declaring that Mr. Bewick "has no interest whatever" in the publication; and I may add that the "others" in the title as carefully covers not only the undistinguishable cuts by John Bewick," and those also unspecified by Nicholson, too easily distinguished, but covers also some re-engraved, and one or two redrawn, surely not by Bewick himself. Except as a bibliographical curiosity, this book-Charnley's Select Fables-is unworthy of a place in any Bewick collection. I return to Mr. Pearson's editions, taking for review-one being enough to characterise all his revised edition" of 1878. It is not what it professes to be-a "faithful reprint" of the 1784 edition. I give him credit for restoring the order of the fables and for a correct text, with exception of, so far as I have examined, a single notable alteration. But my business is with the cuts, in which alone Bewick admirers may take interest. In the 1784 edition the oval designs are all printed within borders, in most cases, whether plain or ornamental, by their colour and design adapted to the subjects they were employed to frame. In the Charnley edition all these borders are cut away; and, very remarkably, a thin line not existing in the original cuts will be found outside some of the ovals. Mr. Pearson restores the borders. But how? With borders not Bewick's, but badly copied from a few of his, and indiscriminately and repeatedly used without any attention to the effect desired by Bewick. He, too, must add three or four tail-pieces. In Charnley's edition the cuts have the appearance of having been touched;" in places masses of light work cleared away, perhaps to broaden the effect for easier printing, or it may be that the printer has not thought it necessary to bring The up the lowered work. The same defect is The Hermit and the Bear, p. 18, is a vile copy, The Lion, Tiger, and Fox, p. 28. The effect gether different cut. The Wolf and the Lamb, p. 39, is so battered in Charnley that it is hard to tell whether it is a damaged stereotype or but a copy from 1784. Jupiter's Lottery, p. 54, may be Charnley's "touched" cut smashed. The Trouts and the Gudgeon, p. 58; the Sun and the Wind, p. 59; the Boy and the Nettle, p. 60; the Beggar and his Dog, p. 61, beautiful cuts in 1784, are worn out and good for nothing in 1820, and not fit to be printed from in the Pearson reprint. There is absolutely no sign of the original Samen Praying to Saints, p. 115, though the same, cut in all three editions, certainly has excellence. not a line in it by Bewick. The Satyr and the Traveller, p. 153, is not Bewick's, but a villainous copy of one of his best cuts in 1784. It does not appear in 1820. Was Mr. Pearson therefore obliged to have it copied? The Old Man and Death, p. 177. Charnley has a smaller cut. This in Pearson is another villainous copy from the 1784 edition. Reengraved for whom? And when? The Fox and the Grapes, p. 182, is so nearly a copy or an original. The Thief and the Dog, p. 190, had been re- It can hardly be necessary to give further a NOTES ON ART AND ARCHAEOLOGY. composition, shows a keen sense of humour, and displays that learning and wealth of suggestive detail which is so characteristic of Mr. Madox Brown's best work. The bellman of the town, with his dog duly muzzled in accordance with the local regulations, is reading the proclamation, to the dismay of a dishonest shopkeeper, whose astute wife is seen removing some butter from the bottom of her scales. On the left is the heir and hope of this worthy couple, attired in the blue-and-yellow garb of a King Edward's scholar, and holding in his hand the bow and arrows required by the statute. Another boy, attracted by the bellman's noise, rushes forward to learn the cause, and a cripple is also listening. Further interest is added to the picture by a beggar-girl with a clap-dish by her side, and holding a plump but ragged baby as a claim to the compassionate attention of the public. THE Society of Painter-Etchers will hold its exhibition this year at Liverpool, in the Walker Art Gallery, during the month of September. Quaritch-The Gold Coins of England, Arranged A LONG-EXPECTED book is announced by Mr. and Described, being a sequel to Mr. Hawkins' Silver Coins of England, by his grandson, Mr. Robert Lloyd Kenyon. Mr. Kenyon's labours in the last edition of the Silver Coins give assurance that his own new work is well and thoroughly executed." Mr. Quaritch is also about to issue the second part of Plant Studies, by G. C. Haité, a work on ornamental art of which the Princess Louise has accepted the dedication. WE hear that The Year's Art for 1884 has so much success that it has been met found necessary to publish a second edition. CANON VENABLES, of Lincoln, writing to the "This morning the workmen, while digging the however, was Adventus." WE are glad to hear that M. Renan's appeal to the French public on behalf of M. Maspero's scheme for the preservation of the monuments of Egypt has not been without fruit. A first list of subscriptions, printed in the Journal des Débuts of March 11, amounts to more than L'Art has also opened a subscription list of its 12,000 frs. (£480); and our contemporary Colours Mr. Thorne Waite-one of the most MR. FORD MADOX BROWN has completed the sixth panel of his mural paintings in the Manchester Town Hall. The subject selected is a proclamation made in the reign of Philip and Mary by which the burgesses of Manchester were enjoined to send all their weights and measures to be tried by their Majesties' standard. The picture is admirably executed, and, in addition to its high qualities of colour and own. MR. W. E. A. AXON has printed as a pamshire" which he delivered at a conversazione in EUGÈNE GERARDET's very pleasant picture "Le nouveau Maître" has been well etched by himself for L'Art. The same number (March 1) contains an article on the exhibition of the Société d'Aquarellistes français, illustrated with wood-cuts after drawings by the artists. These are of unusual brilliance and vivacity. OUR Paris correspondent writes :"The purely architectural portion-which is poo enough of the new Hôtel de Ville is now finished, and the next stage is to distribute among painters and sculptors the decoration of the interior. A sub-commission was accordingly appointed a little while ago by the Municipal Council to draw up a scheme and to nominate the artists. On March 3 this sub-commission finished its preliminary labour, of which the main features have been made public in a newspaper. The result is nothing short of a scandal. It appears that the sub-commission delegated all its duties to the architect of the building, M. Ballu, who, being a member of the Institut, has reserved all the more important work for his colleagues and their pupils-very poor authorities in decorative art-while those young painters whose public reputation stands high have been put off with a ludicrously small allotment of space. Still more amusement has been caused by the choice of subjects, which all belong either to mythology or to an order of ideas that is quite out of fashion. M. Baudry has 'Peace, M. Bouguereau Science,' M. Bonnat Art,' M. Boulenger Literature,' M. Hébert Poetry,' M. Cabanel The Four Elements' and 'The Four Seasons.' The history of Paris has been altogether forgotten, despite the great part which the city has played before the world since the Middle Ages by its kings and its revolts against tyranny, by its university and its men of letters, by its artists and its famous women. Paris itself -its environs and the Seine, its monuments of Gothic art, of the Renaissance, and of the eighteenth century - is likewise ignored. In short, the entire scheme requires to be recast. discussion took place at the meeting of the Municipal Council on March 15. Loud complaints were uttered against the audacity of the Academical party; and it was resolved that the preparation of a new scheme, more liberal and less fanciful, should be considered at the next public meeting." We have received the first number of Artists at Home, a new serial due to the enterprise of Messrs. Sampson Low. The illustrations, four in number, are reproductions of photographs by Mr. Mayall. The letterpress is from the pen of the well-known art critic, Mr. J. G. Stephens. The one novelty in the undertaking that needs to be noticed here is the process of reproducing the photographs on copper, which is called photo-engraving. The advantages are that the impression is absolutely permanent, and that all difficulties in mounting and binding are avoided. But we believe that the same advantages can now be obtained by ordinary photography. It is also claimed for this process that it succeeds in bringing out the middle tints in a way that approaches steel engraving. We will admit that it is the only process by which photographs of interiors can be rendered even tolerable. THE STAGE. A "DAN'L DRUCE" AT THE COURT. THE story of "Dan'l Druce" is sufficiently pathetic, sufficiently genuine in its appeal to human sympathies, to be interesting, but somehow it does not fill very well a three-act drama. It does not hold the attention very closely. It has its dulnesses. Perhaps for a piece in three acts it is a little too much unrelieved by the true lightness of comedy. For, where it intends to become amusing, it sometimes ceases to be real. Sincere in its pathos, in its humour it becomes grotesque. And, again, there is in it, for a piece of three acts, an almost superfluous simplicity-something that very nearly approaches a poverty of action. As a rule, the best opportunities it affords to the actors are afforded to them by Mr. Gilbert's provision of lengthy narrative. The narratives are all very good as bits of English writing; and, to do justice to the author, they are really of the kind that delivery might make effective. Too many stage narratives are so obviously unnatural in conception, and in execution so stilted, that it is almost impossible to make an effect by the delivery of them. But we cannot say that it is thus with the narratives in "Dan'l Druce." Yet, with one or two exceptions, they are not made very telling, and they thus serve to show the occasional imperfections even of the most accomplished English actors. One would have thought that, if anyone on our stage could have succeeded thoroughly in long narrative, Mr. John Clayton and Mr. Hermann Vezin would have done so. Yet, in the first act, neither of these skilled practitioners of their art achieve absolute naturalness. The first act does not display these actors at their best. By the second act, however, things have warmed up a little, and we are face to face with the true pathetic interest of the drama. Dan'l Druce, the now aged blacksmith, has become passionately attached to the child over of her existence. Her father, who had left her whom he has watched for the seventeen years in Druce's cottage when he was fleeing for his life, and did not venture to take her with him to cross the waters in an open boat, has now returned; and Druce knows it, and feels that he may lose the child who has become all to him. In the third act, the Royalist Colonel, preparing to declare himself, learns that the man who has cared for the child all these years is the very man whose wife-at a still earlier date-the Colonel had taken from him. The woman is dead now, and the Colonel grieves for her even more bitterly than had the husband whom she had so long left. And on this discovery of their unsuspected connexion, the Colonel is seized with the impulse to make a sacrifice for once himself, and he goes away from Druce's cottage, having once kissed the child, but never having claimed her. Mr. Clayton is never better than in tearful scenes of sacrifice. It has constantly been the best of his stage fortunes, from the days of "All for Her" downwards, to content himself honourably with resignation and duty rather than inclination. And "Dan'l Druce" certainly ends as we should have it end-with the guaranteed happiness of the old man who has nurtured Dorothy, and with Dorothy herself about to be bestowed in marriage upon the worthy young sailor, Geoffry Wynyard, who had won her artless love. A part of the interest of the piece may reasonably be said to consist in the study of the two characters of Dan'l Druce and the girl. Dan'l Druce, and his relation to the little heroine, are confessedly suggested by Silas Marner, and in the first act all this relation is very prettily put. But, as is often necessarily the case upon the stage, the study of character has shortly to give way to the study of " situation" and story. An elaborate analysis still possible to the novel becomes out of place and impracticable upon the boards of the theatre, so that one cannot pretend for a moment that Dan'l Druce and Dorothy are comparable, as creations of the literary artist, with Silas and Effie. Still, they are interesting so far as they go, though the naïveté of the Puritanical maiden is decidedly overdone. Miranda perceived the nature of her sensations towards Ferdinand with greater clearness than it has suited Mr. Gilbert to allow to his Dorothy. The simplicity of Miranda we may admire; the simplicity of Mr. Gilbert's Dorothy we not only laugh at, but are intended to laugh at. Mr. Hermann Vezin plays Dan'l Druce. It is a part he created years ago, and it is one of his best. It ranks in power with that which he assumes in the adaptation from the French of "Sullivan" -the story of Garrick. It ranks in pathos almost with his Man o' Airlie, a piece seen so long ago that we admit that it has now become possible to idealise and unduly exalt it. Yet we do not find Mr. Vezin's present performance to be altogether faultless throughout its course. In the first act, especially, the air of a very welllearnt lesson attends upon it. Later, Mr. Vezin appears to lose himself in the performance, and effects which are of course in reality thoroughly studied and carefully thought out have the agreeable air of spontaneity and the charm of surprise. At least two of his outbursts are in the highest degree admirable. One of them has about it the comparative recklessness of genuine passion, and gives evidence that the artist who has produced it is a student of life. and not merely an adept in the most approved stage methods. Miss Fortescue plays Dorothy. To a suitability of face and figure she adds the charm of an excellent voice and of admirable diction. Her performance is at all points sufficiently satisfactory to cause us to enquire not why it is that we now see her in this part, but why it is that we have not seen her earlier in average share of grace, humour, and pathos. some such part. She has surely a more than We cannot be charitable enough to believe that these gifts, in the measure in which Miss For tescue possesses them, are to be discovered with any frequency in stage fairies-even in Mr. Gilbert's stage fairies-even in fairies at the Savoy. They are not too common among actresses of older repute. 66 MUSIC. HERR ANTON DVORÁK. ON March 10, 1883, Dvorák's "Stabat Mater" was performed by the London Musical Society at St. James's Hall, under the direction of Mr. J. Barnby; and on March 13, 1884, the work was repeated, at the Albert Hall, under the composer's own direction. Five years ago Mr. Manns produced Dvorák's first set of Slavonic dances at the Crystal Palace; since then other works have been given at the Monday Popular, Richter, and Palace Concerts. The interest created by these various compositions induced the Philharmonic Society and the firm of Novello, Ewer, & Co. to invite Dvorak to come to London and conduct a perform ance of his Stabat Mater." The immense audience which assembled in the Albert Hall last Thursday week proved how willing is the English musical public to pay honour to whom honour is due. When we think of the posthumous fame of men like Mozart, Schubert, and Berlioz, it is pleasant to see the encourage ment now given to living composers, both native and foreign. There are, however, dangers attending success; and, though one likes to see merit acknowledged, history seems to show that great men, neglected by their day and generation, devote themselves to their work with all the more zest and earnestness. But Anton Dvorák, though still young, is, we should imagine, sufficiently matured not to be led away by applause, praise, or love of money to do any thing unworthy either of himself or of his art. Last year we discussed the music of the "Stabat Mater," and spoke of its beauty, originality, and great power. When so works are first brought to a hearing, one feels a certain hesitation in pronouncing judgment. and looks for another opportunity of listening to them; but, when the Stabat Mater" was produced last year, we were at once convinced that it was an effort of genius, a fresh revelstion, a work, in fact, that would cause its composer to rank among the great musicians of the past and the present. The performance last Thursday week only deepened the first impres sions; the composer took many of the movements in slower time, and by many delicate nuances and momentary changes of tempo added greatly to the meaning and effect of the music. What a powerful imagination Dvorák has and yet how he keeps it within bounds! What wealth of ideas, and yet with what economy does he use them! And with regard to form, how patient; he may, to a certain extent, be fettered by it; but sweet are the uses of form, and Dvorák, though looking forward, elects to stand on a sure and strong foundation. New forms will, of course, be gradually evolved from the old ones created, developed, and, as many think, perfected by the great classical writers; but any attempts to hurry on a natural process will make art not progressive, but retrograde. With regard to the performance at the Albert Hall, we have only to mention the names of the principal solo vocalists, Miss Anna Williams, Mdme. Patey, Mr. E. Lloyd, and Mr. F. King, and to add that Mr. Barnby's choir sang the difficult music in a manner which showed how carefully it had been studied and rehearsed. The programme commenced with Mr. Barnby's Cantata, "The Lord is King," written for the last Leeds Festival. Last Saturday evening a large and distinguished company assembled at the residence of Mr. Oscar Beringer, where Herr Dvorák is guest during his stay in London. His second Pianoforte Trio in F minor (op. 65), one of his most recent compositions, was played by Messrs. Beringer, Ludwig, and Ould. The work is long and difficult; there seems at times to be a slight tendency to diffuseness; but everything is so interesting and original that one forgets this while listening to the music. The Trio will in time find its way to the Monday Popular Concerts, and the sooner the better. Mr. Beringer, excited by the fine music, and also by the presence of the composer, played with unusual entrain, finish, and charin; his associates also distinguished themselves. Later in the evening some of Dvorak's songs were sung by Messrs. Winch and Shakespeare; and pianoforte duets were given by Herr Dvorák and Mr. O. Beringer LIST. THE LIFE OF CHIEFLY TOLD IN HIS OWN LETTERS. time. It seems impossible to determine which MUSIC NOTES. Edited by his Son, FREDERICK MAURICE. DR. MORITZ BUSCH'S NEW WORK ON SKETCHES FOR A HISTORICAL PICTURE Translated from the German by A NEW AMERICAN NOVEL. BETHESDA. By BARBARA ELBON. 3 vols., Crown 8vo, 31s. 6d. MDME. SCHUMANN played Schumann's Sonata contributes a Short Story to THE ENGLISH ILLUSTRATED MAGAZINE for APRIL. Price SIXPENCE; by post, EIGHTPENCE. THE ENGLISH was a marvel of technical skill; she threw her ILLUSTRATED MAGAZINE. whole soul into the music which she so thoroughly understands and evidently so 1. 2. CONTENTS FOR APRIL. From a CHANGES at CHARING CROSS. By AUSTIN DOBSON. With Illustrations. Crystal Palace; and so the musical public of fortunate indeed were all who heard the gifted 3. CORNWALL. (To be continued.) By the AUTHOR London will have good opportunities of judging the Bohemian composer so lately discovered, and so quickly sprung up to fame. We would express a hope that the "Stabat Mater" will be repeated before he leaves London. J. S. SHEDLOCK. MUSICAL PUBLICATIONS. pianist last Monday. The programme included 4. 5. 6. 7. 8. 9. MR. WALTER BACHE gave his annual pianoforte recital last Monday afternoon at St. James's Hall. We have so frequently spoken about this artist's merits as a player that we need only say he was in his best form on this occasion. He gave one of Bach's Organ Preludes and Fugues arranged by Liszt, Chopin's seldom heard Ballade in F minor, and other pieces by Bülow, Liszt, Beethoven, and Chopin. He was particularly successful with thepin. He was SAMOA: a Hundred Years Ago and Long pieces by Bülow. They are elegant trifles, but demand skilful and well-trained hands; the second one, "La Canzonatura" (from op. 21), was encored. Celebrated Musicians. (Sampson Low.) This interesting book, dedicated to the Princess of Wales, contains a very large collection of excellent portraits of celebrated composers, condators, and virtuosi. The short biographical Lees have been translated from the German, With an Appendix for England, by M. F. S. Hrvey. The collection lays no claim to compness, but there is one face we particularly miss-that of the famous conductor Herr Hans Richter. The literary matter is concise in form, but fearfully inexact. For example: the dates of Donizetti's birth and death are both wrong. music at Orme Square on Tuesday, March 18. MR. DANNREUTHER gave his last evening of TRIGONOMETRY. By Rev. J. B. Lock, Verdi's birth is given as 1814 instead of 1813. Dr. C. H. H. Parry's new Quintett in E flat for The summaries of Mozart's and Schubert's two violins, two violas, and violoncello (Messrs. positions are incorrect in almost every par- Gompertz, Parker, Jung, Hill, and De Munck) tular. Several of the Wagner dates are false. aff is mentioned as having written five Sym-work, consisting of four movements, is cleverly was performed for the first time. The whole ponies. Haydn was not, as stated, either the test child or one of twenty children. The date of the production of Graun's "Tod Jesu' ight have been correctly given as 1755; there a centenary performance of it in 1855 in nce of Frederick William IV. The poraits of living English musicians will add much the interest of the volume for English readers. The Hymns of Martin Luther set to their inal Melodies. With an English Version. Edited by L. W. Bacon, assisted by N. H. An. (Hodder & Stoughton.) The Luther yans are here printed with the tunes which were set to them during the Reformer's life written; and the influence of Mendelssohn is NOTICE TO SUBSCRIBERS. Now ready, POE'S "TAMERLANE," REDWAY'S LIMITED REPRINT. In fcap. 8vo, printed in the best style, on Whatman paper, at the Chiswick Press, and bound by Burn in parch ment, bevelled boards, lettered, edges untouched. One Hundred (100) Copies only, each numbered, price 10s. 6d. TAMERLANE, and other Poems. By A BOSTONIAN. First published at Boston in 1827, and now first republished from a unique copy of the Original Edition. Just published, crown 8vo, cloth, price 2s. 6d., post-free. NEW BOOKS IN CIRCULATION AT MUDIE'S SELECT LIBRARY. 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Prices-B EBRETT'S HOUSE A SHORTHAND FOR EVE A simple and legible stenogts, bie ra. D** which anybody may learn in a few NOR affords. London: STUPKY, MARSA Price Half-a-Crown. LITERATURE. THE ACADEMY. a position to parry the blow that had fallen last. Even in his books, Mr. Maurice's great metaphysical acumen was too much in bondage to the application of a few central thoughts, more than one of which can be traced in the novel he wrote at three-and-twenty; but, at least in the books, the thoughts were applied with as much ingenuity as eloquence; in the letters, they are only asserted, commonly with more heat than light; indeed, at last the only light he seemed to value was that which shines in a man's own heart when it is hot within him. The time came when the young Life of Frederick Denison Maurice. In 2 vols. and ardent turned to him as an oracle; he never would answer their questions; instead, (Macmillan.) he tried to make them more in earnest about the question they asked, or tried to point to deeper questions underneath. It is not strange that he should have said of himself, "I have laid many addled eggs in my time; "it is not very strange that it should have been said of him that he passed his life in beating the bush with deep emotion without ever starting the hare; it is unfortunate that his Life should have been written in a way to give the fullest measure of plausibility to both sayings. This is the more provoking, because Col. Maurice could have evidently written a very good Life of his father if he had been forced to write it in less than half the space. As it is, Mr. Maurice tells his own story badly. If only all his Life had been written from outside it would have been as interesting as Sir Edward Strachey's Recollections and Archdeacon Farrar's, or as Col. Maurice's own chapters on his father's life at home, in London, and at Cambridge. MR. MAURICE was of opinion that no man's Life ought to be written till twenty years after his death, but Col. Maurice has told us that, "from circumstances with which I need trouble no one, the question is beyond my control;" consequently, he has been forced to publish, by his father's rule, at least eight years too soon. Apparently, the rule was not founded upon the common principle that a biographer cannot speak freely of a man's contemporaries until most of them have been dead for a little; it depended on a notion that what is permanent and what is accidental in a man's life and action cannot be discerned before. Can it be discerned so soon? The fire which tries every man's work is generally very smoky, it is always very slow. A biographer has not to tell us what a man's place will be in history, he has only to supply the materials for the historian, and the time for this seems to be while the recollections of contemporaries are fresh. Perhaps this observation applies especially to a Life written by a son, who cannot be expected to anticipate or formulate the judgment of posterity upon his father; to a biographer who feels that he has not to do this the temptation to let his subject be his own biographer is at its maximum. Col. Maurice has throughout used the letters as the substantial part of the biography. The effect is anything but happy. Mr. Maurice habitually did himself injustice, and he did full justice, if not more, to any aspect of truth that occupied his mind. The result is that his letters are a wilderness of self-upbraiding and apologies to his correspondents, who disagreed with him much less than he was anxious to suppose, mingled with peremptory assertions of what he supposed quite as gratuitously his correspondents would deny. His humility, which was wonderful, was of the kind which leads a man to think and speak much of himself, and always to his shame; not of the rarer and pleasanter kind which keeps a man from thinking often or speaking ever. And there is another feature in his correspondence which tends even more than his exaggerated humility to disguise his real eminence; he is always thinking in each of the controversies of the day, "What is the unpopular truth to which this controversy calls me to bear witness ?" Morally, the generosity which is always seeking for truth in the teaching which is for the moment 215 and one feels that the lecturer was trying to make more of his subject than could well be made. Naturally he sometimes lost himself and forgot his class while he "poured forth a stream of majestic language into which he had been led by the workings of his own thoughts." On one occasion he was recalled to consciousness from one of these inspired soliloquies by the sudden question of a student who wished for something that he could understand and put down. Less conscientious students indulged in less seemly interruptions: once Mr. Maurice, after watching the boy for a few moments, said— "I do not know why that gentleman is doing what he is, but I am sure it is for some great and wise purpose; and if he will come up here and explain to us all what it is we shall be delighted to hear him.” But the Professor's sense of humour did not always come to the rescue, for Archdeacon Farrar tells us that he and others who wished to learn found it necessary to form a vigilance committee pledged to name offenders. His work as chaplain at Lincoln's Inn brought him into contact with more appreciative hearers. The time was passed when people could question whether he was as remarkable for personal devotion as for insight into spiritual truth; it was the way that he prayed the prayers that filled the chapel. Some of his hearers formed a scheme for bringing to bear the leisure and good feeling of the Inns of Court upon the destitution and vice of the neighbourhood. Mr. J. M. Ludlow called upon him to talk over the subject; and this, when the events of 1848 had stirred for a moment the embers of Chartism, led to that bourgeois and belated copy of Young Englandism which called itself Christian Socialism. It is hard not to wish that Mr. Maurice had left his friends to try their experiment by themselves; it is doubtful whether they were really in sympathy with any important section of the working classes; it is quite certain that Mr. Maurice was not. He loved the working classes; he thought they were ill-used, and had been neglected; he felt it an urgent duty to make public confession of the misdoings of the well-to-do, especially of the clergy, which laid him and his coadjutors open to the accusation, only half unjust, of pouring oil upon fire. But with all this he wanted for them exactly what they did not want for themselves; when he wanted to wind up a public meeting with "God save the Queen," it was necessary for Mr. Hughes, then a famous pugilist, to stop hisses by challenging the hissers to fight him. When Lord Goderich wished to contribute a confession of democratic faith to the Tracts by Christian Socialists, he refused his consent (which had been taken for granted) because he believed all government derived its authority from God, not from the people. When the engineers' great strike began, he objected to everything; he had proposed to start cooperative workshops originally, because, as he said, The first impression one gets from all alike is that all his life Mr. Maurice was a much over-weighted man; he thought himself strong, and accused himself of idleness when Strachey, who was then his pupil, could see he was suffering from nervous exhaustion. He had a strong conscience, but not a strong will (in the sense that a great general has who forces his weak body to support him through his campaigns), and he wearied himself in the endeavour to make one do the work of the other. The article for the Encyclopaedia Metropolitana, which he describes himself as "scribbling "scribbling" in the intervals of his work at Guy's, might well have been thrown aside when it was done, but the task of recasting and perfecting a crude and hasty, though suggestive, compilation was allowed to weigh upon his whole life; for the last edition three years' reading were spent upon the Schoolmen, and, after all, too many readers treat it as a compilation still. It was the same from the first. When he wrote a novel at Oxford to pay his expenses it was five volumes instead of three; and when the publishers said it was too long he set to work to recast instead of cutting out, on which procedure Dr. Jacobson, then a tutor at Exeter, rallied him with humorous kindness. It was of a piece with this that his lectures at King's College lent themselves to this kind of parody most unpopular is more than admirable; thirteenth and followed by the fifteenth. This this relation is destroyed, that the payment of intellectually, the process is wearisome; it reminds one of the unskilful boxers to whom Demosthenes compared the Athenians of his day, who were always putting themselves in "The fourteenth century was preceded by the is a deep fact. It is profoundly instructive, and gives food for inexhaustible reflection. It is not, indeed, one of those facts which find their way into popular compendiums, but "— "the relation of employer and employed is not a true relation. . . . At present it is clear that wages is nothing but a deception. We may restore the whole [sic] state of things; we may bring in a new one. God will decide that." When the engineers proposed to meet a lock |