No. 1. William Shakespeare dies in Stratford in 1616. In 1623, appears, on the title-page of Heminges and Condell's first folio of the plays, the portrait by Martin Droeshout. It is an engraving, and, Mr. Boaden believes, a good engraving, of some original picture from which it must have been taken; "for," he says, "there were good engravers in those days; for Chapman's 'Homer' was published in that year, with a very tine engraving of Chapman." Under this engraving is printed a copy of Jonson's lines, as follows: TO THE READER. ````This figure that thou here seest put, ```It was for gentle Shakespeare cut; ```Wherein the graver had a strife * ````With nature to outdo the life: ````O, could he but have drawn his wit ````As well in brasse as he hath hit ````His face: the print would then surpasse ````All that was ever done in brasse. ````But, since he can not, reader, look, ````Not on his picture, but his booke.= * Look, when a painter would surpasse the life, His art's with nature's handiwork at strife. Venus and Adonis. {095}In this picture the head of the subject is represented as rising out of an horizontal plain of collar appalling to behold. The hair is straight, combed down the sides of the face and bunched over the ears; the forehead is disproportionately high; the top of the head bald; the face has the wooden expression familiar in the Scotchmen and Indians used as signs by tobacconists' shops, accompanied by an idiotic stare that would be but a sorry advertisement for the humblest establishment in that trade; and which we would be quite as unlikely to look for in the Stratford scapegrace as in the immortal bard of the Shakespeareans. It is of this picture that Boaden quotes somebody's remark that "it is lucky these metrical commendations are not required to be delivered on oath." And Steevens says, on the supposition that Ben Jonson, and not the engraver, put the copy of verses on the title-page beneath the effigy: "Ben Jonson might know little about art, care less about the resemblance, and, never having compared the engraving from the picture, have rested satisfied with the recollection that the original was a faithful resemblance; and that, no doubt, the engraver had achieved all that his art could perform." No. 2. The edition of the plays of 1690 is accompanied with what is known as "Marshall's picture;" which so closely follows, as to face, forehead, hair, beard, and collar, the engraving above described, as to suggest that it was a copy either of that engraving, or of the unknown picture from which that was taken. But, if a copy, it is certainly, from a pictorial point of view, an improvement. It looks much more like a man. The simpleton stare around the eyes is toned down, and the wooden aspect is modified into some{096}thing like life. Marshall has taken liberties with the dress of No. 1, throwing