tion, which is shared by a third damsel, who, made prominent in the picture by the red and black she wears, is still more conspicuous by her animated action as she speaks with one hand outstretched as if to enforce her opinions. The last is a member of a second group placed under the iron bars of the window of the house and at a table, with flowers and foliage near at hand. The animated expressions and differing characters and degrees of emotion evinced are as acceptable as the bright, soft, and pleasing coloration and chiaroscuro of the picture, which is one of the most carefully thought out of Mr. Fildes's studies of those Venetian subjects which he continues to affect, although, we believe, with less good fortune than attends his more serious and dramatic themes.

MR. ARMSTEAD'S contributions to the Academy will be the works we have already mentioned, and may now describe. 1. The central portion of the monument of white marble, intended for the crypt of St. Paul's, in honour of the Rev. Benjamin Webb. It is a half-length, life-size portrait figure of the distinguished antiquary in bold relief, seen in three-quarters view to our right, and holding with both hands a richlybound book close to his breast. The eyes look forward with an earnest and animated expression, and the large and fine features are distinguished by rare intelligence. The niche is framed with bas-reliefs of angels holding trumpets and scrolls, and figures of SS. Andrew and Paul. At the summit, between the last, the soul of the deceased is represented by an irradiated figure of a child, over whom a wreath of immortality is held by two angels. In the spandrels, between the niche and the corners of the monument, are two angels, kneeling and praying. The spirit and graceful sentiment of the design are worthy of the learned finish of the marble, and both are honourable to the sculptor and his subject. 2. The medallion portrait in marble of Mrs. Craik, an excellent likeness, in profile to our right, in low relief, wearing a lace cap over her close-laid hair. This will be placed in the Abbey Church at Tewkesbury. 3. The life-size model, to be cast in bronze, of the memorial portrait statue of Lieut. Waghorn, which is to be erected at Chatham, his native place. The pioneer of the Overland Route holds a map in his left hand, and with the other is pointing energetically, as if to direct explorers forward. He wears a naval coat, loose breeches and boots, and a cloak floats, as if in the wind, from his shoulders. The execution of this work is extremely solid and bold, lacks no finish, and is suited to bronze. 4. A life-size portrait in very low relief, modelled in a quasi-Florentine sixteenth century manner, and with exquisite care, spirit, and finish, of Miss Charlotte Armstead, who wears a modern "halfdress" costume with a breast-knot of flowers and a lace fichu. She stands in three quarters view to our right, her face wearing a look of attention. The hands, which have been executed with great finesse, firmness, and in a fine style, are laid one above the other at her waist; in the right hand is an open fan. The whole is wrought like a medal, and as thoroughly as it can be.

MR. T. O. BARLOW proposes, if the plate is ready in time, to exhibit at Burlington House next month an impression from his long-delayed mezzotint after Turner's Vintage of Macon,' a work which the present Lord Yarborough has generously allowed the R. A. to complete.

MR. LEGROS has nearly finished, besides the sculptures we mentioned a few weeks ago, four landscapes of considerable dimensions,

two of which are intended for the New Gallery and two for the Grosvenor Exhibition. One of them is called 'La Pauvreté,' and treats with much feeling a highly poetical effect-grey daylight fading over an almost barren glade, which is strewn with bare

rocks and enclosed on one side by lines of trees. Between the trunks sad and mysterious shadows are cast, while slowly flying overhead, and sinking lower as they go, are dense, mournful-looking vapours with scarcely defined edges and hardly solid enough to be called clouds. Near the front, where a few trees still stand, and the earth is strewn with victims of his axe, a woodman works in a dejected sort of way, while an ill-clad woman, half veiled, waits for him to finish his labours. The next picture depicts a road running close to the edge of a wood and at the side of a low bank of earth, its boundary; opposite to the wood are some wide meadows, hardly visible in the sun-flushed twilight which pervades the scene and touches with dim splendour trunks, leaves, and heads of bushes in the wood. The effect is that of a foggy autumnal morning in Burgundy, Mr. Legros's country. Bond These pictures are for Regent Street. Street will receive two views of rivers. One is called 'Un Rêve.' It represents a broad stream gliding rapidly, but smoothly, under moderately high banks, on the loftiest portion of which stands an ancient farmhouse, with irregular roofs, gables, and windows, overlooking the woods in their rich autumnal attire and the landscape lighted by the soft lustre which is most marked on the margins

of the clouds. The far-off firmament is of the

the scene.

palest and softest blue. The diffused light, projecting no shadows, merges the forms one into another, and adds to the halcyon peacefulness of In the foreground of the fourth landscape is a meadow with flowers and herbage in warm early autumn, and an olive and grey river. A boat lies at the nearer bank, and a woman is about to embark and be ferried to the other side. The whole is most broad and tender, soft and serene, and, without much of what is called realism, has nothing of what is foolishly called romanticism, while it excels in depicting the pathos of nature, and there is intense poetry in its every element.

In addition to Mr. Halle's pictures about to be sent to the New Gallery, which we have already described, he proposes to exhibit a narrow upright work entitled 'The Lure,' and showing, with much grace and beauty, a naked siren playing on a lyre and singing. She is standing on a rocky platform near the entrance of a sea-cave, whence we have a view of the ocean, with rosy light flushing its surface and a line of cliffs, and revealing an antique bark sailing towards us, within hearing of the voice and lyre of the temptress. This will be a companion to the picture of the nymph waiting behind the great pine trunk, net in hand, in order to catch a little Cupid who is running towards us, and away from the amorini dancing on the sward a short distance off.

In addition to the usual annual congress of the Cambrian Archæological Association, which will be held this year in Brittany, there will be a meeting in London for three days, May 22nd24th, during which visits will be made to St. Albans, the British Museum, and Her Majesty's Public Record Office. The authorities of these institutions have promised to afford facilities for inspection of antiquities and MSS. connected

with Wales. At St. Albans the local architectural society will co-operate, and the remains of Verulamium will be described by Mr. E. P. L. Brock, F.S. A. There will be two evening meetings for the reading of papers by Mr. W. Willis Bund, F.S. A.; the Rev. E. McClure, secretary of the Society for Promoting Christian Knowledge; Mr. W. de Gray Birch, FS A.; and others. One of these meetings will be held, by special invitation of the British Archæological Association, at their rooms in Sackville Street. The bringing of the town and country societies in contact is the first step towards improving the organization of archæological research, about which a good deal has been said recently.

THE Berks Archæological Society has determined to publish a quarterly journal under the

editorship of the Rev. P. H. Ditchfield, its honorary secretary. No exhaustive county history has ever been written of Berkshire, and a good deal remains for the archaeologist to do. The first number is to be issued shortly.

THE public will be admitted to the exhibition of the New English Art Club, Dudley Gallery, on Monday next. The private view is appointed for to-day (Saturday).

M. HENNER has been elected to fill the chair vacated in the Académie des Beaux-Arts by the death of A. Cabanel. M. Cabanel's innumerable admirers will find an excellent criticism and biography in the Gazette des Beaux-Arts for this production of a beautiful drawing made for the month, by M. G. Lafenestre, comprising a refigure of St. Louis, enfant, in the decoration of the Panthéon.

THE Viennese newspapers announce the death of Prof. Pettenkofen, of the Austrian Academy, who was born in 1821, and, while living in Paris for some years, exhibited pictures which attracted a certain amount of attention. The best known were 'Volontaires Hongrois' and 'Chevaux devant une Czarda.' He was ennobled by the Emperor Francis Joseph, who warmly admired his works.

MR. J. M. CAMPBELL, of the Bombay Civil Service, who ten years ago discovered the Buddhist relics at Sopara, has recently, in another mound in the forest of Girnar, some six miles south-east of the city of Junagadh, in Katty war, unearthed another series of caskets containing what appear to be veritable relics of Buddha. The new mound is nearly three times as large as the Sopara mound, being between 80 ft. and 90 ft. high, instead of 27 ft., and about 230 yards round, instead of 65 yards. In position, character, and detail the two mounds are much the same, however, and in all probability date from the same time-namely, about 150 B.C., or some five hundred years after the death of Gautama Buddha. After three weeks' excavation Mr.

Campbell found a stone relic-box or coffer, measuring 1 ft. 2 in. square and 9 in. deep. It contained a reddish clay-stone casket, which in turn contained a small copper casket or bottle, green with verdigris, almost round in shape. This copper casket held a silver casket, within which was a small, round, spike-topped gold casket, in shape and size like a small chestnut. In this tiny bowl were four precious stones, two small pieces of wood, and a fragment about the size of one's little finger-nail of what seems to be to be a relic of Buddha. a bone. Mr. Campbell believes this last

AT Tralles the torso of Apollo has been found on the same spot where the head belonging to the statue was discovered a short time ago. The Trallian school. It has been transferred to work belongs to a good period, and is of the Constantinople. Meanwhile, the steps of the theatre discovered by Dr. Dörpfeld, which were of great importance both in an artistic and the search for building materials. The Turkish scientific point of view, have been destroyed in Government must be held responsible for this destruction of most interesting architectural Greek remains.

MUSIC

THE WEEK.

ST. JAMES'S HALL.-Philharmonic Society. PRINCES' HALL.-Herr Stavenhagen's Recital. ALBERT HALL.-Royal Choral Society: Benoit's 'Lucifer. THE second Philharmonic Concert on Thursday last week was in every way as successful as the first, and the season could not have opened more auspiciously. The interest in the programme centred in the first performance in London of Prof. Villiers Stanford's new Violin Suite in D, and the rendering of Grieg's Pianoforte Concerto in

A minor by Madame Backer-Gröndahl, under the composer's direction. It will be remembered that the suite was produced in Berlin in January last, and it was performed for the first time in England at Sir Charles Halle's Manchester concerts (not at Cambridge, as erroneously stated in the Philharmonic programme), the executant, as on the present occasion, being Herr Joachim. The work is in five movements, headed, respectively, "Overture," "Allemande," "Ballade," Tambourin," and "Rondo Finale, Giga." From these titles it would seem that the composer desired to preserve some of the characteristics of the old-fashioned suite. This he has done so far as regards the themes of the second, fourth, and fifth movements, but the restrictions do not suit him, and the restless character of the music prevents us from imagining for an instant that we are listening to an eighteenth century work. Indeed, we can but suppose that the titles hampered the composer, for the work as a whole is singularly deficient in inspiration, and will not compare in merit with the Orchestral Suite in G, in which the trammels of archaic forms were not observed. By far the best movement is the ballade, and it is also the most modern. The solo part is exceedingly difficult, and not very grateful to the executant. Indeed, even Herr Joachim found it impossible to maintain purity of intonation in several passages. As a matter of course, the suite was well received, but it will not add to Dr. Stanford's reputation. Any feeling of disappointment, however, was speedily effaced by the magnificent performance of Grieg's concerto. Madame BackerGröndahl's reputation is chiefly confined to Scandinavia, for the simple reason that she has refused almost every offer to undertake artistic tours elsewhere. In Christiania, however, as well as in Sweden and Denmark, she is regarded as a pianist of the highest rank, and her compositions are also considered to possess great merit. So far as can be judged report has not exaggerated her gifts as an executant. Finer playing has never been heard in St. James's Hall, touch, tone, and expression being equally remarkable. She was, of course, ably assisted by the orchestra, which, under the composer's direction, rendered the accompaniments in such masterly style that the entire performance was nothing short of a revelation, even to those most familiar with the work. The audience was raised to the highest pitch of enthusiasm, and the pianist and composer were recalled four times. The rest of the programme may be briefly dismissed. Mr. F. H. Cowen received a warm welcome on his first appearance after his highly successful visit to Australia. The works performed under his direction were Schubert's Symphony in в minor (unfinished), and four movements of Mendelssohn's 'Midsummer Night's Dream' music. Except that the andante con moto in the symphony was taken too slowly, the playing of the orchestra was excellent. Mlle. Antoinette Trebelli was somewhat overweighted in Mozart's scena " Non mi dir," but she gave a satisfactory rendering of Rossini's "Sombre fôret."

Herr Stavenhagen materially advanced his reputation as a pianist by his playing at his recital in the Princes' Hall on Friday

last week.

If such a work as Liszt's socalled Sonata in в minor is at all worthy the attention of artists-which we feel disposed to doubt-it should, at any rate, only be attempted by those who possess unusual manipulative powers. Herr Stavenhagen is one of these, and his rendering was a marvellous display of mechanism, if nothing else. On the other hand, Schumann's 'Papillons,' Op. 2, were played with peculiar lightness and delicacy, the reading being in some of the numbers distinctly novel. That the work admits of such a method of treatment will scarcely be denied, and it was welcome, if for no other reason than that it proved the performer's versatility. In Beethoven's Sonata in A flat, Op. 110, the endeavour seemed to be to emphasize the sentimental character of the work. The composer's directions justify this, and the only portion of the rendering with which it was impossible to agree was that of the final fugue, in which the text was not adhered to. Herr Stavenhagen's programme included Haydn's Variations in F minor and several small pieces by Liszt, including an unpublished edition of the Rhapsodie No. 13. Herr Stavenhagen's next recital will be at St. James's Hall on Monday afternoon.

If the production of M. Benoit's oratorio Lucifer" at the Albert Hall on Wednesday did not arouse general interest, it is because the composer is so little known on this side of the Channel. We cannot remember a single instance of his name occurring in a concert programme, and Grove's Dictionary' passes him over without mention. It may, therefore, surprise many to learn that M. Benoit is not only the greatest living Belgian composer, but is regarded in his own country as the founder of a national school of composition. For fully thirty years he has displayed a large amount of industry, and in the list of his works given in Pougin's 'Dictionnaire' we find nearly a dozen oratorios, masses, and cantatas, besides several important instrumental works, and a Flemish opera called 'Isa.' It has been the aim of M. Benoit to prove the existence of a Flemish school of music as distinct from that of France, and of greater solidity and dignity. He studied diligently in Germany, and it is to the great masters of that country he would turn for models rather than to the Parisian school. Before everything else the nationality of Flemish music should be rendered prominent, and with this object in view he writes his choral works in the Flemish tongue, and even uses it for the marks of expression and other directions in his scores. What is to be gained by this exclusiveness is not quite clear. If the music itself is not distinctive, no such adventitious methods will make it representative of a nationality. Happily, however, in the present case there is sufficient merit in M. Benoit's score to render it welcome on its own account, though its subject is almost fatal to its chances of winning success with the general public. The libretto of 'Lucifer,' by Emanuel Hiel, is too vague to excite any interest in those who listen to the work." The Prince of Darkness calls upon the elements to assist him in compassing the ruin of man, and they agree and describe the methods by which the design may be accomplished. These prove

ineffective, however, and the work ends with a kind of ode in praise of humanity and the superiority of the attributes which distinguish man from the blind natural forces of creation. The English version, by Mrs. Butterfield, is not easy to follow, and, indeed, many of the lines are wholly incomprehensible.

The

The work is divided into three parts and eleven numbers. It opens with a somewhat over-lengthy chorus, describing the repose of night, after which comes an extraordinary double chorus, in which the horrors which accompany the approach of the fiend are depicted in the most graphic manner, the vocal part - writing and the orchestration being equally ingenious. Lucifer makes known his purpose in a highly dramatic solo with chorus, and then calls upon earth, water, and fire to assist him. The part ends with an extremely melodious double chorus describing man while yet in a state of innocence. second part consists of the three solos of the elemental powers, with choral accompaniment. One of them, for tenor voice, is very charming, and all three are full of clever effects. The third part opens with some fine declamatory passages for Lucifer, to which the chorus respond as before, and then the approach of day and deliverance from the powers of evil is signalized by an entire change in the character of the music, a splendid effect being gained by the sudden entry of the combined chorus fortissimo to the words "Hosannah! Lord of Lords!" For a while the despairing accents of Lucifer are still heard, but the religious strains gradually gain in force and majesty, and the climax is most imposing, though the final chorus is extremely simple in construction and almost hymn-like. In spite of his German leanings, M. Benoit seems to have been more influenced by Berlioz than by any other composer; but his music is less extravagant than that of the French master, and the interest is more equally divided between the orchestra and the voices. If it were not for the unsatisfactory nature of the subject-matter 'Lucifer' would certainly grow in popularity, for from first to last it is splendidly written and full of striking passages.

The performance was in all respects worthy of the society. Mr. Barnby had well drilled his splendid choir, and they have never sung more lively. Madame LemmensSherrington, who came from Brussels with some Belgian artists, sang with much of her old charm, the inroads of time on her voice being limited to the upper notes. The tenor M. Constantin de Bom is an amateur, and sang at very short notice in place of the artist announced. The baritone M. Blauwaert and the bass M. Henry Fontaine are both admirable vocalists. If Lucifer' does not become popular, of which there is little chance, its production is eminently creditable to the Royal Choral Society.

Musical Gossip.

M. GRIEG made his final appearance at the Popular Concerts last Saturday, the programme including his 'Lyric Pieces' for piano solo, Op. 43, Op. 45, both for the first time. and his Sonata in c minor for piano and violin, The Lyric Pieces' are mere sketches of the most trifling character unmistakably Scandinavian in origin

but too simple to add to the composer's reputa tion. The performance of the sonata by M Grieg and Madame Néruda was magnificent, and the work greatly improves on acquaintance, though the first movement must still be pronounced inferior to the second and third. Madame Grieg, as usual, sang five of the Lieder in her inimitable manner. The engagement of this gifted pair has been one of the most successful features of the season, and their return to this country will be awaited with eagerness. Dvorak's Quartet in E flat, Op. 51, performed on a previous occasion this season, and Schubert's first movement of an uncompleted Quartet in c minor, completed the programme.

ON Monday Herr Joachim and Madame Néruda repeated their splendid performance of Bach's Concerto in D minor for two violins, with Miss Fanny Davies as the accompanist. The other concerted works were Beethoven's Quartet in в flat, Op. 18, No. 6, and his Trio in E flat, Op. 70, No. 2. The folly of announcing only a brief pianoforte solo was once more illustrated. The audience would not be content with Miss

Fanny Davies's rendering of Mendelssohn's Prelude and Fugue in E minor, Op. 35, No. 1, and after repeated recalls she played one of the 'Lieder ohne Worte.' The performance of an important work would not have occupied more time. Mr. Max Heinrich sang Lieder by Schubert and Brahms in a highly artistic manner. HERR JOACHIM made his annual appearance at the Crystal Palace last Saturday, and played his own Concerto in the Hungarian style and solo pieces by Bach. He was also represented by his declamatory scena for contralto, Marfa,' which was expressively rendered by Miss Lena Little. The orchestral works in the programme were

Schumann's Symphony in D minor, Mendelssohn's Hebrides' Overture, and Beethoven's 'Leonora,' No. 3. To-day Berlioz's Faust' is to be performed, with Madame Valleria, Mr. Lloyd, Mr. Brereton, and Mr. R. Hilton as the soloists.

AMONG the performances of the past week of which only formal record can be given are the Trinity College Orchestral Concert and Signor Bonetti's soirée musicale, both on Monday evening; the first of a new series of vocal recitals by Mr. Max Heinrich on Tuesday evening; and Miss Agnes Zimmermann's pianoforte recital on Thursday afternoon.

A CONCERT of classical chamber music in connexion with the North-East London Institute was given in the Hackney Town Hall on Saturday last. The programme_contained a Pianoforte Trio in A by Haydn, Mozart's Sonata in a for piano and violin, and Mendelssohn's Sonata in B flat for piano and violoncello, Op. 45.

ONE of the most interesting of the musical features in connexion with the Paris Exhibition will be the revival of some of the operas produced about the time of the first Revolution. Among them will be Paisiello's 'Il Barbiere,' Dalayrac's 'Raoul de Créqui,' 'Nicodème dans la Lune' by Cousin-Jacques, and 'Madame Angot' by Demaillot. Singularly enough, no mention is made of any works by Méhul, Berton, Cherubini, or Gluck, and the choice of an opera by Paisiello as representing the French school is inexplicable.

THERE is to be a season of Italian opera under Signor Sonzogno at the Paris Gaîté commencing on the 20th inst. The répertoire will be extremely interesting, and will consist mainly of operas now rarely heard, among them being Gluck's 'Orfeo,' Rossini's Mose' and 'Cenerentola,' Donizetti's 'Maria di Rohan,' and Cimarosa's 'Il Matrimonio Segreto.' Four grand concerts will likewise be given, consisting entirely of music by Italian composers of the last two centuries, many of them now only known by name.

HERR RUBINSTEIN will celebrate his jubilee as a performer in July. It was on the 23rd of

that month in 1839 that he played for the first time in public at a benefit concert in Moscow.

MON.

TUES.

CONCERTS, &c., FOR NEXT WEEK.

Herr Stavenhagen's Pianoforte Recital, 3, St. James's Hall,
Hampstead Conservatoire, The Redemption,' 8.
Popular Concert, 8.30, St. James's Hall.

Miss Gertrude Burt's Concert, 3, Steinway Hall.
Novello's Oratorio Concerts. Handel's Saul,' 8, St. James's Hall.
Stock Exchange Male Voice Choir, 8, Princes' Hall.

Mr. Max Heinrich's Second Vocal Recital, 8 30. Steinway Hall.
WED. Mr. Lamond's First Pianoforte Recital. 3, St. James's Hall.
Mr. Isidore de Lara's Vocal Recital, 3 30, Steinway Hall.
THURS. Hyde Park Academy Concert, 3. Steinway Hall.
Philharmonic Concert, 8. St. James's Hall.
Miss Eva Lind's Concert, 8, Steinway Hall.
Kensington Orchestral and Choral Society, Judas Maccabæus,'
8. Kensington Town Hall.

FRI.

SAT.

Popular Concert, 3. St. James's Hall. Crystal Palace Concert, 3.

DRAMA

THE WEEK.

OPERA COMIQUE.-The Panel Picture,' a Play in Four Acts. By W. Outram Tristram.

ROYALTY. Pépa,' Comédie en Trois Actes, Par MM. Meilhac et Gaudrax.

VAUDEVILLE.-Afternoon Representation: 'Rumour,' a Play in Three Acts. By John Strange Winter.

MR. TRISTRAM has some dramatic gifts, including the rare gift of invention. He has, however, been misled in the selection of a subject, and his work is of a kind which needs the revision and compression of a practical hand. He has been impressed to a certain extent by the 'Histoire des Treize' of Balzac, though his work shows few, if any, signs of direct imitation. Subjects, however, of this class are not within the reach of a writer less powerful than Balzac, nor are they, indeed, suited to dramatic purposes. So far as we know, the fantastic and morbid episodes of the 'Histoire des Treize' remain unadapted in France, a country in which what seems susceptible of dramatic interpretation is not likely to be left slumbering. However this may be, Mr. Tristram has not in his latest work succeeded in hitting the public taste, and 'The Panel Picture' remains a product of wasted ingenuity. It is intricate, involved, improbable; the stage carpentry is clumsy, and the powerful ideas which the author has formed fail to find utterance. The struggle of the heroine between her love for her son and her regard for her own honour is well conceived, and furnishes opportunities for an actress. Around the heroine are, however, fantastic, and impossible figures which end in provoking the ridicule or the indignation of the audience, while nothing in the dialogue serves to elevate the situation. Lady Monckton succeeded in averting for a while defeat, and seemed at one time likely to snatch a victory. Other actors acquitted themselves fairly well, but the clouds darkened as the piece went on, and the result was calamity.

So slight is 'Pépa' one wonders what could have promoted it to the Comédie Française, at which house it was first presented in October. last. Even there, however, the spirit of innovation asserts itself, and a play which a few years ago would have been rejected as not serious enough for the Vaudeville or the Gymnase is now seen at the Maison de Molière. Nothing in it justifies its intrusion within those once sacred portals. None the less it is a pleasing trifle, giving a new aspect to the old story of quarrel and reconciliation, and presenting Horace and Lydia under new conditions of reunion after they have been divorced. Very skilful is the treatment and very clever is the satire. What, however, most recommends the piece is the admirably

natural and brilliant interpretation it receives. As the niece of Ramiro Vaquez, a minister plenipotentiary from the Republic of Tierras Calientes, a fine specimen of the rastaquoère, Mlle. Reichemberg acts with supreme beauty, showing the aspects, petulant or gracious, of the girl in unsurpassable fashion. M. Febvre, M. de Feraudy, and M. Boucher resume also their original characters, and the whole representation is a lesson in art. The refinement and distinction of the performance are such as are not to be encountered elsewhere than in the Comédie Française. Mlle. du Minil, a member of the same company, takes the part of Yvonne de Chambreuil, first taken by Mlle. Bartet.

The characters introduced in the new drama of John Strange Winter are outside the pale of sympathy. The intrigue is feebly conducted, and the termination is arbitrary and inconclusive. A strong situation is reached at the end of the first act, and a duel between two women might, with better treatment, be rendered effective. Jealousy should be introduced between the two heroines, who divide so much interest as the playgoer accords. Let the woman whose purposed flight with her lover has been arrested see in the action of her friend, to whom her salvation is due, an act not of womanly virtue, but of rivalry, and her subsequent action becomes conceivable. As things stand it is simply fiendish. That the hero meanwhile, villain

as he is, should attempt to shoot a woman— a woman who is indifferent to him, and has only, to a great extent in self-defence, thwarted his schemes violates common sense. The author, indeed, has erred principally in giving as a result of meditation or resolution actions only conceivable as the outcome of passion. There is stuff in the play which might be turned to account, but treatment entirely different is requisite. Miss Marion Terry and Miss Gertrude Kingston played the two heroines, the former actress being seen at her best. Mr. Dacre was earnest and resolute as the

villain. An eccentric part of a garrulous old colonel was played by Mr. Gilbert Farquhar; and Mr. H. H. Morell and Miss Florence Wood presented a couple of young lovers of the most modern type.

Bramatic Gossip.

MR. R. B. BOSWELL, author of 'Metrical Translations' and other poems, is engaged on a translation of Racine's plays for "Bohn's Standard Library." The first volume is ready for the printer.

THE testimonial to Mrs. Dallas Glyn, of which we spoke last week, is headed by Mr. Irving with a characteristically handsome donation. Miss Ellen Terry, Lady Theodore Martin, Mr. Hamilton Aïdé, Mr. Wilson Barrett, Sir F. Leighton, Mr. and Mrs. Bancroft, Mr. Beerbohm Tree, and Mr. G. R. Sims are among those who contribute to a fund which is already becoming large, though as yet far from adequate to the actress's claims upon the public. Miss Glyn is in her sixty-seventh year.

'THE BALLAD-MONGER' has been added to

the programme at the Haymarket, and is nightly played after 'The Merry Wives of Windsor. This version of 'Gringoire' by Messrs. Besant and Pollock improves upon acquaintance. It has not previously been so well acted. Mr. Tree has carefully elaborated the character of

the hero, and presents him now as capable of winning the love of an imaginative girl, which at first he was not. Mr. Brookfield's Louis XI. has also developed into a forcible piece of acting. Mrs. Beerbohm Tree gives a poetic representation of Loyse. In playing on the same night two characters so opposite as Falstaff and Gringoire, Mr. Tree finds one of those opportunities for displaying the range of his powers of which actors are naturally fond.

'ROBBING ROY,' produced at the Gaiety ten years ago, was revived at the same house for the benefit of Mr. Lonnen on Monday afternoon, with Mr. Terry in his original character. miscellaneous entertainment was also given on this occasion.

A

A SPECTACULAR ballet, entitled 'Our Army and Navy,' was given at the Alhambra for the first time on Monday.

MR. JOHN LART has, it is said, taken the St.

unoccupied.

A VERSION of M. Jean Richepin's comedy 'Le Flibustier,' by Mr. Archer Woodhouse, has been executed for Mr. George Alexander.

The

THE Passionsspiel' of Oberammergau, according to a Munich letter, will be played in 1890, when its regular decade recurs. The commune has resolved to make no important changes in the drama, although there will be some abbreviation and a few corrections. chief of the latter will be a sharper characterization of Judas, and the removal of some details which are thought to weaken the solemn effect of the crucifixion. The proposed alterations have been entrusted by the commune to Pfarrer C. Ettmayr, honorary canon of St. Cajetan.

TO CORRESPONDENTS.-E. G. H-H. A. T.-W. R.-C. D. -J. H. P.-A. B.-F. A. W.-F. H. H.-A. S. B.-received. No notice can be taken of anonymous communications.

STANFORD'S WORKS ON AFRICA.

STANLEY'S ROUTE to EMIN

PASHA. STANFORD'S NEW MAP of CENTRAL AFRICA, showing the Line of March taken by Stanley's Expedition, Emin Pasha's Province and the Coast Line on both sides of the Continent. Size, 26 inches by 22. Scale, 94 miles to 1 inch. Price-Sheet, 3s. ; per post, packed on roller, 3s. 6d; mounted to fold in case, 5s.; per post, 58 3d.

STANFORD'S LIBRARY MAP

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