Year: 1873

TO critic and 10 hafterer stopped are.


Mark how my neglect do dispense


S m 70 he won Dsadsy n %y ssea dead


1.-THE impression which vulgar scandal stamped
upon his brow" and which the love and pity OF
his friend were claimed to nll'' mark the word y
was nnqgestionably the ugly cash reproduced in
the Won KesSelstadt mask.


WAS II THE vEsTIGE OF DIsEAsEs


AS several who have seen the American mask
the vestige OF loathsome disease, from It's loca-
ton and general nature, all that it win be heces-
every surgeon who mas Inspected It has certified it
to be quite destitute OF any features susceptible or
such construction.


agreeaby to the order OF the National Portrait
Society OF England, 1t presented very nottled
OF the forehead particularly was cracked a
good deal, and evinced not only the rayages which
time had s0wn, but the inferior talent that mad
hoped to retrieve the effect OF ignorance by mis-
chiev0us curtallment. Two scars had evidently
face the other, somewhat removed from it, being
more toward the centre OF the forehead. The
last occupied the same position as the scar visible
In the Won kesselstadt mask. This was the one
TAYLOR painted In the beginning, but was ultimately
obliged to obllterate. Being q poor draughtsman
their natural situation in the head in such a
bungiing manner as to require him to make an ad-
dition to the side OF the forehead to hide his
blunder and lend some harmony to the
parts. In doing this he was compelled, as matter
OF course, to conceal the scar he had previously



conform with the now changed form. OF the face.
This he placed close to the side OF the forehead In
the progress Of time IT was also effaced, from q
cause since forgotten; 30 that simply the spots,
where the scars once were, are the only indications
that remain OF their 1ormer presence In the
Chandos. But the spots are corroborative OF their
having been really in that portrait OF Shakespeare
and attest that the poet had surely such blem-
ish, and that, consequently. the Won Kesselstadt
features.


A SLIGHT SCRATCH.


In the photographs OF the Won Kesselstadt mask
in the possession OF Mr.. Page the traces Of another
scar on the forehead can be very easily seen.
It must have been fully three inches In
length. 1t runs IN transverse direction, COM
mencing over the left temple near the scalp, and
ending about the centre Of the forehead. 1t is
jury-nothing but scalp wound the bone remain
ing unhurL That Shakespeare mad o number OF
such wounds about his person one would naturally
infer from what has been said on the subject by
himself. He tell us, In his sixty-second sonnet


But w .nS % shows w,


Mine own selt-loye quite contrary read,


Sell SO selfloving were iniQuity.


From the scars Of which some mention has been
made we can very well Judge that he had been in
deed 'Beated and chopped" and could aptly say
from experience, He Jests at scars that never felt
q wound.n Doubtless he was no mean hand In
rencounters with the sword. But whether he
would quarrel with a man for cracking nuts hav-
ing no other reason but because he had hazel
Veyes, is another question, though, what eye but
such an eye would spy out such quarrelfo


All these vouchers OF the authenticity OF the Won





and nave too important bearing on the mask Of
the poet just finished In New York for any apology
to be offered here for the space they have filled in
their recital or what slight interruption they may
have caused TO the direct history OF the work
proper


The American mask is about two feet long, and
were figure of propOrti0nate size made for it the
whole would stand seventeen feet high. Never
was there so wonderfully expressive and majestic
face as this. In 1t nothing is omitted; nothing is
made out BY negation. The veins, the wrinkles in
skin, the smallest part cognizable to the naked
eye, are gwen there with the same ease and exact
ness, with the same prominence and the same sub
ordination, that they would be cast from nature
t. e., in nature itself. Alternate action and repose
are admirably displayed in IL. Now the lids seem
inger on the lips now again the face is grave and
meditative. There 10 q harmony, unity OF spirit.
diffused throughout the wondrous mass, and every
part OF It, which Is the glory OF It, 1t has the iree-
dom. the variety, the stamp Of nature. There Is
no ostentaton, NO Stiffness over r-labored nish-
ing. Every part Is In Its place and degree and
It is an Extremely conscious face. 1t il not the
countenance OF one in death nor yet OF one who
sleeps. It is that OF man who has but closed his
eyes recall the checkered panorama OF his life.
As that passes before him In review the quickly
The mans face becomes an index to his past ca
reer. Each successive event OF happiness or Of
that ed some portion Of Il s stamped
fes experience there they are, In their rich har-
. vest OF memories.





TO HIS IMMORTALITY.


1t 10 evident this lightning OF the mind has LETT
some blight and blackening behind it, for, with
no very great stretch OF the imagination, we see
the eyes open with proud nash. In defiance OF the
scorpions sting" and we hear those lips ding
back taunt to the shadow Of the past:-
Se Tssse the KssS rym.
sSs sas @
When wasteiu war va! !t shall statues overturn
Nor Mars his sword, nor Warts quick fire shall burn
Tas af'sTS sna S all ySdr


N shs
n , n sSs this ws1d S 70 hs s9dns DOOM
You i've in THIS, and dwell in lovers eye.
7sssn na sn hence ws1a f :as
When WI n You o. entombed in me mems eyes shall lie.
NeR sys. So sa GO


Ana ss ofae s s
You still shall live such virtue hat hath Z my X penn


IT'S soLEMNITY.


Some have spoken Of the s0lemnity OF the face I;
more OF its gentleness. But In reality 1t is simply
mirror to each I'm mans mind; HIS eye &c follows IKE
be, and all he Is, as they rise and nit here and
there like will.o' wisps; yet, unlike them, they
tempered astrtna ~ exclaims he, with Harley
LEstrange. There is q 'pervadlng presence" to
the mask that produces the impression OF Its being
Q flesh and blood reality, not q mere counterfeit
presen ntment. over all there Is thrown the light,
the glow OF consciousness.


ITS RESEMBLANCE TO THE OLD PORTRAITS.
As poor as the DrOeshout, the Chandos and the
Sratford bust are from an artistic point OF view, "
Is yet a curious study to trace the resemblances
dissimilar in each. The Droeshout and the bust
verify the pr0minency OF the chin. The
Chandos and the print give the broad eyelids; but
The maker Of the bust (he does not deserve the
name OF arttst imagining the sad. solemn express