Pi y. 4 ',\ i^ f^^raS Ri j©i>ij5 W^^m l£ ■ c^ M *iii^' , D •^^<)!#' •v."** ^,: A DON QUIXOTE-Platk 11 DOS QUI A O I'h: C A R h D h OR AT T H A / A A HOGARTH'S REJECTED and SUPPRESSED P L ATES CONS/STING OF THE SEVEN DISCARDED PLATES TO ILLUSTRATE CERVANTES'S DON QUIXOTE AND THE '•TWO LITTLE PICTURES, CALLED BEFORE AND AFTER. FOR MR. THOMSON'' WITH AN ESSAY BY THE LATE JOHN LA FAROE PRESIDENT SOCIETY OF AMERICAN ARTISTS PRIVATELY PRINTED FOR MEMBERS OF THE FRATERNITY OF ODD VOLUMES. NEV^ YORK 1913 Of this edition, printed for Members of The Fraternity of Odd Volumes, but One- hundred -and -fifty copies have been issued, of which this is copy Ka ^i^t of piatcs DON QUIXOTE Plate I Marcela's Defence at the Grave of Chrysostom. Plate II Don Quixote Cared For at the Inn. Plate III The Lofty Adventure and Rich Winning of Mambrino's Helmet. Plate IV Don Quixote Liberates the Galley-Slaves. Plate V Don Quixote Meets the Knight of the Ranges. Plate VI The Curate and the Barber Disguising Themselves. Plate VII Sancho Starved By His Physician. BEFORE AND AFTER Two Plates in Portfolio on Back Cover. 2073R09 THE ESSAY BY John La Fargk WILLIAM HOGARTH N the 25th of October, 1764, says his biographer, " WiUiam Hogarth, very weak, but remarkably cheerful, received an agreeable letter from the American, Dr. Franklin, and drew up a rough draft of an answer to it. * * * Two hours afterward, he expired." "Death had closed the curious eyes That saw the manners in the face." I have not been able to find this last correspondence between the Englishman and the American. It would 1 2 HOGARTH he interesting- to know in what terms Doctor Franklin recog-nized the value of the English artist, and how the Englishman acknowledged compliments from a man who was to he, a few years later, one of the great actors in the se])aration of America from England, and to help that development of character which has taken us further and further from understanding" the g^enius of William Hog-arth. For Hogarth's genius not only be- longed essentiallv to the eighteenth century's middle strength, to ideas unaffected by the inquiries, the senti- ments, the agitations, which closed the century, and are prolonged into to-day, but he is also essentially English in the national and insular force of the word. Had he lived on with his full aggressive powers of fight, what caricatures and libels might he not have created to insult the views and the actions which later were to belong i<» our own development. It is natural to wish to realize the state of mind of thfjse from whom we broke, and to pursue our in- tellectual genealogy into the ancient homes. For this re-entering into the past, such a work as Hogarth's is a great help. L'nlike most artists, he built his pictures HOGARTH 3 out of the more transitory materials of politics and nationalism. The average heart of his time and place beats strongly in his pictures; their purpose and their morality seem at first sight limited to the use of that mon:ent only, and it is only through the man's power — what we call genius — that the eternal truth lurks all through the smaller transient facts he liked to produce. At first sight, we may well feel that all these images are born naturally of that gross period which was stead- ily preparing England's greatness : the political venality, the moral corruption, the unblushing effrontery, as well as the slowness, the patience, the stupidity, which hcl]x^d along the career of the nation. Religious fervor, chiv- alry, respect for the virtues of others, are with him sub- jects of contempt and abuse. A great part of these surface characteristics are still visible to us at moments in the life of England; perhaps more at this special moment than during the years when more humanitarian sentiments belonged to the outside of public life, when the quiet of scandals had not been agitated by the ])ub- licity of the newspaper, and the gradually growing inter- change of class habits. 4 HOGARTH \\'hen wc reflect, however, or \\\\(tn we know better, we see typified in Hogarth a rude sense of justice, and the average morality and commonplace philosophy which are the great human basis that saves families and na- tions, whenever the individuals of note appear to dis- grace the good rei)ute of their fellows. And there is a certain safety in calling a spade a spade, even if we had rather not mention the word, and an open dislike of shams may sometimes tend to discourage them. But though the caricaturist and the satirist occasionally sup- port injustice and protect the wrong, the habit of an organized dislike of what, on the whole, mankind dis- likes, — in others, at least, — must produce a moral tem- per which \\il1 in the main support the nobler views. A\'ith hlogarth, there is only the difficulty of having a sj)ade called a spade, and that we who look at his harsh pictures of both right and wrong have usually rather diltercnt ways of failing, rather more elegant suc- cesses in virtue. W'e do not get drunk with the ostenta- tirm of Hogarth's gentlemen, l^ven if the haggard brutality of the j)0()r and ignorant remains the same, it is probably less ])ictures(|ue, that is to say, has not so distinct // O G A R T H 5 a type of its own, rcseml)lcs more the brutality of the more fortunate. The variety of types has been levelled. The outside dress is the same for the ''Prince" and the vul- garian. Perhaps the ])rinces have come down, and the vulgarians have risen, but T am not at all sure of it. Yet T think that certainly no dilettante foolishness of to-day can be dressed as typically as it was once in the pictures which Hogarth saw, and which he painted in the Rake's Progress and the Marrioi^c a la Mode. Even the mild attempts at dressing the part which obtain occasionally the European society, need to be violently exaggerated by the caricaturist to make them typify character. A caricature which should be as much a portrait of real life as Plogarth's would not to-day allow us to look behind the scenes. We might take it for any representa- tion of commonplace life, select or otherwise; it would need to be aided by some abstract artistic rendering: for instance, to be in select black-and-white, like Mr. Du ]\raurier's drawings. The caricaturist of to-day who wishes to produce an adequate effect is obliged to syn- thetize like Mr. Caran d'Ache, and help us lo understand, 1)}' showing how much lie can leave out. With Hogarth, 6 HOGARTH all is the other way. He remains a painter, a lover of all the many divisions of nature which painters like. It is-^ possible to look at his paintings, or, at least, at some of them, and forget, as one might before nature itself, every- thing- but the beauties of physical sight.^The details of reality which help to give to the intellect the sense of fierce contempt, are often pleasant bits of technique, as, for in- stance, to choose a very small matter, the red hair of Lady Ringley in the ''Toilet Scene" of the Marriage a la Mode, or the open mouth of the fashionable singer. How beautifully the shadow falls behind the group in the Election Prints (the "Canvassing for Azotes"). In what a grand way its great diagonal separates the little group of the two landlords contendi ng for the vote of the newly-arrived farmer. In these, or such works, Hogarth cm]:)loyed that "grand manner," which he was unable to obtain or to use when he tried for it, in his grand subjects. Rut of that psychological question we can think further on. '^ This very ])icture, the "Canvassing for Votes," gives us at once separate and typical costumes of the "Blue" and "Yellow" landlords, the farmer, the electioneering agent, the Jew peddler, the c()b])ler, and so forth."*" Each "^ H G A R J H 7 one wears, as it were, the tools of his trade.^ Their habit of hfe is indieated in every fold of their dresses, nor do T suppose that it could have entered their head to wear a certain cravat, because of the "Prince's" wearinj^- it. In that way, what we here call caricature is separated from our problems by an abyss of social chano-es. It would seem but natural to look upon Hog'arth's famous pictures as a manner of continuation of the Dutch painters, who represented life in a certain spirit of cari- cature, but pursued in their works a continual study of all the problems of technical painting-. Nothing can be better painted than a Jan Steen, or a Brauer, or a Ter- borch. The connection between the painting of England and the painting of Holland is the explanation of Ho- garth's similiarity. But it is only in his respect for nature, and his liking for the accomplishments of painting, that this similiarity. exists. There is very little among the Dutchmen of that fierce moral sentiment, that want of respect for superiority, which is the great strength of Hogarth. The Dutchmen laugh w'ith some sympathy at the brutality of the lower orders : when they represent people of their own class or of the ruling classes, they 8 HOGARTH change their attitude of mind to fit another psychology. The bUiff cavaher in the picture of Terborch, who good- naturedly extends his fat fist full of money to the modest lady of the demi-monde, is represented in such a way that we perceive at once how his mind and hers work more elaborately than those of the canaille. There is no apparent moral judgment of them by the painter. It is merely as if the wall of the room were removed, and we saw people unawares and exactly as they are externally. There is, perhaps, as little caricature in such a painting as it is pos- sible to find in any painting whatever. Even great and noble works might have some overcharge (caricatura) necessary to underline a meaning and assert an ideal. With Hogarth, the entire meaning is loaded with the intentions of exaggeration and of partisanship. Had he treated the same eternal subject as Terborch, we should have felt his hatred for the man's brutality, and his con- tempt for the woman's meanness. We should not have the impression of an honest, good fellow, somewhat loose about small matters, or of a lady with a keen sense of business, but who might begin and end life most virtuous- ly and properly. A spade would be called a spade, and II O G A R T H 9 there would he no donht ahout it. Perhaps with still more pleasure would Hoi^arth have struck a hlow at the vice of the higher classes. One sees how near he is to that ex- pression of "virtuous resentment" which honors a Johnson, and how he feels in the upper classes or in the classes that have power, an overhearing insolence which even the colossal rudeness of Johnson was sufficient to meet adequately,"*='As Hogarth said himself, his pictures were "addressed to hard hearts. "t' No one had thus paint- ed before him, and the hypocrisy of England, its increas- ing outward show of respectability, based, as such things are, upon the existence of real virtue in many, have never allowed another expression in art, either literary or ar- tistic, or such a moral temperament as William Hogartli. Nor anywhere else, I believe, has it come up again, ex- cept in France of the last sixty years, where a tradition of the fierce appeal to "hard hearts" has persisted from the drawings of Daumier to the last caricatures of Forain. By what I have said above, T by no means mean that Hogarth was an imitator of the Dutch, but it is impossible to suppose that he could have done otherwise than learn from those who were the masters of the i^receding age. 10 // O G A R T If Tlieir works were not far to seek, and many of their s])ecial (|ualities he hiniseh' enilxxhes. I speak of him as a painter, not as an eno-raver or a draiii^htsman, in the nncertain sense with which we nse this last unfortunate word. lie draws always as well as is necessary, and the interior drawini^-. as it is called, of his painting-, is, of necessity, excellent, or we should not have that vital action and accuracy of ex])ression which distin^-uish him in his paintings (|uite as well as in his eno-raviui^-s. It is alwavs a sur|)rise for foreig'uers, who have not the hahit of I ioi^-arth. and know him only by his engravings, to find him so excellent a technician in painting. There is something heyond the excellent (|uality of his color, and its fulness; heyond the proper placing in the air of the objects he wishes to rei)resent ; beyond the subtlety of ex- ecution, either coarse or tine, of an enormous mass of all sorts of material, furniture, carpets. ])ictures on the wall, the out-door surfaces of houses, and so forth; — there is also, bevond all this, a certainty and manliness of touch which, of course, should belong to his moral character, but. of course, also, im])l\- stud\- and constant ])erce])tion. HOGARTH 11 Johnson used the right word, when he spoke of Hogarth's "curious eyes." It seems difficult to understand, or rather, to have a clear understanding of, Hogarth's failing in some of his greatest qualities whenever he tried most strenuous- ly in those subjects which most needed them. "I enter- tained," he says, "some hopes of succeeding in what the Puffers in books call 'the great style of history-painting' ; so that, without having had a stroke of this grand business before, I quitted some portraits and familiar conversa- tions, and, with a smile at my own temerity, commenced history-painting, and on a great staircase at St. Barthol- omew's Hospital painted two Scripture stories, — the Pool of Bethesda, and the Good Samaritan. These I presented to the charity, and thought that they might serve as a specimen to show that were there an inclination in Eng- land for encouraging historical pictures, such a first essay might prove the painting them more easily attainable than is generally imagined." It may be that some analyst will be able to give us the exact causes which allowed Hogarth to make such a singularly specific failure in his "historical" paintings. 12 HOGARTH 1 mean bv this con\-enti(mal word, for instance, the paint- ings of the Pool of l^ctJicsda, The Finding of Moses, Henr\ J'lIL, and .Inne Foleyii. etc. Proi)erly, liis his- torical ])ainting"s are the "'reat comic ones, TJie March to Finchley. The Election Series. — indeed, all of his work which has a comic side. Tn the representation of a story, lie seems to have needed this accentuation of comedy to keep himself from caricature. The true caricatures are his religious paintings. T confess to a certain inability when T try to explain and, if possible, excuse the genius of Hogarth, in these sorry instances. It would almost seem as if the spirit of reverence was an unaccustomed mood with this man, who, however, certainly inculcated a solid respect for the average good, and a contempt for evil. His is not the only case, however, in English art. It might almost be said, that, except for something of J\lad- ddx IJrown and something of the Italian, Ivossetti,''' there nex'er has been any noble rendering of a religious subject b\- an i^nglish ])ainter. It would, therefore, be unjust to single out Hogarth, and ]j()int out his failure. His work is but an exaggera- tion of the attitude of other I'Jigiish ])ainters who have *I have purposely left out William Blake. II G A R T II 13 tried such sul)iccts. 11icy seem to act in their com- prehension of the ch'ama proposed to them as if they must abstain from supposing; it to belong- to human nature, to the story of humanity, and to merely such a representa- tion as might be made in an orderly sermon or a tedious prayer. Charles Lamb, in his defence of Hogarth, has pointed this out. Pie ends one of his remarks, in the di- rection that I am taking, with these words: ''Our artists are too good Protestants to give life to that admirable commixture of maternal tenderness with reverential awe and -wonder approaching to worship, with which the A^irgin Mothers of L. Da Vinci and Raphael (themselves by their divine countenances inviting men to worship) contemplate the union of the two natures in person of their Heaven-born infant." It might, therefore, be j^ardonable, as by a race in- stinct, that Hogarth should have failed in his religious stories ; one might say, he is only to blame for having con- sidered himself bound to undertake them. Rut he is also deplorable when he undertakes, ler us say, Henry fill. and Anne Bolcyn. His lieroes are nothing whatever, at the most ; thev mav hardlv rise to the height of 14 HOGARTH beino" ridiculous. Like many a man accustomed to laugh at others, Hogarth does not seem to have any perception of what might be ridiculous in himself. His astonishing humor stops at his own acts. When he at- tempted to ridicule an artist immeasurably greater than himself, Rembrandt, his caricature seems to be not any real attack on Rembrandt, but a distorted travesty of his own qualities and his own faults. Here, again, the disagreeable side of British char- acter comes uj), — one feels the narrow hatred of the op- ponent or the superior, and the determination to carry ofT injusiice by insolence. The great rival painter, Rem- brandt. — if we think it necessary to bring him down to the level of Hogarth, — was a rival in all Hogarth's special f|ualities. The dramatist, the teller of stories, the master of ccjmposition, the great technical |)aintcr, the mind full of humor, but as grave as Hogarth is comic, — a painter who of all other i)ainters had that "curious eye" which Johnson gives to Hogarth, a man in whom tragedy and corned)' were blended as in no other artist except Shake- speare, and in all this the greatest, i)erha])s, of all paint- ers, and vet a Dutchman. H G A R T H 15 l^iis distortion of Hog"arlh's mind is a sad ihin^- to dwell upon; hut for us who are merely collating the facts, so as to understand 1 iof^-arth and his times, it is necessary to take in these marks of the time and of the place. It may even he that to see so simply, so straight-forwardly as Hogarth the ohject of his dislike, that he might strike at it, a certain ca])acity for injustice was necessary and was developed by habit and l^y the combative spirit shown in his various quarrels and controversies. The wrong- headedness of the fighter may have followed liini, even in hi-s peaceful art. As usual, in the long run, it has turned against him. But the remainder is solidly good, and Coleridge was right, at least in his intention, when he speaks of "the same Hogarth in whom the satirist never extinguished that love of beautv which belonged to him as a poet." "Never entirely extinguished the love of beauty" is true, however unfortunate he may have been at moments when he was not a poet. And those are the cases of which we have been thinking. And Col- eridge is right again in pointing out the gracious exist- ence of some of his characters among crowds of de- formities and vices. So that some such figure, in the 16 HOGARTH words of Colerido"e, ''diffuses a spirit of reconciliation and human kindness." lliese touches of syinpalhy or kind feehnj^ not only make more tolerahle the hardness, even the hrutality, of Hogarth's satire, hut they add to the seeming" truthful- ness of the scenes de])icte(l. " They remind us of the ex- istence of good in a world wher? evil appears to reign.^ They make more endurahle that necessary exaggeration which must helong to the art of representation, and which makes the bad to be punished and the good to be triumphant, though w-e know very well that in some other form of art it might be shown how the innocent suffer, and the guilly go at large, with a moral lesson for good c|uite as powerful as the narrower justice of pictorial art. it will always be a (|uestion by how nmch the fail- ures and mistakes in a distinguished career are a neces- sary ])art of the whole story. The Tlogarlh that we know and care for is so detached from his failures, that it is only from scrupulousness that T refer again to his peculiar ailiiude in his heroic compositions and to his rather strange and a])parentlv useless essay, called TJic HOGARTH 17 Analysis of Beauty, written, as he says, "with a view of fixing the fluctuating- ideas of taste." But as these vari- ous results were the work of his mind, it might be inter- esting to draw attention to them and find a reason for them, instead of passing them over on account of their being solid mistakes. The fighting quality of Hogarth's mind is, perhaps, more at the bottom of these produc- tions than any desire for expression or wish to com- municate to the world ideas which he considered im- portant and beneficial. Artists must have suffered in England from the aggravation of a continual comparison of their works with those of the Italian schools, prevalent at that day; and we can quite w^ell understand the annoyance in its various details, by the same experience in our own coun- try under the constant pressure of the alleged superior- ity of any kind of foreign art. Much of what Hogarth complained of happens in any similar case, and nowhere, I suppose, has any growing school escaped this fate. It is worth while reading what Hogarth has said, notwith- standing that his wrong-headedness, his anxiety to meet the first objection that might come up, instead of choos- 18 HOGARTH ing- his gTound, has made the larg-er part of his protests turn against himself. The same causes have injured a similar altitude of William Blake. Yet there is much wit and keen observation in Hoi^arth's special pleading, and a permanent value in some of his aphorisms, as, for instance, when he says: "In proportion as they turn bad proficients in their own arts, they become the more considerable in that of a connoisseur. As a confirma- tion of this seeming paradox, it has ever been observed at all auctions of pictures that the very worst painters sit as the most profound judges, and are trusted only, T suj)pose, on account of their disinterestedness/' To c[Uote or select at any length would be against the intention of a preface. Let us note, however, that occasional fragments of the Analysis have a permanent value, and that others have also the advantage of being ex])lanatory of some of Hogarth's methods. But the entire work is like the "historic" ])aintings, too evidently (lone on purpose from a motive of opposition and argu- ment, which is not at all a basis of sincerity. Hogarth, like many of us, was also entrapped by the idea of the existence of "Beautv" as an actual entity — something HOGARTH 19 that can l)c taken hold of hy the hand, or apprehended by the mind and existing" of itself. \\q are usually the slaves of the words which are used, or which we use to help us to think; and we make divinities of them, quite as real as those of our ancestors' mytholog"y. The pursuit of the "Line of Beauty" is a fallacy common to others than Hog-arth, though that may not have been the guide of his design, but merely a sort of accidental discovery, used afterward as a formula of excuse and defence, and a weapon of attack, or another method of holding his own and fighting- his way. Of course, there is a serious truth at the bottom of such a disquisition, which might be useful if conducted in good faith, which was impossible to Hogarth's mind. An essay toward the classification of certain likings of the human eye might be attempted. These prejudices or reasonable likings of the eye have been considered or sought after in all works of art which time has approved of, and that is as far as one could go to-day. Hogarth's uncritical attitude was, of course, the very worst one for such a study, and it is quite natural 20 // O G A R T H that this essay of his should be nncared for and forgot- ten. If written with sincerity, it mig-ht have explained both to the la\man and to the youno- student some of the points which are serious considerations in the mind of artists — the painters and the sculptors. It contains a description of what must be, more or less, Hogarth's manner of painting, and that, of course, is historically valuable. Indeed, we cannot be too well persuaded of the imi)ortance of the technical statements of artists as hel])s toward a continuance of the history of art, and as an explanation of what they have done. I mean by this last that their methods necessarily react upon their conceptions and are indissolubly connected with them. In this wav, Hogarth's words about color and drawing are worth consulting, all the more, that he seems to have abandoned his own views in those curious competitions, — those ])ieces of work which he did to challenge others, or to ])rove others in the wrong, b^or, again, I can see no other Ijetter fornuila as an excuse for the so-called histriric paintings. 11ie connection of The Aiialysis of Beauty with the H G A R T H 21 ''historic" paintino-s is some latent l)elief in the possi- bility of the manufacture of the "beautiful work of art," without reference to emotion, or belief, or sensitiveness to the idea expressed. It remains astonishing' that, on the contrary, Ho^^'arth should not have seen by his own work that only that which had the basis of interest and sentiment could be good or beautiful. I have tried to find some explanation in the com- bative quality of our artist's mind, and in that singular capacity for injustice and misapprehension that belongs to his nation. But it is only a way of stating the ques- tion over again. Notwithstanding the apparent failure of Hogarth's essay, I should recommend its careful persual to the stu- dent of artistic criticism. Not only does it contain the expression, however confused, of one peculiar form of the artistic mind, but it has also interesting statements of many truths which are formulated in a very different manner from the language of to-day. This slight dif- ference of angle of vision might allow the student to see still better the shajK of the idea. It has so interested 22 HOGARTH me; and, indeed, wc mig"ht well be pleased to find an expression of the eighteenth century in whatever Ho- garth has written. As we leave behind more and more the manners and expressions of thought of the last cen- tury, we may, perhaps, realize how necessary to under- stand ourselves is the study of our fathers. John La Farge. OBngratJings after l^ogartb DON QUIXOTE Six of the seven subjects that follow were engraved by Hogarth, probably in 1737 or 1738, for Lord Car- teret's Spanish edition of Cervantes's masterpiece, pub- lished by Tonson : but not proving acceptable, they were set aside in favor of Vanderbank's, which were engraved by Vandergucht. The seventh print, Sancho's Feast, though probably engraved by Hogarth about 1733, has been put at the close of the series, it being considered more convenient, in view of its uncertain date, to include it with the others illustrating earlier passages of the same work. This print was probably drawn and engraved as a sample of the artist's conception of the humorous spirit of Cer- vantes's text at a time when Hogarth's efforts were being directed to book illustration. There are two other plates, attributed by Mr. John Ireland to Hogarth, illustrating Don Quixote, but their DON QUIXOTE — Continued authenticity is not unquestioned. Even still less accept- able is a series of twelve other illustrations that have been credited to the same pencil for the same work. De- tails of these prints are therefore unnecessary. The seven engravings following are unquestionably Hogarth's. PLATE I MARCELA'S DEFENCE AT THE GRAVE OF CHRYSOSTOM This print illustrates the scene at the burial of the shepherd-student Chrysostom, when, after Ambrosio had finished reading the lay of the dead man, Marcela, the lovely shepherdess, suddenly appears, and defends her- self against the blame attributed to her of having caused Chrisostom's death by not requiting his love. Don Quixote, the chivalrous defender of the weak, has lis- tened to her, and, convinced by her reasoning, stands ready to forbid any one to follow her after her declama- tion. The incident is narrated in Part I., chap, xiv., of Don Quixote, done into English by Henry Edward Watts. DON QUIXOTE— Plate 1 M A RCE LA'S DEFENCE AT THE GRAVE Oh CH R YSOSTOM PLATE II DON QUIXOTE CARED FOR AT THE INN During his adventure with some evil-minded Yan- guesan carriers, the Knight of the Rueful Feature had received severe punishment as well as unworthy defeat. He had been unable to overcome the storm of staff blows that they rained on him. The chivalrous gentleman is here portrayed lying uneasily on a coarse pallet in the loft of the second inn that he deemed a fair castle, and to which fortune had guided his steps with his faithful Sancho. The innkeeper's wife and daughter are minis- tering to his needs, and covering his bruised body from head to foot with healing plasters, while Maritornes, the Asturian serving-wench, does duty as light-bearer. San- cho, who perforce has individual recollections of the ill-fated encounter, is philosophically endeavoring to bear his own pains while sustaining, in argument with PLATE II — Continued the hostess, his master's reputation against the tell-tale bruises that sug^G^est his having been beaten rather than having fallen on rocks. Assuredly, there is no lack of character in this boldly executed engraving. The text illustrated is in Part I., chap, xvi., of Watts's translation. {Frontispiece) PLATE III THE LOFTY ADVENTURE AND RICH WIN- NING OF NAMBRINO'S HELMET One of the most ludicrous incidents recounted by the sage Cid Hamet BenengeH is that illustrated by this print. The Manchegan knight, after his thrilling ad- venture in which he discovered the fulling-mills, pur- sues his wandering course and sees a mounted man wear- ing a glittering head-covering, which he takes to be the enchanted helmet of Mambrino. As the man draws near, Don Quixote, without parleying with him, bears upon him with lance couched, at Rozinante's full gallop, but the barber (for such he was, mounted on a gray ass, and wearing a clean and shining brass bason over his new hat to protect it from the falling rain), with pru- dence, slides down from his ass and scampers off, leav- ing the coveted and gleaming prize to the proud knight, whose fatuous imagination has blinded him to the fact PLATE III — Continued that the discomfited horseman was a poor ncii^hboring village barber, mounted, not on a dapple-gray steed, but on a poor ass, and wore but a commonplace barber's bason over his hat. The adventure is related in W'atts's Don Quixote, Part T., chap. xxi. DON OUIXOTE-Pi.ATK 111 THE LOFTY A D V l. \ T U R H 4 .\' D RICH U/W/.M, o/ MAMBRINO'S HELMET PLATE IV DON QUIXOTE LIBERATES THE GALLEY- SLAVES Borne onward by his impetuous zeal in the cause of knight-errantry, the ingenious Don Quixote is unable to discriminate in his sacred task of relieving the op- pressed and redressing the wrongs of the weak. This print illustrates Part I., chap, xxii., of the Watts ver- sion, which describes the don's meeting with a chain- gang of galley-slaves marching under the conduct of guards: their tales in answer to his questioning suffice but to quicken his ardor in their defence. He attacks the commissary, unhorses him, and then runs a tilt at the other officers. In the iiiclcc, the convicts, seeing a possibility of escape, break their chain and complete the discomfiture of the guards. One of the most desperate PLATE IV— Continued of the party is being- freed by Sancho from his fetters, but the latter is evidently much in dread of the conse- quent vengeance of the Holy Brotherhood. That the freed criminals should turn on their deliverers, and, after severely maltreating them, strij) them of their belong- ings, is readily understood; even the sturdy faith of Don Quixote was shaken for a moment by this misadventure. DON QUIX()TP:-Platk 1\' D O A' I ■ / V O T F I. I H H R A T h. S T II I (, I I. I. A ) S /. / I /; V PLATE V DON QUIXOTE MEETING THE KNIGHT OF THE RANGES Since the misadventure with the galley-slaves, but a few hours had elapsed, when, under apprehension of the Holy Brotherhood's capturing them for their illegal interference, Don Quixote and his faithful squire take to the fastnesses of the Sierra Morena to keep in hiding. Thither, too, from the same motive, the arch-rascal, Gines de Passamonte, takes refuge, and completes the measure of his ingratitude by robbing Sancho of his ass. While continuing their journey, Don Quixote finds the money and belonging's of some luckless traveller; the former, Sancho secures as a coverted i)rize that his mas- ter disdains while revelling in the love-sick verses found in a memorandum-book. This find stirring the don's curiosity, he determines to discover by whom they were PLATE V — Continued abandoned. Chance directs them in the way of a goat- lierd. who explains the appearance of a distraught creat- ure in the neighl)orhood. During their conference, the ill-starred, tattered Knight of the Ranges approaches them. After suffering himself to be embraced by Don Quixote, the "Tattered one of the Sorry Feature" stands back to examine the knight's features and armor, in order, as it seems, to recall them to his memory. This meeting is the subject of the illustration, and the incident is related in Watts's text, Part L, chap, xxiii. DON QUIXOTE- Platk V /) O A' (JUIX OTE M EE T S T H E K A / (i // / () I 1 H E R A A (i E S , :M>:«iKi^.M- is, -i: N-:-..'»; ;^;«..c«i.s-iM4tOfc;r-!as PLATE VI THE CURATE AND THE BARBER DISGUIS- ING THEMSELVES TO CONVEY DON QUIXOTE HOME Great was the alarm of the priest and barber for Don Quixote's safety when they learned from Sancho of his master's vag'aries. The faithful squire had left the knit^ht in the Sierra Morena to muse over his lady's beauty while he undertook a mission to the fair Dul- cinea at El Toboso. On arriving close to the inn where he had previously sufifered the indignity of being tossed in a blanket, he fell in with the priest and barber, and recounted his enteri)rise and the knight's whereabouts. As a result, Don Quixote's old neighbor, the ])riest, con- ceived the design of inducing the don to return home, by cHsguising himself as an afflicted damsel, the barber to assume the guise of her squire. Then falling in with the chivalrous knight-errant, they would beseech the don to grant the boon of his accompanying them, without PLATE VI— Continued knowini^" their destination, to redress the damsel's injury, a boon tliat the flower of chivah-y could not refuse. The ])rint shows the friends efl'ectin^^- their disg"uises in a room at the inn; the landlady is a willing- accom- l)]ice in the well-meant deceit, and acts as dresser, while the gentle Maritornes views the priest's transformation with marked delight. Sancho, who was acquainted with the plot, is seen at a little distance from the inn regaling himself right merrily, and worthily upholding his reputation for table- valor. Why he would not venture within the inn, as well as the other details incident to the illustration, are de- scribed in Part 1.. chaj). xxvii., of Watts's text. DON QUIXOTE— Plate VI THH. CURATE AND THE BARBER DISGUISING THEMSELVES PLATE VII SANCHO STARVED BY HIS PHYSICIAN In Cid Hamet's veritable history it is recorded that the faithful Sancho was invested with the governorship of the Island of Barataria. After an account of the pro- foundly- wise judgments rendered by this later Solomon in the Hall of Justice, it is stated that Sancho was con- ducted to a sumptuous palace, within a chamber of which a royal and very elegant table was laid. With great dignity and attended by great ceremony, the governor occupied the only seat furnished at the table. On one side of the high and mighty Sancho stood a physician, who carried a whalebone wand; courtiers, ladies, and pages surrounded the governor's table, and a band of musicians furnished dulcet harmonies in a neighboring gallery. The table was covered with dishes of fruit and toothsome meats of manv kinds. A lace bib is now PLATE y I I — Continued dettl}- tucked under the o-overnor's chin l)v a gentle pat^e. another |)laccs a dish of fruit before him. All that could .q-ratify the honest but "•luttonous Sancho is within his reach; he seizes a luscious fruit. l)ut hardly has he taken a mouthful of it when at a touch of the physician's wand the plate is snatched away. The same exasperating ex- ])erience attends the governor's attempt to partake of partridges, rabbits, veal, etc., till, in his hunger-stirred wrath, he threatens the physician's life, and declares that he will chase every bad doctor from the island. This masterfully humorous incident is told in Part IT., chap, xlvii., of Watts's very excellent rendering. As has already been stated, this print was prob- ably engraved a few years earlier than the preceding 'i six, from which, too, it differs in style of execution. DON QUIXOTE— PLATt: VII SANCHO STARVED BY HIS PHYSICIAN PLATES I AND II BEFORE AND AFTER "Two little pictures, called Before and After, for Mr. Thomson, Dec. 7th, 1730." (Hogarth M.S.) These afterwards belonged to Lord Bessborough. In' 1833 they were in the possession of Mr. H. R. Willett. There is a sketch of "Before" in the Royal Collection. UNIVERSITY OF CALIFORNIA LIBRARY Los Angeles This book is DUE on the last date stamped below. MAR 1 4 1992 w 315 iliii i ii ill II III III A 000 046 514 6 . / 4 J' BEFORE AFTER f' n>*. ymy<^?S