mains of classical, and then, at greater that Rubens had with characteristic thorough-
length, those of medieval architecture, the ness of grasp mastered the difficult part of his
last chapter occupying nearly three-quarters task. He did not, we are sorry to see, pro-
of the book. The book seems to have been ceed beyond a bold experiment. Yet he shows
some time in the writing at least the latter splendid mastery in painting the white and gold
half of it is better both in text and illus-rendering sunlight, because he could not bring
brocade held by Pomona. Rubens failed in
tration than the former. At first we have himself to use high keys of tone and colour
many sketches, but few plans. The sketches throughout, and he feared to lose harmony. To
are, for the most part, much superior to those Turner is usually assigned the honour of having
in the Scotch book, but we cannot under- attempted for the first time to paint sunlight in
stand how the author came to admit such
this manner. The portrait of Thomas Howard,
an unmeaning scribble as fig. 72, and fig. 4
Earl of Arundel (169), the first collector on a
is not much better. Later on the plans are
large scale of old masters and antiquities in
this country, is a noble piece of the first quality,
more numerous, as if Mr. Macgibbon had
learnt as he certainly had done before wholly by Rubens, and admirable for the almost
Giorgionesque armour of white steel, which goes
he published his former book-that none so well with the brown carnations full of blood,
but the very simplest building can be pro- and the dark hair compressed by wearing a
perly described without the aid of a ground helmet. The frank, solid, and firm handling,
plan; and the descriptions aided by plans and the full impasto are qualities to be appre-
and sketches are often excellent. Some of the ciated highly. It is Smith's 1128, Michiels's 834;
subjects are decidedly strange. There are
at the British Institution in 1818, it was No. 723
early churches like that of Fréjus, pp. 285-
at the National Portrait Exhibition, 1866, and
158 at the Academy in 1871. It is engraved in
292, the full significance of whose plan Mr.
"Lodge," and has always been one of the most
Macgibbon perhaps has failed to see; forti- famous of Rubens's portraits. The Infant Christ
fied churches-not mere fortified towers and St. John (171) is a charming group of chubby
attached to churches, as may be found some- infants in Rubens's best and most veracious, if
times in England, but whole churches turned least ambitious mood; in perfect condition, it is
into castles or worked up so as to form parts admirable for its force of handling, rich, pure,
of castles; and perhaps strangest of all that and bright flesh, and thorough warmth. It is
castle of St. Honorat, a perfect keep out-
Smith's 990, and was engraved by Bolswert. A
side, with cloister and all the offices of a
picture of the same subject by the same artist is
at Potsdam. The beauty of the faces is worthy
monastery packed together inside.

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

THE ROYAL ACADEMY.-WINTER EXHIBITION.

(Third Notice.)

IN passing from Rembrandt to Rubens at the Academy we find ourselves at once in quite another world of design. In some respects the art of Rembrandt is antipathetic to that of Rubens, yet while there is far more poetry, deeper thought, and a rarer kind of knowledge in Rembrandt's work, the magnificent vigour, the passionate movements, the splendid robustness, and the triumphant "air" of Rubens hold their own wherever they are seen. It is impossible not to be struck by this when we quit the Queen's 'Lady' at a window (No. 160) and 'The Shipbuilder and his Wife' (167) and turn to the large and robust, if rather heavy-handed Peasants going to Market (168) of Rubens and Snyders, or rather of Snyders and Rubens, for as we look at it the share of Sir Peter Paul in the picture seems gradually

to lessen. In the stumpy figures with a brutal air and over-abundant energy we recognize quite as much of Jordaens as of Rubens, who probably painted the woman carrying the swan and the laughing face of the boy (to which Jordaens at his best was not equal), although with exaggerations in taste as weak as they are obvious; the man with the fawn across his shoulders is doubtless Rubens himself. This picture was in the collection of Mr. A. Baring, who exhibited it at the British Institution in 1818. It is Smith's 874 and Michiels's 1092. The

game, fruit, vegetables, and dogs are, no doubt, by Snyders. An uncomfortable and incomplete picture is the Marriage of Mars and Venus (170), which, though genuine, is inedited under this title ; but it is full of interest to us from its show. ing that the painter was endeavouring to give the effect of blue sun-shadows and golden light upon the carnations of a somewhat to pale Venus, a well-developed life-size figure, standing naked in the middle of the design. It is a valuable illustration of quite a new experiment, and the

of Rubens at his best.

At No. 114, the Skating Scene of Aart van der Neer, we come to the first of a group of Dutch landscapes; it is exceptional in Sir R. Wallace's collection in being a poor, dull, and dry example. A good and genuine Hobbema is No. 112, a Landscape, which is chiefly interesting on account of the close resemblance it bears to good Starks, such as we saw lately at the Grosvenor Exhibition and elsewhere. Hobbema was one of Stark's avowed models, or, so to say, furnished spectacles through which Stark admitted he had first seen nature. The Dutch picture is clearer, firmer, and more truly finished than the Englishman's work, which excels it only in having darkened less. Noteworthy are the truth and delicacy of the reflections of dark foliage on the clear water of the ford, through which, although there is a little wooden bridge close by, the barelegged figures are passing. This fine work is Smith's No. 11; in 1800 it was sold with the Geldermeester Collection for 1941. Lord Wemyss's Landscape (70), a first-rate Hobbema, is Smith's 125. J. van Ruysdael's Cornfields (121), lent by Lord Northbrook, is a small but capital example.-The Van der Capella (122), lent by the same generous owner, is good, but not first rate. It is valuable as attesting the learning, delicate touch, and fine feeling of an accomplished and faithful worker who generally excelled, as he has done here, in delineating skies full of soft white clouds without form - defining shadows. His skill in grading the atmosphere is of the tenderest kind, and manifests itself here with the most charming of warm tones.-Teniers's Archers (127) surpasses even the average of his works in dexterous finish and crisp touch, breadth and clearness; the spontaneity and energy of the figures make it a gem. Smith, under the number 528, described a little Teniers in the possession of Buchanan, dated 1645, and etched by the painter, which closely resembled this example, There is a large Teniers with a similar subject at Vienna.

represented by the figures on our left, the inn. Besides, the placid and full stra and the atmosphere saturated with sunlight i semi-vaporous, place it high among Ca Another Cuyp, lent by Lord Northbrook, named Landscape, view near Dordrecht (81) a renowned piece, distinguished by its lumin clear, and silvery tones. In composition it e bines the qualities we notice and enjoy in Cay follower Cotman, and in Vincent. It was merly in the Verstolk Collection.

Among the Dutch figure pictures in Gallery few are more interesting than the Interior of A. Van Ostade, an admirable specimen the painter's most characteristic manner, fr

which he rarely, if ever, departed with adran One ought to be a Dutchman fairly to apprec the abundance of spirit in this delineation vulgar life. It has a great deal of humour a kind, and is painted with supreme skill rare knowledge of how tones and colours r be combined in a chiaroscuro as perfect any Rembrandt devised when handling inoffensive subject suited to a soberer than Van Ostade's. Correggio in spite his exalted themes was not a greater ch oscurist than the painter of this little par which in its way, and that is a comparativ rare way, is a pearl of price. No. 131, Inter of a Cottage, lent by Sir R. Wallace, is a si larly precious instance.

The Intruder (128) gives a glimpse of gayer side of Dutch life in Metsu's time. 1 scene is a lady's boudoir, hung with gilt leat and splendidly furnished; the Turkey reg the table is such as Dutch genre painters love an object which a hundred years earlier wo have been found in princes' chambers on lady is dressing her hair while laughing s at a cavalier's efforts to force his way in. ( posed by an indignant maid-servant; a s lady, standing partly dressed at the side it bed, is displeased by the intrusion. This is a of the finest Metsus in existence, and is a typ instance of his power to impart the utm delicacy of tone and wealth of light colouring to the whole of his picture, of imitating the textures of silks, satins velvets, of metals, glass, and wood. We it not that the touch, which is of the mi ture sort affected by the masters of t wonder-working school of executants, is quite

so crisp and firm, while the sur
verges on being mechanically smooth and
pleasing, this picture might be matched wit
Meissonier of the highest quality. And yet
lately as 1831 this picture, always ranked
Metsu's best works, was knocked down at!
Vernon's sale for 4031. to J. Smith, who soic
at a later date to Sir C. Bagot. It seems
have changed hands rapidly. Smith had t
before bought it, when Col. Way was
seller, and in 1830 sold it to the Hon. G
Vernon for 500 guineas. At Sir C. Bag
sale in 1836 it realized 6151. 6s. It is Smit
No. 94.-A. Van Ostade's Interior of a f
(131), dated 1663, and Smith's 27, was in 1
sold with the collection of M. de la Live de Ja
for 1647., the price including (according to Smi
the admirable Alchymist by the same ar
a work of 1661, formerly in the Peel Collecti
and now 846 in the National Gallery.
this may be grouped Interior of a Cottage (6
which the Catalogue says bears the name of "
an Adrian.
Boursse" and the date 1656. The work its
Pape. The latter artist is but little knoture
only since the discovery of his signat B
another Interior of a Cottage, which his is
heim bore the name of Teniers, has deter
The Duke of Rutland's Quack revived. The signature had not been detect
Doctor (132) is Smith's Supplementary No. 23, when we wrote, March 20th, 1886, about t

lead the visitor to suppose. -Cuyp's River Scene
(79) is rather cold.
with matters fit for study and deserving now

before us

is

very broa

tured the supposed Teniers was by B It is, however, crowded kelencam. Like the works of that artist, t measure of success achieved puffices to show tion, especially in the incidents and characters rich in deep tones, effective, and sound;

T

nan, and

it

or

most of them it includes the figure of a who in this instance sits watching a brooding before a slowly dying fire, le a child sleeps in a cradle at her side. The te L. Boursse" is quite unknown to us; ars in the catalogue of none of the European Deries, nor in any dictionary of artists tise on pictures to which we have access. works of Quiring Brekelencam are scarcely ell known in England as they ought to be, they are at least, according to M. Havard LArt et les Artistes Hollandais,' iv. 97), hundred and seventy five in number, a total ch seems to prove that he must have produced of them every year! Can it be that "L. rase " is a new claimant for some of these, e A. De Pape may claim some more? the three Jan Steens are all first rate. The e of Rutland's Grace before Meat (69) is most humorous and spontaneous in design, the richest in tone and colour. It has rightly called characteristic of the painter, is Smith's Supplementary No. 90. The figures are those of the woman in front her back towards us, and the maid who has ght in the viands on a metal dish. The our of Steen is shown in the boy standing is father's side, holding his hat before his as if to pray, but glancing at the food. bell hanging in a hoop over the table is of those curious details in which Steen's deare rich. Like all his pictures, No. 69 is in llent condition, having darkened but little not cracked at all. More interesting, if not aportant, is Lord Northbrook's Portrait of Painter (77), a whole-length likeness of Steen s own room, singing and playing the mane he holds in his lap. He is leaning back in Air and sitting with one leg crossed over the , an attitude most spiritedly delineated. Surface is exceptionally smooth, and the et ions of the light on Steen's deep citronared dress are brilliant. His looks would ce to refute the tales formerly current his drunkenness, even if the number excellence of his pictures were not gh to save his reputation. He died at -three, and yet, according to his biographer,

T. van Westrheene, he produced hundred and eighty-two pictures. Smith ited him with three hundred and sixteen, need not believe he really painted more alf of them. This picture, Smith's 121, theene's 64, was engraved for vol. iv. of the talogue Raisonné' of the former, who valued 120. It was in the Verstolk Collection; the on gave 1,600 Dutch florins for it in 1822; it sold with the Brentano pictures for 295 florins It was in Mr. Baring's collection in 1850, may have been the Steen which, in 1806, (according to Mr. Redford's Art Sales" 1 with Sir G. Yonge's pictures for thirty neas; it is one of Steen's paintings that a smooth surface. It is highly finished I probably painted about 1660, a little before capital example lent by Her Majesty to gallery in 1878, No. 120, a picture remarke for finish and a smoothness approaching eris's. The Doctor (80), belonging to Lord rthbrook, has one of those subjects Jan Steen ighted in. It is full of his peculiar fun, 1, like No. 77 and 'The Bedroom at Buck ham Palace, exceptional as a specimen of 'most careful mood, the design being ghly carried out and the delineation of searching. It is for Steen unusually and simple in effect, and has a finer surand clearer as well as brighter colour than The Duke of Wellington lately lent Academy a Steen with a similar subject broadly treated. No. 80 is Smith's Sup. entary No. 9, Westrheene's No. 69, and praised by both. It was formerly in the tolk Collection, and was sold in 1845 for 1,400 h florins to M. van Noort. The man whose Was delicate enough to paint thus could Have been the sot Houbraken described. He

ut

uc

deserved the somewhat tepid admiration Rey-church, except allusions to repairs and enlarge-
nolds expressed when he said that Steen "had ment in 1834. This makes it, of course, the
a strong manly style of painting, which might more to be deprecated that anything should
have become even the style of Raphael; and he be done to mar the historic character of the
has shown the greatest skill in composition and structure itself. Some repairs are obviously
management of light and shadow, as well as necessary; but would it not be well if the avail-
great truth in the expression and character of able funds were devoted, after the safety of the
his figures."
fabric has been provided for, to the remodelling
of the seating of the interior, where the pews,
though in several cases composed of materials
well worth preserving, considerably mar the
architectural effect?
CECIL BENDALL,

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

Sie wie die alten sungen

So pfeiffen auch die jungen,

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

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

Yorkshire.

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

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

DR. SCHLIEMANN has returned to Athens

is a masterwork of Jordaens's overflowing animal-
ism, crowded with character, and in its invention
and wealth of materials and incidents worthy of
Rabelais, under whose rollicking inspiration it
might well have been designed. Rabelaisian is
the jovial, fat man with a sort of tenfold chin,
who, with all his might, is trolling forth a drinking
song, while his ponderous jowl seems to quiver
in the ecstasy of his delight in drink. The
heavy hand, overcrowded canvas, and exaggera-
tions must not prevent us from admiring the
spirit and spontaneity of this work. Waagen without having been able to discover Nestor's
was right in saying that this is one of the best palace at Pylos, or, indeed, any trace of pre-
historic buildings on the Koryphasion, as the
examples of a subject Jordaens often (?) treated.
acropolis of that city is called. All he found
He thus proves himself to be far from a
mere follower and factotum of Rubens.-The there was a cave towards the north-east of the
Still Life (66) of P. de Heem is an exception-mountain, which he holds to be the one con-
nected in ancient myths with Hermes and
ally fine and bright example of one who was a
master in his way, and applied to fruit-mostly Apollo. On the top of the hill of Sphacteria he
lemons-glass, fish, plate, &c., principles of art found a polygonal wall of undetermined epoch,
which are fitted for the grandest materials and which, to judge from the size of the stones,
must have reached to a great height. His ex-
noblest themes. This specimen is excellent in
plorations in Kalamai for the purpose of dis-
all respects but its somewhat conventional com-
position. The fruit and oysters, the pewter in order to find the acropolis of Amycle, as also
covering the acropolis of Pharæ, and in Laconia
dish, glass tazza, the illumination and coloration
at large, charm us as illustrations of fine art not
that of Therapnæ, were unsuccessful.
lightly to be depreciated.

RESTORATION AT BENTLEY, HANTS.

Professors' Common Room, University College. THE "restoration " party at Bentley have not condescended to answer Mr. Palmer's letter in your issue of January 26th. Permit me, therefore, to briefly indicate what seem to me to be the most objectionable features of the proposed scheme, in the hope that some compromise may be arrived at. It is proposed, if the information the north wall of the nave, with windows congiven to me on the spot be correct, to pull down taining ancient glass, and sacrifice an interesting oblique arch, one of the great features of the church, in order to enlarge the building. If, however, a congregation observed by me, since the beginning of the present year, be a fair average, no additional accommodation would seem to be required. After examining the somewhat meagre topographical literature of Hants, I find no notice of the history of the

IN the excavations undertaken at Tralles by Dr. Dörpfeld, at the invitation of Herr Humann, a part of the theatre has been unearthed, the only edifice to any extent preserved in that ancient city. This theatre, the discovery of which forms an important contribution to our knowledge of the theatre of the ancients, shows

a construction of opus incertum, since it has been pulled about in Roman times. The seats have this peculiarity, that they are composed of two stones each, instead of one only, as is usually the case. One stone forms the seat, and the other the footstool. Besides the cavea, the scena was also excavated, and beneath the latter

were found a number of stela of peculiar form supporting the proscenium.

THE "diamants de la Couronne" reserved

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

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

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

organ. Sometimes (as in the latter half of the
melody in B flat) Signor Capocci indulges in
pianoforte-like arpeggios, with "voix humaine
and trémulante," after the worst manner of Wely
or Batiste; but in general the pieces are worthy
of the dignity of the instrument, and the two
books can be recommended to the attention of
organists. The whole of these works are beauti-

THE dangerous engines to which we lately fully engraved and printed in oblong folio.

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

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

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

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

of St. James's, Westminster, has been replaced

in this manner.

MUSIC

NEW ORGAN MUSIC.

FROM Messrs. Augener we have received an excellent selection of recently published organ music. Handel's Seventh Organ Concerto, it will

be remembered, was played by Mr. Best at the last Handel Festival. The present edition is by that eminent organist, who has most judiciously filled up the composer's outline, and added in

dications for registering, as well as an excellently

written cadenza of his own. The concerto is a work which is especially interesting to organists as being the only one of the twelve published which contains an independent part for the pedals. Mr. Best is also continuing his valuable serial publication Cecilia, a collection of organ pieces in diverse styles, of which Books 35 to 39 are now before us. Among the best pieces in these numbers are a capitally written and solid fantasia and fugue by Johann Schneider, two charming and well-known sets of variations (in a flat and a major) by Adolf Hesse, a fugue arranged by the editor for the organ from Bach's Art of Fugue,' a very florid fugue by J. L. Krebs, two fugues by Samuel Wesley, and a highly effective concert fantasia on old English airs by the editor. The third volume of Mr. Best's edition of Bach's organ

Musical Gossip.

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

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

much to be said about Mr. Max Pauer's render

ing of Beethoven's Concerto in E flat. It was a
careful, but not in any way a striking perform-
ance. The orchestra continues to improve, and
full justice was rendered to Schubert's Un-
finished Symphony in в minor, Liszt's 'Les
Préludes,' and Saint-Saëns's 'Danse Macabre.'
Beethoven's Eroica' Symphony and a series of
selections from Wagner will form the programme
next Tuesday.

THE Royal Amateur Orchestral Society gave
its second concert for the present season last
Saturday at St. James's Hall. The rendering
of Gounod's Symphony in D, No. 1-a rather poor
Overture, No. 3, was on the whole commendable;
and feeble work-and Beethoven's 'Leonora'
but the ensemble was not good in Mackenzie's
Benedictus,' for violins in unison. Misses
soloists, and Mr. George Mount conducted the
Marianne and Clara Eissler were among the

concert.

THE Royal Choral Society's performance of
Elijah' last Saturday afternoon was scarcely up
to the standard of previous years, either in the
choral work or the solos. Madame Nordica,
Madame Belle Cole, Mr. Charles Banks, and
Mr. Henschel are not equal collectively to the
artists chiefly associated with Mendelssohn's ora-
torio of recent years.
A special word of praise,
however, is due to Miss Julia Neilson.
the later choruses were as finely sung as usual.
choir was a little unsteady at first, but some of

Thursday last week. Mendelssohn's 'Refe tion' Symphony and Gluck's Overture to ‘I genia in Aulide,' with Wagner's close, were in the programme. The scheme of the 7th included Brahms's Concerto for violin violoncello, for the first time, the execut being Madame Néruda and Signor Piatti; Schumann's Overture, Scherzo, and Finale. M. GOUNOD will conduct the first perform of his opera Roméo et Juliette' at Bru shortly.

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

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

commence

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

Mottl.

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

MON.

TUES.

WED.

CONCERTS, &c., FOR NEXT WEEK.
Highbury Philharmonic Society, 8, Highbury Athem.
Popular Concert, 8.30, St. James's Hall.
Mr. Isidore di Lara's Vocal Recital, 3.30, Steinway Hal
Charity Concert, 8, Princes' Hall.

Messrs. Henderson's Annual Concert. 8, Steinway Hall,
London Symphony Concert, 8 30, St. James's Hall
Mlle Geisler-Schubert's Concert, 3. Princes' Hall.
Herr Max Heinrich's Third Recital, 3, Steinway Hal
London Ballad Concert, 8, St. James's Hall.
THURS. Mile Jeanne Douste's Pianoforte Recital, 3, Princes' Ha
Mr. Dannreuther's Musical Evening, 8 3).
FRI. Mr and Mrs. Henschel's Vocal Recital, 3, Princes' Ha
SAT.
Popular Concert, 3 St. James & Hall.

Crystal Palace Concert, Mr. MacCunn's 'Lay of the Last
Signor Abramoff 'e Concert, 8.30, Steinway Hall.

strel,' S

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

similar class.

those with a view to the presentation which it was some two or three years first established. An idea was entertain by the management of giving, in presence a select and specially invited audience, a at the conclusion of the regular entertai ment, En Famille' and other pieces of So little curiosity concerni the representations was manifested by general public that the scheme was abs probably d doned. The indifference was rather to ignorance than to timidity. comparatively little is know used is the older one written as an opéra comique, concerning the company, and admission which Chorley translated, but various alterations view its representations is not easily obtaine

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

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

organist of the church of St. John Lateran, are mostly of a somewhat more solid style than that generally affected by Italian writers for the

The

MEYERBEER'S 'L'Étoile du Nord' was produced by the Carl Rosa Opera Company at Liverpool on Friday last week. The version

Madame Georgina Burns, and the performance
is spoken of in very high terms.

THE Royal College of Music concert on

France even

a name.

To judge what a small section the public has lost requires a knowledge Thursday last week included Schumann's the pieces to be given. This we cannot clai Quartet in 4, Op. 11, No. 3, and Beeton's The works which have been given Sonata in c minor for piano and violin, thorn, blameless. A Racine, were such alive, me on the score of propriety put his name VERDI'S 'Requiem' was the principal feature La Mort du Duc d'Enghien,' and commer it for production at a new Saint-C

No. 1.

in Sir Charles Halle's Manchester concert on

ham register was "servant to Lord Rushell"; Paradise, which was to have been given at the HARPER'S MAGAZINE