448 Lectures of the Royal Academy. INTELLIGENCE. [Dec. 1, ROYAL ACADEMY.-The following is the arrangement, or order, of the lectures in the Royal Academy for the ensuing season, and visitors will do well to remember that no admission will be given, except to members, after a quarter past The lectures on anatomy, by A. CARLISLE, esq. commence on Monday, Nov. 14, as hereafter noticed, and will be continued on the five succeeding Mondays. struction to architects and professors of of Mr. Britton's specimens of the Fine perspective no doubt, "a description of Arts of the English school, with the nethe allegorical figures round it!!!" cessary additions to make it a separate A Voyage round Great Britain, under- work. taken in the summer of the year 1813, and commencing from the Land's-end, Cornwall. By RICHARD AYTON. With a Series of Vicas, illustrative of the Character and Prominent Features of the Coast, drawn and engraved by WM. DANIELL, A., R. A. Nos. I.-VIII. This entertaining and interesting pic-eight o'clock, in any evening lecture turesque voyage is illustrated with coloured prints in aquatinta, engraved by Mr. William Daniell, from his own drawings, made expressly for the purpose, and of which they are, as far as the art will allow, fac-similes. The present numbers now before us contain views of the Lands'-end; the Long Ships Lighthouse, off the Lands'-end; the entrance to Portreath; Boscastle Pier, on the coast of Cornwall; Hartland Pier; Clovelly; Ilfracombe; Ilfracombe from Hillsborough; Combe Martin; Lynmouth, North Devon; Britton Ferry, and St. Donat's, Glamorganshire; the Mumbles light-house, in Swansea Bay; the Wormshead, in Tenby Bay; the Eligug-stack, near St. Gowan's Head, and Tenby, Pembrokeshire. To those who are acquainted with Mr. Daniell's former works, particularly his beautiful Illustrations of Zoology, published a few years ago, we need say no more than that this picturesque voyage fully equals them, both for choice and tasteful arrangement of subject, as well as beauty of execution, and that it bids fair to make our beautiful coast as much known and celebrated among those who have never had the felicity of visiting it, as the more pompously announced, but less beautiful, scenery of distant nations. Plans, Elevation, Section, and View, of the Cathedral Church of St. Paul, London, engraved by JOHN LE KEUX, from Drawings by JAMES ELMES, Architect. To which is added, an Historical and Descriptive Account, by EDMUND AIKIN, Architect. Elephant 4to. 21. 28. half-bound. This monument of the magnificence of our ancestors, as St. Paul's has been truly called, has here found a just and faithful recorder. The union of two professional men, like Messrs. Elmes and Aikin, on their own particular art, could not fail to produce a work faithful, interesting, and worthy of their subject. The plates are beautifully engraved, and with the utmost fidelity and care. This work, we believe, originally formed part The lectures on perspective, by J. M. W. TURNER, esq. will commence on Monday, Jan. 2, 1815, and will be continued on the five succeeding Mondays. The lectures on architecture, by Jons SOANE, esq. will commence on Thurs day, Jan. 5, 1815, and will be continued on the five succeeding Thursdays. The lectures on sculpture, by Jons FLAXMAN, esq. will commence on Mooday, Feb. 13, 1815, and will be continued on the five succeeding Mondays. The lectures on painting, by HENRY FUSELI, esq. will commence on Thurs day, Feb. 16, 1815, and will be continued on the five succeeding Mondays. At a council, held in the Academy's room, at Somerset-place, on the 7th Nov. Richard Ramsay Reinagle, and William Collins, were elected associates of the Royal Acadeiny. On this election, after perusing the list of candidates for this degree, we shail make no comments: whether the two most eminent painters from that list were chosen or not, we shall not pretead to decide, as opinions on this head mus necessarily vary; but we are justitied in saying, that great injustice is done in it to architecture, the most important i the three arts of which the Royal Aca demy is composed, for of forty ac demicians they have but four architects, even if all the four are deserving of the name. We shall forbear farther ob servation, and only remark, that among the competitors for this academic hond? were Messrs. Jeffry Wyatt, and Wilkins, besides two or three other architects of deserved celebrity, whose names and abilities would have done honor to a academy, and who have, by subscribing their names among the list of candidates for the rank, (a necessary obligation, without which no one is elected,) paid a flattering compliment to the Academy. Mr. CARLISLE, the professor of ana tomy, commenced his fifth course of lectures at the Royal Academy, on Monday, the 14th November, to one of the most crowded auditories of academicians, associates, students, exhibitors, and visitors, we ever witnessed. Among the latter were several foreign artists of eelebrity, and native professors of anatomy and surgery. It is worthy of notice, that this excellent teacher of his art has delivered a new introductory discourse every succeeding year. The present lecture commenced with a view of the relative position of the states of Europe since their sudden restoration to the condition of a peaceful family, and the probable advantages to be derived from a free intercourse to the artists of England. He spoke of the splendid collections at Paris, and represented that gorgeous assemblage to be more fit for mature artists than for students. He commented upon the torporific influence of premature satiety in contemplating the exemplars of the Fine Arts, and noticed the little benefit which such facilities had produced in the countries where those exhibitions have been the most abundant. The relative value of the schools of the Royal Academy were then contrasted with foreign establishments, and the works, as well as the deserved reputation of English masters, were justly represented to preponderate. After commenting on the benefits of English freedom and our equitable constitution, the lecturer proceeded to explain the uses and misapplication of anatomy, as an elementary and auxiliary branch of education. He particularly enforced the necessity of connecting the 449 knowledge of anatomy with geometrical diagrams, to illustrate the proportions, the fixed forms, the motions of the limbs, and the changes of contour in the human figure. These views were variously placed before the students, and the advantages derivable from systematic instruction, were demonstrated from the known physical history and progress of delineating the resemblances of natural objects. The unfortunate metaphysical and cant terms of misguided students were severely reprehended, and a course of well-directed industry recommended as the only safe path to eminence in the higher parts of design.-We are obliged to postpone till next mouth our notice of the continuation of the lectures of this able professor. Mr. PAISON, S. R. P. and honorary member of the Literary Society of Edinburgh, announces a new work of Illustrations of London, embellished with numerous engravings of views, plans, elevations, sections and details, &c., aided (as he says) by Messrs. Porden and Vulliamy, architects. This we have authority to say is not strictly the fact. It is not Mr. Porden, the architect, but a Mr. (something) Porden, a youth, and a relation of the gentleman whose name is thus assumed. Mr. Porden, is a young gentleman, we are informed, of good abilities, but it is usual in juniors to add their christian names during the life-time of their seniors, the omission of which in this instance looks too much like an attempt at imposition. NEW PATENTS. MICHAEL LARKIN, of Black wall, shipwright; for improvements in windlasses for hips.-Dated August 16, 1814. HENRY WILLIAM VANDERKLEFT, of High Holborn, Gent. for a walking-staff. to contain a pistol, powder, ball, and telescope; pen, ink, paper, pencil, knife, and drawing utensils.- Aug. 17. ROBERT SALMON, of Woburn, Beds. purveyor; for improvements in machines for making hay.-Aug, 22. Jogy and GEORGE DICKENSON, Nash Mills, Hertford, paper-makers; for improvements in their patent machinery for manufacturing paper; and also an apparatus for separating the knots or lumps from paper or paper-stuff.-Aug. 24. JAMES PENNY, Low Nibthwaite, me chanic, and JOSEPH KENDALL, Cockenstall, Lancashire, turner; for a new and improved principle for the making of pill and other small boxes.-Sept. 8. WILLIAM LESTER, Paddington, engineer; for certain further improvements on a machine for separating corn or seeds from the straw and chaff.-Sept. 27. JOSEPH and PETER TAYLOR, Manchester, machine-makers; for improvements in a loom for weaving cotton, linen, worsted, silk, or other cloth made of any two or more of the raw materials.-Sept. 21. W. E. SHEFFIELD, Somers'-town, gent.; for improvements in manufacturing copper, and its compounds, and other me tallic substances.-Sept. 21. JAMES DOBBS, Birmingham, gent.; for 450 Dramatic Register-Covent-Garden. his improvements in machines for cutting and gathering in grain, and produce arising from the earth, whereby much labour and expence are saved.-Sept. 21. AMBROISE FIRMIN DIDOT, Holborn, gent.; for an improvement in the method of making types, or characters for printing.-Oct. 3. ABRAHAM SHAW, Leicester, glazier; for an apparatus for the better cutting of window plate, and sheet glass.-Oct. 3. W. SAMPSON, Acorn-street, London, millwright; for improvements in raising water.-Oct. 3. R. PHILLIPS, Newbury, engineer; for improvements for a- plough.-Oct. 5. Mr. W. DONCASTER, the patentee of "Improved Navigation," proposes to present to the public the first fruits of his extensive undertaking, early in the ensuing month. The production will be "The Ship's Factotum Table," combining in itself the various offices of sideboard, cupboard, artificial cellar, cellaret, conservatory, and dumb-waiter, besides the use of hot water plates and DRAMATIC COVENT GARDEN THEATRE. -Our remarks on this head are necessarily curtailed, in cousequence of Miss O'Neil's successful repetition of the performances which we have already noticed, and Mr. Kemble continuing to represent his most popular characters with his wonted excellence. As, however, it is some time since Cumberland's excellent moral comedy, the Wheel of Fortune, has been performed, we cannot forbear noticing, that, on Nov. 1, it was brought forward. Among the numerous writings of that most indefatigable dramatist, this play, like his West Indian, will be sure to go down to posterity, and perpetuate his fame. The part of Penruddock, on which the whole structure of the play depends, was written for Kemble, for whose talents it is peculiarly adapted. It is a species of tragedy character, but of the sober and solemn kind. It affords little or nothing of starts and flights: but exhibits coolness, reflexion, subjugation of temper and passions, a distaste for the pleasures and business of the world, mixed with and beautified by a warm, sincere, and active spirit of benevolence. Kemble had not played this part for some time. It is quite enough to say of his performance, what the discerning have generally said of it, that there is no [Dec. 1, dish-covers, free from their uncouth appearance; adapted to universal family use, from, as is presumed, the most elegant japanning upon tin, at present known in Europe, down to the humble wicker dining apparatus, for substantial use only below stairs. Its great recommendations are, that it gives to every guest at table the full use and command of all the dishes placed upon it, without being under the slightest neces sity of troubling any one in the carving departinent; next, that it frees both the men of opulence and of business from the liability to the tattle or espionage of their attendants, which exists under the present helpless form of dining; and last, but not least, that it furnishes to the great middle class of society in this country all the elegance and conveniency of a living servant in attendance during the daily busy gala hour of human life, without the concomitant inconveniencies of waut of sufficient employment for them afterwards, as well as enabling them to devote the expense of maintaining one to other purposes. REGISTER. character in his range that he plays better. One may put his Penruddock, as a peculiar thing, by the side of the late Cooke's Macsycophant. Miss Foote is a pleasing actress: but in Emily she is innocently enough wanting in something of the sweetness and sensibility which the author intends for her. Nov. 4, Miss O'Neil appeared for the first time in the character of Isabella, in the Clandestine Marriage, in which her great predecessor, Mrs. Siddons, gained such merited renown. There is no part, in the whole list of dramatic persons, better adapted to the peculiar endowments of Miss O'Neil, than Isabella. The beautiful form of her person, the simplicity of her pathos, and the sweetness of the tones of tenderness which reach the heart of every auditor, because they evidently spring from her own, qualify her for the representation of this illfated heroine of the scene. Accordingly, her attractive appearance in her mourn ing dress at once engaged the most lively interest in every breast, which she sustained throughout; and particularly in the most fervent passages, she was honoured with loud and continued bursts of applause. In some of the short re plies and interjections, in the critical scene with Byron, at the end of the 1814.] Dramatic Register — Drury-Lane. fourth act, (in which Mrs. Siddons used to electrify the house,) she had not those heart-rending starts of expression of which the passion is susceptible. In the impassioned parts of the character she was more fortunate; and we must say, to those fastidious judges who accuse her of too much violence, that she would not be faithful to the writer if she were tame. She is to imitate a delirious agony, and they must have stoic hearts who can resist the influence of her distraction. The beauty of her attitudes and of her person add to the sensibility of her tones the most fascinating charin; and we see in her, not merely the promise, but the certainty, of our having attained an accomplished actress. DRURY LANE THEATRE.-Oct. 13th, Mr. Kean appeared, for the first time this season, in the character of Hamlet. The characteristics of Mr. Kean's style appear to be a quick and subtle promptitude to seize those points on which the spirit of the part turus, a vigorous conception of the form in which the sentiment is most potently embodied, and an unsparing use of the faculties, bodily and mental, with which he is so singularly endowed. Hamlet gives occasion for all those attributes; and it is for this reason that a perfect Hamlet is almost beyond the hopes of the stage. Melancholy abstraction may find its easy representative, when the ardour of love, or the solemn and lofty enthusiasm of an almost righteous revenge, are defaced by native feebleness, or artificial labour. The applauses which followed the actor through the changes of his trying character, are the least doubtful answer to those who might question his general excellence: yet we are not prepared to give equal admiration to all his scenes. The interview with Gertrude was masterly: here his hot and wild resentiment raved with prodigious effect, and his sudden alteration on the appearance of the ghost, from mortal disturbance to the awe natural to the impression of such a presence, was among the finest efforts of the art. His perpetual recurrence to the source of his irritation,-his comparison of the pictures, as if by the intervention of an accidental thought, kindling, as he turned, from time to time, his rapid to the memorial of his murderer, were all finely conceived: but able as this was, it was no more than necessary to compensate our disappointment in the preceding scene. There are portions of very popular play, which the audience - 451 legitimate trial of the actor's strength. Mr. To be, or not to be,' is one of those: easily perceived in their deeper attention and the excitement of the audience was as it commenced. Mr. Kean's judgbut if he thinks that a soliloquy is to be ment is too mature to be hastily disputed, delivered as a speech, we must believe that he is wrong. Hamlet, full of anxious thought, oppressed by supernatural fear, burning with a father's injuries, must softened by filial remembrance, and yet have spoken (if such feelings belong to words) in the hurried, broken, and unmeasured impulses of the moment. Kean's declaination gave us a most provoking memory of the stop-watch, and nothing could have been more mathematically equable than his pause and pronunciation. Those thoughts which Shakspeare knew to be the mere illustrations new aspects in which the perplexed spirit of the leading idea, the repetitions and loves to view an overwhelming and new conception, and in whose facile produce it takes a strange pleasure, were weighed out with a due apportionment of solemnity; and the result was, that this memorable soliloquy-perhaps the finest effort without single notice from the house. in the English language, passed off, almost The grave-digging scene was highly applauded. It is not easy to understand why, with ment of this theatre, Hamlet should have so many able actors on the establishbeen so ill cast. To point out individual deficiencies is painful, and opposite to find no place for her powers but in our practice; but could Mrs. Bartley Ophelia, while Mrs. Brereton was Gertrude? The former actress should not require to be reminded, that something is said of the fair Ophelia;' and that the daughter of Polonius is presumed to be youthful, and to have a voice capable of singing a ballad. We have seen this part performed in a very suficient means regret to see it restored to her. style by Miss Kelly, and should by no As for the Queen, if she satisfies Mr. Kean, the audience can scarcely complain; for his sufferings, with an happy assistant in the part, must greatly exceed ours, whatever they may be, or have been. un 452 Dramatic Register-Drury-Lane. Nov. 1, a new piece, entitled Jean de Paris, was produced, and received with considerable approbation. It is a pleasing trifle, a free translation from the French, and was a great favourite on the Paris theatre. The plot is somewhat romantic. The Prince of France, (Elliston,) enamoured by report of the Princess of Navarre, (Mrs. Edwin,) sets out with a view of meeting the princess on her way to Paris, where she was to choose a husband, in order to discover whether her beauty and accomplishments equalled their fame. Disguised as a merchant, under the name of Jean de Paris, with a large train of attendants, be anticipates the princess's arrival at one of her stations on the road, bribes the landlord into a surrender of the apartments, and even the banquet intended for her, and astonishes the old Seneschal, who comes to announce her approach, by declaring, that if her highness is to dine at all, she must be indebted to his hospitality. The princess arrives, and being apprized of his disguise, agitates her merchant, by declaring that her heart is already disposed of delights him by involuntary admissions of his taste in providing for her reception-beguiles him into panegyric on her beauty, and only, after having exhausted all the ingenious tortures of a woman's spirit of teazing, acknowledges that he is the "lord and lover." There is a slight underplot, in which the young hostess falls in love with the daughter of the Seneschal, (Miss Kelly,) who is disguised as a page. This affords matter for one very good scene. The second act opens with a tasteful ballet, in which Miss Smith delighted us with her elegant and agile, movements. The piece received throughout unbounded applause. Nov. 3, Mr. Kean appeared in the character of Luke, in the comedy of Riches, which he brought out last year for his benefit. The part of Luke is well adapted to the talents of this distinguished actor. He delineates the deep and dark hypocrisy of the sycophant, with the most appropriate expression; but we think he was not equally fortunate in displaying the hauteur of the upstart. He wanted the demeanour of assumed stateliness; and though the poet intended that the innate littleness of the heart should peep through the lofty air of the rich man: yet, the acute and discriminating actor should have given to the deportment more of a specious out [Dec. 1, side than was visible in Mr. Kean, after he put on his gaudy apparel. He was in his rich dress as much the creeping creature as in his dependent poverty;→ he had the same contraction of shoulders-the same bustling walk and gesture as in the previous condition: but he marked the strong passages with an em phasis that gave them all their intended effect, unless occasionally, when le lowered his voice at the latter end of a sentence, and we could only collect from his countenance, but not from his words, the meaning of what he uttered. This is a habit into which he has been drawn by the small extent of the theatres in which he has been accustomed to perform. In country theatres we have no doubt that those under-tones were not merely distinctly heard, but sensibly felt. In the wide area of Drury Lane be inust sacrifice, in some degree, scuse to sound, for his first duty is to make himself audible; but it is on the whole a masterly portrait of a most difficult character. Nov. 5, Mr. Kean presented the pub lic with a fresh effort of his powers, in the character of Macbeth. Macbeth is probably the noblest proof of its author's powers as a dramatist. The scene alter the assassination was a master-piece. I is not necessary to mark its inimitable excellences, but the strongest testimony was to be found in the unbreathing saspense of that vast auditory, and the ve hement applause with which they fol lowed the actor's departure. His remorse and terror-the repentant agopy and sudden subduing of his mind-the contrast between the innocent sleep of his victims, and the fearful and wretched watchings of their murderer, uttered in a voice broken by terror, inward torment, and hopeless despair, were among the most masterly performances that perhaps the English stage has ever produced. His death was admirable; full of that fine contrast of fierceness and feeblenessthe spirit fighting, while the body was perishing under mortal faintness, winch first attracted public fame to his chard, and which leave him, in those eiforts, almost without a competitor. The most lively expectation excited in the public mind by the announcement of Miss Walstein, was, on Nov. 22, gra tified by her appearance, in Calista, in the Fair Penitent. Though her talents will in no degree abate the popularity of of Miss O'Neil, she displayed powers |