s. ii. AUG. is, 1904.] NOTES AND QUERIES.
comes, from the Prado, Madrid, a portrait by
Albrecht Diirer of a man, conjectured to be Hans
Imhoff, the great Niirnberg banker. This is, at
any rate, a powerfully conceived work, present-
ing a mobile face in a moment of deep self-concen-
tration. The lights and shades are grappled with
in indescribable fashion. In common with each
preceding part the entire number is splendidly
representative.
The latest part maintains the supremacy in beauty and interest that has distinguished the work from the outset. 'The Letter,' by Gabriel Metsu, a celebrated and prolific Dutch genre painter, was like the companion picture, ' The Letter-Writer,' also reproduced in this series in the famous collection at Deepdene. It is now, like the other, in the possession of Mr. A. Beit. With some diffidence we venture to doubt the reading of the action supplied by Sir Martin Conway. Phe matter is, however, of no con- sequence, since the picture speaks for itself, and will be interpreted according to the nature of the gazer. From the Parma Gallery comes Correggio's famous * Madonna of St. Jerome,' described as one of his five great masterpieces. It is one of the most mundane, not to say sensuous, of religious pictures. Quite exquisite are the faces of the Madonna and Child, the Magdalen and the angel, while the attendant cherub is, as the descrip- tion suggests, almost "impish." A picture of this kind is more conducive to " soft and delicate desires" than to pious meditation. 'A Dutch Courtyard,' by Pieter de Hoogh, is one of that great artist's absolutely unequalled studies of atmo- spheric effect. It shows, in a manner of which he had almost the monopoly, the effect of exterior light seen through a darkenedpassage, a chamber, or the like. Not seldom three different atmospheres are presented with indescribable effect. Some -explana- tions are afforded concerning the scene, presumably Delft, and the figures, one of whom, who appears frequently in his pictures, is held to be his servant, while the other is probably his daughter. De Hoogh's pictures are absolute dreams of summer. Last comes from Velasquez the Falstaffian figure of the Marchese Alexander del Borro. Whether the picture was intended as an insult we know not. \Ve can scarcely fancy a marquis, even the most foolish ever depicted by Moliere, hanging such a work as a likeness in his own gallery. As a carica- ture of M. Coquelin as Falstaff it would be wonder- ful. With all its extravagant ugliness, it is a work of genius. The Berlin Museum owns the original.
The Plays of Shakespeare. Hamlet ; Richard III. ; Merchant of Venice : Twelfth Xiyh'. With Intro- ductions by George Brandes. (Heinemann.) YET one more cheap and attractive edition of Shakespeare, in volumes each containing a single play, is issued by Mr. Heinemann under the title " Favourite Classics." For the text that of the Cam- bridge Shakespeare, now accepted as authoritative, has been selected. Each volume is well printed, with a most legible text, and each has an illustra- tion showing some famous actor with his surround- ings in a favourite character, and an introduction by Dr. Brandes. It seems a subject for regret that we should have to go to Denmark for the editor of work so characteristically national as the plays >f Shakespeare; but the introductions of Dr. Brandes are lucid and helpful. It is but natural that he should attach more value than do we to
the utterances of writers such as Gervinus amfc
Ulrici. When Dr. Brandes speaks for himself,
however, he is always worth hearing. For the
rest, the reader is undisturbed by conjecture or
note, and the edition may be commended to those
who are content with an unsophisticated text.
The Poetical Work* of William Word-t worth. With Introduction and Notes. Edited by Thomas Hutchinson, M.A. (Frowde.) The Poetical Works of Robert Burns. Edited bjr
J. Logic Robertson, M.A. (Same publisher.) AFTER a space of about a decade these handsome and popular editions of Wordsworth and Burns are reissued. Wordsworth is exactly in the same form as before, but is enriched by a portrait of the poet, from a drawing by Hancock of about 1798. Burns is no longer in the Oxford India paper in which we had previous access to it. We have before spoken in praise of one-volume editions of the poets, which, in these days of little shelf-room and many books,, are to be commended. Such are always convenient for reference, and on India paper are, to a large class of readers, absolutely ideal.
To Bell's "Miniature Series of Painters" has been added John Constable, by Arthur B. Chamber- lain, with eight characteristic illustrations.
Scene* from Les Facheux of Molitre. have been, added to Blackie & Son's " Little French Classics."
MR. E. HAMILTON, of Church Square, Rye, Sussex, has issued an Ancestry and Pedigree Chart, by means of which the task of pedigree tracing and displaying the relations of ancestors paternal and maternal to the present head of the- fanrily is simplified.
THE frontispiece to the Burlington consists of a reproduction of the painting of Albert Diirer the- elder, 1497, recently purchased for the National' Gallery. Whether it is a genuine work of Diirer has been much discussed. Mr. C. J. Holmes in his ' History ' of it goes far to establish it as genuine.. Following this comes an account of the Italian paintings in Stockholm. We remember studying most of these works some years ago, without being very profoundly impressed. An interesting draw- ing of the late G. F. Watts is by the Marchioness of Granby. Three female studies by Rossetti are from the lonides Collection, as is the 'Mill,' by Sir E. Burne- Jones.
IN* the Fortnightly Mr. Norman Pearson writes on ' The Kiss Poetical.' His subject is scarcely of a sort to commend itself for study or discussion in these columns. When, however, the author says that he does not "remember among the Shake- spearian love-scenes anything like the modern kiss poetical," we are inclined to remonstrate. It is true that, even after reading the contribution, we do not quite know what is the modern kiss poetical, still we think Antony and Cleopatra might suffice. Where is there anything better or more fervid thau> Antony's importunity to spare him awhile Until
Of many thousand kisses the poor last
I lay upon thy lips ?
Mr. Thomas Hardy in 'Time's Laughingstocks ' is once more welcome as a poet, but not half so welcome as he is when he presents himself as a novelist. ' A Child's Diary,' the veracity of which is vouched for, is very remarkable. What will be the
