delightful to the student. This is a most masculine piece of fine art.-M. V. Leclaire's Fleurs, &c. (1122), consists of sumptuously painted still-life and flowers: especially admirable is the handling of a large brass dish.-M. Mérino's Un Parisien (sic) (1300), the profile of a black-haired girl, in a black hat and dress, with that peculiar expression of high-strung nerves which is not uncommon in Paris. It is luxuriously expressive and admirable in keeping. The tone, especially in the carnations, is extremely good.-In M. Maignan's Hélène à la Fontaine (1250) we have exquisite painting of flesh and a pink robe.-M. Machard's Séléné (1246), a decorative picture, shows the goddess by means of a charmingly poetical idea. The increscent moon, her bow, is in the air; she is herself a luminary, emitting a pale radiance from her brows. Her body and graceful limbs are but semi-substantial. She lies on clouds, her form taking a long, bowlike curve; and she aims an arrow, the feathers of which are faintly iridescent and rosy. She floats above the clouds, surrounded by a deep firmament of blue. The decorative treatment of this picture is highly commendable.-M. Rixens' Mort de Cléopâtre (1575) shows the life-sized figure of the queen, deathly white, lying on a bed; one arm extended straight from the figure, and in itself a piece of fine foreshortening; the bluish fingers are pendent and parted. The modelling of the torso is highly admirable, and the foreshortening of the arm is remarkable even here. After all, it strikes one that Cleopatra is not dead, for, colour apart, she does not look so; the chest seems to be half-inflated, and the white breasts are not relaxed, although they have sunk a little on themselves. Quite another thing is M. Sadée's La Récolte des Pommes de Terre (1617), a row of sordidly-clad women kneeling. There is a landscape background of extreme tenderness in painting, and an unusual pathos in expression, with fine tone throughout. The grey daylight and the keeping of the dim middle-distance are charming.-M. Schultzenberger's Batelière du Rhin (1664), putting off in a rude boat, on a misty morning in summer, is rather a romantic and sentimental than a veritable picture; but it has many beauties. She, a finely and simply designed figure in the grey light, stands nearly erect in the crazy boat. The chaste colour is delightfully delicate.

We have now to turn to the architectural subjects, drawings which include many archæological studies as well as designs of rare merit. M. G. Rohault de Fleury sends a superb series of works, styled Le Latran au Moyen-Age (3342), multifarious details in numerous large frames, all most elaborately wrought to scale, comprising about one hundred subjects, nearly all of which have great interest in connexion with the building, as well as from the beauty of most of the matters represented. Also a series or two of elaborate, delicate drawings, sections, elevations, perspectives, &c., illustrating the ancient monuments of France, and produced under the auspices of the Commission des Monuments Historiques. These deserve the attention of all visitors who are capable of appreciating them. The admirable skill they display is supported by unquestionable completeness of execution. Among fine works here in this class observe M. Corroyer's Calvaires_du_ Finistère (3288); M. Formigé's Clocher et Tombeau de l'Eglise de Conflans-Sainte-Honorine (3303), one of the series in question above, also the same artist's Eglise de Poissy (3302); M. Simil's Eglise de Taverny (3354); M. Suisse's Projet de Restauration du Château de Dijon (3355), which is built on arches over the water; M. Selmersheim's Réfectoire de l'Ancien College des Bernardins, à Paris, Rue de Poissy (3349), his Église Saint-Julien-lePauvre, à Paris (3350), and his Église de SaintLeu d' Esserent (3351); M. Simil sends, besides the above, Église de Domont (3352).-M. Bérard has a good drawing, which, like the ancient subjects named above, is due to the aforesaid Commission, representing Grosse Tour de l'Hôtel de Bourgogne, à Paris, Rue du Petit-Lion-Saint-Sauveur (3270). -M. P. Naples's Eglise de Juziers (3332), his Église de Gassicourt (3333), and his Bâtiments de

la Bibliothèque de l'Ancien College de Navarre, à Paris (3334), are all capital specimens of fine draughtsmanship, such as we should be glad to see in England.-M. Narjoux sends a good Hôpital Catholique, à Zurich (3335); and M. Nathan has a good design in his Salon, Style de la Renaissance (3336).

There are a considerable number of fine works in engraving, etching, and lithography here: especially let us name M. Soulange-Teissier's L'Abreuvoir (3653), after M. A. Bonheur, and his Une Table de Cuisine (3652), after Chardin; these are lithographs. Among the engravings and etchings, notice M. Waltner's Trois Eaux-fortes (3616), respectively after Rembrandt, Lawrence, and F. Hals, and his Le Christ au Tombeau (3617); M. Yon's Six Eauxfortes (3619); M. Rochebrune's Château de Chenonceaux (3564); M. Rajon's Vieille Femme (3556), after Rembrandt; M. Rousseaux's La Marquise de Sévigné (3565), after Nanteuil; M. Saffrey's Pagode Bouddhiste, à Saigon (3568); M. Rochebrune's Cour Intérieure de l'Hôtel de Jacques Coeur, à Bourges (3563), a fine and firm work and a marvel of architectural etching; M. Potémont's Quatre Eaux-fortes (3548), especially the Rues du Vieux Paris, and his Cinq Eaux-fortes (3547); M. O. G. Rochebrune's Vue de la Cour Intérieure du Château de Meillant (3562), a marvel in its way, remarkable for its firmness and colour; Dix Eaux-fortes (3497), by M. Lançon, which are executed with inexhaustible spirit and fine draughtsmanship; M. G. Greux's Neuf Eaux-fortes (3465); M. Coindre's Six Eaux-fortes (3413), representing old buildings ; M. J. H. Bradley's Neuf Eaux-fortes (3403); and M. Brunet-Debaines's Intérieur de Cour, en Italie (3404), after Decamps's well-known picture.

The water-colour drawings are neither numerous nor generally good. Still the following are admirable:-M. Pollet, Paresse (2481), a recumbent model; his Pandore (2482); M. P. Gavarni's Une Partie de Croquet (2166); M. Dartein's Paysage d'Hiver (2062).-The crayon drawings that deserve special mention are, M. Bellel's fine Le Ravin de Gave-Nove (1894); M. Allongé's Souvenir de Villers-sur-Mer (1856); M. Benoist's Portrait de Malle. M. B- (1901) is on faïence.-M. Bida is here, as before, with illustrations of the Old Testament, of which the more noteworthy_examples are, Le Repas (1911), and La Porte de Bethlehem (1912); M. Deshayes' Moulin aux Environs de la Haye (2087) is admirable; so is M. Favard's Le Christ dans la Tombe (2129), after Holbein's wonderful picture at Basle, a copy, life-sized, in water colours, and, in that respect, the result of a feat of draughtsmanship.-Notice M. Bayard's Gloria Victis (1881), a tremendous composition of a battle; also M. Lalanne's Un Pot à Tabac (2275), M. Lhermitte's Le Bénédicité (2332), and M. Michel's Le Goûter (2379). We regret that it is impossible to give space sufficient to full analyses of some of these superbly artistic productions of several of the more eminent French painters and etchers. Not a few of them are worthy of the most respectful examination.

We cannot either do justice to the sculptures here. There are many good works; but, on the whole, we think the collection is weak. Let it suffice to name the more important among several hundreds. M. Préault's Médaillons Funéraires (3102) have fine pathos and much original inspiration. One represents a weeper hooded, so that the face is covered; others have marked and genuine expressions. The execution is rough, but bold and vigorous.-M. Pallez's Narcisse (3082), a statue, has much spirit.-M. A. Boucher's Enfant à la Fontaine (2890), a boy emptying an amphora, is capital.-M. Cordier's "A Vingt Ans" (2767), statue of a damsel, naked, binding her hair, has abundance of voluptuous potentialities; it is beautifully modelled, without high finish.-M. P. Granet's Jeunesse et Chimère (2899), a youth sitting on the monster's back, is fine in its grotesqueness of spirit.-M. Boure's Le Lézard (2695), shows a boy, prone, and looking at a lizard, and is charmingly full of spirit, and finely modelled.

(2733) shows a naked child in a chair, rechtwith one foot raised and placed below the ke the other leg, which hangs down; a del design, of first-rate execution.-M. CA Pretresse d'Isis jouant de la Harpe (2765), 83 sized figure, half dressed, standing by a Egyptian harp, is executed in bronze, with and enamelled ornaments, has high merit, a peculiarly interesting as a successful exampe the legitimate employment of mixed mater sculpture, with suitable colouring.-M. Grin Bois Au Bord de l'Eau (2909), in marble, graceful, and finely executed.-M. Noel's Pa (3074), a life-sized, stooping, naked figure, e yet cautiously, stooping in a forward step b the casting of the net, should be studied as any work here. There is high merit in the desi and in the intense expressiveness of the faxHiolle's Figure Allégorique pour un Monr érigé à Cambrai (2936) is highly remarka its spirited and dramatic conception, a Ve bestowing wreaths with both hands.-M. Le Victoire (3004), a statue, designed with vivacity and vigour, with wreaths and pa the hands; one of the best of the kind, wh a numerous one, of course.-M. Le Bourg's tresse d'Eleusis (2981), statue in marble, br a lamp, is, in the peculiar way of "French" sel ture, admirable for its spirit of conception gracefulness.-M. Épinay's Ceinture Dora marble statue of a naked damsel fitting a b her waist, is not only very delicate in fanya spirited in its conception, but modelled thr with rare carefulness and great knowledge contours of life, which are marked by a fine v tuousness and intensity of amorous express -M. Millet de Marcilly's Angélique (3050) sa excellent naturalistic modelling of a highly a plished kind, and in a bold way. The dan hands are tied behind her back.

its forerunners, we are compelled to admit i As for the comparative merits of this Sales is not equal to many others which we have sen What we have written may, however, serve i

show how full it is of Art.

M. COROT.

168, New Bond Street, June 14, 3

3osio, and is effected by pressing wax against the hitewash, which is thus easily removed from the rface of the frescoes.

It is known that Mantegna, in his will, left a um of 200 ducats for the decoration of this chapel. Monsignore Savoja the Paroco of S. Andrea, informed me that documents had been found showng that the designs for the decoration were made >y Mantegna himself, though the frescoes were not finished till ten years after his death.

The scheme of decoration is as follows; trellis Work with flowers covers the dome, in the centre of which is the heraldic device of Mantegna; below are the four Evangelists, and in ovals three compositions, representing the Judgment of Solomon, he Beheading of John the Baptist, and the Angel ppearing to Zachariah; beneath these are the six Cardinal Virtues; lower still, on a black ground, are naked children holding shields, waving ribbons loat about them. All these works are executed n monochrome, with the exception of the children, vhich are the colour of life. The wall, for three or our feet at the bottom, is still coated with whitevash, and from the damp I apprehend its removal vill be a matter of difficulty. The pictures, which ised to be in the chapel, are now in the sacristy; hey are black and grimy, from the smoke of andles and careless varnishing. The long picture epresenting the Virgin and Child, Elizabeth and John the Baptist, with Joseph and Zachariah, is a very noble design, in every way worthy of Manegna. If this is to be cleaned, it is to be hoped t will be treated with the same care as the frescoes n the chapel. HENRY WALLIS.

SALES.

MESSRS. CHRISTIE, MANSON & WOODS sold, for pounds, on Saturday last, pictures and drawings by the under-mentioned artists. Drawings: B. Foster, On the Tilt, 69,-Stanfield, Dieppe, 71, Prout, Entrance to a Norman Cathedral, 76; Forum, Rome, 105,-De Wint, Harrow, 220,-D. Cox, Windsor Castle, 283. Pictures: V. Prinsep, A Young Lady with a Basket of Eggs, 105,C. Marchal, A Statute Fair in Alsace, 105,-F. Willems and De Notter, Le Déjeuner, 105,E. Verboeckhoeven, Sheep and Lambs, 178,G. H. Boughton, The Age of Gallantry, 369,P. R. Morris, "The Golden Hour that Fadeth into Night," 136,-F. Walker, The Old Gate, 1,050,— J. E. Millais, Flowing to the River, R.A. 1871, 1,669,-G. Mason, A Shower, 162; Girls Dancing, 892; Nelle Maremme, 378; Ploughing, 84; In the Campagna, 57; Near Rome, 53; Tun Hill Farm, 73,-F. Heilbuth, Spring, 336,-Constable, Hampstead Heath, 934,-J. C. Hook, The Cowherd's Mischief, 630; Return of Signor Torello, 609; Sea Air, 1,044,-W. Collins, Near Cromer, 304; River Scene, 399,-D. Cox, Barden, 299; Landscape, 210; Haddon Hall, 105,-W. Müller, Low Life, 777; Doigarroe Mill, 1470,-P. H. Calderon, Il Penseroso, 183,-Linnell, Homeward Bound, 870; "On Summer Eve by Haunted Stream," 834; River Shore, 147; The Ford, 761,-B. Riviere, For Sale, 315,-Troyon, Going to Market, 472,-J. Pettie, Romeo and the Apothecary, 252, -W. Linnell, Rabbit Holes, 462,-B. W. Leader, Bettws-y-Coed Church, 120,-E. Frère, The Slide, 724,-J. Dupré, River Scene, 504,-Cleys, Calm, 315,-J. Israëls, Going Home, 325,-P. F. Poole, The Escape of Glaucus and Ione from Pompeii, 199; Old Crome, Norwich, Moonlight, 299,J. Holland, Venice, 150,-D. Roberts, Interior of the Lady Chapel of a French Cathedral, 210,J. T. Linnell, The Mountain Path, 141,-Etty, Flowers of the Forest, 199,-J. B. Pyne, Swiss Mountain Scenery, 141,-W. H. Hunt, Dolce far Niente, 420, C. F. Kiörböe, The Inundation, 273, -T. Creswick and H. B. Willis, A Highland Scene, 152,-W. Oliver, The Lovers' Quarrel, 127,P. Graham, After Rain, 210,-C. Messonier, Garden at Antibes, 115,-J. Portaels, Il Penseroso, 115; L'Allegro, 137,-W. J. Linton, The Vale of Lonsdale, 136,-R. Ansdell, Seville, 567,-Turner, The Whale Ship, 960; Queen Adelaide Disembarking at Southampton, 325; Emigrants Embarking at Margate, 153,-F. Leighton, Syracusan Bride

leading Wild Beasts to the Temple of Diana, 2,677,-E. Nicol, Donnybrook Fair, 304; The Irish Doctor, 320; The Willing Victim, 194,T. Baker, Landscape, 138,-Murillo, Portrait of Don P. Nunez de Villa Vicencio, 178.

Fine-Art Gossip.

THE private view of the Exhibition of Works of Art in Black and White, Dudley Gallery, takes place to-day (Saturday); the gallery will be opened to the public on Monday next.

THE Society of Painters in Water Colours has lost, by the death of Miss Eliza Sharpe, one of its oldest members. The lady was connected with the Society for more than forty years. Miss Sharpe was seventy-eight years of age.

MR. RUSKIN has declined to accept the Gold Medal of the Institute of British Architects, probably feeling that, as he is not an architect, it ought not to have been offered to him, and that he cannot much astonished honestly accept it The managers of the Institute, at this refusal, have, with exquisite naïveté, asked Her Majesty for advice, the theory being that the Queen bestows these medals. This is ludicrous, because all the Queen can do is to request the sapient managers to advise her with regard to the absurd issue to which matters have been brought by the unwisdom of those who ought to have acted more wisely.

FOUR of the new pictures purchased at the sale of the late Mr. Barker's Collection for the National Gallery have been hung for public inspection. These are, Botticelli's Mars and Venus,' and 'Venus Reclining, three Amorini pelting her with roses'; L. Signorelli's Triumph of Chastity,' socalled; and the 'Return of Ulysses to Penelope,' by Pinturicchio. The picture by P. della Franfair sense of the term, but certain mechanical cesca appears not to have been re-painted in any injuries having been rather roughly repaired, the intruded portions, which are by no means of great importance, will probably be removed. There can be no doubt about the value and merit of this picture; and it is a most desirable addition to the National Gallery. Other acquisitions from the Barker Collection will shortly be on view in Trafalgar Square.

THE French journals record that M. Hamon, whose death we mentioned last week, was the son of a douanier, without other means than his post supplied, and that the future painter, born in 1821, was intended to be educated for the priesthood. Renouncing the sacred office in favour of art, for which his vocation was early distinct, he came to Paris with a pension granted by his native place, Plouha (Côtes-du-Nord), of 500 francs for a single year. He became a pupil of P. Delaroche and the late M. Gleyre. In 1848 he exhibited a genre picture, styled 'Le Dessus de Porte,' likewise Le Tombeau de Christ.' He produced successively 'Une Affiche Romaine,' 'L'Égalité au Sérail,' 'Un Perroquet jouant avec Deux Jeunes Filles.' For some time he obtained no considerable success; he then received employment in the Sèvres manufactory, where he was fortunate enough to attract attention, principally by means of an enamelled coffer, to which a medal was awarded in the Great Exhibition, London, 1851. In 1852 he quitted his employment at Sèvres, and devoted himself to painting in oil: 'La Comédie Humaine' secured his reputation. In 1853 he produced the picture which was exhibited in London at a later date, styled 'Ma Soeur n'y est pas,' which is known by means of an engraving; for this the artist gained a thirdclass medal. In 1855 he exhibited 'Ce n'est pas Moi,''L'Amour et son Troupeau,' 'Les Orphelins,'

Une Gardeuse d'Enfants,' and three other pictures, for which the second-class medal was awarded to him. Soon after this date he went to the East, and many works of the kind so often affected by him were produced. In later years he resided at Capri. His last exhibited picture was noticed in this journal under the title 'Le Triste Rivage,' being comprehended in the Salon of 1873. He

died at Saint Raphael, in the Department of the Var, on the 29th ultimo.

A FRESH cargo of antiquities from Ephesus has arrived at the British Museum, and they are now unpacked. Among them are, a lion's head, from the cornice of the last Temple; two lions' heads, more ancient, from former Temples; a boar's head; more fragments of the archaic frieze; a large fragment of one of the large acroteria from one of the pediments; one or two more fragments of sculptured drums and columns, &c.

MUSIC

ROYAL ALBERT HALL-MR. SIMS REEVES'S BENEFIT CONCERT is now definitely fixed for MONDAY EVENING, June 29. -Madame Christine Nilsson, Madame Trebelli-Bettini, Miss Helen D'Alton, and Madame Lemmens-Sherrington; Mr. Sims Reeves and Mr. Santley. Solo Violin, Mad me Norman-Néruda; Solo Pianoforte, Mr. Willem Coenen. Conductors, Mr. Blumenthal, Mr. Sidney Naylor, and Mr. Hatton Organist, Dr. Stainer. The Royal Albert Hall Choral Society, Conductor, Mr. Barnby.-Tickets, 38, 58, 78. 6d. (5,000 admissions at 18.); at Novello's, 1. Berners Street, and 35. Poultry; the usual Agents; and at the Royal Albert Hall. (Tickets already purchased for June 1 will be available.)

MUSICAL UNION.-MADAME A. ESSIPOFF, on TUESDAY, June 23, St. James's Hall, at a Quarter-past Three o'clock - Quintet, E flat, Beethoven; Sonata in D, for Piano and Violoncello, Rubinstein, with Lasserre; Violin Solos by Sarasate; Quartet, God preserve the Emperor' (by request), Haydn; Piano Solos, Chopin, Berceuse, Leschetizky; Bülow; and Grand Valse, Rubinstein.Tickets, 78. 6d. each. at Lucas & Co.'s, Cramer & Co.'s, and Austin's. Visitors can pay at the Hall, Regent Street PROF. ELLA, Director.

MR. BRINLEY RICHARDS'S EVENING CONCERT, TUESDAY, June 23, Queen's Concert Rooms, Hanover Square, at Eight o'clock.Miss Edith Wynne, Miss Mary Davies, and Madame Patey, Mr. Edward Lloyd. Pianoforte, Mr. Brinley Richards; Violoncello, Signor Pezze. Choir of 100 Voices. Conductor, Signor Randegger. Accompanist, Mr. Edwin Bending -Stalls, 108. 6d; Reserved, 58.; Tickets, 38.; of Mr. Hall, at the Rooms; at the Principal Musicsellers; and of Mr. Brinley Richards, 6, St. Mary Abbotts Terrace, Kensington.

ROYAL ITALIAN OPERA.

LAST Tuesday night, at the eleventh hour, M. Ambroise Thomas's 'Mignon' was postponed, and the first representation, at Covent Garden, is now fixed for this evening (the 20th inst.).

Madame Vilda, after playing Norma twice, was announced to appear as Valentine, in the Huguenots,' on Thursday night, M. Faure resuming the part of St. Bris. In Paris, one of the finest performances of the French baritone-basso is in the character of Nevers; but, as the first act of Meyerbeer's masterpiece is dreadfully mutilated here, there is little left of the chivalrous husband of Valentine, and he has, in fact, only the historical situation in which he breaks his sword rather than join in the St. Bartholomew massacre.

Signor Marini, to whom was allotted Manrico, in the Trovatore,' on Wednesday night, is decidedly the best tenor now at Covent Garden Theatre. It is some years since he began as second tenor at that establishment; but his voice has gained in richness, roundness, and power, and his style is excellent, for he is really master of the mezza voce. Madame Adelina Patti will persist, to the regret of her sincere admirers, in playing Leonora and Elvira, in Signor Verdi's two trying operas for the soprano, the 'Trovatore' and

Ernani'; and for these two works, the lady has given up the 'Sonnambula,' 'Lucia,' and 'Linda,' three operas in which there is no artist who can approach her, either in acting or singing. Madame Patti is, it is announced, to appear in 'Luisa Miller,' on the 27th inst., one of Verdi's best operas, first brought out in Naples in 1849, and at the Italian Opera-house in Paris in 1852. Its success tempted the Director of the Grand Opéra to produce a French adaptation in the following year, with the lamented Madame Bosio as the

heroine.

HER MAJESTY'S OPERA.

In spite of various curtailments of the score, and some scenic amendments, Balfe's 'Talismano' has not modified the opinion generally entertained, even by his most ardent admirers, that his transformation of style has been a mistake. Although encores were gained by Madame Nilsson, Mdlle. Roze, and Signor Campanini, the first and third acts were listened to with evident indifference. The fortunes of the work clearly rest on the music of the second act, particularly on the numbers in the Queen's Pavilion. Here Balfe

is at his best, in the romance of Berengaria, "La Guerra appena"; the legend of Edith, "Siccome fiori"; the concluding portion of the duet between Edith and Sir Kenneth; and the sestet. Madame Nilsson has never been in finer voice than she was last Monday, displaying, at the same time, a power which she has never before shown, and a delicacy and refinement of style which enlist all the sympathies of her hearers. In the bravura of the last act her flexibility and compass of voice were accompanied by wonderful precision in the execution of the roulades; and her cantabile, in the Evelina air, may be pronounced to be the perfection of vocal art in intense expression. Signor Campanini seems to find the two tenor airs-one in five flats, and the other in five sharps -too trying for his safe intonation; it is only when he forces his voice and that he has to do often, for the music allotted to Sir Kenneth is exacting that he seems to be at his ease. Signor Rota can do nothing with the part of Richard, who is a tamed lion, both vocally and histrionically. Indeed, the only real good piece of acting in the opera is that of the Spanish baritone, who is called Signor Catalani. His Nectabanus would be a perfect creation if he had but voice enough to carry out his conception of the cringing and crawling dwarf, with his angular and abrupt action, and with his significant eyes. The general execution is highly creditable to the choralists as well as the instrumentalists; for the skill of the latter is sorely tried in the sudden breaks and surprises of the accompaniments; and the tone of wood and brass is acutely tested. With a conductor less gifted with presence of mind, promptitude to take up the points, and steady and clear beat, the variations of key and tempo would be productive of confusion. To keep the orchestration so much under as not to drown the vocal parts, will be always a difficult task in the "Talismano.' It would have been far better if Balfe had adhered to his original manner, that is, had trusted implicitly to that marvellous gift of tune which he possessed. Better for his reputation that he should be reproached with being the inventor of the "publishers' ballads," than that he should be taxed with having overweighted himself in imitating the Grand Opéra school of composition.

'İl Talismano' was given for the third time on Wednesday, and will be repeated next Monday. The desert, chapel, and tent scenery, by Mr. Beverly, described briefly in our last issue as splendid, is so picturesque, that of itself it will command attention and admiration.

On Thursday Signor Gillandi, the French tenor, was to appear as Gennaro in 'Lucrezia Borgia'; and, this evening, the other new French tenor, M. Achard, is announced to enact Fernando in 'La Favorita.' Madame Nilsson will sing in 'Lucia' next Thursday.

CONCERTS.

able impression at her début at the Crystal Palace Concert last Saturday, sang on Monday Cimarosa's scena of "Sarah," from his 'Sacrifizio d'Abramo,' a sacred opera, like Rossini's 'Moise,' and Signor Verdi's 'Nabucco' and 'Jerusalem' ('I Lombardi'), and a Spanish bolero, by M. Gounod, dedicated to Madame Viardot, who sings the Peninsular melodies to perfection. Madame Miliano is Spanish, and has a rare compass of voice, combined with flexibility. At the seventh concert, on the 27th, Madame Essipoff will play Mendelssohn's pianoforte Concerto in G minor. Signor Papini introduced his own composition, a concerto for the violin, at the concert last Saturday, devoted to Italian music, at the Crystal Palace. If he did not create such a great sensation in his work as he did in playing, with the New Philharmonic orchestra, the adagio of Spohr, the Sydenham subscribers were fully sensible of his fine execution. There has been no new violinist for years who has produced a greater impression than this young Italian, for he possesses high intelligence, profound sentiment, and mechanical skill. There was novelty in the conception and construction of his concerto, which we hope to hear again.

The Lady Orchestra from Vienna is now with us; and concerts have been given this week at the Hanover Square Rooms and St. James's Hall, besides a private performance last Saturday at the Alhambra. There is nothing alarming about these artists; and those who feared that the Dames Viennoises would be blowing trumpets, trombones, horns, and ophicleides, will be glad to learn that their wind instrumentalists are confined to one bassoon, two flutes, one clarionet, and an oboe: the strong-minded Austrian executants have left to the strong-handed and mouthed youths the remainder of the wood and brass. To be sure, one energetic lady beats the cymbals and drums; but she is kept within bounds by the glance of the severe-looking conductress, Madame Amann Weinlich. This lady of the bâton does not sit in an elevated pulpit, but stands on a slightly raised platform, and, holding her short stick in the middle, turns right and left, facing her staff boldly. Her beat is singularly rhythmical and exact in tempi, and to these qualities of accent and time the remarkable precision of the stringed, thirty in number, must be ascribed. Indeed, had the Dames Viennoises the advantage of first-rate toned instruments, their execution would be open to no adverse criticism. Unfortunately, however, not only have they inferior fiddles, celli, and basses (with their four strings), but the thinness of the string generally is not agreeable to the ear. One of their most effective pieces is a polka, by the late Strauss, called 'Pizzicato,' in which the dainty effect of manipulation without the bows is manifested charmingly. They have excellent solo violinists in Mdlle. Anna de Blank and Mdlle. Pauline Jewe, and a clever violoncellist in Malle. Louise Dellemayer. The lady performers are all dressed alike. There is nothing at all disagreeable or objectionable in this novel orchestra, which it is not at all surprising can be got together in Germany, considering how many lady string-quartet players are to be found. Bohemia and Hungary swarm with such combinations, and to collect, therefore, a full band of stringed is an easy matter: but there is no likelihood of the example being followed here. There is one great attraction about the newcomers. They make no pretensions to be classical, and we have, therefore, in their programmes light and pleasant overtures, fantasias, and plenty of exhilirating dance music.

66

Krebs (her father), Behrens, Liszt, and Rubins But the essential element of the two progrant was, very properly, the recognition of the moder high development" school along with the so-call "classical." Large and appreciative audiences a-knowledged the very opposite styles of interpretat adopted by these two distinguished performers, s the applause was liberal on both occasions. (c novelty, however, introduced by Madame B is worthy of special mention, namely, an interac by Dr. Von Bülow, one of the most charming en ‹ positions in which to exhibit delicacy and refinemer: of touch that we have ever heard, even from m hands of Thalberg. It was so exquisitely execute that the re-demand was irresistible.

Two English pianists, and able ones to have gratified their friends by performance Miss Florence Ashe, last Monday, at Wils Rooms, played works by Handel, Mon Beethoven, Schubert, and Chopin; and at the Hanover Square Rooms, on the 13th, M: C. Gardner performed compositions by the modern composers, Heller, Merkel, Vogt, Babastein, Rheinberger, Silas, and Sir W. Sterndas Bennett. It is gratifying to find that the "fantasa displays on operatic themes are giving way i productions of a higher class-the sonata, the study, the fugue, the impromptu, the roma serenade, barcarolle, nocturne, &c.

One of the most brilliant and sympathetic pianists of the period is Madame Carreno Sauret the South American artist, whose concert at the Hanover Square Rooms enabled her and her husband, M. Sauret, the French violinis to display their skill in Beethoven's Sonata in G major, Op. 30, for piano and vio and, allied with MM. Zerbini and Paque, in Madelssohn's piano and string quartet in E mince. The lady played two of her own compositions, and M. Sauret performed solos by Spohr and Wieniawski. The vocalists were, besides the bénéficiaire, who sings as well as plays, Mdlle. Gaetano, Madame Patey, and Signori Garcia and Caravoglia, with Herr Ganz, Signor Campana, and Mr. Cowen as accompanists.

At the Sixth Matinée of the Musical Union, last Tuesday, the executants were Signor Jaell, Señor Sarasate, MM. Wiener, Von Waefelghem, and Lasserre; and the pieces were Schumann's pianoforte and string trio in c, Op. 80; Beethoven's string quartet in G, Op. 18; and Spohr's piano and string quintet in c minor, Op. 53. This last-mentioned piece was originally written for piano, flute, clarionet, bassoon, and horn; but when Spohr was here in 1847 he played the first violin part, with Mdlle. Dulcken as pianist. Madame Essipoff is to appear next Tuesday.

Dr. Sloman's new cantata, 'Supplication and Praise,' was produced at the Royal Albert Hall, under the composer's direction, on Wednesday night, with Mr. Carter's choir, and Madame Lemmens, Mr. Vernon Rigby, and Signor Foli as solo singers. There are sixteen numbers in the score, which has no dramatic incidents. It is a series of devo tional and jubilant strains, based on Scriptural words.

The concert in aid of the funds for the Academy of Music for the Blind, in Grosvenor House, not only displayed the talents of the pupils, but it proved a financial success, thanks to the kind assistance afforded by the Duke of Westminster and other patrons of this interesting and valuable institution. A public meeting is to be held, next Monday, at the Mansion House, the Lord Mayor in the chair, to further the interests of the Academy.

THE MUSIC OF THE FUTURE.

Liverpool, May 19, 1874. Apropos of the comments on the close of the Wagner season, in last Saturday's Athenæum, permit me to draw attention to the singular manner in which the nature of the modern musical gospel, and its possible results, have been anticipated by Balzac, in his sketch entitled "Gambara " ( Études Philosophiques'). The hero of the story has his attack on the Italian school of opera:-" Ces

ournures uniformes, cette banalité de cadences, ces éternelles fioritures, jetées au hasard, n'importe la situation. . . . L'école italienne a perdu de vue la haute mission de l'art. Au lieu d'élever la foule jusqu'à elle, elle est descendue jusqu'à la foule," &c. He proceeds to describe his own operas, which form a triad, the 'Martyrs,' Mahomet,' and Jerusalem Delivered,' of which only the second is completed. "Le libretto a été composé par moi, car un poëte n'en êut jamais développé le sujet... Ah! pour être grand musicien, mon cher comte, il faut être aussi très-savant. Sans instruction, point de couleur locale, point d'idées dans la musique. Le compositeur qui chante pour chanter I est un artisan et non un artiste." After a great deal more of this kind of confession of faith, "mon cher comte" is invited to listen to a representation of the whole opera on the pianoforte by the composer, who accompanies it by marginal comments on its beauty and philosophical construction. The effect on the listener is described in words not unlike those of your commentary on 'Tristan und Isolde': "Andrea contemplait Gambara dans un étonnement stupide. Il n'y avait pas l'apparence d'une idée poétique ou musicale dans l'étourdissante cacophonie qui frappait les oreilles; les principes de l'harmonie, les premières règles de la composition, étaient totalement étrangères à cette informe création. Au lieu de la musique savamment enchaînée qui désignait Gambara, ses doigts produisaient une succession de quintes, de septièmes et d'octaves, de tierces majeures, et des marches de quarte sans sixte à la basse, réunion de sons discordants jetés au hasard qui semblait combinée pour déchirer les oreilles les moins délicates. Il est difficile d'exprimer cette bizarre exécution, car il faudrait des mots nouveaux pour cette musique impossible."

In the end, it appeared that Gambara was a madman, possessed of great musical powers, of which he could make no rational use till he had been dosed with two or three bottles of champagne, after which prescription his theories took flight, and he played, sang, and even composed, magnificently. Perhaps a little champagne is what Herr Wagner's operas are in want of; at all events, it is a pity he and his friends should not have the benefit of the prescription, if only as an inducement to study a work conceived in so

prophetic a spirit as this 'Etude of the great French novelist appears to be. H. H. STATHAM.

Musical Gossip.

6

THE public rehearsal for the Fifth Triennial Handel Festival, in the Crystal Palace, took place yesterday afternoon (the 19th inst.), under the direction of Sir Michael Costa. Next Monday the 'Messiah' will be performed; on Wednesday the selection from Saul,' 'Jephtha,' 'Susanna,' 'Jubilate,' 'Acis and Galatea,' 'St. Cecilia's Ode,' 'Alexander's Feast,' and 'Joshua'; and, on Friday, 'Israel in Egypt.' The solo singers will be Mesdames Tietjens, Lemmens, Sinico-Campobello, Alvsleben, Patey, and Trebelli-Bettini; Messrs. Sims Reeves, Cummings, Lloyd, Kerr Gedge, Vernon Rigby, Santley, Signori Foli and Agnesi.

WE are requested to contradict the statement which has been published, that M. Gounod has been removed to France by order of his family

doctor. It was at the invitation of a friend from Paris who came here to see him, that M. Gounod left for a château near Trouville. Since the composer has been in England he has suffered occasionally from attacks of unconsciousness, which passed off within a few hours, and his mental faculties have not deserted him.

MR. C. A. BARRY having completed his English adaptation of Schumann's Scenes from Faust, the work will be produced in its entirety at the winter concerts at Sydenham. It may be recollected that at the second concert of the Schumann Festival, in Bonn, the third part of the 'Scenen aus Goethe's Faust,' as we mentioned in the Athenæum of the 23rd of August, 1873, created a great sensation. Schumann's setting of Lord Byron's ' Manfred' has only been heard here in parts,-a work infinitely

superior to his 'Paradise and the Peri' as regards dramatic interest and picturesque orchestration. HERR MAURICE STRAKOSCH, the director of the Italian Opera-house in Paris, has been here, and has engaged his sister-in-law, Madame Adelina Patti, for a series of performances during the next

season. The statement that Herr Strakosch has

accepted the management of the two Italian Operahouses, in Moscow and St. Petersburg, is inaccurate. The post of Director will be resumed by the Impresario of last season, it is now stated, Mr. Gye having abandoned his notion of being an opera-manager in Russia.

THE works to be performed at the autumnal meeting of the Three Choirs, in Gloucester, with Dr. Wesley, the Cathedral organist, as conductor, will be Spohr's 'Last Judgment'; Weber's cantata, 'Praise Jehovah'; Mendelssohn's 'Elijah,' Handel's Messiah,' and Rossini's 'Messe Solennelle'; and his 'Stabat Mater' may, perhaps, also be given, but if not, a selection from Handel's 'Israel in Egypt.' The solo singers will be Mesdames Tietjens, Edith Wynne, Griffiths, Sterling, and Trebelli-Bettini; Messrs. Bentham, Lloyd, Lewis Thomas, and Signor Agnesi. M. Sainton will be the leader of the band, and Mr. Carrodus will play a violin piece.

THE programmes for the Leeds Festival, with Sir Michael Costa conductor, and the Liverpool Festival, with Sir Julius Benedict conductor, are not yet completed.

WE have been favoured with the subjoined letter from a correspondent in China :-" Madame and during the fortnight she remained among us gave three concerts. Her pianoforte selections were for the most part confined to popular music, -a practice, I believe, which she follows wherever she performs east of the Cape; but although there is probably no one in this part of the world capable of criticizing so eminent an artiste, the taste for classical music is so pronounced in Shanghai that it was generally a matter of disappointment that she gave us so comparatively little of it. Among the pieces she played were Beethoven's Sonata, Opus 26; Thalberg's 'Last Rose of Summer,' and Home, Sweet Home'; fantasias on Scotch and

Arabella Goddard arrived here on the 1st of April,

Irish airs, arranged for her by Sir Julius Benedict; Handel's 'Harmonious Blacksmith'; Mozart's Sonata in A major; Jules de Sivrai's caprice,

Sulle Onde'; and Thalberg's arrangement of the Prayer in 'Mosè.' The concerts were, however, managed upon a very unfortunate principle. They were given at cheap prices, and in a public theatre containing a well-filled and somewhat explosive gallery. The mixed character of the audience lowered the character of the concerts, and Madame Goddard took her farewell of the Shanghai public to an almost empty house, composed entirely of men. There were not three ladies present. She laboured also under another disadvantage, that of being associated with a soprano singer from the Colonies, whose répertoire consisted chiefly of I dreamt I dwelt in marble halls,' 'Molly Asthore,' and similar musical, or music-hall, favourites.' This is all the more to be regretted, as Shanghai contains a splendid concert-room,in fact, the Masonic temple of North China, in which all the first-class musical performances of the place are given. Had Madame Goddard elected to appear there, secured the services of some of our best stringed-instrument amateurs, and charged suitable prices for admission, the impression she left behind and the impression she took away would both have been more agreeable." M. HALANZIER, the Director of the Grand Opéra in Paris, has been in London to hear the Talismano,' as also to look out for artists to appear in the new theatre when it is opened in 1875.

THE production of Signor Verdi's 'Requiem' in Paris has provoked a lively controversy, upon the respective claims for distinction of French and Italian composers as well as singers. It is odd, however, that the Parisians should claim artists as being essentially French-Meyerbeer, Madame Adelina Patti, Madame Nilsson, and Madame Krauss-because they were engaged in France.

When, however, they point out that Italy and England are now inundated with French operas and singers, the Parisians have just grounds for pride.

DRAMA

THE WEEK.

GAIETY.-'A Nice Firm,' Comic Drama, in One Act. By Tom Taylor. (Revival.) 'The Hunchback,' Play in Five Acts. By Sheridan Knowles.

MR. TOM TAYLOR's one-act comedietta, 'A Nice Firm,' has been given at the Gaiety Theatre. This clumsy, but not unamusing, piece was one of the novelties produced by Mr. Mathews in 1853, during his tenure of the Lyceum. Playgoers remember it for the acting of Mr. Charles Mathews, then in the height of his powers, and Mr. Frank Matthews as the two partners, Messiter & Moon, who compose "The Nice Firm.' Messiter acts always upon impulse, is always in a hurry, and is always wrong. He signs cheques first, and inquires afterwards into the particulars of the accounts; and he pledges the firm to participation in matters which subsequent information proves to be not far removed from swindling. With him is linked Moon, an addle-headed old fellow, whose memory is incapable of supplying him who mislays every paper and document that is at the right moment with anything he requires, necessary to the prompt transaction of business, and acts generally as an encumbrance and a dead-weight. The position of the firm is accordingly that of a train when the driver is putting on all steam and the guard is applying the breaks. That a calamity is avoided is due to the cleverness of a managing clerk, who is rewarded for his services with a partnership and the daughter of one of his employers. There is no plot worth speaking of in all this, such action as there is is confused, and the dialogue is too full of technical expres

sions.

The principal characters are distinct, however, and are played off against each other with some skill. In the part of Messiter, Mr. Mathews does not make us forget his former self. Time, in ripening the fruit, has dried up some of the generous juices. The acting is still easy, but the impetuosity of the character is wanting. Mr. Arthur Cecil, who plays Moon, gives admirable expression to the dubiety with which the old man is afflicted. Nothing can be better than the presentation of purposeless effort and imbecile struggle after memory with which the face and body are charged. Mr. Cecil has learnt that all-important lesson of his art, to keep face and figure in unison. His legs and arms are as feeble and flaccid as his cheeks and jaw, and his very back tells of his perplexities. The convulsive grasp of his legs around the chair on which he sits, reveals how keen are his mental struggles, and the movement of the poor, purposeless hands, which wander to the untenanted skull, or clutch vacillatingly at all things within reach, display how unanswerable are the problems of self-condemnation with which his mind is exercised. Mr. Cecil is an artist from whom our stage may expect much. His style is delicate and unforced, and the business in which he indulges is restrained by artistic taste and conscience. In one point only does he seem to depart a little from the character he assumes. His representation of half-spoken self-reproach, the movement of the mouth, and the accompanying gestures of annoyance