in its silvery tone, finely painted sky, and the decorative quality of the landscape background.

us of Gainsborough. This picture evi- the skating scene by Beerstraten--an admir. dently belongs to the period when Sirable example of this painter's work, beautiful Joshua, in painting flesh, was in the habit of applying his reds with a thin glaze, using a colour which has proved fugitive, and here, as in many of his portraits, the reds have perished from the face and hands. On another wall hangs a large, but poor Wilson. There are also some examples of Flemish and Dutch painting of mediocre interest, and one or two pieces, such as Jan Wijck's The Siege and Falcone's Prisoners on the March, which are apparently introduced to bring the collection into touch with actualities.

In another room are a number of most beautiful Chinese paintings. Nothing could exceed the grace and delicacy of such work as the Noble Lady_ with Companion (Ming) or the Deer and Trees (Kang Shi), and no lovers and students of Chinese art should fail to examine them. There are only nine Chinese paintings here, but they are all of the first rank.

The rest of the exhibition is devoted to contemporary English painting. Mr. Glyn Philpot, Mr. Connard, Mr. Walter Russell, and Mr. MacEvoy are all well represented. Mr. Philpot's The Death Blow shows him in his Goya manner, falling in no way short of his master in vitality and dramatic power, and exhibiting a skill of handling perhaps superior. We are glad, too, to see again his charming Portrait of a Young Girl and his Youth in a Fur Cap. Mr. Walter Russell's landscapes are far more admirable than his figure pieces; and Mr. MacEvoy's The Black Shawl has a real emotional

significance. Mr. Strang. Mr. Harrington Mann, and Mr. von Glehn, among others, are also showing. In the entrance hall are hung drawings by some of these artists, and a set of "originals " by Aubrey Beardsley. R. H. A. W.

IRISH NOTES. SEVERAL important pictures have recently been added to the collection in the National Gallery of Ireland. Four have been presented by Sir Hugh Lane, and one by Mr. E. R. Turton, while one has been acquired by purchase. Sir Hugh Lane's latest gift consists of a portrait by Gainsborough of his elder brother John; a portrait by Romney of his wife; a landscape by Alessandro Magnasco; and a winter skating scene by Jan Abrahamsz Beerstraten.

The Gainsborough portrait - an early work-was purchased from the Gainsborough family by W. Sharpe in 1841; it was afterwards in Mr. C. Fairfax Murray's collection, and was shown last January at the New York exhibition of the works of Gainsborough and Turner. John Gainsborough, better known by his nickname Schemer Jack," is described by Philip Thicknesse as an eccentric and unfortunate inventor whose many experiments were rarely turned to any practical purpose. The portrait, in profile, shows a thoughtful man wearing a black velvet coat and beaver hat. It is painted with the precise touch and tight handling which characterized Gainsborough's work while he was still under the influence of Hayman.

The portrait by Romney is also an early work, and is the more important of the two which he painted of his wife Mary Abbot, whom he married while he was still an apprentice. The lady, who wears a goldcoloured dress, with a filmy scarf over her head, leans to the left, with her cheek upon her hand.

Dublin is justly proud of its collection of Dutch pictures, which is now enriched by

|

The landscape with figures by Magnasco, a little-known Milanese painter who flourished in the first half of the eighteenth century, is a vivacious and original work, romantic in feeling, and remarkable for its bold drawing and daring chiaroscuro.

Philip Reinagle is chiefly remembered as the assistant to Allan Ramsay and the author of The Sportsman's Cabinet.' In the 'Interior, with Portrait Group of Lady Congreve and her Children,' which has been presented to the Gallery by Mr. Turton, he is seen to be a genre painter of charm and distinction.

The 'Old Westminster Bridge,' by Samuel Scott, which has been purchased, is one of several pictures by him on this subject. The Dublin view shows two of the arches, with barges and pleasure-boats on the river, and the houses on the left bank stretching away to the distance. The work is fine in construction, and delightful in its details. A small study for this picture is in the National Gallery at Trafalgar Square.

Much interest has been aroused in the

attractive collection of Irish craftwork

now on view in the Historical Section of the Dublin Civic Exhibition. Some of the

examples of eighteenth-century silver are particularly fine; and the municipal insignia shown include a gold collar of SS lent by the City of Cork, which is an admirable example of Tudor design and workmanship.

GILBERT STUART.

Albemarle Court, 27, Albemarle Street, Mayfair,
August 12, 1914.

I AM in London from Philadelphia, studying the works of Gilbert Stuart, America's master painter, whose life I am writing, and who worked in England from 1777 until 1788, and in Ireland from 1788 to 1793. I have passed several weeks in Dublin, and have there found fine portraits by him in the families of Ponsonby, Hamilton, Lord Massy, the Duke of Leinster, Lord Massareene, Earl of Ranfurly, Lord Farnham, Lord Dartry, and others; but several portraits that he painted in Ireland, some of them familiar by fine mezzotinto prints, I have not been able to find, such as John Fitzgibbon, Earl of Clare, that was exhibited at the South Kensington Historical Portrait Exhibition, in 1868, by the late distinguished A. J. Beresford-Hope; the Duke of Leinster, engraved by Hodges, the portrait of him by Stuart at Carton being a different portrait; Right Hon. William Brownlow; Rev. William Preston, Bishop of Kildare, who was secretary to the Duke of Rutland ; John Beresford, second son of the first Earl of Tyrone; Eusby Cleaver, Bishop of Cork and Archbishop of Dublin; Dean Butson; Lady Charlotte_Clive; Richard Annesley of the Custom House, Dublin; Lady Ormonde ; Lady Westmeath; Viscount Sydney, exhibited by Lord Sydney in 1867 ; and the Rev. John Rodgers.

In and about London I have found in the National Portrait Gallery, besides five credited to the brush of Stuart, Mrs. Siddons, attributed to Sir William Beechey, and Sir John Jervis, Earl St. Vincent, with "painter unknown"; Hugh Percy, second Duke of Northumberland, in possession of the present Duke, which, however, is a different portrait from the one engraved by Charles Turner, so that I want to find the latter, as also Stuart's painting of the Duke's two children.

There are also important portraits by Stuart belonging to the Earl of Sandwich, Lord Normanton, Lady Du Cane, the Hon. Misses Hammond, the Hon. Mrs. Plunket, Mrs. Pelham-Clinton, Sir Hugh Lane, and others; but I should like very much to know where I will find the portrait that Stuart painted of the Earl of Carnarvon, in collaboration with Gainsborough; of George Montagu, Duke and Earl of Mancheste:, Lord and Lady Erskine, Lord and Lady Ashburton; Admiral Lord Barrington; Admiral Lord Rodney; Admirals John Gell (whole length, exhibited at the Royal Academy, 1785), John Harvey, Thomas Pringle, Thomas Russell, and the fulllength of Earl St. Vincent that was mezzctinted by J. R. Smith; Dr. William Cruikshanks, a copy of which is in the Royal College of Surgeons; the actors John Henderson, J. G. Holman, and Alexander Pope that were in the collection of Charles Mathews the comedian; and John Philip Kemble as Richard III. that in 1868 was owned by Sir Henry Halford; the artists Thomas Gainsborough, Sir Joshua Reynolds, Dominick Serres, William Sharp, and Richard Earlom; the ministers from Great. Britain to the United States, Sir Robert Liston, Sir Edward Thornton, Anthony Merry, and also that of Mrs. Merry. Other portraits that Stuart is known to have painted, and I want to find, are those of Caleb Whitefoord (in 1834 owned by Whicol} Joseph Priestley, Thomas Malton, Thomas Sheridan, Francis Rawdon, Earl of Moira and Marquess of Hastings, George III.,. Queen Charlotte and the Prince of Wales.

This seems like a formidable list, but it was more than double the length when I started my work on this side of the water six weeks ago, and as it is only by co-operation that a work such as I have in hand can be made authoritative and claim anything like completeness, I ask of your readers their assistance in locating the portraits I have named. My sojourn here is necessarily limited, so that I would appreciate as early a response as possible.

CHARLES HENRY HART.

MUSIC

NEW PUBLICATIONS.

MESSRS. AUGENER. Azzopardi-Studien. By Julius Röntgen. Op. 59. 3s. net.-The composer of these Studies has in many works proved his ability. He is a Dutchman by birth, and, like his father Engelbert Röntgen, has devoted much of his time to teaching, principally at the Amsterdam Conservatory. The name of Azzopardi is not now familiar. He was a contrapuntist of the eighteenth century, also choirmaster of Malta Cathedral. From his work on counterpoint, published in 1786, Heer Röntgen has taken a cantoTM fermo (the notes of the Hexachord on c), over which he has written short Preludes in all keys, in some cases with canonic imitations in the upper parts. But in every key the bass adheres to the original notes of the canto fermo: thus in the key of c sharp major the first bass note will be c natural, and the following notes also naturals. cleverly this is managed will be discovered by those who examine the music.

How

A Fugue with the canto fermo as subject,. and, rhythmically altered, as counter-subject -is full of double, triple, and quadruple counterpoint, and many other learned de-. vices: these suggest that, however learned the music, it is probably dry; but that

is not so. There are features in it showing that the composer belongs to the twentieth century, not the eighteenth. After the Fugue comes as last number a light Waltz, in which the canto jermo still appears in various forms.

The work is dedicated to the composer's friend Mr. Donald F. Tovey, the new Edinburgh Professor, who will be fully able to appreciate the skill displayed in it.

MESSRS. NOVELLO & CO.

Among the compositions for the organ which we have received may be mentioned an excellent Toccatina (a Study in Staccato), by Dr. W. G. Alcock (ls. 6d. net). Sir Frederick Bridge has produced an arrangement of an interesting Adagio and Allegro by Balthasar Galuppi (1s. net), an old composer whose name has, at any rate, been kept in remembrance by Browning's poem. A Grand Choeur by Claude E. Cover (1s. net) is rather formal in structure, and conventional in character; but the music is sound and melodious, and, not being difficult, should be welcome to many organists.

Musical Gossip.

QUEEN'S HALL was crowded last Saturday .evening at the opening of the Promenado Concerts. There was one novelty in the programme, an Adagio entitled Sospiri, for strings, harp, and organ, by Sir Edward Elgar. The last-named instrument is marked ad lib., but, since the piece is very simple and delicate, and "the melody utters itself in a series of deeply breathed sighs (hence its title), the ornission of the organ part would be to the advantage of the music. "The most successful piece of the evening was Mr. Percy Grainger's English morris-dance tune Shepherd's Hey.' It is full of rhythmic life, and the melody is straightforward; moreover, the composer felt that it ought to be short. That is a good sign, for many excellent musicians get absorbed in their work, and at times say more than their subject-matter justifies. The singers were Miss Carrie Tubb and Mr. Herbert Heyner.

Tschaikowsky's 'Capriccio Italien was performed in place of Strauss's 'Don Juan.'

THE programmes for the rest of the week were changed. Two novelties had been announced for Thursday: a new Rhapsody for piano and orchestra, by the Hungarian .composer Béla Bartók; and Erich Korngold's Sinfonietta'; but these composers were replaced by Saint-Saëns and Tschaïkowsky.

That French and Russian music should be prominent just now is, perhaps, natural, but Belgian music ought also to be repre:sented, notably that of César Franck, who was born at Liège.

ON Monday evening the usual Wagner programme was changed into one by French and Russian composers. It is, perhaps, well to give Wagner a rest, for a time is I bound to come when the public will feel the necessity for a change.

Ar the concert on Tuesday evening Mr. Frederick Morley, a new pianist, played the solo part of M. Dohnányi's Concerto in E minor. The composer has written much interesting music, yet this work disappointed us. Of the three movements the first is unequal, and the third becomes weak towards the close; the second is the best. Was it the fault of the interpreter, whose reading was scarcely sympathetic? Rossini's once famous Guillaume Tell' Overture was the opening number of the programme. It was well played, but it now sounds very old. Wagner, by the way, remembered it when he wrote his Tannhäuser Overture. Miss Mary Fielding, who sang Max Bruch's 'Ave Maria,' has a clear voice, but she was nervous.

6

6

On Wednesday evening the concert opened with Chabrier's bright Marche Joyeuse.' Mr. Richard Walthew conducted his 'Friend Fritz,' an overture based on thematic material intended for an opera. This overture is bright and effectively scored; it therefore seems a pity that the opera was never completed. Mr. Budden Morris, another new pianist, played the solo part of Schumann's Concerto. His reading, however, lacked colour and poetry. Madame Ida Drummond's rendering of Caldara's fine air" Come raggio di sol," Quella fiamma by Marcello, and Danza, Danza," by Durante-not, perhaps, the best selection for so large a hall—was intelligent.

66

66

THE CARL ROSA OFERA COMPANY, unwilling to throw over one hundred artists out of work, have decided not to cancel their tour, but to make a start as usual. They will be at the Coronet Theatre on September 7th, and at Kennington and the Marlborough on the 14th and 21st respectively. It will, however, be impossible to continue if the support is inadequate, and Mr. Walter van Noorden, the managing director (14, Wrotham Road, Camden Town, N.W.), will be grateful if those who mean to be present will inforın him or the respective

theatres of their intention.

THE NORWICH MUSICAL FESTIVAL, which was to open at the end of next October, has been postponed.

THE nineteenth season of the Symphony Concerts at Queen's Hall will consist, as usual, of eight concerts, on the following Saturdays: October 17th, November 14th and 28th, and December 12th; and in 1915, January 16th and 30th, and February 13th and 27th.

THE QUEEN'S HALL ORCHESTRA, under the direction of Sir Henry J. Wood, has been exclusively engaged for the series of twenty-six Sunday Afternoon Concerts to be given by the Sunday Concert Society at Queen's Hall from October 4th to March 28th, 1915.

THE death is announced of Pol Henri Plançon, the well-known French basso, who was born at Fumay (Ardennes) in 1851. In 1880 he made his début at Paris, and in 1891 at Covent Garden as Méphistofélès in Gounod's 'Faust.' His success then was

great, and from that time down to 1904 he came every season. Endowed with a fine, well-cultivated voice, he proved himself an artist of exceptional ability; moreover, he was noted for his clear diction. Plançon appeared in many parts, and sang in four languages in his native tongue; and-to name one instance of each-as the Priest in Aida,' as Pogner in 'Die Meistersinger,' and as the Friar in Sir Charles Stanford's 'Much Ado about Nothing.' He died at Paris last week.

PERFORMANCES NEXT WEEK. MON-SAT. Promenade Concerts, 8, Queen's Hall.

THE timely revival of 'Drake' at His Majesty's this week was enthusiastically received by a large audience. As for the play itself, we have little to add to what was said in our notice of September 7th, 1912, when we described it as a series of animated pictures illustrating the successes of the great sea-captain's career." On Wednesday night Drake's patriotic and prophetic speeches sounded peculiarly apt to English hearers, while the skirmishes with Spaniards on the Isthmus of Darien and the scene of the Armada fight seemed but feeble travesties of what every one is expect ing shortly. Phyllis Neilson-Terry played her original part as the self-willed queen, and Amy Brandon-Thomas was most engag ing as Elizabeth Sydenhamn. A special word of praise is due to Mr. Philip Merivale for his fine acting as Thomas Doughty in the trial scene on board the Golden Hind.

Incidentally, our representative derived much profit and amusement from the com. ments on English history made by a party of Americans sitting in his neighbourhood. A CORRESPONDENT writes :

"One good result already of the war is the reduction of the eternal pictures of actresses, whom, from a glance at the press in normal times, one might conceive to be the most important people in the world. Surely in these days of the picture-postcard they advertise themselves sulfi ciently without being forced on our eyes at every turn in the papers, often with fulsome descrip tions of their charms.

WE notice with some curiosity that a play has been given this week in serial form.' If announcements are correct, 'The Easiest Way' has been performed in two sections at the Chiswick Empire, Monday, Tuesday, and Wednesday being devoted to Acts I. and III., and the other days of the week to Acts II. and IV.

The success of this experiment seems to us doubtful, unless the play is one of those which has no plot worth speaking of.

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