this. Stanfield has a fine picture, "The Day after the Wreck," one of the truest sea pieces we remember. More than one exhibitor has chosen for his subject"The raising of the daughter of Jairus;" but of all, we like that of Eddis the best. But, before we leave the large room, we must particularize two pictures, Redgrave's "Sempstress," evidently suggested by Hood's "Song of the Shirt," the sentiment of which is admirably carried out the clock at half-past two-the medicine bottles, that tell of sickness-the cherished flowerpot in the window-sill-and the not too trim and tidy dress. The other picture, not to be passed by, is "The Rivals," an expressive and finished thing, by W. Fisk, an artist who is deservedly maintaining his high place in public estimation. In the middle room, Redgrave again delights us with a domestic scene, "The Wedding Morning ;" and there is a noble portrait of Lord Francis Egerton, by Patten, whose Hercules, by the way, is one of the attractions of the great room. Proceeding in the catalogue, we come to Houston's "Columbus;" Haverty's "Father Mathew"-(are not the wife and child too "nice" and tidy for a drunkard's family?- we put the question in a parenthesis.) M'Ian's only contribution, "A scene in the life of Charles Edward;" Miss M. A. Cole's portraits of "Two Sisters ;" and Hurlstone's "Prisoner of Chillon," with eye, indeed, "Heavy with the weight of nushed tears." A. E. Chalon contributes some exquisite portraits, as does also Miss Augusta Cole, who always contrives to preserve a likeness, and yet elevate the character of a face. There is a singular but beautiful miniature, by Bone, of Catherine the Second; and one on ivory, of Sir William Newton's, representing the Queen's marriage, with numerous portraits-a work of immense labour as well as of consummate skill. Some flowers, by Mr. Valentine Bartholomew, as he only can paint them; and a beautiful picture, "The Malay," by his talented wife; although, to use an Irishman's phrase, it is unhappily hung out of sight. In a rapid sketch like this, however,' we can but point out a few of those works which more particularly arrested us. On the whole, we cannot but consider the exhibition a very good one; although, perhaps, the walls have sometimes boasted single pictures-before which a crowd was always gathered-of greater individual attraction than any we find there this season. But there are few, scarcely any, failures; while there are many small pictures that on a first visit one is apt to pass by carelessly, but which will well repay a second and third examination. The Sculpture Room is particularly rich in fine busts; among them we would especially notice the extraordinarily fine likeness of Mr. Rudall, by M'Dowell, and those of Lady Ridley and the Hon. Mrs. Howard, by Lough: this artist has a similar power in marble to that of Sir Thomas Lawrence on the canvas; he depicts-gentlewomen. One of the chief attractions in the room is also Mr. Lough's Iago: there is a little quiet satire in calling it "from Shakspeare," for verily it is the poetical Iago, in contradistinction to the theatrical one. It is not Mr. Kemble's nor Mr. Anybody's Iago, but the Great Bard's, as represented in the mirror of an artist-poet's genius. To those who do not feel this difference and this truth, it is vain to teach it. “Lady Godiva,” by Behnes, is a beautiful thing. "Adam consoling Eve," by W. Sconlar, also greatly pleased us; and Baily's works are, as usual, full of high genius. A bronze cameo of the Countess of Blessington, by Comte d'Orsay, displays the Comte's versatility (since he also contributes an oil painting, a fine likeness of her ladyship, and a finished work); and there are busts of Mrs. Norton, Sir William Ross, the "Old Sailor," and of many others to whom no common interest attaches. THE BASILICA OF ST. PETER'S AT ROME, RE DUCED TO A HUNDREDTH PART OF ITS ORIGINAL SIZE, AND FOUR BUILDINGS OF PISA REDUCED TO A TWO HUNDREDTH PART; EXECUTED IN ORIENTAL WOODS AND IVORY; BY SIGNOR ANDREA GAMBASSINI. Exhibiting, 121, Pall Mall.-We learn that the principal of these models (St. Peter's) occupied its originator fourteen years; had we been told it was the work of a life we could easily have believed it. To call it a curious and ingenious model can convey but a faint impression of that which is really a finished work of art. Being only reduced to the one-hundredth degree, this imitation of a world's wonder covers-miniature though by comparison it be-an area of so many feet that a finish of the details is not only possible but is most successfully achieved. Thus we have the colossal statues of our Saviour and the Apostles, twenty-five feet high, represented in exquisitely carved ivory of three inches, and so is all else reduced in proportion; while the altar-pieces and paintings of the great masters, famed throughout the world, are represented by exquisite little paintings copied from them on copper, which are alone worthy of a cabinet. The statues and monuments are all copied in ivory or bronze, while a mosaic of curious woods represents the flooring, walls, and pillars. The model opens, and swings round for us to walk as it were into the interior; while, with the aid of a looking-glass, we can see the remainder; and confessionals, shells for the holy water, even the inscriptions in many places will bear the most rigid examination. There is a completeness about the thing which is extremely interesting; even to the grand balcony, whence the Pope gives his benediction, and to the equestrian statues of Constantine and Charlemagne at the two extremities of the grand vestibule, everything is faithfully represented. All description, however, is feeble, and must fail in doing justice to this astonishing work of ingenuity; we should imagine that half-an-hour spent in its contemplation would afford young persons or stay-at-home travellers" a more just idea of the great original than all the books which may load their shelves, or the drawings which may crowd their portfolios. The buildings at Pisa would alone have great interest, but they shrink into comparative insignificance beside Signor Gambassini's great work. It would be a pity to leave the room without taking a peep at the 66 many of the | AMUSEMENTS OF THE MONTH. MODEL OF ST. MARCO-and so buildings which surround it, that it may be said to comprise the entire of Venice. Although not by the same artist as St. Peter's, it does not disgrace the companionship; and though reduced to the two hundredth degree of the original, is yet vividly distinct in many of its details. We have indeed the Bridge of Sighs, with “A palace and a prison on each hand;" the damp winter dungeons, and the burning piombi, in which Silvio Pellico and so many unfortunates have suffered; and the bronze horses of St. Mark, and the Giant's Staircase, and many another name which echoes in the chambers of history and tradition. ITALIAN OPERA. · Mozart's chef d'œuvre, Don Giovanni, with the powerful cast of Grisi, Lablache, Fornasari, Persiani, and Favanti, has, of course, been a great attraction; while, in the ballet, the old favourite, Cerito, has taken the place of Carlotte Grisi. Her reception was most enthusiastic. On the 18th ultimo, her Majesty graced this theatre with her presence, commanding the performance of Zampa. The lessee naturally took this opportunity of displaying the varied resources of the establishment. La Gitana and choice scenes from the lively and popular Don Pasquale were added to the opera, and to the imaginative ballet of Alma. In choosing Zampa for performance, her Majesty displayed her well-known taste and proficiency. This ori THE VICTORIA GALLERY AT THE CHATEAU D'EU.-Among other galanteries the King has already sent to Queen Victoria a splendid album, the numerous drawings of which are recollections of Her Majesty's stay at Eu. Moreover, a Vic-ginal and beautiful composition, which has entoria Gallery is about to be created at the Chateau joyed such immediate and unalloyed success all d'Eu. The gallery will consist of 26 pictures; over Europe, has in England only been slowly four pictures of large dimensions are ordered of gaining upon the estimation of the public; but we MM. Isabey, Conder, Gudin, and Eugene Lami. shall now have frequent opportunities of hearing M. Eugene Lami's picture will represent Queen again the strains inspired by Herold's remarkable Victoria's arrival at Tréport. The subject of M. genius. Her Majesty and his Royal Highness Conder's picture is the presentation of the inmates Prince Albert appeared to appreciate the charms of the Chateau in graud costume to Queen Vic- of the opera-nothing could be more marked than toria, in the gallery of the Guises. The King their enjoyment of the choruses, the drinking song, going to meet Queen Victoria in the Royal Yacht the duet between Persiani and Corelli, and partiis the subject of M. Isabey's picture. M. Gudin cularly that in the last act between Fornasari and will paint Queen Victoria's departure. MM. the heroine, in which unbounded means of draMarilhat, Granet, Johannot, Poitanin, C. Roque-matic expression are added to the charm of the plan, Girardet, and E. Lami are intrusted with the 22 other pictures, which will be of smaller size. The Victoria Gallery is to be completed as early as the first of July, 1844.—Paris print. A nation, at one moment, seems to be utterly debased and self-abandoned. It exhibits neither great purposes, great performances, nor great men. But one of the common errors of the (so called) philosophical historian, is to judge of nations at passing and isolated periods-periods of transition, at the best, when none of its permanent phases can possibly be apparent. Sleep is an element of action. A nation must have its period of repose quite as much as an individual. May not these periods of unperformance be, in fact, periods of preparation? A nation may stoop in order to spring, as the man crouches low to earth, when he would make his farthest leap. In morals, as in the mere essentials of social strength, the general diffusion of truth among mankind-though no one individual shall have grown a jot wiser than the millions who have gone before, and have been great in preceding ages-is the great but simple process for working out the grand consummation. The universal reception of complete truth-as it is possessed now, and was possibly possessed in times past, by certain individuals is that coming of God's kingdom, the advent of which is the sole business of prophecy, and the great-but how little appreciated!-hope of our race. music-an opportunity of which Fornasari availed himself with triumphant success. Lablache created the utmost amusement amongst the august tenants of the royal box, by his curious appearance, particularly when in his warlike fit in the second act. music, and such exertions of the performers, the We need not say that, with such performance was most warmly received by the audience. DRURY LANE THEATRE. it The Revolt of the Harem has been got up in every respect in a most spirited and creditable way, has been well and carefully put upon the stage, and although we recognized some of the scenery, while the dresses for the most part bore the appearance of entire novelty. Nevertheless-and we must confess our experience of this sort of revivals prevented our surprise-the ballet did not go off with an enthusiasm any way approaching that with which at its first production it used to be received. All the dances are, however, very pleasing, and Lucile Grahn displayed that pretty pointed neatness which almost amounts to brilliancy, and occasionally brings back a reminiscence of Ellsler. That fast-rising danseuse, Clara Webster, too, danced with increased buoyancy and pliant grace, being honoured with the only encore, which was elicited in the pas de schall by her passage across the stage, in a series of jetées and ronds de jambes, executed with almost Čeritonian animus. It was not till the last act that any striking effect was produced, and then certainly the appearance of the THE HAYMARKET boasts of a new comic drama, from the pen of Mr. Bernard, the clever author of the Boarding School, His Last Legs, &c., &c.; it is named The Absentee, the shafts of wit being chiefly directed against absenteeism. The plot may be briefly given, as embodying the return of a young landed proprietor from a long sojourn in Italy to his estates near the lakes of Killarney, for the purpose of disposing of the property, and finally leaving the country of his birth for the fairer climes of southern Europe. One additional object is to renew his acquaintance with a lady, the companion of his youth, the recollection of whom forms the only remaining bond of attachment to bis native land. The father of the lady having heard that the young absentee dislikes the exhibition of exuberant spirits, for which his countrywomen are distinguished, instructs his daughter to be very circumspect in her behaviour. This instruction she obeys to the letter, and annoys her father and disgusts the would-be Italian by the extreme prudery of her dress and manner. She determines, however, to effect a conquest in another guise, and encounters him on the mountains, first as a witch, and afterwards as a peasant girl; and by singing some national airs he was accustomed to hear in his youth, and by exhibiting the open-hearted and grateful disposition of the Irish character, she fascinates the absentee, and makes him determine to remain in Ireland, and endeavour to alleviate the sufferings of his tenants. MR. CHARLES KEMBLE. An English version of Auber's Diamans de Couronne has been produced here, for the purpose of introducing Madame Anne Thillon-an established Paris favourite to an English public. We are proud to acknowledge this fascinating and gifted lady for an Englishwoman, although, from her residence abroad, she has acquired a foreign accent. The story of this opera, whose lively melo-dramatic character is admirably adapted to the versatile genius of Madame Thillon, is of a young Queen of Portugal, who secretly pawns the crown jewels, and replaces them at her coronation with some false ones, manufactured for This veteran actor has been giving a series of the purpose by a party of gentlemen, who combine readings from Shakspeare at Willis's Rooms. The the professions of banditti and coiners, and who are first play selected was Cymbeline, which was the specially employed by her on the occasion. She one he read before Her Majesty and the Court at does not trust any of her subjects with the delicate Buckingham Palace, on the 24th of April. The mission, but visits the robbers in person, pretend- room was numerously and most fashionably ating to be the niece of their chief, Rebolledo (Bed- tended, and Mr. Kemble, on appearing on the ford), who is her only confidant. A young noble-platform, received those hearty acknowledgments man, who loses his way among the ruins inhabited by the robbers, falls in love with her, and is much astonished at finding such a charming, graceful creature among such a set of ruffians. She afterwards stops at the house of the Minister of Police, her carriage having broken down, and takes an active part in an assembly; while her lover, who is one of the party, is perfectly distracted, believing that she is a female bandit, and that the law every moment threatens to devour her. It was in this scene that the cavatina occurred; and the unembarrassed manner with which Thillon conducted herself, and the pertness with which she turned round and darted a series of fioriture at the head of her lover, with marked recklessness, was admirable. We are not going to follow the plot through its ingenious ramifications, and the situations which arise from the stratagems of the Queen, the terror of her lover, and the mystification of the Minister of Police, who receives notice that the crown diamonds have been stolen. At the end, the queen appears on her throne, with her false diamonds on her head, and she bestows her hand on the young nobleman. which are due to his own merit, and the illustrious name he bears. He read with judicious and careful elocution, as if he had sedulously considered the proper delivery of every line, as a distinct study. It is necessary to understand that it is only reading that he intends, not acting, though in some of the more marked portions, such as the scene of Iachimo in the bedchamber, and the grief of Posthumus towards the end, he allowed the reader to merge in the actor. The play was abridged within the compass of two hours, but the plot is preserved quite entire. The series will comprise about ten plays. It is under the patronage of the Queen, Prince Albert, the Queen Dowager, Prince Edward of Saxe Weimar, the Duke and Duchess of Bedford, the Duke and Duchess of Beaufort, the Duke of Rutland, the Marquis and Marchioness of Lansdowne, the Earl and Countess of Chesterfield, the Marquis and Marchioness of Normanby, Lord and Lady F. Egerton, &c. MESSRS. MACFARREN AND DAVISON'S CON CERTS OF CHAMBER MUSIC. Judging from the most agreeable experience ELFIN DUET. FIRST ELF. "One night I saw in a moonlit dell A Rose's lips in a Lily's bell; We sincerely congratulate Messrs. Macfarren and Davison on the talent they have gathered to assist their own able exertions, and the classical taste which has directed their selections. THE CYPRESS OF THE MISSISSIPPI.-"These noble trees rear their straight columns from a large cone-shaped buttress, whose circumference at the shaft of the tree. This cone rises from six to ten ground is, perhaps, three times that of the regular feet, with a regular and sharp taper, and from the with little taper after it has left the cone, from sixty apex of the cone towers the perpendicular column, to eighty feet clear shaft. Very near the top it which interlace with those of the adjoining trees, begins to throw out multitudes of horizontal branches, and when bare of leaves, have an air of desolation and death, more easily felt than described. In the season of vegetation, the leaves are short, fine, and of a verdure so deep, as almost to seem brown, giving an indescribable air of funeral solemnity to this singular tree. A cypress forest, when viewed from the adjacent hills, with its numberless interarms, covered with this dark brown foliage, has the aspect of a scaffolding of verdure in the haunts of fever, musquitoes, mocassin snakes, air. It grows too in deep and sickly swamps, the alligators, and all loathsome and ferocious animals, that congregate far from the abodes of man, and seem to make common course with nature against him. The cypress loves the deepest, most gloomy, and inaccessible swamps; and south of 33° is moss, hanging like shrouds of mourning wreaths generally found covered with sable festoons of long almost to the ground." Flint's Western States of laced America. "The cypress grows to a great size, and is a most valuable species of timber. It is never attacked by worms; and exceeds all other trees, even the cedar, in durability. Hence the Athenians, when desirous to preserve the remains of their heroes, and other great men, had them enclosed in cypress coffins; and hence also, the external covering of the Egyptian mummies is made of the same enduring material. The cypress is said to live to a great age; and this circumstance, combined with its thick dark green foliage, has made it to be regarded as the emblem of death and the grave." McCulloch's Commer. Dictionary. Ovid says, that a young man of extraordinary beauty, called Cyparissas, pined away with grief for having killed a stag accidentally, and was changed by Apollo into a cypress tree, which was carried in funeral pomp, and consecrated to the dead. It is a favourite ornament, notwithstanding, of the Italian villas-I have often seen it myself in the Lombard-Venetian kingdom, its almost black foliage contrasting strangely with that of the other trees. The cemeteries at Constantinople are delightful retreats overlooking the Bosphorus, and the tombs being distributed among groves of aged cypress." Yates's Egypt. FASHIONS FOR JUNE. Rue du Faubourg, St. Honoré, MY DEAR FRIEND, Although the summer fashions are now firmly established, they are still in some degree regulated by the weather; when that is cold, or inclined to rain, the barege or muslin robe is exchanged for a silk one, and the lace scarf or mantelet gives place to one of cashmere or soie caméléon. But the weather has no effect upon our chapeaux and capotes, those of crape, tulle, and rice straw being in a majority; silk ones, though less extensively seen, are equally fashionable. The vogue of Italian straw is as high as ever, but its price occasions it to be less generally adopted. Fancy straw, I mean that of the open kind, is this year in greater favour than ever; the majority are lined with coloured gros de Naples, or crape; some are ornamented with flowers, others with an aigrette paradis, or marabouts, knotted and shaded. Silk chapeaux are principally of very pale pink poult de soie, or a delicate shade of blue, called bleu Marie; they are something wider than usual in the brim; some are trimmed with white feathers, shaded in the colour of the chapeau on the exterior, and knots of ribbon to correspond in the interior of the brim, which is frequently edged with a fall of point d'Angleterre others are decorated with lace, in termingled with single flowers, corresponding with the colour of the chapeau. A good many white crape chapeaux are lined with pink crape; the brims are always open, aud lightly turned up at the edge, and the interior decorated with nauds of white and pink taffetas ribbon; a biais of pink crape encircles the edge, and a bird of paradise crowns the exterior. Lace is very often employed for trimming capotes and chapeaux of rice straw, as well as silk; it is principally used for capotes as a short veil. Chapeaux are ornamented with two rows of it, one is disposed over the crown, the other descends upon the brim; they are joined by a half wreath of roses, with knots of green ribbon at the ends. Although capotes are admitted in half-dress, they are not so generally adopted as chapeaur, but when they are worn they are of light materials, and very much trimmed. The prettiest are those of crape bouillonnée, or of gaze Polka: the latter is a new fancy material; both are trimmed with flowers. Chapeaux of gaze Polka are also a good deal in vogue; they are trimmed with plumes colibris, or shaded marabouts. Several morning capotes, I mean those for the very early part of the morning, have the brim composed of straw and the crown of silk; plaided gros de Naples is most in request; the trimming, always of ribbon to correspond, is very simply arranged. Drawn capotes, also, trimmed in a very simple style, are very much in request for the early part of the morning; they are made close, and usually worn with a veil. A good many of those for half-dress are composed of shaded taffetas, drawn and covered with gauze; it is bouffanted, but very lightly so between the casings. The brimming is composed of a half wreath of choux, formed of gauze, and having a tuft of field flowers in the hollow of each. The interior of the brim is trimmed with nœuds of ribbon. Several capotes, both of crape and ricestraw, are crowned with wreaths of Howers thick in the centre and narrow at the sides, which descend in long tapering gerbes at the ears, nearly to the extremity of the brim. Mantelets have lost something of their vogue; those of black silk, and of a large size, are, however, still very generally adopted in the early part of the morning, that is for complete néglige, for which alone they are now employed. If a mantelet is worn later in the day, it must be of lace or soie caméléon. The latter material is very much employed for Twine d'été; the Twine is a sort of mantelet, but very large; so much so, indeed, as nearly to envelop the figure. The Twine Polka is in very great vogue; it is made in soie caméléon, bordered with an application of point d'Angleterre, and also in plaided taffetas, trimmed with broad black lace. Silk polonaises, also trimmed with lace, have entirely replaced those of velvet, and seem likely to enjoy, during the summer, the vogue which the others had last winter. Lace scarfs are very much in favour, and so, except upon very hot days, are cachmere scarfs, of new and very beautiful patterns of vivid colours. Thus you see, ma chère amie, we have more than usual variety in our summer costumes; for, besides those that I have cited, many ladies appear in high robes, without any other covering. These dresses are all made in the redingote form; the corsages are open to the waist; those laced with silk cord are in a majority, but not so large a one as those with a collar and lappels; the vogue of the latter, indeed, increases every day. The lappels, or, as we style them, revers, are continued down the front of the skirt, trimmed with passementerie; but I have seen some simply edged with a narrow ruche, and a few, but very few, bordered à la vielle. Silks, that is to say taffetas, foulards, and poults de soie, are the materials most in vogue for these redingotes; a few have appeared in muslin, lined with coloured silk, and with the collar and revers beautifully embroidered, |