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and graceful dignity by it. frown.*
Antipholis muft of course look franze and A beautiful drefs for Adriana may be partly taken from Bell's laft edition of this play, where her figure would please more, were it less affected.
For this page may be drawn a portrait of the old father Aegeon, in the ftyle of Mortimer's heads from Shakespeare; and as he is now going to execution—to the melancholy vale—it may not be improper to have his hands bound. The perufal of an affecting fpeech, will be the beft guide to the painter.
OR, instead of this fingle portrait, there might be drawn the affecting interview between Aegeon and his fon.
Egeon. Not know my voice! Oh, time's extremity !
I CANNOT omit obferving, how fweet a portrait might be taken from her faying, in page 179.
Hath homely age the alluring beauty took
Or, from the following lines in the fame fpeech:
my decayed fairness A funny look of his would foon repair.
Her whole fpeech must be read. Her portrait fhould be marked with that melancholy forrow fo ten derly interesting.
What high pleasure should we receive in feeing this page
We have now the choice of two fubjects for the conclufion of this play. Either a half-length figure of the faffron-fac'd pinch-or, a view of the dankish vault, in which Antipholis and Dromio are confined.
If we are to have the figure of Pinch, it will be no intrufion on the rights of Romeo's Apothecary-for though their figures may be fome
* WAS it not for introducing this fame Autipholis, fo very foon again, we might draw him to great advantage in page 203, when he says:
Oh, train me not, fweet mermaid, with thy note.
what fimilar (fharp mifery having worn them both to the bone)-yet, we fhall find ourselves more interested with the poor Apothecary, and shall therefore wish his figure may not be omitted in Meffrs. Boydells edition. It is not probable that any edition upon fo grand a fcale, and fimilar to Meffrs. Boydells, will ever again make its appearance. If this edition is to have one error then, it fhould be that of having too many engravings, rather than too few. It was the extreme poverty, and not the will of the Apothecary, that confented to mix the potent poifon-and though the circumftances of Mr. Pinch may not be in a very affluent and flourishing state-yet we view him with eyes very different from the forlorn Apothecary. The latter we should have given a dinner to—(to have gotten him into flesh)--but I am afraid Pinch muft have paid for his dinner at fome alehoufe in Ephefus. A look of dejected poverty must be given to the Apothecary-but to the other, a fharp looking one of villainy. The defcription of him in p. 240 will caufe his appearance to be that, of a living dead man; and if the engraving is a coloured one, it might add an effect to his drefs.
If the above fhould be rejected (for I do not think it a very great acquifition), we may then (unless the defigns offered in p. 179, and p. 203 are preferred) fix on the appearance which Antipholis and Dromio exhibit in the vault. They are bound it seems together; and the mafter may be very bufily gnawing with his teeth-whilft his man, whofe humour never forfakes him, (as we may fee in p. 229) may exhibit fome droll characteristic look-and Pinch may be feen peeping through an iron grate to view his patients. There is a figure of Pinch in Hanmer's edition, but it is not worth while to refer to it.*
A LIST of fuch Prints taken from this play, as I have feen. Those I have not feen, are printed in Italics.
1. Bell's two editions.
5. A cut in an edit. in 8 vol. 8vo. printed for Tonfon, in 1735.
TROILUS AND CRESSIDA.
Or felt great Shakespeare's pow'rs controu
For this department might be engraved a fac-fimile of the entire Vignette title page, prefixed to the tenth volume of Lowndes's English Theatre. This print contains the figure of the tragic muse, attended by the child of anguish, and the child of grief; and underneath. is pictured the burning of Troy,