1.1 Moritz Retzsch stopping little Christel on her way to water duty with the complicity of Julie Renovanz and siblings watching from the upstairs window, coloured drawing in Weinbergs Scenen, aus dem Leben der beiden Brüder August und Moritz Retzsch. SKK, Inv. Nr. Ca 53 v 98, Dresden, photo Caterina Micksch 29
1.2 Julianne Henriette (Julie) Renovanz, hand-made silk embroidery accompanied by verse as a friendship gift, 12 January 1806. Friendship album of Moritz Retzsch. SLUB / Deutsche Fotothek, Mscr.Dresd.App.3044, 103r., Dresden 30
1.3 Moritz Retzsch courting Christel, coloured drawing in Weinbergs Scenen, aus dem Leben der beiden Brüder August und Moritz Retzsch. SKK, Inv. Nr. Ca 53 v 99, Dresden, photo Caterina Micksch 31
1.4 Moritz Retzsch, Carl Boromäus von Miltitz and Auguste von Miltitz, double portrait lost in World War II. Reproduced in Der Cicerone. Halbmonatsschrift für die Interessen des Kunstforschers & Sammlers 16, no. 11 (1924): 508. Heidelberg University Library 32
1.5 Moritz Retzsch, self-portrait, signed and dated 1811, black chalk on tinted paper, heightened with white, 24.3 × 18.8 cm, from the so-called “Carus album.” SGK, Inv.Nr. 1978/k 182, Museen der Stadt Dresden, photo Franz Zadniček 35
1.6 Moritz Retzsch, Fancy, wood engraving by Dalziel in the series “Selections from the Portfolio of Moritz Retzsch,” Art Journal, n.s., 4 (July 1852): 224. BnF, V-3101, Paris 38
1.7 Silenus, drawing by Moritz Retzsch engraved by Krüger, first plate contributed to Wilhelm Gottlieb Becker, ed., Augusteum: Dresden’s antike Denkmäler enthaltend (Leipzig: Auf Kosten der Verfassers und in Commission, C. A. Hempel et al.), 2 (1808): fig. 71. SLUB Dresden / Deutsche Fotothek, 23.2.83-2,Taf, Dresden 41
1.8 Moritz Retzsch, Faust meeting Gretchen, Umrisse zu Goethe’s Faust gezeichnet von Retsch (Stuttgart & Tübingen: Cotta, 1816), pl. 8. Courtesy HAAB, F 3487, Weimar 46
1.9 Gustav Heinrich Naeke, Faust and Gretchen, lost painting, c.1812. Repr. in Katalog zur Ausstellung deutscher Kunst aus der Zeit von 1775–1875 in der Königlichen Nationalgalerie Berlin (Munich: F. Bruckmann, 1906), 2:401, no. 1234. Courtesy HAAB, Ku 4° II A—210 (2), Weimar 46
1.10 Peter Cornelius, Scene upon Leaving the Church. Faust Proffers Gretchen his Arm, in XII Bilder zu Göthe’s Faust gezeichnet von Peter von Cornelius (Frankfurt am Main: Johann Friedrich Wenner, n.d.), pl. 5. Courtesy Beinecke, Yale University, Folio Speck Ck99 C7 816 46
1.11 Gustav Heinrich Naeke, preliminary pencil and ink sketches, n.d., 19.6 × 31.8 cm. Courtesy Beinecke, Yale University, YCGL Mss. 26, box 2, folder 23 47
1.12a Faust. Scene in the Street. Faust and Margaret, Mephistopheles in the Background, engraved by C. A. Schwerdgeburth after Gustav Heinrich Naeke, 10.5 × 7.3 cm. Insert plate in Urania: Taschenbuch für Damen auf das Jahr 1815 mit neun Kupfern (Leipzig & Altenburg: Friedrich Brockhaus, [1814]). Courtesy HAAB, F 9144, Weimar 47
1.12b Faust Meeting Gretchen after Gustav Heinrich Naeke, lithographed by Johann Nepomuk Strixner, 1822, chalk lithograph, 28.5 × 18.8 cm. Courtesy HAAB, F 8052 gr [b] (45), Weimar 47
2.1a–b Umrisse zu Goethe’s Faust gezeichnet von Retsch (Stuttgart & Tübingen: Cotta, 1816). Original yellow portfolio with green flaps, shut and open with contents. Courtesy HAAB, F 3487, Weimar 53
2.2 Umrisse zu Goethe’s Faust gezeichnet von Retsch (Stuttgart & Tübingen: Cotta, 1816). Label with Goethe’s autograph, 7 December 1818, and Tsarina Maria Feodorovna’s inscription. Courtesy Beinecke, Yale University, Speck Ck99 R3 +816 Copy 2 56
2.3 Umrisse zu Goethe’s Faust gezeichnet von Retsch (Stuttgart & Tübingen: Cotta, 1820). With Goethe’s dedication to L. John Vigoureux, 3 July 1827. Courtesy Martin Bodmer Foundation, Geneva 57
2.4a–b (top) Moritz Retzsch, Faust, preliminary pencil drawing, n.d., 15.8 × 15 cm; (bottom) same scene further developed, n.d., 14.2 × 12.3 cm Courtesy HAAB, F gr 9228, Weimar; and: SKK, C 5056, Dresden, photo Andreas Diesend 68
2.5 Moritz Retzsch, Faust drinks the potion in the witch’s kitchen, chemical-stained preliminary pencil drawing, n.d., 14.8 × 16.4 cm. SKK, C 5060, Dresden, photo Andreas Diesend 70
2.6 Moritz Retzsch, double strip of several drawings, n.d., overall 28.6 × 34.3 cm. SKK, C 1937–1500, Dresden, photo Andreas Diesend 71
2.7 Moritz Retzsch, Margaret at the spinning wheel, final pencil drawing, n.d., 13 × 14.7 cm. SKK, C 5074, Dresden, photo Andreas Diesend 72
2.8 Moritz Retzsch, Valentine dying accuses his sister, Umrisse zu Goethe’s Faust gezeichnet von Retsch (Stuttgart & Tübingen: Cotta, 1816), pl. 20. Courtesy HAAB, F 3487, Weimar 73
2.9 Moritz Retzsch, Faust and Mephistopheles in Margaret’s chamber with Margaret also present, blotched preliminary pencil drawing with Mephistopheles stylus-retraced, n.d., 16.1 × 17.8 cm. SKK, C 5063, Dresden, photo Andreas Diesend 74
2.10 Moritz Retzsch, Faust and Mephistopheles in Margaret’s chamber, Umrisse zu Goethe’s Faust gezeichnet von Retsch (Stuttgart & Tübingen: Cotta, 1816), pl. 10. Courtesy HAAB, F 3487, Weimar 75
2.11 Engelbert Seibertz, composition inspired by Retzsch, in Faust: Eine Tragödie von Goethe. Mit Zeichnungen von Engelbert Seibertz (Stuttgart & Tübingen: J. G. Cotta, 1854), 93, wood engraving in text. Courtesy HAAB, F gr 11196, Weimar 76
2.12 August von Kreling, composition inspired by Retzsch, in Faust von Goethe, erster Theil. Mit Bildern und Zeichnungen von A. v. Kreling (Munich: F. Bruckmann, [1875]), 85, wood engraving in text. Courtesy HAAB, F gr 5787, Weimar 76
2.13 Moritz Retzsch, preliminary drawings for Faust and Margaret kissing, n.d., 16.1 × 18.1 cm. SKK, C 4890, Dresden, photo Andreas Diesend 78
2.14 Moritz Retzsch, drawing for Faust and Margaret kissing, n.d., 13.6 × 15 cm. SKK, C 5073, Dresden, photo Andreas Diesend 78
2.15 Moritz Retzsch, Faust and Margaret kissing, drawing, n.d., 13.6 × 12 cm. SKK, C 5071, Dresden, photo Andreas Diesend 79
2.16 Moritz Retzsch, Faust and Margaret kissing, final drawing used for the etched plate, n.d., 14 × 16.3 cm. SKK, C 5070, Dresden, photo Andreas Diesend 79
2.17 Moritz Retzsch, Final prison scene, Umrisse zu Goethe’s Faust gezeichnet von Retsch (Stuttgart & Tübingen: Cotta, 1816), pl. 26. Courtesy HAAB, F 3487, Weimar 81
2.18 Moritz Retzsch, The witch’s kitchen, Umrisse zu Goethe’s Faust gezeichnet von Retsch (Stuttgart & Tübingen: Cotta, 1816), pl. 6. Courtesy HAAB, F 3487, Weimar 82
2.19 Moritz Retzsch, Faust drinks the potion in the witch’s kitchen, Umrisse zu Goethe’s Faust gezeichnet von Retsch (Stuttgart & Tübingen: Cotta, 1816), pl. 7. Courtesy HAAB, F 3487, Weimar 83
2.20 Moritz Retzsch, Faust and Mephistopheles galloping past the Rabenstein, Umrisse zu Goethe’s Faust gezeichnet von Retsch (Stuttgart & Tübingen: Cotta, 1816), pl. 24. Courtesy HAAB, F 3487, Weimar 84
2.21 Moritz Retzsch, Faust and Mephistopheles in Faust’s study, Umrisse zu Goethe’s Faust gezeichnet von Retsch (Stuttgart & Tübingen: Cotta, 1816), pl. 4. Courtesy HAAB, F 3487, Weimar 85
2.22 Moritz Retzsch, The poodle appearing in open country, coloured version, n.d., 14.6 × 19.4 cm. Umrisse zu Goethe’s Faust gezeichnet von Retsch (Stuttgart & Tübingen: Cotta, 1816), pl. 2. FDH, Frankfurter Goethe-Museum, III-13099, Frankfurt 90
2.23 Moritz Retzsch, Faust’s study with the poodle growing, coloured version, n.d., 13.9 × 15.8 cm. Umrisse zu Goethe’s Faust gezeichnet von Retsch (Stuttgart & Tübingen: Cotta, 1816), pl. 3. FDH, Frankfurter Goethe-Museum, III-13098, Frankfurt 90
2.24 Moritz Retzsch, Margaret discovers the jewels, coloured version, n.d., c.14 × 16.7 cm. Umrisse zu Goethe’s Faust gezeichnet von Retsch (Stuttgart & Tübingen: Cotta, 1816), pl. 11. FDH, Frankfurter Goethe-Museum, III-13100, Frankfurt 91
2.25 Moritz Retzsch, At the neighbour’s house, coloured version, n.d., 23 × 31 cm. Courtesy FDH, Frankfurter Goethe-Museum, III-13929, Frankfurt 91
2.26 In Martha’s garden, anonymous coloured version, n.d., 14.5 × 15.3 cm, after Moritz Retzsch, Umrisse zu Goethe’s Faust gezeichnet von Retsch (Stuttgart & Tübingen: Cotta, 1816), pl. 14. Courtesy HAAB, F gr 9228, Weimar 93
3.1a Umrisse zu Goethe’s Faust, gezeichnet von Retzsch in 26 Blättern (Stuttgart & Tübingen: Cotta, 1830), pl. 16. Exemplar from Franz Glück’s library. DLA, Glück: HH/Goethe: D, Marbach 98
3.1b Moritz Retzsch, Margaret at the spinning wheel, Umrisse zu Goethe’s Faust gezeichnet von Retsch (Stuttgart & Tübingen: Cotta, 1816), pl. 16. Courtesy HAAB, F 3487, Weimar 98
3.2 Moritz Retzsch, Faust and Gretchen, pencil drawing, n.d., 13.5 × 9.3 cm. Courtesy Beinecke, Yale University, YCGL Mss. 26, box 1, folder 12 100
3.3 Moritz Retzsch, Faust, pencil and chalk double portrait drawing with highlights on tinted paper, n.d., 35.9 × 31 cm. Courtesy HAAB, F gr 5824 (5), Weimar 100
3.4 Moritz Retzsch, Faust and Gretchen(?), double portrait, pencil drawing on tinted paper, n.d., 27.6 × 36.5 cm. Courtesy HAAB, F gr 5824 (4), Weimar 100
3.5 Moritz Retzsch, Faust and Gretchen in the garden, pencil drawing, 1847, 16.7 × 20.6 cm. FDH, Frankfurter Goethe-Museum, III-02828, Frankfurt 100
3.6 Umrisse zu Goethe’s Faust, zweiter Theil. Gezeichnet von Moritz Retzsch. Elf Platten, nebst Andeutungen (Stuttgart & Augsburg: J.G. Cotta, 1836). Original blue portfolio with fuchsia flaps. Courtesy Beinecke, Yale University, Speck Ck99 R3 +836b 103
3.7 Moritz Retzsch, Mephistopheles lulls Faust to sleep, Umrisse zu Goethe’s Faust, erster Theil. Gezeichnet von Moritz Retzsch. Von dem Verfasser selbst retouchirt und mit einigen neuen Platten vermehrt (Stuttgart & Tübingen: J. G. Cotta, 1834), insert pl. 5. Courtesy HAAB, F 3478, Weimar 104
3.8 Final full-page Cotta advertisement dated October 1836, in Umrisse zu Goethe’s Faust, zweiter Theil. Gezeichnet von Moritz Retzsch. Elf Platten, nebst Andeutungen (Stuttgart & Augsburg: J. G. Cotta, 1836). Courtesy Beinecke, Yale University, Speck Ck 99 R3 + 836c 105
3.9 Christian Votteler, coloured lithographic cover, Umrisse zu Goethes Faust, erster und zweiter Theil gezeichnet von Moritz Retzsch. Erster Theil neunundzwanzig Platten, Zweiter Theil elf Platten (Stuttgart: J. G. Cotta, n.d. [1884?]. Courtesy HAAB, F gr 3493, Weimar 107
3.10a Back cover with title and publisher’s imprint of Faust von Goethe in 26 Umrissen (Göttingen: Dieterich, n.d. [c.1827]). Courtesy HAAB, F 3489, Weimar 111
3.10b Front cover of the same with an outline reproduction after Johannes Riepenhausen. Courtesy HAAB, F 3489, Weimar 111
3.11 Johannes Riepenhausen, Faust’s Meeting with Gretchen in front of the Church, 1811, black chalk, heightened with white, paper mounted on cardboard, 47.1 × 38.1 cm. Courtesy Museum Georg Schäfer, MGS 1148A, Schweinfurt 111
3.12 Eberhard Emminger, chalk lithograph in black on light beige plate after Johannes Riepenhausen, Faust’s First Meeting with Gretchen, with relevant verses from Goethe’s Faust as captions, 1827, 48.2 × 38.2 cm (Stuttgart: G. Ebnerschen Kunsthandlung). FDH, Frankfurter Goethe-Museum, III-04375, Frankfurt 111
3.13 Kleines Geschenk zum neuen Jahr für 1818 and Kleines Geschenk zum neuen Jahr für 1820, almanacs published in Frankfurt by Jaeger. FDH, Frankfurter Goethe-Museum, Library, XI T 124 (1818) and XI T 124/2 (1820), Frankfurt 112
3.14a–c Kleines Geschenk zum neuen Jahr für 1818 (Frankfurt: Jaeger), three of the five copied and re-focussed plates after Moritz Retzsch’s outlines. Page numbers in the Faust quotes used as captions refer to the 1816 Faust pocket edition issued by Cotta, as in the Umrisse edition. FDH, Frankfurter Goethe-Museum, Library, XI T 124 (1818), Frankfurt 113
3.15a–c Kleines Geschenk zum neuen Jahr für 1820 (Frankfurt: Jaeger), three of the seven copied and re-focussed plates after Moritz Retzsch’s outlines. FDH, Frankfurter Goethe-Museum, Library, XI T 124/2 (1820), Frankfurt 114
3.16a–b Kleines Geschenk zum neuen Jahr für 1820 (Frankfurt: Jaeger), frontispiece, title-page vignette, and pl. 3. FDH, Frankfurter Goethe-Museum, Library, XI T 124/2 (1820), Frankfurt 115
3.17a Wilhelm Eytel, Faust Handing over the Pledge to the Devil, woodcut after Moritz Retzsch, in Das ärgerliche Leben und schreckliche Ende des vielberüchtigten Erz-Schwarzkünstlers Johannis Fausti. Erstlich vor vielen Jahren fleißig beschrieben von Georg Rudolf Widmann. Hernach übersehen und wieder herausgegeben von Pfitzer, new edition decorated with 16 woodcuts (Reutlingen: Kurtz, 1834), 34. Compare with Retzsch’s pl. 4, Fig. 2.21. Courtesy HAAB, F 456, Weimar 116
3.17b Wilhelm Eytel, The Holy Angels as Servants before God’s Throne, woodcut after Moritz Retzsch but deleting Mephistopheles, in Das ärgerliche Leben und schreckliche Ende des vielberüchtigten Erz-Schwarzkünstlers Johannis Fausti, new edition decorated with 16 woodcuts (Reutlingen: Kurtz, 1834), 54. Compare with Retzsch’s pl. 1, Fig. 5.1. Courtesy HAAB, F 456, Weimar 117
3.18 Unique compound volume, with (right) Henry Moses’s English engraving copied after Retzsch entitled Mephistopheles Leaves Rich Ornaments in Margaret’s Chamber, and (left) two pages from the 1816 Faust pocket edition by Cotta carefully cut and inlaid (pp. 179 and 180). Courtesy HAAB, F gr 5276, Weimar 118
4.1 Charles Murton, black calf binding with rich gilt decorations showing Faust in his study with the poodle. The bound volume coalesces Extracts from Göthe’s Tragedy of Faustus, Explanatory of the Plates, by Retsch, Intended to Illustrate that Work. Translated by George Soane (London: Printed for J. H. Bohte, 1820) and Umrisse zu Goethe’s Faust, gezeichnet von Retsch (Stuttgart & Tübingen: Cotta, 1820). Pages inlaid to create a uniform objet. Courtesy Beinecke, Yale University, Speck Ck99 R3 +820b 130
4.2 Albrecht Dürer, Saint Jerome in his Study, 1514, engraving, 24.6 × 18.7 cm. BnF Est., Réserve CA-4 (+, 4)-Boîte Ecu, Paris 131
4.3 Moritz Retzsch, Faust’s study with the poodle monstrously growing, Umrisse zu Goethe’s Faust gezeichnet von Retsch (Stuttgart & Tübingen: Cotta, 1816), pl. 3. Courtesy HAAB, F 3487, Weimar 132
4.4a–c Thomas Frognall Dibdin, A Bibliographical, Antiquarian and Picturesque Tour in France and Germany (London: Printed for the Author by W. Bulmer and W. Nicol, Shakspeare Press, 1821), 3:122–27. Three openings with woodcuts by John Byfield reproducing Dibdin’s cutouts as set in his commentary. Courtesy Beinecke, Yale University, X350 +821 (3) 134–35
5.1 Moritz Retzsch, Prologue in Heaven, Umrisse zu Goethe’s Faust gezeichnet von Retsch (Stuttgart & Tübingen: Cotta, 1816), pl. 1. Courtesy HAAB, F 3487, Weimar 141
5.2 Henry Moses, Introduction, engraved copy after Moritz Retzsch, in Retsch’s Series of Twenty-Six Outlines, Illustrative of Goethe’s Tragedy of Faust (London: Boosey & Sons, Rodwell and Martin, 1820), pl. 1. Courtesy HAAB, F gr 5785, Weimar 142
5.3 John Flaxman, Il sol degli angeli or Circle of Angels around the Sun, outline drawing engraved by Tommaso Piroli after Dante’s Paradise, canto 10. La Divina Commedia di Dante Alighieri (Rome, 1802), pl. 10. BnF Est., Ta-32-4, Paris 143
5.4 (top) Henry Moses, Faust and Mephistopheles in the Witch’s Cave, engraved copy after Moritz Retzsch, in Retsch’s Series of Twenty-Six Outlines, Illustrative of Goethe’s Tragedy of Faust (London: Boosey & Sons, Rodwell and Martin, 1820), pl. 6; (bottom) Moritz Retzsch, The witch’s kitchen, Umrisse zu Goethe’s Faust gezeichnet von Retsch (Stuttgart & Tübingen: Cotta, 1816), pl. 6. Courtesy HAAB, F gr 5785 and F 3487, Weimar 144
5.5 Henry Füssli, The Night Mare (Le Cauchemar), 1782, coloured etching and stippled engraving. BnF Est., Ca18C-1 (Füssli, Johann Heinrich)-Fol, Paris 145
5.6 Henry Moses, The Witches’ Revel, engraved copy after Moritz Retzsch, in Retsch’s Series of Twenty-Six Outlines, Illustrative of Goethe’s Tragedy of Faust (London: Boosey & Sons, Rodwell and Martin, 1820), pl. 22. Courtesy HAAB, F gr 5785, Weimar 146
5.7 Moritz Retzsch, Walpurgis Night, Umrisse zu Goethe’s Faust gezeichnet von Retsch (Stuttgart & Tübingen: Cotta, 1816), pl. 22. Courtesy HAAB, F 3487, Weimar 147
5.8 Peter Cornelius, Prelude in the Theatre, with the Painter’s Dedication, in XII Bilder zu Göthe’s Faust gezeichnet von Peter von Cornelius (Frankfurt am Main: Johann Friedrich Wenner, n.d.), pl. 2. Courtesy Beinecke, Yale University, Folio Speck Ck99 C7 816 150
5.9 Henry Moses, Frontispiece, outline etching after Peter Cornelius facing the title-page, with the inscription “Drawn and Engraved by Henry Moses,” in Faustus: from the German of Goethe (London: Boosey and Sons, Rodwell & Martin, 1821). Courtesy Beinecke, Yale University, Speck Ck99 R3 +821 Copy 1 151
5.10a Circular ornament with vignettes after Moritz Retzsch, pasted on petrol-green paper boards, Faustus: from the German of Goethe (London: Boosey and Sons, Rodwell & Martin, 1821). Courtesy HAAB, F gr 5288, Weimar 152
5.10b Circular ornament inserted between half title and frontispiece, in Faustus: from the German of Goethe (London: Boosey and Sons, Rodwell & Martin, 1821). Exemplar owned in turn by C. Wood, Amos Niven Wilder, American poet, minister and theology professor, and his bother, the novelist and playwright Thornton Niven Wilder. Courtesy Beinecke, Yale University, Speck Zab W 6445+Zz 821 G 153
5.11a–c Kinetic effect in Faustus: From the German of Goethe. Embellished with Retsch’s Series of Twenty-Seven Outlines, Illustrative of the Tragedy, Engraved by Henry Moses. Third edition (London: Boosey and Sons, 1824), plates inserted between pp. 30–31. Courtesy Beinecke, Yale University, Speck Ck99 R3 +824 155
5.12 Title-page of Faustus: From the German of Goethe. Embellished with Retsch’s Series of Twenty-Seven Outlines, Illustrative of the Tragedy, Engraved by Henry Moses. Third edition (London: Boosey and Sons, 1824). Courtesy Beinecke, Yale University, Speck Ck99 R3 +824 158
5.13 Title-page of Faustus: From the German of Goethe. Embellished with Retsch’s Series of Twenty-Seven Outlines, Illustrative of the Tragedy, Engraved by Henry Moses. New edition. And An Appendix Containing the May-Day Night Scene Translated by Percy Bysshe Shelley (London: Edward Lumley, 1832). With “The Kiss” plate mounted as frontispiece. Courtesy HAAB, F 3495, Weimar 158
5.14 Moritz Retzsch, Faust and Mephistopheles ascend the Brocken, Umrisse zu Goethe’s Faust gezeichnet von Retsch (Stuttgart & Tübingen: Cotta, 1816), pl. 21. Courtesy HAAB, F 3487, Weimar 159
5.15 Mephistopheles Obtains from God Permission to Tempt Faustus, lithographic copy after Moritz Retzsch, in Faustus: Illustrated in Twenty-Six Outlines by Retsch (London: H. Berthoud, 1825), pl. 1. Courtesy HAAB, F 3496, Weimar 160
5.16 Faustus with the Dog in the Cabinet, lithographic copy after Moritz Retzsch, in Faustus: Illustrated in Twenty-Six Outlines by Retsch (London: H. Berthoud, 1825), pl. 3. Courtesy HAAB, F 3496, Weimar 161
5.17 (top) Pictorial pink cover by John Berryman for Retzsch’s Outlines to Goethe’s Faust, Adapted to Illustrate Any Edition of FAUST, But Particularly the Translation of Lord F. L. Gower to Whom They Are Most Respectfully Dedicated (London: James Bulcock, 1827; (bottom) Moritz Retzsch, The witch’s kitchen, Umrisse zu Goethe’s Faust gezeichnet von Retsch (Stuttgart & Tübingen: Cotta, 1816), pl. 7. Courtesy Beinecke, Yale University, Speck Ck99 R3 +827b; and: courtesy HAAB, F 348 7, Weimar 164
5.18 Johann Wilhelm Frey, six vignettes after Moritz Retzsch, cover and title leaf of Faust: dramatisch Dichtstuk van Goethe. Nagevolgd door H. Frijlink. Met een zestal schetsen, naar teekeningen van Moritz Retzsch (Amsterdam: Frijlink / Spin, 1865). Courtesy HAAB, F 3988, Weimar 165
5.19 Green commercial binding with gilt pictorial title for Goethe’s Faust by Retzsch, Engraved by Henry Moses (London: Tilt and Bogue, 1843). Courtesy Beinecke, Yale University, Speck Ck99 R3 +843 171
5.20 Green commercial binding with gilt pictorial title for Illustrations of Goethe’s Faust by Moritz Retzsch, Engraved by Henry Moses (London: Tilt and Bogue, 1843). Courtesy HAAB, F 3477, Weimar 171
5.21 John Leighton, decorative spine design, industrial cloth binding for both parts of Faust: A Tragedy, by J. Wolfgang von Goethe. Translated into English Verse by J. Birch, Esq. (London: Black and Armstrong, 1839; Chapman and Hall, 1843). Courtesy Beinecke, Yale University, Speck Rc37 +c839 172
5.22 Moritz Retzsch, outline engraving from Faust II, in Umrisse zu Goethe’s Faust, erster und zweiter Theil. Erster Theil neun und zwanzig Platten. Zweiter Theil elf Platten gezeichnet von Moritz Retzsch (Stuttgart: Cotta, 1836), pl. 10. Courtesy HAAB, F 3479 Weimar 173
5.23 Bookplates of Robert Hoe III and gift of James Laughlin, front pastedown of Faust: A Tragedy, by J. Wolfgang von Goethe. Translated into English Verse by J. Birch, Esq. (London: Black and Armstrong, 1839; Chapman and Hall, 1843). Courtesy Beinecke, Yale University, Speck Rc37 +c839 174
6.1a–b Eugène Delacroix, freehand copies of Moritz Retzsch’s outline engravings, pl. 16 (Margaret at the spinning wheel), pl. 18 (woman, cathedral scene), pl. 11 (Margaret admiring the jewels) and pl. 12 (proffering her arm to Martha). ML, RF 10215 recto and verso. Courtesy RMN GP, photo © Michèle Bellot 177
6.2 Eugène Delacroix, freehand copies of Margaret (pl. 13), Martha (pl. 12, 13, 14), and a lady from the cathedral scene (pl. 18, visible rotating the image 180°) by Moritz Retzsch. ML, RF 10340, courtesy RMN GP, photo © Michèle Bellot 178
6.3 Eugène Delacroix, early sketches for Goethe’s Faust after Moritz Retzsch, c.1821, pencil on wove paper, 19.6 × 30.8 cm. HAM / FM, 1929.308, Gift of Dr. Charles L. Kuhn, photo President and Fellows of Harvard College 178
6.4 Pinéas, Faust signe le pacte avec Méphistophélés, engraved copy of Moritz Retzsch’s pl. 4 used as frontispiece to Nerval’s translation, in Faust: Tragédie de Goëthe, nouvelle traduction complète, en prose et en vers, par Gérard (Paris: Dondey-Dupré, 1828). BnF, Réserve 8-Re-13257, Paris 181
6.5 Jean-Baptiste Muret, Méphistophélès obtient de Dieu la permission de tenter Faust, lithographic copy of Moritz Retzsch’s pl. 1, in Faust (Paris: Auvray, n.d. [1824]). BnF, 8-RIC-71, Paris 182
6.6 Jean-Baptiste Muret, Marguerite dans sa chambre, lithographic copy of Moritz Retzsch’s pl. 9, in Faust (Paris: Auvray, n.d. [1824]), to compare with Fig. 9.6. BnF, 8-RIC-71, Paris 183
6.7a–b Front and back orange paper covers of Nerval’s translation advertising Muret’s second edition by Auvray Frères. Faust: Tragédie de Goëthe, nouvelle traduction complète, en prose et en vers, par Gérard (Paris: Dondey-Dupré, 1828). BnF, Réserve 8-Re-1325, Paris 185
6.8 Faust. Vingt-six gravures d’après les dessins de Retzsch, second and third edition with the Voïart preface (Paris: Audot, 1828 and 1829). BnF, Paris, author’s photograph 186
6.9 Anonymous eye-catching Audot cover to Faust. Vingt-six gravures d’après les dessins de Retsch (Paris: Audot, 1828). BnF, 8-RIC-2, Paris 187
6.10 Trueb, engraved copy of pl. 1 after Moritz Retzsch replacing God by beaming rays, in Faust. Vingt-six gravures d’après les dessins de Retsch (Paris: Audot, 1828). BnF, 8-RIC-2, Paris 190
6.11 Être suprême, Peuple souverain, République française, coloured engraved print, 41.5 × 51.5 cm (À Paris: chez Basset, [c.1794]). De Vinck, 6288. BnF, Réserve QB-370 (46)-Ft 4, Paris 191
6.12 Etched title-page in Faust: Esquisses dessinées par Retsch (Paris: Giard, 1830). Courtesy Beinecke, Yale University, Speck Ck99 R3 +830b Copy 1 192
6.13 Cover for the Giard edition, lithographed by Alphonse Bichebois, 18.5 × 25 cm. BMO, Estampes scènes Faust (23), Paris 193
6.14 Spine with four interlocked double Ls surmounted by a count’s crown between raised bands. Courtesy Beinecke, Yale University, Speck Ck99 R3 +830b Copy 1 194
6.15a–b Trial lithograph and etching to best render Moritz Retzsch’s outlines, after plates 23 (Faust accusing Mephistopheles) and 16 (Gretchen at the spinning wheel) in the Laborde exemplar. Courtesy Beinecke, Yale University, Speck Ck99 R3 +830b Copy 1 196
6.16a–b Two versions of Goethe’s portrait by Delacroix, lithographed by Dominique Vincent (later Meulenbergh) and by the Williaume brothers, in Faust: Tragédie Ornée de 26 Gravures, d’un Beau Portrait de l’auteur, et accompagnée de notes de M. de Goëthe. Traduite par M. A. Stapfer (Bruxelles: Librairie Romantique / Weissenbruch, 1828). Courtesy HAAB, G 349 and F 3858, Weimar 199
6.17 Acht Umrisse zu den merkwürdigsten Scenen Faust’s gezeichnet von M. Retzsch, c.27.5 × 18 cm, eight outlines after Moritz Retzsch for Faust I and II as synoptic frontispiece for various editions of Goethe’s works (Paris: Baudry, 1840s and 1850s). BnF & BMO, Estampes scènes Faust (14), Paris 202
6.18 Four woodcuts after Moritz Retzsch, in Faust par Wolfgang Goethe: Traduit de l’allemand par Gérard de Nerval, précédé de la légende populaire de Johann Faust, l’un des inventeurs de l’imprimerie, illustré de jolies vignettes par Éd. Frère (Paris: J. Bry aîné, 1850), 12–13. Courtesy HAAB, F gr 5293, Weimar 204
6.19 Anonymous vignette of Margaret undoing her hair in “Abend” after Moritz Retzsch, in Goethe, Faust: Avec introduction, notes et commentaires par P. Labatut, third edition (Paris: Masson, 1951), 168–69. Courtesy HAAB, N 10700, Weimar 205
6.20 Tony Johannot, Mephistopheles (after Moritz Retzsch) between Faust and Margaret in the prison scene, in Le Faust de Goethe: Traduction revue et complète, précédée d’un essai sur Goethe par M. Henri Blaze. Édition illustrée par M. Tony Johannot (Paris: Dutertre, 1847), insert engraving facing p. 192. BnF, Rés. M-Yh-2, Paris 207
6.21 Martha adorns Margaret with the jewels. Two images cut out and mounted by Achille Devéria opposite the corresponding Faust passage: (left) Muret’s lithographic copy after Moritz Retzsch and (right) Johann Heinrich Ramberg’s rendition of the scene engraved by J. Axmann (Minerva: Taschenbuch, 1828). BnF Est., Tb-55 (C)-Pet. fol., Paris 209
6.22 Unsigned cover for Goethe, Faust: Traduction de Gérard de Nerval (Paris: Librairie Gründ, 1938), republished within “La Bibliothèque précieuse” series. After Retzsch’s pl. 14 (garden scene) following Édouard Frère’s version. Author’s collection and file 210
7.1 Moritz Retzsch, Faust and Gretchen on a bench with eavesdropper Mephistopheles, Umrisse zu Goethe’s Faust, erster Theil. Gezeichnet von Moritz Retzsch. Von dem Verfasser selbst retouchirt und mit einigen neuen Platten vermehrt (Stuttgart & Tübingen: J. G. Cotta, 1834), insert pl. 19. Courtesy HAAB, F 3478, Weimar 214
7.2 Moritz Retzsch, Faust and Gretchen on a bench, stipple engraved by [Friedrich] Wagner, Kupfersammlung zu Göthe’s sämmtlichen Werken in vierzig Blättern (Leipzig: Fleischer, 1829–34), plate meant for vol. 12 of the Ausgabe letzter Hand. Courtesy HAAB, F 3469, Weimar 215
7.3a Moritz Retzsch, Umrisse zu Schiller’s Lied von der Glocke: nebst Andeutungen von Moritz Retzsch (Stuttgart & Tübingen: J. G. Cotta, 1833), pl. 19. Courtesy HAAB, Bh 66, Weimar 216
7.3b Charles Heath, The German Lovers, engraved after Moritz Retzsch, 22 × 15.2 cm, in The Keepsake for 1835, ed. by Frederic Mansel Reynolds (London: Longman, Rees, Orme, Brown, Green, and Longman; Paris: Rittner and Goupil; Berlin: A. Asher, 1835), insert plate between pp. 168–69. NYPL, New York 217
7.4 Faust and Gretchen kissing, signed and dated “G. R. 1822,” ink drawing lifted from Moritz Retzsch’s pl. 15, 38 × 16.9 cm. FDH, Frankfurter Goethe-Museum, III-10749, Frankfurt 218
7.5 Sheet of tracing paper with pencil copies of four Gretchen scenes and other outlines after Moritz Retzsch, n.d., 30 × 21.2 cm. FDH, Frankfurter Goethe-Museum, VIIId-kI, no. 14847, Frankfurt 219
7.6 (top) Ronald Ross, Faust and Mephistopheles smoking pipes, drawing lifted from Moritz Retzsch’s pl. 7. From Ross landscape sketchbook in half leather, post 1872, 13.2 × 25.8 cm; (bottom) Moritz Retzsch, In the witch’s kitchen, Umrisse zu Goethe’s Faust gezeichnet von Retsch (Stuttgart & Tübingen: Cotta, 1816), pl. 7. Courtesy LSHTM, Gb 0809/Ross/158, © Ross Family / LSHTM, and: Courtesy HAAB, F 348 7, Weimar 222
7.7 (top) Ronald Ross, Mephistopheles sitting in a landscape, lifted from Moritz Retzsch’s pl. 6. From Ross landscape sketchbook in half leather, post 1872, 13.2 × 25.8 cm; (bottom) Moritz Retzsch, The witch’s kitchen, Umrisse zu Goethe’s Faust gezeichnet von Retsch (Stuttgart & Tübingen: Cotta, 1816), pl. 6. LSHTM, Gb 0809/Ross/158, © Ross Family / LSHTM, and: Courtesy HAAB, F 348 7, Weimar 223
7.8 John Massey Wright after Moritz Retzsch, The Kiss, engraved by W. Humphreys, in The Literary Souvenir; or, Cabinet of Poetry and Romance, ed. Alaric A. Watts (London: Hurst, Robinson Co., 1826), insert plate between pp. 280-81. BnF, Z-33733, Paris 225
7.9 John Massey Wright after Moritz Retzsch, The Decision of the Flower, engraved by Charles Heath, used as frontispiece in The Literary Souvenir; or, Cabinet of Poetry and Romance, ed. Alaric A. Watts (London: Hurst, Robinson Co., 1825). BnF, Z-33732, Paris 225
7.10 Alexandre Colin, Faust and Margaret in the garden in troubadour style, lithographic print cut out and mounted by Achille Devéria in his Faust compendium. BnF Est., Tb-55 (C)-Pet. fol., Paris 226
7.11 Nicolas Maurin, Marguerite consulte une fleur pour savoir si elle est aimée de Faust, lithographic print cut out and mounted by Achille Devéria in his Faust compendium. BnF Est., Tb-55 (C)-Pet. fol., Paris 228
7.12 Édouard Robert, La Décision de la fleur, reverse lithographic print after Moritz Retzsch, cut out and mounted by Achille Devéria in his Faust compendium. BnF Est., Tb-55 (C)-Pet. fol., Paris 229
7.13 Friedrich August Zimmermann after Moritz Retzsch, Scene from Goethe’s Faust. Gretchen: “He loves me, he loves me not,” lithograph, n.d., 35.5 × 49 cm, printed by G. Braunsdorf, published by Eduard Pietzsch and Co., Dresden. Courtesy HAAB, F gr 5822 (1), Weimar 230
7.14 Karl Müller after Moritz Retzsch, Scene from Goethe’s Faust. Gretchen: “He loves me, he loves me not,” lithograph, n.d., 37.5 × 43.5 cm, printed by Carl Pohl and published by Eduard Pietsch [sic] and Co., Dresden. Courtesy HAAB, F gr 5822 (4), Weimar 230
7.15 Heinrich Ferdinand Grünewald after Moritz Retzsch, Scene from Goethe’s Faust. Gretchen: “He loves me, he loves me not,” lithograph, n.d., 43 × 50 cm, printed in Grünewald’s establishment. Courtesy HAAB, F gr 8052 [a] (39), Weimar 230
7.16 Unknown artist, embossed colour postcard after Goethe’s garden scene, posted [19]07, 14 × 9 cm. Courtesy Faust-Museum, Moosmann Collection, Ill. 568, Knittlingen 231
7.17 Moritz Retzsch, Faust and Gretchen kissing, Umrisse zu Goethe’s Faust gezeichnet von Retsch (Stuttgart & Tübingen: Cotta, 1816), pl. 15. Courtesy HAAB, F 3487, Weimar 232
7.18 Four prints on Faust and Margaret (three of their embrace) cut out and mounted post 1847 by Achille Devéria in his Faust compendium opposite the corresponding passage. BnF Est., Tb-55 (C)-Pet. fol., Paris 234
7.19 Nicolas Maurin, Réunis dans un pavillon du jardin, Faust reçoit de Marguerite l’aveu du plus sincère amour, lithographic print, n.d., cut out and mounted by Achille Devéria in his Faust compendium. BnF Est., Tb-55 (C)-Pet. fol., Paris 235
7.20 Friedrich Zimmermann after Retzsch, Scene from Goethe’s Faust. Gretchen: “Dearest of men, I love thee from my heart!” lithograph, n.d., 35 × 50 cm, published by Eduard Pietzsch and Co., Dresden. Courtesy HAAB, F gr 5822 (7), Weimar 236
7.21a Édouard Schuler after Moritz Retzsch, Faust and Gretchen, engraving, 1837, 12.5 × 19.5 cm, cut out by Alexander Tille, provenance unknown. Courtesy HAAB, F gr 8052 [b] (8), Weimar 237
7.21b After Moritz Retzsch and following Édouard Schuler, Faust and Gretchen, steel engraving, post 1849, Album aus der Damenzeitung Iris, engraved and printed by the Art Institute of the Austrian Lloyd, published by E. Ludwig in Graz. Available in Paris and Vienna. Courtesy Peter-Christian Wegner 237
7.22 Carl Friedrich Patzschke after Moritz Retzsch, “Dearest of men, I love thee from my heart!” coloured lithographic copy, c.1880, 27 × 29 cm, printed in Berlin by L. Zöllner and commercialized by C. G. Ende. Courtesy HAAB, F gr 5822 (8), Weimar 238
7.23 Édouard Frère after Moritz Retzsch, Quelle céleste image se montre dans ce miroir magique!, woodcut by François Rouget, (enlarged) detail vignette of Faust contemplating the magic-mirror woman, in Faust par Wolfgang Goethe: Traduit de l’allemand par Gérard de Nerval (Paris: J. Bry aîné, 1850), 12b. Courtesy HAAB, F gr 5293, Weimar 243
7.24a Édouard Frère after Moritz Retzsch, two woodcuts by François Rouget, in Faust par Wolfgang Goethe: Traduit de l’allemand par Gérard de Nerval (Paris: J. Bry aîné, 1850), 24–25. Courtesy HAAB, F gr 5293, Weimar 244
7.24b Édouard Frère after Moritz Retzsch, four woodcuts by François Rouget, in Faust par Wolfgang Goethe: Traduit de l’allemand par Gérard de Nerval (Paris: J. Bry aîné, 1850), 34–35. Courtesy HAAB, F gr 5293, Weimar 244
7.25 Édouard Frère, front-page scene after Retzsch and series header, in Faust par Wolfgang Goethe: Traduit de l’allemand par Gérard de Nerval (Paris: J. Bry aîné, 1850), 1. Courtesy HAAB, F gr 5293, Weimar 245
7.26 Gaston Jourdain, photogravure by J. Chauvet, in Le Faust de Goethe, traduction de Gérard de Nerval, préface de M. Frantz-Jourdain, illustrations inédites de Gaston Jourdain (Paris: Imprimé pour la Société de Propagation des Livres d’Art, 1904), insert plate 8, between pp. 60–61, telling detail of frogs after Moritz Retzsch (cf. Fig. 2.18–19). BnF, Rés. M-Yh-4, Paris 246
7.27 (top) Eugène Delacroix, lithograph, in Faust, tragédie de M. de Goethe, traduite en français par M. Albert Stapfer (À Paris: Ch. Motte & Sautelet, 1828), insert plate between p. 72–73; (bottom) Moritz Retzsch, Faust meeting Gretchen, Umrisse zu Goethe’s Faust gezeichnet von Retsch (Stuttgart & Tübingen: Cotta, 1816), pl. 8. BnF, Rés.-Yh-17, Paris, and: Courtesy HAAB, F 3487, Weimar 248
7.28 Francesco Hayez, Il Bacio. Episodio della giovinezza. Costumi del secolo XIV, oil on canvas, 1859, 112 × 88 cm, first version. Courtesy Pinacoteca di Brera, Milan 249
7.29 Francesco Hayez, Il Bacio, oil on canvas, 1861, 127 × 95 cm, second version, private coll. All rights reserved 251
7.30 Francesco Hayez, Il Bacio, oil on canvas, 1867, 116.8 × 80 cm, third version, private coll. All rights reserved 251
7.31a Federico Seneca, Baci: ciocolato Perugina, in Tavole di Federico Seneca con prefazione di Leonardo Borgese (n.p.: Edizioni Vendre, n.d. [c.1950]). Courtesy Paola Pallottino 252
7.31b Present-day display of Baci Perugina in Venice airport. Author’s photograph 10 June 2022 253
8.1a Alfred Crowquill, Faust Sees Margaret for the First Time, in Faust: A Serio-Comic Poem with Twelve Outline Illustrations (London: B. B. King, 1834), large paper edition, pl. 5. Courtesy Beinecke, Yale University, Speck Sg8a F6 +834b 256
8.1b Alfred Crowquill, Margaret Refuses to Leave the Prison, in Faust: A Serio-Comic Poem with Twelve Outline Illustrations (London: B. B. King, 1834), large paper edition, pl. 12. Courtesy Beinecke, Yale University, Speck Sg8a F6 +834b 256
8.2 Alfred Crowquill, “The German in an English dress,” in Faust: A Serio-Comic Poem with Twelve Outline Illustrations (London: B. B. King, 1834), p. viii (author’s portrait-signature). Courtesy Beinecke, Yale University, Speck Sg8a F6 +834b 259
8.3a Alfred Crowquill, Margaret Admiring the Present Left by the Devil, standard version, in Faust: A Serio-Comic Poem with Twelve Outline Illustrations (London: B. B. King, 1834), pl. 6. Courtesy HAAB, F 3487, Weimar 260
8.3b Alfred Crowquill, Margaret Admiring the Present Left by the Devil, coloured version, in Faust: A Serio-Comic Poem with Twelve Outline Illustrations (London: B. B. King, 1834), pl. 6. Courtesy Beinecke, Yale University, Speck Sg8a F6 +834b 260
8.4 Moritz Retzsch, Faust blaming Mephistopheles, Umrisse zu Goethe’s Faust gezeichnet von Retsch (Stuttgart & Tübingen: Cotta, 1816), pl. 23. Courtesy HAAB, F 3487, Weimar 263
8.5 Alfred Crowquill, Faust Hears that Margaret is in Prison, in Faust: A Serio-Comic Poem with Twelve Outline Illustrations (London: B. B. King, 1834), pl. 11. Courtesy HAAB, F 3482, Weimar 263
8.6 Alfred Crowquill, Faust Signs Over his Soul to the Devil, in Faust: A Serio-Comic Poem with Twelve Outline Illustrations (London: B. B. King, 1834), pl. 1. Courtesy HAAB, F 3482, Weimar 265
8.7 Mephistopheles: Nur eins! Um Lebens oder Sterbens willen. Bitt’ich nur ein Paar Zeilen aus, in Bilder zu Goethes Faust von Anselmus Lachgern (Leipzig: C. F. Doerffling, 1841), pl. 1. Courtesy HAAB, F 3467, Weimar 265
8.8 Bilder zu Goethes Faust von Anselmus Lachgern (Leipzig: C. F. Doerffling, 1841), front cover. Courtesy HAAB, F 3467, Weimar 266
8.9 Bilder zu Goethes Faust von Anselmus Lachgern (Leipzig: C. F. Doerffling, 1841), back cover. Courtesy HAAB, F 3467, Weimar 267
9.1 Moritz Retzsch, Cathedral scene, Umrisse zu Goethe’s Faust gezeichnet von Retsch (Stuttgart & Tübingen: Cotta, 1816), pl. 18. Courtesy HAAB, F 3487, Weimar 271
9.2 August and Moritz Retzsch, Home theatricals, ink and wash coloured drawing, 1800, in Weinbergs Scenen, aus dem Leben der beiden Brüder August und Moritz Retzsch. SKK, Inv. Nr. ca 53 v 74, Dresden, photo Caterina Micksch 272
9.3 (top) Johann Wolfgang von Goethe, Prologue in Heaven, pen and ink drawing, c.1811, 21.5 × 33.4 cm; (bottom) Moritz Retzsch, Prologue in Heaven, Umrisse zu Goethe’s Faust gezeichnet von Retsch (Stuttgart & Tübingen: Cotta, 1816), pl. 1. Courtesy SWK, Weimar; and: Courtesy HAAB, F 3487, Weimar 275
9.4 (top) Johann Wolfgang von Goethe, Conjuring the Poodle, pen-and-ink drawing, wash, c.1811, 29.9 × 20 cm; (bottom) Moritz Retzsch, Faust’s study with the poodle monstrously growing, Umrisse zu Goethe’s Faust gezeichnet von Retsch (Stuttgart & Tübingen: Cotta, 1816), pl. 3. Courtesy SWK, Weimar; and: Courtesy HAAB, F 3487, Weimar 276
9.5 Karl Friedrich Schinkel, Margaret’s Chamber, 1820, décor design after Moritz Retzsch, watercolour over preliminary drawing, graphite and compass on vellum, 23.5 × 36.3 cm. © Staatliche Museen zu Berlin, Kupferstichkabinett, SM 22d.95, Berlin 278
9.6 Moritz Retzsch, Margaret in her chamber, Umrisse zu Goethe’s Faust gezeichnet von Retsch (Stuttgart & Tübingen: Cotta, 1816), pl. 9. Courtesy HAAB, F 3487, Weimar 278
9.7 Peter Cornelius, Scene in the Prison. End of the Tragedy, in XII Bilder zu Göthe’s Faust gezeichnet von Peter von Cornelius (Frankfurt am Main: Johann Friedrich Wenner, n.d.), pl. 12. Courtesy Beinecke, Folio Speck Ck99 C7 816, Yale University 280
9.8 Moritz Retzsch, Margaret in the prison, Umrisse zu Goethe’s Faust gezeichnet von Retsch (Stuttgart & Tübingen: Cotta, 1816), pl. 25. Courtesy HAAB, F 3487, Weimar 282
9.9 Louise Bertin, Ultima scena di Fausto/Dernière Scène de Faust, Composée et Arrangée pour le Piano-Forte (Paris: Maurice Schlesinger, [c.1831]), scroll cover with illustration after Moritz Retzsch. Courtesy HAAB, F 5598, Weimar 283
9.10 Édouard Despléchin, stage set for Gounod’s Faust, 5, 4 after Moritz Retzsch, 1859, pen, watercolour and gouache highlights on blue cardboard, 26.8 × 40 cm. BnF, Esq. Desplechin-5, Paris 284
9.11 (top) Joseph Thierry, Faust and Mephistopheles Riding in front of the Montfaucon Gallows, 1866, oil on canvas, 95 × 125 cm, previously design for the stage curtain of Gounod’s Faust, 5, 1, [1859]; (bottom) Moritz Retzsch, Faust and Mephistopheles galloping past the Rabenstein, Umrisse zu Goethe’s Faust gezeichnet von Retsch (Stuttgart & Tübingen: Cotta, 1816), pl. 24. BMO, Paris; and: Courtesy HAAB, F 3487, Weimar 285
9.12 Meyerheim, I’d give a deal if I could say who was that gentleman today!, 29.8 × 40.2 cm, in Scenen aus Goethes Faust in acht lithographirten Bildern (Berlin: Zum ausschliesslichen Debit in Commission bei T. Trautwein, [1835]), pl. 7. Drawing of the room after a sketch by Prince Ferdinand Radziwill, the figure by Biermann. Faust-Museum, Moosmann Collection, B 70, Knittlingen, photo Christopher Stead 289
9.13 Mr. Terry as Mephistopheles the Devil in “Faustus,” portrait print, undated (c.1825). Harvard, Houghton Library, MS Thr 933, Box 3 292
9.14 Actress Julie Gley as Margaret in a costume by Philipp von Stubenrauch, Hofburgtheater, 29 May 1839, Vienna. © KHM-Museumsverband, Theatermuseum, HZ HM805, Vienna 293
9.15 Cäcilie Brand, Herr und Madame Schütz (als Faust und Gretchen), print, n.d., various formats. Courtesy HAAB, F gr 5748 (18), Weimar 294
9.16 Maleuvre, I would never dare to adorn myself with all these jewels, showing Marie Dorval as Margaret, coloured etching, c.1828, 23 × 14.5 cm, published by Hautecœur. BnF, 4-Ico Cos-1 (7,637), Paris 295
9.17 Moritz Retzsch, The wine prodigy at Auerbach’s tavern, coloured version, n.d., 15.2 × 19.8 cm. Umrisse zu Goethe’s Faust gezeichnet von Retsch (Stuttgart & Tübingen: Cotta, 1816), pl. 5. FDH, Frankfurter Goethe-Museum, III-13102, Frankfurt 296
9.18 John Bernard Partridge, Mr Irving in the character of Mephistopheles, watercolour, pencil and ink on paper, c.1885, 31 × 20.5 cm. © V&A, Gabrielle Enthoven Collection, S. 321–2011, London 300
9.19 John Bernard Partridge, Irving as Mephistopheles in the witch’s kitchen, print of proof sketch, dated 24 April 1894, 18.1 × 13 cm. Illustration to A Student of Goethenburg, “On Faust,” Punch; or, The London Charivari, CVI (28 Apr 1894): 193, with the caption Betting Mephistopheles; or, The Magic Ring-Man. © V&A, Theatre Collection, S. 3766–2013, London 300
9.20 Phil May, Henry Irving as Mephistopheles in Faust, colour print, c.1885–88, 24.5 × 32.5 cm. © V&A, Gabrielle Enthoven Collection, S. 965–2017, London 301
9.21a–b Hergé, Coke en stock (Bruxelles: Casterman, 1958), 39, vignettes A3 and C3. © Hergé-Tintinimaginatio 2023 302
10.1 Gabriel Max, “Es ist ein Zauberbild, ist leblos, ein Idol,” in Faust-Illustrationen von Gabriel Max: Zehn Zeichnungen, in Holz geschnitten von R[ichard] Brend’amour und W. Hecht (Berlin: G. Grote, 1880), pl. 10. Courtesy HAAB, F gr 5768, Weimar 312
10.2 Phiz (Hablôt Knight Browne), I make the acquaintance of Miss Mowcher, etching, final plate C, Dec 1849, 12.8 × 10.78 cm, in Charles Dickens, David Copperfield, Ch. XXII, “Some Old Scenes, and Some New People.” Author’s collection and file 314
10.3 Moritz Retzsch, Garden scene, Umrisse zu Goethe’s Faust gezeichnet von Retsch (Stuttgart & Tübingen: Cotta, 1816), pl. 14. Courtesy HAAB, F 3487, Weimar 315
10.4 Phiz (Hablôt Knight Browne), I make the acquaintance of Miss Mowcher, pencil and crayon sketch A with extra sketches, added to the original edition of Dickens, The Personal History of David Copperfield (London: Bradbury and Evans, 1850), copy 9, facing p. 232. NYPL, Berg Collection 316
10.5 Phiz (Hablôt Knight Browne), original illustration for I make the acquaintance of Miss Mowcher, version B of the final plate, graphite on paper, image 13 × 10 cm. Courtesy Rare Book Department, Elkins-Copperfield cdc389917, Free Library of Philadelphia 317
10.6 Moritz Retzsch, Martha adorns Margaret with the jewels, Umrisse zu Goethe’s Faust gezeichnet von Retsch (Stuttgart & Tübingen: Cotta, 1816), pl. 12. Courtesy HAAB, F 3487, Weimar 320
11.1a Corolla and calyx of Lord Byron’s rose given to Catharine Potter Stith, 3 × 3 cm, dried and pressed between two sheets of glass in painted wood frame 38 × 36 × 4 cm. Courtesy Beinecke, YCGL MSS 54 (Art), Yale University 326
11.1b Lord Byron’s rose under the cracked glass pane. Courtesy Beinecke, YCGL MSS 54 (Art), Yale University 326
11.2 Henry Moses, The Decision of the Flower, engraved copy after Moritz Retzsch, in Retsch’s Series of Twenty-Six Outlines, Illustrative of Goethe’s Tragedy of Faust (London: Boosey & Sons, Rodwell and Martin, 1820), pl. 14. Courtesy HAAB, F gr 5785, Weimar 328
11.3 Henry Moses, Margaret Meets Faust in the Summer House, engraved copy after Moritz Retzsch, in Retsch’s Series of Twenty-Six Outlines, Illustrative of Goethe’s Tragedy of Faust (London: Boosey & Sons, Rodwell and Martin, 1820), pl. 15. Courtesy HAAB, F gr 5785, Weimar 328
11.4 Käthe Kollwitz, Gretchen, 1899, line etching, dry point, aquatint and burnisher, green-black on Japanese paper, 26.7 × 21 cm, Knesebeck 45 IV. Cologne, © Käthe Kollwitz Museum Köln 331
12.1 Königliche Porzellan-Manufaktur (KPM), eight of the twelve surviving painted and gilded plates with scenes after Moritz Retzsch’s outlines, 1822. FPPGBB, Inv. Nr. XII 10069–10080, Berlin, photo Wolfgang Pfauder 335
12.2 Königliche Porzellan-Manufaktur (KPM), twenty-four painted and gilded plates with scenes after Moritz Retzsch’s outlines, 1822–23. FDH, Frankfurter Goethe-Museum, IV-2021-001, Frankfurt, permission of Adolf and Luisa Haeuser Foundation 336–37
12.3 Unmarked china plate, painted and signed by G. Koch, Mephistopheles lulls Faust to sleep after Moritz Retzsch’s outline, c.1850–60, diameter 22.6 cm. Courtesy Peter-Christian Wegner collection 339
12.4 Meissen pipe bowl, c.1820?, Faust and Margaret in the garden scene with Martha and Mephistopheles passing, painted after Moritz Retzsch, framed in gold, 12.1 cm, Berlin form. Courtesy Detlev Dauer collection D2152 341
12.5a KPM pipe bowl, c.1830–40, with Margaret and Faust kissing and Mephistopheles spying, painted after Moritz Retzsch, framed in gold. Courtesy Peter-Christian Wegner collection 342
12.5b KPM pipe bowl, c.1830–40, hinged ornate lid, with Margaret and Faust kissing and Mephistopheles spying, painted after Moritz Retzsch, framed in gold, 13.7 cm, Berlin form. Courtesy Detlev Dauer collection D2479 343
12.6a Julius Nisle, outline of Faust and Margaret kissing in the garden combining two outlines by Moritz Retzsch, in Göthe-Gallerie: Stahlstiche zu Göthe’s Meisterwerken nach Zeichnungen von Julius Nisle, 4th fasc., Faust, erster Theil (Stuttgart: Literatur-Comptoir, [June 1840]), pl. 15, steel engraved and printed by W. Pobuda. Courtesy HAAB, F 3337 (d), Weimar 344
12.6b Sepia painted Nathusius pipe bowl framed in gold, Margaret and Faust kissing in garden approached by Mephistopheles, 1840, 14.5 cm, Berlin form, with Faust quote and friendship inscription. Courtesy Detlev Dauer collection D1133 345
12.7 Jacob Petit (attributed to), five-sided veilleuse théière, French, 19th century. Faust and Gretchen in the garden scene after Moritz Retzsch. Courtesy Blair Museum of Lithophanes, acc. no. 2512, Toledo, Ohio 348
12.8 Kretzschmar, Bösenberg & Co., commercial postcard advertising candle screens, Dresden, 19th century, picturing screen with Faust and Margaret after Moritz Retzsch. Courtesy Archives of Blair Museum of Lithophanes, Toledo, Ohio 349
12.9 Woburn window, large oak frame (213.36 × 91.44 × 16.51 cm) with a mosaic of 1834–41 acquired lithophanes in brass grids. Lithophane of Faust and Margaret’s “Kiss” after Moritz Retzsch featuring under the Vesuvius eruption. Private coll., image courtesy Andrew Cook 350
12.10 Tin showcase figurines, Faust and Margaret on bench, Mephistopheles eavesdropping, after Retzsch’s 1834 insert plate 19 (cf. Fig. 7.1), produced by Werner Fechner, July 1979. Author’s coll., photo Christopher Stead 351
12.11 Cover printed in red, picturing Faust, Margaret, Martha and Mephistopheles in the garden scene after Moritz Retzsch, Goethe’s Faust Translated by J. Birch (Lancashire, St. Helen’s: Published by T. Beecham, [1886]). Courtesy HAAB, F 7665, Weimar 353
12.12 Last page of Goethe’s Faust in black and advertisement of Beecham’s Cough Pills in red, in Goethe’s Faust Translated by J. Birch (Lancashire, St. Helen’s: Published by T. Beecham, [1886]). Courtesy HAAB, F 7665, Weimar 353