LISXEA>' SOCIEir OF LOXDOX. 6 1 



known by which one can form an idea of this painting is 

 Kingsbury's mezzotint. There are in it several obvious modifi- 

 cations of the Clifford portrait. The standing collar is larger, 

 the right hand holding the plant is more raised above the girdle, and 

 there is attached to it a paper label with " Linnea Gronov." written 

 on it ; a small horn is suspended from the bolt between the clip 

 which carries the gloves and the tastle, the ornaments on the drying- 

 press are much modified, and the feet are wider apart. These 

 modifications suggest that they were introduced by tlie original 

 artist in painting a replica, though they may have been introduced 

 by Kingsbury in his engraving. The most obvious difference 

 between the mezzotint and the Cliffoi-d portrait is the column on 

 which are placed eight volumes of Linne's works, each of them 

 labelled, and all published in 1737 or the two previous vears. If 

 the engraver in 1795 had been working from a replica of the 

 original painting, he may have thought it necessary to introduce 

 the column in order to convert the comparatively narrow painting 

 into his nearly square engraving. But, on the other hand, the 

 works selected would have been much more likely to consist of 

 the more important ones published after 1737. On the whole, it 

 appears to me more probable that Thornton's painting was a 

 replica in which the original artist introduced several moditications, 

 and that it was painted for Gronovius. If it still exists it ought 

 to be found in England, and is deserving of a careful search ; the 

 name being painted on the side of the drying-press would enable 

 it to be easily identified. 



There is a modern, three-quarters portrait based on the Clifford 

 portrait in the possession of the Zoological Societj^ of Amsterdam. 



II. 1739. SCHEFFEL. 



There are two portraits in Linne's house at Hammarby Dy 

 Scheffel, a well-known Swedish portrait-painter. The one is inscribed 

 on the back of the canvas — " Carl Liuna?us : Med. IJoctor, Diosco- 

 rides 2^"^ dictus. Natus 1707 d. 13 Maij. I. H. Scheff"el, p : 1739."' 

 The other is dated 1755, and though no name of a painter is given, 

 there is good reason for saying that it was the work of Scheffel 

 in the year stated. This will be more fully examined when I 

 describe that portrait. The earlier one is of Linne as a bridegroom, 

 when he was 32 years of age. It is now in a bad condition. It 

 represents Linne about the age specified. The painting, however, 

 so exactly agrees in its general treatment with Schefiel's other 

 portrait taken sixteen years later, that I cannot get rid of the 

 conviction that Scheffel, having produced a good likeness in 1755, 

 painted his second portrait as a bridegroom, giving his own idea of 

 what Linne would be like at that time. Linne returned in July 

 1738 from Holland by way of France to Sweden, and soon there- 

 after he was betrothed to Sarah Elizabeth Moraeus, to whom he 

 was mari'ied in June 1739. 



