other things, exclaims on his "greatness, his wild grace, his fearful beauty."[27] But Tieck had no use for those of his imitators who caught only the extravagance of his figures and debased his Titanic creations into bizarre contortions by over-emfasis on mere muscle.

That Tieck was not unconscious of the effect of mere line is shown by his pointing out the unplesantness of the line made by Leontes' figure in Hamilton's picture of the statu scene from "Winter's Tale." Awkwardness and violence, anything that savord of "affectation and bombast," where in Shakspere "power and energy" are found, met Tieck's disapproval. So this figure of Leontes, so Orlando standing with his legs far apart, so the faces drawn by Füessli. Wherever there were violent angles, sharp points and corners, Tieck felt himself ill at ease. When he saw in some of Füessli's plates faces which giv the impression of the plaster blocks of the art schools that are used to draw from the cast, the square chins, the noses, either very pointed or cut off square, imprest him as repulsivly inhuman. "Widrig, unnatürlich, abgeschmackt, manierirt," are the terms applied to Füessli's cursing scene from Lear.

It would hav been interesting had Tieck seen Füessli's later scenes in the "Gallery." The Bottom scenes from the "Midsummer Night's Dream" show that fantastic imagination which was the artist's strong point. All the forms from the fairy world were there, Moth, Peascod and a welth of other spirits. There is a distinct appeal to the imagination which justifies the painter of "Die Nachtmahr," tho the faces of Titania and Oberon are here too hard and sullen. But the imagination shown has a curious similarity with the work of Tieck in his later stories such as "Die Elfen," and which has so warm an afterglow in "Die Vogelscheuche."

Composition means for Tieck especially order. He has not yet lernd the principle of triangulation of arrangement enunciated by Caroline in the "Gemälde" essay in the Athenaeum. He expects no more than that the principle character shall be in an important place in the picture and insists that the lighting devices serv to throw such personages into relief. So when the perspectiv is bad it is because of the wrong emfasis on the principal figures rather than that the harmony of the whole is disturbed by a wrong arrangement.

What irritates Tieck especially is an arrangement of figures in the picture in the regular semi-circle borrowd directly from the theater. The evil of unnaturalness which such attitudinizing brings with it, is enhanced by light effects drawn from the same source. So, for example, where the light is that of a lamp, only so much light as a lamp would giv, or the effect of natural lamp-light is allowable. If, on the other hand, the sunlight streams into the room, the source of the sunlight should be evident as outside the room. Tieck might hav mentiond as an example of this some of the fine interiors of Pieter De Hoogh. The light effects should not be harsh but graded down so that no violent light contrasts occur within the same room. The light, too, should be broken up, not kept in a mass as if it were a separate entity to be treated apart from all other objects.

All this is perfectly resonable and not especially technical. It is conveyd in stray hints rather than in any set discussion of light effects in any one place. Often, too, Tieck's dislike for some other aspect of a painter's work leads him astray on this point. This is tru in the case of Northcote, whose really good treatment of the high lights Tieck has in one or two cases entirely overlookt. There seems to hav been a distinct appeal made, too, by the sheen and glitter of certain textiles and the scintillating, flickering light of the later periods of Tieck's work is presaged as erly as this. On the whole, however, it is not the glitter of the world of out-of-doors, but of the world of the shut-in, of the world of little things which appeals so strongly to Tieck and which he treated with such banality in the story "Ulrich der Empfindsame."

Thus, Tieck's landscape criticism is very bad and even tho, as has been pointed out, the basis for his adjectivs lies in the Anzeigen articles, his expansion beyond them brings no real betterment. In the plate from "Love's Labor Lost" (IV, 1, page 9), when Tieck was feeling his way into his subject, his general impression was one of plesure, and so the landscape is "reizend." In the whole essay, "reizend" is the only constructiv epithet applied to landscape and it occurs only twice. Hamilton's landscape is purely conventional and, except for a vista, of which Tieck was all his life fond, offers nothing to commend it. The failure of Tieck to judge rightly must be laid at the door of too great reliance on the Anzeigen.

Tieck criticizes only one other landscape as such, tho in a third case a landscape background is discust adversly. For the scene from "As You Like It" in which Jacques watches the wounded deer the term "reizend" seems quite impossible. Engraved by Middiman after Hodges, a combination which augurs ill, the scene is without dout the worst in every way that Tieck saw. The composition is bad: Jacques, a figure without grace of expression, sprawls in a comedy landscape and the features of the wounded deer hav a strong Hebraic cast. Here, if ever, the scene is drawn from the stage and not from nature and stage properties are models for tree and foliage. When Tieck says that the scene is one to arouse cheerfulness in the beholder, he is correct but not in the sense that he ment. The reliance on his source is not enuf to account for his aberration; the failure to judge aright must be laid at Tieck's door.

After pointing out the value of the whole, and the effect made by the light of the torch held by Gloster ("Lear," III, 4), Tieck shows that this effect, striking as it is, detracts from the unity of the composition, since it shifts the emfasis from Lear and his pain. Lear, morover, is not the Lear of Shakspere but a giant, and the effect of this Herculean form is made further improbable by the exaggeration of the wind blowing from all directions in the picture and driving the garments of Lear with it, winding them impossibly about him. The effect of these draperies, says Tieck, is baroque and there is no thought of quiet strength or noble simplicity.[28]

In the composition of this picture Tieck also notises that the figure of Edgar is practically the same as that of a figure in West's Deth of General Wolf. A comparison with the latter picture at once reveals the justness of Tieck's observation. The figure of the Indian seated in the foreground is strikingly like that of Edgar, both in form and in general expression, and it is evident that West has repeated himself. In general, Tieck does not make comparisons of this kind. He confines his remarks to the picture itself, and probably was not well acquainted with the run of contemporary British art.[29]

Tieck's judgment of composition did not go far beyond this emfasis on the principal figure. A general series of colorless frases like "gut geordnet" occurs, but expresses only a mild acquiescence in the arrangement. Tieck was fond of the posing sentimentalities of groups like the landscape plate from "Love's Labor Lost," but he tries hard to get away from them toward a