ed in singing the chorus, with a degree of zeal and animation, which could hardly be surpassed.

The play, which was the School for Scandal, was performed in a very admirable manner. Mrs. Jordan and Miss Pope among the women, and Elliston, among the men, particularly excelled.

If you have read the play, you will remember that Charles Surface, being reduced to extreme embarrassment by his own extravagance, as his last resource to raise money, brings the family pictures to the hammer, with the same gay levity which had plunged him into distress. He asks with whom one may make free, if not with his own relations, and as the pictures are a going, he relates who the originals were, and how they distinguished themselves. Here gentlemen, said he, here are two of the family that were members of parliament, and this is the first time that they were ever bought or sold.

Such is the temper of the public mind, produced by the pending charges of peculation against Lord Melville, which, whether true or false, have excited great jealousy and indignation against the noble lord, that this sentiment produced the loudest applauses, again and again reiterated, from every side. I thought from the king's countenance that he was not much gratified with this very distinct expression of the feelings of the house, for Lord Melville is a favourite with his majes ty, who, in this business, has taken an active interest in his behalf.

The School for Scandal abounds with point, wit, and humour, for which the king seemed to have a high rel. ish, for he laughed frequently and heartily,

1

After the play, Rule Brittania was sung by the whole house, with great enthusiasm, and the princesses joined in this chorus also.

There was a poetical prologue to the interlude, all the lines of which ended in ation, and Bonaparte, under the nick-name of Bony, by which appellation he is contemptuously and jocosely called in England, was severely satirized, as well as his long threatened invasion. The king seemed more delighted with this than with any thing; he laughed, almost continually, and the queen even exceeded him.

The after-piece was youth, love and folly, three personages which, it must be allowed, are usually found in company.

A leading circumstance in this play is, that a lady, falling in love with a youth who is required by a stern uncle, on whom he is dependent, to marry another, .equips herself in the dress of a post-boy, and, under this disguise, attends her lover, on pretence of being his servant. In the beginning of the scene, the lady appears on the stage in her proper dress, and has an interview with her lover. The uncle, being announced by a servant, she precipitately retires into an adjoining apartment, and, to elude discovery, in a few minutes returns to the stage in a frock-coat, jockeycap, pantaloons and boots, with whip and spurs, and the strut, stride and smart air of an equestrian; but although her delicate face and feminine voice betrayed the woman, she seemed perfectly at ease. This transformation is so common that it is hardly ever reprehended, but, if a modest woman can so far overcome the reluctance which she ought to feel to such an inde corum, as to appear on a public stage in masculine at

tire, she must at least belong to that class of virtuous women whom Addison calls Salamanders. She is, in the language of this acute discerner of human charac ters; a kind of heroine in chastity, that treads upon fire, and lives in the midst of flames without being hurt."

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The performances this evening were however tolerably correct with respect to delicacy, but there were still many things which a lady ought not to hear without a frown or a blush.

The truth is, the theatre is not a school for morals; it is idle to pretend any such thing; it is a splendid fascinating amusement to those who have no worse views in attending it, but to multitudes the theatrical entertainment is only a secondary object.

No. XIX.-LONDON.

Panorama of the battle of Agincourt....An interesting piece of private history....Du Bourg's Cork models of ancient temples, &c....Representation of an eruption of Vesuvius.... St. Paul's....Statues....Trophies of Blenheim.... Prospect from the gallery around the dome.... The whispering gallery....The great bell.

PANORAMA OF THE BATTLE OF AGINCOURT.

June 14.-I spent some time to-day in viewing the panorama of the battle of Agincourt, painted by Porter. Those of the battle of Alexandria and of the passage of the bridge of Lodi, by the same artist,

were exhibited last winter in the city of New-York. The latter I saw there in January. It was a very grand painting, and so is this of the battle of Agincourt. The time of the battle is that in which Henry V. dismounts to defend his brother the Duke of Gloucester, who has fallen down wounded. There is one delightful effect produced by this painting. From the confusion, splendor, and dreadful carnage of the battle, you turn to the right side of the picture, where the river Somme, winding through a charming country, presents all the mild beauties of landscape, on which, the eye, turning with horror from scenes of blood, delights to repose. This battle was judiciously selected by the painter, for it was one of the most splendid which the English annals afford.

It was fought by Henry against immense odds; the French lost 10,000 men slain, among whom was the flower of their nobility, while the English lost only a few hundreds. Their prisoners, after the battle, amounted to more than their whole army.

The painter has introduced one very interesting piece of private history. An English nobleman was followed into these wars by his wife, who, actuated by affection, accompanied him, in the character of an attendant; this she did, dressed in masculine attire, and clad in armour. After going through the campaign to that time with safety, the nobleman fell in this battle, and his wife is exhibited, in the first paroxysms of grief, stooping over her dying lord, and directing the soldiers who support him to bear him away from the field. This battle was fought in October 1415; the picture covers between two and three thousand feet.

I am fond of panoramas, especially of battles. Their magnitude, the consequent distinctness of the objects, and the circular position of the canvass, corresponding with the real horizon, all tend to give one the strongest impression of the reality of the scene. They are, at present, much in vogue in England. I have seen a very fine one of the rock, fortifications, and bay of Gibraltar, with a portion of the adjacent parts of Spain and of the opposite coast of Africa. They are exhibited in buildings constructed on purpose for their reception; they are circular, like an amphitheatre, and lighted only from above.

DU BOURG'S CORK MODELS.

June 18.-Since my arrival in London I have met with some of my fellow-passengers in the Ontario. Probably there are few accidental meetings whịch excite more interest than those produced by being fellowpassengers on board a ship, and I have not often been more gratified with any similar incident than in finding, in this immense wilderness of men, Dr. R- and Capt. T

They breakfasted with me this morning, and we went soon after to see Du Bourg's cork models of an. cient temples, theatres, mausoleums, &c. principally Roman.

This very ingenious man, Du Bourg, a Frenchman, from an actual residence of nine years in Italy, gained “ the information necessary for the execution of his wonderful work. It would be doing him great injustice to consider his exhibition merely as a display of ingenuity. In this view alone it must excite admiration; but, from the very effectual aid which it affords in understanding the subject of Roman antiquities, it com