Boydell Shakespeare Gallery

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Genius, enrolled with their own hands, in the same book, with the best of Sovereigns." The language of both the advertisement and the medal emphasised the role each subscriber played in the patronage of the arts. The subscribers were primarily middle-class Londoners, not aristocrats. Edmond Malone, himself an editor of a rival Shakespeare edition, wrote that "before the scheme was well-formed, or the proposals entirely printed off, near six hundred persons eagerly set down their names, and paid their subscriptions to a set of books and prints that will cost each person, I think, about ninety guineas; and on looking over the list, there were not above twenty names among them that anybody knew".

608: 444:, the general editor, was responsible for the "correctness of text". Steevens, according to Evelyn Wenner, who has studied the history of the Boydell edition, was "at first an ardent advocate of the plan" but "soon realized that the editor of this text must in the very scheme of things give way to painters, publishers and engravers". He was also ultimately disappointed in the quality of the prints, but he said nothing to jeopardize the edition's sales. Steevens, who had already edited two complete Shakespeare editions, was not asked to edit the text anew; instead, he picked which version of the text to reprint. Wenner describes the resulting hybrid edition: 4423: 377: 2342: 4159: 2034: 4455: 22: 129:

who saw in Shakespeare's works a vision of a diversified society. The mid-century Shakespearean theatrical revival was probably most responsible for reintroducing the British public to Shakespeare. Shakespeare's plays were integral to the theatre's resurgence at this time. Despite the upsurge in theatre-going, writing tragedies was not profitable, and thus few good tragedies were written. Shakespeare's works filled the gap in the repertoire, and his reputation grew as a result. By the end of the 18th century, one out of every six plays performed in London was by Shakespeare.

3942: 4767: 923: 234: 9397: 887:, which praised the general plan of the gallery while at the same time hesitating: "such a variety of subjects, it may be supposed, must exhibit a variety of powers; all cannot be the first; while some must soar, others must skim the meadow, and others content themselves to walk with dignity". However, according to Frederick Burwick, critics in Germany "responded to the Shakespeare Gallery with far more thorough and meticulous attention than did the critics in England". 214:. The plays appeared in "pleasant and readable books in small format" which "were supposed ... to have been taken for common or garden use, domestic rather than library sets". Shakespeare became "domesticated" in the 18th century, particularly with the publication of family editions such as Bell's in 1773 and 1785–86, which advertised themselves as "more instructive and intelligible; especially to the young ladies and to youth; glaring indecencies being removed". 456:, divide into the following three groups: (1) five plays of the first three numbers printed from Reed's edition of 1785 with many changes adopted from the Malone text of 1790 (2) King Lear and the six plays of the next three numbers printed from Malone's edition of 1790 but exhibiting conspicuous deviations from his basic text (3) twenty-four plays of the last twelve numbers also printed from Malone's text but made to conform to Steevens's own edition of 1793. 10043: 1039: 169: 95:, and the folio of engravings proved the enterprise's most lasting legacy. However, the long delay in publishing the prints and the illustrated edition prompted criticism. Because they were hurried, and many illustrations had to be done by lesser artists, the final products of Boydell's venture were judged to be disappointing. The project caused the Boydell firm to become insolvent, and they were forced to sell the gallery at a lottery. 665:, then the Clerk of the City Works, as the architect for the project. Pall Mall at that time had a mix of expensive residences and commercial operations, such as bookshops and gentleman's clubs, popular with fashionable London society. The area also contained some less genteel establishments: King's Place (now Pall Mall Place), an alley running to the east and behind Boydell's gallery, was the site of Charlotte Hayes's high-class 225:(1790) produced meticulous editions with extensive footnotes. The early editions appealed to both the middle class and to those interested in Shakespeare scholarship, but the later editions appealed almost exclusively to the latter. Boydell's edition, at the end of the century, tried to reunite these two strands. It included illustrations but was edited by George Steevens, one of the foremost Shakespeare scholars of the day. 592:. The primary illustrators of the edition were known as book illustrators, whereas a majority of the artists included in the folio were known for their paintings. Lennox-Boyd argues that the illustrations in the edition have a "uniformity and cohesiveness" that the folio lacks because the artists and engravers working on them understood book illustration while those working on the folio were working in an unfamiliar medium. 599:(1805), was originally intended to be a collection of the illustrations from the edition, but a few years into the project, Boydell altered his plan. He guessed that he could sell more folios and editions if the pictures were different. Of the 97 prints made from paintings, two-thirds of them were made by ten of the artists. Three artists account for one-third of the paintings. In all, 31 artists contributed works. 10053: 3243: 568:, praised Boydell's liberal payments. He wrote in an 1821 letter that Boydell "did more for the advancement of the arts in England than the whole mass of the nobility put together! He paid me more nobly than any other person has done; and his memory I shall ever hold in reverence". Boydell typically paid the painters between £105 and £210, and the engravers between £262 and £315. 206:, Shakespearean criticism became so "associated with the dramatis personae of 18th-century English literature ... he could not be extracted without uprooting a century and a half of the national canon". The 18th century's first Shakespeare edition, which was also the first illustrated edition of the plays, was published in 1709 by 673:, bookseller and future husband of Josiah's elder sister, Mary Boydell. As an indication of the changing character of the area, this property had been the home of Goostree's gentleman's club from 1773 to 1787. Begun as a gambling establishment for wealthy young men, it had later become a reformist political club that counted 957:

Hamilton and Smirke, at a lower price to finish the volumes as his business started to fail. Modern art historians have generally concurred that the quality of the engravings, particularly in the folio, was poor. Moreover, the use of so many different artists and engravers led to a lack of stylistic cohesion.

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In the 18th century, Shakespeare became associated with rising British nationalism, and Boydell tapped into the same mood that many other entrepreneurs were exploiting. Shakespeare appealed not only to a social elite who prided themselves on their artistic taste, but also to the emerging middle class

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The works of William Shakespeare enjoyed a renewed popularity in 18th-century Britain. Several new editions of his works were published, his plays were revived in the theatre and numerous works of art were created illustrating the plays and specific productions of them. Capitalising on this interest,

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apiece (£350 each in modern terms). To encourage ticket sales and reduce unsold inventory, every purchaser was guaranteed to receive a print worth one guinea from the Boydell company's stock. There were 64 winning tickets for major prizes, the highest being the Gallery itself and its collection of

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West said He looked over the Shakespeare prints and was sorry to see them of such inferior quality. He said that excepting that from His Lear by Sharpe, that from Northcote's children in the Tower, and some small ones, there were few that could be approved. Such a mixture of dotting and engraving,

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The folio and the illustrated Shakespeare edition were "by far the largest single engraving enterprise ever undertaken in England". As print collector and dealer Christopher Lennox-Boyd explains, "had there not been a market for such engravings, not one of the paintings would have been commissioned,

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The "magnificent and accurate" Shakespeare edition which Boydell began in 1786 was to be the focus of his enterprise—he viewed the print folio and the gallery as offshoots of the main project. In an advertisement prefacing the first volume of the edition, Nicol wrote that "splendor and magnificence,

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The logistics of the enterprise were difficult to organise. Boydell and Nicol wanted to produce an illustrated edition of a multi-volume work and intended to bind and sell the 72 large prints separately in a folio. A gallery was required to exhibit the paintings from which the prints were drawn. The

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stone front, and a full-length exhibition hall on the ground floor. Three interconnecting exhibition rooms occupied the upper floor, with a total of more than 4,000 square feet (370 m) of wall space for displaying pictures. The two-storey façade was not especially large for the street, but its

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were also used. Lennox-Boyd, however, claims that "close examination of the plates confirms" that these two methods were not used and argues that they were "totally unsuitable": mezzotint wore quickly and aquatint was too new (there would not have been enough artists capable of executing it). Most

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However, as Frederick Burwick argues in his introduction to a collection of essays on the Boydell Gallery, "hatever claims Boydell might make about furthering the cause of history painting in England, the actual rallying force that brought the artists together to create the Shakespeare Gallery was

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he should like to wipe away the stigma that all foreign critics threw on this nation—that they had no genius for historical painting. He said he was certain from his success in encouraging engraving that Englishmen wanted nothing but proper encouragement and a proper subject to excel in historical

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The Shakespeare Gallery, when it opened on 4 May 1789, contained 34 paintings, and by the end of its run it had between 167 and 170. (The exact inventory is uncertain and most of the paintings have disappeared; only around 40 paintings can be identified with any certainty.) According to Frederick

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Boydell's Shakespeare project contained three parts: an illustrated edition of Shakespeare's plays; a folio of prints from the gallery (originally intended to be a folio of prints from the edition of Shakespeare's plays); and a public gallery where the original paintings for the prints would hang.

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exhibitions, which displayed paintings, drawings, and sculptures. The exhibitions became important public events: thousands flocked to see them, and newspapers reported in detail on the works displayed. They became a fashionable place to be seen (as did Boydell's Shakespeare Gallery, later in the

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What injury did not Boydell's Shakespeare Gallery do me with Shakespeare. To have Opie's Shakespeare, Northcote's Shakespeare, light headed Fuseli's Shakespeare, wooden-headed West's Shakespeare, deaf-headed Reynolds' Shakespeare, instead of my and everybody's Shakespeare. To be tied down to an

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Advertisements were issued and placed in newspapers. When a subscription was circulated for a medal to be struck, the copy read: "The encouragers of this great national undertaking will also have the satisfaction to know, that their names will be handed down to Posterity, as the Patrons of Native

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Northcote, while appreciating Boydell's largesse, also criticised the results of the project: "With the exception of a few pictures by Joshua and Opie, and—I hope I may add—myself, it was such a collection of slip-slop imbecility as was dreadful to look at, and turned out, as I had expected it

300:. He wrote in the "Preface" to the folio that he wanted "to advance that art towards maturity, and establish an English School of Historical Painting". A court document used by Josiah to collect debts from customers after Boydell's death relates the story of the dinner and Boydell's motivations: 1156:

The Boydell enterprise's most enduring legacy was the folio. It was reissued throughout the 19th century, and in 1867, "by the aid of photography the whole series, excepting the portraits of their Majesties George III. and Queen Charlotte, is now presented in a handy form, suitable for ordinary

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The mix of engraving styles was criticised; line engraving was considered the superior form and artists and subscribers disliked the mixture of lesser forms with it. Moreover, Boydell's engravers fell behind schedule, delaying the entire project. He was forced to engage lesser artists, such as

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There are 96 illustrations in the nine volumes of the illustrated edition and each play has at least one. Approximately two-thirds of the plays, 23 out of 36, are each illustrated by a single artist. Approximately two-thirds of the total number of illustrations, or 65, were completed by three

187:. Towards the end of the century, the basis of Shakespeare's high reputation changed. He had originally been respected as a playwright, but once the theatre became associated with the masses, Shakespeare's status as a "great writer" shifted. Two strands of Shakespearean print culture emerged: 872:

This establishment may be considered with great truth, as the first stone of an English School of Painting; and it is peculiarly honourable to a great commercial country, that it is indebted for such a distinguished circumstance to a commercial character—such an institution—will place, in the

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Although the Boydells ended with 1,384 subscriptions, the rate of subscriptions dropped, and remaining subscriptions were also increasingly in doubt. Like many businesses at the time, the Boydell firm kept few records. Only the customers knew what they had purchased. This caused numerous

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painting. The encouragement he would endeavor to find if a proper subject were pointed out. Mr. Nicol replied that there was one great National subject concerning which there could be no second opinion, and mentioned Shakespeare. The proposition was received with acclaim by the

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featured a weekly column on the gallery from May through August (exhibition season). Artists who had influence with the press, and Boydell himself, published anonymous articles to heighten interest in the gallery, which they hoped would increase sales of the edition.

249:(John's nephew) in late 1786. Five important accounts of the occasion survive. From these, a guest list and a reconstruction of the conversation have been assembled. The guest list reflects the range of Boydell's contacts in the artistic world: it included 352:

350,000—an enormous sum at the time, worth about £54.4 million today—was eventually spent. The gallery opened in 1789 with 34 paintings and added 33 more in 1790 when the first engravings were published. The last volume of the edition and the

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and such a general deficiency in respect of drawing which He observed the Engravers seemed to know little of, that the volumes presented a mass of works which He did not wonder many subscribers had declined to continue their subscription.

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were published in 1803. In the middle of the project, Boydell decided that he could make more money if he published different prints in the folio than in the illustrated edition; as a result, the two sets of images are not identical.

1070:. The gallery added new paintings of subjects from poetry each year, and from 1790 supplemented these with scenes from the Bible. The Gallery of the Poets closed in 1797, and its contents were offered by lottery. This did not deter 1130:

The paintings and engravings that were part of the Boydell Gallery affected the way Shakespeare's plays were staged, acted, and illustrated in the 19th century. They also became the subject of criticism in important works such as

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fetched a total of £6,181 18s. 6d. The Banks sculpture group from the façade was initially intended to be kept as a monument for Boydell's tomb. Instead, it remained part of the façade of the building in its new guise as the

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specifically for the edition. Nicol explains in the preface that they "established a printing-house ... a foundry to cast the types; and even a manufactory to make the ink". Boydell also chose to use high-quality wove

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plays and a folio of prints based upon a series of paintings by different contemporary painters. During the 1790s the London gallery that showed the original paintings emerged as the project's most popular element.

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across the doorway at the level of the cornice bearing the inscription "Shakespeare Gallery". Below the transom were the main entry doors, with glazed panels and side lights matching the flanking windows. A radial

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edition was to be financed through a subscription campaign, during which the buyers would pay part of the price up front and the remainder on delivery. This unusual practice was necessitated by the fact that over

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on 23 March, and by November the Boydells were ready to sell tickets. John Boydell died before the lottery was drawn on 28 January 1805, but lived long enough to see each of the 22,000 tickets purchased at three

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wrote on 6 May 1789: "the pictures in general give a mirror of the poet ... bids fair to form such an epoch in the History of the Fine Arts, as will establish and confirm the superiority of the English School".

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pages that, unlike those in previous scholarly editions, were unencumbered by footnotes. Each play had its own title page followed by a list of "Persons in the Drama". Boydell spared no expense. He hired the

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difficulties with debtors who claimed they had never subscribed or had subscribed for less. Many subscribers also defaulted, and Josiah Boydell spent years after John's death attempting to force them to pay.

976:, John Boydell's export business to Europe was cut off. By the late 1790s and early 19th century, the two-thirds of his business that depended upon the export trade was in serious financial difficulty. 972:, rather than on lesser, more profitable ventures. When both the Shakespeare enterprise and the Thames book failed, the firm had no capital to fall back upon. Beginning in 1789, with the onset of the 833:

praised Northcote in an essay entitled "On the Old Age of Artists", writing "I conceive any person would be more struck with Mr. Fuseli at first sight, but would wish to visit Mr. Northcote oftener."

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libraries or the drawing-room table, and offered as an appropriate memorial of the tercentenary celebration of the poet's birth". Scholars have described Boydell's folio as a precursor to the modern

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The prospectus for the Boydell venture states that "the foregoing work is undertaken in Honour of SHAKSPEARE,—with a view to encourage and improve the Arts of Painting and Engraving in this Kingdom".

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Boydell decided to publish a grand illustrated edition of Shakespeare's plays that would showcase the talents of British painters and engravers. He chose the noted scholar and Shakespeare editor

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Boydell sought out the most eminent painters and engravers of the day to contribute paintings for the gallery, engravings for the folio, and illustrations for the edition. Artists included

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for his paintings, giving him a down payment of £500, an extraordinary amount for an artist who had not even agreed to do a specific work. Boydell eventually paid him a total of £1,500.

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was a key figure in Shakespeare's theatrical renaissance. His reportedly superb acting, unrivalled productions, numerous and important Shakespearean portraits, and his spectacular 1769

783:. The sculpture depicted Shakespeare, reclining against a rock, between the Dramatic Muse and the Genius of Painting. Beneath it was a panelled pedestal inscribed with a quotation from 560:

for the folio: Troilus "sees his wife in loving discourse with Diomedes and he wants to rush into the tent to catch them by surprise, but Ulysses and the other keep him back by force".

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Scholarly editions also proliferated. At first, these were edited by author-scholars such as Pope (1725) and Johnson (1765), but later in the century this changed. Editors such as

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by Robert Thew (no. 99), Peltro William Tomkins (no. 97), Jean Pierre Simon (no. 101, 103), John Ogborne (no. 98, 100), and William Satchwell Leney (no. 102) after Robert Smirke

6237: 531:, which was quicker and often used to produce shading effects, wore out quicker and was valued less. Many plates were a mixture of both. Several scholars have suggested that 8597: 8040:

For present-day equivalent amounts, most payments should be increased by about two orders of magnitude. Giving precise present-day figures is difficult given the problem of

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The gallery itself was a fashionable hit with the public. Newspapers carried updates of the construction of the gallery, down to drawings for the proposed façade. The

1009:). Josiah offered to buy the gallery and its paintings back from Tassie for £10,000 (worth about £1,030,000 now), but Tassie refused and auctioned the paintings at 894:

published a cartoon labelled "Boydell sacrificing the Works of Shakespeare to the Devil of Money-Bags". The essayist and soon-to-be co-author of the children's book

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and few, if any, of the artists would have risked painting such elaborate compositions". Scholars believe that a variety of engraving methods were employed and that

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at 87 Pall Mall in about 1793. The gallery accumulated 60 paintings (many by the same artists who worked for Boydell) commissioned to illustrate a new edition of

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criticised Dance's combination of slender pilasters and a heavy entablature as a "strange and extravagant absurdity". The capitals topping the pilasters sported

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Garden between June and November 1870. The lottery saved Josiah from bankruptcy and earned him £45,000, enabling him to begin business again as a printer.

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From the outset, Boydell's project inspired imitators. In April 1788, after the announcement of the Shakespeare Gallery, but a year before its opening,

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A Collection of Prints, From Pictures Painted for the Purpose of Illustrating the Dramatic Works of Shakspeare, by the Artists of Great-Britain

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Collection of Prints, From Pictures Painted for the Purpose of Illustrating the Dramatic Works of Shakspeare, by the Artists of Great-Britain

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had motivated Boydell to start the project. However, according to Winifred Friedman, who has researched the Boydell Gallery, it was probably

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building on the south side of Pall Mall. The first exhibition featured one work from each of 19 artists, including Fuseli, Reynolds, and

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paper. The illustrations were printed independently and could be inserted and removed as the purchaser desired. The first volumes of the

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designed chiefly for homes generated a wide audience for literary art, especially Shakespearean art. This tradition began with

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The exhibition of the Shakspeare gallery, Pall-Mall: being the last time the pictures can ever be seen as an entire collection

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to the left and right of the arch, Dance set a carving of a lyre inside a ribboned wreath. Above all this ran a panelled

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Hammerschmidt-Hummel, Hildegard. "Boydell's Shakespeare Gallery and Its Role in Promoting English History Painting".

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united with correctness of text were the great objects of this Edition". The volumes themselves were handsome, with

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of Boydell's engravers were also trained artists; for example, Bartolozzi was renowned for his stippling technique.

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at first declined Boydell's offer to work on the project, but he agreed when pressed. Boydell offered Reynolds

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The visual arts also played a significant role in expanding Shakespeare's popular appeal. In particular, the

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Burwick, Frederick. "The Romantic Reception of the Boydell Shakespeare Gallery: Lamb, Coleridge, Hazlitt".

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cartoon satirising the Boydell venture; caption reads: "Shakespeare Sacrificed; or, The Offering to Avarice"

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was the "preferred medium" because it was "clear and hardwearing" and because it had a high reputation.

67:. In addition to the establishment of the gallery, Boydell planned to produce an illustrated edition of 9887: 9605: 9433: 9372: 9332: 9023: 9002: 8524: 7432: 7142: 6617: 5743: 5644: 5504: 5432: 5263: 5220: 5143: 5107: 5080: 5041: 4900: 4891: 4819: 4760: 4641: 4543: 4343: 4152: 4089: 4065: 3958: 3935: 3902: 3854: 3848: 3799: 3739: 3697: 3299: 3286: 3236: 3194: 2995: 2947: 2923: 2906: 2891: 2867: 2842: 2770: 2758: 2743: 2695: 2335: 2183: 2168: 2150: 2144: 2132: 2117: 2092: 2068: 2044: 2027: 2012: 1976: 1937: 1913: 1891: 1763: 1721: 1640: 1482: 1440: 1434: 1410: 581: 413: 964:

The Boydells focused all their attention on the Shakespeare edition and other large projects, such as

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solid classicism had an imposing effect. Some reports describe the exterior as "sheathed in copper".

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The lower storey of the façade was dominated by a large, rounded-arched doorway in the centre. The

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Boase, T.S.R. "Illustrations of Shakespeare's Plays in the Seventeenth and Eighteenth Centuries".

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The Shakespeare Gallery: A Reproduction Commemorative of the Tercentenary Anniversary, MDCCCLXIV

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Lennox-Boyd, Christopher. "The Prints Themselves: Production, Marketing, and their Survival".

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written by his son. For an analysis of the relative reliability of these sources, see Friedman.

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dramatic criticism. Despite Charles Lamb's criticism of the Gallery's productions, Charles and

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Gallery in the same building in 1799. Another such venture was the Historic Gallery opened by

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in London, England, was the first stage of a three-part project initiated in November 1786 by

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Criticism increased as the project dragged on: the first volume did not appear until 1791.

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The rise in Shakespeare's popularity coincided with Britain's accelerating change from an

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helped promote Shakespeare as a marketable product and the national playwright. Garrick's

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By 1796, subscriptions to the edition had dropped by two-thirds. The painter and diarist

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What Jane Saw in 1796: A virtual recreation of The Shakespeare Gallery at 52 Pall Mall

8821:. London: Athlone Press for London County Council, 1960. Retrieved on 2 February 2008. 813:

Burwick, during its sixteen-year operation, the Gallery reflected the transition from

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Boydell's relationships with his illustrators were generally congenial. One of them,

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The idea of a grand Shakespeare edition was conceived during a dinner at the home of

88: 8736:. Eds. Walter Pape and Frederick Burwick. Bottrop, Essen: Verlag Peter Pomp, 1996. 8712:. Eds. Walter Pape and Frederick Burwick. Bottrop, Essen: Verlag Peter Pomp, 1996. 8697:. Eds. Walter Pape and Frederick Burwick. Bottrop, Essen: Verlag Peter Pomp, 1996. 8623:. Eds. Walter Pape and Frederick Burwick. Bottrop, Essen: Verlag Peter Pomp, 1996. 8608:. Eds. Walter Pape and Frederick Burwick. Bottrop, Essen: Verlag Peter Pomp, 1996. 8580:

John Boydell (1719–1804): A Study of Art Patronage and Publishing in Georgian London

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to authorise a lottery to dispose of everything in his business. The bill received

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arch rested on wide piers, each broken by a narrow window, above which ran a simple

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The Making of the National Poet: Shakespeare, Adaptation, and Authorship, 1660–1769

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until the building was torn down in 1868–69. The Banks sculpture was then moved to

1006: 944: 297: 160:

century). In the process, the public was refamiliarized with Shakespeare's works.

64: 909:

authentic face of Juliet! To have Imogen's portrait! To confine the illimitable!

460:

Throughout the edition, modern (i.e. 18th-century) spelling was preferred as were

344:

lectures on the superiority of history painting that influenced Boydell the most.

317:

After the initial success of the Shakespeare Gallery, many wanted to take credit.

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represent the conservative, neoclassical elements of the gallery, while those of

787:: "He was a Man, take him for all in all, I shall not look upon his like again". 585: 569: 472: 468: 441: 380: 338: 218: 172: 152: 113: 92: 77: 25: 8836:

Reinventing Shakespeare: A Cultural History, from the Restoration to the Present

771:, specifically for the gallery. In a recess between the pilasters, Dance placed 9241: 8981: 8801: 8554: 7803: 7799:"The Annual RPI and Average Earnings for Britain, 1209 to Present (New Series)" 7700: 7499: 7291: 6977: 6695: 6360: 6267: 6203: 6182: 5978:

Terracotta bas relief title page vignette by Thomas Hellyer after Anne S. Damer

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Gage, John. "Boydell's Shakespeare and the Redemption of British Engraving".

767:

fossils. Dance invented this neo-classical feature, which became known as the

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edited by Walter Pape and Frederick Burwick (Bottrop: Peter Pomp, 1996), and

1079: 1063: 1043: 1010: 989: 891: 864: 814: 648: 635: 619: 484: 453: 341: 250: 222: 184: 156: 133: 117: 1127:, generally not for sale, from the first week of June to the end of August. 83:

The press reported weekly on the building of Boydell's gallery, designed by

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At the beginning of the enterprise, reactions were generally positive. The

826: 799: 480: 386:, engraved by J. Parker for Boydell's illustrated edition of Shakespeare's 318: 207: 56: 37: 33: 922: 155:(whose prints reached all levels of society) and attained its peak in the 9743: 9555: 9311: 9059: 6424: 6399: 5694: 5627: 4885: 4860: 4349: 4278: 4175: 4095: 3730: 3473: 2848: 1103: 1075: 818: 748: 737: 496: 461: 286: 194:

In order to turn a profit, booksellers chose well-known authors, such as

6116:

by Jean Baptiste Michel and William Satchwell Leney after William Miller

9828: 9115: 8167: 8131:

Lecture to the Royal Academy, 29 January 1810. Qtd. in Gillian Darley,

7707:; court documents after the collapse of the venture by Josiah Boydell; 6548: 5390: 2454: 2382: 1124: 1087: 795: 626:

In June 1788, Boydell and his nephew secured the lease on a site at 52

449: 400: 321:

long claimed that his planned Shakespeare ceiling (in imitation of the

270: 254: 8917: 614:

Shakespeare Gallery building, shown in 1851 after its purchase by the

314:

the promise of engraved publication and distribution of their works."

91:. Boydell commissioned works from famous painters of the day, such as 9760: 9612: 9548: 9136: 8995: 7372: 7334: 5871: 5408: 5047: 4665: 4373: 4006: 3757: 3391: 3311: 3025: 2326: 1994: 1967: 1619: 1567: 1458: 1339: 1144: 1027: 853: 733: 532: 500: 433: 278: 188: 432:, Act II, scene 3, engraved by Jean Pierre Simon from a painting by 233: 8749:

An Oxford Companion to the Romantic Age: British Culture, 1776–1832

5843:

by Georg Siegmund and Johann Gottlieb Facius after Francis Wheatley

764: 752: 744: 725: 536: 436:

commissioned and prepared for engraving by the Shakespeare Gallery.

306: 52: 6104:

by Charles Gauthier Playter and Thomas Ryder after James Northcote

376: 168: 80:

to oversee the edition, which was released between 1791 and 1803.

9517: 9510: 9342: 9150: 9143: 7476: 6851: 6383:, Act V, scene 2, by William Satchwell Leney after Josiah Boydell 6306:

by Georg Siegmund and Johann Gottlieb Facius after William Miller

5486: 5293: 5125: 4942: 3582: 3073: 2701: 2430: 2302: 2254: 2230: 1540: 804: 729: 716: 666: 395: 202:, to edit Shakespeare editions. According to Shakespeare scholar 3242: 873:

Calendar of Arts, the name of Boydell in the same rank with the

144:

was the centre of the Shakespeare mania which swept the nation.

21: 9122: 8775:. Ed. Charles Holme. 1916. New York: Benjamin Blom, Inc., 1971. 8157: 7452: 3501: 3049: 2725: 2577: 874: 760: 8907: 8558:

Paintings from Books: Art and Literature in Britain, 1760–1900

8461:. Oxford University Press. 2004. Retrieved on 31 January 2008. 1038: 292:

Boydell wanted to use the edition to help stimulate a British

7220:

by Charles Turner Warren and George Noble after Henry Tresham

802:"reveled in the monumental and grotesque" in his scenes from 6312:

by Georg Siegmund and Johann Gottlieb Facius after John Opie

5961:

As You Like It, The Seven Ages, Seventh Age, Act II, scene 7

1054:

which were eventually joined together into "Bowyer's Bible".

979:

In 1804, John Boydell decided to appeal to Parliament for a

365: 8013:

Letter to Mrs. Carey, 3 October 1821, qtd. in Hartmann, 61.

7971:

See, for example, Gage, 29 and Burwick, "Introduction", 20.

6092:

by Charles Gauthier Playter and Robert Thew after John Opie

5984:

by Thomas Ryder and Thomas Ryder, Jr. after William Beechey

5943:

As You Like It, The Seven Ages, Fourth Age, Act II, scene 7

5931:

As You Like It, The Seven Ages, Second Age, Act II, scene 7

4416: 4382: 2634:

R. Hall McCormick sale New York, 15 April 1920, no. 29, as

1900:

R. Hall McCormick sale New York, 15 April 1920, no. 28, as

8863:

Ed. Jane Turner. London; New York: Grove/Macmillan, 1996.

5955:

As You Like It, The Seven Ages, Sixth Age, Act II, scene 7

5949:

As You Like It, The Seven Ages, Fifth Age, Act II, scene 7

5937:

As You Like It, The Seven Ages, Third Age, Act II, scene 7

8729:. Art Lovers' Series. Boston: L. C. Page & Co., 1901. 8665:

Shakespeare Domesticated: The Eighteenth-century Editions

8649:

Egerton, Judy. National Gallery Catalogues (new series):

7104:

The Young Princes Murdered in the Tower (Act IV, scene 3)

6833:

Paulina, Child, Leontes, and Antigonus (Act II, scene 3)

3184:

Northbrook Sale, Straton Park, 27 November 1929, no. 493

1200:

Present location: New Place Gardens, Stratford-upon-Avon

947:

recorded that this was a result of the poor engravings:

4631:

Christie's, C.K.M. Neeld Sale, 16 November 1962, no. 91

1576:

Christie's, C.K.M. Neeld Sale, 16 November 1962, no. 86

1153:(1807), was illustrated using plates from the project. 1119:

The building in Pall Mall was purchased in 1805 by the

703:

Dance's Shakespeare Gallery building had a monumental,

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Davis Museum and Cultural Center at Wellesley College

42:

Madonna with St. Zachary, the Magdalen, and St. John

8135:. New Haven: Yale University Press (1999), 194–95. 8068: 6350:, Act V, scene 2, by William Satchwell Leney after 6212:by Georg Siegmund and Johann Gottlieb Facius after 8438: 8436: 5819:by William Charles Wilson after Raphael Lamar West 881:Fuseli himself may have written the review in the 191:popular editions and scholarly critical editions. 98: 7703:; "Advertisement" for the illustrated edition by 6579:Borachio, Conrade and Watchmen (Act III, scene 3) 10071: 7652:See Sherbo's study of Steevens and Taylor, 70ff. 7152:by William Satchwell Leney after Richard Westall 6801:Sir Toby, Sir Andrew and Maria (Act II, scene 3) 829:represent the newly emerging Romantic movement. 448:The thirty-six plays, printed from the texts of 440:Boydell was responsible for the "splendor", and 228: 10120:Paintings based on works by William Shakespeare 8898:Engravings from the Boydell Shakespeare Gallery 8818:Volumes 29 and 30: St James Westminster, Part 1 8573:Journal of the Warburg and Courtauld Institutes 8560:. Columbus: Ohio State University Press, 1985. 8433: 7462:by William Charles Wilson after Richard Westall 7354:by William Charles Wilson after Richard Westall 7138:by William Charles Wilson after Richard Westall 7090:Meeting of the Young Princes (Act III, scene 1) 6873:by William Charles Wilson after Richard Westall 5925:As You Like It, The Seven Ages, Act II, scene 7 5879:by Samuel Middiman after Joseph Wright of Derby 1354:Northbrook Sale, Straton Park, 27 November 1929 914:would, in the ruin of poor Boydell's affairs". 8838:. New York: Weidenfeld & Nicolson, 1989. 8251: 8249: 6703:Jacques and the Wounded Stag (Act II, scene 1) 5957:by William Satchwell Leney after Robert Smirke 1259:Boydell Shakespeare Gallery list of paintings 1013:. The painting collection and two reliefs by 325:) had given Boydell the idea for the gallery. 8933: 8595:Introduction: The Boydell Shakespeare Gallery 8113:Introduction: The Boydell Shakespeare Gallery 7884:; see also Bruntjen, 102–03 and Merchant, 69. 7660: 7658: 7051:Death of Cardinal Beaufort (Act III, scene 3) 6965:by William Charles Wilson after Robert Smirke 6718:by William Charles Wilson after Robert Smirke 6517:by William Charles Wilson after Robert Smirke 6511:by William Charles Wilson after Robert Smirke 6417:by William Charles Wilson after Robert Smirke 6241:by Luigi Schiavonetti after Angelica Kauffman 6122:by Jean Baptiste Michel after James Northcote 6038:by William Satchwell Leney after Henry Fuseli 515:, and Boydell's nephew and business partner, 420:were published in 1791 and the last in 1805. 8885:at the Special Collections of Lupton Library 8853:. Diss. George Washington University, 1951. 8682:. New York: Garland Publishing Inc., 1976. 7910: 7908: 7785: 7598:Altick, 16–17; Merchant, 43–44; Taylor, 125. 6776:by Luigi Schiavonetti after Francis Wheatley 6725:by Luigi Schiavonetti after William Hamilton 5927:by Petro William Tomkins after Robert Smirke 1329:Collection of Richard Herner, National Trust 1243:list is derived from the numbered catalogue 1062:opened a Gallery of the Poets in the former 9880: 8851:George Steevens and the Boydell Shakespeare 8796:. London: Shakespeare Printing Office, for 8246: 8216:Qtd. in Burwick, "Romantic Reception", 150. 7836: 7834: 7832: 7830: 7433:Capulet Finds Juliet Dead (Act IV, scene 5) 7023:Joan of Arc and the Furies (Act V, scene 4) 6147:by William Skelton after James Northcote – 5837:by Jean-Pierre Simon after Francis Wheatley 5825:by Jean-Pierre Simon after William Hamilton 5589:Shakespeare attended by Painting and Poetry 1656:Brighton and Hove Museums and Art Galleries 1191:Shakespeare attended by Painting and Poetry 777:Shakespeare attended by Painting and Poetry 698:Shakespeare attended by Painting and Poetry 8940: 8926: 8766:. London: Oxford University Press, 1959. 8551:. London: George Routledge and Sons, 1867. 7655: 7320:by Charles Turner Warren after Thomas Kirk 6318:by Jean-Pierre Simon after James Northcote 6026:by Jean-Pierre Simon after Richard Westall 5829:Taming of the Shrew, Introduction, scene 2 740:dividing the lower storey from the upper. 36:'s Shakespeare Gallery, is modelled after 8751:. Oxford: Oxford University Press, 1999. 7949: 7947: 7905: 7795:inflation figures are based on data from 7607:Dobson, 100–30; Merchant, 43; Taylor, 62. 7388:by Luigi Schiavonetti after Robert Smirke 7075:by Thomas Holloway after William Hamilton 7069:by Thomas Holloway after William Hamilton 6461:Mrs. Page with a Letter (Act II, scene 1) 6032:by Thomas Ryder after John Francis Rigaud 5841:All's Well That Ends Well, Act V, scene 3 5736:by Jean-Pierre Simon after Matthew Peters 5683:by Jean-Pierre Simon after Matthew Peters 4875:Sotheby's 14 October 1953, small version. 366:Illustrated Shakespeare edition and folio 8667:. Hants, England: Scolar Press, 1991. 8544:. London: John and Josiah Boydell, 1805. 8401: 8381: 8052: 8050: 7827: 7486:by Andrew Michel after Robert Ker Porter 6845:by Joseph Collyer after William Hamilton 6797:by James Caldwell after William Hamilton 6795:Olivia, Viola and Maria (Act I, scene 5) 6421:Ferdinand and Miranda (Act III, scene 1) 6368:Shakespeare Nursed by Tragedy and Comedy 6098:by Caroline Watson after Joshua Reynolds 5963:by Jean-Pierre Simon after Robert Smirke 5951:by Jean-Pierre Simon after Robert Smirke 5781:by Jean-Pierre Simon after Robert Smirke 5775:by Jean-Pierre Simon, after Henry Fuseli 5772:Midsummer-Night's Dream, Act IV, scene 1 5765:Midsummer-Night's Dream, Act II, scene 1 5734:Much Ado About Nothing, Act III, scene 1 5681:Merry Wives of Windsor, Act III, scene 3 1097: 1050:embarked on illustrated editions of the 1037: 930:: Act IV, Scene 3: Murder of the princes 921: 904:criticised the venture from the outset: 859: 794: 683: 606: 542: 422: 407:and William Martin to develop and cut a 375: 232: 167: 108: 20: 8947: 8508:"Scene in 'The Merry Wives of Windsor'" 8458:Oxford Dictionary of National Biography 7428:by James Stow after John Francis Rigaud 7178:by James Parker after Robert Ker Porter 6889:by Isaac Taylor after Robert Ker Porter 6829:by James Fittler after William Hamilton 6803:by James Fittler after William Hamilton 6770:by Francis Legat after Francis Wheatley 6705:by Samuel Middiman after William Hodges 6463:by Joseph Saunders after Matthew Peters 6140:The Young Princes Murdered in the Tower 5767:by Jean-Pierre Simon after Henry Fuseli 5749:Much Ado About Nothing, Act IV, scene 2 5740:Much Ado About Nothing, Act IV, scene 1 5687:Merry Wives of Windsor, Act IV, scene 2 5672:Merry Wives of Windsor, Act II, scene 1 5650:Two Gentlemen of Verona, Act V, scene 3 285:. Most accounts also place the painter 163: 10072: 8582:. New York: Garland Publishing, 1985. 8479:Burwick, "Romantic Reception", 144–45. 8336:Merchant, 66–67; Lennox-Boyd, 45, 49. 7944: 7047:by Isaac Taylor after William Hamilton 7013:by Isaac Taylor after William Hamilton 6915:by James Parker after William Hamilton 6827:Leontes and Hermione (Act II, scene 1) 6627:by James Neagle after Francis Wheatley 6411:by James Parker after William Hamilton 6388: 6210:Antony and Cleopatra, Act III, scene 9 6059:by Robert Thew after Josiah Boydell – 6050:by Robert Thew after Josiah Boydell – 5761:by Thomas Ryder after William Hamilton 5700:Merry Wives of Windsor, Act V, scene 5 5663:Merry Wives of Windsor, Act I, scene 1 9692:Complete Works of William Shakespeare 8921: 8910:, as visited by Jane Austen in 1796. 8047: 7796: 7680: 7494:by Andrew Michel after Josiah Boydell 7470:by James Parker after Richard Westall 7382:by William Sharpe after Robert Smirke 7362:by James Parker after Richard Westall 7202:by George Noble after Richard Westall 7194:by James Parker after Richard Westall 7170:by James Stow after Robert Ker Porter 7146:by James Parker after Richard Westall 7130:by Isaac Taylor after Thomas Stothard 7041:by Anker Smith after William Hamilton 7025:by Anker Smith after William Hamilton 6971:by Joseph Collyer after Robert Smirke 6867:by James Parker after Richard Westall 6689:by James Parker after Richard Westall 6683:by George Noble after Richard Westall 6469:by Moses Haughton after Robert Smirke 6371:by Benjamin Smith after George Romney 6343:A Bedchamber, Desdemona in Bed Asleep 6338:by Thomas Ryder after Thomas Stothard 6231:Troilus and Cressida, Act II, scene 2 6011:by Samuel Middiman Robert Smirke and 5999:by Benjamin Smith after Mather Browne 5895:by Robert Thew after William Hamilton 5835:Taming of the Shrew, Act III, scene 2 5611:by Benjamin Smith after George Romney 1247:(London: W. Bulmer & Co., 1805), 622:after from a drawing by Henry Anelay. 8421:Friedman, 4, 87–90; Merchant, 70–75. 7446:by James Heath after James Northcote 7107:by James Heath after James Northcote 7099:by Anker Smith after Richard Westall 7053:by Andrew Gray after Joshua Reynolds 7019:by Andrew Gray after James Northcote 7007:by John Ogborne after Josiah Boydell 6937:by James Fittler after Robert Smirke 6921:by James Stow after William Hamilton 6895:by Anker Smith after Richard Westall 6843:The Shepherd's Cot (Act IV, scene 3) 6595:and Testaloni after William Hamilton 6332:by Francis Legat after Benjamin West 6238:Troilus and Cressida, Act V, scene 2 6233:by Francis Legat after George Romney 6175:by Robert Thew after Richard Westall 6128:by Robert Thew after James Northcote 6110:by John Ogborne after Josiah Boydell 6086:by Robert Thew after James Northcote 6080:by John Ogborne after Josiah Boydell 6005:by Robert Thew after James Northcote 5903:by James Caldwell after Henry Fuseli 4042:; A set of seven scenes showing the 1164: 779:, for which the artist was paid 500 10052: 8883:Shakespeare illustration exhibition 8778:Santaniello, A. E. "Introduction". 8273:Burwick, "Romantic Reception", 144. 8207:Burwick, "Romantic Reception", 150. 7526:Burwick, "Romantic Reception", 149. 7420:by James Parker after Robert Smirke 7412:by Anker Smith after William Miller 7346:by James Stow after Richard Westall 7228:by George Noble after Henry Tresham 7225:Death of Cleopatra (Act V, scene 2) 7135:Wolsey Disgraced (Act III, scene 2) 7017:Death of Mortimer (Act II, scene 5) 6987:by James Stow after Richard Westall 6949:by James Neagle after Robert Smirke 6943:by James Neagle after Robert Smirke 6861:by James Stow after Richard Westall 6713:by George Noble after Robert Smirke 6227:painted and engraved by Thomas Kirk 6169:by Robert Thew after Matthew Peters 5945:by John Ogborne after Robert Smirke 5933:by John Ogborne after Robert Smirke 5779:Merchant of Venice, Act II, scene 5 5759:Love's Labour Lost, Act IV, scene 1 5716:Measure for Measure, Act V, scene 1 5712:by Thomas Ryder after Robert Smirke 5710:Measure for Measure, Act I, scene 1 5548: 4449:Kloster Allerheiligen, Schaffhausen 661:) to build the gallery and engaged 602: 13: 9867:Shakespeare's influence on Tolkien 8826:The Achievement of George Steevens 8445: 8318:Bruntjen, 113–14; Lennox-Boyd, 45. 8133:John Soane: An Accidental Romantic 8042:measuring economic worth over time 7737:; see Friedman, 4–5; Merchant, 69. 7394:by Anker Smith after Robert Smirke 7328:by James Fittler after Thomas Kirk 7261:by Isaac Taylor after Henry Howard 7093:by J. Barlow after James Northcote 6653:by James Parker after Henry Fuseli 6601:by James Heath after Robert Smirke 6475:by Anker Smith after Robert Smirke 6096:Henry VI, part 2, Act III, scene 3 6042:Henry IV, part 2, Act III, scene 2 6024:Henry IV, part 1, Act III, scene 1 6020:by Robert Thew after Robert Smirke 5939:by Robert Thew after Robert Smirke 5831:by Robert Thew after Robert Smirke 5785:Merchant of Venice, Act V, scene 1 5727:by Charles Gauthier Playter after 5229:Christie's, 16 March 1956, no. 110 743:The upper façade contained paired 732:above the transom. In each of the 335:Murder of the Princes in the Tower 132:The actor, director, and producer 14: 10131: 10105:1805 disestablishments in England 8876: 8790:The Dramatic Works of Shakespeare 8782:. New York: Benjamin Bloom, 1968. 8638:. Oxford: Clarendon Press, 1992. 7491:Desdemona Asleep (Act V, scene 2) 6326:by Robert Thew after Henry Fuseli 6310:Romeo and Juliet, Act IV, scene 5 6225:Titus Andronicus, Act IV, scene 1 6114:Henry VI, part 3, Act IV, scene 5 6108:Henry VI, part 3, Act II, scene 5 6084:Henry VI, part 1, Act II, scene 5 6078:Henry VI, part 1, Act II, scene 4 6072:Henry VI, part 1, Act II, scene 3 6068:by Robert Thew after Henry Fuseli 6057:Henry IV, part 2, Act IV, scene 4 6048:Henry IV, part 2, Act IV, scene 4 6044:by Thomas Ryder after James Durno 6036:Henry IV, part 2, Act II, scene 4 6018:Henry IV, part 1, Act II, scene 4 6009:Henry IV, part 1, Act II, scene 2 5800:by William Satchwell Leney after 5566:by William Satchwell Leney after 2857:Christie's, 4 August 1944, no. 58 1177:lists were taken from Friedman's 970:The Complete Works of John Milton 10051: 10042: 10041: 9395: 8871:. Retrieved on 26 November 2007. 8411:. 6 November 1804. p. 1368. 8189:Friedman, 4, 83; Santaniello, 5. 8122:". Retrieved on 11 January 2008. 8004:. Retrieved on 20 November 2007. 7677:Bruntjen, 71–72; Santaniello, 5. 6316:Romeo and Juliet, Act V, scene 3 6304:Romeo and Juliet, Act I, scene 5 6219:Timon of Athens, Act IV, scene 3 6120:Henry VI, part 3, Act V, scene 7 6102:Henry VI, part 3, Act I, scene 3 6090:Henry VI, part 2, Act I, scene 4 6030:Henry IV, part 1, Act V, scene 4 5997:King Richard II, Act IV, scene 1 5725:Comedy of Errors, Act V, scene 1 5005: 4824: 4797: 4765: 4709: 4453: 4421: 4387: 4157: 4053: 3940: 3515: 3241: 2911: 2340: 2188: 2032: 1778:Christie's, 24 July 1953, no. 41 1497:Christie's, 24 July 1953, no. 40 1197:(on façade of gallery building) 10080:Defunct art galleries in London 8856:West, Shearer. "John Boydell". 8734:The Boydell Shakespeare Gallery 8710:The Boydell Shakespeare Gallery 8695:The Boydell Shakespeare Gallery 8621:The Boydell Shakespeare Gallery 8616:. Retrieved on 11 January 2008. 8606:The Boydell Shakespeare Gallery 8578:Bruntjen, Sven Hermann Arnold. 8500: 8491: 8482: 8473: 8464: 8424: 8415: 8395: 8375: 8366: 8357: 8348: 8339: 8330: 8321: 8312: 8303: 8294: 8285: 8276: 8267: 8258: 8237: 8228: 8225:Friedman, 70; Santaniello, 5–6. 8219: 8210: 8201: 8192: 8183: 8174: 8171:. Retrieved on 15 January 2008. 8146: 8125: 8105: 8093: 8059: 8034: 8025: 8016: 8007: 7983: 7980:Burwick, "Introduction", 19–20. 7974: 7965: 7956: 7935: 7926: 7917: 7896: 7887: 7874: 7861: 7852: 7843: 7818: 7776: 7767: 7758: 7755:Burwick, "Introduction", 18–19. 7749: 7740: 7727: 7718: 7689: 7671: 7646: 7637: 7628: 7619: 7610: 7601: 7302:by Jacob Hogg after Thomas Kirk 6003:King Richard II, Act V, scene 2 5877:Winter's Tale, Act III, scene 3 5847:Twelfth Night, Act III, scene 4 5817:As You Like It, Act IV, scene 3 5807:As You Like It, Act II, scene 1 1249:The Boydell Shakespeare Gallery 966:The History of the River Thames 261:, a renowned portrait painter; 99:Shakespeare in the 18th century 10100:1789 establishments in England 9872:Works titled after Shakespeare 8780:The Boydell Shakespeare Prints 7592: 7583: 7574: 7565: 7556: 7547: 7538: 7529: 7520: 6221:by Robert Thew after John Opie 6074:by Robert Thew after John Opie 5883:Winter's Tale, Act IV, scene 3 5867:Winter's Tale, Act II, scene 3 5823:As You Like It, Act V, scene 4 5798:As You Like It, Act I, scene 2 1139:"Lectures on Shakespeare" and 1107:, Act I, Scene I, engraved by 273:, a scholar and translator of 1: 10032:Shakespeare and other authors 8828:. New York: Peter Lang, 1990. 8680:Boydell's Shakespeare Gallery 8533: 8391:. 23 March 1804. p. 341. 8282:Merchant, 76; Santaniello, 6. 7869:Dramatic Works of Shakespeare 6599:Examination (Act IV, scene 2) 6200:Julius Cæsar, Act IV, scene 3 6149:Burying of the Royal Children 6126:Richard III, Act III, scene 1 6052:Prince Henry Taking the Crown 5893:Winter's Tale, Act V, scene 3 5856:Twelfth Night, Act V, scene 1 3542:Mrs. Tankerville Chamberlayne 3405:Rhode Island School of Design 1184: 1179:Boydell's Shakespeare Gallery 808:, engraving by James Caldwell 229:Boydell's Shakespeare venture 9914:Shakespeare Birthplace Trust 8772:Shakespeare in Pictorial Art 8300:Merchant, 75; Friedman, 160. 8022:Burwick, "Introduction", 19. 7032:Second Part of King Henry VI 6956:Second Part of King Henry IV 6754:after Julius Caesar Ibbetson 6167:Henry VIII, Act III, scene 1 6145:Richard III, Act IV, scene 3 6132:Richard III, Act IV, scene 3 4333:Christie's, 11 December 1964 1303:Royal Albert Memorial Museum 1234: 1092:The History of Great Britain 747:on either side, and a thick 7: 10085:Museums established in 1789 9720:English Renaissance theatre 9563:The Second Maiden's Tragedy 9542:The Merry Devil of Edmonton 9074:The Two Gentlemen of Verona 8523:Durno's painting is now in 8327:Merchant, 65–67; Boase, 96. 8234:Friedman, 73; Bruntjen, 92. 7544:Altick, 11–17; Taylor, 149. 7060:Third Part of King Henry VI 6998:First Part of King Henry VI 6928:First Part of King Henry IV 6357:Cymbeline. Act III, scene 6 6255:Cymbeline, Act III, scene 4 6173:Henry VIII, Act IV, scene 2 5982:Portrait of Queen Charlotte 5870:by Jean-Pierre Simon after 5742:by Jean-Pierre Simon after 5718:by Jean-Pierre Simon after 5665:by Jean-Pierre Simon after 5617:by Jean-Pierre Simon after 5533:The Two Gentlemen of Verona 5001:Yale Center for British Art 4793:Yale Center for British Art 4040:Yale Center for British Art 3677:The Two Gentlemen of Verona 3447:The Two Gentlemen of Verona 3401:Museum of Fine Arts, Boston 1005:, of Leicester Fields (now 917: 821:. Works by artists such as 790: 49:Boydell Shakespeare Gallery 10: 10136: 9888:Folger Shakespeare Library 9434:The Phoenix and the Turtle 9024:The Merry Wives of Windsor 8764:Shakespeare and the Artist 7962:Lennox-Boyd, 45; Gage, 29. 7711:diary entry; biography of 6190:Coriolanus, Act V, scene 3 6179:Henry VIII, Act V, scene 4 6154:Henry VIII, Act I, scene 4 5988:King John, Act IV, scene 1 5221:The Merry Wives of Windsor 5108:Folger Shakespeare Library 5081:Folger Shakespeare Library 4892:The Merry Wives of Windsor 4820:Folger Shakespeare Library 4761:Folger Shakespeare Library 4544:The Merry Wives of Windsor 4153:Folger Shakespeare Library 3959:The Merry Wives of Windsor 3936:Folger Shakespeare Library 3903:The Merry Wives of Windsor 3740:Folger Shakespeare Library 3300:Folger Shakespeare Library 3287:The Merry Wives of Windsor 3237:Folger Shakespeare Library 2907:Folger Shakespeare Library 2336:Folger Shakespeare Library 2184:Folger Shakespeare Library 2133:Folger Shakespeare Library 2028:Folger Shakespeare Library 1977:Folger Shakespeare Library 1892:The Merry Wives of Windsor 1722:The Merry Wives of Windsor 369: 265:, bookseller to the king; 102: 10026: 9937: 9907:Royal Shakespeare Theatre 9902:Royal Shakespeare Company 9809: 9666: 9637: 9466: 9457: 9404: 9393: 9325: 9297: 9188: 9098: 9031:A Midsummer Night's Dream 8975:All's Well That Ends Well 8964: 8955: 8455:(subscription required). 7996:10 September 2006 at the 7436:by Jean Pierre Simon and 6761:All's Well That Ends Well 6644:A Midsummer Night's Dream 6294:King Lear, Act V, scene 3 6264:King Lear, Act I, scene 1 6245:Cymbeline, Act I, scene 2 5511:A Midsummer Night's Dream 5327:Royal Shakespeare Company 5270:All's Well That Ends Well 4952:Royal Shakespeare Company 4696:A Midsummer Night's Dream 4605:Royal Shakespeare Company 4472:A Midsummer Night's Dream 4440:A Midsummer Night's Dream 4408:A Midsummer Night's Dream 3296:Royal Shakespeare Company 3210:Royal Shakespeare Company 3158:Royal Shakespeare Company 2175:All's Well That Ends Well 2107:Christie's, 31 March 1967 1920:All's Well That Ends Well 1523:Royal Shakespeare Company 1137:Samuel Taylor Coleridge's 1033: 993:paintings. This went to 550:described her scene from 59:in an effort to foster a 9045:Pericles, Prince of Tyre 8914:College of Liberal Arts. 8849:Wenner, Evelyn Wingate. 8488:Shakespeare Gallery, xx. 8451:Graham-Vernon, Deborah. 8264:Qtd. in Friedman, 73–74. 7849:Qtd. in Friedman, 85–86. 7580:Boase, 92; Bruntjen, 72. 7514: 7250:by Richard Rhodes after 6336:Othello, Act II, scene 1 6193:by James Caldwell after 6138:after James Northcote – 6066:Henry V, Act II, scene 2 5916:Macbeth, Act IV, scene 1 5624:Tempest, Act IV, scene 1 5600:by Benjamin Smith after 5591:by Benjamin Smith after 105:Shakespeare's reputation 85:George Dance the Younger 9053:The Taming of the Shrew 8889:Shakespeare Illustrated 8859:Grove Dictionary of Art 8762:Merchant, W. Moelwyn. 8525:Sir John Soane's Museum 7991:Shakespeare Illustrated 7858:Qtd. in Friedman 68–69. 7797:Clark, Gregory (2017). 6732:The Taming of the Shrew 6434:Two Gentlemen of Verona 6376:Desdemona in Bed Asleep 6330:Hamlet, Act IV, scene 5 6297:by Francis Legat after 5907:Macbeth, Act I, scene 5 5900:Macbeth, Act I, scene 3 5851:Johann Heinrich Ramberg 5637:Tempest, Act V, scene 1 5615:Tempest, Act I, scene 2 5608:Tempest, Act I, scene 1 5181:Beaverbrook Art Gallery 5099:The Taming of the Shrew 5072:The Taming of the Shrew 4986:Johann Heinrich Ramberg 4901:Sir John Soane's Museum 4648:The Taming of the Shrew 4552:Christie's, 3 July 1964 4187:, Head of Prospero only 3485:, Head of Prospero only 2759:Sir John Soane's Museum 1371:The Taming of the Shrew 1226:by Anne Seymour Damer ( 309:and the whole company. 9735:Lord Chamberlain's Men 9646:The Passionate Pilgrim 9419:comparison to Petrarch 9038:Much Ado About Nothing 9017:The Merchant of Venice 8678:Friedman, Winifred H. 8470:Egerton, 391 and Index 7746:Qtd. in Friedman, 4–5. 7535:Altick, 10; Boase, 92. 6839:after William Hamilton 6813:after William Hamilton 6743:Julius Caesar Ibbetson 6657:Puck (Act II, scene 2) 6651:Puck (Act II, scene 1) 6637:after Francis Wheatley 6611:after Francis Wheatley 6585:after Francis Wheatley 6558:Much Ado About Nothing 6551:after Francis Wheatley 6541:after Francis Wheatley 6454:Merry Wives of Windsor 6427:after William Hamilton 6323:Hamlet, Act I, scene 4 6282:, Act III, scene 4 by 6275:King Lear in the Storm 6251:after William Hamilton 6061:Prince Henry's Apology 5909:by James Parker after 5889:after Francis Wheatley 5862:after William Hamilton 5849:by Thomas Ryder after 5632:Joseph Wright of Derby 5575:Portrait of George III 5439:Much Ado About Nothing 5150:Much Ado About Nothing 5093:Julius Caesar Ibbetson 5066:Julius Caesar Ibbetson 4843:The Merchant of Venice 4705:Kunstmuseum Winterthur 4504:Carnegie Museum of Art 4495:Much Ado About Nothing 4273:Joseph Wright of Derby 4237:Art Gallery of Ontario 4222:Joseph Wright of Derby 4144:The Merchant of Venice 3686:Stratford, Connecticut 3343:The Merchant of Venice 3149:Much Ado About Nothing 2978:The Merchant of Venice 1770:Much Ado About Nothing 1629:Art Gallery of Ontario 1150:Tales from Shakespeare 1116: 1055: 954: 940: 911: 897:Tales from Shakespeare 879: 868: 809: 700: 623: 561: 458: 437: 390: 323:Sistine Chapel ceiling 311: 238: 176: 125: 44: 9925:Shakespeare Institute 9894:Shakespeare Quarterly 9413:Shakespeare's sonnets 9081:The Two Noble Kinsmen 8902:Georgetown University 8723:Hartmann, Sadakichi. 8593:Burwick, Frederick. " 8309:Qtd. in Friedman, 85. 8291:Qtd. in Merchant, 67. 8255:Qtd. in Friedman, 74. 7686:West, "John Boydell". 7279:by Anker Smith after 6741:by Anker Smith after 6663:after Joshua Reynolds 6447:after Thomas Stothard 6363:after Richard Westall 6257:by Robert Thew after 6206:after Richard Westall 5990:by Robert Thew after 5918:by Robert Thew after 5674:by Robert Thew after 3511:Cincinnati Art Museum 1101: 1041: 949: 925: 906: 870: 863: 798: 687: 649:51.505694°N 0.13667°W 610: 546: 446: 426: 379: 372:Shakespeare's editors 302: 236: 171: 112: 103:Further information: 69:William Shakespeare's 24: 9781:Spelling of his name 9621:Vortigern and Rowena 9599:Thomas Lord Cromwell 9179:Troilus and Cressida 9109:Antony and Cleopatra 9003:Love's Labour's Lost 8989:The Comedy of Errors 8786:Shakespeare, William 8769:Salaman, Malcolm C. 7882:Collection of Prints 7735:Collection of Prints 7697:Collection of Prints 7666:Collection of Prints 7643:Qtd. in Dobson, 209. 7309:Troilus and Cressida 7209:Antony and Cleopatra 6837:Francesco Bartolozzi 6618:Love's Labour's Lost 6575:after Matthew Peters 6528:The Comedy of Errors 6185:after Matthew Peters 5976:Antony and Cleopatra 5860:Francesco Bartolozzi 5813:after William Hodges 5560:Titlepage vignette: 5463:Antony and Cleopatra 5199:The Comedy of Errors 3855:Love's Labour's Lost 3806:The Comedy of Errors 3704:The Comedy of Errors 3629:Antony and Cleopatra 3605:Troilus and Cressida 3534:Troilus and Cressida 3260:Troilus and Cressida 3131:Bob Jones University 3098:Antony and Cleopatra 2151:Love's Labour's Lost 1441:Love's Labour's Lost 1223:Antony and Cleopatra 1111:after a painting by 936:after a painting by 932:(1791), engraved by 618:, wood-engraving by 553:Troilus and Cressida 505:Francesco Bartolozzi 355:Collection of Prints 164:Shakespeare editions 32:(1789), painted for 16:Art museum in London 10095:William Shakespeare 10090:18th-century prints 10005:Richard Shakespeare 9987:Gilbert Shakespeare 9919:Shakespeare's Globe 9824:Authorship question 9819:Attribution studies 9786:Stratford-upon-Avon 9628:A Yorkshire Tragedy 9606:Thomas of Woodstock 9592:The Spanish Tragedy 9533:Love's Labour's Won 9525:The London Prodigal 9482:The Birth of Merlin 9441:The Rape of Lucrece 9427:A Lover's Complaint 9307:Quarto publications 9010:Measure for Measure 8949:William Shakespeare 8912:University of Texas 8891:by Harry Rusche at 8600:27 May 2015 at the 8575:10 (1947): 83–108. 8153:William Shakespeare 8118:27 May 2015 at the 6502:Measure for Measure 6495:after Robert Smirke 6485:after Robert Smirke 6389:Illustrated edition 5755:after Robert Smirke 5729:John Francis Rigaud 5706:after Robert Smirke 5318:Measure for Measure 5193:John Francis Rigaud 4722:John Francis Rigaud 4325:Measure for Measure 3824:John Francis Rigaud 3782:Measure for Measure 3713:Stratford-upon-Avon 3352:Stratford-upon-Avon 2678:Measure for Measure 2636:The Obdurate Mother 2512:Stratford-upon-Avon 1850:Stratford-upon-Avon 1260: 1175:Illustrated Edition 1121:British Institution 1068:Thomas Gainsborough 1024:Stratford-upon-Avon 1020:British Institution 857:wrote a day later: 679:William Wilberforce 654:51.505694; -0.13667 645: / 616:British Institution 149:conversation pieces 138:Shakespeare Jubilee 9999:Edmund Shakespeare 9957:Hamnet Shakespeare 9854:Screen adaptations 9577:Sir John Oldcastle 9475:Arden of Faversham 8726:Shakespeare in Art 8651:The British School 8555:Altick, Richard D. 8512:BBC Your Paintings 8408:The London Gazette 8388:The London Gazette 7793:Retail Price Index 7709:Joseph Farington's 6674:Merchant of Venice 6661:Luigi Schiavonetti 6569:(Act III, scene 1) 6565:Hero, Ursula, and 6270:after Henry Fuseli 5654:Luigi Schiavonetti 5598:Infant Shakespeare 5568:Anne Seymour Damer 4814:Infant Shakespeare 4480:Private collection 3483:York Museums Trust 3417:Raphael Lamar West 3298:; Anne Page only, 1258: 1212:Anne Seymour Damer 1117: 1056: 1026:and re-erected in 941: 869: 810: 701: 624: 562: 558:Luigi Schiavonetti 438: 391: 331:Death of Wat Tyler 289:at the gathering. 239: 177: 142:Drury Lane theatre 126: 45: 10065: 10064: 9969:Elizabeth Barnard 9933: 9932: 9662: 9661: 9391: 9390: 9089:The Winter's Tale 8811:Sheppard, F.H.W. 8663:Franklin, Colin. 8634:Dobson, Michael. 8442:Bruntjen, 118–21. 7893:Bruntjen, 102–03. 7867:"Advertisement", 7294:after Thomas Kirk 6820:The Winter's Tale 6752:Isaac Taylor, Jr. 6158:Isaac Taylor, Jr. 5704:Isaac Taylor, Jr. 5658:Angelica Kauffman 5546: 5545: 4228:The Winter's Tale 4072:The Winter's Tale 3441:Angelica Kauffman 3254:Angelica Kauffman 3201:The Winter's Tale 3002:The Winter's Tale 2954:The Winter's Tale 2795:Robert Ker Porter 2449:Robert Ker Porter 2377:Robert Ker Porter 1489:The Winter's Tale 1346:The Winter's Tale 1165:List of art works 1159:coffee table book 1147:children's book, 1141:William Hazlitt's 974:French Revolution 884:Analytical Review 847:Public Advertiser 719:. Dance placed a 595:The print folio, 548:Angelica Kauffman 529:Stipple engraving 489:Angelica Kauffman 429:The Winter's Tale 381:Richard Westall's 339:Joshua Reynolds's 329:claimed that his 283:Angelica Kauffman 221:(1773, 1785) and 114:William Hogarth's 10127: 10055: 10054: 10045: 10044: 9993:Joan Shakespeare 9975:John Shakespeare 9878: 9877: 9859:Shakespeare and 9570:Sejanus His Fall 9537: 9497:Double Falsehood 9464: 9463: 9448:Venus and Adonis 9399: 9172:Titus Andronicus 9158:Romeo and Juliet 8962: 8961: 8942: 8935: 8928: 8919: 8918: 8893:Emory University 8824:Sherbo, Arthur. 8814:Survey of London 8747:McCalman, Iain. 8528: 8522: 8520: 8518: 8504: 8498: 8495: 8489: 8486: 8480: 8477: 8471: 8468: 8462: 8449: 8443: 8440: 8431: 8428: 8422: 8419: 8413: 8412: 8399: 8393: 8392: 8379: 8373: 8372:Friedman, 87–88. 8370: 8364: 8361: 8355: 8352: 8346: 8345:Lennox-Boyd, 46. 8343: 8337: 8334: 8328: 8325: 8319: 8316: 8310: 8307: 8301: 8298: 8292: 8289: 8283: 8280: 8274: 8271: 8265: 8262: 8256: 8253: 8244: 8241: 8235: 8232: 8226: 8223: 8217: 8214: 8208: 8205: 8199: 8196: 8190: 8187: 8181: 8178: 8172: 8150: 8144: 8129: 8123: 8109: 8103: 8097: 8091: 8088:Sheppard, 325–38 8085: 8066: 8065:Lennox-Boyd, 49. 8063: 8057: 8054: 8045: 8038: 8032: 8029: 8023: 8020: 8014: 8011: 8005: 8002:Emory University 8000:. Harry Rusche. 7987: 7981: 7978: 7972: 7969: 7963: 7960: 7954: 7953:Lennox-Boyd, 45. 7951: 7942: 7939: 7933: 7930: 7924: 7921: 7915: 7912: 7903: 7902:Merchant, 70–75. 7900: 7894: 7891: 7885: 7878: 7872: 7865: 7859: 7856: 7850: 7847: 7841: 7838: 7825: 7822: 7816: 7815: 7813: 7811: 7789: 7783: 7780: 7774: 7771: 7765: 7762: 7756: 7753: 7747: 7744: 7738: 7731: 7725: 7722: 7716: 7693: 7687: 7684: 7678: 7675: 7669: 7662: 7653: 7650: 7644: 7641: 7635: 7634:Franklin, 11–12. 7632: 7626: 7623: 7617: 7614: 7608: 7605: 7599: 7596: 7590: 7587: 7581: 7578: 7572: 7569: 7563: 7560: 7554: 7551: 7545: 7542: 7536: 7533: 7527: 7524: 7460:Act III, scene 4 7425:Act III, scene 5 7401:Romeo and Juliet 7386:Act III, scene 4 7359:Act III, scene 6 7281:Samuel Woodforde 7268:Titus Andronicus 7192:Act III, scene 1 7097:Act III, scene 4 7067:Act III, scene 2 7045:Act III, scene 2 6985:Act III, scene 3 6913:Act III, scene 2 6893:Act III, scene 4 6865:Act III, scene 4 6687:Act III, scene 3 6681:Act III, scene 2 6013:Joseph Farington 5744:William Hamilton 5645:Francis Wheatley 5549:Folio engravings 5505:Francis Wheatley 5433:Francis Wheatley 5415:Henry VI, Part 2 5345:Henry VI, Part 3 5264:Francis Wheatley 5144:Francis Wheatley 5042:William Hamilton 5024:Henry VI, Part 3 5009: 4968:Romeo and Juliet 4867:Henry IV, Part 2 4828: 4801: 4769: 4728:Henry IV, Part 1 4713: 4642:Francis Wheatley 4623:Henry IV, Part 1 4457: 4425: 4391: 4344:Francis Wheatley 4303:Henry VI, Part 1 4255:Henry IV, Part 2 4204:Henry IV, Part 2 4161: 4090:William Hamilton 4066:William Hamilton 4057: 3983:Henry IV, Part 2 3944: 3927:Henry IV, Part 2 3879:Henry IV, Part 1 3849:Francis Wheatley 3830:Romeo and Juliet 3800:Francis Wheatley 3698:Francis Wheatley 3653:Henry IV, Part 1 3519: 3368:Henry VI, Part 3 3326:Christie's, 1892 3318:Romeo and Juliet 3245: 3228:Romeo and Juliet 3195:Francis Wheatley 3176:Henry VI, Part 1 3122:Henry IV, Part 1 2996:William Hamilton 2948:William Hamilton 2930:Henry VI, Part 1 2924:William Hamilton 2915: 2892:William Hamilton 2874:Henry VI, Part 2 2868:William Hamilton 2843:William Hamilton 2777:Henry VI, Part 2 2771:William Hamilton 2744:William Hamilton 2696:William Hamilton 2654:Henry IV, Part 1 2626:Romeo and Juliet 2503:Titus Andronicus 2497:Samuel Woodforde 2344: 2192: 2169:Francis Wheatley 2145:Francis Wheatley 2118:William Hamilton 2099:Henry VI, Part 3 2093:William Hamilton 2075:Henry VI, Part 3 2069:William Hamilton 2051:Henry VI, Part 1 2045:William Hamilton 2036: 2013:William Hamilton 1938:William Hamilton 1914:Francis Wheatley 1841:Titus Andronicus 1795:Henry VI, Part 2 1764:William Hamilton 1698:Henry VI, Part 3 1674:Henry VI, Part 1 1641:William Hamilton 1593:Henry VI, Part 2 1483:William Hamilton 1465:Henry VI, Part 1 1435:William Hamilton 1411:William Hamilton 1393:Titus Andronicus 1273:Act, scene (#.#) 1261: 1257: 1007:Leicester Square 945:Joseph Farington 838:Daily Advertiser 763:in the shape of 755:. The architect 660: 659: 657: 656: 655: 650: 646: 643: 642: 641: 638: 603:Gallery building 582:William Hamilton 298:history painting 122:Richard III 65:history painting 10135: 10134: 10130: 10129: 10128: 10126: 10125: 10124: 10070: 10069: 10066: 10061: 10022: 9971:(granddaughter) 9929: 9876: 9805: 9771:Religious views 9749:Curtain Theatre 9670: 9658: 9633: 9584:Sir Thomas More 9530: 9504:Edmund Ironside 9453: 9400: 9387: 9361:Ghost character 9321: 9293: 9184: 9165:Timon of Athens 9094: 8951: 8946: 8879: 8874: 8806:George W. Nicol 8794:George Steevens 8602:Wayback Machine 8536: 8531: 8516: 8514: 8506: 8505: 8501: 8496: 8492: 8487: 8483: 8478: 8474: 8469: 8465: 8453:"Robert Bowyer" 8450: 8446: 8441: 8434: 8429: 8425: 8420: 8416: 8400: 8396: 8380: 8376: 8371: 8367: 8362: 8358: 8353: 8349: 8344: 8340: 8335: 8331: 8326: 8322: 8317: 8313: 8308: 8304: 8299: 8295: 8290: 8286: 8281: 8277: 8272: 8268: 8263: 8259: 8254: 8247: 8243:Santaniello, 6. 8242: 8238: 8233: 8229: 8224: 8220: 8215: 8211: 8206: 8202: 8198:Santaniello, 5. 8197: 8193: 8188: 8184: 8179: 8175: 8163:Act I, scene ii 8151: 8147: 8130: 8126: 8120:Wayback Machine 8110: 8106: 8098: 8094: 8086: 8069: 8064: 8060: 8055: 8048: 8039: 8035: 8030: 8026: 8021: 8017: 8012: 8008: 7998:Wayback Machine 7988: 7984: 7979: 7975: 7970: 7966: 7961: 7957: 7952: 7945: 7940: 7936: 7931: 7927: 7922: 7918: 7913: 7906: 7901: 7897: 7892: 7888: 7879: 7875: 7866: 7862: 7857: 7853: 7848: 7844: 7839: 7828: 7823: 7819: 7809: 7807: 7790: 7786: 7781: 7777: 7772: 7768: 7763: 7759: 7754: 7750: 7745: 7741: 7732: 7728: 7724:Santaniello, 7. 7723: 7719: 7694: 7690: 7685: 7681: 7676: 7672: 7663: 7656: 7651: 7647: 7642: 7638: 7633: 7629: 7624: 7620: 7615: 7611: 7606: 7602: 7597: 7593: 7588: 7584: 7579: 7575: 7570: 7566: 7561: 7557: 7552: 7548: 7543: 7539: 7534: 7530: 7525: 7521: 7517: 7512: 7507:Act II, scene 7 7484:Act IV, scene 2 7474: 7467:Act IV, scene 7 7450: 7440:after John Opie 7417:Act II, scene 5 7398: 7392:Act IV, scene 7 7370: 7366: 7351:Act II, scene 4 7343:Act II, scene 2 7332: 7306: 7299:Act IV, scene 2 7287:Act IV, scene 1 7276:Act II, scene 3 7265: 7258:Act IV, scene 1 7239:Timon of Athens 7236: 7232: 7217:Act IV, scene 4 7206: 7182: 7175:Act IV, scene 5 7156: 7143:Act IV, scene 2 7119:King Henry VIII 7116: 7110: 7079: 7057: 7039:Act II, scene 2 7029: 7011:Act II, scene 5 7005:Act II, scene 4 6995: 6991: 6975: 6963:Act IV, scene 4 6953: 6941:Act II, scene 3 6935:Act II, scene 1 6925: 6906:King Richard II 6903: 6899: 6887:Act IV, scene 3 6877: 6849: 6817: 6807:Act IV, scene 3 6785: 6779: 6774:Act II, scene 3 6758: 6748:Act IV, scene 5 6739:Act IV, scene 1 6729: 6716:Act IV, scene 3 6710:Act II, scene 6 6693: 6671: 6667: 6641: 6635:William Skelton 6625:Act IV, scene 2 6615: 6589:Act IV, scene 1 6555: 6545:Act IV, scene 4 6525: 6521: 6515:Act IV, scene 3 6509:Act II, scene 4 6499: 6483:Thomas Holloway 6479:Act IV, scene 1 6451: 6431: 6415:Act II, scene 2 6397: 6391: 6386: 6162:Thomas Stothard 5992:James Northcote 5966: 5920:Joshua Reynolds 5911:Richard Westall 5811:Samuel Middiman 5641:Caroline Watson 5584:William Beechey 5551: 5339:James Northcote 4937:Thomas Stothard 4746:Richard Westall 4672:Timon of Athens 4617:Richard Westall 4563:James Northcote 4516:James Northcote 4466:Joshua Reynolds 4138:Richard Westall 4114:Richard Westall 3671:Thomas Stothard 3553:Richard Westall 3222:James Northcote 3170:James Northcote 3068:Richard Westall 3020:Richard Westall 2972:Richard Westall 2819:Richard Westall 2720:Richard Westall 2572:Richard Westall 2548:Richard Westall 2524:Richard Westall 2473:Richard Westall 2425:Richard Westall 2401:Richard Westall 2359:Timon of Athens 2273:Richard Westall 2249:Richard Westall 2225:Richard Westall 2201:Richard Westall 1989:Richard Westall 1962:Richard Westall 1819:Timon of Athens 1740:Thomas Stothard 1692:James Northcote 1587:Joshua Reynolds 1535:Joshua Reynolds 1508:James Northcote 1315:James Northcote 1288:James Northcote 1253:"What Jane Saw" 1237: 1187: 1167: 1084:Schomberg House 1074:from opening a 1036: 938:James Northcote 920: 865:James Gillray's 831:William Hazlitt 823:James Northcote 793: 751:and triangular 653: 651: 647: 644: 639: 636: 634: 632: 631: 605: 586:Richard Westall 570:Joshua Reynolds 566:James Northcote 473:Thomas Stothard 469:Richard Westall 442:George Steevens 374: 368: 327:James Northcote 255:King George III 231: 219:George Steevens 173:George Steevens 166: 153:William Hogarth 107: 101: 93:Joshua Reynolds 87:, on a site in 78:George Steevens 26:Joshua Reynolds 17: 12: 11: 5: 10133: 10123: 10122: 10117: 10112: 10107: 10102: 10097: 10092: 10087: 10082: 10063: 10062: 10060: 10059: 10049: 10038: 10037: 10034: 10027: 10024: 10023: 10021: 10020: 10014: 10008: 10002: 9996: 9990: 9984: 9978: 9972: 9966: 9960: 9954: 9948: 9941: 9939: 9935: 9934: 9931: 9930: 9928: 9927: 9922: 9916: 9911: 9910: 9909: 9899: 9898: 9897: 9884: 9882: 9875: 9874: 9869: 9864: 9856: 9851: 9846: 9841: 9836: 9831: 9826: 9821: 9815: 9813: 9807: 9806: 9804: 9803: 9798: 9793: 9788: 9783: 9778: 9773: 9768: 9763: 9758: 9753: 9752: 9751: 9746: 9732: 9727: 9722: 9717: 9712: 9710:Collaborations 9707: 9702: 9701: 9700: 9695: 9683: 9677: 9675: 9664: 9663: 9660: 9659: 9657: 9656: 9649: 9641: 9639: 9635: 9634: 9632: 9631: 9624: 9617: 9609: 9602: 9595: 9588: 9580: 9573: 9566: 9559: 9552: 9545: 9538: 9528: 9521: 9514: 9507: 9500: 9493: 9485: 9478: 9470: 9468: 9461: 9455: 9454: 9452: 9451: 9444: 9437: 9430: 9423: 9422: 9421: 9408: 9406: 9402: 9401: 9394: 9392: 9389: 9388: 9386: 9385: 9380: 9375: 9370: 9365: 9364: 9363: 9358: 9353: 9345: 9340: 9335: 9329: 9327: 9323: 9322: 9320: 9319: 9314: 9309: 9303: 9301: 9299:Early editions 9295: 9294: 9292: 9291: 9283: 9276: 9275: 9274: 9267: 9260: 9245: 9238: 9237: 9236: 9229: 9217: 9210: 9202: 9194: 9192: 9186: 9185: 9183: 9182: 9175: 9168: 9161: 9154: 9147: 9140: 9133: 9126: 9119: 9112: 9104: 9102: 9096: 9095: 9093: 9092: 9085: 9077: 9070: 9063: 9056: 9049: 9041: 9034: 9027: 9020: 9013: 9006: 8999: 8992: 8985: 8982:As You Like It 8978: 8970: 8968: 8959: 8953: 8952: 8945: 8944: 8937: 8930: 8922: 8916: 8915: 8905: 8904:Art Collection 8895: 8886: 8878: 8877:External links 8875: 8873: 8872: 8854: 8847: 8829: 8822: 8809: 8802:Josiah Boydell 8783: 8776: 8767: 8760: 8745: 8730: 8721: 8706: 8691: 8676: 8661: 8647: 8632: 8617: 8591: 8576: 8569: 8552: 8545: 8537: 8535: 8532: 8530: 8529: 8499: 8497:Bruntjen, 160. 8490: 8481: 8472: 8463: 8444: 8432: 8430:McCalman, 194. 8423: 8414: 8394: 8374: 8365: 8363:Bruntjen, 113. 8356: 8347: 8338: 8329: 8320: 8311: 8302: 8293: 8284: 8275: 8266: 8257: 8245: 8236: 8227: 8218: 8209: 8200: 8191: 8182: 8180:Hartmann, 216. 8173: 8145: 8124: 8104: 8092: 8067: 8058: 8046: 8033: 8024: 8015: 8006: 7982: 7973: 7964: 7955: 7943: 7934: 7925: 7916: 7904: 7895: 7886: 7873: 7860: 7851: 7842: 7826: 7817: 7804:MeasuringWorth 7784: 7775: 7766: 7757: 7748: 7739: 7726: 7717: 7701:Josiah Boydell 7688: 7679: 7670: 7664:"Prospectus", 7654: 7645: 7636: 7627: 7618: 7609: 7600: 7591: 7582: 7573: 7571:Taylor, 116ff. 7564: 7555: 7546: 7537: 7528: 7518: 7516: 7513: 7511: 7510: 7500:As You Like It 7496: 7495: 7487: 7472: 7471: 7463: 7448: 7447: 7444:Act V, scene 3 7441: 7429: 7421: 7413: 7409:Act I, scene 5 7396: 7395: 7389: 7383: 7380:Act I, scene 1 7364: 7363: 7355: 7347: 7330: 7329: 7325:Act V, scene 3 7321: 7317:Act I, scene 2 7304: 7303: 7295: 7292:Burnet Reading 7283: 7263: 7262: 7254: 7247:Act I, scene 2 7230: 7229: 7221: 7204: 7203: 7199:Act V, scene 5 7195: 7180: 7179: 7171: 7167:Act I, scene 3 7154: 7153: 7150:Act V, scene 1 7147: 7139: 7131: 7127:Act I, scene 4 7111: 7109: 7108: 7100: 7094: 7077: 7076: 7073:Act V, scene 5 7070: 7055: 7054: 7048: 7042: 7027: 7026: 7020: 7014: 7008: 6989: 6988: 6973: 6972: 6969:Act V, scene 5 6966: 6951: 6950: 6947:Act V, scene 4 6944: 6938: 6923: 6922: 6919:Act V, scene 2 6916: 6897: 6896: 6890: 6875: 6874: 6871:Act V, scene 1 6868: 6862: 6859:Act I, scene 3 6847: 6846: 6840: 6830: 6815: 6814: 6804: 6798: 6780: 6778: 6777: 6771: 6768:Act I, scene 3 6756: 6755: 6745: 6727: 6726: 6723:Act V, scene 4 6720: 6714: 6706: 6696:As You Like It 6691: 6690: 6684: 6665: 6664: 6654: 6639: 6638: 6631:Act V, scene 2 6628: 6613: 6612: 6605:Act V, scene 4 6602: 6596: 6586: 6576: 6553: 6552: 6542: 6535:Act I, scene 1 6519: 6518: 6512: 6497: 6496: 6493:William Sharpe 6489:Act V, scene 5 6486: 6476: 6473:Act I, scene 4 6470: 6467:Act I, scene 1 6464: 6449: 6448: 6441:Act V, scene 3 6429: 6428: 6418: 6412: 6408:Act I, scene 2 6392: 6390: 6387: 6385: 6384: 6372: 6364: 6361:Thomas Gaugain 6354: 6339: 6333: 6327: 6319: 6313: 6307: 6301: 6290: 6271: 6268:Richard Earlom 6261: 6252: 6242: 6234: 6228: 6222: 6216: 6207: 6204:Edward Scriven 6197: 6195:Gavin Hamilton 6186: 6183:Joseph Collyer 6176: 6170: 6164: 6151: 6142: 6129: 6123: 6117: 6111: 6105: 6099: 6093: 6087: 6081: 6075: 6069: 6063: 6054: 6045: 6039: 6033: 6027: 6021: 6015: 6006: 6000: 5994: 5985: 5979: 5967: 5965: 5964: 5958: 5952: 5946: 5940: 5934: 5928: 5922: 5913: 5904: 5896: 5890: 5880: 5874: 5863: 5853: 5844: 5838: 5832: 5826: 5820: 5814: 5804: 5795: 5793:William Hodges 5782: 5776: 5768: 5762: 5756: 5746: 5737: 5731: 5722: 5713: 5707: 5697: 5684: 5678: 5676:William Peters 5669: 5660: 5647: 5634: 5621: 5612: 5604: 5595: 5586: 5580:Benjamin Smith 5572:Frontispiece: 5570: 5552: 5550: 5547: 5544: 5543: 5541: 5539: 5536: 5529: 5526: 5522: 5521: 5519: 5517: 5514: 5507: 5502: 5498: 5497: 5495: 5493: 5490: 5483: 5481:Josiah Boydell 5478: 5474: 5473: 5471: 5469: 5466: 5459: 5454: 5450: 5449: 5447: 5445: 5442: 5435: 5430: 5426: 5425: 5423: 5421: 5418: 5411: 5406: 5402: 5401: 5399: 5397: 5394: 5387: 5385:Gavin Hamilton 5382: 5378: 5377: 5375: 5373: 5370: 5363: 5362:Matthew Peters 5360: 5356: 5355: 5353: 5351: 5348: 5341: 5336: 5332: 5331: 5329: 5324: 5321: 5314: 5309: 5305: 5304: 5302: 5300: 5297: 5290: 5285: 5281: 5280: 5278: 5276: 5273: 5266: 5261: 5257: 5256: 5254: 5252: 5249: 5246:As You Like It 5242: 5237: 5233: 5232: 5230: 5227: 5224: 5217: 5216:Matthew Peters 5214: 5210: 5209: 5207: 5205: 5202: 5195: 5190: 5186: 5185: 5183: 5178: 5175: 5168: 5167:Matthew Peters 5165: 5161: 5160: 5158: 5156: 5153: 5146: 5141: 5137: 5136: 5134: 5132: 5129: 5122: 5120:Josiah Boydell 5117: 5113: 5112: 5110: 5105: 5102: 5095: 5090: 5086: 5085: 5083: 5078: 5075: 5068: 5063: 5059: 5058: 5056: 5054: 5051: 5044: 5039: 5035: 5034: 5032: 5030: 5027: 5020: 5018:Josiah Boydell 5015: 5011: 5010: 5003: 4998: 4995: 4988: 4983: 4979: 4978: 4976: 4974: 4971: 4964: 4963:William Miller 4961: 4957: 4956: 4954: 4949: 4946: 4939: 4934: 4930: 4929: 4927: 4925: 4922: 4915: 4910: 4906: 4905: 4903: 4898: 4895: 4888: 4883: 4879: 4878: 4876: 4873: 4870: 4863: 4858: 4854: 4853: 4851: 4849: 4846: 4839: 4837:William Hodges 4834: 4830: 4829: 4822: 4817: 4815: 4812: 4807: 4803: 4802: 4795: 4790: 4787: 4784:As You Like It 4780: 4778:William Hodges 4775: 4771: 4770: 4763: 4758: 4755: 4748: 4743: 4739: 4738: 4736: 4734: 4731: 4724: 4719: 4715: 4714: 4707: 4702: 4699: 4692: 4687: 4683: 4682: 4680: 4678: 4675: 4668: 4663: 4659: 4658: 4656: 4654: 4651: 4644: 4639: 4635: 4634: 4632: 4629: 4626: 4619: 4614: 4610: 4609: 4607: 4602: 4599: 4592: 4587: 4583: 4582: 4580: 4578:Petworth House 4575: 4572: 4565: 4560: 4556: 4555: 4553: 4550: 4547: 4540: 4539:Matthew Peters 4537: 4533: 4532: 4530: 4528: 4525: 4518: 4513: 4509: 4508: 4506: 4501: 4498: 4491: 4490:Matthew Peters 4488: 4484: 4483: 4481: 4478: 4475: 4468: 4463: 4459: 4458: 4451: 4446: 4443: 4436: 4431: 4427: 4426: 4419: 4414: 4411: 4404: 4399: 4393: 4392: 4385: 4380: 4377: 4370: 4365: 4361: 4360: 4358: 4356: 4353: 4346: 4341: 4337: 4336: 4334: 4331: 4328: 4321: 4318: 4314: 4313: 4311: 4309: 4306: 4299: 4297:Josiah Boydell 4294: 4290: 4289: 4287: 4285: 4282: 4275: 4270: 4266: 4265: 4263: 4261: 4258: 4251: 4249:Josiah Boydell 4246: 4242: 4241: 4239: 4234: 4231: 4224: 4219: 4215: 4214: 4212: 4210: 4207: 4200: 4198:Josiah Boydell 4195: 4191: 4190: 4188: 4182: 4179: 4172: 4167: 4163: 4162: 4155: 4150: 4147: 4140: 4135: 4131: 4130: 4128: 4126: 4123: 4116: 4111: 4107: 4106: 4104: 4102: 4099: 4092: 4087: 4083: 4082: 4080: 4078: 4075: 4068: 4063: 4059: 4058: 4051: 4037: 4034: 4031:As You Like It 4027: 4022: 4018: 4017: 4015: 4013: 4010: 4003: 3998: 3994: 3993: 3991: 3989: 3986: 3979: 3974: 3970: 3969: 3967: 3965: 3962: 3955: 3950: 3946: 3945: 3938: 3933: 3930: 3923: 3918: 3914: 3913: 3911: 3909: 3906: 3899: 3894: 3890: 3889: 3887: 3885: 3882: 3875: 3870: 3866: 3865: 3863: 3861: 3858: 3851: 3846: 3842: 3841: 3839: 3836: 3833: 3826: 3821: 3817: 3816: 3814: 3812: 3809: 3802: 3797: 3793: 3792: 3790: 3788: 3785: 3778: 3773: 3769: 3768: 3766: 3764: 3761: 3754: 3749: 3745: 3744: 3742: 3737: 3734: 3727: 3722: 3718: 3717: 3715: 3710: 3707: 3700: 3695: 3691: 3690: 3688: 3683: 3680: 3673: 3668: 3664: 3663: 3661: 3659: 3656: 3649: 3644: 3640: 3639: 3637: 3635: 3632: 3625: 3620: 3616: 3615: 3613: 3611: 3608: 3601: 3598: 3594: 3593: 3591: 3589: 3586: 3579: 3574: 3570: 3569: 3567: 3565: 3562: 3555: 3550: 3546: 3545: 3543: 3540: 3537: 3530: 3525: 3521: 3520: 3513: 3508: 3505: 3498: 3493: 3489: 3488: 3486: 3480: 3477: 3470: 3465: 3461: 3460: 3458: 3453: 3450: 3443: 3438: 3434: 3433: 3431: 3429: 3426: 3423:As You Like It 3419: 3414: 3410: 3409: 3407: 3398: 3395: 3388: 3383: 3379: 3378: 3376: 3374: 3371: 3364: 3363:William Miller 3361: 3357: 3356: 3354: 3349: 3346: 3339: 3334: 3330: 3329: 3327: 3324: 3321: 3314: 3309: 3305: 3304: 3302: 3293: 3290: 3283: 3278: 3274: 3273: 3271: 3269:Petworth House 3266: 3263: 3256: 3251: 3247: 3246: 3239: 3234: 3231: 3224: 3219: 3215: 3214: 3212: 3207: 3204: 3197: 3192: 3188: 3187: 3185: 3182: 3179: 3172: 3167: 3163: 3162: 3160: 3155: 3152: 3145: 3140: 3136: 3135: 3133: 3128: 3125: 3118: 3113: 3109: 3108: 3106: 3104: 3101: 3094: 3089: 3085: 3084: 3082: 3080: 3077: 3070: 3065: 3061: 3060: 3058: 3056: 3053: 3046: 3041: 3037: 3036: 3034: 3032: 3029: 3022: 3017: 3013: 3012: 3010: 3008: 3005: 2998: 2993: 2989: 2988: 2986: 2984: 2981: 2974: 2969: 2965: 2964: 2962: 2960: 2957: 2950: 2945: 2941: 2940: 2938: 2936: 2933: 2926: 2921: 2917: 2916: 2909: 2904: 2901: 2894: 2889: 2885: 2884: 2882: 2880: 2877: 2870: 2865: 2861: 2860: 2858: 2855: 2852: 2845: 2840: 2836: 2835: 2833: 2831: 2828: 2821: 2816: 2812: 2811: 2809: 2807: 2804: 2797: 2792: 2788: 2787: 2785: 2783: 2780: 2773: 2768: 2764: 2763: 2761: 2756: 2753: 2746: 2741: 2737: 2736: 2734: 2732: 2729: 2722: 2717: 2713: 2712: 2710: 2708: 2705: 2698: 2693: 2689: 2688: 2686: 2684: 2681: 2674: 2669: 2665: 2664: 2662: 2660: 2657: 2650: 2645: 2641: 2640: 2638: 2632: 2629: 2622: 2617: 2613: 2612: 2610: 2608: 2605: 2602:As You Like It 2598: 2593: 2589: 2588: 2586: 2584: 2581: 2574: 2569: 2565: 2564: 2562: 2560: 2557: 2550: 2545: 2541: 2540: 2538: 2536: 2533: 2526: 2521: 2517: 2516: 2514: 2509: 2506: 2499: 2494: 2490: 2489: 2487: 2485: 2482: 2475: 2470: 2466: 2465: 2463: 2461: 2458: 2451: 2446: 2442: 2441: 2439: 2437: 2434: 2427: 2422: 2418: 2417: 2415: 2413: 2410: 2403: 2398: 2394: 2393: 2391: 2389: 2386: 2379: 2374: 2370: 2369: 2367: 2365: 2362: 2355: 2350: 2346: 2345: 2338: 2333: 2330: 2323: 2318: 2314: 2313: 2311: 2309: 2306: 2299: 2297:Josiah Boydell 2294: 2290: 2289: 2287: 2285: 2282: 2275: 2270: 2266: 2265: 2263: 2261: 2258: 2251: 2246: 2242: 2241: 2239: 2237: 2234: 2227: 2222: 2218: 2217: 2215: 2213: 2210: 2203: 2198: 2194: 2193: 2186: 2181: 2178: 2171: 2166: 2162: 2161: 2159: 2157: 2154: 2147: 2142: 2138: 2137: 2135: 2130: 2127: 2120: 2115: 2111: 2110: 2108: 2105: 2102: 2095: 2090: 2086: 2085: 2083: 2081: 2078: 2071: 2066: 2062: 2061: 2059: 2057: 2054: 2047: 2042: 2038: 2037: 2030: 2025: 2022: 2015: 2010: 2006: 2005: 2003: 2001: 1998: 1991: 1986: 1982: 1981: 1979: 1974: 1971: 1964: 1959: 1955: 1954: 1952: 1950: 1947: 1940: 1935: 1931: 1930: 1928: 1926: 1923: 1916: 1911: 1907: 1906: 1904: 1898: 1895: 1888: 1883: 1879: 1878: 1876: 1874: 1871: 1868:As You Like It 1864: 1859: 1855: 1854: 1852: 1847: 1844: 1837: 1834: 1830: 1829: 1827: 1825: 1822: 1815: 1810: 1806: 1805: 1803: 1801: 1798: 1791: 1786: 1782: 1781: 1779: 1776: 1773: 1766: 1761: 1757: 1756: 1754: 1752: 1749: 1742: 1737: 1733: 1732: 1730: 1728: 1725: 1718: 1713: 1709: 1708: 1706: 1704: 1701: 1694: 1689: 1685: 1684: 1682: 1680: 1677: 1670: 1665: 1661: 1660: 1658: 1653: 1650: 1647:As You Like It 1643: 1638: 1634: 1633: 1631: 1626: 1623: 1616: 1611: 1607: 1606: 1604: 1602:Petworth House 1599: 1596: 1589: 1584: 1580: 1579: 1577: 1574: 1571: 1564: 1559: 1555: 1554: 1552: 1550:Petworth House 1547: 1544: 1537: 1532: 1528: 1527: 1525: 1520: 1517: 1510: 1505: 1501: 1500: 1498: 1495: 1492: 1485: 1480: 1476: 1475: 1473: 1471: 1468: 1461: 1456: 1452: 1451: 1449: 1447: 1444: 1437: 1432: 1428: 1427: 1425: 1423: 1420: 1413: 1408: 1404: 1403: 1401: 1399: 1396: 1389: 1386: 1382: 1381: 1379: 1377: 1374: 1367: 1362: 1358: 1357: 1355: 1352: 1349: 1342: 1337: 1333: 1332: 1330: 1327: 1324: 1317: 1312: 1308: 1307: 1305: 1300: 1297: 1290: 1285: 1281: 1280: 1277: 1274: 1271: 1268: 1265: 1264:Boydell number 1236: 1233: 1232: 1231: 1219: 1203: 1202: 1201: 1186: 1183: 1166: 1163: 1109:Benjamin Smith 1060:Thomas Macklin 1048:Thomas Macklin 1035: 1032: 1003:cameo modeller 995:William Tassie 919: 916: 792: 789: 773:Thomas Banks's 769:Ammonite Order 757:Sir John Soane 694:Thomas Banks's 690:Benjamin Smith 612:George Dance's 604: 601: 556:, engraved by 525:line engraving 517:Josiah Boydell 418:Dramatic Works 405:William Bulmer 388:Dramatic Works 367: 364: 267:William Hayley 247:Josiah Boydell 230: 227: 210:and edited by 200:Samuel Johnson 196:Alexander Pope 165: 162: 100: 97: 55:and publisher 15: 9: 6: 4: 3: 2: 10132: 10121: 10118: 10116: 10113: 10111: 10110:British books 10108: 10106: 10103: 10101: 10098: 10096: 10093: 10091: 10088: 10086: 10083: 10081: 10078: 10077: 10075: 10068: 10058: 10050: 10048: 10040: 10039: 10035: 10033: 10029: 10028: 10025: 10018: 10017:Thomas Quiney 10015: 10012: 10009: 10007:(grandfather) 10006: 10003: 10000: 9997: 9994: 9991: 9988: 9985: 9982: 9979: 9976: 9973: 9970: 9967: 9964: 9963:Judith Quiney 9961: 9958: 9955: 9952: 9949: 9946: 9945:Anne Hathaway 9943: 9942: 9940: 9936: 9926: 9923: 9920: 9917: 9915: 9912: 9908: 9905: 9904: 9903: 9900: 9896: 9895: 9891: 9890: 9889: 9886: 9885: 9883: 9879: 9873: 9870: 9868: 9865: 9863: 9862: 9857: 9855: 9852: 9850: 9847: 9845: 9842: 9840: 9837: 9835: 9832: 9830: 9827: 9825: 9822: 9820: 9817: 9816: 9814: 9812: 9808: 9802: 9799: 9797: 9794: 9792: 9789: 9787: 9784: 9782: 9779: 9777: 9774: 9772: 9769: 9767: 9764: 9762: 9759: 9757: 9754: 9750: 9747: 9745: 9742: 9741: 9740: 9736: 9733: 9731: 9728: 9726: 9725:Globe Theatre 9723: 9721: 9718: 9716: 9713: 9711: 9708: 9706: 9703: 9699: 9696: 9694: 9693: 9689: 9688: 9687: 9684: 9682: 9679: 9678: 9676: 9674: 9669: 9665: 9655: 9654: 9650: 9648: 9647: 9643: 9642: 9640: 9636: 9630: 9629: 9625: 9623: 9622: 9618: 9615: 9614: 9610: 9608: 9607: 9603: 9601: 9600: 9596: 9594: 9593: 9589: 9586: 9585: 9581: 9579: 9578: 9574: 9572: 9571: 9567: 9565: 9564: 9560: 9558: 9557: 9553: 9551: 9550: 9546: 9544: 9543: 9539: 9535: 9534: 9529: 9527: 9526: 9522: 9520: 9519: 9515: 9513: 9512: 9508: 9506: 9505: 9501: 9499: 9498: 9494: 9491: 9490: 9486: 9484: 9483: 9479: 9477: 9476: 9472: 9471: 9469: 9465: 9462: 9460: 9456: 9450: 9449: 9445: 9443: 9442: 9438: 9436: 9435: 9431: 9429: 9428: 9424: 9420: 9417: 9416: 9415: 9414: 9410: 9409: 9407: 9403: 9398: 9384: 9381: 9379: 9376: 9374: 9371: 9369: 9366: 9362: 9359: 9357: 9354: 9352: 9349: 9348: 9346: 9344: 9341: 9339: 9338:Late romances 9336: 9334: 9333:Problem plays 9331: 9330: 9328: 9324: 9318: 9315: 9313: 9310: 9308: 9305: 9304: 9302: 9300: 9296: 9289: 9288: 9284: 9282: 9281: 9277: 9273: 9272: 9268: 9266: 9265: 9261: 9258: 9257: 9253: 9252: 9251: 9250: 9246: 9244: 9243: 9239: 9235: 9234: 9230: 9228: 9227: 9223: 9222: 9221: 9218: 9216: 9215: 9211: 9208: 9207: 9203: 9201: 9200: 9196: 9195: 9193: 9191: 9187: 9181: 9180: 9176: 9174: 9173: 9169: 9167: 9166: 9162: 9160: 9159: 9155: 9153: 9152: 9148: 9146: 9145: 9141: 9139: 9138: 9134: 9132: 9131: 9130:Julius Caesar 9127: 9125: 9124: 9120: 9118: 9117: 9113: 9111: 9110: 9106: 9105: 9103: 9101: 9097: 9091: 9090: 9086: 9083: 9082: 9078: 9076: 9075: 9071: 9069: 9068: 9067:Twelfth Night 9064: 9062: 9061: 9057: 9055: 9054: 9050: 9047: 9046: 9042: 9040: 9039: 9035: 9033: 9032: 9028: 9026: 9025: 9021: 9019: 9018: 9014: 9012: 9011: 9007: 9005: 9004: 9000: 8998: 8997: 8993: 8991: 8990: 8986: 8984: 8983: 8979: 8977: 8976: 8972: 8971: 8969: 8967: 8963: 8960: 8958: 8954: 8950: 8943: 8938: 8936: 8931: 8929: 8924: 8923: 8920: 8913: 8909: 8906: 8903: 8899: 8896: 8894: 8890: 8887: 8884: 8881: 8880: 8870: 8869:1-884446-00-0 8866: 8862: 8860: 8855: 8852: 8848: 8845: 8844:1-55584-078-7 8841: 8837: 8833: 8830: 8827: 8823: 8820: 8819: 8815: 8810: 8807: 8803: 8799: 8795: 8791: 8787: 8784: 8781: 8777: 8774: 8773: 8768: 8765: 8761: 8758: 8757:0-19-924543-6 8754: 8750: 8746: 8743: 8742:3-89355-134-4 8739: 8735: 8731: 8728: 8727: 8722: 8719: 8718:3-89355-134-4 8715: 8711: 8707: 8704: 8703:3-89355-134-4 8700: 8696: 8692: 8689: 8688:0-8240-1987-3 8685: 8681: 8677: 8674: 8673:0-85967-834-2 8670: 8666: 8662: 8660: 8659:1-85709-170-1 8656: 8652: 8648: 8645: 8644:0-19-811233-5 8641: 8637: 8633: 8630: 8629:3-89355-134-4 8626: 8622: 8618: 8615: 8614:3-89355-134-4 8611: 8607: 8603: 8599: 8596: 8592: 8589: 8588:0-8240-6880-7 8585: 8581: 8577: 8574: 8570: 8567: 8566:0-8142-0380-9 8563: 8559: 8556: 8553: 8550: 8546: 8543: 8539: 8538: 8526: 8513: 8509: 8503: 8494: 8485: 8476: 8467: 8460: 8459: 8454: 8448: 8439: 8437: 8427: 8418: 8410: 8409: 8404: 8398: 8390: 8389: 8384: 8378: 8369: 8360: 8354:Friedman, 68. 8351: 8342: 8333: 8324: 8315: 8306: 8297: 8288: 8279: 8270: 8261: 8252: 8250: 8240: 8231: 8222: 8213: 8204: 8195: 8186: 8177: 8170: 8169: 8164: 8160: 8159: 8154: 8149: 8142: 8141:0-300-08695-4 8138: 8134: 8128: 8121: 8117: 8114: 8108: 8101: 8100:Sheppard, 323 8096: 8089: 8084: 8082: 8080: 8078: 8076: 8074: 8072: 8062: 8053: 8051: 8043: 8037: 8031:Bruntjen, 75. 8028: 8019: 8010: 8003: 7999: 7995: 7992: 7986: 7977: 7968: 7959: 7950: 7948: 7938: 7929: 7920: 7911: 7909: 7899: 7890: 7883: 7877: 7870: 7864: 7855: 7846: 7840:Friedman, 84. 7837: 7835: 7833: 7831: 7824:Hartmann, 58. 7821: 7806: 7805: 7800: 7794: 7788: 7779: 7770: 7764:Friedman, 25. 7761: 7752: 7743: 7736: 7730: 7721: 7714: 7713:George Romney 7710: 7706: 7702: 7698: 7692: 7683: 7674: 7667: 7661: 7659: 7649: 7640: 7631: 7622: 7613: 7604: 7595: 7586: 7577: 7568: 7562:Friedman, 19. 7559: 7550: 7541: 7532: 7523: 7519: 7508: 7505: 7504: 7503: 7502: 7501: 7493: 7492: 7488: 7485: 7482: 7481: 7480: 7479: 7478: 7469: 7468: 7464: 7461: 7458: 7457: 7456: 7455: 7454: 7445: 7442: 7439: 7438:William Blake 7435: 7434: 7430: 7427: 7426: 7422: 7419: 7418: 7414: 7411: 7410: 7406: 7405: 7404: 7403: 7402: 7393: 7390: 7387: 7384: 7381: 7378: 7377: 7376: 7375: 7374: 7369: 7361: 7360: 7356: 7353: 7352: 7348: 7345: 7344: 7340: 7339: 7338: 7337: 7336: 7327: 7326: 7322: 7319: 7318: 7314: 7313: 7312: 7311: 7310: 7301: 7300: 7296: 7293: 7289: 7288: 7284: 7282: 7278: 7277: 7273: 7272: 7271: 7270: 7269: 7260: 7259: 7255: 7253: 7249: 7248: 7244: 7243: 7242: 7241: 7240: 7235: 7227: 7226: 7222: 7219: 7218: 7214: 7213: 7212: 7211: 7210: 7201: 7200: 7196: 7193: 7190: 7189: 7188: 7187: 7186: 7177: 7176: 7172: 7169: 7168: 7164: 7163: 7162: 7161: 7160: 7151: 7148: 7145: 7144: 7140: 7137: 7136: 7132: 7129: 7128: 7124: 7123: 7122: 7121: 7120: 7115: 7106: 7105: 7101: 7098: 7095: 7092: 7091: 7087: 7086: 7085: 7084: 7083: 7074: 7071: 7068: 7065: 7064: 7063: 7062: 7061: 7052: 7049: 7046: 7043: 7040: 7037: 7036: 7035: 7034: 7033: 7024: 7021: 7018: 7015: 7012: 7009: 7006: 7003: 7002: 7001: 7000: 6999: 6994: 6986: 6983: 6982: 6981: 6980: 6979: 6970: 6967: 6964: 6961: 6960: 6959: 6958: 6957: 6948: 6945: 6942: 6939: 6936: 6933: 6932: 6931: 6930: 6929: 6920: 6917: 6914: 6911: 6910: 6909: 6908: 6907: 6902: 6894: 6891: 6888: 6885: 6884: 6883: 6882: 6881: 6872: 6869: 6866: 6863: 6860: 6857: 6856: 6855: 6854: 6853: 6844: 6841: 6838: 6834: 6831: 6828: 6825: 6824: 6823: 6822: 6821: 6812: 6811:William Angus 6808: 6805: 6802: 6799: 6796: 6793: 6792: 6791: 6790: 6789: 6788:Twelfth-Night 6784: 6775: 6772: 6769: 6766: 6765: 6764: 6763: 6762: 6753: 6749: 6746: 6744: 6740: 6737: 6736: 6735: 6734: 6733: 6724: 6721: 6719: 6715: 6712: 6711: 6707: 6704: 6701: 6700: 6699: 6698: 6697: 6688: 6685: 6682: 6679: 6678: 6677: 6676: 6675: 6670: 6662: 6658: 6655: 6652: 6649: 6648: 6647: 6646: 6645: 6636: 6632: 6629: 6626: 6623: 6622: 6621: 6620: 6619: 6610: 6609:James Fittler 6606: 6603: 6600: 6597: 6594: 6593:Thomas Milton 6590: 6587: 6584: 6580: 6577: 6574: 6570: 6568: 6563: 6562: 6561: 6560: 6559: 6550: 6546: 6543: 6540: 6536: 6533: 6532: 6531: 6530: 6529: 6524: 6516: 6513: 6510: 6507: 6506: 6505: 6504: 6503: 6494: 6490: 6487: 6484: 6480: 6477: 6474: 6471: 6468: 6465: 6462: 6459: 6458: 6457: 6456: 6455: 6446: 6442: 6439: 6438: 6437: 6436: 6435: 6426: 6422: 6419: 6416: 6413: 6410: 6409: 6405: 6404: 6403: 6402: 6401: 6396: 6382: 6378: 6377: 6373: 6370: 6369: 6365: 6362: 6358: 6355: 6353: 6349: 6345: 6344: 6340: 6337: 6334: 6331: 6328: 6325: 6324: 6320: 6317: 6314: 6311: 6308: 6305: 6302: 6300: 6296: 6295: 6291: 6289: 6288:Benjamin West 6285: 6284:William Sharp 6281: 6277: 6276: 6272: 6269: 6265: 6262: 6260: 6256: 6253: 6250: 6246: 6243: 6240: 6239: 6235: 6232: 6229: 6226: 6223: 6220: 6217: 6215: 6214:Henry Tresham 6211: 6208: 6205: 6201: 6198: 6196: 6192: 6191: 6187: 6184: 6180: 6177: 6174: 6171: 6168: 6165: 6163: 6159: 6155: 6152: 6150: 6146: 6143: 6141: 6137: 6136:Francis Legat 6133: 6130: 6127: 6124: 6121: 6118: 6115: 6112: 6109: 6106: 6103: 6100: 6097: 6094: 6091: 6088: 6085: 6082: 6079: 6076: 6073: 6070: 6067: 6064: 6062: 6058: 6055: 6053: 6049: 6046: 6043: 6040: 6037: 6034: 6031: 6028: 6025: 6022: 6019: 6016: 6014: 6010: 6007: 6004: 6001: 5998: 5995: 5993: 5989: 5986: 5983: 5980: 5977: 5974: 5973: 5972: 5971: 5962: 5959: 5956: 5953: 5950: 5947: 5944: 5941: 5938: 5935: 5932: 5929: 5926: 5923: 5921: 5917: 5914: 5912: 5908: 5905: 5902: 5901: 5897: 5894: 5891: 5888: 5887:James Fittler 5884: 5881: 5878: 5875: 5873: 5869: 5868: 5864: 5861: 5857: 5854: 5852: 5848: 5845: 5842: 5839: 5836: 5833: 5830: 5827: 5824: 5821: 5818: 5815: 5812: 5808: 5805: 5803: 5799: 5796: 5794: 5790: 5786: 5783: 5780: 5777: 5774: 5773: 5769: 5766: 5763: 5760: 5757: 5754: 5750: 5747: 5745: 5741: 5738: 5735: 5732: 5730: 5726: 5723: 5721: 5717: 5714: 5711: 5708: 5705: 5701: 5698: 5696: 5692: 5688: 5685: 5682: 5679: 5677: 5673: 5670: 5668: 5667:Robert Smirke 5664: 5661: 5659: 5655: 5651: 5648: 5646: 5642: 5638: 5635: 5633: 5629: 5625: 5622: 5620: 5616: 5613: 5610: 5609: 5605: 5603: 5602:George Romney 5599: 5596: 5594: 5590: 5587: 5585: 5581: 5577: 5576: 5571: 5569: 5565: 5564: 5559: 5558: 5557: 5556: 5542: 5540: 5537: 5535: 5534: 5530: 5527: 5524: 5523: 5520: 5518: 5515: 5513: 5512: 5508: 5506: 5503: 5500: 5499: 5496: 5494: 5491: 5489: 5488: 5484: 5482: 5479: 5476: 5475: 5472: 5470: 5467: 5465: 5464: 5460: 5458: 5457:Henry Tresham 5455: 5452: 5451: 5448: 5446: 5443: 5441: 5440: 5436: 5434: 5431: 5428: 5427: 5424: 5422: 5419: 5417: 5416: 5412: 5410: 5407: 5404: 5403: 5400: 5398: 5395: 5393: 5392: 5388: 5386: 5383: 5380: 5379: 5376: 5374: 5371: 5369: 5368: 5364: 5361: 5358: 5357: 5354: 5352: 5349: 5347: 5346: 5342: 5340: 5337: 5334: 5333: 5330: 5328: 5325: 5322: 5320: 5319: 5315: 5313: 5312:Robert Smirke 5310: 5307: 5306: 5303: 5301: 5298: 5296: 5295: 5291: 5289: 5286: 5283: 5282: 5279: 5277: 5274: 5272: 5271: 5267: 5265: 5262: 5259: 5258: 5255: 5253: 5250: 5248: 5247: 5243: 5241: 5238: 5235: 5234: 5231: 5228: 5225: 5223: 5222: 5218: 5215: 5212: 5211: 5208: 5206: 5203: 5201: 5200: 5196: 5194: 5191: 5188: 5187: 5184: 5182: 5179: 5176: 5174: 5173: 5169: 5166: 5163: 5162: 5159: 5157: 5154: 5152: 5151: 5147: 5145: 5142: 5139: 5138: 5135: 5133: 5130: 5128: 5127: 5123: 5121: 5118: 5115: 5114: 5111: 5109: 5106: 5103: 5101: 5100: 5096: 5094: 5091: 5088: 5087: 5084: 5082: 5079: 5076: 5074: 5073: 5069: 5067: 5064: 5061: 5060: 5057: 5055: 5052: 5050: 5049: 5045: 5043: 5040: 5037: 5036: 5033: 5031: 5028: 5026: 5025: 5021: 5019: 5016: 5013: 5012: 5008: 5004: 5002: 4999: 4996: 4994: 4993: 4992:Twelfth Night 4989: 4987: 4984: 4981: 4980: 4977: 4975: 4972: 4970: 4969: 4965: 4962: 4959: 4958: 4955: 4953: 4950: 4947: 4945: 4944: 4940: 4938: 4935: 4932: 4931: 4928: 4926: 4923: 4921: 4920: 4916: 4914: 4911: 4908: 4907: 4904: 4902: 4899: 4896: 4894: 4893: 4889: 4887: 4884: 4881: 4880: 4877: 4874: 4871: 4869: 4868: 4864: 4862: 4859: 4856: 4855: 4852: 4850: 4847: 4845: 4844: 4840: 4838: 4835: 4832: 4831: 4827: 4823: 4821: 4818: 4816: 4813: 4811: 4810:George Romney 4808: 4805: 4804: 4800: 4796: 4794: 4791: 4788: 4786: 4785: 4781: 4779: 4776: 4773: 4772: 4768: 4764: 4762: 4759: 4756: 4754: 4753: 4749: 4747: 4744: 4741: 4740: 4737: 4735: 4732: 4730: 4729: 4725: 4723: 4720: 4717: 4716: 4712: 4708: 4706: 4703: 4700: 4698: 4697: 4693: 4691: 4688: 4685: 4684: 4681: 4679: 4676: 4674: 4673: 4669: 4667: 4664: 4661: 4660: 4657: 4655: 4652: 4650: 4649: 4645: 4643: 4640: 4637: 4636: 4633: 4630: 4627: 4625: 4624: 4620: 4618: 4615: 4612: 4611: 4608: 4606: 4603: 4600: 4598: 4597: 4593: 4591: 4588: 4585: 4584: 4581: 4579: 4576: 4573: 4571: 4570: 4566: 4564: 4561: 4558: 4557: 4554: 4551: 4548: 4546: 4545: 4541: 4538: 4535: 4534: 4531: 4529: 4526: 4524: 4523: 4519: 4517: 4514: 4511: 4510: 4507: 4505: 4502: 4499: 4497: 4496: 4492: 4489: 4486: 4485: 4482: 4479: 4476: 4474: 4473: 4469: 4467: 4464: 4461: 4460: 4456: 4452: 4450: 4447: 4444: 4442: 4441: 4437: 4435: 4432: 4429: 4428: 4424: 4420: 4418: 4415: 4412: 4410: 4409: 4405: 4403: 4400: 4398: 4395: 4394: 4390: 4386: 4384: 4381: 4378: 4376: 4375: 4371: 4369: 4366: 4363: 4362: 4359: 4357: 4354: 4352: 4351: 4347: 4345: 4342: 4339: 4338: 4335: 4332: 4329: 4327: 4326: 4322: 4319: 4316: 4315: 4312: 4310: 4307: 4305: 4304: 4300: 4298: 4295: 4292: 4291: 4288: 4286: 4283: 4281: 4280: 4276: 4274: 4271: 4268: 4267: 4264: 4262: 4259: 4257: 4256: 4252: 4250: 4247: 4244: 4243: 4240: 4238: 4235: 4232: 4230: 4229: 4225: 4223: 4220: 4217: 4216: 4213: 4211: 4208: 4206: 4205: 4201: 4199: 4196: 4193: 4192: 4189: 4186: 4185:Bolton Museum 4183: 4180: 4178: 4177: 4173: 4171: 4170:George Romney 4168: 4165: 4164: 4160: 4156: 4154: 4151: 4148: 4146: 4145: 4141: 4139: 4136: 4133: 4132: 4129: 4127: 4124: 4122: 4121: 4117: 4115: 4112: 4109: 4108: 4105: 4103: 4100: 4098: 4097: 4093: 4091: 4088: 4085: 4084: 4081: 4079: 4076: 4074: 4073: 4069: 4067: 4064: 4061: 4060: 4056: 4052: 4049: 4045: 4041: 4038: 4035: 4033: 4032: 4028: 4026: 4025:Robert Smirke 4023: 4020: 4019: 4016: 4014: 4011: 4009: 4008: 4004: 4002: 4001:Robert Smirke 3999: 3996: 3995: 3992: 3990: 3987: 3985: 3984: 3980: 3978: 3977:Robert Smirke 3975: 3972: 3971: 3968: 3966: 3963: 3961: 3960: 3956: 3954: 3953:Robert Smirke 3951: 3948: 3947: 3943: 3939: 3937: 3934: 3931: 3929: 3928: 3924: 3922: 3921:Robert Smirke 3919: 3916: 3915: 3912: 3910: 3907: 3905: 3904: 3900: 3898: 3897:Robert Smirke 3895: 3892: 3891: 3888: 3886: 3883: 3881: 3880: 3876: 3874: 3873:Robert Smirke 3871: 3868: 3867: 3864: 3862: 3859: 3857: 3856: 3852: 3850: 3847: 3844: 3843: 3840: 3837: 3834: 3832: 3831: 3827: 3825: 3822: 3819: 3818: 3815: 3813: 3810: 3808: 3807: 3803: 3801: 3798: 3795: 3794: 3791: 3789: 3786: 3784: 3783: 3779: 3777: 3776:Robert Smirke 3774: 3771: 3770: 3767: 3765: 3762: 3760: 3759: 3755: 3753: 3752:Robert Smirke 3750: 3747: 3746: 3743: 3741: 3738: 3735: 3733: 3732: 3728: 3726: 3725:Robert Smirke 3723: 3720: 3719: 3716: 3714: 3711: 3708: 3706: 3705: 3701: 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3337:Robert Smirke 3335: 3332: 3331: 3328: 3325: 3322: 3320: 3319: 3315: 3313: 3310: 3307: 3306: 3303: 3301: 3297: 3294: 3291: 3289: 3288: 3284: 3282: 3281:Robert Smirke 3279: 3276: 3275: 3272: 3270: 3267: 3264: 3262: 3261: 3257: 3255: 3252: 3249: 3248: 3244: 3240: 3238: 3235: 3232: 3230: 3229: 3225: 3223: 3220: 3217: 3216: 3213: 3211: 3208: 3205: 3203: 3202: 3198: 3196: 3193: 3190: 3189: 3186: 3183: 3180: 3178: 3177: 3173: 3171: 3168: 3165: 3164: 3161: 3159: 3156: 3153: 3151: 3150: 3146: 3144: 3143:Robert Smirke 3141: 3138: 3137: 3134: 3132: 3129: 3126: 3124: 3123: 3119: 3117: 3116:Robert Smirke 3114: 3111: 3110: 3107: 3105: 3102: 3100: 3099: 3095: 3093: 3092:Henry Tresham 3090: 3087: 3086: 3083: 3081: 3078: 3076: 3075: 3071: 3069: 3066: 3063: 3062: 3059: 3057: 3054: 3052: 3051: 3047: 3045: 3042: 3039: 3038: 3035: 3033: 3030: 3028: 3027: 3023: 3021: 3018: 3015: 3014: 3011: 3009: 3006: 3004: 3003: 2999: 2997: 2994: 2991: 2990: 2987: 2985: 2982: 2980: 2979: 2975: 2973: 2970: 2967: 2966: 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1568:Cymbeline 1514:King John 1459:John Opie 1376:Induction 1340:John Opie 1241:Paintings 1235:Paintings 1028:New Place 877:of Italy. 854:The Times 745:pilasters 734:spandrels 713:unmoulded 628:Pall Mall 533:mezzotint 501:John Opie 434:John Opie 279:Aristotle 189:bourgeois 89:Pall Mall 10047:Category 9995:(sister) 9983:(mother) 9977:(father) 9489:Cardenio 9378:Settings 9326:See also 9249:Henry VI 9220:Henry IV 8966:Comedies 8653:, 1998, 8598:Archived 8116:Archived 7994:Archived 7989:Qtd. on 6901:Volume V 6567:Beatrice 6395:Volume I 5555:Volume I 1276:Location 918:Collapse 791:Reaction 765:ammonite 753:pediment 726:fanlight 640:0°8′12″W 537:aquatint 403:experts 307:Alderman 53:engraver 9839:Gardens 9715:Editors 9518:Locrine 9511:Fair Em 9343:Henriad 9242:Henry V 9151:Othello 9144:Macbeth 8808:, 1802. 7477:Othello 6852:Macbeth 6381:Othello 6348:Othello 5487:Othello 5294:Macbeth 5126:Othello 4943:Othello 4596:Henry V 3583:Othello 3074:Macbeth 2702:Othello 2431:Macbeth 2407:Henry V 2303:Othello 2255:Macbeth 2231:Macbeth 1541:Macbeth 990:guineas 900:(1807) 805:Macbeth 781:guineas 761:volutes 730:lunette 721:transom 717:cornice 667:brothel 414:Whatman 384:Ophelia 34:Boydell 10036:† Lost 9947:(wife) 9938:Family 9811:Legacy 9383:Scenes 9123:Hamlet 8867: 8842: 8792:. 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