cal taste and a fine voice, and she received a superior musical education, intending to make this a profession. But she turned again to her pen. A short story which she wrote and sent to Chambers's Journal was accepted and paid for. That decided her in the choice of a profession, and music was dropped for letters. In 1855 she published her first novel, My Brother's Wife; and that was followed by her others, The Ladder of Life, Hand and Glove, Barbara's History, Half a Million of Money, Miss Carew, Debenham's Son, Monsieur Maurice, In the Days of my Youth, and Lord Brackenbury. Of these the last is undoubtedly the strongest, while Barbara's History, which was her first great success, is the greatest favorite.

But it is in her works of travels that Miss Edwards is at her best. She brings such a spirit of enthusiastic enjoyment to this work that she fascinates her readers and holds them spellbound by the beauty of her description and the rich results of her research. Many of her books are illustrated by herself, and a story told of her when she was a girl of fourteen is of decided interest, as showing the many-sidedness of her genius. At this time she sent a short story to The Omnibus, a periodical edited by the celebrated caricaturist, the late George Cruikshank. On the back of her manuscript she had drawn caricatures of her principal characters, which showed a cleverness that so delighted the great humorist that he called at once to see his unknown contributor. Fancy his surprise on being presented to a child. RecoverRecovering from his astonishment he offered to train her in his special work, but she declined his offer. Later on, for her own satisfaction, and as a recreation from her literary work, she studied art under the best masThe advantage of this training she has reaped in being able to make her own. illustrations of her books.

ters.

It is as an Egyptologist and a lecturer that America has been called to give her special welcome ; and it has given it royally. Her lectures have been well attended, and she has charmed her audiences, just as she has the individuals with whom she has come in contact. As a woman she is simple and earnest in her manner; free from anything like affectation, cordial and kind, and entertaining to the point of fascination.

All this she carries into her lec

tures, and a fresh charm is given by her voice, which is music itself. It is not hard, nor is it pitched high, but it is beautifully clear, and has a carrying quality, which makes it possible for every one in her audience to hear distinctly any word she utters. She speaks with deliberation, but without the suggestion of slowness. This deliberation is quite marked, after the haste and impetuosity of American speakers. Her articulation is fine, and her enunciation simply perfect. Not a word, not a syllable is lost. Every sentence stands out crystal clear, sparkling in all its luminousness. She indulges neither in rhetorical flourishes nor in gesture; her manner is high-bred and exquisitely quiet, but her beautifully modulated voice expresses perfectly every emotion. It is a delight to listen to her, and there is real regret when she ceases talking. Her lecture tour through the country has been one triumphal journey. She returns to the East to say good-bye to her American friends, which they all hope from their hearts she will make au revoir.

One of the most striking features of her visit has been the loving way in which she has been welcomed by women. Her own sex has risen to do her honor. Led off by the New England Woman's Press Association in their breakfast to her at the Parker House, in November, when the men and women most eminent in learning and letters were bidden to meet her, other associations of women have made her their special guest, and given receptions for her. At Detroit, in addition to the reception given her at the Art Museum, a committee, representing the leading ladies of that city, sent her a magnificent basket of flowers with the following verses, written by one of their number:

"How shall we greet the scholar, when she brings The mystic learning of the ancient Nile, Or tells the story of those mighty kings Whose statues o'er the vanished centuries smile?

"Will she who reads the hieroglyphs of time

Regard the brief thoughts of our little day, Or, steeped in sunshine of that rainbow clime,

Care for our Northern winter, cold and gray? "Well may we ask, and yet take heart of grace.

'Tis not alone the scholar whom we meet; With equal skill her pen or brush can trace Nature's fair scenes or fancy's visions sweet.

then, when some sculptures, procured in Egypt by Mr. Lowell, founder of the Lowell Institute, were donated by his heirs ; lastly, when the Egypt Exploration Fund began its succession of gifts to the Museum.

The Way (then the Hay) Collection was exhibited in the Crystal Palace at Sydenham until 1871. Dr. Birch, the great Egyptologist, said of its merits :

"The Hay Collection comprises numerous specimens of each division of Egyptian antiquities, illustrative of the arts, manners, and civilization, and of the Pantheon, civil life, and funeral rites of ancient Egypt. Its chief strength is its mummies and coffins, some of which are well preserved, and all would be valuable and important additions to any museum which does not possess similar specimens. Besides these, it is remarkable for its number of small objects, such as scarabaei, amulets, sepulchral figures, canopic vases, stamped cones, and the usual specimens found in Egyptian collections."

That readers of this article may obtain some idea of the importance of the Egyptian collection historically and archæologically, and some of them find it of a little service in inspecting the objects of special value or interest, is all that I ask. As a pro apologia I may add that at this writing confusion reigns in the Museum; besides which the Way Collection is not defined as to locality in Egypt, and a comprehensive catalogue of the entire department is to appear in that halcyon day when General

Loring, the Museum's busy director, can supervise so important a work.

The most noteworthy feature of the exhibition is its thoroughly representative character, particularly in special historical and architectural periods. Artistic effects appear in its admirable arrangement by the director. The Hellenist or student in early art will find his specialty in our collection; even the bric-a-bracist of mediæval and colonial tastes will not despise the day of small things, as some of the small things are curious and beautiful aside from their antiquity. Thus when you see the scarab of Ratetka of the fifth dynasty, examine the fragment of limestone sculpture (case P) of pyramid times, representing a figure holding an oar among papyrus reeds, or gaze upon the colossal archaic half-statue from Bubastis, you may realize that fifty "centuries look down upon you," or you upon them, in our Egyptian rooms. That headless sphinx represents the Hyksos period; that monster lotus-bud shaft the twelfth dynasty, when the Labyrinth and Lake Moeris were constructed; that lion-headed statue of Bast the warlike eighteenth dynasty; that sitting statue of Rameses II. the Augustan era of Egypt and the oppression of the Hebrews; that crouching statue the brother of the Pharaoh of the Exodus; that bas-relief the assimilation of Egyptian and Greek art at Nau

Bas-relief Portrait.

kratis, and those two bas-relief limestone slabs represent the time of Ptolemy Soter. How interestingly the exhibition from Naukratis illustrates an artistic epoch; and you perceive that "Tanis," or Zoan, and Naukratis are largely in sections by themselves, as are the Way bronzes, dominated by Ptah, also in bronze, and the domestic and funerary relics of the collection. There are the toilet articles, scribe's palettes, sandals, baskets, head-rests, staffs, bows, and the like (case O); the ushabti, or funerary images (K); and the manikins, and liliputians on parade, as fancy would name them, and the typical Egyptian heads or faces, as cut or moulded, in the cabinet with a bright P.

The misfortune of the Way Collection that the sites where its treasures were found are unknown—is offset by the good for

tune that all the objects from the Fund are located as to site, and most of them as to date. Interesting as this may be to the many who see the objects, its value to the student is immeasurable. As to the importance of the collection from that society, I quote the words of the late Mr. Charles C. Perkins as to the first donation, a small one, in the Museum's Annual Report for 1885: "Certainly the most notable, if not the largest, donation to the Museum during the year is that made by the Egypt Exploration Fund of a number of objects, principally for domestic use, found at San during the excavations conducted there under Mr. Petrie. Among these objects the specimens of textiles are especially valuable. The gift made through the Rev. Mr. Winslow, apart from its high historical and archæological interest, is especially gratifying, as it was made in acknowledgment of the American contributions to the Exploration Fund, which has been spent upon an enterprise of world-wide interest." Dr. Samuel Eliot, then acting president in Mr. Brimmer's absence, wrote to the society of its fourth donation: "In behalf not only of the Trustees of the Museum of Fine Arts, but also of the community which they represent, I beg leave to offer my sincere thanks for the gifts from the Egypt Exploration Fund to the Museum. The great importance of these additions to our collection are highly appreciated; and, as time goes on, they will minister very largely to the cultivation of our people. Long years hence, the Egypt Exploration Fund and its officers 1 will be gratefully remembered in Boston."

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