450 Dramatic Register-Drury-Lane. INTELLIGENCE. We are happy to announce that the British Institution, Pall-Mall, will shortly open to the public, with an exhibition of the best pictures in this country of the Italian masters. It will be a high and unexampled treat to all lovers of painting. We need only state, that it will include two of the Cartoons of Raphael, two of the finest Claudes in the world, besides the other best Italian pictures in the possession of the following contributors: [June 1, Sir S. Clarke, G. Beaumont, W. W Wynne, A. Hume, M. M. Sykes, and T. Baring. Messrs. A. Baring, Banks, Byng, Coke, Carr, Colborne, Cholmondeley, Hibbert, Hope, Knight, J. Knight, Miles, Sanford, Taylor, and West." Mr. JOHN CORNER has issued proposals for publishing by subscription, "Portraits of Celebrated Painters," engraved by himself from established authorities. This work is intended to form a complete series of the portraits of eminent painters, and cannot but be interesting to all lovers of art. We have seen two or three plates already engrav H. R. H. the Prince Regent. Marquisses Lansdown and Stafford. Earls Suffolk, Aberdeen, Powlett, Cowper, Egremont, Darnley, Powis, Gros-ed, and from these we augur favourably venor, and Mulgrave. Lady Lucas. Lords Anson, Dundas, and Northwick.. DRURY-LANE. as to the style in which the work will be conducted. DRAMATIC REGISTER. THE 23d of April introduced to a London audience, a new Juliet in the person of Miss Grimani, from the Bath theatre, The figure of this young lady is good, her appearance interesting, and her voice, though not remarkable for strength or variety, is evidently capable of a greater display of both than could be expected on a first appearance upon a metropolitan stage. In commemoration of the second centenary from the death of Shakspeare, the tragedy was succeeded by the recitation of Garrick's Ode, which was delivered by Mr. Pope, and a grand pageant, illustrative of the immortal productions of the dramatic bard. Mrs. Bartley appeared as Melpomene, and Mrs. Davison as Thalia, while the other performers in dumb show, represented the most prominent characters of Shakspeare's muse. The audience however was far from relishing this pantomime, and it was not repeated. April 29th, a new piece entitled The Prodigal, was produced, on occasion of Mr. Rae's benefit. The scene, which is laid in Persia, afforded scope for variety in the dresses and decorations. The chief interest of the piece arose from the constant attachment of Zulieca (Miss F. Kelly) to Phanor, the Prodigal, (Rae), The latter is betrayed by his false friend Nardoc (S. Penley), who contrives to inspire him with an unfounded jealousy of his faithful Zulieca, to strip bim of every thing, and to involve even his life in a variety of dangers. Zulieca, in the disguise of a slave, preserves his life, and finally convinces him of her fidelity. This piece which contained nothing that called either for particular censure or commendation, was performed only two nights. It was followed on each,by the amusing farce of, Three Weeks after Marriage, in which that promising young actress Miss Nash appeared for the first time in comedy, in the character of Lady Racket, whom she personated with a spirit and effect that might have provoked a less fiery temper than the impetuous Sir Charles is supposed to possess. May 2d, while the solemn nuptial rite was uniting the presumptive heiress of the British throne, to a prince whose merits render him worthy of such a bride, the auspicious event was celebrated on the boards of this theatre, in a new musical romance, entitled, The Count of Anjou, or, More Marriages than One. The music by Mr. T. Cooke, the splendid scenery, and the occasion which called forth this trifle made amends for its want of dramatic merit, and secured it a favourable reception; though some re flections on petticoat government, rather injudiciously introduced towards the end, seemed for a time to threaten its con demuation. On the 9th of May was exhibited the phænomenon of a new tragedy, attended with the still more extraordinary circumstance of complete success. Whether this success be not in some degree attri butable to adventitious circumstances, we shall not stop here to enquire; but we most sincerely rejoice at it, as tending to improve the circumstances and prospects of the author, a man of worth and unquestionable genius. Ber 1816.] Dramatic Register-Covent-Garden. tram, or, the Castle of St. Aldobrand, the production of the Rev. R. C. Maturin, a clergyman of Dublin, combines excellencies of a high order, with what we cannot forbear, considering as defects: but on the merits of the piece itself, which has been announced for representation every night during the season, we reserve our sentiments for another occasion. The scene is laid in Sicily; the plot is briefly this: Bertram the former favourite of his sovereign and the people, prompted by insatiable ambition, extends his views even to the crown itself. Conquered in the field by Aldobrand, who supports the cause of the king, and declared an outlaw, he embarks with a few adherents to seck shelter in a foreign country, but is shipwrecked on the coast of Sicily, near the convent of St. Anselm, and the castle of Aldobrand. Bertram, rescued from the waves by the monks, reveals himself to the prior; who advises him in order to avoid suspicion, to comply with the custom, according to which, all strangers are expected to repair to the castle, and partake of its hospitalities. Here he meets Imogine, the object of his early attachment, and who had returned his love with equal ardour. Fired with the information that necessity has compelled her to become the wife of Aldobrand, he resolves to accomplish the destruction of his enemy. He prevails upon Imogine, to grant him an interview of one hour: that hour proves fatal to her virtue. Aldobrand returns from his expedition, and is killed in her presence by the furious Bertram, who afterwards surrenders himself to the attendants of his foe. Conducted away by them in chains, he arrives at a wild spot, where in a cavern the distracted Immogine had taken her abode after the murder of her lord. He meets the unhappy maniac, who recognises the author of her ruin, and expires heart-broken in his arms upon which, Bertram snatches a sword from one of his guards, plunges it into his bosom, and dies exulting that he has escaped an ignominious execution, and that a "warrior's weapon has freed a warrior's soul." From this slight sketch, it will be obvious that the part of Bertram is peculiarly adapted to the powers of Mr. Kean, by whom it is represented with extraor dinary energy and effect. He is a mixture of ambition, pride and revenge; a character ashamed of the feelings of ordinary men, who has little in common with them, but his passion for a lovely 451 not woman, and in whose sorrows ordi- COVENT GARDEN. On the 23d of April, Mr. John Kemble resumed his engagement at this theatre in the character of Coriolanus, the personation of which is generally considered as one of his happiest efforts. He per formed the part with his peculiar excellence, but not without exhibiting some of those symptoms which seem to indicate, that at no very distaut period, he may find it necessary to retire from a profession, in which it is indispensably requisite that the energies of mind, however perfect, be accompani d by unimpaired physical powers." The tragedy was succeeded by the 452 Dramatic Register-Covent-Garden. musical after-piece of The Jubilee, written by Garrick, in 1769, on occasion of the festival held in that year, in honour of Shakspeare in his birth-place, Stratford upon Avon. The pageant which was splendidly got up, exhibited characters from twenty of Shakspeare's most popular plays, Miss O'Neil personating the Tragic, and Mrs. Gibbs, the Comic Muse, each mounted on an appropriate car. Though intended as a tribute to the father of the British drama on the anniversary of his death, yet the piece was several times repeated. On the S0th of April, the tragedy of Venice Preserved afforded an extraordi nary treat to the lovers of the drama. Mr. John Kemble personated Pierre, with all the impressive dignity befitting the character. Owing to the indisposi tion of his brother, the part of Jaffier was sustained by Mr. Conway, a change which the audience had no reason to regret. Conway certainly gave a prominence and importance to the character which, in other hands, it is not in general found to possess. He combined great energy with profound feeling; and did not suffer the tenderness of Jaffier's nature to degenerate into that tameness by which this part is so often neutralized on the stage. The fine manly person of Mr. Conway, was no mean auxiliary to the just conceptions of his mind. Miss O'Neil displayed perhaps more than her accustomed excellence in Belvidera-a character, which by the strong hold that it seizes upon the heart, is fraught with irresistible interest. Our limits will not permit us to attempt to analyse all her excellencies in this character: indeed if any particular scene of this piece excites higher admiration than another, it is only inasmuch as it affords a wider scope for her unrivalled powers. Such is that where Jaffier, stung by the recollection of having been induced by her entreaties to save her father by betraying his friend, would plunge his dagger into her bosom. Her heart rending struggle, the fondness with which she snatches a parting kiss, and then sinks into his arms, resigning herself to his will, are touches which must be witnessed by those who would form an adequate idea of their effect. The tempestuous passion of insulted virtue; the irresistible endearments of conjugal tenderness ; the warmth of filial affection in spite of the severe usage of an inexorable father, are alternately represented with a pathos which captivates the feelings with all the force of reality, and fully verifies -- [June 1, the exclamation of Jaffier:- out you: There's in you, all that we believe of heav'n, We cannot suppress an observation On thy misfortunes sought thee in thy mise-as when first my foolish heart took pity ries, Reliev'd thy wants, and rais'd thee from the state Of wretchedness, in which thy fate had plung'd thee. Let these lines be repeated as an actor would deliver them, and every rea der must be sensible of the impropriety of which we complain. Liberties of this kind cannot be too severely censured, especially as the example of the stage in such matters is likely to give the tone to the great mass of society. On the 4th of May, Miss O'Neil, for her own benefit, undertook her second new part in comedy, since her quitting the Dublin stage. The character of Lady Teazle, though nothing could be more flattering than the applause which she received in it, is in our opinion at least, of so inferior a cast, as to be utterly unworthy of one whose talents and whose loveliness combine to qualify her for the most arduous parts. Mrs. Oakley, in the Jealous Wife, affords wider range for her powers, and was personated by her with the most complete success.The brevity to which we are confined, will not allow us to enter into any enumeration of the excellencies which she displayed in this character; but all those who have witnessed her performance, will be ready to admit that the evident tenderness, the affected good-humour, and the occasional embarrassment which marked the inquiries directed to her husband, concerning Miss Russett, the object of her suspicion; the storm of rage and jealousy which so abruptly succceded; the agitation which betrayed the secret of her labouring bosom, in the interview with Lady Freelove; the frenzy into which she works herself before she 1816.] General Treaty of Vienna. employs her last resource, the feigned fit, are passages which have never been excelled. May 6, we witnessed with pain, the effort of Mr. Kemble to personate Brutus in the tragedy of Julius Cæsar, in spite of a cold which rendered him almost inaudible. We take the liberty of putting a question to those whom it may concern-why Cæsar falls apostrophizing the noblest of his murderers: Et tu Brute! and why these Romans should immediately afterwards employ the incongruous term of pulpit instead of rostrum, a word which has long been naturalized in our language. The tragedy was followed by a new musical entertainment, in honour of the marriage of the Princess Charlotte, entitled, The Royal Nuptials, or the Masque of Hymen, which was several times repeated, though not without considerable disapprobation. We noticed in our last number, the successful debut of Mr. Bibby before a London audience, in the difficult part of Sir Pertinax Macsycophant. On the 10th of May he appeared for the second time, in the character of Shylock. It has been intimated to us, that on the former occasion, an actor of talent disgraced himself by instigating an opposition to this gentleman, whose merits are certainly far above mediocrity; and the treatment which he again received, seemed to imply a determination to drive GENERAL TREATY, 453 him from the stage; though the expression of undeserved persecution was uniformly drowned by the warm and just applause bestowed upon his performance. He evinced a strong conception, feeling and energy: indeed, in regard to the latter, we are rather disposed to censure him for excess. The passages in the third scene of the third act, and the first scene of the fourth, where the obdurate Jew insists upon having his bond, and nothing but his bond, and the scowl of rage and maglignity with which he made his final exit, with clasped hands, as if imprecating curses on the head of his triumphant debtor, would have done honour to any actor, and were duly felt by the audience. He afterwards personated Sir Archy Macsarcasm in the farce of Love a-la-Mode, with much effect. It may be confidently as asserted that any man who could perform two such different characters, even in a style much inferior to Mr. Bibby, would be a valuable acquisition to either theatre. We will add one remark, not for the purpose of detracting from this gentleman's merit, but in the hope that it may be useful to him. Mr. Bibby as we understand is a native of America, and to this circumstance may be owing certain peculiarities of pronunciation, which are rather grating to an English ear; but which a little attention would enable him to correct. STATE PAPERS. (Continued from page 354). LIII. The sovereign princes and freetowns of Germany, under which denomination, for the present purpose, are comprehended their majesties the Emperor of Austria, the Kings of Prussia, of Denmark, and of the Netherlands; that is to say, the Emperor of Austria and the King of Prussia for all their possessions which anciently belonged to the German Empire, the King of Denmark for the Duchy of Holstein, and the King of the Netherlands for the grand Duchy of Luxembourg, establish among themselves a perpetual confederation, which shall be called "the Germanic Confederation." LIV. The object of this confederation.is the maintenance of the external and internal safety of Germany, and of the independence and inviolability of the confederated states. LV. The members of the confederation, as such, are equal with regard to their 454 General Treaty of Vienna: Hamburgh Onc One Total seventeen votes. LVII. Austria shall preside at the federative diet. Each state of the confederation has the right of making propositions, and the presiding state shall bring them under deliberation within a definite time. LVIII. Whenever fundamental laws are to be enacted, changes made in the fundamental laws of the confederation, measures adopted relative to the federative act itself, and organic institutions or other arrangements made for the common interest, the diet shall form itself into a general assembly, and, in that case, the distribution of votes shall be as follows, calculated according to the respective extent of the individual states: Austria shall have 4 Votes. Prussia 4 4 4 - 4 4 3 Saxony Bavaria Hanover Wurtemburg Baden... Electoral Hesse Grand Duchy of Hesse 3 3 2 2 2 1 1 1 1 1 1 Anhalt-Bernburg [June 1, LIX. The question, whether a subject is to be discussed by the general assembly, conformably to the principles above established, shall be decided in the ordinary assembly by a majority of votes. The same assembly shall prepare the drafts of resolutions which are to be proposed to the general assembly, and shall furnish the latter with all the neces sary information, either for adopting or rejecting them. The plurality of votes shall regulate the decisions, both in the ordinary and general assemblies, with this difference, however, that, in the ordinary assembly, an absolute majority shall be deemed sufficient, while, in the other, two-thirds of the votes shall be necessary to form the majority. When the votes are even in the ordinary assembly, the president shall have the casting vote; but when the assembly is to deliberate on the acceptance or change of any of the fundamental laws, upon organic institu tions, upon individual rights, or upon affairs of religion, the plurality of votes shall not be deemed sufficient, either in the ordinary or in the general assembly. The diet is permanent: It may, however, when the subjects submitted to its deliberation are disposed of, adjourn for a fixed pe riod, which shall not exceed four months. All ulterior arrangements relative to the postponement or the dispatch of urgent business, which may arise during the recess, shall be reserved for the diet, which will consider them when engaged in preparing the organic laws. LX. With respect to the order in which the members of the confederation shall vote, it is agreed, that while the diet shall be occupied in framing organic laws, there shall be no fixed regulation; and whatever may be the order observed on such an occasion, it shall neither prejudice any of the members, nor establish a precedent for the future. After framing the organic laws, the diet will deliberate upon the manner of arranging this matter by a permanent regulation, for which purpose it will depart as little as possible from those which have been observed in the ancient diet, and more particularly according to the recess of the deputation of the empire in 1803. The order to be adopted shall in no way affect the rank and precedence of the members of the confederation, except in as far as they concern the diet. LXI. The diet shall assemble at Francfort on the Maine. Its first meeting is fixed for the 1st of September 1815. LXII. The first object to be considered by the diet after its opening, shall be the framing of the fundamental laws of the confederation, and of its organic institutions, with respect to its exterior, military, and interior relations. LXIII. The states of the confederation engage to defend not only the whole of Germany, but each individual state of the union, in case it should be attacked, and they mu |