PORTRAITS, PRINTS, AND 
 WRITINGS OF 
 JOHN MILTON 
 
MILTON TERCENTENARY 
 
 THE PORTRAITS, PRINTS 
 AND WRITINGS OF 
 
 JOHN MILTON 
 
 BY 
 
 DR WILLIAMSON 
 
 WITH AN APPENDIX AND INDEX BY MR C. SAYLE 
 
 EXHIBITED AT 
 CHRIST'S COLLEGE, CAMBRIDGE 
 1908 
 
Digitized by the Internet Archive 
 in 2015 
 
 https://archive.org/details/portraitsprintswOOwill 
 
TABLE OF CONTENTS 
 
 PAGE 
 
 Note vi 
 
 Preface vii 
 
 Essay on the Portraits of John Milton i 
 
 Catalogue of the Portraits of John Milton 27 
 
 ,, ,, Statuary work .......... 29 
 
 ,, ,, Miniatures 31 
 
 „ ,, Portraits 33 
 
 ,, „ Drawings 38 
 
 ,, ,, Engravings, Mezzotints, Etchings and Lithographs ... 39 
 
 Manuscripts 91 
 
 Essay on the early editions of Milton's Works 92 
 
 Extra note to page 2 121 
 
 Medallic Portraits '123 
 
 Appendix H5 
 
 Addenda to Appendix . 154 
 
 Index 161 
 
 LIST OF ILLUSTRATIONS 
 
 John Milton, aged 21. From the Portrait at Nuneham .... Frontispiece 
 Copy of the entry in the Admission Book, Christ's College .... v 
 Page from John Milton's Bible in the British Museum, giving the entries made 
 
 with his own hand relative to the birth of himself and various members of 
 
 his family to face p. 1 
 
 John Milton, aged 10. By Cornells Janssen. In the possession of J. Passmore 
 
 Edwards, Esq to face p. 3 
 
 John Milton at the age of 62. Engraving from life by William Faithorne, 
 
 from Milton's History of Britain, 1670 to face p. 5 
 
 John Milton by Faithorne. From the original work in the possession of Sir 
 
 Robert H. Hobart, K.C.V.O., M.P to face p. 7 
 
 John Milton, from the original portrait known as the Bayfordbury (or Tonson), 
 
 drawing now in the possession of H. Clinton Baker, Esq to face p. 9 
 
iv LIST OF ILLUSTRATIONS 
 
 Portrait by Pieter van der Plas, in the National Portrait Gallery, considered to 
 
 represent John Milton to face p. 19 
 
 Miniature by Samuel Cooper belonging to the Duke of Buccleuch and Queens- 
 berry, said to represent John Milton as a young man . . . .to face p. 21 
 John Milton when about 48. The Woodcock portrait. In the collection of 
 
 Dr Williamson to face p. 23 
 
 The clay bust of Milton said to be the work of Pierce, now preserved in the 
 
 Library of Christ's College, Cambridge to face p. 29 
 
 Milton as a young man. The oil painting in the hall of Christ's College, 
 
 Cambridge to face p. 34 
 
 Full size facsimile of the title-page of the first edition of Comus . . .to face p. 92 
 Title-page of the first collective edition of Milton's Minor Poems, with the very 
 
 rare portrait by Marshall, 1645 to face p. 92 
 
 Full size facsimile of the title-page of the first collective edition of Milton's 
 
 Minor Poems, 1645 P- 93 
 
 Full size facsimile of the title-page of the first binding of the first edition of 
 
 Paradise Lost P- 94 
 
 Full size facsimile of the title-page of the second binding of the same . p. 95 
 
 Full size facsimile of the title-page of the third binding of the same . p. 96 
 
 Full size facsimile of the title-page of the fifth binding of the same . P- 97 
 
 The original agreement for the publication of Paradise Lost, in the British 
 
 Museum jolding plate to face p. 99 
 
 Full size facsimile of the title-page of the seventh binding of the first edition 
 
 of Paradise Lost ........... p. 100 
 
 Full size facsimile of the title-page of the eighth binding of the same . . p. 101 
 
 Full size facsimile of the title-page of the first edition of Paradise Regained p. 102 
 
 Full size facsimile of the title-page of the first edition of Samson Agonistes p. 103 
 
 Full size facsimile of the title-page of the second edition of the Poems . p. 104 
 
 Title-page of the second edition of Paradise Lost ...... p. 105 
 
 Signature of John Milton, 19 Nov. 1651, written in the Album Amicorum of 
 
 Christopher Arnold, Professor of History at Nuremberg, now preserved 
 
 edition of Paradise Lost, folio, Tonson, 1688 . . . folding plate to face p. 117 
 
 Engraving of John Milton by R. White, forming the frontispiece to the fourth 
 
NOTE 
 
 This is a reprint, on hand made paper, of the Milton Tercentenary- 
 catalogue, and was prepared after the exhibition had been closed. 
 In order to make it as useful as possible to collectors of Milton 
 engravings, all the items in the list from pages 29 to 90 have been 
 renumbered, a separate number being given to every print whether 
 an example of it was, or was not, shown at the exhibition. The 
 earlier catalogues will show the actual prints exhibited in Cambridge, 
 while this reprint is intended to be a work of reference with regard 
 to all the prints at present known. The note, stating to whom the 
 various examples belong, is also omitted, but the great majority 
 of the engravings are in the author's own possession, comparatively 
 few being in the hands of other collectors, and not represented in 
 his collection. 
 
 Three hundred copies only, of this special edition of the catalogue, 
 have been printed for the author, and are for private circulation. It 
 contains, in addition to the corrections already mentioned, several 
 others in the introductory essays and in the appendix. 
 
PREFACE 
 
 John Milton, born in Bread Street, London, 9 December 1608, was 
 admitted a pensioner of Christ's College 12 February 1625, according to the 
 modern reckoning — 1624, according to the old style in the Admission Book. 
 He resided apparently without a break until he was admitted to the M.A. 
 degree, 3 July 1632. Tradition assigns to him rooms on the first floor of 
 staircase N on the left side of the First Court as you enter by the great 
 gateway; but it is certain that in the seventeenth century each set on the 
 first floor was occupied by a Fellow, at most with his attendant sizar ; 
 Milton however was not a sizar. He must have had two or three fellow- 
 students as joint tenants ; the College was very full, and there existed only the 
 First Court, a block of buildings, called Rats' Hall, in the middle of the present 
 Second Court, and an inn called the Brazen George, adjacent to St Andrew's 
 Church, improperly used to hold undergraduates : the " Fellows' Building " 
 dates from 1642. His life here has been often told — copiously, but with 
 judgment, by Prof. Masson. It is likely that he was not loved by his equals 
 in age, for he was "not ignorant of his own parts," and it is quite conceivable 
 that he gave a grudging obedience to those who were placed over him, the 
 Master, Dean and Head Lecturer; certainly he was on bad terms with his first 
 tutor, William Chappell (afterwards Bishop of Cork) by whom he was trans- 
 ferred to Nathaniel Tovey, but the story of his flogging by Chappell rests (as 
 I have pointed out in my History of Christ's College, p. 146) on untrustworthy 
 evidence. Beyond a doubt he was appreciated as he deserved by the Master 
 and Fellows before he left Cambridge and might well have been elected to a 
 Fellowship, had he been prepared to take Holy Orders {id. 148). But he 
 cast the chance behind him. In his early life there is clearly traceable a 
 resolute ambition, combined with a rare mental balance. He knew his 
 strength, knew what he could do, knew that he would do it. There was 
 a great work before him : he must be thoroughly prepared. So he left 
 Cambridge for Horton, to enter upon a second period of preparatory study in 
 which he was to be his own guide ; but that period produced such finished 
 
\ 
 
 viii PREFACE 
 
 work as LAllegro and // Penseroso (probably written in 1632), Arcades, 
 Comus (in 1634), Lycidas (1637). His most memorable poems while he was 
 at Christ's are the lines On the death of a fair infant (1626), On the morning 
 of Christ's nativity (1629), An epitaph on the Marchioness of Winchester (1631), 
 Sonnet on arriving at the age of Tzventy-three (1631). Ample specimens of his 
 exercises both in the College and in the Schools are given by Prof. Masson in 
 his first volume. 
 
 Each year we hold our domestic commemoration of all our benefactors 
 and worthies. This year gives to us an opportunity, which we welcome, not 
 only of dwelling upon our connexion with John Milton — "for we were nursed 
 upon the self same hill " — but also of asking others to join us in a commemo- 
 ration of one whose preeminence among those reared in this College can be 
 questioned in favour of none save perhaps of Charles Darwin. We ask all to 
 enjoy with us the sight of portraits, of books, of other objects which have 
 interest by their relation to Milton. We believe that no collection so large 
 has been previously made ; to make it needed special knowledge and unusual 
 zeal and energy, for which we owe a very great debt to Dr G. C. Williamson 
 and to Mr Charles Sayle — a debt all the greater that we cannot claim them as 
 members of our body. Dr Williamson has contributed the following account 
 of Milton portraits, has lent us many of which he is the owner, and has 
 procured us the loan of others : he has also dealt with early editions of the 
 poems : Mr Sayle has contributed an appendix on editions and on books 
 about Milton to be found at Cambridge. Among those who have been 
 lenders special thanks are due to the Earl of Ellesmere, to Lord Sackville, to 
 Lord Leconfield, to the Right Hon. Lewis Harcourt, to H. Clinton Baker, Esq., 
 to Mrs Morrison, to J. F. Payne, Esq., M.D. ; to Wynne E. Baxter, Esq.; 
 to the University Library Syndicate, to the Master and Fellows of Trinity 
 College, and to the authorities of the other colleges and libraries who have 
 permitted us to exhibit the literary treasures now on view ; to the Clarendon 
 Press, Oxford, to Messrs Sotheran and Co., Pickering and Chatto, and 
 George Bell and Sons. 
 
 JOHN PEILE. 
 
 Christ's College Lodge, 
 5 fune, 1908. 
 
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 Page from John Milton's Bible, in the British Museum, giving the entries made with his 
 own hand relative to the birth of himself and various members of his family. 
 
I 
 
 THE PORTRAITS OF JOHN MILTON 
 
 Collectors of prints have long been troubled by the strange and perplexing 
 variety of portraits, said to represent John Milton, which, from time to time, 
 they have obtained ; and more than one writer has endeavoured to set forth 
 clearly some statement respecting these portraits. There was not, however, 
 any scholarly attempt to grapple with the complexity of the subject until 
 i860, when Mr John Fitchett Marsh, who had been for many years a collector 
 of the engraved portraits of the poet, prepared an elaborate treatise concerning 
 them, which he read before the Historic Society of Lancashire and Cheshire 
 and published in the Transactions of the Society, Vol. XII. He was able, 
 on that occasion, to exhibit to the members of the Society over 150 prints 
 and grouped them out, with considerable judgement, under various headings. 
 To his list, all later collectors owe a very great deal, and it has been accepted 
 as a standard by which the value and extent of other collections may be 
 measured; while the theories set forth by Mr Marsh have, as a rule, been 
 accepted. He, however, laboured under one special difficulty, as he was 
 not acquainted with either of the original portraits of the poet and his 
 arguments were based, almost exclusively, upon the engravings he himself 
 possessed. In this respect, we have at the present time, one advantage over 
 him, inasmuch as two of the authentic portraits of the poet are available, 
 and of a third there is a perfect copy in existence, which may be taken to 
 represent the original. Mr Marsh's list of engravings was a considerable 
 advance upon any previous list. Granger referred to 37 portraits, Bromley 
 to 25, Evans to 42, Marsh to 164, and although the latter compiler does not 
 appear to have omitted anything of any special importance, yet we are able to 
 add some to his list and to subjoin information respecting over 180 portraits. 
 It may be well to refer briefly to the various groups of which the collection 
 is composed. 
 
 w. 1 
 
2 
 
 THE PORTRAITS OF JOHN MILTON 
 
 The first relates to those engravings copied from the portrait of Milton at 
 the age of ten, and this special portrait, perhaps the most important of all, has 
 only been traced while these pages were being passed for press 1 . It is the 
 picture referred to by Aubrey in his notes written shortly after Milton's death ; 
 'Ao. Dni. 1619. He was ten yeares old, as by his picture and was then a 
 poet : his school master was then a Puritan in Essex^ who cut his (i.e. Milton's) 
 hair short." It was one of the pictures which remained in the possession of 
 Milton's widow (his third wife) until her death in 1727, and was enumerated 
 in the inventory of her effects at Nantwich. On June 3rd, 1760, it was pur- 
 chased by Mr Thomas Hollis, the republican (1720 — 1774), to whom we shall 
 have occasion to refer several times. He was an ardent admirer of Milton, a 
 strong patriot, the editor of Toland's Milton, 1761, of Algernon Sidney's 
 work, 1772, and a generous benefactor to Harvard, Berne, Zurich and Cam- 
 bridge, giving to the public institutions in these places, books and portraits 
 relating to the heroes of the Commonwealth, the objects of his admiration. 
 On his decease he left his estate to his friend Thomas Brand who assumed 
 the name and arms of Hollis, and he, in his turn, bequeathed The Hyde and 
 its contents, and a considerable estate, to his friend, the Reverend Dr Disney 
 (who afterwards wrote a memoir of Thomas Brand Hollis), and in the 
 possession of his descendant, the estate still remains. 
 
 The Milton portrait was bought at the sale of the effects of Mr Charles 
 Stanhope, who had mentioned to Mr Hollis, two months before, that he 
 had bought it of the executors of Milton's widow, for twenty guineas. Hollis 
 gave thirty-one guineas for it and valued it as the choicest of his posses- 
 sions. On one occasion when a fire broke out in Mr Hollis's chambers, 
 this was the only possession he was anxious to save, and his biographer 
 tells us, that after he had slipped his purse into his pocket, he went calmly 
 out into the street, carrying the Milton portrait in his hands. It passed 
 with the rest of his possessions to Dr Disney and eventually to his grandson, 
 Mr Edgar Disney. Professor Masson described it as a portrait set in a dark 
 oval, about 27 inches by 20 inches in size including the frame, and having 
 the words "John Milton aetatis suae 10 anno 1618" inscribed on the paint in 
 contemporary characters. Hollis had a careful drawing and etching made of 
 
 1 See subsequent note, p. m, and the Times of 3 June, 1908. 
 
John Milton at the age of ten. From the painting by Cornelis Janssen, dated 1618, 
 in the possession of Mr J. Passmore Edwards. 
 
YOUTHFUL PORTRAITS 
 
 3 
 
 it by Cipriani, and it forms No. i in our catalogue of the prints. It may 
 be mentioned here that the Hollis prints, of which there are four, are to be 
 found on both green and white paper, those on the former being the most 
 rare ; there is also, of one of them, a proof before letters in the author's 
 collection. The picture was attributed to Cornelius Janssen, who is styled 
 on the Hollis print "Johnson," but who receives the more correct spelling 
 of his name, on a further print from the same picture, when it belonged to 
 Mr Thomas Brand Hollis, who had it engraved by Gardiner for Boydell's 
 sumptuous edition of Milton's works in 3 Vols., royal folio. When the 
 picture was in Mr Edgar Disney's possession it was photographed, and a 
 charming engraving was made by Edward Radclyffe, which forms the frontis- 
 piece to Masson's Milton. 
 
 The only other youthful portrait of the poet, is one which appeared in the 
 Gentleman's Magazine for September 1787, engraved almost in outline. It 
 was accompanied by a letter, dated from Oxford, sending the drawing from 
 which the portrait was engraved, and which the letter states " A friend who 
 lives there has obligingly suffered to be taken from a picture in his possession. 
 It is on wood. At top is Ao. 1623. aet suae 12. In the hands of the figure 
 is a book with Homers Iliads on the leaves. The hair is red. This drawing 
 is very like, only perhaps somewhat older than the picture." There is a good 
 deal of complexity respecting this picture. It certainly closely resembles the 
 one by Janssen and has many resemblances to what we know of Milton's 
 personal appearance, especially in the fact that the colour of his hair was 
 certainly reddish in his early days. The date however cannot be accurate. 
 It is either misprinted in the Gentleman's Magazine, which seems likely to be 
 the case ; or else there is a mistake with regard to the age of the boy ; but the 
 question cannot be readily dismissed, because of the resemblance in features 
 and it seems just possible that there was then in existence, and may be even 
 so now, an almost unknown portrait of Milton as a boy with some claims to 
 authenticity. The drawing was referred to in the same volume on page 892 
 by a correspondent who pointed out the striking resemblance it bears to 
 the Cipriani print, but this second correspondent started a confusion about 
 the dates, which, by the way, seems to have been rather a feature of the whole 
 controversy; no one engraver or collector taking adequate pains to verify dates 
 and information. 
 
 We now come to the second of the two portraits enumerated in the 
 
 1 — 2 
 
4 
 
 THE PORTRAITS OF JOHN MILTON 
 
 inventory of Mrs Milton's effects, and here we have to state that the original 
 work is not available for comparison or study. Aubrey, who wrote in 1681, 
 refers to the picture as follows : " his widowe has his picture drawne (very 
 well and like) when a Cambridge schollar : she has his picture when a 
 Cambridge schollar which ought to be engraven ; for the pictures before his 
 books, are not at all like him." 
 
 In 1 72 1 Deborah Clarke, Milton's daughter, informed George Vertue that 
 her stepmother, if living, in Cheshire, had two portraits of Milton, one when 
 he was a school boy, to which we have just alluded, and another when he was 
 about twenty. In 1731, four years after Mrs Milton's death, the picture was 
 in the possession of Mr Speaker Onslow, and was engraved by Vertue, and as 
 late as 1794 it was stated in the inscription to the engraving in Boydell's 
 Milton to be "in the possession of Lord Onslow at Clandon, in Surrey, 
 purchased from the executors of Milton's widow by Arthur Onslow Esq., 
 speaker of the House of Commons, as certified in his own hand writing at 
 the back of the picture." Speaker Onslow was a notable collector of portraits, 
 and amongst all he possessed, valued this one the most highly. He had a 
 great friend, Lord Harcourt, who was keenly anxious to possess the portrait, 
 but he refused to part with it, consenting, however, to have a perfect copy 
 made of it, if Lord Harcourt in his turn, would have a portrait he possessed, 
 of Pope, by Kneller, copied for him. The work was carried out by Benjamin 
 Van der Gucht, Vertue's master, and although the copy he made of the Kneller, 
 has disappeared, that of the Milton, is still in existence, and by the kindness 
 of the Right Honourable Lewis Harcourt, M.P., is shown in this exhibition, 
 having been removed for that purpose from Nuneham (see frontispiece to this 
 book). It is a faithful copy, as Van der Gucht tells us in the long inscription 
 he has placed upon its reverse, see under Portraits. The original was sold 1 in 
 1828 for the sum of jQ2>. i2f. od. to a Mr Moore or More who was 
 declared to be "not a dealer." It is curious to note that the same name, 
 Moore, appears in connection with the next portrait to be mentioned. At 
 the same sale there were many other portraits sold, some of the chief being 
 as follows. Sir Thomas More £4. \ds. od., Thomas Cromwell £4. 15*. od., 
 Sir Walter Raleigh jf$. 18*. od., Bacon £4. 18s. od., Spenser £4. 4s. od., 
 
 1 Sir George Scharf heard that Lord Onslow, being annoyed l>y visitors who wanted to see 
 the Milton portrait, had it destroyed, and that it " was only a daub purporting to be a copy " 
 that was sold. 
 
John Milton at the age of 62. Engraving from life by William Faithorne, 
 from Milton's History of Britain, 1670. See (24). 
 
THE ONSLOW PORTRAIT 
 
 5 
 
 Pope 12s. od., Dryden by Kneller j£i, Sir I. Newton, oval, ^4, Sir 
 
 Charles Lucas by Dobson £21, Lord Somers in robes as Chancellor, 1695, and 
 Dr Burnet, 1690, a pair, ^5. 10s. od., Dudley, Earl of Leicester jQ6. 6s. od., 
 Queen Elizabeth £6. 6s. od., Henrietta Maria £15. 10s. od., William III 
 £10. 10s. od., George I $s. cd., George II 5^ od. An interesting 
 miniature copy of the lost Onslow portrait is exhibited by Mr Arthur E. Shipley. 
 
 Of the Onslow portrait there are many prints. The chief is, of course, 
 the one by Vertue dated 1731, and of it there are two or three varieties, 
 one of extreme rarity. Then there is the Houbraken portrait, executed in 
 Amsterdam in 1741, for which it is believed Mr Shipley's miniature was the 
 model, as Houbraken was unable to come to England and it does not appear 
 that the original Onslow portrait was ever sent abroad. The copper plate for 
 this Houbraken engraving has recently been acquired by Mr Shipley (page 153), 
 and excellent prints from it have been struck off. There is a late German 
 reproduction of the Onslow portrait and more than one lithograph, and 
 an interesting print which appeared in the London Magazine and, altered in 
 size, in the British Biography. In 1785 the Onslow portrait was engraved by 
 Goldar for Harrison's edition of Rapin ; but the two best known engravings 
 from it are, first, the one prepared by Cipriani for Thomas Hollis, having 
 beneath it Milton's sonnet " How soon hath time," etc. ; and the other made 
 for Boydell's Milton in the time of Mr Thomas Brand Hollis, and engraved, 
 like the one by Janssen, by W. N. Gardiner in 1794. Proofs before letter are 
 known of each, that of the former being in our possession. 
 
 In considering the prints from this exceedingly interesting portrait, we 
 must not overlook one which appeared in Macrone's edition of Milton's works 
 edited by Sir Egerton Brydges, in which Edwards was the engraver. The 
 portrait is clearly the Onslow one, see 30, but by a slip on the part of the 
 engraver, Janssen is declared to have been the original painter, a confusion 
 having been made between this Onslow portrait and the one of Milton at the 
 age of ten. We do not know at all who was the painter of the Onslow 
 portrait and have no means of forming any theory about it, as it is clear 
 that Van der Gucht did not know whose work it was, and we have not now 
 the original picture to refer to. 
 
 In 1645, Humphrey Moseley's original edition of Milton's poems was 
 brought out, and William Marshall was employed to produce a portrait as 
 
6 
 
 THE PORTRAITS OF JOHN MILTON 
 
 a frontispiece. This is the rare and precious engraving signed W. M., which 
 has beneath it the Greek epigram, composed by the poet, in which he laughs 
 to scorn the fact of its being a likeness of him. There are certain slight 
 resemblances between it and the Onslow picture ; they are very slight and 
 in some respects it even more closely resembles the Janssen portrait, but it 
 cannot be accepted in any way as a satisfactory representation of the great 
 poet, and we know in fact, from the epigram " In effigiei ejus sculptorem," 
 how dissatisfied Milton was with the manner in which Marshall had produced 
 the engraving. The generally accepted theory, to which Horace Walpole 
 refers, was that Marshall, who frequently worked for Moseley, drew from life ; 
 and Vertue seems to have adopted this theory, but it is hardly possible that 
 it was so ; and in the fact that in the next important portrait of Milton, the 
 artist expressly declares that it was drawn from life, there lies an argument 
 against the statement, that Marshall drew the actual portrait from the poet 
 himself. His engraving is evidently to a great extent imaginary and cannot 
 be said to represent the poet at thirty-seven, being in fact much more of the 
 nature of a caricature, although evidently the same man as in the Faithorne 
 portrait. As already mentioned, the print of it is rare, and it has not hitherto 
 been easy to obtain a fine impression of the later printing from it which 
 appeared in Samson Agonistes in 1 748. The plate for this later printing 
 however, which belonged to Evans, still exists. There is also a reduced copy, 
 signed by Van der Gucht, which is in Tonson's edition of Paradise Regained, 
 1 713, and in which the same Greek inscription, laughing the engraver to scorn, 
 is solemnly rendered by the new engraver, happily, it is to be hoped, ignorant 
 of the condemnation he was unwittingly calling down upon himself. It may, 
 we take it, be granted that there is no original to be looked for in respect to 
 this engraving. It is hardly likely that it would have been kept, even if a 
 preparatory drawing for the engraving was ever made. 
 
 If the head of Erato in the W. M. engraving is carefully examined the 
 difference between the original and the later plate will at once be noticed. 
 In the original the head is full of careful modelling, in the later one almost 
 blank. The Van der Gucht reduction omits the four Muses altogether. 
 
 When we approach the next portrait we are on surer ground and 
 fortunately the original is still in existence. It is, as Marsh reminds us, 
 the only likeness of the poet taken at a mature age and published with what 
 
John Milton, by Faithorne. From the original work in the possession of 
 Sir Robert H. Hobart, K.C.V.O., M.P. 
 
THE HOBART PORTRAIT 
 
 7 
 
 we may deem his consent during his life time, and it has been the subject of 
 more frequent copies than any other print. The original impression, in which 
 the poet is declared as being sixty-two years old, is dated 1670, and the 
 engraving, which appeared in Milton's History of Britain, for that year, bears 
 the name of the artist, William Faithorne, and the express statement that it 
 was both drawn and engraved by him, and from life. The first state of the 
 print bore the date 1607 and this state is of extreme rarity, Louis Fagan 
 declaring in his book on Faithorne, that in the Roupell sale, July 5, 1887, a 
 print of it (Lot 127) fetched ^31. This is a price which would be enormously 
 increased if the print were now to come into the market. Of the early history 
 of the original drawing we know very little. It is believed to have been in 
 the possession of the Tonsons, the publishers, and there seems to be some 
 evidence that this is the case, but the confusion between this and the next 
 drawing to be referred to, which certainly was in the possession of the Tonsons, 
 is twice confounded, and although Marsh goes into the matter exceedingly 
 carefully, yet he is not able to disentangle the various statements made by 
 different authors concerning two portraits, one of which certainly belonged to 
 the Tonsons and both of which may have been in their possession. The 
 so-called Faithorne, which represents the poet in a dark dress with white collar, 
 tied with tassels, and long flowing hair, is a bust portrait, painted on canvas, 
 measuring 23 inches by 18 inches. It was exhibited at the South Kensington 
 Museum in 1866, No. 820, and was then in the possession of Mr Edmund F. 
 Moore, Q.C. It is pretty clear why he acquired it, inasmuch as his ancestress 
 was Anne, the daughter of Thomas Agar of the Crown Office, London, by 
 Ann Milton, his wife, who was the daughter of John Milton of Bread Street 
 and the sister of John Milton the poet. Anne Agar married David Moore of 
 Sayes Court, Chertsey, great grandson of Thomas Moore, secretary to Queen 
 Anne Boleyn. Their son was Sir Thomas Moore, who married Elizabeth 
 Blunden, and their great great grandson Edmund was the owner of the picture 
 in 1866. No doubt his intimate connection with the Milton family was the 
 reason for his acquiring the portrait, inasmuch as through the failure of 
 descendants in the male line the representation of the Milton family was then, 
 and is still, vested in David Moore's descendants. The present owner of the 
 picture, Sir Robert Henry Hobart, K.C.V.O., C.B., M.P., is the son of 
 Edmund F. Moore's sister, and the leading male representative of the 
 
8 
 
 THE PORTRAITS OF JOHN MILTON 
 
 Milton family. There is little doubt on comparing the portrait and the 
 print, that they are connected with each other, but it should be remarked that 
 in the engraving Faithorne has somewhat accentuated the deep hollows and 
 heavy shadows in the poet's features beyond what is to be seen in the drawing, 
 giving Milton a somewhat more worn expression than he has in the original ; 
 the arrangement and shape also of the collar are different. It should be 
 remarked that an absolute comparison is not very easy to make, inasmuch 
 as the engraving is reversed, and further that in Vertue's engravings the 
 features are somewhat softened, a little more closely resembling the Faithorne 
 original, but even more accurately resembling the Bayfordbury picture, to 
 which we next make reference. It is quite clear that neither the Hobart nor 
 the Bayfordbury drawing was the original from which Faithorne did his print. 
 
 When we come to consider the engraving, No. 31 in Marsh's list, we have, 
 entering upon the scene of action, another person, to wit Robert White. This 
 man comes in to make the problem a little more confusing. He was a drafts- 
 man and engraver, born 1645, died 1703, and drew very beautifully in pencil 
 on paper or vellum. He was a pupil of David Loggan, whose manner he 
 followed in his pencil portraits ; and he engraved a long series of portraits of 
 contemporary characters, mostly from his own drawings, which in the majority 
 of cases were from life. One of the best known of his pencil portraits is that 
 of Bunyan, which is in the British Museum. With regard to the portraits of 
 Milton, his name first appears on the oval portrait published in the fourth 
 edition of Paradise Lost, folio, 1688 (see illustration), for which he appears 
 to have been the engraver. The portrait is, however, identical with the 
 Faithorne one, in almost every respect, even down to the buttons on the vest. 
 A little later however, we find this same man's name appearing as the drafts- 
 man on a mezzotint by I. Simon, which is inscribed "R. White ad Vivum delin," 
 and it would therefore appear as though we have to search for a drawing by 
 this artist, which it is quite possible may some day be found. To this 
 mezzotint we refer a little later on. 
 
 As regards the Faithorne, the first impression is a fine strong print (see 
 illustration), a later one is not, however, so good. Flatman's compliment to 
 Faithorne has often been quoted and is referred to by Marsh. He said, 
 "A 'Faithorne sculpsit' is a charm can save 
 From dull oblivion and a gaping grave," 
 
John Milton, from the original portrait known as the Bayfordbury (or Tonson) one 
 now in the possession of H. Clinton Baker, Esq. 
 
THE VERTUE ENGRAVINGS 
 
 9 
 
 and, as Marsh points out, the original impression of the Faithorne print is a 
 worthy work of this clever artist, but the later one is not in his best manner, 
 and a third, which is declared as being the original plate reduced, is quite 
 evidently from another plate altogether, which may or may not have been the 
 work of Faithorne. 
 
 We now approach the engravings by Vertue, usually grouped together, 
 and so arranged by Marsh, as connected with the Faithorne drawing, but in 
 our opinion these early Vertue prints have a very close resemblance to the 
 Bayfordbury portrait, although at the same time they are derived from the 
 Faithorne one. As regards the Bayfordbury portrait, it originally belonged to 
 Jacob Tonson (1656? — 1736), who owned the Kit-Cat Club collection, and 
 it now hangs at Bayfordbury Park, near Hertford, the seat of Mr H. Clinton 
 Baker, who possessed the manuscript of part of " Paradise Lost " sold at 
 Sotheby's in March, 1904. It is not very clear to whom we ought to attribute 
 this drawing. As a rule it is given to Faithorne, and Fagan includes it with 
 the Hobart one in his list of Faithorne's works. It is most probable that 
 this is the case, but it has also been suggested whether it is the work of 
 Richardson, and to this theory an allusion will be made presently. What 
 we want, however, to point out with regard to it, is, that the early Vertue 
 engravings, dated 1720, 1747, and so on, bear in features an exceedingly 
 close resemblance to the Bayfordbury picture, far closer than to the Faithorne 
 drawing, which it may be well to style the Hobart picture. These two 
 pictures are not identical, although they very closely resemble one another. 
 In each the hair is arranged in identical fashion, the collar, tassels, vest 
 and cloak are the same, the lines of the collar following exactly the same 
 curves, and the folds of the gown in the Bayfordbury picture, although not 
 exactly the same, resembling those in the Hobart picture very closely; but 
 the expression is distinctly smoother in the Bayfordbury than in the Hobart 
 picture : and the Vertue engravings more closely resemble it, whereas in the 
 arrangement of the collar with its pendant tassels the Vertue prints resemble 
 neither portrait and are very much closer in appearance to the original 
 Faithorne engraving, being almost identical with it as regards the lines of the 
 collar and the position of the tassels which fall beneath it. We cannot help 
 feeling therefore that, although Vertue's early prints were taken either from 
 Faithorne's engraving or from the drawing from which it was made, yet that 
 
I o 
 
 THE PORTRAITS OF JOHN MILTON 
 
 Vertue must have had before him the Bayfordbury picture, and, copying all 
 the details of the vest, gown, collar and tassels exactly from Faithorne, took 
 the features much more from the Bayfordbury picture instead of softening 
 down, as Marsh says he did, the somewhat harsh expression of the Faithorne 
 engraving. There are a great many varieties of the Vertue prints, differing in 
 small details, but all showing a common origin, and that origin is revealed in 
 the arrangement of the collar and tassels. In the Hobart and Bayfordbury 
 pictures the collar is a soft, somewhat narrow one, the two points of it spreading 
 apart and revealing the tassels which lie close up to the point of the collar 
 seen on the spectator's right. This characteristic we shall see presently in the 
 Simon mezzotint. In the Faithorne print on the other hand, the collar is 
 broad, square and Genevan in shape, the two points of it coming very close 
 to one another, and the two tassels or lace ends (it is not very clear which) 
 falling below the centre of the collar just by the opening. 
 
 Amongst these prints should be specially noticed one engraved by Kyte 
 in a set of four poets which appears to have escaped the attention of Mr Marsh. 
 One of the most creditable is that published in June 1796 for Richter's edition 
 of Paradise Lost, quarto, 1794, and one of the finest pieces of recent engraving 
 is the oval by H. Robinson published in 1831 in Pickering's Aldine edition. 
 The print by W. C. Edwards, 79, 80, 81, has the same softened expression, 
 which can be seen in (54) and (55), even more accentuated. 
 
 The rarest of all is the small mezzotint by Simon, clearly taken from the 
 Faithorne print, but not from either the Hobart or Bayfordbury pictures. 
 Here again the features are softened from their original austerity. The 
 engraving by Cook, 85, and the line engraving by Adlard, 88, on the 
 other hand, were, it should be noticed, taken direct from the Hobart picture 
 and are identical with it in the arrangement of collar, cord and tassels. They 
 are certainly not derived from the Faithorne or Vertue print, although they 
 claim to be. 
 
 We now come to a group of prints which Marsh arranges as those derived 
 from the Faithorne portrait, and are face to face with a difficulty almost at 
 once. No. 91 one of the Hollis prints, is declared as having been etched 
 by Cipriani at the desire of Thomas Hollis from a portrait in crayons, now in the 
 possession of Messrs Tonson, booksellers in the Strand. It is perfectly certain, 
 however, that the crayon portrait mentioned on this print, is neither the Hobart 
 
SIMON'S MEZZOTINT 
 
 nor the Bayfordbury picture, although we know that one of these belonged 
 to Tonson and we believe that both of them were once in that gentleman's 
 possession. The arrangement of the collar and tassels absolutely precludes 
 the possibility of this being the case. The print is identical with the Faithorne 
 print, and the folds of the gown, the buttons of the vest, the arrangement of 
 the hair, and the shape of the mouth follow the Faithorne print exactly, and 
 differ in all these respects from the Hobart and Bayfordbury pictures. The 
 etcher has let his own fancy lead him astray with regard to the length of the 
 hair and the position of the eyes, which in Faithorne's engraving are both 
 turned to the spectator's left and in the Cipriani etching face the spectator ; 
 but in other respects he has followed Faithorne's print exactly, and therefore 
 if the statement on the print is correct there is yet another authentic portrait 
 to be sought for, the one in crayons done by Faithorne for his engraving, and 
 if that is so it would appear as possible that a third portrait of Milton was in 
 the possession of Messrs Tonson, in addition to the Hobart and Bayfordbury 
 portraits, and that one has never yet been discovered. The whole thing may 
 be a mistake of Cipriani's, or it may point to the existence of a third Faithorne 
 drawing. 
 
 Continuing down Marsh's list, we now come to what he calls the White 
 portrait, Simon's rare folio mezzotint, on which there are two states, both 
 included in the author's collection ; and in it we have a representation closely 
 resembling the Bayfordbury portrait, and also to a great extent the Hobart 
 portrait. The arrangement of the collar and tassels is identical with both of 
 them, even to the little loops of string, from which the tassels hang, but both 
 the Bayfordbury and Hobart pictures show many more buttons to the vest 
 than appear in Simon's mezzotint, and the folds of the gown which fall from 
 the shoulder are not identical with either of these two known originals. The 
 features, however, can hardly have been taken from anything but the Bayford- 
 bury portrait, and then enters in another theory, because Simon's mezzotint 
 represents the poet with a laurel wreath and that wreath appears in the 
 next group of engravings, called the White-Richardson likeness, and which 
 Richardson declared was taken from an excellent original (crayons) in his 
 possession. Yet at the same time the Simon mezzotint is inscribed " R. White 
 ad Vivum delin." The theory we suggest, to account for the complication, is 
 that the White mezzotint and the Richardson etchings were both taken from 
 
12 
 
 THE PORTRAITS OF JOHN MILTON 
 
 the Bayfordbury picture, which may or may not have been the work of 
 Faithorne, and may or may not have been the work of Richardson. 
 Richardson does not actually claim it. He says it is in his collection, but it 
 is spoken of by his contemporaries as being his own work. This statement 
 we are disposed to doubt. That the Bayfordbury picture is the work of 
 Robert White, we do not in the least believe, and have no evidence whatever 
 to connect White with a large portrait such as this one is. It is, however, 
 more likely that White made a fine pencil drawing from the Bayfordbury 
 picture and added to it the laurel wreath, which is of course an addition 
 (and actually so stated, by Richardson in his Explanatory Note, 1674), 
 diminished the number of buttons in the vest, and slightly re-arranged the 
 folds of the gown, and that from his drawing Simon made his mezzotint 
 (which it will be seen, page 61, has been copied in Germany), and Richardson 
 made his etchings, altering again the portrait in certain respects in order to 
 please himself. There must have been the intervention of a drawing because 
 of the presence of the laurel wreath, which later on Richardson omitted, and 
 because the figure is turned round rather more fully to the spectator, revealing 
 the vest in the centre of the portrait, and, in the case of Richardson's etchings, 
 adding two lines on either side of the buttons, and in Whites drawing one 
 such line: to show the opening of the vest. Richardson altered the number 
 of leaves in the wreath in two of his etchings, one having nine leaves on the 
 right temple and the other eleven ; and in his final work he omitted the 
 wreath altogether, greatly improving the portrait, and added six lines beneath 
 it which are signed " J. R. jun.," and were probably the work of the son, 
 while the father himself, we take it, was responsible for the etching. 
 
 These Richardson etchings appeared in 1734, and are alluded to by the 
 artist in Explanatory Notes and Remarks on Milton , s Paradise Lost. The 
 original plates for them all belonged to Evans, and now to Mr A. E. Shipley. 
 The final portrait 117, which is the best and closely resembles the Bayford- 
 bury portrait, was issued in brown and in black ink. In the former it is rare ; 
 the Rev. J. W. Cartmell possesses an impression shown in the exhibition. 
 
 We have not, however, finished with the work of Vertue, who was well 
 acquainted with the features of Milton and is believed to have been scrupu- 
 lously faithful in representing them. His fine folio print of 1725 is clearly 
 taken from the Hobart and Bayfordbury portraits, probably from the former, 
 
VERTUE'S DRAWING 
 
 13 
 
 and in the arrangement of hair, collar, cords and tassels follows the Hobart 
 exactly, while in the softened expression of features it is more nearly like the 
 Bayfordbury picture. He, however, invariably made one curious mistake. 
 In Milton's arms was a double-headed eagle, but Vertue has -always drawn it 
 as a single-headed bird. 
 
 In addition to engraving portraits of the poet, Vertue made two drawings, 
 both of which are in the author's collection. One is referred to on the plate 
 engraved by W. N. Gardiner for the Boydell Milton, and this drawing is 
 stated to have been at that time in the possession of Thomas Brand Hollis. 
 From it is derived the engraving by Owen, and also to a certain extent 
 those by Blood, Cooper, Hicks, Schmidt, and the one published in 
 Pickering's 3 Vol. edition of the Poetical Works, 1826. It is possible 
 that this drawing by Vertue was known to Van der Gucht when he 
 executed his folio plate for Rolli's Italian translation of Paradise Lost 
 in 1736, but while accepting the features, Van der Gucht, and those who 
 followed him, Mollison and Baratti, have entirely transformed the costume, 
 clothing the figure, to use Marsh's expressions, " in the slovenly undress in 
 vogue among the artists of his day." The waistcoat, vest and collar are all 
 represented open. 
 
 As regards collar and tassels this fine drawing by Vertue resembles the 
 Hobart and Bayfordbury pictures, but the features are older in expression 
 than in those portraits. The three French prints, 138, 139, 140, are also taken 
 from the Hobart picture in details, but in countenance resemble the Vertue 
 drawing. 
 
 In the next group of prints we come again to the Bayfordbury picture, 
 and the engravings by Miller, Simpson, Holl, Tallis, Dean and others, are all 
 taken from the Bayfordbury portrait, and in fact several of them state in 
 definite language that they are "from an original painting, by Faithorne, in 
 the collection of William Bayford, Esq." As we have already stated this 
 piece of information may be absolutely correct and the Bayfordbury drawing 
 is most probably by Faithorne, but we cannot determine this with absolute 
 certainty, as there is just a possibility that it is by Richardson, and a very 
 indefinite possibility that it may be a unique large drawing by White. The 
 general consensus of opinion, however, is strongly in favour of its being by 
 Faithorne. 
 
THE PORTRAITS OF JOHN MILTON 
 
 We now leave the engravings made from drawings and approach those 
 derived from busts, medallions and seals. 
 
 Thomas Hollis, in a paper dated July 30, 1757, referred to an original 
 model in clay of the head of Milton which he endeavoured to purchase, 
 " but it was knocked down to Mr Reynolds by a mistake of Mr Ford the 
 auctioneer." He goes on to state that two years before Mr Vertue died, he 
 had mentioned that he was the possessor of this bust, and that " he believed 
 it was done by one Pierce," a sculptor whose bust of Wren can be seen in the 
 Bodleian. Hollis' opinion, however, was that it was modelled by Abraham 
 Simon, and that afterwards a seal was engraved after it, by his brother 
 Thomas Simon. Reynolds gave £9. 12s. od. for the bust and sold it to 
 Mr Hollis for ^12. 12*. od., and the original is now in the possession of 
 Christ's College, Cambridge, and is illustrated in this book. From it 
 more than one engraving has been made, the chief being the one which 
 Richardson drew, and Vertue engraved, for the folio edition of Milton's Prose 
 Works, 1738 ; and the one etched by Cipriani for Mr Hollis, at the time that 
 he owned the bust. In this latter etching 178 Cipriani has added a collar 
 and buttoned vest to his own fancy. He also made another drawing of the 
 same bust but this time in profile, and at the time he did it the bust had passed 
 by will into the possession of Dr Disney, Thomas Brand Hollis' successor 
 in the estate. It was engraved by H. Meyer, see 181 and 182-3. Now 
 Richardson again comes on the scene, because he made a series of etchings 
 from this bust, but clothed them in a collar with cords and tassels, exactly 
 the same as he had done in his previous etchings, but altogether different 
 from the square Genevan collar, which Cipriani and Vertue had put on to the 
 bust. To these etchings he supplied a laurel wreath, differing in structure 
 and in the number of leaves from the laurel wreaths used on 113 and 114, 
 and added a quotation from Mansus below the bust and put the name of 
 Milton in Greek letters on the pedestal. It will be seen therefore that, 
 although he accepted the clay bust as his original model, he varied it con- 
 siderably both in coctume and in features to his own ideas. Not content, 
 however, with this, he went still further, and produced a profile in 1738, to 
 which he added the name of Milton in Greek letters, but this does not bear 
 the very slightest resemblance to any other portrait of Milton in existence 
 and is much more like Richardson himself or his own etching of Pope. 
 
PRETENDED PORTRAITS 
 
 J 5 
 
 Marsh believed that the original drawing for this etching belonged to Boswell 
 and was sold at the sale of his library in 1825. Although intended for 
 Milton it must not be accepted as a genuine portrait. 
 
 A far more interesting representation of the Christ's College bust is to be 
 seen in the engraving made by Cipriani for Hollis 192, to commemorate 
 Milton's victory over Salmasius. It was prepared to the design of Mr Hollis 
 and intended to illustrate a projected edition of Milton's Prose Works. 
 Mr Hollis paid Cipriani twenty-five guineas for it, but the edition of the 
 Prose Works was never prepared, and the print appears in the memoirs of 
 Hollis. There are two curious varieties of it 193 and 194. 
 
 From Rysbrack's monument in Westminster Abbey there are three prints, 
 and from other busts three more, one of which 202, appearing as the 
 frontispiece to Cowper's Milton, has no resemblance whatever to Milton. 
 From medallions, there are six prints, the chief being the one which appears 
 in Peck's memoirs and illustrates a medal struck at the expense of William 
 Benson to be presented, as stated by Dr Joseph Warton in a note to 
 his brother's edition of the minor pcems, for " the best verses that were pro- 
 duced on Milton at all our great schools." Of other medallions an interesting 
 example is the one published by Sharpe in 1809, engraved by Smith, forming 
 a vignette to the title page of the edition of Paradise Lost, 12010, 1809. 
 
 Mr Hollis is believed to have had a small steel puncheon of Milton's head, 
 intended for a seal or ring, engraved by Thomas Simon, and Marsh states that 
 this was afterwards in the possession of Mr Albert Way. Simon certainly 
 engraved a medallion for a seal of Milton, which is said to have been drawn 
 by James Deacon, the miniature painter and wood engraver, who died in 
 1750. The seal belonged to Mr Yeo, and Rylands made an engraving of it, 
 which is now exceedingly rare. There are also three other engravings from 
 this seal ; on one the engraver's name could not be read by Mr Marsh, who 
 possessed the only known example of it, and the other two, almost equally 
 precious, were engraved by Holloway and Romnery. A wax impression from 
 one of the seals is in the National Portrait Gallery. 
 
 We now come to the large group of pretended portraits, chief amongst 
 which is the miniature by Cooper. Its history is as follows. It was bought 
 
16 THE PORTRAITS OF JOHN MILTON 
 
 for one hundred guineas in 1784 by Sir Joshua Reynolds from a picture 
 dealer named Hunt, who, according to Northcote, "had obtained it from 
 a common furniture broker, who could not remember either the time or 
 manner in which he came by it." It was signed with the painter's initials 
 "S. C," and dated 1653, and on the back of it was written the following 
 inscription : " This picture belong'd to Deborah Milton who was her Fathers 
 Amannuensis at her death was sold to Sr Willm Davenants Family. It was 
 painted by Mr Saml Cooper who was painter to Oliver Cromwell at ye time 
 Milton was Latin Secratary to ye Protector. — The Painter & Poet were near 
 of the same age. Milton was born in 1608 & died in 1674. Cooper was 
 born in 1609 & died in 1672 & were Companions & friends till Death parted 
 Them. Several encouragers and Lovers of ye fine Arts at that time wanted 
 this picture, particularly Lord Dorset John Somers Esqr Sr Robt Howard 
 Dryden Atterbury Dr Aldrich & Sr John Denham." In Warton's edition 
 of Milton, 1784, the miniature was referred to, and in the second edition, 
 1 791, again mentioned, with some additional remarks, suggesting that it 
 resembled a portrait of Selden; and this statement gave rise to a letter in the 
 Gentleman's Magazine of May 20th, 1791, written, so later facts proved, by 
 Lord Hailes. Sir Joshua answered this letter on the 15th June, signing 
 himself " R. J.," and his answer in extenso appears in Northcote's life. There 
 was a further reply in the Gentleman's Magazine for October. Marsh sets 
 forward, fairly clearly, the facts of the argument. Lord Hailes proved the 
 impossibility of reconciling the statements given in the memorandum with 
 the date of Deborah's death ; pointed out that Sir John Denham died several 
 years before Milton, and questioned the language used in the inscription 
 and inferring that it would not have been in use at the time, and that the 
 phrase "fine arts" was unknown in English until long after 1693. Sir Joshua 
 endeavoured to meet his arguments, said that the memorandum was written 
 before 1693, when Mr Somers was knighted, and stated that as Milton died 
 insolvent and Deborah Clarke was in great indigence, the portrait was sold by 
 her to the author of the memorandum. Lord Hailes denied that Milton 
 died insolvent, pointed out that Deborah was living apart from her father for 
 several years before his death and was hardly likely, being so very poor, to 
 have retained the miniature from 1674 to 1693 before she sold it. He also 
 referred to her express statement to Vertue that " she knew of no other 
 
THE COOPER MINIATURE 17 
 
 picture of her father than the two" in the possession of his widow. Sir Joshua 
 Reynolds confined the greater part of his further argument to an opinion 
 respecting the quality of the portrait, which was rather beside the mark, as its 
 quality was unimpeachable, and the fact that it was a work of Cooper had 
 never been called in question. 
 
 It is more to the point now to direct attention to the fact that the 
 miniature does not resemble either of the accepted portraits, especially 
 the one by Faithorne with which it has been compared. The President, 
 however, strongly believed in its authenticity, and bequeathed it to the 
 Reverend William Mason, who in his turn, by his will, in 1797, left it 
 to William Burgh, Esq., LL.D., of York, and from him it passed into the 
 possession of the Morritt family and has been preserved at Rokeby for many 
 years. It is a very long time since the public have seen it, as Rokeby has 
 been let many times and the miniature put away safely in the strong room, 
 but when last it was exhibited in the early seventies, we had no hesitation in 
 considering that, although an exceedingly fine miniature by Cooper, it bore 
 no resemblance whatever to Milton. Curiously enough, however, it has been 
 accepted by the public as the favourite portrait, has been engraved and re- 
 produced many times, and still forms the frontispiece to one of the best 
 editions of Milton's prose works, the Bohn edition, issued by George Bell 
 and Sons. The story of the controversy appears on the plate engraved by 
 Caroline Watson in 1786, and there are other representations of the portrait, 
 both from her hand, in 1808, and from those of Boutrois, Haid, Cochran and 
 Sharp, one of the best being the rare Sharp print, which was printed in 
 Du Rouveray's edition of Paradise Lost, 1802, and again issued in 1808. 
 Boutrois has curiously mixed up the whole story and has called the painter 
 of the miniature Reynolds instead of Cooper. A very poor representation of 
 the same miniature was drawn by W. M. Craig, but he has represented the 
 poet full face, whereas the miniature is in profile. There are two impressions 
 of his print known, both engraved by Hicks. 
 
 Another pretended portrait of the poet appeared in Peck's memoirs of 
 Milton, in 1740. In a chapter on the portraits of the poet, page 103, in 
 which the descriptions are mixed up in a most extraordinary way, Peck 
 speaks of the one illustrated in his frontispiece as having belonged to Sir John 
 Meres, of Kirby Bellars in Leicestershire, and proceeds to describe the 
 w. 2 
 
1 8 THE PORTRAITS OF JOHN MILTON 
 
 colouring of the original. His only reason for considering it to be a portrait 
 of Milton is the fact that in the portrait a book is represented inscribed 
 "Paradice Lost." Warton and Hollis were told that Peck asked Vertue 
 whether he thought it a picture of Milton, and Vertue's reply was very 
 emphatically in the negative, but Peck decided to have a mezzotint made 
 of it and submitted to the public, and he did so. As Mr Marsh states, 
 "posterity has long since settled the difference, not much to Mr Peck's 
 credit," as "his effort was an impudent attempt to foist a pretended portrait 
 upon the public." The portrait was issued separately from the volume, for 
 sale to the public, and is therefore to be found in two states, one in black on 
 the thin paper on which the book was printed, and another in a greenish 
 black shade on rough, coarser and heavier paper with a very full margin. 
 
 Another miniature has been said to be a portrait of Milton. In January 
 1 791, the Reverend J. Elderton, of Bath, referred in the Genffeman's Magazine 
 to the existence of a miniature in his possession, which, he says, "belonged 
 to his child's great ancestor, Sir Edward Seymour, who was Speaker of the 
 House of Commons and grandfather of the Duke of Somerset: it has been 
 seen by connoisseurs who always agreed it was an original: the hair is of a 
 dark chesnut colour, flowing down to the shoulders." As some doubts were 
 thrown upon its authenticity, Mr Elderton forwarded an outline of the 
 miniature to the Magazine and an engraving by Basire appeared in the issue 
 for January, 1792. Its only resemblance to Milton consists in the long 
 hair. 
 
 Another pretended portrait bears the name of Vertue and is dated 1751. 
 It does not in the least resemble the authentic portraits, and was engraved by 
 Vertue from a drawing which belonged to Richardson and was removed from 
 his collection, he having died six years before. The person certainly has 
 flowing hair and wears a gown and bands, but in no other respects resembles 
 the poet. 
 
 Yet another portrait is declared as having been in the collection of Lord 
 Chesterfield, and three different engravings are known of it. As regards the 
 vest, gown and collar it has a slight resemblance to the Faith orne portrait, 
 but it represents a young man with a moustache and long hair, leaning his 
 head on his hand, in an attitude of thought, and there is no reason whatever 
 to suppose it is in the least like the poet. 
 
Portrait 
 
 by Pieter van der Plas in the National Portrait Gallery considered to 
 represent John Milton. See (156) and (157)- 
 
NATIONAL GALLERY PORTRAIT 
 
 «9 
 
 A still more absurd attempt to produce a portrait of Milton was made by 
 Harding in 1796, but there is little doubt that his print represents Killigrew, 
 and is after a picture by Vandyck, as explained in the details of the engraving 
 (see page 85). 
 
 It is not quite so easy to dismiss off hand the picture of Milton by Pieter 
 Van der Plas (see illustration). ' The original portrait hangs in the National 
 Portrait Gallery, presented to the Trustees in 1839 by Mr Capel Lofft, who 
 always insisted that it was a portrait of Milton, and published it as such 
 in his edition of Paradise Lost, Bury St Edmunds, 1792. He said, it was 
 bequeathed to his father, by Colonel Holland. The Director of the Portrait 
 Gallery is by no means satisfied that it is a picture of Milton, and if it is by 
 Pieter Van der Plas, as seems probable from the signature upon it, the 
 doubt is intensified, because a Pieter van der Plas died in 1626, when 
 Milton was but eighteen years old. There was, however, a Pieter David 
 van der Plas who died in 1704, and the picture is probably by him. A staff 
 and pilgrim's bottle and the representation of the risen Saviour would be, as 
 Marsh points out, equally appropriate for Bunyan, whom the portrait certainly 
 resembles, and a comparison with other portraits of Bunyan, notably the 
 drawing in the British Museum by White, leads us to make the suggestion that 
 the portrait may be that of the author of Pi/grim's Progress rather than of the 
 author of Paradise Lost. It was, however, engraved by Quinton, as a portrait 
 of Milton, and it was lithographed by M. Gauci, the lithograph being printed 
 by F. Moser. The print is fairly common, except in an open letter proof, but 
 the lithograph is exceedingly rare. 
 
 In Dr Williams' Library, Gordon Square, is a picture by Dobson, a replica 
 of which is in an important collection in New York, and it is possible that 
 both the original and the replica are the work of the artist whose name they 
 bear, but they have both been styled portraits of Milton, and an engraving by 
 Wedgwood giving that information was issued in 1820. The portrait, however, 
 represents a big, heavy man who bears no resemblance whatever to Milton. 
 He has certainly a square collar with tassels, something like the one in the 
 Faithorne drawing, but much later in date, has long hair and wears a buttoned 
 vest and a gown, but there the resemblance ceases. 
 
 An even more absurd portrait is the one engraved by Charles Pye, 1823, 
 which represents a young man of about twenty in the costume of 17 10. To 
 
 2 — 2 
 
20 
 
 THE PORTRAITS OF JOHN MILTON 
 
 make it resemble the portraits of Milton it is declared to have been painted by 
 Janssen, but it has no resemblance either to the work of Janssen or to 
 the portraits of Milton. Yet another absurd portrait was engraved by 
 R. Page. 
 
 We now refer to a miniature. A certain Mr Falconer of Usk stated in 
 Notes and Queries that he possessed a miniature, painted on vellum, which had 
 belonged to his grandfather, and that it was the one from which an engraving 
 was made, for the Society for the Diffusion of Useful Knowledge. He uses 
 no particular arguments to connect the portrait with Milton, but declares that 
 his miniature was by Faithorne. Faithorne, however, was not a miniature 
 painter, and when Milton was of the age represented in this portrait Faithorne 
 was a boy. The face is pleasing, but possesses little character, and the 
 portrait is most certainly not the work of Faithorne nor representing Milton. 
 It was very possibly a miniature and may have been dated 1667, but these are 
 the only definite facts about it, and to claim it as a portrait of Milton, as has 
 been claimed in many editions of the poet's works, is absurd. It is the 
 favourite original from which busts both in stone and plaster were made, but 
 it must not be regarded as authentic. 
 
 Another small portrait bears the inscription " From Faithorne," and 
 slightly resembles the last-mentioned one, but the face is rounder and fuller 
 and the hair is more curly. It was engraved by Smith, but is decidedly not a 
 portrait of Milton and has not even any claim to be thought so. 
 
 There is a very poor engraving by Riedel which bears the name of 
 Milton. It is a rough rendering of the original Faithorne print, very coarsely 
 treated, and all the features of the poet's face have been lost. 
 
 Another, somewhat similar, was published in 1823 by G. Smeeton, and 
 there again the features have been so changed that no resemblance in them 
 to Milton's original appearance can be traced. 
 
 The two lithographs, the one by Schubert and the other by Marckl, 
 representing blind men, and the print by Maulet published in Paris, probably 
 have no claim to be considered as anything more than fancy likenesses of the 
 blind poet, but they bear his name and therefore must be alluded to, although 
 they do not in the least resemble him. 
 
 There is a very tiny rectangular line engraving also called Milton, very 
 freely adapted from the Faithorne print, so freely as to have little or no 
 
Miniature by Samuel Cooper, belonging to the Duke of Buccleuch and Queensben 
 said to represent John Milton as a young man. See under Portraits. 
 
THE KNOLE PORTRAITS 
 
 2 I 
 
 connection with the poet : and finally a full length portrait, engraved by 
 Fougeron, is declared to represent Milton and is not in the least like him in 
 any respect. 
 
 A very rare print, 8vo in size, mentioned in Rodd's Catalogue of British 
 Portraits, 1812, was alluded to by Marsh, but he had never seen a copy of it. 
 We have it in two states and in two inks, in our collection, and it is a good 
 piece of engraving after the Faithorne print, but very much reduced. It 
 bears the signature G. Coster, sculpt., and has below the portrait Dryden's 
 well-known lines, but engraved in script. In our own time C. W. Sherborn 
 has made a clever etching to which he has given the name of Milton. The 
 etching resembles to a certain extent the miniature bearing the name of Milton 
 and belonging to the collection of the Duke of Buccleuch and Queensberry, 
 and is said to have been taken from it. It is not, however, exactly the same 
 as that miniature, the artist having taken considerable licence both with the 
 features, which he has made far older than those in the miniature, and with 
 the white collar and costume. 
 
 Two other prints, named by Marsh but not seen or described by him, are 
 as follows. A 4to print of Milton at four ages, representing the Janssen, 
 Onslow, Hollis and Vertue portraits engraved by Joh. H. Lips, 1779, and the 
 print by Hollar referred to by Parthey. This latter is certainly by W. Hollar, 
 but almost as certainly not Milton. It represents a bust of a very young man, 
 is unlettered and of extreme rarity. 
 
 Wivell refers to a Faber print of Milton on a sheet with Shakespeare, 
 Jonson and Butler, but this we have not seen, and Marsh had heard of 
 a rare i2mo print by Phinn and a folio by Gunst but had not seen either 
 of them. 
 
 It will now be well to refer in conclusion to certain other portraits said to 
 represent Milton. In the exhibition at South Kensington in 1866 there were 
 two pictures exhibited by the Countess De La Warr, one, said to be the work 
 of Jonathan Richardson, and with an open untidy costume, a little like that of 
 Van der Gucht's engraving. The features are not, however, identical, and 
 the collar, which is quite plain in the engraving, was fringed with lace in the 
 De La Warr picture. It was a portrait on canvas, 37 inches by 28 inches, 
 but it cannot be seriously contended that it represented Milton. The other 
 
22 
 
 THE PORTRAITS OF JOHN MILTON 
 
 picture was by Mary Beale, although attributed to Richardson. It measured 
 20 inches by 15 inches, and is of a young man with long reddish hair, but is 
 not a portrait of Milton. These portraits are now at Knole, Sevenoaks. 
 At the same exhibition there was shown by the Reverend R. C. Jenkins a 
 portrait of a man in dark dress with a square cut white collar and tassels 
 and with long hair, dated 1650 and inscribed Age 42. It was on canvas, 
 27 inches by 23 inches, and although it certainly bears some slight resem- 
 blance to the Faithorne engraving, yet the resemblance is not sufficient for us 
 to claim it as an authentic portrait. There is a third portrait at Knole, also 
 said to represent Milton. It is in grisaille, 7 feet 1 inch by 4 feet 10 
 inches, and perhaps the work of De Wit. It represents a bust of the 
 poet within a niche, having at the base some clever floral decoration. 
 All three pictures Lord Sackville has been good enough to lend to Christ's 
 College. 
 
 The oil painting in the hall of Christ's College, see illustration, represents 
 a boy of a pleasing, sweet countenance, and it has a certain amount of 
 resemblance to the early portrait of John Milton and some slight connection 
 with the Onslow portrait. Its history, before Mr Hildyard bought it, is not 
 known, but it has always borne the name of Milton, and it is quite possible 
 that it is a portrait of the poet as a boy. 
 
 The miniature at Montagu House, see illustration, is certainly a work by 
 Cooper and a very delightful one. It is a signed work originally belonging to 
 a Mr Villiers, of Tours, and was sold as a portrait of Milton by Messrs Foster, 
 the auctioneers, at a general sale of the Villiers property. We believe that 
 Michael Bryan was the first person to pronounce it to be a portrait of Milton, 
 and upon what authority he did so we do not know. Probably it was only 
 on the general resemblance which it bore to the Onslow portrait as shown in 
 the Houbraken engraving. It is quite possible that it may represent the 
 poet, but we have no particular evidence to support the contention and are 
 inclined to think that it has been called a portrait of Milton more because it 
 represents a young man with long hair who wears a buttoned vest, a broad 
 white collar, and has tassels showing below the margin of the collar. The 
 presence, however, of two broad bands of black velvet down the front of the 
 gown leads us to fear that the attribution is in error. Somewhat similar 
 
John Milton when about 48. The Woodcock portrait. In the collection of 
 Dr G. C. Williamson. 
 
THE WOODCOCK MINIATURE 
 
 2 3 
 
 velvet appears on the Cooper-Reynolds miniature (page 80), but there is 
 no reason to suppose that Milton had any velvet on his usual costume. 
 
 There were some miniatures bearing the name of John Milton exhibited 
 at South Kensington Museum in 1865. Mr J. G. Fanshawe lent a portrait 
 painted in oil which he attributed to Samuel Cooper (520), Mr C. Sackville 
 Bale a pencil drawing on paper (1801) by Richardson, closely resembling the 
 Richardson etching already referred to. It had four portrait heads on 
 one sheet, the central one representing John Milton and the other three 
 Alexander Pope. The sheet had been prepared for Horace Walpole, and 
 each drawing was signed at the back by Richardson. It came from the 
 Strawberry Hill collection. Mr T. M. Whitehead lent an enamel on gold 
 representing the poet when young, and attributed to Petitot, and Mr W. 
 Phillipps lent an oil portrait which he ascribed to Samuel Cooper. 
 
 The last-named item is believed to have passed into the collection of the 
 late Dr Propert and to have been sold in May 1897 to Mr Vernon Watney, 
 of Cornbury Park, near Oxford. The Richardson drawing is now in the 
 Royal Library at Windsor Castle. In the Victoria and Albert Museum there 
 is an enamel copy of the Janssen portrait by Wm Essex, signed and dated 
 1856, and another fine enamel portrait of the poet belongs to Mr J. W. 
 Whitehead. 
 
 Finally, we would make a brief mention of the last portrait of the poet 
 which has been discovered, and which belongs to the author. Its history is 
 that it was acquired from a member of the Goddard family, and that the 
 mother of its late owner was a Miss Woodcock, who stated that the portrait 
 had always been in the Woodcock family and had been handed down in 
 direct succession from Catherine Woodcock, whom Milton married on 
 November 12th, 1656. This Catherine Woodcock was the daughter of a 
 Captain Woodcock of Hackney, and the Woodcocks who owned the minia- 
 ture stated that their home was in Hackney. The second Mrs Milton had 
 a baby girl on October 19th, 1657, and both she and the child died in 
 February, 1658, and the miniature was bequeathed to Catherine Woodcock's 
 niece, from thence coming, it is stated, in direct succession down to its late 
 owner. It is of course quite conceivable that Deborah Milton should have 
 known nothing whatever of any portrait of her father which had belonged to 
 his second wife, whom she knew for so short a time ; and it can be readily 
 
2 4 
 
 THE PORTRAITS OF JOHN MILTON 
 
 understood that if, as surmised, this portrait was given to his wife, by the poet, it 
 would be retained by her descendants, and would not fall into the hands either 
 of the children of the first wife or of his widow, who was the third. It appears 
 to have been cherished very tenderly by the people to whom it belonged, 
 and their descendants only parted with it when actually compelled so to do. 
 It is specially interesting, if a portrait of Milton, as it represents the poet at 
 a period of his life at which we have no other portrait, for he was sixty-two 
 when Faithorne made his engraving, and this miniature must have been painted 
 when he was about forty-eight. It is also of peculiar importance because on 
 two occasions Aubrey speaks of the colour of Milton's hair in middle life, once 
 calling it " light brown," and on another occasion " reddish." Towards the 
 end of his life this colour disappeared, but is clearly shown in the miniature 
 in question. Aubrey also speaks of his complexion as "exceeding fayre," 
 says that his face was "oval" and that he was "a spare man," and all these 
 characteristics and the somewhat more elaborate detail of the lace collar worn 
 at that special time agree with what is to be seen in this miniature. There is 
 certainly a distinct resemblance to Milton in the miniature, and the pedigree 
 gives it some special importance. It does not appear to have been the 
 subject of any engraving, which is perhaps natural owing to the special history 
 belonging to it. It has been attributed to Edmund Ashfield, but on this 
 point we have no very definite theory. It is certainly, however, a genuine 
 miniature of about the middle of the 17th century, bearing a very strong 
 resemblance to Milton and having come from a family from amongst whose 
 members Milton selected the second wife, who was only spared to him for the 
 short period of fifteen months. 
 
 A learned critic has pointed out that it resembles the authentic portrait 
 in all general details, but less in the mouth than in other features, while 
 curiously enough the mouth very closely resembles that in the W. Marshall 
 print of Milton issued in 1645 (see plate following page 92). The consensus 
 of opinion at the Milton Exhibition was in favour of its being considered 
 as a new and authentic portrait of the poet, and its pedigree is un- 
 assailable. 
 
 The drawing by Vertue came from Strawberry Hill and has attached 
 to it a note in Horace Walpole's handwriting respecting Vertue, reading 
 as follows : 
 
STRAWBERRY HILL DRAWINGS 
 
 25 
 
 The Epitaph. 
 
 Here lyes the body of George Vertue 
 late Engraver 
 And fellow of the Society of Antiquaries, 
 Who was born in London anno 1684 
 And departed this life on the 24th of July 1756. 
 
 With manners gentle and a gratefull heart 
 And all the genius of the graphic art; 
 His fame shall each succeeding artist own 
 Longer by far than monuments of stone. 
 
 " Vertue was a rigid Roman Catholic, & ordered his body to be buried in the 
 Cloysters of Westminster Abbey, as near as possible to a spot where he had 
 found a monk of his name had anciently been buried." 
 
 It is a very important and striking drawing, and it is undoubtedly the 
 original by Vertue for print No. 126, where the inscription records that the 
 engraving by W. N. Gardiner is taken from "an original drawing by Vertue 
 in the collection of Thomas Brand Hollis, Esq., at the Hyde, Essex." This 
 drawing is on canvas, in black and brown wash, and is a little larger than the 
 print, measuring j\ in height and 6~ in width, sight sizes, whereas the print 
 is only 6 in height and 4f in width. A proof impression of this print is in 
 the author's collection, evidently struck off before the outer ruling of the 
 plate was made and before any inscription was engraved upon it, and if any- 
 thing this proof impression more closely resembles the drawing than does the 
 finished plate. This drawing appears to have passed from Strawberry Hill 
 into the possession of Mr Hollis, and from him came to Dr Disney, a member 
 of whose family sold it a few years since. 
 
 Of attributed portraits there are many. A full-faced portrait on panel 
 17! by 14^, is at the Holburne Art Museum, Bath, another is stated to be 
 in the Examination Hall of Queen's College, Belfast, and there are two within 
 the walls of Christ's College, one in the Hall and the other in the possession 
 of Mr Arthur Shipley. A curious one bearing Milton's arms and name 
 belongs to Mrs Morrison of St Albans, and is clearly based on the Richardson 
 etchings, and there are portraits belonging to Lord Leconfield and other 
 
2 6 
 
 THE PORTRAITS OF JOHN MILTON 
 
 owners. Fuller details of many of them will be found further on. It is 
 as well to record that in a picture catalogue published by H. Rodd in 1824 
 there is a mention of an oil portrait of Milton, painted on canvas, 54 by 40. 
 It was item 78, priced at £15. 15*. Represented the poet seated at a table, 
 his hand resting on a book. Rodd stated that it more closely resembled the 
 portrait by Faithorne in the History of Britain than any other known painting 
 of Milton. Nothing has been discovered further regarding this portrait. 
 
 The latest engraving to be issued was that presented to his subscribers in 
 1874 by Dr A. B. Grosart. In his prospectus he claimed for it that it was 
 the " first really adequate and worthy reproduction of the only authenticated 
 portrait of Milton in his age ... an engraving of a noble face, massive, 
 tranquil as the awful sea is tranquil, celestial, true, and will grow in value 
 with the years." It was dedicated to Mr J. F. Marsh (see page 90). 
 
 G. C. W. 
 
Mm 
 
 Catalogue of the 
 Portraits of John Milton 
 
The Clay bust of Milton, said to be the work of Pierce, now preserved in the 
 Library of Christ's College, Cambridge. See under Statuary. 
 
Catalogue of the 
 Portraits of John Milton 
 
 STATUARY WORK 
 
 Clay bust. 
 
 Lent by Christ's College, Cambridge. The following is a copy of a letter 
 respecting this bust written by Mr Aldis Wright to Dr Cartmell, 
 Master of Christ's College, 1849 — 1881. 
 
 Trinity College, 
 Cambridge. 
 
 13 Nov. 1875. 
 
 My dear Master of Christ's, 
 
 Since I had the pleasure, thanks to your kindness, of seeing 
 the Milton Bust in company with Mr and Mrs Woolner, I have learnt some 
 particulars about it which I think will be interesting to you. 
 
 In the life of Thomas Hollis (4 0 London, 1870) Vol. [I. p. 513 there is an 
 engraving by Cipriani, as unlike the original as anything can well be, which is said 
 to be 'from a bust in plaister modelled from the life now in the possession of 
 Thomas Hollis.' The engraving is dated 1760. 
 
 I now transcribe what is said of the bust itself. " Mr Mollis, in a paper dated 
 "July 30, 1757, says, ' For an original model in clay of the head of Milton, £g. 12s. 
 "which I intended to have purchased myself, had it not been knocked down to 
 " Mr Reynolds by a mistake of Mr Ford the auctioneer.' 
 
 "Note, about two years before Mr Vertue died, he told me, that he had been 
 " possessed of this head many years ; and that he believed it was done by one Pierce, 
 "a sculptor of good reputation in those times the same who made the bust in marble 
 "of Sir Christopher Wren, which is in the Bodleian Library. My own impression 
 "is, that it was modelled by Abraham Simon; and that afterwards a seal was 
 "engraved after it, in profile, by his brother Thomas Simon, a proof impression of 
 " which is now in the hands of Mr Yeo engraver in Covent Garden. This head was 
 "badly designed by Mr Richardson, and then engraved by Mr Vertue, and prefixed 
 "to Milton's prose-works, in quarto, printed for A. Millar, 1753 (Barons edition). 
 "The bust probably was executed soon after Milton had written his ' Defensio pro 
 "populo Anglicano.' Mr Reynolds obligingly parted with this bust to Mr Hollis 
 "for twelve guineas." 
 
 Vertue whose seal is mentioned, was the engraver who died in 1756. Who 
 Mr Reynolds may have been I can only conjecture. Perhaps Sir Joshua. 
 
 Believe me, my dear Master, 
 
 Yours very sincerely, 
 
 W. ALDIS WRIGHT. 
 
 The Rev. 
 
 The Master of Christ's. 
 
3° 
 
 CATALOGUE OF THE 
 
 Mr Horace Montford's original model for the statue at St Giles 
 Cripplegate (1904) is to be seen in the vestibule to the College 
 Chapel. The head was modelled from the Clay bust. 
 Full length, rectangular. Full face, slightly to the right, long hair, long 
 buttoned coat, the lower buttons being unfastened, white turned down 
 collar with tasselled ends of cord appearing below, sleeves with buttons 
 down the inside of the arm, knee breeches with bows, broad shoes 
 with high tongues and bows, wide soft felt hat in left hand, fingers of 
 gloves appearing from right-hand pocket of coat. Stands on small 
 round pedestal. 
 
 Marble bust of the head only, by Horace Montford. Lent by Christ's 
 College, Cambridge. Removed from the Hall. 
 
 A replica of the above in plaster. Lent by Arthur E. Shipley, Esq., 
 F.R.S. 
 
 Bronze miniature replica of the full length statue. Lent by Arthur 
 
 E. Shipley, Esq., F.R.S. 
 
 Stone Bust inscribed : J. M. Bloomfield, Paddington. The ordinary 
 unauthentic representation of the poet. Lent by Christ's 
 College, Cambridge. 
 
 A similar smaller bust. Lent by Christ's College, Cambridge. 
 
 Derby Biscuit Bust, modelled by G. Cooper and acquired from 
 his grandson. Rare. From the Faithorne portrait. Lent by 
 Dr Williamson. 
 
 Robinson and Leadbetter's Parian Bust. Lent by Dr Williamson. 
 Old Staffordshire full-length figure. Lent by Dr Williamson. 
 
 Wedgwood's Bust in Basalt. Lent by Arthur E. Shipley, Esq., 
 
 F. R.S. 
 
 Wax group of Milton and his daughters. Lent from Christ's 
 College Lodge. 
 
 Plaster Bust. Lent by A. E. Shipley, Esq., F.R.S. 
 
PORTRAITS OF JOHN MILTON 
 
 3i 
 
 •MINIATURES 
 
 Probably the work of a member of the Lens family. Lent by 
 Arthur E. Shipley, Esq., F.R.S. 
 
 Three-quarter face to the right. Boyish expression, blue buttoned doublet, 
 
 falling lace ruff showing two tassels, long hair, brown background. 
 Oval, 2 a by 2f. Acacia wood frame. 
 
 This miniature almost exactly resembles the Houbraken engraving dated 1 741, 
 and it has been suggested, with some degree of probability, that it was prepared in 
 order to send to Houbraken, in Amsterdam, that from it he might engrave his plate. 
 Such a course was often pursued with regard to original works. It was very possibly 
 painted by Bernard Lens the younger. It is not an exact copy of the Nuneham 
 portrait, which purports to be an absolute copy of the lost Onslow portrait. In 
 costume the two are identical, but in expression of countenance they are not, 
 although the miniature is identical with the engraving. It came from the collection 
 of Mr W. S. Green of Exeter Mansions, Shaftesbury Avenue, and was purchased by 
 its present owner in 1903. It may of course be a copy by a miniature painter, from 
 the Houbraken engraving ; especially as the colour of the costume differs from that 
 of the Nuneham portrait, where the coat is black while in the miniature it is blue ; 
 but it is suggested that the first suggestion is more likely to be the correct one. 
 
 Artist unknown. Lent by Dr Williamson. 
 
 Three-quarter face to the left. Costume, black buttoned vest, black gown, 
 square white collar with broad lace border tied with strings and 
 showing the two tassels below. Long fair hair, very pallid counten- 
 ance, brown background. 
 
 Oval, if by 2 J. Metal frame. 
 
 This portrait came from the Goddard family, who had received it in direct 
 descent through Mrs Goddard (born Elizabeth Woodcock), from Milton's second 
 wife, Catherine Woodcock, the daughter of Captain Woodcock of Hackney whom 
 the poet married on November 12th, 1656, and to whom he is said to have given 
 this portrait. Mrs Milton died in February, 1658, and the portrait was given by her 
 to her niece, from whom it came to its late owners. 
 
32 
 
 CATALOGUE OF THE 
 
 Artist UNKNOWN. Lent by Dr Williamson. 
 
 Three-quarter face slightly to the right. Black buttoned vest, black gown, 
 plain white collar tied with strings and showing the strings and the 
 two tassels, long brown hair, background dark blue. 
 
 Oval, 2\ by 2f . Metal frame. 
 
 This is identical with the engraving by George Vertue dated 1725. It was 
 originally in the possession of Charles Kean who regarded it as an early 18th century 
 copy and who framed it, together with two similar copies of engravings representing 
 Shakespeare and Jonson, which he obtained at the same time. 
 
 Artist unknown, probably Essex. Lent by J. W. White- 
 head, Esq. 
 
 Enamel. The Onslow portrait. Inscribed: "J. Milton ann aetatis (not 
 very clearly written) suse 20 .C. J fecit 1627." H. 4. W. 3. Black 
 spotted vest, boyish face. This is a curious enamel because it ascribes 
 to C. Janssen the Onslow portrait which he is not supposed to have 
 painted, and has confused it with the early portrait which he did paint. 
 The Onslow portrait was of Milton when 21. This states when 20, 
 and the words anno or aetatis are written by some one not conversant 
 with either word and are mingled up together in a strange confusion. 
 
 It is a good example of the mistakes so constantly made with regard to 
 the portraits of Milton. 
 
PORTRAITS OF JOHN MILTON 
 
 33 
 
 PORTRAITS 
 
 [See note on p. 37.] 
 
 Benjamin Van der Gucht. Lent by the Right Honourable 
 Lewis Harcourt, M.P. 
 
 Bust, slightly to the right, the head turned towards the spectator. Fair 
 hair falling to neck, boyish expression, falling ruff, black dress, brown 
 background. 
 
 Canvas 28| by 24^. Oval. 
 
 The following inscription is upon the back of the picture : 
 
 This original picture of Milton I bought in the year 1729 or 30 and paid 
 20 guineas for it of Mr Cumberbatch, a gentleman of very good consideration in 
 Chester, who was a relation and executor of the will of Milton's last wife who died 
 a little while before that time. He told me it hung up in her chamber till her death 
 and she used to say that her husband gave it to her to show her what he was in his 
 youth beinp; drawn when he was about 11 years of age. 
 
 Ar. Onslow. 
 
 Mr Hawkins Brown (author of the poem De Animi Immortalitate) told me 
 (8 Oct. 1753) that he knew this Mrs Milton, visited her often and well remembered 
 this picture hanging in her chamber which she said was her husband. 
 
 A. O. 
 
 Compare this picture with that of Milton in his old age or in the print of 
 it by White. 
 
 N.B. The above I transcribed from the writings I found on the back of the 
 original picture of Milton belonging to Lord Onslow when I made this copy for the 
 Earl of Harcourt in November 1792. 
 
 Benj. Van der Gucht. 
 
 " Lord Onslow and Lord Harcourt were great friends and both fond 
 of art. They made an agreement towards the end of the last century 
 to exchange copies of two pictures 
 
 i a Milton, 
 
 2. Pope by Kneller, 
 the latter belonging to Lord Harcourt. The faithful copies were 
 made and exchanged. Since that date the original Onslow picture 
 has been lost and no search .through every gallery and known locality 
 has ever been able to trace it, and therefore Lord Harcourt claimed to 
 
 w. 
 
 3 
 
34 
 
 CATALOGUE OF THE 
 
 possess the only known copy from the picture and the next best thing 
 
 to the original, which Lord Onslow had never before allowed to 
 
 be copied." This is from an inscription at Clandon. 
 
 This picture was exhibited at the Oxford Exhibition of Historical Portraits in 
 1905, No. 115, and was illustrated in the catalogue. There is an early edition of 
 Milton at Clandon bearing on the fly-leaf a statement very similar to the one on the 
 Nuneham portrait. 
 
 Artist probably FAITHORNE. The Bayfordbury picture. Lent by 
 H. Clinton Baker, Esq. 
 Crayon drawing, ioh inches by 8| inches. See illustration, p. 9. 
 
 Artist unknown. Lent by Christ's College, Cambridge. 
 Oil painting on canvas. 
 
 Boyish face, long hair, lace collar, black coat. Nothing is known of the 
 history of this portrait save that it was purchased in the middle 
 of the 19th century by the Rev. J. Hildyard, Rector of Ingoldsby 
 and at one time Fellow and Tutor of the College, as a portrait of 
 Milton as a young man. It has always borne that name and is merely 
 accepted as a possible representation of the poet in his youth. With 
 legend: "Iohannes Milton, aetatis XXI, 1629." 
 
 Artist unknown. Lent by Arthur E. Shipley, Esq., F.R.S. 
 
 Oil painting on an elaborately constructed mahogany panel. Measure- 
 ments over all 2 ft. n in. by 2 ft. 5 in. Boyish face, black coat, white 
 tie, long hair, white vest revealed in front. 
 
 This picture came from Miss Elizabeth Rider (or Ryther) of the White House, 
 Kirby Wiske, Yorkshire, the house in which the famous Roger Ascham was born, 
 and (or a long time hung in the room in which the great scholar first saw the light. 
 Miss Rider's statement respecting it is as follows : 
 
 " In Cromwell's days, when Milton was the secretary of the Protector, my 
 ancestor Sir John Ryther of Rider Hall (or Ryder), was one of the gentlemen of 
 the court and a personal friend of the poet. I believe that it was by his desire that 
 the portrait was painted but whether he had it painted or purchased it directly 
 afterwards I do not know, but it has always been regarded by the family as an 
 authentic portrait." 
 
 It was purchased by the owner on the death of Miss Rider, through Mr John 
 Rigby of Altrincham. 
 
Milton as a young man. The oil painting in the Hall of Christ's College, Cambridge. 
 
 See under Portraits. 
 
PORTRAITS OF JOHN MILTON 35 
 
 Mary Beale. Lent by Lord Sackville. 
 
 Bust looking to the right, brown dress, open collar, long reddish hair. 
 Canvas 19 inches by 15 inches. 
 
 Jonathan Richardson. Lent by Lord Sackville. 
 
 Open collar, yellowish open vest, cloak held by left hand. Canvas 
 37 inches by 28 inches. 
 
 Possibly De Wit. Lent by Lord Sackville. 
 
 Representation in grisaille, of a bust of Milton standing in a niche, with 
 floral ornamentation below. The poet wears the " Faithorne " collar 
 with tassels. Canvas 7 feet 1 inch by 4 feet 10 inches. 
 
 Artist unknown. Lent by Mrs Morrison. 
 
 Face to the right, long hair, plain white collar tied with cord and fastened 
 by two tassels, black buttoned vest, black gown. Canvas 30^ by 24^ 
 inches. 
 
 The head is crowned with a wreath of laurel. Inscribed : " Joannis 
 Miltoni," and having upon it the Milton arms in a shield. This is 
 said to have been painted by Milton himself but there is no evidence 
 whatever to support the assertion. The portrait resembles the 
 Richardson etchings to a certain extent and the Faithorne engraving 
 in costume but the features are very little like those of Milton and the 
 expression far too smooth for his. 
 
 It cannot be accepted as an original likeness of the poet and is probably 
 a composition based upon the Richardson etchings. 
 
 See Antiquarian Magazine, vol. II. 1882, page 1. 
 
 ARTIST UNKNOWN. Lent by Lord Leconfield. 
 
 3— 2 
 
36 CATALOGUE OF THE 
 
 Artist unknown. Lent by Dr Hill, some time Master of 
 Downing College. 
 
 Portrait of Milton, aetat 31, from the collection of Mr Peed of Canterbury, 
 a collector of Miltoniana who died about 1820. 
 
 CORNELIS JANSSEN. Lent by J. Passmore Edwards, Esq. 
 
 Portrait of Milton at the age of 10; see pages 2 and 121, and The Times 
 of 3 June, 1908. 
 
 ROBERT Walker. Lent by Rev. C. P. Jones, of Buntingford. 
 
 Van DER Plas. Lent by the Trustees of the National Portrait 
 Gallery, by permission of the Treasury. 
 
 ARTIST UNKNOWN. Lent by Major Galton of Hadzor. 
 
 Artist unknown. Lent by E. Garnett, Esq., of Horsforth. 
 
 Artist unknown. Photograph of the portrait in the Dyce 
 collection at the Victoria and Albei t Museum, inscribed : " John 
 Milton, Esq. Done after the life 1658, aet. 50." The original is 
 said to have come down in the family of Bargrave, Chaplain to 
 Charles I, and the portrait is evidently that of Milton, and has 
 a close resemblance to the Faithorne engraving, from which it is 
 probably derived. 
 
 Samuel Cooper. Photograph of the miniature in the Victoria 
 and Albert Museum. 
 
 The miniature is certainly the work of Cooper, but it cannot be accepted 
 as a portrait of Milton. 
 
PORTRAITS OF JOHN MILTON 
 
 Artist unknown. Lent by Mr W. Webber. 
 
 This has been called a portrait of Milton from a slight resemblance it 
 bears to the Onslow portrait, but it cannot be accepted as an authentic 
 likeness. 
 
 N.B. The author of this catalogue can only accept as genuine contem- 
 porary portraits of Milton, the Passmore Edwards portrait, the Onslow portrait, 
 and the Bayfordbury drawing, although he is disposed to accept the Woodcock 
 miniature as a contemporary work, and there is no doubt that the Vertue 
 drawing, although not ad vivum, has high claim to be considered an authentic 
 likeness of the poet, and one closely resembling the Bayfordbury portrait. He is 
 disposed to think that the Dyce portrait is early and important, but not a con- 
 temporary portrait, while all the others must be considered as unauthentic, or as 
 compositions derived from engravings, or from the imagination of the respective 
 artists. 
 
 The Hobart drawing, generally accepted as a contemporary portrait, and the 
 work of Faithorne, has not been lent to the Exhibition. It has therefore been 
 impossible to compare it with the Bayfordbury drawing, as was desired, and to 
 decide upon its merits. It is, however, a very important drawing, although there 
 are diverse opinions as to its being the work of Faithorne, and it probably ranks 
 next in position to the Bayfordbury drawing. Closer examination of it may perhaps 
 result in its receiving an even higher position than is thus stated, and it may 
 eventually be decided that it is the more trustworthy of the two drawings, but at 
 present, without the opportunity of comparison, the opinion of the author cannot be 
 more definitely stated. 
 
 It seems to be quite clear that the Richardson etchings, without the laurel 
 wreath, are copied direct from the Bayfordbury drawing, which may, therefore, at one 
 time have been in Richardson's possession. 
 
33 
 
 CATALOGUE OF THE 
 
 DRAWINGS 
 
 Edward Bathurst. 
 
 Wash and Indian ink drawing of Milton similar in style to Vertue's 
 portrait of 1674 (see No. 54), enclosed in an oval of stone work, cut 
 at the top and sides, and resting at the foot on a stone plinth inscribed 
 "John Milton ob. 1674, JEt. 66. Edw d . Bathurst Fecit." 
 
 H. 8. W. 51. P.H. 6. P.W. 5. Lent by Dr Williamson. 
 
 George Vertue. Drawing on canvas in black and brown wash 
 described on page 25. 
 
 7j inches by 6£ inches. Lent by Dr Williamson. 
 J. B. Cipriani. 
 
 In the Fitzwilliam Museum (Portfolio 505) is the original drawing for 
 engraving 178. It was presented to the Right Hon. Arthur Onslow 
 by Mr Thomas Hollis, and by' Mr (afterwards Lord) Onslow given to 
 Lord Fitzwilliam, "at Richmond on Thursday, 25 Feb. 1790." The 
 inscription upon it records that it was " drawn from a bust in plaister, 
 modelled from, and big as life," differing from the inscription on the 
 print by the addition of the words in italics. The inscription also 
 includes a sentence from Petrarch : 
 
 Che trae buoni del sepolcro e in vita il scriba, 
 and on the drawing itself, which is in chalk, is the Hollis motto : 
 
 By Deeds of Peace. 
 The drawing is a very beautiful one. 
 
PORTRAITS OF JOHN MILTON 
 
 39 
 
 ENGRAVINGS, MEZZOTINTS, ETCHINGS 
 AND LITHOGRAPHS 
 
 N.B. The numbers in brackets refer to the list prepared by J. F. Marsh in 
 May, i860, for his article on the Portraits of Milton for the Historic Society of 
 Lancashire and Cheshire; see Vol. XII. page 135. The omission of these numbers 
 in brackets denotes that the prints were unknown to Marsh and discovered since the 
 date of his article. In the sizes of the prints the height is given first, H. signifying 
 the entire height or height of plate, P. H. portrait height, W. width, P.W. portrait 
 width. 
 
 Engravings derived from Janssen's Portrait 
 
 1. J. B. Cipriani, engraver. 
 
 Half length in oval, f face to the right. Short hair, 
 striped doublet, buttoned in front and ornamented at 
 shoulders, white stiffened lace collar showing loops of 
 cord and tassels at throat. The oval is surrounded by 
 a wreath of rose buds and leaves. Inscribed : 
 John Milton. 
 
 Drawn and etched mdcclx by I. B. Cipriani a Tvscan from a pictvre 
 painted by Cornelivs Iohnson mdcxviii now in the possession of 
 Thomas Hollis of Lincoln's Inne F.R. and A.S.S. 
 
 When I was yet a child no childish play 
 To me was pleasing all my mind was set 
 Seriovs to learn and know and thence to do 
 What might be pvblic good my self I thovght 
 Born to that end born to promote all trvth 
 All righteovs things. 
 
 Parad. Reg. 
 
 H. 1 of. P.H. 6. W. 6|. P.W. 4§. B.M. 
 Below the portrait is the Hollis Cap of Liberty. (1). 
 Mentioned by Bromley. 
 
 2. It is also known on green paper. B.M. 
 
CATALOGUE OF THE 
 Cornelius Jansen pinxit. W. N. Gardiner, sculpt. 
 
 Nearly full face. Short hair parted right and left, stiff lace 
 
 collar, striped tightly fitting buttoned doublet. Inscribed : 
 
 John Milton. 
 MtaX 10. 
 
 From an Original Picture in the Collection of Thos. Brand Hollis, Esq., 
 near the Hyde, Essex. Published, June 4, 1794, by John and Josiah 
 Boydell and George Nicol. 
 
 H. ioi. P.H. 4J. W. 71. P.W. 3. B.M. 
 
 This appeared in Boydell's Milton, 3 vols, royal folio. (2). 
 
 ANON, engraver. 
 
 Line engraving in an oval, representing the head and bust 
 only, similar to the last. At the foot of the oval are 
 printed the words "John Milton at the age of ten." 
 H. 2f. P.H. 2 i. W. 2. P.W. if. 
 
 Edward Radclyffe, engraver. 
 
 A line engraving forming one of the illustrations to the first 
 volume of Masson's Life of Milton. Inscribed " Milton 
 ^Etat 10. After a photograph from the original picture in 
 the possession of Edgar Disney of the Hyde, Ingatestone, 
 Essex. London. Published by Macmillan & Co. 1874." (3). 
 
 B.M. 
 
 ANON, engraver. 
 
 Engraving of a boy's portrait, almost in outline. Buttoned vest, rich 
 
 pendant lace collar. Inscribed. 
 Portrait described in Gent. Mag. for Sept. 1787, p. 759. 
 H. 7^. W. 4 f. (4). 
 
PORTRAITS OF JOHN MILTON 41 
 
 This was used to illustrate a letter signed Z. Z. dated from 
 Oxford and sending the drawing from which this was engraved. 
 The correspondent stated that the drawing had at the top "AO 1623 
 Mtat suae 12" and that in the hands of the figure was a book with 
 " Homer's Iliad " on the leaves. 
 
 Engravings after the Onslow Portrait 
 
 7. Granger refers to a print differing only from (6) in the inscription. 
 
 Bromley also mentions it, but Marsh did not see any copy of it. 
 Stated to be inscribed as follows: "Joannes Milton. /Etat. 21. 
 Vertue, sc. Ex pictura archetypa quae penes est praehonorabilem 
 Arthurum Onslow, Arm. Vertue sc. 1831." It is a quarto print. (5). 
 
 8. G. Vertue, sculpt. 1731. 
 
 Half-length in oval. Three-quarter face to the right. Hair fairly long, 
 doublet buttoned in front and ornamented at the shoulders, white 
 lace ruff. The oval is in a rectangular frame which cuts the curve at 
 the sides and top. At the top is a scroll ornament with leaves and 
 flowers. On the edge of the frame at the foot is a ribbon bearing the 
 words " Ioannes Milton." Below the frame is a stone shelf with the 
 heads of Homer and Virgil : in the centre is a medallion with a single 
 headed eagle ; hanging from the shelf on either side below this 
 medallion is a ribbon with the inscription "^Etatis XXI." Below 
 the shelf is inscribed : 
 
 Nascuntur Poetae, non hunt. 
 
 H. gf . P.H. 4£. W. 6£. P.W. 4. (6). B.M. Two examples. 
 
 Published in Bentley's edition of Paradise Lost. 4to. London, 1732. 
 Mentioned by Bromley. 
 
 9. A proof before letters is in the B.M. Cracherode collection, signed and 
 
 dated at the side. 
 
 1 
 
42 
 
 CATALOGUE OF THE 
 
 10. ANON, but clearly the same plate as (6) with altered inscription. 
 Half length in oval. Three-quarter face to the right. Hair fairly long, 
 doublet buttoned in front and ornamented at the shoulders, white lace 
 ruff. The oval is in a rectangular frame which cuts the curve at the 
 sides and top. At the top is a scroll ornament with leaves and 
 flowers. On the edge of the frame at the foot is a ribbon bearing the 
 words " Ioannes Milton." Below the frame is a stone shelf with the 
 head of Homer on it and the head of Virgil : in the centre is 
 a medallion with a single headed eagle ; hanging from the shelf on 
 either side below this medallion is a ribbon with the words "^Etatis 
 suae 21." Below the shelf is inscribed: 
 
 Greecia Maeonidem jadet sibi Roma Maronem 
 Anglia Miltonum jactat titrique parent. Selvaggi. 
 H. 8f. P.H. 4 f. W. 6. P.W. 4. 
 
 11 and 12. Another State. 
 
 There is a print from the same plate as (6) with Dryden's lines sub- 
 stituted for the "Nascuntur" etc., and the date badly altered from 
 1 731 to 1747. It is prefixed to Newton's edition of Paradise Lost, 
 2 vols, quarto. London, 1 749. (7). There are two varieties of this, one 
 being without the stone rectangular frame and without the date. 
 
 13. G. Vertue, sculpt. 
 
 Half length in oval, with slight scroll ornament above. Three-quarter 
 face to the right. Hair fairly long. Doublet buttoned down the front 
 and ornamented at the shoulders with lace ruff. Inscribed on a riband 
 below the oval : 
 
 Ioannes Milton 
 ^Etatis Suae. 21. 
 H. 6|. P.H. 3 f . W. 4. P.W. 3J. (8). B.M. 
 
 Published in Newton's edition of Paradise Regained. 8vo. London, 1773. 
 Mentioned by Bromley. 
 
 14. J. HOUBRAKEN, sculps. Amst. 1 741. 
 
 Half length in oval. Three-quarter face to the left. Hair fairly long. 
 Doublet buttoned down front and ornamented at shoulders, white 
 lace ruff. Stone frame to portrait inscribed "John Milton." Below 
 
PORTRAITS OF JOHN MILTON 
 
 43 
 
 is a book with a lyre, a serpent with an apple in its mouth, a branch 
 
 with leaves and fruit and a roll of paper. Inscribed: "In the collection 
 
 of the Right Hon: Arthur Onslow Esq r Speaker of the House of 
 
 Commons. Impensis I. and P. Knapton, Londini, 174." 
 
 H. 15. P.H. 7. W. 9 £. P.W. 6\. (9). B.M. 
 
 One of the Series of folio plates known as Houbraken's heads. Mentioned by 
 Bromley. For the original copperplate see page 153. 
 
 15. The same print. Modern impression from the existing copperplate. B.M. 
 
 16. Another State. 
 
 Portrait similar to the last within a rectangle, on the top of which are 
 the words "Ms. Conv. Lex. No. 429," and below the rectangle 
 " Stahlstich von Karl Meyer in Nurnburg," and the name " Milton " 
 within an engraved tablet and above it the words "Inst. Bibl. Excudt." 
 
 H. 7. P.H. 4 f. W. 3 f. 
 
 17. A Lithograph. 
 
 Lithograph portrait similar to the last, but rougher and coarser in 
 execution and inscribed : " Imp. litho de Melle Formentin rue 
 St Andre des Arcs, No. 59." "J. Milton, Ulustre Poete Anglais." 
 
 H. 9. P.H. 7. W. 6. 
 
 18. Andrew Miller fecit. Dublin, 1744. 
 
 This is a copy of (9) in mezzotint, including the ornaments, but reversed 
 and inscribed as above and also "Joannes Milton yEtatis XXI." On 
 the pedestal is the motto " Nascuntur " etc. 
 
 Plate size 13^ by 10. O.D.H. 7. W. 6. Chaloner Smith 931. (10). 
 
 19. J. B. Cipriani, engraver. 
 
 Half length in oval. Three-quarter face to the right. Hair fairly long, 
 doublet buttoned in front and ornamented at shoulders, white lace ruff. 
 Oval is surrounded by a wreath of laurel. Below is the inscription : 
 John Milton 
 
 Drawn and etched mdcclx by J. B. Cipriani a Tvscan at the desire of 
 Thomas Hollis F.R. and A.S.S. from a pictvre in the collection of the 
 
44 CATALOGUE OF THE 
 
 Right Hon. Arthur Onslow Speaker of the Commons Hovse of 
 
 Parliament. 
 
 How soon hath Time the svttle theef of yovth 
 
 Stoln on his wing my one and twentieth yeer 
 
 My hasting dayes flie on with fvll career 
 
 Bvt my late spring no bvd or blossom shew'th 
 
 Perhaps my semblance might deceive the trvth 
 
 That I to manhood am arriv'd so near 
 
 And inward ripeness doth mvch less appear 
 
 That som more timely-happy spirits indv'th 
 
 Yet be it less or more or soon or slow 
 
 It shall be still in strictest measvre eev'n 
 
 To that same lot however mean or high 
 
 Toward which time leads me and the will of heav'n 
 
 All is if I have grace to vse it so 
 
 As ever in my great Task Masters eye. 
 
 H. iof. P.H. 6i. W. 7. P.W. 41. (11). B.M. 
 
 One of the Series mentioned in Hollis' Memoirs. 
 
 20. A Proof. 
 
 A proof of above plate, before letters. 
 
 21. Impression on green paper. Very rare. B.M. 
 
 22. Anon, engraver. 
 
 Half length in oval. Three-quarter face to the right. Hair fairly long. 
 
 Doublet with ornamentation at fastening and shoulders, white ruff. 
 
 Inscribed above portrait John Milton. Under the portrait is written 
 
 in ink "died 1674, aged 68." 
 H. 2 X V P.H. 2. W. if. 
 
 23. Goldar, sculpt. 
 
 Half length in oval. Three-quarter face to the right. Hair fairly long. 
 Doublet buttoned in front and ornamented at shoulders, white lace 
 ruff. Oval medallion in rectangular frame, above which is inscribed : 
 " London ; Engrav'd for Harrison's Editions of Rapin. 
 John Milton" 
 
 and below " In the Collection of the R' Hon ble Arthur Onslow Esq r 
 Published as the Act directs, May 28 1785." 
 H. 1 1 A. P.H. 6&. W. 7 |. P.W. 5 A- (12). 
 
PORTRAITS OF JOHN MILTON 
 
 45 
 
 24. Anon, engraver. 
 
 Half length in oval. Three-quarter face to the left. Hair fairly long. 
 Doublet buttoned down front and ornamented at shoulders, white lace 
 ruff. Stone frame to portrait inscribed : 
 John Milton. 
 
 Inscribed at the top " For the London Magazine " and at the foot 
 "Published by R. Baldwin at the Rose in Pater Noster Row 1752." 
 H. 7 f P.H. 3 f W. 4 |. P.W. 3t V (13). B.M. 
 For the London Magazine. 
 
 25. ANON, engraver. 
 
 An oval representing masonry of six voussoirs, with segments cut off at 
 
 top, bottom and sides. No plinth. " John Milton " at foot. 
 
 Plate size 4A by 3$. (14). 
 
 This was issued in the fifth volume of the British Biography published by 
 Baldwin, 7 vols., 8vo. London, 1766 — 72. 
 
 26. Anon, engraver. 
 
 Oval in slightly ornamented frame, in the same plate with Algernon 
 Sidney, John Hampden and Andrew Marvel, the frames being con- 
 nected with interlacing ornament. 
 
 Size of each frame 2\ by if. (15). 
 
 27. I. June, sculpt. 
 
 Plain oval in same plate with Ben Jonson, Robert Boyle and John 
 
 Locke. 
 2 by if. (16). 
 
 28. W. N. Gardiner, sculpt. 
 
 Three-quarter face to the right. Long hair, white ruff, buttoned doublet 
 Inscribed : 
 
 John Milton ^Etat 21, 
 From the original Picture in the Possession of 
 Lord Onslow 
 at Clandon in Surry. 
 
46 
 
 CATALOGUE OF THE 
 
 purchased from the Executor of Milton's Widow by Arthur Onslow 
 Esq r speaker of the House of Commons, as certified in his own hand 
 writing at the back of the Picture. 
 
 Publish'd June 4, 1794, by Iohn and Josiah Boydell and George Nicol. 
 
 H. 10J. P.H. 6. W. 7§. P.W. 4 |. (17). B.M. 
 This appears in Boydell's Milton. 
 
 29. WOOLNOTH, sculpt. 
 Inscribed: "John Milton ^tat XXI." 
 
 Marsh does not give any sizes for this plate. The portrait sizes are 
 
 3 X2f (18). 
 
 30. Anon, engraver. 
 
 Inscribed : Cornelius Jansen. W. C. Edwards. J. Yates, printer. 
 
 London, John Macrone, St James's Square, and E. Graves, King 
 
 William St., Strand. (19). H. 8|. P.H. 3J. W. 5. P.W. 3. B.M. 
 
 This, Marsh states, appeared in Macrone's edition, edited by Sir Egerton 
 Brydges. No sizes are given and the picture is quite wrongly assigned to Cornelius 
 Janssen. 
 
 31. Cornelius Jansen. W. C. Edwards. 
 
 Line engraving after the Onslow portrait, representing Milton at the age 
 of twenty-one, with the usual white lace ruff and buttoned doublet. 
 Beneath is a facsimile of the signature and date and below that the 
 inscription : 
 
 JEX. XXI. 
 
 H. 7 |. W. 4f . 
 
 This is a vignette. 
 
 32. There is a proof known of this. 
 
 33 and 34. Edward Radclyffe, engraver. 
 
 Inscribed: "Milton aetat 21. After Vertue's engraving in 1731, from 
 the original picture, then in the possession of the Right Hon. Speaker 
 Onslow." 
 
 This appears in Masson's Life of Milton, in two different plates. 
 (33) P-H. $h P.W. 3. (34) A vignette P.H. 2, P.W. 2. (20). 
 
 35. There is a proof known of 34, engraved by C. H. Jeens. B.M. 
 
 36. On a variety the inscription stops at "aetat 21." 
 
PORTRAITS OF JOHN MILTON 
 
 47 
 
 37. T. S. Engleheart, sc. 
 
 Inscribed "John Milton, aged 21. London, Published by John W. 
 
 Parker, West Strand." 
 P.H. 3. P.W. 3. 
 
 Marshall's Engraving 
 
 38. W. Marshall, sculpt. 
 
 This is the portrait which appeared in Humphrey Moseley's original edition 
 of Milton's Poems in 1645 (No. 254), and has the celebrated Greek 
 epigram beneath it. In the background is an arcadian scene, and in 
 the four corners outside the oval the four muses, Melpomene, Erato, 
 Urania and Clio, with their names. The poet is within the oval, and 
 has a lace bordered collar and lace bordered cuffs. The hair is long 
 and there is a curtain at the back of the head. The inscription about 
 the oval is : Ioannis Miltoni Angli Effigies Anno ^tatis viGess: Pri: 
 Below the portrait is the Greek inscription in four lines, followed by 
 the letters W. M. sculp. : 
 
 A/J.a6el yeypd(p6a.i X eL P L T V v ^ e H L * V "kovo. 
 ^aojs to-X ov, irpos ciSos avTO<pvi.<; fikiirwv. 
 
 ToV 8' eKTVTTOiTOV OVK £7TlyVOfT€5, (frtXoi 
 
 TeXare (pavkov Sva-/itp.rjp.a t.oiypdcpov 1 . 
 H. 6 T V P-H. 3 |. W. 4 fV P.W. 2 lf. 
 This print is exceedingly rare. (21). B.M. 
 
 39. Later State. 
 
 There is an excellent copy of the same print in existence from the 
 worn or possibly amended plate. (22). B.M. 
 
 40. Recent Print. 
 
 There is also a recent print from the second plate. 
 
 1 These lines have been roughly translated as follows : 
 
 Who, that my real lineament has scanned 
 Will not in this detect a bungler's hand? 
 My friends, in doubt on whom his art was tried, 
 The idiot limner's vain attempt deride. 
 
48 CATALOGUE OF THE 
 
 41 and 42. M. V. DER GUCHT, sculpt. 
 
 Half length in oval. Three-quarter face to the right. Long hair, buttoned 
 coat, cloak over right shoulder, wide lace edged collar, flower stuck in 
 coat just below collar, the left sleeve shows part of white undersleeve 
 and wide lace edged cuff, the left hand and right arm and wrist being 
 hidden by the cloak. Background a curtain looped back and showing 
 a landscape with trees and three figures, one of whom is seated playing 
 on a musical instrument, while the other two carry crooks and seem to 
 be dancing. Round the oval is inscribed : " Ioannis Miltoni Angli 
 Effigies. Anno ^Etatis. 21." Below is inscribed: M. V. der Gucht 
 sc 1 7 13. This is a reduced copy of the rare Marshall engraving and 
 was prefixed to Tonson's Edition of Paradise Regained. i2mo. 
 London, 1 7 1 3 (No. 346). 
 
 H. 4f. P.H. 3A. W. 2 f . P.W. z\. 
 
 This is in two states and printed in two different inks, one black the other 
 brown. (23). The former, but imperfect, is in B.M. Anderdon 
 collection. 
 
 Mentioned by Bromley. 
 
 Faithorne's Engraving 
 
 43. Gul. Faithorne ad Vivum Delin. et sculpsit. 
 Three-quarter face to the right. Buttoned vest, gown, large white collar 
 
 showing lace ends beneath, long hair. Oval, set on a pedestal on the 
 top of which is engraved the name of the engraver, and on the front of it 
 Ioannis Miltoni Effigies MX.2X: 62. 
 1670. 
 
 H. 8$. P.H. 4|. VV. 6|. P.W. 4}. (24). B.M. 2 examples. 
 
 Published in Milton's History of Britain, 1670. Mentioned by Bromley. 
 A rare print when in good condition. 
 
 44. Modern Copy. 
 
 There is a modern copy of (24). The impressions are coarser. (25). 
 
 45. Recent Print. 
 
 There is also a recent print from the later plate which at one time be- 
 longed to Evans and now to A. E. Shipley, Esq. ; see page 1 53. 
 
PORTRAITS OF JOHN MILTON 
 
 49 
 
 46. A Variety. 
 
 A variety of (24), but the oval is represented as standing on a deep 
 panelled surface, having in front Milton's arms and crest so as to form 
 a folio plate. 
 
 H by si- 
 
 This appeared in Toland's edition of "Milton's Prose Works," 1698. 
 Each impression was struck from two plates, for which purpose the 
 original had been cut away immediately below the name of the 
 engraver, the oblique lines forming the ends of the upper surface of 
 the pedestal erased, and the horizontal lines of heading continued to 
 the edge of the plate. It is clear from the fact of these alterations that 
 (25) was not struck from the original plate worn and retouched, but 
 from a copy. The inscription reads " Ioannis Miltoni Effigies Natus 
 Anno 1608 Obiit Anno 1674 Gul Faithorne ad vivum Delhi et sculpsit." 
 
 (26). 
 
 47. Faithorne, engraver. 
 
 Almost exactly the same as (24), but the plate has the appearance of having 
 been cut down at the sides, and the engraver's name does not appear 
 on the top of the pedestal. There is a similar inscription in the front 
 of the pedestal, but the letters are smaller in size and closer together, 
 and it is evident that the plate is not the same as that in (24), but 
 a copy of it on a somewhat reduced scale. 
 
 H. 6|. P.H. 4 |. W. 4 f P.W. 3 |. (27). 
 
 48. No. 47 is known in two states in two different inks, the former very 
 
 black, the latter greyish in tone. B.M. 
 
 49. W. DOLLE, sculpsit. 
 
 This is a copy on a reduced scale from Faithorne's quarto and is inscribed 
 "Ioannis Miltoni Effigies Aetat 63, 167 1." It was published in Artis 
 Logicae plenior Institutio, 12 mo, London, 1672, and again in the second 
 edition of Paradise Lost in 1674, and in the third edition in 1678. 
 
 Plate size 5 by 3. B.M. Pennant collection. 
 
 50. Anon. 
 
 A close copy of the last, except in features. Plate, a trifle smaller each 
 way. Inscription and date same as (28). (29). 
 w. 4 
 
50 
 
 CATALOGUE OF THE 
 
 51. I. Simon, fecit. 
 
 This is the very rare mezzotint in the British Museum. It is evidently 
 a portion of the plate described in Bromley's catalogue as a mezzo- 
 tint, one of four portraits, the others being Beaumont, Fletcher and 
 Cowley ; but the ornamentation is different from these and other 
 uniform portraits published by Bowles. Oval with a wavy fillet in the 
 two upper corners. Marsh had only seen the one in the B.M. The 
 Museum has now two impressions but one in our collection is fully 
 equal if not superior to the better of them. It is inscribed " Mr John 
 Milton obt anno 1674 setat 66." B.M. separately and complete. 
 
 Size of plate 6f by 5. O.D.H. 6f. W. 5. Chaloner Smith 1084. (30). 
 
 52. Variety. 
 
 The head as in (30) but reversed. Mezzotint. Inscribed : John Milton, 
 London. Printed for R. Sayer and J. Bennett, No. 53 Fleet Street. 
 See Chaloner Smith 1763. B.M. Anderdon collection. 
 Very rare. 
 
 53. R. White, sculpt. 
 
 Portrait in an oval frame of winged cherubs' heads and bold and peculiar 
 scroll work, and at the foot in a rectangular tablet set in a richly 
 ornamented frame Dryden's lines, here published for the first time. 
 
 H. 11. P.H. 5§. W. 7 |. P.W. 4$. B.M. 
 
 This was issued in the fourth edition of Paradise Lost, folio, London, 
 1 688, and in subsequent editions. (31). 
 Mentioned by Bromley. 
 
 54. G. Vertue, sculp. 
 
 Portrait in an oval, sides partly concealed by a kind of architrave, top by 
 a curtain looped up at the left by a fillet, terminated in a tassel on the 
 right. On the curtain are the poet's name and date of death, " Ioannis 
 Miltoni Effigies ob. 1674 ALL 66," and in a framed panel at the foot 
 within a peculiar scroll, Dryden's lines. 
 
 Size 8f by 6. (32). B.M. 
 
 This appeared in Tonson's edition of the poetical works, two volumes, quarto, 
 London, 1720. Mentioned by Bromley. 
 
 55. There is a proof before all letters in the B.M. 
 
PORTRAITS OF JOHN MILTON 51 
 
 56. G. Vertue, sculp. 
 
 Half length in oval. Nearly full face, slightly to the left. Long hair, 
 buttoned coat, cloak over left shoulder, white collar with lace ends of 
 tie showing beneath. The oval is set in rectangular frame with curved 
 top, which cuts the curve of oval at the sides. There is a curtain 
 falling over the frame at the top and down the right side, ending with 
 a tassel ; on a curtain above the picture is inscribed : 
 
 "Ioannes Milton. 
 
 ^Etatis lxii 1670." 
 
 Below is a tablet with leaf and scroll ornamentation inscribed : 
 Tov Trtpl Mover' i<f>iX.r}(r€, 
 
 SiSov 8" dyadovrt KdKOiTf 
 'O^>0aA/Acuv /j.kv afiepve, 
 StBov 8' rfSftav doi&Tjv. 
 
 [Odyssey, Bk vin. 1. 63.] 
 
 Engraver's signature is on the lower corner of rectangular frame at the 
 right. 
 
 H. 9f. P.H. 5|. W. 6f. RW. 4 §. (33). B.M. 
 
 Published in Bentley's edition of Paradise Lost, 4to, London, 1732. Mentioned 
 by Bromley. 
 
 57 and 58. G. Vertue, sculp. 1747. 
 
 Half length in oval. Nearly full face, slightly to the left. Long hair, 
 buttoned coat, cloak over left shoulder, white collar with lace ends of 
 tie showing beneath. The oval is set in rectangular frame with curved 
 top, which cuts the curve of oval at the sides. There is a curtain 
 falling over the frame at the top and down the right side, ending with 
 a tassel ; on the curtain above the picture is inscribed : 
 "Ioannes Milton. 
 ^Statis lxii 1670." 
 Below is a tablet with leaf and scroll ornamentation inscribed the same 
 as on (33), being the quotation from the Odyssey, Bk VIII. 1. 63. The 
 
 4—2 
 
52 
 
 CATALOGUE OF THE 
 
 engraver's signature is below the corner of rectangular frame at the 
 right : below the left corner is inscribed " Front. Vol. 2," these words 
 being omitted in some impressions. 58. B.M. 
 H. 9 i. P.H. 5 |. W. 6§. P.W. 4 |. 
 
 59. The same plate as preceding but with date altered. 
 
 Prefixed to the second volume of Newton's edition of Paradise Lost, 
 2 vols. 410, London, 1749, which Hollis' Biographer inaccurately 
 treats as the original condition of the plate. (34). 
 
 60. J. Gwim, sculpt. 
 
 This is a scarce print, evidently copied from Vertue's first quarto print 
 after Faithorne. It is to be found in Grierson's edition of Paradise 
 Lost and Paradise Regained, Dublin, 1724, but the book is a 12 mo 
 and the print has to be folded both ways to admit of its insertion. (35). 
 There is no copy of this book in Cambridge. 
 
 61. G. Vertue, sculpt. 
 
 Half length, rectangular. Nearly full face, slightly to the right. Long 
 hair, buttoned coat, cloak over right shoulder, white collar showing 
 ends of tassels below. Inscribed : 
 
 Three Poets in three distant Ages bom, 
 Greece Italy and England did adorn, 
 The First in loftiness of thought Surpas'd ; 
 The Next in Majesty in both the Last. 
 The force of Nature cou'd no further goe : 
 To make a Third she joyn'd the former two. 
 
 Dryden. 
 
 H. 5. P.H. 3|. W. $\. P.W. 2 |. B.M. Whitelock collection. 
 
 In the above "thought" is printed without a capital, "Surpas'd" with 
 capital, and one "s" in last syllable, there is no comma after 
 " majesty " and " former two " are in italics without capitals. (36). 
 
PORTRAITS OF JOHN MILTON 
 
 53 
 
 62. ANON, engraver. 
 
 This is a similar portrait to the preceding one. Rectangular, with 
 Dryden's lines and the name " Dryden " at the foot, and with the 
 following peculiarities in the lines. 
 "Thought" spelt with a capital. 
 " surpass'd " with two s's at the end. 
 Comma after Majesty. 
 " Two " in Roman letters and with capital. 
 H. 4f. P.H. 3 f . W. 3. P.W. 2 §. 
 No name of engraver. (37). 
 
 63. Anon, engraver. 
 
 Half length, rectangular. Three-quarter face to the left. Long hair, 
 
 buttoned coat, cloak over left shoulder, white collar showing lace ends 
 
 of tie beneath. Inscribed : 
 
 Three Poets in three distant Ages born 
 Greece, Italy and England did adorn. 
 The First in loftiness of thought Surpass'd ; 
 The Next in Majesty, in both the Last. 
 The force of Nature cou'd no further goe ; 
 To make a Third she joyn'd the Former two. 
 
 Dryden. 
 
 H. 4 f P.H. 3 |. W. 2 £. 
 
 This is the edition in which the word " thought " is spelt without a capital. 
 " Former " with a capital, there is a comma after Majesty, and no 
 engraver's name. (38). 
 
 64. Similar portrait to (36) but more worn, and in mezzotint, inscribed in 
 
 very large square letters " Milton." 
 H. 4. W. 2 f. 
 
 65. Fr. Kyte, engraver. 
 
 Mezzotint in laureated wreath with name on ribbon below. Very rare. 
 H. 1 if. P.H. 5A. W. 9|. P.W. 4§. B.M. Burney collection, v. 37. 
 Published by Bowles in a set of four poets, Shakespeare, Jonson, Milton, 
 
 and Butler, on one plate. Inscribed: John Milton, Natus a.d. 1608. 
 
 Denatus 1674. Printed for John Bowles. Appeared in "Worthies 
 
 of Britain." Chaloner Smith 795. 
 
54 
 
 CATALOGUE OF THE 
 
 66. G. Vertue, sadpt. 
 
 One of five ovals forming an 8vo page, the centre portrait being Chaucer 
 
 and the others Milton, Butler, Cowley and Waller. (39). 
 
 One of the illustrations to Jacob's Poetical Register, z vols. 8vo, 
 London, 1723. 
 
 67. ANON, engraver. 
 
 Portrait in Faithorne costume but with still further divergence in feature. 
 In a circle formed by a serpent bordered at a distance of half an inch 
 by a circular border extended at the sides by two shells and contracted 
 at the top by the boundary of the plate, and at the bottom by a pedestal 
 with the inscription: "Cui mens divinior, atque os Magna sonaturum." 
 
 Size of entire engraving, which has the appearance of a vignette, 3^ by z\. 
 
 This appears in a rare 14th edition of P.L. differing in size from the 
 ordinary 14th edition. (40). 
 
 68. Anon, engraver. 
 
 Portrait in a circle one inch in diameter, on a wreathed pedestal between 
 two sphynxes in the attitude of heraldic supporters. (41). 
 
 69. Anon, engraver. 
 
 Portrait in a circle on which is inscribed the word " Milton." 
 H. i|. P.H. i\. 
 
 70. ANON, engraver. 
 
 In an oval on a diapered ground partly covered at foot by a border of 
 acanthus leaves surrounding a vignette of the Temptation. At the 
 corners formed by the lower part of the oval are several volumes, two 
 open inscribed " Comus " and " Lycidas." 
 
 Plate 4 £ by 2 f . 
 
 Inscribed : "The Effigie of John Milton : author of Paradise Lost." The 
 only copy of this seen by Mr Marsh was the one in his own 
 possession. (42). 
 
PORTRAITS OF JOHN MILTON 55 
 
 71. G. Faithorne, del 1 . Landon, dire*?. 
 
 A copy of the Faithorne print in outline, in rectangular frame composed of 
 four double lines inscribed : "Tomexxix. Page 59. Hist. DAngleterre." 
 H. 5 i. P.H. 2 f. W. 31. P.W. 2. (43). 
 
 72. Gul. Faithorne, ad viv. del. Car. Knight, sculpt. 
 
 Half length in oval. Three-quarter face to the right. Long hair, buttoned 
 coat, cloak, white collar, ends of lace tie showing beneath collar. In 
 oval frame resting on stone base which is inscribed : " Joannis Miltoni 
 .vEt. lxii # mdclxx. Sana. Posteritas. Sciet." 
 
 H. 6|. P.H. 4 J. W. 4 f. P.W. 3 £. 
 
 This was prefixed to Capel Loftt's edition of the first and second books 
 of Paradise Lost, published at Bury St Edmunds in 1793. (44). 
 
 73. William Faithorne, engraver. 
 
 Oval with an outer line border. Inscribed " John Milton aged 62. 
 
 Engraved from an Original by William Faithorne. Published 1670. 
 
 Pubd 13 June 1796 by I. & H. Richter, No. 26, Newman St., 
 
 Oxford Road." 
 H. 12. P.H. 4f. W. 9 f. P.W. 4. (45). 
 
 73 a. A very similar print, in a circle with leaves at each corner, appears on 
 the title page of Paradise Lost, Foulis edit. 1770. Diameter 4^. 
 
 74. Faithorne, Pinxf. 1670. Woodman, Junr., fc*. 
 
 Half length rectangular. Three-quarter face to the right Long hair, 
 buttoned coat, cloak draped round shoulders and across breast, white 
 collar with ends of white lace tie showing beneath it. Above the 
 portrait is a trumpet with wreath of laurel leaves. Below is a line of 
 scroll and leaf design and beneath that a sarcophagus engraved 
 " Milton," with a garland of laurel leaves looped through its rings and 
 with griffin feet ; beside the casket are laurel leaves and the caduceus. 
 
 H. 6|. P.H. sh W. 4}. P.W. 2f. B.M. 
 
 Published Nov. 1, 1807 by Mathews and Leigh, intended for but not used 
 in The Cabinet or Monthly Report of Polite Literature. (46). 
 
56 
 
 CATALOGUE OF THE 
 
 75. P. Roberts, sculpt. 
 
 No size is given of this print in Marsh's list. It is described as possessing 
 no background and being published by T. Dolby, October i, 1821. (47). 
 
 76. H. Robinson, sculpt. 
 
 Oval finely engraved, having facsimile of autograph below the oval, and 
 
 inscribed "London, William Pickering, 1831." B.M. 
 H. 7 i- P-H. 2f. W. 4 f. P.W. 2 1. 
 
 77. A Proof on India paper is in the B.M. (48). 
 
 78. Cochran, sculpt. 
 
 Portrait inscribed with facsimile of autograph, name of engraver, and 
 "Gul. Faithorne ad Vivum del." No size given by Marsh. Inscribed 
 " Engraved for Ivimey's Life of Milton. London, Published by Effing- 
 ham Wilson, 88 Royal Exchange, Jan' 5, 1833." (49). 
 
 79. W. C. Edwards, engraver. 
 
 Half length, rectangular. Three-quarter face to the left. Long hair, 
 buttoned coat, cloak over left shoulder, white collar. Inscribed : 
 "John Milton 
 Published by Westley and Davis, London." 
 H. \o\. P.H. 5. W. 7. P.W. 4. B.M. 
 
 This was prefixed to Fletcher's edition of the prose works, royal 8vo, 
 London, 1833. 
 
 This and the next two have a softened expression in the features. (50). 
 
 80. W. C. Edwards, engraver. 
 
 Half length, rectangular. Three-quarter face to the left. Long hair, 
 buttoned coat, cloak over left shoulder, white collar showing lace ends 
 of tie. Inscribed : 
 
 "John Milton." 
 H. 9 £. P.H. 5. W. 7. P.W. 4. 
 Without name of publisher. On rough paper. 
 
 81. Proof. 
 
 Proof of above on India paper. 
 
PORTRAITS OF JOHN MILTON 
 
 57 
 
 82. Variety. 
 
 Softened portrait in a rectangle of horizontal lines enclosed in a line 
 
 border. Inscribed "Milton, London, Frederick Warne & Co." 
 H. 8. P.H. z\. W. 5i. P.W. 3. 
 
 83. Anon, engraver. 
 
 Rectangular, portrait in an outline frame of scroll-work. Inscribed 
 
 " Milton 
 London: L. Tallis." 
 H. 8f. P.H. 4 #- W. 5 f. P.W. 3 f 
 
 This was published in Leonard Townsend's Alphabetical Chronology of 
 
 Remarkable Events. (51). 
 Marsh describes a neatly finished octagonal modern engraving known to 
 
 him only as a proof before letters. 
 3i by 3. (52). 
 
 84. W. Humphreys, engraver. From a Print by Faithorne. 
 Three-quarter face to the right. Buttoned vest, gown, square white collar 
 
 showing cord and tassels, long hair. Rectangular. Inscribed with 
 a facsimile of Milton's signature and above it a facsimile of his 
 inscription in his copy of Aratus now in the British Museum, 
 "Cum sole, et Luna semper Aratus erit." Beneath the signature is 
 the date 1631. 
 H. 8|. P.H. 4 |. W. sJ. P.W. 3 |. 
 
 This was published by William Pickering of London, April 23, 1851, and 
 as a rule an inscription to that effect appears on the print. (53). 
 
 85. Henry Cook, engraver. 
 
 In an oval with an exterior line border. Below the oval an engraved 
 tablet representing the serpent and lightning. Inscribed : " Milton, 
 London. Published as the Act directs April 15th, 18 15, by G. Jones." 
 
 H. 9. P.H. 4. H. of tablet 1. W. 5$. P.W. 3 L W. of tablet if 
 
 86. This engraving was printed in colour in an early edition of the Encyclo- 
 
 paedia Britannica." 
 
 87. H. Adlard, sculpt. 
 
 Vignette portrait inscribed " Milton." 
 H. 4 f. P.H. 1 J. W. af. P.W. if 
 
CATALOGUE OF THE 
 
 88. H. Adlard, engraver. 
 
 Outline engraving in a rectangle of perpendicular lines with an exterior 
 border of three lines, having below the rectangle a shield enclosing 
 a single headed eagle and inscribed "John Milton," with also 
 a facsimile of the signature. " Engraved by H. Adlard after the 
 original Print by G. Vertue." 
 
 H. 7 f. P.H. 4h- W. 5. P.W. 3 f. 
 
 89. Proof. C. H. Jeens, engraver. 
 
 Proof on India paper of a reduction of (53). B.M. 
 From Masson's Life of Milton. 
 
 90. Massol, sculp. 
 
 Similar portrait to 87, but slightly larger. H. 2. W. i|. 
 On India paper. Inscribed: " Deveria del. Massol sculp." 
 
 Engravings derived from the Faithorne Portrait 
 
 91. J. B. Cipriani, engraver. 
 
 Half length in oval. Nearly full face, slightly to the right. Long hair, 
 buttoned coat, cloak, white collar, lace ends of tie showing beneath. 
 The oval is surrounded by a wreath of laurel. Below is inscribed : 
 "Iohn Milton 
 
 Drawn and etched mdcclx by I. B. Cipriani a Tvscan at the desire of 
 
 Thomas Hollis F.R. and A.SS. from a portrait in crayons now in the 
 
 possession of Mess. Tonson Booksellers in the Strand London. 
 
 1 sing with mortal voice vnchang'd 
 
 To hoarce or mvte thovgh fall'n on evil dayes 
 On evil dayes thovgh fall'n and evil tongves 
 In darkness and with dangers compast rovnd 
 And solitvde ." 
 
 H. rof. P.H. 6h W. 7. P.W. 4 |. B.M. 2 examples. 
 
 This forms one of the Hollis series already alluded to. (54). 
 
 92. This is also known on green paper. 
 
 93. J. Hall, sculpt. 
 
 Portrait in an oval suspended from a wreath of ribbon, the name below on 
 a tablet and the whole enclosed in a rectangle of engraved work. 
 Inscribed : " Printed for John Bell, near Exeter Exchange London. 
 Mar. 1st, 1777." 
 
 H. 5. P.H. 2. W. z\. P.W. if. (55). 
 
PORTRAITS OF JOHN MILTON 
 
 59 
 
 94. There is another very similar to (93) appearing in Bell's British Poets. 
 
 (56). 
 
 95. Milton, sculpt. From Vertue. 
 Inscribed above the poet's name : 
 
 "Publish'd by Harrison & Co. Dee r . i, 1795." 
 H. 3 f. P.H. if. W. 2 f. P.W. i x V B.M. 
 
 This was engraved as a vignette illustration to a short biographical notice. 
 
 (57). 
 
 96. Variety. 
 
 The print is also known, set within an octagon of wavy parallel hori- 
 zontal lines. 57 a. 
 
 97. J. Miller, sculpt. 
 
 Nearly full face. Buttoned vest, gown, square white collar showing tassels 
 underneath, long hair. In an oval much covered with drapery, and 
 beneath in a circle a lyre and laurel branches. The only inscription is 
 the name of the engraver. 
 
 H. 5}. P.H. i\. W. i\. P.W. 2 f. (58). B.M. 
 Issued as frontispiece to Paradise Lost, 1770. 
 
 98. HOLBROOK, sculpt. 
 
 This is a bad copy of (58), reversed, and with Dryden's lines at the foot. 
 It is prefixed to some copies of the prose retranslation of Paradise 
 Lost, from Raymond de St Maur, 8vo, London, 1773. (59). 
 
 99. N. Parr, sculpt. 
 
 An oval, \\ by i, suspended by a ribbon. Inscribed " I. Milton." 
 There is an example of this in the Tangye collection. (60). 
 
 100. Bartolozzi, sculpt. 
 
 A circle partly surrounded by laurel branches and fillet, on a pedestal 
 
 inscribed "Milton." (61). 
 4f by 2f. 
 
 101. There is a proof before letters in the B.M. 
 
 102. R. H. CROMEK, sculp. 
 
 Very similar to the last. Inscribed " Milton " on a panel. Published 
 Jan. 1, 1801, by Cadell and Davies, Strand. 3I by 2^. (62). 
 
6o 
 
 CATALOGUE OF THE 
 
 103. Heath, sculpt. 
 
 Resembling (62). Inscribed: "From an original painting." Published 
 in Aikin's British Poets, 1802. (63). 
 
 104. W. T. Fry, engraver. 
 
 Ornamented rectangular frame, inscribed " Milton " on a festoon over- 
 hanging the top. " Published by Thomas Tegg." This appears in 
 Howard's Beauties of Milton. (64). 
 
 105. Anon, engraver. 
 
 One of three portraits in circles, \\ in diameter, in the title-page of the 
 Beauties of Milton, Thomson and Young. Published by Kearsley. 
 i2mo, London, 1783. (65). 
 
 106. A. Haenish, dclt. 
 
 A folio print or lithograph (?), inscribed: "John Milton. Schenck & 
 MacFarlane, Lithographers, Edinburgh." Marsh does not give the size. 
 
 (66). 
 
 The White Portrait or Simon's Folio Mezzotint 
 
 107 and 108. R. White, ad Vivum delin. J. Simon, fecit. 
 
 Mezzotint. Oval, in a frame work of imitation stone, only the four 
 
 corners of the frame work being visible. Three-quarter face to the 
 
 left. Buttoned vest, gown, white collar showing cord and tassels, 
 
 long hair, laurel wreath as in the Richardson etching. Inscribed : 
 
 "Mr John Milton" 
 
 with Dryden's lines in double columns, and following them : " Sold by 
 
 T. Bowles in Pauls Church Y d & I. Bowles in Cornhill." 
 
 H. i 3 £. P.H. n£. W. 91. P.H. 9 l. (67). 
 
 Mentioned by Bromley, and in the Sutherland Collection. 
 Exceedingly rare. 
 
 There are two different impressions of this print differing in colour and 
 paper, both exhibited here. 
 
 109. There are two states of this mezzotint, the second reading "J. Bowles 
 & Son," instead of "T. Bowles." B.M. 
 
PORTRAITS OF JOHN MILTON 61 
 110. I. C. Bock, fc. 
 
 In an oval surrounded by an outer border of engraved work. Inscribed 
 
 " Milton." 
 H. 7. P.H. 4 J. W. 4- P.W. 3 i 
 
 111. A. Cardon, engraver. 
 
 A composition containing in the foreground a bust of Milton copied 
 from (67), and in the background pictures of Cowley and Denham, 
 the three names inscribed on a panel at foot. Inscribed : " Engraved 
 by Anthy Cardon from a Drawing by Thomas Uwins after the 
 Originals of Sir Peter Lely and R. White, and Published 1st November, 
 1805 by John Sharpe, Piccadilly." (68). B.M. 
 
 112. Marsh describes an oval, z\ by 2^, known to him only as a proof 
 before letters. The portrait is without the wreath which appears in 
 (67), but the print has clearly been copied, he says, from Simon's 
 rather than from Richardson's portrait. (69). 
 
 White-Richardson Likenesses 
 
 113. Anon, etcher, but almost certainly Richardson. 
 
 Three-quarter face to the right. Buttoned vest, gown, white collar, long 
 
 hair, laurel wreath surrounding head. Inscribed : 
 
 "J.R. sen. f. From an Excel'. Orig. (Crayons) in his Collection," 
 
 " Nectens aut Paphia Myrti, aut Parnasside Lauri 
 Fronde comas, at ego secura pace quiescam. 
 
 Milton's Mansus." 
 
 H. 6. W. 4. B.M. 
 
 The laurel branch on the right temple consists of eleven leaves. (70). 
 Mentioned by Bromley. For the original copperplate see page 153. 
 
62 
 
 CATALOGUE OF THE 
 
 114. Anon, etcher, but almost certainly Richardson. 
 
 Etching almost exactly resembling (70), and lettered as it, but slightly 
 smaller in size, the drapery continued a little lower down on the chest, 
 and the laurel branch on the right temple consisting of nine leaves 
 instead of eleven. For the original copperplate see page 153. 
 
 H. 6i. W. 3 £. (71). 
 
 115. G. Barron, delt et fecit. 
 
 An etching inscribed Milton, copied from Richardson's original but 
 reversed. Size not given. (72). 
 
 116. Anon, engraver. 
 
 An engraving reduced from Richardson's etching, but reversed as in the 
 last. Size, exclusive of lettering, which is copied from Richardson, 
 4 by 2f. (73). Inscribed also " to front page 210." 
 
 117. J. Richardson, / 
 
 Half length, rectangular. Nearly full face, slightly to the right, no laurel 
 
 wreath. Long hair, buttoned coat, gown, white collar showing loops 
 
 of cord and tassels at throat. Inscribed : 
 
 " Authentic Homer Light's whole Fountain flows, 
 Immense ! Feirce Dazling yet, & Torrent Glows : 
 His Temper'd Beam the Mantuan Bard reflects, 
 Shines Sweeter, & his Fairest Rays Selects : 
 Thine Milton Both, but not Both These Alone, 
 Thou, Like Elysium, Know'st Another Sun." J. R. jun. 
 
 H. 8^. W. 5f. For the original copperplate see page 153. 
 
 118. There is a proof on India paper, reversed, in the B.M. (74). 
 
 119. Another State. 
 
 There are two states of this, the above being printed in black ink and 
 one (119) in brown, the latter the rarer and generally foxed. 
 
 120. There is also a proof etching on a much larger scale in the B.M. 
 inscribed in Richardson's handwriting. 
 
 121. Anon, etcher, believed to be James Douglas. 
 
 An etching in Richardson's manner reversed, but on a larger scale and with 
 a somewhat different expression. Inscribed : "John Milton " in script. 
 Size 9! by i\. Marsh says "without lettering." (75). 
 
PORTRAITS OF JOHN MILTON 
 
 63 
 
 122. J. Roper, engraver. 
 
 Oval, 2^ by 2. This forms a vignette in the engraved title of Parson's 
 edition of Paradise Lost, royal 8vo, London, 1796. (76). 
 
 White- Vertue Likenesses, or Vertue (1725) 
 
 123. Geo. Vertue, sculp. 1725. 
 
 Three-quarter face to the right. Cloak, buttoned vest, white collar 
 showing tassels, long hair. In an oval composed of ornamental 
 masonry, the age and date " Ioannes Milton JEtat: 62. a.d. 1670" 
 upon the frame and on a block above. At the foot of the oval in an 
 escutcheon is a single headed eagle intended to represent Milton's 
 arms, and below on a panelled block Dryden's lines "Three Poets," 
 etc. Inscribed : 
 
 " Illustrissimo D no D no Algernon Comiti de Hertford D no Percy &c. &c. 
 
 Obsequentissime D.D.D. 
 
 G. Vertue." 
 
 H. 14J. P.H. 8. W. 9 f P.W. 71. (77). B.M. 
 Mentioned by Bromley. 
 
 124. This is known in two states, above being brownish in tint and an 
 earlier state richer in colour and very deep black. 
 
 125. Owen, engraver. 
 
 Portrait in an oval set within a white border and having a tablet below 
 with the name, the whole set within a rectangle of horizontal lines, 
 surrounded by a single line border. Inscribed "John Milton 
 M\z!l. 62 " within the tablet, and below the rectangle " Engraved by 
 Owen, from a drawing by Vertue, in the Collection of Thos. Brand 
 Hollis Esq. Published by R. Wilks, 89, Chancery Lane." 
 
 H. Z\. H. of rectangle 6j. P.H. 3 J. H. of tablet \\. W. 5J. 
 W, of rectangle 3 f . P.W. 2 |. W. of tablet af. (78). 
 
6 4 
 
 CATALOGUE OF THE 
 
 126. Vertue, delink W. N. Gardiner, sculpt. 
 
 Three-quarter face to the left. Long hair, buttoned vest, gown, white collar 
 
 showing tassels. Inscribed : 
 
 "Iohn Milton /Etat 62. 
 From the Original Drawing by Vertue in the Collection of Tho s . 
 
 Brand Hollis Esq r . at the Hyde Essex. Published, June 4, 1794, 
 
 by Iohn & Josiah Boydell & Geo. Nicol." 
 H. lof. P.H. 6. W. i\. P.W. 4 f. B.M. (79). 
 
 This forms one of the series of three portraits in Boydell's Milton, the 
 other two being the Janssen and Onslow portraits. 
 
 N.B. The original drawing by Vertue for this engraving is in Dr William- 
 son's collection. It was originally at Strawberry Hill. 
 
 127. A proof of this is known and framed with the drawing. 
 
 128. Blood, sc. 
 
 Rectangular, in a plain line frame having the name on a tablet beneath, 
 and inscribed "John Milton. Published by Longman, Hurst, Rees & 
 Orme, Paternoster Row, 1809." 
 H. 6|. P.H. 31. W. 4 J. P.W. 2 f. (80). 
 
 129. Proof. 
 
 A proof is known without the tablet and name and without the 
 imprint. 
 
 130. R. Cooper, engraver. 
 
 Half length, rectangular. Nearly full face, slightly to the right. Long 
 hair, buttoned coat, cloak over right shoulder, white collar showing 
 loops of cord and tassels at throat. Inscribed : 
 
 " Milton 
 
 Engraven from an original Picture, for the 7th being the supplemental 
 Number to the New Series of La Belle Assemblee. Published July r, 
 1 8 10, by J. Bell, Southampton Street, Strand, London. 
 
 H. 9 i P.H. 3 f W. sh- P-W. 3i (81). 
 
PORTRAITS OF JOHN MILTON 
 
 65 
 
 131. Anon, engraver. 
 
 Half length, rectangular. Three-quarter face to the right. Long hair, 
 buttoned coat, cloak over right shoulder, white collar showing loops 
 of cord and tassels at throat. Inscribed, facsimile of autograph, 
 "John Milton (1667)." "Published by William Pickering, Chancery 
 Lane, 1826." 
 
 H. 8|. P.H. 2l V W. 5f. P.W. 2. 
 
 Prefixed to Pickering's three vol. edition of the Poetical Works. (82). 
 
 132. R. Hicks, sculpt. 
 
 Portrait in a rectangle. Inscribed "William Faithorne del. R. Hicks sculp. 
 
 London. Published by Thomas Kelly, Paternoster Row, June 1, 1829." 
 
 With facsimile of autograph. 
 H. 8£. P.H. 3. W. si- P.W. 2\. (83). 
 
 133. R. HlCKS, engraver. From a Painting by W. Faithorne. 
 Three-quarter face to the right. Buttoned vest, gown, square white collar 
 
 showing cord and tassels, long hair. Rectangular, in an ornamental 
 stone frame surrounded by curtains and having on one side a painter's 
 palette with brushes, compasses, rule and hammer, and on the other 
 the Bible with chalice and paten, while above is a symbolical group 
 comprising two seated figures, one drawing and the other reading, and 
 between them a bust of Pallas, with a globe, mask, lyre, scroll and 
 wreath, the whole illuminated by the rays of the sun. Below the 
 portrait are the words John Milton on the stone pedestal, and below 
 again a facsimile of the poet's signature with the statement as to the 
 engraver and the following words : 
 
 "London : Published by Thomas Kelly, 17, Paternoster Row, 1830." 
 H. 10. P.H. 3 |. W. 6|. P.W. 2 §. 
 
 The above differs slightly from (83). The date is a year later and the 
 inscription not quite the same. 
 
 134. Variety. 
 
 The same as 133, but without the ornamental frame and without any 
 lettering whatever. Proof on India paper. 
 
 w. . 5 
 
66 
 
 CATALOGUE OF THE 
 
 135. Vertue. W. C. Edwards. 
 
 Three-quarter face, turned to the left. White collar, gown, long hair. 
 
 Facsimile of autograph beneath portrait. Inscribed : 
 
 "London, John Macrone, 3, S l James's Square, 1835." 
 H. 8. P.H. 4. W. 6. P.W. 3§. B.M. Poor impression. 
 This was published in the six volume edition of the Poetical Works edited 
 
 by Sir Egerton Brydges. The list of illustrations erroneously describes 
 
 it as a portrait of Milton in his sixty-second year, from an original 
 
 portrait of Faithorne's drawing. (84). 
 
 136. A Proof in B.M. has date mdcccxxxv and reads " Printed by J. Yates." 
 
 137. Anon, engraver. 
 
 Rect., i£by 1. Frame of outline scroll work. Insc: "John Milton." (85). 
 
 138. E. G. Schmidt, sculpsit. 
 
 Portrait in oval of stone work resting upon pedestal. Between portrait 
 and pedestal is an escutcheon with a single headed eagle to represent 
 Milton's arms. Inscribed: "Jean Milton. Ne a Londres en 1608. 
 Mort en 1674. Age de 66 ans. A Paris chez Odieuvre M d d'Estampes, 
 Quay de l'Ecole, vis-avis la Samarit. a la belle Image, C.P.R." 
 
 H. 5 f. P.H. 31. W. 4i- P.W. 3. (86). 
 
 139. Anon. 
 
 Portrait within an oval set in masonry, having the name and style on a scroll 
 
 and the name of the publisher and the lines of verse on a pedestal 
 
 below. The portrait is three-quarter face to the right. Buttoned 
 
 vest, gown, white collar showing tassels. Inscribed: "Jean Milton, 
 
 Auteur du Poeme du Paradis perdu et de celui du Paradis retrouve 
 
 ne a Londres en 1608, mort en 1674. Suite de Desrochers. Se 
 
 vend Paris chez Petit a la Couronne d'epines rue S. Iacques." 
 
 Par la sublimite de son double Poeme, 
 
 Le celebre Milton semble etre Homere meme ; 
 
 Et si ces grands auteurs sont fort pareils entre eux, 
 
 Par leur esprit fecond et rempli de lumieres, 
 
 La malice du sort offusquant leurs paupieres, 
 
 Pour mieux les rendre egaux, les aveugla tous deux. 
 
 H. 61. P.H. 31. W. 4 £. P-W. 3 J. (87). 
 
PORTRAITS OF JOHN MILTON 67 
 
 140. Variety. 
 
 A variety of this has a different publisher's name, and is inscribed : 
 "a Paris, ches (sic) Daumont rue St Martin." B.M. 
 
 141. F. Bonneville, del. 
 
 Oval 4 by 3 J. Inscribed "J. Milton. Ne a Londres le 9 Xbre 1608. 
 Mort k Brunhill (Bunhill Fields) le 15 Nbre 1674." (88). 
 
 White-Van der Gucht Engraving 
 
 142. Jno Vander Gucht, sculp. 
 
 Portrait in an oval of stone work on which is inscribed the name of the 
 engraver and "Giovanni Milton." At the foot of the oval is an 
 escutcheon with a single headed eagle, helmet, crest, mantling and 
 various ornaments, terms, harps, wreaths and stars. 
 
 H. i2\. P.H. 7f. W. Q. P.W. 6h B.M. 
 
 In the Italian translation of Paradise Lost by Paolo Rolli, folio, London, 
 1736. (89). 
 
 143. Mollison, sculpt. 
 
 Vignette from same portrait inscribed "John Milton, Mollison sculpt." B.M. 
 
 144. N. Parr, sculp. 
 
 An oval with somewhat similar ornaments. Inscribed "Joannes Milton." 
 
 Size of engraving 5I by 3§. 
 There is a fine example of this rare print in the Tangye collection. (90). 
 
 145. Antonio Baratti, sculpt. 
 
 Oval on a pedestal. Inscribed "Giovanni Milton." 
 
 Plate size 5 by 2|. 
 Issued in the edition of Rolli's translation, 12 mo, Paris, 1758. (91). 
 
 146. F co ZUCCHI, s. 
 
 Similar portrait in a circle set in a rectangle with ribbon ornament above. 
 Plate 3 by 2 J. In Rolli's translation, 1740. 
 
 5—2 
 
68 
 
 CATALOGUE OF THE 
 
 The Baker Drawing, etc. 
 
 147. J. Miller, sc. 
 
 Half length in oval. Nearly full face, slightly turned to the left. Long 
 hair, buttoned coat, cloak, white collar. Portrait is in wooden 
 surrounded by a fringed drapery. Below is an engraving of the angel 
 driving Adam and Eve from the garden, partially concealed by the 
 drapery, in the folds of which are a lyre and laurel leaves. 
 
 H. 7. P.H. jf. W. 4t V P.W. af B.M. 
 
 This was prefixed to the edition of Paradise Lost edited by Newton, 
 printed by Baskerville and published by J. and R. Tonson, 4to, 
 Birmingham, 1759. (92). 
 
 148. Anon, engraver. 
 
 As (92) but smaller part of the frame at the top and draperies at the base 
 
 and sides being cut away. There is no engraver's name. 
 H. 6|. P.H. 3 §. W. 4. P.H. af 
 
 This was the same as (92) but cut down to adapt it to an 8vo volume and 
 prefixed to Newton's Paradise Lost, 8th edit., 2 vols. 8vo, London, 1778. 
 
 (93). 
 
 149. J. Baker, sculpt. 
 
 Inscribed "John Milton. Born 1608. Died 1674. T. Simpson delin. 
 J. Baker sculp. From the original drawing by Faithorne in the 
 possession of William Baker Esq." Size 4f by 3J. 
 
 In the first edition of Todd's Milton, six volumes, 8vo, London, 1801. (94). 
 
 150. T. COLLYER, engraver. 
 
 Inscribed "John Milton. Born 1608. Died 1674. From the original 
 Painting by Faithorne in the possession of William Baker Esqr. 
 Drawn by T. Simpson. Published 1809, by F. C. & J. Rivington, 
 St Pauls Church Yard." Sizes as (94). B.M. Burney collection. 
 
 Published in the second edition of Todd's Milton, 1809. (95). 
 
 150a. Oval 2|x2^, inscribed "Milton," no engraver's name. Head to 
 the left. 1805. 
 
PORTRAITS OF JOHN MILTON 
 
 6 9 
 
 151. T. A. Dean, engraver. 
 
 Similar to (95) and with similar inscription save as to the engraver's name. 
 Size 4$ by St • 
 
 152. Published in the third edition of Todd's Milton, 1826. A variety of this 
 plate was prefixed to the fourth edition in 1851 lettered "John Milton, 
 Faithorne pinxit. Dean sculpt." (96). 
 
 153. A neat copy of (96). Inscribed " Faithorne pinxt. Dean sculp. 
 Published by J. G. & F. Rivington, 1833." Was prefixed to an 
 edition of Paradise Lost issued by the S.P.CK. 
 
 Size 32 by 3, exclusive of lettering. (97). 
 
 154. HOLL, engraver. 
 
 Half length in oval. Three-quarter face to the right. Long hair, buttoned 
 coat, cloak over right shoulder, white collar showing loops of cord and 
 tassels at throat. Inscribed : 
 
 "John Milton y£tat 62. 
 London : Published Nov. 23 d 1799, by T. Heptinstall Holborn." 
 
 H. 7 f. P.H. 4 J. W. 5 f. P.W. 3 f (98). 
 
 155. Variety. 
 
 There is a variety of above, with a different imprint, reading " Printed 
 for Verner & Hood & the other Partners." 
 
 156. HOLL, engraver. 
 
 Small portrait in oval by Holl, with biography of Milton in forty-six lines 
 below it. 
 
 H. 3. P.H. if W. 6. P.W. if 
 
 157. A Proof exists on India paper. 
 
 158- Similar portrait to 149, but rectangular, H. 2. W. i^, in an outline 
 frame of ornamental design. It is a proof on India paper. 
 
 159. J. Archer, engraver. 
 
 A close copy of (98). Inscribed "John Milton." " Engraved by J. Archer 
 for the select Portrait Gallery in the Guide to Knowledge." (99). 
 
7° 
 
 CATALOGUE OF THE 
 
 160. W. French, sc. 
 
 A copy of the same print in a border of irregular form of curtains and 
 wreaths, 6 inches in diameter, forms a plate in Wright's Universal 
 Pronouncing Dictionary, i860, royal 8vo. No date. It is inscribed 
 " Milton. W. French sc. John Tallis & Co., London and New York." 
 
 (100). 
 
 161. W. French, sc. 
 
 Engraving in florid ornamental frame with laurel wreaths and tassels. 
 Inscribed : 
 
 " Milton 
 
 London : E. T. Brain & Co. 88, Fleet Street." 
 H. 9 \. P.H. 4 f. W. 7 §. P.W. 3 |. 
 
 162. A variety is inscribed : 
 
 " Verlag der Englischen Kunstanstalt von A. H. Payne in Leipzig." 
 
 163. A copy from (100) rather coarsely executed in the chalk manner of 
 engraving, with lyre and laurel wreath lightly sketched in behind 
 the head. 
 
 Size of plate 4§ by 3. 
 
 Appears in Darton's Cabinet of Portraits, vol. 1. Inscribed "John Milton," 
 with five lines of biographical notice engraved. London, Darton, 
 1822. (101). 
 
 164. A copy of (101) in a suspended frame with ornamented corners at the 
 bottom of which is inscribed " Milton." 
 
 Outside size 3 by 2f. (102). 
 
 165. Mariano Bovi, engraver. 
 
 Half length in oval. Three-quarter face to the right. Long hair, buttoned 
 coat, cloak, white collar with tassels showing below. Inscribed : 
 " Giovanni Milton. 
 Onorate L'altissimo Poeta." 
 "Engraved by Mariano Bovi." 
 H. 7 J. P.H. 5 |. W. 4i£- P-W. 4 f (103). B.M. 
 
PORTRAITS OF JOHN MILTON 
 
 7i 
 
 166. A similar plate to (103). Inscribed "Giovanni Milton. Nato li 9 Xbre 
 1608. Morto li 15 gbre 1674. B. Musitelli inc." It is prefixed to 
 Scolari's Saggio di Critica sul Paradiso Perduto, quarto, Venezia, 1 8 1 8. 
 
 (104). 
 
 Vertue's Engraving (1750) 
 
 167. G. Vertue, 1750. 
 
 Half length in oval. Three-quarter face to the right. Long hair, buttoned 
 coat, cloak, white collar with lace ends of tie showing beneath. Set in 
 oval medallion with ribbon and shell ornament at the top inscribed 
 "Milton." The medallion on pedestal with leaf decoration at corners. 
 
 H. 6£. P.H. 3 f W. 4 |. P.W. 3^.. (105). B.M. 
 
 Published in Newton's edition of Paradise Lost. 2 vols. 8vo, London, 
 1750, and again in 1778, with the plate touched up. 
 
 168. There is also a proof before letters in the B.M. Cracherode collection. 
 
 169. G. Vertue (the G and V blended in monogram), sc. 
 
 Half length. Nearly full face, slightly turned to the right Long hair. 
 
 Gown over buttoned coat. White collar, tassels showing beneath. 
 
 Upper corners rectangular, bottom curved showing frame. Below is 
 
 a tablet inscribed "John Milton." 
 H. 5 f P.H. 3 f. W. 3 £. P.W. 2 |. 
 
 From Tonson's edition of Paradise Lost, i2mo, London, 1751. (106). 
 
 170. G. V. sc. 1756. 
 
 Size and arrangements exactly as the preceding one, but the features still 
 
 more unsatisfactory. 
 This appeared in one of the i2mo editions of Paradise Lost published 
 
 with Fenton's Life. (107). 
 
 171. G FRITZSCH, sculps. 1 76 1. 
 
 Similar portrait to the last, but in an oval of stone work, and mounted on 
 a plinth of the same, inscribed : " Milton." This appears in a German 
 translation of Paradise Lost. Altona, 1762. 8vo. 
 
7 2 
 
 CATALOGUE OF THE 
 
 172. Ornamented and engraved by J. CHAPMAN, 1804. 
 
 A portrait evidently copied from (107). Inscribed "John Milton." 
 "Ornamented and Engraved by J. Chapman, 1804. Published by 
 James Cundee." It is an octagon, 2J by if, surmounted by a dove 
 and with a serpent, cross and ornament at the foot. 
 
 Prefixed to Evans' edition of Paradise Lost, in 2 vols., small 8vo. (108). 
 
 173. Chapman, sc. 
 
 A more pleasing version of the same portrait forms the vignette to the 
 engraved title of a small edition of the poetical works published by 
 Suttaby, 1805. It is an oval. Inscribed: "Milton. J. Chapman,^." 
 
 Size if by 1^. 
 
 174. There is an example in the B.M. inscribed : "Published Oct. 31, 1800, 
 by George Nicholson, Poughnill near Ludlow. Sold in London by 
 T. Carden, Bucklersbury : Champante and Whitrow, 4 Jewry Street, 
 Aldgate : R. Bickerstaff, 210 Strand : and by all other booksellers. 
 
 (109) 
 
PORTRAITS OF JOHN MILTON 
 
 73 
 
 PORTRAITS DERIVED FROM BUSTS, MEDALLIONS, 
 
 SEALS, etc. 
 
 From the Bust belonging to Mr Hollis 
 
 175. I. Richardson, delin. G. Vertue, sculpsit. 
 
 A bust on a pedestal decorated with a serpent and an apple and with the 
 poet's name inscribed on the plinth. The bust stands in a round 
 headed niche of masonry. H. i2f. P.H. 12. W. i\. P.W. 7. 
 
 This appeared in the edition of Milton's prose works, 2 vols, folio, 
 London, 1738. The drawing by Richardson for the bust is in the 
 B.M. inscribed: "17 Feb. 173...." 
 
 The impression in the B.M. has a long MS. note on it in handwriting 
 believed to be that of Thos. Brand Hollis. (HO). 
 
 176. G. Vertue, sculpsit. 
 
 Identical with (110) but cut down a little above the spring of the circular 
 head of the niche so as to reduce the size to 10 by 7. Issued in 
 Baron's edition of the Prose Works, 2 vols, quarto, London, 1753. 
 
 (111). 
 
 177. E. Verhelst, fee. 
 
 A small bust evidently intended for a copy of the preceding. Inscribed : 
 "Milton. E. Verhelst fee. Mannheim." (112). 
 
 178. I. B. Cipriani, engraver. 
 
 Half length in oval. Three-quarter face to the right. Long hair, buttoned 
 coat, white collar. The oval is surrounded by a wreath of leaves with 
 entwined ribbon. Inscribed : 
 
 "Iohn Milton 
 
 Drawn and etched mdcclx by I. B. Cipriani a Tvscan from a bvst 
 in plaister modelled from the life now in the possession of Thomas 
 Hollis F.R. and ASS." 
 
74 CATALOGUE OF THE 
 
 Cyriac this three years day these eyes thovgh clear 
 
 To ovtward view of blemish or of spot 
 
 Bereft of light their seeing have forgot 
 
 Nor to their idle orbs doth sight appear 
 
 Of svn or moon or star throvghovt the year 
 
 Or man or woman yet I argve not 
 
 Against Heav'n's hand or will not bate one iot 
 
 Of heart or hope bvt still bear vp and steer 
 
 Right onward What svpports me dost thov ask 
 
 The conscience friend to have lost them over-ply'd 
 
 In liberties defence my noble task 
 
 Of which all Evrope rings from side to side 
 
 This thovght might lead me throvgh this world's vain mask 
 
 Content thovgh blind had I no other gvide. 
 
 H. iof. P.H. 6J. W. 71. P.W. 4J. B.M. 2 examples. 
 
 One of the Hollis plates already alluded to. (113). 
 
 179. This is known also on green paper. 
 
 180. There is a proof of this plate, belonging to the Rev. J. W. Cartmell. 
 
 181. H. Meyer. 
 
 Bust. Profile to the left. Long hair, buttoned coat, wide collar. Inscribed : 
 
 "John Milton, 
 
 Engraved by H. Meyer, from a Drawing by Mr Cipriani, in the 
 Possession of the Rev. Dr Disney. Published April 16,. 18 10, by 
 T. Cadell & W. Da vies, Strand, London." 
 
 H. 9. S.H. 8|. W. 6. S.W. sh- On India paper. 
 
 182. There is a proof before letters in the B. M. (114). 
 
 183. A variety of this is lithographed on plain white paper, and is slightly 
 different in the shading of the background. 
 
 184. A representation of the same bust appears in the Literary Magazine, 
 and on the inscription Literary is spelt with two "t"'s. 
 
 Size, exclusive of lettering, 2^ by 2|. (115). 
 
 185. The same appears with the title of the periodical spelled correctly. 
 
 (116). 
 
 Richardson's Etching 
 
 186. J. Richardson,/ 
 
 Bust. Three-quarter face to the right. Long hair, laurel wreath on head, 
 buttoned coat, cloak round shoulders, white collar, cord tied in a bow 
 
PORTRAITS OF JOHN MILTON 
 
 75 
 
 with tassels at the throat. On the base of the bust are the letters 
 
 MIATfi. Below is the inscription 
 
 P'orsitan & Nostros ducat de Maimore Vultus, 
 Nectens aut Paphia Myrti, aut Parnasside Lauri 
 Fronde Comas, at ego Secura Pace Quiescam. 
 
 Milton in Manso. 
 
 H. o.f . W. 5|. For the original copperplate see page 153. (117). B.M. 
 
 187. The same as (140) but without inscription. For the original copper- 
 plate see page 153. 
 
 188. Clark, sculpt. 
 
 A small vignette is known enclosed in an abundance of foliated ornament, 
 a bad copy of the preceding. " Milton " is inscribed on the pedestal. 
 
 (118). 
 
 189. J. Richardson, 1738. 
 
 Head in oval. Profile to the right. Long hair with band of ribbon 
 round the head. Within the oval at the foot is inscribed "MIAT12." 
 H. 5 f. P.H. 3 |. W. 4 i. P.W. i\. (119). B.M. 
 Mentioned by Bromley. 
 
 190. Anon, engraver. 
 
 There is a profile in oval strongly resembling the preceding, but clothed 
 and with a collar. In the style of the White-Richardson drawing. 
 
 (120) . 
 
 191. F. P., engraver. 
 
 There is a profile etching, a copy of (120), but reversed. Engraved by 
 F. P., who, Granger says, was Francis Perry, a pupil of Richardson. 
 
 (121) . 
 
 Milton victorious over Salmasius 
 
 192. Anon, engraver, but almost certainly Cipriani. 
 
 A quarto plate representing a terminal bust of Milton. On the face of 
 the term is a volume lettered "Def. Pro Pop. Anglic"; and beneath 
 a palm branch from which is suspended a medallion representing 
 Salmasius. Inscribed : " I. B. C. I. F. MDCCLXVII. Life of M[ilton\ 
 By I. T. Ed. II. P. LXXX." 
 
 H. 10. P.H. 2 |. W. 7$. P.W. 2\. (122). B.M. 
 
7 6 
 
 CATALOGUE OF THE 
 
 193. J. HOPWOOD, sculpt. 
 
 There is a reduced copy of (122), $\ by 3^, the volume and palm branch 
 superseded by a fillet inscribed with the words "Defensio secunda." 
 The name of the engraver appears in lieu of the inscription, " Life of 
 Milton," etc. Prefixed to the third volume of the works of Archdeacon 
 Wrangham, 8vo, London, 18 16. (123). B.M. Anderdon collection. 
 
 194. There is another variety of the same plate altered by the erasure of the 
 fillet and portrait from the face of the term and substitution of the 
 poet's name, " John Milton," and beneath, the words, " Do fermented 
 liquors contribute to intellectual excellence." (124). 
 
 Rysbrack's Monument 
 
 195. Nathl. Parr, sculpt. 
 
 Folio print, having the name " Milton " inscribed on the pedestal of a 
 bust, and " H. Gravelot delin," while below on a panel is the following 
 inscription : 
 
 In the year of our Lord Christ one thousand seven hundred and thirty seven 
 This Bust of the Author of Paradice Lost was placed here by William Benson 
 Esquire one of ye two Auditors of the Impress to His Majesty King George the 
 Second formerly Surveyor General of the Works to His Majesty King George the 
 First. Rysbrach was the Statuary who cut it. 
 
 Folio, 12 by 7J. (125). B.M. Burney collection. 
 
 196. The same in 8vo. Hulett, sc. B.M. Anderdon collection. 
 
 197. Thornton, engraver. 
 
 A reduced copy of the above is in 8vo. Inscribed: "The monument of 
 
 the celebrated John Milton as it now stands in Westminster Abbey. 
 
 Drawn by Hamilton, Engraved by Thornton." 
 There are certain changes in the inscription on the Monument in this 
 
 print. Paradise is spelt with its correct s ; Impress reads Impressts ; 
 
 ye reads the ; Esquire reads Esq r . ; and Rysbrach, Rysbrack. (126). 
 
 198. A variety is inscribed "Le Bouit Delineavit et sculpsit ab Origine 
 apud Westmonasterium Ecclesiam 1 75 1." This was unknown to 
 Marsh. 
 
PORTRAITS OF JOHN MILTON 
 
 77 
 
 199. A print is referred to by Granger and Bromley inscribed: "Johannes 
 Miltonus M. Rysbrachius marm. sc. pro. Gul. Bensono arm. G. Vander- 
 gucht, 1 741." Mr Marsh had never seen it. (127). 
 
 Miscellaneous Busts 
 
 200. W. Ridley, engraver. 
 
 In Cooke's edition of select poets appears a plate inscribed as follows : 
 " Engraved by W. Ridley from a drawing taken from a bust in the 
 possession of the proprietor. Printed for C Cooke, 17, Paternoster 
 Row, Jan. 7, 1800." Mr Marsh knew nothing of the bust in question. 
 
 (128). 
 
 201. ANON, engraver. 
 
 A miniature bust somewhat resembling the preceding. (129). 
 
 202. Abr. Raimbach, sculpt. 
 
 A frontispiece to Cowper's Milton represents a terminal bust, differing 
 from all other likenesses, standing on a circular pedestal against 
 which is a medallion of Cowper. It is inscribed : " Milton. Richd. 
 Smirke delt. Abr. Raimbach sculpt. Published by Johnson & Co., 
 1810." (130). 
 
 Medallions 
 
 203. J. Hulett, del. et sculp. 
 
 A quarto plate in Peck's Milton represents the obverse and reverse of a 
 medallion. Obverse inscribed: " Iohannes Miltonus. Tanner f." 
 Reverse inscribed : " E. Marmore in Ecclesia Sancti Petri Apud 
 Westmonasterium erectore Gulielmo Bensono arm. Anno salutis 
 Humanae mdccxxxvii Rysbrachius sculpsit." In a tablet between is 
 ^ERE. ARG. AVRO. Beneath is the quotation from the Odyssey: 
 "Toe wept Mova-' i(f>l\r}<r€" &c, and the dedication : " Viro ornatissimo 
 Gulielmo Bensono Arm. Miltoni sui Tabulam hanc merito votivam 
 D.D.D. Francus Peck AM." 
 
 H. 6§. P.H. 2. W. 5£. P.W. 2. (131). B.M. 
 
78 
 
 CATALOGUE OF THE 
 
 204. J. Wood, sculpt 
 
 A profile forming a medallion vignette, 2 inches in diameter, appears in the 
 title-page of Dobson's Latin translation of the Paradise Lost, 2 vols., 
 quarto, London, 1753. It is inscribed: "Joannes Miltonus. Guls. 
 Green Jun. delin. J. Wood sculp? (132). 
 
 205. An engraving in outline from a medal has on the obverse a head ap- 
 parently designed after the type of the White portrait, and inscribed : 
 " Ioannes Milton." The reverse has the Temptation, partly surrounded 
 by a fillet inscribed: "Dira dulce canit alter Homerus,"and the initials 
 "J. D." (133). 
 
 206. A. Smith, A.R.A., sc. 
 
 Half length in oval. Profile to the right. Gown, white collar with tassels. 
 
 Long hair. A medallion. 
 H. 6§. S.H. 2. W. 3 |. S.W. if. 
 
 This forms a vignette in the title-page to an edition of Paradise Lost 
 published in i2mo by Sharp, 1809. (134). 
 
 207. Charles Heath, sculpt. 
 
 A medallion in profile, inscribed: "John Milton. Charles Heath sculp. 
 Published by J. Mawman, etc., 181 7." (135). 
 
 208. There are ten medallion heads representing English poets ranged on 
 the side of a representation of Mount Parnassus, in a folio print. 
 They are inscribed : " R. Smirke del. J. Newton & J. Landseer fecit. 
 Medallions per J. Newton." The head of Milton is copied from the 
 Faithorne portrait. (136). 
 
 Seals 
 
 209. W. W. Rylands, sc. 
 
 Profile portrait showing three buttons of the vest and part of the collar. 
 Long hair. Inscribed : " Milton." " From a Drawing of Mr Deacon, 
 taken from an Impression of a Seal of T. Simon in the Possession of 
 
PORTRAITS OF JOHN MILTON 
 
 79 
 
 Mr Yeo." Above the inscription is a small engraved oval intended to 
 show the size of the seal. India paper. Mentioned by Bromley. The 
 seal is referred to in Hollis's Memoirs. Very rare. B.M. 
 H. 4 i P.H. 2 |. H. of Seal f. W. 2%. P.W. if. W. of Seal f . 
 
 (137). 
 
 210. In a worn plate appearing in an edition of Milton's works published by 
 J. Smith, High Holborn, 183c, appears a print inscribed: "Milton." 
 "From an impression of a seal of T. Simon in the possession of Mr Yeo." 
 A close inspection detects traces of the words " Engraved by " beneath 
 the oval to the left, and a name to the right which Mr Marsh was 
 unable to decipher. (138). 
 
 211. T. HOLLOWAY, sculpt. 
 
 A similar print is inscribed : " Milton." " From an impression of a seal 
 of T. Simon in the possession of Mr Yeo. Published August 15, 
 i8or, by J. Mawman, etc." (139). B.M. Burney collection. 
 
 212. R. B. Romnery, sculpt. 
 
 A rare and possibly unpublished print is a close and well executed copy 
 of the preceding, having engraver's name as given. (140). 
 
 N.B. There is a wax impression in the N. P. G. from a seal bearing the 
 bust of Milton, but it is not known where the original seal or 
 signet is. 
 
 Mr Albert Way had a silver seal with Milton's arms on it, and 
 a steel puncheon with a bust portrait, but neither of them can be 
 found. 
 
8o 
 
 CATALOGUE OF THE 
 
 PRETENDED PORTRAITS 
 
 The Cooper Miniature 
 
 213. Caroline Watson, engraver. 
 
 Miniature portrait. Black gown with facings of velvet, white collar, long 
 curly hair. Standing against a pyramid, partially surrounded by 
 drapery. Below the miniature is the inscription "John Milton," 
 and on two sides of the base of the pyramid bas reliefs representing 
 the Expulsion and the Temptation. Standing against the pyramid is 
 an oval representing the back of the miniature bearing upon it the 
 following inscription : 
 
 "This picture belong'd to Deborah Milton who was her Fathers 
 Amannuensis at her death was sold to S r Will 1 " Davenants Family, 
 it was painted by M r Sam 1 Cooper who was painter to Oliver Cromwell 
 
 at y e time Milton was Latin Secratary to y e Protector. The 
 
 Painter & Poet were near of the same age, Milton was born in 1608 
 & died in 1674. Cooper was born in 1609 & died in 1672 & were — 
 Companions & friends till Death parted Them. Several encouragers 
 and Lovers of ye fine Arts / at that time wanted this picture, particu- 
 larly Lord Dorset John Somers Esq r S r Rob' Howard Dryden Atterbury 
 D r Aldrich & S r John Denham." 
 
 Beneath the base of the pyramid is inscribed : 
 
 " The above is a fac simile of the manuscript on the back of the Picture, 
 which appears to have been written sometime before the year 1693 
 when Mr Somers was knighted, and afterwards created Baron Evesham, 
 which brings it within nineteen years after Milton's death. The writer 
 was mistaken in supposing Deborah Milton to be dead at that time, 
 she lived till 1727 but in indigence and obscurity married to a weaver 
 in Spital Fields. 
 
PORTRAITS OF JOHN MILTON 
 
 Si 
 
 I have only to add that Cooper appears to have exerted his utmost 
 abilities on his friend's Picture, and that Miss Watson has shewn equal 
 excellence in this specimen of her Art, the likeness to the original 
 Picture which is in my possession is preserved with the utmost 
 exactness. 
 
 J. Reynolds. 
 [Facsimile of signature.] 
 Publish'd according to Act of Parliament, Jan r v 4, 1786, by Caroline 
 
 Watson, Fitzroy Street." 
 H. 8|. P.H. 2§. W. 6£. P.W. For the original copperplate see 
 page 153. (141). B.M. 
 Mentioned by Bromley. 
 
 214. Proofs of this are found on India paper. 
 
 215. Caroline Watson, engraver. 
 
 An oval, the same size as (141), inscribed : " Milton. Engraved by 
 Caroline Watson, 1808. From a miniature by Cooper. Published 
 Jan. 20, 1808, by Richard Philips." (142). 
 
 216. BOUTROIS, sculpt. 
 
 A similar print, but reversed, is inscribed: "J. Milton. Ne en 1608. 
 mort en 1674. Reynolds pinx." The mistake in the name of the 
 artist is of course accounted for by Sir Joshua Reynolds' connection 
 with the controversy. (143). B.M. 
 
 217. Mezzotint. Oval, 6 by 4^ within the frame. Inscribed : " John Milton. 
 Augsburg. By John Elias Haid." (144). 
 
 218. Cochran, sculpt. 
 
 A similar print is inscribed : " John Milton. Cooper del. Cochran sc." 
 
 It was published in Bohn's edition of Milton's prose works, vol. 1. 
 H. 7 J. W. 5. (145) 
 
 219. A variety of this portrait is inscribed: "John Milton. Engraved by 
 J. Cochran. From a miniature painted by Mr Saml Cooper, painter 
 to Oliver Cromwell and originally in the possession of Milton's 
 
 w. 6 
 
82 
 
 CATALOGUE OF THE 
 
 daughter Deborah. London, I. J. Chidley, 123, Alderesgate Street." 
 It is not known in what publication this illustration appeared. 
 H. 8|. W. 5 f. 
 
 220. There is a proof on India paper in the B.M. from the Cooper miniature 
 portrait inscribed : " Verlag v. Franz Peter in Leipzig. Stich u. 
 Druck v. Winkles & Lehmann in Leipzig." H. 8f. W. 5§. 
 
 221. A print similar to (145) appears as a vignette to the edition of L Allegro 
 and II Penseroso illustrated by Birket Foster. (146). 
 
 Du Roveray's Print 
 
 222. A somewhat similar print inscribed : " Milton. Engraved by Wm 
 Sharp after an original miniature by Samuel Cooper : the ornaments 
 by G. B. Cipriani and E. F. Burney." The oval is surrounded with 
 wreaths in front of a truncated column, against the base of which is an 
 oval vignette representing the Temptation and measuring 3 by z\. Pub- 
 lished 1 July, 1802, by F. J. Du Roveray in his edition of Paradise Lost. 
 
 223. A proof impression. (147). B.M. 
 
 224. A variety bears the inscription " London. Published by Verner 
 Hood & Sharpe Poultry, 1808." 
 
 N.B. The miniature according to a pencil note belongs to "James 
 Norton of Bristol." 
 
 Craig's Drawing 
 
 225. Oval in a landscape, above which is a crown of thorns in the sun and 
 below a serpent, an apple and some roses. Inscribed : " John Milton. 
 Drawn by W. M. Craig, Esqr., from a miniature by Cooper. R. Hicks 
 sculp. Published by Nuttall, Fisher & Dixon, Liverpool, March 30, 
 181 2." (148). 
 
 226. Hicks, sc. 
 
 Exactly similar to the above, but published by Henry Fisher, Caxton, 
 London, 1823, instead of by Nuttall, Fisher & Dixon. The engraver's 
 initial is not given. 
 
 H. 8£. P.H. 3 £. W. sh P.W. 2|. 
 
PORTRAITS OF JOHN MILTON 
 
 83 
 
 Peck's Mezzotint 
 
 227. J. Faber, fecit. 
 
 Half length in oval. Young man's portrait. Three-quarter face to the 
 right. Long hair. Gown. White vest, open at neck. Inscribed : 
 " Iohannes Miltonus ; 
 circa annum aetatis xxv m . 
 Cedite Romani Scriptores, cedite Graii Propert. 
 Viro ornatissimo Cuthberto Constable de Burton Constable in Com. 
 Ebor, Tabulam hanc merito votivam D.D.D. Francus Peck, A.M." 
 
 H. 8J. S.H. 6|. W. 6. 
 
 Published in Peck's Memoirs, 1740. (149). 
 
 Mentioned by Bromley. Chaloner Smith 395. 
 
 228. Another State. 
 
 There are two states of this, one in black ink forming the frontispiece (227) 
 to the book and one in brown on rough paper. B.M. Cheylesmore 
 collection. 
 
 Elderton Miniature 
 
 229. Basire, sculpt. 
 
 Oval, in outline, 4^ by if, forming one of a page of illustrations to the 
 Gentleman's Magazine. Inscribed : " Picture supposed to be Milton. 
 B(asire) sc." (150). 
 
 Vertue's Richardson Portrait 
 
 230. An oval, the frame of which terminates at the base in a foliated scroll 
 in which is inserted a panel, and at the top a serpent, an apple, 
 and lightning. Inscribed : " Ioannes Milton aetat 42. Ex musaeo 
 J. Richardson. G. Vertue sculpsit, 1751." 
 
 Size of plate 8f by 6. B.M. (151). 
 
 6—2 
 
8 4 
 
 CATALOGUE OF THE 
 
 The Chesterfield Portrait 
 
 231. Cook, sculpt. 
 
 Half length in oval. Three-quarter face to the left. Long hair, gown, 
 white collar, white cuff, the right arm is resting on a book, the hand 
 being raised to support the head. Above the oval is a ribbon and 
 leaf ornament, and below is a tablet with rounded ends inscribed : 
 "John Milton." 
 
 The whole is set in a rectangular frame below which appears at the 
 right the engraver's name and at the left " From an Original in 
 L d Chesterfield's Collection." Below is the inscription : 
 " Printed for John Bell near Exeter Exchange Strand London Nov r 1 2 th 
 1777." 
 
 H. 4f. P.H. 2 §. W. 2 |. P.W. 2. (152). 
 
 232. Cook, sculpt. 
 
 Portrait of a young man with moustache, in gown, white collar, long hair, 
 his head leaning on his hand in an attitude of thought. In an oval 
 surmounted by a wreath tied with ribbon, and having below it a 
 tablet on which is the name "John Milton." Inscribed: 
 "From an Original in L d Chesterfield's Collection." 
 
 H. 5 f. P.H. 2 f. W. 3 |. P.W. 2. 
 
 The name tablet has square ends; (152) has the tablet with rounded 
 ends. (153). 
 
 233. A copy of (153) with broader features. It appears in an edition of 
 Paradise Lost published by Law, Millar & Co., London, 1792. (154). 
 
 The Strawberry Hill Portrait 
 
 234. S. Harding, del. E. Harding, jun., sculpt. 
 
 Half length figure in black velvet cavalier costume, with rich lace collar 
 tied with tassels, and white under sleeves and lace cuffs. He has a 
 pointed beard and moustache, and is in reclining attitude near a 
 
PORTRAITS OF JOHN MILTON 
 
 85 
 
 stone column. There is a landscape and tree in the distance. 
 Inscribed : 
 
 "John Milton. 
 
 From an Original Picture in the Collection of Lord Orford, at Strawberry 
 
 Hill. Published Dec r 1 1796 by E. & S. Harding Pall Mall." 
 H. 9 |. P.H. 71. W. 6f P.W. 6. 
 
 The same plate, published without date by Evans of Great Queen Street, 
 figured as a portrait of Sir William Killigrew, "Vandyck pinx." being 
 substituted for "S. Harding del." The original portrait belongs to the 
 Duke of Newcastle and is signed and dated 1638. It almost exactly 
 corresponds with the print There is no portrait of Killigrew men- 
 tioned in the Strawberry Hill sale, but a portrait of Milton does 
 appear, Lot 7 in 21st day's sale. (155). 
 
 The Capel Lofft Portrait 
 
 235. P. V. Plas, fecit. 
 
 Nearly three-quarter face, turning to the right. Near the figure is a 
 pilgrim's staff with a bottle fastened to it. In the extreme upper 
 right corner is a figure of the risen Saviour holding a banner, ap- 
 pearing on a beam of light. The poet is represented in a tightly 
 buttoned coat and white collar. One hand rests upon the pedestal 
 in front of him and the other is placed on the breast. Below the 
 figure is a scroll showing in a somewhat illegible state the words 
 "Inclitus et Felix Patriam"; and below it "P. V. Plas. Fee." In- 
 scribed below the portrait : 
 
 "P. V. Plas. Fecit. Drawn & Engrav'd by G. Quinton. 
 Milton. 
 
 From an Original Picture in the possession of Capel Lofft, Esq r ." 
 "Publish'd August i st 1797, by W. Stevenson, Norwich, for G. Quinton, 
 
 Engraver & Sold by Mess rs Boydell, Shakspeare Gallery, Pall Mall, 
 
 London." 
 
 H. 12. P.H. %\. W. 9 i. P.W. 6i£. 
 
 The original portrait is in the National Portrait Gallery. B.M. cut and 
 trimmed. (156). 
 
86 
 
 CATALOGUE OF THE 
 
 236. Lithograph. 
 
 There is an enlarged copy on folio of the head from the preceding 
 print, inscribed as follows : " Milton (from a picture by Plas) drawn on 
 Stone by M. Gauci Esq. Printed by F. Moser, 4 Greenland Place, 
 Cromer Street." (157). B.M. 
 
 Portrait in Dr Williams's Library 
 
 237. Drawn by J. THURSTON. Engraved by J. T. WEDGWOOD. 
 Nearly full face. Buttoned vest, gown, square Genevan collar showing 
 
 lace end beneath, long hair. Inscribed : 
 "John Milton. 
 
 From a Picture by Dobson, in D r Williams's Library. London, March 1 
 1820: Published by W. Walker, 8 Grays Inn Square. Printed by 
 B. M c Queen." 
 
 H. 7 f P.H. 3 lf. W. 5 f. P.W. 3t V 
 
 (N.B. The name of printer appears only on the proof impressions.) 
 This is the portrait of a coarse featured, heavy looking man, but there is 
 no trace in his face of Milton's features. (158). 
 
 Pye's Print 
 
 238. Portrait of a young man of about twenty or twenty-five, wearing an 
 open waistcoat, black gown and white lace cravat. Long hair. 
 Nearly full face. In a rectangle surrounded by a border of two lines. 
 Inscribed: "John Milton. Painted by C. Janssen. Engraved by 
 Charles Pye. London. Pubd for the Proprietor, March, 1823." 
 Under the last line is a complex monogram which appears to be 
 composed of the letters "T. W." The portrait does not in the least 
 represent Milton and it is not known in what publication it appeared. 
 Marsh refers to portraits uniform in style with it, representing John 
 Locke, Louis XVI, William Pitt, George Washington, Algernon 
 Sidney, Chancellor Thurlow, etc. 
 
 H. 7. P.H. 2 f. W. 5. P.W. 2. (159). 
 
 239. A Proof before letters exists. It is on India paper. 
 
PORTRAITS OF JOHN MILTON 
 
 87 
 
 Page's Print 
 
 240. There is a portrait in a suspended frame with ornamental corners, in- 
 scribed : " Milton. Engraved by R. Page from an original painting." 
 
 (160). 
 
 The Falconer Miniature 
 
 241. T. WOOLNOTH, engraver. 
 
 Half length in oval. Three-quarter face to the right. Long hair, gown, 
 white collar. Inscribed : 
 
 "John Milton. 
 
 From a Miniature of the same size by Faithorne, Anno 1667, in the 
 
 possession of William Falconer Esq." 
 "Under the Superintendance of the Society for the Diffusion of Useful 
 
 Knowledge." 
 
 "London, Published by Charles Knight, Pall Mall East." 
 H. 10. P.H. 24. W. 6£. P.W. 2\. (161). 
 
 242. Saml. Freeman, engraver. 
 
 Three-quarter face to the right. Buttoned vest, gown, square white collar 
 showing tassels underneath, long hair. Inscribed : 
 "John Milton. 
 
 Engraved by Sam 1 . Freeman, from a Miniature by Faithorne, Anno, 
 1667. Published by Arch d . Fullarton & Co. Glasgow." 
 
 H. 8f W. sh 
 
 This appeared in Cunningham's Lives of Eminent and Illustrious 
 Englishmen, 8 vols. 8vo, Glasgow, 1835-7. (162). 
 
 243. A variety reads A. Fullarton & Co., London and Edinburgh, and 
 "S. Freeman," instead of "Samuel Freeman." 
 
 244. Anon, engraver. 
 
 Half length, rectangular. Three-quarter face to the right. Long hair, 
 
 gown, white collar. Inscribed " Milton." 
 H. 3. S.H. 2i. W. 2 \. S.W. if. (163). 
 
88 
 
 CATALOGUE OF THE 
 
 245. Anon, engraver. 
 
 Rectangular. This was issued in the same plate with portraits of Barrow, 
 Pope and Defoe, and was published by Routledge & Co. in Knight's 
 Half Hours with the Best Authors. 
 
 H. 3. RH. 2 i. W. z\. RW. if. (164). 
 
 246. Rectangular "Milton Engraved by C. Cook from a miniature by 
 
 Faithorne. William Mackenzie, Glasgow Edinburgh London & 
 New York." 
 Si by 4. 165. B.M. 
 
 Prints known to Marsh but never seen by him 
 
 247. Riedel, engraver. 
 
 Portrait in an octagon. Inscribed : 
 
 " Riedel sc. Lips. 
 Milton. 
 
 Zwickau bei Gebr. Schumann." 
 H. 7 |. P.H. 3 |. W. 4 |. RW. 2\%. 
 
 248. There is a print in the B.M. of four ovals, representing Milton at four 
 different periods of his life, each oval being 4 by 3^, inscribed : 
 
 "Joh H. Lips sculp. 1779-" 
 
 249. There is a title-page with vignette of Milton inscribed : " John Milton. 
 Published Deer. 20, 1823, by G. Smeeton, Arcade, Pall Mall." 
 
 H. sh P - H - 2 i- w - 3z- p - w - *l> BM - 
 
 250. D. Coster, sculpt. 
 
 Marsh referred to a print he had never seen, closely resembling the 
 Faithorne print (24) but much smaller in size. It is a finely engraved 
 print and has Dryden's lines in script below the portrait with the 
 poet's name and that of the engraver. It is very rare. 
 
 H. si. P.H. 3 J. W. 3.' P.W. 2 f. 
 
PORTRAITS OF JOHN MILTON 
 
 89 
 
 Various Pretended Portraits discovered 
 since Marsh's list 
 
 251. A. Smith, sculpt. 
 
 Portrait in small oval. Inscribed : " A. Smith Sculp 1 . From Faithorne. 
 
 Published by Harrison & Co. Jan. 1. 1795." 
 H. 3. P.H. if W. 2 J. P.W. 
 
 252. Full length standing figure, representing a man with curly hair, dressed 
 in a long cloak, knee breeches, stockings and shoes, with white bands 
 about his neck. With one hand he gathers up his cloak and in the 
 other bears a roll. Background a village with trees. Inscribed : 
 "Milton. J. Fougeron sculp." 
 
 H. 4}. W. 4- B M - 
 
 253. Portrait of a blind man with long hair. Head bent towards the left, 
 one hand on breast, dark gown rolled about the shoulders. Inscribed : 
 "Schubert Lith. Lith de Loux. Milton. Biographie univ. Album. 
 Publie par H. Ode." 
 
 H. 9 J. P.H. 3 f . W. sh- P.W. 3- 
 
 254. A variety in the B.M. is reversed. 
 
 255. A variety is inscribed " Bosselman sc. Milton. Publie par Furne. 
 Paris." 
 
 256. A variety in the B.M. is reversed. 
 
 257. Full face portrait of a blind man. Black vest, gown, white collar tied 
 with tassels, long hair. Inscribed: Milton. "Marckl d. Mad Ethiou." 
 
 H. 3 i- W. 3 £. 
 
 258. Line engraving without inscription. Half length figure of a man 
 seated in a chair. Buttoned vest, gown, white collar tied with tassels, 
 long hair. On the left is a column. 
 
 2\ by 2. 
 
9 o MILTON PORTRAITS 
 
 259. Maulet, sculp. 
 
 Print inscribed " Milton," Publie par Furne a Paris Imp F. Chardon, 
 Hautefeuille. 
 
 3$ by 3|-. 
 
 260. Etching by C W. Sherborn taken from the miniature in the possession 
 of the Duke of Buccleuch, but not exactly resembling it. 
 
 Oval, 3 by 
 
 261. Vertue's plate of Milton between Homer and Virgil. It is signed 
 G. Vertue (G and V in monogram), sc., and has Dryden's lines 
 under the engraving. 
 
 H. 6}. P.H. sJ. W. 4. B.M. 
 
 262. A variety is inscribed "P. Fourdrinier," and has different type. B.M. 
 
 263. Lightbody's copy of the above is reversed and reduced, and to Dryden's 
 lines the name of the author is not given. 
 
 H. Sh PH - 4f- W. 3 - 
 
 264. Modern mezzotint by Ellis. 
 
 265. Modern mezzotint by Alais after the Faithorne print, issued to sub- 
 scribers in 1874 by Dr A. B. Grosart. Private plate. H. 14. 
 P.H. io{. W. 1 if. P.W. 8. 18 artists' proofs, 32 lettered proofs, 
 50 prints. 
 
 266. Modern mezzotint by Cousins after a so-called original at Eton. 
 
 From Busts 
 
 267. Coloured print representing Milton's monument in St Giles Church, 
 Cripplegate. The monument is a bust set upon a pedestal, upon 
 which are these words: "John Milton, author of Paradise Lost. 
 Born Deer., 1608. Died Novr., 1674. His Father, John Milton, 
 Died March 1646. They were both interred in this Church. Samuel 
 Whitbread. J. Bacon sc." H. 10. W. 7. 
 
 268. Photogravure of the Christ's College Bust, rectangular, brown ink. 
 H. 4i- W. 3*. 
 
MILTON MANUSCRIPTS 
 
 9i 
 
 MANUSCRIPTS 
 
 Minor Poems. 
 Exhibited July 6 — 11. 
 
 Lent by the Master and Fellows of Trinity College. 
 
 The Bridgewater Manuscript of Comus. 
 Said to be in the handwriting of Henry Lawes. 
 Lent by the Earl of Ellesmere. 
 
 E. King Justa {Lycidas). Cantab. 1638. 4 0 . 
 With MS. corrections by the author. 
 Exhibited only on July 10 and n. 
 Lent by the University Library. 
 
 The same. 
 
 Proof sheet with corrections for the press. This was discovered in the 
 binding of a volume in the University Library by Mr E. Burrell in 
 November, 1899. 
 
 Exhibited only on July 10 and n. 
 Lent by the University Library. 
 
 Orlando Furioso. Trans. Sir J. Harington. 
 With MS. notes attributed to Milton. 
 Lent by the Rev. H. A. D. Surridge. 
 
 Euripides. Geneva, 1602. 
 
 With autograph signature of Milton 1 , who bought it in 1634. 
 Lent by W. W. Vaughan, Esq., Gigglesvvick. 
 
 1 Milton's Pindar (Saumur, 1620) is in Harvard Library. His Lycophron is in New 
 York. His Aratus (1559) is in the British Museum. See no. 86. (Information kindly 
 supplied by Dr J. E. Sandys.) The Euripides was once in Dr Johnson's hands (S. Johnson, 
 Lives of the Poets). Formerly in the library of Francis Hare, bishop of Chichester. It then 
 passed by purchase to Sir Henry Halford, physician to George III. His grandson gave it 
 to H. H. Vaughan, Professor of Modern History at Oxford, father of the present owner. 
 
92 
 
 ON THE EARLY EDITIONS OF MILTON'S 
 
 WORKS 
 
 POETICAL WORKS 
 
 The first edition of Milton's collected poems appeared in 1645. Previous 
 to that time the poet had been known to most people chiefly as a prose 
 pamphleteer. His lines On Shakespeare, written in 1630, were prefixed to the 
 second folio Shakespeare in 1632, but anonymously. His Cotnus, written and 
 acted in 1634, was sent to the press by his friend, Henry Lawes, in 1637 ', 
 and his Lycidas, written in 1637, was printed in 1638 s in the Cambridge Uni- 
 versity quarto volume of verses on the death of Edward King, but only bore 
 the initials of the poet. The first group, therefore, of his poetical works is 
 Moseley's octavo 3 . The volume was divided into two parts, the English and 
 Italian poems, occupying 120 pages, coming first, and the Latin poems 
 followed them. The title page to the book is as follows : — 
 
 " Poems of Mr John Milton, both English and Latin, compos'd at several 
 times. Printed by his true Copies. The Songs were set in Mustek by Mr Henry 
 Lawes Gentleman of the King's Chappel, and one of His Maiesties Private Musick. 
 
 ' Baccare frontem 
 Cingite, ne vati noceat mala lingua futuro.' 
 
 Virgil, Eclog. VII. 
 
 Printed and publish'd according to Order. London, Printed by Ruth Raworth for 
 Humphrey Moseley, and are to be sold at the signe of the Princes Arms in Pauls 
 Churchyard. 1645." 
 
 There was, however, a separate title printed for the Latin poems : — 
 
 " foannis Milloni Londinensis Poemata: quorum pleraque intra annum actatis 
 vigesimum conscripsit : nunc primum edita. Londini, Typis R.R., Prostant ad 
 Insignia Prinripis, in Caemeterio D. Pauli, apud Humphredum Moseley, 1645." 
 
 and they were paged separately from 1 to 88 and arranged in two groups, 
 the Elegies and the Sylvae. It was to this volume that the portrait by 
 Marshall already referred to (see Catalogue of prints, No. 38) was prefixed. 
 
 1 See illustration. 2 B. M. 239 k 36. 3 B. M. E 1 126. 
 
A MASKE 
 
 PRESENTED 
 
 At Ludlow Caftle, 
 
 > i 6 3 4 5 
 
 On sfMicbaelmaffe night, before the 
 
 Right Honorable, 
 
 Iohn £arle of Bridgewater 3 Viconnt Brackl^ 
 Lord Trident of Wales , And one of 
 His Mavestijes moft honorable 
 Privie Counfell. 
 
 , — » , < r — . 
 
 Ehett quid volw mifero mihi ! prihm totfirum, 
 
 Petdttw 
 
 LONDON, 
 
 ' Printed for Hvmphrey Robins on, 
 at Xhc figt^e of the Three Pidgeom in 
 
 A v 
 
 Full size facsimile of the title-page of the first edition of Counts. 
 
(j)ou'«5 T(xx" r dcv-,. &%ds e r i<?os avToyuss GkimN 
 Tov P tKTv-noolov <6k hmyvo'vTis <pi'X 
 
 .01 
 
 POEMS 
 
 OF 
 
 Mr. ^Milton , 
 
 BOTH- 
 ENGLISH and LATIN, 
 
 ComposM at fcvcral times. 
 
 Printed by his true Copies. 
 
 The Songs were fet in Mufick by- 
 Mr. Henry Lavves Gentleman of 
 the Kings Chappel, and one 
 of His Maiesties ' 
 Private Mufick. 
 
 ■ Baccare frontem 
 
 Cingite, n; vati neceat mala lingua ftitUro, 
 Virgil, Eclog. 7. 
 
 Printed and publijh'd according te 
 ORDER. 
 
 LONDON, 
 Printed by Ruth RaVforth for Humphrey Afofihj^ 
 and are to be fold at the figne of the Princes 
 Arms in Pauli Church-yard. 1645 
 
 Title-page of the first collective edition of Milton's Minor Poems with the very rare 
 portrait by Marshall, 1645. 
 
POEMS 
 
 OF 
 
 Mr. fohn tZMihon , 
 
 BOTH 
 
 ENGLISH and LATIN, 
 
 Compos'd at feveral times. 
 
 Trinted by bis true Copies. 
 
 The Songs were (et in Mufick by 
 Mr. Henry L aw es Gentleman of 
 the Kings Chappel, and one 
 of His Maiestibs 
 Private Mufick. 
 
 Baccare frontem 
 
 Cingite, nfuathnoccat mala lingua future 
 Virgil, Edog. 7. 
 
 Printed and publijh'd according to 
 ORDER. 
 
 LONDON, 
 Printed by Ruth "RaHvetth for Humphrey Meftlty, 
 and are to be fold at the figne of the Princes 
 
 Annua S. FmIs Chtuch-yanl. 164 f 
 
 Full size facsimile of the title-page of the first collective edition 
 of Milton's Minor Poems, 1645. 
 
Paradife loft 
 
 A 
 
 POEM 
 
 Written in 
 
 TEN BOOKS 
 
 By JOHN MILTON. 
 
 Licenfed and Entred according 
 to Order. 
 
 London 
 
 Printed; and are to be fold by Peter Parker 
 under Creed Church neer Aldgate $ And by 
 Robert Boulter at the Tmkj Htai in Bifhopfgatt-flrut j 
 And PSatthiat Wallet , under St. Dunfimr Church 
 in fleet-jheei , j 6 6 7. 
 
 Full size facsimile of the title-page of the first binding of the first edition of 
 
 Paradise Lost. 
 

 
 
 Paradife loft. 
 
 A 
 
 POEM 
 
 Written in 
 
 TEN BOOKS 
 
 By John milton. 
 
 JL/ICCIUCLI ctUU. JL1U1CU dLUJIUlliy 
 
 to Order. 
 
 London 
 
 Printed, and are to be fold by Peter Parker 
 under Creed Church neer Aldgate , And by 
 Robtrt Boulttr at the Turkj Head in Btjhopfoatt'ftrttt ; 
 And Maithiat Walkgr , under St. Lunflens Ghurch 
 in fleet jireet , 16(57. 
 
 
 
 Full size facsimile of the title-page of the second binding of the first edition of 
 
 Paradise Lost. 
 

 
 
 Paradife loft. 
 
 P O E M 
 
 IN 
 
 TEN BOOKS 
 
 The Author J. M. 
 
 
 Licenfed and Entred according 
 to Order. 
 
 
 LONDON 
 
 Printed, and arc to be fold by Peter Parser 
 under Creed Church neer Aldgate 5 And by 
 
 Robtrt Boulter at the Turkj Head in Bifhopfcatc-ftrtet j 
 And /ffatthim Walter , under St. Dunjloru Ghurch 
 in fleet jheet , 1 6 6 8. 
 
 
 Full size facsimile of the title-page of the third binding of the first edition of 
 
 Paradise Lost. 
 
Paradife loft. 
 
 A 
 
 POEM 
 
 IN 
 
 TEN BOOKS. 
 
 The Author 
 JOHN MILTON. 
 
 LONDON, 
 
 Printed by S. Simmons, and to be fold by S. Ibomfon at 
 the Bijhopf-Head in "Dnci^lane, H. Mvrtlacl^ at the 
 White Hart in JVcjlmbijhr Hall, A/. JKr/fer under 
 St. Dunjhnt Church in Fleet jlreet, and ft. 8ou/«rat 
 the Tur^c-flwd in Dijhopfejtc ftrect, i<5<58. 
 
 Full size facsimile of the title-page of the fifth binding of the first edition of Paradise Lost. 
 The fourth binding resembled the third with some slight variations 
 in the size of the type. 
 
 w. 7 
 
9» 
 
 ON THE EARLY EDITIONS OF 
 
 In 1667 appeared the first edition of Paradise LosP, the title page of the 
 first issue stating that the book was to be sold by " Peter Parker under Creed 
 Church neer Aldgate ; And by Robert Boulter at the Turk's Head in Bishops- 
 gate Street; And Matthias Walker under St Dunston's Church in Fleet 
 Street." The printer was Simmons, but his name is not given, only those of 
 the three booksellers whom he had employed to sell the book, and it is 
 believed that the book was on sale in the last week of August, 1667. Its 
 selling price was three shillings. It is a quarto volume of 342 pages, with 
 good yellowish paper and legible type, and it was printed with remarkable 
 accuracy. It had no argument or preface. Before the end of 1667 the first 
 issued copies of the book seem to have been sold out, for there was a second 
 binding that year and for this second issue a new title page, the wording 
 exactly the same as before but the author's name in a smaller size of type. 
 Professor Masson's numbering of the various bindings is adopted in the 
 following statements. Early in 1668 a third binding of copies was issued, 
 in which the author's initials only are given, the title page reading as follows : — 
 
 " Paradise lost. A Poem in Ten Books. The Author J. M. Licensed and 
 Entred according to Order. London Printed, and are to be sold by Peter Parker 
 under Creed Church neer Aldgate; And by Robert Boulter at the Turks Head in 
 Bishopsgate-street ; And Matthias Walker under St Dunstons Church in Fleet-street, 
 1668." 
 
 This was followed in the same year by a fourth, with a title page identical 
 to the above but with some slight variations in the size of the type, and a full 
 stop after the word Books. In the fifth binding of the poem, with four rows 
 of fleurs-de-lis under the author's name, issued also in 1668, appeared Milton's 
 Argument, forming some introductory matter and giving a summary of the 
 contents of the poem, and also a little prefatory paragraph entitled The Verse, 
 this new matter filling fourteen pages and making the fifth binding a small 
 quarto volume of 356 instead of 342 pages. The fifth title page read as 
 follows : — 
 
 "Paradise lost. A Poem in Ten Books. The Author John Milton. London, 
 Printed by S. Simmons, and to be sold by S. Thomson at the Bishops-Head in 
 Duck-Lane, H. Mortlack at the White Hart in Westminster Hall, M. Walker under 
 St Dunstons Church in Fleet-street, and R. Boulter at the Turks-Head in Bishops- 
 gate-street, 1668." 
 
 The full name of the author was restored to it and Simmons put his name 
 1 See illustration, page 94. 
 
MILTON'S WORKS 
 
 99 
 
 upon the title page, declaring himself as the printer and publisher. One of 
 the three former booksellers, Peter Parker, was employed no longer and the 
 names of two new booksellers appear. There is one other curious feature 
 respecting this fifth binding. Simmons himself had written a four-line 
 advertisement to introduce the new matter and this was at first set up as 
 follows : — 
 
 " The Printer to the Reader. Courteous Reader, There was no Argument at 
 first intended to the Book, but for the satisfaction of many that have desired it, is 
 procured. S. Simmons." 
 
 But before the requisite number of copies of the fourteen pages were wholly 
 
 printed off Milton had corrected the grammatical errors made by his printer 
 
 and had amended the advertisement as follows : — 
 
 " The Printer to the Reader. Courteous Reader, There was no Argument at 
 first intended to the Book, but for the satisfaction of many that have desired it, 
 I have procur'd it, and withall a reason of that which stumbled many others, why 
 the Poem Rimes not. S. Simmons." 
 
 Some copies therefore of the fifth binding have Simmons' incorrect form 
 of the advertisement and some Milton's amended form. In the sixth binding, 
 again issued in 1668, there is another title page differing from the last, how- 
 ever, in nothing essential, but in a few details of ornamentation, as it has 
 three stars before and after the author's name; but in the seventh binding, 
 which appeared in 1669, there is a fresh title page altogether. The year 
 appears for the first time and only one bookseller's name is mentioned, the 
 title being as follows : — 
 
 ''Paradise lost. A Poem in Ten Books. The Author John Milton. London, 
 Printed by S. Simmons, and are to be sold by T. Helaer, at the Angel, in Little 
 Brittain, 1669." 
 
 There were, Masson states, two more bindings of the book in that same 
 year, the eighth and the ninth, and the title pages of these are exactly the 
 same in wording as the last, but differ from it in small details of lettering 
 and pointing; "angel" being in italics and a comma taking the place of a 
 full stop after " Brittain." The exact divergence between Masson's eighth 
 and ninth title pages is not very clear. Before the end of April, 1669, the 
 first edition of the poem had been exhausted, about 1,300 copies having been 
 sold in little more than eighteen months. 
 
 In 167 1 appeared the first edition 1 of Paradise Regained. It was licensed 
 
 1 B. M. 684 d 33. 
 
 7—2 
 
Paradife loft. 
 
 A 
 
 POEM 
 
 IN 
 
 TEN BOOKS. 
 
 The Author 
 JOHN MILTON. 
 
 LONDON, 
 
 Printed by $. simmont^ and are to Be fold by 
 T. Htldtt at the Angel in Little Brittaiv. 
 1669. 
 
 I 
 
 Full size facsimile of the title-page of the seventh binding of the first edition of 
 
 Paradise Lost, 
 
Paradife loft. 
 
 A 
 
 POEM 
 
 IN 
 
 TEN BOOKS 
 
 The Author 
 
 JOHN MILTON. 
 
 L 0 N D 0 N } 
 
 Printed by s. Simmons, and are to be fold by 
 r. Helder, at the Angti in Little B r ittain > 
 1669. 
 
 Full size facsimile of the title-page of the eighth binding of the first edition of 
 
 Paradise Lost. 
 
PARADISE 
 
 REGAIND. 
 
 A 
 
 POEM. 
 
 In IV <B OOKJ. 
 
 To which is added 
 
 SJMSO&C jgo^CISTEJ. 
 
 The Author 
 JOHN MILTON. 
 
 LONDON, 
 
 Printed by J. M for John Starkly at the 
 Mitre in Fleetftrtet, near Temple- Bar. 
 MDCLXXI. 
 
 Full size facsimile of the title-page of the first edition of Paradise Regained. 
 
SAMSON 
 
 AGONISTES, 
 
 A 
 
 DRAMATIC POEM. 
 
 The Author 
 JOHN HILTON. 
 
 Ariftot. roct. Cap. 6. 
 
 Tragccdiat(imitati$ dflionis ferity &c Per mifericordiam & 
 metunt petpclens talium affednttm luftratlunem- 
 
 LONDON, 
 
 Piintcd by J. M. for John Starkly at the 
 Mrtre 'xn Fleetflreet, near Temple-Bar. 
 MDCLXX J. 
 l 
 
 Full size facsimile of the title-page of the first edition of Samson Agonistes, 
 
POEMS.&c 
 
 UPON 
 
 Several Occafions. 
 
 B Y 
 
 Mr.fOHN MILTON: 
 
 Both ENGLISH and L A T I N,&c. 
 Compofed at fevcral times. 
 
 With a fmall Tra&ate of 
 
 EDUCATION 
 
 to Mr. HARTLIB 
 
 LONDON, 
 Printed for Tho.Drh/g at the Blew Anchor 
 next Mitre Court over againfk Fetter 
 Lane in Fleet-Jireet. 1 673. 
 
 Full size facsimile of the title-page of the second edition of the Poems. 
 
r 
 
 ParadifeLoft. 
 
 POEM 
 
 IN 
 
 TWELVE BOOKS 
 
 
 The Author 
 
 JOHN MI LTON. 
 
 
 %\st Sieconu Coition 
 
 Revifed and Augmented by the 
 Gtme Author. 
 
 
 LONDON, 
 Printed by S. Simmons next ddor to the 
 Golden Lion in Alderfgdte-flreet, 1674, 
 
 L 
 
 
 The second edition of Paradise Lost. 
 
io6 
 
 ON THE EARLY EDITIONS OF 
 
 on July 2nd, 1670, and may perhaps have appeared in that year although it is 
 dated in the following year. The volume was an octavo of 220 pages, the 
 first 1 1 2 of which after the general title page contained Paradise Regained, 
 while the remainder, with a special title page and the pages separately num- 
 bered, contained Samson Agonistcs. The paper was thick and the type rather 
 large, but the printing slovenly and the pointing careless throughout and 
 sometimes very bad. The title page was as follows : — 
 
 "Paradise Regain' d. A Poem. In IV Books. To which is added Samson 
 Agonistes. The Author fohn Milton. London, Printed by J. M. for John Starkey 
 at the Mitre in Fleetslreel, near Temple-Bar. MDCLXXI." 
 
 The separate one to Samson Agonistes reads : — 
 
 "Samson Agonistes, A Dramatic Poem. The Author fohn Milton. — Aristot. 
 Poet. Cap. 6. Tpayydla. /tijiujffis Trpa£ews oirovdalas &c. &c. Tragcedia est imitatio 
 actionis seriae, &c. Per misericordiam ct metitm perficiens talium affectuum lustra- 
 tionem. — London, Printed by /. M. for fohn Starkey at the Mitre in Fleelstreet, 
 Near Temple-Bar. MDCLXXi:' 
 
 In 1673 there appeared a new edition of the minor poems: — 
 
 " Poems, &°c, upon Several Occasions. By Mr John Milton: Both English 
 and Latin, &*e. Composed at several times. With a small Tractate of Education to 
 Mr Hartlib. London, Printed for Tho. Dring at the White Lion next Chancery 
 Lane End, in Fleet-street, 1673." 
 
 But there are two imprints, one as we have just given it and the other 
 reading : — 
 
 "for Tho. Dring at the Blent) Anchor next Mitre Court over against Fetter Lane 
 in Fleet-street, 1673." 
 
 The volume was an octavo, containing 290 pages, the Latin poems follow- 
 ing the English with a separate title page and numbering of the pages, and 
 a reprint of the Tractate to Hartlib coming at the end. In some copies there 
 is a representation of Dolle's reduction of the Faithorne portrait used in the 
 Treatise on Logic. This second edition was of course merely a reprint of the 
 first edition of 1645, but the preface, Lawes' dedication of the Comus and 
 Wotton's letter in praise of Comus were omitted, while nine more sonnets 
 were added, several translations, and two juvenile poems by Milton entitled 
 On the death of a Fair Infant dying of a cough, and At a Vacation Exercise 
 in the College. There were certain Latin additions, but the portrait was not 
 reproduced although the epigram re-appeared with the heading In Effigiei ejus 
 sculptorem. 
 
MILTON'S WORKS 
 
 A new edition of Paradise Lost appeared in 1674 with the title : — 
 
 " Paradise Lost. A Poem In Twelve Boohs. The Author fohn Milton. The 
 Second Edition Revised and Augmented by the same Author. London, Printed by 
 S. Simmons next door to the Golden Lion in A Idersgate- street. 1674." 
 
 It was small octavo, and some copies contained Dolle's portrait reduced in 
 167 1 from the Faithorne engraving. The pages were numbered, the argu- 
 ment distributed throughout the volume, and there were eight extra lines 
 added to those which appeared in the first edition, three to open Book VIII 
 and five to open Book XII. Two sets of commendatory verses were prefixed, 
 one set in Latin by Samuel Barrow, the other in English by Andrew Marvell. 
 
 These constituted all the editions of the poetical works issued during 
 Milton's life. 
 
 PROSE WORKS 
 
 The first of Milton's pamphlets to appear was a small quarto of 90 pages 
 issued in 1641, bearing this title: — 
 
 " Of Reformation touching Church Discipline in England and the Causes that 
 hitherto have hindered it: Two Books, written to a Friend: printed for Thomas 
 Under hill, 1641." 
 
 It was issued anonymously, and we do not know who was the " Friend " to 
 whom the two books composing the pamphlet were addressed. It is not 
 known exactly in what month it appeared, but the general decision is that it 
 appeared after May 12. 
 
 The second pamphlet was also anonymous, but there are copies of it in 
 existence with Milton's name inserted in the title page by contemporary 
 hands, and on one copy, in the British Museum, the name is believed to have 
 been written in by the author himself. It was a pamphlet in small quarto 
 size of 24 pages, bearing the following title : — 
 
 " Of Prelatical Episcopacy, and whether it may be deduced from the Apostolical 
 times by vertue of those testimonies which are alleged to that purpose in some late 
 Treatises ; one whereof goes under the name of fames, Archbishop of Armagh. 
 London : Printed by R. O. and G. D.for Thomas Underhill, and are to be sold at the 
 signe of the Bible in Wood Street: 164 1." 
 
 All but simultaneously with it appeared a third, which is not registered 
 at Stationers' Hall, but is believed to have appeared in July, 1641. It also 
 
io8 
 
 ON THE EARLY EDITIONS OF 
 
 was anonymous, and consisted of 68 small quarto pages 1 , introduced by an 
 apologetic preface. The title reads : — 
 
 " Animadversions upon the Remonstrant 's Defence against Smectyiunuus. 
 London: Printed for Thomas Under It'll, and are to be sold at the signe of the Bible in 
 Wood Street: 1641." 
 
 The fourth anti-episcopal pamphlet was a quarto 2 of 55 pages, issued in 
 1 64 1, with title : — 
 
 " The Reason of Church-government tirg'd against Prelaty, by Mr John Milton: 
 In two Books: London, Printed by E. G. for John Kolhwell, and are to be sold at the 
 Sunne in Paul's Churchyard, 1641." 
 
 The fifth 3 was issued in March or April, 1642, and this consisted of 55 
 pages in small quarto. The title was as follows : — 
 
 "An Apology against a Pamphlet calPd A Modest Confutation of the Animad- 
 versions of the Remonstrant against Smectyrnnuus : London, Printed by E. G. for 
 John Rothwell, a/id are to be sold at the Signe of the Sunne in Paul's Churchyard, 
 1642." 
 
 Milton's first divorce tract 4 was in print and on sale in London on the 
 1st August, 1643. The title on the copy in the British Museum reads as 
 follows : — 
 
 " The Doctrine and Discipline of Divorce, Restor'd, to the good of both Sexes, 
 from the Bondage of Canon Law and other mistakes, to Christian Freedom, guided by 
 the Rule of Charity ; wherein also tnany places of Scripture have recovered their long- 
 lost meaning: seasonable to be now thought on in the Reformation intended" 
 
 and there is a manuscript note on it "Written by John Milton," and another 
 
 one, "August 1st," showing that to the collector of this particular copy, 
 
 Thomason, the facts as to its issue were well known. It was a pamphlet of 
 
 48 quarto pages, with an extra page supplying two omitted passages, and the 
 
 text was printed continuously without division into chapters. The second 
 
 edition of it 5 appeared on February 2nd, 1643-4, with this new title : — 
 
 "The Doctrine and Discipline of Divorce: Restor'd to the good of both Sexes, 
 from the bondage oj Canon Law, and other mistakes, to the true meaning of Scripture 
 in the Law and Gospel compar'd. IVherin are set down the bad consequences oj 
 abolishing or condemning of Sin, that which the Law of God allowes, and Christ 
 abolisht not. Now the second time revis'd and much augmented. L11 Two Books : to 
 the Parlament of England with the assembly. The Author J. M." 
 
 Underneath this title the text Matth. xiii. 52 is repeated from the title of 
 the first edition, with new text added, Prov. xviii. 13: "He that answereth 
 
 1 B. M. E 166 (11). 
 * B. M. E62 (17). 
 
 2 B. M. E 137 (9). 3 
 5 B. M. E 3 1 (5) and see 1 1 7 i 59. 
 
 3 B. M. E 147 (22). 
 
MILTON'S WORKS 
 
 a matter before he heareth it, it is folly and shame unto him." Then follows 
 the imprint, "London, Imprinted in the yeare 1644." It is a small quarto of 
 88 pages, the text divided into two books, each of which is subdivided into 
 chapters, and having an introductory letter, consisting of six pages, addressed 
 " To the Parliament of England, with the Assembly" signed in full John 
 Milton. 
 
 The celebrated tract on Education, a thin quarto 1 of eight pages in rather 
 small type without a title page, but entitled " Of Education to Master Samuel 
 Hartlib," made its appearance on June 5th, 1644. It was published by 
 Thomas Underhill of Wood Street, who had published Milton's first three 
 anti-episcopal pamphlets, and, although it had no author's name, the copy in 
 the British Museum bears a note written by Thomason to the effect that 
 Milton was the author, and giving the date of the publication. This was the 
 tract to which we have already referred as reprinted in 1673 at the end of the 
 second edition of Milton's minor poems 2 , and on that occasion the words 
 " Written above twenty years since " were added to the original title. 
 
 A further tract on divorce came out on the 15th July, 1644, five weeks 
 after the publication of the tract on education, and five and a half months 
 after the appearance of the second edition of the Doctrine and Discipline of 
 Divorce. It consisted of 40 small quarto pages 3 , of which, however, only 
 24 are numbered, these 24 consisting of abridged translations by Milton 
 of certain passages from Martin Bucer. They are preceded by six pages 
 of "Testimonies of the high approbation which learned men have given of 
 Martin Bucer," and then by eight pages of closer type addressed by Milton 
 to the Parliament and signed with his name in full. At the end, after the 
 numbered pages, there is a postscript of two pages in which Milton again 
 speaks directly and winds up the tract. The title page is as follows, and 
 it will be noticed that it does not mention the name of the author of the 
 tract : — 
 
 " The fudgement of Martin Bucer concerning Divorce. Writfn to Edward the 
 Sixt, in his Second Book oj the Kingdom of Christ. And now Englisht. Wherein 
 a late Book restoring the Doctrine and Discipline of Divorce, is heer confirmed and 
 justify' d by the authoritie of Martin Bucer. To the Parlament of England. John 
 3. 10: Art thou a teacher in Israel, and know'st not these things? Publisht by 
 Authoritie. London, Printed by Matthew Simmons, 1644." 
 
 1 B. M. E 50 (ii). 
 
 2 B. M. 684 d 34. 
 
 3 B. M. 883 g 4 
 
I IO 
 
 ON THE EARLY EDITIONS OF 
 
 The great controversy then arose respecting the liberty of the press, and 
 on November 24th, 1644, appeared Milton's celebrated work Areopagitica. 
 It was a small quarto 1 of 40 pages with the following title: — 
 
 AREOPAGITICA : A Speech of Mr John Milton for the Liberty of Unlicens'd 
 Printing, to the Parlament of England. 
 
 TovXevffepov 8' tKeTvo, e? tis 0Aei rroXei 
 JLp-qaToi/ ti fiovktvp.' ei's p.£aov <pepeiv, ^x 10 "- 
 Kai ravd' 6 XPVfav, \a/jnrp6s lad, 6 p.i) dtXwv, 
 2i7p, rl to<utoiv ZffTii> iaalrepov iro\ei ; 
 
 Euripid. Hicetid, 
 This is true Liberty, when free-born men 
 Having to advise the public may speak free, 
 Which he who can, and will, deserv's high praise, 
 Who neither can nor will, may hold his peace ; 
 What can be juster in a State than this? 
 
 Euripid. Hicetid. 
 
 London, Printed in the yeare 1644. 
 It had no printer's or publisher's name attached to it. 
 
 Shortly afterwards were issued two new divorce treatises, neither of them 
 licensed or registered, and both appearing on one day, March 4th, 1644-5. 
 The first is the Tetrachordon, a treatise 2 consisting of 104 small quarto pages, 
 of which six, not numbered, are occupied with a dedication to Parliament and 
 the remaining 98 are numbered and form the body of the work. The follow- 
 ing is the full title : — 
 
 TETRACHORDON : Expositions upon The foure chief places in Scripture, 
 which treat of Marriage, or nullities in Marriage. 
 
 On Gen. i. 27-28, compar'd and explain'd by Gen. ii. 18, 23, 24. 
 Deut. xxiv. 1-2. 
 
 Matth. v. 31-32, with Matth. xix., from the 3 v. to the nth. 
 1 Cor. vii., from the 10th to the 16th. 
 
 Wherin the Doctrine and Discipline of Divorce, as was lately publish'd, is con- 
 firm'd by explanation of Scripture, by testimony of ancient Fathers, of civill lawes in 
 the Primitive Church, of famousest Reformed Divines, and lastly, by an intended 
 Act of the Parlament and Church of England in the last yeare of Edward the Sixth. 
 By the former Author J. M. 
 
 — 2/catoi<T£ Kaiva. irpo<jcj)ipiav ootpa. 
 
 Ao'£ets dxpeios, k' ov aoip&s Tre<pvKfrai- 
 
 TQv 5' av doKOiivTiav tlStvai ti itoikI\ov, 
 
 Kpelcrawv vop.iodeU iv iro\ei \vwpbs <pavy. 
 
 Euripid. Medea. 
 
 London: Printed in the yeare 1645. 
 
 1 B. M. E 18 (9) and see 713 f n (1) and G 608. 
 
 2 B. M. E271 (12) and see 108 b 53 and 5175 c (2) -with notes, and 498 b 32 and 
 G 19594 (2). 
 
 4 
 
MILTON'S WORKS 
 
 m 
 
 The other is the Colasterion, a short tract 1 of 27 pages, without a preface, 
 
 having the following title : — 
 
 "A Reply to a Nameles Answer against ' The Doctrine and Discipline of 
 Divorce? Wherein the trivial Author of that Answer is discower'd, the Licenser 
 conferred with, and the Opinion which they traduce defended. By the former author, 
 J. M. Prov. xxvi. 5, Answer a Fool according to his folly, lest hee bee wise in his 
 own conceit. Printed in the year 1645." 
 
 During the King's trial Milton had been busy preparing a pamphlet 
 
 signifying his unqualified adhesion to a republican form of government, and 
 
 in 1649 this pamphlet appeared, four days after the publication of the Eikon 
 
 Basilike. It was a small quarto of 42 pages, unlicensed and printed by 
 
 Matthew Simmons, who had been the publisher of Milton's Bucer tract, and 
 
 it came out exactly a fortnight after the death of the King and a week after 
 
 the declaration of a republic. Its title 2 was as follows : — 
 
 " The Tenure of Kings and Magistrates : proving, That it is Lawfull, and 
 hath been held so through all Ages, Jor any, who have the Power, to call to account a 
 Tyrant, or wicked King, and after due conviction, to depose, and put him to death ; if 
 the ordinary Magistrate have neglected, or deny'd to doe it. And that they, who of 
 late, so much blame Deposing are the Men that did it themselves. The Author,/. M. 
 London, Printed by Alalthew Simmons, at the Gilded Lyon in Aldersgate Street, 
 1649." 
 
 The Eikon Basilike, issued February 9, 1649, had circulated in many 
 thousands of copies and had created great excitement. Milton's answer 3 
 to it appeared on October 6, 1649, with the following very lengthy title 
 page :— 
 
 " EIKONOKAA'STHS in Answer To a Book Intitl'd E'IKQ'N BASIAIKH'. 
 The Portraiture of his Sacred Majesty in his Solitudes and sufferings. The Author 
 I. M. 
 
 Prov. xxviii. 15, 16, 17. 
 
 15. As a roaring Lyon, and a ranging Peare, so is a wicked Ruler over the 
 poor people. 
 
 16. The Prince that wanteth understanding, is also a great oppressor ; but he 
 that hateth covetousnesse shall prolong his dayes. 
 
 17. A man that doth violence to the blood of any person, shall fly to the pit, 
 let no man stay him. 
 
 Salust. Conjurat. Catilin. 
 Regium imperium, quod initio, conservandae libertatis, atque augendae reipub. 
 causa fuerat, in superbiam, dominationemque se convertit. 
 
 Regibus boni, quam mali, suspectiores sunt ; semperque his aliena virtus 
 formidolosa est. 
 
 Quidlibet impune facere, hoc scilicet regium est. 
 
 Published by Authority. 
 London, Printed by Matthew Simmons, next dore to the gilded Lyon in Aiders- 
 gate street. 1649." 
 
 1 B. M. 271 (n). 2 B. M. E5 4 a (12). 3 B. M. E 578 (5). 
 
ii2 ON THE EARLY EDITIONS OF 
 
 It is marked by very direct personal and savage antipathy to Charles and 
 by an intensely strong expression of the sentiment of anti-royalism, 
 
 The new edition of Eikonoklastes came out in 1650, a quarto 1 consisting 
 of 230 pages, enlarged upon the first edition but closer printed, so that it had 
 fewer pages, the first having 242 and this one 230. Its title is as 
 follows : — 
 
 "EI'KONOKAA'STHS, in Answer to a Book Intitrd The Portraiture of his 
 Sacred Majesty in his Solitudes and Sufferings. The Atithoi- 1. M. 
 
 Prov. xxviii. 15, 16, 17. 
 
 15. As a roaring Lyon, and a ranging Beare, so is a wicked Ruler over the 
 porr people. 
 
 16. The Prince that wanteth understanding, is also a great oppressor; but he 
 that hateth covetousnesse shall prolong his dayes. 
 
 1 7. A man that doth violence to the blood of any person, shall fly to the pit, let 
 no man stay him. 
 
 Salust. Confurat. Catilin. 
 
 Regium imperium, quod initio, conservandae libertatis, alque augendae reipub. 
 causd f uerat, in super biam, dominationemque se convertit. 
 
 Regibus botii, quam ?nali, suspectiores sunt ; semperque his aliena virtus formido- 
 losa est. 
 
 Imptini quaelibet facere, id est Regem esse. — Idem Bell. Jugurth. 
 
 Published now the Second time, and much Enlarged. London, Printed by T. N., 
 and are to be sold by Tho. Brewster and G. Moule at the three Bibles in Pattls 
 Church-yard near the West-End, 1650/' 
 
 About this time arose the controversy with Salmasius, and Milton had 
 been instructed by the Commonwealth to answer the book "written by 
 Salmasius against the proceedings of the Commonwealth." His answer 
 appeared in 1650 according to the imprint but the book does not seem to 
 have been on sale till March, 1651. It was in a printed duodecimo 2 of 
 260 pages of text with index. It was in Latin only, although it had been 
 registered as to appear in both Latin and English on the 31st December, 1650. 
 Its title reads : — 
 
 " foannis Miltoni Angli pro Populo Anglicano Defensio, contra Claudii 
 Anonyini, alias Salmasii, Defensionem Regiam : Cum Indice. Londini, Typis 
 Dugardianis, Atino Domini 1651." 
 
 It may be recorded at this place that although not actually a publication, 
 Arnold's Album, now in the British Museum, contained Milton's contri- 
 bution made during 1651. It takes the form of a modified quotation from 
 
 1 B.M. 599 e 18(1). 
 
 2 B. M. 1650 edit 8133 a 5 (1) ; 1651 edit 521 a 16 (1) and E 1393 and others. 
 
Signature of John Milton, 19 Nov. 1651, written in the Album Amicorum of Christopher Ami 
 Professor of History at Nuremberg, now preserved in the British Museum. 
 
 .Id, 
 
MILTON'S WORKS 
 
 "3 
 
 2 Cor. xii. 9 in the Greek, thus: "'Ev aarOeveta reXeiovfiai," with a Latin 
 sequel to this effect : " To the very learned Mr Christopher Arnold, my most 
 obliging friend, I have given this, in memory both of his own worth and of 
 my regard for him. London, a. d. 165 i . Novem: 19. Joannes Miltonius." 
 Only the signature seems to be in Milton's hand, the Greek motto and the 
 Latin inscription having been first written very elegantly from his dictation, to 
 receive his signature. 
 
 We now come to an interesting pamphlet which is generally accepted as 
 being the work of Milton. It appeared in May 1653, a thin pamphlet of 
 20 pages with this title : — 
 
 " A Letter to a Gentleman in the Country, touching the Dissolution of the late 
 Parliament and the Reasons thereof.... London, printed by F. Leach, for Richard 
 Baddeley, at his shop within the Middle Temple Gate, 1653." 
 
 Although signed N. LL. there is almost definite proof, corroborated by the 
 inscription on the Thomason copy in the British Museum " By Mr John 
 Milton," that it was from his pen. 
 
 His next serious work was the Defensio Secunda, a small octavo volume 1 
 of 173 pages published in London, May 30th, 1654. Its title reads: — 
 
 " foannis MiltonL Angli pro Populo Anglicano Defensio Secunda. Contra 
 infamem libellum anonymum cui tilulus, Regii sanguinis clamor ad caelum 
 adversus parricidas Anglicauos.' Londini, Typis JVeucomianis, 1654." 
 
 Although not actually issued by Milton himself it is right to mention the 
 edition of this book which appeared in The Hague. It was a volume 2 in two 
 parts, Milton's Defensio Secunda filling 128 pages, and another work, More's 
 Fides Publica, the latter part of the book and extending to 129 pages separately 
 numbered. Its preliminary matter consisted of two prefaces, one headed 
 " Lectori" and the other, the Printer's statement, " Typographus pro Se-ipso." 
 Its full title page is as follows : — 
 
 " /oannis Miltoni Defensio Secunda pro Populo Anglicano contra infamem 
 Libellum cujus titulus ' Regii Sanguinis Clamor adversus Parricidas Anglicanos.' 
 Accessit Alejcandri Mori, Ecclesiastae, Sacrarumque Litterarum Professoris, Fides 
 Publica contra calumnias J oannis Miltoni, Scurrae. Hagae-Comitum, ex Typo- 
 graphia Adriani Ulac, MDCLIV." 
 
 1 B. M. 599 a 23 and E 1487 (3). 
 W. 
 
 2 B. M. 600 a 12 (1). See also 848 b 10. 
 
 8 
 
ii4 ON THE EARLY EDITIONS OF 
 
 Then came Milton's rejoinder to the work of More, Fides Publica just 
 named. It is a small volume 1 of 204 pages, entitled : — 
 
 " foannis Aliltoni, Angli, Pro Se Defensio contra Alexandrian Morum, Eccle- 
 siasten, Libelli famosi, ctii titulus ' Regit Sanguinis Clamor ad Caelum adverstis 
 Parricidas Anglicanos,' authorem recte dictum. Londini, Typis JVeucomianis, 
 I655-" 
 
 It was issued in Latin only and it has never, so far as we know, been translated 
 into English. 
 
 Of the Defensio Prima a fresh edition- appeared in October 1658, just 
 after the death of Oliver Cromwell. It is an octavo book well printed and 
 has hardly any variations from the first edition, save the addition of a very 
 important postscript which fills two pages. The full title reads : — 
 
 "foannis Miltonii, Angli, Pro Populo Anglicano Defensio contra Claudii 
 Anonymi, alias Salmasii, Defensionem Reliant. Editio correctior et auctior, ab 
 Autore de?iuo recognita. Londini, Typis Neucombianis, Anno Dom. 1658." 
 
 Following it came a small tract 3 , a very tiny octavo, the address to the 
 Parliament filling ten pages and bearing the author's signature in full and the 
 actual tract following it with 83 pages. It was called : — 
 
 ' ' A Treatise of Civil Power in Ecclesiastical Causes : Shewing that it is not 
 lawful! for any power on Earth to com pel I in matters of Religion. The author f. M. 
 London, Printed by Tho. JVewcomb, Anno 1659." 
 
 This, it was intimated, was but the first of two tracts and the other was to 
 follow. It appeared, a small octavo volume 4 , in the same year, containing 
 18 unnumbered pages of an address to the Parliament printed in large type, 
 these being followed by 153 pages of text. The tract was the second one on 
 Disestablishment and had this title : — 
 
 ''''Considerations touching the likeliest means to remove Hirelings out 0/ the 
 Church. Wherein is also discourc'd of Tithes, Church-fees, Church Revenues ; and 
 whether any maintenance of ministers can be set/I'd by law. The author J. M. 
 London, Printed by T. N. for L. Chapman at the Crown in Popes-head Alley, 1659." 
 
 Almost at the same time Milton wrote a Letter to a Friend concerning the 
 Ruptures of the Commonwealth. It is dated Oct. 20, 1659, but it was not 
 printed until 1698, and then appeared in the so-called Amsterdam Edition 5 of 
 Milton's Works. A somewhat similar experience was the fate of a private 
 
 1 B. M. E 1661 (2). 2 B. M. E 1900 (1). 3 B. M. 1019 b 18. 
 
 4 B. M. E 21 10 (1). 5 B. M. 713 k 8. 
 
MILTON'S WORKS 115 
 
 letter to General Monk which bears no date but belongs to 1660. It was 
 called : — 
 
 " The Present Means and Brief Delineation of a Free Commonwealth, easy to be 
 put in practice and without delay: In a Letter to General Monk.' 1 '' 
 
 and consisted of but three pages and it came later on into Toland's hands 
 and was passed on by him for use in the 1698 edition 1 of the Prose Works. 
 
 The " Readie and Easie Way," one of the most notable of Milton's 
 pamphlets 2 , a small quarto of 18 pages, came out in March 1659-60, and 
 Thomason's copy bears date March 3. Its full title read : — 
 
 " The Readie and Easie Way to Establish a Free Commonwealth, and the 
 Excellence therof compar'd with the inconveniences and dangers of readmitting 
 kingship in this nation. The author J. M. London, Printed by T. N., and are to 
 be sold by Livewell Chapman at the Crown in Popes-Head Alley. 1660." 
 
 The same year witnessed his bitter attack on Dr Griffith for his Royalist 
 sermon, a short and exceedingly rare pamphlet 3 called : — 
 
 " Brief Notes upon a late Sermon, titled ' The Fear of God and the A'ing' ; 
 Preach'd, and since published, by Matthew Griffith, D.D., and Chaplain to the late 
 King. Wherin many notorious wrestings of Scripture, and other falsities are 
 observ'd." 
 
 This being followed by a second and enlarged edition of the " Ready and 
 Easy Way." It was practically a new work, having large additions to the 
 preceding issue, many omissions, many changes of phraseology. Among the 
 additions the most prominent is this motto (an extension of Juvenal 1. 15, 16) 
 prefixed to the whole : — 
 
 " Et nos 
 
 Consilium dedimus Syl/ae : demus Populo mine." 
 
 Then follows a long period covered by the issue of Paradise Lost, and the 
 next publication after that of the great poem was a work of a very different 
 sort. It was a Latin Grammar' 1 called : — 
 
 " Accedence Commenc't Grammar, Supply' d with sufficient Rules, For the use of 
 such ( Younger or Elder) as are desirous, without more trouble than needs to attain 
 the Latin Tongue, The Elder sort especially, with little Teaching and their own 
 Lndustry, By John Milton. London, Printed for S. S. and are to be sold by fohn 
 Starkey at the Miter in Fleet-street, near Temple-bar, 1669." 
 
 1 See note 5, p. 1 12. 2 B. M. E 1016 (r 1). 3 No copy in the B. M. 
 
 4 B. M. 12935 a 30, also see 624 a 34 (3) and G 16707. 
 
 8—2 
 
n6 ON THE EARLY EDITIONS OF 
 
 A small duodecimo consisting of two pages of preliminary address " To the 
 Reader," and 65 pages of text with some errata at the end. The publisher, 
 S. S., was probably Samuel Simmons, but Milton may have paid the cost of 
 printing himself, as the imprint seems to imply. 
 
 The History of Britain, the work in which Faithorne's excellent portrait 
 appeared, followed the Latin Grammar very speedily. It was a quarto 1 of 
 308 pages with an Index of 52 unnumbered pages more, and was 
 called : — 
 
 " The History of Britain, That part especially now calPd England. From the 
 first Traditional Beginning, continued to the Norman Conquest. Collected out of the 
 antientesl and best Atilhours thereof by fohn Milton. London, Printed by f. M.for 
 fames Allestry, at the Rose and Crown in St PauP s Church- Yard, MDCLXX." 
 
 Quickly upon its heels came the Latin work on Logic 2 , an ill printed 
 duodecimo of 235 pages with this title :— 
 
 " foannis Miltoni Angli, Artis Logicae Plenior Institutio, ad Petri Kami 
 Methodum Concinnata, Adjecta est Praxis Annalytica [sic] et Petri Rami Vita. 
 Libris duobus. Londini, Impensis Spencer Hickman, Societatis Regalis Typographi, 
 ad insigne Rosae in Cxmeterio D. Pauli. 1672." 
 
 and having affixed to it a reduction of the Faithorne portrait, re-engraved at 
 the reduced scale by W. Dolle. 
 
 Of the new edition of the Minor Poems which came out in 1673 we have 
 already spoken, but the fruit of that year included a prose work also. It was 
 a quarto tract 3 of 16 pages called : — 
 
 " Of True Religion, Haeresie, Schism, Toleration, And what best means tnay be 
 us'd against the growth of Popery. The Author f. M. Londoti, Printed in the year, 
 
 and had no printer's or publisher's name and the initials only of the author. 
 The last page is in smaller type than the rest, and the appearance of the whole 
 tract betokens haste, risk and possible evasion of the law. It was certainly an 
 irregular and unlicensed issue. 
 
 It was at this time that the Letter on Education addressed to Hartlib was 
 reprinted for inclusion in the new edition of the Minor Poems with its author's 
 name attached to it. 
 
 1 B. M. ^98 e 1. 2 B. M. 1 134 a 5 and G 16100. 
 
 3 B.M. E 1958(19). 
 
Engraving of John Milton by R. White, forming the Frontispiece to the 4 th Edition of Paradise Lost, 
 
 folio, Tonson, 1688. See (31). 
 
MILTON'S WORKS 
 
 117 
 
 We now approach the end, and the final work 1 to appear during the life- 
 time of the author is called : — 
 
 " foannis Miltoni Angli, Epislolarum Familiarium Liber Unus : Quibus 
 accesserunt, Ejusdem, jam olim in Collegio Adollescentis, Prolusiones Quaedam 
 Oratoriae. Londitri, Jmpensis Brabazoni Aylmeri sub signo Triuni Columbarum, 
 Via vulgo Cornhill dicta, An. Dom. 1674." 
 
 It was a duodecimo volume of 156 pages only, licensed and entered at 
 Stationers' Hall, and came out by July 1, 1674. 
 
 Lastly the same friendly bookseller, Brabazon Aylmer, published a small 
 quarto anonymous tract" of 12 pages in July 1674 or a little later with this 
 title :— 
 
 ' ' A Declaration. Or Letters Patents of the Election of this present King of 
 Poland John the Third, Elected on the lid of May last past, Anno Dom. 1674. 
 Containing the Reasons of this Election, the great Verities and Merits of the said 
 Serene Elect, His eminent Services in War, especially in his last great Victory 
 against the Turks and Tartars, whereof many Particidars are here related, not 
 published before. Noav faithfully translated from the L,alin Copy. London, Printed 
 for Brabazon Aylmer, at the Three Pigeons in Cornhill, 1674." 
 
 but by November of that year Milton had passed away, dying on Sunday 
 November 8th, at his house at Bunhill. He was buried in his own parish 
 church of St Giles, Cripplegate, on the 12th of the same month. It is possible 
 that he never saw the book on Poland. 
 
 In conclusion a few notes as to the chief issues immediately following 
 Milton's death may be of service. 
 
 The third edition of Paradise Lost, a small octavo, appeared in 1678, 
 printed by S. Simmons next door to the Golden Lion in Aldersgate Street ". 
 The second edition 4 of Paradise Regained with Samson Agonistes came out in 
 1 680, and in that year Simmons sold the copyright of Paradise Lost to 
 Brabazon Aylmer, already mentioned, from whom half of it was bought in 
 1683 by Jacob Tonson. 
 
 The folio edition of the Poems came out under Tonson in 1688 5 , a fine 
 stately book with R. White's portrait and twelve illustrations by Medina. It 
 was called : — 
 
 " Paradise Lost. A Poem in Twelve Books. The Authour /ohn Milton. The 
 Fourth Edition, Adorn'd with sculptures. London, Printed by Miles Flesher, for 
 Jacob Tonson, at the Judge's /Lead in Chancery lane near Fleet-street. 
 
 MDCLXXX VLLL." 
 
 1 B. M. 1083 h 7, and G 3546 with MS. notes. 
 
 3 B. M. 1 1626 b 29. 4 B. M. 1 1626 b 30. 
 
 2 B. M. E 1959 (3). 
 
 6 B. M. M607 k6. 
 
n8 
 
 ON THE EARLY EDITIONS OF 
 
 In the same size and type appeared a third edition 1 of Paradise Regained 
 and Samson Agonistes, printed for Randal Taylor, whose name appears thus 
 in the imprint : — " printed by R. E., and are to be sold by Randal Taylor 
 near Stationers'-Hall." 
 
 In some copies of the folio of Paradise Lost, Tonson is declared as being 
 in conjunction with a joint holder of copyright, Richard Bentfy at the Post 
 Office in Russell Street and he probably held Aylmer's other half of the copy- 
 right, but soon Tonson acquired this also, and the next issue, the fifth, which 
 came out in 1692 in folio, bound up with a fourth of Paradise Regained, was 
 Tonson's own property. 
 
 In 1695 there was a sixth edition, also in folio, and a uniform issue of 
 Paradise Regained, Samson Agonistes and the Minor Poems, and in 1705 came 
 an edition of the Poetical Works in 2 vols, large octavo, one in 2 vols, 
 smaller octavo in 1707, a pocket duodecimo edition of Paradise Lost in 17 11, 
 and an issue of the other poems to match in 17 13. 
 
 The Tonsons also issued Tickell's edition of the Poems in 2 vols, quarto 
 in 1720, a duodecimo edition in 1721, the Fenton edition in 1725-27 and 30, 
 and Bentley's edition of Paradise Lost in 1732. 
 
 The Latin State Letters- came out in 1676, a neatly printed duodecimo of 
 234 pages with an anonymous Latin preface, the title being thus: — 
 
 "Litem Pseudo-Senatlis Anglicani, Cromwellii, Keliquor unique Perduellium 
 nomine ae jussu conseriptec a Joanne Miltono. Impressae Anno 1676." 
 
 This was followed by a quarto of 11 pages bearing the title: — 
 
 " Mr John Milton'' s Character of the Long Parliament and Assembly of Divines. 
 In MDCXLI. Omitted in his other Works, and never before Printed, And very 
 seasonable for these times. London : Printed for Henry Bronte, at the Gun at the 
 West-end of St PauPs, 1681." 
 
 A posthumous work ascribed to Milton, and not accepted as his own work by 
 all bibliographers. 
 
 The History of Moscovy 3 , a work of undoubted authenticity, followed it. It 
 was called : — 
 
 " A Brief History Of Moscovia and of other less known Countries lying easlwara 
 of Russia as far as Cathay. Gathered from the Writings of several Eye-witnesses. 
 By John Milton. London, Printed by M. Flesher, for Brabazon Aylmer at the Three 
 Pigeons against the Royal Exchange, 1682." 
 
 1 B. M. 11607 k 6 (2). 2 B. M. 600 a 15. 
 
 3 B. M. 1049 c 2 ( x ) a °d Cj 7289. 
 
MILTON'S WORKS 
 
 119 
 
 and Aylmer's advertisement to it reads : — 
 
 "This Book was writ by the authour's own hand, before he lost his sight. 
 And some time before his death dispos'd of it [sic] to be printed. But it being 
 small, the Bookseller try'd to have procured some other suitable Piece of the same 
 Authour's to have joyn'd with it, or else it had been publish'd ere now." 
 
 Milton's compilations towards a Latin Dictionary never went further than 
 a manuscript collection of notes, but such as it was, it was used in the 
 Cambridge Dictionary of 1693, the following reference to it appearing in the 
 preface to that work : — " they (the compilers) likewise used a manuscript 
 collection in three large folios, digested into an alphabetical order, made by 
 Mr John Milton out of all the best and purest Roman authors." 
 
 In 1743 appeared in folio form a volume of 180 pages entitled : — ■ 
 
 " Original fitters and Papers of Stale, addressed to Oliver Cromwell ; contenting 
 the affairs of Great Britain from the year 1649 to 1658. Found among the Political 
 collections of Mr John Milton. Now first published from the Originals. By John 
 Nickolls, Jim., member of the Society of Antiquaries, London." 
 
 and lastly we would refer to Bishop Sumner's editions of Milton's Latin 
 treatise of Christian Doctrine, which was printed from the manuscript found 
 in 1823 in the State Paper Office by Mr Robert Lemon, the Deputy Keeper. 
 It was a handsome quarto volume" from the Cambridge University Press with 
 the title :— 
 
 "Joannis Miltoni Angli De Doctrina Christiana Libri Duo Posl/iumi." 
 
 and in the same year appeared his English Translation 2 of the work, with the 
 title :— 
 
 " A Posthumous 1 realise on The Christian Doctrine, compiled from the Holy 
 Scriptures alone, in two Books : By John Milton. 
 
 The foregoing notes are mainly extracted by permission of Messrs 
 Macmillan from their edition in 6 vols., 1859 — 1880, of Professor Masson's 
 Life of Jo/in Milton, and the author of the book before his death gave me also 
 his permission to make such extracts as I desired, so far as his ability to give 
 me this right extended ; whenever my treatise on the portraits and books of the 
 poet should appear. It has been thought well, with the full permission of the 
 late Professor Masson, my very kind and generous friend, to put the list into 
 this form of ready access in order to give bibliographers the main facts as to 
 
 1 B. M. 437s g and in L. P. 7 b 1. This was the occasion of Macaulay's essay. 
 a B. M. 1012 e 17. 
 
i2o ON THE EARLY EDITIONS OF MILTON'S WORKS 
 
 the issue of the books in convenient fashion, and also that the errors of 
 Lowndes may be corrected. Some very few details have been added from my 
 own copies of the books and personal study, and from collation with the 
 examples in the British Museum, while, in order to assist students in London, 
 some references to the numbers in the British Museum Catalogue have been 
 given. 
 
 An effort had been made to borrow some special copies of works by 
 Milton from the Tangye collection, but without success. The late Sir R. 
 Tangye possessed the copy of the Defensio 1651, given by Milton to Charles 
 Vane, brother to Sir Harry Vane, and inscribed in the author's handwriting, 
 " Ch. Vane ex proprio dono Johannis Miltoni Authoris," perhaps one of the 
 last inscriptions written by him before he became blind. The same owner's 
 copy of the first edition of the Poems of 1645 belonged to Milton's friend 
 Lord Anglesey, and has his signature in it, and also that of Samuel Pepys. 
 Lord Anglesey gave 2s. for the book, so he records in it. Sir Richard Tangye 
 also owned the Proclamation of Chas. II, 13 Aug. 1660, ordering the burning 
 of two of Milton's books, of which a photograph is shown (see No. 288 and 
 compare No. 289). 
 
 Mr Green's copy of the first edition of Paradise Lost in its original 
 binding, with the coronet and monogram of its first owner, Lady Mary 
 Bertie, and with her signature in it, and those of Lord Norreys and Lady 
 Conyers, was of unusual interest and important. 
 
 Almost every other known copy of Paradise Lost has been rebound at 
 some time or other in its history. 
 
 G. C W. 
 
NOTE TO PAGE 2 
 
 While these pages were passing through the press the earliest portrait of 
 Milton, already alluded to as having been lost sight of for many years, had 
 been re-discovered. It appears to have been sold by Mr Edgar Disney on 
 22 March, 1884, and purchased by Mr J. Passmore-Edwards, who has been 
 good enough to lend it to the exhibition. It was painted in 1618, and is 
 believed to have been one of the very earliest portraits executed in England 
 by the young Dutch painter, Cornelius Janssen, who came over from 
 Amsterdam in that very year and settled in Black Friars, London. It is 
 that of a very grave and intelligent Puritan boy with auburn hair. Its history 
 is exceedingly interesting. Aubrey mentions it as being well known to him, 
 and in his time, in the possession of Milton's widow in London. When 
 Vertue saw Deborah Clarke, the poet's youngest and only surviving daughter, 
 then residing in Spitalfields, in 1721, she told him that her step-mother (or as 
 Vertue calls her in his letter of 1 2 August, — mother-in-law), living in Cheshire 
 had two portraits of her father, one of which represented him as a school boy. 
 The picture was in the possession of Mrs Milton at the time of her death in 
 1727, and is mentioned in the inventory of her effects at Nantwich, the 
 original of which Mr Marsh reprinted for the Lancashire and Cheshire 
 Historical Society. From the executors of Milton's widow it was bought by 
 Mr Charles Stanhope for twenty guineas, and at his sale Mr Thomas Hollis 
 bought it, 3 June, 1760, for thirty-one guineas. As already mentioned on 
 page 2, it passed into the possession of Mr Thomas Brand Hollis, Dr Disney 
 and Mr Edgar Disney, and while in the hands of the last named owner it was 
 seen and described by Professor Masson. As Masson well states "the 
 prevailing expression on the face is a lovable seriousness, and in looking at 
 it one can well imagine that the lines from Paradise Regained, which the first 
 engraver ventured to inscribe under the portrait, were written by the poet 
 
122 
 
 NOTE TO PAGE 2 
 
 with some reference to his own recollected childhood " The picture is the 
 one which Lord Harrington, Mr Stanhope's relative, wished to have returned 
 to him after the sale, and he was told hy Mr Hollis, who had bought it, 
 that "his lordship's whole estate should not re-purchase it." It seemed 
 hardly possible that a portrait of such importance should have disappeared, 
 and it is very satisfactory to know that it is in the possession of an owner 
 who thoroughly values it. It may now be hoped that the missing Onslow 
 portrait may be discovered. 
 
 Attention should also be directed to the series of copper plates (No. 768) 
 purchased by Mr Shipley while the catalogue was being printed. They are 
 the plates for the Richardson etchings, for the second Faithorne portrait, for 
 the second Marshall portrait, and for the miniature by Cooper mentioned in 
 the long controversy in the pages of the Gentleman's Magazine. 
 
 The College exhibited also, a pencil sketch of Milton's mulberry tree 
 as it appeared in the beginning of the last century, and two photographs of 
 his cottage at Chalfont, while the Treasury, at the desire of the Trustees 
 of the National Portrait Gallery, was good enough to lend the so-called 
 portrait of the poet by Van der Plas. 
 
 G. C. W. 
 
123 
 
 MEDALLIC PORTRAITS 
 
 There are five medallic portraits of John Milton, but none of them are 
 contemporary. They are as follows : 
 
 Dassier's medal executed in the first half of the seventeenth century. 
 Obv. Bust of Milton, \ face, from the Faithorne engraving. Leg. ionnes 
 
 MILTON. 
 
 Rev. Adam and Eve under the tree, the serpent among the branches, 
 demons entering Paradise, and wolves devouring the flocks — in allusion 
 to the opening passages of Paradise Lost. Leg. dira dulce canit alter 
 homerus (A second Homer sweetly sings direful events). Ex. i. d. 
 (J. Dassier). 
 
 Diameter i 65. Copper only. 
 
 Kirk's medal, executed as a study only, with a plain reverse, and in 
 pewter. Struck in the latter part of the reign of George II, and probably 
 as a present for friends. 
 
 Obv. Bust of John Milton in profile after the Faithorne engraving, but 
 old and sad in countenance. Leg. iohn milton. Ex. i. kirk. 
 
 Diameter 1*3. 
 
 Durand's medal ; one of a series of medallic portraits of illustrious 
 personages of all countries, executed in Paris in 18 18. 
 
 Obv. Bust of Milton in profile, but not resembling the poet in the least. 
 He wears a rich falling ruff as Milton did when 21, but the face is that of a 
 fullgrown man. Leg. johannes milton. Ex. vivier . f. 
 
 Rev. An inscription only, natus . londini . in . anglia . an . m.dc.viii . 
 
 OBIIT . AN . M.DC.LXXI. Ex. SERIES NUM1SMATICA UNIVERSALIS ILLUSTRIUM 
 MDCCCXVIII DURAND EDIDIT. 
 
 Diameter 16. Copper only. 
 
1 24 
 
 MEDALLIC PORTRAITS 
 
 Tanner's medal of the Monument, the one referred to on pages 15 
 and 77. 
 
 Obv. Bust of Milton in profile. Leg. iohannes . miltonus. On trun- 
 cation TANNER . F. 
 
 Rev. Inscription only, e marmore in ecclesia sancti petri apud 
 
 WESTMONASTERIUM ERECTORE GULIELMO BENSONO ARM ANNO SALUTIS 
 HUMAN* M DCC XXXVII. RYSBRACHIUS SCULPSIT. 
 
 Diameter 2-05. Silver and copper. 
 
 This was the medal which Auditor Benson, who employed Rysbrach to 
 erect the monument to the memory of Milton which now exists in West- 
 minster Abbey, used to present on Dec. 9, 1738, the anniversary of Milton's 
 birthday, to the author of the best poem in praise of Paradise Lost* 
 
 The Hollis altered medal. 
 
 An impression of the preceding medal was altered by Mr John Hollis, 
 and is in the British Museum, and probably unique. On the obverse the 
 Latin Legend was erased by the lathe and iohn milton engraved in its 
 place. The reverse was also entirely erased, and in lieu of it was engraved 
 Mr Hollis's favourite symbol — an owl with expanded wings standing upon 
 palm branches, and his motto 
 
 BY . DEEDS . OF . PEACE. 
 
 Diameter 2. Copper. 
 
APPENDIX 
 
 A Clare College 
 
 B Corpus Christi College 
 
 C Christ's College 
 
 D Downing College 
 
 E Emmanuel College 
 
 F Fitzwilliam Museum 
 
 G Gonville and Caius College 
 
 H Trinity Hall 
 
 J St John's College 
 
 K King's College 
 
 L Pembroke College 
 
 M Magdalene College 
 
 N St Catharine's College 
 
 O Jesus College 
 
 P Peterhouse 
 
 Q Queen's College 
 
 R Selwyn College Hostel 
 
 S Sidney Sussex College 
 
 T Trinity College 
 
 U University Library 
 
 Y Pepys Library 
 
 MILTONIANA 
 
 The following list merely contains the titles of Milton's writings or of books 
 relating to Milton, copies of which are to be found in the University of Cam- 
 bridge, or of books which have been specially lent for this exhibition. 
 
 Shakespeare. Comedies, etc. Ed. 
 Lent by Trinity College. 
 
 Comus. 
 
 Edwardi King Justa (Lycidas). 
 Lent by Trinity College. 
 
 Shakespeare Poems. 
 
 Lent by the University Library. 
 
 1632 
 
 1637 
 I638 
 
 I64O 
 I64I 
 
 Of Reformation. 
 
 Lent by Trinity College. 
 
 Of Prelatical Episcopacy. 
 
 Lent by the University Library. 
 
 Reason of Church Government. 
 Lent by W. Aldis Wright, Esq. 
 
 Animadversions against Smectymnuus. 
 Short view of the prelatical church. 
 
 „ „ ,, Newly corrected. 
 
 Lond. F°. UT. 
 
 Lond. 4 0 . T. 
 Camb. 4°. UT. 
 
 Lond. 8°. U. 
 
 [Lond.] 4° T. 
 
 Lond. 4 0 . UJT. 
 
 Lond. 4 0 . T. 
 
 Lond. 4 0 . UT. 
 [Lond.] 4 0 . U. 
 Lond. 4 0 . U. 
 
APPENDIX 
 
 1642 
 
 Apology for Smectymnuus. 
 
 Lent by the University Library. 
 Observations upon His Majesties Answers. 
 Reply to the answer. (Spurious.) 
 
 Lent by Magdalene College. 
 
 Lond. 4° UT. 
 
 (Spurious.) Loud. 4 0 . 
 
 Lond. 4 0 . M. 
 
 1643 
 
 Doctrine and Discipline of Divorce. Ed. 1. 
 
 Lent by Queens' College. 
 
 I644 
 
 Doctrine and Discipline of Divorce. Ed. 2. 
 Lent by J. F. Payne, Esq., M.D. 
 
 Judgment of M. Bucer concerning Divorce. 
 Letter to Mr Hartlib. 
 
 Presented by F. H. Cripps-Day, Esq. 
 
 Areopagitica. Ed. 1. 
 
 Lent by the University Library. 
 
 An Answer to the Doctrine and Discipline. 
 Lent by the University Library. 
 
 Lond. 4° UGQ. 
 
 State A. Lond. 4° UEQT. 
 
 Lond. 
 Lond. 
 
 4°- 
 
 4°- 
 
 UEQ. 
 UCE. 
 
 Lond. 4 0 . UEQT. 
 Lond. 4 0 . U. 
 
 Doctrine and Discipline of Divorce. 
 Lent by J. F. Payne, Esq., M.D. 
 
 Doctrine and Discipline of Divorce. 
 
 >> )> >> 
 
 Tetrachordon. 
 
 Lent by the University Library. 
 
 Colasterion. 
 
 Lent by Emmanuel College. 
 
 Poems English and Latin. 
 
 645 
 
 Ed. 2. State B (no errata). Lond. 4 0 . 
 
 Ed. 2. State C (two line errata). 
 
 Lond. 4 0 . U. 
 State D (three line errata). 
 
 Lond. 4 0 . T. 
 Lond. 4° UEQT. 
 
 Lond. 4° UET. 
 
 Lond. 8°. UCEFT. 
 
APPENDIX 
 1649 
 
 127 
 
 F°. U. 
 Lond. 4 0 . UET. 
 
 Defensio Regia pro Carolo I. (Salmasius.) 
 Lent by the University Library. 
 
 Et/co^OKAaffT^s. Ed. I. 
 
 Lent by Trinity College. 
 Tenure of Kings and Magistrates. Ed. A. (Large 'Kings.') 
 
 Lond. 4' 
 Lent by the University Library. 
 
 Tenure of Kings and Magistrates. Ed. B. (Small 'Kings.') 
 
 Lond. 4 0 . UE. 
 
 Lent by the University Library. 
 Goodwin (J.). The obstructours of Justice. 
 
 Lent by the University Library. 
 
 165O 
 
 EtKOi/oxXacrTr/s. Ed. 2. 
 
 Grand Case of Conscience. 
 
 Lent by St John's College. 
 Tenure of Kings and Magistrates. 
 
 U. 
 
 Lond. 4 0 . U. 
 
 Lond. 4 0 . TJCE. 
 Lond. 4° J. 
 
 Lond. 4 0 . UT. 
 
 1651 
 
 Pro populo Anglicano Defensio. 
 
 ,, State A. (Shaded.) 
 
 „ „ State B. (Plain.) 
 
 F°. UB. 
 4°. UCLM. 
 [Paris}] 4°. UCO. 
 Lond. 12 0 . UCEJKOT. 
 C. Salmasii Defensio Regia et J. Miltoni Defensio pro populo. 
 
 Parisiis. 4 0 . C 
 
 1652 
 
 EiKovoK\d(TTr)<; ou Reponse au Livre (traduite). 
 Pro populo Anglicano defensio. 
 Pro rege et populo anglicano apologia. 
 [A. Mori] Regii Sanguinis clamor. 
 
 1653 
 
 An Apology for Smectymnuus, &c [ab. 165 3 J. 
 Rowland (J.). Polemica. 
 Ziegler (C). Circa Regicidium Anglorum. 
 
 Lond. 1 2 0 . U. 
 Lond. 12° UAJLMST. 
 Antw. 12 0 . E. 
 Hag. Com. 1 2 0 . U. 
 
 Lond. 4° TJ. 
 \Antwerp.\ 12° U. 
 Lugd. Bat. 12 0 . 
 
f 
 
 128 APPENDIX 
 
 1654 
 
 Pro populo Anglicano defensio secunda. 
 
 )! ») )) 
 
 A. Mori Fides Publica. 
 
 1655 
 
 Pro se defensio. 
 
 )> »> 
 Scriptum Protectoris. 
 
 Lent by Trinity College. 
 
 1658 
 
 Raleigh (Sir W.). The Cabinet Council. 
 
 1659 
 
 Considerations touching hirelings. 
 
 Treatise of Civil Power in Ecclesiastical Cases. 
 
 » >» ii 
 
 1660 
 
 Salmasius (C). Ad J. Miltonum responsio. 
 
 Lent by the University Library. 
 Salmasius (C). 
 Salmasius His Dissection. 
 
 Proclamation, Aug. 13. State A (with misprint). 
 
 Photograph lent by the Rev. J. W. Cartmell. 
 Proclamation, Aug. 13. State B. 
 
 Lent by J. F. Payne, Esq., M.D. 
 Griffith (M.). The Fear of God. 
 
 Lent by the University Library. 
 Brief notes upon a late sermon by M. Griffith. 
 Lent by the University Library. 
 
 The Censure of the Rota. 
 
 Lent by Trinity College. 
 L'Estrange (R.). No Blind Guides. 
 
 Lent by the University Library. 
 
 Way to a Free Commonwealth. Ed. 1. 
 
 Lent by J. F. Payne, Esq., M.D. 
 Way to a Free Commonwealth. Ed. 2. 
 
 Lent by J. F. Payne, Esq., M.D. 
 
 Lond. 8°. UCGL. 
 Hag. Com. 12° UEOT. 
 Hag. Com. 12 0 . U. 
 
 Lond. 8°. CE. 
 Hag. Com. xz°. U. 
 Lond. 4° T. 
 
 Lond. 8°. U. 
 
 Lond. 12 0 . UCGJ. 
 Lond. 4 0 . UE. 
 Lond. 1 2 0 . UE. 
 
 Divione. 4 0 . U. 
 
 Lond. 8°. 
 Lond. 4 0 . U. 
 Lond. Broadside. 
 
 Lond. Broadside. 
 
 Lond. 8°. U. 
 
 Lond. 4 0 . U. 
 
 Lond. T. 
 
 Lond. 4 0 . UL. 
 
 Lond. 4 0 . U. 
 
 Lond. 1 2 0 . 
 
APPENDIX 
 I66 5 
 
 129 
 
 Warrant against Thomas Ellwood. 
 Photograph of the original MS. 
 Lent by the Rev. J. W. Cartmell. 
 
 Paradise Lost. [No. 1.] 
 [No. 2.] 
 
 P. L. [No. 3.] 
 P. L. [No. 4.] 
 P. L. [No. 5.] 
 
 Lent by F. H. Green, Esq. 
 P. L. [No. 6 not known.] 
 
 P. L. [No. 7.] 
 P. L. [No. 8.] 
 Accedence. 
 
 History of Britain. 
 
 P. R. and S. A. Ed. 1. 
 History of Britain. 
 
 1667 
 1668 
 
 1669 
 
 1670 
 1671 
 
 1672 
 
 Artis logicae plenior institutio. 
 Lent by the University Library. 
 
 I673 
 
 T. Bring at 
 
 Poems, &c. 
 
 Lent by the University Library. 
 
 Poems, &c. T. Dring at the 
 
 Lent by Pembroke College. 
 
 Artis logicae plenior Institutio. 
 
 1674 
 
 P. L. Ed. 2. 
 Epistolarum liber unus. 
 w. 
 
 Lond. 4 0 . CT. 
 Lond. 4 0 . C 
 
 4°. T. 
 4°- UC 
 4°- 
 
 CT. 
 UCJMPT. 
 Lond. 1 2 0 . CT. 
 
 Lond. 4 0 . UEG. 
 
 Lond. 8°. UCMT. 
 
 4°. UJT. 
 
 Lond. 12 0 . UAEMT. 
 
 the Blew Anchor. 8". UT. 
 White Lion. Lond. 8°. L. 
 
 Lond. 1 2 0 . C. 
 
 Lond. 8°. CFT. 
 Lond. 12 0 . CKLQ. 
 
 9 
 
i3° 
 
 Literae pseudo-senatus. 
 History of Britain. 
 P. L. Ed. 3. 
 
 APPENDIX 
 1676 
 
 1677 
 
 1678 
 
 1679 
 
 Filmer (Sir R.). The Freeholder's Grand Inquest. 
 
 1680 
 
 P. R. and Samson Agonistes. 
 
 I68l 
 
 Character of the Long Parliament. 
 
 1682 
 
 Brief History of Moscovia. 
 
 1684 
 
 Mackenzie (Sir G.). Jus Regium. 
 
 1688 
 
 [Lond.] 12 0 . UACJKORT. 
 Lond. 8°. UCJQT. 
 Lond. 8°. UCJT. 
 
 Lond. 8°. U. 
 
 Lond. 8°. U. 
 Lond. 4 0 . UEJQ. 
 Lond. 12 0 . UJ. 
 Lond. 8°. U. 
 
 P. L. Ed. 4. With sculptures. State A. 
 
 M. Flesher for J. Tonson, Lond. F°. UCPTY. 
 P. L. Ed. 4. With sculptures. State B. 
 
 M. Flesher for R. Bentley. F°. GJ. 
 P. R. and S. A. Lond. F°. UCO. 
 
 1690 
 
 E J kok)k AaoTijs. Amst. 8°. UACQT. 
 
 Hogacus (Gul.). Paraphrasis poetica. Lond. 8°. UEJQL. 
 
 1691 
 
 P. L. Ed. 5. First issue. 
 Lent by Trinity College. 
 
 P L. Bk. 1. (Lat). [By T. Power.] 
 
 Lond. F°. T. 
 Cantab. 4 0 . GQ. 
 
APPENDIX 
 1692 
 
 P. L. Ed. 5. Second issue. 
 Defence of the People of England. 
 Vindiciae Carolinae. 
 
 Lent by Trinity College. 
 
 1694 
 
 Letters of State. Ed. E. Phillips. 
 
 131 
 
 Lond. F°. OQ. 
 Lond. 8°. CE. 
 Lond. 8°. T. 
 
 Lo?id. 12°. UCEJTY. 
 
 1695 
 
 Poetical Works with notes by P. H[ume] and Sculptures. (P. L. Ed. 6. 
 P. R. and S. A. Poems. Ed. 3.) 
 
 /. Tonson. Lond. F°. UAHTL. 
 
 Lent by Pembroke College. 
 
 Prose Works. 
 
 Lent by H. Rackham, Esq. 
 
 1697 
 
 1698 
 
 [Lond.] F°. J. 
 
 Complete Historical, Political and Miscellaneous Works. [Ed. J. Toland.] 
 3 vols. 'Arnst.' [Lond.] F°. UBCKJLNY. 
 
 J. Locke's copy. Lent by F. H. Green, Esq. 
 Comcedia J. Miltoni paraphrastice reddita. 
 
 1699 
 
 Amyntor ; or a defence of Milton's Life. 
 Life [by J. Toland]. 
 
 Lent by St John's College. 
 
 Remarks on the Life of Milton as published by H. T. 
 Some reflections on Amyntor. [By S. Clarke.] 
 
 1705 
 
 P. L. Ed. 7. (P. R., S. A. and Poems. Ed. 4.) 
 Lent by Trinity College. 
 
 1706 
 
 History of Britain. 
 
 Lond. 4 0 . Q. 
 
 Lond. 8°. UGY. 
 Lond. 8°. UJ. 
 
 Lond. 8°. T. 
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i 3 2 APPENDIX 
 
 1707 
 
 P. L. Ed. 8. 
 
 Lent by Trinity College. 
 
 1709 
 
 Milton's sublimity asserted by Philo Milton. 
 
 I7IO 
 17H 
 
 1713 
 
 1715 
 1719 
 
 Satire against Hypocrites. 
 Lent by Trinity College. 
 
 P. L. Ed. 9. With sculptures. 
 
 P. R. Ed. 5. 
 P. R. and S. A. 
 
 P. L. Ed. 10. With sculptures. 
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 Notes upon P. L. by J. Addison. 
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APPENDIX 
 
 i33 
 
 1732 
 
 P. L. Ed. R. Bentley. Lond. 4 0 . UJGTLSR. 
 
 With the autograph signature of William Cowper and notes by W. Hayley. 
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 Milton restor'd and Bentley depos'd. No. 1. Lond. 8°. T. 
 
 Lent by Trinity College. 
 
 1733 
 
 Review of Bentley. Pt 3. [By Z. Pearce.] 
 
 Lond. 8°. Q. 
 
 1734 
 
 Richardson (J.). Explanatory Notes. 2 vols. Lond. 8°. QT. 
 
 1736 
 
 Paradiso Perduto. Trad. P. Rolli. Lond. F°. UF. 
 
 1738 
 
 Complete Historical Works. Ed. T. Birch. 2 vols. 
 
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 Arne (T. A.). Musick of Comus. Lond. 4 0 . 
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134 
 
 APPENDIX 
 
 1740 
 
 Handel. L'Allegro. (MS. Study.) 
 New Memoirs by F. Peck. 
 
 1741 
 
 Handel. Samson. (MS. fragment.) 
 Verbal Index to P. L. 
 Essay upon Milton's Imitations. 
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 1743 
 
 P. R. and S. A. 
 
 Lent by Pembroke College. 
 
 Considerations touching Hirelings. Ed. 3. 
 Samson (Libretto). 
 
 Lent by Dr A. H. Mann. 
 
 1744 
 
 Paterson (J.). Complete commentary on P. L. 
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 1747 
 
 P. W. Ed. J. Hawkey. 
 Richardson (R). Zoilomastix. 
 
 1748 
 
 Meadowcourt (R.). Critical Dissertation on P. R 
 Lent by the University Library. 
 
 1749 
 
 P. L. Ed. T. Newton. Ed. 1. 2 vols. 
 
 1750 
 
 P. L. Ed. T. Newton. Ed. 2. 2 vols. 
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 Paradisus amissus. (Lat.) G. Dobson. 
 
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APPENDIX 
 
 J 3S 
 
 1751 
 
 Essay on Education. 
 
 Douglas (John). Milton vindicated. 
 
 1752 
 
 P. L. 
 
 P. R. Ed. T. Newton. 
 P. R. Ed. J. Hawkey. 
 Lauder (W.). Delectus auctorum. 2 vols. 
 
 1753 
 
 Works Hist., Pol. and Misc. Ed. T. Birch. 
 
 P. L. (Lat.) G. Dobson. 
 Tractate of Education to S. Hartlib. 
 
 1754 
 
 P. L. Ed. Newton. 2 vols. 
 
 1757 
 
 P. L. Ed. T. Newton. Ed- 4. 2 vols. 
 
 1758 
 
 P. L. State A. 
 State B. 
 
 P. R. 
 
 Samson. An Oratorio adapted. 
 
 1759 
 
 P. L. State A. 
 State B. 
 
 P. R. 
 
 1760 
 
 P. L. 
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 P. R. and S. A. Ed. T. Newton. Ed. 3. i 
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136 
 
 APPENDIX 
 
 1761 
 
 Poetical Works. Ed. T. Newton. 3 vols. Lond. 4" K. 
 
 1762 
 
 A familiar explanation of Milton. With Addison's criticism and preface 
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 1766 
 
 L'Allegro et le Pensieroso. Trad, en vers franqois. 
 
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 1770 
 
 Lent by Trinity Hall. 
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 P. R. and S. A. 
 
 P. W. Ed. T. Newton. 4 vols. 
 
 1772 
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 1774 
 
 P. L. An Oratorio. Set to music by Mr Smith. 
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 1775 
 
 P. L. Ed. T. Newton. Ed. 8. 2 vols. 
 
 1777 
 
 P. R. Ed. T. Newton. 
 
 1778 
 
 P. L. Ed. T. Newton. Ed. 8. 2 vols. 
 
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 1780 
 
 Remarks on Johnson's Life of Milton, with Milton's Tractate on Education 
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APPENDIX 
 
 137 
 
 1782 
 
 Samson. [Libretto.] Handel. F. Hodson and Wynne, Cambridge. 8°. T. 
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 1783 
 
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 1785 
 
 P. R. Ed. T. Newton. 2 vols. 
 Minor Poems. Ed. T. Warton. Ed. 1. 
 L'Allegro (Domenico Testa). 
 
 1787 
 
 Comus. At the Theatre Royal, Covent Garden. 
 Comus. At the Theatres Royal. 
 Lent by the University Library. 
 
 P. L. 111. J. Gillies. Ed. 1. 
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 1791 
 
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138 APPENDIX 
 
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 P. L. Books 1— iv. 111. Stothard and Bartolozzi. Loud. F°. UKP. 
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 1793 
 
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 1794 
 
 Poetical Works, with life by W. Hayley. 3 vols. 
 
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 II Paradiso Perduto. Trad. F. Mariottini. Vol. 1. Lond. 8°. U. 
 
 1796 
 
 Hayley (W.). Life of Milton. Lond. 4° U. 
 
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 1797 
 
 Lycidas, Graece redditum. J. Plumptre. [Lond.] 4 0 . UKT. 
 
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 1805 
 
 Mortimer (C. E.). Memoir. Lond. 4 0 . U. 
 
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 P. W. Preface S. Johnson. Ed. J. Aikin. 3 vols. Lond. 8°. J. 
 
 Prose Works. Ed. C. Symmons. 7 vols. Lond. 8". UFRT. 
 
APPENDIX 
 
 139 
 
 1808 
 
 Latin and Italian Poems. Trans. W. Cowper. With Flaxman's illustrations. 
 
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 Lent by the University Library. 
 
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 P. W. Ed. H. J. Todd. Ed. 2. 7 vols. 
 
 Todd (H. J.). Some account of the Life. Ed. 2. 
 
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 Symmons (C). Life. Ed. 2. 
 
 l8ll 
 
 II Paradiso Perduto. Trad. L. Papi. 3 vols. 
 
 I8I2 
 
 Licida. Trad. T. J. Mathias. 
 
 1813 
 
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 1815 
 
 Reflections on the Civil War. 
 Goodwin (W.). Lives. [J. Aubrey, E. Phillips.] 
 Bishop (Sir H. R.). Music to Comus. 
 Lent by J. E. Nixon, Esq. 
 
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 P. R. etc. (Engraved title only.) 
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140 
 
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 1820 
 
 Milton's plan of education in his letter to Hartlib (Pamphleteer). 
 
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 Poems. 3 vols. Chisivick. 8°. L. 
 
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 Burgess (T). Protestant Union. With preface on Milton. 
 
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 1827 
 
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 1828 
 
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 Channing (W. E.). Remarks. Lond. 8°. U 
 
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APPENDIX 
 
 141 
 
 1832 
 
 Fabulae Samson et Comus graece interpr. E. Greswell. Oxon. 8°. LRT. 
 
 1833 
 
 Ivimey (J.). John Milton. 
 Prose Works. Ed. R. Fletcher. 
 
 Prose Works. Ed. R. Fletcher. 
 
 1834-5 
 
 1835 
 
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 1838 
 
 Areopagitica Secunda on Talfourd's Bill. 
 
 1839 
 
 Treatise of Civil Power. (Tracts for the People.) 
 
 1840 
 
 P. L. Ed. J. Prendeville. 
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 1843 
 
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 1846 
 
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142 
 
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 1848 
 
 Prose Works. Ed. J. A. St John. 5 vols. 
 Geoffroy (A.). Etude sur les pamphlets. 
 
 1849 
 
 L'Allegro. 111. by the Etching Club. 
 
 1851 
 
 Works. Ed. J. Mitford. 8 vols. 
 P. L. Ed. J. J. Flatters. 
 Papers. Ed. by J. F. Marsh. 
 
 1852 
 
 Hood (E. P.). John Milton. 
 
 1853 
 
 P. W. Illustrated. 
 
 Lent by Dr J. E. Sandys. 
 
 P. W. Ed. G. Gilfillan. 
 
 P. L. With notes by J. R. Major. 
 
 P. L. Ed. T. Thomson. 
 
 1855 
 
 P. L. Books 1 — iv. Ed. C. W. Connon. 
 L'Allegro and II Penseroso. 111. B. Foster. 
 Lent by G. L. Keynes, Esq. 
 
 Life by T. Keightley. 
 
 1857 
 
 P. L. and P. R. Ed. J. Edmonston. 
 P. L. Selections. Ed. R. Demaus. 
 Complete Concordance by G. L. Prendergast. 
 
 1858 
 
 P. W. Ed. T. Newton. 
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APPENDIX 
 
 r 43 
 
 1859 
 
 P. W. Ed. T. Keightley. 2 vols. UT. 
 L'Allegro. Lond. 8°. U. 
 
 Original Papers. Ed. W. D. Hamilton. (Camden Society.) 
 
 Lond. 4 0 . UJK. 
 
 Life by D. Masson. Vol. 1. Lond. and Camb. 8°. UENRT. 
 
 i860 
 
 Comus. 
 
 l86l 
 
 P. L. Book 1. Ed. J. Hunter. Ed. 2. 
 Sotheby (S. L.). Ramblings. 
 Milton's prophecy of Essays and Reviews. 
 Tulloch (J.). English Puritanism. 
 
 1862 
 
 P. W. 111. J. M. W. Turner. 
 P. L. With Channing's Essay. 
 Prose Selections. Ed. S. Manning. 
 P. L. Book 11. Ed. J. Hunter. 
 Morris (J. W.). A vindication from Arianism. 
 Calverley (C. S.). Verses and Translations. 
 Lent by the Master of Christ's College. 
 
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 Lond. 8°. U. 
 
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 Lond. 8°. U. 
 
 Lond. 8°. U. 
 
 Lond. 1 2 0 . U. 
 
 Camb. 8°. 
 
 1863 
 
 Comus. Graece redd. G. Baro Lyttelton. 
 
 1864 
 
 Comus, L'Allegro, &c. 
 
 1865 
 
 P. W. and Index. Ed. C D. Cleveland. 
 
 Lent by Professor Skeat. 
 Comus. Graece. Redd. G. Baro Lyttelton. 
 
 1866 
 
 P. W. 3 vols. (Aldine Edition.) 
 P. L. 111. G. Dore. 
 
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 Lond. 8°. U. 
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 Cantab. 12 0 . U. 
 
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 F°. U. 
 
144 
 
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 1867 
 
 Samson Agonistes. Graece. G. Baro Lyttelton. 
 Concordance. By C. D. Cleveland. 
 
 1868 
 
 Ode. Illustrated. 
 Areopagitica. Ed. Arber. 
 
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 Tomlinson (J.). Three household poets. 
 Areopagitica. Ed. Arber. 
 
 1870 
 
 English Poems. Ed. R. C Browne. 2 vols. 
 S. A. and Lycidas. Ed. J. Hunter. 
 History of Britain (Murray). 
 Prose Selections. Ed. J. J. G. Graham. 
 
 1869 
 
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 Oxford. 8°. C 
 
 Lond. 8°. U. 
 
 Lond. 8°. UJ. 
 
 Lond. 8°. U. 
 
 187I 
 
 Poems. Ed. J. M. Ross. 
 
 P. L. in Hebrew. Trans. I. E. Salkinson. 
 
 P. L. Book 11. Ed. C. P. Mason. Ed. 
 
 Coll gwnfa. Ed. J. Evans. 
 
 Comus, &c. Ed. H. R. Huckin. 
 
 Comus. With Notes. Ed. W. Wallace. 
 
 Masson (D.). Life and History. Vol. 2. 
 
 Lond. 8°. U. 
 State B. Wien. 8°. U. 
 
 2. Lond. 8°. U. 
 
 Wrexham. 8°. U. 
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 1872 
 
 P. W. Ed. W. M. Rossetti. 
 
 P. L. Book in. Ed. J. Hunter. 
 
 P. L. Selections in Manx. Ed. T. Christian. 
 
 S. A. Ed. A. J. Church. 
 
 Areopagitica. Comm. by R. C Jebb. 
 
 Autobiography. Ed. J. J. G. Graham. 
 
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 [Camb.] 8°. UT. 
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 P. L. Book Hi. Ed. C P. Mason. Ed. 2 
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 Areopagitica. Ed. T. G. Osborn. 
 Masson (D.). Life. Vol. 3. 
 
 1874 
 
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 P. L. Books 1, n. Ed. F. Storr. 
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 Lond. 12 0 . UT. 
 L' Allegro and II Penseroso. Trans, into French by J. Roberts. 
 
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 Comus. 
 
 Areopagitica. Ed. J. W. Hales 
 
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 Lond. 8°. UCKNRT. 
 
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 1875 
 
 Comus, L' Allegro, etc. Ed. J. Hunter. 
 
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 1876 
 
 
 
 
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 P. W. (Globe.) 
 P. L. Facsimile. 
 P. R. Ed. C S. Jerram. 
 L'Allegro. Ed. F. Main. Ed. 2. 
 
 Ed. L. Evans. 
 Lycidas. Ed. E. T. Stevens and I). Morris. 
 
 Ed. T. D. Hall. 
 Common Place Book. Ed. A. J. Horwood. Revised. 
 
 Westminster. 4 0 . UK. 
 Land. 8°. UCJK. 
 Leipzig. 8°. U. 
 
 Lond. 
 
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 1878 
 
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 L'Allegro. Ed. E. Storr. Lond. 8°. U. 
 
 II Penseroso, graece. Redd. F. E. Gretton. Camb. 8°. T. 
 
 Britain under Trojan, Roman and Saxon Rule. Lond. 8°. U. 
 
 1879 
 
 L'Allegro, II Penseroso and Lycidas. Ed. F. S. Aldhous. 
 
 Dublin. 8°. U. 
 
 Lond. 8°. U. 
 
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 Pattison (M.). Milton. 
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 1880 
 
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 8°. U. 
 
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 Lycidas and Epitaphium Damonis. Ed. C. S. Jerram. Ed. 2. 
 
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 Masson (I).). Life. New ed. Vol. 1. Lond. 8°. UJ. 
 
APPENDIX 
 
 
 
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 P. W. Ed. W. M. Rossetti. 
 
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 P. L. 111. G. Dore. Ed. R. Vaughan. 
 
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 1883 
 
 
 
 
 S. A. Ed. J. C. Collins. 
 
 Oxford. 
 
 8°. 
 
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 Sonnets. Ed. M. Pattison. 
 
 Lond. 
 
 8°. 
 
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 Tractate on Education. Ed. 0. Browning. 
 
 Ca?nl). < 
 
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 UE. 
 
 i 88 a 
 
 
 
 
 r. L,. BOOKS I — VI. rjQ. 1VL. Mull. 
 
 
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 Selected Prose. Ed. E. Myers. 
 
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 Edmundson (G. ). Milton and Vondel. 
 
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 P. R., S. A. and Minor Poems. (R. T. S. Library.) 
 
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 Earlier Poems and trans, by W. Cowper. 
 
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 1887 
 
 
 
 
 P W V7VI I T?f\ T Tlrcirlcl-iQw ^^ s i*r^te>rV\^^r\T Pr»^tc \ 
 1 • VV . V Ul* !• i-iCl. J. l)\ lUJSIKIW . 1 V^dllLCI UUI y i (JcLo. ) 
 
 
 80 
 0 • 
 
 TT 
 
 P T Rnnl^Q 1 '» nrl ti 17 H \T A/f armilli n 
 
 l • 1 j- UUUlVo 1 t U IU 11. 1 j v_i - 1V-L. 1 ,H 1 1 1 1 1 lil 1 1- 
 
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 Willis (William). John Milton : a lecture. 
 
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 Birthday Book. 
 
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 P. W. Vol. 11. Ed. J. Bradshaw. (Canterbury Poets.) 
 
 Lond. 
 
 8°. 
 
 u. 
 
 P. L. Book vii. Ed. L. J. Woodroffe. 
 
 Dublin. 
 
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 Comus. Ed. A. M. Williams. 
 
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 Areopagitica, etc. (Cassell.) 
 
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148 
 
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 P. L. and P. R., etc. (CasselPs National Library.) Lond. 8°, 
 
 L' Allegro, etc. Ed. W. Bell. Lond. 8° 
 Shorter Poems. 111. S. Palmer. 
 
 English Prose Writings. Ed. H. Morley. Lond. 8° 
 
 Newman (Robert). J. Milton : a lecture. Lond. 8°. 
 
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 S. A. Trans, into Hebrew by J. Massel. 
 Comus. Ed. W. Bell. 
 II Penseroso. Ed. O. Elton. 
 Comus. 111. W. Blake. Ed. W. Griggs. 
 Lent by the University Library. 
 
 Garnett (R.). Life of Milton. 
 
 189I 
 
 S. A. Ed. A. W. Verity. 
 
 Ode, L'Allegro, etc. Ed. A. W. Verity. 
 
 Arcades and Comus. Ed. A. W. Verity. 
 
 1892 
 
 P. W 
 P. L. 
 
 Ed. J. Bradshaw. 2 vols. 
 Books v and VI. Ed. A. W. Verity. 
 Books xi, xii. Ed. A. W. Verity. 
 Books v, viii. Ed. C. M. Lumby. 
 Ed. A. J. Wyatt. 
 Johnson (S.). Milton. Ed. K. Deighton. 
 British Museum Catalogue. (Milton.) 
 
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 8°. UG. 
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 Manchester. 
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 Lond. 4 0 . U. 
 
 Lond. 8°. U. 
 
 Cambridge. 8°. U. 
 
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 Camb. 8°. U. 
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 Lond. 8°. UC. 
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APPENDIX 
 
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 1893 
 
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 Comus. Ed. 0. Elton. 
 
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 Bridges (R.). Milton's Prosody. 
 
 Oxford. 
 
 4°- 
 
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 P. L. 111. G. Dore. Ed. R. Vaughan. 
 
 Lond. 
 
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 English Poems. Ed. R. C. Browne. New ed. by H. Bradley. 
 
 
 
 
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 Masson (D.). Life. New ed. Vol. 2. 
 
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 „ ,, Index Vol. 
 
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 1895 
 
 
 
 
 P. L. Book 1. Ed. F. Gorse. 
 
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 „ Books in and iv. Ed. J. Sargeaunt. 
 
 Lond. 
 
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 „ „ ,, Ed. R. G. Oxenham. 
 
 Lond. 
 
 8°. 
 
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 „ Book iv. Ed. M. Macmillan. 
 
 Lond. 
 
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 „ Books vii, vim. Ed. A. W. Verity. 
 
 Camb. 
 
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 8°. 
 
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 Stanford (Sir C. V.). MS. Score of Symphony 
 
 'L'Allegro & 
 
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 Lent by the Composer. 
 
 
 
 
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 P. L. 111. W. Strang. 
 
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 „ „ vii, viii. Ed. A. M. Trotter. 
 
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 „ „ ix, x. Ed. A. W. Verity. 
 
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1 5° 
 
 APPENDIX 
 
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 Hymn. 111. E. J. Harding and T. H. Robinson. 
 
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 New York. 
 
 8". 
 
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 Comus. Ed. T. Page. Ed. 2. 
 
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 Comus and Lycidas. Ed. A. W. Verity. 
 
 Camb. 
 
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 Areopagitica. Ed. J. W. Hales. New ed. 
 
 Oxford. 
 
 8". 
 
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 P. L. 111. G. Dore. 
 
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 Corson (H.). Introduction to Milton. 
 
 New York. 
 
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 Trent (W. P.). John Milton. 
 
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 Three Elegies. Askendene Press, Lond. 
 
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 P. VV. Ed. H. C Beeching. 
 
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 P. L. Books 1 — iv. Ed. J. L. Robertson. 
 Raleigh (W. A.). Life. 
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 Lond. {Oxford). 8°. UT. 
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APPENDIX 
 
 
 
 *5* 
 
 igOI 
 
 
 
 
 Poems. 
 
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 P. L. Book in. Cusack's edition. Ed. W. 
 
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 „ „ Evans' edition. Ed. E. H. Moreton and A. Howes. 
 
 
 
 Redditch. 
 
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 ,, „ Ed. A. L. Cann. 
 
 Bolton. 
 
 8°. 
 
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 Comus. 111. R. Savage. (Essex House Press.) 
 
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 P. L. (Doves Press.) 
 
 Hammersmith. 
 
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 8°. 
 
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 Lond. 
 
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 Hymn on the morning of Christ's Nativity (De 
 
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 I903 
 
 
 
 
 P. W. Ed. W. A. Wright. 
 
 Camo. 8°. 
 
 UCT. 
 
 P. L. Books v, vi. Ed. Flora Masson. 
 
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 Minor English Poems. Ed. H. G Beeching. 
 
 
 
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 Byse (F.). Milton on the Continent. 
 
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 P. L. Book vi. Ed. H. B. Cotterill. 
 
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 „ „ Ed. A. E. Roberts. 
 
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 „ Ed. A. L. Cann. 
 
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 S. A. Ed. A. J. Grieve. 
 
 Lond. 
 
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 Minor Poems. Ed. M. A. Jordan. 
 
 New York. 
 
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152 
 
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 Comus. Ed. 
 
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 8°. 
 
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 Loud. 
 
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 Ed. C L. Thomson. 
 
 Lond. 
 
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 Areopagitica. 
 
 (Eragny Press.) 
 
 Lond. 
 
 F°. 
 
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 Lawes (H.). Music to Comus. Ed. C. W. Smith. (Mermaid Society.) 
 
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 P. L. 111. W. Strang. 
 
 Lond. 
 
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 P. L. Book 1. Ed. D. Salmon and W. Elliott. 
 
 Lond. 
 
 8°. 
 
 u. 
 
 P. L. Books 11— v. Ed. D. Salmon and W. Elliott. Lond. 
 
 8°. 
 
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 P. L. Book v. Ed. A. E. Roberts. 
 
 Lond. 
 
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 P. R. and S. A. (Doves Press.) 
 
 Hammersmith. 
 
 4°. 
 
 u. 
 
 S. A. Ed. C. J. Onions. 
 
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 Lycidas and Sonnets. Ed. N. L. Frazer. 
 
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 Prose Works. Vol. L 
 
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 Towndron (R. T.). Day Book of Milton. 
 
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 Jenks (T.). In the Days of Milton. 
 
 New York. 
 
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 Williamson (G. G). Milton. (Miniature Series.) 
 
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 I906 
 
 
 
 
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 Liverpool. 
 
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 8°. 
 
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 i53 
 
 I907 
 
 Early Poems. Ed. S. E. Goggin and A. F. Watt. Lond. 8°. U. 
 
 II Penseroso, etc. (De La More Press.) Lond. 8°. U. 
 
 Areopagitica. (Doves Press.) Hammersmith. 4 0 . K. 
 
 Areopagitica, etc. Ed. A. F. Watt and S. E. Goggin. Lond. 8". U. 
 
 Lockwood (L. E.). Lexicon. Neiv York. 4". UC 
 
 Woodhull (M.). The Epic of P. L. New York. 8°. U. 
 
 1908 
 
 Rothenstein (A.). Original Designs for the forthcoming performance of 
 Comus. 
 Lent by the Artist. 
 
 For the original copperplates exhibited on the screen see page 122. 
 See No. 
 
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 b. 
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 d. 
 
 14 
 45 
 "3 
 114 
 
 e. See No. 117 
 
 /• „ 186 
 
 g- n » 187 
 
 h. „ „ 213 
 
*54 
 
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 Andreini (G. B.). L'Adamo. 
 
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 Milano. 
 
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 Two copies, lent by J. F. Payne, Esq., M.D., and W. White, 
 
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 Hall (Joseph). An humble remonstrance. 
 
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 Hunter (Joseph). Milton. Lond. 8°. 
 
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 Mull (M.). John Milton: a Sketch. Lond. 1867. 8°. 
 
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 1875 
 
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 1883 
 
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 TIoTepanHHR Pail. Bo3Bpain,eHHHfi Paff. 
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 Prolusiones Academicae. 
 
 Cambridge. 8°. U. 
 
 Containing MfXrupos 'Ettit&Qiop (Sir W. Browne's medal), by A. S. F. Gow. 
 
 Tortoise shell Pen-case and Snuff-box. 
 
 At one time belonging to Milton, and given by Mrs Milton to her nephew, see affidavit 
 with them. 
 
 Lent by Mr Lowther Bridger, a descendant from Milton's brother Christopher. See 
 Daily News, 10 June, 1898. 
 
 Milton's Watch. 
 
 Water colour drawing of the watch in the British Museum. 
 
 Two China Dishes. 
 
 Said to have belonged to Milton, and mentioned in Mrs Milton's inventory at 
 Nantwich in 1727. They came to Milton's niece, grandmother of Mr William Allen 
 of Dorking. The stands are made of oak from Milton's house in the Barbican. 
 
 Lent by A. E. Shipley, Esq. 
 
 Lawes (H.). Autograph MS. volume of Songs, containing the Comus 
 music. 
 
 Lent by the Rev. H. R. Cooper-Smith, D.D. 
 
 Blake (W.). Christ interceding before the Father. 
 
 One of the Illustrations to Paradise Lost. 
 
 Photograph coloured by hand. 
 
 Lent by Archibald G. B. Russell, Esq. 
 
 Drawing of Milton's Mulberry Tree. 
 From Christ's College Library. 
 
 1634 
 
 Puteanus (Erycius). Comus. 
 
 Lent by the University Library. 
 
 0X071. 1 2°. 
 
i6i 
 
 INDEX 
 
 [Numbers refer to pages only.] 
 
 A H rl i III r i o F if\ ■ £ Q 
 
 Utxy lUIUUUI V) \) 1 ^ 
 
 
 1 ^ * « o \ 1 M irrl *"> /1 if 
 
 r>cd.ic ^ iviaryj, . j , 35 
 
 Agar (A. and T.), 7 
 
 Beeching (H* C)» '47> ' ' 5 ' 
 
 Aikin 1 f\r\ nit 
 
 /\iKin ^j.j, 00, *3 
 
 I ■? i:» T fa ct ry e 
 
 Alais, 00 
 
 Ftell ifl \ anrl Son 1 7 
 
 I >' 1 1 |l 1. ) JIP 1 OUIIy 1 ( 
 
 y\iGnous ^r. o.j, 140 
 
 ill eft 
 
 Aldine, 143 
 
 Bennett (J-)j 50 
 
 AullS ^ 1 1 . 0.), 14O 
 
 Altona, y" 1 
 
 Tt*»r>cr\r» / \A7 \ r r- 
 XJCllbOIl ^ VV . J f I ■) 
 
 Amyntor, 131 
 
 uenuey \l\.)> 133 
 
 Anderson, '.'»^ 
 
 
 Andreini (G. B.), 154 
 
 Birch (T.), m, 135 
 Bishop (Sir H. R.), 139 
 
 Arber (E.), 144, 158 
 Archer (J.), 69 
 
 Blackburne (F.), 136 
 
 Arne (T. A.), 133 
 
 Blake (W.), 145, 148, 152, 159, 160 
 
 Armenian, 158 
 
 Blakeney (E. H.), 151 
 
 Ashendene Press, 150 
 
 Blood, 64—128 
 
 Ashfield (E.), 24 
 
 Bloomfield (J. M.), 30 
 
 Aubrey (John), 2, 4, 24, 139 
 
 Bock (I. C), 61 
 
 Augsburg, 81 
 
 Bohn, 17, 81 
 Bonneville (F.), 67 
 
 
 Bacon (J.), 90 
 
 Bosselman, 89 
 
 Baker (H. Clinton), 34 
 
 Boutrois, 8 1 
 
 „ (J-), 68 
 
 Bovi (M.), 70 
 
 „ (W.), 68 
 Baldwin (R.), 45 
 
 Bowles (J.), 50 
 
 ,, ,, and son, 60 
 „ (T.), 60 
 
 Bale (C. S.), 23 
 
 Baratti (A.), 13, 67 
 Bargrave (J.), 36 
 
 Boydell (J. & J.), 3, 13 
 
 Boyle (R.), 45 
 
 Baring (Hon. M.), 159 
 
 Bradshaw (J.), 146, 147, 148 
 
 Baron, 73 
 
 Brain (E. T.), 70 
 
 Barron (G.), 62 
 
 Brand (Thomas), 2 
 
 Bartholomew (A. T.), 159 
 
 Bridger (Lowther), 160 
 
 Bartolozzi, 59, 138 
 
 Bridges (R.), 148, 149 
 
 Basire, 83 
 
 Bridgewater MS., 91 
 
 Baskerville, 135 
 
 British Biography, 5 
 
 Bath, 25 
 
 British Museum, 148 
 
 Bathurst (E.), 38 
 
 Bromley, 50 
 
 Baxter (W. E.), Preface and 94—7, 100, 
 
 Browne (R. C), 144, 149 
 
 IOI 
 
 Browning (O.), 145, 147 
 
 Bayford (W.), 13 
 
 Brownrigg (C. E.), 149 
 
 sv. 
 
l62 
 
 INDEX 
 
 Brydges (Sir E.), 5, 141, 148 
 
 Buccleuch (Duke of), si, 90 
 
 Bunyan, 19 
 
 Burgess (T.), 140 
 
 Burgh (W.), 17 
 
 Burrell (E.), 91 
 
 Busts, 14, 29, 73 
 
 Butler (S.), 54 
 
 Byse (F.), 151 
 
 Cadell and Davies, 59 
 Calverley (C. S.), 143 
 Cann (A. L.), 151, 152 
 
 „ (C), 140 
 Camberwell, Boys' Home, 159 
 Garden (T.). 72 
 Cardon (A.), 61 
 
 Cartmell (J. W.). 12, 74, 128, 129, 155, 
 
 156, 157 
 Chalfont St Giles, 122 
 Chalmers (A.), 145, 146 
 Chambers (E. K.) 150 
 Champante and Whitrow, 72 
 Channing (W. E.), 140, 143 
 Chapman (j.), 72 
 Chardon (F.), 90 
 Chateaubriand, 141 
 Chesterfield (Lord), 18, 84 
 Chidley (I. J.), 82 
 Christian (T.). 144 
 Church (A. J.), 144 
 
 Cipriani (J. B.), 3, 5. 8, 10, 14, 15, 38, 
 
 39. 43. 58, 73. 74. 75 
 Clark, 75 
 
 ,. (J- W.), 133 
 Clarke (Deborah), 4, 16, 121 
 
 .. (S-), 131 
 Cleveland (C. D.), 143, 144 
 Cobden-Sanderson (T. J.), 151 
 Cochran (J.), 56, 81 
 Cockerell (S. C.), 150 
 Collins (J. C), 147 
 Collyer (T.), 68 
 Comus (MS.), 54 
 Connon (C. W.), 142 
 Constable (C), 83 
 Cook ( .), 84 
 (C), 88 
 
 Cooper (G.), 30 
 „ (K-), 64 
 
 .. (S.), 13—16, 23, 36, 80—82 
 
 Cooper-Smith (H. R.), 160 
 Copperplates, 153 
 Corson (H.), 150 
 Coster (D.), 88 
 (G.), 21 
 Cotterill (H. B.), 151, 152 
 Cousins, 90 
 Cundee (J.), 72 
 Cunningham, 87 
 Cowley (A.), 54 
 Cowper (W.), 15, 77. '39- M7 
 Craig (W. M.), 17, 82 
 Cripps-Day (F. H.), 126 
 Cromek (R. H.), 59 
 Cromwell (O.), 16 
 Crook (C. W.), 152 
 Cusack, 151 
 
 Darton, 70 
 
 Dassier, 123 
 
 Daumont, 67 
 
 Davenant (Sir W.), 16 
 
 Davis (J. G.), 145 
 
 Deacon (Jas.), 15, 78 
 
 Dean (T. A.). 13. 69 
 
 Deighton (K.), 148 
 
 De la More, 151, 153 
 
 De La Warr (Countess), 21 
 
 Demaus (R.), 142 
 
 Denham (Sir J.), 16 
 
 Dent (E. J.), 133 
 
 Deveria, 58 
 
 De Wit, 22, 35 
 
 Disney (Edgar), 2, 3, 121 
 
 ,, (J.), 2, 14, 121 
 Dobson, 19, 86 
 
 » (W.). 134. '35. 136 
 Dodd, 136 
 Dolby (T.), 75 
 Dolle (W.), 49, 116 
 Dore (G.), 143. '47> '49> 'So, 151 
 Douglas (J.), 62, 135 
 Doves Press, 151, 152, 153 
 Drawings, 38 
 Dryden (J.), 50, 53. 80 
 Dunster (C), 138, '57 
 Durand, 1 23 
 
 Du Roveray, 17, 82, 157 
 Dyce Collection, 37 
 
 Edmondston (J.), 142 
 Edmundson (G.), 147 
 Edwards (W. C), 5, 10, 46, 56, 66 
 
INDEX 
 
 163 
 
 Elderton (J.), 18, 83 
 Ellesmere (Earl of), 91 
 Elliott (W.), 152 
 Ellis, 90 
 
 Elton (0.), 148, 149 
 Engleheart (T. S.), 47 
 Eragny Press, 152 
 Essex House Press, 151 
 Essex (W.), 23 
 Euripides, 91 
 Evans (H.), 150 
 
 (JO, 144 
 „ (L.), 146 
 
 Faber (J.), 83 
 Fagan (L.), 7 
 
 Faithorne (W.), 7 — 10, 48 — 60, 1 16 
 Falconer (W.), 20 
 Fanshawe (J. G.), 23 
 Fenton, 71 
 Figaro, 159 
 
 Fitzwilliam Museum, 38 
 Flatman, 8 
 Flatters (J. J.), 142 
 Flaxman (J.), 139 
 Fleming (J. P.), 145 
 Fletcher (R.)> 141 
 Ford, 14 
 
 Formentin (M.), 43 
 Foster (B.), 82, 142 
 Fougeron (J.), 89 
 Frazer (N. L.), 152 
 Freeman (S.), 87 
 French (W.), 70 
 Fritzsch (G.), 71 
 Fry (W. T.), 60 
 Fullarton (A.), and Co., 87 
 
 Gallon (Major), 36 
 
 Gardiner (W. N.), 3, 5, 13, 25, 45, 64 
 Garnett (E.), 36 
 
 „ (R.), 148 
 Gauci (M.), 19, 86 
 Genge (A. J.), 150 
 Gentleman's Magazine, 3, 18, 40, 83 
 Geoffroy (A.), 142 
 Gilfillan (G.), 142 
 Gillies (J.), 137, 138 
 Goddard, 23 
 Goggin (S. E.), 153 
 Goldar, 44 
 
 Goldschmidt (E. P.), 137 
 Goodwin (W.), 139 
 
 Gorse (F.), 149 
 Gow (A. S. F.), 160 
 Graham (J. J. G.), 144 
 Graves (E.) 46 
 
 Green (F. H.), 120, 155, 156, 157 
 
 Green (W.), 78 
 
 Gresvvell (E.), 141 
 
 Gretton (F. E.), 146 
 
 Grieve (A. J.), 151 
 
 Griggs (W.), 148 
 
 Grosart (Dr), 26, 90 
 
 Grotius, (H.), 158 
 
 Gunst, 21 
 
 Gwim (J.), 52 
 
 H (Joh.), 88 
 Haenish (A.), 60 
 Haid (J. E.), 81 
 Hailes (Lord), 16 
 Hales (J. W.), 145 
 
 „ (A. W.), I5 o 
 Hall (J.), 58, 59 
 
 „ (Jos.), 154 
 
 „ (T. D.), i 4 6 
 Hamilton, 76 
 
 (W. D.), 143 
 Hampden (J.), 45 
 Harcourt (Lewis), 4 
 ,, (Lord), 4 
 Harding (E.), 19, 84 
 „ (E. J.), 150 
 „ (S.), 84 
 Harrington (Lord), 122 
 Harrison, 44 
 
 & Co., 59, 89 
 Haward, 2 
 Hawker (R.), 157 
 Hawkey (J.), 134 
 Hayley (W.), 133, 138 
 Heath, 60 
 
 „ (C), 78 
 Hebrew, 144, 159 
 Heptinstall (T.), 69 
 Hicks (R.), 65, 82 
 Hildyard (Rev. J.), 22, 34 
 Hill (A.), 36 
 Hobart (Sir R. FL), 7 
 Holbrook, 59 
 Holl, 69 
 
 Holland (Col.), 19 
 Hollar (W.), 21 
 
 Hollis (Thomas), 2, 14, 15, 39, 72, 73, 121 
 Hollis (T. B. ), 2, 3, 5, 21, 4 o, 63, 64, 73 
 
 1 1- 
 
164 
 
 INDEX 
 
 Holloway (T.), 15, 79 
 Homer, 90 
 Hood (E. P.), 142 
 Hopwood (J.), 76 
 Horwood (A. J.), 145, 146 
 Houbraken (J.), 5, 42, 43 
 Howes (A.), 151 
 Hubrecht (J. B.), 159 
 Huckin (H. R.)> 144 
 Hughes (T. McK.), 140, 141 
 Hulett (J.), 77 
 Hume (P.), 131 
 Humphreys (W.), 57 
 Hunt, 16 
 
 Hunter (J.), 143, 144, 145, 146, 158 
 Hyde (W.), 150, 151 
 
 Ivimey, 141 
 
 Janssen (Cornelius), 3, 6, 36, 46, 86, 121 
 
 Jebb (Sir R. C), 144 
 
 Jenkins (R. C), 22 
 
 Jenks (T.), 152 
 
 Jerningham (S. H.), 157 
 
 Jerram (C. S.), 145, 146, 148 
 
 Johnson (C). See Janssen 
 
 » (O-). i39> 158 
 
 „ (S.), 136, 138, 156 
 
 ,, and Co., 77 
 Jones (A. G.), 159 
 
 (G.), 57 
 Jonson (Ben), 45 
 Jordan (M. A.), 151 
 June (I.), 45 
 
 Kaines Smith (S. C), 149 
 Kean (C), 32 
 Kearsley, 60 
 Keightley (T.), 142, 143 
 Kelly (T.), 65 
 Keynes (G. L.), 145 
 Killigrew (Sir W.), 85 
 King (J. M.), 152 
 Kirby Bellars, 17 
 Kirk, 123 
 
 Knapton (J. and P.), 43 
 Knight (C), 87 
 Knole, 22 
 Kyte (F.), 10, 53 
 
 Landon, 55 
 Landseer (J.), 78 
 Lauder (W.), 135 
 
 Law, Millar and Co., 84 
 
 Lawes (H.), 92, 152, 160 
 
 Le Bouit, 76 
 
 Leconfield (Lord), 35 
 
 Leigh (N. E.), 156 
 
 Lely (Sir P.), 61 
 
 Lemon (R.), 119 
 
 Lens, 31 
 
 Leoni (M.), 139 
 
 Lessi (T.), 159 
 
 Lever (W. R.), 151 
 
 Lightbody, 90 
 
 Literary Magazine, 74 
 
 Lithograph, 43, 86 
 
 Locke (J.), 45 
 
 Lockwood (L. E.), 153 
 
 Lofft (Capell), 19, 85, 156, 157 
 
 Loggan (D.), 8 
 
 London Magazine, 5, 45 
 
 Longman, Hurst, Rees and Orme, 64 
 
 Loux, 89 
 
 Lubbock (Sir J.), 149 
 Lumby (C. M.), 148 
 Lycidas, 91 
 
 Lyttelton (G., Lord), 143, 144 
 
 Mackenzie (W.), 88 
 Macmillan (M.), 40, 147, 149 
 McQueen (B.), 86 
 Macrone (J.), 5, 46 
 Main (F.), 145, 146 
 Major (J. R.), 141, 142 
 Manesius, 156 
 Mann (A. II.), 134 
 Mannheim, 73 
 Manning (S.), 143 
 Manuscripts, 91 
 Marckl, 20 
 
 Mariottini (F.), 138, 157 
 
 Marsh (J. F.), 1, 26, 39, 54, 86, 142 
 
 Marshall (William), 5 — 6, 47, 48 
 
 Marvell (A.), 45 
 
 Mason (C. P.), 144, 145 
 
 „ (W.), 17 
 Massel (J.), 148 
 Massol, 58 
 
 Masson (D.), 2, 3, 46, 58, 119, 143, 
 
 145, 146, 148, 149, 150, 159 
 Masson (F.), 151 
 Mathews and Leigh, 55 
 Mathias (T. J.), 139 
 Maulet, 90 
 Mawman (J.), 78 — 9 
 
 i44» 
 
INDEX 
 
 165 
 
 Mead (L. A.), 151 
 Meadowcourt (R.), 134, 155 
 Medallions, 14, 15, 77 seq. 
 Medina, 117 
 Meres (Sir J.), 17 
 Meyer (H.), 14, 74 
 
 » .(K.), 43 
 Mezzotints, 90 
 Miller (A.), 43 
 
 „ a-), 59. 68 
 
 Milton (Deborah). See Clarke 
 
 ,, (Mrs), 4 
 
 „ engraver, 59 
 Miniatures, 31 
 Mirabeau, 1 39 
 Mitford (J.),' 142 
 Mollison, 13, 67 
 Montagu House, 22 
 Montford (H.), 30 
 Montgomery (j.), 141 
 Moore, 4 
 
 » (D.), 7 
 
 » (E. F.), 7 
 
 „ (T.), 7 
 Moreton (E. H.), 151 
 Morley (H.), 148 
 Morris (D.), 145, 146 
 (E. E.), 149 
 
 (J- W.), 143 
 Morrison (Mrs), 35 
 Morritt, 17 
 
 Mortimer (C. E.), 138 
 Moseley (H.), 5, 47 
 Moser (F.), 19, 86 
 Mull (M.), 147, 158 
 Murray (J.), 144 
 Musitelli (B.), 71 
 Myers (E.), 147 
 
 Nantwich, 2 
 
 National Portrait Gallery, 19, 85 
 Neve (P.), 137 
 Newcastle (Duke of), 85 
 Newman (R.), 148 
 Newton (J.), 78 
 
 (T.), 5», 134, 135 
 New York, 19 
 Nicholson (G.), 72 
 Nicol (G.), 40 
 Nixon (J. E.), 139 
 Norreys (Lord), 120 
 Northcote, 16 
 
 Nuneham portrait. Frontispiece 
 
 Nuttall, Fisher and Dixon, 82 
 
 Ode (H.), 89 
 
 Odieuvre, 66 
 
 Onions (C. J.), 152 
 
 Onslow (Arthur), 4, 5, 41 — 47 
 
 Onslow (Lord), 4 
 
 Osbom (T. G.), 145 
 
 Owen, 13, 63 
 
 Oxenham (R. G.), 149 
 
 P- (F-). 75 
 
 Page (R.), 20, 87 
 
 (T.), i S o 
 Paley (F. A.), 145 
 Palmer (S.), 148 
 Papi (L.), 139 
 Paris, 66, 67 
 Parker, (J. W.), 47 
 Parr (N.), 59, 67 
 Parry (Sir C. H. H.), 147 
 Parson, 63 
 Parlhey, 21 
 
 Passmore-Edwards (J.), 121 
 Paterson (J.), 134 
 Paltison (M.), 146, 147, 159 
 Payne (A. H.), 70 
 
 „ (J. F.), 128, 137, 154. 158 
 Pearce (Z.), 133 
 Peck (F.), 17, 18, 77, 83, 134 
 Peed (Mr), 36 
 Peile (J.), Preface 
 Pepys (S.), 120 
 Percival (H. M.), 148 
 Perry (F.), 75 
 Peter (F.), 82 
 Petit, 66 
 Petitot, 23 
 Philips (R.), 81 
 Phillips (E.), 131, 139 
 
 „ (E. A.), 152 
 Phinn, 21 
 
 Pickering (W.), 13, 56, 57, 65, 140, 141 
 Pickersgill, 142 
 
 Plas (P. V.), see Van der Plas 
 Plumptre (J.), 138 
 Prendergast (G. L.), 142 
 Prendeville (J.), 141 
 I'ropert (Dr), 23 
 Pughe (W. O.), 139 
 Puteanus (E.), 160 
 Pye (C.), 19, 86 
 
1 66 
 
 Quinton (G.), 19, 85 
 
 Rackham (H.), 131 
 Radclyffe (E.), 3, 40, 46 
 Raimbach (A.), 77 
 Raleigh (W. A.), 150, 152 
 Rapin, 5, 44 
 
 Reynolds (Sir J.), 16, 29, 80, 81 
 Richardson (J. ), 11, 12, 21, 61, 62, 73, 133 
 Richardson (J.) and Vertue (G.), 73, 83 
 Richardson (J.), /««., 35, 62, 74 75 
 Richardson (R.), '34 
 Richter (J. and H.J, 10, 138 
 Rider (E.), 34 
 Ridley (W.), 77 
 Riedel, 88 
 
 Rivington (F. C. and J.), 68 
 
 (J. G. and F.), 69 
 Roberts (A. E.), 151. 152 
 (J-)> H5 
 (P-), 56 
 Robertson (J. L.), 150 
 Robinson, 30 
 
 (H.), 56 
 
 (T. II.), 150 
 Rodd (H.), 21, 26 
 Rokeby, 17 
 
 Rolli (P.), 13, 67, 133, 155 
 Romnery (R. B.), 15, 79 
 Roper (J.), 63 
 Ross (J. M.), 144 
 Rossetti (W. M.), 144, 147 
 Rothenstein (A.), 153 
 Roupell, 7 
 
 Rouse (W. H. D.), 150 
 Routledge and Co., 88 
 Russell (A. G. B.), 160 
 Rylands (W. W.), 15, 78 
 Rysbrack, 15, 76 — 7 
 
 Sackville (Lord), 22, 35 
 St John (J. A.), 141, 142 
 St Maur (R. de), 59 
 Salkinson (I. E.), 144, 159 
 Salmasius, 15, 75 — 6 
 Salmon (D.), 152 
 Sandys (J. E.), 142 
 Sargeaunt (J.), 149 
 Savage (R.), 151 
 Sayer (R.), 50 
 Scharf (Sir G.), 4 
 Schenck and Macfarlane, 60 
 Schmidt (E. G.), 66 
 
 INDEX 
 
 Schubert, 20, 89 
 Schumann (Gebr.), 88 
 Scolari, 71 
 Seals, 15 
 
 Searle (W. G.), 157 
 Seymour (Sir E.), 18 
 Sharp (W.), 17, 78 
 Sharpe (J.), 15, 61 
 Sheffield University, 155, 156 
 Sherborn (C. W.), 21, 90 
 Shipley (A. E.), 5, 12, 26, 30, 31, 34, 48, 
 
 112, 160 
 Siddons (S.), 140 
 Sidney (A.), 2, 45 
 Simon (A.), 14 
 
 „ (I.), 8, 10, 11, 50 
 „ (J.), 107, 108 
 „ (T.), 14, 15, 78-9 
 Skeat (W. W.), 156, 157, 158 
 Simpson (T.), 68 
 Smeeton (G.), 20, 88 
 Smirke (R.), 78 
 Smith (A.), 78, 89 
 
 ( •). 136 
 „ (C. W.), 152 
 
 „ (]■), 79 
 Somers (Sir J.), 16, 80 
 Sotheby (S. L.), 143 
 South Kensington Museum, 21, 23 
 Stanford (Sir C. V.), 149 
 Stanhope (C.), 2, 121 
 Stephens (W.), 152 
 Stern (A.), 146 
 Stevenson (W.), 85 
 Stevens (E. T.), 145, 146 
 Storr (E.), 146 
 .. (F.), 145 
 Stothard, 138 
 Strang (W.), 149, 152 
 Stratford (T.), 136 
 Strawberry Hill, 85 
 Strutt (J. G.), 157 
 Sturt (C), 150 
 Sumner (C. R.), 140 
 Surridge (H. A. D.), 91 
 Sutherland Collection, 60 
 Symmons (C), 138, 139 
 
 Talfourd, 141 
 Tallis (J.), 70 
 
 „ (L.), 13, 57 
 Tangye (Sir R.), 67, 120 
 Tanner, 124 
 
Tegg (T.), 60 
 Testa (D.), 137 
 Thompson (H. Y.), 156 
 Thomson (C. L.), 152 
 
 (T.), 142 
 Thornton, 76 
 Thortakssyni (J.)i 140 
 Thrupp (T.), 146 
 Thurston (J.), 86 
 Tickell (T.), 132 
 Todd (H. J.), 69, 138, 139, 140 
 Toland (J.), 2, 49, 131 
 Tomlinson (J.), 144 
 Tonson (J. and R.), 7, 10, 48, 118 
 Towndron (R. T.), 152 
 Townsend (L.), 57 
 Trent (W. P.), 150 
 Trotter (A. M.), 149 
 Tulloch (J.), 143 
 
 Turner (J. M. W.), 141, 143, 158 
 
 Uwins (T.), 61 
 
 Van der Gucht (B), 4, 6, 33 
 » » (G.), 77 
 (J-), 67 
 „ (M.), 48 
 
 Van der Plas (Pieter), 36, 85 
 
 „ „ (Pieter David), 19 
 Vane (C), no 
 
 ,, (Sir H.), 120 
 Vaughan (R.), 147, 149 
 
 (W. W.), 91 
 Verhelst (E.), 73 
 Verity (A. W.), 148, 149, 150 
 Verner and Hood, 69 
 
 ,, and Sharpe, 82 
 Vertue (G.), 4, 5, 9, 10, 24, 25, 38, 41, 
 42. 50, 5 1 . 5*. 54> 58, 59. 6 3— 7. 7'. 
 73- 90 
 
 Vertue (G.) and J. Richardson, 83 
 Victoria and Albert Museum, 23 
 Virgil, 90 
 Vondel, 147, 159 
 
 Walker (R.), 3 6 
 „ (W.), 86 
 Wallace (W.), 144 
 Warne (F.), 57 
 
 INDEX 
 
 Warton 
 
 167 
 
 (J-). 15 
 (T. , 137 
 Watney (V.), 23 
 Watson (C), 80, 81 
 Watt (A. F.), 152, 153 
 Way (A.), 1 5> 79 
 Webber (W.), 37 
 Wedgwood, 19, 30 
 
 (J. T.), 86 
 Westley and Davis, 56 
 Westminster Abbey, 15, 76 
 Wherry (G. E.), 14s 
 Whetham (Mrs C. D.), 158 
 Whitbread (S.), 90 
 
 White (Robert), 8, 11, 50, 60, 61, 117 
 White (Robert) and Richardson, 11,61 — 
 
 63. 75 
 
 ,, and G. Vertue, 63 — 67 
 
 „ and Van der Gucht, 67, 68 
 
 (T. H.), 139 
 „ (W.), 154 
 Whitehead (J. W.), 23 
 (T. M), 23 
 Wilks (R.), 63 
 Williams (A. M.), 147 
 
 „ (Dr), Library, 19, 86 
 (F. R-), 157 
 Williamson (G. C.), 23, 24, 30 — 2, 37, 38, 
 
 64. '52. 159 
 Willis (W.), 147 
 Willoughby (E. F.), 146 
 Winkles and Lehmann, 82 
 Wivell, 21 
 
 Wood (J.), 78 
 Woodcock (C), 23, 31 
 Woodhall (M.), 69 
 Woodman, Jun., 55 
 Woodroffe (L. J.), 147 
 Woolnoth (T.), 46, 87 
 Wonnan (E. J.), 158 
 Wrangham (F.), 76 
 
 Wright (W. A.). 29, 125, 151, 155, 156, 
 158 
 
 Wyatt (A. J.), 148, 150 
 
 Yeo, 15, 29, 79 
 
 Zucchi, Fco, 67 
 Zwickau, 88 
 
 CAMBRIDGE: PRINTED BY JOHN CLAY, M.A. AT THE UNIVERSITY PRESS. 
 
r 
 
0 l os oj 
 
GETTY RESEARCH INSTITUTE L 
 
 3 3125 01096 5867