The bust represents its subject as possessing a magnificent head, admirably proportioned, with no protruding "bumps." The face is represented as breaking into a smile. According to this effigy, Shakespeare must have had an extraordinarily long upper lip, the distance between the base of the nose and the mouth being remarkably out of proportion with the other facial developments; there seems to be a little difficulty, too, about the chin, which is pulled out into what appears to be a sort of extra nose; but, nevertheless, the Stratford bust represents a fine, soldierly-looking man, with a fierce military mustache cocked up at the ends, and a goatee. If Ben Jonson--knowing his friend William Shakespeare to have been the martial and altogether elegant-looking gentleman the Stratford bust represents him--authorized the verses we have already quoted to be placed under the "Droe-shout engraving," it was a deliberate libel on his part, and as gross as it was deliberate, and only perhaps to {099}be explained by Jonson's alleged secret enmity to, or jealousy of, William Shakespeare, his rival playwright, which we shall be called to examine at length further on. * * Post Part III. The Jonsonian testimony. No. 5. "The Chandos Portrait." This picture, so termed because once the property of the Duke of Chandos, is the best known of all the so-called portraits--being, in fact, the one from which the popular idea of Shakespeare is derived; therefore, when a man is said to resemble Shakespeare, it is meant to be conveyed that he bears a likeness to the Chandos picture. Mr. Malone announced that it was painted in 1607, but never gave any other authority than his own ipse dixit for the statement, not even taking the trouble to refer, like Mr. J. Wilson, to "a man of fashion, whose name must be concealed." Mr. Boaden lays (page 42) that he once saw it, and compared it "with what had been termed a fine copy, I think by Piamberg, and found it utterly unlike."