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of the descriptive catalogue, “ the vice to them howerer. If they eninventors of the Diorama have suc gage in such an undertaking, and if ceeded in giving all the apparent they select English scenes for repreanimation of a living stream." Thesentation, let them strengthen themeffect, considered by itself, is very selves by the suggestions and assistgood. But the question immediately ance of some of the most experienced and naturally arises-why is this the of our artists, who are familiar with only moving thing ? Especially as the peculiar and beautiful effects of the storm comes on, why do not the which the haziness and fluctuation trees wave? Why is not the lake of English atmosphere are so proagitated? Why are not the clouds ductive. Unless the thing be done hurried forward in dense and volu- admirably, it had better not be atminous grandear? Either the cur tempted. In unskilful hands it rent of the brook should be arrested, would degenerate into a mere child's or, which would be infinitely better, galantee-show, from which De Loumotion should be imparted to everytherbourg's Eidophusikon was as object in the scene that is suscepti. remote as the acting of Garrick from ble of it. We have no doubt that that of the wretchedest mummer ere long, among other matters, this at Bartholomew-fair, or as “ The will be accomplished. The Exhi Last Supper" of Raphael Morghen, bition at present is excellent, as far from the coarsest wood-cut ever as it goes. With the extraordinary prefixed to a St. Giles's ballad. facilities which the possession of so But, let them engage some able and tofty, and extensive, and well-si- expert mechanists, fruitful in expetuated a building gives to the pro
dients of all kinds; let them prevail prietors of the Diorama, and with on such a man as Turner, or Callthe liberal disregard which they cott, or Collins, or Martin, to lend seem to have for expense, we conti- them the benefit of his correct and dently anticipate the time, and that tasteful eye; let them make numerat no very distant period, when they ous experiments, and try a variety will gratify the town with a revival of devices, until they have united all of the Eidophusikon, in all its ex the heterogeneous parts of their aptraordinary varieties, improved by paratus, and mellowed them into a the numerous scientific discoveries harmonious and perfect whole, and which have been made since the days we will venture to say, they will of De Loutherbourg, by its being produce an Exhibition which, to executed on a much larger scale, avail ourselves of a vulgar but sigand by the important circumstance nificant and emphatic expression, of its being exhibited by the light " will astonish the natives. of day. One word of friendly ad
INTELLIGENCE RELATIVE TO THE FINE ARTS.
It affords us great satisfaction to Majesty, has just been published at announce, that the Charter to incor- Brighton, by Mr. Charles Scott, å porate the Irish Artists under the son of the artist. The well-known title of “ The Royal Hibernian talent of the late Mr. Scott, and the Academy" has passed the Great frequent sittings with which he was Seal of Ireland." We confidently specially favoured by His Majesty, hope that, under the influence of ensure a perfect likeness. This government, a School of Arts may print possesses decision and sharpnow be formed there, which will, ere ness of touch, without that harshlong, redound to the honour of Ire ness which is frequently to be found land.
in the foreign schools. The vig. A portrait of His Majesty George nette, with which this print is IV. engraved in the line inanner, adorned, is very tasteful, and is refrom a drawing by the late Mr. Ed- markable for clearness and delicacy mund Scott, Portrait Painter to His of execution.
M. Siqueira, the artist who exe towards the Marquis Malaspina, and cuted the beautiful paintings in the desired him to note down his Lordnew Lisbon Palace of the Ajuda, ship's name, and the affair ended as the designs for the elegant service a piece of pleasantry. Lord Ossory of plate presented to the Duke of had a red corneliad ring representWellington, and several other mas- ing a cupid, which the Grand Duke ter-pieces of the modern school, has, having seen some days before, had we understand, taken up his resi- admired so much, that his Lordship dence in London, being compelled wished to make him a present of it. to leave Portugal on account of his His Highness, however, would not political opinions.
accept of it; and upon this occasion A large cast-iron statue of a man the Englishman, with a delicate gehas been landed at Waterford, from nerosity, requested Cosmo, though Dublin, and has been sent to be he would not consent to part with placed upon the middle tower of the the Venus, at least to permit him to three towers lately built at Newtown marry her; to which the Grand Head, the western point of Tramore- Duke, having smilingly consented, bay, in that county, with the left his Lordship put the ring on the hand akimbo, and the right ex finger of the goddess, and fixed it tended out, as a warning to vessels as firmly as possible; thus finding to keep off from that dangerous means to gratify the Duke with the shore.
cornelian, without wounding his Mr. Flaxman is employed at pre- self-love. Cosmo, thinking the resent in designing a statue for
a mo presentative of cupid agreeable to nument to the memory of Robert the subject of the statue, suffered the Burns, which, when sculptured, is riog to remain; and the statue would intended to be erected in a conspi- still have been adorned with it, had cuous situation in the northern me. not a certain personage (the Italian tropolis.
journalist says a foreigner of disAt a late sale of old lumber at tinction) wisely resolved to remove Mr. Whitgreave's house, of Moseley, from the finger of Venus this hetein the neighbourhood of Wolver- rogeneous addition, clandestinely hampton, a full-length portrait of entered the gallery one day, and Queen Elizabeth was knocked down attempted to appropriate the ring to by the hammer at 68. 9d., to a re himself. Being obliged to force it spectable tradesman of that town. off, and fearful, perhaps, that he The same picture has been cleaned might be surprised, he, in his haste, and varnished, and sold by the pur- broke the finger! He, however, chaser for 451.
failed in his attempt, although in The Venus de Medicis.--It is ge- what manner is not stated, since the nerally
known that one of the fingers ring is still preserved, appended to of the Venus de Medicis has been a little gold chain, in the crystal casupplied by a modern artist. The binet of the Royal Gallery. Giornale Enciclopedico, published at Mr. J. De Ville having purchased Florence, gives the following curi- the original moulds of busts, from ous account of the fact :- In the the models made by the late Mr. time of Cosmo III., Lord Ossory, Nollekin, of all the distinguished being in Florence, was one day in characters who bonoured that artist the company of the Grand Duke, with sittings for the same, has precontemplating this
wonderful statue, pared casts from them, and also of and offered him 100,000 livres for it, the original busts (models by Rouif he could be induced to part with biliac), of Hampden, Sydney, Cromit; asking two months' time to pro- well, and other eminent men, which care the money from England, and may now be had by the public. His adding that a ship should be sent large collection of busts and casts from thence expressly for the pur, from nature, for the illustration of pose of conveying it. The Grand Phrenology, cannot fail to gratify Duke smiled at the proposal, but every visitor of this establishment. without making any reply, turned
La Perse, &c.
Essay on the History of Music in Persia, with the History, Manners, Italy. "By M. Gregoire Orloff.
and Customs, of the Inhabitants; translated and extracted from the Count ORLOPP, who formerly most recent accounts,
wrote Memoires sur le royaume de Nascisse Perrin.
Naples, now presents us with the
Histoire de la Musique en Italie. This work is an interesting des. All those who have once lived in cription of Persia; it is compiled this fine country can never forget it, from the travels of the most cele- and must participate in his recollecbrated authors ancient and modern, tions. “It is there," says he, “ that who have visited this country and this enchanting art was felt by me given descriptions of it, as Chardin, in all its power and beauty, and inTavernier, Monier, Scott Waring, duced me to pay it a sort of homage Macdonald, Kinier, Malcomb, Jau- by writing its history, and sketchbert, Ker Porter, Drouville, and ing its revolutions and progress." others. The first volume contains The author begins with a learned situations of Persia, its climates and introduction, of which the work may. divisions ; descriptions of the prin- be considered as a commentary. He cipal towns, ruins of Chapour, ruins commences the history of music by of Nachti, Ronstau, Persepolis ;' endeavouring to give some idea of account of the climate of the dif- that of the Greeks, Etruscans, and ferent provinces; character of the ancient Romans. But as it would people who inhabit them; ancient be useless to dwell long on this subhistory; dynasties of the Peychda- ject, after the sterile and tiresome dians, of the Kaïanians, Arsacides, discussions of his predecessors, he Sassanides. The second volume con hastens on and takes up the history tains the modern history, with the of the period when, deprived of the dynasties of the Traherites, Soffa. favours of the Pagan Gods, music rides, Gaznevides, &c. Volume' seeks refuge under the shadow of the third, the dynasty of the Cadjars; Christian religion; and, following of the king, of the harem, and the its vicissitudes and progress, he princes of the blood. Volume four finds it taken up by Constantine, treats of the great dignitaries of the then reformed by Saint Ambrose state; on the administration of the and Saint Gregory: Its progress finances ; on the different religions was but slow till the 19th century, of Persia. Volume five, of the army; when the celebrated Benedictine character of the different classes of Guido d'Arezzo invented or persociety; on the construction of their fected the gamut. buildings; on caravansaries; on From that time music took a rapid coffee and calioun; on divorces and fight, and great advantages resulted widows. The sixth and seventh froin this fertile invention. The volumes are in the press.
Italians were the first to profit by
it; and stangers hastened to imitate Essai sur l'Histoire de la Musique their example. Thus Guido's school, en Italie.
developed niore and more by the Eur. Mag. Oot. 1823.
labours of Marchetto of Padua, was could we form a first and complete in the 13th century established and idea of the latter, withoutexamining spread all over Europe. This period the influence it exercised over all may be assigned for the foundation the rest of Europe ? of the musical sehools in the other On entering the Italian school nations of Europe.
our author regards, with pity and The author thinks that these new indignation, those artificial voices schools were in a state of prosperity called 'soprano. It is not the first whilst the ancient Italian school time that despotism and barbarity remained stationary or retrogade; have sought to multiply unnatural this is also the general opinion, pleasures. It is painful to see reBut if it be true that foreign schools ligion itself contaminated by such eclipsed for a time the Italian criminal abuses. school, their common mother rose But turning away from these re. from the declining state she had mains of barbarity, alike disgraceful fallen into in the 15th century, and to the nation and the religion that which has been often too much ex tolerates it, let us console ourselves aggerated. Being the first to dis with the thought, that the Italians engage herself from the trammels, themselves cry out against this outwhich the doctrine and authority of rage of humanity. the ancients had consecrated, if we The Italian school is so rich may so speak, she employed every' in masters, composers, and chefs effort to find out new methods, and d'ouvres of art, that it was necesshe made such progress that all others sary to make several divisions into were obliged to acknowledge her particular schools. These schools superiority and observe her laws. might be characterised by the man
M. Orloff, after having mentioned ner and taste of the masters who the different kinds of vocal and in- founded them, and by the number strumental music, invented in the and merit of their pupils; but, as 16th and 17th centuries, carries us most of the Italian composers have back to those happy days when the so much originality that each is art, purified from the rust of the distinguished by a particular and preceding centuries, shone in all its individual character, there would splendour on the theatres of Europe. be as many schools as composers. Six periods seem to mark the birth, And if the history of the art was the progress, and the perfection of confined to a certain species of ori. theatrical music: the first is the in- ginality, and a certain degree of vention of recitative, under the com- perfection, many artists would have posers Peri and Monteverde ; the been excluded, who
have a right to second, the air, under Cavall and figure in M. Orloff's history. He Cesti; the third, recitative obligato, thought it, then, better to be a plain under 'Scarlatti and Perti ; the historian than seek to establish a fourth, expression and truth, carried system attended with so many in. to the highest degree of perfection conveniences. He has taken notice by Vinei, Porpora, and Pergolese; of all those who, more or less, dethe fifth, force and depth, under the serve it, comparing them and markgreatest másters of the German ing the difference between them. school; and the sixth, under Haydn The schools, which the author disand Chambini, introduced the effect tinguishes in Italy, take the name of symphony called dramatic. of the place, town, or state where
In examining these periods, the they flourished, and the number of author undertakes to give the bio- the composers and their productions. graphy of those authors, who, by Such as the Neapolitan, Roman, their didactic works or musical com- Bolognese, Venetian, Lombard, Flo. positions, have deserved suich no rentine, and Piedmontese. tice. He seems to wander from his Either through the influence of object in giving us an idea of the local circumstances, or other moFrench, Dutch, English, German, tives, the Lombards seem more in: and Spanish schools. But how could clined to reason on the art than we dispense with these excursions, listen to the music; they have more as all 'European music is closely taste for harmony than melody. connected with that of Italy? How They have more didactic than mu
sical compositions, and, among the cern towards the bistory of their latter, more church music than music, for they have not even paid operas. The Roman School, though the homage of gratitude to the it appears destined more than any manes of the celebrated artists who other to the service of religion, is
have done honour to their country. more famous, according to our his. Since !. B. Doni, no one but P. torian, for the style of accompani- Martini has undertaken the history ment. In the same manner the au
of music. It must be sought thor attributes the Madrigal style amongst the English, German, and to the Venetian, and that of the French. We can only cite " The Concert to the Neapolitan School. Elegy on Jomelli," written by a But what may be precisely said on Neapolitan advocate, Mattei ; the the local character of these schools, “ Life of Correlli,” by Maroncelli, is, that they seem more disposed to
the “ Elegy on Tartini,” by Camillo dramatic music, and a preference to Ugoni ; and some others.' Piccini melody rather than harmony, as they would have obtained the like honour approach the South.
if it had not been for Ginguenè. M. The Florentine School first dis- Quartremére has done the same covered the modern Mellopeia; but justice to Paesiello, of whom little only gave the example and first mention is made at Naples. But direction to the other schools, leav. Durante, Guglielmi, Cimarosa ! ing them the honour of bringing Ought we then to receive from the invention to perfection.
strangers this tribute of justice and The Roman, Venetian and Nea- gratitude ? And is it wonderful politan Schools have disputed which that the biography of these artists should have the glory of it. By is so little known their productions it would appear,
We will make some observations that they were equal in excellence. on the state of Italian music in the But the Neapolitan School, in num.
l5th and 16th centuries, and on the ber of composers, richness, and ori origin of the modern Mellopeia. ginality in their chefs d'æuvres, their Count Orloff himself furnishes us principles and method of teaching, with the means of sketching a part has gained such glory as to eclipse of this history, which has not all the others ; and, now, to speak always been treated with such preof the Italian School is to speak of cision. the Neapolitan School. Therefore An observation of Louis Gueeciarit is not surprising that M. Orloff dini, the nephew of the celebrated has devoted to it the greatest part of historian of that name, relative to his work.
the latter part of the 16th century Though not able to enter into all has been often repeated; he said, the details of this work, we can at
that “ from this period music only least assure our readers, that they will
flourished in the low countries, and find in it all the elements indispen- that it was the Flemings who sable to the history of the art; practised it, and taught it in most that the author has spared no pains of the states of Europe and even in to procure the pecessary documents Italy.” It has also been remarked for his, undertaking; and as he that Lionel, Duke of Ferrara, and cites writers of acknowledged cele Galeazzo Sforza, Duke of Milan, brity on the subject" he treats of, entertained foreign singers at their we may presume, that what he ad. courts. It is an incontestable fact, yances is correct, although some that Tinctoris and Villaert, both fanlts may be detected inevitable Flemings, taught music, one at Nain a work composed of such mi- ples and the other at Venice. But is pate details; the mistakes, in truth, this sufficient to prove that the Itabelong to those authors who have lians had forgotten the doctrines of preceded M. Orloff, and who, Guido and Marchetto, and that they strangers to the country and often no longer knew an art of which they to the art they treat of, have neg- felt the want, and knew the value lected to rectify faults derived from of, more than any other nation ? uncertain tradition.
The concourse of foreign did not We think the Italians themselves exclude the co-existence of national may be reproached for their uncon artists; it may even prove that they