but he will continue to edit the inscriptions discovered in the course of the society's excavations. It will readily be understood that the society owes much of the success which has attended its negotiations in the above matter to the good-will of the Khedive, and to the interest taken by his Highness in the history and antiquities of Ancient Egypt. CORRESPONDENCE. BEWICK COLLECTORS. London: Feb. 25, 1884. Public attention being just now directed to the works of Bewick, can you afford me space for a brief critical notice, which may not be without interest for his admirers and for collectors, and which certainly concerns his fair fame as an engraver? I have had occasion lately to examine the Rev. Thomas Hugo's Bewick Collector, "containing impressions of 2,000 wood-blocks, engraved for the most part by Thomas and John Bewick," in which the student would naturally seek for examples of the artist's work-I would say, of the work of Thomas Bewick; we may let pass the productions of the brother. What this collection really contains I purpose here to set forth. Nos. 1 to 12 (Fisher's New English Tutor) are certainly not by Bewick. 13-26 (History of all Nations) are not his. "R. P." is engraved on four, and also on later cuts. 26-84. 85-100. Not a hint of Bewick. The refuse of some printingoffice, and utterly worthless. 102-111. (Horn-Book Alphabets.) Boys' work. 112-239. Refuse again. 235, 236, 238, 239, may be Bewick's. 240-276. ("The series of wonderfully beautiful cuts" of Hastie's Reading made Easy.) Not beautiful; and interesting only as showing how very poor his early work was. 278-301. Earliest work, and worthless. 302-307. ("May be Hodgson's.") They are not Bewick's. 310 has Lee's name to it. 311 has Hodgson's name, and is noticeable as being better engraved than anything by Bewick of early date. 312-396. Nothing of value. any 397-432. Nothing to be identified as his. worn. *1012. A good and well-printed cut from the Sportsman's Friend. 1013-1018. (Bunyan's Pilgrim's Progress.) Not a line of Bewick in them, for all that Mr. Poole (publisher), of Taunton, prints Bewick's name under one. 66 I see 1019-1045. (Sovereigns of England.) Unworthy of Bewick, if by him. 1061-1099. (Burns. Among the best productions of the artist.") Some small insignificant tail-pieces may be his, but the larger cuts are not. *1104, 1105, have the Bewick stamp. *1111. A dead horse. As good as the best tail-pieces to the Birds, fairly printed, and in fair condition. 1117-1125. (Thornton's Herbal.) nothing of Bewick's hand here. 1156-1226. (A Description of 300 Animals, 1812.) Described by Hugo as quite equal to those in the Quadrupeds and Birds," but much smaller, without backgrounds, and inferior in every respect. 1129, 1131, 1134, 1146, are by Harvey and Orrin Smith; Smith's name as engraver on them. 1137, 1142, 1143, 1149, 1181, 1213, are also Harvey's drawing, and of a later date than Bewick. | that ve doubts beset the statement here attributed to Northcote. In Leslie and Taylor's Life of Reynolds we are assured that, according to Miss Fanshawe, Mrs. Siddons did not think that the Grosvenor picture was the work of Reynolds at all, and declared positively that "the original was at Dulwich College." Now if that was really the opinion of the sitter, is surely not enough to state, on the authority of Northcote, that the Dulwich picture was the work of Mr. Score, without affording any hin of the positive assertion of Mrs. Siddons her self. For she was, by all accounts, not the sort of person to make such an assertion without any grounds. To show that Mr. Stephens is not exhaustive in his account of this picture, it may be added that there is a replica at Langley Park, which was given to the grandfather of Mr. Harvey by Sir Joshua as his own work. As this picture at least is an undoubtedly authentic work the master, it ought certainly to have been men tioned, when we are told of that belonging Lord Normanton. Perhaps Mr. Beek, the accomplished and courteous secretary of the Grosvenor Galleryhimself an excellent artist and judge of work of art-may be able to throw some light on the evidence of Northcote. Of course it is quit possible to admit that the Grosvenor version may be genuine without casting doubt upon that at Dulwich. It is certain that Desenfant was a competent collector; and one does not see why he should have paid 700 guineas (it is noted in Sir Joshua's Diary as sold to M. Desenfans in June 1789 for £735) for a copy by Score. The price was a very high one, in those days, even for the master's own work. H. G. KEENE. NOTES ON ART AND ARCHAEOLOGY. MR. J. M. GRAY, whose notices of exhibitions and other art matters in Scotland have been for some years past a valued feature in the ACADEMY, has been nominated to the curatorship of the national portrait gallery shortly to be established at Edinburgh. The appointment yet awaits the confirmation of the Government, which contributes £10,000 to the new institution, being the same amount as is offered by an anonymous benefactor. *433-436. Cuts from Select Fables (1784). good faith. But, for his judgment! He seems, next exhibition of the Academy not exactly a spoiled in printing. *437-440. Cuts apparently done for the Fables of 1818, but not used. 441-455. Cheap office-work; some little better work, probably from his hand. 457-505. Cuts by John Bewick. 506-637. Not one worth printing. 638, 639. (From British Birds.) COPIES of the Dog with a kettle tied to his tail, and of the smaller design of a Beggar attacked by a dog; the latter a copy from Clennell. 640, 641, 642. Not Bewick's. 644. COPY of a cut by Wm. Hughes. 646, 647. COPIES: cut without reversing. 655. COPY of a cut drawn by Harvey for Hood's Dream of Eugene Aram. 679. BAD COPY of a tail-piece by Clennell. 802. Has Green's name. 805. COPY of a cut by Bonner. 847. COPY from Harvey. 854. Green "del. et sculp." I have not a word to say against Mr. Hugo's in his simple, ignorant enthusiasm, to have caught at anything and everything which anybody said was by Bewick, with such result as I have here desired to make clear. Among his 2,009 cuts I reckon 65* which would have been worth printing, if printed well, and not hidden under a heap of rubbish. There are other Bewick collectors whom it may be of use to notice. W. J. LINTON. REYNOLDS' " TRAGIC MUSE." Ealing: Feb. 22, 1884. In his descriptive Catalogue of the Reynolds Exhibition at the Grosvenor Gallery, Mr. F. G. Stephens says, of the grand idealisation of Mrs. Siddons contributed by the Duke of Westminster, that M. de Calonne gave Sir Joshua eight hundred guineas for it, and that Lord Grosvenor bought it in 1822 for more than double the sum. "The version at Dulwich was, as Northcote told us, painted by Score, one of Sir Joshua's assistants, and was, according to Malone, sold to M. Desenfans (whose collection is at Dulwich) for 700 guineas.' summe MR. E. J. GREGORY will contribute to the large, but an elaborately wrought, picture of scene on the Thames. The nature which it de picts is somewhat in accord with the " redundant" of Mr. Browning's verse. Neva were the skies bluer, nor the leafage greener In front of this admirable vision of June or Jul weather, there passes a trifling incident, draw with Mr. Gregory's usual tact, from the life the day. There is a house-boat, and a lady a pink gown, and a younger girl in a navy-blu walking dress. Near them is the tussle-we ca hardly say the combat-of several swans, one two of which would appear to have acquired vested interest in the bounty bestowed upo them by the party in the house-boat, and to r sent the intrusion of fresh comers. story of the picture, of which, of course, t real interest consists in the treatment, at on daring and beautiful, of line and hue. It safe to say that the new painting will do mu more than was done by the "Piccadilly" of la year to advance the reputation of one of o younger Associates. It is of great freshness a of distinguished originality. Mr. Gregory likewise engaged on a water-colour drawing r presenting a girl on a tricycle, and a dog boun ing excitedly by her side. This is th WE are glad to hear that Mr. Whistler m shortly exhibit a group of small works execut but lately. These would seem to divide the Exploration Fund. Even more singular is it, MUSIC. RECENT CONCERTS. The solos are curtailed, and others omitted. selves into two series; one of them of labours suggested by the artist's last visit to the Cornish coast-of which the readers of the World have from time to time been made aware in Mr. Whistler's own engaging fashion- and the other of small oil paintings depicting the effects in certain back shops of Chelsea. We shall be interested in seeing to what extent these artistic studies continue the line begun by Mr. Whistler in his earlier French etchings, such as "The Rag Shop" and "La Marchande de Moutarde." MR. BROCK'S bust of Longfellow has this week been placed in Poet's Corner. It is said by those who had an intimate acquaintance with Longfellow to be an excellent portrait, and it is unquestionably a most spirited artistic performance. The poet is arrayed in the robes of a "D.C.L.," the detail of which is neither too THE Philharmonic Society commenced its much ignored nor too much insisted upon. The seventy-second season last Thursday week, poet has an air of vigorous health and hearty February 21. The programme did not conspirits. The bust does not represent him pre-tain a single novelty. Mr. Carrodus played In the unavoidable absence of Mr. cisely in old age. Mr. Brock has also almost Beethoven's Violin Concerto, and the performcompleted his statue of Sir William Temple. ance was a masterly one; the brilliant and Hallé, Mr. W. H. Cummings conducted. The statue itself will shortly be placed in situ, difficult Molique cadenza which he introduced An interesting concert was given on Friday while the plaster model will be sent to the Royal into the first movement gained for him enthusi- afternoon at the Blüthner Pianoforte Rooms, Academy. This is likewise capable sculptor's astic and well-deserved applause. Miss Clara Kensington. Mr. Carrodus played two movework, but we must consider the Longfellow in- Asher, the young and clever pupil of Mr. Georgements of Mendelssohn's Violin Concerto, and finitely more attractive. Mount, was heard in Mendelssohn's Capriccio songs were contributed by Mdme. Sterling and in_B_minor (op. 22). Mdme. Patey sang the Mr. Oswald; but the principal feature of the AN exhibition of drawings in black and white,"Inflammatus" from Dvorák's "Stabat Mater," afternoon was the playing of Mdlle. Marie executed for Messrs. Cassell & Co.'s fine art and Haydn's "Spirit's Song." The former Krebs on a piano with the new arrangement of publications, is to be opened at Mr. Leggett's piece, with its curious mixture of styles, is the strings known as the "overstrung scaling." Galleries, 62 Cheapside, on March 1. interesting, but loses much of its effect by being To each note is added a fourth string, tuned an given in detached form. It was well sung by octave higher, which, by its "overtone reMdme. Patey. The programme included, be- inforcement," adds greatly to the power and sides, Beethoven's "Egmont," Spohr's "Power richness of the sound. Mdlle. Krebs, in a of Sound," and Gounod's " Saltarello," com- variety of solos by Beethoven, Schumann, posed expressly for the society. Respecting Liszt, &c., showed off to advantage the qualithese well-known works nothing need be said. ties of the instrument. Mr. Cusins having resigned, the conductorship this season will be in the hands of four honorary musicians; we gave the names a few weeks ago,, Mr. George Mount wielded the bâton on the first evening. Under ordinary circumstances we should wait till the various candidates had offered themselves for trial, and then to place at the head of the orchestra of this oldname the one whom we thought the most suitable established society; but we feel able to pronounce judgment now at any rate on the first evening. On many occasions we have spoken of the late chef-d'orchestre, Mr. Cusins, and frankly expressed our opinion that he was not the man to lead the band to honour and fame. But his faults were negative; those of Mr. Mount, on the other hand, are positive. His mode of beating time is confusing, and now and then inaccurate; and, indeed, so absorbed does he become in the management of his stick and in the reading of his score that tempo, balance of tone, phrasing, marks of expression, everything, in fact, essential to the faithful rendering of a work, is frequently spoiled, if not ignored. We have nothing to say against Mr. Mount either as a man or as a musician; but his début at the Philharmonic Concerts will not increase his reputation, and can have done no good to that of the society. Brahms' new Symphony was originally announced for the second concert, March 6; but it has been changed to No. 2 in D. M. N. DE WAILLY has had printed as a pamphlet, which is circulated with the current number of the Gazette archéologique, the discourses delivered at the funeral of François Lenormant by three of his colleagues-M. Heuzey, president of the Académie des Inscriptions: M. Delisle, director of the Bibliothèque nationale; and M. R. de Lasteyrie, one of the editors of the Gazette archéologique. A NEW museum has been formed at Rome, in the Baths of Diocletian, to contain the mural paintings that have been found pretty frequently of late years in the course of the excavations. It will be under the charge of Sig. Fiorelli. SIG. GAMURRINI, the Government archaeologist for Tuscany and Umbria, reports, upon an Etruscan balance and weights recently found at Chiusi (Clusium), that they prove Clusium retained its Etruscan standard of weight to a late time. The Etruscan pound was equal to 212-2 grammes; the Roman pound was equal to 327 grammes. M. PH. BURTY writes to us :"M. Gaston le Breton, the director of the pottery museum at Rouen, which is one of the most important in France, has drawn up a descriptive and historical account of its treasures, accompanied by numerous illustrations of specimens remarkable for their intrinsic beauty or their rarity. This work, which can be obtained in London from M. Dulau, is a valuable contribution to the history of the origin of faience in France." | Ir may be ranked among the curious coincidences of journalism that Miss Amelia B. Edwards in England and Prof. Maspero in Egypt, without collusion or previous correspondence upon the subject, should not only have been moved to make public their views as to the necessity of establishing a more extended system of local archaeological conservation in the valley of the Nile, but that these two independent appeals should have chanced to be published in London on the self-same day (Saturday, February 23), the one in the columns of the ACADEMY and the other in the Times. An unfortunate lapsus calami (probably a slip of the translator's pen) makes Prof. Maspero, in the above-named letter, attribute the excavation of the city of Pithom, this time last year. to the Palestine Fund, instead of to the Egypt On Friday evening, February 22, Bach's "Christmas Oratorio was given by the Sacred Harmonic Society at St. James's Hall. The work was only intended for use in church, and the six sections of which it is composed were to be performed on different occasions, as indicated by the titles-first, second, or third days of the festival of Christmas, New Year's Day, Sunday after New Year's Day, and the festival of the Epiphany. So far as the character of the music is concerned, the performance of the whole work involves no inconsistency, but there is too much of it. Hence, on Friday, some of the movements were considerably Mr. A. C. Mackenzie's dramatic Cantata, "Jason," produced at the Bristol Festival of 1882, was performed for the first time in London by the Borough of Hackney Choral Association last Monday evening, under the The libretto, by direction of Mr. E. Prout. Mr. W. Grist, is skilfully arranged; and the owes not a little to the vigour and flow of the composer, who has written excellent music, verses. In the first part of the work we have the building of the ship, the invocation of Jason, and the departure of the Argonauts. In the second part Jason meets the royal maiden, Medeia, and we have the love scene, the conflicts with the fire-breathing oxen, the armed men, and the sleepless dragon who guards the golden fleece; and the return of Jason and his companions to their native land. We do not purpose to review each number in detail, but to give the general impression made upon us by the work. Earnestness of purpose, dramatic power of expression, a frank acknowledgment of the influences of the present day, and respectful adherence to the form and style of the past-all thsee we find in Mr. Mackenzie's music. In listening to it we feel in presence of a man who is steadily but surely feeling his way to independence and originality. "Jason," in spite of occasional weakness, is a work of remarkable power and great promise. The most striking numbers are the choruses in the first part, the orchestral intermezzo "On the Waters," Jason's scena and air in the second part, and the concluding chorus. The solo vocalists were Miss Fusselle, who did not do full justice to her part, and Messrs. J. W. Turner and M. Tufnail, who were fairly successful. The choir sang well, and the orchestra, which had a difficult and important part to fulfil, did its best; but the limited opportunities for rehearsal caused at times a slight unsteadiness. The hall was filled and the work well received. On Tuesday evening last, Mr. Willing gave an extra concert in aid of a fund for restoring churches near Coventry. The programme was one of special interest. There was, first of all, HURST & BLACKETT'S TRÜBNER & CO'S the Fifty-seventh Psalm, composed for tenor solo, chorus, and orchestra by Mr. E. H. Thorne. This short work, written for Mr. Willing's Choir, is one of very great merit; the music is clever and interesting. The opening solo and chorus and the concluding number are delightfully fresh and well developed. Mr. Charles Chilley sang the solo part with much taste, but not sufficient power. After this selection from Handel's Oratorio came 66 a NEW WORKS. GLIMPSES of GREEK LIFE and SCENERY. By AGNES SMITH, Author of "Eastern Pilgrims," &c. OCEANS; or, SKETCHES OF AMERICAN TRAVEL, BY IZA DUFFUS HARDY. 1 vol., BELOW STAIRS; or, LONDON UNDER the LAST GEORGES, 1760- La Resurrezione," written at Rome in 1708. BETWEEN TWO We believe it has never been given in England. In the score, which is in the musical library at Buckingham Palace, Handel has made use of VOLS. III, and IV. of COURT LIFE several instruments, now obsolete-viz., the theorbo, the lute, the viola da gamba, and, of course, the cembalo, the backbone of the orchestra of the eighteenth century. A note in the programme-book attracted special attention; it was as follows:-"Handel's instruto, and adhered no WITHOUT GOD: Negative Science A COMPREHENSIVE COMMENTARY and NATURAL ETHICS. By PERCY GREG, Author of "The Devil's LODGE'S PEERAGE and BARONETAGE for 1884. Under the especial Patronage of her mentation will be ments was simply to render much of Handel's music ridiculous. To give only one instance: the aria "Caro figlio" is written in the score for voice and violoncello part-a mere sketch. The cembalo evidently filled up the harmonies or played an independent part, as indicated in the concluding symphony; but Mr. Willing only gave the voice and violoncello part, thus making a perfect caricature of the song. The music, if not great, is very graceful and pleasing. Two of the most interesting numbers were omitted: the first, the Angels' Song, with violins divided into four parts, and Maddalena's aria "Per me gia," with some very interesting and feasible orchestration. The Oratorio only contains two choruses; these were both given, and well sung by the choir. The solo vocalists were Miss J. A on By Mrs. POWER O'DONOGHUE, Author of "Ladies on Horseback," SPENDER, Author of "Godwyn's Ordeal," &c. 3 vols. ONLY YESTERDAY. By William MARSHALL, Author of Strange Chapman," &c. 3 vols. ONE FALSE, BOTH FAIR. By "This novel is pleasant reading. The scenes are very brightly and cleverly sketched."-Academy. JOHN BERWICK HARWOOD, Author of "Lady Flavia," &c. 3 vols. DI FAWCETT: a Year of Her Life. By C. L. PIRKIS, Author of "A Very Opal," &c. 3 vols. Late Professor of Sanskrit and Comparative Philology at the University "We have, in a concise and readable form. a history of the research into the sacred writings and religion of the Parsis from the earliest t down to the present-a dissertation on the languages of the Parsi Scrip tures, a translation of the Zend-Avesta, or the Scripture of the Parsis, al a dissertation on the Zoroastrian religion, with especial reference to its Griffin, Mdme. Enriquez, and Messrs. Chilley HURST & BLACKETT'S CREEDS of the DAY; Woman's Thoughts about A Life for a Life. By the Author Leigh Hunt's Old Court Suburb. Darien. By Eliot Warburton. The Englishwoman in Italy. By Nothing New. By the Author of Freer's Life of Jeanne d'Albret. WE have to record the death of Mr. John Pyke Alec Forbes. By George MacDonald, Agnes. By Mrs. Oliphant. A Noble Life. By the Author of Dixon's New America. Robert Falconer. By George Mac- By the The Woman's Kingdom. A Brave Lady. By the Author of Hannah. By the Author of 'John Sam Slick's Americans at Home. A Rose in June. By Mrs. Oliphant. Phoebe, Junior. By Mrs. Oliphant. or, Collated Opinions of Reputable Thinkers. By Henry Coke. In Three Series. To which is now added an Index and Contents. 2 vols., demy 8vo, cloth, 1 1s. "It is not a light task which Mr. Coke has set before him-to present the theological outcome of Biblical study, modern science, and speculation is concise, clear, and simple form-yet it must be owned that he has carried out his purpose with uo little intelligence and skill. An accurate view of the opinions on the most important questions of the day can be got from these pages, which are full of information."-Scotsman. THE NEW VOLUME COMPRISES ability. Dr. Hullah held many appointments, IT was a LOVER and his LASS. and was honorary member of musical societies in Rome and Florence. By Mrs. OLIPHANT, Author of "Chronicles of Carlingford," &c. HURST & BLACKETT, 13, Great Marlborough-street. By R. N. Cust. And a Language Map by E. G. RAVENSTEIN. 2 vols., with Thirtyone Autotype Portraits, cloth, 25s. SATURDAY, MARCH 8, 1884. THE EDITOR cannot undertake to return, or It is particularly requested that all business letters regarding the supply of the paper, &c., may be addressed to the PUBLISHER, and not to the EDITOR. LITERATURE. tion;" may, and how much more (particularly language than with aliens. Be this as it if that friend who leads us the new walk has the fact, I think, remains, and may be very a special eye for scenery, if that person who-imply tested by finding out how many takes us over the gallery, or who plays for us among our more intelligent friends possess the piece of music, is a real artist or a real Lamb's volume of selections from the Elizamusician) is our power of perception rein- bethan dramatists-a book which cannot be forced by his, and does enjoyment come to us, read from the circulating library any more than as all real enjoyment should, without effort, the Bible, and which is therefore either posunsought, to unfatigued minds! sessed or ignored. The proportion of possessors of this book is small, as is proved by the small number of editions through which it has passed. I have enlarged on this subject because I have a strong notion that the worthy people who consider art and literature from the merely scientific point of view-who find good Shakspere's Predecessors in the English Drama. art and bad art, good poetry and bad poetry, By J. A. Symonds. (Smith, Elder, & Co.) equally handy to put under their microscope, Ir is an agreeable surprise to find that, on equally suggestive of treatises to be read by completing his great work on the civilisation similar scientific persons-would greatly like of Renaissance Italy, Mr. Symonds has turned to preach a crusade against all such as write his attention once more (for we learn from the of literature and art for the benefit of those Preface of the present volume that it was to whom they are mere pastimes, forgetting projected already twenty years ago) to the that, according to the platitude I have already literature of Elizabethan England. Mr. pronounced, the only reason why good art is Symonds is one of the most eminent of a class preferable to bad art, and good poetry to bad of critics which, whatever philistines and poetry, is that the first can afford more enjoypelants may say, may be considered as im- ment than the second, that enjoymont is, portant to our happiness only less than the therefore, the use of art, and that the men who artists about whom they write. Art and help us to enjoy it are, therefore, the men literature can never become a real study to most profitably employed about it. I have any but an infinitesimal portion of intelligent enlarged upon this point particularly, because mankind; nor is it in the least desirable that it seems to me that our Elizabethan drama they should do so. Their usefulness consists is exactly one of those forms of art which in their enjoyment-in the fact of their being have been most abundantly discussed by not an occupation, but a recreation; an inter- scientific persons for the benefit of scientific lude in our life, and not a constantly present persons, and least satisfactorily expounded by interest. But in order that the beautiful men specially endowed to enjoy for the benefit things of literature and art be thus enjoyed of the world at large, capable of similar, but without effort, it is necessary that those who less deliberately and originally obtained, enjoyare to enjoy them should have them put ment; and because Mr. Symonds' present within their reach, or rather in their way; book appears to me exactly fitted to create and for this a special class of minds becomes in the minds of intelligent readers that atmonecessary. Between the artist who creates sphere in which the full perfume of the and the ordinary man who enjoys there is Elizabethans can be appreciated, that light in Learly always necessary a mediator-an artist which their form and colour can be enjoyed. descended by a few steps from the level of I think I have said enough (though this artistic creation, or an ordinary man raised by platitude is one of those which is never suffia few degrees nearer thereunto; a someone ciently taken to heart) on the subject of good gifted with a keener sight and a more power-art and good poetry being useful in proportion fal instinct of locality; above all, a someone ble to spare more time than ourselves for becoming acquainted with all the roads, and paths, and points of view of this particular artistic country through which we are to be led There are certain philistines who imagine that every man ought to be able, at once, to enjoy thoroughly every real work of art; who cry out that, if our attention must be directed, there can be no really artistic appreciation on our part-which is much the same as expecting a man to find his way in a strange town where he has just arrived, or to guess correctly at the character of a stranger of whose antecedents he knows nothing. We require to have our attention directed to new things, either by their resemblance to things already familiar, or by being deliberately stopped by someone who knows them better than ourselves; and to say this is surely not to libel our aesthetic faculties. How much Lore do we not see when we are taken a new Walk by a friend who is familiar with it; how much better do we not enjoy a new ery in company with someone who will bad us at once to his favourite pictures; how Each more do we not enjoy a new piece of music if the performer pauses and says, Now listen to this passage to that modula as they are enjoyed. My second proposition That the Elizabethan dramatists, the im- or Now I think one may safely say that, if that volume of Lamb's were in the hands of every man or woman caring at all genuinely for poetry, the old dramatists would have contributed, in proportion to their wealth, to the general fund of poetical enjoyment of the world. No one except a student need give much more of his time and attention to the Elizabethan drama. The number of plays, even by men like Marlowe, and Webster, and Beaumont and Fletcher, which will repay perusal as wholes is very small; and perhaps it would be better to read "Hamlet" "Romeo and Juliet" a second time than to read the whole of "Dr. Faustus" or "The Duchess of Malfy" a first time. And, except with the view of learning the taste of the times, and learning also in what dreary and loathsome rubbish the finest pearls of poetry may be embedded, no ordinary human being can be counselled to read the whole of a play by Tourneur or Marston-nay, even the whole of a play by Ford. The desideratum, therefore, is that a book like Lamb's Selections be brought within everyone's ken. But, as no one feels any interest in the absolutely unknown, or looks out in the map a place whose name awakens no associations, so also a book like Lamb's falls only accidentally into the hands of those to whom it may give pleasure; and, even when it does thus accidentally come to hand, this collection of fragments from poets all nearly equally unfamiliar to the general reader, and all nearly equally great (thanks to Lamb's cunning selection) in the samples presented, leaves in the mind a certain void, a certain barrenness. interest which we feel in a passage from Tourneur or Heywood or Dekker requires, in order to take root and fructify, that we should have pointed out to us the connexion and the comparative importance of each of these men, their position as related to their superiors. This is what Mr. Symonds' new book will accomplish; and to have accomplished this is always bearing in mind my premiss that the usefulness of art depends upon its enjoyment-a piece of work incomparably higher and more useful than would be the most elaborate study made for the benefit of students. Mr. Symonds is as the artist, the connoisseur (he is both united), who leads us through a gallery; nay, rather, he is, or will be to many persons, the man who actually teaches the way to the gallery and unlocks its doors. The Mr. Symonds' book is, as I gather from various allusions, the first part of a work upon our drama of the late sixteenth and early seventeenth centuries; the second volume, presumably, will deal with Shakspere; the third, with Shakspere's immediate successors-Webster, Ford, Beaumont and Fletcher, Massinger, and so forth. The first one treats of the origin of the literary form "The Cup" and "The Falcon." By Alfred SEVERAL years have elapsed since the first which Shakspere brought to perfection, and creative artists. Thus, I would instance the admirable pages in which Mr. Symonds analyses Marlowe's characters, and finds as their universal constituent the amour de l'impossible. To some readers it may seem that a certain predilection for that same amour de l'impossible (manifested especially in his finest sonnets) on the part of Mr. Symonds himself may have made him particularly and excessively keen to its existence in Marlowe. We may differ from this personal judgment, each of us receiving, according to his individual nature, a somewhat different impression from a work of art; but does not this personality of judgment lend a higher value to criticism by making us feel that we are exploring an artistic region with the assistance, not of a system of fingerposts and milestones, but of a human being like ourselves—a stranger, perhaps, but, for the moment, a comrade and a friend? VERNON LEE. consummated by the agony and death of Synorix, and then passes away herself, discrowned and triumphant, with the vision before her eyes of Sinnatus' spirit welcoming her to the Happy Isles. At the risk of tediousness, I have given this résumé of the play, that those who have not seen it on the stage may judge of its sufficiency as the material for a tragedy. Confessing ignorance whether it is based on any historical occurrence or is purely fictitious, I would venture an opinion that its inherent capacities have been unduly curtailed by its compression into two short acts. his wealth of imagination, the poet seems to have shrunk here from sketching character, and has given us action and little else. Sirnatus is almost a shadow, and rather clownish shadow, too; Synorix, as the would-be genial but unscrupulous sensualist, is sketched with just enough care to tantalise us with the desire of a fuller presentment. As it is, we are forced to pass him, saying, as Mr. Browning says of the poor unknown corpse in the Morgue, "Oh! women were the prize for you!" and there an end. Mr. Swinburne's com parison between Tennyson and A. de Musset never struck me as reasonable before perusing this play; but I must own that Synorix might have been sketched by the hand that half drew Lorenzaccio. Even Camma herself, though drawn with far more energy, and at the beginning of act II. with masterly skill, leaves an impression too vague for a heroine. It is pleasant to turn from criticism to gratitude and praise, even of one whose praise is in all men's mouths. The Poet Laureate is seldom happier than in describing tropical or half-tropical scenery. better than this?— Has he often done "CAMMA. O look-one grove upon the mountain— white In the sweet moon as with a lovelier snow! Ran to the summit of the tree, and dropt Took ever and anon, and opened out Yea-with our eyes-our hearts, our prophet Let in the happy distance, and that all In our three married years!" (act I., sc. ii). One hand, at least, has not lost its cunning after nearly fifty years of toil. Again, though in a very different strain, how strong is the following passage (act II., pp. 62-63), where the messenger of Synorix brings Camma the proffered crown of Galatia, to be worn by her as his bride, and craves for an answer :— "CAMMA. Tell him there is one shadow among the One ghost of all the ghosts-as yet so new, ribs |