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The Boydell Shakespeare Gallery

THE

GALLERY

OF ILLUSTRATIONS FOR

SHAKESPEARE’S

DRAMATIC WORKS

ORIGINALLY PROJECTED AND PUBLISHED BY

JOHN BOYDELL

REDUCED AND RE-ENGRAVED BY THE HELIOTYPE PROCESS

WITH SELECTIONS FROM THE TEXT

PHILADELPHIA

George Barrie, Publisher

1874

LIST OF PLATES.

FRONTISPIECE, SHAKESPEARE BETWEEN POETRY AND PAINTING, SCULPTURED BY BANKS,

ENGRAVED BY B. SMITH.

	PAINTER.	ENQRAVER.
2. Infant Shakespeare attended by the Passions	Romney.	B. Smith.
3. The Tempest. Act I. Scene II	Romney.	B. Smith.
4. Act I. Scene II	Fuseli.	Simon.
5. Act IV. Scene I	Wright.	Thew.
6. Act V. Scene I	Wheatley.	C. Watson.
7. Two Gentlemen of Verona. Act V. Scene IV	Kauffman.	Schavonetti.
8. Act V. Scene IV	Stothard.	Ogborne.
9. Merry Wives of Windsor. Act I. Scene I	Smirke.	Simon.
10. Act II. Scene I	Peters.	Thew.
11. Act III. Scene III	Peters.	Simon.
12. Act V. Scene V	Smirke.	W. Sharpe.
13. Act V. Scene V	Smirke.	Taylor.
14. Measure for Measure. Act II. Scene I	Smirke.	Ryder.
15. Act II. Scene IV	Smirke.	Wilson.
16. Act IV. Scene II	Smirke.	Wilson.
17. Act V. Scene I	Kirk.	Simon.
18. The Comedy of Errors. Act I. Scene I	Wheatley.	Neagle.
19. Act V. Scene I	Rigaud.	Playter.
20. Much Ado About Nothing. Act III. Scene I	Peters.	Simon.
21. Act IV. Scene I	W. Hamilton.	Simon.
22. Act IV. Scene II	Smirke.	Ogborne.
23. Act V. Scene IV	Wheatley.	Fittler.
24. A Midsummer Night’s Dream. Act II. Scene I	Fuseli.	Parker.
25. Act II. Scene I	Reynolds.	Schavonetti.
26. Act IV. Scene I	Fuseli.	Simon.
27. Act IV. Scene I	Fuseli.	Ryder.
28. The Merchant of Venice. Act II. Scene V	Smirke.	Simon.
29. Act III. Scene II	Westall.	Noble.
30. The Merchant of Venice. Act III. Scene III	Westall.	Parker.
31. Act V. Scene I	Hodges.	Browne.
32. As You Like It. Act I. Scene II	Downman.	Leney.
33. Act II. Scene I	Hodges.	Middiman.
34. The Seven Ages — First Age	Smirke.	Tomkins.
35. The Seven Ages — Second Age	Smirke.	Ogborne.
36. The Seven Ages — Third Age	Smirke.	Thew.
37. The Seven Ages — Fourth Age	Smirke.	Ogborne.
38. The Seven Ages — Fifth Age	Smirke.	Simon.
39. The Seven Ages — Sixth Age	Smirke.	Leney.
40. The Seven Ages — Seventh Age	Smirke.	Simon.
41. Act IV. Scene III	R. West.	Wilson.
42. Act IV. Scene III	Smirke.	Wilson.
43. Act V. Scene IV	W. Hamilton.	Simon.
44. The Taming of the Shrew. Induction. Scene II	Smirke.	Thew.
45. Act III. Scene II	Wheatley.	Simon.
46. All’s Well That Ends Well. Act II. Scene III	Wheatley.	Schavonetti.
47. Act V. Scene III	Wheatley.	Facius.
48. The Twelfth Night. Act II. Scene III	W. Hamilton.	Fittler.
49. Act III. Scene IV	Ramberg.	Ryder.
50. Act IV. Scene III	W. Hamilton.	Angus.
51. The Winter’s Tale. Act IV. Scene III	Wheatley.	Fittler.
52. Act V. Scene III	W. Hamilton.	Thew.
53. King John. Act III. Scene IV	Westall.	A. Smith.
54. Act IV. Scene I	Northcote.	Thew.
55. King Richard II. Act V. Scene II	Northcote.	Thew.
56. King Henry IV. First Part. Act II. Scene I	Smirke.	Fittler.
57. Act II. Scene II	Smirke.	Middiman.
58. Act II. Scene IV	Smirke.	Thew.
59. Act III. Scene I	Westall.	Simon.
60. Act V. Scene IV	Rigaud.	Ryder.
61. King Henry IV. Second Part. Act II. Scene IV	Fuseli.	Leney.
62. Act III. Scene II	Durno.	Ryder.
63. Act V. Scene V	Smirke.	Collyer.
64. King Henry V. Act II. Scene II	Fuseli.	Thew.
65. King Henry VI. First Part. Act II. Scene III	Opie.	Thew.
66. Act II. Scene IV	Boydell.	Ogborne.
67. King Henry VI. First Part. Act II. Scene V	Northcote.	Thew.
68. Second Part. Act I. Scene IV	Opie.	Thew.
69. Act III. Scene II	W. Hamilton.	Taylor.
70. Act III. Scene III	Reynolds.	C. Watson.
71. King Henry VI. Third Part. Act I. Scene III	Northcote.	Ryder.
72. Act V. Scene VII	Northcote.	Michel.
73. King Richard III. Act III. Scene I	Northcote.	Thew.
74. Act IV. Scene III	Northcote.	Legat.
75. Act IV. Scene III	Northcote.	Skelton.
76. King Henry VIII. Act I. Scene IV	Stothard.	Taylor.
77. Act III. Scene I	Peters.	Thew.
78. Act IV. Scene II	Westall.	Thew.
79. Act IV. Scene II	Westall.	Parker.
80. Act V. Scene V	Peters.	Collyer.
81. Troilus and Cressida. Act II. Scene II	Romney.	Legat.
82. Act V. Scene II	Kauffman.	Schavonetti.
83. Coriolanus. Act V. Scene III	G. Hamilton.	Caldwell.
84. Romeo and Juliet. Act I. Scene V	Miller.	Facius.
85. Act II. Scene V	Smirke.	Parker.
86. Act III. Scene V	Rigaud.	Stow.
87. Act V. Scene III	Northcote.	Simon.
88. Timon of Athens. Act IV. Scene III	Opie.	Thew.
89. Julius Caesar. Act III. Scene I	Westall.	Parker.
90. Act IV. Scene III	Westall.	Scriven.
91. Macbeth. Act I. Scene III	Westall.	Stow.
92. Act I. Scene V	Westall.	Parker.
93. Hamlet. Act I. Scene IV	Fuseli.	Thew.
94. King Lear. Act III. Scene IV	West.	Sharpe.
95. Othello. Act II. Scene I	Stothard.	Ryder.
96. Antony and Cleopatra. Act III. Scene XI	Tresham.	Facius.
97. Cymbeline. Act I. Scene I	W. Hamilton.	Burke.
98. Act II. Scene II	Westall.	Stow.
99. Act III. Scene IV	Hoppner.	Thew.
100. Act III. Scene VI	Westall.	Parker.

SHAKESPEARE

BETWEEN

Poetry and Painting.

This fine piece of Sculpture represents Shakespeare seated on a rock, between Poetry and Painting. Poetry is on his right hand, crowning him with a wreath, as her chosen representative. Painting is on his left, and is represented as addressing the spectator and pointing to him as one of the grandest subjects for her brush.

This alto-relievo was erected over the Boydell Shakespeare Gallery in Pall Mall

Sculptured by THOMAS BANKS, R. A,

Plate II.

The Infant Shakespeare attended by Nature and the Passions.

Nature is here portrayed with her face unveiled to her adopted child. Joy and Sorrow are on either side of him. On the right hand of Nature are represented Love, Hatred, and Jealousy, on the left Anger, Envy, and Fear.

Painted by GEORGE ROMNEY.

Plate III.

The Tempest

Act I. Scene II

The Island. Before Prosperous Cell.

The Shipwreck as related by ARIEL.

Ariel.— Not a soul

But felt a fever of the mad and play’d

Some tricks of desperation. All but mariners

Plunged in the foaming brine and quit the vessel,

Then all afire with me: the king’s son, Ferdinand,

With hair up-staring,— then like reeds, not hair,—

Was the first man that leap’d, cried,

‘Hell is empty, And all the devils are here.’

Painted by GEORGE ROMNEY.

The Tempest.

Act I. Scene II

The Island. Before Prosperos Cell.

PROSPERO, MIRANDA, ARIEL, and CALIBAN.

Prospero.— For this, be sure, to-night thou shalt have cramps,

Side-stitches that shall pen thy breath up, urchins

Shall, for that vast of night that they may work,

All exercise on thee, thou shalt be pinch’d

As thick as honeycomb, each pinch more stinging

Than bees that made ’em.

Painted by HENRY FUSELI R. A.

The Tempest

Act IV. Scene I

Before Prosperous Cell.

PROSPERO, FERDINAND, and MIRANDA, a Masque exhibiting, IRIS, CERES, JUNO, and NYMPHS, CALIBAN, TRINCULO, and STEPHANO at a distance.

Prospero.— You do look, my son, in a moved sort,

As if you were dismay’d: be cheerful, sir.

Our revels now are ended. These our actors,

As I foretold you, were all spirits and

Are melted into air, into thin air:

And, like the baseless fabric of this vision,

The cloud-capp’d towers, the gorgeous palaces,

The solemn temples, the great globe itself,

Yea, all which it inherit, shall dissolve

And, like this insubstantial pageant faded,

Leave not a rack behind. We are such stuff

As dreams are made on, and our little life

Is rounded with a sleep.

Painted by JOSEPH WRIGHT.

Plate VI.

The Tempest

Act V. Scene I.

Before Prospercs Cell.

FERDINAND and MIRANDA, PROSPERO in the Background, with others,

Miranda.— Sweet lord, you play me false.

Ferdinand.— No, my dear’st love,

I would not for the world.

Miranda.— Yes, for a score of kingdoms you should wrangle,

And I would call it fair play.

Painted by FRANCIS WHEATLEY, R. A.

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Plate VII.

The Two Gentlemen of Verona.

Act V. Scene IV.

A Forest.

VALENTINE, PROTEUS, SILVIA, and JULIA.

Valentine.— Ruffian, let go that rude uncivil touch,

Thou friend of an ill fashion!

Proteus.— Valentine!

Valentine.— Thou common friend, that’s without faith or love,

For such is a friend now, treacherous man!

Thou hast beguiled my hopes, nought but mine eye

Could have persuaded me: now I dare not say

I have one friend alive, thou wouldst disprove me.

Who should be trusted, when one’s own right hand

Is perjured to the bosom? Proteus,

I am sorry I must never trust thee more,

But count the world a stranger for thy sake.

The private wound is deepest: O time most accurst,

‘Mongst all foes that a friend should be the worst!

Painted by MARIA ANGELICA KAUFFMANN, R. A.

Plate VIII.

The Two Gentlemen of Verona.

Act V. Scene IV.

A FOREST VALENTINE, PROTEUS, SILVIA, and JULIA.

Valentine.— Why, boy! why, wag! how now! what’s the matter? Look up, speak.

Julia.— O good sir, my master charged me to deliver a ring to Madam Silvia, which, out of my negledl, was never done.

Proteus.— Where is that ring, boy?

Julia.— Here ’tis, this is it.

Proteus.— How! let me see: Why, this is the ring I gave to Julia.

Julia.— O, cry you mercy, sir, I have mistook: This is the ring you sent to Silvia.

Proteus.— But how earnest thou by this ring ? At my depart I gave this unto Julia.

Julia.— And Julia herself did give it me, And Julia herself hath brought it hither.

Proteus.— How! Julia!

Julia.— Behold her that gave aim to all thy oaths, And entertained ’em deeply in her heart. How oft hast thou with perjury cleft the root! O Proteus, let this habit make thee blush! Be thou ashamed that I have took upon me Such an immodest raiment, if shame live In a disguise of love: It is the lesser blot, modesty finds, Women to change their shapes then men their minds.

Painted by THOMAS STOTHARD, R. A.

The Merry Wives of Windsor.

Act I. Scene I.

Before Pages House.

ANNE PAGE, SLENDER, and SIMPLE.

Slender.— Mistress Anne, yourself shall go first

Anne.— Not I, sir, pray you, keep on.

Slender.— Truly, I will not go first, truly, la! I will not do you that wrong.

Anne.— I pray you, sir.

Slender.— I’ll rather be unmannerly than troublesome. You do yourself wrong, indeed, la!

[Exeunt.

Painted by ROBERT SMIRKE, R. A.

The Merry Wives of Windsor.

Act II. Scene I.

Before Page’s House.

MRS. FORD and MRS. PAGE.

Mrs. Ford.— Why, this is the very same, the very hand, the very words. What doth he think of us?

Mrs. Page.— Nay, I know not: it makes me almost ready to wrangle with mine own honesty. I’ll entertain myself like one that I am not acquainted withal.

Painted by the Rev. WILLIAM PETERS, R. A.

The Merry Wives of Windsor.

Act III. Scene III.

A Room in Fords House.

MRS. PAGE, MRS. FORD, and FALSTAFF.

Falstaff.— I love thee. Help me away. Let me creep in here. I’ll never —

[Gets into the basket, they cover him with foul linen.

Mrs. Page.— Help to cover your master, boy. Call your men, Mistress Ford. You dissembling knight!

Painted by the Rev. WILLIAM PETERS, R. A.

Plate XIII.

The Merry Wives of Windsor.

Act V. Scene V.

Windsor Park.

FALSTAFF, Mrs. FORD and Mrs. PAGE.

Mrs. Ford.— Sir John! art thou there, my deer? my male deer?

Falstaff.— My doe with the black scut! Let the sky rain potatoes, let it thunder to the tune of Green Sleeves, hail kissing-comfits and snow eringoes, let there come a tempest of provocation, I will shelter me here.

Mrs. Ford.— Mistress Page is come with me, sweetheart.

Falstaff.— Divide me like a bribe buck, each a haunch: I will keep my sides to myself, my shoulders for the fellow of this walk, and my horns I bequeath your husbands. Am I a woodman, ha? Speak I like Heme the hunter? Why, now is Cupid a child of conscience, he makes restitution. As I am a true spirit, welcome!

[Noise within.

Mrs. Page.— Alas, what noise ?

Mrs. Ford.— Heaven forgive our sins!

Falstaff.— What should this be?

Mrs. Ford. |

Mrs. Page. | Away, away!

[They run off.

Painted by ROBERT SMIRKE, R. A.

Plate XII.

The Merry Wives of Windsor.

Act V. Scene V.

Windsor Park.

FALSTAFF, (disguised), Mrs. FORD, Mrs. PAGE, Sir HUGH EVANS, (disguised), PISTOL as Hobgoblin, Mrs. QUICKLEY, ANNE PA GE, and others, as Fairies, with tapers.

Quickley.— With trial-fire touch me his finger-end: If he be chaste, the flame will back descend And turn him to no pain, but if he start, It is the flesh of a corrupted heart.

Pistol.— A trial, come.

Evans.— Come, will this wood take fire?

[They burn him with their tapers.

Falstaff.— Oh, Oh, Oh!

Quickley.— Corrupt, corrupt, and tainted in desire! About him, fairies, sing a scornful rhyme, And, as you trip, still pinch him to your time.

Song.

Fie on sinful fantasy!

Fie on lust and luxury!

Lust is but a bloody fire,

Kindled with unchaste desire,

Fed in heart, whose flames aspire

As thoughts do blow them, higher and higher.

Pinch him fairies, mutually,

Pinch him for his villany,

Pinch him, and burn him, and turn him about,

Till candles and starlight and moonshine be out.

Painted by ROBERT SMIRKE, R. A.

Measure for Measure.

Act II. Scene I.

A Hall in Angelos House.

ESCALUS, ELBOW, FROTH, POMPEY, OFFICERS, &c.

Elbow.— O thou caitiff! O thou varlet! O thou wicked Hannibal! I respected with her before I was married to her! If ever I was respected with her, or she with me, let not your worship think me the poor duke’s officer. Prove this, thou wicked Hannibal, or I’ll have mine action of battery on thee.

Escalus.— If he took you a box o’ the ear, you might have your action of slander too.

Elbow.— Marry, I thank your good worship for it. What is’t your worship’s pleasure I shall do with this wicked caitiff?

Escalus.— Truly, officer, because he hath some offences in him that thou wouldst discover if thou couldst, let him continue in his courses till thou knowest what they are.

Elbow.— Marry, I thank you worship for it. Thou seest, thou wicked varlet, now, what’s come upon thee: thou art to continue now, thou varlet, thou art to continue.

Painted by ROBERT SMIRKE, R. A.

Plate XV.

Measure for Measure.

Act II. Scene IV.

A Room in Angelo’s House.

ISABELLA and ANGELO.

Isabella.— I have no tongue but one: gentle my lord,

Let me entreat you speak the former language.

Angelo.— Plainly conceive, I love you.

Isabella.— My brother did love Juliet,

And you tell me that he shall die for it.

Angelo.— He shall not, Isabel, if you give me love.

Isabella.— I know your virtue hath a license in’t,

Which seems a little fouler than it is, To pluck on others.

Angelo.— Believe me, on mine honour,

My words express my purpose.

Isabella.— Ha! little honour to be much believed,

And most pernicious purpose! Seeming, seeming!

I will proclaim thee, Angelo, look for’t:

Sign me a present pardon for my brother,

Or with an outstretch’d throat I’ll tell the world aloud

What man thou art.

Painted by ROBERT SMIRKE, R. A.

Plate XVI.

Measure for Measure.

Act IV. Scene II.

A Room in the Prison.

ABHORSON, POMPEY, and PROVOSP

Provost.— What, ho! Abhorson! Where’s Abhorson, there?

Enter Abhorson.

Abhorson.— Do you call, sir?

Provost.— Sirrah, here’s a fellow will help you to-morrow in your execution. If you think it meet, compound with him by the year, and let him abide here with you, if not, use him for the present and dismiss him.

Painted by ROBERT SMIRKE, R. A.

Plate XVII.

Measure for Measure.

Act V. Scene I.

The City Gate.

The DUKE in a friar’s habit, VARRIUS, LORDS, ANGEL O, ESC ALUS, LUCIO and CITIZENS. ISABELLA, PETER, MARIANA, PROVOST, &c.

Lucio.— Come, sir, come, sir, come, sir, foh, sir! Why, you bald-pated, lying rascal, you must be hooded, must you? Show your knave’s visage, with a pox to you! show your sheep-biting face, and be hanged an hour! Will’t not off?

[Pulls off the friar s hood, and discovers the Duke.

Duke.— Thou art the first knave that e’er madest a duke.

First, provost, let me bail these gentle three.

[To Lucio] Sneak not away, sir, for the friar and you

Must have a word anon. Lay hold on him.

Painted by THOMAS KIRK.

Plate XVIII.

The Comedy of Errors.

Act I. Scene I.

The Rescue of AEGEONS WIFE and CHILDREN by FISHERMEN as described by AEGEON.

Aigeon.— O, had the gods done so,

I had not now Worthily term’d them merciless to us!

For, ere the ships could meet by twice five leagues,

We were encounter’d by a mighty rock,

Which being violently borne upon,

Our helpful ship was splitted in the midst,

So that, in this unjust divorce of us,

Fortune had left to both of us alike

What to delight in, what to sorrow for.

Her part, poor soul! seeming as burdened

With lesser weight but not with lesser woe,

Was carried with more speed before the wind,

And in our sight they three were taken up

By fishermen of Corinth, as we thought.

At length, another ship had seized on us,

And, knowing whom it was their hap to save,

Gave healthful welcome to their shipwreck’d guests,

And would have reft the fishers of their prey,

Had not their bark been very slow of sail,

And therefore homeward did they bend their course.

Painted by FRANCIS WHEATLEV, R. A.

Plate XIX.

The Comedy of Errors.

Act V. Scene I.

A Street before a Priory.

MERCHANT, ANGELO, LADY ABBESS, ADRIANA, COURTEZAN, DUKE, sEGEON, ANTIPHOLUS and DROMIO of Syracuse, ANTIPHOLUS and DROMIO of Ephesus, Headsman, &c.

Abbess.— Most mighty duke, behold a man much wrong’d.

[All gather to see them.

Adriana.— I see two husbands, or mine eyes deceive me.

Duke.— One of these men is Genius to the other,

And so of these. Which is the natural man,

And which the spirit? who deciphers them?

Dromio of Syracuse.— I, sir, am Dromio: command him away.

Dromio of Ephesus.— I, sir, am Dromio, pray, let me stay.

Antipholus of Syracuse.— AEgeon art thou not? or else his ghost?

Dromio of Syracuse.— O, my old master! who hath bound him here?

Painted by JOHN FRANCIS RIGAUD, R. A.

Much Ado about Nothing.

Act III. Scene 1.

Leonato’s Garden.

HERO, URSULA, and BEATRICE,

Ursula.— The pleasant’st angling is to see the fisn

Cut with her golden oars the silver stream,

And greedily devour the treacherous bait:

So angle we for Beatrice, who even now

Is couched in the woodbine coverture.

Fear you not my part of the dialogue.

Hero.— Then go we near her, that her ear lose nothing

Of the false sweet bait that we lay for it.

[Approaching the bower.

No, truly, Ursula, she is too disdainful,

I know her spirits are as coy and wild

As haggerds of the rock.

Ursula.— But are you sure

That Benedick loves Beatrice so entirely?

Hero.— So says the prince and my new-trothed lord.

Ursula.— And did they bid you tell her of it, madam?

Hero.— They did entreat me to acquaint her of it,

But I persuaded them, if they loved Benedick,

To wish him wrestle with affection,

And never to let Beatrice know of it.

Painted by the Rev. WILLIAM PETERS, R. A.

Plate XXI.

Much Ado about Nothing.

Act IV. Scene I.

A Church.

DON PEDRO, DON JOHN, LEO NATO, FRIAR FRANCIS, CLAUDIO, BENEDICK, BEATRICE, and Attendants.

Claudio.— O Hero, what a Hero hadst thou been,

If half thy outward graces had been placed

About thy thoughts and counsels of thy heart!

But fare thee well, most foul, most fair! farewell,

Thou pure impiety and impious purity!

For thee I’ll lock up all the gates of love,

And on my eyelids shall conjecture hang,

To turn all beauty into thoughts of harm,

And never shall it more be gracious.

Leonato.— Hath no man’s dagger here a point for me?

[Hero Swoons.

Beatrice.— Why, how now, cousin! wherefore sink you down?

Don John.— Come, let us go. These things, come thus to light,

Smother her spirits up.

Painted by WILLIAM HAMILTON, R. A.

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