Beyond conventional records of individual historical performances there are numerous images interacting with interpretations of the live stage in illuminating ways. This selection juxtaposes distinctive images, sometimes included in the previous sections, sometimes not. For example, artists may conceive of imaginative stagings capable and even actually turned into live productions, such as the pictures of the scene celebrating the deathbed vision of Queen Katherine of Aragon in Henry VIII that progresses from Blake to Fuseli to Charles Kemble’s realization of their concept in his production of the play, which was ultimately to include the youthful Ellen Terry as one of the angels, in its revival. Moreover there are sequences of patterns that transcend the considerations of a unique dramatic composition, determining the persistence of successful stage motifs in Shakespeare, inviting comparison within the range of these patternings. Another source of production input may be motifs imported from non-English-speaking performers such as those in France and Germany. There are also distinctive versions from other media.

In this vein the following pictures are grouped in ways encouraging critical comparison and analysis relevant to the interpretation of the plays, on and off the stage. These may well suggests options for research and analysis. The main groupings, in order, are:

• Images and Productions of Macbeth
• Images and Productions of King Lear
• Richard III - historical costuming
• Henry VIII - historical costuming
• Fools, including Falstaff
• Developments in Shakespeare’s female roles
• Elaborate stagings such as Reinhardt's Midsummer Night’s Dream,  and other notable film and television versions
• Scenes of possible stagings by John Gilbert for Henry VI in John Staunton's edition (1859)
• Three versions of a scene from Titus Andronicus
• A series of Hamlets
• Contemporary personalities relevant to Shakespeare's stage