is to say, they were entertainments with Rossini at the beginning, Rossini in the middle, and Rossini at the end. But, if scenes of gaiety have been somewhat more rare, and less showy than usual, there has been at least one entertainment without any deficiency of festivity or brilliancy. I allude to that which takes place annually on the last day of the Car nival, when the lower orders as semble in the spacious island between the Canal and the Manzanares, which then serves them for a ridotto al fresco. This year it made an appearance more handsome than usual; for, cwing to the extreme mildness and forwardness of the season, the long rows of almond and mulberry trees were all in full bloom. On passing through the Atocha gate, a long line of people was seen, whose merriment was audible at a great distance. Many a wide mantle was there spread upon the ground; and seated around them were families feasting upon dishes of roast meat or eggs; while the leathern bottle ran the gauntlet from mouth to mouth, until at length it dropped down fairly exhausted. As soon as these patriarchal banquets were terminated, and the wine had set their blood in more than usual motion, the castanets and guitars were taken; and those who had been indolently lolling, leaped up, and displayed, in the vehemence of the bolero, their agility, though not always their gracefulness, to circles of spectators who immediately formed around them. Attention was suddenly called from the dancers to a spot whence issued long and reiterated shouts of laughter: the noise proceeded from a mirthful troop of both sexes, who were tossing up a stuffed figure, most curiously dressed, and fancifully named by them Don Pellejo (or Mr. Bottlebelly). The dexterity with which this singular personage was made to ascend, was as wonderful as his descent was entertaining; for he generally fell upon some unlucky head, to the great amusement of the bystanders. Dancing, cards, jumping-all contributed their shares towards the entertainment; and when every other sport had been in turn, the company, more boisterous than refined, exercised their strength

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by flinging each other to the ground. Orange-women, aguadores, melonvenders, all added to the bustle, the noise, and the liveliness of the scene; were there wanting grotesque masks, who contributed greatly to the diversion of the populace. Several thousand persons of the lowest class were here met together, singing, shouting, bawling, and occasionally cursing; with scarcely one of the middling ranks :-indeed, no respectable female would think of venturing into a crowd of frantic bacchanalians, where all decency, both of words and actions, appeared to be forgotten.

Within the last week or two, there has been no want of attractions well calculated to collect together the mob. The consecration of the standards of the National Guard,-when this splendidly-arrayed troop, preceded by men in the old Spanish costume, heralds, &c. went in procession to the church, where the ceremony was performed;-the public dinners given by the different regiments of the garrison-the opening of the Cortes, at which the Queen was present, in a dress glittering with diamonds, and well worthy of the majesty of both the Indies:all these exhibitions served to gratify the taste of the multitude for fine shows.

In the middle of February, died the notorious Abbé Marchena, of which circumstance little notice was taken here, at the time, by the public journals: some said nothing, because they detest the Afranzesados; and the Afranzesados themselves were silent, because they wished the most notorious leaders of their party to be forgotten. The Abbé was known in Germany by his fragment from Petronius, and from having served in the army of the Rhine, under Moreau. He was born at Utzera, in Andalusia, about the year 1770; and distinguished himself early in life, by his superior talents. His first profession was that of the church, where he was a "religieux sans religion; for, with all the eagerness of an unsettled and restless mind, he devoured the writings of the French philosophers, at that time prohibited in Spain, and adopted their principles; which were so much the more agreeable to him, as they preached

down every thing resembling intoler ance in matters of opinion. These doctrines he promulgated with a zeal which soon obtained for him the notice of the Inquisition. He was ordered to be apprehended; but his friends found means to warn him of his danger, and he escaped to France, just as the Revolution was on the point of breaking out. He now gave himself to this cause with a youthful glow, which shortly after wards increased into an impetuous flame. After a short stay at Bayonne, he hastened to Paris, where, in consequence of his possessing a thorough knowledge of the classical languages, an excellent memory, a happy tact at composition, and considerable talents, he was favourably received by many literati of the highest celebrity. At first he was employed in writing for Marat's notorious journal; but he subsequently attached himself to Brissot and the Girondists. He was apprehended at Moulins, and was brought to Paris and imprisoned.The furious pamphlets which he composed during his incarceration, could not, however, obtain for him that crown of martyrdom to which he so ardently aspired. On the 9th of Thermidor he obtained his liberty, and soon after was appointed secretary in a public office. About this time he began to write for the journal called L'Ami des Loix. Upon the Thermidorists dividing into two parties, Marchena unfortunately attached himself to that which lost its influence in August, 1795; owing to which circumstance, he was deprived both of his situation and of his share in the above-mentioned journal. He now occupied himself for some time in writing against Tallien, Legendre, and Freron, the heads of the victorious party; who, losing all patience at his repeated attacks, denounced him, and caused him to be banished. at this juncture he retired to Switzerland, where he is reported to have solicited Madame de Stäel to intercede in his behalf; but she refused to notice him, although he had before enjoyed free access to her house during the time that she resided at Paris. Having failed there, he had recourse to the Council of Five Hundred, to which he complained of the oppression he had endured,

though with little reason; for, having enjoyed the privileges of a French citizen for five years, the law of the 21st Floreal could not justly be enforced against him. The Legislative, Body, which was then at variance with the Directory, recalled him to France. At the breaking out of the new war in 1800, he obtained a commission; and though a little illshaped figure, he had the folly to imagine that all the handsome women were in love with him: this ridicu lous fancy rendered him the general· subject of conversation amongst the officers. It was at this time that he was ordered to draw up a statistical account of Germany, for the use of the army. He was quite unacquainted with the language; but soon learned it; and reading the best statistical writers, he compiled a work which was highly approved of, and much relied on by the French generals. After his return from Germany, he was for some time secretary to Moreau, and is conjectured to have been not altogether innocent of the misfortunes of that General. When the French invaded Spain, Marchena returned into his own country; and, after some time, obtained a post in the Ministry of the Interior. He then produced on the stage his translations of the Misanthrope and the Tartuffe of Moliere, both of which met with great success. But he left Madrid again when it was evacuated by the French, and retired to Nismes, where he continued to reside until the return of the Afranzesados.

Marchena has written much, and on various subjects; but, unfortunately, though highly gifted, he was one of those who, by a strange abuse of talent, extract poison from those flowers whence they ought to derive honey. Morality and religion were regarded by him as matters of perfect indifference; hence that cynicism which he manifested in his pursuits and gratifications. Notwithstanding the eagerness with which he always aimed at obtaining public notice, he died neglected, and nearly forgotten; nor will his name long survive him, except in the annals of the French Revolution.

Another character of note, who recently died in this city, is Don Barnabà Garcia de Castilla, one of

the Ministers of the Fiscal, and Representative in the Cortes for the Canary Islands. The Universal gives a biographical sketch of this worthy compatriot of Clavigo, of which the following is an abstract. Garcia de Castilla was a native of Valle Hermosa, in the island of Gomera, one of the Canaries. From his parents, who were possessed of rank and property, he received a good education, and commenced his studies at Orotava, in Teneriffe, where he soon distinguished himself by his talents, and by the rapid progress which he made in the sciences: nor did he neglect the modern languages while employed in these severer pursuits, but applied himself to the study of French, Italian, and English. After some time spent in this manner, he repaired to Spain, and prosecuted his studies at Madrid, in the College of St. Isidore. A new field was now opened to him: his favourite pursuits were the mathematics and physics, and he made

In

great advances in mineralogy. 1818, he edited, in conjunction with Professor Manrique, El Redactor General, in which journal he declared himself to be a zealous partizan of the new constitution of the Cortes. In consequence of his thus interesting himself in public affairs, he was banished to Melilla, where his studies became to him a rich source of consolation and entertainment. He gave lessons in the mathematics and natural history; and even founded an academy for them, on which he bestowed the title of Academia de Ciencias de Melilla. After the Constitution of the Cortes was introduced last year at Madrid, Garcia was recalled, was appointed to an employ ment in the administration of the Finances, and was elected Representative of the Canary Islands. His death, which happened on the 8th of last January, carried him off in the meridian of life, when he was enjoying the esteem due to his public services, his virtues, and his talents.

THE only novelty in the musical world, since our last report, has been the private subscription concert given by Mr. Sapio, jun. The house of Lady Desanges was opened on this occasion, and the tickets were one guinea each. Every part of the entertainment was in the highest order of excellence and elegance. Sir George Smart conducted. Messrs. Moscheles, Bochsa, Puzzi, and Lindley, were the principal instrumentalists, the concert being chiefly vocal. Madame Camporese, Madame Ronzi de Begnis, Miss Goodall, Signors de Begnis and Ambrogetti, and Mr. Sapio, were the singers; and it follows, that every thing was executed in the most perfect manner. Mr. Sapio, in Rossini's duet, Amor possente Numi, with Madame Camporese, gave proofs of his masterly accomplishment in the great style of singing, while Said a Smile to a Tear (which was introduced by desire) exhibited his power of ornament to equal advantage. His voice is purely una voce di camera; but his command and variety of manner, together with the neatness and finish of his execution,

render him, particularly at this mo ment, a most valuable accession to the list of our vocalists.

Madame Catalani has given a second concert at the Argyll Rooms, the receipts of which were appropriated to the benefit of the Westminster Hospital. The room was again crowded with nobility and virtù. By this exhibition of her wonderful powers, she has only confirmed her triumph. It is said, she is about to make a tour through the principal towns, accompanied by Mr. Pio Cianchettini, as the conductor of her concerts; and it is believed that M. Vallabreque (her husband) has been engaged, together with another gentleman, deeply interested in the theatrical property of London, in a negotiation for the Opera House next year.

There was also a grand oratorio in honour of the Coronation, at St. Margaret's Church, Westminster, for the benefit of a charity. The selection was principally from Handel, and was performed by Braham, Vaughan, Mrs. Salmon, Miss Stephens, and the English train of dis

tinguished vocalists. The amount of the receipts was very considerable. The music of London may now be fairly considered as ended for the season; and the provincial meetings are already commencing. Salisbury has one this week (August 20); the first English and Italian talent is engaged: Madame Camporese, and Mrs. Salmon; Messrs. Vaughan, W. Knyvett, and Bellamy, and Signor Ambrogetti. There has also been a large exportation of scientific ability to Dublin, in order that music may contribute her share to the entertainment of Majesty; Mr. Bochsa, Mr. Begrez, Mr. Rolles of Bath, and Miss Stephens, are amongst the professors who have crossed the Irish Channel. We may now proceed to examine the progress which music has made.

The capital feature is the desertion of English for foreign style, and of the loftier affections for the more voluptuous sensations originated by the powers and associations inherent in, and attendant upon, this most entrancing language. Our very oratorios are become mere pasticcio concerts, selected from the music of the Italian opera, the Catholic ritual, and the theatre; with a slight interspersion of poor dear dull Handel, as a salvo to the conductors during the sacred season of Lent. Our concerts differ in little or nothing from our oratorios, except those of the Ancient Music, the only place where the principles of the genuine great style are preserved inviolate. The Opera itself is in great danger of losing entirely the gran gusto, by the help of such composers as Signor Rossini; who, though he is not absolutely destitute of the high resources of his art, yet suffers his grander conceptions to be obliterated, obscured, or dissipated, by the composition of music that demonstrates little more than strong animal spirits, and a lively fancy. Our own theatres have done some thing towards making a stand, in the performance of Artaxerxes, and Love in a Village, at Drury Lane, and in the introduction and adaptation of some of the fine old English compositions into Shakspeare's plays, with some very clever additions by Mr. Bishop, at Covent Garden. But the relish for what has hitherto been esVOL. IV.

teemed the legitimate school of expression, and for English composition, will very soon depart, unless something more be done in its behalf. It should seem, however, that the very perfection of art is contributing to its decline. The self-devotion of talent has accomplished such fmished results in every department, that nothing short of the greatest natural ability, cultivated by the utmost labour (every moment of a life dedicated to study and practice), will sa tisfy the delicate and critical au diences of the metropolitan concerts. Hence it follows, that these excessive attainments must be compensated by more than ordinary gains; and music becomes, not the cheap solace of leisure hours, but the expensive and exclusive enjoyment of the affluent. Hence, also, it happens, that as pro fessors exhaust the common resources of expression, they invent and add new parts. In the progress of mechanical attainment, that which has cost one individual prodigious labour to acquire, being acquired and exhi bited, is caught by another with the greatest comparative ease, who a gain transcends, in some particular, his predecessor, or competitor; and thus new difficulties are successively added and overcome, till no part is left without excess of ornament. To such a pitch execution appears now to have arrived; and there will shortly be nothing left but a return to the simpler graces of natural expression. Mere agility has pretty nearly done its work.

At present, there is certainly no other symptom of this restoration of fine taste, than the apparent impos sibility of carrying force, transition, and agility, much farther. The opera has certainly exhibited no very com manding examples of talent, either in composition or performance; while the universal applause that follows Madame Camporese proves what the genuine great style can effect. Every real judge of the art admits that this lady possesses the finest manner of any singer that has lately visited England; yet her natural organ is by no means superior. But she never sings a note in vain; so powerful is mind over objects merely mechanical. On the contrary, in Mrs. Salmon, the first and chief of our English artists, we perceive only the results

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of natural organic endowment. Her tone is exquisite, her agility surprising; but her performance is as destitute of any species of conception, beyond diversity of figurate passages, as it is possible for singing to be. It is to be regretted, that there is no prominent example in the vocal profession of an artist sufficiently informed, or courageous, to attempt the introduction or revival of the grand manner. When Braham, and when Vaughan, shall have retired, there is not a singer to succeed them; nor is there a bass who has any pretension to follow Bartle man. The age that has just passed exhibited wonderful variety, as well as excellence: Mara, Billington, Catalani, Harrison, Braham, Vaughan, Goss, Knyvett, Evans, and Bartle man. Some of these names are now gone by; the rest will follow: there seems to be no succession of ability at all equal to them in any depart

ment.

English composers seem to us to fail in combining graceful and touch ing melody with strength, and with the certain portion of simplicity necessary to grandeur and truth of expression. The points in which our singers are deficient, lie in the absence of sensibility, which enriches its subject with the warm and animating glow of tone and manner that forms the characteristic of Italian singing. The English are certainly chaste beyond any other vocalists, but they are also as certainly cold. Camporese is chaste, but she is not cold: Mrs. Salmon is voluptuous in sound, but there is no true feeling there is nothing for the affections, and not much for the senses: Miss Stephens has a rich and full voice, and polished manner; but in her singing she has little fire, and no passion. The truth is, we suspect, that our singers afford the imagination neither sustenance nor exercise. They practise much, but they neither read nor reflect; they repress enthusiasm, without which, art is lifeless. If the education of a singer were committed to us, we would first nourish and stimulate, and warm and indulge this predominating faculty, with all the aids of poetry and classic romance. We much question whether some of our distinguished vocalists ever heard even the names of the

masters of the song. Some of those we have noticed are, we are sure, about as well informed in such matters, as the celebrated Madame D. the pianiste, who recollected Sir Isaac Newton" as the man that signed the bank notes in the city." Melodious Abraham Newland! how much indebted was he to the resemblance in sound which one syllable of his name afforded, to that of the greatest philosopher that ever lived. Braham and Bartleman both gave the rein to fancy; and they both were men of reading, as well as warm temperament. These performers were intimately versed in the philosophy of their art, as well as warmed by a natural sensibility.

The instrumental progression, high as it has gone, is far better sustained; but here too we owe much to foreign aid. It is, however, probable that the examples we have recently imported, and the zeal with which their instructions are sought, will extensively promote the assiduous cultivation of indigenous talent. Many instances of this kind are within our knowledge.

If we may judge from foreign professors who have recently visited England, other countries, hitherto considered as the fountains of music, exhibit the same symptoms as ourselves; but it will probably be urged that we only take our colour from them. It may, perhaps, be too true. Amongst the instrumentalists there have been, however, some very extraordinary men; Moscheles, Keisewetter, and Puzzi, are, in their departments, the first of their age. But pre-eminent vocal talent there is none-save only Catalani, who can afford no example to others, because nature has done more for her than art, and far more for her than for any other human being.

The cultivation of music, in private, is nevertheless extending itself; and to render us a musical people, nothing is now wanting, but to make the science a part of the scheme of general education, and thus to communicate the art and its enjoyment to the cottages of the poor, as well as to the mansions of the rich. The introduction of such a knowledge of music, as is thus communicated in Germany and Italy, would probably produce a striking change