MONTHLY MISCELLANY,

INCLUDING VARIETIES, CRITICAL, LITERARY, AND HISTORICAL.

PUBLIC AMUSEMENTS.

COVENT-GARDEN.

LYCEUM.

Bickerstaff's Comedy of the Maid of the Mill was revived at this theatre on Friday night, Feb. 7. The success of Lionel and Clarissa induced the managers to make this attempt, and the town are certainly indebted to them for the reproduction. There is more sense, sentiment, and mauliness, than would suffice to set up a couple of dozen of our modern operas.

THE VIRGIN OF THE SUN-On Friday, Feb. 7, a new piece was produced at this Theatre, called The Virgin of the Sun-It is founded on the pathetic Tale of the Incas of Peru, by Marmontel-The story is well suited to a drama, and, from its comprehending so many opportunities of shew, it is better adapt ed to an Opera-The fable is shortly as fol lows-Cora, a Priestess of the Sun, breaks her vows, and elopes from the Temple with Alonzo, whom she marries-The penalty of this act is the death of the guilty parties, and the sacri. fice of the whole race of Cora-Accordingly, by the laws of Peru, Cora, Alonzo, and her father, are condemned to death-Mean time Rolla, who had been rejected by Cora for the sake of Alonzo, forgetting every thing in her danger, leads the Peruvian troops to rescue her, together with Alonzo, and her father-A Nothing could be better got up than this rebellion is about to plunge the Peruvian king-play-It was acted in a manner highly creditdom in blood, when Cora steps forward, disarms Rolla, and puts an end to the insurrection-Astonished by this act of heroism, and pious submission to the laws of Peru, the King relents; declares the savage custom to be abolished, pardons Cora and her father, and unites her with Alonzo.

The Maid of the Mill must not in any way be compared with Lionel and Clarissa; the latter opera has a probable and natural plot; " the characters are all drawn with a master's hand. The Maid of the Mill is unhappily founded on a plot taken from a novel, and this defect totally spoils the whole piece. The characters are all natural, and admirably pictured; they have the vigour and fidelity of Bickerstaff, but they are forced into situations, the absurdity of which takes away from the effect of their character.

Such is a slight sketch of the plot of this piece. It is not a mere peg to bang out the wardrobe of the Theatre. It has to boast much beyond the common pomp and magnificence of scenery. It has something more than men to march and women to sing. The characters, particularly that of Rolla, are drawn with force and considerable discrimination; and the language is simple and occasionally vigorous.

The scenery is very beautiful, particularly in the first act, in which is represented the de struction of the Temple of the Sun by a thunder storm. The music, by Bishop, is pleasing and appropriate. Miss Smith displayed great powers in Cora, and Young, in Rolla, gave an example of a very polished taste and correct judgment. The Opera was well received, and deserves to be popular.

able, both to the actors and the house. Mrs. Dickons sung in her usual delightful manner. Webave great pleasure in giving this just praise to an actress, whose public talents, eminent as they are, are her least desert.

THE PANTHEON THEATRE.

This Theatre was opened on Saturday, Feb. 16, to some of the nobility and a few select friends, for the purpose of exhibiting the house. The entertainment was, of course, merely in the nature of a rehearsal. The structure of the theatre is such as to reflect great credit upon the parties employed. In size, we believe, it is the largest theatre in London; the pit is larger than the pit of the Opera, and the boxes are more numerous The whole effect is extremely brilliant. The character of the internal structure is in no determinate order of taste, but is composed of an arrangement of ornaments, which, for their diversity and attraction, exceed any thing of the kind we ever

saw.

FINE ARTS.

OPENING OF THE BRITISH INSTITUTION.

set on with sufficient decision, and the head and countenance have no expression of natural passion. There is something, however, extremely fine in the disordered appearance of Lady Macbeth at the window of her chamber; her anxiety, and her terror are strikingly depicted; indeed the whole movement of the figure has the mark of great genius and power

This Society, conducted on the purest principles of patronage, the aim of which is to feed and fructify the funds of national genius, and to advance the claims of this country, in respect to works of art, to the rank which she is entitled to hold in the community of Europe, opened their annual exhibition to sub-ful conception. The head of Duncan in the

scribers on the 5th of February.

bed, and his silver locks, are painted in a masterly manner. This Picture shews that Mr. Haydon is advancing rapidly in the class of historical painting.

The Governors have proceeded this year upon a principle of selection and choice which does credit to their discernment and taste. They have not indiscriminately admitted every adventurer in colour and canvas; they have not degraded and profaned the works of real genius by a mixture with works that have none; and though the walls of their room are more scantily covered than during any former exhibition, it is owing to the choice and scrutiny they have judiciously made.~ There are seven Pictures which are candidates for the prizes, of which we shall give a slight character, without anticipating the judgmented in an agony of suffering, and surrounded of the Committee.

No. 11. The Connoisseur, by M. W. Sharp. There is something more ingenious and praiseworthy in the execution of this picture than in the original conception, The Artist's faculty of band and eye seems superior to his mental power. The leading excellence of this picture, as it appears to us, is in its direct delineation and appropriate colouring; in the happy composition of the groupes, and the minute attention paid to the arrangement and execution of the subordinate parts. Here, however, its excellence stops: as a work of invention and character it has nothing to disfinguish it above the common-place works of the pencil. It is too rigid for humour, and not sufficiently dry for irony. It ought to have more gravity or more gaiety. quite left in the dark as to Mr. Sharp's design, and there is nothing in the picture whereby to discover it.

We are

No. 56-Macbeth, the instant before he murdered Duncan, by B. R. Haydon. There are some very good parts in this picture, but the artist has entirely failed in the character of Macheth. The drawing in the extremity of the figure is very incorrect; the legs are not No. XXIX. Vol. V.-N. S.

No. 64 -The Procession to Mount Calvary, by G. S. Joseph. This is one of those works of art in which excellence appears attained in a subject in which it cannot reasonably be expected. The subject of this Picture is such as to stir up all the faculties of the painter, and to bring his powers to the test, This picture consists of three groupes; in the middle is our Saviour, bearing the cross, accompanied by the Magdalen, with dishevelled hair, plung

by the immediate executioners of Jewish vengeance. The next groupe consists of the thieves preceding Christ, with the Romay soldiers and Centurions. At the head of the last groupe is the Mother of our Saviour, supported by St. John, followed by the deriding and persecuting rabble, who come to witness the crucifixion. Our Saviour is fainting under the burthen of his cross, and the character and expression, given to him by the Painter, are such as are suitable to his Diving Being. The figures employed in lifting the cross are represented with great force. The invention of this composition is very good; the general sentiment is compassion; the time is extremely well chosen, and is precisely that period when there became, as it were, a stage or pause in this wonderful action. If we have any thing to object, it is, that the figure of the Magdalen is too petite.This picture, however, is remarkable for its simplicity; it is full of nature and feeling; in a word, this is a work of art which promises to introduce Mr. Joseph into the first line of historical painting,

(To be concluded in our next.)

THE ORIGINAL BLUE BEARD.-As this extraordinary personage has long been the theme, not only of children's early study and terror, and as no afterpiece had ever a greater run than that splendid and popular musical entertainment which bears the title of Blue Beard, our readers will, no doubt, be gratified in perusing the character of that being, who really existed, and who was distinguished, in horror and derision, by that appellation.

He was the famous Gilles, Marquis de Laval, a Marshal of France, and a General of uncommon intrepidity, and greatly distinguished himself in the reigns of Charles the VI. and VII. by his courage; particularly against the English, when they invaded France. He rendered those services to his country which were sufficient to immortalize his name, had he not for ever tarnished his glory by the most horrible and cruel murders, blasphemies, and licentiousness of every kind. His revenues were princely, but his prodigality was sufficient to render an Emperor a bankrupt. Wherever he went he had in his suite a seraglio, a company of players, a band of musicians, a society of sorcerers, an almost incredible number of cooks, packs of dogs of various kinds, and above two hundred led horses: Mezeray, an author of the highest repute, says, that he encouraged and maintained men, who called themselves sorcerers, to discover hidden treasures, and corrupted young persons of both sexes to attach themselves to him, and afterwards killed them for the sake of their blood, which was requisite to form his charms and incantations. These horrid excesses may be believed, when we reflect on the age of ignorance and barbarity in which they were, certainly, but too often practised. He was, at length, for a state crime against the Duke of Brittany, sentenced to be burnt alive in a field at Nantes, 1440; but the Duke of Brittany, who was present at his execution, so far mitigated the sentence, that he was first strangled, then burnt, and his ashes buried. Though he was descended from one of the most illustrious families in France, he declared, previous to his death, that all his horrible excesses were owing to his wretched education.

OF BATTLE-The contending parties at a card table are as eager there for victory, and the spoils, as soldiers in a battle. In the mimic game of war, Kings are the comman ders in chief, Queens are Generals in petticoats, and Knaves the army contractors. Then follow the undisciplined recruits, armed with spades and clubs. Stationed round the table, the hostile armies face each other, and begin the fight, resolved to conquer or to fall; the bravest hearts are taken in the conflict, Kings and Queens lie prostrate, or are led away captive to the enemy's camp, and such a ransom is demanded for their freedom drains the coffers of the vanquished party.

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ANECDOTE OF LOUIS XIV-Messieurs De Saint Agnan and Dangeau had persuaded the King he could write verses as well as another-Louis made the experiment, and composed a madraga!, which he himself did not think very good. One morning he said to the Marshal De Grammont: "Read this, Marshal, and tell me if ever you saw any thing so bad ; finding I have lately addicted myself to poetry, they bring me any trash." "Your Majesty is a most excellent judge in all matters of taste, for I think I never read any thing so stupid or so ridiculous."-The King laughed. "Do not you think he must be a very silly fellow who composed it?"-" It is not possible," continued Grammont, "to call him any thing less.""I am delighted," said the King, "to hear you speak your sentiments so frankly, for I wrote it myself." Every body present laughed at the Marshal's confusion, and it certainly was as malicious a trick as could possibly be played on an old courtier.

CHRISTMAS CAROLS, &c.-The word carol is supposed to be a compound of the old Saxon words cantan, to sing, and rola, an interjection of joy. The ancient burthen of the song was Rola, Rola, Tol de Rola, which is not unusual, even at this time, in common low songs, or in songs of a burlesque kind. The custom of singing an hymn on the morning of the nativity of Jesus Christ, is of very || old standing in the Christian churck, and the carol is supposed to be an imitation of the "Glory be to God on high, &c." which was sung by the angels, as they hovered over the

A CARD TABLE COMPARED TO A FIELD fields of Bethlehem, in the morning of the na