"But when the Extract was made out of the before menconed Register, it thereby appears there was then standing in the said Chancell window these coats following:"Gilbert Talbot dñs. de Blackmere and Joane his wife.

"Gilbert Talbot dñs. de Blackmere and Beatrice his wife, the king of Portugall's daughter. "John Talbot dñs. de Furnivall and Maude his

wife.

"John Arundell and Elizabeth his wife of the Talbotts.

of Sunset on the Glydders, 1571.-Mr. E. Duncan, The Bass Rock, 731.; The Pilot Boat, 1071.; Lindisfarne Abbey, 1781.; Vessels off the Light Rock, 641.-Mr. G. A. Fripp, On the Cornish Coast, 501. Mr. E. Nicol, Paddy Cox Writing, 180l.—Mr. A. B. Houghton, Useless Mouths, 1571.-Mr. E. Warren, A Corn-Field, 80l.-Mr. A. C. Gow, The Quarrel, 971.-Mr. F. Goodall, A Cottage in Brittany, 891.-M. T. Koller, Faust and Margaret, 1361.-D. Roberts, Heidelberg, 617.; Waterloo Bridge, 561.-Mr. J. Hardy, jun., The Keeper's Daughter, 74-Mr. L. Haghe, St. Gudule, 551.; An "This coat and quarteringe" (figured in the Interior, with card-players, 571.; The Music Party, MSS.) "were carved upon wood within a garter 571.-De Wint, A Large Landscape, with cattle, 597.; and stood in the Church Porch, where Sir Gilbert Knaresborough, from the Harrogate Road, 136.Talbot, sometyme Knight of the Garter (ut aiunt), C. Fielding, At Sea, 521.; A Coast Scene, 117.lyes buried under a faire Marble, whereon had Mr. B. Foster, Haymaking, 797.; Gathering Lilies, been fixed a large cross of brass, but now taken 1247.-C. Stanfield, The Pilot House, Dover, 55l. away." [The coat is quarterly of six, (1) a lion-Mr. F. Tayler, Going to Market, 847.; Dogs and rampant with a border engrailed, (2) a lion rampant within a border (?), (3) on a cross saltire a martlet for difference, (4) a bend between 6 martlets, (5) fretty, (6) 2 lions passant. No tinctures given.] "Where note that the borders in the coates of Talbot and Belesme are torne away, being perhaps but slightly glued on.

"In the North wall of the said Porch on the right hand of the entrance hath been fixed an inscripcon in brass referring to the said Sir Gilbert Talbot, but it is long since taken thence."

Such is the description that Ashmole gives, and which, I believe, has never appeared in print, being, as far as I can learn, entirely overlooked by all Shropshire historians as well as all biographers. It is curious to note how the first inscription (of date anterior to 1598) agrees with Shakspeare, who writes:

SIR WILLIAM LUCY.

But where's the great Alcides of the field,
Valiant Lord Talbot, Earl of Shrewsbury,
Created, for his rare success in arms,

Great Earl of Washford, Waterford, and Valence;
Lord Talbot of Goodrig and Urchinfield,

Lord Strange of Blackmere, Lord Verdun of Alton,
Lord Cromwell of Wingfield, Lord Furnival of Sheffield,
The thrice-victorious Lord of Falconbridge;

Knight of the noble order of Saint George,
Worthy Saint Michael and the Golden Fleece;

Great Marshal to Henry the Sixth

Of all his wars within the realm of France?
LA PUCELLE.

Here is a silly stately style indeed!
The Turk, that two and fifty kingdoms hath
Writes not so tedious a style as this.

First Part of King Henry the Sixth, Act iv. sc. 7.

The following interesting extract from a private letter which I have recently received may well wind up this long account :

"When the bones were found, the skull was stuffed with something which gave rise to much speculation. The rector had been ruminating on it for some time, when an idea struck him, which he refused even to tell his wife till he had made another inspection, which he at once did. He began to extract the contents through the cut,first a bit of thread, then a fragment of wood, again a bit of a newspaper, &c. &c., until at last out came three young mice, and this was the skull of John Talbot, the great Earl of Shrewsbury! If Shakspeare, when he wrote Henry the Sixth, could have anticipated this!"

If Talbot's skull may serve to hold a mouse's nest, Alexander's dust may stop a bunghole! J. P. EARWAKER, F.S.A.

Game, 841.; Hunting in the Olden Time, 109.; Autumn, 2151.-S. Prout, Zwinger Palace, 141.; At Trêves, 142.; A Street in Caen, 1781.-D. Cox, Banditti waiting for Travellers, 136l.; A Forest Scene, 3151.; In Wales, 2831.; In Wales, 691.; Bettws Church, 174l.; Twilight, 84l.; The Banditti, 501.-Mr. H. G. Hine, A Sussex-Down Scene, 1747.-W. Hunt, Devotion, 1147.; Meditation, 501.; Nests and May Blossoms, 1177.-Mr. F. W. Topham, Preparing for the Bull-Fight, 341.; Irish Peasants, 511.-J. Holland, Venice, 110.M. Gallait, Wayfarers, 977.-Mr. W. Dobson, A Girl's Head, 747.-Mr. T. S. Cooper, A Cow and Sheep, 571.

The following pictures were recently sold, for francs, in Paris: Brendel, Bergerie, 3,200,— Caraud, Intérieur de Harem, 1,295; Lecture chez Marie-Antoinette, 2,950,-Decamps, Jésus et la Samaritaine, 3,500,-Diaz, Le Zéphir, 3,150,Marilhat and Troyon, Le Ravin, 5,000,-Tassaert, La Tentation de St. Hilarion, 7,100; Mort de la Madeleine, 6,000; Rêve de la France, 4,500; Assomption, 3,300,-Troyon, Plaine de la Toucques, Normandie, 46,000. Total, 105,975.

Fine-Art Gossip.

THE private view of the Exhibition of the Society of British Artists takes place to-day (Saturday).

AT a meeting of the Members of the Society of Painters in Water Colours, held on the 23rd inst., Mr. Walter Duncan and Miss Clara Montalba were elected Associates of the body.

THE Annual Meeting of the Archæological July 21. President, the Marquis of Ripon, K.G. Institute at Ripon, will commence on Tuesday,

On the 23rd inst., a Special General Meeting of the Institute of Painters in Water Colours, called at the requisition of five members of the Society, the following gentlemen were elected Associates of the Institute, without being invited to submit drawings-Messrs. J. Woolf, W. Simpson, J. W. Oakes, J. Tenniel, J. A. Houston, J. Syer, and J. W. Hardy, jun. This meeting was, of course, independent of that appointed for yesterday (Friday).

AT Messrs. Pilgeram & Lefévre's Rooms, King Street, St. James's Square, may be seen two important drawings by Mdlle. R. Bonheur, respectively entitled 'A Stampede,' and 'The Straits of Ballachulish.'

MR. M'LEAN'S Gallery, Haymarket, will be opened to the public on Monday next, containing modern cabinet pictures.

THE private view of the Exhibition of the Liverpool Society of Water-Colour Painters takes place in Old Post-Office Place to-day (Saturday).

MISS METEYARD (author of the 'Life of Wedgwood,' and compiler of several works on his manufactures,) has now in the press a 'Handbook of Wedgwood Manufactures.' It will contain an account of the various distinguishing characteristics incidental to the several sorts of ware, and will give a list, the result of research and experience, of the marks which were used at different periods by the manufacturer.

FOUR HUNDRED AND SEVENTY-NINE drawings by J. Wykeham Archer, of some artistic merit and great topographical value, have been purchased for the Print-Room, British Museum. These works were made for the late Mr. William Twopeny, and cost more than 1,000l. The Museum paid, in accordance with the wish of Mr. Twopeny, the sum of 600l. for the whole. They are of extreme interest, as representing, in many cases, old buildings in London of which no other drawings exist. Mr. Twopeny bequeathed to the Museum a collection of his own very carefully made sketches, bound in twenty-five volumes; they are, of course, mostly architectural, and their archæological value can hardly be over-estimated.

THE view of the beautiful tower and spire of one of Wren's most fortunate designs, St. Martin's, Ludgate, has been seriously injured, and the whole structure dwarfed, by the erection of a rather pretentious block of warehouses or offices on the east side, and immediately adjoining the church. The effect of this addition to Ludgate Hill is, especially when it is looked at from the east, extremely depressing, and when viewed from the west the new structure forms a graceless combination with St. Martin's Church and St. Paul's, whereas Wren designed a graceful composition of the latter two, and did not dream of the first.

M. HÉBERT has been elected to fill the place in the "Section de Peinture," Académie des BeauxArts, vacated on the death of M. Couder; M. Garnier has been nominated, in the place of M. Baltard, for the Section of Architecture; and M. Fortuny as Corresponding Member, in the place of M. Rosalès, deceased. The candidates named for the chair awarded to M. Hébert were MM.

Bouguereau, Jalabert, Boulanger, Laugée, and Barrias.

M. CABANEL will contribute to the Salon of this year two portraits, the Duchess de Luynes and her children, and Madame De Lavalette; M. Gérôme, Molière and Corneille, Frederick II. playing on the Flute,' and 'L'Eminence Grise'; M. Bonnet, 'An Italian Mother and Child '; M. Monet, 'The Last Ball at the Opera'; M. Detaille, Entry of Cuirassiers to a Village'; M. C. F. Daubigny, Field of Poppies'; M. Munkacsy-whose tremendously ominous Souvenir de la Guerre our readers will remember as exhibited not long since in London-will send 'Les Rôdeurs de Nuit,' and 'Le Monte-de-Piété'; M. Pille, 'Un Pardon'; M. Daubigny, fils., 'The Paris Road,' and 'Toutain Farm, Honfleur'; M. Carolas Duran, 'Dans la

Rosée.'

THE Exhibition of the Union Centrale des Beauxthe 1st of August to the 1st of November next. Arts appliqués à l'Industrie will be opened from

exiles from Alsace and Lorraine, to be opened in the residence of the President of the Corps Législatif, will, it is stated, be of a very brilliant kind. The Duc d'Aumale, Sir R. Wallace, M. Cottier, M. André, the Princess Mathilde, and others, have

THE intended exhibition for the benefit of the

promised to contribute objects from their respective

collections. M. Clément de Ris has volunteered to take charge of the Catalogue.

THE Exhibition of the Fine-Arts Academy at Berlin will be opened on the 6th of September and closed on the 1st of November next.

THE artists engaged on the decorations of the activity. These comprise MM. Lenepveu, P. new Opera-house, Paris, are redoubling their Baudry, Delaunay, and Barrias. The first is engaged on allegorical groups referring to the history of the lyric drama; the second has nearly finished his considerable task of executing ten oval panels, placed at the sides of doors, and containing infants holding instruments of music; also, ten large arches, besides figures of the Muses, and works on a ceiling. MM. Delaunay and Barrias have respectively painted 'The Triumph of Song' and 'The Triumph of Harmony'; the latter artist has likewise produced three panels representing heroic, pastoral, and amorous music, respectively. M. Boulanger has, likewise, illustrated the dance, warlike, bacchic, amorous, and

BRITISH ORCHESTRAL SOCIETY.-By Special Desire.-Patron, H.R.H. the Duke of Edinburgh. Conductor, Mr. George Mount.

performances, and yet in the musical circles the opinion was decidedly pronounced that the 'Light of the World' was a failure, and 'St. John the Baptist' was a genuine triumph. Even the most strenuous supporters of Mr. Sullivan suggested an entire revision of the score and the free curtailment of the numbers. The critics of Mr. Macfarren's production confined themselves to advising a modification of the roulades in a bravura air for the soprano and the use of the pruning-knife in one choral number. Never, however, was there greater unanimity amongst the critical fraternity than in pronouncing 'St. John the Baptist' to be a masterpiece.

tist.'

o'clock. Vocalists, Madame Lemmens-Sherrington, Mr. Sims Reeves, and Mr. Santley.-Stalls, 108. 6d; Tickets, 58, 38, 28., and 18.; Stanley Lucas, Weber & Co.'s, 84, New Bond Street; and usual Agents.

'THE LIGHT OF THE WORLD' AND 'ST. JOHN THE BAPTIST.'

MUSICIANS have almost exhausted the books of the Old Testament in seeking for subjects for oratorios. Commencing with Genesis, they have taken their texts from nearly every book in the Canon down to Malachi, and even the Apocrypha has been turned to account, while the writers or adapters of the words have found poetic imagery in the Psalms, the Proverbs, and the Lamentations, for solos, choruses, and chorales, to attach to the incidents selected for musical illustration. The New Testament has been more sparingly used, and the career of Christ has been but rarely indeed followed consecutively. Isolated incidents have chiefly interested the professors. Bach chose the Passion, Beethoven the Mount of Olives, Spohr the Crucifixion. The lives of the Evangelists have been covertly, so to speak, used to introduce in the background the image of the Saviour or to declare His mission. Mendelssohn, as we have often remarked, did not like the abstinence practised with regard to the introduction of the personal history of Christ, and no inducement could make him try his hand with a second apostle after he had set the story of St. Paul. He shrank from attempting St. Peter, and he came to the conclusion that Jesus must be the leading character in any oratorio based on the records in the New Testament. He began his task, but only lived long enough to leave but a small instalment of the score. Sir Julius Benedict ventured, in 'St. Peter,' upon a companion work to St. Paul.' He displayed all the attributes of ripe scholarship, but the construction and the treatment of the book prevented the acceptance of 'St. Peter' as a permanent production in the oratorio repertory. At two Musical Festivals in the past year two English composers were afforded the opportunity of producing oratorios: the first was that by Mr. Sullivan, performed at Birmingham on the 27th of August, and the other was by Mr. G. A. Macfarren, given at Bristol on the 23rd of October. The former soared high indeed, for under the title of the 'Light of the World,' the Saviour's life, from the birth at Bethlehem to the scene at the sepulchre, was treated; the latter selected for his protagonist St. John the Baptist, from the time of his preaching in the wilderness to the scene in the prison prior to execution by Herod's order. The two productions were received enthusiastically by the audiences present at the first

On Thursday, the 19th inst., in the Royal Albert Hall, in the presence of royalty, rank, and fashion, the Light of the World,' in its curtailed form, was presented, under the composer's own direction, and on the following evening (the 20th inst.) in Exeter Hall, with a very full attendance of the customary supporters of the Sacred Harmonic Society (the professional element being conspicuous), St. John the Baptist' was produced, conducted by Sir Michael Costa. It is quite unnecessary to enter a second time into a detailed account of the two oratorios. In the Athenæum of the 30th of August (No. 2392) and of the 25th of October (No. 2400), will be found notices: in the first number of the 'Light of the World,' and under the second date of St. John the BapWe do not see the slightest reason for Sullivan's work, but we can repeat the favourable opinion we expressed of Mr. Macfarren's oratorio. We look upon the construction of the book of the 'Light of the World' as a fatal mistake. Το present the Saviour from the Unitarian point of view may, perhaps, have operated on the inventive faculty of the composer, but there must have been other reasons which combined to produce the lack of fancy and imagination that pervades the greater portion of the score, the depressingly dull nature of which was evidently felt by the London auditory. The monotonous and wearisome prolixity of the part of Christ not even the great vocal ability of Mr. Santley can relieve. Madame Lemmens had the soprano music, Madame Patey the contralto, and Mr. Cummings was the tenor, Miss Spiller and Mr. Maybrick assisting in the secondary parts; and, so far as principals were concerned, justice was done to the composer: not so, however, with the choralists and the instrumentalists, who were vastly inferior to the splendid phalanx at Birmingham. It is to be hoped that in some future oratorio the composer may realize the expectations raised by his clever cantata 'The Prodigal Son.'

The performance of St. John the Baptist' in Exeter Hall will be long remembered, for it caused an exhibition of enthusiasm rarely witnessed within the walls of the Hall during the execution of sacred works. The contrast between the apathy of the audience of the preceding night at the 'Light of the World,' and the sensation produced by 'St. John the Baptist,' was the more remarkable when we consider how much more powerful must be the call made on the sympathies of Christians by the presentation of the Saviour's career than by that of the Baptist; and the conclusion to be drawn from these opposite manifestations of public feeling is, that in the one score, the Man was more predominant than the God; and in the other, the God was more palpable than the Man. Mr. Macfarren has managed to present the Baptist as more than the Prophet, a really "burning and shining light," as if, indeed, he had the attributes of "a Prince and a Saviour." This elevated individuality given to the the Baptist constitutes the charm of the music, which, in Mr. Santley's hands, lacked neither grandeur nor feeling. The part of the Narrator is scarcely inferior in interest. How finely it was sung at Bristol by Madame Patey, cannot be forgotten; but her successor in London, Miss A. Sterling, failed to realize its dignified import: her declamation of the text was drawling, and her pronunciation of the words was imperfect. This weakness and tameness, this dryness and lack of expression, were the drawbacks in an otherwise

re

marvellous ensemble; for the sensual and secular numbers falling to Herod (Mr. Lloyd) and Salome (Madame Lemmens) were well sung, and the choralists and instrumentalists were never under better command, and never exhibited more heartiness or zeal. No wonder the hearers, disregarding all restrictions, broke out into repeated bursts of applause from the overture down to the final chorus. Nor were the expressions of gratification the only signs of the vox populi. Three numbers were demanded, the first encore being the chorus of sopranos and contraltos, "This is my beloved Son," in E flat, the orchestral symphony to which is a stroke of genius; the second being the finale of the first part, "My soul praise the Lord," in B flat (Croft's tune, 104th Psalm), the theme of which is so grandly sustained on the trombones while the masterly fugue is progressing; and, lastly, the unaccompanied quartet in D flat, sung by Mesdames Lemmens and Sterling, Messrs. Lloyd and Santley. Moreover, the blind composer was called for at the end of the first and second parts, and was vociferously cheered both by audience and orchestra. There are other numbers in the score which might be dwelt upon, such as the dramatic duet between Herod and St. John, in which the individuality of each character is judiciously preserved; the bacchanal revel of Herod, so quaint and Oriental in colouring; and the cleverly conceived Dialogue (No. 17), in various tempi and key, in which Herod's remorseful assent to the execution is exacted by Salome and the nobles. Our attention is awakened from the fiery overture, reproduced at intervals; the interest never flags, and there are moments of the strongest sensations. It seems to us that the verdict of Bristol, ratified by London, is of a nature to give vitality to this oratorio, which will gain an early re-hearing. Cavillers may allege that the composer has been strongly impregnated with recollections of Bach, of Mendelssohn, of Gounod, and of Wagner. We find no servile copying whatsoever, and musicians have the right to choose their own models for special situations. Mr. Macfarren has laboured consistently and coherently on his work of art; and there are fewer crudities than in any of his previous productions. He has high and spiritual aspirations, hence the logical sequence of his numbers, hence the elevation of the ideas,hence the general and genial flow of melody. And he may congratulate himself on having had a kindred spirit to appreciate his task in Sir Michael Costa, who, in the conduct of the oratorio, has never shown greater tact than in securing such an impressive interpretation of St. John the Baptist.'

ANOTHER AMINA.

How many Aminas have crossed the ricketty plank thrown across the water-course of the mill, in the last scene of the 'Sonnambula,' since Pasta donned the dress of the Swiss maiden, at the Teatro Carcano in Milan, on the 6th of March, 1831, having Rubini as her Elvino? And those amateurs who retain a vivid remembrance of the two great artists, how many representatives of Amina and Elvino can they cite as having held their ground in the parts of the two lovers? The leading lyric theatres in Europe visited by operatic connoisseurs have brought out their Aminas; but, in a lengthy list, what a limited number of names dwell in the memory! Even Grisi in the prime of youth and beauty soon gave up the character, eclipsed by Malibran and Persiani. But, on the other hand, Madame Jenny Lind's delineation of Amina in German at Frankfort, in 1846, was the first notification we received of the genius of the Swedish Nightingale. Since her withdrawal from the stage there has been but one artist who has possessed any genuine pretensions to be regarded as the successor of Malibran and Persiani, and that one is Madame Adelina Patti. The appearance, therefore, on the Drury Lane boards of an Italian girl of nineteen, with a good stage face, fine eyes, and a profusion of raven black hair, which, when let down, descends almost to her feet, certainly realized the

physical attributes of a Sonnambula and satisfied the eye. But when the ear was assailed with the tones of the voice a sensation of disappointment was felt. It must, however, at once be stated that the débutante was not only extremely nervous, but was labouring under a throat attack, which prevented her appearing on the 19th, and which ought to have caused another postponement until the young lady was in possession of her full powers. It is a pity that Signora Lodi was brought out on the 21st (Saturday), and it is equally to be regretted that a less trying part than Amina was not selected for her début. It is alleged in justification of this choice that she sang the character twenty-six times in Milan last autumn, but, perhaps, her voice may have been strained or overtaxed, especially as her timbre is a thin, wiry soprano, such as requires careful nursing in the youthful days of a singer. Her vocalization was very unequal. Now and then when she was singing mezza voce in cantabile passages the quality of the organ was sympathetic and even touching. Mdlle. Lodi phrases well, and some of her scales are neat and finished, but in forcing her upper notes, and she touched the D in alt, there was shrillness. But we may fairly assume that her defects are not chronic, and may be ascribed to the causes which prevented her from having the voice implicitly under command. It was, however, delicious to hear the true accent of the sweet Tuscan from her Italian lips. As an actress, she proved to be the most amateurish Amina we have ever witnessed. She was so perfectly "comme il faut," so much the grande dame, indeed, that she ought to have been dressed in silken attire. We feel sure that Mdlle. Lodi has not been seen at her best, and that there is a future before her; but whether she has not been prematurely brought out, only her assumption of other characters can show; at all events the sympathy and support of her audience accompanied her performance. Signor Naudin made a passionate Elvino, his singing in the finale of the second act quite exciting the hearers. Signor Agnesi was Count Rodolpho.

GIROFLE GIRofla.

THE amateurs who follow the course of musical history in the Athenæum, will not be surprised to learn that M. Lecocq's new opera, produced last Saturday night at the Théâtre des Fantaisies Parisiennes (Alcazar), in Brussels, has met with signal success. We explained, in answer to those persons who would insist that the composer was following in the wake of M. Offenbach, that the 'Cent Vierges' and 'La Fille de Madame Angot' were not works in the accepted buffa sense, that is, burlesque and extravaganza, but that they were genuine comic operas of the really National School of France, as represented at the Opéra Comique (Salle Favart). We maintained that M. Lecocq was the legitimate successor of Adolphe Adam, and that he was approaching Auber nearer than any other musician. The new production, 'Giroflé-Girofla,' is as much a comic opera as Rossini's 'Italiana in Algeri,' and 'Il Turco in Italia,' or Cimarosa's Matrimonio Segreto' and, Astuzie Femminili.' The title would import that the plot refers to a game of French romps. Not so. The scene is in Spain, in the time of the Moors, and the authors of the libretto, MM. Leterrier and Van Loo, have concocted a series of

which all combine to make a "Comedy of Errors," owing to the resemblance to each other of Giroflé and Girofla, who are twin-sisters, played by one artist, Mdlle. Luigini.

the authors were to revise the libretto after the first representation. In this opera M. Lecocq has taken higher ground than in any previous production. His music is not only melodious, but in conception, construction, and carrying out will satisfy the exigencies of the pedant, as well as secure the suffrages of the general public. As the opera is certain to be brought out here shortly, we must be excused for the present from going into the details liberally supplied by two correspondents in Brussels; but a Chorus of Pirates will certainly be the companion of the Chorus of Conspirators (Fille de Madame Angot'), although its paternity can be traced to Meyerbeer's "Rataplan" in the 'Huguenots, and also to the chorus of Inquisitors in the Africaine.' Those amateurs who are wedded to the Offenbach tunes, must not seek them in M. Lecocq's 'Giroflé-Girofla.' It is curious that no adaptation of the Cent Vierges' has been produced here: the story is English, the incidents irresistibly droll, the music charming, and, with some modifications, it would be a success, as it has been in France, Belgium, and Germany.

CONCERTS.

Ar the Crystal Palace Saturday Concert, on the 21st inst., the 'Schicksals Lied' (Song of Fate), by Herr Brahms, for choir and orchestra, was performed for the first time, and made a favourable impression, as did also M. Gounod's Madrigal, from his opera 'La Colombe,' sung by Mr. Vernon Rigby. Madame Sinico was the other solo vocalist. The instrumental items were Beethoven's Symphony in B flat, No. 4, the Variations on Haydn's theme, by Herr Brahms, Mr. Sullivan's sparkling overture to his MS. opera, 'The Sapphire Necklace,' and Herr Joachim's execution of Mendelssohn's Violin Concerto, and for his second solo, the Largo and Allegro from Bach's second Violin Concerto in c. With the benefit of Herr Manns, on the 25th of April, the eighteenth series of these orchestral concerts will be ended.

At the Saturday Popular Concerts, on the 21st inst., there was the debut of a new vocalist in Madame Pezze (the wife of the violoncellist of that name). The lady is English, and has studied in Italy, and her singing of songs by Schumann and Signor Piatti showed a sound style and a soprano voice of good quality. The American vocalist, Madame Edna Hall, sang at the concert last Monday, the instrumental attraction of which was the Beethoven Kreutzer Sonata, played by

Herr Halle and Herr Joachim. The sixteenth season will close next Monday with the benefit concert of Mr. Arthur Chappell, the Director.

The scheme of Mr. Henry Leslie's Choir Concert on Tuesday contained several pieces by Walliser (1600), Pergolese, Bach, Corelli, Handel, Stradella, and Mendelssohn. Works by modern composers were the Ave Verum' of M. Gounod (encored); an anthem, by Mr. Charles Horsley, 'I was glad,' for soprano solo (Miss K. Poyntz) and chorus; a new evening hymn by Herr Blumenthal, 'The Shadow of the Evening Hour'; Mr. Henry Leslie's new part

song, 'The Lullaby of Life' (one of his happiest conceptions), which was redemanded, as also his new part-song 'The Rainbow,' the words by the Rev. Dr. J. S. Monsell; and a 'Tantum Ergo,' for an eight-part choir, a new work by Mr. John F. Barnett, which was given twice.

They are destined by their parents, Don Bolero d'Alcarazas (M. Jolly) and Aurore (Madame Delorme), to marry Marasquin (M. Mario-Widmer) and Mourzouk (M. Ginet); but Girofla is stolen by pirates, and the two bridegrooms are married to Giroflé. Out of this bridal arise the comic and bewildering incidents. At last the lost sister is restored and the ferocious Moor, Mourzouk, secures his right wife. The defect in the book is that there is a sameness in the situations of the second and third acts (the first act is unexceptionable); but

has been improved since last season, but is not yet up in quality to the Philharmonic standard of former days. Until the concerts are given on the off-nights of the two Italian Opera-houses, a first-class orchestra cannot be secured. The Handelian concerto, the eleventh of a series of twelve composed for the Lincoln's Inn Fields Theatre in 1739-40, is dull, dry, and old-fashioned. The evening's sensation was for Herr Joachim's splendid playing. A new lady pianist, Madame Viguier, will make her début at the next concert (April 20).

Miss J. Lawrence, the pianist, at her evening concert on the 24th inst., played with ability in works by Beethoven, Mozart, Schumann, and Mendelssohn. The lady was assisted by Mr. Franklin Taylor, piano; Herr Straus, violin; and Signor Piatti, violoncello; with Miss A. Fairman and Mr. Wadmore as vocalists.

་

The

At a concert given by Herr Joachim in the Guildhall, Cambridge, in aid of the fund for raising a memorial to John Sebastian Bach at Eisenach, he was assisted by Dr. Garrett (University organist), Mr. C. Villiers Stanford (organist of Trinity College), Mr. G. F. Cobb, the Rev. L. Borissow, and Messrs. McClintock and Murray, and by Mrs. Dunn. In the first part, Herr Joachim gave Bach's Violin Concerto, No. 1, in A minor, with Dr. Garrett at the pianoforte, Bach's Suite in E major (Prelude, Loure, Minuet, Gavotte), and the Chaconne in D minor. first part also included the aria "Awake thou, O Sion," from the Christmas Oratorio,' sung by Mrs. Dunn, with Herr Joachim as violin obbligato, and the aria "Betrachte, meine Seele." In the second part was the Andante from Mendelssohn's Violin Concerto, Op. 64 (encored). Finally, three of the Hungarian Dances of Brahms (Nos. 1, 3, and 7), as arranged by Herr Joachim for violin and pianoforte, concluded the concert, and proved most attractive. The programme also included songs by Jensen and Sir W. S. Bennett, an air from Handel's 'Semele,' a duet for two pianos, Andante and Variations in E flat by Schumann, and a Sarabande in a minor by Ferdinand Hiller. The latter was capitally played by Mr. Stanford.

Musical Gossip.

THE Royal Italian Opera season will be commenced next Tuesday (March 31st) with the 'Traviata' for the début of Mdlle. Heilbron from

Paris, and on Thursday will be the first appearance of Malle. Marimon in Ricci's 'Crispino e Comare.' Mr. Gye's position as Régisseur of the Italian Opera-houses at St. Petersburg and Moscow may enable him to make an attempt to cut down the exorbitant and ruinous salaries absorbed by a couple of prime donne; but an Impresario in Russia is under the sway of a General, a Court Intendant, who is in turn the representative of an Imperial amateur. Mr. Gye will not be able to found an imperium in imperio, but inasmuch as the Italian Opera operatic market is at a discount, there would be then capital chances for the proif Russia reduced the absurd salaries of artists,

duction of novelties.

MDLLE. DE BELOCCA, the Russian contralto, who has been so successful at the Théâtre Italien in

Paris, has been engaged for the Royal Italian Opera, and will make her début as Rosina, in 'Il Barbiere,' at Covent Garden, on the 14th of April, bino in the Nozze di Figaro, and Arsace in and will also appear in 'La Cenerentola,' as Cheru'Semiramide,' with Madame Adelina Patti as the Queen, a part which that lady has enacted in Homburg.

THE second appearance of Mdlle. Lodi has been prudently postponed until she has quite recovered from her throat attack. Mdlle. Alwina Valleria (the American prima donna) was announced to appear on Thursday as Lucia, and this evening (Saturday) 'Fidelio' is promised for the debut of the German basso, Herr Conrad Behrens; Signor Agnesi will be Don Pizarro; and Mdlle. Tietjens, Leonora (Fidelio). Semiramide' will be repeated next Tuesday.

PASSION WEEK will be observed at Exeter Hall

on Wednesday, by a performance of the Messiah by the Sacred Harmonic Society, the oratorio conducted by Sir Michael Costa; and the same work will be given on Monday and Saturday next at the Royal Albert Hall, under Mr. Barnby's direction; on Wednesday, Thursday, and Good Friday, Bach's 'Passion' will be executed by the same choral association; and next Tuesday the Lobgesang' and 'Stabat Mater.' M. Gounod's next Choir concert will be on the 4th of April. THE season of the Sacred Harmonic Society will close on Friday, the 1st of May, with the revival of Sir Michael Costa's oratorio, 'Naaman,' the solo parts to be sustained by Madame Otto-Alvsleben, Mrs. Suter, Madame Patey, Messrs. Vernon Rigby, Montem Smith, and Santley. On the 10th of April, Handel's 'Judas Maccabeus' will be performed.

THE seventh annual concert of the University Musical Society in Edinburgh, conducted by Prof. Oakeley, evidenced the artistic progress of the students, 200 in number, who formed the choir, which has no female voices, the ladies not being included in the University curriculum. There was an effective orchestra, composed of local and other players from London, Manchester, &c.

THE 135th anniversary festival of the Royal Society of Musicians will be celebrated on the 27th of April, the Prince of Wales in the chair. The annual performance of the Messiah,' in aid of the institution of which Handel was so liberal a benefactor, will take place on the 8th of May.

DRAMA

THE WEEK.

Topsey

OPENING OF THE CRITERION THEATRE.-'An American Lady,' a Comedy, in Three Acts. By H. J. Byron. turveydom,' an Extravaganza. By W. S. Gilbert. HAYMARKET.-'Queen Mab,' a Comedy, in Three Acts. By G. W. Godfrey.

VAUDEVILLE. —'Petticoat Government,' and London Assurance.'

So numerous have been of late the additions to places of entertainment in London that the opening of a new theatre ceases to be a matter of special interest to many besides those personally concerned with the house and its fortunes. One more was added to the lengthening list on Saturday last, when the Criterion Theatre was first opened for public performances. The house forms a portion of the building in Piccadilly known as the Criterion. It is a pretty and tastefully designed edifice, of the dimensions of the Opéra Comique, or thereabouts. The one drawback, its position below the level of the street, is successfully combated so far as ventilation is concerned, and the length of the corridors and lobbies is likely to be forgotten by those who notice the admirable use that has been made of ceramic ware as a means of decoration.

The opening programme consisted of a three-act comedy by Mr. Byron, and an extravaganza by Mr. Gilbert. 'An American Lady' is like all Mr. Byron's recent compositions, a mass of inconsistencies and improbabilities galvanized into life by its author's power of dialogue. As art, it is indefensible; as an attempt to interest and amuse the public, it is a triumph. The question how far it is right to tie down by canons, shifting, uncollected, and variously interpreted, an author so successful as Mr. Byron in enlivening an audience, and bringing smiles or laughter to the lips of his severest censors, is not easy to answer. Few of us have the heart wholly to condemn that which contributes to our entertainment. It is only while his characters are on the stage, however, and the infectious laughter of those around is ringing in the ears, one can forget how quietly the author ignores

all rules. Retrospection shows us that the entertaining world, in the midst of which Mr. Byron places us, has no existence in fact, and is as unreal as the fairy domains his coadjutor in the production of the night's entertainment is accustomed to depict. 'Topseyturveydom' would be, at least, equally as appropriate a title for Mr. Byron's play as for Mr. Gilbert's. That world is surely topsy-turvy wherein all the wit and talent are in the mouth of fools, insolence to strangers, and makes love by where a gentleman proves his breeding by means of snarling, where lawyers are given to sentiment and baronets to swindling, where everybody jumps at once at the wrong conclusion, and where the only use of a person saying one thing appears to be to make somebody else believe another.

Mr. Byron has sought to combat that English form of "chauvinisme" which asserts itself in the condemnation of all things American. He brings to England an American woman of a pronounced type, and betroths her to a young English aristocrat of average emptiness of head. Each, as a means of proving agreeable, points out the deficiencies of the other. A nasal accent is arrayed against an aristocratic mispronunciation of letters, and the caprices of American phraseology are shown to be equalled by the eccentricities of English slang. Meanwhile extravagance is proved to concern externals only, and a good heart is shown to exist in each case. Harold Trivass is a fine fellow in spite of his sleepy airs, his affectations, and his rudeness of speech. He believes with so touching a confidence in his father, who is, in fact, a disreputable old scoundrel, that it is felt a revelation of the truth will be almost fatal to him. So brave and self-denying is, moreover, the restless, loud-voiced American, that she breaks off her engagement to the man she loves when she finds persistence in it will bring upon him the discovery of his father's baseness. British and American honour and goodness are thus vindicated, and the fact no one in his sane mind ever doubted, that Nature has produced such a thing as an American lady, is triumphantly established. With this, the principal motive of the piece, is involved the extrication by the heroine of her brother from the difficulties into which he has fallen through undertaking the charge of a business for which he is unqualified. The treatment of the story is better than the story itself, though the manner in which one person, in order to make room for another, goes off the one scene in front of which the action passes is excessively clumsy. When will dramatists adopt so simple an expedient as causing a father to send by a servant for the son he wishes to see, instead of waiting with the conviction that he will always come at the moment when he is required? The dialogue is singularly clever, bright, and mirth-moving, everything it should be, except characteristic. There is not should be, except characteristic. There is not a good thing that might not be said by any one of the characters, and the amusement springs frequently from a verbal quibble rather than from an absolute association of ideas. How ludicrous it is, the unbroken laughter of the audience attests. Mr. Byron plays the young "Britisher" with a stolid quietude that is effective, and Mrs. John Wood gives a broad and telling presentation of his American broad and telling presentation of his American

-

mate. Mr. Clarke causes much laughter as a rather lackadaisical attorney. Other parts are competently sustained by Miss Hughes, Miss Rignold, Mr. Barnes, and Mr. Fisher.

In 'Topseyturveydom' Mr. Gilbert depicts a world wherein everything is the reverse of what it is in this. Byron irreverently makes St. Peter, in his functions of gate-keeper, complain

It seems the custom here to overthrow Whatever has been wisely done below. A similar process is carried on in the kingdom of Topseyturveydom. Men are exalted for, their follies, and degraded for their virtues; they walk on ceilings, and look up to floors they show dislike when they wish to please, and use courteous expressions when they seek to be insolent. This is another form of an idea Mr. Gilbert has often worked, but seldom with less skill than in the present instance. Some of the dialogue is effective, and some clever, but rather remote satire upon human affairs is conveyed. To follow exactly, however, the proceedings of his characters is an exercise rather than an amusement, and the result is disagreeable when the machinery breaks down, as under such circumstances it frequently does. Some attractive music by Mr. Cellier had been contributed to this trifle. A song by Miss Fanny Holland, a young actress from the Gallery of Illustration, was well sung and warmly encored.

'Queen Mab' portrays the adventures of a young lady, who is, apparently, extracted from a novel by "Ouidà," and placed in the midst of circumstances and conditions borrowed from the plays of Mr. Robertson. It is, we are informed, a first work. A tendency to imitation is not unnatural on the part of an untried writer. Mr. Godfrey is more successful, however, in copying the vices of his predecessors than their merits. His language has neither playfulness nor wit, and the tone of conversation adopted by his characters and the social habits in which they indulge are so unlike anything in real life as almost to overpass the bounds of caricature. His heroine, a Bohemian as she avows herself, lives with her uncle, a fifth-rate actor, teaches herself to paint like a Rosa Bonheur, and employs the time not devoted to her profession in cooking her uncle's meals and insulting her lovers The laws of Bohemia are not very definite, nor very well understood. There is, however, no world in which a young lady with any pretence to selfrespect will allow a young officer to enter without knock or any form of announcement, bid him sit down and smoke, and then subject him to a running commentary composed of equal degrees of banter and insult. There is no world, we trust, in which a gentleman will speak of a woman as a vagabond whom he has the minute before asked to be his wife, or in which a baronet will accept for his eldest son a wife who comes to him on the arm of a suspicious acquaintance, and with a purse bulging with gains from the gamingtable. Mr. Godfrey has dramatic perception, and brings about with some ingenuity one or two good situations. If he is to succeed as a dramatist, however, he must study nature rather than the works of his predecessors, and must cease to present as types of modern life men who never open their mouths to women or to one another except to say something that merits a horsewhipping, and women whose

language goes, as far as anything can go, to justify the treatment they receive from men. It is not Englishmen alone in Mr. Godfrey's play who are misrepresented; a foreign nobleman of highest rank addresses a lady in terms he would not use to anything that had ever worn a petticoat. Mr. Godfrey had better take in time this warning. He has some

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arrangement of incidents, and may yet have success in a second attempt. Not all the talent of Mr. and Mrs. Kendal, Mr. Chippendale, Mr. Buckstone, and Mr. Howe could compensate for the defects to which we refer, and the play, in spite of the favourable reception accorded it the first night, is a mistake and a failure.

Mr. W. Farren has appeared at the Vaudeville in another of those parts in which he

No. CXVIII. for APRIL, price 68. [Next week.
Contents.

1. AUTHORS and PUBLISHERS.
II. The ANTIQUITY of MAN.
III. The PROSPECTS of PERSIA.

IV. PROVISION for PUBLIC WORSHIP in LARGE TOWNS. V. ASPECTS of the AGRICULTURAL LABOUR QUESTION. VI. The ELECTRIC TELEGRAPH. VII. The NEW PARLIAMENT. VIII. DAVID LIVINGSTONE.

IX. CONTEMPORARY LITERATURE.

of the Rise and Progress of the Movement among the Agricultural Labourers: with a Reprint of the Correspondence to the Daily News during a Tour through Canada with Mr. Arch. By ARTHUR CLAYDEN. This day, price 38. 6d. cloth.

seeks, with creditable success, to revive recol- The REVOLT of the FIELD: a Sketch lections of his father. His representation of Hectic, a weak-minded hypochondriac, in Mr. Dance's farce of 'Petticoat Government,' is a ripe and sustained performance. 'London Assurance' has been revived at the same theatre, with a cast not widely dissimilar from that with which it was recently played.

Dramatic Gossip.

The UNITY of NATURAL PHENOMENA: a Popular Introduction to the Study of the Forces of Nature. From the French of M. EMILE SAIGEY. With an Introduction and Notes by THOS. F. MOSES, A.M., M.D. This day, crown 8vo. 68. 6d. cloth.

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A FAIR number of changes may be expected at Easter or shortly after. Mr. Charles Reade will produce, at Astley's, his drama of 'It is Never Too Late to Mend,' two acts of which have been, to a great extent, re-written. Mr. Toole, Mr. Arthur Cecil, and Mr. Brough will appear at the Globe, in a comedy by Mr. Albery. Another comedy from the same pen, entitled 'Pride,' will be given at the Vaudeville. French performances will commence at the Princess's. The School A POPULAR COMMENTARY on the for Scandal' will be given at the Prince of Wales's; and 'The Clandestine Marriage,' as already announced in our columns, at the Gaiety.

'ESTHER' has been given at the Théâtre Français, with Mdlle. Favart as Esther, M. The SUPERHUMAN ORIGIN of the

Maubant as Mardochée, and M. Laroche as Assuérus. 'Le Sphinx' of M. Octave Feuillet has also been performed.

BIBLE INFERRED from ITSELF. The Congregational Union Lecture for 1873. By HENRY ROGERS, Author of The Eclipse of Faith,' &c. Now ready, in 8vo. price 128. cloth.

de Louis XIV.,' a prose comedy, in five acts, of Dumas, altered and re-arranged by his son. piece was accepted twenty years ago by the Comédie Française, suppressed by the censure, and produced at the Théâtre du Vaudeville Brussels. It is principally occupied with the ambition of Cardinal Mazarin, whose niece, Marie de Mancini, has obtained a hold on the affections CHRISTIAN DOGMATICS: a Textof the young king. For a moment the Cardinal dreams of uniting by marriage the fortunes of his house to those of his royal master. He sees after a time the hopelessness of such a scheme, and resigns himself to the union of Louis the Fourteenth with Marie-Thérèse. The parting between the King and Marie de Mancini, which inspired Racine to write his 'Bérénice,' brings the piece to

Book for Academical Instruction and Private Study. By J. J. VAN OOSTERZEE, D. D., Professor of Theology in the University of Utrecht, Author of The Theology of the New Testament,' 'Lectures on St. John's Gospel,' &c. Translated from the Dutch by J. WATSON WATSON, B.A., Vicar of Newburgh, Lancashire, and MAURICE J. EVANS, B.A., Stratford-on-Avon.

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a conclusion. The characters are admirably UEBERWEG'S HISTORY of PHILOplayed throughout. The Mazarin of M. Lafontaine is a fine creation, and the Marie of Mdlle. Hélène Petit, the Molière of M. Porel, and the Louis XIV. of M. Masset, are all highly creditable performances.

'LE PORTEUR DU NUMÉRO 15' has been revived at the Ambigu-Comique, with M. Frédérick Lemaître in his well-known part of Feuillautin.

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London: HODDER & STOUGHTON, 27 and 31, Paternoster-row.

1. ULTRAMONTANISM and CHRISTIANITY. By Archbishop Manning.

2. The EVOLUTION HYPOTHESIS, and the ORIGIN of LIFE. By H. Charlton Bastian, M.D. Part II.

3. A BROAD CHURCH VICAR of the LAST CENTURY. By G. Vance Smith, D.D.

4. RUSSIAN IDYLLS. By W. R. S. Ralston.

5. EVANGELICALISM. By the Rev. J. M. Capes.

6. The METAPHYSICAL BASIS of TOLERATION. By Walter Bagehot.

7. EMMANUEL DEUTSCH. By the Rev. H. R. Haweis.

8. LETTERS to the AUTHOR of 'ORION,' on LITERARY and GENERAL TOPICS. By Elizabeth Barrett Browning. Fourth Instalment.

9. The SPECULATIVE METHOD. By Lord Arthur Russell.

10. The TORY PRESS. By a Tory.

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12, PATERNOSTER-ROW, March, 1874.

No I. on First Saturday of April, price 1d. Part I. on May 1, price 6d. ALEXANDER STRAHAN, 12, Paternoster-row, London: John Menzies & Co. Edinburgh; W. H. Smith & Son, Dublin. Strahan's Sunday Magazine for the People. Price 6d. Monthly, splendidly Illustrated, THE DAY OF REST.

Contents for APRIL.

Humphrey Brothers, Shipowners. Chaps. 20-28.
The Cross. By L. J. Wodehouse.

A Mistaken Life. By E. Thorp.

A Pair of Friends. By Lady Verney.

Spring. By C. C. Fraser-Tytler.

Lay Help in London. By C. J. Vaughan, D.D.

"A Sunday Well Spent," &c. By the Author of Episodes in an Obscure Life.' III.

Song of the Lonely. By George MacDonald.

Cassy. By Hesba Stretton. Chaps. 15-19. (Concluded.)

An Old English Gentleman. By J. W. Blackmore.
March Winds. By C. L.

A Soldier-Philanthropist. By Edward Sumner.

Step by Step. By A. K. H. Boyd, D.D., Author of ecreations of a Country Parson.'

Diotima, the Roman Martyr. By the Rev. John Hunt.

The Bible its Own Witness. By E. T. Brown.

The Lessons of the Wounds. By the Rev. Richard Wilton
Thirty-Five Years in Prison.

The Eyes of the Soul. By the Rev. Edward Liddell.

The Home on the River. y C. C. Fraser-Tytler.

The Mendicant and the Merchant. By Eliza Walker.

At Church in Norway. By E. L. O'Malley.

The Princess Elburga: a Legend of Essex. By C. Gurney.

Old Proverbs. By the Rev. H. Stowell Brown.

Comfort. By E. H. Hickey.

Dr. Guthrie's Early Life.

Dr. Livingstone. By R. W. Buckley.

The Collier's Sermon. Reported by a Chance Hearer. No. III.

Drawing Water. By C. C. Fraser-Tytler.

The Daughter of Cuvier. By J. W. Blackmore.

The Little Lacemakers. By the Author of Episodes in an Obscure Life.'

"The Stuff of which Martyrs are Made." By John Hunt. The Gift o' God. By Christiana.

The Golden God. By James Pitt.

Illustrated Supplement-BY the WATERS of BABYLON.
By A. B. Houghton.

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