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VI

CAIUS COLLEGE, CAMBRIDGE

A half-length hanging in the Fellows’ Combination Room at Caius College, Cambridge. It represents Harvey looking almost full-faced at the spectator. He wears a dark jacket with a large white linen collar. The face is not so thin or worn as in some of the other portraits, and is apparently that of a younger man. The hair is scanty on the top of the head, but he is wearing his moustache and beard in the shape made familiar by other portraits.

The painting measures 23½ in, by 20½ in. It was given to the College in 1798 by the Earl of Leicester, afterwards Marquis of Townshend. The painter is unknown.

Information received from the Master of the College—Dr. Hugh Kerr Anderson F.R.S.—and from Dr. J. Venn, F.R.S.

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VII

ABERDEEN PORTRAIT

A bust with falling collar, no tassels. The collar embroidered at the edge as in the portrait at Merton College, Oxford. The hair is scantier and the face is that of an older man than in the Merton College Portrait (No. III).

This picture was presented to the Aberdeen Medico-Chirurgical Society by Sir Walter Farquhar on July 4, 1815, with the statement that it had been given to him ‘some time ago’ by Lord Besborough.

The photograph from which the collotype was made was kindly lent by Dr. Matthew Hay, Professor of Forensic Medicine and Public Health in the University of Aberdeen.

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VIII

BODLEIAN LIBRARY PORTRAIT

The Bodleian Library at Oxford contains a portrait of William Harvey ascribed to J. Wollaston. It is a bust, three-quarters to left; long grey hair, brushed back off the forehead, grey moustache and tuft on chin; face deeply lined; white falling collar with tassel; black gown; painted in an oval spandrel. A canvas 30 in. by 25 in.

Given to the University by Humphrey Bartholomew of University College in 1735 in his set of eight doctors.

The portrait is similar, but not exactly so, to a mezzotint by McArdell. (Catalogue of Oxford Portraits. Compiled by Mrs. Reginald Lane Poole, vol. i, p. 51, No. 126, Oxford, 1812.)

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IX

DR. FRANCK BRIGHT’S PORTRAIT OF HARVEY

This portrait is undoubtedly the most pleasing picture of Dr. William Harvey. It is owned by the Rev. James Franck Bright, D.D., formerly Master of University College, Oxford. The picture is at Hollow Hill, Ditchingham, Norfolk, and the Historical Section is greatly indebted to Dr. Bright for lending the negative from which this collotype has been made. The picture was inherited from Dr. Richard Bright (1789-1858), physician to Guy’s Hospital, to whom it was given by Sir Francis Milman, M.D. (1746-1821). It is unsigned and has always been attributed to Sir Anthony Van Dyck (1599-1641), though several later critics prefer to think that it was painted by William van Bemmel (1630-1708).

It is a three-quarter length on canvas measuring 4 ft. 3½ in. by 3 ft. 4½ in., and represents Harvey standing and leaning lightly upon a crutch stick which he holds in his right hand, whilst in his left is a handkerchief with a gold fringe. He is dressed soberly in black with the plain white collar. The hair is iron-grey and long, as we know that he usually wore it. The face is small, drawn, pointed, with a good strong brow and forehead and a delicate mouth, shaded but not concealed by the small moustache and slightly peaked beard. The expression is remarkably thoughtful and almost suffering, for the painter has represented the mood in which Dr. Ent found him, when in reply to the question, ‘Satin’ salva omnia?’ he gave the noble answer, ‘Qui possint, ubi turbarum plena respublica, egoque adhuc ipsemet in alto mari?’ The hands are singularly delicate and are most beautifully painted, with much character. There is no background to the picture, but in the right top quarter of the canvas is painted the coat armour usually assigned to the Harvey family, complete with crest and motto, which are not elsewhere given. The arms are those of the ancient Harvy family quartered with the coat used by Sir Daniel Harvey of Coombe Hill, Surrey, viz. Argent, two bars wavy, sable on a chief of the last three crosses patée fitchée or; and or, a chief indented sable, three crescents argent. The crest is the ‘stemma’ of the lighted candle entwined by two serpents and the motto ‘piu (H)arde, piu Splend(ide)’. The crest is a specially interesting feature of the armorial bearings, for it is similar to the ‘stemma’ or memorial to Harvey discovered at Padua in 1893 and described by Prof. Darwin in the Cambridge Antiquarian Society’s Communications, vol. viii (1894). The motto, too, does not appear elsewhere, so it may be assumed that these armorial bearings were adopted by William Harvey for his individual use. It is interesting to speculate whether the ‘stemma’ at Padua was placed in position when Harvey was a student and was thus prophetic, or whether it was not put into the cloister by his order when he visited Padua many years later and had already made his name as ‘a medical light’, in which case the crest is merely symbolic.

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X

ROYAL COLLEGE OF PHYSICIANS

(In the Large Library)

Oil Painting by Cornelius Janssen

Three-quarter figure, sitting in a large arm-chair, directed to the left; three-quarter face, looking at the spectator; in gown, the arms of which are fastened with braided loops; the plum-coloured velvet sleeves of the under-coat have reversed cuffs. The left hand rests on a stone parapet, the finger outstretched as if