The Mirror of Literature, Amusement, and Instruction. Volume 17, No. 478, February 26, 1831

Mirabeau boasted, in one of his letters, that he had communicated his own tenderness to the charming tigress; but Mirubeau was a vain, good-for-nothing coxcomb, and the boudoir on four wheels which he presented as the theatre of his triumph, was a horrible invention. The proof is, that Madame de Genlis says nothing whatever about it in her Memoirs. Posterity should be just towards the illustrious Countess, and accept, as sincere, her revelations. Let us, then, consider her as the most virtuous of women; as the least arrogant; the most sensible; the most learned; for all, in fine, that she desired to appear; for Madame de Genlis never said what was untrue; she solemnly declares so.

Madame de Genlis had a talent that was very dear to her, but the title of a good housewife was that she coveted above all the rest. I can never forget the following circumstance, exemplifying the naîf vanity of the pretension to be without pretension, which the noble lady sometimes assumed. I was anxious to see this celebrated person, and wrote to ask the favour of a brief interview. She appointed the following day. At twelve o'clock I presented myself;—Madame de Genlis was writing; she laid down her pen, and obligingly offered me a seat, then said—"Allow me, sir, to finish my pot an feu; above being a woman of letters, I value myself as a good housewife." And the Countess scraped the carrots and the leeks, tied them up, put them into the soup-kettle, skimmed the meat, and neither forgot cloves nor fried onions. Then taking off her kitchen apron, came with very good grace to offer herself to my curiosity We talked upon art and literature; and I must say that she did not speak of her harp more than twice, of her talent for acting more than once, or of her facility of writing—very much more than six times.

Madame de Genlis died almost suddenly, and was employing herself as usual, when death struck her. She leaves two works, which will, no doubt, be published as soon as a bookseller is found to put them together, and idlers seem disposed to read them. The King offered her rooms in the Tuileries, and she had replied to his gracious proposal the evening before she died.

Louis Philip never forgot his preceptor—Madame de Genlis is said to have had some desire to be forgotten by her pupil.—New Monthly Magazine.

FINE ARTS

EXHIBITION OF THE WORKS OF LIVING ARTISTS AT THE BRITISH INSTITUTION,

PALL-MALL

(From a Correspondent.)

This attractive Exhibition opened for the season on Monday, the 31st ult., and contains five hundred and fifty-two works of art. The display of pictures is certainly very splendid; and, as no portraits are admitted, the respective artists have employed their talents in representing pleasing and interesting subjects, some of which contain high poetical feeling—while others possess the power of raising our risibility by their novelty and genuine humour—a valuable quality in painting, to attain which, the artist treads an extremely difficult path. We must now select a few of the most sparkling gems of the collection.

No. 1. Lavinia, from Thomson's Seasons, painted by Sir Martin Archer Shee, is a chaste production. Lavinia is portrayed as a perfect rustic beauty.

3. A subject from. "The Lost Pleiad" of Miss L.E.L. is beautifully embodied by Henry Howard, R.A.

12. Part of the Corn-market at Caen, formerly the Church of St. Sauveur; painted by Roberts, in his peculiar and fascinating style.

36. The Auld Friends—

"Then here's a fig for snarling time,
Wi' features long and grim,
Come prime the cup, my gude auld friend,
And pledge me brim to brim."

Painted carefully by J.P. Knight, son of the late comedian.

59. Titania, Puck, and Bottom; by Mr. Partridge. This is a commanding work, and extremely rich in the colouring. The Queen of the Fairies is represented reposing on a grassy bed, and near her is seated the formidable Bottom, in his ludicrous metamorphosis: he is placed in such a situation, that her majesty must see him before any other object when she awakes. At a little distance Puck is displayed laughing at the trick he has played on the queen, and seems to anticipate with delight the amusement that is to ensue.

95. Falstaff's Assignation with Mrs. Ford—from the Merry Wives of Windsor—is remarkably delicate in the execution, possesses good colouring, and is altogether creditable to the painter, Mr. Clint.

153. Interior of the Painted Hall. Greenwich Hospital; by John S. Davis. This is an admirable specimen of rising genius, as it contains much knowledge of perspective, and great correctness in the distribution of light and shade.—Some portraits, and a statue of Nelson, are judiciously introduced.

229. Teniers Painting the Temptation of St. Anthony; executed by Mr. Fraser, in a masterly manner.

447. Mount St. Michael; a magnificent production by Stanfield. The water is inimitable, possessing that beautiful greenish transparency so peculiar to the sea.

462. The Interior of Mr. Pinney's Gallery, Pall Mall; by Mr. Novice.—This is doubtless an arduous undertaking; the artist has evinced much skill in the arrangement of the various objects of the piece, and the effect is forcible and good. There is another representation of a picture-gallery in the exhibition No. 345, but we think it wants effect.

We are sorry that we can only allude to the names of several other excellent artists. They must not infer, however, that we fail to appreciate their merits; on the contrary, we would most gladly appropriate our time to the extension of this notice, were we permitted sufficient space, for to do ample justice would occupy several pages. Madame Comolera, Miss E. Drummond, and Miss Hague, deserve attention; as do Messrs. Clater, Fradelle, Hart, Edmondstone, Chisholme, Deane, Wilson, Brough, Stanley, Reinagle, and Webster.

Feb. 1, 1831.

G.W.N

NOTES OF A READER

ROYAL EQUIVOQUE

(From the Life and Reign of George IV.)

A well-known individual, some time deceased, who was admitted to the prince's familiarity upon his first entrance into life, and for several years after, described or rather dramatized with much humour a scene which he professed to have had from the prince himself. So much depends upon tone and manner, that the spirit of these pleasantries evaporates on paper. The story was in substance as follows:—A new suit, destined for a ball that night at Cumberland-house, was brought home to the prince, but ordered back by him for the purpose of undergoing immediate alterations. He gave directions that the tailor's return with it should be instantly made known to him. The prince happened to pass the early part of the evening with the king and queen at Buckingham-house. Whilst he was seated in the royal group, a German page entered, and pronounced in a tone meant for his particular ear, but loud enough to be heard by every one present, "Please your royal highness, she is come." There was a moment's awful pause. "Who is come?" said his royal highness, in a tone between surprise, embarrassment, and anger. "Sir, she is come," repeated the page, with his bad English and German phlegm. "Eh! what, what! who is come?" exclaimed the king. "She, your majesty," reiterated the unmoved German. "She is come!" cried the queen, bursting with wrath, and supposing that the visiter was one of the house of Luttrell, who already sought an undue influence over the prince. All was for a moment inexplicable confusion. The queen summoned another page, and asked him with fury in her looks, "Who is she that dares inquire for the Prince of Wales?" "Please your majesty," said the second oracle, "it is Shea, his royal highness's tailor."—Dr. Lardner's Cabinet Library, vol. ii.

THE PRINCE OF WALES AND MRS. FITZHERBERT

He had now formed an attachment of no common kind to a lady, whose name at this period came frequently before the public associated with his. A veil of ambiguity or mystery covered, and still covers, the relations of the Prince of Wales with Mrs. Fitzherbert. She received all the respect and exercised all the influence which could belong to rank, character, accomplishments, and manners, in the highest class of society in this country daring her intimacy with the prince, and after their separation; and she is still living, surrounded, in her advanced years, with all the consideration which could do honour to the decline of a life the most estimable. Mrs. Fitzherbert was first married at sixteen, and had still all the graces of beauty and youth on the death of Colonel Fitzherbert. She was brought up abroad, with every advantage of a costly and consummate education. Her beauty had that soft and touching character, the result of fair complexion and blue eyes which distinguishes Englishwomen abroad, and obtained her the appellation of the angelic English blonde. The cousin of Lord Sefton, and related to other distinguished families, she lived in a sphere of society in London which necessarily made her acquainted with the Prince of Wales. He became enamoured, declared his passion, and was the cause of her retiring to the continent to avoid his importunities. Having remained abroad about three years, she returned to England in 1784. The prince on her return declared the continuance and repeated the sincerity of his attachment, with, it would appear, more success. Their intimacy for some time was known only to the initiated in high life; they moved and met in the same society, apparently on terms rather of formal than familiar acquaintance. The secret was divulged shortly before the prince's quarrel with the king, and base advantage was taken of it to wound the private feelings of the prince where manly feelings are the most vulnerable. She was of a Catholic family, herself a Catholic; and this was easily turned against the Prince of Wales, at a period of religious bigotry, and political alarm, especially in the mind of George III.—Ibid.

A GREAT SLEEPER

The Stadtholder, who had recently fled from Holland, was also the prince's guest, and afforded amusement by the whimsical incongruity with which he chose his occasions for going to sleep. The princess commanded a play for his entertainment: in spite of her vivacity and utmost efforts, he slept and snored in the box beside her, and was roused with some difficulty when the curtain fell. A ball having been given in compliment to him at the Castle-tavern, he fell asleep whilst eating his supper, and snored so loud as to disturb the harmony of the orchestra and the decorum of the assembly. His Dutch highness was also entertained, if the term in this instance be admissible, with a grand masquerade, and was perplexed by the difficulty of resolving in what dress or character he should attend it. The Prince of Wales said he might go as an old woman.—Ibid.

PRIVATE MEMOIRS OF GEORGE III

It was well known to be the habit of Geo. III. to write in various folios, for an hour after he rose in the morning. This practice was not obviously consistent with his want of facility and taste in any sort of composition; but his manuscripts were only registers of names, with notes annexed of the services, the offences, and the characters, as he judged them, of the respective persons. "In addition," says a publication of 1779 "to the numerous private registers always kept by the king, and written with his own hand, he has lately kept another, of all those Americans who have either left the country voluntarily rather than submit to the rebels, and also of such as have been driven out by force; with an account of their losses and services." It is somewhat cruel to lay bare "the bosomed secrets" of any man, even after the grave has closed upon his passions and weaknesses; but if these registers of George III. still exist, and should ever come to light, they will be as curious private memoirs as have ever appeared: they doubtless promoted the remembrance and compensation of losses and services; but they also produced his petty long-cherished resentments, less hurtful to their objects than injurious to his own character and torturing to his breast.—Ibid.

THE GATHERER

A snapper up of unconsidered trifles.

    SHAKSPEARE.

SUPPOSED POSTHUMOUS WORK OF DR. JOHNSON'S

An Ode written April 15, 1786

St. Paul's deep bell, from stately tower,
Had sounded once and twice the hour—
Blue burnt the midnight taper;
Hags their dark spells o'er cauldrons hewed,
While Sons of Ink their work pursued,
Printing "the Morning Paper."

Say, Herald, Chronicle, or Post,
Which then beheld great Johnson's ghost,
Grim, horrible, and squalid?
Compositors their letters dropt,
Pressmen their printing engines stopt,
And devils all grew pallid.

Enough! the spectre cried, Enough!
No more of your fugacious stuff,
Trite anecdotes and stories!
Rude martyrs of Sam. Johnson's name,