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figures—a suspended wreath of the rose, sham- tive, the light and shade well disposed, and the rock, and thistle, being emblematic of her triple emotion in the mournful faces of the principal

No jewelled crown adorns her brow, but group is admirably treated. a star in the middle of her forehead distinguishes No. 249. Llyn Helsi, North Wales." the fair “star of the west,” and is an appropriate Thomas Lindsay. A perfect gem for purity accompaniment to the coronet of oak leaves and of tone and clearness of atmosphere. acorns which encircles her head. It is one of No. 226. Return from the Masquerade.” those exquisite minglings of the real and ideal Jane Egerton. A beautiful girl fallen asleep in which belong only to the highest order of poetry lier ball costume. The face has all the downy and art.

Foftness of youth, the figure is in perfect repose, One other production must we mention. Mr. the arms well rounded, but a little too large; Lough has added another Shakspere creation to the subject is full of interest, and would make the noble band already known : “ Ariel”—the an excellent engraving. This artist is also a poet's Ariel--but by no means a theatrical one, new exhibitor. Ariel “under the blossom that hangs on the No. 289. “Staircase in the House of the bough.” And though the foot-a beautiful hu- Corporation of the Brewers at Antwerp.” L. man foot to be sure—rests on the cowslip-bell, laghe. This is truly in the Dutch school, a we are by no means surprised that it does not wonderful production; the girl ascending the tread it down. The extraordinary lightness and stairs with the spaniel watching her, is quite grace of the figure defy description ; while there equal to Teniers. This picture is purchased by is something absolutely bird-like in the prevailing Prince Albert, and does honour to his taste. expression, with a dash of mischief too about it No. 308. “The Stepping Stone.” Edward whether the artist meant this or not. We can Corbould. Painted as a companion to “ For scarcely imagine a more intellectual treat to the Sale,” but very inferior. No girl with silk lover of art-and to be this legitimately he must stockings and dancing shoes would think of possess the poet's soul-than may be afforded by crossing such a brook. a visit to this Studio, enriched as it is by so many No. 320. “ Jesu Homini Salvator.” Jos. J. works of the highest order. We may mention en Jenkins. There is not much originality in the passant that the monuments to Southey and to treatment of this head, but it has much sweetthe late Sir Wm. Mc Naughten are now nearly ness in its expression; and the wreath which en. completed.

circles the drawing is well managed.

No. 334. “ Idleness.” William See. In good truth the girl looks too idle to wash her face,

which the artist has made exceedingly smudgy. CONTINUATION OF THE EXHIBITION No. 333. “Naomi and Ruth.” Fanny Cor

OF THE NEW WATER-COLOUR beaux. One of this lady's happiest efforts : the SOCIETY.

head of Naomi is finely drawn.

No. 330. “On the sands near Lancaster." No. 10. “Camp Hill, with southern termina- James Fahey. A charming painting. tion of the Malvern Chain.” Fanny Steers. Time and space prevent us from noticing This lady is a new exhibitor, and will prove an many more works equally worthy of praise. acquisition to the gallery. Her landscapes are The members of this exhibition may indeed convigorous : she gives the true character of moor gratulate themselves on the rapid strides with scenery, and we know of no female artist who which they have advanced to Fame. handles the pencil so boldly; but she must be careful not to make her skies too splashy.

No. 220. “Ludlow Castle.” E. Duncan. The transparency of the stream, and the sun- FORTY-SECOND EXHIBITION OF THE shine of the sky are wonderful; every part of the OLD SOCIETY OF PAINTERS IN landscape is true to nature.

WATER-COLOURS. No. 234. “Chrysanthemums." Mary Margetts. These flowers are too ragged and un- This exhibition is another attraction of the finished; whilst 291, “ Grapes and Peaches," season, and so exquisite are the major part of by the same artist, are almost equal to Hunt's. the pictures that the eye gets bewildered amidst The grapes are transparent, and the peaches are such a phalanx of talent. melting ripe.

No. 66. “The Unwelcomed Return." G. No. 128. “View on the Wye, near Rheyader, Cattermole. Is among the highest specimens of Radnorshire.” Aaron Penley. The trees are art. This magnificent drawing has all the tinted with the varied hues of autumn, yet none grandeur of nature in her most solemn aspect ; of these vivid colours are out of harmony; the the depth of tone in the vast and gloomy forest children playing on the rocky bank of the river is scarcely inferior to “Salvator Rosa,” and the are sweetly sketched in. This is one of Mr. spectator's heart thrills with emotion as he l'enley's best pictures.

imagines the sorrow of the unwelcomed knight No. 195. * By the Rivers of Bahylon.” as he urges on the weary steed to the end of his Henry Parsons Reviere. We congratulate this journey. artist on his extraordinary improvement within Equal in talent, but of a different class of the last few years ; his present work is most effec. composition, is No. 118, “The Range of High

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Alps,” by J. D. Harding; nothing can exceed the old soldier as he puff's a cloud on a bank, the atmospheric effect of this drawing, every tell a sad story of weariness and starvation. part of which is redolent with the sunshine of No. 123. Saturday.” W. Hunt. The very an Italian sky. The blue waters of the distant apron the girl wears looks as if it had done good lake seem unruffled by a breeze; the fore-ground service all the week. The figure is the peris gorgeous. Every touch from the pencil of this sonification of weariness, although the expression artist tells us his mind is deeply imbued with the of the face is joyous; no doubt in anticipation spirit of Poetry:

of the Sunday's holiday. “Sunday Morning, " No. 7. Filey Bridge during a Storm.” its companion, is inferior to this : the girl is too Copley Fielding. Is painted as Copley Fielding fine for a rustic. only can paint such scenes. "This artist ex- No. 128. “The Shrine.” S. Rayner. Painted hibits no less than forty different views this in this artist's usual vigorous style: his drawings year, showing that his talent is as great as his always possess a texture that is wonderful; the industry.

architectural details are dashed in with amazing No. 19. “ Italian Boy begging." 0. Oakley. precision. A faithful portrait. There are few visitors to No. 142. “Reminiscences of Cairo.” this exhibition who will not be able to recognize Oakley. It must have cost the artist much this sturdy and persevering beggar-boy, thought to have produced so delightful a draw

No. 24. “ Interior of the New Hall, Lincoln's ing, and one so different to his usual subjects. Ion, on the occasion of the Visit of Her No. 157. “ Tanfield, Yorkshire.” H. GasMajesty at the opening of the building, Novem- tineon. A splendid landscape, in Gastineon's ber, 1845.” Joseph Nash. The perspective finest style. marvellously painted, and all the accessories No. 154. “Fontaine des Chiens.” George finished with an accuracy which does not destroy Harrison. This painting, by a new exhibitor, is breadth.

quite worthy of the place in which it is hung : No. 30. “On the Thames Temple, near it is full of power and harmony. Marlow.” George Fripp. The fresh coolness No. 197. “Upper Gallery, Knowle.” S. of this landscape is delicious.

Rayner. No one can paint old galleries like No. 49.

Gleaners.” Frederick Taylor. A Mr. Rayner : there is not a crevice passes unperfect gem. The child sleeping in its sister's noticed by him. arms is exquisitely painted.

No. 234. “ The Mourner.” Eliza Sharpe. No. 55. “Outskirts of a Forest.” D. Cox. Not so pleasing as many works we have seen by Nature in its most imposing aspect: the clouds this lady. are big with the approaching storm, and the We must not conclude this notice without terrified cattle are rushing to seek shelter. There a glance at Mr. V. Bartholomew's matchless is much grandeur in the conception of this Flowers. His“Hollyhocks,” No.45, seem to bend picture.

their graceful stems to the breeze ; and on the No. 58. “ Irish Courtship.” Alfred Fripp. petals of the flowers lie dew-drops sparkling Most brilliant in colour. The expression of the like diamonds in the sun. No. 220, “Peonies, girl's face, although the mouth is hidden by her by the same artist, are perfectly charming: the hand, is very lovely. The lover's head is too dark pink full-blown peony looks as if it would large. In these cottage scenes Alfred Fripp fall to pieces by a touch. No. 245, “The would be unrivalled if he would attend more to Cælogyne Cristata, a rare Air Plant of the his drawing.

East," is most exquisitely painted; the rippling No. 180. “ Irish Reapers,” by the same artist, stream from the rocks, and the glimpse of the is a fine conception, full of life, fun, and frolic. deep blue sea in the distance, would of themselves Irish hilarity is marked in every line of the faces, form a picture. We subjoin the following lines, and vigour and buoyancy of health are displayed which we quote from the catalogue, written by in every limb; but there is a want of bearing Mrs. Valentine Bartholomew:together—a connecting link to produce unity. In all other respects this is a first-rate work of

“ Flowers ! ye are lovely things,

Wheresoever ye abide ; No. 229. “Yes or No.” J. M. Wright. A

Be it where the green grass springs, beautiful girl musing over the contents of a love

Or the rugged mountain's side : letter, looking too gentle to have the courage to " Whether found in bower or hall, write the word “No!"

Creeping round the hedge-row tree, No. 233. “ Peaches and Grapes.” W. Hunt. Clinging to the ruined wall Inimitable! Such peaches make one's mouth

Always lovely must ye be ! No. 222. “ Roadside Travellers.” Frederick

“ Some there are of fairy birth,

Quaint and beautiful their forms; Taylor. The eagerness of the boy to drink out

Scorning to take root in earth, of the pitcher which his sister holds to his lips

Blooming 'mid the fiercest stormsis admirably described. We can almost fancy we see the faithful dog wagging his tail as he “ Where the raging tigers leap, patiently waits for his share of the refreshing

Where the subtle serpent lies ; water. The sickly look of the mother with a There the air plants vigils keep, baby at her back, and the painful expression of Like the spirits of the skies.”





Μ Ο Ν Τ Η.

this we

Verdi's I Lombardi has, during the past month, taken their benefits. The ballet of Giselle been the great attraction at Her MAJESTY's has been produced, with all the gaudy effect Theatre, but, like the other compositions of of scenery invariably lavished on every prothis master, it is fearfully bizarre. There is one duction at this theatre. Mademoiselle Sali point, however, in Signor Verdi's compositions and Monsieur Mathis acquitted themselves ad. which is found in the dashing concerted pieces mirably, and are greatly increasing in favour we have remarked, and with pleasure, both in his with the lovers of i Ballerini, Ernani and Nabucco, and which deservedly gains for him individuality as a composer. One of these

HAYMARKET. brilliant touches adorns the finale of the first act, and a happy conclusion it makes, full of purity

The Beggar on Horseback has disappeared, and soul, the offspring of a glad spirit. Signor giving place to The Rivals, The Clandestine Verdi has a strong passion for the use of Marriage, and Spring and Autumn; or, Varried syncopated notes; but, alas ! that use is worn

at Fifty. The latter is but little known, and at into abuse by excess of repetition, even though characters allotted to Mrs. Glover and Mr. Far

are somewhat surprised, since the their introduction produce a striking and agreeable effect. The finale of the second act is a

ren suit them admirably, and the piece is full of solo for the prima donna ; and here, with the brilliant dialogue, and the situations are often means just noticed, the composer has produced highly dramatic. Mr. Peter Piper; or Found passion and brilliancy, but they are faint in their Out at Home, a new comedy in three acts, has colouring ; in short, they are semblances only. been produced, but not with the success usually Pacini and Ricci have had recourse to the same attending the productions at this theatre, and method, but with greater success. The duet has most deservedly been censured, for it is between Giselda and Oronte, in the third act, is coarse and vulgar, and in many instances grossly very poor; and Grisi's Cabaletta, in the fourth, is so; scarcely falling short of Congreve in this garnished, and thickly, with syncopated notes, particular, and immeasurably inferior to him in the pet resource of a passionless production: the pungency of wit. To say that Mr. Peter The concertino for the violino primo, as an intro- Piper contains wit-real, genuine wit—were very duction to the sixth scene, is a combination of far from the truth, for a light, flippant, and imflourishes of a date long gone by. The terzetto moral dialogue seems to have been deemed its which closes the act, however, is the morceau of equivalent. The stage should elevate, not seek the production; this is truly beautiful, and

worthy but while such productions

as this are sanctioned


to depress morality and a high-toned feeling; of any master, and of any date. .For Madame and at such a theatre, the stage degenerates to a Grisi' the music is very ill suited, though evidently in many parts transposed : she is, for something beneath the age. Talent embodied in tunately, not of the modern Italian school, such a form, becomes at best a contagious where screaming is countenanced and called spot-is a power debased, degraded from a declamation, so she fell short of her full effect— sphere which it should never quit, not seeking the result, not of a deficiency, but of a truth

to depress, but to raise; not to contaminate, but and superiority in her vocal education. In the to improve: these are the legitimate aims of executive of the production, the palm is due to talent, and with talent so exercised, the stage Signor Mario, the tenor of the Italian school; may become powerful for good, and may resume his powers and their beauties grow with each the high-toned purity that was the charm, the new part he studies. Signors Fornasari and boast, the honour of the Greek stage. GrandCorelli acquitted themselves with precision and father Whitehead-of its kind the most beautiful taste; yet, powerful as the talent is accumulated production, so full of simplicity and pathos, in the production of this opera, we do not think has, during the last month, been welcomed with it will drive either Otello or I Babiere from its usual meed of enraptured applause; and the the boards, which have, with I Puritani and embodiment of the old, kind-hearted, half childselect portions of other operas, engaged the ish grandfather, by Mr. Farren, is the most attention of the musical world during the past truthful, painful, yet withal exquisite performmonth. Catarina and Ondine have been the

ance perhaps that this celebrated actor has given

to the world. favourite ballets ; they have, in previous num

The Irish Post still, occasionally, bers, come under especial notice. Many be- has formed one amongst the many attractive nefits have taken place during the last month, after-pieces of this theatre; as has also the farce and the Thursday nights have been more than of Lend me Five Shillings. A new farce, called usually attractive.

The Irish Tiger, has also been produced; it is

constructed by “line and rule,” in a method, DRURY-LANE.

time out of mind pursued by the technical playMadame Anna Thillon has, in the Enchantress wright. The piece is cut to fit Mr. Hudson, and The Crown Diamonds, delighted her admirers which it does entirely. The Birds of Aristowith the vivacity and beauty so peculiarly her phanes have flown, 'following the example of own. Miss Rainforth and Mr. Harrison have most of the burlesque novelties of Easter,

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widow, the audience are let into the secret of the

usurer's intrigues, at the conclusion of which The drama of Ernestine has, we have no | Laird Small, of Moss Holme (Mr. Compton), doubt, become an acquaintance of our readers, enters; when the usurer proposes to the silly old and so our promise of a notice must be forgiven, man that his son Mungo shall marry his daughter, since want of space forbids our fully entering by which means he purposes the aggrandizement into its merits, or the construction of its plot; of his wealth, as their estates are contiguous, and suffice it, that it still continues on the “off-nights" may thus be united. In these plans they are to attract a crowded house. We will now turn disturbed by the entrance of Mudeline, who our attention to the performances of our most informs them a stranger is near, suffering from celebrated tragedian, Mr. Macready, and—not wounds gathered in a fray. Sir Adam orders pausing to notice his well-known representations the tapestry chamber to be prepared for him, of King Lear, Macbeth, Othello, and Virginius- and thus concludes the first act. The opening we will proceed at once to the new historical scene of the second is the tapestry chamber, play produced on Wednesday, the 20th ultimo, where we find the disguised monarch reclining under the title of King of the Commons. The at his ease in the very nest of the conspiracy. scene is laid in Scotland, chiefly at Holyrood, Madeline enters to wait upon him, when a Mr. Macready performing the character of James pretty scene follows, in which the King obtains the Fifth. In the first scene we are introduced possession of her scarf (by which she recognises to the interior of an ante-chamber at Holyrood, him in the last act), and which he binds round with Mungo Small (Mr. Oxberry), a gentleman- his wounded head. Sir Adam and Laird Small usher at court, refusing admittance to the king's then enter, and, on the latter retiring with Madepresence to one Buckie of Drumshorlau (Mr. line, Sir Adam determines that his peasant Cooper), a noted robber, who, however, persists friend shall be the bearer of a packet, containin waiting till such time as his Majesty shall ing letters to the Scottish nobles, in which are appear. At length King James enters, preceded contained the whole workings of the plot. The by a bevy of noblemen, with whom he is enraged, King then feigns surprise that all the nobles since they refuse him the assistance he requires should be so ill-affected to the king, and deagainst the English army. By dint of persuasions mands, particularly, if Lord Seyton (Mr. C. and taunts, James succeeds in gaining from them Fisher) be among them; to which he receives a doubtful promise of their allegiance to his an answer in the affirmative. Matters arranged banners. They retire, when Buckie of Drum- to the satisfaction of both parties to the shorlau throws himself at the king's feet, and peasant, as he will be advanced in the world, divulges the secret of a treasonable plot then and to the usurer, as he deems his packet will being carried on by the entire body of nobles afrive in safety to the lords-Sir Adam ofters surrounding his person, who, for a monthly the stranger (who gives the name of James stipend, received from a certain usurer, Sir Adam Alwin) the conduct of his relative, Malcolm Weir, of Laichmont (Mr. Ryder)—who is in Young, which is accepted. In scene the second, league with the English force, to join which these the wood at Laichmont, Malcolm enters, deep nobles—are to forsake their king on the battle in study, and is stolen upon unawares by the field. James, unwilling to believe his nobles monarch and the merry Madeline, who hides guilty, doubts the truth of the story, and fears behind a tree, while the King is to endeavour to treachery from the hand of the conveyer of the draw him from his gloom. He proceeds, and news; yet the man's having saved him from the wondering fair one is surprised to hear from drowning, determines him on visiting, in propria Malcolm's lips the confession that he had been persona, the house of the usurer. In the next forced to enter the pale of the church, and that, scene, which is a wood in Laichmont, we are too late, he had discovered how fondly he was introduced to Madeline Weir (Mrs. Stirling), attached to her. At this she faints ; Malcolm daughter to Sir Adam, who appears “bantering” runs for assistance; before he can return she her companion and cousin Malcolm Young (Mr. recovers, and the King leaves her alone, expectLeigh Murray), a distant relative of Sir Adam ing the return of Malcolm : however, in his Weir, for the change in his manner, he having stead appears her father, who informs her that been once sportive and merry, but now studious, she is to be married to Mungo Small, and will hear quiet, and reserved. This téte-a-tete is dis- nothing against his choice. So closes the second turbed by a loud shout and scuffle, when Mal- act. In the first scene of the third act the King colm Young rushes to the rescue with a staff meets with Buckie of Drumshorlan, to whom which he carries in his hand, presently return- he entrusts the packet, desiring him at a certain ing with the king, who has received some rather hour to appear at Holyrood and present it. clumsy knocks about the head, when he is in- This the wary robber, however, will not do till vited to the very house it is his wish to enter such time as, by promise of a full pardon, he can that he may have his wounds attended to. Thus put his foot in the hornet's nest with safety. In closes the second scene. The third represents scene the second, Sir Adam endeavours to wring the interior of a room at Laichmont, where Sir from his daughter her consent to the proposed Adam Il’eir is seated at his accounts, Widow marriage. Failing in this, he threatens to make Barton (Mrs. Fosbrooke) occupying a seat near her a beggar and an outcast; and exits, declaring him, and industriously stirring a compound that if Malcolm Young, whom he will send to whose nature is doubtful. On the exit of the her, fails in his persuasions, he will, like herself, beggar him. Laird Small, his son, and Widow | are sent for; they enter, and after them Buckie, Barton, then enter, for the purpose that the the robber, who gives the packet to the King, young man shall address Madeline on the sub- and accuses Sir Adam of ruining his nephew, ject of their marriage; but he is so taken up who was entrusted to his care with a large forwith his court learning and valorous exploits, tune. This the usurer denies, but Buckie proves that he forgets the “disconsolate fair one." himself to be the nephew in question. The On their departure Malcolm enters, but, of King then gives the packet containing the fatal course, no persuasions on his part are used ; letter to one of his nobles that he may open it, and bidding each other an eternal farewell, they but observing his hand to tremble he himself part, and the act closes. The opening of act the breaks the seal; and after some very strong fourth is a scene in the king's closet at Holy- hints, that can leave no doubt on their minds rood, when the archbishop accuses Lord Seyton that he has been previously made acquainted of treason to James, who instantly sends for with the entire contents of the packet, gives it him; and on the bishop's accusing him, he them, unopened, saying, that for their sakes he confesses to each particular circumstance of the will know nothing ; whereupon they immediately crime imputed to his charge; but when offer him their united force, to repel the English. upbraided by the king, demands the proofs of The play then concludes in the usual manner. his guilt. James snatches at this straw, which Buckie has a full pardon, Sir Adam is forgiven may prove his minister and old companion true. on conditions that his fortune be equally divided But the bishop had not come unprepared, and between his nephew and Malcolm Young, who, instantly brings the English messenger into the on making his appearance, is made happy with royal presence, on whose person is the letter sup- the hand of Madeline Weir, to the great annoyposed to contain proof how Lord Seyton was ance of Mungo Small. We have little space left leagued with the English army; but, when for criticism of this play, as a poetical producopened, proves to contain scorn for their offers tion. The characters were admirably adapted and refusal to their conditions. This, of course, to the various actors engaged in its representareconciles the King to Lord Seyton, who, since tion. Mr. Macready, as the noble, refined, and he was mistrusted by his king, deemed his life generous King, exceeded himself in the perof no value. The next scene is between Sir formance of the various phases his disguise Adam and Malcolm, who confesses that he used compelled him to adopt. * Mr. Compton, as no persuasions to Madeline, and upbraids the Laird Small, was the most perfect representation usurer for having ruined him, and forced him of a garrulous old man that has of late years into the church, and in an angry mood rushes appeared on the stage. Mr. Leigh Murray, as from the apartment. Laird Small, his son, Malcolm Young, was energetic, and had eviWidow Barton, and Madeline, then enter, when dently deeply studied his part ; Mr. Cooper, as shortly, to the surprise of all, the house is dis- Buckie of Drumshorlan, was clever, as was Mr. covered to be surrounded by the royal guards. Oxberry, who Small in name, small in stature, Sir Adam “shakes in his shoes," Madeline is small in voice, and small in understanding, gloomy and sad, the Laird delighted at the kept the house in continued amusement. The King's kindness in so publicly patronizing his dresses, that of Mr. Macready especially, and son's marriage, by an invitation to the court; of Mrs. Stirling (who performed the part of Mungo looks disconcerted and foolish, and Madeline with great vivacity, sweetness, and Widow Barton is lost in exciteinent, and pro- truth), were well studied, and had an excellent voked beyond measure, that on such an aus- effect, as had also the scenery, which was, most picious occasion her best silk should, at that of it, painted for the occasion. The play was very moment, be at the dyer's! Their exit, perfectly successful, and after the re-appearance closely secured by the guards, finishes the fourth of Mr. Macready before the curtain, the author, act. Act the fifth is the audience chamber at the Rev. Mr. White, was thrice called to the Holyrood, and James V. is discovered in the front of his box, to receive the congratulations midst of his nobles, whom he dismisses, and of his friends, and a house crowded to the roof. orders the attendance of the Cardinal, who pre- Mr. Maddox, amid thunders of applause, ansents the King with a parchment. James then nounced the play for repetition every night orders the attendance of Malcolm Young, who during Mr. Macready's engagement. appears and throws himself at the feet of the Colonel's Belle; or, the Non-Warriables, with King. James then informs him, that wishing to other stock pieces, has concluded the entertainreward him for his heroic conduct, in flying to ments at this delightful theatre. his rescue at Laichmont, he had determined on

SADLER'S WELLS advancing him in the church, desiring him to kneel, that he may receive promotion from the Has closed for the season, and Mrs. Warner Cardinal. Malcolm importunes the King, but to has left the management. There was a report, no effect; the parchment is filled by the insertion which has proved to be entirely untrue, that a of his name, when the King himself forces him theatre was about to be erected for her at on his knees before the Cardinal

, holding the Islington-a speculation, we think, that would parchment before his eyes; it frees him from pay well if put in practice. It is indeed greatly the church's bonds, he is no longer a priest. to be lamented, that in so short a time, the last On his being desired to withdraw, the nobles struggle of the legitimate drama should be orer, again enter, when Sir Adam Weir and his family i destroyed at the very moment of its regaining

* The

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