his stick. There are also some pages of punning drawings, the best being a lecturer with a skeleton, from which he is demonstrating, entitled "De mortuis nil nisi bonum," and an unfortunate man suffering the punishment of the bastinado, called "Bamboozling." Finally, there is a comical sketch of a prisoner loaded with chains watching a butterfly on the window of his cell, beneath which is written "I'd be a butterfly." Some of the drawings are remarkable for their careful finish, especially those in pencil, and nearly all are far better drawn, with figures in better proportion, than those which Thackeray produced later on, when the pencil had been more completely subordinated in importance to the pen. Unfortunately, the drawings are confined to a dozen or so pages of a large volume. CHAS. P. JOHNSON, NOTES FROM CYPRUS. Poli tes Chrysochou, Cyprus, March 15, 1889. THE work has been going on steadily during the last fortnight in spite of the very unfavourable weather which prevailed during the first week. A few more hands have been put on, and the results have proved, on the whole, more interesting. The site at Hagios Demetrios, on which work had been begun when the last report was written, did not altogether justify our hopes. There turned out to be scarcely more than a narrow fringe of tombs along the line of the part excavated three years ago. These tombs were, however, of a better class on the average than those of the previous sites. The coarse pottery, the common Cypriote ware, and the monotonous fragments of ugly terra-cotta figures were less prominent; the tombs were larger and better hewn, and the black glazed vases almost predominant. The objects found did not mate rially in kind the previous series, but there was less of the worst quality and more of the better. One tomb yielded some fairly good jewellery: three gold pendants from a necklace, a pair of bronze silver-plated bracelets with gilt rams' heads, a pair of bronze silver-plated anklets terminating in snakes' heads, five bronze gilt spirals, and a bronze gilt ring with hæmatite scarab. Two tombs produced well-preserved bronze objects. Of the pottery deserving of mention are a red-figured lecythus, of moderately good style, but in bad preservation, representing a Bacchante; the fragments of a fine red-figured vase with white and gold, which we are gradually recovering by sifting the soil; and a considerable number of vessels and fragments, mostly black glazed plain or stamped, with letters scratched on them underneath, in many cases Cypriote characters. If any further doubt remained whether the Cypriote syllabary continued in use well down into the third, if not the second century в с., these graffiti ought to remove it. Vases with figurines and bulls' heads were plentiful; curious is one fragment on which a winged youthful figure is placed beside the ordinary woman with the pitcher. We had already begun to suspect, from the condition in which the finest vases were found, and from other indications, that we had to do with tombs which had not only been largely plundered, but had been used twice over, at an earlier and a later date. The excavation, begun on the 9th, of the site adjoining that first dug upon after the vineyard, has tended to confirm the suspicion. The contents of the tombs seemed to belong to the Ptolemaic, or in several instances even to the Roman period, a redfigured cotylus of late style, broken but complete, being the only noteworthy find naturally to have been expected. Yet in one tomb were found the fragments of a red-figured lecythus of early style, and in another a black-figured cylix with small figures on the rim, man and lion each side, after the manner generally dated about 500 в.с. The only other objects of importance found on this site so far are two inscriptions, χαῖρε, the other in Cypriote characters, incomplete, which we read τὸ σᾶμα ἐμι. They were found in the shaft of a tomb, together with a late capital of an Ionic pilaster, a drum resembling an altar, and several architectural fragments. We are now at work in the village of Poli, but have found nothing of note except the upper part of a marble grave relief, representing a bearded man, nearly life size, of late, but not altogether bad style. The numerous inscriptions scratched in small and scarcely legible characters in the stone, which may be of value in determining the exact date, will need prolonged study to decipher. An ancient statue, reported to have been found at Androlikon, proved to be a Byzantine saint engraved on half an ancient column. We have discovered, and hope to acquire, a Cypriote inscription, which remains in the same half-excavated tomb near the vineyard from which the inscription mentioned in the first report is said to have come. We hope next week to get hold of a site further out from the village, near the vineyard, where there will be a better chance of finding undisturbed tombs of the best period. The excavations have been now in progress for a full month, and it is expected that another month will see the close of them. J. ARTHUR R. MUNRO. SALE. MESSRS. CHRISTIE, MANSON & WOODS sold on the 30th ult. the following, the property of various collectors. Drawings: T. S. Cooper, Canterbury Meadows, with cows, 102l. D. Cox, A Landscape, with windmill and pond, 100 Brook, 44l. Vicat Cole, A Cornfield, 2571. W. Hunt, Hedge Sparrows Nest and Rose, 241.; A Fisher Boy, 27l.; The Pet Lamb, 541.; A Boy 10l.; Á with Ducks, 38l. M. Fortuny, The Doge, 110l. Pictures: T. S. Cooper, Canterbury Meadows, 126l.; Cattle in Burns and Highland Mary, 1621; The Love a Meadow, 140l. T. Faed, Letter, 126l. E. Frère, The Seamstresses, 157l; Resting, 19l. W. P. Frith, Marriage of H.R.H. the Prince of Wales (sketch for picture), 841.; Scene from 'The Vicar of Wakefield, 221. P. Graham, A Rainy Day, 3991. J. F. Herring, sen., The Smithy, 173/. F. Holl, The Funeral of the Firstborn, 1991.; Besieged, 4561. Linnell, A Heath Scene, with windmill and figures, 6511. Sir J. E. Millais, The White Cockade, 420l.; Olivia, 6821. P. R. Morris, Driving Home the Geese, 189l.; Swinging, 126l. G. B. O'Neill, Hush! 1521. J. Phillip, The Marriage of H.R. H. the Princess Royal (sketch for picture), 58l. M. Stone, From Waterloo to Paris, 1891. R. Madrazo, La Soubrette, 115l. G. Jacquet, La Première Arrivée, 183l. J. Israëls, Sailing the Boat, 123l. N. Diaz, In the Forest, 262l. E. Long, Phyllis, 514l. K. Halswelle, Sonning-on-Thames. 2621. J. W. North, A Bit of Somersetshire, 131l. J. J. Tissot (pictures illustrating Parisian life), Painters and their Wives, 78l.; Provincial Ladies, 141l.; The Esthetic Lady, 78l.; The Gossip, 78l.; The Mysterious Lady, 78l.; The Young Lady of the Shop Shop, 52l.; The Bridesmaid, 691.; 9l.; The Ladies of the Bar, 42l.; The Tight-Rope Dancer, 391.; The Amateur Circus, 611. Fine-Art Gossip. SIR JOHN MILLAIS's new pictures will not be on view at his house next Sunday (to-morrow). The pictures of Sir F. Leighton will be visible on Sunday to his personal friends only. SIR JOHN MILLAIS will probably be represented at the Academy and other exhibitions by an unusual number of pictures, including the two important landscapes, severally named 'Murthly Water' and 'The Old Garden,' which we have already mentioned; two portraits, 'Mrs. Paul Hardy' and another; and a subject-paint the one in late Greek letters, Τρύφων χρηστε | ing of children sitting under trees, gossiping, and using toy cups and saucers; it is entitled 'Afternoon Tea.' 'Shelling Peas' represents a damsel so occupied. MR. JOHN BRETT sends to the Academy this year a very brilliant Cornish coast piece of great beauty, which is, on the whole, not only one of the largest, but one of the best of his works. Taken from Asparagus Island, the view embraces the Lion and all the cliffs south-eastward to the Lizard, which is visible in the extreme distance and near the horizon. Sunlight fills the atmosphere, which contains only vapour enough to soften without materially reducing the lustre; it pervades the prospect, while the vapour gives tenderness to the blue of the shadows of the cliffs and headlands, makes the verdurous uplands just a little grey, while leaving their brightness untouched. This applies to the distance and mid-distance, while the nearer parts are hardly at all affected. The sea, which ripples slightly, does not heave at all, and only wavelets ripple on the sands before us, where huge boulders of serpentine and porphyry lie in sandy beds, and are so distinct that their intense colours mark the foreground emphatically. The cliffs are carefully drawn, and the treatment of the surface of the sea, here influenced by the colour of its bed, there reflecting the blue and white hues of the sky, is exemplary. MR. G. D. LESLIE's pictures are three in number. The largest is called 'The Town Mouse and the Country Mouse,' a cottage interior. A grand lady and her little girl are visiting the country folk, and the lady carries a basket of eggs and some roses she has probably bought of her hosts. She is amused by the country mouse," a little girl who is showing her puppy to the "town mouse." artist has expended much study on this example, The which is inadequately represented by descrip tion. Its coloration comprises a harmony of blue and green, with sober browns and greys; consequently it looks very serene and tender. The second picture is a small square one, and represents an old-fashioned window-seat with two girls, one of whom is arranging sunflowers in vases. The window is open and looks upon a very sunny garden. It will probably be called 'Sun and Moon Flowers.' Some of the blossoms are of that lovely and pale sort known in Berkshire as "moon-flowers." This picture is mostly blue and yellow, the blue being very much subdued. The third work of Mr. Leslie is a landscape, to be called 'A Berkshire MillStream,' being a view on the Kennet. Its chief constituents are a little, white, wooden bridge, swift shallow water flowing beneath it, an old inn, and a background of open downs, with the inevitable clump of trees on its summit. The effect is just after sunset; a girl is carrying a baby over the bridge. MR. FILDES will send to the Academy a lifesize group of two ladies, sisters, clad in white of various hues. Both wear evening dresses; the one is sitting, the other standing a little behind her sister. The expressions are ladylike and reserved, without dulness; the attitudes are simple and natural. Along with this work there is now on the painter's easel a subject-picture of unusual charm, called 'The Morning of the Morning Festa,' because it represents the courtyard of an ancient Venetian palazzo, long ago let out in tenements to humble folk, some of whom are assembled in the soft sunlight near a pergola which casts its shadow upon the dark portal and its lofty side-columns on our right. In the centre of the canvas is the principal group, comprising a comely young woman wearing a blue petticoat, white linen, and an apron striped in blue. Her long tawny-auburn tresses lie loose on her shoulders, and she is arranging a part of them in a leisurely but artistic way, while she gossips with a companion, who stands at her side, and, wielding a comb, assists in the toilette. The latter is dressed in olive and black, and she takes a lively interest in the conversation, which is shared by a third damsel, who, made prominent in the picture by the red and black she wears, is still more conspicuous by her animated action as she speaks with one hand outstretched as if to enforce her opinions. The last is a member of a second group placed under the iron bars of the window of the house and at a table, with flowers and foliage near at hand. The animated expressions and differing characters and degrees of emotion evinced are as acceptable as the bright, soft, and pleasing coloration and chiaroscuro of the picture, which is one of the most carefully thought out of Mr. Fildes's studies of those Venetian subjects which he continues to affect, although, we believe, with less good fortune than attends his more serious and dramatic themes. MR. ARMSTEAD'S contributions to the Academy will be the works we have already mentioned, and may now describe. 1. The central portion of the monument of white marble, intended for the crypt of St. Paul's, in honour of the Rev. Benjamin Webb. It is a half-length, life-size portrait figure of the distinguished antiquary in bold relief, seen in three-quarters view to our right, and holding with both hands a richlybound book close to his breast. The eyes look forward with an earnest and animated expression, and the large and fine features are distinguished by rare intelligence. The niche is framed with bas-reliefs of angels holding trumpets and scrolls, and figures of SS. Andrew and Paul. At the summit, between the last, the soul of the deceased is represented by an irradiated figure of a child, over whom a wreath of immortality is held by two angels. In the spandrels, between the niche and the corners of the monument, are two angels, kneeling and praying. The spirit and graceful sentiment of the design are worthy of the learned finish of the marble, and both are honourable to the sculptor and his subject. 2. The medallion portrait in marble of Mrs. Craik, an excellent likeness, in profile to our right, in low relief, wearing a lace cap over her close-laid hair. This will be placed in the Abbey Church at Tewkesbury. 3. The life-size model, to be cast in bronze, of the memorial portrait statue of Lieut. Waghorn, which is to be erected at Chatham, his native place. The pioneer of the Overland Route holds a map in his left hand, and with the other is pointing energetically, as if to direct explorers forward. He wears a naval coat, loose breeches and boots, and a cloak floats, as if in the wind, from his shoulders. The execution of this work is extremely solid and bold, lacks no finish, and is suited to bronze. 4. A life-size portrait in very low relief, modelled in a quasi-Florentine sixteenth century manner, and with exquisite care, spirit, and finish, of Miss Charlotte Armstead, who wears a modern "halfdress" costume with a breast-knot of flowers and a lace fichu. She stands in three-quarters view to our right, her face wearing a look of attention. The hands, which have been executed with great finesse, firmness, and in a fine style, are laid one above the other at her waist; in the right hand is an open fan. The whole is wrought like a medal, and as thoroughly as it can be. MR. T. O. BARLOW proposes, if the plate is ready in time, to exhibit at Burlington House next month an impression from his long-delayed mezzotint after Turner's 'Vintage of Macon,' a work which the present Lord Yarborough has generously allowed the R.A. to complete. MR. LEGROS has nearly finished, besides the sculptures we mentioned few weeks ago, rocks and enclosed on one side by lines of trees. Between the trunks sad and mysterious shadows are cast, while slowly flying overhead, and sinking lower as they go, are dense, mournful-looking vapours with scarcely defined edges and hardly solid enough to be called clouds. Near the front, where a few trees still stand, and the earth is strewn with victims of his axe, a woodman works in a dejected sort of way, while an ill-clad woman, half veiled, waits for him to finish his labours. The next picture depicts a road running close to the edge of a wood and at the side of a low bank of earth, its boundary; opposite to the wood are some wide meadows, hardly visible in the sun-flushed twilight which pervades the scene and touches with dim splendour trunks, leaves, and heads of bushes in the wood. The effect is that of a foggy autumnal morning in Burgundy, Mr. Legros's country. These pictures are for Regent Street. Bond Street will receive two views of rivers. called 'Un Rêve.' It represents a broad stream gliding rapidly, but smoothly, under moderately high banks, on the loftiest portion of which stands an ancient farmhouse, with irregular roofs, gables, and windows, overlooking the woods in their rich autumnal attire and the landscape lighted by the soft lustre which is most marked on the margins of the clouds. The far-off firmament is of the One is scape is a meadow with flowers and herbage in warm early autumn, and an olive and grey river. A boat lies at the nearer bank, and a woman is about to embark and be ferried to the other side. The whole is most broad and tender, soft and serene, and, without much of what is called realism, has nothing of what is foolishly called romanticism, while it excels in depicting the pathos of nature, and there is intense poetry in its every element. In addition to Mr. Halle's pictures about to be sent to the New Gallery, which we have already described, he proposes to exhibit a narrow upright work entitled 'The Lure,' and showing, with much grace and beauty, a naked siren playing on a lyre and singing. She is standing on a rocky platform near the entrance of a sea-cave, whence we have a view of the ocean, with rosy light flushing its surface and a line of cliffs, and revealing an antique bark sailing towards us, within hearing of the voice and lyre of the temptress. This will be a companion to the picture of the nymph waiting behind the great pine trunk, net in hand, in order to catch a little Cupid who is running towards us, and away from the amorini dancing on the sward a short distance off. In addition to the usual annual congress of the Cambrian Archæological Association, which will be held this year in Brittany, there will be a meeting in London for three days, May 22nd24th, during which visits will be made to St. Public Record Office. The authorities of these Albans, the British Museum, and Her Majesty's institutions have promised to afford facilities for inspection of antiquities and MSS. connected with Wales. At St. Albans the local architectural society will co-operate, and the remains of Verulamium will be described by Mr. E. P. L. Brock, F.S. A. There will be two evening meetings for the reading of papers by Mr. W. Willis Bund, F.S. A.; the Rev. E. McClure, secretary of the Society for Promoting Christian Knowledge; Mr. W. de Gray Birch, FSA.; and others. One of these meetings will be held, by special invitation of the British Archæological four landscapes of considerable dimensions, Association, at their rooms in Sackville Street. The bringing of the town and country societies in contact is the first step towards improving the organization of archæological research, about which a good deal has been said recently. two of which are intended for the New Gal. lery and two for the Grosvenor Exhibition. One of them is called 'La Pauvreté,' and treats with much feeling a highly poetical effect-grey daylight fading over an almost barren glade, which is strewn with bare | mined to publish a quarterly journal under the THE Berks Archæological Society has deter editorship of the Rev. P. H. Ditchfield, its honorary secretary. No exhaustive county history has ever been written of Berkshire, and a good deal remains for the archæologist to do. The first number is to be issued shortly. THE public will be admitted to the exhibition of the New English Art Club, Dudley Gallery, on Monday next. The private view is appointed for to-day (Saturday). M. HENNER has been elected to fill the chair vacated in the Académie des Beaux-Arts by the death of A. Cabanel. M. Cabanel's innumerable admirers will find an excellent criticism and biography in the Gazette des Beaux-Arts for this month, by M. G. Lafenestre, comprising a reproduction of a beautiful drawing made for the figure of St. Louis, enfant, in the decoration of the Panthéon. THE Viennese newspapers announce the death of Prof. Pettenkofen, of the Austrian Academy, who was born in 1821, and, while living in Paris for some years, exhibited pictures which attracted a certain amount of attention. The best known were 'Volontaires Hongrois' and 'Chevaux devant une Czarda.' He was ennobled by the Emperor Francis Joseph, who warmly admired his works. MR. J. M. CAMPBELL, of the Bombay Civil Service, who ten years ago discovered the Buddhist relics at Sopara, has recently, in another mound in the forest of Girnar, some six miles south-east of the city of Junagadh, in Kattywar, unearthed another series of caskets containing what appear to be veritable relics of Buddha. The new mound is nearly three times as large as the Sopara mound, being between 80 ft. and 90 ft. high, instead of 27 ft., and about 230 yards round, instead of 65 yards. In position, character, and detail the two mounds are much the same, however, and in all probability date from the same time-namely, about 150 в.с., or some five hundred years after the death of Gautama Buddha. After three weeks' excavation Mr. Campbell found a stone relic-box or coffer, measuring 1 ft. 2 in. square and 9 in. deep. It contained a reddish clay-stone casket, which in turn contained a small copper casket or bottle, green with verdigris, almost round in shape. This copper casket held a silver casket, within which was a small, round, spike-topped gold casket, in shape and size like a small chestnut. In this tiny bowl were four precious stones, two small pieces of wood, and a fragment about the size of one's little finger-nail of what seems to be a bone. Mr. Campbell believes this last to be a relic of Buddha. AT Tralles the torso of Apollo has been found on the same spot where the head belonging to the statue was discovered a short time ago. The work belongs to a good period, and is of the Trallian school. It has been transferred to Constantinople. Meanwhile, the steps of the theatre discovered by Dr. Dörpfeld, which were of great importance both in an artistic and scientific point of view, have been destroyed in the search for building materials. The Turkish Government must be held responsible for this destruction of most interesting architectural Greek remains. MUSIC THE WEEK. ST. JAMES'S HALL.-Philharmonic Society. THE second Philharmonic Concert on Thursday last week was in every way as successful as the first, and the season could not have opened more auspiciously. The interest in the programme centred in the first performance in London of Prof. Villiers Stanford's new Violin Suite in D, and the rendering of Grieg's Pianoforte Concerto in A minor by Madame Backer-Gröndahl, under the composer's direction. It will be remembered that the suite was produced in Berlin in January last, and it was performed for the first time in England at Sir Charles Halle's Manchester concerts (not at Cambridge, as erroneously stated in the Philharmonic programme), the executant, as on the present occasion, being Herr Joachim. The work is in five movements, headed, respectively, "Overture," "Allemande," "Ballade," "Tambourin," and "Rondo Finale, Giga." From these titles it would seem that the composer desired to preserve some of the characteristics of the old-fashioned suite. This he has done so far as regards the themes of the second, fourth, and fifth movements, but the restrictions do not suit him, and the restless character of the music prevents us from imagining for an instant that we are listening to an eighteenth century work. Indeed, we can but suppose that the titles hampered the composer, for the work as a whole is singularly deficient in inspiration, and will not compare in merit with the Orchestral Suite in G, in which the trammels of archaic forms were not observed. By far the best movement is the ballade, and it is also the most modern. The solo part is exceedingly difficult, and not very grateful to the executant. Indeed, even Herr Joachim found it impossible to maintain purity of intonation in several As a matter of course, the passages. suite was well received, but it will not add to Dr. Stanford's reputation. Any feeling of disappointment, however, was speedily effaced by the magnificent performance of Grieg's concerto. Madame BackerGröndahl's reputation is chiefly confined to Scandinavia, for the simple reason that she has refused almost every offer to undertake artistic tours elsewhere. In Christiania, however, as well as in Sweden and Denmark, she is regarded as a pianist of the highest rank, and her compositions are also considered to possess great merit. So far as can be judged report has not exaggerated her gifts as an executant. Finer playing has never been heard in St. James's Hall, touch, tone, and expression being equally remarkable. She was, of course, ably assisted by the orchestra, which, under the composer's direction, rendered the accompaniments in such masterly style that the entire performance was nothing short of a revelation, even to those most familiar with the work. The audience was raised to the highest pitch of enthusiasm, and the pianist and composer were recalled four times. The rest of the programme may be briefly dismissed. Mr. F. H. Cowen received a warm welcome on his first appearance after his highly successful visit to Australia. The works performed under his direction were Schubert's Symphony in B minor (unfinished), and four movements of Mendelssohn's 'Midsummer Night's Dream' music. Except that the andante con moto in the symphony was taken too slowly, the playing of the orchestra was excellent. Mile. Antoinette Trebelli was somewhat overweighted in Mozart's scena " Non mi dir," but she gave a satisfactory rendering of Rossini's "Sombre fôret." last week. If such a work as Liszt's so- If the production of M. Benoit's oratorio ineffective, however, and the work ends with a kind of ode in praise of humanity and the superiority of the attributes which distinguish man from the blind natural forces of creation. The English version, by Mrs. Butterfield, is not easy to follow, and, indeed, many of the lines are wholly incomprehensible. The The work is divided into three parts and eleven numbers. It opens with a somewhat over-lengthy chorus, describing the repose of night, after which comes an extraordinary double chorus, in which the horrors which accompany the approach of the fiend are depicted in the most graphic manner, the vocal part - writing and the orchestration being equally ingenious. Lucifer makes known his purpose in a highly dramatic solo with chorus, and then calls upon earth, water, and fire to assist him. The part ends with an extremely melodious double chorus describing man while yet in a state of innocence. second part consists of the three solos of the elemental powers, with choral accompaniment. One of them, for tenor voice, is very charming, and all three are full of clever effects. The third part opens with some fine declamatory passages for Lucifer, to which the chorus respond as before, and then the approach of day and deliverance from the powers of evil is signalized by an entire change in the character of the music, a splendid effect being gained by the sudden entry of the combined chorus fortissimo to the words "Hosannah! Lord of Lords!" For a while the despairing accents of Lucifer are still heard, but the religious strains gradually gain in force and majesty, and the climax is most imposing, though the final chorus is extremely simple in construction and almost hymn-like. In spite of his German leanings, M. Benoit seems to have been more influenced by Berlioz than by any other composer; but his music is less extravagant than that of the French master, and the interest is more equally divided between the orchestra and the voices. If it were not for the unsatisfactory nature of the subject-matter 'Lucifer' would certainly grow in popularity, for from first to last it is splendidly written and full of striking passages. The performance was in all respects worthy of the society. Mr. Barnby had well drilled his splendid choir, and they have never sung more lively. Madame LemmensSherrington, who came from Brussels with some Belgian artists, sang with much of her old charm, the inroads of time on her voice being limited to the upper notes. The tenor M. Constantin de Bom is an amateur, and sang at very short notice in place of the artist announced. The baritone M. Blauwaert and the bass M. Henry Fontaine are both admirable vocalists. If Lucifer' does not become popular, of which there is little chance, its production is eminently creditable to the Royal Choral Society. Musical Gossip. M. GRIEG made his final appearance at the Popular Concerts last Saturday, the programme including his 'Lyric Pieces' for piano solo, Op. 43, and his Sonata in c minor for piano and violin, Op. 45, both for the first time. The 'Lyric Pieces' are mere sketches of the most trifling character unmistakably Scandinavian in origin but too simple to add to the composer's reputa tion. The performance of the sonata by M Grieg and Madame Néruda was magnificent, and the work greatly improves on acquaintance, though the first movement must still be pronounced inferior to the second and third. Madame Grieg, as usual, sang five of the Lieder in her inimitable manner. The engagement of this gifted pair has been one of the most successful features of the season, and their return to this country will be awaited with eagerness. Dvorak's Quartet in E flat, Op. 51, performed on a previous occasion this season, and Schubert's first movement of an uncompleted Quartet in c minor, completed the programme. ON Monday Herr Joachim and Madame Néruda repeated their splendid performance of Bach's Concerto in D minor for two violins, with Miss Fanny Davies as the accompanist. The other concerted works were Beethoven's Quartet in B flat, Op. 18, No. 6, and his Trio in E flat, Op. 70, No. 2. The folly of announcing only a brief pianoforte solo was once more illustrated. The audience would not be content with Miss Fanny Davies's rendering of Mendelssohn's Prelude and Fugue in E minor, Op. 35, No. 1, and after repeated recalls she played one of the 'Lieder ohne Worte.' The performance of an important work would not have occupied more time. Mr. Max Heinrich sang Lieder by Schubert and Brahms in a highly artistic manner. HERR JOACHIM made his annual appearance at the Crystal Palace last Saturday, and played his own Concerto in the Hungarian style and solo pieces by Bach. He was also represented by his declamatory scena for contralto, Marfa,' which was expressively rendered by Miss Lena Little. The orchestral works in the programme were Schumann's Symphony in D minor, Mendelssohn's 'Hebrides' Overture, and Beethoven's 'Leonora, No. 3. To-day Berlioz's 'Faust' is to be performed, with Madame Valleria, Mr. Lloyd, Mr. Brereton, and Mr. R. Hilton as the soloists. AMONG the performances of the past week of which only formal record can be given are the Trinity College Orchestral Concert and Signor Bonetti's soirée musicale, both on Monday evening; the first of a new series of vocal recitals by Mr. Max Heinrich on Tuesday evening; and Miss Agnes Zimmermann's pianoforte recital on Thursday afternoon. A CONCERT of classical chamber music in connexion with the North-East London Institute was given in the Hackney Town Hall on Saturday last. The programme contained a Pianoforte Trio in a by Haydn, Mozart's Sonata in a for piano and violin, and Mendelssohn's Sonata in B flat for piano and violoncello, Op. 45. ONE of the most interesting of the musical features in connexion with the Paris Exhibition will be the revival of some of the operas produced about the time of the first Revolution, Among them will be Paisiello's 'Il Barbiere,' Dalayrac's 'Raoul de Créqui,' 'Nicodème dans la Lune' by Cousin-Jacques, and 'Madame Angot' by Demaillot. Singularly enough, no mention is made of any works by Méhul, Berton, Cherubini, or Gluck, and the choice of an opera by Paisiello as representing the French school is inexplicable. THERE is to be a season of Italian opera under Signor Sonzogno at the Paris Gaîté commencing on the 20th inst. The répertoire will be extremely interesting, and will consist mainly of operas now rarely heard, among them being Gluck's 'Orfeo,' Rossini's 'Mose' and 'Cenerentola,' Donizetti's 'Maria di Rohan,' and Cimarosa's 'Il Matrimonio Segreto.' Four grand concerts will likewise be given, consisting entirely of music by Italian composers of the last two centuries, many of them now only known by name. HERR RUBINSTEIN will celebrate his jubilee that month in 1839 that he played for the first time in public at a benefit concert in Moscow. CONCERTS, &c., FOR NEXT WEEK. MON. Herr Stavenhagen's Pianoforte Recital, 3, St. James's Hall. TUES. Miss Gertrude Burt's Concert, 3, Steinway Hall. Novello's Oratorio Concerts, Handel's 'Saul,' 8, St. James's Hall. Mr. Max Heinrich's Second Vocal Recital, 830, Steinway Hall. WED. Mr. Lamond's First Pianoforte Recital, 3, St. James's Hall. FRI. SAT. 8. Kensington Town Hall. Popular Concert, 3. St. James's Hall. Crystal Palace Concert, 3. DRAMA THE WEEK. OPÉRA COMIQUE. - 'The Panel Picture,' a Play in Four Acts. By W. Outram Tristram. ROYALTY.-' Pépa,' Comédie en Trois Actes, Par MM. Meilhac et Gaudrax. VAUDEVILLE.-Afternoon Representation: 'Rumour,' a Play in Three Acts. By John Strange Winter. MR. TRISTRAM has some dramatic gifts, including the rare gift of invention. He has, however, been misled in the selection of a subject, and his work is of a kind which needs the revision and compression of a practical hand. He has been impressed to a certain extent by the 'Histoire des Treize' of Balzac, though his work shows few, if any, signs of direct imitation. Subjects, however, of this class are not within the reach of a writer less powerful than Balzac, nor are they, indeed, suited to dramatic purposes. So far as we know, the fantastic and morbid episodes of the 'Histoire des Treize' remain unadapted in France, a country in which what seems susceptible of dramatic interpretation is not likely to be left slumbering. However this may be, Mr. Tristram has not in his latest work succeeded in hitting the public taste, and 'The Panel Picture' remains a product of wasted ingenuity. It is intricate, involved, improbable; the stage carpentry is clumsy, and the powerful ideas which the author has formed fail to find utterance. The struggle of the heroine between her love for her son and her regard for her own honour is well conceived, and furnishes opportunities for Around the heroine are, however, fantastic, and impossible figures which end in provoking the ridicule or the indignation of the audience, while nothing in the dialogue serves to elevate the situation. Lady Monckton succeeded in averting for a while defeat, and seemed at one time likely to snatch a victory. Other actors acquitted themselves fairly well, but the clouds darkened as the piece went on, and the result was calamity. an actress. So slight is 'Pépa' one wonders what could have promoted it to the Comédie Française, at which house it was first presented in October last. Even there, however, the spirit of innovation asserts itself, and a play which a few years ago would have been rejected as not serious enough for the Vaudeville or the Gymnase is now seen at the Maison de Molière. Nothing in it justifies its intrusion within those once sacred portals. None the less it is a pleasing trifle, giving a new aspect to the old story of quarrel and reconciliation, and presenting Horace and Lydia under new conditions of reunion after they have been divorced. Very skilful is the treatment and very clever is the satire. What, however, most as a performer in July. It was on the 23rd of ❘ recommends the piece is the admirably natural and brilliant interpretation it receives. As the niece of Ramiro Vaquez, a minister plenipotentiary from the Republic of Tierras Calientes, a fine specimen of the rastaquoère, Mlle. Reichemberg acts with supreme beauty, showing the aspects, petulant or gracious, of the girl in unsurpassable fashion. M. Febvre, M. de Feraudy, and M. Boucher resume also their original characters, and the whole representation is a lesson in art. The refinement and distinction of the performance are such as are not to be encountered elsewhere than in the Comédie Française. Mlle. du Minil, a member of the same company, takes the part of Yvonne de Chambreuil, first taken by Mlle. Bartet. The characters introduced in the new drama of John Strange Winter are outside the pale of sympathy. The intrigue is feebly conducted, and the termination is arbitrary and inconclusive. A strong situation is reached at the end of the first act, and a duel between two women might, with better treatment, be rendered effective. Jealousy should be introduced between the two heroines, who divide so much interest as the playgoer accords. Let the woman whose purposed flight with her lover has been arrested see in the action of her friend, to whom her salvation is due, an act not of womanly virtue, but of rivalry, and her subsequent action becomes conceivable. As things stand it is simply fiendish. That the hero meanwhile, villain as he is, should attempt to shoot a womana woman who is indifferent to him, and has only, to a great extent in self-defence, thwarted his schemes - violates common sense. The author, indeed, has erred principally in giving as a result of meditation or resolution actions only conceivable as the outcome of passion. There is stuff in the play which might be turned to account, but treatment entirely different is requisite. Miss Marion Terry and Miss Gertrude Kingston played the two heroines, the former actress being seen at her best. Mr. Dacre was earnest and resolute as the villain. An eccentric part of a garrulous old colonel was played by Mr. Gilbert Farquhar; and Mr. H. H. Morell and Miss Florence Wood presented a couple of young lovers of the most modern type. Bramatic Gossig. MR. R. B. BOSWELL, author of 'Metrical Translations' and other poems, is engaged on a translation of Racine's plays for "Bohn's Standard Library." The first volume is ready for the printer. THE testimonial to Mrs. Dallas Glyn, of which we spoke last week, is headed by Mr. Irving with a characteristically handsome donation. Miss Ellen Terry, Lady Theodore Martin, Mr. Hamilton Aïdé, Mr. Wilson Barrett, Sir F. Leighton, Mr. and Mrs. Bancroft, Mr. Beerbohm Tree, and Mr. G. R. Sims are among those who contribute to a fund which is already becoming large, though as yet far from adequate to the actress's claims upon the public. Miss Glyn is in her sixty-seventh year. 'THE BALLAD-MONGER' has been added to the programme at the Haymarket, and is nightly, played after 'The Merry Wives of Windsor. version of 'Gringoire' by Messrs. Besant and Pollock improves upon acquaintance. It has not previously been so well acted. Mr. Tree has carefully elaborated the character of the hero, and presents him now as capable of winning the love of an imaginative girl, which at first he was not. Mr. Brookfield's Louis XI. has also developed into a forcible piece of acting. Mrs. Beerbohm Tree gives a poetic representation of Loyse. In playing on the same night two characters so opposite as Falstaff and Gringoire, Mr. Tree finds one of those opportunities for displaying the range of his powers of which actors are naturally fond. 'ROBBING ROY,' produced at the Gaiety ten years ago, was revived at the same house for the benefit of Mr. Lonnen on Monday afternoon, with Mr. Terry in his original character. A miscellaneous entertainment was also given on this occasion. A SPECTACULAR ballet, entitled 'Our Army and Navy,' was given at the Alhambra for the first time on Monday. MR. JOHN LART has, it is said, taken the St. James's Theatre, which has been for some time unoccupied. A VERSION of M. Jean Richepin's comedy 'Le Flibustier,' by Mr. Archer Woodhouse, has been executed for Mr. George Alexander. The THE 'Passionsspiel' of Oberammergau, according to a Munich letter, will be played in 1890, when its regular decade recurs. The commune has resolved to make no important changes in the drama, although there will be some abbreviation and a few corrections. chief of the latter will be a sharper characterization of Judas, and the removal of some details which are thought to weaken the solemn effect of the crucifixion. The proposed alterations have been entrusted by the commune to Pfarrer C. Ettmayr, honorary canon of St. Cajetan. TO CORRESPONDENTS.-E. G. H-H. A. T.-W. R.-C. D. -J. Н. Р.-A. B.-F. A. W.-F. H. H.-A. S. B.-received. No notice can be taken of anonymous communications. STANFORD'S WORKS ON AFRICA. STANLEY'S ROUTE to EMIN PASHA. STANFORD'S NEW MAP of CENTRAL AFRICA, showing the Line of March taken by Stanley's Expedition, Emin Pasha's Province and the Coast Line on both sides of the Continent. Size, 26 inches by 22. Scale, 94 miles to 1 inch. Price-Sheet, 38.; per post, packed on roller, 3s. 6d; mounted to fold in case, 58.; per post, 5s 3d. STANFORD'S LIBRARY MAP of AFRICA, originally constructed by Dr. A. KEITH JOHNSTON, but Corrected to embody the Results of the most Recent Explorations. The possessions of the different European Powers and the various means of communication are carefully marked. For the study of the many questions of interest connected with this great Continent this Map is invaluable. Size, 65 by 58 inches. Scale, 94 miles to 1 inch. Price-Coloured Sheet. 45s; mounted to fold in morocco case, 73s. 6d.; mounted on rollers and varnished, 60s.; on spring roller, 120s. 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