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قراءة كتاب The English Novel in the Time of Shakespeare
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اللغة: English
The English Novel in the Time of Shakespeare
الصفحة رقم: 4
align="left" colspan="2">INDEX
aries.
taurus.EXPLANATORY LIST OF
ILLUSTRATIONS.
| page | |
| 1.—Queen Elizabeth in State costume, with the royal insignia, after the engraving by William Rogers (born in London, about 1545) | Frontispiece |
| 2 to 13.—The signs of the Zodiac, after Robert Greene's "Francesco's Fortunes," 1590. Towards the end of this novel a palmer is asked by his host to leave a remembrance of his visit in his entertainer's house; the palmer engraves on an ivory arch verses and drawings illustrating at the same time, and in the same way as the signs of the Zodiac, both the course of the year and the course of human life [tail-pieces to all the chapters] |
p. 9 et passim |
| 14.—An Elizabethan Shepherdess, from a wood-block illustrating a ballad (the inscription added) | 23 |
| 15.—Beginning of the unique MS. of "Beowulf," preserved in the British Museum | 31 |
| 16.—Chaucer's pilgrims seated round the table of the "Tabard" at Southwark, a reproduction of Caxton's engraving in his second edition of the "Canterbury Tales," 1484 | 45 |
| 17.—Robert the devil on horseback (alias Romulus), being the frontispiece of several romances in verse published by Wynkyn de Worde, London, 1510 (?), 8vo. The history of Robert is illustrated throughout | 57 |
| 18.—The knight of the swan, from the frontispiece of the metrical romance: "The Knight of the Swanne. Here beginneth the history of ye noble Helyas knyght of the swanne, newly translated out of frensshe," London, Copland, 1550 (?), 4to | 61 |
| 19.—"Then went Guy to fayre Phelis." From the metrical romance "Guy of Warwick," London, 1550 (?), 4to, Sig. Cc. iij | 65 |
| 20.—Drawing by Isaac Oliver (b. 1556) after an Italian model, from the original preserved in the British Museum; illustrative of the cultivation of Italian art by Englishmen in Tudor times | 69 |
| 21.—Frontispiece to Harington's translation of Ariosto, London, 1591, fol. This engraving and the numerous copper-plates adorning this very fine book are usually said to be English. But these plates were in fact a product of Italian art, being the work of Girolamo Porro, of Padua; they are to be found in the Italian edition of Ariosto published at Venice in 1588, and in various other editions. The English engraver, Thomas Coxon (or Cockson), whose signature is to be seen at the bottom of the frontispiece, only drew the portrait of Harington in the space filled in the original by a figure of Peace. Coxon, according to the "Dictionary of National Biography" and other authorities, is supposed to have flourished from about 1609 to 1630 or 1636. The date on this plate (1st August, 1591), shows that he began to work nearly twenty years earlier. It must be added that this portrait of Harington has an Italian softness and elegance, and differs greatly in its style from the other portraits signed by Coxon (portrait of Samuel Daniel on the title-page of his Works, 1609; of John Taylor, "Workes," 1630, etc.). It is possible that Harington's portrait was merely drawn by Coxon, and engraved by an Italian |
77 |
| 22.—How the knight Eurialus got secretly into his lady-love's chamber. From the German version of the history of the Lady Lucrece of Sienna, 1477, fol. (a copy in the British Museum) | 82 |
| 23.—Queen Cleopatra as represented on the English stage in the eighteenth century: Mrs. Hartley in "All for Love"; Page's engraving, dated 1776, for Bell's "Theatre" | 97 |
| 24.—Sketches made by Inigo Jones in Italy, 1614; from his sketch-book reproduced in fac-simile by the care of the Duke of Devonshire, London, 1832 | 100 |
| 25.—Persians standing as caryatides, from a drawing by Inigo Jones for the circular court projected at Whitehall, and reproduced by W. Kent: "The Drawings of Inigo Jones," London, 1835, 2 vols., fol. | 101 |
| 26.—A dragon according to Topsell, "The historie of Serpents," London, 1608, fol., p. 153 | 103 |
| 27.—The "Ægyptian or land crocodile," according to Topsell's |