Barber of Seville; and although the version is far inferior in its arrangement when compared with that now performing at Drury Lane, the part has been sustained in a manner truly beautiful. We were well assured, from the first moment when we witnessed this young lady's appearance in London, that she must succeed. There was an exhibition of so much taste and soul, as it were, in her delivery of the Cinderella music, combined with so much of ease and lady-like bearing; and now, wondrously improved, we find her as accomplished in her art, as any female on the English boards. Miss Inverarity, be it remembered, is young, and if she be not at the present moment capable of imparting so much physical force and energy to her performances as Mrs. Wood, judging from the progress which time has already enabled her to accomplish, it will, ere long, leave her second to none in this particular. But Miss Inverarity possesses one invaluable quality-that of intense feeling, and a correct taste which leads her to sacrifice ornament to propriety, and to seek for approbation in the only legitimate means of securing it. "An old Man would be wooing" was warmly encored, and every portion of her part most favour ably received. We never remember a more unanimous round of applause than greeted her first appearance. Wilson proved him. self the best tenor singer of the day. And Penson was amusing as Figaro.

The present is, without exception, the best Pantomime produced at this house for many years. The inventive genius of Mr. Farley seemed of late to have forsaken him, but this year it has returned with renewed vigour. The present subject is entitled, and is very similar to that at Drury Lane, Hop o'my Thumb, being enacted by the clever little Miss Poole. We have not space to minutely describe all the many little happy portions of her performance, but it will suffice to say, that she acquitted herself with great judgment. The scenery is principally of a very pretty character; and a Diorama, by Grieve, exhibits, with great fidelity, the procession and spectacle on the opening of New London Bridge. The tricks are numerous, and some of them highly to be praised for their novelty. Paulo is the very best of clowns. Ellar, excellent as Harlequin; and Barnes, second to none, but Blanchard, as Pantaloon. The debutante, Miss Davis, acquitted herself to the great satisfaction of the audience.

It has been currently reported that the managers of the great houses have served

notices on those of the minors, threatening proceedings against all who venture to act the regular drama. We have also been much pleased to hear that the principal performers of Drury Lane and Covent Garden have subscribed to back their managers in carrying into effect any proceedings needful to promote this determination. We trust both these rumours are true, since we are well convinced that such a line of policy as that which they infer is to be acted on can alone save the drama from total destruction and disrepute. By the support or failure of the large houses will the drama and its professors stand or fall, and we cannot but too strongly urge on the proprietors of each a reasonable enforcement of all that the law has armed them with. We would, on the one hand, remind them of the property they have at stake, the difficulties they have to contend against, the almost impossibility of keeping open their houses in the present order of things, without the greatest positive loss; and, on the other, strive to incite them to the fulfilment of their duty, by a contemplation of the important obligation which they owe to the public at large. To our national theatres the people look up with some degree of reverential feeling, with a certain degree of regard. We hail them as the correctors of our taste, our morals, and our feelings-as the means of diverting the attention of a widely extended population from subjects that, politically considered, are best turned aside from their minds, and as the rational source of moral entertainment and pleasurable recreation from the anxieties and fatigues of the day. These are, or at least have been, the views of men high in power, in rank, and ability, and the wisest politicians, of whatever party or creed, have concurred in the importance of their support. With a publication like our own, where space is but limited, it is impossible to enter upon such a subject with the extended degree of argument it calls for; and although, in our sincere regard for the interests of the drama, we have upon several occasions expressed our sentiments in a most decided way, have pointed out conduct to be approved and follies to be deprecated,* yet we must allow that they have been intended rather as hints towards the furthering of a general benefit, on which others might build their fabric. But it does certainly excite our wonder that scarcely any portion of the public press should be found beyond ourselves, with our limited capabilities, to stand up in defence of the true interests of

the stage. There are numerous periodicals to assail, very many to take the part of any irregularity committed against, the major theatres, but we can discover none as yet aroused sufficiently from their lethargy to advocate the cause of justice and common sense in the matter. We would urge them then to their duty, to the display of that talent and ability which it is our country's pride to boast, towards an impartial but earnest consideration of this important subject, knowing well that argument in print, sensibly conceived and wisely pointed, must prove the ultimate means of the cor

rection of abuse.

To the performers we would urge the support of the great theatres, as they would wish respectability to be attached to the profession of which they are members. Let them give their unanimous assistance towards furthering the good cause, and they will retain their rank in the world's estimation -otherwise, let them be sure that degrada tion will ensue. Mr. Chapman has recently been cast in several penalties, for acting the regular drama, and it would appear, that considerable sympathy has been excited in consequence. What are the facts? this gentleman, however estimable his character and views, has the folly to conceive that he should be able to make an excellent speculation by opening a new theatre, in a dirty street in the city, and in defiance of the law of the land, is forthwith guilty of committing a variety of irregularities, tending to inflict the deepest injury, for which he is forthwith made amenable in a court of justice. Who will venture to assert that he has not properly been taken to task? We have before stated, and we now repeat our conviction, that the want of support of Drury Lane and Covent Garden, is mainly attributable to the vast numbers of other houses open in every hole and corner of the metropolis, where the regular drama is caricatured and murdered, and that the arguments which have been held out regarding the depression of the times, are quite fallacious. We can nowhere discover any diminution in the indulgence or enjoyment of any class of the community, and we are quite sure that, taking into consideration the numerous audiences collected in various parts of London, the drama is patronised more now than ever. An attentive consideration will doubtless speedily be given to the subject by the legislature, and we hope, that some enactment may settle all differences, on a fair but firm system. There will be doubtless an extension of privilege to some theatres, the propriety of granting which, taking the amount of population into consideration, we admit, but we

trust that a certain degree of protection may be reserved against their present further increase.

THE SURREY.

This theatre has been closed during the greater part of the month, in consequence of its having become insecure in a portion of its construction, and the whole of the interior has been rebuilt, at an expense it is said of three thousand pounds, by Mr. Osbaldeston, who has become the lessee. The appearance is now truly elegant within, and vastly improved; and if we may augur from the good sense displayed by Mr. O. during the time he so excellently fulfilled the duties of stage manager, we have every reason to anticipate that the well-earned character of this establishment will in nowise suffer by the change.

The winter season commenced on Monday, with the Sorcerer; the opera of Cinderella, in which Miss Somerville sang most delightfully; and, for the first time, a new pantomime, called Old King Cole, or the Fiddlers Three. The scenery is, for the most part, very pretty; the tricks, numerous and good, and the characters well sustained. The Columbine of Mademoiselle Rosier was extremely spirited, and indeed we may say, she is the best representative of that part now before the public. Honner makes a very respectable Harlequin, and old Hartland and Asbury well complete the corps. We find amongst the company newly engaged here, are Elton and Cobham-the latter as stage manager-and almost all the old favourites are retained. A better male tenor singer, however, than Edwin, is sadly wanted Ransford's bass is excellent. We wish this theatre every success.

:

THE COBOURG.

The manager has here been, if possible, more indefatigable than ever in his exertions, and certainly deserves all the success he meets with. A new play, called the Wizard Skiff, or the Pirate Boy, has introduced to us Mademoiselle Celeste, who is possessed of great talent, and, as a dancer, is unsurpassed on the boards. There is so much ease, combined with real grace, in her movements, that it commands a never failing acknowledgment of her ability. A new pantomime has also been produced here, which, for fun and frolic, will yield to none of its compeers. It is entitled, the Witch of Edmonton, or Nobody and his Wife. The part of Clown was sustained by young Grimaldi, who managed to keep the holiday folk in a continued roar of laughter. His activity, considering his bulk, (having become very stout since we last saw him,) was astonish

ing. Elliott was a good Pantaloon, and G. Smith a tolerable Harlequin. We can see no good reason for bringing Mrs. Searle here to play Columbine, from Sadler's Wells; we do not at all admire her in the part. Could not Mademoiselle Celeste have been prevailed upon to accept it?

Some of the scenery is very well painted, particularly a diorama of American scenery, by Phillips. We copy the words of the bill:-A Picturesque Tour from New York to Hudson River, ending at the stupendous Cataract of Niagara, commencing with a general View of the City of New York; Approach to Governor's Island; New Jersey, Hoqoken Ferry; Wehawk, or Wehawken Bluff; Passing Jersey Flats; the Palisades; a Dense Fog; the Storm subsides, and the view shows Tampa'an Bay; Passing the Islands; the United States Academy at West Point; passing

under the Wooded Banks of Polypus Island, we reach that broad and beautiful expanse of waters which form Newburgh Bay, by Moonlight; passing onward, we arrive at Catskill Point; and thence to the stupendous Falls of Niagara.

ment.

This was much applauded. Several of the scenes were highly humorous, particularly a squib on the Lions; and the lottery ticket 909, which, by being turned upside down, reads 606, and occasions an endless source of speculation and amuseGrimaldi sang the song of Hot Codlings" with very great humour. Altogether this pantomime is very creditable to the establishment, and will, we doubt not, prove the source of profit. We understand that a variety of novelties are in active preparation, and that several new performers are engaged.

THE HARMONICON. A Monthly Journal of Music for December, 1831. Lougman. THE number this month offered to our notice ably concludes the volume for 1831, and we may truly say, is nowise inferior in point of talent to those which have preceded it. The papers contained in it are a memoir of John Bates, Esq. which is replete with interesting anecdote; an able letter to the Editor on the Odes on St. Cecilia's Day; a paper on the New York Paganini, Mr. Canderbeck, which speaks most highly of his abilities, not alone as a mechanical trickster, but as a performer of true taste and science; this paper also adverts to a contest now carrying on in New York, regarding the comparative merits of Miss Hughes and Mrs. Austen, who, together with Sinclair, are singing there, and are great favourites. We have next a notice of the works of Beethoven, admirably penned; the Ecclesiastical Choirs of Great Britain and Ireland, continued, embracing a Notice of Westminster Abbey; and other admirable papers, reviews, &c. From the entertaining Diary of a Dilettante, we extract the following anecdote of Catalani.

"The transition from parts of dramatic dignity to the character she supported in private life, was never more easy than in the case of Madame Catalani. In person, manner, and discourse, she was noble; and one was too often disposed to confound Catalani with Semiramide. The unusual respect shewn to her by crowned heads, seemed less accorded to the actress than the woman; and whether on the stage or

at court, it ever seemed that elle aspirait à descendre. The last word pronounced, it is said, by the King of Bavaria, was the name of the Roman songstress. The Grand Duke of Hesse Darmstadt took his seat in the orchestra of his theatre, as leader of the band, in honour of her genius; and even the Emperor of Austria forgot all meaner arts in admiration of Catalani. Charles John, of Sweden, himself conducted her through the Royal Museum at Stockholm in 1827, where two magnificent vases of porphyry attracted her admiration; and some time after, a similar pair was forwarded to her at Paris, by the gallant Prince, who deemed twenty thousand francs not too costly a tribute to the enchanting actress. Yet all her sympathies were not devoted_to_royalty; for having visited Cracow, and consented to sing for one night at the public theatre, when the enormous amount of her engagement was tendered her, she returned more than the moiety of the sum in aid of the erection of the monument in memory of the patriot Kosciusko.

"At Weimar it was Catalani's good or ill fortune to be placed at table next to the venerable Goethe. It was intended by her illustrious host as a mark of respect to the fair Italian; but the lady was little acquainted with literature in general, or any other poetry than that which the fair translator to the King's Theatre murders so exquisitely for the benefit of its British_frequenters. The peculiar attention paid to her neighbour, added to his imposing ap

pearance, attracted the curiosity of the syren, and she inquired his name. The celebrated Goethe, Madam.'-' Pray, on what instrument does he play?' was the next interrogation. Madam, it is the renowned author of Werter.'-Oh! yes, yes, I recollect.' Then turning to Goethe, resolved in her turn to compliment the aged poet, 'Ah! Monsieur," she exclaimed, how greatly do I admire Werter! A low bow answered the distinguished eulogist. I never read anything so truly laughable in my life. What a complete farce, Sir,'-' Madam! The Sorrows of Werter?' -Oh! Sir, was ever anything more truly ridiculous?' continued the laughing lady, as she recalled to memory-What?-a purody upon Werter, produced at one of the minor theatres at Paris, where all the sentimentality of the Teutonic swain had been cruelly but laughably burlesqued. The poet's nerves were sadly affected by the applause so equivocally lavished on his unsuspected talent; and the lady's credit was sensibly diminished at the court of Weimar, by her ignorance of Werter and Goethe sentimentality."

In the Foreign Musical Report from Vienna we find the following:

"Mademoiselle Meyer, the famous female performer on the flute, has been playing lately at Venice with great applause. She certainly not only exceeds any thing that could be expected from one of the fair sex, but has few rivals even when sex is put out of the question. Her execution throughout the whole ccmpass of the instrument, is rapid, tasteful, and correct, and her higher notes particularly clear and brilliant. Boucher (surnamed the flute Paganini) is gone to London, to secure, if he can, a portion of the golden fleece. He is said to surpass either Fulon or Drouet."

Heaven defend us from any more Paganinis.

"We

The music consists of the Overture to the Opera to Fiorella, composed by Auber; a Finale, by Adolphe Adam of Paris; a Romance, composed for the Harmonicon by Richard Webster, of Glasgow ; only hear the word Farewell," from the Musical Bijou, composed by Barnett, the words by Thomas Haynes Bayly; an Air by Auber, from the above mentioned Opera; a Tyrolienne Ballad, from the Musical Gem; and a March from the Ballet of Zeila, composed by P. Lindpainter. These are all excellent in their respective styles, and form as pretty a collection as we have yet had presented to us. In conclusion, we cannot but heartily wish our contemporary a happy new year, and all the success which its merits warrant.

MELODIES. The words written, and the music composed, by Mrs. Alexander Kerr. Novello, Frith Street.

We have an apology to offer to Mrs. Kerr, as well as our readers, for not resuming our critique on her elegant volume last month. "Better late than never," however, is an adage which we trust will avail us to a certain extent, and we will endeavour to make our peace by a delivery now of our honest opinion, regarding the merits of that portion of the volume as yet unnoticed. We have already praised the poetry, and it now, therefore, remains for us to speak of the music of the songs, which we have had the fullest opportunity of trying ourselves, as well as of hearing them warbled by voices the sweetest and choicest "in our dear love." The result has been in every respect favourable; we have placed Mrs. Kerr high in our esteem as a musician,-and why? she has displayed the best taste, and sought to appeal to our hearts by lays the most touch- ' ing and congenial. She has awakened our sympathies by the plain but faithful transcript of the outpourings of a heart, whose devotedness and fidelity form its noblest and most charming attributes. Such characteristics cannot fail of meeting with a general favour with our fair subscribers, and indeed we know not that we can more oblige them than by directing their attention to this work. The work is splendidly got up, illustrated by nine engravings in a very superior style by the first artists, and is altogether the most elegant production we have met with in the musical way. Mrs. Kerr gives only her initials as the stamp of authenticity to the volume, but she would have added still further to the attraction of the work by a greater portion of her hand-writing, which is the most lady-like in the universe.

THE CADEAU; a Christmas, New Year's, Midsummer, or Birth-day Present for 1832. Johanning and Watmore. In our last we reviewed the poetry of this elegant volume, and if we then could "pick a quarrel" about the manner in which that portion was got up, we certainly can find no fault now with the music, which is chiefly foreign, and of a very sterling character. We notice in particular a beautifully arranged set of quadrilles from the Emissary; and many of the ballads are very tasteful. As regards the music of this annual, we deem it superior, indeed, to that published in any other, and cannot but heartily congratulate Messrs. Johanning and Whatmore on their success. We made some observations last month about the conducting of the work, which, they will be sure,

A FIGURED satin dress; the ground is pale lemon-colour, the spots, vallière; the corsage is made very low behind, and falling very much off the shoulders, but something higher in front. The back is plain, the front, in crossed drapery; the folds are very deep, and disposed round the upper part of the bust only. A blond lace ruche borders the top of the corsage. Short full sleeves, disposed in falling plaits. A light fancy trimming borders the skirt above the hem. The head-dress is a crimson velvet chapeau beret, trimmed under the brim next to the face with a gold net, in which are inserted two long white ostrich feathers; gold cords and tassels, with a bouquet of ostrich feathers attached on one side of the crown, complete the trimming. The jew ellery is of massive gold.

SECOND EVENING DRESS.

It is composed of bleu de Roi, watered gros de Naples. A low corsage, forming the exact shape of a heart in crossed drapery before and behind, low upon the shoulders, but rising in the centre of the bust, so as only to display the blond lace trimming of the chemisette. Canezou of blond lace of the pelerine-fichu form, arranged en cœur, by knots of gauze riband in the shoulders. Amadis sleeves, the full part composed of the material of the dress, the tight part of blond lace. Coiffure a la Clotilde; the hair is combed entirely off the forehead, and disposed on each side in corkscrew ringlets. The hind hair is plaited with gauze riband to correspond with the dress; the plait wound round the head, and surmounted by a tortoiseshell comb beautifully curved, gives the head-dress the form of a crown; a sprig of foliage, composed of riband, droops from the back of the head into the neck. The jewellery is of gold and emeralds.

BALL DRESS.

A dress of gaze satinée, a white ground figured in a new pattern of chocolate and vallière. Corsage, à la Grecque, with double beret sleeves, arranged in falling plaits. Coiffure à la Malibran. The hair is parted on the forehead, and disposed in a full bow, which is placed rather low behind. A

guirlande, à la Ceres, goes round the head, and a bouquet of white ostrich feathers surmounts the bows, and mingles with them. The jewellery is massive gold.

WALKING DRESS.

A gros des Indes pelisse, of the new fancy colour, Esmeralda. The corsage, made to set close to the shape, is arranged in the heart style, by lappels, which also form epaulettes: they are embroidered in silk a shade darker than the dress. The sleeves are of the long gigot shape. The front of the dress is very richly embroidered in-the form of a broken cone: it is also ornamented with a twisted satin rouleau, from which double coques of riband issue at regular distances. The border is embroidered above the hem. The head-dress is a black velvet capote Anglaise, trimmed under the brim with coques of vermillion gauze riband. Plumes of cocks' feathers to correspond in colour, and knots of riband, ornament the crown. The cap and the collerette are of tulle.

GENERAL MONTHLY STATEMENT OF

FASHION.

There has been little alteration in promenade dress since last month, and nothing of actual novelty has appeared. Mantles seem rather more in favour, and shawls less. Muffs have also increased in favour, and we see, occasionally, fur tippets of the palatine form; that is, with large round backs, and broad deep ends substituted for boas, but the latter are still considered more fashionable.

Plain velvet, and uncut velvet, are the materials most in favour for walking bonnets. The prettiest and most appropriate, in our opinion, are those with low crowns, short at the ears, and with projecting, but not deep, brims, which are rounded at the corners. They are simply trimmed with plain, broad satin riband, which goes once round the crown, and, crossing in front, descends on each side of the brim, and ties under the chin. We see, also, some of the cottage shape, with very small, square brims, and low narrow crowns, which are almost in a line with the brim: these last are most fashionable, although not the most