are asking their way of a clod-hopping boy. Mr. Walker exhibits a nicely-executed work, The Rainbow; two girls looking out of the parlour-window of a country-house on a showery day. Mr. Haag has some sketches from the East. A Nubian Youngster, Study of a Head, has masterly ease and decision, and shows (like the Oriental studies of Mr. Frederick Goodall some years ago at the Royal Academy) how much superior to themselves some painters can be when, laying aside the attempt to produce works of artifice under the guise of ambitious compositions, picturesque or elevated, they go straight to nature, and paint with rapid vigorous directness what they see and know. An Achmedeeyeh Derweesh, Study of a Head, blinking in bright sunshine, is another example to the same effect. Two of this painter's architectural drawings- The Interior of the Mosque of the Howling Derweeshes near Cairo, and The Door of a Mandarah in a Private House at Cairo-have much forcible precision, resembling, and at least equalling, the productions of Mr. Karl Werner. Mr. Walter Duncan's best work bears as title a quotation from Longfellow's Golden Legend, showing how "the Monk Felix" was rapt into heaven by the singing of a bird in the forest. This is a well-designed single figure, with a good deal of expression in the face, though some final intensifying touch would be wanted to make it absolutely right and fine. Mr. Smallfield exhibits several works, mostly to be reprobated for mechanical smoothness, and lack of artistic impulse and insight: he used to do much better years ago. The Jacobite's Daughter, and Volti Subito (a lady playing music), are about the best. Puck's Pranks is a specimen of equally unintelligible and unintelligent arrangement. The Duke's Minions, though a good deal less defective, is a rather fallacious effort at ingenuity; it seems to represent two bravoes who, after committing a midnight assassination at the bidding of "the Duke," are clandestinely admitted into the palace by that Italian potentate's jewelled hand through the garden door. Mr. Shields sends only one contribution, executed in red chalk, and named Summer Shade; a little pastoral of two children, prettily done, but tending to the precise rather than the spontaneous in handling.

Having now passed in review the more important of the figure-subjects, we shall reserve for another article the landscapes and miscellaneous works.

W. M. ROSSETTI.

RECENTLY DISCOVERED ANTIQUES IN ROME.
Rome: Dec. 31.

The prosecution of scavi, especially on the high grounds of the Viminal and Esquiline hills, where new streets and piazzas are springing up, continues almost uninterrupted in this city; and from time to time we receive report of truly precious treasure-trove. Valuable antiques pertaining to the Fine Art class among these discoveries are placed

in two dim-lit halls of the ancient Tabularium on the Capitol; others, of less artistic price, in some chambers of a newly-built edifice for official uses on the same hill. The ultimate destination of all the sculptures dug up during recent years in Rome will be the Capitoline Museum, a gallery now open to the public with more liberality than in former times, and with admission gratis on Sundays. This Museum, due to the munificence and good taste of the Popes Clement XII., Benedict XIV., and others, will henceforth become the great storehouse of antique sculptures, discovered since the recent change of government in Rome.

The many mutilated statues, busts, and reliefs, provisionally placed in the gloomy halls of the Tabularium, offer a most interesting study of such disjecta membra here preserved from wrecks of antiquity. With exception of the busts-some beautiful and uninjured-these relics are all more or less damaged, in many cases (as apparent) either through wanton injury or the fall of crushing

These are,

material under which they have lain buried. Not a few might be singled out of the aggregate as entitled to rank among works of Graeco-Roman art pertaining to the best period--if not indeed among the masterpieces produced in Rome during that period which may be limited between the reigns of Augustus and the Antonines. Among those that claim attention, I may notice with particular praise a Hercules of heroic size (the limbs much mutilated, but the head entire), in the act of subduing the horses of the Thracian king Diomedes. Few remnants of the marble steeds were found, but the violently strained effort required for such action is most strikingly and intelligibly made manifest; the head, with firm-set features and closely curling hair, being of about the noblest and at once recognisable Herculean type. This fine sculpture was exhumed on the high level space near the western side of that Praetorian Camp which was first enclosed within the cincture of walls when Rome was fortified anew by (or rather in the reign of) Honorius. Three life-size athletes, nude, the limbs much broken but the heads complete, in which we recognise the nobler character of free-born and, perhaps, patrician youths enjoying the sports of the Palaestra, very different from that of hirelings on a public arena. unquestionably, among the most valuable antiques lately added to Roman collections; and it is surprising that they have not yet been restored, or placed in the Museum where they might be seen to advantage. Among the finest of the statues left headless is one of Parian marble, which from the grace and softness of the general contours may be supposed to represent Bacchus also from the trunk of a palm-tree beside the limbs, an occasional attribute of that god, who inscribed the letters invented by himself on palm-leaves. Admirable among the statues, which are almost reduced to the mere torso, is one in which we recognise a replica, among the many extant, of the famous Faun of Praxiteles. A pleasing statue of the youthful Amor fortunately retains its expressive head; and very pretty is the naïve and child-like statue (life-size) of a little boy in the act, apparently, of digging, or some other task, in which we see that he is exerting his utmost strength, though the mutilated arms no longer hold the implement, or serve to indicate the precise occupation of the young labourer. Another headless statue that claims notice is supposed to be the Genius of Augustus nude, and with a cornucopia in one hand. In busts this collection is particularly rich. I may mention a Jupiter of the more benign type and with finely-marked features; Hadrian, very life-like, and Scipio Africanus, recognised not only by its resemblance to the bust in the Capitoline Museum, but also by the scar, distinctly indented, on the high bald forehead. Two busts of empresses, well preserved, are evidently the portraits of beautiful women-one (probably Julia Sabina, wife of Hadrian) distinguished by delicacy of contour and nobleness of character.

Beside these, the provisional Museum contains many fragments of ornamental sculptures, excelling in their way-e.g., a marble fountain in form of a large fat goose, and a splendid marble urn (also, probably, for a fountain), among the numerous fragments of which we may admire a spirited group in relief of a Satyr embracing a Nymph. Curious testimony to the mediaeval uses of antiques in Rome is before us in a heap of broken pieces, the wrecks of sculpture and architecture in marble, all which were found built up in the rude masonry of a wall, at some depth below the modern street-level.

The collection placed in the rooms of the new building on the Capitol is heterogeneous, and contains much which, if not artistic, is valuable. Here we see an immensity of ex-votos in terra-cotta-hands, feet, limbs, no doubt intended to be hung up in temples or before altars in token of gratitude to the gods or goddesses for recovery from disease; many iron implements for agriculture, &c.; heaps of things pertaining to the vanities of female toilet;

and some to the culinary class as (I believe unique among hitherto discovered articles of the Roman kitchen and dinner table) two silver forks, each with two prongs only-affording t proof that ancient Rome admitted the principle, once contested in England, concerning what one of our old poets calls the laudable use of forks, For the sparing of napkins," &c. Among funereal objects is a large cinerary urn of Oriental alabaster, two outer enclosures for which are extant, though now removed from it-one of lead, the other, like a huge box, of terra cotta. The most remarkable among sundry metallic implements is a long bronze staff with a flame-like apex, which part is hollow-this having served for a torch of the "Vigiles" (or Fire-brigade), found among the ruins of their statio in the Transtiberine quarter, the only one among several such barracks of ancient Firemen, discovered in Rome, which has not been swept away, or, after being discovered in a ruinous state, again buried after being cleared from the encumbering earth.

The report of objects dug up during the last month in the course of works for building, includes many that are valuable. Noteworthy among those of artistic character are the following: A semicolossal statue of Bacchus, wanting an arm, part of one leg, and the drapery (probably a chlamys, which may have been of bronze, or at least detached from the figure). A colossal half-length statue of Hercules (or possibly Commodus), with the attributes of that god-the arms and hands included, the right holding a mace, the left with the apples of the Hesperides; the pedestal, which is preserved, having reliefs of military trophies, small figures of Victory, a celestial sphere, and the signs of the Zodiac, on its surface. A life-size statue of a young girl preparing for the bath; two semi-colossal female statues, both clad in the long tunic and peplum; a good bust, preserved entire, of a young man, probably a portrait, &c. Beside these art works there has been found a variety of terra-cotta ex-votos-heads, hands, feet, legs, and even entrails, so represented in token of gratitude for healing; also (all these dug in laying foundations for houses in the Esquiline), 2,493 bronze coins, 2 silver coins, 54 objects of wrought glass, 73 styles and hair-pins made of bone, 25 lamps of terra cotta, bronze, and lead; 2 antique cameos on pietra dura, one on amethyst, the other on cornelian.

up

A judicious alteration in the Museum of the Capitol, lately carried out, is the transfer of the whole collection of bronzes from two small and

badly-lighted rooms to a large hall in the palace of the "Conservatori," where they are much better placed and seen. The famous bronze Wolf with the Twins (both these being modern) stands suitably in the centre; and the last acquisition, made about a year ago, is a restored bronze chariot, from an antique covered with small laminae of bronze, in which are tiny basreliefs so much damaged that scarcely either subjects or any artistic character can now be discerned or estimated in them. On some of these laminae, however, one can distinguish the figures of Centaurs and Satyrs. The chariot was exhumed on the Esquiline; and, as it now stands in the Museum, almost the whole is a restoration on a wooden frame, serving to display the ornamental accessories which are antique.

C. I. HEMANS.

DR. FRIEDRICH MATZ.

MANY have watched, only too sure of the result, the long illness which has carried off at last the young Professor of Archaeology at the University of Berlin. But still the news comes like an unnatural shock. Compared with others he had done little, but yet for his short life very much. Indeed, it was characteristic of him how carefully he would measure his bodily strength, so as to

drooping form, and the want and privation depicted in the pinched features, tells as eloquent a tale of woman's sufferings as the pathetic words of Tom Hood. A medallion entitled Early Sorrow and a bust of Sappho by R. H. Park, a charming little piece, Sans Souci by Mr. Ives, Victory by Rauch, are among the most noticeable in the collection.

THE will of the artist William B. Rinehart, of Baltimore, who died recently at Rome, directs that his remains shall be removed to Baltimore for interment. He bequeathed 2,000 dollars to each of his brothers, and the balance of his estate, about 50,000 dollars, to executors to be applied by them to the promotion and cultivation of art.

M. CHARLES BLANC, the art critic of the Temps, the commentator on Rembrandt's etchings, and author of numberless contributions to art-criticism, makes, in the course of a recent article on French engraving, some remarks on how to frame the prints with which most people's walls are more or less adorned. M. Blanc cannot say too much against the modern fashion of exposing to view an immense margin of white cardboard all round the picture. He reminds us that oldfashioned amateurs used to frame their Nanteuils, their Callots, their Rembrandts, quite closely, like a painting. He does not quite recommend this, however. But it is very well to mention what every observant knows and sometimes forgetsperson that the white light of a broad white margin kills the high lights of the print itself. This is so in England; still more of course, in France, for what is grey here looks brilliant there, and whoever would frame prints to look well in a French room must mount them with mounts very low in tone. In England, the faintest rough grey paper or faintest rough buff paper, such as Whatman's, is the best. A fairly broad mount is then not only allowable, but advisable, though the modern fashion errs on the side of excess. As to frames, the golden rule is surely to choose the frame which will least of all attract the eye. Black wooden frames are, of course, at once sober and decorative in their general effect, but if placed close to the picture they are perhaps too apt to catch the eye. The thin frame of plain oak, unpolished, is of all the least obtrusive. No one who has noticed how by an inappropriate frame you may make a good print look almost a bad one, and, by an appropriate, a tolerable print look almost a very good one, will begrudge a few minutes given to this subject of framing.

THE STAGE. "MONEY."

THEY gave us a refreshing performance at the Gaiety Theatre, on Saturday a performance of Money: almost the best, if not quite the best, of Lord Lytton's several plays. Its story is too well known for us to need to repeat it. In the treatment of its main theme, Money shows a cynicism rather exaggerated and histrionic. It was found piquant at once, successful and fashionable, and so birth in the natural course of things to the gave cheap cynicism of recent and less substantial work. And if stage cynicism came in with Money, as I suppose it did, stage sentiment, which had had its day already, almost went out with it. Not that the sentiment itself in Money is false, or that there is really too much of it, but that its expression is rather over-charged. We have in it the last echo of the kind of talk that Falkland talked to Julia

in The Rivals-the day of annuals was hardly past, and the polite world expressed itself with perfect propriety and made love in rounded periods

-not broken phrases.

witty; and in character-drawing that is sharp, decisive, penetrating-almost original. We do not nowadays do justice to the freshness of Lord Lytton's comedy characters. We have seen too many unacknowledged reproductions of them to believe that they were ever studied from the life -that they were ever anything but humorous fancies. But compare Sir Frederick Blount, Lord Glossmore, Captain Dudley Smooth with a famous contemporary of theirs-Lord Frederick Verisopht in Nicholas Nickleby-and you will see that for once the genius of Dickens has served him less well than the talent of Lytton. These men of the exaggerated than Dickens's silly peer; they were world whom you meet in Money are far less sketched by one who knew them better, and who observed such types calmly-with no fatal earnestness or fatal zeal. Sir Frederick, Lord Glossmore, Captain Dudley Smooth, were men Lord Lytton met every day in Saint James's Street, one generation ago. It was in the reign of "dandies," not "swells." The manners of the "finest gentleman in Europe" were not quite forgotten nor out of date. You may see some of these people in Maclise's caricatures. But Lord Lytton drew them more tolerantly.

The performance of Money at the Gaiety was sound, but not brilliant. Mr. Vezin brought to the representation of the hero that bitter intensity which he often makes effective, but which sits ill, I think, upon a man who has really no reason to think the worst of all mankind, when one fellowcreature appears to have jilted him, while another has left him his fortune. Cynical, of course, Alfred Evelyn must be, when he is not sentimental instead, but he might conceivably be more lightly cynical: not so oppressively bitter and reproachfully morose. Mr. Vezin speaks his passionate scenes too loudly: he declaims them too much like a recitative. But his impersonation is never weak, either mentally or physically, and of course never careless and ill-studied. It is hearty and manly, but, to me, in this case wholly without charm. Why will he not give us something as good as his Scotch poet in the Man o' Airlie? There was manly tenderness enough in that, and a charm one does not forget.

Clara Douglas, the generous heroine, who, through a misconstruction, appears throughout the piece as the victim of disappointed love, has a good but rather monotonous part-a part unrelieved by gleams of light and happiness, but very effective for an actress who is strong and subtle enough to be varied within limited range. By all but the highest actresses the part is in danger of being played too uniformly. It wants imagination to put a feverish anxiety into the seemingly insignificant flirtation which, for a purpose of her own, she carries on with Sir Frederick, and a quiet intensity, an emotion in reticence, in the later scenes the one, for example, where she bids good-bye to Evelyn. Miss Rose Leclercq is a sympathetic actress, with a voice like Anne Page's, but with too little variety, too little significance, in delivery, as in gesture. Miss Furtado is also a sympathetic comedian, obliged to make Georgina Vesey a much pleasanter person than one thinks she was meant to be-but for such a failing no reasonable audience will ever be very hard on her. Mrs. John Wood's Lady Franklin was very vigorous and spirited: a little noisy and hard, indeed, in certain scenes in which she need not be prominent, but carrying off with most unquestionable success her famous scene with Graves, when Graves is betrayed into hilarity.

with difficulty deceived. As Sir John VeseyGeorgina's father-Mr. Maclean was over-fidgetty and restless. Had Sir John no manner of the old régime? But of the purely comic side of the character, Mr. Maclean was fully sensible. Graves, with his grumbling, his melancholy references to the "departed," his substantial appreciation of the good things of the world, and his sudden attack of cheerfulness surprising to himself and his friends-is a character it is not easy to make natural, though it will set on any quantity of barren spectators to laugh. It was not observed from nature, but invented for stage effectiveness. It was discreetly played by Mr. Taylor. Mr. Forbes-Robertson, the representative of Lord Glossmore, seemed in critical moments to see the point of the character; but his execution was faulty-his bearing mannered and stiff. The performance, then, as a whole, was not brilliant, but it was in the main creditable and refreshing. And in the midst of much of trifling and buffoonery, one is thankful for the presentation of a good literary work which at all events in our generation is hardly likely to die. FREDERICK WEDMORE.

Our Boys-Mr. Byron's comedy for the Vaudeville-will be played for the first time at the end of January. The rehearsals are, we hear, proceeding.

MISS CAVENDISH returns to the London stage to-day, in her favourite character of the "New Magdalen " at the Charing Cross Theatre.

FOR this evening Madame Angot is announced at the Philharmonic in place of Giroflé-Girofla

briefly mentioned in our last, is by no means so THE Alhambra performance of Whittington, remarkable for the specially composed music of Offenbach-too much of which suggests something or other written by him within the last ten

years-as for the dresses which Mr. Alfred

Thompson has designed for the ballet in the

second act.

MR. EDWARD HASTINGS, of the Prince of Wales's Theatre, organised a performance at the Vaudeville last Saturday afternoon: the piece given being a new one, called Stage Land, by a new

were carefully and diligently played, by Mr. Lin Rayne, Mr. Vyner Robertson, Mr. W. H. Stephens, Mr. Collette, Mr. Atkins, Miss A. Wilton, and Miss Eleanor Bufton. The first act-not

withstanding the proof it affords of the author's want of the habitude de la scène-is perhaps the most interesting. The piece seems somewhat mis-named, the stage land hinted at not being described or exhibited with any peculiar truth. The hero takes to the profession, it is true, but it appears to be rather his poverty than his profession that bars the way to an early and successful love affair. The young man accepts the father's refusal, and anticipates that of the young woman, which need not, after all, have been finally given. The two separate, to meet again three years afterwards at the house of one Sir Harold Trefusis, who is getting up private theatricals in which Miss Hepburn-the heroine-is to act, and which, by a coincidence, Maurice Hamilton, or " Lawler,

the

66

young comedian, is to superintend. At Almahurst, Sir Harold Trefusis's place, there are gathered various amateurs, whom the author has done his best to individualise, even at the risk of making them entirely eccentric, as even at the same risk the most successful French writers of comedy have made a point of doing even with the least important of their characters. These people development of the story itself; but however that are possibly more interesting to watch than the may be, Mr. Douglas's work is a work of some promise.

MR. BYRON's well-known drama of The Lancshire Lass is in active preparation at the Princess's Theatre..

1

THE Pantomimes have been drawing better houses this week, and may be said to be settling down for a successful month or two. One night last week, during the arctic weather, there were just six people in the stalls of a leading theatre. Blue Beard-the burlesque turned pantomime, likely to be played for many a night at the Globe Theatre is certainly the most striking thing of its kind seen in London for many years. There is in it so much of what if we wished to write French we should call entrain, or, wishing to be English-"go." Miss Lydia Thompson is in capital form, both as actress and singer; Mr. Lionel Brough is exceptionally funny, and Miss Sanger is spirited; while no keen critic would be needed to discover the excellent qualities in Miss Emily Duncan and Miss Inez d'Aguilar. Solos and choruses are well enough sung-the music is pretty to begin with-and the stage, brilliantly lighted, presents a remarkable picture. In the whole performance the Roll-Call is the only serious mistake. Of course in such a thing as Blue Beard the author must expect to be thought of the last. Yet, even under these conditions, Mr. Farnie has been prodigal of gifts. He has been often amusing -sometimes witty.

M. FRANCISQUE SARCEY has contributed to our stock of useful knowledge-in England, he writes, "the theatre is the diversion of the lower orders." Ten years ago, in the reign of sensation drama, that was partially true, but it has no truth whatever just now, when in the first place the success of theatres of comedy, like the Vaudeville, the Gaiety, and the Prince of Wales's, and of a theatre for the poetical drama, like the Lyceum, is ensured by the attendance of people for the most part educated and cultivated at least in some degree. Again, the supporters of opera-bouffe so terribly the vogue-are by no means among the classes basses of our society. For these, operabouffe is far too dainty an entertainment. For the really full appreciation of opera bouffe, three things are required-riches, indolence, and too much dinner.

66

M. JULES BONNASSIES, in the current number of Le Théâtre, is unduly hard upon Mdlle. Sarah Bernhardt when he says that she seems to him not to have studied sufficiently that role of Phèdre which she has courageously undertaken. But in another passage he appreciates with the power of a serious critic, and the elegance of an accomplished writer, certain characteristics of Mdlle. Bernhardt's art. This passage we make no apology for quoting:"Ce qui lui appartient," à Malle. Bernhardt, "dans l'œuvre Racinien," he says, ce sont les personnages tendres et émus que le cygne de la Ferté-Milon a musiqués dans la mode mineure de la passion; le timbre mélodieux de sa voix, ses beaux yeux mourants, la langueur habituelle de son attitude, en un mot l'ensemble de son physique préraphaëlite, la destinent à ces rôles élégiaques. Mais les caractères dont Racine a puisé les éléments chez les pamphletaires romains, comme Agrippine, ou dans les tragiques grecs, ne seront jamais bien exprimés par Malle. Bernhardt. Phèdre est, je crois, le personnage pour lequel Racine s'est le plus inspiré des Grecs. C'est également celui qui a le plus exercé la plume des critiques, en Allemagne et en France, aux deux derniers siècles; et en celui-ci. Quelques uns ont dit que les remords de la reine incestueuse sont, chez le poëte, une inspiration du sentiment chrétien; mais tous ont dû reconnaître que la doctrine, tout grecque, de la fatalité plane sur Phèdre, sur le crime qu'elle commet et qu'elle continue de commettre, malgré ses remords. Je crois aussi à cette dualité d'éléments dans l'œuvre de Racine; mais l'élément grec y étant primordial, doit évidemment déterminer la plastique du rôle."

MDME. CHAUMONT, famous for delicate art in indelicate subjects for Toto chez Tata, for Madame attend Monsieur-is about to appear at Nice, where she will act for the first time in a

new piece by Gaston Jolivet, called Suivez-moi, Tricoche!

THE Temps, in reconciling M. Sardou to the indifference of the public to his drama La Haine, and to the severity of certain critics who had a

right to treat him as one from whom good work was to be expected-regrets the continued run of Le Tour du Monde at the Porte Saint-Martin, not because the thing is a bad thing of its kind-which it is not-but because it keeps fine talent so inadequately employed. "My heart is bleeding," writes the critic of the Temps his devotion to the art of the theatre is absolutely genuine-"Le cœur me saigne quand je songe que Dumaine se promène à travers des trucs; que Mdlle. Patry, cette grande espérance, use sa jeunesse, ses forces et un talent plein d'avenir, à monter dans des locomotives en carton et à se sauver devant des serpents en baudruche. Quel malheur pour elle, qui avait si brillamment débuté dans Marie Tudor et dans Dona Florinde! et quel malheur pour le drame ! il n'y aura plus d'artiste dans dix ans, s'il ne s'en forme plus à cette heure!"

MUSIC.

We understand that the concerts at the Royal Albert Hall are to be resumed on the 19th inst. In future, however, they will only be given twice a week, one evening being devoted to oratorios, and the other to miscellaneous music.

SOME of our readers will probably be aware that Herr C. F. Pohl, of Vienna, has for some years been engaged upon an elaborate and exhaustive work on the life and compositions of Joseph Haydn. We are able to state, on the authority of a letter written by him to a friend in London, that the book is now in so forward a state that a portion of it is already in the hands of the printers.

THE opening of the New Opera House at Paris took place on Tuesday last. The Government had engaged the entire house for the opening night, which was, therefore, a state festivity, to which the diplomatic corps, the deputies, &c., were invited. The regular performances were to commence last evening with Hamlet. A fine organ with two manuals and eighteen stops has been erected behind the stage by the eminent firm of Cavaillé-Coll.

BERLIOZ'S La Damnation de Faust has lately been given at the Concerts du Conservatoire at Paris with great success.

THE public library of the town of Bergamo has lately been enriched by a collection of numerous scores, printed and manuscript, which formerly belonged to the late composer Simon Mayer. The volumes, about 1,500 in number, are the gift of M. Massinelli, son-in-law of the composer. Mayer, a Bavarian by birth, passed the greater part of his life at Bergamo, where he died in 1845. Donizetti was one of his pupils.

For the benefit of the Pension fund of the

Vienna Imperial Opera, two Christmas performances were given, which must have greatly interested the amateurs of that city. On Decemmusic was given at the Opera house, and on the ber 22, Byron's Manfred with Schumann's 25th the programme consisted of the first act of Spohr's Jessonda, a fragment from Halévy's L'Eclair, the grand finale from Mozart's La Clemenza di Tito, and the fourth act of Donizetti's La Favorita. Schumann's Manfred music was, on this occasion, performed for the first The time, and an immense success achieved. performance, under the bâton of Johann Ritter von Herbeck, the director, who on this occasion made his first appearance at the conductor's desk after a long interval, was perfect throughout, and left nothing to be desired. Lewinsky played

Manfred with great mastery, and the greatest artists of the Opera took the small and indifferent parts. The performance on the 25th was not so exception of the fourth act of La Favorita, were impressive, because all the fragments, with the the hands of the singers. Mesdames Wilt (Vilda) performed in evening dress, and with the music in Dustmann, Friedrich-Materna and Gindele, and Herren Walter and Rokitansky, however, produced a great effect, and Mdme. Pauline Lucca, Adams, was highly successful in the last act of La assisted by the last-named gentleman and Herr Favorita, which was performed in costume and with all theatrical accessories.

DR. EDUARD HANSLICK has just published, at the Berlin "Verein für Deutsche Literatur," an elaborate work entitled Die Moderne Oper.

THE San Francisco correspondent of the North China Daily News states that Mdme. Anna Bishop, notwithstanding her great age, has been delighting the public by her concerts in that city. Her voice, he says, seems to be little impaired by time, and her appearance gives one the idea of a far younger woman.

THE ROYAL INFIRMARY for CHILDREN

and WOMEN, WATERLOO BRIDGE ROAD, S.E., for the Treatment specially of Children's Diseases, founded 1810. Patrons-Her cess of Wales. Treasurer-John F. Eastwood, Esq., Esher Lodge, Esher. Committee-Sir J. C. Lawrence, Bart., M.P., Rev. H. W. Bateman, Rev. F. Tugwell, Mr. H. Akerman, Mr. F. L. Bevan, Mr. E. Canton, Dr. A. Farr, Mr. G. Hill, Mr. J. McGaw, Mr. J. Mills, Mr. T. Mitchell, Mr. Oppenheimer, Mr. F. W. Reynell, Mr. F. Scarbrow, Mr. J. W. Simmonds, Mr. J. W. Stratton, Mr. W. G. Trewby, Mr. C. White, Mr. R. B. W. Wilson. Chaplain-Rev. F. Tugwell. Secretary Mr. William Champion. Bankers Messrs. Fuller, Banbury & Co., 77 Lombard Street, E.C.; Messrs. Coutts & Co., 59 Strand, W.C. APPEAL. The Committee most earnestly commend the work of this Hospital to the sympathy and help of all who can feel for the destitute and suffering. The claims of this Institution for support rest on the following facts: That it is the oldest of its kind in the metropolis, and has suggested more than one such Hospital. That it has relieved upwards of 350,000 patients curing and comforting a multitude of helpless little ones. That it is situated in one of the most densely populated districts of the metropolis. But that it receives patients from any quarter-even from the country. That it is capable of extension, and so of increased usefulness, which the Committee are very desirous to accomplish, if funds are placed at their disposal. That the present income is quite inadequate to meet the present demands, a cause of much anxiety, arising partly from the absence of wealthy residents in the vicinity of the Hospital. The Committee, therefore, urge these claims especially upon the attention of the rich, who are asked to give "out of their abundance;" but feeling sure that ALL who know the value of comfort and attention in sickness will gladly respond to this appeal for the "sick children."

Majesty the Queen; H.R.II. the Prince of Wales H.R.H. the Prin

Contributions (especially Annual Subscriptions) will be most thankfully received by the Treasurer or the Bankers, or at the Infirmary. WILLIAM CHAMPION, Secretary. **Post Office Orders may be drawn on the General Post Office. Both Orders and Cheques should be crossed for safety.

An Annual Subscriber of One Guinea, or a Donor of Ten Guineas, may always have two Out-patients on the Books, and so on in proportion to the amount of contribution.

Presents of worn-out Linen, Children's Clothing, Children's Books, and Toys are most acceptable.

The Hospital is open daily for public inspection.

PENNSYLVANIA

COMPANY

FUND BONDS.

THE Pennsylvania Railroad Company's Second Mortgage Sterling Bonds, maturing March 31, 1875, will be received in payment for this issue at par, in cash, with accrued interest added to date of payment.

The London, Asiatic, and American Company (Limited), Agents for the Pennsylvania Railroad Company, are authorised to offer for public subscription 3,000,000l. sterling of Consolidated Mortgage Sinking Fund Bonds.

These bonds form part of a total of $100,000,000 (20,000,000l. sterling), secured by a mortgage, dated July 1, 1873, which covers all the property and franchises of the Pennsylvania Railroad Company, including their main line from Philadelphia to Pittsburgh, and gives a first charge on their leasehold interest in other lines and in canals, and on their large investments in shares and bonds of other companies.

These shares and bonds last mentioned were valued by the officers of the Company in 1873 at $50,000,000, and by a re-valuation in 1874 by a Committee appointed to examine all the assets and liabilities of the Company, that valuation was reduced in a spirit of extreme caution, as stated by them, to $49,711,000.

On the other hand, however, the same Committee estimated carefully in detail the actual construction, value, and cash value of the Company's own lines, rolling stock, and real estate, at $45,826,675 65c. more than they stand as costing in the capital account in the Company's books.

The mortgage provides that no greater amount of bonds can be issued at any one time than shall be equal to the amount of the paid-up outstanding ordinary stock, which amount, on the first day of November last, was $68,702,437 50c., or about 13,740,000l. sterling. This, therefore, is the present limit of issue. But it is also provided that such an amount of the bonds shall be reserved as will be equal to the amount of the existing prior mortgage bonds of the Company, and their debt due to the State of Pennsylvania; these altogether amount at this time to $34,763,600, or about 6,952,7201. sterling, of which, however, $4,865,840, or about 1,000,000l. sterling, mature on the 31st of March next, and will be paid off out of the proceeds of the present issue.

whole system, and the proceeds of the issue now offered for subscription, after providing for the Second Mortgage Bonds, due March 31 next, are to be appropriated to like purposes, and therefore to the improvement and value of the security.

Under a provision in the mortgage a sinking fund of 1 per cent. per annum will be founded, to commence in 1879, for the redemption of the bonds, by purchasing them in the market so long as they can be bought at or under par, or by investing in other securities when such purchase is impracticable.

The price of issue is 907. per cent., or 180l. per bond of 200l., if paid up in full on allotment; or 917. per cent., or 1821. per bond of 2001., if paid in instalments as follows:

107. per cent., or 207. per bond of 2007. on allotment.

25

25

50 50

February 15, 1875.
March 17,
April 30,

Instalments may be paid in advance on allotment, or on either of the above dates, under discount at the rate of 57. per cent. per annum.

The failure to pay any instalment when due forfeits all previous payments. The bonds will carry interest from January 1, the first coupon being payable July 1, 1875.

The Pennsylvania Railroad Company's Second Mortgage Sterling Bonds, maturing March 31, 1875, will be received in payment for this issue at par, in cash, with accrued interest added to date of payment.

The bonds will be issued to bearer, but they may at any time be registered in the holders' names, transferable only on the Company's books, at the Agency in London, and may again be taken off the register, and made to resume the condition of bonds to bearer.

$24,689,000 5,209,000 10,000,000

$39,898,000

or about

The subscription list will be opened on Wednesday, the 6th instant, and will be closed on or before Thursday, the 7th instant, at four o'clock P.M. London, January, 1875.

The letter of the President which accompanies the prospectus furnishes a summary of the properties on which the bonds are secured, amounting to $144,965,500, and also an account of the Company's total bonds and debts, amounting to $53,313,810, or about £10,662,000, excluding the present issue, showing a surplus of security of $91,651,690.

The gross revenue of the Company from all its operations east of Pittsburgh rose from $10,304,290 in 1862 to $39,983,000 in 1873. It was less for 1874, in consequence of the depression of trade, but the net revenue for twelve months to December 31, 1874 (December being estimated), is $900,000 increase over that of 1873, and is abundant to pay the usual 10 per cent. dividend on the present share capital of $68,702,000, or 13,740,000l., after providing for all interest on bonds and guaranteed dividends on stock of the United Companies of New Jersey, &c.

A large saving in working expenses was made in 1874, and a considerable part of it is due to the recent improvements and facilities along the Company's