THAT soft air of tender melancholy, and the fame beautiful drefs fhould be given him, in which he appears in Bell's first edition. And his attitude may be fomewhat fimilar to that penfive one of Sir Philip Sydney, (under a tree), by Vertue. The landscape, may be a romantic view of fome fequeftered hermitage. In fome of the impreffions of this print in Bell's first edition, the air of the King's face is materially different. In the impreffion before me, it is very interesting.*

* A LIST of such Prints as have been published from this play. Those I have not feen, are printed in Italics.

1. Bell's two editions.

2. Hanmer.

3. Theobald.

4. Rowe.

5. A cut by Lud. du Guernier, in an edition, in 8 vol. 8vo. printed for Tonfon, 1735+

6. Pope.

7. Lowndes.

8. Taylor's

ALL'S WELL THAT ENDS WELL.

WHAT age, what fex, what character, ftation, or office of life, efcapes the touches of Shakespeare's plastic hand!

MRS. GRIFFITHS.

He that has read Shakespeare with attention, will perhaps, find little new in the crowded

world.

MRS. LENOX.

Vignette.

Head-piece.

The most proper ornament for this part, would be a beautiful coloured print of the head of Helen, as faying thefe words:

It were all one

That I fhould love a bright particular star,

And think to wed it, he is fo above me. Page 9.

Her attitude may be fomewhat fimilar to that of the principal female figure in the first study by Corregio, in the 2d vol. of the collection of drawings by Rogers-but more ferenely mild and lefs elevated. She will of course have the traits of that beauty which aftonished the furvey of richest eyes and of those interesting qualities which won her the warm friendship of the good old Countess of Roufillon. *

K

Of all the characters of Shakespeare: none more refembles his best female advocate, (Mrs. Montague) than the Countess of Roufillon.

&

The following lines, which Helen speaks in p. 10, of

virtue's ftcely bones

Scene

Look bleak to the cold wind.

might well apply, or be written under, a very fine print from Gainsborough, called a Shepherd (had he less en bon-point) or they would equally well apply to a picture by Opie (one of his earliest performances) which was exhibited at Somerset-houfe, in 1782. It is well remembered by the name of the Boy and Dog.