beak of those in later times, made alterations hich entirely changed its character. Why our reviewer should accuse me of having rought "destruction and untold mischief" I innot understand, when the work of restoraon was entrusted to an architect of the highest ›pute, and every vestige of antiquity to which ny interest could be attached was carefully reserved. One might suppose, from what he as written, that I had swept away a building of reat antiquarian value, a small portion of it nly excepted, and replaced it with modern ork of the most inferior description. It is an njust indictment, which has no foundation in he facts of the case; and there is no question hat the building of the church tells its history nore plainly now than it has done for many enerations past. J. HENRY SLESSOR.

***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 very good and clear, and it appears o us to bear out all that we said in our review. We wrote as we did because this seemed to be a

ypical 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 imroving the churches under their care. The high repute of an architect may be, and nearly always is, earned by qualities which have othing to do with the knowledge of old churches, and do not in any way fit him for dealing with them. The architect of a new building has no need to be an antiquary; but one can properly direct the repair, and still less che alteration, of an ancient building of historical value unless he be able to read its past and to Hympathize with it. An architect who has much to do with church building must have some ecclesiological knowledge. But the ecclesiological and the historical instincts are not the same; and the former untempered by the latter has caused men to make our old churches into new ones in the way we protest against. We do not overlook that the old churches are

wanted for use, and must be adapted to the wants of the users as those wants change, nor that there are many things which churchmen of to-day want which those of fifty years ago neither had nor wished for. Additions and alterations properly made to meet real needs do not destroy, but add to the interest and value of the building. But we contend that most of the mischief called "restoration " meets no want at all, except the vulgar craving for smartness. Mr. Slessor draws what seems to him a frightful picture of the state of his church before it was altered, with its sedilia, piscina, and half a lowside 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. would take too long to discuss every point, so we will only refer to the treatment of the floors.

It

They are now all new, of tiles to which we applied an adjective which Mr. Slessor does not like; but he will admit that the character of the tiles

does not fit the church any the better for its purpose. Nor would it have been the worse if the gravestones of the "two former rectors and four farmers who lived about the beginning of the present century" had been left in their places. It may be, as Mr. Slessor submits, that these stones are not in an unseemly position in the vestry, but the right place for a gravestone is above the grave which it was made to mark.

NEW PRINTS.

MESSRS. P. & D. COLNACHI'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 insight of an etcher whom we shall be glad

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 prisoner seated, bound, in the kitchen of a Royalist'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, right in front are not sufficiently_massed, it is while the light and shadow of the herbage on our 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 minauderie 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.

Fine-Art Gossiy.

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. DOWDESWELL 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 tures, 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.

“In an article published in the Εφημερὶς τῶν Harpy 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 measurpic-ing 0:37 mètre in height and 0-62 mètre in breadth) in a semicircle, and four marble stairs, each of which consists of twenty-eight steps, 0185 mètre high, 029 mètre broad, and 0.74 mètre 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 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 hôtels, 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.

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 1867Sir 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 increas so immensely of late that Elijah' is thoroughly well known by metropolita amateurs, who may be numbered by of thousands. The wealth of material the command of Mr. Manns must not, har ever, prevent the due recognition of singular skill in the preparation and dire tion of this superb performance. On's conductor of consummate ability could hir secured such unexampled effects, and it is simple matter of justice to Mr. Mannst say that on no previous occasion has i given stronger proof of his rare qualifo tions as a musical leader. Scarcely on during the afternoon was there the slighte symptom of wavering on the part of th huge force of 3,200 executants, and is delicacy and refinement of the singing the quieter numbers were as noteworthy the perfect precision and volume of tot the Baal choruses and "Thanks be to Gol Of the soloists it is unnecessary to say mud. for obvious reasons. The music of the pri cipal part lies rather too high for Signe Foli, and at times his intonation was de fective, though in other respects his singing was commendable. Madame Albani, Madane Patey, and Mr. Edward Lloyd completed principal quartet; and the subordinate par were excellently interpreted by Miss E Squire, Miss Jessie King, Mr. Maldwy Humphreys, Mr. Frangcon Davies, and M Plunket Greene. The success of 'Elijah should induce the directors to give a per formance next year of 'St. Paul,' a wi 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 'It 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 si "Return, O God of Hosts," Fräulein Hermine Spies showed that she is as much at home in oratorio as she is in German Lieder. The season just concluded has been eminenty 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 в flat, and by the engagement of such eminent artists as Herr Grieg, M. Tschaikowsky, 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 institution at the present time, and there is no necessity to make any call on the guarantors.

The Richter Concert on Monday, given in conjunction with the London branch of the United Richard Wagner Society, was a com plete success in a popular sense, and some of the excerpts were given with as much effect as is possible in the concert-room. This remark applies to the 'Rienzi' Overture; Lohengrin's Farewell and the Schmied

›der from 'Siegfried,' splendidly sung by r. Lloyd; and Hans Sachs's monologue Wahn, Wahn,' very expressively rendered y Mr. Max Heinrich. As a matter of course uch interest was felt in the first performace in St. James's Hall of the choral porons of the Graal scene from 'Parsifal,' ut from an artistic point of view the selecon proved a lamentable failure. To those ho are familiar with the Bayreuth perbrmances the experience was little short f distressing, effects being missed which with more care might have been easily ttained. So far as regards the choir there vas no apparent endeavour to secure light nd shade, forte or fortissimo being mainained throughout, while the subdued tones of the distant bells were replaced by a ideous clangour which drowned the orhestra 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.

Husical Gossip.

SINCE Tuesday last week there have only been repetition performances at the Royal Italian Opera, Mr. Harris having fulfilled all his promises save 'Le Prophète' and 'Die Meistersinger.' The rehearsals of Wagner's work are being rapidly pushed forward, and it will probably be ready in about ten days.

Ar Her Majesty's 'Rigoletto' was performed for the first time on Tuesday, with Miss Minnie Ewan, a young American soprano, as Gilda. The new-comer has a fresh, sympathetic voice, but it is not yet under perfect control, and as an actress she has not yet passed the elementary stage. Miss Ewan has the making of an excellent artist, given further study and experience. M. Warmuth was capable as the Duke, and Signor Galassi sang and acted with his customary energy as the Jester.

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 Valda, 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.

DVORAK'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 loses control of his fingers at times and utterly is wonderfully brilliant; but unfortunately he 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 neat 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.

MON. TUES.

WED.

CONCERTS, OPERAS, &c., NEXT WEEK.

M. Nachéz and Herr Friedheim's Recital, 3, Princes' Hall.
Roval Italian Opera.
Fräulein Hermine Spies's Second Vocal Recital, 3, St. James's
Hall.

Concerts in Aid of the Corpus Christi Mission at Camberwell, 3.30
and 9, Wimborne House.

Royal Italian Opera, State Performance in Honour of the Shah. Herr Johannes Schubert's Pianoforte Recital, 3, Steinway Hall. Signor Carpi s Annual Concert, 3, Mariborough Rooms. Mrs. M. Bolingbroke's Concert, 8, Princes' Hall. THURS. Hyde Park Academy Students' Concert, 3. Steinway Hall. Mr. Barrington Foote's Concert, 3. Princes' Hall. Herr Waldemar Meyer's Concert, 8.30, St. James's Hall. Royal Italian Opera.

Verdi's Otello, Lyceum Theatre.

FRI.

DRAMA

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 list of the theatres at different times existing in no work from which any large portion of the matter he supplies can be obtained, and a mere 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.

Bramatic Gossip.

AFTER repeating on Friday in last week, by permission of Mr. Kendal, her original character of the heroine of 'Le Maître de Forges,' Mlle. Jane Hading took her farewell of the London public in Adrienne Lecouvreur,' a part she charges with much pathos and tenderness. M. Coquelin stayed until Tuesday, when he made his final appearance this season, playing in 'Le Gendre de M. Poirier.' The performances of these artists have not been so well attended as was anticipated. The prices, however, of admission must be pronounced excessive.

THE miscellaneous entertainment at the Lyceum on Saturday last was received by a large audience with constant enthusiasm. Mr. Toole led off as John Grumley in 'Domestic Economy,' Mr. Sims Reeves sang two songs, M. Coquelin recited a monologue, 'La Mouche,' and Mr. Irving and his company then played in 'The Bells.' The result of this very interesting combination was an accession of about 450l. to the Actors' Benevolent Fund, in favour of which the performance took place.

UPON its revival at the Adelphi 'The Shaughraun' of Mr. Dion Boucicault proves to have lost little of its freshness or its interest. Some feeling of insincerity in the author is inseparable from Mr. Boucicault's work. It is impossible,