correction of the work, which is to appear in French and in English, the latter translated under the inspection of, and corrected by, the Prince.

Mr. Bulwer's new work on the Athenian History is in considerable forwardness. The skill with which this admirable writer transports himself into distant times, will, doubtless, render this a most attractive and delightful production.

The author of "The Old Man's Tales," who is, it seems, still determined to remain unknown, has nearly completed a second series of that admired work, entitled "Tales of the Woods and Fields."

Mr. Edward Landor has just committed to the press his new work," Adventures in the North of Europe," with illustrations.

Miss Stickney has nearly ready for publication a new work, entitled "The Iron Rule; a Domes.ic Story."

The Memorials of Mrs. Hemans, with Illustrations of her Literary Character, from her Correspondence, by Mr. Chorley, will, we understand, be particularly rich in communications from the large circle of her private friends. The work will also be embellished with some beautiful engravings from original sources.

Antiquitates Britannica. The Royal Society of Northern Antiquaries ars resolved to publish as complete a collection as possible of the materials for the early history of Great Britain and Ireland, which are contained in Icelandic, or old northern parchment MSS. and other ancient northern historical records. To give the edition a higher value to subscribers, it has been determined that it shall be limited to 360 copies, and the subscription is already numerous. To make this undertaking known in England, a prospectus has been printed and sent to the principal literary institutions in London.

Champollion's "Monumens de l'Egypte et de la Nubie," the first two livraisons of which are published, will extend to 4 vols. folio, with 400 plates, some of which will be coloured. The price will be about 500 francs.

M. Monin, professor of history at the College of Lyons, has found among the manuscripts in the Royal Library at Paris, the Chronicles of Jean Lebel; a manuscript which has long been supposed to be lost, and intends to publish a pamphlet on the subject of this discovery.

It is well known that Chateaubriand is at present engaged in a translation of "Milton's Paradise Lost."

Brockhaus of Leipsic has commenced with 1836, a weekly publication with the title of "Allgemeine Bibliographie für Deutschland," which will furnish as complete a view as can be given of the books published in Germany, with notices of such as are in preparation, and miscellaneous intelligence, literary and bibliographic.

The Principles of Perspective, and their application to Drawing from Nature, familiarly explained and illustrated. By William Rider.

Recollections of an Artillery Officer, including scenes in Ireland, America, Flanders, and France. By Mr. Benson Hill.

Select Sermons by the elder Divines; being choice Specimens of Sermon Literature in the seventeenth and eighteenth Centuries.

A Voyage to St. Petersburgh. By Francis Coghlan.

NEW MUSIC.

The Naval Waltzes, for the Piano Forte. Composed by E. L. G. Leoni Lee.

The waltz, as every one knows, is a native of Germany, and were it not that that part of Europe possesses scarcely any maritime states, we should suppose that the initials E. L. G. concealed the name of some learned German musician, so original are the melodies, so rich the modulations, and so profound the harmonies of the present waltzes. But as they are termed "Naval" waltzes, and as they are dedicated to the officers of his Majesty's (we take it for granted his Britannic Majesty's) service, we are bound to conclude that the composer is one of ourselves, and we should further determine from internal evidence, no less than from certain rumours, that we are indebted for these charming productions to the pen of a lady. Over and above the skilful construction of the airs, a character of delicacy, grace, and luxury runs through them which belongs essentially to the sex, and which is May 1836.-VOL. XVI.—NO. LXI.

D

perfectly evidenced in this work, though the authorship has been ascribed to a musical aspirant only just entered in her teens. The public in general, and the naval profession in particular, will assuredly not admire these seductive waltzes the less because they are said to be the production of the young daughter of a post captain of considerable celebrity as an officer and an author.

FINE ARTS.

The Spanish Contrabandista. Painted by J. F. LEWIS, and engraved by CHARLES TURNER.

This is a very large and a very superior mezzotint, full of good feeling, and rich in character. The plate presents us with four human figures and two mules, all of which are true to the very life. The Spanish smuggler is anything but like the vulgar, heavily attired, English breaker of the law. The Spaniard, in all the splendid accessories of his dress, in his martial bearing, and in his self-estimation, is quite a hero, and a very romantic one in the bargain. Here we see him stand with his costly cloak over his shoulder, and the eternal cigar in his mouth, in all the negligent dignity of the great man; certainly exposing his smuggled wares to view, but with that air of careless disdain, that betrays at once his consciousness of superiority over the two ecclesiastics, who have come apparently to purchase. One of these is of some monastic order, the other a parochial padre, and they are both fac-simile specimens of the two classes. There is seated near a well a Spanish manola, who is attentively admiring a trinket that she is too poor to buy, and which she must evidently resign if the superb contrabandista have not more gallantry than she, poor girl, has money. The whole action is beautifully told, and, as a work of art, the engraving is fairly intitled to the term of splendid.

Wanderings through North Wales, by THOMAS ROSCOE, Esq., Author of "The Landscape Annual." Embellished with highly-finished Engravings by WILLIAM RADCLYFF, from Drawings made expressly for this work, by Cox, CATTERMOLE, and CRESSWELL.

We have received the eleventh, twelfth, and thirteenth numbers of this work together, it therefore cannot be expected that we should give a description of every plate that they contain. It will be sufficient to state that they improve upon us, and that scenery that may almost compete with that of Switzerland will be found in rich abundance throughout this cheap and elegant periodical. Nor is the letter-press inferior to the efforts of the artists. It is elegantly written and replete with historical reminiscences and amusing anecdotes. This publication should pass unnoticed by none who have pretensions to taste, and when completed, will bind up in a volume that will be decidedly beautiful.

Finden's Landscape Illustrations of the Bible, consisting of Views of the most Remarkable Places mentioned in the Old and New Testaments. From finished Drawings by STANFIELD, TURNER, CALLCOTT, R A. and other eminent Artists. Made from Original Sketches taken on the Spot, with Descriptions of the Plates, by the Rev. THOMAS HARTWELL HORNE, B.D., &c.

We find that this twenty-fourth number completes the first volume, and that there is a second about to appear, with a superb frontispiece, containing a view of the interior of the "Convent of the Nativity," in Bethlehem. The other views in this number are those of the " Valley of Jehoshaphat," between Mount Moriah and the Mount of Olives; the summit of Mount Tabor and Egypt, with a near view of the Pyramids of Ghizeth. All these are exquisite specimens of the fine arts, doing equal honour to all those who have produced them, and being certainly, in every point, the very best illustrations of the Holy Scriptures that have been yet made public.

Exhibition of the Society of British Artists. Suffolk Street, Pall Mall East.

The exhibition of this year is cheering to every one who takes an interest in the success of British art. Without reference to this or that particular picture, we perceive with great satisfaction, that the general merits of the whole display are rapidly on the increase. Linton has some truly fine pictures; all of them have that quiet touch of sublimity about them, that is so peculiar to him, and sometimes touches the verge of mannerism. His picture of ancient Jerusalem, during the approach of the miraculous darkness that attended the crucifixion, will be looked at with pleasure, and left with regret. His view, also, of the Villa Barberini, cannot fail of exciting a gratified attention. While we admire the grasp of Mr. Haydon's mind, the grandeur of his conceptions, and the vigour of his character, we have not yet been able to bring ourselves to like his pictures. They are to us the olives, that we are as yet unable to relish, good, extremely good, no doubt; but either our taste is too simple, or too much vitiated; but undoubtedly, the day of our enlightenment will come; till then, we will refrain from condemning, because we cannot appreciate. Of one of his pictures we can speak with unqualified approbation-his John Bull at breakfast. We recommend all visitors to search it out-it is not very prominent—and when they discover it, they will confess it to be a treat. Hoffland has several pictures here, all excellent, and eminently natural and English. Mrs. Carpenter has but one beautiful picture: we wish we had more from her enchanting pencil. If we do not, at present, particularize other paintings or other artists, it is not that we are not perfectly aware of their merits, but merely from want of space. We implore every one to make it a standing rule to visit this exhibition once: it is a call upon their patriotism. The Royal Academy is fostered with the public money. We do not complain of this-it is just-but the self-enrolled artists of Suffolk Street have nothing to depend on but their own exertions, and the public patronage. They stand upon no other basis than their own merits. Let us show that we respect their abilities, and honour their independence of spirit.

Illustrations of the New Testament, from Original Paintings, made expressly by R. WESTALL, ESQ. R. A. and JOHN MARTIN, ESQ.; with Descriptions by the REV. HOBART CAUNTER, B.D.

We have received the fifth number of this very cheap publication, and we find that the wood-cuts improve upon us, for which, indeed, there was ample verge and Of the explanatory letter-press, we always thought highly.

room.

Switzerland, by WILLIAM BEATTIE, M.D., Graduate of the University of Edinburgh, Member of the Royal College of Physicians of London, &c. &c. Illustrated in a series of Views, taken expressly for this Work, by W. H. BARTLETT, Esq.

The first view in this, the twenty-second number, is that of the celebrated baths, Pfeffers, and is inscribed, and that very worthily, to Dr. James Johnson, physician to the king. It is a wild and dreary view, very well drawn and engraved. The next plate represents a night view of the Hospice of Grand St. Bernard, and will be found to possess a very powerful interest. The last two views are of a somewhat awe-inspiring description; but the third is of a totally different nature, being beautiful with life and light, and the busy haunts of men; and yet it is a representation of the sterile mountain, Mont Blanc, but it has the romantic town of Chamouni in the middle distance, and some amiable (we are sure) Swiss girls in the foreground. The fourth and last plate, is a Bridge across the Rhine, near Suvers, that we would rather look at than pass over. It is really a terror-exciting scene. Of the written part, by Dr. Beattie, others may perhaps speak, but none can think, more highly than ourselves. It is not only pure and elegant, but possesses just so much ornament of style as to make its strong sense seductive, without encumbering or concealing it by a profusion of flowers, that, with inferior writers, is too often an apology for the want of substantial fruit.

THE DRAMA.

THE KING'S THEATRE.-One of the great changes that has taken place of late years at this theatre, and under the management of M. Laporte, is, that the opera is no longer what it formerly was, a mere place of fashionable resort for the elevated ranks of society, for the dilettanti and the profession, and for foreign residents: it is, in fact, becoming one of the necessary entertainments of the public. The Italian Opera contributes so largely not only to the music and singers at our great concerts and oratorios, but also to the formation of our musical taste, that the King's Theatre may now be considered the centre from which the light of music is projected, and around which the stella minores move. If the public taste be not improved, it will be no fault of M. Laporte, to whom we are indebted for Grisi, Rubini, Lablache, and Tamburini, all matchless in their art. La Gazza Ladra was first brought out in 1821, and we are now listening to it with more delight than ever. Could we have wished for any alteration in the score of this chef d'œuvre of Rossini, it would have been to have had a few more airs introduced; as it is, the opera is chiefly made up of concerted pieces. Grisi's singing and performance of Ninetta, were more charming than ever: the burst of delight with which she anticipates meeting her father and lover, conveyed the expression of the most perfect happiness, a happiness almost too flattering for mortals to think of. The whole of her emotions from rapturous expectation, through misery—the very deepest misery-to happiness made more intense by the contrast, are impossible to be surpassed on the stage. The three great artists, to whom the parts of Grannetto, Fernando, and the Podesta, were assigned, were amply worthy of such a Ninetta. To point out the beauties of this performance is almost impossible; no description can be adequate to the effect produced on the audience; it must not be read of, but heard. The most effective and expressive piece of music in the opera, to our taste, is the trio which ensues when Fernando rushes forth to protect Ninetta from the Podesta. It is impossible M. Laporte can receive any support not merited by his exertions. Bellini's opera of Norma has also been produced, Grisi and Lablache sustaining principal parts.

The ballet department has been recruited by Perrot and Carlotti Grisi. This is the first season for the latter in London; she is likely to become a great favourite; she is young, beautiful, and graceful, and when we say inferior only to Taglioni, we give an irresistible inducement to see her. Perrot remains, what he has long been,

the first male dancer in the world.

DRURY LANE.-When a moderate measure, in favour of the Roman Catholics, was introduced to Parliament by his party in 1807, Sheridan wittily remarked that "he had frequently heard of men breaking their heads against a wall, but never before knew of any one building a wall expressly for the purpose." The manager of Drury Lane has once more realized this absurdity. Mr. Bunn commenced the present season by monopolizing, so far as he was able, all the theatrical talent of the country, pompously designated his house as "The National Theatre," par excellence, and loudly proclaimed his intention of placing the then falling star of the legitimate drama in the ascendant. Has he been able to retain those whom he engaged? Has he merited that title which he himself gave his house? Has he done anything worthy of the cause of the English drama? The present position of affairs at Drury Lane sufficiently answers these questions. For the sake of dismissing all the good actors he can dismiss, Mr. Bunn ends the season, although the business of the theatre proceeds as usual; and as a substitute for good plays, offers to the public the indifferent music of The Corsair, and the gaudy show and absurd pageantry of Chevy Chace. Subjects like these are beneath criticism; we shall, therefore, notice that only which we have seen worthy of observation.

Romeo and Juliet has been produced, for the purpose of introducing a daughter of Mr. Vandenhoff to a London audience. Miss Vandenhoff, in person, is all that could be desired as a representative of Juliet. She is young and beautiful: her complexion fair, and figure almost faultless: her voice, although deficient in the lower tones, is sweet and melodions. Some may think that her deportment wants grace because it is girlish: the unaffected simplicity of her motions was, to us, refreshing and delicious, and affords a strong contrast to the prudery and affectation of some of her female contemporaries. Her excessive agitation and timidity, however,

scarcely render her answerable to the rules of fair criticism. We think Miss Vandenboff was ill advised in making her début in Juliet: the character is too prominent and important for one unaccustomed, as she is, to the stage; and success in it is, perhaps, the highest effort of female histrionic genius. Virginia is an effective and much less harassing part, and, in our opinion, had she commenced with it, her success would have been much more complete. In the early scenes of the play she appeared to be completely unconscious of what she was doing; but in the balcony scene she called up her faculties, and went through with considerable effect. Juliet's apology for her maiden boldness,

"The mask of night is on my face,"

was well and correctly spoken, and convinced us that her fair representative fully appreciated the poet's conception of the refinement and delicacy of female character. That exquisite effusion of virgin innocence, the soliloquy after her marriage, Miss Vandenhoff delivered with considerable feeling, and conscious of the purity of her character, with greater boldness. We were sorry to perceive that she had studied it from the family Shakspeare. The dying scene was a failure, and marred the performance sadly. We forbear further remark, trusting to have many opportunities of witnessing what we are convinced Miss Vandenhoff can give, a perfect performance of the character. Mr. Cooper walked through the part of Romeo: a few years ago we recollect this gentleman played Friar Lawrence respectably, and to that character he should have adhered. In Romeo, as given by him, there was nothing of the rapturous intoxication arising from boundless love being deeply reciprocated by its object, and very little of that bitterness of spirit proceeding from the depths of despair. It is beyond any effort of the imagination to conceive Juliet exclaiming to such a Romeo,

Mr. Vandenhoff performed the high-minded, witty, and mercurial Mercutio; and although we did not anticipate success for him, we were not prepared for anything so bad. His style is the very antipodes of what is requisite for this character. We could as easily conceive John Kemble playing it as Vandenhoff. His description of Queen Mab was actually painful to listen to; his imitation of Tybalt's fencing extremely awkward; besides, he has no right to omit the quotation from the old ballad introduced by Mercutio when bidding adieu to the Nurse, and which gives so much piquancy to his quiz at the old dame. Mr. C. Kemble is the best Mercutio now on the stage, and yet the poet has not found a faithful representative for his character even in him; he charms by suavity of demeanor, and light, graceful pleasantry, when he should excite by the high-minded hilarity, the intense love of humour and fun, and the uproarious joyousness which form such predominant traits in this, perhaps, most spirited production of Shakespeare's comic muse.

COVENT GARDEN.--We rejoice at the success of the experiment made at this theatre by Mr. Osbaldiston. The house is nightly crowded to the ceiling, and during the last month the performances have been unexceptionable. Some of the best acting plays in our language have been revived, and although not sustained as they were wont to be, we must recollect this is not altogether the manager's fault. Circumstances prevented him from engaging many performers whom he ought to have had, and forced upon him too many, the sphere of whose exertions ought never to have been removed from the other side of the water. If, however, Mr. Osbal diston wishes to merit that encouragement which he has hitherto received, he is bound to the public to lose no opportunity of increasing the efficiency of his company, and to preserve his house for theatrical purposes exclusively.

An ingenious and able critic once said he could furnish an excellent dramatic criticism every month was be not put out by the players. Without having the vanity to make a self-appropriation of the word "excellent" in this paradox, we confess we are in a somewhat similar situation with respect to this theatre; the difficulty being, from our brief allotted space, and the great variety of the performances, to prevent criticism degenerating into catalogue. Venice Preserved has been one of the principal attractions here since our last, not, however, as cast in the early part of the season, when Mr. C. Kemble played Jaffier, and Mr. Wallack, Pierre, but with the substitution of Mr. G. Bennett for the former, and Mr. Dale, a new candidate