De l'Administration de la Justice et de l'Ordre Legal en France, par M. d'Eyraud. (On the Administration of Justice and Legal Order in France, by M. d'Eyraud. 3 vols. 8vo.)

This is a judicious and exact, though somewhat timid work, which deserves to be consulted by those foreigners who are desirous of knowing the real nature of the judicial and legal institutions of France. It may be remarked, en passant, that from 1790 to 1814 a very considerable degree of ignorance with regard to the real state of France existed in England, and few things have afforded more amusement to Frenchmen than the idle stories (not excepting those of Burke) upon this subject, which were generally circulated and be. lieved, particularly in Great Britain. M. Eyraud has taken as his motto a passage from the works of M. Giordani, an Italian. The translation of this motto is, "The thoughts contained in this book are not alone the thoughts of the author, but those of the public." In matters of legisla. tion this idea is perfectly just. If you do not accompany the march of public opinion, you make only a republic after the manner of Plato, an Utopian plan, and the public will see nothing more in your work than a romance, which may be agreeable enough to read, if the writer has sufficient imagination, but which can lead to no useful result or sound practical illustration. M. Eyraud is very far from being a writer of this kind. His failing, if it be one on such a subject, is that he avoids all contact with the ima. gination or the graces. His work is, therefore, full of truth and sound sense, but a little heavy in the perusal. M. Eyraud has, however, committed one mistake in the commencement of his book, where, addressing enlightened Frenchmen, he says, "You are a nation that desire nothing more than to live tranquilly under the present regime of the laws." Now this is far from being the case: one half, at least, of the enlightened part of the nation are very desirous that the advantage of having a king should cost them only five millions instead of forty, and that there should be no noblesse. However, be it their fate or want of energy, it may so happen that the nation will continue to live quietly under the regime of the existing laws, though of those even, not more than a fourth part is respected. M. Eyraud shows how Louis XVIII. granted the French liberty in a general manner, but of which they may be deprived upon all and sundry occasions. The author then points out the defective organization of the tribunals, and examines with great sagacity the political, criminal, civil, and administrative laws, which are so continually clashing, that they completely destroy each other; so that it may be affirmed that the rights of a Frenchman consist of one-third of liberty, one-third of the despotism of the Revolution and the empire, and the remaining third is made up of the confusion necessarily resulting from this frightful mixture. "Our laws," says the author, "torment us more than our vices." This confusion in the laws, and the daily abuses to which

it gives rise, are what impel Frenchmen to indulge in exaggerated theories upon liberty, and should not be forgotten by foreigners when they accuse the nation of inconstancy in their political affections. Another remarkable work, "Sur l'Ordre Legal en France," has been published by M. Duvergier de Hauranne, a deputy of the Coté Droite, and who had been driven out of Austria by Prince Metternich. The work of M. Dunergier de Hauranne is more positive, clear, and of greater practical utility, than that of M. Eyraud. From both together may be acquired a mass of most valuable information upon the internal state of France, and which may enable thinking men to conjecture pretty accurately what she is likely to become, should no tortunate change of circumstances restore the charter in its plenitude and remove the Jesuits.

Edifices de Rome Moderne, dessinés et publiés par P. Letarouilly, Architecte. (The Buildings of Modern Rome, designed and published by P. Letarouilly, Architect.)

This is a representation of Rome marked with singular good faith. M. Letarouilly does not, as is but too often done, fill up in tris designs the void spaces which surround the buildings whose likeness he traces. Every thing, even to the minutest details, is given in these engravings with the greatest delicacy and precision. The present livraison contains the plan of the facade of the Church of St. Maria de Loretto Piazza

Trajana; the plan and elevation of the Palace of Muti Papazurii; the general plan of the Church and Hospital of the Trinità di Pelle. grini; the facade of a handsome small house, Via St. Giovanni in Laterrano; also that of a palace, Porto di Ripetta; the plan and elevation of another house in a very simple style of architecture, situated Via Gregoriana; and lastly, two views, very spiritedly designed, of a house seated at the foot of the Tarpeian rock.

Le Guide de l'Ornemaniste, ou de l'Ornement pour la decoration des Batimens; tels que frises, arabesques, panneaux, rosées, candelabres, vases, &c. (A Guide for the Ornamentist, consisting of ornaments for the decoration of buildings; as friezes, arabesques, panels, candelabras, vases, &c.)

May one venture to hint, without running the risk of being stoned to death if recognized in Regent-street, that the architectural ornaments of many of the new buildings in London offer something, I will not say ante-beau, but ante Italian, which immediately shocks a foreigner. Should this assertion be doubted, the incredulous have only to consult the "Guide de POrnema. niste," by M. Charles Normaud, who inhabited Rome for a long time, and whose book contains specimens of all those architectural ornaments consecrated by good taste in Italy and France.

1826.

DRURY-LANE THEATRE.

Old Drury is once more advertised "to be let," the committee having declared Mr. Elliston's lease forfeited. This announcement is saddening to us, and will be so felt by the public-as far as the public can feel any thing. Here's

a

change indeed! At the close of the last season, all was harmony between the high-contracting parties; compliments were bandied about in interchange of honied words; the name of the lessee was employed to round Mr. Calcraft's parliamentary periods, and to garnish the professional flourishes of Mr. Robins; and the effects of his management were felt by the proprietors in the removal of incumbrances they never hoped to liquidate. We well remember how, in return for his lavish expenditure on the interior of the theatre, they proposed to erect a portico; how they pressed on him a service of plate, which he unwisely postponed to a more convenient season, never to arrive; and how earnestly they declared their resolution to shield him from the obloquy which an ill-natured world were disposed to cast on his frailties. Since then, he has been sick and in confinement; an inefficient regency has conducted the state of the green-room; and the result has been seen in benches filled by orderly recruits, and an empty treasury. The rent, for the first time, has been unpaid; and the very persons, who of late knew no moderation in their eulogies, are now resolved to stand on the strictest letter of the law;-to seize on the improved and embellished property; and to cast out a man whose name was identified with their cause. Perhaps we have not the means of fairly deciding on their motives, "what private griefs they had which made them do it; indeed we know not-they are wise and honourable;" but, be the cause what it may, the effect is melancholy. Such a misfortune befalling one so fitted to please and to enjoy, is like a blow at our own pleasures. Any thing else he might have borne, and we for him;-laughed at, he could laugh again; harassed, he could make calamity the materials of mirth or the excitement to energy; imprisoned, he could study Falstaff; but turned out of Drury-lane Theatre, where shall he turn for comfort in his exile? We have no patience with those "respectable persons," who shake their heads at his want of prudence, and praise their own foresight, because they always said he would come to ruin. The prediction may be true, but it is not the less worthless. Men who talk thus, be

tray an utter ignorance of human nature; forgetting that it is as idle to expect inconsistent qualities, as to indulge in inconsistent expectations. If it be vain to look for promotion with a clear conscience; if the rewards of vice cannot be united with the serene consciousness of virtue; neither can we reasonably demand of a man at once to set in giddy motion the bright circle of enjoyment, and to keep himself cool and steady at its centre. He who would make others feel, must begin by feeling himself; he who would diffuse gaiety, must be essentially joyous; and those delights which form the relief of other lives, must be interwoven with the whole texture of his own. Elliston's good spirits have not only been his revenue, but that of others: his enterprise, his energy, his whim, his follies, and his excentricities, have added to the harmless gaiety of thousands; and it is not fair now to turn round and sneer, because the qualities which have given so much enjoyment, have not been tempered by a discretion which would have robbed them of their charm. Such, however, is too often the fate of those who act on impulse and not on rule; they minister to the recreation of some who would be moderately pleased; they awaken the sympathy of others, who like to be affected by way of change, but who make their feelings subservient to their interests; and then are left at last to pay for the very excess of the qualities for which they have been courted and praised. We do hope, however, yet, that Elliston will not be suffered to sink: we know the buoyancy of his spirit, and the variety of his resources; and trust that he will find support within himself, which he cannot expect from a public whom he has gladdened for a quarter of a century, or from a body of men whose fortunes he has advanced to the ruin of his own.

Another adaptation of one of the Scotch novels has been made by Mr. Beasely. The story selected-that of "The Talisman"-though full of striking incidents, is too wild, too improbable, and too discordant for perusal; and, of course, its defects are more obvious when subjected to the eye, and brought within the compass of the drama. Separately considered, some of the scenes are highly effective, -especially those which include the guarding, abandonment, and profanation of the banner of England-in which a well-trained dog attains universal and merited applause. The scenery was by Stanfield; the singing by Miss Stephens; the melodramatic action by Bennett and Wallack; and nothing was wanting to the popularity of the piece, but an intelligible plot, new music, and discriminated characters. As it wanted these, though cleverly arranged, it only lingered out a few evenings.

COVENT-GARDEN THEATRE.

Mr. Serle has appeared at this house in the tremendous part of Othello, and has well borne the tug of the enterprise. His performance is less powerful, in the modern sense of the term, than those we have of late been accustomed to admire; but more tender, more touching, and more harmonious. It wants the wild and tiger-like fury of Kean; the oriental grace and breadth of Young; and the sustained passion of Macready; but it has a discrimination and a feeling which are original and genuine. In such a part as this, there are infinite varieties of light and shade-cunning niceties of the mind, which no one actor can be expected to seize and embody; -and some of the most delicate of these were for the first time (as far as we know) clicited by Mr. Serle. In the third act he produced less effect than some of his competitors; but the fourth and fifth, where the performer is usually exhausted, were admirably played, and their beauties finely shaded. We wish he would try lago; a part which his sense, lightness of style, and vigour of action, qualify him to pourtray to the life.

HAYMARKET THEATRE.

"Paul Pry" still engrosses the attention of the town, and leaves slight chance for any intruding novelty. A new farce, however, from the pen of its author, has been produced by way of garnish, entitled 'Twixt the Cup and the Lip." It is, of course, a vehicle for Listonian humour; and, though not approaching the last lucky hit of Mr. Poole, is on the whole ingeniously contrived. The plot

KING'S THEATRE.

consists in a series of stratagems, by which Mr. Simon Pengander-a fortunehunter, with huge whiskers, unbounded cowardice, and substantial ignorance-is cheated out of his affianced bride on the wedding-day, and, what is worse, of her fortune, in favour of a young barrister, who has a half-guinea motion in possession, and the seals in expectancy. There is one ludicrous scene, in which Liston is frightened into believing himself sick, "because two doctors tell him so; and, though to be sure he feels no pain, how should be know better than they?" and some palpable hits in the dialogue. When Pengander is threatened with the vengeance of a relation of a lady to whom he has given a promise of marriage, and is told that this young Sureshot "snuffs a candle with a pistol-ball at twenty yards," he asks, with great naïveté, "why he cannot use snuffers?" He is full of complaint that "he can't be married on his own wedding-day;" and while waiting for his exquisite coat, finds consolation, even in prospect of death, from a cold caught at the time, "because it will be left on the tailor's hands." As he lies, fancying himself to be dangerously ill, the maid implores his custom for her lover, who is in the undertaking line, slips a huge card into his hand, with a deep black border, and considerately informs him that funerals are genteelly furnished. These passages, with some allusions to the Court of Chancery, which have miraculously escaped Mr. Colman, added to the effect produced by Liston's face, and secured a favourable reception for the piece. Miss Forde is announced as Polly; but opera should be left to Mr. Arnold, who has a vocal company and an organized band; and light comedy and broad farce reserved for the summer productions of this merry theatre.

THE performances at this Theatre, during the monthly interval embraced by our report, have been remarkable for their variety, and upon the whole, not only satisfactory, but often highly interesting. Besides a new opera, "Medea," of which we shall say more in the sequel, we have had "Nina," "Tebaldo e Isolina," "La Cenerentola," and "Otello," entire; and sometimes the first act of one opera, or the second act of another. In this latter awkward way, moieties of "Figaro," "Il Crociato," and "Tebaldo," have likewise had their turn.

We have so frequently had occasion to speak more or less fully upon all these operas, that it becomes only necessary to advert briefly to some changes in the principal characters which occurred in the recent performances. In "Figaro," Mademoiselle Bonini personated the Countess: an apology for a cold was made, not altogether unnecessary; she seemed to labour hard through the part, which was evidently out of her way and style. Madame Caradori took Susanna-it was her benefitand repeatedly called forth bursts of applause. This lady's vocal and musical abilities displayed themselves most suc

cessfully in Mozart's music, and she infused into the part a considerable degree of naiveté and comic humour of the gentler kind; for whatever Madame Caradori does, bears the stamp of feminine softness and lady-like feelings. Madame Castelli, for whom, as a secunda donna, we entertain a high regard, played the page respectably; but her "Non sd piu cosa son" was ineffective. We could not help calling to mind the impression which Madame Caradori excited, when this very air introduced her, for the first time, on the boards of the King's Theatre.

In Rossini's "Cenerentola," Signor Torri resumed his original part of the Prince'; and sang, as on former occasions, his favourite song, by Caraffa, Fra tanta angoscie." His performance and singing, were tasteful, and altogether satisfactory. We perceived with pleasure that Signor Torri had repossessed himself of his former familiarity with the business of the stage, and of the quantum of vocal power and cultivation which he had previously displayed on these boards. Signor Pellegrini, whom we had not seen much of late, played the part of Dandini with a due degree of comic humour; but it appeared to us, as if the part might have borne more, and, indeed, as if the whole of his vis comica was not brought into action. Nevertheless the perform

ance was highly entertaining. The Don Magnifico of Signor De Begnis was excellent: be evidently enjoyed the part; and was so full of his tricks, that, had it been in Rome, the recent papal regulations for the better government of the pontifical stage, must necessarily have amerced him in a good round sum of Roman scudi. Mademoiselle Bonini did Cenerentola very fairly; but in witnessing her performance, we durst not think of the Cenerentola of Madame Bellocchi. We were highly entertained by this opera: the sprightly thoughts of Rossini enlivened our animal spirits, and we enjoyed the negative but rare comfort of not being immoveably wedged into our seat. It reminded us of the good old times, when one could proceed to the pit at one's leisure, expand one's limbs when there, and go and come again without being excluded by the dense crowds which fill the theatre now-a-days.

The tragic opera, "Medea in Corinto," was performed for the first time in England, and for Madame Pasta's benefit, on the 1st of June. The music is by Simon Mayer, a German, born at Sandersdorf, in Bavaria, 1760; and, for as much as we know, still living in Italy, in which country be has been settled for years. He has composed many successful operas, espe

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cially comic; and his music is in great favour with the Italians. It abounds in good melody; the value of which is enhanced by the solidity and science of his harmonies. These, united to the most fascinating ease and gracefulness of musical diction, particularly in his comic operas, form the leading features of Mr. Mayer's muse; and the union of such features surely constitutes compositorial excellence. If there is any deficiency in his works, it is perhaps that of deep pathos, and of the grand and sublime; or we might rather say, that in his thoughts expressive of these he is less original than in any of his other conceptions: this is quite natural. In music, as well as in poetry and painting, it is difficult to point out a inind of such universal grasp as to master, with equal success, every kind of expression. Mozart very nearly forms an exception; but it is really unfair to make Mozart a standard of comparison; we might as well weigh the merits of dramatic writers, by putting Shakspeare into the scale.

To return to "Medea," we deem it superfluous to enter upon a sketch of the Italian libratto. The mythic story is uni versally known; it has been dramatised by Euripides as well as Seneca; and the Italian anthor has closely adhered to the latter. As to the language, it is simple, chaste, impressive, and frequently intensely pathetic; the poem altogether is of a superior stamp to the generality of Italian operas.

The music deserves, in every respect, the term of a classic work. Without exhibiting many of those strong and pungent traits, by which Rossini has accustomed our musical sensibilities to be excited, it accomplishes its object and pourtrays the language and the situations of the drama with adequate effect, by means of less effort and eccentricity, such as were held to be legitimate and sufficient thirty or forty years ago, and, in spite of Rossini and his school, have not yet grown obsolete. Mayer's Medea may still be heard with delight by the unbiassed amateur of the present day. He will hail the numerous fine melodic thoughts free from trickery; he will follow the rich and variegated harmonies and colourings by which these melodies are supported and embellished; and although he may observe parts in which a greater force and depth of colouring would have been advantageous, he will nevertheless be ready: to admit, that, in the main, the composer has done ample justice to the poet.

Whether both have ever before had the good fortune to find a representative of "Medea" superior to Madame Pasta, may justly be doubted. The character, we will allow, is susceptible of more tragic grandeur and dignity than what it receives under the personation of Madame Pasta, whose movements and gesticulations are somewhat too active and redundant to reach the beau ideal of the character, especially amidst the varied inclinations of the body on one side or the other, in which Madame Pasta is apt to indulge, and which are less dignified than an erect and tranquilly majestic position of the body. In this and other essential requisites for the higher tragedy, Madame Pasta is not equal to Mrs. Siddons: but it is quite possible to be less than Mrs. Siddons, and yet be great this we felt in witnessing "Medea." Without adverting to the numerous traits of superior intellect and deep feeling evinced in the whole delineation of the character by Madame P., the scene of her interview with Jason, after being ordered into banishment, is a masterpiece of acting; and towards the close of the piece, the conflict between maternal love, and the revengeful despair, under the impulse of which she murders her two children, is depicted in all its awfulness and horror, yet without tragic rant or outrage upon decorum. Such is the effect of Madame Pasta's histrionic exertions, that amidst them we often loose sight of the singer; and great as she is in the latter respect, the remembrance of some of her best vocal efforts in "Medea," has, with us at least, been considerably effaced through her acting.

The other principal parts in the drama

were cast as follows:-Creon, King of Corinth, Signor Porto; Ægeus, King of Athens, Signor Torri; Jason, Signor Curioni; Creusa, daughter of Creon, Madame Caradori. The performances of these three gentlemen did credit to their talents, and was unquestionably satisfactory; but we cannot mention any instance in which their efforts made a striking and permanent impression. We should ascribe this to the disadvantageous contrast produced by the transcendent exertions and qualifications of Madame Pasta, were it not that under the same juxtaposition, the performance of Madame Caradori not only suffered no obscuration, but appeared extremely interesting and effective. Among other instances of decided success, her aria, "Caro albergo in cui felice," &c. a beautiful composition, was rewarded with universal and rapturous applause.

This opera has, as it deserves, been received with unanimous approbation, bordering upon the "furore" of the Italians, and has drawn full houses at every representation.

DEATH OF MR. VON WEBER.

It is but a short month ago, that we seized the pen to give our opinion on the merits of Oberon, and in so doing we expressed our anxiety at the state of the author's health. Alas! Oberon, like the Requiem of Mozart, was the song of the dying swans: like the Clemenza di Tito. Oberon bears the impression of a spirit in preparation for a better world; and, like the Requiem, appears to have hastened the fatal moments of dissolution.

Royal Academy Exhibition. (Concluded from last month.) -Nos, 91, 101, 109. Sir Thomas Lawrence, F.R.A. -These are three portraits, each of them so truly excellent in their way, that we are at a loss which to prefer among them. The first, representing the Marchioness of Lansdowne, is as lovely a delineation of English female nature as the pencil of modern art ever furnished: the second, of Mr. Peel, is a capital production, full of ease, spirit, and character, and executed, in the details and accusories, with infinite taste and judginent: the third is a portrait of Mr. Canning; and, though less agreeable as a picture than either of the others, and indeed than almost any that we remember to have seen of the President's, yet includes a stronger assurance of talent in the artist than many that

we feel a greater disposition to dwell upon.*

120. The origin of a Painter. W. Mulready, R.A. We are truly sorry that it is not in our power to bestow even the limited portion of praise on Mr. Mulready's only production of this year that we did on his last. Its subject is the old story of the shadow on the wall; but it is treated with little either of skill or originality; and the execution is, to our taste, feeble, finical, and affected. The colouring is rich and harmonious, no doubt; but the effect produced by the whole is

* It is in the same class of art with that of the Duke of Wellington, which was exhibited last year, and which may perbaps be considered as the President's highest effort.