THE SILVERY THAMES.
The Silvery Thames. Described by Walter Jerrold. Illustrated by Ernest W. Hazlehust. (Alf. Cook. 21s. net.)—Mr. Jerrold distinguishes three parts of the Thames ; he calls the sixty miles (misprinted "six") between the source and Oxford "The River of Quiet," the ninety-eight between Oxford and London " The Stream of Pleasure," and the fifty between London and the Nore " The Highway of Commerce." The division may pass, though the boundaries are not very strictly defined. There is not much quiet on a breezy day between the Upper River boathouses and Godstow, and commerce is more in evidence than pleasure in the reaches between Westminster Bridge and Putney. Mr. Jerrold begins his task with an accurate description of the sources of the river. Thames Head, as he points out, is not the head of the Thames, as we know it ; though some of the water of its spring joins its proper stream lower down, much is diverted into the river system of the Severn. From this spot he conducts us down as far as Putney, where his proper function as a conductor may be said to come to an end. Everywhere he shows himself to be a very pleasant and well-informed guide. The difficulty is great where there is so much to say, and he surmounts it in a very satisfactory way. To say of Mr. HazlehustOis illustrations— sixty in number—that they do not all equally please us is not to pass any censure on the artist. The capabilities of the subject and the mood—perhaps we should add, the associations—of the critic have much to do with the impression made by the picture. To different eyes it may appeal with a quite different result. We will not do more than indicate our preferences. We should put, then, the first three, in which the infant stream and its surround- ings, and the last three, in which the Thames below London Bridge, Gravesend, and the Nore, appear, highest in the list. The colouring is not always pleasing ; somstimss it seems to come too near the verge of crudeness ; we must own, too, that wo prefer the scenes to which the artist has given most finish. We may mention as specially pleasing, " Kelmscott," " Kennington Reach," " Sutton Bridge," " Shillingford Bridge," "Sonning Lock," "Sonning Bridge," "Henley Bridgi "—bridges seem to be suited to the artist's genius—" Henley Lock," and " Bisha.ns Abbey." But the collection as a whole is worthy of the subject, and it would not be easy to say more. Our only serious com- plaint is that in giving us Henley Reach he has introduced the houseboats. Otherwise this would be one of the very best ; the atmosphere is excellent.
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