The above-mentioned firm must be congratulated on the very able manner in which they have performed their part in the production of the volume before us; for obvious reasons, it is not for us to speak of the editor’s share in the work, further than to state that he has conscientiously tried to perform the task which he had undertaken. This volume, which completes the work of “Greater London,” comprises the whole of that portion of the metropolitan police area, outside the limits of the Board of Works, which is on the south side of the Thames, extending from Erith in the east to Kingston and Esher in the west, and embracing within its scope the important towns of Woolwich, Chislehurst, Bromley, Croydon, Epsom, Richmond, Kew, and Wimbledon, together with the several smaller parishes, villages and hamlets, that lie within its area. This area, almost every nook and corner of which—thanks to our railway system—may be visited on the Saturday afternoon holidays in summer, and most of them even in winter, contains, as we need hardly add, much that may interest the ordinary visitor, should he care for quiet and peaceful rural scenery, or the artist who may be in search of choice “bits.” Mansions and other buildings will be found possessing historical associations: such, for instance, as Chislehurst, with its memories of the antiquary Camden, and the Emperor Louis Napoleon; Hayes and Keston, the favourite haunts of Pitt and Wilberforce; Beddington, where we find the Carews and Sir Walter Raleigh; Croydon, where there is much to read about in the long roll of primates who have occupied the palace there till Addington became their home; Epsom, where we see “the quality” drinking the waters, and Lord Derby and his friends inaugurating those races whose name is not only national, but world-wide. In the chapters devoted to Richmond and its neighbourhood the reader is placed in contact with bygone English sovereigns and princes and princesses; here, too, he is surrounded by Kitty Clive, Gay, Thomson, and a host of children of the Muses. Indeed, from end to end of the volume the reader is brought face to face with great men and women who have added a light to the pages of English history. It only remains to add that the work possesses a copious index, and that it is profusely illustrated, engravings being given, not only of places as they exist in the present day, but also of historical buildings which have long since been swept away. Of these we may mention Nonsuch Palace, near Cheam, and the Old Palace at Richmond, which latter, through the kindness of Messrs. Cassell, we are enabled to reproduce.

Mr. Sainsbury has brought out a fourth volume of the “Calendar of East India State Papers,” which, in point of intrinsic interest and editorial treatment, will suffer by comparison with none of its predecessors. Any authoritative compilation, dealing with the vast collection of materials available for the history of British Colonies in their official relations with the parent State, is sure to command the widest interest; and such a work, when treating of the early and truly wayward fortune of the mighty national stake contained in our Indian Empire, should be peculiarly attractive to the countrymen of Clive and Warren Hastings.

The original documents calendered in the present volume consist, as before, chiefly of the Court minutes of the East India Company, domestic State papers and correspondence, original correspondence, East India State papers, and Holland correspondence. The light which these combine to throw upon the contemporary history of our greatest trading community is sometimes almost painfully intense.

The Company in 1625 was in truth placed in both a dangerous and a helpless position. The Amboyne massacre of three years before was as yet not only unpunished, but almost unreproved, except by the voice of popular indignation in England. We may, in fact, estimate the inaction of the Government to a certain extent in proportion to the violence of this outcry against “that most bloody and treacherous villainy.” It was in the spring of this year (1625), we read here, that the crisis provoked by official supineness was reached, a popular outbreak against Dutch residents being apprehended on the approaching Shrove Tuesday. This movement had been fanned by certain incendiary pamphlets; by a picture, and by a play, each reflecting strongly upon the inhumanity of the Dutch towards English traders. The picture, in especial, appears to have been a masterpiece of animosity, for therein was “lively, largely, and artificially” set forth the interior of the supposed Torture Chamber at Amboyne. Now that a tardy justice was about to be dealt to the judicial murderers of their fellows, the Company was content to permit the picture itself to be suppressed. Yet that the members were secretly proud of their manifesto is apparent from their naÏve regret that “His Majesty and their Lordships” had not been “presented with a view of this horrid spectacle.” Owing to the precautions of the Council, the fateful day passed without an outbreak, but none the less, as the editor justly observes, the sore rankled long in the hearts of true-born Englishmen. At length reprisals were instituted, and three Dutch ships were arrested at Portsmouth, only to be released, in return, as the popular rumour went, for a secret bribe of three tons of gold. Finally, the dispute was allowed to drag out its slow length in diplomatic correspondence, and a party-trial in Holland.

The remaining features of interest in this volume are connected with the private details of the Company’s financial ventures, and these reveal a state of affairs most melancholy to contemplate. To such a depth of poverty had the once flourishing Company sunk, that in 1629, with a debt of £300,000 already incurred, the Governor was compelled to confess their inability to advance £10,000 to the Crown towards the expenses of the French War. At the same time, too, every investment in the Far East turned out disastrously. The Dutch not only pillaged English factories with impunity, but openly thwarted any chance of carrying on a lucrative trade, by forcing their own spices upon English factors at ruinous prices. Moreover, the constitutions of our countrymen too often succumbed to the pestilential swamps and jungles of New Holland. Then the natives, as usual an unreliable element, both broke their contracts and ill-treated the Company’s factors, in spite of their “accursed oaths to the contrary.” Yet in the end British constancy and enterprise prevailed. Fresh subscriptions poured in, new ships were fitted out, and returned laden with ample wealth. The English merchantmen stoutly held their own against the Dutch pirates, and beat them off—one ship (the Lion) against ten—in an action that recalled the glories of Grenville and his Revenge. Therefore it will be seen that this volume closes with a happier augury of renewed peace and prosperity.

It was inevitable that the Centenary of Dr. Johnson’s death should recall into existence some at least of his contributions to English literature, and Mr. Unwin has done well in publishing at this moment a choice selection from the “burly Doctor’s” works, under the above title. The little brochure on our table by no means exhausts that mine of wealth which is to be found in the writings of Dr. Johnson; but, so far as it goes, it is carefully and conscientiously selected, and ought to be most welcome to his many admirers.

Johnsoniana. Arranged by R. W. Montagu. Boot & Son. 1884.

A most appropriate and well-timed collection of the best of Dr. Johnson’s sayings and opinions, gleaned not only from Boswell but from other sources. These are arranged in chapters under separate headings. Is it by accident, or by set purpose, we wonder, that one chapter is devoted to “Love, Friendship, and Affection,” and another to “Marriage”? The life of Johnson prefixed to this little volume is a happy model of condensation. Published at a shilling, it ought to command just now a very large sale.

Pottery and PorcelaÌn. By F. Litchfield. Bickers. 1884.

This is a most useful manual for the collector of old china and articles of vertu, a guide based on long and large practical experience. The book is partly historic, and the chapters on “Ancient Pottery” and “The MediÆval and Renaissance Periods” will be perhaps the most interesting to our readers. But those whose tastes are more modern than antiquarian will derive more pleasure from the chapters relating the story of the introduction of porcelain into Europe; while nobody, however large his or her own experience may be, can afford to despise or to dispense with the lists of the marks and monograms adopted by the Wedgwoods, the Spodes, the Copelands, and other manufacturers of pottery, or with the “hints and cautions to collectors” to be found on pp. 191-199. The illustrations are numerous and excellent; and the little work can boast the merit of a very careful index.

Phallicism. By Hargrave Jennings. G. Redway. 1884.

This book is written ad clerum, and appeals to the scholar only, and not to the multitude. It is a masterly and exhaustive account of that worship of the creative powers of nature which, under various names, has prevailed among all the nations of antiquity and of mediÆval times, alike in Egypt and India, in Italy and Gaul, among the Israelites of old, and among the primitive inhabitants of Great Britain and Ireland. Mr. Jennings treats of his subject in its celestial and terrestrial, its heathen and Christian aspects; and he traces its connection with the Gnostics, the Buddhists, and the Rosicrucians. He sees Phallicism in the obelisks and pyramids of the Nile, in the monolithic circles of Stonehenge and of Avebury, and in the Round Towers of Ireland. A worship or cult so ancient and so widely spread, it is clear, must have a history, and a curious one; and this Mr. Jennings has traced in a way so scholarly as to leave little or nothing to be said by others. He has carried his inquiry much further back, and also in many more countries, than all previous writers, including Mr. R. P. Knight, who drew his pictures of Phallic worship chiefly from what he had himself witnessed in Italy and the South of France. It will surprise very many of our readers to learn that the erection of the Tower of Babel was probably an early outburst of this worship, and that its hidden and mystic meaning was the same as that of the Round Towers in “the sister island,” which were nothing more or less than fire towers, expressive of the ancient faith of the Parsees. How far these speculations are true in fact, must be left to the learned to decide. But certainly the work before us will be found a most valuable auxiliary to all who care to pursue such a subject of inquiry, a subject for which Mr. Jennings is the better fitted on account of his long and intimate acquaintance with the Rosicrucians, their tenets, and their practices. The issue of the work is limited to 400 copies for English subscribers.

Our readers may perhaps remember that some time ago we reviewed M. EugÈne Plon’s magnificent volume on Benvenuto Cellini.[83] From the extreme care with which the work was done, it was quite evident that we had before us the result of enthusiastic sympathy with the artist whose biography we were invited to study, and whose genius was so thoroughly appreciated. M. Plon would not take a final leave of his hero, and every fresh discovery referring to him would be duly recorded and given to the public. Nor have we been disappointed of our expectation, for the quarto brochure of which we have just transcribed the title-page, is an interesting contribution to the history of art in general, and of Benvenuto Cellini in particular. It consists of two parts, which we shall briefly notice in succession.

This description is M. EugÈne Plon’s. He further informs us in a footnote that the portrait in question, originally preserved at Prato, is now at Florence, and belongs to the collection of the Commendatore Luigi Vai; its existence was pointed out to our author by the Director of the State Paper Office of Tuscany, Commendatore Cesare Guasti; it was intended for the celebrated Bianca Capello, to whom Francesco di Medici forwarded it, together with this short note:—

There is no doubt whatever, therefore, on the authenticity of this portrait. M. Plon has had it photographed in the original size, and it is impossible to imagine anything more exquisite as a work of art. With reference to the date, it must be assigned between 1568 and 1570, for we know that Benvenuto Cellini died in the beginning of 1571, and about the close of the preceding year he complained of suffering from a severe bronchial attack, which had obliged him to discontinue work for the space of several weeks.

M. Plon has taken the opportunity afforded by the portrait to give us a short sketch of the life of Bianca Capello, her first marriage with Pietro Bonaventuri, the romantic adventures which followed upon it, and her subsequent relations with Francesco di Medici. He has added to his interesting memoir two portraits of Bianca: one by Angiolo Bronzino, preserved in the Uffizi Gallery; the other likewise by Angiolo Bronzino, exhibited in that of the Palazzo Pitti.

The second part of M. Plon’s supplement or appendix is devoted to an account of several works of art ascribed to Benvenuto Cellini. We first meet with a statue of the god Pluto, belonging to a London virtuoso, and which was exhibited at the Burlington Fine Arts Club in 1879. It is supposed to have been cast in the Petit-Nesle foundry, and to have been originally one of the twelve Dii Majores ordered by Francis I., and which were to have been worked in silver as decorations for his festivals. There is nothing to prove that we have here a production of Benvenuto Cellini, but it certainly belongs to the school of Michael Angelo, and if the artist is not Cellini he must be Giovanni di Bologna.

The next thing to notice is a large basin of silver-gilt workmanship, belonging to Lord Cowper, and the ewer corresponding to which is described and reproduced in M. Plon’s first volume; it represents a series of scenes from the Old Testament. “The richness and elegance of the compositions,” says our author, “betray the hand of a first-rate artist.” Let us add that both the statue of Pluto previously mentioned and the present basin have found a place amongst the illustrations of the work we are now reviewing.

Two other articles of vertu (two cups, or rather their mountings) are also ascribed as probably Cellini’s work, on the authority of M. Alfred Darcel (letter to M. Edmond BonnaffÉ, in the Chronique des Arts et de la CuriositÉ, April 14, 1883). We have further to mention two gold jewels intended to be worn on a man’s cap (nella berretta), and which were engraved by Cellini’s rival, Caradosso. This naturally leads M. Plon to insert a letter addressed by our artist to Isabella d’Este, Duchess of Mantua, a letter in which he adds further details to those he had already given (see Benvenuto Cellini) on Caradosso.

The last description we have to allude to here is that of a salt-cellar, which appears to have been made for Frederigo II., Duke of Mantua, and which was a work of high art. M. Plon gives us the correspondence relating to it, correspondence preserved in the archives of the Gonzaga family, and which has been copied there by M. Armand Baschet, who has so often and in so remarkable a manner contributed to our knowledge of the social, political, and intellectual history of Italy during the sixteenth century.

In conclusion, this elegant brochure is an important and necessary appendix to the volume we reviewed last year; it may be regarded as not only a supplement to M. Plon’s catalogue raisonnÉ of Benvenuto Cellini’s work, but a memoir of Bianca Capella, and a graphic though far from edifying sketch of Italian life at the time of the Reformation.

English Etchings, Parts xli. and xlii. (D. Bogue, 27, King William-street, W.C.), which are now before us, are fully up to the standard of the parts previously published. Among the plates calling for special mention in these pages is an interesting addition to the series of etchings of Old London, “Covent Garden Market,” by Mr. A. W. Williams. Orleton Church, Herefordshire, a spirited etching by Mr. Oliver Baker, shows the fine Jacobean pulpit of oak, covered with elaborate carving, and part of the chancel arch with the head of a bishop in mitre and amice as a drip-stone termination.