remainder of the composition appears ed for two Performers on the Pi. to us to be disadvantageously influ- ano-forte, by T. Latour, Pianiste enced by tlie choice of the subjects to luis Majesty. Pr. 45.-(Chapon which it is founded. They are pell and Co. New Bond-street.) of an antiquated character, especial- || Ditto, arranged by ditto for one ly the allegretto, p. 5, the motivo of Performer on the Piano-forte, with which breathes the simpering pasto an Accompaniment for the Flute. ral quaintness of ballads now out of Pr. 25. 60.-(Chappell and Co.) date. With such materials it is as | The overture to La Preciosa must difficult to produce impressions con- be played more than once, and well genial to modern taste, as it would be played, before it comes home to our hopeless to retouch a beauty por- liking. It possesses many traits of trayed by Lely or Kneller into an the author's wild geniality, some of élégante of the present day. . them bordering upon eccentricity, “ Though now we part," Air from which, although in concordance with - Mr. Baily's Melodies of various the subject of the drama, require a

Nations, with Variations for the little time to be understood and apPiano-forte, composed, and dedi preciated. Mr. Latour's twofold cated to Miss Anna Maria Ward, arrangements are unexceptionable, by John Ray Merriott. Pr. 25.-- highly meritorious, considering the (Goulding and Co). , 1 peculiarities of the composition, and Mr. Merriott's name, if we are not eminently effective. The adaptation, mistaken, is a first appearance in our as a duet, is truly excellent . reviews. A very favourable onė itcer- Select Italian Airs from the most tainly proves to be. His air is well popular Operas, 8c. arranged for treated; and there is a melodic grace the Piano-forte and Violoncello, fulness, ease of diction, and select by F. W: Crouch. Book I. Pr. ness of style in his four variations, 7s.--(Chappell and Co.). Po which more than compensate for the || Select Airs from the Opera of Der absence of learned profundities. We Freyschütz, arranged for the Pi. strongly recommend Mr. M.'s book ano-forte and Violoncello, by the to the notice of our readers.

satne. Pr. 59.—(Chappell and Co.) Introduction and Variations for the The contents of the first of these

Piano-forte on the Air “ Bene- || books consist of the following six detta sia la madre," composed by | Italian airs, propounded at full length: 1. G. Kiallmark. Pr. 35.-(Gould- || No. 1. • Ah mia Cara."- Paesiello. ing and Co.).: iori il .

2. “ Piu nou ho la dolce speranza." These variations are also of an

Şacchini..

3. “Ombra adorata aspetta."- Zingainteresting and pleasing nature. The ** relli. subject is a good simple Spanish air, 4. “Oh quanto l'anima."-Mayer. well adapted for the purpose. The 5. “Paga fai fui lieta un di." - Winter. minore, with its fluent bass-passages,

6. “Chi dice mal d'amore.”—Mayer. and var. 4. with its coda, may be Most of these are well known to mentioned as favourable portions of the musical public; indeed all may Mr. K.'s labour. in one weini I be considered as choice speciniens Weber's favourite Overture to Pre-of the best. Italian style. The vio

ciosa, or the Gipsy-Girl, arrang- loncello part, although sometimes

merely accompaniment, is here in- || These ballads are stated to have dispensable; and the harmonic ar- been expressly arranged for Miss rangement for the piano-forte de. | Paton, by whom they were sung and serves unqualified approbation for accompanied on the harp. As the its purity and effectiveness,

tunes are no doubt familiar to our The book of airs from the opera readers, we need only add, that the of Der Freyschütz is in every respect accompaniments are tastefully de. similar to the above, and equally va. vised, and lie within the sphere of a luable in point of choice and adap- moderate performer on either of the tation for the two instruments. instruments. The minor part of " May every hour that flies p'er | Auld Robin Grey is particularly well

thee,” Duet, written and adapted harmonized. '. for the Spanish Air in Preciosa, “ My ain sweet Annie," a Ballad in by W. H. Bellamy, Esq. Pr. 2s. -||

the Scottish Style, composed by (Eavestaff, Russell-street, Blooms

John Whitaker. Pr. Is. 60.bury.), .. ., (Eavestaff.).

. One of the most beautiful pieces

A ballad sufficiently agreeable, in the Preciosa, a little musical gem,

without any pretensions to originaliappears here in the shape of a duet,

ty, or the slightest deviation from with some little alterations in melo

the routine style of compositions of dy and harmony, neither requisite

this description. nor advantageous. The deviation, for instance, from the harmony upon | A Fantasie alla Rondo, in which is the pedal G, bar 3 (vocal part), for introduced the celebrated Jaeger which D 7 has been substituted, is Chorus from the German Opera a very deteriorating departure from Der Freyschütz; composed for the original. The short instrumental the Piano-forte, and inscribed to introduction also is out of character, Miss Horne, by E. Solis. Op. and common. But, nevertheless, the 5. Pr. 35.-(Clementi and Co. air has served to make a very pretty | Cheapside.) ; vocal duet, which we recommend the | The huntsmen's chorus, which more to our readers' notice, as the has haunted us in every shape these text of Mr. Bellamy, independently | last twelve months, forms a sort of of its general merits, adapts itself appendix to this divertimento, which well to the tune.

sets out with a largo of small extent Donald, a Scotch Song, arranged and plain texture. It is followed by for the Harp or Piano-forte, by an allegro in a dance style, in which S. Webbe. Pr. Is. 60.-(Eave- we observe some satisfactory modustaff.)

lations, and a striking enharmonic Auld Robin Grey, a Scotch Song, transition from G 7 through G 6*

arranged as above, by the same. to F*. The whole piece is made

Pr. 25.-(Eavestaff.)... up of proper materials, and likely "Oh! say, bonnie Lass," a Scotch to prove attractive to pupils of mo

Song, arranged as above, by the derate advancement. same. Pr. 1s. 60.-(Eavestaff.) !

Vol. VI, No. XXXI..

EXHIBITION OF MR. BONE'S ENAMELS. We have on more than one oc- || him opportunities of access to origicasion alluded to the fine collection | nal works in the possession of the of paintings in enamel executed by | lineal descendants of the eminent Mr. Bone, to forin an historical se- characters of the 16th century, which ries of portraits of illustrious charac-even the inobtrusive and retiring haters in the reign of Elizabeth. Per- || bits and manners of the artist could haps there is no reign in the annals not prevent his being called upon to of English history so full of the use, for the interesting purpose of splendid achievements of distin- illustration to which he has applied guished individuals; indeed, its ce-them. Besides the common curiosity lebrity has obtained for it, in these which such representations excite in our times of phrase - making, the the most ordinary minds, we have name of the Elizabethan age. There fertile sources of moral benefit.

In every point of view, this series The mind is stimulated into a new of historical portraiture is interest- sphere of action, we study history ing: it refers to an epoch in which with fresh ardour, we cherish patriotthe energy of the sovereign, theism with enthusiasm, when we have comprehensive views of sagacious before us these records of departed statesmen, the valour and enterprise worth. Who can look at such colof warriors, the influence of court lections,“where England's triumphs beauty and manly accomplishments, grace the shining wall," without shed a combined lustre upon the quoting to our rising nobility the times, irradiated still more by the lines of the poet? romantic air of chivalry, which had “ Here as a lessou may thine eyes behold, not then visibly declined, and which

What their victorious fathers did of old,

Wheu their proud neighbours of the Gallio a great philosopher of modern times

shore has truly described, as shedding an Trembled to hear the linglish lion roar." important influence upon the man- Mr. Bone has finished, in this priners of society, which has ever since vate collection of historic portraits in more or less subsisted with a salutary enamel, finely executed likenesses of sway, and the benefits of which have the illustrious personages to whom been oftener felt than acknowledged we have alluded; and they comprise, by society.

as all who are acquainted with the * Mr. Bone evinced great judgment history of Elizabeth's reign must in selecting such a reign for his gal- know, portraits of great men, lery of illustrious characters; its whose works are associated with the length and importance furnishing a spirit, the taste, and pursuits of great variety of objects, gave full every existing class of society. We scope for the exercise of the artist's have here Shakspeare and Spentalents; and his professional and ser, Beaumont and Fletcher, Draypersonal connection with the aristo- ton and “O rare Ben Jonson"—the cracy of the kingdom forced upon illustrious heads of the Howard 'family and of the Russells, Raleigh | carried to great perfection, although, and Drake, and the intrepid For- according to Count Caylus, a consibisher; we have the accomplished derable difference of opinion seems and intriguing courtiers, Sir Philip to have prevailed; and it is necessary Sidney, and Leicester and Essex- to draw a great distinction between the great philosophers and lawyers, what the ancients called encaustic Bacon and Coke, Sir Harry Wotton painting, and that which we call and Camden--and the divines, Par enameling. The former, according ker, Whitgift, Grindall, and Donne; to Pliny and Vitruvius, was of three not forgetting the illustrious queens kinds: 1st, the coating a picture exeand the beauties who adorned the cuted in the usual manner with a court. We have several portraits varnish of melted wax and oil; of Elizabeth, and of her unfortunate | 2dly, mixing and using the original rival, Mary Queen of Scotsmand of colours with these ingredients; and, Lady Sidney, the Ladies Russell, 3dly, executing on ivory by means of the fair Geraldine, and other court || the cestrum. All these processes ladies whose names live in the page are, however, quite distinct from the of history. Of these portraits, there : vitrification of colour which we see are above eighty in Mr. Bone's pri- upon the Campanian vases still prevate collection, and they are all ini- served, and the many fragments mitably executed in enamel. (some with beautiful designs) to be

It is impossible to glance at the seen in the British Museum, and progress of this beautiful art, with which has, in all times and countries out being struck with the perfection where the arts have been known, which it has obtained from the per- been carried to different degrees of severing skill and great experimental perfection in the manufacture of or: practice of Mr. Bone; the size of namental porcelain. work which he can execute, the | The difference, however, in the body and brilliancy, of colour which production of such works as Mr. he can lay on, the softness and deli Bone's is this, that to convey the cacy of execution, the fidelity and imitation of the colours in these por. spirit of his portraiture, command | traits, the artist is obliged to expose universal admiration. It is not a the metal, more than a dozen succeslittle gratifying, when we consider sive times, to a degree of heat which the antiquity of this art, to know that often melts or bends the metal, and so much of its value was left to be decomposes the colouring, so that at achieved by the taste and industry the expected close of a very laboof a British artist. The origin of rious process his labours are de the art itself is lost in the waste of stroyed; and no means have been time; we find it in the oldest frag ll yet (or indeed seem likely to be) ments of Egyptian antiquity, upon discovered to preserve with certainty the baked clay idols and the mummy. the consistency of a metallic body, cases. The vitrification of colours however well prepared, safe through for omamental design appears to be such a fiery ordeal. It is this which coeval with the rudest specimens of excites such an anxious interest for the earliest arts. In the after-times the artist, and entitles him, when of Greece, it appears to have been we see such works as these accomplished during the life of an artist, 11 ditable to the artist, and full of inteotherwise laboriously occupied, to rest and utility to the public, by the gratitude of every lover of the whom we trust it will one day be fine arts.

obtained, to be preserved for popular These portraits are finished in dif- | admiration. ferent styles, according to the cha- Proud names! who once the reins of emracter of the originals from which

pire held, they have been copied : and whilst || In arms who triumplı'd, or in arts exceli'd; some of them will furnish matter of

Chiefs, grac'd with scars and prodigal of

blood; speculation to the votaries of Gall | Stern patriots, who for sacred freedom stood; and Spurzlieim, others will baffle all | Just men, by whom impartial laws were the ingenuity of the phrenologists.

giv'n;

And saints, who taught and led the way to The formation of such a gallery is,

heav’u," however, in the highest degree cre- ||

EXHIBITION OF PIENEMAN'S BATTLE OF WATERLOO.

In a temporary building erected through the sky, which had been for the purpose in Hyde-Park, near clouded throughout the day, sheds Grosvenor-Gate, we have now exhi- a bright light upon the allies, while biting a painting of the Battle of the horizon still lowers over their Waterloo, by J.W.Pieneman, Knight routed enemy. of the Order of the Lion of the The principal group in the front is Netherlands, Member of the Royal equestrian, and the figures are as large Institution, and first Director of the as life: it consists of the Duke of Royal Academy of Amsterdam. Wellington, attended by his com

This picture represents the field bined staff, and engaged in giving of battle at half-past seven o'clock the necessary orders for the execuin the evening, the moment the Duke tion of his last movement against the of Wellington, being informed of the discomfited enemy; while, immediapproach of the Prussians, orders a ately before him, the Prince of general attack upon the French. The Orange is being borne away on a Prince of Orange is being carried blanket wounded, but, by the anioff the field wounded. The Scotch mation of his countenance, sensible Greys are shewing two captured of the glorious result which is at French eagles, and conveying the hand; as also the dying Colonel de French prisoners to Brussels; at the Lancey, who, though mortally woundhead of whom is their general, Cam- ed, partakes of the approaching tribronne. The view of the field of umph to which bis valour contributaction is taken from the height of | ed, but which his doom was not to Mont St. Jean, where the spectator live to share. The principal group is supposed to stand, having on his contains portraits, many of them well left hand the road which leads from executed, of the chief officers who Genappe to Brussels. The fore- served in the field of Waterloo, and ground is the open corn-country; they are all engaged in some action and the moment chosen by the paint which appears to assist in the busier is that when the sun, breakingness of the eventful day which this