ABSTRACT
There are signs, though, that the study of visual elements of all kinds and in all ways is steadily gaining acceptance within the wider world of Shakespeare studies. The editions of Charles Knight, Barry Cornwall, and Howard Staunton, with their use of illustrations of markedly different kinds, for markedly different purposes, are slowly being absorbed into wider discussions of textual history. The writings of Jonathan Richardson and the third Earl of Shaftesbury presented advice both on how to paint, and how to observe, paintings with narrative, moral, or argumentative force; these were extended in Hogarth's Analysis of Beauty and Reynolds' Royal Academy lectures. A more recent artist from the Polish nation, Stanislaw Ignacy Witkacy, has also produced some striking Shakespeare canvases. Another contributor, Hanna Scolnicov, has written elsewhere on a late work of Marc Chagall, an edition of The Tempestwith fifty lithographs.
