τῷ Γολιάδ (the Alexandrine has τοῦ Δαυίδ and πρὸς τὸν Γολιάθ This half of the title, with slight variations, is found, alone, in the Boulogne and Douai Psalters, in Charles the Bald's, S. Gall 23, and the grand Bible of the Monastery of La Cava. The latter part seems to have been a memorandum by Jerome, and I conceive that the great Latin Bible (Royal Library, 1 E. viii.) gives nearly its true reading: "Hic psalmus in Ebreis codicib; non habetur set a LXX inquid interprætib; editus est et idcirco repudiandus." (Inquid, of course, for inquit, "he says.") This is found combined with the former, not only here and in the Utrecht Psalter, but also in the interesting Psalter 13159, at Paris, and in the Eadwin Psalter (which, however, reads ne and additus). In some Psalters it is found with various readings, by itself. For examples of the last character I may refer to Galba, A. xviii. and Stuttgart 23. The interscriptib and edictus of the Utrecht Psalter are gross blunders; they have not been met with, I believe, elsewhere. The introduction of the negative (which spoils the sense) is not infrequent. C. A. SWAINSON.

TYROLESE NAMES.

Woolwich, July 27, 1874. I AM Cognizant of many shortcomings in 'Tramps in the Tyrol,' but I think your critic has dealt a little hardly with me, in implying the presence of many mis-spelt names of places throughout the volume. Towns and villages in the Tyrol are often spelt so many different ways, that in setting them down one must perforce err according to some authorities. I will quote but two instances. In the same way as the capital, which is an important town, is spelt Innsbruck, and Innsbrück, and by some of the natives, Innsbrücken, so it is with minor spots, like the little village of Leermoos, which your critic complains I have set down in "half-a-dozen places" as Lermos. Surely if two good authorities like Baedeker ('Südbayern,' &c.) and Lenthold (Reisekarte über die Schweiz, Tirol,' &c.) spell the place in this way, such an act can scarcely be called an error on my part? Müller and Waltenberger (West-tirol') give it as Lermoos, and I have no doubt your critic could quote other authorities again to prove that Leermoos is also a recognized way of spelling this charming little village. H. BADEN PRITCHARD.

*** We are well aware that authorities differ as to orthography of proper names; but that fact does not justify those who are wrong. Some people always write Innspruck, which is an unsatisfactory way of describing Innsbruck Bridge of Inn (Oeni Pons). Mr. Pritchard could, perhaps, point out a traveller who spells Marienberg as Marienburg. But as regards the name here called in question, we have only to remark that leer Moos was the name given to the swampy locality long before it began to be a "charming village."

MR. W. D. CHRISTIE.

WE are sorry to hear of the death of Mr. W. D. Christie, at the age of fifty-nine. Mr. Christie was educated at Trinity College, Cambridge, and entered Parliament as member for Weymouth in 1841. He subsequently spent several years abroad in the diplomatic service; but on his return to England he devoted a considerable portion of his time to literature. He was especially well acquainted with the history and literature of the last forty years of the seventeenth century, as his publications testify. In 1870 he brought out an excellent edition of Dryden in the "Globe" series; and in the following year a selection from Dryden's Poems in the "Clarendon Press" series. He had published in 1860, while he was Minister in Brazil, a Biography of the First Earl of Shaftesbury, to the study of whose life he had given longcontinued attention; and in 1871 he brought out a new and more elaborate memoir, which we reviewed favourably in No. 2273. His last literary labour was an edition, for the Camden Society, of 'Letters Addressed from London to Sir Joseph Williamson,

in the Years 1673 and 1674.' We noticed it on the 6th of June.

Mr. Christie also published 'Notes on Brazilian Questions' and 'Essays on the Ballot.' He was a frequent contributor to periodical literature, and reviews from his pen have occasionally appeared in our columns during the past two years. Mr. Christie had been for some sime in failing health. He had a serious illness in the early spring, and, although he partially recovered, his malady proved incurable, and he expired on Monday last, at his house in Dorset Square.

THE DICE OF TOSCANELLA.

Twickenham, July, 1874.

I SHOULD be glad if you would allow me to add a postscript to my note (Athenaeum, June 20th) on the mode of marking ancient dice.

I find that the ancient dice in the Vatican, as well as those in the British Museum, are marked in accordance with the Roman rule, which ordains that the sum of the pips on opposite faces should always amount to seven. Thus six is opposite one, two is opposite five, and three is opposite four. Signor Campanari's scheme for the Etruscan dice marked with words differs altogether from this, but agrees with my own in placing six opposite five, two opposite four, and one opposite three.

The Hon. G. P. Marsh, the American minister at Rome, informs me that he has just discovered in the Etruscan Museum at Florence two Etruscan dice marked with pips, which prove that the Etruscans did not consider it necessary to observe the Roman rule of marking. On one of these dice six is opposite five, and on the other two is opposite four. I subjoin the diagrams of these dice. It

will be observed that in either case a slight transposition will bring them into complete accordance with Signor Campanari's scheme (fig. 3):

THE MEININGEN COMPANY.

MR. GEORGE GROVE does "not see the drift" of my letter on the Meiningen Company in the Athenæum of the 4th of July. I am sorry for that, all the more so, as I had imagined that nothing could be clearer than my intention, which was to give a true and, if it pleased the Gods, lively picture of an event in the dramatic world which had for weeks kept in a state of excitment that portion of the Berlin world that cares for art. Still I must have, to some extent, succeeded, for Mr. Grove bears testimony that the arguments which I put into the mouths of the opposing parties are "well worn." "Well worn the weapons must be in a quarrel that has lasted so long, and caused the deaths of so many brave Mercutios. But I hope Mr. Grove does not think lightly of these weapons. "Well worn" as they are, most effective arguments can be constructed with them. For instance, the question whether the dramatist can ever depict anything else than his own century, and the consequences which follow from this proposition, if it is answered in the affirmative, for the Drama in general, and the historical truth of the setting in particular: these are arguments with which I might fill not only a long letter, but even a big book.

But Mr. Grove does not doubt this. He only wants to know what bearing these arguments and their consequences have on the Meiningen

Company, and therefore feels obliged to confess that "he cannot see the drift," &c. Good; but I may assure Mr. Grove that "the able and truly admirable lady" from whose loss the company was just then suffering, when he saw it at Liebenstein "not long ago," understood the drift of my letter very well. And also the exalted personage who admired "the able and truly admirable lady" so truly that he felt forced to give, besides the "first parts" which she has hitherto had, another peculiarly first part, which she cannot, as was once the usage, take in turns with another lady, without resigning the post altogether. However, the exalted personage will be most grateful to Mr. Grove for his good opinion. It is one vote more, and as the votes are counted, not weighed, it does not matter if the opinion expressed be pretty closely a repetition of former judgments. F. SPIELHAGEN.

THE PETRARCHIAN COMMEMORATION.

Vaucluse, July 25, 1874.

I REGRET to say that the good people of Vaucluse and Avignon do not seem to breathe the atmosphere of romance and sentiment which they affected during the primitive days of the Petrarch Festival. Yesterday, one of the Vaucluse journals (there are two in that lone valley) dedicated nearly all its space to the statistics of trade brought into the town by the celebration. Its press columns are given up to the number of strangers who have arrived, of geese, pigs, and ducks which have been killed, of hams which have been consumed, and of prices given for lodgings. For the last, j'en repond. Still, the Petrarchian enthusiasm is by no means a sham among the superior classes. I was present last evening in a circle of men whose names should be better known in Europe; their conversation was almost entirely upon this subject; and it appeared as though the love of their great poet had, for the time, utterly absorbed their minds. It is strange to notice how Italian pride struggles againt the Provençal in claiming this splendid genius as its own. True, Petrarch was of Italian birth and blood; he was reared among the Euganean hills; his ashes lie in Arqua; yet Avignon was first, and Vaucluse next, his home. But five hundred years might have been supposed to settle the disputes of the scholars. The Florentines, for example, claim him as a citizen: it is certain, however, that it was not in Tuscany he wrote his celebrated 'Epistle to Posterity.' This, it may be, is of little consequence; wherever and whenever-for, as a matter of days, the latter fact is doubtful-he sprang into life, the world has, during five centuries, been full of his fame and interested in his biography. He stood, it may be said, alone. Chaucer was a child; Shakspeare was unborn. I repeat this to illustrate the intense sentiment of the more educated ranks here with reference to their laureate. It is as though they claimed the birth of a Homer among them. No wonder, then, that after the formal festivals were brought to a close, pilgrimages to Vaucluse were continued, the rocky roads crowded, the fountain, as it is miscalled, besieged, and the grottoes thronged by excursionists, who scrawl their names upon the walls. Curiously enough, it has not been at Vaucluse that the principal honours have been paid. Here, as I have hinted, the commercial spirit has prevailed over every other; but at Avignon, the ancient city of the Popes, a feeling more pure has dominated the commemoration. Provence, indeed, which claims an Homeric descent, is proud of Petrarch, although Italy was his cradle and his grave. It was his asylum; it gave him a refuge when he was proscribed; it has erected his monument; and now it has completed his apotheosis. Its troubadours have sung; its damsels have danced their beautiful farandoles in his honour; tambouriners, inexpressibly graceful and handsome,-for the girls are as pretty here as the young men are ugly, and the star of Laure de Noves been, for many days, the brightest in the sky. It is remarkable, however, that to this day the Avignonians resent the retirement of their poet to Vaucluse.

They speak of it as a savage, barbarous, and morbid seclusion, unjustified by any conduct on the part of Laura, Thus, a little bitterness, though of somewhat obsolete nature, mingles with the distribution of crowns, medals, honourable medals, and la renaissance Provençale; for Provence, you will observe, is solely responsible for Petrarch. "Provence," says M. Doncieux, Prefect of Vaucluse, "with its vast and luminous skies, its splendid suns, its enchanted nights, its warm and healthy breezes, its Rhone, its waters, its rocks, its valleys laughing or wild, its brilliant horizon, and its generous climate, made Petrarch a poet." Hence, the old province is revived, I am assured; the Palace of the Popes has resumed the aspect of the fourteenth century; Italy and France have been morally re-united; and the early capital, in the latter country, of Catholicity, is restored to its dignity as "the sister of Rome." Such is the talk of the day in this usually silent city; but at Vaucluse it is different. There the holiday excitement is not yet over, and people throng to Petrarch's house, or what is indicated as his house in the guide-books,-a pretty edifice, white and irregular, with water rushing before and ruinous towers rising behind it, sloping roofs, many windows, rocks all round, and, near it, the poetical caverns and pools which have made the spots illustrious. But how any one, except the most perverse or penitential hermit that ever existed, could find any attraction in these dark and watery grottoes, it is difficult to imagine. The tremendous arch of entrance suggests nothing but the idea of a mighty prison; the source of the fanciful river is black to the eye, although the water is clear enough, but harsh in taste, more fit for tanning and dyeing than for drinking; while as for the interior cavern, it is like an excavation in the heart of the Great Pyramid. Never was I struck with a sense of desolation more overwhelming than when entering it. Torchlight only makes the perspective more lugubrious. Yet here Petrarch mused and mourned over that image of his fancy, in a green dress, sprinkled with violets, contemplated his history and his epic, wrought himself into raptures, and finished the romance of his life. After Laura's death he

becomes a comparatively commonplace individual, engaged in public affairs, no longer inspired by an ideal, and ultimately dying with his head reclined up on a book. They gave him a grave in the Church of the Cordeliers at Arqua, in a chapel of his own building, his body robed in red satin; but thence the remains were transferred to a monumental

tomb, which some villains desecrated in order to

sell the bones. So that now we have no more left of Petrarch beyond his poems and the pure tradition of Laura, whose very grave, as I have said, has disappeared. However, the poems remain, and they constitute Petrarch's posterity. H. J.

A GRIEVANCE.

THERE appears in the current number of London Society a Parisian sketch, 'At a Man Milliner's,' to which my name is appended. The same paper was published in the Illustrated Review of the 24th of June. As attention has been called in the public press to this simultaneous appearance of one and the same article in two different publications, I trust you will give publicity to the following facts. The sketch, At a Man Milliner's,' was sent to London Society in the beginning of September, 1873. Since then, in spite of two applica tions for information concerning the paper, I have heard nothing of it. A month ago there remained in my mind a slight doubt as to the courtesy of the managers of London Society, but none whatever as to my right to dispose of my paper as I might find convenient. The article was sent to the Illustrated Review and published. The same week, without having received any proof or notification of acceptance, I perceived that the paper was advertised as forming part of the July number of London Society.

I should add that I have been informed that proofs were sent to me. Had they been forwarded to the address whence the article was dispatched,

they must have reached me. I am convinced that whoever has any experience of periodical literature will see where the fault lies. EVELYN JERROLD.

Literary Gossip.

A COLLECTED edition of the dramatic works of Dr. Westland Marston will shortly be pub. lished. Some of the earlier plays have long been unattainable. A few poems will be included in the volume.

THE Mill Memorial Fund is nominally closed; but as most of the money will have to lie at the bankers for some time, awaiting the completion of the bronze statue on which Mr. Foley is engaged, it is open to any who desire, to forward subscriptions to the treasurers. Of the amount, which is less than might have been expected, the chief portion will be absorbed by the cost of the statue, and, without considerable additions, there will not be enough left to provide for the scholarship or scholarships, open on equal terms to men and women, which many were anxious to establish in furtherance of an object in which Mr. Mill was especially interested. Some of the money subscribed was forwarded for this specific object, and if there is not sufficient to complete the Scholarship Fund, the contributors will have to be consulted as to its disposal. It has been suggested that a replica of the portrait of Mr. Mill, painted by Mr. Watts, should be purchased with the residue of the money, and presented to the National Portrait Gallery. We may add that Mr. Foley's statue will probably be placed in a spot, approved by the sculptor, near the Temple end of the Thames Embankment.

MR. W. B. KELLY writes :

"In the 'Literary Gossip' of July 18th, I observe a paragraph relative to the Croker manuscript, 'Recollections of Cork,' where it is stated the work is in the hands of a Dublin publisher. This is quite correct; but the notice may lead to the supposition that it is about to be published. The fact is the MS. occurs for sale in one of my old book catalogues published in July."

WE hear of the death of Mr. E. A. Moriarty, who translated Pickwick' and some other of He was for Dickens's novels into German. some time teacher of English at a Government College at Berlin.

A VOLUME of translations, chiefly relating to English subjects, from the 'Causeries du Lundi' of Sainte-Beuve, with a biographical and critical introduction, will appear in the autumn.

COMTE PAUL RIANT, who has devoted his leisure and his fortune to studying and illustrating the history of the Holy Land, and possesses what is, probably, the largest collection of MSS. and printed books relating to the subject, proposes to establish a Society consisting of those who take interest in studies like his own, with a view of utilizing the large collections that exist of inedited materials. The title of the new body is to be 'Société la Publication de Textes relatifs à l'Hispour toire et à la Géographie de l'Orient Latin'; and it is designed to promote the study of the history of the kingdoms of Jerusalem, Cyprus, and Armenia, the Principalities of Antioch and Achaia, the Latin Empire of Constantinople, &c. The number of documents of the class in question now reposing in great libraries is considerable, and much might be done by such a Society as that proposed by the French savant in elucidating an obscure branch of history. The scheme for the management of the Society resembles that common in English book societies. Frenchmen and foreigners, fifty in number, will be eligible as membres titulaires, paying fifty francs a year, and receiving the publications of the Society. Associate Subscribers, a distinct but affiliated

A THIRD series of the Savage Club Papers, edited by Mr. Andrew Halliday, will be ready shortly.

MESSES. CHATTO & WINDUS have, it is stated, bought the copyright of Ouida's novels. THE Manningtree Book Society, one of the oldest, if not the oldest, societies of its kind in the provinces, held its one hundredth halfyearly meeting this week. The Hon. Secretary, we are told, has been present at every meeting since its formation. Life must pass tranquilly at Manningtree.

THE death is announced of Mr. Beatson, Fellow of Pembroke College, Cambridge, and editor of the Indices to the Greek Tragedians, and also of some school-books that were in vogue thirty years ago. Mr. Beatson was a man of considerable learning, but he did not seem able to make the best use of his undoubted knowledge. An eminent scholar said of him that he knew by sight every word in the Greek language, but was on speaking terms with none of them.

DR. MORRIS requests us to correct the statement we inadvertently made last week that he is a layman.

Each

and public establishments, will be admitted. The annual publications of the Society are to consist of two volumes of texts, and a facsimile of a rare or unique piece. The works to be published are charters, historical letters, minor chronicles, inedited documents referring to the Crusades, also accounts of pilgrimages to the Holy Land and adjacent countries, poems in French, Latin, and other languages. of the publications will contain about five hundred pages, produced in the form of 'The Chronicles and Memorials of Great Britain,' with a Preface, Index, &c. Many of our readers know the admirable version of 'M. Thadei Neapolitani, Hystoria de Desolacione et Conculcacione Civitatis Acconensis,' &c. (Ficke, Geneva), from a MS. in the British Museum, produced by Comte Riant in the latter part of last year, a labourious and critical work of considerable historical value. This, the

Petri Casinensis,' and the 'Liber de Locis Sanctis,' have proved the zeal and learning of the Count.

THE first volume of "Euvres Complètes de Charles d'Orléans, revues sur les MSS., avec Préface, Notes et Glossaire par C. d'Héricault" (Paris, Lemerre), has been published in the "Nouvelle Collection Janet," the notes

being placed at the end of the second and last volume, which is shortly to appear. Charles d'Orléans was the son of Valentine, of Milan, and nephew to the King of France, Charles the Sixth. He took part in the battle of Azincourt, after having been made a knight on the eve of the battle; but overwhelmed at the first assault of the English, he was made a prisoner and sent to England, where, to cheer his spirits, when led from prison to prison for twenty-five years, he consoled himself by writing the poetry now reprinted. As an example we may quote the following

rondeau:

Le temps a laissié son manteau
De vent, de froidure et de pluie,
Et s'est vêtu de broderie,

De soleil rayant, clair et beau.

Il n'y a bête ne oiseau

Qu'en son jargon ne chante et crie:
Le temps a laissié son manteau
De vent, de froidure et de pluie.
Rivière, fontaine et ruisseau
Portent en livrée jolie
Gouttes d'argent, d'orfévrerie ;
Chacun s'habille de nouveau ;
Le temps a laissié son manteau
De vent, de froidure et de pluie.

The first who drew attention to the poetical works of Charles, Duke of Orléans, was Abbé

tendent of the lower regions, a deficiency which is to be remedied by that veteran and efficient bibliophile, Mr. Henry Kernot, with a catalogue raisonée of books relating to the devil, in the stock of Scribner, Welford & Armstong."

The matter was

who has a large amount of sound scientific knowledge of the subject on which he writes. Consequently, all the desciptions of minerals are given with greater clearness than is usually found in even more pretentious books on mineralogy, which have,

for many years past, been rapidly advancing on the road of increasing complexity. This is most unfortunate for the student, but still more seriously unfortunate for the science. There are some new features in this little book which deserve especial

notice.

an

SOME time since the clerical press of Milan protested against a permit, given by the Prefect of that city, for the performance, on the stage, of Gesù Cristo, dramma in cinque parti di Felice Govean.' The arrangement in the descriptive referred to Signor Lanza, the Italian Minister mineralogy is improvement upon that of Public Instruction, who forbade the per- generally adopted. The minerals are grouped his play, which has run through three large of the leading base in each group precede it. The formance. Signor Govean has since printed according to their most prominent basic constituents, and the chemical and physical characters editions. The amusing point in the matter is crystals are drawn and their faces shaded, in an that the Pope, when congratulated on the pro- original manner, so as to show at a glance the hibition of the piece, attributed the merit of mutual relation of the faces devoloped on comit, not to the worldly minister of the Sub- pound forms. The silicates are classified according to the crystallographic systems to which they Alpine king, but to Saint Ambrose. belong, by which arrangement the memory of the student will be assisted, and his determination of these minerals will be greatly facilitated. The chapter on the Blowpipe will be found useful, and Minerals are equally instructive. The section devoted to Crystallography might have been extended with advantage, especially by one who unites, in so great a degree, the power of writing concisely and clearly. This text book peculiarly adapts itself to the requirements of those students who are workDepartment.

SCIENCE

Geology. By T. G. Bonney. (Society for Pro- those on the Physical and Chemical Characters of moting Christian Knowledge.)

of Inscriptions and Belles-Lettres. The present reprint is much more faithful than those successively made, since Sallier, by Chalvet, A. Champollion Figeac, and J. Marie Guichard.

A NEW University, says the Allgemeine Zeitung, is to be established in Austria. Four towns are talked of as the site: Brünn, Olmütz, Salzburg, and Czernowitz. The Greek Metropolitan has offered a considerable sum for its endowment if the University be established at the latter place.

IT used to be said of good old French books, "La mère n'en défendra pas la lecture à ses filles." A French writer this week authorizes the reading of a new French novel by a writer of a not over-modest school in these words: "Although the story developes itself on slippery ground, it may be read by Parisian ladies who are already initiated in the strange phases of life by the audacities of contemporary literature."

WE have been shown a diary for the month of January, 1788, which, under the date of Friday the 4th, has the following entry: "Mr. Longman wrote to me desiring my support to a periodical paper called the Times."

M. PETERSEN writes to us from Christiania:"English travellers and sportsmen visiting Norway will be glad to hear that M. Chr. Tönsberg, the Christiania publisher, whose merits as an editor of Norwegian literature may be known even to Englishmen, has brought out a useful and highlyinteresting traveller's handbook for Norway. The work bears the title of 'Norge, Illustreret Reisehaandbog.' It is rather voluminous, containing full information about the country, its inhabitants, history, art and science, &c. The work has been written by an association of authors, among whom are some of the most notable names in Norwegian literature and science. It is accompanied by seventeen maps. If I am not mistaken, preparations have been made already for an English translation of this guide to Norway."

THE New York Publishers' Weekly says:"Some years since, it will be remembered, the Rev. W. R. Alger published a catalogue of works relating to the future life. We do not remember that he took cognizance, however, of the superin

THIS is one of the "Manuals of Elementary Science" published under the direction of the Committee of General Literature and Education appointed by the Society for Promoting Christian Knowledge. There is a certain amount of Mr. Bonney, for example, starts by saying, truly enough, that it is only that part of the earth which can be seen and studied of which we can learn the history; that from the top of the highest mountain to the bottom of the deepest mine we learn only so much of the earth's interior as we should learn of the stuffing of a cricket-ball by making a few scratches with a pin upon its leathern covering. Notwithstanding this, our author endeavours, by an examination of the known elements found in those parts of the earth which we can handle, to build up the rocks, and to explain the building up of the rocky crust of the earth. Certain unknown but powerful forces act from the interior, and manifest their power by the production of "mountain ranges which have been raised like gigantic billows; two of the largest, the Alps and Himalayas, being comparatively modern." In speaking of the coal measures, Mr. Bonney says, "Persons regarding only the English coal measures, have thought that they were formed when the earth was at a hot-house temperature, and the air unusually full of carbonic acid gas. The fact that great heat is now unfavourable to the formation of peat-beds is opposed to one of these ideas, and the remains of animals found in them to the other." These paragraphs will show the original-may we not say, speculative ?-character of this manual. Our author says he has written it "in simple language, that will be intelligible to any fairly educated boy or girl of fifteen." think it is so, and the illustrations given are instructive: we only doubt the propriety of introducing so many hypothetical questions to the attention of such juvenile readers.

We

Qualitative Chemical Analysis and Laboratoey Practice. By T. E. Thorpe, Ph.D., and M. M. Pattison Muir. (Longmans & Co.) THIS is an exceedingly useful volume. It has been executed with much care, and the clear and simple manner in which the illustrative experiments are described cannot fail of being appreciated by the young chemical student. The first section of the book instructs him in the preparation of the elementary bodies, and some of their more important and interesting compounds. The second part is devoted to qualitative analysis; the use of torily explained as a delicate analytical agent. the spectroscope being, in most cases, very satisfacMineralogy. By Frank Rutley. (Murby). THIS is, in many respects, an excellent manual. It has been written with care, by a

man

PHYSICAL NOTES.

MM. ST. CLAIR-DEVILLE AND DEBRAY have recently observed some remarkable properties in must rhodium, which excite attention. If rhodium' is precipitated by alcohol from some of its solutions, it is, in this state, capable of decomposing formic acid, with liberation of heat,-into carbonic acid and hydrogen. At a slightly elevated temperature alcohol in contact with alkalies is itself decomposed by this pulverulent rhodium, alkaline acetates are produced, and hydrogen liberated. When the action of rhodium grows feeble, it is sufficient to wash the metal well and dry it in confirst activity. tact with pure air to renew its power with all its It is found that iridium and ruthenium possess similar properties to rhodium, hence these metals will probably become new agents in effecting chemical and physical changes. before the Royal Society of Edinburgh, an addres Prof. Andrews, of Belfast, delivered recently, 'On Ozone,' which has been printed in the Journal of the Scottish Meteorological Society for JanuaryApril, 1874. This address gives in brief a more exact account of the present state of our knowledge of ozone than any other publication with which are acquainted. Affirming the correctness of his former conclusions, Dr. Andrews regards oxygen in an altered or allotropic condition." His summary is so instructive that we attempt an abstract of it. Ozone is rarely found in the air of large towns, unless in a suburb when wind is blowing from the country. It is rarely absent in fine weather from the air of the country, and is more abundant in the air of the mountain than of the plain. The permanent absence of ozone from the air of a locality may be regarded as a proof that we are breathing adulterated air. Its absence from the air of towns and of large rooms, even in the country, is probably the chief cause of the difference which every one feels when he breathes the air of a town or of an apartment, however spacious, and afterwards inhales the fresh or ozone-containing air of the open country. In connexion with this subject we may, perhaps, be permitted to direct attention to certain remarks on this subject, and its relation to disease, which appeared in the Athenæum of September 1, 1849, some of the speculations of that paper being very completely confirmed by the investigations of Prof. Andrews.

we

ozone as

66

Padre Secchi recently observing one of Jupiter's

satellites, remarked a peculiar phenomenon, which he rightly thinks should not be neglected in the transit observations. When the satellite was distant from the disc of Jupiter by about its own diameter, the disc appeared to dart out as if to meet it, and then to withdraw again. This movement lasted for a few minutes, until the satellite was fairly within the edge of the planet. P. Secchi refers this to atmospheric oscillation, and suggests that it is desirable that his spectroscopic method, or some other, should be adopted to diminish this apparent movement. M. de Kéricuf observed the same phenomenon at Palermo.

A form of differential manometer, with two liquids, has been devised by M. Arthur Achard,

and described in a recent number of the Swiss Archives des Sciences. The instrument is said to

dence of the existence of the arts of sculpture and engraving among the early stone-using folk of Gaul. Our knowledge of the fine arts of these primitive people has recently been extended by the discovery of a prehistoric musical instrument. M. E. Piette has, indeed, found what he describes as "une flûte néolithique." This flute, which is formed of bone and pierced with two well-made holes, was discovered in a layer of charcoal and cinders in the cavern of Gourdan (Haute-Garonne), where it was associated with flint implements of neolithic types. The cave was discovered by M. Piette in 1871.

Ar a general meeting of the Yorkshire College of Science, held in the Philosophical Hall, Leeds, on the 17th inst., the Council elected Mr. A. H. Green, M.A., of the Geological Survey, as the Propossess great sensitiveness, and is recommended fessor of Geology and Mining, and Mr. A. W. for measuring small variations in the pressure of a Rücker, M.A., Fellow of Brasenose College, Oxford, gas, such as those which ordinary coal-gas may as Professor of Physics and Mathematics. The experience in its passage through a system of pipes. Company of Cloth workers have founded a ProThe Repertorium für Meteorologie Herausgegeben fessorship of Textile Industries, and endowed it von der Kaiserlichen Akademie der Wissenschaften with 300l. a year, in connexion with this College. for 1871 and 1872, edited by Dr. Heinrich Wild, A MEMOIR on the electric discharge in the Director of the Central Observatory, has been Aurora Borealis, by M. Lemström, of Helsingfors, forwarded to us from St. Petersburg. This Report appears in the last number of the Swiss Archives embraces very fully the barometric observations des Sciences Physiques. The observations recorded taken over the very extended area of the Russian in this paper were made in 1871, during an expeEmpire, and under a great variety of circum-dition through Finnish Lapland, undertaken for stances. The magnetic observations with both meteorological purposes. the horizontal and vertical instruments are given for the same period and the same area, with observations of rain-fall and all other meteorological phenomena.

A light of extraordinary brilliancy is said to have been obtained by Herr Hannecker, by directing the flame of a spirit-lamp of peculiar construction, urged by a current of oxygen, against a cylinder formed of carbonate of lime, magnesia, and olivine, compressed by hydraulic pressure. The olivine employed is a native silicate of magnesia.

LIEUTS. WATSON And Chippendale, two wellqualified officers of the Royal Engineers, left England on Tuesday last, to join Col. Gordon's Expedition on the Upper Nile. They will be in the Khedive's service whilst there, and we understand their duties will be purely geographical and scientific; possibly including the survey of the Equatorial Lakes.

MESSRS. MACMILLAN have nearly ready for publication a new work on Pharmacology, designed to give an account of the principal vegetable drugs in use in Great Britain and British India, regarded from an historical as well as from a botanical and chemical point of view. The authors are Prof. Flückiger and Mr. Daniel Hanbury.

A NEW Comet was discovered by M. Borelly, at Marseilles, on the night of last Saturday, July 25. The place when found was R.A. 15h. 52m., N.P.D. 30° 28', in the constellation Draco. The comet (IV., 1874) was 66 assez belle," and its motion was towards the west.

IN conducting some experiments on the electric conductivity of woods, M. T. Du Moncel has found that the conducting power is due chiefly to the humidity of the material. It therefore became desirable to examine the conditions under which wood became more or less hygrometric. He finds that even those woods which are to all appearance quite dry are affected by variations in the humidity of the atmosphere at different hours of the day. They attain the maximum and minimum of

humidity a little after sunrise and a little before

sunset.

Ir is well known that the exploration of the French caves of the reindeer period has brought to light, within the last few years, abundant evi

HENRY GRINNELL, the first President of the American Geographical Society, and the originator of the first expedition in search of Franklin, died on the 30th of June at New York, aged seventy

five.

SOME laborious researches have been carried on

by M. C. Marignac, with the view of determining the diffusibility of certain salts. These experiments researches. From Marignac's observations it appears that the tendency which two salts may have to form double salts does not exercise any influence on their simultaneous diffusion. It is probable, therefore, that double salts do not exist in solution as such, but that they are formed only at the moment of their crystallization.

are an extension of some of the late Prof. Graham's

WITH exceeding regularity the 'Monthly Record' of the Meteorological and Magnetic Observations, taken at the Melbourne Observatory, comes to us from the antipodes. The "Records" for December, 1873, and January, 1874, are on our table. The yearly average table gives 57.6 as the mean temperature of the air for the year; the lowest temperature observed in Melbourne during fourteen years being 27°, on the 21st of July, 1869; the highest temperature in the shade having been 111o, on the 22nd of January, 1860.

FINE ARTS

BLACK and WHITE EXHIBITION, Dudley Gallery, Egyptian Hall, Piccadilly-Consisting of Drawings, Etchings. Engravings, &c., OPEN daily, from Ten till Six. Admittance, 18; Catalogue, 6d. R. F. M'NAIR, Secretary.

Will shortly Close.

The SHADOW of DEATH. Painted by Mr. HOLMAN HUNT in Bethlehem, Jerusalem, and Nazareth; begun in 1868, completed end of 1873 -NOW on VIEW at 398. Old Bond Street.-The Gallery is opened at Ten, closed at Six.-Admission, 18.

DORE'S GREAT PICTURE of CHRIST LEAVING the PRETORIUM,' with The Dream of Pilate's Wife,' Night of the Crucifixion,'' Christian Martyrs,' Francesca de Rimini,' &c., at the DORÉ GALLERY, 85, New Bond Street. Ten to Six.-Admission, la.

MUNICH GALLERY-EXHIBITION of PICTURES by Kaulbach. Piloty, Schorn, Conräder, Otto, &c. Admission, One Shilling.48, Great Marlborough Street, Regent Street, W.

KAULBACH'S Celebrated Great PICTURES, St. Peter Arbues Dooming a Heretic Family to the Flames,' and James V. of Scotland Opening the Parliament in Edinburgh-Munich Gallery, 48, Great Marlborough Street, Regent Street. OPEN daily, from Ten till Six. -Admission, One Shilling.

THE PRIVATE COLLECTIONS OF ENGLAND.
No. IX.-KEDLESTON HALL.

dale's collection of pictures in Kedleston Hall, the WE had special permission to visit Lord Scars

ancestral seat of the Curzons, which stands a few miles from Derby. This house is not now shown to the public, and our thanks are, therefore, more especially due to the owner, who, with exceptional

courtesy, allowed us to see this model of a private collection, which contains hardly any inferior paintings, and, together with a large number that are excellent, not a few that are really admirable. The house was constructed by the Adams, and although the exterior is not very happily designed, the interior is remarkable for the beauty and fineness of the details. Sculptures, carving, carpentry, are all in keeping and pure. This constant elegance gives a certain charm to the place. Whether it be the mouldings on a door or composing its case, the brass handle of a door-lock, the enrichments of a ceiling, or the workmanship about a window or a fire-place, the result is the same. When we turn to them, we are pleased by their finish, variety, and grace; and everywhere there are evidences of thought and taste. The collection of paintings at Kedleston was formed, we believe, by the first Lord Scarsdale (1750-1800), and comprises a considerable number of works almost entirely by old masters. The most interesting among them are by Veronese, a curious Mompert, A. Cuyp, Tintoret, S. de Koninck (a magnificent specimen), Guardi,

Matsys, B. Van Orley, Guido, Luca Giordano, Jan Steen, Van der Neer, and others. Rembrandt, Adrien van Utrecht, Snyders, Fyt,

It is convenient to deal with these pictures in the order they now occupy in the corridor and the state and private rooms at Kedleston Hall. The first to be noticed has no name, but is probably by Adrien van Utrecht, a picture of fish, with a carp suspended over the other elements of the group. The composition and the chiaroscuro, so often leading features in works of this kind, are not so good as they might be, the former being a little stiff, the latter not harmonizing with the colour as well as could be wished; but the

drawing is beautiful, the painting uncommonly solid and good, and the colour capital.-A landhangs next, and shows, with a charm we are scape by Zuccarelli, one of many in this house, not accustomed to, a lady, seated on a white horse, gossiping with a woman (?), who offers flowers. The landscape is airy, the sky rather fine.-By Wilson is a small landscape, in his Claude manner, of the Villa Madama, strong and effective.-A curious picture, no doubt by Van der Meulen, represents Louis the Fourteenth reviewing his fleet at Dunkirk, and depicts a crowd of ladies and gentlemen mounted and walking. The King sits on a white horse, near the front, on our left of the middle. In the distance are a great number of craft, big and little; a three-master, with a white pennon, is in the mid-distance, firing a salute. This work is painted in a dark tone, but with admirable keeping and much power in the chiaroscuro. It is noteworthy for the rich, crisp handling, and the sparkling of the draperies, which, when the painting was fresh, must have been charming, because they exhibit, along with far superior colour, richness, and clearness, the neat and crisp touch which, during his better days, is said to have cost Mr. Frith so much labour. For these qualities, the figure of a lady, standing on the sward on our right, and dressed in a blue robe striped with buff, and worn under a white one, is remarkable, as is also the group of three young men in green and white dresses, who appear in the middle front. The pictures by this painter are most unequal, but this is one of the best of them.

Ascribed to Snyders is a picture of a badger, with grapes and other fruit tumbled from a basket on to the floor. The animal has been painted with extraordinary care and delicacy,greater delicacy, in fact, than we are accustomed to associate with the name of Snyders. The handling, too, is admirable, and there is a delicious sense of the grey in the creature's fur. The draughtsmanship, finish, and whole treatment of the head are perfectly marvellous, so sound, firm, and elaborate are because it is of cabinet size. The painting is they. It is a superb specimen, not the less desirable smoother and finer than Snyders was wont to produce.-Over the last hangs a Battle-Piece, by Il Borgognone. Although the spirit of design is undeniable, and the colour rather powerful, but

:

not fine, the composition is conventionalized, vigorous as it is. The number of the works Il Borgognone produced which display the merits which this painting possesses is great; scarcely a gallery is without them, even in England, while on the Continent their name is Legion. Another work by Zuccarelli, companion to the above, exhibits portraits of members of the Curzon family this painter seems to have been employed here to some extent.-Another picture, by A. van Utrecht, similar in many of its qualities to that to which we have just referred as by Snyders, represents poultry, principally turkeys, in a yard. It is rich, solid, and good, and, indeed, considerably above the standard commonly attained by Adrien. In execution, one could desire nothing better than the draughtsmanship of the back feathers of a goose on our right, and the head of a turkey on the opposite side of the picture. These parts are models of their kind, proving to demonstration the diligent and long-continued training of the hand which produced them. They are but the salient features in this fine piece of draughtsmanship, which, throughout, shows traces of close study and painting of extraordinary precision and firmness. Notice the handling of the concentric feathers on the back of the turkey, which stoops in front of the composition. It would be hard to beat the foreshortening of these curves in perspective, or to improve the painting of the legs of many of these birds. In the corridor are many family relics and articles of interest, including plate, personal trinkets, as well as china, and other objects. On the wall of an adjoining staircase is a fairly good copy, full sized, of Guido's 'Andromeda.'

In the Withdrawing Room is a big gallery picture by Annibale Carracci, a perfect specimen of its class, with which, by the way, this collection is fully supplied, and one of the best examples we remember of the results of the application of the principles which were so vigorously and constantly applied by the Carracci. It represents Orlando delivering Olimpia, and is designed in a grandiose, extra-vigorous fashion, which, taken altogether, is far from being unfortunate. This is more especially so, because the style of the painter is in perfect keeping with that of the poet, whose conception he has illustrated with considerable ability. One sees at a glance that A. Carracci was unlucky in belonging to the time of revived, and not of spontaneous design. It is not difficult to perceive that eclecticism did only too much for such a man as he who thus dramatizes on canvas. The design shows, of course, the catching of the horrid monster, whose personation does not terrify us, by an essentially commonplace hero, who has fixed the anchor in the gullet of his victim: such is the travesty of the sentiment, that some people might even feel sorry for the monster. The Orlando is vigorous enough, but his is the vigour of a common sailor stoutly pulling a rope; he looks like a sailor in "heroic" costume, and the figure was probably studied from such a man. The modelling of his arms has evidently been a great temptation for Annibale, who could not resist the opportunity they afforded for dealing muscularly with a fine set of muscles. Nor was the invention which produced the Olimpia of a high order. Her figure is disproportioned and indifferently foreshortened. Notwithstanding all this, the painting is a valuable one in its way, and precious to the student of the history of mankind, as manifested in art. At the time it was produced there were, no doubt, those who looked on it with extraordinary satisfaction as a specimen of what might be done in the way of avoiding the defects of Michael Angelo's art by the fortunate heirs of that great man!

By the sides of the last-named picture are two by P. Veronese, of unusually rich decorative character; and, if we mistake not, either these or similar paintings by the same artist have been engraved. The subjects are Alexander with the mother of Darius, and Achilles with the body of Patroclus (?). Both of these are extremely fine in their way. The luminousness of the former epitomizes almost

The

at its best the splendours of this phase of art. designs are, as usual, dramatic, full of movement, and effective; nor are they devoid of a certain grandiose pathos, which is characteristic of the artist's period, and the state of the public mind at the time they were produced. Pictures like these, to say nothing of their congeners in the Louvre and the National Gallery, and indeed any of the splendid spectacular productions of Veronese, are extremely suggestive to those capable of recalling the time when, in the florid autumn of Italian art and Italian history, they first saw the light. It seems to many of us that these gorgeous paintings belong to quite another than this work-a-day world of ours. Neither Raphael, nor Michael Angelo, nor Titian, still less the almost sorrowful early Italian masters, or the sober, pious early Flemings and Dutchmen, move us as Veronese does. Giorgione does so slightly, Tintoret more so, for he was a son of the light; but Veronese, with all his charms, had something that was not earnest about him: his art lacks the mental speculation and introspection which appear in designs of earlier, not more thoughtful ages.

By Joos Mompert is a curious topographical landscape, as far removed from what we now call a landscape as it well can be. It has the story of Naaman, painted, probably, by Velvet Breughel, in the foreground, and is in every way valuable, on account of the intense perception of the artist in regard to local truth and his strong individuality. It is a large specimen, executed with greater feeling for solidity than was common in the work of this eccentric painter,-a man who is in several ways a puzzle to those students who care for something more than the historical part of art-criticism. That a Dutchman, born near the end of the sixteenth century, should paint so strangely, and yet with such startling fidelity, what after all, seems more like a vision than a picture of reality, is most curious. It is, of course, painted thinly, almost, as one might say, with washes of pigment. There is good foliage for Mompert in parts of this work. We require to control our attention before we are able to do justice to the strange pictures of this artist; but those who study them will not regret doing so. In intense contrast with this is a luminous sketch of a landscape, ascribed, probably with correctness, to Domenichino, and comprising a bridge in the middle distance; a noble composition of the whole of the picturesque elements, and a beautifully warm, intense sky of unusual beauty, which is saying a good deal. The colouring is a little spotty.-Near this is a little picture, with Del Sarto's composition, 'The Salutation,' which is extremely good.-There is also an early Italian, or Peruginesque picture, probably by Lo Spagno, or some other pupil of Pietro's, representing the death of the Virgin; Raphael's composition, of which there are many repetitions, among them one, to which we shall soon come, at Chatsworth. Another small Domenichino, a landscape, hangs near these paintings. A figure, with a net on its shoulders, walks in the foreground to our right, near the water, which, as usual with the artist, flows towards the front of his design. The colouring is rich, deep, and warm; and a range of intense blue mountains closes in the scene, which is covered by a finely felt, powerfully painted warm sky, of extremely luminous cha

racter.

Not far off is a picture which, although the distance is not quite unexceptionable, is alone worth a journey to Kedleston. It is a noble Albert Cuyp, a landscape remarkable for exhibiting an upright cliff in the middle distance, in sunlight, and, nearer on the same side, another cliff, with a tower on its summit; a church, with a tall spire, stands in a (Dutch) town on the bank of a river, which flows to the foreground, where is a boy, looking into a pool, and, quite in front, a red cow, with a white head, stoops about to drink. A group of oaks appears, vanishing in a line on our right in the middle, and. riding on the sun-flecked road, which is at the feet of the trees, is a gentleman on a grey horse, and wearing

a red cloak. In front of this man two cows recline in the Arcadian way of Cuyp, and, before them, is a man on foot, wearing a scarlet coat, with a satchel on his back, and caressing a dog. Beyond, is a man on an ass; the beast has panniers. This is a broad, superbly painted specimen of the fertile skill of Albert Cuyp; it is as vigorous as it is tender in colour and tone. As usual, there is a monumental group of docks in the foreground. The defect of the distance, to which we have already referred, may be due to a slight fading, such appears to be the case; other parts of the picture are in complete preservation, and it is a magnificent work.

We turn to another phase of art and artistic thought in changing our position to contemplate the neighbouring picture by B. Lutti, with lifesize, full-length figures of Christ and Mary Magdalen, a good example of its kind.-Near this are two works by Bernardo Strozzi, which, speaking from memory, we should say, are better than those by the same artist which have so often set us wondering in the Louvre, and show what are the results, good, bad, and indifferent, of having art taught in academies. This painter was born the year next after Mompert came into the world: a fact that seems most strange to us. The pictures are, of course, in the Genoese mode, the influence of which on Van Dyck, at a certain stage of his career, was so marked. A masculine, but somewhat commonplace, if not stagey conception of the subject; bold, emphatic, learned, if not noble, complete, and refined execution; forced, almost Carravagiesque, contrasts of light and shade; rich, intense tone, and grave, vigorous colouring, of somewhat limited scope-these are elements which make the art of Strozzi representative. We suspect that some unusually silvery specimens of the skill of Strozzi have been sold as works of Velasquez.-Contemporary with the vigorous monk of Genoa was Domenico Feti, a Roman, pupil of Cigoli, and student of Giulo Romano's works. Here is a picture by this not very common artist,—a meritorious one, and worthy of notice for its own sake: a spinstress with two children, a man ploughing in the middle distance of a vigorous and effective landscape, elements common in representations of Adam and Eve after the Fall. We were not able, owing to the position of the picture, to examine the next work thoroughly. Still it seems a fine work, and is attributed to Tintoret. It represents the Virgin seated, with a glory, holding the naked Infant.Giuseppe Chiari, one of the very latest of the "old masters," who, dying in 1727, could hardly be called more than an inheritor of certain traditions, he completed unfinished productions left by C. Maratti,-is well represented here by a capital example of its class, a Holy Family, an exalted version of the subject, one cannot help admitting, and yet with something about the picture that is pretty, not affected and foolish, and shows much more simplicity than is commonly conceded to the time in which the painter lived. In fact, it is a picture of a naked boy held up in his young mother's arms, and playing at bo-peep with a white robe.-A 'Sleeping Cupid,' by, or after, Guido, is a fine example of Reni's soundest manner, and needs no apologies. The little god has white, admirably disposed wings; wears an almost transparent bandage on his eyes: his left arm is raised, with the hand resting against the cheek. This is a charming picture of its kind, exhibiting much more of the rose in the carnations than it was Guido's wont to paint.

not

Benedetto Lutti appears here again, and illustrates what was said about him before, in a manner of which even the exaggerations are characteristic. His 'Cain Flying after the Murder of Abel' exhibits a conception of the subject which is incomprehensibly gross, and common where it is not gross; yet such is the influence of culture, and the force of education, that, with all its defects and shortcomings, it commands a share of our attention.— Parmigiano, one who was a poet among painters, appears here with no small charm. The picture