I know, with regard to the last-named picture. LETTER FROM EGYPT. Abydos: Dec. 27, 1883. old ruins have recently been discovered in the desert a day's journey inland. 253-255-lent by H. Willett, Esq.) which, for various reasons, deserve to be studied closely. Originally they belonged to the frieze of a During my stay at Cairo I explored the rockceiling in the castle of San Martino Gusnago, cut tombs in the cliff behind the citadel, and in the district of Asola, between Mantua and found them to be of the Roman age, from Brescia, formerly belonging to the Gonzaga which we may perhaps conclude that the family. This peculiar kind of decorative art, Egyptian town which preceded Cairo was not not hitherto mentioned in art literature, seems older than the time of Augustus. I also spent to have been exclusively in use within the a day in the quarries of Turra, the Troja of territory of a few towns. There are some Strabo, copying Greek graffiti. Another aftersimilar works still to be seen in palaces of noon I devoted to the curious subterranean Cremona, Crema, and Brescia. They appear, passages and chambers that have been dishowever, far inferior in artistic merit to those covered under the Greek convent at Old Cairo. before us. I have of late devoted some time to In one pace two columns with Corinthian the study of the origin of such decorations, and capitals and a cornice similar to that which have come to the conclusion that it is to be adorns the ancient gate of the Roman fortress sought for in palaces of Verona and Padua, are built into the wall; while in another we where artists of the very greatest repute were I HAVE just been making a tour in the Fayûm descend a flight of stone stairs of Roman conengaged in such works. The frieze of a large with two companions, but have found it some-struction, made of beautifully cut blocks of hall in the episcopal palace at Padua is adorned what disappointing at least from an archae- stone. I should advise visitors to Cairo not to with portraits by Bartolommeo Montagna. In ological point of view. The remains of the miss either these old relics of the Egyptian one of the palaces at Verona I had the luck Labyrinth at Howâra certainly do not justify Babylon or the Jewish synagogue, which is not to discover a similar work, probably by the praises bestowed by Herodotos upon the far distant, and which reminded me forcibly of Domenico, if not by Francesco Morone. In building; the broken obelisk at Ebgig is little the well-known "synagogue" at Toledo. both of them the personages were named in more than a curiosity; and the three Roman The Bûlak Museum has undergone quite a inscriptions placed underneath, and I believe temples at Kesr Karûn, destitute as they are of transformation during the last two years. New there can be no doubt that the portraits inscriptions, are not worth the trouble of get-rooms have been added to it, and, what is more, here exhibited are also historical. No. 250, ting to them, even though one of them is in a filled with objects which the indefatigable apparently a Doge, is believed to be Pasquale remarkably perfect condition. The most in-industry of M. Maspero has brought together Malipierio (ob. 1462). It might also be Orio teresting antiquities in the Fayum are the vast from all parts of Egypt. His new Catalogue is Malipierio (ob. 1192): see Elogia Poetica in Seren. mounds of Krokodilopolis, with their streets of about to appear; and, as short descriptions will Venet. (Padua, 1680). The entire series consists ancient brick houses, and the two ruined monu- be attached to the objects named in it, it will of forty-four panels, and Mr. Willett is to be ments which stand side by side at Biahmu. A be a great boon to future visitors to Cairo. congratulated on having secured the whole. corner of one of these still exists, proving that Among the newly collected antiquities some When brought to this country, they were the monument must once have been a pyramid early Greek remains are especially interesting, thickly covered with whitewash. The difficult with an angle similar to that of the pyramid as well as three clay cylinders, inscribed with problem of restoration has been most success- of Medûm. The size and character of the Babylonian cuneiform characters, which M. fully overcome by Prof. A. H. Church. The stones, the mode in which they are cut, and the Maspero has exhumed at Tell Defenneh (the question of the authorship of these fine portraits want of cement to join them together also Pelusiac Daphne of the ancients, according to is not easy to decide. The names of Mantegna, reminded me of Medum, and inclined me to Brugsch), a little to the west of Kantara, on of Beltraffio, of Pollaiuolo, of Piero degli conjecture that, like Medum, they belong to as the Suez Canal. I found that all three were Franceschi, and others have been suggested, early a period as that of the IIIrd Dynasty. records of Nebuchadnezzar, two of them being but none has yet been accepted. In my The two masses of stones which still stand duplicates; and, as they are very badly written, opinion, the master is to be looked for nowhere within the areas enclosed by the two monu- and relate only to the monarch's building but in the school of Milan, from about 1490 to ments once formed part of their cores. I found operations in Babylon, they must have been These heads appear to me to have a fragments of black and red granite-belong-intended merely as memorials of his conquests, striking affinity to the later works of Braman-ing, apparently, to broken statues-strewn over to be left in the countries he overran. They However this may be, they are a their sites, as well as pieces of white stone, are, therefore, curious evidences of his inarkable illustration of that period in Italian which may have formed their casing. I have vasion of Egypt. One of them begins as art in which it was the chief aim of the only to add that the accounts given of them in follows:— Janters to seize and depict character, or those both Murray and Baedeker are alike incorrect. tributes of men and things which flow out of the inner life. 1520. After leaving the Fayûm we spent a couple of days at Siût, and while there rode along the The three genuine pictures by Crivelli (189, base of the cliffs southward of the town as far 243) are not superior to those in the as a village called Dronka. Here we found a National Gallery. The later school of Giovanni tomb of the XIIIth Dynasty cut in the rocks Felini is represented by an excellent picture of above the village, with pictures of chariotVirgin and Child and St. Joseph" (264-racing and Babylonian rosettes still traceable at by J. P. Heseltine, Esq.), apparently by on the walls. A little farther to the south the same hand as the "Warrior adoring the Coptic monastery of Dronka, with the mudInfant Christ" (234 in the National Gallery) huts attached to it, is built into a series of , Vincenzo Catena. Giambattista Moroni's ancient tombs half-way up the cliff. The only trait of a gentleman with two children (159- inscriptions I discovered there were Coptic, but beat by the National Gallery of Ireland) is, in not far off is a large double-chambered tomb y opinion, by far the finest Venetian picture with square columns, and the same overhanging this exhibition. Perhaps the light colours cornice of stone supported on a row of stone the children's dresses are in too strong a beams that we meet with at Beni-Hassan. rast to the dark garments of the gentleman, Another half-hour brought us to Dêr Rîfa, a is seated behind them; but that is evidently monastery built, like that of Dronka, into the the fault of the artist. In the course of tombs on the face of the cliff. Four of them, the dark colours have sunk in, while two of them large and two small, are adorned light ones have lost their glazings under with long hieroglyphic inscriptions, and in one hand of cleaners. On a piece of paper I noticed the Greek graffito AIAZ AÑO.. d on the table to the left of the gentleman Southward of the village the cliff is honeyad "Albino," the name of a small place combed with sepulchres, most of which, howSerio Valley, near which the artist was ever, are of the Roman age. But there is one large one, belonging to the period of the We have here two pictures of the early Veronese XIIIth Dynasty, which contains half-obliterated 1-a crucifixion by Caroto (271-lent by pictures of domestic scenes like those of BeniLichmond, Esq.), signed "G. F. Charottus Hassan, beside hieroglyphic texts. As both **2..” and a “Virgin and Child with Saints” here and at Dêr Rîfa the town named in the -lent by Ch. Butler, Esq.), a very interest- inscriptions is Shas-hotep, the modern Satb, 2ture of that still rarer master, Giovanni the tombs of Rifa must have been included in o, the younger brother of Giov. Francesco. the nome of Hypselis rather than in that of None has hitherto been suggested, so far as Lykopolis. While at Siût, I heard that some "Nebuchadnezzar, king of Babylon, son of Nabo- I am at present occupying the house built by Mariette at Abydos, which M. Maspero has kindly placed at my disposal; and I hope that my next letter will contain the results of my work during the next ten days, which I intend to spend here. A. H. SAYCE. CORRESPONDENCE. SOME PICTURES AT BURLINGTON HOUSE. London: Jan. 14, 1884. In his notice last week of the Dutch and Flemish pictures at the Royal Academy Dr. Richter very justly observes that the picture by Metsu, "Pleasures of Taste," from Buckingham Palace, comes very near to the manner of Terburg. Would it not be better to go a step farther and frankly attribute this charming work to Terburg himself? Great artist and admirable delineator of character as Metsu no doubt was, he surely never approached the delicacy of handling and refinement of colour displayed in the present specimen, more especially in the flesh-tints and the treatment of the white fur, velvet, and satin which make up the dress of the seated lady. Metsu's colour, by comparison, has something slightly hot and less exquisitely blended. I would suggest that, in addition to the powerful portrait by Mabuse (288), which, as already pointed out, appears in this exhibition under the much abused name of Holbein, there is in the same room yet another fine work of the former master under another name; this is Mr. Weld-Blundell's "Holy Family" (279), which is catalogued as by the Master of Cologne.' The picture evidently belongs to the first thirty years of the sixteenth century, and can have nothing in common with the school of Master Stephen of Cologne (circ. 1450), nor has it, indeed, any affinity with the later school of that city (circ. 1475-1500) under the influence of the Flemings. Perhaps under the above description Bartolomäus Bruyn (circ. 1523-56), or a painter of his school, is meant. For him, however, the picture seems altogether too powerful. On the other hand, the colouring, execution, and arrangement strongly suggest Mabuse in his second manner, to a certain extent under Italian influence. This hypothesis would account for a certain want of solidity in parts as compared with some recognised works of the same master. The type and mode of adjustment of the Virgin are also quite in the manner of Mabuse. The group of angels to the right of the picture is the part of the design most suggestive of Italian influence. The " Fragment of a large picture" (284lent by William Graham, Esq.), ascribed to the early German school, seems to me to be also of Flemish origin, and to suggest the school of Louvain and perhaps the hand of Dierick Bouts himself. The head of the centurion to the right is quite in the manner of that master; and the group, so far as it can be judged, has considerable analogy with panels by Bouts in the galleries of Munich, Berlin, and Nuremberg. Among the early Italian pictures, the exquisite Virgin and Child" (238-lent by William Graham, Esq.), ascribed to Masaccio, has not much in common with the few known easel-pictures by him, and still less with his famous frescoes in the Brancacci Chapel. The rich and varied colour, the peculiar marked outline, and particularly the mystic sentiment of the picture, suggest rather Masaccio's follower, Fra Filippo Lippi (compare the panel of the " Annunciation by him in the National Gallery). The handling is perhaps rather heavier and the pigments more thickly laid on than in some of Filippo Lippi's works. It has already been pointed out by Messrs. Crowe and Cavalcaselle in their NOTES ON ART AND ARCHAEOLOGY. WE understand that a second edition will shortly be published of Mr. F. G. Stephens's critical and anecdotic essay on English Children as painted by Sir Joshua Reynolds. It comprises a list of the engravings after Reynolds's pictures of children, and will range with Mr. Stephens's annotated Catalogue of the Grosvenor Gallery exhibition. THE forthcoming number of the Magazine of Art will contain an illustrated article on the new Institute of Painters in Oil, with engravings of Mr. Hacker's "Fatima," Mr. Brewtnall's The Mother," Mr. Morgan's "Meadow Sweet, and Mr. Waller's "A Letter of Intro duction." MISS MARGARET THOMAS, the sculptor of the Taunton bust of Fielding, has recently completed another bust-that of Gen. Jacob, of Scinde-also for the Taunton Shire Hall. BARON ANATOLE VON HÜGEL has been appointed curator of the museum of general and local archaeology at Cambridge. THERE is now on exhibition at the Edinburgh Museum of Science and Art a series of facsimile reproductions of Rembrandt etchings, numbering 320. THE question of opening picture galleries on Sunday is being strenuously fought out in New York. The artists, for the most part, and also the managers, seem to be in favour of opening; and they have acted up to their opinions in the face of threats of prosecution from a Sunday Closing League, who (as the New York Herald puts is) "have had to take that back seat which nature and an allwise Providence evidently intend shall be a permanent one." On Sunday, December 30, the Pedestal Fund Art Loan Exhibition was thrown open, and was attended by nearly 6,000 persons, mostly respectable working-men. Tickets were sold at twentyfive cents (1s.), but no catalogues. On the same day the exhibition of American paintings for the benefit of an Academy Prize Fund was also open. Rome a school after the pattern of those of THE Austrian Government has founded at with the Middle Ages and the Renaissance. Germany and France. It will deal especially A NUMBER of French painters, including MM. Gérôme, Baudry, Boulanger, Carolus Duran, &c., have presented a petition to the Senate praying for a reform of the law which at present leaves artistic falsifications practically unpunished. M. GUSTAVE SCHLUMBERGER has in the press an important work upon the Seals of the made peculiarly his own. Byzantine Empire-a subject which he has It will cover the entire period from the sixth to the fifteenth centuries, and will be illustrated with more than a thousand cuts. portraits (261 and 268-lent by W. Drury-Lowe, History of Painting in Italy that the two Esq.) are wrongly ascribed to Masaccio, and belong to the school of Domenico Ghirlandajo. Were any further proof required that the panels cannot be by the former master, it would be afforded by the portrait of the lady (268), in A DISCOVERY of a very interesting character which appears a Renaissance jewel of a type has been made at Wegbur, near Carnforth, which could not have existed when Masaccio Lancashire, in the quarries belonging to the painted, but belongs to quite the end of the Earl of Crawford and Balcarres. Some men, fifteenth or beginning of the sixteenth cenin blasting the rock, came across a small tury. The two roughly painted figures of chamber, in which were implements of stone, Hercules" (218 and 222-lent by Chas. Butler, bronze, and iron, among them a large perEsq.) must be wrongly attributed to that admir-forated stone hammer, beautifully formed; a able draughtsman Antonio Pollaiuolo, but may stone quern for grinding corn; a bronze celt or possibly be by Andrea del Castagno, with the axe-head of the ordinary type, five inches and remains of whose work at the Bargello in three-quarters long and three inches broad at Florence they have a certain analogy. Surely, the cutting edge; a fine socketed spear-head, too, the name of Piero della Francesca is used at nine inches long and five inches at the broadest random in connexion with the interesting and part; a portion of a bronze sword, eight inches puzzling “Head of Christ" (239-lent by Henry and a quarter long and one inch and a quarter Roche, Esq.), some portions of which, such as broad; a fine axe-head of iron, six inches and a the hair and hands, by their treatment even half long and six inches and three-quarters suggest a German rather than an Italian hand. broad at the cutting edge; and a spinning wheel, CLAUDE PHILLIPS. six inches in diameter. MUSIC. LAST Saturday afternoon the only concert of importance was the Saturday Popular, so that have been well filled. But Mr. Maas was the under ordinary circumstances the hall would vocalist, M. de Pachmann the pianist, and the programme contained only well-known and favourite works-Mendelssohn's Quintett (op. 87) for the twenty-eighth time, the " 'Moonlight" Sonata for the nineteenth, and Beethoven's Pianoforte Trio in D for the twenty-first. St. James's Hall was, therefore, crowded. Of the Russian pianist's rendering of the "Moonlight" we have already spoken: the first movement he plays best, and the reading of it on Saturday was even more satisfactory than that at his recital a few weeks back. RECENT CONCERTS. On Monday evening, January 14, there was an unusually large audience. Some came as a to hear Schumann's beautiful Quartett in A matter of habit; some, let us hope, specially minor (op. 41, No. 1), which was admirably played by Mdme. Néruda and Messrs. Ries, Hollaender, and Piatti: but many probably came out of curiosity to hear Miss Maggie Okey, a former pupil of Dr. Wylde, at present studying with M. de Pachmann, and already officially announced as his future partner in life. Miss Okey was, perhaps, unwise in selecting for her début at these Concerts the very pieces with which her master has scored some of his most brilliant successes. She thus challenged comparison, but accomplished her task most creditably. First came Henselt's formidable Etude "Danklied nach Sturm," which enabled her to display the excellence of her mechanism; and, afterwards, her performance of three of Chopin's Etudes from op. 25-the one in thirds, the one in sixths, and the last in octaves-showed how bravely she can overcome the greatest difficulties, and how skilfully she has copied M. de Pachmann's style. The first Chopin Etude was deservedly redemanded, and at the close she gave for an encore Schumann's "Vogel als Prophet." The concert concluded with Chopin's graceful, and M. de Pachmann. The programme contwo pianofortes, played by Miss Maggie Okey though somewhat insipid, Rondo (op. 73) for tained, besides, some interesting vocal duets by Hollaender and Dvorák, charmingly sung by Miss Louise Phillips and Mdme. Fassett. 66 Mr. Willing gave his second concert last Tuesday evening. Miss Ambler and Mr. Sims Reeves were both unable to appear. Mr. J. Maas was an acceptable substitute for the latter; and Miss Mary Beare sang, in addition set down for Miss Ambler. to a song by Rossini, Mendelssohn's" Infelice,' Miss Beare has a sympathetic voice, but not power enough for the Mendelssohn scena. The programme was curiously arranged. There was a first part Gluck, Gounod, Rossini, and Mr. Goring Thomas. including selections from various Operas by Mdme. Patey sang "Che faro," and Mr. Bridson a song from "Esmeralda." The second part of the programme included Beethoven's Leonore" No. 3 and Purcell's 'Come, if you dare. This was followed by Mendelssohn's "Walpurgis Night." We were pleased to be able to speak favourably of King David" last concert; but one of Mendelssohn best works, if not his masterpiece, was performed in an indifferent manner. There was some good singing; but if the society expects to succeed, there must be more colour in the accompaniment, more delicacy in the choral vocal parts; the leads must be properly taken up; and, in future, if Mendelssohn's temp to "Come with torches brightly flashing" b not strictly adopted, the time must no degenerate into funeral-march pace. The sol vocalists were Mdme. Patey and Messrs Levetus and Bridson, 66 J. S. SHEDLOCK. By Julius Köstlin., By John H. Treadwell. Luther and Good Works. By John E. B. (Religious Tract So Luther: ein kirchliches Festspiel. Von Hans Herrig. (Berlin: Luckhardt.) Luther's Table Talk. ciety.) PROF. KÖSTLIN'S Luthers Leben has already received in Germany an amount of commendaon to which it is fairly entitled, and which aders further encomium on this side the Na almost superfluous. It is a very careful, well-conceived, well-executed piece of literary work. And if we cannot adopt, ithout some qualification, Mr. Froude's erdict in its favour, that "the student who Pas read these pages attentively will have no estions left to ask," we may concede that, if the author's standpoint the standpoint of The Wittenberg-Halle school of theologybe accepted as the right one, the general atment will appear unimpeachable. Prof. Kolde has no easy task before him if his bours are to eclipse those of his brother proessor. As a contribution to historical literare it must, however, rank much lower. Notwithstanding the apparatus of material ted or printed in the two volumes of the iginal work, the information is manifestly trived too exclusively from one side, and the sequent bias is throughout plainly dis rible. a truism to say that neither Luther's per- not committed to paper until after a con- Some of the statements, resting ely on Luther's own authority, clash singurly with those which we find on official cord-for example, in the recently published Siculus of the Monumenta Reformationis Istherande. Most unprejudiced persons will Probably look upon Luther as a far more nest man than Aleander or Caietanus; but * is difficult not to conclude, where' dispancies occur between a record of proceed22 and events made by official authorities ally designed to convey to others an at impression of what actually took Pegasus. e) and personal reminiscences (sometimes To most students of history it will appear Mr. The narrative given of the proceedings of the Diet of Worms, and the circumstances under which that memorable assembly was convened, can hardly be looked upon as sufficiently satisfactory to be accepted as a final rendering of that memorable event. Froude, who gladly hails the opportunity it affords for picturesque writing, pronounces Luther's appearance before the Diet "perhaps the very finest scene in human history. Many a man," he goes on to say, "has encountered death bravely for a cause which he knows to be just, when he is sustained by the sympathy of thousands, of whom he is at the moment the champion and the representative. But it is one thing to suffer, and another to encounter face to face and singlehanded the array of spiritual and temporal authorities which are ruling supreme.” and the one at Worms ("Joannes de Acie," As regards Luther's language and de- We are not at all sure that, supposing Luther But * See the Monumenta Reformationis Lutheranae (pp. 1204 121), where it is printed at length-a very different document, as the editor observes, from that given in Luther's Works, vol. ii. junction with his intellectual power and Portraits of Places. By Henry James. (Mac- A NOVELIST like Mr. Henry James shows to very superficial." The record of them was entirely addressed to an American public; and Mr. James thinks that they "can have but a limited interest for English readers, familiar, naturally, to satiety with many of those minor characteristics to which the author has ventured to call the attention of his less initiated countrymen." Well, the interest is certainly not very intense; the book is not one to keep us up till two in the morning; and, if it happened to be mislaid, the privation would not be insupportable; still, one is not sorry to have met with it. Mr. James is a quiet, rational, and shrewd observer, whose delicate appreciation notices many things that would escape most people. He is also a person of very real refinement, so that he sees things in a way not possible to a vulgar mind. He tells us that since these papers were written his impressions have been modified and enlarged, and he would not to-day have the temerity to write letters about England. Surely it is a wrong arrangement by which those who know little of foreign nations should write books about them, and those who know much should keep silence. Mr. James did right in publishing his first impressions, giving them for what they were, and he would do right still if he published his later impressions. Many things strike us at first in a foreign country which are hidden from those who know it so intimately, while intimate knowledge leads to discoveries of a different kind. We never can get really to the bottom of things. No man understands a foreign country. Does any man ever understand his own? Distance and difference make the foreigner blind to many things, or they make him attach an exaggerated importance to them; familiarity and old habits blind the native. It is pleasant to find that Mr. James does not consider himself a foreigner in ou country. He says, at p. 193, speaking of the ugliness of London: "If I were a foreigner it would make me rabid; being an Anglo Saxon, I find in it what Thackeray found in Baker Street-a delightful proof of Englis * See review of the Monumenta in ACADEMY of domestic virtue, of the sanctity of th December 8, 1883. British home." This is as it should be; w do not look upon Americans as foreigners, bu as a sort of Englishmen who live upon great estate of their own at a distance fro the mother-country. However, though no the delightful charm of its architecture. think how stupid is prejudice, and how poetic a Mr. James is not difficult to please. For creature a washerwoman may be." myself,” he says, “I have never been in a country so unattractive that it did not seem a peculiar felicity to be able to purchase the most considerable house it contained. In New England and other portions of the United States I have coveted the large mansion with Doric columns and a pediment of white-painted timber; in Italy I have made imaginary proposals for the yellow-walled villa with statues on the roof. In England I have for the best house, but, failing this, I have rarely gone so far as to fancy myself in treaty rarely failed to feel that ideal comfort for the time would be to call oneself owner of what is denominated here a 'good' place." a foreigner, Mr. James is not a complete Englishman after all. It is grievous to see that he does not find the proper degree of sober satisfaction in English Sundays and church-going, perhaps because he has been too much on the Continent. About Christmas time he arrived in London and encountered three British Sundays in a row-" a spectacle to strike terror into the stoutest heart." The explanation of this extraordinary phenomenon is that a Sunday and a Bank-holiday had joined hands with a Christmas Day. Surely a Bank-holiday is not so sad a spectacle as the terrible Dimanche de Londres" that makes Continentals shudder. There is a capital bit, too long to quote, about the fine state of social discipline in England which drives all respectable people regularly to He has a keen appreciation of old-fashioned church on Sunday mornings. A real English-English county houses in parks, and the man would hardly have ventured to write oldest ones delight him most with their this passage, but he will read it with a quiet reminiscences of the past. After a charming smile, and afterwards obey the custom as description, too long to quote, of an abbey before. The book treats of three countries which has preserved many of its old features England, France, and Italy. The author is in becoming a private residence, he speaks very susceptible of impressions received of the "entertainment of living in a ci-devant through the eyes. He is rather like a painter priory. This entertainment is inexhaustible, in this respect, but not quite, the difference for every step you take in such a house being that he always takes social matters into confronts you in one way or other with the remote past. consideration, which a painter easily forgets. You feast upon the His feeling about the ugliness of London is a pictorial, you inhale the historic." It case in point. The hideousness of the place does not appear that Mr. James has any strikes him very forcibly, but his mind re- special knowledge of architecture. Readers bounds from this instantaneously to the social who have made architecture a study will soon consideration of home-loving English ways. perceive, by his way of writing about certain remarkable edifices, that he is not a real **London is ugly, dusky, dreary, more destitute student, as he offers no remarks of the kind than any European city of graceful and decora- which close, intelligent study leads a man to tive incident.. As you walk along the make. I have noticed this particularly with streets, having no fellow-pedestrians to look at, regard to Chartres, but it is true of all the you look up at the brown brick house-walls, corroded with soot and fog, pierced with their great edifices known to me which are menstraight, stiff window-slits, and finished, by tioned in the volume. Still, Mr. James way of a cornice, with a little black line re- admires architecture and enjoys it to a certain embling a slice of curb-stone. There is not degree, as an outsider. As a novelist, his real accessory, not a touch of architectural study is human nature and manners, and here fancy, not the narrowest concession to beauty." he is always delicate and worth reading. This is true of the particular kind of London Being in London, he is told at a certain season street described, and very well put, but Mr. that all the washerwomen are intoxicated, James can also see the pictorial side of and that, as it would take them some time to revive, he is not to count upon a relay "of fresh things." This leads him at once to think of his Parisian blanchisseuse, a reflection by which we are the gainers, as Mr. James treat us to the following bit of description, which is really much better than anything in Sterne : London. **London is pictorial in spite of details-from its dark-green, misty parks, the way the light eves down leaking and filtering from its doud-ceiling, and the softness and richness of tone which objects put on in such an atmosphere as soon as they begin to recede. Nowhere is there such a play of light and shade, such a struggle of sun and smoke, such aerial grada tions and confusions. To eyes addicted to such contemplations this is a constant diversion, and yet this is only part of it. What completes the fect of the place is its appeal to the feelings, ade in so many ways, but made, above all, by gglomerated immensity. At any given point London looks huge; even in narrow corners I have a sense of its hugeness, and petty places acquire a certain interest from their being parts of so inighty a whole.' Mr. James confesses, in an amusing way, that he is always wanting to purchase houses. We heartily wish him wealth enough to make any such purchases, and that they may nout satisfactorily. Such is the difference 4 tastes, that his present reviewer never oept in one instance where affection was cerned) desired to purchase a house in his but he has often dreamed of building one surpass all existing domestic edifices in "I shall not forget the impression made upon me by this statement; I had just come from Paris, and it almost sent me spinning back. One of the incidental agréments of life in the latter city had been the knock at my door on Saturday evenings of a charming young woman with a large basket covered with a snowy napkin on her arm, and on her head a frilled and fluted muslin cap, which was an irresistible advertisement of her art. To say that my admirable blanchisseuse was not in liquor is altogether too gross a compliment; but I was always grateful to her for her russet cheek, her frank, expressive eye, her talkative smile, for the way her charming cap was poised upon her crisp, dense hair, and her well-made dress was fitted to her well-made waist. I talked with she moved about and laid out her linen with a her; I could talk with her; and as she talked delightful modest ease. Then her light step carried her off again, talking, to the door, and with a brighter smile and an Adieu, mon_ sieur!' she closed it behind her, leaving one to Mr. James lets us into the secret of his own delicate reflectiveness in a description of how he saw a French actress bathe at Etretat. The lady This "trots up the spring-board-which projects over the waves with one end uppermost, like a great see-saw-she balances a moment, and then gives a great aerial dive, executing on the way the most graceful of somersaults. performance the star of the Palais Royal five minutes, and leaves you, as you lie tossing repeats during the ensuing hour at intervals of little stones into the water, to consider the curious and delicate question why a lady may go so far as to put herself into a single scant, clinging garment and take a straight leap, head downward, before three hundred spectators, without violation of propriety, and why impropriety should begin only when she turns over in the air in such a way that for five seconds her head is upwards. The logic of the matter is mysterious; white and black are divided by a hair. But the fact remains that virtue is on one side of the hair and vice on the other." This is excellent, and it is exactly the author's way of observing manners. He likes to find some point of divergence, and take note of it; he likes to see what a very fine line-a line thin as a hair-divides one thing from another. He is pleased with his own clear discernment of the fact, without pretending to account for it: "the logic of the matter is mysterious." Mr. James is accurate in describing the care the French take about food and bedding, and their easy tolerance of wretched lodging; but I notice one or two slight omissions. He seems to judge of things too much from the hotel point of view, and not to be very familiar with private life. In hotels the déjeuner and dinner are almost equally heavy affairs, and a great many dishes are produced to suit the differing tastes of strangers. In private life, one of the two meals is generally the more important, and that is often the déjeuner, in which case it becomes nothing but a very early dinner under another name, and the dinner is a light early supper. by foreigners, that a good many French people It is also a fact, little noticed imposc upon themselves relative abstinence at one of the two meals. There are cases of steady total abstinence from one of them. As for reiteration" it is true that the dinner is too much like the déjeuner, but so many French people only take two meals a day that it is natural for both to be more substantial than if they sat down to table four times, as the middle classes often do in England. Still, after all deductions, the fact remains that the French live extremely well, that their food is generally varied, well-cooked, and judiciously served in well-ordered meals. I remember hearing an English lady declare that the French "lived on air." That seemed to me a fine piece of patriotism, the truth being, as Mr. James says, that they feed very substantially, and show the result in corresponding corporeal development, especially in women. 66 that so light and superficial a volume would I began this review rather with the idea hardly afford material for one, and now I find that there are many more quotable passages The book than a reviewer has room for. |