of the seventh magnitude, they yet pierce through the darkness. Minor oracles of the mysteries of science, they are still apt to inform and instruct mankind.

This young composer, Mr. J. S. Major, has here given such striking proofs of his scientific skill and cultivated ideas that we have been unwittingly betrayed into a somewhat lengthy exordium. Our excuse to the reader is this:-Mr. Major deserves more than a mere transient notice. He must not be treated like the damned ones in Dante's "Inferno :"

"Non ragionam di lul, ma guarda e passa ;"

for his works merit a minute analysis, as giving evidences of talent of which very few can boast. Time and space preclude this analysis on our own part; all that the critic can do is to take a cursory survey of the "Pastoral Week," and refer his readers to the work itself for further information. The six quartetts before us appear to have been written, or, at all events, conceived during the delights of a honeymoon excursion. We think we can trace that sober love which is akin to melancholy in the exquisite No. 5, "Regret," to which we unhesitatingly point as the best of the series. We should have preferred the minor mode, but Mr. Major has chosen the key of G major. The interrupted cadence in E minor, and the chord of the subdominant in the fifth bar-the modulation into C major, and D minor (instead of D major)and the fine though recondite harmonies taken upon a pedal bass, are highly effective. The melody is pathos itself.

No. 1-" Returning Spring," in A major, 6-8 time, is a gay and gladsome ebullition of May-day mirth. The repetition of the chord of the dominant of the relative minor, in the 9th bar, stimulates the ear to expectation. This harmony is resolved upon a chord of the 6-4. We are then led by the chord of D major (with the 6th), an inversion of the dominant 7th in B minor, and the chord of B minor itself, to a pause on the dominant of the original key.

No. 6-"The Contemplative Angler," in A minor and major, is treated at some length. We like it less than the others; but it is diversified by a very agreeable modulation into the relative major, previous to the alteration of the signature. Few changes are more pleasing to the ear than this temporary introduction of the relative major in a minor key, although the general practice of composers is to commence with the tonic minor instead of with the relative. Spohr's symphony in F, the overture to Don Juan, and B. Romberg's divine overture in D, may be adduced as instances of the case in point.

"The Nightingale," No. 4, in A, and "The Lover's Holiday," No. 3, in G, are on a par with the rest, both as regards fecundity of idea and arrangement of harmony.

No. 2, in D major, is entitled "The Invitation." The harmonization is artistically constructed by a series of progressions which lead by dominant chords, from the relative minor to a pause in A (the dominant) major. Mr. Major appears fearful of anything like monotony, and he is a master of the art of modulation; but his quartetts will require the aid of the best vocal performers.

We have left ourselves little space to speak of our friend Mr. John Major's very pretty pastoral poetry-naturally, from him, of a Waltonian tendency. He has co-operated with his son, the musician, most successfully. Altogether, these quartetts reflect the greatest credit both upon the composer and the writer. As regards the former, we bid him advance and prosper in the career of which the outset is so highly promising. To our readers, and the musical public generally, we can safely and conscientiously recommend a visit to the music-warehouse of Messrs. Addison and Hodson. We like not either to praise or to condemn, without affording an opportunity for the confirmation of our decision.

PUBLIC AMUSEMENTS OF THE METROPOLIS.

* 'Mid sounds and sights like these long years have passed.”—BYRON.

In all directions preparations are being made for Easter-tide. As in former seasons, there will be abundance of sights to be seen: no mean quantity of sound to be heard, from the regions of the Haymarket to the confines of Greenwich; and doubtless there will be no lack of spectators and listeners. The notes of the nightingales at the Operas, both old and new, will not fail to attract; neither will the "sweet voices" of the industrious "walk up! walk up!"-gentlemen, at the Cockney Carnival, be exerted in vain.

The greatest novelty undoubtedly will be the opening of COVENT GARDEN ROYAL ITALIAN OPERA. There can be no second opinion entertained of the exertions of those engaged in the extensive alterations and decorations of this house. Their skill and taste have been remarkably well displayed. The result of these labours is that the interior of this temple of the lyrical drama, besides being considerably enlarged, presents a coup-d'œil of a highly pleasing character. Rossini's opera of "Semiramide" is selected for the opening; the caste including Grisi, Tamburini, and Mdlle. Alboni, a débutante. If a proper system of management be pursued, there can be no doubt of success. Whether that course be taken by the directors will be tested anon.

THE OLD ITALIAN OPERA-such, we opine, must it be intituled, now that there are two houses devoted to Italian Operas--has been well attended, considering the early state of the season. It is an evidence of good management on the part of Mr. Lumley determining not to follow the olden practice of deferring all novelties until after Easter. Thus stepping out of the beaten track he has brought forward a ballet which bids fair to have a long run-a circumstance not at all surprising when the principal agents are the feet. Thea; ou La Fée aux Fleurs" has afforded Mademoiselle Rosati an opportunity of dis playing her choregraphic abilities to an extent hitherto denied her, Some of her steps are perfectly surprising, and fail not to inspire her numerous spectators with no ordinary delight. Marie Taglioni in a pas seul is highly pleasing. The general appointments, and the mise en scene, are not to be surpassed.

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At DRURY LANE Shakspeare is to be seen-outside, and Mr. Hughes' stud-inside. Nuture appears to have moulded her child Bunn expressly for this age of steam. His ideas appear to be concentrated in the notion that to "get on" you must be continually "puffing." The last "heavy blow" from the managerial trumpet announces the day of the arrival of Mr. Hughes' troop of horses, camels, drivers, &c. The exact minute that the train conveying all these accessories to the forthcoming pageant at Drury Lane will reach the terminus is foretold with an accuracy not to be surpassed-supposing the prophecy to be fulfilled. And then the public is further informed how the calvacade will set out from Euston Square, and the route to be observed is graphically described. Enlightenment is also afforded as to the extensive stables

which have been erected in Farringdon Street for the especial purposes of the stud. Where could there be a better site than the Fleet? especially if the manager should wish his steeds to rival in fleetness those of Phoebus. What a grand coup, and how monstrously it would please the O TOM, could Mr. Bunn, in addition to the horses and camels which are to appear in the "Desert" of David, by any possible means procure the veritable grunter associated with that family, handed down as celebrated for its quadrupedal possessions.

The tactics of the commander-in-chief of the HAYMARKET in marshalling his "Light Troop of St. James's" are not such as are usually characteristic of his generalship. The evolutions of the troop are neither varied nor striking. The sooner the command of quick march is enforced the better it will be for all ranks. "She Stoops to Conquer" has been given at this house several times lately, to the gratification of many ardent admirers of Goldsmith. Buckstone's Tony Lumpkin agreeably surprised us by the absence of that caricaturing, which he is wont at times to indulge in. Mrs. Glover, Farren, Miss Bennett, Mrs. Buckingham, and Mr. Holl, severally contributed their talents to the hearty reception awarded this amusing comedy. "The Invisible Prince," after little short of a hundred representations, is now to give place to his successor. It will be a source of infinite delight to the lovers of genuine burlesque to be assured that the extravaganza to be produced here on Easter Monday is from the facile pen of Mr. Planché, an author who has afforded frequent opportunities for a laughter-loving public to indulge to the top of their bent. The forthcoming novelty will be sure to receive its due modicum of justice from a liberal manager and a talented company.

"Kenilworth" has been produced on a scale of vast splendour at ASTLEY'S. The scenery is very striking, and the costumes and general appointments are distinguishable for taste. In the course of the spectacle the whole of Mr. Batty's extensive stud is introduced, greatly to the gratification of the assembled spectators. The most astonishing performance is that of Mr. Pablo Fanque, on his tutored steed. To be believed, as they say in the penny serials, it must be seen. Talk of equestrian feats indeed! this is the ne plus ultra of horsemanship, et nulla error. No one will rave about the Muses being idle, when witnessing this sagacious quadruped perpetrating the Polka. It is positively the triumph of Terpsichore-her very victory of victories. The Cellarius and the valse à deux temps are as nought to this most unique of exhibitions. The holidays are to be celebrated here by wonders of the most dazzling description, selected from the repertoire of Mr. Batty. Colman's clever comedy of the "The Heir at Law" has been played lately at the PRINCESS's. The performance has been remarkable for the perfect impersonation of Doctor Pangloss, by Mr. Compton. Would that many of our comedians were as complete in the embodiment of character as this legitimate performer. Imitations are bad at all time3 ; but especially so, when only second or third-rate. Even mimicking monkies, that "have imitated humanity so abominably," could not possibly be worse than the wretched imitation of the Ethiopian Serenaders attempted to be foisted on the few singular individuals that by chance, or orders, find themselves in the Oxford Street desert. These utterers of vile inanities are styled by the manager, New Orleans Ethiopian Serenaders. Business must be poor indeed when such sense

less stratagems are resorted to. The last failure at this house was that of "The Dreams of the Heart." This narcotic production should have more properly been designated, the Dreams of the House. Certain it is that there were contradictory proofs of Macbeth having murdered sleep.

The ST. JAMES's is nighty frequented by the élite of the fashionable hemisphere. Her Majesty and Prince Albert have secured a box for the season, and often attend the representations of the French Plays, which are as popularly received as ever. Mr. Mitchell is indefatigable in his endeavours to provide for the entertainment of his patrons, who thoroughly appreciate his laudable exertions. The Ethiopian Serenaders attract overflowing audiences, who, by the way, are almost crushed before they succeed in gaining an entrance to the theatre; afterwards they are nearly choked-with laughter. These sable serenaders are of a verity descended from Momus. Deny it we defy you! Several new nigger melodies have been added to the entertaininent, the most conspicuous of which is Rosa Lee.

The "Flowers of the Forest," at the ADELPHI is a piece of the most inconceivable nonsense, serving as a vehicle for the good acting of Mrs. Fitzwilliam, whose part is, indeed, the only one approaching to anything like character. Miss Woolgar we never beheld to less advantage. As for Wright, he is not one quarter so humorous and entertaining as the many original cheap Johns to be met with in country fairs. Really the atmosphere of this theatre is such, that it is imposing on any Christian a punishment of no ordinary degree to be obliged to sit out a per-formance.

The WALHALLA continues to receive a fair share of patronage, both on mornings and evenings. The latest novelty consists of a selection from the choicest productions of Canova and Flaxman. The several tableaux are arranged in a highly tasteful and classical manner, that reflects great praise on Madame Warton.

While in Leicester-square, we must not omit a word anent the new PANORAMA just opened by Mr. Burford. The subject is the city of Cairo, from drawings of D. Roberts, R.A., and painted by Mr. Burford, with assistance. The panorama is delightfully painted, and will well repay a visit.

THE FINE ARTS.

"INDEPENDENCE."-Bailey Brothers, Cornhill.

A head with a great deal of life and character about it-of the real Brian O'Lynn or "I can care for naebody, and naebody cares for me" class of subject. It is altogether a most successful "study," and bears out in every feature-the careless cock of the cap-the lounging, loitering attitude-and critical, self-contented expression of the eye-that "independence" the artist intended to portray. The picture-which, if we recollect aright, was much admired at one of the late exhibitions -bears the name of a young artist, Mr. Fitzgerald, who promises much in natural and life-like sketches of this order. The engraving by Davy affords another proof of that excellence his previous efforts had shown him to possess.