Interesting how a cross between a Bodoni and a Scotch has a certain Baskerville aura!

But there's a lot of wonkiness here - too much conflict.
Figure out what this needs to be, not [just] where it's coming from.

hhp

A good start but needs refining. I have a bunch of nitpicks, please don't take them without a grain of salt.

--> The |s| looks to me to be a little off compared to the |S|.
--> I don't think the tail of the |Q| is quite working. Perhaps move it over to the center instead of having it drop off the left side?
--> The caps overall seem condensed compared to the lc. Was that intended?
--> The spacing, especially the lower case, seems a tad off. Maybe tighten it just a tad?
--> I would consider making the word spaces a thinner.
--> The right bottom serif of the |l| is shorter than the left, was that intended?
--> The |j| seems spaced a little tight on the right side compared to the rest.
--> The |r| has an especially large gap to it's right, maybe try something to fix that? You could: (a) condense it a little, (b) make the join a little lower, (c) lengthen the right bottom serif a tad. A combination of all three wouldn't hurt, depending on what you're going for.
--> The lower loop of the |g| is a wee bit off. Maybe a little too much towards a Garamond look. You might try looking at interesting type samples from near that era. Does anyone have some enticing examples? :-)
--> The tail of the |R| and the |g| missing an ear might be off.

It would be good to mention that every single part of each glyph can be manipulated to your benefit. Don't ever be afraid to think outside the box.

Don't give up! Love to see you continue with this.

A good start! I would encourage you to work on the consistency of the hairlines and serifs and stroke endings.

For the hairlines (especially on a Didone) they must all be the same thickness. From the crossbar on the "f" to the legs of the "N" and the top and bottom of rounded characters like the "O", go for a consistent thickness throughout.

The serifs and stroke endings should also be consistently rounded (like on the "E") or have the chiseled, straight-edged appearance of the rest of the serifs. Also, make sure the serifs appear to be about the same thickness as the hairlines. Right now they're a lot thinner looking.

Thanks everyone for the great feedback. I'll get to work on refining this with all the critiques in one.

Hrant - I was amazed too about the Baskerville spirit hiding in the hybrid. It wasn't what I was expecting, but I'm really happy that it creates something recognizable, but unexpected. I'll work on the wonkiness as things get ironed out.

Briän - Thanks for all the nit-picks. It's just what I needed. All the things you're talking about were unintended. The caps being condensed, the spacing overall (not nearly done and considered), and the everything else. The funny part is that it started as a slightly condensed design, but then I decided to normalize it. I guess it wasn't quite enough.

Joshua - Thanks for the insight on the Didone construction. That'll help decrease the wonkiness Hrant was mentioning.

I'm fairly new to this whole process, and I'll try anything that y'all have said. I'll report back by the end of the week. Thanks to all three, so much.