[Skip to Content]
Access to paid content on this site is currently suspended due to excessive activity being detected from your IP address Please contact the publisher to request reinstatement.
[Skip to Content Landing]
June 12, 1967


JAMA. 1967;200(11):982-983. doi:10.1001/jama.1967.03120240110023

As is the case with many a man of history, portraits of William Harvey (1578-1657) have become nearly as common as postage stamps. Very few, however—in fact only four—are regarded today as being authentic.1 All the rest, including the much reproduced portrait of 1628, the year of De Motu Cordis, are, according to Geoffrey Keynes, "posthumous productions, modern forgeries, or representations of other people."1(p22)

Three of these authentic portraits show Harvey in his old age; the fourth, which is reproduced on this week's cover, is most unusual in that it shows Harvey some 30 years younger than do the others, as he was in about 1620-1625 while he was working on De Motu Cordis. This is the nearly forgotten, but much disputed, Rolls Park portrait. It was first identified in London in 1928 as being one of a family group of portraits hanging in the drawing room of