Much controversy has arisen over the spelling of the poet’s surname. It has been proved capable of four thousand variations. [284] The name of the poet’s father is entered sixty-six times in the council books of Stratford, and is spelt in sixteen ways. The commonest form is ‘Shaxpeare.’ Five autographs of the poet of undisputed authenticity are extant: his signature to the indenture relating to the purchase of the property in Blackfriars, dated March 10, 1612-13 (since 1841 in the Guildhall Library); his signature to the mortgage-deed relating to the same purchase, dated March 11, 1612-13 (since 1858 in the British Museum), and the three signatures on the three sheets of his will, dated March 25, 1615-16 (now at Somerset House). In all the signatures some of the letters are represented by recognised signs of abbreviation. The signature to the first document is ‘William Shakspere,’ though in all other portions of the deed the name is spelt ‘Shakespeare.’ The signature to the second
document has been interpreted both as Shakspere and Shakspeare. The ink of the first signature in the will has now faded almost beyond decipherment, but that it was ‘Shakspere’ may be inferred from the facsimile made by Steevens in 1776. The second and third signatures to the will, which are also somewhat difficult to decipher, have been read both as Shakspere and Shakspeare; but a close examination suggests that whatever the second signature may be, the third is ‘Shakespeare.’ Shakspere is the spelling of the alleged autograph in the British Museum copy of Florio’s ‘Montaigne,’ but the genuineness of that signature is disputable. [285] Shakespeare was the form adopted in the full signature appended to the dedicatory epistles of the ‘Venus and Adonis’ of 1593 and the ‘Lucrece’ of 1594, volumes which were produced under the poet’s supervision. It is the spelling adopted on the title-pages of the majority of contemporary editions of his works, whether or not produced under his supervision. It is adopted in almost all the published references to the poet during the seventeenth century. It appears in the grant of arms in 1596, in the license to the players of 1603, and in the text of all the legal documents relating to the poet’s property. The poet, like most of his contemporaries, acknowledged no finality on the subject. According to the best authority, he spelt his surname in two ways when signing his will. There is consequently
no good ground for abandoning the form Shakespeare, which is sanctioned by legal and literary custom. [286]
Shakespeare’s portraits. The Stratford bust. The ‘Stratford’ portrait.
Aubrey reported that Shakespeare was ‘a handsome well-shap’t man,’ but no portrait exists which can be said with absolute certainty to have been executed during his lifetime, although one has recently been discovered with a good claim to that distinction. Only two of the extant portraits are positively known to have been produced within a short period after his death. These are the bust in Stratford Church and the frontispiece to the folio of 1623. Each is an inartistic attempt at a posthumous likeness. There is considerable discrepancy between the two; their main points of resemblance are the baldness on the top of the head and the fulness of the hair about the ears. The bust was by Gerard Johnson or Janssen, who was a Dutch stonemason or tombmaker settled in Southwark. It was set up in the church before 1623, and is a rudely carved specimen of mortuary sculpture. There are marks about the forehead and ears which suggest that the face was fashioned from a death mask, but the workmanship is at all points clumsy. The round face and eyes present a heavy, unintellectual expression. The bust was originally coloured, but in 1793 Malone caused it to be whitewashed. In 1861 the whitewash was removed, and the colours, as far as traceable, restored. The eyes are light hazel, the hair and beard auburn. There
have been numberless reproductions, both engraved and photographic. It was first engraved—very imperfectly—for Rowe’s edition in 1709; then by Vertue for Pope’s edition of 1725; and by Gravelot for Hanmer’s edition in 1744. A good engraving by William Ward appeared in 1816. A phototype and a chromo-phototype, issued by the New Shakspere Society, are the best reproductions for the purposes of study. The pretentious painting known as the ‘Stratford’ portrait, and presented in 1867 by W. O. Hunt, town clerk of Stratford, to the Birthplace Museum, where it is very prominently displayed, was probably painted from the bust late in the eighteenth century; it lacks either historic or artistic interest.
Droeshout’s engraving.
The engraved portrait—nearly a half-length—which was printed on the title-page of the folio of 1623, was by Martin Droeshout. On the opposite page lines by Ben Jonson congratulate ‘the graver’ on having satisfactorily ‘hit’ the poet’s ‘face.’ Jonson’s testimony does no credit to his artistic discernment; the expression of countenance, which is very crudely rendered, is neither distinctive nor lifelike. The face is long and the forehead high; the top of the head is bald, but the hair falls in abundance over the ears. There is a scanty moustache and a thin tuft under the lower lip. A stiff and wide collar, projecting horizontally, conceals the neck. The coat is closely buttoned and elaborately bordered, especially at the shoulders. The dimensions of the head and face are disproportionately large as
compared with those of the body. In the unique proof copy which belonged to Halliwell-Phillipps (now with his collection in America) the tone is clearer than in the ordinary copies, and the shadows are less darkened by cross-hatching and coarse dotting. The engraver, Martin Droeshout, belonged to a Flemish family of painters and engravers long settled in London, where he was born in 1601. He was thus fifteen years old at the time of Shakespeare’s death in 1616, and it is consequently improbable that he had any personal knowledge of the dramatist. The engraving was doubtless produced by Droeshout very shortly before the publication of the First Folio in 1623, when he had completed his twenty-second year. It thus belongs to the outset of the engraver’s professional career, in which he never achieved extended practice or reputation. A copy of the Droeshout engraving, by William Marshall, was prefixed to Shakespeare’s ‘Poems’ in 1640, and William Faithorne made another copy for the frontispiece of the edition of ‘The Rape of Lucrece’ published in 1655.