The Express.
London, England, 1863-03-26 00:00:00

FINE ART&

- -
PORTRAITS OF THE ROYAL FAMILIES OF
ENGLAND AND DENMARK.
• "

The photograph portraits of the carte de visite
size by X. Obtuse, of Breese* were for a long time the
only likenesses of the Princess of Wales to be obtained, and
they must be quite familiar to every one who Mom to reek,
acquaintance with the crowd of celebrities which the photo-
rapine sesembLes is his studio. M. Ghemar, however, is
something more than amy skilful photographer, he is an
accomplished crayon artist and lithographer, and besides
them career de rink portraits, he has executed by fez the
beet portraits of their Royal Hi:became the Prime
and Prisms of Wales in lithography which have
his. dam Them are extremely well copied
from the photograph, enlarged by a proms which appears
Ito be most cleverly managed by Tr. 0126133er. The crayon
drawings of the Princess are also admirable specimens of
th►t particularly pleating style.
The enlarged portraits in photography of the Queen
and the Prime and Princess of Wales an remarkable for
fidelity, but to our taste the smaller portrait is preferable is
photography, because it diminishes instead of magnifying the
slight snore of form and colour that are inseparable frost
all the work of the lens as at present practised. The most
succeeds' example of an enlarged portrait by M. Glif mar
is that of the Lag of the Belgian, which is shown amongst
the photographs at lir. Gamberes Gallery in Pall-mall,
and Ude ham evidently bees eardatly touched by
Gbfmar's delicate hand.
The groups of the royal families of England, Belgium, and
Denmark are very interesting pictures, and in these N.
°benne is very happy in his arrangement of the figures.
The specimens of picturesque figures in this enlarged
Iphotography are solely the work of the sun and the artistic
operator, as we understand they have not rewired say aid
from the bruit, and they are the more perfect en speolasem
of the art

At Messrs. Graves' gallery in Pall-mall there is
now exhibited a fall-length portrait of his Royal Highness
the Prince of Walsa, painted by Mr. Walton. The
Prince sat for this picture only • very few days
before the royal marriage, and the artist has painted
his Royal Highness in his beet looks, dressed in a walking
suit of light summer blue coat, grey trawlers, sod primrose
kid gloves. He may be supposed to be walking in Windsor-
park, u the background is made up of doe foliage, and •
glimpse of the round tower of the Castle is seen in the
distance, but his Royal Highness hold. his hat in his hand,
and leans on his stick, se if meting for a moment.
The picture is cleverly, though perhaps hastily painted,
and the likeness shows a remarkable reeemblanos to the
royal family of England.

MUSIC.

MUSICAL SOCIETY OF LONDON.

This society's second concert of the season took
phies Let evening at St. Jemes's•hslt The programme
was aa fellows :

...........—... .
POST L
Symphony In o—Lettar Q Haydn.
Scans—. All to prevail" (Andromeda) M call.
Madame Radaradord.
Conoato—VlMoncello, Signor Matti
Aria—. Qum( avveMarimi latami" sil Seraglio) Momrt.
Mr. Wetu.

Ynsr IL
Symphony In C minor—No.l
Duo-- Lie quelle Title eater (Llitolle do Nord) Meyertmer.
Madame Itudendort and Mr. Weise
Overture (Abu Homan)
Ilsydn'i Symphony is one of his earlier works, written
long before the twelve, justly designated "grand," com-
posed in London for Salomon's concerts, and justly esteemed
his masterpieces. But noon of the early works of " the
father of eyaphony " are more beautiful than this one.
It is fell of Haydn's most characteristic traits : alearness,
grace, richness of harmony, and that ninny cheerfulness
which gives such an inexpressible sharer to his music.
Such music' our never grow old--newer, at hag,
till music shall have undergone some revolution
which we shall not live to see. Merideleacihde
symphony, too, was an early work, not equal to his subie-
queot productions of the same class, but still very beau*.
In], and most interesting as being among the first fruits of
the composer's genius. Both these fine works were played
I in • manner which did the highest honour to the society's
magnificent orchestra and their excellent conductor, Mr.
Alfred [Mellon. Piatti's concerto ou the violoncello was •
marvel of tone and execution. No violoncellist of the day
sings upon his instrument as Piatti does ; we almost think
we hear a Mario or • Tamberlik warbling some
vocal melody with Italian purity and feeling ;
but, like most coocerto-players who perform their
own music, he introduces too much that is little better than
mere fiddling—passages that serve only to display the
rapidity of his finger, and the woodirously skilful manage-
ment of his bow. Schumann's overture to Manfred was
the only thing approaching to novelty. Of its merits we
shall not venture to express an opinion, for we have an old-
fashioned prejudice in favour of melody and rhythm, which
disables us from enjoying the orchestral mask of the
modern Garman school. The vocal music might have been
more happily chosen. All the pieces were so essentially
dramatic that their affect was lost in the concert-room,
notwithstanding the excellent manner in which they were
sang.