 (G. G. A., 1794, page 969); page 13
+      (G. G. A., page 959); page 13, I, 4; IV, 1, small plates (G. G.
+      A., 1794, page 970); V, 5.
+
+    "Twelfth Night," II, 3 (G. G. A., 1794, page 970); Tieck, page 15. A
+      small plate.
+
+    "Two Gent. Verona," Tieck, page 16, Last Scene (G. G. A., 1793, page
+     903); 17, IV, 3. Small plate.
+
+    "As You Like It," Tieck, page 17, II, 1 (G. G. A., 1793, page
+      561); page 17, last scene (G. G. A., 1793, page 561).
+
+    "Much Ado About Nothing," Tieck, page 19, III, 1 (G. G. A.,
+      1791, page 1794); IV, 1; IV, 2.
+
+     "Winter's Tale," Tieck, page 21, II, 3 (G. G. A., 1794, page 9);
+      IV, 3; V, 3; page 22, two small plates (G. G. A., 1794, page
+      10).
+
+    I "Henry VI.," Tieck, page 24, II, 5 (G. G. A., 1794, page 970).
+
+    II "Henry VI.," Tieck page 25, III, 3 (G. G. A., 1794, page 10).
+
+    "Richard III.," Tieck, page 27, III, 1 (G. G. A., 1791, page
+      1794).
+
+    "Titus Andronicus," Tieck, page 28, IV, 1 (G. G. A., 1794, page
+      970); page 29 (G. G. A. 1794, page 970).
+
+    "Romeo and Juliet," Tieck, page 30, I, 5 (G. G. A., 1793, page 561);
+      IV, 5 (G. G. A. page 561); V, 3 (G. G. A., 1793, page 562).
+
+    "King Lear," Tieck, page 31, I, 1 (G. G. A., 1793, page 903-4);
+      page 32, III, 4 (G. G. A. 1793, page 904); page 33, last scene
+      (G. G. A., 1793, page 904); page 34 (G. G. A., 1793, Page 904).
+
+Tieck mentions in all 39 plates; of these 24 are large plates
+    and the rest small ones. In only 6 instances does Tieck enter
+    into even a slite criticism of the small plates. In some cases,
+    his remarks are so meager that it is only by a comparison with
+    the original that we can tell what plate he means.
+
+[15] Boydell's Catalog, page 28 ff. It may be worth while to
+    mention in this connection that the Catalog has a number of
+    errors in the list of these supplementary plates. The proof was
+    red carelessly and the results are jumbled. Only by a careful
+    comparison with the originals in the 1802 edition, for the
+    results of which there is no room here, can this be straightend
+    out.
+
+[16] "Romantische Schule," page 57-8.
+
+[17] For possible influence of Du Bos, cf. Tieck's doctrin of
+    poetry as an imitativ art. Kr. Sch., page 24. See Howard,
+    _Publications of the Mod. Lang. Assn._, vol. XXII, page 4. The
+    letters to Wackenroder in Holtei, 300 Briefe, etc.
+
+[18] Volbehr, Dessoir, Stöcker. D. L. D.
+
+[19] Kr. Sch. I, 321. It is doutful if Tieck knew any of the
+    Hogarth Shakspere plates. The dates of issu (Dobson, pp. 310,
+    340 ff.) are all later than the writing of the Boydell article.
+    For Tieck and Hogarth, Köpke, I, page 148.
+
+[20] Of course the emfasis on color is entirely wanting in the
+    body of the work. Tieck nowhere in the essay points out how
+    engraving can suggest color.
+
+[21] Literary paralels are at once apparent. So, Schiller's
+    Prolog to "Wallenstein."
+
+[22] Schriften, vol. X, pages 302-3.
+
+[23] Weitenkampf, 155.
+
+[24] One or two actual errors of fact hav crept into the paper.
+    Kyder for Ryder and Northcate for Northcote. The latter error
+    and Tieck's Slatbard may hav arisn, as Professor Wilkens
+    suggested to me, from Tieck's notoriously bad handwriting which
+    was misinterpreted by the compositor. At any rate, Tieck made no
+    later effort to correct. The "Rev." before Peters' name misled
+    both Tieck and Forster into laying too much emfasis on his
+    sacerdotal function. The G. G. A. calls him a dilettante.
+
+[25] Walzel, 279; Sulger-Gebing, 41, 154. Engel ("Angelika
+    Kaufmann," 36, 37, 43) while not denying her preference for this
+    dress, is of the opinion that it was not suited to her. "Im
+    Schäferkleide, den Hirtenstab in der Hand, Atlaspantöffelchen an
+    den Füssen, ein bebändertes Hütchen auf der gepuderten Coiffure,
+    umgeben von einem Hofstaat schöngeistiger Verehrer und
+    Verehrerinnen, so hatte sie unzweifelhaft eine weit natürlichere
+    und tüchtigere Figur gemacht als in der Vestalinnentracht die
+    sie--das Bregenzerwaldnymphlein--in der Folgezeit zu bevorzugen
+    pflegte."
+
+[26] Biografers of Sir Joshua generally agree that his pictures
+    in this series, with the possible exception of "Puck," are
+    failures. Boydell paid 400 and 1500 guineas for the two largest
+    and this was considerd by some an exorbitant price.
+
+[27] Minor's edition, pages 27, 30.
+
+[28] There is the possibility of a crude symbolism having been
+    intended for Shakspere's "Blow, winds," etc.
+
+[29] The West picture was very popular. Cf. _Teutsche Mercur_,
+    1791, pages 445-6, for a criticism of Berger's engraving from
+    it.
+
+[30] See, 300 Bfe. page 79.
+
+[31] This is a difficult point to decide. The citizen class was
+    limited by such sumptuary laws as is shown by the records, but
+    most writers agree that the violations were open and common.
+
+[32] The figure with the helmet is unquestionably that of
+    Marius, the tribune. He enters from the street and is drest in
+    street costume. Titus, who has been in the house, wears only a
+    fillet around his hed. In the play, Marius commands the boy to
+    stand near him for refuge, but in the picture the moment just
+    previous is chosen, when the boy is still near his grandfather.
+    Forster wrongly holds that the helmeted figure is Titus.
+
+[33] Cf. A. W. v. Schlegel in _Athenæum_, 2, 212, "Man kennt
+    Reynolds Ugolino aus dem Kupferstiche: es ist ein alter Mann,
+    der hungert, aber es ist nicht Ugolino." For his criticism of
+    Boydell, 2, 198.
+
+[34] Marie Joachimi-Dege has given a very careful account of the
+    erly Romantic and Storm and Stress attitude toward Shakspere.
+    Her book needs supplementation thru a study of the Romantic
+    Shakspere criticism, written from the English point of view.
+
+[35] In his Academy discourses. Bohn ed., vol. I, page 460 ff.
+    Reynolds points out that those who praise the "invention" of
+    Timanthes in the Agamemnon picture hav not been painters but
+    literary men. They use it as an illustration of their own art.
+    He says, "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 poetry. (Cf. Boydell's
+    preface.) It is a doubt with me if we should even make the
+    attempt. The chief, if not the only occasion which the painter
+    has for this artifice, is when the subject is improper to be
+    more fully represented, either for the sake of decency, or to
+    avoid what would be disagreeable to be seen; and this is not to
+    raise or increase the passions, which is the reason given for
+    this practice, but on the contrary to diminish their effect....
+    We cannot ... recommend an undeterminate manner or vague ideas
+    of any kind, in a complete or finished picture. This notion,
+    therefore, of leaving anything to the imagination opposes a very
+    fixed and indispensible rule in our art,--that everything shall
+    be carefully and distinctly expresst, as if the painter knew,
+    with correctness and precision, the exact form and character of
+    whatever is introduced into the picture. This ... must not be
+    sacrificed ... for uncertain and doubtful beauty which, not
+    naturally belonging to our art, will probably be sought for
+    without success." After praising the artifis of Timanthes,
+    Reynolds goes on to say, "Suppose this method of leaving the
+    expression of grief to the imagination, to be ... the invention
+    of the painter and that it deserves all the praise that has been
+    given to it, it is still a trick that will serve only once;
+    whoever does it a second time, will not only want novelty, but
+    will be justly suspected of using artifice to evade
+    difficulties. If difficulties overcome make a great part of the
+    merit of Art, difficulties evaded can deserve but little
+    commendation." Among the names of those who discuss the "trick"
+    Lessing's is, of course, wanting. Gilray's satirical plate on
+    Boydell should be compared for this and other points. Copy in N.
+    Y. Public Library.
+
+[36] In this connection, the letters mention Engel's
+    "Mimik"(1785).
+
+[37] Some of the latter pictures by Smirke are very fine; e. g.,
+    the face of Jessica which justifies the statement of the Dict.
+    Nat. Biog. that Smirke had "good drawing, refinement, quiet
+    humor." Bryan has a cooler comment: "Smirke was well spoken of
+    in the comedy vein." Tieck likes him better in tragedy (page
+    34). Fiorillo's comment is "Seit Hogarths Zeiten hat kein
+    Künstler so viel Charakter oder so viel Ausdruck in seine
+    Figuren gebracht, noch eine Scene mit so viel echter Laune
+    bearbeitet."
+
+[38] To me the Tieck-Schlegel translation of this scene misses
+    all the best points of the original. To be sure, Tieck had
+    nothing to do with its translation. (Friesen, I, 136; Sybel,
+    III, 463 ff). It was not that Tieck was not interested in puns,
+    altho the Dr. Cajus scene seems uninteresting to him on that
+    account. Tieck himself made a good many puns. Cf.
+    "Viehsiognomie," the first lines of his sonnet on the sonnet and
+    the "gemein" from the _Allgemeine deutsche Bibliothek_ in
+    "Das jüngste Gericht." His sensing of English puns seems not to
+    hav been so keen. So in a discussion of Mss. readings toward the
+    end of the essay on the erly English Theater (Kr. Sch. I, 320)
+    after calling one faulty reading "Unsinn" he continues, "In
+    derselben Rede:
+
+
+        If you can construe but your doctor's bill
+        Parse your wife's waiting woman, etc.
+
+
+     Parse? Was kann das bedeuten? Pierce ist dem aufmerksamen Auge
+     leserlich genug." Tieck seems to hav mist the play on the
+     grammatical idea. To be sure, I hav not seen the Ms., but Tieck
+     was no very careful reader or copyist.
+
+[39] This is a scene where Tieck saw both L. and S. There were
+    two different paintings of the same subject, one with fewer
+    figures, and Tieck rightly points out that the less crowded one
+    is the better. One of the engravings is by W. Blake and is not
+    given in any list of that artist's work. Mr. W. G. Robertson,
+    the most recent biografer of Blake informs me in a letter that
+    he does not know it.
+
+
+
+
+A PARTIAL BIBLIOGRAPHY
+
+
+Athenæum. Eine Zeitschrift von A. W. Schlegel und Friederich
+    Schlegel, Zweiter Band. Berlin, 1799.
+
+Boydell, John.
+    Catalogue of the ... Shakspeare Gallery, London, 1789. The first
+      edition of the catalog givs the painters' names only: subsequent
+      editions add the names of the engravers. There are copies of the
+      various editions in the Columbia, Harvard and New York Public
+      Libraries.
+    A Catalogue of Prints ... comprising the stock of J. and J.
+      Boydell, London, 1808.
+        Copy in N. Y. Public Library.
+    A Collection of prints from pictures painted for the purpose of
+      illustrating the dramatic works of Shakespeare, by the artists
+      of Great Britain. London ... 1803, 2 vols. in one, atlas folio.
+        There are many copies in the U. S. and there is also an American
+        reprint with letterpress explanatory of the plates.
+
+Dessoir, M. K. P. Moritz als Aesthetiker.
+
+Dobson, Austin. William Hogarth, New York and London, 1907.
+
+Engel, J. J. Ideen zu einer Mimik, 1848.
+
+Engel. Angelika Kaufmann, 1903.
+
+Fiorillo, J. D. Geschichte der zeichnenden Künste, etc. Bd. V.
+    Geschichte der Malerei in Grossbrittanien. Göttingen, 1808.
+
+Forster, Georg. Sämmtliche Schriften, III. Leipzig, 1843.
+
+Friessen, H. von. Ludwig Tieck. Erinnerungen eines alten
+    Freundes. Wien, 1872.
+
+Göttingen. Anzeigen für Gelehrte Sachen, etc. The volumes from
+    1791 to 1803 were used.
+
+Haym, R. Die romantische Schule, 1870.
+
+Holtei, K. Drei hundert Briefe aus zwei Jahrhunderten,
+    Hannover, 1872.
+
+Joachimi-Dege, M. Deutsche Shakspeare-Probleme im XVIII.
+    Jahrhundert und im Zeitalter der Romantik. Leipzig, 1907.
+
+Köpke, R. Ludwig Tieck, Leipzig, 1855.
+
+Minor, J. Friedrich Schlegel. Seine prosaischen
+    Jugendschriften, Wien 1906.
+
+Tieck und Wackenroder. Kürschners D. N. L. Bd. 145.
+
+Moritz, K. P. Ueber die nachahmende Bildung des Schönen. In D.
+    L. D.
+
+Reynolds, J. Academy Discourses. Bohn Edition, London, 1846.
+
+Shakspere, W. The Dramatic Works of William Shakspeare, London,
+    1802.
+      This is the Steevens edition in nine volumes. Copy in New
+      York Public Library.
+
+Spooner, Shearjashub. Prospectus for publishing an American
+    edition of Boydell's illustrations of Shakespeare, N. Y., 1848.
+
+Sulger-Gebing. Die Brüder A. W. und F. Schlegel und die
+    bildende Kunst, 1897.
+
+Sybel. Erinnerungen an F. von Uechtritz. Leipzig, 1884.
+
+Volbehr. Goethe und die bildende Kunst, 1897.
+
+Walzel, O. F. Friedrich Schlegel's Briefe an seinen Bruder
+    August Wilhelm. Berlin, 1890.
+
+Wietenkampf, F. How to appreciate prints. New York, 1908.
+
+Zelak. Tieck und Shakspere. Tarnopol, 1900.
+
+
+       *       *       *       *       *
+
+Transcriber's Notes
+
+There is much idiosyncratic spelling in both English and German. This
+has been retained, apart from the following four typos:
+
+page 15 "sehn" amended to "sehr";
+
+page 30 "obobserver" amended to "observer";
+
+page 40 "int he" amended to "in the";
+
+page 54 "Grossbittanien" amended to "Grossbrittanien".
+
+On page 32, the typo "est giebt" has been left unchanged: it could be
+either "es giebt" or "erst giebt" (more likely).
+
+Also on p. 32 "zu grob ist" should probably be "zu groß ist", but has
+been left unchanged, as the letter ß does not appear elsewhere in the
+text.
+
+Three obvious errors in punctuation have also been amended, as follows:
+
+page 12 "page 28." amended to "page 28:";
+
+page 34 "darstellen will." amended to "darstellen will,";
+
+page 41 Tanzschritt," amended to "Tanzschritt";
+
+page 44 "G. G. A.." amended to "G. G. A.,".
+
+page 48 "in in Das" amended to "in Das".
+
+Anchors for footnootes 31 and 36 are missing. They have been inserted in
+the most likely locations.
+
+
+
+
+
+End of the Project Gutenberg EBook of Tieck's Essay on the Boydell Shakspere
+Gallery, by George Henry Danton
+
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+      The Project Gutenberg eBook of Tieck's Essay on the Boydell Shakspere Gallery, by George Henry Danton.
+    </title>
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+<pre>
+
+The Project Gutenberg EBook of Tieck's Essay on the Boydell Shakspere
+Gallery, by George Henry Danton
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: Tieck's Essay on the Boydell Shakspere Gallery
+
+Author: George Henry Danton
+
+Release Date: January 12, 2011 [EBook #34937]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK BOYDELL SHAKSPERE GALLERY ***
+
+
+
+
+Produced by Margo Romberg, Karl Eichwalder and the Online
+Distributed Proofreading Team at https://www.pgdp.net (This
+book was produced from scanned images of public domain
+material from the Google Print project.)
+
+
+
+
+
+
+</pre>
+
+
+
+<!-- Autogenerated TOC. Modify or delete as required. -->
+<p>
+<a href="#PREFACE"><b>PREFACE</b></a><br />
+<a href="#TIECKS_ESSAY_ON_THE_BOYDELL"><b>TIECK'S ESSAY ON THE BOYDELL SHAKSPERE GALLERY</b></a><br />
+<a href="#NOTES"><b>NOTES</b></a><br />
+<a href="#A_PARTIAL_BIBLIOGRAPHY"><b>A PARTIAL BIBLIOGRAPHY</b></a><br />
+</p>
+<!-- End Autogenerated TOC. -->
+
+
+
+
+<h1>New York University</h1>
+
+<p class="center">OTTENDORFER MEMORIAL SERIES OF<br />
+GERMANIC MONOGRAPHS</p>
+
+<p class="center">No. 3<br /></p>
+
+<h2>TIECK'S ESSAY</h2>
+
+<p class="center">ON THE</p>
+
+<h2>BOYDELL SHAKSPERE GALLERY<br /></h2>
+
+<p class="center">BY<br /></p>
+
+<h2>GEORGE HENRY DANTON<br /></h2>
+
+<p class="center">INDIANAPOLIS</p>
+
+<p class="center">EDWARD J. HECKER, PRINTER</p>
+
+<p class="center">1912</p>
+
+
+
+<hr style="width: 65%;" />
+<p class="center">This Paper Is Dedicated</p>
+<p class="center">To the Memory</p>
+<p class="center">of</p>
+<p class="center">Oswald Ottendorfer</p>
+
+
+
+
+<hr style="width: 65%;" />
+<h2><a name="PREFACE" id="PREFACE"></a>PREFACE</h2>
+
+<p>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 O. Fischer in an article, "Ueber Verbindung von Farbe und
+Klang" in the <i>Zeitschrift fuer &AElig;sthetik</i>. These three works
+renderd the publication of my material superfluous, made a
+change of plan necessary and the result is that my monograf has
+been very much delayd in appearing.</p>
+
+<p>As far as I know, there is no other study of Tieck's first critical
+paper. I found it worth while to do this monograf because
+the comparison with the original engraving brought out so many
+interesting facts, threw light on Tieck's erly critical method, explaind
+his taste, showd his use of sources and above all, contradicted
+the positiv assertion of Haym that Lessing's influence
+is nowhere discernible. The meny interesting facts about the
+gallery itself that came to light in the course of the paper,
+the meny questions about it which I was unable to solv, may
+perhaps become the matter of another article.</p>
+
+<p>The "Gallery" is for us now a revenant of a past and somewhat
+impossible generation. A certain air of English commercial
+roastbeefism clings to it. It is an England, the art of which
+knows nothing of Constable and still less of Turner, an England
+which loves Shakspere without reading him&mdash;as Tieck suspected&mdash;and
+whose gallofobia does not recognize the det to France
+and the French elements in this very series. As an interpretation
+of Shakspere, it is no more than on a plane with Colly Cibber.
+Tieck saw this and felt it, but could not make clear to himself
+what was wrong with it. The plates belong in parlors of the
+haircloth age, where indeed, they may still often be found. It
+is before the day of the painted snowshovel and the crayon portrait,
+but the delicacy of the Adams' decorations has gone out
+and the new strength of Romanticism has not come in. There
+is surely no tuch of the Elizabethan or Jacobean spirit.</p>
+
+<p>I wish to take this opportunity to thank the various members
+of the staffs of the Stanford University and the Columbia University
+Libraries, of the Congressional and New York Public<span class="pagenum"><a name="Page_6" id="Page_6">[P:6]</a></span>
+Libraries for their aid; especially to thank Mr. Weitenkampf
+for his very great help on technical matters. Mr. L. L. Mackall
+also furnisht me with very valuable information. The paper
+underwent a most searching criticism at the hands of Professor
+Wilkens, of New York University and I wish to express my
+especial indetedness to him for his assistance in the matter.
+To Professor McLouth my thanks are due for a constant kindly
+interest in me as Ottendorfer fellow. Finally, 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 incumbent.&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;G. H. D.</p>
+
+<p>
+&nbsp;&nbsp;&nbsp;&nbsp;Indianapolis, Ind., September, 1911.<br />
+</p>
+
+
+
+<hr style="width: 65%;" />
+<h2><a name="TIECKS_ESSAY_ON_THE_BOYDELL" id="TIECKS_ESSAY_ON_THE_BOYDELL"></a>TIECK'S ESSAY ON THE BOYDELL</h2>
+<h2>SHAKSPERE GALLERY</h2>
+
+
+<p>Tieck's attack<a name="FNanchor_1_1" id="FNanchor_1_1"></a><a href="#Footnote_1_1" class="fnanchor">[1]</a> on the Boydell Shakspere Gallery<a name="FNanchor_2_2" id="FNanchor_2_2"></a><a href="#Footnote_2_2" class="fnanchor">[2]</a> was his first
+publisht critical production. It is significant to note that
+this first essay in criticism delt both with Shakspere and with art,
+that is, with the ruling passion of Tieck's life and with one of
+the strongest of his secondary interests. The passion for Shakspere
+with the concomitant sense of close personal relationship
+with him, came to be a major part of Tieck's being and is clearly
+indicated even before this article.<a name="FNanchor_3_3" id="FNanchor_3_3"></a><a href="#Footnote_3_3" class="fnanchor">[3]</a> Tieck's decided aversion to
+the English national standpoint toward Shakspere is strongly
+exprest in the essay. 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 English, does not, as a
+mere lad, hesitate to venture his douts as to whether the English
+nation is equal to the task of illustrating its greatest poet.<a name="FNanchor_4_4" id="FNanchor_4_4"></a><a href="#Footnote_4_4" class="fnanchor">[4]</a></p>
+
+<p>These illustrations are known as the Boydell Shakspere Gallery.
+They were the idea of the engraver, Alderman John Boydell,<a name="FNanchor_5_5" id="FNanchor_5_5"></a><a href="#Footnote_5_5" class="fnanchor">[5]</a>
+who wisht to set up a great national monument to the
+genius of Shakspere and, at the same time, to foster a school of
+historical painting in a land where heretofore the portrait alone
+had attaind to any degree of excellence.<a name="FNanchor_6_6" id="FNanchor_6_6"></a><a href="#Footnote_6_6" class="fnanchor">[6]</a> The "Gallery" was
+begun in 1789 and was completed in 1803. At no sparing of expense
+to himself&mdash;the entire cost was upward of &pound;100,000&mdash;Boydell
+commissiond some of the best artists and engravers of the
+time to portray scenes from all of Shakspere's plays. The oil
+paintings, about 100 in number, 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
+genius. The Napoleonic wars, "that Gothic and Vandalic revolution,"
+and the deth in poverty of Boydell, renderd necessary
+the disposal of the collection by lottery (1804). The lucky ticket
+was held by a London connoisseur named Tassie. At his deth
+the collection was scatterd, tho subsequently a few of the pictures
+were recollected and are now in the Shakspere Memorial
+in Stratford.<a name="FNanchor_7_7" id="FNanchor_7_7"></a><a href="#Footnote_7_7" class="fnanchor">[7]</a></p>
+
+<p>The plates from these pictures are, all in all, no better and no<span class="pagenum"><a name="Page_8" id="Page_8">[P:8]</a></span>
+worse than engravings of the day are likely to be. It is illustration
+work in which the story interest is the predominant feature.
+Interpretation of Shakspere takes precedence over art, and even
+Boydell places the painter below the poet and speaks disparagingly
+of the ability of the former to understand and to portray.
+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 discussion.</p>
+
+<p>Tieck's essay is in the form of four letters, and was written
+while he was a student at the University of G&ouml;ttingen. It had
+the approval of his teacher, Johann Dominik Fiorillo, (himself
+afterward well-known as the author of an extensiv history of art,)
+tho it was not especially written under Fiorillo's gidance.<a name="FNanchor_8_8" id="FNanchor_8_8"></a><a href="#Footnote_8_8" class="fnanchor">[8]</a> It
+was intended, on the surface at least, as an open and emfatic
+protest agenst the too lavish praise of the plates in the journals.
+The general tone, then, is polemic tho directed agenst no particular
+person or article.</p>
+
+<p>In the preface to his critical works<a name="FNanchor_9_9" id="FNanchor_9_9"></a><a href="#Footnote_9_9" class="fnanchor">[9]</a> Tieck asserts that the article
+is a product of the year 1793 and that it was published in
+1794. It appeared in the <i>Neue Bibliothek der sch&oelig;nen Wissenschaften
+und freyen Kuenste</i>, 55ten Bandes zweytes St&uuml;ck, pages
+187-226, which bears the date 1795,<a name="FNanchor_10_10" id="FNanchor_10_10"></a><a href="#Footnote_10_10" class="fnanchor">[10]</a> and according to the Messkatalog,
+did not appear till Michaelmas of that year.<a name="FNanchor_11_11" id="FNanchor_11_11"></a><a href="#Footnote_11_11" class="fnanchor">[11]</a> Tieck's
+memory, therefore, faild him as to the date of publication and
+he has also fallen into a slite error, or rather inaccuracy, in regard
+to the time of origin. The article could not have been
+completed within the calendar year 1793, because a number of
+the plates that Tieck discusses are dated December 24, 1793, and
+could hardly hav got to the continent in the same year. While
+it may be possible that the plates were postdated, there is no evidence
+of such fact at hand. Moreover, the "Gallery" was reviewd
+in the <i>G&oelig;ttinger Gelehrte Anzeigen</i> under dates about six
+months after the appearance of the individual plates in England
+and these reviews, as will be shown hereafter, were extensivly
+used by Tieck. In these reviews, the plates are always spoken
+of as recently arrived. The prints were issued regularly to the
+subscribers, of whom the University, according to the Ms. catalog
+in the Boston Public Library, was one.<a name="FNanchor_12_12" id="FNanchor_12_12"></a><a href="#Footnote_12_12" class="fnanchor">[12]</a> It is hardly to be
+supposd that the young student would have erlier access to the<span class="pagenum"><a name="Page_9" id="Page_9">[P:9]</a></span>
+pictures than the reviewer for the semi-official university publication.
+This reviewer was Heyne<a name="FNanchor_13_13" id="FNanchor_13_13"></a><a href="#Footnote_13_13" class="fnanchor">[13]</a> who afterward mediated the
+publication of Tieck's article. The article was no dout written
+before Tieck settled in Berlin in the Fall of 1794 but its writing
+went out over the confines of 1793. The next series of plates
+appeard in June, 1794, and is not included in Tieck's article,
+tho this is no proof that the article was completed before June,
+since the plates probably did not arrive in Germany till well in
+the Summer.</p>
+
+<p>Tieck's essay has been almost entirely neglected by Tieck
+scholars. It is not a great piece of constructiv criticism, nor
+can it be said to contain the ripe judgments of a mature mind.
+It is, however, a fresh and, on the whole, convincing analysis of
+the plates and as such deserves a careful examination. It will
+be seen that the article has a very definit foundation in preceding
+criticism but that Tieck, tho borrowing freely from one
+source at least, namely the <i>G&oelig;ttinger Gelehrte Anzeigen</i>, has not
+slavishly plagiarized nor has he been servil in his adoption of the
+ideas of others. 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
+plates.</p>
+
+<p>Tieck claims that the praise of the "Gallery" in the contemporary
+magazines is excessiv. This claim is exaggerated. Meny
+important magazines do not discuss the plates even where there
+was an excellent opportunity. So, for example, Wieland's <i>Mercur</i>
+and Nicolai's <i>Allgemeine deutsche Bibliothek</i> do not mention
+them, tho from time to time engravings from other contemporary
+paintings are discust. For instance, Nicolai's journal has
+one long discussion of the state of contemporary art, especially
+of engraving (No. 110, 1792) but omits all reference
+to the Boydell series. The criticism in Meusel's <i>Museum fuer
+Kuenstler</i> is on the whole, destructiv. One discussion, for
+example, (No. IV, page 99) is a violent attack on engraving in
+general and calls the "Gallery," "Diese die Malerei zu grunde
+richtende Gelegenheit," and condems the "Kr&auml;mergeist" at the
+bottom of the enterprize. The value of line in engraving is,
+however, pointed out, and Bartolozzi and Ryland, who had but<span class="pagenum"><a name="Page_10" id="Page_10">[P:10]</a></span>
+little to do with the series are faintly praisd. Other mention
+in Meusel's magazines is either entirely unoriginal summary
+(<i>Museum</i>, VI, 352) or mere cursory comment (<i>Miscellaneen</i>,
+St&uuml;ck 30.) The articles on caricature (Neue <i>Miscellaneen</i> X.,
+154 and Archiv I, 66) are so late that they cannot be taken into
+consideration in connection with Tieck's paper.</p>
+
+<p>With the <i>G&oelig;ttinger Gelehrte Anzeigen</i> the case is different.<a name="FNanchor_14_14" id="FNanchor_14_14"></a><a href="#Footnote_14_14" class="fnanchor">[14]</a>
+Tieck saw and used its articles as a basis for his work, tho the
+credit of having written the first connected essay from a single
+viewpoint belongs to him. The not over laudatory criticisms of
+the <i>Anzeigen</i> are often paralel, even down to the wording of details
+with Tieck's judgments, 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 consideration.
+The fact that Tieck follows the errors of the <i>Anzeigen</i>
+is significant, but it is equally significant that he corrects the
+errors of the magazine from his stock of observd judgments.
+Generally, where Tieck follows the <i>Anzeigen</i> most closely he is
+at his worst. The somewhat superficial and scanty remarks of
+the journal were no surrogate for the clear vision and power of
+adaptibility of the young man. Tieck's personal regard for
+Shakspere, which amounted to a real passion, was entirely
+wanting.</p>
+
+<p>The use of the articles in the <i>Anzeigen</i> must be shown in detail,
+and Tieck's indetedness must be definitly brought out.
+Paralels will sometimes show convergence and sometimes divergence
+of ideas, but in general it will be seen that Tieck practically
+never used his material without some personal addition.</p>
+
+<p>There is one set of cases which is peculiar and which deservs
+special attention. The plates in question are: "Much Ado,"
+III, 1, ditto IV, 2, and "As You Like It," last scene.</p>
+
+<p>A word of explanation in regard to the Boydell plates is necessary.
+From the original paintings there were two sets of
+plates engraved, known as the large plates (L) and the small
+plates (S). The small plates were in all but a few cases done
+from different pictures than were the large ones. These large
+plates are those usually known as the Boydell Gallery. Both
+sets were issued serially; the large set was also bound and issued
+as a separate volume in 1803, and the small plates were<span class="pagenum"><a name="Page_11" id="Page_11">[P:11]</a></span>
+used as illustrations for the Steevens Shakspere edition of 1802,
+the letter press of which also seems to have been issued in parts
+before the bound volumes were finally put on the market. The
+bulk of Tieck's criticisms applies to the large plates tho he has
+a few remarks on the small ones as well. When he discusses
+the small plates, he always mentions the fact, except in the
+three cases just cited. 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 subscribers.<a name="FNanchor_15_15" id="FNanchor_15_15"></a><a href="#Footnote_15_15" class="fnanchor">[15]</a>
+These plates are among the first discust by the <i>Anzeigen</i> (1791,
+page 1794) which mention the fact of the plates being for the
+Shakspere edition, and that the extra plates are to be furnisht
+to make up for the duplication of subject matter in these cases
+of L and S. This is what is meant by the sentence, "Es wird
+sogar die Austauschung des einen Kupfers k&uuml;nftig versprochen,"
+a statement that corresponds perfectly with the remark in the
+later Boydell catalog that this promis has been fulfild. Tieck
+does not notis this statement of the <i>Anzeigen</i> but treats these S
+plates as if they were L, yet gives the names of the engravers
+of S. This would look like a clear case of careless copying
+from the <i>Anzeigen</i> if it were not clear from the additions that
+Tieck makes to the latter's criticism that he saw the plates too.
+The explanation of the discrepancy may be that Tieck when he
+was writing his article consulted the <i>Anzeigen</i> for the facts in
+regard to the engravers, did not notis that the S plates were referd
+to and carelessly copied down what he saw.</p>
+
+<p>I shall now examin in detail some of the paralel criticisms.</p>
+
+<p>Much Ado, II; 4, G. G. A. 1791, page 1794: ... "wo in der
+Trauung statt des Jaworts Pedro die Hero f&uuml;r keine reine Jungfer
+erkl&auml;rt, und Hero in Ohnmacht f&auml;llt; ... Das beste St&uuml;ck
+von allen in R&uuml;cksicht der Composition, Ausdrucks und Auswahl
+des Lichtes nur ist die Stellung der Hauptperson ein wenig zu
+theatralisch; sonst aber alles gut geordnet; sch&ouml;ne Contraste
+von Licht und Ruhe f&uuml;r das Auge."</p>
+
+<p>Tieck, page 19: "Das zweite Blatt enth&auml;lt die Vertossung
+der Hero ... und dies ist offenbar eines der vorz&uuml;glichsten.
+Das Licht ist sehr gut geordnet, das Auge findet sogleich unter
+den Gruppen einen Ruhepunkt; nur hat Hamilton dem Claudio
+eine zu theatralische Stellung und dem Leonato zu wenig Ausdruck
+gegeben."</p>
+
+<p>Tieck carries the praise of the <i>Anzeigen</i>, the "Das beste<span class="pagenum"><a name="Page_12" id="Page_12">[P:12]</a></span>
+St&uuml;ck" of which refers only to the group under immediate discussion,
+to the whole series. He takes his main critical vocabulary
+from the prototype and adds the original differentiation of
+Claudio and Leonato to which reference must be made later.</p>
+
+<p>"Much Ado," IV, 2; G. G. A., 1791, page 1794: ... "ein
+Gemisch von verkr&uuml;ppelten, unedeln Caricaturen ohne alle
+Grazie ... Zu bedauren ist die Kunst, die an den Stich
+verwendet ist; denn der Stich ist einer der besten." Tieck's
+criticism of this plate is paralel in so far as he praises the mechanical
+perfection of the engraver, who is Heath of S, and not
+Simon of L. So far we have the blind following of the model.
+But Tieck also makes the picture a basis for a long discussion of
+caricature and of thoro condemnation of Smirke, who is also no
+favorit of the <i>Anzeigen</i>. As Tieck's letters show a profuse use
+of the word caricature, he need not be especially indeted to the
+<i>Anzeigen</i> for it.</p>
+
+<p>"Richard III," I, 1, G. G. A., 1791, page 1795. Here Tieck's
+borrowing is direct. G. G. A.: "Eine schlechte Composition,
+ohne Ausdruck." Tieck, page 27: "Die Composition ist schlecht,
+alle Figuren sind ohne Ausdruck." G. G. A.: "Eine Menge Reflexe,
+Wiederscheine s. w. aber alles dieses macht keine Wirkung,
+und das Auge findet keinen Ruhepunkt." Tieck, page 28:
+"und sucht durch unendlich viele Wiederscheine ...
+dass das Auge bei den vielen Lichtmassen gar keine Ruhe findet."
+But again, besides these verbal and associational paralels,
+Tieck has added a free treatment of the composition, an examination
+of the drawing of the figures, of which there is no hint
+in the model and, all in all, makes the criticism his own. The
+impulse certainly came from the <i>Anzeigen</i>, but the whole critique
+is a product of Tieck's self.</p>
+
+<p>"Richard III," IV, 3, G. G. A., 1791, page 1795: "Stellung
+gezwungen." Tieck, page 28: "Der M&ouml;rder unnat&uuml;rlich."
+Here Tieck borrowed the idea and after an examination of the
+plate changed the wording.</p>
+
+<p>"As You Like It," II, 1, G. G. A., 1793, page 561: "Ein
+treffliches Landschaftsgem&auml;lde." Tieck, page 18: "die reizende
+Landschaft." An examination of the whole of Tieck's criticism
+shows that he has added a characterization of Jacques, has discust
+the choice of this particular subject, and in this connection<span class="pagenum"><a name="Page_13" id="Page_13">[P:13]</a></span>
+shows especially that the plate under discussion is only a vignette
+to the plays and not a part of the real play itself.</p>
+
+<p>"As You Like It," last scene, G. G. A., 1793, pages 561-2:
+"Orlando, der mit zeimleich ausgespreizeten Beinen." Tieck,
+page 18: "Seine augespreizten Beine machen ihn widrig."
+Here Tieck has taken an externality of the description and has
+given it a point. The use of the word "widrig" gives a new
+tuch.</p>
+
+<p>"Romeo and Juliet," I, 5, G. G. A.: "die Hauptfiguren muss
+man suchen." Tieck, page 29: "Die Hauptfiguren findet man
+nur mit einiger M&uuml;he." Notis, however, how Tieck then goes on
+independently to giv his own point: "den Vater der Julie kann
+man nur errathen; Julie selbst hat wenig Character. Tybald
+ist die ausdruckvollste Figur auf diesem Blatte." Tieck also
+quotes in full the passage beginning, "If I profane with my unworthy
+hand" which the <i>Anzeigen</i> only indicates. This might
+be laid to yuthful pedantry, were the whole not made far
+clearer for the entire citation.</p>
+
+<p>"Romeo and Juliet," IV, 5, G. G. A., 562: "Julia nach genommenem
+Schlaftrunk f&uuml;r todt gehalten, mit den Worten des
+M&ouml;nchs: Peace ho for shame! ff. Dieser tr&ouml;stend, die Mutter
+die H&auml;nde ringend, Paris Julien umfassend, ein St&uuml;ck mit vielem
+Affect" ... Tieck, page 30: "Julie hat den Schlaftrunk genommen
+und scheint gestorben, ihre Aeltern sowie ihr Br&auml;utigam
+Paris sind in Verzweifelung, der Pater sucht Alle zu tr&ouml;sten."
+In the discussion of the small plate which follows, the
+<i>Anzeigen</i> points out the changes which have been made on it,
+this being one of the supplementary small plates for the 1802
+text edition. Tieck also notises the fact of the change but that
+he took his information not only from the <i>Anzeigen</i> but from an
+examination of the original is proved by his additions to the information
+of the <i>Anzeigen</i>. Tieck's comment is, "Mehrere unn&uuml;tze
+Personen weggelassen." This reason goes at least one
+step farther than the <i>Anzeigen</i> comment. In the magazine, the
+effect of the double light in L is adversly criticized. Tieck adds
+to this, "Der alte Capulet hat auf beiden Bl&auml;ttern wenig Ausdruck."
+That both Tieck and the magazine use the fraze "tut
+... Wirkung" in this place seems of secondary importance.<span class="pagenum"><a name="Page_14" id="Page_14">[P:14]</a></span>
+A mere linguistic reminiscence, where it is not connected with
+an idea, is not influence. This must be sought in basic ideas, in
+hints which point the way for new lines of thought, in an adoption
+of facts. An author like Tieck shows independence when
+he adds, eliminates and remolds what he receives, even tho the
+form of the thought clings often to him.</p>
+
+<p>So, then, when the <i>Anzeigen</i> (1793, page 562) has the fraze
+"Julie in dem Grabgew&ouml;lbe erwachend," the fact that Tieck
+(page 30) introduces his criticism with the words, "Julie erwacht,
+als der M&ouml;nch eben in das Gew&ouml;lbe tritt," is of slite consequence.
+This is a simple description of fact. 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 case, a doctrin which Tieck not only does not mention,
+but in fact, utterly rejects when the time comes to discuss it in
+the course of the treatment.</p>
+
+<p>In the criticism of Schiavonetti's plate after Angelica Kaufmann
+(G. G. A., 1793, page 903; Tieck, pages 16-17) Tieck agrees
+with the <i>Anzeigen</i> but is thoroly independent in his resoning
+and adds constantly to what the magazine asserts. That
+both find the disguisd Julia beautiful is not unresonable, and
+as the disguise is a part of the play it is not strange that Tieck
+mentions it. In the same section of the magazine is a passage
+which finds a later echo in Tieck. "K&ouml;nig Lear reisst sich die
+Kleider vom Leibe" (903). Tieck (32): "und reisst sich endlich
+die Kleider ab." The verbal paralelism has significance here
+only because there are other hints at this time which may hav
+aided Tieck: e. g., the fact that the artist has departed from
+the scene as Shakspere portrayd it. Tieck is definit in stating
+just who is added, which proves that he knew his Shakspere
+and saw the plate. Tieck also points out the spiritual difference
+between Shakspere and the "famous West," a distinct addition
+to the matter in the <i>Anzeigen</i>. "Winter's Tale," II, 3, G. G.
+A., 1794, page 9: "Der eifers&uuml;chtige Leontes l&auml;sst den Antigonous
+bey seinem ihm vorgehalten Schwerte schw&ouml;ren, dass er
+das Kind, das ihm seine Gemahlin geboren hatte, in eine Ein&ouml;de
+aussetzen will. Sind gemeine Figuren." Notis how in Tieck,
+while the general terms of the description are the same, because
+following the line of least resistance in externalities, the whole<span class="pagenum"><a name="Page_15" id="Page_15">[P:15]</a></span>
+discussion takes on an individual character, and is expanded
+into a critique of Opie's drawing which was always unsatisfactory
+to Tieck. Tieck (page 21): "Der eifers&uuml;chtige Leontes
+l&auml;sst den Antigonus schw&ouml;ren, das Kind auszusetzen....
+An den Darstellungen aus diesem St&uuml;cke ist viel zu tadeln, vorz&uuml;glich
+an dieser ersten Scene. Leontes, die Hauptperson, ist
+steif und ohne allen Ausdruck, alle &uuml;brigen Personen sind dick
+und plump gezeichnet und ganz ohne alle Bedeutung. Leontes
+l&auml;sst den Antigonus, so wie Hamlet seine Gef&auml;hrten, bei seinem
+Schwerte schw&ouml;ren. Schauspieler und Zeichner aber fehlen,
+wenn sie es so vorstellen, wie Opie es hier gethan hat. Die
+alten Schwerter bilden oben am Griffe ein Kreuz und auf dieses
+legte man die Hand, in Ermangelung eines eigentlichen Crucifixes....
+In diesem Blatte entdecken sich auch bald
+viele Fehler in der Zeichnung. Das Auge wird von der Hauptperson
+auf die Lichtmasse, folglich, auf das Kind hingezogen;
+die Hauptfigur tritt gar nicht genug hervor, sondern h&auml;ngt mit
+den hinter ihr stehenden zusammen; die K&ouml;pfe im Hintergrunde
+sind eben so gross, wie die der vorderen Personen. Alles verr&auml;th
+den unge&uuml;bten K&uuml;nstler." As an example of Tieck's rejection
+of the opinion of the G. G. A., the discussion of "Winter's
+Tale," V, 3, will suffice. This is the statue scene which Tieck
+absolutely condems on account of poor engraving, expression
+and posing. Where the magazine says "Die Statue, der man es
+doch sehr gut ansieht, das es eine lebende Figur ist, macht
+grosse Wirkung." Tieck (22) contradicts thus: "Die Statue ist
+sehr unnat&uuml;rlich, sie sieht mehr einem Geiste, als einem Menschen
+&auml;hnlich."</p>
+
+<p>There are, finally, three further cases in which Tieck takes a
+hint from the <i>Anzeigen</i> and develops it. "2 Henry VI," III, 3,
+(1794, page 10): "Kardinal Beauford ... ein scheuslicher
+Anblick, in mehr als einem Verstande." Tieck (page 25):
+"Dieses abscheuliche Blatt." But Tieck, in a passage too long
+to quote, goes on to giv cogent reasons for not liking the picture,
+not one of which is derived from the <i>Anzeigen</i>. The other
+passages from the "Merry Wives" (I, 1 and II, 1, G. G. A., 1794,
+page 970; Tieck, 11-12) take the hint that Smirke drew caricatures
+and not human beings and borrow the adjectiv "widrig."
+With this slender borrowing Tieck develops a full discussion of<span class="pagenum"><a name="Page_16" id="Page_16">[P:16]</a></span>
+Smirke and of these plates with no further assistance from the
+<i>Anzeigen</i> than a hint on the engraving of textiles.</p>
+
+<p>These passages on "Henry VI" and on the "Merry Wives" are
+doubly interesting, however, because they show that Tieck's
+judgment of Smirke and Northcote offers a very close paralel to
+that of the magazine. Tieck's reasons are fuller, but they show
+no more ability in Tieck than in the reviewer of the <i>Anzeigen</i> to
+understand some of the most characteristic features of English
+humor as exemplified in Smirke, while the pupil and biografer of
+Sir Joshua fares badly because of his alleged bad composition
+and poor light effects. It will be shown later that on both of
+these latter questions Tieck held views quite independent of the
+<i>Anzeigen</i>.</p>
+
+<p>Of Kirk's plate from "Titus Adronicus" the G. G. A., 1794,
+page 970, says, "Den Ausdruck an der Lavinia abgerechnet
+ein gut St&uuml;ck." Tieck (28) begins with a weak, "an dem
+Blatte ... ist vielleicht viel zu loben und wenig zu tadeln"
+but "rights himself like a soldier" thus, "Man sieht, dass der
+K&uuml;nstler eine sehr richtige Idee von der Composition hat, und
+dass er seinem Gegenstand mit Geschmack und Delicatesse zu
+behandeln weiss. Er l&auml;sst uns die abgeschnittenen Arme der
+Lavinia nur vermuthen; der geschickt geworfene Schleier entzieht
+unserm Auge den unangenehmen Anblick," etc.</p>
+
+<p>The examples and paralels alredy given cover practically all of
+the points of similarity between Tieck and his model. They
+show that Tieck used the <i>Anzeigen</i> 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 substance. The content of Tieck's criticisms is very
+much greater than that of his prototype and the form is far more
+polisht. These apercus of Heyne did not prevent Tieck's independent
+thinking; they never fettered him. He followd them
+in a number of places in his paper and once or twice falls into
+their error thru youthful carelessness or misapprehension. They
+did not often confuse his judgment or hamper his vision. He
+never ruthlessly plagiarizd them. That they were a source can
+not be denied, but that they form the real basis of Tieck's
+critique is not for a moment tenable. This came unquestionably
+from himself, and he must be given credit or blame for the good
+or bad in it.</p>
+
+<p>Tieck set about the task of criticising the "Boydell Gallery"<span class="pagenum"><a name="Page_17" id="Page_17">[P:17]</a></span>
+with no diffidence, but with many misgivings, amounting almost
+to prejudises, as to the valu of the set of plates. He was aware
+that this work was intrinsically in a class which is, all in all, artistically
+inferior. His judgments are objectiv, but they promis
+no prescience of a higher, a more spiritual attitude toward art.
+Art in this case servs interpretation and the struggle away from
+what the plates represent has hardly commenced. Tieck feels
+that the whole group does not do Shakspere justis, but he nowhere
+says that the subjectiv interpretation of the poet must remain
+the lasting one for the individual; indeed he asserts quite
+the contrary on the very first page of his paper. It is to be expected
+that Tieck's common sense and fancy should rebel at the
+platitudinarianism of the pictures; that at times he is no more
+than on the plane of the sentimental "Enlightenment" is also
+to be expected. 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' task.</p>
+
+<p>Tieck came to the work with a good first-hand knowledge of
+Shakspere and this lessens the juvenile and jejune qualities of
+his work. He is weaker on the comedies than on the trajedies,
+for the former require a keener sensing of English life than it
+was possible for Tieck to hav obtaind at the time of writing.
+But even for the comedies, some of his observations are very
+just and show that he could interpret Shakspere with sense and
+precision. 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 right. The results
+should show, in a general way, something of the powers of interpretation
+possest by the youthful Tieck, and how this power of
+interpretation conditiond his judgments.</p>
+
+<p>The general theoretical standpoint upon which the essay was
+written is that of Lessing, and a careful perusal will show that
+Haym was wrong when he postulated no Lessing influence on
+the article.<a name="FNanchor_16_16" id="FNanchor_16_16"></a><a href="#Footnote_16_16" class="fnanchor">[16]</a> Tieck's letters to Wackenroder show that he was
+reading the Laokoon at this time, but even if a preoccupation
+with Lessing were not easily postulable, the matter of the paper
+itself will show a distinct recrudescence of Lessing's ideas. And
+not only Lessing, but the school of critics out of which Lessing<span class="pagenum"><a name="Page_18" id="Page_18">[P:18]</a></span>
+arose, e. g., Winkelmann and DuBos, were also a part of Tieck's
+reading.<a name="FNanchor_17_17" id="FNanchor_17_17"></a><a href="#Footnote_17_17" class="fnanchor">[17]</a></p>
+
+<p>The article has a total lack of coloristic reflexes; it emfasizes
+form, if not line; its thoro reasonableness takes into consideration
+all that Lessing has stood for in the domain of art. It has
+the same standpoint as that of a Goethe returnd from Italy and
+of a Karl Philipp Moritz from whom, to be sure, Tieck was turning
+away in disgust.<a name="FNanchor_18_18" id="FNanchor_18_18"></a><a href="#Footnote_18_18" class="fnanchor">[18]</a></p>
+
+<p>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 art. The conflict is
+between a desire in theory for moderated effects, for the toning
+down of emotion, and a desire, in practis, for strong contrast
+and superlativ effects. Lessing, in art the enemy of all realism,
+finds in Tieck a condemer of Hogarth, a condemnation that
+persists in Tieck as late as the essay on the erly English Theater
+(1828),<a name="FNanchor_19_19" id="FNanchor_19_19"></a><a href="#Footnote_19_19" class="fnanchor">[19]</a> and persists on grounds similar to the fundamental
+principle of beauty laid down by Lessing.</p>
+
+<p>It would be a mistake to argu from the foregoing that in this
+article Tieck was not a realist, or at least strongly inclined toward
+realism in his practis. His realism was that of the yung enthusiast
+for whom each variation from the sense of his idol was a
+blasfemy, and he points out (page 24) that there can be none of
+that deception of the senses which is a part of the pictorial arts
+where "ich irgend eine auffallende Unnat&uuml;rlichkeit entdecke;
+denn die Nachahmung der Natur ist der Zweck des K&uuml;nstlers."
+Such strict imitation of nature is more to be expected, to be
+sure, in the work of the lesser lights, such as are the men who
+did the pictures for the "Gallery," than in the work of a real
+genius, and one is glad to overlook, in the works of the latter,
+those minor faults which almost entirely disappear in the face
+of a thousand beauties. So, says Tieck (page 14) "who would
+pass by the divine masterpieces of a Rafael and yet with weighty
+mien find fault with the bad coloring of a single garment?"
+There are clearly two kinds of artist. The one is the genius who
+may be carried too far by his enthusiasm, the other is the colder
+painter, who by his choice of subject, composition, correctness
+of drawing, and grace must make up for his lack of genius, and
+who can not hope to attain the emotional effects of his rival,<span class="pagenum"><a name="Page_19" id="Page_19">[P:19]</a></span>
+but who must be content to arouse a cooler feeling, that is, the
+satisfaction of the spectator. In this series, where genius is excluded
+from the outset, Tieck expects a strict adherence to fact,
+to verisimilitude, and the correct interpretation of Shakspere
+must be insisted on.</p>
+
+<p>In order that the soul may get an immediate enjoyment of the
+work of art, Tieck recommends (page 4) that the painter choose
+well-known subjects. He says: "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
+subjects. I am alredy prepared for the sentiment that the work
+of art is to arouse in me, and surrender myself all the more willingly
+to the illusion. If the subject of the picture is in itself
+beautiful and sublime, or if a great poet has furnisht the painter
+with the invention, the composition and the emotions, our enthusiasm
+is arousd, we giv our wonder and our delight to the
+painter."</p>
+
+<p>The painter, then, is only an interpreter of the poet, whose
+purpose it is to seize the spirit of the poet, 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<a name="FNanchor_20_20" id="FNanchor_20_20"></a><a href="#Footnote_20_20" class="fnanchor">[20]</a> the
+intangible creations of the poet's brain. He makes lasting what
+the reader gets but a fleeting glimpse of, and what even the
+actor can giv but little permanence (page 3).<a name="FNanchor_21_21" id="FNanchor_21_21"></a><a href="#Footnote_21_21" class="fnanchor">[21]</a></p>
+
+<p>Whether or not Tieck was influenced by the prospectus to the
+set, indeed, whether he saw it or not, there is no way of knowing,
+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 England, is much like
+Boydell's own statement of purpose mentiond above. It is also
+an erly paralel to the Romantic insistence on a new mythology,
+a nativ mythology, rather than one drawn from foren sources
+which was a part of Friedrich Schlegel's canon.</p>
+
+<p>The engravings as such are treated by Tieck under five different
+heds. These are: the mechanical technique, drawing with
+perspectiv and line, composition (which Tieck does not clearly
+differentiate from design), expression and choice of subject.
+These five heds comprize all the points in which the pictures
+are treated, but not each picture is treated from all five. The<span class="pagenum"><a name="Page_20" id="Page_20">[P:20]</a></span>
+five giv, however, the full range of Tieck's ideas on the engravings.
+They show the things that attracted his attention, and
+where the influence of the <i>Anzeigen</i> is felt, they serv to show
+how different, after all, his own ideas were. Often the magazine
+does not tuch one or more points of the five.</p>
+
+<p>Tieck's discussion of the technique of the engravings is, as
+may be expected, rather thin, and the frazes that he uses are
+stereotyped. Several of the plates praisd by him are quite without
+merit and such generalities as, "sch&ouml;n gestochen," "vorz&uuml;glich,"
+"vortrefflich gut," are not very significant. Negativ
+praise like "nichts zu tadeln" or "die Ausf&uuml;hrung 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 plates.</p>
+
+<p>These engravings are in the now old-fashiond stipple, tho
+parts of them are in line. At the time of writing, Tieck may
+not hav known the difference between line and stipple, tho in
+"Zerbino" a reference to the "pointed manner," used in a punning
+way, shows that by that time Tieck had become acquainted
+with it.<a name="FNanchor_22_22" id="FNanchor_22_22"></a><a href="#Footnote_22_22" class="fnanchor">[22]</a> Nor does Tieck indicate in any way the "Gallery's"
+sparing use of the increasingly popular mezzotint. He makes
+no mention of the line manner of Flaxman, if he knew him. He
+does not see that the line engravings in the set are poorer all
+thru than the stipple prints, 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 tone, grace,
+and even in exactness of execution.</p>
+
+<p>In one or two places where satin is excellently reproduced,
+Tieck praises the texture of the fabrics. 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 manner.<a name="FNanchor_23_23" id="FNanchor_23_23"></a><a href="#Footnote_23_23" class="fnanchor">[23]</a> As Tieck refers to the other fabrics on
+the plate, which is one of those with duplicated subject and
+which in the <i>Anzeigen</i> seems only to hav been discust in the S
+form, it seems clear that Tieck also saw L here, as S is by no
+means so fine a plate; in fact L has the best fabrics in the series.</p>
+
+<p>Of the twenty-four large plates discust by Tieck, there are
+only thirteen which receive technical criticisms and of these
+thirteen, three are lumpt together under one comment so that<span class="pagenum"><a name="Page_21" id="Page_21">[P:21]</a></span>
+in all there are only ten separate technical criticisms. Of these,
+six occur in the first six plates and with the eighteenth plate,
+Kirk's scene from "Titus Andronicus," the criticism of the mechanical
+side ends with a weak, "sehr gut gestochen," showing
+that Tieck did not progress in his technical criticisms. His interest
+in the engravings as engravings waned as the essay proceeded:
+it never rose above an attention to textiles and, even
+there, Tieck did not see all the finer differentiations of velvet,
+chiffon and lace, tho the fine satins distinctly appeald to him.
+Perhaps as fair an example as any of his inexactness, is his
+praise of the plate from "As You Like It" in which Jacques lies
+watching the wounded deer (II, 1). This is one of the poorest
+of the plates and yet Tieck says, "Die Ausf&uuml;hrung verdient alles
+Lob." Fittler's plate from "Winter's Tale" (IV, 2), while
+weak and without character, is not as bad either in actual cutting
+or in general managment, and yet Tieck condems it unmercifully.
+So, too, the bad plates by Middiman come in for no
+special condemnation from Tieck, tho Middiman is by far the
+worst engraver in the series, and is particularly bad after Hodges,
+the plates after whom Tieck saw.<a name="FNanchor_24_24" id="FNanchor_24_24"></a><a href="#Footnote_24_24" class="fnanchor">[24]</a></p>
+
+<p>Drawing, as such, fares rather better than engraving, tho less
+than half the pictures are criticized from this standpoint. 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 say.</p>
+
+<p>It is especially interesting to note that Tieck finds the drawing
+of Angelika Kaufmann without error. ("Two Gent. Verona,"
+last scene). Here he declares that no clumsy clothing
+conceals the figures, but the lines are well brought out under the
+garments. The disguised Julia is at once recognizable in spite of
+her masculin attire, and the manner of the artist is "grazi&ouml;s."
+An examination of the figure shows that Julia's figure has something
+of the immature in it and that the face is rather boyish.
+One thinks at once of the somewhat malicious words of Friedrich
+Schlegel to his brother, "Wie Angelika Kaufmann, der die Busen
+und H&uuml;ften, auch immer wie von selbst aus den Fingern quellen."
+Both Tieck and Schlegel felt the sensuous charm of the
+painter whose best known self-portrait is in the garb of a Vestal
+Virgin, tho the Schlegels, like Georg Forster, had no illusions<span class="pagenum"><a name="Page_22" id="Page_22">[P:22]</a></span>
+as to the qualities of her art.<a name="FNanchor_25_25" id="FNanchor_25_25"></a><a href="#Footnote_25_25" class="fnanchor">[25]</a></p>
+
+<p>Engravings in stipple emfasize less than line engravings mere
+questions of drawing. It is perhaps with some instinctiv feeling
+for this that Tieck suggests that one of Hamilton's pictures
+has been hurt by the bad engraving, just as certain other plates
+have gaind thru the engraver (page 22). The hint for this point
+came originally from the <i>Anzeigen</i> but Tieck has developt it.
+While it is now no longer possible to check up each plate with
+its corresponding picture, it is true that the engravers were
+relatively better craftsmen, as a rule, than the painters. In
+hardly any one case is the painting a sample of the best work of
+the artist. Often, as in the case of Sir Joshua Reynolds, the
+painting redounds but little to his credit.<a name="FNanchor_26_26" id="FNanchor_26_26"></a><a href="#Footnote_26_26" class="fnanchor">[26]</a> Where, as in the
+case of Barry, Sir Joshua's great rival, the picture is reckond
+with his superior work, the only conclusion is that Barry was a
+very bad artist and so Tieck considers him. The engravers, on
+the other hand, had had no better chance in years to exhibit
+their art than in this imposing series, and most of the best
+names in stipple appear in it. 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 (e. g., page 20).</p>
+
+<p>Besides having the good feeling for the human form under the
+garment, as in the case of the figure of Julia and of those of
+Mrs. Ford and Mrs. Page by Smirke, Tieck also criticizes several
+cases of misdrawing. So, the clumsy legs of one of Opie's
+figures are scored and in blaming this failing of Opie, Tieck hits
+one of the most pronounced weaknesses of that artist both in
+the "Gallery" and in Bell's British Theater. But Opie, the
+"Comedy Wonder," is hardly the "unge&uuml;bter K&uuml;nstler" that
+Tieck makes him out to be. Here Tieck, following the criticism
+of the <i>Anzeigen</i>, from which he may have got the hint on Opie's
+drawing, develops the criticism too far and goes astray. There
+is a constant suspicion that Tieck is trying to master a jargon.</p>
+
+<p>Often it is a mere chance whether Tieck will see or not see a
+peculiarity. Some of the sentimental, foolish, and misdrawn
+hands escape his notis, whereas in other cases he criticizes them.</p>
+
+<p>Perhaps the best example of Tieck's criticism of drawing is
+that of Northcote's plate to "Richard III." (III, 1, page 27).<span class="pagenum"><a name="Page_23" id="Page_23">[P:23]</a></span>
+He says, "Der alte Cardinal scheint ganz verzeichnet zu sein,
+man ist ungewiss, ob er steht oder kniet: in beiden F&auml;llen ist die
+Zeichnung fehlerhaft." Tieck's strictures are correct. The
+space from the waist down is found upon examination to be abnormally
+long for a kneeling person, and groteskly short for one
+standing. Tieck's critique is good, for it points out the error
+and the reason, and shows that in any case the alternativ is a
+bad one.</p>
+
+<p>Tho Tieck may hav been over-kind to Angelika Kaufmann, he
+quite agrees with his contemporaries in the condemnation of another
+German Swiss living in England, namely F&uuml;essli, whom he
+calls one of the worst of the admirers of Michaelangelo. The
+michaelangelesk school of the day faild in its expression of
+great muscular effort, in that it put for strength distortion and
+violence. F&uuml;essli was one of the most important adherents, or
+rather, was the greatest representativ of the fad perhaps anywhere
+and seems therby to hav largely incurd the displesure of
+his German critics. That Tieck really understood Michaelangelo
+is shown by his later article in the "Phantasien &uuml;ber die Kunst."
+He defends him from the charge of having drawn to show his
+knowledge of anatomy and among other things, exclaims on his
+"greatness, his wild grace, his fearful beauty."<a name="FNanchor_27_27" id="FNanchor_27_27"></a><a href="#Footnote_27_27" class="fnanchor">[27]</a> 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 muscle.</p>
+
+<p>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 Tale." Awkwardness and violence, anything that
+savord of "affectation and bombast," where in Shakspere "power
+and energy" are found, met Tieck's disapproval. So this figure
+of Leontes, so Orlando standing with his legs far apart, so the
+faces drawn by F&uuml;essli. Wherever there were violent angles,
+sharp points and corners, Tieck felt himself ill at ease. When
+he saw in some of F&uuml;essli's plates faces which giv the impression
+of the plaster blocks of the art schools that are used to draw
+from the cast, the square chins, the noses, either very pointed
+or cut off square, imprest him as repulsivly inhuman. "Widrig,
+unnat&uuml;rlich, abgeschmackt, manierirt," are the terms applied to
+F&uuml;essli's cursing scene from Lear.</p>
+
+<p>It would hav been interesting had Tieck seen F&uuml;essli's later<span class="pagenum"><a name="Page_24" id="Page_24">[P:24]</a></span>
+scenes in the "Gallery." The Bottom scenes from the "Midsummer
+Night's Dream" show that fantastic imagination which
+was the artist's strong point. All the forms from the fairy world
+were there, Moth, Peascod and a welth of other spirits. There
+is a distinct appeal to the imagination which justifies the painter
+of "Die Nachtmahr," tho the faces of Titania and Oberon are
+here too hard and sullen. But the imagination shown has a
+curious similarity with the work of Tieck in his later stories such
+as "Die Elfen," and which has so warm an afterglow in "Die
+Vogelscheuche."</p>
+
+<p>Composition means for Tieck especially order. He has not
+yet lernd the principle of triangulation of arrangement enunciated
+by Caroline in the "Gem&auml;lde" essay in the <i>Athenaeum</i>.
+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 relief. 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 arrangement.</p>
+
+<p>What irritates Tieck especially is an arrangement of figures
+in the picture in the regular semi-circle borrowd directly from
+the theater. The evil of unnaturalness which such attitudinizing
+brings with it, is enhanced by light effects drawn from the
+same source. So, for example, where the light is that of a lamp,
+only so much light as a lamp would giv, or the effect of natural
+lamp-light is allowable. If, on the other hand, the sunlight
+streams into the room, the source of the sunlight should be evident
+as outside the room. Tieck might hav mentiond as an example
+of this some of the fine interiors of Pieter De Hoogh. The
+light effects should not be harsh but graded down so that no violent
+light contrasts occur within the same room. The light,
+too, should be broken up, not kept in a mass as if it were a separate
+entity to be treated apart from all other objects.</p>
+
+<p>All this is perfectly resonable and not especially technical.
+It is conveyd in stray hints rather than in any set discussion of
+light effects in any one place. Often, too, Tieck's dislike for
+some other aspect of a painter's work leads him astray on this
+point. This is tru in the case of Northcote, whose really good<span class="pagenum"><a name="Page_25" id="Page_25">[P:25]</a></span>
+treatment of the high lights Tieck has in one or two cases entirely
+overlookt. There seems to hav been a distinct appeal
+made, too, by the sheen and glitter of certain textiles and the
+scintillating, flickering light of the later periods of Tieck's work
+is presaged as erly as this. On the whole, however, it is not the
+glitter of the world of out-of-doors, but of the world of the shut-in,
+of the world of little things which appeals so strongly to
+Tieck and which he treated with such banality in the story
+"Ulrich der Empfindsame."</p>
+
+<p>Thus, Tieck's landscape criticism is very bad and even tho, as
+has been pointed out, the basis for his adjectivs lies in the <i>Anzeigen</i>
+articles, his expansion beyond them brings no real betterment.
+In the plate from "Love's Labor Lost" (IV, 1, page 9),
+when Tieck was feeling his way into his subject, his general impression
+was one of plesure, and so the landscape is "reizend."
+In the whole essay, "reizend" is the only constructiv epithet
+applied to landscape and it occurs only twice. Hamilton's landscape
+is purely conventional and, except for a vista, of which
+Tieck was all his life fond, offers nothing to commend it. The
+failure of Tieck to judge rightly must be laid at the door of too
+great reliance on the <i>Anzeigen</i>.</p>
+
+<p>Tieck criticizes only one other landscape as such, tho in a
+third case a landscape background is discust adversly. For the
+scene from "As You Like It" in which Jacques watches the
+wounded deer the term "reizend" seems quite impossible. Engraved
+by Middiman after Hodges, a combination which augurs
+ill, the scene is without dout the worst in every way that Tieck
+saw. The composition is bad: Jacques, a figure without grace
+of expression, sprawls in a comedy landscape and the features of
+the wounded deer hav a strong Hebraic cast. Here, if ever, the
+scene is drawn from the stage and not from nature and stage
+properties are models for tree and foliage. When Tieck says
+that the scene is one to arouse cheerfulness in the beholder, he
+is correct but not in the sense that he ment. The reliance on
+his source is not enuf to account for his aberration; the failure
+to judge aright must be laid at Tieck's door.</p>
+
+<p>After pointing out the value of the whole, and the effect made
+by the light of the torch held by Gloster ("Lear," III, 4), Tieck
+shows that this effect, striking as it is, detracts from the unity of<span class="pagenum"><a name="Page_26" id="Page_26">[P:26]</a></span>
+the composition, since it shifts the emfasis from Lear and his
+pain. Lear, morover, is not the Lear of Shakspere but a giant,
+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 it, winding
+them impossibly about him. The effect of these draperies, says
+Tieck, is baroque and there is no thought of quiet strength or
+noble simplicity.<a name="FNanchor_28_28" id="FNanchor_28_28"></a><a href="#Footnote_28_28" class="fnanchor">[28]</a></p>
+
+<p>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 Wolf. A comparison with the latter
+picture at once reveals the justness of Tieck's observation. The
+figure of the Indian seated in the foreground is strikingly like
+that of Edgar, both in form and in general expression, and it is
+evident that West has repeated himself. In general, Tieck does
+not make comparisons of this kind. He confines his remarks to
+the picture itself, and probably was not well acquainted with the
+run of contemporary British art.<a name="FNanchor_29_29" id="FNanchor_29_29"></a><a href="#Footnote_29_29" class="fnanchor">[29]</a></p>
+
+<p>Tieck's judgment of composition did not go far beyond this
+emfasis on the principal figure. A general series of colorless
+frases like "gut geordnet" occurs, but expresses only a mild acquiescence
+in the arrangement. Tieck was fond of the posing sentimentalities
+of groups like the landscape plate from "Love's
+Labor Lost," 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&mdash;inadequate for art&mdash;of Shakspere
+illustration. On the other hand, and here he departs constantly
+from the canon of Lessing, there is no striving for abstract
+beauty. Charm and grace, beauty in motion as it is exprest
+by the female figure in Anne Page and a few other cases,
+are Tieck's nearest approach to it.<a name="FNanchor_30_30" id="FNanchor_30_30"></a><a href="#Footnote_30_30" class="fnanchor">[30]</a></p>
+
+<p>The general reason for Tieck's failure is that in actuality these
+pictures were not ugly or inartistic to him. Where he criticizes
+it is oftenest the idea; the execution and the relation to an abstract
+standard are of less consequence, and his theory once
+more limps behind his practis. He may berate Hogarth as an
+artist without beauty but it is clear that his extoling of Rafael
+is a mere matter of fashion; he is in the same category with
+Domenichino, whom Tieck's generation and the next succeeding<span class="pagenum"><a name="Page_27" id="Page_27">[P:27]</a></span>
+one considerably overestimated. In Michaelangelo, Tieck knows
+the strength of the drawing and not the wistfulness that pervades
+even the most Titanic of the master's creations. In general,
+affectation of pose, mannerism and preciosity are Tieck's
+bane only where the sentimental is not concernd.</p>
+
+<p>An interesting commendation of the composition of a plate is
+that of Kirk's picture from "Titus Adronicus" (IV, 1). Tieck likes
+the plate because of its taste and delicacy in only suggesting the
+mutilated arms of Lavinia. Kirk has avoided the frank naturalism
+of the original by the use of draperies, and this appeals to
+Tieck as a toning down and is in line with what had been suggested
+before in regard to Tieck's attitude.</p>
+
+<p>This plate has an accessory which Tieck objects to, namely the
+over large colum in the background. Usually, but not in this
+case, Tieck criticises the accessories from the standpoint of the
+stickler for historical accuracy, rather than for any artistic merit
+or demerit. So the tomb of the Capulets in "Romeo and Juliet"
+is not Italian of the period, and the dresses of the women in
+"Merry Wives" are in violation of the sumptuary laws of the
+time.<a name="FNanchor_31_31" id="FNanchor_31_31"></a><a href="#Footnote_31_31" class="fnanchor">[31]</a> In the deth of Mortimer (1 "Henry VI.," V, 2) the
+family tree lying on the ground adds a tuch of symbolism which
+Tieck approves, tho in the same scene he criticizes the mean
+character of the prison, saying that for such a noble prisoner a
+better place of incarceration would hav been found.</p>
+
+<p>Tieck makes no clear distinction between passing expression
+(Ausdruck) and permanency of feature (Miene). His discussion
+of expression goes hand in hand with composition, since, as was
+mentiond above, composition has so close a relation to the
+placing of the principal character. There is a definit point of
+view, however, in Tieck's discussions of composition; in his
+strictures and encomiums on expression of face and figure it is
+practically impossible to find a consistent <i>pou sto</i>. In places, 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
+<i>Anzeigen</i>. 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 high, but his practical application
+of these principles is by no means as strict as might be
+expected. Indeed, in theory Tieck demands one thing and in
+practis another.</p>
+
+<p>It is Tieck's desire that the artist should catch the individual<span class="pagenum"><a name="Page_28" id="Page_28">[P:28]</a></span>
+note in these figures and raise it to an ideal, 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 characters. But when Tieck actually examins
+the pictures, he stresses theatrical pose or mien and pays
+no attention to those obvious tricks whereby expression is obtainable:
+the skilful use of light and shade on the face, the
+treatment of the lines of the mouth, and the placing of the eyes.
+Occasionally, as in the ball scene in "Romeo and Juliet," it
+seems as if the treatment of the eyes of a figure&mdash;in this case
+that of Tybalt&mdash;attracted his attention, but there are so many
+other plates in which the eyes are quite as good and are nevertheless
+past over, that the instance of Tybalt seems fortuitous.</p>
+
+<p>Tieck uses the expressions "ohne Ausdruck," "wenig Ausdruck"
+and "ohne Charakter," "wenig Charakter" almost exclusively
+in his negativ criticism of the plates and his positiv
+criticism substitutes "viel" for "wenig." Such frases are not
+very definit and Tieck misapplies them constantly. In four out
+of the five cases of Tieck's largest caption, "ohne Ausdruck,"
+he is certainly incorrect and the postulation of "wenig Ausdruck"
+is wrong in at least two out of the three cases. 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 eighteenth.
+It is largely bad judgment on Tieck's part. In the
+three cases where Tieck sees "vielen Ausdruck" not one is in
+reality especially distinguisht for vividness. Two even vie with
+the most expressionless in feature and hav no special pretentions
+to significance of posture. In the five plates where Tieck uses
+"ohne Charakter" or "wenig Charakter," the epithets are in
+general tru.</p>
+
+<p>Tieck got the hint for an advers criticism of the faces of Mrs.
+Ford and Mrs. Page from the <i>Anzeigen</i>. He exclaims, expanding
+his model, "Welch' widrige Gesichter! welch' uninteresante
+Figuren!" There is in the pose of Mrs. Page a most awkward
+droop of the neck, but in Mrs. Ford's face there is a rollicking
+Irish drollery, a freshness of complexion and a witchery of the
+eyes that are quite charming. The painting was by Peters,
+whose "sprightly humor" was so much admired by his contemporaries.</p>
+
+<p>One of the two pictures of Leontes in the "Winter's Tale"<span class="pagenum"><a name="Page_29" id="Page_29">[P:29]</a></span>
+shows his giving the oath to Antigonous to destroy the child.
+In Leontes' frowning face Tieck sees no expression, altho it is
+unquestionably one of the most lively of the series. The stiffness
+of pose that Tieck objects to in the picture may well be accounted
+for by the full suit of armor that Leontes wears. The
+face is far more expressiv than that of the other Leontes picture
+and yet Tieck's judgment on them is the same.</p>
+
+<p>One of the most striking failures on Tieck's part to see character
+interpretation of real subtlety is in Northcote's portrayal
+of "Richard III." There can be no dout that Tieck's general
+dislike of the artist, which was based on the adverse criticisms of
+the <i>Anzeigen</i>, led his judgment astray. The face of Richard is
+all in all the most characteristic of the series in so far as Tieck
+saw the series. Richard's "subtle, false and trecherous" look
+with the smile of his grim humor is well caught; the eyes and
+mouth are excellent and giv a very adequate idea of the deviltry
+of the man, of his lewd cunning and his scheming. What Tieck
+might well hav objected to is the sentimentalizing of the two
+princes whom the artist has transmogrified into fat little babies,
+just as in the next picture the two hav become well-fed little
+beef-eaters.</p>
+
+<p>As Tieck fails to see sentimentality in this picture, so he misses
+extravagance in the church scene from "Much Ado." Tieck
+borrowd much in this discussion from the <i>Anzeigen</i> but his remarks
+on expression are his own. He says that Leonato has too
+little expression. There can be no dout as to the figure intended
+for Leonato. Claudio is identified by a very theatrical gesture
+and by a Mefistofelian Don Juan behind him. The fainting
+Hero, over whom Beatrice is bending, falls into Benedix' arms.
+The only other figure, that of an older man, and who therefore
+cannot be Benedix, is standing in a most theatrical posture with
+clencht fists, eyes upturnd, rigid and ridiculous. If Tieck ment
+that this figure should represent Leonato, he has shot wide of
+the mark in his criticism and displays a most unrefined love of the
+melodramatic. Figures like this are not often found in the
+"Gallery." Ordinarily excess of sentiment and a cheap display
+of emotion giv way to stiffness and awkwardness.</p>
+
+<p>Tieck was dissatisfied with all the reproductions of Lear. They<span class="pagenum"><a name="Page_30" id="Page_30">[P:30]</a></span>
+hav all too much of the gigantic, too little of the childish old man.
+He points out that the face as drawn by F&uuml;essli expresses nothing
+but rage; the same exaggeration is found in the drawing of West
+who sacrifices truth, nature and emotion to a striking first impression.
+Barry's Lear only excites laughter and the lack of expression
+in the face is made up by the storm-wind in the hair.
+Again, however, issu must be taken with Tieck's attitude, for it
+is impossible to regard these faces as expressionless. It is not
+that they hav too little, but too much, and of a wrong kind.
+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 way.</p>
+
+<p>It seems apparent that those plates which had a certain sentimentality,
+a certain saccharin quality appeald to Tieck. He
+likes the prettiness of Anne Page and cleverly notes the touch
+of scorn in her face. If he had recalled Reynolds' Mrs. Siddons
+he would hav recognized the same trait of hardness around the
+mouth, a line that is often found in the pictures of English women.
+Perhaps Tieck's interest went hand in hand with his enthusiasm
+for Rafael, and lack of discrimination lets him take all as
+of equal value. The face of young Lucius in "Titus Adronicus"
+and the face of Juliet in the tomb are examples of this. Tieck
+argues that the boy has a good deal of expression, but a cool observer
+can see only melodrama in the pose and blankness in
+the face. The most interesting thing about the plate has escaped
+Tieck's attention, namely that both of Titus' hands are represented.
+It seems an especially noteworthy omission in a picture
+which Tieck praises for not showing the stumps of Lavinia.<a name="FNanchor_32_32" id="FNanchor_32_32"></a><a href="#Footnote_32_32" class="fnanchor">[32]</a></p>
+
+<p>Tieck several times criticizes a picture for making a good first
+impression and then not being able to stand the test of close observation.
+An example of this is Northcote's portrayal of Mortimer
+and York (1 "Henry VI.," II, 5) which is really spoild according
+to Tieck by the strong light masses which at first sight
+seem very striking. These light masses throw the main figure
+into relief, but Tieck objects to the unnatural posture of the dying
+man. Close examination of the figure reveals the fact that
+Mortimer is really well drawn; the lines of the drapery distort
+the general impression, but that part of the drawing comprising
+the actual sitting figure is that of a broken old man, fallen in a<span class="pagenum"><a name="Page_31" id="Page_31">[P:31]</a></span>
+heap and dying. Any one who has seen Irving's masterly representation
+of the dying Louis cannot but be imprest by the verisimilitude
+of Northcote's presentation. What Tieck says of the
+minor characters on the plate is true; they are expressionless in
+the extreme.</p>
+
+<p>Tieck is fully justified in calling Reynolds' scene from "Henry
+VI." "dieses abscheuliche Blatt," where the word "abscheulich"
+is reminiscent of the <i>Anzeigen</i>. He asks further, "Ist dies
+der K&uuml;nstler der Familie des Ugolino?"<a name="FNanchor_33_33" id="FNanchor_33_33"></a><a href="#Footnote_33_33" class="fnanchor">[33]</a> With much better
+right he might hav askt, "Is this the painter of the 'Age of Innocence'
+and the man who loved to paint children?" Both the
+Shakspere plate and the stiff Ugolino picture attempt to portray
+the horrible, and the only other plate that Sir Joshua did for the
+"Gallery," namely, the Hecate plate from "Macbeth," the same
+selection of a grewsome subject is made. Neither of these pictures
+can be sed to conform with Reynolds' well-known doctrin
+that the function of art is to arouse the imagination, for in these
+pictures there is nothing left for the imagination but exhaustion.
+They show a vein of the bizarre without the great fancy of
+F&uuml;essli and are realistic to a degree that stopt at nothing. It is
+not to be wonderd at that Tieck exhausts himself in condemnation
+of the plate that he saw.</p>
+
+<p>It is plain that Tieck saw in the plate a caricature and an
+evasion. The caricature was the dying man and the evasion
+was the veild face of the young king. 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 emotion. Here Tieck
+certainly breaks with the doctrin of Lessing who praised the expedient
+of Timanthes in veiling the face of Agamemnon at the
+sacrifice. Tieck tacitly accuses Reynolds of shirking an obvious
+task. He wisht something superlativ, whether in fleeting expression
+or in that permanency which is caused by iterativ
+emotion. Such a desire, the emfasizing of Shakspere's "Kraft"
+and "Energie" leaves him on the plane of the Storm and Stress
+in his attitude toward the British poet.<a name="FNanchor_34_34" id="FNanchor_34_34"></a><a href="#Footnote_34_34" class="fnanchor">[34]</a> If the words of Sir
+Joshua himself are to be taken as a criterion, his theory is different
+from his practis in this case, and Tieck has condemd him
+out of his own mouth.</p>
+
+<p>Beauford, whom Tieck calls a caricature, certainly leaves<span class="pagenum"><a name="Page_32" id="Page_32">[P:32]</a></span>
+nothing to the imagination, as Reynolds wisht for art.<a name="FNanchor_35_35" id="FNanchor_35_35"></a><a href="#Footnote_35_35" class="fnanchor">[35]</a> Tieck's
+description of the figure is apt, "Beauford liegt da, mit den
+Z&auml;hnen grinsend, das Bett in Verzuckungen kneifend, eine
+ekelhafte, verzerrte Caricatur, &uuml;ber die man lachen k&ouml;nnte,
+wenn sie etwas weniger abscheulich w&auml;re. Genie and Enthusiasmus
+k&ouml;nnen hier die Hand und Kritik unm&ouml;glich irre gef&uuml;hrt
+haben; denn weder das eine, noch der andere geh&ouml;rt dazu, um
+diese Z&uuml;ge, diese Umrisse hervorzubringen."</p>
+
+<p>The word caricature is, even before he found it in the <i>Anzeigen</i>,
+a term of deepest reproach with Tieck. In his essays to
+Wackenroder he says, speaking of a certain actor, "Ich gestehe
+dass er vielleicht viele Scenen nat&uuml;rlich und einige komish darstellt,
+aber nach meinem Urtheil spielt er in keiner einzigen
+sch&ouml;n, mit einem Worte, er macht Carrikatur, und die kann nie
+sch&ouml;n sein, wenn sie auch noch so vielen Ausdruck hat. Das
+Komische und das Schreckhafte gr&auml;nzen &uuml;berhaupt vielleicht
+n&auml;her aneinander, als man glaubt ... Vielleicht ist das
+wahre komische Spiel so wie Unzelmann est giebt, alles so leicht,
+so &uuml;bergehend, keine Periode, keine Idee, keine Stellung m&ouml;glichst
+festgehalten, keine Grimasse in Stein verwandelt."</p>
+
+<p>After pointing out the value of the unspoild taste of childhood
+in matters of esthetic judgment, Tieck continues: "Du
+kannst leicht die Erfahrung machen, dass Carrikaturen den Kindern
+nie gefallen, denn sie erkennen in ihnen nur mit M&uuml;he den
+Menschen wieder, sie f&uuml;rchten sie wirklich; sie k&ouml;nnen ungleich
+l&auml;nger eine andre Figur ohne Ausdruck und bestimmten Charakter
+betrachten, ja tagelang dar&uuml;ber br&uuml;ten, und Ausdruck und
+Charakter hineintragen, hundert Tr&auml;ume spinnen sich in ihrer
+Seele aus, ... Carrikaturen gefallen &uuml;berhaupt vielleicht
+nur einem kalten n&ouml;rdlichen Volke, dessen Gef&uuml;hl f&uuml;r den feinen
+Stachel der stillen Sch&ouml;nheit zu grob ist, oder die schon die
+Schule der Sch&ouml;nheit durchgegangen sind, und deren &uuml;bersatten
+Magen nur noch die gew&uuml;rztesten Speisen reizen k&ouml;nnen, die es
+daher gern sehen, wenn die Sch&ouml;nheit dem Ausdruck aufgeopfert
+wird, weil sie in der Sch&ouml;nheit keinen lebenden Ausdruck mehr
+finden. Du wirst sehen, dass ich hier nicht bloss von der komischen
+Carrikatur spreche, sondern von jedem Ausdruck irgend
+einer Leidenschaft, der die Sch&ouml;nheit ausschliesst." He then
+goes on to indicate the relation of what he had sed to Lessing
+and confesses his indetedness to him in the matter. The highest<span class="pagenum"><a name="Page_33" id="Page_33">[P:33]</a></span>
+effects when used in sculpture and painting are also caricature.<a name="FNanchor_36_36" id="FNanchor_36_36"></a><a href="#Footnote_36_36" class="fnanchor">[36]</a></p>
+
+<p>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 illustration. Tieck says (page 15), "Im
+Trauerspiele ersteigen meistentheils gerade die sch&ouml;nsten Scenen
+eine H&ouml;he des Effects, die der Maler schwerlich ausdr&uuml;cken
+kann, ohne widrig zu werden. Der Schauspieler verliert schon
+oft jene Grazie, die jedem Kunstwerke n&ouml;thig ist, wenn er
+manche Scenen der tragischen Kraft so wiedergeben will, wie er
+sie im Dichter findet, doch kann die Mimik hier noch das Unangenehme
+vermeiden; der Malerei ist es aber meist unm&ouml;glich,
+denn jene Verzerrungen, die auf der B&uuml;hne nur vor&uuml;bergehend
+sind, werden hier bleibend gemacht; dort erschrecken sie durch
+ihr pl&ouml;tzliches Entstehen und Verschwinden, hier werden sie
+ekelhaft, weil durch das Feststehende und Bleibende des Widrigen
+der dargestellte Mensch zum Thier herabsinkt. Jemehr der
+Maler den Affekt hinauftreibt, desto mehr nimmt er zugleich
+Interesse und Tadel von seinem Helden. Die h&ouml;chsten Grade
+des Zorns, der Wuth oder der Verzweifelung bleiben im Gem&auml;lde
+stets unedel; selbst der Wahnsinn muss hier mit einer gewissen
+Sch&uuml;chternheit auftreten, und im h&ouml;chsten Entz&uuml;cken muss ein
+sanfter Wiederschein der Melancholie leuchten." The relation
+of this to Lessing, both in the "Laokoon" and in the "Dramaturgie"
+is at once apparent.</p>
+
+<p>The dislike for caricature centers around the comic efforts of
+Smirke for whom Tieck has hardly a good word to say. In the
+discussion of Reynolds' picture, Tieck remarks, half in jest, that
+he regrets his strictures on Smirke in the face of this greater
+caricature by Reynolds. The sum total of his criticisms of
+Smirke is unjust: thruout the series and especially in some of the
+plates that Tieck saw, this painter has caught the comic spirit
+well, and tho overpraisd by his contemporaries, has done some
+very clever work both in the "Gallery" and in Bell's "British
+Theater."<a name="FNanchor_37_37" id="FNanchor_37_37"></a><a href="#Footnote_37_37" class="fnanchor">[37]</a></p>
+
+<p>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 Ado." Simple is for Tieck neither the character<span class="pagenum"><a name="Page_34" id="Page_34">[P:34]</a></span>
+as Shakspere conceived him, nor is he funny. It is again, says
+Tieck, a mere exaggeration, tantamount to a confession of inability.
+That the spectator cannot laugh at the character is the
+artist's greatest punishment; in overstepping the just limits of
+the comic and the natural, he has made the figure insignificant.
+Unlike Hogarth, says Tieck, Smirke has not the power of expressing
+character by means of the distortions of the exterior.
+To put an artist below Hogarth is with Tieck to put him very
+low; in this respect he stands on the plane of August von
+Schlegel in the <i>Athen&aelig;um</i> and has not risen to the level of admiration
+for the Englishman displayed by Novalis in the "Fragments."</p>
+
+<p>The best that Tieck can say for the Dogberry scene as a whole
+is, that in spite of its exaggerations, it has much comic power.
+But, he goes on to explain, it is a far different thing for Smirke
+to exaggerate than for Shakspere, for the latter always draws
+human beings, while the figures of the former are at times hardly
+to be distinguisht from apes.</p>
+
+<p>To a certain extent the figure of Dogberry and more especially
+the face, justify Tieck's repugnance. In its way, the face is
+fully as bad as that of Reynolds' Beauford. Tieck says, "Selbst
+ein vertrauter Leser des Shakspeare findet sich nicht in den hier
+dargestellen Caricaturen, von denen die Hauptperson in einer
+Wuth, die l&auml;cherlich sein soll, so ekelhaft verzerrt wird, dass
+man nur ungern mit dem Blick auf dieser Zeichnung verweilt."
+This is in every respect tru. Smirke has here mist all the
+comic elements of the character, and has produced not the
+ridiculous malapropian Dogberry but a demoniac grinning mask
+of a face and a twisted, distorted and frenzied figure. Tieck
+proceeds, "Ein K&uuml;nstler, der die komischen Scenen des Shakspeare
+darstellen will, sollte doch von seinem Dichter so viel gelernt
+haben, dass dieser seine Caricaturen nie ohne eine gewisse
+Portion von phlegmatischer Laune l&auml;sst, die so oft unser Lachen
+erregt, und aus der blossen Erfahrung sollte er wissen, dass
+selbst der l&auml;cherlichste Zwerg, wenn er sch&auml;umt, in eben dem
+Augenblicke aufh&ouml;rt l&auml;cherlich zu sein. Jedes Subject h&ouml;rt auf,
+komisch zu sein, sobald ich es in einen hohen Grad von Leidenschaft
+versetze. Denn das L&auml;cherliche in den Charakteren entsteht
+gew&ouml;hnlich nur durch die seltsam widersprechende Mischung<span class="pagenum"><a name="Page_35" id="Page_35">[P:35]</a></span>
+des Affects und des inneren Phlegma; wenigstens so hat
+Shakspeare seine wirklich komischen Personen gezeichnet.
+Der Mangel an Genie zeigt sich gew&ouml;hnlich in Uebertreibung
+und gesuchten Verzerrungen des K&ouml;rpers."<a name="FNanchor_38_38" id="FNanchor_38_38"></a><a href="#Footnote_38_38" class="fnanchor">[38]</a></p>
+
+<p>The scene from the "Merry Wives" in which Dr. Cajus catechizes
+William on his Latin, represents very well the type of
+scene the choice of which Tieck condems as unsuited for representation.
+It is not because there was something in the humor
+of them that Tieck did not grasp, but because he rejects on principle
+all that is secondary and episodical. Such scenes as are
+told and not acted, that is, the epic portions of the plays, as
+well as the reflectiv and filosofical portions would hav to be excluded.
+It is the fate of the principal characters which is of
+prime importance, and the moment must be chosen with their
+activities in view. This emfasis on the principal character is
+also strongly reminiscent of the doctrin of Lessing's "Dramaturgie."
+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 representation.</p>
+
+<p>Some of the scenes which Tieck rejects are Hodges' picture of
+the melancholy Jacques, and the murder of the princes in "Richard III."
+Neither of these is acted out on the stage. From the
+"Merry Wives" he proposes Falstaff's three adventures: the
+basket scene, the Witch of Brentford scene and the final torturing
+of Falstaff by the practical jokers. These giv a chance for
+variety of grouping and a gradation of expression in all the chief
+characters of the play. The scene in which the two women
+read identical letters from Falstaff, Tieck regards as the worst
+possible, for reasons that he says he need not recall but which
+are obviously those of lack of stress on the main character.</p>
+
+<p>The scenes that Tieck recommends were actually chosen by
+the artists whose work appears later in the series and so Tieck's
+judgment is, in a way, confirmd. 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 theme. It
+is interesting to note, however, how little the choice of subject
+has to do with the artistic merit or demerit of the plates. The
+subsequent plates, which would hav fully satisfied Tieck's requirements
+as to the moment of presentation are artistically
+among the worst in the series.</p>
+
+<p>The two scenes from "As You Like It" suggested by Tieck,<span class="pagenum"><a name="Page_36" id="Page_36">[P:36]</a></span>
+the one where Adam admonishes Orlando (II, 3) and the scene
+in the forest where Orlando enters bearing Adam on his shoulders
+(II, 7) hav not the same structural relation to the whole as hav
+those from the "Merry Wives." These moments lend themselves
+very well to representation but are chosen on another
+basis of judgment. They show that for Tieck Orlando was of
+more importance than Rosalind, for he suggests no scene with
+her in it as especially representativ of the play. In the first of
+these two scenes, the action has already begun; the scene is the
+culmination of the episode containing the first relation of the
+brothers. It is in itself not a vital part of the action. The
+scene in the forest, on the other hand, has more of the qualities
+demanded by Tieck: a variety of characters and an important
+moment. This is a moment&mdash;tho not the initial one&mdash;when Orlando's
+fortunes mend and he comes to his frends. The scene
+in which he first meets the Duke's party is of more significance.
+It seems as if the governing principle is contrast rather than a
+desire for elucidation of structure in serial arrangment. Orlando
+and Adam, ill-fortune and good luck, are juxtaposed.</p>
+
+<p>Tieck conjectures that the eavesdropping scene from "Much
+Ado" (III, 1) is included in the collection because it was played
+by popular actresses of the contemporary English stage. Tieck
+misses the structural importance of the scene. It is apart of the
+intrigue; it has a direct effect on Beatrice who comes from it a
+changed woman. To Tieck, however, it ment as little as the
+similar eavesdropping scene from "Love's Labor Lost" (IV, 3),
+in which play he claims there is no suitable scene for representation.</p>
+
+<p>The scene from "Winter's Tale" in which Perdita welcomes
+the disguised Duke (IV, 3), offering him flowers the while, is
+condemd in favor of the one immediately following in which the
+Duke discloses himself. Here again Tieck stresses the contrast
+and wishes a climax, a dramatic moment. So he praises such
+scenes as the putting away of Hero at the altar and the deth of
+Beauford, however much he derides the execution of the latter,
+by Reynolds.</p>
+
+<p>For the sake of bringing out the wretchedness of this execution,
+Tieck points out that tho he has often before bewaild the<span class="pagenum"><a name="Page_37" id="Page_37">[P:37]</a></span>
+choice of moment, he cannot do so in this case for no better
+could hav been selected. He details the good points in the
+scene: "Man denke sich einen B&ouml;sewicht auf dem Todtenbette,
+den die Verzweifelung wahnsinnig gemacht hat, der keine Seligkeit
+hofft; diesen besucht in seiner Todesstunde Heinrich, der
+junge gef&uuml;hlvolle K&ouml;nig, ein Schwarmer in der Religion, der
+von diesem Anblick auf das tiefste ger&uuml;hrt wird; Warwick und
+Salisbury, zwei m&auml;nnliche Krieger, begleiten ihn hierher. Beauford
+ist die Hauptperson, alle Zuschauer haben ihre gauze Aufmerksamkeit
+auf ihn gerichtet. Der K&uuml;nstler h&auml;tte hier r&uuml;hren
+und ersch&uuml;ttern k&ouml;nnen; ich sehe in Gedanken den weichen
+Heinrich Thr&auml;nen vergiessen, im sch&ouml;nsten Contrast mit dem
+Cardinal, der ihn, in der Abwesenheit seines Geistes, kalt und
+ohne Bewusstsein anstarrt. Warwick und Salisbury, weniger
+ger&uuml;hrt, aber doch interessante Physiognomien, die durch
+leichtere Nuancen von einander unterschieden sind. So sehe
+ich in der Phantasie das sch&ouml;nste tragische Gem&auml;lde ..."</p>
+
+<p>In "Romeo and Juliet" the choice of the ball scene meets
+with Tieck's disapproval. The scene is "Ohne Wirkung." Tieck's
+main reason why the scene is not good is that the painter
+has interpreted literally the metafor, "My lips two blushing pilgrims
+stand" and has represented Romeo in the garb of a pilgrim
+to correspond to Juliet's anser, "Good pilgrim." As Tieck
+rightly points out, there is no need for such a gise. 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
+choice, the emfasis of his selection is apt to be on the superlativ
+moment.<a name="FNanchor_39_39" id="FNanchor_39_39"></a><a href="#Footnote_39_39" class="fnanchor">[39]</a></p>
+
+<p>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 it. That is the desire
+to hav a number of people in the picture. Nearly all the
+plates that he condems hav but few characters and his dictum of
+variety demands a reasonable number to choose from. This dramatic
+point of view is in accord with his attitude in all other
+fases of the discussion. It has been pointed out how rarely the
+artistic makes the prime appeal to him.</p>
+
+<p>Tieck's second point in regard to choice of subject is that the
+comedies offer a wider field and a better opportunity than the<span class="pagenum"><a name="Page_38" id="Page_38">[P:38]</a></span>
+tragedies. The general basis for this notion is allied to his
+theory of the worthlessness of caricature, that is, that there is
+an exaggeration, an overacting of the part possible in tragedy
+that is less likely to occur in comedy.</p>
+
+<p>The statement of the evils of exaggeration is very sweeping
+and includes in some of its details both comedy and tragedy:
+"Der dramatische Dichter hat Momente in seinen Schauspielen,
+die kein Pinsel oder Griffel jemals darstellen kann; ich meine
+jene Spr&uuml;nge und &uuml;berraschenden Wendungen des Affectes, jene
+f&uuml;rchterlichen Blitze des Genies, bei denen der Zuschauer zusammenf&auml;hrt,
+wo der Dichter unerwartet durch eine neue verdr&auml;ngt:
+diese Momente sind oft die gl&auml;nzendsten des Schauspiels,
+und bei keinem Dichter finden sie sich so h&auml;ufig als bei
+Shakspeare in seinen Trag&ouml;dien." Tieck's illustration for this
+is the passage from Lear beginning, "No, I will weep no more,"
+etc. He continues, "welcher Maler wird es wagen, wenn er
+den Sinn ganz durchdringt, ... diese Stelle auf die Leinwand
+zu werfen? So innig diese Verse beim Lesen oder bei
+der Darstellung r&uuml;hren, so frostig w&uuml;rden sie vielleicht als ein
+Gem&auml;lde dargestellt erscheinen: oder wenn sie auch hier r&uuml;hrten,
+so w&uuml;rde das Gem&auml;lde doch nie jene Ersch&uuml;tterung in uns
+erregen, jenes Anschlagen von hundert Gef&uuml;hlen. Man w&uuml;rde
+immer nur den weinenden Lear sehen oder den erz&uuml;rnten Vater,
+der sich zur K&auml;lte zwingt; das Ineinanderschmelzen dieser beiden
+Empfindungen, verbunden mit der Verstandesschw&auml;che,
+die dem Schmerz endlich ganz erliegt und Wahnsinn wird, w&auml;re
+selbst ein Rafael unm&ouml;glich: hier steht ein grosser Grenzstein
+zwischen dem Gebiet des Malers und des Dichters."</p>
+
+<p>The result of overstepping these bounds is that the painter is
+likely to enter into rivalry with the poet, 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 reason.</p>
+
+<p>But in the comedies there are many moments which almost
+force themselves on the painter. These are scenes in which he
+can portray the poet just as he finds him and in which his rivalry
+is legitimate and, indeed, may tend to make him surpass the
+poet. 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<span class="pagenum"><a name="Page_39" id="Page_39">[P:39]</a></span>
+commentator, so to speak, of these. Under such circumstances,
+the painter must be very careful to choose just the most beautiful
+and most interesting passages.</p>
+
+<p>The relation to Lessing is again at once clear. The culminating
+moment of passion as it appears in the tragedies is not
+suitable from the artistic point of view for reproduction but the
+comedies, from their admixture of the flegmatic, the almost imperativ
+concomitant of Shaksperean humor, tone down this
+superlativ expression and are therefore within the pale. How
+Tieck carries out his theory in practis, has been sufficiently
+shown: his love for the sentimental and melodramatic, for the
+climatic and striking lead him to neglect his delimiting theoretical
+remarks.</p>
+
+<p>Before leaving the discussion of Tieck's article, it may be well
+to compare it with another contemporary treatment of the Boydell
+Gallery. This is by the famous traveler and publicist,
+George Forster. It was Forster's account which furnisht Fiorillo
+with much of his data for the treatment of the "Gallery" in his
+history of British art, but it is hardly likely that the account is
+a source for Tieck. I hav no external evidence and the internal
+evidence is entirely negativ.</p>
+
+<p>If Friedrich Schlegel's estimate of Forster's artistic capabilities
+be accepted, it is just such pictures as these, where the social
+interest is great and the artistic valu is secondary, that should
+bring out Forster's strength of judgment. Forster was also a
+finely discriminating amateur, with a decided sense of tactile
+form based on a sincere love of Greek art and confirmd by a
+study of Winkelmann and Lessing, beyond whom he past in his
+appreciation of the portrait and the landscape and of the coloring
+of the great masters.</p>
+
+<p>Forster's essay, "Die Kunst und das Zeitalter" (1791), was
+written about the time that he saw the Boydell pictures. It
+shows his attitude toward Greek art and givs more than a hint
+of his standards which point so clearly toward Schiller. His
+"Ansichten vom Niederrhein," especially the discussions of the
+galleries and collections at D&uuml;sseldorf, Brussels and Antwerp
+fully express his ideas on Dutch and Flemish art, especially emfasizing
+the characteristics of Rubens for whose fleshy types
+Forster had little use.</p>
+
+<p>In the discussion of British art which comes as an appendix to<span class="pagenum"><a name="Page_40" id="Page_40">[P:40]</a></span>
+the "Ansichten," Forster includes a rather detaild description of
+the Boydell paintings. He did not see the engravings, or rather,
+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
+parts, is in one way fundamentally different from that of Tieck.
+All the discussion of technique in which Tieck was so weak, is entirely
+lacking in Forster. His point of view, too, is different.
+He is the traveld, experienced man from whose traind eye and
+broad judgment more may be expected than from the student
+Tieck. There is, as Friedrich Schlegel says, an out-of-doorness
+in Forster's work that Tieck could never hav had; the over-emfasis
+on Shakspere on the part of the latter is only one product
+of his inexperience.</p>
+
+<p>In spite of all this, it is surprizing to find what correspondences
+there are between the student Tieck and the more traind
+Forster. The latter who knew vastly more of English life than
+Tieck, fails to understand it in just those vital points where
+Tieck went farthest astray. Smirke and Peters fare badly at his
+hands, perhaps because of a certain puritanism in his atitude, or
+to quote Schlegel, because "Keine Vollkommenheit der Darstellung
+konnte ihn mit einem Stoff auss&ouml;hnen, der sein Zartgef&uuml;hl
+verletzte, seine Sittlichkeit beleidigte oder seinen Geist
+unbefriedigt liess." For this reason he can call one of the
+Peters paintings from the "Merry Wives" a brothel (ein Speelhuis)
+or refer to the women of that artist as "lockere Nymphen."</p>
+
+<p>Besides the same general dislike for the caricatures of Smirke
+that was noted in all previous instances, there is the usual praise
+of Hodges, the usual condemnation of Opie's bad drawing.
+F&uuml;essli, too, comes in for his share of the blame: "Der Beifall,
+welchen F&uuml;esslis Gem&auml;lde in England erhalten, bezeichnet mehr
+als alles die Ueberspannung des dortigen Kunstgeschmacks.
+Dieser junge Schweizer ... brachte nebst der Kenntniss
+akademischer Modelle sein malerisches Kraftgenie mit sich &uuml;ber
+das Meer; seiner Phantasie ward es wohl unter wilden Traumgestalten
+und Bildern des Ungew&ouml;hnlichen. Diese Stimmung ... verf&uuml;hrte
+ihn nur gar zu bald zu allen Ausschweifungen
+der Manier. Es ist zwar leicht das Allt&auml;gliche zu vermeiden,
+indem man Kontorsionen darstellt ..." (page 466). Again:
+"Es sind nicht Menschen, die dieser K&uuml;nstler phantasiert, sondern<span class="pagenum"><a name="Page_41" id="Page_41">[P:41]</a></span>
+Ungeheuer in halb menschlicher Gestalt, mit einzeln sehr
+gross gezeichneten und sehr verzerrten, verunstalteten Theilen
+und Proportionen: ausgerenkte Handgelenke, aus dem Kopfe
+springende Augen, Bocksphysiognomien u. s. f...." (page
+503). Northcote is damned with the faint praise "Nicht ohne
+Verdienst," a frase that clings to the characterizations of his
+work from the <i>Anzeigen</i> to Fiorillo. Barry is shown to lack
+grace, noble greatness and beauty. His distorted figures border
+on caricature and his forms are of giants, colossi. His coloring
+is bad in spite of his theoretical knowlege and good drawing.</p>
+
+<p>Forster sees thru Angelika Kaufmann and Hamilton better than
+Tieck did. Hamilton's paintings are "Machwerk" and his figures
+move in "Tanzschritt," while Angelika's are hermafroditic (page
+501). "Die deutsche Muse Angelika verbarg die Inkorrektheit
+und das Einerlei ihrer allzuschlanken Figuren unter dem
+Schleier der Grazie und Unschuld" (page 459).</p>
+
+<p>For Forster, Shakspere is the most logical portrayer of nature
+that ever existed; 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
+fantasy. For the artists of the British school this is especially
+valuable because effect is their highest aim and beauty only secondary.
+Extremes of passion, astonishment, surprize are strivn
+for. "Sie hascht nach der Wahrheit der Natur in ihren gr&auml;sslichen
+Augenblicken und erlaubt ihrer Phantasie den verwegenen
+Flug, nicht in das sch&ouml;ne Feenland des Ideals sondern in die
+verbotene Region der Geister und Gespenster."</p>
+
+<p>But while the general condemnation of British artists shows
+far more perspectiv than is found in Tieck, the acquaintance
+with the details of Shakspere's plays is never drawn on to point
+out any defects in choice of subject matter. Forster can refer
+to the acted plays from an experience that was at this time still
+denied Tieck, but this experience does not result in any well-defined
+theory of Shakspere-illustration as a whole and as we
+found Tieck to hav. The melancholy Jacques in the forest is
+a good scene for Forster, whereas Tieck rejected it as having no
+structural relation to the rest of the play. Forster finds it
+worthy of portrayal as one of the moments arising from Shakspere's<span class="pagenum"><a name="Page_42" id="Page_42">[P:42]</a></span>
+variety of scene, character and condition of life, to say
+nothing of the chance to show the lonesome melancholy stag by
+the famous animal painter, Gilpin!</p>
+
+<p>On Reynolds' famous Beauford picture, Tieck and Forster are
+entirely at odds. For Tieck the execution is terrible, the choice
+of subject satisfactory. For Forster, the choice is inexcusable,
+the execution in part masterly; a dying criminal in his last
+throes seems to Forster an utterly impossible subject for representation.
+So with Kirk's picture from "Titus Adronicus": in
+spite of the attempt to meliorate the impression of the butcherd
+Lavinia, the whole picture remains for Forster a disgusting
+sight. The conclusion is obvious: Forster's sense of delicacy rebeld
+at the crass and brutal; wildness and terror shockt him.</p>
+
+<p>But if Tieck's article compares favorably with Forster's in all
+points respecting the "Gallery" itself, it must be confest that the
+political, patriotic note, the application to Germany of the
+principles of national betterment in art which arose in the mind
+of Boydell, escape him. He was not, of course, like Forster, a
+political writer, and revolutionary conditions had no immediate
+interest for him as for the older man. 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 <i>Abendbl&aelig;tter</i> article. Tieck
+does not rise above the milieu; the "Gallery" offers no hold with
+which to test contemporary art in his own land. It is only a
+beginning, clearsighted in part and in general sustaind, an ernest
+of what the matured criticism of the Romantic school was later
+on to do.</p>
+
+
+
+<hr style="width: 65%;" />
+<h2><a name="NOTES" id="NOTES"></a>NOTES</h2>
+
+
+<div class="footnote"><p><a name="Footnote_1_1" id="Footnote_1_1"></a><a href="#FNanchor_1_1"><span class="label">[1]</span></a> Die Kupferstiche nach der Shakspeare-Gallerie in London.
+Briefe an einen Freund. 1793. "Kritische Schriften," vol. I, pages 3-34.
+[Kr. Sch.]</p></div>
+
+<div class="footnote"><p><a name="Footnote_2_2" id="Footnote_2_2"></a><a href="#FNanchor_2_2"><span class="label">[2]</span></a> 2 For full title, see bibliografy.</p></div>
+
+<div class="footnote"><p><a name="Footnote_3_3" id="Footnote_3_3"></a><a href="#FNanchor_3_3"><span class="label">[3]</span></a> E. g. in the letters.</p></div>
+
+<div class="footnote"><p><a name="Footnote_4_4" id="Footnote_4_4"></a><a href="#FNanchor_4_4"><span class="label">[4]</span></a> Krit. Sch. I, 4. Jean Paul, Titan, I, 42. [Berlin, 1827.]</p></div>
+
+<div class="footnote"><p><a name="Footnote_5_5" id="Footnote_5_5"></a><a href="#FNanchor_5_5"><span class="label">[5]</span></a> 1719-1804.</p></div>
+
+<div class="footnote"><p><a name="Footnote_6_6" id="Footnote_6_6"></a><a href="#FNanchor_6_6"><span class="label">[6]</span></a> Preface to the Prospectus and quoted in the preface to the
+"Gallery."</p></div>
+
+<div class="footnote"><p><a name="Footnote_7_7" id="Footnote_7_7"></a><a href="#FNanchor_7_7"><span class="label">[7]</span></a> The facts on the "Gallery" are pretty well scatterd. The
+statements in Allibone are not all correct. See Graves, "New Light on
+Boydell's Shakespeare Gallery," <i>Magazine of Art</i>, vol. XXI, page 143
+ff. For some details as to the disposition of the pictures, see "Notes
+and Queries," series 2, vol. VIII, vol. IX, 313, vol. X, 52. Also Pye,
+"Patronage of British Art," London, 1848.</p></div>
+
+<div class="footnote"><p><a name="Footnote_8_8" id="Footnote_8_8"></a><a href="#FNanchor_8_8"><span class="label">[8]</span></a> Preface to critical works.</p></div>
+
+<div class="footnote"><p><a name="Footnote_9_9" id="Footnote_9_9"></a><a href="#FNanchor_9_9"><span class="label">[9]</span></a> Page 7.</p></div>
+
+<div class="footnote"><p><a name="Footnote_10_10" id="Footnote_10_10"></a><a href="#FNanchor_10_10"><span class="label">[10]</span></a> Copy in the Columbia University Library.</p></div>
+
+<div class="footnote"><p><a name="Footnote_11_11" id="Footnote_11_11"></a><a href="#FNanchor_11_11"><span class="label">[11]</span></a> Mr. L. L. Mackall kindly furnisht me with this
+information.</p></div>
+
+<div class="footnote"><p><a name="Footnote_12_12" id="Footnote_12_12"></a><a href="#FNanchor_12_12"><span class="label">[12]</span></a> This Ms. (79 pp., vellum, quarto) contains the signatures
+of all the subscribers or their agents. Romney, Warren Hastings,
+Wedgewood, the King, the Queen and the Prince Regent besides a number of
+English "persons of quality" are represented. The poets are
+conspicuously wanting. The King of England gave the copy to the
+University Library. Cp. <i>G&oelig;ttinger Gelehrte Anzeigen</i> (G. G. A.)
+1791, page 1793; 1793, page 561.</p></div>
+
+<div class="footnote"><p><a name="Footnote_13_13" id="Footnote_13_13"></a><a href="#FNanchor_13_13"><span class="label">[13]</span></a> At least until after the time concerned here. This from
+W&uuml;stenfeld on the contributor to the <i>Anzeigen</i> furnisht by Professor
+Wilkens.</p></div>
+
+<div class="footnote"><p><a name="Footnote_14_14" id="Footnote_14_14"></a><a href="#FNanchor_14_14"><span class="label">[14]</span></a> The plates which come into consideration and the order in
+which they occur in Tieck are as follow:
+</p><p>
+"Love's Labor Lost," Tieck, page 9, (1) IV, 1 (G. G. A., 1794, page 10);
+(2) IV, 2, small plates; (3) V, 2.
+</p><span class="pagenum"><a name="Page_44" id="Page_44">[P:44]</a></span><p>
+"Merry Wives of Windsor," Tieck, page 10, I, 1 (G. G. A., 1794, page
+969); page 12, II, 1 (G. G. A., 1794, page 969); page 13 (G. G. A., page
+959); page 13, I, 4; IV, 1, small plates (G. G. A., 1794, page 970); V,
+5.
+</p><p>
+"Twelfth Night," II, 3 (G. G. A., 1794, page 970); Tieck, page 15. A
+small plate.
+</p><p>
+"Two Gent. Verona," Tieck, page 16, Last Scene (G. G. A., 1793, page
+903); 17, IV, 3. Small plate.
+</p><p>
+"As You Like It," Tieck, page 17, II, 1 (G. G. A., 1793, page 561); page
+17, last scene (G. G. A., 1793, page 561).
+</p><p>
+"Much Ado About Nothing," Tieck, page 19, III, 1 (G. G. A., 1791, page
+1794); IV, 1; IV, 2.
+</p><p>
+"Winter's Tale," Tieck, page 21, II, 3 (G. G. A., 1794, page 9); IV, 3;
+V, 3; page 22, two small plates (G. G. A., 1794, page 10).
+</p><p>
+I "Henry VI.," Tieck, page 24, II, 5 (G. G. A., 1794, page 970).
+</p><p>
+II "Henry VI.," Tieck page 25, III, 3 (G. G. A., 1794, page 10).
+</p><p>
+"Richard III.," Tieck, page 27, III, 1 (G. G. A., 1791, page 1794).
+</p><p>
+"Titus Andronicus," Tieck, page 28, IV, 1 (G. G. A., 1794, page 970);
+page 29 (G. G. A. 1794, page 970).
+</p><p>
+"Romeo and Juliet," Tieck, page 30, I, 5 (G. G. A., 1793, page 561); IV,
+5 (G. G. A., 1793, page 561); V, 3 (G. G. A., 1793, page 562).
+</p><p>
+"King Lear," Tieck, page 31, I, 1 (G. G. A., 1793, page 903-4); page 32,
+III, 4 (G. G. A. 1793, page 904); page 33, last scene (G. G. A., 1793,
+page 904); page 34 (G. G. A., 1793, Page 904).
+</p><p>
+Tieck mentions in all 39 plates; of these 24 are large plates and the
+rest small ones. In only 6 instances does Tieck enter into even a slite
+criticism of the small plates. In some cases, his remarks are so meager
+that it is only by a comparison with the original that we can tell what
+plate he means.</p></div>
+
+<div class="footnote"><p><a name="Footnote_15_15" id="Footnote_15_15"></a><a href="#FNanchor_15_15"><span class="label">[15]</span></a> Boydell's Catalog, page 28 ff. It may be worth while to
+mention in this connection that the Catalog has a number of errors in
+the list of these supplementary plates. The proof was red carelessly and<span class="pagenum"><a name="Page_45" id="Page_45">[P:45]</a></span>
+the results are jumbled. Only by a careful comparison with the originals
+in the 1802 edition, for the results of which there is no room here, can
+this be straightend out.</p></div>
+
+<div class="footnote"><p><a name="Footnote_16_16" id="Footnote_16_16"></a><a href="#FNanchor_16_16"><span class="label">[16]</span></a> "Romantische Schule," page 57-8.</p></div>
+
+<div class="footnote"><p><a name="Footnote_17_17" id="Footnote_17_17"></a><a href="#FNanchor_17_17"><span class="label">[17]</span></a> For possible influence of Du Bos, cf. Tieck's doctrin of
+poetry as an imitativ art. Kr. Sch., page 24. See Howard, <i>Publications
+of the Mod. Lang. Assn.</i>, vol. XXII, page 4. The letters to Wackenroder
+in Holtei, 300 Briefe, etc.</p></div>
+
+<div class="footnote"><p><a name="Footnote_18_18" id="Footnote_18_18"></a><a href="#FNanchor_18_18"><span class="label">[18]</span></a> Volbehr, Dessoir, St&ouml;cker. D. L. D.</p></div>
+
+<div class="footnote"><p><a name="Footnote_19_19" id="Footnote_19_19"></a><a href="#FNanchor_19_19"><span class="label">[19]</span></a> Kr. Sch. I, 321. It is doutful if Tieck knew any of the
+Hogarth Shakspere plates. The dates of issu (Dobson, pp. 310, 340 ff.)
+are all later than the writing of the Boydell article. For Tieck and
+Hogarth, K&ouml;pke, I, page 148.</p></div>
+
+<div class="footnote"><p><a name="Footnote_20_20" id="Footnote_20_20"></a><a href="#FNanchor_20_20"><span class="label">[20]</span></a> Of course the emfasis on color is entirely wanting in the
+body of the work. Tieck nowhere in the essay points out how engraving
+can suggest color.</p></div>
+
+<div class="footnote"><p><a name="Footnote_21_21" id="Footnote_21_21"></a><a href="#FNanchor_21_21"><span class="label">[21]</span></a> Literary paralels are at once apparent. So, Schiller's
+Prolog to "Wallenstein."</p></div>
+
+<div class="footnote"><p><a name="Footnote_22_22" id="Footnote_22_22"></a><a href="#FNanchor_22_22"><span class="label">[22]</span></a> Schriften, vol. X, pages 302-3.</p></div>
+
+<div class="footnote"><p><a name="Footnote_23_23" id="Footnote_23_23"></a><a href="#FNanchor_23_23"><span class="label">[23]</span></a> Weitenkampf, 155.</p></div>
+
+<div class="footnote"><p><a name="Footnote_24_24" id="Footnote_24_24"></a><a href="#FNanchor_24_24"><span class="label">[24]</span></a> One or two actual errors of fact hav crept into the paper.
+Kyder for Ryder and Northcate for Northcote. The latter error and
+Tieck's Slatbard may hav arisn, as Professor Wilkens suggested to me,
+from Tieck's notoriously bad handwriting which was misinterpreted by the
+compositor. At any rate, Tieck made no later effort to correct. The
+"Rev." before Peters' name misled both Tieck and Forster into laying too
+much emfasis on his sacerdotal function. The G. G. A. calls him a
+dilettante.</p></div>
+
+<div class="footnote"><p><a name="Footnote_25_25" id="Footnote_25_25"></a><a href="#FNanchor_25_25"><span class="label">[25]</span></a> Walzel, 279; Sulger-Gebing, 41, 154. Engel ("Angelika
+Kaufmann," 36, 37, 43) while not denying her preference for this dress,
+is of the opinion that it was not suited to her. "Im Sch&auml;ferkleide, den
+Hirtenstab in der Hand, Atlaspant&ouml;ffelchen an den F&uuml;ssen, ein
+beb&auml;ndertes H&uuml;tchen auf der gepuderten Coiffure, umgeben von einem
+Hofstaat sch&ouml;ngeistiger Verehrer und Verehrerinnen, so hatte sie
+unzweifelhaft eine weit nat&uuml;rlichere und t&uuml;chtigere Figur gemacht als in
+der Vestalinnentracht die sie&mdash;das Bregenzerwaldnymphlein&mdash;in der
+Folgezeit zu bevorzugen pflegte."</p></div>
+
+<p><span class="pagenum"><a name="Page_46" id="Page_46">[P:46]</a></span></p>
+<div class="footnote"><p><a name="Footnote_26_26" id="Footnote_26_26"></a><a href="#FNanchor_26_26"><span class="label">[26]</span></a> Biografers of Sir Joshua generally agree that his pictures
+in this series, with the possible exception of "Puck," are failures.
+Boydell paid 400 and 1500 guineas for the two largest and this was
+considerd by some an exorbitant price.</p></div>
+
+<div class="footnote"><p><a name="Footnote_27_27" id="Footnote_27_27"></a><a href="#FNanchor_27_27"><span class="label">[27]</span></a> Minor's edition, pages 27, 30.</p></div>
+
+<div class="footnote"><p><a name="Footnote_28_28" id="Footnote_28_28"></a><a href="#FNanchor_28_28"><span class="label">[28]</span></a> There is the possibility of a crude symbolism having been
+intended for Shakspere's "Blow, winds," etc.</p></div>
+
+<div class="footnote"><p><a name="Footnote_29_29" id="Footnote_29_29"></a><a href="#FNanchor_29_29"><span class="label">[29]</span></a> The West picture was very popular. Cf. <i>Teutsche Mercur</i>,
+1791, pages 445-6, for a criticism of Berger's engraving from it.</p></div>
+
+<div class="footnote"><p><a name="Footnote_30_30" id="Footnote_30_30"></a><a href="#FNanchor_30_30"><span class="label">[30]</span></a> See, 300 Bfe. page 79.</p></div>
+
+<div class="footnote"><p><a name="Footnote_31_31" id="Footnote_31_31"></a><a href="#FNanchor_31_31"><span class="label">[31]</span></a> This is a difficult point to decide. The citizen class was
+limited by such sumptuary laws as is shown by the records, but most
+writers agree that the violations were open and common.</p></div>
+
+<div class="footnote"><p><a name="Footnote_32_32" id="Footnote_32_32"></a><a href="#FNanchor_32_32"><span class="label">[32]</span></a> The figure with the helmet is unquestionably that of
+Marius, the tribune. He enters from the street and is drest in street
+costume. Titus, who has been in the house, wears only a fillet around
+his hed. In the play, Marius commands the boy to stand near him for
+refuge, but in the picture the moment just previous is chosen, when the
+boy is still near his grandfather. Forster wrongly holds that the
+helmeted figure is Titus.</p></div>
+
+<div class="footnote"><p><a name="Footnote_33_33" id="Footnote_33_33"></a><a href="#FNanchor_33_33"><span class="label">[33]</span></a> Cf. A. W. v. Schlegel in <i>Athen&aelig;um</i>, 2, 212, "Man kennt
+Reynolds Ugolino aus dem Kupferstiche: es ist ein alter Mann, der
+hungert, aber es ist nicht Ugolino." For his criticism of Boydell, 2,
+198.</p></div>
+
+<div class="footnote"><p><a name="Footnote_34_34" id="Footnote_34_34"></a><a href="#FNanchor_34_34"><span class="label">[34]</span></a> Marie Joachimi-Dege has given a very careful account of
+the erly Romantic and Storm and Stress attitude toward Shakspere. Her
+book needs supplementation thru a study of the Romantic Shakspere
+criticism, written from the English point of view.</p></div>
+
+<div class="footnote"><p><a name="Footnote_35_35" id="Footnote_35_35"></a><a href="#FNanchor_35_35"><span class="label">[35]</span></a> In his Academy discourses. Bohn ed., vol. I, page 460 ff.
+Reynolds points out that those who praise the "invention" of Timanthes
+in the Agamemnon picture hav not been painters but literary men. They
+use it as an illustration of their own art. He says, "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 poetry. (Cf.<span class="pagenum"><a name="Page_47" id="Page_47">[P:47]</a></span>
+Boydell's preface.) It is a doubt with me if we should even make the
+attempt. The chief, if not the only occasion which the painter has for
+this artifice, is when the subject is improper to be more fully
+represented, either for the sake of decency, or to avoid what would be
+disagreeable to be seen; and this is not to raise or increase the
+passions, which is the reason given for this practice, but on the
+contrary to diminish their effect.... We cannot ... recommend an
+undeterminate manner or vague ideas of any kind, in a complete or
+finished picture. This notion, therefore, of leaving anything to the
+imagination opposes a very fixed and indispensible rule in our
+art,&mdash;that everything shall be carefully and distinctly expresst, as if
+the painter knew, with correctness and precision, the exact form and
+character of whatever is introduced into the picture. This ... must not
+be sacrificed ... for uncertain and doubtful beauty which, not naturally
+belonging to our art, will probably be sought for without success."
+After praising the artifis of Timanthes, Reynolds goes on to say,
+"Suppose this method of leaving the expression of grief to the
+imagination, to be ... the invention of the painter and that it deserves
+all the praise that has been given to it, it is still a trick that will
+serve only once; whoever does it a second time, will not only want
+novelty, but will be justly suspected of using artifice to evade
+difficulties. If difficulties overcome make a great part of the merit of
+Art, difficulties evaded can deserve but little commendation." Among the
+names of those who discuss the "trick" Lessing's is, of course, wanting.
+Gilray's satirical plate on Boydell should be compared for this and
+other points. Copy in N. Y. Public Library.</p></div>
+
+<div class="footnote"><p><a name="Footnote_36_36" id="Footnote_36_36"></a><a href="#FNanchor_36_36"><span class="label">[36]</span></a> In this connection, the letters mention Engel's
+"Mimik"(1785).</p></div>
+
+<div class="footnote"><p><a name="Footnote_37_37" id="Footnote_37_37"></a><a href="#FNanchor_37_37"><span class="label">[37]</span></a> Some of the latter pictures by Smirke are very fine; e.
+g., the face of Jessica which justifies the statement of the Dict. Nat.
+Biog. that Smirke had "good drawing, refinement, quiet humor." Bryan has
+a cooler comment: "Smirke was well spoken of in the comedy vein." Tieck
+likes him better in tragedy (page 34). Fiorillo's comment is "Seit
+Hogarths Zeiten hat kein K&uuml;nstler so viel Charakter oder so viel
+Ausdruck in seine Figuren gebracht, noch eine Scene mit so viel echter
+Laune bearbeitet."</p></div>
+
+<div class="footnote"><p><a name="Footnote_38_38" id="Footnote_38_38"></a><a href="#FNanchor_38_38"><span class="label">[38]</span></a> To me the Tieck-Schlegel translation of this scene misses<span class="pagenum"><a name="Page_48" id="Page_48">[P:48]</a></span>
+all the best points of the original. To be sure, Tieck had nothing to do
+with its translation. (Friesen, I, 136; Sybel, III, 463 ff). It was not
+that Tieck was not interested in puns, altho the Dr. Cajus scene seems
+uninteresting to him on that account. Tieck himself made a good many
+puns. Cf. "Viehsiognomie," the first lines of his sonnet on the sonnet
+and the "gemein" from the <i>Allgemeine deutsche Bibliothek</i> in "Das
+j&uuml;ngste Gericht." His sensing of English puns seems not to hav been so
+keen. So in a discussion of Mss. readings toward the end of the essay on
+the erly English Theater (Kr. Sch. I, 320) after calling one faulty
+reading "Unsinn" he continues, "In derselben Rede:
+</p><p>
+<span style="margin-left: 3.5em;">If you can construe but your doctor's bill<br /></span>
+<span style="margin-left: 3.5em;">Parse your wife's waiting woman, etc.<br /></span>
+</p><p>
+Parse? Was kann das bedeuten? Pierce ist dem aufmerksamen Auge leserlich
+genug." Tieck seems to hav mist the play on the grammatical idea. To be
+sure, I hav not seen the Ms., but Tieck was no very careful reader or
+copyist.</p></div>
+
+<div class="footnote"><p><a name="Footnote_39_39" id="Footnote_39_39"></a><a href="#FNanchor_39_39"><span class="label">[39]</span></a> This is a scene where Tieck saw both L. and S. There were
+two different paintings of the same subject, one with fewer figures, and
+Tieck rightly points out that the less crowded one is the better. One of
+the engravings is by W. Blake and is not given in any list of that
+artist's work. Mr. W. G. Robertson, the most recent biografer of Blake
+informs me in a letter that he does not know it.</p></div>
+
+
+
+<hr style="width: 65%;" />
+<h2><a name="A_PARTIAL_BIBLIOGRAPHY" id="A_PARTIAL_BIBLIOGRAPHY"></a>A PARTIAL BIBLIOGRAPHY</h2><p><span class="pagenum"><a name="Page_49" id="Page_49">[P:49]</a></span></p>
+
+
+<p>
+Athen&aelig;um. Eine Zeitschrift von A. W. Schlegel und Friederich<br />
+<span style="margin-left: 2em;">Schlegel, Zweiter Band. Berlin, 1799.</span><br />
+<br />
+Boydell, John.<br />
+<span style="margin-left: 1.5em;">Catalogue of the ... Shakspeare Gallery, London, 1789.</span><br />
+<span style="margin-left: 2.5em;">The first edition of the catalog givs the painters' names</span><br />
+<span style="margin-left: 2.5em;">only: subsequent editions add the names of the engravers.</span><br />
+<span style="margin-left: 2.5em;">There are copies of the various editions in the</span><br />
+<span style="margin-left: 2.5em;">Columbia, Harvard and New York Public Libraries.</span><br />
+<span style="margin-left: 1.5em;">A Catalogue of Prints ... comprising the stock of J.</span><br />
+<span style="margin-left: 2.5em;">and J. Boydell, London, 1808.</span><br />
+<span style="margin-left: 3.5em;">Copy in N. Y. Public Library.</span><br />
+<span style="margin-left: 1.5em;">A Collection of prints from pictures painted for the purpose</span><br />
+<span style="margin-left: 2.5em;">of illustrating the dramatic works of Shakespeare, by the</span><br />
+<span style="margin-left: 2.5em;">artists of Great Britain. London ... 1803, 2 vols. in</span><br />
+<span style="margin-left: 2.5em;">one, atlas folio.</span><br />
+<span style="margin-left: 3.5em;">There are many copies in the U. S. and there is also an</span><br />
+<span style="margin-left: 3.5em;">American reprint with letterpress explanatory of the</span><br />
+<span style="margin-left: 3.5em;">plates.</span><br />
+<br />
+Dessoir, M. K. P. Moritz als Aesthetiker.<br />
+<br />
+Dobson, Austin. William Hogarth, New York and London, 1907.<br />
+<br />
+Engel, J. J. Ideen zu einer Mimik, 1848.<br />
+<br />
+Engel. Angelika Kaufmann, 1903.<br />
+<br />
+Fiorillo, J. D. Geschichte der zeichnenden K&uuml;nste, etc. Bd. V.<br />
+<span style="margin-left: 2em;">Geschichte der Malerei in Grossbrittanien. G&ouml;ttingen, 1808.</span><br />
+<br />
+Forster, Georg. S&auml;mmtliche Schriften, III. Leipzig, 1843.<br />
+<br />
+Friessen, H. von. Ludwig Tieck. Erinnerungen eines alten<br />
+<span style="margin-left: 2em;">Freundes. Wien, 1872.</span><br />
+<br />
+G&ouml;ttingen. Anzeigen f&uuml;r Gelehrte Sachen, etc. The volumes<br />
+<span style="margin-left: 2em;">from 1791 to 1803 were used.</span><br />
+<br />
+Haym, R. Die romantische Schule, 1870.<br />
+<br />
+Holtei, K. Drei hundert Briefe aus zwei Jahrhunderten, Hannover,<br />
+<span style="margin-left: 2em;">1872.</span><br />
+<br />
+Joachimi-Dege, M. Deutsche Shakspeare-Probleme im XVIII.<br />
+<span style="margin-left: 2em;">Jahrhundert und im Zeitalter der Romantik. Leipzig, 1907.</span><br />
+<br />
+<span class="pagenum"><a name="Page_50" id="Page_50">[P:50]</a></span>K&ouml;pke, R. Ludwig Tieck, Leipzig, 1855.<br />
+<br />
+Minor, J. Friedrich Schlegel. Seine prosaischen Jugendschriften,<br />
+<span style="margin-left: 2em;">Wien 1906.</span><br />
+<span style="margin-left: 3em;">Tieck und Wackenroder. K&uuml;rschners D. N. L. Bd. 145.</span><br />
+<br />
+Moritz, K. P. Ueber die nachahmende Bildung des Sch&ouml;nen.<br />
+<span style="margin-left: 2em;">In D. L. D.</span><br />
+<br />
+Reynolds, J. Academy Discourses. Bohn Edition, London,<br />
+<span style="margin-left: 2em;">1846.</span><br />
+<br />
+Shakspere, W. The Dramatic Works of William Shakspeare,<br />
+<span style="margin-left: 2em;">London, 1802.</span><br />
+<span style="margin-left: 3em;">This is the Steevens edition in nine volumes. Copy in</span><br />
+<span style="margin-left: 3em;">New York Public Library.</span><br />
+<br />
+Spooner, Shearjashub. Prospectus for publishing an American<br />
+<span style="margin-left: 2em;">edition of Boydell's illustrations of Shakespeare, N. Y., 1848.</span><br />
+<br />
+Sulger-Gebing. Die Br&uuml;der A. W. und F. Schlegel und die<br />
+<span style="margin-left: 2em;">bildende Kunst, 1897.</span><br />
+<br />
+Sybel. Erinnerungen an F. von Uechtritz. Leipzig, 1884.<br />
+<br />
+Volbehr. Goethe und die bildende Kunst, 1897.<br />
+<br />
+Walzel, O. F. Friedrich Schlegel's Briefe an seinen Bruder<br />
+<span style="margin-left: 2em;">August Wilhelm. Berlin, 1890.</span><br />
+<br />
+Wietenkampf, F. How to appreciate prints. New York, 1908.<br />
+<br />
+Zelak. Tieck und Shakspere. Tarnopol, 1900.<br />
+</p>
+
+
+<hr style="width: 65%;" />
+<p><b>Transcriber's Notes</b></p>
+
+<p>There is much Idiosyncratic spelling in both English and German. This
+has been retained, apart from the following four typos:</p>
+
+<p>page 15 "sehn" amended to "sehr";<br />
+page 30 "obobserver" amended to "observer";<br />
+page 40 "int he" amended to "in the";<br />
+page 54 "Grossbittanien" amended to "Grossbrittanien".</p>
+
+<p>On page 32, the typo "est giebt" has been left unchanged: it could be
+either "es giebt" or "erst giebt" (more likely).</p>
+
+<p>Also on p. 32 "zu grob ist" should probably be "zu gro&szlig; ist", but has
+been left unchanged, as the letter &szlig; does not appear elsewhere in the
+text.</p>
+
+<p>Three obvious errors in punctuation have also been amended, as follows:</p>
+
+<p>page 12 "page 28." amended to "page 28:";<br />
+page 34 "darstellen will." amended to "darstellen will,";<br />
+page 41 Tanzschritt," amended to "Tanzschritt";<br />
+page 44 "G. G. A.." amended to "G. G. A.,".<br />
+page 48 "in in Das" amended to "in Das".</p>
+
+<p>Anchors for footnootes 31 and 36 are missing. They have been inserted in
+the most likely locations.</p>
+
+
+
+
+
+
+
+<pre>
+
+
+
+
+
+End of the Project Gutenberg EBook of Tieck's Essay on the Boydell Shakspere
+Gallery, by George Henry Danton
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+The Project Gutenberg EBook of Tieck's Essay on the Boydell Shakspere
+Gallery, by George Henry Danton
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: Tieck's Essay on the Boydell Shakspere Gallery
+
+Author: George Henry Danton
+
+Release Date: January 12, 2011 [EBook #34937]
+
+Language: English
+
+Character set encoding: ASCII
+
+*** START OF THIS PROJECT GUTENBERG EBOOK BOYDELL SHAKSPERE GALLERY ***
+
+
+
+
+Produced by Margo Romberg, Karl Eichwalder and the Online
+Distributed Proofreading Team at https://www.pgdp.net (This
+book was produced from scanned images of public domain
+material from the Google Print project.)
+
+
+
+
+
+
+
+
+
+                          New York University
+
+                     OTTENDORFER MEMORIAL SERIES OF
+                          GERMANIC MONOGRAPHS
+
+                                No. 3
+
+                             TIECK'S ESSAY
+
+                               ON THE
+
+                       BOYDELL SHAKSPERE GALLERY
+
+
+                                 BY
+
+                         GEORGE HENRY DANTON
+
+
+                            INDIANAPOLIS
+
+                      EDWARD J. HECKER, PRINTER
+
+                                1912
+
+
+
+
+                       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 O. Fischer in an
+article, "Ueber Verbindung von Farbe und Klang" in the _Zeitschrift fuer
+AEsthetik_. These three works renderd the publication of my material
+superfluous, made a change of plan necessary and the result is that my
+monograf has been very much delayd in appearing.
+
+As far as I know, there is no other study of Tieck's first critical
+paper. I found it worth while to do this monograf because the comparison
+with the original engraving brought out so many interesting facts, threw
+light on Tieck's erly critical method, explaind his taste, showd his use
+of sources and above all, contradicted the positiv assertion of Haym
+that Lessing's influence is nowhere discernible. The meny interesting
+facts about the gallery itself that came to light in the course of the
+paper, the meny questions about it which I was unable to solv, may
+perhaps become the matter of another article.
+
+The "Gallery" is for us now a revenant of a past and somewhat impossible
+generation. A certain air of English commercial roastbeefism clings to
+it. It is an England, the art of which knows nothing of Constable and
+still less of Turner, 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 series. As an
+interpretation of Shakspere, it is no more than on a plane with Colly
+Cibber. Tieck saw this and felt it, but could not make clear to himself
+what was wrong with it. The plates belong in parlors of the haircloth
+age, where indeed, they may still often be found. It is before the day
+of the painted snowshovel and the crayon portrait, but the delicacy of
+the Adams' decorations has gone out and the new strength of Romanticism
+has not come in. There is surely no tuch of the Elizabethan or Jacobean
+spirit.
+
+I wish to take this opportunity to thank the various members of the
+staffs of the Stanford University and the Columbia University Libraries,
+of the Congressional and New York Public Libraries for their aid;
+especially to thank Mr. Weitenkampf for his very great help on technical
+matters. Mr. L. L. Mackall also furnisht me with very valuable
+information. The paper underwent a most searching criticism at the hands
+of Professor Wilkens, of New York University and I wish to express my
+especial indetedness to him for his assistance in the matter. To
+Professor McLouth my thanks are due for a constant kindly interest in me
+as Ottendorfer fellow. Finally, 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 incumbent.
+
+                                                                G. H. D.
+    Indianapolis, Ind., September, 1911.
+
+
+
+
+
+TIECK'S ESSAY ON THE BOYDELL SHAKSPERE GALLERY
+
+
+Tieck's attack[1] on the Boydell Shakspere Gallery[2] was his first
+publisht critical production. It is significant to note that this first
+essay in criticism delt both with Shakspere and with art, that is, with
+the ruling passion of Tieck's life and with one of the strongest of his
+secondary interests. The passion for Shakspere with the concomitant
+sense of close personal relationship with him, came to be a major part
+of Tieck's being and is clearly indicated even before this article.[3]
+Tieck's decided aversion to the English national standpoint toward
+Shakspere is strongly exprest in the essay. 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 English, does
+not, as a mere lad, hesitate to venture his douts as to whether the
+English nation is equal to the task of illustrating its greatest
+poet.[4]
+
+These illustrations are known as the Boydell Shakspere Gallery. They
+were the idea of the engraver, Alderman John Boydell,[5] who wisht to
+set up a great national monument to the genius of Shakspere and, at the
+same time, to foster a school of historical painting in a land where
+heretofore the portrait alone had attaind to any degree of
+excellence.[6] The "Gallery" was begun in 1789 and was completed in
+1803. At no sparing of expense to himself--the entire cost was upward of
+L100,000--Boydell commissiond some of the best artists and engravers of
+the time to portray scenes from all of Shakspere's plays. The oil
+paintings, about 100 in number, 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 genius. The
+Napoleonic wars, "that Gothic and Vandalic revolution," and the deth in
+poverty of Boydell, renderd necessary the disposal of the collection by
+lottery (1804). The lucky ticket was held by a London connoisseur named
+Tassie. At his deth the collection was scatterd, tho subsequently a few
+of the pictures were recollected and are now in the Shakspere Memorial
+in Stratford.[7]
+
+The plates from these pictures are, all in all, no better and no worse
+than engravings of the day are likely to be. It is illustration work in
+which the story interest is the predominant feature. Interpretation of
+Shakspere takes precedence over art, and even Boydell places the painter
+below the poet and speaks disparagingly of the ability of the former to
+understand and to portray. 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 discussion.
+
+Tieck's essay is in the form of four letters, and was written while he
+was a student at the University of Goettingen. It had the approval of his
+teacher, Johann Dominik Fiorillo, (himself afterward well-known as the
+author of an extensiv history of art,) tho it was not especially written
+under Fiorillo's gidance.[8] It was intended, on the surface at least,
+as an open and emfatic protest agenst the too lavish praise of the
+plates in the journals. The general tone, then, is polemic tho directed
+agenst no particular person or article.
+
+In the preface to his critical works[9] Tieck asserts that the article
+is a product of the year 1793 and that it was published in 1794. It
+appeared in the _Neue Bibliothek der schoenen Wissenschaften und
+freyen Kuenste_, 55ten Bandes zweytes Stueck, pages 187-226, which bears
+the date 1795,[10] and according to the Messkatalog, did not appear till
+Michaelmas of that year.[11] Tieck's memory, therefore, faild him as to
+the date of publication and he has also fallen into a slite error, or
+rather inaccuracy, in regard to the time of origin. The article could
+not have been completed within the calendar year 1793, because a number
+of the plates that Tieck discusses are dated December 24, 1793, and
+could hardly hav got to the continent in the same year. While it may be
+possible that the plates were postdated, there is no evidence of such
+fact at hand. Moreover, 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 reviews, as will be shown
+hereafter, were extensivly used by Tieck. In these reviews, the plates
+are always spoken of as recently arrived. The prints were issued
+regularly to the subscribers, of whom the University, according to the
+Ms. catalog in the Boston Public Library, was one.[12] 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 publication.
+This reviewer was Heyne[13] who afterward mediated the publication of
+Tieck's article. The article was no dout written before Tieck settled in
+Berlin in the Fall of 1794 but its writing went out over the confines of
+1793. The next series of plates appeard in June, 1794, and is not
+included in Tieck's article, tho this is no proof that the article was
+completed before June, since the plates probably did not arrive in
+Germany till well in the Summer.
+
+Tieck's essay has been almost entirely neglected by Tieck scholars. It
+is not a great piece of constructiv criticism, nor can it be said to
+contain the ripe judgments of a mature mind. It is, however, a fresh
+and, on the whole, convincing analysis of the plates and as such
+deserves a careful examination. It will be seen that the article has a
+very definit foundation in preceding criticism but that Tieck, tho
+borrowing freely from one source at least, namely the _Goettinger
+Gelehrte Anzeigen_, has not slavishly plagiarized nor has he been servil
+in his adoption of the ideas of others. 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 plates.
+
+Tieck claims that the praise of the "Gallery" in the contemporary
+magazines is excessiv. This claim is exaggerated. Meny important
+magazines do not discuss the plates even where there was an excellent
+opportunity. So, for example, Wieland's _Mercur_ and Nicolai's
+_Allgemeine deutsche Bibliothek_ do not mention them, tho from time to
+time engravings from other contemporary paintings are discust. For
+instance, Nicolai's journal has one long discussion of the state of
+contemporary art, especially of engraving (No. 110, 1792) but omits all
+reference to the Boydell series. The criticism in Meusel's _Museum fuer
+Kuenstler_ is on the whole, destructiv. One discussion, for example,
+(No. IV, page 99) is a violent attack on engraving in general and calls
+the "Gallery," "Diese die Malerei zu grunde richtende Gelegenheit," and
+condems the "Kraemergeist" at the bottom of the enterprize. The value of
+line in engraving is, however, pointed out, and Bartolozzi and Ryland,
+who had but little to do with the series are faintly praisd. Other
+mention in Meusel's magazines is either entirely unoriginal summary
+(_Museum_, VI, 352) or mere cursory comment (_Miscellaneen_, Stueck 30.)
+The articles on caricature (Neue _Miscellaneen_ X., 154 and Archiv I,
+66) are so late that they cannot be taken into consideration in
+connection with Tieck's paper.
+
+With the _Goettinger Gelehrte Anzeigen_ the case is different.[14]
+Tieck saw and used its articles as a basis for his work, tho the credit
+of having written the first connected essay from a single viewpoint
+belongs to him. The not over laudatory criticisms of the _Anzeigen_ are
+often paralel, even down to the wording of details with Tieck's
+judgments, 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 consideration. The fact that Tieck follows the errors
+of the _Anzeigen_ is significant, but it is equally significant that he
+corrects the errors of the magazine from his stock of observd judgments.
+Generally, where Tieck follows the _Anzeigen_ most closely he is at his
+worst. The somewhat superficial and scanty remarks of the journal were
+no surrogate for the clear vision and power of adaptibility of the young
+man. Tieck's personal regard for Shakspere, which amounted to a real
+passion, was entirely wanting.
+
+The use of the articles in the _Anzeigen_ must be shown in detail, and
+Tieck's indetedness must be definitly brought out. Paralels will
+sometimes show convergence and sometimes divergence of ideas, but in
+general it will be seen that Tieck practically never used his material
+without some personal addition.
+
+There is one set of cases which is peculiar and which deservs special
+attention. The plates in question are: "Much Ado," III, 1, ditto IV, 2,
+and "As You Like It," last scene.
+
+A word of explanation in regard to the Boydell plates is necessary. From
+the original paintings there were two sets of plates engraved, known as
+the large plates (L) and the small plates (S). The small plates were in
+all but a few cases done from different pictures than were the large
+ones. These large plates are those usually known as the Boydell Gallery.
+Both sets were issued serially; the large set was also bound and issued
+as a separate volume in 1803, and the small plates were used as
+illustrations for the Steevens Shakspere edition of 1802, the letter
+press of which also seems to have been issued in parts before the bound
+volumes were finally put on the market. The bulk of Tieck's criticisms
+applies to the large plates tho he has a few remarks on the small ones
+as well. When he discusses the small plates, he always mentions the
+fact, except in the three cases just cited. 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 subscribers.[15]
+These plates are among the first discust by the _Anzeigen_ (1791, page
+1794) which mention the fact of the plates being for the Shakspere
+edition, and that the extra plates are to be furnisht to make up for the
+duplication of subject matter in these cases of L and S. This is what is
+meant by the sentence, "Es wird sogar die Austauschung des einen Kupfers
+kuenftig versprochen," a statement that corresponds perfectly with the
+remark in the later Boydell catalog that this promis has been fulfild.
+Tieck does not notis this statement of the _Anzeigen_ but treats these S
+plates as if they were L, yet gives the names of the engravers of S.
+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 too. 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 engravers, did
+not notis that the S plates were referd to and carelessly copied down
+what he saw.
+
+I shall now examin in detail some of the paralel criticisms.
+
+Much Ado, II; 4, G. G. A. 1791, page 1794: ... "wo in der Trauung statt
+des Jaworts Pedro die Hero fuer keine reine Jungfer erklaert, und Hero in
+Ohnmacht faellt; ... Das beste Stueck von allen in Ruecksicht der
+Composition, Ausdrucks und Auswahl des Lichtes nur ist die Stellung der
+Hauptperson ein wenig zu theatralisch; sonst aber alles gut geordnet;
+schoene Contraste von Licht und Ruhe fuer das Auge."
+
+Tieck, page 19: "Das zweite Blatt enthaelt die Vertossung der Hero ...
+und dies ist offenbar eines der vorzueglichsten. Das Licht ist sehr gut
+geordnet, das Auge findet sogleich unter den Gruppen einen Ruhepunkt;
+nur hat Hamilton dem Claudio eine zu theatralische Stellung und dem
+Leonato zu wenig Ausdruck gegeben."
+
+Tieck carries the praise of the _Anzeigen_, the "Das beste Stueck" of
+which refers only to the group under immediate discussion, to the whole
+series. He takes his main critical vocabulary from the prototype and
+adds the original differentiation of Claudio and Leonato to which
+reference must be made later.
+
+"Much Ado," IV, 2; G. G. A., 1791, page 1794: ... "ein Gemisch von
+verkrueppelten, unedeln Caricaturen ohne alle Grazie ... Zu bedauren ist
+die Kunst, die an den Stich verwendet ist; denn der Stich ist einer der
+besten." Tieck's criticism of this plate is paralel in so far as he
+praises the mechanical perfection of the engraver, who is Heath of S,
+and not Simon of L. So far we have the blind following of the model. But
+Tieck also makes the picture a basis for a long discussion of caricature
+and of thoro condemnation of Smirke, who is also no favorit of the
+_Anzeigen_. As Tieck's letters show a profuse use of the word
+caricature, he need not be especially indeted to the _Anzeigen_ for it.
+
+"Richard III," I, 1, G. G. A., 1791, page 1795. Here Tieck's borrowing
+is direct. G. G. A.: "Eine schlechte Composition, ohne Ausdruck." Tieck,
+page 27: "Die Composition ist schlecht, alle Figuren sind ohne
+Ausdruck." G. G. A.: "Eine Menge Reflexe, Wiederscheine s. w. aber alles
+dieses macht keine Wirkung, und das Auge findet keinen Ruhepunkt."
+Tieck, page 28: "und sucht durch unendlich viele Wiederscheine ... dass
+das Auge bei den vielen Lichtmassen gar keine Ruhe findet." But again,
+besides these verbal and associational paralels, Tieck has added a free
+treatment of the composition, an examination of the drawing of the
+figures, of which there is no hint in the model and, all in all, makes
+the criticism his own. The impulse certainly came from the _Anzeigen_,
+but the whole critique is a product of Tieck's self.
+
+"Richard III," IV, 3, G. G. A., 1791, page 1795: "Stellung gezwungen."
+Tieck, page 28: "Der Moerder unnatuerlich." Here Tieck borrowed the idea
+and after an examination of the plate changed the wording.
+
+"As You Like It," II, 1, G. G. A., 1793, page 561: "Ein treffliches
+Landschaftsgemaelde." Tieck, page 18: "die reizende Landschaft." An
+examination of the whole of Tieck's criticism shows that he has added a
+characterization of Jacques, has discust the choice of this particular
+subject, 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 itself.
+
+"As You Like It," last scene, G. G. A., 1793, pages 561-2: "Orlando, der
+mit zeimleich ausgespreizeten Beinen." Tieck, page 18: "Seine
+augespreizten Beine machen ihn widrig." Here Tieck has taken an
+externality of the description and has given it a point. The use of the
+word "widrig" gives a new tuch.
+
+"Romeo and Juliet," I, 5, G. G. A.: "die Hauptfiguren muss man suchen."
+Tieck, page 29: "Die Hauptfiguren findet man nur mit einiger Muehe."
+Notis, however, how Tieck then goes on independently to giv his own
+point: "den Vater der Julie kann man nur errathen; Julie selbst hat
+wenig Character. Tybald ist die ausdruckvollste Figur auf diesem
+Blatte." Tieck also quotes in full the passage beginning, "If I profane
+with my unworthy hand" which the _Anzeigen_ only indicates. This might
+be laid to yuthful pedantry, were the whole not made far clearer for the
+entire citation.
+
+"Romeo and Juliet," IV, 5, G. G. A., 562: "Julia nach genommenem
+Schlaftrunk fuer todt gehalten, mit den Worten des Moenchs: Peace ho for
+shame! ff. Dieser troestend, die Mutter die Haende ringend, Paris Julien
+umfassend, ein Stueck mit vielem Affect" ... Tieck, page 30: "Julie hat
+den Schlaftrunk genommen und scheint gestorben, ihre Aeltern sowie ihr
+Braeutigam Paris sind in Verzweifelung, der Pater sucht Alle zu troesten."
+In the discussion of the small plate which follows, the _Anzeigen_
+points out the changes which have been made on it, this being one of the
+supplementary small plates for the 1802 text edition. 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 _Anzeigen_. Tieck's comment is,
+"Mehrere unnuetze Personen weggelassen." This reason goes at least one
+step farther than the _Anzeigen_ comment. In the magazine, the effect of
+the double light in L is adversly criticized. Tieck adds to this, "Der
+alte Capulet hat auf beiden Blaettern wenig Ausdruck." That both Tieck
+and the magazine use the fraze "tut ... Wirkung" in this place seems of
+secondary importance. A mere linguistic reminiscence, where it is not
+connected with an idea, is not influence. This must be sought in basic
+ideas, in hints which point the way for new lines of thought, in an
+adoption of facts. An author like Tieck shows independence when he adds,
+eliminates and remolds what he receives, even tho the form of the
+thought clings often to him.
+
+So, then, when the _Anzeigen_ (1793, page 562) has the fraze "Julie in
+dem Grabgewoelbe erwachend," the fact that Tieck (page 30) introduces his
+criticism with the words, "Julie erwacht, als der Moench eben in das
+Gewoelbe tritt," is of slite consequence. This is a simple description of
+fact. 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 case, a doctrin which Tieck not only does not mention,
+but in fact, utterly rejects when the time comes to discuss it in the
+course of the treatment.
+
+In the criticism of Schiavonetti's plate after Angelica Kaufmann (G. G.
+A., 1793, page 903; Tieck, pages 16-17) Tieck agrees with the _Anzeigen_
+but is thoroly independent in his resoning and adds constantly to what
+the magazine asserts. That both find the disguisd Julia beautiful is not
+unresonable, and as the disguise is a part of the play it is not strange
+that Tieck mentions it. In the same section of the magazine is a passage
+which finds a later echo in Tieck. "Koenig Lear reisst sich die Kleider
+vom Leibe" (903). Tieck (32): "und reisst sich endlich die Kleider ab."
+The verbal paralelism has significance here only because there are other
+hints at this time which may hav aided Tieck: e. g., the fact that the
+artist has departed from the scene as Shakspere portrayd it. Tieck is
+definit in stating just who is added, which proves that he knew his
+Shakspere and saw the plate. Tieck also points out the spiritual
+difference between Shakspere and the "famous West," a distinct addition
+to the matter in the _Anzeigen_. "Winter's Tale," II, 3, G. G. A., 1794,
+page 9: "Der eifersuechtige Leontes laesst den Antigonous bey seinem ihm
+vorgehalten Schwerte schwoeren, dass er das Kind, das ihm seine Gemahlin
+geboren hatte, in eine Einoede aussetzen will. Sind gemeine Figuren."
+Notis how in Tieck, while the general terms of the description are the
+same, because following the line of least resistance in externalities,
+the whole discussion takes on an individual character, and is expanded
+into a critique of Opie's drawing which was always unsatisfactory to
+Tieck. Tieck (page 21): "Der eifersuechtige Leontes laesst den Antigonus
+schwoeren, das Kind auszusetzen.... An den Darstellungen aus diesem
+Stuecke ist viel zu tadeln, vorzueglich an dieser ersten Scene. Leontes,
+die Hauptperson, ist steif und ohne allen Ausdruck, alle uebrigen
+Personen sind dick und plump gezeichnet und ganz ohne alle Bedeutung.
+Leontes laesst den Antigonus, so wie Hamlet seine Gefaehrten, bei seinem
+Schwerte schwoeren. Schauspieler und Zeichner aber fehlen, wenn sie es so
+vorstellen, wie Opie es hier gethan hat. Die alten Schwerter bilden oben
+am Griffe ein Kreuz und auf dieses legte man die Hand, in Ermangelung
+eines eigentlichen Crucifixes.... In diesem Blatte entdecken sich auch
+bald viele Fehler in der Zeichnung. Das Auge wird von der Hauptperson
+auf die Lichtmasse, folglich, auf das Kind hingezogen; die Hauptfigur
+tritt gar nicht genug hervor, sondern haengt mit den hinter ihr stehenden
+zusammen; die Koepfe im Hintergrunde sind eben so gross, wie die der
+vorderen Personen. Alles verraeth den ungeuebten Kuenstler." As an example
+of Tieck's rejection of the opinion of the G. G. A., the discussion of
+"Winter's Tale," V, 3, will suffice. This is the statue scene which
+Tieck absolutely condems on account of poor engraving, expression and
+posing. Where the magazine says "Die Statue, der man es doch sehr gut
+ansieht, das es eine lebende Figur ist, macht grosse Wirkung." Tieck
+(22) contradicts thus: "Die Statue ist sehr unnatuerlich, sie sieht mehr
+einem Geiste, als einem Menschen aehnlich."
+
+There are, finally, three further cases in which Tieck takes a hint from
+the _Anzeigen_ and develops it. "2 Henry VI," III, 3, (1794, page 10):
+"Kardinal Beauford ... ein scheuslicher Anblick, in mehr als einem
+Verstande." Tieck (page 25): "Dieses abscheuliche Blatt." But Tieck, in
+a passage too long to quote, goes on to giv cogent reasons for not
+liking the picture, not one of which is derived from the _Anzeigen_. The
+other passages from the "Merry Wives" (I, 1 and II, 1, G. G. A., 1794,
+page 970; Tieck, 11-12) take the hint that Smirke drew caricatures and
+not human beings and borrow the adjectiv "widrig." 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 textiles.
+
+These passages on "Henry VI" and on the "Merry Wives" are doubly
+interesting, however, because they show that Tieck's judgment of Smirke
+and Northcote offers a very close paralel to that of the magazine.
+Tieck's reasons are fuller, 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 Smirke, while
+the pupil and biografer of Sir Joshua fares badly because of his alleged
+bad composition and poor light effects. It will be shown later that on
+both of these latter questions Tieck held views quite independent of the
+_Anzeigen_.
+
+Of Kirk's plate from "Titus Adronicus" the G. G. A., 1794, page 970,
+says, "Den Ausdruck an der Lavinia abgerechnet ein gut Stueck." Tieck
+(28) begins with a weak, "an dem Blatte ... ist vielleicht viel zu loben
+und wenig zu tadeln" but "rights himself like a soldier" thus, "Man
+sieht, dass der Kuenstler eine sehr richtige Idee von der Composition
+hat, und dass er seinem Gegenstand mit Geschmack und Delicatesse zu
+behandeln weiss. Er laesst uns die abgeschnittenen Arme der Lavinia nur
+vermuthen; der geschickt geworfene Schleier entzieht unserm Auge den
+unangenehmen Anblick," etc.
+
+The examples and paralels alredy given cover practically all of the
+points of similarity between Tieck and his model. 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 substance. The
+content of Tieck's criticisms is very much greater than that of his
+prototype and the form is far more polisht. These apercus of Heyne did
+not prevent Tieck's independent thinking; they never fettered him. He
+followd them in a number of places in his paper and once or twice falls
+into their error thru youthful carelessness or misapprehension. They did
+not often confuse his judgment or hamper his vision. He never ruthlessly
+plagiarizd them. That they were a source can not be denied, but that
+they form the real basis of Tieck's critique is not for a moment
+tenable. This came unquestionably from himself, and he must be given
+credit or blame for the good or bad in it.
+
+Tieck set about the task of criticising the "Boydell Gallery" with no
+diffidence, but with many misgivings, amounting almost to prejudises, as
+to the valu of the set of plates. He was aware that this work was
+intrinsically in a class which is, all in all, artistically inferior.
+His judgments are objectiv, but they promis no prescience of a higher, a
+more spiritual attitude toward art. Art in this case servs
+interpretation and the struggle away from what the plates represent has
+hardly commenced. Tieck feels that the whole group does not do Shakspere
+justis, but he nowhere says that the subjectiv interpretation of the
+poet must remain the lasting one for the individual; indeed he asserts
+quite the contrary on the very first page of his paper. It is to be
+expected that Tieck's common sense and fancy should rebel at the
+platitudinarianism of the pictures; that at times he is no more than on
+the plane of the sentimental "Enlightenment" is also to be expected. 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' task.
+
+Tieck came to the work with a good first-hand knowledge of Shakspere and
+this lessens the juvenile and jejune qualities of his work. He is weaker
+on the comedies than on the trajedies, for the former require a keener
+sensing of English life than it was possible for Tieck to hav obtaind at
+the time of writing. But even for the comedies, some of his observations
+are very just and show that he could interpret Shakspere with sense and
+precision. 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 right. The results should show, in a general
+way, something of the powers of interpretation possest by the youthful
+Tieck, and how this power of interpretation conditiond his judgments.
+
+The general theoretical standpoint upon which the essay was written is
+that of Lessing, and a careful perusal will show that Haym was wrong
+when he postulated no Lessing influence on the article.[16] Tieck's
+letters to Wackenroder show that he was reading the Laokoon at this
+time, but even if a preoccupation with Lessing were not easily
+postulable, the matter of the paper itself will show a distinct
+recrudescence of Lessing's ideas. And not only Lessing, but the school
+of critics out of which Lessing arose, e. g., Winkelmann and DuBos,
+were also a part of Tieck's reading.[17]
+
+The article has a total lack of coloristic reflexes; it emfasizes form,
+if not line; its thoro reasonableness takes into consideration all that
+Lessing has stood for in the domain of art. It has the same standpoint
+as that of a Goethe returnd from Italy and of a Karl Philipp Moritz from
+whom, to be sure, Tieck was turning away in disgust.[18]
+
+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 art. The conflict is between a desire in theory
+for moderated effects, for the toning down of emotion, and a desire, in
+practis, for strong contrast and superlativ effects. Lessing, in art the
+enemy of all realism, finds in Tieck a condemer of Hogarth, a
+condemnation that persists in Tieck as late as the essay on the erly
+English Theater (1828),[19] and persists on grounds similar to the
+fundamental principle of beauty laid down by Lessing.
+
+It would be a mistake to argu from the foregoing that in this article
+Tieck was not a realist, or at least strongly inclined toward realism in
+his practis. His realism was that of the yung enthusiast for whom each
+variation from the sense of his idol was a blasfemy, and he points out
+(page 24) that there can be none of that deception of the senses which
+is a part of the pictorial arts where "ich irgend eine auffallende
+Unnatuerlichkeit entdecke; denn die Nachahmung der Natur ist der Zweck
+des Kuenstlers." Such strict imitation of nature is more to be expected,
+to be sure, in the work of the lesser lights, such as are the men who
+did the pictures for the "Gallery," than in the work of a real genius,
+and one is glad to overlook, in the works of the latter, those minor
+faults which almost entirely disappear in the face of a thousand
+beauties. So, says Tieck (page 14) "who would pass by the divine
+masterpieces of a Rafael and yet with weighty mien find fault with the
+bad coloring of a single garment?" There are clearly two kinds of
+artist. The one is the genius who may be carried too far by his
+enthusiasm, the other is the colder painter, who by his choice of
+subject, composition, correctness of drawing, and grace must make up for
+his lack of genius, and who can not hope to attain the emotional effects
+of his rival, but who must be content to arouse a cooler feeling, that
+is, the satisfaction of the spectator. In this series, where genius is
+excluded from the outset, Tieck expects a strict adherence to fact, to
+verisimilitude, and the correct interpretation of Shakspere must be
+insisted on.
+
+In order that the soul may get an immediate enjoyment of the work of
+art, Tieck recommends (page 4) that the painter choose well-known
+subjects. He says: "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 subjects. I am alredy prepared for the
+sentiment that the work of art is to arouse in me, and surrender myself
+all the more willingly to the illusion. If the subject of the picture is
+in itself beautiful and sublime, or if a great poet has furnisht the
+painter with the invention, the composition and the emotions, our
+enthusiasm is arousd, we giv our wonder and our delight to the painter."
+
+The painter, then, is only an interpreter of the poet, whose purpose it
+is to seize the spirit of the poet, 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[20] the intangible creations of
+the poet's brain. He makes lasting what the reader gets but a fleeting
+glimpse of, and what even the actor can giv but little permanence (page
+3).[21]
+
+Whether or not Tieck was influenced by the prospectus to the set,
+indeed, whether he saw it or not, there is no way of knowing, 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 England, is much like Boydell's own statement of
+purpose mentiond above. It is also an erly paralel to the Romantic
+insistence on a new mythology, a nativ mythology, rather than one drawn
+from foren sources which was a part of Friedrich Schlegel's canon.
+
+The engravings as such are treated by Tieck under five different heds.
+These are: the mechanical technique, drawing with perspectiv and line,
+composition (which Tieck does not clearly differentiate from design),
+expression and choice of subject. These five heds comprize all the
+points in which the pictures are treated, but not each picture is
+treated from all five. The five giv, however, the full range of Tieck's
+ideas on the engravings. They show the things that attracted his
+attention, and where the influence of the _Anzeigen_ is felt, they serv
+to show how different, after all, his own ideas were. Often the magazine
+does not tuch one or more points of the five.
+
+Tieck's discussion of the technique of the engravings is, as may be
+expected, rather thin, and the frazes that he uses are stereotyped.
+Several of the plates praisd by him are quite without merit and such
+generalities as, "schoen gestochen," "vorzueglich," "vortrefflich gut,"
+are not very significant. Negativ praise like "nichts zu tadeln" or "die
+Ausfuehrung 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 plates.
+
+These engravings are in the now old-fashiond stipple, tho parts of them
+are in line. At the time of writing, Tieck may not hav known the
+difference between line and stipple, tho in "Zerbino" a reference to the
+"pointed manner," used in a punning way, shows that by that time Tieck
+had become acquainted with it.[22] Nor does Tieck indicate in any way
+the "Gallery's" sparing use of the increasingly popular mezzotint. He
+makes no mention of the line manner of Flaxman, if he knew him. He does
+not see that the line engravings in the set are poorer all thru than the
+stipple prints, 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 tone, grace, and even in exactness of
+execution.
+
+In one or two places where satin is excellently reproduced, Tieck
+praises the texture of the fabrics. 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 manner.[23]
+As Tieck refers to the other fabrics on the plate, which is one of those
+with duplicated subject and which in the _Anzeigen_ seems only to hav
+been discust in the S form, it seems clear that Tieck also saw L here,
+as S is by no means so fine a plate; in fact L has the best fabrics in
+the series.
+
+Of the twenty-four large plates discust by Tieck, there are only
+thirteen which receive technical criticisms and of these thirteen, three
+are lumpt together under one comment so that in all there are only ten
+separate technical criticisms. Of these, six occur in the first six
+plates and with the eighteenth plate, Kirk's scene from "Titus
+Andronicus," the criticism of the mechanical side ends with a weak,
+"sehr gut gestochen," showing that Tieck did not progress in his
+technical criticisms. His interest in the engravings as engravings waned
+as the essay proceeded: it never rose above an attention to textiles
+and, even there, Tieck did not see all the finer differentiations of
+velvet, chiffon and lace, tho the fine satins distinctly appeald to him.
+Perhaps as fair an example as any of his inexactness, is his praise of
+the plate from "As You Like It" in which Jacques lies watching the
+wounded deer (II, 1). This is one of the poorest of the plates and yet
+Tieck says, "Die Ausfuehrung verdient alles Lob." Fittler's plate from
+"Winter's Tale" (IV, 2), while weak and without character, is not as bad
+either in actual cutting or in general managment, and yet Tieck condems
+it unmercifully. So, too, the bad plates by Middiman come in for no
+special condemnation from Tieck, tho Middiman is by far the worst
+engraver in the series, and is particularly bad after Hodges, the plates
+after whom Tieck saw.[24]
+
+Drawing, as such, fares rather better than engraving, tho less than half
+the pictures are criticized from this standpoint. 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 say.
+
+It is especially interesting to note that Tieck finds the drawing of
+Angelika Kaufmann without error. ("Two Gent. Verona," last scene). Here
+he declares that no clumsy clothing conceals the figures, but the lines
+are well brought out under the garments. The disguised Julia is at once
+recognizable in spite of her masculin attire, and the manner of the
+artist is "grazioes." An examination of the figure shows that Julia's
+figure has something of the immature in it and that the face is rather
+boyish. One thinks at once of the somewhat malicious words of Friedrich
+Schlegel to his brother, "Wie Angelika Kaufmann, der die Busen und
+Hueften, auch immer wie von selbst aus den Fingern quellen." Both Tieck
+and Schlegel felt the sensuous charm of the painter whose best known
+self-portrait is in the garb of a Vestal Virgin, tho the Schlegels,
+like Georg Forster, had no illusions as to the qualities of her art.[25]
+
+Engravings in stipple emfasize less than line engravings mere questions
+of drawing. It is perhaps with some instinctiv feeling for this that
+Tieck suggests that one of Hamilton's pictures has been hurt by the bad
+engraving, just as certain other plates have gaind thru the engraver
+(page 22). The hint for this point came originally from the _Anzeigen_
+but Tieck has developt it. While it is now no longer possible to check
+up each plate with its corresponding picture, it is true that the
+engravers were relatively better craftsmen, as a rule, than the
+painters. In hardly any one case is the painting a sample of the best
+work of the artist. Often, as in the case of Sir Joshua Reynolds, the
+painting redounds but little to his credit.[26] Where, as in the case of
+Barry, Sir Joshua's great rival, the picture is reckond with his
+superior work, the only conclusion is that Barry was a very bad artist
+and so Tieck considers him. The engravers, on the other hand, had had no
+better chance in years to exhibit their art than in this imposing
+series, and most of the best names in stipple appear in it. 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 (e. g., page 20).
+
+Besides having the good feeling for the human form under the garment, as
+in the case of the figure of Julia and of those of Mrs. Ford and Mrs.
+Page by Smirke, Tieck also criticizes several cases of misdrawing. So,
+the clumsy legs of one of Opie's figures are scored and in blaming this
+failing of Opie, Tieck hits one of the most pronounced weaknesses of
+that artist both in the "Gallery" and in Bell's British Theater. But
+Opie, the "Comedy Wonder," is hardly the "ungeuebter Kuenstler" that Tieck
+makes him out to be. Here Tieck, following the criticism of the
+_Anzeigen_, from which he may have got the hint on Opie's drawing,
+develops the criticism too far and goes astray. There is a constant
+suspicion that Tieck is trying to master a jargon.
+
+Often it is a mere chance whether Tieck will see or not see a
+peculiarity. Some of the sentimental, foolish, and misdrawn hands escape
+his notis, whereas in other cases he criticizes them.
+
+Perhaps the best example of Tieck's criticism of drawing is that of
+Northcote's plate to "Richard III." (III, 1, page 27). He says, "Der
+alte Cardinal scheint ganz verzeichnet zu sein, man ist ungewiss, ob er
+steht oder kniet: in beiden Faellen ist die Zeichnung fehlerhaft."
+Tieck's strictures are correct. The space from the waist down is found
+upon examination to be abnormally long for a kneeling person, and
+groteskly short for one standing. Tieck's critique is good, for it
+points out the error and the reason, and shows that in any case the
+alternativ is a bad one.
+
+Tho Tieck may hav been over-kind to Angelika Kaufmann, he quite agrees
+with his contemporaries in the condemnation of another German Swiss
+living in England, namely Fueessli, whom he calls one of the worst of the
+admirers of Michaelangelo. The michaelangelesk school of the day faild
+in its expression of great muscular effort, in that it put for strength
+distortion and violence. Fueessli was one of the most important
+adherents, or rather, was the greatest representativ of the fad perhaps
+anywhere and seems therby to hav largely incurd the displesure of his
+German critics. That Tieck really understood Michaelangelo is shown by
+his later article in the "Phantasien ueber die Kunst." He defends him
+from the charge of having drawn to show his knowledge of anatomy and
+among other things, exclaims on his "greatness, his wild grace, his
+fearful beauty."[27] 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 muscle.
+
+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 Tale."
+Awkwardness and violence, anything that savord of "affectation and
+bombast," where in Shakspere "power and energy" are found, met Tieck's
+disapproval. So this figure of Leontes, so Orlando standing with his
+legs far apart, so the faces drawn by Fueessli. Wherever there were
+violent angles, sharp points and corners, Tieck felt himself ill at
+ease. When he saw in some of Fueessli's plates faces which giv the
+impression of the plaster blocks of the art schools that are used to
+draw from the cast, the square chins, the noses, either very pointed or
+cut off square, imprest him as repulsivly inhuman. "Widrig, unnatuerlich,
+abgeschmackt, manierirt," are the terms applied to Fueessli's cursing
+scene from Lear.
+
+It would hav been interesting had Tieck seen Fueessli's later scenes in
+the "Gallery." The Bottom scenes from the "Midsummer Night's Dream" show
+that fantastic imagination which was the artist's strong point. All the
+forms from the fairy world were there, Moth, Peascod and a welth of
+other spirits. There is a distinct appeal to the imagination which
+justifies the painter of "Die Nachtmahr," tho the faces of Titania and
+Oberon are here too hard and sullen. But the imagination shown has a
+curious similarity with the work of Tieck in his later stories such as
+"Die Elfen," and which has so warm an afterglow in "Die Vogelscheuche."
+
+Composition means for Tieck especially order. He has not yet lernd the
+principle of triangulation of arrangement enunciated by Caroline in the
+"Gemaelde" essay in the _Athenaeum_. 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
+relief. 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 arrangement.
+
+What irritates Tieck especially is an arrangement of figures in the
+picture in the regular semi-circle borrowd directly from the theater.
+The evil of unnaturalness which such attitudinizing brings with it, is
+enhanced by light effects drawn from the same source. So, for example,
+where the light is that of a lamp, only so much light as a lamp would
+giv, or the effect of natural lamp-light is allowable. If, on the other
+hand, the sunlight streams into the room, the source of the sunlight
+should be evident as outside the room. Tieck might hav mentiond as an
+example of this some of the fine interiors of Pieter De Hoogh. The light
+effects should not be harsh but graded down so that no violent light
+contrasts occur within the same room. The light, too, should be broken
+up, not kept in a mass as if it were a separate entity to be treated
+apart from all other objects.
+
+All this is perfectly resonable and not especially technical. It is
+conveyd in stray hints rather than in any set discussion of light
+effects in any one place. Often, too, Tieck's dislike for some other
+aspect of a painter's work leads him astray on this point. This is tru
+in the case of Northcote, whose really good treatment of the high
+lights Tieck has in one or two cases entirely overlookt. There seems to
+hav been a distinct appeal made, too, by the sheen and glitter of
+certain textiles and the scintillating, flickering light of the later
+periods of Tieck's work is presaged as erly as this. On the whole,
+however, it is not the glitter of the world of out-of-doors, but of the
+world of the shut-in, of the world of little things which appeals so
+strongly to Tieck and which he treated with such banality in the story
+"Ulrich der Empfindsame."
+
+Thus, Tieck's landscape criticism is very bad and even tho, as has been
+pointed out, the basis for his adjectivs lies in the _Anzeigen_
+articles, his expansion beyond them brings no real betterment. In the
+plate from "Love's Labor Lost" (IV, 1, page 9), when Tieck was feeling
+his way into his subject, his general impression was one of plesure, and
+so the landscape is "reizend." In the whole essay, "reizend" is the only
+constructiv epithet applied to landscape and it occurs only twice.
+Hamilton's landscape is purely conventional and, except for a vista, of
+which Tieck was all his life fond, offers nothing to commend it. The
+failure of Tieck to judge rightly must be laid at the door of too great
+reliance on the _Anzeigen_.
+
+Tieck criticizes only one other landscape as such, tho in a third case a
+landscape background is discust adversly. For the scene from "As You
+Like It" in which Jacques watches the wounded deer the term "reizend"
+seems quite impossible. Engraved by Middiman after Hodges, a combination
+which augurs ill, the scene is without dout the worst in every way that
+Tieck saw. The composition is bad: Jacques, a figure without grace of
+expression, sprawls in a comedy landscape and the features of the
+wounded deer hav a strong Hebraic cast. Here, if ever, the scene is
+drawn from the stage and not from nature and stage properties are models
+for tree and foliage. When Tieck says that the scene is one to arouse
+cheerfulness in the beholder, he is correct but not in the sense that he
+ment. The reliance on his source is not enuf to account for his
+aberration; the failure to judge aright must be laid at Tieck's door.
+
+After pointing out the value of the whole, and the effect made by the
+light of the torch held by Gloster ("Lear," III, 4), Tieck shows that
+this effect, striking as it is, detracts from the unity of the
+composition, since it shifts the emfasis from Lear and his pain. Lear,
+morover, is not the Lear of Shakspere but a giant, 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 it, winding them impossibly about him. The effect
+of these draperies, says Tieck, is baroque and there is no thought of
+quiet strength or noble simplicity.[28]
+
+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 Wolf. A comparison with the latter picture at once reveals the
+justness of Tieck's observation. The figure of the Indian seated in the
+foreground is strikingly like that of Edgar, both in form and in general
+expression, and it is evident that West has repeated himself. In
+general, Tieck does not make comparisons of this kind. He confines his
+remarks to the picture itself, and probably was not well acquainted with
+the run of contemporary British art.[29]
+
+Tieck's judgment of composition did not go far beyond this emfasis on
+the principal figure. A general series of colorless frases like "gut
+geordnet" occurs, but expresses only a mild acquiescence in the
+arrangement. Tieck was fond of the posing sentimentalities of groups
+like the landscape plate from "Love's Labor Lost," 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 illustration. On the other hand, and here he departs
+constantly from the canon of Lessing, there is no striving for abstract
+beauty. Charm and grace, beauty in motion as it is exprest by the female
+figure in Anne Page and a few other cases, are Tieck's nearest approach
+to it.[30]
+
+The general reason for Tieck's failure is that in actuality these
+pictures were not ugly or inartistic to him. Where he criticizes it is
+oftenest the idea; the execution and the relation to an abstract
+standard are of less consequence, and his theory once more limps behind
+his practis. He may berate Hogarth as an artist without beauty but it is
+clear that his extoling of Rafael is a mere matter of fashion; he is in
+the same category with Domenichino, whom Tieck's generation and the next
+succeeding one considerably overestimated. In Michaelangelo, Tieck
+knows the strength of the drawing and not the wistfulness that pervades
+even the most Titanic of the master's creations. In general, affectation
+of pose, mannerism and preciosity are Tieck's bane only where the
+sentimental is not concernd.
+
+An interesting commendation of the composition of a plate is that of
+Kirk's picture from "Titus Adronicus" (IV, 1). Tieck likes the plate
+because of its taste and delicacy in only suggesting the mutilated arms
+of Lavinia. Kirk has avoided the frank naturalism of the original by the
+use of draperies, and this appeals to Tieck as a toning down and is in
+line with what had been suggested before in regard to Tieck's attitude.
+
+This plate has an accessory which Tieck objects to, namely the over
+large colum in the background. Usually, but not in this case, Tieck
+criticises the accessories from the standpoint of the stickler for
+historical accuracy, rather than for any artistic merit or demerit. So
+the tomb of the Capulets in "Romeo and Juliet" is not Italian of the
+period, and the dresses of the women in "Merry Wives" are in violation
+of the sumptuary laws of the time.[31] In the deth of Mortimer (1 "Henry
+VI.," V, 2) the family tree lying on the ground adds a tuch of symbolism
+which Tieck approves, tho in the same scene he criticizes the mean
+character of the prison, saying that for such a noble prisoner a better
+place of incarceration would hav been found.
+
+Tieck makes no clear distinction between passing expression (Ausdruck)
+and permanency of feature (Miene). His discussion of expression goes
+hand in hand with composition, since, as was mentiond above, composition
+has so close a relation to the placing of the principal character. There
+is a definit point of view, however, in Tieck's discussions of
+composition; in his strictures and encomiums on expression of face and
+figure it is practically impossible to find a consistent _pou sto_. In
+places, 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 _Anzeigen_. 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 high, but his practical application of these
+principles is by no means as strict as might be expected. Indeed, in
+theory Tieck demands one thing and in practis another.
+
+It is Tieck's desire that the artist should catch the individual note in
+these figures and raise it to an ideal, 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
+characters. But when Tieck actually examins the pictures, he stresses
+theatrical pose or mien and pays no attention to those obvious tricks
+whereby expression is obtainable: the skilful use of light and shade on
+the face, the treatment of the lines of the mouth, and the placing of
+the eyes. Occasionally, as in the ball scene in "Romeo and Juliet," it
+seems as if the treatment of the eyes of a figure--in this case that of
+Tybalt--attracted his attention, but there are so many other plates in
+which the eyes are quite as good and are nevertheless past over, that
+the instance of Tybalt seems fortuitous.
+
+Tieck uses the expressions "ohne Ausdruck," "wenig Ausdruck" and "ohne
+Charakter," "wenig Charakter" almost exclusively in his negativ
+criticism of the plates and his positiv criticism substitutes "viel" for
+"wenig." Such frases are not very definit and Tieck misapplies them
+constantly. In four out of the five cases of Tieck's largest caption,
+"ohne Ausdruck," he is certainly incorrect and the postulation of "wenig
+Ausdruck" is wrong in at least two out of the three cases. 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 eighteenth. It is
+largely bad judgment on Tieck's part. In the three cases where Tieck
+sees "vielen Ausdruck" not one is in reality especially distinguisht for
+vividness. Two even vie with the most expressionless in feature and hav
+no special pretentions to significance of posture. In the five plates
+where Tieck uses "ohne Charakter" or "wenig Charakter," the epithets are
+in general tru.
+
+Tieck got the hint for an advers criticism of the faces of Mrs. Ford and
+Mrs. Page from the _Anzeigen_. He exclaims, expanding his model, "Welch'
+widrige Gesichter! welch' uninteresante Figuren!" There is in the pose
+of Mrs. Page a most awkward droop of the neck, but in Mrs. Ford's face
+there is a rollicking Irish drollery, a freshness of complexion and a
+witchery of the eyes that are quite charming. The painting was by
+Peters, whose "sprightly humor" was so much admired by his
+contemporaries.
+
+One of the two pictures of Leontes in the "Winter's Tale" shows his
+giving the oath to Antigonous to destroy the child. In Leontes' frowning
+face Tieck sees no expression, altho it is unquestionably one of the
+most lively of the series. The stiffness of pose that Tieck objects to
+in the picture may well be accounted for by the full suit of armor that
+Leontes wears. The face is far more expressiv than that of the other
+Leontes picture and yet Tieck's judgment on them is the same.
+
+One of the most striking failures on Tieck's part to see character
+interpretation of real subtlety is in Northcote's portrayal of "Richard
+III." There can be no dout that Tieck's general dislike of the artist,
+which was based on the adverse criticisms of the _Anzeigen_, led his
+judgment astray. The face of Richard is all in all the most
+characteristic of the series in so far as Tieck saw the series.
+Richard's "subtle, false and trecherous" look with the smile of his grim
+humor is well caught; the eyes and mouth are excellent and giv a very
+adequate idea of the deviltry of the man, of his lewd cunning and his
+scheming. What Tieck might well hav objected to is the sentimentalizing
+of the two princes whom the artist has transmogrified into fat little
+babies, just as in the next picture the two hav become well-fed little
+beef-eaters.
+
+As Tieck fails to see sentimentality in this picture, so he misses
+extravagance in the church scene from "Much Ado." Tieck borrowd much in
+this discussion from the _Anzeigen_ but his remarks on expression are
+his own. He says that Leonato has too little expression. There can be no
+dout as to the figure intended for Leonato. Claudio is identified by a
+very theatrical gesture and by a Mefistofelian Don Juan behind him. The
+fainting Hero, over whom Beatrice is bending, falls into Benedix' arms.
+The only other figure, that of an older man, and who therefore cannot be
+Benedix, is standing in a most theatrical posture with clencht fists,
+eyes upturnd, rigid and ridiculous. If Tieck ment that this figure
+should represent Leonato, he has shot wide of the mark in his criticism
+and displays a most unrefined love of the melodramatic. Figures like
+this are not often found in the "Gallery." Ordinarily excess of
+sentiment and a cheap display of emotion giv way to stiffness and
+awkwardness.
+
+Tieck was dissatisfied with all the reproductions of Lear. They hav all
+too much of the gigantic, too little of the childish old man. He points
+out that the face as drawn by Fueessli expresses nothing but rage; the
+same exaggeration is found in the drawing of West who sacrifices truth,
+nature and emotion to a striking first impression. Barry's Lear only
+excites laughter and the lack of expression in the face is made up by
+the storm-wind in the hair. Again, however, issu must be taken with
+Tieck's attitude, for it is impossible to regard these faces as
+expressionless. It is not that they hav too little, but too much, and of
+a wrong kind. 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 way.
+
+It seems apparent that those plates which had a certain sentimentality,
+a certain saccharin quality appeald to Tieck. He likes the prettiness of
+Anne Page and cleverly notes the touch of scorn in her face. If he had
+recalled Reynolds' Mrs. Siddons he would hav recognized the same trait
+of hardness around the mouth, a line that is often found in the pictures
+of English women. Perhaps Tieck's interest went hand in hand with his
+enthusiasm for Rafael, and lack of discrimination lets him take all as
+of equal value. The face of young Lucius in "Titus Adronicus" and the
+face of Juliet in the tomb are examples of this. Tieck argues that the
+boy has a good deal of expression, but a cool observer can see only
+melodrama in the pose and blankness in the face. The most interesting
+thing about the plate has escaped Tieck's attention, namely that both of
+Titus' hands are represented. It seems an especially noteworthy omission
+in a picture which Tieck praises for not showing the stumps of
+Lavinia.[32]
+
+Tieck several times criticizes a picture for making a good first
+impression and then not being able to stand the test of close
+observation. An example of this is Northcote's portrayal of Mortimer and
+York (1 "Henry VI.," II, 5) which is really spoild according to Tieck by
+the strong light masses which at first sight seem very striking. These
+light masses throw the main figure into relief, but Tieck objects to the
+unnatural posture of the dying man. Close examination of the figure
+reveals the fact that Mortimer is really well drawn; the lines of the
+drapery distort the general impression, but that part of the drawing
+comprising the actual sitting figure is that of a broken old man, fallen
+in a heap and dying. Any one who has seen Irving's masterly
+representation of the dying Louis cannot but be imprest by the
+verisimilitude of Northcote's presentation. What Tieck says of the minor
+characters on the plate is true; they are expressionless in the extreme.
+
+Tieck is fully justified in calling Reynolds' scene from "Henry VI."
+"dieses abscheuliche Blatt," where the word "abscheulich" is reminiscent
+of the _Anzeigen_. He asks further, "Ist dies der Kuenstler der Familie
+des Ugolino?"[33] With much better right he might hav askt, "Is this the
+painter of the 'Age of Innocence' and the man who loved to paint
+children?" Both the Shakspere plate and the stiff Ugolino picture
+attempt to portray the horrible, and the only other plate that Sir
+Joshua did for the "Gallery," namely, the Hecate plate from "Macbeth,"
+the same selection of a grewsome subject is made. Neither of these
+pictures can be sed to conform with Reynolds' well-known doctrin that
+the function of art is to arouse the imagination, for in these pictures
+there is nothing left for the imagination but exhaustion. They show a
+vein of the bizarre without the great fancy of Fueessli and are realistic
+to a degree that stopt at nothing. It is not to be wonderd at that Tieck
+exhausts himself in condemnation of the plate that he saw.
+
+It is plain that Tieck saw in the plate a caricature and an evasion. The
+caricature was the dying man and the evasion was the veild face of the
+young king. 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 emotion. Here Tieck certainly breaks with the doctrin of
+Lessing who praised the expedient of Timanthes in veiling the face of
+Agamemnon at the sacrifice. Tieck tacitly accuses Reynolds of shirking
+an obvious task. He wisht something superlativ, whether in fleeting
+expression or in that permanency which is caused by iterativ emotion.
+Such a desire, the emfasizing of Shakspere's "Kraft" and "Energie"
+leaves him on the plane of the Storm and Stress in his attitude toward
+the British poet.[34] If the words of Sir Joshua himself are to be taken
+as a criterion, his theory is different from his practis in this case,
+and Tieck has condemd him out of his own mouth.
+
+Beauford, whom Tieck calls a caricature, certainly leaves nothing to
+the imagination, as Reynolds wisht for art.[35] Tieck's description of
+the figure is apt, "Beauford liegt da, mit den Zaehnen grinsend, das Bett
+in Verzuckungen kneifend, eine ekelhafte, verzerrte Caricatur, ueber die
+man lachen koennte, wenn sie etwas weniger abscheulich waere. Genie and
+Enthusiasmus koennen hier die Hand und Kritik unmoeglich irre gefuehrt
+haben; denn weder das eine, noch der andere gehoert dazu, um diese Zuege,
+diese Umrisse hervorzubringen."
+
+The word caricature is, even before he found it in the _Anzeigen_, a
+term of deepest reproach with Tieck. In his essays to Wackenroder he
+says, speaking of a certain actor, "Ich gestehe dass er vielleicht viele
+Scenen natuerlich und einige komish darstellt, aber nach meinem Urtheil
+spielt er in keiner einzigen schoen, mit einem Worte, er macht
+Carrikatur, und die kann nie schoen sein, wenn sie auch noch so vielen
+Ausdruck hat. Das Komische und das Schreckhafte graenzen ueberhaupt
+vielleicht naeher aneinander, als man glaubt ... Vielleicht ist das wahre
+komische Spiel so wie Unzelmann est giebt, alles so leicht, so
+uebergehend, keine Periode, keine Idee, keine Stellung moeglichst
+festgehalten, keine Grimasse in Stein verwandelt."
+
+After pointing out the value of the unspoild taste of childhood in
+matters of esthetic judgment, Tieck continues: "Du kannst leicht die
+Erfahrung machen, dass Carrikaturen den Kindern nie gefallen, denn sie
+erkennen in ihnen nur mit Muehe den Menschen wieder, sie fuerchten sie
+wirklich; sie koennen ungleich laenger eine andre Figur ohne Ausdruck und
+bestimmten Charakter betrachten, ja tagelang darueber brueten, und
+Ausdruck und Charakter hineintragen, hundert Traeume spinnen sich in
+ihrer Seele aus, ... Carrikaturen gefallen ueberhaupt vielleicht nur
+einem kalten noerdlichen Volke, dessen Gefuehl fuer den feinen Stachel der
+stillen Schoenheit zu grob ist, oder die schon die Schule der Schoenheit
+durchgegangen sind, und deren uebersatten Magen nur noch die gewuerztesten
+Speisen reizen koennen, die es daher gern sehen, wenn die Schoenheit dem
+Ausdruck aufgeopfert wird, weil sie in der Schoenheit keinen lebenden
+Ausdruck mehr finden. Du wirst sehen, dass ich hier nicht bloss von der
+komischen Carrikatur spreche, sondern von jedem Ausdruck irgend einer
+Leidenschaft, der die Schoenheit ausschliesst." He then goes on to
+indicate the relation of what he had sed to Lessing and confesses his
+indetedness to him in the matter. The highest effects when used in
+sculpture and painting are also caricature.[36]
+
+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 illustration. Tieck says (page 15), "Im Trauerspiele ersteigen
+meistentheils gerade die schoensten Scenen eine Hoehe des Effects, die der
+Maler schwerlich ausdruecken kann, ohne widrig zu werden. Der
+Schauspieler verliert schon oft jene Grazie, die jedem Kunstwerke noethig
+ist, wenn er manche Scenen der tragischen Kraft so wiedergeben will, wie
+er sie im Dichter findet, doch kann die Mimik hier noch das Unangenehme
+vermeiden; der Malerei ist es aber meist unmoeglich, denn jene
+Verzerrungen, die auf der Buehne nur voruebergehend sind, werden hier
+bleibend gemacht; dort erschrecken sie durch ihr ploetzliches Entstehen
+und Verschwinden, hier werden sie ekelhaft, weil durch das Feststehende
+und Bleibende des Widrigen der dargestellte Mensch zum Thier herabsinkt.
+Jemehr der Maler den Affekt hinauftreibt, desto mehr nimmt er zugleich
+Interesse und Tadel von seinem Helden. Die hoechsten Grade des Zorns, der
+Wuth oder der Verzweifelung bleiben im Gemaelde stets unedel; selbst der
+Wahnsinn muss hier mit einer gewissen Schuechternheit auftreten, und im
+hoechsten Entzuecken muss ein sanfter Wiederschein der Melancholie
+leuchten." The relation of this to Lessing, both in the "Laokoon" and in
+the "Dramaturgie" is at once apparent.
+
+The dislike for caricature centers around the comic efforts of Smirke
+for whom Tieck has hardly a good word to say. In the discussion of
+Reynolds' picture, Tieck remarks, half in jest, that he regrets his
+strictures on Smirke in the face of this greater caricature by Reynolds.
+The sum total of his criticisms of Smirke is unjust: thruout the series
+and especially in some of the plates that Tieck saw, this painter has
+caught the comic spirit well, and tho overpraisd by his contemporaries,
+has done some very clever work both in the "Gallery" and in Bell's
+"British Theater."[37]
+
+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 Ado."
+Simple is for Tieck neither the character as Shakspere conceived him,
+nor is he funny. It is again, says Tieck, a mere exaggeration,
+tantamount to a confession of inability. That the spectator cannot laugh
+at the character is the artist's greatest punishment; in overstepping
+the just limits of the comic and the natural, he has made the figure
+insignificant. Unlike Hogarth, says Tieck, Smirke has not the power of
+expressing character by means of the distortions of the exterior. To put
+an artist below Hogarth is with Tieck to put him very low; in this
+respect he stands on the plane of August von Schlegel in the _Athenaeum_
+and has not risen to the level of admiration for the Englishman
+displayed by Novalis in the "Fragments."
+
+The best that Tieck can say for the Dogberry scene as a whole is, that
+in spite of its exaggerations, it has much comic power. But, he goes on
+to explain, it is a far different thing for Smirke to exaggerate than
+for Shakspere, for the latter always draws human beings, while the
+figures of the former are at times hardly to be distinguisht from apes.
+
+To a certain extent the figure of Dogberry and more especially the face,
+justify Tieck's repugnance. In its way, the face is fully as bad as that
+of Reynolds' Beauford. Tieck says, "Selbst ein vertrauter Leser des
+Shakspeare findet sich nicht in den hier dargestellen Caricaturen, von
+denen die Hauptperson in einer Wuth, die laecherlich sein soll, so
+ekelhaft verzerrt wird, dass man nur ungern mit dem Blick auf dieser
+Zeichnung verweilt." This is in every respect tru. Smirke has here mist
+all the comic elements of the character, and has produced not the
+ridiculous malapropian Dogberry but a demoniac grinning mask of a face
+and a twisted, distorted and frenzied figure. Tieck proceeds, "Ein
+Kuenstler, der die komischen Scenen des Shakspeare darstellen will,
+sollte doch von seinem Dichter so viel gelernt haben, dass dieser seine
+Caricaturen nie ohne eine gewisse Portion von phlegmatischer Laune
+laesst, die so oft unser Lachen erregt, und aus der blossen Erfahrung
+sollte er wissen, dass selbst der laecherlichste Zwerg, wenn er schaeumt,
+in eben dem Augenblicke aufhoert laecherlich zu sein. Jedes Subject hoert
+auf, komisch zu sein, sobald ich es in einen hohen Grad von Leidenschaft
+versetze. Denn das Laecherliche in den Charakteren entsteht gewoehnlich
+nur durch die seltsam widersprechende Mischung des Affects und des
+inneren Phlegma; wenigstens so hat Shakspeare seine wirklich komischen
+Personen gezeichnet. Der Mangel an Genie zeigt sich gewoehnlich in
+Uebertreibung und gesuchten Verzerrungen des Koerpers."[38]
+
+The scene from the "Merry Wives" in which Dr. Cajus catechizes William
+on his Latin, represents very well the type of scene the choice of which
+Tieck condems as unsuited for representation. It is not because there
+was something in the humor of them that Tieck did not grasp, but because
+he rejects on principle all that is secondary and episodical. Such
+scenes as are told and not acted, that is, the epic portions of the
+plays, as well as the reflectiv and filosofical portions would hav to be
+excluded. It is the fate of the principal characters which is of prime
+importance, and the moment must be chosen with their activities in view.
+This emfasis on the principal character is also strongly reminiscent of
+the doctrin of Lessing's "Dramaturgie." 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 representation.
+
+Some of the scenes which Tieck rejects are Hodges' picture of the
+melancholy Jacques, and the murder of the princes in "Richard III."
+Neither of these is acted out on the stage. From the "Merry Wives" he
+proposes Falstaff's three adventures: the basket scene, the Witch of
+Brentford scene and the final torturing of Falstaff by the practical
+jokers. These giv a chance for variety of grouping and a gradation of
+expression in all the chief characters of the play. The scene in which
+the two women read identical letters from Falstaff, Tieck regards as the
+worst possible, for reasons that he says he need not recall but which
+are obviously those of lack of stress on the main character.
+
+The scenes that Tieck recommends were actually chosen by the artists
+whose work appears later in the series and so Tieck's judgment is, in a
+way, confirmd. 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 theme. It is interesting to note, however, how
+little the choice of subject has to do with the artistic merit or
+demerit of the plates. The subsequent plates, which would hav fully
+satisfied Tieck's requirements as to the moment of presentation are
+artistically among the worst in the series.
+
+The two scenes from "As You Like It" suggested by Tieck, the one where
+Adam admonishes Orlando (II, 3) and the scene in the forest where
+Orlando enters bearing Adam on his shoulders (II, 7) hav not the same
+structural relation to the whole as hav those from the "Merry Wives."
+These moments lend themselves very well to representation but are chosen
+on another basis of judgment. They show that for Tieck Orlando was of
+more importance than Rosalind, for he suggests no scene with her in it
+as especially representativ of the play. In the first of these two
+scenes, the action has already begun; the scene is the culmination of
+the episode containing the first relation of the brothers. It is in
+itself not a vital part of the action. The scene in the forest, on the
+other hand, has more of the qualities demanded by Tieck: a variety of
+characters and an important moment. This is a moment--tho not the
+initial one--when Orlando's fortunes mend and he comes to his frends.
+The scene in which he first meets the Duke's party is of more
+significance. It seems as if the governing principle is contrast rather
+than a desire for elucidation of structure in serial arrangment. Orlando
+and Adam, ill-fortune and good luck, are juxtaposed.
+
+Tieck conjectures that the eavesdropping scene from "Much Ado" (III, 1)
+is included in the collection because it was played by popular actresses
+of the contemporary English stage. Tieck misses the structural
+importance of the scene. It is apart of the intrigue; it has a direct
+effect on Beatrice who comes from it a changed woman. To Tieck, however,
+it ment as little as the similar eavesdropping scene from "Love's Labor
+Lost" (IV, 3), in which play he claims there is no suitable scene for
+representation.
+
+The scene from "Winter's Tale" in which Perdita welcomes the disguised
+Duke (IV, 3), offering him flowers the while, is condemd in favor of the
+one immediately following in which the Duke discloses himself. Here
+again Tieck stresses the contrast and wishes a climax, a dramatic
+moment. So he praises such scenes as the putting away of Hero at the
+altar and the deth of Beauford, however much he derides the execution of
+the latter, by Reynolds.
+
+For the sake of bringing out the wretchedness of this execution, Tieck
+points out that tho he has often before bewaild the choice of moment,
+he cannot do so in this case for no better could hav been selected. He
+details the good points in the scene: "Man denke sich einen Boesewicht
+auf dem Todtenbette, den die Verzweifelung wahnsinnig gemacht hat, der
+keine Seligkeit hofft; diesen besucht in seiner Todesstunde Heinrich,
+der junge gefuehlvolle Koenig, ein Schwarmer in der Religion, der von
+diesem Anblick auf das tiefste geruehrt wird; Warwick und Salisbury, zwei
+maennliche Krieger, begleiten ihn hierher. Beauford ist die Hauptperson,
+alle Zuschauer haben ihre gauze Aufmerksamkeit auf ihn gerichtet. Der
+Kuenstler haette hier ruehren und erschuettern koennen; ich sehe in Gedanken
+den weichen Heinrich Thraenen vergiessen, im schoensten Contrast mit dem
+Cardinal, der ihn, in der Abwesenheit seines Geistes, kalt und ohne
+Bewusstsein anstarrt. Warwick und Salisbury, weniger geruehrt, aber doch
+interessante Physiognomien, die durch leichtere Nuancen von einander
+unterschieden sind. So sehe ich in der Phantasie das schoenste tragische
+Gemaelde ..."
+
+In "Romeo and Juliet" the choice of the ball scene meets with Tieck's
+disapproval. The scene is "Ohne Wirkung." Tieck's main reason why the
+scene is not good is that the painter has interpreted literally the
+metafor, "My lips two blushing pilgrims stand" and has represented Romeo
+in the garb of a pilgrim to correspond to Juliet's anser, "Good
+pilgrim." As Tieck rightly points out, there is no need for such a gise.
+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
+choice, the emfasis of his selection is apt to be on the superlativ
+moment.[39]
+
+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 it. That is the desire to hav a number of
+people in the picture. Nearly all the plates that he condems hav but few
+characters and his dictum of variety demands a reasonable number to
+choose from. This dramatic point of view is in accord with his attitude
+in all other fases of the discussion. It has been pointed out how rarely
+the artistic makes the prime appeal to him.
+
+Tieck's second point in regard to choice of subject is that the comedies
+offer a wider field and a better opportunity than the tragedies. The
+general basis for this notion is allied to his theory of the
+worthlessness of caricature, that is, that there is an exaggeration, an
+overacting of the part possible in tragedy that is less likely to occur
+in comedy.
+
+The statement of the evils of exaggeration is very sweeping and includes
+in some of its details both comedy and tragedy: "Der dramatische Dichter
+hat Momente in seinen Schauspielen, die kein Pinsel oder Griffel jemals
+darstellen kann; ich meine jene Spruenge und ueberraschenden Wendungen des
+Affectes, jene fuerchterlichen Blitze des Genies, bei denen der Zuschauer
+zusammenfaehrt, wo der Dichter unerwartet durch eine neue verdraengt:
+diese Momente sind oft die glaenzendsten des Schauspiels, und bei keinem
+Dichter finden sie sich so haeufig als bei Shakspeare in seinen
+Tragoedien." Tieck's illustration for this is the passage from Lear
+beginning, "No, I will weep no more," etc. He continues, "welcher Maler
+wird es wagen, wenn er den Sinn ganz durchdringt, ... diese Stelle auf
+die Leinwand zu werfen? So innig diese Verse beim Lesen oder bei der
+Darstellung ruehren, so frostig wuerden sie vielleicht als ein Gemaelde
+dargestellt erscheinen: oder wenn sie auch hier ruehrten, so wuerde das
+Gemaelde doch nie jene Erschuetterung in uns erregen, jenes Anschlagen von
+hundert Gefuehlen. Man wuerde immer nur den weinenden Lear sehen oder den
+erzuernten Vater, der sich zur Kaelte zwingt; das Ineinanderschmelzen
+dieser beiden Empfindungen, verbunden mit der Verstandesschwaeche, die
+dem Schmerz endlich ganz erliegt und Wahnsinn wird, waere selbst ein
+Rafael unmoeglich: hier steht ein grosser Grenzstein zwischen dem Gebiet
+des Malers und des Dichters."
+
+The result of overstepping these bounds is that the painter is likely to
+enter into rivalry with the poet, 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 reason.
+
+But in the comedies there are many moments which almost force themselves
+on the painter. These are scenes in which he can portray the poet just
+as he finds him and in which his rivalry is legitimate and, indeed, may
+tend to make him surpass the poet. 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 commentator, so to speak, of these. Under such
+circumstances, the painter must be very careful to choose just the most
+beautiful and most interesting passages.
+
+The relation to Lessing is again at once clear. The culminating moment
+of passion as it appears in the tragedies is not suitable from the
+artistic point of view for reproduction but the comedies, from their
+admixture of the flegmatic, the almost imperativ concomitant of
+Shaksperean humor, tone down this superlativ expression and are
+therefore within the pale. How Tieck carries out his theory in practis,
+has been sufficiently shown: his love for the sentimental and
+melodramatic, for the climatic and striking lead him to neglect his
+delimiting theoretical remarks.
+
+Before leaving the discussion of Tieck's article, it may be well to
+compare it with another contemporary treatment of the Boydell Gallery.
+This is by the famous traveler and publicist, George Forster. It was
+Forster's account which furnisht Fiorillo with much of his data for the
+treatment of the "Gallery" in his history of British art, but it is
+hardly likely that the account is a source for Tieck. I hav no external
+evidence and the internal evidence is entirely negativ.
+
+If Friedrich Schlegel's estimate of Forster's artistic capabilities be
+accepted, it is just such pictures as these, where the social interest
+is great and the artistic valu is secondary, that should bring out
+Forster's strength of judgment. Forster was also a finely discriminating
+amateur, with a decided sense of tactile form based on a sincere love of
+Greek art and confirmd by a study of Winkelmann and Lessing, beyond whom
+he past in his appreciation of the portrait and the landscape and of the
+coloring of the great masters.
+
+Forster's essay, "Die Kunst und das Zeitalter" (1791), was written about
+the time that he saw the Boydell pictures. It shows his attitude toward
+Greek art and givs more than a hint of his standards which point so
+clearly toward Schiller. His "Ansichten vom Niederrhein," especially the
+discussions of the galleries and collections at Duesseldorf, Brussels and
+Antwerp fully express his ideas on Dutch and Flemish art, especially
+emfasizing the characteristics of Rubens for whose fleshy types Forster
+had little use.
+
+In the discussion of British art which comes as an appendix to the
+"Ansichten," Forster includes a rather detaild description of the
+Boydell paintings. He did not see the engravings, or rather, 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 parts, is in one way
+fundamentally different from that of Tieck. All the discussion of
+technique in which Tieck was so weak, is entirely lacking in Forster.
+His point of view, too, is different. He is the traveld, experienced man
+from whose traind eye and broad judgment more may be expected than from
+the student Tieck. There is, as Friedrich Schlegel says, an
+out-of-doorness in Forster's work that Tieck could never hav had; the
+over-emfasis on Shakspere on the part of the latter is only one product
+of his inexperience.
+
+In spite of all this, it is surprizing to find what correspondences
+there are between the student Tieck and the more traind Forster. The
+latter who knew vastly more of English life than Tieck, fails to
+understand it in just those vital points where Tieck went farthest
+astray. Smirke and Peters fare badly at his hands, perhaps because of a
+certain puritanism in his atitude, or to quote Schlegel, because "Keine
+Vollkommenheit der Darstellung konnte ihn mit einem Stoff aussoehnen, der
+sein Zartgefuehl verletzte, seine Sittlichkeit beleidigte oder seinen
+Geist unbefriedigt liess." For this reason he can call one of the Peters
+paintings from the "Merry Wives" a brothel (ein Speelhuis) or refer to
+the women of that artist as "lockere Nymphen."
+
+Besides the same general dislike for the caricatures of Smirke that was
+noted in all previous instances, there is the usual praise of Hodges,
+the usual condemnation of Opie's bad drawing. Fueessli, too, comes in for
+his share of the blame: "Der Beifall, welchen Fueesslis Gemaelde in
+England erhalten, bezeichnet mehr als alles die Ueberspannung des
+dortigen Kunstgeschmacks. Dieser junge Schweizer ... brachte nebst der
+Kenntniss akademischer Modelle sein malerisches Kraftgenie mit sich ueber
+das Meer; seiner Phantasie ward es wohl unter wilden Traumgestalten und
+Bildern des Ungewoehnlichen. Diese Stimmung ... verfuehrte ihn nur gar zu
+bald zu allen Ausschweifungen der Manier. Es ist zwar leicht das
+Alltaegliche zu vermeiden, indem man Kontorsionen darstellt ..." (page
+466). Again: "Es sind nicht Menschen, die dieser Kuenstler phantasiert,
+sondern Ungeheuer in halb menschlicher Gestalt, mit einzeln sehr gross
+gezeichneten und sehr verzerrten, verunstalteten Theilen und
+Proportionen: ausgerenkte Handgelenke, aus dem Kopfe springende Augen,
+Bocksphysiognomien u. s. f...." (page 503). Northcote is damned with the
+faint praise "Nicht ohne Verdienst," a frase that clings to the
+characterizations of his work from the _Anzeigen_ to Fiorillo. Barry is
+shown to lack grace, noble greatness and beauty. His distorted figures
+border on caricature and his forms are of giants, colossi. His coloring
+is bad in spite of his theoretical knowlege and good drawing.
+
+Forster sees thru Angelika Kaufmann and Hamilton better than Tieck did.
+Hamilton's paintings are "Machwerk" and his figures move in
+"Tanzschritt," while Angelika's are hermafroditic (page 501). "Die
+deutsche Muse Angelika verbarg die Inkorrektheit und das Einerlei ihrer
+allzuschlanken Figuren unter dem Schleier der Grazie und Unschuld" (page
+459).
+
+For Forster, Shakspere is the most logical portrayer of nature that ever
+existed; 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 fantasy. For the artists of the
+British school this is especially valuable because effect is their
+highest aim and beauty only secondary. Extremes of passion,
+astonishment, surprize are strivn for. "Sie hascht nach der Wahrheit der
+Natur in ihren graesslichen Augenblicken und erlaubt ihrer Phantasie den
+verwegenen Flug, nicht in das schoene Feenland des Ideals sondern in die
+verbotene Region der Geister und Gespenster."
+
+But while the general condemnation of British artists shows far more
+perspectiv than is found in Tieck, the acquaintance with the details of
+Shakspere's plays is never drawn on to point out any defects in choice
+of subject matter. Forster can refer to the acted plays from an
+experience that was at this time still denied Tieck, but this experience
+does not result in any well-defined theory of Shakspere-illustration as
+a whole and as we found Tieck to hav. The melancholy Jacques in the
+forest is a good scene for Forster, whereas Tieck rejected it as having
+no structural relation to the rest of the play. Forster finds it worthy
+of portrayal as one of the moments arising from Shakspere's variety of
+scene, character and condition of life, to say nothing of the chance to
+show the lonesome melancholy stag by the famous animal painter, Gilpin!
+
+On Reynolds' famous Beauford picture, Tieck and Forster are entirely at
+odds. For Tieck the execution is terrible, the choice of subject
+satisfactory. For Forster, the choice is inexcusable, the execution in
+part masterly; a dying criminal in his last throes seems to Forster an
+utterly impossible subject for representation. So with Kirk's picture
+from "Titus Adronicus": in spite of the attempt to meliorate the
+impression of the butcherd Lavinia, the whole picture remains for
+Forster a disgusting sight. The conclusion is obvious: Forster's sense
+of delicacy rebeld at the crass and brutal; wildness and terror shockt
+him.
+
+But if Tieck's article compares favorably with Forster's in all points
+respecting the "Gallery" itself, it must be confest that the political,
+patriotic note, the application to Germany of the principles of national
+betterment in art which arose in the mind of Boydell, escape him. He was
+not, of course, like Forster, a political writer, and revolutionary
+conditions had no immediate interest for him as for the older man. 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 _Abendblaetter_
+article. Tieck does not rise above the milieu; the "Gallery" offers no
+hold with which to test contemporary art in his own land. It is only a
+beginning, clearsighted in part and in general sustaind, an ernest of
+what the matured criticism of the Romantic school was later on to do.
+
+
+
+
+NOTES
+
+[1] Die Kupferstiche nach der Shakspeare-Gallerie in London. Briefe an
+    einen Freund. 1793. "Kritische Schriften," vol. I, pages 3-34. [Kr.
+    Sch.]
+
+[2] For full title, see bibliografy.
+
+[3] E. g. in the letters.
+
+[4] Krit. Sch. I, 4. Jean Paul, Titan, I, 42. [Berlin, 1827.]
+
+[5] 1719-1804.
+
+[6] Preface to the Prospectus and quoted in the preface to the
+    "Gallery."
+
+[7] The facts on the "Gallery" are pretty well scatterd. The
+    statements in Allibone are not all correct. See Graves, "New
+    Light on Boydell's Shakespeare Gallery," _Magazine of Art_, vol.
+    XXI, page 143 ff. For some details as to the disposition of the
+    pictures, see "Notes and Queries," series 2, vol. VIII, vol. IX,
+    313, vol. X, 52. Also Pye, "Patronage of British Art," London,
+    1848.
+
+[8] Preface to critical works.
+
+[9] Page 7.
+
+[10] Copy in the Columbia University Library.
+
+[11] Mr. L. L. Mackall kindly furnisht me with this information.
+
+[12] This Ms. (79 pp., vellum, quarto) contains the signatures
+    of all the subscribers or their agents. Romney, Warren Hastings,
+    Wedgewood, the King, the Queen and the Prince Regent besides a
+    number of English "persons of quality" are represented. The
+    poets are conspicuously wanting. The King of England gave the
+    copy to the University Library. Cp. _Goettinger Gelehrte
+    Anzeigen_ (G. G. A.) 1791, page 1793; 1793, page 561.
+
+[13] At least until after the time concerned here. This from
+    Wuestenfeld on the contributor to the _Anzeigen_ furnisht by
+    Professor Wilkens.
+
+[14] The plates which come into consideration and the order in which
+    they occur in Tieck are as follow:
+
+    "Love's Labor Lost," Tieck, page 9, (1) IV, 1 (G. G. A., 1794, page
+      10); (2) IV, 2, small plates; (3) V, 2.
+
+    "Merry Wives of Windsor," Tieck, page 10, I, 1 (G. G. A., 1794,
+      page 969); page 12, II, 1 (G. G. A., 1794, page 969); page 13
+      (G. G. A., page 959); page 13, I, 4; IV, 1, small plates (G. G.
+      A., 1794, page 970); V, 5.
+
+    "Twelfth Night," II, 3 (G. G. A., 1794, page 970); Tieck, page 15. A
+      small plate.
+
+    "Two Gent. Verona," Tieck, page 16, Last Scene (G. G. A., 1793, page
+     903); 17, IV, 3. Small plate.
+
+    "As You Like It," Tieck, page 17, II, 1 (G. G. A., 1793, page
+      561); page 17, last scene (G. G. A., 1793, page 561).
+
+    "Much Ado About Nothing," Tieck, page 19, III, 1 (G. G. A.,
+      1791, page 1794); IV, 1; IV, 2.
+
+     "Winter's Tale," Tieck, page 21, II, 3 (G. G. A., 1794, page 9);
+      IV, 3; V, 3; page 22, two small plates (G. G. A., 1794, page
+      10).
+
+    I "Henry VI.," Tieck, page 24, II, 5 (G. G. A., 1794, page 970).
+
+    II "Henry VI.," Tieck page 25, III, 3 (G. G. A., 1794, page 10).
+
+    "Richard III.," Tieck, page 27, III, 1 (G. G. A., 1791, page
+      1794).
+
+    "Titus Andronicus," Tieck, page 28, IV, 1 (G. G. A., 1794, page
+      970); page 29 (G. G. A. 1794, page 970).
+
+    "Romeo and Juliet," Tieck, page 30, I, 5 (G. G. A., 1793, page 561);
+      IV, 5 (G. G. A. page 561); V, 3 (G. G. A., 1793, page 562).
+
+    "King Lear," Tieck, page 31, I, 1 (G. G. A., 1793, page 903-4);
+      page 32, III, 4 (G. G. A. 1793, page 904); page 33, last scene
+      (G. G. A., 1793, page 904); page 34 (G. G. A., 1793, Page 904).
+
+Tieck mentions in all 39 plates; of these 24 are large plates
+    and the rest small ones. In only 6 instances does Tieck enter
+    into even a slite criticism of the small plates. In some cases,
+    his remarks are so meager that it is only by a comparison with
+    the original that we can tell what plate he means.
+
+[15] Boydell's Catalog, page 28 ff. It may be worth while to
+    mention in this connection that the Catalog has a number of
+    errors in the list of these supplementary plates. The proof was
+    red carelessly and the results are jumbled. Only by a careful
+    comparison with the originals in the 1802 edition, for the
+    results of which there is no room here, can this be straightend
+    out.
+
+[16] "Romantische Schule," page 57-8.
+
+[17] For possible influence of Du Bos, cf. Tieck's doctrin of
+    poetry as an imitativ art. Kr. Sch., page 24. See Howard,
+    _Publications of the Mod. Lang. Assn._, vol. XXII, page 4. The
+    letters to Wackenroder in Holtei, 300 Briefe, etc.
+
+[18] Volbehr, Dessoir, Stoecker. D. L. D.
+
+[19] Kr. Sch. I, 321. It is doutful if Tieck knew any of the
+    Hogarth Shakspere plates. The dates of issu (Dobson, pp. 310,
+    340 ff.) are all later than the writing of the Boydell article.
+    For Tieck and Hogarth, Koepke, I, page 148.
+
+[20] Of course the emfasis on color is entirely wanting in the
+    body of the work. Tieck nowhere in the essay points out how
+    engraving can suggest color.
+
+[21] Literary paralels are at once apparent. So, Schiller's
+    Prolog to "Wallenstein."
+
+[22] Schriften, vol. X, pages 302-3.
+
+[23] Weitenkampf, 155.
+
+[24] One or two actual errors of fact hav crept into the paper.
+    Kyder for Ryder and Northcate for Northcote. The latter error
+    and Tieck's Slatbard may hav arisn, as Professor Wilkens
+    suggested to me, from Tieck's notoriously bad handwriting which
+    was misinterpreted by the compositor. At any rate, Tieck made no
+    later effort to correct. The "Rev." before Peters' name misled
+    both Tieck and Forster into laying too much emfasis on his
+    sacerdotal function. The G. G. A. calls him a dilettante.
+
+[25] Walzel, 279; Sulger-Gebing, 41, 154. Engel ("Angelika
+    Kaufmann," 36, 37, 43) while not denying her preference for this
+    dress, is of the opinion that it was not suited to her. "Im
+    Schaeferkleide, den Hirtenstab in der Hand, Atlaspantoeffelchen an
+    den Fuessen, ein bebaendertes Huetchen auf der gepuderten Coiffure,
+    umgeben von einem Hofstaat schoengeistiger Verehrer und
+    Verehrerinnen, so hatte sie unzweifelhaft eine weit natuerlichere
+    und tuechtigere Figur gemacht als in der Vestalinnentracht die
+    sie--das Bregenzerwaldnymphlein--in der Folgezeit zu bevorzugen
+    pflegte."
+
+[26] Biografers of Sir Joshua generally agree that his pictures
+    in this series, with the possible exception of "Puck," are
+    failures. Boydell paid 400 and 1500 guineas for the two largest
+    and this was considerd by some an exorbitant price.
+
+[27] Minor's edition, pages 27, 30.
+
+[28] There is the possibility of a crude symbolism having been
+    intended for Shakspere's "Blow, winds," etc.
+
+[29] The West picture was very popular. Cf. _Teutsche Mercur_,
+    1791, pages 445-6, for a criticism of Berger's engraving from
+    it.
+
+[30] See, 300 Bfe. page 79.
+
+[31] This is a difficult point to decide. The citizen class was
+    limited by such sumptuary laws as is shown by the records, but
+    most writers agree that the violations were open and common.
+
+[32] The figure with the helmet is unquestionably that of
+    Marius, the tribune. He enters from the street and is drest in
+    street costume. Titus, who has been in the house, wears only a
+    fillet around his hed. In the play, Marius commands the boy to
+    stand near him for refuge, but in the picture the moment just
+    previous is chosen, when the boy is still near his grandfather.
+    Forster wrongly holds that the helmeted figure is Titus.
+
+[33] Cf. A. W. v. Schlegel in _Athenaeum_, 2, 212, "Man kennt
+    Reynolds Ugolino aus dem Kupferstiche: es ist ein alter Mann,
+    der hungert, aber es ist nicht Ugolino." For his criticism of
+    Boydell, 2, 198.
+
+[34] Marie Joachimi-Dege has given a very careful account of the
+    erly Romantic and Storm and Stress attitude toward Shakspere.
+    Her book needs supplementation thru a study of the Romantic
+    Shakspere criticism, written from the English point of view.
+
+[35] In his Academy discourses. Bohn ed., vol. I, page 460 ff.
+    Reynolds points out that those who praise the "invention" of
+    Timanthes in the Agamemnon picture hav not been painters but
+    literary men. They use it as an illustration of their own art.
+    He says, "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 poetry. (Cf. Boydell's
+    preface.) It is a doubt with me if we should even make the
+    attempt. The chief, if not the only occasion which the painter
+    has for this artifice, is when the subject is improper to be
+    more fully represented, either for the sake of decency, or to
+    avoid what would be disagreeable to be seen; and this is not to
+    raise or increase the passions, which is the reason given for
+    this practice, but on the contrary to diminish their effect....
+    We cannot ... recommend an undeterminate manner or vague ideas
+    of any kind, in a complete or finished picture. This notion,
+    therefore, of leaving anything to the imagination opposes a very
+    fixed and indispensible rule in our art,--that everything shall
+    be carefully and distinctly expresst, as if the painter knew,
+    with correctness and precision, the exact form and character of
+    whatever is introduced into the picture. This ... must not be
+    sacrificed ... for uncertain and doubtful beauty which, not
+    naturally belonging to our art, will probably be sought for
+    without success." After praising the artifis of Timanthes,
+    Reynolds goes on to say, "Suppose this method of leaving the
+    expression of grief to the imagination, to be ... the invention
+    of the painter and that it deserves all the praise that has been
+    given to it, it is still a trick that will serve only once;
+    whoever does it a second time, will not only want novelty, but
+    will be justly suspected of using artifice to evade
+    difficulties. If difficulties overcome make a great part of the
+    merit of Art, difficulties evaded can deserve but little
+    commendation." Among the names of those who discuss the "trick"
+    Lessing's is, of course, wanting. Gilray's satirical plate on
+    Boydell should be compared for this and other points. Copy in N.
+    Y. Public Library.
+
+[36] In this connection, the letters mention Engel's
+    "Mimik"(1785).
+
+[37] Some of the latter pictures by Smirke are very fine; e. g.,
+    the face of Jessica which justifies the statement of the Dict.
+    Nat. Biog. that Smirke had "good drawing, refinement, quiet
+    humor." Bryan has a cooler comment: "Smirke was well spoken of
+    in the comedy vein." Tieck likes him better in tragedy (page
+    34). Fiorillo's comment is "Seit Hogarths Zeiten hat kein
+    Kuenstler so viel Charakter oder so viel Ausdruck in seine
+    Figuren gebracht, noch eine Scene mit so viel echter Laune
+    bearbeitet."
+
+[38] To me the Tieck-Schlegel translation of this scene misses
+    all the best points of the original. To be sure, Tieck had
+    nothing to do with its translation. (Friesen, I, 136; Sybel,
+    III, 463 ff). It was not that Tieck was not interested in puns,
+    altho the Dr. Cajus scene seems uninteresting to him on that
+    account. Tieck himself made a good many puns. Cf.
+    "Viehsiognomie," the first lines of his sonnet on the sonnet and
+    the "gemein" from the _Allgemeine deutsche Bibliothek_ in
+    "Das juengste Gericht." His sensing of English puns seems not to
+    hav been so keen. So in a discussion of Mss. readings toward the
+    end of the essay on the erly English Theater (Kr. Sch. I, 320)
+    after calling one faulty reading "Unsinn" he continues, "In
+    derselben Rede:
+
+
+        If you can construe but your doctor's bill
+        Parse your wife's waiting woman, etc.
+
+
+     Parse? Was kann das bedeuten? Pierce ist dem aufmerksamen Auge
+     leserlich genug." Tieck seems to hav mist the play on the
+     grammatical idea. To be sure, I hav not seen the Ms., but Tieck
+     was no very careful reader or copyist.
+
+[39] This is a scene where Tieck saw both L. and S. There were
+    two different paintings of the same subject, one with fewer
+    figures, and Tieck rightly points out that the less crowded one
+    is the better. One of the engravings is by W. Blake and is not
+    given in any list of that artist's work. Mr. W. G. Robertson,
+    the most recent biografer of Blake informs me in a letter that
+    he does not know it.
+
+
+
+
+A PARTIAL BIBLIOGRAPHY
+
+
+Athenaeum. Eine Zeitschrift von A. W. Schlegel und Friederich
+    Schlegel, Zweiter Band. Berlin, 1799.
+
+Boydell, John.
+    Catalogue of the ... Shakspeare Gallery, London, 1789. The first
+      edition of the catalog givs the painters' names only: subsequent
+      editions add the names of the engravers. There are copies of the
+      various editions in the Columbia, Harvard and New York Public
+      Libraries.
+    A Catalogue of Prints ... comprising the stock of J. and J.
+      Boydell, London, 1808.
+        Copy in N. Y. Public Library.
+    A Collection of prints from pictures painted for the purpose of
+      illustrating the dramatic works of Shakespeare, by the artists
+      of Great Britain. London ... 1803, 2 vols. in one, atlas folio.
+        There are many copies in the U. S. and there is also an American
+        reprint with letterpress explanatory of the plates.
+
+Dessoir, M. K. P. Moritz als Aesthetiker.
+
+Dobson, Austin. William Hogarth, New York and London, 1907.
+
+Engel, J. J. Ideen zu einer Mimik, 1848.
+
+Engel. Angelika Kaufmann, 1903.
+
+Fiorillo, J. D. Geschichte der zeichnenden Kuenste, etc. Bd. V.
+    Geschichte der Malerei in Grossbrittanien. Goettingen, 1808.
+
+Forster, Georg. Saemmtliche Schriften, III. Leipzig, 1843.
+
+Friessen, H. von. Ludwig Tieck. Erinnerungen eines alten
+    Freundes. Wien, 1872.
+
+Goettingen. Anzeigen fuer Gelehrte Sachen, etc. The volumes from
+    1791 to 1803 were used.
+
+Haym, R. Die romantische Schule, 1870.
+
+Holtei, K. Drei hundert Briefe aus zwei Jahrhunderten,
+    Hannover, 1872.
+
+Joachimi-Dege, M. Deutsche Shakspeare-Probleme im XVIII.
+    Jahrhundert und im Zeitalter der Romantik. Leipzig, 1907.
+
+Koepke, R. Ludwig Tieck, Leipzig, 1855.
+
+Minor, J. Friedrich Schlegel. Seine prosaischen
+    Jugendschriften, Wien 1906.
+
+Tieck und Wackenroder. Kuerschners D. N. L. Bd. 145.
+
+Moritz, K. P. Ueber die nachahmende Bildung des Schoenen. In D.
+    L. D.
+
+Reynolds, J. Academy Discourses. Bohn Edition, London, 1846.
+
+Shakspere, W. The Dramatic Works of William Shakspeare, London,
+    1802.
+      This is the Steevens edition in nine volumes. Copy in New
+      York Public Library.
+
+Spooner, Shearjashub. Prospectus for publishing an American
+    edition of Boydell's illustrations of Shakespeare, N. Y., 1848.
+
+Sulger-Gebing. Die Brueder A. W. und F. Schlegel und die
+    bildende Kunst, 1897.
+
+Sybel. Erinnerungen an F. von Uechtritz. Leipzig, 1884.
+
+Volbehr. Goethe und die bildende Kunst, 1897.
+
+Walzel, O. F. Friedrich Schlegel's Briefe an seinen Bruder
+    August Wilhelm. Berlin, 1890.
+
+Wietenkampf, F. How to appreciate prints. New York, 1908.
+
+Zelak. Tieck und Shakspere. Tarnopol, 1900.
+
+
+       *       *       *       *       *
+
+Transcriber's Notes
+
+There is much idiosyncratic spelling in both English and German. This
+has been retained, apart from the following four typos:
+
+page 15 "sehn" amended to "sehr";
+
+page 30 "obobserver" amended to "observer";
+
+page 40 "int he" amended to "in the";
+
+page 54 "Grossbittanien" amended to "Grossbrittanien".
+
+On page 32, the typo "est giebt" has been left unchanged: it could be
+either "es giebt" or "erst giebt" (more likely).
+
+Also on p. 32 "zu grob ist" should probably be "zu gross ist", but has
+been left unchanged, as the letter ss does not appear elsewhere in the
+text.
+
+Three obvious errors in punctuation have also been amended, as follows:
+
+page 12 "page 28." amended to "page 28:";
+
+page 34 "darstellen will." amended to "darstellen will,";
+
+page 41 Tanzschritt," amended to "Tanzschritt";
+
+page 44 "G. G. A.." amended to "G. G. A.,".
+
+page 48 "in in Das" amended to "in Das".
+
+Anchors for footnootes 31 and 36 are missing. They have been inserted in
+the most likely locations.
+
+
+
+
+
+End of the Project Gutenberg EBook of Tieck's Essay on the Boydell Shakspere
+Gallery, by George Henry Danton
+
+*** END OF THIS PROJECT GUTENBERG EBOOK BOYDELL SHAKSPERE GALLERY ***
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