The Portland daily press. [volume] (Portland, Me.) 1862-1921, 1878-05-18
ART, MUSIC AND THE DRAMA.
Gossip and GIeanings.

euuience Iaugn Wnlle rendering the somewhat
spasmodic portion of the famous song, Robert,
tot que Jaime, commencing with the words
ia co.'s mon etroi!" She sang it, "Tu Uois
mon nez fr0id. "
Mr.. Millaiss new picture, the Biide Of Lam
mermoor Is described as an extremely beauti-
ful and pathetic work. The canvas presents
only the Master Of Ravensw swood and poor Lucy
Ashton; the beautiful pale girl, with piteous,
sensitive, imploring face clngs to the arm of
the sombre-visaged man, who seems almost un-
conscious OF her presence. The point of time
chosen by the artist is that just following the
rescue Of Lucy Ashton from the attack of an
enraged bull.
AT q recent sale Of Tarner's works al anus
ing anecdote was current. A wel-knowp ar
tst was at his easel, with his "5oy in battons''
in attendance, when for a moment the artist
ceased painting, placing upon chair his pal.
ette, upon which patches of variety of colors
were dotted in admired disorder. The page
thoughtessly sat down upon the palstte The
painters rage at first knew no bounds; but
suddenly he exclaimed, "Stand still, boy, don't
move; you have got magnificent Turner on
your breeches?'
Miss Genevieve Ward has recently remod-
elled Kotzebues play Of The Stranger and, it is
said, she has greatly improved it, The "front
scenes" have all been expunged, and the meet
ing between the Stranger aud Mrs. HaHer-at
which, as it is usually effected, the latter
faints and the former runs away-has been so
| treated as to be made rational aud Impressive,
! 1t is said that Miss Ward acts Mrs. HdLler in
| very sweet and tender way. Miss Ward lately
made conspicuous hit IN Dablin by recitng
Robert Buchanan's idyl called Nell. 1t will be
remembered that Miss Ward intends to visit
the United States next season. Good reports
OF her acting are, therefore, words Of pleasant
promise for the local theatrical public.
Mr. Robert Barrett Browning, the only SON
of the illustrious poets, Robert Browning and
Elizabeth Barrett Browning, has devoted him
self to painting, and is studying his art at Ant
werp. The first work which he has placed on
public exhibition in London is thus described
by Mr.. W. NJ. Rossetti: "The subject is one
of those cunning Antwerpian craftsmen who
work in brass; he is engaged in chasing dish,
AN elderly and psrsonabe gray-bearded man,
llfe-size The primary interest of this work
derives no doubt from its authorship; but be-
sides this, 1t has conspicuous promise of its
| own, and indeed in no small measure positive
attainment. The han6iwork generally is no.
| ticeably bold and solid, some Of the object
painting (such as the specimens of brasswork)
| highly efficient and effective, and the whole
| treatment in good keeplng-the accessories be-
| ing what they should be and where they should
be-" The picture will be hung in the Royal
| Academy Exhibition.
NJ. ID. Conway writes from London-Mr
Long, an artist who has risen very rapidly in
fame during the last few years, especially since
his Babylolian Marriage Market and his
Egyptian Banquet were exhibited (Royal Acad-
emy, 1876 and 1877, has this year painted
| picture of unique kind. have had the peag-
ure of private inspection, and feel pretty sure
| that it will make stir among spectators and
critics. 1t represents an ancient Egyptian god
manufactory. In a room surrounded with
| shelves loaded with the various images of
Egyptian worship-seraphim, teraphim, cyno-
| cephali, etc.-and whose walls are decorated
with sy mbols, group of six beautiful women,
half the size of life, are hard at work model
| ling these articles of trade. 1t is evidently a
| hourshing business, and the time may be sup
posed to preceGe the legendary iconOclasm OF
| Abraham among his fathers images. How
ever, there Is an anticipation of that dow nfall
| OF Chaldaian idols in the laughter with which
| one girl observes the odd figure of porcelain
Thau which she has just completed. She evil
| dently does not know that the crooked legs Of
the little image are derived from the crooked
| lightning, aud that he once made the earth to
| tremble. 1t ia doubtful If female form and dra-
| perry have ever been so we'll delineated by an
| English artist as that Of one of the maidens
who Is Just touching In the eye of sacred
| White Cat after living model held before her
| by an ebony Ethiopian woman. The artist has
been strictly archaeological; all of the deities
have been designed from actual examples in
| European museums. The picture is not only
beautiful but full of suggestiveness.
| A recent Liverpool journal sets forth
| very sharply aud amusngly the abb
surdities of the average opera ibretto-
taking that of Mr.. Flotow's new opera,
alma as the text. 1t appears that
the grave and courtly Camosns is the unlucky
| ghost elected by NJ. de- Georges lbrettist, to
the doubtful honor of resuscita.ion as hero.
His adventures moreover, are those for which
he was not responsible in the flesh, but are
wholly due to the fancy of NJ. de Georges.
None of the known facts of Camoen's life are
transferred to the libretto of Alma. Nothing
is said,'' adds the Liverpool paper 'of his SWIM
ming to shore at Macao with the manuscript Of
the Lusiad between his teeth, $50, &c.,
The most irritat lg part of the transaction is
that the miserable career Of Csmoens does con-
tain one beautiful and touching incident Of
which skillful dramatist might have made
| good use." The incident referredto is Camoen's
return to Lisbon, old, sick and poor, to beg his
| bread in the streets. Both Of these episodes
are treated very dramatically in the libretto Of
Donizettis last, and in some respects his finest
opera, Don Sebastian. Written 10 the days when
the shadow of coming fate already hung above
the unfortunate composer, this supreme effort
of his genius has power, a richness which at
least equals, whils 1t differs greatly from his
better known manner. In the first act, while
the valiant young king Sebastian is
preparing his fleet Camoens approaches him
and begs to he allowed to 90 with him. In q
fine recitative he tells the story of his saved
manuscript and follows it by song spontane-
Gus and we'll harmonizsd, in praise of Lisbon,
his native city. Later in the opera, solitary
figure in moonlt plaza of Lisbon proves to be
Camoens, beggar and mourning the loss of
his young king; stranger passes, recognizes
| the voice that asks charity, and declares him.
self to be Sebastian. They are interrupted by
the sombre tones of the funeral march IA fine
| though simple composition) and the cortege
| in honor of the supposed death of the king, en-
| ters the scene. Sebastian confronts his coffin;
the usurping king, though ready to officiate as
chief mourner is by no means pleased to see
the obsequies rendered unnecessary aud prompt
lv sends Sebastian to prison. Camoens. in at
then hbretto, dignified and dramatic
in plot and development, and adher-
log to actualities or at least, probabilities.
| Camoens Is made most heroic and poetic
| character, and the young Sebastian, q
| king for whose new appearance the Portuguese
| long waited, as the British for the coming OF
Arthur, or the Danish for Holger, appears to
our modern eyes the chvalrous and kingly fig
ure that Lisbon knew in old days. 1t appears
a little curious that the Liverpool contemporary
should not have known of this fine opera
although it has not been represented so fire.
quently as its great beauty would merit.
Mr.. Richard Whiteing, ID letter to the New
York World descriptive of the opening of the
Paris exhibition, gives high praise to the paint
ings by American artists. He says: Let us
glance at a part of the United States show
hitherto unnoticed by ms-a part which, in
my judgment, you may regard with unmixed
satisfaction-the art gallery. No, verify, you
have been unjust to your own prophets; your
despondent, not to say, truculent, delverances
on native art in the native papers, led me to
expect a deplorable fiasco, and find instead
a collection which, for its size, may compare
with any other in the building. "Witness, re-
member, you are as good as upon your oath"
II am aware of it, Your Honor; L speak ad-
visedly, and after a sight of other art galleries
| III is N 00nd eb01n Va baua mainly Mr. Matt