They discovered that of the 13 portraits in “The History of England” at least 7 strongly resemble family members or friends of the Austens. Due to the obvious similarity in names, Upfal and Alexander argue that James I, Edward VI, and Henry V are likely representations of eldest Austen boys. Most notably, the nasty Queen Elizabeth is thought to be Mrs. Austen (Jane and Cassandra’s mother) and the benevolent Queen Mary is arguably Jane herself.
MR. HARLEY was one of many Children. Destined by his father for the Church & by his Mother for the Sea, desirous of pleasing both, he prevailed on Sir John to obtain for him a Chaplaincy on board a Man of War. He accordingly cut his Hair and sailed.
In half a year he returned & set-off in the Stage Coach for Hogsworth Green, the seat of Emma. His fellow travellers were, A man without a Hat, Another with two, An old maid, & a young Wife.
This last appeared about 17, with fine dark Eyes & an elegant Shape; in short, Mr. Harley soon found out that she was his Emma & recollected he had married her a few weeks before he left England.
SHE then proceeded to a Pastry-cook's, where she devoured six ices, refused to pay for them, knocked down the Pastry Cook & walked away.
Austen herself, [Upfal] believes, served as model for Mary Queen of Scots, contradicting Fergus, who in her edition had suggested that Austen could be seen in Mary Tudor, “whose round face and red cheeks correspond to some traditional accounts of Austen’s looks” (History of England, ed. Fergus, p. iv). Other models proposed by Upfal are Austen’s brothers Henry, James, and Edward as Henry V, James I, and Edward VI; Mrs. Austen as Queen Elizabeth; Mary Lloyd as Mary Tudor; the Revd Edward Cooper as Edward IV; and Tom Fowle as Henry VI.
They have called on the services of Pamela Craig, “a forensic odontologist and so expert in facial structure” and Clifford Ogleby, an expert in “photogrammetry, the measurement of facial characteristics.” Craig and Ogleby endorse the edition’s claims in different ways. Ogleby, superimposing Cassandra’s famous sketch of her sister on the portrait of Mary Queen of Scots, finds a perfect fit, leading Upfal to suggest that the composite produces “a new, softer image of the mature Jane Austen at the period when her novels were being published.” Craig, comparing scanned images with Adobe Photoshop, likewise supports the identification of Austen as Mary Queen of Scots, but is more cautious about some of the other proposals.
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