Stronger objection applies to the "Boston Zuccaro" or "Joy portrait," now in Boston, U.S.A.—a picture with a not wholly con vincing pedigree, and tradition. It is in very fair condition and appears to be a good picture of the Flemish school; but the declar ation that it was found in the Globe Tavern which was frequented by Shakespeare and his associates must be held subject to the cir cumstance that no such tavern is known with any certainty ever to have existed.
The "Cosway Zuccaro" portrait is also in America; but the reproduction of it exists in England in the miniature by Cos way's pupil, Charlotte Jones, painted in 1823, as well as in the rare mezzotint by Hanna Greene. Somewhat resembling Shelley in caricature, it suggests an unusual portrait (if authentic) of Shakes peare. The inscription on the back, "Guglielm : Shakespear," with its mixture of Italian and English, resembles in wording and spell ing that adopted in the case of several pictures, the reliability of which is disputed. Wivell attributed it to Lucas Franchois.
Of the "Burdett-Coutts portrait" (the fourth interesting portrait of Shakespeare formerly the possession of the Baroness and then of Mr. Burdett-Coutts) there is no history whatever to record. The picture is admirably executed, but the face is weak and is the least satisfactory part of it. Shakespeare's shield, crest, with red mantling, and the figure "37" beneath it, appear on the back ground, in the manner adopted in 17th century portraits. From this picture the "Craven portrait" seems to have been derived.
Equally striking is the "Ashbourne portrait," well known through G. F. Storm's mezzotint of it. It is sometimes called the "Kingston portrait" as the first known owner of it was the Rev. Clement U. Kingston, who issued the engraving in 1847. It is an important three-quarter length, representing a refined, fair-haired Englishman, in black, standing beside a table at the corner of which is a skull whereon the figure rests his right forearm. It is an acceptable likeness of Shakespeare, in the manner of Paul von Somer. The inscription "ZETATIS SVAE. 47. A° 1611," and the suspect decoration of cross spears on a book held by the right hand, are also raised from the ground, so that it would be injudi cious to decide that these are not later additions. In 1928 it
passed into American possession.
More famous, but less reputable, is the "Stratford" or "Hunt portrait," in the Birthplace at Stratford. It had been in the Hunt family for many years and represented a black-bearded man. Collins, the picture cleaner, removed the top figure from the dilapidated canvas with spirit and found beneath it the painted version of the Stratford bust. Then Collins (always a suspect in this matter) proceeded with the restoration, and by treatment of the hair made the portrait more than ever like the bust ; and the picture thereupon was claimed to be the original from which the bust was made, although the style of the painting suggests a date not later than the latter half of the 18th century.
The "Duke of Leeds portrait," for many years at Hornby castle, but without a history, slightly recalls the Janssen por trait. There is nothing but the "wired band" to connect it with Shakespeare. Much the same may be said of the "Welcombe por trait," which was bought by Mark Phillips of Welcombe and came into the possession of the late Sir George Trevelyan. It is a fairly good picture, having some resemblance to the "Boston Zuccaro" with something of the Chandos. Two other portraits at the Shakespeare Memorial should be named : the "Venice por trait," which was bought in Paris and is said to have come from Venice, bearing on the back an Italian undecipherable inscription— it seems to have no connection with Shakespeare; and the "Jacob Tonson portrait," '735, which was probably executed for Tonson's 4th edition of Shakespeare, but not used.
The "Soest portrait" (often called Zoust or Zoest), formerly known as "the Douglas," the "Lister Kaye" or the "Clarges por trait," according to the owner of the moment, was for many years a public favourite, mainly through J. Simon's excellent mezzotint. Soest was not born until 1637, and according to Granger the pic ture was painted in Charles II.'s reign. A number of copies exist, two of which are at the Shakespeare Memorial.
Of the "Charlecote portrait," which was exhibited publicly at Stratford in 1896, the chief resemblance to Shakespeare lies in his baldness, and wired band. The fact that it was once in the pos session of the Rev. John Lucy lent it a sort of reputation, although he bought it in 1853.