mains of classical, and then, at greater length, those of mediæval architecture, the last chapter occupying nearly three-quarters of the book. The book seems to have been some time in the writing-at least the latter

half of it is better both in text and illustration than the former. At first we have many sketches, but few plans. The sketches are, for the most part, much superior to those in the Scotch book, but we cannot understand how the author came to admit such an unmeaning scribble as fig. 72, and fig. 4 is not much better. Later on the plans are more numerous, as if Mr. Macgibbon had learnt - as he certainly had done before he published his former book-that none but the very simplest building can be properly described without the aid of a ground plan; and the descriptions aided by plans and sketches are often excellent. Some of the subjects are decidedly strange. There are early churches like that of Fréjus, pp. 285292, the full significance of whose plan Mr. Macgibbon perhaps has failed to see; fortified churches - not mere fortified towers attached to churches, as may be found sometimes in England, but whole churches turned into castles or worked up so as to form parts of castles; and perhaps strangest of all that castle of St. Honorat, a perfect keep outside, with cloister and all the offices of a monastery packed together inside.

Of these and many others we know no handier record than Mr. Macgibbon's book, which is a welcome addition to the library as well as a valuable companion to the guidebook.

possible not to be struck by this when we quit the Queen's 'Lady' at a window (No. 160) and 'The Shipbuilder and his Wife' (167) and turn to the large and robust, if rather heavy-handed Peasants going to Market (168) of Rubens and Snyders, or rather of Snyders and Rubens, for as we look at it the share of

that Rubens had with characteristic thoroughness of grasp mastered the difficult part of his task. He did not, we are sorry to see, proceed beyond a bold experiment. Yet he shows splendid mastery in painting the white and gold brocade held by Pomona. Rubens failed in rendering sunlight, because he could not bring himself to use high keys of tone and colour throughout, and he feared to lose harmony. To Turner is usually assigned the honour of having attempted for the first time to paint sunlight in this manner. The portrait of Thomas Howard, Earl of Arundel (169), the first collector on a large scale of old masters and antiquities in this country, is a noble piece of the first quality, wholly by Rubens, and admirable for the almost Giorgionesque armour of white steel, which goes so well with the brown carnations full of blood, and the dark hair compressed by wearing a helmet. The frank, solid, and firm handling, and the full impasto are q qualities to be appreciated highly. It is Smith's 1128, Michiels's 834; at the British Institution in 1818, it was No. 723 at the National Portrait Exhibition, 1866, and 158 at the Academy in 1871. It is engraved in "Lodge," and has always been one of the most famous of Rubens's portraits. The Infant Christ and St. John (171) is a charming group of chubby infants in Rubens's best and most veracious, if least ambitious mood; in perfect condition, it is admirable for its force of handling, rich, pure, bright flesh, and thorough warmth. It is

and

A

Smith's 990, and was engraved by Bolswert. picture of the same subject by the same artist is at Potsdam. The beauty of the faces is worthy of Rubens at his best.

At No. 114, the Skating Scene of Aart van der Neer, we come to the first of a group of Dutch landscapes; it is exceptional in Sir R. Wallace's collection in being a poor, dull, and dry example. A good and genuine Hobbema is No. 112, a Landscape, which is chiefly interesting on account of the close resemblance it bears to good Starks, such as we saw lately at the Grosvenor Exhibition and elsewhere. Hobbema was one of Stark's avowed models, or, so to say, furnished spectacles through which Stark admitted he had first seen nature. The Dutch picture is clearer, firmer, and more truly finished than the Englishman's work, which excels it only in having darkened less. Noteworthy are the truth and delicacy of the

reflections of dark foliage on the clear water of the ford, through gh which, although there is a little wooden bridge close by, the bare

Lord

legged figures are passing. This fine work is Smith's No. 11; in 1800 it was sold with the Geldermeester Collection for 1941. Wemyss's Landscape (70), a first-rate Hobbema, is Smith's 125. — J. van Ruysdael's Cornfields (121), lent by Lord Northbrook, is a small but capital example. The Van der

air and over-abundant energy we recognize

quite as much of Jordaens as of Rubens,

probably painted the woman carrying the swan

and the laughing face of the boy (to which Jor

daens at his best was not equal), although with exaggerations in taste as weak as they are obvious; the man with the fawn across his

shoulders is doubtless Rubens himself. This picture was in the collection of Mr. A. Baring, 18. xhibited it at the British Institution in

It is Smith's 874 and Michiels's 1092. The

game, fruit, vegetables, and dogs are, no doubt,

bre Snyderste An uncomfortable and incomplete

attesting the learning, delicate touch, and fine feeling of an accomplished and faithful worker who generally excelled, he has done here, in delineating skies full of soft white

represented by the figures on our left, 1 the inn. Besides, the placid and full stre and the atmosphere saturated with sunlight semi-vaporous, place it high among Cuy Another Cuyp, lent by Lord Northbrook.

named Landscape, view near Dordrecht (81) a renowned piece, distinguished by its lumine clear, and silvery tones. In composition it e bines the qualities we notice and enjoy in Caj follower Cotman, and in Vincent. It was merly in the Verstolk Collection.

Among the Dutch figure pictures in Gallery few are more interesting than the Interior of A. Van Ostade, an admirable specimen the painter's most characteristic manner, ir which he rarely, if ever, departed with advanta One ought to be a Dutchman fairly to apprea the abundance of spirit in this delineation vulgar life. It has a great deal of humour a kind, and is painted with supreme skills rare knowledge of how tones and colours be combined in a chiaroscuro as perfect any Rembrandt devised when handling inoffensive subject suited to a soberer than Van Ostade's. Correggio in spite his exalted themes was not a greater ch oscurist than the painter of this little par which in its way, and that is a comparativ rare way, is a pearl of price. No. 131, Inde of a Cottage, lent by Sir R. Wallace, is a l larly precious instance.

The Intruder (128) gives a glimpse of gayer side of Dutch life in Metsu's time. scene is a lady's boudoir, hung with gilt leat and splendidly furnished; the Turkey rog the table is such as Dutch genre painters lover an object which a hundred years earlier wo have been found in princes' chambers ony. lady is dressing her hair while laughing sy at a cavalier's efforts to force his way in, posed by an indignant maid-servant; a secu lady, standing partly dressed at the side d bed, is displeased by the intrusion. This is of the finest Metsus in existence, and is a typo instance of his power to impart the utm delicacy of tone and wealth of light colouring to the whole of his picture, of imitating the textures of silks, satins, velvets, of metals, glass, and wood. We it not that the touch, which is of the mi ture sort affected by the masters of t wonder - working school of executants, ist quite so crisp and firm, while the surh verges on being mechanically smooth and pleasing, this picture might be matched wit Meissonier of the highest quality. And yet lately as 1831 this picture, always ranked w Metsu's best works, was knocked down at Vernon's sale for 4031. to J. Smith, who soic at a later date to Sir C. Bagot. It seems have changed hands rapidly. Smith had of before bought it, when Col. Way was t

seller, and in 1830 sold it to the Hon. G. Vernon for 500 guineas. At Sir C. Bar sale in 1836 it realized 6151. 6s. It is No. 94.-A. Van Ostade's Interior of a Cott

Smit

to Smil

a Peel Collecti

most charming of warm tones. There with the

work of 1661, formerly in the Gallery. W

figures make it

another a Co Cottage,' which at Ble heim bore the name of had not been detect revived. The signatun 20th, 1886, about We then conj fured the supposed Tenief that artist, t pictures then at Blenheimers was by b

before is very broa

te

most of them it includes the figure of a nan, who in this instance sits watching a and brooding before a slowly dying fire, le a child sleeps in a cradle at her side. The "L. Boursse" is quite unknown to us; it ars in the catalogue of none of the European eries, nor in any dictionary of artists or tise on pictures to which we have access. works of Quiring Brekelencam are scarcely rell known in England as they ought to be, they are at least, according to M. Havard L'Art et les Artistes Hollandais,' iv. 97), hundred and seventy five in number, a total ch seems to prove that he must have produced of them every year! Can it be that "L. rase" is a new claimant for some of these, e A. De Pape may claim some more ?

he three Jan Steens are all first rate. The e of Rutland's Grace before Meat (69) is most humorous and spontaneous in design, - the richest in tone and colour. It has I rightly called characteristic of the painter, is Smith's Supplementary No. 90. The figures are those of the woman in front her back towards us, and the maid who has ght in the viands on a metal dish. The our of Steen is shown in the boy standing is father's side, holding his hat before his as if to pray, but glancing at the food. bell hanging in a hoop over the table is

of those curious details in which Steen's deare rich. Like all his pictures, No. 69 is in llent condition, having darkened but little not cracked at all. More interesting, if not aportant, is Lord Northbrook's Portrait of Painter (77), a whole-length likeness of Steen s own room, singing and playing the mane he holds in his lap. He is leaning back in Air and sitting with one leg crossed over the r, an attitude most spiritedly delineated. surface is exceptionally ally smoo smooth, and the

ctions of the light on Steen's deep citronared dress are brilliant. His looks would to refute the tales formerly current

ce

his drunkenness, even if the number - excellence of his pictures were not igh to save his reputation. He died at -three, and yet, according to his biographer, Westrheene, he produced

r т. van

rty

deserved the somewhat tepid admiration Reynolds expressed when he said that Steen "had a strong manly style of painting, which might have become even the style of Raphael; and he has shown the greatest skill in composition and management of light and shadow, as well as great truth in the expression and character of his figures."

Dirk Hals, who painted the Woman playing the Guitar (74), lent by Mr. S. H. Fraser, is much less known than Frans Hals; yet his works have considerable interest, and afford the means of reviving the reputation of an able artist whose pictures have been divided by dealers amongst other painters to suit the market. The woman is playing not upon a guitar, but upon a theorbo, which has a double set of strings. - Cornelius Jansen's Portrait of a Gentleman (76) is a true example of the art of one to whom we owe many faithful likenesses of men of great renown, and to whom have been attributed many pictures he never saw; for instance, the 'James I.' (45), 'Henry, Prince of Wales' (59), and the so-called 'Prince Maurice' (116), all at the Stuart Exhibition. The last is neither by C. Jansen nor does it represent Prince Maurice. There is a fine print of it by W. J. Delff, and it is well known to be a portrait of Maurice's elder brother Charles Louis, by Mierevelt. The polished workmanship, hard surface, fine drawing, ng, and the marble-like textures of the carnations of No. 76 are characteristic of a painter whose works are so much too grey that they suggest that, owing to the use of a fallacious material, they must have parted with some of their roses. Apart from this they are simply perfect. - No. 78, Lord Wemyss's

Sie wie die alten sungen
So pfeiffen auch die jungen,

is a masterwork of Jordaens's overflowing animalism, crowded with character, and in its invention and wealth of materials and incidents worthy of Rabelais, under whose rollicking inspiration it might well have been designed. Rabelaisian is the jovial, fat man with a sort of tenfold chin, who, with all his might, is trolling forth a drinking song, while his ponderous jowl seems to quiver in the ecstasy of his delight in drink. The heavy hand, overcrowded canvas, and exaggera

a

spirit and spontaneity of this work. Waagen was right in saying that this is one of the best examples of a subject Jordaens often (?) treated. He thus proves himself to be far from mere follower and factotum of Rubens. The Still Life (66) of P. de Heem is ally fine and bright example of one who was a master in his way, and applied to fruit-mostly lemons-glass, fish, plate, &c., principles of art which are fitted for the grandest materials and

an

exception

noblest themes. This specimen is excellent in all respects but its somewhat conventional com

position. The fruit and oysters, the pewter dish, glass tazza, the illumination and coloration at large, charm us as illustrations of fine art not lightly to be depreciated.

"RESTORATION" AT BENTLEY, HANTS.

hundred and eighty-two pictures. Smith ❘tions must not prevent us from admiring the ited him with three hundred and sixteen. - need not believe he really painted more a half of them. This picture, Smith's 121, strheene's 64, was engraved for vol. iv. of the atalogue Raisonné' of the former, who valued t 120l. It was in the Verstolk Collection; the on gave 1,600 Dutch florins for it in 1822; it sold with the Brentano pictures for 295 florins 1). It was in Mr. Baring's collection in 1850, may have been the Steen which, in 1806, 1 (according to Mr. Redford's 'Art Sales') 1 with Sir G. Yonge's pictures for thirty neas; it is one of Steen's paintings that re a smooth surface. It is highly finished probably painted about 1660, a little before capital example lent by Her Majesty to gallery in 1878, No. 120, a picture remarke for finish and a smoothness approaching eris's. The Doctor (80), belonging to Lord rthbrook, has one of those subjects Jan Steen ighted in. It is full of his peculiar fun, 1, like No. 77 and 'The Bedroom' at Buck-ham Palace, exceptional as a specimen of een's most careful mood, the design being broughly carried out and the delineation of cails searching. It is for Steen unusually cad and simple in effect, and has a finer surme and clearer as well as brighter colour than Hinary. The Duke of Wellington lately lent the Academy a Steen with a similar subject pre broadly treated. No. 80 is Smith's Supementary No. 9, Westrheene's No. 69, and st'y praised by both. It was formerly in erstolk Collection, and was sold in 1845 for 1,400 utch florins to M. van Noort. The man whose much was delicate enough to paint thus could

ghted

in the

t have been the sot Houbraken described. He

Professors' Common Room, University College.

church, except allusions to repairs and enlargement in 1834. This makes it, of course, the more to be deprecated that anything should be done to mar the historic character of the structure itself. Some repairs are obviously necessary; but would it not be well if the available funds were devoted, after the safety of the fabric has been provided for, to the remodelling of the seating of the interior, where the pews, though in several cases composed of materials well worth preserving, considerably mar the architectural effect? CECIL BENDALL.

Fine-Art Gossip.

a

private vi

THE Fine-Art Society has appointed to-day (Saturday) for view of Mr. P. Naftel's drawings and sketches in Sark, North Wales, &c. The public will be admitted on Monday next.

THE Burlington Fine-Arts Club proposes shortly to open a numerous collection of portrait-miniatures, extending to and embracing the works of Cosway and his contemporaries, and will be glad of interesting loans.

THE Rev. A. L. Porter, F.S.A., Vicar of Claines, who is well known to ecclesiologists as an expert in medieval tiles, is about to devote his attention to the interesting subject of the episcopal seals of Worcester, a matter which has hitherto altogether escaped the attention of antiquaries. ceptionally fine collection of sulphur casts of mediæval seals, more especially pertaining to Yorkshire.

Mr. Porter has an ex

THE parish clerk of Hexham writes to us claiming the credit of having discovered the great slab found at Hexham in 1881, and mentioned in our review of Mr. Hodges's monograph (No. 3195). Mr. Hodges seems in his volume to award himself the credit, and we cannot undertake to decide this not very important point.

Weheard last week of the death of Mr. Spencer Perceval just too late to chronicle it. Mr. Perceval was well known as an authority on seals and by his activity at the Society of Antiquaries. He died suddenly on Tuesday in last week.

DR. SCHLIEMANN has returned to Athens without having been able to discover Nestor's palace at Pylos, or, indeed, any trace of prehistoric buildings on the Koryphasion, as the acropolis of that city is called. All he found there was a cave towards the north-east of the mountain, which he holds to be the one connected in ancient myths with Hermes and Apollo. On the top of the hill of Sphacteria he found a polygonal wall of undetermined epoch,

which, to judge from the size of the stones,

must have reached to a great height. His explorations in Kalamai for the purpose of discovering the acropolis of Phare, and in Laconia in order to find the acropolis of Amycle, as also

that of Therapnæ, were unsuccessful.

In the excavations undertaken at Tralles by Dr. Dörpfeld, at the invitation of Herr Humann, a part of the theatre has been unearthed, the only edifice to any extent preserved in that ancient city. This theatre, the discovery of which forms an important contribution to our knowledge of the theatre of the ancients, shows a construction of opus incertum, since it has been pulled about in Roman times. The seats have this peculiarity, that they are composed of two stones each, instead of one only, as is usually the case. One stone forms the seat, and the other the footstool. Besides the cavea, the scena was also excavated, and beneath the latter were found a number of stelæ of peculiar form supporting the proscenium.

THE "diamants de la Couronne" reserved

from the sale of the greater number on account of their historic or artistic interest will shortly be shown in specially designed vitrines, for which places have been found in the Galerie

THREE drawings by Sir John Millais are announced to appear in the next number of the Universal Review.

THE exhibition, to which we have already referred, of the collected works of M. FeyenPerrin-an exhibition we should like repeated in London-will be opened on the 1st prox. at the Ecole des Beaux-Arts, Paris.

THE dangerous engines to which we lately referred as having been placed in the basement of the Pavillon de Flore, close to the Louvre, are to be removed, and the electric lighting of the Place du Carrousel will be effected by engines stationed at the Palais Royal.

THE Brera at Milan has lately acquired a fresco by A. Borgognone, representing the Virgin standing with the Infant, and crowned by two angels, while other angels surround the group at the sides and below the chief figures. The soft and sweet expressions, the elegance and fine proportions of the figures, are admired by all who have written about the picture. Another painting by Borgognone has found its way to the same place. It represents St. Roch standing in the foreground of a landscape, with, in the clouds overhead, the Madonna, Infant Christ, and St. John. A figure of St. Catherine kneeling in company with the Virgin and Joseph, ascribed to Bramantino, and a portrait by Torbido, signed with his name, have been added to the same collection.

M. DUVELLEROY, the famous éventailliste of the Passage des Panoramas, Paris, whose know ledge of his art was based on old traditions, is dead, aged eighty-six years.

THE Chronique des Arts says that Ziegler's picture in the apse of the Madeleine, entitled Histoire du Christianisme, being in a ruinous condition-due, we suppose, to the gas used in the church-it is proposed to replace it with a copy in mosaic. Our readers will remember

that Mr. Watts's fresco over the chancel arch of St. James's, Westminster, has been replaced in this manner.

MUSIC

NEW ORGAN MUSIC.

FROM Messrs. Augener we have received an

excellent selection of recently published organ music. Handel's Seventh Organ Concerto, it will be remembered, was played by Mr. Best at the

last Handel Festival. The present edition is by that eminent organist, who has most judiciously filled up the composer's outline, and added indications for registering, as well as an excellently

written cadenza of his own. The concerto is a work which is especially interesting to organists as being the only one of the twelve published which contains an independent part for the pedals. Mr. Best is also continuing his valuable serial publication Cecilia, a collection of organ pieces in diverse styles, of which Books 35 to 39 are now before us. Among the best pieces in these numbers are a capitally written and solid fantasia and fugue by Johann Schneider,

two charming and well-known sets of variations (in a flat and a major) by Adolf Hesse, a fugue arranged by the editor for the organ from Bach's 'Art of Fugue,' a very florid fugue by J. L. Krebs, two fugues by Samuel Wesley, and a highly effective concert fantasia on old English airs by the editor. The third

volume of Mr. Best's edition of Bach's organ works has also been issued. It possesses the great advantage over most other editions of being carefully fingered, and of having the best method of pedalling indicated for all the difficult passages. Suggestions are also given for re

gistering. The eighth and ninth books of Pezzi Originali per Organo, by Filippo Capocci,

organist of the church of St. John Lateran, are mostly of a somewhat more solid style than that

Musical Gossip.

SCHUBERT'S Octet and Emmanuel Bach's Sonata in c minor for piano and violin were the only concerted works in the programme of last Saturday's Popular Concert. Sir Charles Halle played some pieces by Chopin, and Miss Kate Flinn contributed one song. The scheme of Monday evening was almost equally familiar. The most interesting feature was Schumann's Études Symphoniques,' as it is not often that Mr. Chappell's audiences have an opportunity of hearing such an important pianoforte work at the Monday concerts. The performance by Mr. Max Pauer was unequal. He has gained in artistic intelligence, but he commenced nervously, and the magnificent second variation was ineffectively rendered. The finale, alla marcia, was the best portion of his performance. A favourable impression was created by a young German vocalist, Mlle. Fillunger. She has a bright soprano voice, and her rendering of Lieder by Schumann and Brahms left scarcely anything to be desired. Beethoven's Septet, given for the last time this season, and Haydn's Quartet in D minor, Op. 42, completed the programme.

TECHAÏKOWSKY's overture '1812' was repeated at the Symphony Concert on Monday, but it gained little by a second hearing. There is not

much to be said about Mr. Max Pauer's rendering of Beethoven's Concerto in E flat. It was a careful, but not in any way a striking performThe orchestra continues to improve, and

ance.

full justice was rendered to Schubert's Unfinished Symphony in B minor, Liszt's 'Les Préludes,' and Saint-Saëns's 'Danse Macabre.' Beethoven's 'Eroica' Symphony and a series of selections from Wagner will form the programme next Tuesday.

THE Royal Amateur Orchestral Society gave its second concert for the present season last Saturday at St. James's Hall. The rendering of Gounod's Symphony in D, No. 1-a rather poor and feeble work-and Beethoven's 'Leonora' but the ensemble was not good in Mackenzie's Overture, No. 3, was on the whole commendable;

،

Benedictus,' for violins in unison.

Misses

Marianne and Clara Eissler were among the soloists, and Mr. George Mount conducted the

Thursday last week. Mendelssohn's 'Refor tion' Symphony and Gluck's Overture to ' genia in Aulide,' with Wagner's close, were in the programme. The scheme of the 7th included Brahms's Concerto for violin violoncello, for the first time, the execut being Madame Néruda and Signor Piatti; Schumann's Overture, Scherzo, and Finale.

M. GOUNOD will conduct the first perform of his opera 'Roméo et Juliette' at Brus shortly.

VERDI'S 'Otello' is to be produced at Paris Porte Saint Martin Theatre if the o poser will give his permission.

THREE string quartets by Cherubini have been published by A. Payne, of Leipzig. T must be the works composed in 1835, wh have thus remained unpublished for more t half a century. No time should be lost in bri ing them to a hearing at the Popular Concert

THE Bayreuth performances this year commence on July 21st and terminate August 18th. 'Parsifal' will be given n times, under Herr Levi's direction; Die M tersinger' eight times, under Herr Richter; 'Tristan und Isolde' four times, under H Mottl.

AMONG the operas to be heard in Rome dur the approaching Carnival are Bizet's 'Djamil and Berlioz's 'Les Troyens' at the Costa Theatre, and Wagner's 'Die Walküre' at Argentina.

TUES.

CONCERTS, &c., FOR NEXT WEEK. MON. Highbury Philharmonic Society, 8, Highbury Atherzum Popular Concert, 8.30, St. James's Hall. Mr. Isidore di Lara's Vocal Recital, 3.30, Steinway Hall Charity Concert, 8, Princes' Hall. Messrs. Henderson's Annual Concert, 8, Steinway Hall. London Symphony Concert, 8 30, St. James's Hall Mile Geisler-Schubert's Concert, 3. Princes' Hall. Herr Max Heinrich's Third Recital. 3, Steinway Hall London Ballad Concert, 8, St. James's Hall.

WED.

THURS. Mile Jeanne Douste's Pianoforte Recital, 3, Princes' Ha

FRI. SAT.

Mr. Dannreuther's Musical Evening, 8.30.
Mr and Mrs. Henschel's Vocal Recital, 3, Princes' Ha
Popular Concert, 3 St. James & Hall.

Crystal Palace Concert, Mr. MacCunn's 'Lay of the Last

strel, 3

Signor Abramoff 's Concert, 8.30, Steinway Hall.

DRAMA

THE WEEK.

ROYALTY.-Performances of the Company of Le Th Libre: Jacques Damour, Pièce en un Acte, tirée de ia S velle d'Émile Zola par Léon Hennique. La Mort dil d'Enghien, Drame en Trois Tableaux, par Léon Henny

A CERTAIN measure of interest attends t first visit to London of the company oft Théâtre Libre. The conditions attendi its appearance were, of course, to a certa extent, unfavourable. Neither here nor Paris could it set before a paying public t most characteristic pieces of its reperto

those with a view to the presentation which it was some two or three years B first established. An idea was entertain by the management of giving, in presence a select and specially invited audience, al at the conclusion of the regular entertai ment, En Famille' and other pieces of similar class. So little curiosity concerni the representations was manifested by t general public that the scheme was aba doned. The indifference was probably di rather to ignorance than to timidity. France even comparatively little is know concerning the company, and admission view its representations not easily obtaine In Englantations, little more tha

To judge what a small section the public has lost requires a knowledge the pieces to be given. This we cannot clair The works which have been given a blameless. A Racine, were such alive, mig on the score of propriety put La Mort du Duc d'Enghien,' and commer it for production at a new Saint-Cy

Leques Damour,' though first presented at Théâtre Libre, has been acted at the on, and, in spite of a few "vivacities" of ech, is a play with which the censure, to pe which is a principal object of the Pâtre Libre, would not dream of meddling. vate or quasi-private performances of vs have been known for more than two

turies. Many works of Molière and subuent writers were first played as court ertainments, and under the licentious me of the Regent such ribald works Collé as 'Le Mariage sans Curé' were en in camera. Other and later performes of a similar class are traceable by se with a taste for unedifying investigaThe Théâtre Libre meanwhile may k with the efforts now made by private eties in England to evade legislation circulate among a few subscribers works publication of which would not be per

L

ted.

Vith this aspect of the institution we - not called upon to deal. Such pernances as are given in England are open to censure. La Mort du Duc nghien' gives three short, disconnected nes illustrative of the murder by Bonate of this unfortunate prince. The - scene passes in the bureau at Strasrg of General Leval, and simply shows receipt by him and General Ordener nd not by Generals Caulincourt and ener, as is usually supposed of instruc

is to effect the arrest. A second scene ws the duke at Ettenheim, in the grand hy of Baden, with a few friends and with Princesse de Rohan-Rochefort, whom = declares to be his wife. They are at akfast when they learn that French ops surround the house, and the arrest is ected. The last scene shows the trial of duke by a military commission held at ncennes, and closes with his death in the se of the château. This is witnessed by > princess, who has a farewell interview th her husband. The voice of the duke heard without. He exclaims, "Visez au

ur," and the noise of the muskets follows. it for the facts that the princess is in oduced into the concluding scene, and that e arrest is accomplished over breakfast, d not in the night, the whole of this ight be taken from Le Moniteur Universel. ne realism is striking, costumes and deils being so truthful as to move the ridicule the ignorant. By the light of two lanterns te military council is held, and the duke hen defending himself is all but unseen. he whole is impressive and unconventional. is stimulating also, and is in a sense a evelation in art. M. Antoine as the Duc Enghien, and Mlle. Dorsy as the Princesse re excellent, and the whole interpretation quietly effective.

Jacques Damour' tells in prose a story milar to that of 'Enoch Arden.' Jacques Damour, an amnestied communard, finds mis wife, who believed him dead, has married a rich butcher, by whom she has a child. He insists on her return, and is about to proceed to violence. An interview between the two husbands results in calming him, the heroine is given a choice of husbands, and elects to stay with the second. Damour departs with a sad "Voilà ! Adieu tout le monde." All is simple to baldness. The acting, however, is good; and the

piece, though not without aspects that in England appear a little comical, has a stern pathos, the effect of which cannot easily be resisted. Jacques Damour' was first played (by a company including M. Antoine and Mile. Barny, who now reappear) at the Théâtre Libre on March 30th, 1887. It was transferred to the Odéon, and given by MM. Paul Mounet, Rebel, and Colombey, and Madame Dheurs on the 22nd of September of the same year.

William Shakespeare: a Literary Biography. By Karl Elze. Translated by L. Dora Schmitz. (Bell & Sons.) - Karl Elze, whose recent death students of literature in this country and in Germany are now deploring, produced a very complete life of Shakspeare in 1876. It concontemporary history of the stage and the bibliography of Shakspeare's plays, in addition to the facts of the biography. It had, indeed, some claim to be regarded as exhaustive, and if Dr. Elze's literary criticism was not always penetrating, he restricted this part of his work to narrow limits and rarely excited the reader's displeasure. For insular Englishmen the book possessed the disadvantage of being written in defect by preparing a really admirable translation. Although the German work has gone through many editions since its first appearance thirteen years ago, and Miss Schmitz tells us that it was "specially revised and improved by the author for the English version," we observe that little or no notice is taken of Shakspearean

a mass of information about the

German. Miss Schmitz has counteracted this

research of recent date. More is now

of the sources of 'Love's Labour's Lost' and 'The Merchant of Venice' than Dr. Elze and

his translator would have us believe, and the thorny problems demanding solution in the 'Sonnets' have of late been reconsidered with much ingenuity. But neglect of this kind does not detract from the general value of the book, and we confidently recommend it to Shakspearean students.

LOCAL SHAKSPEAREAN NAMES.

THE Philistines be upon Shakspeare, but to the friends of the mighty poet might be exclaimed in the words of his own Hermione: "Do not weep, good fools; there is no cause." Before he lies vanquished there is much outwork in the form of provincialisms to break through, and provincialisms are a species of solid evidence that the enemy has wisely forborne to attack. To strengthen this outwork is the purpose of the following paper, in which I shall confine my remarks for the most part to proper names common to the poet's home surroundings and to the plays. I may premise that my authority for the announcement of these names is the Rev.

T. P. Wadley, M.A., of Pershore, who is not unknown to readers of the Atheneum in matters of Shakespearean genealogy. Mr. Wadley has been a diligent investigator of the parish registers in the Stratford-on-Avon circuit, and his collective findings on points of Shakespearean nomenclature are of special interest at this moment, though they may prove troublesome to "Baconians."

Fluellin (Fluellen, the valiant captain in Henry V.') is found in the parish register of Crowle, near Worcester, in 1551, and under another date or two, as 1553, John Flewallin and Annis Browne married.

Cotsall is the old name for the Cotswold Hills in the Stratford and Broadway districts; and this form is found in the plays: "Slender. How does your fallow greyhound, sir? I heard say he was outrun on Cotsall."-' Merry Wives,' I. i. 92.

Broadway, Worcestershire, is near Cotsall, and there in the poet's days lived a branch of the Hathaways. John Hatheway, of Broadway,

died in or about 1545; and William Heikes, alias Hathaway, of Broadway, died in or about 1597. "There is evidently," continues Mr. Wadley, "a sort of connexion between Broadway and Stratford-on-Avon. For the Broadway Richard Hall, was baptized in the parish church of 'Stratford uppon Avon, Feb. 14th, 1560. William, son of John Combs, is mentioned as having been baptized in 1551."

register states that Elizabeth, daughter

In November, 1574, this entry was made in the same register: "Morris ap dun' ap Jhon ap Morris was puried," the initial letter of the last word reminding us of Fluellen's Welsh-English, "I will verify as much in his peard." Without connecting Capt. Macmorris, who quarrels with Fluellen, with Ap Morris puried as above, it is quite possible that the youthful Shakspeare might have marked the pronunciation of the Welsh parson Lewis ap Rice, who succeeded to the pulpit of Broadway in 1578.

The will of Thomas Atwood, of Stratford-onAvon, date 1559, mentions John and Adryan Quine (Quiney), Thomas Bager, and George Bardell Bardolph. Also at Prior's Salford, on the bank of the Avon, there was Bardell (Bardolph) in 1573.

The parish register of Evesham mentions the following Shakspearean names: "Master Court" (Court, a soldier in King Henry's army, Henry V.,' IV. i.), 1546; Thomas Roughbe (Rugby, a servant to Dr. Caius, 'M. W. W.,' I. iv.; II. iii., &c.), 1559; John Peto (Peto, an attendant on Prince Henry in the first and second parts of 'Henry IV.'), 1584; John Page (Page, 'M. W. W.'), 1588; Richard Pratt (Mother Prat, 'M. W. W.,' IV. ii. 191, 193), 1569. A man named Court was employed as an apothecary to Dr. Hall, Shakspeare's son-in-law, and probably lived at Stratford. It was also an old Alcester name.

Beatrice Perkes (Perkes, '2 Hen. IV.,' V. i. 42) was married at Evesham in 1597. Says Davy to Shallow ('2 Hen. IV.,' V. i), "I beseech you, sir, to countenance William Visor of Wincot against Clement Perkes of the hill." Perkes was an old Snitterfield (near Stratford) name, and there the poet's grandfather lived; so that it would not be surprising to find that Shakspeare knew other places, as Salford, Harrington, and Evesham, whose early registers record the name. It is interesting to notice, Mr. Wadley observes, that the poet seems to

have been connected with the Perkes family. He says: "A Stratford correspondent has sent me a note relating to a settlement of estates at Snitterfield, in consequence of the marriage of Robert Webbe and Mary, daughter of John Perkes, A. D. 1581." Alexander Webbe, who died in 1573 and was buried at Snitterfield, was the poet's uncle, having married Margaret, daughter of Robert Arden, maternal grandfather of William Shakspeare. The Snitterfield Perkeses had relations of their own name at

Feckenham in the Fladbury district, and a propos to "Clement Perkes of the hill" occurs the following curious coincidence of name: 1568, "Clemens Perkes filius Joh'is Perks de ffladbury baptizatus fuit undecim die Januarii," and 1596, "Clemens Perkes fs (filius) Joh' Perkes bap. fuit." I may here remark that in the same register (Fladbury) is found, 1596, "Jan. 29th, Elizabeth, dau. of Richard Bottom, was buried"; but whether the lady's father was a weaver is not said. The Prior's Salford early registers have the names Page, Perkes, and that the Page family there was the same as at Offenham is shown by the occasional entry in both registers of the alias-Hewes alias Page. In Shakspeare's time a family named Vizor, the ancestors of the family of Vizard, well known at the present day at Dursley, resided at Woodmancot, still locally pronounced "Woncot."

"Margery Jourdain, the witch" ('2 Henry VI.,' I. iv.; II. iii.), however obtained by the poet, was an old Snitterfield name-Jourdain or Jurden. A woman named Margaret Jurden, of Snitterfield, who died twenty years after the poet, says in her will that she leaves her "daughter Doll" nothing, because she had already given her certain goods. We, of course, think of Doll Tearsheet ('2 Henry IV.').

In the register of St. Leonard's parish, Dudley, on the Cotswold, 1624, is the singular and suggestive entry of the marriage of Oliver Hamnett and Isabel Chatterton.

A boy, son of John Braun, January 21st, 1595, was christened Fabian (Fabian, servant to Olivia, 'Twelfth Night') at Pebworth in the poet's time.

With respect to Shakspeare's Seacoal, there was an Edmund Seecole of Dailsford, in the neighbourhood of the Cotswold, who died in or about the year 1546; and a man named Seacoal of Stanton, near Broadway, in 1669.

Hacket occurs in the register of Quinton, Gloucester, about five miles from Stratford, in the time of the poet; while the register of Badsey, near Pebworth, records the burial in 1602 of Nicholas Hacket, aged seventy-four. At Quinton, near Stratford-on-Avon, the register gives the baptism of a daughter of Robert Hacket, 1592 ("Ask Marian Hacket, the fat alewife of Wincot," Induction to 'Taming of the Shrew,' sc. ii.).

In 'Twelfth Night' occurs the curious exclamation "Bolts of Shackles." At Badsey Wm. Boult was married in 1599, and the name Bolt occurs in the Pebworth registers not long after the poet's time; while Shacle or Shackles is found there both before (1597) and after. I, of course, lay no emphasis on this coincidence, though Boult appears also in 'Pericles.'

The Poynz family (Poins, attendant on Prince Henry, first and second parts of 'Henry IV.') vigorously flourishing in Gloucestershire in Shakspeare's time, and almost as famous the Berkeleys, with whom they were connected by marriage.

as

Ebrington parish register, in neighbourhood of Cotwold, has the surname Finton, but not Fenton, in 1629-"rather too late," says Mr. Wadley, but the man had parents of course. The same register has a Quynie in 1603.

At Bengeworth, adjoining Evesham, the register mentions John Curtis (Curtis, servant to Petruchio in 'Taming of the Shrew,' IV. i.).

Seyton announces to Macbeth that the queen is dead. I believe that in the history which Shakspeare drew the plot of 'Macbeth' Seyton does not appear. He might, however, have remembered the name in his own locality, for in the Offenham register Mr. Thomas Seaton occurs in 1601, and Robert Seaton's burial in February, 1590.

Also in that register is entered John Slye, "a copy houlder" in 1582. However related to Christopher Sly in the Induction to the Shrew, it is certain that the writer of the Induction need not have looked beyond the district for the surname. John Slie in the Offenham register was "servant to Lord Rushell"; "Mistress Sly" was buried at Offenham in 1612; and the signature of a Stephen Sly, 1614, is said to be preserved at Stratford in a document relating to the enclosure of Welcombe fields.

Of "Will Squele, a Cotswold man," a neighbour and contemporary of the poet, Mr. Halliwell-Phillipps has spoken. That gentleman's long list of places where the Shakspeares were settled ('Outlines,' ii. 252, sixth edition) does not include Clifford Chambers, Gloucestershire, which is near to Stratford-on-Avon, where there was a Shakespeare family. John Shakspeare married Julian Hobbyns, widow, in 1560.

The will of William Dumbleton (Master Dombledon, 2 Henry IV.,' I. ii. 27) is noted in the Index at Worcester Probate Office in 1579; and Richard Dumbleton had a child christened at Bourton-on-the-Hill in 1599.

At the latter place the early registers record also the name of Bates (Bates, a soldier in 'Henry V.,' IV. i. 87). Harry Bate occurs, 16 Eliz., at Offenham ; and Peter Bate at War

wick, 1595. At the former place Quiclee, a miller, was living 16 Eliz., but whether this name suggested Quickly may be left in doubt. Also it may be questioned whether "Belch " ('Twelfth Night,' I. iii. 47) was a contraction of Belcher, a Pebworth name, 13 Eliz.

Dull (Antony Dull, 'L. L. L.') is a Gloucestershire name; it occurs in Bristol wills, 1575, &c. At Slimbridge, under the Cotswold, Edward Dull was buried in 1645, and Elizabeth, wife of Thomas Dull, in 1681.

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IN FAR LOCHABER.

Just below "haunted Hilborough" is Bidford Grange. Mariana is not known to have been moated therein, but a squire named Badger was occupier. "And thereby," says Mr. Wadley, "hangs a tale, for Thomas Alwode, alias Taylor, of Stratford-on-Avon, in his will, 1543, left a legacy to Richard Shakspeare, of Snitterfield, the poet's grandfather"; and the will also mentions Richard Quynie. The property passed from the Badgers to one of the Brode or Broad family in consequence of his marrying the heiress of the Badger family. The poet's son-in-law, favourites; thorough knowledge of Highland scenery John Hall, in his book 'On English Bodies,' mentions "Master Broad" of the Grange as one of his patients.

In the register of Throckmorton, a chapelry belonging to Fladbury, there is the entry of the marriage of Richard Wagstafe and Joan Luce under the year 1570 (Dromio of Ephesus: "If thy name be called Luce, thou hast answered him well"; Luce being the name of a female servant in 'Comedy of Errors,' III. i. 49, 53). In 'Richard II.' we have the Gloucestershire Ciceter, not Cirencester.

In sum, then, there are found in the Stratford-on-Avon registers, and those of the surrounding parishes, the following Shakspearean proper names, &c.: Fluellen, Bardell (Bardolph), Court, Rugby, Peto, Pratt, Clement Perkes, Visor, Page, Jourdain or Jurden, Seacoal, Hacket, Poins, Curtis, Seyton, Sly, Squele, Dumbleton or Dumbledon, Bate, Dull, Luce, &c.

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Dramatic Gossip.

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IN place of the 'Merry Wives of Windsor,' transferred this evening to the regular bill at the Haymarket, 'Masks and Faces,' with Mrs. Bernard Beere as Peg Woffington and Mr. Beerbohm Tree as Triplet, was given at Wednesday's afternoon representation at the Haymarket, and ARTISTIC JAPAN: a Monthl will be repeated on consecutive Wednesdays.

THE Strand reopened on Wednesday evening with 'The Balloon,' by Messrs. Manville Fenn and Darnley.

THIS evening 'The School for Scandal' is revived at the Globe, with Miss Kate Vaughan as Lady Teazle and Mr. Lionel Brough as Moses.

MR. SYDNEY GRUNDY's new play 'A Fool's Paradise,' which was to have been given at the noon, has been postponed until Tuesday.

'DENISE,' by M. A. Dumas fils, will be revived at the Royalty on Monday. Some of the members of the Comédie Française will, we understand, take part in the representation.

MR. J. W. BUTTERWORTH, the well-known law publisher, has, at his own expense, placed a stained-glass window in memory of Shakspeare in Stationers' Hall.

FRIEDRICH SPIELHAGEN is engaged on a new drama, the background of which is the war of liberation in 1813. The plot itself is not historical.

TO CORRESPONDENTS.-W. B.-M. G.-C. E. D.-received. J. G. Please send address.

A. P. N.-Next week.

W. J. S. We cannot undertake to answer such questions. No notice can be taken of anonymous communications.

Erratum.-No. 3195, p. 92, col. 1, 1. 11 from bottom, for "muses" read coins.

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