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Aktualisiert: 01. Oktober 2007 / updated: 01 October 2007
The True Face of William Shakespeare. The Poet's Death Mask and Likenesses from Three Periods of His Life (London: Chaucer Press, 2006).
b. Contents
PREFACE TO THE ENGLISH EDITION
PREFACE
I. THE CONTEXT OF CULTURAL HISTORY: THE IMAGE OF MAN IN THE RENAISSANCE AND BAROQUE
THE INDIVIDUAL, CREATIVE ACHIEVEMENT,
AND POSTHUMOUS FAME
THE REDISCOVERY OF ARTISTS’ TECHNIQUES IN ROMAN ANTIQUITY: DEATH AND LIFE MASKS IN SCULPTURED PORTRAITURE
FUNERARY MONUMENTS AND BUSTS
PORTRAITS
THE DEPICTION AND DIAGNOSIS OF SYMPTOMS OF DISEASE
Moral-Theological Reasons for Lifelike Portraiture
PORTRAIT ENGRAVINGS
THE PORTRAIT ARTISTS’ DILEMMA
II. THE IMAGES INVESTIGATED: THE PREVIOUS STATE OF KNOWLEDGE
THE CHANDOS PORTRAIT
THE FLOWER PORTRAIT
THE DAVENANT BUST
THE DARMSTADT SHAKESPEARE DEATH MASK
III. TESTS Of IDENTITY AND AUTHENTICITY
ON THE BASIS OF NEW RESEARCH METHODS
AND EXPERT ASSESSMENTS
EXAMINING THE BASIS OF INVESTIGATION
The funerary bust of Shakespeare in the church at Stratford-upon-Avon
The Droeshout engraving in the First Folio Edition
THE METHODS OF INVESTIGATION AND THEIR RESULTS
The conventional comparison of images by the German Federal Bureau of
Criminal Investigation (BKA)
The Trick Image Differentiation Technique employed by the German Federal Bureau of
Criminal Investigation (BKA)
Computer montage
Photogrammetry
Computer tomography
Laser scanning
Medical expert assessments on signs of illness
SUMMARY
IV. THE NEW RESULTS
THE CHANDOS PORTRAIT (C. 1594-1599)
History and ownership
The painter
The client and the fee
Dating
THE FLOWER PORTRAIT (1609)
History and ownership
The chronology of Flower portrait and Droeshout engraving
The painter
The client and the fee
Dating and inscription
THE DAVENANT BUST (C. 1613)
Discovery, ownership and history
The sculptor
The sculptor’s model
The client
The date of the bust
THE DARMSTADT SHAKESPEARE DEATH MASK (1616)
Ownership and history
The plaster moulder
The mask as a model for the funerary bust
Dating and inscription
THE FUNERARY BUST IN the Church at STRATFORD-upon-Avon (1616-1617)
History
The sculptor
The model used by the sculptor
The client and the fee
Dating
THE DROESHOUT ENGRAVING IN THE FIRST FOLIO EDITION (1623)
The various states of the Droeshout engraving
The engraver
The model used by the engraver
The client
V. THE RESULTS IN THEIR HISTORICAL-BIOGRAPHICAL CONTEXT
APPEARANCE, IDENTITY AND AUTHORSHIP
PAINFUL CONDITIONS, PATHOLOGICAL SYMPTOMS AND ILLNESSES
RELIGION
RETIREMENT FROM PROFESSIONAL LIFE
LAST ILLNESS AND POSSIBLE CAUSE OF DEATH
APPENDIX I
THE PROSPECTS
THE FLOWER PORTRAIT IN THE ROYAL SHAKESPEARE COMPANY COLLECTION,
STRATFORD-UPON-AVON: ORIGINAL OR COPY?
APPENDIX II
Acknowlegdements
Endnotes
Bibliography
List of illustrations with credits
Further information
Index |
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