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- *** We are sorry that we cannot accept Mr. lessor's estimate of the value of what has been - one at his church. The description he gives of ... in his book is verygood and clear, and it appears ... o us to bear out all that we said in our review. J. We wrote as we did because this seemed to be a Typical example, and afforded a good opportunity or pointing out the harm done by well-meaning lergymen and architects “of the highest epute ’’ when they think that they are im»roving the churches under their care. The high repute of an architect may be, and nearly always is, earned by qualities which have nothing to do with the knowledge of old :hurches, and do not in any way fit him for Healing with them. The architect of a new Duilding has no need to be an antiquary; but none can properly direct the repair, and still less She alteration, of an ancient building of historical value unless he be able to read its past and to
Elitsympathize with it. An architect who has much
side window walled up, large square pews and deal pulpit, and the rest of it. Some of the ills were real and some only fanciful, and all the real ones might have been amended and yet the church left with its ancient honours upon it. It
would take too long to discuss every point, so
we will only refer to the treatment of the floors. o' They are now all new, of tiles to which we applied ** an adjective which Mr. Slessor does not like ; o, but he will admit that the character of the tiles to does not fit the church any the better for its o purpose. Nor would it have been the worse if as the gravestones of the “two former rectors and of four farmers who lived about the beginning of to the present century” had been left in their & places. It may be, as Mr. Slessor submits, that 2, these stones are not in an unseemly position in 9 the vestry, but the right place for a gravestone o, is above the grave which it was made to mark. # NEW PRINTS. s' MESSRs. P. & D. Col.NAGH1's latest publication, * a very large etching of ‘St. Paul's by Moonlight, * by Mr. F. S. Walker, hangs before us. Apart * from its unnecessary bigness, it is a fine and #' highly impressive specimen of the skill and o insight of an etcher whom we shall be glad o
to see again dealing with subjects so grand as
this. The moon is concealed by clouds, whose brilliancy, contrasting with their shadows, attests her power. The dome and western towers of the cathedral are revealed upon the half-lustrous, half-shadowy sky by their differing density and darkness, and they rise above the houses which stand upon the river's bank. The splendour of the moon subdues the lights in the windows. On the mirror-like surface of the stream the various features of the scene are reflected with an intensity the artist has rendered with judgment. Indeed, we consider the oil-like and shimmering surface of the swiftly moving river, especially the darkened parts in front of the wharfs, and where half-lights reveal on the surface the upcoming of eddies in films from below, among the triumphs of modern etching, and congratulate Mr. Walker on his success with regard to it. The plate is to be destroyed after yielding two hundred artist's proofs. From the Librairie de L’Art we have an artist's proof (with the remarque, an ass hobbled and browsing) of an etching charmingly finished and daintily drawn by M. Gaujean after M. Deyrolle's pretty picture of a country lad teaching a young paysanne to play on his pipe, which he holds to her lips while she pretends to try to play on it. It is an excellent design ; the character and expression of the girl's face could not be better, nor the pose of her hands be more appropriate. Such drawing, and modelling so broad, yet delicate and sound, we should be glad always to meet with in English pictures, where they are rare indeed. The Librairie has likewise sent us three dashing, but rather heavily handled artist's proofs of plates etched from his own designs by Mr. W. Peters, entitled ‘A Born Artist,’ ‘On the Look-out,’ and “An Old Sailor.’ Among the most popular genre pictures of last year's Academy was Mr. W. D. Sadler's “In the Camp of the Amalekites,’ showing a Puritan risoner seated, bound, in the kitchen of a oyalist's mansion, and “chaffed" by a number of servitors and soldiers. From this work M. P. A. Massé has made a large etching for Mr. Lefèvre, who has sent us an artist's proof with the remarque (a group of weapons, &c.), which attests its success as a reproduction and the skill of the artists. It is clear, bright, firm, and rich in tone and texture, and renders with fidelity the animated expressions and attitudes. We recommend it to those who approved the painting. The only defect is that the corselet of the prisoner is a little too black. The textures and chiaroscuro are well translated. Mr. H. C. Dickins, of Regent Street, has published and sent us proofs of etchings, being : 1. A large print of ‘Christ Church, Hampshire,’ standing among foliage on the bank of its river on a calm day, a reflection of its tower (not, we think, quite dark enough for nature) being distinct upon the surface. Although lacking some brightness and light in the shaded and darker parts, while the light and shadow of the herbage on our right in front are not sufficiently massed, it is a bright and pleasing print. Mr. L. B. Phillips, the etcher, has forgotten that foliage—apart from the tonality of its local colours, which are various as the trees themselves—should be rendered as masses of light and shadow exactly as if they existed in monochrome. Every fine painter's etching, from those of Rembrandt to Rajon's, attests his power to deal with nature thus. 2. ‘Azaleas,' of which we have a proof on vellum with the remarque, a flower, is by Mr. H. Sedcole, and a pretty design of a damsel seated on a bench in a room arranging flowers, one of which she in her admiration of it holds at arm's length. It is a capital etching, clear, neat, firm, and delicate, with first-rate parts, showing the artist's just perception of the technique, sense of the “qualities,” and power to render them adequately. So good an artist knows how high this praise is. 3. ‘Gathering
Water Lilies,’ of which we have a proof on vellum, shows a girl in a punt, in which a man stands with a pole. It is a pretty thing by Mr. C. F. Allbon, neatly touched with a light hand and just sense of effect and tone.
Mr. T. G. Appleton is not quite so successful in mezzotinting for Mr. Mendoza Greuze's picture of the “Dead Bird,' now in the National Gallery at Edinburgh, as he has been in larger and more ambitious efforts. Yet the difference is in degree only, for the plate, of which an artist's proof is before us, is very competent, careful, and delicate. The elegant mimauderie of Greuze appears in the face and action, and the drawing and modelling are admirable. The print serves to show that, as we pointed out not long since, there is art of a kind in adapting modes of engraving to the character of the originals to be copied. Not everything suits pure line ; many things defy the mezzotinter; and even etching, than which no method is more flexible and adaptable, cannot, unless the etcher is a great master, be wisely used for every purpose. Apart from this Mr. Mendoza's new publication is highly acceptable.
IN Room I. of the National Gallery has been hung No. 1282, a large picture by Jacopo Chimenti da Empoli (1554–1640), the gift of Mr. George Salting. The subject is ‘St. Zenobio restores a Dead Child to Life.” The child lies on the ground; its mother kneels close to its feet and turns appealingly to the saint, who, in an amply embroidered and splendidly coloured robe and mitred, gazes up to heaven with extended hands and prays aloud. Some spectators and attendants accompany this group. Although its style is artificial and its colouring and the taste of the artist are florid, it is a highly desirable picture, and distinguished by its frank and strong brush power. The figures are rather more than life size, and Chimenti's name is new in the catalogue.
THE Fine-Art Society has appointed to day (Saturday) for the private view of a collection of about thirty drawings by M. Roussoff, mostly representing scenes in Cairo, its mosque entrances, porches of mansions, vistas of streets, staircases, and other picturesque materials in sunlight and strongly contrasting, lustre and shadow. They exhibit that wealth of colour and touch, the firm draughtsmanship and excellent sense of style, which we have often praised in the productions of this able artist. To these subjects he has added a greater number of capital and appropriate figures than appeared in former paintings of his with Italian and German subjects. We can especially commend * Street with a “Fantasia” of Flags,’ ‘The Citadel after Sunset,” “In the Tombs of the Mamelukes, Noon,” “An African who only wishes to be let alone,’ and various designs called “In the Arab Quarter.” Four brilliant drawings of Venice accompany the above.
ON Monday next the Society of British Artists will open to the public a special exhibition of sketches and other works given for the formation of a reserve fund. Everybody knows that the sketches and studies of many painters are much better worth looking at than their finished pictures. We trust such may prove to be the case in Suffolk Street.
MEssRs. Dowd Eswell have appointed to-day (Saturday) for the private view of a collection of pictures of Japanese and Chinese life, painted by Mr. Theodore Wores. The public will be admitted on Monday next.
VERILY the “restorer's '' ways are strange. It was announced at the last meeting of the Society of Antiquaries that Mr. J. L. Pearson had “prepared a plan " for removing the choir screen at Rochester Cathedral and for piercing the side walls of the choir with arches. Now this screen is the oldest in England, and the
choir, which it is thus proposed to reduce to the commonplace, is one of the oldest, and in some respects the most curious and perfect of the monastic choirs that we have, notwithstanding divers more or less mischievous “restorations" which it has suffered in times past. The needs of a modern cathedral congregation are not the same as those of a convent of monks ; but the old choir has been made to serve pretty well for a good many years, and, as it was pointed out by some of the antiquaries, the changes now proposed will leave the convenience of the building exactly as it is. Nevertheless, some idea that the destruction would be a practical gain must have been assumed to be its motive but that at Peterborough, where the monks' choir was destroyed over two hundred years ago, and two successors have gone since, and where the architect is absolutely free to arrange the church as seems best to him to suit modern wants, this same Mr. Pearson is engaged in carefully reproducing the monastic plan. We are tempted to believe that caprice is the only motive, and to fear that even the curious Saxon gravestones found in position at Peterborough two years ago would not be safe but for the assurance given by the Dean that they shall be preserved and protected as they were found.
FROM the Southport Spring Exhibition of pictures, which has just been closed, the sales have realized about 3,000l. The art committee has made several purchases for its own permanent collection.
THE Diamants de la Couronne, reserved, on account of their historical interest, from the recent sale of precious stones and ornaments, will at once be placed in a new vitrine of the Galerie d'Apollon of the Louvre.
THE French journals report that the operations on Rembrandt's ‘Night Watch,’ to which we recently, and not without apprehensions, referred, have endangered the whole work, so that it may be needful to rework (rentoiler) the entire picture.
THE beautiful garden which has been formed on the site of the Palace of the Tuileries, destroyed by the Commune in 1870, is now completely finished, and open to the public. The whole area—from the monument of Gambetta, a work which is too demonstrative, to the Arc de l'Étoile, including the Place du Carrousel, the new garden, the Jardin des Tuileries, the Place de la Concorde, and the Grande Avenue des Champs Elysées—is now open to view, and is marked by prodigious magnificence and beauty. The wooden shanties lately occupied by the Bureaux des Postes have entirely disappeared, and that great department is now installed in the new building on the original site facing part of the Rue Jean Jacques Rousseau. This site has been very much enlarged by the demolition of a considerable number of the ancient houses, ci-devant hotels, and other structures which hemmed in the old Bureaux des Postes. A wide street extends now to the east end of the Louvre. The new garden is called the Jardin du Carrousel, and it is enriched with columns surmounted by gilt spheres, and various decorative statues of high merit, including several famous ones. M. CHARLIER has been commissioned to execute a statue of Louis Gallait, to be placed at Tournay, the birth city of the painter. M. BREDIUs, the new Director of the Hague Museum, has bought, so says La Chronique des Arts, for 58,000 fr. an admirable Rembrandt, called ‘A Woman at her Toilette.” THE French School, with the aid of M. Carapanos, are excavating the site of the ancient city at Corfu. Many votive offerings belonging to some ancient temple have been found. They resemble the terra-cotta figurini of Tanagra, and represent women with their heads crowned, and at their sides an animal, some of them being armed with a bow and javelin.
A PREHISTORIC tomb of Laconia, at the village of Vaphion, near Sparta, has just been opened, and is found to resemble those of Mycenae. It consists of a long corridor leading to an inner chamber, and in the latter have already been found two gold vases figured in relief, one of silver, several of bronze, two gold rings, a score of incised stones, with many fragments of silver vessels.
NEAR Orvieto an Etruscan tomb has been opened, containing many bronze ornaments, arms of iron, Corinthian vases, and others of local manufacture. Seven other Vulcian tombs have been discovered at Corneto-Tarquinia, containing Etruscan and Campanian vases, with others imported from Attica. Portrait busts of Messalina and of Claudius have been disinterred at Milan, and of Augustus in Via Merulana, near the new Franciscan Church, Rome.
WE read the following in the Eorría of the 2nd inst.:—
“In an article published in the 'Eómuspic rāv IIarpov on the Odeion, which has lately been excavated at Patras, the supposition that the edifice was a Roman bath has been refuted as entirely groundless for the following reasons. Fourteen rows of marble seats have been discovered (each measuring 0-37 metre in height and 0.62 metre in breadth) in a semicircle, and four marble stairs, each of which consists of twenty-eight steps, 0-185 metre high, 0.29 mêtre broad, and 0.74 metre long. Besides this the floor has been discovered, laid with large marble slabs. In the southern wall are twelve small niches, and under these eight similar, but larger ones, whilst between them are three gates. In addition to these discoveries mosaics have been found, Roman and Byzantine coins, and some lamps, two of which are inscribed. From the site of the Odeion, which lies on the lowest side of the hill north-east of the city, a continuation of the hill of the Acropolis, the sight of the agora has been conjectured. This was probably surrounded by the wall of which some remains are to be seen. The Odeion was known to Pouqueville, who in the record of his travels maintains that the entire edifice is preserved on the exact spot where the excavations are now being made ; and since no traveller earlier than Pouqueville has mentioned this monument by name, it has been surmised, it would seem with but little likelihood, that probably the French traveller discovered a portion of the seats by excavating. . But is Pouqueville the only traveller who records this monument? Or does not Dodwell, who visited Patras in the beginning of this century, refer to this same building when he writes that the house of the German Consul was built over the ruins of a Roman brick theatre, although he concluded, from its small dimensions, that the theatre in question was not the Odeion which Pausanias describes '''
THE unequivocal success of the festival performance of Mendelssohn's ‘Elijah' at the Crystal Palace last Saturday affords matter for reflection. When the work was given in its entirety in 1860, and again when a selection was performed in 1867— Sir Michael Costa being the conductor on both occasions—it was generally admitted that Mendelssohn's music was too elaborate to be interpreted to advantage on such a vast scale, and hence it was permitted to rest until the favourable results achieved with Gounod's ‘Redemption’ in 1886 and Sullivan's ‘Golden Legend' suggested the idea that existing conditions were far more favourable than those which prevailed twenty years ago. This is, of course, the fact, the
cultivation of choral music having increased so immensely of late that “Elijah' is now thoroughly well known by metropolitan amateurs, who may be numbered by tens of thousands. The wealth of material at the command of Mr. Manns must not, how. ever, prevent the due recognition of his singular skill in the preparation and direc. tion of this superb performance. Only a conductor of consummate ability could have secured such unexampled effects, and it is a simple matter of justice to Mr. Manns to say that on no previous occasion has he given stronger proof of his rare qualifica. tions as a musical leader. Scarcely once during the afternoon was there the slightest symptom of wavering on the part of the huge force of 3,200 executants, and the delicacy and refinement of the singing in the quieter numbers were as noteworthy as the perfect precision and volume of tone in the Baal choruses and “Thanks be to God.” Of the soloists it is unnecessary to say much, for obvious reasons. The music of the prin. cipal part lies rather too high for Signor Foli, and at times his intonation was defective, though in other respects his singing was commendable. Madame Albani, Madame Patey, and Mr. Edward Lloyd completed the principal quartet; and the subordinate parts were excellently interpreted by Miss Emily Squire, Miss Jessie King, Mr. Maldwyn Humphreys, Mr. Frangcon Davies, and Mr. Plunket Greene. The success of ‘Elijah' should induce the directors to give a performance next year of ‘St. Paul,” a work likely to be even more effective on the Handel Orchestra. A few lines of record are all that is needed concerning the final Philharmonic Concert last Saturday afternoon. The orchestral works were Beethoven’s ‘Eroica’ Symphony, Wagner's Overture to ‘Der Fliegende Holländer,’ and Sullivan's ‘Il Ballo.’ M. de Pachmann played Chopin's Andante Spianato and Polonaise in E flat in his best manner, and Signorina Tua won loud and deserved applause for her rendering of Max Bruch's Violin Concerto in G minor. By her interpretation of the air “Return, O God of Hosts,” Fräulein Hermine Spies showed that she is as much at hone in oratorio as she is in German Lieder. The season just concluded has been eminently successful in every way. By securing novelties of interest, such as Mr. Cliffe's Symphony in c minor, Dr. Hubert Parry's in c, and Haydn's in B flat, and by the engagement of such eminent artists as Her Grieg, M. Tschaïkowsky, M. Sapellnikoff M. Ysaye, and Madame Geisler-Schubert, in addition to others whose merits were already familiar by long association, the directors have shown that they have thrown aside the policy which at one time threatened the existence of the Philharmonic Society. As it is there is no more flourishing it. stitution at the present time, and ther is no necessity to make any call on to guarantors. - The Richter Concert on Monday, given it conjunction with the London branch of to United Richard Wagner Society, was a cor plete success in a popular sense, and so of the excerpts were given with as mue. effect as is possible in the concert-rect This remark applies to the ‘Rienzi Oyo ture; Lohengrin's Farewell and the Schmie"
lieder from “Siegfried,’ splendidly sung by Mr. Lloyd; and Hans Sachs's monologue “Wahn, Wahn,’ very expressively rendered by Mr. Max Heinrich. As a matter of course much interest was felt in the first performance in St. James's Hall of the choral portions of the Graal scene from “Parsifal,’ but from an artistic point of view the selection proved a lamentable failure. To those who are familiar with the Bayreuth performances the experience was little short of distressing, effects being missed which with more care might have been easily attained. So far as regards the choir there was no apparent endeavour to secure light and shade, forte or fortissimo being maintained throughout, while the subdued tones of the distant bells were replaced by a hideous clangour which drowned the orchestra and added considerably to the generally unfavourable impression made by the performance. There is nothing particularly surprising in the fact that Wagner's intensely religious music does not prove effective in the concert-room, though it must be said with emphasis that the rendering under Herr Richter was less meritorious than might have been expected in respect of delicacy and general intelligence.
THE number of concerts given during the past fortnight has been almost unprecedented, and it is only possible to notice a few of the more important performances. On Thursday last week Mr. W. G. Cusins gave his annual concert in St. James's Hall, with an attractive programme of its kind, Mendelssohn's Trio in D minor, in which the concert-giver was assisted by Signorina Tua and Signor Piatti, being associated with operatic and other airs contributed by Madame Walda, Madame Patey, and Mr. Barrington Foote, and humorous recitations by Mrs. Kendal. An interesting feature, however, was the series of pieces for viola d'amore by Milandre, excellently interpreted by M. van Waefelghem.
Dvor AK's Quartet in E, Op. 80, was the most interesting feature of Sir Charles Halle's concert on Friday last week. It is understood that the work was composed not more than two or three years ago, and it therefore represents the composer in his maturity. Thus regarded it is a little disappointing, the amount of originality, as apart from mere musicianship, which it discloses being comparatively small. The second movement, andante con moto, in A minor, is the most characteristic of the composer, alike in thematic material and construction; and the finale, with its spirited fugal writing, is clever and effective. The credit of the first performance in London of the quartet belongs to Mr. Harvey
Löhr, who introduced it at his concert on April 5th. Sir Charles Halle's programme included Brahms's Trio in E flat, for piano, violin, and horn, Op. 40 ; Grieg's Sonata in C minor, for piano and violin, Op. 45; and some pianoforte solos by Chopin.
THE second pianoforte recital given by Señor Albeniz in St. James's Hall on Monday afternoon served to confirm the impression that he is a performer of exceptional powers. His execution is wonderfully brilliant; but unfortunately he loses control of his fingers at times and utterly distorts the music he is engaged upon. This was the case on Monday in Bach's ‘Italian' Concerto and some of the Chopin selections. On the other hand, there was a singular charm in his rendering of the Berceuse and the Impromptu in A flat. A player so gifted and at the same time so unequal does not often appear.
MR. WILHELM GANZ gave his annual concert at Dudley House on Tuesday afternoon, taking part in Mendelssohn's Trio in C minor and Beethoven's Concerto in the same key. The rest of the programme was miscellaneous.
ON the same afternoon Miss Isaacson, an excellent pianist, gave a chamber concert at the Princes' Hall, her programme including Beethoven's Trio in C minor, Op. 1, No. 3, and Schumann's Quartet in E flat, Op. 47. Miss Isaacson's rendering of Bach's Chromatic Fantasia and also of Beethoven's “Waldstein’ Sonata was particularly meat and unaffected, if not powerful.
ALso on Tuesday afternoon Mr. Jekyll gave a recital on the magnificent organ built by Messrs. Hill & Son for the Town Hall, Sydney. It is one of the largest instruments in the world, and contains five manuals and 126 sounding stops, the most remarkable of which is a 64 ft. reed on the pedals.
ON Tuesday evening Madame Sembrich appeared at a miscellaneous concert at St. James's Hall, and displayed the singular purity of her vocal method in Mozart's “Deh vieni” and other selections. There was a full orchestra, conducted by Mr. Cusins.
THE concerts of Wednesday afternoon included those of Mr. Manby Sergison at the Princes', and Signor Tito Mattei at St. James's Hall. In neither case was there anything in the programme to call for notice.
THIS last remark will also apply to the chamber concert of the Royal College of Music on Thursday evening.
THE loss upon the season just concluded at the San Carlo, Naples, is said to have reached 358,000 francs.
THE Emperor William and the Prince Regent of Bavaria will arrive in Bayreuth about the 20th of July.
WAGNER's early opera, ‘Das Liebesverbot,” is now in rehearsal at Munich, and the same master's “Die Meistersinger” has been selected to open the next season at La Scala, Milan.
CONCERTS, OPERAS, &c., NEXT WEEK.
Mon. M. Nachéz and Herr Friedheim's Recital, 3, Princes' Hall. - Roval Italian Opera.
TUEs. Fi join Hermine Spies's Second Wocal Recital, 3, St. James's
. Herr Johannes Schubert's Pianoforte Recital, 3, 8teinway Hall.
. Hyde Park Academy Students' Concert, 3. Steinway Hall.
The London Stage : its History and Traditions from 1576 to 1888. By Barton Baker. 2 vols. (Allen & Co.)—Following the example of most historians of the stage, Mr. Baker has been at more pains to make his account of the London theatres readable than trustworthy. In so doing he has marred an excellent scheme. There is no work from which any large portion of the matter he supplies can be obtained, and a mere list of the theatres at different times existing in London is not easily made. This want is supplied, and the information Mr. Baker has collected, so far as it goes, is welcome. It is, however, both scanty and inaccurate. The former defect might be forgiven. To collect from the various sources all that is known concerning past and present theatres would extend the work to several volumes. Mr. Baker is, however, grudging in his supply, and is even parsimonious—a fatal defect this—in dealing with his index. In this we find, for instance, no mention of the Mirror or the Brunswick Theatre. Mr. Baker may say that the latter is dealt with under the name it once bore of the Royalty, and the former under that of the Holborn. Not at all to the point is this. A reader wants to know what was the site of the Brunswick Theatre, of the calamity shortly after the opening of which he finds an account. How is he to find it in Mr. Baker's book unless he knows it was formerly called the Royalty Then as regards the Brunswick, how meagre is the information supplied considering that pamphlets descriptive of it are accessible No mention whatever is made of the connexion with that house of Percy Farren, the brother of William Farren, who was its manager. As regards inaccuracy the case is graver. . Many of the more obvious errors in Mr. Baker's book are slips the result of carelessness and haste. In old days these things might be overlooked. The world now in work of this kind insists on accuracy, and stage fiction and gossip will no longer be accepted as history. In many important cases, however, Mr. Baker is seriously wrong when a reference to works of easy access would have set him right. Want of exactitude may be palliated in dealing with early records of the stage, which are scanty and not always too accurate or intelligible. In the case, however, of theatres and actors of to-day it is difficult to understand how, with the exercise of moderate caution, Mr. Baker could have gone so far astray.
however, to resist the conviction that in strength of motive, in construction, and in characterization ‘The Shaughraun' is immeasurably in advance of most melodrama of a subsequent date. Its love scenes are delicious, its personages are warm-blooded human beings, and its action is conceivable and progressive. Acted as it was on Saturday last, with a cast including scarcely a single Irish actor, it commanded the warmest sympathies of the audience. Miss Millward and Mr. Terriss gave the love scenes in effective fashion, and Mr. Maclean as Father Dolan, Mr. Pateman as Harvey Duff, Mr. Shine as Con the Shaughraun (originally played by Mr. Boucicault), Miss Esmond, Mr. Beveridge, Mr. Abingdon, and other actors were portions of an acceptable cast.
THE first appearance of Madame Sarah Bernhardt will, it is now decided, take place on the 9th of July, at the Lyceum, as Lena in a French rendering of “As in a Looking - Glass.’ “La Tosca,” “La Dame aux Camélias,’ ‘Phèdre,’ ‘Adrienne Lecouvreur,’ ‘Fédora,’ ‘Frou-Frou,' and “Théodora' will be given in the course of a season which will last until half way through the following month.
THIS evening the Gaiety company returns from the Globe Theatre to its own home.
*AUNT JACK' is the title bestowed upon the new farcical comedy of Mr. Lumley, in which Mrs. John Wood and Mr. Cecil will appear at the Court Theatre.
DRAMATIC rights have been already secured in the novel “Little Hand and Muckle Gold,’ to which we referred in “Literary Gossip,” a dramatic version of the plot having been played at the Victoria Hall, Kensington. “A MAN's LovE' is the title of a neatly constructed piece, in three acts, adapted from the Dutch by Messrs. J. T. Grein and C. W. Jarvis, and produced on Tuesday afternoon at the Prince of Wales's Theatre. It depicts the love of a married man for his wife's sister living with him in the same house, and, though necessarily painful in subject, is well written and has one or two strongly dramatic situations. Mr. Leonard Boyne and Miss Gertrude Kingston played the principal parts with a quiet intensity not common on our stage, Miss Mary Rorke was pleasing as the wife, and the whole was received with deserved favour. A burlesque monologue, by Mr. Charles Collette, assisted by his daughter Mary, was also given. “OUR FLAT,' by Mrs. Musgrave, produced recently at an afternoon representation, has now been transferred to the regular bills at the Opéra Comique. It has some briskness and bustle, and causes some diversion. Its chief merit consists in affording opportunities for comic acting by Miss Fanny Brough, Mr. Edouin, Miss May Whitty, and other actors. “To the Rescue,’ a one-act play by Mrs. William Greet, was also given. “THE MARQUESA,’ a new and original drama by John Uniacke, will be produced at an afternoon performance at the Opéra Comique on July 11th, with Miss Louise Moodie in the leading part. ON two afternoons in the present week Miss Hawthorne has appeared at the Princess's in “Heartsease,' Mr. Mortimer's version of “La Dame aux Camélias.” M. DAUDET is to read his new piece, “La Lutte pour la Vie,' to the company of the Gymnase on September 1st. “Soliloss KRONBERG,’ an historical tragedy by King Oscar II. of Sweden and Norway, has been translated into German by Emil Jonas, and is to be performed during the winter season of 1889–90 at six German theatres—the Theatre Royal in Stuttgart, the city theatres of Halle, Nuremberg, Königsberg, and Aix-la-Chapelle, and the Lobe-Theatre in Breslau.
"The interest of the story, which is very sweet and engaging, is in seeing how he is won from bitterness by Gabrielle, a charming picture of young womanhood. The story is in some respects stronger than the former works of this author that have appeared. As it has all the old grace of manner, it should prove doubly popular.”—Scotsman.
TO MASTER ANTHONY STAFFORD : a Poem of 1632.
Part VII. Constance
SMITH, ELDER & Co.
-NEW STORY BY JAMES PAYX.
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DIANA BARRINGTON. By B. M. Croker.
DESPERATE REMEDIES. By Thomas Hardy. MARVEL. By the Author of ‘Molly Bawn.'
FROM the GREEN BAG. By F. M. Allen, Author of ‘Through Green Glasses,’ ‘The Voyage of the Ark,’ &c.
o Ward & Downey, 12, York-street, Covent-garden, London.