by the same painter. This is a chaste and exquisite specimen of Mr. Glover's art; and we much prefer it, as a work of art, to many of his larger productions. It is a very simple, sylvan scene, consisting of a few trees, and a little wild gravelly broken ground sprinkled with grass and weeds,through which winds a rustic road: but the trees are very picturesque and truly characterized: and the sky is so well

suited to the landscape; and the colouring is so genially mild, that the whole is quite fascinating. It is worth a score of " Grisedale Pikes."

There are several other beautiful pictures of highly romantic scenes by this artist, hanging near this of Epping Forest, which we regret that we have not, at present, opportunity to notice in detail, and as they deserve.

GERMAN THEATRES. A minor theatre, called Koenigs staedter Theater, and especially intended for vaudevilles and farces, is about to be opened at Berlin. Such establishments prosper in Germany, while the larger theatres and the heroic drama languish. Esslair and Madame Stich are still admired; but they are in general badly supported. The most frequent performances on the German stage, are either some of Kotzebue's pieces, or translations from French melo-dramas and vaudevilles. The masterpieces of Schiller, Goethe, Shakspeare, (translated by Schlege), are seldom represented; they require too large and powerful a company. Even at Berlin, where expense is not spared, melo-dramas and trifling comedies are the only favourites. Goethe, sublime as he is, seems to weary the public; Schiller appears to produce the same effect on the actors; and Germany lacks performers capable of doing justice to the admirable productions of this truly national poet. The greater part of the legitimate German theatres have ruined their proprietors; especially in Frankfort, Breslaw, Hamburgh, Prague, Bremen, Magdeburgh, Kenigsbergh, and Dantzick. It has not been so in Bavaria and the grand duchy of Baden. Such are the accounts from Germany, which we find bears a close resemblance to England: to what are we to attribute the general falling off of dramatic literature and the drama?

COVENT GARDEN.

A new play, interspersed with music, called the "Hebrew Family," has been produced at this theatre, and,

looking at the present deplorable and almost hopeless state of dramatic literature, it is with great regret that we pronounce it a decided failure. To enter into a detailed account of the plot of this drama, we confess to be beyond our power; for although many of the incidents are familiar to us, and the greater part of them by no means deficient in interest, yet the story has so many different ramifications, and the various scenes bear so slight a relation to each other, that any attempt to unravel them would be perplexing to ourselves, and scarcely intelligible to our readers. The principal points, however, may be given in a few words :- the scene is laid in the city of Valencia, where Forester, an English traveller, having assisted in the escape and marriage of a nun, is sentenced to the flames. Just as he is about to suffer, a storm arises, some of the scaffolds, loaded with spectators, break down, and in the general confusion the criminal escapes.

Once more at large, he first of all pops into the governor's house, and is safely deposited in his daughter's bed-chamber. He then quits this lodging, and jumps in at a Jew's window; and here he flatters the Israelite, and as he had rather " marry than burn," makes love to his daughter, until after an unsuccessful attempt at an escape, he rescues the governor from assassination, receives a free pardon, and with the whole " Hebrew Family" sets sail for England. Besides these characters, there are three or four other persons introduced, principally pour passer le temps-one Don Cæsario, a jealous lover-Reuben, a sprightly little fellow, a nephew

to the Jew, who prevents a great deal of mischief-Leonella, a familiar waiting-woman, and a Father Sereno, who is for a long time very incomprehensible; as at first he appears to be a wag, then a bigot, and lastly, a tolerant and noble-minded churchman. The dialogue of this piece, as far as we can judge, seems to be written in blank verse, but it is in general much below mediocrity; a vein of mawkish delicacy and affected refinement pervades the greater part of it, and the imitation of the simple grandeur of the patriarchal language, which is put into the mouths of the "Hebrew Family," is absolutely beneath contempt. Thus, when the old man salutes his daughter, we are told that "the father claspeth his dear child;"-when the criminal is pursued, then "the fierce pursuer roareth for his prey;"-when there is a knock at the door, then "peradventure, it is some great men who wanteth much money.' "The evasion of the criminal" must also be prevented-and even a walking-stick is called a "staff," and a suit of clothes "the covering of the outward man." So much for its poetical beauties. Of the music,_we

are

almost afraid to speak. To draw down upon us the wrath of seven composers at once, would be no very agreeable concert, and no very gentle visitation;-suffice it to remark, that the first act is full of pretension, and but little else—the second and third, something better, but, with the exception of a ballad and a quartetto, not entitled to much praise, either for beauty or originality. In the way of performance, the principal novelty of the evening was the first appearance of Miss Cawse, a pupil of Sir George Smart, a young lady under

fourteen years of age, with a voice particularly sweet and clear, a distinct enunciation, and, moreover, exhibiting very considerable promise as an actress. The ballad we before alluded to, composed, we believe, by Whitaker, and which is delightfully executed by this youthful debutante, called down the loudest applause, and was rapturously encored. Farren, Fawcett, and Miss Tree, did as much for their parts as they deserved; Sinclair toiled through some very dull music, but was not quite so impassioned in his jealous scene as Kean is in the third act of Othello. Poor Jones, we pitied-his character is so strangely drawn, that even he, with all his tact and knowledge of effect, hardly knew what turn to give it; a man running about the whole evening, with a halter round his neck, every instant in jeopardy-yet attempting to turn every thing into a jest, we humbly conceive to be no very easy character to play. Mrs. Gibbs, who seems to be gifted with perpetual youth and unwearied spirits, was, if possible, more amusing than ever. If the author do not dedicate to her, he must be the most ungrateful of his tribe. The scenery was good but the dresses very unbecoming. Sinclair looked like a tumbler at a fair, and Miss Tree, credite posteri, absolutely frightful. The bars in front of her dress, we presume, must be intended for a representation of " Jacob's Ladder."

....

...Mr. BENNET. ....Mr. C. KEMBLE. Mr. COOPER.

....Mr. EGERTON. ...Mr. EVANS.

Electra,

Chrysothemis, Namesis,

Eschylus, Sophocles, Euripides, Crebillon, Voltaire, and Alfieri, have all founded tragedies upon this affecting story of "Pelops' line," the avenging of the murder of Agamemnon. In

Miss LACY.

Miss JONES.
.MISS HAMMERSLEY.

the present instance, Alfieri and Sophocles have formed the principal sources. The tragedy opens with an incantation by Nemesis and the Furies at the tomb of Agamemnon, whose

murderer, Ægisthus, reigns in Argos, in conjunction with the guilty Clytemnestra. The dignified Electra preserves, in the dress and shackles of a slave, the towering spirit of her race, and these three characters are developed in the first act with considerable force. Orestes arrives with his friend Pylades, the sole survivors from a dreadful shipwreck, bearing in an urn the ashes of the son of Ægisthus, who had been slain in a base attempt to assassinate Orestes; which ashes it is intended to present to Ægisthus, as those of the son of Agamemnon, whom he is so anxious to destroy. In a beautifully constructed scene, which very closely follows Sophocles, Orestes discovers his sister Electra pouring out the annual libations, and decorating the tomb of their murdered father; and, contrary to the direction of the oracle, which had enjoined secrecy, he is led by his emotion to discover himself. He subsequently presents the ashes of the son of Ægisthus to his father, as his (Orestes) own; but is discovered by the arrival of a slave, who had accompanied the slain prince. Thus undeceived, Ægisthus, disregarding the entreaties of Clytemnestra, orders him to instant execution. The fifth act details the rescue of Orestes by the people, and exhibits his encounter with, and immolation of, his father's murderer in the palace, having previously slain his mother unwittingly in the crowd. All is exultation until he is informed by Pylades of the latter act; when, reminded of the oracle, he becomes inspired by the furies, utters some verses of exclamatory phrenzy, sinks into the arms of his friend, and the curtain drops. This play is by the deceased Mr. PETER BAILEY, who some time ago so affectingly died in a coach, on his way to the Opera with a part of his family. As a classical adaptation, it will honour his memory; for it contrives to keep up a considerable interest, without materially deviating from the almost sacred story. The character of Electra, which, with Antigone, may pair off as one of the purest specimens of female devotedness that was ever pourtrayed, is finely sustained; especially in her opening scene with gisthus and the well managed discovery of her brother. It was performed with considerable force by Miss LACY, save that we now and then

thought a somewhat calmer expression of resentment would have better suited the lofty superiority, profound sorrow, and deeply-seated thirst for avengement of Electra. Of this, howwe are not certain, for it is difficult to render the motions and expressions of the human countenance a perfect copy. of the grander and sublimer emotions of the soul, because these emotions sometimes express themselves in proud and stubborn silence, sometimes in the burst of impetuosity, and ungovernable indignation; and hence it is, that even painters themselves, where they have to pourtray some strong and overwhelming passion, throw a veil over the face, and leave the spectator to conceive the depth and intensity of the passion which the mimic art of the painter is incapable of expressing on canvas. Her performance of the first, scene, particularly where she upbraids Clytemnestra at her subsequent meeting at the tomb, where she weeps over the urn supposed to contain the ashes of her brother, was executed in a style of tragic pathos and justness of conception, which we have seldom seen equalled. In a word, Electra was the most effective part in the play, and certainly Miss L. did it every justice. Her shriek upon the discovery of her brother Orestes electrified the house. The Orestes of C. Kemble was also finely conceived, and as energetically delivered, a little exaggerated possibly in a few instances, which was rendered the more apparent by the poet making him repeat very similar threats of vengeance somewhat too often. His inter view with his mother-the exact situation of Hamlet-and his discovery by Ægisthus, gave him some admirable scope, and his exertions were very suc cessfully correspondent: his departure to execution in particular, was very powerful. Cooper, as Pylades, was calmly effective. Bennet, in the usurper, fell into his usual failing of excess, by which he loses more than any actor we ever knew, by defeating the fine opportunities for gradation and climax, which his physical capabilities so enable him to bestow. Clytemnestra, the Lady Macbeth and Gertrude of antiquity, was personated by Mrs. Bartley, but the character is not-possibly cannot be rendered effective in this stage of her guilty existence. There was but one truly constitutional spark of the preceding ambitious mur

deress afforded, and that was ably conveyed. The character of Chrysothemis, the younger daughter of Agamem non, a gentle girl, was given to Miss Jones, who performed it as gently. The opening incantation displayed the powers of Miss Hammersley to considerable advantage; but the second scene with the furies was too long, especially as Mesdames Alecto, Tisiphone, and Megara, had evidently the honour of being entire strangers to four-fifths of the audience. For the same reason, we think the con cluding madness of Orestes might have been spared, which is scarcely a conceivable result to a modern audience. The diction of this tragedy appeared to us to be tolerably sustained, without much harmony of versification, or strikingly marked passages, regarded merely as writing. Upon the whole, however, Orestes in Argos is the production of no common portion of intellectual skill and good taste, and we sincerely hope that it will prove beneficial to the author's family. A poor prologue, allusive to the decease of the author, was recited by Mr. Cooper; and a miserable string of jokes, in which we hear of the bulls and bears getting among the cows-a classic hit at the milk companies and similar happy allusions to the bubble market, was delivered as an epilogue by Mrs. Gibbs, who, however, was imperfect. Her good sense, we dare say, could not allow her sufficient patience to be otherwise. These extremely silly talepieces to tragedy should be done away with altogether. We must observe, better late than never, that in regard to scenery and costume, the manage. ment has exhibited much better classical taste, although we think the colour of the dress of Miss Lacy might be much improved, even at the expense of a little accuracy, if authority has determined the one selected. The applause may be termed unanimous, for the single occasional interruption of an apparently intoxicated individual can scarcely be taken into account. As, comparatively speaking, this tragedy should have a run, we trust that both good taste and sympathy will

ensure one.

The King honoured this theatre with bis presence on Monday, the 25th.It was announced, that the doors would be open at six o'clock, and long before the arrival of that hour the E. M. April, 1825.

various entrances were besieged by crowds, who bore all the fatigue of standing a pressure with exemplary patience, in the hope of being able, by obtaining an early admission, to secure a situation, from which they could command a view of his Majesty. When, at length, the doors were thrown open, the rush was tremendous. Nor was it confined to the doors alone. The struggle to ascend · the stairs leading up to the boxes was, for some moments, quite terrific, and rendered more so by the screams of those ladies who had the hardihood to encounter such pressure. There were two who very narrowly escaped being trampled to death, for either their strength or their hold giving way, they were forced down from the second or third stair, thrown upon their backs, and with the greatest difficulty dragged from under the people's feet. In a few minutes the house was filled to the roof. The crowd in the pit was so overpowering, that most of the few women who entered it were obliged to be taken up into the boxes, many of them in a fainting state, and all as if just emerged from a bath. When the King entered the house, the audience rose and greeted him with the most enthusiastic and stunning peals of applause. His Majesty was evidently greatly affected by the warmth of his reception, and repeatedly bowed most graciously. The national air of "God save the King" was then performed. His Majesty was dressed in blue uniform, decorated with the ribbon and many orders, and looked as well as he has for many years. The Duke of York, who sat on his left, I was dressed in scarlet uniform. Behind his Majesty sat the Duke of Montrose, the Marquis of Conynghain, and Lords Salisbury and Mountcharles. They were all dressed in military uniforms. The large box above his Majesty was occupied with lords and gentlemen connected with his Majesty's household, and, with one exception, they were dressed in military uniform also. The play was the German bonnesse Der Freischutz, with its peculiar and delightful music.

His Majesty greatly enjoyed the vocal performances and the music in this extraordinary composition. After the play, the audience again loudly applauded his Majesty, and called-on the management for "God save the

3 B

King." It was complied with in an Hibernian manner, for the performance was "Rule Britannia." Then there was an encore, and the request was complied with, equally inaccurate, for, instead of " Rule Britannia," they played "God save the King." The afterpiece was Charles the Second, and Mr. C. Kemble, as the merry monarch, and Mr. Fawcett, as the bluff Captain Copp, contributed largely to the entertainment of royalty, as well as the merriment of the house.

The King and the Duke of York retired, amidst and followed by the most enthusiastic cheering. It was 12 o'clock, and his Majesty, as well as the Duke of York, had not removed from their stations until the final falling of the curtain. Previously to retiring, they bowed most graciously to the house. The brilliant reception experienced by his Majesty must have been most gratifying to him.

KING'S THEATRE. We have to hail the return of the performers to their proper field of action by the re-opening of the King's Theatre, which has relieved us from that miserable house they have lately occupied, in itself a foe to all musical sounds. We hope soon to record some new production in the way of Opera, at present we have only to notice a new ballet, under the title of 66 Cleopatre, Reine

d'Egypte," which has given scope to the scenist, and to the ballet master, who has shewn great skill in his groupings and coups de theatre, which has been more than usually effective. Otherwise we cannot say much in praise, for the subject is not a happy one, as it abounds with action rather than dancing, and has the common defect of representing characters with whom the dancing mania seems perfectly inconsistent. Why should Cleopatra be converted into a dancer in modern French costume, and, still worse, Octavia, in one scene, be all agony at the desertion of her bus band, and in the next join in a sprightly dance with the most perfect non-chalance? But here we have Cleopatra in a ball-room dress, save and except the scanty limits of what may be justly termed her petty-coat, which scarcely amounts to a covering, and when seated can scarcely be brought over the knee. Monsieur

Aumer, too, should not forget that Cleopatra was but a mortal, 'and therefore should not give as attendants upon her far famed, but in this instance very trumpery galley, huge. volumes of cloud to precede and follow her, and winged Cupids flying in the air. Great as her power was, it did not give her supernatural agency to boot. In spite of all its absurdities, however, the ballet, with its aid of dancing, scenery, and pleasing music, was received with great applause, and will, we hope, prove productive: to an establishment which seems to stand in need of patronage.

DRURY LANE.

Macready re-appeared on Monday! as Romont, in the "Fatal Dowry." He was apparently in good health and spirits, and went through the part with his accustomed talent. The grand scene in the third act, in which he discovers to Charalois the infi delity of his wife, was admirably performed, and elicited, as it deserved, the most marked applause. Our readers will bear in mind that this performance, which was acquiring a high degree of popularity, was interrupted on the third night by his sudden and severe indisposition. must be seen to be properly appre ciated. Mr. Macready's reception was what it deserved to be, warm and honourable.

ASTLEY'S AMPHITHEATRE.

It

THE new spectacle, called "Buo naparte's Invasion of Russia," is attracting considerable audiences at Astley's Theatre, and deserves to do

The piece has evidently been got up with the greatest exertion and expense; and the disposition of the horses, sword combats, &c. from the constant practice, probably, of the performers employed in them, is entirely superior to any thing that has been done, either at Covent-garden or Drury-lane. The scene of the burning of Moscow, as a display of fencing and fire-works, and grouping, is the best thing we recollect to have seen. And a snow storm that follows, with the distress and mutiny of the French troops, the charges of the Cossacks among rocks, is still more ingenious in point of arrangement. The inanagement of the horses in this last situation, where Bonaparte arrives,