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From The Autobiography of Joseph Jefferson." (Copyright, 1889-1890, by Joseph Jefferson.) The Century Co.

his work; and while his aim has been at all times to amuse, he has never lowered the standard of bis profession.

in "The Heir at Law"-we print on the preceding page. While a charming portrait, it is a representation of one of his best parts, and one in which the public just now are flocking to see him.

The Century Co. offer this "Autobiography," in a beautiful white vellum cover and exquisitely printed, as a holiday gift-book. It is without doubt one of the most tempting and most lovely publications of the season. The same wealth of illustrations that embellished it in the Century is displayed in book form. Over seventy of the finest portraits, however, are printed separately from the text, on heavy paper, in place of being in the text, as they were in the magazine. This is a great addition to the artistic worth of the volume, the result being a series of exceptionally fine pictures. One of the handsomestJefferson in the character of "Dr. Pangloss" entrances," and are heard no more.

What delightful hours come again to the theatrelover as the leaves of this delightful book are turned, and portrait after portrait, with its long train of remembrance, is brought before him! Here is Jefferson as "Rip Van Winkle" and as "Bob Acres ;" John Drew the elder as "The Irish Emigrant;" genial and handsome John Brougham as "The O'Grady;" Sothern as " Lord Dundreary;" Edwin Adams, Laura Keene, Chanfrau, Forrest, Charlotte Cushman-all gone but Jefferson-" players" that the world has been proud to honor, who have had their exits and their


THE vast amount of solid, hard work that George Eliot put into her "Romola "-scene, Florence; period, close of the fifteenth century,

which was marked by Savonarola's career and martyrdom-it is impossible to realize. It is her most elaborately executed book; the book which, as she

said, "I began a young womanI finished it an old woman." This study of conscience in an historical setting she planned in Florence, and in 1860 just mentioned her desire to write an Italian story. On October 7, 1861, she began to write, and the record of the books she read before and during her work on this great novel gives a slight insight into her profound learning and her almost morbid conscientiousness. In February, 1862, she was offered £10,000 for the entire copyright of her novel, which the publishers desired to issue in The Cornhill Magazine, beginning with an instalment in the month of May. But George Eliot was too true an artist to make a beginning before the public until she could see further towards the end of her work. On June 9, 1863, she finished "Romola," which she said "ploughed into her" more than any of her other books. For systematic analysis of motives, moral insight into the larger bearings of life, forcible delineation of the far-reaching results of an evil step, power of epigrammatic expression, unerring humor, masculine breadth and artistic finish, her work stands almost alone in fiction. Many writers excel in one or other of the great gifts she has shown herself possessed of, but a combination of all has only been seen in Irom Florentine Ed. of "Romola." (Copyright, 1890, by Porter & Coats.) Shakespeare. Only Shakespeare is



as catholic as George Eliot; only in Shakespeare is the line between the work and the worker so distinctly drawn.

Her picture of the religious condition of Italy just before the Reformation has been quoted and accepted by the most profound students of the subject. However, it is through presentations of character that a novel attains or falls short of enduring fame, and in this direction also" Romola" is a masterpiece. The finely conceived, though almost too elaborated character of Tito Milema is an essay on selfishness that "must give us pause." In Savonarola she shows her faith that

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PALAZZO VECCHIO DELLA SIGNORIA. From Florentine Edition of "Romola." (Copyright, 1890, by Estes & Lauriat.)

As sometimes happens, the same idea has come to two publishing houses, and the resulting conception has been carried out by both in a very similar and very satisfactory man


Estes & Lauriat, of Boston, and Porter & Coates, of Philadelphia, have both seen the vast possibilities in "Romola," and have both utilized them in making their most important holiday book. Their editions of George Eliot's historical Florentine romance are very similar as to size of volumes, style of decorative binding and illustrations. The photogravures number sixty in each, and not a few are the same, or deal with the same subject. The Philadelphia series runs a little more to portraits and statuary, and has a design representing Romola and her father. The Boston series includes two modern etchings by William Unger of Macchiavelli and Savonarola. The frontispiece of the Philadelphia edition is a portrait of George Eliot taken in 1864,

showing the remarkable likeness (so often pointed out) to the pictures of Dante, Savonarola and Cardinal Newman, which three great men she so strongly resembled in leading points of character. The Boston edition prints its illustrations in various tints, which perhaps helps to bring out some of the fine work of the well-known and world-renowned works of art represented. Both editions are well printed and gotten up in delicate binding of white and gold. Both are shielded by scarlet covers, and a scarlet box encases them both. There ought to be a sale for all the copies both publishers can furnish, for travelled and untravelled readers must be charmed with the sumptuous appearance of these books. Boston and Philadelphia unite in calling their big undertaking the Florentine Edition of George Eliot's " Romola," and both houses publish an édition de luxe, limited to 250 copies, which must satisfy the most exacting taste.

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From In Scripture Lands." (Copyright, 189, by Charles Scribners' Sons.)


(Copyright, 1890, by Charles

Scribner's Sons.)

In Scripture Lands.

Books of information about the corner of the earth known to the educated world as Scripture Lands are legion. Starting from every thought almost that can inspire a book, volumes and volumes have been written to describe, explain, prove, refute, teach and guide. The number of these books that are full of illustrations is also legion. Pictures of almost every place and every person mentioned in the Scriptures are scattered broadcast through every city, town and country-side where a book and picture can be sent, and almost as soon as they begin to see, little children are given pictures of Abraham, Isaac, David, Goliath, the Garden of Eden, Jerusalem, the Stable at Bethlehem, and form an idea of the appearance of Scripture lands and the characters associated with the sacred history of those lands which no amount of reading, thought or study in after life ever quite transforms. Little by little it becomes clear to the mind that the portraits of the old patriarchs and of the first followers of Christ must have been evolved solely from the imagination of the artists who have produced and are still producing such representations. But seldom, unless by a peculiar suggestion from some teacher or friend who has wandered through the Scripture lands as men and women wander through the Yosemite or among the Alps, is it realized that the scenes and places described in the dear old Bible text may still be searched for and found, and true and accurate pictures made of their geographical location and topographical appearance.

Edward L. Wilson, an earnest student of the Bible and an enterprising traveller, became pos

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sessed of the desire to see pictures of the places made sacred by Scriptural history which were not "idealized" by the pencils of artists to whom strict accuracy was less desirable than a beautiful picture. He also wanted to see such pictures accompanied by descriptions free from the shallow sentiment of the superficial tourist, the narrowness of the enthusiast, and the arbitrariness of the denominational expounder. He wanted them connected with data and textual references which should give helpful hints for the further study and enjoyment of events that have made Scripture lands of more universal interest than any other part of the earth.

With these wants-with the Bible as his guidebook, with ardent enthusiasm for the picturesque as well as the historical, with love for nature and comprehension of human nature, with perfect health and strength, with practical art-training and a perfect camera-he started out to supply his own demands. The result of his labors he now offers through Messrs. Charles Scribner's Sons in a handsome volume entitled "In Scripture Lands."

Mr. Wilson visited some places rarely seen by the foreigner, and has been able to glean new facts about them. He mixed constantly with the people and wandering tribes, and has gained much interesting information about the features of Oriental life, past and present. The specialty of the volume is the 150 illustrations from photographs taken by the author on the spot. These are made available by an alphabetical list with Scripture references, and there is also an exhaustive index, in which Scripture text, events, characters and illustrations are combined, thus making of this book a valuable work of reference. The publishers also have liberally done their share towards making the book at first glance give attractive promise of the important treasure it holds within its covers. At the Christmas season all books relating to the great Book from whose pages was first taught us the lesson of Bethlehem seem to have a first claim upon our attention. "In Scripture Lands," by intrinsic quality and exterior beauty, is well equipped to substantiate such claim.



From" In Scripture Lands." (Copyright, 1890, by Charles Scribner's Sons.)

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