the connoisseur as excelling in this art which
has of late been so admired by a larger public.
But in England, just as the big public became
interested in etching the taste for the etch-

In a

finds, and his colour, if not so finished in its
total harmony, is far less arbitrary.
word, Turner never painted a scene without
striving to improve it; Mr. Hunt never painted
one without feeling his powers unequal to reflect
He has always
worked with the conscience of a realist and
with the passion of a lover.

as to be

That there is something of effort, even of strain, in much of his work is inevitable from the enormous pains bestowed upon it and the which it has been executed, but these are high pressure (mental and intellectual) at defects of noble qualities so rare almost unique. "The greatest effect with the least trouble" is the motto of most painters of to-day; and indifference to beauty and refinement, both of subject and sentiment, is so much in vogue that Mr. Alfred Hunt is somewhat of an anachronism. Only a few names can be mentioned, and those mostly among water-colourists, whose aims in art are at all parallel to Mr. Alfred Hunt's. How many are there besides Mr. North who could paint with such minuteness, and yet with so much breadth and atmosphere, the tender masses of verdant undergrowth which we see in Mr. Trist's "When Summer Days are Fine" (18)? how many besides Mr. Albert Goodwin have the patience and the skill to work out for us the infinite gradations of light and colour on culty of such work is alone enough to make it 'Whitby Cliff at Sunset" (136)? The diffirare; and its rarity is of a kind which deserves to be held in high esteem, for it requires for its production no mere manual dexterity or trained eyesight, but a mind as sensitive and finely strung as that of a lyric poet.

66

covery of an acte de naissance at Haarlem, of
a rente après décès at Amsterdam, has procured
a substantial post and a fragile reputation.
Happily Mrs. Pattison's claims to discuss
the art and life of Claude are founded uponings of Claude began to decline. This, how-half the beauty which he saw.
something I can esteem more highly than the ever, can only have been a part of that
document inédit. They are founded on a wide general movement in this country against
knowledge of art, on a minute knowledge of his painted work, for which Mr. Ruskin will
the art of France and of the Renaissance. probably be proud to own himself in a measure
They are the claims of one who knows the responsible. In France, and elsewhere, Claude
beauty of finely wrought things and under- holds his ancient place, though I confess my
stands their characteristics. In a word, own opinion that he holds it to some extent in
Mrs. Pattison feels and writes as well as virtue of the yet widespread ignorance of the
barrows. Moreover, she knows a very great art of Turner. Anyhow, there can be no
deal more about Claude than I do, and it occasion for separating his etchings from his
would therefore only be with extreme reluct-painted pictures in the estimate of his work,
ance that I should persuade myself of defects for certainly he was as nimble with the
in her work. As a fact, it would appear needle as with the brush; the spirit and the
that her book is done with singular complete- quality of the one work may be found in the
ness; it takes its place upon one's shelves at other; and upon his plates Claude bestowed
once as a permanent possession; its fresh facts the same secrets of graceful and ordered com-
are many and of value; its criticism is position which lurk in his canvases. Mrs.
weighty, judicious, and cordial. Admirable, Pattison-not to speak of minor forms of
for instance, and quite removed from the illustration-gives two Amand Durand repro-
limitations of the narrower contemporary ductions of the etchings of Claude. The
julment, is her comparison of Claude with prints selected are the two most famous ones
Poussin-her indication of what the one lacks the "Bouvier" and that" Soleil couchant"
and the other has. "Le Poussin avec sa which Dumesnil distinguishes with the number
haute science et son profond sérieux," says 15. On the whole, the choice will be popular.
she, "domine tout le champ du paysage his- But the "Troupeaux en Marche par un
torique." Claude, on the other hand, to Temps d'Orage," if given by the same process,
adopt the expression of Charles Blanc-who would have made, perhaps, a more fitting
is most correct when it is not the moderns complement to the ineffable calm of "Le
that he is appreciating-Claude is more Bouvier," to a serenity which Turner has
"arcadien." And, further, Mrs. Pattison's reached perhaps only in the "Severn and
comments upon the spirit in which Turner Wyc." And I am sorry that Mrs. Pattison,
imitated Claude and sought to be placed by in this careful chapter to which I have chiefly
the side of him show a sympathetic insight devoted myself-where others equally careful
into the reasonable ambition of our greatest and estimable abound-has not said a good
English master. "Il témoignait ainsi," says word for the supreme grace of an etching
my authoress,
which is surely known to her in that "state"
in which alone the supreme grace is found.
I mean the "first state" of the " Shepherd
and Shepherdess conversing"-I forget
whether that is precisely the name by which
it is known in French-it is the state in
which one of the most exquisite, light, and
slender of all the trees of Claude rises into
the top of the copper. After a very few
impressions had been taken, it was cut down,
Heaven knows why; but it fell into com-
I find Mrs. Pattison particularly interest-parative ugliness and worthlessness at a stage
when she discusses the etchings. These even earlier than was usual with the etchings
Aber in all, according to the list of Robert of Claude. Often a "second state" is still
snil, forty-two plates, of which some excellent; in the case of the "Bouvier" it
insignificant. Rembrandt did about seven is all that is attainable; but the really late
es to every one of Claude's; yet the states of Claude are nothing but gross mis-
amber that Claude executed is, nevertheless, representations and distortions of his art.
excess of that which has sufficed to make
FREDERICK WEDMORE.
reputation of a first-rate etcher. Vandyke
only about half as many; and though
yon did many more, of one kind and
ther, his fame rests practically on his
xecution of about five-and-twenty. The
rest are relegated to his "Minor Work." The
tchings of Claude are very various in quality,
they belong to at least two periods of his
-periods which were separated by several
For years he abandoned etching.
Pattison, whose study of the matter is
te where it might only have been in-
gent, follows the course of his labour with
etching needle, and rightly connects cer-
of the subjects of the etchings with
in drawings and studies by the master.
Sade has for a long time been accepted by

de son admiration profonde pour celui qui Tavait devancé et dont il était à même, autant personne, d'apprécier les conquêtes. Il rait dire a ceux qui savaient lire dans une ne noble, 'Anch' io sono pittore !'" But it will not be imagined, because I praise se things, that Mrs. Pattison in an exEaustive and well-studied volume can confine herself to an ingenious generalisation or a

magnanimous surmise.

THE WORKS OF ALFRED HUNT.

The collection is very interesting, as it shows days to the present time. We find from the us the development of the artist from his Oxford first that his imagination was attracted by the stern grandeur of barren mountains, as well as by the splendour of the sunset and the fairylike beauty of stream and dell. The same severe spirit which is seen in the "Styehead Pass" of 1853 animated a fine drawing of the Cuchullin Hills in Skye sent to the Water-Colour Society a year or two ago. The "Styehead Pass" is gray almost to monotony in colour, but its sweep of the solitary pass with great power. design is magnificent, presenting the grand On the other hand, we find in Mr. Budgett's "When the Leaves begin to turn" (101), painted four years later, a study of ferns and stones pre-Raphaelite in minuteness of execution and in unswerving accuracy of form and colour; this and an exquisite "Harlech" (400) of the same date, belonging to Mr. W. Newall, jun., are the prototypes of such later masterpieces as the "Mountain joyous with Leaves and Sheaves (129) of 1873, lent by Mr. Humphrey Roberts, and Mr. Trist's "Loch Maree" (118) of 1871. Such works as the two last-named and the Whitbys (133 and 136), Mr. Kenrick's "Leafy June" (124), and the lovely watercolour "Ullswater (27), belonging to Mr. R. S. Newall, give Mr. Hunt his greatest claim to distinction among landscape artists past and present. They are all scenes in which aimspiritualised by the light of the sun. the aspect of the earth is transfigured and artists have seen and painted the same, or similar, effects, but none has seen or painted them quite in the same way. Mr. Hunt seems throughout to have been urged by a double care-to be faithful at once to the sight of his eyes and the image of his mind. No painter listens more impartially to the rival claims of reality and

Colours is one of those few artists whose
THE President of the Royal Society of Water-
is to paint the rarest and subtlest effects of
light and mist. In this and in the lightness of
the key in which he generally delights to paint,
and sometimes, though more rarely, in the
impressiveness of his design, he may rightly be
deemed a landscape artist of the Turner
school. But only, I think, in these respects.
He is in no sense an imitator of the great
poet-artist. He also is a poet, but his music,
if less varied and potent, is his own; with less
invention, he is more faithful; if he invests a
scene with less imaginative majesty, he seeks
more earnestly to express the beauty which he

idea.

Other

COSMO MONKHOUSE.

MR. DUNTHORNE'S GALLERY.
MR. DUNTHORNE has on view at his rooms in
Vigo Street a few very choice things. Mr.

North, an eminent living member of the old Water-Colour Society, is represented by some agreeable and truly artistic drawings; but more memorable, of course, is the one exhibited work of Frederick Walker, and less frequently visible are the drawings of Pinwell. Frederick Walker's single piece is that famous example of his art, "The Harbour of Refuge.' That is, it is the finished water-colour. The subject was variously treated by the artist, but in the drawing at Mr. Dunthorne's his delightful fancy reached its most finished expression. By G. Pinwell, an artist who, it will be remembered, was cut off young, like Walker, there are two drawings as to which it has been said already, in another place, that, along with "The Elixir of Love," which is not present, they would have constituted a sufficient representation of Pinwell's art. It may well be that "The Elixir of Love was a more entertaining, but it could hardly have been a more exquisite, drawing than those which are now exhibited. They select as their subjects the two companion incidents in Mr. Browning's "Pied Piper of Hamelin "- -a poem which may be described as the infant's easy introduction to the most subtle of poets. The two scenes depicted by Pinwell are scenes of departure. In the one, it is the rats which gather nimbly at the Pied Piper's feet and prepare to follow the weird wanderer who has them under his charm. In the other, it is the children who, because the people of Hamelin have not kept their promise to the Piper in the matter of recompense, must now needs follow the music and the persistently trudging footsteps as they make for the remote hills. We do not admire everything in Pinwell's technique. It is surely true that his use of body colour was excessive; but his draughtsmanship was at all events significant and dainty, and when he died, only a young man, the sources of his invention were not dried up; on the contrary, he was flowing and fertile. He had a genuine insight into various character, and an appreciation of much in form that was either expressive or lovely.

CORRESPONDENCE.

AYSGARTH DEFENCE ASSOCIATION.

1 Oppidans Road, N. W.: Feb. 2, 1884. An association is being formed for the defence of Aysgarth from the dangers with which it is threatened, of which the ACADEMY gave a brief account a fortnight ago. The president is Lord Wharncliffe; the hon. secretary Mr. J. H Metcalfe, Leyburn, Wensleydale. Among those who have already joined it are Mr. Ruskin, Messrs. Alma Tadema, E. J. Poynter, Alfred Hunt; Profs. Henry Morley, Gardiner, W. G. Adams, De la Motte, Warr; Messrs. Richard Garnett, Walter Besant, Gosse, Cornelius Walford, C. E. Maurice, &c. All others who sympathise with this defence are invited to send their names either to Mr. Metcalfe or to me. Copies of petitions to the Houses of Parliament may be had on application to Mr. Metcalfe, to whom also subscriptions may be sent. We feel sure that the beauty of Aysgarth cannot lack JOHN W. HALES.

the shi

able, if not quite good-tempered, review of deciphering Leonardo's MSS. may be counted
my work-a purely literary production-ap-on the fingers of one hand, including, of course,
peared anonymously in that great political M. Ravaisson himself and Prof. Govi, of Milan, whe
paper, I left it to answer itself. However, in Now, since my Times critic intends to start are
opening M. Ravaisson's recent publication on publication of photographs of the Leonardo
Leonardo, I find it openly stated, on the first MSS. in England, I would venture to advise emp
page, that a well-known and deservedly re- him, in the interest of those who care for their stal
spected English artist had written the articles contents, to have the texts also transcribed by ald
in the Times referred to. There is, therefore, competent men. Speaking from my own its
no longer any reason for reticence regarding a experience, I must say that the difficulty of
૬ date
review which my friends and others consider reading is greatly increased by the somewhat antic
to be an unfair one, especially as it is now indistinct appearance of the letters on photo-the en
ascribed by name to one whose genuine graphs. With regard to the Leonardo MS. at syste
interest in Leonardo there was no reason to the British Museum, which would probably be of 1
doubt, but who can no longer shelter himself one of the first to be photographed, I would, t
behind the editorial "
we. Allow me, then, point out that it opens with the following
to show a few of the instances in which my passage:-
critic has allowed his wish to write an interest-
ing article to get the better of his sense of
justice.

"This is to be a collection without order, taken int from many papers, which I have copied here, hoping to arrange them later, each in its place, according to the subjects of which they may treat," &c.

ISS.

of

wit

labor

ha

will

to I

be e

By quoting a quaint passage from Leonardo, which had to be translated in all its literal obsoleteness, as my own "General Introduction In my publication I have adopted an arrange to the Book of Painting" (Prolegomena), he at ment of the subjects in their logical sequence.rar once creates the impression in the mind of the In the opinion of my critic, however, the superficial reader that my work is indigest-treatise on painting, as arranged by me, is ible, and, by further putting his Italian "confused by extraneous matter, useless to the dictionary under contribution, he is enabled painter, and puzzling to the general reader." to find the desired mote in another's eye. Otri, As I myself point out (vol. i., p. 242) that the hel he says, according to Baretti's Dictionary, texts which treat of the painter's materials had should be translated as 66 bladders," not "air- been added to the Libro della Pittura to serve sacks." If he will refer to the higher authority as a supplement and an appendix, there is of the Vocabolario della Crusca, or Farfani, he will neither ingenuity nor common fairness on find that I am right. But what would my critic the part of my critic in reproaching me for have said if I had actually gone further, and having made one of the chapters "to consist translated it "the inflated goat-skin," which simply of a list of twenty colours and chemical otro really is, and for which "air-sack" is at ingredients. A painter would see that this least as correct a rendering as "bladder"? was probably merely a note of articles to be What, however, can an impartial reader think ordered from a colour shop." of a critic who avails himself of a possibly doubtful translation of one word to condemn the whole work in which it occurs by coolly asserting

"After this specimen, the reader will not require
must at once say that Leonardo's style is of an
entirely different calibre from this translation"?
It would be well if my critic were to put his
own translation of Leonardo side by side with
mine and with the original.

an elaborate examination of the treatise. We

As regards my transcripts of Leonardo's MSS., it stands to reason that my critic must wish to depreciate their accuracy, while availing himself of the assistance they afford "in the direction of a knowledge of the contents of the various note-books," as long as he cannot carry out his gigantic plan of producing photographs after the original MSS. in England, numbering about two thousand pages.

Not a few of the 1,566 texts published in my work may already be verified by reference to the photographs reproducing some 160 sheets of original MS. at Paris in the two portly volumes edited at the expense of the French Government by M. Ravaisson. The Literary Works appeared, it will be remembered, some months before the French savant brought out his second volume. He gives in it, as an Appendix, several lists of errata, filling nine closely printed folio pages, mostly printer's errors or slips of the pen, of not much consequence even in scientific publications; they are THE PROPOSED REPRODUCTION OF THE MSS. OF perhaps unavoidable. But among his corrections

defenders.

LEONARDO.

London: Jan. 28, 1884.

It has of late repeatedly been suggested that Leonardo da Vinci's MSS. in England should be reproduced in facsimile by photography. The promoter of this scheme, which is advocated in several issues of the Times, may not unnaturally have considered it desirable to depreciate my recent publication of The Literary Works of Leonardo da Vinci in order to pave the way for his own. Accordingly, as his lengthy and

of serious blunders there are not a few-I may
say so without presumption—which he has cor-
rected from a reference to my Literary Works,
a fact which, indeed, he gratefully acknow-
ledges in several instances. Apparently, M.
Apparently, M.
Ravaisson's views about the reliability of my
transcripts and translations are somewhat
different from those of my Times critic. To the
credit of the learned Frenchman, I must also
say that scholars of the present day who have
trained themselves in the difficult task of

In reply to the further reproach of having made an injudicious_selection of texts, I may simply reply that I have made no selection at all, but that I have conscientiously reproto painting, sculpture, architecture, geography, duced from the autographs everything relating philosophy, &c., duly leaving it to the reader, whether a specialist or no, to skip the chapters in which he may feel no particular interest. An artist's advice in a publication of Leonardo's writings on the fine arts is, perhaps, indispensable; and my readers have no doubt noticed in my Preface that in the preparation of the work I had the advantage of the inde fatigable assistance of a highly distinguished R.A.-a circumstance which somewhat consoles me for not having sought the advice of a specialist in a limited field.

I am truly glad that I have not "shocked the artistic sentiment" of my critic by "advancing the charge against Leonardo that he turned Mussulman " (though I am far from denying it) during his stay in Egypt and Syria, not, b it remembered, as a painter, but as an engineer I certainly "maintain that Leonardo took ser vice under the Sultan of Egypt" in that capa city, in which he was succeeded by a Germa

66

66

The matter was well threshed out in Frenc journals," but with a result exactly the co trary of that implied by my critic, as may shown by a quotation from the Gazette des Beau Arts, which certainly does not justify my criti denunciation of me as 39 a writer who, search of discoveries, may arrive at the wild conclusions." M. Ravaisson has thus summ up his discussion of the subject (Gazette Beaux-Arts, 1881, p. 522) :"Pour conclure, tout bien pesé et considéré, textes autographes de Léonard de Vinci prod par M. Richter, comparés à l'ensemble des au textes du grand Italien dont l'authenticité est taine, paraissent prouver, comme il le dit, Léonard aurait réellement visité l'Orient' dant sa jeunesse."

Prof. Thaussing, Ribbach, and others since, in their writings on Leonardo, acce

as facts what are here styled "the wildest conclusions."

In making the above remarks in pure selfdefence against what will now, probably, be thought to have been a scarcely justifiable attack on my book, I do not in the least intend to depreciate the importance of an undertaking which, if successful, would be most welcome to me, because it would furnish a complete answer to the criticism itself, by being a test of the transcripts published in The Literary Works. I can assure my critic of my best wishes for the filfilment of the expectations he appears to pisce in some "systematic search for Leonardo's many volumes of notes still undiscovered." I may, however, tell him that there is no reason to suppose that Leonardo's MSS. had been used to light kitchen fires." I had made it a point to ransack the public and private libraries of this and other countries in search of MSS. of Leonardo, and I must reanain satisfied with the results which many years of such labour have yielded. In any instance, if they have escaped the fate of the Alexandrian Library, through the instrumentality of old ladies or others, I hope that their present owners will now come forward to comunicate them to my critic, so that my feeble rushlight may be extinguished in the blaze of the full light which such results, arrived at in so "scientific" a manner, may throw on Leonardo da Vinci. JEAN PAUL RICHTER.

I

THE TEUTONIC KINSHIP OF THRACIANS AND
TROJANS.

Oxford: Feb. 3, 1884.

character. I might have added that the names
of Thracian divinities-Bendis, Atartis, Gebe-
leizis, and the rest-show absolutely no points
of resemblance to those of the early Teutonic
tribes. Had I not wished to confine my_com-
parisons to the purest Thracian area on Euro-
pean soil it would have been easy to dwell on
the evidence afforded by the monuments of the
Asiatic members of the race, and notably the
Phrygian, our knowledge of which has been so
largely increased by the researches of Mr.
W. M. Ramsay. The Greek affinities presented
by the relics of the old Phrygian language
(the modern representative of which appears to
be the Armenian) are generally recognised. Mr.
Blind has yet to interpret these inscriptions by
the light of Ulfilas.

"Comparative philology," to quote Mr.
Sayce's words, "has now proved that the old
(Thracian) language of Phrygia occupies a
middle place between the Greek on one side
and the Slavo-Lettic on the other." Mr. Karl
Blind must therefore be content to claim rela-
tionship with Thracians and Trojans through
his nearer (I fear I cannot add dearer) Slavonic
kinsmen.

ARTHUR J. EVANS.

NOTES ON ART AND ARCHAEOLOGY.

February 22, the first of a course of six lectures to ladies, at the British Museum, on "Egyptian Art," illustrated with diagrams, and afterwards by a visit to the Egyptian galleries. The object of the course is to give an outline of Egyptiar: art as introductory to the art of the classical nation. The fee for the course is one guinea. Further information may be obtained from Miss Jenner, 63 Brook Street, or from Mr. R. S. Poole.

MR. JOHN BATTY has presented casts of two Anglo-Saxon carved stones in Rothwell parish church, Yorkshire, to the Leeds Philosophical Museum. These stones were minutely described some time ago in the Journal of the Yorkshire Archaeological and Topographical Association (part xxvii.), and were the object of a very interesting letter by Prof. Stephens, of Copenhagen, copied into the Antiquary early in 1882.

M. LOUIS LELOIR has lately died in Paris. He was but a middle-aged man, for he had two brothers, both of them devoted to the art scarcely reached fifty. The more prominent of of water-colour, Louis Leloir was almost at the

head of the modern French school of watercolour painting. He was a nimble and spirited draughtsman, an audacious colourist, and, to boot, a keen and sympathetic observer of a was never a characteristic of his labours. His wholly mundane existence. Artistic reticence art was very skilful and not a little cheeky.

THE STAGE.

of

THE election of Mr. Colin Hunter to the honours of the Associateship was one of the surprises which, as it would seem, the Royal Academy occasionally prepares for the unimaginative mind. The evening when Mr. Woods was chosen was perhaps the last occasion until MISS ANDERSON'S NEW PART. now when the art public had opportunity for Although nothing that I can write is likely astonishment, though it is true that Mr. Brock's WE think Miss Anderson shows more real to shake Mr. Karl Blind's belief in "Geto- election did not occur at a very appropriate power in "Comedy and Tragedy" than she did Germanic" Thracians and Trojans, I may be moment. Perhaps it may now be held, how-in Mr. Gilbert's mythological piece. The general pardoned a few concluding observations. The ever, that Mr. Woods and Mr. Brock have jus- current of criticism, however, seems to be names "Aspurgion" and "Teutoburgion," on tified the favour of their brethren, and we can setting rather against her, as, on the whole, which Mr. Blind lays so much stress, simply do hope that Mr. Colin Hunter will do the same. her new performance is spoken of with less ot exist anywhere within the old Thracian Still, his election will appear to many to be at approval than was given to her earlier appeararea. The 'Agroupyiavol of Strabo (from whom, the least premature. We do not express this ances. But there is nothing very surprising in suppose, Mr. Blind extracts his form "Aspur- opinion in the interests of any single candidate. this. It is, we think, only the natural reaction zan") inhabited part of the old Sarmatian land The interests of any single candidate are ill- from a temper of eulogy too unmixed. There to the east of the Palus Maeotis, and were served by an attempt to force his election, for was at first a chivalrous disposition to see burdered, therefore, by a race to be carefully dis- the Academicians act, no doubt, with a sense of nothing but good in the most prominent actress tinguished from either Thracians or Getae. That their responsibility, and cannot but resent the who for many years has come to us from across Eray Germanic tribe should have reached the dictation of the too enthusiastic publicists who the Atlantic, and there is a measure of disapouth of the Tanais by Strabo's time is not in- have, if the word may be allowed, their pet pointment in the discovery that the possessor conceivable when we consider the high antiquity protégés. At the same time, the course of events talent and undeniable charm is not the possessor the trade routes between the Euxine and the at the last election is undoubtedly surprising, of the fullest genius. In "Comedy and Tragedy" Baltic: witness the late remarkable gold find and the clever and highly promising young Miss Anderson at least shows that she adds to in East Prussia of Greco-Scythian ornaments Scotchman on whom the choice has fallen may the possession of charm much experience and ating from the sixth century B.C. In any deem that it is by a fortunate accident of serviceable tact. The story of the piece has ase, however, the High-German form of the election that he is numbered already among a been told at length in the daily papers. It is Lame "Aspurgiani" would be fatal to their body from which painters of the figure like briefly that of an honest and home-loving thic origin. Nor is Mr. Blind a whit happier Mr. Albert Moore and Mr. J. D. Linton, actress-a person of blameless conduct, a proth his second example. The name "Teuto-painters of landscape like Mr. Alfred Hunt, ficient in her art-who, being pursued by the gion" first appears in Ptolemy as applied addresses of the Regent of France, plans to a Pannonian town on the Middle Danube, receive him on one occasion in order that he in a region which, so far as we can learn from may fall into the hands of her husband. The cient sources, was never Thracian in any Regent and his friends arrive to supper; he is ase, and where, by the second century of our Germanic colonists may well have fixed in Water-Colours were opened on Monday by a THE Schools of the Royal Institute of Painters detained alone with Clarice, and the husband, by arrangement, breaks in upon them to chalshort address from Mr. J. D. Linton, the Vice- lenge effectually one whom hitherto he had President of the Institute. The teaching is challenged in vain. While the Regent and the husband of Clarice are fighting in the garden, rightly gratuitous; but, with equal justice, a pretty high standard of proficiency is exacted Clarice entertains the guests-who know nothing from those who seek to profit by it. There are of it-with one of those "improvisations" for at present between twenty and thirty students. which she is supposed to be celebrated; and For the present there is no room for ladies; "comedy" is succeeded by "tragedy" when, Both Cech and but this is, perhaps, not so very much to be passing from the scene that has engaged her, regretted, as at the Slade and at Kensington Clarice breaks into anguish at hearing what they are, to say the least, cordially encouraged. she thinks the cry of her husband. The guests scene; but it is in truth The new schools of the Institute are held in take it to be still a Great Ormond Street, in the studies occupied reality-a reality, however, not so unfortunate in the evening by classes of the Working Men's as she had imagined, for her husband rushes in College. Mr. Linton and Mr. Alfred Parsons to her, and it is the Regent who is mortally have been the first Visitors. Each Visitor visits wounded. In the brief time which the piece on alternate days for a fortnight. takes to play, the actress is required to pass through a world of varied emotion. And Miss MISS HELEN BELOE will deliver on Friday, Anderson's own variety is often very consider

1-mselves.

"

When, again, Mr. Blind professes acquaint-
with writings of certain "Panslavists
Prague and Ragusa "who found a claim of
sia on Constantinople on the alleged con-
quinity of Thrakians and Russians," he is
fessing acquaintance with writings which I
Pature to say do not exist.
rusan philologists are better informed, and
with those of the Roumans (the best lineal
sentatives of the Thracian stock on Euro-
n soil) in recognising the title of the
cians to an independent place in the Aryan
ly. It is not sufficient to urge isolated
1l similarities. The Thracian elements on
ich I relied for illustration represent in each

a whole class of well-ascertained Thracian Words, and those wholly un-Germanic in their

Mr. John Syer, and Mr. Keeley Halswelle,
and painters of the sea like Mr. Henry Moore
and Mr. Edwin Hayes are all at present
excluded.

66

able, as-to take a small instance-in her reception of the many guests, for each of whom she has not only a new word, but a new manner, of cordiality and welcome. At the close she becomes exciting the situation, we admit, is intense; but, then, she does not show herself unequal to it. Mdme. Sarah Bernhardt or Mrs. Kendal might do still more with it, but what is done by Miss Anderson is enough to strike and interest. In the whole play Clarice is really the only dramatis persona of importance; but the airs of Mr. Alexander as the husband are those of a man brave and in earnest, and Mr. J. H. Barnes makes an effectively egotistical and libertine, if not exactly a seductive, Regent. And Mr. E. F. Edgar gives great gravity and meaning to the few words he has to speak as the old Doctor, who is sorry to think ill of Clarice, but to whom the supper-party is, for the moment, damning evidence. We make two criticisms of detail. One of them has been made before, and it applies to the author. Why did not Mr. Gilbert, who has taken the pains to make his dialogue brilliant and characteristic, take the pains also to violate the truths of history less obviously than by causing the Regent of France to die years before he really died? The other is a question of attitude; we are not quite sure about it, but

we fancy that the tenue of the period was somewhat too stately to make it likely that a staircase was used so continually as a seat. Miss Anderson, early in the play, takes up her posi

MUSIC.

RECENT CONCERTS.

AT the last Monday Popular Concert, Miss
Agnes Zimmermann played a new work of Mr.
C. V. Stanford's-a Sonata in D flat. We can
recall movements, but no Sonata, in that key by
any of the classical composers, even including
Schumann and Chopin. Mr. Stanford has
selected, too, a form of composition singularly
neglected at the present day; a short piece
with a title or motto, an Etude, or, still better,
a Fantasia proves more attractive. All com-
posers of fame since Beethoven have written
Sonatas, but it is not by these works that they
are principally remembered.
Mr. Stanford's
composition is in three parts. We have first an
adagio leading to an allegro. As in Beethoven's
Sonate pathétique, so the slow introduction
re-appears in the course of the quick movement;
we fancy, indeed, that we detect in it a rough
sketch of the principal theme to which it leads.
The composer, though acknowledging form, is
not fettered by it, and there is much to interest
in the plan and developments of this first
section. There is a restlessness about the next
movement (intermezzo); but we do not think
the pianist interpreted the second theme with

the tranquillity necessary to obtain contrast.

The finale is brilliant, but the least valuable
part of the work. We frankly give first
impressions: the Sonata requires, and we think
deserves, a second hearing.
The pianoforte

Richard Wagner is not forgotten by his
friends in this country.
Last Sunday evening

Mr. Leo Frank Schuster commemorated the
death of the great master by giving at his
residence a programme selected entirely from
Wagner's works.
We do not propose to

criticise the performance, but merely to record
the honour rendered to the great man who lived
in advance of his age. The student of history
ought to note the quiet, yet zealous, efforts of his
followers, who, in Gibbon phraseology, are slowly
but surely erecting the triumphant banner of
the music drama on the ruins of Italian opera.
There were selections from Tristan," Die
Meistersinger," and the " Ring des Nibel-
ungen.' The vocalists were Mrs. Hutch-
inson, Fräulein Friedländer, Miss Mason,
and Messrs. Thorndike and Winch. Mr. Carl
Armbruster contributed valuable service by
his clever pianoforte accompaniments, and
also by his conducting of the Siegfried
Idyll, for which a small orchestra had been
gathered together, with Herr Ludwig as leader.
We cannot help noticing that the day fixed for
this anniversary festival, February 3, was not
that of Wagner's death, but that of Mendels-
sohn's birth.
J. S. SHEDLOCK.

MACMILLAN & CO.'S LIST.

TENNYSON'S WORKS.

tion there as if in an accustomed place; and part, admirably played by Miss Zimmermann, THE WORKS OF LORD TENNYSON,

later, when Clarice is engaged in improvising, several of the guests dispose themselves likewise on the ample steps. The ease of the thing is very modern. It certainly did not belong to the last generation. Did it belong to the early years of the eighteenth century?

STAGE NOTE.

POET LAUREATE. A New Collected
Edition, Corrected throughout by the Author.
With a New Portrait. Crown 8vo, 7s. 6d.

A NEW NOVEL BY GEORGE FLEMING.

Author of "A Nile Novel," "Mirage," "The Head of
Medusa," &c. 2 vols., Globe 8vo, 12s.

is very difficult; the style of writing for the instrument is at times very much after the manner of Chopin. At the close there was considerable applause, and Mr. Stanford came forward and bowed acknowledgment from the platform. Another interesting feature of the VESTIGIA: a Novel. By George Fleming, evening was the appearance of the new American tenor, Mr. Winch. His voice is agreeable in quality, and his style excellent. songs by Handel and Purcell, and obtained Regi-well-deserved success with two songs by Raff and RALPH WALDO EMERSON, Jensen, both well accompanied by Sig. Romili. The programme included Mendelssohn's Quartett in D major and Rheinberger's favourite Pianoforte Quartett in E flat.

He sang

Prof.

NOW READY, with INTRODUCTORY ESSAY by
JOHN MORLEY.

LECTED WORKS of.

THE COL(Uniform with the Eversley Edition of Charles Kingsley's Novels.) Globe 8vo, 5s. each volume.

1. MISCELLANIES. With an Introductory Essay by JOHN MORLEY.-2. ESSAYS.-3. POEMS.-4. ENGLISH TRAITS: and REPRESENTATIVE MEN.-5. CONDUCT of LIFE: and SOCIETY and SOLITUDE.–6. LETTERS: and SOCIAL AIMS, &c.

"Of these editions, Messrs. Macmillan's is probably the
most taking, if only for Mr. Morley's thoughtful and
charming preliminary essay."-Spectator.
STUDIA SCENICA.-AESCHYLI, AGA-

MEMNO. BY DAVID S. MARGOLIOUTH, Fellow of
New College, Oxford. Demy 8vo, 2s. 6d.

The AUTHOR of "JOHN HALIFAX, GENTLEMAN.”
-The first of a Series of Papers by this Popular
Writer, entitled "AN UNSENTIMENTAL JOCENEY
THROUGH CORNWALL," appears in "The English
Illustrated Magazine" for February.

WALTER BESANT, Author of "All in a Gardes Fair," &c.-The first part of a New Story, entitled "JULIA," by this Favourite Novelist appears in "The English Illustrated Magazine" for February.

MR. HAMILTON's amusing comedy "Our
ment," at the Globe, cannot really be so com-
plete an adaptation of Von Moser as certain
enterprising discoverers imagine. So, at least,
would be said by anyone going straight into
the theatre without special knowledge of the On Tuesday evening a concert was given at
precise accusation, or of the method of denial-
St. James's Hall for the benefit of the Royal
these are English characters, the playgoer may Normal College of Music for the Blind, which
say: that is the English curate of a lively order; has been conducted with so much success for
that is the good-naturedly conceited young many years by Dr. Campbell.
The college
soldier of the Lancers; this is a group of Report was distributed in the hall, so that one
English girls; and that is a fussy English could read of the noble work being carried on
middle-class matron. For ourselves, we do not with such signal musical success, and also of
profess to go into the matter farther. We the financial difficulties. It is a charity which
merely thank Mr. Hamilton-author, adaptor, deserves support, for the Principal does his best
as you will-and the vivacious and graceful to render every department of the college as
company that has been got together, for an perfect as possible; and he has proved that the
evening that is, at all events, entertaining.blind, properly trained, are able to compete in
The cause for entertainment is continuous; the the world with their seeing brethren.
fun is all healthy; vulgarity, sometimes so Karl Klindworth came over expressly from
'farcical comedy,'
abundant in the
," is con- Berlin to conduct the concert. His reading of
spicuously absent. Mr. E. J. Henley represents Wagner's Vorspiel to the "Meistersinger" and
amusingly the worries of the father who does the two orchestral movements from "Tristan "
not contract for a moment that military fever differs considerably from that of Herr Richter;
which besets a garrison town; Mr. Young is a we have become so used to the latter that it was
genial friend; Mr. E. W. Gardiner portrays interesting to hear the now familiar music
the humours of a clergyman who was "one of under new direction. The college choir dis-
the noisiest men at Oriel; and Mr. Gerald tinguished themselves in various pieces by
Moore is simply delightful with the young Wagner, Gounod, Mendelssohn, and Liszt.
soldier's good-humoured self-assurance. And One part of the programme, indeed, was devoted
as for the ladies, Miss Carlotta Leclerq is entirely to the last composer, and included the
properly gushing, Miss Fanny Brough delivers charming Chorus of Reapers from Herder's
repartee with a piquant significance, Miss "Prometheus," and an Ave Maria and Ave
Trevelyan has a distinct grace of gesture and Maris Stella, Nos. 2 and 7 from the composer's
carriage, and Miss Abington is very taking and new Kirchen-chor-gesünge. The latter are quiet
expressive. So that altogether it is a good and elegant specimens of church music-as
cast, employing usefully many agreeable people music, however, not particularly interesting.
who are not, for the nonce at least, invited to Mr. Alfred Hollins, one of the best pupils of
portray profound emotion, or to act with the the college, gave an excellent performance of
intellectual subtlety of "high" as distinguished Beethoven's Emperor Concerto. Mdme. Albani Single Numbers, 6d.; by post, 8d.
from "farcical" comedy.

was the solo vocalist.

Price SIXPENCE; by post, Eightpence.

ENGLISH ILLUSTRATED MAGAZINE

CONTENTS FOR FEBRUARY.

IV. THE CHARACTER of DOGS. By R. L. STEVENSON.
With Illustrations by Randolph Caldecott.

V. THE HUMMING-BIRD'S RELÂTIVES. BY GRANT
ALLEN. With Illustrations by Charles Whymper.
VI. JULIA (to be continued). By WALTER BESANT.
VII. THE CAMPAGNA: a Poem. By AUGUSTA WEBSTER.
VIII. THE ARMOURER'S PRENTICES. BY CHARLOTTE
M. YONGE. Chapters X., XI., XII.
ORNAMENTS, INITIAL LETTERS, &c.
Yearly, post-free, 78. 6d.
LONDON: MACMILLAN & CO.