Fine-Art Gossip.

SUBSCRIPTIONS seem to be poured in for the execution of the long-deferred and often-desired decorations in St. Paul's. We heartily wish the work success, but entreat to be allowed to advise something like moderation in the doing. It is so easy to fail in great experiments of this kind, and success is so rare-rarer here than elsewhere-that we suggest the imperative importance of tentative proceedings, say by colouring part of one aisle or of the nave of the cathedral in the first instance. We also hope that money will be available for the removal of more than one of the villanously bad painted-glass windows of recent introduction, and the placing of good works of Art. Would that some of the wretched statuary could be expelled! THE Royal Academicians are, we believe, about to place a bust of Maclise in an honourable position at Burlington Gardens. Not only, as we observed last week, was a powerful body prepared

to buy Maclise's cartoon of 'Wellington and Blucher,' if the Academy did not secure it, but Mr. Jones, of Cork, intended, in a like case, to purchase the work, and take it to Maclise's native city. The picture now in the Academy Exhibition, and styled by the artist The Earls of Desmond and Ormond,' was bought on commission for a member of the Desmond family.

THE Royal Historical and Archæological Asso ciation of Ireland at its last meeting (July 6) set on foot a project for the preservation from fastapproaching destruction of the far-famed remains of the churches and round tower of Glendalough, co. Wicklow. One of the first points visited by English tourists, these ruins, so characteristic of primitive Irish Church architecture, are well known, and we feel sure that many will be glad to aid in the proposed work of conservation, which, from the Report submitted to us, seems conceived in a judicious spirit. The Rev. J. Groves, Stoneyford, co. Killarney, is the hon. sec. of the Association. In our note on Mr. Rowell's letter last week, referring to the sword which is described as that which the Pope presented to Henry the Eighth, the word "Ashmole" slipped out of its place in the sixth line from the end. The sentence in question should read thus: "that Ashmole was anything but an authority on such matters," &c.

MUSIC

FLOTOW AND WAGNER.

THE association of these two names is opportune. Both composers are Germans, and each has just achieved a success in two important musical capitals, Paris and Munich. But the systems followed by the musicians are as opposite as the poles asunder. Flotow, or De Flotow, or Von Flotow, as he is alternately styled in France and in Germany, has been content to do his spiriting gently: he has been unobtrusive; and so unfamiliar were his antecedents, that it was for a long time a speculation as to which country he belonged to. His opera of 'Martha' has gone the round of the world, despite the protests of the purists, who have persisted in proclaiming that the sole merit of the work is based on the interpolated air, The Last Rose of Summer.' Eoieldieu has been open to the same reproach for turning to account, as he has done so charmingly, the melody of Robin Adair,' in the 'Dame Blanche'; and those amateurs who are enamoured with the music of Ambroise Thomas, must be reminded that until Nilsson introduced the Swedish melodies in the mad scene of Ophelia, 'Hamlet,' on the first night in Paris, was verging on a failure. Flotow cannot be accused of being profound, but he is, at all events, comprehensible: his themes may be trite, but they are catching, and often captivating. Wagner, on the contrary, has been the musician militant throughout his chequered career. Unknown and poor in Paris, Meyerbeer, who had no mean jealousies of any composers, living or dead, first took him by the hand. Wagner turned against his benefactor whilst he was living, and has persecuted him relentlessly since he was

dead. Hence it is that Paris will listen to Flotow,
who is not a belligerent, and they will not tolerate
Wagner, because he is a firebrand. The three-act
opera of Flotow, 'L'Ombre,' produced at the
Théâtre Impériale de l'Opéra Comique, has been
a decided success, although the anti-Prussian feel-
ing in Paris was at fever-heat on the 7th of July,
the night of the first representation. If private
letters, in addition to journalistic notices, are to
be relied upon, if Wagner's Walküre' had been
brought out in Paris on the 24th of June, instead
of Munich, its rejection would have been certain.
The Bavarian Wagnerites quand même are in
ecstasies, but even in their stronghold there is
anything but unanimity. Whilst with Flotow there
is no question of transformation of style, for in
the 'Ombre' he follows his beaten track-that of
endeavouring to be melodious and tuneful, the
dispute as to the Wagnerian 'Walkyrie' is, whether
he has or has not adopted a new style. Is his last

opera an abandonment of his 'Tristan' mystifi-
cations?-is there a new theory ?-is he advancing
or retrograding? In the face of such conflicting
opinions from the Fatherland, it is difficult to
judge whether there be permanent signs of popu-
larity in the 'Walküre.' There was decided oppo-
sition to the second act; but at the end of five hours
for the three acts, the ayes were in the majority, to
accept the opera as a success. How far this verdict
will be ratified on appeal to other musical cities
has to be proved. The large outlay to place the
'Walküre' on the stage would not operate in the
smallest theatre against its production, provided
the music was attractive; but the Munich orchestra
was increased by one-third in number-an indi-
cation that potency of sound has much to do
with the best Wagnerian inspirations. A portion
of the band was invisible; this device has been
tried by Meyerbeer with the chorus. The book
of the opera is anything but a lively one; in Paris
or in London it would be provocative of risibility.
Who can have sympathy with the gods of the
Scandinavian Olympus, who persecute Siegmund
and Sieglinde, the brother and sister of the Walkyrie
Brünnhilde, the heroic virgin? Fräulein Stehle
seems to have carried off the honours in the leading
to the Walkyrie,' there was no human sympathy;
but in the first instalment of the Ring of the
part. In the Rhinegold,' which was the prologue
Nibelungen' there are more flesh and blood attri-
butes.

Flotow, in the 'Ombre,' has not indulged in
flights of fancy. He has set the libretto of M. de
Saint-George simply; there is nothing pretentious,
nothing eccentric. As in the 'Éclair' of Halévy,
there are only four characters, and no chorus is
used. The scene is in Savoy, during the reign of
Louis the Fourteenth, at the period of the perse-
cution of the Protestants. The supposed shade, or
ghost, is that of a Count who had been sentenced
to be shot, but who is saved by a comrade, who
had charge of the shooting party. It is Jeanne,
a young orphan girl, who is mystified into a
marriage with the Count. He is, however, com-
pelled to undergo his sentence in reality; but
Marshal de Villars, having been appealed to, pro-
nounces a pardon, and 'L'Ombre' finishes happily.
The opera is sustained by Mdlle. Marie Roze,
Mdlle. Priola, M. Monjauze and M. Meillet. The
air sung by the basso, Quand je monte Cocotte,'
in which the trotting qualities of the Doctor's
mare are praised, quite excited the Parisian audi-
tory: it appears to be a companion to the Beer-
Song in 'Martha.' A quartet at a supper-table is
another number, keenly appreciated and encored.
Another dramatic quartet was redemanded; but
the crowning success was for the couplets, Midi,
Minuit,' sung by Meillet.

OPERAS ANI CONCERTS.

THE Drury Lane management adheres to the prospectus as regards thepromised novelties. Faith has been kept with the sbscribers in the production of 'L'Oca del Giro,' by Mozart, 'Abu Thomas. And now, notwithstanding that the season Hassan,' by Weber, an 'Mignon,' by Ambroise is

drawing to a speedy close, Wagner's 'Fliegende

Holländer' is underlined in the bills for next Saturday, under the oninous title of 'L'Olandese Dannato.' It is to be oped that Richard Wagner will receive better treatment than he experienced in Paris when the French version of 'Tannhauser' was brought out in March, 1861. His setting of the legend of The Flying Dutchman' must not be confounded with his subsequent works, in which he adopted a style now familiarly called the "Music of the Future." "Der Fliegende Holländer' and 'Rienzi' re very different compositions and professors who have heard Wagner's early from Tannhäuser' and 'Lohengrin.' Amateurs operas at Vienna, Berlin, Darmstadt, Munich, Dresden, &c., are wdl aware what a marked difference there is in his arly and his late notions of the

lyric drama. The cst at Drury Lane of the Fliegende Holländer' ncludes Mdlle. Di Murska as Senta, Madame Cori as Maria, Signor Perotti, the new tenor, as Erik, he Jager, Signor Foli as Daland, Signor Rinaldini as the Pilot, and Mr. Santley as the Flying Dutchman The Wagner experiment is really the event of the sason-it may be the thin end of dents of the composer entitle him to a fair hearing. the wedge, but the position, standing and antece

The revival a Bellini's 'I Puritani' at Covent Garden to enable Madame Patti to appear as Elvira, her appearance in which was a broken pledge of long standing, will not restore the once great populariy of that work. Granting that the singing of Madame Patti is as refined and perfect as that of por Bosio-admitting even that her acting is nearly as energetic as that of Grisi-'I Puritani' is so associated with the recollection of the yet unrivalled quartet, Grisi, Rubini, Tamburini and Lablache, that it will require something more than a single singer to render Bellini's opera a striking characteristic of the modern Italian singer, standard one in the repertory. There is one which is a deficiency of gentlemanlike bearing on the stage. Tamburini was always an artist, who seemed to walk from the drawing-room on to the mimic scene. The dignity of Lablache was always imposing. Who can forget his facial expression when he, as Don Pasquale, received a blow from Norina. The Riccardo and the Giorgio of Covent Garden -the former Graziani and the latter Bagagiolo -have both splendid voices, but as singers their method is open to decided objection; as actors they are mere machines. Rubini's unparalleled vocal powers found a successor in Mario, not as regards expression and execution, but in the possession of one of the manliest, most sympathetic organs ever heard; and then as an actor Mario gained ground with experience, having been gifted by nature with a rare physical presence. It would be absurd to cite Signor Vizzani's Arturo as adequate for such a grand tenor part. At present he has but the attributes of the lightest concertroom tenorino. To sing 'A te, o cara,' the charm of the melody will carry an ordinary singer through, but to electrify a house with Ella e tremante exacts dramatic genius.

The fifty-eighth season of the Philharmonic Society has ended with a Beethoven manifestation -a selection being made from his instrumental and vocal pieces, beginning with the No. 1, Symphony in c, Op. 21, in 1800, and ending with the No. 9, Choral Symphony in D minor, Op. 125, (1823). To these works were added, the Choral Fantasia, Op. 80, (1808), (pianoforte obbligato) and the 'Leonore' Overture, Op. 72, (1806), (No. 3 of the four preludes to the opera of 'Fidelio'). The vocal gleanings were the Dervishes' Chorus, Op. 113, from 'The Ruins of Athens,' (1811); the powerful terzetto,

Here then are two operas by two Germans of the most opposite tendencies; in the one, sole reliance is placed on melodious imagery, sustained by orthodox orchestration; in the other, the ideal and the fanciful are sought to be attained by disjointed themes, monotonous recitatives, and boisterous instrumentation. Which work will live-Tremate, empi, tremate,' (1801); and the dramatic 'L'Ombre' or the 'Walküre'? scena, Ah! Perfido,' Op. 65, (1796). These dates are very interesting and suggestive. It was a

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The following Volumes are also sold separately:—

"The admirers of Burns will be glad of this opportunity to EDGEWORTH'S MORAL TALES, complete in One Volume, with

acquire the fac-similes of the poet's handwriting, with the emendations of the poems."

All applications with respect to the PHOTO-CHROMOLITH PROCESS should be made to EDWARD J. FRANCIS, 4, Took's-court, Chancery-lane, E.C.

The Reproduction of BURNS'S MSS. of 'TAM o' SHANTER' and 'The LAMENT of MARY, QUEEN of SCOTS,' price 1s.. published by Messrs. ADAMS FRANCIS, 59, Fleet-street, E.C.

Four fine Engravings on Steel, fcap. 8vo. cloth extra, gilt back, 3s.; or with gilt edges, 38. Cd.

EDGEWORTH'S POPULAR TALES, complete in One Volume,

with Four fine Engravings on Steel, fcap. 8vo. cloth extra, gilt back, 3s.; or with gilt edges, 3s. 6d.

The love of Ireland, and an intense desire for its improvement and happiness, were the ruling principles of Maria Edgeworth's life. The two series of Moral and Popular Tales may fairly rank as unrivalled in their kind, and her Novels, from 'Belinda' to 'Helen,' are no less deserving of permanent fame."

HENRY G. BOHN, Henrietta-street, Covent-garden;
And SIMPKIN, MARSHALL & Co. Stationers' Hall-court, London.