drive a trade with their religion, under the mask of hypocrisy.

But, as prosperity in this life is neither the genuine nor the certain reward of the righteous, so neither is temporal adversity the constant requital of the ungodly. On the contrary, we have seen the wicked in great power, and flourishing like a green bay-tree; yet, could we have looked into his bosom at that moment of prosperity, how true we should have found the words of the Psalmist! The sophistry which he borrowed from the counsels of the ungodly, gives him no assurance of happiness, and leads him to no solid or stable conclusion; the wit with which the scorner taught him to gloss over his infidel opinions, has lost its brilliancy-behind him there is remorse; before him there is doubt. While the godly is fast moored on the Rock of Ages, he is in a stormy sea, without a chart, without a compass, without a pilot. The perturbed reasoning, the secret fears of such a one, make his thoughts, indeed, like the chaff which the wind drives to and fro, being as worthless and profitless as they are changeable and uncertain.'-Pp. 63-71.

MUSICAL TOUR.

A Summer's Ramble among the Musicians of Germany. By a Musical Professor. Post 8vo., 10s. Hunt and Clarke. London, 1828.

To the musician the Netherlands and Germany are as venerable as Italy to the painter. The best and noblest branches of his art have there risen to perfection, and monuments of its ancient glory meet him in every town he enters. The names of the great fathers of melody are the most cherished sounds in the language. They are those of the men to whom the inhabitants of every district owe their most hallowed and favourite delights, and whom they remember as having inspired their earliest devotions with fervour. All the supports and externals of the art have been on the largest scale of magnificence. Religious establishments have made its cultivation a necessary object of pursuit, a part of the service and devotion of their members; while mechanical ingenuity has employed the highest powers of invention to assist its operations and increase their effect. A musical tour through these countries promises a rich feast to the lover of the art; and, in the little volume before us, the results of one lately made are presented to the reader in a very lively and agreeable style. The author has shown himself to have been well-studied in whatever regarded his pursuit before he set out; and his accounts are full of interesting anecdote and ingenious remark. In a work of this kind, there is, of course, a great deal which can be amusing only to the scientific reader, and which would require a greater acquaintance with technicalities than is commonly possessed, to make them intelligible. We, therefore, extract the passages which contain a description of the two most celebrated prime donne that our author met with in his Tour, one, Mademoiselle Sontag, whom it is amusing thus to meet with before her appearance among us:

Mademoiselle Madler.

On the performance of Euryanthe, for the payment of about thirteen pence English, I took my place in the pit. Think, gentle reader, of enjoying an opera, played and sung by the best artists, for that sum. The interior of the house is roomy, and handsomely decorated; the band is the largest of Germany; the royal box is placed exactly in front of the stage, and the signs from it are most rigorously attended to during the whole performance. No beacon was ever more zealously watched in war-time than this by the capell-meister. As soon as the grand-duke and his suite were seated, the overture commenced, and it was better played than I remember to have heard it, even by the Philharmonic Society in London; the part in which the violins con sordini are accompanied by iterated notes on the violas, a very critical passage, was admirably executed; and much effect was produced by the basses leading off the little fugued point pianissimo, instead of the contrary, as is generally done. When it is stated, that this excellent orchestra numbers seven contra bassi for its foundation, with a corresponding proportion of other instruments, some idea may be formed of the force and dignity with which instrumental pieces are executed. The double-basses used

in Germany are frequently strung with four instead of three strings, thinner than those in use with us, and descending to E below the usual scale; when mixed with others, the depth and richness they possess is very fine. A pastorale movement in D, and a bass song in C minor, were some of the best music of the opera; but the excellent re-christening of this performance by the amateurs of Berlin, renders all additional remark upon it nugatory. By the amateurs of that city it was unanimously dubbed L'Ennuyante, and truly, if the essence of dryness and head-labour in music may deserve the appellation, it is well bestowed. The pretty passage of melody in the overture, when estimated with reference to other parts of the opera, is as a drop in the desert ;" and it vexes one that a composer, capable of thinking in this way, should choose to batten upon the leavings of other people. Most o Weber's wildest fancies (save and except in the demoniacal Freischütz) are as distinct from true invention as the ravings of madness are from the frensy of sense-and, between a bedlamite and a poet, Heaven knows there is latitude for choice. This is not intended as an irreverend allusion to Weber, but merely as pushing the comparison to its verge; and it may be modestly opined, that a little of the rationality and sweetness which Mozart did not undervalue, might not have lowered the vigorous imagination and profound knowledge of the orchestra which Weber possessed. Mademoiselle Madler, who performed the part of Euryanthe, and is the principal soprano in this corps, has a sweet voice, and would make an excellent chamber-singer; but in the forte parts of every bravura she was almost inaudible, because the band is really too large for accompanying opera-music, especially songs. But whoever looked at Mademoiselle Madler would hardly wish for a higher pleasure than his eye-sight which is, indeed, a condensation of female loveliness, would afford him; she is a model of German beauty, including all the sentiment of it. The lady must be thus imagined:-a being somewhat about the height of Shakspeare's Rosalind, with that undulating flow of outline in her figure which never wearies in contemplating; a face perfect for its symmetrical regularity and its look of goodness; hair (almost distracting to mention) of an auburn colour, and in such profusion, that, when allowed to escape from its confinement, it descended nearly to the feet. This abundance of hair is the dowry which every German woman brings her husband; and I find, that, in this country, they have engrossed the fabled strength of Samson in that particular, which should, by lineal descent, have been ours; but, if they are usurpers, they are certainly not tyrants. M. Vetter, of Leipsic, who was the first tenor in the opera of Euryanthe, gave me great pleasure as a singer, perfect in every requisite for his art, and sustained his difficult part, in fact the most prominent one of the opera, with great skill.'-Pp. 50-53.

Mademoiselle Sontag.

'At the König Städtisches Theatre (there are three here in constant play) Mademoiselle Sontag is the presiding deity-the goddess of the students and the Vestris of Berlin: and few there are whose hearts are fenced with such impenetrable buff as to rebel against plays, the doors and lobby of the theatre are beset by her sovereignty, or refuse to adore. When the lady all the wild youths of the city, each of whom would consider himself a traitor to the cause of beauty if he did not contribute all that in him lay to make the entrance as much like a bear-garden as possible: there is no such thing as attaining to a song here but at the expense of mobbing, rib-squeezing, and considerable condensation of the person. Those who expect to find in Mademoiselle Sontag a musical genius, will be disappointed; nor do I think her fame would have reached England, had it not been for certain circumstances of gossip unconnected with her profession. The lady is of middling height, well formed, with fair hair, and a set of little features which have a kind

expression in them. To venture upon elaborate praise of the complexion and shape of an actress, as it may involve a eulogium on the perfumer or staymaker which is not intended for those worthies, would be imprudent as well as presumptuous. Mademoiselle Sontag has a pleasant quality of voice, with a small quantity of tone in it, but with plenty of flexibility; an endowment which she displays so frequently, that, if one could but check the fluttering, unstable, whimsical little creature, a long breathing clear note would be invaluable. Her highest praise is said to be, that, she sings Rossini's music perfectly, and joins to this great naïveté in her acting, and that such qualifications for a performer are seldom found in company.

In a French opera by Auber, of which the German

version is called "Der Schnee," (The Snow,) Mademoiselle Sontag turns the heads of the whole town: in this piece the audience is charmed with every flourish, enraptured with every look, movement, or gesture; and, as to her playfulness, it is seen with ecstasy. The fact is, that Mademoiselle Sontag is not tried at the severe tribunal of the German opera in Berlin, but sings at a theatre where three parts of the people come to see her alone, and among her admirers are certainly not to be reckoned those whose judgment in musical matters is of the clearest. The dispassionate, unprejudiced listener discovers little more to admire in her roulades than he has heard hundreds of times in those of other singers. Mademoiselle Sontag has a distinct articulation, and deals in all the minutiae of refinement; but in a sustained cuntabile, that sort of movement in which the soul of the singer looks out, she is lamentably deficient. It is the leaven of Catalani's bad style which has deteriorated the taste of the present day, and directly opposes it to a simple and natural mode of expression.'-Pp. 225-227.

Our readers will be able to see from the above, that this is a most delightful little volume. We are sorry that the author has mixed his valuable and interesting observations on his own art, with which he is intimately acquainted, with puerile remarks on another, of which he has, it appears, little knowledge. Another fault to be reprobated is, an occasional sprinkling of abortive witticism on subjects which, whatever be an individual's private opinion, demand his respect as the member of a community, regarding them with reverence. We trust, in the future editions of this talented publication, which we expect to see, that be occupied with learning that, in painting women we shall neither see faults of the latter kind, nor and children, Rubens is admirable.

THE CROPPY.

The Croppy, a Tale of 1798. By the Authors of the 'O'Hara Tales,' in 3 vols. 12mo. Colburn. London, 1828.

POPULAR taste seems to have fixed itself on works of fiction, and the appetite but grows by what it feeds on. In this rage for novel writing and romance, all European countries have been made the theme of the novelist; and some authors have even extended their view to more distant climes. In adorning a tale,' however, the caterers have learned not only to point a moral,' but to illustrate obscure or unknown portions of national history. Nor is this new to our language. The greatest genius which Britain can boast has constructed a series of plays, distinguished not less by poetic power than historic truth. For a long time, however, the mantle of Shakspeare ceased to fall on other shoulders, and almost till our own day he remained without a successor. At length, however, the great wizard of the north appeared, and gained an immortality Great Unknown.' The sympathies of his own more lasting than 'Sir Walter Scott,' than as the nation, and the admiration of others, were secured to him; for, in reviving by-gone scenes, he gra amused the tedium of all others. tified the love of country of the one nation, and

The example thus set in Scotland, was followed in Ireland; and Lady Morgan came forth, almost alone, arrayed with a knowledge of the history and antiquities of Ireland, such as few can boast, But this was not all. She proved herself as familiar with the peasantry of the west, as the and Florence M'Carthy' and The O'Briens and Great Unknown had done with those of the north; O'Flahertys' at once attested her power and her varied resources. The field, however, being ample, and the harvest rich and abundant, it was to be expected that other reapers should engage in the task. Accordingly, Mr. Banim, an Irishman, appeared, and produced The O'Hara Tales,' "The Nowlans,' and The Boyne Water,' all evincing a knowledge of the Irish character, and all warmly patronised by the public. Encou raged by qualified, though not complete, success, our author, after a considerable interval, again presents himself to notice, bearing

in his hand The Croppy, a Tale of 1798.' To Irish readers of any class, such & tale was unnecessary. The old and the middle-aged are familiar with the events of that stormy period; and, to the rising generation in the sister country, the admirable, authentic, and deeply interesting narrative of Tone, published last year, supplies an abundance and variety of matter, likely to be much more staple than any vague phrasing in a book of romance. If, however, romance were needful to fix the events of 1798 in the memory of the young, or to revive them in the fading recollection of the old, the task is already completed in the last work of Lady Morgan. We cannot, therefore, but think, that the author of the present tale has chosen rather an unhappy era, unless, indeed, which we cannot for a moment suppose, he meant to throw The O'Briens and O'Flahertys' into the shade.

To the English public the present work is necessary, and may be acceptable, though we had rather the author had written a tale connected with the events of 1641, or either of the subsequent reigns. As, however, The Croppy' is before us, we are bound in justice to say, that its object is praiseworthy, and we have no doubt that, in a political point of view, it will be productive of good. The language is clear and flowing, the sentiments generally just, and, in the subordinate agents introduced to work out the plot, the author evinces a deep and intimate acquaintance with the phrase and habits of the lower orders of Irish. Here, however, our praise must end. The plot itself is involved and intricate, if not absurd, and brought to a close by means so improbable as to stun even credulity itself. The heroine of the piece is Eliza Hartley, (the daughter of Sir Thomas Hartley, a Protestant liberal Baronet,) who has two suitors. The one, and the earlier known, Harry Talbot, a Captain of Yeomanry—the other, Sir William Judkin, a neighbouring Baronet, of large though involved fortune. The preference of the father is directed to Harry, while the daughter, after a struggle, resigns her heart to Sir William. At this period, Belinda St. John, the school-fellow of Eliza, arrives on a visit at Hartley House, in the public coach, unattended by servants of any kind. Her female friend, who had not seen Belinda since they left school, perceives a change in her manners and appearance, which startles her at the first sight; and, before the visitor is three days in Sir Thomas Hartley's mansion, she ominously tells Eliza not to marry Sir William Judkin. These scenes are contemporaneous with the breaking out of the Rebellion; and at this period a Mr. M'Nevitt invites Sir Thomas to become a United Irishman. The Baronet declines, but gives Mr. M'Nevitt, who comes from the north, safe conduct to a house in the vicinage, where the incipient rebels meet. Returning home, Sir Thomas thinks that political events wear a lowering aspect; and, ere the storm bursts, he determines to wed his daughter to the man of her choice. This fact comes to the knowledge of the rival lover, Harry Talbot, through Nanny the Knitter, an admirably drawn character; and, on the very morning Eliza and Sir William Judkin are married, the father and husband of Eliza are arrested on a charge of treason by Captain Harry Talbot. Sir Thomas is tried, and, it is supposed, executed; but Sir William, by the mysterious agency of a woman, escapes, becomes the leader of a rebel band, in order effectually to recover his wife, who has been carried off by Harry Talbot, who is of the Orange party. We over the many encounters in which the rebel army and the regulars are engaged, and the feats of valour performed by General-Priest Rourke, Shauna-Gow, the smith, and Peter Rooney, the tailor, our purpose being merely to follow the history of the heroine. For a considerable time after his escape, Sir William learns no certain tidings of his wife; but he is all along under the impression that she has been dishonoured by Talbot, and he thirsts for revenge. The opportunity soon arrives.

pass

The rebels are successful at Vinegar Hill and Oulard, and Talbot falls into their hands. When Captain Harry, however, is on the point of falling a victim to Sir William Pike, he too is rescued, and by the same female hand which rescued his enemy. This proves no other than Belinda St. John, who, it appears, had been seduced by Sir William, and afterwards was married to and deserted by him. Regaining his liberty, Talbot again falls into the ranks, and again meets Sir William at battle at Enniscorthy, and vanquishes him. In his last gasp, the baronet allows that he has wronged Belinda, murdered her offspring in attempt to murder herself, and that he was unworthy Eliza, who believes him guiltless till she hears his avowal with his dying breath. Sir Thomas Hartley now appears, having been before acquainted, through Belinda, with the strange events we have recorded. The scene of the Rebellion ends with the death of Sir William, and the hanging of Father Rourke on the bridge of Wexford. The Union of the two Kingdoms follows in 1800, and the equally important and more happy union of Eliza Hartley and Harry Talbot takes place in the same year.

Such is the story of the book, which our readers will think improbable and extravagant enough. It must be admitted, however, that many of the minor characters in the book, and who are important to the elucidation of the plot, are admirably drawn; and among these we would enumerate Rattling Bill,' a thrice double villain,' ready to play any game 'from pitch and toss to murder,' and who performs the avocation of conjurer, spy, and swearerin of rebels. Tim Reily, a servant, is also an admirable sketch; and the dialogue put into the mouths of these persons, and Nanny the Knitter, is truly Irish, and often humorous and witty.

We should remark, that the politics of the novel,-for it meddleth with affairs of State, are decidedly liberal; and the delinquencies of the Irish Magistracy and Government of these days is exposed with an able and practised pen.

Each vernal scene to his prophetic eye
More dear, as harbingers of Summer nigh,
Soon to expand her warm maternal wing,
And nurse the tender infants of the Spring:
So shall the earth her countless broods sustain,
And of her millions none be born in vain.

'Yet must I stay, though bidden to attend
The blissful rite, that gives thee to my friend,
Nor at the altar hear thy trembling voice,
And see thy blushes, own thy maiden-choice.
Though absent present, I unite my prayer,
(Needless if love excluded every care,)
That Fate, befriending virtue, may bestow
More than ye hope, and all ye wish below.

'Source of my friend's best joys, who still shall find
When thy cheek fades, fresh beauties in thy mind,
Sweet Soother of those ills that all must share,
And he must learn, tho' blest with thee, to bear,
Could Love alone life's few short hours employ,
Bidding Time borrow swifter wings from Joy,
Sages had taught, and Poets sung, in vain,
All art were folly, and all science pain-
But oh! ye days when beauty's soft controul
First woke the slumbering instincts of the soul,
Sudden and swift when Love's resistless flame
Flash'd through each kindling atom of our frame,
When the gay visions of it's infant hours,
And all it's first fine extacies were ours,
Too soon your value from your loss we learn!
Too soon ye fly! ah! never to return!
Some busy fiend of Folly's envious broods
In our defenceless paradise intrudes,
And lures from peace and joy to grief and shame,
Whispering vain hopes of pleasure, power, or fame,'
Pp. 13-18.

A Narrative of Memorable Events in Paris, being Extracts from the Journal of a Détenu. 8vo., pp. 298., 10s. 6d. Longman and Co. London, 1828. OUR readers will remember having seen the interest

EPISTLES IN VERSE.

Epistles in Verse. Post 8vo., pp. 135. John Murray, Albemarle street. London, 1828,

THE selection made in this volume, and the arrangement of its several parts, are well calculated to effect the design of the Editor. If the Hamiltonian system of teaching languages be fitted to make persons proficients in this branch of education, it cannot be better followed than by the use of works containing specimens such as those now published. The double translation which occupies the first part of the volume is

followed, first, by the Italian text, without the translation, and then by the English; thus furnishing the pupil with every thing requisite for private recreation and exercise.

'AH! though invited by the Spring and thee, In vain I sigh and struggle to get free: Mid smoke and noise, repining I must stay, And leave untasted all the sweets of May; To waste in stifling crowds the fragrant hours, And lose the year's first shoots, and earliest flowers. 'For now the tardy white-thorn blows, and now The blossom hangs on every orchard-bough; In bower and field, each blade and leaflet teems With murmurs of delight, and golden gleams, As waking myriads swarm below, above, And the dead quicken, and the living love. And now each morn what clouds of incense rise! What hymns of rapture! grateful to the skies! While all night long a sweet sad voice is heard, The soothing vespers of the wakeful bird. Man too reviving his glad tribute pays: (Most cause has he for thankfulness and praise :)

though among the smallest, one of the best publications that have for some time issued from the press. The account given of the several disorders consequent on drunkenness, is written in a clear and scientific manner, and the several anecdotes which are dispersed through the contents of the volume, are told with great felicity and humour. The author has not confined himself to the mere common and obvious effects of the vice, against which his book is a powerfully written sermon, but has treated of every variety of intellectual disorder which results from indulging in its excesses.

ROYAL ACADEMY EXHIBITION.

THE doors of THE Exhibition were opened for indiscriminate admission on Monday at twelve; and, within half an hour from that time, the rooms were crowded to excess. Dare we then say, that the British Senate and People' take no interest in the arts? Before one, popularity had already pronounced judgment; dense groups of admirers had collected before some half dozen performances; and, during the whole afternoon, it was not possible to procure a full and satisfactory view of any of the favourites. The spectators, therefore, whose anxiety or curiosity was subjected to a sense of good breeding, or to an abhorrence of jostling, were under the necessity of contenting themselves with partial and occasional glances, as the gap left by the departure of the ell-wide chapeau of some satiated gazer allowed the opportunity of obtaining a momentary glimpse.

The works of which it was most difficult to procure a sight were, The approach of Pilgrims to Rome in the Anno Santo, by Eastlake; The Portrait of Lady Lyndhurst, by Sir Thomas Lawrence; The Morning of the Carthaginian Empire, by Turner; (we take them in the order in which they were hung;) Interior of an English Cottage, by Mulready; Etty's Picture from a Passage in the Eleventh Book of Paradise Lost;' The Vicar of Wakefield reconciling his Wife to Olivia, by G. S. Newton; and, An Attempt to illustrate the Opening of the Sixth Seal, by Danby. We see no reason for demurring to the public opinion, since, with the exception of a very few other pictures, the situation of which removed all occasion for crowding to get a peep at them, or which, from want of the necessary degree of interest in their subjects, were little calculated to attract attention, the works we have enumerated include nearly all the performances of extraordinary merit, out of the 1133 which compose the Exhibition. After this, shall we, not having the fear of the Crown, the Sceptre, and the Bible, before our eyes, be so rash as to incur the imputation of cant of criticism, and, of course, pronounce this Exhibition worse than the last? The Heavens forefend! We have the motto of the Academy, too, under our ken, admonishing, that Ne cuiquam tam clarum ingenium est ut possit emergere, nisi COMMENDATOR contingat; and we are too anxious to see the arts flourish in our native country, to throw any impediment in the way of their advancement. We desire, however, to see them really flourish; and this desire is too sincere to allow us to flatter, or to say that the present Exhibition is creditable to the country. Is it better than any former one? It can only be so, because that was bad. Can a dozen or so of good pictures in a thousand, justify our congratulating ourselves, our artiste, or the country, our saying that the present is a good Exhibition, and expressing ourselves satisfied with the progress the arts are making in Great Britain? We shall leave this question to be answered by others; and, quitting the subject of the Exhibition in general, we turn with satisfaction to notice a few of its details, as they drew our attention.

The name of Etty, rather more, perhaps, than the merit of the work, induces us to remark on No. 6, Guardian Cherubs with Portraits of Infant Children of the Earl of Normanton, which is a picture of fantastical composition, but, in some parts, the couch and drapery of the infant more especially, very richly coloured.

Landscape, No. 7, J. Constable, A., is composed with great spirit and truth, and in some respects brilliantly coloured, but spoiled and rendered of an effect altogether disagreeable by a mannered spottiness.

Mr. Eastlake's picture, No. 10, Italian Scene in the Anno Santo, Pilgrims arriving in sight of Rome and St. Peter's-evening, is a very pleasing work. It represents a group of pilgrims emerging from the passes of a mountain, and coming suddenly on the view of Rome. To give greater richness of colour, the artist has made choice of sunset for his time. The figures are in a sort of second light, or reflection, which is admirably treated; the design is correct, the grouping delightful, the expression admirable and touching, and the colour very broad, and in a fine mellow tone.

Alpine Scenery-Canton of Berne-Switzerland, No. 24, J. J. Chalon, A., is a very characteristic picture, cleverly executed; but it gives, perhaps, a more correct idea of the detail, than of the grand and general effect of the sublime scenery of the Alps. The Album, No. 26, H. P. Briggs, is a very pretty portrait. Were we disposed to find fault, we should object to the attitude.

An Albanian, 32, J. Partridge, is a full-length figure n the rich costume of Albania. It comes out with

great effect, and is remarkable, moreover, for a fine tone of colouring.

The Lake of Lugano is, not excepting the muchtalked-of Lago Maggiore, and Lago di Como, the finest lake-scene in Italy. The whole Alps, perhaps, do not present its equal in variety and grandeur. In the picture No. 34, J. V. Barber, the artist, has not failed in his attempt to give an idea of the grand and beautiful character of this delightful scenery. The Portrait of Lady Lyndhurst, No. 66, by Sir Thomas Lawrence, P. R. A., is a very clever picture. We prefer it, in point of tone and style, to all the other works of Sir Thomas in the Exhibition. The Portrait of the Daughter of the Right Hon. William Peel, No. 77, by the President, is a sweet thing, full of animation and innocence. The expression is admirably given, and of a pleasing tone and colour. In the Picture of the Countess Gower and her Daughter, No. 114, the composition is very beautiful; and the drawing and expression of the heads, that of the child particularly, are excellent: the light and shade is fine, and the whole picture very sparkling; but the tone of the flesh is too chalky: there is but little difference in the hue of the arms, neck, and that of the white drapery; The Portrait of the Marchioness of Londonderry, with her Son, Lord Seaham, No. 140, although an elegant picture, is not equal to that of Lady Gower; it is weakly painted: the action of the boy is wanting in grace, and his figure is in some respects ill-drawn. The portraits of Earl Grey, No. 158, of Sir Astley Cooper, No. 263, and of the Earl of Eldon, No. 463, are all admirable portraits, life-breathing, expressive, and intelligent. The portrait of Lady Georgiana Agar Ellis with her son, No. 341, also is a most delightful picture. The head of Lady Georgiana has that lovely, elegant, and feminine animation and expression which Sir Thomas has more than once so happily given, and in which he has no rival. The figure is not free from bad drawing; the right shoulder and arm more particularly may be noticed as faulty in

this respect.

Dido directing the Equipment of the Fleet; or, the Morning of the Carthaginian Empire, J. M. W. Tur ner, R.A., is a remarkable and spirited composition; replete with ideas of beanty, and extremely brilliant, hardy, and powerful; but over-wrought in effect hors de nature, tout à fait. The right-hand corner of the picture is wonderfully rich; and the introduction of the dark-green pine-tree is astonishingly bold.

The Peasant of Andernach, No. 78, H. Howard, R.A., is a very pretty half-length figure, in the usual style of the female heads and foreign costume of Mr. Howard; but presenting some variety in manner from his former annual displays of similar subjects.

:

We had the misfortune to overlook Mr. Stothard's May Morning, 98; which we shall take another opportunity of noticing the corners of the rooms are necessarily more crowded than the other parts, and we see, by the order in which this number presents itself, that Mr. Stothard's picture must have been in that situation, and, we conclude, placed low.

East Cowes Castle, the seat of J. Nash, Esq.; the Regatta beating to windward. No. 113; and 152, The Regatta starting from their moorings, J. M. W. Turner, R. A., are very clever and spirited, full of activity, extremely clear and brilliant. A connoisseur in detail, remarked that the Yachts bore more sail than their hulls would carry. My Lord Yarborough not being at hand to refer to, we do not venture on our own authority to pronounce decidedly between the critic and the artist; our leaning, we confess, is on the side of the former.

The Portrait of his Grace the Duke of Northumberland, No. 154, T. Phillips, must, we should presume, be highly satisfactory to that nobleman. The resemblance is remarkably strong, and highly characteristic. Had the robing betrayed somewhat more of the existence of a figure underneath it, the picture would have done the artist more credit.

Mr. Phillips seems to have arrived early at a manner of painting, at which he has rested content; his portraits, in general, are in the same style in which he painted twelve years ago: a similar expression pervades nearly all of them.

The Cupid and Nymph, W. Hilton, R. A., as a composition, is pretty and playful, but looks like an attempt at the manner of Rubens, without the strength of colour of Peter Paul. It is consequently a failure; for what would Rubens himself be but for his force? A Composition, taken from a Passage of the Eleventh Book of Milton's Paradise Lost,' No. 193, W. Etty, R. A. Elect, is decidedly the most attractive picture in the whole Exhibition. The crowds which continually

stood in front of it rendered it quite impossible to get such a view of it as would enable us to do it justice; we shall, therefore, reserve our remarks on it for next week, when we propose to resume our review of the Exhibition, and go through what remains of the catalogue.

PORTRAITS OF THE MOST ILLUSTRIOUS PERSONAGES OF GREAT BRITAIN.

AMONG the numerous exhibitions now ministering know of none that can afford an hour of more unto the gratification of public taste and curiosity, we mixed pleasure, than the one just opened by Messrs. Harding and Lepard, the publishers in Pall Mall East, who have collected together nearly two hundred miniature portraits of the most illustrious individuals of English History, from the galleries of the nobility, and from various public collections throughout the country. The original object of forming this collection was, to have the pictures engraved for a work in which the portraits were to be accompanied with Memoirs, by Edmund Lodge, Esq., Norroy King be named. This purpose was answered by the pubof Arms, and a more interesting purpose could not lication of such a work in a succession of folio parts, the whole cost of which, when completed, amounted to 2001. sterling, which, of course, placed it out of the reach of all but the very wealthy. As, however, there must be hundreds in the well-educated classes, to whom the same work, in a less expensive form, would be most acceptable, it has been determined to reengrave the whole series for the purpose of publishing a similar work in Monthly Parts, and at less expense, so as to bring it within the reach of all classes. The first Number is to appear on the 1st of July; and the present Exhibition is opened to give intended purchasers a fair opportunity of seeing, beforehand, the style and character of the materials of which it is to be composed,—an opportunity seldom allowed, but one which, we believe, while it gives pleasure to the visitors, cannot fail to be attended with benefit to the publishers also. moral interest, are novelty, and intrinsic beauty, of many of the portraits in this extensive and unique collection, are such as will well repay the trouble of an inspection. We do not, therefore, particularise in a matter in which the opportunity for forming a judgment is so open to all; but we strongly recommend the Exhibition itself to public attention, and the work, of which it is the harbinger, to public patronage.

The

BURFORD'S PANORAMA OF THE CITY AND BAY OF GENOA.

Or the many scenes presented by the shores of the Mediterranean, as particularly fit subjects for Panoramic representation, Genoa is, beyond dispute, one of the finest and most suitable. The world, indeed, has but few cities of such importance, extent, and magnificence, in a situation so beautiful, so picturesque, and so imposing. We congratulate those, therefore, of our readers who have not enjoyed the opportunity of visiting this superb city, that, by means of the masterly Panorama of Mr. Burford, they may be enabled to form an idea more real than any description could possibly convey to them of this delightful scene.

The point whence the Panoramic view is taken, appears to have been selected with a view to give the spectator a perfect idea of the crescent-like form of the Bay, terminated at one extremity by the picturesque Lighthouse, and at the other by the point of Carignano. The mole stretches out between these two points and forms the foreground to the picture. This part of it appeared to us somewhat too principal, and by its size and force of colour, to detract in a measure from the more interesting portions of the city. The churches, public buildings, villas, and palaces, must necessarily be too small, in a scene of such extent, to excite the particular interest of the spectator: they are, however, clearly defined, and minutely correct; although a greater degree of interest, we think, might have been given to them by making them more prominent. The mountains which back the city so majestically, crowned as they are at their summits with impregnable fortresses, and bedecked towards their base with splendid villas, gardens, and olive groves, rising in terraces one above the other, form a splendid back-ground. In the lower parts of this portion of the picture, the liveliness of the green is objected to with reason. The boats and figures in the foreground are painted with wonderful force and effect: the colouring in general is glittering and sunny, and, to those who are not acquainted by experience with the clear atmosphere of Italy, may

appear too decided and harsh; but many, many such days as are here represented, will recur to the memory of those who have sojourned some time in that brilliant climate,-days when, through a transparency of the atmosphere hardly conceivable to an inhabitant of more northern countries, distant objects appear with the most distinct brightness; when every minute point is clear and vivid, and the sea and air sparkle with the intensity of light; when the spirit of the traveller partakes the elasticity of the atmosphere, and is elevated by its brilliancy. In presenting us an Italian scene and sky so faithfully, Mr. Burford recals the delightful sensations experienced on the sunny shores of that delightful land; and can we be otherwise than grateful to him?

We have no hesitation in predicting, that this Panorama will be a successful one. There is a magnificence and freshness in the painting, which do the greatest credit to the artist, and prove him to be fully equal to his superb subject.

PHILHARMONIC SOCIETY.

Argyll-Rooms.

THE Fifth Concert of the present season took place on Monday. It was led by Spagnoletti with his usual energy and skill, and conducted by Attwood. Beethoven's elaborate, characteristic, and difficult Sinfonia Pastoralle, was excellently performed, and listened to with delight, the whole of the professors engaged exerting themselves with enthusiasm.

It may, perhaps, be interesting to our general readers to explain, that the denomination applied to this grand Sinfonia, of Pastoralle, is on account of its being a characteristic composition descriptive of a scene in the country, and the author has prefixed a few sentences (in German) to each movement, explanatory of his ideas and the feelings he intends to excite.

The opening Allegro Pastoralle, in F 2-4, is intended to express the exhilarating and pleasurable sensations experienced upon arriving in the country." The second movement, andante molto moto, (in B 12-8,) is described as a scene upon a rivulet. This part of the composition is of singular beauty, and highly descriptive, but of tedious length; several birds are imitated by the wind instruments, and the characters were cast as follows:-The Nachtigall, (Nightingale, was personified by Nicholson's flute. The Wachtel, (Quail,) by Ling's oboe, and the Kukuk, (Cuckoo,) found an excellent representative in Williman's clarionet. The third movement, allegro, (in F 3-4,) describes country people rejoicing,' and is interspersed by a peasant's dance in 2-4 time, a Ländterische Tänze'

of a wild and boorish character; this is suddenly interrupted by the Thunder Storm,' in which the rolling and rattling of thunder, (excellently described by the drum and Dragonetti's inimitable double bass,) the wailing and whistling of the wind, (the notes of the piccolo-flute being judiciously applied to the purpose,) the chattering and complaining of the birds, and the general crash of the contending elements, are all effected in an extraordinary manner. This at length gradually subsides; the thunder is heard as it were at a distance, and finally to roll off; and the fourth and last movement allegretto (in F. 6-8) commences with the call of a bugle-horn, which is replied to by a distant shepherd, ard the peasants re-assemble and perform what the author terms 'The Herdsman's Song of Gratitude.' The final settling down of a summer evening, and the concluding devotional strains, are beautiful in the extreme, and capable of creating very delightful sensations in every susceptible mind. The whole, we repeat, was exceedingly well performed, and rapturously applauded.

These descriptions are freely and literally translated from Beethoven's head-piece.

nificant an instrument as the guitar, and the performance of the Messrs. Schulz, proved and illustrated those opinions in a remarkable degree. These gentlemen have, several times lately, had the honour of performing before the King, and, having afforded his Majesty considerable amusement, hence, perhaps, it was thought expedient to introduce them to the Philharmonic audience.

The Eol-Harmonica is a keved instrument resembling in appearance the Harmonica, made and sold by Chappell, of Bond-street, a few years since, but in tone exactly like the little decorated organs which the Germans exhibit in the streets with dancing figures, and to the full as insignificant: it, however, blended well with the guitars, and the whole performance, (although not suited to a large Concert-room,) exhibited to those who could hear it, (about half the audience,) considerable taste and ingenuity. The composition was a mélange, or pot-pourri, introducing several known tunes, such as the Queen of Prussia's Waltz,' the dance in Spontini's 'La Vestale,' the Bird-catcher's Song in Zauberflote,' &c.; and at length, 'God save the King,' with exceedingly clever variations. Certainly, after the thousand attempts at novelty of variation to our national melody, those of the Schulzes exhibited both invention and ability; and their whole performance would have been admired, had it not proceeded to too great a length; but the audience, (especially that part at the farther end of the room who could not distinguish a note,) grew at last impatient, and a few hisses, and a considerable degree of coughing and unequivocal murmurs, forced the poor Germans to effect a hasty retreat; and some of the ci-devant directors expressed their disapprobation of the introduction of the Messrs. Schulz, by the 'powers that be.'

No.4.-Signora Brambilla sang, in a very satisfactory and interesting manner, a scena of Rossini's, 'La Pieta,' from 'Edoardo e Christina,' one movement of which is the same sung by Madame Vestris, in La Donna del Lago.'

The fifth piece, concluding the act, was Henry Griesbach's Overture, first produced on the trial night, 21st January last, and he presided at the Piano-forte. It is a clever and spirited composition, although not exhibiting much originality. The commencing passage reminds one of the obtestation of the Ghost in 'Don Giovanni;' the harmony (D. minor and A. major) of

which forms a characteristic feature in Mozart's ad

mired Overture to that piece, and some subsequent passages, after the clarionet and flute solos, nearly resembled Romberg's Overture in D, performed at the first Concert this season.

Mozart's grand Sinfonia in E flat, (op. 50,) commenced the second Act: it was beautifully executed, and listened to with profound and marked attention. Attwood, who in the years 1784-5 was a pupil of the great composer, enjoyed the performance in an extraordinary degree, particularly the slow movement in A flat, in which the writer's simple majesty, grace, and elegance, are conspicuously exhibited: the minuet and trio were truly delicious, and the beautiful performance of Willman and Nicholson produced a deserved and unanimous encore, much to the credit of themselves and the Philharmonic audience.

No. 7, Duetto, Madame Caradori Allan and Signora Brambilla, Lasciami,' from Rossini's Tancredi.' Brambilla's voice exhibited a peculiar richness, both in her song and in the duet; but this latter piece was thought a little too old and hackneyed for performance at this Concert. It should seem that the singers agreed in that feeling, and, therefore, in order to infuse novelty into it, they introduced ornaments in appogiaturas, suspensions, and graces, which did not always agree with each other; though the principal beauty of duet singing, especially with voices of the same class, must always be the mutual understanding entertained by the vocalists, particularly in their cadences. The orchestra experienced some difficulty in following and keeping pace with the singers, and the usual feebleness of the accompaniments by the stringed instruments, was again occasioned by the dearth of copies, which we took occasion to reprehend at the last Concert.

No. 8. Fantasia Violin, De Beriot, composed by himself. This was a perfect, splendid, and elegant performance, and was estimated and received accordingly. It was his fifth thema, with variations, in the key of E, with four sharps, the most brilliant and effective for the violin. In his third variation he exhibited unusual

King's Theatre, Tuesday. Mademoiselle Sontag repeated the part of Rosina in theBarbiere di Siviglia' for the fifth, and, as it is stated, the last time. The oftener we witness the performances of this young lady, the more we feel disposed to lament that the extravagant reports of her talents and beauty which preceded her, should have engendered a feeling nearly akin to disappointment at her first appearance in London. If her reception here has not been as enthusiastic as on the Continent, she may safely impute the cause to the panegyrics of her countrymen, and not to any individual demerit. Well may she exclaim,

Heaven preserve me from my friends! I fear not my enemies. Had she arrived here with a more moderate reputation, she would have received probably a less tangible gratification in pecuniary reward, although, perhaps, a more willing and sincere applause from her auditors and beholders. The English nation are too sensible of the value of credit, and too much a matterof-fact people in all their concerns to take a foreign portrait of female beauty or accomplishments at a certain discount. They make no allowance for Italian civility, French verbiage, or German sentiment, but receive every report au pied de la lettre, and afterwards feel disappointed that the child of fame does not prove an angel upon earth, pouring forth the music of the spheres. Mademoiselle Sontag has had also to contend with the immense space before her at the King's Theatre, which her natural voice is not capable of filling, and which causes a forced and painful expression of feature, quite sufficient to overcast the most naturally cheerful countenance we have beheld on the stage for some time. When we heard her in August 1825, in the Italiana in Algieri,' at the Königstädter Theater in Berlin, there existed, to the best of our recollection, nothing of the kind; the countenance was full of smile and sunshine. Her voice we then thought to have been originally of a weak and hard quality, but considerably improved by a long course of study and exercise. The hardness is still occasionally apparent, and her rapid and chromatic passages are mostly executed in a subdued tone. Her face has ever been truly German, but of that fair and pleasing order so frequently met with among the Bourgeoisie, near Frankfort. Waiving our critical functions for a while, we often regret, notwithstanding her beautiful teeth, the professional necessity for opening her lips at all: it puts to flight a delicious and sweet-tempered expression, which the finest tones of her voice can never banish from our remembrance. We stake our reputation as a disciple of Lavater's, on the assurance that Mademoiselle Sontag is a lively, unaffected, open-hearted girl.

of the Opera towards placing a detachment of the fair corps under their orders, upon a similar warlike