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to an oratorio in broad daylight , in perfect physical comfort , with neither too little air nor too much heat , —relieved moreover from that oppressive sensation of ? bein <* packed in a barrel liked pickled herring , '—the predominant sensation in most concert-rooms . It was new to have such a vast array of performers , and the feeling of novelty and of grandeur was sensibly increased by the visible fact that each individual listener was . only one unit in that vast concourse of human beings who paved nave and transept , and hung- in clusters around those galleries which seemed suspended from the crystal walls . There was . indeed , everything to delight the senses—colour , and light , and sunshine , and life , and vegetation , and above all harmonious sound . The place , in short , was worthy of the
occasion . Often as we have heard the Messiah , we must say that the supremacy of Handel ' s genius was , to our mind , never so powerfully demonstrated . The solos we pass by . With the exception of Cuba Novello , whose clear , silvertoned voice pierced with thrilling effect to the very loftiest corner of that gigantic roof , there was nothing to excite our admiration . We have heard the « ame songs sung with infinitely more effect in Exeter Hall . Nor could we avoid the disagreeable contrast between the breadth and power of the rest of the performance and that of the individual singers . But no doubt the artists did their best . The defect was inherent in the nature of their task . The effects however which we went to hear were the great choruses , and they realized all our expectations . Absolute as our belief was in Handel's greatness , that chorus , * For unto us a child is born , ' seemed to demonstrate that his music is capable
of any amount of expression which human power can give it . So majestic , and yet so simple , are his compositions , that if the chorus of 2000 voices had been multiplied into a nation , the grandeur of the effect would only have been amplified . The framework of these inspirations is so broad and deep that no utterance is too great for them . The ideal in Handel ' s mind is so consummate that it seems , even after the lapse of a century , as if musical artists were still wearying themselves to find out the mode in which adequately to express and embody his conceptions . There can be no surer test of the sublimity of his genius . As Shakspeare has never yet found an actor who can thoroughly represent the characters he has drawn , so Handel has never yet found an orchestra or a choir which can do his idea justice . But yet we only do Mr . Costa justice when we say that he has done more than any other man towards the attainment of this end .
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NEW YORK EXHIBITION OF BRITISH ART . It is in contemplation to organise in New York an annual exhibition of the works of living British artists , painters , and sculptors . There is good reason for believing that such an exhibition would be welcomed by the Americans . The wealthy classes in New York are well known to be lavishly sumptuous in the arrangement and decoration of their dwellings , and it is confidently anticipated that they would be glad not only to call in the aid of fine art for this purpose , but to have its productions brought home to them for that constant contemplation and study which exhibitions and museums of a similar order receive from the
cultivated classes—i ndeed , from all classes—throughout Europe . The taste for art is growing in America , as it inevitably must grow with advanciug wealth , population , and resources : Americans are already in Europe keen competitors at any sale of objects of vertu , or of antiquarian interest . The success which appears to have attended the exhibition of paintings of the Dussseldorf school , now for some years established in New York , may also be deemed an encouraging precedent ; it is difficult to imagine that , if the works of this alien school excite the interest of Americans , those of a race to which they are so closely allied in blood , character , and tradition , will be otherwise than successful with
them . Should the experiment prosper , it is hard to say where its results will stop . It would promise to be , in fact , the creation of a second public for British art , only inferior in importance to the public at home . The influence , also , of the exhibition upon the native art of America would probably be early and decisive , and a mutual action and reaction would be established beneficial to both . Active measures are already in progress for making the projected exhibition n fact . Mr . Augustus Ruxton , the original projector , left London for New York at the beginning of May , with the view of communicating with some of the leading men in the States , and of obtaining a gallery . Mr . Fobd Madox Brown , the historical painter , has consented to accompany to America the works that may be offered , and to superintend the hanging , and all other such that will be done
preliminaries . Contributors may therefore rely upon it justice to their works . An unexceptionable guarantee fund will be obtained before the works are removed for exhibition , including ample insurance , to tho extent , probably , of not less than 50 , 000 / . An eligible offer has already been made for tins purpose ; and one main object of Mr . Ruxton ' s visit to America is to prosecute further inquiries on the matter . Exhibitors would be relieved from all expenses of transport : but a moderate per centage , to be fixed before final arrangements are made , would be charged upon the sale price of any works disposed of out of tho exhibition . The first exhibition will , it is hoped , be opened in New York in October next , and remain open for some months ; and it would be for the contributing artists to determine whether any of their works which might remain unsold at the close of the term should be returned to them ( transport free ) , or should be left to in the exhibition of the succeeding year .
reappear The entire collection ia to be in full readiness by the end of August for tho transit to New York . We are glad to learn that this excellent project nieeta with the sympathy and support of many of our leading artists , amongst whom wo may already mention Millais , Holman Hunt , mid E . M . Waud . Tho American native artists and some capitalists and public men in the Uniteci States receive the idea warmly . We heartily hope a collection worthy ot both countries may be formed . Mr . William Robsetti will net as secretary ; hw ability and energy are a pledge that nothing will be wanting on this side ot tho -water to secure success .
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OLYMPIC THEATRE . We find we were in error lust week in announcing the name of Mr . Emery , tho actor , as the future colleague of Mr . Rouson In the management of tho Olymi'XO Tubathk . Wo hope to see Mr , Embrv ' s name in tho now Company , but it is Mr . W . S . Emden , the treasurer of the theatre , who ia to succeed to tho management , in conjunction with Mr . Robbon , in August next . " Mr . Rohson , says the Tim « 9 . " Is known to all London as one of the moot attractive comedians o ( the day ; Mr . W . S . Empen , although not vielble to the public , is almost equally
celebrated in theatrical circles as a man thoroughly versed in n — ( on and off the stage ) connected with dramatic establuhmentp " w busi ne « a know and hear of Mr . Ehden , we are disposed to congratulate mS 1111 w P whose name is as good as a host , on his alliance in the newf BoD 6 os - with a gentleman universally respected , whose administrative L j ^ conciliatory manner and judicious enterprise will , we are Deraun ^ u ener ^ to be of rare value in sustaining the high , reputation of the Olym * i t £ ound look for the production of a series of original English dramas and u 8 ha 11 say original , we do not mean ingeniously compiled from half «< £ / ¦ ¦» We plays or novels , but purely and absolutely English in invention mot nl ench and composition . Already we hear that Mr . Wilkie CouinK Tacters , beautifully written drama , The Lighthouse , acted a year or two aim !? t and House by Mr . Dickens and his family and friends , is to be ^ roduSl V ^ good news for the frequenters of the Olympic . Mr . Robson will norfor iSr DiCKENs ' s character of old Aaron Gurnock ; and he is certainly the onl who could safely risk such a perilous comparison . v maa
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MADAME RISTORI . We are compelled to postpone our notice of Comma . Next week Madam RisTORi . will appear in an Italian version of Dean Milman ' s traged ' rof / w If we may judge from the effect produced at the rehearsals , Bianco , is likelr to be one of the most affecting and impressive of the great Italian tragedienne ' impersonations . . *
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LES BOUEFES . This merry little company will , we are very sorry to say , be obliged to take their departure from our shores the week after next . On the doars of their little summer-house , in Paris , is inscribed : " Reldehe—Spectacle a Londres" and ¦ we believe they are engaged to perform in the chief provincial towns of France before their return to Paris . Since our last notice , they have produced several of the choicest pieces of their repertory : Les 66 , L'Opera aux Fenetres , Le Savetier et le Financier , have been particularly enjoyed . Perhaps they have done wisely in selecting what we may be allowed to call pieces de salon—musical comedies finished as cabinet pictures—in preference to the broader and more exclusively Parisian farces , for the St . James's audiences . Nevertheless , Les deux Aveug with the colossal fun of M . Pradeau , have steadily maintained their
prominence . Le Financier et le Saveiier may be considered as a sort of burlesque commentary on the fashionable vices of the day—gambling and speculation . The author , we believe , is not really M . Hector Cremikux but M . Edmonp About , who has achieved an agreeable triumph in permanently adding to the repertory of this company so brilliant a trifle . La Fontaine's fable based on a story in Horace's Epistles ( Lib . L . Ep . 7 ) has been drawn on for the title and the plot ; but the catastrophe and the moral are quite new . Belazor , the Financier , is shocked by a proposal of marriage made to his daughter by a happy cobbler ; and determines to ruin him on the hint of the fable by making him a present of money . But he
finds that times have changed . In these days not only is money happiness , but it bestows a gentlemanly demeanour and every other fine quality . We see in the career of the cobbler that of many of the haughtiest lords of finance of the Empire . In a few minutes , by a lucky turn of the cards—for he hustles his way into Betazor ' s society—he becomes a rich man , and strips his malicious benefactor . Then the tables are . turned . The pompous capitalist , admirably played by the unctuous Pradeau , becomes vulgar and mean at once when he has lost his money ; and the cobbler is transformed into a lion . M . Mesmacbe and Madlle . Mareschal respectively played the Cobbler and Aubepine ; and this sparkling drollery with a profound moral was keenly relished .
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THE MUSICAL CONGRESS AT THE SURREY GARDENS . This commemorative jubilee of sacred and profane concerts has been eminently and deservedly successful , and has attracted thousands over the water . » i . Jullien has surpassed all his former efforts in the organisation and conduct ot a perfect army of instrumental and vocal performers , and it would be churlish to deny that to his extraordinary energy , ability , and enterprise is mainl > due the creation of a popular taste for the best music , »» d the POmW ^ J viding the general public at the lowest price with a series of performances un surpassable in Europe both for quantity and quality .
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THE PRIVATE EXHIBITION . A smali , and interesting collection of pictures is «» hibi ^ d-w a 3 iXiTare of tho e * hibited-at No . 4 , Russell-place , Fitzroy-equarc . 1 Jw PJ " ^ fair class onco derisively called Pno-Raphaelite Brethren ; and . it . P ^ " ^ J V 80 if tlio specimen of their work . There is no otafl in the <** $ * £ " * £ g& that tho exhibltion-whether it is to vindicate 1 \ -K . B . , ? rl" « ^ ? ' JLaratory academy , P .-R . B , are no longer P .-R . B .-tlmt tho ' school ? " , T tIlE 5 n oltfibr W ^ and not a « school in tho painter ' s sense . It might bo taken either ^ , great muster of the school , Millais , belongs more to the post i , KaphaeHte epoch , as may bo seen by tho beautiful hei < of ^ f / n e \ n 9 t , lrtt the tho * wedding cards' that doom her hopes . It "'" - ^ Xn " „ £ only to exp « atudents go back from mannerism to nature , and use 1 % " e ™ 8 ° ' * , lftV 0 Buc . something * worthy of labour , they have done well , w " ' ^^ ndBSipofl In »»« ceoded-witneas Millais ' s works vauhn , Holman Hun b »" ^ | but b 8
exhibition , Siwdon ' b landscapes , Uhajiubs ^' o "'" ,: " ^ o 7 omitting K ^ painful sketch ' The Long Engagement , ' »» d other woilcs , not u < A chronological order would bo good , showing the progrose —and its egress .
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W 6 THE LEADER . fNo . 378 . SU ™ ^ 1 T
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THE VOCAL ASSOCIATION AT THE CRYSTAL PALACE . The Vooal Association , consisting of three hundred voices , i ^ ^ JSS of Mr . Benedict , will give their first public concert in he ^ centre tnumptM « Crystal Palace on Saturday , tho 27 th instant , at three . in t ™ « teri JJ their will be interesting to compare this young and ™ ffi "* S ™ fi 001 L met German brethren of the Cologne Cuolal . Union . When the two roowi in friendly rivalry at the Hanovkji Square Koomb on ^ c cven K ^ Jn tll 0 IIKim Franz WEniSR complimented Mr . Benedict enthubiasticauy m «/ proficiency already attained by his band of choralists .
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Citation
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Leader (1850-1860), June 20, 1857, page 596, in the Nineteenth-Century Serials Edition (2008; 2018) ncse2.kdl.kcl.ac.uk/periodicals/l/issues/vm2-ncseproduct2198/page/20/
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