merit which is not often found with us. The star system has its defects as well as advantages, inasmuch as one or two artists of high merit throw into painful relief the inferiority of the rest. In Mr. Mitchell's troupe all goes evenly and well; the very servantes are, in their small | parts, almost as good as the première comedienne. M. Achard, from whom we have thus unconsciously wandered, has one great advantage as a vaudeville actor-a charming tenor voice, which he has cultivated with skill and care. He has, too, the gift of occasional pathos, the contrast of which is always successful in genteel comedy. His singing of "Madelaine je t'aime" was a gem of touching tenderness. Mademoiselle Desirée is a pretty, lively young actress, essentially French in every respect. M. Julien Deschamps is also an acquisition; his easy, gentlemanly acting, is the very perfection of genteel comedy; indeed, the whole mechanique of the St. James's Theatre gives us the idea, not so much that we are sitting "at the play," looking on a scene wholly artificial, but that, Asmodeus-like, we are secretly peeping through some lifted roof at a transcript of real life-at least real French life. Query-whether there is any reality in that life at all? HAYMARKET. likeness on the Haymarket stage, without imploring the strong arm of the law or seeking the shelter of alarmed diplomacy. The Easter extravaganza is equal to any of its kind which have formerly delighted the Haymarket audience. Its subject is the "Castle of Otranto;" one less hackneyed might have been as well, but still it is illustrated with all the excellences of music and scenery in which the management here excel. Miss P. Horton sings in her usual bewitching fashion; and this pleasant union of music, gorgeous spectacle, and amusing burlesque, exercises, and will continue to exercise, a magic power in drawing all lazy loungers and business-wearied Londoners to finish the evening at the Haymarket Theatre. Before this reaches the eyes of our readers, Mr. and Mrs. Kean will have commenced an engagement, opening in Mr. Lovell's popular play of "The Wife's Secret." 66 MARYLEBONE. OLYMPIC. The few nights of Macready's engagement here went off with good success to the pecuniary resource of the management, and likewise gave many of the great tragedian's admirers an opportunity of an intellectual feast, as great as the drama can afford. "Hamlet," "Othello," King Lear," furnished evidence that the finest The entire business of the month here has of modern actors is yet in his strength; that if consisted of revivals. "The Provoked Hus- he has reached his culminating point, there is band," "Wives as they were, and Maids as still no decay. Mrs. Warner supported him they are," "John Bull," and others of like well; her Emilia displayed towards the close class have furnished the staple fare, with the wonderful bursts of power. Mr. H. Marston, addition of " Old Honesty," noticed last month, who was transplanted hither, seemed rather to and a new comedietta translated from the French gain strength and inspiration, from being placed by Dion Bourcicault, under the title of "Con-in juxta-position with Macready; his Iago was fidence." This trifle savours strongly of the the best character in which we have yet seen peculiarities of our neighbours across the Chan- him. With this crowning treat the Marylebone nel, being an example of two gallant youths who Theatre closed. set themselves to woo two other men's wives. Of course all ends as it should do, with the drop of necessary morality lying at the bottom of the foaming intoxicating cup; but yet we cannot think that these transplantations from France are good in the end; neither can revivals of such old-world pieces as the three comedies already mentioned be of much service to the cause of the drama. One wholesome earnest play, from some one of our modern English dramatists, would be worth a score of resuscitated "John Bulls" and adaptations from the French. Among the after-pieces a clever farce, entitled "Lola Montes," lived its little life of two performances, and then was stopped by the Lord Chamberlain, a circumstance which must have been positively flattering to the author. Fancy Mr. Stirling Coyne exciting the terrors of the Bavarian Embassy, and thereupon obliged to be extinguished by the fiat of the Chamberlain. The place of the proscribed farce was filled by another comic personality, "Jenny Lind at Last," which had already gained considerable favour at the Lyceum, without danger of an interdict. Those disposed to moralize may draw from this fact long arguments concerning the fearlessness of virtue, which may calmly see its caricatured An effort at the highest order of dramatic writing--even though it be only an effort-is always a pleasurable circumstance, and one worthy of note; much more so is a successful accomplishment of a fine artistic work, the aims of which are high, and its execution not inferior. Therefore, of all the theatrical news that we chronicle, there is not one more important than the production at the Olympic of an original play-a tragedy by Mr. Spicer, "The Lords of Ellingham." The plot is a mingling of fiction and history, so as to suit the author's purpose. Two cousins, the Lords of Ellingham, are rivals in worldly fortune and in love. Lawrency (Mr. Brooke) the unrequited lover, returns home to find that Latymer (Mr. Davenport) has married Edith (Mrs. Mowatt). Both cousins are engaged in a conspiracy of historical note, one in James the First's reign, which was projected in order to place on the throne Arabella Stuart. _Latymer enters the plot earnestly and sincerely, Lawrency as a spy, that he may thereby work his cousin's ruin, and so obtain Edith. The cunning plan succeeds; Latymer is imprisoned, while Lawrency is free to tempt Edith with demon-like suggestions, working upon her through her very love for her husband. To save Latymer, his wife feigns consent, but takes poison, that through death she may evade the fulfilment of her promise. Meanwhile, Latymer is freed from prison by the jailor's daughter, whom the despair of a betrayed woman excites to vengeance against Lawrency. The husband comes home, bringing joy and deliverance, but too late; and Edith dies in his arms. He goes to meet the worker of all this evil, and the two cousins confront each other in a powerful scene. The play ends with a Hamlet-like catastrophe; Lawrency contrives to poison Latymer, unconscious that he has himself received the same doom by the hand of Marion. A stage effect, startling and almost terrible, is produced by the body of Edith being brought in at the last scene, the two rivals dying on either side the bier. The treble poisoning was a dangerous experiment, but the extreme vigour and striking dramatic character of this clever play enabled it to surmount various blemishes, and brought complete success. Lawrency is a part which exactly suits Mr. Brooke; and his powerful acting gave it every effect. Mrs. Mowatt's Edith will add to the fame of this graceful actress and intellectual woman-the best of our trans-Atlantic importations, always excepting Charlotte Cushman, whose genius is of no clime. Altogether, "The Lords of Ellingham" richly deserves a successful and popular career, SADLER'S WELLS, After the usual interregnum of concerts, wizard entertainments, and such-like varieties, has again received Miss Rainforth for its temof the clever operatic company which this voporary manager, and resounds with the strains calist brought with her last season. That the short interval which gives a holiday to Mr. Phelps and his battalion may prove successful to Miss Rainforth, is what every one must desire. PRINCESS'S. Madame Anna Thillon continues playing the half-dramatic, half-operatic round of characters, which make her a favourite here. In "A Day at Dover," where Henriette, a young milliner, is mistaken for Catherine of Braganza, Madame Thillon acted with a naïveté and cleverness which add to the charm of her singing. A new comico-romantic drama, with the simple title of " A Fairy Tale," has been successful here, and turns on the deception practised upon a young man, inducing him to believe that his aged wife is made young by a potion, and again transformed into the "sere and yellow leaf," for various selfish reasons. However, all these mutations prove to have been effected by no magic but that of female ingenuity, so that the fairy tale is no fairy tale after all. This pleasant little piece is well sustained, chiefly by the clever acting of Mrs. Stirling and Miss Emma Stanley. FINE ARTS. REVIEW OF THE NEW WATER COLOUR | with soft flowing curls, would do well to have their beauties immortalised by these artists. SOCIETY CONTINUED. J. H. Mole is the Collins of this attractive Exhibition. 205, Digging Bait," and 292, "The Rustic Wreath," are full of the happiness of childhood. Fanny Steers has some pretty landscapes, with farm-houses; but she succeeds best in the wild and barren moor-lands. 320, "Michael Angelo attending his Sick Servant," Hague, is, a master-piece of art in colour, expression, and design. 250, "Pyrus Japonica," Fanny Harris, is powerfully painted. This young lady is fast following Mrs. Margetts, who has this year painted a most attractive picture of Scarlet Geraniums, with an ivory vase. : 243. "Sunday Morning," D. H. M'Kedan, is beautifully treated such scenes as this are always refreshing to the heart. Maplestone has some fine compositions; the deep blue of the distant hills and the golden skies reminding us of the glorious tints Varley used to produce. Youngman this season disappoints us; his "Road-side Inns," and his "Village Streets," were so charming. We miss also the sentiment that Aaron Penley used to impart to his subjects; "The Convict" is not worthy of him. Benjamin Green and Frank Rochard have some charming fancy portraits; interesting girls, A. C. B. EXHIBITION OF THE OLD SOCIETY OF PAINTERS IN WATER COLOURS. Rich as this Old Society is in talented men, who have long been favourites of the public, it will require all the energies of Cattermole, Frederick Taylor, Copley Fielding, De Wint, Hunt, and Bartholomew, to keep foremost in the race which the painters in the New Water Colours are running with them. This year's exhibition is not quite equal to former ones; there are no bad pictures, and no very striking ones to draw the attention of an admiring crowd. The largest drawing in the room is by Frederick Taylor, "Interior of a Highland Larder," which in subject and composition reminds us of Landseer's, possessing all that freedom of touch and breadth of colour which mark the works of that great master. Taylor's smaller bits are perfect gems; for truth and simplicity Gainsborough never excelled 235, "Harvest Time." The reins of the grey mare which draws the market-cart have been trusted to the hands of a child, big with importance at its new office. The animal, per bitor, has some pictures of" Still Life;" but he must learn to paint fruit more carefully; his lemons are dirty, and his peaches certainly not better delineated. 121, "Game and Fish," although hard in outline, possess much vigour. How is it Mr. Palmer does not send more subjects? 204, "Christian descending into the Valley of Humiliation," makes us wish for more specimens of his pencil. Stephenhoff has produced an elaborate and harmonious drawing, fectly aware of the inexperience of its driver, turns with a loving eye to the little foal which trots by its side, thereby threatening the upsetting of the vehicle, by advancing to the edge" fresh gathered." Pots and pans are infinitely of the rugged road. The girl at the head of the horse, with a sickle in her hand, looks as if no care could ever cloud her sunburnt brow; whilst the dog, lagging behind to refresh himself at the stream, gives no small interest to this enchanting picture, so redolent of rural enjoyment. Copley Fielding, whose talent and industry seem inexhaustible, sends no less than forty-three produc-"Interior of a Gallery of Paintings." The tions, many of which are charming; but if every artist were as prolific as Mr. Fielding, a new gallery would be required, as the old one cannot contain upon its walls more than a limited amount of drawings. Prout, in architectural designs, is as great as ever; but he has a powerful rival in Vacher, who this year exhibits a fine painting of Venice at the New Water Colour Exhibition. Cattermole's "Castle Turrets," and "Deep Moats," are full of exciting romance: every picture of his is a poem ; but why does he not take more pains with his figures? Mr. Punch has most certainly sat for his knights and wandering minstrels. The Scene from the Romance of Sentram is more curious than pleasing; but "The Silent Warning" tells the story at once. De Wint, with his long strips of landscape, fresh from the hand of nature, is finer than ever. This artist's style is always pure, and free from the tricks to which so many have recourse. Surely George Fripp must have been his pupil, though scarcely his imitator; his dark-green trees, casting their pleasant shadows over bank and stream, make us long for leisure to enjoy the repose of sylvan scenes. How verdant are the views by Duncan, the new exhibitor. 300, "Dartford Creek,' is sweetly executed; but clever as Duncan is, he will become much greater now, brought in competition with the landscape-painters which this Society boasts. Dodgson and Topham are also names new to this catalogue; both are valuable acquisitions; and in criticising their works, the reviewer has nothing to do with private feuds. 253, "The Sortie," Dodgson, is full of animation, and the fearful destruction of war is vigorously detailed. "Interior Evening" would be a better picture if the light on the pillars of the chapel had been more scattered; the artist has given to this subject a fine and harmonious tone of colour. 168, "The Village of St. Pierre," J. M. Richardson, is beautifully painted; the figures in the foreground are clearly developed, with a neatness which takes nothing from their power; the mountains and sky are faithful to nature. Why does David Cox, who possesses so much poetry in composition, continue to splash and dash in stormy skies without rhyme or reason? Clouds, however jagged, should never be made to look coarse: his best drawing is the " Lower End of the Vale of Clwd, North Wales." Mr. George Rosenberg, another new exhi miniature copies of the old masters are cleverly done, and arranged with much taste and skill. Oakley's "Gipsies" are stage gipsies, not the free denizens of the forest dell, with their picturesque finery of shreds and patches, rags and tatters. 55, "The Little Gleaner," is a charming picture of innocent simplicity; the golden curls of No man can paint marble slabs and grey stone the girl come out well against the pale-blue sky. walls so well as S. Raynor. treated. 117 is an exquisite piece of handling. Gastinair has, as usual, some choice landscapes. Salzburg," from a garden on the opposite side of the river, is a grand subject, magnificently "Aurora Borealis," W. A. Nesfield, attracts much attention by the singular effect the artist has depicted so well. Evans, of Eton, is conspicuous with his groups of Highlanders in the fore-ground, full of action and athletic grace. Benting ranks as high as ever in his sea pieces. Topham has contributed but two pictures. 88, "Kathleen," is a real gem; the figures from the celebrated ballad are perfectly delicious, and the rays of the sun upon the wall give a glowing hue to the interior of the cabin, which is true in all its details. Alfred Fripp has great power, but he has evinced more carelessness than usual in his large drawing. Such a rival as Topham in the field should make him gird himself up for the battle. Hunt is ever fresh and new; alike happy in still or breathing life: we know not which to admire most, his birds' nests or his boys; one of the latter blowing bubbles, the other examining a piece of money by the light of a paper lantern. In flowers, V. Bartholomew still remains unrivalled; not even the bad places in which this artist's pictures are hung can spoil the beauty of their conception. Surely out of the small number he sends, the hanging committee might have given him one good position. The Royal Academy always does him honour in that respect. 50 is a charming little picture, where the gooseberries are so ripe, that a touch would break their skins. 64, " Hollyhocks," a splendid piece of colour and composition; the flowers seem to wave in the breeze, which the deep blue but cloudy sky indicates is rustling amongst the large broad leaves of the hollyhocks. We take leave of this Exhibition by inserting some lines from the catalogue, by Mrs. Valentine Bartholomew, on her husband's picture of hollyhocks It was with great pleasure we paid a visit to the interesting panoramic and dioramic representations on view at this exhibition. There is in many of them a more than usually good effect, and that great desideratum in pictures of all classes, viz., truth to Nature! An Interior of St. Peter's struck us very forcibly. The perspective is well studied, and the arrangement of light and shade effective and agreeable. There is nothing crude in the details, yet all the decorations are distinctly and carefully drawn. Many of the German scenes are accurately delineated, though we think it were better, even at the sacrifice of a little absolute truth, if the buildings and accessories were less primly-less stiffly-drawn. We know they are so generally, but there is no rule without an exception, and the towns in Germany as elsewhere are liable to be "softened" in their outline by atmospherical effort, which would greatly add to their effect as a picture. Some of the Swiss scenes gave us great pleasure, especially a view of Chamounix, and also the Pass of the Great St. Bernard—the scene of one of Napoleon's mightiest triumphs over difficulty and danger. The Crucifix of Genoa, the Spanish Giant, and the Court of Lahore are among the other attractions at this so long fashionable resort, which we most cordially recommend to our readers as a delightful lounge, and one that will amply repay the trouble of inspection. EDWIN SMITH'S MODEL OF JERUSALEM. To the casual visitor, as well as to the traveller and the man of science, this is a very instructive exhibition, and the mind grasps at once on looking at the model-a distinct idea of the situations and the scene of the ministry of Christ. The model in its dimensions includes one hundred square feet, so that there is ample room for the display of the artist's talent, and for those acquainted personally with the locality to judge of the accuracy of the representation. Mr. Smith has obtained numerous testimonials as to the truth and general effect displayed in the model, and it was with great gratification we visited, at the Egyptian Hall, this and EDWIN SMITH'S MODEL OF THE TABERNACLE IN THE WILDERNESS, which, no less than the Model of Jerusalem, abounds in ingenuity and interest. The effect of the pillar of cloud by day, and of fire by night, is admirably contrived; as is also the display of the interior of the Tabernacle. The officiating priests are carefully executed models, characteristically dressed, and lend great truth and reality to the scene. Encircling the Tabernacle and at a distance are the tribes of Israel encamped, and the whole effect of day and night is worthy of the highest praise. We very much admire this palpable manner of bringing before the Christian public matter so infinitely interesting; it impresses the mind with more force than pages of written description could do. FASHIONS FOR JUNE. It is only within the last fortnight that I can say we now really have summer fashions; the coldness of the weather, and the uncertain state of public affairs, prevented the tradespeople from bringing out Spring novelties, and our belles being for the most part warm politicians, thought more of remodelling the state than of renewing their toilettes. But this could not last. May, came bright as bright sunshine, and with it, as with the touch of a magician's wand, all our grave pre-occupations gave place to the delightful task of consulting our mirrors and our milliners. The latter, indeed, have exerted themselves most successfully; the shapes of chapeaux and capotes are not much altered, but the little change has rendered them more becoming; the brims are round, more open than last season at the upper part, but close at the bottom; the crowns are round. Capotes do not differ in form, with the exception of those adopted for the early morning walk; but they are either drawn shapes, or bouillonné, or else an intermixture of bouillonné and folds. Capotes of grey poult de soi, either drawn or bouillonné, and trimmed only with ruches of the same material, are very fashionable; so also are capotes composed entirely of ribbons plaided in quiet colours; these last are trimmed with a ribbon folded round the bottom of the crown, and a small rosette on each side; there is no garniture in the interior of the brim. Chapeaux of excessively coarse straw; they are called paillassons, are also adopted for the early morn ing walk; they are trimmed in a very simple lilac. Nothing can be lighter or prettier than the capotes of crepe lisse, or tulle bouillonné; they are always decorated with spring flowers, and the majority with a demi-voilette of blonde. Those of pink or blue tulle are trimmed with sprigs of acacia, honeysuckle, or white-thorn; a voilette of blonde lace, of the colour of the tulle, is always attached to the edge of the brim. Flowers, whether for chapeaux or coiffures, are this season always of a small size, and generally those of our own country; the superb exotics, with their warm-tinted foliage, so long I should say replaced by violets, forget-me-nots, honeysuckle, heliotrope, lilacs, and various other small flowers; but roses, though not so much in vogue as they have been, are still fashionable, particularly those of the most delicate kind. style, either with velvet, or with ruches of taffetas | sorbier, and violet, ornamented with sprigs of de coupe. Some of these chapeaux are elegantly decorated with ribbons of the most expensive kind; they are intended for the country only. I may cite among the most novel capotes for the public promenade, those with brims of rice straw, and foundations of white gros de Naples, or else of pink, blue, or light-green glacé. The trimming is a ruche of the same material, so lightly cut that it seems as if formed of moss; this ruche encircles the edge of the brim, and the bavolet, and also forms the ornaments of the exterior. Other capotes of the same kind are decorated either with a half-wreath placed side-in favour with us, are now laid aside, or rather ways on the brim, or a long and very full curled feather, which entirely traverses it; or what is still more novel, a chain formed of very small peacock's feathers, and terminated at each side by a tuft of equally small plumes to correspond. Taffeta is also a good deal employed for capotes; some of the prettiest are either pink or white; the garniture is a half-wreath of wild roses, terminated on each side by sprigs, which droop | lightly on the brim. Paiile de ris has lost nothing of its attraction; feathers are sometimes adopted for these chapeaux, but flowers are more in vogue; and some of those that have recently appeared are trimmed on the exterior with knots of rich ribbon only; but the round and moderately-open brims are decorated in the interior with mancérés of early flowers. I have reason to believe that this style of garniture will increase in favour as the season advances, for ribbons this year are very beautiful, and of great rich-roulière so much in vogue five or six years ago, ness; in a good many instances those disposed in foliage have been adopted for chapeaux, instead of flowers on the exterior. Flowers are beginning to supersede feathers for chapeaux of paille d'Italie; a good many are trimmed with a bouquet of eglantine, drooping low on one side, or small flowers falling in light sprigs, with all the flexibility and play of a feather. Chapeaux of Italian straw, of a new shade of grey, lined and trimmed with white taffeta, are at present in favour for the public promenade; they are quiet and gentlewomanly, but I think they will not remain long in vogue. There are very few chapeaux composed of fancy straw only, though it is a good deal employed with a mixture of other materials, crin, ribbon, and gauze. I may cite among the prettiest of these chapeaux those composed of alternate bands of paille à jours, and biais of taffeta or gauze, placed alternately in the style of entre deux. They are lined with taffetas glacé, and trimmed with a knot of ribbon, attaching a large red rose on one side; small flowers, or coques of ribbon, decorate the interior of the brim, the edge of which is sometimes decorated with a veil of tulle illusion. Crape chapeaux and capotes are adopted both for demi-toilette and public promenade dress. Those of tulle, crêpe lisse, and gauze, are for the former only. I may cite among the crape chapeaux most fashionable for the promenade, those of deep blue, trimmed with a bouquet of field flowers, sea green, decorated with a sprig of There is more variety in the materials than in the forms of pardessus. We have them in shaded silks, in plain taffetas, in black sprigged net, lined with Florence, in black lace, muslin, tarlatane, linen, or, as it is called in English, leno. The forms I have selected for the plates since the beginning of the season, are those most decidedly in favour. The mantelet roulière has, during the last month, come a good deal into favour in plain walking-dress; it is always composed of taffeta, and trimmed either with fringe, or three bands of narrow black velvet ribbon; it is of a small size, composed of a single piece, and resembling in form the manteau but much smaller. It is made with sleeves, which descend to the wrist, and is I think very well adapted for négligé du matin. The mantillon of a round form, something between the visite and the cardinal, is adopted for the same purpose; it is also of taffeta, and bordered with a single volant, scalloped at the edge. These pardessus are made both of plain and shaded silks; the first grey, of rather a dark tint; the others of full colours, as black and yellow, marron and green, &c. &c. Notwithstanding the warmth of the weather, black taffeta mantelets are adopted for very early promenades, and for shopping; they are trimmed in a very plain style, with galoons, fringes, and narrow velvet ribbon. Taffeta pardessus of light hues, trimmed either with festooned flounces or black lace, are in request for the public promenade. Those of black lace, or black sprigged net lined with Florence, are more so; and black lace mantelets and shawls are still more fashionable. Mantelets of muslin, tarlatane, and leno, may be worn in the public promenade, but are more generally adopted in carriage dress and for visits; they are of a small size, a good many trimmed with ribbons, and all with embroidery and lace. The most remarkable is the mantelet Ninon, composed of muslin, embroidered, lined with pink crape, and trimmed with eight narrow flounces of either embroidered muslin or lace, and gauze ribbons. Mantelets of the material of the robe or peignoir continue to be partially adopted, but more generally in extreme négligé; |