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Beneath the poem, in smaller lettering, an inscription gives the details of his death in abbreviated Latin: died the year of the Lord 1616, in his 53rd year, on 23 April. [13]
as nearly as could be, not to add to or diminish what the work consisted of, and appeared to have been when first erected. And really except [for] changing the substance of the architraves from alabaster to marble, nothing has been changed, nothing altered, except the supplying with the original material (saved for that purpose) whatsoever was by accident broken off, reviving the old coloring and renewing the gilding that was lost.” (171, Greene’s emphasis) Midwives in the early modern period tended to be in a hurry and would frequently cut the amniotic sac with a sharpened coin or fingernail and then wrench the baby from the mother’s womb; see Liza Picard, Restoration London: Everyday Life in London 1660-1670 (London: Phoenix, 2005), p. 94.
A statue made from tin was erected in the gardens outside the Festival Theatre, the principal theatre on the grounds of the Stratford Shakespeare Festival, held every year from April to November in Stratford, Ontario, Canada. She said the fact that he wanted to be memorialised with links to the university – despite never going to university himself – “now suggests some collegial association that we don’t know about”. In 1621 Shakespeare’s son-in-law commissioned The Holy Trinity Bust – a monument to The Bard made by Gerard Jansen which stands above Shakespeare’s grave in the church. It was made while Shakespeare’s wife was still alive, so is generally thought that it is a good likeness of the poet. The inscription on The Holy Trinity Bust by Shakespeare’s grave reads: This was donated to the National Portrait Gallery by the Duke of Chandos in 1856 when the gallery was founded. Probably painted in the early 1600s by John (or Joseph) Taylor it may once have belonged to William Davenant, a playwright and poet rumoured to be Shakespeare’s natural son. The portrait has never been definitively identified as Shakespeare and is assumed to be him only because of its likeness. Note the raffish earring
New York City's Central Park contains a statue of Shakespeare that was commissioned in 1864 as a celebration of the tricentenary of Shakespeare's birth in 1564. Funds were raised by a performance of Julius Caesar in which Edwin Booth took the lead role, with John Wilkes Booth playing Mark Antony. [12] The statue was designed by John Quincy Adams Ward. Following the creation of the statue, in 1873 commissioners proposed that the Mall should be a designated location for sculpture and the statue was moved there, soon to be accompanied by others [13] (in 1986, a replica of the statue was made for the State Theater in Montgomery, Alabama, which has a yearly Shakespeare Festival). [14] I had every preparation made and assisted in erecting a sort of scaffolding before I was aware of the difficult task I was going to perform. In short, instead of one day’s work, I have found four or five, as I mean to mould the whole figure. (6) The surface of the skull is a little bumpier over the left eyebrow than it is over the right. An expert of my acquaintance assures me that this happens where there is an absence of fatty tissue. We all have these fatty deposits in our eyebrows, and the fact that it appears to be missing from half of the left eyebrow would indicate the presence of scar tissue. This may be why Shakespeare’s left eyebrow is often portrayed as drooping or swollen – there was a deep scar on or immediately above his left eyebrow, and it had been there for many years before he died.Simpson, Frank. “New Place: The Only Representation of Shakespeare’s House, from an Unpublished Manuscript.” Ed. Allardyce Nicoll. Shakespeare Survey 5. Cambridge: CUP, 1952.
The monument, by Gerard Johnson, is mounted on a wall above Shakespeare's grave. It features a bust of the poet, who holds a quill pen in one hand and a piece of paper in another. His arms are resting on a cushion. Above him is the Shakespeare family's coat of arms, on either side of which stands two allegorical figures: one, representing Labour, holds a spade, the other, representing Rest, holds a torch and a skull. The dragonfly had rather sinister connotations. The insect’s long, thin body and huge eyes, which account for some 80% of its head, suggested a sharp pointed weapon. And so in England the dragonfly was popularly known as the Devil’s darning needle.Duncan-Jones, Katherine (2001). Ungentle Shakespeare: Scenes from His life, Arden Shakespeare. p. 272.
death in 1616, and 1623, when Leonard Digges refers to it as Shakespeare’s ‘Stratford monument’ in a poem at Each artist approached the problem in his own way, and thus the portraits are all slightly different, although the specific details remain essentially the same. [7] A review of all the evidence indicates that the Stratfordians have a major problem. To uphold their faith in William Shakspere of Stratford as the great poet-dramatist, they must either dismiss the Dugdale/Hollar effigy, even though it meets the requirements for solid, primary-source evidence, or cloud the issue with spurious debates over “authenticity.”The death mask certainly has some interesting features. It was made at least 24 hours after the death of the subject, as we can tell from the natural decomposition of the conjunctiva which has gummed the eyelashes together. The bust was installed during the lifetime of his widow, two daughters, and his son- in-law. Anne Shakespeare
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