THE late M. Léo Lippmann, who was consul for the Grand Duchy of Luxembourg at Amsterdam, has left his gallery of pictures, said to be worth half a million of francs, to the town of Luxembourg. The bequest will not take effect until the death of Mdme. Lippmann. Santa Maria dei Frari at Venice. It was THE famous Pesaro Virgin and Child of Titian has lately been placed in the church of painted (for 102 ducats) in 1519 for the Pesaro family, and several of the saints in the picture are portraits of members of that family. THE pavement of the manor-house of Lintol, near Bolbec, the ancient property of the families of Le Boullenger and Coq de Villeray, noted potters of Rouen in the eighteenth century, has been bought for the Sèvres Museum by M. Champfleury. This pavement is a unique example of Rouen faïence, and is in excellent preservation. A CONSIDERABLE number of Frankish tombs, dating from about the seventh century, have been discovered near Rüdersheim, in the Palatinate. The sarcophagi were of soft stone, and the skeletons which they contained were ornamented with necklaces, bracelets, and golden plaques, the latter bearing representations of various subjects, generally heads surrounded with ornamentation. for THE STAGE. But a man of plays the young doctor quite charmingly. Miss used to play this part at the Paris Vaudeville. A SCRAP OF PAPER” AND “A CASE it on this account in the slightest degree. We FOR EVICTION." are glad when an actress like Mdme. Fargueil No success was ever prophesied in the ACADEMY 66 The acting of "A Scrap of Paper" is in most respects excellent. We doubt if Mr. Kendal has ever been seen to greater advantage than in Colonel Blake. The mingled bonhomie and coolness of the man are displayed to perfection; so is the easy fashion in which he yields to the fascination of Susan. It has been said that Colonel Blake is not a gentleman, or he would never have kept the letter. We hold, however, that his keeping the letter was after all a much less considerable improbability than Lady Ingram's ridiculous apprehension as to the use he would make of it. Colonel Blake was a gentleman. He would never have hurt Lady Ingram by his employment of the little document that he retained; and the weakness of the lies really, not in his obviously half-playful retention of it, but in the exaggerated fears to which that retention gives rise. Mrs. Kendal's Susan Hartley is as good as Mdme. Fargueil's in her best time as regards its acting, while Mrs. Kendal has obvious advantages over the admirable French comedian in the matter of appearance in such a part. Mdme. Fargueil, though ingenious, was hardly irresistible, while one feels that under the influence of the sunshiny English lady Colonel Blake was predestined to thaw. The only other actress in the piece who in any way demands notice is Miss Webster, who is far better than she was in "Young Folks' Ways," and who brings to her performance, with real naturalness, the archness of the home and not of the theatre. Mr. Hare plays one Dr. Penguin, Fellow of the Zoological Society, and makes of it, as usual, a character part which one clearly remembers. Dr. Penguin is burdened with a most offensive wife, of whom, in the intervals of his pursuit of zoological study, he entertains a charitable opinion. Mr. D. G. Boucicault represents capitally the precocious son of this lady. Mr. Herbert Waring represents the stolid baronet to whom Lady Ingram-after repenting of her earlier love-letter-has given her hand. M. Parade MUSIC. SPITTA'S LIFE OF BACH. In ས Johann Sebastian Bach. By Philipp Spitta. 24 Spitta devotes much space to the lives of these ancestors, and gives us many interesting details of the manners and customs of German musicians in the seventeenth and eighteenth centuries. His account of the College or Union of Instrumental Musicians of Upper and Lower Saxony shows that a spirit of earnestness and morality prevailed among some of them, though the noble art of music had been brought into sad contempt by the evil morals the wandering life, the dissolute language, and also by the lack of skill and in dustry of many o its professors. The rules of this Union are give in full; and the quaint and homely languag faithfully reflects the aspirations and efforts o well-meaning and upright men. The Bach formed a guild of their own, and the family gatherings are well known which were held for many years in Erfurt, Eisenach, and Arnstadt. They met to edify and delight each other as to matters musical; they sang hymns to the praise of God; they displayed their skill in performances; and indulged, besides, in merry songs and harmless mirth. This first volume embraces the childhood and early years of Johann Sebastian and the first ten years of his "mastership." When nine years of age he lost his mother, and in the following year his father died. From the latter the boy received instruction on the violin, and afterwards took clavier lessons from his eldest brother, but at the age of fifteen he had to see to himself. By the help of a friend he managed to get into the school of the Convent of St. Michael at Lüneburg, where he gained a little knowledge of Latin, Greek, and other subjects. Masic, however, was his chief occupation; he accompanied on the harpsichord and took part in the processional singing. George Boehm, organist of St. John's Church, Lüneburg, exerted considerable influence over the young musician. Boehm was a pupil of Reinken, the celebrated Hamburg organist, and in the "much reasoning concerning music " between the two Reinken must have been often mentioned. Anyhow, Bach made at this time repeated excursions on foot from Lüneburg to Hamburg to hear Reinken play. The following anecdote, which Bach used to delight in telling later in life, gives us a graphic picture of the ambitious youth acquiring knowledge under difficulties:-On one of his journeys to Hamburg all his money was spent except a few shillings. He had seated himself outside an inn hardly half way on his return journey, and was meditating on his hard fate while sniffing the delicious savours proceeding from the kitchen, when a window was opened, and two herrings' heads were flung out. The hungry lad picked them up, and found in each a Danish ducat. This unexpected wealth enabled him not only to satisfy his hunger, but to make another expedition to see Reinken. Handel and Bach never met. Bach tried to see his great rival in 1719, and again in 1729. The first time he went to Halle, but arrived too late; the second time, being ill, he invited Handel to Leipzig, but the latter was detained in Halle by his mother's illness. These two circumstances are recorded in most biographies either of Bach or Handel; but there are two others noticed by Spitta, connecting the two names, which are of special interest. Both the composers were attracted in early youth to Hamburg, one of the most flourishing centres of artistic life in Germany. Bach probably paid his last visit there in 1703, the very date of Handel's arrival. They may have both listened at the same time to Keinken's masterly organ-playing; for aught we know, they may have sat side by side at the opera house, and listened to the music of Keiser. Each received the first touch of ambition there, ach went his own way, and independently name for himself in the world. Again, in 1703, Handel and Mattheson paid a visit to Lübeck, and made the acquaintance of Buxtehude. Handel heard him play, and also played to him. Two years later Bach went to Lubeck for the very same purpose, and, as Spitta remarks, "stood before the organ on which Handel had played.” Lade a In 1703, Bach became the organist of the new church" in Arnstadt. Already in organplaying Sebastian found, says Spitta, no one who could teach him anything, much less compete with him." In 1704, one of his elder brothers, spell-bound by the adventures and victorious career of Charles XII., decided to enter the Swedish Guard as oboe-player. On taking leave of his family and friends, Bach NEW PUBLICATIONS. wrote for him a piece of programme-music, Tastefully printed, in crown 8vo, vellum binding, price 5s., post-free. E. V. B. With Head and Tail Pieces designed by the Authoress. By us that it must have been intolerable to Bach POETRY as a FINE ART: a University Lecture delivered in McGill College, Montreal. By CHARLES E. Cheap Edition, in 2 vols., crown 8vo, cloth, price 10s. 6d. Several Morals. "Very cleverly and effectively written, and full of life and character." Daily News. "Throughout the writer exhibits power of no common order.”—Academy In crown 8vo, cloth, price 7s. ed., post-free. appearance."-athenaeum. of a Quiet Place. By Mrs. FAIRMANN MANN. "Few more genuine or delightful romances have recently made their "We have found it to be very pleasant reading."-Spectator. Cheap Edition, tastefully bound in extra cloth, price 3s. 6d. In 1705 occurred the memorable journey to Lübeck already noticed. He obtained leave of THE WAY THITHER: a Story with absence for four weeks, but remained away four times as long. On his return he got into difficulties with the church authorities, and soon left Arnstadt for Mühlhausen. Soon after this he was called to Weimar by Duke Wilhelm THE PARISH of HILBY: a Simple Story Ernst. This brings us to the first important epoch in Bach's artistic career. The new post was twofold, combining those of Court organist and Kammermusicus. He resided here for nine years, and during that period wrote a quantity of organ music, Concertos, and church Cantatas. THE BRIDES of ARDMORE: a Story of He arranged many of Vivaldi's violin Concertos for the clavier; he made many bold alterations and additions, but we must remember that he probably only regarded these transcriptions as studies in form. It is admitted that the changes which he made were improvements; but CHARLES DAYRELL: a Modern Bacchanal. at the present day a composer who ventured to take similar liberties with another man's work "Gottes Zeit ist would be severely censured. die allerbeste Zeit" and "Ich hatte viel Bekümmerniss," two of the most popular of Bach's many Cantatas, were written at Weimar. Bach visited Dresden in 1717, and his challenge to the celebrated French organist, Marchand, forms one of the few sensational events in the life of our composer. Though the accounts vary slightly, the acceptance of the challenge by Marchand, and his flight from Dresden before the time fixed for the musical tournament, are established facts. the We must add a few words about the transla- J. S. SHEDLOCK. MUSIC NOTE. THE next concert of Mr. Willing's Choir will B. M. MARSHALL. "THE LINK" is a Monthly Magazine for the instruction and amusement of both young and old. designed for the entertainment of the home, and Each number will contain Fiction, in the shape of Short by Eminent Writers on the Current Topics of the Day, Every endeavour will be made, in the choice and arrangement of the Contents of the Magazine, to satisfy the tastes of all those who are interested in Literature. 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Now ready, price 7s. 6d. the Set of Twelve Copies in a Wrapper, size 23 by 33; Mounted on Twelve Boards, 7s. 6d. extra; or on Six Boards, both sides, 4s. 6d. extra. COLOURED Freehand Drawing 8. From Japanese Ornament. 9. From Celtic Ornament. 10. From Italian Ornament. 12. From Mediaeval Ornament. EVERYTHING POSSIBLE to WILL; for careful drawing. Sample copies on a small scale are of a DRUNKARD. A Tale of Real Life. By ELLEN E. ELLIS. Cloth gilt, 5s. A copy of this work has been accepted by Her Majesty Queen Victoria who has expressed her pleasure in receiving it. London: 63 Fleet-street, E.C. SATURDAY, JANUARY 12, 1884. No. 610, New Series. THE EDITOR cannot undertake to return, or to correspond with the writers of, rejected manuscript. 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. Lectures and Notes on Shakspere and other English Poets. By Samuel Taylor Coleridge. Now first collected by T. Ashe. (Bell.) WRITING to Allsop in 1821, Coleridge says that he has already the written materials and contents ("requiring only to be put together, and needing no other change, whether of omission, addition, or correction, than the mere act of arranging brings with it ") for a History of the English Drama, including a dissertation on the characteristics of Shakspere's works, a critical review of each of his plays, and a critique on the works of Ben Jonson, Beaumont and Fletcher, and Massinger. "This work," he says, "with every art of compression, amounts to three volumes of about five hundred pages each." It is possible that many Coleridgeans will agree with Mr. Ashe in regarding this statement as 2 marvel of self-deception. It is equally possible that some Coleridgeans will not consider it so very wide of the truth. Coleridge was clearly referring to "the loose papers and commonplace or memorandum books" which had served him for at least three courses of lectures. That the notes made for each course were often very full is sufficiently proved by the mass of matter edited in the Remains by H. N. Coleridge. That the original notes from which H. N. Coleridge printed may have been still more full is an inference fairly deducible from the method of their presentment; that they must have been almost as copious as the entire text of the lectures themselves, if written out as delivered, is obvious enough from Coleridge's own account of his mode of preparation. In his letter to Britton, as well as in other letters, Coleridge says that it was his habit, during a course of lectures, to employ the intervening days in collecting and digesting materials, and the day of the lecture he usually devoted to the consideration, what of the mass before him was "best fitted to answer the purposes of a lecture." Of the material thus collected he employed on the platform only that portion which seemed most likely to keep the audience awake and interested during the delivery and to leave a sting behind it. What did not seem fitted for the purposes of a lecture went, we presame, into "the commonplace or memorandum books" out of which the projected History of the English Drama was to be compiled. It may be objected to this method of accounting for a greater body of notes than we possess, that Coleridge, in the Britton letter, is alluding to a purely mental process of "colecting and digesting materials." It may be put forth as evidence in favour of this inter pretation of Coleridge's words that he subse- "I take far, far more pains than would go to Although we are told that the written Mr. Ashe is a believer in the Collier transcripts. A few words on the old "cookery" controversy may not here be out of place. The story of the controversy is this:-In 1854, Mr. Collier wrote to Notes and Queries saying it had recently been his good fortune" to find his original short-hand notes of the lectures on Shakspere and Milton delivered by Coleridge so far back as the year 1812. He then printed in the same journal a few excerpts from his notes. Two years later Mr. Collier published his entire records as the exact words of Coleridge, taken down from the lecturer's lips. The transcripts provoked an anonymous pamphlet, entitled Literary Cookery, which discussed the disparity in the dates of the Coleridge prospectus as given by Mr. Collier and by Mr. Gillman. Mr. Collier wrote in explanation, and in doing so he certainly seemed to shuffle, or at least to bungle over his facts. The unknown writer accused Mr. Collier, mainly on the score of chronology, of deliberate concoction and downright fraud. Eighteen months afterwards Mr. Collier made an affidavit affirming the truth of his statements, and intending to ground upon it a criminal action for libel against the author of the pamphlet, who was by this time known to be the late A. E. Brac. The affidavit was printed in a pamphlet; but it was speedily withdrawn from publication, and, for reasons not stated, the law proceed ings were stopped. Then the author of Literary Cookery published a volume entitled Collier, Coleridge, and Shakspeare, the argument, so far as it concerned the Coleridge lectures, being again based principally upon anachronisms. We supposed that this controversy had passed into the obscurity in which the Ossian and Ireland controversies lie buried. The comments that have been made since the recent death of Mr. Collier show that the discussion has almost as much vitality as ever. The two-edged tool of chronology was really the only thing by which Mr. Collier's transcripts were discredited. Mr. Collier had made Coleridge speak in his sixth lecture of Sir Humphry Davy-a designation which, though afterwards so familiar, did not exist in 1811-12. The twelfth lecture, as advertised in the Times, was to be on Shakspere and Milton, and Milton did not appear in Mr. Collier's reports. If there were much graver objections than these, we have failed to lay hold of them. The objections, indeed, so far as they had any force or value, were, as we say, chronological. Let it be admitted at once that Mr. Collier did not make a plausible appearance in his attempts to explain his dates. But when we come to the only question worth five minutes' consideration-that, namely, of whether these lectures put forth by Collier are his or Coleridge's-we see no difficulty whatever. Coleridgean having no absorbing interest in dates, and believing, with Butler, that "correct information" of that description "is the least part of education," must surely regard it as inconceivable that any other Coleridgean can have had a moment's doubt on the subject. Mr. Ashe verifies the Collier transcripts by the Times and Morning Chronicle reports, which bear a general resemblance to them, and by extracts from the Diary of Crabb Robinson; but in truth the internal evidence in favour of their authenticity is overwhelming. Let us touch on a few parallelisms. In Collier's transcript of the first lecture there is a long passage on the causes of false criticism. Equivalents to this passage may be found in those chaps. ii. and xxi. of the Biographi A JAN. 12, 1884.-No. 610. Literaria with which I have elsewhere to his health. He appears to have been tating tricks of style. At Bahia a "store dealt at length. The transcript of the ill throughout the period of the Bristol lec- is entered, and some bottled beer consumed, second lecture may be compared, as Mr. Ashe tures of 1813 and 1814. Writing (about the which is described as having "dealings with time of the Milton lectures) to Cottle, Cole- sundry bottles with triangular red hieroridge says: "An erysipelatous complaint, of glyphics on them." This may serve as an an alarming nature, has rendered me barely average specimen of the "funny style." The able to attend and go through my lectures." "tricky style" is marked by a constant inHis health was not much better during the version of subject and predicate, sometimes lectures of 1818. Crabb Robinson's Diary producing quite a ludicrous offect. Thus : says: "Jany. 27th. An exceedingly bad cold" A casual pedagogue he!" "A hot place is rendered his voice scarcely audible." Again: this Praya;" "a lovely little corner of earth "Feby. 10th. Coleridge apparently ill." to pass a lazy time in is this islet of Pagueta;" Writing on January 28 of the same year to and so on. But, setting aside these failings Allsop, Coleridge says: and foibles, the work is by no means devoid "Your friendly letter was first delivered to me of literary merit; and those familiar with the at the lecture-room door on yesterday evening, peculiar woodland scenery of South America ten minutes before the lecture, and my spirits will admit that it has seldom been more truthwere so sadly depressed by the circumstance of fully and vividly described than in the submy hoarseness that I was literally incapable of joined passage:reading it." points out, with "The Drama generally and memory, The Bristol lectures, as here given from the Bristol Gazette, do not seem to possess any special value; but none the less are our thanks due to Mr. George, of Bristol, having rescued them. for There is a further point that deserves mention. A notion was abroad in Coleridge's time that, though you purchased tickets for a course of his lectures, it was possible that you would never hear half of them, and that, while you were sitting at the Royal Institution, or elsewhere, waiting for the lecturer, that gentleman, "with a little of his accustomed procrastination," might be sitting in the parlour of some neighbouring tavern pondering on Kant or Hartley and a pot of ale. This notion still survives. A recent writer tells us that Coleridge had no conception of the sanctity of a pledged word, and that he often took single pounds in charity when he might have earned hundreds by honest labour. This is an imputation of the grossest falseness, and is of itself proof enough that Coleridge's Life has never been properly written, and that his character has never been understood. Coleridge was not at any period a reckless Bohemian. The truth is that he often kept his lecturing engagements at the gravest risk It is needless to go farther in order to show and impressed by this gigantic and mysterious T. HALL CAINE. The Cruise of the Falcon: a Voyage to South America in a 30-ton Yacht. It will be seen from this that the cruise was not confined to the Atlantic seaboard. On the contrary, its distinctive feature was a five months' expedition up the great head |