73 Thy genius, wonderful beyond thy years, dears, wears. To share each other's joys-to live, indeed, were gratified to hear that the Institution | the Royal Academy; it will be sufficient | The future, present, center'd all in thee. had immediately purchased this grand and to say, that the outline before us is one of imposing Work. We were also attracted the best assurances of a successful finish by some very beautiful landscapes. Jeru- we have ever seen. The likenesses, in this salem during the Crucifixion, by Hoffland, slight state of preparatory outline, appear has great merit. There is a very fine view to be admirable; and we congratulate the of Windsor, by Samuel; and several sweet artists whose joint powers are shewn in such a promise. Mr. Clint, the engraver, who little pieces of Nature, by two young artists of the names (as we believe, for the Cata- executes this print in mezzotinto, is himlogues were not printed) of Stark and Vin- self an excellent artist, and unites every cent, both from Norwich. We were pleased requisite quality for the performance of to see so much excellence in persons new such a task in the style of which it is to us, and may compliment Norfolk on worthy. thus starting to contest the palm with Devon. Collins has a pretty thing of the Boulevards, among others worthy of his pencil,-A graceful landscape by Steele,a strange but finely coloured subject by Ward, R. A. (not new),-two admirable Wilkies,-a clever imitation of Stothard, the Flitch of Bacon, by Wright,—and many others, which only necessity causes us to pass over in this hurried general sketch until we go regularly through the Galleryconstitute a whole, which does no discredit to our Native School, and will be viewed with complacency by the lovers of British talent. OUTLINE, preparatory to the Print of the Harlow, the Trial of Queen Catherine, from Shakespeare's Henry VIII. "Where are the actors of the last year's scene? "They sleep, who kept the world awake!" YOUNG. Although the author of the "Night Thoughts" was doubtless apostrophizing the actors upon the grand theatre of life, and the allusion has been sufficiently felt of late, we may yet be permitted to make the application to the persons ORIGINAL POETRY. THE MOSS ROSE. (From the German.) 'Beauty when unadorn'd,' &c. &c. ISABEL. To the Editor of the Literary Gazette. poem, hitherto confined to private circulation, I have taken the liberty to forward for insertion in your interesting work, having first obtained the author's consent to its appearance. C. W. "Who strut and fret their hour upon the stage." It is not intended here to go into any critical discussion on the merits of the painting which was exhibited last year at BY CHANDOS LEIGH. glow Mellows his splendour on the world below. : My gilded vanities-but they are past,— 'Tis not in grandeur-pampering saloon It is the mind, the mind that gives the boon;- Nor splendid portraitures, nor beds of state, Can give to sorrowing hearts a moment's mirth, Eternity-how wonderful it is! A shordless Ocean-nothing, every thing. Yet some will dream of a perpetual spring: But in our sober mood are quitted with disdain! [NOTICE: On the LIFE and COMPOSITIONS (Concluded) At Rome an opinion was now entertained that his talent had degenerated, and that his imagination was, in some measure, chilled by the frigid climate of Russia ;but the degree of temperature had no influence in producing the changes which were at that time observable in his style, and the somewhat novel structure of his compositions. Paisiello, on quitting Italy, and visiting other nations, had become acquainted with foreign literature, and a dif[marferent system of combining music with dramatic writings. The mind that well doth exercise its powers, war! Oh, could we seck, my MARY, those bright Isles Where every nook is consecrated ground; There are indeed two modes of viewing this combination, of which no model has been transmitted to us by antiquity. All that we know respecting the Metopée of the Greeks, the union of song with their declamation, the introduction of chorusses in dramatic action, presents only equivocal models, and problems which require solution. There is certainly ample reason to doubt whether any thing can be found in them at all resembling that which constitutes the principal charm of our modern lyric dramas; namely, the Aria, the air, or Solo of the singer. those who went to hear rather than to see an opera, concerned themselves very little about its monotonous arrangement. When Paisiello left Italy, he took the liberty of altering this musical etiquette in more than one particular. He frequently shortened, and sometimes altogether suppressed ritornelli at the commencement of songs, in order to diminish, as much as possible, the suspension of the action. He broke the monotonous succession of airs, by the introduction of chorusses. He made the character of the music closely correspond with the action of the drama, Finally, he was the first composer who ever thought of closing the acts of a serious opera by those grand concerted pieces called Finales, and which had before been looked upon as the privileged ornament of comic operas. Were the powers of music, and the charms of singing, really increased by the greater part of these innovations? This was denied by those amateurs who had not forgotten the touching simplicity of the songs of the old school, and who still retained the impression of the pathetic accents of those melodious singers, whose art, devoid of artifice, had formerly penetrated their souls, and enchanted their ears. Full of these recollections, they accused the new style of departing from the simplicity of sacred models,—of substituting, for that pure beauty which pleases without art, a fictitious kind of art, which sometimes pleases without beauty, and a certain effort at illusion, which is to imitation what coquetry is to love. Such is the diversity of the conventions, resources, and interests of each of the two arts, which are supposed to be identified in our operas, that it will never be possible to It is for future generations to decide on place in its true light a theory which is the justice of these reproaches, which were composed of the most variable elements. perhaps directed not so much against It is, however, certain that all agreement | Paisiello's style of composition, as against Then all convulsed, at length expired with hi- in this respect, resembles those transac- the general taste which he appeared to en deous cry! She triumphs now! a laureate band attend theme! tions in which each individual yields a por-courage. Whatever may be the diversity of tastes Overwhelmed with the favours of Catherine, after a nine-years residence at St. Petersburg, Paisiello departed for Italy. He passed through Warsaw, where the King of Poland engaged him to compose Metastasio's Oratorio entitled The Passion He next proceeded to Vienna, at the invitation of Joseph 11. at whose request he composed twelve Symphonies, and set to music a drama hy the celebrated Casti, euThe captivating titled Il Re Teodoro. strains of this opera have resounded in every theatre in Europe: the Finale never fails to produce, in all who hear it, a sensation the recollection of which is imperishable. A distinguished musician, with regard to this Finale, observes, “It is au extraordinary composition from the effect it produces, and still more from its astonishing simplicity. No harmonic effort is observable, and its sublimity is the greater because the means by which it is produced appear to be inartificial." From Vienna Paisiello proceeded to Rome, where, during the Carnival of 1785, he composed the comic opera of Amor ingagnato. The prejudices which have already been mentioned, at first rendered the success of this piece extremely doubt- | ful. It was listened to with indifference until near the conclusion of the first act, when the interest of the audience was suddenly awakened, and the remainder of the opera became the object of the most rapturous applause. All present seemed anxious to atone for the condemnation they had too hastily pronounced. Paisiello's name was triumphantly repeated amidst enthusiastic Vivas and Bravos: but Racine declared that he felt more wounded by the slightest censure than flattered by the highest compliments. Such is human vanity! We receive praise like the payment of a debt, and regard as a theft condemnation, which deprives us of it. Paisiello experienced the same sentiments as Racine. Nothing could erase the impression caused by this momentary disapproval, and he vowed never to produce another composition in Rome. Naples afterwards enjoyed almost exclusively the fruits of an imagination the fertility of which seemed to increase with age. That Paisiello should have succeeded in maintaining amidst his rivals and fellowcitizens that exalted rank to which he had been raised by the suffrages of all Europe, is not the least glorious circumstance in his long career. The ten years which followed his return to Naples, marked, in the history of his talent, a new series of compositions, both in the grave and comic style; and the continued representations of his operas, among which we cannot forbear distinguishing La Molenara, still render it a matter of dispute in every city of Europe, to which of his works the pre eminence is due. It has been observed, that the multiplicity of the productions of an artist contribute, more than is generally imagined, in establishing that classic celebrity which inseparably combines the name of the author with that of a single chef-d'œuvre. Public opinion is always inclined to centralize in this way its admiration of a great man. There always seems a wish to designate all he has produced by a single word. Hitherto it has been extremely difficult to determine which of Paisiello's works deserves to be quoted as his title of glory. At Naples, however, it is generally allowed that La Nina o la Pazza per amore richly merits the preference. Of all his compositions, that opera is regarded as the most learned, affecting, simple, varied, and complete in every department of the art; and in future ages Paisiello's Nina will probably be spoken of like the Venus of Praxiteles, or the Transfiguration of Raphael. We have now arrived at that period when the French Revolution spread agitation among the Sovereigns of Italy, and with them banished the sweet tranquillity and taste for relaxation which, in that fertile country, gives birth to the voluptuousness of poetic and musical enthusiasm. Those celebrated schools, the active seminaries of the children of harmony, quickly disap peared. The temples no longer resounded Paisiello had, on more occasions than After the change of taste which had taken place in French music, by the models and the action of the causes which produced it, the state of feeling was no longer the same; there was no further ground for controversy. Every point of comparison was different to what it had previously been. Thus the opera of Proserpine, which Paisiello composed after his arrival in France, obtained only a negative kind of success. The composer was now somewhat advanced in life, and imagination, the first faculty with which we are endowed, is likewise the first to forsake us. Paisiello knew what the interests of his glory demanded. He resolved to incur no new dangers, and accordingly requested permission to quit Paris. His solicitation was immediately acceded to, and he again returned to Naples. Providence granted him sufficient time to reap, in honours and distinctions, the fruits of a life more laborious than any other musical composer is known to have led. The man whose productions appeared, in the eyes of Europe, to be incalculable, was, in his turn, unable to count the titles of honour with which all nations were emulous to invest him. Every academic society proudly inscribed his name on their list. He was received as a Foreign Member of the Institute of France in the year 1809. His health continued in a declining state for several years; but a strictly temperate regimen for a long time succeeded in retarding the progress of disease, and prolonged his existence until the 5th of June 1816, when he expired at the age of 75. His death was a subject of universal lamentation. The powers of every art were combined to perform the honours of his funeral. His loss was deplored by a coneert of solemn music, the grandeur of which was scarcely ever equalled. The mass for the dead, which he had himself composed, was performed over his grave. The King ordered La Pazza per Amore to be represented at every theatre in Naples; and the whole city, by mingling their tears with those of Nina, offered the most affecting tribute of admiration and regret to the memory of the composer. Thus the genius of Paisiello presided over the honours which were paid to his mortal remains, and he seemed to be rising from the tomb to sound his own immortality. A monument is at present erecting to his memory. We know not what inscription public admiration will select for it. There is an ancient statue of Euripedes, which presents the half-defaced list of 40 of the 75 tragedies composed by the Athenian poet. It might be wished that the only eulogium inscribed on the funeral monument of the Parthenopean Orpheus should be the nomenclature of his works. Such an epitaph would certainly be at once the longest and most laconic that could possibly be chosen. It would be necessary to commence a second notice of Paisiello's works, were we only to name the innumerable pieces of church music which he composed at every period, but particularly during the last years of his life. A celebrated cotemporary composer, who enjoyed his friendship, and who, like him, drew the inspirations of his genius from the springs of sacred music, has no hesitation in establishing Paisiello's glory on his religious compositions. From the notes he has collected concerning that celebrated man, it appears that he regarded sacred music as holding the highest rank in the art, on account of the object of its destination. He always spoke of it in terms of enthusiasm. He entertained the opinion that Music is never in her truc element, except when she elevates herself To this spirited memoir we may add, to the regions of the Divinity. It is then from the Alg. Mus. Zeitung, of July 23, only that her resources rise to an equality that the two sisters of the celebrated Paisi with her object. There is then neither ello are erecting, in the church of St. Maria convention nor hyperbole. The super-la Nova, a monument to his memory, on natural becomes the natural, and the most which the following lines are to be ensublime is the most simple. Music, he graven :said, should be styled a divine art, for it is the only language which man can conceive as corresponding with his ideas of the divinity. It is indeed by the help of singing that we convey our worship to God; -we do not speak, but we sing, the wonders of the creation: we sing the praises of the Creator. Thus religious music, which had initiated Paisiello in the mysteries of harmony, diffused over the labours of his latter years the rays of a purer and, perhaps, more lasting glory, JOHANNI PAISIELLO Lugentes The Gazette of Naples, alluding to this circumstance, observes that the following inscription would be highly appropriate :Qui giace Giovanni Paisiello, Autor della « Nina Pazza per Amore.” HER SERENE HIGHNESS THE MARGRAVINE OF BAIREUTH. Tuesday, Miss Smithson repeated Letitia Hardy without improvement, though we believe she had another partner in the minuet. Then nosyllabic title in italics above. Never Mr. Kean will feel that his genius lies enwere the fine proportions and elegant con- tirely the opposite way to what we have tour of the Theatre so distinctly percepti- pictured of the Dane, and that his vigoble as they now are. The eye of the archi rous conceptions and execution are often tectural connoisseur may range from post worse than thrown away in this character. Her Serene Highness was born at Bruns- to pilaster, uninterrupted by the interven- Miss Cubitt was the Ophelia, (as Miss wick the 8th of October, 1737. She was tion of a single human head,-for the area Kelly is playing in Dublin) and one of the the eldest daughter of the then reigning of Pompeii itself is scarcely more vacant most feeble and tame we ever witnessed. Duke Charles of Brunswick, and of his than Drury Lane pit. As for the boxes, It is painful to speak harshly of a wellconsort the daughter of Frederick William, all we shall say is that they are too courte-behaved girl, but really that such a part the first King of Prussia. On the 29th of ous to discountenance, by their multitudes, should be assigned to an actress of no November, 1758, she married the reigning the desolateness of their inferior neighbour. higher attainments, in one of the princiMargrave Frederick of Baireuth, after the Another great advantage of empty houses pal Theatres of the metropolis, is astodeath of his first wife, who was a sister of ought to be noticed. There is nothing to nishing. the great Frederick II. King of Prussia; deaden (an important point when the acbut her consort died without children, on tors are babies) the sound of the actors the 16th of February, 1763. On his death, voices, which reverberate in sweet echoes she chose the princely castle at Erlangen round the hollow arches, fill with melody for her residence. For the long series of the desert arena below, and float in light The Turret Clock, a new and rather inteyears which has since elapsed, her Serene notes (far more delicious than pound notes resting piece of the melo-dramatic species, Highness lived constantly at Erlangen, taken at the door) through the highest gal-was produced on Wednesday. The story only making some occasional journeys toleries above. There is also a refreshing is of the usual kind; lovers opposed by France, Italy, and Switzerland. She shared coolness in the atmosphere, free from all fathers, who fancy old men will suit their with the city of Erlangen both in prosthose noxious vapours which cause a crowd-daughters better than young ones; forests perity and adversity, and particularly in the ed Theatre to resemble only an enlarged with robbers, most ferocious dogs who indistresses brought upon the country by the Black Hole of Calcutta. Here, on the tercept the heroine in her flight; clocks French invasions. She had the affliction contrary, we have every salubrious recom- striking hours as important and fatal as to lose her brother the Duke of Brunswick, mendation which medical men approve. St. Sepulchre when it tolls the execution who was mortally wounded in the battle of A free circulation of air, instead of that morning to Newgate; strong and unjust Jena, and forced to leave his home, and villanous compound of gas from lustres, suspicions of murder falling on the innodie in a foreign land; and the family of and steam from compressed beings, which cent lover; the final unravelling of all the Guelphs, robbed of their principalities, constitutes an effluvium unquestionably mysteries, relenting of parents, and marwere forced to fly from Germany;-but impure to breathe and injurious to health. riages of sweethearts: these are the litejust Heaven preserved her life for the hap- Then the weakest invalid runs no risk of rary ingredients of melo-drama. piness of witnessing the triumph of her catching cold on going out, even in the there are besides, music to which persons House, though purchased with the afflicting rawest night, so happily is the equilibrium not only dance, but fight; where a minim death of her brave nephew, who fell at the preserved without and within. Our only is a gash, and a crotchet a broken head; head of his troops at Quatre Bras. She had fear is that this admirable state of things is a semi-breve a mortal wound, and a quaver inhabited Erlangen castle nearly 51 likely to be destroyed by its own impulse; a cut-throat. This was eminently exemyears, when, on the 14th of January 1814, it was for no doubt such enjoyments must attract plified in the present production, where burnt to the ground. After this catas-numbers, and numbers will annihilate all the lover and a robber contend almost an trophe, she resided in the house of Counhour, if not by Shrewsbury, at least by sellor Gross, because, as she had expressed the Turret Clock, and stab and slash one herself to a deputation sent to her by the city another very prettily to some tune. The on the occasion of this disaster, she would prompter's book must be a funny document on such an occasion-if indeed the never part from Erlangen as long as she lived. Her Serene Highness possessed, united The only rational objection which can whole be not left to the ad libitum genius to uncommon firmness in all changes of be urged to the cultivation of solitude in of the performers:-" Flourish―enter fortune, a highly cultivated mind, im- the audience part of Theatres, is, that the combatants ;-Brillante, out with swords; proved by the best works of Germany, performers, ignorant of the kindness thus-Forte, threaten each other;-Fortissimo, France, England, and Italy. In her died done to them, sink into a sort of apathy plunge and hack-Segue, one runs away; the last branch of the house of Branden- detrimental to the developement of talent. burg-Ansbach-Baireuth. Properly speakThus on Monday night, Mr. Kean's Haming, the Margrave Alexander, who died let was poorer than usual, and instead of near London, was the last of this line, for the character being ill acted, it was not her late Serene Highness was only related acted at all. Few parts, in truth, sit with to it by marriage. so little fitness on the vehement powers of Kean. Neither person nor deportment, nor voice nor action, are at all suitable, and in every scene it is evident that Bajazet cannot be the Prince of Denmark. The bursts which in his tyrants have many admirers are here misplaced: Hamlet's bursts are unfrequent and of deep passion, not ever-recurring and of rage. His disposition is gentle, undecided; and even when wrought up to agony, he rather philosophizes than revenges, and complains rather than rails. His very despairings are of a sober tone, his sorrows more melancholy than vivid, and his purposes more infirm than energetic. Every one who has seen THE DRAMA. DRURY LANE.-The magnificence of Space has often been dwelt upon by philosophical writers, and their arguments seem to have had a peculiar effect upon the brains (if any) of the Drury Lane Management. Converts to their doctrines, this learned body has reduced them to the true test of experiment, and have the felicity of every night contemplating the beauties of that grand vacuity and mighty emptiness to which philosophers have given the mo the benefits of Space. In the meanwhile Obligato, is obliged to face about with his instrument; - Graziozo, is pinked through the body;-Legato, faints from loss of blood; and after a fine pianissimo, flebile, movement, during which he whines most piteously in mezzo piano, dies either affetuoso or furioso, as the Composer and the Author please to have the finale!” Our readers, of course, comprehend, that this is not only a general view of melo-drama, but a particular description of the Turret Clock, the only incident in which that we have not noticed, is that the lady, after being robbed in the forest, purchases the habiliments of a male peasant and goes to a town, where, by the sortes dramatica, being the first stranger that arrives at a certain time, she is chosen, like Pope Joan, Chief Magistrate. Before her august tribunal her lover is brought accused of having murdered her, and for |