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speaks the vacant mind,” ever think how much ments furnish abundant food for reflection, and imitative ingenuity, how much close study of their comicalities are irresistible. His Proteus. human nature, as well as physical training- like changes are perfectly wonderful, and the probably not painless-have been expended in varieties of dress and manner are assumed with furnishing an evening's amusement to a crowd a rapidity that is quite startling. But, after all, of gaping marvellers- we were going to write the question presents itself to a reflective fools! but that is hardly fair, either to the per- man, after he has laughed himself into seriour. former or his audience. Viewing Mr. Love in ness, “What a deal of talent and ingenuity is

e aforesaid philosophical light, his entertain- ! here thrown away !"-D.

M U S I C.

ROYAL GERMAN AND BRITISH | for the diffusion of the most intellectual class of MUSICAL SOCIETY.

Music is widely spreading.

Under these favourable circumstances it is preWe have received a circular of this newly sumed that the ever liberal British Public will gladly established society, which evidently originates promote the efforts of a Society, pledged energetically with Messrs. Wessel and Co. Though this cir- to labour for the advancement of the Musical Art cumstance seems, at first sight, very much after By fostering and encouraging British talent, as the fashion of a book-club founded by a pub- well as introducing on an enlarged scale the finest lisher, still the undertaking is good in itself, and compositions of the great German Masters, this coif carried on-as we think iť will be-without ciety cannot fail to exercise a powerful influence on the internal cabals which characterize most serviceable, by gniding the general taste to an ele

the cultivation of the art, and render itself highly societies, promises to be a real benefit to the vated standard in Music. lovers of classical music: these, alas! are not many, in the middle orders at least; but the With much tact the projectors have made society has done its best to make itself fashion their undertaking available to each variety of able by appearing under the patronage of English amateurs, by dividing it into classes. Class A, and Prussian rank, from royalty downwards. for pianoforte music; Class B, concerted pieces ; However, these are merely extrinsic advantages; Class C, vocal; and Class D, for stringed inthe undertaking must take its stand on its own struments only. To each of these the subscripexcellent purpose, and the innate worth of the tion is £5 per annum, entitling the subscriber compositions which are by its means placed to all the music of that class issued by the within the reach of the subscribers. We cannot society in the course of the year. Two other better explain the aim of this society than by classes are shortly to be forthcoming, one for quoting from its prospectus :

the use of quires and orchestras, the other

wholly for military bands. The compositions There exist in England numerous Societies for the set forth in the circular as shortly to be pubpromotion of various Arts and Sciences, but there is lished, include some of the finest works of Mennone devoted exclusively to encourage the efforts of delssohn, Spohr, Mozart, and Beethoven, and classical composers, and to assist in the diffusion of Amongst the lovers of the Di Sterndale Bennett, Lindsay Sloper, and others

are issued under the editorial circumspection of vine Art this has been the frequent theme of conversation, and they have greatly regretted the non. competent for the task of arrangement. Thus, existence of a Public Musical Society, having for its in every way, this Society commences its career object THE ADVANCEMENT OF THE ART.

With a with much promise for the future; it purports view of supplying this want, several Amateurs and to bring the highest class of music within reach Professional 'Gentlemen, zealous in the cause of of the fingers, and the purses, of the million; Music, have concerted means, sanctioned by the illus- and every lover of classical compositions must trious and noble Personages who head this under- wish it heartily success. taking, to form a Society, under the title of the ROYAL GERMAN AND BRITISH MUSICAL SOCIETY.

International Copyright Acts having passed between Great Britain and Prussia, Hanover, Saxony, MUSIC PUBLISHED BY COCKS & CO. Brunswick, Saxe-Coburg, Saxe-Weimar, and Austria (which will be speedily followed, under the sanc- “Mary, The Village Queen.” Arranged tion of Her Most Gracious Majesty the Queen, by by James Perring, from a melody by Vincent similar arrangements with all the other states of Ger- Wallace. This is in itself one of the most grace. many), there could not be a more eligible opppor- ful of waltz tunes, and being skilfully united to tunity for the formation of a Musical Society than singable words--of course, poetry is out of the by the Musical Community in the practical inter question—it makes a very charining balad; pretation of the works of Classical Authors, but from simple in its character, and yet, amidst its unprethe growing aptitude of the Public to preciate the tending character, furnishing a melody at once higher order of compositions.

pleasing and new. We give it unqualified praise. It is not surprising, then, that in England as in “TELL ME WHERE DO FAIRIES DWELL." Germany, a desire amongst the true lovers of the art

-A duet, by Stephen Glover; which, however


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well arranged as a whole, has not much ground-, a scheme would not be possible? It is, at all work of originality. The first solo is good, but events, a question worth the consideration of the second reminds one rather too strongly of periodicals exclusively musical. Haydn's Mermaid. Moreover, the duet part, which commences with a lively and pleasant

Prize Ballad-THE LOVE OF OLDEN DAYS. melody, verges towards the close into something

Written to the air of “Mary Blane." By very like the concluding phrase of the well- Miss Maria Norris. (J. Williams, 123, Cheapknown “Should he upbraid." These coinci- side.)- There was something pleasing in the dences ought not to be, especially in a composer simplicity of the old words to this famous negro to whom we owe some of the very best of our tune, which everybody knows, though everybody modern ballads. Nothing but commendation does not know that it is about the most famous is due to Mr. Glover's other duet.

specimen of musical plagiarism extant, being

neither more nor less than an ancient air, which “WHAT ARE THE WILD WAVES SAYING?” was sung by our great grandmothers to a ditty - This is a musical interpretation of an incident bearing this burthenwhich must be familiar to every reader of Dombey-is not that saying every reader in the three No, no, no, no; kingdoms ?—Paul and Florence on the shore at

Time cannot cure the grief I endure Brighton. It is a delicious bit of poetical and For my Nancy, O!" suggestive melody, elaborated with musicianlike feeling; and there is a deeper meaning, far But considerable credit is due to Mr. George surpassing the vocal ephemera which generally Barker for the ingenuity with which he has come under our reviews. Moreover, it has the made the public go mad about the skilful adappleasing novelty of an air which catches the ear tation which he claims as an original compoand fancy at once. The words are good--saving sition. However, we have now only to deal an atrocious rhyme of water with quarter---and with the new words to which this modernwind in and out with the spirit of the music. antique is arranged, and the “ Love of Olden Our heartiest commendation, in every sense, Days,” being by one of our own contributors, goes with this song.

we have too much good taste to “write it up,” " I'm A CLERK ON A HUNDRED A year,” | by commendations which most readers consider and “KNITTING & Netting & CROTCHET,” insincere, and savouring of partiality. A good are two enormities in the comic line, perpetrated thing, always speaks for itself—so shall Miss jointly by Mr. G. Linnæus Banks and Mr.

Norris's poem : George Augastus Sandford. More dolorous attempts at fun could not be.

The ocean rolls between us,

And the stars that o'er thee shine, “ LIKE THE EVERGREEN, &c.,” and “ THE

Are not the stars that silver OLD PALACE,” are two of the most ordinary This lone solitude of mine. of Miss Eliza Cook's songs, set to Mr. Loder's Thou hast chang'd thy love for gold, generally ordinary music : they bear the true

And now, O futile heart, Loderian stamp of prettiness, and little else. The lives we hoped so soon to blend “ LOVE AND TIME” is an improvement: it Lie hopelessly apart. contains an allegretto and allegro movement, With foreign skies so bright above, that we think we never heard before, which is And flattering tongues to speak thy praise, saying a good deal for Mr. Loder.

Oh, dost thou think of England now,

And the love of olden days? “The CHAINS OF THE HEART” and “ THE DOMESTIC Wife," are productions of Mr. E.

Think not that I reproach thee ; L. Hime, and common-place in the extreme. I would that I might prove, The latter is a diluted and slightly altered ver- Alone, the weary woe that waits sion of the eternal “Mary Blane.”

On disappointed love,

Henceforth thine image is to me THE MAIDEN'S DREAM is another of Mr.

A memory of the past, Glover's very pretty ballads-expressions of

Of hues too bright, and clustering hopes musical feeling, which it is impossible not to Too beautiful to last. like, and which, interpreted by some one of our

With foreign skies, &c. truly English vocalists, are always agreeablesometimes very touching. There is nothing very striking about this melody; but it has here Oh Mary, if in future time and there a few combinations that impress us

A widow's dreary fate en passant, as a beautiful line or a fine idea does Should leave thee in the stranger's land

Alone and desolatein poetry. We often wish that, in musical criti

Should life so sad as mine extend cism, it were possible to quote fine phrases or

Its joyless days till then, passages, after the fashion of literary reviewers,

Forget the past, forget the past, thereby justifying our own expressed opinions,

And come to me again! and giving evidence of the merit or demerit of

With foreign skies, &c. the work noticed.. Query-Whether, from the

D. facility with which music is now printed, such



HALF AN HOUR IN LOUGH'S STUDIO, Duncan's horses, from Macbeth, is a group


full of power and of truth-such as, from the

difficulties of position, Sculpture has not before It is my belief that theatrical representation, attempted. Each of the animals exhibits a with its trickery of tone and action, does not marked and distinctive character, and the morerender justice to Shakspere. After seeing one ment reminds one of the energetic action with of his plays performed, you think, the next day, which the wild horses of the Pampas and the not of the characters which he drew, but of the Prairies delight astonished travellers. There is manner in which such and such actors repre- an avoidance of exaggeration-a certain indicasented them. To appreciate our great poet, tion that the sculptor understands anatomy. read him in the still solitude of your chamber; There are as many as four female statues : better still (provided the season and weather Ophelia, Lady Macbeth, Portia, Titania, besides permit), as you lie, at listless length, by the the “ delicaté Ariel.” Between these, in form, side of a gurgling stream, which makes a musi- feature, and mind, there is as much difference as cal murmur as it dashes over the pebbles. there is in Shakspere's own distinctive creation Then you will drink in the beauty, and the wis- of them. There is OPHELIA, loving and beloved, dom, and the wit of Sbakspere. More or less who yet is unfortunate to that affection, so that her of the conventional is all that actors represent, mind gives way, and she wanders amid her old from the passion of Burbage to the melodrama haunts, breathing melodious snatches of the sad, of Macready. Sometimes, a new reading sweet songs which delighted her happier hours. makes a variation, by transposing a semi-colon There is Lady Macbeth, a pure incarnation of or changing a word; but this does not make us ambitious Will; with an overpowering sense of love Shakspere more or understand him better. her own mental superiority, and no regard for

Painters, with scarcely an exception, have the means so that the required end be gained, drawn scenes from Shakspere under the influ- Even in her later days, when visions disturbed ence of impressions received at the theatre. her rest, inaking her, in unquiet slumber, wanBetween what is dramatic and what is merely der amid the scenes of her guilt, and almost retheatrical there is a great gulf-painters do not act its deep, dark tragedy, a wild beauty spreads seem to know this. Hence, when they would its halo around her, and we scarcely know whegive a pictorial representation of Shakspere, they ther most to condemn the crime or admire the exhibit-not the characters whom he created, unbending spirit which had wrought it. There but actors and actresses in stage costume and is Portia, one of Shakspere's loveliest creawith stage looks. I hate these portrait-pictures, tions of budding womanhood, throwing grace for, of all writers, Shakspere least deserves to and beauty over a drama which, though not be thus shown at second-hand.

tragic in its denouement, is imbued with a deep Mr. Lough, the sculptor, in illustrating tragic interest. I have often separated the scenes Shakspere, has not thought of the theatre. He in which Portia so gracefully appears, and read has read Shakspere until he became thoroughly them apart from the rest of the drama, with great imbued with his poetry, and the result is excel- gratification. There is TITANIA, eminently

, a lent. At a private view of a newly-executed being of the “ imagination all compact”-the statue of the Marquis of Hastings, formerly embodiment of a passing glimpse of fairy-land, governor-general of India, my attention was " beautiful exceedingly," like the lady in caught by a series of Shaksperian statues, worthy Christabel, but with a loveliness more bright alike the poet of the Elizabethan, and the sculp- and spiritual than has ever belonged to earth. tor of this era. This series consists of eleven, Lastly, is the spirit-servitor of all-powerful the greater number having been transfused into Prospero-that exquisite Ariel, who is without marble for Sir Matthew White Ridley, a patron parallel in romance or poetry—one of the highest of art, who has shown himself to be at once and most charming of Shakspere's high imaginmunificent, discriminating, and intellectual. It ings. would be fortunate for Artists, if such patronage In each and all of these the individuality is as this connoiseur has thus extended, were ever marked, and they are examples of the expression to be found encouraging and rewarding genius : which Sculpture can exhibit; even an ordinary fortunate for Art itself if taste, judgment, and a reader of Shakspere could scarcely sail to recog. sensitive appreciation of the Beautiful, were nize each character at the first glance. It is this more frequently joined to the worldly means of expression which distinguishes Mr. Lough's such encouragement as is needed by Genius, busts of living persons-bringing out the mental “ That rath primrose which, neglected, dies.”

attributes as well as the semblance of the

features. As I took more than a casual glance at these Puck is a conception resembling Ariel in its Shaksperian sculptures, I remember them suffi- origin; it belongs not to earth, though it may ciently to indicate their more apparent merits sometimes rest upon it. Shakspere, who had to appreciate them all

, they must be studied, the tact to seize the commonest materials, and even as you read a book.

| breathe poetry into them, has worked up the

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popular idea of the household sprite, yclept | miss from their walls the contributions of the Robin Goodfellow, and produced a reckless, defaulters, so ably is their place supplied. In restless, wilful imp, overflowing with the wild fact, we cannot call to mind a more attractive spirit of mischief. This is Puck. Until now, exhibition than the present. no artist has caught anything like his true cha- Wehnert, whose many exquisite pictures must racter. Sir Joshua Reynolds painted a naked be fresh in the memory of many of our readers, infant sitting on a mushroom, and called it contributes one, hardly we think inferior to any " Puck”-a pretty picture, but not Shaksperian. he has produced, in power of conception or sucMr. Lough has produced the incarnation of cessful delineation. It illustrates the story of frolic and mischief. It is the best of the entire Gomez, Murillo's slave, whose genius his master series-original in every respect.

accidentally discovered, and rewarded by the HAMLET, lago, and MACBETH, are in the gift of his freedom, and by subsequent instrucseries. The first is not the Hamlet of the tion to so kindred a spirit. The earnest abstage-not the theatrical gentleman, with beet- sorbed expression of Gomez at the easel, and ling brows and black overhanging plumes, but the admiration, wonder, and delight of Murillo, a prince indeed, “ the observed of all observers;" are not to be described, save by the artist's own under the influence of the one compelling pencil. Henry Warren has of course an Oriental thought that his father was murdered, and that piece, and this year one more elaborate than himself, commissioned by the Dead, must usual. It is a large picture, entitled “ The avenge him, even though in that vengeance be Return of the Pilgrims from Mecca ;” in which involved punishment to his surviving parent the different groups, though possessing distinct and the homicide whom she had wedded. Iago and individual interest, yet harmonize together is shown with that subtlety of spirit which de- by true artistic skill : the meeting of friends ceived the too credulous nature of Othello ; yet the mourner for the dead—the reception of the not a transparent villain, as actors usually make sick-is each a picture that might be isolated, and him. Macbeth is one of the most recent of these yet forms only a part of a grander whole. The compositions; I believe it is in course of being patient asses struck us as being marvellously realized in marble for Sir M. W. Ridley. painted; and the colouring of the whole work

I think that this is the finest, in mental force, is brilliant, without being glaring. Warren has of the whole series. The moment chosen is another picture, in a quaint and very different just after the murder of Duncan, when Macbeth style, which pleased us greatly-" The Seven has rushed in with the dagger in his hand-he Ages of Woman.” In execution it reminds one is possessed, at that moment, by that Conscience of enamel painting. There are several charming whose“

still, small voicewill be heard. The things by Absalon; but our favourite is cerfatal weapon is about to fall from his relaxing tainly his large picture, one indeed of the most grasp: the limbs are acted on by the horror striking in the gallery. It illustrates, or is illusand the fear which have smitten him : the trated by, a passage from “ Tristram Shandy," countenance shows the agony which smites the and represents a rural scene. But though the heart: even the very drapery appears 10 have village dancers are bewitching, with the moment a sensation and a consciousness, strange as of action most wondrously represented, how can the remark may seem to those who have not we describe the charm and grace of the only seen it.

resting figures, the piper and his sister, the OBERON, as mate to Titania, is the latest of girl “ who had stolen her voice from heaven!” these Shaksperian embodiments—and is worthy Corbould has also several pictures, but we the companionship.

are out of patience with him for perpetuating It is worth notice that the Sculptor, who has the ugliest costume that ever disfigured humaso long and so worthily occupied public atten- nity; besides, No. 183 is vulgar as well as ugly, tion with works of the highest order, is not even and the tumbled down figures look like wooden an Associate of the Royal Academy!

dolls. We cannot comprehend how an artist could descend to such a level, who was capable

of producing anything so charming as the scene EXHIBITION OF THE NEW SOCIETY from “ Peveril of the Peak," No. 143; a picOF PAINTERS IN WATER COLOURS.

ture which deserves every praise for grace, ease,

finish, picturesque grouping, and vivid delineaThe friends and members of the “ New So- tion of the text. The foreshortening of the ciety” have probably felt more than common horse too is admirable. interest and anxiety in the present year's exhibi- We have, however, too long delayed mentiontion, for the secession of two or three painters ing one of the most important pictures in the of eminence from their ranks, and admittance to room, and that by an artist whose name was not the rival body, the “ Old ” Society, was-sup- before familiar to us.—“ Venice,” by C. Vacher. posing the rivalry really to exist-a deprivation It is in three large compartments, representing to be doubly dreaded. With professional dis- Morning, Noon, and Evening. To say that in putes the public have nothing to do; and be- richness of effect it rivals oil painting, is slight

des signifies very little to them in which praise; it would be remarkable among great Gallery the works of their favourites are to be pictures of any class. The marvellous perspecseen ; but it is only due to the younger band of tive, the poetry and yet reality of the scene, gifted artists, to say honestly that we do not the life of the figures, the mellowness of the åtmospheres-combine to make the artist emi- we are delighted to find a work by Miss nent; and if, as we hear, he is a very young Setchell, worthy of the painter of “ The Moman, we can hardly imagine a dream of great- mentous Question ;” the subject is from the old ness there may not be for him to realize. ballad, “And ye shall walk in silk attire.” The

“ The Rape of the Lock," by Weigall, is lady members indeed shine out this year. Mrs. finely painted, and has many merits as a work Margetts, Mrs. Harris, and Mrs. Harrison, are of art; but apropos of it, we will quarrel for a great in the flower department; the Visses paragraph with artists for their love of old Corbaux do justice to theinselves; and Miss worn-out subjects. Their constant practice im- Egerton has a fine painting of the scene in the plies that they are sadly ignorant of the choicest dungeon of Vivia Perpetua, and a charming and poetry and literature of our time; that they by most gentle” Madonna Laura. We have no means keep pace with the literary minds of mentioned what we think the worst picture in the age. Why do they not give the lovers of the room (Corbould's No. 183); and as we can Shelley, of Keats, of 'Tennyson, illustrations of only find one other bad one, we will pair it the glorious "pictures” to be found in their for company—“The Rent,” by Alfred 'Taylor, pages ? How is it that “ Consuelo," so far as which is about as stupid and vulgar as a pun. we know, is still sealed to our painters ? Are But we hope we have said enough to convince they afraid such themes would not be sufficiently our readers, that the Gallery of the “ New Sofamiliar to the masses-or don't they, won't they ciety” in Pall Mall will well repay a visit. read

“ A Sylvan Scene,” by G. B. Campion, is a beautiful thing, in which the real and the ideal

COSMORAMA, DIORAMIC, AND PANOmeet and blend, just as the sunshine and shower

RAMIC EXHIBITION. seem to do. Haghe, Rochard, Lee, Telbin, These new views have opened too late for us Fahey, Alfred Taylor, and Lindsey, exhibit ex- to particularize them this number; they shall

, cellent pictures in their respective styles; and however, ineet with all attention in our next.


Even in these revolutionary days, at least the very short indeed; but we think this one of the leaders of fashion reign with undisputed sove- several points of costume where the becoming reignty; and as the spring season is now fairly set should always be borne in mind: it is a style in, we may prononnce upon the laws these rulers terribly trying to high shoulders and anything have promulgated for their lieges to follow. We short of a finely rounded arm. Dress, whatever are rather glad to find that skirts are decidedly the fashion, should be looked on as a branch of shorter in front, though in a room the graceful art, and, as in a portrait, natural defects should droop of the demi-train is still in vogue. Cer- never be brought forward or exaggerated. tainly it is prettier to have a glimpse of a pretty The gloves are still worn short, but richly foot bien chaussée thau not, and one of only trimmed with ribbons, tulle, velvet, or pearls

, tolerable size and shape may be “dresserl" to and the fan is an indispensable article. Handadvantage. Among the most approved styles kerchiefs for full dress are, if possible, more we find the following:-A dress of white satin, i richly embroidered than ever; but of course it is trimmed down the sides with three rows of lace, mauvais gout to wear any but plain ones in the confined by three bunches of ro-es surrounded morning, though these should be of the finest with lace; the corsage pointed, and the berthe texture : indeed the improved taste of the day composed of two rows of lace and a bunch of yields more and more attention to the lingerie roses in the centre. A head-dress something in department of dress. Muslins and laces are the mode of llenri deux, and between the curls' more delicate and beautiful than ever. lappets of gold lace ornamented with roses. We Caps are of a variety of form; I will try to have also been shown a beautiful dress of dainask describe one which is called the Mathilde. It is silk, white ground embroidered with rosebuds; formed of a small crown of embroidered muslin; the corsage is open before over a stomacher the barolet is lightly gathered to a little chou on of blonde, and trimmed with two rows of blonde, each side, formed of gauze ribbon and lace alterwhich form the berthe over the shoulders. nating, and forming quite a new sort of cockade.

A robe of blue taffeta covered with double Another pretty little cap is formed of a round skirts of tulle is pretty, this too being orna-I crown, gathered towards the temples, the border mented with roses--the flowers decidedly most of the same material being in one piece, cut in vogue, though violets and spring flowers of cross ways, flat across the head, gathered at the all denominations are a good deal in request, side, and made a little narrower behind, so as and abundantly supplied by the ingenious and not to hide the neck. There are too some lovely tasteful artificers of Paris. Sometines the skirt little caps, which, although a mere nothing in

crape or tulle is open at the side, the better to the hand, produce a most enchanting effect on display the rich jupe beneath, which renders yet the head; the fond is small and round, and commore zephyr-like the most becoming of ball- posed of point d'Alençon trunmed with næuds of dresses for youthful belles. Sleeves are worn gauze ribbon artistically arranged so as almost

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