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itself goes into comparative eclipse, and nev- Indian, swim like a dolphin, and row like in reading them we are transported to a er quite recovers its original vigor.
a man-o'-waris-man. This wonder resolved land of lotus-eaters, where lover and beloved It would be very easy to find faults in first to put strength into the girl's body ; alike seem to dwell in a wan twilight of sen“ One Summer" - faults of structure and and his regimen was, early rising, fresh timent, and where the most fervid expresfaults of style. It is quite certain, for in. | milk, a loose belt, easy shoes, running, row. sions do little more than suffuse the cheek stance, that the author never met in real life ing, swimming, riding, skating, and partici- with a "pale hectic." Our conception of persons quite so uniformly well-informed,pation with her seven boy-cousins in all the love may be lacking in true poetical refineready-witted, and brilliant, as are all the so- innocent amusements of childhood. The end ment, but we venture the assertion that, in cially-respectable (meaning the city) person- of the year finds her healthy and bappy, spite of the labored intensity of expression, ages in her little drama; nor, on the other expert in all the invigorating sports of youth, the paraphernalia of sighs, sobs, tears, and hand, a family quite so outrageously crude as and receiving her first initiation, under the despair, there is not a couplet in the entire the Holbrooks. Our own observation is, that competent hands of Aunt Plenty, into the volume which expresses genuine passion-we the young men and women of well-to-do New mysteries of those lost arts, cookery and had almost said genuine feeling of any kind. England farmer-families are, on the whole, house-keeping.
There is one quality of the book, however, quite as well educated and about as well in- It might legitimately be complained of for which Mr. Gilder deserves all the praise formed as their brothers and sisters of the Miss Alcott's stories that they tend to stimu. he is likely to get : his verse is singularly cities ; and surely the young ladies of such
late that pert
and self-asser- graceful, flexible, and melodious, and some families are cruelly libeled in the person of tion which are perhaps the most offensive of the poems “ma music as they w." silly Jane M’ria. The style, too, is overload-characteristics of American children; but To adjust the balance of our criticism, we ed with, and almost smothered under, a su- they are so much more wholesome, natural, will quote one of these as an example of Mr. perabundance of quotations. A very fair and artistic, than the stuff for which they are Gilder's work at its best: collection of "
elegant extracts might be offered as a substitute, that it would be little culled from the by no means numerous pages less than ungrateful to insist upon their faults.
"Once only, Love, can love's sweet song be sung; of “ One Summer" alone; and the reader We wonder, by-the-way, if Miss Alcott real- But once, Love, at our feet love's flower is fung; has to keep his eye constantly upon the quo- izes the risk she runs in deviating from her Once, Love, once only, Love, may we be young: tation-marks in order to know whether the own proper field of story-telling and “drop
Say, shall we love, dear Love, or ehall we hate! author is speaking in her own proper person, ping into " criticism? She devotes a couple “ Once only, Love, will burn the blood-red fire;
But once awakeneth the wild desire; or merely appropriating the words of anoth- of pages of “ Eight Cousins to denouncing
Love pleadeth long, but what if love shonld tire! er. There is the less excuse for this in the the methods of her co-workers, and disre.
Now shall we love, dear Love, or shall we wait! present case because the author's own natu- spectfully characterizes certain well-known
“ The day is short, the evening cometh fast; ral style is exceptionally vivid, graceful, and ornaments of current literature as
The time of choosing, Love, will soon be past; expressive. These defects, however, as well delusions.” It is fortunate for her peace of The outer darkness falleth, Love, at last: as others that might be pointed out, are of mind, perhaps, that she has put the Atlantic Love, let us love ere it be late-too late!" small moment in comparison with those ster- between her and that din of warfare the first The illustrations to the volume are chaste Jing qualities which we have already mentioned notes of which, as we understand, have al- in design and beautifully engraved ; and the as belonging to the book, and with the genu- ready sounded.
peacock's feather in gilt on the front cover ine humor which pervades it like an atmos
makes a novel and striking if somewhat garish phere. This humor is of rare quality-deli- It may be the fault of our own obtuse- decoration. cate and yet hearty, and racy without beingness, but we confess that, after reading it in the slightest degree vulgar. It speaks carefully, and even re-reading portions of it,
AGNES MACDONELL, in an article in Maunilwell, too, for the author's artistic sense that, we are at a loss in regard to Mr. Gilder's
lan's Magazine on “ The American Heroine," wielding so seductive a literary instrument, “ The New Day: A Poem in Songs and Son- is more discriminating and just than critics on she uses it with such temperance as in “ One nets (New York: Scribner, Armstrong & American matters in English periodicals usuSummer.”
Co.). The songs are there, and the sonnets ally are. She is surprised at some of the deare there; also the prelude, the interludes,
lineations of Miss Alcott and Mrs. Stowe, but, We find abundant evidence in "Eight and the after-song; but, with all these spurs
altogether, rather likes them. “Mrs. Stowe's
and Miss Alcott's girls,” the writer says, "are Cousins; or, the Aunt-Hill ” (Boston: Rob. to a lagging perception, we have been unable erts Brothers), of one thing at least, and that to discover that “continuous development
always sprightly; they are, in fact, far clever
er than their male friends. They are neither is, that Miss Alcott's hand has lost nothing of a great emotion in the soul” which the
pert, nor fast, nor unfeminine, but they take of its cunning. Nor does her rollicking vi. poem is said to depict. There is a certain
the lead. These young women are truevacity show sign of abatement. There is as congruity, it is true, among the several parts, hearted, high- minded, and pure. ... The much rushing, and running, and flying, and in that a single theme is common to nearly violet - like' bashfulness that hangs almost whooping, and yelling, and promiscılous riot all the poems; but the only picture lodged like a perfume upon the presence of Mrs. and confusion, in the present work as in any in our imagination is that of a “wan
Gaskell's Mollies and Ruths, these New Engof its predecessors; and we feel after finish. who at the very outset represents himself as
land horoines have not; but they are wholeing it rather as if we had been engaged in a suffering from an impersonal, hysterical sort
somely truthful, very sprightly, charmingly
at their ease. ... The American novelists prolonged romp than in the sober occupation of love, of which weeping, and sobbing, and
have discarded the old artistic place of the of reading a book. The story is of a little sighing, and crying, are the principal ingre
heroine as the passive though perhaps central orphan-girl of thirteen, who, by long confine- dients, and who at the close is prostrate with
figure in the drama, but place her in the rank ment with an invalid father, and subsequent. precisely the same malady. The sonnets, in of active agents in the scene; in their view ly by the injudicious coddling of sundry short, are, for the most part, simply vari. her highest charm is no longer in her eyes aunts, had been brought to a condition in ations upon one emotional mood; and, if of meek surrender, and “ her constraining which she was nervous, depressed, morbid, they had been published without the mechan- grace of rest,' but rather in her playful and with “no constitution," and, as Aunt Myra ical division into parts, preludes, interludes,
shrewd supremacy over society." defined it, “plainly marked for the tomb." etc., we doubt if any one would ever have To her, at an opportune moment, returns her suspected that they had to do with “growth,” sailor uncle and guardian, one of those all
The Arts. “development,” or “ fruition,” of any accomplished, all-wise persons often met with kind. (in books), who can teach physiology, ex- If the defects of structure were the only E described last week two paintings plain the structure of the eye, expound moral ones, however, there would still remain much by Fortuny in Mr. Stewart's gallery. philosophy, beat the parso at practical the- to praise; but, when we come to the separate It may interest the reader to glance at few ology, scale the porch by going hand over poems, we are nearly as much puzzled is by other pictures in this collection. Here is hand up one of the pillars, descend from the the poem as a whole. The one theme with the famous " Horse Fair," by Rosa Bonheur. second story by the water-spout, ride like an which all of them deal is passionate love; yet Occupying one end of the large, well-lighted
room, it appears to great advantage. Opposite / tions of life, this picture is a tender scene saint from Perugino, half the size of life, to it at the other end of the long apartment, i between the two women, where one, dark where every mark of the brush and the man. is another animal picture, one of cattle, by and beautiful, is consoled by her fairer com- ner of laying on the colors could be seen as Auguste Bonheur, a brother of Rosa. Many panion, at whose knees she is reposing. A clearly as in the original. persons think that Auguste surpasses his sis. romantic incident evidently forms but a very Within a year or two Williams & Ever. ter in the natural and strong delineation of small part of Mr. Stevens's design in this ett, recognizing the deficiency in the subjects his subjects. Suffice it to say that this pict- picture, and scarcely more important in his of photographs brought to America, have ure, though it has never, we believe, been eyes is his delineation of " still-life," which is made this particular branch a specialty, and publicly exhibited, is a very important work. very fine in the colors and folds of beautiful within a short time a visit to their store in The cattle-cows and oxen-are standing on yellow embroidered camel's hair, and in the Boston revealed to us how fully they have a green meadow, over which the warm sun- jewels on the women's arms and bands. He supplied this need. One portion of their ligit is playing The sunlight also lights | has evidently enjoyed the development of establishment is entirely devoted to this up the brindled and red and white flanks of the contours and action of these two figures, class of art, and here on the walls are hung the cattle, and gives a sleepy, afternoon haze and the pleasing tints from the artificial light large and magnificent carbons of the rarest to the peaceful scene. Another painting which plays upon the lines of their soft subjects. Below these pictures of Michael here is Gérôme's great gladiatorial contest, 1 heads, and brings out the graceful forms of Angelo, frescoes from the Sistine Chapel, bis so well known by engravings and photo. dress and figure.
sculptures from the church of San Lorenzo, graphs. The scene, it will be remembered,
and the old frescoes of Fra Angelico and is a Roman arena. Galleries filled with peo. While autotypes and photographs of the Giotto in the convent of San Marco at Flor. ple embrace the upper half of the painting ; more popular paintings and sculptures of ence, are ranged in large wooden cases sepand from the centre of the lower gallery are Europe are to be met with in every shop, ) arately the works of the famous artists, some suspended the eagles and pennants of Rome. and, in fact, at nearly every picture-stand thousand in number. Here is a whole see. The most prominent figure in the scene is in street or railway - station, there is a large tion devoted to Bellini, another to Cimabue, the heavily-made, half-naked gladiator. His class of very beautiful subjects that are rare- and another to Velasquez. Their pictures head is incased in an immense gilded hel- ly seen here, except by “carbons" and pho. from Spain, Italy, and Germany, France and met, and his loins and the lower portion of tographs brought from Europe by private | England, are collected here, and, sitting at his body glitter with armor of the saine individuals. After looking at the queer old the table at which visitors are freely allowed metal. On one arm he holds a gilt shield, pictures by Francia, Cimabue, and Fra An- to examine these treasures, a feeling of emand the rest of his person, excepting his gelico, or Perugino, people often return
barras de richesse comes over one as he notes feet, show his bare flesh, heavy with mus- home, to find that the saints and angels of the rich sbading which, to bis recollection, cles and sinew. This gladiator is standing these artists linger in their hearts and mem- recalls so much color in a Rembrandt from over the helpless but living form of his vic- ory long after famous Titians or Raphaels Amsterdam, or of a Velasquez from Madrid. tim, a young man stretched out at his feet, may have faded from their imagination. Their The intellectual pleasure one derives from and in the distance lie two or three other own portfolios furnish no examples of these seeing the original paintings can nearly all victims slain in the game. Seated at the front masters, and in vain they search the picture- be enjoyed in the perfect line and subtile of the gallery are the emperor and the em- stores to find reminders of the faces they bad shadow of these pictures; and, as a matter press. Gérôme has taken the moment when, | learned to love so well. “ Assumptions" by of study and knowledge, the excitement the victim being vanquished, the conquer. Titian, and Madonnas by Raphael, are as fre. and delight that are felt in examining the or looks for a token whether he shall spare quent as pictures of Grant or views of Broad- originals in the galleries is greatly blurred or take away his life. With his heavy torso, way, but scarcely anywhere can they find by fatigue, bad lights, and the number of and above all in his big, queer - pointed, the faces which have stolen unawares upon places one is obliged to visit from which to metal bonnet, this man seems like some their affections, and so unexpectedly have cull the objects of his choice. At Williams hippopotamus or elephantine monster, the usurped the places of better-known pictures, & Everett's precious collection, for so we evil spawn of his evil era. Sword in band / copies of which they have brought home must call it, a splendid figure from Raphael's he gazes up at the crowd. The gallery is with them. Here or there, in a private col- cartoon of the “ Beautiful Temple," at South quite low above the arena, and his head lection, we chance upon some long-remem- | Kensington, can be compared line for line is only a few feet below that of the em- bered Da Vinci or Botticelli, but they are with his “St. Michael and the Dragon” in peror, whose cruel, sensual face can be dis- only scattered thinly, and so we, with a sigh,
the Salle Carrée of the Louvre-a comparison tinctly seen in every feature. A great piece wait till we go to Europe once more, to cor- which has to be made otherwise between a of historical representation, this painting of rect the mistakes and omissions we have memory and the reality. All the great pietGérôme's has also vast merit as a work of made.
ures of Velasquez, too, with their stately art.
During the last summer, among the choice mien, their solemn shadow and color, and, Meissonier is represented in this collec- collections of all sorts of articles which fol. above all, their modeled, tender half - tints tion by two very elaborate and costly master- low the gay world to the watering-places and and light, here spread before the eve of the pieces—such masterpieces as are never found popular resorts, a most complete and delight student, collected from nearly every gallery in our public exhibitions, but only to be seen ful collection of carbon photographs, two or of Europe, a splendid “open sesame "to ans. at the French exposition or in the studio of three thousand in number, appeared at New-body who looks at them. Such a collection the artist. It is on that account the greater port. Made by the famous photographer
as this is indeed a valuable art-treasure to privilege that the public can occasionally look Braun, they had been brought to Newport by every one, and from it imperfect sets of wellat, not what such an artist as Meissonier Williams & Everett, the popular picture classified subjects can be filled out, or beauusually does, but what his works are at dealers of Boston. An hour or a day was tiful solitary pictures be selected. their very best. One of the pictures, in par- delightful to spend in looking at them, but Snedecor, in New York, has a partial col. ticular, represents some men on horseback, the consciousness that at length there was lection of the same class of subjects, scatand the motion, the structure, and the hides of one place in America where we could recall tered carbons of great beauty, where single the horses, afford a whole world of experience most of our old foreign impressions at will, pictures of high value can be obtained, such for thought and study to a young artist. Al- gave us profound satisfaction.
Here were as the superb carbon of the upper half of the fred Stevens, of England, is known in Ameri- Velasquez and Tintoretto, Fra Angelico and figure of the Sistine Madonna. This carbon ca by one or two little paintings that were Greuze, side by side, and the pictures were measures several feet square, and would be exhibited last spring at the Academy water- of all sizes, from little autotypes ci the draw- indeed a splendid addition to the walls of color collection, Mr. Stewart has a very beau- | ings from the old masters in the Pitti Palace, any house. tiful and elaborate oil-picture of his of two three or four inches square, to magnificent young women after a ball. Like English pict- sections of one or two figures only; from A visit to Mr. Winslow Homer's studio a ures which bave been severely criticised as Raphael's cartoons at South Kensington, sec- few days ago showed us about twenty impor. being romantic or sentimental representa- tions two or three feet high, or the head of a tant studies as the result of his summer va.
cation. Of these, eight are large paintings acteristic of salt marshes in the neighbor- not a conventional study of an Egyptian in oils, about thirty-eight by twenty-four incb- hood of the sea. The boy's figure is outlined desert, although back from the Nile. There
Looking over the pictures, the visitor darkly against the evening light, avd the is a screen of fresh, green foliage introduced finds that Mr. Homer has made great use of dark shapes of the tall rushes that border in the middle ground near the old mosque, some half-dozen models which he has ar. the channel also appear conspicuously. and the train of camels under the city walls ranged and grouped in a variety of ways.
lends a suggestion of life to the scene, which of these, two blond-haired sisters figure in
J. B. BRISTOL returned to his studio last
renders it very attractive. The work is care.. one large sketch in a sort of gray shadow
week, with an attractive collection of land fully painted, and the coloring is exceedingly against a light background, looking as if
brilliant and harmonious. As the scene was scape sketches and studies made in both oil they might be sisters in an artist's brain to and water colors, and comprising all varieties
studied under an afternoon-effect, it assumes Rose and Blanche of “The Wandering Jew," of scenery, from the picturesque hills and
considerable interest in connection with the or they reminded us of the modest, fresh
valleys of Berkshire County, Massachusetts, subtile distribution of sunlight, and the manmaidens in George H. Boughton's “ English to the more rugged mountain-forms wbich
ner in which it is broken by the clearly-deMeadow.Paths.” One of them appears again border the northern shore of Lake Cham
fined shadows of the tombs. Another pleasin a very clear-toned water-color picture, plain. One of the most charming studies in
ant Egyptian scene was drawn at a trading. dressed in a graceful, beruffled, fluffy sumhis portfolio is of an old red mill on Green
village on the Nile, at a point about three mer costume, while they both form the main
It is chiefly re. River, near Great Barrington. The mill is a hundred miles above Cairo. subject in a third sketch. quaint old structure, with a peaked roof, sur
markable as a study of the famous NileMr. Homer has been scarcely known at mounted by a belfry and weather-vane. It
boats which, with their tall masts and quaint all as a painter of animals, but this summer occupies a picturesque site, and makes a very
sails, are very picturesque objects. he has added to his sketching furniture a
interesting subject for a picture. Mr. Bel. shambling young white calf, and this call lows made studies of the same mill, in com.
The London Athenæum is not pleased with figures prominently in several scenes. Mr. pany with Mr. Bristol, so that we shall, with.
the statue of Stonewall Jackson just erected Homer's pictures are very popular, and his
at Richmond. It says: “ We described Foley's out doubt, have the subject reproduced in strong points have been often discussed both
statue of General 'Stonewall' Jackson when it both oil and water colors by these artists. in print and in private circles, but, as he had
was at the foundery in Chelsea, previous to beMr. Bristol says that the view of the old ing cast in bronze. Since then this figure has not made any animals before, except those
mill forms a picture from almost any point | been cast. Of it, critically, we are bound to occupying very unimportant situations in
of view in its neighborhood, and furnishes say that we wish it had been a better work of some of his figure-pieces, they have never
material enough for a good season's work. art; and we say this, not only for the reputacome under observation. We have admired
Another of Mr. Bristol's studies gives a view tion of the sculptor, but for the honor of the the lively action of bis school-boys playing of a country-road in early autumn, and is a
heroic general himself, as well as on account “break the ring" as they ran around in a work of singular harmony and beauty. The
of the sympathy which has led many English big circle outside their little country school.
admirers of Stonewall' to subscribe funds road divides the landscape, and on the right and present the statue to the State of Virhouse, and have praised his country beau, so
there is a group of maples, beeches, and other awkwardly wriggling his feet and shoulders
ginia." bardy upland trees brightly tinted with auin “ The Course of True Love ” last spring in tumn colors. The tones of color are of the
The Academy utters the following: “An exthe Academy, but we think we never saw so most brilliant character, and the reds, crim
hibition of wood-engravings has been opened mucb natural or lively action in one of bis
this summer at Berlin. The many new methson, and gold, are mingled with the browns men or women as is displayed by this lean,
ods of reproduction now in vogue have, in and greens in rare unity. The wayside long-legged calf. In one painting, and this a
some measure, replaced the old art of woodgrasses are yet fresh and green, but the ferns large and careful study, a colored boy, big
engraving, which has fallen of late years and shrubbery are brown and withered under greatly into decline.” This is a strange thing headed, thin-armed, and ragged, stands in
the influence of recent frosts. Mr. Bristol to say. “The new methods of reproduction" the shade of a tree, braced energetically
has several of these wayside studies which have met with very little success, and woodback, with his feet set well apart, dragging
can be worked up into very delightful pict- engraving, in England and the United States, by a rope this timid, struggling calf, who
at least, has not only maintained its own, pulls back from him. The calf bas shape.
but in spirit and graphic power has, if any less, ill-knit legs, bony little shoulders, and a FRANK WALLER is at work upon an Egyptian thing, gained. German wood-engraving exfunny long tail, which contrasts in true calf-subject from studies made during his visit to
hibits commonly vast labor, but lacks strength fashion with the lovely, soft form of its pret
and effect. Cairo and up the Nile, last season. His latest ty head, with its gentle eyes and little round-picture illustrates a view among a cluster of In our description, recently, of the new ed nose.
modern tombs outside the walls of the city Chickering Building in Fifth Avenue, we misIn another picture, nearly finished, which of Cairo on the high-road to the “ tombs of stated its dimensions, which are eighty feet is called “A Foraging Party of Duryea's the caliphs.” In the foreground are cluster.
in width and one hundred and thirty-five feet Zouaves," a group of soldiers, clad in the ing tombs of stone, which are covered with
in depth. red-and-blue jackets and baggy trousers of stucco and glisten in the sunlight. Many of that regiment, appear in an apple-orchard. these tombs are of fanciful shape, and have
Music and the Drama. One of these soldiers, in the foreground, is a colored decorations upon their ends and very fine specimen of a sun-browned, weath- sides. There is not much art-taste shown, er-beaten American. Here it is he who has however, in these modern Egyptian memorial CRITERS on music have had much to the calf, and this time the animal, grown structures, and the simple, square piles of
say from time to time on English bigger and stouter, is running along with the stones and stucco in the foreground are in opera preserving the distinctive characterisman, who holds him by the tail. Another striking contrast to the ancient mosque of El tics of the people and the flavor of the lan. subject is the very picturesque figure of a Hakeem, the towers and minarets of which guage. The desirability of making it a natuyoung fisher-boy, who left his nets, for a show in the distance, which, it is said, forms ral growth, and not a mere foreign graft, is good " consideration," to devote his time to one of the grand memorial tombs of the not to be questioned, but the difficulties in the business of posing for Mr. Homer. In Moors, and dates from the thirteenth century the way are many and hard to surmount. In one of the pictures, in which this boy appears, or thereabout. The foreground tombs are a musical sense the genius of our language is he is sitting upon the edge of a broad, round- built upon the sand; and on either hand are dramatic and not lyric. English is rather a keeled boat, that has been drawn upon a high stone inclosures erected to guard the practical and energetic than a musical lanpebbly beach, beyond which this blue sea. more elaborate sepulchres of the wealthy guage, in spite of the fact that it contains a water is dancing in a small cove. In anoth- Cairene people. The sky is clear and airy, larger body of noble poetry than any other er sketch, taken just after sunset, this fisher- with semi-transparent cloud-forms floating at modern tongue, and that such masters of song boy again appears in bis boat, which has the zenith, which gives additional value to its as Shelley, Tennyson, and Swinburne, have floated up one of the little channels so char. pearly depths. Fortunately, this picture is | moulded its strong syllables into measures
of liquid beauty and sweetness. Like all for its beauty, has yet in it several charming which shall satisfy musical taste, at least in languages of the more robust type, English and pathetic ballad-airs, and several of the the choral execution if not in tbe solos. has the capacity under the lift of strong quaint old Irish songs are interwoven with The great feature of the first public peremotion to become crystallized into the finest the main texture of the work very effectively. formance of the new oratorio society was the forms of ballad and lyric poetry. Both Ger. These give an admirable chance not only appearance of Mademoiselle Titiens in a deman and English, alike rugged and sinewy, for the display of artistic singing, but for the partment of music in which she has been are matchless in this respect. But the fit- development of that deep feeling and sympa- heralded by English criticism as without a ness of a language for musical setting is to be thy which always delight even the most cul. living equal. The singing of oratorio in a measured not by its exceptional phases, but by tivated audiences far more than the elaborate thoroughly satisfactory manner taxes the art its average characteristics of sound and pro- roulades and fioritures of Italian opera. The of the singer to a greater extent than even nunciation. Not the force and beauty of the greatest singers have not disdained to put grand opera. Faults of method and voice, poetic words are so much to be considered as forth their best skill in rendering apparently which might be covered up by powerful actliquid ease and openness of vocal combina- simple music.
ing, here stand out glaringly open to the pube tion. Italian, by the beauty and sweetness In the part of Eily O'Connor, by Miss Kel- lic criticism. Faulty phrasing, imperfect in. of its sounds, is preöminently a musical lan. logy, there are several charming and pathetic tonation, uneven scales, become instantly guage. The current language of the street songs, which she sang with intelligence and prominent, for there are no glittering allureand mart can be sung as easily as the elabo- effect, as she rarely fails to do. We can ments to distract the attention. It is bere rate work of the lyric poet. All the action hardly pronounce her interpretation, however, that the greatest singers have won their of Italian opera fits easily to music, and reci. to have brought out their full measure of laurels, if not in the opinion of the general tative becomes no less important than the feeling. Miss Kellogg's mastery of the ballad public, most assuredly in the judgment of inairs and concerted pieces. The writer of style, with its broad and simple sweetness, telligent connoisseurs and musicians. English opera in attempting to follow this its "art which conceals art," is by no means Mademoiselle Titiens was evidently sufmodel meets stumbling-blocks not to be over- to be compared with her command over the fering from a bad cold, but she sang like a come, for no great poet, one capable of mas- elaborate and pretentious forms of music. To great artist notwithstanding this drawback. tering the difficulties of the tongue, would be this, however, one exception must be made She did not dare to attempt those effects likely to become a mere librettist. Most of in her singing of the song “I'm alone, I'm in modulation which might have been exthe English composers bave recognized this alone,” which was so charmingly given as to pected, and at times her voice appeared condifficulty, and therefore substituted dialogue awaken the audience into an outburst of siderably worn, aggravated, as it was, by for recitative. Music is set only to the more genuine delight and enthusiasm.
hourseness. But such broad, grand phrasexalted lyric passages—to the more intense Mr. Castle's performance of the tenor rôle | ing, such pure, crisp intonation, hare not feeling and situation developed in the drama. of Hardress Cregan was a clever piece of act- been heard in America since the days of JenWhat we know as English opera, therefore, ing, but in a musical sense by no means praise- ny Lind. The delivery of the notes, eren in is rather musical drama than opera, properly worthy. The delightful song of “Eily mav the runs and scales, was as round and disso called.
neen," one of Sims Reeves's favorite concert- tinct as the stroke of a bell. To these er. Here criticism finds its first point of at- pieces, was not given with any thing like the cellepces Mademoiselle Titiens united a cer. tack on the late performance of Sir Julius | beauty, pathos, and power, possible to it, tain dramatic warmth and fire which we are Benedict's opera of “The Lily of Killarney," though the intrinsic excellence of the music not accustomed to associate with oratorio as given at Booth's theatre by the Kellogg called for a repetition. With the exception i singing. The passion of the great actress English Opera Company. As the composer of Mr. Carleton, who sang and acted the rôle could not be kept under, and gave a certain designed the work, it contains but little reci- of Danny Mann with marked ability, the rest religious glow and fervor quite unique. In tative, the most of the drama being spoken of the performance was simply bad.
presence of these splendid qualities, it hardly dialogue as in the original “Colleen Bawn," The opera of “ The Lily of Killarney” has becomes us to carp at defects of voice inon which it is based. Miss Kellogg, how. in it enough of bright and tuneful airs and separable from one who has been a singer ever, saw fit to change the composer's pur- concerted music to make it attractive if well for so many years as Mademoiselle Titiens pose, and had recitative written expressly for done. The dramatic possibilities are more It would be vain to deny that there are fresbit. This action may be accounted for either than usually effective, but need a vigor, ra- er voices. But there are few singers who hecluse Miss Kellogg is conscious of her in- pidity, and precision, to which the perform would not be willing to barter the fortuitous capacity for speaking dialogue intelligently, ance of Miss Kellogg's company did not by advantages of youth for the grand art wbich or because the management aimed to give a any means reach.
has given Titiens a rank which in many refictitious novelty to an opera which had al
spects has no equal in Europe accoriling to ready been rendered by the Richings Eng- The oratorio of “The Messiah "was given the standard of the most competent judges. lish Opera Troupe several years since. by the Centennial Choral Union, a new so- Miss Orasdil, the contralto, shared the
But, whatever may be the reason, it is to ciety recently organized, at Steinway Hall, to honors of the evening with Titiens. A roice be regretted that Benedict's opera was not an immense audience, on the night of Wednes- so solid, rich, and smooth, as to be in many given as originally intended. Recitative, day the 20th ultimo. The organization of a respects phenomenal, rendered the contralto when as bald and bad as that written to good choral society has long been felt to be a music with a fervor and sympathy that quite order to improve the work of the English great need in New York, and it has been a took the audience by storm, and hardly percomposer, needs very skilled and intelligent matter of wonder that, with so much good mitted the singer to take her seat. It is to singing to make it tolerable. Miss Kellogg's material at command, the attempts should be doubted whether any contralto voice that company, for the most part, sing badly, and have been so spasmodic and unsatisfactory. has been heard for years in this country is what might have been well done in dialogue The performance of “The Messiah ” gave quite her equal, as Miss Cary is rather a was simply wretched as given in this tinkered strong hope that tbe desideratum hag at last mezzo-soprano with contralto compass than a edition of the opera.
been met, for we have rarely heard a more pure contralto. It is a pity that so noble an The Lily of Killarney” has the same massive, precise, and vigorous rendition of organ should be confined to the comparativestory as Boucicault's well-known drama of the noble choruses of Händel's great work, ly limited sphere of sacred music. “The Colleen Bawn,"and preserves its salient even on the part of a society old in practice The tenor and barytone solos were badly characteristics with precision and effect. In and experience. With the exception of some done by Messrs. Wilkie and Thomas. The able hands, therefore, its dramatic points slight lack of balance on the part of the next oratorio, to be given on November 10th, might be made a very entertaining feature of altos, the society seems nearly every thing will be that of “Elijah," when the tenor and the performance, which would partly con- that is desirable. The organizers of the so- barytone rôles will be differently assigned. done poor singing. Adequate justice was ciety deserve high credit for the thorough Lovers of music will generally congratulate bardly done either to the musical or dra- manner in which they have done the work the Centennial Choral Union on their puspimatic possibilities of the work. The music they have undertaken, and we may now look cious beginning, and look forward to future of Bedredict, though by no means remarkable forward for some performances of oratorio performances with no little expectation.
Mr. Booth's reappearance has been hailed with a general acclamation. There is a very large class of people who have an intense admiration for Mr. Booth's acting, and everybody too has felt sympathy for his pecuniary misfortunes as a manager, and for his sufferings in the recent accident that came so near depriving the stage of him altogether. It must be conceded, moreover, even by those who question Mr. Booth's great genius as an
German artists collected to support the great | Michaud, of the Académie Française, with iltenor is fairly good, but not by any means lustrations by Gustave Doré. It is to be issuch as we might have hoped for.
sued in fortnightly numbers, each number to contaiu sixteen pages of text and four fullpage illustrations printed separate from the
text. The first number will be published on From Abroad.
the 18th of this month, and each one will cost
one dollar and twenty cents. Twenty-five OUR PARIS LETTER.
numbers will complete the work, which will
form, when finished, two large folio volumes. October 12, 1875. Firmin Didot & Co. have in press a Dic
actor, that be, in fact, stands now at the A NOVEL sensation in the literary worla tionary of Architecture and of the Arts and
head of the American stage. It may be shown
has been vouchsafed to blasé Paris dur- Sciences " by that his Hamlet and bis Richelieu are far
ing the past week. The celebrated American architect. This work is also to be issued in
adventuress and heroine of the Russian diafrom being the great impersonations his
numbers. It will contain, when finished, mond scandal, Mrs. Blackford, has published four thousand woodcuts in the text, sixty friends think them to be, but, after all, where
a book giving a full account of her adventures full-page wood engravings printed apart from can we turn to find better ones?
in Russia. The work is in itself nowise re- the text, and forty chromo-lithographs. It Mr. Booth opened at Daly's Theatre on
markable, but as it contains several of the let- will form four octavo volumes. E. Plon & the night of October 25th, appearing in Ham- ters which the young Grand-duke Nicholas was Co. have just issued the second volume of let. He brings to the rendition of this infatuated enough to write to the lady, it has “Equatorial Africa,” by the Marquis de Compart many new phases. Mr. Booth bas not been much sought after by the curious. Those piègne, illustrated with a map and numerous shown marked steadfastness in any of his who really wanted to read it, did well to be in woodcuts. The Librairie des Bibliophiles is personations. It will be said by bis friends a hurry to purchase it ; for three days after shortly to publish a work entitled “Comé
the book had made its first appearance it was that this is only proof of continual study, of
diens et Comédiennes,” the first series of the growth and development of his concep
seized by the police, and the fair authoress which is to be the Comédie Française, with
was ordered to quit Paris forth with. She text by Francisque Sarcey, and illustrations tions; but there is some evidence to show
has gone to London, where she will negotiate, by Léon Gaucheret. Of new novels any that these changes are often the result of
it is said, for an English edition of her book quantity are announced, some as being just uncertain grasp and wandering purpose. The (the present one is in French), containing all ready, and others as in course of preparation. new Hamlet--for so different is it as now
the papers of the grand-duke which remain Octave Feuillet's lovely “Mariage dans le given from the actor's former renditions that at present in her hands, some of which are Monde” has just been published by Michel it bears this description—is improved in some said to treat of very important political ques- Lévy. E. Dentu issued “Le Chevalier Ténèof the details, but is scarcely an advance in
tions. The will which be made in her favor, bre,” by Paul Féval, and " An Actress's Vendepth of reach or elevation of feeling. There
and also a deed settling on her a large annual geance," by Henri Augu. The same house are so many fine touches and so many weak
income, were purchased from her by the Rus- announces Colonel Chamberlain,” by Hec
sian Government for the sum of forty thou- tor Malot; “The Veiled Lady," by Emile points in it, so many things suggested by the
sand dollars, and it is rumored that fifty thou- Richebourg ; and “The Book of Exile," by acting of some of the scenes, that the person.
sand dollars was offered for the grand-duke's the late Edgar Quinet. From the Biblication calls for a more elaborate and careful
letters, but the lady insisted upon receiving thèque Charpentier we are shortly to have criticism than we can find room for this week. twice as much, and the negotiations came to “Stili Waters" (L'Eau Dormante), by Lucien We hope, however, to be able, at some fu- nauglit. Why so much tuss should have Biart; and “La Comédie Académique,” by ture time, to give the now most generally been made about her book (which is entitled Champfleury. The Librairie Sartorius is ailmired Hamlet of the stage an analysis in
“ The Romance of an American Woman in about to issue a novel by Clémence Badère, some measure worthy of the subject.
Russia," and was published in Brussels) is with the highly-sensational title of “The hard to imagine, for it is commonplace enough, | Physician Poisoner," and also Morel's "Héand even the letters of the imperial and in- lène Brunet," a novel which is so hideously
fatuated lover possess but little interest. immoral that the Figaro, in whose columns it The reappearance of Herr Wachtel in
The only incident worth recalling in the was first issued as a feuilldon, was compelled German opera at the Academy of Music has
volume is the scene where the lady breaks one to break it off short in the middle, and to reawakened among his countrymen something of her ivory hair-brushes over the head of the apologize for ever having commenced it. The of the same enthusiasm which welcomed his grand-duke, and he throws the other out of the Figaro is shortly to begin the publication of a first coming to America, though we do not window for fear of a repetition of the blows. new novel by Xavier de Montepin, entitled think there is the same beartiness and fervor
And yet the woman in question is a very type of "The Secret of the Countess." shown on the part of the American public.
delicate, fragile beauty, slender, pensive, and The veteran actor Bressant, who was
refined-looking, with long, almond-shaped, The ad captandum qualities of the German
cently threatened with paralysis, is much tenor do not wear altogether well, und, great and the grace and style of a born American. dark eyes, an exquisitely-proportioned figure, better, and will shortly return to the boards
of the Comédie Française. A propos of Bresa singer as he unquestionably is in many re
Apart from the paint which she puts on her sant, a story is told respecting him and Jules spects, his defects are very conspicuous. But lips, and other artificial enhancements of her Janin, which well exemplifies the uneasy vanin every thing that savors of a tour de force, charms, she might readily be mistaken for a ity of the great critic. He published one day in all the climaxes wliere the largest measure lady belonging to the choicest of all possible a highly favorable notice of the acting of of singing and dramatic force must be put
mondes instead of to the demi-monde. She has Bressant in a new play. The actor, for some forth, Wachtel is worthy of the highest added to her numerous aliases that of Fanny reason or other, neglected to thank him or to praise. It is in the sustained singing that
Lear, the name of the heroine of one of the take any notice of his article. From that time we think he falls short of artistic excellence.
most powerful comedies of Meilhac and Ha- to the day of his death, Jules Janin never It may be that this is deliberate for the pur
lévy. And why this long discussion, one mentioned Bressant's name in any one of his
would naturally ask, about a woman and a dramatic criticisms. When forced to speak pose of saving the voice for the great efforts.
book, neither of which are worth mentioning? of the characters in which he performed in But no artist of Wachtel's rank should feel
That may be, and yet to mention neither order to give a full account of the different this necessity. His use of the falsetto in the would simply be to ignore a very marked Pa- plays, he would always speak of him as “the high notes of the less brilliant passages is a risian sensation. The papers for the past few actor who took such a part, the person who trick which would hardly be tolerated out- days have devoted whole columns to the sub- played the hero," etc. On the other hand, it side of Germany or America. His electrify. ject, the portrait of Mrs. Blackford-Feenix- is whispered abroad that, Francisque Sarcey ing outbursts, his superb acting, and perfect Fanny Lear smiles from the windows of all having warmly praised certain points in La command of all the resources of stage effect,
the photograph-sellers on the boulevards, Dame aux Camélias of Mademoiselle Tallanare such, however, as to dwarf the defect we
and from six to twenty dollars are already of- diera, the yrateful actress sent him a diamond have mentioned for any but a very critical fered for single copies of the suppressed vol- ring, which the great critic sent back at once,
accompanying the returned offering with a and fastidious audience, who demand perfect. New books and announcements of new very stern and severe letter. ly artistic singing at the expense of every books abound, Furne, Jouvet & Co. an- “Rose Michel " has been revived at the thing and any thing else. The company of
History of the Crusades,” by M. Ambigu, with Fargueil in her original part as