selle Bonini, Velluti and Porto, which created a little sensation at first, but on a closer appreciation was found to be compounded of very ordinary materials. The overture is but mediocre, and the finale of the first act, generally the grand effort of the composer, is really quite indifferent. The instrumentation of the music is not the richest, nor the most select; there is occasional nakedness, and the inner parts, upon the whole, are much neglected. In this respect, however, we ought to statę, that the original score, which was employed at the King's Theatre, was written for a limited establishment, the Teatro Tenice at Venice, and that Signor Morlacchi, aware of its imperfections, remodelled the whole. This improved score, we are informed, was offered to the management here by the composer himself, even gratuitously, in case a remuneration were objected to; but one of the great vocalists is stated to have objected to its acceptance, for, if the old score were good enough for him, it surely must be good enough for every body else.

The exertions of Mademoiselle Bonini in this opera were strenuous and praiseworthy, and received considerable applause. Curioni's fine tenor and impassioned delivery also gave to the music all the support of which it was by any chance susceptible. As to Signor Velluti, we felt much curiosity to see him in a new character, after that which he represented in the Crociato. Unfortunately there is a striking similarity between the two; indeed all the four principal dramatis personæ reminded us constantly of very analogous parts allotted to them in the Crociato. But this similarity not existing in the style and merit of the music, the comparison between Tebaldo and Armando was not in favour of the former. Signor Velluti, moreover, sang most offensively out of tune; and a number of the graces and embellishments which charmed us in his Armando, were equally conspicuous in Tebaldo; altogether there was a greater sameness of style and manner, than we remember to have witnessed in the performance of two characters by the same individual.

"Tebaldo e Isolina" will never be a favourite in England; there is not an air that has a chance of becoming popular. Indeed the opera has proved an absolute failure; a circumstance the more to be regretted as great pains have been taken with the rehearsals, and considerable expense has been bestowed upon the materiel. The dresses, although more fanciful than in authentic costume, are tasteful and showy, and among the se

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veral new scenes, that of the interior of the castle by moonlight, is a striking and very interesting painting. The view in Scene vii. which ought to represent a retired spot within the castle, shaded by some ancient trees, is also well painted, but with little attention to the precise directions of the poet. We could discern nothing of the castle, no ruinous chapel, &c. In fact it was simply a fine forestscene, with even a perspective of trees.

The public were happily relieved from the doleful strains in Tebaldo, by the revival of the cheerful "Barbiere di Siviglia," (11th March,) which opera introduced to us, for the first time, a new buffo cantante, in the person of Signor Pellegrini, who played Figaro. It is a pity that almost all these buffos will make their debut in this opera, which is worn threadbare on our boards. We have had Zucchelli's Figaro, Benelli's Figaro, and Remorini's Figaro; but Signor Pellegrini unquestionably surpasses them all, at least in point of comic talent and dramatic representation in general; and his singing gave great and universal satisfaction. This gentleman has for some years been a favourite at the Italian theatre in Paris; his voice is a baritono, not of great strength, but just sufficient for our vast theatre, sonorous and melodious, including some good tenor-notes, precisely what the part of Figaro requires, and what Remorini's Figaro wanted. Besides these advantages, Signor Pellegrini possesses great flexibility and modulation in his vocal intonation, and a very superior degree of musical knowledge. As a comic actor, his Figaro was full of vivacity, archness, and humourous conception, without ever bordering upon coarseness and vulgarity, defects, indeed, which are but seldom met with in Italian performers, including even the buffi caricati. There is a slight lisp in his articulation, an imperfection occasionally found in bass voices; but, on the whole, we look upon Signor Pellegrini's accession to the establishment as a great acquisition, and we long to see him in some other comic part, trusting that his engagement may be the means of the management's resorting more frequently to comic operas, which are too much neglected bere, as well as on the Continent.

Another feature of attraction in this opera was the performance of the part of Rosina, by Madame Caradori Allan, whose appearance was the more welcome and hailed with applause, as, from some cause or other, this universal favourite is not often seen on the boards, a circumstance which, while it is a matter of regret with the public, proves more or less injurious to the company itself. Whenever Madame Caradori is permitted to appear, independently of the gratification invariably derived from her professional skill and her chaste and genuine style of singing, the audience perceive obvious and great advances, not only in the strength of her voice, but also in dramatic action and expression; circumstances which render it quite evident, that a more frequent employment of her services would infallibly be productive of that confidence and consciousness of superior capabilities, to which an actor owes as much his success and fame as to the gifts with which nature may have endowed him; for the latter, without fair scope for developement, too often lie dormant. Madame Caradori's Rosina afforded a strong instance of the correctness of this observation; her greatest admirers were agreeably surprised by the archness and the spirit which she infused into her performance; and, for ourselves, we are quite sure, she could and would do as much again, if she were but placed in fair possession of the stage. Of her songs it is scarcely necessary to say more than that they met with rapturous applause. "Una voce poco fà," was executed with the highest degree of taste, precision and expression; and in the

duet with Figaro an encore was universally called for. Apropos of the duet, it struck us that Rosina's writing, on the stage, the billet doux with which she surprises Figaro, is calculated to lessen the effect upon the audience, who ought to share in the astonishment felt by the Barber, on finding the letter ready made, as soon as he had ventured to suggest a thing of that kind.

Curioni performed the Count, as on some former occasions, not altogether en comte, but very fairly on the whole. "Ecco ridente il cielo" was sung with taste, but, in the duet with Figaro, he was less effective. De Begnis' Don Bartolo was very entertaining as usual, and Porto took great pains to make the most monstrously ugly faces, his vis comica particularly lying that way.

The ballets, if they may be called by that name, are as yet hardly worth speaking of. "La Cruche Cassée" is still going to the wall, in spite of the proverb, and the "Temple of Concord," as well as the "Bal Champêtre," have been sine qua nons during the whole month. The latter piece, upon the whole, is the most entertaining; but we have a right to look for something better from Mr. D'Egville. His "Naissance de Venus" is still but an embryo; the waves are unconscionably long in labour.

Panorama of Mexico. Of all the Exhibitions with which our metropolis usually begins to teem at this teeming season of the year, there are none so worthy of public encouragement and attention, because there are none which repay these so well, as the Panoramas. And we have never seen one which pleases us better in all respects than this new one of Mexico, which has been just completed from drawings made on the spot by Mr. Bullock. Perhaps there are few things, if any, more completely satisfactory to the human mind, than the contemplation of an entirely novel state of things-novel with reference to our previous knowledge of the same class of things-which yet, at the same time, satisfies us, on the very first glance, that it is eminently calculated to administer to human comfort and happiness. We do not, under ordi nary circumstances, imagine for ourselves any general state of being very different from that which we see about us. the more we restrict ourselves to this mere experience, the less we feel our minds disposed to expand and expatiate

And

among other things. The more we permit our minds to be the mere echoes (so to speak) of our eyes, the less they become capable of repeating any other language: till at last, a man may live on one spot, and see one set of objects, till he virtually believes in the existence of no other. But this kind of mental imprisonment and slavery is never one which we cherish; and however we may grow wedded to it, we are ever ready to escape from the thraldom when a fair occasion offers. There are persons who will insist, in their talk, that Paris, London, Vienna, Venice, or Naples, as the case may be, are the only spots fit for human beings to congregate in; and that any thing which is different from these is exactly so far different from what it should be. But let them see in a dream, or in a panorama, which is better than a dream (and there are no other ways of showing them but these two) such cities as this of Mexico, every particular of which differs from every thing that they have seen or imagined of the kind, and they are at once ready

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to admit that "there be livers elsewhere." In short, the general visitors of exhibitions of this kind will find that this new Panorama of Mexico presents them with a set of objects at once possessing the charm of perfect novelty, and at the same time of that seeming familiarity which results from the evident adaptation of means to ends. But we beg pardon for growing philosophical rather than descriptive. Mexico, as seen from the top of its principal church, presents a beautiful collection of buildings, steeped in sunshine, and bright with all the colours of the rainbow, and situated in a fine plain, intersected here and there by lines of trees which mark the public roads that lead away to other cities, and bounded on every side by groups of blue hills, with one among them crowned queen by a diadem of snow, and seeming to watch over them all, and over the beautiful city on which she looks down from out the clouds. The charm of this city to European eyes will be its perfect novelty of appearance, and the picturesque effects which result from that novelty. Every separate range of buildings, however extensive it may be, has one undivided roof, perfectly flat, which seems to be used as a sort of general place of recreation and resort by the inhabitants of the houses which it surmounts; and it is ornamented in various parts with artificial gardens of flowers, and also with the tops of the trers that peer up from out the open courts which appertain to every considerable house, and which pierce the continuous flat roof here and there. The too great uniformity of general effect, which would otherwise be caused by this mode of building, is entirely got rid of, by the tops of the churches and other public buildings which are interspersed in various parts of the city; while life and motion are given to the scene below, by a religious procession, which is winding through the principal spot of the city, and by another scene, of a somewhat different kind, which exhibits an open theatre (a temporary one) with a bull-fight going on within it, and the attendants, carriages, &c. without. Upon the whole this is a very pleasing and interesting scene; and as a painting, it is executed with great care and skill.

Pæcilorama. Egyptian Hall. - However Greek the title of this new exhibition may be to the general searchers after amusement, they will find that the exhibition itself is intelligible enough. In fact, it is merely an improvement on the Cosmorana, by employing a real artist in the production of the views, and by introducing into some of then those optical illusions of light and shade which have been April-VOL. XVIII. NO. LXIV.

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used with such excellent effect in the Diorama. In point of comparative skill and merit, it stands at about equal distances from those two hitherto popular sources of mingled amusement and information. The views are painted by Mr. Stanfield, and therefore, of course, greatly superior to the mere daubs of which the first-named exhibition has chiefly consisted; but (probably from the low price afforded by the projector) they are considerably inferior to those which have so delighted the public eye in the Diorama. They consist of a view of Netley Abbey, by moonlight, in which the spectator sees the moon rise, and the light shed on different parts of the scene, as the source of it changes its position in the sky;-a view of London in the sixteenth century;-a view of the exterior of the Castle of Chillon, with part of the Lake of Geneva; -the interior of the same ;-a view of a wreck, on Holy Island-a spot celebrated in Marmion; - a view of Turin and the surrounding plain of Piedmont, as seen from the Superga;-and a view of Rouen, from Mount St. Catherine. There is considerable difference in the degrees of merit possessed by these scenes; none of them answer to our preconceived notion of the artist's talents. That of Netley Abbey is of little or no value; being merely a stage trick, conducted on a small and totally inefficient scale, and not to be mentioned in comparison with the worst scene of the kind in the Christmas pantomimes of the last ten years. The interior of the Castle of Chillon is also devoid of any merit or attraction, except that which results from accidental association, and which is felt in connection with the real scene alone, not with any representation of it, however good. Almost the same may be said of the Wreck on Holy Island. The scene itself is altogether devoid of picturesque beauty; and the principal object is not represented under circumstances calculated to excite any peculiar interest. These three scenes therefore must be considered as altogether ill-adapted to their intended object; and we fear it has been an impolitic regard to expense which has influenced the choice of them. The other four views are all highly interesting in themselves, and are, generally speaking, not discreditable to the artist whose name they bear. Incomparably the best is that of Turin, with the adjacent Alps, &c. Rouen is of the same description in point of subject; but it by no means conveys an adequate notion of the glorious view itself. It is, however, increased in popular effect by being made subject to the changes of light, shade, &c. which are at present

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practised with such success on the stage, and at the before-named Diorama. The rainbow which is seen upon it, after the storm passes off, is a piece of perfect illusion, and is without exception the happiest illustration, and at the same time imitation. of a remarkable natural phenomenon, that we have ever seen. These views, like those of the two exhibitions to which we have compared it, are seen from a darkened apartment, and through what bear the appearance of windows looking out into the open space; which greatly aids the general effect.

In conclusion, this is so pleasing and popular a mode of representing objects which

all of us desire to see, that we are sorry it has not been in our power to afford the present example of it more unqualified praise. We must, however, venture to attribute the deficiency, in this instance, to the confined and mistaken notions of the projector, as to the expenses he would risk upon it; for if the arts possess any one capable of making the most of the principle on which these views are got up, that person is Mr. Stanfield: witness among many others, the admirable series of scenes which he presents to us, called the Adventures of a Man of War, in the Drury-lane pantomime-every one of which includes more merit than all the above united.

Cambridge. The chancellor's gold medals for the two best proficients in classical learning among the commencing Bachelors of arts, have been adjudged to Mr. T. Stratton and Mr. J. Hodgson, of Trinity College.

Royal Society. The following papers were read on the 12th January:-Observations on the Heat of July 1825, together with some Remarks on sensible Cold," by W. Heberden, M.D., F.R.S; "Account of a series of Observations to determine the difference of Longitude between the national Observatories of Greenwich and Paris," by J. F. W. Herschel, Esq., Sec. R.S., communicated by the Board of Longitude. Jan. 19.-"On the Cambridge Transit Instrument" in a supplement to a former paper, by Robert Woodhouse, Esq., M.A., F.R.S., Plumian Professor of Astronomy in the University of Cambridge; "On the Magnetic Influence of the Solar Rays," by S. H. Christie, Esq. M.A., F.R.S. Jan. 26.-" On the Barometer," by J. F. Daniell, Esq.,

F.R.S.

Royal Academy of Music. -The first of the concerts, eight of which are to be given during the season, alternately with those of the Philharmonic Society, took place on the 6th ult. at the King's Ancient Concert Rooms, Hanover-square, under the direction of Dr. Crotch and Mr. Spagnoletti, before a numerous assembly of rank and fashion. The band was very complete, and consisted of sixty-five performers, together with the number of their particular instruments; viz. twentysix violins, seven violas, six violoncellos, six double-basses, two flutes, two haut boys, three bassoons, five horns, three trumpets, three trombones, one drum, one picolo. The most striking matter in this list is the vast superiority of the stringed over the wind instruments. The

former are, indeed, in every well-regulated orchestra more numerous, but twenty-six violins to two flutes seem certainly a great disproportion; and we are at a loss to account for the entire absence of clarionets in so full a band. The effect of an orchestra thus composed could not fail to be imposing; but at the same time it was by no means distinguished for being either powerful, or sure and accurate. Probably the performers were not happily combined; several of the immature youngsters of the academy being intermingled with the experienced masters: but, to whatever cause it was owing, the symphony of Beethoven in D was not well played. Adverting to the voices, the list presents Madame Bonini, Miss Paton, and Miss Stephens; Braham, Phillips, Sapio, Velluti, Curioni, Begrez, Pellegrini, and De Begnis, who, either jointly, from two to seven, or solo, performed in all eleven pieces; so that, at any rate, there was no deficiency in quantum; Mayseder's introduction and variations for the violin, and the duet for the two trumpets of the signori Gambati, were all the instruments had to do alone. Miss Paton and Mr. Braham fully merited the applause they received.

Royal Society of Literature. In a paper read March 1, the Society acquired an addition to its means of advancing that part of the plan of the institution which relates to the publication of " inedited remains of antiquity." It was communicated by Mr. Leake, author of the "Journal of a Tour in Asia Minor;" and contains an account of a Latin inscription, being an edict of the Emperor Diocletian, engraved upon the wall of a marble edifice at Eskihissár, which appears to have once been the βουλυτήριον, or council-house of Stratoniceia, anciently one of the principal cities of Caria. A copy of this docu

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ment, brought home, with a variety of others, by William Sherrard, the celebrated botanist, who held the office of Consul at Smyrna in the beginning of the last century, has long been deposited in the British Museum; but this copy is imperfect, and has never been published; and although its defects have lately been supplied by Mr. William Bankes, so far as could be done by a complete copy of all that exists of the inscription upon the walls of Stratoniceia, yet the name of the emperor by whom the edict was promulgated was still wanting. In consequence, however, of the recent discovery of a duplicate at Aix, with a fac simile of which Mr. Leake has been furnished by Mr. L. Vescovali, of Rome, he has been enabled to lay before the Society a perfect printed copy of this interesting document, together with a specimen of Mr. Vescovali's tracing. The inscription consists of two parts, a decree fixing a maximum for the price of a great variety of commodities, to which is subjoined a copious catalogue of the commodities referred to, with the price of each in denarii: it is in uncial letters, and appears, from calculation, to be dated in the 303d year of the Christian

era.

Edinburgh Royal Institution. The Royal Institution for the Encouragement of the Fine Arts in Scotland opened its annual exhibition last month, with a collection of the works of modern artists. The direc

tors having succeeded in the acquisition of a suitable building and accommodations, to be devoted to the purposes of the association, and this being the first occasion of using them, an entertainment was given to celebrate it. "The rooms," says the Edinburgh Courant, "were thrown open at three o'clock, for the previous inspection of the paintings; and we can truly say that a more brilliant and striking spectacle has seldom been presented, than what was afforded by the first coup d'œil of these magnificent apartments; while the more detailed examination of the profusion of interesting works with which the walls were covered continued to keep up the excitement of admiration, which seemed universal and unqualified. As calculated for the advantageous display of works of art, these galleries appear to be unrivalled by any thing of the kind in Great Britain; as, from the form of the apartments, and the very judicious mode of lighting, every position on the whole circle of the walls is as favourable for giving every desirable advantage of effect to one picture as to another. With regard to the pictures themselves," continues the writer, "we feel assured that the public will unite with us in thinking that they do

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infinite credit to the artists who have produced them. We are, indeed, confident that there never has been an exhibition, out of London, at all to compare with the present in the excellence of the works it contains, and in the very gratifying prospects it holds out of the great and rapid progress which may be expected to be made in the cultivation of the Fine Arts in this part of the kingdom. The dinner was attended by a number of the Scottish nobility, and distinguished persons. The chair was filled by the Earl of Elgin, one of the Vice-Presidents, supported by the Lord Provost and the Earl of Leven and Melville; Sir William Arbuthnot and Sir Henry Jardine, croupiers; and among the company were the Earls of Minto and Fife, Lord Rollo, Lord Robert Kerr, the Lord Justice Clerk, the Lord Advocate, Lords Gillies, Pitmilly, Meadowbank, Mackenzie, Medwyn, Baron Clerk Rattray, Admiral Sir P. C. Durham, General Sir John Oswald, Sir William Forbes, Sir Archibald Campbell, Sir William Boothby, Mr. Henry Mackenzie, together with about 120 gentlemen, artists, amateurs, and patrons of the Fine Arts."

Royal Asiatic Society. - A general meeting of the society was held on the 7th of January, when the Most Noble the Marquess of Hastings, vice-patron of the society, and the Prince de Polignac, ambassador from France to Great Britain, a foreign member of the society, honoured the meeting with their presence, and inspected the society's house. Professor Bopp, of Berlin, another foreign member of the society, also attended the meeting. The Marquess of Hastings presided; and the Director, H. T. Colebrooke, Esq., officiated to conduct the business. The minutes of the last meeting were read and confirmed. Several donations were then presented, and the reading of Mr. Davis's "Extracts from Pekin Gazettes for 1824" concluded.Jan. 21st.-At the meeting of the society this day, H. T. Colebrooke, Esq. Director, in the chair, the minutes of the last meeting being read and confirmed, several donations were presented, and the reading of a paper, by Captain James Delamaine, entitled, "Of the Strawacs, or Laity of the Jains," was commenced.

Meridians." It is very desirable," says M. de la Place, "that all the nations of Europe, instead of referring their calculations of longitude to the meridian of their principal observatory, should have some common meridian, which nature seems to have pointed out for that purpose. That agreement would introduce into the geography of the world the same