usual is accorded to sculptures, which will be received between the 20th of March and the 5th of April inclusive.

THE "Salon Parisien," 160, New Bond Street, will open its second exhibition in a few days with a collection of works by Messrs. J. van Beers (two new works, 'The Awakening Beauty' and 'The First Kiss'), Prof. Verlat of Antwerp, M. E. Slingeneyer, M. Doucet, M. van der Straeten, and others.

THE death is announced at Copenhagen of Prof. N. Simonsen, a popular battle painter, at the age of seventy-eight.

THE teaching of painting has been so successful in the Mussulman Orphan School at Constantinople that the Sultan has given a medal and a sum of ten pounds to each of the exhibitors. A few years ago no representation of an object in nature was countenanced. The change, it must be observed, means the abolition of the schools of arabesque in ornament and in writing, which have so long flourished.

MUSIC

THE WEEK.

CRYSTAL PALACE.-Cowen's Sleeping Beauty.'
ST. JAMES'S HALL.-Brinsmead's Orchestral Concerts.

THE first half of the present series of the Crystal Palace Concerts came to a close last Saturday, when Mr. F. H. Cowen's cantata 'The Sleeping Beauty' was performed, under the composer's direction, for the first time in London. The complete success which the work obtained on its first production at the Birmingham Festival in August last will not have been forgotten; and it might reasonably have been expected that the announcement of the work at Sydenham would have attracted a large audience. That this was not the case may be chiefly attributed to the inclement state of the weather. A second hearing of Mr. Cowen's cantata heightens rather than modifies the favourable opinion expressed in these columns after its first performance. The gifted composer in his latest work shows himself in his most genial mood. His fund of graceful melody appears inexhaustible; but his cantata is much more than a mere collection of pretty tunes. The skill of his counterpoint and thematic developments, his ingenious use of Leitmotive, and his tasteful and picturesque orchestration, testify to his consummate musicianship, and appeal to the connoisseur no less than do his charming melodies to the general public; and we repeat our already expresssed opinion that 'The Sleeping Beauty' is the best work Mr. Cowen has yet written. The performance last Saturday was, on the whole, good, though it might have been better. The soloists, Mrs. Hutchinson, Miss Hope Glenn, Mr. William Winch, and Mr. Frederic King, were excellent throughout, and the chorus sang extremely well; but there were some important slips in the orchestra. It is only fair, however, to say that the music is by no means easy, and that under a strange conductor the band were necessarily at a certain disadvantage. The reception of the work was extremely cordial. We give in another column a summary of the arrangements for the remaining concerts.

The last of Messrs. Brinsmead's four orchestral concerts at St. James's Hall, which was given on Saturday evening, was one of the most interesting of the series, its

form, designedly quaint and suggestive of the

old courtly French style.

Miss Mary Carmichael's Six Songs for The Voices (Stanley Lucas) are musicianly settings of verses from Shakspeare. They have been sung with success by Mesdames Louise Phillips and Isabel Fassett at the Popular Concerts and elsewhere. Among a large number of songs re ceived from this firm the following are most worthy of mention: Liebe, Liebe, a piquant and somewhat Schubertian trifle by Maude V. White: Careless Love and Faithful Love, a bright and charming lyric by Mary Travers; Why so a capital setting by F. Sewell Southgate of some quaint sixteenth century verses; Under the Snow, a love song suitable for either male or female voice, by R. B. Addison; Recalled, s elegant and expressive sentimental ballad, by Charlton T. Speer; Golden Grain, a well-written didactic song by C. A. Macirone; Berlioz's ori ginal and characteristic La Belle Voyageuse, from Op. 2; and Under the Heather, a flowing and melodious, if somewhat over-lengthy, duet by Frank L. Moir.

commenced with an excellent performance talents to a higher class of lyrics than ordina of the overture to Egmont,' which was fol- shop ballads, regardless of the fact that by lowed by an air from Massenet's Héro- doing they lessen the chances of obtaining in diade,' well sung by Miss Gertrude Griswold, these is Mr. Gerard F. Cobb, whose Lieder mediate popularity for their efforts. One but very indifferently accompanied. Ber-Gesänge (Augener & Co.) we cordially commen test even for so excellent an orchestra as lioz's 'Symphonie Fantastique' was a severe to the notice of vocalists. It is a set of six song that which Mr. Ganz had under his bâton. An being the original in Nos. 1 to 3, and the forme with English and German words, the lat ideal performance of music so complex as this in Nos. 4 to 6. Mr. Cobb is evidently familia is only possible under such exceptional conwith the rich store of German Lieder, and sort ditions as are to be found at the Crystal thing of the spirit of Schumann and Rober Palace, where the opportunities for rehearsal Franz may be discerned in these songs. No. 1 "Bird upon the Branch "; No. 2, "Thou glano are practically without limit. It would, thereenchanting"; and No. 4, "O wind that blows, fore, be unfair to compare the rendering on are really charming, not a little of the effec Saturday evening with that given by Mr. being due to the very musicianly accompani Manns a few weeks since; but it is no more ments. By the same composer we have A than justice to say that Mr. Ganz secured a Serenade (Weekes & Co.), a melodious ballad fo performance which, if not absolutely beyond tenor voice, and Versailles, a song in minut reproach, was deserving of high praise, and which warranted the enthusiastic applause at the close. The special interest of the concert centred in the performance of the Pianoforte Concerto by Mr. Oliver King, to which the prize of thirty guineas offered by Messrs. Brinsmead had been awarded by the umpire, Mr. W. G. Cusins. Mr. King had previously been successful as a prize winner, with a Concert Overture given at the Philharmonic Concerts on April 28th, 1883. The new concerto, which is written in the unusual, and for the orchestra uncomfortable, key of G sharp minor, presents several points worthy of note. In the first place, Mr. King must be heartily congratulated on his clearness of form; the concerto is written after the best models. Of the intrinsic value of the musical ideas it is more difficult to speak positively after a single hearing. The themes are not by any means deficient in melody; but in some instances they are not specially attractive. In this respect the first movement appears the least, and the finale the most interesting. Mr. King's thematic treatment is often clever and ingenious, but his orchestration shows signs of inexperience. It is wanting in contrast and colour, and the far too frequent use of the muted strings-employed, probably, in order not to overpower the solo instrument becomes monotonous. In parts, too, the scoring sounds far from clear, not so much from there being too many instruments in use as from the manner in which the harmonies are distributed. We point out these shortcomings, which are due to inexperience, not in any unfriendly spirit, but because Mr. King possesses such evident talent that it is worth while to indicate to him the direction in which self-criticism should be exercised. The pianoforte part of the concerto, which is effectively and brilliantly written, was excellently played by Madame Frickenhaus, and the young composer received an ovation at the close of the work.

The remainder of the concert included Saint-Saëns's Prelude to 'Le Déluge,' the Overture to Tannhäuser,' pianoforte solos by Madame Frickenhaus, and songs by Miss Griswold. There was a large attendance, and Messrs. Brinsmead may be warmly congratulated on their enterprise. It is to be hoped that the success of the series of concerts just concluded may induce them to repeat the experiment next season.

NEW SHEET MUSIC.

IT is satisfactory to note that some of our

an

Messrs. Marriott & Williams send us no fewer The name of the composer is not familiar, and than eight songs and a duet by Gerald M. Lane. he does not appear to possess any individuality of style, but he has the faculty of writing agree able ballads of the various kinds most in vogue at present, and he is equally successful in sentimental, nautical, and bucolic examples. There is not much to choose between the different spe

cimens of each species; but of the first per: haps the most successful is Dawn at Last; of the second, The Fisherman; and of the third, My love is coming soon. The same facile vein of melody has been successfully worked in the duet entitled Morning. A word of approval may be given to If I a bird could be, a lively and tuneful ditty by W. C. Levey; White Pubes, an unpretentious sacred song by W. Randall; and Hearts and Castanets, a pretty and piquant duet in the Spanish style, by Ethel Harraden. From the list of Messrs. Ascherberg & Co. we select The Angel's Whisper, by Eugène Art, and Tell Her, by Marie Antoinette Kingston, as somewhat above the average in conception and freshness of idea; also Look down from your Window, by K. Harvey; Her Dream, by F Argent; Arise, my love, by E. Jakobowski; and Lullaby, by Mabel Bourne, as the most pleasing of a large number of ordinary sentimental

ballads.

series of eight songs by Walter Stokes (Will. It is impossible to say much in favour of a cocks & Co.). Though the composer is a Mus. Doc. of Cambridge he does not appear to be able to get beyond the most commonplace and hackneyed phrases of melody and accompani

ment.

be

The most likely to please the popular ear are Love Abides, Out on the Sea, and The Bold Free Lance, the character of which may gathered from their respective titles. The veteran composer Mr. J. L Hatton has not published anything better for some time

ords are rather melancholy, but the music of expression and shows the hand of an plished musician. Good night, fair maid, Odious serenade in the style of a barcarolle, umphrey Stark, and The Armourer's Gift, rous song for bass by Odoardo Barri, may

e favourable mention.

re is considerable evidence of talent in a of four songs by Lord Henry Somerset s & Co.), though occasional crudeness

writing shows that either the composer es further study or he is in too great to be original. The most pleasing of his is Day and Night, and the most unconnal Two Roses and a Lily.-Vocalists wish

songs with French words will find two t and refined examples in Ah! si vous by Alice Millais, and Si l'on veut savoir, oebe Otway; while superior to either of in musicianly qualities is 4 toi! by es Salaman (Novello, Ewer & Co.). The amed composer's Du süsses Mädchen is an Live lyric with English and German words. conclude our present survey we select the ing for passing reference on account of comparative rather than their absolute =: Sleep on, my heart, by J. Baptiste ; Wishes, by Boyton Smith; and Fleurette, A. Muscat (Ashdown); Patient Love, by Faye (Joseph Williams); The Battle Cry, - Hubi Newcombe, and Coming Home, by wall Bowling (Wood & Co.); Only to love by G. H. L. Edwards (Novello, Ewer & and I'd mourn the Hours, by Horace ey & Co.).

ominent among the consignments of new music recently received is the Organist's n, a series of original compositions and gements by Josef Trousselle (Marriott & ams). To the musicianly ear the term nscription" has generally an unpleasant 1, because it frequently bears reference to uncalled for distortion of a composer's al idea. But arrangements for the organ in a separate category, partly on account of laptability of the instrument itself, and also se the répertoire of high-class organ music no means extensive. If we are unable to nuch in commendation of M. Trousselle's gements, it is because, on the whole, are not well executed. For example, in 5, the minuet from Mendelssohn's PianoSonata in E, Op. 5, some of the chords are too thick, and the passages marked in ony for the choir (clarinet) and the full I would have a preposterous effect. No. 6, vening Star song from 'Tannhäuser,' and ', the cavatina from Der Freischütz,' are r; but the arrangement of the bridal chorus 'Lohengrin,' No. 8, is a caricature of the al, and the same may be said of No. 11, inuet from Mozart's E flat Symphony. M. selle's compositions are in the modern ch style, and not particularly good of their The simplest are the best, as, for example, mance in D, No. 2, and a Schlummerlied, 0.-The Organist's Quarterly Journal, Parts ad 67 (Novello, Ewer & Co.), contain tor nine pieces, not one of which exhibits enuine freshness of idea. The most effec8 an Allegro Pomposo in D minor, by Ferris , and next to this may be placed a Larghetto Allegro, by Dr. J. V. Roberts, and a Medita na, by E. Cutler.-The average merit in 6 of the Organ Library, edited by Walter ey (Wood & Co.), is not by any means r, none of the four pieces it contains being interesting, though three of them may be las voluntaries.

THE LIBRETTO OF MORS ET VITA.' St. Margaret's, West Dulwich, December, 1885. have all been accustomed to the strange lage that passes for English in the translaof opera libretti; but when the majestic 3 of the Vulgate or the Requiem Mass are

Again :— functorum.

Libera animas omnium de

Sacrifice of prayer and praise we offer Thee, O Lord; accept us, Lord, through Jesus Christ our Saviour. Grant that we and all thy servants everywhere may pass from death to life.

Free the souls of all departing this life.

Now, whether the translator believes or disbelieves the doctrine of purgatory is quite beside the point-Gounod does believe it, and has chosen to set Latin words expressing that belief to music. It is the translator's business to supply the equivalent English ones, not to in

vent new words of his own and set them to

Gounod's music. Yet again. A translation is given of the 'Dies Ira.' Now there were three ways of doing this: a new metrical translation might have been made; or an old metrical translation might have been printed alongside the Latin; or, thirdly, a literal translation might have been made in prose. Here is a specimen of what has been done with the version from 'Hymns Ancient and Modern' (I believe by Dr. Irons). Printed alongside, for the sake of comparison, I quote the first few stanzas of each :'Hymns Ancient and Modern.' Day of wrath, O day of mourning,

'Mors et Vita.

Day of anger, day of mourning,

Earth to ashes shall be turning;

Thus from prophets are we learning.

See fulfilled the prophets' warning,

Heaven and earth in ashes burning.

Oh what fear man's bosom rendeth,

When from heaven the Judge descendeth,

On whose sentence all dependeth.

Wondrous sound the trumpet flingeth,

Through earth's sepulchres it ringeth,

All before the Throne it bringeth.

Death is struck and nature quaking,

All creation is awaking, To its Judge an answer making.

Lo! the book exactly worded, Wherein all hath been recorded,

Thence shall judgment be awarded.

When the Judge his seat attaineth, &c.

I think I have quoted enough to show that readers will agree with me that what alterations the likeness is striking, and also that your there are, are not of the nature of improvements. W. M. Acworth.

Musical Gossip.

The

THE Saturday concerts at the Crystal Palace will be resumed on February 13th, when Dvorak's Spectre's Bride' will be performed, with the same cast of soloists as at Birmingham, Madame Albani, Mr. Maas, and Mr. Santley. Dvorak's chorus will consist of the choir of Messrs. Patriotic Hymn' will precede the cantata. Novello's Oratorio Concerts, and Mr. Mackenzie will conduct. Among other important features of the remaining concerts will be the appearance of Signor Bottesini on February 20th; the performance of the Finale to the first act of Parsifal' and the Choral Symphony on March 6th; and the first performance at the Crystal Palace of Gounod's Mors et Vita' on March 20th. On April 10th a selection from Liszt's works is to be

given, and the composer has accepted an invitation to be present on that occasion. It is also intended at one of the later concerts of the series to perform Brahms's new symphony, if the score and parts can be obtained. It will be seen that the coming series of concerts promises to be in no way inferior in interest to those which have already taken place.

It is proposed to give next May at the Crystal Palace a performance of Gounod's 'Redemption' by the London contingent of the Handel Festival Choir.

MR. DANNREUTHER's programme last Thursday week included a Quintet in E flat for strings by Dr. Hubert Parry. The work was first performed some time since, but it has been revised by the composer, and may now be regarded as one of his most successful achievements in chamber music. If appearances may be trusted, Dr. Parry is beginning to recognize the fact that complexity and abstruseness are by no means desirable qualities in musical works, for the outline of his quintet is comparatively clear, and in the second and fourth movements there is far more geniality of theme and treatment than we usually meet with in his compositions. Dannreuther played Schumann's Fantasia in c, Op. 17, and Bach's Concerto in F minor, the latter with quartet accompaniment; and Miss Anna Williams gave a very artistic rendering of Liszt's 'Lorelei," and two expressive songs by Dr. Hubert Parry.

Mr.

The Sacred Harmonic Society's performance of the Messiah' yesterday week was generally commendable, and in some respects above the average. The additional accompaniments were, it is true, as objectionable as ever, but the use of the organ in the recitatives was an improvement on the old procedure, though not so closely in accordance with Handel's method as a pianoforte would have been. Perhaps Mr. Cummings will eventually see his way to execute this reform, and also to give a trial to the Robert Franz edition of the work, which, as all musicians who understand the subject know, shows more respect for Handel's intentions than any other. The choruses were extremely well sung-in fact, more correctly than usual. Miss Anna Williams and Signor Foli, of course, gave satisfaction, and Mr. Iver McKay advanced his position by his rendering of the tenor music. Miss Chester was manifestly indisposed, and whatever was lacking in her efforts may be set down to this

cause.

THE Popular Concert last Saturday included Spohr's Quartet in a minor, Op. 74, No. 1, a fine work, in its composer's best manner; Mozart's Clarinet Quintet ; and some minor items. M. de Pachmann was the pianist and Mrs. Henschel the vocalist. These concerts are now suspended until January 11th.

THE last performance of the Heckmann Quartet took place last Saturday, when a Beethoven programme was given, including the Quartets in c sharp minor, Op. 131, and in a minor, Op. 132; and the Piano and Violoncello Sonata in A, Op. 69, played by Frau Heckmann and Herr R. Bellmann.

AN exceptionally fine performance of 'The Redemption' was given at Messrs. Novello & Co.'s Oratorio Concerts on Tuesday. Mr. Mackenzie has evidently gained perfect control over his choir and orchestra, and the volume of tone in the choruses and the splendid attack of the strings were two noteworthy features of a generally perfect ensemble. Having regard to the structural peculiarities of St. James's Hall, the new arrangement of the choir, in which the four divisions are placed one behind another, is a decided improvement, as the balance of tone appears equal whatever may be the position of the listener. It was also a good idea to give the

66

Reproaches" as a quartet instead of a chorus, the composer having left the matter optional, as a large body of voices cannot maintain perfect intonation in a piece consisting merely of chro

matic progressions. It is needless to add that every possible justice was rendered to the leading parts by Madame Albani, Madame Trebelli, Mr. Maas, and Mr. Santley, while Miss Hilda Coward and Mr. Bridson gave useful assistance in the subordinate music, the vocalist last named appearing at short notice in place of Mr. Ludwig.

THE first performance in Scotland of Gounod's 'Mors et Vita' was given on the 11th inst. by the Stirling Choral Society, under the direction of Mr. C. E. Allum. The work appears to have been very successful, the chorus singing especially being spoken of in very high terms.

AT Mr. Charles Halle's concert at the Free Trade Hall, Manchester, on Thursday evening, Haydn's Symphony in D minor (No. 49), the overtures to Prometheus' (Beethoven) and Chevy Chace' (Macfarren), and Hummel's Concerto in A minor, were the chief works to be performed.

IT is announced that Verdi has nearly completed his opera 'Iago' (the libretto of which, founded on Shakspeare's tragedy, has been written by Boito), and that the new work is to be produced next winter at La Scala, Milan.

DR. LUDWIG NOHL, the distinguished musical historian and critic, died at Heidelberg on the 17th inst., at the age of fifty-four. Dr. Nohl's writings on Beethoven and Mozart are well known in Germany; his interesting work Beethoven depicted by his Contemporaries' has been translated into English.

HERR JOACHIM is expected to play at two of M. Colonne's concerts in Paris during the coming month.

DRAMA

THE WEEK.

LYCEUM. Faust,'" in a prologue and five acts, adapted of Goethe's tragedy by W. G. Wills."

and arranged for the Lyceum company from the first part

OF Or many respects in which the Lyceum version of Faust' claims attention that of scholarly illustration is the least important. As was owned by Mr. Irving in the short address he delivered at the close of the performance, the aim had been to render with due artistic effect so much of 'Faust' as could be compressed into the "three hours' traffic of the stage." To this Mr. Irving did not add that it had been sought to render the characters conformable to modern tastes and to colour scenes which Goethe had left in stern nakedness and deformity. The success for which Mr. Irving has bidden is that he will secure. His new entertainment with its marvellous scenic effects will, assumably, be seen by playgoing England, and will win all praise except that which, though least remunerative, is best worth having. So far as excision is concerned, a translator and a manager conjointly may have their own way. It is obviously impossible to present before a modern English audience the whole of the first part of Faust.' Sufficiently obvious are, moreover, the portions it is imperative to retain. The central interest is certain to be preserved, and the excisions will assuredly, wherever a success is to be made, be in the opening scenes. The introduction, however, of the Walpurgis Night revels, which are in themselves a mere intermezzo, shows how little confidence is felt in the story as such to hold the public, and how much importance is attached to spectacular illustration. Where Mr. Wills has been least happy has been in the introduction of new motive. Next to Shak

speare, and in some respects before Shakspeare himself, Goethe is a man with whom it is unsafe to meddle. 'Faust' is no hastily thrown off piece. It is a work to which the author devoted the best and most productive In the case of a work of years of his life. such nature, no human being, whatever may have been his success in dealing with inferior productions, is justified in modernizing, altering, or in any way interfering. Mr. Wills has, however, put in the mouths of Goethe's characters words which Goethe never wrote and thoughts which Goethe never assigned them. He has even, in the long sustained duel between Faust and Mephistopheles, introduced an entirely new element, by showing Faust sincerely anxious to marry his victim, and hindered from so doing by the direct menace of the fiend, who sees in such nuptials a possibility of his victim escaping from his clutches. In so doing he ceases to be the Mephistopheles of 'Faust.' His covenant with his victim is, according to the superstition on which the poem is based, not so badly drawn that its penalties are lightly to be evaded, nor is Faust, whose mutiny is frequent, to be cowed into submission by a few windy threats. Sure from the first of his conquest, Mephistopheles takes, it may be conceived, an intellectual pleasure in his subjugation of Faust, delighting, as his predecessor in Milton, "out of good still to find means of evil." To point out the instances in which the new version sins in this fashion would be as futile as is the task of dwelling on the unpardonableness of the offence. Faust' is not a poem to be sentimentalized, or dealt with in any fashion except a spirit of complete reverence.

The production at the Lyceum has accordingly to be treated as a spectacle founded upon the play of Goethe rather than as an attempt at illustrating and interpreting it. From this point of view its success is explicable. The preparations on the first night were not complete. Apart from the mishap to which in his speech Mr. Irving alluded, and to which it was due that the audience failed to see the apparition of beauty by which the soul of Faust was led captive, the management of some of the groups was defective. The figures, though well ́ arranged, were superabundant in gesture and seemed nervously anxious to be doing something. The monks descending the steps of St. Lorenz might fairly bear the stamp of the monks of that day, of whom Erasmus said that they "had taken vows of Erasmus said that they "had taken vows of ignorance as well as poverty." They should not, however, be indulging in exuberant not, however, be indulging in exuberant joviality in the eyes of all at the moment of quitting service. Allowance being made Allowance being made for these things, there remains much to command admiration. The views of Nuremberg with the exterior of the church of St. Lorenz, and subsequently of the interior of a second church with Margaret disturbed in her penitence by the foul promptings of the fiend, are admirable in all respects; the apotheosis of Margaret is a lovely picture, and the revelling on the Brocken with obscene creatures flying through the murky air is superior to anything of the kind that has been done on the modern English stage. The acting in two or three characters is, moreover, excellent. Mr. Irving elects to present Mephistopheles as le diable boiteux.

No character in which the actor has b seen suits so well his special form utterance. Humour is Mr. Irving's fo and the cynical speeches of Mephistophe with his dry, half-amused asides conse ing human folly, are as effective as th can be. It is difficult, indeed, to conceive anything that could be added to the terpretation or subtracted from it with so thoroughly realized is the courteous, pla sible, sinister, malevolent fiend, with his e temptuous enjoyment of human imbecil and suffering. Miss Terry is also shown her best, especially in the closing scen the passion of which was in excess of ar thing she has exhibited. The picture in t opening in the St. Lorenz-Platz was prett that of the discovery of the jewels had mu grace; and the scene of the conquest of h affections, though not especially Teuton was at least winsome. In the closing a the aspect of the tearful face, the wanderin uncertain light in the eye, and the maddeze embrace in which she clasped her love whom in a glimpse of returning reason knew, were finer than anything this vers tile artist has shown. Mr. Conway-Fi looked, if possible, younger with his flowin beard than after his rejuvenescence-p sented none the less a picturesque appea ance as Faust, but failed to charge the pa with any passion. The short scene assigna Valentine was well rendered by Mr. Ale ander; and Mrs. Stirling, though unfitte to the part, acted with customary brea of style as Martha. The dresses wer superb, though in some instances the were too rich for the condition of thos taking part in the action. The effect of som admirable groups was, moreover, mame by the disturbing influence of torchlight which was too frequently employed.

Dramatic Gossip.

MR. SCHÜTZ WILSON contributes to one of th January magazines a paper on Goethe as actor, in which all the scattered references the poet's acting are collected for the first time

THE performances of the Parsee Victori Company offer little attraction to the general playgoer. It is amusing for a while to s the delivery of the curious chant, not why the quaint and gorgeous costumes and to her unlike that used in Jewish worship, with the accompaniment of the most primitive form of music often introduced to European ears. These things after a time, however, grow wearisome and those to whom the great drama of Sakantala' is intelligible enough for scenes from it to attract are not sufficiently numerous to consti given on Saturday at the Gaiety, and on Me tute a public. The representations, accordingly, day transferred to the Opéra Comique, inspired but moderate interest.

ON Wednesday, at the Adelphi, 'Harbour Lights,' the new drama of Messrs. Sims and Pettitt, was given for the first time.

THE burlesque of 'Kenilworth,' by Messrs. Reeves and Farnie, was played on Saturday A fairly good cast, at the Avenue Theatre. including Mr. Arthur Roberts, Miss Vice the piece, and various songs and dances are Cameron, and Miss Laura Linden, was assigne received with much favour. The performance was wanting, however, in ensemble,

some

of the

minor characters being assigned to incompetes? exponents.

TO CORRESPONDENTS.-J. J. F.-O. B.-J. J.-G. W, O. No notice can be taken of anonymous communications,

-B.-W. H. D.-W. P.-received.

Address for 1885.

Seventh Session of the Society.

By SHADWORTH H. HODGSON, President. Williams & Norgate, 14. Henrietta-street, Covent-garden, London; and 20, South Frederick-street, Edinburgh.

Published by Subscription. Price Three Guineas,

N ORDINARY of BRITISH ARMORIALS: Families whose Shields have been placed upon Buildings, Seals, Plate, Glass, &c, can be readily ascertained. By the late J. W. PAPWORTH, and Edited from p. 696 by the late A. W. MORANT. FSA. In 1.125 pp. 8vo. double columns, to bind in 1 or 2 vols.-Address Mr. W. Papworth, 33, Bloomsbury-street, W.C.

Just published, 550 Illustrations, price 2s. 6d.

THE FIRST YEAR of SCIENTIFIC KNOW

LEDGE, Translated from the French of PAUL BERT. Half a Million Copies of the French Edition were sold in three years.

"It ought most certainly to be in the hands of every parent; its manner, as much as its matter, demand this."-Athenæum.

Relfe Brothers, 6, Charterhouse-buildings, Aldersgate, London, E.C.

THE GOLDEN GATE and SILVER STEPS.

With Bits of Tinsel Round About.

A Prosey-Versey-Medley for Young People of all Ages.

English, Irish, and Scottish History.

The Plagues of 1605 and 1625-Wolves in EnglandPrices in the Middle Ages-Executions of 1745-The "Meal Tub Plot"-Episcopacy in Scotland - English Roman Catholic Martyrs-Hereward le Wake-HidingPlaces of Charles II.-Where did Edward II. die ?Battle between Armies of Suetonius and Boadicea William III. at the Battle of the Boyne-" The Green Bag"-Confidential Letters to James II. about IrelandAnne Boleyn's Heart-Hubert de Burgh-Henry Martin the Regicide-Lord Hussey and the Lincolnshire Rebellion.

Luis de Camoens - Thomas Bell-Cromwell-William Penn-Nell Gwynne-Coleridge-Curll the BooksellerSir Jonn Cheke-Gibson, Bishop of London-Thorpe the Architect-Sir Richard Whittington-Charles Wolfe.

Bibliography and Literary History.

Shakspeariana-Chap-Book Notes-"Adeste Fideles "-
"The Land of the Leal "-John Gilpin- Reynard the
Fox'-"Lead, kindly Light".
"-Rabelais-London Pub-
lishers of 18th Century-The Welsh Testament-The
Libraries of Balliol, All Souls', Brasenose, and Queen's
Colleges, Oxford-Key to Endymion '-Early Roman
Catholic Magazines-Stuart Literature-The Libraries of
Eton, and Trinity College, Cambridge-" Dame Europa"
Bibliography-Unpublished Letters of Dr. Johnson-
"Rock of Ages"- Eikon Basilike Deutera '-William
of Tyre-Bibliography of Skating-'The Book'-Notes
on the 'Religio Medici'-Authorship of the 'Imitatio'
-Tristram Shandy-Critical Notes of Charles Lamb.

Popular Antiquities and Folk-lore.

Slavonic Mythology - Folk-lore of Leprosy - Lycan-
thropy-North Italian Folk-lore - Friday unlucky for
Marriage-West Indian Superstitions-" Milky Way"-
Folk-lore of Birds-Feather Superstition-Medical and
Funeral Folk-lore.

Poetry, Ballads, and Drama.

The Drama in Ireland- Tom Jones' on the French Stage-Auld Robin Gray'-'Harpings of Lena'MS. of Gray's Elegy'-The Mystery' of 8. Pantaleon-Rogers's 'Pleasures of Memory'- -"Blue bonnets over the Border "-Swift's Verses on his own DeathTennyson's Palace of Art'-Ballad of William and Margaret'-The Australian Drama - Poem by J. M. Neale Shelley's Ode to Mont Blanc'- Hymns by Chas. Wesley-' Cross Purposes '-Tennyson's 'Dream of Fair Women"- Logie o' Buchan.'

Philology.

Tennis-Puzzle-Rickets-American Spelling-Sno Jolly-Boycotting-Argosy-Jennet-Bedford-Mad in Place-names-Deck of Cards-Masher-Belfry-Br -Bulrush-Tram - Hearse - Whittling - Beel-enter Boom-At bay.

Genealogy and Heraldry.

The Arms of the Popes-Courtesy Titles-Rolls of Ar -Book-plates-Earldom of Mar-Arms of the See York-Fitzhardinges of Berkeley-Heraldic Differen -Barony of Valoines Colonial Arms - Earidon Ormonde-The Violet in Heraldry-Arms of Vasco Gama-Seal of the Templars-Earldom of Suffolk. Fine Arts.

Hogarth's only Landscape-The 'Hours' of Raphael
Rubens's Daniel and the Lions'-Early Grays
Retzsch's Outlines-Portraits of Byron-Velasquez an
his Works-Tassie's Medallions-Copley's Attack
Jersey.'

Topography.

Grub-street-Porta del Popolo-"Turk's Head" Bagni -The Old Corner of St. Paul's Cathedral-Thames Embankments-Statue in Brasenose Quadrangle-Middl Temple Lane-Ormond-street Chapel-Roman Villa Sandown-Ashburnham House-Carew Castle-Rushto Hall, Westenhaugh-Welton House. Miscellaneous.

Christian Names-Election Colours-Buried Alive-0. E -Ladies' Clubs-Zoedone-Berkeley-square MysteryWife Selling-The Telephone-Scrutin de Liste-Croco dile's Tears-Jingo-The Gipsies-Hell-Fire Club-Tar Ancients-Names of American States-Carucate-Female -Tobacco in England-Sea Sickness unknown to the Soldiers and Sailors-Mistletoe-Giants-Jewesses and Wigs-Memories of Trafalgar-Green Eyes-Beaumon tague-Secret Chambers in Ancient Houses-The Boar parte-Patterson Marriage-Ace of Spades-Wig CurlersFemale Churchwardens-The Opal-House of KeysChurch Registers - Arm-in-arm-E. 0.-Napoleon Legacy to Cantillon.