Eastern mosque; and no one who has stood in the vast and simple area of St. Sophia, at Constantinople, built, it must be remembered, as a Christian church, could fail to have been greatly impressed with its magnificent congregational capabilities. Galleries in theatre form, iron column churches, lanterns, and most other things that perplex church builders, are discussed. The merit of Mr. Cubitt's work is that it is strictly utilitarian. It recognises the actual necessities, not only of Congregational worship, but of Congregational church builders; it boldly grapples with all inartistic incongruities; it avoids 'schools' and 'orders,' and honestly seeks to supply what is wanted under genuine artistic conditions. Abundance of plates and drawings illustrate Mr. Cubitt's theories. We heartily commend this book to all whom it may concern, as the most independent, intelligent, and scholarly attempt in the direction indicated that has been made. POETRY, FICTION, AND BELLES LETTRES. _The Window; or, the Loves of the Wrens._ Words written for Music, by ALFRED TENNYSON, Poet Laureate; the Music by ARTHUR SULLIVAN. Strahan. So many rumours have been for so long in circulation about this volume, and the names of its joint authors are so eminent, that it is not surprising it should have excited much curiosity and many hopes. We venture to predict that neither the curiosity nor the hopes will be disappointed. Mr. Tennyson's songs need not fear being 'tested' in the same crucible with the 'Lotos Eaters,' or 'In Memoriam,' or we may add with 'Maud,' or the 'Princess.' Nor will Mr. Sullivan's music be found less characteristic of his genius, or other than fully worthy of the words to which it has been composed. The 'Window' is, we believe, the first attempt in English--certainly the first attempt of any eminent English poet--to cast a series of events or emotions into the form of a set of connected songs. Wordsworth's well-known series of sonnets are an approach to the same thing; but the song--a composition of two or three stanzas, suitable to music--is not so favourite a form with English poets as with those of Germany. There the cycle of songs--the _Liederkreis_ or _Liedercyclus_--is better known. Readers of Heine and Chamisso will remember more than one instance. We are glad to welcome it to English literature, not only as a new form of verse, but also because of the promise which it gives of many a marriage between fine poetry and fine music--a marriage hitherto far too rare among us. The 'Window,' then, is a 'circle of songs,' twelve in number, describing the hopes and fears of a lover parted from his mistress, and uncertain what her reply will be to the great question he has asked her. In the first--'On the hill'--he stands on the slope of the valley which separates his home from hers, and as he looks across the distance sees the flash from the window-pane of his love:--