The British Press; or, Morning Literary Advertiser.
London, England, 1824-02-23 00:00:00

KINGS THEATRE.

The opera of II Barbiere de Sieiglia was repeated on
Saturday evening to the must elegant and crowded audi-
ence we have seen assembled since the coininencenient of
the present mason. This is an indication of the return of
the fashionable folk to town, for the Opera is quite an aris-
tocratic piece of amusonent, and is the premier gaiety of
the great. From so early hour the boxes were almost all
occupied, which proves the high estimation in which the
music of this chff (rarer of Rossini is held. On other
nights, when the sylph-like and voluptuous movements of
the dancers seem to have a prevailing attraction over musical
compositions of mediocre merit, we notice the boxes tilling
only at the approach of the ballet. Madame V estris again
personated Rosin,* : she sang very sweetly and pleasingly,'.
with much comic humour, and a fascinating archness, 'I
that marks everything she says or sings upon the stage.
Perhaps her style of singing is not so perfectly Italian as
that of Madame 'lanai de Begnis, yet the music of Bar-
Mere di Niriglia is well calculated for the quality of her voice
it is generally soft anti sweet, and occasionally lively and joy-
ous ; seldom bold, grand, or powerful. It belongs more to
the brilliant and adorned than to the lofty department
of musical compositions. Signor Benetti, as Figaro, wain
lively and bustling as the part required. Ills perfectly
familiar acquaintance with the stage, as well as his quali-
fication of voice, person, and manner, render him a very
pleasing representative of such a character. Garcia played
with admirable spirit and effect; although his ornamental
introductions are not always in the chastest keeping, yet his
tine mellow tones, and his seeming self-enjoyment with his
part, make it quite a pleasure to witness his diversified
display of comic and vocal talent. The other characters
were sustained, as on the first night of the representation
of this opera, with excellent effect. Her Royal Ilighnessj
the Duchess of Gloucester, and a select party, occupied a
box on the ground tier. Madame Catalani makes her first'
'appearance, after a long and regretted absence,_ on Satur-
day next. We understand that almost every box has been
fur a considerable time pro-engaged to welcome, ot It were,
dm return et tits unequalled vocalist to " the Theatre of,
Ivor early fame,"

THE I.IFE AND TIMES OF SALVATOR ROSA.

BY LADY MORGAN.

In painting, as in poetry, the minds of men of genius,
born to excel in either, seem fitted by a peculiar organiza-
tion to strike out various am'. opposite paths to fame. The'
poetical fancies of some, peopled only with forms of love-
liness, delight to wander over the still, melancholy, retired;
scenes of nature ; to indulge in feelings of a pensive and
pathetic east; to repose in the moon-beams, and give up'
their soul to mournful harmony. Their strains, full of
beauty, deal only with the tenderest subjects, over which,
they throw all the " rainbow hues" of a rich and exqui-
site imagination. Others there arc, framed in a quite dif-
ferent mould, who, apparently disdaining w:tatever seems
to cheer the heart or to enliven it, delight to wander with
their " mind's eye" over scenes and subjects of a wholly
opposite character ; to track the dreary waste; to sit with
the demon of the night, and watch
" The lamp of some lone lamr-house :"
. .

who turn their eye from scenes of merriment, to watch the
terrors of the sly and the ravings of the storm. Of this
latter cast, in painting, was that extraordinary genius, SA c -
V Aroß Rosa, of whom Lady Morgan has here announced
herself the biographer. The task could not have fallen
into better hands. 11cr own original, vigorous, and well-
informed mind, qua/if her to seize on the characteristic
features of genius, wherever they are found. No ode
is better fitted to estimate talent of every kind, and to as-
sign to it its discriminated and real value. On every subject
she abandons herself with a careless indifference to the in-
' Iluence of reason, and has no concerti but for the interests
of truth. There is a forcefulness and spirit in her remarks,
and a gaiety and freshness in her style, that always keeps
her readers alive: they are to the mind what beautiful and
brilliant mineral specimens are to the eyes--a source of va-
ried and perpetual excitement.
In the biography,which Lady Morgan has here given us of ,
the life and times of this great painter, she his not con-
fined herself to a dry detail of dates and facts, or with
the daily round of his occupations, till the relation swelled
into the size, without bearing anything of the interest, of a
history. She writes on this, aeon ether topics, with a phi-
losophic and discursive and proccees to develope the
springs and causes of whatever events cross the circle of
her narration. She brings the character of the age before
us, as well as that of Sai.varoa, by whose genius it was
adorned. We are instructed in the history and real nature
of mankind, by which, more or lees, the character of every
individual, if not crested, is at least controlled.
A man who, like tiat.varoa, combined a mind of high
intellectual powers with the unrivalled genius of his pen-
cil, and who added to these an inborn love of independence,
and a spirit that could brave despair ; in a word, who was
not a painter only, but a pultiol ;--161.1C11 a man was not
likely to have his fame embalmed in Balg : the holy bro-
therhood, we may well suppose, wculd melt down, as
speedily as they could, all the rugged metal which came
from a man like this, and would efface everywhere its,
ima,ze and superscription. This will sufficiently account
for the following information which Lady Morgan gives us
in her prefare

Should it be deemed worthy of inquiry why I hail selected the
lite of Salvat.ir 'tom as a aut jest of biographical memoir, in prefer-
ence to that of any other illtintrotta painter of the Italian schools, I
answer, that I was influenced in my preference more by the pccu
liar character of the man, than the extraordinary plaits of the
artist. For, admiring the work. of the great Neapolitan toaster, with
an enthusiasm unknown perhaps to the sobriety of professed oft la,
I estimated still more highly the qualities of the Italian patriot,
who, stepping boldly in advance of a degraded age, st in the
foreground of his times, like one of his own spirited anti graceful
figures, when all around hint was timid nntnnt risin rind ~rovelling
!subserviency. Struck, as I always had been, with the philosophi-
cal toticand poetical conception of Saleatm.'s greater pictures, even to
the feeling a degree of al interest in frivour of their creator, I
took the opportunity my :evidence in Italy to make some verbal
inquiries as to the private character anal story of a man, whose pow.
ful intellect and deep feeling. no less than his wild and gloomy itnaii,
gination, came forth even in his most petulant sketches and careless
design&
nuns tradition, little is to be ebtaincd in a land, where it is

equally perilous to indulge in the memory of the past, or the hope
of the future ; but it was also evident, that over the name of Sal.
vator Rosa there hung some spell, dark as one of his own ineanta.
lions. For though, in answer to my apricatioes on this subject, I
was, in one or two instances, referred fat ihfunnstioo to thePantesm
Italiano ; in none was I directed to those contemporary sources
from abeam the most impartial accounts were to be derived. The
l'arnassa Italiatto is one of the few modern works in Italy sane-
tinned by the constituted authoritim, and published, u its licence
asserts, " will, thr full upprulhatioN of the Brand Ingairitor of the
llof' o.ffire." In its coesecrated pages I found sillyator Rasa de.
scribed an being " of low birth and indigent eirroinstances—of a
subtle organization, and an unregulated mind ; one, whose life bad
been disorderly, and whose amociates had been thorn among
musicians and bullion's." This discrepancy between the man sad
bis :rotes, though authenticated by the seal of the " Holy Oiler."
awakened suspicions, which led to further inquiry and deem re-
seuch.th was then I discovered that the sublime painter of the Saul
and the Job was, in fact, the precise reverse in life and character. of
all that he had been represented by the hired literary agents of those
bad institutions which he had so boldly and so ably attacked both
by his;peneil and hirepen, for he was not " subtle," but 'exempts).
miaingt not " unregulated" but esecentrated ; net " one living
with bit/loons," but with ages. It was equally evident that the
cause which covered the memory of one of the mama painters
and most philosophical poets of Italy with obloquy, woo to the vies
of the man but e moral independence and political principle of the
patriot ! 'I found Salvino,. Rosa standing in the gap of time bee
tern Michael Angelo, the patriot artist, and Ellice*a, the poet of
liberty. The inheritor of much of the genius and e.ll the good mid
Italian spirit of the first, he was also the precursor of the political
free breathings of the last,—compared se whom he appears, like
his own Desert prophet, in the Colonna Palace, lonely Indeed and
add, but not uninspired. As I found, an I have represented him
and if (led by a natural sympathy to make common CMS! with all
who suffer by misrepresentation), I have been the first (my only
meat) to light a taper at the long-neglected shrine, and to raise
the veil of calumny from the splendid image of slandered genus,
I trust it is still reserved for emie compatriot hand to restore the
memory of salvator Rosa to all its " original brightness," as when
the muse of the Arno was exclusively occupied in singing his
praises. Many minute details and interesting facts of this extra.
ordimuy man may yet doubtless be obtained by a native of Italy,
which It was difficult or imposeible for a foreigner. and one wru.
ing at so remote • distance to procure. The verbal information
whirl, I have crated, has been in truth but scanty. Of the
number of distinguished friends I had made sod left in- that coun.
try (the Inane uf whose blue skies hasten yet faded them my ima.
gelation), few now reside there, and fewer still are in • situation to
give me any assistance. Many have been condemned to death ; the
greatest number have raved life by perilous evasion and indigert
exile; and MOW, at the moment I write, uncertain of their fate,
are wearing oat their prime of existence in solitary confinement,
cut oft' froth all human intercourse, save what they hold (if that
may he rolled human) with their gaolers and inquisitors.
From the general intimidation which prevails throughout Italy,
little was to be hoped front the contributions of mere acquaintances.
The proscription of my work on that country by the King of San-
dinia, the Emperor of Austria, and the Pope, rendered it dangerous
even to receive my letters or to answer them. An English lady, of
high rank and unbounded influence in Rome. who, in any other
cause but in that of two such t to:orients Carbeneri, must have been
eminettly successful, exerted herself to the utmost for me and my
Salvator ; all, however, that tier inexhaustible kindness (for such
it has been) could effect, was to procure me a catalogue of Sabra-
tor's pictures now remaining in Route, and in thin catalogue " the
Prometheus" (one of the most celebrated) was omitted.

Gracious Heaven ! To think that prit !fly despotism
should thus have thinned the ranks of man! That every
drop of high and generous blood should be poured out
like water, that a people may be made the readier slaves of
bigotry. and a surer prey to imposture !
In her first chapter, Lady Morgan developes the influen-
tial causes of the progress and perfection of the art of paint-
ing, from the thirteenth to the sixteenth century, and
chews that it was not encouraged from any love of the art
on the part of the patrons, but was made subservient to
the spread of priestcraft, and the spiritual jurisdiction of
the faith/n!. They assumed the prerogative of being the
exclusive and universal teachers, and they made the art of
painting an instrument in moulding the manners and sen-
timents of the people.

The perfection attained in the art of painting during the middle
ages, had its source in the political combinations of times when
a predominant hierarchy held the ascendant, and the Church oar..
the State.

Knowledge, which is supremacy as long only as it is a monopoly,
was then the exclusive possession of the clergy ; and the intellec-
tual disparity, which existed between the many and the few, long
continued to be the instrument of delusions, ot• which ignorance
inevitably becomes the dupe and the victim.
To support the powerful system of priestly domination, which
for ages governed the nations of Europe and their rulers, the efforts
of human intellect and the products of human genius were dis.
carded or brought forward, as the exigencies of successive epochs
dictated. The same hierarchy which, at one period, found its
account In burning the works of CIENTO, and cuung the statues of
Praxitelcs into the Tiber, in another restored the philosophy of
Aristotle, and proposed the elevation of Raphael to the dignity of
the Cstrellnahte. _

Tbe splendid architecture and elegant decorstions of the Pagan
temples of Greece and /tome had been rejected by the racer.*
Cribb. r reselling. through their associations, the doctrines and
pe nation of that brilliant religion, which it was the interests of its
rare asseereor to bury in oblivion. But, when the rude mots
strosldes pictured on the walls of the ancient ecclesiastical edifice.
of Lombardy, and the trnavailing crusades of the Iconoclasts
=it the imaginative tendencies ofre Italians. exhibited the
imptar of the people towards decoration, the Church,
taught by experimental demonstration the difficulty
.of securing
tai gs: by abstractions, or of satisfying the passions with invisible
*scot of adoration, wisely enlisted the arts in her service.
Painting (which, in the progress of civilization, precedes music,
a being Tag abstracted in it. principles, and more tangible in Its
effects) was, even as early as the thirteenth century, adopted by the
Church as a meats of riveting her power, by bringing over the
senses to her interest. Its effects were magical : it personified
the essence which thought could not reach ; it depicted the mystery
which reason could not explain ; it revealed the beatitudes of
Heaven, and the punishments of Hell, io imagery which struck
upon the dullest apprehensions, and intimidated the hardiest
conscience; and the Matto:meg of Cimabue, and the Saints of
Oictim, were found to be no less influential in their calling, than the
councils of the assembled Church, and the Bulls of use Lateran,
Eyes, which shed no tears over the recited sufferings of the Saviour,
wept gratefully over the pictured agonies of • selfwarrificed
medlars,: and stubborn knees, unused to bend in mental devotion,
dropped Involuntarily before shrines where • fair young mother and
her blooming offspring, • virgin parent, and an infant Lod,
awakened religious adoration through hun:an sympathies.
The doctrines of a mystic creed thus enforced through palpable
forms addressed to the affirtions, powerfully assisted to awaken
faith through feeling ; tee that which is felt it is difficult to doubt,
and that which satisfies the senses is vainly distrusted by the un-
derstanding.
The people likewise, denied the use of the Scriptures, were now
taught much of what it was expedient they should know, from
pietures. The art, in process of time. became an acknowledged
state-engine ; and the artists, virtually, if not noiniaaliy, meting as
ministers, were soon subsiihrisl as allies.
In Italy a public taste inevitably sprang from this poll. -a-
pedietiey, and habits of long-practised judgment, and well.
discrimination produced the singular phenomenon of a of
virtuosi. Towards the commenernient of the sixteenth century,
the Reran and Tuscan people hat! become, with respect to painting,
what the lowest of the Athenians hail once been with impact to
language! The orators of a free government had made a nation
of philologists; a Church despotism had created a population of
dilettanti. For governments, in particular stages of society, make
the people; in others, the people make the governments.

The manner in which priNting was made to minister to
the supremacy of the early church is here well set forth ;
the concluding remark is impressive, and could only have
been made by a shrewd and reflective mind.
To attempt evoi the slightest sketch of the valuable and
interesting matter which the*c volumes contain, %mild
carry us far beyond the limits to which we are seessarily
prescribed. Lady Morgagezvutation is sufficiently es-
tablished to render any praise superfluous. Her
merits as a writer will admit to be tried by any standard.
On this head, therefore, we may be silent. The character
which she has chosen as the subject of this first specimen
of her biographical talents is every way worthy of them.
The life of SAT VATOR, chequered with a variety of for-
tunes, could not but be full of incident. Like all men

" Destinl to redeem our race from shame,"
he was crossed by partial Fate in every step of his progress
through life. Ills jealous competitors in the race we ,••
always counterworking his exertions; and the envity...,
spectators of his fame were perpetually striving to bar In:
way. But, in spite of all obstacles, he struggled on, as
genius always must and will do, through distress and diffi-
culty—throusli " evil report and good
report;
;"
but at
length he carted out his path to fame, am engraved his
name on her temple in characters that will bid defiance to
Time and Fate.

The works of this great master are the greater part of
them in Great Britain. Lady Morgan had thus a ready
means of access to the hest and most authentic sources of
information. She expresses her peculiar obligation in this
respect to the Earl of Darailoy, Earl Grosvenor, Earl ('ow-
Per, Eail of Miltown, the lion. Wm. Poilhonby, Richard
ower, Esq., General Cockburn, Weld Ilartstrong. Esq.,
Ileley, Esq., her (race the Duchess of Devonshire,
the Marchitnuss Dowager of Lamslown, and to the Baron
Denon.

We shall take an early opportunity of reverting to these
voltuues, that we may do justice to the scientific and lite-
rary accomvlirliments of this most extraordinary man, who
was born with talents fitted to regenerate the age in which
be bved, bad Fortune borne h;s standard, and Lail his rani
egnallal the elevation of his mind.