The Sun.
London, England, 1865-07-24 00:00:00

LATEST INTELLIGENCE.

(REUTER'S TELEGRAMS.)

AMERICA.
ARRIVAL OF THE MORAVIAN.
(Via Greencastle.)

NEW YORK, JULY 14 (Evening).
Judge Marvin, of Florida, has been appointed
Provisional Governor of that State.
The Confiscation Department has been inaugu-
rated at Richmond, and has seized a large amount
of property for confiscation.

Secretary Harlan has made a speech, in which he
said that when France attempts to crush feeble
Mexico, America despises her want of gallantry.
lie wished it might be God's will that America
should be called upon to protect Mexieo.

Mr. Montgomery Blair has also delivered a speech
declaring Seward's policy respecting Mexico to be
degrading to America. lie expressed his opinion
that President Johnson did not endorse the action
of his Ministers against the Monroe doctrine.

Reports to the Secretary of the Treasury from
the Cotton States estimate the supplies at two and
a quarter millions of bales, exclusive of the new crop.
The correspondent of the New York Herald states
that the new crop in the State of Alabama is very
fine, and that the free labour system is working
well.

The Committee of the Detroit Convention has re-
ported its approval of the notice given to England
for the termination of the reciprocity treaty, at the
same time requesting the Government to execute a
treaty with the British provinces, based on prin-
ciples equitable to all parties, including the free
navigation of the St. Lawrence and other rivers in
British North America.

Barnum's Museum, with the whole nf the con-
tents, together with numerous adjoining buildings,
have been destroyed by fire. It is asserted that the
fire was the work of incendiaries.

Judge Sharkey of Mississippi has issued a procla-
mation announcing that the delegates to the State
Convention will be elected on August 7th. The
Convention will assemble A Jackson on the 17th.

The military authorities at Charleston took pre-
cautionary measures against a slave insurrection on
the 4th July. Garrisoning the posts in South Caro-
lina by coloured troops creates dissatisfaction, and
their removal urged upon the military authorities.
•The mortality among the negroes at Charleston
continues.

General lloward has instructed his subordinates
throughout the South that no apprenticeship system
or other substitute for slavery will be tolerated.
The military authorities have suspended the
Richmond Whig, and taken possession of the esta-
blishment.

LITERATURE,

Carl Maria Von Weber. The Life of an Artist.
From the German, of his son Baron Max Maria
Von Weber. By J. Palgrave Simpson, M.A.
2 vols. Chapman and Hall.
Very charmingly and gracefully has Mr. Palgrave
Simpson translated and introduced to the English
reader this interesting biography of the great
musician, Carl Von Weber. The son of Weber,
we are told, had for years resisted his mother's
entreaties to give the world a biography of his
lamented father. His scruples have at length given
way to reflection and the advice of friends, and
this most enthralling narrative of the life and
labours, the joys and sorrows, the triumphs and
the disappointments of the man of genius is the
result. Part I. records "- Weber's Early Years,"
from his birth at Cretin on the 18th December,
1786. Part 11. is entitled " His Years of Bon-
dage ; " and Part 111. " His Years of Fame
and Suffering." More interesting than the
majority of romances is this truthful history of the
struggling artist. Very tenderly and yet faithfully
has the filial biographer performed his task, and, as
we have already intimated, the work has lost
nothing at the hands of the translator, Mr. Pal-
grave Simpson, who has evidently looked upon his
work as a labour of love. The second volume,
which records Weber's Year of Fame and Suf-
fering—terms, alas, so frequently united—is full
of intense interest. Prior to the busy chronicle of
" Weber's great year of creative power"-1820—in
which both " Der Freischutz" and "Preciosa" were
composed and given to the public, we follow with
sympathy and pain the humiliating experience of
the artist at the Saxon Court, of which the follow-
ing incident affords a striking specimen :
A QUESTIONABLE COMPLIMENT.

"Poor Weber's disappointments and mortifications were
to find no end. Towards the close of the year—a year
during which ho had employed his artistic activity almost
exclusively in giving testimonies of his attachment and
homage to the royal house—another bitter mortifica-
tion had to be endured by him. Encouraged by the
many evidences of kindly disposition shown to him by
certain members of the royal family, 'Weber ventured to
express the desire that the King and Queen would gra-
ciously consent to allow their names to be recorded as
godfather and godmother to the child about to be born to
him. His petition was granted with every appearance of
the best will. On such occasions, which were of no
rare occurrence in the Catholic countries of Germany at
the time, it was the custom of royal personages to com-
mand their places to be taken at the ceremony by certain
officers of state, and to evince their consideration for the
parents by the rank of the official proxies. The arrange-
ment of the affair was placed by the King in the hands of
the master of the household. It had thus been confided
to a principal member of the Italian court coterie, in which
the depreciation and degradation of the presumptuous
German capellmeister were looked upon as articles of
faith. On the 22d Dec., 1818, Weber's first child, a little
girl, was born. The mother suffered greatly; and Weber's
agony for his beloved wife was overwhelming. On the 26th
Dec. the ceremony of baptism took place. Asa noble by birth,
an official entitled to his reception at court, and a cele-
brated man, Weber had every right to expect that a cham-
berlain and lady of honour of the Queen, at least, would
have appeared as representatives of their Majesties. To
the speechless astonishment of all present, the proxies who
entered were Schmiedel, the King's valet, and one of the
Queen's women of the chamber. That this degradation in
no way arose from any intention of the royal godfather
and godmother Weber was fully aware ; and though sick
to the heart with anger and vexation, ho returned thanks
to their Majesties on New-Year's Eve for the honour they
had done him, without the slightest mention of the humilia-
tion he had undergone. lie knew the hand that smote
him. But never, during all his service at the Ccurt of
Saxony, did he feel any humiliation as cruelly as he felt
this one. Tho child received the names of Marie Caroline
Frederike Auguste."
As an extract of a different character, let us give—
THE FIRST APPEARANCE OF " DER FREISCIIUTZ."
" The moment of the decisive conflict is at hand ; but
one little episodical anecdote, which has its interest for all
lovers of music, must be permitted first to have its place.
One day, after rehearsal, Weber was strolling with Bene-
dict "tinter don Lindh," when a bright charming boy, of
aboutl2 years of age, sprang to greet them, with sparkling
eyes and fluttering locks. Felix Mendelssohn !' exclaimed
Weber, pressing his hand warmly. The boy strolled on
with them ; and, when they parted, carried off Benedict to
his home, and presented him to his mother, with the words,
Mother, here is Benedict, Weber's pupil ; be can play us
something out of the new opera. And so Benedict had to
sit down to the piano and sketch out all his memory
would permit him of ' Der Freischutz.' A few days after-
wards the boy played him, in return, all he had heard,
and explained all the instrumental effects, with almost
unfailing correctness, as if he had invented them himself.
" The moment of trial was come. Four hours before
the opening of the Schauspielhaus, crowds were beleaguer-
ing every entrance. To the excellent arrangements of the
police, it may bo thanked that, when the doors were
opened, clothes alone were torn, and only a few smart
bruises given in the fearful rush. The pit was immediately
filled to suffocation by a compact mass of students, young
men of science, artists, officials, and men who, eight years
before, had borne arms against the invader—the youthful
intelligence, the patriotic fire, the enlightened opposition
to the foreigner. Under Caroline's box stood Benedict, the
long slim figure of Heinrich Heine, sarcastically remarking
upon the poetry of Kind (' a child' in German), and a
little broad-chested student with mighty lungs and spank-
ing hands. Stalls and boxes were filled by members of the
high society of Berlin, and the literary, musical, and scien-
tific authorities of the day. The Government officials were
few, and scarcely a uniform was visible. Little by little
the orchestra filled—the musicians began to tune their in-
struments—the hoarse murmur of the packed crowd, swel-
tering in the overheated house, grew louder and louder.
All at once mine applause from the orchestra. 'Weber had
entered it. And now the whole house, with its thousand
upon thousand hands, took up the sound, and thundered
forth its echo. Three times was Weber obliged to let fall
his baton and to bow, before he could give the signal to
begin. In the midst of the storm came suddenly a solemn
silence. The magic musical pictures of the overture were
now spread forth in all their fulness. The impression was
unmistakable. When, at last, the triumphant finale had
blazed forth in all its glory, such a tempest of applause
broke forth, such a universal shout da capo, that the entire
overture had to be repeated, with still greater enthusiasm
if possible. Tho first scene, admirably grouped, and re-
presented with life and animation,-produced a great effect ;
but Kilian's air and the laughing chorus, although sung
with great intelligence, seemed, from a want of apprecia-
tion of its musical audacity, to miss fire. Not so the pas-
sage in the following trio, 'O, lass Hoffnung dich belebon,'
which went immediately to the hearts of all, and drew
clown another storm of applause. The original melodious
waltz had gone by. The stage grew dark ; and the ex-
citement created by the scene of Max, 'Nein, langer trag'
ich nicht die Qualen,' was so intense that, in spite of
Stumer's artistic yet simple delivery, the beautiful ' arioso,'
' Durch die Walder, durch die Auen,' went by with-
out its tribute. On the appearance of Zamiel, a shud-
der ran through the agitated house. After the gleam
of light in 'Jetzt ist wold ihr Fensteroffon,' came again the
same impression on the reappearance of the demon ; and
the conclusion of the air was crowned with tumultuous
applause. Caspar's drinking,song, conceived so differently
from all the well-established' .forms, was evidently not
understood, The curtain fell upon the anticlimax : the
applause was scanty, And now animated and even tumul-
tuous discussions arose on every side. The Spontini-ites
rubbed their hands, and said with scorn, Is this the music
which is to throw the Vestale, Cortez, and Olympia into
the shade ? A mere melodrama ! What monotony too !
A whole act without a female voice.' A storm of angry
murmur filled the house. During the tumult once more
appeared the maestro. Tho curtain rose. A salvo of ap-
plause greeted the pleasant forms of the two favourite
singers as Agatha and Aennchen. They appeared to the
eager youth of the day like forms of bright ness and light
after the dark scenes which had gone by. Tho opening
duett, so magical in effect, and so now in form and treat-
ment, and still more the air of Aennchen Kommet ein
schlanker Bursch gegangen,' told admirably on the house.
But the brightest gem of the first representation was un-
questionably the great scene. of Frau Seidler, Wio nahto
mir der Schlummer." At this point the opposition surren-
dered its arms. Surprised, carried away, wholly overcome,
Weber's bitterest adversaries succumbed to the general
and irresistible torrent of applause. Stalls, boxes, pit, and
gallery, felt the summer air floating around them, prayed
loise, leise,' with Agatha, listened to the rustling of the
trees, felt the approach of the expected lover, and with the
maiden's joy burst forth into one great sympathetic jubilee
in honour of the creator of the magic strains. It was long
before the shouting could be stilled. From this moment
the fato of the opera was decided. The following trio
found the liveliest appreciation. The scene Of the -Wolf's
Glen, .vith its wonderful instrumental effects, never before
attempted, and so true to the composer's own peculiar
genius, its supernatural, accessories, and its romantic
scenery, brough the second act triumphantly to a close
He's a devil of a fellow—that little Weber !' cried the
lusty student beneath Caroline's box, as he blew upon his
burning and blistered hands ; but it is deuced hard work
to do him justice.' If the storm of voices growled heavily
at the end of the first act, it was perfectly overpowering
now. But how different was the nature of the tempest !
The Italian party was struck dumb. Expressions of ad-
miration and ravished delight were to be heard on every
side. And where was the maestro ? Sitting in a dark
corner in his wife's box, holding her trembling hands, and
kissing away her tears of joy. After the entre acte, given
with life and energy by the orchestra, Agathe's prayer,
and Aenuellens air, half-tender and half-bantering, were

admirably received. The Bridesmaids' song, with chorus,
so popular in the best sense of the word, so thoroughly
German in its spirit, was stormily encored, although sung
• with trembling voice by its nervous executant. The Hunts-
man's Chorus,although greatly applauded, did not, strange
to say, win its way fully with the public until about
the eighth or tenth representation. Its melody was among
the few, in the 'Der Freischutz,' that were not sung at
once at every street corner. The finale, although its rather
too greatly prolonged form produced a comparative ten-
dency to coolness in the audience, brought the opera glo-
riously to its close. The curtain fell : but no soul left the
house. Thunders of applause and thousands of voices
summoned the composer before his enraptured audience.
At last he appeared, leading Madame Seidler and Frauloin
Eunicke by the hand. Amidst the deafening shouting,
flowers and verses were flung from all directions. The
success of 'Der Freischutz' had been immense—unparal-
leled I Critics, artists, and dilettanti appeared intoxicated;
and•all with one accord—for that night at least—had no
words but of delight, and joy, and praise."
Very sad and touching are the closing
scenes " the end of all." In the early part of 1826
the great artist visited London. Here with the
hand of death upon him, tortured by mortal suffer-
ing, the untiring spirit toiled and struggled with
intermittent glimpses of sunshine. Hero he received
an ovation in Covent Garden Theatre, and here he
was welcomed by some of the highest in the land :
"Although Weber had no better fortune in pleasing the
'nobility and gentry' of England than he had in winning
the favour of the German nobles great or small, and de-
rived none of the profits he had hoped from them, yet in
some of the very highest circles he was received with ho-
mage and delight. To the Duchess of Kent, Prince
Leopold (the present King of the Belgians), and the Duke
of Clarence, ho had brought letters from his amiable patron
Prince Friedrich of Saxony; and by these royal personages
ho was welcomed with the honours elsewhere bestowed
on a great artist. In the house of the Duchess of Kent,
on two occasions, he could have fancied himself once more
in the highest German society, where artists sat with
princes round the tea-table in unreserved and enlightened
conversation. Here a charming child, about seven years
of age, laughed and played with the royal personages : it
was the daughter of the Duchess, Victoria, now the Sove-
reign of one of the mightiest kingdoms of the earth. Ger-
man was here spoken around Weber; and his bosom heaved
once more so pleasantly at all the tokens of regard and
sympathy which were lavished on him, that when asked
by the Duchess of Kent to accompany her in some of his
own songs, which she sang to perfection, he almost forgot
that death was already gnawing so cruelly at his last
sources of life within. At a dinner given for him by the
Duke of Clarence, in the country, he again found strength
to revive for a space. He saw, for the first time, with as
much surprise as delight, the best type of that inimitable
English comfort which was the ideal of all his dreams, as
the highest state of enjoyment of existence."

At last, on the 3d of June, while he was still de-
hiding himself with the prospect of returning to his
beloved family, the summons came, and the artist
expired—or rather, we should say, according to the
happy phrase of Longfellow,
" Dead ho is not—but departed,
For the artist never dies."

The description of Weber's death, and its effect on
the London public, is given in rather extravagant
terms, but we must remember that the record is
written by the hand of a son who, at that time a
child, still remembers his mother's agony when she
received the news of her bereavement. "Beit as
God will" was the beautiful motto of Weber's life,
and with this sublime epitaph the work is brought
to a conclusion.

Motare Characters. By Charles Cowden Clarke,
author of "Shakspere Characters." One vol.
Pp. 266. Nimmo.
" A marvellous witty fellow, I assure you," says
Shakspere very appropriately on the title-page.
Mr. Cowden Clarke, rightly believing Moliere to
be the greatest Comic Dramatist, after Shakspere,
that the world has yet produced, has been anxious
to afford the privilege of the great author's acquaint-
ance to those readers who are not familiar with the
French language. To such his work will prove
indeed a rich treat, and even the lovers of Moliere
in the original may take pleasure in turning over
Mr. Clarke's well-selected extracts, or in following
the criticisms of so genial and enthusiastic an
appreciater of the great French Dramatist, In com-
menting upon the character of Moliere's writings,
Mr. Clarke observes that " naturalness" is his most
peculiar quality. In his slight biographical sketch
of his favourite author, Mr. Cowden Clarke records
with great zest the fact of Moliere having been ob-
liged to exchange hiefamily name of P3quelin for that
of Aloliere," in order to spare his relations the oppro-
brium which the strong prejudices of the time attached
to the theatrical profession." But family resentment
was not appeased ; they not only abjured him, but,
upon mounting their genealogical tree, he was ex-
cluded ! " Droll enough 1" exclaims the biographer.
" Tho Poquelins repudiating the contamination of
the play-actor Moliere ! The brightness of the
Poquelins scorning the blot of play-scribblin -
Moliere !—where now would be the name of
Poquelin, unless visible to posterity by the reflected
light from that of Moliere ?" After studying the
Moliere characters, it is interesting to contemplate
the individual character of Moliere himself, and in
this Mr. Clarke gives us very pleasant and judicious
assistance. Among other peculiarities of the man
of genius he was methodical to excess. It is even
said that a book or paper displaced in his study
would prevent his writing for days! Very probably
we are indebted to his renowned housekeeper not
only for her discrimination in commenting upon
the comedies when written, but for her care in
preserving for her master sufficient peace of mind
to enable him to compose them !

The Wedgwoods : Being a Life of Josiah Wedgwood.
By Llewellyen Jewitt, F.S.A. With numerous
Illustrations. One Vol., pp. 426. Virtue Brothers.
Like Miss Meteyard's kindred work, upon which
we have already commented, this life of the great
Potter is dedicated to the Right Hon. Wm. Ewart
Gladstone, " from the prominent and praiseworthy
part he took in furtherance of the Wedgwood Me-
morial Institute." Mr. Gladstone having remarked
on the occasion of laying the foundation-stone Of
that memorial that it was strange that the life of
Wedgwood should remain unwritten, Mr. Jewitt
has endeavoured to supply the want, and to fill up
the gap in English literature thus alluded to.
The very handsome and elaborate work now before
us is the result of this endeavour, and although it has
been, the author tells us, a task of serious labour,
fully commensurate with that labour has been the
pleasure of the task. "It is but small merit," says Air.
Jewitt, "to compile a work from data and materials
ready cut and dried to one's hand. It is the get-
ting together of those materials that constitutes the
credit, and brings with it a gratifying renown." Such
credit and such gratification have certainly been
earned by the indefatigable author of this very com-
plete and compendious history, which, beginning
with an account of the early potteries of Stafford-
shire, gives a complete history of the life and doings
of Josiah Wedgwood, with notices of his works and
their productions, together with memoirs of the
Wedgwoods and other, families connected with
them and their noble art. Some idea of the compre-
hensive character of this work may be formed when
we mention that the illustrations of the various de-
signs and works of art amount to no less than 145,
among which are many curious and interesting me-
morials. Although little is known of the early life of
Josiah Wedgwood, it is pleasant to find that his
name was familiar in his native place as an
example of emulation held up by parents to their
children, not so much for his great abilities as for
'his good qualities. His devotion to art and
his pertinacity of purpose were forcibly evidenced
on the occasion of the sale of the Duchess
of Portland's treasures of art in April, 1786, when
Josiah Wedgwood resolved to purchase the cele-
brated Barberini (or Portland) vase, in order "that
he might examine, study, and, if possible, reproduce
it in all its exquisite beauty." The Duke of Portland,
anxious to retain possession of the family art trea-
sure, competed for the purchase, but Wedgwood,
with his characteristic determination, bid on
to £l,OOO and upwards, "until, it is related, the
duke, stepping across the room to him, asked his ob-
ject in wishing to possess the vase." On learn-
ing the object the duke offered to entrust the vase
to Wedgwood for as long a period as he might
require it if he would withdraw from a competi-
tion in its purchase. The artist willingly
agreed, and the duke entrusted the vase to his care
for more than a twelvemonth, during which period
Wedgwood succeeded in producing a satisfactory
copy. Very happily does Mr. Jewitt conclude his
history of the marvels of the Potteries with the fol-