The Salt Lake herald. [volume] (Salt Lake City [Utah]) 1870-1909, 1882-03-21

lures 10 Iuo oeSG advantage; q mag
nifcent red carpet for the floor; the
walls are of a delicate neutral
brown, and the lighting adj
mirable. 1t is a palace rather
than an auction room, and
supersedes the hotel Driot, where
pictures for sale are packed like sar-
dimes in box, or mixed up with
batter les de CUISINE and brio bac in
general, to say nothing of the pecu-
liar public encountered, suggesting
a buttOning of pockets and the APP
| plication of LettreS de cGchet for some
kind of quarantine.
| The water color artiSts-never in
the OdOr of Sanctity in France-have
inaugurated this new hall. M. Hull
buth, the painter par eCcslLence of
modern ParisienneS, contributes the
Terrace of st. German, one of the
most splendid panoramas in the
world, with beautiful lady in white
in a garden. Detaille has an "Epi-
sode" of the "Autumn Maneuvres,"
a spirited military sketch, and the
best water color he ever produced,
wherein he displays that surety of
judgment for which he has become
famed. Gustave Dore, as usual, is
full Of powerful Imagination and
fantasy. His scene from the "Cour
DIES Miracles" (the Beggars' Render
vouS. is picturesque and full of life.
"London Docks" exhibits the living
activity of the great metropolis,
while his scene from the "Tempest"
is what Shakespeare himself would
applaud, full of grace and fancy.
Dore is the artist of imagination and
the authitesis Of naturalism and all
tits responsiveness. John Lewis
Brown exhibits several paintings,
embracing various subjects full of
that animation and clearness for
which he is celebrated. In business
of tone and precise ecEGt of light he
has few superiors.
The Opera Comique has brought
out a one-act bagatelle, "Attendez-
moi sous L Orme," the name of a
popular air: the libretto is adapted
from Regnard: the music by M.
dIndy. The plot has quite an an
tique simplicity: Atathe is the
pretty and capricious daughter of
farmer: she jilts her betrOtn ed Col
lin, for Dorante, grandseigneur,
and at the same time ruined fop:
to prove that Dorante only loves
money, one Lisette personates the
role of rich widow, and Dorante
is Immediately hoisted. List would
call this production comedy illus
trated by music. The dialogues are
too long. M. d'Indy has done his
best; he has avoided the pimping
style of Auber and the sparkling
manner of Offenbach: one of his
airs has an uncommon likeness to
the political refrain of Nine. Angot:
he labors to find harmony and in
strumentation, that which thrOW VS.
a greyish tone over the whole scene
The music is uninteresting, because
totally devoid of individuality. The
best played role is that of the false
widow. Nine. CarlOtta Patti at the
Pardeloup concert, sang, and bril-
liantly, q brGooIre air from Han
del's sampson" Such an air is re-
markable, as being in an oratOriO at
all, it would be even out of place in
an opera; again, the air is also
strange in being arranged for
Trumpet accompaniment. Meyer
beer, however, united soprano
and flute, or rather two flutes.
M.Burnack's melodrama, LA Mar
chande des Quatre Siussors," (cos-
termOnger), has no plot; he has for
gotten the receipt, first catch your
hare ;"but there are scattered scenes
in the eight tableaux very amusing.
The Importance about the piece,
received with anything but favor,
is, that the spectators seemed not to
relish the common places of the
slums, and the ribaldness of the fish
market. We want no more coarse
realisms on the stage, even though
they may be photos of popular man.
ners. Since the success of the "AS-
Sommoir," authors have drawn too
literally on improprieties of the
vile. The coldnesS extended To this
piece seems 10 Indicate taste for
what is cleanly.
There is nothing to record in the
Way of overturning cabinets; no new
Idol has been smashed, and measures
for the regeneration of France
promise to have precedence over
those for humanity. The Egyptian
difficulty has entered into the quiet
and diplomatic stage the English
treaty of commerce is as much for
gotten as Gambetta; the Intransi-
geants have degenerated into OppOr-
tunists, as none of them exploded,
to mark the expulsion of the nihi-
list Lawroff. international relations
however, between France and Rus
STA do not depend on one or more
Tartar home rulers being strung as
high as King Hannah.
l The French noble art of selT-de-
| fence according to Professor Char
lemont, reached its most brilliant
: period between 1S45-55. One of the
most beautiful modes of attack it
seems is, to administer a Kick to
your antagonist in the chest. 1t is
not half so graceful a movement as
a siren in the can can knocking off
Of Al L