whether he himself was the translator of the whole or of any particular part of the work. Mr. Spedding thinks that Bacon was concerned in the revision of the essay, Of Plantations, if not in its careful translation. Two essays, Of Prophecies and Of Masques and Triumphs, have no Latin translation. The absence of translations of these two essays may mean, either that Bacon was his own translator and had not time to complete the whole series before his death, or that the work of supervising translations by other persons ceased with the death of the author.

The story of the death of Francis Bacon is familiar. It was the direct result of an experiment like those he describes in his Natural History. On a cold, raw day in early spring, April 2, 1626, as he was driving out of London, it occurred to him to find out whether a fowl stuffed with snow could be kept. He stopped and bought a hen from a woman by the roadside and stuffed it with snow himself. He was taken with a chill, and, unable to go home, he sought refuge in the house of the Earl of Arundel, at Highgate. His last letter, one of apology to Lord Arundel for his involuntary intrusion, shows that he knew his condition was serious, but that he did not expect the end. He says,

"I was like to have had the fortune of Caius Plinius the elder, who lost his life by trying an experiment about the burning of the mountain Vesuvius," and adds, characteristically, "as for the experiment itself, it succeeded excellently well." After an illness of a week only, Francis Ba

con died, early on Easter morning, April 9, 1626, of the disease now known as bronchitis. He was buried, as he had directed in his will, beside his mother, in St. Michael's Church, St. Albans, where a monument in white marble was erected to his memory by his former secretary, Sir Thomas Meautys. An effigy on the stone represents Bacon's "full portraiture in the posture of studying." In wide-brimmed hat and long official robe, with falling ruff, Bacon is seated in an arm-chair, his head resting on his left arm. The Latin inscription underneath was written by Sir Henry Wotton. The monument portrait is figured as the frontispiece to Part I of John Nicol's Francis Bacon: His Life and Philosophy.

Sir Thomas Meautys had married Anne Bacon, daughter of Bacon's half-brother, Sir Nathaniel Bacon. After her husband's death, Lady Meautys became the second wife of Sir Harbottle Grimston, Speaker of the House of Commons in the year of the Restoration. She had a life interest in the manor of Gorhambury, which Sir Harbottle Grimston made his principal country seat, and of which he bought the reversion. James Walter Grimston, third Earl of Verulam, descends from Sir Harbottle Grimston, so that Sir Nicholas Bacon's manor of Gorhambury passed through his .granddaughter to the present owner.

Posterity is indebted to the Grimston family for the preservation of at least two of the five contemporary representations of what Francis Bacon looked like. There is at Gorhambury a set of three

colored busts in terra cotta representing Sir Nicholas Bacon, Lady Anne Cooke Bacon, and their son Francis, as a boy of about twelve. The workmanship is Italian, and by the same hand, and of a high degree of artistic excellence. From the age of the boy the busts must have been made about the year 1572. The boy's bust is especially interesting, because seen beside the busts of his father and mother, it shows that Francis Bacon's likeness was to his mother. The frontispiece of Vol. XI of James Spedding's The Works of Francis Bacon is an engraving from a drawing of the bust of Bacon done in profile.

The next portrait is a miniature made by Nicholas Hilliard, in 1578, when Bacon was living in Paris in the household of Sir Amias Paulet, the English ambassador. Nicholas Hilliard is the artist of whom John Donne wrote in his poem, The Storm,

66 a hand or eye

By Hilliard drawn is worth a history
By a coarse painter made."

Mr. Spedding describes the Hilliard miniature as "a work of exquisite beauty and delicacy." An engraving of it was made for Basil Montagu's, The Works of Francis Bacon, Lord Chancellor of England, 1825-1834, whose notice in The Edinburgh Review, for July, 1837, is T. B. Macaulay's celebrated essay on Lord Bacon. The Hilliard miniature was at that time in the possession of John Adair Hawkins.

The Earl of Verulam owns a portrait of Bacon by the Dutch artist, Paul Van Somer. Mr. Spedding dates the picture 1618 or thereabout, after Bacon had been made Lord Chancellor and created Baron Verulam. Van Somer's work is more interesting for the details of the dress of the period than for character, and he gives Lord Chancellor Bacon a rather wooden and expressionless face. He is painted in his robe and wearing a hat. A second portrait at Gorhambury, without a hat, is there attributed to Van Somer. Mr. Spedding thinks it is not a Van Somer, but a copy of the other done by an inferior artist at some later period when the fashion of painting people with the head covered had gone out. The reputed Van Somer, with a very wooden face, is figured in Vol. II of John Nicol's Francis Bacon: His Life and Philosophy.

The frontispiece of Vol. I of James Spedding's edition of Bacon is an engraving after the old print of Simon Pass. This artist, whose name is variously spelled Pass, Van de Pas, or Passe, Passaeus, was one of the earliest copperplate engravers in England, having emigrated from the Netherlands to pursue his art in London. Mr. Spedding thought that he had "some reason to suspect" that Pass's engraving was made from a painting, now lost, by the Dutch artist, Cornelius Jannsen Van Ceulen. Whoever the artist, his work is much superior to that of Van Somer. He portrays a handsome man, well worthy to have developed out of the graceful youth of the Hilliard miniature and the beautiful boy of the Italian bust.

Another portrait of Bacon, not mentioned by Spedding, is now in the National Portrait Gallery. A process print of it illustrates the article on Francis Bacon, at page 214 of Sidney Lee's Great Englishmen of the Sixteenth Century. The original is a second portrait of Bacon as Lord Chancellor by Paul Van Somer. As a work of art the picture seems to have more character and it is certainly more attractive than the Van Somer at Gorhambury.

In the effort to make a fair judgment of Bacon's moral character, Bacon himself is found to be at once his best advocate and worst accuser. He was inconsistent and he wielded a ready pen. An anecdote of the time relates that Bacon retired to Gorhambury while his trouble was upon him to try to recover there his disturbed health and harassed spirits. On the journey, the story says, Prince Charles returning from a hunt "espied a coach, attended with a goodly troop of horsemen, who, it seems, were gathered together to wait upon the Chancellor to his house at Gorhambury, at the time of his declension. At which the Prince smiled: 'Well, do what we can,' said he, 'this man scorns to go out like a snuff.'' But arrived at Gorhambury, Bacon made the first draft of his will, dated 10th April, 1621, and wrote "the majestic prayer to which Addison refers as more after the manner of an archangel than of a man." Majestic also, easily overtopping the language of all but the greatest of men, is the opening sentence of the will,"For my name and memory, I leave it to men's