1. Many Thoughts of Many Minds, Being a Treasury of Reference. Henry Southgate. Charles Griffin & Co, London, 1880.

    "Sweet are the uses of adversity. 
    Which, like the toad, ugly and venomous, 
    Wears yet a precious jewel in his bead: 
    And this our life, exempt from public haunt. 
    Finds tongues in trees, books in the running brooks. 
    Sermons in stones, and good in everything.”

  2. Vivien Leigh as Titania in “A Midsummer Night’s Dream” at the Old Vic Theatre in London, 1937.

    Shakespeare’s Titania is a very proud creature and as much of a force to contend with as her husband Oberon. She and Oberon are engaged in a marital quarrel over which of them should have the keeping of an Indian changeling boy. This quarrel is the engine that drives the mix ups and confusion of the other characters in the play.

  3. Hamlet and Horatio in the Graveyard (1839). Eugène Delacroix (French, 1798-1863). Oil on canvas. Musée du Louvre, Paris.

    The Shakespearean hero, imperfect, immoderate and immature, was perfectly adapted to Delacroix’s temperament, and gave free rein to his imagination. "Alas, poor Yorick! - I knew him, Horatio: a fellow of most infinite jest…" (Act V, Scene 1). The scene of Hamlet and Horatio in the graveyard inspired this painting.

  4. A Passing Cloud (c.1908). Arthur Hughes (English, 1830-1915). Oil on canvas. The Pérez Simón collection.

    'O how this spring of love resembleth
    The uncertain glory of an April day
    Which now shows all the beauty of the sun
    And by and by a cloud takes all away’ — Shakespeare, The Two Gentlemen of Verona

    Hugues used these lines to give a clue to the attitude of the pensive young woman, who has just read a letter from an absent lover and is overcome by melancholy. The love, life, and joy of springtime is fragile. 

  5. Perdita (c.1866). Frederick Sandys (English, Pre-Raphaelite, 1829–1904). Oil on panel. Collection of Lord Andrew Lloyd Webber.

    I think you have 
    As little skill to fear as I have purpose
    To put you to’t. But come; our dance, I pray: 
    Your hand, my Perdita: so turtles pair, 
    That never mean to part.
    Florizel, Winter’s Tale, Act IV, Scene 4.

  6. Delightful Stories of Travel at Home and Abroad. A Book Containing Charming Tales about Places of Interest Here and There upon the Globe: Also Recitations, Readings and Dramas Together with Short Sketches of the Lives of our Presidents. Allen E. Fowler. World Bible House, Philadelphia, c1895.

    " ‘Tis well to be amused;
    But when music does instruction bring,
    'Tis better.” — Shakespeare

  7. Maria Malibran as Desdemona in Rossini’s Otello (c.1831). Henri Decaisne (Belgian, 1799–1852). Oil on canvas.

    Maria Malibran (Spanish, 1808—1836) was a mezzo-soprano of exceptional vocal range, power, and agility. Otello, the opera by Gioachino Rossini, is based on Shakespeare's play Othello. Desdemona is a Venetian beauty who elopes with Othello with unfortunate consequences.

  8. Juliet (1905). François Édouard Zier (French, 1856-1929). Oil on canvas. 

    Shakespeare’s Juliet is a headstrong and intelligent character in spite of her young age. It is Juliet who sets the boundaries of behavior in her relationship with Romeo: she allows him to kiss her, she pledges her commitment before him, and it is she who suggests their marriage. 

  9. Britt Bergmeister reading Shakespeare. Madame Air France. Spring Issue. No. 153, April-May 2013. Photo by Frances Tulk-Hart.

    Fashion by Marc Jacobs, Lacoste, Hermès, American Apparal, Dior Joaillerie.

  10. Ophelia (1888). Marcus Stone (1840-1921). Shown in 1888 in an exhibition titled Shakespeare’s Heroines of 21 paintings sponsored by the newspaper Graphic.

    Composed, serene Ophelia, decorously garbed in white, idly fingering gathered flowers, seems to be kneeling, perhaps in prayer or quiet contemplation. Beside her is the neck of a lute; does Stone imagine her using the instrument while singing in Act IV, scene v? The “keepsake” qualities of the painting—the pose and Ophelia’s expression—are not convincing; nothing really conveys her madness and her eminent self-destruction.

  11. Rosalind and Celia (c. 1854-1858). James Archer (Scottish, 1823-1904). Oil on canvas. Royal Scottish Academy of Art & Architecture.

    This work depicts a scene from Shakespeare’s comedy ‘As You Like It.’ In the catalogue for the RSA Annual Exhibition, 1854, the entry for this painting was accompanied by the following quote: “Celia. Why, cousin; why Rosalind! – Cupid have mercy! – not a word? Rosalind. Not one to throw at a dog.” – ‘As You Like It,’ Act I, Scene iii.

  12. Titiana. Thomas Francis Dicksee (English, 1819-1895).

    In Shakespeare’s play A Midsummer Night’s Dream, Titiana is the queen of the fairies. Shakespeare took the name “Titania” from Ovid’s Metamorphoses, where it is an appellation given to the daughters of Titans.

    Titania is a very proud and forceful creature. The marital quarrel she and Oberon are engaged in over which of them should have the keeping of an Indian changeling boy is the engine that drives the mix ups and confusion of the other characters in the play.

  13. Bianca (1868-69). William Holman Hunt (English, Romanticism, 1827-1910). Oil on canvas. Worthing Museum and Art Gallery, UK.

    The model for Bianca was an American girl named Miss Lydiard: ‘a very beautiful fair American girl’ according to Hunt.

    Depicts Bianca, a character from Shakespeare’s Othello. She is Cassio’s jealous lover. Bianca plays a significant role in the progress of Iago’s scheme to incite Othello’s jealousy of Cassio. Traditionally regarded as a courtesan, Bianca was occasionally cut from performances in the 19th century on moral grounds.

  14. Dog with glasses reading.

    "Though he had very little Latin beyond ‘Cave canem,’ he had, as a young dog, devoured Shakespeare (in a tasty leather binding)." (Dodie Smith, 101 Dalmatians)

  15. Ophelia (1864). Thomas Francis Dicksee English, 1819-1895). Oil on canvas.

    Her look of concern alerts us to the troubling spectacle of Hamlet that she sees before her. Her crossed arms suggest a protective stance, one that reminds the viewer of what she is soon to suffer as the scene unfolds. (Hamlet and the Visual Arts, 1709-1900, Alan R. Young).

    Dicksee was a portraitist and painter of historical, genre subjects - often from Shakespeare.