— and his may be less valuable than those of Mr. Carru- 
thers ; still it is not unreasonable that he should wish to be 
considered as an original investigator rather than a preparer 
of specimens for other people. 
Dr. Crompton, alluding to the paper he read in October, 
1866, “On the Portraits of Sir Isaac Newton,” said, that 
while preparing his essay for publication in the Memoirs 
of the Society, he had opened up fresh sources of information, 
and become possessed of facts of considerable interest 
respecting the portraits of Newton. He had examined 
about twenty portraits of the great philosopher, all of which 
were considered to be originals, and most of which were 
undoubtedly painted a long time ago ; but he had seen no 
portrait which, in his opinion, was of equal importance and 
interest with the Kneller Newton of 1689, to which he last 
year directed the attention of the Society, as by far the most 
valuable portrait of the great philosopher in existence, and 
of which he exhibited an admirable engraving by Mr. Oldham 
Barlow. His extended inquiries into the subject of the 
portraits of Newton had led him to the conclusion that there 
are several (if not many) which pass current as portraits of 
him which are most decidedly representations of other 
persons. In the National Portrait Exhibition at Kensington 
of the^ present year there were four portraits of Newton, two 
of which he feels sure have no real claim to be regarded as 
authentic or genuine. These two are pictures contributed 
by the Earl of Dartrey and by the Marquis of Exeter. The 
former purports to be a portrait of Newton when he was a 
Bachelor of Arts, and to be painted by Lely. It represents 
a young man with his hand resting on a globe ; and there 
is an engraving of the picture, done many years back, but 
he had no hesitation in saying that the picture had no right 
to be considered a portrait of Newton. The features were 
