Amongst the other objects of universal interest in this fine church are the old font, in which Shakespeare is supposed to have been baptized; and the ancient register of the church, wisely protected by a glass case placed at the western end of the north aisle, containing the entries of Shakespeare’s baptism and burial, and many other records of interest. The Shakespeare Memorial buildings, which stand adjoining the Bancroft Gardens at the foot of Chapel Lane by the river, form an imposing and fairly picturesque pile in the Elizabethan style of architecture; but which, frankly, to most people must in its newness appear somewhat out of character with the general atmosphere of the old town. The buildings contain a Library; Theatre, capable of seating nearly 900 persons; a Picture Gallery; and Central Tower. The idea of a national memorial to the nation’s poet had been several times brought forward prior to the autumn of 1874, when Mr. Charles E. Flower presented the fine site on which the Memorial stands, and the sum of £1000, coupled with the suggestion that the Memorial should take the form of a Theatre. A committee was formed, and the first stone was laid on Shakespeare’s Day, April 23, 1877. The Theatre portion was opened on the same day two years later, and the whole building was completed in 1883. Many years before, David Garrick had made the suggestion that a “school for actors” should be founded at Stratford, but this idea—with several others mooted at various times—was never proceeded with. In the Library, which is on the ground floor, are more than 10,000 volumes relating to Shakespeare, his works and times; a collection alike valuable to the student of the poet and to those who would seek to know what were the modes of life and manners of the Elizabethan age. The Picture Gallery contains some interesting portraits of famous actors and actresses, a copy of the Davenant bust of the poet, and a portrait of Shakespeare, from which some authorities claim that the Droeshout engraving was made. Whether this latter supposition is correct or not is still in dispute; and, indeed, around the whole question of its authenticity has raged a fierce battle, in which many artists and antiquarians of note have at various times taken part. The portrait is on an elm panel, and bears date 1609. The most interesting point is what became of the portrait from which Droeshout engraved his? For many years it had been untraceable, but some few years ago the picture in question was presented to the Memorial by Mrs. Flower. Such well–known authorities as Mr. Sidney Lee and Mr. Salt Brassington are inclined, for reasons into which it is impossible to enter here, to accept the portrait as that from which Droeshout engraved his, with which Shakespeare’s friend Ben Jonson would appear to have been satisfied as being a good representation of his dead friend. If authentic, it is unnecessary to add that it forms the most important relic of Shakespeare we have.