d. New York, Harpers, 1882.

The following translations have been published:--

_French_.--Adam Bede, by A. Durade; Mill on the Floss, by A. Durade;
Silas Marner, by Durade; Romola, by Durade; Mr. Gilfil's Love Story,
by E. Pasquet; Dorlcote Mill, by E.D. Forques in Revue des Deux Mondes,
June 15, 1860; The Lifted Veil, in Revue des Deux Mondes, September, 1880.

_Dutch_.--Felix Holt, by Merv. Van Westrheeve, 1867, and by P. Bruyn,
1873; Middlemarch, by Merv. Van Westrheeve, 1873; Adam Bede, by P. Bruyn,
1870; Mill on the Floss, by P. Bruyn, 1870; Romola, by P. Bruyn, 1870,
and by J.C. Van Deventer, 1864; Novelettes, by P. Bruyn, 1870.

_German_.--Adam Bede, by J. Frese; Silas Marner, by J. Frese, 1861;
Mill on the Floss, by J. Frese, 1861; Romola, by A.V. Metzsch, 1864;
Middlemarch, by E. Lehmann, 1872-3; Daniel Deronda, by Strodtmann, 1876;
Felix Holt (no translator's name given), 1867. Der Gelueftche Schleier,
Bruder Jakob, by Lehmann.

The portrait of George Eliot appearing as the frontispiece to this
volume is from that published in The Century for November, 1881.
Accompanying it was the following account of it and of other
portraits:--

"We have the pleasure of presenting to our readers an authentic portrait of
George Eliot, the only one by which it is likely that she will be known to
posterity. We are indebted for this privilege, as we shall presently
explain, to the kindness and courtesy of her husband, Mr. J.W. Cross, who
has allowed us to be the first to usher this beautiful work of art to the
world. In doing so, we believe it will interest readers of The Century
Magazine to learn, for the first time, the exact truth regarding the
portraits of George Eliot, and we have therefore obtained from the three
artists to whom, at different times in her life, she sat, some particulars
of those occasions.

"Miss Evans passed the winter of 1849-50 at Geneva, in the house of M.F.
d'Albert Durade, the well-known Swiss water-color painter, who is also the
translator of the authorized French version of her works. At that time she
had, however, written nothing original, and had attracted no general
interest. While she stayed with M. Durade and his wife, the Swiss painter
amused himself by making a small portrait of her in oils--a head and
shoulders. This painting remains in the possession of M. Durade, who has
not merely refused to sell it, but will not allow it to be photographed or
reproduced in any form. He has, how