1816.] Review of New Musical Publications. lying the Brunswickers in person-throwing himself into the infantry battalions, charged by cavalry; and giving a few encouraging words to the exhausted soldiers, as he sat on his horse, exposed to the shower of all sorts of bullets, watching for the proper instant to give them command for them to rise from their place of partial shelter, to stand so their arms, as the enemy's column approached near. Up, guards! and at them again,' was his exclamation on one of these occasions: We must not be beat, my friends-what would they say in England;'-was another of his short and pithy addresses. This moment, as I have said, was a trying and even a doubtful one: but its fury was encoun⚫ tered and repelled by the British unaided:-the last charge made by the enemy was completely repulsed :—the French retired from before us alone; and the arrival of the Prussians had only an influence on the future operations. This influence was certainly very valuable. To be sure, it was hardly likely that the light would have lasted long enough to permit Buonaparte to form fresh columns of attack against the British; but he had men enough to do so he continued to outnumber us greatly; and we were dreadfully exhausted. If he could have arranged another great charge before nightfall, the consequences might have been very serious; but the Prussians came up just as he had been again roughly dashed back from the immovable British lines; just as he had received his last lesson as to the matchless quality of the troops by whom his generals had been often beaten, and against whom he had to-day been, for the first time, opposed. The arrival of our gallant allies, under such circumstances, destroyed him. It is necessary, however, to observe, in consequence of some reports that are abroad,-that the Duke never despaired as to the battle. It is said that a very distinguished British general made some rather melancholy representations to his grace towards The end of the day. You are wrong,' he replied, and then pulling out his watch, added-' You will see that in half an hour I shall have beaten them. I know both my own troops, and those with whom hey are fighting." 151 In describing Mont St. Jean, and that part where the battle raged with greatest fury, our author takes particular notice of an old picturesque tree, which bears the name of Wellington, from the cir cumstance that our illustrious commander stood near it during part of the action. "I found it," says Mr. Scott, "much shattered with balls, both grape and musket; all of which had been picked out by visitors. Its branches and trunk were terribly splintered. It still retained, however, the vitality of its growth, and will, probably, for many future years, be the first saluting sign to our chil dren, and our children's children, who, with feel ings of a sacred cast, come to gaze on this theatre of their ancestor's deeds. We who now describe them, must soon join those whose fall we commemorate; and other generations will have their curiosity excited, only to follow us where all human interests cease: but this venerable tree will remain a long survivor of the grand battle, in which it was no slight sufferer-a monument of its circumstances -a conspicuous mark to denote and to impress. Its old head rising over the graves of so many gallant men, who dropped under what it withstood, struck one as conveying a mortifying reproach of the weakness of our species. An empire has withered under its shade; the hopes of ambition, the prayers of affection, the strength of the brave, and the skill of talent, lie abortive beneath its branches: yet it will continue to put forth its leaves in the spring-to break the winds of autumn --and to sustain the snows of winter;-to overhang succeeding crops, as it overhung the thinning ranks of armies ;-to shelter the bird, whose note shall echo over fields that groaned under the crashing wheels of cannon, and shook under the thundering tramp of charging squadrons." Travels in Europe, Asia, and Africa. By Edw. Dan.. Clarke, LL. D. Vol. iv. 410. 41. 14s. 6d. large paper, 81. 85. Paul's Letters to his Kinsfolk, being a Series of Letters from the Continent. 12s. REVIEW OF NEW MUSICAL PUBLICATIONS. My Spouse and I; an Operatic Farce, performed at the Theatre Royal, Drury-lane. Written by Mr. C. Dibdin, jun. Composed and inscribed to the Noblemen and Gentlemen forming the Sub-committee of the above Theatre, by John Whitaker. Button and Co. whole, this agreeable Farce will add Another laurel to the brow of the composer of Paddy Carey. 89. The slight texture of the Overture, a very cursory view, will discover solos for oboes, flutes, ⚫larionets, bassoons, and trumpets, follow each other successively; and when the ear begins to be cloyed with these individual exertions, a crash altogether terminates the whole. Mr. Whitaker is more at home in the songs, particularly where comic humour is pourtrayed. In that department he is excelled by few "The Boy and the Botterfly," by Miss Kelly; and "Ah! well a day," by Mrs. Bland, are excellent ballads. Mr. Bellamy's "Dido and I," may rank with the best hunting Songs of the present day. We have likewise a comie Trio by Mrs. Bland, Miss Kelly, and Mr. Barnard, well worked up, and producing admira ble stage effect. The Glee of Humming Ale," for three voices, is very striking, and bids fair to become a favourite in convivial parties. On the A Grand Sonata for the Pianoforte, with an Accompaniment for the Violoncello; composed and dedicated to Mad. Moreau, by Bernard Romberg." Platts. 8s. N.B. The Violoncello part is arranged for the Violin. This Sonata bears evident marks of having beca written for the harp, though not mentioned in the title page. The passages are harpic; and all the passages are marked as for a harp. It is, nevertheless, what it expresses, a grand sonata. It lies well for the pianoforte, and has an obligato part for the violoncello, but which can only be executed by a good performer. As Mr. Platts is a collector of good things, and Madam Morcau seems tond of the grand and the sublime, we hope he will favour her and the public with more sonatas of this cast, Jacky Horner, a favourite Air, arranged as a Rondo for the Pianoforte, with an Accompaniment for a Flute (ad. lib.) Composed and inscribed to J. G. Graeff, Esq. by Samuel Wesley. Clementi and Co. 25. ad. 152 Review and Register of the Fine Arts. This delicious morsel of English poetry was selected by the erudite composer, not from any lack of higher themes to exercise his talents upon; for he who has" sounded all the depths and shoals of learning" can never be at a loss for subjects. He must have chosen it from sheer love of good humour and good eating. Though he has twisted and turned his Chrismas Pie into so many different forms, it is not doughy, but affords a rich and relishing repast. We cannot conclude without expressing our admiration at his versatility in handling all sorts of subjects. "Seneca cannot be too heavy, nor Plautus too light." A General Treatise on Music, particularly on Harmony or Thorough-Bass, and its application in (to) Composition; containing also many essential and original Subjects, tending to explain and illustrate the whole. By M. P. King. Goulding and Co. 11. 1s. In the present dearth of new music, worth recording, we cannot do better than call the reader's attention to such treatises on the science (though rot eatively new) as bear the marks of sterling merit. Of this cast is the work before us. To the merit of a practical composer, the author joins that of a profound theorist. The introduction contains the first rudiments of music. Part the first treats of the essential principles of the science, and the second on harmony and thorough bass; the third shews the application of harmony, by the laws which govern its use; the fourth and last part contains a short musical analysis, and enters so far into composition as is necessary to illustrate the preceding part of the work. If," says our author, at any time I have dwelt on some of the most simple subjects, it has been for the sake of those who, wishing to enter into the reason of things, might not rest contented with taking a rule for granted; and, if I have had occasion to differ with (the polite word for from) some great autho rities, I have assigned reasous for so doing, aud have given their opinion with my own." The rudiments we shall pass over without any remarks, they being nearly the same in all elementary books. In Chapter I. containing the Nature and Origin of the Scale, it is remarked that the musicians of autiquity are said to be the inventors of the scale, but they should rather be looked upon as its discoverers; for, since the [March 1, properties of sound have been physically consi. dered and investigated, the scale has been found to exist in nature. For, from a primary or gene. rating sound, a series of secondary sounds arise, not produced by chance, but by the immutable laws of nature; and from this cause are produced effects which of themselves establish the scale. On this subject Rousseau remarks," Si l'on fait resonner avec quelque force une des grosses cordes d'un violoncelle en passant l'archet un peu plus près du chevalet qu'à l'ordinaire, on entendra distinctement, pour peu qu'on ait l'oreille exercée et attentive, outre le son de la corde entiere, au moins celui de son octave, celui de l'octave de sa quinte, et celui de la double octave de sa tierce; on verra même frêmir, et l'on entendra résouner, toutes les cordes montees a l'unison de ces sonsla."Now let a string tuned to the fixed sound C in its gravest state, be stretched on a sounding. board, over two bridges, one at each end; then let it be divided by means of moveable bridges into the following parts; into one half, and it will give the octave: into one third of its whole length it will give the octave of its fifth; into one. fourth the donble octave; into one-fifth the double octave of its third; into one sixth the double octave of its fifth; into one-seventh the double octave of its flat seventh; and so of the rest. Were it necessary to say more on this operation of nature. the sounds produced by tubes, such as the horn or trumpet, might be adduced, as they are exactly after the above ratio. In the examination of the scale, according to the moderu division, he says, that each part of the scale has some particular property, and more or less influence over its respective parts in general. He begins with the key note, calls the 2d the leading note; the 3d the mediant; the 4th the subdomi nant; the 5th the dominant; the 6th the minor note; the 7th the sensible note. In this arrangement of terms he differs from many approved authors, such as Baumgartin, Crotch, and even Rameau; for, according to his best translators. Le not sensible is rendered "leading note." The key note, by these authors, is called the tonic; the 2d the supertonic; and the 6th the supermediant. Perhaps these misnomers are of little consequence except that they might bewilder the young student by the confusion of terms. Our further remarks on this work we must defer to another opportunity. REVIEW AND REGISTER OF THE FINE ARTS. "L'onore conferito da Grandi à bravi Artisti dà vita e vigore alle Belle Arti; come il poco incoragimento, e le critiche severe, e poco discrete, le fanno languire." ROYAL ACADEMY. Condivi, Vita di Michel Angiolo Buonarotti. MR. TURNER continued his lectures on perspective on the successive Mondays since our last, till their completion; and although possessing in many respects great and valuable intrinsic merits, particularly in his brilliant graphic illustrations, yet, for the sake of the younger students, (who are too much addicted to seek instructions from lectures rather than study, and would sooner view Mr. Turner's beautiful drawings than study BROOK TAYLOR's or MALTON'S drier, but more useful diagrams,) we wish he would descend to their capacities, and give more time to the simple elements of his invaluable science. Mr. FUSELI's Lecture on Painting. This eminent professor and learned critic commenced, as we have before stated, his annual course of lectures on his art to the students of the Royal Academy, on Thursday, the 11th January; the first lecture commencing with general principles, and criticisins on the 1816.] Mr. Fuseli's Lectures at the Royal Academy. rise and progress of the art among the Greeks, and its restoration among the Italians. Leonardo da Vinci was the first that displayed the light of genius after its first dawn in the time of Boccacio: the principal feature of whose works was character: and this was the state of the art till the time of Michel Angiolo, whose astonishing performances the learned professor justly compared with the epic works of Homer and Phidias. He introduced to a series of admirable criticisms on his works, judiciously pointing out his defects, and dwelling strongly on his prominent beauties. Mr. Fuseli next proceeded to Raffaelle, whose cartoons he considered as unequalled specimens of energy: he was not how ever faultless, his Madonnas having a weak and insipid character. He then examined and pointed out the peculiar graces of Corregio and of other subsequent artists, particularly Poussin, Titian, Parmigiano, and Carracci; and concluded with some judicious advice to the students. The second lecture was devoted to drawing or design, which he considered as the extreme parts or outline of the figure, and remarked the difference between the copyist and the imitator, which have been too often confounded: -the performances of one must possess some originality, the works of the other are performed mechanically; the practice of both, however, is necessary for the successful progress of the student. He alverted to the mode of drawing pursued by the students, and strongly pointed out to them the necessity of correctness. Mr. F. then made a few remarks on physiognomy, explained the distinction between style and manner with admirable precision, and concluded his second lecture with sound advice and general observations on instruction and genius. The third lecture was chiefly on chiaroscuro, which the professor defined as the art of properly distributing light and shade in the mass of composition; its excellencies depend on unity and truth. He then took a survey of those great artists who have excelled or been deficient in this essential of the art. Among the latter he enumerated Raffaelle, and among the former Leonardo da Vinci, as the first who brought it into notice. Tintoretto, and Corregio, whom be classed as superior to all. He then noticed the modern schools, and gave Reynolds as a superior instance. The fourth lecture was most interestNEW MONTHLY MAG.-No. 26. 153 ing, and principally on the subject of colouring. The art of painting was considered by the painter in a double light: as awful and sublime, inspiring the mind and touching the heart; or as the splendid and ornamental, conducing to the delight and deception of the eye;the former, which elevates the human race, being the most useful to society, and the latter exciting only delightful sensations, being of secondary merit. Mr. Fuseli then entered minutely into the investigation of colours and their arrangements, method and handling; and divided historical painting into two methods-chiaroscuro forming the distinctive characteristic of the one, and a strict adherence to nature in every respect, as well in light and shade as in colouring, that of the other. He classi fied and enumerated various masters under these two heads, the chief of the former being Michel Angiolo, and of the latter Raffaelle. The fifth lecture related to invention, which was divided by the professor into three classes: landscape, or the delineation of animal or vegetable life in its utmost extent; historical composition, or representation; and a more elevated style, selecting and combining the most interesting parts of the other two, as dramatic and epic painting. The dramatic originated with Raffaelle, the finest specimen of which is Paul announcing the True God from the Areopagus. The epic is the loftiest species of human invention, astonishing while it instructsbelonging exclusively to Homer, Phidias, and Michel Angiolo-a sphere situate between heaven and earth-causing gods to become men, and elevating men to Gods. We lament that our limits render it impossible to do any thing like justice to these admirable lectures, particularly this very important and most eloquent one. Mr. Fuseli in a spirited manner pointed out the paltry substitutes for the noble sphere of invention, and particularly mentioned that inferior sort of allegory called emblem. Before concluding, the energetic professor offered some most judicious and acute remarks on portrait-painting, which in early times was confined to the highest classes of society; princes and heroes were its only objects; but as the various classes became equalized, luxuries crept in, and the folly of portrait-painting, said the professor, has extended so far, that if a man has a guinea in his pocket he squanders it to see some obscure member of his family in a picture,-îf a VOL. V. X 154 Exhibition at the Gallery of the British Institution. [March 1, picture it can be called which consists of mere daubs of red and white, possessing no interest but to its first owner. The sixth and last lecture, on Feb. the 15th, comprised the important subjects composition and expression. The professor defined composition as "the illustration of invention," and divided it into two parts, moral and physical; the former being composed of unity, propriety, and perspicuity, the latter of perspective and chiaroscuro. He instanced perfections and defects in the works of Michel Angiolo, Raffaelle, and other great masters, offering comments on most of the pictures of the latter. He also gave some perspicuous remarks on expression and the passions; and concluded his most admirable course of lectures on painting amidst the loudest applauses from an assemblage of connoisseurs, students, and academicians. Mr. Fuseli's high and established reputation as a critic and as a painter stands on too firm a basis to need our panegyrics; nor need we say more than earnestly exhort the students to an attentive study of his lectures and advice, though he may have told them some unwholesome truths, and set the goal of pictorial merit so high as to be attainable by but very few of the chosen sons of genius: yet the man who aims high, although he may miss his mark, can never be accused of mean or low ideas, and it is easier to let down the chord of talent to true pitch than to raise it when too flat. EXHIBITION at the Gallery (in Pall The exhibition of this national and praiseworthy institution opened to the public on Monday, the 5th February.— It is on the whole inferior to any that have yet been exhibited in these rooms, yet it has some fine individual pictures. Much of this inferiority arises from the directors setting the artists to produce battle pictures, or nothing, for their aunual premiums; and much to the frequency of the exhibition, which ought not to be oftener than every two years. The battles of Waterloo possess vari ous merits, but none stand very high. The academician WARD has a fine allegory, and CLENNEL a very spirited charge of cavalry, which, from want of identity, might be called any battle in which the Life-guards were engaged. Mr. HOFILAND has some charming landscapes; (and Mr. HAYTER, the painter of the fine head of the prophet which obtained the 200-guinea premium last year,) a fine head of a Knight of Malta, and a beautiful groupe of children in a landscape replete with beauties of idea and conception, slightly deteriorated by a few faults of execution and mechanical handling, which, as he is so young and slightly practised in oil, must improve with every picture. Mr. LONSDALE has The Page to Fitzwalter, a study for the picture of King John signing Magna Charta in the presence of the Barons at Runnemede, which he painted for the late Duke of Norfolk, and which is now executing in glass by Mr. Backler for the large window of the Baron's Hall, Arundel Castle. Want of space obliges us to defer our more particular remarks till next month, when we shall perhaps be able to give the determination of the directors as to the premium for the Waterloo pictures. Portrait of THOMAS BEWICK, the cele brated Engraver in Wood. Engraved by THOMAS HANSON from a Picture by WILLIAM NICHOLSON; published by the Engraver, Judd-place West, and BOY DELL and Co. Cheapside. This engraver, whose name we do not ever remember before to have heard, has in this print gratified the lovers of excellence by a brilliant portrait of that extraordinary genius Bewick, in a style of excellence and origirality seldom witnessed, and surpassed only by the extraordinarily fine portrait of Mr. Blake by SCHIAVONETTI after the academician PHILIPS. The head is clear, well finished, and brilliant, reminding us of some of the best works of Sir Robert Strange; the hands, drapery, dog, and other accessories, free and with a brilliant touch. It is altogether a fine proof of the powerful talents of this young engraver, and which we hope shortly to see called forth in some important work. INTELLIGENCE. Mr. DOMINIC ARTARIA, of Manheim, has employed a celebrated German historical painter to paint a large picture of the Battle of Leipzig, with at least 40 portraits of the sovereigns and other eminent characters who were engaged in it, as a companion to that which is now painting of the battle of Waterloo, by Messrs. Atkinson and Devis for the house of Boydell and Co., and means, in conjunction with these latter gentlemen, to publish it in a similar style of engraving and size, so as to make it a suitable companion print. A finished water-colour sketch of it is shortly ex 1816.] Intelligence in the Fine Arts. pected, which, when it arrives, shall be fully described to our readers. The third part of the illustrations to the Bible by the Messrs. TAYLORS, the former parts of which have been noticed by us, will appear this month. Several of the plates for No. 5 of the third and last volume of "Liber Veritatis," from the Duke of Devonshire's collection, are already finished by Mr. EARLOM. The remainder are so forward as to allow us to say, that the number will be ready for delivery to subscribers and the public by May or June next. Mr. BROMLEY has just produced his etching of a whole-length portrait of the Duke of Wellington, from a picture painted by Sir THOMAS LAWRENCE, for H. R. II. the Prince Regent. The etching is now exhibiting by Mr. Bowyer, of Pall Mall, proprietor. Mr. JAMES ELMES has announced the plan of a new village, intended to comwemorate the most splendid military achievements of Great Britain and her allies during the late wars with France, and to be called WATERLOO. The site chosen for it is between Primrose Hill and Belsis Park, commanding extensive and picturesque views over the country to the west, north-west, and south, of the metropolis. The proprietors of this ground, an area of about 40 acres, have divided the plan into two parts; the first, composing the village itself, encircling place of public amusement, which will combine the objects of Ranelagh with the best scenes of Vauxhall, but with new and peculiar features and on a more magnificent scale. The village is appor tioned into 35 lots, of various shapes and dimensions, many of which are already disposed of. Such of our readers as wish for farther details are referred to Mr. ELMES, 37, Great Coram-street, Brunswick-square, who has printed a description of it for distribution. a The same gentleman has submitted to the Directors of the CALEDONIAN ASYLUM, instituted for the education and support of the children of soldiers, sailors, and other indigent natives of Scotland, a plan for a building for their reception, which seems to unite a high 155 degree of elegance with all the simplicity and convenience that are to be expected in such an edifice. ROYAL ACADEMY.-On Saturday, the 10th February, a general meeting of the academicians was held in the council room at the Royal Academy, to fill up the vacancies in the list of Royal Academicians occasioned by the deaths of Sir Francesco Bartolozzi and John Singleton Copley, esq., when Messrs. WM. MULREADY and ALFRED EDW. CHALON were declared duly elected. The elec tion is not complete till it has received the approbation of his Majesty. Mr. WEST's gallery in Pall Mall is again re-opened to the public with additions, and shall be noticed with others in our next. HAYDON is proceeding, after a cessation of nearly seven months from ill health, on his great work of the Entry of Christ into Jerusalem, as he should do, that is, carefully, studiously, and correctly; and although his productions are few, it may be replied for him in the language of the lioness in the fable, when reproached by some more prolific animal for her comparative barrenness: "Every one of mine is A LION." The Society for the Encouragement of Arts, &c. at the Adelphi, on the 1st of February, elected H. R. H. the Duke of Sussex president of their institution, in the room of his Grace the late Duke of Norfolk. The state of the ballot was, For H. R. H. the Duke of Sussex 180 The Rt. Hon. the Earl of Liverpool 24 Majority. 156 We congratulate the society and the public on the acquisition of so enlightened and active a president; one who unites a strong love for, and knowledge of, both the useful and the fine arts. Mr. DAY's admirable cast of the colossal figure by Phidias on the Monte Cavallo at Rome, has now received the addition of the horse which accompanies it, and with some fine original pictures and other works of art, is again opened to the public at the Gallery of the King's Mews, Charing Cross. |