The Press.
London, England, 1858-05-22 00:00:00

THE PRESS, MAY 22,1858.

ceeding which I thought, u Mr. Panizzi had thought in
his own case, rather strange, the proposal—and the main
feature of the plan employed, having originated with me.

The evidence in support of the accusation of
plagiarism is chiefly chronological. Mr. Hosking
says that in February, 1848, he laid his design,
consisting of a reduced copy of the Pantheon,
before Lord Ellesmere's Museum Commission,
and that in 1849 he brought it under the notice
of the Trustees. That in June, 1850, he pub-
lished this design in the Builder. That in May,
1852, Mr. Panizzi published a design, consisting
of a circular shed supported on a number of iron
columns, and totally unlike the present reading-
room. That on the 14th of June, 1852, Mr.
Hosking sent b/ post two copies* of his design,
one to Sir C. Eastlake, the other to Mr. Panizzi,
but that the former only was acknowledged.
That in 1854 Mr. Panizzi put forth his second
design (the one since adopted), and that the
works were begun in March of the same year.
Mr. Panizzi replies that he put forth two
plans in May, 1852, both of which accompanied
his report of the sth of that month, and were
printed with it on the 30th of June following.
That he never put forward nor made any other
design whatever, either in 1854 or at any other
time. That he did not see Mr. liosking's design
till after the works had been begun—that is, in
March, 1854—when he found at the Museum
" a number" of the Builder, and was told by
Mr. Fielder, who was present, who Mr. lloaking
was. Mr. Panizzi also remarks that Mr. Hos-
king did not propose to build a reading-room,
but some other room ; that his design was to be
built in stone, while the present structure is of
iron ; and, consequently, that no plagiarism can
have been committed.

Mr. Hosking, in rejoinder, draws attention to
the fact that Mr. Panizzi represented to Lord
John Russell that the Builder was sent anony-
mously, and asks how it was that his name came
to be mentioned by Mr. Panizzi at all.
Thus the matter stands at present. Whether
there is a prima-facie case for the accusation of
plagiarism—that is, whether the modified Pan-
theon of Mr. Hosking and the present structure
are sufficiently alike ibr one to have necessarily
been suggested by the other, is a question which
each person who sees them must decide for him-
self. If it could be proved that Mr. Panizzi
had seen the Builder before publishing the design
of the present reading-room, we could hardly
avoid the conclusion that he had been in some
way indebted to it ; but we have his word to the
contrary, and unless Mr. Hosking can show that
it is not to be relied on, his case must remain de-
ficient in an important point. He promises that
the matter shall be brought before Parliament,
and if he can prove that he is really entitled to
the honour of having designed so grand and con-
venient a work, no one will be more ready than
ourselves to do him justice. But it would, in the
present state of the question, be premature to
pronounce any decided judgment.

PUBLTCATIONS RECEIVED.-MAY 13.
BOOKS.

For and Against ;or Queen Margaret's Badge. Two Vols.
Frances M. Wilbraham. J. W. Parker
Hand and Glove. Amelia B. Edwards.

J. and C. Brown and Co.
What to Read, and How to Read It. E. Stanford
Aspects of Paris. Edward Cupping. Longman and Co.
,System of Book-keeping for Solicitors, kc. W. Mackenzie.
"Law Times " Office
The Practice of Probate and Administration. Charles W.
Goodwin, M.A. " Law Times " Office
The Passionate Pilgrim ; or, Eros and Anteros. Henry J.
Thurston. Chapman and Hall
The History and Antiquities of Roxburghshire and Adjacent
Districts. Two Vols. Alexander Jeffrey. Hope
The Initials. A Novel. By the Author of " Quits."
Bentley
In and Around Stamboul. Two Vols. Mrs. Edmund
Hornby. Bentley
A Handy-book on Property Law, in a Scrim! of Letters.
Lord St. Leonard.. Blackwoods
A Tramp's Wallet. W. Duthie. Dorton and Cu.
The Night Side of London. Tweedie
Poems. By An Architect. Hardwicke
The Heiress of Vernon Hall ; an Autobiography.
Country Life in Piedmont. Antonio Gallengs.J. Blackwood
Chapman an Hall
On Medicine and Medical Education. W. T. Gairdner,d M.D.
Simpkin and Marshall
Practical and Economical Cookery. Mrs. Smith.

Chapman and Hall

• In a letter to the Buitler, 24th of April, 1855, Mr. Hocking
seems to imply that he sent only a sheet of the paper to Mr.
Panizzi; and that Mr. Panizzi's subsequent discovery of "a
number " La impossible, iind therefore diaingeuttons.

~~

A Manual of British Arohteology. Charles Bontell, M.A.
A Popular History of Bird's Es. Lovell Reeve
gg Richard Laishley.
Sonnets. Rev: John Eagles, M Lovell Reeve.A. Blackwood,
PAMPHLETS.
Russia and the Jesuits, from 1772 to 1820. Seeley and
Jackson—Phases in Politics. Boone—The Present State of
Egypt. J. W. Parker—Hints on the Reorganization of the
Indian Army. By an English Officer. Chapman and Hall
—Notes on the Principal Pictures of the Royal Academy.
John Ruskin, M.A. Smith and Elder—Guaranteed Seca.
cities; their Merits as Investments Considered. John White-
head. E. Wilson—A Letter to a Noble Lord. By a Com-
moner. Hatchard—Porte aux Marchandises. Alfred Talan-
dree. Trubner.

London University Magazine. Hall and Virtue—The
Irish Quarterly Review. Stmpkin and Marshall—The Ser-
vice and the Reward. Oakey—The Comprehensive History
of England. Parts IX. and X. Mackie.

alitsir.

ROYAL ITALIAN OPERA.
OPENING OF THE NEW COVENT.GARDEN THEATRE.
CONTRARY to the expectation of most people, Mr.
Gye has succeeded in redeeming his promise, and
last Saturday, May 15th, " The Garden " once more
became a theatrical entity, twentysiz months sad
ten days since its last public gathering was brought
to so fatal a conclusion. A good deal of money is
said to have changed bands on this event—according
to the Daily News, not less than 100,000/.
Before the doors were opened, a great crowd had
assembled, and was every instant increasing. The
adjoining streets were full of advancing carriages
and groups of curious people. But though there
was plenty of bustle and excitement, all appearance
of confusion had vanished. The approaches were
completely cleared, and everything was regular and
orderly. It was nearly half past eight when the
doors were thrown open ; but, thanks to the good
arrangements and the convenience of the entrances,
the visitors to every part of the house found their
places with perfect quietness, and in a few minutes
the whole theatre was full of people sitting at their
ease, and gazing with curiosity at the scene around
them.

The theatre, inside, is larger than its predecessor,
though at first sight this does not seem to be the
case. Its proportions are exquisite. The area,
which includes the stalls and pit (and of which the
stalls occupy at least two-thirds), is much broader
than the corresponding part of the old house, but
does not extend to so great a distance backwards, so
that no portion of the audience appears to be so far
removed from the stage. There are only three tiers
of boxes ; but the theatre, nevertheless, is more
lofty than the former, the boxes in each tier
being high-roofed, and consequently spacious and
airy. The circles of boxes are richly decorated, the
colours (and generally through the theatre) being
white and gold. The lower tier (or pit boxes have
a sort of latticework of gold, supported by figures;
the grand tier has a profusion of foliage, winged
figures, and other pretty devices ; and the second
tier is similarly adorned. The boxes (as in the
old house) have draperies of dark crimson, a colour
which is found to reiieve admirably the gay toilette:
and blooming faces within. The extraordinary
breadth, as well as' depth, of the stage, is calculated
to give greater effect than ever to the grand seem
spectacles for which the Royal Italian Opera has
always been renowned. The proscenium is singu-
larly magnificent. On each side are richly-gilt
and carved pillars ; and over the centre there is a
medallion of the Queen, with figures representing
the fine arts and music. The ceiling is very lofty,
slightly concave, of a sky-blue colour, and without
any figures or elaborate decorations; but the eye
rests upou it with great pleasure, from its simplicity
and effect of refreshing coolness. The great centre
chandelier is gorgeous in the extreme. It is said to
be eighteen feet high, to contain three tons of cut
glass, and to have seven hundred gas-burners. The
seating in every part of the house is roomy and
comfortable; and from the freshness of the air on
Saturday night, notwithstanding the crowd, it ap-
pears that the building is excellently ventilated. It
cannot be doubted that the whole theatre is most
skilfully and scientifically constructed. Its form is
such as to bring all the spectators as near as possible
to the stage, and to afford to every one the fullest
possible view of it; while in another requisite, of
even greater importance in a musical theatre, the
architect has been entirely successful. The acous-
tical properties of the building are admirable.
Every sound uttered--every syllabie articulated--on
the stage is distinctly heard. The voices of the per-
formers are sonorous and emitted with apparent ease ;
and the fullest crash of Costa's mighty orchestra,
while it fills the ear with its volume of tone, is entirely
free from harshness.
ue
The opera of Saturday night was The Hug nots,
performed exactly as it used to be before the dn.

struction of the old house. Grisi was Valentina;
Mario, Raoul; Zelger, Marcel ; Marie, Margurite of
Navarre; DidiPe, the Page ; Tagliafico, the Count
de Nevera ; and Polonini, St. Bris. Formes was
announced in the part of Marcel, but in consequence
of his non-arrival, Zelger took the part, which he
bad often taken before. The opera, as thus
represented, is exceedingly well known to musical
people, yet there was a freshness about this per-
formance which gave it an appearance of novelty,
though the novelty lay in the accessories and adven-
titious circumstances rather than in the performance
itself. It lay in the newness of the theatre, and the
interest and excitement attending the opening ; it
lay in the novel aspect of the stage with its scenery,
decorations, and every object belonging to the spec.
tacle, which was more beautiful and magnificent than
anything ever witnessed on the boards of the old
theatre ; and it lay in the length of time which had
elapsed since the opera had been performed by this
company, it having hen laid aside during their
exile to the Lyceum. But it lay also in the splendid
efforts of Grisi and Mario, who acted and sang as
they had not done for years before. In her aspect,
her voice, her simplicity, and resistless pathos, Grisi
was all she ever was. Mario, too, whose voice and
general powers have often been remarked as varying
and uncertain, showed to his usual advantage. The
scene of love and despair, which closes the third act,
made as deep an impression as the first time it was
witnessed. The other performers were heard to
more than usual advantage. Marai's soprsno was
more clear and brilliant, and Didiee's contralti fuller
and richer than we ever heard them before ; partly
owing, no doubt, to the favourable qualities of the
house. Zelger's Marcel was an excellent perfor-
mance, and gave us lithe or no cause to regret the
absence of Formes.
Mr. Costa was loudly cheered as he took his ac-
customed place in the orchestra, and all our old
acquaintances were warmly welcomed as they pre-
sented themselves. At the end of the performance
a rather untoward circumstance occurred. When
the curtain rose again, after the end of the third act,
the company were assembled on the stage, and
began to sing " God save the Queen." The denizens
of the upper regions interrupted the performance by
calling loudly for the fourth act. The clamour con-
tinuing, Mr. Harris came forward, and having with
difficulty obtained a bearing, explained that, in con-
sequence of the length of time necessarily consumed
on this first night in setting the scenes between the
acts, it was now past midnight, and the fourth act
could not be given. This did not satisfy the mal-
contents, who hissed and yelled during the whole
time the National Anthem was sung. The curtain
at length fell, and they, as well as the rest of the
audience, departed peaceably.

THE FOURTH CONCERT OF THE VOCAL ASSOCIATION
took place at St. James's-hall yesterday evening ;
the programe offered more variety than any of the
preceding ones. The instrumental pieces were
Bash's chaconne for the violin, with Mendelsson's
pistoforte accompaniment, played in a most
aliallerlymanner by Herr Joachim and Mr. Benedict ;
Mendelssohn's duet in B flat for pianoforte and
violoncello, neatly, but rather tamely, executed by
Miss Susan Goddard and Mr. H. Chipp ; and Bach's
organ prelude and fugue in G major, magnificently
played by Mr. Best. The solo vocalists were
Mme. Borchardt, Mme. Amadei, Mr. Wilbye Cooper,
Herr Deck, and last, but not least, Herr Pischek,
who sung an air from Mozart's Seraglio, a German
ballad by Schumann, and that everlasting " Standard
Bearer, which, for a wonder, escaped its usual
encore. The Orpheus Glee Union were also en-
gaged, and gave several part-songs by Hantel, Men.
delssohn, and Reichardt; and the members of the
Vocal Association for their part contributed some
motets, madrigals, and part-songs by Hauptmann,
Abt, Marenzio, and liiicken. The ball was very full,
and the concert, which was not too long, was alto.
gether one of the best of the series.

HER MAJESTY'S THEATRE.—The combined attrac-
tions of Titiens, Alboni, and Giuglini has secured for
the Trovatore a run of unchequered success. On
every occasion on which the opera has been given
the. house has presented an aspect of extraordinary
brilliancy, increased by the repeated presence of the
Queen and Court. This must, however, give place
to Luisa Muller, now in active rehearsal, and in
which Piccolomini is to appear. A rich attraction is
offered by Mrs. Anderson at her grand concert on
Friday morning, the 28th inst. To the united attrac-
tions of Titions, Alboni, Piccolomini, Giuglini,l3elart,
and the other artistes of Her Majesty's Theatre,
are added Mine. Clara Novello, the violinist Joachim,
and much distinguished talent, vocal and instru-
nleutal.

iL