passing, it was of the deliberate order and easy of anticipation, and Anderson's try in the first half was something of a surprise, for he got a clear run in, in spite of the fact that the passing was all along the ground. The second half was much better. The Blackheath three-quarters put in some effective crosskicking, which led up to a try by Marriott, and thereafter the Blackheath forwards fairly gained the upper hand, their play at times being quite clever. Cambridge had no difficulty in beating Lennox, and Oxford have at last managed to pick up a win at the expense of the Nomads. About the closest match in the London district was Rosslyn Park v. Harlequins. Each side crossed the other's line thrice, but the Park's tries were converted and the other's weren't.

Three Good Soccer Matches

The game between Cambridge and Old Malvernians at Queen's on Saturday was one of those that make you wish that both sides could win, because everybody was keen and nearly everybody played jolly well. Cambridge were without Keigwin, Page, and Cornelius, and they had a very warm team opposed to them; but, all the same, I think they were a little unlucky in not scoring in the second half. Once Birks missed an almost certain score from a fine centre by Wright through slipping, and one or two of A. P. Day's saves may be described as rather lucky, without any disparagement to his goal-keeping, which was excellent throughout, except that he might, perhaps, have saved Birks's second goal. Birks, by the way, looks to me like a forward who will develop into something out of the ordinary. Malvern's strength in attack lay on the right, where S. E. and S. H. Day worked nicely together in conjunction with B. S. Foster. Oxford and London Caledonians had a very hard match at Tufnell Park, and at half-time only one goal had been scored, somewhat luckily by Oxford, for Ralston, in attempting to stop a shot by Curwen, only succeeded in tipping it well out of the goalkeeper's reach.

However, in the second half, the Scotsmen managed to make it all square. Lovegrove again

kept goal finely for Oxford, and Reid and Rutherford on the Caledonian side were great. In their match at Wood Lane with the Casuals, whom they beat by 3-1, the Richmond team showed a tendency to play a rough game, and thereby marred an otherwise good performance. Their first goal, by Gausden, looked rather a doubtful one, but they pressed almost continuously during the first half, and the Casuals were perhaps lucky in being only "one down" at half-time, Meers having put on another for Richmond and Durrant one for the Casuals after a neat run. In the second half the Casuals' forwards played a bit better, but their halves were very weak, and if it had not been for the good defence of the veteran S. L. King, and S. G. Luker, the Old Cantab, at back, coupled with some good goal-keeping, Richmond would have scored more frequently. As it was, they only got one more, through Seigle, who played well throughout.

Hockey and Lacrosse

The Cambridge hockey team are still going strong. On Saturday they beat Hampstead by 5-1, and on this form look to be stronger than Oxford, who beat the same club a couple of weeks back by 5-3. But Hampstead have been a bit out of form of late. Not so Southgate, who followed up their defeat of Cambridge last week with a tall score against Wimbledon (11-2), while Oxford beat Beckenham 6-1. Staines v. Teddington was a closer affair, the former winning by 2-0, and Surbiton only just got the better of Sheen by 4-3. The chief Lacrosse match of Saturday was Cambridge v. West London, in which the University just got the upper hand of their doughty opponents, after a capital game, by 8-6. Snaresbrook also

out two goals ahead of Clapham (6-4). Cambridge, by the way, before they met West London, had only had one goal scored against them this season.

Among the splendid English artists of the eighteenth century there is no one now more generally admired and praised than the rival of Reynolds--the gifted painter of both portraits and landscapes, Thomas Gainsborough. And yet very few and very insufficient attempts have been made to write a history of his life. His neighbour, Thicknesse, J. T. Smith, and the Fulchers, have done something towards preserving the details of his busy days, and many accomplished critics have written on his work, but it has remained for Mr. William B. Boulton to give us "Thomas Gainsborough: His Life, Work, Friends, and Sitters" (Methuen: 7s. 6d.). The result of what is evidently a labour of love is a delightful biography of one who had the faults and virtues of a great artist; a book of sustained interest throughout its 350 pages, compact of information, anecdotes, argument, and criticism. The forty illustrations are excellent reproductions of both well-known and littleknown examples of the work of Gainsborough's fully occupied life, and include such charming pictures as the early characteristic "Mr. and Mrs. Sandby" to the much-talked-of and much-copied "Blue Boy," now in Grosvenor House, with claimants to the honour of being by Gainsborough still prized in France and America.

Three Blue Boys'

It is the dream of all lovers of the painter to bring these three "Blue Boys" together, face to face, and judge, if possible, their history. Messrs. Methuen, whose books on "Connoisseur" subjects are widely appreciated, also publish a valuable work by Mr. Frederick S. Robinson on the now popular theme of "English Furniture" (255.). Although a long list of books on this or analogous subjects is now before the public - we could add a good many to that given by Mr. Robinson-none will be found more complete, interesting, and valuable to collectors, than the present volume. To the fully instructed there is

no more painful sight than to see the would-be man of taste in the direction of old English furniture struggling in a vain endeavour to free himself from the wiles of sophisticated or ignorant dealers. But with the aid of Mr. Robinson's work no one who studies it need fear the collector's ordinary foes. More than 150 plates, made from photographs of actual pieces of English furniture now in being, illustrate this work. These plates reach from fifteenth-century work to the beginning of the nineteenth century, and are particularly full in the great period of the eighteenth century.

An Essay on Rembrandt From the English cabinet-maker to the great Dutch painter and etcher who died in 1669 is an easy

step to the connoisseur, for all beauty is within his circle of admiration. As Mr. Lewis Hind says, in his light, but informed essay for Mr. Mortimer Menpes's "Rembrandt " (A. and C. Black), "Not a turn or a twist of his life, not a facet of his temperament, not an individual of his family, friends, or acquaintances, not the slightest scrap of paper bearing mark of his hand, but has been peered into, scrutinised, tracked to its source, and written about voluminously." notwithstanding this somewhat discouraging position of affairs, Mr. Hind arranges to give us much that is fresh, much that is charming, and no little that is pretty well known, in his gracefully written essay. To Mr. Mortimer Menpes the pictures are the thing, and of these he gives sixteen examples, printed by his own press after a method which he considers far better than anything that has gone before. For the first time, Mr. Menpes says, these masterpieces of Rembrandt, with all their rich, deep colouring, can be in the possession of everyone. Of course, even the most dogmatic are sometimes right, but interesting as are Mr. Menpes' prints, they will hardly carry such a weight of praise. Still, we can advise all lovers of Rembrandt's work to possess this volume. E. M.

As I write-although it will be an old story when I am read-we are all flocking to the Automobile Show at Olympia. If crowds and general interest go for anything, this event has been crowned with success; the Hammersmith Road, never a wholly poetic spot, has been rendered hideous by lines of sandwich men, and pedestrians have literally held their lives in their hands during the trial trips that have gone on round and about Holland Road. However, such is progress. Talking of trial runs, I joined one in the 1906 patent 22 h.-p. Crossley to Roehampton Lane, and found every promise fulfilled of increased comfort in the longer springs on the "chassis." It is a veritable greyhound of a car, and literally slips along, without any apparent effort, a result born of great strength and versatility.

66

As an observer, I am wondering why the majority of women attend these Shows? The few only have the dimmest notion what constitutes an engine, the very foggiest notion also prevailing as to the terms, chassis," "" tonneau," etc., and since the prospect of the greater number possessing a car of their own appears as remote as ever, personal interest cannot be the incentive. Almost it seems as though this ardent feminine attendance must be placed at the door of natural gregariousness, and, as I prophesied last February, certain obvious efforts were made to emulate the Parisian example of dressing up to the gathering. Among other pleasant objects, my eye was caught and retained by a pretty, fair girl, dressed from head to foot in deep mauve, about the tone of a Russian violet. Her hat, of Josephine persuasion, was of mauve velvet, gown of mauve cloth, the habit skirt, slightly trained when raised, revealing a silk petticoat en suite, while smart mauve kid shoes and buckles completed a really very fetching attire.

Charming, also, was a gown of navy cloth, the long Directoire coat whereof was slit up at the back almost to the waist, also at the side, while the fronts were worn open, so that from almost every aspect one caught glimpses of a white moiré lining. The skirt was fashioned corselet wise, a fussy, dainty little shirt of lawn and lace finishing a story of unequalled elegance.

Before leaving my text of motoring, I really must tell you a delicious story that is going around. It is said that the motor maniac is so much on the increase, lunatic asylums are providing special extra wards to meet the supply. A visitor, on being taken into one

the other day, observed cheerfully, "But this one is happily quite empty." "On the contrary" answered the attendant, "it is quite full; they are all under th beds, mending the springs."

A Pot-Pourri of Persuasions

Moiré and satin hats are quite the newest of the new in millinery circles. These have crept up as the mushroom in the night, though it may be safely surmised they will not as quickly disappear. In all shades of silver grey, mauveish and mole shades, pinkish mauve, and that indefinable wine shade, the hat effected in moiré or satin stands forth a novelty, as pleasing as it is original.

For shape, inclination runs to a low, rather large crown, and brim infinitesimally narrow in front, but widening towards the back, where occurs the inevitable cache-peigne for the acquiring of the requisite tilt forward. And on these chapeaux, a very profusion of flowers are disposed, lovely tangled masses of moss rosebuds, impossibly large, impossibly coloured, but wholly fascinating silk violets, and every stalk and foliage of a dégagé order. On a model of mauveish-pink velvet there rode a long sweeping feather entirely composed of violets, and I simply loved a confection that boasted a crown of chinchilla fur and brim of chinchilla grey satin that was positively hung about with a fringe of shaded red rosebuds, while the cache-peigne was formed of packed masses of pale chestnut-brown tulle. Even the descriptions read enticingly, do they not? whereas, the realities are-well!-superlative.

Rumour reaching me as to the graciousness of a certain slightly draped skirt, I courted inquiry and was duly rewarded by an introduction to a draped Princesse in green corduroy chiffon velvet; and, also, a skirt with separate corsage of old-rose cloth, that was just sufficiently raised to reveal a hem of velvet. Failing this soupçon of drapery, the only other jupe accorded any sort of recognition is the habit skirt, which Paris declines to have deleted by an inch of its short train.

The trottoir is quite another matter, and one purely relegated to country wear, a fact that, personally, I consider is to be deplored as unworthy the reasonable and seasonable moment.

The Grafton Fur Company

It takes a woman of adamantine purpose to resist the fur fascinations displayed in the window of

164, New Bond Street, and just now decked out to greater temptation than ever with the lesser peltry persuasions suitable to Christmas gifts. It is something of a unique experience to be able to procure from this exclusive house white fox stoles from £3 5s. Oh yes! I know there are any number of places advertising a similar supply, but at the Grafton Fur Company, we have every confidence of securing full value for our money. Whenever such an offer as this reaches me from a firm of the standing of the Grafton Fur Company, I am always persuaded it is one worthy to be investigated. For there is no one more punctilious as to character than the latter-day exclusive furrier. And, naturally, they have bigger facilities than others to obtain the best of the bargains in the fur markets.

A Louis Seize Theatre Corsage Expressive of the most enchanting chic and charm is the dainty theatre bodice of white ninon, threaded with scarves of old rose crêpe de chiné, the orthodox décolletage and pouf of the short sleeve outlined by a finger-depth of dark fur.

A Cleaning Wrinkle

I should be interested to learn if many other women, in daily intimacy with petrol, had discovered the invaluable service of this spirit as a cleaning medium. A gallon of petrol is thoroughly capable of renovating several silk blouses, which are just dipped bodily into the spirit and worked up and down without any rubbing. And my experience has been that tinted lace has not changed its

T

MADE IN

(ENGLAND)

HE "HUMANOLA" produces perfect music by the most simple means-therein lies its supremacy over other players. The accentuation in most piano-players is obtained by sliding a lever or pulling a stop, an action which means the working of complicated mechanism before it can be interpreted in the rendering. The respons: is, therefore, not immediate, and your exp:ession appears faulty. In the "Humanǝla" it is differen. By means of the pedals you are enabled to bring the accentuatio. instantly on the very note you desire, because it is direct action. I: is thus possible for you to play the pian with the human touch and sentiment which is the heart and soul of music. The "Humanola" is an instrument for all, for an one can play it. Price £25 net cash, with presentation of £2 wo.th of music rolls free. Pianofortes from £45. Write for full particulars to

Ronische

You can play some of the compositions which Paderewski plays on the concert platform according to Paderewski's own interpretation, and so certified over his signature.

You can play Moszkowski's valses just as the clever and versatile composer intended them to be played.

You can render Richard Strauss's "Traumerei" with all the delicate tempo shadings which Dr. Strauss himself has embodied in the Metrostyle line.

You can study the music drama Parsifal" under the tuition of Altred He.tz, for this famous Wagnerian conductor has metrostyled his interpretations for the Pianola.

You can enjoy Chaminade's dainty salon music, giving the different compositions with the subtle effects which the composer herself has decreed essential to a proper rendition.

You can play Beethoven's great "Fidelio" overture with the ad of the authorised interpretation made specially for the Metrostyle Pianola by Emil Paur, the eminent Beethoven authority.

You can play Chopin's "Black Key Etude," and many others of the master's compositions, with all the ritardandoes, accelerandoes, etc., which distinguish the public performance of Harold Bauer, the eminent virtuoso.

You can play Sousa's favourite march "Stars and Stripes for Ever" with the characteristics and mannerisms which have made America's foremost bandmaster famous the world over.

All these things and hundreds of others are possible to the owners of the Metrostyle Pianola.

If you are unable to call please write for Catalogue B.

The Orchestrelle Co.

ÆOLIAN HALL

135-6-7, New Bond Street, London, W.

D. & H.