one disguised, the other feigning treachery to his imperial master-when they compass the means of poisoning Attila, at a feast, and of assailing his camp in the confusion of the hour; Odabella, at the very moment of the catastrophe, is touched with pity, and saves the life of the tyrant of her country. Attila now insists on sharing his throne with Odabella; but hardly are the nuptial rites celebrated, than Foresto finds means of penetrating once more into, the camp, and upbraids Odabella with her perfidy and her forgetfulness of all her vows and duties. At the thoughts of the wrongs of her lover, her father, and her conntry, her heart is steeled to the execution of her first resolve of vengeance, and she stabs Attila to the heart.

The Opera opens with a prologue. In this a storm and the rising of the sun are introducedby the voices and the stringed instruments, with the novelty of being as thoroughly described by the chorus as by the orchestra. The decrescendo in the storm, and the crescendo up to the final burst in the sunrise, are managed with infinite art; at the same time that they form a most advantageous preface in preparing the audience for the favourable reception of the andante of the aria of Foresto, "Ella in poter del Barbaro"- -a noble chant full of pathos and expression-which was given with fine effect by Gardoni. There is an air in the first act which was admirably sung by Mdlle. Cruvelli, "O! nel fuggente nuvolo," remarkable for its simplicity and the accompaniment for the wind instruments and the harp. The duet in the same scene, between Gardoni and Cruvelli beginning "Oh t'inebbria nell' amplesso" is exquisite, both in the singing and the composition.

The scena and aria of Attila in this act are well calculated to display to the greatest advantage the power and science of Signor Belletti. Belletti proves that upon his shoulders has fallen the mantle of his great predecessors of the ancient school of highest art.

The second act is short, and contains but two pieces of importance, an air for Cuzzani and a grand finale. The part of Ezio was written for a baritone, but Cuzzani, to give the work strength of cast, undertook it, and proved that he is not only an agreeable singer, but capable also of considerable energy. The quintett in the finale, "O sposa, t'allieta," is charming. It is rife with the Verdian spirit. In the third act occurs a sweet romanza for the tenor, "Che non avrebbe il misero," beautifully rendered by Gardoni. After this the most striking piece is the final quartet, sung by Cruvelli, Gardoni, Belletti, and Cuzzani, which aspires to the same dramatic effect as the celebrated final trio in Ernani. It is in this opera the ultimate effort of the composer and the singers for success. With such artists it could hardly fail. The care, the science, and the natural powers displayed by the vocalists were indeed most creditable. The orchestra was admirable in its power, precision, and brilliancy. Balfe has skilfully trained his forces, and the chorus was not only prompt and potent, but every nuance of light and shade was reflected with delicacy and effect. The scenery, by Mr. Marshall, is well designed and painted; and a dioramic effect in the seventh scene is artistically managed, and elicited marked approbation. The dresses are superb, and the mise en scene picturesque and gorgeous.

The public is not insensible to these strenuous efforts of Her Majesty's Theatre, for the house has been continually very fully and fashionably attended.

THE ST. JAMES'S THEATRE.

THE French plays at the St. James's Theatre have consisted lately of light and lively Vaudevilles, which the charming talent of Mademoiselle Nathalie has rendered wonderfully attractive. These little dramas may be truly termed airy nothings. The plot generally turns upon a single conceit, and the language is as effervescent and sparkling as the purest champagne. Yet so perfect is the art of Mademoiselle Nathalie, that she at once fixes and fascinates attention. Hers is the wit which may be truly said to make the mind smile. Her audience listens and laughs, not loudly, but gently, and their amusement is indeed complete. Mademoiselle Nathalie is most efficiently seconded in her admirable acting by the graceful and feeling Mademoiselle Baptiste, by M. Montaland, M. Tourillon, and M. Iosset. This French Theatre continues as much as ever a delightful place of fashionable and intellectual entertainment—a true model for all other playhouses in London.

EXHIBITIONS.

THE PANORAMA OF THE CITY OF VIENNA AND THE SURROUNDING COUNTRY, AT BURFORD'S, IN LEICESTER SQUARE.

THIS is another of those admirable views which render this exhibition so instructive and entertaining. It happens, at this moment, that Vienna is one of the places on the Continent towards which universal attention is directed, and here we can contemplate and understand its sites, localities, and appearance far away from the terrors of disturbance and riot-peacefully, securely, and pleasantly. The panorama is beautifully executed, and yields the palm to none of those which have gone before it. How gorgeously, indeed, does this fine old imperial metropolis look, with its graceful suburbs, its numerous drives, and its magnificent Cathedral! how it teems with historic recollections! There are the walls before which John Sobieski repulsed the infidel, saved Christianity, and made glorious for ever the name of Poland. There lies Wagram, big with the fame of Napoleon: there is the Schonbrunn, where his son died, and the last hope of his dynasty ended in despair. The mind must be dull indeed which can behold unmoved this mighty city of the modern Cæsars. And now as, we say, when Vienna, by recent events, is brought before us in such political importance, it is certainly most opportune to have it thus visibly present. From the printed description we borrow the following detail of the panorama :

"Vienna, the capital of the Austrian dominions, is a handsome bustling city, situated in a fine fruitful plain, on the south or right bank of the Danube; not, strictly speaking, on the main stream, being separated from it by the extensive suburb of Leopoldstadt, and by a vast park called the Prater. A navigable arm of the river, which here divides itself into several streams, washes the very walls on the northern side, whilst on the southern, it has the river Wien, an insignificant rivulet, from which, however, it takes its name.

"Although at first sight Vienna does not strike the eye, so much as might be expected from the capital of so great and mighty an empire, yet its importance in much that belongs to the modern history of Europe, its being the residence of some of the wealthiest families in existence, together with the vast and invaluable treasures of the arts that are contained in its numerous palaces, renders it worthy to rank as one of the first cities in the world.

"The ground on which Vienna stands, as well as most of the country around, is nearly flat, scarcely raised above the level of the Danube; the whole, however, is bounded at various distances by hills and mountains of considerable elevation, their sides covered with fine woods, sprinkled with châteaux and villas, ornamented everywhere by the picturesque ruins of decayed castles, the strongholds of feudal ages. Romantic valleys, villages, woods, farms, pastures, and gardens, spread far and wide, the grand and

VOL. V.-NO. XXIV.

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the simple blending harmoniously together under a clear sunshine, combine to fill up the rich features of the splendid landscape, over which the eye cannot but wander with pleasure.

"The present Panorama is taken from the church of St. Carlo in the suburb of Wiedon on the very verge of the Glacis, which, with its fine trees and verdant lawns, intersected by the Wien, forms the immediate foreground of the view. Directly in front towards the north-west, lies the Bourg or old city, the cathedral nearly in the centre on the highest ground, proudly and prominently presenting itself and its rich Gothic tower, far above the surrounding mass of buildings. Facing the Glacis, and within the ancient walls, is the wide-extended façade of the Imperial palace, with the Emperor's garden, and the extensive grounds of the Volksgarten in front, and a long line of fine houses facing the ramparts; behind is one dense mass of buildings, churches, vast palaces, and immense public edifices, so closely built, that the streets dividing them can scarcely be defined. Towards the left, divided from the city by the broad green girdle of the Glacis, are seen several of the largest suburbs, and the view is closed by the lofty Kahlenberg and other mountains, forming part of a vast chain covered by forests and vineyards, and stretch far towards the south until they fade in the distance. To the right of the city the view extends over a similar range of suburbs, to the refreshing foliage and cool shades of the finely wooded Prater, and the many islands of the Danube. Towards the south and east the eye commands a vast extent of the suburbs of a somewhat Italian character, in which several churches and public buildings, and many magnificent palaces are seen; especially the Imperial galleries of the two Belvideres, and the palaces and gardens of the Princes Lichtenstein, Schwartzenberg, Metternich, and many others; beyond stretches an agreeable country, thickly studded with villages, villas, and pleasant retreats, and a vast plain spreading in all directions, in some parts to the very verge of the horizon, in others bounded by the mountains of Hungary. A multitude of objects of interest and beauty present themselves at every point; the Danube, now united in one broad stream, is seen winding its course in several parts, the famous villages of Aspern, Essling, Wagram, and Schonbrunn, with the lovely country around, backed by the Brühl and Baden hills, and the scarcely visible castle of Pressburg in the extreme distance, all combine to complete the varied and splended scene."

THE BRITISH INSTITUTION.

THIS fine annual exhibition of pictures has opened with a collection nowise inferior to those of preceding years. The two productions of Ansdell, "The Bogged Pony," and "The Wounded Hound," are admirable specimens of animal painting, approaching very closely to the wonders of the art of Landseer. "The Moving the Address on Opening the First Reformed Parliament," by Sir George Hayter, is elaborately and ably executed; the portraits are good, and the whole forms a picture of much historic interest. Added to these paintings there are some exquisite landscapes, well worthy of attention, which altogether maintain the value and fame of the British Institution.

"

LITERATURE.

REVELATIONS OF IRELAND IN the Past GENERATION. By D. OWEN MADDEN, ESQ., of the Inner Temple, author of "Ireland and its Rulers ;' "The Age of Pitt and Fox," &c., &c.-Dublin: James M'Glashan, 21 D'Ŏlier Street; Orr and Co., 147 Strand, London. 1848.

THIS is a remarkably pleasant, and at the same time, a very sagacious book. Amid the much misery, and the much mis-agitation which depress and deter the progress in Ireland of sober and sensible literature, it is cheering to come across a work like this, written in a right spirit of honest consideration and ready conciliation. The author evinces sound sense and argument in the comments he makes on the woes and grievances of unhappy Erin; but the subject, at the best, is an unpleasant one, and we willingly turn from it to what forms the brighter portion of the book—we mean the continued series of domestic histories, biographic sketches, and amusing anecdotes with which its pages abound. The commencement of the volume gives an extremely interesting and entertaining description of the renowned Munster Bar, at the times of Curran, FitzGibbon, Barry Yelverton, and O'Connell. Two of its wits-one, the poet Lysaght-are thus portrayed :

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Jerry Keller was among the best lawyers on the circuit. But he was still better known for his incomparable social powers. He was 'the joyousest of once-embodied spirits'

-A gay thirsty soul,

As e'er cracked a bottle, or fathomed a bowl.'

He was fit to have lived with that jolly old lawyer, Sir Toby Butler, the famed toper, who toasted away claret, and tossed repartees, after a style which gained him a prodigious tavern reputation. Though not such a wit as Curran, his company was almost as much sought after by convivial spirits. Keller sacrificed his fame and fortune to the love of society. He joined a sound and capacious understanding to a spirit whimsical, reckless, and dro'l. For legal depth and dinner-table drollery, no one man ever came near him. There were times, however, when Keller half repented of the way in which he had passed his time. He gave utterance to this feeling on the first day that the late Judge Mayne took his seat upon the bench. Mayne was a formal coxcomb- -a thing of solemn, artificial, legal foppery, with a manner of intense gravity, and a well got np look of profundity. He had passed himself off on the public as a deep lawyer, and was never found out by the same discerning public until he was made a judge. 'Ah! Mayne,' said Keller in a voice half audible, 'my levity keeps me down here, while your gravity has raised you up there?'

"A little after the time when Lord Yelverton was raised of Avonmore-a promotion partly owing to the noble and port of the Union-he had asked Keller to dine with him.

to the Viscountcy learned lord's supCurran was there,