The Press. — London, England, 1855-08-18 00:00:00

792 his masculine force of style there is much of that unction which is necessary to all religious eloquence. At times he rises into a strain of austere pathos, as in those parts where he enforces the necessity of a Saviour, and where he dwells on the utter insufficiency of man to work out his salvation by himself. The dupes of the glittering fallacy of the perfectibility of human nature would do well to take to their hearts some of the affecting thoughts of Paleario. It is not the least merit of his per formance that, though essentially popular in its style of reasoning, its arguments and con siderations are within the comprehension of any one with common sense and ordinary powers of attention. But though thus essentially popular in its rhetoric, a skilled reader can easily discern that the treatise of Paleario is based upon a strictly logical survey of his subject. That such is the case is more particularly manifest in the manner in which the author connects Original Sin with the reality of the Atone ment. On the consequences of Original Sin, and on hereditary corruption, Paleario writes : There is no tongue that can express the thousandth part of our miseries, forsomuch that after we were made of God as with his own hands, we have lost that image of God, and are become like unto the devil, and are made also naturally one self [same] thing with him, both willing all that he willeth and also refusing all that displeaseth him. Aud forsomuch as we be thus given to [a] prey to so wicked a spirit, there is no sin so great that every one of us is not ready to do, when we are not let by the grace of God. This privation or want of righteousness, and this in clination and readiness to all unrighteousuess and ungodliness, is called Original Sin ; the which we bring with us from our mother's womb, being born the children of wrath, and yet took beginning of our first parents, and is the occasion and well-head of all the sins and iniquity that we commit, from the which if we will be delivered, and return to this first innocency, recovering the likeness of God, it is necessary that we know first our miseries. And for this cause, even as no man at any time seeketh after a physician if he know not himself to be sick, neither knoweth the excellency of the physician, nor the bounden goodwill that he ought to bear towards him in that behalf, nor if he know not his sickness to be very dangerous, and threatening death, even so no man knoweth Christ the only healer of our souls if he know not his soul to be sick, nor can know the excel lency of Christ. nor the bounden goodwill that he ought to bear to him, if lie do not go down into the knowledge of his most grevious sins, and of the most dangerous sickness that we have caught by the infection of our thee parents. On the faith which justifieth, he says:— The faith that juatifleth is a work of God in us by the which our old man is crucified, and we being altogether transformed into Christ do become a new creature, and dearly-beloved sons of God: this godly faith is such that it graffeth us in the death and resurrection of Christ, and consequently mortifleth the flesh with her affections and concupiscences ; fur we know ourselves by the efficacy of faith to be dead with Christ, and lo therefore determine with ourselves and with the world, and also do understand that it appertaineth to those that are dead with Christ, to mortify their worldly members, that is to say, the sinful affections of the mind, and the appetites or lusts of the flesh ; and knowing ourselves raised with Christ, we dili gently endeavour to lead a spiritual and holy life, and like that which we shall live iu Heaven after our resurrection. This moat holy faith causeth us to broke or enjoy the general pardon that the Gospel publisheth, yea, it leadeth us into the kingdom of God, and maketh peace in our conscience, and maintaineth in it a perpetual and holy joyfulness and mirth. This sameself faith uniteth us with 'Jod, and causeth that God dwelleth in our hearts, and clotheth our soul with himself; and consequently his Holy Spirit moveth us to those things to the which it moved Christ, when he was conversant amongst men : I say, to humility, meekness and obedience of God, charity, and to other perfections, by the which we recover the image of God. But he cautions strongly against the delusions of a false faith. What would the writer of the following grave words have thought of some of our pseudo-philosophic religionists of modern times?— And therefore let no man beguile himself when he heareth say, that only faith without works justifieth (believing as doth the false Christians, which drawetl► all things to a fleshly living), that the true faith oonsisteth in believing the story of Jesus Christ, in like manner as they that believe the histories of Ctesar and Alexander. This manner of believing is an historical faith, founded on the very report of man, and of writing, and is printed slightly in the mind by a certain use or custom; and is like to the faith of the Turks, who by the selfsame occasions believeth in the fables of Alcoran. This faith (so made) is an imagination of man, which reneweth nothing the heart of man, nor heateth him with godly love, neither (loth there follow it any works of faith, nor new life ; and therefore they say falsely, both against the holy Scripture and also the holy doctors of the true church, that only faith justi fied' not, but that the works are needful ; to the which I answer, that this historical and very vain faith, with the works th follow it, not alone not justifieth, but also casteth a man down headlong into hell, as those that have no oil in their lamps, that is to say, no true faith in their hearts. THE PRESS. It is possible that in the mysterious dis pensations of Providence Italy may yet be reserved for another and extraordinary develop ment. It a burst of new ideas came upon the Italian mind, that country might be regene rated. The coarse infidelity of the French Jacobin school, or the charlatanic impostures of Mazzinism, will never satisfy so large and widely-cultured a nature as the Italian. The mixture of race has contributed much to the prolonged vitality of Italy ; and what Teutonic blood did for the bodies of its people, Teutonic Christianity, revelation without priestcraft, the religion of the Cross without the superstitions of Romanism, might yet achieve for their souls. If Italy had a pure religion, it would be one of the foremost countries of Europe. Niebuhr had no faith in its regeneration; but in most things that great scholar was of a very scep tical turn. We recollect his remark in his letters that " the Italians were a dead people," and we can feel no surprise at the fact when we remember what ultramontane Romanism teaches and enforces. Cisalpiue Popery does mischief enough to its votaries ; and it is only by contrasting the advantages enjoyed by Protestant over Catholic countries that we are enabled to calculate how far Italy would advance if its pulpits preached the spiritualis ing and heart-rousing creed of Paleario. We commend this volume to the lover of curious books, and not less strongly do we direct the notice of religious readers to its consideration. Its previous publication in 1.847 by the Religious Tract Society attracted considerable attention. It is well suited for a literary present, as the typography is very neat, and the notes show considerable scholar ship. U5tC. THE ITALIAN OPERA. " THE ROYAL ITALIAN OPERA," stated the opening prospectus of 1847, " was established for the purpose of rendering a more perfect performance of the lyric drama than has hitherto been attained in this country." Such was the original announcement of the promoters of this vast undertaking, and if the pledge had not been carried out the establishment would have utterly failed long since. The memo rable seasons of 1847 and 1848 will not easily be forgotten. Such performances as were then wit nessed will never be seen again, unless, indeed, a truly musical public can be found to support the theatre, instead of a fashionable list of subscribers, who will attend only a spasmodic season of three months. From 1849 to the year of grace 1855 there have been but variable mountings of the great works. A race with time, and often against time, has been too often the order of the day. To draw the amateurs within the Covent-Garden walls, the operas of the repertoire have been too rapidly produced and changed, and even the moet intricate works have been brought out at the " fast express " speed. Costa's amazing com mand over orchestra, chorus, and principals—albeit a great gift for him as a conductor, and of vast utility to active directors—has been too often resorted to and abused. A glance, however, at the forty-eight operas now comprising the repertoire will show that the grand principle of the universality of art has never been entirely lost sight of. To have at hand four such masterpieces as Meyerbeer's Robert le Diable, Les Huguenots, Le Prophite, and L'Etoile du Nord, ought alone to make the fortune of the management. Mozart's Don Giovanni, Nozze di Figaro, and Il Flauto Magic°, whenever properly revived, will always exercise a powerful effect on the receipts; and Mozart's musical mine has not yet been exhausted, notwithstanding the confident assurances of the modern Italian devotees that Mozart will not " draw." There are some strange fallacies afloat in the "foyer" and pit passages touch ing this word " draw." The capital of a well-directed lyric theatre is mainly in its credit. Now, Spohr's Faust and Jessonda never did "draw." Weber's Der Freyschiitz was not a "draw." Beethoven's Fidilio, Rossini's William Tell, Otello, Il Conte Orij, and Mose (Zera), and Halevy's Juive, have been no "draw," but it is monstrous to assert that such fine operas as we have just cited are to be permanently shelved, because they do not realise for the treasury what a popular tenor and a decaying prima donna will accomplish in the most hackneyed and perhaps frivolous works. It is by variety and contrast that the credit of a theatre must be upheld. "It is by the effective representation of operas by the most eminent composers, without distinction of country," quoting the prospectus of 1848, that the lovers of SATURDAY, music are to be won. The present directors have certainly displayed moral courage in resisting the bigoted clamour against Verdi, by producing, with a magnificent miss en scene, this composer's Trovatore; and as the same management was sufficiently specu lative to hazard the mounting el Gounod's Sappho, and Berlioz's Benvenuto Cellini, and particularly reckless in supplying the public with potage u la Jullien by that oddest of operas Pietro it Grande, what reason is there why a commission should not be given to an English composer? Again, Weber's Oberon, and Gluok's Iphigenia in Tauride, are the unredeemed pledges of former prospectuses. Try the public. Glory is profit. Whilst Lablaohe lives Cimarosa's Matrimonio Sigreto ought not to be barked. And let not the noble inspiration of Auber, his Massaniello, be hacked to pieces to make up a " grand combined night," in order to drag in by scraps all the stars. And next season, as Grisi and Mario are to renew their farewells, why not try Semiratnide, La Donna del Lago, La Gazza Ladra, Anna Bolena, by way of a change? The Birmingham Musical Festival is at hand. The Royal Italian Opera directors ought to have their eye on it. Meyerbeer will be there as a listener. Costa's new oratorio Eli will he heard for the first time ; and there are amateurs and critics who were at the Hanover-square Rooms last Monday, at the grand rehearsal of the work, who boldly predict a triumph for the Covent Garden musical director. Verdi's Sicilian Vespers, from its success in Paris, will doubtless be in next year's prospectus. There is much talk also of the new French tenor at the Parisian Grand Opera. Rumour is busy about new operas and new singers at the approaching season of the Italian Opera-house in Paris. Art can never be at a standstill, and if very prominent singers imagine that they are indis pensable, they are much mistaken. Whatever may be their "draw," a perfect ensemble in the long run will be in the ascendant. The utopia of expecting that a theatre can be filled night after night with overflowing houses no sane manager will indulge in. The true policy is to secure a well-balanced reper toire of all schools; but, at all events, whatever is done, let it be well done, and not too quickly done. The execution of the two novelties of this season— Verdes Trovatore and Meyerbeer's Etoile du Nord— has reflected the highest credit on the entire management. No outlay was spared for the most pictureAue mise en scene, and the musical portion surpassed, perhaps, in point of precision any produc tion since the two first seasons, the like of which if to be seen again will depend on the paying public. It has been the subject of remark that the Covent Garden audiences this year have been more than usually cold and undemonstrative. Certainly, the renewal of the clacque system, which was one of the main causes of the ruin of Her Majesty's Theatre, is not at all to be desired ; but amateurs, who frigidly abstain from all applause, often deprive themselves of t..e greatest enjoyment, for artists of excitable temperament are very difficult to be roused to their best exertions if not encouraged by the auditory. One of the most exquisite performances of the past season was that of Rossini's Conte (try. The pecu niary results of operatic campaign are declared to be on tue right side of the hedge. The state visit of the Queen and Prince Albert, accompanied by their Im perial guests the Emperor and Empress of the French, on the 19th of April, was a great impetus. The only defaulter in the prospectus was Roueoni. Tamburioi, without a voice, but still a consummate artist, was the substitute. Signor Graziani, with a voice, and that one of the most sympathetic in qua lity ever heard, will make his way, perhaps, with time and study. In artistic intelligence he has everything to acquire. The dibilt at Covent Garden of that elegant singer Gardoni has been quite success ful. In the air in the last act of Meyerueer's Etoile du Nord he made a great sensation. Mlle. Jenny Ney has such a superb organ, and is such an accomplished singer, that she is destined to occupy high ground. If the subscribers were to be polled to return the finest histrionic displays, the majority would be, first for (irisi'a Norma and Lucrezia Borgia ; secondly, for Viardot's Fides, iisucena, and Desdemona ; thirdly, for Mano's last act of La Favorita, and third act of the Huguenots; fourthly, for the veteran Tambtuini's Don Giovanni; and, fifthly, for Lahlach's Gritsenko in the Etoile du Nord. For vocal displays, Mine. Bosio in the Etoile du Nord, and Mlle. Ney in the Trovatore and leide/tio, would command the suffrages. Tamberlik's Otelio was also one of the sensations of the season. The return of Formes was marked by increased evidence that he will study on sour•krout and not on macca roni. Mlle. Marai has advanced her reputation this season. The advent of Meyerbeer to superintend the rehearsals of the Etoile du Nord was a coup de thidtre of which Mr. (iye has reason to be proud. The amateurs who have lived to see that their early predictions as to this great composer have been veri fied must, indeed, rejoice. Prejudices and bigotry in music, it is hoped, are fast wearing away, and the domain of lyric art is now beginning to be acknowledged to be boundless. 'IP