Great Exhibition of Art Treasures at (Correspondence of the London Times, April 14.) The collection of ancient pictures, which is very large and valuable, will be exhibited in the south gallery. It has been placed under the charge of Mr. Scharf, jun., who has adopted a somewhat novel plan in its arrangement. He has proceeded upon the broad principle of devoting one entire wall to the works of the Italian and Spanish masters, and the other to the productions of Germany, Flanders, England, and all countries foreign to Spain and Italy. But that is not all. The pictures on both sides of the gallery are arranged in chronological order, so that the works of each master of Italy or Spain are placed opposite those of a painter belonging to some other country who lived in the same period. Angelico da Fiesole, for example, is opposed to John Van Eyck, Rubens to Guido, and Vandyke to Velasquez. The lesser divisions of schools, which are those of Tuscany, Sienna, Naples, Umbria, Cologne, Flanders, Saxony, and Nuremberg are marked by being kept in distinct groups, and arranged for the most part in parallel lines one over the other. With a few exceptions, which will presently be specified, the pictures exhibited are those of masters who flourished between the years 1400 and 1700, a period of three centuries. The latest painting in the gallery almost corresponds in point of date with the commencement of the modern English school, and consequently no place is given here to the productions of Hudson, Hogarth, Thornhill, Richardson, or any of the English masters who lived at the beginning of the 18th century. The gallery is divided into three main halls, the first, next the transept, being devoted to the earlier period of Art. The centre of the end wall is occupied by a picture which created some sensation in the Royal Academy two years ago, and which is now the property of the Queen. It is the work of Leighton, and represents the triumphal procession in which Cimabue's picture of the Madonna was carried through the streets of Florence. On either side of it are displayed specimens of Italian art, from the classic fresco paintings of the Baths of Titus and the Catacombs down through the feeble attempts of Cimabue and the bold and inventive pieces of Giotto to the productions of the 14th century and the dawn of Art in Germany and Flanders. Mr. Scharf commences his series of German, Flemish, and English pictures with the works of Van Eyck, which are followed by many fine specimens of Grunewald, Mabuse, Matsys, Rubens, Vandyke, Holbein, Rembrandt, and other well-known masters, closing at the end of the third or last hall with paintings belonging to the latter part of the 17th century. The contributions of Prince Albert to this branch of the exhibition are very extensive and important, for his Royal Highness possesses an almost unbroken series of examples of early German art. The illustrations of Italian and Spanish art commence with the works of Angelico da Fiesole, and include a great number of pieces by Botticelli, Perugino, Raphael, Michael Angelo, Titian, Paul Veronese, Velasquez, Murillo, and other eminent masters, ending, like the pictures on the opposite side, with the year 1700. The magnificent equestrian portrait of Charles I., from Windsor Castle, by Vandyke, occupies a position at the bottom of the gallery corresponding to that of Leighton's picture at the top. It would be impossible to convey any adequate idea of the great value and beauty of the Italian and Spanish collection. Such a display of masterpieces has probably never before been witnessed in England, and it convincingly proves the statement of Dr. Waagen that we possess art treasures far surpassing those of any other country. The series begins with a head of Christ by Angelico da Fiesole, which originally formed part of a fresco representing the crucifixion. Fiesole is represented by another picture-the "Entombment of the Virgin"-which was formerly called a Giotto, and as such was engraved by D'Agincourt. His works are followed by specimens of 66 a 66 Sandro Botticelli, with his wildness of form and pedantic display of Greek learning. Perugino, the master of Raphael, is present in five predella pictures, contributed by Mr. Barker, and in a superb altar piece-the Virgin and Child enthroned, with St. Jerome and St. Peter on either side-exhibited by Lord Northwick. One of the earliest specimens of Raphael is the "Crucifixion," taken from Citta di Castello, painted in 1500. Mr. Fuller Maithland contributes the " Agony in the Garden,” mentioned by Vasari in his Lives of Painters. Two celebrated Madonnas are furnished by Lord Cowper; Miss Burdett Coutts exhibits the Madonna and Child," which was formerly in the collection of Mr. Samuel Rogers, together with another picture, representing the Agony in the Garden;" and Lord Warwick sends a duplicate of the "Joanna of Aragon" in the Louvre. Near the works of Raphael is placed Holy Family"-Il Reposa-by Bartolomeo, the finest specimen of that master in England. Of Michael Angelo we have the picture representing "Christ and the Woman of Samaria," which was formerly in the collection of Ottley, and a "Holy Family," unfinished, belonging to Mr. Labouchere. Michael Angelo is followed by specimens of the early Venetian school, represented by Andrea Bellini and others, and by the works of Francia, the friend and correspondent of Raphael. Further on the glories of Venice present themselves to view, Titian, Tintoretto, Paul Veronese, and their contemporaries. The · Europa" of Titian has been exhibited by Lord Darnley, and here also is his original sketch of the celebrated "Gloria," or apotheosis of Charles V., still in Spain. The Nine Muses," by Tintoretto, has been lent from Hampton Court, and there are no fewer than five large allegorical subjects by Paul Veronese. The Bolognese school is represented by Caracci and others. A splendid St. Agnes," by Domenichino, has been obtained from Windsor Castle. Velasquez and the Spanish masters are also well represented. The portraits of Velasquez are hung exactly opposite those by Vandyke, so that the productions of the two great masters of portrait painting may be studied together, an advantage for which the visitors ought to be thankful to Mr. Scharf. The Duke of Bedford, Mr. Farrer, and Mr. Hoskins have contributed some fine specimens of Velasquez. Several magnificent Murillos have been furnished by Sir Culling Eardley, the Rev. Thomas Stanniforth, and Mr. William Sterling, Among the specimens of the academic and decorative style of painting may be mentioned some frescos taken from a palace at Milan. They represent the contest between the Centaurs and the Lapithæ, were painted by Gambara, and have been contributed to the exhibition by Prince Albert. Below Murillo are some of the later masters-the naturalists, as they are called—of Italy; and the series closes with some vigorous pieces by Salvator Rosa. 66 the 66 66 The collection of pictures belonging to Germany, Flanders, England, and other countries foreign to Italy and Spain is very extensive, and embraces some splendid specimens of art. It begins with an old copy of a famous altar-piece, representing the "Adoration of the Lamb," by Hubert and John Van Eyck, formerly in the chapel of the town-hall at Ghent. The curious Orford picture, by Grunewald, now the property of Prince Albert, is a striking feature in the collection; but, admirable as it is, it must yield the palm to the celebrated Mabuse, representing Adoration of the Kings," from Castle Howard-a picture formidable to the pre-Raphaelites on account of its exquisite finish and its selection of the more refined objects in nature. Flanking the Mabuse are two fine pictures from Hampton Court, representing James IV. of Scotland and his Queen. Lower down the gallery is the "Misers," by Quentin Matsys. Rubens is represented by several of his most splendid productions. The Queen has contributed his Martin dividing his cloak with a Beggar;" and Mr. Mathew Wyatt exhibits the magnificent picture of "Juno setting the Eyes of Argus in a Peacock's Tail." Here also is Tomyris ordering the head of Cyrus to be bathed in human blood, St. and among a number of other pictures are portraits of himself, his wife, and the Bishop of Antwerp. Several excellent specimens of Snyders have been contributed by the Duke of Newcastle, the Earl of Derby, and Sir Philip Egerton. They consist for the most part of marketpieces with fish, fruit, and flowers, but there are also one or two boar and wolf hunts. Of Poussin there are some admirable specimens from the galleries of the Earl of Carlisle, the Earl of Yarborough, and Mr. Mox. In addition to the "Triumph of Bacchus" and a "Holy Family" there is a small repetition recently found in Dorsetshire of a picture called the "Testament of Eudamidas," by Poussin, which, after being engraved with great care in France, was brought to England and lost. The Vandykes form, in number and value, an important part of the collection, One of his finest portraits is that of Snyders, the painter, contributed by the Earl of Carlisle. The companion portrait-that of Snyder's wife-is exhibited by Lord Warwick. It is said that the grandfather of the present Lord Warwick proposed to the then Earl of Carlisle that they should toss for the possession of the two pictures. Whether the latter nobleman was willing to entertain the proposition is not related, but it was never carried out, and “Snyders and his wife" were doomed to remain separate for some time longer. They are now reunited for a time at Manchester. Her Majesty has contributed several Vandykes-among others the splendid equestrian portrait of Charles I., already noticed. The "Children of Charles I." have likewise been obtained from the Long Room in Windsor Castle. Lord de Gray is also an important contributor of Vandykes. One, a superb picture, represents three children (name unknown) standing on the steps of a portico; painted by Vandyke in the style of his Genoese period. The "St. Jerome," with the angel holding a pen-L'Ange à la plume, as it is called in France-from the collection of Lucien Buonaparte, has been contributed by Mr. Lucy, of Charlcote-park. The works of Vandyke are followed by those of Sir Anthony More and other foreign artists who visited England in the 17th century. We then come to specimens of the Dutch school, in which the collection is particularly rich. George IV. was a great admirer of Dutch artists, and made a large collection of their works, of which a considerable number have been contributed to the exhibition by the Queen. Mr. Thomas Baring, Mr. Henry Hope, and Miss Berdel have furnished numerous specimens of Rembrandt, Vanderveldt, De Koning, Jan Steen, Teniers, and other Dutch masters. One of the most striking pictures at the close of the series is a portrait of Peter the Great, by Sir Godfrey Kneller. Such are a few of the more prominent pictures in the ancient gallery. Many most interesting specimens have necessarily been omitted. We have not mentioned, for example, a fragment of a curious fresco representing the " Fall of the Angels," by Spinello Aretino. It belongs to Mr. Layard, who rescued it from destruction some time ago in Italy. Vasari relates that the devil was painted so hideously ugly that he appeared to Aretino in his sleep and demanded the reason of such uncivil treatment. The answer of Aretino is not recorded, but the story runs that the interview made such an impression upon his mind that he fell into a melancholy which lasted the rest of his life. Perhaps it is improper to add that the provoking researches of modern critics-Lord Lindsay and others--have proved that Aretino lived far beyond the period stated by Vasari, and that he painted some of his best works after his alleged colloquy with the Prince of Darkness. The figure of his Majesty, unfortunately, is not in the fragment contributed by Mr. Layard to the exhibition. One of the objects aimed at by Mr. Scharf in the formation of the gallery has been to reunite, as far as possible, the scattered fragments of the Orleans, the Solly, and the Rogers collections. He has succeeded in doing so to a great extent, and the visitor will have an opportunity of viewing, re-collected in these galleries, collections which are renowned throughout the world. From my Diary, No. 2. MAY 9.-I am told that Mr. Zerrahu has secured an orchestra of seventy-five members for the Festival. Excellent. But as yet no intimation has been given to the public, that I have noticed, of the character of the programmes which they are to execute at the miscellaneous concerts. Now, in consideration of the hope that a large portion of the concert audiences, will consist of people from the country of musical tastes, but who have never had opportunity to hear grand instrumental performances, can any. thing be more attractive than the performance of some of the best symphonies, of which they have read and heard so much? Doubtless this is intended. Nor can there be any doubt that some of the best overtures, not only by Beethoven, Mozart and Weber, but of Auber and Rossini, will be given. But I wish to ask something more; and as the Handel and Haydn Society has the honor of the conception and the responsibility of the execution of the affair, the appeal can be made with special propriety to it. It has been shown in the Journal of Music recently, that when the Society was young, it pursued a bold policy, such that members of it ventured to send an order to Vienna, to the greatest of then living composers, for an Oratorio, though his works seem to have been known in Boston only from portions of his Cantata; "Christ on the Mount of Olives." The old programmes show that it had no fear of producing music of composers unknown to the public, and more than that, of music produced at home. Shaw's compositions were stereotyped features of its early concerts, and John Bray's "Child of Mortality," text by Mrs. Rawson, the actress, and afterward famous school teacher, was another great attraction. What I would ask then, is that the same policy be now followed up, and that at the orchestral concerts specimens, each evening, be given of what our men, who are working for fame-pecuniary profit is out of the question are doing in this department of composition. If I subscribe to a series of concerts where "classical" music-that is, music whose reputation is fixed-is promised me, I consider myself cheated, if instead of Beethoven, Haydn or Mozart, the works of Balfe, Wallace, Verdi, &c., are placed upon the programme, or if waltzes, polkas and quadrilles drive out symphony and overture. But if I do not subscribe, and am free to take a ticket or not, the case is very different. I can stay away without losing my money or temper, there having been no promise made or implied. The concerts at the Festival, save the oratorios, come into this latter category, and there is no implied contract, as to the music to be performed, between the managers and the audience. Here is a legitimate opportunity then to give us some specimens of our own music. How many composers of orchestral music we have in our midst I know not. I only know of Southard; but ever since I read the notices of the production of two overtures by him, at a time when I was absent from Boston, I have had a great desire to hear them. But would the public care to hear them? Not easy to decide, that. But what piece could he put upon the programme which would be more likely to interest an audience than his overture to the " Scarlet Letter?" Who does not know the wondrous romance of Hawthorne? Who has not felt its mystery, its awful power; who has not shuddered at the manner in which the human soul is dissected alive, as it were, every nerve quivering? Who that knows aught of orchestral music, but would gladly have an opportunity to see whether the musician has caught the spirit of the work, and interpreted it in the language of the orchestra? What a field there for the composer! Let us see how he has occupied it. Again, why not bring out something which, while perfectly novel, could not fail to be of great interest both to the musician and the general public? Why not give the large audiences, which will undoubtedly be present, the chance to judge of what boys are capable? Could there be any objection to allowing the Choristers' School to sing a piece or two, written originally for choirs of boys and men? There is music enough at hand, both sacred and secular, from Allegri's "Miserere," or "Summer is a comin' in," which Hawkins says "is the most ancient English song with the musical notes attached, perhaps anywhere extant," down to the pieces written by Mendelssohn and others for similiar choirs, in London, Berlin or Leipzig. The Handel and Haydn Society, originally organized, as I believe its constitution says, to improve the public taste in music, and forward the art in general among us, has here opportunity of adding materially to the number of its good works in the cause. Musical Correspondence. ཀ བར, NEW YORK, MAY 9.-Mr EISFELD gave us a rich programme at his last soirée, as far, at least, as the instrumental portion was concerned. It contained Mozart's beautiful Quartet, in E flat; the first of the two op. 70 Trios of Beethoven; and four movements from the great master's Septuor. The Quartet of Mozart is one of his very best, with all his characteristic grace, freshness, and full of beauty and soul. The first two movements were very indifferently played, I regret to say. The night was warm, and the strings of the first violin particularly, were very unruly. But later this deficiency was TWICHELL in "He was despised," from the "Messiah," did herself great credit. We admire her voice the more we listen to it. Some eighteen hundred persons were present, as the concert was a free one. A new concert troupe is now occupying the attention of our curious people. A band of negroes, owned by a planter in Alabama, showed some talent for music; their master gave them an instructor; they excelled so much, (so the story goes), that he gave them permission to concertize about the country, and thus buy their freedom. He then secured the services of Mr. J. G. Shaw, of this city, to take charge of them, and they now are singing nightly to full houses about the States. Last week they sang in the City Hall, in this place. As musicians, the slaves are lacking. Their ears are imperfect; yet for ignorant persons they do remarkably well. The "Springfield Musical Institute " has adjourned rehearsals till October next. Another association has been organized among the armorers at the U. S. Arsenal, under the name of the Armorer's Musical Institute." It has an orchestra of sixteen pieces, and a chorus of some seventy. The enterprise was started and brought into successful operation by Mr. ALBERT ALLIN, Mr. GEORGE HUBBARD and others, and bids fair to become a permanent institution among the armorers. They propose giving a concert early in the Fall. Mrs. FANNY KEMBLE gave a reading of Shakspeare's "Twelfth Night," last evening, in Hampden Hall, to a large and highly appreciative audience. Her reading, like Thalberg's playing, is as near perfection as can be conceived. AD LIBITUM. mended, and in the rendering of the Septuor, (minus Dwight's Journal of Music. the minuet and variations), there was nothing to be wished for. Mr. PYCHOWSKI played the pianopart of the Trio very finely indeed. He is unquestionably one of our first and truest artists. The singer of the evening was Miss HENRIETTA BEHREND. She has improved vastly since last winter, when I heard her at one of Mason and Bergmann's concerts; but she seemed on this occasion to be suffering from a cold, or some other indisposition, as it appeared to be quite an effort for her to sing. Altogether, however, the whole concert was a very pleasing one, and gave general satisfaction to the very good audience assembled. The Mendelssohn Union, at their third concert, last Thursday, sang Mozart's Requiem, and a Magnificat, by Mr. BERGE, their pianist. I regretted very much that an unavoidable engagement prevented my attending, as I wished very much to hear the Requiem once more, particularly after the interesting articles upon it which have lately appeared in your paper. I met recently with an interesting little book, which has made so great a sensation in Germany that the first edition was very quickly exhausted. It is entitled: "Beethoven's Piano-Forte Sonatas, an alyzed for friends of music, by Ernst V. Eltertein," who also calls himself the author of "Beethoven's Symphonies considered according to their ideal value" There are many very good and new ideas in the book, and I should think that, if translated, it might be very useful towards rendering the mas terpieces of which it treats, more appreciated and better understood by our public. t SPRINGFIELD, MASS, MAY 12.-Our Spring season has been well filled with concerts. THALBERG, OLE BULL and others, have sung and gone. Last Sunday evening we had the first Sunday concert in Springfield. It was given by Mr. MOZART, of Boston, with the assistance of Messrs. FITZHUGH and KIMBERLY, of this city. The concert was excellent, and the music of a high order. Mrs. MOZART sang her solos with great skill and expression. Miss BOSTON, MAY 16, 1857. NOTICE.-A FESTIVAL PAPER. The next number of DWIGHT'S JOURNAL OF MUSIC will be issued two days in advance, viz., on Thursday, immediately after the first morning concert of the Festival. This special edition will be increased in size by at least four pages, and will probably contain MR. WINTHROP's Inaugural Address, entire, from copy kindly furnished by the author, together with descriptive analyses of the three Oratorios to be performed, brief notices of the instrumental music, some history of Musical Festivals, and such other matter of special interest during that week as shall make it properly a FESTIVAL NUMBER of the Journal. For sale at the Music Hall on Thursday afternoon, and at the periodical stores, &c. Price Five cents. The Journal of the week following will contain a full description and review of the Festival. TO ADVERTISERS.-The increased circulation of the Journal during the Festival week and the week following, make it a desirable medium for the advertising of musical and other artistic matters. THE FESTIVAL. We can hardly exaggerate the importance of the great musical event of next week. Those three days in the Boston Music Hall will, if we mistake not, inaugurate the custom of grand Oratorio Festivals, after the manner of the English, in this country. We say Oratorio festivals, because out of Oratorios, and that means essentially the oratorios of Handel, and out of the necessity of grand combinations of forces for the realization of their sublime effects, the whole In England, where such Festivals originated, Of course we are not yet in a state to do any- For the miscellaneous concerts of Thursday "Coriolanus" (!), the Allegretto to his 8th Sym- The choir will number about 600 voices, and As to the solo singers, negotiations still pending On Thursday we shall have more to tell. The The Pianists Classified. There is a German newspaper published in The Musical Review A. Stars of the First Magnitude: Franz Liszt, born B. Stars of the Second Magnitude: Clara Schu- C. Stars of the Third Magnitude: L. M. Gottschalk, Conception: 1, Liszt; 2, SATTER; 3, Clara Schu- mann. Finished Technicals: 1, Liszt: 2, SATTER; 3, Touch and Clearness: 1, Thalberg; 1, Jaell; 3, Classical Players: 1, SATTER (unsurpassed as a Universality of Talent: 1 and 2, Liszt and SATTER. First in every thing: (!) 1, Liszt; 2, SATTER. Of the New School: 1, Liszt, 2, Litolff; 3, De Of the Newest School: (!) GUSTAV SATTER. 1. Original: Liszt, De Meyer, Thalberg, SATTER, Equally happy in Modern and Classical Music: 3. Of the Broad, Grand Style: SATTER, Liszt. 6. Of Sweetness: Henselt, Thalberg, and some- 7. Difficulty in Technicals: Liszt, SATTER, Hen- 8. Difficulty in Conception: Liszt, SATTER. THE THREE GREATEST PLAYERS IN THE WORLD: 2. GUSTAV SATTER, in every respect. This criminal classification is delightfully au- to us. OLE BULL'S CONCERTS.-A very large and very He played much better (especially in better tune) duction to his "Mother's Prayer," the best of the place; it is for ich smaller men than Ole Bull to As to the other attractions of the concert, Mr. To-night OLE BULL takes his last leave of Bos- The following Letter, with the names of the Committee, is To Miss LOUISA PYNE, New York. To this letter Miss Louisa Pyne has returned an answer of Theron J. Dale, The Committee have fixed the price of tickets at FIFTY No more tickets will be issued than can be comfortably ac- The Programme, with particulars, will be issued as soon as Grand Musical Festival, AT THE MUSIC HALL IN BOSTON, On the 21st, 22d and 23d of May, -BY- THE HANDEL AND HAYDN SOCIETY, The Festival will commence on the morning of the 21st, HON. ROBERT C. WINTHROP, to be followed immediately by the Oratorio of the "CREATION," by HAYDN. Friday Morning, 22d, at 10%1⁄2 o'clock, the and at 3 o'clock, P. M., a MISCELLANEOUS CONCERT On Saturday Morning, 23d, at 10% o'clock, with which the Festival will close Tickets for the Course, with reserved seats, at Five ORGAN-HARMONIUMS, ORGAN-MELODEONS, —AND .12 ......cloth,..... 75 formatory, .20 L. B. BARNES, SEC'Y. MODEL MELODEONS, MADE BY MASON & HAMLIN, Moore's Encyclopedia of Music, BOSTON, MASS. These instruments have been awarded the HIGHEST PREMIUM TEN FIRST PREMIUMS, consisting of Gold and Silver Medals and Plomas. Our in- SIGISMUND THALBERG, ..... Flute and Violin,..... SACRED MUSIC, PUBLISHED BY OLIVER DITSON & CO. Oratorio of Creation, arranged for organ or 125 .1 50 Price of Melodeons,.. Oratorio of Engedi, by Beethoven,... ..1 00 Sacred Chorus Book, edited by White and Gould, 1 50 ..1 00 .850 Zimmer's (M. T.) Mass, for Soprano, Tenor and Mozart's Requiem, (Fifteenth Mass,) Latin and English words, S 1 00 Mozart's Twelfth Mass, ..do. 1.00 Cace BEST GRANDS, SEMI-GRANDS, and "For most decided and meritorious Improvements," FOR THE BEST PIANO-FORTE CASES, FOR THE BEST PIANO-FORTE HARDWARE, FOR THE BEST SPECIMEN OF JIG-SAWING, BRONZE MEDAL. This House was established in 1823, by JONAS CHICKERING, and up to the present time has furnished 19,000 PIANOS. For the exhibition of these Pianos in the United States and in England, they have been awarded Eleven Gold Medals, OTTO DRESEL Gives Instruction on the PIANO, and may be addressed at Richardson's Musical Exchange. Terms, $50 per quarter of 24 lessons, two a week; $30 per quarter of 12 lessons, one a week. EDWARD L. BALCH, MUSIC AND JOB PRINTING OFFICE, C. L. WATKINS & Co. (Successors to REED & WATKINS,) Wholesale & Retail Dealers in PIANO-FORTES AND MELODEONS, From the most celebrated Eastern Manufactories. WAREHOUSE and SHOWROOMS, No. 51 Randolph Street,........Chicago, Ill. Was awarded for these Pianos at the last Great Exhibition in Boston, in competition with the best makers in the country, for their fine musical tone and perfect action. Also, .For the superiority and beauty of the exterior. Every instrugive full and perfect satisfaction. ment purchased from this establishment will be warranted to Warerooms 335 Washington St., corner West St., BOSTON. WILLIAM GOOCH, TEACHER OF MUSIC, AT JAMES W. VOSE'S, No. 335 WASHINGTON STREET. S. B. BALL, TEACHER OF MUSIC, Rooms at Rev. A, A. Miner's Church....School Street, Boston. SIGNOR AUGUSTO BENDELARI Gives Instruction in Singing. Residence No. 86 Pinckney Street. ADOLPH KIELBLOCK, Teacher of the Piano and Singing, U, S. HOTEL. Piano-Forte Instruction. RESIDENCE, 65 HANCOCK STREET. WILLIAM A. JOHNSON, ORGAN BUILDER, WESTFIELD, MASS. TERMS OF ADVERTISING. First insertion, per line. .......10 cts. Each subsequent insertion, per line. .........5 cts. For one column, (126 lines) first insertion......$12.00 Do do each subsequent....$6.00 Special notices (leaded), each insertion, per line 20 cts. Payments required in advance: for yearly advertisements, quarterly in advance. No. 21 SCHOOL STREET. |