Cambridge University Press 978-0-521-87837-1 - The Illustrated Shakespeare, 1709-1875 Stuart Sillars Frontmatter More information

The Illustrated Shakespeare, 1709–1875

Illustrations have been an important element of many of the most extensively read edi- tions of Shakespeare’s plays, from the frontispieces to Nicholas Rowe’s 1709 edition to the multiple images placed within the text of Victorian editions. Through symbols the illus- trations have explored language and character; by allusion to earlier paintings they have offered critical readings; and by gesture, setting and costume they have redesigned the plays within the visual vocabulary of their own times. In all these ways they offer impor- tant exchanges with contemporary social, aesthetic and critical concerns, and, despite being largely ignored by scholars, are central to the plays’ reception. Highly illustrated, including many images not previously reproduced, the book allows the reader to share the experience of early readers of the plays. Building on the author’s earlier work in Painting Shakespeare it offers a fresh address to the tradition of visual criticism and assimilation of Shakespeare’s plays.

stuart sillars is Professor of English at the University of Bergen, having previously been a member of the Faculty of English at the University of Cambridge. He has written extensively on the relationship between literature and the visual arts, his most recent book being Painting Shakespeare: The Artist as Critic, 1720–1820 (Cambridge, 2006). Earlier writings include Visualisation in Popular Fiction, British Romantic Art and the Second World War, Art and Survival in First World War Britain and articles and reviews in major journals in the UK, Europe and the USA.

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Frontispiece: Title-page to The Taming of the Shrew by William Harvey, engraved by W.T. Green, 3 1 from Charles Knight’s Pictorial Shakspere, 1838–43. Page size 22.2 × 14.3 (8 /4 × 5/2). See Chapter 1 pp. 15–16.

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THE ILLUSTRATED SHAKESPEARE, 1709–1875

STUART SILLARS

© Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-87837-1 - The Illustrated Shakespeare, 1709-1875 Stuart Sillars Frontmatter More information

cambridge university press Cambridge, New York, Melbourne, Madrid, Cape Town, Singapore, S˜ao Paulo, Delhi Cambridge University Press The Edinburgh Building, Cambridge cb28ru,UK Published in the United States of America by Cambridge University Press, New York

www.cambridge.org Information on this title: www.cambridge.org/9780521878371

c Stuart Sillars 2008

This publication is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press.

First published 2008

Printed in the United Kingdom at the University Press, Cambridge

A catalogue record for this publication is available from the British Library

Library of Congress Cataloguing in Publication data Sillars, Stuart, 1951– The illustrated Shakespeare, 1709–1875 / Stuart Sillars. p. cm. This work is built on the author’s earlier work, Painting Shakespeare. Includes bibliographical references and index. 1. Shakespeare, William, 1564–1616 – Illustrations. 2. Art and literature – Great Britain – History – 18th century. 3. Art and literature – Great Britain – History – 19th century. 4. Art in literature. 5. Visual perception in literature. 6. English drama – Early modern and Elizabethan, 1500–1600 – Illustrations. 7. English drama – 17th century – Illustrations. I. Title. pr2883.s44 2008 822.33 – dc22 2008025988

isbn 978-0-521-87837-1 hardback

Cambridge University Press has no responsibility for the persistence or accuracy of URLs for external or third-party internet websites referred to in this publication and does not guarantee that any content on such websites is, or will remain, accurate or appropriate.

© Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-87837-1 - The Illustrated Shakespeare, 1709-1875 Stuart Sillars Frontmatter More information

For Laurence and Laura, with love, and gratitude for something of great constancy

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CONTENTS

Colour plates page viii List of illustrations x Acknowledgments xxi

1 Play, page and image 1

2 Spatial narratives and Rowe’s Shakespeare 31

3 Rococo and Reflection: Gravelot, Hayman and Walker 73

4 Bell, performance and reading 111

5 ‘Ornaments, derived from fancy’: Illustrating the plays, 1780–1840 148

6 The growth of feeling: Boydell, Taylor and the Picturesque 181

7 The extra-illustrated edition 214

8 Early Victorian populism: Charles Knight and Kenny Meadows 252

9 Selous, Gilbert and reader involvement 289

10 Decline and renewal 324

Notes 346 Select bibliography 364 Index 375

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COLOUR PLATES

The colour plates are to be found between pages 138 and 139.

1 Noli me tangere. Historiated initial from a Latin Gradual or Antiphonal, Franconia, c.1514. MS Add. 4165 (7). By permission of the Syndics of Cambridge University Library. 2 William Gilpin: Plate from Remarks on Forest Scenery, 1791. By permission of the Folger Shakespeare Library. 3 W. Jeayes: ‘It was the Owl that shriek’d’, from an extra-illustrated copy of Heath’s Dramatic Works of Shakespeare, 1807. Watercolour. By permission of the Folger Shakespeare Library. 4 W. Jeayes: ‘Ere to black Hecate’s summons’, from an extra-illustrated copy of Heath’s Dramatic Works of Shakespeare, 1807. Watercolour. By permission of the Folger Shakespeare Library. 5 W. Jeayes: ‘If thou wert the fox’, from an extra-illustrated copy of Heath’s Dramatic Works of Shakespeare, 1807. Watercolour. By permission of the Folger Shakespeare Library. 6 W. Jeayes: ‘Had he his hurts before?’ from an extra-illustrated copy of Heath’s Dramatic Works of Shakespeare, 1807. Watercolour. By permission of the Folger Shakespeare Library. 7 Samuel Hieronymus Grimm: ‘Ariel giving Caliban the lie’, from an extra- illustrated copy of Boydell’s Dramatic Works of Shakespeare, 1802. Watercolour. By permission of the Folger Shakespeare Library. 8 Samuel Hieronymus Grimm: ‘Ariel as harpy’, from an extra-illustrated copy of Boydell’s Dramatic Works of Shakespeare, 1802. Watercolour. By permission of the Folger Shakespeare Library.

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colour plates

9 Samuel Hieronymus Grimm: ‘Every man shift’, from an extra-illustrated copy of Boydell’s Dramatic Works of Shakespeare, 1802. Watercolour. By permission of the Folger Shakespeare Library. 10 Samuel Hieronymus Grimm: ‘Titania and Bottom’, from an extra-illustrated copy of Boydell’s Dramatic Works of Shakespeare, 1802. Watercolour. By permission of the Folger Shakespeare Library. 11 Samuel Hieronymus Grimm: ‘Isabella intreating Angelo’, from an extra- illustrated copy of Boydell’s Dramatic Works of Shakespeare, 1802. Watercolour. By permission of the Folger Shakespeare Library. 12 Samuel Hieronymus Grimm: ‘The Duke discovered’, from an extra-illustrated copy of Boydell’s Dramatic Works of Shakespeare, 1802. Watercolour. By permission of the Folger Shakespeare Library. 13 Samuel Hieronymus Grimm: ‘Ghosts appearing before Richard’, from an extra-illustrated copy of Boydell’s Dramatic Works of Shakespeare, 1802. Watercolour. By permission of the Folger Shakespeare Library. 14 Lieut. Rob. Cowan: So. Devon Militia: ‘I have sent Cloten’s clotpoll down the stream’, from an extra-illustrated copy of Boydell’s Dramatic Works of Shakespeare, 1802. Watercolour. By permission of the Folger Shakespeare Library. 15 John Gilbert: ‘Come away death’: Frontispiece to Twelfth Night, The Library Shakespeare, 1873–5. Author’s collection. 16 Pinckney Marcius-Simons: Final page from Le songe d’une nuit d’´et´e; f´eerie d’apr`es W. Shakespeare, translated by Paul Meurice, 1886. Gouache and watercolour, 1908. By permission of the Folger Shakespeare Library.

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LIST OF ILLUSTRATIONS

Many of the images reproduced in this book show the marks of wear. Foxing, small pale brown coloration caused by exposure to damp, is sometimes evident. So, too, is the ‘show-through’ of printing on the reverse of the original printed page. Some show variation in background colour, caused by the slight rippling evident in volumes printed on thin paper. Those images that show complete page-openings sometimes have dark areas in the ‘gutter,’ the area around the binding. All have been retained, to help convey the actual state of the book in a manner that an electronically sanitised image would not. Except where otherwise stated, images are from the author’s collection.

Frontispiece: The Taming of the Shrew title-page by William Harvey engraved by W.T. Green, from Charles Knight’s Pictorial Shakspere, 1838–43. 1 Frontispiece to The Spanish Tragedy, 1615. By permission of the Folger Shakespeare Library. page 5 2 Frontispiece to Doctor Faustus, 1610. By permission of the Folger Shakespeare Library. 5 3 Frontispiece to If you know not me, 1605. By permission of the Folger Shakespeare Library. 6 4 Crispijn van der Passe, after Isaac Oliver: Elizabeth I, 1603. By permission of the Folger Shakespeare Library. 7 5 Charles Knight, reproduction of frontispiece to Rowe’s Hamlet, 1709, Pictorial Shakspere, 1838–43. 9 6 John Smith: Scene from Henry Fielding’s Pasquin, c.1736. By permission of the Folger Shakespeare Library. 12

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illustrations

7 William Dolle: Illustration before Act II of The Empress of Morocco, 1673. By permission of the Folger Shakespeare Library. 13 8 Richard Corbould, engraved by William Walker: Cymbeline, Bellamy and Robarts, 1788–91. By permission of the Folger Shakespeare Library. 18 9 Final page-opening from The Two Gentlemen of Verona with engravings by Kenny Meadows, 1838–43. 20 10 Michael van der Gucht: Frontispiece to volume I, The works of Mr. William Shakespear; in six volumes. Adorn’d with Cuts, Jacob Tonson, 1709. By permission of the Folger Shakespeare Library. 36 11 Guillaume Vollet, engraved by Antoine Paillet: Frontispiece to Oeuvres de Pierre Corneille, 1655. Reproduced by courtesy of the University Librarian and Director, The John Rylands University Library, The University of Manchester. 36 12 Franc¸ois Boitard, engraved by Elisha Kirkall: Frontispiece to Book I, The History of Joseph, by William Rose, 1712. By permission of the Folger Shakespeare Library. 40 13 Jean, J´eromeˆ and Antoine Wierix, Adrien and Jean Collaert and Charles de Mallery: Adoratio Magorum, from Adnotationes et meditationes in Evangelia by Jerome Nadal (also known as Hieronymus Natalis), 1595. Reproduced by courtesy of the University Librarian and Director, The John Rylands University Library, The University of Manchester. 41 14 Franc¸ois Boitard, engraved by Elisha Kirkall: Frontispiece to The Merchant of Venice, 1709. By permission of the Folger Shakespeare Library. 46 15 Franc¸ois Boitard, engraved by Elisha Kirkall: Frontispiece to Measure for Measure, 1709. By permission of the Folger Shakespeare Library. 47 16 Franc¸ois Boitard, engraved by Elisha Kirkall: Frontispiece to The Comedy of Errors, 1709. By permission of the Folger Shakespeare Library. 48 17 Sebastiano Serlio, ‘Tragedy’, from The Second Booke of Architecture, made by Sebastian Serly, 1611. 49 18 Franc¸ois Boitard, engraved by Elisha Kirkall: Frontispiece to The Two Gentlemen of Verona, 1709. By permission of the Folger Shakespeare Library. 51

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19 Sir John Medina, engraved by Michael van der Gucht: ‘The Expulsion’, frontispiece to Book IX, Paradise Lost, 1688. By permission of the Folger Shakespeare Library. 52 20 Franc¸ois Boitard, engraved by Elisha Kirkall: Frontispiece to Cymbeline, Rowe, 1709. By permission of the Folger Shakespeare Library. 53 21 Franc¸ois Boitard, engraved by Elisha Kirkall: Frontispiece to The Taming of the Shrew, Rowe, 1709. By permission of the Folger Shakespeare Library. 54 22 Franc¸ois Boitard, engraved by Elisha Kirkall: Frontispiece to Much Ado about Nothing, Rowe, 1709. By permission of the Folger Shakespeare Library. 55 23 Franc¸ois Boitard, engraved by Elisha Kirkall: Frontispiece to The Tempest, Rowe, 1709. By permission of the Folger Shakespeare Library. 58 24 Sir John Medina, engraved by Michael van der Gucht: ‘Satan, Sin and Death’, frontispiece to Book II, Paradise Lost, 1688. By permission of the Folger Shakespeare Library. 59 25 Franc¸ois Boitard, engraved by Elisha Kirkall: Frontispiece to Romeo and Juliet, Rowe, 1709. By permission of the Folger Shakespeare Library. 61 26 Franc¸ois Boitard, engraved by Elisha Kirkall. Frontispiece to Hamlet, Rowe, 1709. By permission of the Folger Shakespeare Library. 68 27 Louis du Guernier: Frontispiece to Hamlet, Rowe, 1714. By permission of the Folger Shakespeare Library. 69 28 Louis du Guernier: Frontispiece to Measure for Measure,Rowe, 1714. By permission of the Folger Shakespeare Library. 70 29 Hubert Gravelot, engraved by Gerard Vander Gucht: Frontispiece to Much Ado about Nothing, Theobald, 1740. By permission of the Folger Shakespeare Library. 79 30 Hubert Gravelot, engraved by Gerard Vander Gucht: Frontispiece to The Tempest, Theobald, 1740. By permission of the Folger Shakespeare Library. 80 31 Hubert Gravelot, engraved by Gerard Vander Gucht: Frontispiece to Richard III, Theobald, 1740. 82

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32 Hubert Gravelot, engraved by Gerard Vander Gucht: Frontispiece to Othello, Theobald, 1740. By permission of the Folger Shakespeare Library. 84 33 Francis Hayman: Watercolour design for frontispiece to Macbeth, Hanmer 1743–4. By permission of the Folger Shakespeare Library. 88 34 Francis Hayman, engraved by Hubert Gravelot: Frontispiece to Macbeth, Hanmer 1743–4. By permission of the Folger Shakespeare Library. 89 35 Francis Hayman, engraved by Hubert Gravelot: Frontispiece to The Tempest, Hanmer 1743–4. By permission of the Folger Shakespeare Library. 90 36 Francis Hayman: Watercolour design for frontispiece to The Two Gentlemen of Verona, Hanmer 1743–4. By permission of the Folger Shakespeare Library. 94 37 Francis Hayman, engraved by Hubert Gravelot: Frontispiece to The Two Gentlemen of Verona, Hanmer 1743–4. By permission of the Folger Shakespeare Library. 95 38 Francis Hayman, engraved by Hubert Gravelot: Frontispiece to A Midsummer Night’s Dream, Hanmer 1743–4. By permission of the Folger Shakespeare Library. 96 39 Francis Hayman, engraved by Hubert Gravelot: Frontispiece to Richard II, Hanmer 1743–4. By permission of the Folger Shakespeare Library. 98 40 Plate from William Dugdale’s The Antiquities of Warwickshire, 1730. By permission of the Folger Shakespeare Library. 99 41 Anthony Walker: Romeo and Juliet, Plate 1, 1753. By permission of the Folger Shakespeare Library. 101 42 Anthony Walker: Romeo and Juliet, Plate 2, 1753. By permission of the Folger Shakespeare Library. 103 43 William Elliott: Spranger Barry and Miss Nossiter as Romeo and Juliet, 1753, after a painting by R. Pyle. By permission of the Folger Shakespeare Library. 104 44 Anthony Walker: Romeo and Juliet, Plate 3, 1753. By permission of the Folger Shakespeare Library. 105 45 Anthony Walker: Romeo and Juliet, Plate 4, 1753. By permission of the Folger Shakespeare Library. 107

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46 Anthony Walker: Romeo and Juliet, Plate 5, 1753. By permission of the Folger Shakespeare Library. 108 47 Richard Bentley, engraved by J. S. Muller:¨ Frontispiece to ‘Ode on a distant prospect of Eton College’, from Designs by Mr. Bentley, for Six Poems by Mr. T. Gray, 1753. Reproduced from the Collections of the Library of Congress. 114 48 Edward Edwards: Frontispiece to The Winter’s Tale; engraving of Elizabeth Hartley by Charles Grignion after James Roberts. Bell’s Edition of Shakespeare’s Plays 1773–4. By permission of the Folger Shakespeare Library. 117 49 Edward Edwards: Frontispiece to The Tempest, Bell 1773–4. By permission of the Folger Shakespeare Library. 118 50 Isaac Taylor: Frontispiece to Othello, Bell 1773–4. By permission of the Folger Shakespeare Library. 119 51 Edward Edwards (?): Frontispiece to Richard III, Bell 1773–4. By permission of the Folger Shakespeare Library. 120 52 J. K. Sherwin: Frontispiece to The Taming of the Shrew,Bell 1773–4. By permission of the Folger Shakespeare Library. 121 53 Edward Edwards: Frontispiece to Hamlet; engraving of Jane Lessingham by Charles Grignion after James Roberts. Bell 1773–4. By permission of the Folger Shakespeare Library. 124 54 William Hamilton: Richard III, Bell’s Dramatick writings of Will. Shakespeare, 1788. By permission of the Folger Shakespeare Library. 131 55 Philip James de Loutherbourg: As You Like It, Bell, 1788. By permission of the Folger Shakespeare Library. 134 56 Edward Burney: Frontispiece to All’s Well that Ends Well, Bell, 1788. By permission of the Folger Shakespeare Library. 136 57 Philip James de Loutherbourg: Macbeth, Bell, 1788. By permission of the Folger Shakespeare Library. 137 58 Edward Burney: Second illustration to King Lear, Bell, 1788. By permission of the Folger Shakespeare Library. 138 59 Engraving of Anna Phillips by Charles Sherwin and Charles Grignion after J. H. Ramberg; J.K. Sherwin: Frontispiece to The Tempest, Bell, 1788. By permission of the Folger Shakespeare Library. 139

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60 Engraving of Elizabeth Inchbald by Charles Sherwin after J. H. Ramberg; William Hamilton: Frontispiece to The Comedy of Errors, Bell, 1788. By permission of the Folger Shakespeare Library. 140 61 Henry [?] Richter, engraved by William Walker: Twelfth Night, 1, Bellamy and Robarts, 1788–91. By permission of the Folger Shakespeare Library. 145 62 Henry [?] Richter, engraved by William Walker: Twelfth Night, 2, Bellamy and Robarts, 1788–91. By permission of the Folger Shakespeare Library. 146 63 W. N. Gardiner: Gravediggers’ scene, Hamlet, Harding, 1798–1800. By permission of the Folger Shakespeare Library. 150 64 W. N. Gardiner: Closet scene, Hamlet, Harding, 1798–1800. By permission of the Folger Shakespeare Library. 152 65 John Thurston engraved by Richard Rhodes: Frontispiece to The Tempest, Tegg, 1812–15. By permission of the Folger Shakespeare Library. 154 66 John Thurston engraved by Richard Rhodes: Frontispiece and title-page to The Winter’s Tale, Tegg, 1812–15. By permission of the Folger Shakespeare Library. 155 67 John Thurston engraved by Richard Rhodes: Frontispiece and title-page to Henry V, Tegg, 1812–15. By permission of the Folger Shakespeare Library. 156 68 Henry Fuseli, engraved by William Bromley: Frontispiece to The Tempest, Chalmers, 1805. By permission of the Folger Shakespeare Library. 158 69 Henry Fuseli, engraved by C. Warren: Frontispiece to The Taming of the Shrew, Chalmers, 1805. By permission of the Folger Shakespeare Library. 159 70 [?]Thompson: Frontispiece to 1HenryIV, Tilt, 1838. By permission of the Folger Shakespeare Library. 162 71 [?]Thompson: Frontispiece to Antony and Cleopatra, Tilt, 1838. By permission of the Folger Shakespeare Library. 163 72 Thomas Stothard, engraved by James Heath: The Tempest,Heath, 1807. By permission of the Folger Shakespeare Library. 166 73 James Northcote, engraved by J. Stowe: The Death of John of Gaunt from James Woodmason’s Irish Shakespeare Gallery, 1794. Reproduced by kind permission of Brimingham Public Library. 168

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74 John Thurston, engraved by John Thompson: Twelfth Night, from Illustrations of Shakespeare, 1825. 172 75 John Thurston, engraved by John Thompson: King Lear, from Illustrations of Shakespeare, 1825. 173 76 Frank Howard: The Tempest, Plate VII from The Spirit of the Plays of Shakespeare, 1827–33. By permission of the Folger Shakespeare Library. 175 77 Frank Howard: A Midsummer Night’s Dream, Plate II from The Spirit of the Plays of Shakespeare, 1827–33. By permission of the Folger Shakespeare Library. 176 78 Frank Howard: King Lear, Plate XVIII from The Spirit of the Plays of Shakespeare, 1827–33. By permission of the Folger Shakespeare Library. 177 79 William Hamilton: The Tempest, Plate 1, Boydell, 1802. By permission of the Folger Shakespeare Library. 191 80 Robert Smirke: The Tempest, Plate 2, Boydell, 1802. By permission of the Folger Shakespeare Library. 192 81 Thomas Stothard: The Two Gentlemen of Verona, Boydell, 1802. By permission of the Folger Shakespeare Library. 193 82 William Hamilton: Richard II, Boydell, 1802. By permission of the Folger Shakespeare Library. 195 83 Robert Ker Porter: King John, Boydell, 1802. By permission of the Folger Shakespeare Library. 196 84 Robert Smirke: King Lear, Boydell, 1802. By permission of the Folger Shakespeare Library. 198 85 Robert Smirke: ‘Slender and Ann Page’, Boydell, 1802. By permission of the Folger Shakespeare Library. 202 86 Robert Smirke: ‘Slender and Ann Page’, Picturesque Beauties of Shakespeare, 1783–7. By permission of the Folger Shakespeare Library. 203 87 Thomas Stothard: ‘Hermione embracing Perdita’, Picturesque Beauties of Shakespeare, 1783–7. By permission of the Folger Shakespeare Library. 204 88 Robert Smirke: ‘Iachimo Disarmed’, Picturesque Beauties of Shakespeare, 1783–7. By permission of the Folger Shakespeare Library. 205 89 Samuel Shelley: ‘Rosalind and Celia’, The Cabinet of Genius, 1787–90. By permission of the Folger Shakespeare Library. 207

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90 Henry Singleton, engraved by Charles Taylor: ‘Countess and Helena’, The Shakespeare Gallery, 1792. By permission of the Folger Shakespeare Library. 208 91 Henry Singleton, engraved by Charles Taylor: ‘Othello and Desdemona,’ The Shakespeare Gallery, 1792. By permission of the Folger Shakespeare Library. 209 92 Samuel Shelley, engraved by Caroline Watson: ‘Viola’, from the Miniature in the Collection of Nathaniel Chauncy, Esq. By permission of the Folger Shakespeare Library. 210 93 Henry Fuseli, engraved by J. G. Walker: Frontispiece to All’s Well that Ends Well, Chalmers 1805. By permission of the Folger Shakespeare Library. 223 94 Francis Wheatley, engraved by Francis Legat: ‘Helena and the Countess’, Boydell, 1802. By permission of the Folger Shakespeare Library. 224 95 Unsigned engraving: ‘Queen Catherine addressing Henry before the Two Legates’, John Baxter: A New and Impartial History of England, 1796. By permission of the Folger Shakespeare Library. 225 96 Henry Singleton, engraved by Charles Taylor: ‘Queen Katherine’, The Shakespeare Gallery, 1792. By permission of the Folger Shakespeare Library. 226 97 Henry Fuseli, engraved by William Blake: Vision of Queen Katherine, Chalmers, 1805. By permission of the Folger Shakespeare Library. 227 98 Angelica Kauffman, engraved by G. Scorodoomoff [Gavriil Skorodumov]: ‘Cleopatra’, 1776, from an extra-illustrated copy of Heath’s Dramatic Works of Shakespeare, 1807. By permission of the Folger Shakespeare Library. 228 99 Unidentified engraving to Richard II, from an extra-illustrated copy of Heath’s Dramatic Works of Shakespeare, 1807. By permission of the Folger Shakespeare Library. 234 100 Miss J. Ireland: Richard III, etching after Samuel Hieronymus Grimm, from an extra-illustrated copy of Boydell’s Dramatic Works of Shakespeare, 1802. By permission of the Folger Shakespeare Library. 239 101 George C. George: ‘The Three Loggerheads’, Romeo and Juliet, from an extra-illustrated copy of Boydell’s Dramatic Works of

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Shakespeare, 1802. By permission of the Folger Shakespeare Library. 244 102 George C. George: Genealogical table, Henry V, from an extra-illustrated copy of Boydell’s Dramatic Works of Shakespeare, 1802. By permission of the Folger Shakespeare Library. 246 103 S. Hall: Richard III, from an extra-illustrated copy of Boydell’s Dramatic Works of Shakespeare, 1802. By permission of the Folger Shakespeare Library. 248 104 Caroline Metz, engraved by C. M.Warren: Richard III, from an extra-illustrated copy of Boydell’s Dramatic Works of Shakespeare, 1802. By permission of the Folger Shakespeare Library. 250 105 Initial page of The Merchant of Venice 1.1, Knight 1838–43. 260 106 ‘Venice’, The Penny Magazine, p. 1, 10 August 1839. 261 107 Anonymous engraving: ‘York House’, London, edited by Charles Knight, 1841. 262 108 Anonymous headpiece engraving to Act 1 of Henry VIII, Knight 1838–43. 263 109 William Harvey: Illustration to Kenilworth, Abbotsford Edition, 1842. 264 110 Ebenezer Landells: Title-page to Richard II, Knight 1838–43. 266 111 Gray and Jackson: Page-opening from The Winter’s Tale,Act3 scene 3 to Act 4 scene 1, Knight 1838–43. 269 112 William Dickes: Title-page to Macbeth, Knight 1838–43. 270 113 Kenny Meadows, engraved by Orrin Smith: Page-opening from The Merry Wives of Windsor 2.2, Cornwall, 1838–43. 274 114 Kenny Meadows, engraved by Orrin Smith: Headpiece to Act 1 of 3HenryVI, Cornwall, 1838–43. 276 115 Kenny Meadows, engraved by Orrin Smith: Othello Persons Represented, Cornwall, 1838–43. 277 116 Kenny Meadows, engraved by Orrin Smith: Othello headpiece to Act 1, Cornwall, 1838–43. 278 117 Kenny Meadows, engraved by Orrin Smith: Macbeth headpiece to Act 3, Cornwall, 1838–43. 279 118 Kenny Meadows, engraved by Orrin Smith: Prologue to Romeo and Juliet, Cornwall, 1838–43. 281 119 Kenny Meadows, engraved by Orrin Smith: Antony and Cleopatra headpiece to Act 1, Cornwall, 1838–43. 283

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120 Kenny Meadows, engraved by Orrin Smith: Othello 5.2, Cornwall, 1838–43. 284 121 Kenny Meadows, engraved by J. Brown: ‘Cleopatra’, from Characteristics of Women, 1832. 286 122 John Hayter, engraved by W. H. Mote: ‘Miranda’, from Characteristics of Women, 1832. 287 123 Kenny Meadows, engraved by J. Yeager: ‘The Family Governess’, from Heads of the People, reproduced from the first American edition (Philadelphia: Carey and Hart, 1841). 288 124 H. C. Selous: Title-page to Hamlet, Cassell’s Illustrated Shakespeare, 1864. 294 125 H. C. Selous: Title-page to Macbeth, Cassell, 1864. 295 126 H. C. Selous: Title-page to Othello, Cassell, 1864. 296 127 H. C. Selous: Othello Act 3 scene 4, Cassell, 1864. 298 128 H. C. Selous: The Tempest Act 2 scene 2, Cassell, 1864. 300 129 H. C. Selous: The Tempest Act 5 scene 1, Cassell, 1864. 301 130 H. C. Selous: Hamlet Act 3 scene 1, Cassell, 1864. 303 131 Sir John Gilbert, engraved by the Dalziel brothers: 1HenryVIAct 1 scene 1, Staunton, 1856–60. 307 132 Anonymous sketch showing the surrender of Sedan, from The Pictorial Press by Mason Jackson, 1885. 308 133 Engraving of the surrender of Sedan, The Illustrated London News, 17 September 1870, reproduced from The Pictorial Press by Mason Jackson, 1885. 309 134 Sir John Gilbert, engraved by the Dalziel brothers: Headpiece to Act I, Antony and Cleopatra, The Library Shakespeare, 1873–5. 311 135 Sir John Gilbert, engraved by the Dalziel brothers: Headpiece to Act 4, A Midsummer Night’s Dream, Staunton, 1858–60. 312 136 Sir John Gilbert, engraved by the Dalziel brothers: AMidsummer Night’s Dream Act 3 scene 2, Staunton, 1858–60. 313 137 Sir John Gilbert, engraved by the Dalziel brothers: Page-opening from Hamlet, Act 3 scene 3, The Library Shakespeare, 1873–5. 315 138 Sir John Gilbert, engraved by the Dalziel brothers: Page-opening from Act 5 scene 1, All’s Well that Ends Well, The Library Shakespeare, 1873–5. 317 139 Sir John Gilbert, engraved by the Dalziel brothers: Othello 1.3, The Library Shakespeare, 1873–5. 319

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140 John Everett Millais: ‘The Good Samaritan’, from The Parables of Our Lord, 1863. By permission of the Syndics of Cambridge University Library. 321 141 John Everett Millais: Wood engraving to ‘Mariana’, from The Poems of Tennyson, Moxon, 1857. By permission of the Syndics of Cambridge University Library. 322 142 Anonymous engraving, Antony and Cleopatra, Shakspere’s Works, ed. John Dicks 1864. 326 143 Anonymous engraving, Coriolanus, Shakspere’s Works, ed. John Dicks 1864. 328 144 L. J. Pott, engraved by D. I. Desvachez: Prince Arthur and Hubert, Knight’s ‘Imperial Shakespeare’, 1873–5. 332 145 William Quiller Orchardson, engraved by C. W. Sharpe: Prince Henry, Poins and Falstaff, Knight’s ‘Imperial Shakespeare’, 1873–5. 333 146 Gordon Browne: Page from Richard II, The Henry Irving Shakespeare, 1888. 336 147 Y. D. Almond: Illustrated page from ‘The King’s Justice’, by Ellis Pearson, The Strand Magazine, August 1907. 337 148 J. Finnemore and F. L. Emanuel: The Merry Wives of Windsor,Act2 scene 3 and Act 3 scene 1, Vredenburg, 1897. 338 149 Agnes Miller Parker: Richard II, Limited Editions Club, 1940. 340 150 Edward Gordon Craig: Page opening from Hamlet, Act 3 scene 2, Cranach Press, 1930. By permission of the Syndics of Cambridge University Library. 344

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ACKNOWLEDGMENTS

The list of those who have helped with this book, by reading, commenting or assistingwithproduction,islongandimpressive,andIamdeeplygratefultothem all for their kindness, their knowledge and insight, and in many cases for their seemingly inexhaustible patience: Julie Ainsworth, Catherine Alexander, Charles Armstrong, Erin Blake, Kent Cartwright, John Cox, Johanna Drucker, Charles Edelman, Lila Linzer, Ivan Lupic, Charles Moseley, Andrew Murphy, Svenn-Arve Myklebost, Shormishtha Panja, Jem Poster, William H. Sherman, Bettina Smith, Goran Stanivukovic, Stanley Wells, Gary Jay Williams, Clive Wilmer, Georgianna Ziegler. Parts of the book grew out of seminars or lectures, and I am grateful to all those who attended and contributed to such meetings at the University of Maryland, the University of Warwick, the Shakespeare Summer School at the University of Cambridge, the Shakespeare Association of America, and the Shakespeare Institute. Some passages began life in articles appearing in Interfaces and Performance Research, and I am grateful to their editors for permission to use the material in heavily revised form here. The Historisk-Filosofisk Fakultet of the University of Bergen made a generous grant towards the cost of illustrations, and also granted two sabbatical semesters during which much of the research was completed. The Folger Institute provided a fellowship during which the work for the book was begun. To them both I offer my sincere thanks. The staffs of a number of libraries were unfailingly helpful: at Cambridge University Library, Stella Clarke and Claire Welford in the Rare Books Room and Tim Nicholas and Lynda Unchern in the Photography Department; at the Shakespeare Centre, Stratford-upon-Avon, Madeline Cox, Rebecca Roberts and Jo Wilding; and at the Shakespeare Institute, Karin Brown. My thanks go also to

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acknowledgments

those at the British Library; the Universitetsbiblioteket at Bergen; and the Library of Congress. The bulk of the research was carried out in the Folger Shakespeare Library,andIoweaspecialdebttotheReadingRoomstaffwhoseprofessionalism, skill and patience were a continuing source of encouragement: Harold Batie, LuEllen DeHaven, Karen Kettnich, Rosalind Larry, Camille Seerattan and Betsy Walsh. At Cambridge, Sarah Stanton was, as always, generously supportive and effi- cient, and Rebecca Jones was endlessly helpful with queries about production; and Jodie Barnes dealt with details of layout with great patience and kindness. The book has also benefited greatly from the copy-editing skill and tact of Laurence Marsh and the proofreading of Henry Maas. While all of the above have given generously of their time and expertise, I of course remain solely, and stubbornly, responsible for the eccentricities and simple inaccuracies that remain.

SJS Bergen, October 2007

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