monstrance and persuasion were in vain he talked of something of his square, sturdy, upright form, with the finest limbs in the world, a complexion purely English, a liberty and broken windows-so we all lighted up. Oh! how he shone that night with candles and laurel, and white round laughing face, sunburnt and rosy, large merry blue bows, and gold paper, and a transparency (originally de-eyes, curling brown hair, and a wonderful play of countenance. She has the imperial attitudes too, and loves to signed for a pocket handkerchief.) with a flaming portrait of Her Majesty, hatted and feathered, in red ochre. He had stand with her hands behind her, or folded over her bosom; no rival in the village, that we all acknowledged; the very and sometimes, when she has a little touch of shyness, she bonfire was less splendid; the little boys reserved their clasps them together on the top of her head, pressing down best crackers to be expended in his honour, and he gave her shining curls, and looking so exquisitely pretty! Yes. them full sixpence more than any one else. He would like || Lizzy is queen of the village! She has but one rival in her an illumination once a month; for it must not be concealed dominions, a certain white greyhound called May-flower, that, in spite of gardening, of newspaper reading, of jaunt- || much her friend, who resembles her in beauty and strength, in playfulness, and almost in sagacity, and reigns over the ing about in his little cart, and frequenting both church and meeting, our worthy neighbour begins to feel the weariness animal world as she over the human. They are both of idleness. He hangs over his gate, and tries to entice coming with me, Lizzy and Lizzy's pretty May.'" passengers to stop and chat; he volunteers little jobs all round, smokes cherry trees to cure the blight, and traces and blows up all the wasp-nests in the parish. I have seen a great many in our garden to-day, and shall enchant him--accompanying the author in all her strollings, and with the intelligence. He even assists his wife in her entering into all her sweetest and simplest descriptions. As a specimen of humourous delineation we will quote sweepings and dustings. Poor man! he is a very respectable person, and would be a very happy one, if he would add a little employment to his dignity. It would be the that of "a handy fellow."salt of life to him.

"Next to his house, though parted from it by another long garden with a yew arbour at the end, is the pretty dwelling of the shoemaker, a pale, sickly-looking, blackhaired man, the very model of sober industry. There he sits in his little shop from early morning till late at night. An earthquake would hardly stir him: the illumination did not. He stuck immoveably to his last, from the first gradual lighting up, through the long blaze and the gradual decay, till his large solitary candle was the only light in the place. One cannot conceive any thing more perfect than the contempt which the man of transparencies and the man of shoes must have felt for cach other on that evening. There was at least as much vanity in the sturdy industry, as in the strenuous idleness, for our shoemaker is a man of substance: he employs three journeymen, two lame, and one a dwarf, so that his shop looks like an hospital; he has purchased the lease of his commodious dwelling, some even say that he has bought it out and out; and he has only one pretty daughter, a light, delicate, fair-haired girl of fourteen, the champion, protectress, and playfellow of every brat under three years old, whom she jumps, dances, dandles, and feeds all day long. She is a very attractive person, is that child-loving girl. I have never seen any one in her station who possessed so thoroughly that undefinable charm, the lady-look. See her on a Sunday in her simplicity and her white frock, and she might pass for an earl's daughter. She likes flowers, too, and has a profusion of white stocks under her window, as pure and delicate as herself."

"Next door lives a carpenter, famed ten miles round, and worthy all his fame;' few cabinet-makers surpass him, with his excellent wife, and their little daughter Lizzy, the plaything and queen of the village, a child three years old according to the register, but six in size and strength and intellect, in power and in self-will. She manages every body in the place, her schoolmistress included; turns the wheeler's children out of their own little cart, and makes them draw her; seduces cakes and lollypops from the very shop window; makes the lazy carry her, the silent talk to her, the grave romp with her; does any thing she pleases; is absolutely irresistible. Her chief attraction lies in her exceeding power of loving, and her firm reliance on the love and indulgence of others. How impossible it would be to disappoint the dear little girl when she runs to meet you, slides her pretty hands into yours, looks up gladly in your face, and says, Come?' You must go: you cannot help it. Another part of the charm is her singular beauty. Together with a good deal of the character of Napoleon, she has

This little Lizzy is an immense favorite with us. She bursts in upon us in every part of the volume,

He could do any sort of work; was thatcher, carpenter, bricklayer, painter, gardener, game-keeper, every thing by turns, and nothing long.' No job came amiss to him. He killed pigs, mended shoes, cleaned clocks, doctored cows, dogs and horses, and even went as far as bleeding and drawing teeth in his experiments on the human subject. In addition to these multifarious talents, he was ready, obliging, and unfearing; jovial withal, and fond of good fellowship; and endowed with a promptness of resource which made him the general adviser of the stupid, the puzzled, and the timid. He was universally admitted to be the cleverest man in the parish; and his death, which happened about ten years ago, in consequence of standing in the water, drawing a pond for one neighbour, at a time when he was over-heated by loading hay for another, made quite a gap in our village commonwealth. John Wilson had no rival, and has had no successor;-for the Robert Ellis, whom certain younsters would fain exalt to a co-partnery of fame, is simply nobody-a bell-ringer, a ballad-singer-a troller of profane catches-a fiddler-a bruiser-a loller at alehouse benches-a teller of good stories-a mimic-a poet !-What is all this to compare with the solid parts of John Wilson? Whose clock hath Robert Ellis cleaned?-whose windows hath he mended?-whose dog hath he broken?-whose pigs hath he rung?-whose pond hath he fished?-whose hay hath he saved?-whose cow hath he cured?-whose calf hath he killed?-whose teeth hath he drawn?-whom hath he bled? Tell me that, irreverent whipsters! No! John Wilson is not to be replaced. He was missed by the whole parish; and most of all he was missed at home.

Equal to this-for nothing can be better-and longer, Lucy." There is a minuteis the sketch, called “ ness and fidelity about it not inferior to Teniers,-and Ellen," at the same time an occasional dash of sentiment which "Cousin Mary," and " Teniers never had. are both beautiful tales. The most amusing essay in the volume is the "Country Cricket Match." Those called "Walks in the Country," are very pleasant descriptions of the scenery about the village. Indeed, the whole collection is one of the most agreeable that we have met with for a very long time.

DRAMA.

King's Theatre.-In the dialect of the green room, Madame Pasta has been "a great card" for the opera. She has

done for it that which nothing else could-filled the house, and gratified the audience. Catalani failed in both-not because she wanted merit (for her musical talents are infinitely superior to those of Pasta), but because the caprices of public taste arrayed themselves against her. Catalani would not be patronized. She was in all respects, except rank, equal to the loftiest of those who wished to be her patrons, and in many superior. Her independence was a great stumbling block in the way of her success; and the consequence was, that the high fashionables were very lukewarm and feeble in their encouragements. Madame Pasta is less known, less wealthy, less renowned, and less highly-gifted than Catalani: she is, or will be, obliged to give way in many points to the great leaders of ton, and by some sacrifice of independence, secure a larger portion of patronage. Besides, she is new to the musical public, and curiosity enters into the encouragement she has received. Hence the house, upon the evenings of her performance, has been excessively crowded. But it must not be denied that Pasta has very great talents. Her originality of style is marvellous. There is nothing like it on the stage. Her cadences are modulated with a grace, taste, and peculiarity which belong to no other singer. This was particularly apparent in Tancredi, on Tuesday. When we saw her name in the cast, it filled us with some alarm. The part of Tancredi is set for a low Soprano; a range of voice rarely met with amongst females. Gressini and Bellochi possessed it in perfection. Madame Pasta, however, has nothing now to apprehend. Her performance was triumphantly successful. Indisposition appeared to have thrown an occasional languor over her manner; but its general character was excellent. In the recitative and air-of di tanti palpiti, we were delighted with the beauty and novelty of the execution. Equally fine was she in the duet with Ronzi de Begnis, in the second act. Madame Pasta, in the concerted pieces, appears to less advantage. She wants power to stand out from the rest. Here it was that Catalina shone. Her voice was like Aaron's rod-it swallowed all the others. Ronzi, in Amenaide, shewed her wellknown pathos, facility, and purity. There is a deeper and more touching feeling about her singing than about that of any other female on the stage: and then it comes so naturally and sweetly from her beautiful lips, that he must be doubly insensible who could remain unmoved. Curioni seems to be relapsing into his old carelessness of manner. We are sorry to see it; for he is a very clever and agreeable singer. Signor Benetti, in Orbazzano, continued to be just as often out of tune as was necessary to bring his science and ear into great discredit.

truth, pathos, and good-nature about it as ever. Nothing could be finer than its execution. The retirement of Mr. Munden is not forced upon him by any decline of talent, but by the predominance of certain complaints incident to his age. He has-and we are glad to say it-accumulated a larger portion of wealth than usually falls to the lot of actors to possess. The evening of his days will not be disturbed by apprehensions and privations. He can look forward to the months that are to come with the same serenity that he regards the years he has past. As a highly-gifted actor, and a respectable man,-we cannot part from Mr. Munden without expressing our thankfulness for the unalloyed pleasure he has so often afforded us, and our respect for his unimpeachable character.

MUSICAL REPORT.

IT being understood that the Covent Garden Managers are about entering into an engagement with the celebrated German composer, Von Weber, as Composer and Director of the musical department of that theatre, in place of Mr. Bishop, who has transferred his services to Drury-Lane; the affair has produced no slight sensation among our English professors, who are of opinion that native talent only should have been the consideration with the managers of an English theatre, in supplying the place of Mr. Bishop. To a certain extent we are of the same opinion; for the reasons we assigned in our preceding number, in the few remarks we made on the present English School of Music.

The management or direction of an orchestra, and musical composition, are, however, two very different considerations. We could name at least a score of English musicians, every way qualified for directors or conductors of an operatic performance; but we must acknowledge, (with regret) that very few among the number are capable of composing the entire music of an opera.

Many of our living musicians possess eminent talent, but they appear to want that indispensable qualification for a musical composer-original genius. We have many who are capable of arranging the instrumental music of an operatic performance; but we know at present, only of one English composer, who is capable of writing an original overture which shall be appropriate to the specific character of any given drama.

We wish to restrict our present remarks to professional musicians and dramatic composers only, considering dramatic composition as decidedly the highest department of musical science. Our present view being directed to professional or available talent, we shall also defer noticing the works of some eminent musicians of the amateur class, to a future opportunity.

Drury Lane. During the present week we have enjoyed the melancholy pleasure of witnessing the commencement of a series of farewells by the veteran Munden. It is ever delightful to contemplate the exhibition of high talent; but that delight is greatly qualified by the thought that we are The paucity of original composers among so large a numcontemplating it for the last time. There is something ber of able musicians as the English school at the present deeply affecting in the words, "the last time," when ap- day, contains, is not only indisputable, but it naturally plied to an old favourite. They teach us the shortness of leads to an enquiry as to the origin of this want of invenhuman life, and the vanity of human pleasures. Theatrical tion in our native musicians. It has been said that genius associations are amongst the earliest of our recollections, as is "heaven born" or intuitive. That "where genius does they are the last of our regrets. It is many years since we not originally exist, all the cultivation that can be given first saw Mr. Munden, and it seems but as yesterday. will fail to elevate the individual beyond humble medioThus it is, the personal is speedily forgotten, and fades crity." It must be admitted that cultivation alone could away into the party-the intellectual remains unimpaired to never have produced a Byron, a Davy, a Chantery, or a the end. Munden has arrived to an age, where his infirmi- Lawrence, unless it had been applied to original genius, as ties will not permit him to act with regularity and comfort. a basis. But we contend that the quality usually termed His talents are as fresh and vigorous as ever; but he can- genius, is to be elicited only by a certain portion of cultinot be sure of his health for a week, or even a day. It was vation, and that portion applied in the earlier stages of our necessary for Liston to take his part in the Cure for the existence. Now it appears to us that the acknowledged Heart Ache, the other day, at a few hours notice. Munden inferiority of our English musicians in the art of composidoes well, therefore, to obey these warning intimations, tion, compared with the Germans and Italians, is princiand retire from the stage in the fulness of his fame. Hispally, not entirely, to be ascribed to this source. Old Dornton on Thursday evening shewed no abatement On the continent, the musical pupil has the advantage of of its former excellence. There was just as much energy, the best tuition, from his childhood; which not only elicits

whatever portion of genius he may possess, but also purifies his taste at the same time. In England, on the contrary, owing to the extravagant fees demanded for tuition of every kind, and from the want of discernment in parents in discovering the predominant capacities of their childrenmany of those who have made music their profession, have done so rather from necessity than from choice; whilst others have commenced their studies too late in life, and have been placed under the tuition of persons wholly incompetent to the higher class of musical instruction. There is no cause, prima facia, why our countrymen should not arrive at equal eminence in the science of music as in any other branch of science or the fine arts. It is idle to say they have not capacity for any single department of human research, when they excel in every other. It might be said with as much propriety that we have not men of genius sufficient for Architects, because the builders of the present day usurp that province; to the disgrace of our national taste, and for the derision of foreigners of all nations. In short, the deficiency of talent for the higher class of musical composition, which is so apparent in our dramatic composers of the present day, we ascribe altogether to their defective education.

cisely known, Gildon placing it in 1682, and Cibber in 1684. But however this may be, it was in this united company that Mr. Betterton first shone forth with the greatest degree of lustre; for having survived the famous actors upon whose models he had formed himself, he was now at liberty to display his genius in its full extent. Betterton was an actor, as Shakespeare was an author, both without competitors, formed for the mutual assistance and illustration of each other's genius! The one was born alone to speak what the other only knew to write! Pity it is, that the momentary beauties, flowing from an harmonious elocution, cannot, like those of poetry, be their own record !— that the animated graces of the player can live no longer than the instant b eath and motion that present them. Having a general acquaintance with people of fashion, at length, by the intercession of the earl of Dorset, he procured a patent for building a new playhouse in Lincoln'sInn-fields, which he did by subscription. The new theatre was opened in 1695. Mr. Congreve accepted a share with this company, and the first play they acted was his comedy of Love for Love. The king honoured it with his presence; when Betterton spoke a prologue, and Mrs. Bracegirdle an epilogue, on the occasion. But notwithstanding all the But whatever cause may be assigned for this inferiority advantages this company enjoyed, and the favourable reof musical invention or composition in our countrymen, the ception they at first met with, they were unable to keep fact being unquestionable, the Managers of Theatres and up their run of success above two or three seasons. VanDirectors of Concerts are justified in every way, in employ-brugh and Cibber, who wrote for the other house, were exing superior talent wherever it may be obtained. We peditious in their productions; and the frequency of new therefore consider the engagement of M. Von Weber by the pieces gave such a turn in their favour, that Betterton's Covent Garden proprietors, as likely to be advantageous in company, with all their merit, must have been undone, two respects the interests of the proprietors, through the had not the Mourning Bride and the Way of the World novelty and high expectations raised from so eminent a come to their relief, and saved them at the last extremity. composer, and the stimulus it will necessarily give to our In a few years, however, it appearing that they could not native musicians; more particularly, that able dramatic || maintain their independence without some new support composer, Mr. Bishop. from their friends, the patrons of Betterton opened a subscription for building a theatre in the Haymarket, which I was finished in 1706. Betterton, however, now grown old, and his health much impaired by constant application, declined the management of this house, resigning it entirely to Sir John Vanbrugh and Mr. Congreve; but, from the decay of Betterton, many of the old players dying, and other accidents, a re-union of the companies seemed necessary, and accordingly took place soon after. When Betterton had reached seventy, his infirmities increased to a great degree, and his fits of the gout were extremely severe. His circumstances also grew daily worse and worse; yet he kept up a remarkable spirit and serenity of mind, and acted when his health would permit him. The public, remembering the pleasure he had given them, would not allow so deserving a man, after fifty years service, to withdraw without some mark of their bounty. In the spring of 1709, a benefit, which was then a very uncommon favour, was granted him, and the play of Love for Love THOMAS BETTERTON was born in Tothill-street, Westminwas acted for this purpose. He himself performed Valenster, 1635; and, after having left school, is said to have tine; Mrs. Bracegirdle and Mrs. Barry, though they had been put apprentice to a bookseller. The particulars, how-quitted the stage, appeared on this occasion; the former in ever, relating to the early part of his life, are not ascerthe character of Angelica, and Mrs. Barry in that of Frail. tained. It is generally thought that he made his first apAfter the play was over, these two actresses appeared leadpearance on the stage in 1656, at the opera-house in Char-ing on Betterton, and Mrs. Barry spoke an epilogue writter-house-yard, under the direction of Sir William Daveten by Mr. Rowe. nant. He continued to perform there till the Restoration, when King Charles granted patents to two companies; the one was called the king's company, the other the duke's. The former acted at the theatre royal in Drury-lane, and the latter at the theatre in Lincoln's-Inn-fields. Betterton went over to Paris, at the command of King Charles II. to take a view of the French scenery, and at his return made such improvements as added greatly to the lustre of the English stage. For several years both companies acted with the greatest applause, and the taste for dramatic entertainments was never stronger than whilst these two companies played. The two companies were, however, at length united; though the time of this union is not pre

The works of M. Weber are at present but little known in this country beyond the limits of the Philharmonic Society; but his Operas have met with the highest reception among the cognoscenti of Vienna and the other capital cities of Germany. His last Opera, Euryanthe, now performing with the greatest applause at Vienna, is said to be a splendid composition throughout. We have just heard || a few of the movements, which appeared to us not only a very original, but highly dramatic composition. While we therefore look forward with no small interest to the arrival of this distinguished German among us; we would much rather see the station in question filled by native talent of equal eminence!

STAGE SCRAP BOOK.
No. XVIII.

MUSICAL NOTICE.

FINE ARTS.-His Majesty having been most graciously pleased to inspect the Second Series of the Myriorama, drawn by Mr. Clark, and to express his approbation of the tasteful manner in which it is executed; the Public are respectfully informed that the work will appear in the course of a few days.

The Views consist entirely of Italian Scenery, and are more numerous than the First Series.

ARTISTS' BENEVOLENT FUND, established 1810.

THE FRIENDS of the FINE ARTS are respectfully informed, that the FIFTEENTH ANNIVERSARY of the IN STITUTION, for relieving the Widows and Orphans of Artists, will be celebrated in Free-Masons' Hall, on Saturday the 5th of June. His Royal Highness PRINCE LEOPOLD in the Chair.

STEWARDS.

The Right Honorable Earl Gower.

The Right Honorable The Earl of Strathmore.
The Right Honorable The Earl of Tankerville.
The Right Honorable The Earl of Wilton.
The Right Honorable Lord Prudhoe.

The Right Honorable Frederick Robinson, M. P.
The Right Honorable Robert Peel, M. P.
The Honorable George Agar Ellis, M. P.
Sir Frederick Baker, Bart.

Sir William Adams, Knt.

John Angerstein, Esq.

John Ilderton Burn, Esq.

Thomas Curson Hansard, Esq.
William Peacock, Esq.

BRITISH INSTITUTION, PALL-MALL.

THE GALLERY with a SELECTION of the WORKS

of the Italian, Spanish, Flemish, Dutch, and English Schools, is OPEN to the Public from Ten in the Morning until Six in the Evening,

Admission, 1s. Catalogue Is.

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The Subscribers to the print from Mr. West's Picture of "Christ Healing the Sick in the Temple," who have not already received their impressions, may receive them upon payment of the remainder of their Subscriptions at the British Gallery, Daily.

In the Press and speedily will be published in Quarto, by Messrs.
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Will, H. Pickersgill, Esq. A. R. A. TESTIMONIES to the GENIUS and MEMORY of

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The interests of this Institution are entrusted to the management of a Committee of Fifteen Members annually elected, Ten being Amateurs, and Five Artists. The Society has been open to every Artist of Merit in the United Kingdom, ever since its establishment in the year 1810, and by the payment of an annual trifle to the Joint

Stock Fund, for their own relief, should they ever happen to require it, their Widows and Orphans become entitled as a matter of right, to an Annuity from the Benevolent Fund.

RICHARD WILSON, Esq. R. A. with some account of his Life, and Remarks on his Landscapes. To which will be added observations respecting the pleasures and advantages to be derived from the study of Nature and the Fine Arts.

By T. WRIGHT, Esq.

The work will be embellished with a portrait of Wilson, and we may congratulate the Professors and Patrons of the Art, that justice will at length be rendered to the memory of that celebrated Artist, and ornament of the British School, by a Gentleman so eapable of appreciating his merits, and one who is himself distinguished in the List of Amateur Painters which does so much honor to the rising Arts of this Country.

It is highly creditable to the author also, that, with a rare spirit of disinterestedness and love of Art, he intends to present the profits of his work in aid of the Artists' Benevolent Fund.

On the 1st of July, will be published, to be continued Monthly, No. I.
Price 10s. 6d. of the

CARICATURES of GILLRAY; with Historical and Fo

litical Illustrations, and Compendious Biographical Anecdotes and Notices, To expatiate upon the originality of style, the fertility of imaSIR JOHN BDWARD SWINBURNE, Bart. F. R. S. F. S. A. Chair-gination, the fidelity of character, the force of expression, or the man and Trustee. endless variety displayed in the unique designs of this Artist, would be needless; for the political works of Gillray are almost as generally known, not only in England, but on the Continent, and other foreign parts, as the events that gave them birth. Even the hamorous designs of his prolific pencil, though characteristic of English manners, contain so much of "graphic point," that like the humear of his great predecessor Hogarth, they speak a language intelligible to the whole world-hence, these are equally, with his poli

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ROBERT BALMANNO, Honorary Secretary.

THE TWENTIETH EXHIBITION of the SOCIETY of tical subjects, sought by the foreign collector.

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By the English people then, a republication from the choicest plates, designed by their ingenious countryman, of sufficient dimensions to convey the entire spirit of the originals, cannot, we presume, be received with indifference. Many of the plates of GLLRAY are become scarce, some are worn out or destroyed, and the expence of making even a selection from his best designs, amounts to a sum, which but a small proportion of the admirers of his talent and humour could conveniently spare. The work proposed, will comprise enough of the POLITICAL, to form a connecting chain of history, during the administration of the illustrious PITT, and his able compeers: and of the HUMOUROUS, sufficient to prove that

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and folly, to excite the laughter, pity, or contempt of mankind. This work will contain all the best designs of this celebrated Caricaturist; and will be published in Monthly Parts, each part to contain Nine Coloured Plates, printed on Imperial Quarto, with descriptive letter-press, price 10s. 6d. each Part: and will, it is expected, he completed in Nine or Ten Parts.-London: Published by John Miller, 5, New Bridge-street; William Blackwood, Edin

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