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Note: This text has been automatically extracted via Optical Character Recognition (OCR) software. The text has not been manually corrected and should not be relied on to be an accurate representation of the item.
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out a pleasant incident , morbid and miserable from first to last , beginning and ending with death ; composed in a style of lurid exaggeration , false , fantastic , and repelling . The mortality is fearful . In chapter I ., a mother and daughter are blasted by lightning . In chapter XVIII ., the heroine is stricken m the heart and dies . The interval is full of weeping and gnashing of teeth - All this is designed to illustrate the evils of avarice and hypocrisy . A clergyman stifles his convictions for the sake of his phlethoric living , and from that direful spring of cupidity and duplicity unnumbered woes arise , unctiously and dismally set forth by A . J . Barrowcliffe , who , for the nonce , is Lilian O'May , of Amberhill . mother and sister
Lilian O'May ' s first reminiscence is that of seeing her struck into a black mass by a thunder-bolt . She yearns to follow them " the red wings of fever ; " but , through " a long penumbra of partial darkness" comes once more into the light of life . Her fate is , at an early period , influenced by the presence of a barrister , with thick lips , " like those that fatten-ladly on the sugar-cane ; " and by Cyril , a young poet , who accidently utters a reproach to the conscience of her wretched father . She would sooner " have kissed his dead lips , " though she loved him ; " or given poison to his living ones , " than heard him speak those words ; " scalding marks of passionate tears ; " " eternal blood-spots ; " the " passion flowers of impetuous joy ; " other tropical influences , introduce a curate—a devil in holy
orders— a pale Caraffa , whose room is hung with allegories of outer darkness and perdition . Reproving the frivolity of Lilian ' s life , especially her taste for poetry—" the red wine of the vintage of hell" —he " looks like the very stoker of the infernal furnace , " and " the white light of a new terror " flashes out of his eyes upon the Lady of Amberhill . This Satanic undergraduate pursues her as if " licking his chops , " and she pursues us , the strange vigour of her narrative drawing us on , in spite of her sickly vanities and corruptions of style . We can promise no one any gratification from reading Amberkill . A . s to the moral , it is a truism stirred into froth . But A . J . Barrowcliffe , after severe correction , may reform , and make better use of natural powers whicli , in this book , have been degraded .
The Monctons suggests no criticism . It is the old , old story of deeds , wills , iron chests , mystic parentage , virgin brides , octogenarian suicides , pride brought to sweep crossings , virtue chastened , sweet girls , with heads hung like laburnums , -with golden clusters ; a peril , a rescue , gratitude , and a marriage procession , turned into a funeral . Susanna Moodie thinks she has produced an original effect when she describes Moncton , senior , cursing his son in the style of the cabstand . Whereupon Moncton , junior , referring to the subterranean fires indicated by his father , remarks , that doubtless his parent wishes him to be there , that the family union may not be dissolved in the next world t Here , near the catastrophe , we stop .. Is the reader anxious to know what feecame of the angry father and the ironical son ?
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T ,,, ^ MA . KUIAGK . KNOCKER-KNOCKISR . —On tho 19 th ult .., Ecl \ vnrd Newman , second wn ot John Si . Knooker , Esq ., U . N ., to EmUy lullztiboth , oWeat daughter of JSdwurd Knookor , Ean ., both of Dover . * JKK » AN- —On Sunday lost , tho ' 27 th instiuit , nt Albcrt-¥ « $ f ! £ a £ ^ fa ! $ lF -l r . Bmrey , aged 7 ti , Piiincos Jordan , tho wile or Vy . Jordan , Eaq .
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MR . ANDERSON'S FAREWELL . It is related in the Table-talk of Sa . mukl Rogers that Charles James Fox aoicl his boon companions used to sit up . through , the whole of a given day and niglit , and into bhe next day , frantically amusing tliemaelves with sempiternal games at cards . Some such , result is contemplated by Mr . A ; ndebson 3 in bis farewell at Covent Garden . JThe performances are to extend through two days , and are to include farce , and opera , and melodrama , q $ id the " squib" against Mr . Mathews ., and Mr . Mathews's own orackei' ( the Drttry-lawb Wizard , having kindly consented -to be benevolently sarcasti c against the Covent Garden Wizard , in the latfcer ' s own domain , and for his special behoof ) , and " the great pantomime ; " with-a combination ' of the companies of many theatres , and anaasqued ball for tho second day , to extend through the whole foui-aud-twenty hours . Monday and Tuesday are to be signalised by these events-. Tho Professor is determined to die Like the Phoenix—in a blaze .
The Queen paid her first visit to the Adelphi Theatre on Saturday afternoon , to witness the burlesque pantomime , Jack and , the Bean Stalk . The performauco was exclusively for the amusement of the royal family , and of such of the nobility and gentry as are attached to the Court . The centre of tlie dress circle was converted for tlie occasion into one large royal box , the arms being pl aced in the middle panel , and the draperies being festooned up with crowns and other devices iu gold and with gold and crimson cords aud tassels . Moreover , tho box was decorated with crimson velvet , gold , and white silk ; the passages woi'C lined with velvet , and the floorB an . d passages wero covered with orimson cloth . At the conoluBion of the performance , the Queen is said to have expressed to Mr . Webster the gratification she had received .
Madame Jenny Qoldsohmidt Lind . —A second and last jperformauce of Han pei / s Oratorio of the Messiah will bo given at Exeter-hall , on Tuesday evening March 18 , at which Madame- Goldsohmiut will sing for tho last time in London , previous to her return from a provincial tour . The Grand Miscellaneous Concert of M . and Madame Goldschmidt , for the beueat of tho Nightingale Fund , w ill take place on Tuesday , the 11 th instant .
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A greater picture , in a higher class of art , but not so distinct and original ., is Louis Hag he ' s Choir of the Church of Santa Maria Novello . It is a woaderful piece of painting—niellower , even , than the water-colour productions in which the artist excels . This work , and the well-studied piece of nature . The Ptarmigan ' s Haunt , painted by Wolf , make up the three memorably pictures of the exhibition . Essentially , differing in subject , feeling , style , and even capacity of labour , these three pictures are severally as near perfection as need be . Mr . Haghe ' s is the wopk , which contains the most evidence of study and labour ; but in each of the three we have named , the study and labour are justly apportioned to the design ; and in each there is genius , individuality , independent thought , without which the most studied care and labour would but have sufficed to make an agreeable painting , but one in no way likely to be long remembered .
We have not credited Mr . Haghe ' s , or Mr . Vop ' s , or Mr . Frank Stone ' s picture with great importance or dignity of subject . ' Mr . Haghe ' s has most pi-etension to be classed with the historical designs . But , in truth , the only thorough-going effort of historical painting is Sir G . Hayteb ' s Martyrdom of Latimer and Ridley , a conscientiously-executed design , more than equalling the expectation we had formed from acquaintance with the painter ' s style , and from hearsay concerning this particular work . With all the merit of earnestness and painstaking , however , there is the old want of natural strength and grace in this elaborate picture , and the effect o its tame extravagance is to weary more than to impress .
Mr . Dawson gives us a naval picture . It is a misfortune that bis workhas no specific interest , for on losing sight of it we directly confuse the design with twenty others equally meritorious by the same hand . In another part of the gallery we find a picture of a raft , with starving mariners upon it , meant to be very striking , but too obvious a plagiarism from the Wrec / c of the Medusa . If , in looking at George Cruiksh ank ' s Fairy Ring , yoti forget--whielx is not difficult— -that it is a painting , you will pronounce it as excellent as any work of fancy lie has ever achieved . The perspective of bats , motionless on outstretched wings , and stationed at regular intervals , is a most effective conceit ; while we recognise in the faces of the " good folk 3 " scampering without , any apparent purpose round a large m ushroom , the perfectionof Ceuickshank ' s own inimitable htimqur . TJnfortunateiy , the painting is a painting . The attempt at colour is its weak part ; but , as the scene is at once moonlight and misty , there is a general shade which hides , in a great measure , the defect .
THE BBTTISH INSTITUTION . Taking into account— -if such a thing be possible—all the care , labour , paint , study , linseed oil , and gum mastic ; the ells of canvas , and the cartloads of "lay" silks and stuffs , of periwigs and armour , of carved tables , crooked chairs , and miscellaneous gimcrackery ; the reading up for subjects , and the private consultations about treatment and design ; all the necessities , in short , which the production of five hundred and forty-three pictures implies , it is not a pleasant task to consider the result in . this year ' s displav at the British Institution . We declare that , of those five hundred and fortythree works , tlie odd three represents the number of pictures which will stand out distinctly and pleasantly , for any length of time worth mentioning , in our memory ; that some ten pictures besides occur to us , just now , as having pleased us while we looked at them ; that thirty more , perhaps , pleased us while we looked at them , too , though not even the marginal notes in the catalogue will call up a clear recollection of any one among the thirty—and that , as for the five hundred et us to
. ^ p recover our equanimity after failure find words weak enough to ^ characterise the five hundred . We will begin criticism , calmly and methodically , with a notice of number one , in the catalogue . It is Mr . Frank Stone ' s A La Ducasse , Pas de Calais , and the first thing we have to say about the picture is , that it is one of the three we arc in no hurry to forget . If the artist has never painted a less pretending picture , it is equally true thatfhe has never painted a more complete and satisfying one . Description further than the merest statement , would be useless here . Mr . Stone has painted two real faces , and has dressed the figures belonging to them in trim peasant costumes , surrounding the faces themselves with saucy muslin caps that catching the breeze , disconcert the staidness of the wearers , just enough to make them look mor e piquant and more provolungly real . Once seen , the faces are sure to be remembered j and not to see them , smiling on the dreary walls of the British Institution , is to miss a real , substantial pleasure—an honest return for the time and money expended in n viBit to the Gallery , and for the trouble of hunting out the particular work .
Among the landscapes will be found some of great beauty , but they all seem to be repetitions . The best works are those of T . Danbt , JutsuM , Boddington , Gilbert , BrioeLl , andJohns 6 n . We reserve the name of Sant for special mention , because this is the first time we have met him as a landscape painter . His manipulation 3 s almost as marvellous here as in his flesh painting , but he has not produced by any means a good picture . The loss of light in the centre , where it is absorbed by foliage as in , a photograph ( which we suspect to have served as the first sketch for the work ) , is a fault which strikes the eye directly . Mr . Sant should keep to the figure . We look impatiently for . a picture from him worthy to be classed with The Woman taken in Adultery , a picture itself worthy to be classed with the works of the great masters .
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March 1 , 18 ft& ] THE LEi ^^ P , ' 2 U ,
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lfROM THE LONDON GAZETTE . TutiKtUiy , February 'U \ , BANKRUPTS , — Simon Coukn and Johrph Luiiunkh 37 XXfttton-gurdon , Middluaux , mitnul ' uouu lug uoldnrnlths nnd Jewellers .. 1 'Ibmuy Hknton , Dunutablo , UcdJord , Mtrnw hnt xnnnufaoturur—John Kino Uuiinev , uxbriUgu , Mtddlouox cook , ooufuattoiHtr , ami bnker—Sahau Kuewin , Wlubeiich St . l *< JU ! r , IhIu of ICly , CsunbrldKo , miller , brewer , und corn factor—Thomas Knowi-cu , 01 , Seymour-ritreet , Euaton square , .. Allddloevx , ohomlot nnil druuulm—JLoina
jUimnbtinul . 8 , ISroiul-Mri'eNbullcUngB . City , merchant —William bwiTii 8 i , aiu » , Blrkcnhcnd and Liverpool , timber merchant — t ; uoiiQE tfoowanca , JL > u » -aiey , Gloucester , ohurniht clruauht , and Htntloner—Samuel Rauvev , Cardiff , GlumorKim , outjitter—QiioiiQEClakk Medd , Leeds , procor Gi ougkUnwin , . Slieftleld , nonlo proBser and umbrella hook munut '» cturor ~ John Jiuvis , Shaw , Qromplon , LsmciuiUir , cotton splnnwr—, }*> n ti Smith , Rochdale , grocer— Hkniiv Coop mid Wilmam Coop , ( JlK'qtU'rbent , near Wvatliouchioi ) , Lnnoiistor , » llk mnnnrnoturera—Joiim Owen , to , Qnivel-Une . Snlfo-rd , Lun-( mntiT # bnkor nnd provimon < loiilor . / 'VlVI ( j ;/ , Jfabruai'u 29 . BANKRUPTS . —Jamem Iomi . in , City , shipowner— Roiirrt Dui . i . am , I'lpton , chonilst . dru # gittt , and grorar Hi-nhy Snu-rii , aorlgelcly , Sttiftmlthlru . inrmer—( jeoiiok I ) avI" , WI /( - moru Htroot , Guvondlnli-squnn . * , oi > biiiotinukur—Ja « i >» Ww . Hrnuy San / vpKunnd VVm . Mknhy IIiiown , FenohurcU-Ht . ree' , City , murotuintH—Tiiomah John NioKH . Ooluinuii-Htroit , Cl () , r « n « muki'i *—Kicuaiuj Ji ' . mkin I ' olulahr , llorou ^ h-romi , nilllwrlHht and englnuor—William MoICkoknik y , llrondwuy , rjaiatow , Kuuuk , xnorohunt ~ , 1 amm Mi . vnu ; .
Duttorrfoiifields , engineer— . John Douoi . as , York , hosier—Cuaulkb Fox , Scarborough , merchant—William Sotukhn , l ^ lvorpool , irlasa dealer—Thomas Uuxinet , Ulaydon , Durham , glasa hotUo manufacturer — Wilxiam CAjiTRn , Jun ., I / eanUngton Prlora , VVarwIekahiro , iioninonper—Tiiomab Smith , Wottlnahunn , laoo manufnoturor—Hbnhy 1 ' wino , Gld Market , Bristol , bnkor anil Hour doiiler—HiaiiAiiD QainitLK , I'll ton , Devon , cnrpontoi- and builder—Thomah ISmihuion , Milton , - Htreot . City , builder —Alfub » John GimnN , Now-cut , Lamboth , bjruaamakor .
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MONEY MARKET AND CITY INTELLIGENCE London , Friday lSvenlng , l ? ob . 2 S > , ltt »( i . ltr . roimi of a gloomy oliaxaoter ftovx A ' arfa bavo dcprossei CoiiHolrt greatly during the wctjU . ( So much ha » bevu wall of JLord Cuwloy ' y temporary return to Englaud , nnd Coun
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Leader (1850-1860), March 1, 1856, page 211, in the Nineteenth-Century Serials Edition (2008; 2018) ncse2.kdl.kcl.ac.uk/periodicals/l/issues/vm2-ncseproduct2130/page/19/
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