Excerpt from an article in the New York Times, July 9 1884
NOT ADDISON, BUT FOUNTAINE In 1808, when it was proposed to place a memorial of Addison in Westminster Abbey, there was some difficulty in finding a trustworthy portrait for the guidance of the sculptor.At length it was resolved to make use of a head size picture of the great essayist which had been in Holland House for many generations, and was always supposed to be a portrait of Addison.The statue in the Abbey was accordingly copied from this work, but some time afterward it was discovered that the picture in Holland House was in reality a portrait of Sir Andrew Fountaine.The statue placed in Poet’s Corner in honor of Addison is, therefore, in fact, a portrait of his friend.The story is told in detail in a pamphlet, “The Romance of a Portrait”, published in 1858.
Excerpt from an article in the Gentleman’s Magazine, June 1858, by Mackenzie Walcott
The picture … was thus celebrated by the great Whig critic and historian [Macaulay?]:‘The features are pleasing, the complexion is remarkably fair, but in the expression we trace rather the gentleness of his disposition than the force and keenness of his intellect’.
Excerpt from an article in the New York Times, July 23 1898
In 1858 The Athenaeum declared that a portrait at Holland House, which was said to be that of Joseph Addison, did not represent Addison at all, but was the likeness of Sir Andrew Fountaine.This statement was received with incredulity at the time, because Macaulay had given to this portrait a most particular and picturesque description.The Athenaeum, however, was correct, as was shown in the controversy in regard to the picture in 1858.
Excerpt from “The Minsters and Abbey Ruins of the United Kingdom:Their History …“
In the south transept, or Poet’s Corner … [is the monument of] … Joseph Addison, d. 1719 (statue by Westmacott, with the features of Sir Andrew Fountaine), buried in King Henry VIIth’s Chapel.