Or might there not be wove some tributary wreath in memory of neglected Garrick?-for on his death, -- all the pomp of Shakespeare's rites were ceas'd* For a Vignette to the Merchant of Venice, there might be drawn a sweet child reading with an expressive air, the humane lines of: The quality of mercy is not strain'd : AND the expression of the face may be some what fimilar to the best impressions (and not to the pirated copies) of Mr. Bumbury's first print of Charlotte, published in 1782, by C. White. Or a fancy head of Shakespeare might be drawn, (fomewhat similar in attitude and dress to Mortimer's head of the Poet) with the mild expreffion of Zoust's metzotinto--- and (with a scroll in one hand) as at the moment of writing the above lines. The evident proofs we have of his good heart, will give an artist more pleasure in designing for him. If other ornaments are preferred: they may be those of the scales, the knife and bond---or they may be alluding to the concord of sweet founds---for which purpose, see Bartalozzi's ticket for the benefit of Salpietro---the figure of the winged boy with the reed, and the expressive air of the young woman : * MIGHT not fome part of the subscription money of Messrs Boydell's edition, be appropriated towards the erecting a tomb for Garrick? Seven years have now elapfed, and the fame neglect attends his remains, as those of Sir Anthony Vandyck. His Fame requires we act a tenderer part:- woman in Cypriani's title page to the music of Rosina-and the face of Apollo in the title page of some book of music, designed (I think) by Cypriani. : PART of the Vignette to Lear, might be a picturesque view of DoverCliff-for the meanest hovel (says Mr. Warton) to which Shakespeare has an allufion, interests curiosity. Some of the flowers with which old Lear was crowned, might be twined round this Vignette, and they will fome of them be found in the Flora Londinenfis. See also the rich ornaments (and the lightening) in Burney's print to Bell's edition-and see the flowers in the same print. : I CANNOT but recommend, as a Vignette to the second part of Henry IV. a fac-fimile of the whole and entire Vignette to the fifth volume of the English Theatre, by Lowndes. It is designed by Edwards, and engraved by Byrne. It contains (among other figures) the muse of Comedy, with a mask in on hand, and a glass in the other. It has too much merit I think to be rejected. DESIGNS or Ideas for other Vignettes, may be conceived from a fine one, which is annexed to a volume of the publication of plays, by either Bell or Lowndes. The print in my possession has the names of the pain ter and engraver cut off; but it represents Comedy, with a fatyr and a young bacchanalian-both of which last figures however might admit of some little improvement. See also a Design by Mr. West, engraved by Byrne, for the seventh volume of one of the above publications. And Angelica Kauffman's Design for that volume which contains Tamerlane.were the face of Melpomene more empassioned, it would form a rich ornament to one of the Tragedies of Shakespeare. See also the following Designs; namely one by Mortimer, engraved by Hall for one of the volumes of the above publications, being the Tragic Muse, with a flaming torch and dagger-the conception of this print is wild and lugubre: Another Design for one of the volumes of Bell, being the Tragic Muse, with C2 with a goblet in her right hand, her dagger by her fide, and a figure above her, with a sword and torch. A Design for one of the volumes of Bell, being Thalia pointing to many of Shakespeare's characters, and on a scroll is written the names of Centlivre and other dramatic writers. A design by Mortimer, engraved by Walker, for one of the volumes of Lowndes, representing most of the characters of Shakespeare, in proceffion. A small design for (I think) the fourth volume of the publication by Lowndes, drawn by Lowe and engraved by Hall. Another design by Mortimer, engraved by Hall, for one of the above publications, being a figure of Melpomene with her tresses wildly waving, and a ship at sea. A Design for one of the volumes of the above publications, drawn by Edwards and engraved by Hall, where the part of a skeleton is introduced, with lightening, and the figure of despair-and the Vignette to the twelfth volume of Lowndes. I must entreat the reader's pardon for dwelling so much on this subject; but my only motive for offering this profpectus is, a wish to throw in my mite of service towards that undertaking, which is now formed in honour of our poet. And if any one can suggest thoughts which may save trouble to the conductors; it is proper they should be communicated before the edition is in a more advanced stage. I have therefore further to mention, that Ideas of other Designs for Vignettes may be gathered from Cypriani's Contemplation-and from his Power of Beauty: either of which figures might be fondly furveying a Portrait, a Bust, or a neat expressive Statue of Shakespeare-if Cypriani had been spared, Shakespeare would have owed him much obligation. See also his print of Faith; and the little boy reading in his print of History-and the figure in his print of Admiration-In his Power of Love, he has drawn a Cupid which may not have been furpassed by Albani. See the Vignette of Memory, in an Historical Rhapsody on Pope. The landscape, and the child, in Kauffman's print of Lady Rushout and Daughter. The figure of the woman reading in the Head-piece to the first volume of the quarto edition of Buffon's Histoire Naturelle. And the expressive Head-piece to to the third volume of Deschampes Vies de Peintres. In the frontispiece to Deschamp, will be found a little boy reading-Might not this be introduced in some Vignette, with a volume of Shakespeare in his hands, and his little face might express a deep and fixed attention; as if the poesy of Shakespeare had taken empire o'er it's willing breast. See the arms of England, engraved by Bartolozzi. The figure holding up the medallion, and the Cupid on the right hand above it, in the frontispiece to the Tableaux de Dusseldorf; and the fourth and feventh Vignettes to the 2d volume of this work. If it should be thought proper in any of the Vignettes, to place a small Head of Shakespeare: see then the style in which those are drawn in Deschamp; particularly the Heads of Van Asch, and Thielen, in the second volume-and the emblematic style in which that pleasing Head of Bronkhorst is drawn in this fame volume, and those of Steenwick, Lucas Van Unden, Bramer, Van Goyen, and Rombouts in the first volume. See also the medallion, at the bottom of a print of the Queen of Hungary, published in Dec. 1780, by Fielding and Walker, for one of the numbers of the Westminster Magazine. NUMBERLESS are the engravings published both in England and France, of the Tragic and Comic Muse. I have seen very few of those published in France; and not many of those which have been defigned by English artists. It were needless however to catalogue them, when our own country has produced a figure of the Tragic Muse, which we may almost venture to pronounce unequalled. It is the impressive figure of Mrs. Siddons by Sir Joshua Reynolds. It paints, The tread majestic, and the beaming eye AN * On the late revival of the Jubilee, at Drury Lane, Mrs. Siddons personated the Tragic Muse. Her car was fitted up exactly in the style of this picture, so that the presented the same subject to the eye, An edition of our great Poet would be strangely defective, were this fine figure omitted. MR. Romney has likewise given us a very interesting print of Mrs. Yates in the Tragic Muse. And there is an expressive figure of the same Muse (clafping her own Lear) in Pines print of Garrick speaking his Ode. There was a portrait of Mrs.. Yates (which I have not seen) in the character of Melpomene, in the Exhibition of 1780, by Roberts. We have another portrait of Melpomene, from the pencil of Sir Joshua, in the print of Garrick between Tragedy and Comedy-and as this print contains a figure of Thalia that I do not think any artist has yet furpassed; and as the whole Design will ever remain a generous ornament to the master of the passions—why may it not be inferted in some part of an edition of Shakespeare that might be appropriated to the memory of Mr. Garrick? This figure of Comedy, has the rich archness of Thalia's face. I have before hinted at two Masks, that I thought were good ones, and I should now add that which Thalia holds. If there should be required a print of the Comic Muse, in conjunction withthe above mentioned print of Mrs. Siddons; the metzotinto portrait of Baccelli, by Sir Joshua, will immediately furnish one. At least it will require very few additions. I have not seen many prints of the Muse of Comedy-but amongst those I have feen, I know none that can approach the portrait of Baccelli: unless it be the Thalia of R. Cofway, engraved by Bartolozzi. I have not yet seen Sir Joshua's print of Mrs. Abingdon, as the Comic Muse. In so grand an edition as that announced by Messrs. Boydells and Nicoll, we may rest well assured that Shakespeare's volumes will receive every proper Leye. Nothing (fay the papers) could be more grand and impressive than her attitude and air. A poem by Mr. Keate, to the memory of Mrs. Cibber, gives an interesting picture of the Tragic Muse. See also the Notes in page 68 and 80, of Mr. Warton's Milton, and Mr. Whalley's Verfos to Mrs, Siddons : |