Exploration of the Ballynamintra Cave.Cave-hunting in County Waterford proved, many years ago, that the valley between Dungarven Bay and the Blackwater had been a resort of the large Post-pleiocene mammalia. In 1878 the Bailynamintra Cave was discovered in this district by Mr. R. J. Ussher, and a valuable Report on the exploration of this cave has been recently published in the Transactions of the Royal Dublin Society. Dr. Leith Adams describes the animal remains; Mr. G. H. Kinahan, who made a careful survey of the cave, deals with the geological part of the subject; and Mr. Ussher, the discoverer, describes the implements which the exploration yielded. The cave is one of a series in a limestone scarp. The reporters discuss, in the first place, the formation of the cavity and the origin of the gravel which it contains. After the deposition of the gravel, and when the cave had become dry, it was inhabited by bears, which have left their bones buried in an accumulation of stalagmite. In course of time the stalagmitic floor partially broke up, and a pale, sandy earth was deposited. At a later period man tenanted The oldest human remains appear to have been contemporaneous with the Irish elk; the more recent are associated with the bones the cave. of domesticated animals. Among the relics of man, a fine, polished stone celt deserves special notice; an amber bead and a carved knifehandle of bone are referable to a yet later period. It should be added that the Report is excellently illustrated. THE bright comet which, during the last fortnight, has attracted general attention seems to have been first seen in the Southern hemi boat Travailleur in the Bay of Biscay last Committee: (1) The Parásara Madhava Smriti, PHILOLOGY NOTES. MR. HENRY SWEET is re-editing from the MS., MR. E. J. W. GIBB proposes to publish by sphere on May 25, and properly observed on subscription (Trübner and Co.) a comprehensive May 27. In its rapid motion northwards, it selection of Ottoman Poems, from the foundabecame visible to European observers in the tion of the empire down to the present time, night of June 22, the first exact observation of faithfully rendered into English verse in the position having been published from the Kiel original forms and measures. The translations Observatory. From the observations since have all been made direct from the Turkish, made, it appears that the comet reached its and in many cases from scarce and valuable perihelion on June 16, at a distance of 0.73 from MSS. The work will also comprise an introthe sun, the mean distance of the earth from ductory treatise on the character, varieties, and the sun being reckoned as 1; and that it has history of Ottoman poetry; biographical come at a season of the year when the position notices of the several poets; and notes exof the earth with regard to the comet's orbit is planatory of obscure allusions. On another very favourable for observations. Owing to the large inclination of the orbit to the ecliptic, translations. The rich and varied poetry of the page we give two specimens of Mr. Gibb's the comet approaches the north pole of the Ottomans was first introduced to the Western heavens within eight degrees in the third week world by von Hammer in his Geschichte der of July, and will remain in high declinations osmanischen Dichtkunst (four volumes, Pesth, till the end of its visibility. Its distance from 1836-38), which contains specimens of 2,200 poets the sun and the earth increases now at a great done into German. Somewhat later, M. Servan rate, and its brightness is fading rapidly. But, de Sugny, in La Muse ottomane, rendered a owing to the prevalence of fine nights and the similar service to French readers. multitude of observers, it is probable that the English scarcely anything was done until Mr. But in collection of physical observations will ulti-Redhouse published his excellent little treatise mately form a well-connected series, by which on The History, System, and Varieties of Turkish the study of the changes which go on in the Poetry, first read before the Royal Society of constitution of the comet will be considerably Literature in February 1879. It is to be hoped advanced. that Mr. Gibb will receive support from the public in an enterprise which scholars and lovers of the belles lettres should alike appreciate. AN International Medical and Sanitary Exhibition, in connexion with the Parkes Museum of Hygiene, will be held at South Kensington from July 16 to August 13. WE are glad to learn that the French Government have determined to continue the deep-sea dredgings which were begun by the despatch Ar the April meeting of the Asiatic Society of Bengal, the secretary announced that the WE learn from the Revue Critique that Prof. Achille Luchaire, of Bordeaux, has published a pamphlet upon the Basque names of men and laries of the eleventh, twelfth, and thirteenth women contained in certain monastic chartu centuries. THE fourth part of the complete edition of Plautus which is being edited by the pupils of Ritschl has just been published by Teubner. It contains the Asinaria; and the editors are Herren Loewe and Goetz. The text is based upon the codices known as Vetus, Ambrosianus, and Ursininanus, a careful collation of the lastmentioned having been specially made by Herr Loewe in Italy. FINE ART. Scotland in Early Christian Times. The Mr. for giving us a due conception of the growth ne who had no interest whatsoever in the Christian antiquities of Scotland. Relics of early Christian buildings in Scotland are very rare; and those that remain have been for the most part so much ruined by time and the wantonness of man that, if we had no other examples with which to compare them, they would teach us little. It is Dow, however, admitted-though in the days of our fathers it was a subject of most sensecontroversy-that the Keltic folk of Scotland are of the same stock as the Irish. By whatever road the Kelts may have found their way into Scotland, it is now quite certain that Christianity reached them from the west. Had there lingered any doubt of this, Mr. Anderson's careful examination of the monuments and elaborate comparison of them with Irish examples would have set the matter at rest for ever. All persons who know how to weigh historical evidence ought to have been satisfied with the testimonies to this that are to be gleaned from the saintly legends. It is, however, of no little importance to have the monumental testimony furnished also; for, could it by any possibility have told the other way, the conflict would have gone far to discredit a class of record from which much may yet be learnt, but on which, until quite recently, it has been the habit of almost all students to pour out contempt. For about a thousand years almost the only biographies that were written were those of saints; and nearly all these are saturated with the spirit of the marvellous. The historians of the eighteenth century and the later men who have worked on their lines have been disgusted with what they considered the drivel of "monkish superstition;" and, because the writers, in all simplicity and good faith, told tales of the supernatural which rivalled "Sinbad" or Jack and the Beanstalk" in wildness, the conclusion has been adopted that their testi mony on everything was well-nigh valueless. This is an unfortunate misconception, as anyone will readily understand who knows much of the action of the human mind when in contact with things which are at once unintelligible and strongly exciting. The same man who records positively that he has seen what we know he never really did see may be, and probably ought to be, trusted when he wrote of the ordinary facts of life as fully as any modern observer. A large proportion of our rural poor still believe in witchcraft, and many of them could be produced who would most unhesitatingly depose to having seen eattle cured by charms, and articles of furniture moved from place to place by the force magic spells; yet their evidence on the rinary concerns of life is as trustworthy as that of their wiser neighbours. It is to Ireland we must go to see what the early churches and oratories of the Keltic Church were like; it is in Switzerland, Italy, ani France we must seek the greater part of the few remains of Keltic pictorial art which time has spared. Ireland and Scotland have been so cruelly devastated by civil war, and the storms of the Reformation burst on them with such fury, that nearly all the literary treasures of the race have perished in their native lands. The Scoti were the great Missioners of Northern Europe, and they took their books from land to land; and thus it happens that some of the most valuable examples of Keltic art are to be found far away from any place where the tongue was spoken. Mr. Anderson waxes eloquent over the extreme beauty of the Book of Kells and the other similar volumes which testify to the culture and refinement of the Scoti of early "We have seen," he says, days. "that the dwellings associated with them were as mean in character and rude in construction as can well be conceived, and yet that their occupants were men possessing a quality of culture and producing a system of civilisation which it may be difficult for us to estimate at their true value in relation to those of our own day, but of which it is impossible for us to speak in terms of disparagement. We have found the relics of that culture exhibiting a feeling for decorative art, a faculty of design, and a skill in the technical processes of art workmanship sufficient to excite the admiration of the highest culture and skill of the present day." We hope what Mr. Anderson has said will help to remove from the minds of some the extraordinary prejudice that, because our forefathers lived in houses not more commodious perhaps than our stables, they were therefore barbarians. It is not in novels alone that we find men characterised as savages because they do not use forks at dinner; and it is little less absurd to think that the early Missioners on these islands were deficient in culture because they dwelt in rude stone huts and dressed much in the style of the Orientals of to-day. It is to be hoped that, after the exhaustive manner in which Mr. Anderson has treated the subject, we shall hear no more about the art exhibited in the Scotic MSS. having been derived from Greece or Egypt. This is, or was, a favourite theory with a certain school, and could be made a service able weapon in theological skirmishing. could not do better than ask for permission to reprint it in the next volume of their Record. EDWARD PEACOCK. THE TREASURES OF GRAN CATHEDRAL. Geschichtliches Beschreibendes und Urkundliches aus dem graner Domschatze. Im Auftrage und auf Kosten seiner Eminenz des Hochwürdigsten Herrn Johann Cardinal Simor, Primas von Ungarn und Erzbischof von Gran, berausgegeben von Dr. Josef Dankó, Domcapitular. (Gran.) HIS Eminence Card. John Simor, Archbishop of Gran, and Primate of All Hungary, is widely renowned not only as an accomplished scholar in theology and in canon law, but also for his munificence in building churches and schools for the poor in his diocese. By the abovementioned work we become acquainted with him as a prelate bent on promoting and developing the fine arts. For it is owing to his liberality that Dr. Dankó, formerly Professor of Theology in the University of Vienna and now a canon of Gran Cathedral, has been enabled to bring out this costly book, which claims the special attention of every student of art. The history and description of the treasures of Gran Cathedral proves to be a masterpiece of modern Vienna printing, the single pages in imperial folio being bordered with red lines and, in many places, adorned with wood-cuts in the early Renaissance style. Dr. Dankó has enhanced the value of his work by contributing in Hungarian and German a series of learned dissertations on the history of the cathedral treasury, illustrating it Moreover, he brings before us the single objects with historical, critical, and artistic notes. of art in fifty-five splendid photographs, thus enabling the reader to test his statements and to enjoy these specimens far more than he would do on the strength of a mere description. Gran Cathedral was erected as early as 979, in the Romanesque style; but towards the end of the twelfth century, when it was destroyed by fire, it was rebuilt in the Gothic style. The archbishops never ceased embellishing and enriching it with works of art; and it is to the period from 1450 to 1500, when some of the prelates made a stay in Rome, that we are now indebted for several objects in the treasury, which are second to none in Europe. In subsequent times Gran had to endure terrible hardinvaded the country and twice took the ships from the Turks, who in 1543 and 1605 metropolis. The archbishop and his chapter withdrew, and the cathedral was turned by the Turks into a stable. The treasures were safely brought to Tyrnan; in 1619 they found an asylum in Gratz, and in the last great Turkish invasion were safely brought standing all their wanderings and vicissitudes, to Vienna. It is really a marvel that, notwiththe Gran treasures through so many centuries should have been preserved in safety to our own days. Since the Catholic Church in Hungary, unlike other countries of Europe, was not despoiled of her ancient endowments, the Archbishops of Gran possessed the power of adding to the cathedral treasury from time to time out of their large revenues. There are not to be forgottenthree prelates in particular whose names ought - Card. Szech (1440), Archbishop of Gran, who bought the palace satis-built by Card. Acciapaci, at Rome; Archbishop Bakas (1497), who was inspired by the love of early Renaissance art in Rome; and Archbishop Pázmány (1620)-all of whom appear among the most liberal benefactors of the allowed to hint at the prelate under whose austreasury. And last, but not least, we may be pices the present work is published. The lecture on bells will be to some people the most interesting in the volume. The subject is one of narrow compass, and it is not too much to say that Mr. Anderson well-nigh exhausts it. The beautiful illustrations with which it is adorned are, for purposes of comparison, almost as useful as the bells themselves. Until we read his pages we had no idea that there were so many of the small iron bells in existence. They are a distinctive mark of the Keltic people; and one cannot help thinking that, when the practice first arose of making them, bronze bells were unknown in the North. They are all, we believe, made of thin hammered iron, rivetted at the sides. Those that remain probably in every instance owe their preservation to the reputation for sanctity of their owners. One was found buried in a mound in Orkney. It had evidently not been lost, but buried with all care, as though it had been the body of a Mr. Anderson thinks this human being. was done to ensure its preservation in some time of danger. We are by no means fied with this explanation, but have nothing better to offer. Students of folk-lore will thank us for directing their attention to a book which incidentally contains much relating to their special subject. The list of Scotch holy wells is valuable. The Folk-Lore Society We should necessarily exceed the space allotted to us were we to enter into details. It will be sufficient to briefly call attention to the general classification of the objects dwelt on at length by Dr. Dankó. They are specimens of metal work, embroidery, and printing. Among the first, let me mention the iepoenкn, the great reliquary cross, and the Corvinus cross. The former work bears traces of Byzantine style; while in the Corvinus cross, presented to the cathedral by Matthias Corvinus, King of Hungary, we admire a first-rate specimen of that happy combination of Gothic and early Renaissance which toward the end of the fifteenth century was wonderfully prolific in masterpieces nowadays enriching so many European museums and private collections. The Corvinus cross is in the form of a Calvary, the stem of the cross being sustained by three griffins; in the middle of the stem prophets of the Old Testament appear, and above them we see Mount Calvary, with the cross; the figures of our Lord, his mother, and St. John are incomparably beautiful, and testify not only to the artist's talent, but also to his deep sense of religion. No student of fine art ought to fail to make himself acquainted with Dr. Danko's work. As his Eminence has presented a copy to the British Museum, English scholars may thus obtain an opportunity of enjoying it. Only a limited number of copies have been printed, all of which the author reserves to himself. ALFONSUS BELLESHEIM. EXHIBITION OF “LIBER" PROOFS. A VERY small exhibition, but one peculiarly interesting to those who are curious about the procédé of the artist, and the secrets of his workshop, is open for a few days at the Burlington Fine Arts Club. It consists of a series of engraver's proofs, otherwise known as "trial proofs," for two of the most striking plates in the Liber Studiorum of Turner-the Solway Moss and the Ben Arthur. The opinion has been expressed before now, in these columns and elsewhere, that it is not in "trial proofs," that the best beauty of the Liber Studiorum plates is to be found; and indeed this is a very obvious truth-a thing that has but to be plaiuly stated to commend itself to the mind. Each trial proof is an interesting essay-not a completed achievement. It is a step on the way to perfection; it is never perfection itself. Turner knew-no other artist ever knew so well -what he wanted in the work that was to re produce his own, or to realise what his sepia sketch had but suggested; and the perfection of that work is found in the earliest or most chosen impressions of that published state which first satisfied him. But though this is incontestable, and though the comparatively pitiable attraction of rarity is what has chiefly enhanced the money value of the trial proofs of Liber, yet it is not in the slightest degree necessary to underrate the real interest which trial proofs possess. They have a value of their own. They are documents in the history of the work, and their worth is recognised when they are seen together. To possess one of them is to possess a fragment of art history-it is not to possess a completed work of art. But to possess many -that is, several of a single plate-is to be able to trace for oneself many of the intentions of the artist, and how they gradually came to be realised. In rich private collections, and still more in the cabinets of public museums, they find their true place. The plates of Solway Moss and the plate of Ben Arthur occur late in the issue of Liber Studiorum. They occur, indeed, in its last years-in 1816 and 1819; it began to be published in 1807. And they represent, and are ndeed in themselves a sufficient indication of, he spirit that governed Liber as the work drew towards its close. Turner by that time had pretty well renounced the pastoral simplicities which had engaged him a good deal at the beginning as in the Straw Yard, say, and in the Farm Yard and the Wooden Bridge. And, moreover, there had come over his art by that time a manner more purely individual. Fewer of his themes recalled the themes of Morland, Gainsborough, or Claude. He was dealing, always wholly in his own way, with the effects of wilder landscape which most commended themselves to him at the time, and his rendering of which has probably contributed more than any other single cause to the well-nigh universal acceptance of his art. The pure etching of the Solway Moss which Mr. Vaughan exhibits is curiously interesting. It is the only case which we happen to know of in which Turner used a pure etching, slightly washed with colour, as a guide for the mezzotint engraver. And this etching, together with the series of trial proofs, in various stages, contributed by Mr. Vaughan, Mr. Fisher, Mr. J. E. Taylor, Mr. Rawlinson, and Mr. Addington, shows how very gradually the effect which the artist intended was built up from the broad and bare foundations which we see at the beginning, These trial proofs are curiously and almost waywardly different; for, though there is gradual and steady progress in the actual work on the plate, there is no such steadiness of advance in the effect produced upon the paper. Mere carelessness of printing will doubtless account for some of this, and the difference in the colour of the ink is also to be remembered. Of the impressions of Solway Moss until we come to that of the first published state, Mr. Addington's is one of the clearest and sharpest it is exquisite in colour and brightness. In the case of the Ben Arthur, we doubt if Mr. Agnew's impression-a late engraver's proof, ticketed "F."-is by any means as near completion as the writer of the interesting note on it, printed for the Club, appears to think. The differences seem to be very considerable between that and the beautiful impression of the first published state which comes next to it, and which unquestionably represents the plate as Turner wished it to be. NOTES ON ART AND ARCHAEOLOGY. IT is announced that the Society of Painters in Water-Colours will henceforth be known as a "Royal" Society. The distinction is, perhaps, conferred somewhat late; but it will at least be remembered that in the past the society has numbered among its ornaments the admitted chiefs of water-colour painting, and that in the present the list of its members includes many eminent artists. The society, however, is a close body-a closer body than the Royal Academy itself the most brilliant of "outsiders" are not admitted to its shows; its representation of water-colour art, under the existing regulations, is bound to be partial, however agreeable; and the distinction now conferred upon it imposes fresh obligations and suggests wider responsibilities which, somewhere or other, must be taken account of and fulfilled. We sincerely trust that it may be found hereafter that the large interests of watercolour art are promoted by the honour now vouchsafed to this rich and venerable body. A propos of this matter, we would say to the public, "Time tries all," and to the society, Noblesse oblige. One or two recent elections do little credit to the body, and many brilliant artists are at present beyond the pale. The strictly conservative element in the society will possibly in the future be less influential. THE British Museum has obtained from Babylon a statuette of Hercules, seated on a rock over which is thrown the lion's skin; his left hand has rested on the club, but both hands, as well as most of the club, are wanting. The material is limestone, and from the same block is hewn the thin plinth of the figure. On the front of the plinth is inscribed the dedication: ΣΑΡΑΠΙΟΔΩΡΟΣ ΑΡΤΕΜΙΔΩΡΟΥ ΚΑΤΕΥΧΗΝ On the left return of the plinth is the artist's name: ΔΙΟΓΕΝΗΣ ΕΠΟΙΕΙ. In both inscriptions the letters have been painted red. From the type of Hercules, the form of the letters, and the use of role for Toinσe, we have here clearly to do with a work of Roman times; but whether the sculptor is to be regarded as the same Diogenes who, according to Pliny, was employed by Agrippa on the Pantheon in Rome remains uncertain. The dates would agree; but the merits of the newly found statuette do not in any way approach what would be expected from an artist whose works in Rome were highly approved. THE Council of the Society of Antiquaries of Scotland have just issued to the fellows a noble folio of photo-lithographs, by Mr. Griggs, of London, from a series of pencil sketches, of The Sculptured Stones of Iona and the West Highlands, executed by James Drummond, R.S.A., the late Keeper of the Scottish National Gallery and Antiquarian Museum. The book forms a supplemental volume to the Archaeologia Scotica, which is itself an issue supplementary to the usual yearly volume of the Transactions of the society. While Dr. John Stuart's Sculptured Stones of Scotland dealt mainly with monumental crosses, the present volume concerns itself chiefly with the slabs of the district, which differ from similar English stones in the richness of the interlacing tracery with which their surfaces are so frequently covered. The illustrations, the originals of which have been selected and delineated by one who was an artist as well as an archaeologist, possess, most cases, a distinct aesthetic value as well as great antiquarian interest. They illustrate very adequately a phase of early art which is peculiarly national. afternoon (July 3) for the third time opened the exhibition of his father's pictures to the Sunday Society, the gallery was visited by between 900 and 1,000 persons. During the last week there has been added to the exhibition the picture which obtained for Mr. J. R. Herbert the associateship of the Royal Academy, The Pirates of Istria carrying off the Brides of Venice, painted in 1841, now in as perfect condi tion as when completed. MR. CYRIL HERBERT having on Sunday THE fourth annual meeting of the Society for the Protection of Ancient Monuments was held on June 24, at the Westminster Palace Hotel, the chair being taken by the Hon. J. Russell Lowell, the American Minister, who opened the proceedings by an interesting and able speech, in which he pointed out the great interest with which the antiquities of the Old World are regarded by the dwellers in the New. While deprecating the modern system of so-called "restoration," Mr. Lowell strongly advocated the preservation of ancient monuments in the manner adopted by this society. Mr. B. Stuart Poole, Keeper of the Coin Department in the British Museum, pleaded, in an earnest speech, for the salvation of the relics of Arab art in Egypt. Miss Amelia B. Edwards spoke in some detail upon the war of extermination which is being waged against the monuments of Ancient Egypt by the Government of that country, by the Arabs, and by travellers; Mr. Sheldon Amos confirmed Miss Edwards' statements, and seconded the appeal. G. Howard, Mr. C. Kegan Paul, and Mr. W. Morris spoke on various subjects connected with the work of the society at home and abroad; and the meeting concluded with a vote Mr. The thanks to the chairman, moved by Lord Houghton and seconded by Lord R. C. GrosveBor, to which Mr. Lowell responded. An interesting exhibition of works by living and deceased artists has just been opened at Aberdeen. Special prominence has been given to the productions of Aberdonians, and in parcular to those of the greatest of them-John Phillip. An extensive and representative colection of this painter's works has been brought together, a series ranging from his early portraits and the Presbyterian Catechising of 1847 to the Fair of Seville, which was left unfinished by the artist at the time of his death. examples of his fully matured style include The Letter-writer of Seville, which is lent by her Majesty the Queen, The Spanish Lottery, The Filunteer, Il Cigarillo, The Evil Eye, and Doubtful Fortune. The series of oil pictures has been supplemented by a fine set of proof gravings lent by Mr. T. O. Barlow. The late ames Cassie, R.S.A., is represented by some delicate sea-pieces and coast scenes, and William Dyce by an excellent portrait. Several powerful works of portraiture-including a likeness of Prof. Robertson Smith-come from a living Aberdonian, Mr. George Reid, R.S.A.; and most of the other Scottish Academicians con tribute to the exhibition. ANOTHER exhibition of Christmas cards will be held this autumn at the rooms of the British Artists in Suffolk Street. Prizes to the amount of £3,500 are offered by Messrs. Hildesheimer and Faulkner, who have organised this exhibition. It is to be hoped that this great temptation in the way of prizes will produce more original and higher work than last The judges selected are Messrs. Frith, Millais, and Marcus Stone. Contributions must be sent in before July 26. THE illustrated edition of Mr. W. Robinson's Wild Garden will be published next week. The drawings are by Mr. Alfred Parsons, engraved by Pannemaker, Huyot, and the best engravers. year. ACCORDING to a local paper, the Hochi Shinban, many orders have been received from London for large Japanese umbrellas made of pictured paper. These were each over nine feet in diameter, and fetched the fair price of ten yen (£2). Unfortunately, it is added, the foreign demand has led to the production of a class of goods of very inferior make; and the genuine manufacturers are beginning to complain. We quote the above from the Japan Weekly Mail, which is crowded with information of interest about things Japanese. cult to fix upon the exact department responsible arrangements certainly serve to display Herr AN etching by Kent Thomas of Fishing Boats M. ALPHONSE DE NEUVILLE is the living purpose. WE have received the first number of the Bulletin Mensuel de Numismatique et d'Arché. ologie (Brussels: Marcilly), edited by MM. C. A. and R. Serrure. The two principal papers are by the two editors, the one on "Two Medals of Stephanus Hollander," the other on Sigillographie in Belgium." Unless we are mistaken, the study of seals has not yet acquired a recognised name in English. 66 A RECENT debate in the Chamber of Deputies, which arose out of an amendment to the Budget moved by M. Paul Bert, brought to ight a striking instance of French official redpeism. It seems that, although the paintings the Louvre Gallery are under the care of the Minister of Fine Art, who is responsible to the sation for their safe custody, yet the cellars Taich underlie the picture-gallery are under e control of the Minister of Public Works. Now this official has allowed the Minister for War to utilise these cellars as military storerooms, and at the present moment they serve the purpose of fodder-magazines. Lovers of RUBINSTEIN RECITALS AND LONDON art in France have very naturally taken alarm at a proceeding which, as M. Bert observed, "places national treasures of art at the mercy of a drunken stableman," and pressure was brought to bear in high quarters in order to relieve the paintings from a constant arce of danger. The Budget Commission were ready to accept an amended vote for removing the army stores; but it was found diffi MUSIC. MUSICAL SOCIETY. THE very hot weather has not interfered with A concert d'invitation was given by Herr Rubinstein and Mdme. Sophie Menter at Willis's Rooms on Friday evening, July 1. The programme commenced with Rubinstein's fantasia for two pianos; it is numbered op. 73, and is dedicated to his late brother, Nicholas Rubinstein. It contains an allegro, a scherzo, and an air with variations. The second movement is brilliant and pleasing, and some of the variations are cleverly written; but, as a whole, the composition is heavy and tedious. After this came a series of short characteristic pieces taken from a work of Rubinstein's entitled Bal Costumé. These pianoforte duets were per formed by Mdme. Menter and Herr Rubinstein, and it was certainly most interesting and exciting to listen to the joint efforts of two such Mdme. Menter contributed Weber's players. Invitation à la Valse with the Tausig disfigurements. We had occasion last week to speak of this piece, and of Mdme. Menter's permagnificent rendering of Beethoven's sonata in formance of it. Herr Rubinstein gave a E (op. 109), and afterwards played the whole of Schumann's Carneval. numbers he was heard at his best; in others, not so. Two of Herr Bechstein's finest instruments were used on this occasion. In some of the per took place at St. James's Hall on Thursday The London Musical Society's second concert evening, June 30, and the programme contained several features of interest. Schumann's charming cantata, The Pilgrimage of the Rose, last formed in London in 1875, was the first piece. This, if not one of the composer's greatest, is certainly one of his most pleasing, works. It was written for solo voices and small chorus. Schumann originally wrote only a pianoforte accompaniment, but, yielding to the wishes of his wife, scored the whole for a full orchestra. The performance on Thursday, though at times lacking in delicacy and refinement, was fairly good; we fancy the work would be much more effective with a smaller chorus, and with Schumann's original accompaniment for the piano. The solo parts were taken by Viscountess Folkestone, Miss Trevenna, Miss Vivian, and Mr. Charles Wade. After this came Hermann Goetz' Noenia, first introduced into England by Mr. E. Prout. The rendering of this beautiful, but difficult, work was not satisfactory, and we cannot understand why the recitatives were sung by solo voices instead of by the chorus. There is nothing in the score to justify this change. Herr Keisenauer performed Liszt's E flat concerto. 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