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glance at the characters of M. Sardou's curious piece. Seraphine has become a French dévote, and is entirely in the hands of her priestly director, Chapelard; while her drawing-room is haunted by numberless varieties of pseudobenevolent and unctuously religious classes. Seraphine, to save herself from detection as regards an early liaison, implores her daughter Yvonne (who is beloved by the seducer of Seraphine) to enter a convent. It is in this scene between mother and daughter that the most powerful situation occurs. We cannot follow the piece further through its intricacies: suffice it to say that the seducer of Seraphine (Colonel de Montignac) is made to point the moral-that to expiate sin a mother should not force a daughter to a vicarious sacrifice! Miss Herbert acted with much pathos as Seraphine, being well supported by Miss Patty Josephs (late of the Holborn) in the ingenue part of the daughter Yvonne. Mr. Herman Vezin was impressive in the part of De Montignac. The character of Chapelard, the sleek director of the devout Seraphine, was allotted to Mr. Emery. The comedy is remarkably well put upon the stage.

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A new melodrama has been produced at the PRINCESS'S, with the imprimatur of Mr. Dion Boucicault, entitled "Presumptive Evidence."

A new three-act comic drama, entitled "Fox and Goose," the characters and incidents of which belong rather to the domain of farce, has been produced at the STRAND. The plot turns upon the expedients of a gentlemanly swindling 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 by Mr. J. S. Clarke, the American comedian. Mr. Clarke is a pronounced grimace actor. The piece met with moderate success, the audience all the while impatiently awaiting the advent of "Joan of Arc," the vulgar burlesque. In producing "Money" at the HOLBORN, Mr. Barry Sullivan, in a venerating spirit, goes back to the time of the original production of the comedy to ascertain, apparently, the intention of the author in composing it. In the preface to the published play (original edition) Sir Edward Bulwer Lytton wrote that the notion of writing a comedy of manners, in which the use and abuse of money should form the theme to be moralized and philosophized upon and satirised, was suggested by the apophthegm conveyed in a homely versicle:

""Tis a very good world we live in,

To lend, or to spend, or to give in; But to beg or to borrow, or get a man's own, 'Tis the very worst world that ever was known."

But to proceed with our impressions of the performance of "Money." As the reels (so to speak) of terse and polished dialogue supplied by the dramatist were wound off, we more and more appreciated the true philosophy, the genuine humour, and sparkling wit manifested

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in every scene. Next, the construction of the play struck us for its perfection in all its parts, and its general compactness. The well-known characters, as one after the other they appeared before us once again, delighted us with their reality, as living portraits and humourists. Money" was produced thirty years ago at the Haymarket, and Macready was the first and the best Evelyn. Mr. Barry Sullivan played Evelyn on the present occasion with great care and spirit; in the portrayal of the deeper and subtler emotions leaving nothing to be desired. He was ably supported by Mrs. Herman Vezin, who gave us a graceful picture of the heroine, Clara Douglas. The gallery of portraits, which includes such fine old faces and expressive features as those of Capt. Dudley Smooth, Graves, and Mr. Stout, was done fair justice to by the Holborn representatives. Mr. J. Cowper played Wrench's famous part, Capt. Dudley Smooth, satisfactorily; but Mr. Cowper probably never saw Wrench. Mr. George Honey, may not have seen Mr. Ben Webster play Graves; but, without being like the unctuous Graves of Mr. Webster, Mr. Honey impersonated the halfcynical widower, resigned to his fate (but being much taken with the full-blown charms of Lady Franklin) with great gusto and humour. The comedy has been played nightly for several weeks to large audiences, without appearing to abate in attraction; but we hear that a new five-act poetical play of the, so called, "legiti mate" stamp, by a dramatist of repute, (Mr. Buchanan) is in rehearsal.

The ORATORIO CONCERTS reached their penultimate performance on the 12th ult., with those classical works, Rossini's "Stabat Mater," and Mendelssohn's "Hymn of Praise." These fine works were executed under the excellent conductorship of Mr. Joseph Barnby, who has had almost a generation's experience of choir management. The solo and choral executants of the Oratorio Concerts at the ST. JAMES'S HALL, in the noble music they last performed, did every justice to each other; and the eminent vocalists and powerful chorus were both ably seconded by a band of brilliant instrumentalists. We have been requested to correct a mis-statement we fell into through our admiration of the perfect time kept by Mr. Barnby's choir. We said, in a previous notice, that the choral performers were

professional" singers, but Mr. Stedman for Mr. Barnby politely writes thus: "The choir is not a professional one, being the least so of any of the principal choirs in London, but all the members. are carefully chosen, and only admitted when found to have good voices and musical ability; constant practice and training have brought the choir to its present state."

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The "Christy Minstrels," ST. JAMES'S HALL.— This talented and popular company, frequently varying their very attractive entertainment, and being en permanence at St. James's Hall, continues to draw large and fashionable audiences,

Exhibition of the Society of Painters in Water-colours.

and deservedly, for we do not know a more agreeable programme of light ballad and comic music than that provided by the " Christy Minstrels." They need "fear no rival near their throne," so long as they remain such admirable caterers for the amusement of the public.

The POLYTECHNIC INSTITUTION.-The enterprise of the directors of this invaluable institution, and the activity of Professor Pepper, have been manifested lately by the production of a scientific novelty in the shape of a powerful voltaic battery, whereby the lightning and the thunder, the natural grandeurs of the elements, are imitated by means of the resources of science. Such effects in electricity have never before been accomplished on so grand a scale. Professor Pepper is a valuable scientific instructor of the public; and we recommend all our young friends particularly to go and see him, also to read his book, which is instructive and inexpensive.

The ALHAMBRA PALACE, LEICESTER-SQUARE. -Visitors to this well-conducted establishment will find it devoted more than ever to the arts of music and the dance, without any of that pruriency or meretriciousness which are said to be associated with the usual "music-hall" entertainment. The performances are thoroughly artistic in character, and the musical programme is varied by the feats of Blondin on the high rope, which the public well know are elegantly and gracefully performed. The musico-farcical entertainment of the Vokes Family is very comical, and the characters well sustained by the halfdozen members, male and female, of this eminently Protean family.

MADAME TUSSAUD'S Exhibition has added to its large gallery of characters and costumes an effigy painful to contemplate, namely, that of Sheward, the Norfolk murderer. This magnificent collection at Baker-Street is a resort of unfailing attraction. E. H. M.

EXHIBITION OF THE SOCIETY OF
PAINTERS IN WATER-COLOURS,

5, PALL-MALL East.

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ject many times, but there is a tenderness in the artist's treatment of it, an expression in the lights and shadows about the formidable ruin and the moonlit river, which seems to lighten and tremble as we look on it, that is as true to

nature as to art.

Mr. George Dodgson's "Timber Waggon" (37), is a natural object in the woodland scenery he so truly and charmingly depicts: the cleared space it occupies in the wood, and its sylvan surroundings, are carefully depicted.

We can but indicate "At Luveno Maggiore" (40), a charming picture by T. M. Richardson, 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 Castle, Oxfordshire" (42), which is otherwise carefully painted.

Mr. J. Burgess, who is most at home amongst old-world crumbling architecture, has made a striking picture of the "Slate Belfry and Corn Exchange, Honfleur, Normandy" (48), a district which has afforded him many comparatively little-used but highly picturesque subjects.

C. Davidson's "Moonlight from the Bridge at Bettws-y-Coed" (57), is a delicious transcript of an interesting scene.

"Ben-Nevis" (60), by Francis Powell, a boldly-conceived and beautifully executed picture.

"In a Doorway Rouen" (61), represents a woman and child, by Miss Margaret Gilles, with less mannerism than is generally seen in the productions of the artist.

H. Gastineau exhibits great industry, and its fruits, in some very charming pictures. (4), "On the Rhine: Moonlight," has much poetic feeling. Mountains in the background, a grim old castle lowering from its rocky eminence

By the way, the recollections of the last two pictures have thrown out of place our notes of Mr. C. Branwhite's "Christmas-time" (49); snow on the ground, the soft stillness of which makes itself felt; children in the hedge gather

upon the moonlit river, We have seen the sub-ing scarlet-berried holly branches, while close

Perhaps the growing interest of the public in works of art may be best seen in the crowded condition of the art-galleries on the privateview days, when the first choice of their beauties may be made, and enviable purchasers possess themselves of works as yet sealed to the gaze of outsiders. Never in our experience of the pleasant gallery of this society did a more numerous company assert this interest than on the occasion of this season's opening; and the addition of green tickets to the frames till the very close of the day afforded the best proof that the visitors were not mere sight-seers.

Mr. Collingwood Smith has an old acquaintance with the high places of the earth, and shows it in his knowledge of mountain forms, and his treatment of cloud-mists-see rise at Chatillon, Val d'Aosta" (8).

66 Sun

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Starlight" also (9), Jos. J. Jenkins, a barge beside a river bank, with a fire glowing on the deck, and the darkness of growing night above, with one star shining through it, is a pleasing composition.

Mr. George A. Fripp's "Scene in the Forest of Glenorchy, Argyllshire" (16), a mountain side, with stunted pines, scudding mists, and moorland in the foreground, is carefully rendered.

Mr. Fred. W. Burton's "Cassandra Fedele” (20) represents a beautiful woman crowned with laurel. The head is painted with the power which this artist exhibits in such subjects; but the picture is less pleasing, as a whole, than others we have seen by the same hand.

"A Mountain Lake near Capel Curig" (24), (J. W. Whittaker), shows careful study of forms and clever rendering of rock texture.

We may say the same of Mr. T. M. Richardson's fine picture (32), with its mountain-lake, and masses of crag, and boulders.

Exhibition of the Society of Painters in Vater-colours.

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by a bit of ivy garnishes a leafless tree; the red sun sinking towards evening-time, and the church and distant village.

Paul J. Naftel has visited the Channel Islands in search of pictorial subjects, and has found them in the bays, fantastic rocks, and deep, tree-shaded lanes of Jersey, Guernsey, Alderney, and Sark.

"Houges des Pommières, Guernsey" (67), an apple orchard iu full blossom, is a wonderful bit of floral beauty copied with curious fidelity. We should like to turn back to the "Street and Church of Montevillier, Normandy" (72), with Mr. J. Burgess; but must needs pass on to "The Meet" (75), by Birket Foster, with its groups of vivid children watching, half in wonder, half in fear, the long array of scarlet-coated horsemen who are gathering to the meet. The children, not too pretty, are full of vitality; the grouping is well managed, and the leafless trees painted with the wellknown faithfulness of the artist. A few primroses peep through the sere last-year's leaves, and the furze blossoms on the skirts of the wood, within which the eager, yet timid spcctators, are ensconced.

Mr. C. Davidson has returned to his old love for Knowle Park, and has found new beauty there : his beeches (79), in their autumn foliage,

are as beautiful as his beeches of two years since in full leaf.

A pretty bit of realism is Mr. F. W. Top: ham's picture (83), "Two Rustic Children," with sun-shaded, upturned faces, following the course of a singing lark to what seems to them, as to the poet, "heaven's gate." The faces, dress, and pose of the children are unaffectedly simple and natural, and this may be said to be

the charm of the picture.

"A Street in Frankfort" (93), by William Callow, is one of many noteworthy pictures by

this well-known artist.

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amongst Early Morning on the Snowdon Range' (112), H. Brittan Willis, is good. In the background, mountains with breaking mists about them, and cattle drinking at the river.

د.

Cathedral at Lisieux, Normandy," and "Cattle
Market and Church of St. Jacques, Lisieux,
Normandy," by J. Burgess, a noteworthy and
interesting picture.

Mr. James Holland's "Genova, looking Southeast" (126) has all this artist's charateristic brightness of style and facility of drawing.

Passing admiringly "The Quiet Mill-stream" of Jos. J. Jenkins (127), we find ourselves in front of Carl Haag's grand picture (131), “Kaheen Amran, the High Priest of the Samaritan Community at Nablous, reading the Pentateuch." A solitary figure, finely posed, the boldly simple folds of whose white drapery, the texture of the hangings, and the gorgeous richness of their colouring are marvels in watercolour painting.

A little landscape (149), "Overtaken," by Jos. J. Jenkins, with figures of market-girls on ass-back, and two armed Zouaves striding up to them, is full of vitality.

Mr. Alfred W. Hunt's (155) “Loch Coruishk" is worthy of more than a passing notice; and the same may be said of Mr. John Callow's "Beating up Channel" (160).

For colour and costume we refer our readers to Mr. J. D. Watson's "Carrying in the Pea cock" (161), a picture of many women's faces. all apparently drawn from one model, and that

not a handsome one.

John Gilbert has chosen unusually sentimental subjects. His "Burial of Ophelia" (113), and "Lear and Cordelia" (121), have all his usual richness of colouring, and trench on other fields than those of battle and street brawls, with which his pencil has been so often associated; but the soul requisite to represent sympathetically the pathos of our great poet has not yet entered into the painter.

C. Branwhite's "Old Mill-twilight" (115), a weird, wild-looking, half-wrecked mill, with a lurid sunset sky in the background; is an effective bit of form and colouring.

"Midford, near Bath" (118), G. Rosenberg, green trees, and a still pool full of depth and serenity, is a charming picture; and so is (119) Mr. Paul J. Naftel's "Capetal Cover, Devonshire."

Near at hand we perceive the "Porch of the

Thomas Danby's "Lake of Geneva" (162), John Callow's "Scarborough, Yorkshire, low water," and Collingwood Smith's "Queen's View Lake of Lucerne" (166), are all worthy of the walls on which they hang, which is no small praise for them.

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Glasgerion" (170) is a strange story strangely told. The beautiful face of the young princess is lit up, as is also the colouring of her the face of the seated king and the sleeping robes, by the firelight, which falls weirdly on forms around, and makes strange shadows

them.

"Leaving the Highlands " (180), Margaret Gillies, is carefully painted, and with much feeling, the old man's face full of expression, and the colouring excellent.

"The Rugged Path in the Mountains" (203) is a pretty bit of colouring and expression by H. P. Riviere.

"The Banks of the Avon, Wiltshire” (204), G. Rosenberg, a charming study of a charming scene-a tree-shaded river, with shadowy clouds reflected in its depth, and rich, fresh meadows margining it.

"Winter" (206), Wm. Callow, is represented by a snow-covered village churchyard, across which totters the bent form of a solitary figure, who may soon, it is suggested, tenant a place in

it.

"Near Whitby" (225), C. Davidson, steps leading to a pathway through a wood, to which a figure gives vitality.

Upon the first screen we have a glowing picture of an Italian "Mid-day" (229), by James Holland,

Paul J. Naftel's "Southern Guernsey" (231)] exhibits rocks, and the many-hued sea.

Alfred D. Fripp's "Forget-me-Nots" (281), children with sweet innocent faces, and eyes blue as the bright flowers, gathering forget

G. P. Boyce has here a pleasant view "At Arisaig 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 the result is an exquisite picture.

"A Saturday Half Holiday" (239), by Alfred D. Fripp, has some quiet humour and much character: it represents a crowded group of boys fishing.

"A Breakwater" (240), by Birket Foster, is also a pretty bit of nature, and exhibits children at a fence, with a broken sea on the shore. But it would occupy a much larger space than that at our command to enumerate a tenth of the noticeable pictures in this highly interesting exhibition.

Upon the second screen are pictures by F. Smallfield, Brittan Willis, Holman Hunt, and the veteran Valentine Bartholomew, who has, in his seventieth year, contributed two or three pictures. One of "Berries of the wild Guelder Rose, from Whittlebury Forest, Northamptonshire" (257), is remarkable for the newness of the subject, and the elegant simplicity of its treatment, as well as for its excellence of colouring and manipulation. It is but a gathered branch of leaves and ripe berries, but the rich colour of these in contrast with the soft underlining of the handsome leaves makes an ef. fective picture, and a bit of hedge with a trail of wood ivy on it is a natural accessory. There is also a spray of gooseberries, by the same artist (265), real enough to make one desire to taste them.

Upon this screen we find one of the pictures of an artist new to us, "The Pied Piper of Hamlin" (260), by G. J. Pinwell, a picture rich in good qualities, though very singular and subdued in colouring. The wrapt happy face of 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 dove-cotes by his melody, is wonderfully depicted, and surely no more lovely children ever lived in the brain of the poet

"With rosy checks and flaxen curls,

And sparkling eyes and teeth like pearls"—

than those which the painter has created. His women's faces, whether old or young, are touching in their sweetness or their shadows, and we turn from the crowd of ideas the various faces suggest to us with almost a sigh to the still"Mill-pool" (266) of Birket Foster, with its green trees and deepening shadows-a sweet little picture, by the way.

Upon the third screen we notice Collingwood Smith's " Hayfield, Tooting Common" (269), "The Cigarette" (273), E. Lundgren, a Spaniard smoking, has considerable force, but the heavy folds of the linen sleeve are objectionable.

Birket Foster appears to revel in the study of "Village Children," and paints them naturally and without any attempt to idealize his models.

Here again we come to another scene in the story of "The Pied Piper of Hamlin" (282), as full of character as the first, in which he charms the rats from their haunts; but these are less agreeable adjuncts to a picture than the birds in the former one.

There is another picture by Mr. Pinwell on the fourth screen, which shows that he can depict realities as powerfully as he has illustrated Browning's poetry.

"A Seat in St. James's Park" (297) is full of story, and not without considerable pathos.

E. Burne Jones is well represented in his "Autumn" (184), and "Spring" (207).—a woman in a green robe with apple blossom-and the weird picture of the "Wine of Circe" (197). The witch in her yellow robe leans forward in an attitude which only an enchantress could retain so long as she could count the sluggish drops that make the charm; her beauty is deathly and her surroundings supernal; two beasts, unknown to modern menageries, appear before her; great sunflowers loom their sultry heads within the place she inhabits, through the open front of which we see the ships of Ulysses with their strange sails and double banks of rowers on the sea. A picture that we smile at, and yet go back to look at, a picture full of weird symbolism, of awful power, and gorgeous colouring, but of which we try to lose the recollection in a "River Scene" of Birket Foisert's (291), or the prettiness of Maria Harrison's "Early Spring" (303).-C. A.W,

RAYMOND.

(Translated from the French.)

The adventure which I am going to relate happened to a well-known literary man, whom I shall call by the name of Raymond, though no doubt his friends will not fail to recognize him by the absence of mind which formed one of his principal characteristics.

One morning as Raymond was much engaged with his pen, the porter of the hotel entered. He came for the quarter's rent, according to the custom of Paris. which four times in a year elevates the porter to the dignity of receivers of rent. Now Raymond was not one of those starving poets who live in a garret, with little furniture besides a bed, a table, and a chair; on the contrary, he possessed an independent fortune, but, devoted to literature, and simple in his habits, he contented himself with a parlour, and bedroom opening into it, both plainly furnished. He paid his rent, gave the porter the usual gratuity, and returned to his writing,

In a minute or two he looked up, and was amazed to see the porter still standing there, and gazing around with a bewildered air.

"What is the matter?" said he. "Have I not paid enough?"

"Yes, sir; but I see no preparations for moving, and the new tenant has come with his furniture. You know he has a right to enter at half past twelve, and it is now more than half past eleven."

Then it flashed upon Raymond's mind that he had given notice to his landlord some weeks ago that he should change his lodgings when the quarter was out, and he had never thought of it since. He rushed into the street like a crazy man; but when there he recollected that it was too late to seek a lodging and remove to it in less than an hour, and that what pressed most was to get his furniture out of the way. He was on the point of going back to the house to ask if he could not put it into some garret, when, by one of those chances which often come to the aid of those who cannot help themselves, an empty furniture waggon happened to pass at that moment. A bright idea struck Raymond; he hailed the waggoner, engaged him by the hour, and soon had his furniture placed on the waggon.

"Where shall I go?" said the man. "Go on till I stop you. Drive slowly." So the march proceeded; the driver went slowly, and Raymond walked along examining every house, to see if there was a notice to let on it. It was not an easy search; most of the best apartments had been taken, and of those that remained there was none that suited Raymond. One was too near the top of the house; the staircase leading to another was too narrow; in another the ceilings were too low; in another the rooms were too small; every one that he visited had some fault. Weary and dispirited, he yet continued his search till the sun was low in the west. He was tired and hungry; so was the driver; so were the horses; indeed the latter began to show signs of giving out, and the temper of the driver was not improved by the condition of his horses, and his own privations. He was put out of patience by Raymond's frequent hesitations, and Raymond himself thought he had little more time to lose; so he took the next lodging he came to, which combined most of the disadvantages of those he had rejected. The furniture was hastily put in, and Raymond sat down in the midst of the confusion to consider what was first to be done; but he came to the conclusion that he must go and refresh himself first; he therefore put the key in his pocket, inquired the way to the nearest restaurant, and went to get his supper.

After he had supped, he sat some time, not feeling inclined to renew his labours, preparatory for a night's rest, for he had not thought of engaging any assistance before he came out. But the urgency of the case soon drove him out, especially as he would not be sorry to get to bed and to sleep soon. Such, however, was not his good fortune; for on his way to his

lodging he turned into a wrong street, and was soon entirely lost. What added to his confusion was that in the numerous streets through which he had passed he had completely lost the name of the one where he had taken rooms. In vain he tried to remember it: he could not betray his ignorance, and indeed what could he ask? He wandered about till a late hour, and then found himself in a part of the town he knew, not far from the residence of a friend, and he determined to cast himself on his hospitality for a night, and renew his search in the daylight, when he hoped to be more successful.

He spent nearly the whole day in search of the street where he had deposited his furniture. He remembered, indeed, the quarter of Paris towards which he had gone, but nothing further; houses and streets danced before his sight in confusion. "I am in a pretty predicament," said he to himself; "if I should make my difficulty known to my friends, they would laugh at me, and, moreover, how could they help me ? My furniture would be no great loss, but my books and papers would, and I should not like to have them fall into anybody's hands; but I have no means of discovering them. Really this would make a good episode in a novel.” That idea took possession of his imagination, and he began to think over the various denouements which were familiar to his mind till the idea occurred to him that the police could assist his search. Accordingly, the next morning he went to the chief of the police, and said to him:

"There is an individual named Raymond, who leads a very retired life, and writes a great deal. He professes to be only a literary man, and I do not know that he is a dangerous character; but the day before yesterday he left his lodgings without telling any person where he was going, and his most intimate friends have not been able to discover where he has hid himself, though they have spared no pains to find out. Such a departure is at least very suspicious, and I confess I am particularly interested in finding out where he is."

"He must have some sinister intentions," said the chief of police, "or else something must have happened to him. You may return in two days, by which time I will have discovered what is the matter."

The chief of police asked Raymond his name, but he did not choose to hear the question, and, saying he would call in two days, he left the office.

At the time specified, he returned, and the chief said to him:

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'We have found the residence of Raymond. It is in such a street and such a number"naming it. "We found his apartment in great confusion, as if he had just moved his things. We examined his papers, but found nothing to implicate him. He must either have absconded on account of his debts, or something has happened to him; we will know in a few days." "You need not," said Raymond, "for I am

he."

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