Les chemins d'accès littéraires de la vieille Angleterre. L'atmosphère zabethe aboutit, et son sujet est un personnage sans descrip qui se rapproche de la personnalité prononcée de l'auteur de la Feyrie Queene. Les otherportraits peuvent être divisés en deux classes, repré-sentés respectivement par la toile à DuplinCastle et qui était autrefois dans la posses-sion de Lord Chesterfield. Il est impossible de toreconcile ces portraits ; ils sont des hommes utterlydissemblables; ils n'ont absolument rien dans com-mon. Tous ceux qui les ont comparés doivent retardit aussi peu d'un malheur que le LordChesterfield indoti

• Contributeur: The Reading Room / Alamy Banque D'Images
• ID de l’image: 2AWKN8G
• Taille du fichier: 7,2 MB (457,8 KB Téléchargement compressé)
• Autorisations: Modèle - non | Propriété - non
• Dimensions: 1410 x 1773 px | 23,9 x 30 cm | 9,4 x 11,8 inches | 150dpi

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Literary by-paths in old England . zabethan atmosphere aboutit, and its subject is a nondescript character whollyout of keeping with the pronounced personalityof the author of the Faerie Queene. The otherportraits may be divided into two classes, repre-sented respectively by the canvas at DuplinCastle and that which was formerly in the posses-sion of Lord Chesterfield. It is impossible toreconcile these portraits ; they are of men utterlydissimilar; they have absolutely nothing in com-mon. All who have compared them must regardit as little short of a misfortune that the LordChesterfield painting is that which has generallybeen followed in the engraved portraits of thepoet; it is hardly less satisfactory than the mini-ature. On the other hand, the Duplin portrait 53 LITERARY BY-PATHS seems to prove its own authenticity. There is anexcellent replica of this portrait, from the brushof Sir Henry Raeburn, in the possession of EarlSpencer at Althorp, and the accompanying repro-duction of a photograph taken recently from that. Edmund SpenserFrom the Portrait in the possession of Earl Spencer canvas may be confidently left to create its ownjustification as the most reliable likeness of thepoet. There is a note on the back of the portrait, which, taken in conjunction with the fact thatRaeburn made the copy in 1820, appears to offerinferential evidence in favour of this likeness. 54 IN OLD ENGLAND The note is to the following effect: Anotheroriginal portrait of this great poet was known tohave been at Castle Saffron in the county of Cork, Ireland, situated in the neighbourhood of Kilcol-man Castle, the residence of Spenser, which wasdestroyed by fire before his death. This picture, in consequence of the roof of Castle Saffron fall-ing in from neglect, was utterly destroyed, a factascertained by Admiral Sir Benj. Halliwell, dur-ing the period of his command in chief of the portof Cork in 1818, at the request of George JohnEarl Spencer, K.G. Perhaps the chief evidence for the auth

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