modelling of which the artist seems to have been chiefly influenced by
the Stratford bust. This fundamental type he has not unskilfully
combined with that of the Droeshout print in the First Folio, the
dome-like forehead being evidently suggested by the latter. The nose
is more accentuated than in the bust, and the mouth, though still
small, is somewhat firmer. Toward the edge of the field are disposed
the titles of his various works, as though radiating from the head,
and in the exergue is his signature, framed by a half-garland over
which extends a mace. The tribute offered to Shakespeare by the Muses,
figured on the reverse, is a rather stiff and conventional
composition.[29]

[Footnote 29: W. Sharp Ogden, "Shakspere's Portraits: painted, graven,
and medallic", in The British Numismatic Journal, and Proceedings of
The British Numismatic Society, 1910, London, 1911, pp. 143-198; see
p. 189.]

For those who may wish to see the original form of the passages
regarding precious stones in the text of the First Folio, of 1623, the
page and column references have been given here. In this text the
three sections into which the plays have been divided, Comedies,
Histories, and Tragedies, are separately paged; moreover, the
pagination offers a number of irregularities. _Troilus and Cressida_,
added at the end of the "Histories", has page numbers on a couple of
leaves neither connected with what precedes nor with what follows, the
remainder of the pages bearing no figures; furthermore, there are
several obvious, though unimportant, misprints. _Pericles_, first
issued in Folio, in the Third Folio, of 1664, is therein separately
paged, as are the other of the plays attributed to Shakespeare printed
therein, in continuation of the series of the First and Second Folios.