of sarcasm, which, to a quick eye, at once betrayed satire; and it appeared as if the lips could be easily resolved into the risus sardonicus. His head was larger than that which a modern doctrine denominates the "medium size :" and it was well supported by a stout and well-foundationed pedestal, which was based on a breast, full, round, prominent, and capacious. The eye was shaded by a brow which I thought would be more congenial to sunshine than storm; and the nose was neither Grecian nor Roman, but was large enough to admit him readily into the chosen band of that immortal rebel' (Cromwell) who chose his body-guard with capacious lungs and noses, as affording greater capability of undergoing toil and hardship. Altogether, he appeared to possess strong physical powers.

"I could not then learn the name of the extraordinary stranger; but, the next day, at an assise-town, the same greyish eye, broad forehead, portly figure, and strong tone of voice, arrested my attention. He was just on the moment of addressing the jury, and I anxiously waited to hear the speech of a man who had already so strongly interested me, and whom I now found to be the counsellor O'Connell. I cannot detail his speech, but his delivery I can criticise. In addressing a mixed assembly where the lower orders predominate, I scarcely know any one who would have such a power of wielding the passions. He has a knack of speaking to a mob, which I have never heard exceeded. His manner has at times the rhodomontade of Hunt; but he is infinitely superior, of course, to this well-known democrat in choice of language and power of expression. The same remark may apply, were I to draw any comparison between him and another well-known mob-speaker, Cobbett. Were he opposed to these two persons in any assembly of the people, he would infallibly prove himself the victor. A balcony on the outside of a high window, and a large mob beneath him, is the very spot for O'Connell. There he would be best seen, and his powers and person best ohserved; but, were he in the house of commons, I think he would make little impression. His action wants grace and suavity, qualities so eminently fascinating in an elegant and classical speaker, but which, perhaps, are overlooked in an orator of the people.' The motions of his body are often sharp and angular. His arms swing about ungracefully, and

at times the right-hand plays slovenly with his watch-chain.

He does not appear to me to possess that very rare gift-genuine satire. He wants the cultivated grace of language, which his compeer Sheil possesses, and the brilliancy of metaphor. There is no one else, however, peer or commoner, who can compete with him in the Catholic Association. His language is often coarse, and seldom elegant. Strong, fierce, and bold, it often is, and vituperation and personality make up too much of the materiel. His voice is sometimes harsh and dissonant; and I could wish more of that round, full, mellow tone, which is essential to a good delivery, and which so captivates the ear. The voice is the key which unlocks the heart,' says Madame Roland. I believe it. Let the reader listen to the fine round voice of the chief-justice Bushe, and then let him hear the sometimes grating tones of O'Connell, and he will soon perceive the difference.

As he cannot clothe his language in the same elegance as Sheil, he cannot give the same insinuation to his discourses. In this respect, his contemporary has greatly the advantage. Sheil gives us the poetry of eloquence, O'Connell the prose. The attempts of the latter at wit are clumsy, while the former can bring both that and metaphor to his aid. O'Connell, however, can attempt humor with effect, and he has a peculiar tact in suiting it to the Irish people. I have not often seen a good exordium from him-an integral portion of a discourse which is extremely difficult to make; and I think his perorations want grace, point, and force.

The next place at which I heard the arch-leader of Catholicism, was at the council-chamber in Dublin Castle, where he was employed to argue a case before the marquis Wellesley. His speech, voice, action, eye, seem to be as clearly before me at present, as they were on that day; and, if this should catch his eye, I would call it to his memory by saying it was one of the best speeches he ever made. As the viceroy was of the same opinion in politics with the person who was speaking, he appeared to listen to him with much pleasure. The orator seemed more strictly to attend to his words, tone of voice, and action, than when I heard him before; and even his step in the antiroom, on passing to the chamber, was also guarded. Into that chamber he could not come in the same hurried care

way.

In walking through the streets, he pushes along in the same careless democratical manner; and his stout tall figure enables him to shoulder aside the crowds that might oppose his hurried march. He seems not to recollect that the slow pace is the pace of the gentleman; on he goes, business and emancipation being borne mightily on his broad shoulders, and stops not till he gets to the Four Courts; he is then off to the Associationrooms-then to the Four Courts again from the Courts to attend some popular assembly, or keep an appointment-from the assembly to his house to dine-then a hearty dinner and a temperate glassbusiness, parchments, briefs, attorneys' clerks, and unfledged lawyers' afterwards retiring early to bed-and then, the next day, behold him going again through the same weighty routine of bu

siness."

Here we may observe, that Mr. O'Connell has now a respite from the fatigues of business, and also from the agitations of suspense. The parliamentary tide flows strongly in favor of his party, even in defiance of the voice of the people; and he may predict the triumph of his long-persecuted friends, who, we hear, intend to remunerate his zealous exertions with a liberal annuity.

NOTICES AND OBSERVATIONS FOR

FEBRUARY AND MARCH.

February 13.-The intelligence of the king's speech, and the hopes of a favorable settlement of the catholic claims, prompted the leaders of the Hibernian association to make a show of submission, by dissolving that assembly which had long domineered over Ireland, and which the successive viceroys either could not or would not suppress. Mr. Sheil proposed a dissolution, and the motion was adopted, even without the assent of Mr. O'Connell.

28. There is no disgrace in the change of opinion, when there are fair and rea

157

sonable grounds for the change. But it may be doubted whether Mr. Peel can justify, by such an allegation, his abandonment of the Protestant cause. He says, indeed, that he is as zealous as ever in that cause, and thinks that it will prosper more after the admission of the Catholics to power than it does now under the system of exclusion. Such is also the declared opinion of the duke of Wellington; but his logic is generally of the Irish complexion, not so legitimate as that of Aristotle or of Burgersdicius. The Secretary, who is said to be a great scholar, ought to have argued better than a mere soldier.

Mr. Peel, aware that he had forfeited his claim to a renewal of those suffrages which had sent him to the house of commons as a representative of an orthodox university, did not presume to insist on the honor of re-election; but his partisans, knowing that he wished it, strenuously promoted his cause. The contest became a trial of strength between the true friends of protestantism and the latitudinarian supporters of pretended liberality. It was carried on with a spirit and a vehemence which disturbed in an unusual degree the tranquillity of Oxford, and was decided on the third day, by a majority of 146, in favor of Sir Robert Inglis. The university had previously petitioned the two houses against farther concessions to the catholics, while Cambridge pursued a contrary course. This division of sentiment diffused itself over the whole kingdom; but, as far as we can judge, the majority of the nation seem to be hostile to that laxity of principle, or that want of political caution, which would admit the most bigoted and illiberal of all sectaries to the privilege of giving advice to the king, and of legislating for a protestant community.

The bishop of Salisbury, alarmed at the nature of the bill which is now in progress for the settlement of this great question, has addressed a long letter to the duke of Wellington, remonstrating against the measure in a temperate yet forcible manner. We shall merely give the conclusion.-"If in Ireland there be a great majority of its inhabitants for the re-admission of popery into the constitution, there is in the whole of the empire a much greater majority against it, to whose anxious protestations against the measure the loaded tables of the two houses of parliament bear abundant testimony,-so abun. dant, that an attempt to tranquillises ven

millions of papists at the expense of fif teen or twenty millions of aggrieved and neglected protestants (as they will think themselves), appears to afford very little hope of settling the question."

March 5.-An instance of the prevailing Fondness for Litigation.-It might be supposed that the enormous expense of law in this country would operate as an effectual check to the frequency of trifling prosecutions for damages; but there are some blockheads whom nothing will deter. At the Oxford assises, an action of trespass was brought on the following grounds. One who had trespassed in a trivial degree, received a warning to abstain from such steps. He returned the paper, with a jocular note to this import:-"I return your notice, not thinking it worth my notice." On renewing the trespass, he was prosecuted; but the complaining gentleman could only obtain a verdict estimating the damage at one farthing.

14. The conduct of the protegé of our court, the sovereign of Portugal, is inexcusably arbitrary and atrociously tyrannical. He lately put to death several officers whom the judges had only condemned to imprisonment or transportation, and thus showed himself to be a brutal barbarian rather than a just or enlightened prince. We are glad to find that Don Pedro is determined not to acquiesce in his brother's usurpation; but that prince, we fear, cannot crush it without the aid of some European power. In the mean time, the lawful queen resides quietly in this country, not so young or so undiscerning as to be wholly unconscious of her claims.

21. A Duel. The barbarous practice of settling a quarrel or misunderstanding by the use of the sword or pistol cannot be too severely reprobated. The result affords no real satisfaction, unless it be contended that the display of personal courage is a vindication of honor: but mere courage is a quality which the lowest of the people possess as much as

Fine

The British Institution.-Continuing our survey of this very pleasing exhibition, we are induced, in the first place, to take notice of Mr. Northcote's Adoration of the Shepherds. The frequent treatment of this subject by some of the most powerful pencils ever exercised in the art, forms the ground of a comparison disad

the highest. Notwithstanding all the efforts of reason to suppress the practice, it still prevails, but, we think, not in so great a degree as it formerly did.

The earl of Winchelsea having arraigned the motives of the prime minister, for his support of the King's College, and insinuated that the whole transaction connected with this new seminary was intended "as a blind to the Protestant and high-church party, with the view of accomplishing, under an outward show of orthodox zeal, an insidious design for the introduction of popery into every department of the state,' this attack produced a challenge from the duke, who coolly fired at his adversary. The earl immediately fired in the air, and subsequently made a public apology for the freedom of his animadversions.

LOVE AND MUSIC;

with an elegant Engraving. TRUE and empassioned love seems to be declining among us; yet we occasionally meet with instances of strong and permanent affection, and even death is sometimes the consequence of wounded feelings and bitter disappointment in love. The maiden represented by our artist, however, is not in so dangerous a predicament; she apparently indulges in the sweet dreams of hope, and trusts that her ardent love will be ultimately returned by the youth whom she thus fondly addresses.

"I give thee all-I can no more:
Though poor the off'ring be,.

My heart and lute are all the store
That I can give to thee."

Although it is said that the "course of true love never did run smooth," we hope that her beauty and merit will subdue all obstacles, and that the youth will not reject her advances, or spurn the offer of a devoted heart.

Arts.

vantageous to almost any artist. To this account, perhaps, as much as to the great age of the painter, is to be ascribed the perception of a want of vigor in this picture.

The Madonna is deficient in elevation of style. His Virgin Mary has much more the character of an amiable English grand-daughter, regarding with

kindred affection a sister's first-born child, than that of the mother of our Redeemer.

There are two large pictures which excite greater attention by the glorious importance of their subjects, than by the ability manifested in their execution. One represents the capture of the San-Josef by Nelson; the other portrays a scene consequent on lord Howe's victory. In the former piece, by Mr. Jones, there is an appearance of bustle and animation; but the coloring is better than the composition. Of the other picture a critic thus speaks: "It is lamentably deficient both in general and individual expression. The personages want character and dignity; the royal pair are the most tame, stiff, and unmeaning figures conceivable; -that of lord Howe, with a head somewhat less insignificant, exceeds all in aukwardness. The coloring in general wants depth and power; and the production altogether must be regarded as a disappointment to the admirers of Mr. Briggs' former works. Here and there, however, a head presents itself invested both with character and expression, and in several parts of the picture may be traced the strokes of an elegant and fanciful pencil." It is proper to observe that these two works of art were executed by the orders of the Institution, as ornaments for Greenwich Hospital.

Mr. Danby has delineated Sunset, and the Moon rising over a wild Country, and both pieces bear testimony to the high poetical imagination of the artist. In the latter, the moon rises over the rugged heights of a mountain chain; and the valleys and defiles, the sharp-edged ridges, pinnacled summits, rude rocks, and waterfalls, are perceived beneath her pale light, when the stars are not yet eclipsed by her brightness. A volcano in the distance, equaling in height the surrounding mountain summits, throws its flame uprightly toward the sky with a tranquillity which finely harmonises with the rest of the picture. In the other piece, a gorgeous sunset throws its deep tints on a bank of clouds collected on the horizon, and on the ocean already freshened by the evening breeze. On the bosom of that ocean floats an ancient galley, its gilded prow rendered doubly golden by reflecting the rays of the setting luminary. A pair of lovers in oriental costume are seated on the sandy beach, contemplating the glorious spectacle, in position and attitude full of sentiment,

and participating in the loveliness and harmony of the scene before them.

Mr. Newton's Disconsolate tells a pathetic story of heart-breaking sorrow, which, many would think, is better explained by hiding the face than by the most elaborate expression of grief. The Dutch Girl of the same artist is too handsome and graceful for the subject.

Mr. Knight's Auld Robin Gray, in spite of being ill-placed from being low, can, not be passed without attracting attention. The subject is old among artists, but it has seldom, if ever, been better handled. The reluctance of the girl, the assiduity of the lover, the speaking poverty of the parents-all tell the story, which has in the voice of song so often called tears into the eyes of the hearer.

Love at Naples, by Mr. Uwins, is a kind of love which differs considerably from that of Auld Robin Gray. Here we have all the luxury of Italy to add to the excitements and the enjoyments of the master passion.

The Tea-cup, by Mr. Clater, refers to the practice of telling fortunes by the grounds of tea. A cynical observer of this piece might exclaim, "Is it not enough that this vile herb is to debilitate the physical system of our women, but must it also weaken their minds by leading to a miserable superstition?" The picture is, however, cleverly painted. The contrast between the credulous young female and the artful old crone is well maintained, and the execution of the accessories very creditable to Mr. Clater's talents.

Mr. Wonder's Waiting for an Answer is not a wonderful piece; but it is executed in a pleasing manner. He views nature with an intelligent eye, and his figures are expressively characteristic.

Mr. Farrier's Deserter is intended, we may suppose, to be a companion to his "Who'll serve the King?" It is a picture of some merit, and the duplication of the subject in the back-ground is well imagined.-The Sunshine of this artist alludes to the innocent dalliance of a fond couple, and the impending storm is the threatening gesture of a morose mother, who suddenly makes her appearance.

Mr. Partridge's Satan is a striking picture. The enemy of mankind, having assumed the form of a beautiful angel to deceive Uriel, alights on Mount Niphates, where his evil passions, which are excited in regarding the sun, betray him to the angel. The figure is in the act of address

ing the sun, the left hand uplifted toward the luminary, the right hand grasping a spear, the left leg stepping forward. The picture is elaborately painted in a rich and mellow tone; the figure is simple and grand, and in form calls to mind the wonder of the Vatican.

The Native of Mesolonghi, by Mr. Hollins, is a very attractive picture. A female is reclining on a sofa in the splendid costume of her country: the head is beautiful, the features are perfectly regular, eyes large and dark, black tresses falling over the shoulder from below a splendid turban and red coif tasseled. The expression is characteristic of one who must have passed a youth amidst horrors, so as to be in a great measure inured to them.

It presents a remarkable mixture, unknown in countries not accustomed to scenes of public trouble and atrocity, of feminine softness, passion, and fierce

ness.

The Faithful Dog, by Edwin Landseer, cannot fail to attract notice. Few historical painters can infuse so much of character and sentiment into their works as he imparts to his pictures of animal life. This representation of a faithful and heart-broken creature, contemplating the grave of his beloved master, makes a strong appeal to the feelings. The subject must have been suggested by a friendliness of disposition, and genius alone could have invested it with a due solemnity of effect.

THE Concerts of the Philharmonic Society have been renewed with superior talent and increased effect, apparently with a view of atoning for the imputed neglect of the true spirit of these entertainments, on the part of the directors: yet the choice of Spohr's music, on the first evening, did not appear to please the audience; for, though learned and elaborate, it wants vivacity. The second concert gave greater satisfaction than the first. It commenced with Beethoven's Sinfonia Eroica, a composition truly heroic, exceedingly pathetic, and particularly fine in the concluding passages. A duet from Rossini's Elmira followed, between Madame Caradori Allan and Signor Begrez. The lady's vocal skill, on this occasion, was superior to that of her companion. The next piece was a performance which included the use of six instruments. Such a concentration of melodious harmony, such a regard to time, tone, and tune, are not often witnessed. Mrs. Anderson proved herself, in this amicable trial of skill, a first-rate pianist. A duet by Begrez and Pellegrini was feebly executed, and had no other effect than to promote drowsiness; but an instrumental quartetto, by Mori, Watts, Moralt, and Lindley, charmed the whole assembly. Cherubini's lively overture to the Abencerages formed a good finale.

The first performance of sacred music

for the season, at Drury-lane Theatre, was finely effective. "Never (says an amateur) did we hear any thing approaching in goodness to the selection and execution of the music on this occasion. For this judicious renovation of management, and a return to the style of the old dramatic oratorio, we may thank Mr. Hawes. The most fastidious listener at the Ancient Concert might have received pleasure at this performance, and for this Mr. Hawes procured all the sings that were worth hearing-he sensibly omitted from his list a few flaunting Madams about whom we care nothing, and in their stead he procured a magnificent band, a good organist, and a numerous and well-drilled chorus. A selection from the oratorio of Saul, the first part of the Creation, a trio for violin, violoncello, and double bass, and the cantata of Alexis, with Lindley's obligato violoncello accompaniment, formed the prominent features of the selection. There was, in fact, not a single worthless piece, while many were highly interesting. We have never heard choral music at an oratorio, of which the various parts were so well supported, and the points of the fugues so well taken up. The chorus, O fatal day,' was magnificent in its effect. Braham and Philips sang purely, and in excellent taste, and the instrumental execution of Handel's trio was apparently perfect."