We have digressed from the original subject, dear reader, in order to show that the rifioramenti of a piece are mere additions, and also to point out to the amateur the propriety of omitting startling and surprising stage points, when presenting in private fine operatic passages, and the nice, delicate taste that would be displayed in giving more of the original melody, avoiding embellishments, using them only where they seem absolutely necessary to break up the monotony of a continuous strain, and render it more effective.
We could give our other objection to this public singing of amateurs, which objection applies more particularly to lady amateurs; but we have chatted long enough already, and, moreover, our objection is decidedly too old-fashioned to be talked about in these days, “of rights of men, women and children;” therefore, we will suffer it to pass unmentioned, trusting to the force of the one already given to convince you, at least good reader.
Old ’76 and Young ’48.—This is the title of a new picture by Woodville, received from Dusseldorf for the New York Art Union, which is to be engraved for one of the future distributions of that association. The Mirror describes the picture as fully justifying the high opinion formed of the young artist’s genius, and as placing his name in the front rank of our American artists. The picture represents a young soldier just returned from Mexico, travel-stained and wounded; he sits at a table relating his adventures to his grandfather, “Old ’76,” while his father and mother, and a group of colored servants, peeping in at the door, are eagerly listening to the soldier’s rehearsal of his battles. All the accessories of the picture are purely American, and help to carry out the story; the portrait of the old man, painted in all his rosy prime, the bust of Washington, the ornaments on the mantle, all are in strict keeping; but it is in the individualities of character as delineated in the countenances and actions of the different personages that the genius of the artist is displayed; the old man, leaning on his crutch, shaking his head with a mixed feeling of pride in his grandson’s achievements, and a recollection of his own acts in the times that tried men’s souls, is a triumph of the artist; the old fellow seems to be just at the point of saying “O yes, my boy, all that is very well; you fought bravely, no doubt, and General Taylor was a good soldier; but it’s nothing to old ’76, and General Taylor ain’t Washington.” It is a most successful effort.
Monument to Peel.—The proposal to erect a national monument to Sir Robert Peel, by subscriptions limited to one penny each person, will be entirely successful.
| [7] | “I don’t know my own music!” |