In the appendix titled “Portraits of Virgil and Lucretius,” part of “Letters on Literature,” the discussion revolves around the historical depictions of these eminent Roman poets, underscoring the almost mythical quest to visualize their likenesses. Regarding Virgil, we learn about the speculative nature of his portraits. The narrative tells us that there exists no concrete bust of the poet; instead, our only clues come from manuscripts (MSS.), with the most notable being housed in the Vatican. This manuscript, dated to the twelfth century, features an illustration of a youthful Virgil, identified by his dark hair and serene demeanor, engrossed in reading beside a desk, highlighting a link to a tradition where the essence of Virgil’s appearance might have been preserved through centuries of replication in illustrations.

Contrastingly, the search for Lucretius’ portrayal presents us with a more tangible yet equally controversial artifact: a sard engraved with a profile believed to be of the poet, thanks to the inscription “LVCR” accompanying the image. This gem, which once belonged to the Nott collection and now resides with the author, sparks debate among scholars regarding its authenticity. Esteemed experts like Mr. A. S. Murray and Mr. C. W. King have lent it some credibility, suggesting it could be a genuine portrayal of Lucretius. Others, however, contest this view, labeling it and similar inscribed Roman gems as dubious. Adding a personal touch to the academic discourse, the author speculates on Lucretius’s character, imagining him as a serious, if not cold, figure—a stark contrast to the presumably unfounded jealousy of his wife.

Through these explorations, the chapter captures the intrigue and complexities surrounding the quest for historical accuracy in the portrayal of these literary giants. It paints a picture of an enduring fascination with the personal likenesses of figures whose works have transcended time, underscoring the blend of mystique and scholarship that often accompanies the study of the past.