near Sir Antonio More's fine portrait of Mary. This portrait is erroneously stated in the catalogue to be of Elizabeth, daughter of James II., but James had not a daughter Elizabeth. It really represents that charming princess, who, when driven from her throne, still reigned by means of her virtues and talents in the hearts of all who saw her. It is to be regretted that Miss Benger did not append an engraving of this lovely picture to her memoir of this celebrated lady, instead of the hideous caricature which is the frontispiece of her book. We have forgotten to note a fine con"ersation piece by Tintoretti, representing the Doge Pacini and his son; it is well worthy attention, not so much as a well-preserved and authentic specimen of the Venetian school (for we are rather at war with all particular schools and styles that distinguish by mannerisms a set of peculiar masters from natural representation), but this picture is a speaking one, full of natural character and expression, and carries us back to the times in which it was taken, and exalts portrait painting even above grand historical composition; for by means of its superior faithfulness and reality, we see the illustrious dead of other days stand before us as they lived and looked. On the great staircase of Exeter-hall, leading to this collection, are paintings, after Walker and Lely, of Cromwell and James II.; the latter taken about his twenty-fourth year, before his person was marked by the small-pox. We have now mentioned the pictures that are most deserving the attention of the public; others there are, attributed, perhaps, justly, to masters of great name, but we bow not to names, but to merit; and the public will find merit enough in those we have noted, to make the paintings at Exeter-hall an attractive exhibition. Before we quit this subject we will mention that there is to be seen in the room a lithographic drawing of some ingenious improvements in Westminster, designed by Mr. W. Bardwell, architect, who has the superintendence of the paintings at Exeter-hall. The Juvenile Musical Library. Allan Bell and Co. We place this number among the fine arts for love of the clever little cuts from Cruikshanks' illustrative of Johnny Gilpin's well-known progress. It is a sin that these droll things should be lost on the music, as they would be treasures for a child's scrap-book, or, indeed, for any other. The music is sprightly and easy, and, altogether, the number must be attractive to children. Illustrations of the Bible, from the original Paintings by Richard Westall and John Martin, Esq. Part I.-Bull and Churton. These illustrations are miracles of cheapness, but the style of the designs are ill-suited to wood-cuts. If the word original" means to imply that the designs have never been published before, there is some mistake in the statement in the title-page, since they are popular and well-known subjects of Martin's, if not of Westall's. From Martin there are copies of the Creation," " the Judgement," " the Deluge," and "the Temptation," cut in wood, and much arduous work and curious art is shown by the cutter of the blocks; yet we deem it little better than lost labour, for there is no species of engraving, even of the lowest kind, such as lithograph and aquatint, but what would have shown Martin's bold distances and far aërial perspectives to greater advantage. Those who are judges of wood-cutting will be surprised at what has been done, yet will regret that such adverse subjects should have been chosen. This art should be devoted to near work, where delicate outline and sketchy pencilling is required, not in designs whose grand distinction is the magical effect of cloud and sky, light, distance, and shadow. These are utterly impracticable in wood, which admits few middle tints. There are eight engravings in all: the "Expulsion" and the "Cain and Abel" are the worst, and "the Deluge" the best among them. DECLINE IN THE PRICE OF WORKS OF ART. The two Correggios lately bought for the National Gallery for 11,500, may be considered a great bargain, as the Noble Marquis to whom they belonged was offered some years ago no less than 20,000l. for them by Mr. Phillip's of Bondstreet. The Peer was reminded of this a short time back, when his answer was, "I would not then have parted from them for 50,000!." 367 The Mountaineer's Return. The words by C. JEFFERYS; Music by L. DEVEREAUX. L. Lee. The composer is in this abundantly successful. "I dream'd I saw a Garden gay," an admired Cavatina. Written by W. KIRBY, Author of "the Bouquet," &c. Robinson. An effective and pretty composition. We subjoin the poetry, as well adapted to our pages: I dream'd I saw a garden gay, 'Twas deck'd with flowers of spring, There wanton'd in the gale, But, ah! its bloom how brief! No snow-drop pale, no lily fair, No blushing rose in dew, No one sweet flowret blossom'd there, I wept to see such falling pride, So soon it pass'd away. Two Lips. The Poetry by C. V. INCLEDON; the Music by C. HODGSON. Duff and Co. The poetry is of a superior character, and wedded to her sister muse, music. The composer has not failed to make the most of the opportunity offered. The titlepage is embellished with one of the most elegant lithographs we have seen, by Madeley. Could you roam through the World.-The Poetry by Miss CHENNELL; the Music by GEO. LE JEUNE. Duff and Co. A most beautiful and pathetic ballad. It is the production of one of the most promising vocal pupils of the Royal Academy of Music, and reflects equal credit upon the institution and the student. Drama, &c. not KING'S THEATRE.-This theatre has had a most prosperous course. Grisi more than compensates for the absence of Pasta, and any other female "artiste" comes within degrees of her. Since our last, the operas of La Gazza Ladra," ""Anna Bolena," 66 Otello," "Il Barbiere di Seviglia," and Mozart's "Don Giovanni," have respectively been performed. On several occasions a seat could not be obtained in the pit a quarter of an hour prior to the rising of the curtain. Novelty, however, is wanting; and we, in common with the multitude, expect it at the hands of the manager of this, as well as of every theatre. One of the morning journals asks -What can prevent the production of the magnificent works of Mozart, and other eminent composers? Can Grisi perform no other characters than the few she has represented? Has Tambu rini forgotten the powerful sensation he made last season in Agnese, and the fine effects he has produced in many other operas? Will Rubini attempt the execution of no music but such as we have known him sing a thousand times? And is Ivanoff fearful of not being heard to advantage in other compositions than those with which he has favoured us ? A new ballet put forth its attractions. The subject may be traced to that grand chronicle of romantic chivalry, "Il Gerusalemme Liberata;" but the cause and the effect have so little resemblance, that many might question their relationship. It is one of Tasso's episodes. The hero, Rinaldo, or Renaud (Teresa Elsler), falls into the power of the enchantress, Armida (Fanny Elsler), who exercises her magic influence so completely as to deprive him of all his valorous impulses, and make him an unresisting victim to her seductions. He, however, happens not to be quite alone in the world. He has been accompanied in his daring adventures by three knights, well worthy to be his companions in arms, who had previously, by sleeping potions, cunningly administered, been made prisoners by the same fair magician. They, however, have the good fortune to escape out of her power, and shortly afterwards are met by a holy palmer, who bestows upon them a wand invested with the peculiar property of counteracting the spells of witchcraft. Having discovered that Rinaldo is in the enchanted palace of Armida, they immediately return to their old abode, free the hero, and deliver over the enchantress to the custody of some impatient demons, who appear evidently for the purpose of executing justice upon the offender. Teresa is too tall for a woman, yet, in male attire, too effeminate for a man. She imitated in her dancing, the steps and motions of a masculine performer with much expression, yet not with much fidelity, Fanny is one of the most fascinating dan cers on the stage. In her pas de deur with Perrot she exhibited some movements particularly beautiful. Perrot bounds about the stage with so much elasticity, that we wondered at his extraordinary agility. The ballet seemed to give general satisfaction; the Elslers were loudly applauded. On the 17th ult., Grisi repeated her part in "Anna Bolena" to a full audience. The few who, since the appearance of Grisi, have cast "a longing, lingering look behind" at Pasta, or the still fewer, who have an affectation of thinking unlike the rest of the world, are beginning to admit the equality of Grisi as an actress, and her vast superiority as a singer. We will merely say, grief was never more truly or forcibly expressed by an actress. Between the acts of the opera, the Spanish dancers, so long announced, made their first appearance, and met with a very favourable reception. Those who like nothing out of the usual course, may say such an exhibition is ill-suited to the place--that it is a vast deal too boisterous, and too full of "alacrity of spirit." There was no elaborate posture-making, no straining for painful attitudes, no twirling on the extreme of the toe, no twisting like a tetotum for a quarter of an hour, but all sheer merriment and hilarity. They seemed to dance from excess of animal spirits, as if they could not help it, and that it was the natural mode of expressing pleasure. The two ladies are no beauties, either in figure, face, or feet; and the men (two also) are not remarkably well formed, but they made a very agreeable and novel exhibition, contrasting excellently with some French dancing by two men and three ladies, which was introduced after the Bolero. The movements are very rapid, and by no means ungraceful, and the dancers performed with admirable precision and exactness in point of time. Between the Bolero and the Zapateada the performers changed their dresses, and in the last the men accompanied themselves on tambourines, while the women "struck the merry castanets." Both the dances are purely national, and it is agreeable to have such an opportunity of seeing them without the trouble of travelling as far as Madrid. There was just enough of it; for the airs, like the motions of the dancers, have too much sameness to render a lengthened performance desirable. It is impossible for a greater musical treat than that which was enjoyed by a most crowded audience on the 20th ult. Mozart's "Don Giovanni." Grisi's extraordinary talents can be displayed in no stronger light than in Donna Anna. None will say so after they have heard her; for though the great composer, for the sake of preserving the balance of his work, kept down the character to a certain extent, Grisi rendered it not only more prominent than Mozart intended, but more prominent than any singer who ever appeared in it. She is not, to be sure, always before the audience; but when she is upon the stage, the eye is fixed on her and follows nobody else. Grisi, when she first opens her lips, inspires perfect confidence. Tamburini's Don Giovanni is a most capital performance. Ambrogetti, during Mr. Ayrton's management, was, no doubt, more vivacious and unrestrained in the character of the hero, but it had some coarseness that Tamburini avoids; and nobody will dispute that Ambrogetti,as a singer, was not equal to the task. Tamburini is so thoroughly at home in all he has to say and do, that he seems "speaking" music. Caradori is a most engaging Zerlina, and sings "Batti, batti, o bel Masetto," with really touching pathos. Zuchelli, as the hero, wanted a little comic force. Mrs. E. Seguin is an admirable and trustworthy musician. Giubilei's Masetto, was not at all below what it ought to be; and, in all respects, this delightful opera has, perhaps, never been better cast, from the day it was first produced. Madame Caradori's benefit, on the 15th, (her first appearance in London, as Anima, in "La Somnambula,") was tolerably well attended. The melody which characterises this opera is admirably suited to her delicate voice, and she made a most flattering impression upon her company. The feeling she imparted to the character was only equalled by the ease and grace with which she sang the music, and her quiet unobtrusive style was not the less admired after the more impassioned intensity of Malibran in this, and Grisi in some other parts. An apology was made for Rubini, owing to hoarseness and sore throat, but there seemed no necessity for the excuse. Giubilei sang with a just expression, and the true spirit of the composer. He displays power and judgment. Mrs. Seguin, now familiar to these boards, is very efficient in “La Somnambula." An act of "Anna Bolena," and the new ballet, completed the evening. THE GERMAN OPERAS. The impediments which prevented the German company from appearing, have at length been overcome; and they made their debut on the 14th, in Mozart's "Zauberflote," her gracious Majesty patronising them by her personal attendance. The principal singers are not so good as on the first season of Germans appearing in England, whilst the inferiors do their duty with evident superiority to their predecessors. The faces are almost all new, and they do not bear any name of celebrity. We believe they have been selected from the respectable provincial opreas, which, in Germany, often contain singers whose education is equally sound as those of naturally finer quality of voice Of this class is Madame Walker, who played Pamina. Herr Schmetzer was the Tamino; his voice is an agreeable tenor, managed with a good deal of taste and judgment. The Papageno of Herr Uetz, whose voice is a rather weak though flexible baritone, was amusing. The High Priest was represented by Herr Dolcher, who possesses an organ of great depth, but it wants smoothness and flexibility. The choruses were excellent, and produced an effect only to be obtained from the close and severe study of the German school. On the whole, the performance was creditable; but the prices of admission to the boxes (10s. 6d. each person) is too high to ensure much public encouragement. DRURY LANE.-During the past month a new afterpiece, entitled "Secret Service," has been brought out at this house with great success. Scribe is the author, and Planche has adapted it for representation on the English stage. The story is from an event in the life of Fouché, the minister of police during Napoleon's reign, of whom it was said that even the most minute move. ments of the Emperor were at all times known from his spies. The interest-alternately touching and laughable-is excellently sustained, and the piece is written with more than ordinary finish. The audience gave loud and warm expressions of satisfaction at the conclusion. COVENT GARDEN.-Their Majesties visited this theatre on the 1st ult. The streets were lined with thousands of expectant gazers, and the theatre was crowded to the ceiling. The moment the King and Queen entered their box, a shout that almost shook the walls welcomed their coming, and a feeling of paternal love and respectful homage seemed to unite the royal personages with those who looked upon them, worthy of the brightest days of monarchy. The vocal performers and an immense company immediately came forward on the stage to sing "God save the King," which was received with loud acclamations. The second verse, which Braham gave as a solo, brought forth all the power and sweetness of his matchless voice, and boundless admiration for the strain swelled the torrent of loyal applause beyond all common bounds. After the play," Here's a health to the King, God bless him," was demanded, and finely sung by Mr. Braham, the delighted audience applauding to the echo." The performances were "The Duenna," ""Turning the Tables," and "My Neighbour's Wife." They were all admirably acted. His Majesty laughed as gaily as if he had been a mere subject, and the Queen and her courtly attendants were affected a good deal in the same way." Mirth, admit me of thy crew," seemed the motto of each and all. The cheering was fervently renewed in honour VOL. IV.-No. 6. of the royal visitors on their departure. The Duke of Devonshire (Lord Chamberlain) preceded their Majesties to and from the royal box. His Majesty wore an admiral's uniform, decorated with the stars of the orders of the Garter and the Bath, and the riband and jewel of the order of the Garter. Prince George of Cambridge wore a military uniform, and was on the right of the King. The party which accompanied their Majesties consisted of the following persons:-Col. Wilson, Sir T. H. Curteis, Hon Captain Hay, Master Stephenson (page to the King), Master Grimston (to the Queen), Lord F. Fitzclarence, Sir J. Whatley, Sir W. Fremantle, Lord R. Grosvenor, Sir H. Wheatley, Miss Bagot and Miss Hudson (maids of honour), Lord Hill, Lord Adolphus Fitzclarence, Miss Hope Johnstone (maid of honour), Earl of Errol, Earl of Denbigh, the Marchioness of Westminster, Earl of Albemarle, Duke of Argyll Duke of Devonshire, Prince George of Cumberland, and Lady Clinton. 66 On the 6th a new grand ballet, called the Fairy Slipper," founded on the well known tale of Cinderella was produced. The principal dancers were the Alberts, Mademoiselle Noblet, and Mademoiselle Dupont. The plot is too well known to need description. Independently of fine and graceful dancing, the acting was decidedly superior to any thing we have witnessed on the boards of an English theatre. Some of the music is pretty, and the scenery was splendid in the extreme. One scene, in particular, was very much admired, representing a lofty illuminated hall, somewhat in the style of the grand" Gustavus" ball scene. The ballet was announced for repetition till further notice amidst loud plaudits. FRENCH PLAYS.-Our old favourite Perlet has afforded us several treats by his inimitable performances, after an absence of five years. He made his re-appearance on the 21st in two of his original characters-in that of Soufflé, in the vaudeville of "Le Secretaire et le Cuisinier," and in that of the Comédien, in the vaudeville of "Le Comédien d'Etampes." He performed this part. in a manner which drew forth plaudits from all parts of the house. He was equally successful in the piece which followed," Le Comédien d'Etampes." A new vaudeville, in two acts, called " Toujours, ou l'Avenir d'un Fils,' was also performed for the first time. It is from the pen of Monsieur Scribe, and possesses much merit and excites considerable interest. The plot developes the meaning of the word "eternal" as applied to love, according to the construction put upon it by most young gentleman of twentyone; in other words, it shows that eternity and three months are commensurate, in point of time, with a lover of that age. The acting of M. Paulin in this piece was excellent, and 3 A Mademoiselle Beranger performed the part of Mathilde to perfection. VICTORIA. It is a pity that the splendid language of Massinger's dramas is so little known to the public. This is occasioned by the unfitness of his plays for stage representation, according to the modern notion of dramatic fitness. The plots are so extravagant, and the characters so extraordinary, in many of his most beautiful productions, that the taste of an age having had sufficient observation of nature condemns them as preposterous, and wonders how a man of such fine genius and of so poetical a turn of mind should have produced any thing so absurd. In spite of this leaning to the unnatural, Massinger frequently shows us that he has observed nature, and surprises us with glorious glimpses of the human world, or subdues us with the eloquent beauty of the social feelings. Indeed, there is so much sterling excellence in his compositions, that we wonder they have not, by judicious alteration, been made applicable to the prevail. ing taste. It is true that we have "A New Way to Pay old Debts" in continual representation, but that is the only play of many from the same hand which is attempted at our theatres. Mr. Elton has come forward with an adaptation of "The Unnatural Combat," under the title of "The Fatal Passion;" and, although we admired the manner in which he has arranged the play, we think he might have selected with better judg ment. The subject upon which the drama is founded is revolting. There is no interest excited for any individual concerned in it. The characters are, as usual, much exaggerated, and the incidents very improbable. The passions developed are principally bad; the most important personages are tainted with a revengeful, sanguinary, melo-dramatic mania, that awakens for them no sympathy. They are the creatures of the poet, not the beings of life. Mr. Forrester represented Belgarde, a poor Captain, with infinite humour and ability. Mr. Elton performed the part of Malefort, Admiral of Marseilles, with an excellent conception of the character; Mr. Green appeared as Montreville, and if he could have divested himself of his superfluous vulgarity would have made a most satisfactory performance. We should advise him to keep to the low villains; a gentlemanly villain should show more gentility in his conduct. Theorine, the heroine, was represented by Mrs. Fisher, but not quite to our satisfaction. The language deserves more than we can say in its praise. It is full of novel and peculiar beauty. A very young debutante, described in the bills as only fourteen years old, whose name has not been announced, has appeared for the first time on any stage, as Juliet. Her performance was marked by considerable talent, and although, of necessity, in parts unfinished, she was graceful, natural, and easy, and, to say the least, it was one of the most promising debuts that has taken place for some years. ADELPHI.-Our readers who can enjoy a laugh will be pleased to learn that Mr. Mathews is still "at Home," and that his soirées every Tuesday, Thursday, and Saturday are as well attended as they have ever heretofore been. SURREY.-The" combined company" at this house continues to draw overflowing audiences. In the course of the past month several novelties have been produced with the greatest success. FITZROY. The long-expected satirical piece, called "One Hundred Years Hence; or, 1934," has been brought out with success. The object is to satirise the habits and ideas of the present day, by showing the degree to which existing anomalies would be carried in another century. Thus, cheap knowledge and its consequences are ridiculed, while footmen and ladies' maids are made to talk in a strain of florid eloquence, and other oddities fill up the measure of whimsical extravagance. ASTLEY'S. The grand " Masked Ball on Horseback," in imitation of the celebrated Covent-Garden scene in "Gustavus,” is, in its way, as astonishing as any thing ever brought out here. There are about fifty horses and their riders, male and female, in the ring, besides groups of mountebanks, jugglers, musicians, and all the component elements of a grand masquerade. Great as are the resources of the theatre, it was scarcely possible to suppose so much could be made of the representation; and although the arena was neither broader, deeper, nor higher than before, the mass of gay masquers go through a variety of antics, and afford the greatest delight to all the spectators who nightly flock in crowds to enjoy the abundant amusements provided for them. An addition has been made to the regular company by the presence of W. H. Williams, whose comic songs are nightly relished with a stirring emotion inconsistent with the heat of the present weather. "The Wars of Wellington" carry every thing before them. SADLER'S WELLS.-Amongst the novelties produced here are the "Gypsey of Epping Forest," a domestic melo-drame, from the pen of Mr. Campbell; and a broad farce called "The Roman Nose," the offspring of Mr. Almar's ingenious brain. The latter possesses a nice perception of character, breadth without vulgarity, and humour without buffoonery. The author has been particularly fortunate in the character of Mr. Benjamin Button; Mr. Smith, an amorous youth, with a nose of such magnificent proportions no female can help admiring. The little French soubrette, was admirably sustained by Miss Macarthy; Sir Mahony |