The Sun.
London, England, 1845-05-15 00:00:00

TTIE SUN, LONDON, THUR4SDAY MORNING, MAY 15 1845.

received and adopted by the meeting, and be printed
and circulated among the Proprietors. I
believe the report is so ample that it leaves but little
room for any observations, for it has always been the
study of the Directors to expose to the Proprietors in
their report the real position of the Society.— (Ilear.)
It may happen that in reading the accounts in the
rapid way in which they are necessarily read at these
meetings, some gentlemen may have been unable to
catch some of the items. These accounts, however,
will be found at the office, and they are open during
the whole course of the year to any Proprietor who will
take the trouble to call at the office and examine
them. This book, containing the auditors' report, is
always open to the Proprietors. It may, in
fact, be considered as their boa. To those who
have been engaged, a; we have been, in
life assurance for seven or eight years, it is very
satisfactory, as far as this office is concerned, to see
what great progress it has made. Such an impulse
has been given to life assurance since that time that
we have now from forty to fifty rivals
in the same field, but still the progress
of the National Loan Fund has been steady,
and its pace has been *extremely satisfactory.
This is the third year of the distribution of profits,
and you will observe by the report that the policies
taken out in 1837 of 1,0001. are now entitled to a
bonus of 2001., although those who have policies are
not represented here yet, as the report will be made
public, it cannot but be very satisfactory, to them.
The Proprietors have every reason, also, to be satis-
fied, because, for three years past, they have
been paid 71- per cent. interest.—(hear, hear.) It is
pleasing to see the progress which life assurance
is making, not only with us, but generally.
When we commenced it was but in its dawn.

DRURY-LANE T}IEATRE.

Madame Anna Thillon made her debut at this
theatre, last evening, in the character of Stella, in
Belle's new opera of The Enchantress, which was
produced last night expeessly fur the occasion. Every
lover of music must recollect the sensation produced
last year by the first appearance of Madame Anna
Thillon at the Princess's. Even the most fastidious
se7e obliged to confess that the English prima donna
or the Parisian Opera Comique was equal to Persiani
in taste and science, and superior to her in voice. But
there was still, as there always will be, a dissatisfied
clique, who, compelled to admit that Madame Thillon
had achieved a success greater than any of her
countrywomen had ever before achieved, yet com-
forted. themselves by observing (for to such persons
the power of' grumbling is a comfort), that although
she was admirably suited to a small theatre, yet her
voice would be absolutely lost in the vast area of
Drury-lane. Alas ! for the grumblers. Not only is
her voice not lost in the vast area of Drury-lane, but
it is absolutely heard, in that vast area, to infinitely
greater advantage than it is in a small theatre. We
were sea'ed :at the very back of the upper circle of
boxes, and we heard every note that Madame Thillon
sung with the utmost distinctness. With Harrison
such was not the case ; Madame Thillon completely
sung him down in many instances. Madame
Thillon, however, completely filled the theatre,
and, with the exception of Borrani, she was
the only artiste who did so completely upon
all occasions. The opera is a long one, com-
mencing at a quarter before seven o'clock, and not
concluding until eleven. Although long, it is, how-
ever, by no means heavy, for, thanks to the inventive
genius of M. de St. George, the author of the
libretto, and to the talent of Mr. Bunn, the trans-
lator, the interest never flags, while the light, agree-
able characteristic music of Balfe carries the whole
off delightfully. The opera, which is preceded by a
well- scored overture, which contains many of the
principal motives of the opera, and then follows the
prologue—so called, we imagine, because it was not
cnnsidered quite selan les rules to have an opera in
four acts. The scene of this prologue is the deck of
a pirate ship off the island of St. Michael,
and an admirably-managed scene it is. As
the curtain rises, sailors are discovered crouched
about upon the deck, on the poop, and in the shrouds,
smoking, cleaning their arms, and engaged in other
equally sailor-like occupations or amusements. They
are singing a joyful chorus, expdcting the return of
their chief. A boat approaches, bearing Ramir
(Borrani), the second in command. Their chief,.
Juan Telles, has been taken and condemned to death
He leaves to them his infant daughter, calling on
them, at whatever cost, to give her the most brilliant
education, and to make her their Queen, until she
arrives at eighteen years of age, when she shall be at
liberty to continue at their head or to disband them.
Before, however, she decides, she is to peruse a certain
document which Telles has confided to Ramir, wherein
Telles requires her to accomplish a vow necessary for
the repose of his soul. He concludes by informing
his comrades that if at day-break they hear
three guns, they may conclude that Telles
is free, if four, that he is no more. In this
part there is introduced a preghiera, which was
beautifully given by Borrani, and the chorus and the
effect of which was vary fine. During the perform-
ance of the preghiera day begins to break—one gun
is heard—they all rise—another and another suc-
ceeds—there is a pause—" He's saved!" exclaim the
pirates joyfully—the fatal fourth gun is heard boom-
ing in the distance—joy is turned into despair—
" He's lost !" The child of Telles is brought from the
cabin, the pirates surround the infant, and swear alle-
giance to her, and with this the prologue concludes.
A lapse of 15 years occurs between the prologue and
the first act of the op _ra, which opens in the Abruzzi,
at the Hermitage of our Lady of the Woods. This
scene is exceedingly beautiful—the magic pencil of
the Grieves has transferred the warm and glowing
and clear atmosphere of Italy, with its picturesque
mountains and romantic forests, and retired hermi-
tages, to the precincts of Drury-lane. A religious
chant is heard. A procession of young girls and boys
is seen ascending the mountain, bringing offerings to
the statue of the Virgin. Fra Antonio, the hermit, in
whom we recognise our old friend Ramir, the ci-devant
pirate, appears and bestows on the worshippers
his blessing. During the chant Mathanasius
(Harley) a quaint, fidgetty old doctor (an
admirable buffo character, admirably played by
Harley) enters inquiring for Sylvio, his ward. The
peasants fear he may have fallen into the power of
the Enchantress, whereupon the Doctor asks con-
cerning the said Enchantress, and is replied to by
Fra Antonio, who, in a ballad sung with great taste
by Borrani, gives an account of her powers. A
shout is heard in the valley, and all rush forward.
A horse has been knocked down at the brink of the
precipice, and the rider has fallen. At a signal from
Fra Antonio three pirates appear they have
fired the shot at the bidding, as they say,
of one " who commands them all." They
immediately conceal theselves, and the peasants return
leading in Don Sylvio (Harrison) who has been
stunned by the fall from his horse. He has seen the
enchantress and is enamoured of her, albeit he be-
lieves not in goblins, or enchantresses, or fairies, inas-
much as for years past old Mathanasius has been trying
all sorts of sorceries to find out the secret of his
(Sylvio's) birth, who eighteen years before had been
left a very small baby, accompanied however by a
very large purse, in the care of the Doctor,
with directions to bring him up in the Abruzzi.
The Doctor, however, has faith, and essays by various
spells (such spells as Harley alone can perform), to
raise the sorceress. In this scene is introduced a
buffo trio, sung very effectively, by Harrison,
Borrani, and Harley—the latter more than making
up for his deficiency of voice byhis quaintness of
gesture. Thunder is heard in the distance—the
lightning flashes, and Stella, the Enchantress
(Madame Thillon), the daughter of Telles, appears
dressed in a ncost picturesque and brilliant costume,
at tfie back of the hermitage. He" appearance was
the signal for the most enthusiastic applause, which
lasted for some minutes, which was gracefully
acknowledged by Madame Thillon. She advances
—Sylvio gazes on her with extacy, and she sings a
beautiful recitative, " To the Regions
Love-spells."
of Earth,"
followed by an exquisite air, "I've
Never have we heard Thillon 'whetter voice than she
was in, last evening. Her delicious, clear, silvery,
flageolet-like tones could be heard in the very re-
motest part of the theatre. Her powers of execution
were wonderful, and she looked most bewitchingly—
she was indeed an enchantress. Sylvio declares his
love, and warns her against the approach of the
peasantry, who are coming to slay her. She
promises to appear to him in a dream,
and g'ving a signal to Fra Antonio, she
disappears. The peasants enter and fire after her.
Sylvio staggers and fa
is in to a seat. Fra Antonio
administers to him a sleeping potion ; and, on his
touching a spring, the couch on which Sylvio is
reclining descends into a cavern. The next scene is
the pirates cave. On the appearance of Stella, the
pirates break out into an animated chorus—" Ever
be happy
and light as thou art." They remonstrate
with her on her whim of appearing as a sorceress.
She says it is to accomplish the task marked out
for her by her father, and they all swear to obey
her commands. The next scene is a magni-
ficent one—it is the fairy grotto, and well
does it deserve the appellation. It is hung round
with flowers, lighted by crystal chandeliers of all
colours, and covered with the richest carpets. Sylvio
is discovered sleeping on a Greek bed of silver
brocade. He gradually awakes—the softest music is
is
played—a fairy chorus heard. He sings a cava-
iina, the music of which is exceedingly beautiful, ex-
pressive of his desire to see the genius of the place.
The back of the grotto opens, and Stella appears on
a brilliant throne, surrounded by a group of beauti-
ful female Greek slaves.
weHer costume is superb, and
on her head she wears a crown of stars.
She advances to Sylvio, exacts from him an
oath of implicit obedience, and commands him to
go to Palermo, where . . he find a palace prepared
for him, and a commission in the army. Her slaves
advance and present to him a crown and sceptre. She
t:Ils him, that in four months he shall possess
the crown of Sicily. The act concludes with
a duet betereen Sylvio and Stella, beautifully
given by Madame Thillon and Harrison, and a
grand chorus of the pirates. The scene of the second

It had not then taken full possession of
the public attention. Since that period you
have activity on the part of offices, and a great desire
on the part of the public, to avail themselves of
its advantages, and I trust that those who,

like ourselves, have commenced this system,
will receive a corresponding share of the public
favour ; because, though they may be our rivals, it
is good to see the public taking advan-
tage of the benefits of Institutions which
secures a provision after death.—(llear.) I have
been making a calculation as to the state of life
assurance generally, and I find that there are
113 offices in England, and Scotland, and Ireland.
There are now in these offices 240,000 policies, and I
imagine that the public of England and Scotland
would be entitled now, as each death occurs, to
one hundred millions of money.—(Hear, hear.) Such
has been the result in an inconceivably short space of

time, and I think that those offices may expect to go on
accumulating in a very rapid ratio. Those who have
read the old books cn life assurance will find that at
their early commencement most of the offices were
obliged to succumb, but now they have been in
existence fora number of years, and the only one of the
offices that has not paid it liabilities, and this office
was conceived and carried on in fraud, was the West
Middlesex.—(Hear, hear.) It could not indeed be
said to have been based on any principle, ex-
cept the principle of roguery, and though
it may be mentioned as an example, yet
it did not fairly come into the category
of life assurance offices. We have felt a pressure,
from other countries, and it will be satisfactory
to the meeting to know that intelligent persons
who have come here from other countries, and
who have observed the value which life assur-
ance is to any country, hare given the preference
to our system over any other.—(Hear, hear.)
I think this something to our credit.—(Hear, heat.)
Some have attached themselves to us, and we have
formed, and are about to form, connexions which will
be valuable to us in the course of years—(Hear)—
and those who have not joined us have formed them-
selves into societies on the principle of the National
Loan Fund. I might say more, but, as everything one
says here will go before the public, I think it
is better not to state where our connexions are, be-
cause it would only induce others to rival
us in a field which ought to be left to us for some
time to cultivate.—(Hear.) It is now my duty to
move that the report be adopted, printed, and circu-
lated amongst the Proprietors.
Carried unanimously.

It was then moved and seconded, and carried una-
nimously, that John Elliotson, Esq., M.D., F.R.S ,
Clement Tabor, Esq., and Joseph Thompson, Esq.,
be re-elected Directors.

Professor Wheatstone, F.R.S., and Professor
Graves, F.R.S., were then unanimously re-elected
as Auditors.

MT. STUDLEY—I think we are in duty bound to
offer our best thanks to the Chairman and the Directors
for their services. For myself, I feel highly gratified
at the state of our affairs. We are going on in a
satisfactory way, and I have pleasure in proposing this
vote of thanks.—(Cheers.)
Mr. MURDO YOUNG—I have great pleasure in
seconding the motion. It is gratifying to find that
private prudence is keeping pace with national
enterprise. The National Loan Fund has given the
impulse to insurance societies, and I think we may
anticipate every prosperity for the proprietors and the
public generally.—(Hear, hear.) I most cordially
second the motion.—(Cheers.)
The motion was carried by acclamation.
The CHAIRMAN returned thanks for himself and his
colleagues. They were deeply interested in the pro-
gress of the Society, which was in that pcsi-
tion that it would be satisfactory to the public. He
thought they might anticipate even better results, if
possible, next year.
The meeting then separated.

THE BANKS.
(From the Times.)
We mentioned the other day the fact that the joint-
stock banks in Dublin considered themselves ag-
grieved by Sir Robert Peel's new Irish banking mea-
sure, inasmuch as the privileges extended to the other
banks of Ireland would be withheld from them.
These joint-stock banks are two in number. The
oldest is the " Hibernian Bank," formed in 1825,
chiefly by a number of Catholic gentlemen, in conse-
quence of the exclusion (at that time) of Catholics
from the direction of the Bank of Ireland. They ob-
tained an Act of Parliament for their establishment,
and endeavoured to get the power of issuing notes,
but all the clauses giving them that power were
struck out of the Act in Committee. In 1827, how-
ever, they attempted practically to use this power by
issuing what they called " tokens," which were notes
in appearance, though they did not contain the words,
" I promise to pay ; ' but they were afterwards com-
pelled to withdraw them on the decision of the Go-
vernment that they were illegal. The paid-up
capital of the Hibernian Bank, upon whiCh they have
paid steadily dividends at the rate of 4 and 5 per cent.,
is 250,0001.

act is at Palermo. Stella has performed her pro-
mises. Sylvio has a magnificent palace, and has
gained rapid promotion in the army. In the first
scene we find him in camp, carousing with his
brother officers. A page enters with dispatches for
him from the Regent. He is promoted to the rank
of General. The page is Stella, arid in this scene is
introduced a song, "A youthful Knight whose hopes
were bent," which promises to become the most popu-
lar morceau in the opera. It is given to the page,
and Madame Thillon not only sang, but acted it in the
most bewitching manner imaginable. The audience
were in raptures, and it was, as a matter of course,
encored. She sang it again with even more spirit
than she had infused into it originally, and there was
one loud and unanimous call for its repetition. A
third time Madame Thillon gracefully obeyed the call.
After that there were many who again called for its
repetition, and this song narrowly escaped a triple
encore. This was followed by a beautiful romance,
which was well given by Harrison, and which was
also encored. The next scene is in the palace of the
Regent of Sicily (Weiss). The Recent, brother of
the late King, has been Regent for twenty
years, for the people will not be per-
suaded but that Don Paul, the son of
the late King, is still alive; and they are right, for
Sylvio is Don Paul, and the restoration of him to his
throne is the task which has been imposed upon Stella
by her father. For that purpose she has gone to
Palermo, has appeared at the Regent's Court, who,
fascinated by her beauty, can refuse her nothing,
and has through her interest with him pushed the
fortunes of Sylvia. The Regent at length is jealous
of Sylvio because he fears he may supplant him in the
affections of the beautiful stranger. A magni-
ficent scenic effect takes place at this point.
The curtains at the back of the Hall
open and present a view of a grand saloon, magnifi-
cently lighted for a fete and filled with dancers and
masqueraders, among whom are Sylvia, Stella and
Ramir. Ramir, who loves Stella, and is also jealous
of Sylvio, gives the Regent a paper warning him
against Sylvio. Stella sees it, advances to the Regent,
unmasks, and while he is fascinated by her beauty,
snatches the paper from him, and disappears among
the crowd. All unmask, and she appears in a splendid
eastern costume. In order to warn Sylvia she sings
" The young Nadir to love had dared ;" a Sicilienne
in E 6-8 time. This is a most singular composition,
but very pleasing, and from the manner in which it
was given by Thillon, exceedingly effective. Her
fioritiori in this song was rich and most luxurious, but
still so tasteful, so musician-like, that it was most
exquisite. It is needless to add that the applause
was most enthusiastic. The Regent has ap-
pointed a rendezvous with Sylvio, and has
hired assassins to cut him off; by the judicious
management of Stella, the Regent himself falls
into the trap, and Sylvio is proclaimed King of
Naples. The third act opens with a romance, " The
happy days of life are passed," most exquisitely sung
by Borrani. This is followed by a solo by Stella,
"My task is ended," in which the execution of
Madame Thillon was really wonderful. Her task,
however, is not ended. The document which proves
the right of Don Paul to the throne, and which she
has sent to him, has miscarried, and the
Senate are about to depose him as an
imposter. Ramir undertakes to recover it, on
condition that Stella will reward him with her
hand—she consents, and goes to seek Sylvio—she
finds him in his cabinet, in custody of the senators,
who will lead him to the scaffold in an hour, if he
does not prove his claims. In this scene she sings a
song, " Who has not heard," with a burden tra-la-la
—which is a perfect marvel of vocalization. The
burden of course is almost ad libitum, and
her fioritiori is positively overwhelming.
Never before have we heard such luxuriance of orna-
ment, and yet all in such good taste, so beautiful—
each note so clear and so distinct—it was like the
warbling of some bird. If the human voice be, as
some anatomists contend, a musical instrument, then
is Madame Thillon the most accomplished performer
on that instrument that has ever been heard. She is
superior to anything that Persiani was, even in her
best days. Ramir gives her the document and de-
mands her hand. The right of Sylvio to the
throne is made clear, and he of course offers
to share it with Stella. It is evident she
loves him, and Ramir, rather than make her
miserable, resigns his pretensions. This is the sub •
ject of a beautiful trio, " The love almost sublime
I felt," which was exquisitely given by 'Chinon,
' Borrani, and Harrison, and was enthusiastically Pn -
cored. This trio is perhaps the gem of the opera.
The finale, which is sung by Stella, is the opening
motive of her duet in the first act with Sylvia. She
is acknowledged as Queen, and Ramir rejoins his pirate
band. This is certainly one of the most magnificent
spectacles that Mr. Bunn has ever produced. The music
is pleasing and characteristic, and he has at length
such a prima donna as has not appeared on the boards
of Drury since the death of poor Maiibran. rhillon
and Balfe were called for at the conclusion, and were
both enthusiastically received. The house was crowded
to overflowing long before the rising of the curtain,
and the overflow of last night is but a foretaste of
what may be expected during every night of Ma-
dame Thillon's engagement.

The other joint-stock bank, the " Royal Bank of
Ireland," was established in 1836, by the purchase of
the private bank of Sir Robert Shaw and Co., who
issued notes. The Royal Bank, having more than
six partners, lost their privilege. By their last
report it appears that their paid-up capital is about
210,0001., and the surplus fund 30,0001., after the
payment out of the profits of a very large sum in
purchase of Sir R. Shaw's business, and other pre-
liminary expenses. Prom their commencement they
have regularly paid a dividend of five per cent.
Neither of these two banks have any branches.
The objection of these establishments to Sir R.
Peel's measure merely proceeds from their desire to
be placed on the same footing as the other banks.
To the principle of the measure they do not object in
the least. Their case is precisely that in which the
London joint-stock banks would be if ten years
hence the privileges of the Bank of England were
abolished, and, while those banks which now issue
notes 65 miles beyond London were allowed to issue
in the metropolis also, the joint-stock banks should
be obliged to continue non-issuing institutions.
The law authorising the Louvain and Jemappes
Railway, which passed the Belgian Chamber of De-
puties unanimously, has been equally fortunate in the
Senate. An extension to Diest has been conceded to
this line.

The Bankers' Magazine furnishes the returns of
the circulation of the private and joint-stock banks
in England and Wales for the four weeks ending re-
spectively the sth, 12th, 19th, and 26th April ult., as
published in the Gazette, and gives the following as
the average weekly circulation of these banks for the
weeks ending the 26th ult.:—
Private banks

Joint-stock banks

Average weekly circulation of private and
joint-stock banks in England and Wales
during the past month £7,987,466
On a comparison of the above with the returns for
the month ending the 29th of March last, we have
A n increase in the private banks of £228,250
An increase in the joint-stock banks of 158,458

Total increase last month £386,708
And as compared with the month ending the 27th
of April, 1844, it shows
A decrease in the private banks of £ 614,028
A decrease in the joint-stock banks of 446,612

Total decrease as compared with last year...£ 1,060,640
On comparing the above returns for the past
month with the total fixed issues, it appears that the
following is the comparative state of the circulation,
viz. :
The private banks are below their fixed issue .£329,886
Joint-stock banks are below their fixed issue... 171,066

Total below the fixed issue £500,952
The publication of these returns of the private and
joint-stock banks in England and Wales (distinct
from those of the Bank of England) affords to parties
who are interested in the subject, the means of judg-
ing how far the wants of the country districts are
distinct from those of London. The weekly returns
of the Bank of England, though extremeb• valuable
as indicative of the condition of the London money-