position as an author entitles him to our early notice, but chiefly because his book has secured that undeniable proof of popularity, a rapid succession of editions. Mr. Jeaffreson is well known from his previous writings-his novels; his “Life of Stephenson," &c. He had a good right to compose a "Book about Doctors," since there have been several eminent members of the medical profession in his family. He has an equal title to be heard on the subject of Lawyers, for he is himself a Barrister of the Honourable Society of Lincoln's Inn. We read of this, his latest work, that—

"The book is unquestionably full of amusement. It is a mine of curious anecdote, gathered, apparently, from a wide extent of reading, and if the nonsense were omitted, and the work were contracted to reasonable dimensions, it would be a welcome addition to our library shelves. As it is, the volumes will appear to the best advantage in the form of extracts. They are certainly capable of yielding no end of quotations, detailing the strangest of actual romances, the wildest of adventures, the drollest of humours, the brightest of witty sayings and repartees. Lawyers are generally a 'characteristic' race of men, with stronglymarked individuality, and a constitutional energy which finds its vent in actions as well as words. This is abundantly manifest in Mr. Jeaffreson's book, and the fact gives to these anecdotes and reminiscences a peculiar charm."

“We feel that we need add nothing in further commendation or illustration of these volumes. They will afford pleasure and instruction to all who read them, and they will increase the reputation which Mr. Jeaffreson has already earned by his large industry and by his great ability."

"English Merchants; Memoirs in illustration of the Progress of British Commerce," by Mr. H. R. Fox Bourne, is a book of peculiar interest to the Englishman of the present day, who owes so much of his comfort to the progress and success of commerce; and such works may be instructive in after ages, to those who, perhaps after the sun of England has gone down, shall study the sciences which lead to national prosperity.

"Reminiscences of a Bengal Civilian," by Mr. W. Edwards, Judge of Her Majesty's High Court at Agra, is an amusing work which comes out just at the right time. The reign of "John Company" is over, and the home government is on its trial as to its capabilities of making India rather a more profitable possession than its illustrious and singular predecessor, that "Company of Merchants trading to India," which commanded armies, subverted empires, and compelled princes to fall prostrate at her feet. Opinions are divided as to the probability of our future success in Hindostan. The age is an age of progress; Mr. Edwards' principles are retrogressive, or at least stationary; but we thank him for his book, which is pleasantly written, and affords matter for thought.

Two more books, excellent in their kind, must be mentioned; the first, entitled "English Travellers and Italian Brigands," by W. J. C. Moens, affords a remarkable illustration of the position of the Italian (late Sardinian) government, which, though strong enough to surprise and overpower a feeble neighbour, is unable to protect life and property in the territory that it has unjustly acquired. The other, "A History of Sign-boards," by J. Larwood and J. C. Hotten, is a work of much research, on a subject which, if not of the highest importance, is at any rate amusing, and not altogether useless in an antiquarian point of view.

On examining Messrs. Longman's catalogue of periodicals, corrected up to January, 1867, we find a total of 753, showing a slight increase over last year. It will be remembered that the total for January 1865 was 758. so that this

branch of the publishing business, no less than others, may be said to have resumed its buoyancy. The number of new periodicals (including, however, serial novels, newspapers, and transactions of societies) is 100. Among these are two which bear the same title, "Belgravia ;" two firms of publishers having brought out magazines with the same name, and contested their right to the title in the Court of Chancery, which, in consequence of the peculiar circumstances of the dispute, declined to recognize an exclusive right in either of the litigants. We notice that the "Shilling Magazine" has disappeared from the list. On the other hand, a new weekly publication of some pretension has appeared, entitled the "Imperial Review," and professing, we believe, Conservative principles. There is some difficulty in estimating the general results of the useful catalogue prepared by Messrs. Longman, in consequence of ambiguities of name or change in the mode of publication of certain periodicals. Thus we find the "Young Englishwoman," and the "Choir and Musical Record," altering their places in the list from weekly to monthly, or the like; while the "Sailor's Home Journal" of one year appears as the "Naval Chronicle" in the list for another year. The catalogue, which, like other compilations of the kind, would generally be considered rather dry reading, may raise a smile now and then by the peculiarity of some of the titles. Thus we have, in the latest list, periodicals with the singular names of "Bulwark,"" Last Vials," " Latter Rains," "Light Blue," "Philatelist," "Poultry Book," "Precious Truth," " Rainbow," "Sower," "Sooner or Later," "Orb," "Owl," "Fun," "Net," "Pen," Train," and "Tailor." There are no new periodicals of any great importance, except on special subjects; but we are glad to see that, as announced last year, the publication of the "Fine Arts Quarterly Review" has been resumed.

We have, as on previous occasions, to acknowledge our important obligations to the "Athenæum" and "London Review." We have refrained, on the present occasion, from availing ourselves of the assistance of the "Reader," for a reason that will probably appear in our next annual summary.

Every year brings with it the painful duty of recording the disappearance of some learned names from the literary roll-call. This time we have to lament the decease of Miss Frederika Bremer, who, though not an Englishwoman by race, was as well known in England as in her own native land, through the translations of her pure and soothing tales of Swedish domestic life. Dr. S. R. Maitland, a ripe scholar and antiquary, who had been for many years Librarian at Lambeth Palace, died early in the year. His works were numerous; that entitled "The Dark Ages" probably secured to him the greatest amount of fame. Francis Mahony, so well known as the "Father Prout," the humorous contributor to our magazines, has gone to his rest. A contemporary suggests that a careful selection from his papers would make a light and readable volume. No doubt it would; and certainly a "saleable" volume too. The world has suffered a loss in the decease of the Rev. John Keble, a poet and ecclesiastic of another class; one of those who, having led the van of the High Church struggle at Oxford, had sufficient steadiness to resist the fascination of alleged infallibility, and remained in the bosom of the English Church to the last. His greatest work, "The Christian Year," is read and admired even by those who dissent most widely from the opinions of which he was considered a champion. Serjeant Manning (Queen's Ancient Serjeant), whose name was so well known to all readers of the "Athenæum," a man of great industry and general knowledge, has died at the advanced age of 84. Even one year older, towards the close of 1866, died Mrs. Gilbert (formerly Anne Taylor, one of the sisters whose signatures “Anne"

and "Jane" are so well remembered by those who have delighted in childhood in the charming little book called "Original Poems." A more innocent or agreeable book for children could scarcely be found; and we can say from our own recollection, that although these poems have so much real humour as to find favour with well-educated adults, they are written with an ease and simplicity which makes them perfectly intelligible to the young. This is a most rare combination, and it bespeaks for the work of the Misses Taylor an honour seldom awarded to "children's books," a place in the catalogue of books that will go down to posterity.

Upon the whole, the year that has just come to an end has been one of satisfactory literary activity. Wars and tumults have disturbed some nations of Europe, but England has been at rest and unharmed. Still there are unquiet rumours abroad, and we could wish, for the sake of future intellectual progress, that neighbouring nations would talk less about their armaments, and would cease to look upon the maximum of warlike preparation as coincident with the minimum risk of collision with their neighbours.

ART.

THE British Institution (Modern Paintings) opened early in the year, with less éclat than it attained on the preceding occasion. It may be remembered that a considerable effort was made, in the year 1865, to raise the character of this Exhibition, which was generally considered to have been declining for some years. The exertions of its supporters were successful so far as this, that they prevailed upon several painters of leading position to send some of their works, which gave a sufficient leaven to the whole to raise the hopes of those who desired the continued existence of the Institution. This year, however, the Modern Exhibition must be looked upon as a failure; and it seems probable that the small size of the rooms, or some other cause as yet unexplained, operates to produce a distaste for this gallery, and prevents it from securing that public patronage which can alone restore it to the high position that it once held.

The Exhibition of old Masters (including deceased British artists) derived its principal interest from the presence of an unusual number of the paintings of Sir Joshua Reynolds. Among these are "Lady W. Wynn and her Children;" "Lady Crewe," and several portraits of the Westmoreland family. There were also several of those portraits of English children which English mothers will never be tired of looking at. The English portrait school was further represented by Romney, Gainsborough, and others. Among the foreign paintings drawn from the obscurity of private galleries were "Bianca Capella," by Bronzino; an excellent Mabuse, entitled "A Merchant;" an exquisitely sunny Cuyp, and one or two works of Rembrandt, Masaccio, Jan Steen, &c. Upon the whole, this exhibition, especially when looked upon as a comparative collection of portraits of different schools, must be pronounced to have been more than ordinarily successful.

The Society of British Artists continues to exist, but can scarcely be said to merit its title. That it is a Society of British Artists no one can doubt; but few, if any, of our native painters would wish it to be considered their Society par excellence. Among the few paintings which stood out from the dead level

of mediocrity in last year's display, were "The Windmill, Evening," and "Cutting and Carrying Wheat, Hastings Coombe, Sussex," both by Mr. G. Cole; and a water-colour drawing, by Mr. J. D. Linton, bearing the title of "A Soldier of Fortune." It seems as if Art, like Commerce, had a taste for free-trade, and as if our subsidized institutions were destined never to flourish.

The French Exhibition contained, among other remarkable works, the "Phryne before the Tribunal," a painting of M. Gérôme. This work is now well known to the public from the excellent representations of it which are to be seen in the shop-windows of dealers in photographs. Three pictures by M. Leys, "The Arrival," "The Welcome," and "After the Feast;" intended to illustrate the manners of Flemish burghers of the fifteenth century, are full of character, but are said to be somewhat defective in drawing. M. Gallait had only one picture, entitled "Jeanne La Folle," which suffered from the painful nature of the subject. To sum up, we may add a few lines from the "Athenæum," written some weeks after the opening of this exhibition :

"The famous picture by M. Gérôme, representing Cæsar dead, has been added to the French Gallery. This Exhibition now contains,-in the Phryne Unveiled,' by this artist, in two works by M. Meissonnier, two noble landscapes by M. Daubigny, a half-length by Madame H. Browne, examples of the highest class in the French school. The works of M. Alma-Tadema, Duverger, M. E. Frère, and Mdlle. R. Bonheur, are less pretending, but equally interesting."

The Society of Female Artists obtains a favourable verdict this time at the hands of the male critics. "This is the tenth annual gathering," we are told, "of this Society and its contributors. On the whole, although comprising some bad pictures, there is evidence of considerable improvement in technical matters.” The critic goes on to remark that "it is strange to find so few who display intellectual grasp." It can scarcely be expected, however, that this female Society should produce, in the early stage of its existence, results which will bear a close comparison with the works of veteran painters of the stronger sex. The development of art is a matter of time; and whatever may be our opinion as to the possibility of women (otherwise than in certain exceptional instances) mounting to a high level, it is clear that at present sufficient time has not been allowed for ascertaining their power. In the mean time it is satisfactory to find that the female artists are improving; and it is possible that even if they cannot compete with men, they may be able to found a special and valuable school of their own. The Exhibition of the Society of Painters in Water Colours was above the average. Among the pictures most worthy of notice as to execution, were Mr. E. B. Jones's "Le Chant d'Amour," and "Zephyrus bearing Psyche to sleep in the Palace of Love." There were, however, faults of taste, which weakened the pleasing impression that might have been produced by these paintings. Mr. Lamont, Mr. F. Smallfield, Mr. F. Walker, Mr. F. Shields, and a hundred other well-known names appear in the catalogue of one of the best Exhibitions that we have seen for some time in the gallery of this Society.

"We

Even as the Society of Painters in Water Colours, so also its modern rival, the Institute of Painters in Water Colours (formerly called the "New Society of Painters in Water Colours"), has put its best foot foremost this year. have not seen at this gallery for many years," writes a contemporary, “so interesting an exhibition as the present." Among the names of those artists whose pictures are most worthy of approval, we may mention Mr. Maplestone, Mr. Hine, Mr. Sutcliffe, Mr. D'Egville, Mr. J. Fahey.

The General Exhibition of Water-colour Drawings took place last year with

considerable success. This new Society; or, we should rather say, this Exhibition which resolves to be independent of every Society, seems to be improving from year to year.

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The “Athenæum” tells us that this Art-gathering surpassed even the expectations which were justified by the display of the former year. Among the most important compositions were Bored to Death," by Mr. S. R. Lamont, "La Fontaine" (not a reproduction of the lineaments of the old French poet, but a picturesque Italian scene of a woman drawing water at a fountain), by Mr. P. H. Calderon; and "The Noble River that rolls by the Towers of Rome," by Mr. J. C. Moore. Mr. Arthur Hughes's "Ten of the twenty-five Drawings to illustrate Enoch Arden,'" derived an interest no less from association than from their excellent execution.

At the Exhibition of the Royal Academy several well-known names were wanting, as some painters who usually contribute liberally sent on this occasion only a single picture. The following extract gives a few particulars, and suggests a reason for this want of zeal.

"The absence of Mr. Millais as a contributor to the gathering before us is due to the non-completion of some elaborate works, which he wisely retains; the illhealth of Mr. Elmore and his sojourn in Italy delay his re-appearance among the Academicians; Mr. Phillip is, comparatively speaking, not prominent, although one of his pictures will to many afford greater satisfaction than has been bestowed by others that have preceded it; Mr. F. Goodall contributes but one picture, which will not, we fear, be so widely acceptable as was 'The Rising of the Nile' of last year, or 'The Messenger from Sinai' of that which preceded it. The continued absence of Messrs. Rossetti, Madox Brown, and Holman Hunt is injurious to the exhibition which the world desires should be representative, and comprehensive of every shade of opinion,—an equal field where all might be tested, to the advantage, doubtless, of those resolute absentees, if not of others who might learn from them, while they imparted as much or more than they received from labours the intellectual value of which none but the prejudiced deny or the ignorant overlook.

"The national Exhibition should be a neutral ground, where correctives might be applied to eccentricity, where ability could prove itself, prejudice be cut to the bone, and incompetence find its level. Good to all parties would come from the exhibition of works of all able men. The total absence of any such is to be lamented even more than the partial exclusion or disadvantageous appearance of pictures by such painters as Messrs. G. F. Watts, Anthony, and Armitage, of whom the first never sends his best works to be seen by those who might perceive how the later Italian schools are appreciated by one of the most accomplished of modern artists. The pictures of the second, one of the few living landscapists who impart something of intellectual value to their transcripts from nature, have been so wrongfully placed at the Academy for a succession of years, that it is wonderful he continues to submit them to hangers who-as also when they hung the exquisite etchings of Messrs. Whistler and Haden in the darkshow weak perception of the higher qualities of design. Mr. Armitage, although of late recognized, has had to give place to many a Portrait of a Gentleman,' many a feebly-painted domestic subject. It is impossible for styles to differ more than those of Messrs. Armitage and Rossetti, of the latter and that of Mr. Holman Hunt, of Messrs. Watts and Madox Brown; yet in a greater or less degree the action of the Academy has been to shut out the productions of these artists, who have nothing in common but intellectual power and the want of a good field for