certainly requires (laying our feelings out of the question, for we consider it as sacrilege to set Burns to any but Scotch music), || at least an air in the Scotch style. The composer does not seem to have been of the same opinion, which we are sorry for; for though the melodies are really pretty,|| and the accompaniments brilliant, we cannot tolerate them without the sine qua non before-mentioned.

"Overture to Aladdin," composed by H. R.

in effect. We are aware that arrangements of this sort are beneficial to the composer in a pecuniary point of view, and are quickly thrown off-but, as a young composer of great talent, we should recommend Mr. C. to attack a Concerto, a set of Sonatas, or some serious work, which may exhibit the originality as well as the elegance of his mind.

ENGLISH THEATRICALS.

Bishop.-Goulding, D'Almaine, and Co. THE national establishments have terminated The whole of this overture, and particu- their season; and, as during the last month larly the adagio, is modelled on the Freis- they have afforded us no matter of novelty chutz. It opens with a few bars in unison, either in the way of play or performer, the followed by a soft passage for horns and || hazarding a few observations on the present wind instruments, and terminates with a state of the drama of the most intellectual tremolo movement of the violin exactly and enlightened country in the world will not as its prototype. The allegro con fuoco cause us to intrude beyond the space which we in D, which follows, not only imitates the usually prescribe to ourselves for the discussing style, but in some instances has the iden- of dramatic affairs. tical passages. The composition of the whole is superior to the generality of Mr. B.'s overtures, but still, excepting some few passages, it is ineffective. The composer does not exhibit any tact in this species of writing, which is the more strange, as his orchestral effects, as far as regards accompaniment, are excellent.

Come, Love, to me," the Romance in||
Faustus, arranged with Variations for the
Piano-forte, by G. Kialmark.-Goulding
and D'Almaine.

"Oh Merry Row," with Introduction and
Variations, by Do.-Goulding and Co.
These compositions are not of a class to
do very great credit to their author. They
are of that common-place mechanical spe-
cies which require little intellect to com-
pose and no taste to execute. The market,
however, requires a supply of such pieces,
and we cannot blame Mr. K. for complying
with the demand, though derogatory to his
abilities. They each commence with an
Introduction in time, and each contain
the customary allotment of semi and demi-
semiquavers. The latter is the more bril-
liant of the two.

Divertimento for the Piano-forte, introducing the Air "Cara Mano," from Il Crociato, by Pio Cianchettini.-Willis and

Co.

This is a very sweet arrangement of an elegant air, and forms a delightful lesson; the additional inatter is brilliant and novel

We may be allowed to ask of the managers of the national establishments, what, during their last protracted seasons, they have produced consistent with the dignity of the audiences they profess to amuse, and whilst amusing to blend with gratification that moral instruction which, when the tendencies of the stage are ever attacked by illiberality or sectarianism, is made the principal defence of the assailed comedian? It is a lamentable truth, that at a period when establishments are daily thronged with the humbler classes of society, when the artisan employs the hours allotted him free from labour in the improvement of his better faculties when he quits his daily application only for some school of philosophy—that at such giving life and energy throughout all classes of a period, when the spirit of education is abroad the world-when feelings and capabilities, that a few years back were distant and fitful in their operation, are becoming as general as the light of heaven-that at such a period, when the English theatre should be one of the prime glories and aids to the gratifying change, it is the only speck within the sun of modern improvement-that in proportion to the advancement of every other part of society in all that is calculated to comfort and dignify human nature, the theatre has retrograded to absolute nonsense and puerility. If the managers would rebut their efforts during the past season; each of the charge, let them not, we pray, enumerate which has been an insult to the judgment of their audiences, and a mockery of the progress of improvement in every other sphere save that of the drama. As the world adds to its refinements, the theatre, if possible, becomes

more foolish and despicable; and however majestically the form of reason may stalk abroad in the real world, its bearing has no influence on the puppets and monsters of the stage; they remain privileged follies, shaking their rattles, and jingling their bells in defiance of reason, feeling, and philosophy.

then a frost, "a killing frost," issuing from public unconcern, stiffens the gaudy wings of the fragile drama; it beats for a term upon the ground, is crushed beneath the foot of oblivion, and returns, perhaps, under some new form, alike to revel an hour, to struggle, and to die. The indifference with which these spectacles are received proclaims the satiety of the public.

Our readers will not, of course, imagine we are for converting the theatre into a mere lec- A want of dramatic talent is also a favourite ture academy; that we would have (if it were argument with the upholders of tinsel and gold possible, although much is daily done by the leaf. They gravely excuse the managers in potent effects of steel and wafers) Newton's their unrelenting attacks on the public reason by Principia melo-dramatized; that we would have asserting that nothing better is to be obtained nothing but scholastic gravity stalk upon the in the market. Let us ask of these gentlemen boards-returning to the source from whence the inducements they hold out for men of talent sprang the drama in its most pure and brilliant || to labour for the stage; what wreaths have they flowings-that we would introduce verbose in store for the aspiring dramatist; what worldly pedantry in the place of flippant nonsense. We and convertible advantages for those who would are not so saturnine. We have human lungs, once more replace the drama's statue on the and would "crow like chanticleer;" we would pedestal of common sense? It is a fact, as have the fancy-taking emanations of humour; notorious as the present contemptible situation we would enjoy laughter even to the very of the stage, that no man, unless recommended borders of incivility; we would licence that by personal interest, can ever get his manuwhimsical extravagance which creates a pass- script perused; and, allowing it to be read, ing mirth, and throws off to the winds the heavy duly accepted, produced, and to have "bought thoughts which compose life's fardel, as we golden opinions" of the world-what reverts would patronize the keenness and elegance of to the author? A pitiful remuneration insultwit, whose power it is to titillate the minding to his feelings as a gentleman, and to gain within, and that so delicately, as scarcely to admit of an external indication. We would have tragedy in "her sweeping robe," with her face pallid, yet beautiful with majestic sorrow; we would have her bowl and dagger, the last resource of passions superhumanized by magnanimity or guilt: but we would not have Melpomene as if she had just escaped from a lunatic asylum; a compound of madness, fury, and common-place. These are what we would have. It would be well if we could forget what we really possess-that we could reflect on the condition of our leviathan theatres, and not feel a mingled shame and indignation at those storehouses of mummery, and thunder and lightning. We defy the managers to state a single effcrt made by them during the last season, consonant with the feeling and the position of the times.

It has been asserted, in excuse of the conduct of the directors of our theatres, that the public taste demands the vitiating fare of late so plentifully helped to it. This assertion might once have been admitted; but at the present time, it surely lacks plausibility to be received in aid of argument for the managers: the comparative listlessness with which every dramatic insect is heard and beheld tells in favour of the public. The vitality of a modern dramatic show and a butterfly is of about equal duration, and it may be added, equally a matter of curiosity: they flutter for a moment, and

even which, he has probably been compelled by the treatment of the managers to put aside an unprofitable delicacy, and act the dunning creditor. Are these auspices under which the dramatic energies of the country can ever unfold themselves? Instead of calling forth the principle of life to expand and beautify, they are calculated to close the little already mature-to make the

66

-rose to shut and be a bud again!" Such, indeed, are their character, which has brought the stage to its present condition, and

involved it in worse than Gothic darkness.

All parts are complete in the structure of the modern drama; there is an ingenious uniformity in its literature and actors. One performer engrosses an exorbitant salary to the spoliation of his humbler brethren; another visits the metropolis for a few nights in a season; one vocalist engages at so much per song, a dancer at per pas seul. On the whole, the English theatre is in a truly melancholy condition,

HAYMARKET.

'Twixt the Cup and the Lip, a pleasing bagatelle, by the author of Paul Pry, has been produced with very tolerable success. Mr. Liston is, of course, the prime feature in the entertainment. Although we have laughed as boisterously (aye, even we, albeit a critic is believed

wich, with Portraits of Charles I, Queen Hen-exceedingly that the ceremonies at the Coronarietta Maria, Lord Arundel, &c.; Marriage of St. Catherine; Portrait of Gaston de France; Study of Horses and Figures; and Charles I. in three Positions-the picture which was sent by Queen Henrietta Maria to Bernini, and from which he made his celebrated bust.

THIS exhibition, which we have repeatedly had the pleasure of visiting with increased satisAn unusual number of pictures having been faction, has, to its original six subjects-Turin ; sold, this Institution closed a very successful season on the 24th of June.

fourteen in number:-Breghenz and the Lake of Constance; Mount St. Bernard; interior of St. Peter's at Rome; the Piazza Navona; City of Bern, in Switzerland; the London Docks; A moonlight view of the Arsenal of Lisbon; Mont Blanc; Trinity Chapel in Canterbury Cathedral; La Pièce d'Eau des Suisses, in the garden of Versailles; the Palace of Versailles, from Le Bosquet du Rocher; Park of Versailles; and Jerusalem.

back and on foot; in front of a wide-spreading tree is seen, with his attendants, John, King of France, on a white palfrey, and armed with a battle-axe; and, in the back-ground, is a view of the city of Poictiers, with horse and foot troops retreating towards it in every direction.

The room, too, it should be remarked, is painted in the Gothic style of architecture of the reign of Edward III, from designs by Mr. Bridgens, and round it are placed the emblazoned armorial bearings of the noblemen and gentlemen who distinguished themselves in the great battle.

The London Docks and the Arsenal of Lisbon have been introduced since our last notice. The former is a bird's-eye view, exhibiting the entire range of the Docks and their warehouses, The descriptive account of the battle, to the church of St. John's, Wapping, the church which we have alluded, is very judiciously comand houses of Rotherhithe, &c. In the Lis-piled from Froissart, with additional informabon view, various effects of light are displayed: |tion extracted from Dr. Meyrick's popular moonlight, light upon the water from the work-a Critical Inquiry into Ancient Armour. cabin of a ship at anchor, and light from a bonfire in the distance.

PANSTEREOMACHIA.

In the same building as the Cosmorama (No. 209, Regent Street), a novel and very beautiful exhibition has just been opened by Mr. Charles Bullock. The Panstereomachia is a representation of the memorable battle of Poictiers, gained by Edward the Black Prince, in which are introduced upwards of 1,500 figures, exquisitely modelled, and coloured according to life. The general effect is pleasing beyond any thing of the sort that we have seen. The model has every appearance of having been

FINE ARTS' PUBLICATIONS, &c. British School of Painting.-We have examined, with much satisfaction, the first part of a work, entitled "Specimens of the British School of Painting, dedicated by permission to Sir John Fleming Leicester, Bart.; executed in lithography, by J. D. Harding and R. J. Lane. The specimens here given-five in number, including a vignette of a sea-coast, with shipping and figures, from a picture by Mulready are amongst the finest we have seen of the lithographic art: the execution is good, and, as copies, they are faithful. Four of the five are by Mr. Harding; the fifth is by formed with the closest attention to historical Mr. Lane, whose handling in the Exile, by truth; and, from the figures being all arrayed in Jackson, is entitled to high and particular the costume and arms of the period represented,|| praise. The Boy with Grapes, from Reyit is an object of no less curiosity to the anti-nolds, possesses breadth, union, and mellowquary than to the general spectator. The time ness, with all the characteristics of the master. of action, as we learn from the printed account, The Fête-Champetre, from R. A. Bone, is a obtainable in the room, is towards the close of clever, tasteful, and spirited production. A the battle, when, as Froissart states, friends and Landscape with Cattle and Figures, from R. Reinagle, is also a pleasing performance, though somewhat feeble in effect.

foes were so intermixed that it was difficult to distinguish between. In the front ground are various groups of dismounted knights, engaged in single combat; on the right hand, under some trees, is a group of mounted knights who surround the Black Prince; behind, on a rising ground, are specimens of the artillery and battering rams then in use, and also of the pavisiers, or soldiers who held before them large shields for the cross-bow-men; in another part is seen a strong division of the English army, advancing into the plain; on the left hand are French troops in action, hand in hand with the English, cheered on by their leaders, on horse

is indebted to Captain R. Melville Grindlay, Indian Scenery, Costume, &c.—The public of a work (to be completed in two parts), M. R. A. S., for the appearance of the first part entitled " Scenery, Costumes, and Architecture, chiefly on the Western Side of India.” We hope for another opportunity of noticing this production, when we may find ourselves less pressed for room than at present.

The Extinguisher.-This print-an aquatint by William Daniell, from a drawing by the late George Dance, Esq., R. A., evinces considerable originality of idea, and it is also de* Vide LA BELLE ASSEMBLEE, vol. iii, p. serving of notice, from the happy effect with which its lights and shades are managed.

192.