he suggests that " some day" treasures which may have been preserved by the Turks in the palaces of the Sultan, or in the mosques, ever since the taking of Constantinople may come to light again, relics of the sumptuous later days of the Greek empire. More ancient objects had to run the gauntlet of the Iconoclasts. If Charlemagne restored the ecclesiastical plate plundered by the Huns from Italian churches, there may be hope for those who would constitute themselves heirs to the "sick man." A case not unlike this occurred when the Chinese "loot" was brought to light, and relics of earlier Celestial dynasties than the present one were produced. Mr. Pollen has some acute remarks on what has been called the overlapping of the two arttraditions, the Classic and the Mediæval: and he reminds the student who is apt to accord something like universal influence to the importations of Byzantine art made by Charlemagne on the Rhine, that "It must be remembered, however, that the Roman empire was firmly planted beyond the Alps, and that Gaul produced good Roman art in the second and third centuries. Architecture, sculpture, and bronze casting were completely Roman in many parts of France." Undoubtedly this was the case. The Roman influence was paramount in the cities on the Rhone and the southern French provinces until long after the period in question. The silver masks preserved in the Louvre, rude as they are, are distinct evidences of antique Rome. Roman types of furniture obtained in England, at least, even some time after the Norman conquest, as the Bayeux As to another long-pretapestry shows. served art, we are compelled to differ from Mr. Pollen when he tells us, in p. lxi, that the art which the Britons of the great monastic establishments carried with them as the Saxons drove them back to the west coasts, and, finally, to the islands in the British seas, is proved to be Roman by "the skill subsequently attained or retained by the Irish in working bronzes of various kinds, as well as silver and gold." What remains of the arts practised in the great monasteries is distinctly Byzantine in character, and by no means to be reckoned with the relics of design such as remained in this country; the buildings, for example, which were undoubtedly Roman. It seems more probable that to Byzantine communications, which were more frequent than many antiquaries are willing to admit, it is a most important point in the history of Christianity in these countries, -must have been due a re-importation of art, not Roman in any sense. Of course, a writer of Mr. Pollen's calibre does not simply mean what he says when remarking that "it might astonish us that one art should be so far advanced (as, e. g., metallurgy, enamelling, weaving, and embroidery, now are in India and other Eastern countries), while literature and other arts, painting, sculpture, and architecture, have either disappeared or never been carried to any sort of perfection." He knows that the arts, minor or major, as the case may be, and literature have little in common. The arts, either major or minor, are distinct manifesta tions of human genius, and have nothing to do with literature. They deal with and apply ideas and principles proper to themselves, and they may flourish while literature withers. Hence it is that purely literary criticism on Art is essentially scientific, and resolves itself into that wonderful science called æsthetics, much beloved by the inartistic German mind. Its fertile parent, Lessing, was its most plausible prophet, but it fails utterly with artists, who turn from what they frequently call "critical rigmarole" with an indifference too complete to infer contempt. The reverse happens, of course, when men educated in literature affect an interest in art matters. They turn, not to the artist teacher, but to the literary amateur, who is, indeed, for them, probably the fittest interpreter, because he pursues art by scientific methods, his usual object being to use the subject as a whetstone for his own intelligence. Mr. Pollen says, that "down to the Norman invasion our own country was far behind the continental nations in the fine arts, metallurgy alone excepted." He should have excepted needlework also, as his late colleague, Dr. Rock, showed in relating how Queen Matilda "filched" from the Anglo-Saxon monks at Abingdon their richest church vestments. This is one of many proofs. By careful examination of innumerable examples, our cataloguer continues his sketch of the history of furniture to the beginning of the present century. The second chapter contains remarks on the classes of furniture employed from antiquity to the present time, chairs, tables, bedsteads, cupboards, and other articles being separately treated, each object with its allies in fashion and service. The result is most interesting, and fully worthy of the rest of this capital series of essays. The third chapter treats of mechanical processes, such as gilding, inlaying, and their allies: this section comprises a nomenclature of words in use in modern construction. There is also a collection of the names of designers of woodwork and makers of furniture, giving, each under his nationality, a brief biography and account of works produced. The compilation of this part of the volume must have cost a good deal of labour: which has been worthily applied to a useful end. "Ba The entries of the catalogue are placed in alphabetical order, beginning with rometer," and ending with "Woodwork." This arrangement is convenient enough, and it is well that it is so, for a more awkward system of numbering articles than that obtaining at South Kensington we do not imagine can exist anywhere. It is probably unavoidably bad, or South Kensington would have altered it long ago, and we should not find it used in all the Catalogues published by the Art Department. Many of the entries are accompanied by photographs. We presume that there were limits indispensable in the preparation of an illustrated catalogue, or we should have had more photographs. Little woodcuts, aptly chosen to display the distinct styles of furniture, with enlarged details here and there, would greatly add to the interest and serviceableness of such a work as this; but we suppose Mr. Pollen could not command such additions. The value of the work before us is greatly enhanced by the cataloguer's concise and lucid descriptions, and by the acumen and excellent taste which he has shown in his critical remarks on the more important articles. The latter are invaluable guides to the student who may not be familiar with the history of furniture. Notes on the manufacture of furniture in many details accompany the text. The dimensions of the respective objects are carefully given in feet and inches; and also the prices at which they were obtained. The system of numbering has one advantage, which is, in one respect, serviceable,-it shows the date of each purchase, and thus enables us to judge in a general way as to the cost, at the periods in question, of the works themselves. In ninety-nine cases out of every hundred these prices are extremely small, far less than the objects would now obtain if they were brought into the market again. The fact is, that South Kensington has created a demand for examples of ancient art-workmanship which has resulted in an enormous increase in the cost of such things, as collectors know to their sorrow. Roman Imperial Photographs; being a Selection of Forty Enlarged Photographs of Roman Coins. Arranged by J. E. Lee. (Longmans & Co.)—This is an extremely interesting publication, likely to be acceptable to antiquaries who do not possess originals of the coins, as well as to students who desire to compare the art of the periods embraced in the series, which extends from Julius to Julianus, or more than 350 years. To the student in physiognomy, the faces thus presented from unquestionable records, and on a uniform scale, may well be useful. Even to the "general reader," that person of universal tastes, if not of universal acquirements, the work will afford a rich fund of amusement and edification. It was at one time common to decorate buildings with portraits of the Twelve Caesars proper, yet here are forty within the compass of a handy volume. The changing peculiarities of the medallist's art as they occur are in a high degree noteworthy. Here is the somewhat severe and fine treatment of the lean countenance of Julius; and the execution of the coins of Augustus, Agrippa, Tiberius, Drusus, Germanicus, has similar characteristics. They are softened more than the change of sex demanded in the portrait of Agrippina; but they recur in is haggard, worn, with a large and timid-looking the intensely expressive visage of Claudius, which eye, but is mostly noticeable for its extremely small lower jaw, and the lowness of the very small ear. A change of style is obvious in the features of Nero, a thorough portrait; the face of Otho looks hardly Roman, and the bloated lineaments of Titus are vilely modelled. With Nerva there is a return to finer facial forms; but the execution is not so firm as in the earlier examples. The head of Trajan is exactly like his numerous statues; but the handling shows, with greater richness than the former examples, something of a decline in art. Of Sabina's features, as hinted by her sculptor, the same may be said: and the decadence is more portrait is barbarous in style, as are those of Septimarked in the coin of Faustina, junior. Pertinax's mius, Severus, Caracalla, and Macrinus. There is beauty of a certain kind in the art employed by Gordian III., and unusual attention seems to have been given by the artist to the treatment of the bony and fleshy parts of the face. The head of Philippus has intense character. The Carausius portrait is rude beyond measure: and this defect is still more obvious in the profile of Julian the Apostate." In these coins it appears then that the history of Art repeats itself. 66 MESSRS. DULAU & Co. send us the "première livraison" of a Bibliographie Méthodique et Raisonnée des Beaux-Arts, by M. E. Vinet, to be completed in four parts. It is likely to be a useful book, notwithstanding its patent deficiencies and inaccuracies. Having but one part before us, we are not at liberty to write decisively as to its merits, and it is the more necessary to wait for the whole of the publication as the materials are not disposed in alpha betical order of the authors' names, but classified according to the subjects treated. This division, although an extremely useful one, is arbitrary, and, to say the least of it, confusing to all but those to whom long familiarity has made clear the principles which guided M. Vinet in assorting his subjects. We are bound to add that it will not be for lack of depreciative comments on the labours of others in bibliography of the arts, that M. Vinet's book may fail; it is not imperfect in that respect. The English 'Universal Catalogue of Books on Art' was too ambitious and unreasonably comprehensive. It may be said of it, as M. Vinet says, "Il faut bien l'expliquer ainsi, et mettre sur le compte d'un excès de politesse l'insertion du Nobiliaire des Pays-Bas, des Euvres complètes de Chateaubriand," to say nothing about a certain 'Icones Plantarum Incognitarum,'-and -this fact is certainly more than M. Vinet could be expected to overlook-it records the existence from Alsace and Lorraine, held in the Palais Bour- M. LE COMTE DE CARDAILLAC has been elected A CORRESPONDENT, who, it is evident, sits at Venus," so eloquently referred to in a "leader" of wrote extensively in French reviews on Art and History. On these subjects he was, particularly in Italy, Germany, and England, considered a high authority, especially as regards the ideal, or, more strictly to speak, the fanciful side of the matters in view. His Léonard de Vinci,' &c., has been twice translated into Italian. In 1867 appeared his 'Michel Ange et Raphaël,' &c. MUSIC Masses in Vocal Score. By Franz Schubert. The of "Hugues, Storia Naturale delle Scimie e delle writers stoop to artistic matters; but it is, in this Songs by Mendelssohn. Edited by Natalia Mac Maki." And undoubtedly it ought not to have done anything of the kind. That is, if we look at the subject from M. Vinet's point of view, which is so purely literary that in adopting it he shows that he is imperfectly acquainted with the nature and requirements of his subject. The compilers of the South Kensington Catalogue understood their business better than M. Vinet does. 'A Universal Catalogue' contains a vast deal more than we have yet found in M. Vinet's sections on subjects which are strictly artistic, eg., the class "Dictionnaires et Encyclopédies" is very incomplete, while that entitled "Ecrits Périodiques Généraux sur les Beaux-Arts," although tolerably complete in regard to French publications, is most imperfect as regards those of England, Belgium, Holland, and, though not so much so, Germany; e.g., the only English current example is "The Art-Union," which is described ce curieux journal." "Le Beffroi" does not appear at all, nor do we find the section on "Symboles, Iconologie," in which we expected to find "iconographies," complete. As it is, this book, which with all its shortcomings is a valuable as one, will be next to useless, unless followed by a complete key-table to the system of classification and a perfect index to the authors' names. WE have received from Messrs. Low & Co. Parts I. and II. of The Gospel according to St. Matthew, forty-one etchings on steel by the best French engravers, which are after the original designs by M. Bida, and belong to a series including the four Gospels. When the work is completed, we may have an opportunity of discussing its merits at length. At present it will suffice if we say that the former part comprises the text, in large, handsome, and clear type, rubricated, and two plates, one of which is better than its companion, the latter being a rather weak and sentimental whole-length of Jesus Christ. The better design shows St. Matthew writing in the presence of a shadowy angel. M. RAJON has nearly completed his etching from Mr. Watts's portrait of Mr. Mill: it promises to be a perfect success. THE Baron Anselm de Rothschild, well known for his fine taste and large collections of works of art, died on the 27th ultimo. M. H. BOULENGER, an eminent Belgian landscape painter, has died at Brussels. THE exhibition, in the École des Beaux-Arts, of the paintings by M. Baudry, intended for the decoration of the new Opera-house, Paris, which exhibition was announced to be open on the 1st instant, will only be opened to the public to-day (Saturday). The collection comprises thirty-three canvases of large sizes. THE exhibition for the benefit of emigrants case, disheartening to be compelled to confess We are sorry to observe that, small as is the farren. (Novello, Ewer & Co.) FRANCIS SCHUBERT was both thinker and artist in music; and in the song, in which he has had no superior, he held the power of translating human nature and its manifold phases into music. But in his "thanksgiving," otherwise "mass" music, he Royal boy" and pupil of Salieri, the Italian comnever moved much out of the track of the "Chapel poser, whose only opera known here is 'Tarare,' an English version of which was produced in the old Lyceum by the late Mr. Arnold and Mr. Hawes, and who composed a Requiem specially for his own funeral, which seems to have been interred with him. He was long Master of the Imperial Chapel in Vienna. It has been the fashion to decry Salieri, owing to his feud with Mozart; but the Kapellmeister formed apt and ripe scholars, amongst whom was Schubert. In the revival of the sacred and secular works by the latter, his five Masses could not be overlooked. It seems, however, as if the words of the most ancient office of the Roman Catholic Church were more in his head than in his heart; his education being in complete, even had the text been really in his heart, he would still have failed to reanimate the Mass as he did the Lied. The inequality in the five Masses is most remarkable; but all agree in showing he had as much to learn in high-art composition as he had to unlearn in orchestral writing. In his canons and slow movements there is much delicacy and sustained feeling, and there are signs of advance in the THE Members of the Institute of France, section instrumentation. Here his Viennese life and of Fine Arts, have decided to award the prizes, in experience were of advantage, and the military the competition for the Grand Prix de Rome, bands in the church put him up to transplanting sculpture, as follows: the first prize to M. Injal- some of their winning "effects" into his own bert, born at Béziers, pupil of M. Dumont, and church orchestra. A loose and indistinct theology who obtained the second prize in 1873. The led him to make sad havoc of the canon of the "Premier Second Prix" has been given to M. Mass, here and there omitting clauses, which he E. C. D. Guilbert, pupil of M. Dumont. A either disliked or disbelieved. The chief portions second second (un deuxième second) prize has been awarded to M. E. O. A. B. Marie, pupil of M. Jouffroy. The prizes for architecture were given thus: the Grand Prix to M. B. E. Loviot; a second prize, first grade, to M. G. E. Pamart; a third prize, second grade, to M. Paulin. The four sections of the Institute united to adjudicate the Grand Prix in painting, and awarded it to M. Albert Besnard, pupil of M. Cabanel. The first second Grand Prix was given to M. L. F. Cornerre, pupil of MM. Cabanel and Colas. M. E. Dantan has obtained a mention. In engraving, the prizes were as follows: a first Grand Prix to M. Boisson, a second first prize to M. Deblois. ON the 16th of July the well-known writer on art, M. Auguste Alexis Rio, who was born May 20, 1797, at Vannes, Morbihan, died in Paris. His latest publication, styled 'Epilogue à l'Art Chrétien,' appeared in 1870, and contained what may be called an autobiography, and a valediction from one who had been long before the world. He published 'Essai sur l'Histoire de l'Esprit Humain dans l'Antiquité' in 1828-30, ' De la Poésie Chrétienne,' &c., in 1836; (an English translation of the latter appeared in 1854); 'Léonard de Vinci et son Ecole,' in 1855. In 1842, 'La Petite Chouannerie,' &c. 'Les Quatre Martyrs,' in 1856. He of these "communion" celebrations reiterate the recognized professional way of expressing the words with a tolerable share of light and feeling occasionally striking and personal; they are the result of the Imperial Chapel training in Vienna, the choir boy and the ripieno violinist schooled in a perfunctory method. These Masses, which it would be a useless task to analyze separately, may be made useful for choral societies and for training Sunday orchestras. They have been carefully edited by Mr. Berthold Tours, and are well worth the small charge at which they can be bought. They leave Schubert's musical fame just where it has been hitherto, predominant in his inimitable songs,-his Masses are no more a revelation than his symphonies. There can be no question as to the increased interest which is being taken in this country in the works of Schumann; and the Bonn Festival last year in his honour has induced publishers to supply many of his productions hitherto unknown here, except to a few of his ardent admirers. Schumann, like Berlioz and Wagner, rushed into print at an early period of his career, but controversy is never, in the long run, advantageous for a composer. His impartiality and independence are questioned, and his own works are subjected to a severer test, owing to invidious attacks on the productions of his contemporaries. If Schubert's fame rests mainly on his ballads, that of Schumann will be equally based on his pianoforte pieces and his cantatas. It is true that of the last-mentioned category, 'Paradise and the Peri' has never gained popularity here: if an execution of the work could be secured equal to that in Bonn last year, when it was conducted by Herr Joachim, converts would be made. But the 'Scenen aus Faust,' a dramatic cantata, has yet to be heard here, as also 'Manfred' in its entirety. Besides these two compositions, settings of Goethe and Byron, there is the fanciful fairy tale of Der Rose Pilgerfahrt,' founded on a poem by Moritz Horn, the only performance of which in London was at a Matinée given by Madame Sainton, in which her pupil, Miss Wigan, sang the soprano part. The impression made by the work, although it was only executed with pianoforte accompaniment, was very favourable, in a drawing-room it would be sure to tell. The words are a pretty conceit. The Rose is envious of mortal love, and, despite the warning of the Queen of the Fairies, asks to be transferred from the garden to the world. The Fairy Queen complies with the prayer by making the Rose a living maiden, with the thorns, however, of human life: it is a Pygmalion transformation; but the Rosebud soon meets with worldly sorrow. From a gravedigger (Todtengräber) she learns the griefs of faithful love, and in her sleep is reminded by a chorus of Elves that earthly joys are vain. The Rosebud is adopted by a Miller and his wife; she comes in contact with a forest-keeper's son, and for them the church-bells soon ring; but the angels soon take the mortal Rose, her pilgrimage on earth being brief. There is less obscurity in the fairy tale of Schumann, more melodious inspiration, more combinations of charm than will be found in his large orchestral writings. Miss Constance Bache, a sister of Mr. Walter Bache, the pianist, has nicely translated the words. There are twenty-four numbers in the score, the choral portions of which are perhaps the most captivating; it is voiced for soprano, alto, tenor, and bass for the soloists, the tenor and soprano being prominent. Whatever may be the effect produced by this cantata, with full band and chorus, the poem and the music are so sympathetic and expressive that the vocal score will be attractive for private circles. In a convenient form and handsome volume the songs of Mendelssohn have been edited and, in greater part, translated by Mrs. N. Macfarren, who has performed her task carefully and conscientiously, and she has done quite right in attaching the name of Mendelssohn's sister to the early songs published in his name, acting on the authority of Herr Julius Rietz. It is also instructive and interesting to find dates appended to those airs, the period of the composition of which has been ascertained. This edition, indeed, is now the only complete issue of the Mendelssohn melodist. German and English words are printed in clear legible type, both being in the Roman characters. There are no less than seventy-nine songs in this welcome volume, many of which have been made attractive at the Monday Popular Concerts, where indeed numerous airs by Schubert, Schumann, Mendelssohn, and Beethoven have been heard for the first time in England. ELEMENTARY WORKS. Treatise on Counterpoint. By Ernst Friedrich A School for the Harmonium. By King Hall. MR. FRANKLIN TAYLOR, the pianist, has followed up the "Treatise on Harmony' by a translation and also an adaptation of the 'Lehrbuch des Contrapunkts,' by Herr Ernst Friedrich Richter, Professor at the Leipzig Conservatorium. The editor of the German work has combined authorship with the reduction to reasonable length of Prof. Richter's learned contributions. Moreover, in addition to the chapters on counterpoint in its varied phases, with the necessary examples thereof, two instructive appendices have been added, the first, as to the best order and arrangement of Herr Richter's teaching, for the purposes of practical instruction; the second, as to the history and uses of the Gregorian modes, which, if not absolutely required at the present period as a separate study, supply sufficient characteristics to interest musicians who aim at the acquisition of the modus operandi of the ancients, although for practical purposes the twelve modes employed by the Greeks have been superseded by the employment of the two modes or scales. Mr. Franklin Taylor is lucid and clear in his explanations, but the day will yet come when students can be supplied with simpler treatises than the verbose and too often obscure works of the German professors. Mr. Franklin Taylor's book has been adopted by the Board of Professors of the National College of Music. The harmonium is now so much in use as a substitute for the organ in households, in schools, and in chapels, that the book of instruction by Mr. King Hall will be very acceptable. He naturally considers that the harmonium ought not to be decried, and that it is of more value than to be simply regarded as a substitute for the emperor of instruments. Inasmuch as there are special features attached to the harmonium, special studies are required for its effective employment. Mr. King Hall judiciously advises those amateurs who wish to be experienced performers to practise well the pianoforte; the harmonium, like the Sol-Fa system, cannot run alone, for the study of the latter without the knowledge of the Guido notation would be utterly useless for professional purposes. Mr. King Hall's book has a series of progressive studies, and is complemented with arrangements for the harmonium-player of pieces by Mendelssohn, Molique, M. Gounod, M. Stephen Heller, Sir G. Elvey, Sir J. Goss, Dr. Gauntlett, Dr. Gar rett, Messrs. G. A. Macfarren, A. Sullivan, C. E. Horsley, H. Smart, B. Tours, J. L. Hatton, W. Coenen, J. Barnby, &c. Mr. Pearson, assuming that the Committee of Council on Education will not be satisfied with mere ear-singing, has published his volume with a direct declaration of opposition to all inventions of new notations and to the several systems which have seen the light of late years of acquiring the art of singing at sight. He is no admirer of the "Movable Do System," "wherein, after the pupils have learnt the names of the notes in the scales, they are immediately set to an exercise in which these names are all changed !-a proceeding which results in hopeless confusion in the youthful mind." Mr. Pearson is of opinion that, without departing from the established notation, "the beauty, perfection, and simplicity of which, forming as it does a very picture of the sound it represents, has always been acknowledged by musicians, he has supplied an easy system of teaching sight-singing." Mr. Pearson has the advantage of clearness in his novel mode of conveying instruction which will be useful in the schools receiving Government aid. Lady Baker's collection of two-part songs for little singers is avowedly based on the Kindergarten School system. There are seventeen numbers, edited by Mr. G. A. Macfarren. It is a good notion to introduce the musical element in these games, which are described and set in the German book by Herr Froebel; but the English musical version is better adapted for the children actors. As part-singing is now added to the tuition in Infant and National Schools, The Mother's Book' will be found a pleasant method of interesting the juveniles in musical sounds, by combining them in their nursery or school recreations. We hope the professional dignity of Master Charlton Templeman Speer will not be hurt by including his twenty short pieces in various keys for the pianoforte under the heading of "Elementary Works"; but it is better for a thirteen-yearold composer if his little 'Childish Fancies' be accepted as studies for the student about his own age. Master Speer is one of the most promising pupils of the Royal Academy of Music, under the brothers Messrs. G. and W. Macfarren and Dr. Steggall; but it is distinctly disclaimed that these Professors have had any hand in the concoction of these "Childish Fancies," each of which has a distinctive title. PROMENADE CONCERTS. It would be gratifying to concur with some of our contemporaries in their notions that Promenade Concerts have tended to Art-advancement in this country; but this class of entertainment was the precursor of the Music Halls, which have been one of the causes to prevent the permanent success of any attempt at National Opera. Musard, in Paris, is responsible for the starting of Promenade music,-he was followed by Valentino and other imitators. One of the earliest speculators here was Herr Eliason, the violinist, who aimed at highclass compositions at Drury Lane Theatre. The late Jullien followed in the wake of the German musician. The Frenchman was a great charlatan, but he contrived, for some years, to attract large audiences by his military pieces, which were called "Quadrilles." One of the most conscientious directors and conductors was Alfred Mellon, who had a real feeling for good music. M. Rivière, of the Alhambra, now engaged at the Islington Philharmonic Opera-house, departed little from the beaten track, except to make oratorio part and parcel of his mixed programmes, wherein dance music predominated. music predominated. We do not believe that these miscellaneous schemes have really created a music-patronizing public of the shilling class. The visitors who are really fond of "classical composition" are not promenaders,-they sit in the stalls, boxes, &c., but the higher-priced places are precisely those which are the least frequented. The Promenade Shilling is synonymous with the "Almighty Dollar." It is true the rowdyism of the pedestrian musical amateur has been checked, in some degree, by the pit stalls. When, however, the refreshment bars are entirely removed from behind the orchestra, there will be hope of musical regeneration. No more convincing proof of what constitutes the main attraction can be furnished than the fact that a firm of confectioners and of restaurant proprietors are the speculators at Covent Garden Theatre this year; the increase of the counters is evidence how far the taste of the public is consulted. Even in the decorations of the theatre may be recognized the ruling passion of ice purveyors. We dare not venture on a description of the space allotted to the Promenade, the coolest and finest in Europe, according to the Prospectus of Messrs. A. & S. Gatti, which pronunciamiento adds: "In this part of the theatre will be found also cool nooks and recesses with ferneries, the rippling of waters, ice, the glow of many-coloured lamps, &c., which, with the brilliant illuminations, foliage, paintings, &c., combined, will be found one vast Fairy Boudoir, from which will emanate sweet sounds and dulcet strains." It is quite true huge blocks of ice abound, and the ice purveyors have not miscalculated the effect of their element, perhaps remembering the anecdote of the famed pastrycook, out hunting, and who having complained to a sporting wag that his horse was "baked," was met with the rejoinder, "Why don't you ice him?" There is a good array of vocal and instrumental talent engaged for the present series of concerts, sufficient, indeed, to insure the attendance of appreciative audiences, without any inflated announcements of the old Vauxhall style. The solo displays of such able artists as M. Wieniawski, violin, Mr. J. Levy, cornet-à-pistons, Mr. Hughes, ophicleide, are well known; but there was a new-comer on the trombone, Mr. J. Harvey, whose execution is marvellous, accompanied also His with a good tone. The singing of the light soprano, Mdlle. Bianchi, was also acceptable; the tenor, Mr. Pearson, the baritone, Mr. Carleton, and the bass, Mr. Lewis Thomas, did good service. The orchestra contains some first-class players, who will be better in harness after practice together for a few nights. We are not quite sure that M. Hervé can conduct an instrumental team-they do not keep together as yet. Heroic Symphony, 'The Ashantee War,' is a failure-a very pale reflex indeed of the Jullien warlike works. The libretto was written in French it is sheer nonsense; and the adapter, Mr. Alfred Thompson, has succeeded in making it still more trashy in the translation. The words are printed side by side in French and English. We will refer to the original version, Les Préliminaires,' which opens with a recitative of "Le Gouverneur de Cape Coast" appealing to "Les Fantis." The former asks, "Eh! quoi, les Achantis sont donc toujours parjures?" "C'est certain," answers the chorus. "Rassurez-vous," rejoins the Governor ; au Palaver je les invite." Le Palaver" is in the second part. There is a "Chant des Bardes, une naïve et touchante harmonie":Sur les bords du Prah Vivre heureux et tranquille, Du Fanti si docile, Le doux rêve le voilà, The speech of Sir G. Wolseley, "Salut, Rois alliés ! Qu'il est doux de vous voir," amongst other things, states, "J'entends porter un coup terrible aux Achantis," by a war of destruction, with "deux mots" for the "but de notre ambitionLes mots: Humanité, Civilisation!" After the "Serment des Rois," is the "March to the Capital." The third part is opened with the "Choeur des Courtisans du Roi Koffi-Calcalli, qui répands la terreur." The "Discours de Koffi-Calcalli" declares that "l'Anglais sentimental défend qu'on vende l'homme ainsi qu'un animal"; but, adds the Ashantee monarch, "Nous nous vengerons de ce grand préjugé." To effect this, he suggests the sacrifice of the captives. He next calls upon "la Princesse Sappon, la Reine favorite," for a song. The lady complies, and says she requires no lyre, que ma voix soit vibrante, comme un tambour de fer." She adds, "J'ordonne à ses épouses,Qu'il sort Démon ou Dieu Le bonheur est insigne De voir ma lèvre digne De son baiser de feu." "Les Calcalli calls this fiery air divine, and to reward Sap- Gloire au Commandant suprême ! Gloire à la Reine elle-même, The work is dedicated to Sir Garnet Wolseley and the officers who served in the campaign, who, if they hear it, will prefer the composer's Chilpéric' and 'Petit Faust.' Musical Gossip. Ir has been erroneously announced by some journals that Sir Michael Costa has gone to recruit his health at the baths of Ischia (Gulf of Naples), whereas the composer, who is quite well, is paying a round of visits in England, which he will not leave until after the Leeds Musical Festival, when he will go to Berlin. Sir Julius Benedict has gone to Stuttgart, but will return to conduct the Liverpool Musical Festival, the last week in September. Madame Adelina Patti is at Dieppe, and Madame Nilsson at Coburg, on a visit to the Duke and Duchess, as also Mr. Sullivan. Mdlle. Tietjens is at Aix. Next month the migration of the leading prime donne will commence for the various localities where their talents are in request. Mdlle. Albani, it is stated, will sing in Italian operas in America, prior to her return here for the season in 1875. INSTEAD of the sermon being preached on the opening day of the Festival, as was the custom for a century and a half at the Meetings of the Three Choirs, it will be delivered this year by the Rev. Canon Barry, D.D., the Principal of King's College, at the Gloucester gathering, on the final evening, namely Friday, the 11th of September, after a full service in the nave, in which, besides the morning performances of oratorio on the 8th, 9th, 10th, and 11th of September, there will be an evening one on the Tuesday evening (the 8th). This innovation has caused the abolition of the ball in the Shire Hall, which at former Festivals invariably ended the week's celebration. The diocesan clerical charities will benefit by this novel arrangement, as the collections at the cathedral are handed over, without deduction of any kind, to the fund for the widows and orphans of the poor clergy, the expenses of the sacred and secular concerts being liquidated out of the proceeds from the sale of tickets, and if there be any deficit it is made up by the stewards. As 114 noblemen and gentlemen have consented to act in this capacity, the liability will be almost nominal. The successor to the late Mr. Brown, for so many years the respected Secretary to the Stewards, is Mr. F. W. Waller. It will be the 151st meeting this year. To enliven the dull season, Dr. Croft produced, under the title of Zitella,' a musical extravaganza at the Royal Polytechnic last Monday night. The piece has no reference to the popular Brigand,' by Mr. Planché, brought out at Drury Lane in November, 1829, in which the famed actor, the late James Wallack, played so finely, and sang the air, "Gentle Zitella," so charmingly; but it is simply 'Cinderella' redivivus, with some smart references to the topics of the period. The music has been selected principally from the operas of Mozart, Rossini, Lecocq, &c.; and if the singing had been solely confined to that by Mr. Seymour Smith, who recited the libretto whilst the actors indulged in pantomimic action on the stage, the entertainment, with the comic dissolving views, would have been almost unexceptionable; but the vocalization of the ladies who were the three sisters was an infliction hard to bear. SIGNOR VERDI'S irrepressible 'Trovatore' was the opera, in English, at the Crystal Palace last Tuesday, the Leonora being Madame Florence Lancia, who will terminate her professional career in public at the end of this year. The other parts were sustained by Mesdames Franklein and Thirlwall, Messrs. Nordblom, Tempest, and A. Cooke, with Mr. Manns as conductor. On Thursday Sir Julius Benedict's 'Lily of Killarney' was performed. MR. BRINLEY RICHARDS last week gave a lecture on Welsh and other Ancient National Music, and two concerts, at Aberyswyth, in aid of the funds of the University College of Wales, his object being also to raise a fund to endow a Chair of Music. Mr. Richards had the co-operation of the Cardigan United Choir, Miss M. Davies, Miss L. Evans, Miss M. Williams, Mr. Ap Herbert, Caradog (violinist), and Mr. F. Chester (harp). The local authorities took an active part in the proceedings, and the subscriptions to secure a high-class education for the Principality were liberal. THE new opera by M. Offenbach, referred to in last week's Athenæum, rumour states, is destined for the winter novelty at the Alhambra Theatre. The libretto will be written by Mr. H. B. Farnie, and Messrs. Cramer, Wood & Co. are to be the music publishers, who join in the speculation. But, assuming that this combination really exists, we cannot credit the statements of the Paris journals, that such a sum as 3,000l. will be the honorarium of the composer, for opéra-bouffe has certainly not met with such success in this country as to justify such a price for a burlesque. THE address of M. Arthur de Cumont, at the distribution of the prizes for Music and Declamation at the Conservatoire National, differed little from the ordinary tone of such discourses, in giving sound advice to the students to be patient and persevering in their studies; but when he stated that at the expiration of their studies there were four lyric theatres open to them in Paris besides the provincial ones, we cannot help pointing out that in London there is not one national operahouse for our native composers. The Grand Opéra, the Opéra Comique, the Théâtre Lyrique, and the Châtelet, will all be open in a few months for French musicians to have their chances of acquiring fame. Well might the Minister exclaim that such a wide field for the development of talent ought to sustain the energy and raise the courage of the Conservatoire pupils. In his peroration, M. Cumont paid a high compliment to M. Deldevez as successor to M. Habeneck in conducting the Conservatoire orchestra, nominating him at the same time Chevalier de la Légion d'Honneur. The ceremonial was completed with the customary concert, in the programme of which the "Lauréats" had the principal parts. Mdlle. Duvivier, a pupil of Madame Pauline Viardot, and M. Vergnet, a tenor, were the chief solo singers. THE Composer of the dramatic oratorio, 'MarieMagdeleine, has completed a three-act opera, 'Le Roi de Lahore,' the libretto by M. Louis Gallet. The same musician, M. J. Massenet, has also in hand a mystère, in two parts, called 'Eve.' A ONE-ACT opera, 'Beppo,' on Byron's poem, the music by M. J. Conte, Prix de Rome, is to be produced at the Salle Favart. WHO invented the crescendo? The effect has But been generally ascribed to Rossini, but there are other claimants whose pretensions have been put forward in the Italian journals, namely, Mosca, Delusi,' besides Generali and Manfroce. who introduced it in his opera 'I Pretendenti precedence is now assigned to Simon Mayr, who, 1796, made remarkable use of the crescendo, which in his opera 'Lodoiska,' brought out in Venice in created such a sensation that the audience rose to less turned it to the best account. cheer the composer vociferously. Rossini not the THE Musical Festival at Munich this week has a chorus of more than 5,000 voices. AT the Zurich Musical Festival the works which met with the greatest success were Handel's oratorio, Joshua, performed twice in one day; Beethoven's Choral Symphony, No. 9; the 'Faust' of Schumann; and the Triumphlied' of Herr Brahms. At the THE Italian version of M. Lecocq's 'Fille de Madame Angot,' produced at the Teatro dal Verme, in Milan, has been a great success. The principal singers were Mesdames Frigerio and Geminiani, Signor Cesari and Signor Bergonzoni. autumn season of the Scala, Glinka's 'Vita per lo Czar' will be revived, which is a proof of its success. Signor Canepa will produce a new opera, 'I Pezzenti,' and it is possible that Signor Marchetti, the composer of Ruy Blas,' will bring out his new opera, Gustavo Wasa.' DRAMA Bramatic Gossip. MISS ADA CAVENDISH having fulfilled her engagement, has withdrawn from the Olympic Theatre. Her part in Clancarty' is now played by Miss Carlotta Addison. Miss Marion Terry succeeds Miss Fowler as Lady Betty Noel, in the same piece, and Mr. Harcourt takes the place of Mr. Anson, as "Scum " Goodman, VOLTAIRE'S 'Zaïre,' an imitation of Shakspeare's Othello,' is the latest revival at the Comédie Française. It was last performed in 1856, for the debut of Mdlle. Stella Colas. Mdlle. Sarah Bernhardt is now the heroine. M. Maubant is Lusignan; M. Mounet-Sully, Orosmane; and M. Pierre Berton, Nerestan. Gageure Imprévue,' by Sedaine, an author now seldom heard of, has also been revived. THE Variétés has re-opened its doors with 'La Vie Parisienne,' supported by Mdlle. Julia Georges, who made her début as Métella, Mdlle. Vanghell, MM. Grenier, Dupuis, Léonce, and Berthelier. M. Grange bas read at this theatre a comedy, entitled 'Le Théâtre Moral,' which is intended to serve for the début of M. Schey, so long one of the supports of the French company in London. 'UN LIT POUR TROIS' is the title of a dramatic trifle, by M. Jules Renard, with music by M. Barillet, which has been produced at the Palais Royal. 'Mimi Bamboche,' by MM. Grange and Thiboust, and 'La Sensitive,' by MM. Labiche and Delacour, have also been given. MM. DENNERY AND JULES VERNE have read, at the Porte-Saint-Martin, a play founded on a wellknown work of the latter writer, and named 'Le Tour du Monde.' It will follow 'Jean la Poste,' and will be presented by MM. Dumaine, Lacressonnière, and Taillade. A DRAMA, in four acts, and in verse, by M. Henri Bordier, entitled 'Le Comte Amaury,' has been read before the Comédie Française. M. Maubant will play Charlemagne, and M. DupontVernon, Amaury. Other principal parts are assigned to MM. Mounet-Sully and Laroche, and Mdlle. Bernhardt. THE amounts voted this year as subventions to the Parisian theatres are the same as previously, viz., Opéra, 800,000 francs, with a further sum of 30,000 francs to the Pension Fund; Français, 240,000 francs; Lyrique, 100,000 francs; and Odéon, 60,000 francs. THE Théâtre des Menus-Plaisirs, long closed, is at length to be re-opened under the management of M. Wenschenck, formerly Director of the Théâtre de Cluny. 'Les Sceptiques,' of M. Félicien Mallefille, will form the pièce de résistance. It will be accompanied by a new comedietta by M. de Launay, entitled 'Reliques d'Amour,' and a “Prologue.” 'MARTIN ET BAMBOCHE; OU, LES MYSTÈRES DES ENFANTS TROUVÉS' is the title of a drama, drawn from a novel of Eugène Sue, which is about to be given at the Théâtre de Cluny. Since 1847 this piece has been under interdict. 'HELOISE PARANQUET,' by M. Durantin, has been revived at the Gymnase. 'LES GRANDES DEMOISELLES,' recently performed at the Princess's, has been revived at the Gymnase-Dramatique. 'LES FEMMES DE PAUL DE KOCK' is the suggestive title of a pièce fantastique, by MM. Léon and Frantz Beauvallet, produced at the Théâtre Déjazet. Her FALL of KHIVA. By J. A. MAC GAHAN. With Map and numerous Illustrations. Demy 8vo. cloth extra, 188. "A book more freshly written, and with more interesting matter, both general and personal, is seldom to be found."-Athenæum. "The personal adventures which he had are exceedingly entertaining. ....We recommend most cordially Mr. Mac Gahan's book." Daily Telegraph. "Reads like some lost chapters of the 'Thousand and One Nights."" Standard. "This book is the best and most readable account yet given of the distant lands and interesting events of which it treats."-Daily News. ADVENTURES in MOROCCO, and JOUR NEYS THROUGH the OASES of DRAA and TAFILET. By Dr. GERHARD ROHLFS, Gold Medallist of the Royal Geographical Society Translated from the German. With an Introduction by WINWOOD READE. Demy 8vo. Map, and Portrait of the Author, cloth extra, 128. "Abounds with valuable information and lively incidents." Academy. "The best summary of information about a country very little known."-Saturday Review. "He throws, indeed, quite a flood of light on the religious, political, and social life of the Moors."-Graphic. Will have great and permanent value as a repository of facts." Scotsman. "As an explorer of the interior of the vast African continent, Gerhard Rohlfs stands next to Barth and Livingstone."-Athenæum. Dr. Rohlfs has a simple and pleasant manner of writing....and his book possesses all the pleasantness of novelty, combined with obvious good faith and a scrupulous desire to represent facts as they are.' ."-Standard. Dr. Rohlfs is a traveller and explorer whose adventures remind us of Barth and Bruce."-Hour. "We thank him for his most interesting and useful work." Pictorial World. "We have not read a book with so much pleasure for some time." Literary World. "We recommend his volume to all lovers of adventurous travel." Examiner. FOUR NEW NOVELS, At all Libraries in Town and Country. 3 vols, crown 8vo. cloth extra, 318. 6d. VICTOR HUGO'S New Novel, 'NINETYTHREE. Translated by FRANK LEE BENEDICT and J. HAIN FRISWELL. "The wonderful and tempestuous genius of M. Victor Hugo has again found scope in a theme perhaps more suited to it than any on which it has been exercised since the masterpiece of Les Misérables."" Saturday Review. "Very few men now living have the power of writing as M. Hugo writes; still fewer of dashing upon so splendid a canvas a picture so varied, so crowded, so full of original power. No finer impersonation than that of Lantenac has ever come from his pen; and we might search deep and far, both in his own works and those of his earliest contemporaries, before we could find anything worthy to be placed by the side of Georgette. In this little figure the poet has achieved one of his greatest triumphs."-Blackwood's Magazine. "Victor Hugo does not stand in need of pleading on his behalf. He has obtained the widest popularity in Europe..... His poetic sense of tenderness, beauty, strangeness, and sublimity is supreme, and in expression he is at the present day unrivalled.... To conclude, 'NinetyThree' is a representation of the civil war in La Vendée, performed by a company of types that are superbly inflated by the breath of an eminent and humane poet, whose prose has the quality of song. Pall Mall Gazette. UNDER SEAL MDLLE. RICQUIER, a young actress, whose recent performances at the Théâtre de Cluny have attracted much attention, has died suddenly. début in an important role at the Vaudeville was fixed for the commencement of the approaching readers." Graphic. season. of CONFESSION. " By AVERIL BEAUMONT, Author of 'Thornicroft's Model.' 3 vols. crown 8vo. cloth, 318. 6d. "But we are not going to describe the plot fully, because everybody who read novels regularly (and not such persons only) should read Under Seal of Confession.' It is a very good book indeed."-Academy. "The character of Stella Vane, the heroine, constitutes the chief charm of the story..... It is unnecessary to enumerate the instances in which the author displays an insight into character, and the touches which indicate observation of life; they are numerous, and are enhanced by the picturesque setting in which we find them."-Athenæum. "We heartily commend Under Seal of Confession' to all novel "It is seldom, in these days of book-making, that we meet with so well-told, vigorous, and original a romance as Under Seal of Confession.'"- Evening Standard. ONLY. 2 vols. crown 8vo. cloth A NEW play, by Paul Lindau, entitled, ‘Ein Erfolg,' represents, in four acts, the troubles and ONE pleasures of a dramatic author. It has already been accepted by the principal theatres of Berlin, Vienna, and Dresden. ON the re-opening of the Berlin Hoftheater on the 10th of August, the ballet 'Flick und Flock' was brought out. SIGNOR COSSA's popular five-act drama, 'Nerone,' has been adapted from the Italian to the German stage by Count Franz Pocci, and will shortly be brought out in Munich. HERR KARL REINECKE'S 'Abenteuer Handel's' ('An Adventure of Handel'), is going the round of the German theatres. The Illustrirte Zeitung says that it was brought out at Schwerin and afterwards at Wiesbaden. Dresden and New York are amongst the next places. TO CORRESPONDENTS.-G. P.-E. M.-J. D.-received. extra, 218. "Who loved one only and who clave to her." "This is a story such as we do not often meet with, full of true power and charm.... The story is marked throughout by a thoroughly artistic finish and completeness, every character in it of the least inportance standing out sharply defined and alive. And some of E. C. P.'s descriptive touches are perfect.... We have read One Only' with deep and genuine interest and pleasure, and congratulate the author on a work which rises far above the ordinary level of even good novels." Graphic. "Chained and charmed us so that we read both volumes at a sitting." Sun. NEW VOLUME BY THE GREAT GERMAN AUTHOR, BERTHOLD AUERBACH. WALDFRIED. Translated from the German. 3 vols, crown 8vo. 31s. 6d. "Of all Auerbach's works this is the purest, freshest, and healthiest, and the one in which one sees clearest the soul of the poet." Extract from a Review in the Augsburg Allgemeine Zeitung. "Charming glimpses of German domestic life, episodes of love, joy, and sorrow, and quite an army of dramatis persona, all drawn with the same quiet and scrupulous care and finish, and the same gentle humour which characterize all Herr Auerbach's other novels...... Waldfried' is a book which should have as great an attraction for English as for German readers. It has been well translated." Scotsman. London: SAMPSON LOW, MARSTON, LOW & SEARLE, Crown Buildings, 188, Fleet-street, E.C. Just published, fcap. 8vo. price 3s. 6d. cloth, THE HEART'S GREAT RULERS. By NICHOLAS MICHELL, Author of 'Ruins of Many Lands,' 'Famous Women and Heroes,' &c. The varicus Passions are illustrated in this New Work by the following Sketches and Tales :— PLEASURE'S DEVOTEE. THE SISTER OF MERCY. THE MISER OF BETHNAL GREEN. THE DYING PAINTER. THE STUDENT OF HEIDELBERG. LOVE UNTO DEATH. The "The poet has unquestionably a considerable insight into human passions and motives. Not only does he give us glimpses of high life, but he has much knowledge of the lower classes. A healthy tone pervades everything he writes..... The Heart's Great Rulers' is divided into eight parts, each serving admirably to illustrate some phase of life. Dying Painter' and 'The Sister of Mercy' are two of the most pathetic of the tales. The Last Days and Funeral of Livingstone' is especially touching. Altogether, we take leave of Mr. Michell's volume with considerable regret. It is seldom we find so much grace and refinement in modern poetry." Civil Service Gazette, July 4. "In the portraiture of the ever-changing motives of action in the heart of man, Mr. Michell has exhibited powers of no common order. In the 'Address to the Spirit of Love' this fine invocation is given..... Verse which, like well-polished diamonds, reflects with great beauty the inner soul of the poet."-North British Advertiser (Edinburgh), June 27. "The Sister of Mercy,' 'The Miser,' and 'The Dying Painter' contain beautiful thoughts. Much will stir the reader, and cause him to forget himself in the interest with which he follows the narrative.....The volume will satisfy a very wide circle of readers."-Derby Mercury, June 24. London: SAMPSON LOW, MARSTON, LOW & SEARLE, Crown Buildings, 188, Fleet-street. DR. BUSHNELL'S NEW WORK. FORGIVENESS AND LAW, Grounded in Principles Interpreted by Human Analogies. Author of 'Nature and the Supernatural," "The Vicarious Sacrifice,' &c. NOTE. In this work Dr. Bushnell sets forth the new views he now holds on the Atonement, withdrawing those expressed in his former work on 'The Vicarious Sacrifice.' NEW WORK BY THE AUTHOR OF THE ECLIPSE OF FAITH.' Second Edition, in 8vo. price 128. The SUPERHUMAN ORIGIN of the BIBLE INFERRED from ITSELF. By HENRY ROGERS, Author of The Eclipse of Faith,' &c. NEW WORK, BY THE AUTHOR OF THE PURGATORY OF SUICIDES.' OLD-FASHIONED STORIES. By Thomas COOPER. 1 vol. crown 8vo. 68. "We give a hearty welcome to Mr. Cooper's Old-Fashioned Stories." To all Liberals, and especially to Lincolnshire men, Mr. Cooper's work will have a peculiar interest."- Westminster Review. Now ready, Second Edition, with Portrait, Map, and Illustrations, large crown 8vo. price 108. 6d, cloth, LIFE, WANDERINGS, and LABOURS in EASTERN AFRICA. With an Account of the First Successful Ascent of the Equatorial Snow Mountain, Kilima Njaro, and Remarks on the East African Slave Trade. By CHARLES NEW, of the Livingstone Search Expedition. "Mr. New was, in many places, the first European who had ever been seen by the natives, and his experiences, therefore, cannot fail to be of value."-Academy. "We can cordially recommend the book."-Examiner. COMPLETION OF DR. STOUGHTON'S ECCLESIASTICAL HISTORY. The CHURCH of the REVOLUTION. By JOHN STOUGHTON, D.D. 8vo. 128. The preceding volumesviz, The Church of the Civil Wars and the Commonwealth,' 2 vols. 288.; and The Church of the Restoration,' 2 vols. 258,-are still on sale. "We have read every word of it with satisfaction. We recommend the volume in the frankest spirit, and wish it a wide circulation within the Church as well as without."—John Bull. Just published, crown 8vo. price 58. RELIGION NO FABLE: an Essay on the Adaptation of the Christian Religion to the Necessities of the Human Spirit. By JOSEPH SHENTON. London: HODDER & STOUGHTON, 27 and 31, Pater noster-row. |