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publication * M » Leehevaljer was tor a long tune manager of the Central Cooperative Agency , and he , has sot only , written with , the advantage ; of considerable experience to guide him * but he 1 ^ preseatedimportairi docurmeats cow&ectea . with , that expexiuteuti while in . tugjuuadsw Person s * whose attention has beeot drawn- to the . Christian ; Socialist , movement , , and tos more , recent efforts for enlisting the Church on the side of secular improvements in commerce , will find this , volume full of instruction and out-of-the-way facts . The documents , ace little co-operative , state papers .
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The Sermon on tk * MounL Longman , Browa , Green l and . Longpuiia Tte JYativnal £ ehi % juid Wne to # a&Il i or ^ tkt FinancialQondition of the Nation cot * suteredi toitM JRemarks on Us tinge * , Fears , and J + os # ect 8 . Eongmon , Brw » , Green , and Longmans Memoir * tf&eVbrate&@hmaekra . BjrAaphonse-dtEannart&ie 2 vol £ . Bfehartf Benttey ; ThrmpYeors' Grmse ih tft » A * tstrttHan Co-tonjes : By BlEdtoosrf Mafone . Richard Btentlej ; The Rt&berqfBi / e- Bjb Daltom Ingoldsbj . Bfchard BfeHtiey ^ Dante ** Dtoine eamedft . Trausfcrte ^ bjr'P : Broofcsbanlc , MIA . J . "W . Parker anffStm . Suggestions for th * Future Provision of OrhmnafEvnaties . By W .. C . Hbwlj MED . JiAnfGlmwMl . CgcbpexSm ofBieffrmp fo r . BfitwTbf E@ » Bick R . © -HEb * a » d Ctv D ' mmt JMoa » V Nmvmr * . A * EBsUmcaf MHmme Bfr Zfeit Franeftco Hnwre TF 8 &-sbidai . fe w ** . Thoira tttwtttu Zfofcaga . Jl . Woeet By MortasuRa * . TTiofcft . n * mmV Sftas . £ 726 m » Zfeffe ; o ^ Tfcmgltis . Su # g *** d if a Jfe » £ n « e «* iVW £ < ttb » dL B > - Thomw Ghalmtadtte ^ rt « hha C&wpaam . Pidmre * i / ron th ^ E ( ttt . BjiJoUa ; G » ppae . < 3 a « pMHi « a < lsHallL rteJ&yrffafc-Eaw * a < ttaCcmrty ^ ftcA » fcc ! £ By Miot Jul » Gaiwn ( nb « Plw / # w . LtSca ^) . T . ttaOfiWBu i 2 « MxiaiKf £ nv ^ U- iluir Stremgtk < utd Weahm ** 8 J X . R . M-cmeU * Tr&raran&Co . ^ tw ^ wMboii ^ apwfAiS ^ arec ^ B 3 ack * 4 er and . Co . . A Tre < ii »« e . oi » 22 e £ c » .. By Jol * Cilrin . Jahaaton 8 . » odJHuat 8 Juntas . Discovered * By . UVObciffLu . I » itt % , Bi ; Qivn h an 4 ! cio » ! TAAi ^ 4 iidto ^ Z ?«^ , R ^ , ^ JE ^^ B # & , Ba tkigtu KT&eo&rffc P « 5 Bc TFdrfow £ ufi > .- ffcetr / mgorfiwee , uritk Suggestions Jot Aeir Extension and Mpro&emen& ( . Bjr Lieitte-CfotenefrA Cetton ; ' A 3 tte »; and . 'Co . TfteZlaefatTnaand &r Queentbm ;< or \ R ^/ arm < rtHeJtfyhtJEntL Bjrthe Author of ** Hbm » Troths ^ HBMBePteww ^ &c . Longman , Brawn , Gfeen , andXongipans . i 2 * pt > H » n * tt % ftrAe 5 toitt « ry Cbndrfiofi ^ Cte QitpofTioncUnu By jbhn Simon , F . B . S . Johia , W . F&rker and Son . THtns ^ Caucvsia . SkeedHetrofthc Natton * and'Bacea lettomn Hie B $ te&S& and the Caspian * By Baron Y « jnHaxthaus » n . - Cftapmah an ^ SCalL ' The YdttngPrinut Donna . By Mrs . < 5 rey . ( fttutioag E&rarj / iy & Bdottedge and * Co » TKeIndustryqftfte UhtteeTStates in'Mtiriimtry , Manufactures , and"TTstfiJTami Ornamental Arts . Compiled from the Official Reports of Messrs . WhTtwortn and' Wallis . ' Q . Eoattedge ' ani Co . 'Chamders ' s Repository of'Instructive and Amitsihg Tracts ^ W . and R . Chambers . The EhgUsV Ctfcldpcedia t a new Dictionary of Universal Khovttedjfe . Conducted bj ; Chariest Knight . . Bradhury , and Evans . ejected Edition <> fi ttie Wrtirngstof Douglas JerrotS . C ? 1 *! 8- ) . Funoh Qffice-Handfey , Cross : or , Mf . Jorroc&tfs Himt . Bjrthe Author of Mr .. " Sjong ^ s ^ prtiog Tbur /' fi * . Bradbury and Evaaa ^ TheJVeiocomea . Memoirs of a Most Respectable FamiR ^ Edited by , Arthur Fendenouk . Bradbury and £ van& . { JdfUhfs Complete Map of Russia andTvsiKe ^ shovnnQ the . &attiey North , JSSaai ^ t uxl Matt terr&Mtm Sea * - . C 6 m * s s New Mop of the Battt&Seti . Coffins ?* Ntu > afHipofth&Bbic * r S * a . Cdt&nsfs New ifap ojftfc&Dnmibe . H " . Cr . Collfnas
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THE BBITISH INSTITUTIOlf . Consuoebabluj efFoste appear to hM . Ye been made this ; jncar to < x « ader the exhihitionoC old : psintora at the rconM ^ ofi tibo > BritbkJbutitutionr move interesting ^ than it was , last time * ., and the effiwthas been successful : although with a few ejcceptiQaa , the works are r *© 4 bjr tbe highest haadu . We see , indeed , the names of Correggio , Rubens , Giorgione , Rembrandt , and men o > f « imilar grade ; but the examples of those artists are far from being in their highest ; style . Even of the miniature oil painters and ! the landscape painters , the Gerard . Rouws and Cuypa , the specimens are ft-w and sometimes infeevertneiesBtne la
nor . r * worKs are many cases cnaxacJcnstao . xSv ^ n Uorregrcio ' a stjlaia ^ . toa ^ eAtextejxt , exhibited in the S « viaur in the Garden ** ( 12 ) ; Vandyke ' s in the picture-portrait of a Lady and Child ? ' (« 2 ) orthe ** Poar ^ trait of Rubens"' ^ 7 S ); Salvator HoMk ! s in the picture which occupies the place ofl honour in the north room , the well-known ** Befisamw . ** It is a theatrical desxjm , in which the soldierly costume , the venerable heard , and the aleek youthful leaa , the whole figure thrown into a ballet-dancer ' s posture of begging , make it look more like the portrait of some eminent singer in the " part r ' than Eke the old Roman commander himself ; but it is a "Teat aittl a characteristic work . °
There are , indeed , many specrmens in the collection whi « h may be usefully atudiod in ootapariaon -with our own munters at the exhibition of the Royal Academy now open . Salvator Rosa himself has a freedom in the disposition of the limba which indicates the hand of a man whose eye was familiar with life in action—in wnstudied action ; not the mere set position of the model . For in spito of what we have just , said in regard to the style , —the conception , the feeling , wher « the vie © of Salvator Kosa ' pictures always lies , —he had that mastery of life which consists in knowing its most transient forms and shades . ilia figure ia reaily designed , not copied from the dead-alive model . 'pi 11 l ! U tllC , Bame with Cu > T' of wlloni there uro some beautiful speciineiiH . lliu l Castle and Figures" ( . ' 33 ) would alone suflicc to show how this master
feS ^ J ^ r ? Wl - a »* »« t . ^ 11 aa wWi ; Wye , all the iny diwdiMb ^ rt WMi colonrmg ,. modified , b ^ t b * general tone 3 i broiri « nd p » i al ligirti b « m to Ho ^ rt the utmost varifet ? Co alLOtt dfetidlas ^ nS ^ S SftfA ^ ¥ ^ a ^ teurs taH v » 4 ^ hii * sonar « f theTftS tha a ^ a ^ -M still We < rf ( «» « tabl » ab « 4 artkfcsia thatlim ; but iabTS k ^ «« p « i ^; ton , ^ ^ irW a ^ distinat sfiiy te e » ch 5 « ta 3 ^^ itb tS higher dWfc of Gerard De *^ , who cbaO * wifch broader li ^ ndiab « down althoughwtth not fe » eteb ^ tttely ^( Mfcod dfitea » * nd-1 STfcoth 82 « inl 5 comparedi w * th BtvahswdU « re » , in inferior narkas like lie ^ MaSISen * C 7 A > ^^ slttdent-rwi ^ iwrQ ^ v ^ tltet-a ^ ai * xia « t in poTrtstv ikdeal ^ more closely and more faithfully with the ffreatesfe 3 ** s of livW » ater «
^ Anottac uflefuLiaorailMiettloateii by the present exhibttkm b tSke necessity of Aesign to the portrait wwater ., Hfere > ib « -e 3 anapkv there are posteail » wboae vitjfcUtv , and iadmdWity , whi «» tcafiteoflife ^ m shtoet ^ would exoita uuBreavy o ^ m « Bt eCojtahq ^ tahJi ^ od ^ pDfftraksptintaaB . Bubens ^ a » portr « ve < Vy Vandyke ,. lo ok * aft if hie mns , aWt to « peat to job , aad in the pai £ l oonntenance' you ceeogBisfr ewbetly tbt « sam « wwrgjrofJ vitalitr ^ rhwbt yoit aee . in , the panTs owawotks , Rren ia "Mr .. Smath ? by BejrnoWs , tbftre i » a ^ oortam , Kfea » d ; UWlividwiiit ^ , wWch » aJfcea ; yo * « t ou » racMnvertbft < po > tj »* t q £ tha * iattBaertelipwsoBage : wbelsber-it K ^ . y ^ - ^^ " ^ the Powfex . MiMft Sioitl ^ lthft ^ &iUtuaiB ^ you ^ kttow n <^^ bAMk tk « H »« ti » , « lwei HcWwr Reynold * nor Vfeidrkfe wads nre « t historical nainter . b *»* i * < ithimf ~» th ~
portaraitufcby amwLwho haftfaewKaiited hin * wlfrwkBcded |? i ^ andtirh © waff » ccuftton ^ d . to oont cwylate original coaapoeition ., _ Wiarn tou come &a * i& toi awik -w * irk « a tb ^ ^ f VT ««« tiftB Xi » dyV % > Gi « cgione , ~ a Ttmra j&Twacfe like thd % urec » lVe 4 " Xitim ' s Daw ^ tet * "—j « u , bcm « t « neei ttet perfect Q ^ B ^ iow tto ^ wMir'signa oftbttin wiortl , apirifc , orwr ^ ki ema ^ of the fteet . Twiwcht en& 3 > lBe ih * painter to , aetaeewry detail ofitir ^ fcrare ae ifc aught W Oftttghtm . a wowmt ^ brenthiag Kfe . Thftpoctr * ifcitVd « igttr but ^ hethwi it wejre ccmid ^ d ^ as a fifflo ^ bek »^ pn « t « »» , Mito « cali «» oupc cm » t % aa ? e ; u » josnti cucoU . of « hitjli . thfc vp « cUt ( v hiraMlf is > oa ^ " it « nofcojaij arlwin ^ figwe ^ bai ifc ; hafr sympwthiaiwitit . tha-woild- aro « nd i »^ The hickw * emoti *» a ^ ow »« Atumarfe c | mesceni ^ bot vmhieitt folk f « rce « It is only in , th « , hi « jbie 8 t iw » Uk ;< rf' p ^^ -aitaui « itlttt it tha « b <> coni » idoutified vithk « t ( aufial ; p « NitJn ^ butii is only ay a » ocirtion , wittkd » to « c « l p « i « tmg uuit » tb « pojrtnuttr | icdatejr be (^^ ofchaa antiteek .: - ¦ i - : •¦ ¦
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XE PROPHETE . ' - l > / ; The re-appearance of Ylardot—at any Time aii important event in the operatic world—becomes doubl y important when the approaching retirement of G ^ nsk makes the . possession o& a , great anweo ^ maA > * i . greau-adtreas mojr& : preeiotis thaojever : to > tbe-pnblic ^ Iffow . tiuEtJ ^ oBBCif'K leav&ie ^ cb , i ^ % some oonaobitionjto know ti «* t ; Fedest haa returriecL On "Xnvrsday : mfrh ^ Meyerb ^ r ' e Pn » pte < e ; wa » Tprc » dncedjat the Rotai- ftArautJOpww . «* . tho nrsi tbne thia aefcacmi ; , aadr Viardot appe * nct < a « ia ! teeibw as Sh * liA a « dMB « ftiibtbcecfaaara « ber < ii ) BclLi it . is odlj ! tibe rimpto tyu ^ it ^ atoi&at slit haw created The great artmi was worthily irelcomedy » n ( j 5 Wmg » n ^ acted as sapecbly aa exer . Wa wen w > t abJe to remain and'witn ^ M Wr tnampha in the lattae- portionsofrtiha Tfinra , hufr hfirpflrtfrrrmfmrmm thtr —rltotf'jMurti was a » aicapiv auiipathetioju ^ rbeantifialras ; ever ^ and ! gav « adttttr « bl 6- ftro ^ . naiaei of alLi tliat . jitt £ ht h * eamected front her- later in { bfrewninffi 7-. 'jR " tha who i £
operatic laJfes ^ jusa thebrr arm * a « they were telunrapha ^ snd > > irttttgin « afl the wiiiLe : that , ther are : actings couhi onljr took ; at Yiardbt inr ^ e Be 6 Hie > with her aoniaften he hatf aaredsher KfiB ty < graa * up bis betrothed , how much they might learn , had the *; oniy the powev of prentin ^ -byOineo ^ 'tkie noblest practical lessons ever exhibited en- theatage ! Were we desired to point to any one proof of Vuu * totte < e 3 EeeHenee , we should indicate this short seeae * which , in- dm snnpGe i ^ r ,: defKtads fbfr its : efl « ct ? Btotre ^ att > iu >^ otli « T in the operai onthc dravaadbi £ tcuhpaf tiw anagieri Wei hove ^ leeit more than oner . Fide * on -rarioua stages abtoftd : who nasfprored ) creditablr ^ nal to tbet famous cai ^ dxal ^ entoatkn ^ in theci Y ( M )^ rift- ^ re hare' only seen < ma
I ? laesvm : tha scene withiJeaai , attenhe kas resigned Bertha ; amf tkatrone u ' Viardot . On Thunday ni ^ fat her sinking in this part of the opera * was a » sweetly and sotaraWrpathrae ^ her acting as quietly moumfbli m itsek ^ ttiettft beauty , as evert We would advise , anp of auri readers ^ uonsed to ^^ tm fltago ) who may witness this remarkable performance , to walckhett Ulexifci * ' attentively , wben she leases her aon , and « aats one parting lock at him before sha go « a . It , is > tfeft akott pmfaet examnie that own b » citoed ^ now thar Regnier and Madame Allan , are no longer at tne St . James ' a Theatre , of what genius and study together can do towards producing the most genuine and touching truth of effect , out of the , exercise of- the most essentially artificial of afl
Arts—taw aril of agtmgt The opera was adjnjrablyi performed—Tamberlik being * a little nervous at fiorsfc , bui , soon \ wxcommus all the resources of his miigaiffceuir vaice and vindicating tne ^ repattttion Ke fas fairly and conscientiously earned * as the greatest draB » atio-tw » oF now on the stage . In some of the chorttsres » , boflr the orchestra and the singers struck us as being a little overloud . Foaubly , however , the music is to bUma for this . Admirable and tunable as it ia , it takes the ear too noisily hy storm every now and then . Ia it always , nficeasary , to produce dramatic effect in " grand choruses / 1 that the stage ahonld be in full roar and the orchestra in full crash P Remembering some of the ** grand choruses" in Rossini ' s Mose \ we venture , in all humility , to think that it is not . TT .
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XE BIJOU PERDU . On Wednesday night , the Comic Opera Company of the Theatre I * yviqu 6 , at Paris , appeared for the first time at the St . Jambs ' s Theatre ,, before an . English . audience T mid , thauks to the attractions vocal and personal of the prima donnat Ma < lame GAUJMb , acbieved a decided and a deserved , success . The opera selected for the opening night was the Bijou JPerdu , by Messrs . De Leuven and Forges , sot to music by the inexhaustible Adolpbe Arfam . Of the tstory , it ia only nocossary to say that it is of the cou-ventional ( French ) kind . We have the traditional booby and dupe o £ historical
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Junk 10 , 1854 . ] THE LEADER . 5 ^
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Leader (1850-1860), June 10, 1854, page 547, in the Nineteenth-Century Serials Edition (2008; 2018) ncse2.kdl.kcl.ac.uk/periodicals/l/issues/vm2-ncseproduct2042/page/19/
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