VOCAL. "If in that Breast;" a Canzonett, composed by J. Jolly, the words from Metastasio.— Cramer and Co. "Sing on thou warbling Bird," a favourite Song, introduced by Madame Fearon, in The Cabinet, composed by G. Hodson.Chappel. ENGLISH THEATRICALS. THE KING'S THEATRE. YES, Maddle. Sontag, the continental wonder, that lovely and fascinating being, whose approach has been strewed with flowers of every tint and odour, made her first appearance at this establishment, on Tuesday, in the week following that of Easter. La Donna del Lago had "O'er the Mountain," a Scotch Ballad, been mentioned for her débút; but, from some composed by Do.-Do. cause with which we are unacquainted, Rossini's "The Persian Maiden's Song," composed opera of Il Barbiere de Seviglia, in which she by J. Nelson.-Do. Mr. Jolly always manifests taste and judgment in his compositions; it would be too much to expect genius: these three qualifications seldom fall to the lot of one mortal. The air of Mr. Jolly's song is elegant and flowing, much in the style of some of Dr. Arne's best, such as "Why Chloe still," or "Blow thou Winter's Wind:" the harmonies are such as we should expect from a member of the Concentores, rich but not overstrained. Mr. Hodson's first song appears to be an effective orchestral composition, but, as a vocal piece, it is precisely of that class that we abominate, one of those noisy, rattling, unmeaning polaccas, without an original idea from the beginning to the end. We do not entirely cast the blame on the composer; he wrote for Fearon, a singer of the vile school of Pacino, Nicolini, and Co., and adapted his production to their style. We hope that his next production, on the grand scale, will be on a better model. "O'er the Mountain," is trite and common-place in the extreme; Miss Paton never could have condescended to sing this song, in spite of the announcement on the title; we think it absolutely impossible. Mr. Nelson's ballad is a pretty and simple Siciliano: the accompaniments are in good keeping. PIANO-FORTE. Extracts, No. I., being a Collection of Ancient and Modern Airs, arranged for the Piano-forte, by F. J. Klose. We very much prefer Mr. Klose's instrumental to his vocal compositions; he possesses a great aptitude for arrangement. The present divertimento consists of Viotti's Polacca, a Spanish and German air, with an Introduction, concocted into a pleasing and juvenile lesson. was appointed to sustain the character of Rosina, was substituted. Of the agreeable middle height-form symmetrical-hands exquisitely beautiful carriage elegant and graceful, combined with the most lady-like modesty of demeanour, it was impossible that her entrée should be hailed otherwise than with admiration and rapture. From the ground to the ceiling,, the house had been crowded from five minutes after the opening of the doors. Until the moment of her approach, all was impatience; then every eye beamed with delight, every heart, hand, and voice, seemed to cheer her. Maddle. Sontag may be termed a beauty of the German order, consequently more resembling the belles of England than those of Italy or France. Her complexion is fair, her hair rather light, her expressive eyes of the softest and tenderest blue; her lips of more than usual sweetness, her teeth good, her chin round, her nose slightly retroussé. Altogether, she is a delightfully pretty and attractive woman. Her acting is somewhat constrained, at least more artificial than natural: her voice we should say is distinguished by flexibility and sweetness, rather than by depth and richness. It is said to extend to A below the lines, to high D; but, on the night of her débút, she did not extend it beyond the C double octave, on either side. Her execution is facile, florid, and brilliant, in an exopinion of Madame Catalani, that she is the first traordinary degree. We agree with the reported singer of her class, but that that class is not the first. Yet, if we mistake not, she will in every respect, greatly improve. The ap plause accorded to her opening cavatina, Una voce poco fa, was absolutely enthusiastic; and also in the celebrated Zitti, Zitti, in which she was loudly encored. It was, however, in her introduction of the music lesson in the second • Ackermann has published a lithographic portrait of Maddle. Sontag, by J. Becker, which, excepting that it makes her appear too old, too tall, and too dark, is a good likeness. We should like a portrait of her executed in the style of Westall's portrait of Fanny Ayton, which is, indeed, airy, graceful, and beautiful. act, when she sang some of Rode's variations on a theme for the violin, with an unrivalled distinctness of articulation, and brilliancy of tone, that she was most triumphantly successful. It was impossible not to regret that, throughout the opera, she was very inadequately supported. At the close, she was unanimously called for; and when led on, in consequence, between Curioni and Pellegrini, as the Count and the Barber, she was received with a warmth, and heartiness, and vociferation of applause more like those of an English than an Italian theatre. for first-rate tragedy. Young Kean appeared as Lothair. Our silence is mercy. COVENT GARDEN. We fear the holyday-makers here, this Easter, have been grievously disappointed. Tuckitomba, a farrago of fighting vulgarity, and Minervapress-sentiment, was produced, and, after a fitful struggle, very properly withdrawn. The piece was manufactured from that very effective pantomime Three-fingered Jack, and from a portion of Mr. Cooper's novel of The Red Rover. To be sure we had Mr. Keeley almost extinguished by a huge straw hat with a cutlass in Maddle. Sontag has since repeated the character of Rosina with equal success. Her next performance, we believe, will be in the opera of his hand, and pistols in his belt outré and Don Giovanni. DRURY LANE. fierce as the Knave of Spades. It is peculiarly fortunate for this gentleman that he has never reached five feet four. It would, we fear, have ANOTHER barren month has passed away, been fatal to his success as a "comic" actor. yielding to us but one performance and that a As it is, authors ingeniously contrive to place him mere trifle upon which to animadvert. The in juxta-position with the tallest walking genDumb Savoyard and his Monkey, a compila- tleman in the comedy; and the galleries laugh tion by Mr. Barrymore, was produced at Easter. at the exquisite contrast. Such mummery comIt is somewhat ingeniously constructed; and, posed the whole humour of Tuckitomba. Poor with the admirable acting of Master Wieland, || Blanchard underwent the humiliation of a part as the monkey hero, afforded very general satis-of nearly twenty bad lines; and Power, as an faction. The plot is briefly this. A Count || Irish buccaneer, a kind of philanthropic "waterMaldicini has been condemned to death by the || rat," gave two or three exclamations in the real court of Germany. His wife, however, on pre- Munster brogue. Mr. O. Smith, or rather oh! senting certain proofs of his innocence, obtains Smith, played Tuckitomba; who is, as Mrs. her husband's pardon, and sets out, accompanied Malaprop says, "three gentlemen at once;" by her infant child, to the place of the Count's though how, we are not very clearly informed. captivity. Arriving at the ferry of Ober Wesel, Then we had Miss Henry-sal volatile preserve the ferryman refuses to ply, alledging as an ex- us! as a distracted mother, robbed of her child. cuse, that it is "after hours." Pipino (Mr.W. It was inimitably insipid. It is hard this lady can Barrymore) the Dumb Savoyard, volunteers his never distinguish between seriousness and hysassistance, and, with the cunning of Marmo- terics. Miss Goward, as Clara, a Quadroon zette, the monkey, steals the ferryman's oars, slave, did all that was possible with a bad partand crosses the Rhine. On the passage, how- and Mrs. Vining, as Esther, the Obi woman, ever, the monkey steals the count's pardon from strove against a character equally dull and inefthe case in which it is enclosed, and secretes it fective. Some of the scenery was truly beautiful among the rocks. When the countess arrives at the destined fortress, she discovers her loss. The count and herself, however, endeavour to escape, when they are recaptured, and sentence of death is about to be carried into effect on the count, when the monkey is discovered playing||ral Bombastes, in Mr. Rhodes's very droll, but with the precious document. This, of course, is seized, and the piece concludes as we could wish. Altogether The Dumb Savoyard is a very pleasant affair. Mr. Barrymore, as Pipino, plays with considerable grace; and young Weiland, as Marmozette, is, we think, only inferior to the late Mazurier. Among the principal attractions of the piece, is a delightful panoramic view of the Rhine, painted by Stanfield. We have nothing else to speak of. Adelgitha has been played, which has given Mrs. Duff a fair opportunity of proving her utter unfitness the sinking of the pirate's ship was also capitally managed. On the whole, however, we never yawned through a more distressing piece of mummery than Tuckitomba. Mr. John Reeve has made his débút as Gene ill-used burlesque, Bombastes Furioso. Every one has seen Mr. Reeve in extravaganza. It is, we think, his peculiar element. We know not whether "years that bring the philosophie mind," will ever chasten the style of the actor; but at present, there is certainly too much carelessness too constant a reliance upon mere animal spirits, and the excitement of the moment, for a first-rate comedian. Perhaps there is no actor I who can give us so full and happy a dash of caricature as Mr. Reeve-no actor who has within him greater requisites for the perfect delineation of legitimate comedy. We mean that comedy which does not consist in a reddened nose and mere mouth-making. Time, however, and culture, are wanted by Mr. Reeve-whether he will ever avail himself of their benefit, we know not we fear the contrary. At all events, if he never advance beyond his present fortunes, he is a considerable acquisition to Covent Garden. We are heartily tired of the drawling, nasal comedy of Mr. Keeley, a very endurable third-rate actor, but when made to represent the humour of a national theatre, we sigh over the degeneracy of the drama. We have, however, forgotten Mr. Reeve's Bombastes. He played with infinite whim, his talents not at all obscured by any constitutional diffidence. Perhaps he indulged in a little too much foolery, in being called for by the audience after the piece; but if he did, he was but paying the audience in their proper coin, for their own silliness. FINE ARTS' EXHIBITIONS, &c. SOCIETY OF BRITISH ARTISTS. If we are not dazzled by the splendour of the present exhibition-the fifth of this rising society it is impossible not to be considerably gratified by its general respectability. We know not whether we can hazard the assertion that there are more good pictures this year than usual; but, certainly, there are fewer bad ones. In the sculpture department there is much to praise. The chief historical attraction of the rooms is Haydon's meritorious, but overrated, picture of Christ's Entry into Jerusalem. Northcote has (130) an equestrian portrait of His present Majesty, exciting little interest; The Princess Bridget Plantagenet, a Nun, at Dartford, contemplating a Picture of the Death of her Brothers, King Edward V. and the Duke of York (145); and a Lion Hunting (236) displaying much spirit, force, and variety of expression. Linton has half-a-dozen pictures; the largest as well as the most magnificent of which is (254) Eneas and Achates, landing on the Coast of Africa, near to Carthage, are directed by Venus, who appears to them in the character of a Spartan Huntress. This production, rich, vivid, and beautiful in its colouring, breathes the loveliest spirit of poetry and romance. It is impossible to gaze upon it without delight without being drawn away, as it were, from every thing that is vulgar and common-place in the world.-Linton's other pieces are, an Ancient Roman Bridge in the Town of Lyme Regis (38); Old Build- || ings in the Harbour of Lyme Regis (40); the Dorset Coast from Charmouth Beach (224); Lyme Regis, from the Lime Kiln on Charmouth Beach (317); and a Coast Scene, Pilots going out (368). Stanfield has three oil pieces: the Mouth of the Tees (33); Peter-Boats (181); and Fishing Boats in the Monsoon, Bombay Harbour (773). This artist is remarkably successful in his representation of water. There is a boldness, a breadth, a tangibility, if it may be so termed, in his Peter Boats, which command the highest praise. Roberts, another of our first-rate favourites, has also four pieces, all in his accustomed style of excellence: the Church of St. Wulfran, Abbeville (22); Tower of the Church of St. Rombald, Mechlin (120); Abbeville (346); and Entrance to a Church, a composition (449). The last of these, in the richness of its architecture, and brilliant glowingness of colour, is truly exquisite. 66 The number of portraits this year is greater than usual. It has often struck us that there are numbers of people, of both sexes, who, instead of having their likenesses publicly exhibited, ought to wear veils, masks, or visors. We name no names ;" courtesy, and a respect for personal feeling, prevent us from particularising; but we must be permitted to remark, that the portraits of many of these people must be considered as disfiguring, rather than as adorning, those portions of the walls which they happen to cover.-Lonsdale, remarkable at all times for the strength and inveteracy of his likenesses, has several portraits; amongst which, that of Mr. Brougham (214) cannot fail of attracting preeminent notice. Sir Francis Burdett (239) is also very animated. Simpson's portrait of M. Nugent, Esq., is an exceedingly well painted picture, and would be seen to advantage even at Somerset House. Mrs. Pearson has several portraits: a Gentleman (91); and a Lady (156) have great freshness and spirit.-As the productions of a young artist, the portrait of the Rev. C. Richards, Prebendary of Winchester, and tutor of the late Mr. Canning (313) and the portrait of the Rev. Dr. Williams, Head Master of Winchester College (357) by J. M. Leigh, are very promising.— We regard T. P. Thompson's portrait of his late Royal Highness the Duke of York (255) as little better than a libel upon the deceased. J. Moore's portrait of Allan Cunningham, author of Paul Jones, &c. (430) is a capital likeness, well painted, and finely toned. Amongst the miniatures, we find some very beautiful productions. We cannot refrain from pointing particularly to six portraits (599 to 604) in a frame, by Mrs. James Robertson; a Portrait of a Lady (605) and Portrait of Mrs. Benson (625) by H. Collen; Portrait of a Lady (588) by G. Hargreaves; Portrait of a Lady (560) by Miss Ross; and Portrait of the late P. Sandby, Esq. (569) and Portrait of a Gentleman (583) by Miss Oldisworth. Christ meditating on his Sacrifice (1) by J. King, is a picture of considerable merit; though the figure of our Saviour, we think, is too full of flesh and muscle. Theodore Lane's Enthusiast (325)—an invalid angling for sticklebacks in a tub in his chamber displays considerable humour. Glover has no fewer than fifteen subjects; all of them strongly mannered, it is true, but several very beautiful. Fraser's Sportsman (144) is a good picture. Edwin Landseer has only one subject, Ratcatching (186). His dogs possess all their accustomed life and spirit. Miss Beaumont appears to be painting an extensive series of pictures from the Waverley novels. Fergus Mac Ivor's Meeting with his Sister Flora, Captain Waverley, &c. (17) is well coloured, bright, yet mellow. A more commonplace walking gentleman than Henry Bertram, in Guy Mannering, was never stuck into a thirdrate Minerva-press novel. Miss Beaumont-casionally vary his style. He has four pictures we know not whether she intended it sarcastically has evidently caught the spirit, or want of spirit, of the author, in her representation of this hero. We allude to the piece (134): Meg Merrilies, holding a lamp, shews a dead man to Henry Bertram, whom she warns not to enter. The appearance of the corpse is, as it first catches the eye of the spectator, almost terrific; but, upon examination, the production does not, upon the whole, seem to satisfy the mind. In the required almost superhuman toweringness of height, and in commanding awe-inspiring attitude, the crone is materially deficient. Infinitely more to our taste for it is really a beautiful picture is Jacqueline, Countess de Croye, presenting the Cup to Maitre Pierre, or King Louis disguised (447) from Quentin Durward. Jacqueline has a charming face, and her figure is very graceful. For her conception, as well as for her general style of execution, in these pictures, Miss Beaumont is entitled to great praise. Stevens, E. Bradley, &c., have brought to market a full supply of game, wild fowl, fish, &c. G. Lance has an excellent Monkey Piece, entitled Meditation (18); and another piece, of extraordinary life and spirit (326) Peeping Tom, or two of a Trade never agree: we hardly know which to prefer, the cat or the bird. The beautiful, warm, sunny tints of Dearman, are always pleasing; yet, to avoid sameness of effect, we could wish that this artist would oc in the present collection. Hofland has, as usual, several landscape com positions, views, moonlights, &c. Brooke's Cleopatra, sailing down the Cydnus (401) is very brilliant and gorgeous in colour. We have several other subjects marked for notice but, for the present, we must hasten towards a close. In the water colour and print room, Stanfield has a charming little piece, (523) Fort Rouge, Low Water, Calais. Wageman's Russian Jew is clear and expressive. Harriott's Town Hall, Exeter (716) reminded us, not unfavourably, of Prout. Shepherd has several exceedingly pleasing and well-sketched views on the River Erme, &c. (514, 522, 528, 529, 552, 631, 718, 725, 756) which, without invidiousness, may be said to be amongst the best of their class in the collection. In the sculpture room, Hefferman's Susanna (871) is a sweetly, delicately, chastely modelled figure. Respecting the truth of the left breast, however, we have some doubt.In Kendrick's Bust of Dr. Kitchiner (901) the likeness is good, but, to our recollection of the deceased, the head is too large and of too determined a character. This artist's Prometheus chained (877) is likely to draw more attention. A Mother playing with her Child (884) and a Child playing with a Dog (885) by C. Moore, are pretty little compositions. In our view, in Woodington's Sterne's Maria (876) the dog has more expression, feelThe Lasting, and character, than the lady.—Gotzenburger, a distinguished historical painter (909) "Massa out, Sambo werry dry " (51) by Pidding, is, without a pun, a spirited little production. Dangerous Curiosity (161) by the same artist, is also clever. This is one of several monkey pieces in this exhibition. Sitting (220) is another. Kidd, too, is amongst the monkey dealers (87). || by C. Moore, is a very remarkable head. His Warming Pan (177) is a good version of an old joke. Egerton, whose Will-o'-the-Wisp, which has since been engraved, attracted so much notice last year, has two productions of similar character, though not perhaps equally attractive, in the present exhibition: the Fire King (154); and|| the Water King (441). In the former, the horse of the Fire King, breathing smoke and flame, is very good. Egerton has several other pieces deserving praise; especially a Durham Ox (338). PAINTERS IN WATER COLOURS. THIS institution, which we never visit without the highest gratification, opened on Monday, the 21st of April, a period of the month too late to admit of more than a very hasty view of its pictures. That hasty view was impeded, too, by the (as usual) crowded state of the room. We must again enter our protest against the deficiency of the catalogue, in not presenting an index of names of the exhibitors, with the num bers of their pictures, as at other exhibitions of works of art. We are sure that the required index would be at once an advantage to the artists, and an accommodation to the public. (291) is treated with similar spirit and effect. In Anne Page and Slender (316) the conception and expression of character are eminently felicitous. The Adventure at Gadshill (324) though good, does not so entirely satisfy the mind. Altogether, however, Richter has been exceedingly fortunate in his choice of subjects. To mention Prout, is to sound the note of praise. His productions this year are very numerous, some of them large, and all of them highly meritorious. Campanele, Ducal Palace, Bridge of Sighs, Prison, &c., at Venice (21); The Rezzonico, Two Foscari, and Balbi Palaces at Venice (97); Rue St. Amand, Lisieux, Normandy (148); Part of the Church of St. Mark, &c., at Venice (138); are all boldly effective. In point of merit, equal attention is due to Rue Grosse-Horloge, Rouen (24) Mausolée de Mastin 2nd famille de l'Escaille, Verona (37); Piazza Basilica, Venice (60); Piazzetta-Venice (69); Petrarch's House at Arqua, Padua (106); Bayeux, Normandy (117); Rue St. Jean, Caen Our old favourites all appear; and, in the productions of some of them, much improvement is apparent. There are, also, one or two new candidates for public favour. Copley Fielding has perhaps as many pieces as usual; but few, we think, of altogether so commanding a character as were some of his in last year's exhi- || bition. We particularize a Scene on the Sands at Brighton at low water (42) with a fine stormy sky; Plymouth Sound, taken under Mount Edgecumbe (44) one of the artist's favourite spots; Ben Lomond, from the upper part of Loch Lomond (51) bright, clear, and transparent; Distant View of Portsmouth from Spithead (57) in which the water is remarkably fine, as are the vessels in the centre, and the floating mast in the foreground. The squally sky contrasts well with the light to the left of the picture. The Sands near Ryde, Isle of Wight,||(130); Porch of Ratisbonne Cathedral (237) ; ebbing tide (90) and Fishing Boats at Sea, off Hastings, are very good. Four views on the Greeta, with Saddleback, Cumberland; in Romney Marsh; at Brinstead, Isle of Wight; and Dover Pier (149); and four marine subjects Hastings; Dover; Eastweare Bay, near Folkstone; and Sandowne Bay, Isle of Wight (171) are all remarkable for their sweetness, delicacy, and clearness of effect. A fine golden glow enriches his sunset view of Southampton (181) which is truly a splendid production. This artist has many others of great merit and beauty, which we cannot now stop to enumerate. || Porch of the Cathedral of Lausanne (319) &c. W. Hunt is making rapid strides in his profession. His pieces are not only numerous, but greatly varied in character. Nothing can be finer than many of his sketches of old sailors, &c., from nature. Contrasting with these, are several pretty young women, also sketches from nature, with different effects of candlelight, lamplight, &c. It is our wish to particularize some of these hereafter. His Dead Peacock, a Study from Nature (206) is, from its subject, different in style, but very brilliant and beautiful. His Fruit from Nature (195) is equal to any thing we have seen of its class. A Butcher's Boy (312) is strongly characteristic; equally so, and eminently pleasing, withal, Fishermen's Children looking out for their Father's Boat (326). The Library of his Grace the Duke of Devonshire, at Hardwick (346); and the Gallery at Hardwick, if they will not add to Mr. Hunt's fame, will at least be received as proofs of the versatility of his talents. We should have remarked that this artist has almost entirely got rid of a certain wooliness of manner to which we formerly ob J. Varley has fewer subjects than usual, but some of them are of high quality. What we had occasion to observe respecting this artist last year, is yet more apparent now: retaining all his vividness and force, he has materially improved the sobriety and firmness of his tone. Barnes, on the River Thames (7); Harlech || Castle, Snowdon in the distance (8); a Cottage Scene (47); Greenwich, a Study from Nature (65); Dunstanborough Castle (74); Bamborough Castle (199) an admirable picture; Lindisfarne Abbey (234); Tumulus of thejected. Greeks who fell in the Battle of Marathon (255) one of the finest in the exhibition; and a View on the Thames (333) will all be found more or less attractive. We were never so much pleased with Richter as we are this year. The Letter (261) is well conceived, well expressed, and well painted. The two Dromios (267) in which Dromio of Ephesus says, "Methinks you are my glass and not my brother; I see by you I am a sweetfaced youth," is full of freshness and of charac-|| The Wedding of Touchstone and Audrey ter. S. Austin appears to be successfully treading in the footsteps of Copley Fielding. We particularly notice his Smugglers sinking their Cargo at the approach of a Revenue Cutter (11); the New Baths, Liverpool (35) brilliant; Stratford-upon-Avon (76); Dolbadern, on the road to Llanberis (107); Coast Scene, Shrimp Girls (118); Clearing a Buoy (124); Cader Idris (240); &c. Robson, who never forgets his purple fringe, and who may be termed stationary, rather than progressive, has several very charming pictures. |