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.

While examining this portrait, the reader should study the lines that
describe it in the Shakespeare folio of 1623, a facsimile of which is
here inserted.

To the Reader.

This Figure, that thou here seest put,
It was for gentle Shakespeare cut;
Wherein the Grauer had a strife
with Nature, to out-doo the life: