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268.-Pencil drawing of Avon Bank “when occupied by Mr. Battersbee"; about 1840, 8 in. by 5żin.

This house, north of the churchyard, was anciently known as “the house of St. Mary in Old Town.” It was taken down in 1866.

269.—An engraving by John Horsburgh, of J. M. W. Turner's drawing in 1834, of Shakespeare's monument, grave, etc., in the chancel of Stratfordupon-Avon Parish Church. Published by Robert Cadell, Edinburgh.

Presented by HENRY GRAVES, London, May, 1887.

270.-Water-colour view of Avon Bank, Stratford-upon-Avon, "as it appeared before 1866." 4žin. by 3žin. See No. 268.

271.—Portrait, in oils, of Dame Elizabeth Barnard, grand-daughter and last descendant of Shakespeare.

Baptized 21 February, 1608, she married at Stratford, 22 April, 1626, her first husband, Thomas Nash, who died 4 April, 1647; she married secondly, at Billesley, near Stratford-upon-Avon, 5 June, 1649, John Barnard, Esq., who was knighted by King Charles II., in 1661. She died and was buried 17 February, 1670, at Abington, near Northampton, where her second husband resided. See No 258.

This portrait, and that of Sir John Barnard (No. 272), were at one time in the possession of Thomas Hart, fifth in descent from Joan, Shakespeare's sister. They were in the Birthplace from 1793 to 1820, when Mrs. Mary Hornby lived in the house. Mrs. Hornby removed them, with other relics, when she left the house in 1820. From 1820 these pictures remained in the possession of Mrs. Hornby and her heirs, and formed part of Mrs. Hornby's Shakespearean Collection.

Purchased at the sale of the HORNBY COLLECTION,

4 June, 1896.

272.- Portrait, in oils, of Sir John Barnard, Knight (1605-1674), Abington Manor, near Northampton. See No. 271 & Note.

Purchased at the sale of the HORNBY COLLECTION,

4 June, 1896.

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273.—The Arms of Shakespeare, properly emblazoned.

274.—The Arms of Arden, properly emblazoned.

The above are the work of H. Foster Newey, 14, New Street, Birmingham.

Presented by Mr. C. ISAAC NEWEY, Sutton Cold

field, 1910.

275.—Portrait of Shakespeare which belonged to Thomas Turton, Bishop of Ely, (1780-1864); called the Ely Palace Portrait.

Painted upon an oak panel in oils. Inscription on top left hand side.--Æt. suæ. 39. X 1603. Framed in old Dutch style.

Presented by HENRY GRAVES, Pall Mall, London,

April 23, 1864.

276.—A VIEW OF LONDON AS SHAKESPEARE KNEW IT.-Reproduction of a View of London, by C. J. Visscher. A.D. 1616.

This panoramic view of London in Shakespeare's time shows with great clearness the Globe Theatre on Bankside, London Bridge, and all the chief features of the City and of Southwark as Shakespeare knew them. The map was the work of a Flemish artist and engraver, named Visscher, and the engraving was first issued in 161), which date the plate bears. Only one original example is now known to be extant. It is in the King's Library at the British Museum. The present reproduction is published by the London Topographical Society.

Presented by THE LONDON TOPOGRAPHICAL

SOCIETY, January, 1910.

277.—An original drawing for a picture now in the Palazzo del Tê, Mantua, by Julio Romano.

Julio, or Giulio Romano (1492-1546), Raphael's chief pupil, and at one time head of the Roman School of painting, is mentioned by Shakespeare and highly commended as a sculptor in The Winter's Tale V. 2. 105: “That rare Italian Master, Julio Romano."

The artist's versatile accomplishments included skill in scuplture and in architecture.

Lent by WILLIAM WALTON, Aldeburgb, Suffolk,

September, 1902.

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