distinction, from earlier engravings for the others. Moreover, those of
which no other copies exist, and which are therefore the most valuable,
have each an individuality very distinct, in the features, the hair, the
beard, as well as in the costume. Not one of them is like another. There
has been no tampering with them, no forgery. On the contrary, there is in
each a difference, a very marked personality. Leonard Gaultier, who
published this engraving towards the end of the sixteenth century,
reproduced a great many portraits besides from chalk drawings, in the style
of his master, Thomas de Leu. It must have been such drawings that were
the originals of those portraits which he alone has issued, and which may
therefore be as authentic and reliable as the others whose correctness we
are in a position to verify.

Now Rabelais has here nothing of the Roger Bontemps of low degree about
him. His features are strong, vigorously cut, and furrowed with deep
wrinkles; his beard is short and scanty; his cheeks are thin and already
worn-looking. On his head he wears the square cap of the doctors and the
clerks, and his dominant expression, somewhat rigid and severe, is that of
a physician and a scholar. And this is the only portrait to which we need
attach any importance.

This is not the place for a detailed biography, nor for an exhaustive
study. At most this introduction will serve as a framework on which to fix
a few certain dates, to hang some general observations. The date of
Rabelais' birth is very doubtful. For long it was placed as far back as
1483: now scholars are disposed to put it forward to about 1495. The
reason, a good one, is that all those whom he has mentioned as his friends,
or in any real sense his contemporaries, were born at the very end of the
fifteenth century. And, indeed, it is in the references in his romance to
names, persons, and places, that the most certain and valuable evidence is