The back of the left arm which does duty for the right arm is shewn in Plate 10, Page 26.
[Illustration: Plate X. The Back of the Left Arm, from Plate VIII]
Every tailor will admit that this is not and cannot be the front of the right arm, but is, without possibility of doubt, the back of the left arm.
[Illustration: Plate XI. The Front of the Left Arm, from Plate VIII]
[Illustration: (not included in list of plates) The Front of Left Arm. From Plate VIII. The Back of Left Arm From Plate VIII. Arranged Tailor fashion, shoulder to shoulder, as in the Gentleman's Tailor Magazine, April, 1911]
Plate 11 shews the front of the left arm, and you at once perceive that you are no longer looking at the back of the coat but at the front of the coat.
[Illustration: Plate XII. The [Mask] Head, from the [so-called] Portrait, by Droeshout, in the 1623 Folio]
Now in Plate 12, Page 32, you see the mask, especially note that the ear is a mask ear and stands out curiously; note also how distinct the line shewing the edge of the mask appears. Perhaps the reader will perceive this more clearly if he turns the page upside down.
[Illustration: Plate XIII. Sir Nicholas Bacon, from the Painting by Zucchero]
Plate 13, Page 33, depicts a real face, that of Sir Nicholas Bacon, eldest son of the Lord Keeper, from a contemporary portrait by Zucchero, lately in the Duke of Fife's Collection. This shews by contrast the difference between the portrait of a living man, and the drawing of a lifeless mask with the double line from ear to chin. Again examine Plates 8, Pages 20, 21, the complete portrait in the folio. The reader having seen the separate portions, will, I trust, be able now to perceive that this portrait is correctly characterised as cunningly composed of two left arms and a mask.