ADVERTISEMENT

ΤΟ

The Preface

OF

Mr. RICHARDSON'S PROPOSALS, &c.

1794.

"WHEN I said I would die a bachelor, (cries Benedict,) I did not think I should live till I were married." The present Editor of Shakspeare may urge a kindred apology in defence of an opinion hazarded in his Prefatory Advertisement; for when he declared his disbelief in the existence of a genuine likeness of our great Dramatick Writer, he most certainly did not suppose any Portrait of that description could have occurred, and much less that he himself should have been instrumental in producing it.* He is happy, however, to find he was mistaken in both his suppositions; and consequently, has done his utmost to promote the appearance of an accurate and finished Engraving from a Picture which had been, un

* See Mr. Richardson's Proposals, p. 11.

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ADVERTISEMENT TO THE PREFACE OF

faithfully, as well as poorly imitated by Droeshout and Marshall. *

Of the character repeatedly and deliberately bestowed by the same Editor on the first of these old engravers, not a single word will be retracted; for, if the judgment of experienced artists be of any value, the plate by Droeshout, now under consideration, has (in one instance at least) established his claim to the title of "a most abominable imitator of humanity."

Mr. Fuseli has pronounced, that the Portrait described in the proposals of Mr. Richardson,

"Martin Droeshout. One of the different engravers of the last century. He resided in England, and was employed by the booksellers. His portraits, which are the best part of his work, have nothing but their scarcity to recommend them. He engraved the head of Shakspeare, John Fox, the Martyrologist, John Howson, Bishop of Durham," &c.

Strutt's Dictionary of Engravers, Vol. 1. p. 264,

"William Marshall. He was one of those laborious artists whose engravings, were chiefly confined to the ornamenting of books. And, indeed, his patience and assiduity is all we can admire when we turn over his prints, which are prodigiously numerous. He worked with the graver only, but in a dry tasteless style; and from the similiarity which appears in the design of all his portraits, it is supposed that he worked from his own drawings after the life, though he did not add the words ad vivum, as was common upon such occasions. But if we grant this to be the case, the artist will acquire very little additional honour upon that account; for there is full as great a want of taste manifest in the design, as in the execution of his works on copper," &c. Ibid. Vol, II. p. 125.

was the work of a Flemish hand. It may also be observed, that the verses in praise of Droeshout's performance, were probably written as soon as they were bespoke, and before their author had found opportunity or inclination to compare the plate with its original. He might previously have known that the picture conveyed a just resemblance of Shakspeare; took it for granted that the copy would be exact; and, therefore, rashly assigned to the engraver a panegyrick which the painter had more immediately deserved. It is lucky, indeed, for those to whom metrical recommendations are necessary, that custom does not require they should be delivered upon oath.

It is likewise probable that Ben Jonson had no intimate acquaintance with the graphick art, and might not have been over-solicitous about the style in which Shakspeare's lineaments were transmitted to posterity,

G. S.

B

PREFACE

ΤΟ

Mr. RICHARDSON'S PROPOSALS, &c.

1794.

BEFORE the patronage of the publick is solicited in favour of a new engraving from the only genuine portrait of Shakspeare, it is proper that every circumstance relative to the discovery of it should be faithfully and circumstantially related.

On Friday, August 9, Mr. Richardson, Printseller, of Castle Street, Leicester Square, assured Mr. Steevens, that in the course of business having recently waited on Mr. Felton, of Curzon Street, May Fair, this gentleman showed him an ancient head resembling the portrait of Shakspeare, as engraved by Martin Droeshout in 1623.

Having frequently been misled by similar reports, founded on inaccuracy of observation or uncertainty of recollection, Mr. Steevens was desirous to see the Portrait itself, that the authenticity of it might be ascertained by a deliberate comparison with