The description of Dante, surrounded with forms of woe and deeds of horror, lending to that giant intellect its peculiar sadness; Francesca, Ugolino, Manfredi, Pier delle Vigne, Farinata, a fell period when princes were poisoned by monks in the eucharistic elements, when even Dante's best and only friend, Guido Novello, the instant he had covered Dante with decent earth, sunk a prey to a brutal mob; - these are given with the dignity due to the magnificent objects crowded before our vision. The friendship of Petrarch and Boccacio-the proud Colonna, with his cognizance, "Columna flecti nescio"-the crowning of Petrarch -the court and crimes of Joan of Naples-Boccacio's singular conversion, his successful efforts to revive Greek literature-Machiavelli-render the first volume full of high-stirring incident, and the characters stand out well from the events, and are not lost in them as is the case in that style of writing that gives the dry digest and nothing of the human action. We close the first volume with the description of Machiavelli :—

"His frequent embassies to the courts of Rome and France and his long mission to Cæsar Borgia gave him that frightful insight of human nature and of those detestable arts of policy of which he has been too generally believed to be the discoverer and promoter in Europe. Machiavelli, however, invented nothing; with a mind perfectly dead to all enthusiasm, he took a calm, cold, rather misanthropic survey of the human family, and described it as he saw it, with a placid though appalling fidelity-with an impartial though disheartening neutrality.

"Machiavelli, gifted with an essentially active mind, sought in public life rather employment than either power or fame, or much less honour and wealth. He was one of the most disinterested men that ever lived, and if he never perhaps loved any living being, neither did he certainly love himself, nor did he ever turn those powers, for which he has been so much praised and abused, to raise himself in the world. His delight was in sounding the depths of the human heart. He wished to appreciate men after their positive value, and from this dangerous knowledge he derived nothing for himself but the melancholy advantage of being entitled to despise both the oppressors and the oppressed, the prince and his subjects. He was as good as a man can be without love or belief."

And here, for the present, we must conclude our notice of our author's labours, thanking him for the delight his book has afforded us, to which we shall possibly again advert by another notice of the second volume, filled as it is with Italian legends, told by an Italian; for who amid those of a colder clime can describe the deeds of his land equal to the son of her, of bright and lustrous brow even yet, although the world's age-saddened queen.

MUSIC ABROAD AND AT HOME.

ITALY.

The following remarks on the music of the Catholic Church in Italy will, we doubt not, be read with interest; they are extracted from a highly pleasing and amusing work by Miss Catharine Taylor, in her "Letters from Italy to a Younger Sister," just published. This lady, if we mistake not, is a daughter of the celebrated Gresham lecturer, Dr. Taylor. She fully expresses our feeling when she says, "The constant introduction of secular music into the service of the Catholic Church is offensive to hear; the airs from Rossini's or Bellini's operas, or the noisy overtures of Auber, are so discordant with my feelings that I have often left the church in disgust. Widely different is the effect produced by the music which properly belongs to the service of religion. Those who have heard the sublime and massive harmonies of Palestrina, performed as they are at Rome by the Papal choir, can feel all the influence which ecclesiastical music possesses over the mind.”

The most noble specimen of the ancient Roman school of music is the famous Mass of Palestrina, which saved music from being banished from the Church service. "The edict had been already prepared which was to banish music in parts, to ordain no other employment of it than the Gregorian Chaunt. It was at this momentous crisis, when the doom of the art appeared to be sealed, that a young man, scarcely known as a singer in the Pope's Chapel, dared to stand forth as the champion and representative of his art, and in its defence to appeal at once to the head of the Church. This man was Pier Luigi da Palestrina: Ere,' said he, 'you decree the extinction of an art which Heaven has allied to devotion, and before you silence that gift of the Almighty which He designed to elevate the soul of man, to inspire it with pure and holy thoughts, and to connect it with Himself, listen to its spirit, and hear what you are about to destroy; I will reveal it to you, for to me it has been already revealed!' Such was Palestrina's appeal in behalf of his art, and if ever the soul of genius spoke, it was then. I know of no such instance of that self-reliance which marks the highest order of intellect. Who, besides Palestrina, ever ventured to stake the very existence of an art upon the perilous issue of his own ability to reveal its power? His request was granted, and the promulgation of the decree suspended until he had completed his promised composition. Palestrina triumphed, and music was saved. We can scarcely place ourselves in the situation of those who first heard this extraordinary effort of genius; the effect must have appeared like the birth of a new scene, and awakened emotions before unknown: the scientific hearer would be made to feel that the erudition which he had been accustomed to regard as the end of study, was but the means to a greater end; and the consummate skill with which the arts of counterpoint were employed, would be absorbed in amazement and delight at the effects which they produced; and in this feeling we share. Time may have overspread the surface of the structure with a deeper and mellower tint, but its noble outline and its fair proportions are unchanged." FLORENCE. The production of Meyerbeer's Roberto il Diavolo has been

attended with the most flattering marks of success; the Theatre Pergola, unquestionably one of the principal theatres in Italy, was crowded with admiring and applauding audiences at every representation. The cast consisted of Roberto, C. del Massi; Bertram or Beltramino, C. Porto; Isabella the princess, Sofia Mequillet; and Alice, M. Schubert. It has been performed upwards of thirty nights, and was withdrawn in order to afford Mlle. Unger an opportunity of again delighting this city in Lucretia Borgia.

TRIESTE.-Mlle. Fanny Goldberg has been reaping new laurels in Mercadante's opera of Giuramento; the applause she has received is indescribable. BOLOGNA. During the last three months we have not had any musical novelty. Donnizetti's Gemma di l'ergy, Bellini's Somnambula, and Speranza's Due Figaro, have been severally performed. Rossini takes great interest in his new Musical Lyceum.

FRANCE.

PARIS.-The great novelty at the Académie Royale has been the production of Weber's justly celebrated Der Frieschutz in a style of great splendour. The entire musical arrangement had been confided to the hands of Berlioz, and the result has proved how zealous and unremitting he has been in his exertions to procure a perfect and well-drilled chorus to give effect to this splendid opera. Mlle. Stoltz made an effective Agatha; her voice is soft and flexible. Marié, as Max, sang with great nerve and feeling. Bouché made an indifferent Caspar, but Mile. Nau sang and played the character of Anna delightfully, and was most warmly applauded. The opera has been repeated several times and gains on the Parisian public; the beautiful overture and the unrivalled hunting chorus were encored on each performance.

Halevy has a new opera in rehearsal at the Académie Royale.

A great sensation has been created in the musical circles of Paris by the reports in the Belgium newspapers of the invention of a steam organ by M. Sax.

At the Opera Comique Bellini's Dame Blanche, and Auber's Les Diamans de la Couronne, with Madame Rossi Caccia, continue to attract numerous audiences. In the latter Madame A. Thillon acts with captivating spirit and animation; she sings delightfully.

Singing is now taught in Paris in 52 schools, on the system of mutual instruction, 21 schools directed by the Frères de la Doctrine Chrétienne, and 12 evening schools for adults. These comprise together upwards of 1500 adult scholars, and 5000 children.

THE DRAMA.-The long announced comedy of Mariage sous Louis XV. has at length been produced at the Théâtre Français. The two first acts are full of humour and originality, but the concluding portion of the comedy is by no means so good; the interest, instead of increasing, flags, and there seems a want of sufficient incident to carry the piece through. This comedy has not obtained the success that had been anticipated, nevertheless it is a work of merit and would bear translating. Mlle. Fitz James, whose reception at the Renais sance has been so enthusiastic, is now engaged at the Théâtre Français, and will speedily make her appearance on those boards. She is represented to possess all the energy and feeling of a first-rate dramatic actress; her voice is full and sonorous, and she promises to be a successful imitator, if not a rival, of the accomplished Mlle. Rachel.

Victor Hugo's beautiful drama of Hernani has been reproduced for the debut of Mlle. Guyon, and the loud and frequent applause with which she was interrupted, testifies her complete success.

A homely little drama, called Le Balai d'Or, has been successful at the Théâtre du Vaudeville. The principal character is a retired druggist, from the

Rue des Lombards, whose shop bore the sign which gives its title to the piece. Here he has lived all his days, and made a handsome fortune; but on surrendering the establishment to his successor, who is his son-in-law, he finds with horror that the young man is one of the "new school." The old dirty respectability of the boutique is changed to that of modern display; and, finally, things go on so badly, that the old proprietor is, to his great joy, obliged to quit his cabbages and villa, and take his post once more behind the counter, in order to preserve the concern from bankruptcy. With a change of manners and ideas this piece might, in Mr. Webster's hands, be made to succeed in London. At the little Théâtre Ambigu-Comique, situate in the Boulevard du Temple, a melo drama, entitled Fabio, is receiving great applause. The piece turns on a struggle between the maternal and the connubial feelings in the breast of the heroine, who ultimately gives her husband up to the scaffold, in order to preserve her son. The incidents and situations are well imagined, and the acting highly creditable.

GERMANY.

LEIPZIG. The Spring Concert season commenced some time since, but only two attractive concerts have been given. Mme. Clara Schumann, better known by her maiden name of Wieck, gave a concert in aid of the fund for decayed musicians, at which this talented pianist reaped new laurels-even Mendelssohn, who presided, expressed his admiration; but the most attractive feature was the first performance of a new symphony by Dr. Robert Schumann. This composer had never produced any great work, his compositions being chiefly songs and concerted pieces for the pianoforte. This symphony is said to exhibit great taste, judgment, and originality, and to be free from those boisterous and extravagant forte movements which deface the modern school of music. MM. Regondi and Liddel, just arrived from London, assisted at the concert, and performed a duo in a very effective manner.

At the second concert, given on 23d April, in aid of the poor at the Gewandhouse, two novelties from a new composer, Julius Rietz, of Düsseldorf, were successfully produced. The first was a MS. overture to Hero and Leander, and the second an ancient German War Song with an effective chorus. Both pieces exhibited great talent.

Mlle. Cæcilie Kreutzer has successfully appeared as Julia, and as Alice in Meyerbeer's Robert the Devil.

AGRAM.-M. Mareczek, the Jewish composer, and author of the opera of Hamlet, has been appointed máitre de chapelle in this town-he has a new opera founded on the celebrated "Nibelungenlied" in a forward state.

WEISBADEN. Benedict's opera of the Gipsey's Warning was most successful on its first representation in this town-the translation of the libretto into German, is by Herr Gollmick.

RIGA.-Dorn, the composer, has nearly completed a new opera, entitled Das Banner von England (The Banner of England), of which report speaks highly. RADOM, IN POLAND.-Thalberg, on his recent visit to this town, was received with such marks of public favour, that the governor gave a splendid supper, at which he presented him with a silver tankard in the name of the principal inhabitants, as a token of the regard in which he was held by the town.

His Royal Highness the Duke of Cambridge, Duke Maximilian of Bavaria, and Lapinsky, have been elected honorary members of the "Deutschen National Musik Verein," of Stuttgart.

The third musical festival of the Northern Germans will take place at Hamburg on the 5th, 7th and 8th July. On the first day they will perform Handel's Messiah, under the direction of Dr. F. Schneider; on the second day, Weber's overture to Euryanthe, an overture of Beethoven's, and his Sinfonia eroica, will

be performed; and on the third day, a performance of sacred music will take place at St. Michael's Church under the direction of F. W. Grund; the number of performers is limited to five hundred.

DRESDEN.-The new theatre has at length been opened with Torquato Tasso, aud Weber's Euryanthe is in preparation at the Theatre Royal.

BERLIN. Three new operas are in preparation at the King's Theatre: Huns Sachs by Lortzing, Genoveva by F. Huth, and the Hirtin von Piemont (The Shepherdess of Piedmont) by A. Schäfer. Goethe's Egmont and Schiller's William Tell, which were prohibited in the late monarch's reign, have been performed in Berlin; some striking passages have, however, been omitted, tending to weaken the moral force of each of these beautiful dramas.

An Italian company has taken the Königstädter Theatre for thirty-six performances. The first production was Donnizetti's Lucrezia Borgia, in which Signora Felicita Forconi as Lucrezia, was received with loud applause; Donnizetti's Gemma di Vergy followed; but the only successful production was Rossini's Barber of Seville, here was music the audience could appreciate, and the singers found themselves at home. Paltrinieri has a fine barytone voice, and was most effective as Figaro. Lucia di Lammermeur is to follow.

M. Mendelssohn has entered on the duties of his office as deputy maitre de chapelle, and is now superintending the reproduction of Die Huguenotten at the Grand Opera House: bis salary is about 430l. per annum; that of Meyerbeer's, the maitre de chapelle, is considerably more.

A very amusing piece, entitled Des Königs Befehl "The King's Order," or "The Order of the Day," has been very successful in the principal towns in Germany. As Frederick the Great is a principal performer, the piece is performed in Prussia under the title Des Herzogs Befehl ("The Duke's Order,”) although the dress and portrait of the great king are preserved, it being contrary to Prussian etiquette to allow so near an ancestor of the reigning sovereign to appear on the stage.

VIENNA. The new oratorio of Saul and David, by Assmayer, has been repeated several times with great applause at the Hofburg Theatre under the composer's direction. Nicolai has returned from Italy in order to superintend the production of his new opera Il Templario; at present it is not known how far the story coincides with Marschner's Templer. Mdile. Lutzer has accepted a lucrative engagement at La Scala at Milan rather than incur the risk she was likely to run of ever getting her money if she performed with the German company in London.

M. Eisner, a celebrated Russian horn player, has been attracting great attention by the extraordinary combination of tones he produces from the simple hunting horn.

SPAIN AND PORTUGAL.

The musical horizon of these two countries has been long overshadowed. At Madrid, Donizetti's Lucia de Lammermeur and Rossini's William Tell were performed without eliciting any marked applause; the role was somewhat indifferent, from the want of encouragement or inducement for good singers to visit this remote capital. At Barcelona, Auber's La Muette de Portici has been a great favourite at the Lycée or Grand Theatre. Herold's Zampa was performed six nights. At Valencia, an indifferent company, possessing a single star, a Mdile. de Franchi, have been giving a series of the most popular of Mercadante's and Donizetti's operas; the former's Giuramento had a long run, but the Valencians prefer comedy to the lyric drama. At Lisbon, the only really successful opera has been Coppolas's Giovanna Prima Regina di Napoli, in which Madame Boccabadati created some applause; two of Mercadante's operas were performed, but they did not pay the expense of production.

The