« ForrigeFortsett »
glance at the characters of M. Sardou's curious , in every scene. Next, the construction of the pieca. Seraphine has become a French dévote, play struck us for its perfection in all its parts, and is entirely in the hands of her priestly and its general compactness. The well-known director, Chapelard; while her drawing-room characters, as one after the other they appeared is haunted by numberless varieties of pseudo- before us once again, delighted us with their benevolent and unctuously religious classes. reality, as living portraits and humourists. Seraphine, to save herself from detection as “Money" was produced thirty years ago at the regards an early liaison, implores her daughter Haymarket, and Macready was the first and the Yvonne (who is beloved by the seducer of best Evelyn. Mr. Barry Sullivan played Evelyn Seraphine) to enter a convent. It is in this on the present occasion with great care and scene between mother and daughter that the spirit; in the portrayal of the deeper and most powerful situation occurs. We cannot subtler emotions leaving nothing to be desired. follow the piece further through its intricacies: He was ably supported by Mrs. Herman Vezin, suffice it to say that the seducer of Seraphine who gave us a graceful picture of the heroine, (Colonel de Montignac) is made to point the Clara Douglas. The gallery of portraits, which moral--that to expiate sin a mother should not includes such fine old faces and expressive feaa force a daughter to a vicarious sacrifice! Miss tures as those of Capt. Dudley Smooth, Graves, Herbert acted with much pathos as Seraphine, and Mr. Stout, was done fair justice to by the being well supported by Miss Patty Josephs Holborn representatives. Mr. J. Cowper played (late of the Holborn) in the ingenue part of Wrench's famous part, Capt. Dudley Smooth, the daughter Yvonne. Mr. Herman Vezin was satisfactorily; but Mr. Cowper probably never impressive in the part of De Montignac. The saw Wrench. Mr. George Honey, may not have character of Chapelard, the sleek director of seen Mr. Ben Webster play Graves ; but, the devout Seraphine, was allotted to Mr. without being like the unctuous Graves of Mr. Emery. The comedy is remarkably well put Webster, Mr. Honey impersonated the halfupon the stage.
cynical widower, resigned to his fate (but being A new melodrama has been produced at the much taken with the full-blown charms of Lady Princess's, with the imprimatur of Mr. Dion Franklin) with great gusto and humour. The Boucicault, entitled “Presumptive Evidence." comedy has been played nightly for several
A new three-act comic drama, entitled “ Fox weeks to large audiences, without appearing to and Goose," the characters and incidents of abate in attraction ; but we hear that a new which belong rather to the domain of farce, has five-act poetical play of the, so called, "legitibeen produced at the STRAND. The plot turns mate” stamp, by a dramatist of repute, (Mr. upon the expedients of a gentlemanly swindling Buchanan) is in rehearsal. adventurer, one Fox Fowler-well played by Mr. Belford-to possess himself of a young lady betrothed to Young Gosling a stupid fellow of provincial proclivities, of course played The ORATORIO CONCERTS reached their penul. by Mr. J. S. Clarke, the American comedian. timate performance on the 12th ult., with those Mr. Clarke is a pronounced grimace actor. classical works, Rossini's “Stabat Mater,” and The piece met with moderate success, the Mendelssohn's “Hymn of Praise." These fine audience all the while impatiently awaiting the works were executed under the excellent con. advent of " Joan of Arc," the vulgar burlesque. ductorship of Mr. Joseph Barnby, who has had
In producing "Money" at the Holborn, almost a generation's experience of choir manageMr. Barry Sullivan, in a venerating spirit, goes ment. The solo and choral executants of the back to the time of the original production of Oratorio Concerts at the St. James's Hall, in the comedy to ascertain, apparently, the inten- the noble music they last performed, did every tion of the author in composing it. In the justice to each other; and the eminent vocalists preface to the published play (original edition) and powerful chorus were both ably seconded by Sir Edward Bulwer Lytton wrote that the notion a band of brilliant instrumentalists. We hare of writing a comedy of manners, in which the been requested to correct a mis-statement we fell use and abuse of money should form the theme into through our admiration of the perfect time to be moralized and philosophized upon and kept by Mr. Barnby's choir. We said, in a satirised, was suggested by the apophthegm con- previous notice, that the choral performers were veyed in a homely versicle:
“professional” singers, but Mr. Stedman for Mr.
Barnby politely writes thus : “The choir is not a " 'Tis a very good world we live in,
professional one, being the least so of any of the To lend, or to spend, or to give in ;
principal choirs in London, but all the members But to beg or to borrow, or get a man's own, are carefully chosen, and only admitted when "Tis the very worst world that ever was known." found to have good voices and musical ability;
constant practice and training have brought the But to proceed with our impressions of the per. choir to its present state." formance of “Money.” As the reels (so to The“ Christy Minstrels," ST. James's HALL.speak) of terse and polished dialogue supplied This talented and popular company, frequently by the dramatist were wound off, we more and varying their very attractive entertainment, and more appreciated the true philosophy, the being en permanence at St. James's Hall, conGenuine humour, and sparkling wit manifested Itinues to draw large and fashionable audiences,
Exhibition of the Society of Painters in Water-colours.
and deservedly, for we do not know a more ject many times, but there is a tenderness in the agreeable programme of light ballad and comic artist's treatment of it, an expression in the music than that provided by the “ Christy lights and shadows about the formidable ruin Minstrels.". They need “fear no rival near their and the moonlit river, which seems to lighten throne," so long as they remain such admirable and tremble as we look on it, that is as true to caterers for the amusement of the public.
nature as to art. The POLYTECHNIC INSTITUTION.-The enter- Mr. Collingwood Smith has an old acquaintprise of the directors of this invaluable insti- ance with the high places of the earth, and tation, and the activity of Professor Pepper, have shows it in his knowledge of mountain forms, been manifested lately by the production of a and his treatment of cloud-mists-see scientific novelty in the shape of a powerful rise at Chatillon, Val d'Aosta” (8). voltaic battery, whereby the lightning and the Starlight” also (9), Jos. J. Jenkins, a thunder, the natural grandeurs of the elements, barge beside a river bank, with a fire glowing are imitated by means of the resources of science. on the deck, and the darkness of growing night Such effects in electricity have never before been above, with one star shining through it, is a accomplished on so grand a scale. Professor pleasing composition. Pepper is a valuable scientific instructor of the Mr. George A. Fripp's "Scene in the Forest public; and we recommend all our young friends of Glenorchy, Argyllshire" (16), a mountain particularly to go and see him, also to read his side, with stunted pines, scudding mists, and book, which is instructive and inexpensive. moorland in the foreground, is carefully ren
The ALHAMBRA PALACE, LEICESTER-SQUARE. dered. - Visitors to this well-conducted establishment Mr. Fred. W. Burton's “ Cassandra Fedele" will find it devoted more than ever to the arts (20) represents a beautiful woman crowned with of music and the dance, without any of that laurel. The head is painted with the power which pruriency or meretriciousness which are said to this artist exbibits in such subjects ; but the be associated with the usual “music-hall” enter picture is less pleasing, as a whole, than others tainment. The performances are thoroughly artis- we have seen by the same hand. tic in character, and the musical programme is
“ A Mountain Lake near Capel Curig” (24), varied by the feats of Blondin on the high rope, (J. W. Whittaker), shows careful study of which the public well know are elegantly and forms and clever rendering of rock texture. gracefully performed. The musico-farcical enter- We may say the same of Mr. T. M. Richardtainment of the Vokes Family is very comical, son's fine picture (32), with its mountain-lake, and the characters well sustained by the half- and masses of crag, and boulders. dozen members, male and female, of this eminently Mr. George Dodgson's "Timber Waggon" Protean family.
(37), is a natural object in the woodland MADAME TUSSAUD's Exhibition has added to its scenery he so truly and charmingly depicts : large gallery of characters and costumes an effigy the cleared space it occupies in the wood, and painful to contemplate, namely, that of Sheward, its sylvan surroundings, are carefully depicted. the Norfolk murderer. This magnificent col- We can but indicate “At Luveno Maggiore” lection at Baker-Street is a resort of unfailing (40), a charming picture by T. M. Richardson, attraction,
E, H. M. one of several, by-the-way, by the same hand.
There is a hardness in the appearance of Mr.
Joseph Nash's “Drawing-Room, Broughton EXHIBITION OF THE SOCIETY OF
Castle, Oxfordshire” (42), which is otherwise
carefully painted. PAINTERS IN WATER-COLOURS,
Mr. J. Burgess, who is most at home amongst 5, PALL-MALL East.
old-world crumbling architecture, has made a
striking picture of the “Slate Belfry and Corn Perhaps the growing interest of the public in Exchange, Honfleur, Normandy” (48), a district works of art may be best seen in the crowded which has afforded him many comparatively condition of the art-galleries on the private-little-used but highly picturesque subjects. view days, when the first choice of their beauties C. Davidson's “ Moonlight from the Bridge may be made, and enviable purchasers possess at Bettws-y-Coed” (57), is a delicious transcript themselves of works as yet sealed to the gaze of of an interesting scene. outsiders. Never in our experience of the plea- “Ben-Nevis" (60), by Francis Powell, a sant gallery of this society did a more numerous boldly-conceived and beautifully executed company assert this interest than on the occa- picture. sion of this season's opening; and the addition “In a Doorway Rouen" (61), represents of green tickets to the frames till the very close a woman and child, by Miss Margaret Gilles, of the day afforded the best proof that the with less mannerism than is generally seen in visitors were not mere sight-seers.
the productions of the artist. H. Gastineau exhibits great industry, and its By the way, the recollections of the last two fruits, in some very charming pictures. (4), pictures have thrown out of place our notes of “On the Rhine: Moonlight,” has much poetic Mr. C. Branwhite's “Christmas-time" (49); feeling. Mountains in the background, a grim snow on the ground, the soft stillness of which old castle lowering from its rocky eminence makes itself felt; children in the hedge gatherppon the moonlit river, We have seen the sub- I ing scarlet-berried holly branches, while close 332
Exhibition of the Society of Painters in Vater-colours.
by a bit of ivy garnishes a leafless tree; the Cathedral at Lisieux, Normandy," and “Cattle red sun sinking towards evening-time, and the Market and Church of St. Jacques, Lisieux, church and distant village.
Normandy," by J. Burgess, a noteworthy and Paul J. Naftel has visited the Channel interesting picture. Islands in search of pictorial subjects, and has Mr. James Holland's "Genova, looking Southfound them in the bays, fantastic rocks, and east” (126) has all this artist's cbarateristic deep, tree-shaded laries of Jersey, Guernsey, brightness of style and facility of drawing. Alderney, and Sark.
Passing admiringly “ The Quiet Mill-stream” "Houges des Pommières, Guernsey" (67), an of Jos. J. Jenkins (127), we find ourselves in apple orchard iu full blossom, is a wonderful front of Carl Haag's grand picture (131), “Ka. bit of floral beauty copied with curious fidelity. heen Amran, the High Priest of the Samaritan
We should like to turn back to the Community at Nablous, reading the Penta“Street and Church of Montevillier, Nor- teuch.” A solitary figure, tinely posed, the mandy” (72), with Mr. J. Burgess; but must boldly simple folds of whose white drapery, needs pass on to “The Meet”° (75), by Birket the texture of the hangings, and the gorgeous Foster, with its groups of vivid children watch- richness of their colouring are marvels in watering, half in wonder, half in fear, the long array of colour painting; scarlet-coated horsemen who are gathering to A little landscape (149), “Overtaken," by the meet.
The children, not too pretty, are Jos. J. Jenkins, with figures of market-girls full of vitality; the grouping is well managed, on as3-back, and two arined Zouaves striding and the leafless trees painted with the well- up to thein, is full of vitality, known faithfulness of the artist. A few prim- Mr. Alfred W. Hunt's (155) “Loch Cor. roses peep through the sere last-year's leaves, uishk” is worthy of more than a passing noand the furze blossoms on the skirts of the tice; and the same may be said of Mr. John wood, within which the eager, yet timid spcc. Callow's “ Beating up Channel" (160). tators, are ensconced.
For colour and costume we refer our readers Mr. C. Davidson has returned to his old love to Mr. J. D. Watson's "Carrying in the Peafor Knowle Park, and has found new beauty cock” (161), a picture of inany women's faces. there : his beeches (79), in their autumn foliage, all apparently drawn from one modcl, and that are as beautiful as his beeches of two years
not a handsome one. since in full leaf.
Thomas Danby's “Lake of Geneva" (162), A pretty bit of realism is Mr. F. W. Top; water," and Collingwood Smith's “Queen's
John Callow's "Scarborough, Yorkshire, low ham's picture (83), “Two Rustic Children,
View Lake of Lucerne" (166), are all worthy with sun-shaded, upturned faces, following the of the walls on which they hang, which is no course of a singing lark to what seems to them, small praise for them. as to the poet, “heaven's gate.” The faces,
"Glasgerion (170) is a strange story dress, and pose of the children are unaffectedly simple and natural, and this may be said to be strangely told. The beautiful face of the young the charm of the picture.
princess is lit up, as is also the colouring of her A Street in Frankfort" (93), by William the face of the seated king and the sleeping
robes, by the firelight, which falls weirdly on Callow, is one of many noteworthy pictures by forms around, and makes strange shadows this well-known artist. “Early Morning on the Snowdon Range
amongst them. (112), H. Brittan Willis, is good.
“Leaving the Highlands ” (180), Margaret
In the back ground, mountains with breaking mists about ing, the old man's face full of expression, and
Gillies, is carefully painted, and with much feelthem, and cattle drinking at the river.
the colouring excellent. John Gilbert has chosen unusually senti. mental subjects. His “ Burial of Ophelia” is a pretty bit of colouring and expression by H.
“The Rugged Path in the Mountains" (203) (113), and " Lear and Cordelia" (121), have all P. Riviere. his usual richness of colouring, and trench on “The Banks of the Avon, Wiltshire" (204), other fields than those of battle and street G. Rosenberg, a charming study of a charmbrawls, with which his pencil has been so often ing scene-a tree-shaded river, with shadowy associated; but the soul requisite to represent clouds reflected in its depth, and rich, fresh sympathetically the pathos of our great poet has meadows margining it. not yet entered into the painter.
“ Winter ” (206), Wm. Callow, is represented C. Branwhite's “Old Mill — twilight” (115), by a snow-covered village churchyard, across a weird, wild-looking, half-wrecked mill, with a which totters the bent form of a solitary figure, lurid sunset sky in the background; is an ef- who may soon, it is suggested, tenant a place in fective bit of form and colouring,
it. “Midford, near Bath” (118), G. Rosenberg, " Near Whitby" (225), C. Davidson, steps green trees, and a still pool full of depth and leading to a pathway through a wood, to which serenity, is a charming picture; and so is (119) a figure gives vitality. Mr. Paul J. Naftel's " Capetal Cover, Devon
Upon the first screen we have a glowing picBhire."
ture of an Italian "Mid-day” (229), by James Near at hand we perceive the " Porch of the Holland,
Paul J. Naftel's "Southern Guernsey" (231) Alfred D. Fripp's "Forget-me-Nots" (281), exhibits rocks, and the many-hued sea. children with sweet innocent faces, and eyes
G. P. Boyce has here a pleasant view “At blue as the bright flowers, gathering forgetArisaig Coast of Inverness-shire” (238) -heath- me-nots from the brink of a watery shallow, is land, and mountains,
not perhaps free from this poetic weakness, but "A Saturday Half Holiday” (239), by Alfred the result is an exquisite picture. D. Fripp, has some quiet humour and much Here again we come to another scene in the character: it represents a crowded group of boys story of "The Pied Piper of Hamlin” (282), as fisbing.
full of character as the first, in which he charms “A Breakwater” (240), by Birket Foster, is the rats from their haunts; but these are less also a pretty bit of nature, and exhibits children agreeable adjuncts to a picture than the birds in at a fence, with a broken sea on the shore. But the former one. it would occupy a much larger space than that
There is another picture by Mr. Pinwell on at our command to enumerate a tenth of the the fourth screen, which shows that he can denoticeable pictures in this highly interesting ex
pict realities as powerfully as he has illustrated hibition.
Browning's poetry. Upon the second screen are pictures by F.
"A Seat in St. James's Park” (297) is full of Smallfield, Brittan Willis, Holman Hunt, and story, and not without considerable pathos. the veteran Valentine Bartholomew, who has,
E. Burne Jones is weli represented in his in his seventieth year, contributed two or three
Autumn" (184), and "Spring" (207).-a pictures. One of “Berries of the wild Guelder wornan in a green robe with apple blossom-and Rose, from Whittlebury Forest, Northampton. the weird picture of the “Wine of Circe” (197). shire” (257), is remarkable for the newness of The witch in her yellow robe leans forward in lhe subject, and the elegant simplicity of its an attitude which only an enchantress could treatment, as well as for its excellence of colour. retain so long as she could count the sluggish ing and manipulation. It is but a gathered drops that make the charm ; her beauty is branch of leaves and ripe berries, but the rich deathly and her surroundings supernal ; two colour of these in contrast with the soft un- beasts, unknown to modern menageries, appear derlining of the bandsome leaves makes an ef. before her; great sunflowers loom their sultry fective picture, and a bit of hedge with a trail of heads within the place she inhabits, through the wood ivy on it is a natural accessory. There is open front of which we see the ships of Ulysses also a spray of gooseberries, by the same artist with their strange sails and double banks of (265), real enough to make one desire to taste
rowers on the sea. A picture that we smile at, them.
and yet go back to look at, a picture full of Upon this screen we find one of the pictures weird symbolism, of awful power, and gorgeous of an artist new to us, “The Pied Piper of colouring, but of which we try to lose the Hamlin” (260), by G. J. Pinwell
, a picture rich recollection in a “River Scene" of Birket in good qualities, though very singular and sub. Foisert's. (291), or the prettiness of Maria dued in colouring. The wrapt happy face of Harrison's “Early Spring” (303).--C. A.W. the piper, about whom the women and maidens, and specially the little boys and girls, are crowding, some dancing as they go, while the birds hover above him, drawn from the roofs and
R A Y M O N D. dove-cotes by his melody, is wonderfully de. picted, and surely no more lovely children ever
(Translated from the French.) lived in the brain of the poet
The adventure which I am going to relate "With rosy cheeks and flaxen curls,
happened to a well-known literary man, whom And sparkling eyes and teeth like pearls”— I shall call by the name of Raymond, though
no doubt his friends will not fail to recognize than those which the painter has created. His him by the absence of mind which formed one women's faces, whether old or young, are of his principal characteristics. touching in their sweetness or their shadows, One morning as Raymond was much engaged and we turn froin the crowd of ideas the various with his pen, the porter of the hotel entered. faces suggest to us with almost a sigh to the He came for the quarter's rent, according to the still “Mill-pool” (266) of Birket Foster, with custom of Paris. which four times in a year its green trees and deepening shadows-a sweet elevates the porter to the dignity of receivers of little picture, by the way.
rent. Now Raymond was not one of those Upon the third screen we notice Collingwood starving poets who live in a garret, with little Smith's " Hayfield, Tooting Common” (269), furniture besides a bed, a table, and a chair ; "The Cigarette" (273), E. Lundgren, on the contrary, he possessed an independent Spaniard smoking, has considerable force, but fortune, but, devoted to literature, and simple the beavy foids of the linen sleeve are objec in bis habits, he contented himself with a tionable.
parlour, and bedroom opening into it, both Birket Foster appears to revel in the study plainly furnished. He paid his rent, gave the of “ Village Children," and paints them naturally porter the usual gratuity, and returned to bis and without any attempt to idealize his models. ivriting,
In a minute or two he looked up, and was lodging he turned into a wrong street, and amazed to see the porter still standing there, was soon entirely lost. What added to his and gazing around with a bewildered air. confusion was that in the numerous streets
" What is the matter?” said he. “ Have I through which he had passed he had completely not paid enough?”
lost the name of the one where he had taken “Yes, sir; but I see no preparations for rooms. In vain he tried to remember it: he moving, and the new tenant has come with his could not betray his ignorance, and indeed what furniture. You know he has a right to enter could he ask? He wandered about till a late at half past twelve, and it is now more than half hour, and then found himself in a part of the past eleven."
town he knew, not far from the residence of a Then it flashed upon Raymond's mind that friend, and he determined to cast bimself on his he bad given notice to his landlord some weeks hospitality for a night, and renew his search in ago that he should change his lodgings when the daylight, when he hoped to be more sucthe quarter was out, and he had never thought cessful. of it since. He rushed into the street like a He spent nearly the whole day in search of crazy man; but when there he recollected that the street where he had deposited bis furniture. it was too late to seek a lodging and remove to He remembered, indeed, the quarter of Paris toit in less than an hour, and that what pressed wards which he had gone, but nothing further ; most was to get his furniture out of the way. houses and streets danced before his sight in He was on the point of going back to the confusion. “I am in a pretty predicament," house to ask if he could not put it into some said he to himself; “if I should make my garret, when, by one of those chances which difficulty known to my friends, they would laugh often come to the aid of those who cannot help at me, and, moreover, how could they help me? themselves, an empty furniture waggon hap- My furniture would be no great loss, but my pened to pass at that moment. A bright idea books and papers would, and I should not like struck Raymond; he hailed the waggoner, to have them fall into anybody's hands; but I engaged him by the hour, and soon had his have no means of discovering them. Really this furniture placed on the waggon.
would make a good episode in a novel.” That “ Where shall I go?" said the man. idea took possession of his imagination, and he “Go on till I stop you.
Drive slowly." began to think over the various denouements So the march proceeded; the driver went which were familiar to his mind till the idea slowly, and Raymond walked along examining occurred to him that the police could assist his every house, to see if there was a notice to let search. Accordingly, the next morning he on it. It was not an easy search ; most of the went to the chief of the police, and said to him: best apartments had been taken, and of those “ There is an individual named Raymond, that remained there was none that suited Ray- who leads a very retired life, and writes a great mond. One was too near the top of the house ; deal. He professes to be only a literary man, the staircase leading to another was too narrow; and I do not know that he is a dangerous chain another the ceilings were too low; in another racter ; but the day before yesterday he left the rooms were too small; every one that he his lodgings without telling any person where visited had some fault. Weary and dispirited, he was going, and his most intimate friends he yet continued his search till the sun was low have not been able to discover where he has in the west. He was tired and hungry; so was hid himself, though they have spared, no pains the driver; so were the horses ; indeed the to find out. Such a departure is at least very latter began to show signs of giving out, and suspicious, and I confess I am particularly inthe temper of the driver was not improved | terested in finding out where he is.” by the condition of his horses, and his own “He must have some sinister intentions," privations. He was put out of patience by Ray- said the chief of police, " or else something must mond's frequent hesitations, and Raymond him- have happened to him. You may return in two self thought he had little more time to lose ; so days, by which time I will have discovered he took the next lodging he came to, which what is the matter." combined most of the disadvantages of those he The chief of police asked Raymond his name, had rejected. The furniture was hastily put but he did not choose to hear the question, and, in, and Raymond sat down in the midst of the saying he would call in two days, he left the confusion to consider what was first to be done; office. but he came to the conclusion that he must go At the time specified, he returned, and the and refresh himself first; he therefore put the chief said to him: key in his pocket, inquired the way to the “We have found the residence of Raymond. nearest restaurant, and went to get his supper. It is in such a street and such a number"
After he had supped, he sat some time, not naming it. “We found his apartment in great feeling inclined to renew his labours, prepara confusion, as if he had just moved his things. tory for a night's rest, for he had not thought we examined his papers, but found nothing to of engaging any assistance before he came out. implicate him. He must either have absconded But the urgency of the case soon drove him on account of his debts, or something has out, especially as he would not be sorry to get happened to him; we will know in a few days." to bed and to sleep soon. Such, however, was 5. You need not,” said Raymond, "for I am not his good fortune ; for on his way to his / he.”