Isaac Taylor, Junior & Robert Smirke

Shakspeare. Merry Wives of Windsor. Act V, Scene V. Windsor Park. Falstaff disguised with a buck's head on etc. Published Jan 1 1795. by John & Josiah Boydell at the Shakspeare Gallery, Pall Mall; & at No. 90, Cheapside, London.(Sir Hugh Evans, Anne Page, etc.)

Anne. With trial-fire touch me his finger end.
If he be chaste, the flame will back descend
And turn him to no pain; but if he start,
It is the flesh of a corrupted heart.

Pistol. A trial, come.

Sir Hugh Evans. Come, will this wood take fire.

[They burn him with their tapers.]

Falstaff. Oh, oh. oh!

Anne. Corrupt, corrupt, and tainted in desire!
About him, fairies; sing a scornful rhyme;
And, as you trip, still pinch him to your time.

Song.

Fie in sinful fantasy!
Fie on lust and luxury!
Lust is but a bloody fire,
Kindled with unchaste desire,
Fed in heart; whose flames aspire,
As thoughts do blow them, higher and higher.
Pinch him, fairies, mutually;
Pinch him for his villainy;
Pinch him, and burn him, and turn him about,
Till candles, and star-light, and moon-shine be out. * Shakespeare

This original engraving was inspired by the final scene in William Shakespeare play, Act Five, Scene Five, "Merry Wives of Windsor". The scene begins when the clock strikes twelve at midnight, and takes place in the forest of Windsor Park. Everyone had previously agreed to teach Sir John Falstaff (the cowardly and jovial, old rogue) a lesson, and as their punishment for his wickedness, they devised a prank comprised of a frightful scene of witchcraft. (During the 17th century, around the time this play was written, witchcraft could lead to death by fire). Falstaff, whose only interest in life is to delight himself in such pleasures as drink, women and other fineries, believes himself to be a great lover. He has come to the park excited at the expectation of encountering Mistress Page or Mistress Ford. He is disguised as 'Herne the hunter' (a keeper of Windsor forest), or as a stag during mating season, and wears buck's horns on his great head to prove this. Falstaff is delighted to find not one, but both women, flirting, teasing and taunting him; however, his pleasure is cut short when the night becomes alight, as fairies and goblins, elves and oafs materializing before his eyes. Terrified, Falstaff falls to the ground, and covers his face, for he truly believes that any person who speaks with a fairy will certainly die. Pleased with their results, the assailants / impersonators continue the revelry chastising and humiliating Falstaff; they dance and chant as they pinch, and burn him with their tapers (candles).

Partaking in the merriment, this wonderful scene depicts some interesting personalities. Mrs. Margaret Page (Wife of Master George Page, mother of Anne and William), and Anne Page, Mrs. Alice Ford (wife of the jealous, Master Francis Ford ) are the two main female characters. Mr. Francis Ford is the irrationally jealous husband of Mistress Ford who has little faith in women's fidelity. Ford has three friends, Mr. George Page, a good natured and trusting man, who is the husband of Mistress Margaret, and the father of Anne and William. The second is Doctor Caius, a bad tempered French physician who is courting Anne Page. And the third is Sir Hugh Evans, a Welsh parson and schoolmaster of Windsor, (disguised as a satyr with his pupils as fairies in this engraving). Other characters include, Pistol who is an old, abusive windbag & officer in the army (He is dressed as the Hobgoblin holding a torch by the tree in this scene). Mistress Quickly is the owner of the Boar's Head Tavern in Eastcheap (She is disguised as the 'Fairy Queen', kneeling by Falstaff in this scene'.). Master Abraham Slender is the wealthy cousin of Justice Shallow, a pale fellow and not very bright. Slender foolishly believes Anne Page will be his wife. Master Fenton is a fairly good looking gentleman who has unfortunately squandered all his wealth. Fenton initiates a courtship with Anne Page for mercenary reasons, but in the end, they both fall in love. The other storyline follows Slender and Doctor Caius who have both devised a plan to elope with Anne (without her consent). In the confusion and revelry, they have each abducted a male fairy instead of Anne while the lovers, Master Fenton and Anne have happily eloped. etc. etc. This is a delightful, original example of the engraved art created of Isaac Taylor, Junior and the designs of Robert Smirke for the famous Boydell Shakespeare Gallery

This original engraving is an 'Artist Proof Impression'. 1. 'Artist's Proofs'. These are the earliest of states and were printed in only a handful of impressions. They are identified not only by their vibrant lines and tones but by the fact that they lack any letters along the lower margin. Note: This original artist proof impression lacks the following text which appears in later impressions.

"Shakspeare. Merry Wives of Windsor. Act V, Scene V. Windsor Park. Falstaff disguised with a buck's head on etc. Published Jan 1 1795. by John & Josiah Boydell at the Shakspeare Gallery, Pall Mall; & at No. 90, Cheapside, London. Engraved by Isaac Taylor Jun. Painted by Robt. Smirk R. A.

Pist. A trial come.
Evans. Come, will this wood take fire.
[They burn him with their tapers.]
Falstaff. Oh, oh. oh!

Quick. Corrupt, corrupt, and tainted in desire!
About him, fairies, sing a scornful rhyme.
And, as you trip, still pinch him to your time."

An Important Note on Boydell States and Editions: Proof impressions and true first edition impressions are easily identified by their fine lines and strong contrasts of black and white tones. Later more common editions print in a more overall grey tone and contain areas of re-working. Briefly, the publishing history of these great engravings can be categorized into five states or editions:

1. 'Artist's Proofs'. These are the earliest of states and were printed in only a handful of impressions. They are identified not only by their vibrant lines and tones but by the fact that they lack any letters along the lower margin.
2. 'Proofs Before Title'. These impressions usually contain the names of the artist, publisher and engraver along the lower margin. They lack the title of the specific play depicted and usually the heading -- 'Shakspeare' -- is smaller than in the published edition. Once again, this state was printed in a very small numbers.
3. 'Open Letter Proofs'. These impressions bear the title of the play. the heading, 'Shakspeare' (Shakespeare), is yet to be filled in with stippling. These impressions were printed before the publication of the first edition and were probably struck from the plate at a customer's request. Perhaps ten to twenty Open Letter Proofs exist for each engraving.
4. 'First Edition Impressions'. The completed set of Boydell's Shakespeare engravings was published in London in 1803. The full publisher's address appears along the lower margin as well as the text for the play. The heading, 'Shakspeare', is now filled in with stippling. Both first edition impressions and proofs were most often printed on either hand-made, laid paper or wove paper bearing the 'J. Whatman' watermark.
5. 'Posthumous Impressions and Restrikes' As early as 1807, John Stockdale of London issued a second edition of the Shakespeare prints. They continued to be published throughout the first half of the nineteenth century. Finally, in 1852, an enterprising dentist in New York City (with the delightful name of Shearjashub Spooner) acquired the plates, restored them and produced the last edition. These prints are most commonly offered for sale.

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