Page:Dictionary of National Biography volume 51.djvu/395

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speare's death, and the portrait is only on fanciful grounds identified with the poet. A chalk drawing by Joseph Michael Wright [q. v.], obviously inspired by the Soest portrait, is the property of Sir Arthur Hodgson of Clopton House, and is on loan at the Memorial Gallery, Stratford.

A portrait inscribed ‘ætatis suæ 47, 1611,’ belonging to Clement Kingston of Ashbourne, Derbyshire, was engraved in mezzotint by G. F. Storm in 1846.

A miniature by Hilliard, at one time in the possession of William Somerville [q. v.] the poet, and now the property of Sir Stafford Northcote, bart., was engraved by Agar for vol. ii. of the ‘Variorum Shakespeare’ of 1821, and in Wivell's ‘Inquiry,’ 1827. Another miniature (called the ‘Auriol’ portrait), of doubtful authenticity, formerly belonged to Mr. Lumsden Propert, and a third is at Warwick Castle.

A bust, said to be of Shakespeare, was discovered in 1845 bricked up in a wall in Spode & Copeland's china warehouse in The Garrick Club bust.Lincoln's Inn Fields. The warehouse had been erected on the site of the Duke's Theatre, which was built by D'Avenant in 1660. The bust, which was believed to have adorned the proscenium of the Duke's Theatre, was acquired by William Clift [q. v.], from whom it passed to his son-in-law, Richard (afterwards Sir Richard) Owen. The latter sold it to the Duke of Devonshire, who presented it in 1851 to the Garrick Club, after having two copies made.

The Kesselstadt death-mask was discovered by Dr. Ludwig Becker in a rag-shop at Mayence in 1849. The features resemble those of an Alleged death-mask.alleged portrait of Shakespeare (dated 1637) which Dr. Becker purchased in 1847. This picture had long been in the possession of the family of Count Francis von Kesselstadt of Mayence, who died in 1843. Dr. Becker brought the mask and the picture to England in 1849, and Richard Owen supported the theory that the mask was taken from Shakespeare's face after death, and was the foundation of the bust in Stratford church. The mask is now the property of Dr. Ernest Becker (the discoverer's brother), and is at the ducal palace, Darmstadt. The features are singularly attractive; but the chain of evidence which would identify them with Shakespeare is incomplete.

In 1885 Mr. Walter Rogers Furness issued, at Philadelphia, a volume of composite portraits, combining the Droeshout engraving and the Stratford bust with the Chandos, Jansen, Felton, and Stratford portraits (James Boaden, Inquiry into various Pictures and Prints of Shakespeare, 1824; Abraham Wivell, Inquiry into Shakespeare's Portraits, 1827, with engravings by B. and W. Holl; George Scharf, Principal Portraits of Shakespeare, 1864; J. Hain Friswell, Life-portraits of Shakespeare, 1864; William Page, Study of Shakespeare's Portraits, 1876; Ingleby, Man and Book, 1877, pp. 84 seq.; J. Parker Norris, Portraits of Shakespeare, Philadelphia, 1885, with numerous plates; Illustrated Cat. of Portraits in Shakespeare's Memorial at Stratford, 1896).

A monument, the expenses of which were defrayed by public subscription, was set up in the Poets' Corner in Westminster Abbey in 1741. Later memorials.Pope and the Earl of Burlington were among the promoters. The design was by William Kent [q. v.], and the statue of Shakespeare was executed by Peter Scheemakers [q. v.] (cf. Gent. Mag. 1741, p. 105). Another statue was executed by Roubiliac for Garrick, who bequeathed it to the British Museum in 1779. A third statue is in Leicester Square, London; a fourth (by Mr. J. A. Q. Ward) was placed in 1882 in the Central Park, New York; a fifth, by M. Paul Fournier, was erected in Paris in 1888, at the expense of an English resident, Mr. W. Knighton; it stands at the point where the Avenue de Messine meets the boulevard Haussmann.

At Stratford, the Birthplace, which was acquired by the public in 1846 and converted into a museum, is, with Anne Hathaway's cottage (acquired by the Birthplace trustees in 1892), a place of pilgrimage for tourists from all parts of the globe. The 27,038 persons who visited it in 1896 represented over forty nationalities. The site of the demolished New Place, with the gardens, was also purchased by public subscription in 1861. Of a new memorial building on the river-bank at Stratford, consisting of a theatre, picture-gallery, and library, the foundation-stone was laid on 23 April 1877. The theatre was opened exactly two years later, when ‘Much Ado about Nothing’ was performed, with Helen Faucit (Lady Martin) as Beatrice and Barry Sullivan as Benedick. Performances of Shakespeare's plays have since been given annually during April. The library and picture-gallery were opened in 1881 (A History of the Shakespeare Memorial, Stratford-on-Avon, 1882; Illustrated Cat. of Pictures in the Shakespeare Memorial, 1896). A memorial Shakespeare library was opened at Birmingham on 23 April 1868 to commemorate the tercentenary of 1864, and, although destroyed by fire in 1879, was