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and elegant Madame Lavalette, so interesting for her devotion to her husband, and her subsequent mis fortune. We might indulge in a laugh at the egotism and vanity, which tempted M. David to introduce not merely himself, (for that would be perfectly excusable), but his wife and family, in one of the most conspicuous situations in the picture we might-but we check ourselves, having already devoted to this subject as much space as our limits will allow.

Before we conclude, however, we beg to observe, lest it should, for a moment, be supposed that we are so unjustly patriotic, as to be incapable of admiring any modern works of art, except those of our own countrymen; that, although we certainly entertain a thorough dislike of many of the properties of the modern French school of painting, and especially of some of those properties on which that school particularly plumes itself, we most willingly admit, that it has produced men of undoubted genius. Among others, we would name Guerin, and Girard. We shall not easily forget the impression which the Sextus and the Phædra and Hypolitus of the former of those artists (now unfortunately no more), made on us. Nor can we refrain from paying the most ample tribute to French talents, when we recollect the fine picture by M. Jericault, that was exhibited some years ago in London, representing the sufferers on the raft, from the Medusa, at the moment when they discovered a sail in the horizon. The subject was a dreadful and arduous one; but it was treated in a daring and masterly spirit. Not only was it most correct ly drawn, and faithfully coloured, not only was the composition highly picturesque, and the effect powerful almost beyond that of any modern picture which has come under our observation, but it was pre-eminent in that quality, without which, all

historical or poetical painting is "like a tale told by an idiot, fall of sound and fury,-signifying nothing." we mean EXPRESSION, From the dim eye of the famished and half-expiring wretch, who could scarcely be roused from his torpor to listen to the joyful news of approaching succour, to the convul sive effort of the eager sailor, who, mounted on the shoulders of his tottering comrades, was endeavouring to render a signal of distress visible by the distant vessel, all was full of that inestimable quality; and all afforded indisputable evidence of emanating from sterling and legitimate genius.

Do we pretend to insinuate that the subject of M. David's picture was susceptible of equal pathos and variety? By no means. But sure ly it would have admitted of some little animation. Although the decorum that must of course have been diffused over such an assembly, so occupied, would ne cessarily restrain the exhibition of any violent emotion, it is difficult to believe that Napoleon, the Pope, Josephine, and her two attendants were the only persons present who gave any signs of life. Courtiers as the spectators were, and disciplined in artificial manners, still they could not have been absolutely heartless. They must have be trayed some diversity of character, some sensibility, some sympathy with what was passing before them. Some incident, however trifling, must have partially discompossd the general formality: some pebble, however small, must have gently agitated the surface of the stagnant pool of apathy. We readily allow that there was no opportunity for the introduction of the passionate and energetic, but surely the monotony of the scene might have been relieved by some of the milder and more delicate demonstrations of human interest and feeling.

INTELLIGENCE RELATIVE TO THE FINE ARTS.
FOREIGN AND DOMESTIC

The Royal Academy of Fine Arts, at Paris, held its annual public meeting on the 5th of October last,

under the President M. Guerin. The lectures were: 1st. Historical Sketch of the Life and Writings of M.

Vanspaendonch, by M. Quatremere de Quincy, Permanent Secretary. 2. A Report upon the Works of the King's Pensioners at the French Academy at Rome, by M. Hyot. Historical Sketch of the Life and Works of M. Dufournay, by M.Quartremere de Quincy, Permanent Secretary.

Prizes awarded.-The first prize for painting. The subject, Orestes and Pylades, surrounded by the Shepherds; the subject from the Iphegenia of Euripides. The Academy decided, that sufficient claim had not been made to the first great prize; but awarded the second great prize to M. Augustus Hyacinth Debay, of Nantes, aged eighteen and a half, and a pupil of M. Gros, Member of the Institute. The second great prize (second class) to M. François Bouchot, of Paris, twenty-two years old, pupil of M. Lethiere, Member of the Institution. 3. Honorary testimonies, and a silver medal to M. Sebastian Louis Wilken Norblin, of Warsaw, twentyfive years old, a pupil of M. Regnault,

Member of the Institute.

Principal Prizes for Sculpture.The subject prescribed by the Academy was-Jason carrying the Golden Fleece-but it was decided that no sufficient claim had been made to the first great prize. The second great prize was won by M. Charles Marie-Emilie Seurre of Paris, aged twenty-four, and a pupil of M. Cartellier, Member of the Institute. The second great prize, second class, was awarded to M. Louis Desprez, of Paris, 23 years old, pupil of M. Bosio, Member of the Institute.

Great Prize for Architecture.Plan of a Hall of Decision for the theatre of the Opera, to be erected near the centre of the city, in any spot where the greatest number of convenient avenues converge. The first great prize was gained by Emile-Jaques Gilbert, of Paris, aged twenty-nine years, pupil of M. Vignon. The second great prize was awarded to M. Peter Francis Louis Fontaine, a native of Pontoise, a pupil of M. M. Percier and Fontaine, Members of the Institute. The second grand prize, (second class) was won by Jules Frederic Bouchet, of Paris, aged twenty-two years and a half, pupil of M. M. Debret and Guenepin. Eur. Mag. Vol. 82.

The Academy made honourable mention of, and granted a medal to M. Leon Vandoyer, of Paris, aged nineteen, pupil of M. M. Vandoyer et le Bas. The Academy expressed itself highly satisfied at the proficiency of the students in Architecture.

Sir Thomas Lawrence will exhibit, in the ensuing Spring, a selection of his choicest Works, at the Gallery in Pall Mall, near Carlton Palace, which was used by the late President of the Royal Academy for a similar purpose. Among the paintings will be the excellent portrait of his Majesty, which Sir Thomas has recently produced; and also the portraits of the Foreign Sovereigns and Statesmen which he painted during his last visit to the Continent; together with a variety of portraits of distinguished public and private characters of this country.

Wilkie's celebrated picture of the Penny Wedding.-It may be interesting to the admirers of this admirable picture to be informed, that the principal figures are portraits. The bride is said to be a portrait of one of the beautiful and and lovely daughters of Lady Sheffield.

Mr. Turner has just finished an engraving in Mezzo tinto, of Sir Thomas Lawrence's full length picture of the late Marquess of Londonderry, in his robes of the Order of the Garter. Our readers will recollect that the picture was exhibited at Somerset House, last year. The engraving, we understand, is of very large dimensions, and has been executed with great care.

Mr.Heath's engraving from West's grand picture representing Our Saviour Healing the Sick, which was purchased by the British Institution for three thousand guineas, is completed. It is said, Mr. Heath has obtained one thousand eight hundred guineas for his engraving, which was to have been finished in four years, but it is now nearly eleven since its commencement.

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THEATRICAL JOURNAL.

VELUTI IN SPECULUM."

DRURY-LANE THEATRE.

Ir must be confessed that the Manager of this theatre has exhibited the best taste during the last month in the selection of his performances, which have been worthy of the excellent porformers, whom he has engaged to divide the public approbation. Had he been as successful in his engagements of actresses as of actors, no rival theatre could have resisted his success, which has, however, we are happy to state, been sufficiently brilliant, and indicative of a most productive season. Mr. Kean and Mr. Young have repeated the characters of Othello and Iago, several times, and always with that distinguished success that must ever accompany the happiest efforts of finished art in the one, and the unrivalled bursts of the greatest natural talent in the other.

The operatic performances are commenced with the aid of Messrs. Braham and Horn, Miss Povey and Mrs. Austin, from the Dublin stage, whose talents are not unworthy of such an association. Mrs. Austin's voice is by no means remarkable for strength, but its tones are extremely sweet and clear, and the facility, with which she runs through the most difficult passages, imparts a graceful ease to her execution, which even at its highest stretch is unembarrassed by the appearance of effort. The character in which she made her first attempt before a London audience was that of Rosetta, in Love in a Village. The airs peculiar to the piece itself are of a very simple kind; but the introduction of a few solos and duetts, from other sources, according to the custom of our most popular singers, rendered the undertaking a much more comprehensive test of her abilities, than it could have afforded under a strict adherence to the original music. Rosetta, as now performed, must not only possess the feeling required in simple melodies, but that command of voice which the intricate combinations of modern science have rendered necessary;

whether for better or worse, the age in which they are so strenuously patronized is not the one to determine. It may be collected from what we have already said, respecting the qualities of her voice, that this lady's style is upon the whole rather insinuating than commanding, and therefore rather calculated to grow into fame by repeated impres sions, than to atchieve the point at once by a sudden and nervous display. Mrs. Austin's person is prepossessing she is delicate in her form, and her features are petite, and possess animation, but are not remarkable for their beauty. She has also appeared in the character of Mandane, in Dr. Arne's opera of Artaxerxes. Although she does not possess that extensive compass of voice, so necessary to the varied and intricate harmonies annexed to this difficult character, yet she gave the recitatives pleasingly, and in some few instances with considerable feeling and expression. Mr. Braham, in the character of Ar baces, maintained his long-esta blished reputation as the best vocalist on the English stage. In this character he finds ample opportu nity of displaying that florid style, in which he delights to luxuriate. His execution of that well-known air," Water parted from the sea” combined all that is rich in science and delicate in taste. Madame Vestris sustained the character of Artaxerxes, with her usual excellence. It is impossible not to admire her song "In infancy our hopes and fears," which she gave with chaste simplicity, and admirable expression it was, as usual, loudly encored. In English opera, Madame Vestris excels, in our epinion, all the vocalists, both male and female of the present day, because she not only sings but acts. In singing, merely, she may be rivalled, and, of course, can bear no comparison with Braham. Her voice and action mutually assist each other; and she never forgets

the character while she is singing, well knowing that songs are intended, or should be intended, by

the author to illustrate the business of the opera.

COVENT GARDEN THEATRE.

THE Course of policy adopted by the Manager of this rival establishment, has already manifested itself in results the most fortunate and unexpected. Having no changes or decorations to set forth in his bills, he properly directed his attention to the collecting of new Performers and new Pieces; in the prosecution of which plan he has introduced many clever persons to the London boards, upon some of whom we have had occasion to remark in our former notices of Theatrical transactions.Since our last account, three new pieces have been exhibited at this Theatre: a farce, an opera, and a tragedy. The first is a lively little piece entitled the Irish Tutor, said to be the production of the Earl of Glengall. The leading Personage, indeed the only one deserving of mention, is the Tutor himself, who exhibits, though not in very glowing colours, that mixture of wit and absurdity, which has long been considered as almost the exclusive peculiarity of the wild compound of Irish mind. A clear plot, a plain and unaffected current of dialogue, and a sufficient portion of vivacity, not without its puns, constitute the principal merit of a work, which is by its nature exempted from any rigid examination. While farces excite laughter critics may condemn; but the public, who go to laugh, will retort upon the critic, ridicule his seriousness, and laugh at his pedantry.

The opera is entitled Maid Marian and is founded on a pleasant little novel of the same name; in adapting which to the Theatre, much of the dialogue has been preserved entire, and the songs are chiefly selected from the simple but expressive poetry which is scattered with no unsparing hand throughout the work. The piece which is founded on the adventures of Robin Hood and his merry outlaws, commences with the preparations for the union of Matilda, the heiress of Baron Fitzwalter, with Robert Fitzooth, Earl of Huntingdon, afterwards

Robin Hood. The nuptials are prevented by the arrival of Sir Ralph Montfaucon, who is deputed by Longchamp, Archbishop of Canterbury, (the Regent appointed in the absence of Richard Cœur de Lion, who is in Palestine) to attaint Huntingdon of high treason. The latter, assisted by his followers, defeats Montfaucon's force, and flies to "Merry Sherwood." He is here joined by his faithful Matilda and her father; the old Baron having fired his castle, sooner than it should become the prey of Prince John, who endeavours, in the absence of his brother Richard, to ascend the English Throne. In this "shady green retreat" Matilda Fitzwalter consents to give up her name of quality; she is re-baptised by the merry, drinking, fighting Friar Tuck, as plain Maid Marian; and is formally espoused to Robin Hood. Several laughable adventures occur to the outlaws in the prosecution of their freebooting system, and they have occasionally to contend, sword in hand, in defence of their assumed right to taste of the King's venison; but Richard Cœur de Lion having escaped from foreign enthralment, happens, when bewildered in the mazes of the forest, to fall in with this sturdy band; and, pleased with the loyalty they express to the person of (as they suppose) their absent sovereign, he pardons their trespasses, and all are made happy. The opera is very languid, except where Friar Tuck or Baron Fitzwalter, is actively employed. The former character was most humourously supported by Mr. C. Kemble, He was in truth an excellent representative of the "Church Militant,' His jest, his flagon, and his quarter staff flew about most merrily. He even ventured on a verse or two of an old ballad, and thus completed the character of the jolliest of Friars. Mr. Farren, in the character of the testy Lord Fitzwalter, inade many good points. Miss M. Tree, most deservedly a favourite with the public, played the fair Matilda.

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Her performance was distinguished by the most bewitching naïveté and her singing by taste and science.Several of her songs were encored. The music is by Mr. Bishop, and except a very small portion of it, is by no means in unison with the character of the piece. The scenery, as is usual at this theatre, was beautiful. The landscape clear and brilliant, and the architecture grandly correct. The banquet scene was in every respect gorgeous.The opera was received by the andience with the most enthusiastic applause.

--

The tragedy is from the pen of Mr. Shiel, and is called “ The Huguenot," it was originally announced under the more appropriate title of "The Convict." This play, like all the others by the same author, is written with too palpable an aim at stage effect; so that instead of each scene being as it were a step, which advances and conducts to the final catastrophe, the whole five acts is composed of an unconnected succession of striking situations; the spectator's feelings are hurried along with the actor from one distress to another, till both arrive fatigued at the conclusion of the piece. Nevertheless the incidents are frequently interesting, perhaps affecting, and sometimes even new. The fable, it can scarcely be denominated a plot, of the Huguenot

is this:

Margaret Romont, the daughter of a reduced noble, in order to save her father from ruin has consented to marry the Duke of Monville, notwithstanding that her affections, as she acknowledges to her confessor, are still irrevocably rivited on Adolphus Polignac, with whom she had three years before exchanged vows of unalterable constancy, but who had subsequently released her from her engagement by writing to bid her an eternal adieu. During the performance of the nuptial ceremony, the Convict, who is no other than the identical Adolphus Polignac, and who, for the confession of a murder, had been condemned to the gallies, rushes in, disguised, and, demanding a few moments' private audience of the bride, represents himself as a friend of her former lover; and, having

given her a picture, is on the point of retiring, when Margaret, being awakened to a suspicion of the truth by the fervent and familiar tone of his farewell, attempts to detain him. The Duke and the father, who had very accommodatingly retired during the conference, come forward; Polignac is seized and discovered; Margaret, on beholding his features, falls senseless; a scene of altercation ensues between the lover and bridegroom, wherein it appears that they had formerly been rivals in arms, as they now are in love, and the Convict, we presume, through the Duke's influence with the legislative authorities of the place (Orleans) is ordered for immediate execution. Margaret, on recovering, refuses to wed Monville; and her father, being reduced by the failure of this alternative to utter beggary, upbraids her unkindness, and, abjuring her for ever, leaves her to perish in the streets. She follows the sound of the death bell, and arrives at the place of execution just at the moment her lover is about to mount the scaffold, when La Rocke, the priest, very opportunely enters, bearing the death bed confession of a blind old man, Polignac's father; who, with his last breath, had acknowledged himself to have been the perpetrator of the murder, for which his son is about to suffer, from being bound by an oath never to reveal the truth; but who is now restored to liberty and Margaret; and we are left uncertain whether most to execrate the selfish and unnatural tyranny of the parents, or to admire the filial devotedness of their children. There are two female characters besides Margaret, but which are introduced solely for the purpose of redeeming the objection, that has been made to the indecorousness of a young lady walking through five acts without some other female to keep her in countenance.

The diction of the play is elegant, and did not appear to be so inflated as is usually the case in Mr. S's. productions; but, though the language is frequently flowery, there is not any thing like fine poetry; such imagery as this we must decidedly protest against, as being in

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