We have still another observation to make on the subject of intonation. The only instrument which can be used in the singing classes, is the piano-forte, which, from its imperfect construction, is apt to mislead the ear of the pupil, when used to accompany the voice in unisons. The notes sounded by the voice, should therefore, when struck upon the instrument, be distant from the unison, and make only a slight impression upon the singer, so as to guide him without making his voice warp to an imperfect sound; otherwise his note will be out of tune, like that on the pianoforte. Too much attention cannot be paid to his, nor too great pains taken to accustom the pupil to hold notes in perfect tune, whilst accompaniments rich in harmony and design, representing the effects of the orchestra, are played upon the instrument by the master. With such practice as this, instead of the meagre accompaniments used by the generality of masters, the singer makes his debut in front of the orchestra, with his ear well drilled to all its possible combinations.

M. Le Camus, in the work before us, has brought the above principle to bear, in a form as attractive to the pupil as it is skilful in its arrangements. Without swerving from the simplicity of an elementary work, he has adorned even the most ordinary exercises and ornaments, with a beauty of accompaniment, and a power of effect, which, without at all embarrassing the pupil, must direct his thoughts and feelings constantly towards the higher and more intellectual branches of the art he is studying. The cantabili of his vocalisations are delightful, and, as we before stated, so are his harmonies and accompaniments. His exercises for two, three, and four voices, claim equally our admiration; and the beautiful variations with which the work terminates, form the last lesson of an accomplished vocalist.

It would be impossible for a pupil of good capacity to study M. Le Camus's work, as it ought to be studied, without acquiring, besides perfect intonation and agility of voice, taste and expression. His exercises might likewise be of great use to instrumentists, particularly to amateurs, who have not much time for practice, and whom these melodies, whether as solos, duets, trios, or quatuors, would render familiar with the higher powers of the art.

We are convinced that M. Le Camus's Art of Singing will be patronised as it deserves to be; for our parts, we consider it the most perfect work of the kind ever produced.

We shall notice next month a quartette for two violins, tenor and violoncello, and a fantasia for piano-forte, flute, and violoncello, by the same author.

Recollections of a Chaperon. Edited by Lady Dacre.

For edited is here to be read or understood

written. Lady Dacre has long been known for her love of, and proficiency in, the fine arts; her intimacy with the literature of several foreign nations besides that of her own country; her genius for poetry, particularly displayed in exquisite versions from the Italian of Petrarca; her general acquirements, and her fine taste, which has been felt and acknowledged in what is decidedly the most intellectual and refined society of the aristocracy of England.

She is universally esteemed as one of the most accomplished women of the present age, and has secured by her pen a name which will not pass away with the society to which she has been an ornament. We do not remember before to have heard of her ladyship as a writer of novels or tales; but when we saw the present work an. nounced, we expected its appearance with impatience, being convinced that nothing but what had great merit in it could proceed from such a source. The volumes have reached us at last; and we can most conscientiously say, we have found them to contain all and more than we expected. They consist of five tales, of a domestic but most interesting nature-"The Single Women of a certain Age," Milly and Lucy," ," "Warenne, or the Piping Times of Peace," "An Old Tale, and Often Told," and "Ellen Wareham." The characters, the incidents, the construction of these narratives, are delightfully varied. They abound with quiet, easy, society-like wit, and elegant humour to make us smile, with pathos to make us weep, with remarks on human nature admirably acute and just, which ought to make us all turn our eyes within, and improve our hearts and intellects.

The first tale, in the character of Fanny Elmsley, a generous, noble girl, who sees the man she loves-the only man she could ever lovewon from her by her own cousin, and then not only conceals her heart-blight from them and all the world, but devotes herself to their and their children's happiness, presents us with one of the most touching portraitures that fancy ever depicted. But no! it is not, it cannot be, the work of fancy-it is too real, too living and suffering a thing! Lady Dacre must have copied it from the life.

In the second narrative, the story of the poor English nurse in the wilds of Canada is equally pathetic and natural. We almost despair of the heart, not merely of her, but of him, who can read it through with a dry eye.

We need not, however, enumerate one by one the treats contained in this intellectual banquet; but, assuring our readers that the whole are of a veryhigh order of excellence and beauty, we recommend to them the immediate perusal of the en tire work. Nothing has appeared for a long time which mothers may so appropriately recommend to their daughters as the accomplished Lady Dacre's "Recollections of a Chaperon."

A Manual of the Baronetage of the British Empire; comprising a Correct List of the existing Members of the Four different Orders of that Noble and Hereditary Institution, &c. &c. &c. By R. B. In this small and very elegant volume is compressed all the necessary information on the subject on which it treats-the result of long

and patient research. The engraved arms exhirespective orders, have never before been either as bited as models by which to charge those of the accurately, or as elegantly emblazoned. Together with the other ornaments incidental to the work, they present a beautiful specimen of heraldic engraving and typography. The volume is such as will at once be of use, and an ornament in the boudoir of the fashionable world, where, we doubt not, it will immediately find its way.

The Court.-The return of the Court to St. James's Palace is positively fixed for the 22d of February. The Queen's drawing-rooms for the season are already announced: the days specified are, 25th February (Queen's birth-day), 21st of March, 18th April, 16th May, 28th May (King's birth-day), and 20th June.

Dutch Treaty.-The answer of the King of the Netherlands to the proposals of France and England has been received. The terms which he proposes as the basis of a treaty are the following:

"The free navigation of the Scheldt, with a moderate duty.

"The free passage of the Rhine and Meuse, according to the tariff of Mentz.

The evacuation of the forts in the Scheldt in three weeks after the ratification of the treaty, and a reference of the question of Luxembourg to the Five Powers and the Confederation."

Ministerial Circular.-Copy of the ministerial circular to the members of the House of Commons, on the opening of the session :

"Downing Street, 8th Jan. 1833. "Sir,-Parliament will meet on the 29th instant, and immediately proceed to the election of the Speaker. The other business of the session will not, however, commence till the beginning of the following week. I have taken the liberty to give you this information, and, at the same time, beg leave to request your early attendance, as matters of importance must be brought under the consideration of the House at the commencement of the session.

I have, &c. (Signed) ALTHORP." New Dukes.-The King has been pleased to direct letters-patent to be passed under the Great Seal, for granting the dignity of Duke of the United Kingdom of Great Britain and Ireland,

VOL. 11.-NO. II.

unto George Granville, Marquis of Stafford, Knight of the most Noble Order of the Garter, and the heirs male of his body lawfully begotten, by the name, style, and title of Duke of Sutherland, in that part of the said United Kingdom called Scotland.

The King has also been pleased to direct letters patent to be passed under the Great Seal, for granting the dignities of Baron and Duke of the United Kingdom of Great Britain and Ireland, unto William Harry, Marquis of Cleveland, and the heirs male of his body lawfully begotten, by the names, styles, and titles of Baron Raby, of Raby Castle, in the county of Durham, and Duke of Cleveland.

Also for granting the dignity of a Baron of the United Kingdom of Great Britain and Ireland, unto Charles Callis Western, Esq., and the heirs male of his body lawfully begotten, by the name, style, and title of Baron Western, of Rivenhall, in the county of Essex.

The King has also been pleased to confer the honour of knighthood upon Rear-Admiral Charies Conyngham, Military Knight Commander of the Royal Hanoverian Guelphic Order.

Jewish Constables-At the London Adjourned Sessions, on Saturday last, the Lord Mayor having observed two inen taking the oaths of constables with their hats on, inquired the reason, and was informed that they were Jews.

The Lord Mayor asked how it was that they took a Christian oath?

The officer replied, that they converted the oath into a Jewish one, by using at the end of it, "So help me God, as a true Jew!" instead of "true Christian!"

The Lord Mayor-"I am not satisfied, by any means, with the validity of such an oath, and shall not allow it to be taken. How can the words of an oath, officially administered, be changed?"

The officer said, the Jew constables were in the habit of taking the oath according to the form just mentioned, and the Recorder had considered it quite sufficient. The Jews who presented themselves were beadles of the Synagogue, appointed to prevent the peace from being broken there.

P

The Lord Mayor said, he had never before heard that Jews were allowed to vary the forms of an oath, and postponed the swearing until after Tuesday next.

A gentleman appeared to excuse the absence of another gentleman.

The Lord Mayor-" What is the reason the person who is summoned is not in attendance to do his duty?"

Apologist" Because he is not able, my Lord. I came here as his representative.”

The Lord Mayor-" But why does he not come himself?"

Apologist" Because he really can't, my Lord. The fact is, my Lord, he is not living."

The Lord Mayor-" Why did you not say so before? That objection is surely quite enough." Apologist "The gentleman is not living, my Lord; he is dead."

Recorder" You may stand down, sir. He is excused."

Fire at Liverpool.-The Liverpool papers contain an account of a dreadful fire which broke out in New Quay on Monday night. It began in the paint-store of Messrs. Croston, which was filled with oil, turpentine, resin, pitch, tar, and naval stores. In a short time it extended to the neighbouring warehouses, which were filled with merchandise of various descriptions, principally cotton, grain, naval stores, and oil. There was a great want of water, which it is said has been the case at every large fire in Liverpool for the last eight years. The fire extended to the bonded warehouses on the opposite side of Lancelot's Hey, destroyed a mass of warehouses in the direction of Old Hall Street, and by half-past three in the morning had reached Union Street. At four o'clock the front of the warehouses in Lancelot's Hey fell forward into Union Street, with a tremendous crash, burying several persons in the ruins. Colonel Jordan, the inspecting field-officer of the district, had both his legs broken: one has since been amputated, and his friends hope that he may yet survive. His anxiety to keep other people out of danger, induced him to stay too long within reach of the falling ruins. Property to the value of 250,0007., at least, is estimated to have been destroyed by this awful fire. The vessels in the Prince's Dock were in imminent danger during its progress. So intense was the heat from the burning pile, that those which lay opposite to the space ravaged by the flames were only saved from destruction by the incessant use of water, which kept their rigging, decks, &c. wet. The sails of several were unbent; the flakes of fire which fell on the shipping nearly setting the rigging in flames. The lost of life is not likely to be so serious as was at first feared. The body of one man only has been found, and hopes are entertained that he will prove to be the only person actually killed on the spot. The insurance effected on the property destroyed does not exceed 140.0007.

Sporting Exploit.-A silver cup has been

presented to Richard Postlethwaite, Esq., of Broughton, for actually destroying all the foxes in an extensive district on the borders of Cumberland and Lancashire. However ungrateful it may sound to the ears of sportsmen, Mr. Postlethwaite's exploit has been in the highest degree beneficial to the farmers in that rocky district. About twelve months ago, the neighbourhood was overrun with those ravenous animals, and the complaints of their devastations were daily and numerous. They devoured the lambs, strangled the poultry, and worried the rams-a pack of wolves in the olden time could hardly have been more destructive. Mr. Postlethwaite's blood was at length roused, and he opened the campaign against these marauders. He collected a few hounds, and, though small, he had soon reason to be satisfied that they were neither deficient in strength nor spirit. Candour obliges us to add, that Mr. P. was not particularly nice in observ ing the laws of the chace; for, considering that in war all stratagems are lawful, he made no scruple of shooting or knocking the enemy on the head whenever he could by such means accomplish his object. In less than eight months he destroyed, principally with the hounds, no less than twenty-nine foxes; and the neighbouring farmers, grateful for the deliverance, and sensible that Mr. P.'s exertions were inspired not so much by love of the sport as by a desire to effect a useful object, determined to present him with some lasting memorial of their grati tude. A silver cup was purchased and presented to him on New Year's day, at the Griffin Inn, Broughton-in-Furness, and a supper provided for the occasion, to which a numerous party sat down.-Whitehaven Herald.

Assault. A charge of assault was brought by Goddard, the officer, against a Jew prize-fighter, named Aby Belasco, who was retained by the proprietors of the gaming-house, No. 60, in the Quadrant.

Goddard stated, that, according to the plan of operations for making good an entry into the gambling-house previously determined on, Ballard was to go up first, and secure the iron door at the top of the staircase; after which, on a signal being given, witness was to follow. As witness was about to go up stairs, he met Belasco, whom he desired not to attempt to stop him or to resist, as the officers were prepared, and had also a warrant. Belasco instantly threw his arins round him, and held him for a few seconds, calling out to those above to keep the iron door.

Belasco, in defence, said that Goddard came upon him so suddenly that he did not recognize him; and he laid hold of him, as was his duty, to prevent him from going up stairs.

Mr. Conant-" Were you acting as porter there? Mind you need not make the admission unless you please."

Belasco-"Yes, I was acting as door-keeper." Mr. Conant-" Had you express orders to exclude the officer?"

Mr. Conant " What, don't you admit strangers?"

Belasco" I don't admit improper persons." Mr. Conant-"What do you mean? Belasco" Why, them as doesn't appear like gentlemen."

Mr. Conant and Mr. Dyer having concurred in considering the assault proved, directed the defendant to put in bail, two housekeepers in 207. each, and himself in 40%

The Regulations. In the county of Kildare,

by night, taking arms and dealing their vengeance on all who take land over the heads of the old occupiers. Rossmore Lodge, on the Curragh, and the houses of Mr. Martin and Mr. Davis, adjoining, were plundered of their arms a few nights since. On the 9th instant, a young man named Brohill, who had taken some of the Duke of Leinster's ground near the town of Kildare to farm, contrary to "the regulations," was shot dead his brother also was beaten to death. It is said that manufactures of gunpowder are numerous in the county.

THIS elegant little theatre was opened on the 24th of last month, when Miss Kelly exhibited, before a very distinguished and crowded audience, her consummate skill in her most difficult and intellectual profession. The nature of the entertainment has been explained at length in the daily papers, so that we shall direct the few remarks to which our limited space confines us, to Miss Kelly's qualities as an actress, and these we look upon to be of the very highest order. Though she has been honoured with a considerable share of public patronage, we confess we do not consider that she has been appreciated in a degree equal to her merits, for we look upon her at this moment to be the first actress in Europe, if we consider the extent, nay, the universality of her powers, of which she has lately afforded the most extraordinary and triumphant proofs. We speak advisedly when we mention her as the first actress in Europe, for though she is cotemporaneous with Pasta-the great and sublime Pasta-to our minds she transcends her. If she does not always attain to so high an elevation,-to which the fine person and figure of Pasta have most essentially contributed-herscope is a much more extensive one, and her conception more abstractedly true and intellectual. If Miss Kelly's sphere is not so high as Pasta's, she is higher in it; besides, as we have said, it is far more extended, and therefore calls for a far greater variety of powers. If she does not dazzle us by grandeur of attitude and imposing vehemence of gesticulation,-if she does not besiege our judgments and take them by storm by sudden raptures of emotion and astounding surprises; she nevertheless makes her sure way to the feelings by those natural touches of exquisite tenderness, which are communicated to them, like that mysterious fluid to the animal frame through the electric chain, and strike irresistibly upon the heart through the moral sympathies. Miss Kelly's acting is the finest

It is this perfect

upon the stage she is not great by starts-she does not dart into the clouds like a skyrocket and scatter her splendid scintillations for a few moments, and then fade into obscurity until some other impetus is given again to dazzle for the instant and again to fade; but she takes a steady flight, like the mother eagle towering in the consciousness of her strength, and only closing her wings to rest from her labour, and to renew her flight with the same strength of wing and the same consciousness of power. She is never a moment out of her part, but is perfectly absorbed in it, and so complete is this absorption, that her very identity is lost sight of, and so admirably is the assumed identity sustained, that we only see the character, not the actress. merging of the natural in the assumed-it is that rare power by which the feelings and emotions of an imaginary being are made identical with our own, and felt, and communicated as if they were really felt, that constitutes the great charm of Miss Kelly's acting. There are many clever women now upon the stage, among whom we may fairly number Mrs. Yates and Ellen Tree,—but they are mere actors; they do well what thousands and as thousands have done well before them. They are pretty women, and thus our judgments upon the greater are frequently beguiled by our admiration of the less. They are clever, we admit, but only clever: they aim at astonishing before they have learned to please. Thus it is that they frequently mistake extravagance for sublimity, vehemence for power, and manual activity for theatrical energy. They start into motion as if they were galvanised, rant as if the acmé of the stage sublime were a shout, a stamp, or a bringing together of the hands into vehement collision, and execute a sort of strutting march with their little neatly shoed feet, as if it were absolutely indispensible that they should call especial attention to the symmetry of those delicate members. They are everlastingly remind

ing us of what has been done before, being mere copyists from sundry originals; and thus throw those varieties of colouring into the characters represented by them, which they derive from those originals; so that they frequently represent them without coherence, by changing the character as often as they change the scene. Even Fanny Kemble has this besetting sin. Mrs. Siddons and Mrs. H. Siddons are her prototypes, and by blending the excellencies of each, she fancies she presents us with an original creation. But no! Fanny Kemble is deficient in originality; she unquestionably has power; she frequently throws a splendid light upon the scenes in which this power is displayed, but it is a reflected light-reflected from the surpassing influence of one mighty and unapproachable in her vocation, and from the milder radiance of another, elegant, indeed, and intellectual in hers, but by no means standing in the van. It will, indeed, be readily admitted that Fanny Kemble is a clever, though we deny that she is, or ever will be, a great actress. In what she does, she takes us too much out of the character, and carries us too frequently to the sources whence she derives the hues which she flings over it; besides this, she throws her own likeness too prominently into every thing she portrays; thus robbing it at once of its own especial and appropriate verisimilitude. This is an error into which Miss Kelly never falls, or rather it is an incapacity for original and exact delineation which belongs not to her; she, on the contrary throws herself as it were out of herself, and as if by the mystical process of tranfusion, seems to possess the soul of another being, working with all the truth and exactness of nature those fine tissues of emotion and feeling, which never can be perfectly understood and represented unless the actor and the character be made identitical; thus it is that Miss Kelly does not merely represent, she embodies. Her characters are no longer portraits, but living realities; she does not watch for the opportunity of making points, catching the audience by surprise, and startling them out of a doze by some extraordinary display of manual dexterity or vocal exertion: No! her great merit consists in the sustained vitality which she imparts to her impersonatious, bringing them out into most vivid distinctness, and enduing them all with such a life as stamps upon them the image of sterling truth. If it should be, as we believe it has been, objected, that Miss Kelly seldom attains to a high elevation in her art that she does not rise up to the true poetry of acting; to this we reply, that it is always her object to represent nature as it is seen and felt by the million, and as it is recognizable by the million; not as it is beheld through the prism of the poet's imagination, heightened by hues which may be

beautiful to the contemplations of men, though little familiar to their experience. The mere poetry of acting we take to belong more to fiction than to nature, above which it is as much elevated, as the poetry of the former is above the plain but impassioned language of the latter and to our minds, the poetry of acting is, therefore, a far easier acquisition than the chaste, but severe representation of Nature. Pasta has, indeed, most poetically touched the characters which she represents with such prodigious, and sometimes with such appalling energy. It will not be denied that she pours through all the avenues of moral and physical perception, sublime images, of the fearfully organised mind of the impassioned Medea. But with all Pasta's prodigious power of execution, it comes upon us only as a splendid effusion of art; we admire the exquisite skill of the artist, but still feel it to be only a fiction. Now I would ask, if the sublimest efforts of the Italian have not been exceeded in intenseness of effect by those natural and recognised emotions, which have been so exquisitely developed in Miss Kelly's representation of the Miller's Maid, and many characters of a similar kind, in which her pathos is so pre-eminent, and her delineation, for tenderness and truth, without a parallel at this moment upon the stage!

Let any one who is disposed to question Miss Kelly's claim to the high praise which we have bestowed upon her, witness the performance of her Dramatic Recollections, and we feel satisfied that he will admit them to be the most perfect delineations of character ever exhibited; and when we consider their number and variety, together with their following in such rapid succession, we are absolutely amazed at the marvellous versatility and quickness of conception displayed in these most extraordinary performances. In these however she can only partially develop her powers and display the rich resources of her mind; because, as she represents but one character in the scene, the spectator is frequently called upon to supply, by his own imagination, the interlocutors who are supposed to bear a part in it: the illusion therefore cannot be perfectly sustained, so that the actor is thus seen to a disadvantage in consequence of the illusion being so perpetually dissipated by a nonentity being addressed as a living representative; for it is only through the medium of this illusion uniformly supported, that actors are seen as they can alone be seen to be justly appreciated. But we repeat that with all the disadvantages attending such a representation, and they are absolutely insurmountable, Miss Kelly has, by her late unparallelled effort, fully established the fact that she is at this moment the greatest actress on the stage.