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, however, we understand, consented to make a replica of it for Mr. Cross.  We have not seen this interesting work, but we hear that it is considered, by those who still remember the great writer as she looked in her thirtieth year, to be remarkably faithful.  M. Durade recently exhibited this little picture for a few days at the Athenee in Geneva, but has refused to allow it to be brought to London.