The "faked "portraits have been at times as ardently accepted as those with some solid claim to consideration. The Shakespeare Marriage picture," with its rhyming confirmatory "tag" intended as an inscription, was discovered in 1872. It is a genuine Dutch picture of man and wife weighing out money in the foreground-a frequent subject-while through the open door Shakespeare and, presumably, Ann Hathaway are seen going through the ceremony of handfasting. The inscription and the Shakespeare head (probably the whole group) are fakes. The " Rawson portrait," inscribed with the poet's name, is faked; it is really a beautiful little portrait of Lord Keeper Coventry by Janssen. The "Matthias Alexander portrait shows a modern head on an old body. The "Belmount Hall portrait" with its pseudo-Garrick MS. inscription on the back, is in the present writer's opinion not the genuine thing which it claims to be. It represents the poet looking up from his literary work. In the early part of the 19th century two clever “restorers," Holder and Zincke, made a fairly lucrative trade of fabricating spurious portraits of Shakespeare (as well as of Oliver Cromwell and Nell Gwynn) and the clumsiness of most of them did not impede a ready sale. The way in which they imposed upon scholars as well as on the public is marvellous. Many of these impudent impostures won wide acceptance, sometimes by the help of the fine engravings which were made of them. Such are the "Stace" and the " Dunford portraits "so named after the unscrupulous dealers who put them forward and promulgated them. They have both disappeared, but of the latter a copy is still in existence known as the " Dr Clay portrait." The former is based upon the portrait of Robert Carr, earl of Somerset. These are the two Winstanley portraits," the "Bishop Newton," the " Cygnus Avoniæ," the Norwich" or Boardman," the" Bellows or " Talma "portraits-most of them, as well as others, traceable to one or other or both of the enterprising fakers already named. At least a dozen are reinforced, as corroborative evidence, with verses supposed to issue from the pen of Ben Jonson. These are all to be attributed to one ready pseudoElizabethan writer whose identity is known. With these pic tures, apparently, should be ranged the composition, now in America, purporting to represent Shakespeare and Ben Jonson playing chess. The "fancy-portraits" are not less numerous. The 18th-century small full-length" Willett portrait "is at the Shakespeare Memorial. It is a charmingly touched-in little figure. There are many representations of the poet in his study in the act of composition-they include those by Benjamin Wilson (Stratford Town Hall), John Boaden, John Faed, R.A., Sir George Harvey, R.S.A., C. Bestland, B. J. N. Geiger, and the painter of the Warwick Castle picture, &c.; others have for subject Shakespeare reading, either to the Court or to his family, by John Wood, E. Ender, R. Westall, R.A., &c.; or the infancy and childhood of Shakespeare, by George Romney (three pictures), T. Stothard, R.A., John Wood, James Sant, R.A.; Shakespeare before Sir Thomas Lucy, by Sir G. Harvey, R.S.A., Thomas Brooks, A. Chisholme, &c. These, and kindred subjects such as "Shakespeare's Courtship," have provided infinite material for the industry and ingenuity of Shakespeare-loving painters.

The engraved portraits on copper, steel, and wood are so numerous --amounting to many hundreds-that it is impossible to deal with them here; but one or two must be referred to, as they have genuine importance and interest. Vertue and Walpole speak of an engraved portrait by John Payne (fl. 1620, the pupil of Simon Pass and one of the first English engravers who achieved distinction); but no such print has even been found and its existence is doubted. Walpole probably confounded it with that by W. Marshall, a reversed and reduced version of the Droeshout, which was published as frontispiece to the spurious edition of Shakespeare's poems (1640). It is good but hard. An admirable engraving, to all but expert eyes unrecognizable as a copy, was made from it in 1815, and another later. William Faithorne (d. 1691) is credited with the frontispiece to Quarles's edition of "The Rape of Lucrece, by William Shakespeare, gent." (1655). It was copied for Rodd by R. Sawyer and republished in 1819. It represents the tragic scene between Tarquin and Lucrece, and above is inset an oval medallion, being a rendering of the Droeshout portrait reversed. The earliest engravings from the Chandos portrait are of interest. The first by L. du Guernier (Arlaud type) and that by M. (father of G.) van der Gucht are introduced into a pleasing composition. The same elaborate design was adopted by L. van der Gucht. These, like Vertue's earlier prints, look to the left; subsequent versions are reversed. Perhaps the most celebrated, partly because it was the most important and technically the finest, up to that time, is the large engraving (to the right) by Houbraken, a Dutchman, done for Birch's "Heads of Illustrious Persons of Great Britain " published by T and P. Knapton (17471752). This free rendering of the Chandos portrait is the parent of the numerous engravings of " the Houbraken type.' Since that date many plates of a high order, from all the principal portraits, have been issued, many of them extremely inaccurate.

Numerous portraits in stained glass have been inserted in the windows of public institutions. Typical of them are the German Chandos windows by Franz Mayer (Mayer & Co.) at Stationers' Hall, and in St Helens, Bishopsgate (Professor Blaim); and that of the Droeshout type in the great hall of the City of London school. Ford Madox Brown's design is one of the best ever executed.

or

We now come to the sculptured memorials. After Gerrard Johnson's bust no statuary portrait was executed until 1740, when the statue in Poets' Corner, Westminster Abbey, was set up by public subscription, mainly through the enthusiastic activity of the earl of Burlington, Dr Richard Mead, and the poet Pope. It was designed invented" by William Kent and modelled and carried out by Peter Scheemakers; what is, as Walpole said, " preposterous about it-mainly the pedestal with its incongruous heads-may be credited to the former, and what is excellent to the latter. It is good sculpture, and is interesting as being the first sculptured portrait of the poet based upon the Chandos picture. Lord Pembroke possesses a replica of it. A free repetition, reversed and with many changes of detail, is erected in a niche on the exterior wall of the town-hall of Stratford-on-Avon. A copy of it in lead by Scheemakers' pupil, Sir Henry Cheere, used to stand in Drury Lane theatre. Wedgwood copied this work, omitting the absurdities of the pedestal, with much spirit in black basalt. The marble copy, much simplified, in Leicester Square, is by Fontana, a gift to London by Baron Albert Grant. Busts were executed by Scheemakers, founded on the same portrait. One is still at Stowe in the " Temple of British Worthies," and in Lord Cobham's possession is that presented by Pope to Lord Lyttelton. Some very fine engravings of the monument have been produced, the most important that in Boydell's Shakespeare (larger edition). By L. F. Roubiliac, Cheere's protégé, is the statue which in 1758 David Garrick commissioned him to carve and which he be queathed to the British Museum. It is also based upon the Chandos portrait. The terra-cotta model for the statue is in the Victoria and Albert Museum; and a marble reproduction of it is in private hands. To Roubiliac also must be credited the celebrated "D'Avenant Bust of blackened terra-cotta in the possession of the Garrick Club. This fine work of art derives its name from having been found bricked up in the old Duke's theatre in Portugal Row, Lincoln's Inn Fields, which 180 years before was d'Avenant's, but which afterwards passed through various vicissitudes. It was again adapted for theatrical purposes by Giffard, for whom this bust, together with one of Ben Jonson which was smashed at the moment of discovery, must have been modelled by the sculptor, who at the same time was engaged on Garrick's commission. The model for the British Muscum statue is seen in the portrait of Roubiliac by Carpentiers, now in the National Portrait Gallery. Another portrait of Shakespeare is in Westminster Abbey-a medallion based on the Chandos picture, introduced into Webber's rather fantastic monument to David Garrick. An important alto-relievo representation of Shakespeare, by J. Banks, R.A., between the Geniuses of Painting and the Drama, is now in the garden of New Place, Stratford-on-Avon. It was executed for Boydell's Shakespeare Gallery in Pall Mall, and was presented to the British Institution which afterwards occupied the premises; on the dissolution of that body it was given to Stratford by Mr Holte Bracebridge. It is a fine thing. but the likeness adheres to no clearly specified type. It has been excellently engraved in line by James Stow, B. Smith, and others, and was reproduced on the admirable medal by Küchler, presented by Boydell to every subscriber to his great illustrated edition of Shakespeare's works. It is remarkable that Banks's was the first British hand to model a portrait of the poet.

In more recent times numerous attempts have been made to reconstitute the figure of Shakespeare in sculpture. The most ambitious of these is the elaborate memorial group modelled and presented by Lord Ronald Sutherland Gower to Stratford and set up outside the Memorial Theatre in 1888. The large seated figure of Shakespeare is mounted on a great circular base around which are arranged the figures of Hamlet, Lady Macbeth, Prince Henry, and Falstaff. In 1864 J. E. Thomas modelled the colossal group of Shakespeare with attendant figures of Comedy and Tragedy that was erected in the grounds of the Crystal Palace, and in the same year Charles Bacon produced his colossal Centenary Bust, a reproduction of which forms the frontispiece to John H. Heraud's Shaks pere: His Inner Life (1865). The chief statues, single or in a group, in London still to be mentioned are the following: that by H. H. Armstead, R.A., in marble, on the southern podium of the Albert Memorial; by Hamo Thornycroft, R.A. (1871), on the Poets' Fountain in Park Lane; by Messrs Daymond on the upper storey of the City of London School, on the Victoria Embankment; and by F. E. Schenck, a seated figure, on the façade of the Hammersmith Public Library. The Droeshout portrait is the basis of the head in the bronze memorial by Professor Lanteri set into the wall on the conjectural site of the Globe Theatre (1909) and of the excellent bust by Mr C. J. Allen in the churchyard of St Mary the Virgin, Aldermanbury, in memory of Heminge and Condell (1896). A recumbent statue, with head of the Chandos type, was in preparation in 1910 for erection in the south aisle of Southwark Cathedral. Among statues erected in the provinces are those by Mr H. Pegram, A.R.A., in the building of Birmingham University (1908) and by M. Guillemin for Messrs Farmer and Brindley for the Nottingham University buildings.

Several statues of importance have been erected in other countries. The bronze by M. Paul Fournier in Paris (presented by an English resident) marks the junction of the Boulevard Haussmann and the Avenue de Messine (1888). The seated marble statue by Professor O. Lessing was set up in Weimar by the German Shakespeare Society; the sculptor has also modelled a couple of busts of a very personal

and, it may be said, un-English type. A seated statue in stone | roughly hewn with characteristic breadth by the Danish sculptor, Louis Hasselriis, has for some years been placed in the apartment of the Castle of Kronborg, in which, according to the Danish tradition, Shakespeare and his company acted for the king of Denmark. America possesses some well-known statues. That by J. Q. A. Ward is in Central Park, New York (1872). In 1886 William Ordway Partridge modelled and carved the seated marble figure for Lincoln Park, Chicago; and later, Frederick MacMonnies produced his very original statue for the Library of Congress, Washington, D.C. This is in some measure based on the Droeshout engraving. William R. O'Donovan also sculptured a portrait of Shakespeare in 1874. Great consideration is given by some to the bust made by William Page of New York in preparation for a picture of the poet he was about to paint. He founded it with pathetic faith and care and amazing punctiliousness on the so-called "Death Mask," which it little resembles; as he was no sculptor the bust is no more successful than the picture. The bust by R. S. Greenough, already mentioned as based in part on the " Boston Zuccaro " portrait, must be included here, as well as the romantic, dreamy, marble bust by Augusto Possaglio of Florence (presented to the Garrick Club by Salvini in 1876); the imaginative work by Altini (Duke of Northumberland, Alnwick Castle); and the busts by F. M. Miller, E. G. Zimmermann, Albert Toft, J. E. Carew (Mr Muspratt, Liverpool) and P. J. Chardigny of Paris. The last named was a study made in 1850, for a proposed statue, 100 ft. high, which the sculptor hoped to be commissioned to produce. A multitude of small bronze and silver busts and statuettes have also been produced. Some attention has been accorded for several years past to the great pottery bust attributed to John Dwight's Fulham Pottery (c. 1675). The present writer, however, has ascertained that it is by Lipscombe, in the latter portion of the 19th century.

"

The wood carvings are numerous. The most interesting among them is the medallion traditionally believed to have been carved by Hogarth, and inset in the back of the " Shakespeare chair presented by the artist to David Garrick (in the possession of Mr W. Burdett-Coutts). The statuettes alleged to be carved from the wood of Shakespeare's mulberry-tree are numerous; among the most attractive are the archaic carvings by Salsbee (1761). One statuette of a primitive order of art was sold in 1909 in London for a fantastic sum; it was absurdly claimed to be the original of Scheemakers' statue, but without the slightest attempt at proof or justification.

The Medals and Coins of Shakespeare offer material for a separate numismatic study. Those of the Chandos type are by far the most numerous. The best of them are as follows: Jean Dassier (Swiss; in the Series of Famous Men," c. 1730); J. J. Barre (French; in the "Series numismatica universalis," 1818); Westwood (Garrick Jubilee, 1769); J. G. Hancock-the young short-lived genius who engraved the die when only seven years old; J. Kirk (for the Hon. Order of Shakespeareians, 1777); W. Barnett (for the Stratford Commemoration, 1816); J. Moore (to celebrate the Birthplace, 1864); and L. C. Wyon (the gift of Mr C. Fox-Russell to Harrow School, 1870). The latest, and one of the most skilful, is the plaquette (no reverse) in the series of" Berühmter Männer "by Wilhelm Mayer and Franz Wilhelm of Stuttgart, the leading medal-partnership of Germany (1908). After the "Droeshout "" engraving: Westwood (1821); T. A. Vaughton (1908-1909). After the "Stratford bust": W. F. Taylor (celebrating the Birthplace, 1842); and T. J. Minton; T. W. Ingram (for Shakespearean Club, Stratford, 1824); J. Moore, Birmingham; and, head only, Antoine Desboeufs (French, exhibited in the Salon, 1822-obverse only); B. Wyon (for the City of London School, Beaufoy Shakespearean prize, 1851); J. S. and A. B. Wyon (for the M'Gill University, Montreal, 1864); John Bell and L. C. Wyon (for the Tercentenary Anniversary, 1864); Allen and Moore (with incorrect birthdate, 1574," 1864). From the "Janssen type: Joseph Moore (a medal imitating a cast medal, 1908). There is an Italian medal, cast, of recent date; with the exception of this all the medals are struck.

The 18th-century tradesmen's Tokens, which passed current as money when the copper coinage was inadequate for the public needs, constitute another branch for collectors. About thirtyfour of these, including variations, bear the head of Shakespeare. With one exception (a farthing, 1815, issued much later than the bulk of the tokens) all represented half-pence. They comprise the "local" and "not local. There are the "Warwickshire" series, the "London and Middlesex," and the "Stratford Promissory series. Many are stamped round the edge with the names of the special places in which they are payable. In addition to these may be mentioned the 24 "imitation regal" tokens which bear Shakespeare's name, around (except in one or two cases) the effigy of the king. They belong to the last quarter of the 18th century.

Many of the more important kilns have produced portraits of Shakespeare in porcelain and pottery, in statuettes, busts, in "cameos and in painted pieces. We have them in Chelsea; old Derby: Chelsea-Derby; old Staffordshire (salt-glaze), frequently reproducing, as often as not with fantastic archaism, Scheemakers' statue; and on flat surfaces by transfer of printed designs-both

18th- and 19th-century productions; also French-Dresden and Wedgwood. In the last-named ware is the fine bust, half-life size, in black basalt, as well as several "cameos" in various sizes, in blue and white jasper, or yellow ground, and in black basalt. The busts were also produced in different sizes. Worcester produced the well-known Benjamin Webster " service, with the portrait, Chandos type, en camaïeu, as well as the mug in "jet enamel," which was the filth of the set of thirteen. Several of the portraits have also been produced commercially in biscuit china.

Gems with intaglio portraits of Shakespeare have been copiously produced since the middle of the 19th century, nearly all of them based upon earlier works by men who were masters of their stillliving craft. The principal of these latter are as follows: Edward Burch, A.R.A., exhibited in 1765; Nathaniel Marchant, R.A., exhibited 1773 (Garrick turning to a bust of Shakespeare); Thomas Pownall (c. 1750); William Barnett; J. Wicksted the Elder (Shakespeare and Garrick); W. B. Wray (a beautiful drawing for this is in the Print Room of the British Museum); and Yeo. In the same class may be reckoned the Cameos, variously sardonyx, chalcedony, and shell, some excellent examples of which have been executed, and the Ivories, both in the round and in relief. The Waxes form a class by themselves; in the latter portion of the 18th century a few small busts and reliefs were put forth, very good of their kind. These have been imitated within recent years and attempts made to pass them off as originals, but only the novice is deceived by them. Similarly the old Shakespeare brass pipe-stoppers have latterly been widely reproduced, and the familiar little brass bust is widely reproduced from the bronze original. So voracious is the public appetite for portraits of the poet that the old embroideries in hair and more recently in woven silk found a ready market; reliefs in silver, bronze, iron, and lead are eagerly snapped up, and postage stamps with Shakespeare's head have been issued with success. The acquisitiveness of the collector paralyses his powers of selection. The vast number of other objects for daily use bearing the portrait of Shakespeare call for no notice here. (M. H. S.)

BIBLIOGRAPHY

The following is an attempt to supply the want of a select classified bibliography of the literature connected with Shakespeare (here abbreviated S.). The titles are arranged chronologically under each heading in order to give the literary history of the special subject. Articles in periodicals not issued separately, and modern critical editions of single plays, are not included; and only those of the plays usually contained in the collective editions are noticed.

Date.

1623

1632 1663.64 1685 1709 1723-25 1733 1743.44

1747

1. PRINCIPAL COLLECTIVE EDITIONS

Editors, Publishers, &c.

1st folio, J. Heminge and H. Condell (Jaggard & Blount) (reprinted by J. Wright (1807, folio) and by L. Booth (1862-4, 3 vols, 4to): photo-lithographic facsimile by H. Staunton (1866, folio); reduced by J. O. Halliwell Phillipps, 1876, 8vo; reprod. from Chatsworth copy, introd. by S. Lee, 1902, folio; Methuen, 1910, foliol.

2d folio (Cotes) [fasc. 1900 (Methuen) folio).

3d folio (Chetwinde) [fasc. 1905 (Methuen) folio).

4th folio fasc. 1904 (Methuen) folin).

1st 8vo, Rowe (Tonson), 7 vols., plates.

A. Pope (Tonson), 7 vols. 4to.

L. Theobald (Tonson), 7 vols. 8vo, plates.

Sir T. Hanmer (Oxford), 6 vols. 4to, plates.

Bp. Warburton, 8 vols. 8vo.

1765

1767

Dr S. Johnson (Tonson), 8 vols. 8vo. E. Capell (Tonson), 10 vols, sm. 8vo.

Johnson and G. Steevens, 10 vols. 8vo.

"Stage ed" (Bell), 8 vols. 12 mo, plates.

E. Malone (Baldwin), first "Variorum ed." to vols. sm. 8vo.

Johnson and Steevens's 4th ed., by I. Reed, 15 vols. 8vo.

1st American ed,. S. Johnson (Philadelphia), 8 vols. 12 mo. 1st Continental ed. (Brunswick), 8 vols. 8vo; repr. of 1793 ed. at Basle, 1799-1802, 23 vols. 8vo.

Boydell's illus. ed. (Bulmer), 9 vols. fol, plates, and z additional vols.

A. Chalmers, o vols. 8vo, Fuseli's plates.

Heath's engravings, 6 vols. imp. 4to.

T. Bowdler's "Family ed.," complete, 10 vols. 18mo.

E. Malone, by J. Boswell, "Variorum ed.," 21 vols. 8vo.

Rev. W. Harness, 8 vols. 8vo.

1818 1821

W.

1825

1826

S. W. Singer (Pickering), 10 vols. 18mo, woodcuts.

1829

1st French ed. (Baudry), 8vo.

1830 1832-34 1838-43 1830-43 1841-44

W.

L. Tieck (Leipzig), roy. 8vo.

W.

J. Valpy, "Cabinet Pictorial ed.," 15 vols. sra. 8vo.

W.

W.

1854-65 W.

N. Delius (Elberfeld), 8 vols. 8vo.

C. Knight, "Pictorial ed.," 8 vols. imp. 8vo.

B. Cornwall, 3 vols. imp. 8vo, woodcuts by Kenny Meadows.

J. P. Collier, & vols. 8vo.

C. Knight, "Library ed.," 12 vols. 8vo, woodcuts.

O. W. Peabody (Boston, U.S.). 7 vols. 8vo.

Dr G. C. Verplanck (N.Y.), 3 vols. roy. 8vo, woodcuts.

W. Hazlitt, 4 vols. 12mo.

"Lansdowne ed." (White), 8vo.

Rev. H. N. Hudson (Boston, U.S.). 11 vols. 12mo.

J. P. Collier (see Payne Collier Controversy, xix.), 8vo.

J. O. Halliwell, 16 vols. folio, plates.

besten Urtheile über Hamlet, Quedl., 1808, 8vo; A. G. Barante, Sur Hamlet, 1874, 8vo, P. Macdonnell, Essay on Hamlet, 1843, 8vo; Sir E. Strachey, S.'s Hamlet, 1848, 8vo; H. K. S. Causton, Essay on Mr Singer's Wormwood, 1851, 8vo; L. Noiré, Hamlet, suci Vortrage, Mainz, 1856, 16mo; M. W. Rooney, Hamlet, First Edition (1603), 1856, 8vo; S.'s Hamlet, 1003 and 1604, with Bibliographical Preface, by S. Timmins, 1860, 8vo; A. Gerth, Der Hamlet v. S., Leip., 1861, 8vo; J. Conolly, A Study of Hamlet, 1863, sm. 8vo; H. v. Friesen, Briefe ub. S.'s Hamlet, Leipzig, 1865, 8vo; A Flir, Briefe ub. S.'s Hamlet, Innsbruck, 1865, 8vo; W. D. Wood, Hamlet from a Prychological Point of View, 1870, 8vo; R. H. Horne (editor), Was Hamlet Madi a Series of Critiques, 1871, 8vo; G. F. Stedcíeld, Hamlet ein Tendenzdrama, Berlin, 1871, 8vo; A. Meadows, Hamlet: an Essay, 1871, 8vo; R. G. Latham, The Hamlet of Saxo Grammaticus and S., 1872, 8vo; F. A. Marshall, Stady of Hamlet, 1875, 8vo; H. v. Struve, Hamlet eine Charakterstudie, Weimar, 1876, 8vo; H. Baumgart, Die Hamid Tragödie u. ihre Krilik, Königsb., 1877, Svo; A. Zinzow, Die Hamlet Sage, Halle, 1877, 8vo; A. Buchher, Hamlet le Danois, 1878, 8vo; M. Moltke. S.'s Hamlet Quellen, 1881, 8vo; E. P. Vining, The Mystery of Hamlet, Philad., 1881, sm. Svo Hamlet a woman): H. Besser, Zur Hamlet Frage, 1882, 8vo; E. Stenger, Der Hamlet Charakter, 1883, 8vo; A. Brereton, Sume Famous Hamlets, 1884, 8vo; N. R. d'Alfonso, La Personalità di Amicto, 1894. 8vo; H. Conrad, S.'s Selbstbekenntnisse, 1897. 8vo; E. Heuse, Zar Lösung des Hamlet-Problems, 1897, 8vo; G. S. Preston, The Secres of Hamlet, 1897, 8vo; A. Doering, Hamlet, ein neuer Versuch, 1898, 8vo; H. Traut, Die Hamlet Controverse, 1898, 8vo; F. Gregori, Das Schaffen des Schauspielers, 1899, 8vo; C. W. Scott, Some Notable Hamlets of the Present Day, 1900, 8vo; H. Ford, S. Hamlet, 1900, 8vo; M. E. Evans, The Ghost in Hamlet, 1902, 8vo; A. H Tolman, The Views about Hamlet, 1906, 8vo; C. M. Lewis, The Genesis of Hamlet, 1907, 8vo; R. Limberger, Polonius, 1908, 8vo; A. Wurm, S.'s Hamlet, 1908, 8vo; W. Pfleiderer, Hamlet u. Ophelia, 1908, 8vo; A. V. Weilen, Hamlet auf der deutschen Buhne, 1008, 8vo; S. M. Perlmann, Eine neue Hamlet-Auffassung, 1009. 8vo. Henry IV. (Pt. i. Q.1. 1598; Q.2, 1599; Q.3. 1604; Q.4. 1608; Q 5, 1613: Q.6, 1627; Q7, 1632; Q.8, 1639. Pt. ii.: Q. 1 and Q.2, 1600): E. A. Struve, Studien zu S.'s Henry IV, Kiel, 1851, 4to. Henry V. (Q.1, 1600; Q.2, 1602; Q3, 1608 [1619]): G. A. Schmeding, Essays on S's Henry V, 1874, 8vo; P. Kabel, Die Sage von Heinrich V., 1908, 8vo. Henry VI. (Pt. i. 1st ed. in F.1. Pt. ii. 1st ed. in F.1. Contention, &c.: Q1, 1594: Q 2, 1600, Q.3 [1619). Pt. ii. 1st ed. in F. 1. Richard of Yorke: Q.1, 1595: 0.2, 1600, 0.3.1619]): E. Malone, Dissertation on Henry VI., 1791, 8vo; G. L. Rives, Authorship of enry VI., 1874, 8vo; C. Schmidt, M. v. Anjou vor und bei S., 1906, 8vo. Henry VIII. (1st ed. in F.1): T. E. Pemberton, Henry VIII. on the Stage, 1902, 8vo. Julius Caesar (1st ed. in F.1): G. L. Craik, The English of S. Illustrated, 3rd ed. 1864, sm. 8vo; II. Gomont, Le César de S., 1874, 8vo; M. G. Moberly, Hints for S. Study exemplified in Julius Caesar, 1831, 8vo; P. Trabaud, Etude sur le Jules César de S. et de Vellaire, 1839, 3vo; P. Kreutzberg, Brutus in S.'s Julius Caesar, 1894, 4to; F. von Westenholz, Idee u. Charaktere in S's Julius Caesar, 1897, 8vo. King John (1st authentic ed in Ft. Troublesome Raigne, spurious: Q.1, 1591; Q2, 1611; Q3.1612). King Lear (Q 1, 1608, Q.2, 1608 [1619]. Q 3, 1655): [C. Jennens], King Lear vindicated, 1772, 8vo, H. Neumaca, Uber Lear u. Ophelia, Breslau, 1866. Svo; J. R. Sesley; W. Young and E. A. Hart, Three Essays on Lear, 1851, 8vo, Beaufoy Prize Essays; Dr. Hirschfeld, K. Lear im Lichte ärulicher Wiss., 1882, 8vo, F. G. F. Verdi, Re Lear, lettere, 1902, 8vo; E, Bode, Die Lear-Sage, 1904, 8vo. Love's Labour's Lost (Q1, 1578; Q 2, 1631). Macbeth (1st ed. in F.1): (Dr S. Johnson) Miscellaneous Observations on Macbeth, 1745. 12mo; J. P. Kemble, Macbeth and Richard III, 1817, 8vo; C. W. Opzoomer, Aanleckeningen op Macbeth, Amst, 1854, 8vo; G. Sexton, Psychology of Macbeth, 1869, 8vo; J. G. Ritter, Beiträge zur Erk!, des Macbeth, Leer, 1871, 2 pts. 4to; V. Kaiser, Macbeth und Lady Macbeth, Basel, 1875, 8vo; E. R. Russell, The True Macbeth, 1875. 8vo; T. Hall Caine, Richard III. and Macbeth. 1877, 8vo; A. Horst, Kenig Macbeth, eine schollische Sage, Bremen, 1876, 16mo; M. Zerbst. Die dramat. Technik des Macbeth, 1888, 8vo; F. Kaim, S.'s Macbeth, eine Studie, 1888, Svo; J. C. Carr, Macbeth and Lady Macbeth, 1889, 8vo; G. Fletcher, Character Studies in Macbeth, 1889, 8vo, E. Kroeger. Die Sare von Macbeth, 1904. 8vo. Measure for Measure (1st ed. in F.1): J. O. Halliwell-Phillipps, Memoranda on Measure for Measure, 1880, 12mo; A. E. Thiselton, Some Textual Notes, 1901, 8vo. Merchant of Venice (Q.1, 1600, 0.2, 1600 (1610); Q3, 1637; 0.4, 1652); G. Farren, Essay on Shylock, 1833, 8vo; F. V. Hugo, Commentary on the Merchant of Venice, translated 1863, 8vo; H. Graetz, Shylock in d. Sage, 1880, 8vo; A. Pietscher, Versuch einer Studie ab. S.'s Kaufmann v. V, 1881. 8vo; C. H. C. Plath, S's Kaufmann v. V., 1882, 8vo; H. Heinemann, Shylock und Nathan, 1886, 8vo; A. Manzi, L'Ebreo ela libbra di carne, 1896, 8vo; O. Burmeister, Nachdichtungen, 1901, 8vo. Merry Wives of Windsor (Q.1, 1602; Q 2, 1619; Q 3, 1635): J. O. Halliwell-Phillipps, Account of the only known MS. of S's Plays, 1843. 8vo. Midsummer Night's Dream (Q.1, 1600; Q.2, 1600 [1619):N. J. Halpin, Oberon's Vision and Lylic's Endymion (Shakespeare Society), 1843, 8vo; J. O. Halliwell-Phillipps, Introduction to S.'s Midsummer Night's Dream, 1841, 8vo, and Illustrations of the Fairy Mythology of Midsummer Night's Dream (Shakesp. Soc.). 1845. 8vo; the same with J. Ritson, Fairy Tales, Legends, and Romances, ed. Hazlitt, 1875, 8vo; E. Hermann, Drei S. Studien, Erlangen, 1877-9, 4 pts. sm. 8vo; L. E. A. Proescholdt, On the Sources of S.'s Midsummer Night's Dream, 1878. 8vo; A. E. Thiselton, Some Textual Notes, 1903, 8vo; F. Sidgwick, Sources and Analogues, 1908, 8vo. Much Ado About Nothing (Q.1, 1600): W. W. Lloyd, Much Ado, &c., with essay, 1884, 8vo, to prove reputed prose to be metrical; F. Holleck-Weithmann, Zur Quellenfrage von Muck ado, &c., 1902, 8vo. Othello (Q.1, 1622; Q2, 1630; Q.3, 1655): W. Parr, The Story of the Moor of Venice, 1795. 8vo; R. G. Macgregor, Othello's Character, 1852, 8vo; J. E. Taylor. The Moor of Venice, Cinthio's Tale and S: Tragedy, 1855. 8vo; G. Piccini, L'Otello di G. S., 1888. 8vo; W. Given, Further Study of Othello, NY. 1899, 8vo; W. R. Turnbull, Othello, 1892, 8vo; S. Bobsin, S.'s Othello in englischer Bühnenbearbeitung, 1904, 8vo. Pericles (Q.1, 2, 1600: Q.3. 1611; Q4, 1610; Q 5. Q.6, 1630; Q 7. 1635): R. Boyle. On Wilkins's Share in Pericles, 1882, 8vo; A. H. Smyth, Pericles and Apollonias of Tyre, 1898, 8vo. Richard II. (Q1, Q.2, 1597; Q-3, 1598; Q.4. Q.5, 1608; Q.6, 1615; Q7, 1634): Riechelmano, Zu Rickard II. S. u. Holinshed. Plauen, 1860, 8vo; B Tschischwitz, S.'s Staat und Konigthum, 1866, 8vo; T. D. Barnett, Notes on Richard II., 1800, 8vo; E. W. Sievers, S.'s zweiter millelalterlicher Dramen-Cyklus, 1896, 8vo. Richard III. (Q.1, 1597: Q.2, 1598; Q.3, 1602; Q.4, 1605; Q.5, 1612; Q6, 1612; Q.7, 1629; Q8, 1634): M. Beale, Lecture on the Times and Play of Rickard 111., 1844, 8vo; I. F. Schoene, Über den Charakter Richard 111, bei S., 1856, 8vo; L. Moser, Observations on S.'s Richard III, Hertford, 1869, 8vo; H. Mueller, Grundlegung und Entwickelung des Charakters Richards 111. bei S., 1889, 8vo; G. B. Churchill, Richard III. up to S., Berlin, 1900, 8vo; J. Petersen, Richard 111, ein Vortrag, 1901, 8vo; A. Leschtsch, Richard III, eine Charakterstudie, 1958, 8vo. Romeo and Juliet (Q.1, 1597; Q.2. 1500: Q.3. 1609; Q.4. n.d.; Q s. 1637): J. C. Walker, Historical Memoir on Italian Tragedy. 1790. 4to; G. Pace Sanfelice, The Original Story of Romeo and Juliet, by L. da Porto, 1865, 8vo; T. Straeter, Die Komposition S.'s Romeo u. Julia, Bonn, 1861, 8vo; C. R. E. Hartmann, Romeo u. Julia, Leipzig, 1874, 8vo, a critical essay; M. F. Guenther, Defence of S.'s Romeo and Juliet, 1876, 8vo; R. Gericke, Romeo u. Julia mach S'i MS..., 1885, 8vo; J. L. Fraenkel, Stoff- u. Quellenkunde von Romeo u. Juliet, 1859. 8vo. Taming of the Shrew (1st ed. in F.1): A. H. Tolman, S.'s part in the Taming of the Shrew (Modern Lang. Ass, of Am.), 1890, 8vo; H. Jacobson, W. S. und Kathchen Minola, 1903, 8vo; E. H. Schomberg, Eine Studie (Stud. zur engl. Phil.), 1904, 8vo. Tempest (1st ed. in F.1): J. Holt, Remarks on The Tempest, 1750. 8vo; E. Malone, Incidents from which S.'s Tempest was derived, 1808-9. 2 pts. 8vo; G. Chalmers, Another Account, &c, 1815, 8vo; Rev. J. Hunter, Disquisition on The Tempest, 1839. 8vo; P. Macdonnell, Essay on the Tempest, 1840, 8vo; Notes of Studies on The Taming of the Shrew, S. Society of Philadelphia, 1866, 4to, with bibliography of The Tempest; J. Meissner, Untersuchungen üb. S.'s Sturm, Dessau, 1871, 8vo; D. Wilson, Caliban, the Missing Link, 1873. 8vo; C. C. Hense, Das Antike in S.'s Dramen: D. Sturm, 1870, 8vo; F. Boas, Der Sturm und das Wintermärchen, 1882, 8vo; R. Boyle, S.'s Wintermärchen u. Sturm, 1885. 8vo; P. Rodin, S.'s Sturm, 1893. 8vo. Timon of Athens (1st ed. in F.1): A. Mueller, Über die

Quellen aus denen S. den Timon e. Athen entnommen hat, Jena, 1873, 8vo; A. E. Thiselton, Two Passages, 1904, 8vo. Titus Andronicus (Q.1, 1594: 0.2, 1600; 0.3; 1611): M. M. A. Schroeder, Uber Titus Andronicus, 1891, 8vo; J. M. Robertson, Did S. write T. A. 1905, 8vo. Troilus and Cressida (Q.1, Q.2, 1609): Annotations by S. Johnson, G. Steevens, &c., upon Troilus and Cressida, 1787, 12mo; L. Boening, De S. fabula quae Troilus et Cressida inscribitur, 1870, 8vo; J. O. Halliwell-Phillipps, Memoranda, 1880, 12mo. Twelfth Night, The Two Gentlemen of Verona, and The Winter's Tale (all three first printed in F.1): C. H. Coote, On S.'s new map in Twelfth Night, 1878, 8vo.

Sonnets (Q.1, 1609): J. Boaden, On the Sonnets of S., 1837, 8vo; C. A. Brown, S.'s Autobiographical Poems, 1838, 8vo; I. Donnelly, The Sonnets of S., 1859. 8vo; Dr Barnstorff, Key to S.'s Sonnets, translated, 1862, 8vo; B. Corney, The Sonnets of S., 1862, 8vo; [E. A, Hitchcock), Remarks on the Sonnets of S., N.Y., 1865, 12mo; R. Simpson, Introduction to the Philosophy of S's Sonnets, 1868, 8vo; H. Brown, The Sonnets of S. solved, 1870, 8vo; C. M. Ingleby, The Soule arrayed, Sonnet calci., 1872, 8vo; G. Massey, The Secret Drama of $'s Sonnets unfolded, 2nd ed. 1872, priv. pr. 1888, 8vo; Baron E. von Dunckelmann, S. in seinen Sonellen, 1897, 8vo; F. J. Furnivall, S. and Mary Fillon, 1897, 8vo; S. Butler, S.'s Sonnets, 1899, 8vo; O. Wilde, The Portrait of Mr. W. H, 1901, 8vo; J. L. O'Flanagan, S's SelfRevelation, 1902, 8vo; E. A. Jackson, Consideration of S's Sonnets, 1904, 8vo; A. B. MacMahan, S.'s Love Story, 1909, 8vo. Venus and Adonis (Q.1, 1593; Q.2, 1594; sm. 8vo, 1596,1599, 1600 (?), 1602, 1617, 1620, 1627, 1630, 1636; 8vo, 1675): A. Morgan, Venus and Adonis, Study in Warwickshire Dialect, N.Y., 1885, 4th ed. 1900, 8vo. Lucrece (Q.1, 1594;sm. 8vo. 1598, 1600, 1607, 1616, 1624, 1632,1655): A. Wuerzner, Die Orthographie der ersten Quarto-Ausgabe von Venus u. Adonis und Lucrece, 1887. 8vo. Passionate Pilgrim (16mo, 1599; 2nd ed. not known; 3rd ed. 16mo, 1612): A. Hochnen, S.'s Passionate Pilgrim, 1867, 8vo, dissertation.

Falstaff: C. Morris, True Standard of Wit, with Character of Sir J. Falstaf, 1744, 8vo; W. Richardson, Essays on Character of Sir J. Falstag, 1788, 8vo; M. Morgan, Essay on Sir J. Falstaf, 1777, new edition 1825, 8vo, vindicates his courage; J. H. Hackett, Falstaff, 1840, 8vo; J. O. Halliwell-Phillipps, On the Character of Falstaff in Henry IV., 1841, 8vo; E. Schueller, Don Quixote und Falstaff. Berlin, 1858, 8vo; G. W. Rusden, Character of Falstaf, Melbourne, 1870, 8vo; G. Barone. D'un antenato italiano di Falstaf. 1895, 8vo; C. E. Phelps, Falstaff and Equity, 1001. 8vo; W. Baeske, Oldcastle-Falstaff in der engl. Literatur bis su S., 1905, 8vo. Female Characters: W. Richardson, On S.'s Female Characters, &c., 1788, 8vo; A. M. Jameson, Characteristics of Women, 1832, 2 vols., 12mo, illustrated; S's Heroines, 1879, str. 8vo, same book; C. Heath, The Heroines of S., 1848, large 4to, illustrated, and The S. Gallery, containing the Principal Female Characters, 1836, large 8vo, plates reproduced in H. L. Palmer's Stratford Gallery, NY, 1859, large 8vo; M. C. Clarke, Girlhood of S.'s Heroines, 1850-2, 3 vols. 8vo; H. Heine, Englische Fragmente und S.'s Madchen und Frauen, Hamburg, 1861, sm. 8vo, S.'s Maidens and Women, transl. by C. G. Leland, 1901, 8vo; F. A. Leo, S.'s Frauenideale, Halle, 1868, 8vo; F. M. von Bodenstedt, S.'s Frauencharaktere, 2nd ed., Berlin, 1876, 8vo; M. Summer, Les Heroines de Kalidasa et les Heroines de S., 1879, sm. 8vo; R. Genée, Klassische Frauenbilder, 1884, 8vo; Lady Martin, On Some of S.'s Female Characters, 1885, 8vo; Mrs M. L. Elliott, S.'s Garden of Girls, 1885, 8vo; L. Lewes, The Women of S., &c., 1894, 8vo; G. Cosentino, Le donne di S., 1906, 8vo; Baron A. von Gleichen-Russwurm, S.'s FrauenRestalten, 1909, 8vo. Humour: J. Weiss, Wit, Humour and S., Boston, 1876, 16mo; J. R. Ehrlich, Der Humor S.'s, Vienna, 1878, 8vo; L. Wurth, Das Wortspiel bei S., 1894, 8vo, E. Dowden, S. as a Comic Dramatist, 1903, 8vo.

V. LANGUAGE, INCLUDING GRAMMARS AND GLOSSARIES

T. Edwards, Supplement to Mr Warburton's Edition, being the Canons of Criticism and Glossary, 1748, 8vo, 7th ed. 1765; R. Warner, Letter on a Glossary to S., 1768, 8vo; R. Nares, Glossary, 1821, 4to, by Halliwell and Wright, 1888, 8vo; J. M. Jost, Erkl. Wörterbuch, Berlin, 1830, sm. Svo; C. L. W. Francke, Bemerkungen über d. Sprachgebrauch des S, Berlin, 1837, 8vo; J. O. Halliwell-Phillipps, Dictionary of Archaic and Provincial Words, 1846-47, 2 vols. 8vo, and Hand-Book Index to the Works, 1866, 8vo, phrases, manners, &c.; J. L. Hilgers, Sind nicht in S. noch manche Verse wiederher zustellen in Prosa? Aix-la-Chapelle, 1852, 4to; N. Delius, S. Lexikon, Bonn, 1852, 8vo; W. S. Walker, S.'s Versification, 1851. 8vo, and Examination of the Text of S., with Remarks on his Language, 1860, 3 vols. 8vo; C. Bathurst, S.' Versification al different Periods, 1857. sm. 8vo; S. Jervis, Dictionary of the Language of S., 1868, 4to; G. Helmes, The English Adjective in S., Bremen, 1868, 8vo; A. J. Ellis, On Early English Pronunciation, 1869-75, 4 vols. 8vo; W. L. Rushton, S.'s Euphuism, 1871, 8vo; D. Rohde, Das Hulfszeitwort "To do" bei S., Göttingen, 1872, Svo; E. A. Abbott, Shakespearian Grammar, 1873. 1901, sm. 8vo; A. Schmidt, S. Lexikon, 1874, third ed. by G. Sarrazin, Berlin, 1902, 2 vols., large 8vo, in English, includes all words, phrases and constructions; K. Seitz, Die Alliteration im Engl. vor u. bei S., 1875, 4to; F. Pfeffer, Die Anrede pronomina bei S., 1877, 8vo; P. A. Bronisch, Das neutrale Possessispronom bei S., 1878, 8vo; O. W. F. Lohmann, Die Auslassung des Relativ pronomens, &c., 1879, 8vo; A. Dyce, Glossary, revised by H. Littledale, 1907, 8vo; C. Deutschbein, S. Grammatik f. Deutsche, 1882, 8vo; A. Lummert, Die Orthographie der ersten Folieausgabe, 1885, 8vo; C. Mackay, Obscure Words and Phrases in S., 1884, 8vo; G. H. Browne, S.'s Versification, Boston, 1884, 12mo, includes bibliography; L. Kellner, Zar Syntar des engl. Verbums, Vienna, 1885, 8vo; J. H. Siddons, Shakespearian Referee, Washington, 1886, 8vo, encyclopaedic glossary; H. M. Selby, The S. Classical Dict., 1838, 8vo; S. F. Surtees, S.'s Provincialisms, Words used in Susser, 1889, sm. 8vo; H. Conrad, Meirische Untersuch, zur Feststellung der Abfassungszeit ton S's Dramen, Berlin, 1895, 8vo; E. Hermann, Urheberschilt u. Urquell v. S.'s Dichtungen, 1886, 8vo; G. Koenig, Der Vers in S's Dramen, 1888, 8vo; J. Marx, Der dichterische Entwickelungsgang S., 1895, 8vo; W. Franz, S. Grammatik, Halle, 1900, 2nd ed. 1909, 8vo; B. A. P. van Dam, S.: Prosody and Text, 1900, 8vo; J. Phin, S. Encyclopaedia, 1901, sm. 8vo; S. Lanier, S. and his Forerunners, 1902, 2 vols. 8vo (Elizabethan poetry); W. Victor, S's Pronunciation, Marburg, 1006, 2 vols. sm. 8vo; J. Foster, A S. Word-book, 1908, 8vo; R. J. Cunliffe, New S.ean Dict. 1910, Svo.

VI. QUOTATIONS

C. Gildon, Shakespeariana, in his Complete Art of Poetry, 1718, 12mo, the first of the class; Dr W. Dodd, The Beauties of S.,1751, 2 vols. 12mo, reprinted (in various forms) more frequently than any similar work; The Beauties of S. (G. Kearsley), 1784, 12mo, not the same as Dodd's Beauties; C. Loft, Aphorisms from S., 1812, 12mo, T. Dolby, The Shakespearian Dictionary, 1832, 8vo, and A Thousand Shakespearian Mottoes, 1856, 32m0; T. Price, The Wisdom and Genius of S., 1838, 12mo, Mrs M. C. Clarke, S. Proverbs, 1847, sm. 8vo, reprinted; J. B. Marsh, Familiar, Proverbial, and Select Sayings from S. 1864, 8vo; E. Routledge, Quotations from S. 1867, 8vo; C. W. Stearns, The S. Treasury, NY, 1869, 12mo; Capt. A. F. P. Harcourt, The S. Argosy, 1874, sm. 8vo; G. S. Bellamy, New Shakespearian Dictionary, 1877, 8vo; A. A. Morgan, The Mind of S., 1880, 8vo, quotations in alphabetical order; C. Arnold, Index to Shako spearian Thought, 1880, 8vo.

VII. CONCORDANCES AND INDEXES

A. Becket, Concordance, 1797, 8vo, the earliest; S. Ayscough, Index, 1700, large 8vo. 2nd ed. enlarged, 1827, useful, F. Twiss, Complete Verbal Index, 1805, 2 vols. 8vo; M. Cowden Clarke, Complete Concordance, 1844, Dew ed. 1889, 8vo, deals only with the

plays; Mrs H. H. Furness, Concordance to Poems, Philadelphia, 1874, 8vo, completing Mrs C. Clarke's; C. and M. C. Clarke. The S. Key, 1879, 8vc, companion to the Cen cordance; J. Bartlett, The S. Phrase Book, 1881, 8vo; W. H. D. Adams, Concordance to Plays, 1886, 8vo; E. M. O'Connor, An Index to the Work of S. NY, 1887. 8vo; J. Bartlett, New and Complete Concordance, 1894, 4to, the best; M. Edwardes. Pocket Lexicon and Concordance to Temple S., 1909, 12mo.

VIII PROBABLE SOURCES

Mrs C. Lennox, S. Illustrated, 1753-54, 3 vols. 12mo, dedication by Johnson, many of the observations also said to be by him, T. Hawkins, The Origin of the English Drama, 1773. 3 vols. 8vo; J. Nichols, The Six Old Plays on which S. founded Measure for Measure, &c., 1779, 2 vols. 12mo; S. W. Singer, S.'s Jest Book, 1814-15, 2 pts. 8vo; T. Echtermeyer, L. Henschel, and K. Simrock, Quellen des S., Berlin, 1831, 3 vols. 16mo; L. Tieck, S.'s Vorschule, Leipzig, 1823-29, 2 vols. 8vo; J. P. Collier, S.'s Library 11843], 2 vols. 8vo, 2nd ed. (by W. C. Hazlitt) 1875, 6 vols. 8vo; W. C. Hazlitt, S.'s Jest Books, 1864, 3 vols. 8vo; W. W. Skeat, S's Plutarch, 1875, 8vo; F. A. Leo, Four Chapters of North's Plutarch, 1878, folio; R. Simpson, The School of S, 1878, 2 vols. 8vo; P. Stapfer, S. et l'antiquité, 1870-1882, 2 pts. 8vo, transl. 1880; E. Viles and F. J. Furnivall, The Rogues and Vagabonds of S's Youth, 1880, 8vo; J. J Jusserand, Le Roman du temps de S., 1887, sm. 8vo, transl. 1890, 8vo; B. Graefe, D. Commedia als Quellen f. S. u. Gothe, 1896, 8vo, J W. White, Our English Homer, 1892, 8vo, W. G. Boswell Stone, S's Holinshed, 1896, 4to; R. K. Root, Classical Mythology in S., N Y., 1903, 8vo; H. R. D. Anders, S's Books, on S's Reading and Immediate Sources, Berlin, 1904, 8vo; C. F. Tucker Brooke, S's Plutarch, 1909, 2 vols. sm. 8vo; W. Theobald, Classical Element in S.'s Plays, 1909, 8vo; W. M. MacCullum, S.'s Roman Plays, 1910, 8vo; The S. Classics, 1908, &c. and S.'s England, 1908, &c. (I. Gollancz, S. Library).

IX. SPECIAL KNOWLEDGE

Angling: H. N. Ellacombe, S. as an Angler, 1883. 8vo. Bible: T. R. Eaton, S. and the Bible, 1858, 8vo, J. Brown, Bible Truths with Shakespearian Parallels, 3rd ed. 1872, 8vo; J. Rees, S. and the Bible, Phil., 1876, sm. 8vo; Bp. C. Wordsworth, S.'s Knowledge and Use of the Bible, 1864. 8vo; C. Bullock, S.'s Debt to the Bible, 1879. 8vo; W. H. Malcolm, S and Holy Writ, 1881, 8vo; G. Q. Colton, S. and the Bible, NY, 1888, 8vo; C. Ellis, S and the Bible, 1897, sm. 8vo, 3rd ed. with title, The Christ in S., 1907. sm. 8vo; W. Burgess, The Bible in S., 1903, 8vo. Botany: J. E. Giraud, Flowers of S, 1847, 4to, plates; S. Beisly, S.'s Garden, 1864, 8vo; H. N. Ellacombe, Plant-lore and Garden-craft of S., 2d ed. 1884, sm. 8vo; L. H. Grindon, S.'s Flora, 1883. 4to; L Holmesworth, S.'s Garden, 1903, Svo; J. H. Bloom, S's Garden, 1903. 8vo. Emblems: H. Green, S. and the Emblem Writers, 1870, 4to. Folk-lore and Use of Supernatural: W. Bell, S.'s Puck and his Folks-lore, 1852-64. 3 vols, sm. 8vo; W. J. Thoms, "The Folk-lore of Shakespeare," in Three Notelets, 1865, 8vo, reprinted from Athenacum, 1847; B. Tschischwitz, Nachklunge Germanischer Mytke in S., Halle, 1868, 8vo; (W. C. Hazlitt, editor], Fairy Tales, Legends, and Romances illustrating S., &c., 1875. 8vo; T. F. T. Dyer, Folk-lore of S. 1884, 8vo; T. A. Spalding, Elizabethan Demonology, 1880, 8vo; A. Nutt, Fairy Mythology of S., 1900, 8vo; J. P. S. R. Gibson, S.'s Use of the Supernatural, 1907. Svo; M. Lucy, S. and the Supernatural, 1906, 8vo; H. H. Stewart. The Supernatural in S., 1908, 8vo; J. E. Poritiky, S.'s Dezen, 1909. 8vo. Learning: P. Whalley, Enquiry into the Learning of S., 1748, 8vo; R. Farmer, Essay on the Learning of S., 1767, 8vo, reprinted in the variorum (1821) and other editions, criticized by W Maginn, see S. Papers, annotated by S. Mackenzie, NY., 1856, sm. 8vo; [K. Prescot, Essay on the Learning of S., 1774. 4to; E. Capell, The School of S., 1780, 4to (vol. ii. of his Notes and Various Readings to S., 1779-83, 3 vols. 4to); see also PROBABLE SOURCES (above). Legal: W. L. Rushton, S. a Lawyer, 1858, 8vo, S.'s Legal Maxims, 1859, 8vo, new ed. 1907. S.'s Testamentary Language, 1869, 8vo, and S. illustrated by the Lex Scripta, 1870, 8vo; Lord Campbell, S.'s Legal Acquirements, 1859, 8vo; H. T., Was S. a Lawyer? 1871, 8vo; J. Kohler, S. tor dem Forum der Jurisprudens, und Nackwort, 1883-84. 2 pts. 8vo; F. F. Heard, S. as a Lawyer, Boston, 1884, 16mo; C. K. Davis, The Law in S., St Paul, U.S., 1834, 8vo; W. C. Devecmon, In re S.'s Legal Acquirements, NY, 1899, sm. 8vo. Medicine: G. Farren, Essays on Mania exhibited in Hamlet, Ophelia, &c., 1833, 8vo; J. C. Bucknill, The Medical Knowledge of S., 1860, 8vo, and The Mad Folk of S., 1867, sm. 8vo: C. W. Stearns, S.'s Medical Knowledge, N.Y., 1865, sm. 8vo; G. Cless, Medicinische Blumeniese aus S., Stuttgart, 1865, 8vo; A. O Kellogg, S.'s Delineations of Insanity. &c., N.Y., 1866, 16mo; H. R. Aubert, S. als Mediciner, Rostock, 1873. 8vo, JP. Chesney, S as a Physician, St Louis, 1884, 8vo; B. R. Field, Medical Thoughts of S and ed., Easton, U.S., 1885, 8vo; J. Moyes, Medicine and Kindred Arts in the Plays of S., 1896, 8vo; H. Lahr, Die Darstellung Thoms, "Was S. ever a Soldier?" in his Krankhafter Geisteszustände in S.'s Dramen, Stuttgart, 1898, 8vo. Military: Three Notelets, 1865, 8vo. Natural History: R. Patterson, Insects mentioned in S's Plays, 1838, 8vo, J. H. Fennell, S Cyclopaedia, 1862, 8vo, pt. i. Zoology, Man (all published); J E. Harting, Ornithology of S., 1871, 8vo; C. R. Smith, The Rural Life of S., 1874, 8vo; J Walter, S's Home and Rural Life, 1874, 4to, illustrated; B. Mayou, Natural History of S., 1877. 8vo, quotations; E. Phipson, Animal Love of S's Time, 1883. sm. 8vo; W. H. Seager, Natural History in S.'s Time, 1896, 8vo; E. O. von Lippmann, Naturwiss, aus S., 1902, 8vo. Philosophy: W Birch, Philosophy and Religion of S., 1848, sm. 8vo; V. Knauer, W. S., der Philosoph. Innsbruck. 1879, 8vo. Printing: W. Blades, S. and Typography, 1872, 8vo. Psychology: J. C. Buckhill, The Psychology of S. 1859. Svo, E Onimus. La Psychologie dans les Drames de S. 1876, 8vo; Biauté, Etude medico-psychologique sur S. et ses autres, 1889. 8vo. Sea J. Schuemann, See u. Seefahrt in S.'s Dramen, 1876, 4to, W B. Whall, S.'s Sea Terms explained, 1910, 8vo. Sports. D H Madden, Diary of Master William Silence, 1897, new ed. 1907, 8vo; W. L. Rushton, S. an Archer, 1897, 8vo.

X. PERIODICALS

S. Museum, edited by M. L. Moltke, Leipzig. 23rd April 1870 to 23rd February 1874. 20 Nos. (all published); Shakespeariana, 1883. &c., sm. 8vo; New Shakespeareana (NY Shakespeare Soc.), 1902, &c. From the commencement of Notes and Queries in 1856, a special Shakespeare department (see Indexes) has been carried on.

XI. SHAKESPEARE SOCIETIES AND THEIR PUBLICATIONS Proceedings of the Sheffield S. Club (1819-29), 1829. 8vo; Shakespeare Society (1841) various publications, 1841-53, 48 vols. 8vo; New Shakspere Society, Transactions and other publications, reprints of quartos, &c., 1874, &c., 8vo; Deutsche S. Gesellschaft (1864). Jahrbuck, Weimar, 1865, &c., in progress. The S Society of New York (1885) has published the Bankside S. (1888-92), 20 vols., and Bankside Restoration S (1907, &c ), under the editorship of] A. Morgan, its first President, and has issued other publications. The S. Societies of Philadelphia, Birmingham and Clifton may also be mentioned.

XII. MUSIC

W. Linley, S.'s Dramatic Songs, n.d., 2 vols. folio; The S. Album, or Warwickshire Garland (C. Lonsdale), 1862, folio; G. G. Gervinus, Handel u. S., Leipzig, 1868. 8vo; H. Lavoix, Les Traducteurs de S. en musique, 1869, 8vo; A. Roffe, Handbook of S. Music, 1878, 4to; List of Songs and Passages set to Music (N.S. Soc.), 1884, 8vo; E.

W. Naylor, S. and Music, 1806; W. K. White, Index to the Songs, &c., in S. which have been set to Music, 1950, 8vo; L. C. Elson, S. in Music, 1001, 8vo; H. J. Conrat, La Musica in S., 1903, 8vo. See also the musical works of J. Addison, T. A. Arne, C. H. Berlioz, Sir H. R. Bishop, C. Dibdin, W. Linley, M. Locke, G. A. Macfarren, F. Mendelssohn-Bartholdy, H. Purcell, Sir A. Sullivan, G. Verdi, &c.

XIII. PICTORIAL ILLUSTRATIONS

C. Taylor, Picturesque Beauties of S., after Smirke, Stothard, &c., 1783-87, 2 vols. 4to; W. H. Bunbury, Series of Prints illustrative of S., 1791-96, oblong folio; S. Harding, S. illustrated, 1793, 4to; S. Ireland, Picturesque Scenes upon the Avon, 1795. 8vo; J. and J. Boydell, Collection of Prints from Pictures illustrating the Dramatic Works of S., 1802-3, 2 vols. atlas folio, 100 plates, forms supplement to Boydel's edition; reproduced by photography, 1864, 4to, reduced, and edited by J. P. Norris, Philadelphia, 1874, 4to; S. Portfolio, 1821-19, roy. 8vo; Stothard, Illustrations of S., 1826, 8vo; F. A. M. Retzsch, Gallerie zu S.'s dramat. Werken in Umrissen, Leipzig. 1828-46, 8 vols. obl. 4to; J. Thurston, Illustrations of S., 1830, 8vo; F. Howard, The Spirit of the Plays of S., 1833. 5 vols. 8vo; L. S. Ruhl, Skissen zu S.'s dram. Werken, Frankfort, 1827-31, Cassel, 1838-40, 6 vols. oblong folio; G. F. Sargent, S. illustrated in a Series of Landscaper and Architectural Designs, 1842, 8vo, reproduced as The Book of S. Gems, 1846, 8vo; A. Pichot, Galerie des personnages de S. 1844, 4to; J. Tyrrel, Cat. of an Extensive Collection of Prints illustrative of W. S., 1550, 8vo; W. v. Kaulbach. S. Gallerie, Berlin, 1857-58, 3 pts. folio; P. Konewka, Ein SommernachtsIraum, Heidelb., 1868, 4to, and Falstaff u. seine Gesellen, Strasburg, 1872, 8vo; E. Dowden, S. Scenes and Characters, 1876, 4to, illustrations from A. F. Pecht's S. Gallerie, Leipzig, 1876, 4to; J. O. Halliwell Phillipps, Hand List of Drawings and Engratings illustrative of the Life of S, 1884, 8vo; W. E. Henley, The Graphic Gallery of S31 Heroines, 1888, folio; R. L. Boocke, Sian Costumes, 1889, 8vo; R. Dudley and others, S. Pictures, 1896, 8vo; M. Miller, Sean Costumes (characters of each play).

XIV. BIOGRAPHY A.-General Works.

N. Rowe, The Life of Mr W. S., 1743. 8vo, the first separate life; N. Drake, S. and his Times, 1817, 2 vols. 4to; J. Britton, Remarks on the Life and Writings of S., revised edition, 1818, sm. 8vo; A. Skottowe, Life of S, 1824, 2 vols. 8vo; J. P. Collier, New Facts, 1835, 8vo[see XIX. Payne-Collier Controv. and Traditionary Anecdotes of S. collected in 1673, 1838, 8vo; T. Campbell, Life and Writings of W. S., 1838, 8vo; C. Knight, S. a Biography, 1843, Svo, reprinted in Studies, 1850, 2 vols. 8vo; J. O. Halliwell-Phillipps. The Life of W. S., 1848, 8vo, S. Facsimiles, 1863, folio, Illustrations of the Life of S., 1874, folio, and Outlines of the Life of S., 1881, 8vo, 6th ed. 1885, 2 vols. 8vo; F. P. G. Guizot, S. et son temps, 1851, 8vo, translated into English, 1852, 8vo; G. M. Tweddell, S., his Times and Contemporaries, 1852, 12mo, 2nd ed. 1861-63, unfinished: W. W. Lloyd, Essays on Life and Plays of S., 1858, 8vo; S. Neil, S., a Critical Biography, 1861, 8vo; T. De Quincey. S., a Biography, 1864, 8vo; T. Kenny, Life and Genius of S, 1861, 8vo; W. Bekk, W. S., eine biogr. Studie, Munich, 1861, sm. 8vo, S. W. Fullom, The History of W. S., 2nd ed. 1864, 8vo; Victor M. Hugo WS, 1964, 8vo, translated into Dutch, German and English; H. G. Bohn, Biography and Bibliography of S. (Philobiblon Soc., 1863). 8vo, illustrations; J. Jordan, Original Collections on S. and Stratford, 1780, edited by JO. Halliwell Phillipps, 1864, 4to. J A. Heraud, S's Inner Life as intimated in his Works, 1865, 8vo; R. G. White, Afemoirs of the Life of W. S., Boston, 1855, 8vo; S. A. Allibone, Biography of S. (in Dictionary, vol. 2, 1870); H. N Hudson, Shis Life, Art, and Characters, Boston, 1872, 4th ed. 1883, 2 vols. 12mo; R. Genée, S., seis Leben u. s. Werke, Hildburghausen, 1872, 8vo; F. K. Elze, W. S. Halle, 1876, large 8vo, transl. 1888; G. H. Calvert, S.: A Biographic, Aesthetic Study, Boston, 1879, 16mo; W. Tegg, S. and his Contemporaries, 1879, 8vo; W. Henty, S., with some Notes on his early Biography, 1882, sm. 8vo; E Hermann. Erganzungen u. Berichtigungen der hergebrachten S. Biograph, Erl., 1884, 2 vols. 8vo; F. G. Fleay, Chronicle History of the Life and Work of W. S., 1886, 8vo, R. Waters, W. S. portrayed by kimself, 1888. 8vo (as in character of Prince Henry); W J. Rolfe. S the Bay, 1897. sm. 8vo, Sidney Lee, Life of W S., 1898, 6th ed 1908, 8vo, illustrated ed. 1800, large 8vo; Goldwin Smith, S. the Man, Toronto, 1899. Svo; G. Duval, La Vie teridique de S, and ed. 1900, sm. 8vo, D. H. Lambert, Cartae Sianae, S. documents, 1001 sm 8vo; W. J. Rolfe, Life of W. S., 1904, 8vo, illustrated; W C. Hazlitt, S. the Man ent his Work, 3rd ed., 1908, 8vo; Frank Harris, The Man S. and his Tragic Life Story, 1909, 8vo; E. Law, S. as Groom of the Chamber, 1910, sm. 8vo.

B.-Special Works.

Autograph: Sir F. Madden, Autograph and Orthography of S. 1837. 4to; S's Autograph, copied and enlarged by J Harris, &c. (Rodd). 1843, J O. Halliwell Phillipps, S.'s Will, 1851, 4to; H Staunton, Memorials of S. Photographed, 1864. folio, H. Friswell, Photogr. Reprod. of S's Will, 1864. 4to; J. Toulmin Smith, S. Autographs, 1364, 4to; FJ Furnivall, Os S's Signatures, 1895. 8vo, A. Hall, S's Handwriting further illustrated, 1899. 8vo, Birthday. B Corney, Argument on the Astumed Birthday, 1864. 8vo. Bones: C M lugleby, S's Bones, 1883. sm 4to; W. Hall, S's Grave, Notes of Traditions, 1884. 8vo. Crab Tree: C F Green, Legend of S.'s Crab Tree, 1857. 4to, illustrated. Deer Stealing C. H. Bracebridge. S no Detr Stealer, 1861, 8vo, illustrated. Genealogy and Family J Jordan, Pedigree of the Family of S. 1796, in vol. iii. of R. Ryan's Dramatic Table Talk, 1825-30. & vols Svo; Memoirs of the Families of S. and Hart, 1790, ed Halliwell, 1865. 4to, G. R French, Shakspeareana Genealogica, 1869, 8vo, JO Halliwell Phillipps, Entries respecting S.. his Family and Connexions, 1864. 4to; C. C. Stopes, S.'s Warwickshire Contemporaries, 1897, new ed. 1907, 8vo, and Family, with an Account of the Ardens, 1901, 8vo, C. I. Elton, W. S., His Family and Friends, 1904, 8vo, J. W. Gray, S.'s Marriage, etc., 1905, 8vo. Ghost-Belief. A Roffe, The Ghost Belief of S., 1851, 8vo. For S.'s use of the supernatural see IX SPECIAL KNOWLEDGE (Folk-lore, etc ). Name: J. O Halliwell Phillipps, New Lamps or Old? 1880. 8vo, advocates "Shakespeare", J. Winsor, Was S. Shapleigh? Boston, U S., 1887, 8vo; W. H Edwards, Shaksper mot S., 1950, 8vo; JL. Haney, The Name of W S., 1906, 8vo. Occupation. See IX. SPECIAL KNOWLEDGE, above Religion: F. Fritzart, War S. ein Christ? Heidelberg, 1832, Svo, W. J. Birch, Philosophy and Religion of S., 1843. sm. 8vo, thinks him a sceptic; E. Vehse, S als Protestant, Politiker, Psycholog, u. Dichier, Hamburg, 1851, 2 vols. sm. 8vo; J. J. Reitmann. Über S's religiose u. ethische Bedeutung, St Gall, 1853. 12mo; A. F. Rio. S 1864, 8vo (5. Roman Catholic); W. Koenig, S. als Dichter, Weltweiser, u Christ. Leipzig. 1873. 8vo; A. Gilman, S.'s Morals, NY, 1880, 8vo; J. M. Raich, S's Stellung zur Kathol Religion, 1884. Svo; J. M. Robertson, The Religion of S., 1887. 8vo, W Kloeti, S. als religiöser Dichter, Berlin, 1890, 8vo; G. W. Baynham, Swedenborg and S. 1894. 8vo; J. Carter, S, Puritan and Recurent, 1897, s. 8vo; S. Boswin. The Religion of S., 1899, 8vo; H. S. Bowden, The Religion of S., chiefy from the Writings of R Simpson, 1899, sm. 8vo, J. Countermine, The Religious Belief of S., 1906, 8vo. Stratford-upon-Avon. R. B. Wheler, Bistory and Antiquities of Stratford, 1806, 8vo, Account of the Birthplace, new edition, 1863. 8vo, and Collectanes, 1865. 4to; F. W. Fairholt, The Home of S. 1847. 8vo, engravings reproduced in S. Neil's Home of S., 1871, 8vo; JO. Halliwell Phillipps, New Boke about S and Stratford, 1850, 4to, Brief Hand List of the Borough Records, 1862, 8vo, Descriptive Calendar, 1863, folio, Brief Guide to the Gardens, 1863, 8vo, Historical Account of the Now Place, 1864. folio illustrated, and Stratford in the Times of the S.'s, 1864, folio; L. Lees, Stratford as connected with S., 1854, 8vo; J. R. Wise, S, kis Birthplace and iis Neighbourhood, 1861, 8vo; J. C. M. Bellew, S.'s Home ai New Piace, 1863, sm. 8vo, illustrated, with pedigrees; R. E. Hunter, S. and Stratford, 1864, 8vo; J. M.