magne’s tomb at Innsbruck fairly puts Tennyson’s hero before us. Watts’s Sir Galahad is a figure well liked in the schools. Any pictures embodying the spirit of chivalry throws light on the Idyls. I cannot think of anything better than Millais’s noble work, Sir Isumbras at the Ford, where the gentle old knight carries the two children safely across the stream. A modern series of pictures by Blair Leighton gives the four stages of knighthood: The Vox Populi, or Acclamation; the Dedication; the Accolade; the Godspeed.
Pupils studying Shakespeare should be encouraged to collect pictorial Shakespeariana, a pursuit which may become so engrossing that they will follow it all their lives. The making of the Shakespeare scrapbook will work both ways, to fix the characters and plots in the memory, and cultivate artistic discrimination. The material consists, first of all, of course, of all the portraits one can find of the dramatist himself, as well as views of Stratford-on-Avon. Portraits of great Shakespearian actors are also of prime importance, and such a search offers endless possibilities. The list extends from the famous English tragedienne, Mrs. Siddons, whom Reynolds portrayed so superbly as the Tragic Muse, to the stars of our own generation, whom latter-day photography has represented in every pose and costume. There are besides many ideal pictures of Shakespearian characters from Reynolds’s Puck to Millais’s Portia. Ideal illustrations of Shakespearian scenes are not so easy to find, but should be added when possible. Abbey’s series are of this class. The extra-illustrated Shakes-
