composed farrago, and arrive at the conclusion that the doctor is a disappointed man, whose grievance is not so much the condition of the Holy City, as the failure of his scheme for the building of a safe harbour at Jaffa, and a railway thence to Jerusalem. His pamphlet is at once a vehicle of abuse of Fuad Pasha-whose personal misfortunes he has the bad taste and the supreme and silly arrogance to write of as the judgments of the Christian Allah, in consequence of the non-concession of this railway scheme. "You are gone," he says of himself, quoting a letter of a friend from Constantinople, "and the vengeance of God has manifested itself. The day of your departure (Saturday, Dec. 10, 1864, by Lloyds' Steamer for Trieste), a terrible fire broke out in the very bed-room of the grand vizier Fuad Pasha. He had hardly time to save his life. The flames comsumed his entire palace, with all the furniture, diamonds, and decorations, and even the seal of the Empire, all became a prey to this terrible element. What a lesson to the ungodly! The sultan has offered him another palace, and several millions to furnish it. But is it possible to deceive the Eye-divine? and I therefore continue my former address to this terrible man: 'Did I not tell thee already, one year ago, that our Allah would bless thee if thou wouldst grant this railway concession, which I did solicit in His name and in the most humble straightforward and honest manner, which of course involved the contrary by a refusal?'' If this be not the language of fanaticism, we know not what it is. Everywhere we find Dr. Zimpel bearing testimony to the reality of his christianity with a pharisaical blowing of his own trumpet, which he means to sound farther than Marylebone. His appeal in favour of wresting the half savage province of Palestine" from Turkish rule numbers 100,000 copies in different languages, and multiplies by so many the advertisements of his works; of which if the brochure before us is an average specimen, we do not wonder if they remain on hand. The mixture of religion, commercial disappointment, and prophetical denunciation, which form the text of this preacher of a new crusade, is not likely, we think, to lead to the liberation of Jerusalem. [POEMS by M. Barr in our next.] EXHIBITION OF THE INSTITUTE OF PAINTERS IN WATER COLOURS, PALL MALL. A note-worthy exhibition, whether we regard the brilliancy of the colouring, the pleasing variety of the pictures, or the honest work in the majority of them. Absolon, McKewan, G. J. Rowbotham, and J. W. Whymper, are the largest contributors this year. The first artist has several figurepictures finished more carefully than usual, and in his happiest style: "Our Wedding Tour" on the first screen (319), and "Sauntering" (322), 66 are pleasant illustrations of his cheerful colouring and genial compositions. Since we have begun with the first screen, we may as well draw our reader's attention to Edmund G. Warren's "Amid the New-mown Hay" (321), and "In the Sweet Spring-time of the Year" (323), two delicious transcripts from nature, fresh, succulent and flowery. Edwin Hayes' "Dutch Boats near Dordt, evening" (321), is another praise-worthy picture, well composed and delicately painted. Windermere, looking towards the Ferry Hotel, from Bisket, How Bowness, Westmorland" (15), by Philip Mitchell, is vigorously drawn. "The Arrival of Rebekah" (22), is in Mr. H. Warren's best manner; camels, on a long ridge of sand, a shepherd with his flocks in the hollow, and a crescent moon above. Mrs. Margett's "Greenhouse Flowers" (24), show a marked progress in this lady's style. Mr. J. C. Reed's " Conway Valley, looking towards Corwen" (29), is a charming picture, solidly painted, and full of pictorial beauty. "Windsor Castle_from Eton College Meadows, moonlight" (35), John Chase, is effective though sombre. "Caudebec, Normandy" (36), S. Prout: brown, crumbly, and picturesque, affords precisely the materials which this artist loves to deal. Conspicuous amongst the figure-paintings are Mr. Henry Tidey's illustrations of Byron and Longfellow (40) and (53), which, charming in other respects, are certainly far from satisfying one's ideal of feminine beauty. In the first the face of the Greek lady is nauseous, in the other the gentle savage is simply weak. H. C. Pidgeon takes us to the coast: his " Peep into the Cove, South Devon" (50), is a lovely bit of sea-side scenery, just a stretch of blue sea, an indented clift, and the shelving sands beneath, on which we almost hear the wash and ripple of the lazy summer waves. Mr. W. Luson Thomas has crossed the Channel to some purpose: his "Homeward Bound Boulogne Sands" (59), and a companionpicture on the other side of the room, "Sunday Evening, Boulogne" (260), are full of freshness, fidelity, and vigour. The same merry trio fill both frames, and prove that the daughters of St. Peter's have not deteriorated since we last saw them crossing the sands, laden with baskets, and nets, and such like coil, their day's work ended, light-hearted, joyous, strong, as Mr. Thomas shows them to us, or in lieu of the evening's Ducasse promenading the port, in all the gay coquetry of their Sunday toilettes. "In the Shade" (64), Geo. Shalders, a picture of cattle and spreading trees, with a true feeling for nature in its treatment; his fleeces in "Collecting the Flock" (247), are wonderfully true. Louis Haghe is great as usual in old Flemish interiors, and the figures in buff jerkins, and mediæval armour, that in the hands of this artist specially appertain to them-drinking, fighting, roystering, card-playing soldiers, or the equally useful for pictorial purposes city "Night Watch." Mr. Haghe has two pictures of which this melodramatic force' forms the subject, "The Night Wateh-The Guard Station" (66), and "The Night Watch-Caught at Last" (73), the effect of the lanthorn-light on the faces, dress, and weapons of the figures is very cleverly managed, and reminds us of the admirable use the old Dutch masters made of this almost obsolete domestic implement, of which so many instances occur in the galleries of Belgium and Holland. Carl Werner's "Monk napping" 71), is no marvel, such a monk must needs gravitate to sleep by the weight of his own obesity: "A Monk reading the Scriptures" (244), with the white-robed monks in the choir, and the attendant acolyte at the foot of the reading-desk, a carefully thought out, and painted picture-contrast the face of the reader with that of the "Napping Monk" in (71), and mark the management of the light upon his vestments, and the gilding about the readingdesk. "The Woods, Horningsham, Wilts" (77): Mr. Wm. Bennett is always at home in woods; his fresh leafy trees are delicious, but this picture wants atmosphere: to make amends for it, he gives us another taste of his quality in the "Oriston" if we remember the name aright (166), "One Rock amid the Weltering Floods" near Torquay, a solitary rock with an angry sea breaking upon and over it. (87), "Mountain Pasture, morning." D. H. McKewan, only cottage with cattle, a group of trees, and the cold gray morning clouds shifting; a sweet picture full of truth, and perceptiveness: we feel the keen morning air as we gaze upon it. Mr. Henry Warren's "Rescued Slave" (76), a great sand wave in the desert with a solitary camel in actual motion, the grotesque quadruped, his dusky riders, and the yellow light which floods the picture, render it startling in its weird singularity. Mr. James Fahey's "Watermouth near Ilfracombe, Devon, the seat of David Bassett, Esq.; Berry Narbor Church in the distance" (97), show that the lines have fallen to this latter gentleman in a pleasant place; one of those fertile valleys full of cream material and apple-blossoms, the specialties of that fair western county: it is a pleasant picture nicely treated. "Netley Abbey Interior, looking towards the East" (129), Benj. R. Green: the artist has done justice to the light architecture of this elegant ruin, which the very foliage seems to trim and wreathe delicately, and has transferred the trefoiled east window, with all its airy grace, to his canvas. Aron Penley's "Wastwater with Middle Fell, &c. &c." (172), is a picture worthy of the artist. "Evening near Addlestone, Surrey" (191), James Fahey, is a charming study of English scenery. "Morning" (199), John Absolon, another sweet bit feelingly treated. "George Fox, preaching in a tavern at Leicester" (201), E. H. Wehnert: a fine subject expressively treated: the power of the preacher is shown in the attitudes and expressions of the audience. Mark the countenance of the man in the steeple-hat, and that of the woman with the babe, in her duffle cloak: the old man leaning forward on the table is already penetrated, and the broad-chested, bold-locking fellow opposite, with his brawing arms folded on his breast, will yield presently. We like not the figure of the hysterical girl on the ground, nor does the face of Fox himself satisfy us; but the picture is thoughtfully painted, and has honest work in it. "Scheveling Beach, with fishing-boats returning from sea" (205), Edwin Hayes: full of motion and activity, from the choppy waves running in along-shore to the busy fish-wives congregated on the beach, anxious to purchase or see what sort of luck the fishers have had. "A quiet pool, near Haslemere" (219): affecting the gazer with its reality, few things can be more simple and more true to nature. J. W. Whymper is certainly one of the most earnest and, as he deserves to be, successful landscape painters. E. G. Warren, in illustrating two lines of Thoinson's Seasons, "Crowned with the sickle," &c. (241), has produced the most wonderfully real corn-field; the stubble is absolutely stiff, uncompromising stubble, with little garlands of buck-wheat and wild convolvoluses interlacing it; while the uncut portion of the field, with its drooping heads heavy for harvest, has taken the very tint of golden brown the reaper loves, and is beautifully thrown out by the wood in the background; the reclining figure of the girl amongst the sheaves on the field adds just the amount of necessary_colour in the bright hues of her rustic dress. "Rhododendrons and Peonis" (242), Mrs. Duffield: not so much remarkable for the flowers from which it is named as for the exquisite effort of imitation in the bunch of fleur-de-lis, the texture of which is that of the flower itself. The pink-tipped azalias, with their yellow freckled petals are very nicely rendered. "Farm by the Sea, South Devon" (257), H. C. Pidgeon, is a sweet bit of South Devon landscape, and of a quality to make one commit a two-fold breach of the tenth commandment, and envy both the farmer and the artist. "And he'll come and see me in spite of them a'" (266), H. Tidey: a daughter of the people, with a charmingly natural face; but rather too child-like, we think, to illustrate the above line, and the more so that there is nothing like precocity in its expression. "Stronghold on the Coast of Pembrokeshire" (276), R. K. Penson, looks like a prolongation of the rock itself, the solidity and structure of which is painted with extraordinary fidelity; the yellow stone-crop glittering on the great masses of rock tells us the time of year, and a flock of sea-birds disport themselves beneath the clift. Wherever fern grows and beech-trees spread their branches, Messrs. E. G. Warren, Mc Kewan, Whymper, Chace, Bennett, and a host of other poets in pigments will surely find their way, and Knowle Park and its sylvan beauties have thus been made familiar to the visitors of this and the old water-colour gallery. Yet the beeches are as freshly beautiful as ever witness Mr. McKewan's "In Knowle Park" (286). Of quite another character is the next picture we have noted "Simpon Canton Valais, Switzerland" (294), by the same artist a picture rich in beauty, whether as regarde colour, detail, or composition. The rugged little village lies encircled by the summits of the great Alp, whose name it bears, picturesque as all Swiss villages are with colour. A mist hides in part the stunted fir-trees and branching streams filling up the farther part of the valley, and seeming, while we look at it, to move up the face of the first mountain to the snow-covered Simplon in the distance. The rocks to the right, with peasants in their picturesque costume, and the fir-trees on the left fill in and complete the picture, which is very charmingly treated. Mr. Cattermole luxuriates in colour, as usual, and a sense of quiet humour: witness his "Unwelcome Guest" (272), an ancient dame, with her serving-men on the stairs, who has just given his congée to a Bardolphian-looking swash-buckler at the bottom of them. Several charming pictures will be found on the second screen. We had several other subjects noted by Messrs. Chace, Rowbotham, Sutcliffe, Robins, Philp, and others; but our limited space prevents us from enlarging on them. We were even about to close our notice without a parting word of the "Queen's Own,” as we may say of "King Arthur's Charge to the Nuns" (348), taken from Tennyson's "Idylls of the King," and painted by H. Corbould, by command of her Majesty: this picture, in which the mounted King makes the principal figure, is painted with great delicacy. Is it our own fancy, or is there really a poetical likeness in the grave sweet face to that of the dead Prince Albert? The pale Queen is seen faintly, looking from an upper window; while the tall cierges, in the hands of the "sad nuns" at the gate, illuminate the splendid armour and trappings of the horse and his rider, who "Gave them charge about the Queen, AMUSEMENTS HER MAJESTY'S THEATRE. OF THE MONTH. a certain thoroughness and completeness in the arrangements which had their special charm. It was our privilege to be present at the The opera was Bellini's "Sonnambula," a work pening of Her Majesty's Theatre; though too almost matchless as a test-piece for a young late in the month for notice in our last number. debutante. It is almost what "Romeo and And memory could not but be busy on such an Juliet" is to aspiring tragedians. She who can occasion; for the old house must ever be dear sing the music of Amina and act the character to genuine lovers of the lyrical drama, associated to the satisfaction of a cultivated audience is as its walls are with the triumphs of genius, and little likely to fail in anything which manager the exaltation of art. And though it may be that or the public may require from her. Miss a throng of pleasant recollections softens the Laura Harris was the new prima donna heart, and inclines us for enjoyment-on the announced for the part, and though there had other hand comparisons, which as in our case can been no very special heralding of her talents, it range over nearly thirty years, are apt to make was sufficiently well understood that she was a the critic slow of judgment or at least fastidious. young American from the New York Academy, Especially, too, should there be weighed in the who, during the last few months had created balance the force of early impressions, indented quite a furore in the United States. Rememberless, perhaps, by critical acumen than by ing the Aminas of long ago-Malibran, Grisi, emotional sympathy, yet, nevertheless, life Jenny Lind-it was with no common interest enduring. In the first place, Mr. Mapleson we awaited the scene of the betrothal, which has earned the thanks of the public for the brings the lovers on the stage. We almost indefatigable manner in which he has provided started at the childlike figure which entered on for their comfort. Many boxes have been the scene, to take, as we knew, the most promiremoved to make room for what are called box-nent part in the opera, and something very like seats, while other boxes have been enlarged, the result being greater airiness, not only in appearance but sensation; while the draperies look fresh and bright to a degree we have never observed since the early days of the yellow hangings. The light from the chandelier and candelabra is brilliant, but not painfully dazzling, and we have heard that some special precautions are taken with regard to the footlights, so that it is impossible for the dress of songstress or dancer to come in contact with them. In fact the effect of the house is inspirlog, and crowded as it was on the opening night, and with more than a fair sprinkling of beauty and fashion, one could not but be conscious of compassion came over us as we noticed her extreme nervousness and trepidation. But a certain kind of timidity is so allied to sensibility, and sensibility is so bound up with the true artist's being, that though literally she seemed ready to sink from her shy fright, and certainly could not throughout the scene stand still one moment, it would have been unfair to pass judg ment hurriedly. Evidently she had not the full command of her voice at first, and yet she sang truly-a proof how finely and artistically the or gan had been cultivated indeed, we doubt if there have been more than a very few instances of so young a singer having been so highly trained, and so judiciously taught for Miss Laufá treat. More recently Mdlle. Titiens has delighted Harris does not look more than sixteen, and cannot, we are sure, be more than a year or two older. We hope, indeed, that her voice has not been over tried, and venture to think that a certain thinness perceptible in some parts of the scale will gain volume with another year or two of age. Her voice-a high soprano-has great compass, and when executing the most brilliant arpeggios or fioriture, with rapidity and quite delicious precision, she sang with that apparent facility which adds an indescribable charm. However nervous she might be, never for a moment did the listener feel that there was any strain or difficulty in her vocalization; and so certainly did she gain ground as she proceeded, that, long before the opera was over, the audience had evidently confidence in the young debutante, whom they watched with increasing interest. The "Come per me sereno" showed that it was no ordinary singer appealing for their suffrages. The bed-chamber scene still further established her claims; so that, indeed, though the last act exceeded all expectation with regard to brilliancy and limpid clearness of vocalization, the audience were prepared for a triumph in the glorious melody of the finale. But it is time now to say a few words of Miss Laura Harris as an actress. Our deliberate opinion is, that she has the requisites to be a great one. When she feels secure of the public favour-as surely she will do in a little time-we trust she will attain that confidence which will make her mistress of all her resources. With just confidence will come ease instead of restlessness-and her intuitions are evidently so true that she may safely give reins to the passion of the character. In the bed-chamber scene, the manner in which the one word "Elvino" came forth was something more in art than the delivery of musical notes, and if she had an Elvino who would act up to her act-plies on that condition. Sam writes that he is ing of the "ring scene" as well as sing the music, veteran opera-goers would probably find themselves reminded of Malibran, the darling of their youth. As Malibran acted the ring scene even men found their eyes swimming, and tender-hearted people turned their heads away as if unable to bear the life-like agony. We could fancy Miss Harris achieving a similar triumph; but certainly Signor Carrion, though a trained and accomplished tenor, is the coldest Elvino we ever beheld. And moreover he looks too old for the part. A few words of cordial praise are due to Mademoiselle Redi, another debutante who supported the rather thankless part of Lisa. She has a fine voice, and a goodly presence, and is altogether an acquisition to the company. Mr. Santley was the Count, and not only sang the music delightfully but looked and moved the gentleman to the life and the choruses throughout the opera were the fullest and most efficient we ever remember. Signor Arditi deserves full recognition also of his services as conductor: to hear such an orchestra as he now commands is itself a rich musical The newest production is the play, at the HAYMARKET, called "Brother Sam." In this piece (the plot of which is by no means new) Sam Slingsby (Mr. Sothern) is a swell, with good qualities and an empty pocket. His uncle, Rumbelow (Mr. Buckstone), exhorts him to marry, and indeed will only continue the sup married, and is blessed with a charming wife and baby. Rumbelow thereon suddenly announces his intention of visiting his nephew, who in desperation applies to his friend Trim bush (Mr. Compton) for the use of his house during the visit, and asks Mrs. Trimbush (Miss Snowden) to enact the part of his wife. She, being a termagent, refuses vehemently; but her sister, Alice (Miss Nelly Moore), consents. The uncle arrives and all goes well, when, as Sam is shewing the baby borrowed from Mrs. Trimbush to his uncle, that lady rushes in and carries it off. Sam ultimately makes violent love to her, thus deepening the plot. How Trimbush is astonished; how the uncle is more so; how Mrs. Trimbush discloses the whole; and how the attachment which has sprung up between Alice and Sam is made to end the piece happily, we leave our readers to see for themselves. The acting of all concerned is of the best kind, and exhibits the various cha racteristics of the actors to a high degree. The piece will doubtless have a successful run. W. R. LADIES' PAGE. A CRAPED NECK-TIE. MATERIALS.-Boar's Head Crochet Cotton, No. 60, of Messrs. Walter Evans and Co., Derby; a pair of bone knitting pins, No. 12; two lumps of sugar dissolved in half a pint of hot water, and let remain till cold; two chenille tassels. This is one of the prettiest articles for a necktie that can be made; having, when finished, all the appearance of soft white crape, and may be adopted either in mourning or out, by adding either black, coloured, or white tassels. Cast on the pin 460 stitches, and knit in plain garter-stitch till it is five nails wide; then cast off, but not too tight; then sew a strip of calico on to each side, but only so that it can be easily untacked. If the work is at all soiled, wash it with white curd soap and water; then rinse it perfectly, and squeeze it in a cloth very dry; after that dip it in the sugar and water, squeeze it slightly, and lay it out on a doubled sheet to dry; afterwards take off the calico, sew it up, and add the tassels. The washing and rinsing in sugar and water will always give it the appearance of being new. INFANT'S CROCHET BOOT. MATERIALS (for one pair):-Eight skeins of white single Berlin wool, four skeins of black, and two skeins of red. The elegance and grace of this little boot amply repay for the trouble of making it. Round the ankle it is very light, being worked in open crochet. The whole of the boot is made in close double crochet, always worked on the right side, so that the wool must be cut at the end of every row. Make a chain of 9 stitches with black wool, and work 2 rows with the same number of stitches; in the 3rd row begin to increase by working 3 stitches in the middle stitch; continue to increase in the centre stitch of every row; in the 4th row work the 3 middle stitches in red, for which take a piece of red wool 4 yards 12 inches long, and begin in the middle of it, leaving the ends to hang down on each side, to go on with the small red border in the middle of the black; in the 5th row the 3 middle stitches are white, with 1 red stitch on each side, and the rest black. The same arrangement of colours is to be continued in the following row. There must always be the same number of black stitches, with 1 red stitch on each side; the white part alone inWhen you have worked 10 rows with white, work 4 rows, missing in each 1 stitch on each side, but you must also bring the red stitches nearer, so that the number of black stitches remains the same. At the 13th row, with white, divide the two parts round the foot, working on each side, and leaving the middle stitch free. Work on each side in the following manner, beginning in the middle: 1st row. 10 white stitches, 1 red, 5 black. 2nd, 9 white, 1 red, 5 black. 3rd, 8 white, 1 red, 5 black (from this place do not miss any more stitches at the ends). creases. 4th. more white, 1 red, 5 black. 5th. 9 red, 5 black; work 8 more rows entirely black, with out increasing or decreasing. Complete the opposite side in the same manner, and sew the edges together. The sole is worked with white wool, backwards and forwards, very tightly, and always inserting the needle through both parts of the stitches. Begin at the point of the foot, make a chain of 8 stitches, and work 3 rows with the same number; then increase 1 stitch at the end of each row until you have 13 stitches; afterwards work 14 rows without increasing, and then decrease in the same proportion, until you have only 8 stitches left; after working 2 rows with 8 stitches, increase to 11 stitches, work 6 rows with that number, and decrease again to 7 stitches. The sole is then completed. Join it to the boot by a seam. The trimming at the top is worked on a foundation of open crotchet in white. Round the top of the shoe, work 1 row of double crochet and 4 of treble open crotchet. In the upper chain of the 3 last rows work a fringe as follows: Draw a loop through the first stitch, pull it out to half an inch above the work, draw a second loop, and keep both on the needle, repeat the same in each stitch; afterwards join all the loops together by a row of chain stitches, work 1 chain in each loop, and 2 between each. The chain stitcbes in the first and third rows must be worked in red, those of the second in black. The top of the shoe is finished off with a stitch of double crochet into each long stitch, with 3 chain between each in black. A plaited string in red and black wool is run through the first row of open crochet, and two small rosettes in red wool, ornamented with pearl buttons, are added on the front of the shoe. |