£3. 8s; and a Proof, extra fine, for £6. 10s.-In Yates's sale, 1827, the print in its first state sold for £3. 5s. Mr. T. Cook has given, in his " Hogarth Restored," a good copy of this plate in its first state. A copy by Riepenhausen. In Mr. Packer's collection, now in the British Museum, is an early copy of this plate, which might easily be mistaken for the original impression by the uninformed Collector, who merely judges by the cap and the holes in the roof; but it differs very much, particularly in its size, wanting nearly of an inch in depth. [B.] "Don Quixote." Eight plates for Jarvis's quarto translation. Six of these plates were inserted in Baldwin's edition of Hogarth's Works." A set of the six Plates sold in Baker's sale, 1825, for 18s. ; and another set of the eight Plates, proofs before the letters, for £8. Copies of the above, in Svo. by I. Mills. "PLATE I. The first Sally in quest of Adventures. The original from which this plate is copied is in Jarvis's quarto translation, without either painter's or engraver's name, but the style of the etching and air of the figures indisputably determine the artist. It represents our heroic candidate for fame, before he had received the honour of knighthood, at the door of an inn, which he considered as a castle; the host holding his horse's bridle, and two young female travellers looking with astonishment at his figure. In the distance is a swine-herd blowing his horn, which our adventurer mistakes for a trumpet sounded by a dwarf on the battlements, to announce his approaching the portico of the castle. (Vide Shelton, p. 3.)- -PLATE II. The Inn-Keeper. The original of this print is in my [Mr. John Ireland's] possession, and was de signed to represent the inn-keeper conferring the order of knighthood on Don Quixote, but for some cause, not now known, never finished. The artist probably intended that it should form a part of the series begun for Lord Carteret, but the other six being discarded, never completed his design; though a slight outline of the Don kneeling to receive his new honours, is discernible in the corner of the print. Mine host, though a large man, is a less portly personage than the author describes. The style leaves little doubt of the artist. In the plate from Vanderbank, in Jarvis's quarto, representing the whole scene, the innkeeper has a more than accidental resemblance to this figure.- -PLATE III. The funeral of Chrysostom. The stern attention which our Don gives to the Shepherdess Marcella, who is vindicating herself to those that surround the corpse, well expresses his determination to defend her cause, and protect her from insult. The shepherd in a similar attitude to the soldier in Vandyke's Belisarius, and Sancho blubbering with his finger in his eye, are well imagined, but the figure of Marcella is affected and stiff, and the shepherd on her right hand has more city pertness than rural simplicity. Vanderbank has taken this scene for one of the prints in Jarvis's translation, and by placing Marcella where she ought to be, on the summit of the rock, rendered his design more picturesque than Hogarth's. (Vide Shelton, p. 10.)--PLATE IV. The Innkeeper's Wife and Daughter administering chirurgical assistance to the poor Knight of La Mancha. Don Quixote's adventure with the Yanguessian carriers having terminated in his being most bountifully beaten, he is here represented in the hay-loft of a very sorry inn, attended by the hostess and her daughter, Maritornes, and his faithful squire, the two former administering comfort to his sufferings, the third holding a candle; and the last, with a most rueful countenance, bewailing his own unfortunate participation in the buffetings of his lord and master. The picture which Cervantes draws of Maritornes, Hogarth has well transferred to the copper. Thus is she portrayed: "From head to heel she was not seven palms* high; and burthened * "Jarvis oddly enough translates it seven feet." |