Finance at the commencement of 1822. Translated into French. By M. M. P. A. D.-and J. G.-Paris. 8vo., 4 fr. 50 c.

Collection of the Parliamentary Speeches of Fox and Pitt. Translated into French. By M. H. de Janvry, 12 vols. 8vo, 72 fr.

Washington Irwin's Sketches of EngJish and American Manners Translated into French-Paris. 2 vols. 8vo. 10 fr.

Millar's Chemistry. Translated into French. By P. H. Coulier-Paris. 8vo., 7 fr. 50 c.

Europe during the Middle Ages. By Hallam. Translated into French by M. M.P. Dudonit, and A.R. Borghers -Paris. 4 vols. 8vo., 28 fr.

A work called la Galerie Francaise; or, a Collection of the celebrated Men and Women, who flourished in France during the 16th, 17th, and 18th Centuries. By a Society of Men of Letters and Artists-Paris. 4to., Price of each No. 6 fr. 50 c.

Pope's Rape of the Lock. Translated into Italian. By G. Benini.

Prose Translations of the Poetry of Byron and Scott have been made into the Russian language.

The Fortunes of Nigel. Translated into French. By the Translator of the other works of the Author of Waverly, 4 vols. 12mo., 10 fr.

Fitz-Osborne's Letters. By W. Melmoth. Translated into French. By A. D. Paris. 8vo., 3 fr.

A few Days at Athens. By Miss Wright. Translated into French Paris. 8vo., 4 fr.

Robertson's Charles V. Translated into French. By J. B. A. Suard, fifth edition-Paris, 4 vols. 8vo., 26 fr.

Ellen Percy. Translated into French. By Mdlle. de M.-Paris. 3 vols. 12mo. 6 fr.

The works of Sir Astley Cooper and Benjamin Travers. Translated into French. By G.Bertrand,2 vols.8vo. 14 fr. Sir Walter Scott's Lady of the Lake. Translated into Italian Verse. By M. Joseph Indelicato, 8vo.

Miss Edgeworth's Tales. Translated into French. By Mde. Elisa Voiart, 2 vols. 12mo., price 5 fr.

NEW PUBLICATIONS.
ARCHITECTURE.

Pugin's" Specimens of Gothic Architecture," Vol. II. is just published. It contains fifty-four engravings, and ten sheets of letter-press. The latter is by Mr. E. J. Willson, of Lincoln, and embraces, besides historical and dis

criptive information, a Glossary of old terms, used in Gothic Architecture.The work is now finished in two vols. 4to.

"Architectural Illustrations of the Public Buildings of London." No. 1. of this work contains seven engravings of St. Paul's Cathedral, the New Entrance to the House of Lords, the Temple Church, and the Custom-house, with two sheets of letter-press.

FINE ARTS.

Views in Savoy, Switzerland, and on the Rhine, engraved in mezzotinto, from drawings made upon the spot. By John Dennis, accompanied with descriptive letter-press, in five Parts, at 16s. each Part-prints 24s. proofs.

The Art of Miniature Painting, containing the most clear, and at the same time, progressive instructions in that art, and the processes for attaining perfection in it.

Elton's Microscopic Scenery, containing forty-three transparent scenes, on which are represented upwards of one hundred of the most interesting objects, discoverable by the aid of the Microscope, uniform with the Transparent Orrery and Astrarium, with a descriptive pamphlet.

MISCELLANEOUS.

Memoirs of the Life and Works of Sir Christopher Wren. By J. Elmes, architect, 4to. Portrait and ten Plates, 31, 38.

Hayes's Catalogue of Greek and Latin Classics, in which will be found every Edition of Importance that has appeared in this Country and on the Continent, including the Variorum and best critical editions, in folio, quarto, and octavo; and the modern editions by the German and Dutch Commentators. Also the principal Lexicographical Works, and an extensive collection of Critical and Philological Literature in the learned languages, &c. price 2s.

Some Considerations on the present distressed State of the British West India Colonies, their Claims on the Government for relief, and the advantage to the Nation in supporting them, particularly against the competition of East India Sugar. By a West ludiau, 8vo. 1s. 6d.

Essays relative to the habits, character, and moral improvement of the Hindoos, which have originally appeared in the Friend of India, 8vo. 7s. 6d. boards.

Nopoleon Anecdotes, Part V., embellished with a beautiful Engraving of the Battle of Austerlitz, price 2s. 6d.

Mr. Britton's History and Antiquities of Canterbury Cathedral, in one vol. 4to. is just published. It contains 26 engravings, with a history and description of the Building, account of the Monuments, Anecdotes of the Archbishop, &c.

The same author's "Illustrations, graphic and literary, of Fonthill Abbey," is announced for publication early in April, and will contain twelve engravings instead of nine, as originally promised.

The Belgian Traveller, being a complete Guide through the United Netherlands, or Kingdom of Belgium and Holland. By Edmund Boyce, illustrated with Maps, and Views. Fourth Edition. 18mo. 8s. bound.

The Traveller's Guide down the Rhine. By A. Schreiber, with a Map. New Edition. 18mo. 8s. bound.

NATURAL HISTORY.

The Naturalist's Repository; or, Monthly Miscellany of Exotic Natural History, consisting of elegantly coloured Plates, with appropriate, scientific, and general Descriptions of the most curious, scarce, and beautiful productions of Nature, that have been recently discovered in various parts of the World; forming a valuable Compendium of the most important Discoveries of Quadrupeds, Birds, Fishes, Insects, Shells, Marine Productions, and every other interesting object of Natural History, the produce of Foreign Climates. By E. Donovan, F.L.S.,W.S., &e.

NOVELS AND TALES.

Gil Blas, in Italian, By S. E. Petronj, 5 vols. 18mo. Second Edition, 25s. The fifth Volume contains critical observations respecting the author of Gil

Blas.

An Alpine Tale, suggested by some circumstances which occurred at the close of the last Century. By the author of "Tales from Switzerland," 2 vols, 12mo..

Christmas Stories, containing John Wildgoose, the Poacher, the Smuggler, and Good Nature, or Parish Matters. 12mo. 3s.

Whittingham's Pocket Novelists, Vols. IX. X. and XI., containing Tom Jones. By Fielding. 9s.

Whittingham's Pocket Novelists, Vol. XII., coutaining the Romance of the Forest, by Mrs. Radcliff, will be published in August.

Horæ Romanæ. A new Translation of St. Paul's Epistle to the Romans. By Clericus. small 8vo, 4s.

Lectures on Scripture Comparison; or, Christianity compared with Hinduism, Mahommedanism, the Ancient Philosophy, and Deism; forming the Seventh Volume of a Series of Lectures on the Evidences of Divine Revelation, which comprise an Examination of Scripture Fact, Prophecies, Miracles, Parables, Doctrines, and Duties; and a Comparison of Christianity with Hinduism, &c. in 7 vols. 8vo. By William Bengo Collyer, D.D. &c. &c.

A Treatise on the Genius and Object of the Patriarchal, the Levitical, and the Christian Dispensations. By the Rev. G. S. Faber, Rector of LongNewton, in 2 vols. Svo £1 1s.

The Words of the Lord Jesus; or, the Doctrines and Duties of the Christian Religion, as delivered in the Dis courses and Conversations of the Son of God, during his personal Ministry upon Earth; arranged from the Records of the Four Evangelists. By John Read, 12mo, 4s.

Lectures, on the Pleasures of Religion. By the Rev. H. F. Burder, M.A. in 1 vol. 8vo. 7s. 6d.

Resolution, a distinguishing Mark of Divine Grace; or, the Advantages of observing the Fourth Commandment.

Eur. Mag. March, 1823.

L

un

A NEW spectacle called Alfred the Great has been brought out at this Theatre since our last number, and was deservedly received with bounded applause. It was composed for the Academie Royale de Musique, where it was originally brought out last year, or late in 1821, and has been produced at this theatre under the direction of its author, M. Aumer. The story commences with Alfred's temporary abandonment of the regal dignity, and his disguise as the assistant of his own neat-herd; and ends with the battle of Eddington.

We are sorry we have not room for a detail of the plot of this ballet, which is likely to prove extremely attractive, and we congratulate the manager on its success, and hope it will operate as an incentive to many improvements, the necessity of which must be obvious. Alfred is a true ballet d'action, constructed after the Italian models, and has very little of what, in modern language, is termed dancing. It is a serious pantomine, a sort of performance known in all countries, and liked in most when accompanied by good musick and splendid decorations, and derived with very little change from sources of considerable antiquity. This sort of ballet is, we must acknowledge, much to our taste; and though the stage of the King's Theatre is not favourable to the display of combined

scenery and extended processions, yet it is large enough for something rather better, more worthy of rational beings, than eternal pirouettes and entrechats. Alfred is personated by Mr. C. Vestris, whose acting was highly commendable. Mademoiselle Mercandotti, (who has since seceded from the theatre,) as his page, looked very charmingly, though she wanted the energy that this part requires. Madame Ronzi Vestris has but little to do, but she does that little well. The acting falls chiefly upon Mademoiselle Aurellie, who does herself great credit by her performance. A pas de cing in the first act is exceedingly graceful and beautiful, and was much applauded; and a chorus-dance, while Alfred and his page are sleeping, has great taste and merit, both of which will be more apparent when the performers are a little more perfect. The music, by the Count De Gallemberg, a name unknown to us, is a compilation from Pucitta, Rossini, &c. mixed up with Scottish and other national airs, and is not remarkable for any thing but what is already well known. The scenery is excellent, and the decorations are liberally and tastefully supplied, though the costume has not been much regarded. The whole piece has been got up at a considerable expense, and has been received with great applause by full houses.

THERE has been nothing particularly novel at this theatre during the past month, for excellent acting and singing and full houses are common occurrences at this renovated theatre. The most worthy of remark are the opera of Figaro, and the Lent Concerts. The Marriage of Figaro was performed with considerable eclat. The Figaro of Liston, and the Susanna of Miss Stephens are so well known, it is scarcely necessary to dwell upon their respective merits. As the personal representative of the piquant Soubrette, Miss Stephens must yield to both her rivals of Covent-Garden; the character in her hands is one of lively simplicity, and we look for a more spirited vivacity in the attrac

tive fille de chambre of Beaumarchais We know not whether this remark will not apply almost as closely to the singing as to the acting of Miss Stephens; but then what can be more delightful in itself than the quality of voice which makes her one and alone. The predominant novelty was the Count Almaviva of Mr. Elliston, which amused us exceedingly. Mrs. Austin was a very tolerable Countess as to musical effect, and the Page of Mrs. Hughes was very fair, although somewhat too girlishly wild; but the Page of an English Figaro is any thing but the Page of the original author. The whole opera went off with spirit, and was received with loud approbation.

The Lent Concerts have been held

at this theatre exclusively, and have been attended with overflowing houses. The works of the following great composers have delighted their respective admirers-Handel, Haydn, Mozart, Rossini, and Dr. Crotch; and provided ample scope for the faculty of comparison. Among the vocal performers, the only novelty has been a Miss Spence. Her attainments in the science, however respectable (and such they are,) will not compensate for the want of the first of requisites-pathos. Her voice, although susceptible of melioration, is at present a radical and prominent drawback on her performance. By the engagement of professors of supreme rank in their respective instruments, every amateur has been in turn delighted with hearing that one of his own peculiar choice in perfection. We have had the hitherto unrivalled Lindley, to whom it has long been sufficient to hold the eminence he has attained, for beyond it we hardly think human art can arrive. His powers are still in all their vigour. Mori and Nicholson, who are

also of native growth, have delighted their auditors; and this is not so much owing to their own rapid advance towards perfection, which is undeniable, as to the increased and increasing love of the science which pervades the public. Puzzi's wonderful performance on the horn is not merely difficult, it is beautiful; he can do almost any thing with that instrument, so inflexible in other hands. Mr. Bochsa, and his pupil, Miss Dibden, make the harp every thing it is susceptible of, and surprise us by playing their concertos, comprising highly wrought variations, from memory. Moschelles plays with the utmost brilliancy and rapidity of execution, and his characteristic is vigour and decision.

These concerts are now ended, and the theatres closed for a week; for custom seals the doors, and imposes a rigid abstinence from places of public amusement to the inhabitants of this great city, while those of provincial towns hail the interval as offering a certain treat at their respective theatres.

SINCE our last publication, we have been favoured with the representation of one of those ephemeral productions called tragedies; so called, we believe, for no other reason but because they attempt the exhibition of a great deal of grief, and bring two or three fictitious personages to an untimely grave. Per baps there is nothing in the whole range of intellectual exertion, in which the authors of the present day are so deficient, as good tragedy, and yet there is no want of attempts in that difficult path to Fame. Indeed so common is the attempt that even ladies, who have previously signalized themselves only in some petty volume of pettier poems, think themselves entitled to the most favoured smiles of Melpomene, and dare to attempt that which no individual of the sterner sex is able to produce. We think that these vast aspirations of the fairest part of the creation arise from their reliance on the gallantry of the audience, rather than from any temirarious and over-weaning conceit in their own powers. However this may be, as impartial critics,we are bound to temper our devotion to the fair with prudence, and not to suffer our critical acumen and honesty to be sacrificed at the shrine of beauty Without farther preface we must inform our readers that we are about to criticise a tragedy, entitled Julian; the

offspring of a Miss Mitford, who has given birth to some poems of minor pretensions, and which certainly did not prepare us to expect either a tragedy or an epic poem. After stating that this play has been acted for several nights, and is still in progress to the "waters of oblivion," we proceed to detail the plot.

The scene is laid in Sicily, and the action of the tragedy arises from the virtuous opposition of Prince Julian to the ambitious designs of his father, the Duke of Melfi. The latter, who is uncle to Alfonso, the rightful heir to the Sicilian crown, is, on the demise of the Prince's father, constituted Regent of the Kingdom, and guardian of the young monarch. Under the pretence of conducting the Prince to Messina, where it is proposed that his coronation shall take place, Melfi inveigles him into a solitary pass in the mountains, where he attempts to mur. der bis kinsman and his sovereign. At this crisis Prince Julian, who had ridden from Messina to meet the cavalcade, is attracted to the spot bythe cries, of Alfonso; he interposes at the moment when Melfi is on the point of slaying the youthful king; and, ere he has had an opportunity of seeing the face of the traitor whose arm is uplifted against his Sovereign, he plunges

his sword into the side of his father, whom he recognises as he is sinking to the earth. He immediately flies from the scene of blood, accompanied by Alfonso, who travels with him in the disguise of a page. The dreadful reflection that he has slain his parent preys on the sensitive mind of Julian; and, during eight days, delirium usurps the seat of reason. The play opens with his recovery; and one of its best and most powerful scenes is that in which his bride, Annabel, draws from him, by her passionate endearments, the cause of his strange and sudden malady. Peace revisits his breast when he learns that he has only wounded, not destroyed, his father: but his happiness vanishes when he finds that his father, still obstinate in evil, has propagated a report of the death of Alfonso by the hand of an assassin, and has assembled the barons to witness his coronation as next beir to the Crown. Julian, whose loyalty is inflexible, vainly endeavours, in an interview with his father, to dissuade him from his guilty design. One of the best passages in the tragedy occurs in that scene. The unexpected appearance of the young King, whose death had been so confidently reported, excites the suspicion of the nobles. One of them, Count d'Alba, who has received some secret intelligence of the attack which had been made on Alfonso, arrests Melfi on a charge of high treason. He calls on Julian to bear witness against his father; this he in dignantly refuses; and he declares, that whatever blood was spilt when Alfonso was attacked, was shed by himself. Melfi, when arraigned, in a fit of frenzy, admits the truth of every charge brought againt him. He and his son (whose ambiguous declaration is looked upon as a confession of his guilt) are banished. The character of the Count d'Alba is now brought prominently forward. His great object in removing Melfi and Julian from Sicily was, that he might have an opportunity of assailing the virtue of Annabel, whom he had long loved. He contrives to have her inveigled to his castle, where he urges his suit, but is indignantly spurned. Julian, while weeping over the dead body of his father, whose mental conflict has caused his wound to burst forth afresh, and thus occasioned his dissolution, is informed of the perilous situation of his wife. He hastens to her place of confinement: be gains admission. He tells her that his life is forfeited, the hour at which he should have quitted Sicily

having elapsed. There is, he observes, but one way in which she can escape dishonour, and he prepares to kill her. His resolution fails; but while he is yet parleying, Bertone, D'Alba's servant enters, with two murderers. Annabel rushes forward to protect her husband, and receives a fatal wound. The assassins quit the prison; and Julian, having thrown his cloak over the dead body of his wife, covers bimself with a garment which one of the murderers had left behind him. D'Alba, ignorant of Annabel's death, and exulting in the supposed success of his scheme, returns to the prison. He mistakes Julian for one of his followers; he passionately demands of him where Annabel has retired; and is appalled when, after an ambiguous conversation, Julian throws aside his disguise, and at the same moment snatches from the lifeless body of his wife the cloak under which it had been shrouded. D'Alba is consigned to the hands of justice, and Julian dies in a state of melancholy delirium.

The principal characters are cast as follows:

Alfonso, King of Sicily..Miss Foote.
Ruggiero, Duke of Melfi, and Regent

of the Kingdom... Mr. Bennett. Prince Julian (his son) Mr. Macready, Count D'Alba...... Mr. Abbott. The Princess Annabel

(wife of Julian).... Miss Lacy.

We are of opinion that the temporary success, that attends this play, arises from its melo-dramatic incidents, and the excellent acting of Macready, without whose great and acknowledged talents the first night would have been its last. The plot is very inartificial, the passions exhibited inconsecutive, and two of the scenes unnatural and absurd. What can be more contrary to nature than the slumbering inactivity of Julian at the feet of the young King while his father, Melfi, is arraigned by the surrounding nobles, and evidently falling from the highest pinnacle of earthly grandeur into the lowest depths of destruction? What can be more puerile than the death of Julian, who dies, no one knows how, by the side of his slaughtered Annabel, whom a few minutes before he was anxious to immolate together with himself? What more ridiculous than the conduct of the assasins who, as soon as Annabel had fallen an accidental victim, might easily have killed Julian, for which purpose they were employ. ed by D'Alba. The melo-dramatic incidents to which we have alluded, and