are compelled to retrace our steps to Mr. Barnet, whose adaptation of the same words we noticed last month. There were originality and nervous decision in that gentleman's composition which we in vain seek in the subsequent productions. Braham is indeed sober, solemn, dignified and dull; Emden philosophically serious and steady -Garnett regular and respectable-while Williams hurries into all the delicate sublimities of a jig. We can promise to none of these a higher degree of popularity than their publisher's advertisements may create. Adelgitha, by Blewit.-Clementi and Co. A real taste for the sublime in poetry is a qualification not too frequently met with in musical composers; and if the author of this work have not evinced any peculiar talent in assimilating his melody with the ideas of the poetry, he has at least the consolation of knowing that he is associated with many contemporaries who have nevertheless gained great fame and profit. Whatever degree of credit (and much is really due) we may assign him for the science, and even taste he has displayed in the composition of the melody and its concomitant arrangement, we must confess that some passages, intended no doubt to convey sublime ideas, are by the music so effectually opposed to every feeling of seriousness, that we may safely declare Mr. Blewit has "from the sublime to the ridiculous taken the fatal, though short step. "She ne'er was heard of more," by W. Fitzpatrick.-Eavestaff. It is ever a pleasing part of our duty to point out those beauties which are likely to escape the notice of the cursory observer, and we have seldom, perhaps, had an opportunity of speaking favourably of a trifling composition with more justice than in the present instance. There is a delicacy of expression, an appropriate relevancy of the music to the poetry, in this song, that must, to the scientific vocalist, be a source of much delight; it is indeed an elegant trifle, and its only fault is that of being too short. which generally characterizes the inventions of this composer; it seems to have been left unstudied and unadorned for the exquisite creation of Miss Stephens. It is capable, nevertheless, of being rendered highly pleasing by the taste of the performer; and the limited extent of voice requisite for its execution, with the very easy style in which the accompaniment is arranged, may constitute a recommendation. "The Rose of the Desert," ""The Sentinel," "“Scenes of Home," by C. Greene. -Mayhew and Co. Although we do not recognize any very original points in these compositions, we cannot withhold our approbation of the tasteful arrangement of melody, in which we conceive Mr. Greene has been singu larly happy. "The Sentinel," though highly pleasing from its delicacy and plaintive expression, does indeed remind us somewhat too immediately of the French romance, Le Troubadour. The Rose of the Desert, however, cannot fail of giving pleasure, from the unobtrusive simplicity of its style, and the real beauty of the air. 66 Who'll buy a Heart," by Blewit.—Clementi and Co. The Light Guitar," by Barnet.-Mayhew and Co. "Who'll buy a Heart," is not entirely indebted to the archness and histrionic effect which Madame Vestris throws over it, for the popularity it appears to be acquiring. Its composition, though simple, is appropriate, and the repetitions of who'll buy are capable of much pleasing variety. Mr. Barnet's "Light Guitar" is prettily arranged in the ballad style, and well expresses the subject. "Collection of the Songs of Burns, Sir Walter Scott, &c., Symphonies and Accompaniments by Pleyel, Peethoven, and Haydn," Vol. 6.-Preston, and Hurst and Robinson. This is a valuable addition to the vocalist's library. It has long been desirable that this publication should be offered in Come, Love, to me," from the Opera of a tangible shape, an advantage that Mr. Faustus.-Goulding and Co. This composition is remarkable for nothing but an elegant simplicity. The melody is by no means of an original cast, nor does it bear traces of that decisive band Thompson in this reprint has effected, by fixing the price at 10s. 6d. Of the music it will not be necessary to say more than that it is a selection from the celebrated names already quoted. The publication is now brought forward in an elegant edition, and the embellishments are of the first order of beauty. "Let each one toast his favourite Lass," by Le Jeune.-Chappell and Co. There is much of spirit and hilarity in this composition. Mr. Le Jeune has quite entered into the joyousness of the Bacchanalian, and has indeed given the words, which are in themselves well adapted for an effective table-song, a double force. The transitions are various and rapid, and|| the whole presents a very agreeable and jocund strain of Bacchanalian hilarity. ENGLISH THEATRICALS. KING'S THEATRE. The losses which this theatre has experienced in the last month have been heavy and numerous. Madame Pasta's departure has been followed by the resignation of Madame Vestris; and a severe indisposition has deprived the public of the talents of Signora de Begnis. One female singer only remained, Madame Caradori Allen; and the manager would have been unable to fulfil his engagements with the subscribers, if a lucky chance had not offered him the means of supplying this ruinous deficiency by new acquisitions. He has engaged, for the remainder of the season, we believe, Mademoiselle Garcia, the daughter of the celebrated performer who is a great favourite on this stage. She is only seventeen years old, and, as an actress, had never performed any where; but she had sung at the Philharmonic and some other concerts, where she had been greatly admired. She made her first appearance in the character of Rosina, in Rossini's Barbiere di Seviglia. Considering all the circumstances which we have just alluded to, her success has been all that could possibly be expected. Her figure is good; her countenance highly animated and expressive; and although there is nothing very handsome or commanding in her person, it is altogether agreeable and interesting. Her voice is a kind of contr'alto, less powerful and extensive than soft and flexible. Her method of singing leaves nothing to wish for, and in her execution and taste we recognize the teaching of her able father. As to her acting, she has not yet acquired, of course, what experience alone can give; but she evinces that, from which every thing in her line may be expected. Mr. Ebers has made another acquisition, the success of which, when the first effects of novelty are over, may be yet considered as uncertain: he has engaged Signor Veluti, whose voice is a soprano, and who is said to be the very best singer in Italy. In England, however, we are not yet free from strong prejudices against performers of this class. Mar chesi was, if we are not mistaken, the last soprano who sang at the King's Theatre, many years ago. We were, indeed, little prepared to welcome any soprano, be his talents what they might. We understand that it is one of our countrymen, who is well known both from his musical taste and the eminent situation he fills in Italy, who has recommended Signor Veluti to the manager. He is to appear in a new opera, composed by Mayerberr, and entitled Il Crociato in Egitto (The Crusader in Egypt). Many of those who have heard him, either at private concerts or at the rehearsals of the Opera, agree in extolling his manner and taste in singing, of which, they say, we had a good sample in Madame Pasta, who has been his pupil. They do not, however, equally praise his voice; and some say that it is weak in the lower chords, and harsh in the higher ones. We must, of course, postpone our account of his début till next month, as it does not take place before the day on which this number must go to press. The The dancing department has had also a severe loss. Mademoiselle Legros has been || for some time seriously indisposed, and it is very doubtful whether she will be able to appear again this season. This is the more to be regretted, as no substitute for this favourite dancer can now be found in this country. ballet of Cleopatre, and several others, have been in consequence laid aside, and Clari is now the only one that has any attraction. Madame C. Vestris and her husband, Mademoiselle Aumer, and M. Lebland, and espe|| cially the first lady, make certainly their best exertions to do it justice; but the subject, which has been better dealt with in Paris, and even here at Covent-Garden, has lost much of its interest for the frequenters of the Opera. It is too deep and sentimental for the place, and even for this present time; and besides, there are many amongst the most ardent admirers of the charms and talents of Madame Vestris, who would rather see her display them in her proper line, and perform the lively characters, in which she has acquired on these boards her well deserved popularity. DRURY-LANE. A PIECE, entitled Grandpapa, for two or three evenings wearied the visitors of this theatre, and was then withdrawn. When our readers learn that the chief incident of this production, was a grandfather at fourscore making love to a young damsel, in order to pass her over to his grandchild, the judgment which was exercised upon the attempt will appear most deserved. It is but justice to add, that Mr. Terry, and indeed every one employed in the piece, exerted themselves to the utmost to make nonsense palatable. and musical excellence, with the general intelA melo-drama which had been previously ex-||ligence which pervades her acting, render her hibited at some of the minor theatres, under the name of Le Solitaire, has appeared, newly christened The Recluse, at this house. The incidents of the piece were ineffective; the dialogue, if possible, worse than the plot, and the music was also consistently unmeaning. || The production lingered two or three nights, and then expired. Messrs. Harley and Horn most humanely strove to keep it in being, as did also Miss Graddon, but their attempts were unavailing. Mr. Kean has re-appeared in several of his characters, commencing with the Duke of Gloster, which he pourtrayed with all that marked irony and passion, so fearfully developed on every former occasion. He has also acted Sir Giles Overreach, in A New Way to Pay Old Debts, which may probably be rated his most triumphant effort; so replete is it with those terrible dispositions of human nature, and at the inimitable display of which the heart of the auditor quails with incomprehensible emotions, in which horror of the feelings delineated, and admiration of the artist, are equally experienced. Nothing more worthy of notice has been produced here since our last; but at this house, and also at Covent Garden, the Coronation of Charles the Tenth is understood to be getting up with great splendour. COVENT GARDEN. peculiarly fitted for the representative of the airy spirit. The song, "Where the bee sucks," met a general encore; and the effort altogether confirms us in the opinion expressed some time since, of the ultimate popularity of this young lady. Miss Paton and Miss Hammersley exécuted the music with good effect: we could wish that the latter lady were less ambitious of sacrificing sweetness to ornament. Mr. Rayner played Caliban respectably: it was not assuredly a most rare monster," but if it do not greatly advance the fame of the actor, it will be no detraction. It would be trite to venture any remark on the Prospero of Mr. Young, the greatness of the actor accords so well with the sublimity of the poet. 66 HAYMARKET. The Castle of Andalusia, as it is played at this theatre, must ever remain a favourite. Wilkinson's Spado is admirably quaint and amusing, yet quiet withal: with this gentleman comedy is looked rather than uttered; the grotesque gravity of his Spanish knave reminds us of the creations of Le Sage; perhaps we cannot give a higher praise. J. Russell's Pedrillo is vivacious and bustling; we could wish his characters were somewhat more versatile in disposition, notwithstanding they always discover the actor. Mr. Melrose (Don Alphonso) presents an unfortunate instance of ability sacrificed on the vain altar of unmeaning ornament: besides, he has not sufficient science to give effeet to the many flourishes he attempts: it is true his notes are in "linked sweetness," but then they are never “drawn out," remaining in a confused and entangled state, and strangling melody in their intricacies. Mr. Huckel (Don Cæsar) wants almost every requisite for the character, Williams plays Don Cæsar with his usual talent. The Victoria of Madame Vestris is a spirited and fascinating performance, and Miss George (Lorenza) in this, as in her every other effort, shews her great claim on public admiration. BUT little novelty has appeared at this theatre since our last. We have to record the retirement of one of its principal ornamentsof a lady who has imparted to some of the most bewitching characters of Shakspeare and of modern times, a feeling and an interest which have associated her in the public mind with all that is fascinating and intellectual. It need scarcely be added, that we advert to the late Miss Tree. With her are the Julias, Imogens, Ophelias, and Claris magically united in the recollection of the present age; and, it would be almost the "sin of ingratitude" in || us, did we not record our wishes for her hap- Although we are not among the most sanpiness in private life, who, during a compara-guine in expecting the realization of splendid tively short but brilliant public life, has main- || promises which are frequently made on the part tained a character the most amiable and irre- of "infant prodigies," we must give all due proachable. The lady bade farewell to the praise to a Master Burke, who has exhibited his stage in the characters of Clari and Mary Copp, || musical and histrionic talents at this theatre since our last. first weeks which followed the coronation of the King; but as they were all, by command, founded on that event, an analysis of them would only be a recapitulation of the various vised to adulate the monarch, and to interpret the feelings of his people. We shall, therefore, give only a short account of one novelty, unconnected with that exhausted subject. THEATRE DE L'ODEON.-Reprise de Brunehaut et Fredegonde, tragédie en cinq actes, par M. Le Mercier. Our readers must imagine a most intelligent-looking child of six years old, executing on the violin the difficult music of Rossini, with the enthusiasm and precision of a master. He leads the orchestra in the over-modes which the ingenuity of the authors detures of Tancredi and Lodoiska with the most delightful effect, kindling into all the fervour of the musician as the strain exceeds in energy and animation. He afterwards appears as Teddy O'Rourke, the soi-disant pedagogue, in the The Irish Tutor, and acquits himself with as little shew of obligation to tutorage, as can well be imagined. The child appears to enter into the delineation of character with an aptitude really astonishing. His Lingo in The Agreeable Surprise, and Looney Mactwolter in The Review, are equally clever. We must add, that the exhibition of children as the representatives of men and women, however it may shew forth the talents of the juvenile pretenders, should but seldom be resorted to it is a distortion of nature for which, we must own, we lack any lasting relish. : Liston, who is in himself half the comic support of this house, has appeared, and is now playing his usual round of characters. His Billy Lackaday, outrageous as it is, and bearing no similitude to aught on the earth or in the waters beneath, is a most amusing lusus nature; and indeed, owes the greater part of its whim to its extravagance. In speaking of Sweethearts and Wives, we must not fail to notice the Admiral of Mr. Williams, which presents an excellent delineation of the irascible, yet kind-hearted old man. THIS tragedy, which had a great run when it was performed some years ago, has been lately revived. As it abounds in allusions to the real or supposed encroachments of the clergy on the power of the constitutional authorities, the government appears to have shewn some liberality in permitting its performance. The characters of the two ferocious queens are depicted in their true and odious colours. M. Le Mercier has given to Fredegonde "the will of a tyrant and the courage of a man," agreeing in that respect with an old historian, who said, also, that she was the prime minister" of her cruel husband. FINE ARTS' EXHIBITIONS, &c. THE Royal Academy is not yet closed. This, we apprehend, has been the most productive season ever known. The crowds of rank, fashion, and beauty, daily attendant at Somerset House, are truly astonishing. The Water Colour Exhibition has also this season been crowned with unprecedented success, as to the number of visitants, and the number of pictures sold. The Young Quaker.-We admire the Araminta of Mrs. Waylett; although we imagine that Pink would be in greater accordance with her abilities; however, that pert chambermaid Next to the Somerset House Exhibition, is tolerably well sustained by Mrs. Humby, that of the British Institution continues to who, notwithstanding, discovers a want of flip-prove the most attractive. The Suffolk Street pancy and smartness, the general requisites for all stage Abigails. Williams plays Chronicle in his usual chaste style; there is a sharpness about the character which greatly recommends it to our taste. Mr. Liston's Clod exacts even more than his due of laughter and good-polis at this time abounds. humour. The Lord of the Manor is a pleasant little opera, and as at present represented must continue to amuse, for it introduces all the archness and melody of Madame Vestris, the spirited acting of Mrs. C. Jones, and the rich humour of Mr. Liston. The theatre has been well attended. FRENCH THEATRICALS. A GREAT number of new pieces have been produced on the Parisian stage in the three Rooms still continue open; and, if we have been correctly informed, all the principal pictures have been sold. We proceed briefly to notice some of the other exhibitions of art with which the metro BONE'S ENAMELS. MR. BONE'S gallery of enamels, in Berners Street, has been some time open to visitants by card. Independently of what is termed the Elizabeth Gallery of Portraits, of itself a finely intellectual treat, this delightful collection contains a copy of Titian's celebrated Diana and Acteon, in the possession of the Marquis of Stafford, and many other chef-d'œuvres of art. * Vide LA BELLE ASSEMBLEE, vol. i. p. 255. Altogether, the assemblage reflects honour, not only upon Mr. Bone but upon the country. LEICESTER SQUARE COLLECTION. SOMEWHAT late in the month, an exhibition of portraits, by the most celebrated artists of the sixteenth, seventeenth, and eighteenth centuries, was opened at the house formerly occupied by Sir Joshua Reynolds, in Leicester Square. We shall take an early opportunity of examining this collection. THE COSMORAMA. tionably one of the best painted and most pleasing in the collection. The Pyramids of Egypt, the Sphinx of Egypt, the Great Temple of Edfou in Egypt, and the Monuments in the Island of Phyloe, are all admirable illustrations of history. They should be seen, and studied, and compared with Belzoni's invaluable models now exhibiting with the Egyptian Tomb. The two Views of the Kailaça, or Great Hindoo Temple, at Elora, in India, impress the beholder with wonder, astonishment, and admiration at the power of human art, in excavating and producing such stupendous struc tures, the work apparently of ages. IN our preceding volume (vide page 227) we announced the entire change of views, and enumerated the pictures in the two galleries of the Cosmorama. We have since repeated our visit more at leisure; and, certainly, though the subjects vary in interest, and in merit of execution, these are more attractive and instructive than any by which they have been preceded. Athens, which we before mention-studies, as the Cosmorama. ed in terms of praise, is particularly good. The sky and the water-the brilliancy of the atmosphere-the distinctness of outline, and bold relief of the buildings, are all very effective, and highly creditable to the artist. Our limits permit us not to enter further into the detail of these galleries; but we cannot close without the remark, that we are not aware of any exhibition which may be seen and examined with so much advantage, by youth of both sexes, in aid of their historical There is much boldness in the architectural Ruins of Pæstum, the view of which conveys a clear and impressive idea of that once celebrated Greek town. With the Interior of the Cloister of the Monastery of Montserrat, in Spain, we were particularly pleased: the illusion is scarcely inferior to that of the pictures at the Diorama, of which it very forcibly reminded us. THE PERISTREPHIC PANORAMA. COMPRIZED in a single exhibition at the Great Room, Spring Gardens, are two series of views, illustrating, respectively, the Battle of Trafalgar, and the latter portion of Buonaparte's life, from the period of his defeat at the battle of Waterloo, until the final termination of his career at St. Helena. The first series consists of four views, the second of eight; and, from the illustrations which they offer of great his|| torical events, they deserve to be generally seen. The second series, in particular, we regard as by far the finest of this description that has ever been exhibited. Presuming on the fidelity of the artist, which we have no reason to doubt, it is impossible to conceive or be impressed with a clearer idea of the general aspect of the island of St. Helena, its beautiful and imposing scenery, and the respective mansions by which it is adorned, than these views convey. Plantation House and Grounds, the residence of Sir Hudson Lowe-Fairy Land, the resi dence of Sir W. Doveton-and Longwood House and grounds, the residence of Buonaparte, all seem to render us intimately ac quainted with the originals from which they have been taken. The interior of the island, with the procession at the funeral of Buonaparte, will, in the breasts of many, excite a deep interest. Considered either as a work of art, or with reference to the subject, the view of New York is to us one of the least attractive in the exhibition. The air-tints, however, are judiciously || managed, and a distinct impression of locality is produced. On the latter principle, and also for general beauty of effect, the Summer Palace of the Grand Seignior, on the Bosphorus, possesses considerable interest. Of the Exterior of the New Exchange at Paris, we shall only remark, that it is quite in keeping with French taste to consider this building as equal to any thing which antiquity has left us any trace of." 66 THE INFANT LYRA. The moonlight and firelight view of the Remains of the Bridge of Alconeta, which crossed the Tagus, is by no means to our taste; yet, for the sake of locality, it is worth looking at. Grand Cairo, in the opposite gallery, is a If only half that is related of this interesting picture which gains astonishingly upon the child, apparently about five years of age, be spectator, as he continues to gaze upon the true, she is indeed a prodigy. We are told ruined splendour of the past. It is unques-that, when in her nurse's arms, at nine months |