that was ever write in brasse.
But, since he cannot, Reader, looke
Not on his Picture, but his Booke.

B.I.

A most attractive and instructive exhibition of reproductions of the
portraits of Shakespeare, or supposedly of him, was shown at the rooms
of the Grolier Club, April 6-29, 1916. The catalogue[28] embraces 436
numbers, illustrating all the principal types. The exhibition also
comprised the principal editions of the poet's plays, from the First
Folio of 1623 to the great Variorum Edition by Dr. Furness, begun in
1871.

[Footnote 28: Catalogue of an exhibition illustrative of the text of
Shakespeare's plays, as published in edited editions, together with a
large collection of engraved portraits of the poet. New York, The
Grolier Club, April 6-29, 1916, vi+114 pp.]

For the Tercentenary of Shakespeare's birth, celebrated in April,
1864, a special commemorative medal was struck in England, designed by
Mr. J. Moore. The obverse shows a profile head of the poet, in the
modelling of which the artist seems to have been chiefly influenced by
the Stratford bust. This fundamental type he has not unskilfully
combined with that of the Droeshout print in the First Folio, the
dome-like forehead being evidently suggested by the latter. The nose
is more accentuated than in the bust, and the mouth, though still
small, is somewhat firmer. Toward the edge of the field are disposed
the titles of his various works, as though radiating from the head,
and in the exergue is his signature, framed by a half-garland over
which extends a mace. The tribute offered to Shakespeare by the Muses,
figured on the reverse, is a rather stiff and conventional
composition.[29]

[Footnote 29: W. Sharp Ogden, "Shakspere's Portraits: painted, graven,
and medallic", in The British Numismatic Journal, and Proceedings of
The British Numismatic Society, 1910, London, 1911, pp. 143-198; see
p. 189.]

For those who may wish to see the original form of the passages
regarding precious stones in the text of the First Folio, of 1623, the
page and column references have been given here. In this text the
three sections into which the plays have been divided, Comedies,
Histories, and Tragedies, are separately paged; moreover, the
pagination offers a number of irregularities. _Troilus and Cressida_,
added at the end of the "Histories", has page numbers on a couple of
leaves neither connected with