musical rehearsal, and we learn how much was done for the individuals who happened at that time to take a prominent lead; thus the fondness of Leoni for a flourish, in which he was followed by Braham, was to be indulged in; Miss Brown was to show off her execution, and as Mr. "Simpson's hautboy is to cut a figure, Echo, who is always allowed to play her part, is lugged in." Linley, upon whom all the music rested, seems to have amply fulfilled the expectations of his son-in-law, and to have taken up his ideas with great quickness. The finale to the first act, so generally admired, in which Isaac and Donna Louisa sing a duet, and after Don Carlos has sung the beautiful air, "Gentle Maid," join with him in a glee, is the idea of Sheridan carried out by Linley. Don Jerome's song, "Oh, the days when I was young," once in the mouth of every boy in the street, is another of Sheridan's hints. That beautiful air, "By him we love offended, how soon our anger flies," was originally composed by that celebrated master, Rauzzini, “Fuggiamo de questo loco in piena liberta." When we compare the trash usually composed for English operas with the exquisite specimens of taste with which Sheridan has adorned the "Duenna," we cannot but express our surprise that there should be found audiences to tolerate the vile nonsense. "Had I a heart for falsehood famed;" "Oh, had my love ne'er smiled on me"; "How oft, Louisa, hast thou told"; "I ne'er could any lustre see," may vie with any compositions of a similar character; they are delicate, polished, and refined; they are full of tenderness of expression, and awaken the gentlest emotions. Nor are the livelier songs to be passed over, for they are animated and full of joyous feelings.

The "Duenna," like the "Rivals," was produced at Covent Garden. We find, however, that Mr. Linley was most anxious to direct the attention of Garrick to his son-in-law, and to prepare the way for his being amongst those who offered their incense at the shrine over which he presided; and he seems gradually to have paved the road for his success at Drury Lane Theatre. There is a letter, amongst the mass of those collected in the Garrick correspondence, from Linley to Dr. Hoadley, and another also from him to Mr. Garrick. In the former he says, "I have engaged to assist my son-in-law, Sheridan, in composing an opera which he is to bring out at Covent Garden this winter. I am a good deal distressed that from some misunderstanding between him and Mr. Garrick, that he is not connected with Drury Lane House, for though I believe they are now on very good terms, yet Sheridan thinks that he has been so honourably treated by Mr. Harris that he ought not to keep anything that he has written from him. However, I hope Mr. Garrick will not take anything amiss in my assisting him on this occasion, for it is a matter of absolute necessity that he should endeavour to get money by this means, as he will not be prevailed on to let his wife sing." To Garrick he says, "I have promised to assist Sheridan in compiling-I believe this is the properest term-an opera, which I understand from him he has engaged to produce at Covent Garden this season. I have already set some airs which he has given me, and he intends writing new words to some other tunes of mine. My son has likewise written some tunes for him, and I understand he is to have some others from Mr. Jackson of Exeter. This is a mode of proceeding in regard to his composition

which I by no means approve of. I think he ought first to have finished his opera with the songs he intends to introduce in it, and have got it entirely new set. No musician can set a song properly unless he understands the character and knows the performer who is to exhibit it. For my part I shall be very unwilling for either my own name or my son's to appear in this business, and it is my present resolution to forbid it; for I have great reason to be diffident of my own abilities and genius, and my son has not had experience in theatrical compositions, though I think well of his invention and musical skill. I would not have been concerned in this business at all, but that I know there is an absolute necessity for him to endeavour to get some money by this means, as he will not be prevailed upon to let his wife sing, and indeed at present she is incapable, and nature will not permit me to be indifferent to his success. You are deservedly at that point of fame which few of the great geniuses the world has produced have arrived at— above the reach of envy-and are the protector of dramatic merit, in what place or shape soever you find it, and I look up to you as the patron and director of both theatres, virtually, if not officially. I hope Sheridan has done nothing to forfeit the protection you have hitherto shown him." These appeals to the generous and liberal feelings of the great Roscius were not in vain. Not only did he, wherever his influence extended, assist Sheridan in his way into literary society, but, when the time was fully come, placed him on a pinnacle where he should have established himself, without being dazzled with the ignes fatui that played before his sight.

From these letters we may fairly conclude that

Linley did not then sufficiently appreciate the value of his son-in-law, that he was hardly satisfied with his determination to prevent his daughter again appearing before the public, and that he was an unwilling labourer with him in the vineyard which was to produce such a valuable harvest. It must indeed have been gratifying to him to find that the "Duenna" was hailed with such rapturous delight, and that it maintained a position on the stage for so many years. Much is undoubtedly owing to the judgment and musical talent of Linley; some of the airs he introduced will ever be heard with delight. The air, with Sheridan's touching words, "By him we love offended," the production of the well-known Rauzzini, was a favourite in the musical world throughout Europe. It was the production of that great master to whom England is so deeply indebted for some of the first vocalists we have had; for, together with his own instruction, he instilled into the minds of his pupils, amongst whom Braham is the last, to visit Italy, to study at Rome under Latilla, or at Naples under Monopoli, Finerolli, or Porpori, at that time the most distinguished of music-masters. Rauzzini himself, however, was unequalled as a musician; from his rich stores much has been gleaned up to the present hour. His career was a singular one. He was a native of Rome, and from the exquisite sweetness of his voice had been selected, in compliance with the miserable taste of that age, to be rendered fit for singing in a style then much admired, but which modern judgment has rejected. He performed the parts of the principal female, as no woman was allowed upon the stage in the Holy City. His singular beauty became the theme of general conversation;

VOL. I.

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he was courted and flattered everywhere. On his visit to Munich, a distinguished personage evinced such admiration and heaped such caresses upon him that the ruling prince gave him a delicate hint, to which he was compelled to pay attention, that the time had arrived when his talent had ceased to be attractive. Rauzzini, with some indignation, resented the want of hospitality, and serious results were apprehended, when an invitation to England induced him to undertake an engagement at the Italian Opera; for the furore had spread to London, and his acting, his singing, and his compositions were at once fashionable. Garrick pronounced his "Pyramus" "the finest piece of representation he had ever witnessed on the Italian stage"; but, alas! a change came over the "spirit of the dream"; the climate affected his voice, and he never perfectly recovered from its effects. He settled in Bath, where for years he continued to teach, to compose, and preside at the pianoforte at all the great musical festivals. Beloved by every one, he was the centre of a most accomplished circle, comprising all the taste and talent of Bath. At Christmas Eve, Billington, Storace, Mora, Braham, and all the firstrate musicians of the day assembled; a concert, consisting of the "Messiah," was given to the public, from which Rauzzini drew a portion of his income. This, alas! never equalled his expenditure, the consequence of which was the embitterment of his latter days; but to the last he maintained a splendid establishment, and was looked up to as one of those to whom Bath was indebted for its popularity. Whenever the venerable old man took his accustomed seat in the orchestra, tokens of regard and respect awaited him, and to the last he preserved beauty of countenance of a striking character.