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’s death in 1713 it was purchased for forty guineas by Robert Keck, a barrister of the Inner Temple. At length it reached the hands of one John Nichols, whose daughter married James Brydges, third duke of Chandos. In due time the Duke became the owner of the picture, and it subsequently passed, through Chandos’s daughter, to her husband, the first Duke of Buckingham and Chandos, whose son, the second Duke of Buckingham and Chandos, sold it with the rest of his effects at Stowe in 1848, when it was purchased by the Earl of Ellesmere. The latter presented it to the nation. Edward Capell many years before presented a copy by Ranelagh Barret to Trinity College, Cambridge, and other copies are attributed to Sir Joshua Reynolds and Ozias Humphrey (1783). It was engraved by George Vertue in 1719 for Pope’s edition (1725), and often later, one of the best engravings being by Vandergucht. A good lithograph from a tracing by Sir George Scharf was published by the trustees of the National Portrait Gallery in 1864. The Baroness Burdett-Coutts purchased in 1875 a portrait of similar type, which is said, somewhat doubtfully, to have belonged to John lord Lumley, who died in 1609, and to have formed part of a collection of portraits of the great men of his day at his house, Lumley Castle, Durham. Its early history is not positively authenticated, and it may well be an early copy of the Chandos portrait. The ‘Lumley’ painting was finely chromo-lithographed in 1863 by Vincent Brooks.

The ‘Jansen’ portrait.

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’ portrait.

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, 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’ portrait.

The ‘Soest’ or ‘Zoust’ portrait—in the possession of Sir John Lister-Kaye of the Grange, Wakefield—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 John 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 Garrick Club bust.

A bust, said to be of Shakespeare, was discovered in 1845 bricked up in a wall in Spode and 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