The New York herald., 1873-11-10
rye6Ich tbs celebrated stratford bust-which pre-
caded it IN point Of time-was entirely destitute

THE DRoESH0UT PRINT.
The gpecfmen OF the Dr0eshout In the folio edition
OF 1873 at the Astor Library is much clearer than
several the writer has seen elsewhere. This Is,
p axe @ yes ns
grave exterior. and when that is said one has told
All. The stir run bristling about his neck; the
pomade; the best portion OF beard and mustache
shaved on. together with Droeshout's execrable
execution OF the whole make the print what IL has
frequently been called-.an abominabe libel on
humanity.n In spite Of the disagreeabe ensemble,
correspondence with the Chandos portrait and the
Strarford bust, both or which are certainly
genuine.
The eyes OF the Stratford bust are extremely poor
In character, the curves OF the lids having no
grace while the lids themselves are far from re-
sembling those natural to Shakespeare which were
unusually broad. This breadth 70 the eyeids did
0se that IN vas e nne 70 eye
widest extent. on the contrary, 1t was still
conspicuous. The eyes Of the bust have no pro-
portant feature being tame and superficial The
nose is curtaled, and the distance between 1t and
folio head and the Chandos Viewed In front, the
bust looks irregular and out OF drawing; yet DR..
markabe similarity between it and the engraving
from the FELTON, shakespeare.
Tne bust is q life size and was done mecnani-
its formed out OF block OF soft stone, and was
formerly painted over In imitation Of nature. The
hands and lace were OF 1esh color, the eyes OF
light hazel, and the naIr and beard auburn. The
dOublet or coat was scarlet and covered with
loose black gown, or taDard without sleeves; the
upper part OF the cushion upon which the hands
reposed was green, the under half crimson, and
In 1898 Malone had the figure painted over with
white paint, imagining he thereby improved 1t.
The result, In the Judgment OF others, was not
satisfactory, nor yet nattering to Mr.. Malones
THE cHANDos PORTRAIT
The ChandOs portrait recalls the Venetian style OF
painting frem its mellOwness and warmth. lt was
taken from lie when Shakespeare was about forty
81 s aa 1901
Hamlet, by his brother John, who pursued the art
OF portrait painting with some success in his day.
seventy, lett it by wlif to Sir willam Davenant,
Shakespeare's god-son,.a gentleman accounted
relationship to our dramatist-who, In TACT openly
declared himself the poets natural son. Its subse
death OF Davenant 1t was bought by Betterton,
the actor. It is supposed that Betterton vol
SrsG it up g. the shrine Of Mrs Ba
and the most charming Of actresses. She parted
with it for forty guineas. Mr. Keck, Of the Inner
ried the Marquis OF Oaernarvon
graved for Rowe's edition Of ssnakespeare.n
During its transit through these various hands
It was engraved first by vertue and then by Hou-
Il became the property Of the Duke Of Chandos
by marriage from whom It gained its name, and
Though superior as likeness to either the STRAIT
lord bust or the Droeshout print 1t has grave dis
ha osned sf ene
sion to the National Portrait Society OF England,
It's present proprietors. Desirous OF restoring it
to the condition IL was In prior to the perpetra
tion OF that act Of vandalism the Society placed it
With cleaners, who succeeded in removing its sin
then photographed It. None Of their photographs,
however, can now be procured.
print. and the Chandos portrait-were the only
really authentic representations or Shakespeare
known at large to the world before the year
1849, Notwithstanding that number OF portraits
more or less spurious unworthy, and by various
artists, were In existence.
Marshall's print was fanciful caricature Of the
JANsEN's PICTURE
Cornelius Jansen's picture was the portrait OF q
German, not OF an EngllEhman. The true express
sion Of the Shakespeare face he ignored substitute
ing instead look Of calm impenetrability suitable
nothing OF him who was at once human and thor
oughly English-human in weakness as well as in
lish in thought
SIR GODFREY xNELLER's PORTRAIT
| Sir Godfrey Kneller's portrait, painted for Dry
den, depicted Shakespeare, not as he actually was
1s na o given again snd IN the
e ana aAoq
animating it. But Sir Godfrey's materials were
incomplete inc: Ms could uI not ysry ven have given
THE ORIGIN OF THE AMERICAN MASK.
over two years ar &c., SgN distinguished l+ gentleman ian
only in mind such materials as the broeshout print,
forded Tor the composition Of the work. Finding,
afterwards, that Messrs. J. Q. A. Ward and Launt
c az OBJ
ject Of some speculation to them just then, on ac
count Of their Joint competition In furnishing .
erected in the Central Park, he promptly visited
their studios and examined what was indeed to
they had not suIclent data to settle the authen-
ITCHY OF the mask Mr.. Ward had availed himself OF
n TO certain extent IN the begin
laid 1t aside, long before his model was perfected
Finishing his picture for the gentleman mentioned
general character the Chandos portrait Mr.. Page
commenced the ndgnuna opus OF his life. He soon
diYersnt views view oi the INA mask, photograph
| OF the Chandos as made by the Arundel Society
and the information concerning Becker,s dlscov-
! cry &C., which has already been set forth. When
he had fairly entered upon his work the whole mat
| ter seemed more and more plausible-the authen-
| hout the Chandos ana the Stratford bust 1t was
no easy process to properly fill cavity after cavity
as onS @ we're wanting IN
vive them IN his own. Had Becker's mask happily
occupied his studio then much OF this trouble might
have been Obviated and the opportunity of termi-
mating his labor at an earlier day been given him.
1t was left for him to overcome these difficuties.
THE SCAR ON sHAKEsPEARE's FOREHEAD.
| One thing was somewhat puzzling. What at
nrst looked like blotch. on the right temple, he
decided to be- after carefully scrutnzing it, moth
| ing else than scar. Some one suggested that 1t
| might be merely cnp out OF the original mask,
| which the photograph had faithfully reproduced.
/ Several surgeons to whom 1t was submitted en-
phatically pronounced It wound. Their close in
vestigation positively assured them SO they main
| tanned, Of that fact. The bone had been
| injured, probably, by some very severe
accident, piece Of the skull being gone.
| The depth OF the indentatlon verified this
aggumDtiOu.
in life made the less noticeable than It is on
| the opaque surface OF the plaster mask. II was
| observed more, perhaps when the light struck
| through the skin. creating, as 1t must have
| done, . reddish or blush shadow OF the size
| and shape OF the cavity itself. But the con-
| cave surface Of the wax mould brought out the
bemish into unmistakable distlnctiveness, while
| the plaster mask taken from the wax one even
| more clearly defined 1t. Now, how came this
| scar upon the forehead OF shakespeare What