The annals of modern France do not present us with any campaign more iniquitous in its objects, more inglorious in its results, or more mean and petty in its details than that of the Duke D'Angouleme against the Spanish constitution. The character of this campaign is rendered still more ridiculous by its contrast with the recent meteor-like movements of Napoleon. The latest accounts from France represent the Duke D'Angouleme no further advanced on the 12th of May than Valladolid, whilst Marshal Moucey, harassed and endangered by Mina, has not been able to leave the Frontier of Catalonia; the last accounts represent him still at Gerona. The Marshal had made several movements, and had put his whole corps in motion with a view to drive Mina either before him or into Barcelona, but that skilful officer, well acquainted with the passes of the mountains, has eluded every effort of the French, and has again got into their rear, preventing their advance into Spain, and even threatening the Frontiers of France. The war in Spain may, indeed, be considered as virtually over, for the French avowedly built their hopes of success upon the calculation of the Spaniards rising in their favour; so far from these views being realized, they have not been joined as yet by a single Spaniard of rank or consequence, except Abisbal and those who originally belonged to the army of the faith, and they have not been able to raise one single additional Spanish corps since their advance. The tone of the Spanish Cortes and Govern

ment continues bold and independentworthy of their cause. The rebel, Count Amarante, has been entirely driven out of Portugal, and has retreated into Spain, evidently supported by the Duke D'Angouleme. This support by France of a traitor in open rebellion against our ally, the King of Portugal, is the beginning of those acts which must eventually reduce Great Britain to the dilemma of drawing the sword, or of submitting to what no independent state has yet been found mean enough to submit to, If France be successful, the free constitution of Portugal will be as dangerous to despotism in Spain, as freedom in Spain was dangerous to despotism in France, and with such views possessed by France., she will have a cordon-sanitaire on the Frontiers of Portugal, and an inflammable train of war will thus be laid between her and Great Britain.

The cause of the Greeks is prosperous. They have the undisputed command of the Levant and Archipellago, and they are in possession of the whole of Peleponnesus, except three places which are blockaded, and which would have been in the power of the Greeks but for relief afforded to them by English vessels violating the blockade. The great defect of the Greeks was their want of union, and of an cstablished government, but this is an evil not likely to be felt much longer, as a representative government has been convened at Napoli de Romania, to which seventy deputies have already repaired. The establishment of a free

representative government in Greece will have incalculable effects upon the whole of Asia-minor and the neighbouring Asiatic regions.

Europe is evidently on the eve of some great crisis. Russia, although at peace with all around her, has marched an immensely large army to the Vistula.-Austria, not content with her possession of Naples, has marched an army to the frontiers of Piedmont, and there is something more than mere sus. picion that she has been tampering with Switzerland, with a view to possess herself of that country as an arrondisement of her territory.-Since the death of Maria Theresa in 1780, it is well known that the anxious desire of the Court of Vienna has been to possess herself of Italy, Switzerland, and Bavaria, and to allow Russia, as an equivalent, to seek accessions of territory from Poland and Turkey. The King of Bavaria to be compensated by the Austrian Netherlands. Joseph, the predecessor of the present Emperor of Germany, frequently proposed this ar

rangement to Catherine and to Frederick the Great, and considering the total want of principle, of honour and humanity exhibited by the leading powers of Europe since the downfall of Buonaparte, and viewing the attitude that Austria and Russia have assumed, with the sentiments they have promulgated, there can be little doubt that some such scheme is now in contemplation. We must conclude, by observing, that Russia has laid positive claim to the immense line of coast from Nootka Sound, on the western shores of America, (latitude 49) through Behring's Straits to Japan; this is really seizing upon about the sixth of the globe by a mere dash of the pen; and it evinces the rapacity, the ambition and the total want of principle in this Northern Autocrat. Such strides of power may remind us of the Emperor Napoleon's frequent predictions of what Europe had to apprehend from the growing power of Russia, and from the personal character of her Emperor.

SINCE our last publication we have had the pleasure of seeing on these boards the introduction of two new performers in the ballet department, and the re-appearance of a third in the higher grade of serious opera. We allude to Madame Anatole, Mademoiselle Aimée and Signor Garcia. Madame Anatole is certainly not only a fine dancer, but is to the ballet what Mad. de Begnis is to the opera, imparting more of intellect and a knowledge of the heart into her performances than is usually seen in the votaries of Terpsichore. Although not equal to Mercandotti in beauty, she is particularly graceful, and excells her predecessor in imparting mind and character to her performance; considering her figure, which would appear to us rather too robust, ber evolutions are eminently easy, graceful and airy. We particularly allude to the part she performs in Alfred le Grand.—Signor Garcia made his re-appearance in Rossini's serious opera Otello; he is a tenor who appeared bere five years ago, and has since been engaged at the Italian Opera in Paris. When Signor Garcia

was in England before, he was par ticularly admired for his roulades, or the inflexions of his tones, but in the Opera of Otello, the music was more pathetic than florid; and he infused into his under-tones, particularly when he had to hold long on a note, more of feeling than we have lately been accustomed to hear, and more perhaps than the music of Rossini, generally speaking, admits of. It has been generally observed of this composer, that his music is that of the imagination rather than of the heart, but in his Opera of Otello there was often so much of pathos, as to remind us of the deeper pieces of Mozart.

We were by no means so pleased with the Opera, Olello, as we auticipated, perhaps this disappointment arose from the impossibility of removing from our minds the recollection of the tragedy of our immortal Shakspeare, with which it cannot bear the slightest comparison. It has a few parts perhaps of considerable merit, but we must agree with the opinion of the public, that as a whole it is exceedingly heavy and fatiguing.

The

Aline, Reine de Golconde, the new ballet pantomime, composed by M. Aumer, is formed upon the same story as one with a similar name, brought out at this theatre about eight or nine years ago, by M. Didelot. Aline originally appeared upon the French stage as an opera, written by M. Boufflers, and set to music by M. Boyeldieu, where it met with great success. Queen of Golconda (Madame Ronzi Vestris) is by birth a native of France; by original profession a milk-maid; on the banks of the Durance she first beheld the light of day, and there her heart was given to St. Phar (M. Aumer.) Amidst the dazzling splendour of a throne supported by diamonds, she never forgets her beautiful hamlet of Dauphiny, a picture of which she conceals behind the drapery of her grand saloon. This she shews to Zelia (Mademoiselle Aimee) her confidante, after repulsing Sigiskar (M. Boisgerard) her chief minister, who has the temerity to aspire to her hand. A discharge of artillery announces the arrival of an Ambassador from France; in which capacity, to the wonder and delight of Aline, St. Phar presents himself. The Queen receives him veiled, and as soon as the ceremony of a public audience is over, she unbosoms herself to her friend Zelia; with whom, in the second act, she changes dresses, in order to put the constancy of St. Phar to the test. He is then invited to an entertainment given in the royal gardens, at which Zelia appears as queen, and shews him the most marked attention. But the attachment of the dip. lomatist is not to be shaken. All his views are directed towards Aline, disguised as an attendant, who strives in every way to attract his notice and rivet his affection; though-such is the marvellous nature of a ballet-lover!~ he never recognizes his belle laitiere. Zelia, still personating the queen, boldly avows her liking for St. Phar, who receives the declaration with a repulsive coldness, to the great happiness of Aline; and the affected displeasure of her representative. St. Phar is cast into a deep sleep by the influence of a whole bed of poppies shed over him by some children, in which dormant state he is conveyed into a hamlet made to imitate that wherein he plighted his youthful faith. Here he awakes, and Aline appears before him in the dress she wore when they first met. A recognition takes place, and the queen clears up the mystery. Sigiskar, in the mean time, has not been inactive; he excites a revolt against the queen,

and, in the midst of her delirium of joy, Osmin (M. Coulon) brings intelligence of her minister's treachery. The clash of arms is heard-a battle ensuesSt. Phar puts himself at the head of the royal adherents, and is of course successful; the unfaithful Sigiskar is vanquished, and the queen rewards her valiant lover and defender with her hand, and the moiety of her throne. This pantomime has an abundance of rich dresses and splendid scenery, which will support it for a time, though we fear that it will not enlarge the sphere of M. Aumer's fame.

A grand concert has been given at this theatre, in aid of the funds of the Royal Academy of Musick, at which nearly the whole profession, whatever their difference of sentiment respecting this infant institution, liberally assisted. The house was crowded in every part, and among the company were nearly all the distinguished leaders of the fashionable world. The concert was perhaps inferior to an occasion intended to exhibit every department of the art in the highest perfection. A selection from Dr. Crotch's oratorio of Palestine occupied the 1st act. In this act the orchestra was led by F. Cramer. In the 2d, Spagnoletti presided, and it consisted of a 'miscellany from Beethoven, Mozart, Rossini, Paer, &c. Among the finest pieces were the overture to Prometheus, and a Gloria in excelsis from a mass by Beethoven. The introductory movement of the first was given with full grandeur, but the Allegro was played with too much rapidity to be effective. The Gloria in excelsis was a fine specimen of the ge nius of the composer for vocal musick, though its beauties were unfortunately far from being appreciated by the audience. The public taste, it would appear, is far from the sublime in musical composition, and is more attracted by a simple ballad than the finest works of authors whose names must exist while music is a science. The third act was led by Mori, and comprised Atwood's Coronation Anthem, with a selection from Webbe, Reeye and other modern composers. All the singers distinguished themselves, but we have no space for a separate notice of each. Mrs. Salmon's first song, from Palestime, was languid; but an air with variations in the second part had the full effect, both of her silvery tones and power of execution, and was much applauded. Braham gave a song from Paer, with an obligato accompaniment for the horn, in his best style, but too much obscuring the melody by his

The cho

redundancy of ornament. rasses were very effective. The orchestra was erected on the stage in the same manner as at the Oratorios. Much

interest was excited by the presence of the pupils of the academy. The performance did not close till a very late hour

The success of Drury-lane Theatre, under its present management, has considerably exceeded that of any former season. We are glad to hear that its present Stage Director resumes the conduct of the Haymarket Company, as Stage Manager, for two ensuing seasons; and we may justly anticipate that overflowing houses at this delightful little summer theatre will reward the well directed talents that have so materially contributed to the prosperity of Drury-lane.

The long and dull opera of The Travellers has been revived, with better success than it merited. The Chinese scenery of the last melodrama, the acting of Dowton, and the singing of Mr. Braham and Miss Stephens, gave it an attraction far beyond its intrinsic merits. It has been received with considerable applause by crowded audiences.

A new farce has been produced, entitled £8 10s. 1d. if Quite Convenient. The principal character was performed

by Mr. Liston, who excited a good deal of laughter at the commencement by the ludicrous personation of a Tailor, but as the piece advanced, the audience manifested symptoms of dissatisfaction, which, increasing as it proceeded, ended in the total failure of the attempt. In the early scenes there was a very injudicious imitation of the plot of Sheridan's School for Scandal. The contrast thus provoked had of course a bad effect, and was in all probability among the prominent eauses of the failure. On the falling of the curtain, Mr. Liston came forward and informed the audience, that in consequence of the opinion expressed by them, the farce should be withdrawn.

The following plays have also been acted during the month, but we have not space to dwell on their merits. The Hypocrite, Venice Preserved, Richard III., Cymbeline, Hamlet, and the opera of the Cabinet.

The new opera, entitled Clarí, or the Maid of Milan, has been performed to crowded audiences. It is said to be a translation from the French, and Mr. Howard Payne is reported to be the translator. The plot, which is extremely simple, is also without any pretension to originality; but the topic on which it proceeds is full of interest, and, though in some parts the dialogue hangs rather heavy, the situations soon awaken the attention from any languor that may originate in this cause. Clari (Miss M. Tree), the heroine of the piece, is the daughter of a farmer named Rolamo (Mr. Fawcett). By the artifice of the Duke Vivaldi (Mr. Abbott), who conceived a violent passion for her, she is brought from her humble home into his splendid mansion; she there resists his addresses as firmly as before. The most tedious portion of the whole mechanism of this drama is the performance of a play in the Duke's Palace, calculated to awaken the feelings of his mistress to the horrors of her situation.-The Duke apprises Clari shortly afterwards of the

real nature of his views, but she resents all his offers as insolent, and finally makes her escape. After some adventures she arrives at her father's house, whither she is pursued by her now penitent lover, who lays his fortune at her feet and makes her his wife, to the delight of her astonished relations and of all Milan. Though there are some situations in the early scenes which produce considerable effect, the last scene is beyond comparison the most impressive. Mr. Fawcett, who in the character of an enraged and heartbroken father, had nothing else to do, threw his whole force into the interview with the daughter. He was well supported by Miss Tree at a crisis so important, and it is but justice to say, that his picture of parental suffering and rage could not be contemplated without emotion, except by the few, if there be any, who have no sympathy for distress. There were some incidents (the connection of which with the main plot it would not be easy to discover) involved in the subject, but as they were the means of introducing

Miss Love as a smart but accomplished chamber-maid, and Mr. Pearman as a musical valet, it would be difficult to find fault with them on the score of consistency alone. Mr. Meadows has a character which gives his talents no scope, and Mrs. Vining is in the same situation. The music is very pleasing, and in some instances delightful. We never heard Miss Tree to more advantage.

To those, who prefer the excellence of natural genius combined with a cultivated taste, the re-appearance of Romeo and Juliet on the stage, during the present month, presented a high gratification. The appearance of Miss F. H. Kelly, in the delightful Juliet, was as usual greeted with unmixed, and what is of more consequence and of rarer occurrence, unbiassed applause. Independent of the merit of her performance the audience appeared to greet her as one who had received unmerited treatment during her engagement at Covent Garden. By some extraordinary and unknown influence, this amiable young lady and excellent actress has not been allowed to perform in characters for which she was engaged, and for which she alone, either at this or the other theatre, is eminently qualified. The treatment which this lady has received obliges us to remind managers in general, that they have no right to engage performers of the first talents, merely, as it would appear, to put them on the shelf, or to prevent them from acting in a rival establishment. If Drury had possessed this brightest star during the present season, the manager would have made a fortune; and her powers, joined to those of Kean and Young,would have rendered Covent Garden a perfect desart. It has been said, that previously to Miss Kelly's engagement

her parts were appropriated to other actresses; then why was she engaged? Why give her double the salary that is given to her rivals and keep her unemployed? It has also been industriously reported, that she is incapable of acting any part but that of Juliet, and these unmanly detractors point to the parts she performed in the Earl of Essex and the Huguenot, as if those contemptible characters could change their calumny into truth! It must, however, be confessed, that Miss Kelly disgraced her talents, and hazarded her reputation when she condescended to appear in those tragedies. The night for her benefit is drawing near, when the public will have an opportunity of again fairly judging of her abilities, and we shall see whether there be such an auomaly in nature as an excellent Juliet who is incompetent to other characters. Venice Preserved will be acted for Miss Kelly's benefit, in which she will perform the character of Belvidera, and from the extreme interest that is felt by the public there can be no doubt of a numerous audience, who will not suffer any party influence to be exerted in order to obscure her rising fame. All public characters of eminent merit are the property of the country, and are peculiarly entitled to the protection of a Free Press; we therefore heartily lend our assistance in promoting the cause of Virtue and Talent.

Much Ado about Nothing has been repeated at this theatre, and we can not but admire the classic acting of Mr. Charles Kemble, in Benedict; the gentlemanly elegance which was diffused over all his railings against love, as well as the parts, in which he afterwards persuades himself that he was a martyr to the passion, were admirably sustained.

The Secretary to the SOCIETY of GUARDIANS for the PROTECTION of TRADE by Circulars has informed the Members thereof, that a person calling himself

FRANCIS HARTWELL, Wholesale Druggist, 6, Swan-lane, Upper Thamesstreet, and Walworth, sometimes uses the name of

ROBERT HARTWELL, and sometimes that of

FRANCIS ROBERT HARTWELL, of the same place.

That the persons undernamed, or using the firm and description of

FRANCIS and WHITE, Stone, Marble, Cement, Lime and Coal Merchants, 22, Trafalgar-street, Walworthroad, and Thames-street, City, are in no way connected with Messrs. Francis, White, and Francis, MEMBERS OF THIS SOCIETY, who are Roman Cement Manufacturers, at Nine Elms, Vauxhall, in Middle Scotland-yard, and in Earl-street, Blackfriars,