We should rather believe in hin
friend Ben Iversoa's estimate of ils
value given in charming lines print
ted seven years after Shakespeare's
death. So we accept thisDroeshant
portrait. Richard Grant White, the
acute American critic, thinks that
the Feiton portrait, which was not
known 'til 1792, has a remarkable
likeness to b-ith the Stratford b'ast
and the Droeshant print. It inti
mates the light hazel eyes, the au
burn hair and beard, the fdr com
plexion, the dress of the Stratford
monumental bust. (This bust ii will
be reme nbered was originally color
ed alter life.) It ha3 a sweet, grave,
sensitive face, "with a serene obser
vant eye, and a mouth almost pad,
but capable of smiles bright as son
light," and looks to m like an ideal
ized form suggested by the Droe
shant and the bust. I bought at the
poets reputed house in Stratford a
copy of a picture preserved there,
known as the Stratford or birth-place
portrait, that more nearly resembles
the features of the bust, a more
youthful appearance being given by
the art which renders the open eye
It is before the club for examination
The Chandor portrait has been late
ly etched by a celebrated aitist,
r lameng. urant wnue long years
ago rejected it; but alter h-vm
ing passed from the Chand.or to the
Bndgewater collection, it appears
on the walls ot the JNauonal Portrait
Gallery of London. They tra-je it
back to Betterton, thsac'or who per
mitted it to be engraved m 1709 No
evidence hat it is genuine has been
adduced, save that it is supposed to
have belonged io Sir iluam Dave
naut. No testimony of Daventut,
k furnished us, and if it had been
given, this Chandor picture is unlike
either the Droeshaut or the Feiton;
ear-rmged, i ull-bearded, heavy
eyed, the upper lip singularly differ
ent ironi otner -representations in
being very short, while in others it
is exceptionally long. 