Coevangelista, Comm. Philem. 755; Commatice, Comm. Matt. 4.205; Comparticipatio, Comm. Eph. 2.591; dispensatorie, Comm. Philem. 766; gazophylacium, Comm. Matt. 4.227; incentrix, Comm. Tit. 2.716; jocularitas, Comm. Eph. 3.641; locutorium, Comm. Eph. 1.584; morticinium, Comm. Gal. 2.435; propassio, Comm. Matt. 1.29; pseudoevangelista, pseudomagister, Comm. Eph. 2.615; quadrasadis, Comm. Gal. 1.377; reseratio, Orig. Hom. Luc. 14.289; revulnero, Comm. Gal. 3.499; trinomius, Comm. Matt. 1.57.

JAMES B. JOHNSTON.

SCIENCE NOTES.

A SERIES of seven "Davis Lectures" will be given in the gardens of the Zoological Society on Thursdays, at 5 p.m., beginning on June 5. The lecturers will be Profs. Flower, Mivart, and Parker, Messrs. G. J. Romanes, J. E. Harting, Henry Seebohm, and P. L. Sclater.

By a strange coincidence it was on the first anniversary of the death of Mr. James Young (not Thomas Young, as in the obituary notice in the ACADEMY of last week) that Dr. Angus Smith died. James Young bore, we are told, the heavy expense of printing, for a limited gratuitous circulation, the sumptuous volume of Graham's papers to which we referred. James Young, of paraffine renown, was also the founder of the Chair of Chemical Technology in the Andersonian Institution at Glasgow.

IN connexion with the meeting of the National Congress of French Geographical Societies at Toulouse, a geographical exhibition will be opened there on June 1. Special attention will be given to the geology, anthropology, and ethnology of the region, and to the map of Spain and Portugal.

(iii. 4, 5) and the gelidum nemus of the inspiring god.
(See Wickham, ad loc.) This reward he already
has, already possesses the doctarum hederae praemia
frontium. That he may attain another reward and
not express more directly than by his extravagant
a place among lyric poets is a hope which he dares
exultation if it should be fulfilled-

"quodsi me lyricis vatibus inseres

sublimi feriam sidera vertice."

It is worth while to notice the exact suggestion con-
veyed by the metaphor inserere. Meaning originally
to "graft," it is inconsistent with full resemblance.
The graft may be better or worse than the stock;
it must be different. So in ii. 5, 21, the word is
applied to a resemblance of different things which
deceive the eye-

quem si puellarum insereres choro
mire sagaces falleret hospites
discrimen obscurum. '

was not unaware of the difference in aim. It is to

"Rightly or wrongly," says Mr. Munro in his
comparison of the two great Roman lyrists, "I
to Horace I assign a different rank."
look on Catullus as the peer of Alcaeus and Sappho;
Catullus,
like the Greeks, aims at the direct expression of
intense personal feeling. The lyric of Horace,
speaking generally, does not make the attempt.
He would not have allowed the superiority, having
an opinion of his own on Catullus' success, but he
be seen whether he is consistent in this view. In
his epilogue (iii. 30), Horace, laying aside the lyre,
as he probably thought, for ever, regards his
achievement complacently, and claims as his due,
not the ivy of happy inspiration, but that other
crown, the laurel of the Pythian victor-poet―
sume superbiam

66

quaesitam meritis et mihi Delphica

whether the limitation of place is to qualify dicar
or deduxisse. The answer is that the application,
like that of ex humili potens, is double. On the one
hand, the poet would not seem to claim with cer-
hand, the place has an important bearing on the
tainty more than a local reputation; on the other
achievement. But what is this bearing, and why
should it be worth noticing that the transference
of Greek lyrics has been achieved in Apulia? The
explanation lies in the metaphor deduxisse. "The
use of deducere," says Mr. Wickham,
66 seems akin
to that of deducere coloniam, to have made the lyric
poetry of Aeolia at home among Italian mea-
sures.' Mr. Page repeats the note without
remark. I submit that the metaphor is not
deducere coloniam, but deducere rivum, fontem, or
aquam, the agricultural operation of bringing a
stream to irrigate a soil too dry. (See the Dict.
s.vv. deducere, deductio.) The dry soil is that hard
Latin of whose egestas Lucretius complains; the
stream is the copious lyric of Greece. Thus, the
point of the local description is plain enough. As
Daunus, the Italian hero, is a parable of the
Italian poet, so the droughty region of siticulosa
Apulia and its head-strong, rebellious torrent are a
parable of the patrius sermo, scanty of stream as
Southern Italy and, like Aufidus, unmanageable.
(Note the preposition in obstrepit The compari-
son of Greek literary sources to fountains and
indeed, Horace himself had used it already (i. 26,
streams was familiar from Lucretius and Virgil;
11, fontibus integris, fidibus novis). It can be no
accident that the Aufidus appears again, in the
later book (iv. 9), in close connexion with the
poet's literary achievement-

ne forte credas interitura quae longe sonantem natus ad Aufidum non ante volgatas per artes verba loquor socianda chordis." As there is here no metaphor such as deduxisse, and no such accompanying touch as pauper aquae, the words "by the far-sounding Aufidus might be merely a convenient description of Venusia. But in the odes of Horace small part is allowed to mere convenience; and I read this verse rather as an apology to the native stream, whose sound, softened by distance, tuned the young car, which was to choose words from Latin musical enough to be "married to the string." Similar thoughts abound in modern poetry, and, if it be objected that they are too modern for Horace, is it possible of the poet's fit and favourite place of abode ?— to ignore the intention in the description (iv. 3, 9)

lauro cinge volens, Melpomene, comam." It is interesting to observe exactly what are the merita upon which he lays stress. About one thing he is certain his work is of the quality to be remembered; it is aere perennius, more lasting than the bronze of the monumental statue and tablet, or, Prizes are offered for as he puts it in another place, than the marble essays and monographs on communes and special districts, and for maps and plans for inscription, incisa notis marmora publicis; it will school geography. arrest attention more certainly than the height of the pyramids. The praise, like the work, is "exact; "the poetry of Horace has not stirred men very profoundly, but scarcely anything has been as much remembered. Horace finished" is specific against decay. Not less noteworthy in his work (exegit), gave it that clear-cut form which its precision is the language of the latter part of the epilogue, which states in terms the praise which the poet expects. So long as the religion of Rome shall endure, there shall be said of him— what? Not that he had given voice to the fear, the awe, the suspense, the triumphs and regrets, resolves and repentances, of his countrymen during a supreme national crisis. He had done all this, though he could not speak, as Catullus, the wards he resumed by command the national lyre, language of the single heart; and when after-thoughthe thanks his muse

THE May number of the Journal of the Geological Society contains the address which was delivered by Mr. J. W. Hulke on his retirement from the presidential chair. It presents a masterly review of the present state of our knowledge of the Dinosauria. Mr. Hulke on Saturday last (May 10) met the Geologists' Association at the Crystal Palace, and delivered a most instructive discourse on

the models of extinct reptiles, so well known to every visitor to the Palace grounds, which were executed more than thirty years ago by Mr. Waterhouse Hawkins.

MR. HUGH MILLER has published in the Proceedings of the Royal Physical Society of Edinburgh an interesting paper "On RiverTerracing." After sketching the history of opinion on this subject, he describes the several forms of terrace, and discusses their origin. By far the larger number of river-terraces in this country belong to a well-marked type, for which the author proposes the name of "amphitheatre terrace.'

MEETINGS OF SOCIETIES. CAMBRIDGE PHILOLOGICAL SOCIETY.-(Thursday, May 1.)

S. S. LEWIS, ESQ., in the Chair.-A paper was read by Mr. Verrall on "Hor. Carm. iii. 30."-This poem, the epilogue to the original collection of lyric poetry published by Horace, stands in a close relation to the prologue, Carm. i. 1. The metre comon to the two is distinguished from those of the lyric poems proper by having no "stanzas," in the true metrical sense of the word. In the proogue the theme is the pleasure of the poet in his work, his enjoyment in overcoming now and then the difficulties of a foreign verse, and his happiness in the world of the fancy, when, like Virgil's secreti pu, he also secernitur populo and enters the pios lucos

66

quod monstror digito praetereuntium
Romanae fidicen lyrae."

and yet be forgotten along with them. Very
But a poet may express the feelings of millions,
different is the language of the epilogue:-

"dicar, qua violens obstrepit Aufidus

et qua pauper aquae Daunus agrestium
regnavit populorum, ex humili potens,
princeps Aeolium carmen ad Italos
deduxisse modos."

He claims nothing more, for certain, than success-
ful originality in a technical process, in the hard
task described in the prologue, of introducing
Greek lyric verse to Italian measures." The
ambiguous position of the words er humili potens
suggests, as Mr. Wickham observes in his note, a
parallel between the poet and Daunus, the hero of
Italy and of Apulia in particular, an Illyrian
exile, according to the legend, who became king.
In turning Latin to the rhythm of Sappho and
Alcaeus, Horace, like the chieftain, had risen
above adverse circumstances. But what is the
meaning of the reference to the Aufidus, and of
the words pauper aquae? No notice appears to
have been taken of these points, but in Horace
they cannot be supposed accidental. It is disputed

66

quae Tibur aquae fertile praefluunt et spissae nemorum comae fingent Aeolio carmine nobilem." Surely this fashioning or moulding" by the in the song, whose name recalls the music, of waterfalls and the leaves of one fitted to win renown Sappho doubtless, but also of the winds, is a thought not without affinity to the modern

"And beauty born of murmuring sound

Shall pass into her face."

This, then, is the extent of the claim which Horace makes in his epilogue-to have enriched Latin by new metrical forms. Doubtless as a national serservice, as a service, that Horace is solely thinking. vice it deserved remembrance. But it is not of the He is speaking of the permanence of his work, and the words must be read in connexion with the commencement of the epilogue. Horace believed that though he had not written the poetry of a a Latin Alcaeus, still less of a Latin Sappho, though he had not even equalled his models in musical sound, he had, with the help of their suggestions, aid of rhetoric, would hold their place in the hit upon certain rhythms which, with the utmost

memory :

"scilicet inprobae

crescunt divitiae; tamen

curtae nescio quid semper abest rei-" this is not passionate, nor even, in the common sense, poetic-but it sticks to the mind.

SOCIETY OF ANTIQUARIES.--(Thursday, May 15.) EDWIN FRESHFIELD, Esq., V.-P., in the Chair.Mr. Leveson Gower exhibited two Romano-British urns from Crowhurst, found about six feet below the surface of the ground; and a MS. pedigree of Streatfeild, compiled by the Rev. Thos. Streat

lentoid gems are equally of Aryan invention and use, Krete more especially being their primitive home. Neither of these two arguments will be admitted for a moment by Orientalists. So far is the flying horse fron being an Aryan symbol that it is met with on a Hittite gem surrounded by Hittite hieroglyphs (Lajard: Culte de Mithra, xliv. 3); it was also known to Assyro-Babylonian art. This latter fact is indeed noticed by Dr. Milchhöfer, who endeavours to get rid of it by ascribing it to an "Old-Persian influence." Unfortunately, however, the winged horse occurs on the Assyrian monuments long before the existence of Persia was even surmised by the Assyrians; and we now know that the winged animals of Persepolis go back to the early art of " Turanian "Susiana, which was, MR. WHISTLER'S ARRANGEMENT in FLESH COLOUR and GRAY, again, based on the art of primeval Chaldaea. the Grosvenor Gallery. Admission, One Shilling.

upon him and his works which his brother William has commenced to publish in the current number of the Art Journal. They are full of interesting facts, and contain criticisms on his early drawings by Millais and Holman Hunt, written when they and others not now so well known were joined together in that romantic art-fellowship which preceded the formation of the P.R.B. An article by Mr. R. Heath upon François Rude, appearing simultaneously with Mr. Hamerton's illustrated note in the Portfolio, is a mark of the revived interest in sculpture. Mr. Heath's article is illustrated by the" Love" at Dijon, and three works in the Louvre-"The Neapolitan Fisher-boy," "The Jeanne d'Arc," and "The Mercury."

M. ANDRÉ MICHEL contributes a depressing account of this year's Salon to the current number of L'Art, which contains, besides, an article on the little-known museum at Salzburg, by M. Noël Gehuzac. The etching by Focillon after Raffaelli is unusually poor.

IN the Gazette des Beaux-Arts, M. Léopold Delisle brings to a conclusion his learned study of the "Livres d'Heures" which once formed part of the famous MSS. of the Duc de Berry; and Col. Duhousset gives the fourth and last of his interesting papers on "The Horse in Art." The "first" articles of the number are "The Salon," by M. de Fourcard; "Michel Colombe," by M. Léon Palustre; and "Félix Bracquemond," by M. Alfred de Lostalot. The last is illustrated with an original etching and a facsimile of a "first" state, showing M. Bracquemond's process of work.

THE Zeitschrift für bildende Kunst contains a photogravure after E. K. Liska's pathetic picture of "Hagar and Ishmael;" and a paper on "Pisanio Tacito," by Wendelin Boeheim.

Mr. Matthew Hale are well represented. Mr. an array of admirable labour which has about
Hunt's "Late Evening on the Greta," which is it the fascination of spontaneity and ease.
instinct with poetry, has more charm for us than Really, when the element of comedy is
his
"Deserted River-bed," ambitious as is eliminated, it is impossible to be ignorant of
that drawing in aim, and learned and intricate the presence of serious and beautiful work.
in performance. Mr. Hale's work is of a refine- In all, there are sixty-seven contributions—
ment often akin to Mr. Hunt's, and, like Mr. designs and sketches in oil, in water-colour,
Hunt's, it repays the attention which it does not and in pastel. It is unlikely, of course, that,
invite. Mr. North's most striking drawing is among so many, all are equally happy and
an achievement of remarkable difficulty-"My significant, but, at least, none are conventional
Garden Hedge, My Orchard Fence," a study of and wholly tame; none are the more or less
nasturtiums and apples seen in varying lights. mechanical reproductions of effects previously
In effects of this sort, Mr. North, who is inter- observed and enjoyed, and rendered aforetime
resting in much that he does, would seem to aim with a vivacity that is now wanting. Too
to become a specialist. Two artists who are many painters-and some of them were once
chiefly landscape-painters have dealt especially artists-permit themselves these depressing
this season with the landscape of modern repetitions, but when Mr. Whistler speaks it is
civilisation in what it has of impressive and of because there is something fresh to be said; a
forbidding. We refer to Mr. Herbert Marshall new pretty thing has been seen, or a thing has
and Mr. Albert Goodwin. The efforts of Mr. been seen newly, and clamours to be recorded
Marshall to paint London are in the highest-perhaps the roll of a wave out at sea, or the
degree meritorious. With a
more thorough look of night on the river, or perhaps it is only
knowledge, or it may be a profounder feeling the bottles of pear-drops and bull's-eyes and
for architecture, he might know how to make the pile of oranges in the shadowed window of
even the prosaic architecture of London seem a Chelsea sweet-shop, or the ill-clad grace of
more picturesque. With a
more thorough some draggled hussy of the slums, or the
knowledge, or it may be a profounder feeling passage of level afternoon light across a five
for landscape, he might perhaps bring into his o'clock tea-table, or a leg crossed audaciously,
representation of the skies and foliage of the a flash of movement, or a dainty head buried
town a something it does not now include. He cosily in pillows, or a turn of hand, some
is a student-a man of convictions probably; revealing gesture. In any case, it is fresh or
and he makes progress. We applaud him for freshly seen, and in almost every case it is set
the painting of London, and look forward to down engagingly. Of course Mr. Whistler has
the day when he may paint it more perfectly. not to do with what is called imagination; he
Just that touch of poetry which is somehow has to do with the vivacious record of some-
wanting to Mr. Marshall's work is really absent times trivial fact. He perceives intently, and
from Mr. Goodwin's; and his Sunset in the what he perceives he chronicles. To do that
Manufacturing Districts," with all its faults, is with impartiality, with a universal tolerance,
a notable instance of the assistance that would appear to have been always the aim, the
imagination is willing to afford to the land- sometimes instinctive aim, of his art. In a
scape-painter, even when he is dealing with given subject he of course selects, and abstracts,
themes in which the prosaic can discover and refines, but almost any subject would allow
nothing but the crudity of realism. The fore-him space for selection, opportunity for ab-
ground of Mr. Goodwin's drawing shows the straction and refinement. The sea-shore, and
squalid suburbs of a manufacturing town for- the wharf, the shabby street, the lady, the
saken by nature and beauty. How is life grisette-all serve his need. As time passes, his
possible there! Veils of smoke-laden atmo- method becomes more summary-his art, like
sphere shroud the further houses, and above David Cox's, more and more abstract. We are
them angry wreaths of cloud form and re- at issue with him, sometimes, upon the question
form over the spaces of defiled yet splendid whether the abstraction and selection are not,
sky.
now and then, pushed too far-whether the
signs that constitute the shorthand of his
work are not now and then a little too arbitrary
if the message he wishes to deliver is to be
deciphered by anyone less expert than him-
self. That is an open question. If he decides
it, as he seems inclined to do, by opposing, say,
his latest etching of "Putney charming as
that is-to the Thames Police," or "Black
Lion Wharf," an etching of twenty-five years
ago, one effect, at least, it will have which we
could wish avoided the limitation of his public
within the very narrowest limits, for at least
this generation.

MR. WHISTLER'S ARRANGEMENT IN
FLESH COLOUR AND GRAY.

WE could not say, truthfully, that our spirits
would be dashed not a jot if Mr. Whistler, in
opening a new exhibition of his work, deprived
it of the element of comedy. He has taught
us to look for temporary entertainment, as he
has taught us to look likewise for abiding
pleasure, on the occasions when he makes dis-
play of his art. A gallery does not suffice for
Mr. Whistler. He needs a stage. The thing
must be done in his own way if it is done at
all. Nor, so long as we enjoy his performance,
can we grumble at his method. We are re-
joiced, on the contrary, to find him established,
much to his own satisfaction and to that of the
really appreciative public, at the Messrs.
Dowdeswells', and to note that the properties
have been got together, the scenery refurbished,
some of the furniture repainted, the stage itself
--or Mr. Whistler's matting-brought safely
from a few doors down the street, where the
tent was last pitched, and one of the principal
of the dramatis personae - the wholly inoffen-
sive young man who is draped in unfamiliar,
but tasteful, livery-rescued again from the
obscurity of private life. In fact, it is as
cheerful as ever-the whole thing as fresh and
individual. And when we withdraw our eyes
from the engaging interior which Mr. Whistler's
taste has built up-when we forget the coup
d'œil and descend to the detail-there remains

But that is Mr. Whistler's own affair. We, for our part, shall venture to take some pleasure in nearly all he produces, partly, indeed, for the learned economy of effort with which it is brought forth, but partly, also, for that which even a too unmeasured abstraction could not quite conceal-his extraordinary insight into the picturesque and the engaging, the light, firm touch with which, on paper or canvas, he can arrest for us the fascination of colour and line. We said he is not always equally happy. Is there much suggestion of the real figure in the young woman dressed in a parasol and a red head-gear (65)? It appears not a fortunate transcript, but an imperfect and graceless recollection. And what would Mr. Clark Russell say to the anger of "The Angry Sea" (2)? But the spirit and fire of the "Bravura in Brown".

an

"accident of alliteration," Mr. Whistler, but how serviceable, is it not?-are not for a moment to be gainsaid. And how much

dignity in the attitude, in the pose of head, of the lady who sits up straight in her small straight chair and hangs one arm behind it! Again, the "Petit Dejeûner" (13)—a note in opal-is of a curious delicacy in slightness, such as hardly anybody but Mr. Whistler could command. No. 21 is, in its own way, as successful and as exquisite. What a placid charm in that delicate, ghostly vision of the "Herring Fleet" (48)! Poetical, we should desire to call it, only that to be poetical is to be literary. And with "La Petite Mephisto" (51) we are back again among triumphant boldness an dash. There can be no need to prolong the catalogue. The real artistic public is small in England, but what there is of it that is not fettered by its own prejudice or procedure will, we make bold to believe, confess itself enamoured of Mr. Whistler's show. FREDERICK WEDMORE.

PAINTINGS ON CHINA AT MESSRS. HOWELLS AND JAMES'S. THIS annual exhibition, which has now reached its ninth year, seldom fails to bring forward some new talent among lady amateurs, and as seldom to show some new development of the art by professionals. This year is no exception to the rule, the principal amateur prize, the Crown Princess of Germany's gold medal, having been awarded to a lady who, we believe, has only taken one prize before (an extra bronze medal last year), and the first professional prize to Miss Ellen Welby for a piece which in sty and execution is a distinct advance upon most modern work. Mrs. Collins has won her gold medal with three carefully painted female figures, to which she has given the names of "Dora," "Laura," and "Solitude." They are good in colour, if a little stiff in drawing, especially in the draperies. Miss Welby's excellent Plaque in Italian Style" shows a skill in the decorative treatment of the figure which we are glad to welcome. The "plaque " is one of those bowls with broad brim, or plates with cup-like centre, which were in fashion wher Italian majolica was in its prime; and the artist, without any slavish imitation, has reproduced its large decorative feeling and beauty of colour. After the impure and weak blues and yellowsto which we are accustomed in modern majolica, it is a pleasure to see something which really recalls the orange and azure of fine Urbino. In the "cup the artist has painted a fine head, and the broad brim is occupied by a simple but beautiful border of amorini, well adapted from old designs. The following are the names the other principal prize-takers:-Amateurs: Miss C. J. Barker, Miss Kate Kirkman, Miss Dorothea Palmer, Miss Nellie Hadden, Miss Bessie Gilson, Mrs. G. R. Smith, Miss Bertha Bradley, Mrs. Swain, Miss E. Cooke; Profes sionals: Mdme. Merkel-Heine, Miss Chatfield, MM. Léonce, Grenet, and Rösl. The average level of the work is so uniform among the better painters that it is difficult to separate any for special notice, but we observed a charming pair of

of

landscapes-one English and the other French (1254) by Miss Linnie Watt, to whom we are surprised to see that no prize has been awarded, and (1265) by Mdlle. Menard. Miss Watt's illfortune is more than equalled by that of Miss Jessie Scott-Smith, whose "Pet Pigeon" (226) is delicately painted, and has gone without even commendation. Among the other unhonoured

work we

were pleased with M. Balque's "Springtime (410), Miss Annie Slater's "Birds and Blossom on a gold ground (169), Miss M. J. Lucas's "Eucharis, &c.," with a good border (418), the pippins of Miss A. Hills (>1), Miss Hancock's "Azaleas" (92), the anemones and golden marguerites of Miss Barker (271 and 284), the donkeys of Miss Strutt (217), the oranges of Miss Gray (985), the barbotine black

the corners, and on these eight arches stand eight others, forming a dome whose height is about thirty feet. There are three cells * northern and three in the southern wall, and two in the small niches in each of the western and eastern walls. The entrance door is on the eastern side. different times. The walls appear to have been plastered four converted into a mosque. From this square buildThe building has lately been ing one enters by the western wall into a dark room fifty-three feet and a-half long and twelve feet broad. All round the ceiling is a place for an inscription, but nothing is written on it. In the northern and southern walls of this room are sixteen cells-eight in each. The doors of the cells are like little windows, and only about three feet and one-third in height. The cells are not all of the same height, but all are about half a mètre broad, and formerly had doors with bolts. Places where lamps had been suspended can be seen here and there on the walls. Lately the middle cell of the southern wall has been changed into a mehrâb, and opposite it a fireplace has been arranged. The whole building is constructed of sun-dried bricks. There is no doubt of its having been part of a monastery, and used as a place of seclusion by

"2. In the neighbourhood of the Turuq Caravanserâï, about six miles from Meshhed, is a hill, called the Tepeh-i Nâdirî. the people have given Nâdir Shâh's name to the I cannot say why hill; it seems to me, from a comparison of its origin is known, that it is at least two thousand hundred and fifty years ago. The hill is situated years old, while Nâdir Shâh reigned about one at the junction of the two roads that lead from Sherîfâbâd to Meshhed, is conical, and has a height of 1,170 feet; its apex is cut into two terraces or steps, the one higher than the other; the circumference of the base of the hill is 1,470 feet. The curious fact about this hill is that it is entirely formed of bones both human and of animals, of places on the hill, particularly on the south-eastern broken jars, charcoal, ashes, &c. slope, are traces of step-like cuttings in the stone. At several It is rather difficult to ride to the top of the hill. Burnt bricks have not been found, but great quantities of very large sun-dried bricks are frequently met with."

structure with that of other artificial hills whose

of one of the old monasteries formerly so In the first note the author describes a part frequent in Persia. The name itself of the village monasteries," for the last three centuries con"Seh deir," "the three (Christian) tracted into a meaningless word, Istir, points to the former existence of them there. I have in other parts of Persia noticed similar constructions, and in one or two places I heard them called "guebre houses;" at only one place was a similar construction called Kilissâi.e.,