amount of valuable practical knowledge. The descriptions of furnaces and of apparatus are always clear, and these are assisted by well-executed woodcuts, which have all been drawn to scale, and in which a sufficient number of dimensions are given to render easy the determination of any others that may be required.

Both the author and the publisher are to be congratulated on the production of this most useful and handsome volume.

THE SOCIAL SCIENCE CONGRESS.

FROM the Chairmanship of the Parliamentary Committee on Horses, or even of the farewell banquet to "that eminent comedian, Mr. J. L. Toole," to the Presidency of the Social Science Association, may seem something of a stride; but the vaulting ambition of the Earl of Rosebery is clearly equal to the effort. Having fairly distinguished himself in the two former positions, it is but simple justice to him to say, that he has not altogether extinguished himself in the third. It may be a matter of some mystery, perhaps, why he was raised to this giddy eminence, especially when such men as Sir George Campbell and Dr. Lyon Playfair were appointed to subordinate offices, not to mention Lord Napier and Ettrick, who was possibly incapacitated by having been a former President, or Lord Moncrieff, whose too close connexion with the intricacies of Scotch law may have been a bar; but once there, we must not deal too hardly with him. Lord Rosebery,

as he himself informs us in the commencement of his remarks, is but a youthful philosopher. "It is impossible for any one at my age to pretend to instruct," are his own words. "I can only, as it were, set in motion my small share of the electric current of sympathy and interest, which is surely not the least valuable of the features of this Congress." Accordingly, he proceeds to perform this feat, as a young and aspiring philosopher should, after a manner of his own. The opening addresses of former Presidents have "commonly surveyed the present position of those questions with which your Society is accustomed to deal, or which it watches with interest"; but "I will attempt tonight to take stock in some degree of the various means by which it is sought to raise the condition of the working classes,"--and he proceeds to do so. We congratulate the Social Science Association on this reasonable resolution of their latest Presi

dent. Without doubt, their last few Presidents have been guilty of that with which he charges them; and in transforming their addresses into quasi-political manifestoes, have strayed ever farther and farther from the object, real or supposed, of their office. So judicious a course of action on the part of the Earl of Rosebery goes far to justify the choice of him for a position, which even in his own eyes seemed somewhat anomalous. Moreover, he has a lofty conception of the "field of operations" thus entered on. To his mind it is "illimitable." The Social Science Association has work to perform "incalculably more important than the great mass of our parliamentary legislation. . . . Parliament can give a workman a vote, but it cannot give him a comfortable. home. . . : nor sift and exhibit the many contrivances which may be placed before him of bettering himself, of increasing his capacities, and enlarging his enjoyments." All this, however, lies within the province of the former body. And the time is opportune, and the need pressing, for our civilization is so little removed from barbarism," and on the other hand it is, "in times, such as these, of high wages, of general peace, of immunity from previous political discord.... that it is impossible to take measures which, without exciting jealousy on one hand, and suspicion on the other, may secure that well-being in less prosperous times."

Such being the case, it is, at first, rather disappointing to find that in the opinion of the Earl

of Rosebery "the sole remedy for this state of things is Education," and we begin to fear a lame and impotent conclusion, until we are reassured having been previously startled, however, by a quotation from De Tocqueville, to the effect that "knowledge is the arm of democracy") by the enlightened view of education that his Lordship takes. This is, in few words, that we require a special education of two kinds, namely, economical and technical, and these in the order named. He has evidently no sympathy with those educational reformers who foresee the salvation of society from the general teaching of the "three R's" (reading, 'riting, and 'rithmetic), from elementary schools, nor even of reforms in our universities. By means of a little economic learning, on the other hand, both our working classes and their employers are to be made to avoid the errors in future which have so embittered their relations in the past; and through the medium of technical instruction we are to be placed in a position to maintain against all comers that industrial supremacy that we have so long possessed. So far so good, and, especially in the first of his two proposals, we fully agree with Lord Rosebery. There is nothing more wanted at the present time for all classes of the community alike, than the more general diffusion of a little sound economic knowledge. The outcry fashionable in certain circles against the teachings of political economy is as unjustifiable as it is utterly ignorant and absurd. Let us, with Lord Rosebery, take the case of strikes. Strikes," he says, are only one development of that slow but gigantic process by which, all over the world, capital and labour are re-adjusting their relations, and that supreme tendency in this age of men, as well as of nations, towards glomeration. In the first clash of conflict they may have disturbed trade; but with a larger intelligence, based on economical principles, is it not certain that each side will discover that their prosperity must be mutual, and their interests inseparably entwined?" Nor need the President of the Social Science Association have stopped here; there is not a position nor a relation in life which does not come under

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the operation, more or less, of economic laws, and which is not affected, happily or the reverse, by the knowledge or ignorance of them. A system of national education, having such a basis as this, might, indeed, be a boon to the country. The subject of technical education does not quite so much engage our sympathies. There is much to be said in favour of what is understood to be meant by that phrase, and Lord Rosebery says it well and fully; but there is also much to be pleaded on the other side, which, necessarily, he does not say. If by technical education is meant only the scientific and artistic training which is now given in our Schools of Design and other similar institutions, no one is likely to make any objection to it; but if it is meant, or inferred, that this technical teaching should take precedence of a wider teaching,-that, for instance, the object of education should be rather to prepare persons for certain callings than to make them good citizens, -it becomes an open question whether it is worthy of our support at all. A question hereafter to be debated during the session of the Congress, namely, at what time this technical education may be best superadded to ordinary school teaching, may, perhaps, in its treatment, afford some clue to the fuller comprehension of the

matter.

Having dealt with the subject of Education, Lord Rosebery next takes up that of Co-operation. Of this principle he very highly approves, even to the extent of becoming an eloquent defender of trades-unionism. "Few impartial persons," he says, "will be disposed to deny that though it has caused bitter feelings on both sides, as all such revolutions must, the great social movement which has recently united the English peasantry is likely to diffuse enlightenment, to encourage independence, and to place wages on a more clear and rational footing." Nevertheless, co-operation has not, he thinks, proved a success in this country,

so far, at least, as production is concerned. Even in the largest co-operative association for productive purposes in this country, the Ouseburn Engine-Works, a strike has recently occurred, while the experiment lately made by the Speaker of the House of Commons amongst his agricultural labourers thoroughly broke down. Lord Rosebery thinks that the movement requires for its success "a more general intelligence and a greater accumulation of capital among the working classes than exists at present." From co-operation in productive industry the Address passes, by an easy transition, to co-operative industrial dwellings, such as those recently erected in Battersea and elsewhere. Of these Lord Rosebery approves, almost as a matter of course, and also, not quite so much as a matter of course perhaps, of another modern innovation, Working Men's Clubs. "The enjoyments of club-life, which have such an attraction for the Anglo-Saxon race, are being extended to the artisan. The admirable promoters of this movement believe, and with fair reason, that as public-houses offer social attraction to the tired workman, irrespective of drink, so clubs are the most formidable competition which the publichouse can have." To his observation on factory legislation some may feel inclined to take greater exception. Whatever advantages a general movement in favour of shorter hours of labour may confer upon the working classes, there is much to be said against the imposition of exclusive disqualifications on adult women. The great social problem of the future is not how to shut out women still further from remunerative employment, but how to open out further avenues of employment to them. Criticizing Mr. Fawcett's argument on this head, that if it is just to impose restrictions on factory operatives, it is equally just to do so on domestic servants, he says no one would deny that if great injury to women were to be apprehended as an effect of domestic_service-that if, for example, every master was a Legree and every mistress a Brownrigg-the Legislature would have to interfere for the protection of maids." Certainly not; but is every factory owner then a Brownrigg or a Legree? The fact is, that this question of the exclusion of women from mills has never yet been fairly and fully investigated, and is precisely one of those questions which humanitarians and philanthropists are the least likely to answer wisely. In the mean time, the burden of proof certainly rests with those who are for further legislation; and if Lord Rosebery has nothing better with which to fortify his position than the Report of Messrs. Bridges and Holmes to the Local Government Board, from which he quotes so copiously, it would be wise for him to set about making inquiries for himself.

The Address closes with certain less pertinen observations on the results of a doctrine which Lord Rosebery propounds, that "the whole universe seems undergoing the volcanic influence of. social theory"! Having alluded to some of these portentous results, and in an especial manner to the Commune of Paris, and the Church of Latter Day Saints,-" two phases of humanity which will receive more attention from the historian of the future than they attract from their contemporaries -he concludes by taking a rapid survey of the pre sent state of Europe as it should be contemplated by a member of the Social Science Association, and in these words:-"Never was there on all sides sc much of energy and skill given to preparation for those efforts by which civilization is retarded anc mankind made miserable. The armies of the four great military powers when on a war footing engross three millions and a quarter of men in the very prime and flower of life. Three millions ane a quarter of men in four countries, with their swords ready to the grindstone, form a portentous silent fact, which we cannot ignore in the halls where we discuss the efficacy of arbitration in settling disputes between nations. In Spain we see a war of dynasty, in America a conflict of colour. The night is dark and troubled; we can but labour steadfastly, hoping for the dawn, united by the sympathy of the living, and animated by

the example of the dead. In this spirit, gentlemen, I trustfully inaugurate this Congress, and commend you to your labours, convinced that, earnestly pursued, they must be useful, and may bring forth fruit a hundredfold."

ARCTIC EXPLORATION.

THE return of another Expedition from the North Polar Regions has been chronicled in the past week; and although it had more of a commercial object than its predecessors, it was, nevertheless, as much a Polar Expedition as those that sailed under Buchan, Parry, and others, and endeavoured to discover a north-west passage as a short road to Cathay and the East.

In May last, Mr. Wiggins, an enthusiastic advocate and volunteer for Polar exploration, chartered Mr. Lamont's steam-yacht Diana for a voyage to the Polar Regions, the object of which was to ascertain the possibility of commercial intercourse between Europe and Central Asia by the Kara Sea, and of opening up a market for the great mineral wealth believed to exist in those regions; and although, as may be stated at the outset, Capt. Wiggins has, in a measure, failed in his attempt, the conclusion is not to be drawn that, because in one season the ice and weather bar the passage to the desired position, another is to be the same, and it is well known now that the season of this past year has been unusually severe in the north; and so much so, and so well known was it, that on the arrival of the Diana at Hammerfest, Capt. Wiggins was warned by the Norwegians that he could not hope to enter the Kara Sea; but having chartered his vessel, Capt. Wiggins was not to be turned back by a report or an opinion, however well grounded, and persevered, and reached Weigate Strait on the 26th of June, in which there was but little ice. On the east coast of Samoyede land there was no ice or snow, the land being covered with moss and flowers, and having the appearance of a newly-mown lawn. At Lutke Island the vessel was detained by ice for three weeks, and she then steamed up the Gulf of Mutanier (Mudely Gulf). On the 1st of August the Diana was off the Gulf of Obi; White Island, to the westward of the Gulf, was found considerably out of position. On crossing the entrance to the Gulf, the Expedition discovered a sand island nearly level with the water, and the water generally was very shallow; strong currents were also experienced; and as the Diana was only victualled for the season, Capt. Wiggins decided to make the best of his way to the west side of Novaya Zemlya, with a view of assisting the Austrian Expedition, and on the 30th of August was at Kostin, and not finding, nor hearing anything of, the Admiral Tegethoff, he left that post, and reached Hammerfest just an hour before the arrival of the Austrian explorers, and finally arrived at Dundee, the port from which he sailed, on the 26th ult.

'THE PHYSIOLOGY OF THE CIRCULATION.' Royal College of Surgeons of Edinburgh, Sept. 28, 1874.

In a review of my work on the above subject, which appeared in your impression of the 26th inst., I am accused of having figured the lymphatics of the heart for the nerves of the heart.

It may interest your readers to know that the dissections of the nerves of the heart (some fifty in number) from which my drawings were made are deposited in the University of Edinburgh Anatomical Museum, and formed the subject of my 'Inaugural Dissertation" when I became a Doctor of Medicine of Edinburgh in 1861.

They obtained for me, on the recommendation of the late Prof. Goodsir, one of the greatest anatomists Britain has ever produced, a Graduation Gold Medal.

Goodsir certainly knew a nerve from a lymphatic! If your reviewer makes such a glaring blunder as this on a fundamental subject with which every tyro is expected to be familiar, I leave your readers to judge of the value to be attached to his other statements. J. BELL PETTIGREW.

*Dr. Pettigrew's note may be answered in

a very few words. We are acquainted with Scarpa's superb figures of the cardiac nerves in his 'Tabulæ Neurologicæ,' and with the drawing of the cardiac lymphatics in Mascagni's work, so that it is not ignorance which led to our remark about the superficial lymphatics of the calf's heart. We base our statement on the fact that in ruminants the numerous

sub-pericardial "nerves," generally so called, are to be seen sometimes much more distinctly than at others, and when they are indistinct it is only because, instead of being white in colour, they are transparent, and present all the appearances of being vessels filled with a clear fluid; in fact, lymphatics.

THE BITTER KOLA NUT.

THE Kola Nut of the West African Coast, which is so much esteemed by the natives as a stimulant and promoter of digestion, as well as for other more or less questionable properties, has long been scientifically known to botanists. It is the produce of a species of Sterculia, or nearly allied genus.

But travellers also mention another Kola under the name of Bitter Kola, seeds of which are to be seen in our museums, and which have been conjecturally referred to the order Guttiferæ. This conjecture is now set at rest by our receipt from a Correspondent at Lagos of fruits and leaves, which leave no doubt as to the order, though from the absence of flowers the genus and species are still matters of uncertainty. Our Correspondent states that the Bitter Kola nuts are used by the natives as a remedy in cases of cough, and are said to improve the voice of the singer. He himself derived great benefit from the use of Bitter Kola after sea-sickness. "My appetite," he writes, "returned almost immediately after nibbling a portion of a seed I found in my valise."

The technical description of the fruit sent will be given in another place; in the meantime we tender our thanks to our Correspondent for the trouble he has taken to clear up a matter of some considerable importance, scientifically and economically.

MEETINGS FOR THE ENSUING WEEK. MON. Engineers, 7).- Mechanical Puddling.' Mr. P. F. Nursey, WED. Microscopical. 8.Supplementary Remarks on the Appendicularia,' Mr. F. Sanders. FRI. New Shakspere, 8.- Politics of Shakspere's Historical Plays, Mr. R. Simpson.

Science Gossip.

In

answer to the inquiry made by the Permanent Committee of the Meteorological Congress of Vienna, "To what extent can a division of labour, as it regards subjects of inquiry, be carried out in a spirit of fairness to the collecting and discussing establishments respectively?" it is answered, "That the division of labour, as regards investigations, can only be carried out by mutual agreement between the several institutions; and such institutions should announce to other institutions what investigations it proposes to undertake. It is very desirable that such divisions of labour should be effected."

MESSRS. BLACKIE & SON are preparing a new issue of the 'Cyclopædia of Agriculture,' edited by Mr. J. C. Morton.

THE Royal Cornwall Polytechnic Society has just issued its Forty-first Annual Report. It is with great satisfaction that we direct attention to this Report. It is a forcible example of the value of earnest efforts judiciously directed. This Society was established for the purpose of encouraging, within the limited area of our most western county, every effort of human thought in the direction of practical application, or of mental or moral improvement. After forty-one years of unceasing activity, we find the Society issuing a Report of 300 pages, copiously illustrated, embracing descriptions of new applications of scientific principles to the machinery of mines and mining; observations, most carefully made, on "Elvan Courses," and their connexion with the mineral veins of Cornwall; a series of graphic sections across one of the most important mining districts, with remarks thereon, and several other papers considerable practical and scientific value.

of

SOME experiments on the specific heat of milk, and the alteration in volume which it suffers when cooled to 0° Centigrade, have been conducted by Dr. Fleischmann, of Lindau. He finds that the coefficient of expansion of milk is greater than that of water, and that milk does not possess a maximum density above 1°, but that, if cooled below this temperature, it expands considerably before freezing.

AT the instance of the German Anthropological Society, steps are being taken to obtain statistical information from schools and military depôts throughout the German Empire. Schedules are prepared for registering the colour of the hair, of the eyes, and of the skin (the Jews being separated). It has been maintained that two distinct types may be recognized among the German people: one tall and fair, and the other short and dark. These statistics ought to settle the question, and to show the comparative numbers of the two stocks, supposing them to exist.

ATTENTION has been called to the genus Ferula as yielding plants likely to be available for papermaking. M. A. Rivière has laid before the Société d'Acclimatation, of Paris, a paper in which he discusses the conditions necessary for the culture of two species, F. communis and F. torigitana, which appear likely to be useful for this purpose.

DR. D. BRAUNS, of Halle, has contributed to Giebel's Zeitschrift a paper, 'On the Measurement of Temperatures at Great Depths, with Special Reference to Observations made in the Sperenberg Boring.' This bore-hole has reached the exceptional depth of 4,000 Rhenish feet. The author discusses the bearing of these observations upon theoretical questions respecting the interior of the earth.

IN memory of Dr. Livingstone, the name of Livingstonite has been bestowed upon a new mineral, by M. Barcena. The substance occurs at Huitzuco, in Mexico, and resembles in physical characters the well-known antimony glance, from which it differs, however, in chemical composition. Analysis has indicated the presence of 10 per cent. of mercury, and the mineral is probably a double sulphide of mercury and antimony.

METEOROLOGICAL observations of some interest have been made in the Libyan Desert, by Herr Zittel, and communicated to the Bavarian Academy of Sciences. The proportion of atmo

spheric ozone was carefully registered for several months, and the results showed that more ozone was present in the air of the desert than in that of the oases and of the Nile valley.

M. FAVRE's review of the progress of Swiss geology during the year 1873 has been concluded in the last number of the Geneva Archives des Sciences.

its decomposition. All the visible portions of the solar spectrum are active in forming and in decomposing this green colouring matter of leaves, but they vary in exact relation to their illuminating power.

FINE ARTS

IN the September number of the Geological Magazine, Mr. Lechmere Guppy describes a number of West Indian Tertiary fossils, including GALLERY, 35, New Bond Street. Ten to Six.—Admission, 18. several new species. Mr. Henry Woodward publishes in the same journal a description of the remains of Rhinoceros leptorhinus, Owen, from the post-pleiocene deposits in the Uphall brick-pit, near Ilford, in Essex.

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

CHLOROPHYLL has been studied in some of its chemical relations by M. E. Filhol. When a solution of chlorophyll is acted upon by very small quantities of hydrochloric acid, the green colour disappears, the liquid becomes turbid, and on filtration, a solid matter, of almost black colour, remains on the filter. It is curious that, whilst dicotyledonous plants always yield this black matter in an amorphous condition, all the monocotyledons, hitherto examined, have deposited it in a crystalline form, the crystals being, however, merely microscopic.

SOME elaborate investigations, having for their object the determination of the optical characters of certain classes of isomorphous bodies, have been carried out by MM. Topsoe and Christiansen. The results of these researches have been presented to the Danish Academy of Sciences, and the memoir, in an abridged form, has appeared in Poggendorff's Annalen.

THE last part of the Transactions of the Linnean Society opens with a description of the Tree Ferns of British Sikkim, by Mr. John Scott, Curator of the Royal Botanic Gardens, Calcutta. In this paper, which is illustrated by eighteen quarto plates, the author describes eight indigenous species, and discusses the relations of the arborescent ferns to the palms and cycads.

ATTENTION has been given by Prof. Neyreneuf, of Caen, to the well-known action of electricity on flames, and a long paper on the subject has appeared in the Annales de Chimie. In this paper the author examines the action which electricity flowing from pointed conductors exerts upon flames, upon certain solids in the form of powder, and upon gases at ordinary temperatures.

A REMARKABLE collection of silicified vegetable remains has been discovered by M. Grand'Eury in two beds of conglomerate, occurring in the coal-field of St. Étienne, in the south of France. These remains consist of fossil fruit, or rather of naked seeds resembling those of the cycads or conifers. They have recently received careful study by M. A. Brongniart, who has distinguished among them no fewer than seventeen genera, represented by twenty-four species.

THE PRIVATE COLLECTIONS OF ENGLAND.
No. XIII.-CHATSWORTH.

WE Continue our account of the treasures in the Duke of Devonshire's magnificent seat. Having examined the drawings by old and modern masters, it is desirable to proceed to the paintings, and, in doing so, to class the respective works according to the schools of art to which they belong, grouping the whole of the Italian pictures under a common head, master by master, and bringing the other sections of our materials under similar national divisions. Subject to this arrangement, we notice the paintings in their order on the walls, beginning in the gallery near the grand staircase, and indicating the positions of the examples which are not in the gallery.

Italian Schools.

A Virgin and Child is ascribed, probably with correctness, to Parmigiano, and is remarkable for its fine, though seemingly modern design and conception. The Child lies on his back, naked, on a pillow before the Virgin, who is playing with him. The draperies do not closely resemble those commonly chosen by the artist or the members of his school; the flesh is executed with rare precision and delicacy, especially in the body of the infant; the shadows verge on blackishness, as is not uncommon with Parmigiano, whose graceful mode of composing is apparent here. Cornelia and her children, by the same artist, a fine example, is composed with that excess of gracefulness in disposing the extremities, and that harmony of flowing lines, which belong to him, and are seldom absent from his pictures. The mother sits on the ground with the children at her knees, and embraces them. She has a basket of jewels at her side. This work shows the results of the painter's study of classic sculpture, in the draperies, the hair, and the facial forms of the principal figures. His defective drawing appears in the legs of the children; his neglect of proportion, which was perhaps intentional, is the case with him, there is abundance of fine apparent in all the heads. As is almost invariably colour, deep tones, and varied local tints in this picture, e. g., in the oak boughs and leaves near the figures. By the same is a child's head, not unlike one in a picture by him in the National Gallery.

echo of the composition by Raphael, executed with By L. Carracci is Christ bearing the Cross, an

characteristic smoothness and tact. We reckon Paul Bril among Italian landscape painters, not M. PRESTEL, from seven years' observations at only because he and his brother Matthew had Emden, on the coast of the North Sea, appears to great influence on the landscape painters in Italy, have proved a marked periodicity in the presence but because his motives and his subjects are essenof ozone in the atmosphere. It is, as we learntially Italian. A capital example of his skill and from the Austrian meteorological Zeitschrift, at peculiar feeling is before us, comprising a circular its minimum at the end of September, increasing temple on a rocky hill; damsels approach it with steadily, and reaching its maximum at the vernal baskets of flowers, &c. Mercury descends in the equinox, after which the ozone again gradually blue sky towards these figures. The subject thus diminishes. We learn from the same source that appears to refer to the fable of Mercury and Argus, M. Karlinski finds exactly the same periodicity at as Dr. Waagen remarked. This authority ascribed, a station far inland, but that M. Prettner observes if we rightly understand his words, the picture at Klagenfurth that the intensity of ozone action before us to Elzheimer; but it seems to us too fine is greatest in the winter and the lowest in the and large in style for that painter. A large tree in front casts a shadow on the foreground; the distance is effective, comprising an extremely blue landscape of the sea and shore, enriched by finely treated shadows. The foreground herbage is, as is generally the case with P. Bril, painted with extreme delicacy and precision. The whole displays an unusual feeling for nature in the expansiveness of the view. A picture ascribed to Elzheimer hangs not far from the last, a capital and vigorous little sketch of a landscape, com

summer.

M. WIESNER communicated recently to the Académie des Sciences de Vienne a memoir relating to the action of light upon chlorophyll. In this he states, as the result of his experiments, that the most luminous rays of the spectrum are those which show the greatest power of assimilation; they are those also which produce with the greatest rapidity the production of chlorophyll, and which solicit with the greatest promptitude

prising a large building on a hill, which is covered with dark foliage. The sky is a little cold, and the contrast it produces with the dark wood is too great for natural probability or harmony. The work is, however, from its own merits, an interesting one.

By François Milet is a beautiful landscape of the kind often ascribed to Gaspar Poussin, who has the credit as well as the discredit of a great many works of which he was as innocent as we are. This is a small painting, comprising a fine view, with buildings on a hill on our left, rich foliage, and a sky of pure and powerful motive, and a charming distance seen between trunks of trees. There are some figures of shepherds near a stream in the foreground. This is an extremely rich, good, and valuable example of a painter who is less known than he ought to be. His handling resembles that of G. Poussin, but the results are lighter and slighter, the shadows warmer, and not so black. Where there is so much that is fine, it is hardly worth while to give great attention to a picture by Carlo Maratti, unless, as is the case with the 'Holy Family' before us in the Gallery at Chatsworth, it is unusually interesting, as illustrating the painter's history and the motives which inspired Art in his time. This is a pretty composition, the better elements of which are derived from attentive study of Raphael. An "elegant" figure of the infant Christ stands reading at his mother's knee; and the whole is painted with unusual warmth and richness of tone, so that it is charming in those respects. The head of the Virgin seems to have been repainted, or left unfinished, most probably the former. Also in the gallery we observed a whole-length figure of a sleeping child, by the same artist; an excellent specimen of the school of which Maratti was so illustrious a member, and showing that he deserved to be called the "last of the Romans." It is, of course, extremely academical, but, at any rate, it is a complete work, the design being thoroughly carried out, and in itself respectable as well as unambitious. Maratti's pictures are generally affectedly severe and graceful, but this one, being no doubt considered of little importance, has the cultivated charm we sometimes see in paintings of the most academical of the Academicians; the draughtsmanship, we include in the term both the drawing and modelling, is good; while the flesh exhibits an unusually high sense of the value of grey in the carnations.

In the Yellow Drawing Room is another Maratti, a Holy Family and St. John, marked by, for the painter, uncommon warmth of colour, and proving that while engaged on it he had been studying the Venetians. It is just this ability on the part of a highly educated artist to "turn his attention" to anybody else's art, which so often provokes us. Such extremely clever and wellinstructed gentlemen can do fairly well in innumerable directions. They can produce "tolerable" imitations of Titian the very day after Raphael has been the object of their studies, and, if they considered Van Eyck worthy of their notice they would not scruple to become Flemish and Gothic at once. The fact that they never try to reproduce art as it appeared at the fountain-head, and disdain Van Eyck, as they disdained Masaccio and Giotto, shows how little hope there is for them, and proves that, after all, it is the form and mode of art, rather than its spirit, which they affect and venerate. Maratti was, beyond all comparison, the best of the Academicians. Here is a good, or rather a very fine, specimen of his art, as it was practised under conditions which are unusually favourable, a picture which is intact, and in every way a representative one. His production in the National Gallery is a good example, and ought, like that now before us, to be looked at by those who advocate the institution among us of artistic teaching on a plan not very different from that which Sacchi and his fellow Academicians carried out in the case of Maratti and their other pupils. This mode of technical training, if it does not confine itself to showing the student what to avoid, can hardly, as it seems to us, fail to end in producing Marattis by the dozen,

if not Battonis by the gross. Whether it would overwhelm our infant Raphaels, and smother our young Bellinis, we do not venture to say.

Another Academician of high degree, the ablest of the pupils of Albani, was Carlo Cignani (1628-1719), a member of the School of Bologna. He, doubtless, produced the finely designed Holy Family which bears his name here, and shows the Virgin lifting the veil from the cradle where the swathed Christ lies sleeping, a pictorial motive which Raphael, in a famous instance, employed. John and James lie in play across the mother's lap. She is remarkable for the beauty of her figure and the harmonious disposition of the lines which compose it; the latter are absolutely graceful. One could not desire a finer or purer specimen of the power of eclecticism than that afforded by this pleasing picture. By the same artist is a good portrait of a man, in an oval, the face in three quarters view to our right, the light being from the same direction, the eyes looking down; on the head is a black skull-cap; the man wears an over-robe of the same colour, above a dress of white. It is a capital work, solidly and skilfully painted, but there is a lack of pathos, that essential element of good portraiture, in this example. A third work, no doubt by the same artist, to whom it is ascribed, represents Joseph and Potiphar's wife, and resembles the picture at Dresden, which is so well known to students from popular engravings. It is a vigorously painted example, produced in Cignani's characteristic mood, and with all his technical skill. There is more of genuine inspiration in the design, and less of mere elegance, than are usually met with in the artist's works.

An elaborately modelled and drawn, threequarters length, nearly nude figure of St. Jerome bears the name of Domenichino, and is a capital academical study of muscles and tendons. The saint is adoring the crucifix, with an expression which, although intensely passionate, is, as was commonly, though not always, the case with Zampieri, not exalted. The hands of the figure, notwithstanding the care displayed in the treatment of the contours, are outrageously disproportioned. This is not an exceptional defect in Domenichino's works. There is nothing in the picture which need compel us to deny the justice of its ascription to that powerful but unequal designer and painter. It must be admitted, however, that there is something common in its execution; nor are the colour and tone worthy of Guido's rival.

The private collections of England comprise not a few pictures by Bourguignon: among them is classed at Chatsworth a capital sketch for a landscape, under a sunny evening effect, with sentiment not unlike that of S. Rosa, but with delicacy of execution not frequent in that painter's works. Twin round towers of a fortress stand, on our left, above the slope of a valley, which is crossed, as the towers are approached, by a bridge of round arches; figures may be seen under the arches. The picture is replete with light, and shows fine tone and good colour; the light on the towers is most enjoyable. By the same artist we noticed a battle-piece, marked by his usual spirit of design and luminous, deep tones; also two others.

By P. Veronese is a portrait, nearly half-length, of a portly lady in a high white collar; the face seems to have suffered a good deal, long ago. By Alessandro Veronese is Psyche contemplating the Sleeping Cupid,' comparable with the picture on marble, by the same, in the National Gallery, which a cobbler (?), probably idiotic, and certainly mischievous, damaged a few years since. The flesh of the figures at Chatsworth is beautifully but rather over-smoothly modelled; the effect of lamplight has been most carefully studied. By Sasso Ferrato is one of the numerous heads of the Virgin, with her hands clasped, wearing a blue robe, the shadow of which falls on the face, being enriched with carefully and smoothly painted reflections of great brightness; the eyes look down with not a little that is amorous in their expression-at any rate, with little that is spiritual or maternal in them. The painter repeated this

highly popular compound of sentimentality and reflected light, and varied it often enough, but not greatly. There is a version in the National Gallery; but that at Chatsworth is, at least, equal to it.

Of the school of Titian is a Holy Family in a landscape, with St. John and the Lamb, the Virgin seated, with the Child in her lap, while she holds a book; a good picture in its way. Chatsworth is rich in Titians of high quality; but none of them is more interesting to us than the St. Jerome in a landscape, a small example of great beauty, dignity of sentiment, and high technical value. The lion is near his master. The saint is in the wilderness, and kneels, seated on his own heels, and holds the stone in one hand, the other hand is extended to turn over the leaves of the book which is propped in front. His white beard and meagre face are thrust out in the passion of devotion. In this respect the work is a master piece, worthy of Titian's most vigorous mood. Technically speaking, the colour, tone, and chiaroscuro are worthy of the conception and the design. The work is, in regard to these three qualities, characteristic of Titian, as they are extraordinarily precious. It would be difficult to surpass the skill which has been so successfully employed in painting the white of the beard and the profound golden, ruddy brown of the flesh, the "tint" of some old Venetian fisherman browned in suns of the sixteenth century, and made ruddy in Adriatic breezes. In the Yellow Drawing-Room at Chatsworth hangs one of the most interesting of the pictures in this country which are associated with the fame of Titian,

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a work not inferior in its attractions to the work of Bellini at Alnwick, which Titian finished. We noticed the latter in our account of the Duke of Northumberland's pictures which formed the first paper of this series. The picture now before us is the famous landscape with figures, representing St. John preaching in the Wilderness, which was in the Leeds Exhibition, and we spoke of it when we criticized that magnificent but unfortunate gathering. It is painted either as a landscape or as a composition of figures, with enormous breadth of style. The landscape and the figures are most grandly designed, gorgeously but freely and lightly painted, and, what remarkably strengthens the prodigiously powerful sentiment of the work, they are combined with transcendent skill. The result of this union is most impressive; the landscape possesses a tragic dignity, which is rare at all times, and of the highest interest, as occurring in so old a piece of "paysage," and the figures are instinct with the painter's dramatic mastery. The solemnity of this great work and its weird charm are marvellously effective, and it perfectly suggests the sound of the voice of "one crying in the wilderness." It is perhaps the oldest landscape extant that is marked by pathos of this tragic sort, while as a picture its value is immense. The sky has been made to echo the sentiment of the design; the very chiaroscuro, in which it is so rich, accords with the sentiment to a degree only equalled by Turner as a landscape painter, and by Paolo Veronese in dealing with combinations of landscape and figures. piece of colour, it is profoundly rich; in tone, notwithstanding its somewhat rugged execution, it is immensely rich. Of course, as is usual with Titian's works of this class, the landscape has been derived from the slopes and valleys at the feet of the mountains of Cadore, which are wildly picturesque in character, and suited for the expression of romantic sentiment.

As a

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the whole has received Titian's closest attention, as the modelling of the face is unusually light in touch and careful, and the pale complexion of the monarch is exquisitely rendered. The painter seems to have imparted to it a fine and ultra-subtle golden hue, with the faintest sus picion of the rose; this is, probably, the most exquisite pictorial flattery of which Titian was capable. The draughtsmanship, including the modelling of the armour, and the chiaroscuro throughout, has been adapted with marvellous skill to the tint and tone of the flesh; the expression has less of that insouciance so common in the like nesses of Philip, especially those which were painted in his more advanced manhood. At Castle Howard is another portrait by Titian, of Philip the Second, and painted at an earlier period, the face being that of a young man of between twenty and twenty-four years of age. It is a three-quarters-length figure; the dagger is in the right hand, a pair of gloves in the left; the subject wears a white vest and breeches embroidered with gold, and a short under-coat trimmed with fur, dark green and embroidered sleeves; a thin light-brown beard and moustache appear on the face. The Castle Howard portrait is, compared with that belonging to the Duke of Devonshire, slight in handling, but its quality, especi ally in the pale golden under-tint of the carnations, is exquisite, and solid to a marvel. One would like to be able to compare the portraits of Philip which Antonio Moro painted for Charles the Fifth with those now in question by Titian.

By J. Bassano is a capital early specimen of an unequal painter, whose reputation has been made to suffer by the picture-dealers, who sold productions of his sons and others of his entourage, a numerous one, and placed the name of the leader on them. As usual, the painter has made the most of a contrasted effect of light and shade; this was among this able man's speciali ties. He gives us the advantage of his partiality in this respect, by dealing with great success with the subject of the Angels appearing to the Shepherds, producing a picture which has been engraved, if our memory does not play us false. The effect is that of deep twilight; a woman feeds sheep in front of the composition; a shepherd, in a red jacket, looks up in astonishment at the approach of the radiant messenger; another shepherd reclines on our right in front. This is an extremely rich and powerful piece of colour; the light and shade have been combined with the chromatic scheme to produce chiaroscuro of a kind which is, of course, rather forced, and so far unnatural, but is, nevertheless, extremely effective and striking. However, as was almost invariably the case in works of the second-rate painters of Venice, who would not have been second-rate had they not failed in this respect, the picture, with all its merits, the result of so much art, is not pathetic, still less has it high inventive or imaginative value. On the contrary, it is essentially artificial and almost conventional in design and sentiment. Technically, however, and here one must do Bassano justice by saying that he aimed at success in this direction, it is a triumph of intensely varied tone of great clearness, being, indeed, so superbly rich in this point that it looks almost too good for Bashis earlier manner. As was usual with him, even sano, and is certainly one of the best examples of at this period of his long and industrious life, a expressed by the term genre, for representing feeling for that aspect of the subject which is which Bassano was afterwards famous, peeps out and the shepherds are homely. It is a mistake genre to the Venetian School, though he excelled to suppose that Bassano introduced the study of in its pursuit, and established its practice in art. In the Yellow Drawing-Room is another production of Bassano's, an oval picture, representing four nymphs nursing a babe, Bacchus or Jupiter; position of great merit as such; in its colouring a genius, or Cupid, is in the air: a charming comit

exceeds slightly in greenishness, but it is altogether an extremely enjoyable example. rich in this quality as well as in that of tone:

Attributed to Venusti is a version of the wellknown design of the Death of the Virgin, of which we encountered an example at Kedleston Hall.

By Tintoret, or one of his school, their name was Legion, is a fine picture of Christ and the Woman of Samaria.' The latter stands at the side of the well, with a vessel of red earthenware in her hands; a little boy, a sort of amorino, is wear the well, with a jar; other figures are in the distance. Jesus has a nimbus. The subject is, of course, naught; the learning of the painter and transcendent artistic qualities of his picture being in question here, they are superbly manifested by intensity of tone and abundance of power in dealing with colour and chiaroscuro. In the DrawingRoom, among a noble company of portraits, which include Titian's Philip the Second,' the so-called Holbein's Henry the Eighth,' and a fine example attributed to F. Zucchero, Mary, Queen of Scots,' are two masterpieces by Tintoret, the life-size likeness, at full length, of the remarkable and somewhat questionable personage who presented himself so effectively, if not so fortunately, at the English Court, Antonio de Dominis, Archbishop of Spalatro, Canon of Windsor, and what not ; and the intensely striking and rather gloomy picture of Admiral Nicolo Capello, well known in the naval history of the Mediterranean. The former wears black robes and a square-topped cap of the same colour, the right arm rests on a table, and the right hand holds a book, a finger being placed between the leaves. The left hand contains a handkerchief, and rests on the arm of the chair in which the learned commentator sits; a large open book, showing a rubricated text enclosed by a prodigiously large proportion of comment, no doubt the famous production of De Dominis, is propped on the table before him, and its typography appears to have been so carefully copied that probably, if the picture were brought near to the eye, one might distinguish not only the title of the ponderous tome but the page of the volume, and thus gather light as to the history of the portrait itself. Other books, their fore edges being towards us, and their strings distinct, occupy a shelf above the big one; a red curtain supports the colour of the picture, and is essential to its chromatic scheme. The Archbishop appears to be of about fifty years of age; his face is strongly marked by a vigorous character and considerable mental energy, but by no means free of signs of craft and sensuousness, if not of sensuality. This appears to be a picture of Tintoret's middle period; the tone is unusually full of diffused light and admirably complete in breadth and richness. The draperies and the flesh are prodigiously solid and finely painted, and the whole is a wonder of art in portraiture, so valuable that it is worth while making a journey to Chatsworth in order to see it.

A later work than the portrait of De Dominis is the other picture by Tintoret, which we have named above, the full-length, standing likeness of Admiral N. Capello, taken when he was about sixty years of age, with grey hair and beard, wearing the half-armour which is so frequent in portraits of officers in naval service, likewise red hose and black shoes. He has a leading staff in his right hand, and appears in the act of pointing with it to the front; the left hand of the figure is at the sword belt. Several war galleys are shown in a bay, which supplies part of the background. The commander's helmet stands on a pedestal at his side; on the pedestal is the inscription, Nicolano Cappellus ter Classi Prefectus." This is a capital work of Tintoret's, a little blackish and heavy in the shadows, but there is superb vigour and intensely powerful painting in the face, and truly characteristic gravity and dignity in the design. The prevailing tone is less dark than is common in the later works of the master, except as regards the carnations and their blackish shadows; the colour of the flesh is given with profound power and very great glow; the attitude has dignity, with just that amount of demonstrativeness that Tintoret hardly cared to avoid. Otherwise, the picture, although less solid than

its companion by the same painter, is perfect in its treatment and sentiment. It is in unexceptionable condition.

Ascribed to Pietro da Cortona is a small picture in the gallery at Chatsworth, which, although it looks both excellent and rightly named, is placed too high to allow us to pronounce an opinion. Also two pictures, attributed to Caravaggio, representing women working at lace pillows; these, though dark and marked by strong contrasts of lights and shadows, showing much strength of design and possessing considerable value as representations of character, do not seem to us to have more than a general resemblance to the works of Caravaggio; they are telling, and good gallery pictures in their way. Probably by Annibale Carracci is an injured painting of an anchorite in a cave, kneeling before a crucifix, wearing a brown robe, and holding a skull in his hand; a picture which might be cleaned with advantage. Placed in an unfortunate light is a rich and solidly painted flower and fruit piece by Campidoglio, which seems to be worthy of a better place. Near the last is an admirably painted head of a gentleman in a ruff, ascribed to (Taddeo?) Zucchero, and dated 1565; it has some resemblance to the workmanship of Honthorst's portraits; its style is masculine and learned, with less freedom than prevailed in Zucchero's handling, and more impasto in the painting than we expect to find at the date it bears-a date which, if genuine, agrees with the suggestion that Zucchero produced it.

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In the Drawing-Room is the before-named portrait, said to represent Mary, Queen of Scots. It is a whole-length, of life-size, and dressed in a red damask gown embroidered with gold, a petticoat of cloth of gold, and a collar of pearls; a cap enriched with gold encloses her brown hair; she holds a red rose and a white rose in her left hand, her right hand is placed on the arm of the chair she looks about twenty-five years of age, a circumstance which does not well agree with the date of Federigo Zucchero's alleged visit to England, unless, indeed, he flattered the Queen. She has brown eyes, whereas those of her son, as appears by the fine miniature at Castle Howard, were light blue or grey, and his hair even in manhood, as there painted, was light brown or auburn; it was really of a light dirty red. The portrait at Chatsworth shows a nose a little prominent in its form; a slight colour, the genuineness of which is not beyond suspicion, marks the cheeks. There is a somewhat sly and furtive look in the eyes, which is characteristic of the queen; the chin is small, and the face, with some beauty in its comparatively refined look, is curiously like a modern one, and marked by a good deal of culture. The picture is painted with extreme firmness and precision, and with full feeling for the effect of shadows on the flesh; the carnations are a little pallid, and the handling is slightly smooth, ivorylike and thin; the local colour of the details has been carefully attended to, but the work is only indifferently successful as a piece of colour per se. It is, however, a specimen of art in a stage much more advanced than that illustrated by the pictures of Queen Elizabeth at Hampton Court which bear F. Zucchero's name. It is difficult to suppose that the artist of this fine and intelligently painted example lived after Raphael, and died in 1609. It is an excellent work, the high merit of which is proved by the fact that it is not cast into utter darkness by the superb Tintorets we have already described, the 'Philip the Second,' by Titian, and the rich and brilliant life-size, whole-length portrait of Henry the Eighth, ascribed to Holbein, and certainly one of the extraordinary specimens of its time, a masterpiece of a remarkable painter, whoever he was. One would like to have the pedigree of the portrait of Queen Mary, who was at Chatsworth during a part of her long captivity. To prove it to be a portrait of the Queen of Scots would be an interesting achievement, of more importance, perhaps, than the settlement of the question whether or not F. Zucchero painted it. No human creature that we ever heard of has been more

variously represented by portraits than this queen, whose alleged likenesses are as different from one another as they can well be. We see no reason to doubt the genuineness of this alleged likeness of the mother of the British Solomon; and if it were proved to be a correct portrait of that unfortunate and mischievous lady, a standard for comparison with other pictures would be available. As the matter stands now, Mary is sometimes represented by pictures exhibiting light hair, sometimes with dark brown, or almost black hair; sometimes she appears with blue, and, occasionally, with brown or black eyes. There is a chalk drawing of her in youth, made by F. Clouet, doubtless for one of his portraits, now preserved at Castle Howard among that marvellously interesting collection of members of the French Court, which is in its way surpassed only by the much less numerous collection of drawings made by Holbein for a similar purpose, and now preserved at Windsor. There is every reason to lead us to accept this drawing as a faithful portrait, and it would help to decide the likeness of Queen Mary on much better grounds than those afforded by tradition, or by verbal descriptions, however close and accurate the latter may be.

The next article of this series will conclude the account of pictures by members of the Italian schools of painting as they are represented at Chatsworth.

MUSIC

MR. W. H. HOLMES'S PIANOFORTE CONCERT (by kind per mission), at 26, Portland Place, FRIDAY, October 30, at Three o'clock -Mr. Charles Harper (Horn) will perform a Solo, and in Sonata, Beethoven, with Mr. W. H. Holmes; Mr. G W. Hammond will play in Duet for Two Pianofortes (Ferdinand Hiller) with Mr. W. H. Holmes. Fugue, by Handel; Concerto, Raff: Adagio, Greig; Studies, F. B. Jewson; Overture (MS.), Herbert Baines, Esq., will be performed by Mr. W. H. Holmes. Vocalists, Miss Harriett Harper and Mr. Frank Holmes.-Programmes and Tickets. Half-a-Guinea each (not transferable), to be had only of Mr. W. H. Holmes, 36, Beaumont Street, Marylebone.

ANTHEMS AND SERVICES.

The Office of the Holy Communion. By C. Wil-
liams. A Morning Service in C; Six Short
Anthems; Festival Anthem, "I was Glad";
Verse Anthem for All Saints' Day. By S. P.
Tuckerman.-God is our Refuge. By Henry
Hiles. In Sweet Consent. By E. J. Thorne.-
Break Forth into Joy. By T. Ridley Prentice.
-Like as the Hart Desireth. By W. Crowther
Alwyn. (Novello & Co.)
Jesus Tender Shepherd.

By Martin S. Skeffington. (Keith, Prowse & Co.) MAN is an animal possessing the power of counting, and he mixes his musical tones as painters do their colours, with his brains. The contrapuntist, wins his laurels with a disciplined array of "scullnumeraries." Such music is listened to with pious serenity, and secures for its composer placid commendation. Still the hearers become somewhat discomposed by the unbroken current of a chaste arithmetic. The ear says, "What have I done that no mercy should be shown me?" The eye inquires why it should be shut up, as if there were nothing pleasant to see; and the heart gets restive, for there is much to be thankful for. This sort of railway music, that neither rises nor falls, is guilty of no impropriety, never warms into joy nor passes into grief, deals in memories of much that has been swept away, and rarely, if ever, succeeds in making that beautiful which originally was not so. Mr. Williams means well in his Communion music, but he does not know how to divide the minor key in any responsive order. He should study Bach's discourses on old chorals, edited by Mendelssohn. The passages selected by Dr. Tuckerman, in whom we recognize a distinguished amateur and great patron of musical art, have been eternalized in song, but it would be fatuity to attempt to outblaze the fires of the mighty dead. It is difficult to strike a new chord for choral service in setting the "Te Deum," to give deeper feeling to the joy of worship, to reveal more clearly communion with the invisible. Dr. Tuckerman's choral symphonies are of the Cathedral "genus," and he is a fair