of the siege, in which allegory and a too accurate realism have been unduly mingled, and yet fails to excite the mournful sympathy which must be the main object of such a work; nay, if the truth must be told, it is even open to the fatal charge of vulgarity. -a in with his usual vigour. His "Summer Twilight" (20) is a vivid picture of waves breaking upon wet sands, and his larger works, if wanting in refinement, have all his usual power. Mr. Colin Hunter, Mr. Edwin Ellis, and Mr. Ernest Waterlow seem all more or The absence of the popular "1807," already less derivatives from Mr. Hook; but none of referred to, is almost atoned for by the exhibition them has the same perfect balance of refinement of a brilliant series of studies for the picture, and strength. Other well-known names, like painted in oil on the bare panel; these have a Mr. Oakes, Mr. Henry Moore, Mr. Frank life and spontaneous power which few of M. Walton, Mr. Mark Fisher, and Mr. Ernest Meissonier's finished works exhibit. Another Parton, must be passed by with a word of general picture, dramatically true, though hard and commendation in order to mention a few not unpleasant in general effect, is the "Dragons more worthy, but of less reputation. Much of conduits par un Paysan de la Forêt Noire the promise of the present exhibition lies in landrecent work in which the figures are on a scapes by such men. Mr. Harry Musgrave's larger scale than that generally affected by the Breezy Day in Mid Channel " is a careful artist. There are also shown a number of little study of sea, somewhat in the style of Mr. portraits of unflinching truth in the delineation Henry Moore, but not without individuality, of outward characteristics, but hard in the especially in the touch of colour in the distant rendering of the flesh and textures, and which sail. Mr. A. Glendinning, junior's, "The fail to redeem their want of technical charm Skirts of the Wood" (168) and Mr. Flitcroft by any very delicate perception of the mental Fletcher's "A Lonely Pool" (191) are delightcharacteristics of the sitters. An exception is, ful in different ways. The latter, though very however, the charming portrait of the Italian subdued in colour, is pleasant in its gray harsculptor Gemito, represented in the act of monies and refined in feeling. "On Morecombe modelling a statuette of M. Meissonier him-Sands" (206), by Mr. T. Hope McLachlan, is also self; this is a very attractive picture, and is very sombre in tint; but it has poetry, and painted with evident zest and sympathy. there is perhaps yet more promise, especially It is intended that the exhibition, the success as to colour, in two smaller works called Cloud of which is extraordinary, shall remain open and Sunshine (SS3) and "Early Spring until July 24. CLAUDE PHILLIPS. (886). Another sober but pleasant landscape is Mr. Thomas Watson's "As it fell upon a day, &c." (293); and Mr. R. G. Somerset's Isola de Capri" (334) is classic in feeling as well as subject. A beautiful but modest little picture is Mr. Bannerman's scene in "Warm Twilight (333); and Mr. Alfred East, Mr. Parker Hagarty, Mr. Frederick Winkfield, and Mr. W. Henry Gore are among many others who seem lately to pour fresh life into the landscape art of England. To these at least should be added Mr. Horace Gilbert, for his admirable little picture of "Meadows at Limpsfield" (1615), and Mr. Heath Wilson, for his luminous and sweet-coloured "Sunset from the Shores of Carrara" (796). THE ROYAL ACADEMY. III. ALTHOUGH the general level of the landscapes is fair, the best works of this class are, with a few exceptions, not of large dimensions. If nothing can be better in their way than Mr. Hook's shore scenes, it is difficult now to say anything that is new about them. It is also difficult to choose which of this year's is the most pleasant, but the breezy tumbling sea of his "Wild Harbourage" (81) gives it a certain life which may be allowed as a distinction. Mr. Peter Graham sends a newer and a grander design. His "Dawn" (27), with the bright sky reflected in the hill-surrounded lake, and the great hollow still half-filled with clouds of mist moving and melting over the silent village, gives a fresh and deep impression. The hills in half light and their reflections in the water are rendered with truth and remarkable richness, the great boat with its shadow is solid and grand, the pebbled shore is silvery and pure in tint, and the mist is painted as only Mr. Graham can paint it. His other picture,"Sea Mist " (1216), is also a fine one, but not so notable in subject. One of the least explicable actions of the hanging committee is the placing above the line of two of the best landscapes in the exhibition-Mr. Parsons' "After Work" (404) and Mr. Leslie Thomson's "Afternoon" (408). Both, in their modest and fresh observation of nature, the latter especially, perhaps, for its luminous and beautiful sky and the pearly tones of its wet sands, are far preferable to the large panoramic views of Mr. C. E. Johnson and Mr. McWhirter. The former's "The Wye and the Severn" (811) and the latter's "Windings of the Forth" (491) fail to justify the ambition of their attempts. Mr. McWhirter is seen to much better advantage in his "Sermon by the Sea" (101), the sentiment of which is charming, and the execution much more careful and satisfactory than in the larger work. Of such popular favourites as Mr. Vicat Cole and Mr. Leader nothing remains to say. Of their pleasant and wholesome skill there are several good examples here. The latest Associate, Mr. Colin Hunter, makes his talent distinctly felt in several strong shore scenes dashed Nothing is more noticeable in the exhibition than the almost universal tendency to naturalism. There are several romantic pictures, but the Rossetti influence in this direction seems well-nigh extinct; and it is of Selous and Corbould rather than the pre-Raphaelites that we are reminded when we regard Mrs. Merritt's "La belle Dame sans Merci" (809), Miss Rae's "Launcelot and Elaine" (834), or even Mr. Schmalz's "Too Late" (827). The latter is more sincere as he is certainly more forcible and more accomplished than the ladies, but his work is only half-alive; and the vigorous reproduction of mediaeval life which hangs above it, though it too is imaginative, seems the result of a far more heart-felt impulse. Mr. Getts, the author of this clever and careful performance, "A Martyr in the Sixteenth Century (826), can scarcely complain that it cannot be seen; but, if any honour belongs to the line, it is there the picture should have been hung. This follower of Baron Leys is more successful than Mr. J. D. Linton in bringing back the sense of olden time. There is much to admire in Mr. Linton's Declaration of War" (498). It is full of most dexterous handiwork, some of the heads are very fine, and, if we do not quite like the arrangement of colour, it must be admitted that the quality of the painting of the greater part of the picture is of the highest order, and the action well varied and just. But Mr. Linton does not make us believe in the scene; and he is, on the whole, to be congratulated that he has at length brought to conclusion his long and possibly tedious task of illustrating the life of an Italian soldier of the sixenth century. The skill and the patience which he has displayed in this work of many 66 'Idle years deserve to be highly praised, but, if he has St. Peter denying Christ" (457) is hung. It is a difficult picture to see properly on account of its sombre tints and effect of semi-darkness, but both for its feeling and its design it is a notable work, especially from the hand of so young an artist. Charming in its colour and refinement, and also, if we mistake not, from the hand of another young artist, is a female head by Mr. Philip W. Steer, called "Fantaisie" (472); and here it may be noticed, in mitigation of the offences of the hanging committee that have skied M. Wauters and M. Mesdag, that in this case, and in many others, they have hung in admirable places the works of young and unknown artists, male and female. In this room (Gallery V.) such justice has been done not only to Mr. Steer, but to Mr. Sainsbury's clever, bright "Washing Day" (525) and to Mr. W. Weekes' excellent picture of geese and a jackdaw who, seated on a post, is delivering “A Michaelmas Sermon (538); and in the next Among the works in sculpture not yet mentioned is a beautifully modelled and poised female figure, in high relief, by Mr. Woolner, cast in bronze (1700). It is called "The Water Lily." Resting on one foot, she is lowering the other to the leaf of a water lily which swims on the water close to the bank. Near it is an for building purposes by a Pharaoh of the super admirably modelled bronze figure of a naked COSMO MONKHOUSE. THE EGYPT EXPLORATION FUND. IN one of Mr. W. Flinders Petrie's earlier When it is remembered that these "small which is, in fact, very nearly correct, the Turning from colossi to obelisks, the Rameses of Tanis surpassed them all in height, just as he exceeded all other colossi in size and weight. The obelisks of Hatshepsu at Karnak, one of which is yet standing, measured, according Mariette Pasha's data, 108 feet 10 inches in height, and these are the loftiest in the world; but the colossus of Tanis overtopped them by more than six feet. To take a more familiar example: the height of the nave of Westminster Abbey is 102 feet; the Rameses of Tanis, if we possessed him entire, would need to be sawn of his pedestal to stand in it. The dome of the Reading-Room of the British Museum springs to a height of 106 feet from the floor below; but, if we placed the Rameses of Tanis in the centre, where now sit the learned and courteous superintendent and his staff, nine feet of his red granite head-dress would appear above the rooi. AMELIA B. EDWARDS, Hon. Sec. Egypt Exploration Fund. NOTES ON ART AND ARCHAEOLOGY. IT is a pleasing duty to record that the honour of knighthood has been conferred upon Mr. F. W. Burton, Director of the National Gallery, AT Messrs. Cassell's premises in La Belle Sauvage Yard there are visible, during the month of June, a collection of designs in blackhundred pieces. and-white numbering, say, about a couple of No printed catalogue had been prepared when we were invited to attend, but we do not know that the reader of this paragraph is any the worse off on that account as to the information he will receive with regard to the exhibition, for we should hardly in any case have gone so far as to refer him to individual drawings. A true appreciation of black-and-white betokens a real interest in of colour is not often withheld with impunity pictorial design. The legitimate seductiveness when it is the general visitor rather than the special student who is asked to survey the work; and perhaps it is least of all likely to be withheld with impunity when the black-andwhite is of the kind that is produced as a guide to the wood-engraver-of a kind, that is, thst is often lacking in that fineness of line and in those gradations which are more wont to ap pear in drawings done for their own sakes. Messrs. Cassell show many intelligent drawings -some of them the work of men of positionbut few would seem to have been wrought without thought of the further more or less mechanical process to which the design was to be submitted. Few are independent works, done without thought of their subsequent popularisation by wood-engraving. But the prices are low, for the public demand for work of this order is no doubt very limited; and when for three or four guineas the amateur may pick up a little drawing by Mr. Macbeth or, if not by Mr. Macbeth, by Mr. G. L. Seymour or Miss M. L Gow, the amateur is not unlikely to conside that he has a good opportunity. There is a extremely skilful little sketch by Mr. G. L. Seymour-the "Old Clarendon Press," and a weird presentation of "Barnard's Inn"-that In of Chancery in which, if we remember rightly one of the later of the heroes of Dickens, Pi of Great Expectations, abode for a while. THURSDAY, May 15, the centenary of th birth of the most famous of North-countr painters, Thomas Miles Richardson, sen., w celebrated in Newcastle by the opening of a exhibition of nearly two hundred of his picture His best work, "Greenwich from the Thames occupies the post of honour. Richardson painting of the scenery of the North is strong to the fore; but there are also two fine pictur in oils of Conway Castle, as seen from th land, and from the water; "A View Windermere; "Sunrise in Borrowdale; "Fast Castle, Berwickshire;" Ludlow THE town of Orléans is alive with exhibitions -horticultural, educational, and humanitarian -and these are to be followed by three more of an industrial and artistic character. For this purpose the old Santo Campo, a cloister of THE STAGE. "CALLED BACK AND CHATTERTON." THE Prince's Theatre, which seemed destined to the performance of what is called genteel comedy, has suddenly been devoted-and with complete success-to the representation of melodrama, an adaptation of Mr. Hugh Conway's story of Called Back having been prepared by the author and Mr. Comyns Carr for production on these boards. Mr. Conway's story, though it presented difficulties to the adapter, was yet of a kind to tempt him to overcome them. It was rich in ingenious sensation, it introduced us to novel scenes, it depicted unfamiliar character; and of its two chief defects—a want of probability, and some want of style-one would be easily forgiven when the closet was exchanged for the boards, and the other might be overcome, and would, in any case, be less noticeable on the stage than in the printed volume. In a word, it was impossible, or to the utmost degree unlikely, that a rattling sensational story, already well put together, should pass unheeded by those who must provide the literature of the theatre. Called Back, having been seen in every railway-carriage this Christmas, might find prolonged existence on the stage at Midsummer. The experiment has been made with unquestioned success. The adaptation has been on the whole extremely well done; and a competent cast having been secured, and the piece rehearsed with infinite and-may we say?quite modern pains, "Called Back" has taken its place as one of the stage triumphs of the season. From the very nature of the dish, we could not ourselves be enthusiastic about any conceivable presentation of it. Murder, conspiracy, blindness, melancholia, and the unexpected but inevitable rencontre are ingredients with which, for our own taste, we are fain to dispense; but they are beloved of an extensive public-there is a certain school which holds that in their further development, To Mr. Beerbohm-Tree -an actor rapidly the numerous variations from the somewhat We saw, the other morning, with great pleasure, the one-act piece by Messrs. Jones and Herman at the Princess's. "Chatterton" obtained, and justifiably, a quite exceptional success. It is well constructed, admirably written, and excellently played. Indeed, as far as Mr. Wilson Barrett himself is concerned, the interpretation is remarkable, his performance of the chief character being on the whole the best thing that he has done, and very fine indeed. But first a word of the play. The Chatterton of the stage could hardly with any hope of success portray only the real fortunes of the inspired yet ill-conditioned youth who in 1770 came up from Bristol to London. The Chatterton of the stage must of necessity be a type-a type, too, not of ill-conditioned adolescence, overburdened with vanity, but of "mighty poets in their misery dead." Apart from the fact that the hero of Mr. Jones and Mr. Herman expires in Brook Street, out of Holborn, and is young and exhausted, instead of exhausted and old, he has little more in common with the author of the Rowley MSS. than with the poet of the "Man o' Airlie." We do not blame the departure; we only chronicle it. That indispensable element, a "female interest "-if we may be allowed the hideous phrase-has been found for him. Alfred de Vigny knew that to be necessary, and so have Messrs. Jones and Herman. One Lady Mary is in love with Chatterton. It would be altogether against the purpose of the play-against the possibility of its tragic ending-if Lady Mary were allowed to interview him. She loves him, and is able to save him, and, if they two met, she would inevitably tell him so. Accordingly, Mrs. Angel, the sack-maker, who has let her see the poet's lodgings, and leave a note for him, which he does not discover The company has been carefully chosen. until he has already swallowed the poison Mr. Kyrle Bellew, as Gilbert Vaughan, is both which will be fatal to him, spirits her out of the picturesque and skilled. Mr. Anson is an way by one door just as Chatterton is coming impressive Dr. Ceneri; his death scene, it in by another; so that of actual love scene may be, is too prolonged, but on the stage it there can be none. But Lady Mary's long may be noticed that it is always with the soliloquy is in reality a long love scene, and utmost reluctance that any dramatis persona Miss Ormsby plays it with naturalness and takes leave of life-the actor, like Charles the enthusiasm, with tenderness and grace, so Second, is always "an unconscionable time in that the "female interest" is eminently serdying," but he is generally less sensible than viceable. Chatterton had something to live was that courteous monarch of the needless- for besides the publication of his verses, and ness of the delay that he occasions. A villain his death accordingly appears the more lamentof a much more pronounced type than Dr. able to those whom literary ambition no Ceneri is the political spy, Paolo Macari. He longer stirs. This is the service of the love is deeply moved only by one regret that he scene; but the play has other aids. The has not put more people out of the way for unavailing motherly solicitude of Mrs. Angel ever while there was yet an opportunity.-represented sympathetically enough by Mrs. are invited to be interested in the heroine-to As the Huntley-heightens the interest in the poet's fortunes, and so does the poet's own resistance to the temptations offered to him by Nat Boaden, the dissolute draughtsman-an early agnostic. Mr. George Barrett plays that part very forcibly; and there is still another part in the little piece, but it is of little account. It is that of the cousin of Lady Mary-Cecilia is her name-who comes with Lady Mary so that that young woman shall not defy the conventionalities too appallingly. young Lady Mary is engagingly romantic, Cecilia, for purposes of contrast, must be lively or commonplace, but, as the moment is not one for either commonplace or vivacity, Cecilia is by no means "in it." There remains to speak of Mr. Wilson Barrett and, with him, of the vigorous and poetic dialogue or monologue which Mr. Jones and Mr. Herman have furnished, and which he delivers with so admirable and various an art. "Chatterton" would be good reading, for the simple reason that it is such good writing; but for its performance on the stage it needs an actor of infinite resource, of unfailing capacity. A certain sternness of resolve which sits upon Mr. Wilson Barrett not quite fittingly, we think, in all he does is in "Chatterton" wholly in its place, while at the same time a flexibility in excess of any that he has ever shown here belongs to the actor, and likewise serves him in good stead. In brief, his performance is admirable; it is highly enjoyable and worthily impressive. The frenzy of passion and of ambition disappointed is represented as potently as is the calm which follows on the realisation of the certainty of death. A conception which, on the part of the authors, is genuinely poetical is worked out by the actor with full command of resource. We hope that "Chatterton" may be played often, for, if the public takes to it, it will have taken to an artistic thing. FREDERICK WEDMORE. RECENT CONCERTS. MR. MAX PAUER, son of Mr. E. Pauer, gave the first of two performances of clavecin and pianoforte music at the Prince's Hall, Piccadilly, last Thursday week. It was his first public appearance in London, and in a long and wellarranged programme he gave us a good opportunity of judging his powers as pianist and musician. He has received instruction on the piano from his father only, and the highly esteemed Professor has evidently taken the greatest care with his pupil. We think, however, that he will be fully rewarded for all his trouble, for the young pianist has already attained to a high degree of proficiency, and gives good promise for the future. We ought to mention that he is at present only a little over seventeen years of age. In Mozart's Fantasia in C minor (the one dedicated to his wife), and also in Beethoven's Sonata in F sharp (op. 78), there were signs of immaturity so far as the reading of the works was concerned; but in all the other pieces he gave a very good account of himself. His technique is excellent: he has an agreeable touch, and he plays intelligently. Bach's Chromatic Fantasia, Mendelssohn's Caprice in E (op. 33, No. 2), and Brahms' "Variations and Fugue on an Air of Handel" (op. 24) were most successfully rendered. The last-named piece, indeed, was given with remarkable clearness, power, and brilliancy; and those acquainted with the immense difficulty of these Variations will understand that this is no small praise. The programme concluded with studies by Liszt and Thalberg, which enabled Mr. Max Pauer still further to show his command of the key-board. As we announced, Brahms' new Symphony in was repeated at the sixth Richter Concert, last Monday evening, at St. James's Hall. The work again made a most favourable impression. The two middle movements were not difficult to follow at a first hearing, and in a sense the same may be said of the opening allegro and the finale; but further acquaintance with them reveals to us more fully their depth of thought and their beauties of workmanship and orchestration. We certainly consider the finale not only the finest portion of the Symphony, but one of Brahms' most powerful inspirations. The work was magnificently played, and by the production of this masterpiece Herr Richter has made his present season memorable. The programme included an early Overture of Weber's, duced it at a concert in Munich. The music not only from the composer's three other Symphonies, but from all other works of this class. The analyst notices-nay, we may almost say regrets-the rigid adherence to classical forms exhibited in every movement. When the spirit leads a composer to depart from established forms, by all means let him do so; otherwise, following in the footsteps of illustrious predecessors is not only right, but praiseworthy. Space will not allow of a detailed notice of the music. The opening movement does not altogether satisfy us in the choice of subjectmatter; the first theme is of indefinite character, and the second not very original; but the workmanship is excellent, and the orches tration most attractive; there are some delicate touches quite in the Schubert vein. The coda is a little bit commonplace. The slow movement is a song without words, tender and graceful; the harmonies and rhythms are The scherzo may be original and attractive. noted for its quaint trio. The finale, in the key of B flat major, contains some exceedingly clever and elaborate workmanship, and forms a brilliant and effective conclusion to a work of great merit and earnestness. The Symphony was conducted by the composer, who was foudly applauded at the close. The programme included a showy Concerto for double-bass by the celebrated player Sig. Bottesini, who has not appeared in London for several years; Chopin's Pianoforte Concerto in E minor, performed by Mdme. Essipoff with brilliancy, though not with sufficient passion; and songs by Mdme. Valleria and Mr. Maas. J. S. SHERLOCK. UTOTYPE PHOTOGRAPHIC required. ADVANTAGES. Employed by the Trustees of the British Museum and The Ruler of the Spirits." It was composed in 1804 as an introduction to "Rubezahl;" the Opera was not completed, but seven years later the composer rewrote the Overture, and intro- AU shows a foretaste of the glories of the "Freyschütz and "Oberon Overtures. Herr 1st. They present Faithful Representations of the Subjects. Hugo Heermann made his first appearance at 2nd. Printed on the paper of the Book itself, mounting not the Richter Concerts, and played Beethoven's 3rd. For Editions of 1,000 and under they are cheap. Violin Concerto. Instrumental solos are so rarely included in the programmes that one naturally expects something exceptional. There were many good points about Herr Heermann's performance, both in matter of technique and reading; but there was a want of intellectual power, and at times the intonation was not all that could be desired. was, however, much applauded. The "RhineDaughters" song from the "Götterdämmerung' was well sung by Mrs. Hutchinson, Fräulein Thekla Friedländer, and Miss Damian; an attempt, fortunately unsuccessful, was made to AUTOTYPE FINE-ART GALLERY, encore it. by the Learned Societies; also by many of the leading Publishers. Amongst the Works recently done, or at present in the press, may be cited: Lady Brassey's "Tahiti;" Professor Gardner's "The Types of Greek Coins;" F. T. Hall's "Pedigree of the Devil;" Audsley's "Ornamental Arts "Archaeological Survey of India;" of Japan;" Lockyer's Spectral Analysis; " Burgess's ""Samuel Palmer: a He Memoir." Of this last work the Athenaeum says: "This book is admirably illustrated by fourteen Autotype reproductions from lovely and characteristic sepia drawings." For Terms and Specimens, apply to the Manager, 74, NEW OXFORD STREET (Twenty doors west of Mudie's Library). AUTOTYPE COMPANY, 74, NEW OXFORD STREET, LONDON, W.C. TURNER'S LIBER STUDIORUM Reproduced in Facsimile by the Autotype Process, and accompanied with Notices of each Plate by the Rev. STOPFORD BROOKE, M.A. Pulish Mdme. Sophie Löwe and Miss Lena Little gave a morning concert at the Prince's Hall on of Mdme. Schumann, played a Fugue of Bach's Tuesday, May 27. Mdlle. Marie Wurm, a pupil and some solos of her own: the Fugue, though neatly rendered, was somewhat hurried. Mdme. Norman-Neruda performed in her best style a showy but commonplace solo by Vieuxtemps. ing in 3 vols., each containing Twenty-four Illustrations, price Four The chief features of the programme were the sixteen songs, "Dichterliebe," by Schumann. They were sung with taste, but we doubt the wisdom of giving the entire set; and, moreover, some of the numbers seem intended for baritone voice. The production of Mr. F. Cowen's fourth Symphony at the sixth Philharmonic Concert, last Wednesday evening, deserves special mention; it is an English work, and, besides, an important contribution to one of the highest forms of musical art. The analyst in the programme-book tells us he considered it his first duty to find a name for the "new arrival,” and, from the character of certain passages and the presence of a harp, felt justified in giving to it the title of "Welsh" Symphony. There is, however, no marked local colour; and the key of B flat minor sufficiently distinguishes it Guineas per vol. Volume the Second now ready. Containing: The Story of Europa. Bridge in Middle Distance. Inverary Castle and Town. Stackyard and Horses. Farmyard, with Cock. The Fifth Plague of Egypt Watercress Gatherers Detached Plates of this Edition of the Liber, with the Commentary appertaining, are sold at 3s, Ed. Publishers GL THE AUTOTYPE COMPANY, London. SUMMER TOURS in SCOTLAND. LASGOW and the HIGHLANDS (Royal Route via Criaan and Caledonian C-pals)-Royal Mail Steamer COLUMBA" or "IONA," from GLASGOW. DAILY, 174 from GREENOCK, at 9 A.M., conveying, in connexion with his West High land Steamers, Passengers for Oban, Fort-Williain, Inverness, Lach wi Skye, Gairloch, Staffa, Iona, Glencoe, Stornoway, &c. Official Guide, 34; Illustrated, 6d. and Is., by post, or at W. H. SMITH & SON'S failway Bok stalls.-Time Bil, with Map and Fares, free from the Owner, DAVID MACBRAYNE, 119, Hope-street, Glasgow. It is particularly requested that all business not to the EDITOR. LITERATURE. paper, just The judges and serjeants took the only course students' diversions when a cat and a fox The Order of the Coif. By Alexander Pulling. splendid feasts, when the rooks built in Elm (Clowes.) 99 66 or It has evidently been a labour of love to our author to collect all that can be known as to the daily life of the old Serjeants who dressed in such gorgeous apparel, and took part in such Court and the rabbits abounded in the coneygarth at Lincoln's Inn. Each Serjeant stood THE world is well aware of the antiquity and by his allotted pillar in St. Paul's, or walked dignity of the degree of a Serjeant-at-law, in the "paradise" or parvis at the porch, which all the sages of the Bench and Bar clothed in a priestly robe of scarlet or "violet were at one time compelled to attain, and will greet with kindly interest the appearance blue and tawny in grain," or parti-coloured and rayed with "mustard and murrey." of this stately monument set up in memory of On his head he wore the famous coif or cap of departed and departing glories of the long-white silk or linen, and on his shoulders a hood of bright colours with lappets and trimmings of lambswool. Even Fortescue and Dugdale have not disdained to enter with animation into the details of the legal millinery; but the subject has ceased to have much interest since the time when the Bar went into mourning for Queen Anne "and have so remained ever since." All these cowls and hoods and habits are tossed into the Limbo of Vanity, "white, black, and gray, with all their trumpery;" and even the blanched coif itself survives only in the shape of a spot or wafer in the centre of that black patch which ornaments the Judge's majestic peruke or bechive wig." 66 MR. MICHAEL FIELD shows more intention in message. and It is not often, in modern English verse, that we light upon a book so genuinely romantic. The scorn of bourgeois commonplace, the naïf young hatred of the "lame creature, custom,' the urgent battle waged against routine in these plays, with their fresh poetic ring, belong to another age than ours. England in 1820, France in 1830, was well accustomed to this tone; twenty years ago Mr. Swinburne sounded it again. Since then we have heard that poetry is a criticism of life. The value of the little book before us lies in a certain fusion of the passionate ardour of the Romantics school. with the more serious qualities of the later But robed brothers of the coif. Their learned spokesman would even claim for them to have existed as an Order in the true sense of the term among the brotherhoods of the world of chivalry, such as the Knights of the Bath, the Hospitallers, and the Militia of the Temple of Solomon. We may admit, at any rate, that they were constituted for several centuries as a privileged society or estate, taking the same place in the profession of the law as the doctors of the learned faculties among the members of the greater universities. The Serjeants are believed to have formed the whole practising Bar while the King's Court was still undivided; and after its separation into several branches they retained a right of exclusive audience in the Court of Common he bade farewell to the Inn of Court where When a Serjeant received his appointment Pleas, which was only abolished in 1834 after he had served as reader and bencher, and was Perhaps we are sounding a trumpet too a long and angry controversy. Their privi- usually presented with a handsome contribu-loud for the size of our pageant. Two small leges in our own time have gradually dwindled tion of gold pieces hidden in a pair of gloves, dramas or rather sketches for dramas are away, though the Order was saved from extincunder the name of a regard," with the all the book contains; and these are defaced tion by the rule, existing until recently, that view of helping him towards the great charges by passages of triviality, lapses of taste, every judge was bound, before his appoint- of taking his new degree. The expenses of in- errors and crudenesses of execution. ment, to take upon him the estate and degree stallation were very heavy; the new Serjeant behind all these faults there remains an of the coif. On the fusion of the courts had not only to provide a great number of individual character, a realised design. And under the Judicature Acts this ancient regu- persons with coloured cloth for liveries, but this, in minor poetry, is rare. lation was abrogated, in order, as we may to give rings of fine "angel_gold" to the We shall best do justice to this quality suppose, to relieve the equity judges from an King and Queen, the great officers of state, by giving an outline of the author's plan. unexpected and burdensome obligation. Since and various officials about the law courts. The introduction of the Bacchic cult to that time no new Serjeants have been ap- Besides all these expenses he had to join with Calydon forms the motive of "Callirrhöe." pointed, though it is believed that there is no the other newly appointed Serjeants in giving Conscious of his anachronism, Mr. Field reason why the Crown should not renew the a feast or banquet of the most extravagant defers the worship of the Bromian god until grant of the dignity if the Bar were desirous kind. An old chronicler tells us that at one the later days of Greece; he is eager to be of that honour. The author asks whether it is feast in his time there were present "all the in the wrong with Shakspere, and Virgil, and expedient "that the highest grade at the Bar lords and commons of the Parliament, the Euripides, those great Romantics. Time and known to the common law should be swept away;" but in truth the brethren themselves mayor and aldermen, and a great number of space are no bars to his conception. And, appear to have supplied the answer to the best feast of 1555 we find such expensive items as this account. At the indeed, we do not quarrel with any poet on the commons of the City of London." Let him seize or make the of their ability, when they disposed of the old swans and roast bustards, chewet-pies and moment best fitted to his work. In the Inn in Chancery Lane where they and their great jowls of sturgeon, salmon, and all kinds case of "Calirrhöe" Mr. Field has had a choice predecessors had met during four centuries as of game, besides multitudes of plovers and of moments. In mystic Alexandria, in the the occasions of the profession required. The larks. Mr. Walpole sent in as his contribu- Jacqueries and ecstasies of the thirteenth author gives a very interesting account of the tion, besides a quantity of venison, twenty- century, in the supernatural seventeenth old house in Chancery Lane which was occu-four swans, a crane at ten shillings, and two century, in the delirium of the Reign of pied by the Serjeants under successive leases turkeys at four shillings a-piece. Each Ser- Terror, nay, even in the spiritism of tofrom the year 1394 to the passing of an Act Ser-Terror, in 1834 by which they were incorporated and jeant's share of the provisions amounted to day, the cult of Dionysus is new-born. For about £37, without counting the venison. good or for evil, these periodic outbreaks of enabled to purchase the freehold. The outcontagious ecstasy are parts of the history of lay was being gradually paid off when it bethe world. came apparent in 1877 that the Order was likely to die a natural death. "In this change of the law, the old Inn of the serjeants was at once consigned to destruction. There is no space left for describing their other feastings and revellings. They took part in the brawls at Christmas under the lord of misrule when judges and serjeants danced "round about the coal-fire" to a quaint and mock-stately tune; and they joined in the When the drama of "Callirrhöe" begins, the wild religion of Bacchus is gaining Calydon. Within the city the altars of the elder gods still smoke, nice-ordered custom |