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Cnmnterrial Mara ,
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S T . J A M E H ' S T ir 11 A T It E . On Monday , Jumi 13 , will he porformud ( for the laflt time M . Kiuilu Augier ' n New Piny of 1 ) 1 AN K . On Wfidnonday , . Tune 15 , will he i > r < idii ( ifld LADY-TAKTUFFK . Le Mnrechttl d'HBti iiv , M . Cliery -lleetor < le Rentioville , M . Rttphwl- Le Huron di > H Tourbieres , M . Re « nier ¦ - M . de Ht . Iriex , M . Creey - L « ionnrd , M . Gauthier—Tin Areliiteote , M . LeoiH .-fl- La ComtoHHe de ( Fairmont , M < lme . Arinaud - Jeuniie , Mdlln . I'nhnyre—Mdtne . Uerthollet , Mdlle . CroHtiier Mdme . DurtimniM , Mdlle . llcrtin — Mdino . Courlin , Mdlle . J > urey—Virj ( ini « de Hlomjae , Mdlle . Jtiu'licl . HoxeH , Htnlli , arid Ticketh may lie ol > tuined at . Mr . Mitehell ' H , 33 , Old Hond Htreet ; and at tho Dux Ollloe of tho Thuittre .
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( German IPiajy ^* ST . JAMES'S T II E ATR 15 . Mr . Mitchell respectfully announces that a Swond Season ol German l'lays will he commenced at thin Theatre on the lot ol Inly , at tho uIoho of Mdlle . Rachel'H engatjenuiiit . Enfjii ^ onients have been made with the following eminent artistes—Iferr JSmil 'Dovrient , from Dresden ; Jlerr DesHoir , from Itejlin ; n <> rr Oabillou , from lliinovcr ; llerr Frey , from (/ olopne ; Frulein Fuhr , from Itcrlin ; Fran Ht ' olte , from Cussel ; l ^ Hteck , from Darmstadt ; Horr Malntayer , from Leipsie ; Herr Thomas , from Merlin ; and a complete Company , consisting of Twenty-Four Persons . Jlegisseurs , Ilerrn PiHidier and liirn-Ht ill , from the Duoal Theatre , Darmntadt . The principal productions this Hoason will consist of William Tell , Hrido of Mensina , Donna Diana , Fiesj-o , Torquato Tohho , Othello , anil Tiuninf , ' of the * Hhrew , Iiy Shakspeare , and tho popular Plays of last Reason— -Faust , K ^ inon ) ,, » n < l Hamlet . The pcrlornmnccH will he fjiven on Mondays . Wednesdays , Fridays , and Huturdays , during the month of . July . A Hubscri |) tion for tho Heries , or for one or two nights a week , may bn arranged at a considerable reduction upon tho nightly ]) ri « es , at Mr . Mitchell ' s Jiihrary , 33 , Old Uond Htreet .
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MR . AIAimi'V SMITH'S MONT BLANC , . KVKltY KVUNING , at , Ei hl ; o ' clock , eicept Haturday . ( Stalls , 3 h . ( which can bo secured at the Itox-ofllco every day from Hleven till Four ) ; area , 2 s . ; L'allery 1 h . A MorniiiL' Pi ' iformance every Tuesday and Saturday , at Three o ' clock . A View of tho celebrated Mer do Glaeo , from Moutanvera , hua been added to tho Illustrations . Egyptian Hall , Piocadilly .
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form one sentence ; these Choralists shout the first line , and drop to a sudden whisper at the second . . . m . nnncerfa have With thi / one criticism I emphasize my praise ^ he concerts liave been immensely successful , and f only regret that ^ j ^ ^ ^ extend beyond next . Saturday , for never have we m England Had such an opportunity of learning grand choral ejects . aaaann nf Apropos of Germans , let me announce the second season ot GERMAN PLAYS , . which will commence on the 1 st of July next at the , St . J ^ s Theatre ^ The company , headed by Emil Devxient includes Dessoir ^ Jgjn Fuhr from Berlin . But where is the actor of last season , ^ £ ™ fc Of Dessoir one knows nothing here ; but , unless he is at least equal to Kiihn , the prospect of unmitigated Devnent is not cheering .
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THE ROYAL ACADEMY . II . LIFE IN PAINTING . We persist in contending that the power of the artist lies in the mastery-: which he possesses , through observation , corrected by practice wijft ; tne £ hand , over the transitory forms and composition of animate fagufes , ot . vegetation , or even inanimate substances , —passing traits which marie the character of life and motion . The mastery in this portion of art is necessary : for a two-fold purpose : in the first place , to complete that portraiture ot life , which would be nothing but a dead image without it ; and secondly , to complete the design which the artist calls up in his imagination before he sets to work . Unless the artist is as familiar with this transitory aspect of life as he is with the ' fixed forms , he can make nothing but dolls and toy trees ; and even the houses will be dead , for they will want the flicker of light and the motion of shadow . The feelings affect the countenance , not only by altering the forms , which are incessantly changing under emotion , but by altering the colour . Even the texture , — -the comparative moisture on the skin , the wateriness , or the strain of the eyeballs , the Row of blood to the cheek , not only as to its intensity but as to its pattern , —are altered by comparatively slight changes of emotion . It is the power of catching these traits which appears to us to give Millais the superiority over his contemporaries , and he possesses it m the noblest and most difficult part of the painting , —the countenance . The Puritan girl who is bringing bread to " the proscribed royalist , is as positive , though hardly so interesting an example of this power , as the Catholic girl who was trying to disguise her Huguenot lover . It is not
so interesting , only because the emotion pourtrayed in itself is not so interesting . The Catholic girl was under the sway of love and solicitude , and was using her gentle power , and by that conjunction of feelings she represented some of the most charming traits in the female character . The natural uplifting of her face , the softness of her eyes , a certain drag of sadness in the cheek , and the gently chequered complexion , marked the beautiftil working of those feelings to the eye . The Puritan girl in the present picture is an example of female kindness such as might illustrate Ledyard ' s celebrated " Praise of Woman . " Perceptibly there is nothing that is called love in the case . A gentleman is concealed ; a
young lady is bringing him bread ; her attitude is perfectly natural , with one hand in the pocket , and the other giving a portion of the food ; and unconscious , apparently , of the kisses with which the aid is received , she is glancing around , to see that she be not observed . Kindness , sadness , and anxiety , are the leading expressions of her face . Her form is slender , but the outline of her face is rounded , and her cheek is dappled with emotions . The cavalier is hidden in the corner of a coppice , of which the tangled brushwood encloses the view . He lurks in the hollow of a large tree , up the sloping trunk of which the moss has far
invaded . The brightest sunshine falls upon tho silk and satin dress of the girl , showing the latter with a metallic lustre ; the ground is strewn with tho leaves of long accumulating years ; a butterfly rests in fragile splendour upon the gnarled bark : tho accessories of the scene are as lifelike as its principal figure . Some portions appear to be painted with less care than other paintings by the same artist , —parts of the foliage ; and in the figure of the cavalier especially , the handling , to use perhaps too strong an expression , is in some touches almost daubed . We do not think that it gains by thus falling into the routine licence of modern artists .
Perhaps the mos ^ owerM piece ^ V ^^^ T ^ fr ^ ot iSlSsSKSs * SL ZZ 2 & ^ S ^ fei ^ Sfe . n ^
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SfeSSSS ^ K ^^ g of the brown tone , appears to be a separate study , worked in one material and grouped to give the idea of the grouping for a picture wioutreaLi 5 th epicturi Nobody . seems ** f ^ ^ j ££ his business The Empress Josephine is sidling to the task of signature w ^ h the pose of at&gedy Q ? eea whose salary ^" ^^ Napoleon is looking on from a distance , as if . he were making up his countenance for the audience ; and Talleyrand displays himself from the back ground with the like considerateness . It is a compilation j but W 2 & ££ " * " S ^ fined to the yo uth of , our dav , even ia
painting ; for there is one artist who appears to us w u « « vcx " " ? " tW student ? and ever improving , although * he has been browned under the sun " of many summers ,-wt mean Sidney Cooper , whose pictures ^ this year , all of tLm , are equal to his repute . Every season appears to ^ to give him a further keenness of eye , and a further skill of hand to catch the ^ changTs of atmospheric aspects . His landscapes now areequal his figurls , and that ^ s saying much for so admirable a grazier ofthe palette . The test of life is everywhere perceived : the wind , which is fluttering the willows , is also seen gently swaying the pendant tails ot the cattle , more gently where they are' under shelter ; and thus without any straining of boughs , or staring streaming of the hair , the effect of the fresh breeze is seen throughout the whole picture . „ ... ¦ , It does not matter whether you take it in atmospheric eflect , m tlie growth and action of vegetation , in romantic painting , m common life , or the sublime . Webster ' s Dame School , where the old schoolmistress is dozing and her scholars are waiting in tolerable patience , and are exchanging sportive or sarcastic gestures , is full of this mastery . ± ne attitudei uie
play of youthful life is seen m every teature and every , rom angry dunce in the fool ' s-cap , who is making mouths behind the teacher , to a pretty little girl who is offering a cat ' s-cradle to a playmate . " Kuth sleeping at the feet of Boaz , " in a peculiar curled attitude , as if she were rolling off the bed in a dream , while Boaz passively sits , overwhelmed by tho accessories of his own costume and other properties around him , is a laborious " effort , " but it is not sublime , because it is unreal and dead . The simple figure of tho young Jacob drawing Rachel to him to give her the first kissin Dyce ' s picture , is infinitely more sublime , because there is
, morolifo of action and primitive emotion in it . Upon the whole , however , tho fi'nires of life in the Exhibition this yesvr are comparatively few , and we are glad to avoid the mention of several painters , whom we believe more likely to do well next year , because they have dono infinitely better in past years . Several are away altogether ; and others appear to be away in spirit .
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FOREIGN FUNDS . ( Labt Official Quotation dubing tub Wbkic infama Fbiday Evknino . ) Austrian IMs . Cp . CtH .... 08 J I Kussfan B p . Cents , 1822 U 7 £ Urazilian New 4 h > erCts . OHJ ! Itutwian 4 J per Cents . ... 102 i Brazilian New , 1 H 2 !> & 3 (» 101 ' Bardinian Uonds »!«} Graniulu 22 ' ¦ Npanish $ p . Cont « 48 J Orimiidii Deferred 1 )} Hpanishllp . Cts . New Def . 23 Mexican 3 p . Cents . Acct . [ Swedish Loan 2 i « lis . Jumh 15 27 S Dutch 2 $ per Cents « 4 £ Peruvian 44 pur (' onto . 85 i Dutch 4 per Cent . Ccrtif . M > Portuguese 4 pur Cents . Ill )} i
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BJU 1 T 8 H FUNJ ) fl FOB TJIK I'AHT WEEK . ( Cr . ONiNO Phicks . )
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Satur . Monti . ^ Tuc * . Wedn , Thur *} Prid . Bank Htook 230 1220 221 ) ' 421 ) 8 per ( lent . Rod 01 » \ W >\ 1 )» J M >| »» J 1 > H | 3 por Cent . Con . Ahh . almt 0 » l M > j [ shut shut hIiuL Consols for Account ... 111 ) 4 <> "i >» H fi " t 1 ) H 4 1 ) 8 i Sj per Cunt . An 101 J K ) lj 102 1011 101 J 1011 Hew G por Omits abut bIiu ( Loiik Aim ., 1 H ( I » C > 1 H » J India Htork 2 ( 13 201 Ditto Honds , . ci ()( K ) . ' . 27 25 32 28 » 2 3 B Ditto , uiulor jJKKM ) ... . 25 32 2 !) 32 Mi . Hilln , . C 1000 r > p ( I ,, () p Hp <( p 5 p Ditto , ATM ) f , J , « j , « J , Hp Hp Ditto , Hmull r > p ( I i > Op JO p Hp
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CITY INTKLLT ( 5 ENCK . i CORN MAltK ' KT . Murk Lane , Friday , Juno 10 , 1853 . Turkic » ro inoderuto arrival * of Wheat Hince Monday , und Himijl <) '' Hurley und Oii < h . TJm VVhent ( indo i « very linn- - higher ]> ri < M'H were axked \> y Hellers , and ut AlondiiyH ruteu n l » rge biiHiimus would hiivo l >« on done . Outs iirotid . to 1 h . dearer . No alteration in llurloy , i ' oanN , or Penw .
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Citation
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Leader (1850-1860), June 11, 1853, page 574, in the Nineteenth-Century Serials Edition (2008; 2018) ncse2.kdl.kcl.ac.uk/periodicals/l/issues/vm2-ncseproduct1990/page/22/
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