But it is generally agreed that we have no right to identify Cartier with any of the figures in the scene, although the group as a whole undoubtedly typifies his landing upon the seacoast of Canada.
There is rumour, also, that the National Library at Paris contains an old print of Cartier, who appears therein as a bearded man passing from the prime of life to its decline.

The head is slightly bowed with the weight of years, and the face is wanting in that suggestion of unconquerable will which is the dominating feature of the portrait of St Malo.

This is the picture that appears in the form of a medallion, or ring-shaped illustration, in more than one of the modern works upon the great adventurer.

But here again we have no proofs of identity, for we know nothing of the origin of the portrait.
Curiously enough an accidental discovery of recent years seems to confirm in some degree the genuineness of the St Malo portrait.

There stood until the autumn of 1908, in the French-Canadian fishing village of Cap-des-Rosiers, near the mouth of the St Lawrence, a house of very ancient date.