Ranelagh Barret to Trinity College, Cambridge, and
other copies are attributed to Sir Joshua Reynolds and Ozias Humphrey
(1783). It was engraved by George Vertue in 1719 for Pope's edition
(1725), and often later, one of the best engravings being by Vandergucht.
A good lithograph from a tracing by Sir George Scharf was published by
the trustees of the National Portrait Gallery in 1864. The Baroness
Burdett-Coutts purchased in 1875 a portrait of similar type, which is
said, somewhat doubtfully, to have belonged to John lord Lumley, who died
in 1609, and to have formed part of a collection of portraits of the
great men of his day at his house, Lumley Castle, Durham. Its early
history is not positively authenticated, and it may well be an early copy
of the Chandos portrait. The 'Lumley' painting was finely
chromo-lithographed in 1863 by Vincent Brooks.

The 'Jansen' portrait.

The so-called 'Jansen' or Janssens portrait, which belongs to Lady
Guendolen Ramsden, daughter of the Duke of Somerset, and is now at her
residence at Bulstrode, was first doubtfully identified about 1770, when
in the possession of Charles Jennens. Janssens did not come to England
before Shakespeare's death. It is a fine portrait, but is unlike any
other that has been associated with the dramatist. An admirable
mezzotint by Richard Earlom was issued in 1811.

The 'Felton' portrait.

The 'Felton' portrait, a small head on a panel, with a high and very bald
forehead (belonging since 1873 to the Baroness Burdett-Coutts), was
purchased by S. Felton of Drayton, Shropshire, in 1792 of J. Wilson, the
owner of the Shakespeare Museum in Pall Mall; it bears a late
inscription, 'Gul. Shakespear 1597, R. B.' [_i.e._ Richard Burbage]. It
was engraved by Josiah Boydell for George Steevens in 1797, and by James
Neagle for Isaac Reed's edition in 1803. Fuseli declared it to be the
work of a Dutch artist, but the painters Romney and Lawrence regarded it
as of English workmanship of the sixteenth century. Steevens held that
it was the original picture whence both Droeshout and Marshall made their
engravings, but there are practically no points of resemblance between it
and the prints.

[Picture: Plaster-cast of bust of William Shakespeare]

The 'Soest' portrait.

The 'Soest' or 'Zoust' portrait--in the possession of Sir John
Lister-Kaye of the Grange, Wakefield--was in the collection of Thomas
Wright, painter, of Covent