effect is not devoid of realistic power. That this is probably the true explanation of the Sinai scene is suggested by another--Jacob’s dream. Here we see Jacob asleep (with one angel descending, another higher up ascending the ladder--the artist has not troubled himself with the problem as to how the angels contrived to cross one another). But we also see Jacob awake, _on the same picture_, for he is anointing the Beth-el stone and converting it into an altar. Certainly the drawings, sadly though they lack proportion, are realistic. Especially is this true of the portrayal of Lot’s wife transformed into a pillar of salt. Disproportionate in size, for she is taller than Sodom’s loftiest pinnacles, yet the artist has succeeded in suggesting the gradual stiffening of her figure: we _see_ her becoming rigid before our eyes. There is clearly much that modern artists might learn from these medieval gropings towards realism. Some artists have already learned much. It is quite obvious, for instance, that Burne-Jones must have steeped himself in the suggestive mysticism of the Middle Ages before he painted his marvellous Creation series. The parallel between his series and the series in the Sarajevo Haggadah is undeniable. Though he never saw this Haggadah, he was well acquainted with similar work in the Missals. Just as Keats evolved his theory as to the identity of truth and beauty from a Greek vase, so the pre-Raphaelites retold on vases what they read in their moments of communion with the medieval spirit. And this leads to what must be my last word now on this Hebrew masterpiece. If a Burne-Jones can thus imitate, why not a Solomon or a Lilien? The latter has now produced a series of illustrations to the Bible, but we want something less coldly classic, something more warmly symbolic. It was indicated above, with regret, that Mr. Haes’ photographs of the Crawford Haggadah are still unpublished. But over and above reproductions of extant works, we need new works. Now the Jewish artist who illustrates a Bible ought not to be content to illustrate anything but a Hebrew text. And if a Bible be for several reasons out of the question, why should we not have a new Haggadah, written by a living Jewish artist, who shall, from a close study of olden models, do for us what Burne-Jones did?--that is, extract from the mysticism of a by-gone age those abiding truths which our contemporary age demands of its art. A PIYYUT BY BAR ABUN