essay upon the portraits, I will merely mention in the order of
their importance the few claimants whose title merits the least
consideration.

I.--The Droeshout engraving, prefixed to the first collective
edition of the Poet's works, published in 1623: i.e., the print in
its early state.

II.--The so-called Janssen portrait (on wood) in the collection of
the Duke of Somerset. This has been traced back to 1761, when it
was purchased by Charles Jennens, Esq., of Gopsall. Its identity
with the portrait which was purchased for the Duke of Hamilton and
Brandon in 1809 is, at least, highly probable. In 1811 Woodburn
published the first engraving from it, and stated that the picture
had belonged to Prince Rupert, who left it to Mrs. E. S. Howes on
his death in 1682. No actual proof of this was given, nor did
Woodburn mention Jennens' ownership.

III.--The Croker portrait. We have it on the authority of Boaden
that this portrait, which he said was the property of the Right Hon.
J. Wilson Croker, was a replica of the Janssen. There was a
mystery, not in the least cleared up, concerning these two pictures
and their history. I am unable to ascertain who at present owns the
later one. Collectors of the prints can always distinguish between
the two. The only engraving of the Croker portrait was by R.
Cooper; published January 1, 1824, by G. Smeeton, and is an oval in
a shaded rectangle. All the rest are either from the Janssen, or
from Dunkarton's engraving of it. {37}

IV.--The Chandos portrait (on wood) in the National Portrait Gallery