"Rozinanté was so long and lank, so thin and lean, so like one labouring with an incurable consumption, as did clearly show with what propriety his master so entitled him. Sancho Panza, or Canzas, was so called, because he had a great belly, a short stature, and thick legs."1

To attempt a description of the nine following prints in any other words than those of Cervantes, would be absurd and vain; to suppose that the greatest part of my readers had not perused Don Quixote, would be an insult on their taste. I will therefore take it for granted that the following scenes are in their recollection. The few that have not read this admirable romance have a pleasure to come; as an inducement to their embracing it, I will insert little more than a reference to the page in Shelton, whose quaint old English has perhaps more serious Cervantic humour than either Jarvis' or Smollett's modern translations. My edition is that of 1675.

PLATE I.

THE FIRST SALLY IN QUEST OF ADVENTURES.

THE original from which this plate is copied is in Jarvis' quarto translation, without either painter's or engraver's name; but the style of the etching, and air

1

Jarvis and Smollett have strangely translated it "spindle-shanked," which by no means accords with the rest of his figure.

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 swineherd 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 INNKEEPER.

THE original of this print is in my possession, and was designed to represent the innkeeper 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. This print is not in any of the catalogues of Hogarth's works, but the style leaves little doubt of the artist.

In the plate from Vanderbank, in Jarvis' 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 wellimagined; 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' 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 bounti