the-way, the name Leofsunu is oddly rendered "Leveson." dreamt of in our psychologies. It may seem Prof. Earle devotes considerable space to the subject of the West-Saxon laws, from which he gives large extracts in original and translation. He then proceeds to speak of the Chronicles, with which he deals more For example, Miss Simcox has her own view briefly than might have been expected from of the relation of psychology to other branches his previous labours on this portion of the of knowledge. She finds fault with me for literature. The distinctive features of the connecting the science so closely with educavarious local chronicles are, however, care- tion, and seems to hold that it has quite as fully pointed out, and the scanty indications direct a bearing on politics and other practical of authorship and date of composition are in finding a reason for my falling into this callings. Miss Simcox's display of ingenuity brought into prominence. error-namely, the twofold wants of my The chapter on Alfred's Translations," in examinees-makes me really sorry that I addition to a long extract from the Preface cannot allow her to do me the honour of to the "Pastoral Care," contains an interest-taking me to be its originator. The two Mills, ing novelty in a series of passages from the Spencer, Bain, in England, Beneke, Waitz, translation of Gregory's Dialogues, which still and a host of others in Germany, have brought remains inedited. Alfred's great object was out the bearings of psychology on education. the elevation of his people through the in- Will not Miss Simcox fill up the gap by writing a treatise, say, on the psychology of politics, strumentality of the clergy, and it was for or of "experimental science," whatever this the instruction of the clergy that these trans- expression may exactly mean in Miss Simcox's lations were designed. After Alfred's time, not always familiar nomenclature? One would the cultivation of prose style was chiefly conjecture, too, that Miss Simcox entertained continued in the homiletic literature, which quite new ideas on the relation of psychology reached its highest perfection in Elfric. to ethics. At least, the expressions "utilitarian Prof. Earle skilfully points out the illustra-psychologist" and "utilitarian motive" (à propos tion which this literature affords of the history ception of the relation. I should be glad, of infantile behaviour) suggest some new conof religious thought during the tenth and further, to know more fully what is the exact eleventh centuries. In the earlier works of value which she ascribes to the psychological this period-that is to say, in the oldest por- work of the last thirty years or so as repretions of the Blickling Homilies-we find sented by the names Spencer, Lewes, and Bain abundant traces of the loose theology and the (Miss Simcox wisely, perhaps, ignores such a extravagance of saintly legend which the trifling contribution as the psycho-physics of Benedictine revival endeavoured to repress. Germany), She begins by saying that my This Catholic movement is represented by the British trio have not brought us summary leaves a sense of disappointment that Elfric, whose sermons are a continued pro- warder," but instantly goes on to remark that test against the licence of speculation and the this disappointment might disappear if we had undisciplined love of the marvellous which to go back to the text-books used before this characterised much of the preaching of his time. period. This affects me like an optical illusion. Prof. Earle deservedly praises the wonderful It is as if I were told: "Go and stand at B power and flexibility which the English lan- and look at A, and the distance will seem short; guage attained in the hands of this great but pass on to A and look towards B, and the writer. The notice of the homiletic literadistance will appear long." ture closes with an extract from the sermons of Wulfstan, which were published only last year. In the chapter on "The Secondary Poetry," the long analysis of the "Elene" might, perhaps, with advantage have been dispensed with to make room for a few more extracts from the Cynewulf poems; and the interesting remains of the scientific literature are dismissed more briefly than we could have wished. These, however, are points on which opinions may differ. What is not questionable is the extraordinary skill with which Prof. Earle has managed to condense a long story into a brief space without any sacrifice either of clearness or attractiveness. thought of my subtle critic. I quoted from M. Ribot the fact that in mental disease loss of control shows itself in two distinct forms, the one due to abnormal increase of the impulsive force to be inhibited, the other to the decrease of the inhibitory force. That is to say, the grip one man has on another, prostrate beneath him, may be lost either because the latter recovers breath and strength or because the former grows tired. Miss Simcox tells us that this is nothing but a clumsy version of a saying of La Rochefoucauld: "Si nous resistons à nos passions, c'est plutôt par leur faiblesse que par to bring out the identity more fully, and to tell notre force." I should have liked Miss Simcor us how far she thinks natural cleverness, experience, and literary skill are able to anticipate the slow movements of pathological research. I can assure Miss Simcox that I have tried hard to puzzle out the meaning of her dexterously turned sentences. This confession may so convince her of my inability to apprehend new ideas that she will not think it worth while to instruct me further; but it will at least satisfy her that I have the disposition to learn. JAMES SULLY. SCIENCE NOTES. Ar the last meeting of the Institute of Civil Engineers for the present session, held on May associates, and students now numbers 4,612, as 27, it was stated that the list of members, compared with 4,400 last year, and 2,468 ten years ago. DR. EDWARD AVELING has in the press a pamphlet on the Origin of Man. It is uniform with, and a continuation of, his Darwin as tenth thousand. Theory. The latter pamphlet is already in its Both are published by the "for-Progressive Publishing Company, 28 Stone cutter Street. THE International Geological Congress, which has not met since the Bologna gathering in 1881, will hold a session next autumn in Berlin. The venerable Dr. von Dechen has been ap pointed honorary president, while Prof. Beyrich is the president of the organising committee, and Dr. Hauchecorne the secretary. The meeting will extend from September 25 to 30, and will be followed by geological excursions from October 1 to 5. Arrangements of a very liberal character are being made for the reception of foreigners. PHILOLOGY NOTES. MESSRS. MACMILLAN will shortly publish in their "Classical Series" the Epistles and Ars Poetica of Horace, edited by Prof. A. S. Wilkins, thus completing the work that was begun by Mr. Page's Odes and Prof. Palmer's Satires. A similar obscurity attaches to Miss Simcox's account of the value of that new branch of psychological enquiry which she calls interrogating the domestic baby, and the inauguration of which she attributes to Mr. Darwin. Miss Simcox begins by saying that this is the most valuable addition recently made to the resources of the psychologist. A few lines later she speaks of the interest of a careful record of the ages at which primitive mental processes are successfully accomplished (which is just what Mr. Darwin set himself to obtain) as being mainly biological." A line or two beyond this she gives it as her third opinion that this HERR D. ROHDE, in his pamphlet, Adjectivum same process of recording mental progress is in quo ordine apud Caesarem et in Ciceronis oraslightly higher stages" exceedingly valuable." tionibus coniunctum sit cum substantivo examinavit Miss Simcox's originality can hardly go to the Dietericus Rohde, seeks to modify the usual length of including biology under psychology; view that in the best Latin prose writers the but, if not, this strange Hegelian sequence of adjective generally follows the substantive, and affirmation, denial, and re-affirmation is just a that, when it precedes the noun, it thereby gains little puzzling. Miss Simcox's few remarks on additional emphasis (Madv. Lat. Gr. § 466 a), the doings of infants show that she is able to He treats the attributive adjective as originating examine these psychological objects without in a secondary clause of predicative character any risk of their being dimmed by the haze of—e.g., laudo homines modestos: - laudo homines sentiment; and one is almost horrified at the We poor specialists are wont to move on so thought of the crushing things she would have blindly and automatically in our beaten track to say to deluded parental observers. Yet, that we might become at last almost as auto-though terrible, the process of dis-illusionising matic as a squirrel in a cage were it not for the would be salutary, and I sincerely hope that supervision and control of those gifted with the Miss Simcox may soon find time to tell psychowider vision. Miss Simcox's many acute obser- logical parents more fully how they are to vations à propos of my text-book are eminently observe their infants, taking them "as seriously fitted to impress the psychologist with the as if they were earth-worms." truth that there are more things in the mind of man, whether adult or infant, than are HENRY BRADLEY. CORRESPONDENCE. 66 OUTLINES OF PSYCHOLOGY." There is one other point on which I feel the same difficulty in seizing the precise shade of in qui (or quod) modesti sunt; and, therefore, placed naturally after its substantive. This old arrangement he assumes to have gradually given place (with certain exceptions, as, e.g., the case of old, familiar, and stereotyped expressions, such as populus Romanus, &c.) to the converse order, by which a close connexion is established between the adjective and substantive, remarking, "indicium vero atque insigne huius artioris coniunctionis in eo cernitur, quod adiectivum ante substantivum positum est." (Is not this rather begging the that the society's collections had received a per- MEETINGS OF SOCIETIES. of the appearance of the "spectacle ornament" on the front of a woman, Mr. Browne found on close examination that the ground on which the woman stands, with a man by her side carrying a large knifelike implement horizontally across his head rising between them. body, is in reality a large dragon, with a narrow The shaft of the cross at Kirkby Wharfe has a subject which Prof. Hughes, in speaking of the so-called Via frequently occurs on Northumbrian stones, two Devana running from the end of Worts' Causeway figures grasping an upright stem standing between towards Horseheath, pointed out that there was them; in this case the whole is complete, and the little, if any, evidence of its Roman origin; and head of the stem is found to be a large "Maltese " insisted that it was rather an entrenchment, to be cross, the arms of which form canopies for the referred to the same later age which has given us man and woman. Mr. Browne showed various Offa's Dyke in the West, and the Devil's Dyke and examples of stones illustrated by these points. so many other notable earthworks in East Anglia. The Deerhurst font is :an exceptionally fine So too in respect of the Castle Hill, he pointed out example of spiral ornament. Mr. Browne called that the certainly Roman roads in the neighbour attention to the unusually complicated arrangesub-hood seem to converge to Grantchester rather than ment of four spirals proceeding from the centre to Cambridge, and that the Roman pottery found instead of three or two, and to a peculiarity in here indicates rubbish-heaps rather than the site the method of carrying it out, two of the spirals of a camp or permanent fortification. From all at each centre uniting and thus forming conavailable evidence he drew the conclusion that, tinuous bands. For a close examination into though the rural population in this neighbour- this detail he was indebted to Mr. Henry hood was probably thicker in Roman times Wilson, of Malvern. He combated the arguthan at present, the mound and all the earth- ment for a comparatively late date of the font, works about it are of Norman origin. Mr. derived from the presence of a well-designed Browne showed outlined rubbings of two stones scroll with flowers and leaves, by the presence of recently presented British Museum ornamental scrolls on stones which showed intimate by Mr. A. W. Franks, acquired some years ago acquaintance with the Lindisfarne Gospels and from persons who described them as coming from other MSS. of Hibernian type, and expressed the the city; also of the remarkable rune-bearing opinion that the Deerhurst spirals were designed at stone from St. Paul's Churchyard in the Guild- an early date by some master of the art. There hall Library, the case of which had been removed was a Saxon monastery at Deerhurst, and the font ANTHROPOLOGICAL INSTITUTE.-(Tuesday, May 13.) PROF. FLOWER, President, in the Chair.-Dr. Maxwell T. Masters exhibited a series of agricultural implements, brought by Mr. Livesay from the Naga Hills, at the North-east corner of Assam. The tools were chiefly such as are used for rice culture on the irrigated slopes of the hills, and consisted of rakes made of bamboo wood, a hoe, and iron knife with wooden sheath and cord for suspension.-Dr. J. Stephens sent a drawing of a large pointed palaeolithic implement recently found near Reading: length, nine inches and a-quarter; weight, two pounds three ounces and a quarter.-Mr. W. G. Smith exhibited two palaeolithic implements recently found at North London: one was made of quartzite, and is the first example of this material met with in the London gravels; the other was a white implement from the "trail and warp." He also exhibited two white porcellaneous palaeolithic flakes replaced on to their original blocks; the four pieces were found by him at North London, wide distances apart, at different times during the last six years. Mr. Smith also exhibited a large axe from New Guinea with a keen blade of siliceous schist or banded chert nine inches and five-eighths long, and weighing over two pounds and a-quarter. The axe was sent home by a sailor, and Mr. Smith purchase i it of a person who was using it at North London for chopping up firewood. -A paper on "The Ethnology of the Andaman Islands," by Mr. E. H. Man, was read.-Prof. Flower read some "Additional Observations on the Osteology of the Natives of the Andaman Islands." Since reading a paper before the Institute on the same subject in 1879, the author had had the opportunity of examining ten additional skeletons, two of which are in the Museum of the University of Oxford, and eight in the Barnard Davis collection now in the Museum of the Royal College of Surgeons; five are males and five females, and all are adult. The measurements of these specimens have thoroughly established the fact that the twelve skulls of each sex previously examined furnish a very fair average of the characters of the race. CAMBRIDGE ANTIQUARIAN SOCIETY.-(Annual Meeting, Monday, May 26.) J. W. CLARK, Esq., President, in the Chair.The following honorary members were elected :Commendatore Giuseppe Fiorelli, Prof. Luigi Pigorini, Prof. Heinrich Brunn, Prof. Adolf Michaelis, M Léon Heuzey, M. Ant. Héron de Villefosse. The following officers were elected for the next year:-President, Mr. J. W. Clark; vice-president, Prof. G. M. Humphry; secretary, Rev. S. S. Lewis. The new members of council are:-Prof. C. C. Babington, Prof. W. W. Skeat, Prof. Macalister.-The annual Report announced to the Mr. by the kindness of the librarian in order that the might possibly be a relic of its infancy. According to William of Malmesbury, Abbat Tica took to Glastonbury in the eighth century the relics of a large number of early Northumbrian Christians, Aidan, Bega, Hilda, &c., and his own tomb at Glastonbury was specially noted on account of the "art of its sculpture." Thus there was some evidence of a Northumbrian influence on the Christian art of the South-west. A fragment of an inscription in Roman capitals was found at Thornhill near Dewsbury several years ago. Two inscriptions in runes were found at the same place, and a third was found two or three years ago. The fragment in Romau capitals is as follows, the large capitals showing the letters which are certain, the smaller ones those of which only a small portion has been preserved : In ANTHROPOLOGICAL INSTITUTE.-(Tuesday, May 27.) *Possibly meant for Thornhill; conceivably a play upon a double meaning of bergi, "hill" and grave-mound." that of the village Malays, was always in a disshevelled state, and in curls. The average height of the males was about 1.59 mètre, and that of the females 1'49.-Dr. Garson read a paper on "The Osteology of the Kubus."-Mr. Theodore Bent read some Notes on Prehistoric Remains in Antiparos," and exhibited several specimens of pottery, some rudely carved marble figures, and a skull from cemeteries in that island. ROYAL SOCIETY OF LITERATURE.-(Wednesday, May 28.) SIR P. DE COLQUHOUN, Q.C., in the Chair.Mr. William H. Garrett read a paper on Macbeth," chiefly with a view of elucidating the intentions of Shakspere with respect to the central figure of the tragedy. At the outset, Mr. Garrett endeavoured to fix the year when the play was first acted, by a reference to the MS. diary of Dr. Simon Forman, who states that he first saw "Macbeth" acted at the Globe Theatre on April 20, 1610, and who has given a sketch of the plot. After examining the source-Hollinshed's Chronicle-whence Shakspere derived his first idea of the salient characteristics of the real Macbeth, and alluding to the introduction by the poet of the account given by the Chronicler of the assassination of King Duffe by Donewald, the author of the paper proceeded to analyse the character of Macbeth as created by Shakspere, contending that the prophecies of the witches had not the effect on the character and conduct of the Scottish chief which is usually claimed for them by commentators. Shakspere's text, it was shown, not only indicates that ambitious cravings existed in Macbeth before the action of the tragedy commenced, but that he had previously even consulted his wife respecting the means to be adopted in order to secure the throne for himself. In proof of the latter statement, Mr. Garrett cited Lady Macbeth's rejoinder NEW SHAKSPERE SOCIETY.-(Friday, May 30.) F. J. FURNIVALL, Esq., Director, in the Chair.—Mr. Thomas Tyler read the first of two papers on "Shakspere's Sonnets." With respect to the date Mr. Tyler repeated the conclusion he had previously expressed in the ACADEMY, that, on account given in the dedication of 1609. Mr. Tyler main of allusions to the rebellion of Essex and its consequences, and indications of the season of the year, as in "this most balmy time" of 107, sonnets 100 to 126 were written somewhere about May 1601. Sonnet 101 gives a period of three years as having intervened since the commencement of the acquaintance between Shakspere and his friend. And this sonnet gives also special prominence to the season of spring, speaking not only of "three beauteous auteous springs" turned to "yellow autumn," but also of three April perfumes in three hot Junes burn'd." Thus three years from the spring of 1601 brings us to the spring of 1598, when Shakspere was first introduced to his beautiful and estimable young friend, "Mr. W. H.," according to the initials tained that, though his conclusions with regard to the chronology would be valid, whoever may be identified with "Mr. W. H.," yet these conclusions were in singular accord with the chief facts known respecting William Herbert (in 1601 Earl of Pembroke). William Herbert was to commence residing permanently in London in the spring of 1598, as mentioned by Rowland Whyte in the Sydney Papers. And his release in the spring of 1601 from the imprisonment which he endured in consequence of his amour with Mrs. Fytton would not unreason ably give occasion for that renewal of the intimacy Mrs. Mitchell has thoroughly mastered the with Shakspere which is implied in sonnets 100 scattered and difficult literature of this early to 126. The words "You had a father," of time. She is familiar with coins and early sonnet 13, were not to be taken as meaning that Mr. W. H.'s father was dead, but, in accordance Vase-paintings, with "island stones" and with the words "thou hadst a father" in "Merry bucchero nero "types," no less than with her Wives," act III., sc. iv. (a parallel passage suggested more immediate subject-sculpture. She puts by the Rev. W. A. Harrison), they implied an before the general reader a wealth of evidence exhortation to act as his father had done; to act and illustration hitherto well-nigh inaccessible. like a man. Slender in the "Merry Wives misunderstands the meaning, and thus renders Everyone will welcome her account of M. himself ridiculous. "You had a father" was to Pierrot's discoveries at Boghaz Keui and be understood in a sense congruous with the Ghiaour Kalessi, of Mr. Ramsay's Phrygian general import of sonnets 1 to 17. Shakspere, lions, with their delightful confirmation of however, may have had little or no personal the supposed overland route from the East; acquaintance with William Herbert's father, who, at the period in question, may not have resided and no less valuable is her notice and woodmuch in London, both on account of his health cuts of early Cretan gems, "Dipylon" vases, and his official duties in the country.-In the and Mycenae sword-blades. Few will be able to discussion which followed the reading of the paper, Mr. Furnivall suggested that though agree with the views of Milchhoefer expressed additional evidence was desirable to decide the in his Anfänge der Kunst, but all will rejoice question, yet possibly Mrs. Fytton might be the that those views, and still more the material dark lady of sonnets 127 to 152, of whom both on which they have been formed, should be Shakspere and his friend, Mr. W. H., were made available to English students. The enamoured.-Mr. Tyler intimated that, in his same good office is performed for the recent second paper, June 13; he should have something to say on this question, as also on the philosophy investigations of Conze, Furtwaengler, and and religion of Shakspere.-In reply to a remark Loeschke. The excavations at Delos conwhich had been made that the existing portraits ducted by the French have been rewarded of William Herbert, as representing a man of forty or more, would scarcely justify the lavish by a wealth of discovery; but, though faitheulogies of Mr. W. H.'s beauty to be found in fully reported in the Bulletin of the Ecole the Sonnets, Mr. G. B. Shaw maintained that the française at Athens, they have remained a engraving in the British Museum, from the mere hearsay to many in England. Mrs. portrait said to be by Mytens, was that of a Mitchell gives us a wood-cut of the archaic remarkably handsome man. He should like a Nike, connected by its inscription with the committee of ladies to decide the question. names of Mikkiades and Archermos. A cast of this statue, unique, perhaps, in its delightful naïveté, may now, thanks to Prof. Colvin's marbles of Delos and Samos, in the new exertions, be seen, with the other archaic archaeological museum at Cambridge. FINE ART. at Messrs. DOWDESWELLS, 133, NE BOND STREET, two doors from MR. WHISTLER'S ARRANGEMENT in FLESH COLOUR and GRAY, the Grosvenor Gallery. Admission, Oue Shilling. A History of Ancient Sculpture. By Lucy M. foreign and especially German literature that It is perhaps in her thorough mastery of Mitchell. (Kegan Paul, Trench, & Co.) Mrs. Mitchell's merit especially lies. She THE discoveries of the last ten years have has a real genius for assimilation and clear doubled the labours of the historian of Greek reproduction. Sometimes, indeed, her conart. They have, indeed, completely revolu- scientious desire to give an exhaustive extionised his method. A hard necessity is laid position of conflicting views leads her to reupon him. He must find himself at home not vive what had better, as speedily as possible, and Assyria, in Phoenicia and Asia Minor. need scarcely be teazed with Conze's now only in Hellas, but also in Egypt, in Chaldaea become extinct. Where space is precious we The student of to-day imperatively demands obsolete view of the meaning of the Harpy in art as in science to know the origines of tomb. The elaborate symbolism of egg. things. It is the conspicuous merit of Mrs. bodies (egg-like only because the painted Mitchell's book that she responds to this call. feathers have disappeared) and nascent To our mind the best part of her work is over germs, mystic views of the interpenetration before she treats of the historical period proper of life and death, might be allowed to rest in -the time that follows after 600 B.C. Her peace, respected as a witness of bygone inplan is to sketch briefly at the outset the genuity. No one now regrets their revival history of art in Egypt and Assyria. It is so much as the scholars who unhappily first given to no one except M. Perrot (and some gave them birth. They must often be comcritics would say not even to him) to treat pelled to cry, "Preserve us from our friends." with equal sympathy arts and religions so At other times, again, but very seldom, we dissonant as those of East and West; the are haunted by the suspicion that an authority like a careful, but always cold and lifeless, rarely, indeed; and for the pamphlet literaaccount of Egypt and Assyria reads, therefore, has been cited rather than read. compilation, useful, indeed, to the student, ture of archaeology we may each and all cry, but to be read with a sense of effort. Rahotep "Who is sufficient?" One instance involving and beautiful Nefert occupy their wonted a serious omission we are bound to give. place of honour in the Memphitic period; it Mrs. Mitchell (p. 119) cites and admirably is whispered that M. Maspero intends shortly engraves the Palestrina bowl of the Vatican; to revolutionise their date. Throughout the but, strange to say, she gives the old explanation, or rather mystifipages on Egypt and Assyria we have a feeling exploded that we are told either a little too much or cation, of Prof. Helbig-an explanation not enough. Too much of the object of the Helbig himself would now doubtless be the sketch is to show the relation with, and point first to forego. Yet a few pages farther on the contrasts to, Greece; too little, if we are to she cites the work of M. Clermont Ganneau, escape a perfunctory history of the East itself. L'Imagérie phénicienne, the first volume of But this discomfort vanishes when we reach which he has devoted to a new interpretation Phoenicia and the Graeco-Phoenician period. of this bowl-an interpretation so luminous, This is so self-convincing, so (now he has pointed it out) instantly obvious that a counter-argument has never since been raised. Again (p. 117), speaking of the ivory situla found at Chiusi, Mrs. Mitchell says, "Here are to be seen male and female Centaurs, Odysseus under the ram as being carried out from Polyphemus' cave, as well as his adventure with the Sirens." Now one glance at the situla as published in Mon. x. 39 would have shown that the supposed "adventure with the Sirens" consists merely of the representation of the ship of Odysseus waiting to convey him away after his adventure with Polyphemus. There is no vestige of any possible Siren. Again, speaking of the early form of the Laocoon myth, she says (p. 603), "According to the earliest version of the story by Arctinos, the father and younger son at once fell victims." A reference to the passage (the excerpts of Proclus) would have shown that Arctinos makes no such statement; he says the father and one of the two sons (τόν τε Λαοκόωντα καὶ τὸν ἕτερον τῶν παίδων διαφθείρουσιν). Oddly enough, Robert (Bild und Lied), from whom Mrs. Mitchell takes her account, draws just the opposite conclusion-" aber wie der jungere Laokoonsohn gerettet wird." Pergamon span appeal to us moderns at least 99 66 accurate and always clear résumé of the sub- THE SALON. I. The author seeks to goad us to admiration by her extravagance of language; even in describing the Parthenon, where surely, if anywhere, a sobriety of language is becoming, we are offended by such high-flown expressions as "the depths of the over-arching azure; but when we come to the Pergamene period we are fairly overwhelmed by the torrent of inflated epithets. We hear of cavernous depths of drapery," "strains of soul anguish,' a "surging sea of sculpture,' ," "a dire dirge THE unusual number of abstentions among of agony," the Apollo Belvidere appears "in French artists of high rank and reputation is light supernal," the goddesses are distinguished the cause that it has been said, with some by their "proud elegance,' bewitching ele-justice, that the Salon is this year one of less gance," ," and "super-elegance," one of their than average merit; yet there are not wanting, number has a neck "luscious in its round- amid a vast mass of work which is poor in ness," carved, of course, of "softest-glowing conception and exaggerated in treatment, marble.” Perhaps we need not dispute such rather than imperfect in execution, many of unnecessary great beauty and value, and more of much epithets as "love-inspiring delicacy of feeling and high promise. Among Eros" and "bewitching Aphrodite;" but, the abstainers, in addition to those who rarely among the strange and wonderful ex-put in an appearance at the great gathering of pressions that have been discovered in the year, are such masters as MM. Baudry and the face of the Olympian Hermes it was Bonnat, and among lesser though still noted reserved for Mrs. Mitchell to detect that of men MM. Cazin, de Neuville, Vibert, Berne"youthful rogueishness." To return to Per-Bellecour, Maignan, and Rochegrosse, whose gamon: it is hard upon the ox, among so "Andromaque excited so much interest much splendour, to talk of his "beastly inspired visions which M. Gustave Moreau last year. We miss, too, the eccentric yet neck;" but it is much worse, because it is occasionally deigns to contribute. MM. Carolus positively inaccurate, to speak of the "weird Duran, Jean-Paul Laurens, and Bastien-Lepage fancy of the sculptor," a "weird grouping of each sends one work only, of smaller dimenarms and legs." If there is one adjective sions and less importance in each case than absolutely unpermissible in discussing Greek these artists have accustomed us to expect; on sculpture, it is the adjective "weird." To the other hand, M. Gérôme re-appears on the use it betrays a fundamental ignorance of scene of former triumphs with two pictures. what constitutes the classical in art. Among the sculptors the gaps are still mantic art may be "weird," classic art regretted. M. Dubois, who is on the whole more marked and perhaps even more to be never-its outlines are too clear, its thought entitled to the first place among the really too luminously precise in expression. great masters of the plastic art whom France now possesses, is represented this year by paintings only, which, however, are almost beautiful enough to console us for his falling off; M. Mercié also has preferred to appear in his comparatively new role of painter. Among ceau, Gérôme, and Idrac. Yet in this branch, the other absentees are MM. Dalou, St-Martoo (though perhaps an increased tendency towards exaggeration of conception and treatment is manifest), less-known artists have produced works of great beauty and technical perfection, which prove once more that the noble and unbroken traditions of French sculpture are yet retained, and that training in the plastic art received in France is still the soundest and best afforded by any school in Europe. Ro The illustrations of the book and its accompanying portfolio are conspicuously full and good. Some few wretched cuts "current in trade" remain, to Mrs. Mitchell's own regret, no less than to ours. How long, we ask impatiently, are such wretched cuts to represent the metopes of Selinus, so beautiful and, from the certainty of their approximate date, so all-important? Admirable photographs are obtainable at Palermo. But there is much to be thankful for the beautiful phototypes alone worth the cost of the book, some triumphs of American wood-engraving, and countless new outlines. But the list of positive blunders in Mrs. Mitchell's book is a very short one-a list which it is, considering the vast and chaotic mass of her material, almost a compliment to enumerate. In matters of opinion we are constrained to a more serious issue. The general tone of her book is redolent of Munich. Like most of us, she is at times manifestly compelled jurare in verba magistri; and her master is the greatest of German archaeologists, Prof. Brunn. Anyone who has listened in person to the honey-sweet words of persuasive eloquence which fall from the lips of this "Nestor of archaeology will not regret her choice. In reading the book, we feel ourselves back in Prof. Brunn's museum of casts arranged especially to illustrate his Reihe von Problemen, his pictorial school of Northern Greece, his rediscovered Praxitelean Satyr, and the like. After Kieseritzky's recent investigations, we should have thought that Stephani's aegis restoration of the Apollo Belvidere was at least entitled to respect; indeed, Mrs. Mitchell feels compelled to give a wood-cut of the conjectured restoration. But, alas! Brunn is on the one side, Stephani on the other; she cannot repress her animus, so the only intelligible explanation ever offered of the statue is dismissed as "cumbersome,' fanciful," "unpleasant." But it is when we come to Our author has a new word to say on the the Pergamene period that protest against vexed question of Greek spelling. By a prinMrs. Mitchell's (not Prof. Brunn's) views ciple which she certainly applics consistently, must seriously be entered. We have heard we get such hybrid, unpleasing forms as the greatest of English archaeologists say that Kyclopes, Kyclades. But surely every new he was thankful, for the sake of art students, method of spelling, however consistent, is that the sculptures of the recently discovered only a fresh offence; by its newness it is altar at Pergamos went to Berlin, not to ipso facto condemned. London. This is strong language, but it ex-ventions have their human interest, as imEven mistaken conpresses a conviction, which will be shared by portant as any principle of philology, nay, every archaeologist bred among the Parthenon they are part of those principles of philology. sculptures, that these Pergamene marbles are In parting from the book, we can only say positively hurtful to the student, so distinct that, in spite of some blemishes, it is by far is their realism and their consequent vulgarity. the best text-book on Greek art that we Mrs. Mitchell ex hausts her vocabulary of ad- possess in English. For originality of views jectives (and it is a large one) in a panegyric the archaeologist will still look to Speaking of the Murray's History of Ancient Sculpture; but, "Does not this for a well-nigh exhaustive, for a usually of these same marbles. horses of the frieze she says, exhibited this year that the naturalistic tenIt is especially noticeable in the pictures dency and the devotion to the school of "plein air" which are so strongly marked in recent French art have not led French painters quite as far as it was feared at one time they would productions are; and the generalised and poetic doubt very many of the most modern French do. Unflinchingly and prosaically realistic no realism created by such men as Millet, and the great artists akin to him, has been too often exchanged for a reality more faithful in detail, yet less essentially true. Still, the more uncompromising, and violent of the so-called "impressionnistes or "indépendants" have not succeeded in rendering acceptable the vulwith which they approach the subjects in which garity and platitude of thought and treatment they delight, seeking with an affected disdain for all they do not see or cannot understand in nature to cloak their want of true insight and observation. It is these defects which, even more than their eccentric technique, have always repelled the general public. Yet this school has not been without a certain wholesome influence, inasmuch as it has brought into fashion an accurate study of the problems of light and colour in their relation to each other, and in some instances a closer and more uncompromising study of nature. Among the large decorative works with which the Salon abounds, the place of honour is deserved by M. Puvis de Chavannes's "Le Bois sacré aux Arts et aux Muses"-a design conspicuous both for the simplicity and grand style of the treatment, and for the beauty and power of the colouring. This immense canvas (which is to serve as a decoration for the staircase of the Lyons Museum) represents the Muses, and other allegorical figures typifying the arts, in gracefully composed groups; some stand in solemn converse, or recline on the margin of a lake, while others float through the still air. The landscape in which the figures are framed is of surpassing breadth and decorative beauty; in its hushed and shadowy solemnity it is suggestive of the Elysian fields. The foreground is partly occupied by a pool, in which is strongly reflected the glow of the setting sun; the middle and far distance are of wood and deep-blue mountain. The figures, which, with the exception of those of two nude youths, are all fully or partly draped, are grouped with a noble simplicity which is yet the result of infinite art. Unfortunately, even here the artist has been unable to abandon his favourite system of reducing to their simplest and most primitive elements the drawing and outline of his figures, and even the folds of their draperies, so that the effect unconsciously produced is some. times one of affected archaism, though of the nobler order. M. Puvis de Chavannes has quite recently, at the exhibition of the "Dessins du Siècle," shown how magnificently he can draw and compose; if he would only consent to carry out his finished works with the completeness which he gives to the studies from which they are derived, his works would be for all time. This picture, as it is, absolutely overwhelms and dwarfs, by its powerful yet simple colour and design, all that comes into juxtapo sition with it. M. Cormon, whose fine "Cain" is now one of the ornaments of the Luxembourg, shows this year a canvas of even larger dimensions, destined for the decoration of the Museum at St-Germain. This is "Retour d'une Chasse à l'Ours-Age de la Pierre Polie." A band of huge semi-nude hunters of the prehistoric period, clothed in the skins of wild beasts, with long shaggy locks streaming in the breeze, have brought home, and laid at the feet of the elder of the family or tribe, a huge bear, which he is preparing to cut up and divide; around are grouped women, young and old, keenly intent on what is passing. The painter, perhaps cramped by the eccentric nature of the subject prescribed to him, has not been able to impart to his canvas all the magnificent energy which distinguishes his "Cain;" but he has most happily conceived and realised the type, physically grand yet intellectually undeveloped, of the prehistoric man, to whom he has given a savage, yet not a fierce, aspect. The background of cave and forest-tree is magnificently composed and rendered, but the general colouring is, perhaps, unnecessarily dull and unrelieved even for a work of this type and subject. A picture of equal dimensions, M. François Flameng's Massacre de Machécoul," an episode of the Vendéan War of 1793. The subject is one of unspeakable horror, treated presence is not without offence. A prominent specimen, though by no means one of the worst of this class, is the large and skilfully painted "St-François d'Assise-Miracle des Roses" of M. Duez. The saint is represented advancing semi-nude in a snowy landscape, holding to his breast a mass of roses, into which the blood flowing from his wounds has been metamorphosed; round him are grouped monks of his Order expressing by their attitudes | astonishment at the miracle. Here the subject is a mere pretext, serving as an excuse for a combination of the tones of human flesh with brightly tinted flowers and undriven snow. with its delicate rosy reflections. The figure of the saint merely poses in an appropriate attitude, and the surrounding figures of the Franciscans are coarse and vulgarly realistic, yet inexpressive. As a mere exercise of a novel kind. cleverly dealing with technical difficulties, the picture is a success. M. Gérôme's more important work, "Vente d'Esclaves à Rome," is, most of the artist's works, admirably drawn and full of fine points: especially admirable are the heads and hands of the struggling crowd of slave-buyers. Unfortunately the picture, as a whole, is hard in colour, over-smooth in texture, and entirely wanting in general effect. These have always been the besetting sins of this very remarkable and dramatic painter; and, at a moment when light and air are all in all in French art, they militate more than ever against a renewal of his former success, and prevent his undeniable qualities from obtaining due recognition. with a mixture of cynicism and exaggeration M. Jean-Paul Laurens, in the one small work which he exhibits, "Vengeance d'Urbain VI." -a representation of that Pope contemplating with grim satisfaction a heap of murdered Cardinals-shows his usual predilection for historical horrors, but something less than his usual grasp of subject and dramatic power. M. Jules Lefebvre, one of the few modem French painters mainly preoccupied with the effort to attain nobility of style, shows "L'Aurore,' an exquisitely drawn and delicately coloured nude female figure poised nonchalantly in the air. This is yet not quite exempt from a certain meretriciousness which French painters even of the highest rank find it so difficult to avoid in dealing with the female form. His portrait of "Mdlle. Yvonne P.," clothed in an evening dress of pure white, is yet more successful; it combines style with delicacy of colour and exquisite purity of feeling. M. Henner shows a "Christ" which is but a repetition, and a not very interesting one, of similar performances from the same hand; and an exquisite "Nymphe qui pleure" -a kneeling figure, the face of which, buried in the hands, is not visible, with hair of the usual deep red, and with the painter's favourite backsub-ground of deep turquoise blue. The picture has even more than M. Henner's wonted fascination and technical power, though we feel, as on former occasions, that the effects he loves are exaggerated and not true to nature. A thousand times we resolve to shake off the spells he casts over us, yet no sooner are we in the presence of the enchanter than our resolves melt into thin air. Unfortunately, however, French art now possesses too many disciples of this remarkable painter, with much of his favourite mannerisin, but without his inexpressible charm. M. Falguière studies in his paintings kindred effects, with even more " parti pris," and this year, at any rate, without success. His Hylas" is strangely hazy in drawing and modelling for so accomplished a sculptor, and its scheme of colour-a pervading blue-green-has a most untrue and unpleasant effect. Another immense work requiring notice M. Jules Breton has, to a certain extent, broken new ground in his picture "Les Communiantes," in which a number of young girls, robed and |