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little crude in the colour of the herbage and foliage, but extremely solid and firm. He sends also Le Fripier (1291), a chamber hung with garments of diverse colours, men choosing coats. The figures are capitally designed and painted. The technique of the artist is, in this instance, somewhat larger and much less precise than that of M. Meissonier, of whose work the picture is, otherwise, too closely an echo.

M. Moreau has two remarkable and ably-painted pictures, which would not be unworthy of the attention of Mr. Frith himself,—at least it appears to us that they express, with true French tact, exactly what our clever countryman aims at and, formerly, nearly hit. The smaller of the two is La Promenade (1343), two ladies, with intense and highlydiversified expressions, watching a boat-race. The dainty grace of the figures, the vivacity of the actions, one lady stooping a little forward and lifting her skirts before her steps, the other as keenly but less demonstratively looking, are charming in their spirit. Not less enjoyable is the exquisite precision of the painter's crisp mastery of touch: while the landscape is soft and pleasant. The other picture has much higher pretensions, being Sortie de Bal (1342), a crowd of masqueraders leaving the place of their amusement in the morning light. They are all splendidly habited, and belong to the élite. A fair, pink domino parts from a lady of the first Empire, who is attended by an incroyable in a flaxen wig and superb costume. There are numerous incidents here, with much admirable and brilliant painting, exquisite delicacy of touch in rendering countless details of jewellery, dresses, and faces. The expressions are diversified and extremely vivacious; and the faces are as different as they can be. The effect, however, fails to give the warmth of daylight, and the people do not look tired enough.

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M. Meunier's Le Suicide (1315) is horrid in its tragic power, and is curiously like a picture by M. J. Bertrand which is now in the Luxembourg, although the motives of the works differ as much as possible. This shows the corpse of a young woman enceinte, with purple lips and streaming long black hair, lying in the sandy shallows of the margin of the sea. The revolting nature of the subject must not blind us to the technical merit of the work. We often wonder, when looking at such pictures as this, for whom the artist has painted them. Who would live with this dreadful figure, or with the sanguinary Le Massacre des Abencérages,' by M. Clairin, which we mentioned before?-There is much humour, somewhat like that affected so frequently by M. Heilbuth, in M. Mélida's Singeries (1295); groups of domestics palace garden-terrace, one of whom gravely salutes an ape, squatting on the ground before him. The finish is capital, the lighting excellent, the execution hard, but delicate.-M. Munkacsy has a name in England as well as in France for vigour of invention, and the bold, Carravaguesque treatment of shadow and colour apparent in his pictures. He sends two pictures, of which Les Rodeurs de Nuit (1375) is the better, and represents, in characteristic fashion, two robbers led by sergents-de-ville, manacled, and stared at by the wondering people of a town. The other picture, Le Mont-de-Piété (1374), gives an interior, with people waiting, and taking their turns at the comptoir. It is full of spirit and character, but these qualities are, like the effect of light and the chiaroscuro, strained almost to grotesqueness: such exaggeration is out of keeping with simple pathos or humour. The tragic element in 'Les Rôdeurs' admits a good deal of the grimly grotesque.-M. Mauve's Sur la Plage, à Scheveningue (1281), Dutch craft on a beach, with horses in the front, is admirably lighted and solidly painted, with good colour. M. Merle, a painter whose works are known to some of our readers, sends a picture in the mode of M. Hébert, styled Pernette, la Fileuse (1303), a girl with a distaff, seated, with an expression of meditation which is pathetic. The colour here, as suits the school to which the work belongs, is broad, sober, and very rich. The same M. Mélida whose 'Singeries' we named above,

has a capital picture of small figures, Après le Procession (1294), showing the interior of a hall or vestibule of state, the inmates dispersing or resting, according to the title, with a beautiful effect of light and shade, extreme delicacy of draughtsmanship, solidity, and rich colour. The design is full of spirit, and tells the story to perfection. One of the best pictures here, indeed that which some say is the best, is M. L. Mélingue's Messieurs du Tiers avant la Séance Royale du 23 Juin, 1789 (1299), which, for the want of a fitter comparison, we are obliged to class with M. Meissonier's works, but it is independent of all others. It shows the representatives standing outside their place of meeting on that memorable day, in the pouring rain, clad in stately black, and most of them in robes of dignity. Some are under umbrellas, others are unprotected. They discuss the situation with more or less energy, but none without dignity and gravity. Some of the faces are recognizable, but the portraits need not detain us, fine though they be. Three men stand under one red parapluie, the rosy light falling through it on their earnest faces with surpassing fidelity. One, with his foot on the lower step of the door, at which the assembly waits, has his back towards us, and remonstrates energetically, with passion suppressed, though expressively rendered by his raised shoulders and clenched fist. The work is full of action and character, the faces are inexhaustible of interest and pathos. The fine, solid, and complete modelling of this admirable work is on a par in value with the successful treatment of so large a mass of black as the costumes present; very excellent colour is made of this rather unmanageable tint. The interest of this superb picture is owing to its intensely dramatic characterization, the wealth of fine expressions it exhibits, not less than to its technical qualities, among the most pleasant of which is beautiful drawing.-A curious illustration of the good fortune which so often attends French choice of subjects occurs in Le Juif Errant (1298), by M. G. Mélingue, an illustration of an old chanson, how

Deux gentilshommes au pays de Champagne

met the worthy in question. Here we have the rencontre designed to the life, so to say, with great vigour and dramatic spirit, but painted rather coarsely. The expressions redeem, if they do not justify, this defect.-Quite in contrast with the execution of the last is that of M. de Nittis's Dans les Blés (1394), two charming figures of ladies walking by a limpid stream, through a field of ripe corn and poppies in full blaze, the whole in intense sunlight. The execution is thinner, not to say less solid, than is usual in French pictures of such high quality. A better work is "Fait il Froid!" (1395), a perfect gem of a little picture of snow, with ladies and a child and an attendant walking on a suburban path, with a carriage in the distance, halting at the curb. The wind blows hard, sweeping about the ladies' garments as they move quickly on the trottoir, facing the breeze, before which they stoop; one holds her muff to her face with a pretty action, the other speaks gaily to her companion: the actions are so intensely expressive, that one can almost tell what each lady says. The drawing of the figures, especially where the back and shoulders are in profile to us, and of the rustling skirts of both ladies, is exquisitely fine and delicate. The little girl, led by the bonne, stops to look at something on the ground. All the attitudes are marked by intense naturalness, and those of the ladies by a rare charm of modern grace. The special technical merit of this picture is its solidity and beauty of execution. It is a real pleasure to see anything so fine.-M. Morin's Paris au Printemps (1349) is a picture of the "Marché aux Fleurs"; ladies, flowers, and flower - women, somewhat cold in colour but spirited in design.

La Mer du Nord (1308) by M. Mesdag, shows vast ranks of shallow waves beating on a sandy shore, and is remarkable for expression of motion, for rich colour, and vigour of handling; the last is, it may be, a little too heavy. By the same is Hiver, Scheveningue (1309), a noble

picture of snow of considerable thicknesse a beach, with craft, and contrasting the warm tinted sky, and dark, rich → tracks of carts break up the snowy level a give incident to the foreground. It appears to that M. Mesdag depends rather too much on ... memory and brush power. At least these pictre suggest the lamp.-No mode of art could contra more strongly with the last named than that ea ployed by M. F. É. Michel in his Le Terra (1323), dawn over the hills beyond a river, cover the stream and grey trees with delicate pear tints an effect of extreme delicacy, treated without conventionality. - Another example t French fortune in the choice of a subject occurs i Le Viatique, Plage de Normandie (1501), by Par son, a worthy pupil of M. Cabanel. It gives, wi great effect, a strong storm on a little bay, with waves running high on the sands, black cloud discharging themselves, and tremendous gusta a wind. An old priest and his attendants are stag gering along; it is just twilight. A little redrobed boy goes first, holding aloft with courage, but with extreme difficulty, the sacred p which, in its glass case, remains alight; while the priest himself, upheld by a woman who has called him to his office, and sheltered by a large unbrella, totters in the blast. Another boy, with the bell and its accompaniment, walks unde the lee of the pastor, but can hardly keep his feet. The black-robed men who follow, extinguished tapers in their hands, struggle on as well as they can, but they fare ill. The artis has, with commendable tact, succeeded in avoiding anything like irreverence in his treatment of this rather "ticklish" subject. He has made the people all earnest and evidently sincere; the priest is a reverend personage, with a fine, pure face,-very different, by the way, from any one of the priest's faces in Mr. Frith's picture, now in the Royal Academy. Of course much depends on how you look at these things. M. Poirson gives great energy to the action of his figures, and the spontaneity of the design is complete.-la Marché à Constantinople (1441), by M. Pasini, might supply many artists with a lesson in the art of arranging numerous figures: it is a capital composition and there is great beauty in the design, accompanied by considerable charm of colour. The treatment of the tree on our left, as it unites in tone with the sky and breaks with its higher branches in light the otherwise harsh line of shadow on the front of the market building, and the clever way in which the fluttering doves are made to keep up this circulation, if we may so call it, of light and tone, form one of the best things in the Salon.

The vein that Mr. Marks has so successfully cultivated among us appears at Paris, in M. L. Olivie's Le Frère Tailleur (1406); a brownrobed monk, cross-legged on a table, busily threads his needle. This picture has abundance of character, but is not superlatively well painted. -Near it hangs a piece of most brilliant painting, by M. Pasini, above named, and styled, Derviche Mendiant à la Porte d'un Turbé (1442), a single figure, standing in the deep shadow that is cast by the metal semi-domelike canopy of a door; the sun blazes on the pavement, on the blue-tiled walls, on the canopy itself, but the shadow looks like night until the eye divines the less unbroken gloom of the interior of the building, the ruddy gleams of burning tapers, and furniture just visible: under the dome itself, the richly coloured tiles and stones are displayed by reflected light. This is a splendid piece of effect, intensely powerful in colour, and, strong as the tones and tints are, perfect in its keeping. In its way, one cannot imagine anything better. One of the finest illustrations of the war here is M. Neuville's Combat sur une Voie Ferrée, Armée de la Loire, 1870-71 (1390), a considerable body of French soldiers climbing a railway embankment, having followed retreating Prussians across a half-frozen stream, towards a wood that clothes a hill-side, and from which the smoke of sudden cannon comes in whitish puffs. With wealth of action and passionate energy of expression there is great diver

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sity of character and richness of design here. Notice the men in front on our right, one of whom creeps cautiously up the bank; another, more bold, peers over; two brown-coated enemies lie dead, one at the foot of the bank, the other at its summit, and across the iron rails. On our left, a large group of Frenchmen hurry on, one, just wounded, clutches at a telegraph-post, and reels before he topples down on his comrades. The design has complete spontaneity, and justifies itself thoroughly; while the painting is worthy of the design, being, with perfect fidelity, thoroughly full of élan, as may be seen in the way in which a bush of tall and withered weeds is "put in" on the bank before us. The technique of this element is astonishingly good, dexterous to a marvel, but without chic, that constant offence of our own would-be "clever" landscape-painters. Here the dexterity of the painter is due to his learning: it is felicitous and masterly, the result of long, or at least intelligent and honest studies; but our painters are content if they succeed in imposing on amateurs by the mere appearance of studies which were never seriously or intelligently pursued.

No. 1454, styled A Travers Bois, Matinée d'Octobre, the work of M. Pelouse, is a fine large picture, of a thicket in slightly veiled sunlight, and is admirable for breadth of style, richness of colour, and vigorous treatment of nature. -La Forêt (1426), by M. Palizzi, may be bracketed with the last. It shows, although it has more firmness, less breadth and richness, less freedom with the brush. Many of M. Schenck's pictures have been seen in England: he contributes contrasted subjects in Fleurs de Bruyères (1653) and Flocons de Neige (1654); both show admirable painting of sheep. The former gives a flock on a heath in summer, including a superb black ram, the latter depicts a flock in sunlit snow; both are masterly in execution, solid, and learned.-M. Ségé's La Ferme de Keroual (1672) is very grand and fine; a summer landscape, a foreground of trees and waste, which is large and rich in style and colour: this is shaded by a passing cloud; a gleam of white light is in the distant sky. The same artist also shows his great powers in Un Matin dans les Alpes (1671).-Among the many noble landscapes here, we see M. Sauzay's Le Chemin de Pont-de-l'Arche à Criquebeuf (1649), spring, very soft and delicate in effect and colour, showing a river vista, with flat banks studded with poplars and other trees, the shadows of which dot the sward in perspective. M. J. J. Veyrassat is himself in Charrette en Forêt (1781), another large and masculine picture, a richly-coloured, sunny wood, in the front of which folks load a cart with logs. The whole is marked by skilful dealing with air, and fine colour, with great breadth.-No. 1825 -Bois de Hêtres, à Durehaven, aux Environs de Copenhague, by M. A. Wahlberg-gives a sunny vista, with lichened and moss-grown trunks of beeches, and between them, a path dashed with shadows; the whole in beautiful keeping, and admirable for modelling, tone, and colour. The colour of the class of landscapes of which we are at present writing is set in a high key-much stronger, for example, than that adopted by Mr. V. Cole, and approaching what we find in the beechen sunlit subjects of Mr. E. G. Warren; but the colour in the French landscapes is better, with far richer tints, clearer and firmer painting, than in the works of Mr. Cole, to say nothing of precious knowledge of how to generalize details with complete keeping, and not give their character at large, but truly, and not with pretence of truth. Indeed, the remarks we have made on the treatment of details in M. Neuville's 'Combat sur une Voie Ferrée' apply with more or less justice to the group of landscapes before us. There are twenty or forty such works in this Salon which would stand comparison with Mr. Millais's Winter Fuel' in these, as in other qualities. If our popular landscape-painters flatter themselves that they have yet shown anything so valuable as may be seen by dozens yearly in Paris, they are most egregiously mistaken. These remarks do not apply to the works of Messrs. A. W. Hunt, Oakes, Brett, C. P.

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Knight, Dawson, and a few other accomplished and sincere artists, who really exhibit style, and not trick, in their art; but they do apply to those whose time is spent in producing sham landscapes, and who think they have done all that is needful when they give the superficial "look" of things—that is, foist on us the fruits of mere facility in sketching under the name of "style." Of such productions these pictures are really the antitheses.

An instance of fine treatment, at once loyal and broad, of details, and of real style in dealing with the whole of a landscape subject, occurs in M. É. Vallet's not otherwise particularly noticeable Au Bord d'une Lagune, dans les Landes (1749), trees in a bank, with a meadow in soft light beyond; an extremely solid and rich work, showing beautiful painting in the bank; it is a little smooth, but, on the whole, it is highly admirable.-The style which M. E. Van Marcke derived from Troyon, and which the latter founded on and developed from that of Constable, appears, not without what may be called Flemish floridity, in La Forêt (1753), a good example of the ability of a painter whose works are known in London. La Plaine (1752), by the same, is, at least, equal to its fellow. Yet we must confess the possibility of getting tired of works in which the scope of the subject is so very narrow.-Hylas et les Nymphes (1851), by M. Zuber, a worthy pupil of M. Gleyre, is a capital example of its class, a conventional and eclectic one, but of much beauty in the sentiment conveyed, and, in some respects, inclining a little towards M. Corot's manifestations of nature. It comprises a pool, with delicate birches soaring in the moist and sunny air about it, the whole having the charm of idyllic grace and peacefulness.

Among the tragic figure-pictures here is M. Tony Robert-Fleury's Charlotte Corday, à Caen, 1793 (1579), a finely conceived life-sized figure, clad in white, and walking, book in hand, and steadfast, rounded eyes, fixed full of a terrible thought, as if she saw the conclusions of her philosophy in a very practical form.-A fine decorative picture is M. Toudouze's Éros et Aphrodite (1720) afloat in air above a city, and on a shell, at the front of which the blindfold Cupid stands erect, and drives the moth-coursers of the car. The voluptuous goddess, awaking, stretches her limbs with a free, boldly conceived action. In its way this is a masterpiece; the design, drawing, handling, effect, and colour, are in the happiest keeping. The number of purely decorative pictures is comparatively small in this Salon, and there are fewer life-sized naked women than usual.-In most respects antithetical to the last, two of the three pictures by M. Saintin are, nevertheless, also fine in their way, and both show improvement, being free from the usual defect of the artist's work, an excess of black throughout. La Toilette du Rosier (1624) shows a young lady in pale blue and white cutting roses from a bush. It is marked by much grace of action and spontaneity of design, with an after-thought expressed in the other picture, Solitaire (1622), a young lady in black crape, seated on a gardenbench, and arranging orange-blossoms plucked from a branch. The finish of these works is exactly such as we have had before from the artist; it has the elaboration of fine ivory carving, and, like ivory carving, it is hard and oversmooth, but it is sound and thorough. M. Saintin's sentimentality is his own, and, like his technique, beautiful, but a little over-polished. As antithetical to the last two works in style as in subject and size, is M. P. Rousseau's La Fête-Dieu (1601), "still life" of objects associating themselves with the title, baskets of rose-leaves, candelabra, a censer, a statuette, pictures, &c., all rich in admirable results of power in painting in a large, fine style.-A similar subject occurs in M. Vollon's Coin de Halle (1816), containing a huge copper pot, large fishes. The pot is magnificent in colour, and so grandly painted that it would make a grand old master-say Rembrandt, Velasquez, or Rubens-rejoice to see it. The fishes, although exceeding in blackness, are superbly handled.

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A group of genre subjects, mostly miniatures, may conclude that section of our notice which was intended for a general survey, in which, we fear, we have gradually abandoned the attempt to generalize, and dwelt on salient pictures, to the exclusion of the more numerous ones that, according to the standard of Paris, are meritorious. course, we say nothing of a considerable body of paintings which are merely mediocre. The fact is, that a critic who is on one day at the Royal Academy, and the next in the Salon, cannot, on so short notice, contrive to adapt his judgment to standards of taste so different as justice requires in the respective cases. It takes a day or two to work oneself up to the pitch of art in Paris, and to avoid spending time on what are commonplaces there, but would be eminent in England, where, as it seems to us, the artistic element is one of the last to be taken in account in selecting pictures for display.

There is abundance of art in the miniatures, to which it is time to turn. Consider, first, Le Livre Sérieux (1721), by M. A. Toulmouche, an artist known in London by pictures not so good as that which shows two ladies seated on a couch of red velvet, one of whom has read the other to sleep, and then dozed in turn herself. The attitudes tell the tale perfectly. The draperies have been studied with exquisite art, giving the forms within their numerous and voluminous folds to perfection; the tempestuous abundance of petticoats and skirts, the dainty but exuberant contours of the torsos, busts, and throats, the graceful abandon of the arms, the piquant precision of the coiffures, to say nothing of the solidity of the carnations, which are very slightly metallic, and the thoroughness of the workmanship, are not only almost perfect in their way,-and that is one which, let it be distinctly understood, neither Raphael nor Rembrandt disdained, but a complete example to painters of M. Toulmouche's class. We have in England some dozen of them exhibiting more or less ability and ambition! But, strange as it may seem, it is undeniable that our genre painters, compared with their French brethren, are the merest idlers, their studies trifling, their efforts play. In proof of this, let us ask, what this amazing precision, for such it is, and not mere niggling that dazzles our long-trained eyes, and seems to defy our not unpractised hands, means? It means work, happily directed, intelligently conducted work, and is the fruit of wise and indomitable energies. The skill which drew and foreshortened, in this completely happy fashion, the innumerable folds of the copious petticoats, modelled those objects without flinching, and without any signs of toiling, is simply marvellous, and puts to utter shame the craft of the clever Dutchmen of the seventeenth century, whom we used to reckon triumphant in finishing. Nor is there an inferior success in the rendering of textures as seen here, for the silk, the satin, the linen, the velvets, the glossy hair,—indeed, the whole, from the delicate lace on the sleepers' necks, to the carpet under their feet,—are complete. It would be simply absurd to say that all this is merely laborious toiling, it is far better than that, for whatever feats of the painter's craft evolve so much beauty and brilliancy, and are, in short, so thorough, entire, and honest as this work, are worth doing on their own account. We have taken M. Toulmouche as an example, not the best, but a very good one; and we have said but little of the design, which is all that could be desired; or of the colour, which needs no praise; or of the expressions, which are genuine and happy. A little less precise than Le Livre Sérieux' is La Réponse (1722), by the same, a lady in a brown dress, writing at a table, with an expression that seems to tell us she addresses her absent husband: it is charmingly pathetic, and very beautiful. Here appear the same delicacy, finish, and more sobriety, or rather breadth of tone; the chiaroscuro is better managed.

M. Vibert is an artist of high reputation in Paris, whose first success we duly chronicled. He sends two subjects and a portrait. One of the

former is Moine cueillant des Radis (1786), an old fellow at work in a sunlit garden, and stooping under an umbrella; a gem of exquisite quality in handling and delicate character. The other subject appears in La Réprimande (1785), an old country curé seated at déjeuner in his garden. To him a very anxious mother has brought her blooming and recalcitrant daughter, in order that clerical | influence may secure what domestic admonitions have left uncertain. The girl sits half-sulky, wincing, but pouting, under the denunciatory remarks, and the unflinching revelations, of her mother, who seconds her too emphatic words by the play of her hands, which are energetic, expostulatory, and damnatory. The girl is a spoilt woman, and even now, in honour of M. le Curé, bedizened in her best, and wears her noblest coiffure, while the old, withered mère is in tatters. Not the least excellent of these three capital figures is that of the curé, a jolly old gentleman, who puts on severity like a cloak, and, the wench's crime being flagrant and great, hesitates to absorb a pinch of snuff that was on its way, until a loud, sibilant objurgation is finished.

SALES.

THE remaining works of Sir E. Landseer were sold, for pounds, by Messrs. Christie, Manson & Woods, on the 8th inst. and six following days. Pictures: Lake Scene, 110,-Snow Drift, with figures, 102,-Bridge over a Mountain Stream, 123, -View in Scotland, with a waterfall, 283,-Rocky River Scene, with ruins, 157,-Lake Scene, 126; another, 257,-Head of a Dog, 147,-Park Scene, with pheasants, 110,-Lake Scene, with swans, 115, -View in the Highlands, upright, 126,-Man with Two Oxen, yoked, 110,-Dead Roe-Deer, 220,Mountain Torrent, 204,-Rocky Coast Scene, with fisherman and dog, 294,-Lake Scene, storm, 120, -Dead Rats, 178,-Lake Scene, 178,-Highland Sheep, 189,-Fisherman's Daughter and Boy with Hawk, study for 'Bolton Abbey,' 126,-Old Man, with dog, 215,-Gamekeeper, with dog and dead pheasants, 120,-Edie Ochiltree, 105, D. Gellatley, in 'Waverley,' 152,-Head of a Stag, for 'Braemar,' 425,-Grey Horse and Groom, 173,Highland Whiskey Still, for the picture, 262,Highland River Scene, figures and white pony, 178, -Portrait of Lady L. Gower, 120,-Highland Gilly and Two Deer-Hounds, 131,-Deer-Hound, Dead Stag, and Fawn, 367,-Two Stags Fighting, 110,-Courtyard of a Castle, figures, animals, 325, -Sick Hound and Monkey, 149,-Ravenswood and Lucy Ashton, 241,-Chevy Chase, sketch, 262,Horses and Dogs, 1,050,- Charles Sheridan, Mrs. Sheridan, and Child, 178,-Taking the Deer, portraits of the Duke of Athol, foresters, &c., sketch, 210, Sir W. Scott, 168,-A Lion, early study, 661,-Lady Ashburton and Child, 252,A Persian and Greyhounds, 105,-Digging out the Otter, 640,-The Queen and the Duke of Wellington, 168, Earl and Countess of Sefton and Daughter, 598,- Two Young Ladies, and two sketches of Spaniels, 640, Head of a Black Horse, with attendant, 367,-The Queen on a White Horse, with attendant, life-size, 787,— Dead Roe-Deer, 173,-A Chestnut Horse and Dog, 194,-Head of a St. Bernard Dog, 367,Wolf-Hunt, after Rubens, from Lord Ashburton's picture, 110. The following were by old masters, in Landseer's collection: Cuyp, Four Sheep and a Goat, 37; Heads of Sheep, 14,-Wouwermans, Man with a Horse and Dog, 32,-Velasquez, Betrothal of an Infanta, 204,-Murillo, Head of an Old Woman, 39,-Berghem, Studies of Animals, Heads, 27, D. Teniers, A Landscape, 47, Snyders, Cocks fighting, and other poultry, 55. Landseer A Dog lying down, 100,-An Old Peasant Woman, seated, 105,-Duchess of Bedford, 152,-Lake Scene, sunset, 136,-A Rocky River Scene, 173,-Woody Landscape, with a stream, 138,-Mountain Scene, 131,-Grey Horse in a Stable, 141, Deer-Hound, 111,-Chevy Chase, 106, Collie Dog, 210, Highland Peasants and Pony, near a stream, 157,-Dead Stag, 168,Harvest Cart, with figures, and white pony and foal, sketch for 'The Harvest in the Highlands,'

325,-Visit to the Falconer's, 288,-Highland Girl, 273,-Rocky River Scene, 367,-Horse and Groom, 179,-Sport in the Highlands, portraits of the Duchess of Bedford and Family, with white pony, dead deer, and hounds, sketch, 273,-The Sutherland Children, sketch, 210,-The Earl of Tankerville, with dead Chillingham bull, pony, and hounds, 110,-Duke of Beaufort and Sisters when Young, 1,102,-Duke of Beaufort as a Knight on Horseback, 110,-Sir W. Scott, 840,-Duke of Devonshire, Lord and Lady Cavendish, with dead fallow-deer and dogs in a park, 1,102,- Lady Godiva's Prayer, 3,360,-Old Brutus, 630,--Newfoundland Dog and Terrier at a Stream, 1,102,Sir E. Landseer when Young, 110. Modern pictures: Leslie, "Ten minutes to decide," 315,Callcott, a Landscape, with cottages, figures, cattle, and pool, 1,055. Drawings by Landseer: Dead Stag and Rough Terrier, 105,-Two Dead Deer, 105; another, 63,-Stags in a Net, 68,-Boy milking a Cow, 52,-Fishermen, Hastings, 78,Donkeys, Hastings, 52,-Lord Abercorn's Forest, 105,-Dead Stag, Fox, and Crows, 115,--Figures and Dogs at a Fireside, 131,-Heads of Poultry, 147, -Ferret with a Dead Rat, 126,-Setter, 525,Ferret and Dead Hare, 126,-Highlanders with Dead Deer and Dogs, under a Scotch Fir, 63,Flood in the Highlands, 157. Water-Colour Drawings made for 'The Forest': Suspicion, 157,

"Off," 115,-Doomed, 157,- Found, 105,Missed, 267,-Group of Deer, 110. Sketches in crayons: "Wait till he rise," 525,-No Hope, 210,-Waiting for a Load, 903,-Well Packed, 425,-Venison House, 525,-Precious Trophies, 315,-A Goodly Freight, 341,-At Bay, 372,The Combat, 178,-Watching the Body, 745,— The Last Scene, 168,-Group of Three Sheeps' Heads, 178,-Interior of a Highland Hut, 231,Two Sheeps' Heads, 105,-Five Dogs, 325,-Dead Stag on a Block, 136,-Two Dead Stags, 367,Highland Sport, 241,-Dead Stag and Barrow, 110,-Speared Otter, 168,-Dead Stag and Hound, 236,-The Combat, 183, The Drive, 404,-OtterHounds, 246,-Stag at Bay, 236,-The Bay, 136, Mountain Torrent, with Deer, 210, Two Fawns' Heads, 136,-A Wounded Stag, swimming, pursued by a Hound, 325; another, 346,-A Dead Stag and Crow, 126,-A Cow in a Shed, 157, Heads of two Dogs, 110. Cartoons: The Eagle's Nest, 168, Scene in the Forest, 420,-Stag and Hinds, 866,-'The Return from

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Deer-Stalking,' 252,-A Lion, 267; another, 136; another, 110. Drawings in chalk: Two Dogs and a Cat, 420,-"Pray let me out," 241,-Three Rough Dogs, 147,-Head of a Highlander, 115,Otter-Hound, 189,- Three Dogs, 262,-River Scene, with Sheep, 215,-Eagles, 147, Rough Hounds, 273,-Dead Stag, 204,-Stags Fighting, Hounds, 273,-Dead Stag, 204,-Stags Fighting, 178,-Mountain Scene, with Deer, 199,-Stag Bellowing, 252. Drawings in pencil: Dogs Chasing a Hare, 128,-Red Deer, Blair Athol, 54, -Ladies' Pets, 1823, 52,-Duck Hunting, 78. Drawings in water colours: Hawk, Didlington, 89,-Road to Bonn, 68,-Three Setters on a Moor, 378,-Doorway and Dog, Headingham Castle, 1818, 73,-Rat Hunting, 52. Drawings made during a tour on the Continent, 1840: Peasants at Market, Aix-la-Chapelle, 78,Cattle at a Fountain, Geneva, 52,-A Pulpit in Belgium, pen and ink, tinted, 152,-MarketPlace, Geneva, 105,-Scene in Belgium, 99, -At Geneva, oxen, mule, and dog, 115, Oxen at the Tank, Geneva, 325,-Refreshment, Geneva, 320,-Horses Feeding, Geneva, 94,Stall, Geneva, 73,-Sketch at Geneva, 73,Stable between Liége and Aix-la-Chapelle, 65,-At Geneva, 204,-The Lady, "Diogenes," Dijon, 126,Plough at Waterloo, 189. Sketch-Books: One with Early Sketches of Animals, 100; another, large, 113; another, with the first study of 'The Return from Hawking,' 26; another, 73; another, 100; another, 120; another, 128. Engravings: The Challenge,' engraved by Mr. T. Landseer, artist's proof, 43; another, proof before all letters, signed, 36,-Dignity and Impudence,' proof, with etched title, 30); another, before letters, 25, The Monarch of the Glen,' artist's proof, 67; another,

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artist's proof, 37; another, 50,-The Shepherd's Grave, engraved by H. P. Gibbon, before letters, 31,-Shoeing, engraved by C. G. Lewis, trial proof, framed, 27,-Stag at Bay, engraved by MT. Landseer, artist's proof, 61. Etchings: Set of Eighteen Artist's Proofs, in folio, 21; another, 28,-Shepherd's Dog, two trial proofs, one touched 19; The Lady's Pets, touched proof, 15. Lite graphs: Highland Shepherd's Dog in the Snow by R. J. Lane, artist's proof, 31. Books of prints The Works of Sir J. Reynolds, engraved by S. W Reynolds, 3 vols., 39. Total number of the lotz 1,408.

Fine-Art Gossip.

THE dinner of the Artists' Benevolent Fund

took place on the 18th instant, and was largely attended. The fact of the evening was that Mi Alexander Barker, the well-known collector and disperser of works of art, recently deceased, had bequeathed 3,000l. to the Fund. The balance in the bankers' hands is 2831. 78. The donations made during the evening amounted to about 600l. In the past year, fifty-two widows h received annuities to the amount of 1,0104, ani sixteen orphans the sum of 80%.

MR. LUCAS sends us an artist's proof from s plate, by Mr. G. H. Every, after Mr. Dicksee's picture of Romeo and Juliet,' the subject being the parting of the lovers. The design is sentr mental rather than passionate; at least, it does not harmonize with our notions of the circumstances in view. Romeo stands, in the fashion once popularly accepted, by the side of his mistress, who has placed her arms about his neck, as pictorial lovers are wont to do when represented in the way that Mr. Lucas usually adopts; Romeo has one of his arms round the waist of the lady. Neither of the faces expresses the intensity of the passion which inspired Shakspeare. In short, an essentially commonplace design is here reproduced in a rather commonplace manner by the engraver, who has, it should be stated to his credit, done what may be his best with his original. The print fairly appeals to those who love art of the "drawing-room" order. To them we commend it.

We have received from Messrs. Colnaghi & Co. an artist's proof of a mezzotint engraving, by Mr. J. Reynolds. This is probably the most popular S. Cousins, after 'The Age of Innocence,' by Sir picture of its period. It is the best known of Reynolds's works, and has been more often engraved than any other; Grozer, Joubert, of the copies surpasses that which is before us, and C. Turner successively dealt with it. None which has, indeed, a softness beyond anything of the kind observable in the others, while it is at least equal to the best in delicacy and beauty of expression and general keeping, though not quite so are due to Mr. Cousins and his publishers; the powerful as Grozer's version. Our congratulations public will assuredly welcome so fine a print.

MR. J. W. VOLCKMANN sends us a portfolio, containing text and photographic illustrations, entitled 'Les Quatre Derniers Siècles, Étude Artistique,' par Henry Havard, illustrée par J. B. Madon. The theme of this work has been supplied by the designs of the well-known French artist, to which M. Havard has added literary illustrations, historical, archæological, and anecdotic. The designs illustrate events, real and dramatic, proper to the periods, and characteristic of what are assumed to be their peculiarities severally and relatively. The different subjects of the designs are connected by what may be called a running comment, so that each developes its successor in due order. The literary part of the publication is bright, distinct, and readable; but, we think, a little slight and fanciful. The designs show considerable dramatic power, and possess picturesqueness rather than solid value; but they are all conceived with rare spirit and force. They are rather slight sketches than elaborate compositions, and have something of the charm which makes the drawings of George Catter

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MUSICAL UNION.-PAPINI, for the LAST TIME this SEASON,
with JAELL, on TUESDAY, June 2.- Quartet. Posth. in B fat; Trio,
B flat, Schubert; Quartet, Haydn. Solos by Signori Papini and Jaell.
-Tickets 78. 6d. each; to be had of Cramer, Lucas, and Austin, at St.
James's Hall.
PROF. ELLA, Director.

broise Thomas (which is underlined in the bills),
Mozart's 'Seraglio,' Signor Ponchielli's 'Promessi
Sposi,' and Glinka's 'Life for the Czar.'

The Drury Lane promises were Donizetti's
Roberto Devereux,' Rossini's "Otello,' Signor
Verdi's Ernani,' and Auber's 'Fra Diavolo, be-
sides Catarina, which has been produced, and
Balfe's 'Talismano,' which is announced to be in
preparation.

Stock-taking at nearly the close of May may, perhaps, serve as a reminder that subscribers are waiting for the redemption of the pledges given in the respective Prospectuses.

In the operatic doings at the two theatres there is little to call for present remark. Madame Patti is going the round of her répertoire, and is to appear again as Catarina, but unless the version of last season be thoroughly revised and Auber's score restored in its integrity, the opera had better be left alone. The Nozze di Figaro' has been revived at Drury Lane, with last season's effective cast, except as regards the part of Susanna, which is fairly played and sung by Mdlle. Marie Roze, Athalie), Mendelssohn.-Stalls, Area or Balcony, 108. 6d.: Balcony, who, however, makes the mistake of dressing the waiting-maid of the Countess Almaviva as a Spanish Gitana. It need scarcely be added how highly the audience at Her Majesty's Opera appreciated the beauty of the orchestral playing; the overture was encored.

PHILHARMONIC SOCIETY.-Conductor, Mr. W. G. Cusins.— St. James's Hall-FIFTH CONCERT. MONDAY, June 1, Eight o'clock.-Symphony. Surprise, Haydn; Song (St. John the Baptist'). G. A. Macfarren, Mr. E. Lloyd; Concerto in C, No. 1, Beethoven, [Pianoforte, Mr. Alfred Jael (his first appearance this season); Grand Air ('La Colombe '), Gounod, Miss Blanche Cole; Overture, St. John the Baptist,' G. A. Macfarren. Part II.: Symphony in C minor, No. 5, Beethoven; Concert-Stück, Schumann, Pianoforte, Mr. Alfred Jaell; Duo (Jessonda'), Spobr, Miss Blanche Cole and Mr. E. Lloyd; March, Reserved, 78.; Unreserved, 58.; Area or Gallery, 28. 6d. Stanley Lucas, Weber & Co., 84, New Bond Street, W.; usual Agents; and Austin's Ticket-Office, St. James's Hall.

ROYAL ALBERT HALL. MR. SIMS REEVES'S ANNUAL BENEFIT CONCERT, on MONDAY EVENING, June 1.-Madame Christine Nilsson, Miss Antoinette Sterling, Miss Helen D'Alton, Madame Lemmens-Sherrington, Madame Norman-Néruda, Mr. Santley, and Mr. Sims Reeves. Solo, Pianoforte, Mr. Coenen Conductors, Mr. Blumenthal, Mr. Sidney Naylor, and Mr. Barnby, Royal Albert Hall Choral Society. Doors open at 7; commence at 8 o'clock.-Boxes, 31. 38, 21. 10s., and 1 108.; Stalls, 78. 6d. and 58.; Balcony, 38.; 5,000 Admissions at One Shilling. Tickets at Novello, Ewer & Co.'s; the usual Agents, and at the Royal Albert Hall.

MONS. ALPHONSE DUVERNOY will give TWO PIANOFORTE RECITALS, at the Queen's Concert Rooms, Hanover Square, on FRIDAY, May 29, and FRIDAY, June 19, at Three o'clock.-Stalls, 10s. 6d. Unreserved Seats, 58. Stanley Lucas, Weber & Co., 84, New Bond Street; Chappell, 50, New Bond Street; Mitchell's Royal Library; and at the Hanover Square Rooms.

MADAME ANNETTE ESSIPOFF.-Mr. George Dolby begs to announce that he has made arrangements with Madame Annette Essipoff to give TWO PIANOFORTE RECITALS, in St James's Hall. the first of which will take place on WEDNESDAY MORNING NEXT, May 27, to commence at Three o'clock precisely.-Sofa Stalls, 78. ed.; Balcony, 38.; Admission, la. Programmes and Tickets at Chappell & Co.'s, 50, New Bond Street: Stanley Lucas, Weber & Co.'s, 84, New Bond Street: the usual Music Warehouses and Libraries: Mr. George Dolby's, 52, New Bond Street; and at Austin's Ticket-Office, St. James's Hall.

THE OPERA SEASON.

NEARLY all the artists promised in the Drury Lane and Covent Garden Prospectuses have arrived. At the former establishment Madame Christine Nilsson, who has reached London from New York, is preparing to appear in Balfe's Talismano. Signor Campanini was promised to sing in Donizetti's 'Lucrezia Borgia' on Thursday night, too late for notice in this week's Athenæum. There is still a tenor due, Signor Paladini, at Her Majesty's Opera. At Covent Garden, the admirable baritone, M. Faure, has re-appeared in Hamlet,' that heavy operatic parody on Shakspeare's tragedy, and in a much more important character, that of Don Giovanni, of which there is no danger in affirming that he is the best representative of the period. It is to be hoped he will be heard in William Tell,' in 'Dinorah,' as the chivalrous Nevers, in the Huguenots'; as the King, in 'La Favorita'; as Nelusko, in the 'Africaine'; as Figaro, in the Nozze di Figaro'; as Mephistopheles, in "Faust,' &c. Many of these parts M. Faure has never played in London. The French artist has not yet sung in any of Signor Verdi's operas; but, if he would undertake the character of Rigoletto, he might achieve a triumph second only to that of Ronconi. This will strike every amateur who has heard M. Faure as Paddock, the court jester, at the Grand Opera-house in Paris, in 'La Coupe du Roi de Thule,' by M. Eugène Diaz, the success of which was owing solely to the excellent acting and singing of the baritone. In Paris, the announcement that M. Faure will sing in any opera fills the Grand Opera-house. Here, in London, Impresarios rely, for attracting the public, on their prime donne principally, and almost everything great is sacrificed to their inordinate pretensions. Amongst the non-arrivals at Covent Garden are Madame Vilda (Frau Wilt, from Vienna), Mdlle. Clemence Calasch, and Signor Piaza.

Among the new and revived works at Covent Garden, mentioned in the Prospectus, are Signor Verdi's 'Luisa Miller,' the 'Mignon' of M. Am

THE ROYAL ALBERT HALL.

Handel's "Hallelujah chorus"; Mr. A. Sullivan's "Domine salvam fac Reginam," from his Te Deum; his part-song, "O hush thee, my babe "; Morley's madrigal, "Fire, fire my heart"; the National Anthem; Handel's air, "Let the bright seraphim," sung by Mdlle. Tietjens, with Mr. T. Harper's trumpet obbligato; Weber's quartet from "Oberon,' "Over the dark blue waters"; and Giordani's air, "Caro mio bein," sung by Madame Patey. Then, as a relief, Mr. W. T. Best performed a fantasia on the organ, with a view to showing off its fortissimo as well as pianissimo effects. The solemn silence which pervaded this second section of the scheme, however complimentary to the Imperial and Royal visitors in Her Majesty's box, was depressing. With such a large edifice as the Royal Albert Hall, a really grand and imposing concert might have been organized by the engagement of some 400 of our best instrumentalists, amateurs as well as artists, and by utilizing the services of the Handel Metropolitan Choir. But as the sightseers were, no doubt, gratified, the lovers of art in its highest form were, probably, in a miserable minority amongst the masses who filled the hall to overflow.

MADAME ESSIPOFF.

are

CHOPIN'S two pianoforte concertos, the first in E minor, Op. 11, dedicated to Kalbrenner, the second in F minor, dedicated to Mrs. Anderson, are rarely played in this country. It was the late IT is to be regretted that a programme better Madame Dulcken (sister of David of Leipzig) who calculated to afford a notion of the state of introduced the E minor work at a concert of the composition and of execution in this country has Philharmonic Society, and it is to another lady not been provided during the stay of the Emperor pianist, a Russian artist, that amateurs of Russia. Spectacular displays are all very well indebted for the resuscitation of the E minor. This in their way, and no doubt there are few sights event for event it is-from a twofold point of more imposing than the South Kensington music-view, not only as regards the revival, but also as hall when it is quite filled on state occasions,-that regards the debut of a performer, who, in the concerto, is, when the dreary dinner dress of the ordinary proved herself to be one of the greatest, if not the civilian is relieved by uniforms and the gayest greatest, of the executants of the age, took place toilettes of ladies, who, to do them justice, are not last Saturday afternoon, at the fifth New Philharat all afraid of displaying variety of colour. If the monic Concert in St. James's Hall. It will be a Russian visitors could have remained to hear one memorable and red-letter day for the artists and of Handel's oratorios as it will be represented at amateurs who were not drawn away to the Crystal the forthcoming Festival, or if they had heard the Palace to see the Emperor of Russia at a concert, Huguenots' or the 'Nozze di Figaro' as executed in which combined military bands endeavoured to at Drury Lane-they would have left England with prove that in beaucoup de bruit there is peu de fruit, a much higher opinion of our claims to be or to the Floral Hall to find an Italian Opera hash considered a musical country than they must of star singers. A kind of instinct seemed to have formed at the concerts they have attended. attract a large auditory to listen again to Chopin, Last Monday night the selection was singular for Dr. Von Bülow in his recitals had excited public enough. As samples of our native composers, in curiosity and interest in the chamber compositions the first part were a solo on the organ, a March in of the Polish pianist and composer. Very E flat, certainly not one of Mr. Henry Smart's few connoisseurs, indeed, had ever heard of happiest conceptions for an instrument of which Madame Essipoff; but there were some musicians he is a master, and a part-song, by Mr. Barnby, to whom her name was familiar, owing to the "Sweet and low," not sung in tune, although the strongly-pronounced opinion of Dr. Von Bülow pianos were observed by the choir, which was that she is the finest lady pianist of the period. encored, as a compliment to the composer, who was And the judgment of this great professor will, also the conductor. The other pieces were Auber's there can be little doubt, be fully confirmed here. 'Fra Diavolo' overture, Schubert's Prelude to Chopin's two concertos are invested with digital Rosamunde,' and Herr Wagner's March and difficulties that might dismay the most experienced Chorus, from the "Tannhäuser,' for the band. executant. To do full justice to the two compositions, Mendelssohn's "Vintage song," for male voices, the player must not only possess manual dexterity, from Lorely,' the Gipsy chorus, from Weber's such as it falls to the lot of few pianists to attain, Preciosa,' and the Polonaise, with chorus, from but must be likewise endowed with keen senGlinka's 'Life for the Czar,' for the choir. Then, sibility and with poetic aspirations. However as solos, there were Mdlle. Tietjens's scena from expert the manipulation, if the interpreter has not Signor Verdi's 'Ernani'; the charming love-song the legato quality to sing on the instrument, of M. David, from his opera, 'Lalla Rookh,' so to grasp the subtle phrases of the inspired comnicely sung by Mr. Cummings as to cause a re- poser, Chopin's concertos must be left untouched. demand, which was not complied with; and the It was a bold venture on the part of the Russian fine bass air of the Cardinal, from Halévy's 'Juive,' lady to present herself before an English public given by Signor Foli. The Imperial and Royal with a work so fearfully intricate for a pianist amateurs, however, escaped this portion of the to execute and, it may be added, for a misnight's entertainment, by not arriving until Mr. cellaneous audience to comprehend and digest. D. Godfrey's band of the Grenadier Guards had But the result justified the hazard, for never played, and extremely well too, a fantasia on Meyer- was a greater triumph achieved by any débubeer's themes from the 'Étoile du Nord,' in which tante. The Hall rose at her at the close of her he has so caught the spirit and rhythm of Russian perfect performance; and the orchestra also joined in music. The selection that the Emperor and His the recognition of such a marvellous exhibition of Majesty's party did hear in the second part, was executive skill. Whether in the opening movethe Russian National Hymn and a pot pourri of ment, allegro risoluto, with its constant change of Russian sacred music, arranged for the choir, and subjects and the dispersion thereof over the keyconducted by Mr. A. Sullivan, succeeded by a board in runs and roulades, or in the lovely larghetto, mélange of sacred and secular pieces, including with its passionate and romantic imagery, or in

the exciting finale, a brilliant rondo, full of the national motive which so perpetually haunted the ear of the Polish patriot as well as pianist, Madame Essipoff was equally remarkable in her varied artistic attributes. She is instinctive in her colouring; exactitude in her never-deviating rhythms is one of her chief characteristics; she possesses a touch of exquisite grace and delicacy; and with all the intellectual and refined qualities of a true artist is combined extraordinary energy. If, in the cantabile, the lady moved her hearers by pathos, her verve and impetuosity in overcoming with such marvellous precision the greatest intricacies were equally to be admired. It is to be hoped that the F minor Concerto will be heard during her stay here, as it is the more elaborate and interesting of the two works which, be it noted, essentially depend for their effect on the artistic illustrator, as in the tutte the orchestration is not the prominent feature. Elaborate as they are, the pianoforte obbligato most arrests the attention of an auditory.

Madame Essipoff played from memory, and it is affirmed she is acquainted with the pianoforte schools of the leading masters, ancient and modern; but as she selected for her second appearance, which was at the sixth concert, on the 20th, Herr Rubinstein's Fourth Pianoforte Concerto and Dr. Liszt's 'Fantaisie Hongroise,' it may be assumed that her inclinations are towards the romantic style. Besides the E minor Concerto, last Saturday she played Mendelssohn's Andante and Scherzo in E minor, Dr. Liszt's 'Etude de Concert' in E minor, and Herr Rubinstein's Valse in a flat.

There was greater excitement created by her two performances last Wednesday evening than even on the previous Saturday. There was much curiosity to hear Herr Rubinstein's work in D minor, Op. 70. Whatever opinions may exist as to the first and third movements, it is scarcely possible that the exquisite charm of the romance which is heard in the second section of the concerto should be denied. It is a prolonged series of melodious themes, interrupted once by a break into a quick series of florid passages, which may be called the cadence. But there is also an elaborate point d'orgue in the exordium, which is remarkable for daring fiorituri. On a first hearing we can scarcely decide whether there are not too many episodes in the last movement. The conception of the concerto possesses marked individuality and there is not any servile imitation of any other composer's style-no mean point. It would also be a great mistake, because in symmetry there is not always coherency in the workmanship, to classify the concerto under the category of "Music of the Future." The point of departure of Herr Rubinstein is the same as that of the modern composers of Germany, Herr Brahms, Herr Raff, Herr Max Bruch, &c., namely, the first movement of Beethoven's ninth Symphony and the posthumous quartets; but it does not follow that this system of orchestration has been carried to excess by the imitators. The Hungarian fantasia of Dr. Liszt is such an exciting show-piece, that there is no use in discussing its wild, and perhaps, at times, extravagant flights. Madame Essipoff is Dr. Von Bülow redivivus, except in power and subtle expression. Herr Ganz has, fortunately for her, conducted all the pieces she has played; but the instrumentalists are crowded together too close to the pianist, and the conductor's rostrum is quite in the way of the soloist, besides being

an eye-sore.

Madame Essipoff is to give recitals, the first of which will be on the 27th.

CONCERTS.

CHOPIN'S pianoforte ballads comprise four songs without words, of which No. 1, Op. 23, in G minor, 'La Favorita,' is the most intricate. There are few pianists who can successfully conquer the bravura passages in it-still fewer can catch the peculiarities of the composer's style, alternating, as it does, between the most complex and brilliant roulades, and phrases of passion and of pathos. In the midst of no little amount of eccentricity and abrupt

transitions from grave to gay, from the graceful to the awkward, there ever and anon emanate themes both melodious and impressive. If the ear be sometimes struck with harsh discords,-if the outstretched fingers have to compass extraordinary tenths, not to mention octaves,-if there be by starts crudeness in the modulations and wildness in the harmonies,-yet the practised hands of an eloquent exponent will impart clearness to what looks like chaos when we glance at the music page. Mdlle. Krebs, in selecting the a minor Ballade, proved that no difficulties can dismay her, and that she is not wanting in that poetic colouring which Chopin's compositions so imperiously exact. Last Tuesday, at the third Matinée of the Musical Union, in St. James's Hall, the lady gratified the connoisseurs by her interpretation, and was also happy in her selection of Beethoven's 'Polonaise,' in c major, Op. 89. Mdlle. Krebs took besides the pianoforte part in Schumann's Quartet in E flat, Op. 47. The interest of the programme was, however, centered, so far as regards the stringed instruments, in Mozart's Quintet in G minor, and in three movements of Mendelssohn's Quintet in B flat, Op. 87, the opening allegro, played at a previous concert, being omitted. Signor Papini was the first violin, having as coadjutors M. Wiener, second violin, MM. Von Waefelghem and Otto Barnhardt, first and second violins, and M. Lasserre, violoncello-a team that went wonderfully well together; but in the muted adagio of Mozart, the sensibility of all the executants was strongly evinced. Signor Papini has quite confirmed our previous impressions of the beauty of his tone and of his refined style. He is never tempted into exaggeration, and he has sufficient impulse without becoming cloying in the impassioned passages. Mr. Ella sets a good example in his engagements, for it is to his enterprise that we owe the coming of the Italian and Spanish violinists, Signor Papini and Señor Sarasate, and of the Russian pianist, Madame Essipoff, who is to play at the last two Matinées.

At a Saturday afternoon concert, given in Tavistock House by a clever performer on the harp, Mdlle. Jansen, who had the aid of Herr Oberthür, the harpist, and of Signori Urio, Campobello, and Borella, of Her Majesty's Opera, a new composition was introduced, from the fertile fancy of M. Gounod. It is the setting of the words written by Lord Houghton in commemoration of David Livingstone. It is no credit to British composers that they have allowed a French musician to express in notation the poetry of the lines which describe the final words of the great traveller, "Good morning," to his swarthy followers. But as M. Gounod, in an elegant address appended to his published elegy, states: "La mort d'un grand homme n'est pas seulement un deuil national, c'est un deuil universal. Tout homme qui dévoue sa vie à l'humanité est le concitoyen de toute l'humanité." Hence this pathetic air," In Memoriam." In reading Lord Houghton's recital, M. Gounod forgot he was not the countryman of Livingstone, or rather he fancied he was of the same country. Here is the secret of a song of the heart, for such is M. Gounod's 'Ilala.' The simple melody-a dirge-goes to the very soul. It is one of those touching inspirations from the heart of hearts of a composer, which, whilst fulfilling the technical requisitions of the most severe rules of art, has the irresistible influence of spontaneity and of deep sensibility. To Mrs. Weldon was assigned the responsibility of interpreting this pathetic piece, and she did justice to it by imparting the feeling which it exacts. She quite enlisted the sympathies of her hearers. The air is well within the best notes of her voice, which we venture to think was naturally destined to be a mezzo-soprano, or even a contralto, for her low notes are clear and well defined.

Upon his first appearance in this country, at the fourth concert of the Philharmonic Society, last Monday, Señor Sarasate proved a success as a player, from the technical point of view; but his selection of the work which he played was a mistake.

He introduced a Concerto by M. Lalo, who has high reputation in Paris among the rising composers of France, but who is almost unknown

here. A trio by him, in в minor, was give at the Musical Union, some years ago, wha held out hopes of future fame, which have scarply been realized, and are not likely to be, to jug from the concerto, for, orthodox in structure a form, it is not marked by originality. Ser Sarasate has studied in the Paris Conservatoim and is now one of the leading violinists in French capital, having played at the princip concerts. He distinguished himself, only recently by a masterly performance of Herr Max Bruch Violin Concerto in G minor; but as Herr Stran who has the credit of having first introduced th work here in 1868, played it at the third Philbar monic Concert, Señor Sarasate chose M. Lak's production. He would have done better to have attacked either the concerto by Beethoven or by Mendelssohn. The tone of the new-comer is rich and sonorous; he is master of any amount of dexterity required for showy achievement, and, thanks to his facility and style, there is no reason te question the validity of his Parisian renown. The other instrumental items were Mozart's Symphocy in G minor, and Beethoven's in F, No. 8; Madelssohn's Overture, 'The Calm Sea and P perous Voyage,' and Cherubini's prelude to his Lodoiska' opera.

Musical Gossip.

THE following extracts from a letter, written by Mr. Sims Reeves at Wiesbaden, on the 13th inst will be read with interest by the musical public :"I am deriving very great benefit from the use of the waters of this charming place. I found that I could not get well in England, so I threw up everything and started, and I have every reason to be thankfu that I did so. We are up to our necks in gaiety, the Kaiser being here. I have been to the theatre to hear Herr Walter, the Vienna tenor, who has been giving some representations, and sings, for a German, very well-his least best character was Lohengrin. I like the opera; the orchestration is enchanting; but the "Music of the Future" will ruin all the voices-more so than the execrable high pitch of England. How Wagner does drown the singers' voices! What a contrast to Schumann's Genoveva'! How lovely is the opera! I am enchanted with it. The singers did extremely well, and the orchestra was excellent; the music is poetical in the extreme, and the story most interestingly told in the music. It certainly was a great treat. The band in the Kursaal is excellent. The pitch here is not the Diapason Normal of Paris, but as nearly as possible that of the Society of Arts, which is the best, I think How I should like to sing for you (the Newspaper Press Fund) on the 30th! I will, too, if I can get my course of baths over. I must be in London for the 1st of June for my own concert.”

ON Wednesday afternoon, at the City Mart, Messrs. Chinnock, the auctioneers, put up for sale, before an excited, if not an admiring, audience of dramatic managers, operatic Impresarios, lawyers, agents, &c., the ground-rent of Her Majesty's Theatre, now paid by the Earl of Dudley, who is holder of the lease granted to Mr. Lumley, which will expire at Michaelmas, 1891, at rents amounting to 1,934. 14s. per annum. This was Lot 1, in which was comprised the house No. I, Pall Mall, held at a rental of 230l. per year; so that the total rental of 2,164l. 14s. per annum will be receivable by the purchaser of Lot 1, all rates, taxes, and outgoings being paid by the tenant. There seem to have been three leading bidders for this lot: one, Mr. Mapleson, of Her Majesty's Opera; the second, an agent, to secure the property, if possible, for a National Opera-house; and the other, Mr. Last, a solicitor, who proved to be the highest bidder, as Lot 1 was knocked down to him for 31,000l. The theatre will pass into his hands, therefore, in 1891, when Lord Dudley's lease falls in; but the buyer will still possess the property until the original lease under the Crown will expire in 1912. The sale was by direction of the trustees of Mr. H. E. Holloway, and comprised twenty lots altogether, in

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