in general rather deficient) while the cloudy back-ground prevents the contour from appearing too harsh and cutting against the sky. fancifully, attributed to PHIDIAS.Together with another statue of similar dimensions, ascribed to PRAXITELLES, it was found in one of the ruined saloons on the Quirinal Hill at The attitude of the figure is that Rome, having, as it is supposed, been of defence. The feet are firmly formerly conveyed thither from Alex- planted at the distance from each andria, by CONSTANTINE the GREAT, other which is calculated to impart for the purpose of embellishing his the greatest stability to the body; baths. During the pontificate of and the vigorous muscles of the legs Pius the Fifth, these statues were and thighs seem capable of resisting erected in front of the Papal Palace, every effort to displace them. The and the hill on which they were so head is turning fiercely round, with erected has since been known by the an inimitable expression of haughty name of Monte Cavallo, as two defiance, arising from the consciousantique horses, which were disco- ness of unequalled power. The upvered near the statues, were placed raised left arm, protected by a shield, so as to groupe with them, although (which shield was introduced by Mr, the propriety of the union has always Westmacott, in our opinion mabeen disputed, and is now very ge- terially to the benefit of the componerally denied. By some, the parti-sition,) is evidently ready to sustain cular figure in question has been unflinchingly the assault of the most imagined to represent CASTOR, a formidable opponent; while the right conjecture which appears to have hand (in which, we presume, it is little foundation. Others, with more intended to place the short Greek probability, believe it to have been sword,) appears prepared, instantly meant for a personification of ACHIL- and irresistibly, to avenge injury or LES. But, whoever may have been insult. In the proportions of the the sculptor, or the individual whom trunk, there is a happy mixture of it was his intention to commemorate, strength and energy; of the Farnese the statue itself has been invariably Hercules, and the Gladiator, " a considered, by the ablest judges, to thousand hearts" seem "swelling in be one of the most admirable and that breast." But the pre-eminent magnificent works of art that the quality which the statue possesses, genius of man ever produced. and which, like Aaron's rod, swallows up all the rest; a quality which immediately arrests the imagination, and long withholds the judgment from entering into any minute investigation; a quality which is only to be felt, and can, by no effort of language, be adequately described; a quality which, impressed as it is on all the productions of the great Creator, is rarely, indeed, to be found in the humble works of man, is-SUBLIMITY. 66 com We recommeud those, who wish to see this striking and splendid ornament of the Metropolis to the greatest advantage, to go to the Park about ten or eleven o'clock, on a morning of alternate gloom and sunshine. The best position for the spectator, or that from which the figure poses" best (as the artists call it) is on the pathway, which is known by the name of " the WellingtonWalk,' a few yards to the north of the railing, which terminates the shrubbery of Apsley-House. In that situation, and at the time of day, and under the circumstances we have described, the effect is inconceivably grand. The figure it not fore-shortened by too near an approach, nor is its apparent magnitude diminished by its being seen at too great a distance; and the strong south-east light, pouring occasionally and partially into its deep anatomical markings, exhibits them in powerful relief, (a property in which bronze, in consequence of the tone of its surface, is Unhappily, there are many persons wholly incapable of appreciating this quality, whether in nature or in art; and who seek, by the miserable gratification which they experience in the abuse of excellence, to compensate themselves for their conscious want of taste and feeling. Achilles, when living, had his Thersites, whom, however, he ultimately demolished; and this, his stern representative, is beset by a herd of cold and captious critics, for whom, we trust, a fate is reserved as ignominious as that which even tually befel their worthy predecessor and model. It is painful to see a large portion of the public press, whose duty it is, and whose pleasure it ought to be, to foster the liberal arts, join in this vulgar and unpatriotic attack. Some of the censures, thus extensively, and, therefore, injuriously circulated, evidently proceed from sheer ignorance; others, probably, emanate from party motives; but, we fear, that too much of the Gothic disposition, which has been manifested on this occasion, is solely attributable to that love of sneering depreciation which is the pervading evil and curse of society, which seems as infectious and malignant as the small pox, and against which, no moral Jenner has yet been able to devise the means of security by any process of mental vaccination. And what is the gravamen of the accusation against this noble, and in England unrivalled, statue? That it is indecent. Indecent! If there is a single feeling less excited than any other in the mind of every one who contemplates it, unless indeed that mind be morbidly prone to seek in the most innocent spectacle or occurrence the gratification of a filthy disposition, it is indecency. The severe character of the figure (not to mention other considerations on which it would be really "indecent" to dwell,) abundantly repels the charge. To those indeed, as we have already observed, who are grossly inclined, purity itself may be tortured into the stimulus of a depraved appetite. The licentious Sterne contrived to raise a lewd image simply by the description of Uncle Toby, or Old Shandy (we forget which), fixing his eyes on a chink in the wainscot of the room in which he was sitting. But are the large majority of the public, and especially of the fairer portion of the public, who are utterly and proudly free from the taint by which those who are capable of promulgating the criticisms to which we have alluded, must unquestionably be polluted, to be cheated out of the high delight arising to a cultivated understanding from the contemplation of a sublime work of art like the ACHILLES, by the apprehension that at the very moment when their thoughts are elevated and refined, and carried beyond the limits of the corporeal world, they may be suspected by dull and ribald spirits of being solely intent on pampering the most gross and disgusting sensuality? We hope not; we believe not; we are sure not. We trust that they will retort upon the sneerers in the emphatic words of the motto of one of our most illustrious orders :— "HONI SOIT QUI MAL Y PENSE." Every man who has any love for the fine arts; every man who is qualified to form a just conception of their importance to society, must rejoice at the erection of this magnificent work in so commanding a situation in the Metropolis, as a great national benefit. How extensive that benefit will be remains to be seen. It is absolutely the first attempt, that has been made in this country, to imbue the general mind with a knowledge of the principles of high art. We trust that it will soon be followed by other efforts of a similar nature. If once the public feel what is excellent, and if to that feeling they should add a conviction of the true glory that would ensue from a successful rivalry with ancient art, we anticipate with confidence that the genius of the country would soon be found fully competent to answer every demand that could be made upon it, and that the perpetuation of the fame of some future WELLINGTON," and " HIS BRAVE COMPANIONS IN ARMS, "might with safety and pride be committed to the chissel of A BRITISH PHIDIAS, 66 THEATRICAL JOURNAL. 66 VELUTI IN SPECULUM." KING'S THEATRE. THIS theatre closed for the season on Saturday the 10th inst. with the scientific and beautiful opera of Moze in Egitto. It is said that the season just terminated has not been so productive as that of the preceding year; the first of Mr. Ebers's management -if this be the fact, we not only regret it, but it really occasions us much surprize; for the Opera has seldom been able to boast of so many excellent singers, or of a more judicious and liberal conduct on the part of its manager. The opera of Moze in Egitto can hardly be said to have taken with the public on its being first brought out in London ;-but the whole strength of the company was latterly poured into this charming work; and the characters were so admirably sustained, particularly on the last night of its representation, that all its beauties are now appreciated by the English lovers of harmony. Those who saw the curtain fall for the last time of the sea HAY-MARKET son, must, we are convinced, have left the house with reluctance, and cast a longing, lingering look behind, regretting that they should be made to forego so captivating an amusement, even for the sake of the 66 pomp of woods and garniture of fields." When the Opera season commences, members of the fashionable world generally expect some little change in the company-some new importation of talent, on which they may exhibit their skill, and display their ingenuity, by criticisms and colloquial dissertations :-we hope that the manager will make little change at the expense of his present company-we trust, at least, we shall not lose Madame Ronzi de Begnis, nor Zucchelli; if to these we could have the addition of Ambrogetti and Catalani, we should perhaps possess the finest Opera in Europe; certainly finer than any thing we have seen in this country since the days of Mrs. Billington. THEATRE. 66 par Our last report of this theatre was replete with novelties; but neither Thalia nor Melpomene has been turient, at least at this house, since our last number went to press: there has been nothing new; and we are glad of this, as it has enabled the managers to treat the public with repeated representations of Cibber's dramatic satire, The Hypocrite; Goldsmith's legitimate comedy of She Stoops to Conquer; and Mr. Colman's, we will not say comedy, but excellent five act farce of The Heir at Law. To these rich regalings have been added the enjoyment of a debutante of "surpassing merit" -a Miss Paton, known to the frequenters of concerts, has made her appearance on the boards, in the character of Susanna, in Beaumarchais' opera of Figaro. She was received with decided applause-exhibiting much more of talents as an actress, than usually falls to the lot of singers; and her sweet flexible voice won the audience to applaud, to the very echo which shall ap plaud again. It has been said that the moral tone of an English audience would not admit of a faithful translation of Beaumarchais' Figaro -if this be true, we must be allowed to reply, that no translation into English ought to have been attempted. Certainly our version of Figaro is "weary, stale, flat and unprofitable," when compared to the original. Mrs. Garrick divested the character of the Countess of all its intrigue and vacillation of propensities; whilst Liston's want of voice made him so completely the murderer of Mozart's fine melodies, that even his excellent acting could not win us to approbation; and the tout en semble of the opera was heavy and unattractive. But it is really a pleasure to call to mind, and to expatiate upon the performance of the Heir at Law. If it be too much to pronounce it impos sible that this play could ever have been, or ever can be better got up than it is at present, we must be permitted to avow, that remembering the pleasure it afforded us, the very thoughts of the possibility of its being better performed, excites impatience and displeasure. Terry's Panglos was above all praiseMrs. Pearce's vulgar assumption of rank and consequence as the new made Lady Duberley, was admirable Mrs. Barker threw the expression of artless manners, and natural feelings into the character of Cecily Homespun; whilst Oxberry's affectionate temper and rustic honesty as Zekiel Homespun, would have rivalled the best performances of Emery. But Liston and Jones-Liston's vulgarity as the new made lord-his old chandler's habits-his self-enjoyment his satisfied laugh- his thorough sensual drollery, form a piece of acting which we cannot conceive can ever be surpassed:-Jones's rapid transitions of feeling and of purpose, according to his change of rank, were given with exquisite skill: his half-restrained impatience to get rid of his old rustic companion, Homespun, was given with great effect; but the aukwardness of divulging to Homespun that Cecily was no longer a fit match for him the writhings of his face and body as he at last brought out the hint that the marriage ceremony might be dispensed with, were proofs of histrionic talent which would do honor to any stage. The comedy of She Stoops to Conquer, has been got up with almost equal talent. Liston's Tony Lumpkin is unique-his acting was so excellent, that we could not even regret that he is rather too old to look the boy under age. The manner in which he snatches the letter out of the lady's hand, and expresses his mixture of astonishment, impatience, and reproach, at her holding the defeat of his drinking club to be a trivial matter, was a real touch of nature, which brought its full measure of applause from the audience. Mr. Terry was at home as Mr. Hardcastle, whilst Mrs. Chatterley, as Miss Hardcastle, was fascination itself. We wish the club companions of Tony had been a little better drest-an excise-man may surely have clean linen and a good coat, and yet look vulgar enough for Tony's friend. These plays lose much by their change of manners and circumstances incidental to the improvement of society. In Goldsmith's day, the highway-man scene was reckoned one of admirable humour, but the apprehension of highway robbery in travelling, is now a thing so out of date, that an author might as well make the plot of a tragedy turn upon a £20,000 prize in the lottery, as to introduce such an incident as highway robbery in a regular comedy. We have been led so far by our feelings on these two plays, that we have hardly space to say what is necessary on the revi val of the play of the Hypocrite. This piece is rather a paraphrase than a translation of Moliere's Tar tuffe. In Dr. Johnson's day, the Hypocrite was in great vogue, and as it was then considered little else than a party piece an auxillary to the establishment against the increasing sects of those dreaded leviathans, Wesley and Whitfield. But the sentiments of society have latterly so much changed upon this subject, that the play ought to be modified to meet the habits and manners of the present age. It is said that Terry, the substitute for Dowton, in the character of Cantwell, is too dirty and coarse to win upon a person of rank like Lady Lambert; but we must recollect that it is this very coarseness that shews the high degree of religious infatuation in her ladyship, who is taken with even poor Maw-worm, In the same manner, when the gluttony of the Tartuffe is related to his patron it only draws from him a piteous "Le pauvre homme," in short, no excess of vulgarity or of sensuality is too gross for infatuation of this sort. The Hypocrite is an amusing play Mr. Liston is, we think, much better than Mathews as Maw-worm, if he is not so natural, he is infinitely more droll and amusing. ENGLISH OPERA HOUSE. That almost prodigy, Miss Clara Fisher, on whose merits we expa tiated in our last Number, has concluded her engagement at this Theatre. She took her leave in the character of Panglos; and however astonishing may be the performance of such a character by a female child, we can hardly approve of any attempt so extravagant. We must take leave of Miss Fisher until her re-appearance, by giving our opinion, that if her histrionic merit " grows with her growth, and strengthens with her strength," she will be one of the first actresses in Europe.-A new Melo-drama has been brought out at this Theatre, under the name of Gordon the Gypsey.-The story has all the qualities adapting it to a Melo-drama, and of which the dramatist has judiciously availed himself. The piece has good music, good scenery, and abounds in those incidents and situations, which rouse the feelings, and make the heart palpitate with fear and alarm for the fate of the hero, and the manner in which he may extricate himself from his dilemmas, and escape the " moving accidents by flood and field." Gordon is the son of a Scotch laird, owner of Drummond Keep, an inaccessible fortress on a rock, hanging over a lake.-Gordon's father is murdered by his friend Cameron, who possesses himself of the Keep, in which he resides, with his only niece. His son having been obliged to fly the country, as one of the Jacobite rebels, Gordon has become the leader of a band of gypseys, and, discovering the mode of ingress into Drummond Keep, he is resolved to effect his entrance, to personate Cameron's long-lost son-to espouse the niece, to whom he is attachedand then to wreak his vengeance on Cameron, for the murder of his father. He succeeds in gaining admission into the Keep, and in imposing himself upon Cameron as his son; but being pursued by the King's troops, he is obliged to precipitate his plans, and, in the act of plunging old Cameron into the lake, he is shot by the soldiery, who were in pursuit of him. This is the outline of the story, which may be seen in the tales of Hogg, the Ettrick Shepherd. Mr. Cooke performed the part of Gordon, and looked terrific.-His fine figure and vigorous action remarkably adapt him to such characters; his waving the burning bush to call his gang to his assistance, on the night when he discovers the entrance into the Keep, is characteristic and awful in the extreme.Wilkinson, as a sort of Bonifacethe toper landlord of the Blue Sheep's Head, was irresistibly comic. His contest with M'Iron, Gordon's rude lieutenant, was ludicrous enoughbut our praise extends only to Mr. Wilkinson,-not to his character, which is one of the most pointless we ever witnessed. The piece, on the whole, was deserving of approbation, and it was favourably received by the public.-The longpromised five-act play, from Gil Blas, was brought out on Thursday the 15th. This is an attempt to dramatise the whole novel of Gil Blas, and to represent the hero, from his leaving his uncle, the little fat licentiate, Gil Perez, to his decline of life, at 52, and upwards, the ratios of age being as 17, 25, and 52. Souls of Corneille and Longinus, what a liberty with the unities! Shakespear's King John is regularity and condensation, compared to such a chronological drama. Miss Kelly was the Gil Blas of 17-Pearman was the Signor Gil Blas of 25; and, finally, Mr. Bartley was the Gil Blas of 52. This novelty alone, of successively personating one character by a female and two males, might lead us to pronounce a priori, that the piece would be either very good or very bad. It has, certainly, proved a very flexible piece; for on the second night of representation, it was reduced by one hour and a half. The first and second Acts carry Gil Blas through the supper at Penalz, with the tall, long-sworded bulley, whose very look frightens the poor lad into paying the bill.-Then we have his capture by the robbers the cave of the robbers in the wood, and his escape with Donna Mercia. This ends the first two Acts, and may be said to end the play of Gil Blas, for the three succeeding Acts not only have nothing to do with the story, but all identity of character is lost, and the remainder of the play is absolutely worthless. Gil Blas of 52 is no more the Gil Blas of 17 or 25, grown older, than he is in the Gil Blas of 52, given to us in the novel, or than he is Hamlet Prince of Denmark. But it would be use |