Hitherto his career had been run outside the verge of chronicles. Its early stages left few direct records. They have to be pieced together by retrospective allusions proceeding from himself or others, after he had already risen. The difficulties of his biographers are not at an end when he has mounted into the full blaze of publicity. His name thenceforth was in a multitude of mouths; yet much in his character, position, and motives always remains shadowy and uncertain. His appearance at the time it was winning an entrance for him at Court can only be conjectured. He was tall and well-proportioned, with thick curly locks, beard, and mustache, full red lips, bluish-grey eyes, and the high forehead and long bold face, remarked in a contemporary epigram. Aubrey describes him by report similarly, with the addition that he was sour eye-lidded. His characteristic features, and the 'general aspect of ascendency,' were the same in youth and in later life. They are vividly represented by several extant portraits, by Zucchero's, somewhat wanting in repose and dignity, at Longleat; by another of Zucchero's, now in the National Gallery of Ireland, the original of the print in Sir Henry Ellis's collection of letters, representing Ralegh at forty-four, with a map of Cadiz; by that at Knole, from which Vertue's print in Oldys's Life probably was engraved; by that of 1588, formerly in Sir Carew Ralegh's house at Downton, and now in the National Portrait Gallery; by one belonging to Mr. J.D. Wingfield Digby; by one, dated 1618, in the possession of Mr. T.L. Thurlow; and by the best, in Mr. George Scharf's decisive judgment, the picture in possession of Sir John Farnaby Lennard, at Wickham Court, Kent. The last, the original of Houbraken's engraving, was painted in 1602 for the Carews of Beddington. Young Walter, then eight years old, stands by Ralegh's side, a handsome boy, richly dressed, with features, as they remained in later life, like his father's, and the same air of command. A picture, described as by Cornelius Janssen, sold at Christie's rooms in December, 1890, represents a visage worn and sombre, the hair on the head thin. As the artist's first commonly acknowledged portraits taken in England are dated 1618, the work, if by Janssen, must have been executed after Ralegh's second Guiana expedition, and might naturally exhibit these traits. There are also several contemporary miniatures, one, in particular, at Belvoir Castle. This is of especial interest, on account of the age inscribed, sixty-five, and the year, 1618, which imply a belief that he was born later than 1552. From the date, 1618, and the representation of a battle, on the companion miniature of young Walter, apparently by the same hand, it may be inferred that the portrait of the father was, as that of the son must have been, painted after the second voyage to Guiana. Probably, to judge from the combination of Lady Ralegh's and her husband's initials on the back, it was executed for her.