Alps," by J. D. Harding; nothing can exceed the atmospheric effect of this drawing, every part of which is redolent with the sunshine of an Italian sky. The blue waters of the distant | lake seem unruffled by a breeze; the fore-ground is gorgeous. Every touch from the pencil of this artist tells us his mind is deeply imbued with the spirit of Poetry.

No. 7. "Filey Bridge during a Storm." Copley Fielding. Is painted as Copley Fielding only can paint such scenes. This artist exhibits no less than forty different views this year, showing that his talent is as great as his industry.

No. 19. "Italian Boy begging." O. Oakley. A faithful portrait. There are few visitors to this exhibition who will not be able to recognize this sturdy and persevering beggar-boy.

No. 24. "Interior of the New Hall, Lincoln's Inn, on the occasion of the Visit of Her Majesty at the opening of the building, Novem-tineon. ber, 1845." Joseph Nash. The perspective finest style. marvellously painted, and all the accessories No. 154. Fontaine des Chiens." George finished with an accuracy which does not destroy Harrison. This painting, by a new exhibitor, is breadth. quite worthy of the place in which it is hung: it is full of power and harmony.

376

AMUSEMENTS

OF THE

MONTH.

taken their benefits. The ballet of Giselle has been produced, with all the gaudy effect of scenery invariably lavished on every production at this theatre. Mademoiselle Sali and Monsieur Mathis acquitted themselves admirably, and are greatly increasing in favour with the lovers of 1 Ballerini.

HAYMARKET.

Verdi's I Lombardi has, during the past month, been the great attraction at HER MAJESTY'S THEATRE, but, like the other compositions of this master, it is fearfully bizarre. There is one point, however, in Signor Verdi's compositions which is found in the dashing concerted pieces we have remarked, and with pleasure, both in his Ernani and Nabucco, and which deservedly gains for him individuality as a composer. One of these brilliant touches adorns the finale of the first act, and a happy conclusion it makes, full of purity The Beggar on Horseback has disappeared, and soul, the offspring of a glad spirit. Signor giving place to The Rivals, The Clandestine Verdi has a strong passion for the use of Marriage, and Spring and Autumn; or, Married at Fifty. The latter is but little known, and at syncopated notes; but, alas! that use is worn this we into abuse by excess of repetition, even though characters allotted to Mrs. Glover and Mr. Farare somewhat surprised, since the their introduction produce a striking and agreeren suit them admirably, and the piece is full of able effect. The finale of the second act is a solo for the prima donna; and here, with the brilliant dialogue, and the situations are often highly dramatic. Mr. Peter Piper; or Found means just noticed, the composer has produced passion and brilliancy, but they are faint in their Out at Home, a new comedy in three acts, has colouring; in short, they are semblances only. been produced, but not with the success usually Pacini and Ricci have had recourse to the same attending the productions at this theatre, and method, but with greater success. The duet has most deservedly been censured, for it is between Giselda and Oronte, in the third act, is coarse and vulgar, and in many instances grossly very poor; and Grisi's Cabaletta, in the fourth, is so; scarcely falling short of Congreve in this garnished, and thickly, with syncopated notes- particular, and immeasurably inferior to him in the pet resource of a passionless production! the pungency of wit. To say that Mr. Peter The concertino for the violino primo, as an intro-Piper contains wit-real, genuine wit—were very duction to the sixth scene, is a combination of far from the truth, for a light, flippant, and imflourishes of a date long gone by. The terzetto moral dialogue seems to have been deemed its which closes the act, however, is the morceau of equivalent. The stage should elevate, not seek the production; this is truly beautiful, and worthy to depress morality and a high-toned feeling; of any master, and of any date. For Madame but while such productions as this are sanctioned, Grisi the music is very ill suited, though and at such a theatre, the stage degenerates to a evidently in many parts transposed: she is, for- something beneath the age. Talent embodied in tunately, not of the modern Italian school, such a form, becomes at best a contagious where screaming is countenanced and called spot-is a power debased, degraded from a declamation, so she fell short of her full effect-sphere which it should never quit, not seeking the result, not of a deficiency, but of a truth and superiority in her vocal education. In the executive of the production, the palm is due to Signor Mario, the tenor of the Italian school; his powers and their beauties grow with each new part he studies. Signors Fornasari and Corelli acquitted themselves with precision and taste; yet, powerful as the talent is accumulated in the production of this opera, we do not think it will drive either Otello or Il Babiere from the boards, which have, with I Puritani and select portions of other operas, engaged the attention of the musical world during the past month. Catarina and Ondine have been the favourite ballets; they have, in previous numbers, come under especial notice. Many benefits have taken place during the last month, and the Thursday nights have been more than usually attractive.

to depress, but to raise; not to contaminate, but to improve these are the legitimate aims of talent, and with talent so exercised, the stage may become powerful for good, and may resume the high-toned purity that was the charm, the boast, the honour of the Greek stage. Grandfather Whitehead-of its kind the most beautiful production, so full of simplicity and pathoshas, during the last month, been welcomed with its usual meed of enraptured applause; and the embodiment of the old, kind-hearted, half childish grandfather, by Mr. Farren, is the most truthful, painful, yet withal exquisite performance perhaps that this celebrated actor has given to the world. The Irish Post still, occasionally, has formed one amongst the many attractive after-pieces of this theatre; as has also the farce of Lend me Five Shillings. A new farce, called The Irish Tiger, has also been produced; it is constructed by "line and rule," in a method, time out of mind pursued by the technical playwright. The piece is cut to fit Mr. Hudson, which it does entirely. The Birds of Aristophanes have flown, following the example of most of the burlesque novelties of Easter,

widow, the audience are let into the secret of the usurer's intrigues, at the conclusion of which Laird Small, of Moss Holme (Mr. Compton), enters; when the usurer proposes to the silly old man that his son Mungo shall marry his daughter, by which means he purposes the aggrandizement of his wealth, as their estates are contiguous, and may thus be united. In these plans they are disturbed by the entrance of Madeline, who informs them a stranger is near, suffering from wounds gathered in a fray. Sir Adam orders the tapestry chamber to be prepared for him, and thus concludes the first act. The opening scene of the second is the tapestry chamber, where we find the disguised monarch reclining at his ease in the very nest of the conspiracy. Madeline enters to wait upon him, when a pretty scene follows, in which the King obtains possession of her scarf (by which she recognises him in the last act), and which he binds round his wounded head. Sir Adam and Laird Small then enter, and, on the latter retiring with Madeline, Sir Adam determines that his peasant friend shall be the bearer of a packet, contain

The drama of Ernestine has, we have no doubt, become an acquaintance of our readers, and so our promise of a notice must be forgiven, since want of space forbids our fully entering into its merits, or the construction of its plot; suffice it, that it still continues on the "off-nights" to attract a crowded house. We will now turn our attention to the performances of our most celebrated tragedian, Mr. Macready, and-not pausing to notice his well-known representations of King Lear, Macbeth, Othello, and Virginius— we will proceed at once to the new historical play produced on Wednesday, the 20th ultimo, under the title of King of the Commons. The scene is laid in Scotland, chiefly at Holyrood, Mr. Macready performing the character of James the Fifth. In the first scene we are introduced to the interior of an ante-chamber at Holyrood, with Mungo Small (Mr. Oxberry), a gentlemanusher at court, refusing admittance to the king's presence to one Buckie of Drumshorlau (Mr. Cooper), a noted robber, who, however, persists in waiting till such time as his Majesty shalling letters to the Scottish nobles, in which are appear. At length King James enters, preceded contained the whole workings of the plot. The by a bevy of noblemen, with whom he is enraged, King then feigns surprise that all the nobles since they refuse him the assistance he requires should be so ill-affected to the king, and deagainst the English army. By dint of persuasions mands, particularly, if Lord Seyton (Mr. C. and taunts, James succeeds in gaining from them Fisher) be among them; to which he receives a doubtful promise of their allegiance to his an answer in the affirmative. Matters arranged banners. They retire, when Buckie of Drum- to the satisfaction of both parties to the shorlau throws himself at the king's feet, and peasant, as he will be advanced in the world, divulges the secret of a treasonable plot then and to the usurer, as he deems his packet will being carried on by the entire body of nobles arrive in safety to the lords-Sir Adam offers surrounding his person, who, for a monthly the stranger (who gives the name of James stipend, received from a certain usurer, Sir Adam Alwin) the conduct of his relative, Malcolm Weir, of Laichmont (Mr. Ryder)-who is in Young, which is accepted. In scene the second, league with the English force, to join which these the wood at Laichmont, Malcolm enters, deep nobles-are to forsake their king on the battle- in study, and is stolen upon unawares by the field. James, unwilling to believe his nobles monarch and the merry Madeline, who hides guilty, doubts the truth of the story, and fears behind a tree, while the King is to endeavour to treachery from the hand of the conveyer of the draw him from his gloom. He proceeds, and news; yet the man's having saved him from the wondering fair one is surprised to hear from drowning, determines him on visiting, in propriá Malcolm's lips the confession that he had been persona, the house of the usurer. In the next forced to enter the pale of the church, and that, scene, which is a wood in Laichmont, we are too late, he had discovered how fondly he was introduced to Madeline Weir (Mrs. Stirling), attached to her. At this she faints; Malcolm daughter to Sir Adam, who appears "bantering" runs for assistance; before he can return she her companion and cousin Malcolm Young (Mr. recovers, and the King leaves her alone, expectLeigh Murray), a distant relative of Sir Adaming the return of Malcolm: however, in his Weir, for the change in his manner, he having stead appears her father, who informs her that been once sportive and merry, but now studious, she is to be married to Mungo Small, and will hear quiet, and reserved. This téte-a-téte is dis- nothing against his choice. So closes the second turbed by a loud shout and scuffle, when Mal-act. In the first scene of the third act the King colm Young rushes to the rescue with a staff which he carries in his hand, presently returning with the king, who has received some rather clumsy knocks about the head, when he is invited to the very house it is his wish to enter that he may have his wounds attended to. Thus | closes the second scene. The third represents the interior of a room at Laichmont, where Sir Adam Weir is seated at his accounts, Widow Barton (Mrs. Fosbrooke) occupying a seat near him, and industriously stirring a compound whose nature is doubtful. On the exit of the

meets with Buckie of Drumshorlan, to whom he entrusts the packet, desiring him at a certain hour to appear at Holyrood and present it. This the wary robber, however, will not do till such time as, by promise of a full pardon, he can put his foot in the hornet's nest with safety. In scene the second, Sir Adam endeavours to wring from his daughter her consent to the proposed marriage. Failing in this, he threatens to make her a beggar and an outcast; and exits, declaring that if Malcolm Young, whom he will send to her, fails in his persuasions, he will, like herself,

the robber, who gives the packet to the King, and accuses Sir Adam of ruining his nephew, who was entrusted to his care with a large fortune. This the usurer denies, but Buckie proves himself to be the nephew in question. The King then gives the packet containing the fatal letter to one of his nobles that he may open it, but observing his hand to tremble he himself breaks the seal; and after some very strong

beggar him. Laird Small, his son, and Widow | are sent for; they enter, and after them Buckie, Barton, then enter, for the purpose that the young man shall address Madeline on the subject of their marriage; but he is so taken up with his court learning and valorous exploits, that he forgets the "disconsolate fair one." On their departure Malcolm enters, but, of course, no persuasions on his part are used; and bidding each other an eternal farewell, they part, and the act closes. The opening of act the fourth is a scene in the king's closet at Holy-hints, that can leave no doubt on their minds rood, when the archbishop accuses Lord Seyton that he has been previously made acquainted of treason to James, who instantly sends for with the entire contents of the packet, gives it him; and on the bishop's accusing him, he them, unopened, saying, that for their sakes he confesses to each particular circumstance of the will know nothing; whereupon they immediately crime imputed to his charge; but when offer him their united force, to repel the English. upbraided by the king, demands the proofs of The play then concludes in the usual manner. his guilt. James snatches at this straw, which Buckie has a full pardon, Sir Adam is forgiven may prove his minister and old companion true. on conditions that his fortune be equally divided But the bishop had not come unprepared, and between his nephew and Malcolm Young, who, instantly brings the English messenger into the on making his appearance, is made happy with royal presence, on whose person is the letter sup- the hand of Madeline Weir, to the great annoyposed to contain proof how Lord Seyton was ance of Mungo Small. We have little space left leagued with the English army; but, when for criticism of this play, as a poetical produc opened, proves to contain scorn for their offers tion. The characters were admirably adapted and refusal to their conditions. This, of course, to the various actors engaged in its representa reconciles the King to Lord Seyton, who, since tion. Mr. Macready, as the noble, refined, and he was mistrusted by his king, deemed his life generous King, exceeded himself in the perof no value. The next scene is between Sir formance of the various phases his disguise Adam and Malcolm, who confesses that he used compelled him to adopt. Mr. Compton, as no persuasions to Madeline, and upbraids the Laird Small, was the most perfect representation usurer for having ruined him, and forced him of a garrulous old man that has of late years into the church, and in an angry mood rushes appeared on the stage. Mr. Leigh Murray, as from the apartment. Laird Small, his son, Malcolm Young, was energetic, and had eviWidow Barton, and Madeline, then enter, when dently deeply studied his part; Mr. Cooper, as shortly, to the surprise of all, the house is dis- Buckie of Drumshorlan, was clever, as was Mr. covered to be surrounded by the royal guards. Oxberry, who Small in name, small in stature, Sir Adam "shakes in his shoes," Madeline is small in voice, and small in understanding, gloomy and sad, the Laird delighted at the kept the house in continued amusement. The King's kindness in so publicly patronizing his dresses, that of Mr. Macready especially, and son's marriage, by an invitation to the court; of Mrs. Stirling (who performed the part of Mungo looks disconcerted and foolish, and Madeline with great vivacity, sweetness, and Widow Barton is lost in excitement, and pro-truth), were well studied, and had an excellent voked beyond measure, that on such an aus-effect, as had also the scenery, which was, most picious occasion her best silk should, at that of it, painted for the occasion. The play was very moment, be at the dyer's! Their exit, perfectly successful, and after the re-appearance closely secured by the guards, finishes the fourth act. Act the fifth is the audience chamber at Holyrood, and James V. is discovered in the midst of his nobles, whom he dismisses, and orders the attendance of the Cardinal, who presents the King with a parchment. James then orders the attendance of Malcolm Young, who appears and throws himself at the feet of the King. James then informs him, that wishing to reward him for his heroic conduct, in flying to his rescue at Laichmont, he had determined on advancing him in the church, desiring him to kneel, that he may receive promotion from the Cardinal. Malcolm importunes the King, but to no effect; the parchment is filled by the insertion of his name, when the King himself forces him on his knees before the Cardinal, holding the parchment before his eyes; it frees him from the church's bonds, he is no longer a priest. On his being desired to withdraw, the nobles again enter, when Sir Adam Weir and his family

|

of Mr. Macready before the curtain, the author, the Rev. Mr. White, was thrice called to the front of his box, to receive the congratulations of his friends, and a house crowded to the roof. Mr. Maddox, amid thunders of applause, announced the play for repetition every night during Mr. Macready's engagement. Colonel's Belle; or, the Non-Marriables, with other stock pieces, has concluded the entertainments at this delightful theatre.

SADLER'S WELLS

"The

Has closed for the season, and Mrs. Warner has left the management. There was a report, which has proved to be entirely untrue, that a theatre was about to be erected for her at Islington-a speculation, we think, that would pay well if put in practice. It is indeed greatly to be lamented, that in so short a time, the last struggle of the legitimate drama should be over, destroyed at the very moment of its regaining