'Lumley' painting was finely chromo-lithographed in 1863 by Vincent Brooks. The 'Jansen' por. trait. The so-called 'Jansen' or Janssens portrait, which belongs to Lady Guendolen Ramsden, daughter of the Duke of Somerset, and is now at her residence at Bulstrode, was first doubtfully identified about 1770, when in the possession of Charles Jennens. Janssens did not come to England before Shakespeare's death. It is a fine portrait, but is unlike any other that has been associated with the dramatist. An admirable mezzotint by Richard Earlom was issued in 1811. The 'Felton' por The Felton' portrait, a small head on a panel, with a high and very bald forehead (belonging since 1873 to the Baroness Burdett-Coutts), was purchased by S. Felton of Drayton, Shropshire, trait. in 1792 of J. Wilson, the owner of the Shakespeare Museum in Pall Mall; it bears a late inscription, Gul. Shakespear 1597, R. B.' [i.e. Richard Burbage]. It was engraved by Josiah Boydell for George Steevens in 1797, and by James Neagle for Isaac Reed's edition in 1803. Fuseli declared it to be the work of a Dutch artist, but the painters Romney and Lawrence regarded it as of English workmanship of the sixteenth century. Steevens held that it was the original picture whence both Droeshout and Marshall made their engravings, but there are practically no points of resemblance between it and the prints. The 'Soest' or 'Zoust' portrait-in the possession of Sir John Lister-Kaye of the Grange, Wake The field-was in the collection of Thomas Wright, painter, of Covent Garden in 1725, when John Simon engraved it. Soest was born twenty-one years after Shakespeare's death, and the portrait is only on fanciful grounds identified with the poet. A chalk drawing by Joseph Michael Wright, obviously inspired by the Soest portrait, is the property of Sir Arthur Hodgson of Clopton House, and is on loan at the Memorial Gallery, Stratford. Miniatures. A well-executed miniature by Hilliard, at one time in the possession of William Somerville the poet, and now the property of Sir Stafford Northcote, bart., was engraved by Agar for vol. ii. of the Variorum Shakespeare' of 1821, and in Wivell's Inquiry,' 1827. It has little claim to attention as a portrait of the dramatist. Another miniature (called the Auriol ' portrait), of doubtful authenticity, formerly belonged to Mr. Lumsden Propert, and a third is at Warwick Castle. The Club bust. A bust, said to be of Shakespeare, was discovered in 1845 bricked up in a wall in Spode & Copeland's china warehouse in Lincoln's Inn Fields. The warehouse had been erected on the site of the Duke's Theatre, which was built by D'Avenant in 1660. The bust, which is of black terra cotta, and bears traces of Italian workmanship, is believed to have adorned the proscenium of the Duke's Theatre. It was acquired by the surgeon William Clift, from whom it passed to Clift's son-in-law, Richard (afterwards Sir Richard) Owen the naturalist. The latter sold it to the Duke of Devonshire, who presented it in 1851 to the Garrick Club, after having two copies made in plaster. One of these copies is now in the Shakespeare Memorial Gallery at Stratford, and from it an engraving has been made for reproduction in this volume. Alleged deathmask. The Kesselstadt death-mask was discovered by Dr. Ludwig Becker, librarian at the ducal palace at Darmstadt, in a rag-shop at Mayence in 1849. The features resemble those of an alleged portrait of Shakespeare (dated 1637) which Dr. Becker purchased in 1847. This picture had long been in the possession of the family of Count Francis von Kesselstadt of Mayence, who died in 1843. Dr. Becker brought the mask and the picture to England in 1849, and Richard Owen supported the theory that the mask was taken from Shakespeare's face after death, and was the foundation of the bust in Stratford Church. The mask was for a long time in Dr. Becker's private apartments at the ducal palace, Darmstadt.' The features are singularly attractive; but the chain of evidence which would identify them with Shakespeare is incomplete.2 It is now the property of Frau Oberst Becker, the discoverer's daughter-in-law, Darmstadt, Heidelbergerstrasse 111. 2 Some account of Shakespeare's portraits will be found in the following works: James Boaden, Inquiry into various Pictures and Prints of Shakespeare, 1824; Abraham Wivell, Inquiry into Shakespeare's Portraits, 1827, with engravings by B. and W. Holl; George Scharf, Principal Portraits of Shakespeare, 1864; J. Hain Friswell, Life-Portraits of Shakespeare, 1864; William Page, Study of Shakespeare's Portraits, 1876; Ingleby, Man and Book, 1877, pp. 84 seq.; J. Parker Norris, Portraits of Shakespeare, Philadelphia, 1885, with numerous plates; Illustrated Cat. of Portraits in Shakespeare's Memorial at |