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self-love to obtain their own likenessex, we may add and his productions. But although the last works of the another description ;-the National Spirit, which eagerly great poets and artists, the last works of Homer, Michael consecrates the busts and pictures, and delineates the Angelo, Titian, Tintoret, and many more, betray the adbattles of the heroes who have led our feets and armies 10 vance of age, and sometimes the second childhood of victory. Nor must we forget the love of nature, which genius, the Creator knows no old age, no failure of attaches a spell to reinautic focality, and employs the powers. What he was, he is, and will be for ever. His pencil to transcribe with their simple inbabitants, and works are always in their prime : and Man, created by his boldly varied features of mountain and valley, forest and will to-day, is as perfect in body, and mind, and genius, sea-shore, the delicious landscapes through which we have as man in the days of Michael Angelo or Praxiteles. wandered. Shall we, like madmen, in our earnestness to

W.C. obtain an enviable distinction, make war upon those

THE ITALIAN OPERA. patrons ; upon nature, national glory, and the buman affections ? No: we would unite the fame which we pos

KING'S THEATRE.

On Saturday last, Mozart's Opera of La Nozze di Figaro sess, with the additional fame, which we covet.

was performed for the first time this season. for the triumph of England in historical painting, as for a wards of thirty years since this Opera was brought out on the jewel of ineffable lustre in her diadem. Unless she ob- Vienna Stage, and it owed its existence to the patriotic spirit tains that jewel, her genius must still be looked upon as a of Joseph II., who spared no effort to render the German Muquestionable majesty, clouded and diminished. Foreign sical Drama equal to the Italian Opera, and to introduce even putions, envious of ber glory in every other field, speak of on the Italian Stage the Compositions of German Masters, in her with contempt, as a pauper, in historical painting. spite of the opposition and cabals of the Italian singers and They invidiously support the claim of America, to our L'enlevement du Serail on the German Theatre, the Emperor

professors. After the successful representation of Mozart's venerable President, WEST, although he has been for fifty ordered him to compose an Opera for the Italian Stage. We years an honor to the British School. The character of now,” said he tu Mozart, “ must attack the enemy on his own the empire is at issne on the patronage afforded or with ground, and you shall open the campaign.” For this express held from the young artists, who, within these few years, purpose an Italian translation of Beaumarchais' Figaro was have devoted themselves to the study of this precarious made, which at that time had excited the greatest sensation, but exalted art. Among a succession of able pupils in het only in Paris and France, but over all Europe. The selecevery other department, the Royal ACADEMY, in Hilton lubricity of this Drama—the complicated tissue of intrigues of

tiun certainly was unfortunate. Not to speak of the moral and Haydon, has sent forth two disciples, whose historical which it is entirely made up, and the number of actors which pictures, although not free from imperfections, reflect well- it demands, render it unfit for an Opera. These defects have, merited honor on that school of science. The BRITISH in our opinion, had some degree of influence on the music INSTITUTION, amidst a mass of patronage, which it has itself, fine as it is. Mozart was sensible of this, and still dispensed, performed its duty by honoring and rewarding more so of the hazard his fame was put to by the ill will of the these two distinguished artists, and introducing fisem to would rather entrust his cause in a law-suit to a counsel that the notice and protection of their country. England has was his mortal enemy, than obey the Emperor's command ; now to do her duty. We repeat our conviction, that upon and a Biographical Memoir of Mozart states, that at the first the patronage or neglect which they experience, depends representation of this Opera, there was such unfair play on the much of the future advancement or failure of bistorical part of the performers, that the Emperor, at the entreaty of painting in ois country. We would gladly concentre the Mozart, was induced to send a threatening message to the voice of all true lovers of the arts to this important point, green-room, which saved the composition from ruin.

Although this Opera is not the best of Mozart's works, it is at a season, when Haydon, with a spirit like that of Curtius, las cast himself upon the forlorn hope of another melodies, and more particularly those of a tender cast, are at

justly admitted to be a great and beautiful composition. Its grand historical picture, without a commission.

unce so original, so ravishingly sweet, that the heart partakes We would divide our own time from the past, not to of the delight of the ear; and the finales, sestetts, &c. appear to us overturn the monuments consecrated to the glory of the the highest efforts of a rare combination of genius and science. dead; but to do justice to the fame of the living. We These difficult pieces, and the Opera altogether, were sung and would unite every suffrage against that odious, unjust, and layed by the present truly excellent company in so correct Anti-British prejudice, which sets out with measuring the and able a manner, that we are free to say, we never derived merits of a work of art by its age, and ends with the doc-viber Theatre.

greater delight frum a Dramatic representation at this or any trine that there is nothing excellent but what is old. Our Signor Ambrogetti made his first appearance in the character reverence for the old masters, is founded in a sense of ge- of the Count, by which he soon firmly established himself in pius, which pays no regard to the date or the name, or the the favor of the audience. His voice is a baritono, or low tenor, buz of inconsiderate opinion. Grandeur and beauty of strong and full-bodied; his person sop:ewhat corpulent, but form and expression, whether produced some thousand his action graceful, spirited, and dignified. When we add that

; , years ago, by a Phidias or Apelles, or to-day, by a Nol- lie acted and sung the arduous part of the Count under relekeus, a Chantry, or a Haydon, are intrinsic qualities peated plaudits from the audience, we at once proclaim his which cannot be inproved or lessened by connecting them rank and station in his line. His taste and skill were particuin our minds with the character of real or imaginary per- larly conspicuous in the recitativo and aria “Hai gia vinto la sons or particular eras. Those who would deaden every causa;"and the duett with Madame Camporesi, Crudel present exertion, by dwelling on the superiority of the old perchè finora,was sung delightfully by both. This lady, as masters, are fond of a notion that the present race of men racter, in which we did not think her sufficiently arch and

Susanna, appeared for the first time, here, in a comic chaare inferior to their ancestors. They would have us be sprightly, although there was a considerable degree of humour lieve that the OMNIPOTENT has fallen off in his capacity in ber performance. But her singing was throughout exqui

a manner.

sile. The same praise is due to Madame Fodor, whose admir M. Amelot desires his cashier to give him Bank Bills to a able representation of the Countess is sufñciently known and ap- considerable amount, which he wishes to take with him to a preciated from her performance of last season. Madame Pasta's village at a short distance from Orleans, to pay for an estate Cherubino did her great credit, although her tempi were some which he has purchased. He resolves to cross the forest of times a little slow, particularly in “ Non so piu cosa sun," and Sercotte, in order to take the amusement of shooting at the once or twice she pitched rather sbarp. Her performance, also, same time. Two of bis workmen, whose bad conduct had was not lively enough; but a vein ofinfantine innocence, which often excited his dissatisfaction, having heard his conversation pervadeci her play, made great amends for occasional want of with the cashier, lay a plan to rob and murder him, which, notjuvenile vivacity.

withstanding his resistance, and his firing and wounding one of Mr. Naldi performed the part of Figaro with great humour the villains, is fully accomplished; while dying, M. Amelot and ease, although, both in bis acting and singing, we think appeals to two Ravens, as Simonides did to the Storks. The he fell short of the lite and vigour of Beaumarchais' delineation assassins obtain possession of the bills, and throw away the of the character. Even the beautiful military air, “ Non piu pocket-book which contained them, which is picked up by M. andrai furfallone amoroso," which he certainly gave with a rich Durand, a Merchant of Orleans. On hearing the firing he runs colouring of mimic humour, was sung in too formal and slow to the spot, and the officers of justice, who also hasten

thither, see him, assisted by Justin, a boy belonging to the In the Bullet, there has not been as yet any new production. neighbouring inn, in the act of lifting up the dead body. It is Le prince Troubadour,” which was oficn performed last sea- believed that they are the murderers, and several circunstances son, formed the alterpiece on Tuesday. Monsieur and concur to confirm the suspicion, A kuife, which Justin acMailame Falcez are daily expected from the Continent, and kuowledges to be his, is found near the deceased. lle had lost announced in the bills as first rate dancers.

it, and it had faller into the hands of one of the assassins. The pocket-book had contained a bill due by Durand, which the derangement of his affairs rendered it impossible for him

to pay. In five, they are condemned to die. Jules, the nephew FRENCII DRAMA.

of Amelot, who is in love with Adrienne, Durand's daughter,

and who is plunged into the deepest despair, accidentally overTHEATRE DE LA PORTE SAINT MARTIN.

hears the following conversation between the two assassins.

“ They are condenined to die-That is fortunate for us.” At FIRST REPRESENTATION OF “ Les CorbeaUX ACCUSATEURS."

this moment the two ravens that flew across the staje during Tiat crimes never escape punishment, and that heaven the perpetration of the crime, again present themselves.-always succours innocence, are maxims, the former of which is Look, do you see M. Amelot's witnesses ?-Yes, truly, they no less terrible to the wicked than the latter is consoling to the have doubtless been summoned to appear."Jules rushes forgood. Though the experience of the world does not permit us ward and seizes one of the villains, the other escapes, but is to found on these maxims a rule without exceptions, it is soon caught; it is discovered that he has been wounded in the laudable to encourage the opinion that the exceptions are rare, arm by the shot of a fuwling-piece; they are examined, and and to preserve carefully those miraculous examples of celes- at length confess the crime, for which they are dooined to tial justice which history records. Unler this point of view suffer. the representation of melo-dramas may prove useful, and their The first act, which is quite in the German style, represents authors would be entitled to public gratitude, were they to the interior of a manufactory, throughout which the most active succeed in convincing mankind that all similar affairs of intelligence and most rigorous probily prevail. There is human lite terminate in the manner of their pieces. But the much iruth in the details, which are however sometimes carried people of Paris we are afraid are tuo enlightened, too philo-to too great a degrec of minuteness; but this is the error of the sophicul, not to know that such is not the fact. Indeed the Gerinan school. The characters of the Dramatis Personæ are villains of the stage are often represented so unskilfully, that letined with a happy simplicity, and at the termination of the the least practised rugues might, without vanity, boast that act, the spectator is lett in anxious expectation of the event they could extricate themselves better in the like situation. which has been prepared before him. The parts of the two what then is to be hoped froin the lessons of the Drama? We robbers are skilfully contr:sted. The one, born with the inhear of robberies in Courts of Justice and at the place of stinct of rice, is animated by a ferocious spirit, a stranger execution !

equally to fear and remorse; the other, who is weak and Among the prodigies which have sometimes signalized cowardly, trembles as he advances towards the crime, the atrothe avenging justice of Providence, few are more striking than city of which terrifies him almost as much as the danger. the discovery of the assassins of Simonides, and we are in- When the mortal blow is struck he starts backwards, amidst. debted to the authors of the Corbeaux dccusateurs, for the use the most violent agitation, exclaiming-I did not do it, I did they have made of that tradition.

not do it. Ilis companion stifles his cries. This scene produced Simonides being attackes by banditti in a solitary place, im- the most marked effect: it is the best throughout the whole of plored their mercy in vain. Ile represcuted to then the atro- the second act, the progress of which is retari!ed by ill-concity of their crime, and the punishment which would sooner trived entrances and esiis. The authors might easily simplify or later overtake them, but his words had no effect.-" Thou it. The third act has the inevitable fault of resembling La alone canst depose against us,” exclaimed their chief, stabbing tumille d'Anglade, la Pie Volense; and, in fine, every piece, the him, “ die then." Simonides, litting his eyes to heaven, per- interest of which depends on the dangers to which innocent ceived a fiock of storks in the air“ Sole witnesses of my persons are exposed, when about to perislı, the victims of death,” exclaimed he as he expired, “I charge you to avenge justice deceived by false appearances. it.” The perpetrators of this crime remained long unknown, This piece contains all the elements of popular success, toand the niurderers thought themselves certain of impunity, gether with the faults of the class to which it belongs; and the when one day as two of them were walking in a public place, introduction of iwo villains, who murder for the sake of robbery, some storks perched on a neighbouring building. He who first is certainly not the least of these faults. If the progress of beheld them, said to his companion with a laugh—“Look, the piece were accelerated by the omission of several secues ihere are Simonides's witnesses following us.".

and many useless phrases, the situations of terror, which are Substitute M. Amelot, inanufacturer at Orleans, for Simo- extremely well managed, would produce a power isl inipression nides; convert the storks into raveus; and you will have an on the multitude. idea of the Melo-drama brought out at the Thcatre of la Porto St. Víar in.

INTELLIGENCE,

Those fond of rural ainusements will be much pleased with

Barker's Art of Angling, just reprinted at Leeds, from the LITERARY AND SCIENTIFIC.

quarto of 1553,

Sir James Mackintosh's llistory of Great Britain, from our own LIST OF BOOKS REVIEWED IN TIIE CURRENT JOURNALS. to the l'rench revolution, is proceeding rapidly. (To be continued.)

The adınirers of Oriental Literature are much interested by EDINBURGH REVIEW, LIII.--Scott's. Swift---Coleridge's Dictionary, printer at Macao, under the compilation of the

the arrival in London of the first part of a curious Chinese Christabel--Barthoidy's Tyrol-Dealtry's Fluxions-Fourth

Rev. Robert Morrison.
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NO. IV.
SATURDAY, FEB. 15, 1817.

PRICE ls. ORIGINAL CORRESPONDENCE. themselves. Would you believe, that these critical apos

tates formerly stood forward to vindicate Pope from the WALMODEN COLLECTION,

very charges which they have now brought against him ! Sir, I HAVE seen with pleasure in your last I shall give you, without further preface, a sample of their Number, that His Royal Highness the Prince Regent has opposite opinions respecting him, in 1808 and in 1816, purchased the fine collection of pictures that belonged to under the titles of Attack and Defence. the late Field Marshal Count of Walmoden-Giniborn ; I

ATTACK.—“He(Goldsmith) DEFENCE." Is the FERonly wish you had added, that the purchase had included had the harmony of Pope, vour of passion, the power of the statues also, which would be a most valuable acqui- his selectness of diction, with- tion, the soul of poetry? we

without his quaintness; and exciting and expressing emosition. Perhaps the following extract from an elegant out his coldness and eternal have already pointed to it in the German writer, may afford some amusement to your vidacity.” Ed. Rev. Sept. 1816. Eloisa.” Ed. Rev. Jan. 1808. readers.-“ Near this country-seat of one of the most ATTACK. - (Speaking of DEFENCE.--". But are there illustrious families, (Von der Decken,) is that of the Queen Anne's Wits, after hav no other parts of his works, in equally honored family, Von Walmoden-Gimborn. It ing included Pope amongst

It ing included Pope amongst which Pupe bas reached a high has stood, indeed, unfinished for a long series of years, no force or greatness of fancy to the strictest notion of the

tone of real poetry, according but is infinitely rich in the noblest works of art. At the commencement of the storms of the French Revolution, it is siasm."' Ed. Rev. Sept. 1816.

no pathos and no enthu term ? Is poetry found in the

moral sublime, in the excitesaid that it was foretold to the late proprietor, who at that

ment of high and dignified time began the building of the Chateau, that the comple

emotion, through the medium tion of the building would bring misfortunes upon him.

of harmonious and forcible He therefore left the Villa unfinished ; yet merciless fate

numbers? The Epistle to Lord overlook this noble family.”......“ The admirable trea

Oxford displays this reach of

noble sentiment." Ed. Rev. sures of Italian art, united with the magnificence and

Jan. 1808. taste of the gardens, and the views of the surrounding

ATTACK.-“ We are of opi DEFENCE." We will not country, transport us at once into the environs of Rome, to nion then, that the writers (talking of Pope,) “permit the the Villas of the Medici, the Albani, the Borghese. When who adorned the beginning of bards of former days to be did a private individual in Germany unite in his own pos- the last century, have been thus arraigned before a jury of session such a treasure of the finest works of art and of eclipsed by those of our own tourists and draftsmen, for the

want of ercellences of which antiquity ? For many years they stood crowded in dis- TIME.” Ed. Rev. Sept. 1816.

their OWN COTEMPORARIES had order, and partly still unpacked in different small houses

never dreamed! Ed. Rev. Jan. op the estate. The able designer and engraver, Huck,

1808. who died some years ago, began to arrange them, in a light, They likewise state in their Attack, that “ Cowper, for richly ornamented gallery; the effect of which is admirable. the first time, made it apparent, that Pope was no longer Here, under excellent paintings of all schools, are to be the model of English poetry," and therefore they placed ancient and modern works of sculpture, groupes, cannot allege, in vindication of their consistency, that the statues, busts, bas-reliefs, altars, and sarcophagi. A great poets who have outdone Pope, have sprung up since 1808, many similar productions, both of painting and sculpture, the period when their Defence was written. are still in the saloons and rooms of the upper story, the But in that Defence, as if to put any future evasion arrangement of which, to complete the whole, remains for quite out of the question, after having celebrated Pope for the noble sons of the late venerable owner. At a time his fervour of passion-his imagination-his delineations when merit and virtues were rewarded by the tyrant, only from nature, &c. &c. &c. they conclude all with asking with mortifications of every kind, he found bis grave far triumphantly, "WHAT IS IT THEN THAT WE WANT ?". from his beloved liome in his voluntary self-chosen exile.” Sir, I will tell you what they want--they want good I am, Sir,

H. E. L. memories, to prevent self-contradiction.

Indeed, in perfect conformity with their pedantic habit AUGUSTAN WRITERS and EDINBURGH REVIEWERS. of founding even a caprice upon a principle, they pretend To the Editor of the Literary Gazette.

to derive the coldness and want of enterprise in our writers Sir, I have read in your columns an attempt to during sixty years of the last century, from the peaceable refute the notorious opinion expressed in the last Edinburgh tenor of those times ! they have actually found out, that Review, that “ Pope was no longer to be the model of another Reformation and new Civil Wars would prove English Poetry." Now, while I acknowledge the justice highly conducive to good poetry! of the cause you have espoused, and the ingenuity with It is, no doubt, quite natural, that a poet should say wbich you have conducted it, I must also pay a respectful within himself

, " Aye, Buonaparte has beaten half the tribute to the candor of the opposite party. Whether you world—that is something new - therefore I must write have refuted them or not, may, by possibility, be denied, something new--therefore I shall write the Lady of the but it is an incontrovertible fact, that they have refuted Lake. The people, too, they are all calling for Reforio io Par

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