-SEIBOLD, the German savan, who lived long in Japan, and whose work on that country is the most complete and authentic ever published concerning it, is about to leave Boppart, where he has been residing for some years, to go to St. Petersburgh, where he has been offered an advantageous position.

-Der Gertreue Ritter (The True Knight), is a posthumous romance, by MEINHOLD, the author of the Amber Witch, which the son of the author has lately published in Germany. The scene is laid in the time of the Reformation. The book, which is written in the antique style, is incomplete, and the part which is finished is not equal to the former productions of the same pen.

ITALY.-The members of the Society of Jesus publish at Rome a very able periodical, called the Civilta Catholica, in which political and economical, as well as religious, questions are treated with skill and intelligence, though always, of course, with a view to the interests of the Order and the Church. The Reformation and the states which favor Protestantism, especially England and Prussia, are the subjects of its constant attacks, and even Russia is not omitted from the list of powers that hold revolutionary and heretical principles, and must be converted or overthrown. Among the more noteworthy articles that have already appeared, is one "On the Reproduction of old Utopian Dreams in Italy;" one "On Political Economy, and the influence of constitutionalism upon it;" and one "On Secret Societies." Most remarkable, perhaps, is a historical romance called the Hebrew of Verona, from the pen of the Jesuit Father BRESCIANI, which first appeared in the Civilta Catholica, where its sequel is now being completed under the title of Lionello. The Ebreo has had a great success in Italy, several editions having been published in different cities of the peninsula. The scene is laid in Italy amid the period of agitation and revolution from 1846 to 1849, and it is written in an admirable style, whatever may be thought of its doctrines.

DENMARK. Among the noticeable novelties in Danish literature, says a correspondent of the Morning Chronicle, is a translation of Dr. KING'S Aushar; a brilliant new poem by PALUDAN MULLER, called The Aix Saila and the Atheist, full of satiric strokes and deep religious feeling; Dante, a tragedy by C. K. FILLOLBECH; Nature and Human Life, an admirable historical and statistical description of the three Scandinavian Kingdoms and of England, by A. C. MEINERT; Count Bothwell in Norway, a series of

tales upon the adventures of Bothwell in that country, after his flight from Scotland in 1567; a new volume of poems by CHRISTIAN WINTER, and some new stories by ANDERSEN. The list of productions in religious literature is also said to be very rich at present.

THE Department of Practical Art, at Marlborough House, presents a rich collection of casts, amounting in number to upward of 1500. Among them, according to the report lately issued, are 490 Greek and Roman specimens, 220 Mediæval, Saracenic and Gothic, and 270 figures, busts and masks. The earliest specimens of Renaissanic ornament are from the bronze gates of Lorenzo Ghiberti, made for the baptistery of St. John at Florence, between the years 1403 and 1425; and specimens from the Roman Cancelleria Apostolica, or the Campo Fiori, built for the Cardinal Riario, by Bramante, in 1495. Other specimens are from the Château de Gaillon in Normandy which was restored in the revived Italian style by Cardinal d'Amboise, Minister of Louis XII. Beside these, there are many very valuable specimens, alike interesting to the lover of the arts and the antiquary.

-The Queen having graciously recommended the prayer of the Engravers to be made eligible to the grade of Academician, the Royal Academy has determined upon the admission of a certain number of these artists to the full honors of the Institution. The event is hailed with joy by the class whom it most largely interests, for the exception has been deemed invidious and disparaging.

-The Society of Arts, entering with the present year upon its Centenary, offers a variety of premiums for useful inventions. Among the desired objects is an unguent suitable for the lubrication of machinery. Though seemingly a matter of minor importance, this subject is one of high interest to mechanics, and there will be a brisk competition by rival claimants. There is no material now employed which is free from considerable expense and greater grossness.

-A pension of £200 per annum has been bestowed upon Mr. J. R. HIND, the indefatigable astronomer, a famous man for discovering planets. This tribute is thought to be owing to the influence exerted by the Earl of Rosse. The labors of Mr. HIND have contributed many valuable results to the cause of astronomical research. It is noticeable, by the way, that a number of the planets which have lately been discovered by Mr. HIND, were simultaneously observed in this

country by Mr. W. C. BOND, the veteran Director of the Observatory at Cambridge, Mass.-Mr. HIND has just issued a calculation upon the expected Great Comet, which, he concludes, should again reach its perihelion on the 2d of August, 1858; the revolution belonging to the major axis at that epoch being 308,784 years. Perturbing causes, however, may occasion an uncertainty in time of two years, so that this calculation holds good from 1858 to the early part of 1860.

-The expedition to Central Africa, under Drs. BARTH and OVERWEG, is progressing. Dr. BARTH has explored a portion of the Kingdom of Baghirnic, between Lake Tsad and the Upper Nile, never before visited by a European; and succeeded in reaching Masena, the capital, a town situated on the river Shary or Asu, which has a direction due north and south, and subsequently runs into Lake Tsad. A large amount of valuable information respecting the history, geography, and ethnography of this interesting region is said to have been obtained. The two travellers propose to make another attempt to explore the countries on the eastern side of Lake Tsad, direct from Korka, and will proceed thence to the Indian Ocean.

-At Alexandria, some ruins have lately been discovered, which are believed by some to be relics of the Alexandrian Library. The specimens consist of ordinary bricks, calcined earth, and other indications of a large structure, with evidences of the presence of fire at a remote period. Lieut. NEWENHAM, Admiralty Agent, has taken to England some drawings from sculptured blue-granite stones found among the rubbish, representing a winged sphere surmounting a baboon-like figure in a sitting posture. Below, are figures supposed to represent the kings, and accompanied by hieroglyphics.

-The last Indian mail steamer, noticed in the English journals, conveys some highly interesting intelligence of the discovery of a long-buried city, named Sacckareh, near the first cataract of the Nile, and five hours' ride from Cairo. The discovery was entirely accidental, and according to the brief accounts received, came about as follows: An Arab observing the appearance of an object above the ground, resembling the head of a sphinx, brought the news to a French gentleman, by whom excavations were commenced with a view to further investigations. A long street has been laid open, containing thirtyeight granite sarcophagi, each weighing about sixty-eight tons, and all evidently intended to receive the ashes of the sacred animals. A grant of the locality has been

obtained from the Pacha, and great quantities of curiosities have been exhumed. Some of the ancient earthenware vessels are of very diminutive size. The street is upward of sixteen hundred yards in length-nearly one mile. It is straight, and when lighted at night is said to present a magnificent spectacle. The specimens recovered have been in part buried in the sand to insure their preservation. The narrative of this discovery is quite remarkable, and we shall look with interest for additional particulars. If another Nineveh shall be exhumed in the heart of Egypt, have we a LAYARD who will follow its mysteries to their full solution?

-Among the deaths which have occurred during the month is that of Prof. SEARS C. WALKER, a distinguished American Astronomer. Prof. WALKER some time since became insane, in consequence of too long-continued mathematical application, and had but just recovered when he was seized by the illness which proved fatal. He died on the 30th January, at the residence of his brother, Judge WALKER, near Cincinnati. His contributions to American Science are exceedingly valuable, and no labors will be more highly regarded than the results of those remarkable powers of calculation which he was able to bestow upon scientific problems.

-We notice among the list of new inventions, a medical instrument called the Thermascope, which promises to be useful. It is the contrivance of Dr. Spurgin, of London, and is intended to indicate the variations of temperature in the human body.

MUSIC.

THE two musical events of the past month have been the fashionable charity concert of Madame Sontag, and the first appearance of Gottschalk, the young Creole pianist. The first, which took place at Niblo's Saloon on the 19th of January, was all that a handsome room crowded with the fashion of the city in eveningdress, a lady-like and charming singer, and due homage of flowers, smiles and applause, with the sweet satisfaction of eating your cake, and having your cake (for such is the philosophy of charity balls, dinners, &c.), could make it. It was precisely the place and the occasion for the accomplished singer, and whoever heard Sontag that evening heard her under the best possible auspices. After each of her songs a little girl presented her a basket full of flowers, and certainly full, also, of the warm admiration of all who listened. After each presentation the young Hebe who, with such pretty propriety, poured out such libations of praise,

was rewarded by a kiss from the Countess -happy little Hebe! Madame Sontag's companions in the performance were not forgotten by the flowers. Mesdames Bouchelle, Pico, and Vincent Wallace; Messrs. Wallace, Rocco, Frazer, and Eben, "lent their powerful aid;" and out of all the music, flowers, kissing, and brilliant fashion, was distilled the very agreeable sum of $2400, a result equally honorable and satisfactory to all the high contracting parties. Let us note here, also, that while Madame Sontag was generously devoting her talent to a charity-partly in recognition, doubtless, of her success in this country-Mr. Thackeray, moved, perhaps, by something of the same feeling, was working in his way for another charity, and to the most satisfactory pecuniary result. The lecture of the wit hardly falls within the rubric of music, but the humanity of the object and of the treatment causes very musical feelings in the heart. Since the concert Madame Sontag has sung in Don Pasquale and La Somnambula and Lucia. În the former she is, of course, good. It is put upon the stage in modern costume. Norina is a rôle of artificial archness, requiring only that exquisite stage savoir faire, in which the lady so excels. It was most delicately and pleasantly done. In La Somnambula there is, perhaps, too much of a genuine pastoral simplicity necessary, to allow even the best fine-lady counterfeit to pass. Not to speak it profanely, it yet seems to us that Sontag's Amina is very much like the part of the dairy-maid which Marie Antoinette used to assume, when the court of Louis 16th, cloyed with royal splendors, repaired to hold pastoral revels in the little village, built expressly for the sport, in the private garden of the petit Trianon at Versailles. It was done doubtless with all the grace and affability of a lady. Think how charming the lovely young Queen of France must have been in the picturesque Norman peasant costume! She would infallibly have been queen of hearts as well, and the good Louis would have been forced to look to his trumps. But, after all, we should have returned to the palace, and sat around our petit souper more at home than with our curds and cream in the garden. It is so with Sontag's Amina. She is just such a peasant girl as a genuine princess royal would be, at a masquerade; which is to say, that her own individuality betrays itself too distinctly through all the disguises of character, to permit her to claim high dramatic power. She is best in parts which most resemble herself. She is, therefore, a capital Lucia. But a really great actor is as good a fool as

a Lear. So in Lucrezia Borgia which Sontag has also undertaken. There was a kind of dainty diabolism in it-like a devil in lemon kids-that was altogether too amusing. The image of Lucrezia is very still, if you choose, but appallingly sardonic. The truth is, that only very sinewy feet can fill and properly propel the seven-league boots of high lyrical tragedy; and a singer may have a beautiful voice, exquisitely cultivated, without being able to impersonate Lucrezia or Norma.

The latter part was assumed by Alboni at the Broadway, and with success. Enthusiastic critics declared that Grisi could not have surpassed it-which, at least, is an unnecessary ecstasy. Grisi is very great in Norma, and so is Jenny Lind, and so undoubtedly was Pasta. Great as Alboni may be in it, it is safe to say that she is not greater than the others. Much as we admire Alboni, in common with the world, it is yet clear enough that she will hardly occupy the same position as Malibran, Jenny Lind, or Pasta in the regard of the future. Fascinating and quite overpowering as is the delight of hearing her, we cannot but feel how much of that delight is due to her marvellous voice. Indeed it is a disproportioned part which is so due.

Whoever closely examines his feelings upon hearing Alboni, will not fail to discover that it is not the conviction of great genius in the person, but the sense of satisfaction in the accident of her voice which moves him. Now genuine and permanent success is based solely upon genius, and its test may be considered to be this: that the effect shall impress you more with a sense of the power that caused it, than with a simple delight in the effect itself; as, for instance, the song of a bird and the singing of Jenny Lind. In the first case there is a pure and simple pleasure in the song itself, with no mental reference to any talent in the bird, while in the latter, however great may be the delight in the performance, the permanent pleasure is the sense of power in the singer, so that you feel if the voice were gone there would yet be a woman left, whose genius would develope in some other way. We have no intention of putting "too fine a point upon it." These æsthetics of art are seductive speculations, but they shall not seduce us from recording our hearty enjoyment of Alboni in all her rôles. A man may insist upon the ideal difference between champagne and nectar, but over his goblet of Mum frappé he will not be very vehement in asserting it. Let us all rejoice that the great contralto found her dramatic skill among us; and let us all

envy our Boston brethren for whom she is now singing.

Gottschalk, whose first concert took place at Niblo's saloon on Friday evening, February 11th, has fully confirmed the great anticipation which Hector Berlioz had excited in our minds. We find translated in Dwight's Musical Journal, the following extract from the Critique of Berlioz, upon Gottschalk:

"Gottschalk is one of the very small number who possess all the different elements of a consummate pianist-ail the faculties which surround him with an irresistible prestige, and give him a sovereign power. He is an accomplished musician-he knows just how far fancy may be indulged in expression. He knows the limits beyond which any liberties taken with the rhythm produce only confusion and disorder, and upon these limits he never encroaches. There is an exquisite grace in his manner of phrasing sweet melodies and throwing off light touches from the higher keys. The boldness, and brilliancy, and originality of his play at once dazzles and astonishes, and the infantile naïveté of his smiling caprices, the charming simplicity with which he renders simple things, seem to belong to another individuality distinct from that which marks his thundering energy-thus the success of M. Gottschalk before an audience of musical cultivation is immense."

His concert here was fully attended, and his position, although peculiar, is very well assured. He belongs clearly to the most modern school, but he is essentially an artist-howbeit the poor word is sadly abused. We mean that he is not merely a player, who glides skilfully, and with the utmost facility, through all the difficulties of every style, and can play Beethoven, Strauss and Chopin, equally well, but that he has a marked individuality in composition and in the interpretation of his composition. We can illustrate what we mean by Chopin. He was an adept upon the piano. There was no music written for that instrument which he could not play with more or less skill and effect. But, in playing Beethoven, or Mozart, or Haydn, Chopin might have been no better than any other accomplished performer. But in playing Chopin he was unapproachable. This is not to be explained by the common assertion that a man plays his own compositions better than any one else which is manifestly untrue. We have never heard Mr. Vincent Wallace's popular Polka de Concert so poorly executed as by the composer, and probably no one played Beethoven so unsatisfactorily as Beethoven. This individuality, this something which Chopin has, or Liszt has, or Gottschalk has, is the secret which, combined with mecha

He

Yet

nical skill, makes the artist. Mr. Jaell, a very clever and delightful pianist, must be summoned, also, to illustrate our remarks. Jaell is one of the most facile and accomplished performers we have ever heard. Certainly no fingers ever threaded musical mazes with such sparkling and fluent alertness as the chubby ones of that gentleman. It is a marvellous gymnastic, and so graceful withal, that only churls would refuse applause. But it is all grist that comes to Jaell's mill. Put in the old Italians, and Beethoven, Haydn, Mozart, Weber, Mendelssohn, Rossini, Thalberg, Liszt, Chopin, Wagner, Schuman, Donizetti, and all men who have ever written music, and out it comes, always the same meal, nothing better, nothing worse. sits down with his winning complaisance, -the most amiable of good fellows-you fancy it is Puck himself, so gayly smiling, so nimbly moving, and presto! away he sweeps, and puts a girdle quite around the realm of music, in forty minutes. it is still the same thing. A waltz of Strauss-an adagio of Mendelsssohn-a "Bohemian Polka" of Jaell,—a funeral march of Chopin-they are only played with the most incredible and intoxicating ease; it is a clear case of beautiful mechanism, and nothing more. Jaell has only half of the artist's whole. Facility is the word that describes and exhausts him, if you give it its most gracious meaning. We do not mean to compare him with Gottschalk, for it is no more possible than to compare different things. But the illustration serves to show that an artist, even a piano-artist, is more than a good player. Gottschalk has a colossal style that surprised us. Best of all, however, was the profound sense of a musical enthusiasm and devotion which pervaded all the performance, and removed it from the inerely "astonishing," and "sublime," and all the other proper terms of starplaying, into a realm of pure music and the highest art. Mr. Gottschalk is an American by birth, but he is still very young and has lived many years in Paris. We learn that he is not compelled to play in public by anything but his genuine reverence for music, and by the irresistible force of undoubted genius. We shall have more to say of him.

Mr. Fry's course of Musical Lectures is concluded. On account of certain engagements which prevented the attendance of some of his assistants, upon occasion of the tenth and last lecture, he added another, upon the qualities and characters of instruments, and among the illustrations of the evening, were included a descriptive symphony, selections from Leonora, and an occasional march, all of his

own composition. These, with parts of a symphony by Mr. Bristow, were analyzed by the lecturer; who also, just before the close of the performance, addressed the audience upon the subject of Art and Society, in a humorous, pointed, brilliant, vehement, sensible, and enthusiastic manner, which excited close attention, and led to some amusing demonstrations of a difference of opinion, all of which Mr. Fry met in the most manly and generous way. We are not surprised to learn that he has sustained pecuniary loss by the enterprise, and we fear he may regard it as cold comfort to be told that he has. notwithstanding, achieved a succès d'estime, which must be invaluable to him in his future career. His course has not only made its mark upon the musical season in NewYork, but upon the musical history of the country. Were it only for the advantage of so broad a display of the radiant energy and ability which characterizes the American, we hope he will not consider the undertaking altogether a loss. Not every man can afford to fail so finely. For he must see, what we all see, that the illsuccess is in name and not in fact. This is so genuinely recognized, that we are glad to announce a complimentary concert offered to Mr. Fry, by a large number of gentlemen, which will take place upon the evening of Tuesday, March 1st, at Metro

olitan Hall, the use of which, for that evening, is presented by Mr. Harding, the proprietor. Why will not every reader, whose eye falls here, and who cares for music. go and buy a ticket, even if he cannot attend?

Boston is more than sharing our musical enthusiasm. It has fairly beaten us this winter. At a recent rehearsal in that city there were 3,235 tickets taken at the door. They have been inaugurating a Music Hall, and having chamber-concerts and oratorios (for which Boston is famous), and symphonies, and operas with Alboni, and all kinds of debutantes, and morning rehearsals, and Germania soirées of mingled Strauss and Mendelssohn. In fact we quite lose our breath in the effort to keep up with the rush of Boston musical enthusiasm. But this we know, not only from the quality of the music, but from our faith in the critic upon whom we most rely (Dwight's Musical Journal), that Boston has been enjoying much of the best of every kind of music, and knows how to appreciate it.

Philadelphia has been listening to Mozart's Requiem performed by the young Männerchor, which was well done and well attended, Signor Perelli, whilom tenor at Astor Place, now musical director of the most aristocratic voices in Phila

delphia, has been giving a soirée or two, where the singers, as well as the audience, were of the very yellowest kid. The performance, we are told, evinced the utmost care and skill in the teacher, and good general talent among the select singers.

Europe offers nothing new. Auber has been appointed imperial chapel-master, and was to compose the nuptial mass for the imperial Spanish bride, Montijo. In London the musical season has not fairly commenced, but we record with pleasure, the unquestioned success, as a pianist, of Mr. William Mason, son of the well-known musical professor, Lowell Mason, of Boston. It seems to be determined that Grisi and Mario are to come in the Spring.

FINE ARTS.

OUR artists suffer a total eclipse nearly three quarters of the year, for the lack of a suitable place to exhibit their performances in, and, in this respect, they labor to much greater disadvantage than their brethren of the steel pen, who may publish their works at any season of the year. The opening of the National Academy of Design is the flowering of our painters, who then display themselves to all the world, or at least to all that part of it which happens to be in New-York between the first of April and the Fourth of July. During the rest of the year the painters are working like moles, in the dark, so far as the world is concerned; but, in reality, each one like a St. Simon Stylites, at the top of a tall flight of stairs in a roof-lighted studio, where they toil during nine months of the year, with occasional visits from their chance acquaintances. The Academy should keep its galleries open all the year, not only for the sake of its members, but for the public; for, unless one happens to be in NewYork during the three months that its exhibition lasts, there is no opportunity of knowing any thing of the progress of art among us. There is no show-place for pictures and statues except in the gallery of the Academy. When a fine work is produced, it is immediately purchased by some wealthy patron, or connoisseur, who hangs it in his parlor where it is only seen by his intimate friends. Our artists do not, therefore, work for the public, but their patrons; and, instead of being teachers of the people, like authors, they become, like upholsterers, mere decorators of private apartments. It is vain to hope for the appearance of a Michael Angelo or a Raphael among us under such circumstances. There is a gentleman living in the Fifth Avenue, whose drawing-room is enriched by some of the finest produc