mole's hands), 'The Prior's Parlour' (a capital example of Cattermole, but intrinsically inferior to the 'Haunted Armour,' which used to make our blood creep, and is not here), 'The Monks' Library,' 'Little Nell in the Church' (not the design engraved in 'The Old Curiosity Shop'), 'The Armourer's Tale,' 'Testing the Sword,' 'The Armourer,' and 'The Fair Geraldine,' who is a sort of genteel barmaid. At Mr. Tooth's are a number of pictures of which the following are the most interesting. M. de Blaas's group of Venetian girls standing in a terrace garden and flirting with a gondolier (not in the catalogue) shows several signs of haste, and the execution is slight if clever. M. de Blaas's tact in dealing with the expressions of the buxom wenches he delights to paint, the brilliant and harmonious colours of their garments, and the general sparkle, gaiety, and movement of the picture should be acceptable, although the whole is far from being his best picture. M. Eisenhut's "I pray you of your charity" (7) is painted with a broad and accomplished touch which artists like, because it attests a firm and well-trained, if somewhat academical hand. The negro's face, painted en bloc in a Frank Hals-like way, is the best part. M. Fagerlin's 'Evening Devotion' (13), a clever piece of genre, is the reverse of No. 7, being smooth, metallic, and laboured, and also little dull in its colouring. a There is a good deal of spirit in the figures and faces of the girl and sailor boy, who are stealthily flirting instead of praying. There are several capital figures on the quay in Signor Favretto's 'Market Day, Venice' (3). It is a leading example of the school to which Mr. Woods belongs, and is good and masculine enough to be his model. The Cardinal' (19) is one of Mr. Pettie's dashing and most effective sketches. Three noteworthy and admirable pictures by M. Meissonier will signalize this collection. 'On Guard' (27) depicts a soldier of the Empire in profile, standing, a musket at his shoulder. His figure is placed against a richly-coloured rough stone wall in bright sunlight. The solidity, finish, and precision of the work are admirable. No. 28, 'Vieille Poste Française,' a water colour, depicts a postillion returning from a journey and halting to drink at an inn door. It is most enjoyable for the fine drawing, spirit, and thorough modelling of the horses, which are the leading elements of the work. No. 29 is 'En Reconnaissance,' an old officer standing with his mounted orderly on a headland, glass and notebook in hand, and heedfully scanning the champaign below his feet. It is unusually rich in colour, and both firm in touch and thoroughly finished as a Meissonier should be. Of the faces and actions in all these examples it is almost needless to say that they are so full of research, imagination, and spirit as to be biographical. 'A Siesta' (52), by Herr C. Kiesel, girls at a fountain, reminds us of a Goodall, but the touch is finer and firmer, the colour better, and there is more beauty and grace; it has, too, more spontaneity, a higher taste, more artifice and grace than any work of Mr. E. Long (who seems to aim at such things as this). 'A Tender Chord' (73), by M. F. D. Millet, is very pretty in a nice style; a good sense of keeping and colour distinguishes it. Fortuny's 'Le Jardin du Poëte' (125) is, like all the works of that fine and original master, worthy of the most attentive study; but its scattered, glittering, and somewhat inharmonious coloration and bewildering chiaroscuro betray the vices of his art when at its worst, while its splendid virtues are overlaid and confused to such a degree that the whole is hardly worthy of Fortuny's imitator, M. Gustave Moreau, in his most mannered stage. We may call attention to M. Jimenez's 'The Salute' (128), M. Billet's 'Digging for Bait' (24), and several minor works of MM. Heywood Hardy, J. Aumonier, Duverger, W. L. Wyllie, J. B. Burgess, H. Woods, K. Halswelle, V. Binet, E. Parton, F. Holl, P. Graham, and B. Hook ("Weel may the Keel row," 106). Mr. F. C. Coleridge's drawings of the Thames, to which we referred last week as exhibited by the Fine-Art Society, are exceptionally pretty and brilliant, fresh and agreeable in tone and colour, but a little mannered in their composition, almost invariably comprising a leading element near the middle of the lines where the foregrounds and mid-distances touch. They are fifty-three in number, and their subjects include Shiplake, Wargrave, Isleworth, Henley, Sonning, Mapledurham, Hurley, Bray, and Windsor. The exhibition of French and Dutch pictures we have already mentioned as to be formed by Messrs. Buck & Reid and Messrs. Dowdeswell at 160, New Bond Street, comprises works of Corot, Rousseau, Millet, Diaz, Daubigny, Dupré, Troyon, the Marises, Israëls, Mauve, Bosboom, and Mesdag. Although the promoters of this exhibition designate these artists by the ridiculous term "Romanticists," which is about the most unapt they could hit upon, the public will find the collection well worth seeing. THE CYPRUS EXPLORATION FUND. Poli tis Chrysochou, Cyprus. THE excavations at Poli have progressed steadily during the last fortnight, although violent rains have once or twice made it necessary to knock off work an hour or two before sunset. Tomb-excavating on a mixed site like this must always be very uncertain in its results, and it is not surprising that, working with the limited number of men required by a due regard to efficient control and accuracy of record, we have hitherto made no find of firstrate importance. Mr. Williamson's vineyard, on which we started, proved to have been practically exhausted by the diggings of three years ago, and after three days spent in sinking trial shafts, during which we opened only one inferior tomb, we moved to a site south-east of the village, where previous experience on neighbouring plots of ground promised interesting discoveries. We opened about twenty tombs there, all of much the same general type-a shaft varying between 6 ft. to 8 ft. and 9 ft. to 11 ft. in depth, with one or more roughly circular chambers opening off it. All, with the exception of one, which had unfortunately been rifled, were heavily choked with earth, and in some cases the roof had entirely collapsed. This fact not only made progress slow, but rendered it in most instances almost impossible to obtain an accurate idea of the distribution of the contents of the grave. It is curious to note that in one apparently virgin tomb no fewer than four layers of bones lay one above another, separated by only a few inches of mould. Several tombs seemed certainly to have been disturbed, but we found nothing either in their scheme or contents to raise any serious doubt of their being all about contemporary in date; on the contrary, such varieties as they presented and these were as few and insignificant as their resemblances were obvious and numerous were easily to be explained by differences of wealth and position, of piety and individual taste, between the tenants or their relatives. The chief classes of contents were the following :Rough unpainted pottery in great quantities, red, light yellowish, or brown in colour. Cypriote pottery, purple and dark red patterns, concentric circles, &c., on light or red ground. Black glazed ware, plain or with stamped patterns, and in one or two cases fluted, the quality very mixed often in the same tomb. Terra-cotta figures, mostly of the very worst sort and in fragments, the commonest types being figures reclining on a couch or sitting on a chair. Bronze and iron objects, strigils, knives, mirrors. Alabastra. Vases with figurines holding pitchers, or with bulls' heads, or both combined. The above classes were all very numerously represented, but there was also found a little jewellery, chiefly silver, a few small vases of red figured technique of poor quality, and one or two instances of other styles, such as dark vases with red and white lines round them, and light red vases with patterns in purple-brown. Two tombs also yielded glass. Perhaps deserving of more special mention are a small terra-cotta head of better type and workmanship; fragments of a good Cypriote capital, apparently thrown in to fill up the shaft of one of the tombs; and two inscriptions in Cypriote characters found in graves of which they probably formed part of the door. There can be little doubt that this necropolis is of Ptolemaic date, and we were unfortunate in hitting upon few tombs that were good specimens of their class. On February 26th we moved to a rise a few hundred yards to the east, and although we opened but few tombs (the site being a small one), and their general character remained the same, the average quality was rather better. New features were some little light-blue porcelain objects, an enamelled glass bottle of alabastron shape, and a cylix with gorgoneion much resembling those of the fifth century; also a very rudely drawn blackfigured lecythus lacking neck and foot. Two days ago work was begun on the hill further to the south, which promises well both in quantity and quality. The tombs are still of the Ptolemaic period, but apparently of richer persons. The most interesting finds so far have been a red-figured askos with four female heads, a black glazed askos with moulded negro's head, several black glazed saucers with letters scratched upon them (one bears the word TETTA), sixteen thin gold beads and a little gold roll, a large bronze spearhead, &c. We have taken on a few more men, and hope to be able to report well of this site by next mail. Mr. Gardner left us on his return journey to Athens on the 25th. J. ARTHUR R. MUNRO. SALE. MESSRS. CHRISTIE, MANSON & WOODS sold on the 23rd inst. the following, the property of various collectors. Drawings: G. A. Fripp, Cleeve Lock, near Streatley, 61l. C. Stanfield, Boats off Aldborough, 54l. Sir J. Gilbert, Scene from 'Marmion,' 85l. S. Prout, Interior of a Norman Chapel, 771. D. Cox, Greenwich Hospital, with a civic barge, 571. C. Fielding, Minehead, with Dunster Castle in the distance, 152l.; Vale Groyim, with figures and cattle, 110l.; Off the Coast of Northumberland, with seagulls, 112l. J. M. W. Turner, Mont St. Michel, moonlight, 69l.; The Forum, Rome, 94l. L. Haghe, The Trial of Armand Van de Velde in the Hall of Justice of the Franc de Bruges, 108l. F. W. Topham, An Irish Girl at a Spring, 55l. C. Haag, Crossing the Desert, 63l. F. Tayler, At Pont-y-Pant, going to market, 1521. Rosa Bonheur, A Herd of Deer, Fontainebleau, 85l. Pictures: D. Roberts, Interior of Burgos Cathedral, 1521. F. D. Hardy, A Crash, 1831. Sir A. W. Callcott, Murano, the Old Port of Venice, 252l. V. Cole, August Days, 630l. J. F. Herring, sen., Highland Sportsmen, with ponies, dead deer, and dogs, 155l. E. M. Ward, King James II. receiving Intelligence of the Landing of William III., 160l. T. Faed, Olivia and Sophia ('Vicar of Wakefield'), 1411. P. Jazet, Brigands dictating the Ransom, 2041. J. H. L. de Haas, The Rencontre, 168l. E. Saintin, La Bouquetière, 1261. fine-Art Gossip. MR. HOOK will probably contribute four pictures to the Royal Academy exhibition. They are all coast subjects, though the effects are different, and they are uniformly brilliant and pure in colour and illumination. The first will most likely have for its title a motto borrowed from a list of maritime disasters: "The barque Mary, of and for Dundee, with oranges from St. Michael's, has become a total wreck near the Black Point." The orange boat has gone to pieces upon the Cornish coast. Her cargo is floating before the gale, which drives huge glassy billows diagonally into the little bay, where their crests rise against the sky, and the swift wind pressing against them tears the foam from their tops so furiously that in the deepest parts of the nook the water has been pounded, so to say, into a yellow mist, through which struggles the late afternoon sunlight, streaming from the cliff tops to the sea. The sun's lustre imparts a strange charm to the scene, and makes what may be called the water dust visible against the black cliff which forms its background. Further off the hollow of the long wave rushing landward supplies wonderfully rich colour, and in that respect the chief point in the picture. The less turbulent sea outside is seen beyond the line of waves. On the dark weedy rocks of the foreground are three men, who, throwing a creeper with a line attached to it, have caught a box of fruit which the tide and wind have brought within their reach. In the immediate foreground two girls have gathered some of the floating oranges. This is a picture of vivid yet harmonious sunlight, and distinguished among Mr. Hook's works by its delineation of the fury of the elements. THE second painting, though even brighter, contrasts with the first in all other respects. It is called 'The Fowler's Pool,' and depicts brilliant November weather. The scene is a shining pool of fresh water - barred with rushes and weeds of every russet hue high up on the side of a cliff and far above the dark blue sea, which extends to the horizon, where the white clouds, with dusky grey shadows in their depths, slowly the quiet air. There not wind enough to stir the surface of the pool and break its innumerable reflections. The summits of the cliffs in the mid-distance and the fields beyond them are clad in the rich yet sober greens of autumn in the West. The grey stone fences and their shadows on the sward give distinctness to that part of the picture, and lead the eye nearer to the front, where a rough stone hut and its blackish roof of weather - beaten rushes tell strongly in the coloration as a whole, while, nearer still, a fowler, carrying the gun he has just discharged with fatal effect at various ducks and drakes, is about to leap a low stone wall. Some of the birds lie dead, while others fly seawards screaming with all their might. It is hard to overpraise this lovely and, for Mr. Hook, new picture of a splendid effect. The third picture depicts nature in a mood Mr. Hook has often illustrated with exceptional success. It is called 'A Sea-weed Raker, and the day is clear, but calm. A girl is standing in front, and looks to the distance, holding a rake with one hand, while shading her eyes with the other. The shore extends to a low point of dark rocks jutting into the sea and trending towards an islet which the retreating tide has left bare. Between this islet a little harbour, where fishing and the land is boats lie at anchor, and their idle sails flap against the masts that seem to swing slowly as the sea heaves about the keels. The atmosphere is saturated with the sun's heat and light, and yet, brilliant as it is, the effect is delightfully tender. The fourth work is even more charming, because it is still softer, brighter, and richer in colour, and exhibits an admirable natural harmony most difficult to attain and of the most lovely kind. Called 'Spiller Boys,' three fishermen handle a long baited line; the furthest man is actually in the water, the middle one has just left it, while the third, closer to us, stands on the shore. The nearest man has thrown upon the sand at his feet a large flat fish, whose splendid whiteness is tinged with rose, grey, and silvery hues. It is a perfect gem of painting. A cloud shadow, distinct with infinitely varied blues, covers much of the nearer sea between us and an islet, the same as we saw from another point of view, against whose further side white waves are visible in the light of the sun. The painting of the middle distance is so delicate and fine as almost to distract our attention from the charms of the foreground, where opaline and glassy films of water race after each other till the hot beach absorbs them, where the smooth sand, a sort of half-mirror, gives back the sky's blue, white, and grey, and where a clump of rocks of all sorts of dark tints has given Mr. Hook | one of his favourite excuses for producing a masterpiece of study and brush power. THE new Catalogue of the National Gallery, comprising 529 pages of historical and descriptive matter, price one shilling, is now to be had at the Gallery. THE private view of the exhibition of the Society of British Artists is appointed for to-day (Saturday); the public will be admitted to the gallery on Monday next. A COLLECTION of portrait miniatures has been formed in the gallery of the Burlington Fine Arts Club. An exhibition of examples of "decorative and applied art" (such is the official phrase, which we do not profess to understand) has been formed in the Walker Art Gallery at Liverpool. by admitting the public next week. The private view of this week will be followed DR. SCHLIEMANN has again visited Crete in furtherance of his plans for the purchase of property for excavations, but though meeting with the support and sympathy of the better class, he has, unfortunately, met with opposition from some portion of the native Greek press. However, the governing pasha Sartinski has promised to propose to the Assembly, when they meet, the required concession. THE death is announced of M. Léopold Massard, engraver, son and pupil of the famous Urbain. He obtained a Second-Class Medal, and, for the Chalcographie du Louvre, reproduced Titian's 'Christ crowned with Thorns,' which is in the Louvre. M. C. Donzel, a charming painter of landscapes in the Limousin, and (later, and in water colours) of views in the departments of Le Calvados and La Sarthe, is dead. We quote Le Journal des Arts. MR. MAURICE B. ADAMS writes: "While thanking you for your most kind notice of my book of Examples of Old English Houses and Furniture' in last Saturday's Atheneum, will you permit me to refer briefly to Burford Priory, the specimen which your reviewer singles out particularly for special remark? He speaks highly of the bay windows to the house, observing that they are good and well-proportioned examples of the Perpendicular style, 'as elegant and graceful as they can be. This front was, however, probably built by Sir Laurence Tanfield, Knt., who was one of the judges of King's Bench during the reign of James I. The detail of the work is most curious, and, as compared with the adjoining chapel, is really very poor, with stone mouldings under the windows actually nailed on; indeed, when I was there a piece of moulding was hanging diagonally from the leadheaded nail which kept it from falling. A photograph taken by my companion at the time shows this. Your readers may have met with other examples of old English scamping, but I never saw a like instance to this. With regard to the extremely interesting private chapel at Burford Priory with its charming tribune, cannot the Society for the Protection of Ancient Buildings do something to save it from utter demolition? It is quite a unique piece of work, an unsurpassed specimen of architecture illustrative of the style which marks the transi tion from Tudor Gothic to the English rendering of Italian detail, rich in refined and of idea. Neglect, more than time, has ruined it, and soon, if nothing be done to repair the chapel, the building will inevitably and irretrievably become a heap of stones." PROF. FERRERO has communicated to the Royal Academy of Sciences at Turin the discovery of a votive tablet from the site where formerly existed the temple of the Pennine Jove on the Great St. Bernard. It is dedicated to Jupiter Pœninus by a certain centurion, D. Dasi (mius For)tis. This makes the thirty-eighth votive tablet discovered on the same spot, most of which are preserved in the small museum of the Hospice. MUSIC THE WEEK. CRYSTAL PALACE.-Saturday Concerts. ROYAL ACADEMY OF MUSIC.-Wind Instrument Concerts. It was not announced that last Saturday's programme at the Crystal Palace would illustrate modern developments in orchestral music, and we cannot say whether the fact that the whole of the instrumental items were by composers of the present generation was due to accident or design. If the latter, Mr. Manns may be complimented on his selections, as they embraced typical examples of programme music, and others in which a poetic basis has been engrafted upon the forms universally recognized as classical. Raff's 'Lenore' Symphony is an instance of the latter kind. It may be open to question whether Bürger's weird ballade is a fit subject for musical illustration; but at any rate the ingenuity with which the composer has moulded his theme so as to make it subservient to symphonic requirements ought to receive acknowledgment, and it would be mere affectation to deny the beauty and originality of the earlier movements or the picturesqueness of the finale. Mr. Prout's new overture in E, bearing the title of 'Rokeby,' is programme music only in the vaguest sense. Scott's poem suggested the work precisely as scenes of country life suggested Beethoven's 'Pastoral' Symphony, but this is all. Haydn declared that he always had a story in his mind when composing a symphony, but he did not think it worth while to reveal the ideas which gave him inspiration-the music was intended to speak for itself; and similarly it is quite unnecessary to bear Scott's gloomy romance in mind in listening to Mr. Prout's overture. In general effectiveness it is one of his best efforts, and though perfectly symmetrical in construction, it is not by any means too square or formal. The opening phrase curiously resembles the commencement of the third act of Wagner's 'Siegfried,' but the accent is different, and there are no further reminiscences. The somewhat strident character of the music generally is beautifully relieved by the tender and winning second subject allotted to the clarinet, and it is superfluous to state that the orchestration generally shows a master hand. The audience at once recognized the merit of the overture, and called the composer to the front of the gallery. M. Saint-Saëns's Poème Symphonique 'Phaéton' was rightly placed at the end of the concert. It is programme music of the most vulgar kind, and full of meretricious effects. Herr Stavenhagen's rendering of Liszt's Concerto in a was noteworthy for the performer's extraordinary command of his instrument. He may not be an artist, but as a virtuoso he is entitled to the highest rank. The vocal music was so far below the standard usually observed at the Crystal Palace that Mr. Manns was guilty of a serious error of judgment in permitting it to be performed. The Wind Instrument Chamber Musical Society, which gave its first concert on Friday last week in the Royal Academy concert-room, must command the sympathies of all lovers of music, though, for obvious reasons, works written for pianoforte and strings must always command greater popularity than those in which several wind instruments are required. We have already referred to the aims of the new society, and have now merely to record the complete success of its first concert. The programme included Mozart's Quintet in E flat-piano, oboe, clarinet, horn, and bassoon-noteworthy for a lovely slow movement, in which a singular passage in diminished sevenths occurs towards the close; Beethoven's familiar Quintet in the same key and for the same instruments, Op. 16; and Reinecke's very pleasing sonata 'Undine,' for piano and flute, in E minor, Op. 167. The works were well rendered, the principal executants being Messrs. Vivian, Malsch, Clinton, Borsdorf, and Wotton. Mr. Max Heinrich contributed some songs by Kalliwoda, Brahms, and Mr. C. Harford Lloyd. Musical Gossip. ANOTHER excellent students' concert was that given at the Royal College of Music on Thursday last week. The rendering of Schubert's magnificent Quintet in c, Op. 163, by Messrs. Sutcliffe, Blagrove, Kreuz, Werge, and Squire, was almost beyond reproach. Beethoven's Trio in E flat, Op. 70, No. 2, was also well played. THE Cologne Männergesangverein are about to commence a tour in the principal towns in Italy. THE Nestor of Scandinavian musicians, Fredrik Pacius, completed his eightieth year on the 19th inst. He is the composer of the Finnish national air 'Our Country,' and his songs are highly esteemed in Finland and Sweden. CONCERTS, &c., FOR NEXT WEEK. MON. Trinity College Orchestral Concert, 8, Princes' Hall. TUEN. Mr. Max Heinrich's First Vocal Recital, 830, Steinway Hall. WED. Royal Choral Society, Benoit's Lucifer.' 8. Albert Hall. As usual at this season of the year, there are numerous rumours concerning operatic speculations. The only matter decided, however, in addition to the Covent Garden season, which will commence on May 18th, is that Verdi's 'Otello' will be produced in July at the Lyceum Theatre. Signor Faccio will conduct and M. Maurel will be the lago. The orchestra and SAT. chorus will be brought from La Scala, Milan. THE full prospectus of the Richter Concerts has now been issued. In addition to the Wagner novelties mentioned last week will be the entire final scene from 'Die Walküre,' that is to say, the duet between Brünnhilde and Wotan, as well as the Abschied and Feuerzauber. There are no further additions to the repertory announced, but the scheme is sufficiently varied, modern music, of course, preponderating, in accordance with the demand of the public. ON Sunday last an address of congratulation and good wishes, handsomely engrossed, illuminated, and bound, was presented to Herr Joachim by members of the German Kunstverein of London, and numerously signed by artists and other people of note living in this metropolis and elsewhere. The initial letter "J" of the address is the work of Mr. Alma Tadema, and it consists of a beautifully drawn coloured term of white marble, with the head of the musician in full view and laureated. The body of the term is enclosed by an admirably executed drawing of a sacred girdle, such as anciently often served for a votive offering. This cincture is painted with human figures, emblematic of serious and joyful music, dancing about the lyre, the glad musicians being on our left, the grave ones on the opposite side. THERE is again very little to record concerning the Popular Concerts. On Saturday the only concerted works in the programme were Mendelssohn's Quintet in A, Op. 18, and Beethoven's Sonata in c minor, Op. 30, No. 2. Miss Zimmermann played Sterndale Bennett's three 'Musical Sketches,' and Herr Joachim Rudorff's transcription of Schumann's 'Gartenlied, and Am Springbrunnen'from the Clavierstücke for four hands, Op. 85. Mr. Santley introduced a refined and expressive song 'The Lover's Appeal,' with violoncello obbligato by Signor Piatti. On Monday exceedingly fine performances were given of Brahms's first Sextet in B flat, Op. 18, and Beethoven's 'Kreutzer' Sonata, the executants in the latter being Miss Fanny Davies and Herr Joachim. The instrumental portion of the programme was completed by Mendelssohn's Andante and Variations in E flat, Op. 82. Miss Marguerite Hall sang a somewhat uninteresting song, Bonny Curl,' by Maude White, and two of Kjerulf's Lieder. FRI. Mr. Harvey Lohr's Annual Concert, 830, Princes' Hall. Hall. Wind Instrument Concert, 8 30. Royal Academy of Music. Crystal Palace Concert, 3. DRAMA THE WEEK. so exemplary is their self-sacrifice, a sense of fatality seems to hang over the piece. It is not impressive, however, and is in consequence unintentionally amusing. In the construction, indeed, Mr. Fenn shows himself a novelist rather than a dramatist. This was primarily to be expected. So successfully, however, in his previous pieces had Mr. Fenn overcome the technical difficulties of the stage, it is disappointing to find him betrayed into elementary errors. Quite purposeless is the way in which his characters come on and go off the stage, and the whole by the side of Mr. Fenn's previous pieces seems juvenile. 'Her Ladyship' was scarcely fortunate in its exponents. The reception of the play was favourable, but came far short of enthusiasm. Gramatic Gossip. 'THE DUKE'S BOAST,' Mr. H. O. Buckle's version of 'Mademoiselle de Belle-Isle,' played at the Avenue, is a fairly workmanlike rendering. The central difficulty is evaded rather than got over, the window from which the Duke throws the compromising letter being that of a boudoir, not of a bedroom. A better interpretation would have added to the chances of the play, the feminine parts being, as a rule, better given than the masculine. As the heroine, Miss Marion Lea, who possesses a gracious personality and a training that can only have been obtained in Paris, acted with much pathos, and in the last act with power and something scarcely Sydney Grundy. STRAND, Afternoon Performance: 'Her Ladyship, a the Marquise de Prie, and Miss May Whitty agreeable as Mariette. In masculine characters want of distinction was generally felt. The play, indeed, demands acting higher than is to be hoped on such an occasion. 'LES SURPRISES DU DIVORCE' has been revived at the Royalty. Among forthcoming attractions are 'Pépa,' by M. Meilhac, and revivals of 'Mademoiselle de Belle-Isle,' 'Di visit extending over three weeks of M. Febvre and Mlle. Reichemberg is also promised. 'RUMOUR' is the title of the adaptation of one of her military novels which Mrs. Stannard will produce on April 2nd at the Vaudeville. Miss Marion Terry and Messrs. Dacre, Gilbert, Farquhar, and Morell will be included in the cast. MR. WILSON BARRETT's drama of 'Nowadays' was on Monday transferred from the afternoon to the evenin evening bill at the Princess's. A SCRAP of dialogue in Mr. Grundy's new farce at the Comedy may be taken as a criticism upon the piece. "The wisest people make mistakes sometimes," says one of the characters; and another replies, "Yes; but they don't acknowledge them." The truth of the former statement is no more to be contested than its applicability vorçons,' and 'Le Monde où l'on s'ennuie.' A to Mr. Grundy's latest work. The latter proposition, however, could only be hazarded in farce, and the writer will do well not to lean upon it, since an acceptance of failure and the commencement of another and a better piece constitute the policy to be recommended. Farce is elastic, and will cover most things that cause diversion. So slight is, however, the basis of Merry Margate,' and so preposterous is the incident, that both end in exhausting the patience of the audience. In spite, accordingly, of a clever interpretation, in which Mr. Penley and Miss Lottie Venne bear the principal share, the whole cannot be regarded as a success. Mr. Penley's dry, not-such-a-fool-as-he-looks manner is for a time exhilarating, and Miss Lottie Venne's artificial archness is also effective. Mr. Barrington, Mr. Garthorne, Mr. Hawtrey, Mr. Gardiner, Misses Larkin, Featherstone, and S. Vaughan do their best, and the piece only fails through inherent weakness. Its reception was stormy, although favourable in the main. scarcely a success. An excellent concert was given by the students of the Guildhall School of Music in the hall of the City of London School last Saturday afternoon. The stringed orchestra, consisting of sixty- | which the hero and the heroine belong, and It is for the future to be given on the first three days of the week, 'Good Old Times' being per formed on the following nights. In the 'Young Mrs. Winthrop' of Mr. Bronson Howard, Miss Kenharvie, an American, made at Terry's Theatre her first appearance before a London public. The piece, which was produced at the Court Theatre in November, 1884, is a pleasant and sympathetic expansion of a favourite lyric of the Laureate. It was once more received with favour, and was fairly acted in most of the characters. Miss Kenharvie has, however, much to learn, and her representation of the heroine was conventional artificial. 'CALUMNY' is the title chosen by Mr. Malcolm Watson for the version of a play of Señor José Echegaray's with which, on the afternoon of the 4th of April, the ill-starred Shaftesbury Theatre will reopen: Mr. William Farren, Mr. F. Terry, Miss Robertha Erskine, and Miss Wallis will play the principal parts. TO CORRESPONDENTS.-I. P.-J. J.-J. S. S. J.-A. H.W. W. D.-M. R. S-A. P.-V. C.-H. J. D.-F. J. T.A. K.-C. L. P.-M. E. W.-received. No notice can be taken of anonymous communications, CHATTO & WINDUS'S NEW BOOKS. POETRY. POEMS and BALLADS. Third Series. By Algernon Charles Swinburne. Crown 8vo. cloth extra, 7s. NEW NOVELS AT ALL LIBRARIES. BLOOD-MONEY; and other Stories. By Charles Gibbon. 2 vols. crown 8vo. cloth extra, 12s. "A capital novel, and quite the best book that Mr. Wilkie Collins has written for many years past."-Truth. CHANCE? or FATE? By Alice O'Hanlon. 3 vols. crown 8vo. "This is a bright, amusing story, with some fresh incidents and plenty of movement."-Manchester Guardian. NEW SIX-SHILLING NOVELS AT ALL BOOKSELLERS'. [April. [Shortly. [Shortly. [Shortly. The KNIGHTS of the LION: a Romance of the Thirteenth Century. Edited, with an Introduction, by the Marquess of 8vo. cloth extra, 6s. "Mr. Wood has in his own particular style made visible progress since his exciting story, 'The Passenger from Scotland Yard.' 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