which has thrown such brilliant hues over the interior of the house has the effect of reminding us that the edifice is new, without convincing us that it is altogether comfortable. Time, however, will soon remove these errors. In the mean time we will introduce our readers to the theatre. The interior seems to us considerably larger than the former, but the shape and fashion are much the same as before. On the ceiling is painted a representation of Morning, which is pleasant enough, though we do not quite understand how it harmonizes with the place, or what it is more particularly intended to indicate. In the angles, and on the stage, are pillars resembling palmtrees, gilded, and the pannels of the boxes, which are of a slight red colour, are interlaced with gilded trellis work. The whole of this is very graceful. There is also, over the orchestra, a projection which springs from the proscenium, and is said to be for the purpose of improving the sound. That this would be the effect is likely enough, and the pronunciation of the actors is certainly sufficiently audible. The drop scene, embraces, as might have been anticipated, an allegory, and it has somewhat of mystery in it, like allegories in general. The finest drop scene that was ever seen in this country is, we believe, the original one at Covent Garden, which represents a hall, with Shakspeare at the head; and Ben Jonson, Moliere, and other famous dramatists, ranged side by side, and forming an illustrious avenue to the spot on which the most immortal of all poets stands.

The principal performers at this theatre are Mr. Terry (who is also stage manager), Mr. Conway, our old acquaintance Mr. De Camp, Mr. Leoni Lee, a Mr. Ward, and a Mr. Tayleure: and the performances have been a little piece, from the French; called Peter and Paul,' the Rivals, the Provoked Husband, the Green Man, Guy Mannering, and some other matters equally notorious.

The merits of Mr. Terry are well known. His forte is decidedly comedy; and in such characters as Mr. Green, Major Oakley, in angry fathers and hot-headed governors, and sar castic guardians, &c. there is no one VOL. IV.

on the stage, excepting only Dow ton, who may compete with him. His voice, which becomes unplea sant when it is strained, does not so well for tragedy; though in parts, where it is not absolutely necessary to split the ears of the groundlings, he must still be considered as an eminent performer. Of Mr. Conway, who attempts both tragedy and comedy, we feel more hesitation in speaking. He is, however, a fine handsome young man, and has a voice that can fill a theatre upon occasion. His first appearance at Covent Garden was, we believe, in Alexander the Great (or was it in Jaffier?) and his talent among performers may be considered of about the level at which Lee arrived among the dramatists. We could wish, however, that Mr. Conway would give himself more up to the character which he plays, and we feel assured that he would succeed better. There is an air of restraint about him, in his eye, in his voice, and in his step. He seems to measure the audience and the house, and then to act accordingly. There is something at once turgid and diffident in his style, which inclines us to think that he does not feel properly his elevation. Mr. De Camp (whom we do not dislike— perhaps we like him from his affinity to Mrs. Charles Kemble) has a ramb ling style of acting, but he is lively and unaffected, and is a fit inhabi tant of comic ground. He is like a smiling welcome at the new theatre, and graces, and is graced by it. We have seen better Captain Absolutes than he, however, for we have seen Mr. Charles Kemble, who (whatever difference of opinion there may be among critics, as to his tragic powers) is undoubtedly the first gentlemanly comedian on the stage. His Cassio, Charles Surface, Don John, Falconbridge, &c. &c. were never surpassed in the recollection of play-goers much older than ourselves, and his spirited portraits of chivalrous heroes are entirely admirable. Mr. Leoni Lee, the new singer, has a voice of limited compass, but without anything harsh in it. We have little doubt, but that we should like him in a room, as he has rather a graceful style, and sel dom or never shocks our antipathies.

Q

and the Duchesses of Gloucester and Cambridge, being present), contained no one who seemed willing to attend to any other portion of the entertainment.

Della superba Roma were the first words that broke from her lips; and they issued forth with a grandeur, that might have led one to imagine the proud mistress of the world was here personified. The rich amplitude of her magnificent tones filled the ear, as the broad splendours of the mid-day sun satiate the eye; and it was at once discovered that her powers were only matured during her absence from, England. As she proceeded, this impression was confirmed by every note. Perhaps the principal and reigning idea was, that she had gained in force, and lost a trifle in sweetness. Her execution is thus somewhat changed in the manner, but not at all in the subjects upon which it is employed. Her fancy seems to have slumbered; for she appears to have added nothing to her former stock of invented passages. Even her facility is endued with new and extraordinary force. In one chromatic passage (ascending by semitones), to those who stood near, her voice sounded like the wind rushing through trees; and, indeed, distance is absolutely indispensable to the true enjoyment-to the true notion, of this wonderful woman's powers. All her effects are calculated to operate through a vast space; and at every remove, we will venture to assert, the auditor would be liable to entertain a different idea of her singing. When very close, it is really terrific. (Young Linley fainted, and dropped from his seat, at her rebuke for playing a wrong note during the rehearsal, through the fault of the copyist.). She would be said by judges to violate every rule of art; but as you recede, distance modifies the preternatural strength; and the grandeur is retained, while the coarseness evaporates. Madame Catalani has formed a style of her own, and it is purely dramatic. It is also florid in the highest possible degree. Her voice is the most prodigious instrument, in volume and in tone, that ever astonished the ear; her facility is not less marvellous. Her capital faculties are force and transition.

Her choice of a comic bass song was dictated, we presume, not so much by singularity, as by the desire to show her talents in a new style, and the richness and depth of her lower tones. She transposed it one note, and sang it in the key of D. She altered many of the passages, by inserting short, but appropriate volate, and also by the introduction of entirely new phrases, where repetition seemed to call for variation. She moreover appended two splendid cadences to the pauses. But she enriched the song with genuine humour, mellow and expressive, particularly where the words Non piu andrai were repeated. Upon the whole, this air gave most pleasure; the others excited most surprise.

But the figure and features of Madame Catalani are certainly subjects for as much admiration as her voice. Never, surely, were transitions so fine, so instantaneous. Yet the ef fort, involuntary and the offspring of high-wrought sensibility (as we are convinced it is), is frequently dreadful. The spectator trembles for the beautiful creature before him, who is at one moment convulsed with passion, the next melted by tenderness. He cannot escape the fear, lest those delicate vessels, that swell almost to bursting, should overpass the point of safety, and destroy the frame they serve to agitate.

As a whole, then, this wonder stands alone. Her grandeur of conception is not more marvellous than the thunders of her voice, and the lightnings of her countenance. THERE IS BUT ONE CATALANI.

To break our vast descent to minuter objects, we shall next take the Concert of Mr. Mocheles, given on Wednesday, July 4. We spoke of this professor in our last; but we scarcely did justice to his very, very superior attainments, of which language can convey but indistinct ideas. His command of his instrument (the piano-forte) is really prodigious; and his rapidity, precision, elasticity, neatness and delicacy of touch, his certainty in striking distant intervals, both at top and bottom of the compass, his thumb acting like a fulcrum to his hand, cannot be surpassed. In the intellectual parts of his performance he is not less

gifted; for while his fancy is richly endowed, his taste is pure and refined. To complete his character, he is mild and unassuming; and his merit seems to be exceeded only by his modesty. The concert exhibited great variety; and presents a very honourable testimony to the homage which the English and foreign professors have alike paid to this gentleman's extraordinary talent, while the distribution and the disposition of the parts are equally creditable to his own judgment.

Mr. S. Wesley has since had a Concert in the small room at the Argyll Institution, which, during this present triumphant reign of Italian and German music, was remarkable for an almost entirely English selection. It was wholly vocal, with the exception of an air with variations, played by Signor Spagnoletti, and an extempore performance by Mr. Wesley himself. In this department, he is justly allowed to stand without a rival; but on this night, though it well might be thought an extraordinary display of ability, Mr. Wesley was not so great as we have heard him. We lament that such a man should find a committee of professors indispensable to the support of his benefit concert, and that the small room should be thought adequate to contain his audience. This is something very like a satire, not to say a disgrace to the dignified patrons of music, in a country where a foreign professor, with not a quarter of Mr. Wesley's talent and erudition, can fill the largest saloon in the metropolis at a guinea admission.

We lament to hear that Miss Hallande has broken a blood-vessel. Her voice was of great promise.

M. Sapio, jun. is arrived from Paris, and purposes to give a Concert shortly, at the house of one of the nobility. He is a tenor singer. His tone is sweet and pure; his facility and fancy considerable; and his manner in English, French, and Italian, equally excellent. We should, however, perhaps, give the preference to his French Romances, which he sings

with remarkable effect.

The seventh number of the Quadrille Rondos, by Meves, is light and elegant. It is adapted to performers of moderate acquirements, without the tameness and monotony which

'usually attend compositions of this class.

M. Bochsa has arranged the Minuet and Gavot from Nina with variations for the harp. There is nothing particularly new in this piece; nor does it contain any great difficulties of execution; but it possesses the animation and grace which peculiarly characterize M. Bochsa's style, and which bestow a charm on every thing he touches.

Mr. Craven has adapted four Romances for the harp, as some of the earliest lessons for that instrument.

M. Klose has adapted the airs from the Ballets of Nina, and Le Carnival de Venise, with an accompaniment for the flute.

The third book of the airs from Il Barbiere di Seviglia for the harp, with accompaniments for the flute and violoncello, has appeared.

Mr. Latour has published selections from the same opera, arranged for the piano-forte and flute.

A duet for the piano-forte, with a flute accompaniment, containing two airs from this opera, adapted by Watts.

A divertimento for the piano-forte and harp, by Naderman, arranged for the piano-forte alone by Kiallmark. This piece is brilliant, without being difficult, and contains much that will attract and amuse.

Amongst the new vocal publications, are two duets, a quintett, and a song from Rossini's opera of It Turco in Italia. One of the duets Per Piacere alla Signora is much in the style of S'inclinasse prender moglie, though hardly so good. The song Presto amiche, is very florid, but is inferior to his usual productions.

Dear Object of defeated Care, by H. Craggs, is a pretty ballad, capable of some expression.

Gentle humble-bee, by M. P. King, is rather a singular composition. The words follow each other so rapidly (a semiquaver, with hardly any exception, being allowed to each), as to render the effect perfectly ludicrous.

Love is like the Rose, by Lanza, is an elegant little ballad. The opening of it bears a slight resemblance to one of the Irish melodies in the eighth number. To our own recommendation, we may add, that it has been sung by Mrs. Salmon, to whom it is dedicated.

Russia. According to the latest estimation, there are 350 living authors in this country, about oneeighth part of whom are ecclesiastics, but the far greater proportion consists of persons of rank. Backmeister, in his Russian Library, computed that, previously to 1817, there existed about 4000 different works in that language. In the extensive collection of national literature belonging to the Academy of Sciences at St. Petersburg, there were, in 1800, 3000 works printed in the Russian tongue; among which, only 105 belonged to the class of novels and romances. Since this period, authorship has increased so much, that last year no fewer than 8000 volumes were printed in this language. Translations are very numerous, particularly of dramas, novels, works of imagination, and the belles lettres. There are newspapers and journals, both German and Russian, published at St. Petersburg, Moscow, Riga, Revel, Abo, and other principal cities. At the first of these places there are 15 printing houses, and 10 at Moscow.

A Poetical Journal,-entitled Die Muse, has been commenced at Leipzig, by Kind. One of the most important articles that have appeared in it, is a specimen of a translation, by Nordstern, of Childe Harold, in the Spenserian stanza of the original. The writer, however, is not sufficiently master of this difficult form of versification. In addition to the poetry, this publication is intended to contain theoretical, polemical, and satirical essays.

The Bell and Lancasterian Systems. -A work has appeared at Lyons, attacking the system of education pursued in what are called, on the Continent, schools of mutual instruction, condemning it as pregnant with danger, and pointing out the mischiefs to be apprehended from its adoption. The title of this work is, L'Enseignment Mutuel Devoilé, ainsi que ses Jonglerieset Pretintailles Revolutionnaires; ou l'Art d'affranchir l'Education de l'Enfance de toute Influence Morale et Religieuse !

Sweden. The Society for the Promotion of the Arts and Sciences at

Stockholm has offered five prizes for subjects of painting or sculpture, illustrative of the Northern Mythology. Among the most eminent Swedish artists are, Sandberg, the historical painter, Fogelberg, the sculptor, Van Brede, a painter of history and portrait, Salmson, an engraver of gems, Professor Linnell, an historical painter, Snell, and Berggonen.

Bourdeaux.-The Royal Academy of Arts and Sciences has this year proposed additional prizes for the two best productions in poetry and painting each to consist of some subject serving to commemorate the birth of the infant Duke of Bourdeaux. The reward for the former is to be a gold medal, worth 300 fr.; that for the painting will be 500 francs. No artists will be permitted to enter into com petition for the latter, except such as are either natives of, or residents in this city. The prizes are to be adjudged on the 21st of the present month.

Italian Literature.-A voluminous publication has been commenced at Milan: it is intended to form a complete series of the best historical works in every language, and is entitled, Biblioteca Storica di tutti i Tempi, e di tutte le Nazioni. The first work selected by the editor is Müller's Ge neral History of the World, in six volumes. Next, the History of the American War, by Botta, an author who has been called, by the journalists of Philadelphia and New York, the Livy of the United States; and who has been universally admired, as one of the most philosophical historians of the present age. To these succeeds the eloquent work of our own countryman, Gibbon: a very unfinished and incorrect translation of him had before appeared in Italy; but this has now been entirely rewritten, and completed by Bertolotti, the successful translator of many other English works.-Bettoni's Lettere sui Giardini di Venezia is another publication, from the Milan press, deserving of notice. In these seven epistles (four of which have been before printed,) the writer describes, in an elegant style, the noble garden which has been formed, of late years, in the