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Tieck's Essay on the Boydell Shakspere Gallery - George Henry Danton
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
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Title: Tieck's Essay on the Boydell Shakspere Gallery
Author: George Henry Danton
Release Date: January 12, 2011 [EBook #34937]
Language: English
*** START OF THIS PROJECT GUTENBERG EBOOK BOYDELL SHAKSPERE GALLERY ***
Produced by Margo Romberg, Karl Eichwalder and the Online
Distributed Proofreading Team at http://www.pgdp.net (This
book was produced from scanned images of public domain
material from the Google Print project.)
PREFACE
TIECK'S ESSAY ON THE BOYDELL SHAKSPERE GALLERY
NOTES
A PARTIAL BIBLIOGRAPHY
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
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