New Edition. By Edward Hamilton. (Col-
naghi.) This new edition may be said to be
the completion of a task, and Dr. Hamilton is
to be congratulated upon it. The task was,
doubtless, one of love, but it was also one of
labour and labour, in comparison with most
literary work, quite mis-proportioned to its
bulk, and, in a sense, thankless. Each line of
the book is the essence of careful study of
references tedious and comparisons unending;
and the art of it consists in the concealing of
the labour, the suppression of superfluities, the
effacement of the worker. Nor is it easy to
do justice to such a book in a current notice,
except by a few words of general praise, and
the expression of an opinion that its value will
be permanent. Of this there can be little
will be, to say the least, very unwise if he does
doubt. Whoever may come after Dr. Hamilton
not consult this catalogue, and will be very
wise indeed if he succeeds in supplanting it.
Such labour as Dr. Hamilton's is not likely to
be repeated by anyone of equal equipments,
and, if repeated, will be wasted. It is far
more probable that it will be adopted with or
without acknowledgment. But this is the
natural fate of all books of reference; and there
is enough of what is undeniably new, and
evidently personal, in this catalogue to assure
it an individual reputation. If it be a com-
pilation, it is one not only of facts, but of
experience, and has the impress of judgment
as well as industry. Of its "enlargements
the finishing touches which make it as com-
plete and trustworthy as such a book can well
be--we notice, especially, the valuable addition
of "lines of publication," which will be of
great use to collectors; and the careful ex-
amination of the principal collections in the
country has added much to the information
about the various "states" of the plates. Dr.
Hamilton has done wisely in generally limit-
ing his catalogue to engravings published not

later than 1822. It would have been more
convenient if the different divisions of the book
had been shown in the head-line; and the
information given as to the exhibition of the
pictures is so imperfect that it would perhaps
have been better to omit it altogether. But the

one is a small blemish and the other an instance of superfluity rather than neglect.

Les Historiens et les Critiques de Raphael. By Eugène Muntz. (Librairie de l'Art.) M. Muntz calls his little work an "essai bibliographique pour servir d'appendice à l'ouvrage de Passavant; and, in a Preface as modest as his title,

"the true artist is poet, priest, seer, prophet, musician, actor, all in one. Thrice blest, thrice happy man.'

We should think so, indeed; but

suggested in his Preface, and write us that
"Nachleben " or "Vie d'outretombe " of
Raphael which he so desires to read? The
history of the reputation and influence of why not six times blest, six times happy?
Raphael from Sebastiano to Ingres is a task Happy also must be Mr. Little and other
which few writers are so well fitted to perform. "advanced" persons who alone "can discover
The St. Anne of Leonardo da Vinci. By
volumes of lyrics, and tomes instinct with the
Alfred Marks. (Privately printed.) Mr. Marks' deepest subtilties of metaphysics, in the works
learned and interesting paper on the Louvre of Cecil Lawson." Mr. Little appears to think
picture and the Academy cartoon, in which he that landscape art is the highest, animal paint-
summarises and arranges with great care all ing the next, and mankind the third in the
existing evidence of their origin, was read before scale of subjects for art, for he says, " After all,
the Royal Society of Literature in 1882, and has animals are in a sense more worthy of the
now been reprinted, as it deserved to be, in a painter's art than are men.
separate form. The threads of his narrative tion he is brought nearer to the delineation of
and his arguments are made much clearer by nature in its pristinity and purity, although
the illustrations, some fifteen in number, show-not so near as he is brought in the representa-
his followers in the original designs. In any admire this style of writing, this book will be
ing the modifications made by Leonardo and tion of natural objects-trees and mountains,
clouds and rivers, let us say." For those who
further investigation as to the actual painter
of the Louvre picture and the existence of
Leonardo's cartoon for it, this little monograph
will be of much service.

Kunst und Künstler des Neunzehnten Jahr-
hunderts. Lieferung 1-14. (Leipzig: Seemann.)
This is a continuation of the well-known
"Kunst und Künstler" series edited by Dr.
Dohme. The same plan has been adopted with
regard to the present century as that which has
been so successfully employed for the art of
the Middle Ages and the Renaissance. When
finished, the whole work will form a complete
review of the lives and achievements of the
most celebrated artists in Christian times. If
not in all ways so important, the present, and
last, section presents greater difficulties of selec-
tion if it is to be kept within reasonable
dimensions. It is now some two years since the
issue of the first part, containing an admirable
résumé by Hermann Lücke of the life and labour
of the Danish painter Carstens, which was
followed by a part devoted to the German archi-
tectural artist Schinkel. Then came careful
studies of the sculptors Schadow and Rauch by
K. Eggers, and of David d'Angers and Prudhon
by A. Schmarsow. The later numbers have
been devoted to Cornelius, Overbeck, Schnorr,
Veit, and Fuhrich, who are joined together in
one comprehensive study by Veit Valentin, and
to Canova and Thorwaldsen, who have been
allotted to Hermann Licke. Good progress
may therefore be said to have been made in
this important work by a wise division of
labour among competent hands. At present
the English school has not been touched, but
explains his object to compile a catalogue "aussi promised from the pen of Dr. Ad. Rosenberg.
complet " of books concerned with Raphael, Great care has evidently been taken with the
leaving alone for the most part periodical lit- illustrations, which are a credit to the school of
erature and comprehensive works of the dic-German wood-engraving. For precision this
tionary kind. His book is for the workers, he
says, and not for the idle. We cannot but
commend either his intention or the manner of
its execution, and it is a matter for no little
surprise that a scheme so prudent and useful
should never have occurred to any other of the
numerous students of the great artist. That
the book is clearly and cleverly arranged was
only to be expected of the author of Raphael,
sa Vie, son Œuvre et son Temps, and it has that
merit of practicality which is only to be found
in the work of those supplying a defect which
they have themselves felt. The way of future
students is indeed smoothed for them now, not
only by a list of all authorities of importance,
but by few and well-judged words of advice as
to their value and special claims to attention.
The volume is to some extent removed from
scholastic criticism by its plea of imperfection.
It does not, even in its own sphere, profess to
be exhaustive. But we are glad to see that M.
Muntz has thoughts of a more complete bibli-
ography. Before, however, he devotes his ener-
gies to so laborious and dull an ambition, may
we not hope that he will give life to a project

we see that articles on Turner and Wilkie are

In their delinea

only too short, for it is all over on the 181st page.

Outlines of Historic Ornament. Edited by Gilbert R. Redgrave. (Chapman & Hall.) Since the days of Pinnock's Catechisms we a book which supplies so have never seen much undigested and inaccurate information in so unpalatable a form. The original work in German must have been trumpery enough, but the translation is, we trust. a parody of it.

We can easily understand the modesty of the author and translator in concealing their names from the public; our only wonder is that anyone should have been bold enough to proclaim himself its editor. But Mr. Gilbert Redgrave is evidently of a sanguine temperament, for he thinks that this work may fulfil a useful purpose.

Suggestions to China Painters. By M. Louise McLaughlin. (Cincinnati: Clarke; London: Crosby Lockwood.) This pretty little book, which comes to us from over sea, contains the riper experience of Miss McLaughlin, the author of Pottery Decoration and China Decora tion, both of which are excellent practical manuals for amateur painters on china. Miss McLaughlin is the head of the Pottery Club at Cincinnati the members of which sent over to Messrs. Howell and James's exhibition of 1852 some admirable specimens of their skill in underand over-glaze painting. The present, like her former books, is illustrated with some pretty designs of her own.

Kensington Drawing

Vere Foster's Simple Lessons in Water-Colours (Blackie.) The present volume of this useful series deals with the painting of flowers. The instructions are clear and full, and the coloured illustrations after drawings by Miss Ada Hanbury are good facsimiles of beautiful drawings. school has always been celebrated. In the Human Figure-Elementary. Books I.—IV. cutting of refined outlines and the rendering" Poynter's South of contours, and in ornamental and sculp-books." (Blackie.) It is needless to say that turesque work generally, they need fear no these examples for copying of hands, feet, comparisons; but in suggesting colour, and the masks, and features have been well selected by individual handling of a painter, the Germans Mr. Poynter, and are accurately drawn. On are not, as a rule, so successful as the French. the covers short instructions are given, and We would therefore point out for special com- drawings showing the bones of the different mendation the illustrations of the art of Prud- members. hon, which, while as accurate in drawing and as masterly in execution as the rest, show a sympathy with the artist and a brilliance of chiaroscuro which leave little to be desired. On the whole, this very important undertaking is worthy of hearty praise and encouragement.

What is Art? By J. Stanley Little. (Sonnenschein.) Mr. Little answers his question in the first few lines:-"It is Worship. It is Religion. It is Poetry. It is Truth. It is the apotheosis of the sublime, of the ethereal. True art has no special mission. Its mission is to elevate, to ennoble, to beautify, and to refine, The pulpit, the drama, and poetry have no other mission." Farther on we learn that

Elementary Perspective Drawing. By S. J. Cartlidge. (Blackie.) The Principles of Perspective. By George Trobridge. (Cassells.) gow: MacLehose.) The first of these is another Linear Perspective. By David Forsyth. (Glasof the Poynter series, and has the sanction of the Committee of Council on Education; the second is by the head-master of the Government School of Art, Belfast; the third is by the lecturer at the Church of Scotland Training College, Glasgow. England, Scotland, and Ireland have therefore each their own new and authoritative guides to the art of perspective, and there is not much to choose between them.

THE ART MAGAZINES.

O sonnets we have read for a long while are so vividly imaginative and so richly impassioned as those by Mr. Eugene Lee Hamilton in the current number of the Magazine of Art. They have been suggested, like so much of Mr. Hamilton's poetry, by a work of art-in this case a drawing by Mantegna; but the impulse has been a revolt against the conception of the artist and its obliteration by the poet's more fervid vision. The part is alt gether a good one, with its admirably illustrated and wellwritten article on Mr. W. L. Wyllie, by Mr. Barnett; its first bright paper on Seville, by Mr. David Hannay; its account of Fiji pottery, by Mr. St. Johnston; and other contributions by Mr. R. L. Stevenson, Miss Julia Cartwright, Mr. Blaikie, and Miss Jane Harrison. The "Current Art" (Royal Academy) is also well done; and the engravings after the pictures of Mr. Seymour Lucas, Mr. Linton, and Mr. Blair Leighton (hors texte) are admirable.

Jahrbuch der königlich preussischen Kunstsammlungen. Funfter Band. 11. Heft. (Berlin: Weidmann.) The studies and articles in this number are of considerable interest. The subjects include "Albrecht Dürer's Portrait of the Elector of Saxony" (Frederick the Wise), by W. Bode; "A Sketch by Michelangelo for the Tomb of Julius II.," by A. Schmarsow; "The Ornament of the Little Masters," by A. Lichtwark; and "The Frescoes in the Schifanoja Palace at Ferrara," by F. Harck. The illustrations of all kinds are, as usual, admirable. The etching after Dürer's portrait of Elector Frederick in the Berlin Gallery is by Albert Krüger.

THE SALON.

II.

emulate the effects of Adrian van Ostade. show remarkable skill in reproducing the more
M. Heilbuth, a painter who, notwithstand-marked characteristics of the modern French
ing his exquisite technical accomplishment, schools. Mr. Welden-Hawkins has a large work
manages often to be deplorably uninteresting, of somewhat studied pathos-"Les pauvres
has a specimen of his remarkable skill, "Pro- Gens"- -a night scene, showing two orphans,
menade," which is not more exciting than who are but dimly seen through the fog-
other similar works by him. It is, as usual, a laden atmosphere, leaving a house of woe;
boat full of brightly attired figures, in modern this suggests, though on a much larger scale,
costume, floating on a calm stream, the varied the sad, low-toned pictures of M. Israels,
and is to some extent a
reflections on which are treated in his own un-
new departure
surpassed manner.
for the artist. Messrs. Stott, Bridgman, and
others all send works of interest which,
if space permitted, would merit detailed
notice. Still more remarkable in another direc-
tion is the Scandinavian group of painters
residing in Paris, who have seized upon a
healthier side of French art, and one more in ac-

Among the portrait, painters proper, M. Cabanel, the accredited limner of the Faubourg St-Germain, has two portraits of ladies. Unfortunately, this learned artist seems so weighed down with the necessity for imparting, above all things, an air of distinction affected and tiresome. One of the portraits shown, that of "Madame A. O.," has, however, great charm, and is, of course, admirably composed; but its effect is not heightened by the attempt to deal with masses of blue of varying tints in the dress and background. The perilous contest with this colour seems to have a great fascination for modern French painters, and this year's exhibition shows them constantly grappling with the difficulties to which it gives rise. A succès de scandale has been attained by Mr. Sargent's much-discussed which repre

to his likenesses that he often becomes

"Portrait de Madame

IN the Revue des Arts décoratifs M. A. Vala-sents a lady standing with one arm resting on brègne's papers on "Les Ornements de la a table, in an evening dress of black satin, Femme" and M. Paul Mantz's on "Les which displays the sculpturesque beauty of her Meubles du XVIII Siècle" do not decline in form with a liberality remarkable, and reinterest. The magazine is well illustrated, as marked, even in modern Paris. The painter has usual. deliberately rendered, with extraordinary skill and almost cynical audacity, the effect of enamelled flesh and of hair which owes its gold to art. The intention, no doubt, was to produce a work of absolutely novel effect-one calculated to excite, by its chic and daring, the of the public; and in this the painter has admiration of the ateliers and the astonishment probably succeeded beyond his desire. The peculiar style of Mr. Sargent's work is the more to be regretted because it contains passages showing much technical accomplishment; especially noticeable are the fine drawing and firm modelling of the beautiful neck and arms of the sitter: the head, on the other hand, has been somewhat sacrificed. M. Chaplin shows two admirable specimens of the meretriciously elegant yet brilliant style in which he is facile princeps; two very interesting and refined portraits, which suffer, however, from mannerism and wilful dulness of colour, are shown by M. Elie Delaunay; and the galleries also contain interesting works in male portraiture by M. Carolus Duran, M. Gervex, and M. Cormon (whose "Portrait de M. Marcel Déprey" has rare charm and sympathy), and two grave and beautiful works on a small scale by M. Dubois. The dashing and dexterous, but offensively vulgar, portrait by M. Clairin of the dancer Malle. Zucchi in the costume of a ballerina also deserves mention. Mr. Whistler exhibits two comparatively early works the well-known "Carlyle" and "Portrait of Miss Alexander;" and M. Fantin-Latour has the sober-hued, pathetic portrait of a lady painting flowers, called "L'Etude," which was in last year's Academy: this, which is in its way a masterpiece, has not either there or here excited all the attention which it deserves. The celebrated Belgian painter M. Emile Wauters has a huge portrait of a "blue boy" on a pony of extraordinary shape and dimensions-a work hardly worthy of his reputation. The face of the child is wooden and unpleasant in expression, and no attempt has been made to take into account the atmospheric conditions under which the painter has deliberately chosen to work.

M. BESNARD, a former "prix de Rome," sends a large diptych, destined for the decoration of the Ecole de Pharmacie, which he calls "La Maladie-La Convalescence." One wing shows a female figure apparently in mortal agony, tended by ministering women and a physician; the other represents the recovery of the same person, who totters forth into the summer air, supported on either side, and greeted by a little child, which stretches out its arms in childish glee. The work is especially curious as showing an attempt to combine two elements very difficult to assimilate-style and harmonious composition on the one hand, and the technique and subjects affected by the "Impressionnistes" on the other. Though there is much in the picture to admire-especially the pathetic figures of the mother and child in the "Convalescence"-the attempt cannot but be pronounced a mistaken one; the peculiar technique gives as its results not so much the bright flat tints of decorative art as a sort of wan transparency in the figures, which imparts to the whole the air of an unsubstantial dream. M. Bastien-Lepage is represented by one small picture, "La Forge," painted with much vigour and finish, in which he, abandoning for once his open-air subjects, has sought to

The Anglo-American group of painters residing in Paris fully maintain their ground, and

cordance with their own sentiment and traditions.

The school of Millet and Jules Breton is the one which has inspired them, and which they are successfully endeavouring, without servile imitation, to adapt to their own wants. Especially remarkable are the works in this style of M. Edelfelt, who sends "En Mer-Golfe de Finlande;" M. Smith-Hald, whose two marine pieces are full of breezy freshness; M. Kroyer, who sends a remarkable "Pêcheurs de Skagen;' and M. Werenskiold, whose picture, Une Confession "-representing a peasant mother, who, closely embracing her young daughter, listens sorrowfully to her confession of evidently unhappy love-is a work which for natural, unforced pathos has few equals in the exhibition.

To describe in detail the numerous and often gigantic landscapes proper would be a difficult and in some instances ungrateful task. The tendency of the most modern French landscapepainters is to affect huge canvases, often finely composed and accurately observed, but revelling too much in bright greens of painful crudity and too sharply contrasted shadows. these works are deficient in the pathetic sugWhat is more important, however, most of gestiveness which has characterised the great school of French landscape during the last thirty years, and are on a scale quite excessive as compared with the interest they excite. However, that great school is worthily represented by at least two powerful and nobly pathetic painters. The first of these is M. Harpignies, who sends two landscapes, the finer of which is "Lever de Lune," a beautiful design, in which the effect of the newly risen moon is exquisitely rendered. On the whole, however, the power and variety of this painter were better shown at the recent exhibition of the "Aquarellistes," which contained a whole series of his works. Beside him may be placed M. Pointelin, a follower, in some respects, of Corot, whose principal contribution, "Le Sentier des Roches," though studiously low in tone, has a gray-blue sky of magnificent depth and atmospheric effect, combined with a sombre wood scene in which tones of the darkest yet most harmonious green and buff predominate. If the art of this painter were not somewhat limited in scope monotonous in its mode of expression, he would be entitled to a place among the first of his countrymen. Of a somewhat lower order, yet still fine, is the art of M. Nozal, who sends, among other things, a grandly designed landscape, "Etang de la Mer-Rouge à

and

Brenne," and some remarkable pastels. M. Demont has a poetic and well-conceived moonrise, "La Nuit," which is unfortunately timid and unpleasant in handling. Very refined technique and much delicacy of feeling are shown in "Les Bords du Loing-Seine-et-Marne," by M. Pelouse. The National Gallery of New South Wales, which has obtained this picture, is to be congratulated on the acquisition. Landscapes of considerable power are also contributed by M. Damoye and M. Montenard. The section containing the etched and engraved

work that we find at San is the great wall of Pisebkhanu. This is now ascertained to have extended around the whole of the temple area, following at the south-east corner the limits of an earlier pavement of massive construction, formed of three layers of stone. This wall was an entirely original work apparently, as the bricks in its very middle, forty feet from the outside, are all of the same king. Pisebkhanu also decorated the sanctuary, as glazed pottery tablets I. or II. also worked here, as a block was found with his names, reworked in a pavement on the north-east. Osarkon II. worked here, and on a large scale, as he carried materials from the temple of Rameses II., and re-erected them in a temple outside of the great wall; but this was apparently unfinished, as in the avenue of columns are some whose cartouches he has appropriated, though they were not yet removed to his temple. But the principal work that remains of this dynasty is the great pylon built by Sesonk III. This was erected from

with his cartouche are found there. Sesonk

the numerous notes accompanying the translations were the result of long and careful study on the spot, and of a free communication with other antiquaries. A number of papers read before meetings of the St. Albans Architectural and Archaeological Society and other societies he looked upon as occasional work done for special occasions, but prepared them all with the minutest care. At St. Albans he will be much missed in the society, of which he had been one of the hon. secretaries since 1870; as also in every good work in the neighbourhood.

THE death is also announced of Mr. Arthur

Perigal, who had been a member of the Royal
Scottish Academy since 1841.

MUSIC.

reuther played Dr. Hubert Parry's Pianoforte in contact. Referring to Wagner's wellConcerto in F sharp major. Since it was pro- known conclusion that Beethoven's Ninth GERMAN OPERA AT COVENT GARDEN.duced at the Crystal Palace in 1880 it has been Symphony has sounded the last note in absorevised and partly rewritten by the composer.lute music, the lecturer ventured to disagree The slow movement is charming, and the open- with him. Another interesting point was that ing allegro improves upon acquaintance. The Wagner was never able to ascertain conperformance was an admirable one, and, at clusively, in portions of his works, whether the close, composer and interpreter were called the poetry or the music first revealed itself to the platform. Mr. Dannreuther played with to him. Mr. Moncure D. Conway will great precision and brilliancy, and in the long deliver the next lecture, on July 1, at the and difficult cadenza at the end of the finale same place. showed his perfect mastery of the key-board. The programme included Méhul's sparkling Overture 'La Chasse du jeune Henri" and Beethoven's Pastoral Symphony. Herr Theodor Reichmann, from the Vienna Opera-house, was heard to great advantage in Wotan's Abschied from "Die Walküre."

effectively. Herr Gudehus was an excellent

So.

WEBER'S "Der Freischütz" was given last
Friday week, June 6. It was a treat to hear
the work in its original form-i.e., with spoken
dialogue instead of the recitatives used when the
Opera is performed on the Italian stage. Berlioz
was the first to write recitative music, and
also to arrange some of the composer's music
for a ballet-for only in this form could "Der
Freischütz" pass the portals of the Académie
royale de Musique. But this conversion of
the work into a Grand Opera was by no means
an improvement; and when, as was the case
at Covent Garden, the singers prove them-
selves good speakers and intelligent actors,
the reversion to the proper mode of presenting
the work is most satisfactory. The numerous
THE Cambridge University Musical Society
alterations in, and maltreatments of, "Der claims our notice this year, not by reason of
Freischütz" are matters of history; Herr
Richter gave us a pure and faithful version. any novelty, but from the fact that Herr
Richter kindly consented to conduct Beethoven's
The performance was, on the whole, exceed-seventh Symphony at the concert held in the
ingly good. Frau Biro de Marion as Agathe Guildhall, Cambridge, last Tuesday afternoon.
was decidedly weak, but Frau Schuch-Proska There are times when an audience tries to be
acted and sang the part of Acnnchen most enthusiastic, and other times when it really is
at Cambridge; Herr Richter was on his mettle,
There was no mistake about the applause
and gave a superb rendering of the work.
Very possibly some of his audience had not
attended any of the Richter concerts in London,
and on such the dignified behaviour of the
conductor must have made a powerful im-
pression. Directing without book may be
On Wednesday evening, June 11, "Lohen-imprudent, but it brings with it undoubted
advantages; Herr Richter owes his success
grin" was given, with Mdme. Albani as
Elsa, singing the part in German for the first quite as much to the movement of his eyes as
to the action of his arms. Brahms' Requiem
time. It is impossible for us to say anything
was given for the second time by the Cain-
about this performance, for we were unable to bridge Choir. The work is a difficult one, and
gain admission. We presented the letter signed Mr. Stanford must be praised for his courage
by Mr. H. Franke granting us the usual press in attempting it with the means at his disposal,
pass, but were informed that the house was
and with limited rehearsal. The performance, in
full. While rejoicing that the German Opera truth, was rather a rough one-plenty of vigour,
Company is doing so well, we cannot but regret but a lack of refinement and want of attention
that no previous warning should have been to light and shade. In many places also the
given to members of the press, enabling them, orchestra was too loud. We cannot
if so disposed, to provide themselves with the conductor's tempi in the first four move-
agree with
tickets. We say "members," for we were not ments; some were too fast, others too slow.
alone in failing to obtain entrance.
The solo parts were taken by Mrs. Pagden
and Mr. H. E. Thorndike. The programme
included Brahms' Tragic Overture, admirably
rendered under the conductorship of Mr.
Stanford. The concert was well attended.

Max, and Herr Wiegand distinguished himself as Caspar. The orchestra, under the direction of Herr Richter, played the lovely music in a most delightful manner. We cannot praise the stage arrangements in the incantation scene. Rudolph declared that the ghostly forms chilled and awed" him, but the effect on the audience was by no means so terrible.

J. S. SHEDLOCK.

RECENT CONCERTS.

was

MUSIC NOTES.

THE fifth public concert of the St. Cecilia
Society will take place next Thursday evening,
June 19, at St. James's Hall, when an in-
teresting programme is announced, including
works by Bach, Spontini, Hiller, Volkman, and
C. V. Stanford. The band and chorus of ladies
will, as usual, be under the direction of Mr.

Malcolm Lawson.

THE series of Richter concerts is rapidly draw-
ing to a close. At the seventh, on Thursday,
June 5, Berlioz' "Symphonie fantastique
played. This clever, though eccentric, work
was noticed at length in the ACADEMY when
produced at one of Mr. Ganz's concerts in 1881,
so that we need only mention the performance,
which, with one exception, was exceedingly
good. In the second movement there ought to
have been four harps instead of two; the music
was lacking in brilliancy owing to the want of
balance of tone. Liszt's "Hungarian Rhap-
sody" No. 3 in D major, scored for orchestra,
is lively enough, but its artistic value is very
small, and we consider it quite out of place in
a Richter programme. The cimbalom, the
national instrument of Hungary, is used, and
the effect is peculiar, though scarcely satis-
factory. An attempt was made to encore the
Rhapsody, but some vigorous marks of dis-
approval induced the conductor to counter-
mand the order which he had actually given
for its repetition. Frau Schuch-Proska sang
two songs-an aria from Mozart's Cosi fan
tutte and the "6 Cavatina from Weber's
"Euryanthe; in the latter she was very
successful. The programme included the others.
"Leonora " Overture No. 3 and the usual selec-
tion from "Tristan."

WE would call attention to some recent publications of Messrs. Novello :-A vocal score of Spohr's Mass in C, lately noticed in the ACADEMY on the occasion of its performance by the Leslie Choir. It is a work which we commend to the notice of choral societies; they will derive pleasure and profit from the study of it.-Palestrina's Missa Assumpta est Maria, edited by W. S. Rockstro for the use of the Bach Choir. The music was not sung in Palestrina's time without expression and certain changes of tempo. Whether or not Mr. Rockstro has gone farther than the composer intended however, he assumes sole responsibility for all seems to us open to question. In the Preface, marks of forte and piano and indications of time.

and 62. There is some smooth and even clever
-The Organists' Quarterly Journal, parts 61
writing in these two numbers, but not one piece
that we would single out as specially attractive.
The editor, Dr. Spark, contributes an Andante
expressivo to part 61, and in it we find also a
quiet unobtrusive Andante by J. H. Wallis. Dr.
J. C. Tiley, in his fugue on the first section of

St. David's hymn-tune, in vain tries the various
devices of augmentation, diminution, and in-
version, but they proclaim rather than hide the
dryness of the piece.
mention a bright, though not very original,
Of part 62 we need only
Improvisata by E. T. Driffield and an Andante
by George Gardiner.

AGENCIES.

London Agents, Messrs. W. H. SMITH & SON, 186 Strand.

Copies of the ACADEMY can also be obtained

every Saturday morning in EDINBURGH of Mr. MENZIES; in DUBLIN of Messrs. W. H SMITH AND SONS; in MANCHESTER of Mr. J. HEYWOOD. Ten days after date of publication, in NEW YORK, of Messrs. G. P. PUTNAM'S SONS.

PARIS.

Copies can be obtained in Paris every Saturday morning.

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THE ACADEMY.
(PAYABLE IN ADVANCE.)

THE members and friends of the London branch of the United Richard Wagner Society of Germany met on Monday, June 9, at the house of the president (the Earl of Dysart) to hear a lecture by Mr. Ferdinand Praeger, entitled "Personal Reminiscences of Richard Wagner." This life-long friend of the master testified to his generosity, and to the absence of conceit and envy in his nature; he touched upon his great powers as an orchestral conductor, and his marvellous gift of embuing every character with strong individuality in his part-writing; and he spoke of his friendship with Cipriani Potter, Tausig, Roeckel, and If obtained of a Newsvendor or indirect cause of his political exile in 1848, for Roeckel appears to have been the Roeckel possessed, to a remarkable degree, the ON Monday evening, June 9, Mr. E. Dann-power of influencing men with whom he came