discovered in the ruins of private dwellings may be mentioned an unfinished kneeling figure holding a tablet, and measuring seventeen inches in height. It is described by Mr. Petrie as "blocked out in the rough, and affording a good example of artists' work-one arm having the flat side of the block left, showing the canon-squares. A terra-cotta statuette of an infant deity riding on a goose, of which Mr. Petrie has sent a photograph, is a peculiarly beautiful specimen of a well-known type, variously identified with Harpocrates, Eros, and Bacchus. The composition is almost identical with a terra-cotta of Tarsus in the Louvre (see fig. 5, plate 53, of Heuzey's Figurines antiques); but the modelling is far finer than the Louvre specimen, and the adjuncts are

escalier et un couloir qui n'avaient jamais jusqu'alors été parfaitement dégagés. M. Sayce y a copié, cette année, une trentaine au moins de graffiti phéniciens inédits et dont vous avez dû recevoir communication. Je regrette de n'avoir eu cette idée que l'an dernier; sans cela ces textes dans le Recueil des inscriptions sémitiques de auraient pu vous arriver à temps pour figurer l'Académie. Dans ce couloir, il y a aussi beaucoup de graffiti cariens et chypriotes sans compter les grecs. Ma campagne s'est fort bien terminée à Saqqarah par la découverte d'une tombe intacte de la 6e dynastie. Nous y avons trouvé cinq barques funéraires avec tout leur équipage, un grand cercueil en bois couvert d'inscriptions, des colliers, des vases, un grand sarcophage en calcaire encore fermé que je vais ouvrir demain. C'est la première tombe intacte et aussi ancienne trouvée position des objets est la même que dans les tombes thébaines. Les textes du cercueil en bois prouvent que le rituel funéraire était déjà en usage dès la 6o dynastie. Je crois qu'en certaines parties, il remonte aux temps antehistoriques et qu'il existait avant Ménès.

his left hand a torch of Eros, and puts the first finger of his right hand to his mouth, in token of infancy. On his head he wears a cumbrous wreath surmounted by the emblem of Horns. His attitude is that classified by M. Heuzey as "l'enfant assis sur une de ses jambes replié's.' AMELIA B. EDWARDS,

Hon. Sec. Egypt Exploration Fund.

THE next general meeting of the Hellenic Society will take place at 22 Albemarle Street

on Thursday, May 8, at 5 p.m. A paper will

be read by Mr. Theodore Bent on his recent journey among the Cyclades.

THE STAGE.

99 THE IRON-MASTER

NOTES ON ART AND ARCHAEOLOGY. MR. J. THEODORE BENT has returned to England from a visit of about six months to the Cyclades. During that time he explored almost every one of the islands, and has brought back a rich harvest of fresh matter, both archaeo-Georges logical and modern. He gave particular attention to the island of Antiparos, which has not been inhabited in recent times, but which he found to abound in prehistoric graves full of gquaint little images. FROM a

letter of Dr. Schliemann dated April 22, we learn that he was then at Athens, but hoping to return immediately to Tiryns, where his fellow-worker, Herr Dörpfeld, was continuing the excavations. It is his intention to publish the results of his latest and not least extraordinary discovery in a comparatively small volume, which, however, will be abundantly illustrated, not only with wood-cuts of the minor objects found, but with reproductions in facsimile of the marvellous wall-paintings of the palace. In these, four colours are used, besides white, but no shading. An interesting feature is a decorative pattern identical with that on the ceiling of the thalamos at Orchomenos in Boeotia which Dr. Schliemann brought to light last year.

AT THE ST. JAMES'S.

HOWEVER painful was the subject of M. Ohnet's drama "Le Maître de Forges"-which has been a success in Paris -it was not a theme that the Lord Chamberlain could taboo; and as it was set forth with a good deal of force, and gave opportunities for distinguished acting, it was almost inevitable that we should see the piece here. We have seen it, and did not enjoy it, yet the picce has strength and the acting is admirable. Mr. Pinero has been charged with the task of adapting it, and, save for a few queer instances of mis-translation, has adapted it well. The piece has its scenes of comedy; it has its scenes of intense drama. Its attractiveness, such as it is, consists, in London, in the acting of Mrs. Kendal. That in it which repels and revolts the spectator is in part the ugliness of the theme, in part the fact that a profound improbability is at the very base of the plot. We said a profound improbability; but no, there are two of them. The heroine, if she were the woman of gracious thought and considerate act that she is held forth to be, would never have married Ox Tuesday next, May 6, Messrs. Christie for the reason the playwright asserts. She will sell the engraved wood-blocks of Bewick-loved a foolish young Duke, who was, to boot, nearly fourteen hundred in number-that a relation. The Duke, being bad as well as remained in possession of his last surviving foolish, jilted her for a perfectly vulgar young daughter, Miss Isabella Bewick, who died last year at an advanced age. The include all the woman, the daughter of Moulinet, the maker illustrations and tail-pieces to the British Birds, of chocolate. She hid her distress from him; the Quadrupeds, Aesop's Fables, and Bewick's and, not content with letting concealment work havoc with the damask cheek, she straightway accepted the offer of marriage of an honest and excellent iron-master whom she had not before even listened to. Not caring twopence-halfpenny for him, the kind and gracious lady did him the injustice accept him. Further, she carried her protamme out-she actually married him in

THE new museum of archaeology at Cambridge is to be opened with some ceremony on Tuesday next, May 6, at 2.30 p.m.

Life of himself.

SOME while ago a committee was formed to collect subscriptions for a bronze statue of Berlioz at Paris. One of the last acts of the now defunct Municipal Council was to authorise its erection in the middle of the square Vintimille, out of which runs the rue de Calais where the composer died.

IN a letter to M. Renan, thanking him fospite. That is improbability the first. the subscription opened on behalf of Egyptian archaeology, M. Maspero writes:"Avec ces ressources, je ferai déblayer Louqsor et Je reporterai sur l'exploration de Saqqarah tout ce que le gouvernement égyptien me donnera d'argent. En faisant l'année dernière nettoyer le temple d'Abydos, j'ai mis au jour un

Médinet Habou.

man-but he is not a very young manbehaves scarcely less discreditably. Seeing plainly that she is repentant, and that there is no effort she will not make to appease him, he repels her cruelly. He will have nothing whatever to say to her. He is sullen and glum. That is improbability the second.

"The

Of course, if you can once allow that a couple of wholly estimable people would make these mistakes, the plot is strong, the play is a good one, you follow the story with faith, and not only with interest. But upon some people's credulity this makes too large a demand; and, as we are among them, we have to take refuge, for our part, in the acting of Mrs. Kendal. That is of course remarkable. Mrs. Kendal is always best, as, indeed a fine actress ought to be best, in a sympathetic part. As the heroine of "Diplomacy,' as the heroine of Squire," as the heroine of Mr. Clement Scott's little adaptation of "Jeanne qui pleure et Jeanne qui rit," Mrs. Kendal reaches her highest level. That is to say, she makes in these her greatest effect upon the audienceespecially upon simple people who are not eternally analysing-who are not always wanting to know how far this is clever, but rather how far it is pleasant. Well, unless these simple people-or these subtle people in their simpler moods, if you will-bring with them to the St. James's Theatre a vast provision of credulity, they will not find Mrs. Kendal's new part sympathetic; throughout its performance they will be harassed by the thought that this could never have been unless the woman was bad. We are not sure that the remarkable artist is herself quite free from that thought. But, like an advocate engaged on the wrong side, she works manfully, with vigour, with experience, with tact, with ingenuity, to conquer for a while the sympathies she can hardly look to hold permanently. The play leaves many blank spaces for the actress. with her wonderful and expressive pantomime. Granting her her one improbability, all else with Mrs. Kendal is probable. She reveals to you how it would be. Never has she been more skilful. And Mr. Kendal, made up excellently as the stolid French man of businessa man with neither the freedom of the upper class nor the uncontrolled excitability of the lower-Mr. Kendal seconds her well. He has got French gestures, French bourgeois passion. Miss Linda Dietz does not play the Baronne de Préfont much in the style of a Baronne. The accent of naturalness-that not learnt upon the theatre-seems to be wanting to her, but of ordinary theatrical resource she is sufficiently mistress. Miss Webster is really delightfully fresh as a pleasant young rela

She fills them all in

tion; and so is Mr. George Alexander as an ingenious stripling who desires to marry her. It is positively reinvigorating to see them. But neither they nor Mrs. Kendal's unapproached art and sympathetic presence can make the play either healthy or truc. So well is it acted, however, that we fancy for a long time it must fill the playhouse. FREDERICK WEDMORE.

MUSIC.

"THE CANTERBURY PILGRIMS" AT DRURY LANE.

MR. C. VILLIERS STANFORD is a fortunate man. His "Savonarola," produced at Hamburg on April 18, was received with every mark of success; and now, only ten days later (April 28), his Canterbury Pilgrims was welcomed at Drury Lane as heartily as was the "mery compagnie " which assembled at the "gentil hostelrie" the "Tabard just five hundred and one years ago-at least, so runs the fable. When the curtain rises we see Hubert, an apprentice, and his companions singing a madrigal beneath the window of Cicely, the fair daughter of Geoffrey, host of the famed "Tabard Inn." Hubert is informed that the maiden is about to start with the pilgrims bound for Canterbury, to be handed over to the safe keeping of a griffin aunt. The pilgrims, first heard behind the scenes, now enter in twos and threes: we see the Merchant "in mottelee," the Clerk with threadbare cloak, the Doctor, the ware and wise Serjeant, the Nun, the Monk, and others. They suddenly exchange their song of mourning for one of mirth, then fall back into their chant, and once again become merry. Now Sir Christopher Synge, a knight, has fallen in love with the " pretty queen Cicely, and Hal o' the Chepe, his faithful clerk, has formed a plan to carry her off when the pilgrims have reached Sidenbourne, the Travellers' Rest. There is plot and counterplot, but to try to describe the fun of the second act would occupy far too much space. The young lady has been confided to the care of Dame Margery, Sir Christopher's wife; and we have the old libertine, the young apprentice, the enraged father, and the offended wife, all busy making or marring schemes. The end of it is that Hubert runs off with Cicely; Sir Christopher returns home, his scheme having ignominiously failed; while Geoffrey, pursuing the lovers, takes Hubert prisoner. In the third act Hubert is brought before a Justice of the Peace, who is none other than Sir Christopher himself. He and his clerk Hal find both plaintiff and defendant troublesome persons; they try to get Hubert out of the way, but Dame Margery and Cicely appear at the most critical moment, and Sir Christopher, making the best of a bad job, reverses the sentence of imprisonment. So he thus pleases his wife, and the father forgives the lovers, who are supposed to marry and live happily ever afterwards.

A capital plot, and an exceedingly wellwritten libretto by Mr. Gilbert à Beckett, naturally led Mr. Stanford to do his best. Of the extreme cleverness of the music there can surely be no question. The composer and librettist have evidently taken "Die Meistersinger" as their model - and a very good model too. There are many features in the play and touches in the music which irresistibly recall Wagner's celebrated Opera, but "The Canterbury Pilgrims" is none the less enjoyable on that account. The most important thing to notice in the music is the extensive use made of representative themes. The composer has boldly adopted the German master's system. The marvellous use made by Wagner of Leitmotive has been acknowledged

even by those who disapprove of the method, less ability and individuality to work on the but it seemed dangerous for any composer of has been most successful, and those interested same lines. Now we think that Mr. Stanford in the future Opera cannot fail to watch with attention this bold and ingenious attempt. In all the acts there is no break in the music, but there are plenty of concerted pieces with both tune and form. The composer, while exhibiting great talent in his mode of dealing with the orchestra, shows, however, at times that he is bound to a system; there are moments of weakness, moments when we feel that we have the letter rather than the spirit. We speak not of the orchestration, which throughout is excellent, but of the style of writing. It does seem surprising to us that Mr. Stanford, seeing that he was writing a comic Opera, did not avail himself of spoken dialogue, which would have formed an agreeable contrast, and have proved, we fancy, in several situations highly effective. And then, again, while praising the work, we would not disguise the fact that the music often shows a certain lack of originality. Individuality is, after all, the pearl of great price, and clever writing and ingenious orchestration are not sufficient in themselves. We speak plainly, but, when we think of the music in the first scene of the second act, the serenade (omitted in performance), and parts of the love duet, we feel disposed to think that Mr. Stanford has a store of originality still latent. The comic scenes show that he has a keen sense of humour. In the first act the madrigal sung by the apprentices is set to the famous old English song "Sumer is i cumen in." The first bar forms a leading theme constantly heard during the Opera; and it gives a quaint and thoroughly English flavour to the work. The chorus of pilgrims is very pleasing; of other picces we would name (besides those already mentioned) the sextett in the first act, the "plot" trio, and the whole of the eighth scene in the second act; and the quintett in the last act.

The performance of the Opera was remarkably fine. Miss Clara Perry made a very good Cicely, and Miss Marian Burton was fairly successful as the Dame Marjery. Mr. Ludwig (Sir Christopher), Mr. Barrington Foote (Hal), and Mr. Davies (Hubert) all deserve special praise. The chorus sang well, and acted with unusual animation and attention to matters of detail. Mr. Augustus Harris may be congratulated on the manner in which the piece was put on the stage. The house was full, and the applause at the end of each act most enthusiastic. The Opera was conducted by the composer, and the reception given to "The Canterbury Pilgrims" was indeed a brilliant one."

J. S. SHEDLOCK.

RECENT CONCERTS. THE programme of the concert of the London Musical Society given last Saturday evening at St. James's Hall contained several novelties. First came a short Cantata for solo (Miss Amy Aylward) and chorus, "Oh, Weep for Those," by Ferdinand Hiller, a short and simple composition. Miss A. Zimmermann played Schumann's Concertstück in G (op. 92) with orchestra, an interesting though by no means an important work. Four Trios for female voices by Brahms, with accompaniment of harp and two horns, are quaint, but not particularly original; the second and fourth are decidedly the best numbers. The second part of the concert commenced with Jensen's Cantata, "The Feast of Adonis," scored for orchestra by J. Buttis, a work accurately described in the programmebook as "full of melody and cheerfulness." The solos were taken by Miss A. Aylward, Miss H. Weber, and Miss L. Little. And,

lastly, there was Schumann's Ballad, "The ton, and Herr von Zur-Mühlen), chorus, and King's Son," for solos (Miss Little, Mr. Brerepleasing writing in it, but, as a whole, it is a orchestra. There is some highly effective and laboured composition. Miss Zimmermann contributed solos by Chopin and Mr. C. H. Parry, The performances, generally speaking, were satisfactory; the quality of tone of the sopranos was, however, not very pleasing. Mr. Barnby conducted the whole of the concert in an efficient manner.

Dr. Hans von Bülow gave the first of two pianoforte recitals at St. James's Hall last Tuesday afternoon. The programme commenced with Brahms' interesting but difficult Sonata in F minor (op. 5). It was a treat to hear this work interpreted by an artist who is endowed with rare intellectual gifts, and who possesses complete command of the key-board. Every note, every phrase, has been carefully studied, and the music is thus presented to the listener with such clearness and finish that he cannot but admire even if unable always to approve. There is at times, it must be confessed, a slight harshness of tone and exaggeration of accent—th result, it seems to us, of the pianist's great energy and earnestness; the character of the man is reflected in his playing. He performed also Beethoven's Variations on a Russian Dance, the posthumous Rondo in G, and No. 4 from the Bagatelles (op. 126). Then followed an interesting Raff selection. Particularly would w. notice the brilliant rendering of the Prelude and Fugue from the clever Suite in E minor (op. 72 Lastly came some pieces by Rubinstein, includ ing the difficult Prelude and Fugue op. 33, No. 3, dedicated to the pianist. The audience listeni for two hours with rapt attention, and th applause was most enthusiastic. The scher of the Sonata and the Raff Fugue were both encored.

OBITUARY.

have

SIR MICHAEL COSTA, a man who in his time played many parts, died last Tuesday evening at Brighton. His career was a remarkable on His early failures as singer and composer long been forgotten; his successes as leader ani conductor, from the time when he accepted the post of maestro al piano at the King's Theatre in 1830 down to the Birmingham Festival in 1882, when he last appeared in public, will long be remembered. He ruled with a firmnay, iron-hand; but, though stern in the discharge of his duties, he was of a kindly disposition, and was not only respected, but loved, by many members of his orchestra. He was conductor at Covent Garden from 1846 to 1869, and at Her Majesty's Theatre from 1871 to 1879. In 1846 he became connected with the Philharmonic Society, and in 1848 with the Sacred Harmonic. The Birmingham Festivals from 1849 to 1882, and the Handel Festivals from 1857 to 1880, were under his manage ment; and the energy, perseverance, and great ability displayed by him have been acknowledged on all sides. A tree is known by its fruits; and history tells of the many triumphs achieved by Sir Michael Costa at these musical gatherings. His Oratorio "Eli" was produced at Birmingham in 1855, and "Naaman" in 1864.

Great men commit great faults; and, while the highest praise must be accorded to Sir Michael as a conductor, one cannot but regret that he should so frequently have tampered with the scores of the great masters. Years ago he was charged with this crime by a musician of eminence, yet he continued to pursue the same course. His inflexibility of character the cause of his greatness-proved in this matter a stumbling-block; it took the peculiar and unwelcome form of obstinacy.

Rome is remarkable for a characteristic and amusing defence of gladiatorial shows, and an assault on that 66 meddling ecclesiastic" Telemachus.

It will be seen that Capt. Burton's book is full of interest and replete with matter; but, interested as a critic may be in mythology and swordsmanship, he prefers to keep them apart-not to read Lobeck at Mr. Waite's, or Sir William Hope in company with Kuhn.

A. LANG.

Poetry of Modern Greece: Specimens and Extracts. Translated by Florence M'Pherson. (Macmillan.)

THIS is a delightful little volume, which satisfactorily fills a vacant space in our literature. Hitherto, notwithstanding a few scattered translations, the poetry of Modern Greece has been a sealed book to most Englishmen, partly owing to the difficulties that the popular language, which is the language of poetry, presents to the scholar; and partly, perhaps, because the works themselves have found their way but little into England, and, in the case of some of the earlier poets, are difficult to procure.

were

the

The collection which is now presented to us is divided into two parts, the first of which is devoted to the ballads, the second to the works of lettered pocts. Without a notice of the ballads any account of Modern Greck literature would be imperfect, as they have flourished so richly on the soil of Greece, and are so varied in their character-comprising battle songs and others relating to the Klephts and Armatoles, or local militia, who for a time champions of Greek independence; dirges and other poems relating to the dead; love songs and imaginative pieces; farewells, to be sung by, or addressed to, members of families migrating into distant countries; and some poems which turn on historical incidents. This literature is spontaneous in its growth, and has been handed down by oral tradition among the people, the songs being usually sung at festivals and on other special occasions. The wide area over which many of them are dispersed is a proof of their popularity; and some must be of considerable antiquity, as they have been found to exist, with but slight modification, in the Greek colony which still remains in Corsica, though its founders emigrated from Greece two centuries ago and their descendants have been cut off from communication with the mother country. From the time that Fauriel first introduced this popular Greek literature to the notice of Western Europe, the process of collecting the ballads proceeded apace until in 1860 they were brought together into one volume by Arnold Passow, and critically edited, with the title Popularia Carmina Graeciae recentioris. It is from this work

selected in such a manner as to illustrate the various subjects treated of, and to represent both the wilder and the tenderer elements which they contain. The metre of the original has been followed, in some cases exactly, in others approximately; and if rimes have been introduced where they do not exist, it is difficult to find fault with that attractive embellishment. We have compared a good many of them with the Greek, and have found the translations as faithful as they are agreeable. The following, which is a fragment of a Cretan war-song, may recall to the reader some of the thoughts in Campbell's "Hallowed Ground":

-

entire

The second part of the volume contains translations from lettered Greek poets of the present century; and these are even more welcome than the renderings of the ballads, because their authors are still less known in England, notwithstanding the great merit of some of their compositions, especially the lyrical poems. Many of those which Miss M'Pherson here presents to us deal with patriotic subjects; and foremost among these stands Solomos' famous "Ode to Liberty," of part of which a spirited version is given, the poem being too long for insertion. But the gem of this portion of the collection seems to us to be the "Lullaby" of Valaorites a most touching poem, which is beautifully translated in the varying metres of the original. It is supposed to be sung by a widowed mother, who, in her destitution, is in fear lest she should be unable to nurse her infant child. Its length prevents us from quoting it entire, and it ought not to be read piecemeal. Among living poets, Aphentoules, Paraschos, and Drosines are represented; the following poem, entitled "The Wild Vine," is by the last-named writer :

:

"The Wild Vine climbs aloft and at her side

On earth the Bramble trails his thorny stems;

O'er him the Vine her branches throws to hide

The Bramble's thorns with her white pearly

gems;

And mated now are the unwonted pair, With my uncomeliness thy beauty rare."

appreciation of what is best in the original, and an evident desire to spare no pains in reproducing it, Miss M'Pherson gives evidence of possessing some of the highest qualities requisite for her task-a sensitive feeling for rhythm, a varied and harmonious diction, and a combination of vigour and delicacy in touch. To translate some of these poems could have been no easy task, and we are glad to think that the work has fallen into such capable hands. H. F. TOZER.

THE HISTORY OF THE SCOTTISH BORDER.

The History of Liddesdale, Eskdale, Ewesdal,
Wauchopedale, and the Debateable Land.
Part I.
By Robert Bruce Armstrong.
From the Twelfth Century to 1530.
(Edinburgh: David Douglas.)

the Scottish Border and its inhabitants with a THE genius of Sir Walter Scott has surrounde halo of romance which makes it difficult to realise that until the end of the last century these picturesque dales were never mentioned by our forefathers except as a land of savages beyond the pale of civilisation. The lawless habits of the Borderers survived from the period prior to the union of the two kingdoms, when agriculture was almost unknown on the Border-side, for no man cared to cultivate fields which were constantly the scene of war, and were daily in danger of being wasted by an invading army. The Marches of Englani and Scotland were peopled by clans of mosstroopers, who lived in the intervals of war by plundering travellers and harrying cattle o the other side of the Border. These marauding clans were of too much use to their respective Sovereigns in times of war to be seriously called to account for their misdeeds but they were ruled with a strong hand by the Lord Warden of the March to which they belonged. The Wardens of the Marches of both countries were invested with great powers and privileges, which made the office covetel by nobles of the highest rank. They had their own courts for trying offenders, and maintained state almost regal in the royal castles within their jurisdiction. The chief tain of a clan occupied a tower, or peel, strong enough to resist a siege, and surrounded by a walled enclosure, called a barmkyn, into which the cattle were driven at the approach of an enemy.

ment passed in 1535 obliged "every landed man having £100 land" to build for the defence of his tenants and their cattle a barmkyn of at least sixty feet area, enclosed by a wall one ell thick and six ells high. The towers were built on strong positions within view of each other, so that on occasion of an English raid the whole country-side was apprised by signals of the approach and strength of the invaders. Strict watch and ward was ordered for the common safety to be kept hoth night and day in every Bunler tower, and the laws of the Marches required, under a heavy penalty, that beacon-fires should always be ready for lighting in case a night alarm.

An Act of the Scottish Parlia

of

The Scottish Border was, before the unien of the two Crowns, divided into three distine districts, which were called respectively the East, Middle, and West Marches. The East March comprised the sheriffdom of Berwick