The Press. — London, England, 1853-07-09 00:00:00

JULY 9, 1853. positions of Fra llartolommeo. The figure of the child wants, perhaps, that happy mixture of dignity and childlike playfulness with which the punter oc casionally endowed him. No. 109, " The Adoration of the Magi." attributed to Palma Vecchio, but we think enotteously. It ex hibits none of the peculiarities of that master. We should rather assign it to Bonitaecio, whose manner it resembles both in colouring anti in treatment, and iu the melting softness of the chiaroscuro. We wish we could notice all the pietures which pleased us, but we have already transgressed the dis creet limits to which we had intended to confine our re marks. We must, however, recommend the beauti ful missal by Giulio Clovio to the attention of our readers. Amongst its rich and glowing pages it con tains undoubtedly the best specimen►► of the art of illumination produced in the sixteenth century. We shall close our remarks with a notice of the finest anti most interesting picture the collecti contains—" The Visitation of the Virgin Mary to St. Elizabeth," taken from the wall of the Church of S. Maria della Vine at Rome, and dese►ibed in the catalogue as the joint perfonmutce of Michel Angelo and Ira Sebasti►uto del Piombo. We have in vain searched fin• the slightest proof that Ira Sebastian° was assisted in this work by his illustrious contempo ra►y. There is, indeed, negative evidence that he had no such assistance. Vasari informs us minutely in what pictures, and to what extent, Michel Angelo attOrtled his assistance; but in the present picture, which he praises amply, he makes no mention of any aid. It was a work undertaken (he informs us) by order of M. Filippo da Siena, and the monks to whose convent the church was attached, being disgusted with the slowness and idleness of the artist, gave him his dismissal before the picture was finished, re moved his scaffolding from the wall, and eo• vered over his half-finished performance ; nor was it till after Sebastitum's death that the work was unco vered and justice done to its excellence. It is not thus we think that a work would have been treated in which the "divine Michel Angelo" had partici pated, a painter who enjoyed, during his life, at least as much reputation as has since been bestowed upon him. Ira was the inventor of a method of painting in oils on a wall prepared for the purpose, which was first put in practice in the " Flagellation" in S. Pietro in Moutons, to which we have already alluded. Vasari has recorded the surprise of the public when the unfinished sketches on the walls of S. Maria della Pace were uncovered; and he himself bestows his approbation upon it. The heads of the attendants, he informs us, were "drawn from the life, and are full of grace and beauty." He might have given higher praise; and, if we may say that there is no evidence for attributing any part of the design or execution to Michel Angelo, it is not be cause we consider either in any way unworthy of that great master. Each of the heads possesses an indi vidual character and a propriety of expression that are truly admirable, together with a grandeur of treatment that leaves nothing to desire. We have already remarked that the composition was only sketched in, and partially finished. We rather re gret that the figure of Zaccharias, which was des• tined for the background, should lie placed on a level with the other groups, and in a frame of the same size, as if forming a part of them. This faulty arrangement injures the effect. These magnificent fragments were purchased by Mr. Bromley at the sale of Cardinal h.sch's gallery. We cannot but think them better adapted for a pub. lie than for a private collection, and we regret that the National Gallery did not make an acquisition so desirable. Ely prama. OLYMPIC TILEATE,E. THE new burlesque upon the subject of The Mer chant of Venice produced at this theatre belongs to a class of dramatic productions which the more elegant fairy extravaganzas of Plunclii and Dance and their followers have nearly driven from the stage. Nor is the revival of a taste for coarse and gross caricature much to be desired. There is considerable humour in the treatment of the subject, and a marvellous profusion of all possi ble and impossible puns ; but there is a tone of vulgarity, and a certain sense of irreverence, we might almost say of profanation, anything but pleasing to a refined taste. Mr. Robson, the representative of Shylock, a wioney-lender, with the accent of Houndsditeh (indriferently assumed, by the way), has, we think, been ml. 11 overpraised. This gentleman umloubt edh• throw.: some energy and excitability into his performance, but those who have seen the late Liston, John Reeve, or Mr. Keeley, will he slow to . think that he has made any discovery or thrown any new light on the art of acting burlesque. At the same time we are bound to say that Mr. Robson ap peared greatly to delight hie audience, The THE PRESS. - getting up" of the piety was meagre in the ex treme. ADELPIII The Camp at Chobhan‘ is the title of a new one-act farce produeed at this theatre. Why it is so called it is somewhat difficult to conceive, s eeing that, except the introduction of two inverted stable bucket% as easy ehairs" into an (aver's rom, no attempt is made to illustrate the humorous dilemmas and expedients of camp life. Nothing can be slighter than this piece, in plot, language, and construction. Nevertheless, the spectator Innis, at the end of half an 1 , that Ie has been amused, and hay laughed heartily. Ibis ettect is to be aseribed to the great skill of Mr. Keeley in clothing and giving life to the bared skeleton. Provided this gentleman is subjected to n sinentielit In'tptntnm of annoyance and persecution, a VinTespontling amount of amusement is certain to result to his audience. alusit. THE PURCELL COMMEMORATION. ON TlMM day, the 30th ult., 010 IllisllllWlN Of the Purcell Club, according to annual custom, attended morning prayers in Westminster Abbey, and assisted the choir in the service and anthems for the day, which were exclusively selected from Purcell's works. This annual service, generally known as the " Purcell Commemoration," owes its existence to the exertions of the Purcell Club, which was founded in le:fit, for the purpose of rescuing from oblivion the writings and memory of England's greatest composer. As respects the advancement of the musical art, the objects of this club are most meritorious; for the extension of a knowledge of Purcell's works cannot fail to be productive of a good result. Taking into consideration the period in which Purcell lit ed -111:1s-95—and the early age (371 at which he died, we may safely say that no musician ever accomplished so much with such small means at his disposal. From eireumstances as well as front his peculiar genius, his style is in every respect original, and his bold and extraordinary harmonies, which could hardly he well understood until at least a century after his death, are no less surprising to us modents them the sublimity of his grander efihrts, and his inexhaustible Now of melody. However Purcell may have been surpassed, as regards general effect, by composers of more modern times, it is certain that, as a musician of .intelleet, ho stands almost wit feint a rival. No one ever lived who possessed in such perfection the power of setting words to music : ho is alike successful in simple declamat . ,in rendering abstract thoughts, and in the imitation of natural sounds; and the most hostile critic will fail to dis cover in his writings a false interpretation or an indefensible accent. Though the versatility of Purcell's genius led him to write every species and class of music, he seems, in his sacred writings, to have been actuated by that same love for high art, and for the perfection offer'', that signalised the great. Italian painters of the six teenth century ; and his works for the Church, as regents devotional feeling and general design, are, in our opinion, the best models for imitation in ex istence. Mr. Ifelmore, the 14:cclesielogical Society, and the Itomanising party in our church, would de well to seek, by study of Purcell, the true source of expression in ecclesiastical music.; and they might then, by acquiring that knowledge of principles of which at present they stand so much in need, cease in their vain endeavours to persuade mankind that the quaint and grotesque phrases (we can hardly call them melodies) of the early and mcdiwval Roman Church are the only musical sounds that can assist devotion. Thu music selected for this year's " Commemo ration" was the " llenedicite" in 11 fiat, the "Jubilate" in I), and the anthems , 4 My heart is in_ diting" and "Out of the deep." This last, which is hut little known, is inferior to none of the conipmer's works, and contains a bass solo—" 1 leek for the Lord," effectively given by Mr. Lawler—which, for expression, melody, and construction, has never been surpassed by any writer. Messrs. Henson, M. Smith, Foster, Banally, and Lloyd greatly distinguished them selves by their excellent singing of the verses ; and the general performance of the music, under the con ductorship of Mr. Gosa , was very goo d. Though our space is but limited, we cannot avoid noticing the ability with which Mr. 'Carle presided at the organ : it is not, however, to his firm hand and power of interpreting the great master's music that we would alone refer with approbation, lint to the sacrifices he makes, amidst difficulties of no ordinary kind, to ensure a satisfactory result at every Purcell meeting. His exertions show that enthusiasm for his craft which is distinctive of the true artist, and of one who is well worthy to be the successor of !henry Purcell. The congregation was numerous: amongst them we Qb 4 ened Dr. who a great &Imam tot rap. 235 ami who never fella, when in England, to attend the "Commemoration." It was an inter- esting sight to see the greatest living composer, with bass part before him, joining in the choruses as if he were the humblest tuusician present. It will hardly lie believed that Wei:twin:4er Abbe). the eliumit of which Purcell was, during one halt of his short life, the ergiunst, now possesses but few of his works, and that, with the exception of the llenedicite," the tousle performed on Thursday week was sung from eopit.4s provided ut the expense of the members of the Purcell Club. This state of things is very intuit tl► the discredit of the and Chapter of one of the richest eeelesiastieal foundations in the world. 'Try havo nut. even the exeuse of the fear of extravagance. is so cheap in these days, that the whole of l'ureell's Outwit u u ►sie, l►cautil'ully piintod in beure, tuay had for lour pOtilltiS. ROYAL ITALIAN OPERA, 111 EV EDEER'S °pent, 11 Profeta, was prolltieed for the first time this season last Friday week, anti repeat. again on Tuesday ; the part of bides being sustained by .line. 'Tedesco, a lady who has aelitlired a consi derable reputation on the Continent, and that. of aioranni tter the first time) by Signor 'randierllk. me. Telit'Sett IlltS a voice of great compass, and, though unquestionably better in the lower than in the upper part, it is well adapted for the part of Fides, which was, we believe, sung in strict Seenrdlinet 4 with the original text. To an ordinary or casual observer Mine. Teiletwo's suceess must have seemed complete : her sellout of singing and her intonation an o in t', good, and there can Ito no question but that the applause she obtained during the progress and at. the end of the performative was both genuine aiul well deserved. But those to whom %at t une Vianha t;areia's impersonation anal reading of Fides, are familiar, and who are aware of what deep and varied emoti 111 l s the part is capable, could not fail to see how far Mine. 'Tedesco falls short of realising the poet's creation. It seems to us that Mine. Tedesco, though a very excellent singer, has neither genius nor inten sity of freling, and that, although both the cadenza of the song in the first net, and the passages in the third act expressive of the mother's indignation at the son's dental caring parent, were energetically and ar tistically rendered, she is apparently incapable of inter preting the chartieteristie anal expressive meloiliem which abound in the opera, and which require. far more than ordinary ability to render clear to a general an diei we. M me. Tedeseo is short in stat ure, and her fea tures Iwtray a l lelorew origin. lier acting is quiet and will t much pretensi , but she deserves commen dation for the careful manner in which she has evidently studied the svelte in the catheilnd. Signor Tamherlik can hardly be said to be familiar with the mush., Or to have recovered from the ner • vousness which is inseparable front performing a part of such importance i'or the first time, hut we think we may safely Kewanee his t:iovatitti decidedly infe • rior, both as regiMl4 singing and acting, to Mario'a. All those passages which require great force anal energy, sueli as the finale to the second act, and the drinking song, " Review intorno," he gave with admirable and undoubted effect ; but that part of his voice whit+ the Italians style the mezzo twee is so wanting in quality and power, that. although he is an artist deeply imbued with musical feeling, he seldom ap pears to advantage where a pure round tone and even singing are the prineipal requirements; and thus the bender and more pathetic portions of the mush, cominiUAsl to his charge to a certain extent failed of their customary result. We see this opera is an nounced again for to-night : possibly we may be iu timed to give a second notice of it next week. PIIILIIARMONIC SOCIETY. Tut: progrtunme of an extra concert given on Mon day last, by command of her Majesty, was as fol lows : _ _ ........ l'AuT I.—Munie bp ".t Mldnnunurr Night's Drown," Men delsrwisie—Atia," lirtune, t )l Jolt a I !wan." "Summits,' I —DueUiuu, "Don Curios," Cubta—Ovvrture, "Eguifint," Itue thovels. PAW,' I 1.--Sianisia fu A, No. 7, Ileethfiven—itoonaure, "JO. Kepler " llomat,-o%erture,"Eu rybuithe," eber. The execution of the instnunental portion of the concert was beyond all praise : considering the in tense heat of the weather, the precision with which the most difficult passages were rendered was quite surprising. At the risk, however, of being thought to speak foolishly, we will venture an opinion that Mr. Costa loses some effect by taking the second and fourth !tenements of Beethoven's symphony in A too fast. The time he observes in this last movement surely approximates to presto rather titan allegro eon brio. We regret that we cannot commend the Mine. Viardot, though her pronunciation of English is unusually good, was evidently not at home in ilandefs music. Mme.Camtelltut's singing in The Midsummer Night's Dreams was really abominable; and the manner in which she perfonued her part in Costa's duet was, to say the least, most monotonous and ineffective. Signor Gardoni's habit of forcing bia ftfica is a gra% grawbacit to his **On 110