THIS number concludes the most extensive and, I trust, the most complete series of illustrations of any poet ever published. Every subject afforded by the action of the plays, whether intended to be performed on the stage or only to be related in the course of the dialogue, has been given with the closest attention to costume and character; so that each connected series of plates should develop a narrative, and that narrative be SHAKSPEARE.

The different sets of designs commence with the representation of those situations whence the difficulties, or other circumstances leading to the plots of the plays, have arisen ; and the dramatis personæ are carried through all their vicissitudes, till the poet leaves them. For example, in the TEMPEST are given the imprisonment of ARIEL by SYCORAX, and the banishment of PROSPERO by his brother, which lead to and explain the adventures selected by Shakspeare as best fitted for the stage.

This plan was adopted, as giving much greater scope to the delineator, by affording many fine subjects for the pencil; whilst, at the same time, it taxes his powers more severely, and puts to the proof his capacity for what he has undertaken-how far he is able to enter into the spirit of the poet, and to fill up the blanks he has left.

I have in no instance consulted theatrical effect, or what would be adapted to the stage; but have only considered how I could best produce, by pictorial representation, the

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same impression on the mind as is excited by reading the poet. I have not strained after novelty, or affected originality, but have carefully investigated the text, studying human nature as my guide, and have aimed at giving the full spirit of the author in the vigour and simplicity of truth, the best evidence of which will, perhaps, be found in the designs, though so numerous, and the work of one hand, being as varied as the author they profess to illustrate.

History, as far as it would agree with Shakspeare's version, and every thing else that could give interest consistently with strict accuracy, has been made available; and I trust that both originality and novelty have been the result.

The greatest pains have been taken to give the costume with correctness, and it may be relied on, with one or two trifling exceptions. I was misled by a great antiquary respecting SHYLOCK's cap, having since been informed that, in the Adriatic, turbans are prescribed to the Jews by law, white spotted with black, or the reverse. Steeple headdresses are introduced rather earlier than they were worn, as I am now of opinion; but I have found them in a manuscript in the British Museum, stated by the author to have been completed and illuminated as early as A.D. 1410. The introduction of tartan in MACBETH is stated by Scottish antiquaries to be incorrect: but it bears so close an analogy to the striped dresses worn by the ancient Britons, and it is so characteristic of the nation, that I shall probably be forgiven for having fallen into the popular error, if error it be. In the heraldic bearings I have, in one instance, unintentionally reversed the quarterings of the royal arms; I have once omitted checking the field in the standard of Clifford; and have introduced, as distinctions of the sons of Henry the Fourth, the crescent and the mullet, which were not at that period used for such purposes. But these are, I

believe, the only exceptions to the strictest accuracy, and I trust will not be deemed an unpardonable number of oversights in a work of such magnitude, entirely conceived and executed within so short a space of time by a single individual.

To enumerate all the authorities that I have consulted, and to instance the use I have made of each, would hardly be possible. Ancient monuments and MSS. (particularly a contemporaneous history of Richard the Second, in which several of the scenes introduced by Shakspeare have been represented by an eye-witness), Vecellio's Costumi, Jost. Ammon's Book of Trades, old wood-cuts, and the works of the early Florentine, Roman, Venetian, and German schools are among the principal sources whence I have derived my costume and decorations, in all of which I have been particular, even to the pattern of hangings and furniture: e. g. those in the death of EDWARD THE FOURTH are from an illumination in a MS. in the British Museum, representing that king receiving the book from the author. I have trusted to Meyrick and Strutt for my early British and Danish costume, but went to Lynn to inspect an enamelled cup given to the corporation of that city by King John, from which the dresses of the females of that period have been taken.

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When it was impossible to be correct, owing to anachronisms of my author, as in the case of the Fool in LEAR, I have felt it right to adhere to the dress of the period, making any necessary distinctions such as appeared most nearly allied to the general character of the costume. the same principle, the nasal guard of the Danish helmet has been considered as sufficient to answer to the term of "beaver." Beavers, used here for visors, were not worn at the time of HAMLET; but the nasal guard, if the headpiece had been down, would have disguised, though it only partially concealed, the face of the wearer.

In the remarks prefixed to the plays I have generally

touched on any great departure from the received opinion of the characters; but, before I take leave of the subject, I must address to the reader a few words in further explanation and vindication of my views; especially as it will develop the principle on which I profess, in these designs, to give the Spirit of Shakspeare.

Throughout the tragedy of HAMLET, Shakspeare endeavours to give, in the character of CLAUDIUS, the idea of a dissolute drunken debauchee of the grossest habits; and in every respect he holds him up to detestation and disgust. I have, therefore, taken the only means of exciting the same impression, by showing, in his person, the effect of his vices, for which, in HAMLET's descriptions and allusions, there is ample authority, particularly in his scene with his mother in the closet," Let the bloat king," &c. &c. And it is further to be remarked, that, though these abusive

solely to be found in the mouth of the indignant yet there is not the slightest attempt at denying the part of the QUEEN; nor does she, in any instance, manifest an affection for him, but appears to submit to his overbearing villany with a passiveness that argues her being conscious of the situation in which she had placed herself, perhaps by a momentary infatuation.

I have ventured to differ from the general conception of the character of FALSTAFF. Hitherto he has been considered as the prince of good fellows,-smooth, easy, goodnatured, witty, and fat to unwieldiness. I conceive him to be cunning, artful, impudent enough to put a bold face on any matter, but always on the watch to see its effect on those whom he intended to over-reach, or from whom he hoped for advantage. When he discovers that he is detected by PRINCE HENRY, he pretends that he has been joking, and that he was aware of the part the Prince had acted:"By the lord, I knew ye as well as he that made ye!" He is deceitful and treacherous-mark his letter to