Dominican, the Angel of the Schools, taken up by a member of an order which S. Thomas is popularly supposed to have in set purpose turned his back upon. But this is a point on which the work itself will enlighten us. Meanwhile, on opening the first volume we catch sight of a portrait of the Saint. It is a reproduction, by photography, of a painting by the Roman artist Szoldatics, which was painted expressly for the present work. It represents the well‐known scene in which the crucified Master, for whom the great doctor has written and taught his life long, asks him what reward he would desire. Portraits of S. Thomas of Aquin are not uncommon. We are all familiar with the large and portly figure and the full and mild countenance, the sun upon his breast, the black and the white, and the shaven crown of the Order of St. Dominic, the open book and the immortal pen. Some of the representations of the saint exaggerate his traditional portliness into a corpulence that almost obliterates the light of genius in his face. On the other hand, there exist many which give at once the large open features and the look of inspiration and of refinement. Those who have turned to the title‐pages of the best Roman or Flemish editions of his life or works will remember these. The new portrait, photographed in the first volume, is very successful. Thomas of Aquin had Norman blood in his veins, and the fairness of his skin and the contour of his head are not those of the typical Italian. The artist has managed to convey very well that massive head, in which every lobe of the brain seems to have been perfectly developed and roomily lodged, thus furnishing the intelligence with an imaginative instrument whose power was only equalled by its delicacy. In the corresponding place in the second volume there is a photograph of a meritorious engraving, from a picture or engraving unknown to us, in which, however, the head of the Saint is not so noble or refined.