THE prize of £80 offered by the Académie des Inscriptions for a work on "The Rabbinical Geography of Europe during the Middle Ages has just been awarded to Dr. Neubauer. The subject was one which demanded an extensive and minute acquaintance, not only with such well-known travellers as Benjamin of Tudela, but with mediaeval Rabbinical literature generally, not excluding even the colophons of MSS. The sixteenth century is regarded as marking the close of the middle ages. The work is a fresh proof of the importance of Rabbinical Hebrew, not only for Biblical and ecclesiastical studies, but, as it would now appear, for geography also. It will be remembered that Dr. Neubauer's volume on La Géographie du Talmud was crowned by the Institut nearly twenty years ago.

A NEW edition of Prof. Sayce's book, Fresh Light from the Monuments, published by the Religious Tract Society last November, is about to appear; and a German translation of it, by Dr. Bezold, will be brought out at Leipzig by

Messrs. Schulze in a few weeks.

FINE ART.

ITALIAN AND GERMAN BURIAL-URNS.

66

Birch looks upon the house-shaped urns dis- a parallel drawn between the ornamentation of covered in Germany as distinctly Teutonic." the urns of Alba Longa and that of the whorls They occur, he says, in the graves of the of Hissarlik found by Dr. Schliemann in his period when bronze weapons were used, and famous excavations. It may be remembered A that Asia Minor, in ancient times, was largely before the predominance of Roman art. very curious specimen of this kind, supposed occupied by a Thrakian race, closely akin to to represent a lake-dwelling, is in the the Germans. Now, in the earlier strata of Museum at Munich. It is-Dr. Birch remarks the Etruscan nation, which is known to have formed of seven cylindrical huts and a porch, gradually arisen from a mixture of altogether and is ornamented in front with a spiral different races, we find a Lydian (that is, device of the character of the bronze and even Thrakian) element. May, then, the similarity iron period. Prof. Virchow mentions a fact of the hut-urns traceable between Northern which, considering how persistent popular Germany and Italy perhaps be explained by traditions and customs are, even when their the branching off, in remote antiquity, of two cause and reason have long passed away, may tribes of the same blood, one of which went help to throw some light on the question at from Asia Minor, by sea, into the peninsula issue. He points out that the money boxes south of the Alps, while the other made its made of clay, which are "even now in use in way to the north? So far as we know at many places of Northern Germany," are often present, the hut-urns do not occur in the exactly of the same form as the hut-shaped territory between Northern and North-eastern fire-burial urns. I, too, remember these clay Germany on the one hand, and Italy on boxes in South-western Germany. Some of the other. This, again, might be explained them were house-shaped in the usual form; by the fact of a Keltic nation having once others were globular, like the huts of various occupied the intermediate ground. Kindred aboriginal tribes. With the eminent Berlin tribes of Thrako-Teutonic affinity, though Professor, I believe that the oldest German separated territorially, would thus have house-form must not-as Weinhold seems to preserved a common tradition in sepulchral think-exclusively be sought in the imitation structure. KARL BLIND. of a waggon. The tribal development of the THE journey recently made into Italy by vast Teutonic race has been very diverse from Prof. Virchow has given occasion for a valuable the earliest times. There are house-forms even treatise by him on those strange, hut-shaped now in the Black Forest and in Switzerland burial-urns which are found both on Italian which suddenly seem to transplant us to and North-German ground. In the Etruscan farther Asia, and the models of which, for Room of the British Museum two of them aught we know, are of most ancient tradition-back rich in new acquisitions for the Boolak may be seen. They have the form of cot-ary inheritance. tages, with a high, raftered roof, the slanting front of which is so ornamented as to represent a garret. There is a door-once secured by a metal pin passing through two rings at its sides which served for the introduction of the ashes of the dead after cremation. The whole looks remarkably like a miniature of many a modern peasants' hut; yet it is undoubtedly of great antiquity. As to the garret-windows of these hut-urns, Dr. Schliemann (Troja, p. 126) holds a different view. In his opinion, the marks in question are rather a mystic sign, like the svastika. To my mind, the hut-urns I have seen appear to be provided with windows; and this is the view held by Pigorini and Sir John Lubbock, as quoted by the discoverer of Troy himself.

Ueber die Zeitbestimmung der italischen und deutschen Haus- Urnen. Von Rudolf Virchow. (Berlin: Dümmler.)

As to the urns discovered in Italy, they
have been held by some to be Etruscan, by
others pre-Etruscan, or archaic. Giuseppe
Tambroni, however, had already, in 1817,
attributed them to the invasion of Germanic
tribes during the Great Migrations. A pas-
sage in Prokopios' Gothic War (iii.), re-
ferring to King Totila's army, is appealed to
as a partial confirmation. The controversy
about the origin of these peculiar urns has
Some of
been a lively and interesting one.
those who maintain the Teutonic theory
point to the fact of German coloni and
prisoners of war having been settled in the
provinces, and even in the very heart of the
Roman Empire, ever since the time of Marcus

Aurelius.

MASPERO IN UPPER EGYPT.

Westbury-on-Trym: April 21, 1881.

THOUGH he started late this year for his official Nile trip, and has returned early, M. Maspero has had a most successful campaign. He comes

name

Museum, and richer still in the yet untold wealth of one of the most extraordinary discoveries ever made on Egyptian soil. To find an inviolate sepulchre, or a group of inviolate of universal pillage and illicit sale; but this sepulchres, of any value is much in these days time M. Maspero has discovered an entire necropolis, the mere existence of which has remained unsuspected by tomb-breakers and depredators, both ancient and modern. This new field of research is close to Ekhmeem, a busy provincial town of Upper Egypt, on the right bank of the Nile, about 129 miles below the ancient Khemnis or Khemmis, a Thebes. The present town occupies the site of which in Coptic became Chmim, and which is perpetuated to this day in the Arabic Ekhmeem. Identifying Khem, or "Min" (the tutelar deity of Khemnis), with their own Pan, the Greeks called the town Panopolis, and the province the Panopolite Nome. The necropolis discovered by M. Maspero appears thus far to belong to the Greek period, though it is reasonable to suppose that the progress of the excavations will disclose a substratum of earlier interments. The funerary riches of the spot are well-nigh incalculable. The sepulchres seem to be of the nature of great family vaults, or catacombs, rather than isolated tombs, as elsewhere. Five of these vaults, opened under M. Maspero's supervision, contained 120 mummies, all perTischfect; and, in the course of only three hours' survey, he discovered the position of a hundred says more such vaults, every one intact. These particulars, derived from a private letter to myself, I give in M. Maspero's own words:"Je n'ai pu voir par moi-même que cinq puits renfermant environ cent-vingt momies intactes;

I will observe here that one of the hut-
urns in the British Museum-that presented
by Mr. W. R. Hamilton-has five roof
beams; the other three. Prof. Virchow's
statement, founded on the drawing he had
seen, attributes three beams to each of
the urns.
His description, therefore, is
so far to be modified, though the point
is not of any importance. One of the
urns still shows a gable-end of beams laid
ross-wise, with a kind of horn-like termina-
tion. On the other gable-ends these horns
are broken off. It may be useful in this con-
nexion to refer to a passage in Beowulf.
any direct connexion had existed at all, it
There Hrodgar builds a hall named Heorot would be easier, and more in agreement with
that is, Hart. It is called "the house rich facts, to look upon the models for the German
in horns," on account of its being adorned hut-urns as Italian articles of import, than to
with stags' horns, or because of the battlements assume the contrary. The models for the
being horn-shaped. A similar custom exists as
Italian hut-urns I would be inclined to seek for
far as Madagascar and Siam.
There, the house-form was
So I gather in Asia Minor.
from a recent article in the Antananarivo

In the Zeitschrift für Ethnologie of 1880
(vol. xii.) Prof. Virchow gave a short descrip-
tion of the German hut-shaped burial-
urns. He regarded them, at that time, as a
"contribution, after all, to our knowledge of
the ancient Germanic house." At most, he
concluded, they were of the third or fourth
century before the Christian era. As to
the assumed Teutonic origin of the urns
found in Italy, he pronounces, in the
treatise before us, against that view, as
and others have also done.
Prof. Virchow,

Annual.

In his History of Ancient Pottery, Dr. Samuel

66

"If,"

already introduced at an early time for the
structure of graves."

This view Prof. Virchow seeks to strengthen by

mais j'ai reconnu en trois heures l'existence d'une centaine d'autres puits encore vierges. Un calcul rapide me permet de penser qu'il doit y avoir là cinq ou six mille momies, et probablement davantage, à

moins que les parties de la nécropole que je n'ai pas eu le temps d'examiner n'aient été violées jadis."

In an ancient Egyptian cemetery, as in a

Khemnis was

more

modern European cemetery, there are naturally on, two pictures of children by two ladies have
more poor burials than rich ones; and of these special attraction. These are Mrs. Alma-
five or six thousand mummies it is not to be Tadema's "Naughty Child," nicely painted,
supposed that more than fifteen or twenty per and very Dutch, and Miss Dorothy Tennant's
cent. will prove to be of value, either as speci-"A Weight of Care," a little girl carrying a
mens or for the objects buried with them. But, big baby, well drawn, and very English.
even so, the necropolis of Ekhmeem may be Fronting us, as we turn the corner, we come
expected to yield treasures in the upon a masterly study of a Venetian girl, "La
way of papyri, amulets, and jewels than have Bella Mora," by one of the most promising of
ever before been discovered. It is in tombs young artists, Mr. S. Melton Fisher. It is so
of this period, be it remembered, that papyri pure and fine in colour, so fully felt and firmly
containing fragments (some hitherto unknown) realised, that it puts its surroundings into the
of Sappho, Anacreon, Pindar, Alcman, and shade. It must not, however, blind the visitor
even of Homer have been found. Here, then, to the near presence of a capital piece of
if anywhere, besides Egyptian writings of a humorous character, by Mr. W. F. Calderon,
religious and historical character, we may hope the young son of the Academician, "A Pearl
for the discovery of some of the lost works of Great Price," where we see two boys clubbing
of the cyclic and other Greek poets. That their money for the purchase of a puppy. The
a favourite resort of Greek attitudes and expressions of the boys and the
settlers, and that the Egyptians of Khemnis, dealer and the dogs are natural and freshly
according to Herodotus, were more tolerant of studied. Passing by a good deal that is
Greek customs than the natives of other cities, mediocre and a good deal that, though worthy
are facts in favour of this interesting possibility. of the artists, does not call for comment, we find
But M. Maspero's discoveries do not nearly a work of Mr. John Collier which has all his
end here. Some inviolate sepulchres of the usual force with something more than his usual
pyramid period have rewarded his explorations refinement. This is "Psyche bound in the
in the inexhaustible burial-fields of Sakkarah House of Venus," an illustration of the Epic
and Dashoor. An inviolate tomb of the time of Hades. The face, though scarcely represent-
of Pepi I. (VIth Dynasty), discovered on ing the Psyche of our imagination, is beautiful
April 6, was found to contain three sarco- and fine in expression, and the bust is firmly
phagi, two in wood and one in limestone. The but delicately modelled. Of the rest of the oil
brick vaulting unfortunately fell in during paintings none more deserves to be singled out
the process of excavation, and one of the two for notice than Mr. T. B. W. Forster's view of
wooden sarcophagi, with its mummied occu- a "brimming river," called " A Cloudy Day on
pant, was entirely crushed. The two others the Seine." This artist is, we believe, the
escaped. The limestone sarcophagus is covered father of Miss Mary Forster, one of the late
externally with paintings, and with religious acquisitions of the Royal Society of Painters in
texts written in a fine hieratic hand. The tomb Water-Colours, and we recognise much the same
contained, among other funerary objects, seven tender atmospheric quality in her drawing of
little model-boats, five of which are perfect. "Villequier, Seine Inférieure," which is one of
In one of these boats, a miniature Ka-statue the gems of the other room. This is devoted
of the deceased receives offerings and worship; to water-colours, the beauties of which we must
in another, a tiny model of his mummy is seen leave the visitor to discover, warning him only
lying on a funeral couch. From amid the not to leave unseen Mr. H. G. Hine's "Corfe
débris of the crushed mummy-case M. Mas- Castle" or Miss Mary L. Gow's "A Letter for
pero recovered a fine necklace, or collar, of You," a very tender and beautiful study of
gold, with clasps formed of hawk's-heads, of childish expression.
which he remarks that it is the only specimen
of this pattern that he has ever seen. Con-
tinuing the latest work of Mariette, he has also
opened some twenty more mastaba-tombs, one
of which has yielded an inscription showing
that the pyramid of King Seneferoo is one of
the Dashoor group. This epigraphic discovery
finally disposes of the claim of the pyramid of
Meydoom, generally attributed to that very
early monarch; but it must not be forgotten
that M. Maspero's latest utterance on the
subject of Meydoom, its pyramid, and its
necropolis assigned the whole group (including
the tomb and statues of Rahotep and Nefer-t)

to the period of the XIIth Dynasty.

AMELIA B. EDWARDS.

THE FINE ART SOCIETY.

AN exhibition, suggested probably by the famous cent chefs-d'œuvre which M. Petit gathered last year in his gallery at Paris, is the present attraction of the pretty little rooms at the Fine Art Society. A hundred pictures by a hundred artists" is an alluring title; and though they are all of small size, and some are not by any means fine specimens of the painters, the collection is a pleasant one. We are first met-that is to say, if we go round with the Catalogue in orthodox fashion-by a sweet face of an English girl, crowned with primroses, to which Mr. Frank Dicksee has given the name of "Spring;" and this divides two of the best landscapes here one of Mr. Leslie Thompson's charming views of English scenery with blue mists rising behind the green trees, and one of Mr. Adrian Stokes' vivid and luminous bits of France, "The Last Mill at Pont Aven." Farther

NOTES ON ART AND ARCHAEOLOGY.

WE understand that Mr. W. M. Conway,
having recently discovered a number of por-
traits and miniatures of the Penn family in a
country house in Ireland, intends to leave
England next week on a visit to Philadelphia,
for the purpose of studying the Penn collections
there.

PROF. C. T. NEWTON will begin, on May 2, a
course of lectures on "Greek Myths, as illus-
trated by Vases," at University College, London.
The first lecture is open to the public without
payment or ticket.

MR. HENRY LASSALLE announces an Illus-
trated Catalogue to the forthcoming exhibition
of the Royal Academy. Sketches of their pic-
tures made by the artists will be reproduced in
facsimile by the Lefman photo-etching process.

last Tuesday at Christie's sale-rooms rearsed
THE choice collection of engravings dispersed
good prices. A set of "The Elements," after
Cipriani, went for £12 1s. 6d.; "Nymphs
Bathing" (set of four), £10; "Lady Heathcote,'
in colours, £6 16s. 6d. ; and a beautiful por-
trait of Miss Farren, £26 5s.

THE centenary of the birth of T. M. Richard-
son, sen., the most eminent landscape painter
the North of England has produced, will be
celebrated in Newcastle, on May 16, by the
opening of an exhibition of his works in oil and
water-colour. The exhibition will be held in
the Central Exchange Art Gallery, a magnifi-
cent room with ample top lights; and its pro-
moters, Messrs. Barkas & Son, have already

secured the loan of over a hundred examples of the artist. They will be glad to correspond with any gentleman possessing pictures by Richardson whom they have not been able to communicate with.

THE sale of the remaining works of the late Alfred P. Newton, already announced in the ACADEMY, has been postponed from April 16 to April 29.

THE Congrès archéologique de France visits the Ariège this year. The centres for excursions are Pamiers, May 23 to 25; Foix, May 25 to 28; St-Girons, May 28 to 30. The programme, which is very complete, invites studies of the prehistoric archaeology of the district, of the Gallo-Roman period, of the architecture and art of the Middle Ages and of the Renaissance; while ethnology, dialects, folk-lore, geography, and topography also receive attention. The subscription is 10 frs., and demands of "adhésion " are to be addressed to M. Lafont de Sentenac, trésorier du Congrès, à Foix. By a stupid mistake we ante-dated by a week the exhibitions of the two water-colour societies. They both open to the public next Monday, April 28.

MUSIC.

STANFORD'S "SAVONAROLA."

THREE years ago, when Mr. C. V. Stanford's "Veiled Prophet of Khorassan" was produced at Hanover, the work was recognised as show ing signs of remarkable promise in a young and comparatively inexperienced composer. Since then the progress which Mr. Stanford has made has been one of continuous development. His Orchestral Serenade, performed at Birmingham in 1882, has been heard in most of the musical centres of Europe and America; and next week Mr. Carl Rosa, by bringing out "The Canterbury Pilgrims," will at length enable a London audience to judge of the capability of the young composer in the sphere of Opera. It is not given to every composer to have two new and important works produced within ten days of one another, but this is what has fallen to the lot of Mr. Stanford. And, if his "Canterbury Pilgrims "achieves anything like the success which attended the production of his "Savənarola" at Hamburg on April 18, his position among operatic composers will be, if not unprecedented, at all events extremely remarkable, and the musical public will be justified in regarding him as the mainstay of the Opera of

the future.

fortunate in finding in Mr. Gilbert à Beckett a
In "Savonarola" Mr. Stanford has been
librettist who combines a considerable amount
of poetic ability with sufficient skill as a
dramatist to enable him to surmount the
difficulties which beset the choice of subject.
Founding his book on the youthful love of
Savonarola for a rich member of the del Sarto
family, Mr. à Beckett has divided the work into
a Prologue and three acts, the scene of the
former being laid at Ferrara in the
is shortly this:- Savonarola, a young student,
and of the latter at Florence in 1498. The story
has been engaged to instruct Clarice del Sarto,
suit is rejected by Clarice's father, by whom she
A mutual passion is the result, but Savonarola's

year

1475,

is betrothed to Giovanni di Rucello, a Florentine nobleman. The lovers meet at night for a farewell interview, in the midst of which they are surprised by Rucello. An encounter is imminent, when a procession of Dominican monks crosses the stage, singing their solemn hymn, "Angelus ad Virginem." Clarice vows to Savonarola never to become the wife of Rucello, and he in return promises to save his life by flight from Ferrara. passionate farewell, Savonarola is left alone on the stage. At first he repents his promise

After a

hibits no leanings. Of the performance it may
be said that it was, on the whole, satisfactory.
The title-part was sustained by Herr Ernst, a
young tenor with a fine voice and possessing
considerable dramatic power. The dual part of
Clarice and Francesca was filled by Frau Sucher,
who sang in London two seasons ago; and the
parts of Rucello and Sebastiano were taken by
Herren Krauss and Landau, who are also known
to English audiences. All these artists acquitted
themselves well, though Mr. Stanford's music
demands more power of cantabile singing
than is possessed by the modern German
declamatory school. The orchestra, led by
Herr Sucher, seemed deficient in the tone and
power of its strings, so that much of the
instrumentation, and notably the short overture
between the Prologue and act I., failed to make
their due effect. The very important choruses
were, on the whole, well sung, though if a little
more spirit had been infused into the acting of
the stage crowds the result would have been
better.

66

Savonarola" was received by a full house,
with every mark of success. The composer
and the principal performers were called
before the curtain repeatedly after each act;
and, at the end of the Opera, Mr. Stanford shared
with Herr Sucher (for whose benefit the per-
formance took place) the usual German tribute
of floral crowns and wreaths.
W. BARCLAY SQUIRE.

to Clarice; but, as the Dominican hymn
is faintly heard in the distance, he breaks his
sword, and devotes himself and his love to
Heaven. During the twenty-three years which
elapse between the Prologue and act I., Clarice
has married a member of the Strozzi family and
died, leaving an only daughter, Francesca, who
has been brought up under the influence
of Rucello to hate the Piagnoni and their
leader, Savonarola, who has now become Prior
of St. Mark. Rucello, plotting vengeance,
sends Francesca on a secret embassy to the
Medici, who head the faction against the Prior.
Francesca is seized and brought before Savona-
rola as he is engaged in quelling a tumult
which had arisen from the procession of his
boy-messengers collecting "vanities" to be
destroyed by fire. Savonarola at first orders
her to prison, but, as she is being taken away,
asks her name; Rucello replies that she is
Clarice's child. Overcome for a moment, the
Prior orders her release; but, stung by the
taunts of Rucello, he recovers himself, and
Francesca is led to prison as the curtain
falls. The second act takes place in the
cloister of St. Mark, where the monks are be-
sieged by the fickle populace. Francesca, set
free by Rucello, is struck with repentance, and
hastens to the monastery to aid Savonarola.
But the doors are broken down, the leader of
the Piagnoni, Sebastiano Maraffi-who cherishes
an unrequited affection for Francesca-is killed,
and Savonarola gives himself up to his enemies.
The last act opens in the prison. After a touch-
ing scene with Francesca, curtains fall from CARL ROSA OPERA AT DRURY LANE.
both sides of the stage, while the orchestra ON last Thursday week (April 17) Mr. Carl
plays a solemn march. When the curtains are Rosa reproduced "Colomba," and the composer
drawn again the scene represents a street lead-came expressly to London to conduct his work.
ing to the Piazza della Signoria at Florence. The marked attention of the audience and the
The procession leading Savonarola to execution calls at the end of each act gave all the appear-
is met by Rucello, who triumphantly insults his ance of a first night. The success of “Colomba"
conquered foe; but the populace heap terrible on this evening-and it was a genuine one-is
maledictions on his head, and he slinks off as an encouraging sign of the times: Mr. Mac-
Savonarola is led away, leaving Francesca alone kenzie's first Opera shows real signs of life. We
on the stage. As the light of the flames from would not for a moment imply that it was in any
the place of execution illumines the scene, way a failure last year; but then there was the
Francesca falls lifeless to the ground.
first enthusiasm of friends and well-wishers,
In setting this picturesque and dramatic story and especially the charm of novelty. The work
Mr. Stanford has not been slow to avail himself of now stands more on its own merits, and danger
the opportunities it affords for the display of threatens it from only one quarter. The com-
his talent. It is impossible to judge of so import-poser is himself at work on a second Opera which
ant a work from a single hearing; but, though
all was good, certain scenes were conspicuous at
the first performance by the effect they pro-
duced. In particular, the whole of the Prologue,
Francesca's apostrophe to Florence, Sebastiano's
prayer, Rucello's denunciation of Savonarola,
and the splendid scene in the first act,
where Savonarola first appears as a monk, the
address to Florence and the ensemble in the
second act, and march and concluding scene
of the third act created a deep impression on
an audience not usually remarkable for enthu-
siasm. An examination of the score would
probably reveal beauties which passed un-
observed at the first performance; but, as the
work is announced for production at Covent
Garden by Herr Franke's Company in June,
an opportunity will soon be afforded of be-
coming better acquainted with it. The general
impression produced at Hamburg was that Mr.
Stanford had treated his subject in a style
marked by great earnestness of purpose and in-
tensity of feeling. There is not a note throughout
the work which panders to a vulgar taste; there
is no "ear-tickling" or mere writing for effect,
but the melody which is to be found on every
page of the score never intrudes itself for the
sake of mere tune. The dramatic action is
never retarded by the musical form, but the
balance between drama and music is consistently
maintained throughout; indeed, the whole work
might fitly be classed as a 'Music-drama," if
that term had not been appropriated by Wagner,
to whose style, by-the-way, Mr. Stanford ex-

probably will prove a formidable rival. Mr.
Mackenzie has made cuts and alterations in the
score of "Colomba" which seem to us in almost
every case improvements. The performance
was a good one, though not quite equal to the
representations of last season. Mdme. Marie
Roze as the heroine showed herself a clever and
graceful artist; but Mdme. Valleria, who took
the part last season, gave a more powerful and
characteristic picture of the maiden thirsting
for revenge. Mdlle. Baldi, Miss Clara Perry,
Mr. Ludwig, and Mr. Barton McGuckin were
again the Lydia, Chilina, Giuseppe, and Orso, and
all acted and sang exceedingly well. A word
of praise is also due to Mr. Pope as the Count
de Nevers, and especially to Mr. Barrington
Foote as Savelli the brigand.

The per

have been effected in the second act.
formers were nearly the same as last year, and
the principals-Mdme. Georgina Burns, Miss
Clara Perry, and Messrs. Barton McGuckin,
Ludwig, and Leslie Crotty-again received
much applause; Phoebus's song, "O vision
entrancing," in the second act, did not escape
the encore. The orchestral accompaniments were
at times not altogether satisfactory. Mr. Thomas
has reason to be proud of the success of his
Opera at home and abroad, and we hope that
his next piece will prove that "Esmeralda "
was but a stepping-stone to higher things.

On Friday evening there was an excellent performance of Ambroise Thomas's charming Opera, "Mignon." Miss Clara Perry as the heroine did full justice to herself. Mdme. Georgina Burns (Filma) and Mr. Barton McGuckin (Wilhelm) well deserved the applause bestowed on them. The Opera was conducted with skill by Mr. Goossens.

Mr. A. Goring Thomas's "Esmeralda" was given for the first time this season on Tuesday evening. When the work was produced in 1883, we thought the merry chorus forming the conclusion of the fourth and last act an artistic mistake. The composer has taken it away, and music and words as they now stand are far more in accordance with the dramatic situation; some changes, too (though of less importance),

RECENT CONCERTS.

THE last Saturday Concert at the Palace was given on April 19. The programme included Liszt's Symphonic Poem, "Les Préludes," and it was well performed; also Beethoven's "Pastoral Symphony." The latter work has often been played with greater effect at the Palace. The noise of the workmen outside the concerthall preparing for the International Exhibition had proved a source of annoyance to the conductor during the first part of the concert, though he left his desk and obtained silence before commencing the Symphony. The vocalists were Miss Elly Warnots and Herr Max Friedländer. The latter sang two songs by Schubert and a ballad by Carl Loewe. This composer's music is little known in England, but if his other songs are all as long and as dreary as the “Archibald Douglas it is not surprising that they have been neglected. Herr Friedländer's voice is not of very good quality or of great power, and his singing was therefore not very attractive. The season just concluded has been singularly uneventful, and it is to be hoped that Mr. Manns will discover some "new treasures" for the next series. It can no longer be said that novelties frighten the people away. The history of the last two or three seasons tells a different tale, and the concerts have never been so thinly attended as since last Christmas.

The first Richter Concert was given at St. James's Hall last Monday evening. The attendance was not up to the usual mark. Good orchestral concerts in London are rare things, and one naturally expected to find every seat occupied. The prices of admission are high; and, therefore, the concerts have been frequented hitherto by persons who take real interest in musical art. We may be wrong, but we fancy that Herr Richter somewhat disappointed the public who would support him by the programme of the first concert. The Wagner selection was not particularly interesting. The "Huldigungs-Marsch" is not very attractive in a concert-room; the "Faust" Overture is not one of Wagner's most characteristic compositions; and the Vorspiel "Parsifal" appeals more especially to the few who have made the pilgrimage to Bayreuth. And then, again, the "Hungarian Rhapsody "No. 1 in F of Liszt is not a piece of sufficient importance for an opening night. It is a clever composition, and brilliantly scored, and one can hear it once, or even twice, with pleasure; but the success which Herr Richter obtained with its two seasons ago was a passing, not a permanent, one. We are speaking of its failure to draw the public, but we must also protest against the place it occupied in the programme: the merry Gipsy tunes came immediately after the solemn

Grail" music. The concert terminated with the "Eroica." The performances were excellent, and we frankly discuss the programme scheme because the Richter Concerts deserve, and should command, success.

A new work by Sir G. A. Macfarren was performed at the concert given at the Crystal Palace last Wednesday afternoon on the occasion of the opening of the London International

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and Universal Exhibition. This was the "St. BLACKWOOD'S George's Te Deum," written expressly for the inauguration day. The prelude with which this work opens is of a somewhat extraordinary character. The national airs of Germany, Russia, Denmark, France, and England are played by military bands, and strung together by short and unimportant passages for the ordinary orchestra. As an introduction to a "Te Deum" this sort of Babel mixture seems quite out of place. If the composer had wished to celebrate the meeting of nations, he Overture as ought to have written an piece d'occasion not only introducing the various national tunes, but developing and working them together by the aid of counterpoint. As the prelude now stands, quite apart from its inappropriate character, it is feeble and patchy; and the conclusion seems a warning to foreign countries that England is still la première nation du monde," for two military bands united, together with the orchestra, thunder out the Rule Britannia." The rest of the work may be briefly described. There is plenty of fugal writing, at times clever, but nearly always exceedingly dry. There are some graceful passages in one or two of the numbers, such as the trio with chorus " O Lord, O Lord," and the soprano solo " Vouchsafe, O Lord; but as a whole we must frankly say there is little charm and no inspiration in the music. The orchestration does not please us; it is either noisy or monotonous. The Te Deum" wis well sung with the exception of the tenor voices, which occasionally dragged. The solo vocalists were Mdme. Albani, Mdine. Patey, and Mr. Santley. The work was much applauded, and the composer was called for at the close. The whole of the concert was skilfully conducted by Mr. Manns, who had under his direction a body of over two thousand performers, vocal and instrumental.

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book. With knowledge in the place of ignor-made his life's history other than that of
ance, with delicacy of touch in the place of Turgot; but it is to bring those defects into
coarseness of handling, he gives us once more greater prominence than they deserve if no
Macaulay's view of Bacon's life. Once more notice is taken of the Cassandra-like know-
we hear of the great thinker who was turned ledge of the future combined with the most
aside from his work of laying the foundations un-Cassandra-like power of providing a remedy.
of science to become the mere hanger-on of The desire to rise in the world, consciously
men like Buckingham and James. Unfor- or unconsciously, went for much with Bacon;
tunately, it is impossible to meet the charge by but the knowledge that his country could be
a direct negative. Yet there are some con- saved, and that he was the man to save it,
siderations which may be alleged in pallia- worked in the same direction.
tion, if nothing can be said in excuse, of
Bacon's offence.

Bacon. By R. W. Church, Dean of St that he should think of his scientific work as
Paul's. (Macmillan.)