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speaks the vacant mind," ever think how much imitative ingenuity, how much close study of human nature, as well as physical training probably not painless-have been expended in furnishing an evening's amusement to a crowd of gaping marvellers-we were going to write fools! but that is hardly fair, either to the performer or his audience. Viewing Mr. Love in e aforesaid philosophical light, his entertain

ments furnish abundant food for reflection, and their comicalities are irresistible. His Proteuslike changes are perfectly wonderful, and the varieties of dress and manner are assumed with a rapidity that is quite startling. But, after all, the question presents itself to a reflective man, after he has laughed himself into seriousness, "What a deal of talent and ingenuity is here thrown away!"— D.

MUSIC.

ROYAL GERMAN AND BRITISH

MUSICAL SOCIETY.

for the diffusion of the most intellectual class of 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 Soif carried on-as we think it will be-without ciety cannot fail to exercise a powerful influence on the cultivation of the art, and render itself highly the internal cabals which characterize most serviceable, by guiding the general taste to an elesocieties, 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 society has done its best to make itself fashionable by appearing under the patronage of English and Prussian rank, from royalty downwards. However, these are merely extrinsic advantages; the undertaking must take its stand on its own excellent purpose, and the innate worth of the compositions which are by its means placed within the reach of the subscribers. We cannot better explain the aim of this society than by quoting from its prospectus:

With much tact the projectors have made their undertaking available to each variety of amateurs, by dividing it into classes. Class A, for pianoforte music; Class B, concerted pieces; Class C, vocal; and Class D, for stringed instruments only. To each of these the subscription is £5 per annum, entitling the subscriber to all the music of that class issued by the society in the course of the year. Two other classes are shortly to be forthcoming, one for the use of quires and orchestras, the other wholly for military bands. The compositions set forth in the circular as shortly to be published. include some of the finest works of Mendelssohn, Spohr, Mozart, and Beethoven, and are issued under the editorial circumspection of vine Art this has been the frequent theme of con- Sterndale Bennett, Lindsay Sloper, and others versation, 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 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

There exist in England numerous Societies for the promotion of various Arts and Sciences, but there is none devoted exclusively to encourage the efforts of classical composers, and to assist in the diffusion of CLASSICAL MUSIC. Amongst the lovers of the Di

ROYAL GERMAN AND BRITISH MUSICAL SOCIETY.

a

International Copyright Acts having passed between Great Britain and Prussia, Hanover, Saxony, Brunswick, Saxe-Coburg, Saxe-Weimar, and Austria (which will be speedily followed, under the sanction of Her Most Gracious Majesty the Queen, by similar arrangements with all the other states of Germany), there could not be a more eligible oppportunity for the formation of a Musical Society than the present, not only from the great progress made by the Musical Community in the practical interpretation of the works of Classical Authors, but from the growing aptitude of the Public to appreciate the higher order of compositions.

It is not surprising, then, that in England as in Germany, a desire amongst the true lovers of the art

MUSIC PUBLISHED BY COCKS & CO.

"MARY, THE VILLAGE QUEEN." Arranged by James Perring, from a melody by Vincent Wallace. This is in itself one of the most graceful of waltz tunes, and being skilfully united to singable words of course, poetry is out of the question-it makes a very charining ballad; simple in its character, and yet, amidst its unpretending character, furnishing a melody at once pleasing and new. We give it unqualified praise.

"TELL ME WHERE DO FAIRIES DWELL." -A duet, by Stephen Glover; which, however

well arranged as a whole, has not much groundwork of originality. The first solo is good, but the second reminds one rather too strongly of Haydn's Mermaid. Moreover, the duet part, which commences with a lively and pleasant melody, verges towards the close into something very like the concluding phrase of the wellknown "Should he upbraid." These coincidences ought not to be, especially in a composer to whom we owe some of the very best of our modern ballads. Nothing but commendation is due to Mr. Glover's other duet.

"WHAT ARE THE WILD WAVES SAYING?" -This is a musical interpretation of an incident which must be familiar to every reader of Dombey-is not that saying every reader in the three kingdoms?-Paul and Florence on the shore at Brighton. It is a delicious bit of poetical and suggestive melody, elaborated with musicianlike feeling; and there is a deeper meaning, far surpassing the vocal ephemera which generally come under our reviews. Moreover, it has the pleasing novelty of an air which catches the ear and fancy at once. The words are good-saving an atrocious rhyme of water with quarter-and wind in and out with the spirit of the music. Our heartiest commendation, in every sense, goes with this song.

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"I'M A CLERK ON A HUNDRED A YEAR,' and "KNITTING & NETTING & CROTCHET," are two enormities in the comic line, perpetrated jointly by Mr. G. Linnæus Banks and Mr. More dolorous George Augustus Sandford.

attempts at fun could not be.

"LIKE THE EVERGREEN, &c.," and "THE OLD PALACE," are two of the most ordinary of Miss Eliza Cook's songs, set to Mr. Loder's generally ordinary music: they bear the true Loderian stamp of prettiness, and little else. "LOVE AND TIME" is an improvement: it contains an allegretto and allegro movement, that we think we never heard before, which is saying a good deal for Mr. Loder.

"THE CHAINS OF THE HEART" and "THE DOMESTIC WIFE," are productions of Mr. E. L. Hime, and common-place in the extreme. The latter is a diluted and slightly altered version of the eternal "Mary Blane."

THE MAIDEN'S DREAM is another of Mr. Glover's very pretty ballads-expressions of musical feeling, which it is impossible not to like, and which, interpreted by some one of our truly English vocalists, are always agreeablesometimes very touching. There is nothing very striking about this melody; but it has here and there a few combinations that impress us en passant, as a beautiful line or a fine idea does in poetry. We often wish that, in musical criticism, it were possible to quote fine phrases or passages, after the fashion of literary reviewers, thereby justifying our own expressed opinions, and giving evidence of the merit or demerit of the work noticed. Query-Whether, from the facility with which music is now printed, such

a scheme would not be possible? It is, at all
events, a question worth the consideration of
periodicals exclusively musical.

Prize Ballad-THE LOVE OF OLDEN DAYS.
By

Written to the air of "Mary Blane."
Miss Maria Norris. (J. Williams, 123, Cheap-
side.)-There was something pleasing in the
simplicity of the old words to this famous negro
tune, which everybody knows, though everybody
does not know that it is about the most famous
specimen of musical plagiarism extant, being
neither more nor less than an ancient air, which
was sung by our great grandmothers to a ditty
bearing this burthen-

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But considerable credit is due to Mr. George Barker for the ingenuity with which he has made the public go mad about the skilful adaptation which he claims as an original composition. However, we have now only to deal with the new words to which this modernantique is arranged, and the "Love of Olden Days," being by one of our own contributors, we have too much good taste to write it up," by commendations which most readers consider insincere, and savouring of partiality. A good thing always speaks for itself-so shall Miss

Norris's

poem :

The ocean rolls between us,

And the stars that o'er thee shine,
Are not the stars that silver

This lone solitude of mine.
Thou hast chang'd thy love for gold,
And now, O futile heart,

The lives we hoped so soon to blend
Lie hopelessly apart.

With foreign skies so bright above,

And flattering tongues to speak thy praise, Oh, dost thou think of England now,

And the love of olden days?

Think not that I reproach thee;
I would that I might prove,
Alone, the weary woe that waits
On disappointed love.
Henceforth thine image is to me

A memory of the past,

Of hues too bright, and clustering hopes
Too beautiful to last.

With foreign skies, &c.

Oh Mary, if in future time
A widow's dreary fate
Should leave thee in the stranger's land
Alone and desolate--

Should life so sad as mine extend

Its joyless days till then,
Forget the past, forget the past,
And come to me again!

With foreign skies, &c.

D.

FINE ARTS.

HALF AN HOUR IN LOUGH'S STUDIO.

66

BY THE AUTHOR OF TITIAN."

It is my belief that theatrical representation, with its trickery of tone and action, does not render justice to Shakspere. After seeing one of his plays performed, you think, the next day, not of the characters which he drew, but of the manner in which such and such actors represented them. To appreciate our great poet, read him in the still solitude of your chamber; better still (provided the season and weather permit), as you lie, at listless length, by the side of a gurgling stream, which makes a musical murmur as it dashes over the pebbles. Then you will drink in the beauty, and the wisdom, and the wit of Shakspere. More or less of the conventional is all that actors represent, from the passion of Burbage to the melodrama of Macready. Sometimes, "a new reading makes a variation, by transposing a semi-colon or changing a word; but this does not make us love Shakspere more or understand him better.

Painters, with scarcely an exception, have drawn scenes from Shakspere under the influence of impressions received at the theatre. Between what is dramatic and what is merely theatrical there is a great gulf-painters do not seem to know this. Hence, when they would give a pictorial representation of Shakspere, they exhibit-not the characters whom he created, but actors and actresses in stage costume and with stage looks. I hate these portrait-pictures, for, of all writers, Shakspere least deserves to be thus shown at second-hand.

Mr. Lough, the sculptor, in illustrating Shakspere, has not thought of the theatre. He has read Shakspere until he became thoroughly imbued with his poetry, and the result is excellent. At a private view of a newly-executed statue of the Marquis of Hastings, formerly governor-general of India, my attention was caught by a series of Shaksperian statues, worthy alike the poet of the Elizabethan, and the sculptor of this era. This series consists of eleven, the greater number having been transfused into marble for Sir Matthew White Ridley, a patron of art, who has shown himself to be at once munificent, discriminating, and intellectual. It would be fortunate for Artists, if such patronage as this connoiseur has thus extended, were ever to be found encouraging and rewarding genius: fortunate for Art itself if taste, judgment, and a sensitive appreciation of the Beautiful, were more frequently joined to the worldly means of such encouragement as is needed by Genius,

"That rath primrose which, neglected, dies." As I took more than a casual glance at these Shaksperian sculptures, I remember them sufficiently to indicate their more apparent meritsto appreciate them all, they must be studied, even as you read a book.

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 attempted. Each of the animals exhibits a marked and distinctive character, and the movement reminds one of the energetic action with which the wild horses of the Pampas and the Prairies delight astonished travellers. There is an avoidance of exaggeration-a certain indication that the sculptor understands anatomy. There are as many as four female statues : Ophelia, Lady Macbeth, Portia, Titania, besides the "delicate Ariel." Between these, in form, feature, and mind, there is as much difference as there is in Shakspere's own distinctive creation of them. There is OPHELIA, loving and beloved, who yet is unfortunate to that affection, so that her mind gives way, and she wanders amid her old haunts, breathing melodious snatches of the sad, sweet songs which delighted her happier hours. There is Lady MACBETH, a pure incarnation of ambitious Will; with an overpowering sense of her own mental superiority, and no regard for the means so that the required end be gained. Even in her later days, when visions disturbed her rest, making her, in unquiet slumber, wander amid the scenes of her guilt, and almost react its deep, dark tragedy, a wild beauty spreads its halo around her, and we scarcely know whether most to condemn the crime or admire the unbending spirit which had wrought it. There is PORTIA, one of Shakspere's loveliest creations of budding womanhood, throwing grace and beauty over a drama which, though not tragic in its denouement, is imbued with a deep tragic interest. I have often separated the scenes in which Portia so gracefully appears, and read them apart from the rest of the drama, with great gratification. There is TITANIA, eminently a being of the "imagination all compact"—the embodiment of a passing glimpse of fairy-land, "beautiful exceedingly, like the lady in Christabel, but with a loveliness more bright and spiritual than has ever belonged to earth. Lastly, is the spirit-servitor of all-powerful Prospero-that exquisite ARIEL, who is without parallel in romance or poetry-one of the highest and most charming of Shakspere's high imaginings.

In each and all of these the individuality is marked, and they are examples of the expression which Sculpture can exhibit; even an ordinary reader of Shakspere could scarcely fail to recognize each character at the first glance. It is this expression which distinguishes Mr. Lough's busts of living persons-bringing out the mental attributes as well as the semblance of the features.

PUCK is a conception resembling Ariel in its origin; it belongs not to earth, though it may sometimes rest upon it. Shakspere, who had the tact to seize the commonest materials, and breathe poetry into them, has worked up the

popular idea of the household sprite, yclept Robin Goodfellow, and produced a reckless, restless, wilful imp, overflowing with the wild spirit of mischief. This is Puck. Until now, no artist has caught anything like his true character. Sir Joshua Reynolds painted a naked infant sitting on a mushroom, and called it "Puck"-a pretty picture, but not Shaksperian. Mr. Lough has produced the incarnation of frolic and mischief. It is the best of the entire series-original in every respect.

miss from their walls the contributions of the defaulters, so ably is their place supplied. In fact, we cannot call to mind a more attractive exhibition than the present.

Wehnert, whose many exquisite pictures must be fresh in the memory of many of our readers, contributes one, hardly we think inferior to any he has produced, in power of conception or successful delineation. It illustrates the story of Gomez, Murillo's slave, whose genius his master accidentally discovered, and rewarded by the gift of his freedom, and by subsequent instruction to so kindred a spirit. The earnest ab

HAMLET, IAGO, and MACBETH, are in the series. The first is not the Hamlet of the stage-not the theatrical gentleman, with beet-sorbed expression of Gomez at the easel, and ling brows and black overhanging plumes, but a prince indeed, "the observed of all observers;" under the influence of the one compelling thought that his father was murdered, and that himself, commissioned by the Dead, must avenge him, even though in that vengeance be involved punishment to his surviving parent and the homicide whom she had wedded. Iago is shown with that subtlety of spirit which deceived the too credulous nature of Othello; yet not a transparent villain, as actors usually make him. Macbeth is one of the most recent of these compositions; I believe it is in course of being realized in marble for Sir M. W. Ridley.

I think that this is the finest, in mental force, of the whole series. The moment chosen is just after the murder of Duncan, when Macbeth has rushed in with the dagger in his hand-he is possessed, at that moment, by that Conscience whose "still, small voice" will be heard. The fatal weapon is about to fall from his relaxing grasp the limbs are acted on by the horror and the fear which have smitten him: the countenance shows the agony which smites the heart: even the very drapery appears to have a sensation and a consciousness, strange as the remark may seem to those who have not seen it.

OBERON, as mate to Titania, is the latest of these Shaksperian embodiments-and is worthy the companionship.

It is worth notice that the Sculptor, who has so long and so worthily occupied public attention with works of the highest order, is not even an Associate of the Royal Academy!

EXHIBITION OF THE NEW SOCIETY OF PAINTERS IN WATER COLOURS. The friends and members of the "New Society" have probably felt more than common interest and anxiety in the present year's exhibition, for the secession of two or three painters of eminence from their ranks, and admittance to the rival body, the "Old" Society, was-supposing the rivalry really to exist-a deprivation to be doubly dreaded. With professional disputes the public have nothing to do; and besides, it signifies very little to them in which Gallery the works of their favourites are to be seen; but it is only due to the younger band of gifted artists, to say honestly that we do not

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the admiration, wonder, and delight of Murillo, are not to be described, save by the artist's own pencil. Henry Warren has of course an Oriental piece, and this year one more elaborate than usual. It is a large picture, entitled "The Return of the Pilgrims from Mecca;" in which the different groups, though possessing distinct and individual interest, yet harmonize together by true artistic skill: the meeting of friendsthe mourner for the dead-the reception of the sick-is each a picture that might be isolated, and yet forms only a part of a grander whole. The patient asses struck us as being marvellously painted; and the colouring of the whole work is brilliant, without being glaring. Warren has another picture, in a quaint and very different style, which pleased us greatly-" The Seven Ages of Woman." In execution it reminds one of enamel painting. There are several charming things by Absalon; but our favourite is certainly his large picture, one indeed of the most striking in the gallery. It illustrates, or is illustrated by, a passage from "Tristram Shandy," and represents a rural scene. But though the village dancers are bewitching, with the moment of action most wondrously represented, how can we describe the charm and grace of the only resting figures, the piper and his sister, the girl" who had stolen her voice from heaven!"

Corbould has also several pictures, but we are out of patience with him for perpetuating the ugliest costume that ever disfigured humanity; besides, No. 183 is vulgar as well as ugly, and the tumbled down figures look like wooden dolls. We cannot comprehend how an artist could descend to such a level, who was capable of producing anything so charming as the scene from "Peveril of the Peak," No. 143; a picture which deserves every praise for grace, ease, finish, picturesque grouping, and vivid delineation of the text. The foreshortening of the horse too is admirable.

We have, however, too long delayed mentioning one of the most important pictures in the room, and that by an artist whose name was not before familiar to us." Venice," by C. Vacher. It is in three large compartments, representing Morning, Noon, and Evening. To say that in richness of effect it rivals oil painting, is slight praise; it would be remarkable among great pictures of any class. The marvellous perspective, the poetry and yet reality of the scene, the life of the figures, the mellowness of the

atmospheres-combine to make the artist eminent; and if, as we hear, he is a very young man, we can hardly imagine a dream of greatness there may not be for him to realize.

"The Rape of the Lock," by Weigall, is finely painted, and has many merits as a work of art; but apropos of it, we will quarrel for a paragraph with artists for their love of old worn-out subjects. Their constant practice implies that they are sadly ignorant of the choicest poetry and literature of our time; that they by no means keep pace with the literary minds of the age. Why do they not give the lovers of Shelley, of Keats, of Tennyson, illustrations of the glorious "pictures" to be found in their pages? How is it that " Consuelo," so far as we know, is still sealed to our painters? Are they afraid such themes would not be sufficiently familiar to the masses-or don't they, won't they

read?

"A Sylvan Scene," by G. B. Campion, is a beautiful thing, in which the real and the ideal meet and blend, just as the sunshine and shower seem to do. Haghe, Rochard, Lee, Telbin, Fahey, Alfred Taylor, and Lindsey, exhibit excellent pictures in their respective styles; and

we are delighted to find a work by Miss Setchell, worthy of the painter of "The Momentous Question;" the subject is from the old ballad, "And ye shall walk in silk attire." The lady members indeed shine out this year. Mrs. Margetts, Mrs. Harris, and Mrs. Harrison, are great in the flower department; the Misses Corbaux do justice to themselves; and Miss Egerton has a fine painting of the scene in the dungeon of Vivia Perpetua, and a charming and most gentle" Madonna Laura. We have mentioned what we think the worst picture in the room (Corbould's No. 183); and as we can only find one other bad one, we will pair it for company-"The Rent," by Alfred Taylor, which is about as stupid and vulgar as a pun. But we hope we have said enough to convince our readers, that the Gallery of the "New Society" in Pall Mall will well repay a visit.

COSMORAMA, DIORAMIC, AND PANO-
RAMIC EXHIBITION.

These new views have opened too late for us to particularize them this number; they shall, however, meet with all attention in our next.

FASHIONS FOR MAY.

Even in these revolutionary days, at least the leaders of fashion reign with undisputed sovereignty; and as the spring season is now fairly set in, we may prononnce upon the laws these rulers have promulgated for their lieges to follow. We are rather glad to find that skirts are decidedly shorter in front, though in a room the graceful droop of the demi-train is still in vogue. Certainly it is prettier to have a glimpse of a pretty foot bien chaussée thau not, and one of only tolerable size and shape may be "dressed" to advantage. Among the most approved styles we find the following:-A dress of white satin, trimmed down the sides with three rows of lace, confined by three bunches of ro-es surrounded with lace; the corsage pointed, and the berthe composed of two rows of lace and a bunch of roses in the centre. A head-dress something in the mode of Henri deux, and between the curls lappets of gold lace ornamented with roses. We have also been shown a beautiful dress of damask silk, white ground embroidered with rosebuds; the corsage is open before over a stomacher of blonde, and trimmed with two rows of blonde, which form the berthe over the shoulders.

very short indeed; but we think this one of the several points of costume where the becoming should always be borne in mind: it is a style terribly trying to high shoulders and anything short of a finely rounded arm. Dress, whatever the fashion, should be looked on as a branch of art, and, as in a portrait, natural defects should never be brought forward or exaggerated.

The gloves are still worn short, but richly trimmed with ribbons, tulle, velvet, or pearls, and the fan is an indispensable article. Handkerchiefs for full dress are, if possible, more richly embroidered than ever; but of course it is mauvais gout to wear any but plain ones in the morning, though these should be of the finest texture: indeed the improved taste of the day yields more and more attention to the lingerie department of dress. Muslins and laces are more delicate and beautiful than ever.

Caps are of a variety of form; I will try to describe one which is called the Mathilde. It is formed of a small crown of embroidered muslin; the barolet is lightly gathered to a little chou on each side, formed of gauze ribbon and lace alternating, 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- 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. Sometimes the skirt little caps, which, although a mere nothing in of 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 com more zephyr-like the most becoming of ball-posed of point d'Alençon trimmed with nœuds of dresses for youthful belles. Sleeves are worn gauze ribbon artistically arranged so as almost

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