parthenogenesis, or the reproduction from virgin females, of Artemia salina, a curious phyllopod crustacean which makes its appearance in certain salt-pans when the brine attains a definite degree

of concentration.

FINE ARTS

The SOCIETY of PAINTERS in WATER COLOURS. - The by the MEMBERS is NOW OPEN, at their Gallery, 5, Pall Mall East. Ten till Five.-Admission, 18. ALFRED D. FRIPP, Secretary.

"The SHADOW of DEATH.' Painted by Mr. HOLMAN HUNT. -NOW on VIEW. From 10 till 5.-39B, Old Bond Street. Admission, 18.

INSTITUTE of PAINTERS in WATER COLOURS. — The EIGHTH WINTER EXHIBITION, is NOW OPEN from 10 till 6.Admission, 18.-Gas on Dark Days.-Gallery, 58, Pall Mall. JAMES FAHEY, Secretary.

TORIUM,' with Night of the Crucifixion,' 'Christian Martyrs,' 'Francesca de Rimini,' 'Neophyte,' Andromeda,' &c., at the DORE GALLERY, 35, New Bond Street. Ten to Six.-Admission, la.

An Introduction to the Study and Collection of Ancient Prints. Illustrated. By W. H. Willshire. (Ellis & White.) This book is designed to supply the want, so often felt by students of prints, of a trustworthy and comprehensive manual, or book of reference, for those who have some knowledge of the bibliography of the art of engraving, and of a guide to others who are not so well informed on the subject. Dr. Willshire has endeavoured to give a systematic summary of our knowledge of a subject which is at once widely scattered and extensive, and to furnish useful directions for tyros in print collecting.

He remarks:

"There is one drawback connected with icono

graphy-common, it is true, to all knowledge obtained in recent years: viz., the literature of particular subjects and masters is so widely spread through ephemeral publications, as to make it frequently difficult, both to know what has been written on any given topic, and to procure special

information when we are conscious that it exists. Fugitive tracts, reviews long demised, and out-ofthe-way journals are obtainable often only with much trouble, and sometimes not at all. Such a library even as our own national one, may not be able always to satisfy the wants of those engaged in working out a particular subject."

Dr. Willshire is perfectly right. Everyone knows that there is no book conceived and executed in the spirit which modern criticism requires, and dealing with prints in a way at once comprehensive, exact and exhaustive. The subject is too large to be dealt exhaustively with in a single volume, or even in three; and no comprehensive and exact treatise has made its appearance in modern times. Gilpin, Cumberland, and the minor writers on this subject are now out of date. The 'Merveilles de la Gravure,' by M. Duplessis, is a mere sketch, although, within its limits, a sketch of considerable value. The translation of this book into English, which we noticed not long since, has made it familiar to many, but it is quite insufficient for more than "popular" needs. Maberly's 'Print Collector' is the best book on the subject, and it is not only rather scarce, but it is thirty years old. Dr. Willshire has done well to form his book on that of Maberly, but he has done a great deal more than was possible to, or intended by, Maberly, and he has done it with zeal, care, learning, and taste. The subject is so great and recondite a one that the reader who here and there detects errors and omissions will not be surprised, but, on the contrary, will be disposed to condone far greater and more numerous

Dr. Willshire defines the term "engraving" as referring to the process of producing originals from which copies may be taken by transfer or pressure. The older process, known to scriptural and classic authorities, which we also style engraving, is literally that of incising on materials without the intention of producing copies. Our author, of course, names Aholiab and Bezaleel as the most ancient ciseleurs on record. These are, to be sure, the oldest known names of artists; but who shall say what is the antiquity of that process the

results of which are identical with the drawings of rare merit engraved on numerous relics from the drift, bones and horns, by cavedwellers belonging to periods which are unascertained, but which are ethnographically, if not chronologically, far more remote than the days of the decorators of Aaron's garments? Refer Aholiab and Bezaleel to their ancestors who incised horn and bone, and we get a notion of the antiquity of the craft of the engraver.

he says,

Dr. Willshire has generally abstained from citing his own opinions, " choosing rather," as "to hint and suggest them while offering the conclusions at which others have arrived." We have one or two rather amusing instances of this, where, as it appears to us, our author has quoted the opinions of quacks and pretenders, in order that they may be gracefully refuted by a comparison of authorities; but he has, once or twice, to say the least of it, given currency to the conclusions of lay men and lay ladies on strictly technical matters, about which they have no right to entertain opinions. This is an undesirable practice. On the other hand, we find that Dr. Willshire has awarded the honour of criticisms and discoveries to those who have the best claim; he has not dressed other people's notions in his own terms, and taken the credit to himself. In fact, this book is an honest compilation. Our author gives abundant references to the sources of knowledge, so that the student can follow the writer and sift authorities for himself. This is especially the case when Dr. Willshire comes to consider the more important points of the history of the subject, such as the origin of the art of engraving; whether or not the ancients possessed this art. We find a tolerably full assemblage of opinions, without a decision. This collection of opinions has been carefully made, and comprises references to out-of-the-way illustrations of the subject, including the history of engraving plates of latten for monuments, commonly called monumental brasses. It would be too much to expect that on such a point as this

Dr. Willshire should have exhausted the ques tion, otherwise we might be puzzled by th following:-" The most ancient known exist ing specimens were, when Mr. Boutell wrote the brasses of Sir John D'Aubernoun, A.D 1277 (fifth of Edward the First), and of Si Roger de Trumpington, A.D. 1289." The fac remains as in the days of Mr. Boutell, the latest comprehensive writer on this subject: n more ancient brass than that of Sir J. D'Auber noun I. has been found, but Dr. Willshir appears to hesitate in affirming as much.

we

Dr. Willshire, although declining to be critical in some cases, especially on æsthetic matters, has at times not hesitated to express his own opinion on questions which require the simple exercise of logical and discriminat ing faculties. For example, after giving a succinct account of the so-called 'Story of the Cunios,' circulated by Papillon rather more than a century ago, to show the comparative remoteness of the art of engraving, and after quoting pro and con on the subject, he does not hesitate to express his agreement with Chatto's conclusions on this important subject, which are adverse to the assertions of Papillon, and leave his legend about the Cunios without countenance or support. This is, of course, the common-sense view of the matter; it is also safer than the opposite opinion. In a valuable résumé of opinions on the history of engraving on wood, apropos of the well-known "St. Christopher" dispute, a matter which vexed the souls of men a few years since, and in which the late Mr. F. Holt made himself conspicuous by passion rather than research, meet with the following quiet touch of satire: "The desire of the late Mr. Holt to bring discredit on Temanza by affirming that the latter simply worked up to a preconceived theory, based on the discovery of Heinecken, cannot be responded to, seeing that Temanza preceded Heinecken some years in his investigations.' This is indulgent, but there is another reference to the same person which is much below our notions of what his troublesome conduct required: Mr. Holt is called "the persistent and ingenious, if not convincing arguer that Albert Dürer was the designer of the Fairford windows." The fact is, that Mr. Holt's argument on this subject was the reverse of ingenious; it was a string of assertions, accompanied by an ignorance of style, the testing power in this question, which accounted for the audacity of his statements. We have referred to this subject, not in order to revive the memory of the dispute, but because the false importance which the indulgence of editors of periodicals gives to these crudities is to some extent imitated by Dr. Willshire, who, with less justification, continues the same practice by devoting several pages to the vagaries of the deceased amateur on a matter the investigation of which demands the ut most patience. We think it would have been better had Dr. Willshire, in dealing with his materials, avoided quoting every opinion of every man or woman whom fortune may have compelled to write on Art. He would surely have done well to omit repeating the fancies of persons unqualified by technical knowledge to speak on matters of execution, who have discussed such difficult questions as whether or not Dürer cut blocks with his own hand. That there is great di versity in the merits of the blocks which

conveyed Dürer's designs is unquestionable; but it does not follow from that circumstance alone that the finest pieces of wood-cutting are due to Albert himself. Mr. Reid has pointed out that Mr. Thompson, when examining original wood-blocks now in the British Museum, demonstrated that more than one hand had been employed in cutting designs which were due to a single designer. There is no reason to doubt that Dürer, like other great artists, occasionally engraved on wood; but even experts are far from being able to assert, on the internal evidence of the works themselves, what he did and what he did not do. One thing at least is quite certain, that there were wood engravers in Nuremberg about 1509, and doubtless before that date who were capable of noble work.

So much for the charge of superfluous compilation, the sole objection of weight to which this book is liable. A taste for redundancy appears also in the occasional, but quite needless, dissertations and extracts, giving opinions for and against such men as Dürer: refer to pages 209, 210, 211, 212, where Cumberland's ignorance and want of sympathy are contrasted with Mr. Hamerton's sympathy and taste. Both aspects of the question are foreign to Dr. Willshire's subject,

and should not have been introduced here.

may

con

Cursory examination suggests a few matters which be worth Dr. Willshire's attention. On page 257 he incidentally mentions Mercurius Civicus as the first illustrated newspaper which appeared in England, and puts the date at 1643. We are not cerned to dispute the priority of this periodical; yet it would be well to say that Mercurius Civicus was preceded by a countless > host of illustrated tracts and broadsides, all dealing with current events, which differed but formally from the Mercurius and were by no means confined to a report of a single event. For example, Old Newes newly Revived dealt with "the discovery of all occurrences happened since the beginning of the Parliament," and was published two years before Mercurius. A Perfect Tiurnall; or, Welsh Post, with a portrait of Charles the First: London, printed for her Welsh Post, to carry to her countrymen in Whales, 1643 (Sat., Feb. 4, to Sat., Feb. 11), 1643," may be called an illustrated newspaper, and must approach very closely to Mercurius. It points to other and previous issues. It is probable that the portrait of the king which decorates the lastnamed periodical was not new; and it is certain that that which accompanied the former made its appearance again and again. In speaking (page 345) of English engraving, "the OldEnglish School," as beginning with Hogarth, and numbering but few members, Dr. Willshire does scant justice to several able men whose names remain to us; for, to say nothing of the elder Faithorne, W. Marshall, and R. Gaywood, there were W. Hole, Cockson, and T. Cecil, who deserved a word from an English writer on engraving. A few misprints require correction: e. g., "Parthez" occurs more than once for Parthey.

MESSRS. CHATTO & WINDUS send us a welcome volume, a reproduction of the sketches by Maclise, or Alfred Croquis, representing individuals celebrated in London, 1830-8, which were published in Fraser's Magazine This reproduction includes the notices

66

of the sketches, written chiefly by Dr. Maginn. To these are added notes by Mr. W. Bates. The book is called A Gallery of Illustrious Literary Characwell known, that we need not write at length ters. The drawings are, generally speaking, so about them. Few who care for such matters at all have forgotten the humour, strong character, and piquant satire of many of these portraits, in producing which the artist greatly surpassed his literary coadjutor; for it must be admitted that Maginn's sketches are but too often vulgar, or, rather, to use a cant literary term of modern invention, they are greasy." Considering the fact that very few of the celebrities who formed the subjects of these sketches remain alive, they have already acquired the value of history. Their humour is of a fine kind. Look at this tailor's Adonis, Count D'Orsay, the flashy man about town: what a volume of humour there is in the slight exaggeration of his swagger. Here is William Godwin, shuffling along past that book-shop, which many unco guid" folk actually believe to this day was a haunt of horrid reprobates-good folks who would not have been surprised if the earth, opening, had swallowed it up; hands linked behind his back, a voluminous there goes Godwin, with his prodigious hat, his "dress" coat on his body, wonderfully badly-cut trousers on his legs, and yet with a face which, as Maclise saw, had its merits,-even something that might be called beauty. Here is a good and rather caricatured sketch of Leigh Hunt, whom it was editor of the Age; Captain Ross, sipping toddy, easy to caricature. Here is Westmacott, the

66

with his heels on the hob; and Miss Harriet Martineau and her cat: Maclise designed the cat, with laughable zest and great artistic spirit. Here is Mr. George Cruikshank, seated on a barrel in a taproom, making sketches on his hat; Coleridge, with beautiful, if somewhat inflated, not to say flabby, features, and weak limbs; Talleyrand, seated, a figure like a frog, in a chair by the side of a fireplace; and Bulwer, ever conscious of himself, and highly ornamental.

MR. W. BEAMONT's History of the Castle of Halton and the Priory or Abbey of Norton (Warrington, P. Pearse) will have considerable attractions for the antiquaries of Cheshire and the shires which border on that county, Welsh as well as English. Halton Castle belonged to the Brookes, and had a somewhat lengthy history, which, however, presents few salient points such as would justify us in reviewing the book at length. In fact, the said history is, to use a mildly expressive term, extremely dreary to readers who have no particular need to study it. Occasionally, however, there is ample material for the student. Norton Priory, for its claim to be called an "abbey" is a weak one, is, as a building, much better worth studying. There is a good and very rich doorway of Transitional character; there are also some sepulchral slabs, incised with floriated crosses, which in themselves present no novel features.

This is

MESSRS. DULAU & Co. send us M. A. P. Martial's Nouveau Traité de la Gravure à l'eau forte pour les Peintres et les Dessinateurs, an extremely practical treatise on the processes of this now popular branch of art. As this essay is entirely technical, we can but commend it to practitioners and would-be practitioners as one of the most valuable works of its kind which are known to us. saying a good deal, for several tolerably good handbooks on the practice of etching have before now reached us. On the whole, however, this is probably the tersest and most rigidly, yet sufficiently, practical. Of one portion of this work we may, perhaps, speak particularly we mean the illustrations, etchings by M. Martial himself, who is well known as a first-rate artist in this mode. Those who do not care for the book, and have not the faintest idea of becoming etchers, will, if they care for the art itself, buy the publication for the sake of the plates, which comprise a group of etcher's implements-acid bottle, feather, and needles-deliciously executed. Very rich is Planche 8, a sketch of a lady at half-length; capital is Planche 9, a canal in a city, with fine effect of light. We commend also Planche 11,

an interior, with contracted light, and admirably treated.

SALE.

THE collection of engravings and drawings by Mr. Hugh Howard has, during the last week, formed at the commencement of the last century been sold by Messrs. Sotheby, Wilkinson & Hodge, and produced 4,6061. Campagnola, an early impression of St. John, 131. Engravings: A. Dürer, Adam and Eve, 591.,Melencolia, 40%.,-Angles of the Sistine Chapel, G. Ghisi, 80l.,-Temptation of Adam, by Lucas van Leyden, 281.,-Lot and his Daughters, 1817., --Virgin and Child, 691.,—Mars and Venus, 36l.,— Hercules Fighting the Serpent, by A. Mantegna, 307.,-An Oriental, by B. Montagna, 51.,-and Portrait of Aretino, by Marc Antonio, 780l., the highest price ever given for a single print since the sale, at the same rooms, when Sir Charles Guilder Piece, bought by Mr. Palmer for 180l., Price's impression of Rembrandt's Hundred was re-sold for 1,100l., and purchased by M. Du Thuit. Engravings by Marc Antonio: Adam and Eve, 697., Massacre of the Innocents, 771.,— Madonna Lamenting the Dead Christ, 381.,-The the Steps of the Temple, 317.,-Madonna Seated Last Supper, 105l.,-Mary and Martha Ascending

on

the Clouds, 180,-Christ Seated on the

Clouds, 59,-Cupid and the Graces, 251.,-Apollo and Hyacinthus, 381.,-Trojan Victorious, 321.

Fine-Art Gossip.

IN electing Mr. Pettie to occupy the place of Sir E. Landseer, the Royal Academicians have used for the last time officially the premises which they have occupied so long in Trafalgar Square. These premises were, it will be remembered, accepted by the Academy in lieu of those which, more than a hundred years ago, George the Third granted to the body in Somerset House, these being a portion of the private property of the Crown. Eleven Mr. Pettie obtained twelve votes, Mr. Durham nine, names of artists were "scratched" at this election. Mr. O'Neil seven; another artist had six, another four, another two votes; five gentlemen obtained one vote each, making forty-five in all. It appears, therefore, that there were not fewer then twenty absentees in a body comprising at least sixty-five members. Considering the season of the year, and that the Academy comprises very few who, like landscape-painters, follow their studies out of London, this proportion is much greater than one would expect. It seems to prove that a large proportion of the members care but little about the elections, which are the most important, and, one

would have supposed, the most interesting events of the academical year.

AMONG the curiosities of modern engraving is a fact which is sure to become interesting by and by. M. Blanchard engraved a very fine plate, in the line manner, from Maclise's picture, 'The Eve of St. Agnes,' representing the heroine of Keats's poem going to rest,-a picture which was in the Royal Academy a few years since. By mistake, the name of Mr. Holman Hunt was put to the early artist's proofs of this plate. This may have been due to the fact that M. Blanchard's plate being intended to serve as a companion to an engraving from a work by Mr. Hunt. Years ago, Mr. Hunt painted from the same poem a different subject. Before the mistake was discovered, a few impressions of the plate, with the artist's name in error, were distributed. The number was but small, and, of course, their value by and by will be very great, not only on account of their rarity, but because the error shows the earlier impressions. One of these impressions reached New York, and the art-critic of a leading journal there descanted impressively on the qualities of the picture, as illustrating the powers of Mr. Hunt, who did not escape censure for alleged defects in Maclise's work.

An eminent European artist, having occasion to address the New York journal respecting an engraving from one of his own pic

MUSIO

SEVERAL of our larger provincial cities have recently taken steps to provide themselves with collections of works of art, and to this end have made purchases of valuable pictures. Birmingham has been among the first to act in this way, having bought one of Mr. Leighton's best pictures. This year the representatives of the same place have turned their attention to landscape, and have acted wisely in buying Mr. Brett's 'A North-Westerly Gale off the Long Ships Lighthouse,' which will be remembered at the last Academy Exhibition. This has been done by subscription; and the most gratifying feature of the case is, that the list of subscribers was headed by the local society of artists with a donation of one hundred pounds.

THE Journal of the Archæological Institute last issued contains several papers of considerable interest, especially one by Mr. Clark, on Richard's Castle, Herefordshire; an essay on Architecture in the Eleventh Century, by Mr. J. H. Parker, which we commend to students; and a third paper, by Archdeacon Trollop, on Durobrivæ.

MR. WATTS's portrait of Mr. Mill, in the possession of Sir Charles Dilke, is to be engraved by M. Rajon.

THE museum of copies from pictures by great masters, which has interested so many visitors to the Palais de l'Industrie, Paris, is to be suppressed We must say that, although the merits of the works in question were by no means equal, and a considerable number of the copies are of an undesirable kind, the probabilities of a collection of copies being serviceable are very great and this act of his successor, the Marquis de Chennevières, makes us regret even more than we should otherwise have done the removal of M. C. Blanc from the post of Director of the Fine Arts in France.

WE have received from Messrs. Seeley, Jackson & Halliday the first number of The Portfolio for the new year. This is unusually interesting, because it contains a good etching by Mr. W. Wise, from the new Mantegna in the National Gallery; likewise a capital etching by M. Jacquemart, borbowed from the magnificent catalogne of Mr. Wilson's pictures, which we noticed not long since, reproducing the portrait of Elizabeth de Valois, Queen of Spain, after A. Moro. The text of the periodical in question contains several readable

essays.

THE Gazette des Beaux-Arts, for January, contains a capital paper, by M. Paul Mantz, on English jewellery; an essay on Rubens's 'Chapeau de Paille,' by M. A. Michiels; the conclusion of M. Champfleury's paper on satirical prints for and against the Reformation; an article on drawings, by Géricault; and other contributions. There are, likewise, an etching by M. Rajon, from the 'Chapeau de Paille,' a rich and powerful etching by M. J. Brunet-Debain, after Decamps's picture, 'Intérieur de Cour en Italie,' and a third etching by M. G. Greux, after L. Verschuur's 'La Meuse à Dordrecht,' and many excellent woodcuts.

ROYAL ALBERT HALL CHORAL SOCIETY.-Conductor, Mr. Baraby.-Hadyn's CREATION' on Thursday, January 8, at Eight o'clock. Madame Lemmens-Sherrington, Mr. Sims Reeves, and Signor Giulio Perkin. Organist, Dr. Stainer.- Boxes, 31. 38., 21. 108. and 11 108.; Stalls, 78. 6d. and 58.; Balcony, 38; Admission, 18. Tickets at Novello's, Albert Hall.

MUSIC OF THE FUTURE IN EDINBURGH.

Institution, being desirous of affording their memTHE Directors of the Edinburgh Philosophical bers some notion of what is termed the " Music of the Future," lately engaged Mr. Dannreuther, the

pianist, to give two lectures on the Wagnerian creed. The Music Hall in George Street was hired for the purpose, and on each occasion was filled with an audience of upwards of 1,800 listeners. In the first lecture Mr. Dannreuther traced the growth of musical art from ancient Greece to the present period, sketching its connexion with the stage and with dramatic instrumental music, illustrating it by references to the programme music from Beethoven to Liszt, and commenting on Herr Richard Wagner and his tendencies. In the second lecture he gave an account of the lyric drama-its origin, development, merits, defects, and alleged inevitable decay, and, as a result, the Wagnerian resuscitation. The lecturer explained Herr Wagner's system, his poetical subject-matter, his division of scores, verse, orchestra, and pointed out the difficulties of attaining correct performances. The pianoforte illustrations were Sebastian Bach's Capriccio, On the Departure of a Friend,' Chopin's 'Adagio and Grand Polonaise,' Dr. Liszt's Rhapsodie Hongroise, No. 13'; with excerpts from Wagner's operas, 'Der Fliegender Holländer,' 'Tannhäuser,' Lohengrin,' and 'Die Meistersinger.' The two lectures were supplemented by a concert of vocal and instrumental music, in which the pianist had the co-operation of Herr Straus, Mr. Mackenzie, Mr. Zerbini, and Signor Piatti as the string quartet, and Fräulein Helene Arnim as vocalist; the selections being from the works of Veracini, Geminiani, Handel, Beethoven, Schubert, and Schumann, and from those of the living composers, Liszt, Wagner, Brahms, Joachim, and Randegger.

·

Musical Gossip.

THE Tonic Sol-Fa College has held its Chris mas Session at the Aldersgate Literary Institution from the 29th ult. to the 2nd inst. Various di cussions and papers, as also competitions con nected with the system, were included in th programme.

MISS EMMA L. BEASLEY has gained, for th second time, the Westmoreland Scholarship at th Royal Academy of Music, and Mr. Walter Fitto has been re-elected for the Potter Exhibition.

NOTHING daunted by the failures of M. Devillier and of Signori De Bassini and Gilandi, the tenor the Italian Opera-house directors in Paris are goin to try M. Génévoix as Edgardo, in 'Lucia.' Cene rentola, it is now stated, will be the next characte for Mdlle. Anna de Bellocca, whose fame ha hitherto rested on her Rosina (Il Barbiere" Madame Carvalho's re-appearance as Juliette, in M. Gounod's opera, has been heartily greeted a the Opéra Comique, but the lady looks in vain fo a Romeo, M. Duchesne being found no adequat representative of the part.

A COMPOSER'S name which is now often comin before the public in Germany and in France, but ha been rarely seen here, is that of Herr Max Bruch the composer of the two operas, 'Lorely' and 'Hermione' (Winter's Tale' of Shakspeare). A the eighth Gewandhaus Concert, in Leipzig, hi symphonic poem, 'Odysseus,' was produced, fo orchestra, chorus, and soli, the latter sung by Fra Amalie Joachim, the Berlin contralto (wife of the violinist), the baritone, Herr Gura, and Fräulein Friedländer. The violin concerto, by the sam German composer, after being twice played by M. Sarasate at the National Concerts in Paris, wa next introduced by the same artist at M. Pasde loup's Popular Concerts; and, finally, the concert has had the honour of being executed (also by M. Sarasate) at the Conservatoire Concerts. Her Joachim has also performed the same work in Germany. We remark also that two movements out of Mr. Henry Litolff's fourth pianoforte concerto (the adagio religioso and scherzo) have been played by M. Theodore Ritter, at the Cirque d'Hiver (Sunday Popular Concerts.)

THE Governor of Paris having prohibited the performance of the new three-act comic opera, by M. Laurent de Rillé, libretto by MM. Busnach and Liorat, the Director of the Théâtre de Menus-Plaisirs, where the work was produced has closed the establishment. The piece, it seems went even beyond the licence of Abélard e Héloise' and the 'Timbale d'Argent '-if, indeed the honteuses inconvénances could any further g than in those two flagrant operas.

THERE were two disappointments at the Christmas performance of the Messiah' by the Royal Albert Hall Choral Society-neither Mr. Sims Reeves nor Signor Giulio Perkin sang; the former was replaced by Mr. Vernon Rigby, and the latter by Signor Agnesi. Mr. Barnby promises the appearance of the two absentees for the 'Creation,' on the 9th inst., with the co-operation of Madame Lemmens and Mr. Raynham. Mr. W. Carter's Choir sang in the 'Messiah' on New Year's evening, having as principals Mesdames Lemmens and Patey, Mr. Lloyd and Signor Agnesi.

THE Welsh residents of Liverpool and Birkenhead celebrated Christmas-Day in the former town at the Royal Amphitheatre, by holding the seventh annual Eisteddfod, with Mr. Brinley Richards, the composer, as president, who delivered a long address. Besides the customary competitions for compositions, for singing, and for playing, prizes were awarded for essays, epigrams, translations, pencil drawings, Berlin wool-working, carving in oak, &c. There was also a concert, conducted by Mynnddog (Mr. R. Davies), with Miss Edith Wynne, Miss M. Davies, Miss M. Williams, and Mr. T. J. Hughes as solo singers, and Mr. Aptommas, harper-not harpist, a word which we are cautioned not to print, under penalty of being excommunicated by the Bards of the Principality.

SUCH has been the success of Handel's Messiah

on the 9th inst.

ONE of our correspondents has sent us details a visit he paid last week to the works at the ne Opera at Paris. The stage is two yards wider tha that of the old Opera, and there are two mo boxes in each circle of the house, but it is the grea size of the passages, lobbies, and crush-rooms th causes the new Opera to look like a city in itsel The ballet-green-room is one of the most florid decorated apartments. To it will be admitted a spectators of the practice, only sovereign princ passing through Paris, ambassadors, and sul scribers who subscribe for three nights a wee It will take fifteen months to finish the decoration

OUR Naples Correspondent writes, under th date of the 19th of December:-"The concessio granted by the Municipality to Signor Musel has been definitively settled and signed, and Sa Carlo is to be opened in the first week of Januar The Municipality accords a subsidy of 300,000 fr as you already know, and Musella deposits a caution-money 2,000 fr. of Rentes. There are t be eighty performances. 'Aïda' is in course preparation; La Sauz and La Krauss hav arrived; and at this social and festal season, th theatrical fever will doubtless run high. O Saturday, the musical season of the Philharmoni will commence, under the direction of Signo

Prestreau, and on Christmas Eve the Fondo will be re-opened. We say re-opened, for it was closed during the cholera epidemic, as several artistes are up their engagements rather than risk heir lives. It is to the honour of Signor Molinari,

who had no interest in the preceding Impresa, that he has offered, to those who have already paid their subscriptions for the season, the coninuation of the Recite promised at the beginning. The performances will be carried on till the end of the Carnival, and will begin with 'Don Pasquale,' of Donizetti, to be followed by the Ballo in Maschera' and 'Marta.'"

THE Milan Trovatore supplies a list of twentyfour new operas produced in Italy in 1873, out of which only three are likely to remain in the répertoire, namely, 'Caligola,' by Signor Braga, the violoncellist, brought out at the San Carlos, in Lisbon; 'Il Mercante di Venezia,' by Signor Pinsuti; I Goti, by Signor Gobatti, both given at the Teatro Comunale, in Bologna; and 'Morovicô,' by Signor Dominicetti, now playing at the Dal Verme, in Milan. The Trovatore does not include in the list the scenas and cantatas by Signor Ponchielli; the Parlatore Eterno' and the Lord of Burleigh,' by Signor Schira; 'Tramonto,' by Signor Coronaro; and Tesoro o l'Avaro Burlato,' by Signor Sbolgi. Our Milanese contemporary consoles himself by remembering that fifty-six peras were produced in 1872, only one of which has survived. We remark that the new works of the past year came out at Milan, Naples, Bologna, Turin, Parma, and Genoa. Lisbon s quoted, because Caligola,' composed by an Italian, is to be heard at the Scala, in Milan. In the enumeration of operas to be performed on the opening nights of the Carnival and Lent season at the leading Italian Opera-houses in Italy, there are specified the Africaine' and 'Dinorah' of Meyerbeer; the 'Faust' of M. Gounod; the 'Aïda,' the Forza del Destino,' 'Macbeth.' 'I Vespri Siciliani,' and Rigoletto,' of Signor Verdi; the Semiramide' and 'Guglielmo Tell' of Rossini; the Promessi Sposi' of Signor Ponchielli and of Signor Petrella; the Esmeralda' of Signor Campana; the 'Ruy Blas' of Signor Marchetti; the 'Vestale of Mercadante; the 'Sonnambula' of Bellini, &c. In Venice, Herr Wagner's Rienzi' is to be mounted. At Cairo, where 'Aïda' was first heard, Signor Verdi's last opera continues to be popular, with Signora Stolz as the heroine, and Signori Fancelli, Steller, and Medini in the cast. Aida' has also met with immense success at Buenos Ayres,

with Signora Pizzoni.

THE revival of Herr Wagner's 'Tannhäuser' has not been a financial success at the Brussels Théâtre de la Monnaie.

DRAMA

THEATRE ROYAL DRURY LANE.-Sole Lessee and Manager, F. B. Chatterton-JACK in the BOX; or, Harlequin Little Tom Tucker,' Grand Christmas Comic Pantomime, will be performed every Evening, preceded by the Farce of HIDE and SEEK.' Doors open at Half past 6, commence at 7. Prices, from 6d. to 51. 58. Morning Performances every Monday, Wednesday, and Saturday. Children and Schools at reduced prices to First Circle, Dress Circle, and Stalls. Doors open at Half-past 1, commence at 2. Box-Office open from 10 till 5 daily.

THE WEEK.

DRURY LANE.- Jack in the Box.' COVENT GARDEN.-'Red Riding Hood and her Sister Little Bo-peep.'

PRINCESS'S.- Little Puss in Boots.' LYCEUM.-A Husband in Clover,' a New Comedietta, in One Act.

By

GAIETY.Battle of Life,' Drama, in Three Acts. Charles Dickens, edited by Charles Dickens, jun. HAYMARKET. Raymond and Agnes,' a Melo-drama, in Two Acts.

THE production of so many novelties was anticipated or deferred to avoid the Boxingday crush, that Boxing-day passed off without a crush. Not a single drama of importance competed with the pantomimes, which this season had something like a monopoly of novelty. There is nothing in this year's pantomimic contribution calling for special comment. Mr. Blanchard's "annual at

Drury Lane blends together humour and fancy in a manner thoroughly characteristic of the author, and introduces some amusing allusions to current events. At Covent Garden, splendour of accessories compensates for the absence of literary pretension; and at the Princess's, the taste of grown folk is less consulted than that of children. A due amount of glitter and brilliancy is to be found in all the western, and at most of the If the combinations of outlying theatres. colour in the transformation-scenes are in no case particularly artistic, they are always effective from a popular standpoint, and the mechanical effects are such as no other country is able to rival. The pleasure derived from this source is liable to be marred by the reflection that the lives of the poor creatures exhibited in the spectacular tableaux must always be sacrificed, should one of the behindscenes fires, not uncommon in theatres, ever get the upper hand. It is not easy to conjecture what can be the feelings of the fairies, who, from the top of the stage, where they are immovably fixed, see the house on fire beneath, and speculate on the chances of success of the efforts to suppress it.

A considerable number

of ballet-girls were once, at least, provided with an excitement of the kind, and were aware the while that were the performances suspended, which they were not, twenty minutes must, under the most favourable circumstances, be occupied in getting them down. So little novelty is displayed in the choice of subjects or the arrangement of materials, that the recapitulation of the names of the pantomimes is unnecessary. There seems little reason why the different theatres might not, on the arrival of Christmas, pass on to their neighbours the pantomimes of the previous year, after the manner in which new works are circulated in a country book club.

A short after-piece at the Lyceum, entitled 'A Husband in Clover,' is a tolerably free adaptation of the well-known trifle, 'Un Mari dans du Coton.' It is played with spirit and gaiety by Miss Virginia Francis, who makes in it her first appearance this season, and by Mr. John Clayton. Horace has been too much pampered and coddled by his Lydia. So evenly and uninterruptedly flows the stream of domestic felicity, that he pines for a change-would welcome a danger even that should relieve the monotony of existence. With the gentleness and loving care of his own wife he contrasts the airs and tantrums he occasionally sees in the wives of his neighbours, and he comes to the conclusion that anything is better than the unbroken sunshine of his life. Fortunately for himself, he is cured before the disease is far advanced. Lydia discovers the source of his discontent, and succeeds in playing a part that convinces him he has been too hasty in believing that there is nothing worse than domestic serenity. When once relieved from his fears, he accepts with thankfulness the state of affairs he previously found so tiresome, and welcomes with gratitude and eagerness a little formula of affection that had before seemed to him the very climax of stupidity. Full justice to these scenes is done by two competent exponents, and the grace and humour of the interpretation are equal.

The Battle of Life,' at the Gaiety, is neither wholly a novelty nor altogether a repro

It is

duction. Previous adaptations of the well-known Christmas story are in existence, and some of these resemble pretty closely the latest version. Mr. Charles Dickens, jun., has executed competently the task of adaptation, or, as he calls it, editing for the stage, and the play he has produced shows few traces of being extracted from a novel. Its interest is continuous, if it is never very strong, and the well-known characters of the story preserve their physiognomy. If the explanatory scenes between the servants were shortened or suppressed there would be artistic gain. The comic interest overrides the serious. difficult, if not impossible, to feel a profound sympathy for a lady whose theories of life lead her to the conclusion it is her duty, in pursuit of a sentimental will-of-the-wisp, to sacrifice the feelings of her lover and the honour of her family. This is done by Marion Jeddler, the heroine, who, with a mistaken notion of self-sacrifice, leaves her home and her betrothed, whom she persuades herself her sister loves. There is tenderness in Miss Carlisle's presentation of this eccentric specimen of womanhood; but the character remains unsympathetic and unreal. Quite otherwise is it with the comic characters. Clemency Newcombe, in the hands of Miss Farren, is the most brusque and honest of country waitingmaids. Mr. Toole makes Ben Britain a very stolid and humorous serving-man. Mr. Lionel Brough is good as Snitchey, the lawyer; and Mr. Maclean gives a clever picture of the eccentric Dr. Jeddler. Mr. Reece's burlesque of Don Giovanni' followed the drama.

When

Raymond and Agnes; or, the Bleeding Nun of Lindenberg,' a melo-drama, first given at the Haymarket in 1811, is the piece Mr. Buckstone has selected for revival. It is difficult to conceive any motive stronger than that of desiring to show the superiority of his own management over that of his predecessors that can have influenced Mr. Buckstone in so strange a selection. No exceptional popularity attended this melo-drama at its first production, and the taste for the kind of horrors with which it deals has passed away. the 'Monk' first took the town by storm, a ballet at Covent Garden was constructed upon the most decent episode-perhaps the only decent episode-in the book. This ballet supplied the story of the drama, which, in all literary and artistic respects, is worthless. Of its two acts, one is all but independent of the other, and its bogies are of the veriest "rawhead-and-bloody-bones" type. In the first act the hero and heroine meet accidentally at a cottage in a forest, the host of which is one of a band of brigands. They escape, thanks to the wife of the peasant, who, weary of a succession of horrors, bids Raymond look at his bed, still bloody from past murders. After reaching the Castle of Lindenberg, the home of Agnes, where his reception, in spite of having saved the life of the maiden, is the reverse of hospitable, Raymond arranges an elopement with Agnes, who, in order to deceive the guards and profit by their affright, dresses herself as the bleeding nun, a spectre which haunts the castle. He takes the ghost for his mistress, and elopes with her, leaving Agnes to fall again into the hands of the robbers, and so affording room for a scene which combines a wildly improbable extermination of the brigands with a convenient but

uncalled-for apotheosis of the spectre.

This

acted by the company, but excited little curiosity and no interest.

Bramatic Gossip.

THE first performance of Mr. Gilbert's play of Charity' is fixed for this evening, at the Haymarket Theatre.

"TRICOCHE ET CACOLET,' the famous piece of absurdity of MM. Meilhac and Halévy, was announced for revival on Friday night at the Holborn Theatre.

'LE BORGNE,' a drama, in five acts and six scenes, has been given at the Ambigu-Comique, with a singular result. The piece aims at serious interest, and presents the spectacle of the wanderings in Ireland of James the Second, King of England, after his defeat, sheltered by a certain Lord O'Neil. His attempts at escape are constantly frustrated, however, by a one-eyed beggar. This omnipresent worthy proves to be Lord Athol, who, having a private grudge as well as a political animosity against the Stuarts and O'Neil, takes this way of demonstrating it. The villain of the plot is Lord Nevil, Viceroy of Ireland. So much emphasis was given intentionally to the extravagant speeches of the play, and so much prominence to the more ridiculous incidents, that the whole obtained a burlesque triumph which seems to promise well for the treasury.

M. SARDOU'S 'Merveilleuses' is a failure, in spite of the wonderful acting of Madame Chaumont. M. Dumas's 'Monsieur Alphonse' has made the hit of the Paris season.

‘HENRI III. ET sa Cour,' by Alexandre Dumas, will be the next important revival at the Porte Saint-Martin Theatre. The principal roles will be sustained by Mdlle. Dica-Petit and M. Dumaine.

To ask for at all Libraries and Booksellers.

"Captain Butler's volume of travel, adventure, and discovery in the wide regions of the American Continent which li beyond the limits of civilization, appears very opportunely at this Christmas season. The long winter evenings at home are just the time when such stirring narratives can be thoroughly enjoyed. The most splendid field for enterprising travel lie within the territory of the British Empire."-Daily News.

In One Volume, demy 8vo. cloth extra, 18s.

THE LAND OF THE WHITE ELEPHANT: SIGHTS and SCENES in SOUTH-EASTERN ASIA. A Personal Narrative of Travel and Adventure in Farther India embracing the Countries of Burmah, Siam, Cambodia, and Cochin-China (1871-72). By FRANK VINCENT, Jun With Maps, Plans, and numerous Illustrations. [Now ready.

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"The work presents us with a personal narrative of travel and adventure in farther India, embracing the countries of Burma, Siam, Cambodia, and Cochin-China. Mr. Vincent is an American gentleman, and his travels took place in the year! 1871-2, so that his volume has the great advantage of reflecting the actual existing state of these lands."-Daily News.

CAPTAIN MARKHAM'S RETURN FROM THE ARCTIC REGIONS.

A WHALING CRUISE TO BAFFIN'S BAY

AND THE GULF OF BOOTHIA.

With an Account of the Rescue, by his Ship, of the Survivors of the CREW of the POLARIS; and a Description of Modern
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NEW

NOVEL S.

NOTICE.—Mr. DUTTON COOK'S New Novel, YOUNG MR. NIGHTINGALE,' now appearing in the pages of 'ALL THE YEAR ROUND,' will shortly be ready for publication, in Three Volumes.

SWEET NOT LASTING: a Novel.

[Now ready at all Libraries.

back,' which she has given for the first time in America. One of her critics likens the actress in

[Now ready.

2 vols. crown 8vo.

[Now ready.

BETTER THAN GOLD. By Mrs. Arnold, Author

of 'His by Right,' 'John Hesketh's Charge,' Under Foot,' &c. 3 vols. crown 8vo. 31s. 6d. VICTOR HUGO'S NEW Novel.

The late Mr. Akerman.

My neam is Dick Bradley, A bwoy as loves pleazhur,

In cwourtin' and kissin'

I spends all my leizhur.

Ri tol, &c., p. 34 (with music).

There are others, as 'The Saddle,' p. 67; 'The Harnet and the Bittle,' p. 96; 'The Harvest Home,' p. 122, with music; smaller pieces at pp. 36-7. Mr. Akerman also produced' A Glossary of Provincial Words and Phrases in use in Wilt

shire,' London, 1842; and a book of tales, 'Legends

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TO CORRESPONDENTS.-J. S.-M. S.-J. R. B.-E. H. H.— S.-J. G. C.-F. C.-W. C. H.-A Bookseller-received.

S. W. S.-You should compare the different editions. No notice can be taken of communications not authenticated by the name and address of the senders.

the

crown 8vo.

N.B.-In consequence of an arrangement made with the proprietors of the GRAPHIC, for the Issue of the Translation of this Work in weekly portions, the publication in a complete form in Three Volumes has been postponed for a few months.

NEW WORK BY AUTHOR OF LORNA DOONE.

ALICE LORRAINE; a Tale of the South Downs.

3 vols. crown 8vo.

N.B.-This Work is also withdrawn for the present, and will first a pear in the pages of BLACKWOOD's MAGAZINE. NEW WORK BY HAIN FRISWELL, AUTHOR OF THE gentle lifE,' &c.

OUR SQUARE CIRCLE. 2 vols. crown 8vo.

ARGUS FAIRBAIRN; or, a Wrong Never Righted.