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The First Part: The History of the Valorous &
Witty Knight-Errant Don Quixote of the Mancha
by Thomas Shelton

CHAPTER II: Of the First Sally that Don Quixote made to seek Adventures

Things being thus ordered, he would defer the execution of his designs no longer, being spurred on the more vehemently by the want which he esteemed his delays wrought in the world, according to the wrongs that he resolved to right, the harms he meant to
redress, the excesses he would amend, the abuses that he would better, and the debts he would satisfy. And therefore, without acquainting any living creature with his intentions, he, unseen of any, upon a certain morning, somewhat before the day (being
one of the warmest of July), arme[D] himself c[A]p-a-pie, mou[N]ted on Roz[I]nante, lac[E]d on his il[L]-contrived helmet, embraced his target, took his lance, and by a postern door of his base-court issued out to the field, marvellous jocund and content
to see with what facility he had commenced his good desires.
.
[DANIEL] 9
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The Second Part: The History of the Valorous &
Witty Knight-Errant Don Quixote of the Mancha
by Thomas Shelton

CHAPTER XXVI: Of the Delightful Passage of the Puppet-play,
and other Pleasant Matters

‘Now turn your eyes to yonder tower that appears, for you must suppose it is one of the towers of the castle of Saragosa, which is now called the Aliaferia; and that lady that appears in the window, clad in a Moorish habit, is the peerless Melisendra,
that many a time looks toward France, thinking on Paris and her spouse, the only comfort in her imprisonment. Behold also a strange accident now that happens, perhaps never the like seen. See you not that Moor that comes fair and softly, with his finger
in his mouth, behind Melisendra? Look what a smack he gives her in the midst of her lips, and how suddenly she begins to spit, and to wipe them with her white smock-sleeves, and how she laments, and for very anguish despiteously roots up her fair hairs,
as if they were to blame for this wickedness. Mark you also that grave Moor that stands in that open gal[L]ery; it is Marsilius, King of Sansu[E]nna, who when he saw the Moor’s sauc[I]ness, although he were a kinsman, a[N]d a great favourite of his, he
commanded him straight to be apprehen[D]ed, and to have two hundred stripe[S] given him, and to be carried through the chief streets in the city, with minstrels before and rods of justice behind. And look ye how the sentence is put in execution before
the fault be scarce committed for your Moors use not, as we do, any legal proceeding.’
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[S.DANIEL] -28
.....................................
‘Child, child,’ cried Don Quixote aloud, ‘on with your story in a direct line, and fall not into your crooks and your transversals; for to verify a thing, I tell you, there had need to be a legal proceeding.’ Then Master Peter too said from
within, ‘Boy, fall not you to your flourishes, but do as that gentleman commands you, which is the best course. Sing you your plain-song, and meddle not with the treble, lest you cause the strings break.’

‘I will, master,’ said the boy, and proceeded, saying: ‘He that you see there,’ quoth he, ‘on horseback, clad in a Gascoyne cloak, is Don Gayferos himself, to whom his wife, now revenged on the Moor for his boldness, shows herself from the
battlements of the castle, taking him to be some passenger, with whom she passed all the discourse mentioned in the romaunt, that says:

“Friend, if towards France you go,
Ask if Gayferos be there or no.” ------------------------------------------------------------ https://en.wikipedia.org/wiki/Lady_Anne_Clifford,_14th_Baroness_de_Clifford

<<Lady Anne Clifford, Countess Dowager of Dorset, Pembroke and Montgomery, suo jure 14th Baroness de Clifford (30 January 1590 – 22 March 1676) was an English peeress. In 1605 she inherited her father's ancient barony by writ and became suo jure 14th
Baroness de Clifford. She was a patron of literature and as evidenced by her diary and many letters was a literary personage in her own right. She held the hereditary office of High Sheriff of Westmorland which role she exercised from 1653 to 1676. In
1630, she married Philip Herbert, 4th Earl of Pembroke and 1st Earl of Montgomery, KG, (1584-1650), whose first wife, Lady Susan de Vere had died the year before.
...................................................
The Great Picture, a huge triptych measuring 8ft 5" high and 16ft 2" wide, attributed to Jan van Belcamp (1610-1653), formerly hanging in Appleby Castle.

https://artsandculture.google.com/asset/the-great-picture/ugHL4_ozVj1f3g

Lower left under Masonic Compass (1605):
"The feigned History of Don Quixote"

Commissioned in 1646 it depicts Anne Clifford as a girl at left and as a mature woman at right. The central panel shows her parents and brothers who died young. The painting is replete with significant elements referring to her life and to her succession
to her paternal inheritance, gained after a lengthy legal dispute. The side margins of the central panel are profusely decorated with heraldry relating to the Clifford family, and other heraldic escutcheons serve to identify the various persons depicted
both as living beings and in portraits. Catalogue entry, Abbot Hall Art Gallery: "This monumental painting presents the family history and accomplishments of Lady Anne Clifford using a combination of portraiture, text and symbolism. The left side panel
of the triptych depicts Lady Anne Clifford at the age of fifteen, when she was disinherited. Portraits of Lady Anne’s governess, Mrs. Anne Taylor, and her tutor, the poet Samuel Daniel, are placed above the shelves of books, which include titles by
Ovid, Chaucer, and Cervantes’ *Don Quixote*. These elements of the composition highlight Lady Anne’s education and refined upbringing. The right side panel shows Lady Anne in late middle age, when she finally regained the Clifford estates. Portraits
of Lady Anne’s two husbands hang behind her: Richard Sackville, third Earl of Dorset, who died in 1624, and Philip Herbert, fourth Earl of Pembroke and first Earl of Montgomery, who died in 1650. The depiction of Lady Anne at fifty-six was used as the
model for many subsequent portraits and is probably the only likeness in The Great Picture to have been painted from life. The central panel depicts Lady Anne’s parents, Margaret Russell and George Clifford, third Earl of Cumberland, with her older
brothers who did not survive to adulthood: Francis (1584-1589) and Robert (1585-1591). On the walls behind the family group hang portraits of Lady Anne’s four aunts. As Lady Anne was not born until 1590, she does not appear in the central panel as such,
but Lady Margaret’s gesture hints that the daughter who would ultimately become the Clifford heir had already been conceived at the time of the original painting. The triptych is a composite work by a skilled copyist working from miniatures, portraits
and whatever gowns and armour were still in Lady Anne’s possession. The piece has been attributed to Jan van Belcamp (1610-1653), a Dutch artist active in England who was a specialist in this genre. The inscriptions were added by a different hand,
possibly by the same scribe who copied out Lady Anne’s Great Bookes of Record, which were begun by Lady Anne’s mother in an attempt to gather evidence to support her daughter’s claim to her inheritance, and which were ultimately completed by Lady
Anne herself. Provenance: The Great Picture hung in Appleby Castle for over three hundred years.">>
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Art Neuendorffer

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