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W. C.

THE ITALIAN OPERA.
KING'S THEATRE.

self-love to obtain their own likenesses, we may add and his productions. But although the last works of the another description;-the National Spirit, which eagerly great poets and artists, the last works of Homer, Michael consecrates the busts and pictures, and delineates the Angelo, Titian, Tintoret, and many more, betray the adbattles of the heroes who have led our fleets and armies to vance of age, and sometimes the second childhood of victory. Nor must we forget the love of nature, which genius, the CREATOR knows no old age, no failure of attaches a spell to romantic locality, and employs the powers. What he was, he is, and will be for ever. His pencil to transcribe with their simple inhabitants, and works are always in their prime and Man, created by his boldly varied features of mountain and valley, forest and will to-day, is as perfect in body, and mind, and genius, sea-shore, the delicious landscapes through which we have as man in the days of Michael Angelo or Praxiteles. wandered. Shall we, like madmen, in our earnestness to obtain an enviable distinction, make war upon those patrons; upon nature, national glory, and the human af fections? No: we would unite the fame which we posOn Saturday last, Mozart's Opera of La Nozze di Figaro sess, with the additional fame, which we covet. We hope for the triumph of England in historical painting, as for a wards of thirty years since this Opera was brought out on the was performed for the first time this season. It is now upjewel of ineffable lustre in her diadem. Unless she ob- Vienna Stage, and it owed its existence to the patriotic spirit tains that jewel, her genius must still be looked upon as a of Joseph II., who spared no effort to render the German Muquestionable majesty, clouded and diminished. Foreign sical Drama equal to the Italian Opera, and to introduce even nations, envious of her glory in every other field, speak of on the Italian Stage the Compositions of German Masters, in her with contempt, as a pauper, in historical painting. spite of the opposition and cabals of the Italian singers and They invidiously support the claim of America, to our L'enlevement du Serail on the German Theatre, the Emperor professors. After the successful representation of Mozart's venerable President, WEST, although he has been for fifty ordered him to compose an Opera for the Italian Stage. "We years an honor to the British School. The character of now," said he to Mozart, " must attack the enemy on his own the empire is at issue on the patronage afforded or with-ground, and you shall open the campaign." For this express held from the young artists, who, within these few years, purpose an Italian translation of Beaumarchais' Figaro was have devoted themselves to the study of this precarious but exalted art. Among a succession of able pupils in every other department, the ROYAL ACADEMY, in Hilton and Haydon, has sent forth two disciples, whose historical pictures, although not free from imperfections, reflect wellmerited honor on that school of science. The BRITISH INSTITUTION, amidst a mass of patronage, which it has dispensed, performed its duty by honoring and rewarding these two distinguished artists, and introducing them to the notice and protection of their country. England has now to do her duty. We repeat our conviction, that upon the patronage or neglect which they experience, depends much of the future advancement or failure of historical painting in this country. We would gladly concentre the voice of all true lovers of the arts to this important point, at a season, when Haydon, with a spirit like that of Curtius, has cast himself upon the forlorn hope of another grand historical picture, without a commission.

made, which at that time had excited the greatest sensation,
not only in Paris and France, but over all Europe. The selec-
lubricity of this Drama-the complicated tissue of intrigues of
tion certainly was unfortunate. Not to speak of the moral
which it is entirely made up, and the number of actors which
it demands, render it unfit for an Opera. These defects have,
in our opinion, had some degree of influence on the music
itself, fine as it is. Mozart was sensible of this, and still
more so of the hazard his fame was put to by the ill will of the
would rather entrust his cause in a law-suit to a counsel that
Italian performers. He more than once observed, that he
was his mortal enemy, than obey the Emperor's command;
and a Biographical Memoir of Mozart states, that at the first
representation of this Opera, there was such unfair play on the
part of the performers, that the Emperor, at the entreaty of
Mozart, was induced to send a threatening message to the
green-room, which saved the composition from ruin.
Although this Opera is not the best of Mozart's works, it is
melodies, and more particularly those of a tender cast, are at
justly admitted to be a great and beautiful composition. Its
once so original, so ravishingly sweet, that the heart partakes
of the delight of the car; and the finales, sestetts, &c. appear to us
the highest efforts of a rare combination of genius and science.
These difficult pieces, and the Opera altogether, were sung and
played by the present truly excellent company in so correct
greater delight from a Dramatic representation at this or any
and able a manner, that we are free to say, we never derived

We would divide our own time from the past, not to overturn the monuments consecrated to the glory of the dead; but to do justice to the fame of the living. We would unite every suffrage against that odious, unjust, and Anti-British prejudice, which sets out with measuring the merits of a work of art by its age, and ends with the doc-other Theatre. trine that there is nothing excellent but what is old. Our Signor Ambrogetti made his first appearance in the character reverence for the old masters, is founded in a sense of ge- of the Count, by which he soon firmly established himself in nius, which pays no regard to the date or the name, or the the favor of the audience. His voice is a baritono, or low tenor, buz of inconsiderate opinion. Grandeur and beauty of strong and full-bodied; his person somewhat corpulent, but form and expression, whether produced some thousand his action graceful, spirited, and dignified. When we add that well proportioned; his countenance manly and impressive, and years ago, by a Phidias or Apelles, or to-day, by a Nol- he acted and sung the arduous part of the Count under relekeus, a Chantry, or a Haydon, are intrinsic qualities peated plaudits from the audience, we at once proclaim his which cannot be improved or lessened by connecting them rank and station in his line. His taste and skill were particuin our minds with the character of real or imaginary per-larly conspicuous in the recitativo and aria "Hai gia vinto la sons or particular eras. Those who would deaden every causa," and the duett with Madame Camporesi, "Crudel present exertion, by dwelling on the superiority of the old masters, are fond of a notion that the present race of men are inferior to their ancestors. They would have us believe that the OMNIPOTENT has fallen off in his capacity

perchè finora," was sung delightfully by both. This lady, as Susanna, appeared for the first time, here, in a comic chasprightly, although there was a considerable degree of humour racter, in which we did not think her sufficiently arch and in her performance. But her singing was throughout exqui

site. The same praise is due to Madame Fodor, whose admirable representation of the Countess is sufficiently known and appreciated from her performance of last season. Madame Pasta's Cherubino did her great credit, although her tempi were sometimes a little slow, particularly in "Non so piu cosu son," and once or twice she pitched rather sharp. Her performance, also, was not lively enough; but a vein of infantine innocence, which pervaded her play, made great amends for occasional want of juvenile vivacity.

Mr. Naldi performed the part of Figaro with great humour and ease, although, both in his acting and singing, we think he fell short of the life and vigour of Beaumarchais delineation of the character. Even the beautiful military air, "Non piu andrai farfallone amoroso," which he certainly gave with a rich colouring of mimic humour, was sung in too formal and slow

a manner.

In the Ballet, there has not been as yet any new production. "Le prince Troubadour," which was often performed last season, formed the afterpiece on Tuesday. Monsieur and Madame Falcez are daily expected from the Continent, and announced in the bills as first rate dancers.

FRENCH DRAMA.

M. Amelot desires his cashier to give him Bank Bills to a considerable amount, which he wishes to take with him to a village at a short distance from Orleans, to pay for an estate which he has purchased. He resolves to cross the forest of Sercotte, in order to take the amusement of shooting at the same time. Two of his workmen, whose bad conduct had often excited his dissatisfaction, having heard his conversation with the cashier, lay a plan to rob and murder him, which, notwithstanding his resistance, and his firing and wounding one of the villains, is fully accomplished; while dying, M. Amelot appeals to two Ravens, as Simonides did to the Storks. The assassins obtain possession of the bills, and throw away the pocket-book which contained them, which is picked up by M. Durand, a Merchant of Orleans. On hearing the firing he runs to the spot, and the officers of justice, who also hasten thither, see him, assisted by Justin, a boy belonging to the neighbouring inn, in the act of lifting up the dead body. It is believed that they are the murderers, and several circumstances concur to confirm the suspicion. A kuife, which Justin acknowledges to be his, is found near the deceased. Ile had lost it, and it had fallen into the hands of one of the assassins. The pocket-book had contained a bill due by Durand, which the derangement of his affairs rendered it impossible for him to pay. In fine, they are condemned to die. Jules, the nephew of Amelot, who is in love with Adrienne, Durand's daughter, and who is plunged into the deepest despair, accidentally overhears the following conversation between the two assassins."They are condemned to die-That is fortunate for us." At this moment the two ravens that flew across the stage during the perpetration of the crime, again present themselves.— "Look, do you see M. Amelot's witnesses?-Yes, truly, they have doubtless been summoned to appear."-Jules rushes forward and seizes one of the villains, the other escapes, but is soon caught; it is discovered that he has been wounded in the arm by the shot of a fowling-piece; they are examined, and at length confess the crime, for which they are doomed to suffer.

THEATRE DE LA PORTE SAINT MARTIN. FIRST REPRESENTATION OF "LES CORBEAUX ACCUSATEURS." THAT crimes never escape punishment, and that heaven always succours innocence, are maxims, the former of which is no less terrible to the wicked than the latter is consoling to the good. Though the experience of the world does not permit us to found on these maxims a rule without exceptions, it is laudable to encourage the opinion that the exceptions are rare, and to preserve carefully those miraculous examples of celestial justice which history records. Under this point of view the representation of melo-dramas may prove useful, and their The first act, which is quite in the German style, represents authors would be entitled to public gratitude, were they to the interior of a manufactory, throughout which the most active succeed in convincing mankind that all similar affairs of intelligence and most rigorous probity prevail. There is human life terminate in the manner of their pieces. But the much truth is the details, which are however sometimes carried people of Paris we are afraid are too enlightened, too philo-to too great a degree of minuteness; but this is the error of the sophical, not to know that such is not the fact. Indeed the Gerinan school. The characters of the Dramatis Personæ are villains of the stage are often represented so unskilfully, that defined with a happy simplicity, and at the termination of the the least practised rogues might, without vanity, boast that act, the spectator is left in anxious expectation of the event they could extricate themselves better in the like situation. which has been prepared before him. The parts of the two What then is to be hoped from the lessons of the Drama? We robbers are skilfully contrasted. The one, born with the inhear of rubberies in Courts of Justice and at the place of stinct of vice, is animated by a ferocious spirit, a stranger execution! equally to fear and remorse; the other, who is weak and cowardly, trembles as he advances towards the crime, the atrocity of which terrifies him almost as much as the danger. When the mortal blow is struck he starts backwards, amidst. the most violent agitation, exclaiming-I did not do it, I did not do it. His companion stifles his cries. This scene produced, Simonides being attacked by banditti in a solitary place, im- the most marked effect: it is the best throughout the whole of plored their mercy in vain. He represcuted to them the atro- the second act, the progress of which is retarded by ill-concity of their crime, and the punishment which would sooner trived entrances and exits. The authors might easily simplify or later overtake them, but his words had no effect." Thou it. The third act has the inevitable fault of resembling La alone canst depose against us," exclaimed their chief, stabbing famille d'Anglade, la Pie Voleuse; and, in fine, every piece, the him, "die then." Simonides, lifting his eyes to heaven, per-interest of which depends on the dangers to which innocent ceived a flock of storks in the air-Sole witnesses of my persons are exposed, when about to perish, the victims of death," exclaimed he as he expired, "I charge you to avenge justice deceived by false appearances. it." The perpetrators of this crime remained long unknown, and the murderers thought themselves certain of impunity, when one day as two of them were walking in a public place, some storks perched on a neighbouring building. He who first beheld them, said to his companion with a laugh-"Look, there are Simonides's witnesses following us."

Among the prodigies which have sometimes signalized the avenging justice of Providence, few are more striking than the discovery of the assassins of Simonides, and we are indebted to the authors of the Corbeaux Accusateurs, for the use they have made of that tradition.

Substitute M. Amelot, manufacturer at Orleans, for Simonides; convert the storks into raveus; and you will have an idea of the Melo-drama brought out at the Theatre of la Porte St. Martin.

This piece contains all the elements of popular success, together with the faults of the class to which it belongs; and the introduction of two villains, who murder for the sake of robbery, is certainly not the least of these faults. If the progress of the piece were accelerated by the omission of several scenes and many useless phrases, the situations of terror, which are extremely well managed, would produce a powerful impression on the multitude.

INTELLIGENCE,

LITERARY AND SCIENTIFIC.

LIST OF BOOKS REVIEWED IN THE CURRENT JOURNALS.

(To be continued.)

Those fond of rural amusements will be much pleased with Barker's Art of Angling, just reprinted at Leeds, from the quarto of 1553.

Sir James Mackintosh's History of Great Britain, from our own to the French revolution, is proceeding rapidly.

The admirers of Oriental Literature are much interested by the arrival in London of the first part of a curious Chinese Dictionary, printed at Macao, under the compilation of the

Rev. Robert Morrison.

IN THE PRESS.

EDINBURGH REVIEW, LIII-Scott's Swift--Coleridge's
Christabel--Bartholdy's Tyrol-Dealtry's Fluxions-Fourth
Part of Humboldt's Voyage-Holt's Law of Libel-Breaslek's
Geology-Cook's Church of Scotland-Dugald Stewart's View
of Philosophy-Schultes on the British Empire-On Civil and
Religious Liberty, &c.
QUARTERLY REVIEW, XXXI.--Legh's Journey to Egypt--
Poems and Speeches by Counsellor Phillips-Sumner's Re-French. By A. de Christophero Davallos.
cords of the Creation-Campbell's Voyage Round the World
-Shakespeare's Himself Again; by Becket-Various Tracts
on Saving Banks, by Duncan, Rose, Taylor, &c.-Poems and
Memoirs of Cowper-Lord Selkirk's Sketch of the Fur Trade
-Maldonedo's Voyage for a North West Passage-Lord By-
ron's Childe Harold, third Canto.-Malthus' Statement re-
specting the East India College-Warden's Buonaparte-Daw-
Son's Inquiry into the Poverty of Mankind-Sir J. Sinclair's
State of the Country-Tatham's Observations, &c.

House of Mourning, a Poem, with smaller Pieces. By Mr.
Scott.
Historical and Political Review of the Island of Malta; in

BRITISH REVIEW, XVI.-Principles of Population and Production; by John Weyland-Works of Earl Surrey and Sir T. Wyatt; edited by G. F. Nott, D. D.-Origin of Pagan Mythology; by G. S. Faber, D. D.-Apostolical Preaching considered-Wraxall's Memoirs of his own Times; parts 1. and 11.Traite de Physique, par J. B. Biot.-Letter from the Board of Agriculture-Tour in Germany, &c. in 1813, 1814; by J. T. James-Bishop of Gloucester's Charge-Marriott's Hints to Travellers-National Establishment-Thoughts on Tythes, &c.; by Rev. W. Edmunds.

A memorial drawn up by the German booksellers, TREUTTEL and WURTZ, and signed by all the respectable Parisian Bibliopolists, has been presented to the Two Chambers, stating the great inconveniences which result from the taxes imposed upon foreign books when imported into France. Not only the heavy duties are complained of, but also the difficulties thrown in the way of importation by all the officers of the customs, &c. &c. There is much liberality displayed, and a free importation is prayed for.

The Royal Academy is at present enjoying the active patronage of his Royal Highness the Prince Regent; who, in addition to his munificent present of the Italian casts, has actually permitted one of the grand productions of Raffaelle, a cartoon from Hampton Court, to be placed in the School for Painting, for the advantage of the art.

The learned world will soon possess what may truly be called a literary curiosity; being a new edition of HOMER by a modern Greek, Nicoloupoulo. He preserves the commentary of Eustathius; but we have a right to expect much illustration and elucidation of doubts and difficulties, with new readings,

&c.

The investigations, both literary and practical, into the interior of Africa, seem stili to preserve their place in public curiosity. LEYDEN's discoveries and travels on that continent, with a view of its present state, are preparing for the press in 2 vols. 8vo. by Mr. Hugh Murray.

A new graphical illustration of Oxford is in progress; principally to consist of re-engravings in the line manner, from the Oxford almanacks, but on a reduced scale. The work is also to combine antiquities and portraits.

The coincidence and analogy of music and colours, together with the harmony of the latter, have been recently investigated by Mr. Newman of Soho Square, who promises speedily to amuse the world with his new theory.

The Antiquities of Ireland are taken up as the subject of a Novel, by Mrs. Peck, who has assumed some very extraor-1 dinary facts of the seventh century as the ground work of her tale.

The Imperial Captive; a Poem. By Mr. Gwilliam, Author of the Battles of the Danube and Barrossa, &c. 2 vols. 8vo. NEW BOOKS.

An Illustration of the Liturgy and Service of the United Church of England and Ireland. By the Rev. T. Pruen. Part II.

The Conflagration of Moscow; a Poem. By the Rev. C. Colton, A. M. Author of " Hypocrisy;" a Pocm. Secund Edition, with extensive additions. 8vo. 2s. 6d. sewed.

Author of "Display &c. Second Edition, foolscap 8vo. 6s.
Essays in Rhyme on Morals and Manners. By Jane Taylor,
boards.

The Naiad, a Tale, with other Poems. 8vo. 4s, sewed.
The Round Table, a Series of Essays, 2 vols. 8vo. 14s. bds.
Cowper's Works, 10 vols. foolscap, boards, 31. 11s.

Letters, 3 vols. do. 11. 1s.
Homer, 4 vols, do. 11. 3s.
Bennett's Retreat.

St. Clair of the Isles, 4 vols. new edit. 11. bds.
Caroline of Lichfield, a new edit. 3 vols. 15s. bds.
Harold the Dauntless, a Poem, in six cantos, by the author
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Illustrations (chiefly Geographical) of the History of the Expedition of Cyrus from Sardis to Babylonia, and the Retreat of the Ten Thousand Grecks from thence to Trebisonde and Lydia. By James Rennell, Fellow of the Royal Societies, London and Edinburgh, &c. &c. &c. 11. 16s. 4to. bds.

Memoirs of the Life and Writings of the late John Coakley Lettsom, M. D. &c. &c. with a Selection from his Correspondence. By T. J. Pettigrew, F. L. S. &c. &c. &c. S vols. 8vo.

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NO. IV.

AND

Journal of the Belles Lettres.

EXPRESSLY DESIGNED FOR THE POLITE CIRCLES.

SATURDAY, FEB. 15, 1817.

ORIGINAL CORRESPONDENCE.

Sir,

WALMODEN COLLECTION.

PRICE 1s.

themselves. Would you believe, that these critical apos-
tates formerly stood forward to vindicate Pope from the
very charges which they have now brought against him!
I shall give you, without further preface, a sample of their
opposite opinions respecting him, in 1808 and in 1816,
under the titles of Attack and Defence.
ATTACK." He (Goldsmith)

ATTACK.

had the harmony of Pope,
his selectness of diction, with-
without his quaintness; and
out his COLDNESS and eternal
vivacity." Ed. Rev. Sept. 1816.
(Speaking of
Queen Anne's Wits, after hav-
ing included Pope amongst
them.) "As poets, they had
no force or greatness of fancy
siasm."" Ed. Rev. Sept. 1816.
- no pathos and no enthu-

DEFENCE." Is the FERVOUR of passion, the power of tion, the soul of poetry? we exciting and expressing emohave already pointed to it in the

Eloisa." Ed. Rev. Jan. 1808.

DEFENCE." But are there no other parts of his works, in which Pope has reached a high tone of real poetry, according to the strictest notion of the term? Is poetry found in the moral sublime, in the excitement of high and dignified emotion, through the medium of harmonious and forcible numbers? The Epistle to Lord Oxford displays this reach of noble sentiment." Ed. Rev. Jan. 1808.

I HAVE seen with pleasure in your last Number, that His Royal Highness the Prince Regent has purchased the fine collection of pictures that belonged to the late Field Marshal Count of Walmoden-Ginborn; 1 only wish you had added, that the purchase had included the statues also, which would be a most valuable acquisition. Perhaps the following extract from an elegant German writer, may afford some amusement to your readers." Near this country-seat of one of the most illustrious families, (Von der Decken,) is that of the equally honored family, Von Walmoden-Gimborn. It has stood, indeed, unfinished for a long series of years, but is infinitely rich in the noblest works of art. At the commencement of the storms of the French Revolution, it is said that it was foretold to the late proprietor, who at that time began the building of the Chateau, that the completion of the building would bring misfortunes upon him. He therefore left the Villa unfinished; yet merciless fate overtook this noble family."......" The admirable treasures of Italian art, united with the magnificence and taste of the gardens, and the views of the surrounding ATTACK." We are of opicountry, transport us at once into the environs of Rome, to nion then, that the writers the Villas of the Medici, the Albani, the Borghese.--When who adorned the beginning of did a private individual in Germany unite in his own pos- the last century, have been session such a treasure of the finest works of art and of eclipsed by those of our own antiquity? For many years they stood crowded in dis- TIME." Ed. Rev. Sept. 1816. order, and partly still unpacked in different small houses on the estate. The able designer and engraver, Huck, who died some years ago, began to arrange them, in a light, They likewise state in their Attack, that "Cowper, for richly ornamented gallery; the effect of which is admirable. the first time, made it apparent, that Pope was no longer Here, under excellent paintings of all schools, are to be the model of English poetry," and therefore they placed ancient and modern works of sculpture, groupes, cannot allege, in vindication of their consistency, that the statues, busts, bas-reliefs, altars, and sarcophagi. A great poets who have outdone Pope, have sprung up since 1808, many similar productions, both of painting and sculpture, the period when their Defence was written. are still in the saloons and rooms of the upper story, the But in that Defence, as if to put any future evasion arrangement of which, to complete the whole, remains for quite out of the question, after having celebrated Pope for the noble sons of the late venerable owner. At a time his fervour of passion-his imagination-his delineations when merit and virtues were rewarded by the tyrant, only from nature, &c. &c. &c. they conclude all with asking with mortifications of every kind, he found his grave far triumphantly, "WHAT IS IT THEN THAT WE WANT?" from his beloved home in his voluntary self-chosen exile." Sir, I will tell you what they want-they want good I am, Sir, H. E. L. memories, to prevent self-contradiction.

AUGUSTAN WRITERS and EDINBURGH REVIEWERS.
To the Editor of the Literary Gazette.
Sir, I HAVE read in your columns an attempt to
refute the notorious opinion expressed in the last Edinburgh
Review, that “
Pope was no longer to be the model of
English Poetry." Now, while I acknowledge the justice
of the cause you have espoused, and the ingenuity with
which you have conducted it, I must also pay a respectful
tribute to the candor of the opposite party. Whether you
have refuted them or not, may, by possibility, be denied,
but it is an incontrovertible fact, that they have refuted

DEFENCE.- "We will not" (talking of Pope,) "permit the bards of former days to be thus arraigned before a jury of tourists and draftsmen, for the want of excellences of which their own COTEMPORARIES had never dreamed! Ed. Rev. Jan. 1808.

of founding even a caprice upon a principle, they pretend Indeed, in perfect conformity with their pedantic habit to derive the coldness and want of enterprise in our writers during sixty years of the last century, from the peaceable tenor of those times! they have actually found out, that another Reformation and new Civil Wars would prove highly conducive to good poetry!

It is, no doubt, quite natural, that a poet should say within himself, "Aye, Buonaparte has beaten half the world-that is something new-therefore I must write something new-therefore I shall write the Lady of the Lake. The people, too, they are all calling for Reform in Par

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