click to enlarge
	Image	1794-London-Hogg-01-001-f
	Illustration No.	1
	Illustrator	Riley
	Engraver	Scott
	Lithographer
	Title Caption	FRONTISPIECE TO DON QUIXOTE
	Title Supplied
	Part	Part I, Madrid 1605
	Chapter	02. Frontispiece
	Subject	02.3 Allegorical/symbolic representations
	Illustration Type	Frontispiece
	Technique	Burin engraving
	Color	Black and white
	Volume	I
	Page Number	f. title page
	Image Dimension	166 x 99
	Page Dimension	210 x 127
	Commentary	The allegory of Truth, female figure holding a shining mirror and with a sun represented on her robe, destroying a castle with a giant inside it (symbols of knight-errantry novels and medieval literature); also an errant knight, falling into the moat with a dragon, and a damsel. Very original and remarkable design and excellent burin engraving (some details by stipple too); Truth's figure, very classical, is quite remarkable too. The ornamental frame includes some don Quixote's symbols: windmills, basin, Cupid's arms and a shepherd's walking stick; good decorative effect. This kind of allegorical frontispieces began to be used in London: Tonson, 1738; the image of Truth destroying the "architectures" of knight-errantry novels is based on Hayman's frontispiece (London: Millar, 1755).
	Notes	Included in the frontispiece: "Emblematical Representation of TRUTH, with her MIRROR, dispelling the Visions of GOTHIC SUPERSTITION and KNIHT-ERRANTRY, while the Enchanted Castle and its Giant Master, the Dragon, the Distressed Damsel Ghost in the back ground & C. describe the wild creations of a distempered brain". It is dated on February 8, 1794. "Nos encontramos, pues, en presencia de un ilustrador que se ha tomado en serio lo que podríamos llamar, con expresión harto moderna, «la tesis» del Quijote. Y la figura ceñuda y vengadora, viene a ser como una encarnación del própósito mismo de Cervantes, al escribir su libro encaminado a poner en ridículo y desterrar para siempre las novelas de caballerías, «las quimeras de la superstición gótica», como reza el letrero. [...] La estampa representa, pues, el mito matriz de una serie de otros mitos nuevos, mitad ingleses, mitad franceses, que los ejércitos de la Convención y los napoleónicos-los primeros realmente populares que hayan existido en el mundo-van pronto a esparcir por todo el ámbito de Europa" (Givanel 176). Posibly, Charles Reuben Riley or Ryley (London, c. 1752 – London, 1798): History painter, illustrator and burin engraver. Riley began to work as an engraver and, after studying painting with Mortimer, he only worked as a painter and illustrator. In 1780, he exhibited at the Royal Academy by the first time. His ornamental designs for Duke of Richmond’s Goodwood House were especially well-known (Benezit IX, 204). The signature "Scott" can refer to two different engravers: Edmund Scott (London, c. 1746 – London, c. 1810): Engraver (Benezit X, 483). or John Scott (New Castle, 1774 – Chelsea, 1828): Burin engraver. He was a disciple of Pollard and collaborated with different publications. He was especially talented for the engravings of dogs and horses. His works were quite popular and engraved for the Don Quixote of London: Cadell and Davies, 1818 (Benezit IX, 483). In 1794 he was twenty years old, maybe too much young for Hogg's edition.