addition of a sergeant from Col. Massie's division, 'a brave and abell souldier,' who had served in the German wars. This veteran (whose name, Hackluyt, recalls the adventurous spirit of a former generation) took the command of the retainers, mounted the guns, and together with Dr. Nathan Wright, the family physician, converted the mansion once more into a strong yet small castle.'"

The Royalists came and sat down before the place with six hundred men, under Sir William Vavasour; but they effected nothing. Col. Lingen, a Herefordshire man, succeeded Vavasour, but the garrison repulsed his attacks. The old register of Brampton states that the church and town were burnt during the siege, but there is nothing to show that the castle

open work, on the uprights of which are patterns in relief. This beautiful work of art has received a few touches, and seems to be about to be further spoilt by some parish painter. M.

FRENCH AND FLEMISH GALLERY. WE publish this as we receive it :

"London, August 3, 1870. "Can you spare a corner for a complaint on a growing evil in dealers' exhibitions, the abstraction of attractive pictures from them (doubtless purchased while under view), without intimation thereof being made to the public who go to see them. One of the most flagrant instances I have met with is that of the well-known French and Flemish Gallery, Pall Mall, where last week I was annoyed to find that, out of a number which was

made at his appointment. Thus he is unable at present to make any charge, and expects soon to be ordered to proceed in the execution of the work. Mr. Barry adds, that "if an architect does not carry out his work after having prepared his designs, he is entitled to half the remuneration agreed on, less the expense of preparing the contract drawings." This point has, we believe, been repeatedly decided in the manner stated by Mr. Barry, in recent trials. To the architect's letter the "Office" replies, that the First Commissioner of Works, &c. has not had an opportunity of considering the arrangements Mr. Barry proposed to make, respecting a letter dated October 24th, 1868, and that, as he declines to make a claim at present, the First Commissioner deems it needless to enter into the views stated in Mr. Barry's letter, which we have here condensed.

was much loss of life among the defenders. Col. Lingen withdrew his troops on the 6th of September, when "authentic newes of the royal disaster at Gloucester reached him.” It is said that poisoned bullets were used by the assailants, and that the fountain which supplied the town was also poisoned. Lady Brilliana died soon after her triumph, not without hearing that a second assault on Brampton was intended. This was made by Sir Michael Woodhouse; the walls were battered, and the defenders were compelled to surrender themselves as prisoners of war. After Naseby, Hereford itself fell into the hands of the Parliament, and it came to Sir R. Harley's turn to obtain compensation for his losses. The text comprises a curious account of the damages, which were reckoned at 12,9907. The Parliament authorized Sir Robert to levy a large proportion of the amount on the confiscated estates of his opponent, Sir Henry Lingen. "The Royalist Colonel was either absent or in prison when the order was given, and, accordingly, Edward Harley, Sir Robert's son, waited upon his wife with an account of the property assigned to him, and inquired whether the particulars had been correctly set down and signed by her husband. On receiving her answer, he returned the schedule, waiving all right or title to the estates which it had conferred on him. A revenge so noble elevates the son to a level with his noble

mother. Her courage baffled her enemies; her forgiveness subdued them." Among the items for which compensation was claimed as above stated, was "A Study of Books, valued at 2007." This was the first Harleian Library: it seems to have been undervalued.

CHURCHES IN NORFOLK.

THE attention of architectural societies should

be directed to the condition of two magnificent churches in Norfolk. That of Lall is a very large building, of the Perpendicular period, with a fine tower. The roof of the nave, a richly coloured example, is being allowed to drop, panel by panel. In the choir are some finely carved stalls with misereres. These are covered with the droppings of a recent limewashing of the choir walls, and in a few years will decay. The church contains several small but not uninteresting brasses, and more than one of these is on the point of being separated

from its matrix.

The Church of Cawston, also a fine specimen, for the most part, of the Perpendicular period, is suffering from amateur restoration. Its choir has been damaged by the insertion of deal seats, while some old oak stalls of admirable design are consigned to a collection of lumber in the south transept. The rood-screen, which is in a rare state of perfection, consists, below, of panels with paintings of saints, and above, of richly painted and gilt

pictures printed in the Catalogue, and reviewed by the Press, had been withdrawn. I really cannot see why the same good faith should not be insisted on from these exhibitors as from the proprietor of any other place of amusement. "A COUNTRY COUSIN."

THE VANDALISM OF RAILWAY COMPANIES.

THE following exposes a public wrong"August 13, 1870. "All the world will recollect the storm of indignation that burst forth when the London, Chatham

and Dover Railway Company first proposed to carry a viaduct across Ludgate Hill; the railway company were not then supposed to be in a chronic state of bankruptcy, and after many protests on the part of the Public, they were allowed to carry their point, on the clear understanding, however, that the bridge to be erected should be of such an ornamental character as not needlessly to form a blot in the beautiful vista which terminates with Wren's masterpiece.

"I shall not attempt to discuss the merits of the work produced; time and the supposed necessity of its existence had reconciled us to its presence, and the London smoke had charitably softened down its asperities. At any rate, it was an improvement on the horrid boiler-plate troughs which delight the call your attention to what I cannot otherwise souls of railway engineers. I have now, however, to characterize than as a gross breach of faith on the part of the railway company. Walking down Fleet Street the other day, I was surprised and disgusted to find a huge advertisement board raised on the parapet of the bridge and stretching across the road. Its effect on the view of St. Paul's is most

deplorable, and I cannot think that any company

or individual should thus be allowed to interfere with the public right of view, and make hideous the thoroughfares of London. P. A. D."

Fine-Art Gossip.

"A further Return to an Order of the House of Commons, dated 23rd May, 1870, for Copies of Correspondence" between the Office of Works and Mr. E. M. Barry, as architect of the new National Gallery (319-1), has been published. This paper consists of letters requesting Mr. Barry to furnish

a statement of the sums he considers due to him for services rendered to the "Office," and an approximate estimate of the claims he will have to make with respect to works for which he has already received instructions at the Houses of Parliament, National Gallery, or elsewhere. Also Mr. Barry's reply, that he did not expect to make such a claim for the National Gallery at the present time; that he has great difficulty in complying with the demand, because, being appointed by the Government architect for the National Gallery, and his appointment communicated to the House of Commons, and himself officially informed that the works in question would be begun when preliminary arrangements were completed, he has prepared for the work; so that all he has done would constitute part of the labour for which he would be entitled to five per cent. on the cost of the building, according to the agreement

concur in those views.

WITH regard to the election of a Slade Professor in London University, which, as we recently stated, will take place in November next, no invitations have been officially issued to candidates; thus there will probably be nothing of the nature of a contest, in the usual sense of that term; but several artists of eminence, including an Associate of the Royal Academy of high repute, especially in connexion with decorative works of remarkable merit, are spoken of as likely to be nominated.

IN condensing the Parliamentary paper on the Wellington Monument we inadvertently omitted to state that it concludes with four sketches, showing-1, the model as erected in Mr. Stevens's studio; 2, the present state of the monument without its decorations and statues; 3, the monument without the bronzes; and 4, the monument with the bronzes; thus showing what may be expected to be its appearance when completed. The last includes the equestrian statue of the Duke on the summit, to which the late Dean of St. Paul's successfully, as it would appear, objected; one cannot guess why he protested against this crowning and noble element of the design.

A NEW reredos, of very interesting character, composed of painted tiles, the work of Messrs. Powell & Sons, has been temporarily placed in the North Court of the South Kensington Museum. This reredos is intended for Cheddington Church,

Buckinghamshire, and is the gift of the rector, the attention of students. the Rev. L. Dawson-Damer. It richly deserves

ONE of the most notable features connected with the "restoration" of our ancient Cathedrals is the vastness of the sums of money expended on the works; second to this, and deserving of even more attention, is the rapidity with which the operations in question have been performed. Chester, Chichester, Hereford, Lincoln, Ely, Canterbury, Salisbury, Exeter, Bristol, and half-a-score more Cathedrals, have recently, or are at present in the hands of restorers, we were about to say the restorer, for Mr. G. G. Scott has to do with nearly all of them. Upon these, collectively, a vast amount has been expended; in some cases wisely, in others, as at Lincoln, in one respect at least, most unfortunately. Little Rochester is soon to have its turn. The latest news of this kind is that upon Worcester Cathedral-one of the most interesting edifices in England-not less than 50,000l. has been laid out, and that about 16,000l. more will be required, and has been "raised" in little more than a

month, to ensure the completion of the works. The sum required to decorate St. Paul's Cathedral will be prodigious, and seems likely to be forthcoming. It is instructive to those who look on, to observe that, as a great proportion of the Gothic churches, of all degrees, from cathedrals to little chapels, have been treated, the attention of

architects has at last been turned to the Renaissance churches of Wren, many of which, in London especially, have been declared in need of what is irreverently called " doing up."

IT is stated that a statue of Lady Godiva, belonging to the Liverpool Town Council, has been

دو

"Lord Admiral his servants," and the "Lord Chamberlain his servants" (the latter being Shakspeare's company) we cannot say, nor can any Shakspearean editor tell us with authority. We are thankful for what we have in 'The Merchant of Venice'-although Edmund Kean be no longer among us to electrify us with his Jew-one of the grandest of the interpretations of the poet rendered by that last of the great masters of the stage. Whether Alleyn, "Proteus for shape and Roscius for tongue,' acted Shylock as he did Marlowe's Jew of Malta,' cannot now be said. It is a strange fact that, after the Restoration, Shakspeare's play was not put upon the stage till 1741. In the first year, indeed, of that century, Granville, afterwards Lord Lansdowne, produced his Jew of Venice,' which was boldly announced as Shakspeare improved! The Shakspeare tinker who took this work in hand, cut away here, added there he knocked out Tubal, Lancelot, and Gobbo, and put in Peleus and Thetis, in a masque; he made most of the changes for the advantage of Bassanio, played by Betterton, and he gave a comic colouring to Shylock, and the task of playing it to one of the most accomplished comic - actors of the time, Doggett. Doggett performed the Jew in a red wig. He did not buffoon the part. Ilis method was like that of Robson, a mixture of humour and pathos. The comic side, however, must have been uppermost, or Rowe would not have remarked, "Though we have seen 'The Merchant of Venice' acted as a comedy, and Shylock acted by an excellent comedian, yet I cannot but think that the character was tragically designed by the author." This was what Macklin always asserted. To him, Doggett, Griffin, and Aston were only burlesquers of the Jew; but when, in 1741, Macklin resolved to play Shylock with tragic passion and earnestness, he was laughed at by Quin; the players generally foretold failure, and the public saw him, with silent surprise, come on the stage, looking like a portrait by Rembrandt that had moved from its frame. The thundering peals of approval soon succeeded to the discouraging silence, and Granville's piece suffered irretrievable shipwreck under the wholesome storm. Pope pronounced Macklin to be the Jew that Shakspeare drew, and thenceforth comic or semi-comic Shylocks disappeared for ever, except in the burlesque, in which Robson represented a lower class of Jew, fierce and grotesque, savage, earnest and real, according to the class to which he belonged.

Since Macklin restored Shakspeare's drama to the stage, in 1741, Shylock has been played as a serious character by every one who has attempted the part, except Shuter, the low comedian. Shuter's outrage on good taste was made in 1759, for "his benefit," when any foolery, it was thought, would be pardoned The public condemned the actor. They did it in the spirit with which they visited the same sort of offence given by Mr. Sothern, when at Mr. Paul Bedford's benefit he acted a scene from Othello' after the Dundreary manner. The part of Shylock was Macklin's property, so to speak, till he withdrew from the stage, in the season 1788-9. Other actors vainly disputed it with him. Among them were Sheridan, King, and Yates-the last as bad as could well be. King was the Shylock to Mrs. Siddons's Portia, when she made her first ap

pearance at Drury Lane, in 1775, and was thought to have little in her but what belonged to ordinary "walking ladies." Henderson acted it with such effect, that John Kemble attempted it and failed. It must, however, be noted, to Kemble's credit, that subsequently he cheerfully agreed to play Bassanio to the Shylock of King, and condescended to act Antonio to the Jew of G. F. Cooke. Young and Elliston performed the part; Young with fire; Elliston with alacrity. In the season of 1813-14, at Drury Lane, Stephen Kemble and Huddart had failed in the part when it was forced upon the "young man" from Exeter, who wanted to make his début in Richard, but who made himself famous with that he was compelled to act. Edmund Kean's Shylock showed that a great master had come to glorify his art. He has been unapproached in it by any succeeding actor. Macready, Charles Kean, Phelps, have played it more or less intelligently; but it was, to use an old simile, as the waterworks at Versailles to the Falls of Niagara. Mr. Sothern has performed the part in country theatres, and we hope to see him act it in London, were it only that he may change the opinions of those persons who profess to see in him an actor who can play but one character, and that character not worthy of being played by an artist.

The criticism which was bestowed on Macklin's Shylock, or rather on 'The Merchant of Venice,' when it was restored to the stage, in 1747, would not satisfy any modern dramatic Jew. It was general, and not particular, although Macklin revolutionized the theatre, and restored Shakspeare by his impersonation. It was neither more nor less than this in the morning papers :-"Last night, "The Merchant of Venice' was acted to a polite and crowded audience with universal applause." Since that period the play has been but little tampered with. John Kemble, who had no more real reverence for Shakspeare than Howard, Otway, or Granville, produced his version of 'The Merchant of Venice' in 1795. It was the fifth out of twenty of Shakspeare's plays which he altered for representation. He began with 'The Tempest,' in 1789, and ended with As You Like It,' in 1810. Dr. Valpy altered 'The Merchant of Venice,' in 1802, for representation by his pupils at Reading School. It was the last of the four Shakspearean plays altered by him. He might have been excused for "cutting out," but the Doctor was addicted to giving his own in exchange for what he cut away from Shakspeare! His defence, we suppose, was founded on the classical maxim, "Maxima pueris debetur reverentia." He suffered nothing to remain that was likely "to raise a blush upon the cheek of youth," but he did not scruple to supply new scenes, or new speeches in old scenes; but we are told that he preserved the diction of Shakspeare wherever he could do so in conformity with his plan. For this concession we do not feel particularly grateful. The new arrangement of 'The Merchant of Venice,' by Eccles, in 1805, was at least to be pardoned for the motive which led to it. This Irish gentleman had come to the conclusion that Shakspeare's plays had, by bad editing, got into a confusion, out of which he could extricate them, and reduce them to order and beauty. Mr. Eccles tried his hand on 'Cymbeline,' 'King Lear,' and finally 'The Merchant of Venice.'

The chief merit of this gentleman is, that he only transposes, but never otherwise alters, the original scenes or passages. He never adds a line of his own. There is some ingenuity in what he has done, and his modesty only heightens such merits as may fairly be recognized in his manner of dealing with the national poet.

Finally, we come to Shakspeare in French. In whole or in part, Shakspeare has often been translated into that un-Shakspearean language. M. de Chatelain himself has already translated Macbeth,' 'Hamlet,' 'Julius Cæsar,' and The Tempest' and his facility at writing verse is well known, but it is of that sort which is sometimes called "fatal." He seems never at a loss for a word, of some sort or another. Sometimes he blushes at an English phrase: and gives something of his own instead of Shakspeare's! The modesty is charming; the audacity is perfect.

Shakspeare's blank verse put into French rhyming lines is about as unpleasant a thing as can well be conceived. It would be just as bad if the blank verse were put into English rhyme. There is a jigging air about the rhymed part of M. de Chatelain's version which is intolerable. The characters seem like equestrians and their horses in a circus. They go round, faster or slower, to a set tune. They all amble in cadence, and you know the tune of it after the first round. Even if there be a jump through a hoop, or a leap to the accompaniment of fireworks, the tune does not change, and weariness ensues unless Mr. Merriman falls in, with a crack of the whip and a joke at the end of it. In the present performance, the jokes are not always made by the clowns: the gentlemen in short tights, flesh-colours, plumed caps and spangles, find their own wit; and Shylock, as he canters round the saw-dust in a double act of horsemanship with Antonio, "flies his own kite," cracks his own jokes, and does the comic business. Here is an example. Shylock says to Antonio :

Rest you fair, good Signior; Your worship was the last man in our mouth. And this is the French of it, according to our Chevalier :

Puissiez vous du repos jouir, mon gentilhomme,
De votre seigneurie, ah! je n'eusse attendu
Onc la nécessité d'écrire un IO U.

atte-Bow; but that "I OU" was good French Chaucer laughed at the French of Stratford

Is it

of Paris we now learn for the first time.
in the Dictionnaire de l'Académie'? Is it in
Boiste? What is the English of it, after all?
Have subscribers to IOUS been writing French
during their gambling lives without knowing
it? Oh, spirit of Molière ! oh, Philaminte! oh,
Armande! oh, Bélise! oh, Chevalier! oh, Tri-
sotin !-

Ah, que ce "IOU" est d'un goût admirable!
C'est, à mon sentiment, un endroit impayable
De "IOU" aussi mon cœur est amoureux !
Je suis de votre avis, "I OU" est heureux !

Hardly less amusing than "IO U" is the way in which the translator takes Shakspeare to task. Gobbo says, "He hath a great infection, sir, as one would say, to serve." M. de Chatelain, not seeing the clown's wit in this, translates it, "Il a une grande intention, messire, comme qui dirait, de servir "; and he does so on this ground, "Cet esprit là, si c'est de l'esprit, est de l'esprit qui sent mauvais."

There are other strange translations in this version besides "IOU." Among them is

that of Salarino's remark on Lorenzo's tarrying: "His hour is almost past," the French for which our Chevalier puts down thus:- je crois in petto

Qu'il a, sans y penser, laissé s'égarer l'heure. This macaronic style is balanced by making poor Tubal stoop to slang. "Antonio is certainly undone" is rendered in French by

"Antonio est certes enfoncé!" Portia's fine description of Mercy loses in its French shape all the tender beauty of the original. Portia herself, when Mrs. Clive played the part, must have equally suffered in the trial scene; for that clever but not too discriminating actress used throughout that scene to give imitations of the leading pleaders of her time!

In taking leave of M. de Chatelain, we willingly acknowledge that some of his lines are happily rendered. Among these is the love scene in which Jessica and Lorenzo go through their tender reminiscences, in the series of passages each of which begins with"In such a night." One of these passages gave rise to some of the most beautiful music that ever fell from rapt composer :

1

- In such a night

Stood Dido, with a willow in her hand,
Upon the wild sea-banks, and waft her love
To come again to Carthage.

From those lines Hector Berlioz took the idea whence sprang his opera 'Les Troyens.' To Dido and Eneas he gave, as far as they were applicable, the love reminiscences of Lorenzo and Jessica, and 'Par une telle nuit ' heralded exquisite music in each, the most exquisite in an opera which Berlioz dedicated "Divo Virgilio." We have only to add, that M. de Chatelain gives, in an Appendix, translations of Mr. R. H. Horne's dramatic reverie,

Shylock in the Nineteenth Century,' and of Mr. T. D. Sullivan's Irish ballad, Thiggin Thu.

Bramatic Gossip.

A NEW difficulty has arisen, further to perplex the minds of the managers of Parisian theatres. All the firemen at the various theatres have been taken for active service, and the theatres are, in consequence, deprived of the safeguard afforded by their presence. Many houses have been closed in consequence.

M. THÉODORE BARRIÈRE has read to the actors of the Palais Royal his new comedy-Les Cris du Coeur.' MM. Geoffroy, Lhéritier, Priston, Lassouche and Hyacinthe, and Mesdames Barataud, Baron and Montrouge are cast for the principal

characters.

M. LESUEUR will make his debut at the Variétés in a new drama by M. Vanloo-Les Peaux rouges de Saint-Quentin. At the same house 'Un Brosseur de la Mobile au Camp de Châlons' is in rehearsal. At the Gaîté, the apropos sketch in preparation is entitled 'Aux Armes,' and is by MM. Gille and Duprato.

As we mentioned in our last number, the representation given at the Comédie Française for the benefit of the wounded, a short dramatic sketch by M. Eugène Manuel, the author of 'Les Ouvriers,' was represented for the first time.

'LE FILS DE FAMILLE,' of MM. Bayard and Bierville, has been revived at the Gymnase, with M. Train and Madame Prioleau-the latter an actress who brings a good reputation from Bordeaux-in the principal parts.

A NEW opera buffa, by Signor Usiglio, 'La Scommessa, of which the libretto is written by Signor B. Prado, has been very successful at the Principe Umberto Theatre, at Florence.

SIGNOR EMILIO POGGI, the dramatic writer, died

M. GUIZOT'S

NEW HISTORY OF FRANCE.

To be Published, in Monthly Parts, price 28. each,

THE HISTORY OF
FRANCE.

ANTIQUARIAN NOTES.

A New Reading in 'Macbeth.'-Permit me to add a few words to the discussion raised on the meaning of the line in 'Macbeth,' Act. v. sc. 3: "Will cheer me ever, or dis-seat me now." I submit that the alteration to "defeat me now "does not give the Shakspearean touch; it does not involve a true antithesis, for no one knew better than Shakspeare that a man may be defeated and yet cheered, in the sense of consoled and supported. Percy's conjecture that cheer ought to be read chair is certainly correct. In Warwickshire, the popular pronunciation of chair used to be cheer, and to "chair a person was always considered a mark of honour and promotion. In 'The Tempest,' Act iv. sc. 1, there is a reading which I wonder has never been corrected. It is embarrassing as it stands. Ariel, addressing Prospero, says

Will be here with mop and mowe. Do you love me, master? No. Ariel has done Prospero's bidding; she comes to him for his approval, and to cheerfully perform

fresh services. The word no seems to indicate that she saw signs of disappointment in her master's face, and doubted his affection. This is an interpretation wholly unwarranted by the condition and relation of the characters. Why not alter no to now, and read "Do you love me, master, now?" mowe, which it was meant to do. Prospero replies Now also enjoys the advantage of rhyming with to the question

Dearly, my delicate Ariel;

RELATED FOR THE RISING GENERATION BY

M. GUIZOT, Author of 'The History of Civilization in Europe,' &c. &c. TRANSLATED FROM THE FRENCH BY

ROBERT BLACK, M.A.

To be completed in about Twenty-four Monthly Parts, each of which will be Illustrated by at least Four very beautiful Full-page Woodcuts, and many smaller ones, after Designs by A. DE NEUVILLE. PART I. will be ready OCTOBER 1.

SAMPSON LOW & CO. have much pleasure in announcing that they have completed arrangements with Monsieur GUIZOT and Messrs. HACHETTE for the publication, in the English Language, of the above work, the issue of which has just been commenced in serial form in Paris, where, in its weekly issue alone, it has already reached a circulation of nearly fifteen thousand copies; indeed, of the immense popularity of such a work in its own country and in its own language, and by an author so celebrated and so capable as Monsieur GUIZOT, there

could have been no question or doubt, it being no common occurrence, either in France or elsewhere, for men like M. GUIZOT, occupying the highest position in statesmanship, science, and letters, to devote their labours to the production of such a work as this, which is of an essentially popular character.

The special nature and design of this work may be best gathered from the following portions of a letter addressed by the venerable author to his French publishers:

"You have heard, gentlemen, that for many years I have taken paternal pleasure in relating the History of France to the younger members of my family, and you ask me if I have any intention of publishing these family studies on the great life of our country. Such was not at first my idea; I thought of my own family, and of them alone. What I had at heart was to make them truly comprehend our history, and to interest them therein by satisfying their intelligence and their imagination, by showing it to them at once bright and life-like.

*

"In order to attain the object which I proposed to myself, I have always taken care to connect my stories or my reflections with the great events or the great personages of history. When we wish to describe a country scientifically, we visit all parts of it-its plains as well as its mountains-its villages as well as its cities-obscure corners as well as celebrated places: thus a geologist, a botanist, an archæologist, a statistician would proceed. But when the main object is to know the principal features of a country, its general form and contour, we mount the heights; we place ourselves on points whence the eye best seizes the general features and physiognomy of the country. Thus it is necessary to proceed in history, when the object is neither, on the one hand, to reduce it to the skeleton of an abridgment, nor, on the other, to extend it to the long dimensions of an erudite work. Great events and great men are the fixed points and the summits of history, and it is from thence that we can consider it as a whole, and follow it in its main roads. In thus relating it, I have occasionally lingered over some particular anecdote, by which I have been enabled to put in a vivid light the dominant spirit of the time or the characteristic manners of the population; but, with these rare exceptions, I have in my narrative always fixed upon great facts and great historic personages, in order to exhibit them as they have been in reality, the centre and the heart of the life of France."

Such a work, conceived in such a spirit, and carried out by a writer so clear, so methodical, and so appreciative as the distinguished author of 'The History of Civilization,' appeals not alone to the rising generation, who are destined to make the future history of the country it describes, but to that also of the whole civilized world. A good, thoroughly trustworthy, and popular History of France has long been a recognized want, and this work seems to be admirably calculated to fulfil that requirement.

The work, when completed, will form three very handsome large 8vo. volumes, and will contain at least one hundred fullpage woodcuts, drawn and engraved in the very highest style of the art, besides numerous text illustrations.

The issue in Monthly Parts will commence on the 1st of October, and will be continued on the 1st of each Month until completed.

As it is reasonable to expect a large demand for this work, those desirous of becoming Subscribers are respectfully requested to register their names with their respective Booksellers with as little delay as possible.

Prospectuses and Specimen-sheets for Distribution may be had on application to the Publishers.

London: SAMPSON Low, SON & MARSTON,
Crown Buildings, 188, Fleet-street,
And all Booksellers.

A.D. 1380.

The several Versions of the English Hexapla are-
WICLIE'S Version-the harbinger of the Reformation.
TYNDALL'S own revised edition, printed at Antwerp.
The Version printed under the care of Archbishop CRANMER.
The Translation made and printed by the EXILES AT
GENEVA, during Queen Mary's reign.

A.D. 1534.
A.D. 1539.
A.D. 1557.
A.D. 1582. The Version prepared by the POPISH COLLEGE OF RHEIMS.
A.D. 1611. The present Translation, as authorized by King JAMES the
FIRST.

The Greek text is printed in the boldest type, and accompanied with various readings and collations of different recensions.

The six Translations and the original Greek are presented to the eye at one view; and the whole is preceded by an Introduction full of interesting memorials of the translations and the translators.

Extra Demy Quarto, price Two Guineas.

Kept bound in calf, and Turkey morocco, and russia, flexible sides. Polyglot Bibles and Biblical Aids in great variety. Catalogue by post, free.

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22, Cornhill, E.C.

510, Mosley-street, Manchester.
50, Bold-street, Liverpool.

39, New-street, Birmingham.
For GENTLEMEN.

H. J. Nicoll's Tourists' Suits, 428.; Trousers, 148.

H. J. Nicoll's Tourists' Overcoats, 208.; Mauds, 218.

For August and September Shooting, H. J. Nicoll's Cheviot Wool 14 Guinea Jackets, with cartridge and pack pockets, cool and strong as linen, resisting the thorn and damp, and well adapted to this variable climate.

For YOUNG GENTLEMEN.

H. J. Nicoll's Suits for the Sea-side (Morning or Evening Dress) ready for immediate use, or made to order in a few hours. Knickerbocker Suits from 218.; Sailor's Costume, 218.; Jacket, Vest, and Trousers, Suits, from 21. 28.; Highland Dresses for 21. 28.; also the New Registered Belt Dress, for Boys, first suit, 218. Hats, Caps, Hosiery, Shirts, &c., for every description of dress.

For LADIES.

H. J. Nicoll's Travelling Dresses, 318. 6d.: trimmed, 528. 6d.
H. J. Nicoll's Travelling Cloaks, 218. to 528. 6d.

H. J. Nicoll's Riding Habits, 638. to 1268.; Hats, complete, 218.
H. J. Nicoll's Promenade and House Jackets, &c.

The above can only be obtained at H. J. Nicoll's addresses in London, 114 to 120, Regent-street, and 22, Cornhill; Manchester, 10, Mosleystreet; Liverpool, 50, Bold-street; and Birmingham, 39, New-street.

THE LOCH,

MOOR

AND MOUNTAIN THREE GUINEA SUITS,-SEASON 1870.

The Bannockburn, Lochness, Killiecrankie, Blair Athol, and all the Heathers of Scotland, the various tints being so delineated that a perfect picture is presented of the Highland Moors, of which it may be truly said "A thing of beauty is a joy for ever," for FISHING, SHOOTING, DEERSTALKING, &c. at ALFRED WEBB MILES' only address, 12, Brook-street, Hanover-square.

Established 1841. Caution. This Notice is registered and copyright, as somebody's bairn has nae ither choice than to mak use o' A. W. M.'s auld Advertisements.

PHOENIX FIRE OFFICE, LOMBARD-STREET

and CHARING CROSS, LONDON.-Established 1782.
Prompt and Liberal Loss Settlements.
Insurances effected in all parts of the world.

GEO. W. LOVELL, Secretary.

BATHS and TOILET WARE. WILLIAM S.

BURTON has ONE LARGE SHOW ROOM devoted exclusively to the display of BATHS and TOILET WARE. The Stock of each is at once the largest, newest, and most varied ever submitted to the Public, and marked at prices proportionate with those that have tended to make his Establishment the most distinguished in the Country. Portable Showers, 88.; Pillar Showers, 31. to 51. 128.; Nursery, 188. to 388.; Sponging, 68. to 328.; Hip, 138. to 318. 6d. A large Assortment of Gas, Furnace, Hot and Cold Plunge, Vapour and Camp Shower Baths. Toilet Ware in great variety, from 118. 6d. to 488. the set of Three.

WILLIAM S. BURTON, Furnishing Ironmonger, by appointment to H.R.H. the Prince of Wales, sends a Catalogue, containing upwards of 850 Illustrations of his unrivalled Stock, with Lists of Prices and Plans of the 20 large Show Rooms, post free.-39, Oxford-street, W.; 1, 1A, 2, 3 and 4, Newman-street; 4, 5 and 6, l'erry's-place; and 1, Newman-yard. The cost of delivering goods to the most distant parts of the United Kingdom by railway is trifling. WILLIAM S. BURTON will always undertake delivery at a small fixed rate.

ELKINGTON

& C O.,

PATENTEES of the ELECTRO-PLATE, Desire to remind the public that their Manufactures are kept in stock by most of the Silversmiths throughout Great Britain, and recommend purchasers to satisfy themselves that their Trade-Marks,

(E. & Co., under a Crown in a Shield)

are distinctly stamped upon each article, such only being warranted. The statement now so frequently made, that articles (often of the most inferior description) are plated by Elkington & Co.'s process, is utterly valueless as a criterion of quality.

In the case of "Elkington v. Johnson," recently tried before ViceChancellor James, a perpetual injunction was granted, restraining defendant from using or imitating their Name or Trade-marks, and Elkington & Co. now Give Notice that they will institute legal proceedings against all persons similarly offending.

SILVER AND ELECTRO PLATE WORKS,
NEWHALL STREET, BIRMINGHAM.

PARTRIDGE & COOPER,

MANUFACTURING STATIONERS,

192, Fleet-street, corner of Chancery-lane, E.C.
The PUBLIC SUPPLIED at WHOLESALE PRICES,

AND

CARRIAGE PAID to the Country on orders over 208.

An ILLUSTRATED PRICE LIST of Paper, Envelopes, Writing Cases, Stationery Cabinets, Despatch Boxes, Inkstands, &c., post free. Established Thirty Years.

OSLER'S CRYSTAL GLASS CHANDELIERS,

WALL LIGHTS and LUSTRES, for Gas and Candles.
CHANDELIERS in Bronze and Ormolu.
MODERATOR LAMPS and LAMPS for INDIA.
TABLE GLASS of all kinds.

ORNAMENTAL GLASS, English and Foreign.
Mess, Export, and Furnishing Orders promptly executed.
All Articles marked in plain figures.

LONDON-Show Rooms, 45, Oxford-street, W.
BIRMINGHAM-Manufactory and Show Rooms, Broad-street.

Established 1807.

TAINED GLASS WINDOWS

ST

£219,705 £1,342,472

Insurances may be effected at current premiums.
Further information may be obtained on application.
JOHN P. LAURENCE, Secretary.

and CHURCH DECORATIONS.

HEATON, BUTLER & BAYNE,
GARRICK-STREET, COVENT-GARDEN, LONDON.
Prize Medal-London and Paris.

E. LAZENBY & SON'S PICKLES, SAUCES,

and CONDIMENTS.

E. LAZENBY & SON, Sole Proprietors of the celebrated Receipts and Manufacturers of the PICKLES, SAUCES and CONDIMENTS 80 long and favourably distinguished by their name, are compelled to CAUTION the public against the inferior preparations which are put up and labelled in close imitation of their goods, with a view to mislead the public.-90, WIGMORE-STREET, Cavendish-square (late 6. Edwards-street, Portman-square); and 18, Trinity-street, London, S. E.

HARVEY'S SAUCE.-CAUTION.-The

admirers of this celebrated Sauce are particularly requested to observe that each Bottle, prepared by E. LAZENBY & SON, bears the label used so many years, sigued "Elizabeth Lazenby."

with diagonal bolts, to resist wedges, drills, and fire. Lists of Prices, with 130 Illustrations, of all sizes and qualities, of Chubb's Safes, Strong-room Doors, and Locks, sent free by CHUBB & SON, 57, St. Paul's Churchyard, London.

METCALFE, BINGLEY & CO.'S New Pattern

TOOTH BRUSHES, and Penetrating unbleached Hair Brushes, Improved Flesh and Cloth Brushes, genuine Smyrna Sponges, and every description of Brush, Comb and Perfumery. The Tooth Brushes search between the divisions of the Teeth-the bristles do not come loose. Metcalfe's celebrated Alkaline Tooth Powder, 28. per box.Address 131B, OXFORD-STREET.

PARQUET SOLIDAIRES

Sold by all Dealers throughout the world.

REAL ENJOYMENT.-The PATENT READ

ING EASEL, for Holding the Book, Lamp, and Refreshment,

at any height or angle, over a Bed, Sofa, Easy Chair, or Table. Invaluable to Invalids, Students, and Aged Persons. Admirably adapted for India. A most useful and elegant Gift. Prices from 208. Drawings post free.-J. CARTER, 55, MORTIMER-STREET, W.

CLARET.-T. O. LAZENBY.-CHAMPAGNE.

90, 92, WIGMORE-STREET, London, W.

ELLIS'S RUTHIN WATERS unsurpassed for their purity. Ellis's Soda, Potash, Seltzer, Lithia and Potass Waters and Lemonade. None genuine unless Corks branded "R. Ellis & Son, Ruthin,” and each Bottle bears their Trade-mark-Goat on Shield.

Sold by all Chemists, Confectioners, and Hotel-keepers.
Wholesale only of R. ELLIS & SON, RUTHIN, North Wales.
London Agents: W. Best & Sons, Henrietta-street, Cavendish-square.

BREAKFAST.-EPPS'S COCOA.

The Civil Service Gazette remarks:-" By a thorough knowledge of the natural laws which govern the operations of digestion and nutrition, and by a careful application of the fine properties of well-selected Cocoa, Mr. Epps has provided our Breakfast Tables with a delicatelyflavoured beverage which may save us many heavy doctors' bills."