physical proportions of the Droeshout figure harmonise better with a fine temperament and an intellectual head than the Stratford bust with Shakespeare’s mental activity.” [Sidenote: Halliwell-Phillipps’s _Outlines of the Life of Shakespeare_. *] “The exact time at which the monument was erected in the church” (_Stratford-on-Avon_) “is unknown, but it is alluded to by Leonard Digges as being there in the year 1623. The bust must, therefore, have been submitted to the approval of the Halls, who could hardly have been satisfied with a mere fanciful image. There is, however, no doubt that it was an authentic representation of the great dramatist, but it has unfortunately been so tampered with in modern times that much of the absorbing interest with which it would otherwise have been surrounded has evaporated. It was originally painted in imitation of life, the face and hands of the usual flesh colour, the eyes a light hazel, and the hair and beard auburn. The realisation of the costume was similarly attempted by the use of scarlet for the doublet, black for the loose gown, and white for the collar and wristbands.” [Sidenote: E. T. Craig’s _Portraits of Shakespeare_. *] “It only remains to examine the cast from the face of Shakespeare. The documentary statements published by Mr. Friswell tend to establish a claim to attention. It was left in the possession of Professor Owen by Dr. Becher, the enterprising botanist, who fell a victim to his zeal in the unfortunate Australian expedition under Burke. The cast, it appears, originally belonged to a German nobleman at the Court of James I., whose descendants kept it as an heirloom till the last of the race died, when his effects were sold. Mr. Friswell observes that ‘the cast bears some resemblance to the more refined portraits of the poet. It is not unlike the ideal head of Roubillac, and bears a very great resemblance to a fine portrait of the poet in the possession of Mr. Challis.’ It has some of the characteristics of Jansen’s portrait. The mask has a mournful aspect, and sensitive persons are affected when they look at it.... There are indications visible ... of wrinkles and ‘crow’s feet’ at the corners of the eyes. It is utterly destitute of the jovial physiognomy of the Stratford bust and portrait. It is certainly the impress from one who was gifted with great sensibility, great range of perceptive power, a ready memory, great facility of expression, varied power of enjoyment, and great depth of feeling. The year 1616, when Shakespeare died, is recorded on the back of the cast. Hairs of the moustache, eyelashes, and beard still adhere to the plaster, of a reddish brown or auburn colour, corresponding with several portraits and the Stratford bust.... The cast presents to view finely formed features, strongly marked, yet regular. The forehead is well developed in the region of the perceptive powers; but scarcely so high as the Droeshout, and the coronal region is much lower than in