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    Untitled Article

    fteely in Mies and capitals „ Jo" ^ . jg >^ iSaKSf But when a gentleman cals a lmlc a " «"• , m obli ( , ea to treat drawment , " poor people like o ^ elve 8 ' who » re 8 Ul » u ^ trate bkJSMte ^^

    THE TRUE CAIT 6 E OF OVS NATIONAL PROSPERITY . " What is it that makes us occupy so exalted a position amidst the nations of the earth ? Is it our extensive dependencies , with their vast resources of gold , and Xr deposits ; or is it our trade and commerce , the arts and sconces or our 3 m < 2 r ™ Wted wealth ? Is it the acknowledged stahihty-of the English charaster or the bravery and discipline of our troops , or the hardihood and gallantry 3 tr sailors , or tonality and quantity of our ships ? We answer No ; it is to " he in theinselve but to the fact

    ^ TofTe e thing . S ^ r valuable they i « ay ^ that we have hitherto honoured God , by keeping holy the Sabbath day . We have nothing to say to this , except that we sincerely hope , for the £ e ^ I ^ pfofitsarising from the sale will be given to the " Sabbath Defence Society" They had much better be applied to the charitable office of Dlacine " One of the Million" in a lunatic asylum . Let us now , by way of a change , occupy ourselves temperately with

    SOME CUBIOUS ASSERTIONS BY ME . HOUGH , OF HAM . "It is not the fact that the really poor are , as a body , amongst the Sabbath frequenters of such places of amusement . We have in our neighbourhood a Palace f Hampton Court ) open on the Lord ' s day to the public , scenes at which are weekly to be witnessed which are a disgrace and scandal to any Christian land . And having taken pains to inquire from those whose business it is to watch the character of the multitude assembling there , I find that the strictly poor , the artisans , do not come on Sundays ; but the Sabbath breakers are a grade above the poor . Above the starving poor , certainly , Mr . Hough of Ham ; but they are artisans nevertheless ; and you may find that out for yourself ( instead of only inquiring of others ) , by going to any of the places in London from which tlie Hampton Court vans start . Only let us open the Crystal Palace on Sunday afternoon , sir , and we will consent to _ shut it again not en

    directly if the majority of the " frequenters" be working men . vv e are afraid , Mr . BTough , that J on doa ' t knO f ™ Z m fj ^ y ™ see him ; and we are decidedly of opinion that if you went to Hampton Court on Sunday , and looked about among the people with your own eyes , you would look a long time before you saw any of the scenes of disgrace" and " scandal" which you have alluded to , but not attempted to substantiate fairly , in your extremely dull and drowsy pamphlet against SU By e ofTc ' edful refreshment , to be taken after suffering under Mr Hough , of Ham , lot us blow the froth off a malt-liquor argument against recreation on Sunday , statistically advanced by the " Incumbent of Camden Church , Camberwell . " It is curious to note THE EKTEEKND DANIEL MOORE ' S OPINIONS ON QUART POTS . " Returns have been put into my hands from one of these haunts of Sabbath festivity ( Sunday gardens ) in a country town-described as being m themselves most attractive and beautiful . Into those gardens 3000 peop le have gone on a Sunday evening ( we rejoice to hear it ) , consuming among them nearly GOO gallons of mult liquor alone ( why say ' nearly / Mr . Moore ? why not bo exact in your statistics ?) , a quantity which , if a reasonable deduction bo made for the number of children , would suppose one quart to have been consumed by every grown up < person , whether male or female , upon the ground . 'Let us , for the honour of the female box taauant Mr . Moore !) , make a still further deduction , and what a humiliating rcllectioii in forced upon us us to the stnto of a large majority of tho men ! Brethren , these aro painful details to have to bring into a pulpit . " Unfit for a pulpit enough , reverend air ; but not in the least painful to anybody who has atudied the balmy influencum of quart pots of beer . You insinuate that most of the menwere drunk—drunk uponwhatP Uponaquart or ho of beer V ^ ull-grown Englishmen drunk upon little more than a < iuarfc of malt liquor ! of the moderate strength , too , which any brewer or publican will ( ell you is alone within the means of tea-garden company ! Why , foreigners would not be ( hunk upon it ! Ity what effeminate tea-table standard arc you prcHuming to judge the brains of your fellow-Britons ; of mon born ami bred in the uniiHHailable quart-pot privileges of the English Constitution r Do you think , because you aro virtuous , Mr . Malvolio Moore , that there shall be no more cakes and ale on Sunday oveninK 8 p Drunk on a pin I . of beer at the beginning of the evening , and another pint , or pint and a half , at tho end P Oh , monstrous and incredible ignorance of malt liquor in a man who writes " M . A . " after his name , and must , therefore , have graduated in the great beer-school of one of our Universities ! Wot to speak it profanely , you really deserve to do penance , Mr . Moore , at tho gate of the Crystal Palace , with a quart pot of teagarden beer always in your hand , to bo offered to every thirsty working man who wanta to go in ! "Wo have more pamphlets still to review ; but the astounding malt liquorish fallacies of the Reverend Daniel Moore " ton the climax , " and tako the fine edge of attraction off every other Tract in our Hatch . Let us pause blandly as reviewers where we havo often paused blandly as men—at the bottom of the quart pot .

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    THE ROYAL ACADEMY . I . LIFE IN PAINTING . After the first survey of the exhibition , coming to close quarters , one is inclined to ask with respect to many of the pictures-What was the use of painting thcmP What purpose do they serve either to the spectator or to the artist ? A portrait of an individual , however humble and obscure , may bo valuable to his own friends ; it may be an example of great skill in tho artist ; but , except in the latter case , it is of no public interest , in like manner , moderately comely heads of females , under various imaginary names , painted with moderate skill , may be useful as studies though even that must be doubted ; but they arc of no use to the public or the lover of art . Pictures cot up to illustrate some story , with figures set in something like the action , if action it can be called , that would have moved the persons in the story , may be useful to the student as endeavours to study drapery or still life , but possessing little" or no use for tho picture-gallery , they tell us nothing —realize nothing . Wo aro sorry to take as an example tho work of so able and active an artist as Mr . Elmore , whose works we have often had occasion to praise . But could he explain to us tho use of such a picture as that which presents " Queen Blanche ordering her son , Louis IX ., from the presence of his wife If" Tho first difficulty that occurs to us is to suppose that , when Queen Blanche issued that extremely objectionable order , she could havo done it in the manner . Mr . Elmore represents ; but more difficult is it to suppose that King LouiB IX . looked so very like a young lady detected in some slight mistake , such as her having put too much sugar in the tea ; or that his wife could look so indifferent . When such scenes take place in real life , people do not look or sit in the fashion of Mr . Ehnore ' s figures . There was far

    more emotion in the figure of Lee contemplating the stocking-frame " looming in the future ; " and so experienced an artist as Mr . Elmoro ought to know that tho . emotions created by the prospective view of tho stocking loom are less forcible and demonstrative than those of disappointed love and humiliated pride . At tho lloyal Academy dinner tho Chevalier ' Bunsen , diplomatically bent upon reconciling ( jlennany and England , taught students that there were two truths , tho truth of nature , and tho truth of the old

    mas-(; orfl—n classical devotion to the rules of art , and a naturalistic devotion to the exact imitation of Nature . Now , there aro not those two rules as distinct things , but there are two successive truths which aro not distinct . There is first tho truth of nature as it exists , with all its aspects and accessories . In the most striking scones that over happened in real life there were tho impassioned human beings , tho background of buildings or natural scenery , the details of tho natural accessories , ^ the leaves upon trees , tho petals of tho flowers , with tho dust of tho pollen upon them , tho crystals in the broken pebbles on . tho ground , the smoko floating un «

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    MADELEINE BROHAtf . Having made up my mind about Madeleine Brohan , I have still Bomo SflKdtrh ? expressing the verdict . She came to us with bo great a "Sn jX Janin had been so eloquent in his enthusiasmfc . her that in spite of all the suspicions I invariably entertain of ^ ™™ 2 * pears in a French criticism , I was unwilling to trust to the first impret-. sion she made on me , unequivocal as that impression was . But two Iresn characters on two different evenings left the same impression . ; and I a in as cold as ever . In the first place , elle n'a patdu charme , and let a woman be never so handsome if she have not that ™ W * * £ ** & influence expressed in the word » charm , " her beauty goes for little In + h <> second nlace , she has not individuality as an actress . WitJi an SquwTSrSa ^ tion , delicately articulate , her diction flatter * the ear but does not penetrate the mind i she speaks wel , but we think of her speaking , not of what is spoken . A similar objection must benoted w ^ i respect to her bearing ancf gesture . They are graceful , fiQ 18 b f e ^ u * man " nered , and without charm . That artificial pinching in of the lips—a niminypiminy style very frequent with French women—which is meant to be pretty and ffracieuse , gives an insincerity to her expression which completely destroys sympathy . . r Observe , I am trying her by a high standard ; but Jamn talks of Mdlle . Mars , and Mdlle . Brohan is not a Plessy , not even a Nathalie ! Nevertheless you must not run away with the idea that she is an indifferent actress . All I wish to express is the fact that she does not greatly interest me , and that finer comedians have far less reputation . How differently one feels towards liegnier , the vivacious , sincere artist who fills up every outline of a part with distinct individuality , who triumphs over a harsh voice , and an indifferent physique by a gaiety , abandon , and dominant intellect one sees only in great artists ! ^ xs reception in Le Bonhomme Jadis was hearty , and he must have felt that the audience were his friends . The piece is charming . Le Bonhomme is entering his sixtieth year , but the memory of ^ s li appy youth still keeps him young—not young with dyed whiskers and padded chest , not young wSa lse ^ allantry , and roue pretensions-but young ^ W ^ with youth , audits follies , and its passions , and its reticences ! young because heart still remembers its " old pulses of love , and rejoices m beholding the generation rising to push his into oblivion happy with the workl-old joys ! The bonhomie of his performance , with its bnet unexlggerated touches of pathos , kept the house « suspended on his lips during an hour of charming gaiety . nrjin Jo In . Then , again , in Les Demoiselles de St . Cyr , and m Mdlle . de la Sei ^ re , what thorough ridding himself of his own eharacter and identification with that of the Persona through which he speaks ! In the parvenu Duboulloy , and in the old Marquis petrified in prejudices , we have two types , each admirable , and , above all , each gay . The house ? have been brilliant of late , and the performances incomparably more agreeable than those which preceded them . V ivian .

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    THE LEADER- [ Satubpat ^

• Citation
  • Leader (1850-1860), May 14, 1853, page 476, in the Nineteenth-Century Serials Edition (2008; 2018) ncse-os.kdl.kcl.ac.uk/periodicals/l/issues/vm2-ncseproduct1986/page/20/