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but he will continue to edit the inscriptions dis- Nos. 928—966. May be by anybody.

that onve doubts beset the statement here attr covered in the course of the society's excavations. *967—979. (Goldsmith and Parnell) and buted to Northcote. In Leslie and Taylor's Li

It will readily be understood that the society *981–993. Somerville's Chase.) Both of Reynolds we are assured that, according owes much of the success which has attended

series of importance; but the cuts of Miss Fanshawe, Mrs. Siddons did not this its negotiations in the above matter to the the first badly printed; and the cuts of that the Grosvenor picture was the work good-will of the Khedive, and to the interest the second, though fairly printed, much Reynolds at all, and declared positively th taken by his Highness in the history and

“the original was at Dulwich College.” Noi antiquities of Ancient Egypt.

*1012. A good and well-printed cut from if that was really the opinion of the sitter, the Sportsman's Friend.

is surely not enough to state, on the authori CORRESPONDENCE.

1013—1018. (Bunyan's _ Pilgrim's Pro- of Northcote, that the Dulwich picture was t

gress.). Not a line of Bewick in them, work of Mr. Score, without affording any hi BEWICK COLLECTORS.

for all that Mr. Poole (publisher), of of the positive assertion of Mrs. Siddons he London : Feb. 25, 1884.

Taunton, prints Bewick's name under self. For she was, by all accounts, not the so Public attention being just now directed

of person to make such an assertion witho to the works of Bewick, can you afford me 1019—1045. (Sovereigns of England.) any grounds. space for a brief critical notice, which may not

Unworthy of Bewick, if by him.

To show that Mr. Stephens is not exhaustit be without interest for his admirers and for 1061—1099. (Burns. * Among the best in his account of this picture, it may be adde collectors, and which certainly concerns his

productions of the artist.") Some small that there is a replica at Langley Park, whe fair fame as an engraver? I have had occasion

insignificant tail-pieces may be his, but was given to the grandfather of Mr. Harvey lately to examine the Rev. Thomas Hugo's the larger cuts are not.

Sir Joshua as his own work.

As this pictu Bewick Collector,"containing impressions of *1104, 1105, have the Bewick stamp. at least is an undoubtedly authentic work 2,000 wood-blocks, engraved for the most part *1111. A dead horse. As good as the the master, it ought certainly to have been mei by Thomas and John Bewick,” in which the best tail-pieces to the Birds, fairly tioned, when we are told of that belonging student would naturally seek for examples of printed, and in fair condition.

Lord Normanton. the artist's work—I would say, of the work of 1117–1125. (Thornton's Herbal.) I see Perhaps Mr. Beek, the accomplished al Thomas Bewick; we may let pass the produc

nothing of Bewick's hand here.

courteous secretary of the Grosvenor Gallery tions of the brother. What this collection

1156—1226. (A Description of 300 Animals, himself an excellent artist and judge of wor really contains I purpose here to set forth.

1812.) Described by Hugo as “quite of art-may be able to throw some light on t Nos. 1 to 12 (Fisher's New English Tutor) are equal to those in the Quadrupeds and evidence of Northcote. Of course it is qui certainly not by Bewick.

Birds,” but much sinaller, without back- possible to admit that the Grosvenor versi 13—26 (History of all Nations) are not his. grounds, and inferior in every respect. may be genuine without casting doubt up

“R. P.” is engraved on four, and also 1129, 1131, 1134, 1146, are by Harvey that at Dulwich. It is certain that Desenfa on later cuts.

and Orrin Smith; Smith's name as was a competent collector; and one does n 26–84. Not a hint of Bewick.

engraver on them. 1137, 1142, 1143, see why he should have paid 700 guineas (it 85—100. The refuse of some printing

1149, 1181, 1213, are also Harvey's noted in Sir_Joshua's Diary as sold to ? office, and utterly worthless.

drawing, and of a later date than Desenfans in June 1789 for £735) for a copy ! 102-111. (Horn-Book Alphabets.) Boys'


Score. The price was

a very high one, work.

*1227_1253. Fishes : well worth giving. those days, even for the master's own work. 112—239. Refuse again. 235, 236, 238, 1254–2009. (More book-work, broad

H. G. KEENE. 239, may be Bewick's.

sheets, racing-cuts, shop-cards, &c., &c.) 240—276. ("The series of wonderfully So worn and battered and badly printed, beautiful cuts" of Hastie's Reading made

or so bad in themselves, that respect

NOTES ON ART AND ARCHAEOLOGI. Easy.) Not beautiful; and interesting

for Bewick's fame should have required MR. J. M. GRAY, whose notices of exhibitions only as showing how very poor his

their destruction.

and other art matters in Scotland have beer early work was.

Among these last 755 cuts, the single excep- for some years past a valued feature in th , 278-301. Earliest work, and worthless. 302—307. ("May be Hodgson’s.”) They Old

Man and Dog toiling through the Snow." ship of the national portrait gallery shortly

tion to the common worthlessness is 1330, the ACADEMY, has been nominated to the curator are not Bewick's. 310 has Lee's name to it.

None else were worth printing, even if Bewick's; be established at Edinburgh. The appointmer

but 311 has Hodgson's name, and is notice- the name of Peckham, one is by Austin, one by which contributes £10,000 to the new institi

have no relation to him. One bears yet awaits the confirmation of the Governmen able as being better engraved than any- Welsh; some are bad 'prentice work, some are tion, being the same amount as is offered by i

thing by Bewick of early date.
312—396. Nothing of
but pieces of broken blocks—débris.

anonymous benefactor.

I have not a word to say against Mr. Hugo's 397-432. Nothing to be identified as his.

MR. E. J. GREGORY will contribute to t *433-436. Cuts from Select Fables (1784), good faith. But, for his judgment! He seems, next exhibition of the Academy not exactly

in his simple, ignorant enthusiasm, to have large, but an elaborately wrought, picture of spoiled in printing.

caught at anything and everything which any- scene on the Thames. The nature which it ! *437–440. Cuts apparently done for the body said was by Bewick, with such result as picts is somewhat in accord with the “ summ Fables of 1818, but not used.

I have here desired to make clear. Among his redundant” of Mr. Browning's verse. Nes 441–455. Cheap office-work; some little

2,009 cuts I reckon 65* which would have been were the skies bluer, nor the leafage green better work, probably from his hand.

worth printing, if printed well, and not hidden In front of this admirable vision of June or Ju 457–505. Cuts by John Bewick. 506—637. Not one worth printing.

under a heap of rubbish. There are other
Bewick collectors whom it may be of use to with Mr. Gregory's usual tact, from the life

weather, there passes a trifling incident, drav 638, 639. (From British Birds.). COPIES


W. J. LINTON. of the Dog with a kettle tied to his tail,

the day. There is a house-boat, and a lady and of the smaller design of a Beggar

a pink gown, and a younger girl in a navy-bl attacked by a dog; the latter & copy

walking dress. Near them is the tussle-wec from Clennell.


hardly say the combat-of several swans, one 640, 641, 642. Not Bewick's.

Ealing: Feb. 22, 1884.

two of which would appear to have acquired 644. COPY of a cut by Wm. Hughes. In his descriptive Catalogue of the Reynolds vested interest in the bounty bestowed up 646, 647. COPIES: cut without reversing. Exhibition at the Grosvenor Gallery, Mr. F. G. them by the party in the house-boat, and to : 636. Copy of a cut drawn by Harvey for Stephens says, of the grand idealisation of Mrs: sent the intrusion of fresh comers. This is t

Hood's Dream of Eugene Aram. Siddons contributed by the Duke of West story of the picture, of which, of course, t 679. BAD COPY of a tail-piece by Clennell. minster, that M. de Calonne gave Sir Joshua real interest consists in the treatment, at or 802. Has Green's name.

eight hundred guineas for it, and that Lord daring and beautiful, of line and hue. It 805. Copy of a cut by Bonner.

Grosvenor bought it in 1822 for more than safe to say that the new painting will do mu 847. COPY from Harvey.

double the sum. “The version at Dulwich was, more than was done by the “Piccadilly" of ls 854. Green “del. et sculp.".

as Northcote told us, painted by Score, one of year to advance the reputation of one of o 857. Not Bewick's.

Sir Joshua's assistants, and was, according to younger Associates. It is of great freshness al 858. By Bonner.

Malone, sold to M. Desenfans (whose collec- of distinguished originality. Mr. Gregory 860, 864, 865. All by Green. tion is at Dulwich) for 700 guineas.'

likewise engaged on å water-colour drawing r 881-927. (“The series of cuts used in All this may be correct, so far as it goes. presenting a girl on a tricycle, and a dog boun

The Hive,” 1806.) 920 to 927 are not But it omits information of at least equal im- ing excitedly by her side. in the Hive. They, as well as the prin- portance.

We are glad to hear that Mr. Whistler m cipal of those in the Hive, are by Člen- In the first place, a book that Mr. Stephens shortly exhibit a group of small works execut nell, whose name is on the title-page. frequently, and very properly, quotes shows but lately. These would seem to divide ther

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selves into two series ; one of them of labours Exploration Fund. Even more singular is it, curtailed, and others omitted. The solos are suggested by the artist's last visit to the Cornish however, that Col. Scott Moncrieff, in his own interesting, the chorales wonderfully fine, and coast-of which the readers of the World have letter introducing that of Prof. Maspero to our the choruses contain much of Bach's most from time to time been made aware in Mr. contemporary, should ignore the discovery of pleasing and genial workmanship. Some of Whistler's own engaging fashion, and the other Pithom by means of English money, take no the chorales were sung unaccompanied, others of small oil paintings depicting the effects in account of the brilliant services of M. Naville, supported by the organ. Yet Bach has throughcertain back shops of Chelsea. We shall be in- and remark that “England can send forth no out indicated the use of the organ and doubled terested in seeing to what extent these artistic Egyptologist to share the work" of Prof. the voice parts, with strings and wind instrustudies continue the line begun by Mr. Whistler Maspero. This, too, in face of the fact (duly ments. There were also other deviations from in his earlier French etchings, such as “The mentioned in Prof. Maspero's accompanying the score for which there seems to be no Rag Shop” and “La Marchande de Moutarde.” letter) that Mr. W. Flinders Petrie is even now authority. In the solos the harmonies indicated

MR. BROCK's bust_of Longfellow_has this actually beginning work at Zoan (Sān) as the by the continuo were filled up by the organ, but in week been placed in Poet's Corner. It is said accredited agent of an English society. such a faintand uncertain manner as to be scarcely by those who had an intimate acquaintance with

audible, and thus much of the music sounded Longfellow to be an excellent portrait, and it is


all top and bottom. Moreover, the organ part unquestionably a most spirited artistic perform

was not given in the true Bach spirit. The

RECENT CONCERTS. ance. The poet is arrayed in the robes of a

performance on the whole was very good, though "D.C.L.," the detail of which is neither too THE Philharmonic Society commenced its at times slightly wanting in delicacy. The inuch ignored nor too much insisted upon. The seventy-second season last Thursday week, choir sang splendidly. The solo vocalists were poet has an air of vigorous health and hearty February. 21. The programme did not con- Miss Annie Marriott, Mdme. Patey, Mr. Harper spirits. The bust does not represent him pre- tain a single novelty. Mr. Carrodus played Kearton, and Mr. Bridson, and they all deserve

In the unavoidable absence of Mr. cisely in old age. Mr. Brock has also almost Beethoven's Violin Concerto, and the perform- praise. completed his statue of Sir William Temple. ance was a masterly one; the brilliant and Hallé, Mr. W. H. Cummings conducted. The statue itself will shortly be placed in situ, difficult Molique cadenza which he introduced An interesting concert was given on Friday while the plaster model will be sent to the Royal into the first movement gained for him enthusi- afternoon at the Blüthner Pianoforte Rooms, Academy. This is likewise capable sculptor's astic and well-deserved applause. Miss Clara Kensington. Mr. Carrodus played two movework, but we must consider the Longfellow in- Asher, the young and clever pupil of Mr. George ments of Mendelssohn's Violin Concerto, and finitely more attractive.

Mount, was heard in Mendelssohn's Capriccio songs were contributed by Mdme. Sterling and Ax exhibition of drawings in black and white, in B minor (op.

22). Mdme. Patey sang the Mr. Oswald; but the principal feature of the

“Inflammatus” from Dvorák's “Stabat Mater,” afternoon was the playing of Malle. Marie executed for Messrs. Cassell & Co.'s fine art and Haydn's “Spirit's Song.” The former Krebs on a piano with the new arrangement of publications, is to be opened at Mr. Leggett's piece, with its curious mixture of styles, is the strings known as the overstrung scaling." Galleries, 62 Cheapside, on March 1.

interesting, but loses much of its effect by being To each note is added a fourth string, tuned an M. N. DE WAILLY has had printed as a given in detached form. It was well sung by octave higher, which, by its "overtone repamphlet, which is circulated with the current Mdme. Patey. The programme included, be inforcement,” adds greatly to the power and number of the Gazette archéologique, the dis- sides, Beethoven's "Egmont," Spohr's “Power richness of the sound. Malle. Krebs, in a courses delivered at the funeral of François of Sound,” and Gounod's "Saltarello,” com- variety of solos by Beethoven, Schumann, Lenormant by three of his colleagues-M. posed expressly for the society. Respecting Liszt, &c., showed off to advantage the qualiHeuzey, president of the Académie des Inscrip- these well-known works nothing need be said. ties of the instrument. tions; M. Delisle, director of the Bibliothèque Mr. Cusins having resigned, the conductorship Mr. A. C. Mackenzie's dramatic Cantata, nationale ; and M. R. de Lasteyrie, one of the this season will be in the hands of four honorary "Jason,” produced at the Bristol Festival of editors of the Gazette archéologique.

musicians; we gave the names a few weeks 1882, was performed for the first time in A NEW museum has been formed at Rome, in ago.

Mr. George Mount wielded the bâton London by the Borough of Hackney Choral the Baths of Diocletian, to contain the mural on the first evening. Under ordinary circum- Association last Monday evening, under the paintings that have been found pretty fre- stances we should wait till the various candi- direction of Mr. E. Prout. The libretto, by quently of late years in the course of the ex- dates had offered themselves for trial, and then Mr. W. Grist, is skilfully arranged; and the cavations. It will be under the charge of Sig. to place at the head of the orchestra of this old- owes not a little to the vigour and flow of the

name the one whom we thought the most suitable composer, who has written excellent music, Fiorelli.

established society; but we feel able to pronounce verses. In the first part of the work we have Sig. GAMURRINI, the Government archae- judgment now at any rate on the first even the building of the ship, the invocation of ologist for Tuscany and Umbria, reports, upon ing. On many occasions we have spoken of Jason, and the departure of the Argonauts. an Etruscan balance and weights recently found the late chef-d'orchestre, Mr. Cusins, and frankly In the second part Jason meets the royal at Chiusi (Clusium), that they prove Clusium expressed our opinion that he was not the man maiden, Medeia, and we have the love scene, retained its Etruscan standard of weight to a to lead the band to honour and fame. But his the conflicts with the fire-breathing oxen, the late time. The Etruscan pound was equal to faults were negative; tb of Mr. Mount, on armed men, and the sleepless dragon who guards 212.2 grammes; the Roman pound was equal the other hand, are positive. His mode of the golden fleece; and the return of Jason and to 327 grammes.

beating time is confusing, and now and then his companions to their native land. We do M. PH. BURTY writes to us :

inaccurate; and, indeed, so absorbed does he not purpose to review each number in detail, “M. Gaston le Breton, the director of the pottery become in the management of his stick and in but to give the general impression made upon museum at Rouen, which is one of the most im- the reading of his score that tempo, balance of us by the work. Earnestness of purpose, portant in France, has drawn up a descriptive and tone, phrasing, marks of expression, everything, dramatic power of expression, a frank acknowhistorical account of its treasures, accompanied by in fact, essential to the faithful rendering of a ledgment of the influences of the present day, numerous illustrations of specimens remarkable work, is frequently spoiled, if not ignored. We and respectful adherence to the form and style for their intrinsic beauty or their rarity. This have nothing to say against Mr. Mount either of the past—all thsee we find in Mr. Mackenzie's work, which can be obtained in London from as a man or as a musician; but his début at music. In listening to it we feel in presence of M. Dulau, is a valuable contribution to the history the Philharmonic Concerts will not increase a man who is steadily but surely feeling his of the origin of faience in France."

his reputation, and can have done no good to way to independence and originality. “Jason,' It may be ranked among the curious coin- that of the society. Brahms' new Symphony in spite of occasional weakness, is a work of cidences of journalism that Miss Amelia B. was originally announced for the second con- remarkable power and great promise. The Edwards in England and Prof. Maspero in cert, March 6; but it has been changed to most striking numbers are the choruses in the Egypt, without collusion or previous correspond No. 2 in D.

first part, the orchestral intermezzo “On the ence upon the subject, should not only have On Friday evening, February 22, Bach's Waters,” Jason's scena and air in the second been moved to make public their views as to “Christmas Oratorio was given by the Sacred part, and the concluding, chorus. The solo the necessity of establishing a more extended Harmonic Society at St. James's Hall. The vocalists were Miss Fusselle, who did not do system of local archaeological conservation in work was only intended for use in church, and full justice to her part, and Messrs. J. W. the valley of the Nile, but that these two inde- the six sections of which it is composed were Turner and M. Tufnail, who were fairly pendent appeals should have chanced to be to be performed on different occasions, as in- successful. The choir sang well, and the published in London on the self-same day dicated by the titles—first, second, or third orchestra, which had a difficult and important (Saturday, February 23), the one in the columns days of the festival of Christmas, New Year's part to fulfil, did its best; but the limited of the ACADEMY and the other in the Times. Day, Sunday after New Year's Day, and the opportunities for rehearsal caused at times a An unfortunate lapsus calami (probably a slip festival of the Epiphany. So far as the character slight unsteadiness. The hall was filled and of the translator's pen) makes Prof. Maspero, of the music is concerned, the performance of the work well received. in the above-named letter, attribute the excava- the whole work involves no inconsistency, but On Tuesday evening last, Mr. Willing gave tion of the city of Pithom, this time last year. there is too much of it. Hence, on Friday, an extra concert in aid of a fund for restoring to the Palestine Fund, instead of to the Egypt some of the movements were considerably churches near Coventry. The programme was




BARONETAGE for 1884.



of Munich.



one of special interst. There was, first of all, HURST & BLACKETT'S TRÜBNER & CO'S the Fifty-seventh Psalm, composed for_tenor solo, chorus, and orchestra by Mr. E. H.


Willing's Choir
, is one of very great merit ; the GLIMPSES of GREEK LIFE and
SCENERY. By AGNES SMITH, Author of "Eastern Pilgrims," &c.

THE WORKS OF THE TWO GREAT PESSIMISTS. music is clever and interesting:

The opening
I vol., demy 8vo, with Illustrations and Map of the Author's Route,

[Next week. solo and chorus and the concluding number are


CONTEXTS: An Atlantic Storm-First Impressions of Athens-In Athens delightfully fresh and well developed. Mr. -Supium and Hymettus-Marathon and Aegina--The Isthmus and the

By Arthur Schopenhauer. Acro-Corinthus-Mycenae and the Argive Plain--In Sparta--Near Taygetus Charles Chilley sang the solo part with much -On Ithome-Easter in a Monastery-From the Monastery to Kreki-In Translated from the German by R. B. HALDANE, M.A., and JOHS

Olympia-From Olympia to Megaspelion-A Journey to the Styx-Greek KEMP, M.A. Vol. I., containing Four Books, post 8vo, cloth, les taste, but not sufficient power, After this

Hospitality-Difficulties-A Thunderstorm on Mount Parnassus--From came selection from

Parnassus to Corfu-Language and Character of the Modern Greeks--Com.
Handel's Oratorio
parison of Syrian and Grecian Travel.

La Resurrezione,” written at Rome in 1708. BETWEEN TWO OCEANS; or,

UNCONSCIOUS. We believe it has never been given in England. SKETCHES OF AMERICAN TRAVEL, By IZA DUFFUS HARDY. I vol.,

By Edward von Hartmann. In the score, which is in the musical library at demy 8vo, 158.

[Just ready.

Speculative Results, according to the Inductive Method of Physical Buckingham Palace, Handel has made use of VOLS. III, and IV. of COURT LIFE

Authorised Translation by WILLIAM C. COUPLAND, M.A.

Ten Editions of the German original have been sold since its first several instruments, now obsolete-viz., the BELOW STAIRS; or, LONDON UNDER the LAST GEORGES, 1760

1830. By J. FITZGERALD MOLLOY. SECOND EDITIOX. Price 21s. appearance in 1858. In 3 vols., post 8vo, cloth. [Nearly ready. theorbo, the lute, the viola da gamba, and, Completing the Work, of course, the cembalo, the backbone of the WITHOUT GOD: Negative Science A COMPREHENSIVE COMMENTARY orchestra of the eighteenth century. A note and NATURAL ETHICS. By PERCY GREG, Author of “The Devil's

Advocate," "Across the Zodiac," &c. I vol., demy 8vo, 12:. in the programme-book attracted special atten

to the QURAN

To which is prefixed Sale's Preliminary Discourse, with Additim tion; it was as follows : -" Handel's instru- LODGE'S PEERAGE and

Under the expecial Patronage of her

Notes and Emendations ; together with a Complete Index to the Tat, mentation will adhered to, and no Majesty. Corrected by the Nobility. Fifty-third Edition. 1 vol., royal

Preliminary Discourse, and Notes. additions whatever made." In spite of this

Hvo, with the Arms beautifully engraved, 3is, 6d., bound, gilt edges, By Rev. E. M. Wherry, M.A., Lodiana.

** This work is the most perfect and elaborate record of the living and promise, “additional accompaniments,” and not recently deceased members of the Peerage of the Three Kingdoms as it Vol. 11., post 8vo.

(fearly rendy. . of the best, were used in the aria “O voi dell'

testimony to the fact that scrupulous accuracy is a dis.inguishing feature

of this book."-Times.

Ferma Erebo.” The viola da gamba part in “

ESSAYS on the SACRED LANGUAGE, was simply omitted; this, indeed, was THE NEW NOVELS,

WRITINGS, and RELIGION not an addition, but a subtraction. Of course,

of the PARSIS. the part left out could not be given; but some A BEGGAR on HORSEBACK.

By Martin Haug, Ph.D., other instrument or instruments ought to have By dirs. POWER O'DONOGHUE, Author of "Ladies on Horseback,"

“Unfairly Won," &c. S vols.

Late Professor of Sanskrit anu Comparative Philology at the University replaced the obsolete viola part, so as to ap

Third Edition, Edited and Enlarged by E. W, WEST,

Ph.D. To which is also added a Biographical Memoir of the lato prcach as nearly as possible to the composer's TO HAVE and to HOLD.

HAUG by Professor EVANS. Post svo, cloth, 16s.

SARAH STREDDER, Author of "The Fate of a Year," &c. 3 vols. intentions. And, again, the cembalo part is "This book contains a series of very clever, realistis, and vigorous

"We have, in a concise and readable form. a history of the researcher

into the sacred writings and religion of the Parsis from the oxrliest time character-studies. It is written in a pleasant manner, and is told with absolutely necessary to recitatives, arias, and praisewortby directuess and clearness," - Whitchail Review.

down to the present-a dissertation on the langanges of the Persi derir

tures, a translation of the Zend-Avesta, or the scripture of the Parsis, ond! choruses. To perform the Oratorio without

a dissertation on the Zoroastrian religion, with especial reference to is harpsichord, or piano, or substitutive accompani- MR. NOBODY. By Mrs. John Kent origin toda a evelop theo 2 orientes

SPENDER, Author of "Godwyn's Ordeal," &c, 3 vols. ments was simply to render much of Handel's

"Mrs. Spender has written a very readable novel."-Athenaeum. music ridiculous. To give only one instance: the

* Stro, Spender has surpassed herself in the pathos which marks the open- JUAN de VALDES'S

ing pages of her latest novel. The plot is good, and well worked out. aria Caro figlio " is written in the score for

Morning Post *** Mr. Nobody' is full of proinise and force."- Academy.

SPIRITUAL MILK." voice and violoncello part—a mere sketch. The ONLY YESTERDAY. By William

Octaglot. The Italian original, wito translations into Spanish, Latia, cembalo evidently filled up the harmonies or

l'olish, German, English, French, and Engadin. With a Critical and MARSHALL, Author of "Strange Chapman," &c. 3 vols.

Historical Introducts EDWARD BOEHMER, tho Editu ol played an independent part, as indicated in the ONE FALSE, BOTH FAIR. By

**Spanish Reformers * Tall 4to, wrappers, 6s. concluding symphony; but Mr. Willing only

JOHN BERWICK HARWOOD, Author of "Lady Flavia," &c. 3 vols. gave the voice and violoncello part, thus making ** This novel is pleasant reading. Tho seenes are very brightly and SPANISH and PORTUGUESE a perfect caricature of the song. The music, if cleverly sketched.”- Academy.

SOUTH AMERICA during the not great, is very graceful and "pleasing. Two DI FAWCETT: a Year of Her

Life. By C. L. PIRKIS, Author of "A Very Opal," &c. 3 vols. of the most interesting numbers were omitted:


By R. G. Watson, 3 vols.

(Next week. into four parts, and Maddalena's aria “Per

Editor of "Murray's Handbook of Greece." 2 vols., post sro, cioth, me gia,” with some very interesting and feasible C HEAP

with a Map, 21s.

EDITIONS. “That portion of his book relating to Brazil, in particular, seems ia usta orchestration. The Oratorio only contains two Each Work complete in I vol., price 58. (any of which can be had

cover ground which is new, or at least has not been fully oocupied by any choruses ; these were both given, and well sung

separately), elegantly printed and bound, and illustrated by

previous English writer."--St. James's Gazette. Sir J. GILBERT. MILLAIS, HUNT, LEECH, POINTER, FOSTER, by the choir. The solo vocalists were Miss J. TENNIEL, SANDYS, E. HUGHES, J. LASLETT POTT, &c. Griffin, Mdme. Enriquez, and Messrs. Chilley HURST & BLACKETT'S CREEDS. of the DAY; and Santley. The programme concluded with


Collated Opinions of Reputable Thinkers. Mendelssohn's “ Athalie,” and the verses were or CHEAP EDITIONS of POPULAR MODERN WORKS.

By Henry Coke. recited by Mr. Santley. J. S. SHEDLOCK. Sam Blick's Nature and Human Sam Slick's American Humour,

In Three Series. To which is now added an Inder and Couteatt.
Barbara's History, By Amelia B. 9 vols., demy 8vo, cloth, Al Is.
John Halifax, Gentleman.

The Crescent and the Cross. By Life of Irving. By Mrs. Oliphant.

It is not a light task which Mr. Coke has set before him-to present the

tbeological outcome of Biblical study, modern science, and speculation in Eliot Warburton.

No Church. By F. W. Robinson.

concise, clear, and simple form-yet it must be owned that he has carried
Nathalie. By Miss Kavanagh. Christian's Mistake. By the Author out his purpose with uo little intelligence and skill..
Woman's Thoughts
of John Halifax.'

view of the opinions on the most important questions of the day can be fof We have to record the death of Mr. John Pyke

By the Author of Alec Forbes. By George MacDonald, from these pages, which are full of information."-Scotsman.

John Halifax.'
Hullah, LL.D., in London, on February 21.

Adam Graeme. By Mrs. Oliphant. Agnes. By Mrs. Oliphant.
Sam Slick's Wise Saws.

A Noble Life. By the Author of
He was born at Worcester in 1812, and in 1832

Cardinal Wiseman's Popes.

*John Halifax,'

MICROSCOPICAL MORPHOLOGY became a student of the Royal Academy of A Life for a life., By tho Author Pixon's New Americe.

Robert Falcorer. By George Mac

of the ANIMAL BODY in Music. He was first known as a composer; Leigh Hunt's Old Court Suburb. Donald, LL.D.

Margaret and her Bridesmaids.

The Woman's Kingdom. By the nearly half a century ago his Opera “The Vil

HEALTH and DISEASE. Bam Slick's Old Judge.

Author of 'John Halifax.'

Annals of an Eventful Life. By G. lage Coquettes

Darien. By Eliot Warburton.
was produced at the St.
Bir B. Burke's Family Romance. W.Dasent, D.C.L.

By C. Heitzmann, M.D. James's Theatre. The singing classes which The Laird of Norlaw. By Mrs. David Elginbrod. By George Mac- Royal 8vo, cloth, 31s, 6d.


Donald, LL.D. he held, first at Exeter Hall and afterwards at

The Englishwoman in Italy. By A Brave Lady. By the Author of

John Halifax.'
St. Martin's Hall, did much to spread the

Nothing New. By the Author of Hannah. By the Author of 'Johu

Halifax.' knowledge of music among the people. In

By A. P. Sinnett, Freer's Life of Jeanne d'Albret. 1872 he was appointed Inspector of Training The Valley of a Hundred Fires. The Unkind Word. By the Author

Author of The Occult World." Third Edition. Crown 8vo, cloth, Burke's Romance of the Forum.

of John Halifax.' Schools for the United Kingdom. He wrote

Adele. By Miss Kavanagh.

A Rose in June. By Mrs. Oliphant. "Mr. Sinnett delivers his gospel with much clearness and obvious good

By E. Frances many 'essays and papers on the history and Studies from Life. By the Author of My Little Lady.

faith."-Saturday Review. 'John Halifax,

Poynter. science of music for various periodicals. The Grandmother's Money. By F. W. Phoebe, Junior. By Mrs. Oliphant.

Robinson. History of Modern Music and Music in the House


Jeaffreson's Book about Doctore. Professor C, D. Yongo. are two of his best-known works. Dr. Hullah Mistress and Maid. By the Author Sir Gibbie. By George MacDonald,

LL.D. of John Halifax.'

By R. N. Cust.

Young Mrs. Jardine. By the Author was a contributor to the ACADEMY in its early Les Misérables. By Victor Hugo.

And a Language Map by E, G, RAVENSTEIN 2 vols., with ThirtyBy the Author of of John Halifax.'

one Autotype Portraits, cloth, 258. days; and long and ably written articles in Janita's Cross,

Lord Brackenbury. By Amelia B.

Lost and saved. By the Hon. Mrs. Edwards. our columns on music and musicians of the

Norton, eighteenth century, and other subjects, gave


A SIMPLIFIED GRAMMAR of the proof of his musical knowledge and literary

OTTOMAN-TURKISH LANGUAGE. ability. Dr. Hullah held many appointments, IT was a LOVER and his LASS.

By J. W. Redhouse, M.R.A.S.

By Mrs, OLIPUAXT, and was honorary member of musical societies

Author of "Chronicles of Carlingford," &c.

Crown 8vo, cloth, 105, 60, in Rome and Florence.

HURST & BLACKETT, 13, Great Marlborough-street. LONDON: TRÜBNER & CO., LUDGATI Hill.


An aceutate




Mrs. Gretton.

John Halifar.'

Sam Blick's Americans at Home.

78. 6d.

Life of Marie







and how much more (particularly language than with aliens. Be this as it may,

if that friend who leads us the new walk has the fact, I think, remains, and may be very No. 618, New Series.

a special eye for scenery, if that person who imply tested by finding out how many THE EDITOR cannot undertake to return, or takes us over the gallery, or who plays for us among our more intelligent friends possess

to correspond with the writers of, rejected the piece of music, is a real artist or a real Lamb's volume of selections from the ElizaIn anuscript.

musician) is our power of perception rein- bethan dramatists—a book which cannot be It is particularly requested that all business forced by his, and does enjoyment come to us, read from the circulating library any more than

letters regarding the supply of the paper, as all real enjoyment should, without effort, the Bible, and which is therefore either posge., may be addressed to the PUBLISHER, and unsought, to unfatigued minds!

sessed or ignored. The proportion of possessors not to the EDITOR.

I have enlarged on this subject because I of this book is small, as is proved by the small

have a strong notion that the worthy people number of editions through which it has LITERATURE.

who consider art and literature from the passed. Now I think one may safely say

merely scientific point of view—who find good that, if that volume of Lamb's were in the Shakspere's Predecessors in the English Drama. art and bad art, good poetry and bad poetry, hands of every man or woman caring at all

By J. A. Symonds. (Smith, Elder, & Co.) equally handy to put under their microscope, genuinely for poetry, the old dramatists would It is an agreeable surprise to find that, on equally suggestive of treatises to be read by have contributed, in proportion to their wealth, completing his great work on the civilisation similar scientific persons—would greatly like to the general fund of poetical enjoyment of of Renaissance Italy, Mr. Symonds has turned to preach a crusade against all such as write the world. No one except a student need his attention once more (for we learn from the of literature and art for the benefit of those give much more of his time and attention to the Preface of the present volume that it was to whom they are mere pastimes, forgetting Elizabethan drama. The number of plays, projected already twenty years ago) to the that, according to the platitude I have already even by men like Marlowe, and Webster, and literature of Elizabethan England. Mr. pronounced, the only reason why good art is Beaumont and Fletcher, which will repay Symonds is one of the most eminent of a class preferable to bad art, and good poetry to bad perusal as wholes is very small; and perhaps of critics which, whatever philistines and poetry, is that the first can afford more enjoy- it would be better to read “Hamlet” or pedants may say, may be considered as im- ment than the second, that enjoymont is, “Romeo and Juliet” a second time than to portant to our happiness only less than the therefore, the use of art, and that the men who read the whole of “Dr. Faustus artists about whom they write. Art and help us to enjoy it are, therefore, the men Duchess of Malfy" a first time. And, except literature can never become a real study to most profitably employed about it. I have with the view of learning the taste of the ang but an infinitesimal portion of intelligent enlarged upon this point particularly, because times, and learning also in what dreary and mankind; nor is it in the least desirable that it seems to me that our Elizabethan drama loathsome rubbish the finest pearls of poetry they should do so. Their usefulness consists is exactly one of those forms of art which may be embedded, no ordinary human being in their enjoyment–in the fact of their being have been most abundantly discussed by can be counselled to read the whole of a play not an occupation, but a recreation; an inter- scientific persons for the benefit of scientific by Tourneur or Marston—nay, even the whole lude in our life, and not a constantly present persons, and least satisfactorily expounded by of a play by Ford. The desideratum, thereinterest. But in order that the beautiful men specially endowed to enjoy for the benefit fore, is that a book like Lamb's Selections be things of literature and art be thus enjoyed of the world at large, capable of similar, but brought within everyone's ken. But, as no without effort, it is necessary that those who less deliberately and originally obtained, enjoy- one feels any interest in the absolutely unare to enjoy them should have them put ment; and because Mr. Symonds' present known, or looks out in the map a place whose within their reach, or rather in their way; book appears to me exactly fitted to create name awakens no associations, so also a book and for this a special class of minds becomes in the minds of intelligent readers that atmo- like Lamb's falls only accidentally into the necessary. Between the artist who creates sphere in which the full perfume of the hands of those to whom it may give pleasure ; and the ordinary man who enjoys there is Elizabethans can be appreciated, that light in and, even when it does thus accidentally come nearly always necessary a mediator-an artist which their form and colour can be enjoyed. to hand, this collection of fragments from descended by a few steps from the level of I think I have said enough (though this poets all nearly equally unfamiliar to the artistic creation, or an ordinary man raised by platitude is one of those which is never suffi- general reader, and all nearly equally great

few degrees nearer thereunto; a someone ciently taken to heart) on the subject of good (thanks to Lamb's cunning selection in the gifted with a keener sight and a more power- art and good poetry being useful in proportion samples presented, leaves in the mind a ful instinct of locality; above all, a someone as they are enjoyed. My second proposition certain void, a certain barrenness. The able to spare more time than ourselves for divides into two propositions—namely, that interest which we feel in a passage from becoming acquainted with all the roads, and the Elizabethan dramatists do not at present Tourneur or Heywood or Dekker requires, in paths, and points of view of this particular afford the full enjoyment which they ought, order to take root and fructify, that we artistic country through which we are to be and that Mr. Symonds' new book is peculiarly should have pointed out to us the connexion led There

are certain philistines who fitted to bring those Elizabethan dramatists and the comparative importance of each of imagine that every man ought to be able, at more into what I may call current enjoyment. these men, their position as related to their ace, to enjoy thoroughly every real work of That the Elizabethan dramatists, the im- superiors. This is what Mr. Symonds' new art; who cry out that, if our attention must mediate predecessors, the contemporaries and book will accomplish; and to have accombe directed, there can be no really artistic immediate successors, of Shakspere, do not plished this is—always bearing in mind my appreciation on our part—which is much the constitute part of the usual aesthetical food premiss that the usefulness of art depends same as expecting a man to find his way in a of cultivated, but unliterary, men and women upon its enjoyment-a piece of work incomstrange town where he has just arrived, or to is a fact which anyone, looking round among parably higher and more useful than would guess correctly at the character of a stranger bis circle of acquaintances, may verify for be the most elaborate study made for the of whose antecedents he knows nothing. We himself. For one Englishman or English- benefit of students. Mr. Symonds is as the Tequire to have our attention directed to new woman who knows a line of Marlowe, of artist, the connoisseur (he is both united), who things, either by their resemblance to things Webster, of Ford, of Beaumont and Fletcher, leads us through a gallery ; nay, rather, he already familiar, or by being deliberately we might count five or six, perhaps nine or is, or will be to many persons, the man who stopped by someone who knows them better ten, people who are familiar with Dante and actually teaches the way to the gallery and than ourselves; and to say this is surely not Leopardi, Goethe and Heine. Dante and unlocks its doors. to libel our aesthetic faculties. How much Leopardi, Goethe and Heine, are poets of the Mr. Symonds' book is, as I gather from more do we not see when we are taken a new first order, men who stand alone ; while Mar- various allusions, the first part of a work Talk by a friend who is familiar with it; lowe, Webster, Ford, Beaumont, and Fletcher upon our drama of the late sixteenth and how much better do we not enjoy a new are, whatever their greatness, merely second- early seventeenth centuries; the second gallery in company with someone who will class Shaksperes

. This is true ; but, on the volume, presumably, will deal with Shakkad us at once to ħis favourite pictures ; how other hand, they are English, while the others spere ; the third, with Shakspere's immediate much more do we not enjoy a new piece of are foreign; and, as a rule, there is more successors— Webster, Ford, Beaumont and music if the performer pauses and says, possibility of comprehension, of sympathy, Fletcher, Massinger, and so forth. The first " How listen to this passage —to that modula-1 hence of enjoyment, with poets in our own one treats of the origin of the literary form

which Shakspere brought to perfection, and The Cupand The Falcon.” By Alfred consummated by the agony and death of of the men who immediately preceded him; Lord Tennyson, Poet Laureate. (Mac- Synorix, and then passes away herself, disit is the history of the evolution of our great millan & Co.)

crowned and triumphant, with the vision romantic stage, of the gradual fusion of SEVERAL years have elapsed since the first before her eyes of Sinnatus' spirit welcoming mediaeval dramatic traditions and Renaissance performance of these dramas on the stages her to the Happy Isles. poetical tendencies, of the various necessities of the Lyceum and of the St. James's

At the risk of tediousness, I have given which made the Shaksperian play what it Theatres. They are at length given to the this résumé of the play, that those who have became. But, being a history, it begins with reading world, and curiosity as to their not seen it on the stage may judge of its a definition of the organism whose evolution it literary merit, 'apart from their stage success, sufficiency as the material for a tragedy. traces, and it contains at every step definitions can be satisfied. The present writer had no Confessing ignorance whether it is based on of the factors which compose this organism. opportunity, unfortunately for himself, of see- any historical occurrence or is purely fictitious

, Such being the scheme of the work, no ing “The Falcon " acted; in the case of I would venture an opinion that its inherent man could be better adapted for its execution "The Cup,” he felt, in common with most of capacities have been unduly curtailed by its than Mr. Symonds; since, while equalling the spectators, great difficulty in estimating compression into two short acts

. With all Mr. Swinburne in special erudition and in the play with eyes undazzled by Miss Ellen his wealth of imagination, the poet seems aesthetical instinct, he far surpasses the Terry's acting of the part of Camma. Mr. to have shrunk here from sketching character, author of 4 Study of Shakespeare in his Irving's Synorix was but a pale presentment and has given us action and little else. Siiscientific mode of thought. Of Mr. Symonds' in comparison with that great actor's larger natus is almost a shadow, and rather a special learning only a specialist, and one efforts ; but Miss Terry's Camma would have clownish shadow, too; Synorix, as the equal to himself, has a right to speak; and to redeemed a far feebler play. Now, however, would-be genial but unscrupulous sensualist, speak of special learning in the case of a book that her magical influence is withdrawn, and is sketched with just enough care to tantalise like this seems to me like speaking of the admiration of the brilliant setting of the play us with the desire of a fuller presentment. As chemical composition of paints and varnishes has become a memory, what shall be said of it is, we are forced to pass him, saying, as in the presence of a great picture. The study the play in se? This, at least, may be said, Mr. Browning says of the poor unknown of the many-sided civilisation of Renaissance by way of prelude, and in justice alike to corpse in the Morgue, Italy has given to Mr. Symonds, or, rather, writer and reader of this review, that it is no has developed to the utmost, an extraordinary light thing to estimate a work of the hand

"Oh! women were the prize for you!" power of showing the various constituents of that wrote In Memoriam," even in a branch and there an end.

Mr. Swinburne's coman intellectual organism, and of making us of poetic art not specially his own.

parison between Tennyson and A. de Musset follow the process by which they unite and

The drama of “The Cup” describes the never struck me as reasonable before perusing take form. The separate chapters, for in- attempt of Synoris, ex-Tetrarch of Galatia, this play; but I must own that Synoris might stance, on the Mystery, the Miracle

, the to possess himself of Camma, wife of Sinnatus have been sketched by the hand that halfMasque, can be surpassed, in this particular his successor in that office. This he endea

drew Lorenzaccio. Even Camma herself, kind of half-analytical, half-synthetical invours to accomplish by the anonymous gift though drawn with far more energy, and terest, only by the general summing up of of a cup, once consecrated to the Galatian at the beginning of act II. with masterly the nature of the romantic drama as a whole. Artemis," of whom Camma is a votary; and by skill, leaves an impression too vague for a '

heroine. a disguise and an assumed name he worms a poet, the particular bent of his own endow- himself into the companionship of Sinnatus,

It is pleasant to turn from criticism to ments—as seen, for instance, in his sonnet on and partly into the confidence of Camma, gratitude

and praise, even of one whose praise the genius of Eternal Slumber and the last upon whom he imposes by feigning a commis- is in all men's

mouths. The Poet Laureate is sympathy and an intuition for the art of the ing patriotism” and desiring the emancipation half-tropical scenery. sympathy and an intuition for the art of the sion from Rome to arrest Sinnatus for “ play- seldom happier than in describing tropical or

Has he often done Élizabethans which is as valuable to his of Galatia from her yoke. Eventually, he better than this ?— readers (to return to my old simile) as is the persuades Camma to go forth, unknown to “ Camma. O look—one grove upon the mountainsympathy and intuition of a colourist for her husband, to plead with Antonius, the Titian, or of a tint-and-light-and-shade artist Roman General, for leniency towards him.

In the sweet moon as with a lovelier snow! for Velasquez, to the fortunate persons who Antonius, so Synorix assures her, will pass

But what a blotch of blackness underneath! accompany him through a gallery. This per- at dawn before the temple of Artemis; and,

Sinnatus, you remember-yea, you must, sonal bias, when united to scientific impar- having persuaded her thus, Synoris lurks,

That there three years ago—the vast vinetiality like that displayed by Mr. Symonds, is, with a body-guard, to seize and carry her off

Ran to the summit of the tree, and dropt to my mind, one of the most valuable qualities when she appears' for her interview with

Their streamers earthward, which a breeze of in a writer of the class which, as I have said, Antonius. A lingering suspicion determines

May is next in importance, as regards the world's Camma to go armed with a dagger, and to

Took ever and anon, and opened out

The purple zone of hill and heaven ; there aesthetical enjoyment, to the class of actually bid Sinnatus follow her at a short interval. You told your love; and like the swaying creative artists. Thus, I would instance the admirable pages treacherous intent; and, as he attempts to drag Confronted with Synorix, she detects his

Yea—with our eyes—our hearts, our prophet in which Mr. Symonds analyses Marlowe's her away, Sinnatus enters and seizes him,


Let in the happy distance, and that all characters, and finds as their universal con- but is stabbed with the dagger which Synorix But cloudless heaven which we have found stituent the amour de l'impossible. To some has wrested from Camma. With his dying

together readers it may seem that a certain predilection breath he bids Camma take refuge in the

In our three married years !” (act I., sc. ii). for that same amour de l'impossible (mani- temple ; and the curtain falls upon Synorix, One hand, at least, has not lost its cunning fested especially in his finest sonnets) on the baulked of his prey, standing over the body after nearly fifty years of toil. part of Mr. Symonds himself may have made of Sinnatus. The second act shows Camma, him particularly and excessively keen to its now

priestess of Artemis, solicited
by Synorix, how strong

is the following passage (act II,

Again, though in a very different strain, existence in Marlowe. We may differ from now Tetrarch of Galatia for the second time, tó pp. 62-63), where the messenger of Synorix this personal judgment, each of us receiving, ignore the past, and wed with him honourably. brings Camma the proffered crown of Galatia

, according to his individual nature, a some- The fickle populace have again adhered to the to be worn by her as his bride, and craves what different impression from a work of art; once detested Synorix; and Camma, to the for an answer : but does not this personality of judgment surprise of all, consents to his proposal, stipulend a higher value to criticism by making us lating only that the ceremony shall imme

“ CAMMA. Tell him there is one shadow among the

shadows, feel that we are exploring an artistic region diately follow the crowning. When they

One ghost of all the ghosts—as yet so new, with the assistance, not of a system of finger- meet before the altar of Artemis, Camma calls

So strange among them, such an alien there, posts and milestones, but of a human being for the bridal

wine, and, pledging Synorix in

So much of husband in it still-that if sike ourselves—a stranger, perhaps, but, for the cup of act I., bids him pledge her in

The shout of Synorix and Camma sitting the moment, a comrade and a friend ?

Upon one throne, should reach it, it would rise return. But the wine is poisoned ; and Camma HE-HE, with that red star between the VERNON LEE. lives just long enough to see her vengeance





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