inclined to derive from the political institution of the two consuls. The second paper discusses the bronze fragment of a lex discovered in 1880 at Este, which Mommsen supposes to be a second fragment of the Lex Rubria. Jordan continues his Quaestiones Orthographicae Latinae, and Breysig his notes on Avienus. C. Robert ("Der Streit der Götter um Athen ") argues that the scene represented on the Petersburg vase, first described in 1872 by Stephani, is a copy from the western frieze of the Parthenon. Stutzer continues his notes on the criticism and interpretation of Lysias.

WE learn from the Revue critique that a collection of the minor philological papers of the late Prof. Koechly will shortly be published, in two volumes, by Teubner, of Leipzig. The first volume, entitled Opuscula Latina, will contain those written in Latin, and is being edited, in accordance with Prof. Koechly's last wishes, by Herr G. Kinkel; the second volume, Deutsche Aufsaetze, will contain those written in German, and will be edited by Herr E. Boeckel, with an Introduction by Herr M. Thomas.

TEUBNER'S other announcements include an edition of the Miles Gloriosus of Plautus, by Herr O. Ribbeck; a critical essay, by Peter Papageorgios, on a large number of passages in the Scholia upon Sophocles; and a monograph, by Herr Karl Reissner, entitled Die Cantica des Terenz und ihre Eurythmie.

THE publishing house of Trübner, at Strassburg, announce for publication this autumn an edition of the Middle-English poem of King Horn, with a Glossary, by Dr. Th. Wissmann; the second and last part of the Ravanavaha, by Dr. S. Goldschmidt; and the first of three volumes of the Roman du Renart, edited by Dr.

E. Martin.

Ar their festive gatherings the Dilettanti have been wont to strike out splendid enterprises; and, under the guidance of select committees, these enterprises have been carried generally to most successful issues. The present volume is the latest illustration of this statement. It is a record of operations on the sites of Priene, Teos, and the Temple of Apollo Smintheus, in the Troad. Many questions of importance in the architecture of Greek temples, and in matters of history, have arisen from these operations. Members of the society, specially qualified, have dealt with these questions, and have here contributed their results.

The volume opens with a chapter by Mr. Fergusson, on the origin of the Grecian orders of architecture. As to the Doric, he rejects decisively its derivation from construction in wood, and claims that the fact of some of the earliest Doric temples in Greece having been made of this material does not go against his argument. Yet, if we assume the Greeks to have obtained their idea from stone columns in Egypt, and to have translated it into wood in perhaps their earliest efforts at the construction of a temple, we ought to consider, before giving them the credit of inventing this translation, whether they may not have known of columns of wood in Assyria. That would not affect the argument as to the Egyptian origin of the form of the Doric column in Greece; it would do no more than

has just been indicated. Mr. Fergusson, however, may not be altogether right when he takes it for granted that wooden columns would be thin and attenuated, while the oldest-known Doric columns are short and massive, only becoming thin and attenuated in the process of centuries. If he were unalterably right, the fact would be, as he says, a convincing proof that Doric pillars had not been derived from a wooden original. But a wooden pillar would necessarily be made of drums carefully sized, and could be of any thickness and height that was desirable. I doubt if the oak column in the posticum of the Heraeum at Olympia can be explained away as a repair. It must have had some other motive. Again, as regards the peripteral arrangement of columns in a Greek temple, it will be felt that Mr. Fergusson justly traces the origin of it to Egypt. But some will hesitate before they follow him in the next step, when he assigns as one of the advantages of this arrangement the protection it afforded to paintings on the external walls of the Cella. No one can refuse his evidence that colonnades, used simply as such, were decorated with mural paintings, or that the walls of temples under the colonnades were embellished with colour, or, perhaps it may also be added, that the now blank metopes of the Theseum had once been painted with designs. But if we take the Parthenon as an example, and assume its external walls to have been adorned with mural paintings, we are obliged to suppose that none but the greatest artist of the day would have been employed for the purpose, and we can scarcely accept it as possible that all mention of him and his work should have escaped each and all of the ancient writers. Then, in regard to the mode of lighting a Greek temple, Mr. Fergusson, of all men, is entitled to be heard. He omits the claims of the Heraeum at Olympia to be a hypaethral temple. But unless it was hypaethral, I do not see how the poor hoplite, wounded mortally in fighting from the roof, could have found a place to lay himself down in where his body would be protected from all weather till long after, when it was discovered during repairs to the roof. Pausanias (v. 20, 2) says that he had got himself down between the ceiling and the roof, as I read the words; and to have done so he either must have removed some of the roof stones, or have let himself down through a hypaethral opening. The latter course would seem to be the more likely of the two for a man mortally wounded. Then there is the question of how he managed to get up to the roof first of all. A severe fight was raging, and the Eleans betook themselves to all available high places from which to hurl missiles on their opponents. The poor hoplite may have ascended with others, by means of a ladder from the outside. But there may also have been a stair from the interior leading to the roof, as in the neighbouring temple of Zeus. To follow Mr. Fergusson in his history of the Ionic order would require space for criticism, and certainly space for very frequent consent to his views.

Mr. Newton has contributed in the first

place the history of Priene, to which the excavations of the Dilettanti have added a

mass of raw material in the form of public inscriptions in reference to the long standing quarrel of Priene and Samos. I have called these documents "raw material" because a Greek inscription, even when perfectly preserved, must be put through a long process of study and comparison before it can be rendered fully intelligible, and thus become available for history. It may be, as Prof. Jowett says, that the ingenuity required in reading an inscription is of the same kind as that employed on an acrostic. In their manner of working there is much in common between a house painter and a great artist-so much, indeed, that many, even of those who may enjoy Prof. Jowett's translation of Thucydides, would fail in distinguishing between the results. The Priene inscriptions are often fragmentary, and sometimes very difficult to read on the stones. These stones, together with what remained of the sculptures of the temple, were presented by the Dilettanti to the British Museum. Little, in fact, of the sculptures had been left; such as there is has been dealt with by Mr. Newton. He has given also an historical sketch of Teos. Special contributions on questions of Greek architecture have been made by Mr. Watkiss Lloyd and Mr. Penrose, both of them known for their previous services in the publications of the Dilettanti Society.

Mr. Pullan directed the excavations and has furnished reports of his proceedings, observations on architectural details, drawings, and restorations of the temples. It is to his draughtsmanship, combined with the skill of a French engraver, that most of the plates are due. But whether they are from this union of skill, or merely reproduced from photographs, the plates are always attractive. This handsome folio is a monument at once to the liberality and taste of the Dilettanti, and to the management, artistic skill, and endurance displayed by Mr. Pullan under years of fatiguing and often dangerous exploration.

A. S. MURRAY.

ARABS, TRAVELLERS, AND
"ANTEEKAHS."

A RECENT writer in the Saturday Review
(August 20) draws attention to the rumours of
a great hidden treasure which of late years have
been current on the Nile, and reminds us that
the secret of this treasure was supposed to be
for sale to any wealthy excavator who might
come armed with a purseful of backsheesh and
a firman from the Khedive. Then our Saturday
Reviewer, with an Arcadian guilelessness which
is equally beautiful and touching, goes on to ask
"why, if this cavern was known to exist, the
natives did not penetrate to it, and bring forth
something more valuable than the few strings of
to travellers for sale."
beads and such-like objects which have been offered

66

The explanation of this difficulty, however, is not far to seek. The Arab, we are told, is extremely superstitious; " and had he even "dared to penetrate into a cavern so full of afreets, his mechanical appliances for removing great weights from a gallery 200 feet long, and a secret passage leading to a pit thirty-five feet deep, would be utterly insufficient. Nevertheless, some one bolder

than the rest seems last June to have made the venture,'

granting his lack of mechanical appliances, I &c., &c. Now, granting his superstition, and think I can show that the astute native must

have long since found his way into the recesses of the great cache at Deir-el-Baharee; in fact, that he has worked this mine pretty freely for several years; and that "the few strings of beads and such-like objects" with which he has all this time been beguiling the simple-minded European savage represent on the whole a very considerable amount of booty.

In order to prove this assertion, I need only point out the connexion between certain "anteekahs" that have come to light within the last ten years or so, and the mummies and mummy-cases just discovered at Thebes.

1. QUEEN NOTEMIT, or NOT-EM-MAUT, wife of the first priest-king, Her-Hor.-This queen appears in Prof. Maspero's first list (see my paper in the ACADEMY, August 13). Her funereal papyrus, the property of H.R.H. the Prince of Wales, has been for some years on view in the British Museum.

2. PRINCESS NESI-KHONSU (No. 25 of the list reported by the Times correspondent-see Times, August 19).-An inscribed wooden tablet bearing the name of this princess was exhibited in the Egyptian section of the Exposition Universelle, Paris, 1878. It was then the property of Mr. E. T. Rogers, and was subsequently purchased for the Louvre. The tablet was translated by Prof. Maspero in his Recueil des Travaux, liv. i., tome ii., 1880, where it is described as being excellently preserved, the wood of a yellowish tint, full of little knots, and splashed here and there with ancient stains of damp. The epoch of this tablet, says Prof. Maspero, may be approximately determined by the name of the deceased, and by certain peculiarities in the hieratic writing with which it is covered on both sides. The name NesiKhonsu was popular towards the close of the Twentieth Dynasty, when the Ramessides and the high-priests of Amen particularly affected the worship of Khons. to whom Rameses III. had built a temple at Karnak. The name is a Theban name; the text contains a decree of Amen of Thebes in favour of the deceased; and "comparing the writing with that of other recently discovered papyri," says Prof. Maspero (writing, let us remember, in 1879), "I am led to believe that our tablet comes from some sepulchre belonging to the yet unknown group of tombs of the family of Her-Hor." To this I may add that, travelling in Upper Egypt in 1874, I myself purchased from the same Arab dealer and guide mentioned in my first paper on this subject (ACADEMY, August 13), a funereal stela, exquisitely painted in brilliant colour upon sycamore wood, of this very Nesi-Khonsu. My stela is in as fine preservation, is in the same way slightly stained, and shows the same knots in the wood as the tablet above described. It measures 15 x 8 inches; is about one inch in thickness; and represents the princess, crowned with the cone and lotus bud, in the act of offering incense to Osiris. Seven lines of vertical inscription, in bold hieroglyphs, record the name and rank of the deceased, who was also a priestess.

3. PINOTEM I., grandson of Her-Hor, and third of the line of priest-kings. In my former paper, in the ACADEMY of August 13, I have mentioned how an English traveller had presented Prof. Maspero with a photographed reproduction of part of this King's funereal papyrus, and how Prof. Maspero was thereby enabled to arrest the Arab dealer before named. I do not know the precise date at which the papyrus changed hands; but its English owner had, at all events, possessed it for some time before Prof. Maspero started upon his official trip in February last. I may here observe that mummy No. 21 of the Times list (August 19), described as Pinotem, third king of the HerHor Dynasty, is Pinotem II., fourth king of

that line.

4. THOTHMES III.-Funereal statuettes, or Shabti, of this Pharaoh, in superb blue enamelled porcelain, have been bought at Thebes for some years past. I bought several, and many others were bought by persons known to me, in 1874 and 1879. Scarabaei of Thothmes III. have also been extraordinarily numerous.

5. NEB-SENI, a functionary whose mummycase, as I am informed by Prof. Maspero, has been discovered in the hiding-place at Deir-elBaharee. His funereal papyrus is in the British Museum, and is mentioned in Mr. Cooper's Archaeological Dictionary as far back as 1876.

To multiply instances of this kind would be easy; but these five are, I think, sufficiently convincing. That the five royal papyri which have of late years been acquired by the Louvre, the Boolak Museum, and the English traveller before mentioned all came from this one source can scarcely be doubted. A libation cup of one of these high-priests of Amen, which has quite lately been purchased from a tourist by the British Museum, was also most probably derived from the same treasure-house.

Finally, a foreign agent and wine-merchant of Cairo and Alexandria told me, in 1874, that he had that very season successfully passed and shipped no less than eighteen Theban mummies purchased by European travellers. So, for the last seven years certainly, and possibly (as may hereafter be shown by another proof, which I am not now at liberty to bring forward) for the last twenty-two years, the hiding-place at Deirel-Baharee has been known and plundered by the Arabs. It is therefore of the greatest importance that we should ascertain what has been already removed and dispersed. That Nile travellers have all been buying according to their means and opportunities must be frankly admitted; and, by so buying, they have, in all probability, saved many precious relics from wanton destruction. The preservation of those relics is, however, of little use, unless their existence is made public. I would therefore suggest that we all render up an account of our "strings of beads and such-like objects," in order that archaeologists may know where the lost links of Egyptian history are to be found, and where they may be studied. It is, after all, of little importance where mummy-cases and papyri and stelae are deposited, if only their inscriptions are transferred to the domain of science. AMELIA B. EDWARDS.

A FEW years since the Avvocato Dario Bertoliui, of Portogruario, in the province of Venetia, was the deserving recipient of much commendation, both in Italy and abroad, on account of the energy with which he superintended the excavations in the Christian cemetery of the fifth century discovered near Concordia-Sagittaria, and for the learning with which he commented on the many inscriptions that were found in these tombs. Prof. Mommsen told the story of these discoveries in the Additamenta to vol. v. of the Corpus Inscriptionum Latinarum, and bestowed at the same time a hearty encomium on the discoverer. In the year 1874, if I remember correctly, some large sarcophagi came to light while a sand-pit was being sunk on the right bank of the Lémene, which faces the present town of Concordia. The sarcophagi were hewn with the roughness which characterises the later period of the decadence of classical art, and bear inscriptions recording, in corrupt Latin, the memory of some Roman soldiers who formed

At

part of the garrison of Julia Concordia Colonia, a place renowned for its factory of arms. the commencement of 1875, the Minister of Public Instruction visited the spot of these excavations, and granted a subsidy for their further extension. With the assistance thus afforded by the State, nearly the whole of the cemetery was dug out during the years which followed, the sarcophagi, which now amount to about 200, being left where they stood. The spectacle is grand in the extreme; the massive tombs, with their heavy lids, are grouped on both sides of the Roman road which led to Aquileia and the east, and which thus, so to speak, divided the cemetery. In some places the remains of willow stumps indicate that the trees which poets have so often sung threw their shade over the tombs, and help us, at the same time, to picture the gloomy scene. In other places we see slabs that have been completely wrenched from their sarcophagi by means of levers; and in imagination we witness the desolating invasion of the ruthless Huns, who cared not one jot for the pains and penalties with which he who should desecrate the tombs was threatened, and who broke them open in every direction in order to rifle the valuables which had been buried with the corpses. But soon we shall be no longer able to gaze on this spectacle, for the cemetery is considerably below the present level of the river; and, as the tombs have been left where they were found, the Lémene will, before long, once again cover them over with its waters. The winter floods compelled the cessation of the excavations, and it was sought to bring about an agreement with the municipality, and to induce this body to found a museum wherein the more noteworthy relics found in the cemetery might be preserved. A collection of inscribed slabs had already been formed in a piazza belonging to the town hall. But this place could not possibly have answered its purpose, as it lacks the space which is necessary for a proper and scientific arrangement of the abundant materials at hand. Moreover, if we limit our researches to the bare cemetery, we find there not merely these soldier tombs erected in the Empire's decadence, but many fragments utilised as building materials, which bear witness to the days when the colony was flourishing. Again, underneath all the military tombs there lie others which should be explored.

During the course of these negotiations, the result of which is such as to lead us to hope that a few tombs may at least here be preserved in their integrity, Signor Bertolini devoted his energies to some researches on the opposite bank of the Lémene, where the town of Concordia must have stood. The accidental discovery of an ancient bridge, which served to identity a canal of the Lémene that used to flow through the town and was utilised in the factory, led to the inception of these further explorations. While the bridge was being dug out, there were found in proximity to this structure, and underneath the canal, a quantity of articles in bronze, amber, iron, bone, and lead; and among the last we must enumerate some inscribed tablets, which by some are thought to have been possibly used for the purpose of checking the quantity of metal given out to one or more operatives in the factory. There also came to light many scale weights and broken pieces of marble sculptures, statues, and fictile vases. Soon afterwards, portions of a staircase which led down to the canal were recovered; and some building operations, carried out by Count Frattina, close to a little church near Concordia, brought to light more ancient structural remains. But, of themselves, these materials would in no wise have helped us to reconstruct the plan of the ancient city; nor would it have been possible to utilise the excavations which some

time ago were set on foot with a view to procure material for modern buildings, had it not, most fortunately, happened that a workman, who for many years has been employed on these works, possessed an exact recollection of the spots where these excavations were carried out. This man, Stringhetta by name, drew, without any difficulty, for the use of Signor Bartolini, a rough sketch which served as a guide to the sites of the former works. With the help of this plan, it was found possible to trace the walls of the city, with their seven gates, to map out the course of the streets, and the different insulae into which the city was divided; the directions of the sewers were traced, as well as the exact spots where the principal discoveries of inscribed marbles and works of art were made. The remains of the building which was used as the factory of arms have also been identified. A monograph from the pen of Signor Bertolini, describing these researches, which is illustrated by a plan of the ancient city drawn by an engineer-Signor Bon-was published in the November number for last year of the Notizie degl' Scavi. Merely to look at this plan is sufficient to cause one to long for a speedy commencement of systematic excavations; nor can one help praying that the Government may grant a subsidy sufficient for such an undertaking. Unhappily, every day fresh claims come before the Italian Government which it is impossible to satisfy. Hitherto the sums allocated by the Budget for archaeological excavations have proved totally inadequate for their purpose, and hence the stern necessity for proceeding with gentle steps on the work which has already been undertaken, and which it is the duty of the Government to carry out to the end. Even had it the necessary command of means, the Government could not adequately carry out the wishes of archaeological students, as it lacks a staff numerous enough to efficiently superintend the countless archaeological researches that might be undertaken in the different provinces of Italy.

While in this part of the country, we must not lose sight of the Oderzo excavations (the ancient Opitergium), where a few years since the central Government was obliged to busy itself in order that an important discovery of Roman architectural remains made in the course of some building operations might be turned to good account in the cause of archaeology. Some recent architectural works in the piazza of the neighbouring town of Asolo (Acelum) brought to light the greater part of an ancient bath the existence of which was already known from an inscription. A few months previously, an amphitheatre had been discovered outside the walls in the Basso road. The help of the central Government has been invoked to carry out some works of excavation in Pozzale, in the Valle di Cadore, where tombs were dug out that yielded various relics, among which were some stones inscribed with Etruscan characters. This discovery extends the list of those inscriptions found in the North which have hitherto defied all the attempts of scholars to decipher them. Other and similar sepulchres have been found at Lozzo di Cadore, and here were gathered some more stones bearing these same inscriptions. The latter relics should be placed beside the former, which are now preserved in the Museo Cadorino of Valle. This museum, which received a Government subsidy, was opened on the occasion of the Titian centenary during the course of last autumn.

There is a field adjoining the Parrochia di Caverzano, in the district of Belluno, which deserves a more careful exploration than it has received. For here were dug out, with the help of a Government subsidy, some tombs that yielded many bronzes, which are now preserved in the museum of this district. And equal care should be bestowed on the examination of a small cemetery some remains of which

have come to light at Polpetto, situated in the district of Ponte nell' Alpi, in this same province of Belluno.

Two years ago some preliminary excavations were begun in Adria, which showed that a series of systematic and intelligent operations would be likely to yield results of the highest value, and to lead to the identification of the different changes through which this centre of commerce passed.

At this moment the remains of the Roman amphitheatre of Padua are being brought to light, and the zeal of this municipality deserves more liberal encouragement than it has received. But the excavations of Este would alone be sufficient to absorb the energies of the central Government; and of these important works I will speak in a future letter. F. BARNABEI,

THE SUNDAY EXHIBITION AT THE WORKING MEN'S COLLEGE. UNLESS it could be with Mr. Walter Crane's very well-conducted young Sirens, who might almost pass for Faith, Hope, and Charity, or his fine design of The Fate of Proserpina, which we were very glad to see and admire again, it is difficult to see which of the many charming works collected in Great Ormond Street could be a rock of offence to the most rigid of Sabbatarians. Surely not Mr. Richmond's Wise and Foolish Virgins, or the cheerful face of Mr. George Howard, M.P. and artist, several of whose bright bits of Italy adorn the walls of another room; still less Mr. Holman Hunt's splendid chalk study of A Woman of Jerusalem, or Mr. A. W. Hunt's noble picture of Styhead Pass; less even still M. Legros' finely felt and solidly painted Rehearsing the Service, or Mr. Albert Goodwin's Sermon in the Simplon. There is some frivolity, perhaps, in the youth with the pig in his arms, by Mr. G. A. Holmes; and similar animals painted by Mr. Briton Riviere think, we fear, too much of their food; nor are we at all sure that the charming little girl (148) (whose painter's name we should like to know) has not been naughty more than once. But on the whole we think the working-men who come here on Sunday will probably see many less wholesome sights in the course of the day. We are glad to be able to add that not only on next Sunday, but on the Sunday after, they will have the same opportunity of refreshing their eyes and their minds.

Since the catalogue was printed, there have been some interesting additions to the collection; and some more, including Mr. A. W. Hunt's fine drawing of Hart o' Corry, Sligachan, Isle of Skye, exhibited at the Water-Colour Society this year, are promised. The new-comers are not added to the catalogue; but among the more important we noticed two drawings by Blake, and one apparently by John Cozens, the first of the band of landscape-poets who were to revolutionise the art of painting Nature. These are not, of course, so well represented here as at the South Kensington Museum; but, as neither this nor the Henderson collection at the British Museum is open on Sundays, the little assemblage of the works of the watercolourists at the end of last and the beginning of this century will be useful. It is at least sufficient to show something of the state of water-colour painting in the boyhood of Turner and Girtin. Intelligent working-men will be able to see how dead and conventional the art had become in the works of Serres and Wheatley, and the first dawnings of new life in those of Cozens, Dayes, and Turner. Of Dayes, there is a very fine example; a drawing more deserving of study than perhaps any other here. He was Girtin's master, not Turner's; but from him Turner learnt more than from any of his own, for the simple reason that he learnt all he could from everyone, and there was more to

learn from Dayes than from anyone else of the same generation. Although his touch was conventional, his efforts were original, and gained from Nature direct. If this drawing be compared with any one of the same date, it will be seen how far more delicate is his perception of light and distance and atmosphere, how much truer and more beautiful (despite the low and restricted scale) his colour. At its date, there was probably none who could have done this drawing but himself. The little early drawing by Turner, with the bridge and cows, compared with the plate from the Liber Studiorum above it, is also an excellent lesson. The admirable grouping of the cows, bridge, and figures, and the strong drawing of the willow-trunks on the right, are in advance of Dayes. Turner has already got beyond his elders, but the print from the Liber shows a still greater advance both in composition and drawing: in one, he is the student of high promise; in the other, the master. Although the forerunners of Turner are more worthily represented in this exhibition than his contemporaries, there are examples of Copley Fielding, David Cox, Cotman, John Varley, and De Wint. The John Varley is a very fine specimen of this skilful and versatile artist. It is a pity there is no Girtin.

The history of the new school of landscape painting in England is in its infancy so identified with water-colours that the title of Gainsborough to the earliest place in its annals is apt to be forgotten, but here we are reminded of this important fact by the presence of a few fine examples of his chalk and pencil drawings; and beneath them, welcome, if a little out of place, are two beautiful designs by Flaxman.

SOME ART PUBLICATIONS. WE have before us several parts of a new art periodical entitled English Etchings, published by Mr. Reeves, of Fleet Street. It is impossible to withhold a welcome from any attempt to popularise etching; but we should greet the new serial much more warmly if the work in it were less weak and amateurish than it has so far been. Few things are easier to produce than a mediocre etching; but mediocrity has neither artistic nor educational value, and Mr. Reeves would do wisely in sacrificing quantity to quality. We are glad, however, to be able to say that in the latest issue there are decided signs of improvement. If there be not mastery, there are at any rate signs that one or two of the artists comprehend the conditions under which mastery is alone attainable. This is something, and, should the improvement continue, we see no reason why English Etchings should not achieve a fair success.

This book consists of a number of wood-cuts, Pictorial Atlas of Nature. (Ward and Lock.) many of them good of their kind, representing four quarters of the globe. Its chief value will men, animals, and vegetables belonging to the be as a picture-book for children.

A Set of Eight Varied Drawing_Copies. By Albert H. Warren. (Sampson Low.) Mr. Albert H. Warren is so well known as an instructor that we regret not to be able to recommend these drawing copies, which are tame and conventional.

THE "living artist" illustrated in the Magazine of Art this month is the famous Hungarian painter, Michael Munkacsy. A short account of his romantic and brilliant career is furnished by Mr. Beavington Atkinson, who does not, however, relate, among the many extraordinary episodes in Munkacsy's early life, that of his being threatened with blindness. On reaching Pesth, his first starting-point, the young aspirant to fame was laid up in the hospital for many months with a disease of the eyes that rendered him nearly blind. Happily, a timely

operation saved his sight, and the world from losing such a remarkable artist. His famed picture of The Last Day of a Condemned Criminal, that won for him the Paris Salon medal in 1870, and made him known to the world, is given as the frontispiece of the number.

IN the Revue des Arts décoratifs, M. Ed. Garnier commences a series of papers on the history of the porcelain manufactory at Sèvres, and M. H. de Chennevières promises some illustrated articles on theatrical costume and decoration.

A CLEVER sketch by Adolf Rosenberg of Old Berlin in the time of our grandfathers forms the chief feature in the Zeitschrift für bildende Kunst this month. Berlin, though it has become in the present day so essentially modern and universal, was one of the latest capitals in Europe to receive what the writer calls "the metropolitan impulse." It preserved, that is to say, its narrow national and individual character longer than most; and thus its types, even of but a generation ago, appear peculiarly antiquated and bizarre. Portraits of a few of the worthies of Old Berlin illustrate the article, and bear out fully Herr Rosenberg's descriptions. In the same number, Prof. Carl Justi finishes his interesting study of Philip II. as a friend of art which we noticed last month, and the French Salon and the Milan exhibition receive long notices.

NOTES ON ART AND ARCHAEOLOGY. MR. ALFRED DAWSON has been for some time preparing with great care two sets of plates from the works of his father, the late Henry Dawson, of Nottingham. The high and original merit of this fine landscape painter, though long recognised in the North of England, received scarcely sufficient attention elsewhere until the posthumous exhibition of his works at Nottingham Castle in 1878. A later exhibition of his water-colours in London more than sus

tained his rotation. The plates will not be etchings, bu automatic reproductions on copper, finished by hand. One of the sets will be from drawings in black and white, the other from oil pictures. The former set is now ready, and can be seen at Mr. Deighton's, 4 Grand Hotel Buildings, Charing Cross; the latter will probably be issued before the end of the year. Two folio volumes full of drawings and studies by Haydon have lately been added to the collection in the Print Room of the British

Museum.

MESSRS. DALZIEL BROS., of the Camden Press, have sent us a handsome new edition, with proofs on India paper, of Mr. Birket Foster's Pictures of English Landscape, with the accompanying "pictures in words" by Tom Taylor, originally published in 1862, about which we hope to say something at length in a future number. Uniform with this, they announce as in the press English Rustic Pictures, by the late Frederic Walker and the late G. F. Pinwell. As they truly state, Frederic Walker may be said to have originated a school which has shed a powerful and lasting influence on English art while G. F. Pinwell, though of a distinct mind, was an earnest fellow-worker in the same school. The pictures will be carefully selected and printed on India paper, at hand press, from the original wood-blocks.

THE autumn exhibition of works in Black and White, conjoined with that of the Scottish Water-Colour Society, will be held at the Glasgow Institute of the Fine Arts during the months of September, October, and November. The opening day for the public is Tuesday, September 6, and the galleries are regularly

open in the evening from seven to ten o'clock. This is the fourth exhibition of the WaterColour Society. To the Black and White many well-known etchers from the Continent, as well as from Great Britain, are contributors.

THE autumn exhibition of the Royal Manchester Institution will be opened to the public on September 4. As we have already stated, arrangements are completed, subject to parliamentary sanction, for transferring the management of the Institution, with its building and contents, to the Town Council of Manchester.

A LOAN collection of about thirty works by John Phillip, R.A., is now on exhibition in the artist's native town of Aberdeen. It forms part of a small exhibition of modern paintings held in the Municipal Buildings. Since the International Exhibition of 1873, which was devoted chiefly to the works of John Phillip and Thomas Creswick, Phillip has fallen somewhat out of remembrance, his paintings being almost entirely in private hands. The present collection in the town where he began his artcareer by painting pails and water-cans for a tinsmith may do something to revive his fame. It includes the well-known Letter-Writer of Seville, painted for the Queen in 1853, and the large showy work entitled The State Lottery.

THE museum of the Scottish Society of Antiquaries at Edinburgh has lately received a valuable addition in an ancient Scottish canoe, presented by Dr. Bruce, of Dingwall. This canoe, which measures sixteen feet in length, is hollowed out of a single tree, and is a much ruder specimen than any of those already in the museum. Instead of possessing a prow, the bow has been roughly cut square across; and the stern-board which, along with the prow, usually distinguishes the ancient canoes found in Scotland is also missing.

THE New York Nation of August 18 contains a letter from Athens by Mr. W. J. Stillman upon The True Age of the Mykenae Finds," in which he adheres to his opinion, after a fresh examination, that the objects found at Mykenae by Dr. Schliemann are post-classical, and probCelts between the fifth and the second century ably represent the burial-place of a colony of

B.C.

AN opportunity not often vouchsafed to amateur artists is offered by an exhibition that is to be opened at Taunton on October 1. The committee wish to make amateur work a special feature of this exhibition.

LAST Sunday, August 28, an international exhibition of fine art was opened at Lille by M. Turquet, French Under-Secretary in the Department of Fine Art. Besides many pictures the German and Belgian schools, England is from the Paris Salon of this year, and works of said to be very strongly represented, there being contributions from (among others) Messrs. Watts, Orchardson, Morris, John Collier, Colin Hunter, Prof. Richmond, and Miss Clara Montalba.

ARCHAEOLOGY, no less than fine art, owes much to the stimulus which M. Turquet has everywhere applied throughout the sphere of his authority.

It is at his suggestion that the Louvre, here lagging far behind our national museum, will now have an independent department of Oriental antiquities, under which head are included Chaldaean, Assyrian, Persian, Phoenician, Carthaginian, and Jewish objects. M. Léon Heuzey, of the Institute, has been selected as the first Keeper of the new department, with M. Héron de Villefosse as his assistant.

SOME frescoes, formerly attributed to Luini, but now considered to be the work of another pupil of Leonardo-viz., Cesare da Sesto-have been recently discovered at Milan in the building called Antonius, used down to 1798 as a

prison for political criminals. They represent the seven days of Creation and the cardinal virtues. They have been removed to the Brera, where they will be exhibited.

THE following figures, taken from a single number of the Journal des Arts, serves to indicate the large measure of public patronage which art of various kind receives in France. M. Clésinger has received 40,000 frs. (£1,600) for the plaster casts of his two equestrian statues of Marceau and Kléber. M. Léopold Flameng, having finished his engraving of M. Cormon's Cain, has received a new commission to reproduce a portrait of Turenne, which is stated to be in a gallery in England. For these jobs the Government will pay him 22,000 frs. (880). M. Flameng's son, whose picture of The Taking of the Bastille was bought by the State for 10,000 frs. (£400), is now engaged upon a Camille Desmoulins for the town of Guise, for M. G. Haquette is decorating the Hôtel de Ville which he will get 12,000 frs. (£480); while at Dieppe with sea-pieces for 16,000 frs. (£600).

THE Small Salon held every year in Dresden is spoken of as having had more than usual merit this summer. Not only were the local contributions larger and of a higher character than last year, but it was freshened by a stronger admixture of foreign talent.

THAT admirable art-review, L'Art, always distinguished by its liberality, has lately presented to the Louvre a curious work by Giambattista Tiepolo. This is a canvas presenting the remarkable peculiarity of having a picture by this master painted on both its sides.

THE art exhibition at Boulogne, open since the middle of July, will be closed on September

15. It has had considerable success.

THE death is announced of Arnold Tenny, a landscape painter well known in Switzerland and Germany. He died at Schloss Laufen, near Schaffhausen, on August 16, at the age of fifty.

A PANORAMA of Cairo, by the Belgian painter, M. Emile Wauters, is at present exciting much and its banks is said to be particularly happy, admiration at Brussels. The view of the Nile but the figures are criticised as appearing too large for the landscape in which they are set. The mania for panoramas, it will be seen, still lasts in Belgium. Beside those we have already enumerated, and this of Cairo, there is one at Antwerp, painted by M. Louis Verlat, representing the Battle of Waterloo; another in the same town, showing the aspect of its port in the sixteenth century; and yet another, depicting the Battle of Woerth.

AGENCIES.

London Agents, Messrs. W. H. SMITH & SON, 186 Strand, and Messrs. CURTICE & Co., Catherine Street, Strand.

Copies of the ACADEMY can also be obtained every Saturday Morning in EDINBURGH of Mr. MENZIES; in DUBLIN of Messrs. W. H. SMITH AND SONS; in MANCHESTER of Mr. J. HEYWOOD. Ten days after date of publication, in NEW YORK, of Messrs. G. P. PUTNAM'S SONS.

PARIS.

Copies can be obtained in Paris every Satur day morning of M. FOTHERINGHAM, 8 Rue Neuve des Capucines.