:

the tender grace and ingenuous nervousness of the damsel, who-seated in that garden and under that tree of which Mr. Stone never tires-reads the missive to a patronizing friend, are charming points in a work which is " very sweetly pretty" indeed. Technically speaking the work is rather painty and not too warm in general tone; the colour is agreeable. -In Church (246), by Mr. C. F. Smith, may be called a Salon picture, so frequently do such works and subjects appear #1 in the great Parisian gathering. Apart from its hackneyed characteristics it is distinguishable by French cleverness and tact in picture-making, the able putting together and good execution of many of its parts, the good faces, and the soft general effect. It possesses some pathos.

C

in

No picture here excels in pathos the small, unpretending, but thoroughly well - painted "Never more!" (563) of Mr. J. H. F. Bacon, which shows the tap-room of a village beer-shop, when a letter announcing the death of his mother has been brought to a soldier while sitting at a table drinking and gossiping with two civilians. It would be difficult to improve upon the man's set eyes and heart-wrung expression, his hands and attitude, so natural and intense, without demonstrativeness, are they. Mr. Bacon deserves hearty praise for designing all the figures, including the doubting, half puzzled looks of the man's companions, which differ as they would in nature. The whole work is thoroughly good; the technique of the faces, hands, and dresses, the putting of the whole together, and the aptitude of the colour and light and shade are all first rate. "It is hard to understand why a hanging committee, however weary, could fail to find a place on the line for so creditable and touching a work as this. The same artist has sent The Village Green (672), to which we shall come by-and-by. -Mr. E. Long is not #more vigorous or fortunate in his larger Preparing for the Festival of Anubis (255) than in the very flabby 'Alethe' (66) which we have already mentioned. Many of Mr. Long's subjects have been good enough to attract an ■ uncritical public, and to a certain tact in choosing them he owes not a little of his popularity. What could have induced him very ancient version of the learned pig's achievements in fortune-telling is hard to guess at. There is no fibre in the conception, design, draughtsmanship, or handling per se of this very feeble effort to be sarcastic on the simpletons of the Nile. The fatuous way in which the spectators look at the learned jackal here depicted is relieved by a slight touch of humour in the mocking smile of the priest squatting on the ground. The white kirtle and other dresses are puriously unmeaning. In these matters Mr. Long has actually failed to rise even to the evel of his commonplace subject. It would have been an act of brotherly wisdom to have hung this picture out of sight. It was cruel so put it on the line. In the Bazaar at Tetuan 261), by Mr. J. E. Hodgson, the unlovely faces ind brawny and energetic forms of the Moors chaffering for garments are characteristic, so are the movements of the groups.

to select a

ind

The flesh is too red, and the work as a whole is too ruddy. The subject was hackmeyed, and the whole, despite some masculine qualities in the painter's art, is a mistake ind hardly worth his doing. This, Mr. Hodgon's sole contribution of the year, does not ustain a reputation which has been steadily Thising of late. - The charming Sun and Moon lowers (266) of Mr. G. D. Leslie we menfioned in general terms some months ago. Every one will admire its delicacy, sobriety, and modesty, its broad harmonies of light And colour, and the graceful freshness of the healthy English girls who sit in a room haded from the bright sun which blazes vithout. The spontaneity and grace of the ttitudes commend themselves to the spec

tator, who will not fail to appreciate the warm glow and soft effect, the clearness and propriety of the highly original chiaroscuro of the painter, and the fitness of the flesh tones to match the blue and white dresses. In Gallery II. is a very warm, soft, rich-toned, and harmonious landscape with figures, by this ever charming and healthy painter. It would take long to get from clever painters of what they have not felt or conceived anything approaching to the simple truth of the bright stream flowing under the bridge near the English roadside inn which figures in A Berkshire Millstream (107), where a broad, soft, and golden glow rules on the lofty downs that cross the sky in grand and simple lines. The naïve charms of this picture supplement the sweet and healthy grace of 'Sun and Moon Flowers,' which is undoubtedly the finest thing of its kind in the Academy. The New Frock (272) of Mr. Frith may be praised for pretty and apt sentiment, expression, and colour, but the attitude and design are awkward. The opaque yellowness and dinginess dingines of the complexion mar a face which, though of an inherent commonness of type, is true to nature and animated. Mr. Frith entitles No. 283, a pleasing portrait of a little boy, Walter Frith, ætatis suce 5. In it nature and the painter were at strife as regards the yellowness of the complexion, but they very happily agreed about the expression of the child's bright face. Of Home (285) it is our ungrateful duty to say that it is unworthy of Mr. Calderon. Mr. Calderon is, like several of the Academicians, represented by a single picture. -Mr. Bartlett's well-painted picture of Highland soldiers and their captive, a deserter who has lingered at home because his father is dying, called Absent without Leave (281), is commendable in all respects but the disproportionate bigness of the soldiers and the defective chiaroscuro of the whole. - Sir J. Gilbert, a master of picturemaking, has done himself justice in Pall Mall, and this makes us regret the haste and perfervid coloration of his sole contribution at Burlington House, Ego et Rex Meus (293), where rather awkward, loose-jointed figures of Henry VIII. and Wolsey supply the masses of rich scarlet and black needful for an exercise such as the painter knows well how to use. The swaggering monarch and melodramatic priest are delineated with blurred handling, and the disproportions are serious. - There is modesty in the good painting of the figure and careful interior in Mr. E. Harris's An Anxious Heart (314). Unluckily the subject is hackneyed. Mr. Watts, whose pictures at the New Gallery illustrate his resources and many moods of design, has sent to the Academy a complement to 'Good Luck to your Fishing' in "The habit doesn't make the monk" (318), a richly toned and tinted figure of a plump Cupid with vari-coloured wings half shrouded in a brown frock, and instinct with elfish laughter and mischief, knocking at a cottage door. The spirit of the design is charming, and the wanton urchin's glee could not be better expressed. Itisnoteworthy as the contribution of a renowned Academician who-in this resembling Sir J. Gilbert, and Messrs. Alma Ima Tadema, Armitage, Burgess, Brett, Brock, Calderon, Cole, Dobson, Gow, Herbert, Hodgson, Horsley, Le Jeune, Marshall, Orchardson, Pearson, Stone, and Stacpoole-has not claimed more than oneeighth of the space he has a right to in these galleries. As Messrs. Boughton, Dicksee, Fildes, Graham, Leslie, Marks, Poynter, Riviere, W. B. Richmond, Woolner, J. W. Waterhouse, and Yeames send only only two works each, it cannot be said that the Academicians and Associates are, as a body, greedy of opportunities to exclude other men. Eleven members abstain entirely, and only two send eight works each. Mrs. M. Stokes's mournful piece (358) of a young boy weeping at the side of his dead sister's coffin has genuine pathos, and the painting is good although in a rather loose style, affecting types of a sort common in the Salon; it ought not

to be overlooked where illustrations of that art of picture-making which is by no means often attained in this country are conspicuously scarce.-A capital comedy has been sent by Mr. F. D. Millet, being A. Van Corlear, the Trumpeter of "Knickerbocker" (378), a De Hooghish interior, with numerous well-painted figures, designed with rare spirit and spontaneity, abounding in humour, and well put together. It is one of the best illustrations of Irving that we know, and although there is a little metallic hardness about the surface, the colour is capital and the light and shade are good and true. The plump damsel who chaffs the trumpeter, and the latter worthy himself, are the best figures in a composition where, under modern refinements, we trace not a little of the riant energy of Jan Steen.Mr. A. C. Tayler's Confidences (387) is another good comedy. It is very clever throughout, has a good scheme of light and shade, and altogether is the happiest work in the style of M. de Blaas that we know. -The Venetian WaterCarrier (425) of Heer C. van Haanen, with a copper pot slung on her shoulders, has a complexion like golden bronze, and that solid morbidezza which has so often charmed us in his plump Venetian wenches that we are getting a little tired of their exuberance. Its animation and able though somewhat mannered and unusually slight handicraft are noteworthy characteristics of a thorough painter, whose industry is beginning to flag.

or

One of the entrances to Gallery VI. is marked at its respective sides by pictures which are noteworthy in themselves, and form a strong contrast to each other, while neither attests its painter's advance in studies persistence in labour. They are the Banks of Allan Water (535) of Mr. H. Schmalz, and the Death of Procris (629) of Mrs. H. Rae. The design of the former leaves us uncertain (apart from the ballad in question) whether the feverish and hysterical lady sitting on the grass near the fatal stream means to swoon or drown herself, or merely laments a lover drowned. Of course she is simply acting desperation, and the emotion of the figure is a sham. There are agreeable suggestions of colour and pearly hues in the grey dress she wears, but these cannot redeem a flabby invention. On the other hand, No. 629 is a good and original design inadequately carried out by a lady whose thorough studies and accomplishments promised better things. The figure of Procris, whose back is towards us, deserved better drawing, and her draperies ought to have suited her form more truly, and thus given energy where much is lost for want of it. The foliage is of a disagreeable green, and betrays the lamp. The Fame (456) of Mr. E. B. Leighton is one of those sentimental anachronisms which, although tolerable while a painter is at once young and laborious, only provoke regret when a veteran wastes his energies on them. Mr. Leighton has expended respectable skill and much toil on a melodramatic subject of a harper chanting to a number of allegorical Germans, grouped as in a "set piece" for the stage to match each other in an elaborate composition, while not one of them seems really alive to the circumstances amid which he appears. Incomparably more spontaneous, sincere, and artistic is Mr. J. Charlton's Incident in the Charge of the Light Brigade, Balaclava (458), in which riderless horses from the first charging line, meeting the second, turn and charge again with them. It is a fine design, full of spirit, and marked by several profoundly pitiful incidents. The horses, though a little rough in painting, are first rate in design and drawing. This capital picture is quite worthy of that fine and original picture of riderless horses approaching a river which, at the Academy of 1887, was called 'Bad News from the Front.'

Another excellent picture of a dramatic incident sincerely and vigorously designed, and painted with force and skill, is Mr. H. S. Tuke's

All Hands to the Pumps (464), the deck of a sinking ship nearly level with the sea, which breaks inboard, while the men cease pumping, because the look-out descries help coming. The slowly labouring hull, the furious gale that tears the sails, the faces and actions of the men, and, indeed, every part of the work, are both masculine and true. - Nutting (474), by Mr. F. Morgan, is painty, as his works are generally, but the children's faces are excellent. - Nooning in the Hop Garden (475), a landscape with figures, is far below the level of Mr. David Murray. In paintiness and crudity, heavy touch, awkward composition, and the foulness of its half-tints it resembles one of the inferior works of the late Mr. Cecil Lawson. The clever Scottish painter will surely never be guilty of anything like this again.- The Card-Players (494) of Mr. H. Fisher, old peasants gambling in a cottage, is so heavy with paint as to be only half redeemed by its good flesh painting, tolerable expressions, and just feeling for colour. The subject is bad, and Mr. Fisher's call to paint it is not evident. It is a pity Mr. E. Long is so often in evidence at this exhibition, seeing that his designs are weaker than ever, and his execution, which formerly aimed at the appearance of finish, is now-vide the raising of Jairus's Daughter (503) - very rough, thin, and obviously slight. The affectation of correctness in the costumes and architecture, and of aptitude in the faces of Christ and the dead woman, is not agreeable. The arrangement of the colour and light is artistic in a mild way, but does not compensate us for the feeble commonplace of our Lord's action and face, the tameness of the damsel's. The Festa (514) of Mr. S. M. Fisher, though not without merit, makes us feel how tired we are of strapping Venetian wenches. Mr. F. Goodall was, if we are not mistaken, the first Briton who recognized the "paintableness" of these women. As no one has contrived to improve upon Heer van Haanen's mode of dealing with them, we hope it has been reserved for Mr. Fisher to close their artistic careers.

He

groups his figures, lights, shadows, and colours

well.

PICTURES IN THE WASHINGTON LOAN EXHIBITION, NEW YORK.

New York, May, 1889.

Washington referred in a letter to the Rev. Jonathan Boucher (now in possession of the latter's grandson, Mr. Frederick Locker-Lampson of London) in which he says:

"Inclination having yielded to Importunity, I am now, contrary to all expectation, under the hands of Mr. Peale; but in so grave-so sullen a mood-and

now and then under the influence of Morpheus,

when some critical strokes are making, that fancy

that the skill of this Gentleman's Pencil will be put to it in describing to the world what manner of man

I am." The artist has made out of this somnolent gentleman of forty a dashing, gloriously attired young British officer, apparently rushing into battle, his pock-marked face smooth and rosy as an apple. It is the frontispiece of Sparks's 'Life of Washington. The same artist must be forgiven, however, because he painted Washington seriously and successfully. Once when he was painting Washington, during the Revolution, a messenger broke in on the sitting with a despatch. Washington glanced at the paper, dismissed the messenger, and went on for a half-hour with a silent sitting. The despatch had announced the capture of Burgoyne, but the tremendous and joyful news did not move him. Peale the elder Peale as he is called, to distinguish him from his son Rembrandt Peale has been somewhat eclipsed by Gilbert Stuart, who was a finer colourist. This is a misfortune, for Gilbert Stuart did not paint Washington until he had lost his teeth, and replaced them with a rude set now shown in a dental museum at Baltimore. Washington appears to have sat to Gilbert Stuart with and without these teeth; in every case the mouth is bad-puffed out or flattened. The flat mouth has somehow become the favourite, and we now see it on every house side, in every shop window, framed in flags, in its conventionalization curiously resembling some sacred figure displayed at Hindu festivals. One feels that the Washington of the popular portraits never existed, and, indeed, the like may be said of his normal literary portraiture.

But there are two portraits and a bust in the exhibition which impress one with a feeling that they are real. One of these is a miniature by John Ramage (1789). The cheeks are almost hectic in colour, but thin to haggardness; the clear grey eyes are very lifelike. Washington's diary records: "Oct. 3 [1789]. Sat for Mr. Ramage near two hours to-day, who was drawing a miniature picture of me for Mrs. Washington." This Irish artist died soon after. In the Century Magazine for April incidental mention was made of the complete disappearance of this picture, which attracted the attention of some one in Canada who had purchased the miniature in 1884 from a Mrs. Kennoe, who says it was presented to her father by the artist. As Washington says Ramage painted it for Mrs. Washington, it looks as if this lady had not ad

mired it. Possibly it was not flattered enough. But its honesty is confirmed by the bust to which I have alluded. Near the close of Washington's life a sculptor named Eckstein travelled to Mount Vernon and begged permission to make a small bust of the general. It is exhibited by Frederick McGuine, of Washington City. Only a third the size of life, it yet gives an idea of the largeness of the man of his architecture, so to say. The impression is that of a Goethe of the frontiers. The forehead of Goethe vaults above a deep-set eye and hollow cheeks, the face being here, as in the Ramage picture, long instead of

that square with rounded corners which has been

conventionalized. Another noticeable portrait belongs to a clergyman of Brooklyn (Rev. Mason

Gallagher), for whose grandfather it was painted

by C. W. Peale. It is especially valuable as presenting the natural mouth, which was not without sweetness. This picture will, for the first time, be engraved for the volume of 'Mount Vernon Letters' (150 unpublished letters of Washington) which the Long Island Historical Society is about to publish. And this reminds me of another of the many curio

sities of our patriotic portraiture. The Hu torical Society's volume will contain a portrait Washington's only sister "Betty Lewis," from large picture by Copley, now at Marmion, Ku George County, Virginia, where her descendar reside. This portrait is engraved in Spari vol. i. p. 106, where it is said to be by Woola ton, and called Martha Washington general's genera wife). Whoever the artist, it was cer tainly never meant for Mrs. Washington, many surrounding portraits of this lady atter. Sparks, by the way, has misled us in the past historical ways also, among others by adopti and printing in full a pedigree tracing the Vir ginia Washingtons to the Northamptonshir family. Col. Joseph Chester proved ('New En land Hist. Genealogical Register, 1867) that non: of that family ever emigrated. Washingto seems to have received the pedigree from the Heralds' College and used the coat of arms (now cited to prove the descent, as I suppose the use of De Kertbusne as a name of one of the young Washingtons, now here, will one day be cited !).

The most beautiful work of art in the exhibi

tion is a portrait of "Nelly Custis," Mrs. Waal ingt ington's granddaughter adopted by the general It is half length, seated, chin on hand, and per haps as pleasing a piece of work as Gilbert Stuar ever achieved. There is an admirable portra of Patrick Henry, by Thomas Sully, from a miniature made from life (exhibited by Henry grandson, a leading Virgina lawyer). An excel lent work by John Singleton Copley enables us to make the acquaintance of Mr. and Mrs. Ralph Izard, of South Carolina. Izard inherited estates in England, and settled in London (1771); but his sympathy with the colonies led him to leave, and he became an American revolutionist and Senator. Another and greater man, Alex ander Hamilton, also born under the British flag, is shown here in two full-length portraits (Weimar and Trumbull). That of Trumbull gives one an impressive idea of Hamilton-eloquent, generous, acute, a man to be thorough in anything. The two handsome statesmen around Washington were evidently Edmund Randolph and Chief Justice Jay. The portrait of the former, by an unknown artist, is exhibited by Edmund Randolph Robinson, great-grandson of the famous first Attorney-General. It is a most noble countenance. The portrait of Jay is by Gilbert Stuart, and shows us a notably retined face. Among the pictures one is particularly glad to find here is that of Thomas Stone, signer of the Declaration of Independence, and author of the Constitution of Maryland. When Trumba painted the great picture of the 'Signing of the Declaration, now in the United States Capitol, he omitted Stone and put in Livingstone, who was not even present when the signing occurred. Stone is a serious-looking gentleman. There is

a

but not

portrait

of Jeffersca

unique contemporary (C. Peale W. Peale) exhibited by Prof. March, the philologist. It shows the famous President to have been a very different man from what most people suppose him-rather smarter in dress, more blonde, and of greater physiognomical peculiarities.

Among the treasures of the exhibition are three important portraits of Franklin: the Duplessis (exhibited by John Bigelow, Franklin biographer); the Desnoyers (?), an oval pastca owned by Mr. Barlow; and C. W. Peale's por trait, by which Franklin is generally known and which is owned by Mrs. Joseph Harris of Philadelphia. A picture, by the same artist, of Washington has much historical interes During the battle of Princeton a cannon bl went through Nassau Hall and beheaded a ture of George II. Washington sent the colle from his own purse 250 dollars to restore th portrait. The money was used to paint himsel with his friend General Hugh Mercer dying his side, and Nassau Hall in the backgrou The portrait of the brilliant Hugh Mercer sa good piece of drawing

M. C

SALES.

MESSRS. CHRISTIE, MANSON & WOODS sold in the 24th ult. the following drawings, from arious collections: E. Lundgren, The Sultana, 61. S. Prout, Grande Place, Rouen, 90l. G. Chambers, Signalling a Pilot, 941. L. Alma Padema, A Roman Artist, 1521. B. Foster, Venice, from the Giudecca, 2571. Carl Haag, The Coblentz Maid, 841.

The same auctioneers sold on the 25th ult. the following pictures from the collection of the tate Mr. H. Hill: J. Israëls, A Fisherman's Cottage, 173l.; Children with a Boat, 2671. 1. M. Strudwick, Isabella, 3781.; Passing Days, 115l.; Love's Music, 315l. G. Cole, The Harvest Vaggon, 162l. H. W. B. Davis, The End of he Day, 162l.; After Sunset, 2671. R. W. Iacbeth, A Fen Flood, 178l. P. R. Morris, The Sons of the Brave," the Orphan Boys of oldiers' Royal Military Asylum, Chelsea, 750l.; The Reaper and the Flowers, 183l.; Cradled in Lis Calling, 210l.; The End of the Journey, 731. W. Q. Orchardson, Hamlet and the King, 336l. J. C. Hook, Friends in Rough Veather, 5041. G. Mason, Blackberry Gatherg, 1,480l. F. Walker, The Right of Way, F. Holl, Leaving Home, 5561.; The First

971.

Dorn, 3041; Deserted, 3571.; The Wide, Wide Vorld, 330l.; Newgate, 388l; The Seamstresses, 991.; Going Home, 267l.; "The Lord gave, nd the Lord hath taken away," 210l.; A DeFerter, 420l.

The same auctioneers sold on the 27th ult. The following. Engravings: After Sir E. Landeer, by T. Landseer, The Stag at Bay, 42l.; The Monarch of the Glen, 52l. Drawings: C. Rosalba, The Triumph of Silenus, and the comDanion, after Rubens, 341.

At the auction of M. Cabanel's pictures, which

Sccurred at the Hôtel Drouot on the 25th ult., his Cléopatre essayant des Poisons brought 20,000 fr.; Première Extase de S. JeanBaptiste, 12.500 fr.; Le Triomphe de Flore small), 3,000 fr.; Vie de S. Louis (reduction of a decoration at the Panthéon), 10,000 fr.; Vénus Victorieuse, 5,000 fr.; and other works smaller prices.

fine-Art Gossip.

THE obituary of the 14th ult. records the Heath of Mr. Walter Goodall, the well-known water-colour painter, born November 6th, 1830, youngest son of the late Edward Goodall, engraver, and brother of Mr. F. Goodall, R.A., and Mr. Goodall, of the "Old Society," with which

.A.

body the deceased had been connected since 1854, when he was elected an Associate-Exhibitor. He xhibited at Pall Mall in that year 'The Water ilies,' 'The Lesson,' and 'The Refreshing Draught.' In 1862 he became a member of the Society, and had already attained a considerable position in his profession. He was a pupil of

he old School of Design at Somerset House and he Royal Academy. He made many drawings rom pictures in the Vernon Gallery to be angraved in the Art Journal. His first appearince as an exhibitor was at the Academy in 852, when he sent drawings of 'A Young Lady, Study from Nature,' and 'A Young Lady.' Since this his works were confined to the gallery n Pall Mall. Mr. Gambart bought and pubished many of his drawings. About fourteen wears since he experienced a severe attack of paralysis, from which he never fully recovered. During the last few years he was quite unable to pursue his profession. He died at Clapham, hear Bedford, and has left a widow and three Children.

MR. W. BISCOMBE GARDNER exhibits at 32A, George Street, Hanover Square, black and white drawings made by him in North Wales, Devonshire, and Surrey. The collection is to remain on view from to-day (Saturday) till the 15th inst. ORIGINAL sketches made in the Himalayas and Cashmere by Mr. A. Scott will be exhibited by

the Fine-Art Society from Monday next. The private view is appointed for to-day (Saturday). THE death is announced of Mr. John O'Connor,

the well-known and able scenic artist, long occupied at the Haymarket and Court Theatres, and especially renowned for drop-scenes of great beauty and fine taste. He was also employed

on the Cambridge Greek plays. Mr. O'Connor was in the fifty-eighth year of his age, and possessed some distinction as a landscape painter both before and since he devoted his skill and poetic feeling to scene-painting. He was since 1853 a frequent exhibitor at the Academy, British Institution, and British Artists' galleries, chiefly at the first-named place. He was an Associate of the Royal Hibernian Academy.

MESSRS. P. & D. COLNAGHI, who bought G. Mason's 'Blackberry Gathering, 1871, at the sale of Mr. H. Hill's pictures, intend to engrave that work.

THE fifth continental trip of the Leland Club will commence on Tuesday next, and, as heretofore, be under the guidance of Mr. George R. Wright, F.S.A., and Mr. John Reynolds, of Bristol. The banks of the Loire will form the chief scene of the peregrinations of the Club, and visits will be paid during during the fortnight's trip to Orleans, Blois, Tours, Loches, Saumur, Nantes, Angers, Chartres, and Versailles.

THE death is announced of M. Eugène Véron, the editor of L'Art and for many years a wellknown journalist in Paris.

MESSRS. CASSELL'S Seventh Annual Exhibition

of Original Drawings in Black and White will be opened on Thursday, the 6th of June, at the Memorial Hall, in Farringdon Street.

NEAR Orbetello have been found the remains

of the citadel (oppidum) and of the necropolis of the ancient Etruscan city of Talamone; while near Chieti the necropolis of the ancient Teate Marrucinorum has been identified, and many inscriptions found. In the ancient necropolis

of Gabii has been unearthed a rare tomb of the seventh century B.с., made out of an enormous oak trunk, in which was found a skeleton with inscribed cups of local manufacture and vases rought from the East. The excavations at brought Corneto-Tarquinia, another Etruscan necropolis, are just now yielding painted tombs containing numerous bronze and fictile vases.

THE Greek Government has seized and sequestrated at the Pireus several boxes full of antiquities ready for secret exportation to Marseilles. Besides terracotta statuettes, bronzes, marble capitals, polychrome marbles, and sepulchral inscriptions, there was an object of great value and exceptional character. This was a kind of marble disc, on which was painted a portrait, now much faded, round which ran the inscription, Μνῆμα τόδ' Αἰνέου σοφίας ἰατροῦ ἀρίστου, in archaic letters and spelling. This is very likely the same personage mentioned by Stephanus Byzantinus (in speaking of the island of Cos and the descendants of Esculapius), who was one of the three sons of the physician Gnosidikus, and flourished at the time of the Persian war. Near the long walls at the Piræus an archaic sepulchral inscription has been found in which are read the names of Lamachus and Paiôn. THE Salon will be closed definitively on the

20th inst.

MUSIC

THE WEEK.

brief record is all that is required. The rendering of 'La Traviata' on Thursday last week was chiefly remarkable for the admirable singing of Miss Ella Russell as Violetta and the failure of M. Talazac as Alfredo. The favourite tenor of the Paris Opéra Comique uses what is left of his voice with much judgment, but his powers are distinctly on the wane. A good general performance of 'Aïda' was given on Saturday. Dramatically Madame Valda as the heroine was not particularly powerful, but she sang extremely well, and Signor A. d'Andrade improved his position as Radames by artistic singing and refined, intelligent acting. Signor F. d'Andrade as Amonasro and Madame Scalchi as Amneris were admirable, and the opera was mounted with much splendour.

On Monday 'Les Pêcheurs de Perles' was repeated, and on Tuesday 'Mefistofele' was given with a fair, but by no means a remarkably good cast. Signor Castelmary being unable to appear, the leading part was taken at short notice by Signor Novara, whose efforts under the circumstances do not challenge criticism. Signor Massimi, the fourth new tenor this season, did not create much effect, and is certainly lacking in the physique necessary for so large a stage. Miss MacIntyre's Margherita was vocally admirable and dramatically promising, though she has not yet fully conquered her awkwardness of manner. The effect of the fine

chorus in the Prelude was ruined by the noise behind the scenes, but the mounting of the opera calls for unreserved praise.

The important alteration of style which has been noticeable in Dr. Hubert Parry's recent works is conspicuous in the Symphony in c, which was produced at the Philharmonic Concert on Thursday last week. It is scarcely correct to describe it as written for small orchestra, as the score contains the full modern complement of instruments save trombones. Though not so designated by the composer, its proper title would be the 'English' Symphony. There can be as little doubt that Dr. Parry has given the themes a national colouring with intent as that he designedly imitated the style of Handel in his air "God breaketh the battle" in his oratorio 'Judith.' In the first movement we are conscious of a sense of brightness and vigour, but, with the exception of the second subject, the thematic material is not remarkable. The slow movement, andante sostenuto in A minor, appeared at a first hearing the weakest portion of the work. There is still a suggestion of

Handelian or old English melody, but it is too long drawn out to be in keeping with the rest of the symphony, though the delicate and piquant scoring deserves praise. In the third movement, allegro scherzoso, we return to the frank, animated style of the first section; and the same ingenuous, unaffected manner is preserved in the theme with variations which forms the finale. As the variations are twelve in number some contrast in the tonality would

ST. JAMES'S HALL.-Philharmonic Concerts. Sir Charles Halle's Concerts. Señor Sarasate's Concerts. M. de Pachmann's Recital. Bristol Orpheus Glee Society. PORTMAN ROOMS.-The Handel Society.

SINCE our last notice there has been but one further début at the Opera, and, as only well-known works have been performed,

composer has managed to avoid monotony, and the general conciseness of his symphony and the interest of the structural details prevent a sense of weariness. The audience found no difficulty in following the music, loud applause after each movement and

two recalls at the close testifying to the general appreciation of the work. Dr. Hubert Parry has now conquered the tendency that was at first observable in his music to follow subserviently the lines of the modern German school, and he will do well to remain, at any rate for the present, in the path he is pursuing with so much success. The second appearance of the Belgian violinist M. Isaye was on the whole more artistically successful than the first. His mannerisms were less apparent in Mendelssohn's concerto than in Beethoven's, and except for a want of brightness and clear intonation in the finale there was nothing at which to cavil in his rendering of the former work. Mlle. Janotha gave her refined and thoughtful reading of Beethoven's Pianoforte Concerto in G; and the instrumental portion of the programme was completed by Mozart's 'Le Nozze di Figaro' and Weber's 'Jubilee' overtures. Herr Carl Mayer gave an expressive rendering of Wagner's "Blick ich umher" from 'Tannhäuser.'

Sir Charles Halle provided an extremely interesting programme at his third concert on Friday last week. It commenced with Tschaïkowsky's Trio in A minor, Op. 50, inscribed " à la mémoire d'un grand artist." This is a highly elaborate and original work, and on the whole extremely effective, its only defect being its excessive length. The variations which form the slow movement are full of character and clever effects, and the close, in the style of a funeral march, is impressive. Sir Charles Halle's solo was Wagner's so-called 'Album' Sonata in A flat, composed in 1853 and published in 1877, but not hitherto performed, so far as we are aware, in London. It consists virtually of a slow movement with a quick intermezzo, the principal section recalling in some of its phrases the later manner of Beethoven. Of Wagner's own style there is not much, but a reminiscence now and then may be detected. On the whole, the piece cannot be said to have very great value, but it was worthy a hearing if only as a curiosity. The next item was Brahms's new Sonata in D minor for piano and violin, Op. 108, for the first time at these concerts. With Madame Néruda as the violinist, it was, of course, heard to the fullest advantage, and the favourable impression previously conceived of it was more than confirmed. Brahms has never penned anything lovelier than the second movement, and the brevity and conciseness of the work are all in its favour. This excellent concert ended with Beethoven's Trio in E flat, Op. 70, No. 2.

Señor Sarasate provided a somewhat curious programme at the first of his chamber concerts on Saturday afternoon. The first item was announced as Duo Concertante for piano and violin by Weber. As musicians are aware, there is no such work, and the duet was that for piano and clarinet, Op. 48. We fail to perceive any justification for transcribing the clarinet part for violin, and in fact it could not be done exactly, the compass of the two instruments being the same. Señor Sarasate deserves more credit for giving a hearing to Raff's Sonata in a minor for piano and violin, Op. 78, though the work itself has no very great value. Schubert's Rondeau

Brillant in B

Dvorak's Slavonic Dances completed the list of duets. How the Spanish virtuoso played there is no occasion to state. The pianist was a new-comer, Madame Berthe Marx. She has a sound technique, but her style is cold and passionless. Her rendering of Chopin's Barcarolle in F sharp was singularly inexpressive and perfunctory.

The first of M. de Pachmann's Chopin recitals did not attract such a large audience as might have been expected; but those who attended were well rewarded, forthe Russian pianist has never been heard to greater advantage. That he excels as an interpreter of Chopin's music has long been admitted, and on the present occasion he not only rendered the masterpieces in the programme to perfection-such as the Sonata in B flat minor, the Ballade in G minor, and some of the smaller items-but he invested with beauty others which as usually performed are tedious and uninteresting. We have on former occasions noted the ability of M. de Pachmann to give significance to such an apparently uninspired piece as the Allegro de Concert in A, Op. 46, and this was once more perceptible. His performance was the more enjoyable because he has to a considerable extent succeeded in conquering his mannerisms. The recital was an unqualified success.

common.

The artistic success of the Bristol Orpheus Glee Society's performance in St. James's Hall on Tuesday evening was very great, though we fear the financial loss must have been considerable, for the audience was lamentably small. This was due to several causes. Just at present there is a plethora of concerts, and not only were the merits of the Bristol choir unknown to the general public, but unaccompanied singing by male voices is by no means a popular form of musical art in this country. A few of the old-established glee clubs still survive, but they rarely, if ever, give public concerts, and large male-voice choirs are not at all In France and Germany they take the place of our mixed choral societies, and an extensive répertoire of music by highclass composers is at their disposal. This repertory was to some extent drawn upon by the Bristol singers, the examples of our best English glees being very few in number. So far from complaining of this, we think the title of the society might be altered with advantage, as the glee is, strictly speaking, a composition in which only one voice should be employed to each part. The choir is in a state of perfect training, thanks to its intelligent conductor Mr. George Riseley, and the observance of the nuances, the absolute precision of the eighty voices, and the beauty of the phrasing received enthusiastic recognition from the sparse audience. We said above that the repertory of the French Orphéonists and the German Männergesangvereine formed a portion of the programme, but it is only fair to add that thirteen of the twenty-one pieces were by English composers. Among the glees were

Cooke's 'Strike the Lyre e' and Horsley's

compositions, 'The Martyrs of the Are and 'The Retreat,' were magnificent rendered, and so was Genée's clever 'Ital Salad,' the solo part of which was unde taken by Mr. Harper Kearton. We fe the Hospital Sunday Fund, to which profits accruing from the performance we to have been devoted, will not derive mu benefit; but if the Bristol choir pay anoth visit to the metropolis at a less busy seaso they will certainly attract more attention.

The concert given by the Handel Socier on Wednesday evening was excellent as re gards the selection of works. The sodey has considerably enlarged since its last prlic performance, and now numbers nearly two hundred vocal and one hundred instru mental members, more than half the latter being ladies. Handel was represented a the programme by his music written ix Smollett's drama 'Alceste,' which was never performed, nor is it likely that the music hel ever been heard in London until Wednes day. The composer, finding there was chance of the play seeing the light, used much of his share in the work in his cana 'The Choice of Hercules,' which, however, is equally unknown in the concert-room The Handel Society, therefore, did goed service by the revival, and should be ecouraged to continue its labours in the same direction. There is certainly no lack of material to work upon. Another importan: item in the programme was Bach's Magnificat in D, the difficulties of which were, on the whole, fairly overcome. An exceeding y creditable rendering was given of Mozart's 'Hafner' Symphony in D, and Dr. Hubert Parry's fine ode "At a solemn music" pleted the scheme. Mr. F. A. W. Docker conducted with much ability.

Musical Cossiy.

com

THE non-appearance of Mr. Lloyd at the Richter Concert on Monday deprived the per formance of any special interest, and it was in the main a repetition of the previous Monday 3 concert, though Beethoven's 'Pastoral'Symphory replaced the Liebesduett from 'Die Walkure.

There was again an overflowing attendance.

THERE is a prospect of a second visit to Londea of Herr Angelo Neumann and his 'Ring des Nibelungen' company. Taking into considerstion the greatly increased popularity of Wagner s works since 1882, there is little doubt that, given a suitable theatre, reasonable prices, and good performances, the venture would prove a sub

stantial success.

THE full list of soloists for the grand perfor ance of 'Elijah' at the Crystal Palace on the 22nd inst. is now arranged. The principals are Madame Albani, Madame Patey, Mr. Lloyd, and Signor Foli, and the subordinates will con sist of Miss Emily Squire, Miss Jessie King, Mr. Maldwyn Humphreys, Mr. Ffrangcon Davies, and Mr. Plunket Greene.

THE Bristol Society of Instrumentalists, the establishment of which we noted some montie ago, gave its first concert last week at the Colsten Hall, under the direction of Mr. George Riselej The orchestra consisted of 146 players, and local journals speak in very favourable terms the performance, which included one of Mozarts

symphonies

A LARGE number of concerts has been give

during the past few days, which at a les bor

time would have commanded more attent to give them. Am

than it is now possiblerformance of the he sington Symphony Society at the Addis

Hall, and Miss Marian McKenzie's concert at Dudley House, on Friday last week; Mr. Padel's chamber concert at 15, Portman Square, and Mr. Brereton's vocal recital at the Princes' Hall, on Monday; Mlle. Janotha's pianoforte recital t St. James's Hall, and Miss Frances Smith's Concert at the Princes' Hall, on Tuesday; the econd concert of the Musical Guild and the

Final performance this season of the Westminster Orchestral Society, on Wednesday; and the Concert of the Royal College of Music on Thurslay.

■THE municipality of Genoa has decided that he name of Verdi shall be given to the institute of music in that city.

THE score of Herold's first opera, 'La Giorentù di Enrico Quinto,' composed at Rome in 815, has just been published.

CONCERTS, OPERAS, &c., FOR NEXT WEEK. Sox. Madame Puzzi's Annual Concert, 3, St. George's Hall.

UES.

-2

Miss Hanna Marie Hansen's Pianoforte Recital 3 Princes' Hall.
Mile. De Bunsen's Annual Concert, 3.30, 19, Harley Street.
Miss Enaelie Lewis's Annual Concert, 8, Steinway Hall
Mr. Ernest Walcot's Benefit Concert, 8, Bloomsbury Hall.
Concert by the Primrose League Choir and Orchestra, 8.15, Port-
man Rooms.

Royal Italian Opera, 8.30, 'La Sonnambula.'

Richter Concert, 8.30, St. James's Hall.

Mr. Hollins's Pianoforte Recital, 3. Princes' Hall.

Miss Dorothy Foster's Concert, 3.30, Steinway Hall.

Miss Fusselle's Concert, 8, Princes' Hall.

Madame Madge Inglis's Pupils' Concert, 8, Steinway Hall.
Kensington School of Music Concert, 8.

Royal Italian Opera, 8, Aida.'

Her Majesty's Theatre, 8.30, La Sonnambula.'

VED. London Acad my of Music Concert, 2.30. St. James's Hall.

Mr. Oberthür's Concert, 3, Princes' Hall,
Royal Italian Opera, 8.30, 'Le Nozze di Figaro'

Mrs. Francis Ralph's First Concert, 8.30, 155 New Bond Street.

HURS. Miss Alexandra Ehrenberg's Concert, 3, 99, Harley Street.
Miss Emma Barker's Concert, 3, 7. St. James's Square.
Signorina Tua's Concert, 3. Princes' Hall.
Philharmonic Concert, 8, St. James's Hall.
Royal Italian Opera.

FRI

AT.

Sir Charles Halle's Chamber Concert, 3, St James's Hall.

Señor Sarasate's Concert. 3. St James's Hall.

Mr. Bonawitz's Historical Recital, 3, Princes' Hall.
Royal Italian Opera.

DRAMA

THE WEEK.

guilt. In order to make out a case against herself, Kate has been compelled to make the very woman she seeks to protect see in her a rival; to write to a man she despises and loathes a letter, every word of which is an apparent avowal; and to come downstairs at an unwonted hour of the night and place herself in apparent intercourse with the assailant of her brother-in-law's dove-cot. These are hard things to do, and the method of doing them is far from satisfactory. By hook or by crook, however, a strong interest is got together, and the play to the spectator who yields himself up to illusion is quasi-tragic. Another difficulty, perhaps the gravest of all, is now encountered. When the treatment should be heroic it becomes pretty. The woman unjustly suspected, who should show her ascendency over the pitiful, jealous, obstinate man she has married, comes "like Niobe all tears" to steal into the house from which she is banished, and obtain a glimpse of the child she is forbidden further to know. She comes in almost like Lady Isabel in 'East Lynne,' and cries and goes down on her knees to the doll of her infant.

Whether the fault is in the conception or the interpretation we will not say, but these scenes carry with them no conviction. They are, from the domestic standpoint, played in effective style by Mrs. Kendal. We feel, however, that a wife such as Mrs. Kendal presents would be delighted with her husband's assumptions of jealousy and indignation, and would treat him as Lady Gay Spanker treats her dear Dolly when that young gentleman has been roused to selfassertion. Much of the interest is frittered

T COURT.-'A White Lie,' a Play in Three Acts. By Sydney away in the attempt to make capital out of

Grundy.

VAUDEVILLE.-Afternoon Representation: The Farm by the Sea,' a Drama in One Act, from the French of André Theuriet. By Frederick Wedmore.

STRAND.-Afternoon Representation: 'The Scarecrow,' a Comedy in Three Acts. By Charles Thomas.

TAKING as the basis of his play a fantastic conception of Ibsen's, Mr. Sydney Grundyhas shown in 'A White Lie' the consequences that may attend the assumption, with the best of motives, by one woman of another woman's fault. Not very difficult of accept#ance is the moral he preaches. His arguments are, however, so involved and so far From conclusive that we are inclined to class him with the hero who calculates

what hour o' the day

The clock doth strike by algebra.

That a good-hearted and fairly prudent woman, seeing her sister-in-law so hard pressed that proof of something all but unfaithfulness is in her husband's possession, should claim as hers the compromising documents over which the husband broods, is easily Conceivable. Her character is unassailable, and a word of explanation will make matters right. Mr. Grundy, however, proposes to punish with signal suffering this act of friendship. Here the difficulty comes in. The preliminary steps are easy. George Desmond, the husband of the heroine, is in point of jealousy an Othello. Kate Desmond has hidden from him the fact that Capt. Tempest, whose acquaintance she has just with much reluctance renewed, is an old "flame" to whom she was once betrothed. When he starts for America, accordingly, he is disposed to be suspicious. He returns on the very day when Kate has

the child. The first act would end appropriately if, when mother and child are waving their handkerchiefs to the departing husband and father, the mother simply sank by the window in a paroxysm of tears, and the short business with the piano that follows were excised. The fall of the heroine at the end of the second act is a concession

to convention, and the scenes with the doll in the third act are weak and dispiriting. With all its faults 'A White Lie' is almost a good play. A littie resolution on the part of the author would make it effective.

Mrs. Kendal acted splendidly. In emotional powers and in domestic pathos she has no superior, if she has an equal. It is doubtful whether any other actress could have hushed the audience into interest in the third act. Mr. Kendal as a sleepy husband who combines the attributes of Sir Charles Coldstream in 'Used Up' with those of John Mildmay in 'Still Waters Run Deep' played with excellent effect. Miss Olga Brandon gave a finished and telling picture of the wife who is all but faithless, and revealed in full measure the abilities with which she has been credited. Mr. Dacre was natural and persuasive in the difficult role of the " designing lover."

Mr. Wedmore's adaptation of M. Theuriet's rendering of Auld Robin Gray' is, like the French original, pathetic, idyllic, and depressing. With the best acting it might commend itself to a public that has had more than one chance of seeing Madame Bernhardt as the heroine. Miss Marion Lea, who now essays the part taken by

taken on herself the burden of his sister's | Madame Bernhardt, shows very agreeably the

Dramatic Gossip.

A SEASON of French plays began at the Gaiety on Monday with the revival of 'L'Aventurière' of M. Émile Augier. On following days 'Les Surprises du Divorce, "Frou Frou,' 'L'Etrangère,' 'Mile. de la Seiglière,' and 'Don César de Bazan' were performed. Much interest attends the conjunction of Mlle. Hading and M. Coquelin which has been brought about; in other respects the performances differ little from those at the Royalty. Mile. Hading, whose forte is the expression of domestic pathos, was not at her best as Clorinde in 'L'Aventurière,' a part decidedly outside her scope. She took a full revenge, however, in subsequent performances. M. Coquelin meanwhile is not likely to go beyond his Don Annibal, of which he is the best exponent since Regnier.

WITHDRAWN from the Gaiety to make room for the French plays, 'Faust up to Date' has been given during the week at the Grand Theatre. At this theatre in July Mr. Wilson Barrett will give a few farewell performances

previous to quitting London.

In a miscellaneous programme given on Friday in last week at Terry's Theatre two novelties

were included. These were 'Tefalco, a one-act drama by Mr. M. H. Spier, and 'Parson Iron,'

Mr. C. H. Dickinson. The former, the scene

of which is Mexico, has a grim story told in

verse. The hero of the latter is a Californian highwayman who disguises himself as a parson until a retribution worthy of his crimes attends him. Both pieces were fairly acted.

'ET DUKKEHJEM' ('The Doll's House') is the piece of Henrik Ibsen which has been translated by Mr. William Archer, and will be produced at the Novelty Theatre on Friday next, with Miss

Achurch as the heroine. It will be called 'Nora''Breaking a Butterfly,' by Messrs. H. A. Jones and Henry Herman, produced at the Prince of Wales's on March 3rd, 1884, was derived avowedly from the same source.

THE representations by Mr. Mansfield at the Globe Theatre of ' 'King Richard III.' are discontinued this evening, and the theatre will shortly close. Mr. Buchanan has engaged to write a play in blank verse upon an important historical subject, in which it is expected Mr. Mansfield will reappear.

A DRAMA of modern life has been read by Mr. Buchanan before the company at the Vaudeville. Mr. Thorne will play in this a character part. Miss Winifred Emery will be the heroine. With a view to its production Miss Marie Linden and Mr. Garthorne have been engaged.

'IN THE CORRIDOR,' a comedietta by Mr. Rudolf Dircks, is played as a lever de rideau at the Court Theatre. It is a weak piece, but furnishes opportunity for some pleasant acting by Miss Annie Hughes and Mr. Eric Lewis.