of the treatment.

In the criticism of Schiavonetti's plate after Angelica Kaufmann (G. G. A., 1793, page 903; Tieck, pages 16-17) Tieck agrees with the Anzeigen but is thoroly independent in his resoning and adds constantly to what the magazine asserts. That both find the disguisd Julia beautiful is not unresonable, and as the disguise is a part of the play it is not strange that Tieck mentions it. In the same section of the magazine is a passage which finds a later echo in Tieck. "König Lear reisst sich die Kleider vom Leibe" (903). Tieck (32): "und reisst sich endlich die Kleider ab." The verbal paralelism has significance here only because there are other hints at this time which may hav aided Tieck: e. g., the fact that the artist has departed from the scene as Shakspere portrayd it. Tieck is definit in stating just who is added, which proves that he knew his Shakspere and saw the plate. Tieck also points out the spiritual difference between Shakspere and the "famous West," a distinct addition to the matter in the Anzeigen. "Winter's Tale," II, 3, G. G. A., 1794, page 9: "Der eifersüchtige Leontes lässt den Antigonous bey seinem ihm vorgehalten Schwerte schwören, dass er das Kind, das ihm seine Gemahlin geboren hatte, in eine Einöde aussetzen will. Sind gemeine Figuren." Notis how in Tieck, while the general terms of the description are the same, because following the line of least resistance in externalities, the whole discussion takes on an individual character, and is expanded into a critique of Opie's drawing which was always unsatisfactory to Tieck. Tieck (page 21): "Der eifersüchtige Leontes lässt den Antigonus schwören, das Kind auszusetzen.... An den Darstellungen aus diesem Stücke ist viel zu tadeln, vorzüglich an dieser ersten Scene. Leontes, die Hauptperson, ist steif und ohne allen Ausdruck, alle übrigen Personen sind dick und plump gezeichnet und ganz ohne alle Bedeutung. Leontes lässt den Antigonus, so wie Hamlet seine Gefährten, bei seinem Schwerte schwören. Schauspieler und Zeichner aber fehlen, wenn sie es so vorstellen, wie Opie es hier gethan hat. Die alten Schwerter bilden oben am Griffe ein Kreuz und auf dieses legte man die Hand, in Ermangelung eines eigentlichen Crucifixes.... In diesem Blatte entdecken sich auch bald viele Fehler in der Zeichnung. Das Auge wird von der Hauptperson auf die Lichtmasse, folglich, auf das Kind hingezogen; die Hauptfigur tritt gar nicht genug hervor, sondern hängt mit den hinter ihr stehenden zusammen; die Köpfe im Hintergrunde sind eben so gross, wie die der vorderen Personen. Alles verräth den ungeübten Künstler." As an example of Tieck's rejection of the opinion of the G. G. A., the discussion of "Winter's Tale," V, 3, will suffice. This is the statue scene which Tieck absolutely condems on account of poor engraving, expression and posing. Where the magazine says "Die Statue, der man es doch sehr gut ansieht, das es eine lebende Figur ist, macht grosse Wirkung." Tieck (22) contradicts thus: "Die Statue ist sehr unnatürlich, sie sieht mehr einem Geiste, als einem Menschen ähnlich."

There are, finally, three further cases in which Tieck takes a hint from the Anzeigen and develops it. "2 Henry VI," III, 3, (1794, page 10): "Kardinal Beauford ... ein scheuslicher Anblick, in mehr als einem Verstande." Tieck (page 25): "Dieses abscheuliche Blatt." But Tieck, in a passage too long to quote, goes on to giv cogent reasons for not liking the picture, not one of which is derived from the Anzeigen. The other passages from the "Merry Wives" (I, 1 and II, 1, G. G. A., 1794, page 970; Tieck, 11-12) take the hint that Smirke drew caricatures and not human beings and borrow the adjectiv "widrig." With this slender borrowing Tieck develops a full discussion of Smirke and of these plates with no further assistance from the Anzeigen than a hint on the engraving of textiles.

These passages on "Henry VI" and on the "Merry Wives" are doubly interesting, however, because they show that Tieck's judgment of Smirke and Northcote offers a very close paralel to that of the magazine. Tieck's reasons are fuller, but they show no more ability in Tieck than in the reviewer of the Anzeigen to understand some of the most characteristic features of English humor as exemplified in Smirke, while the pupil and biografer of Sir Joshua fares badly because of his alleged bad composition and poor light effects. It will be shown later that on both of these latter questions Tieck held views quite independent of the Anzeigen.

Of Kirk's plate from "Titus Adronicus" the G. G. A., 1794, page 970, says, "Den Ausdruck an der Lavinia abgerechnet ein gut Stück." Tieck (28) begins with a weak, "an dem Blatte ... ist vielleicht viel zu loben und wenig zu tadeln" but "rights himself like a soldier" thus, "Man sieht, dass der Künstler eine sehr richtige Idee von der Composition hat, und dass er seinem Gegenstand mit Geschmack und Delicatesse zu behandeln weiss. Er lässt uns die abgeschnittenen Arme der Lavinia nur vermuthen; der geschickt geworfene Schleier entzieht unserm Auge den unangenehmen Anblick," etc.

The examples and paralels alredy given cover practically all of the points of similarity between Tieck and his model. They show that Tieck used the Anzeigen constantly and minutely but they can not fail to impress the reader with the fact that Tieck invariably rises above the plane of the jottings in the magazine in form and in substance. The content of Tieck's criticisms is very much greater than that of his prototype and the form is far more polisht. These apercus of Heyne did not prevent Tieck's independent thinking; they never fettered him. He followd them in a number of places in his paper and once or twice falls into their error thru youthful carelessness or misapprehension. They did not often confuse his judgment or hamper his vision. He never ruthlessly plagiarizd them. That they were a source can not be denied, but that they form the real basis of Tieck's critique is not for a moment tenable. This came unquestionably from himself, and he must be given credit or blame for the good or bad in it.

Tieck set about the task of criticising the "Boydell Gallery" with no diffidence, but with many misgivings, amounting almost to prejudises, as to the valu of the set of plates. He was aware that this work was intrinsically in a class which is, all in all, artistically inferior. His judgments are objectiv, but they promis no prescience of a higher, a more spiritual attitude toward art. Art in this case servs interpretation and the struggle away from what the plates represent has hardly commenced. Tieck feels that the whole group does not do Shakspere justis, but he nowhere says that the subjectiv interpretation of the poet must remain the lasting one for the individual; indeed he asserts quite the contrary on the very first page of his paper. It is to be expected that Tieck's common sense and fancy should rebel at the platitudinarianism of the pictures; that at times he is no more than on the plane of the sentimental "Enlightenment" is also to be expected. The valu of the study is in such harsh negativ criticism as it exercises where emfasis is false or where bad taste prevails in the performance of the artists' task.

Tieck came to the work with a good first-hand knowledge of Shakspere and this lessens the juvenile and jejune qualities of his work. He is weaker on the comedies than on the trajedies, for the former require a keener sensing of English life than it was possible for Tieck to hav obtaind at the time of writing. But even for the comedies, some of his observations are very just and show that he could interpret Shakspere with sense and precision. The present discussion will attempt to find out by a careful examination of the plates just what Tieck saw in these pictures and how far his interpretation was right. The