24 I'KOCRKDINOS OP THK 



wood facsimile of Bervic's engraving by Evald Hansen in the 

 'Ny Tllustrcrad Tidning' for 13tli May, 1885. 



in a small coj)y by Jacquemot the Linncea is engraved on the 

 snrface of the ribbon of the Polar Star ; and a fair woodcut repro- 

 duction of tliis has bt'ou recently issued as a supplement to 

 ' The Oologist's Exchange,' an American journal. 



Three lithographs may be grouped together whicli are easily 

 distinguished by the treatment of the Linncea. This plant on 

 tlie left bnast of the coat is reversed from Bervic's engraving, 

 and so drawn out that it reaches the collar of the coat. T. Cardon, 

 1835, seems to have made this change, and he has been followed 

 by Domberg, and then by Handt in his portrait of Linna?us in 

 the centre of a group of Swedes of the time of Gustaf III. 



There is a small group, consisting of one engraving and three 

 lithograjjhs, in which Bervic's engraving has been treated some- 

 what as he treated Eosliu's painting. Boily, by transferring 

 Bervic's jiortrait direct to his plate, has restored the original 

 aspect of Eoslin's picture. He has modified the dress to suit 

 the change, but in carefullj^ carrying out his reversal of the 

 features, he has omitted the wart tVom the right clieek to which 

 it really belonged, and indicated its presence on the left cheek 

 where it is erroneously represented by Bervic. The lithograph 

 by Schreiner is a very good copy of the original engraving, but 

 the artist, not having reflected that he was reversing tlie portrait 

 in transferring it direct to the stone, represents the buttons and 

 buttonlioles on the wrong sides of the coat and vest, while froiu 

 the same oversight he restores the wart to the proper side of the 

 face. This is the only copy of Eosliu's portrait which altogether 

 omits the Linncea. Sudre reproduces the original more accu- 

 rately in his vigorous oval lithograph, having reversed the dress, 

 but not the wart, which consequently appears on the right cheek. 

 The other lithograph of this group is by Ohlson, a poor repro- 

 duction, with the face tinted. 



The oil painting of Liuna?us which is placed above the Presi- 

 dent's chair in the meeting room here was presented by Joseph 

 Sabine to the Society in 1819. Its history is unknown. It agrees 

 in the direction of the face and in the strong lights on the nose 

 with the engraving by Bervic, and as Bervic was evidently a master 

 of his art, and likely to have reproduced faithfully the work he en- 

 graved, I entertained the hope for gome time that the Society were 

 the owners of the original Eoslin. The minutes of the Stockholm 

 Academy, however, destroyed this hope. I fear this ])ainting is 

 only a copy in oil of Bervic's engiaving. It differs from Eosliu's 

 painting iu a general softness of treatment, in the forehead 

 being lower, the eyes more sunk, and the nose more curved. 



The painting in the rooms of the Stockholm Academy was 

 copied by Prof. Laurent Pasch for Archbishop von Troil. This 

 copy was sent by the Archbishop as a jn'osent to Sir Joseph Banks. 

 Pascli's painting difiers iu several respects from the original. 



