of talent, cultivation, and experience is requisite to ensure success. We possess, perhaps, a greater number of good concert-room singers than any other country; yet, with one brilliant exception, we have no first-rate dramatic singers. It is true, that neither favourable circumstances nor encouragement, however judicious, can create talent; and it is equally true, that genius of the highest order may be not only concealed from the world, but utterly destroyed, if jealous mediocrity be permitted to levy the heavy duties on talent, which it may deem requisite to its own protection. That these duties are not only absurd in themselves, but that they will prove insurmountable obstacles to all who are either destitute of the means of complying with their exactions, or whose spirit may be too lofty to permit them to become a party to so palpable a conspiracy for defrauding the public, is admirably demonstrated by that eloquent advocate of genius, the Exposition of the False Medium.* The present dearth of dramatic excellence amongst us is the result, not of any inherent deficiency of the elements of which it is composed, but of the system pursued at the English theatres, a system which throws obstacles innumerable in the path of those unknown to fame, excludes them from the opportunity of improvement, and withholds from them the chance of obtaining through the verdict of the public, the reputation and the emolument which their talents, if allowed free scope, might reasonably hope to command. Most of the artists who are now enjoying the fruits of a well-earned celebrity, have been indebted for the successful exhibition and acknowledgement of their powers to some fortunate accident; while others of equal ability, born under a less propitious star, have been doomed to oblivion and starvation by the ignorance and short sighted selfishness of the mental douaniers who would seem to exist for the sole purpose of crushing genius.

Although the Royal Academy has not fulfilled, at least in the vocal department, the expectations which were formed on its establishment, yet it may be said that the pupils have encountered unmerited neglect from theatrical managers. Without entering into a minute investigation as to whether the directors and patrons of the Academy have constantly exerted their influence to obtain from the public a fair hearing for those whom they had allured into the musical profession, it is evident that, had the system of vocal in

Page 105. This work, in addition to much valuable matter on other subjects, contains many statements respecting the state of Music in this country that are painfully true.

struction been as efficient as that pursued in other conservatorios, self-interest would have prompted managers to secure the talent matured within its precincts. It may, however, be feared that the course of studies is not of the description to enable the pupils to keep pace with the increasing taste for classical music. The present dearth of great singers may be ascribed to the mistaken and pernicious doctrine that mere mechanical development of the vocal organs will enable the student to cope successfully with the music of any school. In the time of Billington, Bartleman, Mara, and Catalani, whatever might be the elementary training of a singer, an intimate acquaintance with Handel, Gluck, Mozart, and Winter, was considered indispensable, because among these composers lay the daily routine of their public performances. At that period a display of mind was a safer passport to success than rapidity of execution, and in this manner were singers forced into greatness. Style has been gradually lowering in proportion as it assumed an instrumental character. Italian vocal music has become more florid and less difficult of comprehension, and the fashionable style of the day may almost be denominated a series of exercises. It is infinitely more difficult to do justice to an air, especially one of a grand and imposing character, than to accomplish any accumulation of the florid passages that occur in Italian solfeggios. It may, however, be hoped that a re-action is taking place; certain it is that the demand for classical music is rapidly increasing. Let the directors of the Academy not remain behind; let them prepare the pupils to answer the demands of the public by acquiring an intimate knowledge of the great masters on whom time has confirmed the suffrages bestowed by their cotemporaries.

It is needless to expatiate on the advantages which young and inexperienced singers would derive from habitually co-operating with performers who have attained the beau ideal of their respective departments. Let it not, however, be understood that I would advocate the mistaken kindness which would seek to thrust tyros into parts in which the audience has a right to expect the exhibition of matured powers; let it ever be borne in mind that the possession of the highest talents will prove no exemption from the necessity of undergoing a course of drudgery which, to the idle and the presumptuous, may appear a degradation, but which will eventually prove the surest means of preparing genius for those daring flights which the astonished world is apt to ascribe solely to innate and momentary impulse. Any plan which would enable those Royal Academy pupils evidently gifted with dramatic talent, systematically to obtain

engagements at the Italian opera, in parts adapted to their respective powers, is a subject deserving the serious consideration of all who are solicitous for the interests of British art. It is idle to talk of deficiency of talent or of voice; let the experiment be tried with impartiality, and it will be found that English science, in combination with Italian cultivation, will produce now, as heretofore, vocal artists who may fearlessly challenge the world. Let those possesssed of influence arouse themselves, and by the adoption of the two principal suggestions contained in the preceding pages-namely, the introduction of classical music and the protection of English singers— they may hope to witness, at no distant period, the conversion of the opera from an idle and expensive luxury into a school in which instruction may be reaped alike by the artist and the connoisseur; while to the public at large it will prove an unerring standard of good taste, in regard equally to the compositions admitted and the manner in which they are performed.

Y. D.

[Reform in music has an able advocate in our correspondent; and we feel confident that such views as these, emanating from an accomplished musician, free from the too common taint of prejudice, will carry conviction into the minds of all who peruse the paper in the same philosophic spirit in which it is written. The only particular in which we differ from Y. D. is as regards the so-called theory of music. In our last number we ventured to characterise that as useless, and more than one distinguished musician has since expressed to us precisely the same views on the subject. What is termed "theory" appears to us precisely analogous to "grammar" in language; and the total inability of both to effect the ends for which they are taught, will one day be as freely acknowledged by the whole world as it now is by a few master-minds who fear not to advance some steps beyond the majority. We hold that "theory" and "grammar," as taught in the schools, are as dry as they are useless; but the true theory—namely, the ART OF COMPOSITION— would not only prove ten-fold more interesting to the youthful mind, but would be in equal ratio instructive. Language, in like manner, will never be learned with that ease with which it ought to be mastered, so long as the pupil is tormented with those tedious, repulsive, and pernicious rules termed grammar. With this exception, we repeat that our correspondent's paper deserves to be carefully perused and re-perused by every one who professes to take the slightest interest in the noble art of which it treats.-EDS.]

239

SKETCHES OF EUROPEAN ORNITHOLOGY.

GOULD'S "BIRDS OF EUROPE."

PARTS SEVENTH AND EIGHTH.

PART VII.-On opening the seventh part of this work, we find the same merits and the same defects that we had occasion to notice in our last number; the chief of the latter being the too great tameness of most of the figures, but especially those of the Falconidae and Fringillida. The accuracy of the delineation and colouring, is, however, in almost every case, such as to render the species recognisable by the ornithologist at a single glance; and each plate is, as a whole, so beautiful, as to rivet the eyes of even the most ordinary observer. The first plate represents

The Rock Gossak-Astur palumbarius-Autour de rocher, Fr.Sparviere da Colombi, It.-Hunerhabicht, G. The adult female in mature plumage, and the young bird, about three-fourths of the natural size, are given; of these, both characteristic, we prefer the latter, as having the more falconine expression of the two. "It may be regarded," says Mr. Gould," as the most noble and typical species of its genus-a genus separated from the Falcons by the absence of the true dentation of the mandibles, and by possessing a short and more rounded form of wings, together with a slender and less robust body." It is widely distributed, in both the old and new worlds, and abounds in all the wooded parts of Central Europe, but is very rare in Britain. In manners it bears considerable resemblance to the Sparrow Hawk; in taking its prey, however, it does not stoop like a Falcon, but glides after its victim in a line with extreme rapidity. The sexes differ considerably in size, and the markings on the breast are more distinct in the male than in the female. The young have the breast brown, and the markings are not in the same direction as in adults. Meyer informs us that this bird feeds on young birds of its own species-a circumstance, we think, that wants verification. Mr. Gould tells us nothing about its nidification or food; the latter consists of Squirrels, Rabbits, Mice, Moles, young poultry, Pigeons, and other small animals. It is said to make its nest on lofty trees, and to lay from two to four bluish eggs, streaked and spotted with brown.

The Siskin Goldwing-Carduelis spinus-Tarin vert, Fr.-Erlenzeisig, G. Pretty figures, but wanting in the lively expression

of the original; the plate represents the male and female, natural size. The colour of the female is much less bright than that of the male. Common in Europe, especially where the Birch and Alder abound; and we are glad to find our author correcting the usual notion of the rarity of this species in Britain; we have even ascertained that it breeds in this country, and have received specimens at almost every season of the year. Feeds on the buds of trees, and possesses a short but rather agreeable song. This circumstance, combined with its lively and pleasing manners, renders it a coveted bird with the fancier, and the trade in London catch hundreds of them every winter.-Builds on the upper branches of lofty trees, laying five light grey eggs, with minute purple dots. We should be glad to hear of the Siskin being met with in England in summer, and that it commonly breeds with us.

The Rednecked Grebe, Podiceps rubricollis, Lath.—Grêbe jougris, Fr.-Graukehliger Steissfuss, G. Beautiful representations, natural size, of an adult in summer plumage, and a young bird of the year. Habitat the Eastern portion of Europe, and the adjacent parts of Asia; found, but less abundantly, in the rest of Europe; rare with us. Frequents large lakes and rivers, and the sea-coast. Food the same as that of the other Grebes. The young want the rufous colour on the neck of the adults.

Cinereous Vulture, Vutur cinereus-Vautour noir, Fr.-Avoltoio lepraiolo, It.-Grauer Geier, G. An excellent figure of the adult male, one third of the size of nature, the best bird of prey Mr. Gould has figured thus far. Inhabits the extensive forests of Hungary, the mountains of the Tyrol, the Swiss Alps, the Pyrenees, and the middle of Spain and Italy, but never seen in Britain. Temminck says it only feeds on dead animals; but Bechstein affirms that it will attack Sheep, Goats, and even Deer, picking out their eyes, and being very troublesome to the farmers.

Two rather dumpy engravings of the Green Grosbeak, Coccothraustes chloris-Grosbec verdier, Fr.-Verdone, It.-Gruner Kernbeisser, G. An adult male and a young bird, natural size. Indigenous and common in the whole of Europe. Mr. Gould says nothing about the insects and caterpillars eaten by these birds; nor we believe, has any author noticed the circumstance, although the nestlings are brought up almost entirely on animal food-chiefly small green caterpillars.

Collared Pratincole, Glareola torquata-Glaréole à collier, Fr.Glareola, It.-Rothfussige Sandhuhn, G. A male and female, natural size, are extremely well hit off. Inhabits the extensive plains