Lord St. Helens was, in consequence, promoted In Lord St. Helens united the qualities of a man of the world, a man of business, a scholar, and a philosopher, in a remarkable degree. CHARLES ROSSI, ESQ., R.A. superannuated member of the Royal Academy. Mr. Rossi was twice married. He had eight children by each of his wives. His second wife survives him. One of his sons is a sculptor. JAMES LONSDALE, ESQ. ON Thursday, the 17th of January, died James Lonsdale, Esq., of Berners Street, an artist of long and justly established reputation. Mr. Lonsdale, a native of Lancashire, was born about the year 1777. He came to London at an early period of his life, and for many years confined his practice to male portraits. His manner was considered hard, but his resemblances were acknowledged to be "inveterate." The following tribute to his character is from the Morning Chronicle : and bland in the highest degree, and his conversation was replete with sagacity, rich in anecdote, and always impressive from justness of thought, clearness of judgment, and undeviating veracity. He died, as he lived, with the calm and unruffled confidence of an honest man, leaving a blank in the enjoyments of his friends not easily to be supplied.' One of Mr. Lonsdale's sons has already distinguished himself as an artist, especially in what is termed "still life." "Combined with an enlarged and masculine understanding, he possessed a straightforward honesty of purpose, which never vacillated beJOHN CHARLES FELIX ROSSI, Esq., one of fore rank or station, and ever secured to him our most eminent sculptors, died at his house, the regard and esteem of those with whom he St. John's Wood, on the 21st of February. He associated; amongst whom may be numbered was born at Nottingham on the 8th of March, many of the most distinguished men of his time 1762. His father, a native of Sienna, was a for wit, talent, and high birth. He had a sort of quack-doctor to the neighbourhood. prompt, discriminating, and just perception of Rossi was apprenticed early to a sculptor named character; and his works shew that he carried Luccatella; and after he had served his appren- that quality, with unusual force, into the subticeship, he continued in the employ of his mas-jects of his pencil. His manners were cheerful at a salary of eighteen shillings a week. However, having been directed to correct some work upon which one of his most highly-rated assistants had been employed, he was led to think that his abilities were not of a low order; he obtained better terms, and was not long in entering upon life. In 1781 he obtained the silver, and in 1784 the gold medal. In 1785, he was sent to Rome by the Royal Academy. He returned in 1788, and was made an associate in 1800. In 1802, he was elected R. A. He was appointed sculptor to the Prince Regent, and subsequently to his Majesty William the Fourth. Many of his works are in the Cathedral of St. Paul. They are monuments to the memory of Captain Faulkner, Captains Moss and Riou, Lord Cornwallis, Lord Rodney, and Lord Heathfield—who defended and kept Gibraltar. His other principal productions are a marble statue of Mercury, done at Rome, now in the possession of the Earl of Lovelace; a statue of Britannia (15 feet high) on the Exchange at Liverpool; a recumbent figure of Eve in marble; and statues in marble of a Mercury, and Thompson the poet (purchased by Sir Robert Peel); Edwin and Eleonora (conjugal affection); Celadon and Amelia; Musidora; Zephyrus and Aurora; and recumbent Venus and Cupid. He was extensively employed in decorating Buckingham Palace. However, our nobility have no space for masses of hewn stone;" and Mr. Rossi found but few patrons when the country ceased to require his services to perpetuate the memory of its heroic defenders. Mr. Rossi, therefore, has bequeathed to his family nothing but his fame. He lived for many years on his pension as a 66 MRS. POPE. ALEXANDER POPE, an eminent actor in his day, was thrice married, and all his wives were women of distinguished merit. His first, who, at the time of their union, was exactly twice his own age, was the celebrated actress, Miss Young. She may be said to have been the maker of his professional fortune. He next married a lady of the name of Spencer (previously Campion), also a very charming actress. In the first season of her appearance in London, she played Juliet, many nights in succession, to Harry Johnston's Romeo. She died at a very early period of life. Mr. Pope's third wife was the lady to whom this brief notice refers. Her maiden name was Lee. She was first married, at an early age, to Francis Wheatley, the painter, R. A.; and secondly, to Mr. Pope, whom she survived about two years. Her forte was flower painting in water colours. She was for a long time employed by Mr. Curtis, the botanical publisher. Her pictures were drawn and painted with botanical accuracy, and with a brilliancy and truth of colour and charac ter, and artistical feeling inferior to none of her contemporaries. Her bold and richly coloured groups and compositions, at the Annual Exhibitions of the Royal Academy, will be long remembered, Having been left by Mr. Wheatley with an interesting family, she had the satisfaction of seeing her children well established in life, through the unwearied exertion of her own talents and industry. She reckoned among her patrons and pupils, the Princess Sophia of Gloucester, the late Duchess of St. Albans, and many other persons of distinction. Mrs. Pope had the good fortune to find friends in every emergency. She possessed in early life much personal beauty; and was supported through many trying situations, by great energy of character, and highly virtuous principle. Her portrait of Madame Catalani had a great salo and was exceedingly popular, although she never paid much attention to this branch of the profession. Mrs. Pope died, at an advanced age, much lamented, on the 24th of December, 1838. THE THEATRES, CONCERTS, &c. LA Porte, the most successful manager that the Italian Opera has had to boast for several years, commenced his operations on the evening of Saturday, March the 9th, with the insipid opera, very flatly and insipidly performed, of Belisario. The absence of all great names was not compensated by the presence of a host of little ones. As yet, Belisario is the only opera that has been performed. After Easter, however the usual season for display-we are led to expect Grisi, Persiani, Albertazzi, Mlle. de Garcia (sister of Malibran), Lablache, Rubini, &c. Will they come all together, or, like the kingly shades in their appearance to Banquo, one at a time? As we fear, the latter. And Tambourini, a host in himself, is not to come at all. In the ballet department, the public have less ground of complaint. A ballet, manufactured out of Meyerbeer's opera of Robert le Diable, is pleasantly enough got through. The little theatre in the Haymarket, following the example of its great neighbour opposite, opened on Monday, the 18th of March, with Sheridan Knowles's comedy of The Love Chase. The chief novelty in this was Miss Taylor's assumption of the part of Constance in lieu of Mrs. Nisbett. Without entering into any invidious comparison, we content ourselves with remarking that Miss Taylor's preservation of the character was delightful. Nothing could surpass in cordiality the greeting with which she was honoured throughout the play. Keep her in her own proper sphere, and Miss Taylor is one of the best and most effective actresses on the London boards. A new farce, called A Wife for a Day, met with deserved success on the opening night, and has been performed every evening since. Power comes forward here at Easter. At Drury Lane, Mr. Bunn closed his beastly exhibition on Saturday, March the 23rd. At his benefit, however, previously to this, Van Amburgh introduced for him one of his two new lions from America. On the same occasion, an amusing afterpiece, called The Little Hunchback, was brought out with great success. Wieland's extraordinary powers are displayed in this to much advantage. A new play, a new opera, a new musical romance, and a new Easter piece are announced as in preparation. At Covent Garden, in Bulwer's Richelieu, which we have noticed at length in our review department, Macready has found a trump card. Richelieu, with the revival of another of Shakspeare's plays now in rehearsal, his favourite stock pieces, and a slight after-piece or two, will, no doubt, carry him triumphantly through to the close of the season. Yates, at the Adelphi, who appears to possess an innate love of the coarse, the horrible, and the agonizing, has produced a version of that elegant romance, Oliver Twist, as a pendant to Nicholas Nickleby; running both the pieces together every night. In Oliver Twist, Mrs. Keeley-clever little Mrs. Keeley-personates the hero; and Mrs. Yates the refined character of Nance, with frightful power. Yates is quite at home in the Jew, Wright equally so in the Dodger, and O. Smith in the ruffian. Hooper, at the St. James's, having announced his intended importation of a troop of goats and monkeys from Paris, at Easter, Yates forestalled him, and got together a set of monkeys from—nobody knows where. Such are the exhibitions which the enlightened and refined populace of Londonthe schoolmaster having been long abroad-nightly flock to witness. Hooper persists in announcing his goats and monkeys-the real Simon Pures-all alive from Paris, for Easter. We should have thought a sufficient number of the simia genus might have been picked up at home, without sending to France. A new burletta, entitled Take your Choice, has been well received at the St. James's. Madame Vestris has, with her accustomed tact, added a burletta-Faint Heart never won Fair Lady, by Planché-to her list of stock pieces. The scene is laid in Spain, in the 17th century; and so admirable is the costume-as it always is at this theatre-that Charles Matthews, as Ruy Gomez, a gay and chivalrous lover, and Madame Vestris, as the Duchess de Terrenueva, the object of his adoration, look as though they had just stepped from the canvas of Velasquez. Gomez woos the lady against her will, and weds her despite the opposition of her betrothed. The dénouement illustrates the title of the piece-Faint Heart never won Fair Lady: in nine instances out of ten true love, ardently sustained, "bears off the belle" in triumph. We are happy to see that our old and most deserving friend, T. Philipps, the ablest lecturer on singing and vocal composition we ever heard, is in full and active pursuit of his profession. Aided by his meritorious pupils, the Misses Brandon, he is at this time delivering a course of six lectures at the Polytechnic Institution. The respective subjects of these lectures, treated seriatim, are: Vocalisation Explained and Illustrated-Graces, and their Application-Florid and Oratorical Singing-Chamber and Miscellaneous Music-Improved Psalmody and Hymnology-The Works of Handel, and our Claim to them, considered as English Compositions -Dramatic Compositions and their Effects. We speak experimentally when we say that we have, over and over again, been greatly edified by Mr. Philipps's lectures. Mr. P. proposes delivering another similar course-with, however, great variations-at the Russell Institution. Parents, as well as students, should avail themselves of an opportunity to witness the extraordinary clearness, simplicity, and effectiveness of his style. FINE ARTS' EXHIBITIONS. THE BRITISH INSTITUTION. WE return, to snatch another hasty repast from the banquet of the British Gallery. Some of our lady-artists not infrequently put their lordly competitors to the blush. Mrs. Carpenter, for instance-what a charming production is her "Study of a Female Head" (23), a portrait, no doubt, of some beautiful original. And what a sweet little picture is Miss F. Corbaux'"Let it go (28) !" The subject is a lovely child with a golden-winged butterfly between his fingers, his elder sister (also in the freshness and beauty of youth) exclaiming, with gentle anxiety for the fate of the poor insect-" Let it go." Miss Corbaux has two other well-imagined and well-treated subjects: "The Ionian Captive" (97), from one of L. E. L.'s poems; and "Genevra" (365), from Lord Byron. The former is a very finely-composed little picture. The admirers of Mrs. Nisbett will be much gratified by Middleton's portraiture of " Neighbour Constance" (83), from Knowles's Comedy of The Love Chase. Lee's" Old Bridge at Lynedoch over the River Almond" (44) is a very clear, bright, well painted, and attractive picture. This industrious and able artist has five or six other paintings in the gallery. The success of Sir E. L. Bulwer's play of Richelieu will direct the attention of many a visitor to Fisk's Queen Mother, Mary de Medicis, demanding of Louis XIII. the Dismissal of Cardinal Richelieu" (157). It is a clever picture of its class: the Queen Mother appears as a fine, majestic, commanding woman; but the figure and expression of Richelieu are deficient in dignity. There is great freshness and spirit, and contrast of character, in Witherington's "Displaying the Catch" (174). A fine, fresh-coloured country boy, with joy and good-natured exultation in his countenance, is pointing to his handsome "catch" of fish; while his companion, though with all the requisite appurtenances of the "angle," has not caught one. Disappointment, with a touch of envy, is well pourtrayed in his features. The picture is very pleasing. Hofland, in his accustomed style of softness, clearness, and beauty, contributes three subjects: two views of Barnard Castle, Durham (195 and 200); and Crumworth Water, from Scale Hill, Cumberland" (207). Though deficient in mellowness and chiaroscuro, Moore's "Sta. Annunziata, Florence" (235) has some brilliant and striking touches. One of the most charming little pictures in the whole collection is Noble's "Balcony" (276). The subject is a music party of four ladies, in a balcony. It is a rich Italian evening scene of sunny brightness, with no undue portion of warmth. The With the exception of a prettyish foot and ankle, we can discern nought of attraction or interest in Crossing the Brook" (285), by J. C. Thompson, R. H. A. Fournier's "Anne Boleyn, the Morning of her Execution" (181) is not without interest; but the subject pains the eye as well as the heart. We naturally shrink from the contemplation of human suffering in its extremity. "The moment of victory" (345) by Fraser, is full of talent--exceedingly clever-yet, in some respects, far from pleasing. The "Moment of Victory" is the close of a cock-fight-and we abominate all cock-fights-in a farm-yard. The ensanguined spurs of the triumphant warrior, and the piteous plight of the poor disabled and dying bird, are revolting to the sight. The farmer and his wife and infant-the gentle commisserating girl and her brother-the boys pursued by the yard dog—all the accessories are extremely well managed. However, we are most pleased with Fraser when he selects for his pencil subjects of a higher order. Douglas Cowper's "Scene from 'Taming of the Shrew" (Bianca and Lucentio-362) is a very finely-painted, clear, well-toned, effective picture. The passage is altogether extremely well conceived and expressed. Two little girls, Foundlings (387), by Browning, are painted with much truth, simplicity, and agreeable effect. Edwin Landseer's "Dairy Maid" (385) should have been called "The Cow and the Maid:" the cow, capital; the maid, not particularly dairyish. Was it essential for Mr. J. Hayter to make "Jeannie Deans visiting her Sister Effie in Prison" (393) so specially ugly? Of the two, we would rather take Effie, even as we find her in the picture, without seeing her face. "The Watering Place" (403), a landscape, with cattle, by T. S. Cooper, presents a delicious air of quiet and repose. Without specifying any of the numerous and excellent pictures which had previously appeared in the Royal Academy exhibition, and which greatly enhance the interest of the present assemblage, we now reluctantly close. SOCIETY OF BRITISH ARTISTS. The private view of the Annual Exhibition of the Society of British Artists, in Suffolk Street, Charing Cross, took place on Saturday, the 23d of March; but we were then unable to attend; and the Monday following, when the public view commenced, was too late for our purpose. We understand, however, that the historical department contain 238 LITERARY, SCIENTIFIC, AND MISCELLANEOUS MEMORABILIA. several productions of more than usual excellence; and that considerable improvement in every branch of art is perceptible. Next month we shall have the satisfaction of reporting from our own inspection. BURFORD'S PANORAMAS. Burford's Panoramic Views, in Leicester Square, invariably constitute one of the most attractive and most gratifying exhibitions in the metropolis. The picture at this time occupying the larger circle is Modern Rome; that in the smaller circle is the Coliseum, with part of the Ancient City. The two subjects could not have been better matched. For the present, we content ourselves with announcing their appearance. LITERARY, SCIENTIFIC, & MISCELLANEOUS MEMORABILIA. THE LITERARY FUND. Ar the meeting on Wednesday, March 13, the Marquess of Northampton was elected a vice-president, in the room of the late Lord Carrington; and Messrs. Charles Dickens and John Bruce into the general committee, in the room of Henry Brandreth, Esq., and J. E. Tennant, Esq. M.P., whose places became vacant in consequence of their not having attended a sufficient number of times within the last year. Mr. Blewitt was elected secretary, pro the Rev. W. Landon, resigned. At the club dinner which followed, Mr. Frederick Salmon, who was in the chair, announced a bequest to the Fund of ONE THOUSAND POUNDS from a friend of his, to whom he had recommended the interests of this most benevolent and valuable Institution. At the ensuing anniversary (the fiftieth), H.R.H. the Duke of Cambridge has consented to preside. NEW COINAGE. A beautiful model has been executed by Mr. Wyon, the chief engraver to the Mint, for the reverse of the five-sovereign piece. It represents the British Lion, passant, accompanied by our young Queen, who extends her sceptre before him. THE BRITISH ASSOCIATION. The first meeting of the general committee at Birmingham, is appointed for Saturday, August 25th; and the proceedings of the Association commence on the following Monday, the 27th. NEW ART OF SUN-PAINTING. During the late discussions in Paris respecting the priority of the discovery of M. Daguerre and Mr. Talbot, the name of M. Niepce was incidentally mentioned as the person to whom the former was indebted for the first idea of fixing the images represented in a camera obscura. Subsequently, M. Niepce's claim to honour has been more fully admitted; and this has been confirmed by Mr. Bauer, in a letter published in the Literary Gazette. Mr. Bauer states, that, in 1827, he became acquainted with M. Niepce, then on a visit to his brother at Kew; that M. Niepce made known to him, and others, that he had discovered a means of " fixing, permanently, the image of any object by the spontaneous action of light," and exhibited several specimens. That, by the advice of Mr. Bauer, he, M. Niepce, drew up a memoir on the subject, dated 8th December, 1827, which he forwarded to the Royal Society, but which was subsequently returned, because it is contrary to the rules of the Society to read a paper referring to a process which is not disclosed. That shortly after, and when about to return to France, M. Niepce presented Mr. Bauer with specimens of the newly-discovered art, which are now in his possession. Thus then, the question of priority, as between England and France, is settled beyond all dispute. The most curious fact, in relation to this discovery, remains to be told. It would appear, considering the character of the pictures, all but impossible that impressions from them could be multiplied after the manner of an engraving; M. Daguerre, indeed, stated that it was impossible. Yet, in 1827, M. Niepce not only declared that it was possible, but produced specimens of such multiplied copies: and Mr. Bauer has now in his possession, not only copies of engravings, fixed permanently by the action of light; not only scenes from nature, but metallic plates engraved, and engravings copied from them; and he nnderstood and believed that no engraving tool was used, but that the drawings were fixed by the action of light, and the plates subsequently engraved by a chemical process, discovered by M. Niepce. If so, the greatest secret of all remains to be made public. GENIUS IN DISTRESS. The following advertisement lately appeared in one of the daily papers :-" An artist and author, of twenty years' experience, solicits the aid of the benevolent. He has written 30,000 lines of original composition in English verse, and never gained a shilling; twelve tragedies, and two comedies, of which he offered the best to Drury Lane and of 407., a poetical volume, sent copies to all the Covent Garden. He published in 1830, at the cost Universities, and sold the rest for 11. 78. as waste paper. Being now arrived at destitution, he proposes to relieve himself by publishing another volume, consisting of an heroic poem, satire, essays, ballads, &c." THE NATIONAL GALLERY. The Chancellor of the Exchequer has authorised the purchase of three or four of the finest pictures in the collection of Mr. Beckford, including the 'St. Catherine' of Raphael. It was formerly the chief attraction of the famous Aldobrandini Palace. When the French, during the revolution, were ad vancing upon Rome, it was disposed of by the family to Lord Northwick, through the agency of Mr. Day; together with Christ and the Doctors,' by Leonardo da Vinci, and the Christ and St. Peter' of Caracci-both, now, in the National collection. While in the possession of Lord Northwick, it was engraved by the Chevalier Desnoyers, in 1824. His Lordship afterwards transferred it to Mr. Beckford. The Nation is to pay for it 3500 guineas. DRAWINGS FROM THE LOUVRE. A Series of Original Drawings, after the most celebrated pictures in the Louvre, during the dynasty of Napoleon, from which the engravings were made for the splendid work-the 'Musée Royal,' are about to be exhibited at the establishment of Messrs. Hodgson and Graves. UNITED SERVICE INSTITUTION. The Eighth Anniversary Meeting of the United Service Museum took place at the Thatched House Tavern, on the 2d of March, Sir George Cockburn in the chair. It was moved and agreed to, that, instead of the name "United Service Museum,' the name "United Service Institution" should be adopted in future; and it was also resolved that the rooms of the Institution should be open daily from 11 A.M. to 5 P.M. in summer, and 4 P.M. in winter; and that the library should be open to members from 7 to 10 in the evening throughout the year. DESTRUCTION OF THE FRENCH DIORAMA. About half-past twelve on the morning of the 8th of March, cries of "fire" were heard on the Boulevard St. Martin. M. Daguerre's extensive establishment was discovered to be on fire, and the flames had already burst through the five windows facing the water. Half an hour afterwards, the building fell with a crash. The progress of the flames was so rapid, in consequence of the combustible nature of the materials in the building, that the edifice was entirely destroyed. The wind directed the flames towards Faubourg du Temple and la petite Rue des Marais. Two houses situated on this side, one of which, six BRITISH ENGRAVERS. An Institute of British Engravers is about to be established, the primary steps having been taken for that purpose. A royal charter of incorporation is expected to be obtained. LITERATURE AND ART. According to the Supplement to Bent's Monthly Literary Advertiser for 1838, which contains Alphabetical Lists of the New Books and Engravings published in London during last year, there appears an increase of New Publications, the Number of Books amounting to 1550, (1850 volumes,) exclusive of New Editions, Pamphlets, or Periodicals, being 170 more than in 1837. The number of Engravings is 87, (including 35 Portraits,) 16 of which are engraved in the Line manner, 41 in Mezzotinto, 41 in Aquatint, and 16 in Chalk, Lithography, &c. TO SUBSCRIBERS AND CORRESPONDENTS. IN acknowledging the kind and flattering notices, | almost innumerable, which have reached us from our metropolitan and provincial contemporaries, we beg to remark, that several of our friends have inadvertently fallen into error respecting our papers On the Fate of Louis XVII. Some have spoken of them, as "a very pretty romance;" others, as "an able digest of what transpired at the Police Offices, &c., on the subject of the Duke of Normandy." We can assure them, our readers, and the public generally, that they are neither one nor the other; that, instead of their constituting a romance, they present a tale of truth; and that they bear not the slightest reference, directly or indirectly, to any thing that ever passed at any of the Police Offices. The facts-the important facts, we must call them -are derived from sources EXCLUSIVELY OUR OWN. The personage proclaiming himself to be the Orphan of the Temple, the son of Louis XVI., courts investigation let his case, therefore, be examined: if he prove an impostor, let him be subjected to the disgrace and infamy that an impostor merits: if, on the other hand, he be, as we firmly believe him to be, the veritable Louis XVII., let his country and the world do him justice. The attention of the reader is requested to the Letter from the Prince, addressed to all the Sovereigns of Europe, which appears at page 195 of the present number of The Aldine Magazine. It is not improbable that we may next month shed an additional flood of light upon this strange and mysterious subject. In the interim, we say, read what has been already written. We have not yet had the honour of receiving the Countess of Blessington's Idler in Italy. We have not received Mr. Laing's Tour in Sweden. We have not received Mrs. Gore's Cabinet Minister. We have not received Dr. Smith's Peru, referred to by N. R. We have not received Mr. Benson E. Hill's Home Service. And that disappointments may not occur to our friends, we take leave to say, that, unless under very particular circumstances, it is not our intention to review any books that do not come before us in the usual way. Will ALPHA favour us with a sight of his Notes on the Progress of the Social Principle? We feel much obliged for all the attentions of our kind friend, E. A. C., at Liverpool. Most happy should we be to meet her wish were it practicable; but, to insure the required variety, we are under the necessity of excluding all poetical communications of length. On this principle, we have just been obliged to return a continuous poem of from 250 to 300 stanzas. One of E. A. C.'s charming little sketches in prose-a powerfully written tale for instance-would be highly acceptable. |