"Titus Andronicus," Tieck, page 28, IV, 1 (G. G. A., 1794, page 970); page 29 (G. G. A. 1794, page 970).
"Romeo and Juliet," Tieck, page 30, I, 5 (G. G. A., 1793, page 561); IV, 5 (G. G. A., 1793, page 561); V, 3 (G. G. A., 1793, page 562).
"King Lear," Tieck, page 31, I, 1 (G. G. A., 1793, page 903-4); page 32, III, 4 (G. G. A. 1793, page 904); page 33, last scene (G. G. A., 1793, page 904); page 34 (G. G. A., 1793, Page 904).
Tieck mentions in all 39 plates; of these 24 are large plates and the rest small ones. In only 6 instances does Tieck enter into even a slite criticism of the small plates. In some cases, his remarks are so meager that it is only by a comparison with the original that we can tell what plate he means.
[15] Boydell's Catalog, page 28 ff. It may be worth while to mention in this connection that the Catalog has a number of errors in the list of these supplementary plates. The proof was red carelessly and the results are jumbled. Only by a careful comparison with the originals in the 1802 edition, for the results of which there is no room here, can this be straightend out.
[16] "Romantische Schule," page 57-8.
[17] For possible influence of Du Bos, cf. Tieck's doctrin of poetry as an imitativ art. Kr. Sch., page 24. See Howard, Publications of the Mod. Lang. Assn., vol. XXII, page 4. The letters to Wackenroder in Holtei, 300 Briefe, etc.
[18] Volbehr, Dessoir, Stöcker. D. L. D.
[19] Kr. Sch. I, 321. It is doutful if Tieck knew any of the Hogarth Shakspere plates. The dates of issu (Dobson, pp. 310, 340 ff.) are all later than the writing of the Boydell article. For Tieck and Hogarth, Köpke, I, page 148.
[20] Of course the emfasis on color is entirely wanting in the body of the work. Tieck nowhere in the essay points out how engraving can suggest color.